diff --git a/unformated_scripts/Script_Mask, The.txt b/unformated_scripts/Script_Mask, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..3b810cc036b798cf6aa0ab6ee87d5bb11b89efed --- /dev/null +++ b/unformated_scripts/Script_Mask, The.txt @@ -0,0 +1 @@ + THE MASK Written by Mark Verheiden FINAL DRAFT EXT. HIGH SEAS - DAY The dragonhead prow of an ancient Viking ship cuts through the thick fog of the rough North Atlantic Sea. MUSIC EXPLODES: WAGNER'S "GOTTERDAMMERUNG" (Twilight of the Gods) SUPERIMPOSE: THE TENTH CENTURY A.D. EXT. BOW OF THE SHIP - DAY Viking explorer LEIF ERICSON carefully studies his fob compass as he dangles it above a parchment map. His SAILORS steal nervous looks at a large, diabolical-looking IRON BOX in the hold. OLAF, a fierce, one-eyed Viking warrior approaches Ericson. NOTE: Dialog is in OLD NORSE, with SUBTITLES) OLAF Leif, let's do the deed before another night falls. The crew's near mutiny. Ericson draws his broadsword with a flourish. LEIF ERICSON Know this! The first man to turn will taste my steel in his guts. OLAF But we've surely gone far enough. ERICSON That accursed box must be thrown off the edge of the world. We will go until we can go no more... Suddenly there is an ear-splitting SCREECH and the entire boat rocks violently as it runs aground. The LOOKOUT is thrown from his crow's nest... and CRASHES straight through the deck right in front of Ericson. His pained voice floats up from the black hole. LOOKOUT ...Land ho. Ericson wheels about just as the fog parts off the starboard bow. ERICSON'S P.O.V. A beautiful rustic coastline stretching off as far as the eye can see. LEIF (GASPS) By Odin's beard... EXT. THE NEW WORLD - A HARBOR - SUNSET Olaf finishes digging a hole in the sand. He backs away, terrified, as burly Vikings, led by Ericson, muscle the IRON BOX over to the hole and quickly bury it. Ericson turns to an exotic-looking Eurasian WITCH. ERICSON Be quick, Witch. Let the deed be done. The Witch unravels a scroll and recites: WITCH Oh Loki, ancient one. Thy mischief dwell now in waters, base and bland. And in waves and sand thy magic forever sleep... As the Witch speaks, a strong wind kicks up and a black wall of clouds appears. The sky explodes in THUNDER and LIGHTNING. The MEN look about fearfully. ERICSON (CONT.) Back to the ship men, hurry. OLAF Captain, you've discovered a new world. It is your right to name it. ERICSON Leave that to the Italians. We're never coming back here. Never. This land is now cursed. DISSOLVE TO: A SIGN: 'BEACH CLOSED - RAW SEWAGE - NO SWIMMING' EXT. BEACH - PRESENT DAY Hot, smoggy and packed. Cityscape of towering skyscrapers stands in the haze just beyond the crowded beach. SUPER: EDGE CITY - THE PRESENT A caffeine-driven D.J's voice booms over the beach-goers' radios. D.J. (V.O.) Yessiree, it's a four-alarm sizzler out there today with highs in the upper nineties and no relief in sight. We have a third stage smog advisory and a metro traffic gridlock alert. Flourocarbons are up, the Dow Jones is down and we're expecting another Spike Lee movie any second. In other words folks, it's just another bee-youtiful day in Edge City. Camera ENDFRAMES on an industrial barge marked "Department of Sanitation." A crane's cable line disappears underwater. EXT. UNDERWATER - SAME TIME SCUBA WELDERS repair a cracked, scum spewing pipe. One diver hits something hard with his dredger. He unearths... THE ANCIENT IRON BOX Rust and barnacles partially obscure the engraved images of Norse gods and demons. THE DIVER wedges his scuba knife under the corroded lock. Erie 'MASK' theme SFX rise as he tries to pry open the lid. Suddenly the PIPELINE BREAKS FREE, crushing the diver and cracking open the box. SOMETHING (seen only in rippling shadow) explodes out of the box on a cloud of bubbles and shoots toward the surface. EXT. WATER The Mask surfaces in the f.g. as lightening EXPLODES across the distant cityscape. CUT TO: EXT. EDGE CITY BANK A banner displays their proud motto: "WE BANK ON TOMORROW." EXT./INT. EDGE CITY BANK CHARLIE SCHUMACHER (30's) gazes out the window from his cluttered desk as the crack of THUNDER echos through the urban canyons. CHARLIE Look at those clouds rollin' in, man. Freaky weather. STANLEY IPKISS, a bright0eyed amiable young account exec pauses by Charlie's desk and drops off a print-out. STANLEY Hey Charlie, can you go over these stats? We're supposed to have a complete report before lunch. Charlie takes one looks at the complex print-outs and tosses them back. CHARLIE Woah. Sorry Stanley, I just had my weave tightened and my head is killing me. Be a pal and take those over to Hinkleman, will ya? MAGGIE, a cute young blonde now strolls by. MAGGIE Hi guys. Did you have any luck with those concert tickets Stanley? Stanley perks up at the sight of her. STANLEY I sure did. Friday night, just like you wanted. MAGGIE Oh, Stanley, that's wonderful. STANLEY What time should I pick you up? MAGGIE Gee, I don't know. My best girlfriend just got into town and I know she'd love to go. Can we get an extra ticket for her? STANLEY Well... uh, actually it's sold out. I was kinda lucky to get these. MAGGIE She's only going to be in town a couple of days and I just can't let her sit at home all alone. Are you sure there isn't something we can do? Stanley considers the situation for a moment, then pulls the tickets out of his pocket. STANLEY You know what? Here. You two go. MAGGIE Oh Stanley, I couldn't do that. STANLEY No really. Go ahead. It's okay. I hate concerts anyway. All that, you know... music floating around. Maggie snatches the tickets from Stanley's hand. MAGGIE That is so sweet. Sheila's just going to love this. STANLEY So maybe you and I can get together over the weekend? MAGGIE I'm not sure what's going on, but just give me a call. You know I like to be spontaneous. STANLEY Oh, sure. Me too. MAGGIE Stanley Ipkiss, you are the nicest guy. Maggie gives him a quick air-kiss and hurries off to her teller's window. CHARLIE That's it. STANLEY What? CHARLIE The kiss of death. As soon as they use the "N" word it's all over. STANLEY So maybe I am a nice guy. So what? CHARLIE You are a rug. I am talking astro-turf here. You're letting these women sharpen their cleats on you. STANLEY Hey, I'm a gentleman. If they can't appreciate that, it's their problem. CHARLIE You spend too much time being "nice" to a girl, you'll wind up sittin' around listening to her complain about the son of a bitch she really loves. STANLEY Charlie, you are a very sick puppy. CHARLIE Wake up, Stanley! These are the nineties. We're dealing with an entire generation of dysfunctional love junkies. You can't romance 'em. You gotta confuse 'em. It's the only thing that gets their attention. (PAUSES) Let me demonstrate. You see that girl over there? Stanley looks over at the coffee service where an attractive young WOMAN is pouring herself a cup of coffee. CHARLIE (CONT.) Hi Lisa. LISA (forgets his name) Oh, hi... CHARLIE Charlie. LISA That's right. Sorry. CHARLIE Lisa, this may seem a little odd, but my friend over there and I were having this discusion and I thought maybe you could settle it for us. LISA I'll help out if I can. CHARLIE (SHEEPISHLY) Actually, I don't know... this is kind of a personal question. LISA That's okay. Go ahead. CHARLIE Alright. Just for the sake of argument, if I wasn't a happily married man... am I the kind of guy you'd go out with? LISA Oh, um... I don't know. (PAUSES) Well... yeah. I guess I would. CHARLIE Lisa, I have terrific news for you. LISA What? CHARLIE I'm not married! Is this perfect or what? Listen, there's not a lot of women willing to come right out like that and admit they're attracted to a guy, but... Lisa SLAPS Charlie, turns on her heel, and marches off. CHARLIE (CONT.) Jeez... make up your mind. Stanley gives Charlie the fish eye as he returns. CHARLIE Okay. Bad example. Some of these women got so much baggage they need an emotional sky cap. I'll tell you what Stanley, tonight I'm gonna take you on a love safari, deep into the darkest heart of the urban jungle. STANLEY And where's that? CHARLIE The Monkey's Paw. Hottest new club in town. It's a guaranteed skirt alert and no dead beats allowed. STANLEY So how are we gonna get in? CHARLIE Woah, do I detect a little self-image problem there, buddy? You just leave everything to me. This, my friend is going to be the perfect night on the town. Suddenly a resounding peal of THUNDER rings out like the crack of doom. Sheets of rain pour down on the bank's windows. EXT. STREET Pedestrians scramble for cover in the sudden downpour. INT. BANK - FOYER A young woman scurries into the bank holding a newspaper over her head. She's soaking wet and pauses in the foyer to straighten herself out. Charlie immediately notices her... CHARLIE Hold the phone. Killer at three o'clock. Stanley follows his gaze. STANLEY'S P.O.V. CAMERA does a classic CHEESECAKE TILT-UP starting with the woman's million dollar legs as she squeezes some of the water out of her skirt... up past her body, which through her damp summer clothes is undeniable proof that there is a God... up... up... to her face as that newspaper is tossed aside. She's a heart-stopping woman/child with a Cupid's bow mouth and ice blue eyes. In other words she's trouble. Big trouble, also known as TINA CARLYLE. Charlie may as well have just seen the Virgin of Guadalupe. CHARLIE (hushed reverence) Oh my god... A perfect dime. The dame of dames. The Moby of my dick. STANLEY Easy Charlie. You'll sprain your eyes. Tina now enters and walks towards Stanley and Charlie. TINA Excuse me, where can I open a new account? Charlie flashes his best 100 watt smile. CHARLIE You've come to the right place, ma'am. Just step right this way and pull up a chair... Charlie tries to steer Tina to his desk, but she's still preoccupied with her damp clothing. TINA Oh, I'm sorry. I'm a complete wreck. Will you hold this please? She hands her shoulder bag to Stanley and peels off her wet blazer, creating another awe-inspiring visual moment. CHARLIE Here, let me take that for you. Charlie clutches her jacket with white knuckles. TINA Thanks. But Tina turns and sits at Stanley's desk; Charlie is stunned at his near miss, but there's not a thing he can do about it. STANLEY So, uh, what kind of account did you have in mind? TINA (smiles sweetly) Well, I'm not sure exactly. I'm just terrible with things like that. That's an interesting tie Mr...? STANLEY Ipkiss. Stanley Ipkiss... Tina extends her hand. TINA Tina Carlyle. Pleased to meet you. STANLEY The, uh... pleasure's all mine. Tina notices a box of Kleenex on Stanley's desk. TINA May I? I'm such a mess. STANLEY Oh... of course. Tina takes out a compact and daintily blots the moisture from her face. TINA As I was saying about that tie. It's like one of those, what do you call them, ink blot tests. STANLEY A Rorschach test. She twists open a tube of lip gloss andbegins to run it across her incredibly lush liips. TINA That's it. It looks like... um. A young woman riding bareback. You know, like a Lady Godiva or something. STANLEY Really? I don't think I can... She slowly runs a finger along Stanley's tie. TINA Or... if that's not a horse it could be two lovers. A man and a woman. That would be the woman on top, of course. STANLEY (MESMERIZED) ...Of course. She licks her lips and blots them on the Kleenex, leaving a perfect kiss impression and drops it on Stanley's desk. TINA What do you see, Mr. Ipkiss? Stanley starts to get uncomfortable under her gaze. STANLEY I don't know. ...Bold colors. It's a power tie, y'know? They're supposed to make you feel... powerful. TINA Does it work? STANLEY Sort of. It's just a tie. Now, about that account. CLOSE-UP as Tina drops her compact back in her shoulder bag and we see her flick a red L.E.D. light on. She carefully adjusts the bag, aiming a tiny CAMERA LENS neatly concealed within it. Tina's pointing the bag at the open bank vault that stands a short distance from Stanley's desk. CUT TO: C.U. - VIDEO MONITOR displaying the shot of the vault that Tina is broadcasting. WIDER - INT. MONKEY'S PAW NIGHT CLUB DORIAN TYREL - a slick nouveau-mobster complete with diamond ear stud and Matsuda jacket watches the video broadcast from his INNER sanctum; an eclectic post-modern playroom with an array of electronic toys and minimalist gun racks. Dorian sips nervously on a Yoo-Hoo as he watches the show. DORIAN That's it sweetheart. A little to the right. His two gunsels, SWEET EDDY and CHUN WOO are busy at the back of the room playing air-hockey. Serious firepower is visible in THEIR shoulder holsters. DORIAN (CONT.) Hey, will you guys keep it down back there? Dorian's safe cracking expert, a black hip-hop artist named DOCTOR FREEZE scribbles notes as he watches the screen with a practiced eye. DR. FREEZE That's cool, man. Freeze it right there. Dorian punches a button and the image freezes. DORIAN What do you think, Doctor? DR. FREEZE Layout's not bad. We got us a sweet little Perkins/Jenning time lock. But them motion detectors are putting the chill on my thrill. DORIAN Can you pull it off? DR. FREEZE Hey, you're talkin' with the Doctah, man. It's all about time and money. DORIAN Yeah, well the meter's runnin' on this one. We got less than a week. DR. FREEZE Not cool. What about the coin? DORIAN There's plenty. And I'll be happy to invest your share. DR. FREEZE What you talkin' about, man? DORIAN This isn't about the lousy couple hundred thou' that's sitting in that vault, Freeze. That's chump change. DR. FREEZE Yeah? Then I'm chump number one, man. DORIAN We gotta expand your horizons Doctor. Take a look. Dorian pulls back a curtain. An amazingly gaudy building stands on a pier across the river from Dorian's club. A huge sign across it's archway reads: "Opening Soon Valhalla Casino". DORIAN (CONT.) The Valhalla Casino. Twenty mil of glass, neon, booze and dice. World class sucker bait. The grand opening is Saturday night and it will drive this two bit club of mine out of existence. But I say if you can't beat 'em, take 'em over. DR. FREEZE Yeah? That's Arnie the Swede's place, man and he is one ice cold meatball eatin' motha fucker. DORIAN Leave him to me. You pull off this heist and I promise you, it'll be all tits and champagne from here on in. CUT TO: EXT. RIVER - CULVERT - SUNSET The Mask lies tangled in a rat's nest of seaweed and garbage that's washed up in a culvert under a bridge. A large WHARF RAT now creeps out along the garbage sniffing curiously at its timeworn wooden surface. It takes a tentative nibble. CLOSER - THE MASK begins to SHIMMER... to vibrate with its own magical inner life. The rat SQUEAKS and jumps back, disturbing the pile of garbage. WIDER The Mask is dislodged and floats back out into the river. Camera TILTS UP with the Mask as it follows the current into the dark heart of the city. CUT TO: EXT. CITY STREET - EARLY EVENING Stanley and Charlie are riding along at breakneck speed in a taxi cab. STANLEY Hold it up right here, please. A gun port suddenly SLAMS open and the wild-eyed Albanian TAXI DRIVER wheels about and cocks a huge .45 from his side of the BULLET riddled partition as the cab continues to barrel through traffic. DRIVER Hold up?! No hold up! I keel you very well! I splatter your guts big time, Mr. Cowboy Man! Stanley dives for cover. CHARLIE No! No! He only wants you to stop the cab! The driver instantly SLAMS on the brakes, throwing his passengers forward mercilessly. DRIVER (now totally calm) Hokay. Pardon you very much. Charlie helps Stanley sit back up. CHARLIE It's alright, Stanley. STANLEY (SOFTLY) I hate this town. I really hate this town. CHARLIE Why are you getting out here? STANLEY I gotta pick up my car. CHARLIE Fine. Now don't forget. Ten o'clock at the Monkey's Paw. I've already got us lined up with a couple of authentic dimes. Stanley steps out of the cab. STANLEY Charlie, please. The last time you said that you showed up with two lesbian mud-wrestlers. CHARLIE Well, I can't promise we'll get that lucky again... Later! With a SCREAM of tires the cab peels back out into traffic. CUT TO: INT. RIPLEY'S AUTO FINISHING - EARLY EVENING Stanley enters the grease spattered, cluttered garage and scans the area for signs of life. We can hear the CLANK-CLANK-CRASH of SOME less than light-fingered automotive work in progress. Stanley DINGS a little service bell sitting on a counter plastered with naked playmate decoupage and Mrs. Power Tool '93 calendars. STANLEY ...Hello? IRV, a lumbering unshaven behemoth of a man with permanently low- slung refrigerator repairman pants, makes his way past half rebuilt car carcasses towards Stanley. IRV Hang on. Hong on. Don't get your panties in a twist. BURT, a thinner version of Irv with Coke bottle glasses and a mop of greasy hair, pops up from beneath a car, RIPS out of chunk of motor and wiring and holds it up to Irv. BURT (examining part) Hey Irv, what the hell is this? IRV (eyes it carefully) Ohh... I dunno. About seven hundred bucks. They both laugh evilly as Irv slaps Burt on the back. Irv makes his way over to Stanley, still chuckling to himself. IRV Now what can I do for you, Bub? STANLEY I'm here for the Civic. IRV Japanese car, right? Kind of a nasty pea soup green? STANLEY Well, they call it Emeral Forest, actually... Irv turns back to Burt. IRV Burt! Pea green Civic! Burt pops back up from beneath the hood. BURT Green Civic... Green Civic. Oh yeah! Brake drums are still on order and I'm only halfway through rebuilding the trans. STANLEY But I just brought it in for an oil change! IRV Yeah? Well you're lucky we caught those other problems before they caused some serious trouble. STANLEY Alright. Alright. When will it be ready? Irv looks over at Burt, who gives him a "Make something up" look. IRV Come back tomorro... (Burt shakes his head "no".) ...First thing next wee... (Burt shakes again) ...next month? (Burt shakes an enthusiastic "yes".) Yeah, first thing next month. That's if we can get the parts. STANLEY What am I going to do in the meantime? I can't afford to keep taking cabs all over town. Irv smiles a rotten-toothed smile. IRV Oh, hell... we can take care of that! (to Burt archly) Hey Burt, bring around the loaner. (to Stanley) And for you little buddy, only ten bucks a day. CUT TO: EXT. MONKEY'S PAW - NIGHT The joint is jumping with musclehead BOUNCERS picking and choosing from the crowd of terminally trendy WANNABE'S gathered around the entrance. A light drizzle is falling. A parade of swanky cars pulls up one by one as CAR HOPS scurry to keep up with the flow; A glistening pearlescent Rolls Royce. A fire engine red Ferrari. A classic two tone Corniche in tan and burgundy. And finally a broken down Citroen in rust bucket red and spackle gray RUMBLES up to the front of the club with a disgruntled Stanley behind the wheel. A car hop attempts to open the door, but it's rusted shut. Stanley throws his shoulder into it and the door finally pops open with a SCREECH of metal. Stanley nearly tumbles out into the street. He smiles nervously at a high class couple looking with disdain at the eyesore-mobile. He pats the hood. STANLEY It's a classic. The car hop jumps in and tries to throw the car into gear with a horrible GRINDING. He finally waves over two other car hops who quickly push it off down the street. CHARLIE Hey, Stanley. Nice wheels. What is that, a Rolls Canardley? STANLEY A what? CHARLIE You know, a Rolls Canardley. Rolls down one hill canardley roll up the next. (he cracks up) STANLEY We are not discussing the car, okay? CHARLIE Whatever you say, man. Charlie gestures expansively towards the club. CHARLIE What do you think? Pretty terrific, huh? This place make Sodom and Gomorrah look like Mayberry. Stanley now notices a life-sized poster of Tina Carlyle standing by the main entrance that reads "Featuring the Musical Stylings of Miss Tina Carlyle." STANLEY Hey, isn't that... CHARLIE Right. The wet dream from the bank. (PAUSES) Hold on... I think I see my future ex-wife. Two rather tacky looking GIRLS beckon Charlie from the crowd. GIRLS Hey Charlie! Charlie! CHARLIE (WAVES) We're in luck. It's Barbie and Pebbles. STANLEY Doesn't it bother you that all the women you know are named after cartoon characters? Barbie and Pebbles hurry over through the crowd. BARBIE We've been waiting out here for hours. Can you get us in? CHARLIE No, problemo. Ladies, this is my pal Stanley Ipkiss. (leans closer) Stanley's very influential in the banking business. Charlie is truly in his element as he elbows his way through the crowd dragging his entourage with him. EXT. THE FRONT DOOR Charlie finally makes through the crush of badies at the entry way's velvet ropes and calls to one of the two hulking BOUNCERS that guard the door. CHARLIE Hey Bobby! Bobby, buddy. What's happening man? Bobby completely ignores Charlie as he ushers a pasty faced ROCK STAR and his underage TARTLET past the ropes. CHARLIE (CONT.) (to the girls) This will just take a second. (to the other bouncer) Yo Nick! It's me... Charlie! Nick is also completely oblivious. STANLEY Forget it, Charlie. I refuse to stand here waiting to be judged by these power-mad steroid jockeys. CHARLIE How much cash you got on you? STANLEY What? CHARLIE You heard me. How much you got? STANLEY I dunno, fifty or sixty bucks. CHARLIE Hand it over. STANLEY No way. CHARLIE Hey, I'll pay you back! I'm only carrying plastic. C'mon man, you want to stand out here all night? Stanley begrudgingly starts to count out some cash. Charlie snatches the whole wad and elbows his way back around to the ropes. CHARLIE (subtly flashing bills) Hey Bobby! Bobby's uncanny tip radar suddenly lights up. BOBBY Charlie, how you doin' man? Long time no see. Bobby unsnaps the rope for Charlie and gets the cash handshake he longs for. The crowd surges around Charlie, Barbie and Pebbles as they step by, briefly cutting Stanley off. He catches up just as the all-important rope is SNAPPED closed. STANLEY Hey, wait a minute! Charlie! But Charlie and the girls have already been whisked inside. Dorian now steps out of the club and begins to check Bobby's list. STANLEY (CONT.) I'm with them! Hey, Bobby! But Bobby is back into his deaf and dumb routine. Stanley unsnaps the rope himself and starts throgh. Bobby and BOUNCER #2 IMMEDIATELY grab Stanley and quickly subdue him. STANLEY Hey! Leggo... awk! Dorian glares at Stanley. DORIAN Lose him. The bouncers drag Stanley through the crowd and unceremoniously toss him out into the rain-slick street. ANGLE ON THE STREET Stanley slowly rises, smoothing out his disheveled clothing. A horn BLARES and Stanley scrambles to one side as a limo swings into the club's alleyway, splattering him with a wave of muddy water. Stanley wipes the mud from his eyes just in time to see Tina Carlyle escorted from the back of the limo by a CHAUFFEUR carrying an umbrella. She's shoe-horned into a heart-stopping red dress that's fighting a losing battle to restrain her decolletage. Their EYES MEET. Tina pauses as she recognizes him. TINA (SMILES) Oh... Stanley. Hi. Stanley realizes he looks ridiculous but gives a pathetic little wave hello anyway. TINA (CONT.) Are you okay? Stanley gestures "no problem" and tries to strike a casual pose against a street lamp, but slips and nearly falls. With a SQUEAL of grinding gears and the KA-POW of a backfire, the car hop pulls Stanley's battered loaner right up behind him. Stanley flashes a last nervous smile at Tina, and digs for the car hop's tip money... nothing. He shrugs apologetically to the disgusted car hop and climbs in. The car RATTLES, COUGHS the finally ROARS off in a cloud of NOXIOUS exhaust fumes. DISSOLVE TO: EXT. TAHOOCHIE BRIDGE - NIGHT A forlorn looking spot on the outskirts of Edge City. We can hear Stanley's car SPUTTERING and POPPING along before it actually pulls into sight on the dark rain-slick street. INT. CAR Stanley drives along in a miserable daze. Suddenly the engine starts KNOCKING violently and the car dies. EXT. BRIDGE Steam HISSES from the radiator as the car slowly rolls to a stop. Stanley GRINDS the ignition key again and again trying futilely to restart the engine. Finally, Stanley fights his way out of the rusted door with a SQUEAL of metal, turns and kicks the bumper... which promptly falls off with a resounding CLUNK. Beat. The front axle collapses, the tires fall off and the driver's side door CLATTERS to the ground. Stanley stands there staring at the steaming heap of useless metal... his mind a complete blank. He slowly turns, looking down at the black brackish water swirling along beneath the Tahoochie Bridge. A wave of melancholy sweeps over him. Stanley plucks a button from his coat and watches as it drops down... down to the river below. Suddenly, something catches Stanley's eye... a BODY, floating along in the darkness. He snaps back to reality. STANLEY (CONT.) Hey... Hey mister! EXT. RIVER BANK Stanley rushes down the slippery embankment beneath the bridge. He spots the body dead ahead, floating along in the moonlight and HURRIES as fast as he can. CAMERA DOLLIES with Stanley as he scrambles down the slope; a black cat YOWLS as it races past him. He steps on and shatters a discarded mirror, and he ducks under an old ladder that leans against the bridge's foundation as he finally reaches the shore. Stanley splashes into the waist deep water just in time to catch the body as it floats by. CLOSER - BODY As Stanley grabs it, the "body" falls to pieces... revealing that it's nothing but a trash bag, an old tire and some floating bits of garbage all clinging to the "head": an old wooden Mask. Stanley shakes his head in disgust... some lifesaver. Stanley inspects the Mask more closely; strange ritualistic symbols carved into a puckish face with a leering grin and eerie empty eye holes. The faintest sound of a haunting "Mask SFX Theme" rises as Stanley turns the Mask around and inspects the inside... slowly bringing it closer and closer to his face. The surface of the Mask begins to SHIMMER. But then... RIBET! A frog jumps out of it, right into Stanley's face. Stanley nearly loses his footing on the slippery river bottom. Suddenly a blinding SPOTLIGHT shines down from the bridge and an amplified voice calls out from a squad car. POLICEMAN Hey, you! What are you doing down there? Stanley squints into the light, trying to think of a reasonable answer. STANLEY I was just looking for... (holds up Mask) My mask. CUT TO: INT. MONKEY'S PAW - NIGHT The club is closing up. WAITERS stack chairs on top of tables in the B.G. as Tina gathers her sheet music from her PIANIST. TINA Thanks Reno, you're the greatest. RENO G'night, doll. Tina crosses to the bar area where Dorian lounges with DR. FREEZE, SWEET EDDY and CHUN WOO. Dorian toasts her as she pulls up a bar stool. DORIAN That was a great performance, baby. But not as great as the one you pulled off at the bank. TINA Yeah, well don't get used to it. I'm not going to start running cons for you again, Dorian. I'm a singer now and that's it. Dorian rolls his eyes at Freeze, "Get her". DORIAN Oh, really? And you had such a red hot career before you latched on to me? Tina pours herself a drink. TINA Who latched on to who? DORIAN Get real, Tina. You'll do what I say or I'll drop you back where I found you, slingin' hash and dodgin' horny peterbuilt drivers. TINA (downs a shot) Don't push me, Nicky. I might just take a walk I should have taken a long time ago. DORIAN (CHUCKLES) Easy, baby. Easy. (to his men) I love it when she gets pissed. Dorian scoots over and puts an arm around Tina. She remains cool. DORIAN (CONT.) C'mere. You take a hike and who's gonna kiss you like Dorian Tyrel. Tina pours another shot. DORIAN (CONT.) C'mon. Who? Tina finally cracks a smile. TINA Nobody. DORIAN (pulls her close) That's right, baby. C'mere. Tina slowly leans in for a kiss, her lips softly parted... but raises a finger to Dorian's lips, stopping him cold. She glances over at Freeze. TINA Sorry. I never get personal in front of the help. Tina abruptly stands and exits as Freeze glares at her. Dorian breaks into laughter. DORIAN That broad kills me. DR. FREEZE She just might, man. The bitch is trouble. Dorian pours them all a drink. DORIAN C'mon Doctor, lighten up. (raises his glass) Here's to Edge City Bank. May it crack like an egg on Easter Sunday. Their glasses CLINK. CUT TO: EXT. APARTMENT BUILDING - NIGHT The police car pulls up in front of Stanley's brownstone and he wearily climbs out. OFFICER Okay, Mr. Ipkiss. Try to be a little more careful next time. STANLEY Thanks Officer. The black and white pulls away and Stanley starts across the empty street. VOICE Hey, mister... Stanley turns. A razor-cut DEATH'S HEAD PUNKER hops down from a fire escape in a darkened alleyway. DEATH'S HEAD You a cop or something? A half dozen other DEATH'S HEADS appear out of the shadows all decked out in nipple chains, tattoos and other self-mutilation- AS-FASHION oddments. STANLEY Uh... no. They just gave me a lift. DEATH'S HEAD A cop chauffeur? I never seen that before. How about you boys? The other Death's Heads pipe up with "Not Me," "Nope," "Pretty special," etc. as they slowly surround Stanley. STANLEY Alright, you guys. It's been a tough night. I haven't got any money. I haven't got a car. All I have is this and you're welcome to it. Stanley tosses Death's Head #1 the Mask. He briefly inspects the funky looking antique, still slick with river slime, then tosses it back. He approaches Stanley. DEATH'S HEAD Hey, man. You got us all wrong. We don't want any trouble. I was just going to ask you for the time. That's all. You got the time? STANLEY Uh... yeah. As Stanley pulls back his sleeve to check his watch, the Death's Head flicks out a butterfly knife. With a FLASH of steel, he slices straight through Stanley's watch band and snatches the watch. DEATH'S HEAD (holding up his prize) See, I only wanted the time! Heh, he, heh... All the punkers laugh like the half-wits they are as Death's Head #1 shoves Stanley into Death's Head #2. #2 pushes him back across to #3 and so on. Stanley is roughly bounced back and forth more and more violently within the circle of giggling street toughs. He finally breaks free and scrambles to his front door, still reeling with dizziness. He fumbles with the key and SLAMS the door behind him as the Death's Heads roar with laughter. CUT TO: INT. APARTMENT BUILDING - NIGHT Stanley's wet shoes SQUEAK as he tiptoes past - APARTMENT "A" - MANAGER A sign that reads "Quiet Please" hangs from the doorknob. Stanley continues past it to Apartment "B". Just as he removes his keys - THE Manager's door flies open and MRS. PEENMAN appears. She's an old dragon in hair curlers who will probably live forever just to spite her relatives. MRS. PEENMAN Ipkiss! Do you have any idea what time it is? Reflexively, he looks at his (now empty) wrist. STANLEY Actually, no. MRS. PEENMAN It's three o'clock in the morning! First, you wake up the entire building laughing it up with your pals. Then, you come in and start squeak - (sees puddles) My new carpet! Just look at that! This is coming out of your cleaning deposit Ipkiss! Stanley, battered, bruised and soaking wet is deep in urban shell-shock. STANLEY (SOFTLY) Are you done? MRS. PEENMAN ...Yes. STANLEY I think I'll be going to bed now. Mrs. Peenman SLAMS her door. INT. STANLEY'S APARTMENT - CONTINUES Small, full of books but very neat. A few cherished animation cels from 1940s cartoons are framed on the wall. As Stanley locks the door behind him - he's greeted by MILO, a happy little terrie sized mutt with a big heart. STANLEY Hello, Milo. Milo gets so excited he starts GAGGING and COUGHING. STANLEY (CONT.) Easy, buddy. I missed you too. Stanley pats Milo on the rump, crosses his tiny kitchenette and heads straight into... THE BEDROOM Stanley's prized collection of "golden Age" Looney Tunes tapes are neatly displayed on a simple bookshelf. He tosses the Mask down on his bedside table, pops one of his cherished Tex Avery cartoons into the V.C.R., plops down on his bed and starts to strip off his shoes and socks. MILO enters, holding a Frisbee in his mouth. STANLEY (CONT.) C'mon, Milo. I'm beat. (to the dog YIPS) Okay, okay. One throw. Stanley tosses the Frisbee into the air. The disk sails... OUT OF THE BEDROOM AND INTO THE HALLWAY Milo runs it down, leaps up, and makes a perfect catch. He trots back to the bedroom, and drops it in Stanley's lap. STANLEY Easy. This is the best part. On the screen a cartoon dog ZZZIPS into frame and drops a frizzing stick of dynamite down a bad guy's pants. KA-BOOM! The dog LAUGHS maniacally. Suddenly there is a POUNDING on the wall that rattles Stanley's framed cartoon cels. STANLEY (CONT.) (calls out) Sorry Mrs. Peenman. With a sigh, he ejects the tape and a much quieter talk show POPS on. Larry King and a guest. Stanley rises and crosses into the bathroom to wash up. ANGLE ON T.V. King's guest, Dr. Arthur Neuman, is replying to a caller. DR. NEUMAN That's correct. The truth is we all wear masks, metaphorically speaking. We repress the Id... our darkest desires and hide behind a more socially acceptable image of ourselves in order to cope with the frustrations of our day to day lives. Stanley's only half listening though the open bathroom door as he brushes his teeth. STANLEY Think I'm repressed, Milo? Stanley tries a couple of fierce expressions in the bathroom mirror, his mouth foaming with toothpaste. Milo does that doggie-head-cocked-sideways "What the hell?" look. STANLEY (CONT.) (HALF-HEARTEDLY) Nah. He spits and rinses. ANGLE ON T.V. as King wraps it up, displaying the doctor's book. LARRY KING The book is "The Masks We Wear," by Dr. Arthur Neuman. Thank you Dr. Neuman. Stanley pops off the T.V.with his remote. STANLEY No thank you, Dr. Neuman. As he buttons up his P.J.s, Stanley notices Milo warily sniffing at the strange Mask, which is still lying on the bedside table. A SUBTLE SHIMMER crosses its surface. Milo WHIMPERS and quickly hops off the bed. We now begin to hear the "Mask Theme"... echoes of the POUNDING Viking drums... growing louder. Haunting whispery VOICES seem to call to Stanley as he slowly crosses to the bedside. He picks up the Mask and turns it over in his hands running his fingers across the time work wood. The music builds... He turns back to the bathroom mirror and slowly raises the Mask to his face. Milo watches apprehensively from beneath the bed. For an instant - the MASK SHRINK WRAPS like a vacuum over Stanley's head. We hear the PIERCING MASK SFX. Then, a beat later, the Mask is off with a POP. The SFX STOP. STANLEY (CONT.) Whoa. Stanley studies the old mask, then his own face in the mirror. Everything's status quo. It must have been his imagination. STANLEY (CONT.) Naw... He puts the Mask on again - firmly this time. Milo dives under the bed as... AN INCREDIBLE METAMORPHOSIS BEGINS: RUBBERY WOODEN WHIPS shoot out of the Mask and wrap around Stanley's head - locking the Mask in place. STANLEY'S PAJAMAS magically reweave themselves... growing in all directions. HIS HEAD THROBS AND EXPANDS, turning lime green as it unites with the Mask. STANLEY GRABS HIS HEAD - His body begins to move uncontrollably. Spinning faster and faster like a gyroscope. The SFX get loonier and loonier as he becomes... A HUMAN TORNADO. Stanley's words are almost unintelligible as his voice jumps one, two, five octaves. STANLEY Hellllllllppppmmmmmmmeeeeeeeee... A HAND reaches out of the twister and locks onto the bedpost. The whirlwind SCREECHES to a halt, causing sparks and smoke to rise FROM the singed carpet. The smoke clears revealing... THE MASK CREATURE He's dressed in a snazzy zoot suit - a distortion of the paisley material of Stanley's pajamas. The head is no longer Stanley's. It's large, bald and bright green. The huge bug-eyes glow with mischief. The nose is small, bony and beaked. The mouth and teeth are enormous and gleaming white as he breaks into a learning grin. The overall effect is devilishly loony, but not altogether unhuman. In fact, there's something downright charming about him. The Mask checks himself out in the mirror and likes what he sees. THE MASK S-s-s-nazzy! He SNAPS his bow tie with a crazy gleam in his eyes. THE MASK (CONT.) It's party time! INT. HALLWAY - NIGHT Trying to ber VERY, VERY quiet, the Mask tiptoes down the darkened corridor. The floor makes a barely audible CREEEEK as the Mask steps with exaggerated care pst APARTMENT "A" with it's little "Quiet Please" sign. He raises a finger to his lip, making the "SHUSH" sign. Suddenly - and unexplicably - a ringing ALARM CLOCK leaps out of Stanley/Mask's pocket and starts jittering down the hall. STANLEY/MASK O, jeepers--! Stanley/Mask tries to snag the clock, but it bounces away every time. Frustrated, he pulls a full sized SLEDGEHAMMER from his pocket and starts POUNDING the floor in an effort to stop the clock. Glancing blows shatter the clock face and most of the works, but those bells just keep ringing. The hammer, of course, slams craters the size of manhole covers into the floor and reverberates through the building like THUNDERBOLTS. The door bursts open and Mrs. Peenman's angry face pops out covered in blue mud pack and framed in curlers. She gets one look at the Mask with his oversized carnival mallet raised over his head and SCREAMS bloody murder. The Mask SCREAMS in response, his eyes bugging out on stalks and his mouth expanding to the size of a tuba in mock horror. Mrs. Peenman's door SLAMS shut and reopens a beat later as she appears cocking an enormous shotgun. MASK Easy lady! I was just killin' time! The Mask starts ricocheting off the walls HOOTING maniacal laughter as Mrs. Peenman lets loose with both barrels. KA-BOOM. The Mask bounces off walls as Mrs. Peenman continues to blast away, and finally leaps straight out the window. KEE-RASH. EXT. APARTMENT - NIGHT Sending his body SAILING our through the air towards the street seven stories below. STANLEY/MASK AHHHHHHHHHHHHHHHH- EXT. CITY STREET - NIGHT SPLAT. Stanley/Mask lands face up in the middle of the street. He slow... painfully starts to rise as a STREET CLEANING machine turns a corner and RUNS DIRECTLY OVER HIM. The machine disappears down the street as we HOLD on Stanley/Mask's flattened body. He raises one arm, grabs himself by the head and peels himself off the street. He shakes himself out with one sharp CRACK and straightens his zoot suit. He's shocked to find a tiny SPOT on his sleeve. STANLEY/MASK Hey! You missed a spot! As if on cue, a SECOND street cleaning machine SLAMS into him and RUNS OVER HIM AGAIN. This time he reinflates himself back into 3- D by blowing into his thumb and hops up. STANLEY/MASK And next time, no starch! Fully recovered, Stanley/Mask starts down the street, strutting like a prize fighter. VOICE Hey mister... Death's Head punker #1 hops down from his fire esscape behind the Mask. DEATH'S HEAD #1 (grins evilly) ...You got the time? The Mask turns to see he is surrounded by the Death's Head punkers. He seems to be delighted by their presence, but now that they see his face, they're totally freaked. MASK (wiggles eyebrows) Why of course, Cubbie. I got all the time in the world! He whips out his forearm (which grows large for emphasis cartoon- style). It's covered with crazily spinning watches, CHIMING cuckoo clocks and sun dials. MASK London, Paris, Rome, standard, substandard and no standards at all! And for our English friends we have... Big Ben! DEATH'S HEAD #1 Big Ben? Stanley/Mask KICKS a nearby street post, snapping it in half and sending a large decorative street clock PLUMMETING into the sidewalk. KA-BONG! It completely obliterates Death's Head #1. The other gang members jump back in shock as the Mask races around the corner. DEATH'S HEAD #2 Get him! The Death's Heads pull out nasty homemade weapons and race around the corner into the alleyway. INT. ALLEY They come to a screeching halt as they discover Stanley/Mask dressed as a carnival barker. Multicolored lights and Calliope music come from out of nowhere. MASK And for my next trick... Long pink and blue balloons appear in Stanley/Mask's hands and he instantly goes into a frenzy of twisting and knotting them into AN elaborate balloon sculpture. SQUEAK. SQUEAK. SCREECH. The Death's Heads are too stunned by the severe weirdness of all this to do anything but stand there and stare. (These guys were no rocket scientists in the first place.) MASK (CONT.) And viola! We have a giraffe! Sure enough, he's created a first rate balloon sculpture. He hands it to the biggest, dumbest Death's Head, who grins like a little kid upon receiving it. The Mask instantly goes into another flurry of motion, sculpting more balloons. SCREECH POP. MASK (CONT.) A few more twists of the wrist and for you, Cubbie. He hands this next prize to Death's Head #3. MASK (CONT.) A French poodle! And finally my favorite... He goes into another flurry of motion. E.C.U. - BALLOON As the Mask pulls the ends of the knotted balloon, it straightens out and MORPHS into... MASK (CONT.) A Tommy gun! A real one! He immediately sprays the Death's Heads with hot lead. RATATATATATAT! The greasy punkers dive for cover and scramble out of the alley under a hail of bullets. Stanley/Mask tosses the gun aside, intoxicated with his newfound powers. MASK (CONT.) Wait a minute. This is incredible! Why, with these powers I could be a superhero! I could fight crime... Work for world peace... C.U. - THE MASK MASK (CONT.) But first!... CUT TO: EXT. RIPLEY'S AUTO FINISHING - NIGHT It's late, but there's still a light on inside. INT. GARAGE - NIGHT Burt and Irv, both woozy from drink, attempt to finish a card game. A dozen empty beer bottles and two half eaten chili dogs adorn the table. Irv takes a big bite of his chili dog and pauses to regard it like a true connoisseur. IRV Now these are serious chili dogs. BURT I know. Here's the proof... (lets out a long BUUURP) Aaah. Even tastier the second time around. Irv leans forward and sticks out his index finger. IRV Hey Burt, pull on my finger. BURT No way, man. IRV No, really. Go ahead. BURT Irv, don't... Irv raises a leg anyway and rips off a nasty fart. BRAAAP! IRV (PROUDLY) That, my friend is the sweet smell of success. BURT (SHRUGS) No style. I give it a five tops. IRV Okay, how about... Soprano. Irv shifts his weight and hits an amazing high note. PWEEEEEP! Burt is impressed in spite of himself. BURT Fine muscle control. IRV And now for my grand finale, THX... The audience is listening! Irv lets one loose in perfect sensurround. Suddenly the front door EXPLODES inward. Stanley/Mask stands there SILHOUETTED like a gunfighter from a Clint Eastwood movie. Irv squints into the light, unable to make out the mysterious figure. IRV Hey, 40 watt... we're closed! Nobody's here. MASK Ah... but you're here. Irv rises. IRV What I mean is... He lets loose a sneaker to help make his point. POOOOT. IRV Nobody's here that wants to help you. Stanley/Mask now steps into the light. MASK But I'm here to help you. Burt and Irv's eyes go wide as they get a better look at their nemesis. Fear loosens Irv's sphincter and a last feeble bit of gas escapes with a FWEEP! Stanley/Mask whirls about with a flourish and pulls two gleaming mufflers from the wall. MASK Sounds like you have a little exhaust problem there! There's a mad gleam in his eyes as he spins the mufflers like two huge pistols and SNAPS them to a halt. MASK (CONT.) We better do a few touch ups before you have some serious trouble. The Mask TWIRLS out of frame like a human tornado. Camera PUSHES IN past Burt and Irv's shocked expressions into an E.C.U. of the garage's bare light bulb as it JIGGLES on its wire. We can't see the mayhem, but we can hear wacky/bizarre sound F.X. as the Mask whirls about the garage. WHIZ! SCREECH! BANG! AHOOGA! BURT AND IRV No!... Wait! Eeeeeyaah! SLOW DISSOLVE TO: As that light bulb becomes the morning SUN peaking over Edge City's skyline. CAMERA PULLS BACK through Stanley's bedroom window... INT. STANLEY'S APARTMENT - BEDROOM - DAWN Stanley slowly awakens. He grabs his head and moans, looking and feeling completely hung over. Then suddenly he remembers - and JUMPS out of bed with a start. He looks in the mirror, touching his face. It's the same old Stanley. He looks at his paisley PJ's. Same old PJ's. He picks up the mask. Same old mask. STANLEY A dream... It was only a dream. Stanley starts to relax. There's a KNOCK at the door. INT. HALLWAY - DAWN Stanley's greeted by LT. KELLAWAY (50). This hound-dog of a cop can't help but stare at Stanley's garish pajamas. LT. KELLAWAY Nice PJ's pal. STANLEY Can I help you? LT. KELLAWAY You're Ipkiss? Stanley Ipkiss? STANLEY That's right. LT. KELLAWAY Some kind of prowler broke in and attacked Mrs. Peenman. STANLEY (swallows hard) Really? I didn't hear a thing. LT. KELLAWAY Then you must be a pretty sound sleeper, Ipkiss 'cause she unloaded a couple rounds of 20 ott buckshot five feet from your door. Kellaway swings Stanley's door open wider to give him a better view of the damage. Mrs. Peenman stands there in the hall tearfully speaking to anither OFFICER. Stanley is flabbergasted to see: QUICK CUTS C.U. - The shotgun blasts in the walls. C.U. - The pot holes left from the mallet. C.U. - The shattered remains of the wacky alarm clock. All flashbacks from last night! STANLEY (GASPS) That's... impossible! LT. KELLAWAY Excuse me? Stanley quickly pulls himself together. STANLEY That's... a, possible. See, I have this inner ear problem. (wiggles a finger in his ear vigorously) Sometimes I can't hear a thing. KELLAWAY (SKEPTICAL) Is that a fact? STANLEY What? Kellaway leans closer to speak more loudly, but catches himself and shoots Stanley a dirty look. KELLAWAY Forget it. He hands Stanley his card. KELLAWAY (CONT.) Here. You remember anything unusual about last night, anything at all, call me. STANLEY Sure... thanks. Stanley SLAMS the door and throws his body against it, his heart pounding in his chest. Milo gives him that curious dog-head-cocked-sideways look. STANLEY (CONT.) Milo, it was real! How could it all be... real? Stanley suddenly notices the clock on the wall. STANLEY (CONT.) Oh my god. I'm late! He races into the bedroom. INT. HALLWAY Kellaway is taking notes as patiently as he can from Mrs. Peenman. KELLAWAY Look, Mrs. Peenman, you gotta admit your description is pretty tough to swallow. MRS. PEENMAN Then you can choke on it for all I care. I saw what I saw. KELLAWAY Right. (refers to notes) A green head the size of a pumpkin, purple zoot suit and spats. That's a pretty serious fashion risk for any self-respecting second story man. An OFFICER now hurries up the steps all out of breath. OFFICER Lt., we just got an emergency call from a mechanic on 67th Street. KELLAWAY What? POLICEMAN Some kind of assault and battery. Sound pretty bad. KELLAWAY (SIGHS) Alright. Dont' worry Mrs. Peenman, we'll find this guy for you. Officer Deluca here has a few forms you'll have to fill out. CUT TO: INT. STANLEY'S APARTMENT Stanley rushes around the apartment, but he can't find his keys anywhere. He finishes tying his tie as he searches. STANLEY Milo! Keys! Keys! INT. LIVING ROOM - SAME TIME Milo's ears prick. He leaps up and immediately starts sniffing around. He pulls a cushion off the sofa and emerges with the keys just as Stanley comes out, briefcaase in hand. STANLEY Good boy. He pets his dog, takes his keys and starts out the door... but he pauses to take a last look at the mask... It's eerie black eye holes and devilish grin seem to mock him. On sudden impulse, he grabs it, hurls it out the balcony's sliding glass door and exits. SLOW-MO - THE MASK Sailing end over end through the air. EXT. BUILDING As the mask flies out into the sir, a sudden wind kicks up. The mask arcs back toward the building like a boomerang and lands balanced precariously on a narrow ledge. Its mocking grin seems to glow with triumph. CUT TO: EXT. RIPLEY'S AUTO FINISHING - DAY The place looks like it's been hit by cartoon graffiti guerrillas: Everything's printed in polka-dots, checks, tartan, etc. The "Ripley Auto Finishing" sign hangs askew over the doorway. Letters have been sprayed out to read "Rip Off!" Several REPORTERS and curious ONLOOKERS stand nearby as Kellaway and his men take it all in. PARAMEDICS appear wheeling Burt and Irv out of the building on two gurneys. They're both in severe discomfort and look more like cars than men: Bodies spray painted metallic colors, hood ornaments glued to their foreheads, wire rims under each limb, and gleaming four foot long mufflers sticking out of their rear ends. They wince in pain at each tiny bump of the gurney. BURT AND IRV Ah!... Eeeh!... Ooh! Paramedic #3 speaks into his emergency radio-phone as Burt and Irv are loaded into the van. PARAMEDIC #3 I want a proctologist standing by! Yeah, you heard me! The best one you can find. An OFFICER steps out of the building and approaches Kellaway. OFFICER We were able to get a description Lt., but it's pretty weird. KELLAWAY (SIGHS) Let me guess... Big green head. Zoot suit. OFFICER How did you... KELLWAY Whoever this guy is, he's a world class twisto. PEGGY BRANDT, an attractive young woman in her mid twenties, appears besides the other reporters and approaches Kellaway, notepad in hand. PEGGY Excuse me, Lt., I'm with the Evening Star. Can you tell me what happened here? KELLAWAY Sorry. Too early to comment. PEGGY It looks like some kind of mob scare tactic. KELLAWAY I said no comment. Now break it up. This is a crime scene. As the officers disperse the reporters and other onlookers, Peggy slips away from the group. Even though it's closed off with yellow police tape, Peggy slips inside the garage. INT. MECHANIC'S OFFICE - DAY The empty garage has been turned into a topsy-turvy nightmare. The same cartoon paint job covers the walls. Peggy looks around, SIFTING through some papers scattered all over the floor. Nothing. Then she spies the COMPLAINT BOX. Peggy opens it and pulls out a HANDFUL of pink "comment" slips. She looks at them. Almost all of them are from one customer - STANLEY IPKISS. INT. BANK - DAY Stanley, still looking rumpled and unshaven, hurriedly takes off his coat and powers up his computer. Charlie steps over to his desk carrying a newspaper. CHARLIE What happened to you last night? The girls and I were looking all over for you. STANLEY I uh, didn't feel so good. I decided to go home early. CHARLIE As a matter of fact, you don't look so good. You got to take better care of yourself, man. STANLEY How was the club? CHARLIE Are you kidding? It was hotter than a pistol. Did you see the paper? STANLEY No. CHARLIE Your girlfriend got a great review. Chralie flips open the Entertainment section of the Evening Star. There's a great close-up of Tina singing her heart out with the HEADLINE "Bombshell Explodes at Monnkey's Paw." MR. DICKEY, the smarmy office manager who is younger than Stanley, now appears. DICKEY Ipkiss! You're forty minutes late! Every time you do that you're robbing this bank of its time and money! STANLEY Sorry, Mr. Dicky. It won't happen again. DICKEY (snatches newspaper) If you weren't so busy ogling girlie pictures you'd get some work done around here. CHARLIE Ah... She's a prospective client of Stanley's, sir. DICKEY (sudden attitude change) She is? Well... Next time she comes in see that you send her directly to my office. STANLEY Yes sir, Mr. Dickey. Dickey tosses the paper back on Stanley's desk and marches off through the bank. CHARLIE Look at that little creep. If it wasn't for his daddy he'd be out somewhere shakin' down school kids for lunch money. Stanley toys with the Kleenex that bears Tina's lipstick "kiss". STANLEY You think she ever will come back, Charlie? CHARLIE Who knows? Forget about her, Stanley. A dame like that is always looking for the B.B.D. The bigger better deal. Ask her what her sign is and she'll say dollar. STANLEY You don't know that. She's an artist. Maybe she's sensitive. CHARLIE Yeah. She can sense a guy's credit line at two hundred yards. Stanley, you need a girl you can depend on. Someone a little more down to earth... someone like... ANGLE ACROSS THE BANK as Peggy Brandt stops by a teller's window, looking sharp and pretty in a blazer and jeans. PEGGY Excuse me, can you tell me where I can find Stanley Ipkiss? BACK TO CHARLIE CHARLIE Like her! Someone like her. (straightens tie) As a matter of fact I could use someone like her myself. (rises as Peggy approaches) Hel-lo there. May I be of some assistance? PEGGY Stanley Ipkiss? Charlie begrudgingly points to Stanley. PEGGY (CONT.) Hi. I'm Peggy Brandt. I'm with the Evening Star. STANLEY Oh, hi. I already have a subscription, thanks. PEGGY Oh no, actually I just wanted to ask you a few questions. STANLEY Really? About what? PEGGY Ripley Auto Finishing. You're a customer of theirs aren't you? STANLEY I... uh. No. I think you must have made a mistake. Peggy produces one of the complaint slips. PEGGY Isn't this a form of theirs you filled out? STANLEY (nervous chuckle) Oh, that Ripley Auto. I guess I have stopped in there once or twice, Miss... what did you say your name was? PEGGY Peggy Brandt. STANLEY Wait a minute... Peggy Brandt of "Ask Peggy"? PEGGY That's right. STANLEY (brightens up) You printed my letter last year, remember? "Nice Guys Finish Last." PEGGY You're Mr. Nice Guy? Stanley do you realize how much mail we got about that letter? There's hundreds of women out there who are looking for a man just like you. STANLEY Are you serious? PEGGY Of course. DO you know how hard it is to find a decent man in this town? Most of them think monogamy is some kind of wood. STANLEY Why are you covering this story? PEGGY They cut my salary. I just can't make it by on "Dear Peggy" anymore. The truth is, I want to be a real reporter and if I can break this story I know they'll let me. (sits closer) Look Stanley, I know Ripley Auto is a crooked operation. They may even have had ties to the Mob. I'm not out to get you. I just want the truth. STANLEY I wish I knew the truth, Peggy. I really do. CUT TO: EXT. MONKEY'S PAW ENTRANCE - AFTERNOON A well dressed MAN checks from beneath his sunglasses to see nobody's watching and RAPS on the door. It opens and he quickly DISAPPEARS inside. INT. DORIAN'S OFFICE Sweet Eddy escorts him inside. The man removes his glasses and glances about nervously. Dorian sits at his desk. Dr. Freeze and Chun Woo are going over an array of high tech burglary equipment laid out on the air hockey table. DORIAN Good afternoon, Councilman Snell. Nice of you to drop by. SNELL Cut the crap. Dorian. What's so important that I had to come here in person? Dorian gazes out the window to the Valhalla Casino. DORIAN I got a little job for you, Tom. I want you to pull the Swede's gambling license. SNELL That's impossible. He was approved six months ago. DORIAN Pull a few strings. Find something in the fine print. I don't care how you do it, but do it. You owe me. SNELL (CHUCKLES) I owe you nothing, you little piece of shit. I got your liquor license when nobody else would touch... Dorian suddenly EXPLODES, overturning his desk and sending Snell tumbling backwards. In less than a heartbeat, he grabs Snell by his shirt ffront, SLAMS him up against the wall, SMASHES a whiskey bottle and presses the jagged edge to his throat. Snell hangs there whimpering. Dorian has a crazed look in his eyes as he gazes at the Councilman's lapel. DORIAN (SOFTLY) That's pretty. What is that, a carnation? Snell nods. Dorian takes a deep whiff. DORIAN (CONT.) Nice. Hey, Eddy... call my florist. Two dozen pink carnations to Mrs. Snell with my regrets over her husband's untimely accident. Tears begin to well up in Snell's eyes. SNELL (GASPING) No... please. I can do it. I can make it happen. Dorian eases back... brushes off Snell's coat. DORIAN That's smart. You're a very smart man. Now pull yourself together. Look at you. Dorian picks up an Uzi from Dr. Freeze's equipment. DORIAN (CONT.) Shut the Swede down, Snell. We'll buy him out cheap with a little collateral the bank is about to provide us. (looks at his men) And Gentlemen... we are going to be in the casino business. CUT TO: EXT. STANLEY'S BROWNSTONE - NIGHT Distant sirens can be heard over the occasional sound of a gunshot. It's a reasonably peaceful night in Edge City. INT. STANLEY'S BEDROOM - NIGHT CAMERA SLOWLY PANS off of Tina's picture, which is now taped to Stanley's dresser mirror... to Stanley himself as he tosses and turns in a fitful sleep. Milo lies curled up at the foot of the bed. He looks concerned over the little noises Stanley is making in his sleep. CAMERA PUSHES INTO AN E.C.U. of Stanley as we DISSOLVE THROUGH INTO: STANLEY'S DREAM - a 1940s noir-style montage: Huge soft-lit faces loom over him, one dissolving into the next... Tina, luminous and breathtaking speaks under heavily lidded eyes. TINA Or it could be two lovers. That would be the woman on top, of course... Charlie looms up out of the darkness. CHARLIE Forget her, Stanley. Ask her what her sign is and she'll say dollar. Mr. Dickey appears, glaring down angrily at Stanley. DICKEY Every time you're late Ipkiss, you're robbing this bank! The shrink from the "larry King Show" floats by on a cloud of pipe smoke. DR. NEUMAN We must repress our Id... our deepest darkest desires. Finally Tina again standing beside the limo as she was that night in the Monkey's Paw alley: TINA Hey, are you okay. Stanley stands at the curb, but this time he's not splattered with mud. He's decked out in first class Armani and looks suave as hell. He looks straight into her eyes. STANLEY I am now. C'mere, baby. TINA (SWOONS) Oh, Stanley! She runs to his arms and they embrace in a passionate kiss. But Tina suddenly pulls back and begins rapidly licking Stanley's ear... which is kinda weird. E.C.U. - STANLEY STANLEY Tina? Stanley suddenly realizes Milo is licking his ear... and he's just woken up. STANLEY (CONT.) Milo, down. He pushes Milo away, tosses back the covers and rises out of bed. It's still the dead of night and Stanley is all in a huff from his dream. He spots Tina's clipping on his dresser mirror and rips it off, upset with himself. STANLEY (CONT.) Stupid, stupid. She'd never... Stanley wheels about and to his complete surprise sees... THE MASK Through his bedroom window, propped up on the fourth story ledge. Its leering grin seems to beckon Stanley as we begin to hear the POUNDING beat of the Mask F.X. theme. STANLEY stands transfixed, staring at the moonlit face. He can almost hear echos of faint whispered VOICES calling his name. A deadly siren song above the pounding drums. STANLEY (SOFTLY) No... He backs away from the window. E.C.U. - THE MASK shimmers as the WHISPERS grow louder. STANLEY takes a last look at the crumpled picture of Tina in his hand and finally loses control. He bolts from the room. EXT. BALCONY - NIGHT Stanley is a driven man as he makes his way out onto the narrow ledge. Milo tugs at his pajama leg, but Stanley kicks him away and climbs out over the ledge. THE LEDGE Stanley wavers precariously on the crumbling masonry, then catches his balance. His face is bathed in sweat as he gazes at the leering face. F.X. music THUNDERS in his head. THE MASK (faint echos) Stanley... Stanley. Stanley tries to steady himself, his eyes transfixed on his prize. STANLEY Just... one... last... time. He lurches back out and makes his way one shaky step at a time towards the mask. MILO watches from the apratment window, whimpering softly. C.U. - THE LEDGE Narrow masonry begins to crumble. STANLEY carefully reaches down, his fingers just brushing the mask as he teeters out over nothingness. Night traffic whizzes by down below. THE MASONRY cracks away. STANLEY SCREAMS as he begins to fall, jamming the mask to his face. INT. APARTMENT The window suddenly EXPLODES inwards as the whirling Stanley/Mask tornado bursts into the room. Milo dives for cover. The tornado scorches the rug as it wheels around the room, then SCREECHES to a halt, revealing the Mask in his full glory. He strikes a grand entrance pose with his arms held high. MASK (SINGS) I gotta be me! I just gotta be me! He ZZZIPS into the bathroom INT. BATHROOM The Mask sticks the picture of Tina on the bathroom mirror and blows her a kiss. MASK (a'la Big Bopper) Oooooh Bay-bee. I knoooooows what you likah! He sprouts a couple of extra arms as he madly brushes his teeth, sprays on cologne and bats himself with a powder puff all at once. He ZZZIPS into the bedroom. INT. BEDROOM The Mask stands before a full length mirror and checks himself out. With a magical "hands are quicker than the eye" move, he CHANGES wardrobe instantly... now posing in an effete fashion victim Don Johnson-style suit. MASK The G.Q. look?... Naw. In a TWINKLING he's changed again: now in MTV Rapper-style over- sized jeans and backwards baseball cap. MASK (CONT.) 501's? (shakes his head) For buttonheads only. He changes again in a flash... This time he's naked except for his Calvin Klein underwear (his stomach muscles appear super-cut washboard-style). MASK (CONT.) Marky Mark, eat your heart out. He changes one last time and appears in a wild banana yellow zoot suit complete with a snap brim fedora. That's the ticket! MASK (CONT.) S-s-s-mokin! Now let's see... The Mask quickly searches his pockets. He pulls his pants pockets inside out and a moth flutters out. MASK (CONT.) What? Seems to be a minor cash flow problem here! I don't like to keep a lady waiting, but... (points a finger in the air) First things first! The Mask ZZZIPS out of frame. CUT TO: EXT EDGE CITY BANK - NIGHT The street is quiet and empty, except for a Dipsy Doodle Diaper delivery van parked across from the bank. INT. TRUCK Crowded with Dorian's men, it's been set up as a makeshift control room for the robbery. Dr. Freeze SLAPS a clip in his 9mm and looks down through the van's false bottom to Sweet Eddy, who is standing in an open manhole working on a bundle of underground wiring. DR. FREEZE What's the E.T.A.? SWEET EDDY Another five minutes. Freeze synchronizes his watch. DR. FREEZE Counting down... now. Freeze presses a button on the side of a miniaturized headset he's wearing DR. FREEZE (CONT.) (into headset) Lookin' good here, my man. INTERCUT - DORIAN'S OFFICE He sits at his desk, speaking into a high tech walkie talkie. In the B.G. Dorian's wall-mounted video monitors display live shots of the club in full swing. DORIAN Nice work, Freeze. You boy are on your own now. I've got to make sure I'm seen downstairs. DR. FREEZE (V.O.) Do it, man. The Doctah is about to operate. INT. VAN Freeze turns to his men. DR. FREEZE Gentlemen... (cocks his gun) Let's do our duty and grab the booty. The burglars gather their gear when suddenly the bank alarm starts RINGING. Freeze looks down the hole to Sweet Eddy. DR. FREEZE (CONT.) What the hell you doin', fool? SWEET EDDY Nothing! I didn't do nothing! FREEZE (to the others) C'mon! You keep that motor runnin'! EXT. BANK Freeze and company race across the street with guns drawn. ANGLE ON THE BANK DOORS Freeze and Chun Woo flatten themselves on either side of the door as Burglar #4 drops to one knee and quickly picks the lock. Suddenly the glass doors EXPLODE wide open as a HUMAN WHIRLWIND bursts out of the bank, shoots right past them and zig-zags up THE street. Twenty dollar bills slowly drift down onto the stunned robbers in its wake. In an instant the whirlwind does a U-turn, zig-zag races back up to them and SCREECHES to a halt. The Mask, still in his banana yellow zoot suit and carrying huge sacks of money like Santa Claus, plucks those stray twenties from the air, one, two, three. MASK Sorry, fellas. Waste not want not! And ZZZOOM, he's off again. HOOTING laughter like a maniac. Freeze pulls his gun. DR. FREEZE Get that sucker! Two cop cars now SQUEAL around the corner, their sirens blaring and ROAR up the street at the bank robbers. DR. FREEZE Oh, shit! The robbers race back to the van, dive inside and PEEL OUT. The police open fire as they roar after them in hot pursuit. Bullets tear into the van, blowing out the rear windows. CUT TO: EXT. MONKEY'S PAW The die-hard crowd of TRENDIES is piled up outside as usual clamoring to get in. But a buzz of excitement begins to travel through the crowd as one by one they notice... A LIMOUSINE But not just any limousine. As it slowly pulls up by the front of the club we realized it's long... longer... the longest limousine we'vve ever seen. Finally the passenger door rolls into sight and the limo comes to a halt. The door bursts open and out leaps the Mask. THE MASK Ah... my public! The crowd parts like the Red Sea as the Mask sashays to the front door. Bobby the Bouncer gets one look at the Mask and actually loses his cool. BOBBY Er, uh... Are you on the list? THE MASK No, but I believe my friends are. (fans a wad of cash) Jackson, Lincoln and Roosevelt. He tosses a handful of loot in the air and struts into the club as the crowd scrambles for the cash. INT. MONKEY'S PAW This is the first time we've gotten a good look at the place and it's a real eyeful. CAMERA BOOMS DOWN TO REVEAL its wild tropical DECOR complete with live exotic birds in huge indoor Banyon trees. WAITRESSES in leopard skin leotards make their way across the crowded dance floor with trays full of oversized tropical drinks. CAMERA ENDFRAMES as the hostess seats Dorian at his favorite ringside table and removes the "reserved" sign. The lights dim an all eyes go to the bandstand. ANGLE OF THE BANDSTAND A spotlight hits the stage and tropical ferns part like a gigantic fan revealing... TINA CARLYLE in a glittering gown that's made of little more than sequins and mesh. If there were such a thing as fashion police this dress would be arrested for disturbing the peace. She talks/sings the intro of her number a capella. TINA There's all kinds of men In this old world That seek the affections Of a beautiful girl. But of the men from Which to choose There's only one type That I... ap...aprooove. And now the band slides in, in classic torch song style as Tina sings "Checks Appeal". She works the room throughout the song, driving the men crazy as she lingers by each table. TINA (CONT.) You can keep your cowboys on the farm The gigolos don't make me warm It's mink my fingers crave to feel I need a man with checks appeal. ANOTHER ANGLE The Mask is seated at a table on the other side of the club and immediately reacts when he lays eyes on Tina. His eyes BUG OUT on stalks, an AHOOGA horn sounds and his heart starts POUNDING wildly, shooting two feet out of his chest with EACH beat. Customers at nearby tables are astonished. TINA (CONT.) Pretty boys are such a bore There's manly macho types galore But you'll always know The diamond's real If you've got a man with checks appeal. The Mask snatches a bottle off a passing WAITRESS' tray and sucks it down in one gulp. His head VIBRATES like an electric paint shaker. WWWOOOING! He CLAPS both hands on his head to hold it still. DORIAN'S TABLE Sweet Eddy looks nervous as hell as he appears beside Dorian. DORIAN What the hell are you doing here? EDDY We got trouble. You better come upstairs. Dorian immediately rises and hurries through the corwd towards his office. ANGLE ON THE MASK as he continues to ogle Tina. His face now elongates into a wolf's. He HOWLS, WHISTLES, pounds his fist on the table and stomps his foot on the floor. TINA Don't want to see too fanatic But dollar signs are so romantic I want a love That's deep and real Just with a man that's got... (big finish) Checks ap-peaaal. The audience goes crazy. Tina takes a bow. Suddenly the Mask ZZZIPS around the perimiter of the club, leaps up on top of the piano and SNAPS his fingers. A spotlight hits him. THE MASK Let's rock this joint! He grabs the stuffy, tuxedoed PIANIST'S stool and spins it hard. When the pianist stops twirling, he been transformed into a hip, BEATNIK BE-BOPPER who immediately starts pounding out a mean BOOGIE- WOOGIE. The Mask produces a conductor's baton from thin air, spins around and magically whips the rest of the band into a frenzy, WAILING out a driving rock 'n roll tune. Satisfied with the music, the Mask leaps down onto the dance floor, grabs the astonished Tina and drags her off her feet into a wild special FX JITTERBUG. THE CROWD watches amazed as... THE MASK AND TINA put Fred and Ginger to shame. Jiving away at warp speed, the Mask movves like a combination of Gumby and Barishnikov. He SHOOTS TINA beneath his legs, SNAPS her back into midair, SPINS her like a baton and hits the floor in the splits without missing a beat. THE MASK S-s-s-smokin! CUT TO: INT. DORIAN'S OFFICE Dorian and Sweet Eddy enter to find Dr. Freeze, sitting there, gasping in pain with a bar towel pressed against a bloody wound in his side. DORIAN What the hell happened to you? FREEZE I'll be okay. Nobody puts the chill on Freeze. DORIAN Where's the money? FREEZE Deal went south, Bro'. Someone else hit the place before we did. DORIAN Who? FREEZE Don't know. Dude looked like a freakin' goblin or something. Next thing we know there's cops all over us, man. DORIAN Where's Chun Woo? FREEZE Takin' a dirt nap. It was bad, man. Real bad. (swallows hard) I need a smoke. DORIAN Yeah... sure. Dorian taps out a cigarette, places it between Dr. Freeze's lips and lights it... but the flame doesn't draw. Beat. The cigarette tumbles from Freeze's mouth. Dorian glances back up and sees that Dr. Freeze's eyes are glazed over in death. Dorian leaps to his feat and hurls his chair across the room in anger. It SMASHES the mirror over his bar. DORIAN (CONT.) Son of a bitch! Who did this Eddy? Who? Eddy is staring at Dorian's T.V. monitor. On it the Mask can still be seen in the midst of his wild dance with Tina. EDDY That's him... That's the guy! Dorian grabs a .45 from his desk, checks the barrel and jams it in his coat. DORIAN Come on! CUT TO: INT. DANCE FLOOR The Mask spins Tina all around him like a top and then SHOOTS her straight up into the air. Amazingly, she continues somersaulting at the apex of her ascent, suspended in mid-air by her magical momentum. THE MASK stands there nonchalantly filing his nails, whistling to himself. Tina continues to SPIN in place high above him. THE MASK casually checks his watch. Without looking up he holds out one hand for the catch. TINA perfect timing... A final somesault and she drops right back down into his arms. They go straight back into a rockin' hitterbug without missing a beat. THE WINDING STAIRCASE Dorian and Eddy race down the steps, guns drawn. Dorian calls to Bobby by the hostess' stand. DORIAN Clear the club. Now! DANCE FLOOR The dance's grand finale. The Mask spins Tina around and around his body like a baton in one of those awful Hawaiian fire dances. As the band bangs out the final bars of the tune, the Mask SCREECHES Tina to a halt, bends her over backwards and nails her with a Valentino kiss that literally blows her shoes off; SSSMACK! KAPOW! She hangs onto the Mask's tie for support when BANG the tie is shot in half. Tina falls on her cute behind. C.U. - TIE The shot-away piece of the Mask's tie flutters to the floor and MORPHS back into a piece of Stanley's pajamas. DORIAN stands at the edge of the dance floor, his smoking gun trained on the Mask. THE MASK (gasps in mock horror) Gee willickers! Does this mean we won't make the Star Search finals? DORIAN This means you won't make it out of this club alive if you don't tell me where my money is. THE MASK Okay... The Mask immediately whips out an old fashioned pull handle calculator, snaps on a green visor and starts tabulating. KA- CHING. THE MASK (CONT.) (fast talking) You got a 27.5% in T-Bills amortized over the fiscal yeah 16-3/4% in stocks and bonds/ (KA-CHING, KA-CHING) Carry the nine and divide by the Gross National Product... DORIAN Now cut that out! (turns to Eddy) Ventilate this goon! Eddy pulls out his .38 and starts blasting BLAM. BLAM. The Mask dodges the bullets by contorting his cartoon-flexible body. BLAM. The Mask SPINS once and freezes in a pirouette, now dressed in a tutu. BLAM. The Mask SPINS again and stops dressed as a matador, the bullet whizzes under his cape. BLAM BLAM BLAM A hockey goalie bats the bullet away. A Russian Dancer leaps over the shot. A Cowboy DING! takes the hit. The Mask staggers back... the forwards in a classic Western death scene. He throws an arm around Sweet Eddy for support. MASK Ak... you got me Pahdnuh. (cough... cough) Eddy seems touched by the Mask's dying words as he holds him in his arms. MASK (CONT.) Hold me close, Red. It's a gettin' dark. (COUGH) Tell Auntie Em to let Old Yeller out. (cough... cough) Tell Tint Tim I won't be makin' it home for Christmas. (COUGH) Tell Scarlet I do give a damn... I... I... UUG! And the Mask gives up the ghost, his pink tongue flops out the side of his mouth. Eddy bursts into tears. Suddenly a huge cartoon AUDIENCE pops up silhouetted in the foreground, applauding wildly. An off-camera ARM shoots into frame handing the Mask an Oscar. The Mask leaps to his feet and starts taking bows. THE MASK (CONT.) Thank you! You love me! You really love me! Dorian pulls out his own .45 and opens fire. The Mask starts HOOTING laughter and ricochets off the dance floor. Dorian gives chase, but suddenly the nightclub doors are KICKED OPEN and Kellaway and a squad of police burst into the room with THEIR guns drawn. KELLAWAY Drop it, Tyrel! Dorian lets his .45 CLATTER to the ground. Kellaway retrieves it. DORIAN Hello, Kellaway. You got a warrant or did you just drop by for a night cap? KELLAWAY I got probable cause. A couple of your boys were spotted knocking over Edge City Bank. One of his men begins to roughly frisk Dorian DORIAN Easy, junior. You're givin' me a woodey. KELLWAY One of them was wearin' some kind of big green mask. DORIAN For once you're on the right track, but that's not one of my men. Maybe you ought to try a little actual police work instead of this harassment bullshit. KELLAWAY This isn't harassment. You want to see some harassment? (to his men) Search the place, boys. His men begin to tear the club apart. DORIAN Ever wonder why you didn't make Captain, asshole? I got friends so high up they'd give you a nose bleed. Kellaway hauls off and CRACKS him in the face with a solid right cross. KELLAWAY Well what d'ya know? I guess they gave you one too. Dorian shakes it off and glares at him. DORIAN (SOFTLY) You're a dead man. One of the officers now appears on the stairway. OFFICER Lt., we got a stiff upstairs. One of the guys from the heist. KELLAWAY (cuffs him) Better call that high-priced lawyer of yours, Tyrel. You're comin' downtown. DORIAN I'll be back on the streets before sunrise and you know it. KELLAWAY Then just think of this as the city's way of showing you a little hospitality. (pats him on the cheek) I'll stop by to tuck you in myself. As the police drag Dorian outside, Kellaway notices someting on the dance floor. CLOSER Kellaway picks up the slice of pajama fabric that was once the Mask's tie and inspects it closely... It's the same fabric Kellaway saw Stalney wearing that morning. EXT. CLUB Kellaway exits and walks right past the poster of Tina. Flattened into the poster, with his arm around her, is a cartoon of the Mask. The eyes follow Kellaway as he speaks to TWO COPS guarding the door. KELLAWAY You're on your own, boys. COP Don't worry, Lt. If he's in there, well get him. Kellaway slips the pajamas fabric in his pocket. KELLAWAY And if he's not, I got a feeling I know where to find him. As Kellaway heads for his car, the Mask slips out of the poster (still flat as a pancake), slides along the wall behind unsuspecting policemen and around the corner to safety. CUT TO: INT. STANLEY'S BEDROOM - DAWN Milo GROWLS, Frisbee in mouth. Stanley wakes up with a massive headache and dark rings under his eyes. The Mask, which lies on the pillow next to him is taking a greater and greater toll. There's a BANGING on the door. LT. KELLAWAY (O.S.) Police. Open up. Stanley runs to the closet to hide the Mask. The instant he opens the door, an avalanche of CASH pours out, suffocating him. STANLEY Oh my god! LT. KELLAWAY (O.S.) Ipkiss! I know you're in there. Stanley grabs the Frisbee and starts shoveling the money back into the closet. Now the doorbell starts RINGING. STANLEY All right, I'm coming! Stanley tosses the Mask and the Frisbee into the closet and SLAMS it shut. He scoops up a few stray dollars and throws them under the bed. He hurries to the door and opens it, an easy smile on his face. STANLEY Lieutenant, what a surprise! What can I do for you? LT. KELLAWAY You can answer a few questions. STANLEY I've got to get ready for work. LT. KELLAWAY Trust me. Your bank's opening late today. Kellaway steps into the apartment, without waiting for an invitation. Stanley glances nervously back at the closet. Milo is scratching at the door. LT. KELLAWAY (CONT.) Where were you last night? STANLEY Here... mostly. Is something wrong? LT. KELLAWAY Maybe, yes. Maybe, no. Maybe it's all just a crazy coincidence that this so called "Mask" character always seems to be wherever you are. STANLEY Mask -- who? LT. KELLAWAY Don't insult my intelligence, Ipkiss. First, he's spotted in your building, then the bank where you work and now I find this at the Monkey's Paw. He displays the TORN PIECE OF FABRIC. It matches the piece missing in Stanley's pajamas. Stanley wilts. Milo YAPS and leaps up, trying to open the closet door. STANLEY Milo. No! (moves the dog away) Okay, so I went out on the town last night. A guy's got to have a little fun. LT. KELLAWAY In your jammies? Milo is back at the closet door. He's just about got it open as Stanley turns the detective to the door. STANLEY Naw, I just took 'em with me in case I didn't make it home. I don't know about you, Lieutenant. But I've got a pretty good track record with the ladies. Kellaway pulls away from Stanley and begins suspiciously SNIFFING the air around him. LT. KELLAWAY Wait a second... you smell that? STANLEY What? KELLAWAY (SNIFFS) Bullshit. I hate the smell of bullshit. Don't even think about leaving town, Ipkiss. I'll be in touch. Kellaway SLAMS the front door, just as the closet door falls open -- spilling all the cash. Milo happily snatches his Frisbee. Stanley sinks back down on his bed. STANLEY What are we gonna do, Milo? What are we gonna do? C.U. - VIDEO MONITOR A replay of the bank robbery, from the bank's grainy videocams. A blurred image of the Mask is visible as he zig-zags around the bank at high speed. WIDER Kellaway sips a cup of brackish coffee as Oliveras FREEZE-FRAMES the best image of the Mask. There's a wild-eyed look of glee on his face as he stuffs sacks full of money. DEPUTY OLIVERAS I don't know, boss. That's one helluva rubber mask. LT. KELLAWAY Where's the lab report? Oliveras hands it over. DEPUTY OLIVERAS We got fingerprints on some of the currency, but nothing matches Tyrel's men. Looks like this guy beat 'em to the punch. LT. KELLAWAY Get the bank's employee files and run down the prints on a guy named Ipkiss. DEPUTY OLIVERAS You figure it was an inside job? LT. KELLAWAY Yeah, and all I need is a couple of prints to lock this wack job up 'till doomsday. INT. DORIAN'S OFFICE - DAY Dorian's assembled a war council. At the table are Sweet Eddy and assorted Button Men from the city's underworld. An open attache case filled with stacks of money sits before Dorian. DORIAN A fifty thousand dollar reward to the man who finds this "Mask" character before the cops do. Get the word out to every street hustler and low life in this town. (pounds his fist) I want him here. In my office. Alive. By tomorrow! Now get going! Everybody scrambles out of their seats. Tina sits in the corner of the room, painting her nails. She glances up at Dorian. DORIAN What are you looking at? TINA You. You're losing it Dorian. DORIAN I'm losing nothing. Except maybe some extra baggage I don't need around here. TINA What's that supposed to mean? DORIAN You weren't putting up much of a fight when that green goon kissed you last night. TINA C'mon, did it look to you like I had a choice? DORIAN Maybe you did and maybe you didn't, but I know this, one day real soon I'm gonna run this town and when I do there's gonna be payback for anyone who crossed me. (glares at her) I mean anyone. CUT TO: INT. BANK - DAY The place is in general disarray but still functioning, jammed with worried depositors. Stanley makes his way to his desk, his face pale and unshaven. Dark circles ring his eyes. MR. DICKEY Ipkiss! We have a crisis on our hands here and you stroll in over an hour late. If I have to put up with your slovenly... Stanley develops an odd facial TWITCH, then... STANLEY (EXPLODES) Back off Monkey-Boy, before I tell your daddy how you're running this branch like it's your own personal piggy bank! If the I.R.S. saw some of those files we could arrange a little vacation for you at Club Fed! Dickey is absolutely shocked into silence by this outburst, then... MR. DICKEY That will be all, Ipkiss. Dickey turns on his heels and exits. Charlie Schumacher now appears glowing with new respect for Stanley. CHARLIE Woah! What side of who's bed did you wake up on? STANLEY I'm not sure. (TWITCHES) I haven't exactly been myself lately. For a split second, Stanley's entire face CONTORTS into an alarming Mask-like expression. CHARLIE (WARILY) Yeah, well you look like you could use a little R and R there buddy... and as a matter of fact I've got just the ticket. Or should I say tickets? STANLEY I'm afraid to ask. Charlie flashes two tickets. CHARLIE Saturday night. Grand opening of the Valhalla Casino. Serious skirt alert. Everybody who's anybody will be there. What do you say? STANELY I don't know Charlie, I... Stanley suddenly spots Tina making her way across the room to his desk. STANLEY (CONT.) Excuse me a second. ANGLE ON STANLEY'S DESK STANLEY Tina... What are you doing here? TINA I heard about the robbery. I guess I just wanted to make sure you were okay. STANLEY Oh, don't worry about me. (TWITCHES) I'm fine. TINA Are you sure? You look a little... STANLEY I'm just having a little trouble sleeping is all. (BEAT) I guess you won't want to open that account after all this... TINA I'm not so sure I'll have much to open an account with anymore. STANLEY What about the nightclub? I thought you were doing great. TINA I don't know how much longer I can stay there Stanley. Things are getting a little intense. STANLEY Well, there must be plenty of other places you could sing. Maybe even get a record deal... TINA I wish it was that easy. There's thousands of girls out there just like me who... STANLEY Not just like you. You've got a voice like... like an angel. TINA (lights a cigarette) An angel huh? That's the first time I've heard that one. STANLEY No, I mean it. You really do. TINA I can vamp my way through a tune. But that's not really singing. STANLEY What is it with you, Tina? Why don't you believe in yourself? TINA (SIGHS) I guess I've just heard a lot of promises from a lot of guys. In the end they all wanted the same thing and it wasn't a song. STANLEY So maybe you've been singing for the wrong guys. TINA I'm not so sure there's any other kind. Not for me, anyway. (RISES) Well, I'm glad nobody got hurt. STANLEY Yeah. TINA What about this guy, the Mask? Do the cops have a line on him? STANLEY I'm not sure. Why are you interested? TINA Promise you won't say anything? STANLEY Sure. TINA He came to the club last night and he was just so... well, different. I haven't been able to get him off my mind. STANLEY Really? They say he's pretty weird looking. TINA Yeah. He's ugly... but he's kinda cool... y'know, like Mick Jagger. STANLEY You really think so? TINA Yeah. If you hear anything about him, would you call me at the club? Stanley nods - unsure of what to say. Tina opens the door, but before she exits... STANLEY Actually... I sort of know the guy. TINA What? STANLEY The Mask. We're - old college buddies him and I. TINA Are you serious? STANLEY Oh yeah. To tell you the truth, I'm sorta covering for him on this bank thing. He's not such a bad guy, really. He just gets a little carried away. TINA I'll say. Do you think you could give him a message? STANLEY I suppose so. TINA Tell him I want to see him again STANLEY When? I mean, I'd need to tell him exactly. TINA How about seven o'clock tonight at Peninsula Park. STANLEY I'll be... I mean, I'll make sure he's there. CUT TO: INT. APARTMENT BUILDING - GARAGE - AFTERNOON Peggy parks her car in her space, locks it up and beeps on the car horn. When she turns, she notices a shadowy FIGURE watching her from a bark corner of the garage. She hurries down the row of parked cars, clutching her purse to her side. The figure follows at a slow but relentless pace. Peggy fumbles for her keys, finally finds the correct one and enters the building. INT. APARTMENT HALL Peggy is relieved as she reaches her apartment door and slips the key in the lock... but the lock is jammed. She tries and tries again... nothing. Suddenly, a hand enters frame and SLAPS an eviction notice on her door. LANDLORD Sorry, doll. I had the locks changed this afternoon. PEGGY You what? You can't do that! LANDLORD You've known we're going condo for six months, Peggy. I can't stall the owner a minute longer. Either you pony up the downpayment or you're out. PEGGY Just a couple more days, Phil. The paper's ready to give me a full time job. LANDLORD I've heard that one before. PEGGY C'mon, at least let me get a few of my things. Phil considers this a beat, then unlocks the door for her. LANDLORD Don't make me regret this. We get a certified check by noon tomorrow or a Sheriff will escort you out of here. PEGGY Thanks Phil. You're a sweetheart. Phil exits. Peggy picks up her things when she hears an off- camera "Pssst." She turns. THE FIGURE stands in the shadows by the fire escape. He's got a voice that sounds like he's been gargling glass. THE FIGURE I heard you were lookin' for a story. PEGGY Who... Who are you? THE FIGURE Just a guy with a little information lookin' to make a buck. But maybe I heard wrong. You don't look like much of a reporter to me. Peggy gulps back her fear, determined to live up to her job. PEGGY You give me something worth printing and I'll get you your money. What's this about? FIGURE The guy they call the Mask and why Dorian Tyrel's willing to pay fifty large to get him. PEGGY How do I find this Tyrel? FIGURE Careful, sweet meat. You break this story and he just might find you. CUT TO: C.U. DORIAN as he enters... EXT. JORGENSON'S SMORGASBORD - AFTERNOON Dorian and Sweet Eddy casually step through the front door of the restaurant's ersatz chalet facade. INT. SMORGASBORD Sweet Eddy takes a position by the door as Dorian greets Artie the Swede at a large oak table in the festeively decorated SMORGASBORD The Swede is flanked by his gunsels as he's served by a big blonde waitress in a classic peasant girl costume. SWEDE Dorian... thanks for coming by, kid. DORIAN My pleasure, Swede. It's been too long. I was worried you were still pissed about that little thing with Harry the Hat. SWEDE That? It was nothing. He was a pain in my ass anyway. Here, sit down, sit down. DORIAN Congratulations on the new casino. SWEDE Thanks, but it might be a little early to celebrate. As a matter of fact that's why I asked you to stop by. DORIAN Is that right? SWEDE Here... have a little something to eat. That's Svenska meatballs, kid. The real thing. DORIAN Thanks. Dorian starts to eat. SWEDE So, I tell you Dorian, it's a terrible shame. I put all my hard work into this beautiful casino and what do you think? All the sudden I got all kinda problems with the city. Big problems. The whole deal could fold. DORIAN Maybe I can help you out. I'm expecting to come into a little investment capital shortly. If worse comes to worse and you really need to bail out... SWEDE What a sweet guy. Isn't this guy a sweetheart? Thanks for the offer Dorian, but I think maybe I can solve this myself. DORIAN Is that right? SWEDE That's right. You know that Councilman you got in your pocket? Dorian freezes with a forkful of meatballs halfway to his mouth. He notices a PINK CARNATION squashed into the gravy. SWEDE (CONT.) Well now you've got 'im in your mouth. How you like that? The Swede and his men have a good laugh as Dorian spits out his meatball. The Swede pulls a gun and jams it under Dorian's chin. Sweet Eddy goes for his gun, but one of the Swede's men pops up, jamming a barrel to his temple. SWEDE (CONT.) (to Dorian) Now listen close scumbag! You want to bw in business with me? Okay, we're partners now. I'm takin' fifty per cent off the Monkey's Paw. You screw with me again and I'll send you straight down to Hell with your scumbag councilman. You can apologize for eatin' him for lunch. DORIAN Sure, Swede. Take it easy. SWEDE Good. Now get out of my sight. Dorian rises. SWEDE Oh Dorian, here's a couple tickets to my grand opening. Stop by. And try to dress up nice. It's good for business. CUT TO: CLOSE ON: NEWSPAPER HEADLINE "The Mask Robs Bank - Police Scour The City." It's accompanied by a grainy blow-up of the Mask from the bank video. A HAND jams a quarter in the slot, opens the machine and pulls out the entire stack of papers. WIDER to reveal Stanley, still looking pale and desperate as he dumps the entire stack of papers in a nearby garbage can. He starts to turn away when he notices an ad on the back of the paper for a book... "The Masks We Wear" by Dr. Arthur Neuman, the SAME man we saw interviewed on "The Larry King Show." The byline reads "The Mysterious Powers of the Identities Within Us." Stanley rips out the ad and hurries off down the street. CUT TO: INT. PSYCHIATRIST'S OFFICE - DAY C.U. - MASKS... Dozens of them line one wall. Tribal masks. Victorian masks. Ceramic masks. Masks from all countries and cultures. WIDER Stanley paces the plush office like a caged animal while Dr. Neuman sits nearby toying with his pipe. DR. NEUMAN This is extremely unusual, Mr. Ipkiss. Barging in without an appointment or... STANLEY Look, you're the big expert on masks, right? Well, I've got an emergency here! (his face TWITCHES) DR. NEUMAN Try to calm yourself. Now this woman you were telling me about, I'm not sure I understand the problem. STANELY I've got a date with the girl of my dreams, only she doesn't know it's me... Stanley suddenly reaches into his briefcase and pulls out the mask. STANELY (CONT.) It's this thing! DR. NEUMAN (takes the mask) Very interesting... looks like tenth or eleventh century Scandinavian. Where did you get this? STANLEY (snatches it back) I found it... or it found me. I'm not sure. The problem is it's ruining my life! DR. NEUMAN So you believe this actually changes you into a different person? STANLEY Yes! (face twitches) It's turning me into some kind of lunatic! (briefly CONTORTS into a Mask expression) DR. NEUMAN Mr. Ipkiss, please. This is just obsessional dellusion. What you have here is nothing more than a piece of wood. STANELY But your book says masks... DR. NEUMAN My book uses masks as a metaphor for our complex personalities. The masks we must present to the outside world... to suppress the id. To protect our innermost desires. STANELY Yeah, well this one works in reverse. DR. NEUMAN You're going to have to be willing to work on this delusion or... STANLEY It's not a delusion! Alright, I'll prove it to you if I have to, but I won't be responsible for the consequences. DR. NEUMAN Mr. Ipkiss please! There is no such thing as a magical mask. STANLEY (holds up mask) Last chance to hide all dangerous objects. DR. NEUMAN Alright then, go on. You're not going to frighten me. Stanley takes a deep breath and shoves the mask onto his face. STANLEY Whooooooooaaaaa... He starts spinning around. DR. NEUMAN Whoa, what? Stanley just stands there like an idiot. Nothing happened. He tries it again. Same result. STANLEY It didn't work? DR. NEUMAN Does that surprise you? The mask is nothing but a reflection of you - the inner you. Stanley isn't listening. He's thinking out load. STANLEY It worked last night. And the night before. Maybe it only works at night... What kind of mask did you say this was. DR. NEUMAN Scandinavian. It looks like a representation of Loki, the Norse God of Mischief. He supposedly caused so much trouble that Odin banished him from Valhalla forever. STANLEY (GASPS) What if he banished him... into a mask? DR. NEUMAN (SIGHS) I'm sorry, Mr. Ipkiss, we're out of time. STANLEY But what should I do about my date? DR. NEUMAN Your date? STANLEY You know. Tonight. The park. Tina. Do I go as myself of the Mask? Dr. Neuman puts an arm around Stanley and leads him to the door. DR. NEUMAN Mr. Ipkiss, please. Haven't you been listening to anything I've been saying? Go as yourself. And as the Mask. (a beat) Because they are the one and the same, beautiful person Stanley sees this is a losing battle. He turns and walks out. CUT TO: INT. FORD TAURUS - DAY Lt. Kellaway sits in this unmarked police car, finishing up lunch. The police band comes on. Kellaway grabs it. LT. KELLAWAY Yeah? OLIVERAS (V.O.) I've got that cross-check from the bank files. LT. KELLAWAY And? OLIVERAS (V.O.) It's Ipkiss, Alright. Stanley Ipkiss. Kellaway smiles to himself. At that moment - STANLEY comes out of Dr. Neuman's office building. He gets in his car and drives off. OLIVERAS (V.O.) You want us to pick him up? LT. KELLAWAY Don't do a thing until I tell you. Just keep the SWAT team standing by. If this guy's half as bad as he's supposed to be we'll need all the help we can get. LT. KELLAWAY fires up his engine and pulls away. EXT. PARK - SUNSET Topiaried ivy reads: "Welcome to Peninsula Park." A small sign below that reads: "No dumping." Carrying his briefcase, Stanley enters the park. EXT. BENCH Stanley passes through a stand of trees and nearly bumps into Tina. TINA Stanley, what are you doing here? STANLEY Oh, Tina... Hi. You're early. TINA A little. STANLEY I just... wanted to make sure you two got together okay. TINA That's nice. (sits down) You know, I hardly ever stop by here. It's hard to believe it was just a garbage heap. STANLEY (looking at the sky) It's always beautiful at sunset. Those methane emissions really pick up the colors. TINA Wow. They really do. All those pinks and greens. STANLEY Well... I'm sure my cousin will be along any minute. He never shows up anywhere 'till after sundown. He's sort of strange that way. (RISES) I guess I'll get going. TINA No, Stanley. Stay for a second. I was thinking about what you said and I, uh, I want you to know I appreciate it. Maybe you're right. If I believed in myself a little more I wouldn't rely on guys like Dorian. STANLEY Dorian... You mean Dorian Tyrel? TINA Yeah. He's sort of my manager. STANLEY Tina, you've got to be careful of that guy. He's a dangerous criminal. TINA You really mean that, don't you? STANLEY Absolutely. You ought to hear the stories... TINA No, I mean, you're really worried about me. That's... real sweet, Stanley. STANLEY C'mon, Tina this is serious. How involved are you with this guy? TINA I can take care of myself, Stanley. I always have. STANLEY Oh, really? People close to Tyrel have a nasty habit of turning up dead, or haven't you noticed? TINA Look, this may sound a little cold but I do what I have to do to get by, okay? I'm nobody in this town without Dorian. STANLEY And who are you with him Tina? I'm not exactly sure who I am anymore but at least I'm trying to find out. If you really had any faith in yourself, you wouldn't be hanging on to some kind of free ride. That last bit stung, and Stanley knows it. A shadow falls over them as the last rays of the sun disappear behind the clouds. STANLEY (CONT.) (SIGHS) I'm sorry Tina. I guess I better get going. Stanley gets up and hurries off through the trees. TINA (RISES) Stanley... wait! But he's already disappeared. Tina starts to follow after when she hears a strange WHOOOSH. A whirlwind begins to kick up the leaves all around her. The Mask leaps out from behind a stand of trees in all his glory and literally sweeps her off her feet. With his lower lip thrust out he romances Tina in a deep syrupy French voice. THE MASK Cher! Ce moi! Je'taime, Je' taime, Je any old tame! At last we are together mon petite bon bon! ANGLE ON THE BUSHES Kellaway, Doyle, and two other officers are watching from a distance. He speaks into his walkie talkie in hushed tones. KELLAWAY This is Kellaway. I need back up and I need it now! Every available man down to Peninsula Park. INT. NEWSROOM - BULLPEN MURRAY, an old timer newshound hurries into the room, grabs his notebook and pulls on his coat. MURRAY Looks like it's gonna be a long night. My wife is gonna kill me. PEGGY What is it, Murray? MURRAY The cops got your pal Ipkiss staked out at Peninsula Park. We just picked it up over the police band. PEGGY Let me cover it, Murray! You go on home to Claire. MURRAY I don't know, Peggy. Ramsey said... PEGGY (grabs her coat) I'll take care of Ramsey. Thanks a million. I owe you one. She gives Murray a quick peck on the cheek and runs out the door. CUT TO: EXT. PENINSULA PARK The Mask is all over Tina like a cheap suit, stroking her hair grabbing her bod. She's definitely having second thoughts about him as he backs her up to the bench. THE MASK Our love is like a red red rose, and I'm feeling so thorny already, I'd like to nip you in the bud! She ducks his grab, but he recovers smoothly, flipping out a pack of cigarettes. He pops one in her mouth. THE MASK (CONT.) Cigarette? His hand is a blur of motion as he sticks dozens of cigarettes in her mouth. THE MASK (CONT.) Regular? Menthol? Filter? Cigar? Cigarette? Tiparillo? He produces a huge blow torch from within his jacket and pops on the flame. THE MASK (CONT.) Let me get that for you! He grabs the gigantic wad of cigarettes as if they were one, puts them in his own mouth and applies the blow torch. With one mighty SSSUCK he smokes them all down to gray ash. Beat. The ash tumbles away. THE MASK (CONT.) (exhales a huge cloud of smoke) Aaaaaah. And now... amore! He throws his arms wide and lunges at Tina. KELLAWAY Freeze! The Mask freezes in mid-air, arms outstretched and feet suspended off the ground. KELLAWAY (CONT.) Put your hands up! The Mask's lips barely move as he speaks in a tiny voice out the side of his mouth. THE MASK But eu 'tol me 'oo freeze! KELLAWAY Alright, alright. Unfreeze! You're under arrest! The Mask instantly drops to the ground and throws himself into wildly exaggerated expressions of remorse and pain. THE MASK Under arrest! My god! The Law! I knew I'd forgotten something! (TEARS) I was so young! So foolish! So full of life! Tears are gushing from Stanley/Mask's eyes like twin water taps. He puts his hands out and Kellaway slaps on the cuffs. THE MASK (CONT.) What... What'll they do with me, Sarge? KELLAWAY Sorry, son. That's not my department. Search him! Doyle reaches into the Mask's zoot suit and starts tossing stuff on the ground. DOYLE Comb - Flintstones vitamins - Sousaphone - Bazooka - (PAUSE) picture of Kellaway's wife... Kellaway looks down at the photo. It really IS a picture of his wife with a handwritten note: "Call me, lover - 555-1234!" KELLAWAY What the --? (PAUSE) Margaret! Furious, Kellaway LUNGES at Stanley/Mask's neck. Two other officers restrain him. KELLAWAY You son of a bitch -- ! STANLEY/MASK Jeez, I figured you had a sense of humor! (PAUSE) After all, you married her! Stanley/Mask honks Kellaway's nose which makes a loud AHOOGA noise and runs for it. Kellaway starts to follow, but discovers he's now handcuffed to Doyle. KELLAWAY Get him! The other police officers draw their guns and give chase as Stanley RICOCHETS off through the trees hooting laughter. EXT. PARK ENTRANCE A twelve foot high stone wall surrounds the park. Stanley/Mask races through the entryway, SLAMMING the park's huge wooden gates behind him. CLOSER - THE GATE The Mask throws an iron bolt, SNAPS on a huge padlock, SLAMS down a steel plate ZZZIPS up a gigantic zipper, HAMMERS in dozens of nails at high speed and throws himself against the gate panting... But then his eyes BUG OUT on stalks as he sees what lies on the opposite side of the gate. STANLEY'S P.O.V. COPS... more COPS than seems humanly possible. They're in cars, armed antipersonnel carriers, hanging from trees, parachuting FROM helicopters... And they're all aiming serious looking guns at HIM. BULLHORN VOICE It's all over! Put your hands over your head or we'll open fire. Stanley/Mask looks around, like he's trying to figure a way out of this mess - then - STANLEY/MASK Hit it! With that, a police SPOTLIGHT SNAPS on, and the brightly lit park entry-way becomes a beautifully lit stage. Stanley/Mask strikes a pose, now wearing a straw hat "boater" and weilding a cane. Pedestrians with radios and ghetto blasters look down in shock as a RUMBA begins playing from every speaker in town. Stanley/Mask SWAYS seductively in time to the music. A FEMALE COP steps forward, a look of surprise spreaading over her face as, against her will, she opens her mouth in song. FEMALE COP They rave about Sloppy Joe - the Latin lothario - but Havana - has a new sensation. It's "Cuban Pete RUMBA" by Desi Arnaz! (Yes, this is a real song!) FEMALE COP (CONT.) He's really a modest guy - although he's the hottest guy - in HavAAAAna - and here's what he has to saaaay - Stanley/Mask steps up to the "stage" and tilts the boater over his eyes, casting a sly glance toward the crowd. STANLEY/MASK ("Latin" voice) They call me Cuban Pete - I'm King of the Rumba beat - every time I play the maracas I go chick chick chickie boom! Gene Kelly on acid, Stanley/Mask punctuates his number with any number of sly gestures - winking, nodding, sliding seductively down a street lamp post, doing repeated "splits" on the sidewalk - it's his big number! The cops watch this with open mouthed astonishment. ANGLE ON STONE WALL Kellaway climbs over two of his men to scale the wall. He can't believe his eyes. Doyle clamors up beside him. DOYLE Hey, he's not bad. Kellaway shoots him a dirty look. STANLEY/MASK waltzes into the street, prancing just inches from the heavily armed cops. His legs twine around each other like spaghetti, then his upper torso SPINS until they're straightened out again. STANLEY/MASK (still singing) Yessir, I'm Cuban Pete! The craze of my native street! When I start to dance everything goes chick chick chickie boom! Like some weird, loony case of mass hypnosis, Stanley/Mask waits for the "musical break" to coax the armed cops into JOINING him on the number - as the rough and tumble equivalent of CHORUS GIRLS! ANGLE - LOOKING DOWN FROM HELICOPTER The street takes the look of a Busby Berkeley musical as the cops HIGH STEP in time to the infectious RUMBA beat. EXT. STONE WALL - NIGHT Kellaway leaps/tumbles down from the wall into some bushes and scrambles to his feet. He can't believe his eyes. His cops, his tac squad, his friggin' SWAT team - they're ALL in the street, dancing with this crazy maniac! Stanley/Mask sidles up to a heavily armed female SWAT officer, "dirty dancing" her across the street - STANLEY/MASK The senoritas they sing, and how they sling their sombreros --! (It's very nice! So full of SPIIIIICE--) (dip!) And when they're dancing they bring a happy ring to their vaqueros - they sing their song, all the day loonnnggg - Doyle crash lands beside Kellaway and starts out to join the others, but Kellaway grabs him by the back of his jacket. KELLAWAY You go out there and I'll blow your brains out! Furious, Kellaway yanks open the door of an abandoned squad car, pulls out a tear gas gun and fires into the air. The sharp REPORT AND stinging gas seems to break the spell of THE MASK. The music suddenly STOPS and the high stepping cops stagger away from the CHORUS line, looking confused. LT. KELLAWAY (CONT.) Goddamn it! Arrest that thing! The cops - shaken back to reality - fumble for their weapons. THROUGH THE SMOKE The Mask takes off - dashing into the crowd. KELLAWAY spots the Mask and races after him, calling his men. KELLAWAY (CONT.) This way! THE MASK bumps into an OLD LADY who SCREAMS at his hideousness. The Mask realizes how obvious he is. He turns away and brings his arms to his head. There's a RIPPPING sound. And when he turns around, the Mask has now transformed back into... STANLEY Carrying the mask, Stanley tries to blend in with the crowd. KELLAWAY followed by a handfull of officers bears down on him. KELLAWAY Halt! Halt or we'll shoot! Stanley quickly cuts down... A NARROW ALLEY Stanley races down the lane - cops hot on his trail. Bullets EXPLODE all around him. Just as he reaches the next street... A CAR screeches to a halt - almost running Stanley over. The window rolls down revealing... PEGGY BRANDT PEGGY Stanley! Get in! Stanley jumps into the passenger seat. INT. PEGGY'S CAR - MOVING - NIGHT Peggy rips around the bend, easily outdistancing the cops. STANLEY Thanks. Where are we going? PEGGY Someplace where we'll be safe. EXT. DAILY TRIBUNE BUILDING - NIGHT The streets are empty. INT. NEWS SHIPPING ROOM - NIGHT Stanley and Peggy sit on stacks of bound newspapers in the vast shadowy shipping room. In the b.g., a huge machine spews out hundreds of newspapers on an assembly line. Everything's mechanized: printing, folding, wrapping. Peggy hands Stanley a cup of coffee. He's a complete wreck, clothes disheveled, rings under his eyes. PEGGY I saw it. I saw the whole thing. What's happening to you, Stanley? STANLEY It's crazy... I've lost all control. When I put on this mask I can do anything... be anything, but it's ruining my life. PEGGY Stanley, I don't know what's happening to you, but I do know this. That letter you sent my column was from a guy with more guts and heart than any of the creeps I've met in Edge City. Whatever this mask is, you don't need it. You... Stanley Ipkiss, are already all you ever need to be. STANLEY Gosh, Peggy. Do you really mean that? PEGGY (PAUSES) Actually... no. STANLEY What? We now hear a door open and footsteps. PEGGY (RISES) What took you guys so long? I've been vamping here for twenty minutes. Dorian and three of his men stand there with their guns trained on Stanley. DORIAN This is him? PEGGY You have the fifty thou? Sweet Eddy FLICKS open a briefcase lined with cash. PEGGY (CONT.) Right. When he puts on the mask he becomes that green thingamajig. STANLEY (still dumbfounded) Peggy, what are you doing? PEGGY Sorry, Stanley. You really are a great guy, but I just can't lose my condo. You know how hard it is to find an apartment in this city. Sweet Eddy and a second thug grab Stanley and hang him over the steel maw of the whirring news press. DORIAN Okay Ipkiss. Where's the money from the heist? STANLEY My aparment. It's in my apartment! DORIAN Thanks. Now I believe you have a pressing engagement. PEGGY Hey, you said you wouldn't hurt him! Dorian toys with the wooden mask, enjoying his control over the situation. DORIAN You're right. Easy boys. One thing at a time. Tell me about this mask, Ipkiss. How does it work? STANLEY I don't know... You just put it on! The Mask FX theme builds, Dorian raises the mask to his face. SWEET EDDY Better be careful, boss. With a CRACK of thunder a whirlwind of light and power swirls around Dorian's figure. Unlike Stanley's transformation, Dorian's is much more diabolical. He grows and changes within a nimbus of ROARING light. Finally the light dies away and Dorian/Mask rises from a circle of swirling smoke. C.U. DORIAN/MASK While Stanley was a zoot suited bee-bopper in hyper-drive, Dorian/Mask is more like a hulking evil GENIE, fresh out of the lamp and pissed at the world. His diamond earring and touches of his neuvo-gangster look is still apparent, but his huge grin stretches out like a TYRANNOSAURUS Rex's under eyes that glow green with wicked power. His voice is a deep inhuman RUMBLE. DORIAN What a rush. SWEET EDDY Whoa, boss... are you okay? DORIAN/MASK I'm better than ever, you idiot. Now stop the presses. There'll be a new headline tonight. Sweet Eddy stands there looking disappointed with Ipkiss still held dangling above the churning presses. SWEET EDDY But what about him? Dorian/Mask wheels about and ROARS at Sweet Eddy. DORIAN/MASK DO AS I SAY! I have other plans for Ipkiss. Everything's become so clear to me now! Peggy sheepishly reaches for the suitcase. PEGGY Ah... excuse me. If you don't mind, I'll just take my money and be going. You guys make yourselves at home. Dorian/Mask slides up to Peggy threateningly. DORIAN/MASK Must you go? What a shame. You and I could make beautiful headlines together. Peggy removes his arm from her shoulder. PEGGY Thanks, anyway. That wasn't part of the deal. Peggy snatches the briefcase, but Dorian/Mask blocks her exit. DORIAN/MASK Of course. You only want what's coming to you, don't you? Peggy whips out a snub-nose .38 out from beneath her coat. PEGGY Back off Freakazoid. I wasn't born yesterday. DORIAN/MASK Ah... But you might die today! Dorian throws the switch and the presses CHURN to life. In a flash he snatches Peggy off her feet. DORIAN/MASK (CONT.) A girl like you deserves to have her face plastered all over page one. He tosses her into the grinding mill of steel and paper. CAMERA BOOMS DOWN as Peggy's feet disappear between the presses' huge rollers and continues down, down past the whirling gears and hydraulics to finally ENDFRAME on the chute where the newspapers roll out on a conveyor belt. Headlines in blood red ink now read: "Reporter Killed in Freak Accident" next to a picture of a slightly flattened-looking Peggy, her mouth open in a silent scream. SWEET EDDY What do we do with Ipkiss? DORIAN/MASK The police are looking for the Mask. We shall give them the Mask. And Eddy... SWEET EDDY Yeah, Dorian? DORIAN/MASK Get the boys ready. The Swedes' expecting us at the casino opening tomorrow night. We wouldn't want to disappoint him, would we? Dorian/Mask throws his head back and lets loose a deep BOOMING LAUGH. It's unnerving even to Eddy, but he laughs nervously in RESPONSE and elbows the other thugs to join in. CUT TO: INT. STANLEY'S APARTMENT - NIGHT The door is kicked open and two of Dorian's henchmen burst into the room. Milo leaps off the couch and scrables behind the curtains. They yank open the closet door and start scooping the cash into plastic garbage bags. EXT. STREET - CAR Stanley lies in the back seat, gagged, bound hand and foot and half hidden under a blanket. A thug in the driver's seat pokes his .45 under Stanley's nose. THUG That money better be where you said it was, Ipkiss or you can Ipkiss your ass goodbye. He chuckles at his own little joke. INT. APARTMENT Milo peeks out from behind the curtain as the henchmen finish their job. He ducks behind the curtain and looks out the window. MILO'S P.O.V. of the henchmen's car. Stanley can barely be seen peeking out the car window. The henchmen pushes him back down. MILO His ears perk up. The boss is in trouble! He checks back outside the curtain. THE HENCHMEN finish up and start out the door carrying the trash bags. Milo races right by them, just out of sight. EXT. STREET The henchmen hop in and start the engine. As the car peels out into traffic, Milo appears, valiantly racing along the sidewalk, DODGING pedestrians and cross-traffic to keep the car in sight. CUT TO: EXT. POLICE STATION - NIGHT Dejected, Lt. Kellaway heads up the steps with Sgt. Doyle. LT. KELLAWAY I still can't believe it. Hardened cops dancin' in the streets... and broadcast all over the ten o'clock news. DOYLE The SWAT team got an offer to open for Wayne Newton. LT. KELLAWAY I'm history. The Captain's going to have my badge for breakfast. With a little pension on top. DOYLE C'mon Lieutenant, it wasn't your fault. Something will turn up. LT. KELLAWAY Sure. Stanley Ipkiss is going to fall right into my lap... A car SCREECHES BY. The door flies open and a BODY comes tumbling out - knocking Kellaway down. He looks up at the body sitting in HIS lap - LT. KELLAWAY ...Ipkiss! STANLEY I can explain everything... DOYLE Don't bother. Doyle pulls a GREEN RUBBER MASK out of Stanley's pocket. Kellaway starts hauling him up the precinct steps. LT. KELLAWAY You have the right to remain silent, you freakin' Looney Tune. Anymore of your half-baked wisecracks can and will be used against you by me, personally... STANLEY You've got to listen to me! Kellaway and Doyle drag Stanley into the precinct - just as MILO charges up. But the dog is shut out of the station. INT. JAIL CELL - NIGHT Bruised, beaten and exhuasted - Stanley's thrown into a small cell. The KEY-GUARD locks the cell up - then walks away. Stanley looks around his dismal quarters. A filthy toilet. The cot even worse. There's a YOWLING. He climbs up on the cot and looks out the small, barred window. STANLEY'S P.O.V.: There's a dumpster below the window, overflowing with trash. Next to the trash heap - is MILO. The dog looks up at Stanley and YIPS happily. Stanley forces a smile. STANLEY Go find yourself a new home, Milo. It looks like I'm going to be here for a long long time... Milo watches Stanley recede back into the cell. INT. JAIL CELL - DAWN Stanley lies on his cot - staring at the ceiling. The Guard bangs on the door. GUARD Wake up. You gotta visitor. STANLEY About time you found me a lawyer... (a beat) ...Tina? TINA Hello, Stanley. STANLEY What's wrong? Your boyfriend kick you out for not delivering me on schedule? TINA Is that what you think - that I set you up? STANLEY I don't know. But I've got plenty of time to figure it out. TINA You're just going to have to trust me on this. STANLEY Now is not the best time for me on trusting women. TINA I ran out on Dorian last night, Stanley. I just came to tell you I'm sorry. Sorry about everything. STANLEY You ran out on him? TINA That magic mask of yours turned him into some kind of monster... STANLEY He wasn't exactly Mother Theresa in the first place. TINA He's going to the casino opening tonight and he's planning to do something terrible. STANLEY A real change of pace for him. TINA Half this town will be there Stanley. I tried to tell the cops, but they wouldn't listen to me. STANLEY As long as he's got the mask, there's nothing they can do to stop him anyway. There's nothing anyone can do. TINA There must be some way. How does it work? STANLEY (PAUSES) It's like it brings you innermost desires to life. If deep down inside you're a little repressed and... a hopeless romantic, you become sort of a love-crazy wild man. TINA And if you've got a black heart? STANLEY Then the world's going to be a very dark place. And if I were you, I'd get out of town. Fast. Tina takes a beat and absorbs this information. TINA Thanks. STANLEY For what? TINA Lots of things. For really believing in me when I couldn't. For sharing a sunset with me. For being the first guy to treat me like I was a person instead of a slab of meat. (a beat) And for being any kind of romantic. Even a hopeless one. STANLEY (SOFTENING) You're welcome. TINA You know, that night at the club I knew I met someone special. Someone like nobody I'd ever met before. STANLEY The Mask. TINA No... the guy that was inside the Mask all the time. You. Stanley Ip - They draw closer. The iron bars scrunch up their faces... TINA (CONT.) --kiss. They KISS. A sweet, soft and romantic kiss. Then... the KEY-GUARD pulls her away. KEY-GUARD Time's up, lady. TINA I've got to disappear for awhile Stanley. I'm not sure where I'll go but I'll let you know as soon as I can. Stanley takes a long last look at Tina as she's escorted out. EXT. STATION - DAY Warily, Tina slips out of the precinct. She's about to cross the street, but spots a SUSPICIOUS LIMO, engine idling. Quickly, she doubles back and heads - INTO THE ALLEY Behind the station. She looks over her shoulder. No one's there. Tina hurries toward the next street and - A BIG SEDAN roars up, cutting her off. She turns and runs back the way she came - but freezes when THE LIMO screeches up, blocking her. Sweet Eddy and Hicks jump out of the limo. She SCREAMS. INT. STANLEY'S CELL - AT THE WINDOW - SAME TIME Stanley watches helplessly as Tina is dragged into the limo. Frantic, Stanley runs to the cell door. STANLEY (to the Key-Guard) Hey! A girl's being kidnapped out there! Do something! THE GUARD tunrs up the volume on JEOPARDY, drowning Stanley out. EXT. DORIAN'S HOUSE - DAY A slick/modern house on the hills overlooking Edge City. Sweet Eddy pulls Tina from the limo. INT. DORIAN'S HOUSE Sweet Eddy and Huey enter and push Tina roughly into the room. Dorian rises to meet her. DORIAN (SARCASTICALLY) Baby, there you are... (he embraces her) I was gettin' all worried about you. TINA I just went out for a little while Dorian. Sweet Eddy holds up a small suitcase and an overstuffed shoulder bag he got from her car. DORIAN Looks like maybe a long little while, right baby? Dorian grabs her by the throat and SLAMS her against the wall. The pictures rattle. DORIAN You know what happened to the last bitch that ran out on me? Do you?! TINA (CHOKING) No... DORIAN Nobody else does either. Nobody ever will. He tosses her onto the bed. She lies there gasping for breath. DORIAN Now fix yourself up, baby. And pick out something pretty to wear tonight. Dorian picks up the mask and admires it. DORIAN (CONT.) We're going to make a big splash at that opening. One this town will never forget. CUT TO: INT. JAIL CELL - DAY Agitated, Stanley paces around the room. Stanley's eyes pop open. An IDEA! He stands up, clunking his heaad on the upper bunk. STANLEY peers down the hall and sees THE KEY GUARD watching a TV boxing match. He's CHEWING on the leather key-chain strap. There's a half eaten sausage and a wedge of cheese on the desk. STANLEY climbs up on the cot and looks out the window. STANLEY (stage whisper) Milo! EXT. THE ALLEY - SAME TIME Just a pile of trash. The dog's gone. Then... a RUSTLE. A filthy blanket moves... and MILO emerges from it - tail waggling as he sees Stanley. The little dog jumps up, helplessly trying to reach the window. STANLEY Come on, boy! Milo gets an idea. He jumps on boxes and trash bags, using them as steps. He climbs higher and higher until he's reached the top of the dumpster. STANLEY (CONT.) Come on, Milo! Milo jumps from the dumpster. He almost reaches the window, but falls back down again into the trash heap. The dog leaps a second time. On this jump, Stanley grabs him and brings him through the bars. INT. JAIL CELL - CONTINUOUS Stanley gathers Milo up in his arms. The dog licks his face and YELPS joyously. Stanley muzzles him and peeks - DOWN THE HALL The Key-Guard's SNORING in his chair. The chewed leather key- chain strap is still in his MOUTH. His half-eaten sausage and cheese still lies before him. STANLEY shows Milo the guard, then whispers in the dog's ear. STANLEY Keys, Milo. Get the keys! Milo cocks his head at the sound of the word KEYS. He zips out through the bars. INT. HALLWAY - CONTINUOUS Milo trots down the hall and approaches the key-guard's station. The dog stares and sniffs at the SNORING man. INT. STANLEY'S CELL - A MOMENT LATER Milo returns, slipping back into the cell. STANLEY Good boy... He pulls the wedge of cheese out of the dog's mouth. STANLEY (CONT.) I said "keys" not "cheese"! Keys. K-E-Y-S... keys! Stanley pushes the dog back out the cell. FOLLOWING MILO He approaches the guard and stops - staring at the keys dangling from the man's mouth. Milo jumps up on the desk and bites down on THE key-chain. He starts to pull when... The guard stirs and almost wakes up. Milo freezes. A moment later, the guard starts SNORING again. Milo grabs the keys and trots back to Stanley's cell. STANLEY Atta boy, Milo. Now let's see if we can get out of here. CUT TO: EXT. VALHALLA CASINO - SUNSET Built on pilings at the edge of the marina, the extravagant Vegas-like structure looks like a stylized Viking castle. (Production note: Key mater shots will be matte paintings.) REPORTERS and tuxedoed GUESTS crowd around as the Swede and town DIGNITARIES prepare to cut a huge red ribbon and officially open the casino. Two statuesque BLONDES in scanty Valkyrie (Viking goddess) costumes present the Swede with a gigantic pair of SCISSORS. The CROWD applaudes and flashbulbs POP. THE SWEDE So, ladies and gentlemen with a special thanks to Mayor Tilton and everyone else who made this possible, I give you... the Valhalla Casino. With a mighty SNAP of the scissors the Swede cuts the ribbon and the doors of the casino open wide. CUT TO: EXT. STREETS - SUNSET Dorian's limo barrels through the streets of Edge City followed by two sedans full of his men. C.U. - THE SUN as it disappears behind the clouds. CAMERA PULLS BACK as the limo's moon roof slides shut. We tilt down to discover Dorian and Tina, dressed to the nines for the opening. Dorian holds the mask in his lap. DORIAN It's almost time. Tina nervously starts to light a cigarette. Dorian snatches the lighter away from her. DORIAN (CONT.) I wouldn't do that, Sweetie. We don't want to start the celebration early. Dorian flips back a blanket covering four compact wooden crates marked "C-7 - Caution U.S.M.C. Demolition Materials." DORIAN (CONT.) Now sit back and try to relax. I've got to change for the party. Dorian slowly raises the mask to his face as Tina watches in horror. EXT. LIMO The tinted glass LIGHTS UP from inside like muted fireworks as Dorian's transformation begins. CUT TO: INT. POLICE STATION - C.U. - SLEEPING GUARD CAMERA PANS from his snoring mouth down to his gun as a hand carefully lifts it out of his holster. WIDER Gun in hand, Stanley silently backs away with Milo at his side. The Guard chokes off a snore and begins to wake up. He sees Stanley's cell door standing open and goes for his gun... but grasps air. STANLEY puts one hand over his eyes and slams the butt of the gun down as hard as he can on the Guard's head. THONK. The Guard drops back DOWN on his chair unconscious. Stanley peeks from beneath his hand and regards his work. Not bad. Milo yips happily. STANLEY Come on. Stanley turns and starts for the door when he bumps straight into Lt. Kellaway. KELLAWAY Ipkiss! Stanley is shocked, but quickly realizes he's got the gun. He points it at Kellaway with greater authority. STANLEY Hold it! I warn you! I'm seriously stressed out here! KELLAWAY Easy, Ipkiss. Don't be an idiot. You're in the middle of a police station. There's no way you're just going to walk out of here. STANLEY (PAUSES) You're right. Stanley pockets Kellaway's gun while keeping him covered with the Guard's gun. He pulls the handcuffs from Kellaway's belt and begins to handcuff the two of them together. KELLAWAY Now what are you doing? STANLEY Putting myself in your custody. KELLAWAY You are certifiable. Stanley unbuttons his shirt and holds it open. STANLEY Milo! Milo immediately jumps inside and Stanley buttons up. He now looks like he has a pretty nasty pot belly, but otherwise okay. STANLEY (CONT.) Okay. Now we have to hurry or we'll miss the party. KELLAWAY Of course. We wouldn't want to keep Alice and the white rabbit waiting. Keeping the gun jammed in Kellaway's ribs, Stanley folds his jacket over his gun hand. We hear it cock beneath the jacket. KA- LATCH. STANLEY Now move. CUT TO: EXT. CASINO The opening is in full swing as the limo and two sedans pull up to the front doors. CLOSER - LIMO as the CAR HOP attempts to open the passenger door, it EXPLODES off and shoots ten feet from the car taking the unfortunate Car Hop with it. Dorian/Mask steps out of swirling mists within the limo in all his wicked green glory. DORIAN/MASK Don't be shy, Tina. I know how you like to make an entrance. He pulls her out of the limo. DORIAN/MASK And I must say, that's a dress to die for. Or should I say in? Dorian's men scramble, hauling the C-7 out of the limo and racing off into the darkness with their automatic weapons. CUT TO: INT. POLICE STATION Lt. Kellaway and Stanley march past POLICEMEN, FELONS and CITIZENS in the front desk area looking stiff and unnatural as hell. Doyle waves hello from the coffee service as he munches on a chocolate doughnut. DOYLE Hi Lieutenant. Where are you taking Ipkiss? KELLAWAY Ixnay! Ehay's otgay an ungay... ouch! Stanley jams him in the ribs with that hidden gun. DOYLE What did you say? Milo pokes his head up out of Stanley's shirt, but Stanley instantly pushes it back down. Doyle does a double-take wondering what's wrong with this picture as they continue their stiff-legged walk out the door. Doyle gives an uncertain wave with his half-eaten doughnut. DOYLE (CONT.) ...See ya. CUT TO: INT. CASINO CAMERA BOOMS DOWN. The casino is a true Caesar's Palace style show place featuring a dragon-prowed Viking ship that's the CENTERPIECE of the room. The gaming floor is packed with happy PARTY GOERS. CAMERA ENDFRAMES on Charlie Schumacher as he snatches a drink off a passing WAITRESS' tray and turns to a gorgeous Valkyrie change girl whose helmet has two large horns sticking out of it. CHARLIE Hello tall, Nordic and beautiful. One look at you and I know how your hat feels. Suddenly Mrs. Peenman appears, pushing her way past Charlie with a paper bag filled with quarters. MRS. PEENMAN Out of my way, Buster. Mama feels lucky tonight. She jams a quarter in a slot machine right behind Charlie and throws her weight behind the handle. ANGLE ON THE FRONT DOORS as they suddenly EXPLODE inward, blowing Security Man off their feet. Dorian/Mask steps through the smoking ruin dragging Tina after him. He's flanked by a half dozen of his heavily armed men. DORIAN/MASK Now... let the games begin! Armed Security pull their weapons, but are immediately blown away by the thugs. The crowd is thrown into a panic. CUT TO: INT./EXT. POLICE CAR As it tears through the streets of Edge City with its siren BLARING. Kellaway sits in the rear of the car with his hands cuffed behind his back. Stanley's at the wheel with Milo at his side. Kellaway is livid. KELLAWAY Ipkiss, I'll have you locked up for this so long sex will be safe again! Kellaway is thrown into the door as Stanley SCREECHES around a corner. CUT TO: INT. CASINO The frightened crowd mills about in terror as Dorian's thugs seal off the exits. They frisk down their captives for loot and jewelry. Orlando runs up to Dorian/Mask with canvas sacks filled with money. ORLANDO We scored over half a mil from the safe! A SECURITY GUARD now pops out from behind a mock-stone pillar and opens fire on Dorian. BLAM. BLAM. BLAM. Orlando dives for cover. The bullets seem to have no effect as Dorian rips a Viking spear off a wall display and hurls it straight across the room with supernatural force. The spear SKEWERS the Security Guard, sends him flying back and PINS him to a slot machine which immediately rings TILT and spills out quarters. DORIAN/MASK You can come out now, Orlando. I think he got the point. Dorian hauls Tina over to the Vikin ship where his men are wiring up boxes of C-7 and sticks of dynamite. He slams her up against the prow as his men lash her in place with coils of rope. TINA Let me go you bastard! DORIAN/MASK What's wrong darling? This is your big production number. You of all people know how important it is to go out with a bang. Dorian pulls his walkie talkie out. DORIAN/MASK (CONT.) Eddy... How goes it? EXT. PIER - PILINGS Sweet Eddy and two other Thugs are busy wiring explosives to the pillars that support the pier the casino rests on. SWEET EDDY All set boss. INT. CASINO Dorian plugs the timer into the nexus of all the wiring. DORIAN/MASK Excellent. The real party starts now and ends in... (sets timer) Thirty minutes. EXT. CASINO - PARKING LOT Stanley SCREECHES to a halt in the cop car. INT. CAR He turns to Kellaway, brandishing his gun. STANLEY Okay. When I push the red button the safety is off, right? KELLAWAY I'm not helping you, Ipkiss. STANLEY Alright, suit yourself. (to Milo) You stay and be a good boy. As soon as Stanley shuts the door Milo starts pawing at the handle. INT. CASINO The Swede scrambles under a crap table to escape the mayhem and bumps into Mayor Tilton. TILTON Hey, watch it! Oh, Arnie... Suddenly the entire table is lifted away as if it were a child's toy and they look up into the evil grinning of Dorian/Mask. DORIAN/MASK Swede... my dear, dear business partner. And Mayor Tilton! What a surprise. We have just enough time left to play my favorite game! INT. CASINO KITCHEN As Stanley sneaks in an employee's door, the coast looks clear. He snaps off the kitchen lights. Stanley spots a THUG standing guard outside the kitchen's double doors. He ducks back down behind a barrel and gets an idea. The label on the barrel reads "Olive Oil". INT. CASINO The Thug seems to be enjoying the mayhem when he hears an off camera WHISTLE. He pulls out his .45 and cautiously enters the kitchen to investigate. INT. KITCHEN The Thug enters, brandishing his gun and cautiously makes his way into the kitchen. C.U. - FOOT He steps into a large slick of olive oil and his legs shoot right out from under him. SLAM. THUG'S P.O.V. as he slides across the kitchen floor at high speed. THUG Whoaaaaa! Suddenly Stanley pops up from behind the overturned barrel with a huge frying pan and slams it right into camera. CLANG. STANLEY plucks the gun from the unconscious Guard and sneaks into the casino. INT. CASINO Stanley appears out of the kitchen doors and gets the attention of the nearest captive party-goers. STANLEY Pssst. You guys. Over here. Charlie turns around. CHARLIE Stanley! What are you doing here? He motions them over to the kitchen and hands Charlie the gun. STANLEY Start sneaking people out the back. Watch out for the oil. Stanley now makes his way deeper into the casino. EXT. PARKING LOT - POLICE CAR Milo finally manages to pop the lock and the car door opens. He scurries off towards the casino. INT. CASINO The Swede struggles desperately as he's tied to a spoke of a huge wooden NUMBERS WHEEL, a kind of upright roulette wheel that's one OF the casino's attractions. Mayor Tilton and two other town dignitaries are tied to the other three spokes. SWEDE Let me offa this thing, you lousy scumbag! Dorian/Mask pulls three Viking hand axes off a wall display and casually begins to juggle them. DORIAN/MASK Sorry Swede. I've got an ax to grind with you. In fact I got a couple and I'm afraid they may give you a splitting headache! He nods to one of his men who gives the wheel a big spin. As the captives SCREAM Dorian prepares to throw his first ax. DORIAN/MASK (CONT.) Round and round she goes. Who dies first, nobody knows! ANGLE ON THE VIKING SHIP Stanley pops up behind the dragon-prow and starts untying Tina. TINA Stanley! STANLEY Hang on, Tina. TINA Stanley, look out! Stanley ducks just as a Viking ax splits the dragonhead right next to him in half. Dorian ROARS with rage as he rushes across the room to the boat. Stanley pops back up firing his gun. BLAM. BLAM. BLAM. Dorian takes the direct hits. He grins horridly at Stanley and he extends his slimy tongue. C.U. - TONGUE The bullets all stand there on end in a neat little semi-circle. Dorian now sucks in a mighty breath. Stanley grabs a Viking shield and protects Tina and himself. Dorian blows the bullets back at Stanley. RAT-TAT-TAT-TAT. They batter the shield. Stanley's knocked backwards from the impact. A HUGE GREEN CLAW drags Stanley out and SLAMS up against the prow next to Tina. One of his men immediately begins tying Stanley in place. DORIAN/MASK How touching! The two love birds. Just to show you there's no hard feelings, I'm going to let you spend the rest of your lives together. TINA You've got it all wrong! I could care less about this creep. Nobody could replace you, Dorian. Nobody! DORIAN/MASK If you think a line like that's going to save your life, you're dumber than he is. TINA (SOFTLY) Okay. Maybe it's too late. Then all I want is... a kiss. DORIAN/MASK A kiss? TINA One last kiss. DORIAN/MASK (a beat) Sure, why not... Dorian/Mask sticks out his slimy TWO-FOOT TONGUE, and stick his eyebrows back. Hiss massive lips flutter as he puckers up. But Tina turns her head way. TINA No! From the real Dorian. The guy I used to love. (BREATHY) Nobody ever kissed me like Dorian Tyrel. ORLANDO No time, boss. This building's going down any minute... DORIAN/MASK I make the decisions! And I've decided... Tina stares at him dreamily. Ego gets the better of him. He reaches up and RIPS the mask off. SSSSHUPP! DORIAN/MASK TRANSFORMS BACK INTO DORIAN DORIAN ...to give the girl one last thrill. He plants his mouth on Tina's -- kissing her roughly. Tina really gets into it. But Stanley watches as Tina slyly positions the leg that he freed up. And... TINA DROP-KICKS THE MASK right out of Dorian's hand. It flies into the air. A SERIES OF SLO-MO SHOTS AS... THE MASK SOARS THROUGH THE AIR... DORIAN, ORLANDO and SWEET EDDY ON THE RUN... THE MASK REACHES ITS SUMMIT THEN TUMBLES DOWN THROUGH THE AIR... HANDS REACH HIGH... FINGERTIPS GRAZE IT... But then suddenly... shockingly... A SNOUT, FLAPPING TONGUE AND BARE TEETH soar straight up through thr human hands and... MILO GRABS THE MASK as though it were a Frisbee. Everyone's stunned. REAL TIME The dog lands back on the ground -- the mask firmly in his mouth. He starts to run away but... Dorian grabs his hind leg. DORIAN C'mere, you ugly little mutt... MILO legs pumping frantically, is losing ground. At the last second, he drops the mask and jams his muzzle into it. Lightning FLASHES. DORIAN'S eyes widen as MILO TRANSFORMS INTO -- DOG/MASK! His pint-sized doggy body now has a giant-sized GREEN HEAD with a double-row of JAGGED CANINE TEETH. The plain collar now sparkles with GLEAMING STUDS. RAZOR-TOENAILS distend. The eyes glow hell fire green. DORIAN (CONT.) Whoa! Reflexively, Dorian lets go. Dog/Mask unleashes an incredibly loud SONIC WOOF that explodes glass front slot machines all around them. DORIAN (CONT.) Don't let it get away! Sweet Eddy lunges at the Dog/Mask. But the canine-creature runs between his legs and CHOMPS DOWN on his butt. The tiny dog picks BIG Sweet Eddy up and shakes him back and forth, like a rag doll. STANLEY watches this, then takes a look at the TICKING DETONATOR. Less than a minute to go. He strains at his bonds -- forcing the rope into a FLAMING VIKING WALL TORCH. Tina winces as Stanley's hand-rope begins to burn. DOG/MASK uses Eddy as a club -- knocking other Thugs down. SWEET EDDY Get him off me! Dorian raises his Uzi and SPRAYS THE AREA WITH GUNFIRE! Dog/Mask leaps away in the nick of time. ORLANDO C'mon! We've got the money. Let's get the hell out of here! DORIAN I gotta have that mask! Dorian chases Dog/Mask into the maze of slot machines. STANLEY burns through his ropes. He frees himself and races to the detonator. 15 - 14 - 13 - 12 IN THE MAZE OF SLOT MACHINES Dorian stalks Dog/Mask, whistling for him to come. A stream of WATER now trickles down on him from above. Dog/Mask is in the chandelier taking a whiz and snorting doggie laughter. Dorian sprays the ceiling with gunfire, but... DOG/MASK pounces on Dorian, knocking him flat, then races out of sight. VIKING SHIP Stanley yanks one wire after another, but the timer still ticks down -- 5 - 4 - 3 - 2 -- Stanley pulls the last wire. The timer stops. Tina exhales, relieved, as Stanley unties her. TINA (kissing him) You did it... C.U. - TIMER as it TICKS back to life... 2 - 1 - 0! A muffled EXPLOSION rumbles from beneath the floorboards. EXT. THE PIER - NIGHT The two front support pilings BLOW UP. INT. CASINO - SAME TIME The entire floor TILTS. Gaming tables and slot machines start to slide by. Stanley grabs Tina and hangs onto the prow of the boat. STANLEY Milo! Milo, come! Dog/Mask appears racing up the tilting floor and leaps into the boat as... THE LAST TWO PILINGS BLOW UP! The entire casino floor drops straight down. THE SHIP SLIDES straight across the gaming floor towards the huge front doors. DORIAN SCREAMS as the boat slides right over him. EXT. HARBOR - NIGHT The Viking ship CRASHES through the doors and SPLASHES down in the marina as the entire casino sinks into the water. EXT. VIKING SHIP - NIGHT It bobs for a moment, then floats! Stanley, Tina and the dog emerge from their hiding place, under one of the dining tables. They can't quite believe they're alive. Their faces reflect romantically from the light of the Viking torch sconces. TINA Stanley... we made it. We're alive! Milo lets loose a happy "Whoof!" and leaps into Stanley's arms. Stanley removes the mask with a SCHWOOP and Milo transforms back into a regular dog. DORIAN I'll take that. They turn as DORIAN clamors over the side of the boat. He's got a gun pointed right at them. Stanley slides an iron grappling hook through the mask's eye holes and holds it overboard. STANLEY Hold it right there or you'll be looking for this on the bottom of the harbor. Dorian stops in his tracks. DORIAN Drop it and I'll kill you all. STANLEY You can have it. But she gets to go. DORIAN Fine. TINA Go where? STANLEY Swimming. We're still close to shore. DORIAN Five seconds, Ipkiss. Stanley tosses a wooden barrel overboard and turns to Tina. STANLEY Go ahead. Hurry... Tina takes the dog and slips overboard. Dorian moves in. DORIAN Okay. Put it down. Right over there. Dorian waves his gun at the nearest dining table. Stanley starts to put down the mask. But at the last instant -- he tosses it INTO THE PILE OF TNT As Dorian turns to see where it lands, Stanley jumps him. Dorian FIRES but misses. Stanley jumps Dorian -- knocking his gun away. Dorian falls into one of the WALL TORCHES -- toppling it. The TWO MEN slug it out as a FIRE STARTS. It burns closer and closer to the dynamite -- the mask in the middle of the pile. IN THE WATER Tina and Milo cling to the floating barrel. TINA (sees fire) Stanley! The dynamite! BACK ON BOARD Dorian pummels Stanley with a flurry of jabs to the head as the FIRE SEARS toward the explosives. But Stanley counters with a solid right that rocks Dorian back. Dorian grabs him by the collar to retaliate but sees... The FIRE licking at the dynamite casing on which the mask lies. Dorian lunges for the mask. Stanley jumps overboard. The dynamite explodes! FROM THE WATER Tina and Milo watch as the ship blows up. The fireball burns bright, smoke everywhere. TINA ...Stanley? Beat. Stanley surfaces gasping for breath. Tina pulls him over to the barrel and Milo licks his face. And then the smoke parts revealing... DORIAN/MASK standing on the remains of the boat. Like Wile E. Coyote, he's charred pitch black, with singed hair and clothes. But like a cartoon -- he just shakes off the soot and stands there in all his fearsome Dorian/Mask glory. DORIAN/MASK What a BLAST! This mask makes me a god! He picks up the last fizzing, but UNDETONATED STICK OF TNT and laughs. DORIAN/MASK (CONT.) I'm immortal... He raises his arms and thunders to the heavens. At that moment -- the SUN peaks over the horizon. DORIAN/MASK (CONT.) Do you hear? I'm immortal! The sun's rays hit the Mask. In an instant, he transforms back to regular Dorian. The mask pops off Dorian's face -- useless. Dorian stares dumbfounded at the TNT stick in his hand as it -- KA-BOOM! Dorian is blown to smithereens. EXT. MARINA - DAWN There are cops everywhere. Lt. Kellaway wraps Tina in a dry blanket. Stanley holds out his arms. STANLEY Back to jail, Lieutenant? LT. KELLAWAY Ipkiss, I'd like to lock you up for the rest of my life. But the mayor and a hundred other witnesses say Dorian Tyrel's the bad guy and you're the good guy. So no jail. Just a downtown parade at noon. (RESIGNED) And I've got to be your escort. Stanley smiles and puts his arms around Tina. They head down the beach. The two young lovers and Milo walk past -- CHARLIE SCHUMACHER standing near the crowd of post-party VICTIMS being helped by the POLICE and MEDICAL PERSONNEL. He's still hitting on that STATUESQUE Valkyrie change girl. CHARLIE So I deck this thug, grab his gun and tell Stanley, "Take cover, Buddy. I'll get these folks out sae and sound." Y'know we should go back to my place so I can tell you the rest of the story. ANGLE ON SHORELINE Mrs. Peenman is walking along grumbling to herself when she notices the mask floating to shore with some of the wreckage from the boat. MRS. PEENMAN Just look at this mess... She picks it up out of the surf and The Mask FX theme begins to pound in her head. Back to Charlie and his Valkyrie. CHARLIE So what do you say, sweetheart? Let's you and me go back to my place and scramble some eggs. Suddenly Mrs. Peenman/Mask ZZZIPS up and sweeps Charlie off his feet. She's the most whacked-out Mask creature yet with a huge GREEN Witch Hazel face and Bride of Frankenstein hair. MRS. PEENMAN/MASK Hello short, dark and handsome! C'mere and give Momma a kissy-poo! She starts SMACKING her king-sized lips horribly. CHARLIE (TERRIFIED) Yah! Put me down! She jams a hand down the front of Charlie's pants. MRS.PEENMAN/MASK Let's see what caliber pistol you're packing there, soldier boy! She gets a grip and squeezes. AHOOGA! AHOOGA! Charlie SCREAMS, ttears himself from her grasp and starts running for his life. CAMERA PANS with Mrs. Peenman as she RICOCHETS after him hooting laughter. We ENDFRAME on Stanley and Tina as they watch the BIZARRE spectacle pass them by. They turn and embrace for a well deserved kiss as Milo yips happily and squirms up between them. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Master and Commander.txt b/unformated_scripts/Script_Master and Commander.txt new file mode 100644 index 0000000000000000000000000000000000000000..c85d22b3b5d038adf2792e956cc1a7ae307c8286 --- /dev/null +++ b/unformated_scripts/Script_Master and Commander.txt @@ -0,0 +1 @@ + MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD Written by John Collee & Peter Weir 1. THE OCEAN - DUSK From blackness, a pattern slowly emerges - shimmering, abstract lines form into waves cresting above steep-sided valleys of water. Finally the picture settles into a high, wide shot of the ocean and an adjacent coastline. In a corner of the screen, the last rays of sunlight touch a small, dark shape causing it to glow in the gathering darkness: A three-masted sailing vessel. 2. THE SHIP - DUSK [ ] She passes close enough to touch: hawsers as thick as a man's trunk, massive black-painted timbers, muzzles of her great guns projecting from every gun-port. As the ship glides past and away from us, her name is visible, picked out in dull gold on the transom - Surprise. 3. ANOTHER ANGLE - DUSK The ship in silhouette - RUN CAPTION: HMS Surprise Armament: 28 guns Crew: 197 souls. Location: Coast of Brazil, November 1806 Mission: Intercept and destroy French Privateer, Acheron 5. THE GREAT CABIN - DUSK CAPTAIN JACK AUBREY, with his back to us, bends over the table, studying charts. His servant, KILLICK, a pig-tailed, ear-ringed man of indeterminate age, refills the glass at his elbow. JACK drinks. The glass catches the setting sun as it drops below the great casement windows. KILLICK lights a lamp, places it next to his captain and retires. JACK (Absently) Thankee Killick 4. THE CHARTS: a beautifully drawn chart of the South American coastline. Jack's hands place a second chart on top of the first, bringing the north-east coast of Brazil into view. Then another, each one enlarging the view of the preceding one. On the final chart we can read navigational symbols and detailed information in fine copperplate script: 6 fa. Shoals suddenly to half fa. Rocks (exact position unknown). Hidden reef. 6. BELOW DECKS - NIGHT Another lamp illuminates 1st lieutenant TOM PULLINGS, his pleasant open face marred by a diagonal sabre scar running from brow to chin. He is making a final tour of inspection before lights out.7. THE DOCTOR'S CABIN - NIGHTDr STEPHEN MATURIN, a keen naturalist, sits at his desksurrounded by specimen jars, books and scientificinstruments.[ ]TOM PULLINGS glances in as he moves past the cabin door, butthe doctor, placing weights on some finely-balancedstructure, is too engrossed to notice him.8. MIDSHIPMAN'S BERTH - NIGHTIn the quarters for the 'young gentlemen', boys trained froman early age to become officers, four lads play at marbles.PETER CALAMY (16) and LORD BLAKENEY (13) are arguing aboutwhether a marble was inside outside the circle as their berthmates BOYLE (15) and WILLIAMSON (14) wait for the game toresume. BLAKENEY In CALAMY Out. BLAKENEY In. It was here. The line is in. CALAMY It was there. It was out. Out BLAKENEY In. Tell him Boyle. It was in I say.The lamp moves on, illuminating a fifth midshipman, mucholder than the rest. This is HOLLOM, aged 24. He's asensitive-looking fellow, idly strumming a guitar, glancingup briefly as TOM PULLINGS passes.9. GUN-DECK - NIGHTBy the galley stove at the forward end of the gun-deck a fewof the foremast hands enjoy a last smoke and a mug of grog.Faster Doudle passes his mug to Higgins who guzzles it downgreedilyOne man, BECKETT, sits shirtless while another, AWKWARDDAVIES, brow furrowed with concentration, tattoos the firstlink of what will be a great chain round BECKETT's waist.JOE PLAICE, at 45 one of the oldest men on board, stops inthe middle of a story as PULLINGS passes, everyone knucklingtheir foreheads in deference to the officer.10. BETWEEN TWO GUNS - NIGHTBoys no more than eight or nine years old play a game of'jacks' with some sheep bones. ADDISON, RYE and SWIFT are thepowder-monkeys who ferry powder from the hold to the gunsduring action.11. BERTH DECK - NIGHTA hundred hammocks swing like strange pods, close packedunder the immense beams. Most of the occupants are alreadyasleep: here an arm, there a lolling head HOLLAR Lights out!On the bosun's command, the last of the off-duty men climbinto their hammocks.The last lights are extinguished. Only PULLINGS' lampremains, moving up the ladder to...12. WEATHER DECK - NIGHTThe uppermost or weather deck consists of two parallelgangways linking the forecastle (forward) to the quarterdeck(aft).The lead is dropped from the bows. As PULLINGS walks aft tothe quarterdeck as each man lets go his coils of the deep sealine. CREWMEN Watch there! WatchSomewhere a bell sounds and the silent figures of the watchcall from their stations. WATCH CAPTAINS - Lifebuoy all's well! - Starboard gangway all's well! - Starboard bow all's well!Over this, the splash of the lead and the repeated cry of"Watch there! Watch!"13. QUARTERDECK - NIGHTPullings has joined the officer of the watch, 2nd LieutenantMOWETT, a short tubular man in his early 20s.JACK climbs up a ladder and we see him properly for the firsttime: a heavy-set man in his thirties, thick blonde hairclubbed at the backAt the binnacle, by the ship's great wheel. The helmsman,BONDEN - a London cockney with a boxer's face - gives JACKtheir current course.JACK nods, then moves to the gunwale with PULLINGS. Jacksniffs the air and speaks in a low voice. JACK How I do hate a lee shore PULLINGS You think we'll have long to wait? JACK (shrugs) Intelligence reports had her leaving Boston on the 12th, that should put us at least a week ahead. PULLINGS She'll be in for a surprise, Sir.The pun on the name of their ship was unintentional, but JACKlets out a great hoot of laughter, shattering the tense,expectant silence. JACK In for a "Surprise". Now that's wit. "In for a Surprise". 'Pon my word I shall have to tell the Doctor.He leaves, still laughing. Those on the quarterdeck are moreamused by JACK's unique sense of humour than by the feeblejoke itself. JACK (CONT'D) (calls back) Don't put her on the reef, Tom. PULLINGS I'll try not to, Sir.13A INT. STEPHEN'S CABINJack looks around the door JACK What do you have there, Stephen?He enters. Stephen has wired together the thorax of a bird'sskeleton and is suspending lead weights from it STEPHEN The breastbone of a frigate bird. Do you remark its prodigious strength.Jack bends forwards into the candle-light, sharing hisfriends keen interest in this strange assembly JACK I do and I am not in the least surprised, for it reminds me of nothing so much as a ship under sail. See here the bowsprit. Here the mast, and here the backstays running aft. STEPHEN (adds another weight) Ten pounds sixteen ounces. I am preparing a paper for the Royal Society.Jack straightens, moving with care between the bottledspecimens, open books and brass measuring instruments JACK I was thinking when our business here is finished, we will have to put in to Recife for provisions. You may care to take a tour round the forests of Brazil, botanizing and collecting specimens. An anaconda or two. A giant cassowary. STEPHEN I should like it of all things, Jack. Thankyou.14. WIDE ON THE SURPRISE - NIGHTTime passes. The fog intensifies. White coils of mist driftand eddy over the glassy sea, RUN FINAL TITLES as the shipmoves slowly through the night.15-16 (ADDED TO SC 12)17. IN THE GREAT CABIN, LATER - NIGHTThe chronometer ticks. The coffee-pot swings on its gimbals.JACK lies awake in his hanging cot. Finally he gives uptrying to sleep. JACK Killick! Killick there! Strong coffee, and light along my topcoat.18. ON THE QUARTERDECK - NIGHTJACK on deck again. QUARTERMASTER Six bells and all's well.A hint of daylight to the east. The mist beginning to shiftas an offshore breeze picks up. LEAD-MAN 90 fathoms, white shelly sand. CALAMY Four knots, Sir.BONDEN is still at the wheel. BONDEN Oi reckon as she's liftin' Sir, if you feels like putting your Èad down.JACK takes his advice and goes below again.19. - THE SHIP (TIMELAPSE)The sky a shade paler. A wind coming up.20. ON THE STARBOARD GANGWAY - DAWNThe lookout, VINCENT, peers into the mist. VINCENT Starboard gangway ahoy.HOLLOM, the oldest of the midshipmen, whose watch it now is,appears at his shoulder. HOLLOM What is it, Vincent? VINCENT I heard something. A bell.HOLLOM peers out into the fog, then turns. HOLLOM Native fisherman perhaps. (shouts) Mr. Calamy!Midshipman CALAMY comes running forward. HOLLOM (CONT'D) The lead, if you please.Young CALAMY takes the lead, scrambles into the chains at thebow of the ship and throws out the lead line.HOLLOM takes up a telescope and searches through the eddiesof fog.Over HOLLOM's P.O.V. we can hear CALAMY sounding the depth. CALAMY (O.S.) Sixty fathoms, white sand!Hollom folds his telescope HOLLOM Well. It can't have been a reef marker.CALAMY, unconvinced, checks through his own telescope HOLLOM (CONT'D) False alarm Mr CALAMYCALAMY ignores him, still scanning21. TELESCOPE POVThe telescope pans. A dark shape in the distance. The mistparts a little. A ship. Coming straight toward them.Close on CALAMY as he turns to camera, screaming - CALAMY Enemy on the larboard bow! Beat to quarters!22. JACK'S SLEEP CABINJACK instantly awake, piling out of his bed, still dressed.23. BERTH-DECK - DAWNA drum blazes as the off-duty watch tumble out of theirhammocks and run to their battle stations.24. COCKPIT, ORLOP DECKRows of wicked-looking instruments are hastily thrown on theoperating table by PADEEN, MATURIN's servant - saws,retractors and knives glistening in the lamp-light.DR. MATURIN hurries in blinking sleep out of his eyes as heties on his black apron - behind him, HIGGINS, the assistantsurgeon.25. POWDER MAGAZINELittle ADDISON and his team of powder-monkeys run with theirboxes of gunpowder to the...26. GUN-DECKAs LAMB, NAGEL and the other carpenters bash down cabinpartitions, transforming the entire gun-deck into a singlecontinuous space, from the bows to the Captain's Great Cabinin the stern.As the crews swarm about their guns, grotesque shadows arethrown on the walls and ceiling by the numerous battle-lanterns arriving to illuminate the scene.27. WEATHER-DECKJACK and PULLINGS stride the length of the deck toward thebow [ ] . They pass crews manning the carronades whileothers swing the ship's small boats out and over the side tobe towed behind the ship.28. FORECASTLEJACK and PULLINGS join HOLLOM. JACK Where away?CALAMY points forward and a little to the left of theSurprise's bow. CALAMY Not two miles distant, Sir.JACK and PULLINGS stare through telescopes into the fog,which is beginning to lift. JACK lowers his telescope. JACK Mr. Hollom? HOLLOM I saw nothing, nor heard anything either. Shall I ask them men to stand down?JACK steps closer to the bow, and again lifts his telescope.29. TELESCOPE P.O.VA slow pan across the sea, past a darker patch of fog. Whatwas that? The lens pans back toward the darker area to see aseries of flashes.30. CLOSE ON JACKHe turns and shouts to the crew - JACK Lie down! Everybody lie down!His words are underscored by a series of distant explosions,followed by a deep rumble, then a tearing, howling sound.31. ANGLE ON THE SKYChain shot and grape, bar and canister shriek through theair. A blizzard of iron.32. ON THE DECKThe crew hit the deck, the last to drop is BONDEN hanginggrimly to the wheel.33. MIDSHIPMAN BLAKENEYClose, as he tries to bury himself in the deck timbers.34. DELETED35. DELETED.36. QUARTERDECKThe broadside hits the bows and a cloud of splinters andmetal scythes the length of the deck at head height. This israpidly followed by billowing smoke from a small fire nowburning on the forecastle.CALAMY is working at putting the fire out as JACK issues astream of orders. JACK Run out the guns! Marines to the tops, and get that wounded man below!He pulls a gold watch from his pocket and checks the time.36A. GUN DECKHollom is nervously supervising a gun crew which includesDAVIES and his mates. HOLLOM ...C-cast loose now... Um swab. That's right. Run out your guns.The men work as a team, largely ignoring Hollom's hesitantinstructions. The shot rack is empty DAVIES Shot. There's no shot!37. QUARTERDECK (CONTD)As red-coated marines led by Captain HOWARD climb into therigging JACK calls to his clerk - JACK Note the time Mr. Watt.An anxious TOM PULLINGS appears. PULLINGS She's out of our range, Sir!JACK calls to his sailing master, ALLEN. JACK Closer, Mr. ALLEN. You must lay me alongside her at pistol-shot.ALLEN purses his lips. He knows what he's doing and slightlyresents the instruction JACK (CONT'D) Mr. Pullings - bow-chasers to fire as she bears.38. P.O.V. ENEMY SHIPShe's crossing their bows, about a mile distant.39. ON DECKPULLINGS is racing up the larboard gangway to the forecastle,past men stacking hammocks as blast protection.40. ON THE FORECASTLEGun-captains stand ready, the slow-match burning in the tubs. PULLINGS Fire on the uproll.The little drummer's huge eyes are fixed on PULLINGS' face.The ship rolls. PULLINGS (CONT'D) Fire!The drum-roll is all but drowned by the blast of the guns.The smoke clears, the gunners look on baffled as their ballsbounce harmlessly off the side of the enemy ship. OLD SPONGE (In Greek) Witchcraft! DOUDLE Never seen the like of it PULLINGS Damn and blast you! See to your guns! Fire high! Fire for the masts and rigging!As the enemy's murderous long guns run out again.41. WIDE ON THE ENEMY SHIPHer French ensign clearly visible as she swings broadside onto the approaching Surprise - again her side lights up in aseries of red flashes.42. IN THE COCKPITBy the dim light of a battle-lantern STEPHEN struggles tohold a wounded man on the table, his feet slipping in poolsof blood on the deck. STEPHEN More sand on the floor, Mr. Higgins!The slightly hung-over HIGGINS reaches for the sand bucketand is thrown over by the awful jarring shock as theAcheron's third broadside hits home.43. IN THE GREAT CABIN -The Captain's crockery smashes to the deck. KILLICK, cursingfreely, stows what he can.44. IN THE ORLOPShards of timber implode, followed by a great spout of waterknocking the massive AWKWARD DAVIES sideways as he runs forthe ladder carrying two cannon-balls.A second explosion, a second jet of water and DAVIES, findinghis feet, starts yelling for the carpenter. DAVIES Wood and Lead! Mr Nagel! Mr Lamb!!45. STAIRSFollow DAVIES as he runs up to the gun-deck with the shotunder his arms past the powder-monkeys ADDISON and SWIFT,canisters of gun-powder slung over their shoulders, then hesees MR. LAMB, the carpenter. DAVIES Orlop! We're holed!As LAMB dives for the ladder.46. ON THE GUN-DECKDAVIES arrives to find a gaping hole opposite where his owngun once stood. Its crew lie scattered, horribly wounded ordead.The dismounted gun and twelve pound shot are rolling arounddangerously. HOLLOM, the sole survivor, is backed againstthe bulkhead, cradling an injured arm.CALAMY emerges from the smoke, meets DAVIES's horror-struckgaze and takes command. CALAMY Davies! Get those bodies overboard! (to HOLLOM) Mr. Hollom sir!HOLLOM sits immobilized by fear. CALAMY grabs the poulterer,JEMMY DUCKS, who has been rescuing the ship's goat, Aspasia. CALAMY (CONT'D) Jemmy - leave the damned goat and take Mr. Hollom below. JEMMY DUCKS Aye, sir!The ship heels as she turns.Midshipman BLAKENEY, Calamy's rival in the game of marbles,turns to see the dismounted gun rolling free. He throws ahammock net under it, stopping its roll before it crushesCALAMY against the bulkhead.CALAMY shoots him a brief look of gratitude and runs aft.BLAKENEY carries on shouting to the powder-monkeys - BLAKENEY More shot! More cartridge!47. HULL OF THE SURPRISEIn the great jagged hole on the gun-deck where the gun wasdestroyed, JACK stands framed, a wrathful soot-stainedfigure. He glances back at his men, hunched and ready,itching to fire. JACK (bellows) Steady... Wait for it!48. WIDE ON THE BATTLEto see the two ships about to pass abreast, the Surpriseheading south as it were, the enemy ship, north.The French vessel is clearly the bigger ship, and from bothcome the sounds of shouted orders and the thunder of drums.They will pass broadside to broadside, 500 yards apart.49. GUN-DECK, SURPRISEJACK watching the enemy, judging the moment. JACK ...wait WAIT! And FIRE!The great guns go off all together. The cannons leaping backbetween their crews. JACK snatches a powder-monkey, ADDISON,out of the way of the lethal recoil.50. QUARTERDECKSmoke clears to reveal holes in the enemy's foretopsail, abowline hanging loose, but again many of her balls havefailed to penetrate the enemy timbers. BONDEN By all that's holy what is that ship made of?His question coincides with a third full broadside from theFrenchman. The Surprise's wheel shattered. BONDEN thrownaside, MR. WATT jerked back to the taffrail, the mizzenmasthit.A rope sheers and JOE PLAICE is smacked on the skull by aswinging boom.Midshipman BLAKENEY, running up on deck, goes to help PLAICEand is struck down by a flying splinter - a shocking wound tohis upper right arm.51. COMPANIONWAYJACK is half-way up the ladder when he falls, scored acrossthe forehead by a musket-ball.Eyesight blurred. Hearing gone. He is dimly aware of smallarms cracking above his head, and someone trying to lift him. JACK Belay there ye poxed son of a whore! MOWETT You must go below, Sir, you must let me help you below!JACK puts a hand to his bleeding forehead and drags himselfback up the ladder.52. IN THE TOPSA furious exchange of fire between CAPTAIN HOWARD's marinesand the sharpshooters in the enemy's rigging.Howard, a big red-faced man, is in his element, laughingmadly every time he scores a hit.53. QUARTERDECKJACK emerges into bloody chaos: screams of the wounded allaround, the enemy ship moving astern in mist and gun-smoke.He wipes blood from his eye as he raises his telescope.54/55. TELESCOPE P.O.V.As the ship passes, her name is visible on the transom -Acheron. PULLINGS V.O Sir....Jack lowers his telescope. Pullings' expression spellscatastrophe PULLINGS It's the rudder.56. STERN OF THE SURPRISEGrim-faced, JACK hobbles to the shattered taff-rail, seesBONDEN soaked, having climbed down onto the stern-post. BONDEN (shouts up) It's shot away below the waterline!58. COCKPITSTEPHEN, up to his armpits in blood, operating on a woundedman, looks up to see three more seriously injured menarriving.He pauses, aware of some change. STEPHEN Why are we not firing?57. GUN-DECKSpirals of drifting smoke. Blackened bleeding men, their gunspointing at nothing FASTER DOUDLE No steerage. NEHEMIAH SLADE We're fish in a barrel59. HIGH SHOTThe fog has rolled back, like a great curtain, to reveal thetwo frigates.The badly damaged Surprise, drifting rudderless.The Acheron, most of her sails intact, beginning the turnwhich will put her in position to finish off the Surprise.60. QUARTERDECKJACK is joined by ALLEN as the enemy vessel starts crossingtheir wake. ALLEN He's coming about, Sir. MOWETT Should I strike the colours?All eyes on Jack, poised on the brink of awful defeat. ALLEN I'm afraid there's nothing else for it.JACK looks from the wall of fog to the three little boatsthey are towing astern. JACK Damned if there ain't. We'll tow her.61. STERN OF THE SURPRISESudden feverish activity, running and shouting as menscramble down into the boats. DAVIES settles himself besideNAGEL in the cutter, turning to look at the approachingAcheron.His P.O.V.: puffs of smoke from its bow-chasers. PULLINGS Sail trimmers away, Warley, make what sail you can! JACK Stern-chasers to fire when she's in range!62. STERN OF SURPRISEGouts of water from the enemy gunfire rise not fifty yardsfrom them, acting as little needed encouragement for theboats to get clear of the stern and pull around towards thebows as....64. MAINMAST/FOREMASTMen scramble up the ratlines, and through the shatteredrigging.65. THE GREAT CABINTwo long brass nine-pounders set up through the open windowsof the Captain's day cabin, open fire on the approachingAcheron. MOWETT Fire!65A. MAINMASTWARLEY, captain of the maintop, directs his men about themare's nest of rigging, getting a tattered top-sail to fillwith what little breeze there is. WARLEY Sharp now with that fancy-line! To the clew line from the reef points, Cully, double up and run her back again!66. QUARTERDECKThrough PULLINGS' telescope: the enemy ship coming straightat them, her guns now getting the range of the Surprise. PULLINGS She's gaining on us. JACK Start the water, carronades over the side.67. ANGLE ON THE QUARTERDECKCrewmen furiously at work cutting the ropes securing the gunson the quarterdeck.68. ANGLE ON THE STERNWater spouts from the pumps, while at the same time thequarterdeck guns tumble into the ocean.(NOTE: they only abandon guns on the quarterdeck, not theirmain armament on the gun-deck.)69. FORECASTLEJACK races to the bows. Towlines strain as the three smallboats pull the great ship toward the curtain of fog andcloud. He yells to the straining oarsmen - JACK Pull! Pull for your lives.70. ANGLE FROM THE BOATSThe men heave on their oars, faces bathed in sweat, thetowlines taut behind them, dragging the Surprise toward thesafety of the fog-bank.71. WIDEto see the Surprise slipping into the cover of fog and lowcloud, only her top masts visible, before they too disappear.72. QUARTERDECKJACK joins his officers looking back into the white-out, inthe direction of the enemy. JACK Quiet now. No calls, no shouts. Mr. ALLEN, signal the men in the boats to head due east.ALLEN hurries toward the bows, as behind them the fog ismomentarily illuminated by flashes of gunfire from theirpursuer.73. THE LEADING JOLLY BOATCALAMY, in the prow of the jolly-boat, sees ALLEN on theship, signalling the turn to eastward.CALAMY signals to BONDEN in the stern of the jolly-boat. BONDEN (urgent whisper) Starboard haul. And stroke! Stroke!One side stops rowing and the boat turns.74. THE SURPRISEA low angle, the ship coming slowly toward us.Beyond, the rowers strain at their oars, the great shiprearing out of the mist above them, as though carried ontheir backs.75. QUARTERDECK OF THE SURPRISESomewhere astern and to the left JACK can hear shouting onthe Acheron. Flashes of cannon fire, directed away from them. PULLINGS He's beating inshore. JACK Keep rowing76 MASTS OF THE SURPRISE, (TIMELAPSE) - NIGHTThe tortured sounds of exhausted men rowing as skeins of mistdrift away to reveal a dim, yellow moon. On the horizon thebattered ship in silhouette, lines stretching ahead to herthree small boats.77 QUARTERDECK OF THE SURPRISE - NIGHTSome of the wreckage has been cleared aside, the woundedmoved below. We can hear their moans, and the constantcreaking of the bilge pumps.JACK and his officers scan the moonlit sea throughtelescopes.JACK's telescope POV: A long slow pan along the dark horizon. ALLEN I believe we've lost her, Sir.JACK collapses his telescope. JACK Pass the word to ship oars78 IN THE JOLLY BOATs. - NIGHTThe rowers slump forwards in their seats, their hands raw andcrabbed.79 STAIRWELL - NIGHTJACK moves down a ladder past LAMB coming up from below,soaking wet and exhausted with his mate Nagel. LAMB Three feet of water in the hold, Sir, but the pumps are keeping it from gaining. JACK Very good, Mr. Lamb.The constant creaking and sloshing of the pumps becomeslouder as he continues down past men handing up food andpowder from the flooded levels below.81. SICK-BAYStephen, his face spattered with blood, is adjusting the wickof a lantern when Jack arrives beside him JACK (sotto) What's the butchers bill? STEPHEN Six dead, thirteen wounded.He notices the gash on Jack's forehead Your head ... JACK (Brushes him away) Later.STEPHEN raises his lantern to reveal groaning bloodstainedmen close-packed in the gloom.Together they make the rounds, passing men propped upright bytheir mates, pale with shock or tense with pain, somestruggling to breathe, some barely alive.JACK clasps hands, whispers encouragement.A bandaged head swims into the glow of the lamp, streakedwith blood and deeply unconscious. JACK (CONT'D) Who's this - Joe Plaice? STEPHEN (sotto) A severe depressed fracture of the skull. I am not sure he will see out the night.Moving on to another barely recognizable face: youngBlakeney, pale and sweaty, breathing hard from the pain andthe blood loss. JACK Mr. Blakeney? BLAKENEY Just a broken arm, Sir.JACK looks at STEPHEN, whose expression is grim, but he saysnothing, steering Jack forward to the foot of the ladderwhere they can speak more privately STEPHEN I will do everything possible. I know you were close to his father.Jack nods, defeat weighing heavily, and makes to go. Stephenputs a restraining hand on his shoulder. STEPHEN (CONT'D) One moment Jack let me look at that brow of yours. JACK Its a scratch. STEPHEN I will tell you if its a scratch or not. Sit down.Jack submits meekly, and sits on a lower rung while Stephenputs a bandage round his forehead JACK How did he find us Stephen? Seven weeks sailing and he happened in darkness on our exact position. Its uncanny. He really is a phantom STEPHEN Unless she was alerted to our presence, and looking for us. JACK Tosh. How could that be? STEPHEN The French have their spies, in Britain as elsewhere. JACK (astonished) You're saying there are traitors in the Admiralty? STEPHEN I am saying do not imagine it was a lone privateer who did this to us. He is working for Napoleon himself, with access to all that tyrant commands, overtly and covertly. So do not let defeat weigh too heavily upon you.82. THE GREAT CABIN - DAWNWan dawn light reflects off the ceiling onto the bloody,bandaged officers, conducting an angry post-mortem as KILLICKserves coffee. ALLEN ...Call her a frigate? Ha! You ask me she's no more a frigate than a painted Dutchman. More like a ship of the line, a two-decker more'n a frigate.MOWETT is trying to staunch a persistent nosebleed. MOWETT One does wonder what manner of hull she has. Our balls seemed to bounce right off her.Jack enters, his head newly bandaged. He walks past theseated officers and stands looking out through the sternwindows. The officers continue their conversation, thoughtheir words are intended for Jack PULLINGS She had the weather-gauge and long eighteens which could hit us beyond our effective range. That's the sum of it ALLEN And 40 guns to our 28, I counted the muzzle flashes. PULLINGS It was an unfair match, no dishonor in defeat no dishonor at all.Jack still has his back to them. He puts his hand in hispocket and finds something there - the shattered fragments ofhis gold pocket watch. ALLEN (sighs) Well, we can patch up our main and mizzen the foresail is too far gone so we'll bend our spare. PULLINGS Sir.Jack finally turns. PULLINGS (CONT'D) Mr. Allen is confident, with basic repairs, we can get home as we are... allowing for a stop in Jamaica. ALLEN At Port Royal we can haul her into dry- dock, and hopefully get her home without... JACK We're not going home.An expectant hush. KILLICK is all ears, as he picks up thecoffee cups and places them carefully on a silver tray. JACK (CONT'D) What is our purpose here gentlemen? Why were we sent? To punish a blackguard privateer who has decimated our Atlantic whaling fleet and now threatens to do the same in the pacific. Are we to leave those ships to his mercy and slink back into Portsmouth - another defeat to add to the list. Is that what we draw our wages for? I say we pursue her and pay her back with interest ALLEN With respect, Captain, she could be half- way to Cape Horn by the time we're repaired and underway. JACK (sternly) Then there's not a moment to lose.83. OUTSIDE THE GREAT CABINKILLICK exits the cabin with the tray of coffee cups. As hepasses them to his mate, BLACK BILL - KILLICK (a whisper) We're for the Horn.84. THROUGHOUT THE SHIP - DAWNWord passes like lightning from the wounded in the orlop, tothe beak of the ship MUTTERED VOICES AD LIB - The Horn you say? - Never! In this condition? - Eh? What news mates - Heading for where?!85. FORECASTLE - DAWNA few of the old 'Surprises' have gathered for a smoke, allof them men who've sailed with JACK before: Jittery alcoholicHiggins, loyal Nehemiah Slade, sharp-faced tobacco-chewingFaster Doudle, and the big Welshman Awkward Davies, stillshaken by the loss of his gun-crew. higgins We're for hell in a hand-barrow if you ask my opinion slade I'm game. If the captain says we can take her we can take her. DAVIES Can we catch her is the question. And if we do what's different? She'll just hold us off with them long eighteens til she sends us all to the bottom. All for what? DOUDLE I'll tell you for what, matey. She's a privateer, loaded with all the gems of Araby. Think of the gold. Think of the prize-money. HOLLAR Hoi there! You men jump to it!86. WAIST OF THE SHIP - NOONThe gratings are hauled aside and light floods down into thegun-deck.87. GUN-DECK - DAYPart of a huge tree-trunk - spare timber for repairs - ismanhandled by a dozen crewmen. HOLLAR Heave. And heave. Handsomely now. One long pull. Belay!88. QUARTERDECK - DAYCrewmen labour at the capstan. HOLLAR (O.S.) Two six heave! Two six heave!The huge log rises from below and hangs suspended from itsgantry. JACK shouts down from the quarterdeck - JACK Have her placed along the gunwale for now, Mr. Hollar, and the guns moved to that side also.89. ABOVE JACK'S HEADMen are hanging in the rigging throwing down damaged sectionsof rope. FASTER DOUDLE All clear below!90. QUARTERDECK - DAYJACK dodges the falling rope, moving back, past NAGEL and hismen who are cutting out damaged sections of the gunwale withsaws and adzes, prizing up decking and wrestling with thewrecked steering mechanism.91. THE STERN - DAYJACK looks down to where PULLINGS and others have lifted thebroken rudder from its hinges.92. WIDE SHOT - DAYThe ship swarming with men, cutting, splicing, hammering andhauling. Every able-bodied soul hard at work.93. QUARTERDECK - DAYAn optimistic breeze has picked up, fluttering the tatteredensign.The deck is now sloping at a forty-five degree angle. KILLICKhands a sandwich to Pullings who passes it down to JACK. JACK Damn this wind, Mr. Pullings! The Acheron will be making a hundred and fifty miles a day in this. PULLINGS Aye, but hugging the coast, and stopping to board the odd merchantmanJACK smiles at this and bites into his sandwich.To the uphill side, carpenters are erecting a scaffoldingover the side of the ship.94. THE SHIP - DAYThe ship's copper-plated keel is partly revealed as the menclamber and slip about on the steeply-sloping side erectingscaffolding. The tropical heat resounds with shouts, cursesand hammering.95. SIDE OF THE SHIP - DUSKCarpenters working inside the scaffolding, are fitting newsections of wood into the holes low in her hull. LAMB Down. Down. Stop.The new piece of wood is an almost perfect fit. MR. LAMBmarks the places where it is jamming. LAMB (CONT'D) Up again.Then he begins to work on it with his rasp.96. UNDERWATER - DUSKAmong tropical fish, a diver, a Greek crewman, 'OLDSPONGE' (father of YOUNG SPONGE) a hammer at his belt, plugsa few smaller holes with hemp fibre, then surfaces to...97. THE SIDE OF THE CUTTER - DUSK OLD SPONGE (In Greek) The smaller bit. No. That bit there.YOUNG SPONGE passes him a piece of lead and some nails andOLD SPONGE dives again.Our P.O.V. descending into the sea as...98. WAIST OF THE SHIP - NIGHTRoaring flames, flying sparks, the clang of metal on metal. Aforge has been set up. Powder-monkeys sweat on the bellows.The ship's blacksmith is churning out iron bolts, pintles andgudgeons, which are snatched away by NAGEL with tongs andthrown into a bucket of water to cool.A few yards away, wood chips fly from LAMB's adze as theship's massive new stern post takes shape.The new rudder is laid out flat, already cut to its finalshape and being strengthened with great nails and iron bandswhich NEHEMIAH SLADE and AWKWARD DAVIES are nailing intoplace.The hammering travels through the ship to...99. THE SICK BERTH - NIGHTBLAKENEY with his splinted arm jerks awake, feverish andconfused. BLAKENEY No. No. Not through my nose! CALAMY Its alright. William. You were dreaming.Blakeney looks around, disoriented and finds Calamy by hisside. BLAKENEY Joe Plaice told me when you die they sew you up in your hammock with the last stitch through your nose... to make sure you're not just sleeping CALAMY You know old Joe, always telling [ ] stories. BLAKENEY Is it true though? [ ] About the last stitch? CALAMY Come on, you'll be stitching me in mine first. BLAKENEY (drifting) Not through my nose. You'll tell them. CALAMY (nods) Nor any other part of you.Trying to make light of it, though he fears BLAKENEY isdying.100. SICK BAY, LATER - NIGHTCALAMY has fallen asleep by BLAKENEY's side. He wakes to findSTEPHEN sniffing BLAKENEY's wound. CALAMY Is it mending, sir? STEPHEN No, I'm afraid it will not do.101. THE COCKPIT - NIGHTBLAKENEY is lowered onto the table, delirious. CALAMY holdshis head and PADEEN, MATURIN's giant manservant, his legs,which are lashed together. BLAKENEY No. Mamma. Mamma. STEPHEN It is the laudanum speaking. You will be a regular Nelson.He tests the edge of his knife with his thumb.CALAMY places the leather gag between BLAKENEY's teeth.Padeen mumbles a Gaelic prayer. STEPHEN turns and gripsBLAKENEY shattered arm.A sharp, grating noise as STEPHEN works out of shot, cuttingoff the arm.Close on STEPHEN, lips compressed, utterly focussed.He puts down the bloody knife and reaches for the spatula inthe pail of hot tar.BLAKENEY has not uttered a sound, though he is shakinguncontrollably and his face is wet with tears. CALAMY hastears in his eyes also.STEPHEN finishes his work, breathing hard, a gentle smile toBLAKENEY. STEPHEN (CONT'D) There. I have never seen a braver patient.102. SICK-BERTH - NIGHTAn exhausted CALAMY keeps vigil by BLAKENEY's cot. The boywakes, and looks for CALAMY in the darkness. BLAKENEY Peter? Is that you? I dreamed they cut my arm off.Then he realizes, with sudden horror, that it wasn't a dream CALAMY You would have died else.Blakeneys eyes brim with tears and he turns away CALAMY (CONT'D) Come. You can still sup your grog with your left. And I shall take your turn at marbles.103. MIZZEN TOPGALLANT - DAYMOWETT stands in the cross-trees, making a final check on thelashings round the new mizzen top. Below him the great workis nearing completion, men swarming like ants over every partof the hull.MOWETT climbs down past FASTER DOUDLE who has one leg loopedthrough the shrouds and is splicing a rope with both handsand his teeth.Farther down, a patched sail is being furled up tight in itsgaskets.Beyond that, at the base of the main-mast a fascinated groupof men have gathered to watch the Doctor trepanning JOEPLAICE.104. BASE OF THE MAINMAST - DAYSTEPHEN's drill carves out a neat disc of bone to reveal apurplish mass which he starts spooning from the cavity.A small crowd of crewmen pause in their work, watching thedoctor with morbid fascination as he drops the purple stuffin a dish. SLADE (shouts) Is them his brains, Doctor? STEPHEN No, that is just blood. These are his brains.Exposing them to view. Several of the crew move in for acloser look. The armourer hands STEPHEN a flattened coin,which he begins to screw in place over the cavity as the oldhands whisper his praises to the men who have never seenStephen at work. SLADE Physician he is, not one of your common surgeons. FASTER DOUDLE Cured Prince Billy of the marthambles and the strong fives, wouldn't look at you for under ten guineas on land. DAVIES [ ] Knows his birds and beasts too boyo, show him a beetle and he'll tell you what it's thinking.105. THE SURPRISE - DAYA wind causes the ship to turn on its moorings, stirringimpatiently, like a racehorse ready to be off as...106. QUARTERDECK - DAY...JACK jumps down from the mizzen ratlines. JACK Let us be off, Mr. Allen! ALLEN Weigh anchor! All hands to make sail. Mr Hollom!107. ON DECKBarefoot men are suddenly running to their stations, racingabove and below, running out along the bowsprit, up theratlines, along the yards.A small group, supposed to be assisting Hollom, arecontrasting slow off the mark HOLLOM Bear a hand there you fellows!The men he is addressing, shoot him a look of distaste whichunsettles Hollom slightly, then they assist him pulling on arope108. QUARTERDECK - DAY MOWETT Up and down Sir, thick and dry for weighing.109. WAIST OF THE SHIP - DAYMen strain on the capstan bars.110. BOWS - DAYThe anchor bursting up out of the sea.111. MASTS OF THE SURPRISE - DAYThe shrouds darken with climbing figures, framed against thesun. HOLLAR (O.S.) Trice up. Lay out. Sheet home! Hoist away!112. QUARTERDECK - DAYHOLLAR staring up as the sails unfurl and fill with wind. HOLLAR Cheerly there in the foretop, our William! T'garnsl sheets! Hands to the braces!Men slide down ropes from high amongst the shrouds, thenswing out and drop down to the deck like monkeys, pullingropes and sails tight with the weight of their bodies.113. WIDE SHOT - DAYThe ship spreading its wings. A sudden cracking of canvas asshe turns and runs directly downwind.114. QUARTERDECK - LATE AFTERNOONThe sun has sunk lower. BONDEN, solid as the rock ofGibraltar is back at the helm, the wind stronger and directlybehind. JACK Speed, Mr. BoyleBOYLE heaves the log clear of the ship's side. The log lineraces out on its reel. BOYLE checks the run, pulls the pin. BOYLE Ten and a half knots, Sir.JACK makes no comment but the news seems to please him.115. CLOSE TO THE WATER - DUSKThe great hull powers past us.116. DELETED117. OUTSIDE THE GREAT CABIN - NIGHTKILLICK prepares toasted cheese in his small serving-area.From inside the cabin, the sound of a violin and a cellotuning up. KILLICK glances irritably at the door and elbowshis mate, BLACK BILL. KILLICK Here we go again: scrape, scrape, screech, screech and never a tune you could dance to, not if you were drunk as Davey's sow.118. INSIDE THE GREAT CABINJACK and STEPHEN are both keen amateur musicians - JACK,violin, STEPHEN cello.As Stephen completes his tuning, Jack experiments with arefrain. STEPHEN Is that one I know, or are we breaking new ground? JACK I am trying to remember that air they played all those years ago at the Governors house in Port Mahon. You remember When we first met. Corelli if I'm not mistaken.He plays another riff STEPHEN If that is your "A" you are very much so. This is A.Jack corrects his A string, plays another few bars JACK Or Locatelli. pom pom pom pom STEPHEN All I remember is you being unable to sit in your seat the entire performance. JACK Aye and you practising apon that poor bishop with your "puddings athwart the starboard Gumbrils" or some such arrant nonsense. STEPHEN (laughs) No. That was off Toulon, during the blockade. At our first meeting they played this:He plays a short refrain JACK No. No. Entirely off the mark. pom-pom- POM I have nowHe plays another variation STEPHEN (enjoying the game) Or was it something like this....Cello answers violin, as they hand it back and forth,improvising freely now with an infinity of variations,sometimes playing together, sometimes separately, suddenlyhitting it, the music soaring and continuing over119. A HIGH POINT OF VIEW, TIME LAPSE - DAYThe tiny ship on the vastness of the ocean. From its side,cotton-wool puffs of smoke.120. GUN-DECK - SAME TIMEA rippling broadside, the crews sweating over their guns. JACK And pitch 'em up! It's spars and rigging we want!MOWETT timing the gap between each broadside. MOWETT Three minutes ten, Sir. JACK Not good enough! We must fire three broadsides to her two. Again!Turning to BLAKENEY, who though much recovered, still lookspale and a little unsure of himself. JACK (CONT'D) Mr. Blakeney? Think you can supervise a gun? BLAKENEY As you will. Sir. JACK 'Spitfire', hop to it.BLAKENEY takes command of the gun. To one side CALAMY is incharge of 'Beelzebub', on the other side HOLLOM is nowdirecting 'Sudden Death'.Once again the orders are given, and the crews, now competingwith each other, go through the sequence: 'Out Tompions','Cast loose your guns', 'Cartridge. Ball. Prime. Run out yourgun. Prime. Aim. Stand clear... Fire!!'121. AND AGAIN - DUSKAs another broadside shakes the deck, STEPHEN hauls hiscollecting net on board and empties out a glistening array ofsea creatures - shrimps, squid and minnows, glinting likeopals in the pink light. MOWETT (O.S.) Two minutes five, Sir. PULLINGS Again!122. AND AGAIN - NIGHTIt's a race. JACK's orders are just a formality, the sequencehaving become so automatic now. JACK Out Tompions... Run out your guns... Prime.Seconds ticking away on MOWETT's stopwatch, barrels float onthe sea a hundred yards out. JACK (CONT.) (CONT'D) As she bears, from forward aft. Point your guns... Fire!!123. THE OCEAN AT NIGHTThe black ship spouting tongues of flame, the water aroundthe target barrels erupting in great spouts. MOWETT (O.S.) Two minutes dead.124. THE GUNPOWDER ROOMBoom! Another splendidly coordinated broadside resoundsthrough the ship as the powder-monkeys come racing downthrough the dreadnought screens to the magazine and back withmore cartridge.For them too it's a race, little ADDISON just ahead of SWIFT,RYE hot on his heels.125. STEPHEN'S CABIN - NIGHTThe sound of the guns is faint down here, at least when heardfrom STEPHEN's perspective - his ears are stuffed with wax.He is surrounded by his specimen bottles, and he looks fromhis microscope to his ledger where he is documenting thearray of aquatic life-forms. He removes his ear-plugs, butthe noise of the guns is deafening and he hastily replacesthem.126. ON THE GUN-DECK - NIGHTMOWETT watches the second hand of his stopwatch, glancing upas he notes -The concentrated fury of the men swabbing, ramming, heavingin, heaving out, firing at a raft this time.And he stops the watch as the first gun fires. MOWETT One minute forty-nine, Sir!His voice is drowned by the firing of the other guns in closesuccession entirely demolishing the raft, the sound mixingwith cheering and the frenzied hammering of Nagel and hismates as the gun-deck partitions are cheerfully re-erected.127. IN THE GREAT CABIN - NIGHTThe table is dragged back into place and settings laid fordinner.JACK enters, his face flushed with victory. JACK Killick? Killick there.KILLICK appears. JACK (CONT'D) What do you have for us tonight? KILLICK Which it's, Soused Hoggs-Face. JACK Aah! My favorite.128. MAIN DECK - NIGHTThe sky a great canopy of stars, the ship racing onwardsthrough the warm night.Crew men and the recovering wounded have come up on deck. Nowthey sit around in groups, supping their grog. Someoneproduces a jaw-harp, someone else a drum.A guitar is passed from hand to hand, stopping with BLACKBILL who sings a ballad in an African dialect.There's an effortless integration of race and rank, of ageand nationality - bonds forged by battle and hardship.OLD SPONGE gets up and dances a Greek dance: obviously afavorite among the crew. Cheering and cat-calls. Lanternscoming up from below. More dancing, insults in manylanguages, and a song. GUN-CREWS Boneparte Boneparte That red-faced son of an old French fart Hey ho, stamp and go Stamp and go, stamp and go Hey ho, stamp and go129. THE GREAT CABIN - NIGHTThe singing mixes with the end of a lively dinner given byJACK for his officers, including a special guest, youngBLAKENEY. PULLINGS With your permission, Sir, Mr. Mowett has composed a short poem in honour of our mission. JACK Let's hear it, Mr. Mowett.Reactions around the table, glasses re-filled inanticipation. MOWETT stands and declaims with a number ofprecise airy gestures, like a conductor. MOWETT Our brotherhood, some old, some new. In blood baptized, in strength renewed. In purpose unified and true. All thoughts of home forsaken. Where duty leads us, there we go. Nor rest nor comfort shall we know. Until the unrepentant foe, is boarded sunk or taken ALL (raising their glasses) Aye! Capital! Well said! Hear him, hear him! 'Sunk or taken'... JACK Aye and when we do take her we shall give her to Tom Pullings as his first command. If he don't die before then. Bumpers up Tom ALLEN (A toast) 'To wives and sweethearts'.They raise their glasses - ALL 'To wives and sweethearts'. PULLINGS And may they never meet.Amid the laughter someone bumps Blakeney's stump. He winces,then puts a brave face on it BLAKENEY (to JACK) I believe you knew Nelson, Sir? JACK Lord Nelson? Yes. I had the honour of serving under him at the Nile. (aside) Mr. Mowett, the bottle stands by you, sir. (as the bottle moves on) In fact I dined with him twice, and he spoke to me on both occasions.The table goes quiet. BLAKENEY is wide-eyed, though partlyfrom his strenuous efforts to appear sober. JACK (CONT.) (CONT'D) The first time he said to me - 'May I trouble you for the salt, sir?' I have always tried to say it as close as I could [ ] The second time someone had offered him a boat-cloak on a cold night and he said no, he was quite warm - his zeal for his king and country kept him warm.Amid the general agreement - 'Hear him, hear him', etc.STEPHEN is noticeably silent. JACK (CONT'D) It sounds absurd, I know, and were it another man you would cry out, "Oh, what pitiful stuff" and dismiss it as mere enthusiasm, but with him you felt your heart glow. MOWETT (raising his glass) To Lord Nelson. ALL Lord Nelson![ ] Stephen joins on the toast, but JACK knows that hisfriend deplores such overt patriotism and seeks to draw himback in with a joke. JACK You see those two weevils, Doctor?He points at a faint movement amongst the crumbs of a ship'sbiscuit. STEPHEN I do. JACK Which would you choose?The table tenses with anticipation of one of the Captain's'jokes'. STEPHEN concentrates. STEPHEN There is not a scrap of difference. They are the same species of curculio. JACK But suppose you had to choose? STEPHEN Then I would choose the right-hand weevil, it has a perceptible advantage in both length and breadth. JACK There I have you. You are completely dished. Don't you know in the Navy you must always choose 'the lesser of two weevils'?He thunders with laughter, the rest joining in, breathlesswith mirth, tears of laughter streaming down their faces ALLEN 'Pon my life. He who would pun would pick a pocket. D˝e not smoke it doctor? STEPHEN (poker faced) Sure there would be some poor thin barren minds that would catch at such a paltry clench.Then he too cracks a smile and joins in their laughter130. MAIN DECK - NIGHTThe crew continue with their own celebration.The excitement penetrates JOE PLAICE's stupor. Never havingwoken since the trepanning he suddenly opens his eyes andspeaks. PLAICE "...And the righteous shall inherit the earth."The men around him stare in amazement. BONDEN You hear that. He said something. Joe spoke! Say something else Joe JOE Handy with that gasket BONDEN (shouts up to the quarterdeck) He spoke doctor. Joe plaice spoke131. QUARTERDECKThe officers have appeared on deck with their coffee andStephen raises a hand in acknowledgment.132. IN THE RIGGING - NIGHTMidshipmen CALAMY RYE and BOYLE are eating from a bag ofbroken biscuits ('ships nuts') as they sit perched up in therigging.On seeing JACK, they break into their own song. MIDSHIPMEN Our captain was very good to us. He dipped his prick in phosphorus. It shed a light all through the night. And steered us through the Bosphorus.133. QUARTERDECKJACK pretends not to have heard, but he can't hide his smile.Beside him in a chair sits BLAKENEY, his empty jacket sleevepinned to his front 'Nelson' style, laughing incredulously atthe older boys cheek.From somewhere on the forecastle, WARLEY and his top-menstart singing. TOP-MEN Farewell and adieu you fine Spanish ladies Farewell and adieu to you ladies of Spain...The older midshipman, HOLLOM joins in, his fine voice soaringeffortlessly over the others, hijacking their roisteringballad and converting it to something much more poignant. HOLLOM For we've received orders to sail for Old England. Perhaps we shall never more see you againHis singing is appreciated by STEPHEN on the quarterdeck. STEPHEN What a wonderfully true voice Mr. Hollom does possess.134. IN THE WAIST - NIGHTKILLICK and NAGEL are less than impressed with HOLLOM andsing over him, led by ORRAGE the cook. ORRAGE Come all you thoughtless young men, A warning take by me, And never leave your happy homes to sail the raging sea.135. OCEAN - NIGHTThe Surprise sailing away from us, the chorus drifting acrossthe darkness.135a. OCEAN. DAYThe colours are changing, from the rich hues of the tropicsto the cold muted colours of colder, more southerly climes.Still the surprise sails on136. THE GREAT CABIN - DAYFingers trace a course down the east coast of South America.Another, more detailed chart is placed on top of the first. ALLEN This one's by Colnett, Sir. He travelled with Captain Cook and carried a pair of Arnott's chronometers.JACK finds their position and marks it with pencil. A knockon the door. Officers and crew are now dressed according tothe change in climate KILLICK Couple of the men to see you, Sir. JACK (without looking up) Show them in.The door opens to reveal NAGEL and WARLEY carrying something. JACK (CONT'D) What's this?A scale model of a ship, 15 inches long, perfect in everydetail. Jack takes it, delighted, the name picked out in goldon the stern - Acheron. NAGEL It were Warley's idea, Sir. WARLEY I thought she were familiar like, then I remembered where I'd seen her - in Boston, during the Peace. JACK [ ] In Boston? WARLEY (nods) Yes, Sir. She's Yankee built. I seen them working on her, something right strange about her scantlings. Then I seen them balls bounce off her an' I got to thinking. NAGEL If you look here, Sir. One side opens up.He pulls a side off the model, exposing its construction. WARLEY Mister Nagel here done it just like I seen her - a third layer 'tween the outer and inner ribbing - diagonal bracing, see? JACK Just like the U.S. Constitution - our 12 pounders couldn't penetrate except at close range.He passes the model to ALLEN. JACK (CONT'D) Killick. Killick, there.KILLICK enters. JACK (CONT'D) An extra ration of rum for these men, from my private store. KILLICK (shaking his head) Which I was saving for Saluting Day, Sir. JACK Rouse it up, Killick, and a bottle for Mr. ALLEN and me. Let us live whilst we're alive!KILLICK goes to get the bottlesJACK hunkers down to bring his gaze level with the ship, asthough studying its tiny occupants. JACK (CONT'D) He's vulnerable here.He taps the stern windows. JACK (CONT'D) Cross her stern, rake her with a broadside through her length. But how to get close enough? Past those long eighteens. That's the devil of it.136b SURPRISE QUARTERDECK DAYThe Surprise has stopped level with a Spanish merchantman,which lies three hundred yards away, headed in the oppositedirection.The two boats have hove to and are communicating bymegaphone, Stephen translating the Spanish captains words, STEPHEN He says they were chased for three days till they finally our-ran her. Forty gun French privateer headed due south. JACK Capital. Thank him and let us be off.The Spanish captain, already making sail, waves and shouts agreeting, which Stephen calls back to him. JACK (CONT'D) What did he say there? STEPHEN A Spanish farewell. "May no new thing arrive." New things being generally by their nature bad.137. STEPHEN'S CABIN - NIGHTStephen is with Blakeney, re-bandaging the younger man'sstump. Blakeney looks away, his eyes moving over the doctorscollection of books, learned texts in French Spanish, Greekand Latin BLAKENEY Do you have a manual of exercises sir. STEPHEN Exercises? BLAKENEY Physical exercises, to make the left arm as powerful as the right once was. STEPHEN I think that will happen with usage, at least to a certain extent. BLAKENEY But not completely. I will never be whole again, will I? STEPHEN No but you will adapt to your new situation The natural world shows us any number of examples of how that is possible.Blakeney bites his lip BLAKENEY You know my father was a great fighting captain. It was always his expectation I would follow in his footsteps. I worry that with this arm I will now be good for nothing but book learning and philosophy. STEPHEN Ah. Like me you mean. BLAKENEY (becoming tearful) I cannot use a sextant, cannot tie a knot or climb the rigging. Cannot even dress myself. What chance to I have now of even making first lieutenant. STEPHEN You have every chance. You hear me every chance. Only the other day I heard the captain singing your praises. Your courage, your fortitude in battle, your skill at logarithms and double elevations whatever they may be. And when you are rated lieutenant you shall have someone to tie your bootlaces for you. Aye and help you with your jacket. Here take my handkerchief. I believe we are summonsed to dinner.139. MAIN MAST - DAWNThe maintop captain, WARLEY, shouts to the deck, his breathforming in the frosty air - WARLEY Sail on the larboard bow!140. GREAT CABIN/LADDERJACK throwing on a heavy boat-cloak, running for the ladder,KILLICK behind him trying to get a scarf about JACK's neckand a cap on his head.141. THE RIGGING - DAWNFollow JACK as he runs up the ratlines, over the futtockshrouds, then up the topmast shrouds, finally arriving at thevery top of the mast, to join WARLEY and PULLINGS. JACK Where away? PULLINGS Hull down, two points off the larboard beam.JACK takes the telescope.142. TELESCOPE P.O.V.Just the tips of masts, the hull below the horizon. WARLEY (O.S.) She's a frigate all right, but no way of knowing if she be the phantom.Beyond the distant ship, a line of black clouds.143. RIGGING - DAWNJACK and PULLINGS slide to the deck on parallel back-stays,as careless as a couple of midshipmen.144. QUARTERDECK - DAWNJACK shouting - JACK Set studdingsails and top gallants. Then wet the sails and have the idlers placed along the rail.PULLINGS and HOLLAR bark out their orders. Men race to obey.JACK steps up on the gunwale, spying out the distant ship.BLAKENEY, nearby, rests his telescope on CALAMY's shoulder,focussing with his left hand. BLAKENEY Is it him, Sir? JACK Touch wood, Mr. Blakeney. And I fancy she plans to out-run us. Ask Dr. Maturin to join us, he loves a good chase.BLAKENEY goes below. Above, the topmen release more sailwhich is tightened by the men on deck hauling on cables.Those not working sit on a row along the windward gunwale,like the crew of an ocean racing yacht, to counterbalance thepull of the sails.145. WEATHER-DECK - DAYTheir speed is so great green seas are now sweeping theforecastle. A man falls and rolls into the scuppers. MOWETT Lifelines fore and aft! JACK Speed, Mr. Calamy?CALAMY heaves the lead and reads the log line, then shoutsback to JACK - CALAMY Twelve knots, Sir!146. THE SURPRISE - DAYHeeled over under a great press of sail, her copper showingas she clefts the waves.147. FORECASTLE - DAYLined up along the starboard rails, the crew look back attheir captain riding the ship like a charioteer, one eyealoft on the creaking topmost spar. JEMMY DUCKS We're cracking on, eh? FASTER DOUDLE We'll be cracking off presently if he doesn't watch it. SLADE No, he knows this ship. He knows what she can take.He touches wood, just the same and looks at Joe Plaice whogives a meaningful roll of his eyes.Ahead, the bank of storm clouds loom gunmetal grey.148. GREAT CABIN - DAYPULLINGS knocks and enters, with an anxious looking MR. LAMB,with whom he has been arguing a point. PULLINGS We can just see her topsails. She's made her turn westwards. LAMB I can't vouch for the mizzen Sir, not round Cape Horn. JACK I'll not lose her now. Set a course westwards.Both men accept this and leave.149. QUARTERDECK (TIMELAPSE) - DAYThe wind has increased considerably, the deck sloping likethe roof of a house, the masts bending like coach-whips.PULLINGS and LAMB are looking up at the mizzenmast which ismaking ominous creaks and groans. JACK Mr Hollar, rig preventer backstays. Warps and light hawsers to the mastheads.JACK stares ahead to the darkening sky as they move across aswitchback landscape of massive rolling waves. JACK (CONT'D) Better get below, Mr. Pullings! PULLINGS What, Sir? JACK (GRINNING) Better get some food in you. Before it turns nasty.150. OCEAN - DAYWide to see the two ships. The Surprise and the Acheron witha mile of sea between them. It's like some great ocean race,with neither prepared to take in canvas despite the appallingconditions.151. QUARTERDECK - LATER, DAYThey are running fast before a dangerous, following sea: alandscape of hills and valleys, the whole thing in terrifyingmotion.The forecastle now vanishes in foam with every plunge, risingeach time with water pouring over the waist and spouting fromher scuppers.KILLICK comes up with the coffee pot inside his jacket. JACKdrinks from the spout, peering ahead into the murk. A wildunruly part of him is loving this.Above him, more top-men struggle up the rigging, with themast drawing crazy figure of eights on a rushing sky.152. BELOW DECKSThe dog watch are wolfing their food, mugs and dinner platessliding over the table. Crewmen walk up hill to the grogbarrel, down their ration and head up top again. HIGGINS You reckon Captain will keep chasing him 'round the Horn with every stitch of canvas flying? DAVIES I reckon he'd chase him to the gates of hell if he has to. PLAICE And that's where we're all going if he doesn't take in sail.Since his injury, Joe Plaice's startlingly randompronouncements have acquired the quality of an oracle.153. ON DECKThe wind rising from yell to shriek. Waves blown flat by it,the ship travelling at a drunken sideways angle across araging expanse of white foam.Four men on the wheel, lashed to it, with the air around themfull of water.In the distance a tower of black rock on the rim of the sea,distant rollers breaking against it and surging up to apreposterous height.JACK looks up at the great press of canvas as he paces thequarterdeck, the officers glancing from the sails back toJACK. JACK Strike the topgallants.Men gratefully rush to the ratlines and begin climbing to themasts.STEPHEN staggers up onto deck. JACK calls to him, pointing atthe black rock. JACK (CONT'D) Cape Horn, Doctor!STEPHEN stares across at the legendary Cape. He's strugglingwith his pocket-glass when a lurch of the ship sends himtumbling. As men help him below, WARLEY, the maintop captainreports to the bosun. HOLLAR (to WARLEY) Help them with that mizzen topgallant! You go too, Mr. Hollom!HOLLOM looks desperate as he follows WARLEY up the ratlinesof the mizzen.154. MIZZEN TOPgallant MASTWARLEY works frantically. He's out on the yardarm high abovethe raging sea. He shouts for HOLLOM to join him, but HOLLOMis still in the top, some twenty feet below, unable orunwilling to climb any higher.155. THE SURPRISE - DAYWide to see the ship. WARLEY working on the swaying mizzen.The bow swinging a couple of points further south.156. QUARTERDECK - DAYWood and rope straining as they wrestle to turn. Then atremendous crack as the mizzen-topmast splits and fliesbackward into the sea, carrying WARLEY along with it. BONDEN Man overboard!Sail and cordage falling over the men at the wheel. A looseblock and tackle swinging murderously in the gale.JACK fights free from the tangle of ropes as WARLEY vanishesin the foam. The mizzenmast is acting as a sea-anchordragging the ship's head northwards toward the black rocks.JACK grabs a speaking-trumpet as WARLEY briefly reappears. JACK Swim for the wreckage, man!Then to PULLINGS. JACK (CONT'D) Reduce sail!As crewmen scramble frantically into the rigging, JACK turnsback to see WARLEY desperately swimming toward the trailingwreckage, his mates shouting encouragement over the howlingwind.With sails reduced the ship perceptibly slows, but thedragging wreckage is swinging the ship broadside on to thewaves. BONDEN She's broaching!PULLINGS runs to JACK, pointing to the trailing mass of ropesand mast. PULLINGS It's acting as a sea-anchor! We must cut it loose, Sir!WARLEY still struggling to reach the wreckage but going underwith each wave. JACK, agonized, makes his decision. JACK Axes!AWKWARD DAVIES scrambles up the ladder with an axe, but loseshis footing and falls sprawling over the quarterdeck.JACK grabs the axe and attacks the ropes. He's joined byNAGEL who has run to assist before realizing that the manoverboard is his friend Warley. JACK (CONT'D) Set to then. Set to!!NAGEL's face is a mask of horror, but he obeys Jacks ordersand starts chopping. He and Jack work shoulder to shoulder,matching blow for blow [ ]The prow keeps turning, wave after wave coming at rightangles to the ship.157. ON THE GUN-DECK - DAYA hatch cover is torn off by the force of water, a suddenmighty deluge pouring down into the lower levels drenchingthe men and swamping the guns. HOLLAR (yells below) All hands to the pumps!158. QUARTERDECK - DAYJACK and NAGEL [ ] keep hacking at the tangle of ropes.Knocking chips off the railing in their urgency to cut freethe dragging mast.Finally they succeed. The last of the ropes [ ] whips away,the broken mizzen disappears aft and the ship swingssouthward, away from the rocks.The wreckage is swept away by the next wave, leaving WARLEYstruggling, his last chance of getting back to the ship gone.Then another wave breaks over him and he is gone.NAGEL is bereft. JACK lowers his head.159. OUTSIDE THE GREAT CABIN - NIGHTKILLICK and BLACK BILL. KILLICK He's been at it again. BLACK BILL Who's that then? KILLICK The Jonah. BLACK BILL What Jonah?160. THE GREAT CABIN - NIGHTJACK sits at his desk. The model of the Acheron that WARLEYhelped make sits accusingly in front of him.STEPHEN pours him a glass on wine, and one for himself. STEPHEN The deaths in actual battle are the easiest. (beat) For my own part - those who die under the knife or from some consequent infection: I have to remind myself that it is the enemy who killed them, and not me. (beat) Warley was a casualty of war, as surely as if a French ball had taken him.JACK nods. Obviously the death still weighs on hisconscience. [ ] STEPHEN (CONT'D) (offering the wine) At the same time....He breaks off Jack At the same time, what?Stephen hesitates, aware that he has to proceed carefully STEPHEN You know that I wear two hats on every voyage. I am the captains particular friend and supporter, but also I am the ships doctor in which later capacity I am party to....He catches a steely glint in Jacks eye and breaks off. STEPHEN (CONT'D) You don't want me to continue. JACK (stiffly) On the contrary. I insist on it. STEPHEN There is talk below decks of turning back. Or rather that we should have turned back some weeks ago. Of course the men would follow "Lucky Jack" anywhere, and usually in the confident expectation of victory. But that of course is the problem. JACK What is the problem? STEPHEN That you are not accustomed to defeat Jack. That you have taken it too personally. That chasing this larger, faster ship, with its long guns, is beginning to smack of pride 'which goeth before destruction'? JACK It's not pride nor anything like it, it's a question of duty. STEPHEN 'Duty', ah yes. The naval signal for end of discussion. JACK You can be as 'satiric' as you like, Stephen, but I have my orders. She is attacking our whalers. For why? Without whales we have no boot polish, nor any soap, nor oil for our lamps, not to oil our sabres and muskets. Destroying our whalers could win the war for Napoleon. Which is why we must catch this Acheron. As a man of learning surely you can see that. STEPHEN At whatever the cost? JACK Any whatever cost I choose to pay. And I will calculate that myself, Stephen without reference to your friends in the ward room.160A MIZZEN-TOPAn icy wind whips at the men working on the temporary mizzenmast.Hollom, half way up the rigging is relaying instructionsbetween the men in the rigging and the men on deck HOLLOM Cast off.The new yard flails around on its pulley, bashing dangerouslyagainst the mast. Almost claiming Nagel HOLLOM (CONT'D) Belay. Sorry. Sorry.161 QUARTERDECKPULLING craning upwards. The topmen's shouted commands arewhipped away by the gale.JACK joins him, still smarting from the conversation withStephen JACK We'll have to go further south, get around this bloody west wind. PULLINGS How far south? JACK As far as is necessary, Mr. Pullings. The sixtieth parallel if need be.162. THE SHIP - DAYTacking southwards. The sun, a pale anaemic disc, graduallydisappearing behind layers of cloud.The wind is a constant shrill whistle through the rigging, asound like some infernal drill which rises and falls butnever ceases. DISSOLVE TO -163. QUARTERDECK - DAWNThe sun rising in a clear sky which turns a sapphire blue.White ice-islands lie all around them, some a pure, rosypink. Others bright ultramarine.And still the wind howls, driving them further south.MOWETT passes his telescope to STEPHEN MATURIN. As STEPHENstudies some seals on an ice-beach, MOWETT launches intoverse, shouting against the wind - MOWETT Then we upon the globes last verge shall go to view the ocean leaning on the sky from thence our rolling neighbours we shall know and on the hidden world securely pry!He is interrupted by a bundle of guns clattering on boardfrom one of the small boats. They are followed by Mr Howardclad in several thicknesses of sealskin and carrying a braceof dead penguin.164. THE SHIP AT NIGHTThe ship scudding onwards, soundless at this distance, butfor the chilling high pitched whistle of the wind.An iceberg passes in foreground, fantastic shapes of ice,like a Gothic cathedral, sculpted by the elements.165. BERTH DECK - NIGHTHanging stoves provide some feeble warmth. Men huddle closeto them, their breath condensing, or lie shivering in theirbunks, unable to sleep for the cold.HOLLAR appears with a lantern. HOLLAR Rise and shine! Show a leg there, tumble up, tumble up - sleepers awake!As the previous watch arrive downstairs, numb and dazed fromthe cold, the next watch emerge from their hammocks anddress. No-one speaks.166. THE GREAT CABIN - DAYThe officers take their places at dinner. Once again it'spenguin stew.PULLINGS comes in, with an unexpected smile on his face andwhispers something to JACK. JACK Praise be. At last.The others seem to know what's going on, all except STEPHENwho looks baffled. STEPHEN Pray what is there to celebrate?JACK holds up his hand for silence. A series of creaks andgroans from the ship. The coffee pot tilts on its gimbals. JACK We have made our turn northward, Doctor. We are headed back toward the sun...The officers give a slightly ragged cheer. JACK (CONT'D) ...in anticipation of which. I asked Killick to prepare something special. (shouts off) Killick. Killick there.KILLICK comes in with his usual exasperated expression,bearing a tray with a silver tureen lid on it. KILLICK Which I was just coming.He lays it on the table. JACK Gentlemen, I give you... our destination.He whips off the lid to reveal a strange glutinous mass, apudding cut in the oddest of shapes. Everyone stands to get abetter look. STEPHEN The Galapagos Islands. PULLINGS 'Pon my word so it is. Look: here's Narborough, Chatham and Hood... JACK That's where the whalers are, ain't it Mr Allen. So that's where the Acheron will be headed.The mood is now taken over by the glee of recognition, as theofficers marvel over the pudding. JACK (CONT'D) Mr. Pullings, if you'll permit me, a slice of Albermale. For you Doctor, Redondo Rock.There's a tiny man-of-war made of icing, between the islands.JACK picks it up in his spoon. JACK (CONT'D) And, with a fair wind behind us the Acheron for me.167. OPEN OCEAN, DOLDRUMS - DAYSlow pan over a glassy expanse of water. JACK's head suddenlybreaks the surface, close to camera.As he swims he brings the Surprise into view. The ship isutterly becalmed, wallowing in the swell, her sails hanginglimp. A 'painted ship upon a painted ocean'.JACK swims around the ship, which currently presents a lessthan warlike picture with washing hanging from every part ofthe rigging.He calls up to PULLINGS - JACK Best bowers chipped... Lot of rust on these forechains... black strake needs another coat.168. QUARTERDECKJACK comes aboard, takes a towel from KILLICK and looks abouthim.The men are holystoning the deck and polishing thebrightwork. They look thin and exhausted and burnt dark-brownby the sun and wind.169. FORECASTLEKillick is with NAGEL and others tarring the ratlines as helooks back at HOLLOM, patrolling the gangway.KILLICK indicates him with a tilt of the head. KILLICK That engagement off Recife: his whole gun crew killed and him not a mark on him. Soon as he went up the mizzen mast Warley falls. And whose watch was it when we lost our wind?HOLLOM sees them looking at him.170. THE SCUTTLEBUTT, SHIP'S WAIST - DAYA marine sentry, TROLLOPE, stands guard by the ship's water-barrel - the level is very low. STEPHEN ladles some waterinto a phial. TROLLOPE One glass per man, sir, Captain's orders.STEPHEN straightening, irritated by the challenge. STEPHEN A mere thimbleful, Corporal, for scientific purposes only.171. STEPHEN'S CABIN - DAYIn the gloom of his cabin, STEPHEN angles the mirror of hisbrass microscope toward the window, and places a slidecontaining a droplet of water under the lens.172. MAINMAST-TOP - DAYJACK climbs into the top. He adjusts his telescope, studiesthe horizon.173. JACK'S TELESCOPE P.O.V.He pans across the empty sea.174. STEPHEN'S MICROSCOPE P.O.V.An assortment of mobile, transparent micro-organisms rotatingwildly. STEPHEN (O.S.) My God, Padeen, a veritable zoo.PADEEN takes a look, amazed then greatly amused.175. THE GREAT CABIN - NIGHTCharts are spread all over the table, STEPHEN poring overthem when Jack comes in [ ] STEPHEN Show me where these Doldrums lie?JACK joins him. JACK Stephen. Will we never make a sailor of you? The doldrums is a condition, not a region. But you tend to strike 'em here... (pointing) ...between the trades, and the sou'easterlies. I hope the Acheron is having it as bad as we are.STEPHEN considers their current position on the chart, thetiny Galapagos Islands to the north and the vast emptiness tothe west of them. STEPHEN Assuming he is heading for the Galapagos, and not some other point in all this vastness? JACK Come. I'd have thought you'd be delighted to go there. It is said to be a natural paradise STEPHEN In truth I'd be delighted with the merest guano stained rock provided it didn't sway beneath my feet JACK Well, we'll take on food and water once we're there, and as compensation for not having put ashore in Brazil I pledge that during that time, several days at least, you can wander at will, catching bugs and beetles to your heart's delight. You will be the first naturalist to set foot on the islands. That is my solemn promise STEPHEN I accept, provided the men have not mutinied and thrown us all overboard before we get there. JACK Mutiny? No. They are already counting their share of the prize money. STEPHEN Another week of this and they shall gladly give it up for a glass of clean water. JACK Ach, Stephen. Stephen. Pray stop your bellyacheing. We shall have rain presently, and if not we shall damned well tow ourselves out of this.176. JOLLY BOAT - DAYDisgruntled, under-slept men, in boats towing the ship.NAGEL and DAVIES look back darkly at HOLLOM who sits in thestern. HOLLOM Stroke. Stroke... DAVIES (whispers) I heard he were on the Fair Marion as foundered off Tresco. And he were on the Zephyrus what exploded at Trafalgar.HOLLOM has heard this, as DAVIES intended, but he looks awaychoosing to ignore them.177. FIGHTING TOP - DAYA view from above of men towing the ship. Over this anunpleasant scraping sound - chalk on slate. BONDEN M-a-s-t... mastSTEPHEN is writing words on a slate then offering them toBONDEN whom he is teaching to read. BONDEN (CONT'D) S-u-n... sunSTEPHEN nods and scratches another word on the board. AsBONDEN struggles to decipher it there's the sound of a musketshot and a seabird falls out of the sky.HOWARD, the captain of marines, reloads his smoking musketlaughing aloud. STEPHEN Is that man completely mad? (shouts down) Mr. Howard, a petrel is not good eating!HOWARD looks up towards them, a broad smile on his red moonof a face. HOWARD Were you never a man for sporting, Doctor? Why you could shoot all day in these waters with two men loading!178. GUN-DECK - DAYThe midshipmen and powder-monkeys have assembled for weaponspractise, armed with cutlasses. CALAMY and WILLIAMSON dividethe group into two teams, choosing sides as for school-yardfootball. CALAMY Blakeney... WILLIAMSON Rye... CALAMY Swift... WILLIAMSON Boyle... CALAMY (the final choice) All right, come on Addison.Little ADDISON joins CALAMY's side, trailing his too-largesword. WILLIAMSON tosses a coin. CALAMY (CONT'D) Heads. WILLIAMSON It's tails. We attack.CALAMY's side retire to a defensive position made of tarbarrels at one end of the deck. From here they are suddenlyaware of Jack idly watching their mock-fight from thequarter-deckWILLIAMSON's team give a yell and charge at them.It's serious fighting. Heads are struck, fingers are rapped.BLAKENEY, trying gamely with his left arm but frustrated byhis own ineptitude, goes down under the rush of attackers. BLAKENEY Ow ow ow! WILLIAMSON Yield. CALAMY Let go of him. WILLIAMSON Yield!!CALAMY can't drag the bigger boy off. He whips a pistol outof his belt and fires it at WILLIAMSON's head.WILLIAMSON is blasted sideways, clutching his face andyelling in pain. The other boys separate, horrified. CALAMY It's just powder. There wasn't a ball in it, just powder.He helps BLAKENEY to his feet. CALAMY (CONT'D) Are you all right? BLAKENEY No.Angrily shaking free of him, he looks to where Jack stood,but the captain is no longer watching. CALAMY What's wrong? I saved you. BLAKENEY I didn't need to be saved.179. ON DECK - DAYTar bubbling under the heat of the sun. Cannons fizzing andsteaming as they are washed.There's been a change of crews in the long-boats, and HOLLOMand his men are now back on board. NAGEL is approaching fromone end of the narrow gang-way, HOLLOM from the other. NAGELpushes past, deliberately bumping HOLLOM, who stumbles,clutching for the gunwale.180. QUARTERDECK - DAYJACK sees this outrageous act of indiscipline and yells out - JACK Master at arms! Take that man below and clap him in irons. Mr. Pullings, defaulters at six bells.181. THE GREAT CABIN, DOLDRUMS - DAYJACK stands behind his desk, brow like thunder. From outsidethe sounds of the muster. HOLLOM stands in front of him,twisting his hat between his hands. JACK The man pushed past you without making his obedience. And yet you said nothing. HOLLOM No, Sir, I intended to but the right words just didn't... JACK 'The right words'? He failed to salute you. It's deliberate insubordination.HOLLOM looks at the floor, mumbles - HOLLOM They don't like me, Sir. JACK They what? Speak up, man!HOLLOM raises his head and looks at JACK, his eyes shiny withtears and when he opens his mouth the words tumble out in arush. HOLLOM I've tried to get to know the men a bit, Sir, be friendly like, but they've taken a set against me. Always whispering when I go past, giving me looks. But, I'll set that to rights, be tougher on them from now on. JACK You can't make 'friends' with the foremast jacks, they'll despise you in the end. Nor do you need be a tyrant. It's leadership they want, strength, respect. HOLLOM I'm very sorry, Sir. JACK You're what twenty-three, twenty-four? HOLLOM (smiling weakly) Twenty-five next Friday. JACK You've failed to pass for lieutenant twice. You can't spend the rest of your life as a midshipman. HOLLOM I'll try harder, Sir.KILLICK helps JACK on with his full-dress uniform. JACK Well, it's an unfortunate business, Hollom. Damned unfortunate.KILLICK seems to endorse this by placing the captain's hatemphatically on JACK's head.Jack turns and strides out of the cabin, HOLLOM followingslowly after him.182. QUARTERDECK, DOLDRUMS - DAYThe entire crew has been mustered. The uniformed officersline the quarterdeck as JACK reads from the Articles of War. JACK 'Article Thirty-Six. All other crimes not capital, committed by any person or persons in the fleet... shall be punished according to the laws, and customs, of the sea.' (then, to NAGEL) Mr. Nagel, you're an old man-of-war's man and yet you failed to salute an officer. You knew what you were doing. Have you anything to say in your defence?NAGEL looks at the deck. NAGEL No, Sir. JACK Have his officers anything to say for him?DAVIES and KILLICK scowl across the deck at HOLLOM, who lookswretched but says nothing. JACK (CONT'D) Seize him up.NAGEL is spread-eagled to the grating, his hands tied. HOLLAR Seized up, Sir. JACK One dozen. Bosun's mate, do your duty.The mate takes the leather cat-o-nine tails out of its redbag. FADE TO BLACK FADE UP ON -183. THE GREAT CABIN - DUSKJACK stands alone, tuning his fiddle. No matter how much heturns the peg the top string always sounds flat. He tunessome more and breaks it. JACK Red hell...184. QUARTERDECK - DUSK JACK (O.S.) ...and bloody death!Every word is plainly audible to the men on watch, whopretend to hear nothing.185. THE GREAT CABIN - DUSKJACK is fitting a new string. Widen to reveal STEPHEN sittingopposite with his cello. STEPHEN I was merely remarking that you have always prided yourself on not being a flogging captain and this... JACK I am not a "flogging captain". I have not once rigged the grating on this voyage, not once in twelve thousand miles. Besides, I wager you will find a deal more brutality on land.Tightening the new string. The note escalating as he turns. STEPHEN I'm not a party to it on land. JACK Well you are party to it on my ship. Men must be governed. Often not wisely I grant you, but there are hierarchies even in nature, as you've often said yourself. STEPHEN Hierarchies. That is the excuse of every tyrant in history. Of Nero. Of Boneparte. JACK (trying to call a halt) Yes. Fine words I'm sure STEPHEN (continues regardless) ...We are not animals and I for one am opposed to authority, that egg of misery and oppression.. JACK Very fine words Stephen, but In these current circumstances, hard-work and firm discipline is what keeps our little wooden world together. STEPHEN And grog I suppose. JACK Of course. What of it? Of course they have their grog! STEPHEN (sits) (CONT'D) You know Nagel was drunk when he insulted Hollom. And Higgins is never sober. Even the midshipmen... JACK The men will have their grog Stephen. It is part of the immemorial tradition of the service STEPHEN Well a shameful tradition it is too. To have them pressed from their homes, kept in a permanent state of dull inebriation. JACK Stephen... STEPHEN ...confined for months in a wooden prison, Never more than a few hours sleep and flogged when drunken idleness drives them to.... JACK (forcefully) ...Stephen! I warn you that friend or no I will not have you talk of the service like that. STEPHEN I am stating plain facts JACK (finally explodes) Well I will not hear them! From you or anyone. You understand! Things are as they are for good or bad whether or not they have a place in your damned papist philosophy. If you are here to make music then sit down and play. If not be gone, for you have come to the wrong shop for anarchy!In stony silence Stephen puts down his cello bow and leavespast Killick, who is lurking as always by the door.186. SCUTTLEBUTT - DUSKSomething disturbs the dark surface of the water as HOLLOMdips the ladle and fills his cup.A sense of someone moving up behind him. HOLLOM turnsabruptly. It's the marine sentry, moving in the shadows. Hestares at HOLLOM as he backs away toward the ladder andhurries below.187. BERTH DECK - DUSKTo reach his quarters he is obliged to walk the length of theberth deck, past HOWARD obsessively cleaning his pistol,another man whittling with a knife, DAVIES adding anotherlink in the tattooed chain about BECKETT's middle.No-one speaks as HOLLOM runs the gauntlet of their stares,acutely aware of his own breathing. It now seems universallyto be held that he is the author of all the ship'smisfortune.Nagle pointedly turns his back, the scars from the flogginggleaming wetly in the lamplightHollom's breath quickens. He stumbles on someone's dunnage,almost trips but is caught before he falls. It's one ofNAGEL's mates. NAGEL's MATE Careful, sir.188. MIDSHIPMAN'S BERTH - DUSKHOLLOM comes in, wild-eyed and goes to his berth, breathinghard. CALAMY, BLAKENEY & BOYLE look up from a tense game ofcards. BLAKENEY Are you all right, Hollom?HOLLOM shakes his head miserably, hyperventilating. CALAMY He's not sick. He's useless. He's just dodging work. BLAKENEY (angrily) Oh shut up Calamay. What do you know about anything?CALAMY glares at BLAKENEY.189. INT STEPHEN'S ROOM - DUSKA shot from the deck above.STEPHEN looks up from his book "Di Consolazione Philosophae".Then the sound of bare feet approaching, followed by a knockat the door.Its Joe Plaice, looking agitated. PLAICE Beg your pardon, your honour, but Mr. Howard just shot a sea-monster!190. GANGWAY - DUSKSTEPHEN and PLAICE stride along to where the marine captain,HOWARD, peers down into the water with one of his men. HOWARD Doctor! The very man.STEPHEN moves to the rail, looks out. HOWARD (CONT'D) [ ] I wished you'd seen it for yourself, Doctor. The crew never seen anything like it.On the glassy sea, a smudge of blood and some ripples HOWARD (CONT'D) It was prodigious like a human, though bigger, might have been a sea-elephant, it had a calf with it - I didn't mean to hit the calf, I missed my mark. STEPHEN Mr. Howard, let me beg you, if the men can't eat it or I can't dissect it, please do not shoot every creature you see.STEPHEN stares back down at the ripples spreading over theglassy sea.191. THE SURPRISE - NIGHTWide, on the troubled ship, small yellow patches of lightvisible from the gun-ports.192. BELOW DECKS - NIGHTThe men are lying in their hammocks when, from somewhereoutside, there comes an ungodly howling. It stops, then comesagain, exactly human in its pitch.The crew look at one another. This is like no sound they'veever heard.The howling stops then comes again, from another direction.193. THE GREAT CABIN, EXTERIOR - NIGHTKILLICK and BLACK BILLY listening. KILLICK What did I tell you? The ship's accursed.194. QUARTERDECK - NIGHTJACK comes up from below. JACK What is that abominable noise, for God's sake? PULLINGS I have no idea, Sir. MOWETT You don't think it's the Acheron, Sir? JACK (untypically cutting) The enemy cannot come on us without a wind, Mr. Mowett.He looks about at the terrified faces of the crew. Thewailing sound now rises to a shriek, as STEPHEN joins thegroup. JACK (CONT'D) What do you make of it, Doctor? STEPHEN I'm sure I've never heard the like.The crew overhear this and pass it among themselves asanother anguished howl fills the night. STEPHEN (CONT'D) Perhaps it's the mother of the creature Mr. Howard shot. JACK [ ] Creature? STEPHEN [ ] A manatee. A sea-elephant possibly. Though I have never known one with a cry like this.A glance along at HOWARD on the gangway, as terrified asanyone. JACK Bosun. Fire off some flares.195. WIDE ON THE SHIP - NIGHTThree flares soar and burst with a ghostly glow, making apool of blue light around the ship, the sound continuing toecho and re-echo from somewhere beyond.196. QUARTERDECK - NIGHTThe light illuminates the half-hour glass, its top-half emptyof sand. Like everyone else, the duty sergeant stands frozento the spot. Jack rounds on him. JACK Sergeant, what the devil are you thinking of? Turn the glass and strike the bell.Roused, the duty sergeant turns the glass and time resumesits flow.Two bells are hesitantly rung and the crew regain the powerof motion, their limbs still spastic with fear. And when thesound comes once more they all freeze.JACK joins MOWETT at the taffrail. The thing is somewhere outthere, whatever it is. MOWETT Perhaps some poor shipwreck?He shouts, a slight nervous catch to his voice. MOWETT (CONT'D) Ahoy! Is anyone there?Part of him knows it's crazy and of course there's no reply.The sound constantly shifting position, now in the water, nowin the sky.JACK turns to see a white face, frighteningly close to hisown. It's PADEEN, mouth agape, face unnaturally white,staring into the gloom as though drawn to whatever horrorlies out there. JACK Padeen. What are you doing on the quarterdeck?He looks down at the press of men who have gathered at thebottom of the ladder, some with weapons. JACK (CONT'D) Below! All of you men below! (to MOWETT) Tell the bosun those off-duty may sleep with their lamps on.197. LOWER DECK - NIGHTSeveral crewmen huddle close together their faces lit by abattle-lantern. Joe Plaice grim. Doudle wide-eyed. Higginswith his alcoholic tremor more pronounced than ever. BLACK BILL Duppies make that noise. KILLICK (indicating BILL) See. They know all about this in Africa. DOUDLE What's a duppie? BLACK BILL That Warley. Swallow by a fish. Spirit can't get out. Him duppie now. SLADE Captain don't even know what that noise be.General nods of agreement. DOUDLE Doctor neither, and he knows everything. KILLICK Joe here's got the most experience in these matters, and new brains to boot, let's hear it from Joe.All eyes on JOE PLAICE. He speaks from the shadows. PLAICE It's the Jonah causing it. That howling thing is a signal to the Phantom-Ship. He's calling it up, don't you see? Every time he's on watch the ship appears. You wait and see, the ghost-ship will appear any time tonight, and take us all straight to the hot-place.Another shriek, closer now, seems to confirm JOE's bizarretheory.198. MIDSHIPMEN'S BERTH - NIGHTThe boys sit together. None of them look at HOLLOM, who sitspale and wretched in a corner of the room, clutching hisstomach.199. STEPHEN'S CABIN - NIGHTAs the howling continues, STEPHEN looks through a number ofbooks on sea-creatures searching for a reference to whatthey're experiencing.As JACK looks over his shoulder, his eye is caught by apicture in one of STEPHEN's books.He picks it up.Close on the picture - it's an engraving of a giant squid,its tentacles wrapped around a ship.Back on JACK holding the picture up to STEPHEN. JACK You don't think...?There is a knock on the cabin door and BLAKENEY enters,agitated. BLAKENEY (to STEPHEN) It's Mr. Hollom, sir, you better come quick.200. MIDSHIPMEN'S BERTHHOLLOM writhing in agony on the floor, STEPHEN trying to calmhim, shouting for assistance from the midshipmen and thenfrom PADEEN. STEPHEN Mr Hollom. Sir. Try to contain yourself. Hold his head. Mr Hollom. Padeen201. STEPHEN'S CABIN - NIGHT.Stephen is writing some case notes in his journal, when Jackputs his head around the door.Stephens POV: The lamp, lighting his face from below and toone side, gives a strange lopsided twist to Jacks smile JACK Well? STEPHEN There's nothing physically wrong with him. He thinks he's been cursed by the 0men. JACK Then he probably has been. Sailors will abide a great deal, but never a Jonah. It's like a white crow - the others peck it to death. STEPHEN A 'Jonah'? My God, you believe it too. JACK I desired to save you the trouble of looking for a cure. No doubt it will all be sorted by the morning.202 FORECASTLE, LATER - NIGHTBLAKENEY stands near the bows peering out into the night. Afigure approaches from behind and lays a hand in hisshoulder.BLAKENEY nearly jumps out of his skin. BLAKENEY Mr. Hollom! You gave me such a start. Are you better now?HOLLOM's breathing does indeed seem easier. HOLLOM Much better, thank you. BLAKENEY I think the creature is going away. HOLLOM I am sure of it.He reaches down, picks up a 12 pound cannonball. HOLLOM (CONT'D) You've always been very kind to me. Goodbye, Blakeney.With a sudden movement he's on the gunwale, then he jumpsover the side the cannonball in his arms.BLAKENEY looks down with shock to see HOLLOM's pale facereceding from him into the depths. It's a moment before hegathers his wits to shout - BLAKENEY Man overboard!203. QUARTERDECK - DAWNThe ship's company are mustered on deck. JACK stands at thesword rack lectern. KILLICK hands him a Bible open at thestory of Jonah.JACK looks, then hands it back to KILLICK. JACK The fact is, [ ] not all of us become the men we once hoped we might be. But we are all God's creatures. If some of us thought ill of Mr. Hollom, or spoke ill of him, or failed him in respect of fellowship, then we ask your forgiveness, Lord, and we ask for his.Close on the faces of the crew - KILLICK, HIGGINS, NAGEL,CALAMY, BLAKENEY and finally Stephen who is staring oddly atJack, as though holding him partly responsible for thislatest tragedy. JACK (CONT'D) Amen. CREW (mumble ashamedly) Amen.The men on deck remain standing, heads bowed, observing aminute's silence, as the sky begins to pale, and the whitedisc of the sun appears above them.FASTER DOUDLE is the first to look up, followed by others -the terrible sound has gone and a small puff of wind isstirring the mainsail.204. HOUR GLASSThe sand runs out of the half-hour glass. BONDEN Strike eight bells. QUARTERMASTER (to the marine sentry) Turn the glass and strike the bell.The glass is inverted. The bell tolls.205. SURPRISE AT SEA - DAYThe ship moves through a tropical squall. Men rig a sail tocatch the water, others appear with barrels and tubs,anything to catch the precious rain. DISSOLVE TO -206. THE SURPRISE - DAYSea birds swarming over a shoal of fish in the foreground asthe cry of the distant lookout carries faintly across thesea. LOOKOUT (O.S.) Land-ho!207. GANGWAY - DAYBLAKENEY runs along the gangway, past STEPHEN, en route tothe quarterdeck. BLAKENEY Give you joy, sir! We have raised the Galapagos!208. MONTAGE oF TELESCOPE VIEWS, GALAPAGOS - DAYThere's a primeval quality to the landscape, a feeling of aworld just born. The wild creatures that inhabit the lavaflows and coral beaches confirm this - the giant tortoises,iguanas, sea-lions and penguins, a teeming profusion ofexotic animals and plants.209. QUARTERDECK/FORECASTLE/TOPS - DAYThe ship fairly bristles with telescopes.210. FORECASTLEA small group of familiar faces share a pocket telescope. HIGGINS (looking) Can't see any wimmun. Just lots of ducks and lizards.DOUDLE takes the telescope. DOUDLE Wot? There must be wimmun. T'ain't natural.211. QUARTERDECKSTEPHEN and BLAKENEY side by side. From both their faces wesense their wonder at seeing these remarkable creatures forthe first time. STEPHEN How extraordinary. BLAKENEY What, sir? STEPHEN Those birds!He's looking at a group of unremarkable black seabirdswaddling about on a rock, flapping short, stumpy wings. STEPHEN (CONT'D) A species of cormorant. But apparently flightless, by all that's Holy. I believe that is unknown to science.BLAKENEY dwells briefly on the strange rock-climbing birdsthen drifts back to the iguanas. BLAKENEY The dragons don't seem to bother 'em. STEPHEN They are a type of iguana I should think, and therefore vegetarian.His telescope remains focussed on the cormorants. BLAKENEY iswholly absorbed in the iguanas. BLAKENEY Will you catch one? STEPHEN Yes. Most certainly. And if we can, some eggs. BLAKENEY I mean the great lizards. STEPHEN Oh!Recognizing how superficially dull the birds are toBLAKENEY's untutored eye, by contrast with giant lizards. STEPHEN (CONT'D) I should think a pair of them. Then you can present one of their offspring to the king. BONDEN Ha! There's one going for a swim. STEPHEN No. Iguanas are land animals. BONDEN Not these ones.The prehistoric-looking creatures, as if suddenly awakened,begin diving into the water. STEPHEN (O.S.) By Jove Bonden you are right! Two new species in as many minutes.He breaks off, suddenly aware of a shouted exchange betweenthe lookout and the quarterdeck. STEPHEN (CONT'D) What is all that confounded bellowing? JACK All hands about ship!BLAKENEY dashes off and STEPHEN is elbowed out of the way byhands rushing to get at the sails. NEHEMIAH SLADE By your leave sir, by your leave. HOLLAR (distant) Helms a'lee - off tacks and sheets - mainsail haul!As the ship turns a distant whaleboat appears with six menaboard, pulling out from one of the neighboring islands.212. IN THE LEE OF THE SHIP'S HULL (TIME-LAPSE) - DAYThe whaleboat has come alongside.Men swarm down the boarding nets and the whalers are helpedaboard, hoarse and exhausted from rowing and shouting. HOGG God bless you. Thank you, shipmates.213. QUARTERDECK - LATER, DAYHOGG, the senior whaler, sits with his mates, relating hisstory to JACK and the officers. HOGG We was coming back for fresh lines, hid in that inlet, yonder. Black-three master. Bit beamy and raised in the stern.Meaningful looks among Jack and his men. Its definitely theAcheron he's describing [ ]Hogg meanwhile takes a pint mug of water, gulps it down, andpasses it back to BLAKENEY for a refill. HOGG (CONT'D) Hundred thousand pound of good whale oil they stole. Then the bastards... ALLEN (cuffs him) No swearing on the quarterdeck. JACK (waves ALLEN away) Go on. HOGG ...Then they burnt our bloody ship and headed off, bunch of fugging pirates.Looking pointedly at Allen [ ] JACK And her course? HOGG Maybe a point south of west. Following the rest of the whaling fleet. JACK (rising) Mr. Mowett, these men to be entered on the ship's books. Mr. Allen, lay a course west sou'west.As ALLEN hurries away shouting orders - PULLINGS Should we not take on fresh supplies, Sir? Those tortoises... JACK (overlapping, impatient) There's not a moment to lose, Mr. Pullings.He leaves the quarterdeck and goes below, STEPHEN following.214. IN THE GREAT CABINJACK has taken his jacket off and is already unfurling hischarts. STEPHEN hurries in. STEPHEN Have you forgotten your promise? JACK (not looking up) Subject to the requirements of the service, Stephen. I could not in all conscience delay for the sake of an iguano or a... giant peccary - interesting no doubt, but of no immediate application. STEPHEN (overlap) How can you dismiss, out of hand, the bounty of nature? Knowledge that... that will help to progress... JACK (overlap) I can see nothing on shore that will progress our mission. STEPHEN (overlap) But how can we possibly know what lies [ ] on these islands, perhaps some knowledge that may save life, that... JACK (overlap) I will tell you how to save lives Stephen. Inform me how to guide this ship, undetected, under the nose of a 40 gun frigate. That is the job in hand sir.STEPHEN swallows his indignation and tries for a compromise. STEPHEN Well perhaps there's an opportunity to serve both our objectives. As I understand it you mean to go round the end of this long island, then start your voyage. I could walk across it, be on the other side long before...JACK shakes his head. STEPHEN (CONT'D) I would walk briskly, pausing only for important measurements and almost certainly making valuable discoveries... JACK (interrupts) If wind and tide had been against us I should have said yes. They are not and I am obliged to say no. (with finality) No.STEPHEN is livid. Betrayed. STEPHEN I see. So after all this time in your service I must simply be content to form part of this belligerent expedition, hurry past inestimable wonders, bent solely on destruction... JACK ...you forget yourself, sir. STEPHEN No Jack, You have forgotten your self. You once believed in the rights of each individual man no matter how useless or lowly. But it seems to me now that the long exercise of power has brought you to the point where even a solemn promise... JACK The promise was conditional. STEPHEN ...a promise to a friend of ten years standing who has stood by you and supported you.... JACK (overlapping) I command a King's ship, not a private yacht... STEPHEN ...across half the worlds oceans often at risk to his own life JACK ...and we have no time for your damned hobbies, sir!"Hobbies". So that is JACK's honest view of STEPHEN'slifetime of work in science. He bows slightly, then leaves.215 QUARTERDECK - DUSKSTEPHEN stands alone at the taffrail watching as the islandsrecede in the distance.News of the violent argument has spread and there is many asympathetic glance, which further humiliates STEPHEN.BLAKENEY approaches him carrying something carefully in thepalm of his hand. BLAKENEY Sir, I found a curious beetle walking on the deck.He opens his hand - close, on a very plain little brownbeetle. BLAKENEY (CONT'D) I think it's a Galapagos Beetle, sir. STEPHEN I'm sure of it. BLAKENEY Were you to have walked all day on the island, you might never have come across it. STEPHEN That is more than likely, sure.BLAKENEY passes it to STEPHEN. BLAKENEY You can have it. STEPHEN Thank you, Mr. Blakeney.BLAKENEY hovers for a moment, unsure of further conversation,then retreats.216 IN THE GREAT CABIN - NIGHTJACK sits alone at the table. KILLICK enters with toastedcheese for two. KILLICK No music? That's a shameHe sets down the toasted cheese. KILLICK (CONT'D) I'll just leave the one plate then, if himself won't be joining. JACK Yes, Killick. Just the one.JACK cuts himself a portion, scowling at STEPHEN's cellowhich seems to watch him reproachfully as he eats.217. STEPHEN'S CABIN - NIGHTSTEPHEN takes a dropper, carefully measures twenty drops oflaudanum to a glass of water, and drinks.218. LOOKOUT - DAYThe lookout leaning out from the cross-trees. DOUDLE (shouting) On deck there. Object fine on the starboard bow.219. THE SHIP LYING STATIONARY - DAYA barrel is being lifted aboard from the skiff and passed upthe side of the ship.220. IN THE WAIST OF THE SHIPJACK comes down, accompanied by ALLEN, the acknowledgedexpert in these matters.Others gather round, including HOGG the whaler, inspectingthe stencilled markings. ALLEN Martha's vineyard. HOGG No, this here's from Boston. I was married there once. ALLEN Any road, it's a Yankee barrel. HOGG What they call a Bedford Hog in New England. MOWETT (to JACK) The Acheron touched at Boston. HOGG And it's not been in the water more than a week. ALLEN One can't say with any accuracy but... HOGG Yes you can. There's no sea chummer on it, and the dowels is sound.221. ON THE QUARTERDECK - DAYJACK returns to his post. JACK Continue due west, Mr. Bonden.TOM PULLINGS watches him. There has been a change amongst theofficers and crew toward JACK. His relentless driving afterthe Acheron has reached the point of obsession, an obsessionnot shared by his exhausted men.He is a lonely, haunted figure as he now steps up on thegunwale, one hand on the ratlines, scanning the empty sea,sensing his enemy is out there, just beyond the curve of theearth. DISSOLVE TO -222. LADDER (TIME LAPSE) - DAYA wild wind humming through the rigging as STEPHEN goestopside.223. FORECASTLE - DAYHe finds various hands making the boats secure. PLAICE Have you seen the bird, doctor? STEPHEN I have not - no bird these many days. What kind of a bird? PLAICE A sort of albatross I believe, or perhaps a prodigious great mew. He has been following the ship since... there he is, crossing our wake!224. ON THE GANGWAY - DAYSTEPHEN runs along the gangway to get a clearer view,checking himself when he sees JACK on the quarterdeck.Their eyes meet. The quarterdeck is JACK's domain now, andSTEPHEN avoids it.Then, behind JACK, the great bird suddenly appears.It's huge, with at least a fourteen foot wing-span, andflying very close to the ship, drifting and soaring on thegusting wind, appearing and disappearing between the sails.STEPHEN is mesmerized by it. He lets go of the rail, leaningforward to get a better view.At the same time across from STEPHEN on the opposite gangway,HOWARD and two or three marines open fire on the bird. Thebird drops low, flying right by STEPHEN.Again a crackle of gunfire, but the bird is apparentlyuninjured, and it banks away, skimming the surface of thewater.STEPHEN sags to the deck. A shout. People running. Bloodspreading across the white of his shirt. HOWARD there by hisside. HOWARD My God, man! I'm so sorry. The bird dropped low. I didn't see you there!JACK is there, shouting - JACK Calamy! Get Higgins! (then turning to BONDEN) Padeen, Davies, carry the Doctor below.STEPHEN gets slowly up, hands reaching to help him, HOWARD inthe background distraught, explaining to anyone who'll listenwhat happened. STEPHEN It's all right, I am quite capable of walking.He tries to stand, crumples.225. STEPHEN's CABIN - DAYHIGGINS presses clumsily around the wound as STEPHEN lies onthe bed, his abdomen rigid, his breathing laboured. JACKwatches from the door. STEPHEN You will just make it worse... by prodding, Mr. Higgins, it cannot be got at... except by opening me up.A violent pitching of the ship makes it obvious howimpossible this will be under sail.As STEPHEN lapses into unconsciousness, HIGGINS lookingalarmed, approaches JACK. HIGGINS (a whisper) The bullet took a piece of shirt in with it. Unless it is removed it will suppurate and fester. JACK Are you equal to the task? HIGGINS I'll need to read up on the Doctor's books, like. Study some pictures he has, get my bearings. Be better on land, but I'll manage somehow.JACK looks away from the alcoholic HIGGINS back to STEPHEN.226. OUTSIDE THE CABINJACK passes an anxious crowd of the ship's company: BLAKENEY,JOE PLAICE, KILLICK and HOWARD. JACK You men get about your business.There are dark looks in JACK's direction as he retreats tohis cabin.227. THE GREAT CABIN - DAYJACK throws a chart on the table.With his protractor he marches out great strides west intothe Pacific from the Galapagos Islands and marks the ship'sposition - they are maybe a hundred miles from the Galapagos,ahead, open sea until the Marquesas.228. INT. STEPHEN'S CABIN - DUSKLying on his bed, in some pain, STEPHEN hears thudding feet,shouted orders.In his weakened state, the sounds tend to merge. Hispitching cabin keeps swimming out of focus.There's a knock on the door and JEMMY DUCKS appears with amug of soup and some biscuit. JEMMY DUCKS ...sail on the horizon, sir. Hull down, running west. It may be a couple of days before we can catch her.STEPHEN nods, all he wants is quiet.JEMMY DUCKS retreats, as STEPHEN swigs from a little bottleof laudanum, which for a moment brings peace, effectivelyblocking out the noise from above.A smile to PADEEN, like a farewell, and he closes his eyes.229. FORECASTLE - DUSKJACK, telescope to his eye, studies the distant ship asPULLINGS jumps down from the ratlines to the deck. PULLINGS It might be the Acheron. If we put on more sail we'd come up with her before nightfall.JACK lowers the telescope, turns his back on PULLINGS,strangely abstracted. PULLINGS (CONT'D) (to his back) Do you wish me to set the topgallants? (no reply) Sir?A long silence. Then JACK walks away.PULLINGS stares perplexed from JACK's retreating figure tothe distant chase. DISSOLVE TO -230. INTERIOR STEPHEN'S CABIN - DAWNEarly morning light on the interior of the cabin. PADEEN isasleep, holding a Bible, in the doctor's chair.STEPHEN himself lies motionless with his eyes closed and hismouth open, no colour in his face.The sea is relatively calm. From outside the sound of thebosun's orders, over rattling blocks and pulleys. HOLLAR (O.S.) ...Clap on now! Every rope an end... Jolly-boat away... Slowly, Jenks! You grass-combing lubber!MOWETT comes in, sees STEPHEN, and takes him for dead. MOWETT (shouts outside) Davies! Slade!Two big men come in behind him. PADEEN wakes, confused andpushes them away, moving protectively to the doctor's side.The commotion disturbs STEPHEN. His eyes open. Like a deadman just come back to life. MOWETT (CONT'D) Doctor. You're still with us. Can we move you onto a stretcher?STEPHEN swallows uncomfortably and tries to make sense ofthings.231. A GALAPAGOS ISLAND - DAYA giant iguana watches as a small procession trudges up thestony beach.At its head, STEPHEN is carried in a litter up to where atent has been set up above the high-water mark.His P.O.V. as JACK appears in the blue sky above him. STEPHEN Tell me this wasn't on my account? JACK (dead pan) No. It was because of Higgins. (beat) Can't have him poking around in your belly without a solid platform to work on.He ducks as they enter -232. THE HOSPITAL TENT - DAYIn the creamy light, they lay STEPHEN down on a recently-constructed wooden operating table.HIGGINS squats on the ground, rummaging through various largesharp surgical instruments which he has emptied onto a pieceof Hessian. JACK All set, Higgins?STEPHEN grabs JACK's sleeve. STEPHEN Not Higgins. I do this with my own hand.Jack frowns, unsure what he means by this.EXT. THE TENT - NIGHTPADEEN stands, arms crossed at the closed tent-flap, keepingat bay a crowd of well-wishers, and the merely curious.INT. THE TENT - NIGHTSTEPHEN sits pale and sweaty, propped up on a series ofchests, his back against a coil of rope. In front of him,suspended by pulleys, LAMB and NAGEL have set up a largegilt-framed mirror.Beside him, on a white tablecloth, some small scissors andscalpels. STEPHEN (To Jack) [ ] You are sure you have a head and a stomach for this kind of thing? JACK (smiles) My dear Doctor, I have seen blood and wounds since I was a little boy. STEPHEN Then hold my belly, pressing firmly when I give the word.STEPHEN begins first with the knife, then the probe - thegrind of metal on living bone. STEPHEN (CONT'D) You will have to raise the rib, Higgins. Take a good grip with the square retractor. Up. Harder, harder. (to himself) Snip the cartilage.The metallic clash of instruments, perpetual swabbing. STEPHEN (CONT'D) Now, Jack, a steady downward pressure. Good. Keep it so. Give me the davier. Swab, Higgins. Press, Jack, press.JACK closes his eyes. STEPHEN draws in his breath, arches hisback, and it's done. STEPHEN (CONT'D) There she is.He pulls out the bullet, and with it, a fragment of hisshirt. STEPHEN (CONT'D) Is that all of it?The bloody piece of shirt is handed to HIGGINS who matches itto the hole in STEPHEN's old shirt. HIGGINS Aye, she'll patch up nicely, sir. STEPHEN Easy away, Jack. Handsomely with the retractor. Higgins, look to the Captain, while I swab.HIGGINS helps JACK into a chair, pressing his head downbetween his knees. After a moment, and a few deep breaths,JACK looks up. STEPHEN smiles at him. A hint of surlytriumph. FADE TO BLACK FADE UP ON -235. STEPHEN'S TENT - DAYThrough a gap in the door of his tent STEPHEN can see thedistant ship at anchor. Repairs are underway, guns beingunloaded, stores and fresh water being ferried aboard.BLAKENEY comes in, followed by PADEEN with a some numberedboxes hung round his neck. STEPHEN My goodness, what is this?BLAKENEY starts rolling up the sides of the tent as PADEENunloads his boxes, each with a beetle and a piece ofvegetation in it. BLAKENEY Well sir, Padeen and I have been doing some collecting for you. The beetles each come with a specimen of plant they were found on. Ooops. Catch him, Padeen! There he goes.He finishes rolling up the tent sides to reveal a collectionof cages, with native wildfowl in them, being fed by thepoulterer, JEMMY DUCKS. BLAKENEY (CONT'D) The birds were snared by Jemmy Ducks. Captain says we can keep them in the chicken coop.Then, producing a notebook - BLAKENEY (CONT'D) And I made a few notes if you want to see them.STEPHEN flips the pages:No 22. Large square black beetle with pincers. Found underrock. Eats earthworms. STEPHEN 'Pon my word you have the makings of a true naturalist.BLAKENEY is flattered but unsure. BLAKENEY Well sir, perhaps I could combine them, and be a kind of Fighting-Naturalist, like yourself? [ ]Stephen smiles at this description as he levers himself intoa sitting position. STEPHEN Shall we take a tour of your aviary?BLAKENEY looks doubtfully at the doctor's bandaged abdomen. BLAKENEY Should you really be up? STEPHEN Yes. Padeen!PADEEN puts the escaped beetle in his mouth for safe keepingand offers STEPHEN a hand. STEPHEN pulls himself painfully tohis feet and starts buttoning his shirt. STEPHEN (CONT'D) (To Blakeney) How long does the Captain intend that we stay here, do you know?ON THE BEACH - DAYJACK is watching those of the crew not on duty play cricketon the shore, with a canvas ball and stumps made ofdriftwood. JACK Oh, a week perhaps. There is no great hurry. STEPHEN But surely, we must make haste for the Marquesas? JACK It may not have been the Acheron that we sighted. Nor can we be sure of her destination. (looks away) No, I think we shall go home now, before peace breaks out with France, God forbid.He's making light of what has been a huge and far-reachingdecision. STEPHEN But how will it sit with the Admiralty? To have spent six months in a fruitless pursuit and then come home empty-handed? JACK "Empty-handed"? Not a bit of it. What about these plants and animals which Blakeney has been collecting? The British museum will need an entire new wing for 'em.STEPHEN regards him gravely, shaking his head. STEPHEN I fear, Jack, you have burdened me with a debt I can never repay.He is absolutely sincere about this, to JACK's greatembarrassment. JACK Tosh. Name a shrub after me. Something prickly and hard to eradicate. STEPHEN A shrub? I shall name a giant tortoise: Testudo Aubreii!237. SURPRISE CAMP - DAWNSTEPHEN, BLAKENEY and PADEEN leave the camp on STEPHEN'sfirst day of exploration. They are armed with nets, basketsand a day's supply of food and water.STEPHEN walks slightly stooped, leaning on a walking stick.238. COUNTRYSIDE - DAYA strange and wonderful landscape lies before them, with itsorganically-shaped lava flows and alien-looking flora andfauna.Everywhere STEPHEN looks there are creatures unique to theislands. He is in his element, collecting specimens whichPADEEN carefully stores in the baskets.BLAKENEY has his telescope trained on some distant humps. BLAKENEY Doctor, would you think it very unscientific of me to ride on the back of one of those tortoises. STEPHEN No, Mr. Blakeney. I would think it an experiment of absolutely vital importance. But afterwards, I do desire to find that flightless cormorant, assuming that is what it is, and that I still have strength enough to catch it.239. A VALLEY - DAYBLAKENEY gets astride a giant tortoise and burns his bottomon its scorching hot shell.240. LAVA BEDS - DAYSTEPHEN with his telescope taking notes on bird-life.241. LOW SCRUB - DAYThe huge, strangely balletic figure of PADEEN chasing after abutterfly in evening light.242. A HEADLAND - DAYWide to see another aspect of the countryside - a hint ofdistant sea, a rocky headland rising from the plain.The group is widely scattered. STEPHEN at the base of theheadland, BLAKENEY half a mile further inland. PADEEN comingup slowly behind, laden with the fruits of their expedition.243. BASE OF THE HEADLAND - DAYSTEPHEN rests a moment. Some stones rattle down from thehillside. He looks up to see a flash of black feathers nearthe crest - the cormorant.On his shirt a red smudge has appeared. His wound has begunto bleed again.Ignoring this, Stephen pushes on after his quarry.244. THE ROCKY SLOPENear the top, STEPHEN pauses to catch his breath and glancesabove him.Again the bird, moving higher, as if leading him on.STEPHEN gets down on all fours, crawling cautiously to thecrest just above him.245. TOP OF THE HEADLANDA clearing. There is movement in the bushes.STEPHEN slowly rises, climbs the few paces to the hilltop andenters a clearing.He searches amongst the bushes. Nothing.He turns and looks back down the hillside to see BLAKENEY andPADEEN far below, then sits to get his breath back again.STEPHEN'S P.O.V: on the ground between his feet, a beetle. Hepicks it up.Close, on his hand. It is the same type of beetle BLAKENEYgave him aboard the Surprise.Smiling at the coincidence STEPHEN raises the tiny creatureto eye level.His P.O.V.: the beetle, the creature in sharp focus, behindit the sea, and on the sea, a black shape.The focus shifts to the background - a ship at anchor in abay.The beetle flies away as STEPHEN stares out at the ship. It'sthe Acheron, and they are weighing anchor.246. COUNTRYSIDE - DUSKBLAKENEY urging STEPHEN to hurry as they make their waythrough the darkening landscape. All kinds of creatures areappearing around them, and every few yards STEPHEN pauses toexamine something. BLAKENEY Sir, you must hurry! STEPHEN A moment! You're a worse tyrant than any ship's captain.He's breathing hard, exhausted. BLAKENEY You must carry him, Padeen!PADEEN looks at the collection of baskets he carries. BLAKENEY (CONT'D) Leave them! We must get back to the ship.STEPHEN raises his hand in protest, but BLAKENEY is alreadydivesting PADEEN of his load.247. COUNTRYSIDE - LAST LIGHTPADEEN carrying STEPHEN 'piggy-back', BLAKENEY out aheadurging them on.247a THE DISCARDED COLLECTING BOXESA variety of small bugs and animals crawling free248 STEPHEN'S CABIN - NIGHTSTEPHEN gingerly lowers himself into his 'elbow-chair',gripping the table and BLAKENEY's good arm for support.Sighing, he begins emptying his pockets of various smallitems collected during the day - some leaves, rocks andinsects - and places them in ordered piles around hismicroscope.All about them can be heard the urgent sounds of departure -the anchor rattling up, shouted orders and the drumming ofbare feet on the deck above.He holds up a stick in a specimen-jar, and is examining itwith his magnifying glass when JACK enters. JACK I forgot to ask you - did you see your bird?STEPHEN's eye grossly enlarged through the lens. STEPHEN I did not. My greatest discovery was your phantom. JACK Indeed it was, I'm sorry... STEPHEN (waving the magnifying glass) Not a bit of it. William and I made a unique discovery.Handing JACK the jar and magnifying glass. STEPHEN (CONT'D) Tell him, Mr. Blakeney. BLAKENEY (beaming) It's a rare phasmid, Sir.JACK inspects the stick. It winks at him. JACK A phasmid? BLAKENEY It's an insect disguised as a stick.JACK stares at the creature. BLAKENEY (CONT'D) In order to confuse a predator.JACK looks up at STEPHEN.249. BAY, GALAPAGOS - NIGHTThe Surprise alive with crewmen on the deck and in therigging. Shouts and commands drift across the water as sheturns and heads out from the bay.249a GANGWAY - SAME TIMEJACK strides along the quarterdeck towards the forecastleissuing a stream of orders - JACK Mr. Hollar, rouse up all the yellow paint we have. I want six men with brushes slung over the side. (moving on) Doudle! DOUDLE Yessir.JACK hands him a piece of paper with a sketch on it. JACK Get your sail makers working on this. Sixty yards by five yards with an eyelet every seven feet. DOUDLE Aye, Sir.He shouts to HOGG who, with a few men, is manhandling a largemetal cauldron from the ballast to the gun-deck. JACK (to HOGG) Have Nagel patch it up and light a fire in it. (shouts) Mr. Calamy! CALAMY Aye, Sir. JACK Once we're underway, replace some of the sails with the oldest, most patched set we have. CALAMY They'll be in the afterhold, Sir. I'll need some men to move all the clutter. JACK Good. Spread it around the foredeck. The more mess the better.249B. SIDE OF THE SHIP,. NIGHTThe ship powers ahead as men swing in harnesses above theracing water, painting out the Nelson chequer.249C. ON DECK. NIGHTNAGEL positions the great cauldron amidships as men come upfrom below with old barrels and bits of rope. CALAMY Haul away!On the gangway, Men under CALAMY's instructions haul onropes, pulling up the old patched sails.The sails lead us up to250. CROSSTREES - NIGHTJACK, PULLINGS and the whaler HOGG scan the dark horizon. HOGG There, Sir. A mainmast toplight.JACK has to use a telescope. JACK You've got good eyes, Hogg.Shouts down to the helm - JACK (CONT'D) Mr. Bonden, set a course west-south-west. (to PULLINGS) We'll drop below the horizon and come up on the other side of him, let him think he's seen us first.251. SURPRISE - DAWNFirst light reveals the results of an overnighttransformation - from a naval warship to a shambolic-lookingPortuguese whaler.The gunwales are painted an untidy ochre and the gun-portshidden behind broad strips of canvas.The sails are patched and ragged, the forecastle clutteredwith barrels. Smoke billows from a cauldron amidships.On deck and in the rigging, there's a quarter of the normalcomplement of men, all of them dressed in purser's slops.252. QUARTERDECK - DAWNA bemused STEPHEN looks about him as he approaches JACK. STEPHEN I see. A wolf in sheep in sheep's clothing JACK A phasmid, doctor. It was you what gave me the idea. STEPHEN I'm not sure a phasmid can be a predator. JACK No? Well this one is.253. BERTH DECK - DAWNHOWARD and his marines change out of their smart uniforms,into the oldest most ragged clothes on board the ship, muchto the amusement of the passing sailors. CREW MEN AD LIB Very fancy. Blue to match your eyes. Is there a skirt comes with it?254. GUN-DECK - DAWNMen are checking the breechings of the great guns andchipping cannonballs to make them more perfectly spherical,more deadly.The armourer is at his grindstone sending out showers ofsparks, a group of seamen round him relaying one another atthe crank, stacking newly honed cutlasses and boarding axesat their feet.Another team check and load pistols by the score.254. MIDSHIPMEN'S QUARTERS - DAWNAlone, BLAKENEY awkwardly draws his dirk, left-handed fromits scabbard. It glints momentarily in the lamp-light.CALAMY enters, face aglow, abruptly trying to cover his joywhen he sees BLAKENEY. BLAKENEY [ ] It's all right. Permission to boast. You're to lead the boarders from the forecastle. Congratulations. CALAMY Thank you. BLAKENEY You'll make lieutenant out of this.The others come in. BOYLE He already has. 'Acting' 3rd Lieutenant Peter Calamy.Oohs and aahs from all. BLAKENEY [ ] Then I'll see you at the forecastle, 'Lieutenant'. CALAMY That's not your station.BLAKENEY looks from CALAMY to the others, who avoid his eye. BLAKENEY But naturally I'll board with you? CALAMY I'm sorry, Will. Captain's orders.BLAKENEY is devastated.Rye bursts in, in a state of high excitement. RYE She's seen us!256. QUARTERDECK - DAWNJACK raises his glass, focuses on the Acheron, plainlyvisible in the distance, with a line of signal flags runningup her backstay. MOWETT She's asking us to heave to. Shall I give the order? JACK No, make a show of fleeing upwind, but panicky and disorganized, like a whaler might do.Allen smiles at this unintended slight JACK (CONT'D) No offence, Mr. Hogg.257. WIDE ON THE SHIPS - DAYA show of chaos on deck as the Surprise veers upwind, awayfrom the Acheron. As she presents her stern we see her newname: Malacca.258. QUARTERDECK OF THE SURPRISE - DAYThrough his telescope, JACK looks back at the Acheron inpursuit, a dark figure on her foredeck. JACK (to Mowett) Run up Portuguese colours. (then down to the gun-deck) Load, Mr. Pullings. Triple shot 'em.BLAKENEY comes onto the quarterdeck and salutes, lookingflushed and angry. BLAKENEY May I speak with you, Sir. JACK No saluting, Mr. Blakeney, we're whalers here. BLAKENEY Mr. Calamy says I am not in the boarding party, I wanted to say - JACK (interrupts) I know what you want to say and my answer is no. I promised your mother I would return you in one piece and I have already failed her on that score. You will command a gun and then retire to defend the quarterdeck here with Dr. Maturin. BLAKENEY But sir - JACK (cutting in) Go to your station, Mr. Blakeney.BLAKENEY begins to salute, doesn't, and retires, tearsburning his eyes.A moment later there's a flash of orange astern as theAcheron opens up with her bow-chasers. An 18 pound shotscreams past the side of the Surprise to land with a columnof spray just off their bows. JACK (CONT'D) Good shooting. Remind me to press her bow gunner, Mr. Pullings.The second ball takes down some rigging. JACK (CONT'D) Start the water and throw some barrels overboard.He goes below.259. WAIST - DAYBarrels go overboard and pumps spout streams of water overthe side as JACK runs down to260. THE GUN-DECKThe great majority of men are gathered here, more than ahundred of them crammed together with their muskets andsabres, listening to the odd thump from topsides as anotherball from the Acheron hits home.CALAMY and his gang of young tykes are squashed in theresomewhere, BOYLE, WILLIAMS, ADDISON and the rest, eyesshining with nervousness and wild anticipation, as JACKaddresses his men, who shout encouragement, ad lib, in everypause. JACK (plus the men ad lib) We're a long way from home. (Right you are, Captain!) A long way from anywhere, (Too true!) But if Britain rules the waves she rules these waves too. (Right she does!) And the blow we shall deal for his Majesty here will be felt just as keenly (I'll say it will) aye - and cheered just as loudly ('specially by the wimmin!) - as any dealt at Trafalgar or Cape St. Vincent.The camera moves over the upturned faces, PLAICE, NAGEL,DOUDLE, KILLICK, the midshipmen, the powder-monkeys, thewhole fellowship of the ship. And finally STEPHEN watchingJACK doing what he does best: transmitting his ownfearlessness into other men - the total warrior, theconsummate leader. JACK (CONT'D) I don't say it will be easy. She's twice the men we have and they'll sell their lives dearly. But every man here is worth three of Boney's privateers, and I know there's not a faint heart among you.CALAMY pipes up - CALAMY Three cheers for the Captain. MEN (deafening) Huzzah huzzah huzzah!On CALAMY, cheering like a kid at a football match as...261. QUARTERDECK - DAYAnother well-placed shot from the Acheron smashes through therigging, sending down a shower of rope and cordage.JACK is back at his station by the wheel, the Acheron littlemore than a half a mile astern, the figure of the captain inhis black coat clearly visible.JACK studies the looming black vessel, then turns and crossesto BONDEN at the helm. BONDEN nods, lifting his hands fromthe wheel as JACK grips the curved timber decisively, takingthe strain.He feels the pulse of the ship through his fingers, looks upto the sails then back to the Acheron. STEPHEN appears besidehim, casually smoking a cigar. He offers one to Jack, whodeclines [ ]Another shot pierces the mizzen foresail above them, butneither man flinches. KILLICK appears with two cups ofcoffee, and in his belt a brace of pistols. KILLICK I took the liberty, Doctor. STEPHEN [ ] Thank you, Killick.JACK steers one-handed as he sips his coffee. JACK Mr. Mowett? [ ] A poem might be in order.Another shot through the sails. MOWETT A poem, Sir? [ ] (after a moment's reflection) 'Oh were it mine with sacred Maro's art, To wake to sympathy the feeling heart,A ball goes howling past the ship, MOWETT winces. MOWETT (CONT'D) Then might I, with unrivalled strains, deplore, Th'impervious horrors of a leeward shore.'JACK smiles, nods. MOWETT (CONT'D) 'Transfixed with terror at th'approaching doom...' JACK What! MOWETT (apologetic) ...they were only people of the merchant service, of-course, Sir.262. P.O.V. ACHERONShe's now less than five hundred yards from their stern, andgaining.263. QUARTERDECKJACK turns back to MOWETT. JACK We have her Mr. Mowett. Strike the Portuguese colours and run up the Jack... Mr. Pullings. Canvas off the gun-ports, and run 'em out. Mr. Howard? Marines away aloft.The British Jack rises to the masthead replacing thePortuguese colours, as PULLINGS descends to the gun-deck.264. SHIP'S SIDE -The black muzzles appear with a low rumbling sound, as265. QUARTERDECKJACK, with a wink to MOWETT, yells at the top of his voice JACK Helm's a lee!....and spins the wheel hard to starboard.266. THE SURPRISEWide, to see her swinging broadside on, across the path ofthe oncoming Acheron.267. POV ACHERON DAYConfused shouts from the enemy's deck, chaos on herforecastle, somewhere a drum beating.268 + 269. DELETED270. THE SURPRISE QUARTERDECK - DAYJACK hands the wheel to BONDEN. JACK Run us down her larboard side then cut across her wake! (shouts down to the gun deck) Hold fire Mr Pullings! Hold till we're broadside on!271. - THE SURPRISE AND THE ACHERONWide, to see the Surprise turning downwind, back towards theAcheron, so they will pass broadside to broadside [ ] nomore than thirty yards apart.272. QUARTERDECK/ GUN-DECK, SURPRISEThrough a furious exchange of musket fire JACK runs down theladder to the gun-deck- JACK Fire as she bears! Every gun to concentrate on her mainmast!Through the gunports the Acheron's great hull becomesvisible. Some of the Acheron's guns have run out, but thecrews are unprepared and disorganized. PULLINGS On the uproll! Fire for the mainmast as you sight her!As the Surprise rolls and the upper deck of the Acheronbecomes visible.273. THE SURPRISE GUNSBarking, leaping back one by one, great tongues of flamespitting from their barrels, dense clouds of smoke rising.274. VIEW OF THE ACHERONWith an almighty splitting sound their mainmast falls,dragging yards and rigging with it, the whole mass fallingover their side, obscuring many of their gun-ports.275. GUNDECK/QUARTERDECK, SURPRISE -Cheers from the crew. Jack yelling up the companionway JACK Now Mr Bonden! Hard a'starboard!276. THE SURPRISE AND THE ACHERONThe Acheron wallows, bought to a standstill by the enormousdragging weight of their mainmast.BONDEN wheels the ship across the enemy's wake, past theexposed, vulnerable stern.277. DELETED277A. GUNDECK, SURPRISE JACK Fire at will!278. GUN-DECK, SURPRISEIn random sequence the Surprise's gunners pound it into theAcheron's stern. Casement windows vanish in a cloud of woodand glass, exposing the Acheron's terrified gun-crews, nowopen to devastating fire as the Surprise glides past.279. QUARTERDECKJACK climbs up on the gunwales, shouting to BONDEN - JACK Lay me alongside!280. THE SURPRISE AND THE ACHERONThe bow of the Surprise lurches into the Acheron mid-ships,spars interlocking, the Surprise guns firing into her atpoint-blank range.The crew throw grappling hooks.281.. QUARTERDECK JACK Boarders away!And he leaps to the enemy deck, a great tide of men followingafter him.282. FORECASTLECALAMY leads his own children's crusade from the bows andforecastle: youthful but terrifying, screaming and swingingtheir blades.283. QUARTERDECKAn agonized BLAKENEY watches from where he stands besideSTEPHEN. JOE PLAICE is close by with some of the older men,ready to ferry the wounded below.284. ON THE ACHERONAs the Surprises pour onto the quarterdeck they facewithering fire from the enemy. A dozen men go down, some ofthem fatally wounded. Among them are DOUDLE, BOYLE, ALLEN andHORNER in quick succession.The attack momentarily falters, and the Acherons surge backat them.JACK rallies his men and they charge again - the marine,TROLLOPE, and NAGEL are blown backwards by grapeshot.LAMB, enraged, surges past NAGEL's body, swinging his axe todevastating effect, with HOLLAR by his side and JEMMY DUCKSprotecting their rear, a pistol in each hand, firing from thehip.JACK keeps pushing onwards, the centre of the milling,swirling, hacking crowd, stabbing and pistolling each otherwith barely room to fall.The Acherons are gradually forced back across theirquarterdeck and down into the waist of the ship.285. WAIST OF THE ACHERONJACK crosses swords with a man in front of him, as an enemypikeman drives his blade into his left arm, tearing throughthe sleeve. BONDEN fires a pistol by his ear, deafening JACKand killing the pikeman.To either side, privateers are trying to reach them,shouting, swearing in English, French and Spanish.Bullets and missiles rain down from above, killing friend andfoe alike.KILLICK is in the thick of it, a pistol in either hand, andfrom his lips a high-pitched blood-curdling scream.AWKWARD DAVIES is foaming at the mouth as he swings a meat-cleaver right and left.286. QUARTERDECK, ACHERONA commander of the privateers notes the poorly defendedSurprise, and leads a counter-attack over onto herquarterdeck. CALAMY Look to our quarter-deck!287. QUARTERDECK, SURPRISEBLAKENEY, dirk in hand, turns to face them, as does HOWARDand his men, but they are gravely outnumbered.288. FORECASTLE, ACHERONCALAMY sees the danger and leads his gang back onto theSurprise, calling for others to follow. Calamy This way! Follow me!289. QUARTERDECK, SURPRISESTEPHEN, PADEEN and JOE PLAICE appear from below. STEPHENpicks up a pistol and with deadly accuracy shoots a privateerlunging at CAPTAIN HOWARD. The man drops, a neat hole in hisforehead. A moment's astonishment from HOWARD at the Doctor'ssurprising skill.CALAMY fights his way to BLAKENEY who is down on his kneesstabbing at the legs of the attackers.290. WAIST, ACHERONJACK, BONDEN and DAVIES are driving a wedge toward the stern,the defenders falling back in disarray.291. QUARTERDECK OF THE ACHERONPULLINGS and MOWETT fight side-by-side.A swivel-gun mounted on the taff-rail is swung to face them.The gunner is about to fire when a perfectly-aimed musketball hits him, again fired by STEPHEN.292. QUARTERDECK, SURPRISE/ACHERONCALAMY, BLAKENEY and their group force the counter-attackback onto the deck of the Acheron. The two boys fight as ateam as they move toward the stern.292. SIDE OF THE ACHERONSome Acherons jump overboard to escape the furious attack.Others are thrown, grasping at woodwork as they fall.293. QUARTERDECK OF THE ACHERONJEMMY DUCKS turns the swivel on a group of Acherons, thegrapeshot blasting them up against the gunwale.294. IN THE WATEROil burns. Men drown, others struggle to stay afloat,clinging to the mass of wreckage floating by the hull.295. WAIST OF THE SHIPCheering from the Surprises, demands to surrender in manylanguages, some beg for mercy, others fight on.296. BELOW DECKSJACK moves alone, down to the berth deck. He smashes thechain off a locked-door, releasing a dozen or more prisoners.Everywhere signs of the lethal blast through the ship'sstern, bodies, guns upended, shattered timbers.He makes his way through to the Great Cabin.297. GREAT CABIN, ACHERONFour privateers look up as JACK bursts in.They have been looting their own ship's valuables, two ofthem are too drunk to be scared. JACK Where is your captain? Ou est votre capitaine?One man leaps out through the shattered windows. A couple ofothers raise their hands and start jabbering in French andSpanish.298. QUARTERDECK, ACHERONIt's all over for the Acherons as a French officer hauls downtheir colours.A cheer from the Surprises - a few last shots fired. CALAMYand BLAKENEY cheering, BLAKENEY holding aloft the capturedflag.A dying Frenchman suddenly lunges at CALAMY with a sabre.BLAKENEY steps in front of him and takes the blow.299. IN THE SICK-BERTH, ACHERONA doctor is working here, a callow-faced man in a bloodyapron, red-eyed from fatigue.JACK enters, a fearsome sight, with his singed yellow hairand blood-stained cutlass. JACK Le Capitaine? Where is he?The doctor points at a body on the operating table.JACK approaches, looks down at the dead man. He's [ ]somewhere about JACK's age, fine-featured, with his blackcoat draped over his body. DOCTOR Il m·vait prie de vous donner ceci.Passing JACK the captain's sword.300. QUARTERDECK, ACHERONJACK picks his way through the dead and wounded to whereCALAMY sits nursing BLAKENEY. CALAMY He's dead, sir.Gently, JACK picks up the lifeless body and walks slowly backdown the quarterdeck, the boy draped across his arms.Friend and foe part silently in front of him as he crossesthe gangway to...301. QUARTERDECK, SURPRISE...then with CALAMY following, he goes below.302. THE GREAT CABIN - DAYJACK in wide shot, sitting alone on the bench running underthe stern windows. His hunched posture and red tear-stainedeyes give a glimpse of his familiar post-battle mood - a mixof grief and depression, the old question, "Was it worth theprice?". FADE TO BLACK FADE UP ON -303. ACHERON AND SURPRISE - DAWNThe two ships anchored close together on the ocean.304. QUARTERDECK, SURPRISE - DAWNAs eight bells are rung for the change of watch we see a rowof canvas hammocks each containing the body of a fallencrewman.DAVIES and PLAICE stitch the bodies into their hammocks,BLAKENEY the last body in the line. As the men approach - CALAMY I'll do it.JOE passes him the needle and twine, then they leave himalone.As CALAMY sews up the hammock, HOLLAR's voice is hearddistinctly from below. HOLLAR (O.S.) Rise and shine, show a leg there. Tumble up! Tumble up!In close-up: the peaceful face of BLAKENEY HOLLAR (O.S.) (CONT'D) Sleepers awake!...as CALAMY's hands stitch the canvas closed.305. WIDE ON THE SURPRISE - DAWNThe small figures of the crew assembled on the quarterdeck.JACK's voice drifting across the water. JACK John Henry ALLEN... Joseph NAGEL... William Horner... Stephen Winston Boyle... and Lieutenant William Blakeney We therefore commit their bodies to the deep, looking for the resurrection of the body, when the sea shall give up her dead... Amen. ALL Amen.The bodies in their weighted hammocks slide into the sea.306. BOW OF THE SURPRISE - DAYWide on STEPHEN and BLAKENEY as they sit watching twodolphins surfing the bow-wave, STEPHEN pointing out variousfeatures of these magnificent creatures, doing his best totake the boy's mind off the loss of his friend.307. THE SURPRISE AND THE ACHERON - DAYThe two ships sail abreast - the Acheron, her shattered mastsjury-rigged.308. QUARTERDECK, SURPRISE - DAYJACK stands with LIEUTENANT MOWETT and the signalsmidshipman, WILLIAMSON. They look across at the Acheron. JACK Signal... 'Parole prisoners Valparaiso'... WILLIAMSON You mean Lieutenant Pullings, Sir? JACK No. Captain Pullings.WILLIAMSON hurries to the signals locker, the signal book andJACK's message in his hand.309. TELESCOPE POV DAYThe line of colored signal-flags run up to the mast-head ofthe Surprise.309A QUARTERDECK ACHERONMidshipman Rye is reading the signal for Pullings RYE ....then 'Rendezvous Portsmouth. God- speed, Captain Pullings.'A contented smile on Pullings face as his promotion isconfirmed. He waves across to JACK as the Acheron makes asharp turn away from the Surprise.310. DELETED311. ABOUT THE SHIP - DUSKSlowly the crew come back to life as old familiar habits androutines reassert themselves.∑ Acting First Lieutenant MOWETT walks the quarterdeckcomposing a poem in memory of the battle.∑ JOE PLAICE tells a story of witchcraft and haunted ships toa small attentive audience.∑ While AWKWARD DAVIES works further on the tattoo aboutBECKETT's waist. The chain begun off BRAZIL now winds its wayaround most of his torso.∑ BLAKENEY and JEMMY DUCKS are feeding the assorted creaturescollected at the Galapagos, as...∑ BONDEN reads his first book, 'Diseases of Seamen' byStephen Maturin, his brow furrowed, his lips moving silently.∑ While the powder-monkeys skylark in the rigging313. INTERIOR, GREAT CABIN - NIGHTSTEPHEN plays a note on his cello [ ] STEPHEN Shall we begin?JACK pauses, gazing into space. STEPHEN (CONT'D) Jack, brother, you're gathering wool. JACK (smiles) Thinking about their captain. A great seaman, whatever you may say of him. The doctor said he was killed by our first broadside. I'd have liked to talk to him, face to face. STEPHEN Maybe you did. JACK What? STEPHEN While I was tending the prisoners they told me their doctor died of fever, two weeks ago. There was no doctor on that ship when we boarded it. And I doubt you will find one there now.JACK goes very still. A silence broken only by the sound ofwater flowing gently past the hull.He looks down at the captain's sword on the table, thethought of a possible final deception flooding through him. STEPHEN (CONT'D) Shall we?He starts to play, the deep booming sound of the cellocarrying through to ....312. OUTSIDE THE GREAT CABIN - NIGHTKILLICK, wearing an ostentatious bandage about his head, ispreparing toasted cheese with BLACK BILL. KILLICK That's the last of the cheese and like as not they'll leave it seizing to their plates with their tweedly tweedly tweedly. JACK (O.S.) Killick? KILLICK THERE! KILLICK (projecting) Which it will be ready when it's ready!In the cabin, the violin joins with the cello. Rolling,undeniable music, the music of the waves, resonating throughthe great ship and filling the night. Stephens mind is faraway. Jack breaks off abruptly: JACK You're still missing your cormorant... flightless eh...well then. It will still be there when we come backAnd he breaks into a merry jig313. SURPRISE, EXTERIOR - NIGHTWide, to see the stern of the ship and a patch of surroundingwater lit by the great stern lantern. Through the casementwindows the two men can be seen playing.Wider, to the vast dark sky and the heaving ocean all around,with the stern cabin, a tiny orange light, still faintlyvisible in the darkness.314. FURTHER BACKAnd further still. Until we see the curve of the earth, andthe planet spinning on its journey through space.*** \ No newline at end of file diff --git a/unformated_scripts/Script_Master, The.txt b/unformated_scripts/Script_Master, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..805e929279f1da31dfdfcf5812aef8ae587db3f7 --- /dev/null +++ b/unformated_scripts/Script_Master, The.txt @@ -0,0 +1 @@ + THE MASTER Written by Paul Thomas Anderson 1952 INT. HOSPITAL ROOM - DAY A young man, FREDDIE SUTTON (early 20s)_ speaks to a DOCTOR; DOCTOR What are you going to do when you get out of here? You're going to have to wear a belt for six months, maybe a year... FREDDIE What kind of belt? DOCTOR A surgical belt. You won't be able to do very heavy lifting. FREDDIE .I try to stay away from that. DOCTOR But you spend time outdoors. FREDDIE MMMM DOCTOR What do you do? FREDDIE DOCTOR You didn't have very much on you when you were admitted. Where were you going? FREDDIE I was on my way to Placerville. To the Fair. Had a job waiting for me, with a friend of mine. He doesn't know where I am. DOCTOR How old are you, Freddie? FREDDIE 28. 2. DOCTOR Why don't you turn honest? You seem like an intelligent fellow. 'Quick on your feet - you like to drink? FREDDIE It's a weakness. But I like it. DOCTOR I know what the other is too. FREDDIE How can you tell that? I'm clean. DOCTOR The tattoo's. FREDDIE Is that a weakness... DOCTOR No one ever made money chasing girls. FREDDIE You're wrong. This tatoo's my Auntie. DOCTOR Who's that? FREDDIE My Auntie Bertha, (she raised me.) But that doesn't mean I don't have a weakness... DOCTOR College? FREDDIE I tried that, it didn't work. DOCTOR Why'd you leave? FREDDIE Sometimes my hypo's get the best of me, I really feel like walking into the street and hitting people's hats off. DOCTOR That's how you end up like this. With a burst appendix. 3. FREDDIE That's when I know it's time to get to the sea.. what kind of belt? DOCTOR A medical belt. Similar for lifting. You're going to need some money. What do you plan to do? FREDDIE I'm going to pay back the hospital. And you. DOCTOR You don't owe me anything. I'm on surgical duty. But you're expected to pay the hospital for medicines. And your belt. FREDDIE Alright. I intend to do that. You saying you have a job for me? What? As an orderly? DOCTOR You couldn't be an orderly, it's too much lifting -- and a lot of things you'd have to learn. But maybe you could run an elevator, something of that sort. FREDDIE I want to get out of here, but I also like it here. You think I was gonna die? DOCTOR I know you were, Freddie. FREDDIE I don't know. I'm not saying you didn't save me... . but...I can't seem to die. DOCTOR Too lucky? FREDDIE Something like that. DOCTOR Were you in the service? FREDDIE Yes, sir. DOCTOR Navy? 4. FREDDIE DOCTOR FREDDIE DOCTOR Your luck was up this time, Freddie. You should have seen the pus in your belly. Something to think about. It's not too late to stop being a weisnheimer, no matter what you think. you're still a young man. DISSOLVE TO: INT. ELEVATOR - DAY FREDDIE sitting in a chair, running the elevator. bored. Moving up and down.. .START MUSIC. CARRIES OVER THE FOLLOWING SEQUENCE. CUT TO: INT. HOSPITAL. WEEKS LATER. NIGHT. FREDDIE, middle of the night, sneaks across the ward to a sleeping patient's bed. He goes into the drawer next to the bed, grabs WALLET/CASH HALLWAY, DOCTOR'S OFFICE Freddie places a note on the door of the Doctor. He walks away, CAMERA sees the note, it reads: "I'VE GONE TO CHINA. SEE YOU AGAIN SOMETIME. THANK YOU FOR YOUR HELP." INT. GAMBLING CLUB / CALIFORNIA - NIGHT FREDDIE amongst a GROUP OF MEN playing cards, dice, etc, in a backroom gambling hall. He collects some money and leaves. VERY VERY SMOKY HERE. CUT TO: 5. EXT. ALLEY WAY - LATER Freddie walks into the alley, stuffing some money in his pockets - he's followed by a FIGURE. FREDDIE realizes, stops, SPINS AROUND AND PULLS KNIFE: FREDDIE You come any closer and I'll slice your GUT - FIGURE I'm not after your dough, I just want to talk with you - FREDDIE You can talk standing in front of the restaurant, around the corner -- At that moment, TWO OTHER MEN come out of the shadows and JUMP FREDDIE, KNOCK HIM AROUND, TAKE HIS MONEY AND LEAVE. He's left a little bloody, messy, no money in the alley. CUT TO: INT. CALDWELL'S DEPARTMENT STORE - DAY FREDDIE's got a job working in the PORTRAIT STUDIO OF AN OAKLAND, CALIFORNIA DEPARTMENT STORE. He looks from behind the old camera, getting reactions. WE SEE THE VARIOUS PEOPLE IN SEQUENCE: MILITARY MEN, SINGLE LADIES, FAMILIES, TODDLERS, OLD COUPLES, YOUTHFUL JUST MARRIED COUPLES. GET THEIR PHOTO'S TAKEN. He interacts with them all. CUT TO: INT. CALDWELL'S DEPARTMENT STORE. DAY. CAMERA leads around a beautiful young woman names: DONNA (20) who is modelling a FUR COAT for the FEMALE CUSTOMERS in the COSMETICS SECTION. DONNA Hand made. Imported. Chinchilla. Only $49.99 She catches the eye of FREDDIE watching her. She moves around snaking towards him.. .CAMERA° leads him out of the PHOTO DEPARTMENT and towards her, and they meet in the MIDDLE; 6. DONNA (CONT'D) Only $49.99, hand-made, imported. FREDDIE You have a break coming? DONNA Yes. FREDDIE When? DONNA 15 minutes. A BACK HALLWAY, BACK CLOSET, MOMENTS LATER. He gets his little FLASK out... FREDDIE I saw you. DONNA I saw you first. FREDDIE What's your name? DONNA Donna. What's yours? FREDDIE Freddie. DONNA That's a nice name. FREDDIE This is homemade.. DONNA Is it gonna kill me? FREDDIE Yes. She sips it. Makes a face. Horrible. DONNA Uugugh. FREDDIE Taste good? 7. DONNA Yeah. They kiss each other. DONNA (CONT'D) I have an apricot belly. Want to see it? She shows him her stomach. DONNA (CONT'D) I'm really a very good girl. What gives you this idea about me? FREDDIE Maybe we think the same things at the same time. DONNA Oh my good-ness. I think we do. Want to see my boobs? FREDDIE Yes. She pulls her top down, the coat drapped around her-reveals her breasts - DONNA Are they nice? FREDDIE Yes. DONNA Hand made. Chinchilla. Imported. That's enough. She pulls her top back up. FREDDIE Wanna go out tonight? DONNA Of course. Gllllagh. What's in this? I think I'm cross eyed for good. FREDDIE I don't have any cigarettes... DONNA What do you make this liquor with? 8. FREDDIE There's secrets in liquor, this is just booze. CUT TO: EXT. DEPARTMENT STORE. MOMENTS LATER. They exit, move away from each other, both drunk.. CUT TO: INT. PORTRAIT STUDIO AREA. LATER. FREDDIE is very drunk and dealing with a very IRRITABLE/VAIN BUSINESS MAN who can't stop doing his hair ...FREDDIE makes some smart ass comments (TBD) to THE MAN. They argue back and forth until: FREDDIE LOSES HIS TEMPER WITH THE MAN AND SNAPS. HE KNOCKS OVER A LIGHT, DECIDES TO STEAL THE CAMERA WHILE HE'S AT IT AND TAKE HIS HOME MADE BOOZE OF FILM PROCESSING CHEMICALS WITH HIM. THE WHOLE TIME RANTING AND RAVING AT THIS MAN. SECURITY GUARDS come after him, Freddie runs off, through the store - DONNA WATCHES HIM GO. HE SHOUTS A FEW SWEET WORDS TO HER AS HE GOES -- CUT TO: INT. SPREKLES SUGAR FACTORY/BEST FARM - SALINAS, CALIF - DAY Maybe a few months later, FREDDIE looks worse for wear. He's been hired to work at a BEET DISTILLATE as a BENCH CHEMIST. The FOREMAN walks him though the process; it's clear that there is enough chemicals and beets here to make some good booze... MEXICAN and FILIPINO workers HARVEST THE BEETS, load them to wagons - unload/wash - end up with FREDDIE: He works the bench, making his HOME MADE VODKA. This stuff is quite toxic and very strong. He places it in small, side CONTAINER'S -- CUT TO: 9. INT. BUNKHOUSE - EVENING. Freddie and all the workers getting ready for a night out. He's got the Fillipino's and Mexican's working for him squeezing Lemons and Limes, Apples, Beet Juice, in with HOMEMADE POTION. CUT TO: INT. LARGRANGE DANCE HALL - NIGHT. A LOCAL DANCE HALL outside SALINAS. SCENE BEGINS IN THE MIDDLE OF A FIGHT WITH FREDDIE/FARM WORKERS and some LOCAL KIDS. FREDDIE is very very VISCIOUS IN THIS FIGHT. CUT TO: INT. CAR - MOVING All of the MEN with Freddie have piled into a car. There is one FILLIPINO MAN who is extremely drunkHe's passing out and moaning a little... His young FRIEND says, "he drank way too much." FREDDIE .somebody shut him up.. CUT TO: INT. BEET/SUGAR FACTORY. BUNKHOUSE. LATER It's the middle of the night and all the WORKERS, including FREDDIE are asleep. Across the room the DRUNK FILIPINO's condition has gotten worse... The YOUNGER FILIPINO MAN wakes others up for help. . .The DRUNKEN MAN is mumbling "I'm blind.." "I'm dying.." "my eyes.." FREDDIE TAKES NOTICE, COMES CLOSER... STARTS TO SIZE UP THE SEVERITY OF THE SITUATION .AND REALIZES HE MAY/DOES HAVE SOMETHING TO DO WITH THIS... .he backs away quietly-and starts to THROW SOME THINGS INTO A BAG... .WHEN SOME OF THE FILIPINO'S NOTICE HIM STARTING TO LEAVE, THEY YELL AFTER HIM... .FREDDIE TAKES OFF... 10. AND THE FILIPINO'S GIVE CHASE.. .THEY MOVE INTO THE FARM FIELDS. EXTEND OUT. CHASE THROUGH THE FIELDS FREDDIE JUST RUNNING AND RUNNING AS FAST AS HE CAN... CUT TO: EXT. HIGHWAY - LATER. LATER. off the side of the highway. Freddie collects himself, obviously running for the past hour and evading the Filipino's. He hitches now... CUT TO: EXT. DOCKS/SAN FRANCISCO - HIRING HALL - NIGHT. Inside the crowded HIRING HALL, sailors, men looking for work, etc. Freddie puts his name down. This is a short burst of a scene, establish he wants to get back to sea, wants work, but there's nothing for a few weeks. EXT. DOCKS/SAN FRANCISCO - NIGHT. VARIOUS ANGLES. Freddie makes his way around the docks, looking for something/anything. PLAY OUT. He comes across a SHIP that's being readied for voyage. It's an old cattle TRAWLER that seems converted to some kind of CRUISE SHIP/PRIVATE YACHT-type vessel. There's a buzz of getting ready around the ship also a minor cocktail party in progress. (light music playing from the ship...) DECKHANDS preparing to ship out, etc... Freddie approaches the gang-plank...no one is there to guard it. He walks straight up the gang plank and gets on board the ship. ANGLE, ON BOARD. CAMERA follows him around... no one seems to notice or care... He goes down below... ANGLE, BELOW DECK. He sneaks around... some YOUNG MEN are getting dressed in TUXEDOS. 11. This plays itself out...FREDDIE finds a small CLOSET with a TUXEDO and slips it on. He gets swallowed up into this group of young men and acts as if he belongs -- .THE SHIP PULLS AWAY. HEADING OUT SAN FRANCISCO BAY... .FREDDIE HEADING UP INTO A WELL APPOINTED CABIN... A COCKTAIL PARTY IS IN FULL SWING AS THE SHIP LEAVES S.F. There are all manner of people here, in this area, everyone seems quite happy, chatty. Middle aged couples, single middle-aged men, young couples, some kids, teenagers, etc. Freddie working near the bar, starts delivering drinks... A live PIANO TRIO playing. FREDDIE NOTICES: A LARGE MAN IN HIS MID-40s, all red-hair, red eyebrows, red lips sings and dances while holding a baby It's a bit blurry across the room from Freddie's POV The SONG ENDS and everyone laughs, applauds, collapses. KIDS run around... CUT TO: INT. MAIN DINNER CABIN. LATER. Everyone seated for DINNER; we now see the red haired man in full: MASTER OF CEREMONIES (early 40s) He sits at the head of the table, his family with him: HIS WIFE: MARY SUE (pregnant, mid-20s) HIS DAUGHTERS: ELIZABETH (18) ELENA (3) SUSANAH (1) HIS SON: VAL (20) A RIGHT HAND MAN TO MASTER IS: NORMAN CONRAD (40s) ANGLE, THE BAR. The BARTENDER whispers to Freddie; indicates he's POURED TWO SHOTS FOR THEM TO SNEAK ... FREDDIE and the BARTENDER reach and grab them, shoot them back... INSTANTLY, FREDDIE'S HEAD POUNDS. BARTENDER You feel alright? FREDDIE Yeah, fine. 12. ANOTHER SERVER Why don't you go lay down, I'll take over... Freddie walks off. FREDDIE doesn't seem DRUNK he SEEMS DRUGGED. He walks down the hall - AND IN AN INSTANT FALLS FLAT ON HIS FACE. DEAD WEIGHT. He's dragged off. FADE OUT. CUT TO: INT. SMALL DARK ROOM - LATER. FREDDIE wakes up MASTER OF CEREMONIES is here along with MARY SUE and NORMAN CONRAD does the speaking at first, Freddie in and out of consciousness: NORMAN CONRAD How are you doing? FREDDIE Alright. What is this? NORMAN CONRAD How'd you get on this shit? FREDDIE I walked. NORMAN CONRAD Why? FREDDIE I was just looking f'work... I'm working here. MASTER OF CEREMONIES You need to sit down. FREDDIE I need to sit down. Freddie is already sitting in a chair they have him in. FREDDIE (CONT'D) Whatdchu put in my drink? NORMAN CONRAD You've been sedated. FREDDIE I'm sleepy. 13. NORMAN CONRAD I know you are. But you need to wake up now. Be sharp and wake up... can you do that for me? I want you to ask some questions about why you're here.. .how you came to be on this ship... FREDDIE .I just need the work. Wasinmy drink? NORMAN CONRAD You shouldn't be here, this is a private trip. FREDDIE .I'm a good worker..Iknowthese ships... BEAT. Freddie just looks at him, then MASTER SPEAKS: MASTER OF CEREMONIES You're an able bodied seamen? FREDDIE I am. MASTER You've had your appendix removed. FREDDIE MASTER Why didn't you just ask if you could join this ship? We're always looking for new members, we'd have been happy to have you, no need for skulking or sneaking. FREDDIE MASTER You need work? We'd love to have you work. You can work for us and our company. . .we have a wonderful company... FREDDIE Yeah? Whatdo you do your company? MASTER This is the company where past, present and future come together. FREDDIE 14. MASTER Tell me why you're on my ship. FREDDIE I just want to go to sea. I am looking for a berth-- MASTER What's wrong with where you were? FREDDIE I'm a seamen. MASTER What wrong with the world from where you were? FREDDIE I like being at sea. (I am a sailor.) PAUSE. FREDDIE closes his eyes, sleepy a minute.., then: MASTER You're a Russian spy. Did you hear me? Wake up, Freddie. FREDDIE What do you want? .what's your name? MASTER We've told you. You're a russian spy. What are you escaping. FREDDIE Nothing. MASTER You did something. FREDDIE I'm here to work, I know ships... MASTER You don't know? FREDDIE No. I don't know-what? MASTER You're a little drunk and sleepy. FREDDIE More than a little watchu put in my drink. 15. MASTER More than a little. You work for Dick Quinn. FREDDIE Dick. MASTER RICHARD QUINN FREDDIE Don't know him. / no MASTER You work for the AMA. CIA. FREDDIE . you got alotta questions.. MASTER You work for Bill Christos and his friends at the APA. FREDDIE I don't know you... MASTER And you picked this ship at random? FREDDIE Yes, sir. MASTER How long have you been sleeping? FREDDIE I just woke up. MASTER What's your name? FREDDIE My name is Freddie Sutton. 40114-78 MASTER You were in the Navy? FREDDIE Yes. MASTER Did you ever kill anyone? 16. FREDDIE Hah. MASTER Who did you kill? FREDDIE I fired and fixed torpedo room, USS Barton. Yes, I killed people. I'll Kill you. MASTER You feel agressive? FREDDIE Wakemeup. MASTER Where are you from? FREDDIE You know where - dn'ask me what you know... wakemeup wakemeup wakemeup come on wakemeup. MASTER You're from Princeton, New Jersey your identification says but that's quite a long way away from San Francisco. What are you doing? FREDDIE -- I toldju I'm just trying to get to sea. MASTER Why did you pick this ship? FREDDIE It was leaving... MASTER Did you come here to find out information? FREDDIE It was leaving... MASTER Did you come here to find out information? FREDDIE No, sir. 17. MASTER Who sent you here? FREDDIE You make me feel like I'm in hell. lemme wake up or lemme sleep. MASTER Well you shouldnt drink so much liquor, it's bad for the system. You're hurting yourself. PAUSE. Freddie is slipping out of it. MASTER (CONT'D) Would you like to stay with us a little while? FREDDIE Sure. MASTER We can give you the guidance you need in your life. FREDDIE Thanks. MASTER We can give you the guidance you need in your life. FREDDIE Thanks. MASTER Why you don't you just get some more rest? FREDDIE LONG PAUSE. Freddie's eyes close ane he passes out again. MASTER This boy is just a simple stow-away. All things he says he is. MARY SUE I believe... Master fiddles around with his things, belongings, wallet, out on a table. He looks at the FLASK. Smells it. Pours the contents into a glass; looks at the liquid. 18. He drinks it. He lets it run down his body, feels the drink. He drinks some more. MASTER Delicious... delicious NORMAN CONRAD There should be nothing above suspicion. CUT TO: EXT. HALLWAY - MOMENTS LATER FREDDIE is dragged by to ASSISTANTS down the narrow hallways of the SHIP. . .down another hallway, down another... CUT TO: EXT. THE SHIP - PACIFIC OCEAN - NIGHT. CAMERA MOVES WITH THE SHIP, SILENTLY MOVING ALONG AT NIGHT.. .SEES THE LIGHTS GLOW FROM INSIDE... CUT TO: INT. ROOM - MORNING. CU. FREDDIE. Morning sun comes in, hits him in the face. Wakes him up. He looks around. He looks out the window. CUT TO: INT. HALLWAY - SHIP - MOMENTS LATER FREDDIE walks out, looks around. . .he walks down the hall, a YOUNG GIRL passes him, smiles wide and says "GOOD MORNING," ad keeps walking... He moves towards a room where he hears a TYPEWRITER. He steps in the doorway. MASTER sits at his desk, writing gear all around. MASTER looks up, sees him, stops typing... Smiles. Extends his arm out for Freddie to come in and take a seat.. .MASTER is warm, inviting. Not rushed. They sort of sit and settle with each a moment; 19. MASTER Ok? FREDDIE Alright. MASTER You can't be... FREDDIE Is this your ship? MASTER I'm it's Commander, yes. FREDDIE Where's it going? MASTER New York City thru the canal. You're seamen? FREDDIE Yes. MASTER You're looking for work? FREDDIE .what did I say last night...? MASTER You said you were an able bodied seamen and you were looking for work? FREDDIE You have any? MASTER Perhaps. FREDDIE What was in my drink? MASTER You were sedated with chloral hydrate and bubble gum kisses. Ha ha ha. I'm sure if your check your butt-hole you'll find it's all in working order (he he he...) Isn't that what all men are worried about in they surrender themselves. FREDDIE I didn't surrender myself. 20. MASTER You were acting very aggressive because you drank too much alcohol. FREDDIE I don't think I was. MASTER Yes I think you were. And I don't like strange boys jumping on my ship. FREDDIE So what are you gonna do? MASTER Why don't you just ask for work? Work can't be hard to find. FREDDIE Depends on when you're ready to go...do you have a job for me. MASTER You can't work in your condition. FREDDIE What condition is that? MASTER You're aberrated. FREDDIE What's that mean? MASTER A wandering from the path The problems you have in your life (your appendix, your work, your need to batter your body with booze...) I resolve that they can be fixed. FREDDIE I've got no trouble. You got a job for me to do, I can do it. MASTER Maybe I do, but not the kind you think. FREDDIE Do you own this ship? 21. MASTER A charter though the Explorer's Club. FREDDIE .What do you do? MASTER I am many things. I am writer, a doctor, a nuclear physicist, a theoretical philosopher. Above all, I am a man, A hopelessly inquisitive Man, just like you. FREDDIE Where's your money come from? MASTER Many years of successful writing and publishing has made me self sufficient. Reader's in all languages have enjoyed my work - but now I'm retired to study the mid and the spirit...my life's true work. FREDDIE MASTER These studies have made me a target and I am hunted for what I know. Which is why... it is so un-wise to go lurking and jumping on strange ships.. .how do we know what your motives are? FREDDIE .well: I apologize if I got a little out of hand last night - I'm just... looking for work and your ship looked good, so...it's a nice looking ship. MASTER Don't apologize. You're a scoundrel. How I miss the days of working a four mastered schooner with nothing but salt horse, dried peas and a couple quarts of water.. .the present-day maritimer's seem so much more fragile, don't you think? You - you're and adventurer. FREDDIE 22. MASTER An able bodied seamen, a maker of wine, and a dashing mischievousness is what I knew would come to me in this-lifetime. .would you study with me? Submit yourself? FREDDIE I don't understand what you're talking about. MASTER I am always looking for mature men of unusual ability who are willing to stretch the boundaries of what they know. To increase knowing-ness and communication amongst man. I need day-ta. And with your help, I can gather it... FREDDIE MASTER You already understand, you just need to remember. And only say yes. Say, 'yes.' FREDDIE I'm not saying yes to anything I don't UNDERSTAND -- Master holds up the FLASK.. MASTER What's-about-this?' FREDDIE What about it? MASTER As a Scientist and a Conniseur I have no idea the contents of this remarkable potion, what's in it. FREDDIE Secrets. MASTER Can you make more? FREDDIE MAYBE 23. MASTER I'll grant you a full reprive from your naughtiness as a stow-away if you make us some more. I must admit I sampled some and ended up drinking it all. FREDDIE It's just booze. MASTER Horrible Hooch? FREDDIE Horrible Hooch. BEAT. They both smile, laugh a little. MASTER gets up and comes over him... MASTER Would you scrub yourself up and make yourself clean? My daughter is getting married. Come and join us and leave your worries for a while, they'll still be there when you get back..he he he. You are invited. CUT TO: INT. LITTLE ROOM - LATER. FREDDIE IN A LITTLE ROOM, SHOWERED, CLEANED UP, NICE SUIT ON, CHECKS THE MIRROR AND EXITS... INT./EXT. SHIP - MOMENTS LATER - DAY. MASTER waits for him-they walk together...CAMERA leads them-they go up on DECK...OUT INTO THE PACIFIC OCEAN AIR... MASTER I think we have known each other before you and I - FREDDIE Oh yeah? MASTER It will come out over time, but yes. We are re-united... do you reember me? 24. FREDDIE .I don't know... MASTER That's alright. Don't strain yourself. You will. There will be much time to discuss this on the journey to our destination. As we travel down Time- Holes...you won't be afraid will you? FREDDIE .what destination? MASTER Have you ever had harm cme to you? FREDDIE Sure. MASTER What if we could return to a period of your life where there was harm and do away with it? .would You like that? FREDDIE Ok. MASTER That's where we go. They come across ALL THE PEOPLE ON BOARD. THEY WALK INTO THE GROUP. Everyone is getting ready for a WEDDING. . .they greet MASTER and FREDDIE. He walks into it and is welcome'd... MASTER finds his daughter, ELIZABETH, who is to be married and her husband-to-be CLARK (20s) He introduces them to Freddie - EXT. DECK OF SHIP. AFTERNOON. ZOOM BACK FROM CU. On MASTER as he presides over his DAUGHTER's WEDDING. ELIZABETH and CLARK. Everyone dressed up; Master says some sweet,. beautiful words and then; MASTER .as long as you hold these bodies, in this life: you may kiss the bride. THEY KISS. APPLAUSE, CHEERS. CU. FREDDIE. He listens and watches. CUT TO: 25. INT. DINNER CABIN. NIGHT. It's mid-dinner, post-wedding ceremony party, everyone is celebrating, drinking. Master talking a blue streak, acting this out. MASTER Now, now, now, how 'bout this: Here it comes - swooping down on me: A LARGE DRAGON, TEETH AND BLOOD DRIPPING! RED EYES! What do I go? A lasoooo! Whip it up, wrap it around it's neck. I wrastle, wrastle, wrastle'em to the ground - I snap up, I say: sit. Everyone laughs, Master is acting all this out, rolling around, etc as if he's training a dog... MASTER (CONT'D) Dragon sits. I say: stay. Sragon stays. So now he's got a leash on and he's staying on my command - THAT"S WHAT WHERE WERE AT WITH IT NOW - it stays on command. Everyone is laughing, lapping it all up. He glances; MASTER (CONT'D) Next we're gonna teach it to roll over and play DEAD. Master sits down, starts speaking to someone about his days studying Judo ... FREDDIE, sitting up at the dinner table-across the table is: VAL, strikes up conversation: VAL Freddie, I'm Val, the son. FREDDIE Hello. VAL Are you having a good time? FREDDIE Yes. VAL What are you goign to be working on? 26. FREDDIE I don't really know. VAL Have you done any time-hole work? FREDDIE I don't think so. VAL is distracted by a WELL WISHER who comes over. FREDDIE looks around at everyone. All the faces having a good time and celebrating... He catches the eye of a YOUNG WOMAN. . .then sees her HUSBAND... The BARTENDER comes over to FREDDIE BARTENDER Alright, old man? FREDDIE Yeah. BARTENDER No hard feelings? FREDDIE No. BARTENDER Welcome aboard. Clif Amsbury. He serves him a drink. BARTENDER (CONT'D) This one's alright. Chink, chink. ANGLE, LATER. Master is saying good-night to everyone, passes FREDDIE and says quietly: MASTER When can we have some of your potion? FREDDIE Whenever you'd like. I'll get making it - MASTER When I'd like it - I will give you a signal. I will scratch my ear and rub my nose. What will you need? 27. FREDDIE I'll take care of it. MASTER makes his way down the table trying to say goodbye to everyone, he finally tears away from the party by SAYING: MASTER Enough! Enough! I must get back to work! Keep going! Dont stop all night long! He leaves. FREDDIE just looks around, caught up in it all. CUT TO: INT. ROOM - LATER. Freddie comes down into his little room. A cot has been made for him, some fresh clothes and a BOOK (hardcover,400pages) on the bed. It reads, very simply: THE CAUSE CU. BOOK "THE CAUSE" The cover is opened, CAMERA SEES IN CU the opening line from the book: "Shall a man be master of his memories? Or shall his memories be the master?" ANGLE, FREDDIE He lays in bed and reads the book. He reads about to lines and his eyes slam shit, asleep, still holding the book. HOLD. CUT TO: INT. MAIN DECK / CABIN - MORNING. It's the next morning, EVERYONE IS HERE FOR BREAKFAST, BUFFET STYLE, FREDDIE mixed in amongst it all. FREDDIE sits down to eat with MARY SUE, who feeds her baby. The other children around. VAL and NORMAN CONRAD are here... MARY SUE He's been writing all night ...I think you've inspired something in hi,. When we're at home, on land, there's too much, pulling him in each direction. (MORE) 28. MARY SUE (CONT'D) He was working on a book that showed how the Russians used narcosynthesis and physical torture and how it worked as it did. That was interrupted. He had a technology oh psychological warfare to present to the Defense Department. All that was interrupted, lost. Each time he sits to write, a new attack is launched against him and he spends too much time on defending himself. I tell him to ignore it, but he's so sensitive... FREDDIE Who's attacking him? MARY SUE People that are scared. People that are greedy. Ex-wives...That's what's so nice about being at sea. He gets his studies done, advances the learning, and he writes BOOK II. FREDDIE What's a time-hole? CUT TO: INT. SMALL CLASSROOM - LATER. It's a dimly lit little room. A few folding chairs and a small stage. A YOUNG GOD LOOKING COUPLE: WAYNE and SUSAN DUNBAR (late 20s) are on stage. She is lying down, eyes close, he is sitting in a chair next to her, students watch as he runs an exercise with her; Mary Sue has brought Freddie in here and sits with him in the back.. .Freddie watches: WAYNE Say, "back beyond" and return to the pre- natal area. SUSAN Back beyond. Back beyond. Back beyond. Back beyond. Back beyond. Back beyond. WAYNE Continue please... SUSAN Back beyond..I Have.. something in my face... It feels like I am being pushed. 29. WAYNE Contact it more closely and continue to repeat. SUSAN Back beyond. Back beyond. It's getting stronger. WAYNE CONTINUE SUSAN I hear a voice..It's my father's voice. WAYNE Listen to the words and repeat them, please. SUSAN He is talking to my mother. The face pressure is hurting. It's uncomfortable. It keeps going up and down and it hurts. WAYNE Repeat his words, please. SUSAN "I don't want to come in you now. Let's wait." The pressure is banging my face. Into my face. My mother is there, her voice... WAYNE What is your mother saying? Please, if you hear her? SUSAN She saying "well get out of there then. I don't want you in me at all if your not there to come. Get in to come." She's mad. WAYNE Please return to the start of this and recount. SUSAN I wonder what they're doing? I hear a squishing sounds and it's wet. Oh. Oh my. WAYNE Recount please. 30. SUSAN A faint rhythm ...then faster. I hear my fathers voice say, "oh honey..I wont come in you now. I'm not too sure I like children that well and I have my job to worry about..." And my mother must shove him - a sharper pain here - "THEN I DON'T IN THERE AT ALL, GET OUT.." WAYNE Return to the beginning and recount it again, please. CU. FREDDIE's FACE Listening. Mary Sue leans over and whispers: MARY SUE (WHISPERS) Do you understand what's happening? FREDDIE Yes. She hold her pregnant stomach; MARY SUE We record everything. CUT TO: INT. SHIP - VARIOUS. NEXT MORNING. FREDDIE moves around, CAMERA follows him, collecting VARIOUS SUPPLIES to start making a home-made potion of booze. POTATOES, PAINT THINNER, ORANGES, YEAST. (TBD, OTHER CONTENTS OF THE SHIP) that could go into a recipe -- CUT TO: INT. BOOZE ROOM - LATER. He's set up in an area of the ship to start distilling BOOZE from the found ingredients on the ship. WATCH, HOLD THIS. The BARTENDER/FOLLOWER is here to give him some help. (poss. Bartender telling him how came to 'the cause' here...) CUT TO: 31. INT. STUDY ROOM - LATER. HE WALKS THROUGH THE LIBRARY ROOM, WATCHING A GROUP OF FOLLOWERS READING, STUDYING, TALKING. LISTENING TO HEADPHONES WITH MASTER'S VOICE SPEAKING. THIS IS THEIR STUDY TIME. He slips a PAIR of HEADPHONES ON, TAKES A SEAT AND LISTENS. This is a recording of a LIVE LECTURE BY MASTER: MASTER (V.0.) .someone came up to me the other day, and I had to say...I had to correct him. He said, "I heard the Cause can fix me.." I looked down at him and he'd lost his legs. He's sitting in a wheel chair and had no legs to speak of. I said, "We can do very many things, sir...but no, we cannot replace your legs. This is how rumors get started." Let's talk about what we can do... FREDDIE looks around and watches all the STUDENTS on their headphones. He tries to flirt and make eye contact with all the WOMEN. MASTER (V.0.) (CONT'D) When did you decide you had limited potentials and capabilities? You've forgotten that this is all just a dirty old game that YOU created. An AID (Female, 40s) comes over; AID How you doing? FREDDIE I'm fine. AID Are you following alright? FREDDIE Well-not really-no... AID That's OK. You will. Don't worry - FREDDIE How long have you been studying 32. AID A year. It takes a little time. Don't worry. FREDDIE What's your name? AID Carol Henike. You're Freddie. FREDDIE That's right. AID Just keep listening and reading. If you don't udnerstand, just keep going back over it. Headphones back on... He slips the headphones back on. CUT TO: INT. MAIN CABIN - EVENING. A SKETCH COMEDY SHOW, DANCING after-dinner. FREDDIE on the sidelines, watching it, not really understanding some of the humor and lyrics, etc...someone has a MOP on their head and is pretending to be a PSYCHOLOGIST with a vary thick/bad German-Austiran-accent. "zee muzzer and fazzer and zee penisss and ze nippelz.." attempting to cure a STUDENT... everyone LAUGHS. ELIZABETH (the daughter) comes over; ELIZABETH Hi Freddie ... FREDDIE Hi. ELIZABETH .I Have a message for you. She rubs her nose and tugs her ear. ELIZABETH (CONT'D) Better get along. He leaves, she watches him go. CUT TO: 33. INT. FREDDIE'S AREA. MOMENTS LATER. He puts the booze into MASON JARS. CUT TO: INT HALLWAY - MOMENTS LATER FOLLOWING FREDDIE HOLDING THE BOOZE IN A LITTLE MASON JAR. CUT TO: INT. MASTER'S SUITE. THAT MOMENT. Freddie pours the liquid into two glasses. WE HEAR THE PARTY OUTSIDE THE ROOM, FROM UPSTAIRS. MASTER examines IT; MASTER What's in it? FREDDIE .drink just a little. It's very strong. The good stuff takes time. And there's secrets in good liquor. This is just booze for now... MASTER How are you feeling, Freddie? FREDDIE Good. MASTER Rested? FREDDIE Yes. MASTER Excited? FREDDIE Sure. MASTER Have you made some friends? FREDDIE Yes. 34. MASTER Good. Good. How are you feeling? FREDDIE Yeah, good. They CHEERS AND DRINK. Shudder at the strength of it. MASTER I've been writing ... BULAGH! Feel like I went under. Dark cloud rolls in. Opens up...anxious to share new work-would you care for some informal processing? FREDDIE Sure... MASTER Well, then I gather myself... and you be my protege and guinea pig, eh? Informal processing. Master smiles, excited, moves to an OLD TAPE RECORDER, points a microphones towards Freddie, looks over some papers... MASTER (CONT'D) Are you ready? FREDDIE Yes. HE FLIPS THE TAPE RECORDER ON. Master smiles, reads, LOOKS UP; MASTER Say your name. FREDDIE Freddie Sutton. MASTER Say it again. FREDDIE Freddie Sutton. MASTER Say it again. FREDDIE Freddie Sutton. 35. MASTER Might as well say it one more time just to make sure you know who you are... FREDDIE Freddie Sutton. MASTER Do you ever make thoughtless remarks. FREDDIE I usually put some thought into them. MASTER Do you browse though railway timetables just for pleasure? FREDDIE No. MASTER Do you get occasional twitches of you muscles when there is no logical reason for it? FREDDIE (flutters around goofy) Only on my good days. MASTER Do past failures bother you? FREDDIE No. MASTER Do past failures bother you? FREDDIE No. MASTER Do past failures bother you? FREDDIE No. (some dice games I was in, he he.) MASTER So past failures bother you? FREDDIE .I don't know. . .you keep asking me..no, not really. 36. MASTER Is your life a constant struggle for survival? FREDDIE .not really ... .. life's alright. MASTER Would you rather give orders than take them? FREDDIE Sure. MASTER Are you often impulsive in you behaviour. FREDDIE .sure... Yes. MASTER Do other people interest you very much? FREDDIE Not really (girls? They do) MASTER Do you find it easy to be impartial? FREDDIE Yeah. MASTER Are you likely to be jealous? FREDDIE No .about what? MASTER Are you logical and scientific in your thinking? FREDDIE I'm..I don't know. Don't care about science. MASTER Do you rarely suspect the actions of others? FREDDIE I don't understand. 37. MASTER Yes you do. FREDDIE .I suspect people...yes. Sure. So...no, rarely. Most people are ass's anyway. MASTER Are you usually truthful to others? FREDDIE .no... I don't know. Guess so. MASTER Are your actions considered unpredictable by other people? HOLD. HOLD. Freddie seems to think about this questions seriously, THEN: OUT OF THE PAUSE AND OUT OF THE BLUE HE SCREAMS; FREDDIE BLLLLLLLLLL GH. How's that? (laughs hysterically) MASTER Silly..its good to laugh in processing.. sometimes we forget. Master reaches down, brings the microphone to his mouth: MASTER (CONT'D) "Freddie Sutton, Test Session. May 5, 1952, 1800 hours. Aboard he sailing vessel Aletheia, en route to New York City. MOC logged ad approced." He CLICKS it off. Smiles at Freddie; he gives him a comforting hug. MASTER (CONT'D) Should we sample another sip before we join them upstairs? FREDDIE Is that it? MASTER For now. FREDDIE I'm ready for more if you want to ask me... 38. HOLD BETWEEN THE TWO OF THEM. LONG PAUSE. FREDDIE (CONT'D) Ask me, Master. This is fun.. .nobody's asked me questions before -- MASTER Could you answer the next series of questions without blinking your eyes? To without fear and hesitation answer as quickly as you can? FREDDIE Sure. CU. TAPE RECORDER BACK ON. MASTER Look at me...Starting now you are not to blink. If you blink we go back to the START: .infringement. you blinked. Starting now you are not to blink. If you blink we go back to the start. Do you often ponder over your own inferiority? FREDDIE No. MASTER Infringement. Back to the start. You blink, we repeat from the start. Do you often ponder over your own inferiority? FREDDIE Yes. MASTER Do you believe that God will save you from your own ridiculousness and self contempt? FREDDIE No I don't. MASTER Have you ever had intercourse with a member of your family. FREDDIE Yes. 39. PAUSE. MASTER Have you ever had intercourse with a member of your family? FREDDIE Yes. MASTER .who? FREDDIE My. Auntie. PAUSE. Master is stumped for the first time... MASTER Have you ever killed anyone? FREDDIE No, MASTER Maybe? FREDDIE Not me. TAPE RECORDING ALL THIS. DIALS MOVING. FREDDIE NOT BLINKING. MASTER Have you ever killed anyone. FREDDIE No. MASTER How many times did you have intercourse with your aunt? FREDDIE Three times. MASTER Where is your aunt now? FREDDIE Don't know. Probably Princeton. MASTER Where? 40. FREDDIE 45 Province Lane. MASTER Would you like to see her? FREDDIE No. MASTER Would you like to sleep with her again? FREDDIE No. MASTER Do you regret this? FREDDIE No. MASTER What is she doing now? FREDDIE I don't know. MASTER Where is your mother? FREDDIE I don't know. Freddie BLINKS. MASTER INFRINGEMENT. Back to the start. FREDDIE FUUUUUUUUUCKK. FUCK FUCK FUCK FUCK. BULLSHIT. FUUUUUUUUUUUUUUUUUUUUCK. He slaps himslef around, opens his. eyes. HOLD. MASTER Do you often ponder your own inferiority? FREDDIE Yes. MASTER Do you believe God is going to save you? 41. FREDDIE No. MASTER Have you ever had sex with a member of your family? FREDDIE Yes. MASTER Are you lying? FREDDIE No. MASTER Who? .FREDDIE My Auntie Bertha. MASTER Where is your aunt? FREDDIE At home in new Jersey. MASTER Are you lying? FREDDIE No. MASTER Are you a liar? FREDDIE Yes. MASTER Have you ever killed anyone? FREDDIE Yes. MASTER Who? FREDDIE Japs. MASTER In the war? 42. FREDDIE Yes. MASTER What are you running from? FREDDIE Nothing. MASTER The law? .PAUSE... FREDDIE I think I may have blinded a man. Maybe he's dead, I don't know... MASTER Where? FREDDIE In Salinas, I served him up booze and he drank too much of it. MASTER Is the booze you make poison? FREDDIE Not if you drink it smart, he was stupid. MASTER Are you trying to poison me? FREDDIE No. MASTER Where is your father? FREDDIE I don't know. (aka dead) MASTER Where is your mother? FREDDIE I don't know. Maybe New York, New Jersey, anywhere. Don't know. MASTER What is your Auntie's Name? 43. FREDDIE Auntie Bertha. MASTER How did you come to sleep with your Auntie Bertha? FREDDIE She said she'd let me have my inheritance if I were to sleep with her. So I did and I never got my money. I was drunk. She looked good. MASTER And you did it again and again. FREDDIE Yes. Because I liked it. It felt good. MASTER She's rich? Is she? She has your inheritance, does she? FREDDIE She controls it all. MASTER You feel you're owed this? FREDDIE I am. MASTER Have you ever had any bad thoughts about her or Mary Sue? FREDDIE Yes. MASTER What do you think? FREDDIE I thought you were fools. But now I see that you're not MASTER If you could lock yourself in a house, a large mansion for the rest of your life: who would you like to be there with you? FREDDIE Doris Schoemann. 44 MASTER Who is Doris? FREDDIE Best girl I ever met. The girl I am gonna marry one day. MASTER She's in New Jersey, is she? FREDDIE Lynn, Massachussets. ( I just got to get back to her.) MASTER Why aren't you with Doris? FREDDIE MASTER Why aren't you with her? FREDDIE I'm an idiot. I don't know. I got no reason. MASTER Do you love Doris? FREDDIE Yeah. MASTER Is she the love of your life? FREDDIE Yes sir. MASTER Close your eyes/ CUT TO BLACK, HOLD, THEN FADE UP AGAIN.. MASTER (CONT'D) Release and return to me ... Say your name. FREDDIE Freddie Sutton. MASTER Are you hear with me in 1952? 45. FREDDIE Yes... MASTER End of session. Open/close your eyes. He laughs. They both laugh, MUSIC 'dancers in love'/piano ver. MASTER (CONT'D) How does it feel? Freddie laughs a little. FREDDIE Feels good. MASTER Left side of your body feels ok? FREDDIE Yeah. MASTER Right side? FREDDIE Yeah. MASTER Any headaches? FREDDIE NO MASTER Are you a member of the Ninth Battle Batallion? FREDDIE I don't know what that is. MASTER Are you a member of the Ninth Battle Batallion? FREDDIE No. MASTER Or any other invader force? Space stations or communication depots on this planet or anywhere else? 46. FREDDIE No, sir. MASTER You're the bravest boy I've ever met. Master turns off the tape recorder. They DRINK DOWN THE BOOZE TOGETHER. Smile, laugh. EXT. MANHATTAN SKYLINE - NIGHT. ESTABLISH SHOT. 1950s. MOVING OVER THE WATER TOWARDS IT. CUT TO: EXT. DOCKS/NEW JERSEY - NIGHT. The SHIP HAS ARRIVED AND DOCKED. Everyone is rounding up to disembark. Those leaving: MASTER, MARY SUE, ELIZABETH, CLARK, THE BABIES, NANNIES, VAL AND FREDDIE. They all head down the gang-way... The New York City franchise owner/follower is a thin, sickly man named: BILL WHITE (40s) He's very nervous/anxious/eager to please, comes to greet them. He's here with some other ASSOCIATES/FOLLOWERS: BILL WHITE Master! Hello. Yes. Welcome. Welcome back to New York City, Master. It's our honor, its our pleasure. We are humble and so happy... MASTER Thank you, Bill, good to see you. BILL leads the way, waves his hand to the show: BILL WHITE We'd like to present you with this gift from the New York Branch for your stay here ...we know how fond you are of motorcycles. He presents a HARLEY-DAVIDSON.. MASTER Loooooooooook at that... 1940 Harley Davidson Knucklehead. For me? 47. He slides on, starts it up, everyone APPLAUDS. MASTER TEARS AWAY ON THE MOTORCYCLE, everyone else [piles into some OLD SEDAN'S driven by some New York Followers -- Everyone on deck of the ship waves good-bye and watches them go. CUT TO: EXT. CAUSE H.O./NEW YORK - AFTERNOON MASTER and everyone comes in to the hotel/ballroom of a fading mid-town hotel. Local students, followers are here to greet ... about THIRTY people... FREDDIE looks at the GIRLS. MASTER shakes hands, kisses babies, etc... BOOKS FOR SALE, DESKS, PARTITIONS, PAMPHLETS, REEL TO REEL TAPE'S FOR SALE. BILL WHITE doing all the intro's, liason work, etc... (note: Helen Sullivan here.) This operation embryonic a little shabby... CUT TO: INT UPSTAIRS/HOTEL. LATER. Everyone here, a FLOOR of the hotel has been taken over, adjoining rooms connecting everyone... CAMERA moves around, seeing all the activity, movement-the ADULTS are getting dressed and ready for something ... . FREDDIE brings MASTER some booze. They cheers, drink ... MASTER gets ready.."to past, present, future and the street where they all meet and shake hands." CUT TO: EXT. PARK AVENUE APARTMENT - NIGHT. A very fancy APARTMENT ON THE PARK. The whole entourage pulls up. MASTER on the Harley, everyone else in the sedans..they head into a PARK AVENUE APARTMENT BUILDING; CAMERA FOLLOWS THEM ALL IN. THE DOORMAN looks up; BILL WHITE is quick to explain they're going to the Penthouse to the party of Mrs. Purcell, etc.. 48. BILL WHITE Make way, make way..thank you. CUT TO: INT. HALLWAY. FANCY APARTMENT. THE ELEVATOR OPENS into the grand palatial apartment; an older WOMAN is the hostess, her residence: her name is MILDRED PURCELL (eraly 70s) a very wealthy widower, follower, benefactor... This is a SHOW AND TELL/FUNDRAISER/COCKTAIL RECEPTION in honor of Master and the Cause... They applaud his entrance. About FORTY or so guests, some RICH UPPER EAST SIDE PEOPLE, who are members of a satellite group. Some others come to listen and learn, etc... BILL WHITE makes introductions, etc. MASTER is offered some appetizers, he says: MASTER You can hear a tomato scream when you cut it...this is why I don't eat tomatoes... VARIOUS PARTY MINGLING/COVERAGE MEET MRS. PURCELL and stay with her.-Everything settles and she sets the stage for Master... .FREDDIE Carries over an OLD REEL TO REEL TAPE PLAYER, sets it on a coffee table in front of him... MASTER (CONT'D) As you can see I've brought props. Everyone laughs. MASTER (CONT'D) Showman's trade secrets.. .he-he-he More laughter. MASTER (CONT'D) Let me just listen to this tape... He picks up the tape and lifts it to his ear..he wiggles it around next to his ear.. MASTER (CONT'D) Can't hear anything. But there's sound on here, no? Sound to be found? He puts the tape reels onto the player... 49. MASTER (CONT'D) This should do it! He flips the switch. Nothing. No sound. MASTER (CONT'D) Hmmmm. Can' thear anything. Wait. There are sounds on this tape, but I can't hear... wait... how about this... Nothing. He continues this ...he plugs the speakers in.. . nothing again and again. MASTER (CONT'D) Well what do we have? We have the high fidelity audio tape, we have speakers, and yet..a ha! Just a moment. He turns the machine "ON"... MASTER (CONT'D) This should do it... Nothing. MASTER (CONT'D) Seems we're out of pieces.. Everyone laughs nervously... MASTER (CONT'D) I know there's sound on that tape... He plugs the power cord into the wall... It crackles and sound pours out.. It's MASTER'S VOICE. MASTER (V.0.) (CONT'D) Our life has never stopped and always been. All of the recordings of our lifetimes that we have lived are available to us.. MUSIC STARTS TO PLAY. GENTLE PIANO MUSIC. MASTER turns the volume down on the reel-to-reel, speaks live to the PARTY: MASTER (CONT'D) Everything's there isn't it? On the tape? Sure is, we just need to get it working with all the other pieces in synch-ro- nization. No good if it's not plugged into the wall. Can't hear it. But the sounds are still there. No good if those speakers aren't there. Can't hear it. (MORE) 50. MASTER (CONT'D) But that doesn't mean it's not there, does it? No. It doesn't. That flimsy little piece of tape is just nothin' without all the other equipment lined up properly, isn't it? We CAN access the past, traumas and seeds that abberate us in present time and once we access them - we challenge them and throw them away. Previously, I'd established how to access these aberrations and painful memories to pre-birth/cellular times. But the new studies prove there is a time beyond that. The Whole-of-time with which we are now working. At last count, perhaps sixty-seven trillion years our studies show... Besides the everyday struggles of how we become better, more able, more productive homo sapiens, the uses for this new science is the location and removal of certain leukemias, apathies, manics. Depressives, perverts, stuttering, neuroses, ulcers, arthritis, and asthmas. This is the province and science of Cause. If you'll forgive me, I must sit down. Perhaps you've taken notice of my leg injury and limp damndest thing. You see it happens every time I come to Manhattan Island, its a wound I've never conquered and I'll tell you how I found out about, because I never knew what in the H was happening... Well I did some processing to find out. Took Mary Sue to ay me down and lead me back...we processed over three hours! And something came up. It was this: I lived a life before and suffered a great injury. Knee injury... It was just around 1888. A great number and year. Significant as the creation . year of the new york city sewer system if I'm not wrong... I was a thief and criminal, working late into the night robbing a bank in the western side of the island. (MORE) 51. MASTER (CONT'D) The crime was committed with a revolver in hand. A Cole .45. My accomplices and I made it clear across town when we were ambushed by the local authorities. -- but I made a slip away. A digression into the under constructed sewer system. It was here that I could no be found - or so my thinking went. All my confidence and all my arrogance was brought upon me. Full in the face. For I was nose to nose with a twenty-five foot alligator in the New York City sewer. Oh brother! What a scare I was in for. Now if you've veer seen the SNAP! SNAP! SNAP! OF A GATOR - you'll remember the fear. You see, this being an island, and in those days more inhabited by creature than man, why wouldn't I meet such a beast? In my evasion -- I dropped the gold. The money I'd stolen in my getaway.. .not dropped, but stuffed in a newly cemented drain hole just around 125th Street... present day Harlem County I believe today. Yes. Yes. I stuffed it and made a getaway from both man and beast „shattered my knee in five different places-turned into a piece of glass..woke up early in the morning somewhere near the present day Times Square-which was nothing more than a farm..quite a farm..but that's another story. So what does this say? Injuries stay with us don't they??..They sure do. How's it gonna go away. How? How? How'm I gonna fix this knee. How are any of us going to get better? More able? We Must Process The Whole Of Time. This Life and Pre Natal Cellular processing is not enough. We have Lived Many, Many, Many Lives. So anybody tat is not processing the whole of time - is doing a disservice to man and Will Not Get Better. I cannot put it more simply. (MORE) 52. MASTER (CONT'D) And as for me now: I just need to find the time away from all of my writing to go back down and DO IT so I don't walk around with the darndest limp everytime I come to town! This story is greeted. with equal parts excitement/complete CONFUSION. MRS. PURCELL slightly nervous. ANGLE, LATER. MASTER and a SOCIALITE WOMAN (50s) he has her lay down on a love seat; MASTER (CONT'D) What is your name? SOCIALITE Margaret O'Brian. MASTER Are you sure you haven't lived here before? SOCIALITE I don't know. MASTER What's your name? MARGARET Margaret. MASTER Are you sure? ANGLE, PURCELL APARTMENT. FREDDIE goes lurking around, slinks in and out of some rooms. HE GOES INTO THE BEDROOM, STEALS SOME JEWELRY. STUFF HIS POCKETS. (OC DIAL. PLAYS...) ANGLE, MAIN LIVING ROOM. MASTER has finished his demonstration and is opening it up for questions/discussions. An OLDER MAN (MR. JOHN MORE, 50's, scholarly, wearing a prominent HANDKERCHIEF) stands up to speak: (Throughout this another OLDER WOMAN has a terrible cough from the back of the room.) 53. JOHN MORE Some of this seems quite like hypnosis, is it not? MASTER Oh no, this is funny. It's quite the reverse. Man is hypnotized. What we do is un-hypnotize him of the shackles. Allow him to raise his awareness and IQ. JOHN MORE What is the difference between this and psychotherapy? MASTER Yes. Well. They are very different. No. Psychoanalysis, they lay back. No, no, no. Don't associate us with such people! That's terrible (he, he) why that's a bad manner don't you know? I mean at that business about sex and all that. That's for the neurotic or the person who is insane or something like that. That's nothing to do with us. They've failed. That's for the fortunate few who can afford the fees. JOHN MORE But some of this does in fact seem to share quite a lot with Dr. Freud and modern psychotherapy, does it not? MASTER No it does not. This is an exact science, you see. Comparable to physics or chemistry - but simpler. It's engineering. Herr Freud had his chance and contributed some very workable data, but in the end, he failed. So that's that. JOHN MORE And how long does this take? MASTER That depends. But it can be quite fast. Quite fast. Or it can take some time. Sometimes less than 36 hours. JOHN MORE 36 hours? And you're saying that these methods can cure leukemia according to your book and what you've just said? 54. MASTER Some forms of leukemia, 22 cases tested. 22 cases cured. Those are the results. JOHN MORE You can understand scepticism, can you not? MASTER Oh, yes, of course, yes. And this is to be expected and welcome. For without it we'd be positive's with no negatives - therefore zero. charge. We must have it. JOHN MORE Are you a religious people? MASTER We are not incorporated as a religion, no. But remember this: that religion has come uniformly from a philosophy. Philosophy is senior to religion. You could call us a religion of religions. JOHN MORE Are you saying then that any religion is rather narrow in its outlook? MASTER No, no, no. I have no quarrel with man's belief's, but religions in general can be pre-occupied with a God or Idol or something of some such nature who is merely trying to fill the universe with a lot of little replicas of himself - we are trying to free the individual - not bend to a will of a God, you see. And if our teachings can reconcile these views it would be doing a great service to MANKIND - JOHN MORE Do you think it can? MASTER I not only think it can, I know it does. JOHN MORE You mentioned 'good science' and what it does.. .but doesn't that, by definition, allow for more than one opinion? 55. MASTER Indeed, indeed. Which is why our gathering of day-ta is so far reaching - JOHN MORE Otherwise you merely have the will of one man - which is the basis of cult, is it not? MASTER T'is, t'is, indeed. Thankfully we are, all of us, working at break-neck speeds and in unison towards catching the minds fatal flaws and correcting it back to it's original state of perfect - whilst righting civilization. JOHN MORE I must say that I find it quite -- MASTER AND I DON'T FUCKING CARE WHAT ELSE YOU HAVE TO SAY YOU SLIMY LITTLE PIECE OF CUM FUCK. YOU ARE NOTHING. AND WORTHLESS AT THAT. YOU PUNY LITTLE NOTHING OF NOTHING. IT WORKS IF YOU USE IT. WHO IS THIS MAN? JOHN MORE I can answer for myself. My name is John More. MASTER THIS IS NOT A DISCUSSION THIS IS A GRILLING. A GRILL. AN ATTACK. MRS. PURCELL PLEASE -- JOHN MORE If you're not allowing some sort of discussion regarding your beliefs - MASTER AND I WILL NOT DEFEND MYSELF TO YOU, YOU SLIMY PIECE OF NOTHING. JOHN MORE I'm sorry if you're unwilling to defend your beliefs in any kind of rational WAY -- 56. MASTER I HAVE TAKEN MY FUCKING TIME WITH YOU AND YOU ARE OVER NOW. YOU SLIMY PIG SHIT. The WOMAN that's been coughing cannot stop: MASTER (CONT'D) STOP COUGHING. STOP COUGHING YOU HORRIBLE OLD WOMAN. YOU DON'T GET IT. YOU DON'T GET IT. MRS. PURCELL is shocked, humiliated, everything crumbles... MASTER (CONT'D) YOU GET OUT. GET OUT OF THIS LECTURE HALL. A WOMAN She's sick! Please! She's sick! MASTER GET HER OUT OF THE LECTURE HALL. JOHN MORE This isn't a lecture hall, this is Mrs. Purcell's home - MASTER YOU SHUT YOUR LITTLE MOUTH. SHUT THAT WOMAN UP. YOU WILL STOP COUGHING. THAT GRAVELY PUTRID NOISE, YOU ARE TRYING TO RUIN ME. YOU HAVEN'T BEEN DOING THE WORK. YOU WOULD NOT BE SICK IF YOU DO THE WORK. WE DON'T GET SICK. CUT TO: INT. ELEVATOR - MOMENTS LATER They're all leaving. Stuffed in the elevator, Master fuming. CUT TO: EXT. STREET/UPPER EAST SIDE - NIGHT They're leaving. Master gets on his Harley and peels off into the night. . .HOLD THE SHOT - everyone else gets into their SEDANS. . .up ahead, MASTER WIPES OUT, lays the bike down in the middle of Park Avenue... 57. .he leaves it, the SEDANS pull up, he gets in. An AID goes to the bike and picks it up. INT. MASTER'S HOTEL ROOM - NIGHT MASTER is still fuming, ranting and raving, MARY SUE is here with him... MASTER AND THIS IS WHERE WE ARE??? AT THE LOWEST LEVEL? TO EXPLAINNNN OURSELVES? FOR WHAT? FOR WHAT WE'RE DOING AND WE HAVE TO GROVEL? GROVEL LIKE A DOG, A DOG LICKING IT'S PISS? ANOTHER DOG OF PISS I SAY. THE ONLY WAY TO DEFEND OURSELVES IS ATTACK. ATTACK. ATTACK. WE ATTACK THAT MAN. IF WE DON'T DO THAT, WE WILL LOSE EVERY BATTLE WE'RE ENGAGED IN - WE WILL NEVER DOMINATE OUR ENVIRONMENT THE WAY WE SHOULD UNLESS WE ATTACK. CUT TO: INT. HOTEL ROOM - ADJOINING SUITE - NIGHT WE HEAR MASTER from the next room; Everyone in here, listens, hangs their faces. MASTER (O.C.) .this city is just noise. Just noise and bad living. I know this place. I know it's rotten secrets... CU. FREDDIE listening. He sips some of his booze form the FLASK, gets a real surly look on his face... .VAL gets up and leaves the hotel room... FRED DIE watches him go... Everyone seems resigned, sleepy...Freddie snaps and says TO BILL: FREDDIE You have the name's and information of the guests at this lady's party? BILL WHITE Yes. 58. FREDDIE looks at CLARK, the new son-in-law. ELIZABETH looks up... FREDDIE You're coming with me. Get up. I need some help and you wanna make a good show, no? Who's paying your way? CLARK looks to Elizabeth, who gives a look that says, "He's right." CUT TO: INT. HOTEL BALLROOM / THE CAUSE H.O. - LATER Bill White turns on the lights, takes Freddie and Clark over to his desk. . .they get the address and info. For MR. JOHN MORE. BILL WHITE I don't think this is right to do - FREDDIE You don't know what we're going to do, so don't bother thinking about this anymore... CAMERA with FREDDIE AND CLARK as they walk out of the hotel and into the streets of New York -- FREDDIE (CONT'D) You have any money on you? CLARK Some. CUT TO: EXT. NEW YORK STREETS / UPPER WEST SIDE - NIGHT - LATER FREDDIE and CLARK, walking down the street... They WALK/TALK; FREDDIE Where are you from, Clark? CLARK Los Angeles. Pasadena. FREDDIE What's there? 59. CLARK I'm from there. Master and headquarters there for a year. FREDDIE .how'd you see them? CLARK I read the first book. I worked at Boeing for three years. When I read the book, I didn't want to waste my time there anymore. I came to help the Cause. FREDDIE What did it say? CLARK I'm skeptical of everything. Always have been. All I know is I used to not be able to sleep. Now I sleep through the night. I spent 18 months at the Presidio with every Army head-shrinker they had and not one did as much for me as Book One did. That's simple arithmetic to me. And I met Elizabeth, so... FREDDIE That's good. CLARK He changes things. And the research is hard to keep up with. None of this is done by a long shot. Sometimes it's easy to get lost. FREDDIE He's a very smart man. I can tell that. I don't understand myself but - more time with it and I might - I feel better - I feel like I've more to do with my life since I met him... and I JUST met him. So - that can't be a bad thing, right? CUT TO: EXT. STREET / UPPER WEST SIDE - MOMENTS LATER Outside an OLD APARTMENT BUILDING... .Freddie BUZZES THE BUZZER. 60. JOHN MORE (GROGGY) (O.C.) Hello? FREDDIE I have a delivery for Mr. More. Special. Late night delivery. I need a signature. JOHN MORE (O.C.) Yes, yes, of course... CUT TO: INT. APARTMENT - THAT MOMENT JOHN MORE says to his WIFE... JOHN MORE Delivery... must be urgent from the University... He gets a robe on, makes the walk down the hallway -- He comes to the door... .FREDDIE smashes it down...CLARK is here and watches, does nothing... .FREDDIE drags him along the floor, CAMERA moves over and sees: MRS. MORE... .FREDDIE takes care of them both...ends up tying them up.. .scaring them, etc. Takes some valuables -- FINDS MORE'S LITTLE TRADEMARK HANDKERCHIEF, TAKES IT. .Freddie gets down into his face and says; FREDDIE DON'T BE SO STUPID. They run out. CUT TO: INT. VILLAGE BURLESQUE CLUB - NIGHT Freddie drunk. Clark having his first beer..They are watching a few very sexy BURLESQUE DANCERS. Freddie has his eye on one in particular... she is doing a NAKED TAP DANCE IN THE CENTER OF THE ROOM. Clark speaks; CLARK You know... at first there were rumors going around about you... 61. FREDDIE What about me...? CLARK Well, when you first were found on board. People were saying you were looking for Split Saber. That you were trying to steal The Split Saber if it was on board. FREDDIE What? Steal what? CLARK The Split Saber. FREDDIE I don't understand what you're saying. CLARK The Split Saber. BEAT. FREDDIE I still don't understand what you're saying... CLARK The Darkest Cloud? AKA Dual Saber? Or The Split Saber? FREDDIE .no... CLARK .it's what started all this. Back then...in 1941, Master...he'd been in operation, in army hospital. He died on the table...gone for seven minutes...but CAME BACK: And in a storm of vision and creative output from this experience he wrote The Split Saber aka The Darkest Cloud. Whoever read it...either went insane or committed suicide. Twelve people read it. Six dead, four disappeared. The last time anyone saw it...was his last publisher in New York. (MORE) 62. CLARK (CONT'D) Master walked into the office to find out what the reaction was, the publisher called for the reader, the reader came in with the manuscript... . threw It on the table. . .and flung himself out of the skyscraper window... Master took the book and hid it where no one could get to it...it's inside this book: all the history. All the facts. All too dangerous. He re-wrote it, using what he could as the basis for what we are able to accept and learn today.. .that's Book One that we all study and know. . .but the real stuff. The things at the center...are still too dangerous. They (kill/cure) any man who reads it. It's passing through the jaws of resistance. It's the truth about all this. The book is protected and hidden. No one knows where but Master. FREDDIE The truth about all what? CLARK Life on this planet. .Freddie stares at him... then takes a good long look at the BURLESQUE DANCER AND HER BREASTS. THEN BACK TO CLARK: FREDDIE What is something like that worth? CLARK He said he was once offered $25,000 dollars for it...but the price is... . how could you figure out what the price is on something like that? Heretofore unknown. Incalculable by man. FREDDIE Where is it? CLARK It's locked away in a vault somewhere? I don't know. FREDDIE Where? CLARK No one knows for sure. Some say Phoenix or the desert outside Los Angeles. (MORE) 63. CLARK (CONT'D) It's held back, until the time is right. Or in case it's needed. FREDDIE Needed for what? CLARK (leverage.) ? I don't know. FREDDIE How do you know about this? CLARK Everyone knows about it. It's the original text. FREDDIE just sort of looks, then looks back to the NAKED DANCER. ANGLE, LATER. The DANCER (ELLEN) has joined them . Ad-libbed flirtations, innuendo, etc. CLARK watching FREDDIE... FREDDIE gets severely drunk -- HE MAKES A DRUNKEN APPEAL FOR HER TO COME TO THE CAUSE H.Q. For help in her life; FREDDIE There's something... something that can hepp you...you... If you need helpp in yer life... .where is it? CLARK The Martinique Hotel... FREDDIE Thizz helped me. It can help you.. you can go back in time and learn thingz... He is about to say.. FREDDIE (CONT'D) (wanna fuck?) But he PASSES OUT, FACE FIRST ON THE TABLE. CUT TO: 64. INT. HOTEL/HALLWAY - NIGHT - LATER CLARK is dragging FREDDIE down the hall, passed out...he gets him to the room... opens the door..pulls him inside... FADE OUT. CUT TO: INT. HOTEL ROOM - MORNING .FREDDIE wakes up. Takes him a good long time. CAMERA just watches. He soaks everything in, thinks, thinks, thinks. He puts the pieces together of last night an the last few days. CUT TO: INT. MASTER'S HOTEL ROOM - NEXT MORNING START CU. ON MASTER. He looks down at something in his hands, quietly inspects it, looks up: FREDDIE is here, he's given him the HANDKERCHIEF. HOLD between them, then; MASTER What is it? FREDDIE I don't think John More will be speaking out against you again. MASTER This isn't the way...you heard me say to attack and you attacked? FREDDIE You were right. MASTER FREDDIE You were right. . .he had a wise-ass mouth. MASTER My little Soldier.. .what did you do?... . you need to tell me so that I know... 65. FREDDIE That's why I won't tell you. Nothing bad. Just scared him good. WIDEN ANGLE, THAT MOMENT. Reveal MARY SUE is here, listening... Master looks to Mary Sue, back to Freddie: MARY SUE Whatever you've done, best not come back to Master or the Cause. FREDDIE It won't. MASTER But-this-is-not-the-way-you-naughty-boy. Ok? Alright. Freddie: You-are-mischeif. Horrible young man you are! The PHONE RIGHTS, Mary Sue moves and picks it up, speaks OC, we stay with MASTER and FREDDIE: MASTER (CONT'D) How are you...? How do you feel to be so close to your Auntie - just across the river? Close to the incident of this present time? FREDDIE I don't really think about all that stuff with my Auntie, you know ...I got other things going on besides that thing I told you about.. .that's yesterday's news to me, so... MASTER Your problems aren't with your auntie or your mommy or daddy or any such things. FREDDIE MASTER You have seeded aberrations in this way. Absolute rejection of authority and nay- sayers. FREDDIE I don't like smart-mouths. If that's what you mean. 66. MASTER Don't act out. This anger and battle has been there from before you remember. Before you know. It's not you, Freddie. It's not...I promise you. Freddie takes it all in. FREDDIE -- what is it? He grasps his shoulders, touches his head to Freddie. MASTER It's just Q-44...all it is. Trillions of years ago - little implants.. BEAT. He pulls back, smiles... MASTER (CONT'D) I promise to explain it. And make it go away. MASTER collects his notebooks. MASTER (CONT'D) Val has a habit of finding trouble... I sometimes wonder what danger a man could get himself into this Island. MASTER (CONT'D) Can you do this for me? With a casualness and delicacy? Watchful eyes to make sure trouble doesn't come... or that come doesn't trouble? My little soldier? FREDDIE Keep an eye on him? MASTER And report back to me... FREDDIE Alright. MASTER leaves. 67. INT. FREDDIE'S ROOM - MOMENTS LATER FREDDIE is getting into his duffle bag, re-filling the booze supply... hiding the JEWELS he stole from last night's party... ELIZABETH comes to his room, from the connecting door; she's fresh from a bath, in a robe. ELIZABETH Hi. FREDDIE Hi. ELIZABETH Why aren't you downstairs? FREDDIE I'm working. ELIZABETH What are you doing? FREDDIE Errands. ELIZABETH You're not an errand boy...you're a loafer... you're doing more than that, I can tell. BEAT. She steps up close to him. ELIZABETH (CONT'D) I want to tell you... Freddie. . .what you did for my father last night was spectacular. FREDDIE I didn't do anything. ELIZABETH I'm my father's daughter. Don't tell me you did nothing. It was just what was needed to be done. And you took it upon yourself. Shereaches for his face; ELIZABETH (CONT'D) I can tell that you know what persecution feels like... 68. She KISSES him. He kisses back. Gentle and small. A prolonged simple kiss on the lips. ELIZABETH (CONT'D) Can I have some of your liquor? FREDDIE No. ELIZABETH Why not? FREDDIE It's too strong. ELIZABETH I'm a big girl. FREDDIE Not big enough yet - ELIZABETH I could just steal some... FREDDIE Don't argue with me. You're Father's speaking .get dressed and get down there... 'ELIZABETH There's plenty of time... besides: I've heard it all before. She backs away.. .smiles. . .and closes the door..(JUST BEFORE IT SLAMS SHUT - her ROBE FALLS OFF, REVEALING HER NAKED FIGURE FOR A FLEETING SECOND...) FREDDIE. Looking at the door. FREDDIE. Hold. He takes a LARGE SWIG OF BOOZE. CUT TO: INT BANQUET HALL - MOMENTS LATER MASTER takes the stage. THIRTY/FORTY STUDENTS applaud. He gets up, speaks: MASTER THANK YOU! THANK YOU! Well? Down but not out. Not Dead Yet! (no tombstone at least...) he he he he. 69. We are going to focus this morning to "Communication" to cover "any exchange between ourselves and our environment." Because that's what I want to talk to you about today: dominating your environment. CUT TO: INT. STAIRWELL. EVENING/LATER CAMERA looks up the spiral stairwell of the HOTEL. It's the end of the evening/lectures... . WE SEE: VAL walking down the steps ... . moments later, about three floors above, FREDDIE pokes his head over, sees VAL and starts to follow... . MUSIC STARTS. CUT TO: INT. LOBBY OF THE HOTEL. THAT MOMENT VAL moves past FOLLOWERS who are wrapping up for the evening, discussing, smoking cigs, exchanging ideas, etc...and out into the NEW YORK CITY STREETS. FREDDIE follows ... MINI-SEQUENCE... CUT TO: EXT./INT. COFFEE SHOP. VILLAGE. NIGHT VAL walks into a coffee shop, takes a seat in a booth and orders some coffee... FREDDIE stands across the street and watches VAL. FREDDIE buys hot dog from a hot-dog vendor... stands and waits.. .and watches VAL sit alone... After a few minutes ... FREDDIE sees something: A YOUNG GROUP ENTERS THE COFFEE SHOP. It's BILL WHITE, his girlfriend PEGGY and TWO MALE NEW YORK FOLLOWERS: JIM LEHR AND FRED FRITZ. They're here to meet VAL. They join him, sit down, speak. Order cokes, coffee, smoke cigs, etc... FREDDIE watching all this from across the street. VAL is answering their questions, speaking with some authority about something, etc. etc. 70. .FREDDIE sizes up the situation And what this meeting might mean... He turns this all around in his head for a while.. .and after enough of it, gets restless... .He moves to a phone booth. Makes a call. He hears a young male voice say "HELLO? HELLO?" FREDDIE Bobby? BOB (OC) Yeah? FREDDIE It's Freddie. BOB (OC) FREDDIE! FREDDIE WHERE ARE YA! FREDDIE Are you home? BOB (OC) YEAH. YOU HERE?! FREDDIE I'm comin' over - He hangs up. He looks back across the street at the group in the coffee shop. And WALKS AWAY, OFF DOWN THE STREET... CUT TO: INT. BOB'S APARTMENT - WEST VILLAGE Freddie walks up some stairs at the top of the stairs is his 17 year old Cousin: BOB. BOB HOLY SMOKES! HOLY SMOKE! HOLLLLY-SMOKEY! Freddie and Bob greet each other, he takes him inside. . .BOB is having a party with a bunch of his FRIENDS, who all look alike and drink beer, etc; FREDDIE Where's everybody? 71. BOB We're havin' a party. Where you coming from? Where you been? FREDDIE Here and there. Antarctica. Where's your dad? BOB Not here, working. Get in here you gotta see these two girls. Antarctica? They greet each other and go inside. CUT TO: INT. APARTMENT/ROOM - LATER BOB introduces FREDDIE: "my cousin, Freddie" to all the boys. All the BOYS are around, watching the TWO GIRLS DANCE and LIP SYNCH to a record. They both look like Barbara Striesand. FREDDIE looks at family photos that are out and on the walls. FREDDIE Where's my mom? BOB I heard she was in Florida. FREDDIE Where's your mom? BOB Left. She's back living in Princeton. It's the best since she's gone. My dad's never here. This place is mine. Did you see these girls? ANGLE, LATER. FREDDIE and the BOYS. FREDDIE pours a tiny bit of his booze into the beers for them... FREDDIE Anybody ever hear about stolen jewels and money in the sewers? BOB Where? 72. FREDDIE Near Harlem. They shake their heads. FREDDIE .(CONT'D) I heard about a load of money and jewels that are hidden in a sewer wall up near Harlem. A long time ago. With crocodiles that live down there and protect it. BOY I heard about that. BOY 2 I heard about that too. FREDDIE Anybody want to go look for it? CUT TO: EXT. HARLEM. NIGHT The FIVE BOYS, including FREDDIE and BOB get out of an OLD CAR... . they Find and lift a MANHOLE cover and head down with FLASHLIGHTS and a SLEDGEHAMMER - They're drunk and bring more BOOZE down with them - (two girls? staying up top?) INT. SEWER - THAT MOMENT They all climb down. Rats and sewage. FLASHLIGHT SHINING AROUND AS THEY GOOF OFF AND WALK AROUND. ANGLE, FREDDIE. They come to an intersection - FREDDIE Let's go this way and that way - come with me - BOB follows FREDDIE, the rest go the other way - VARIOUS ANGLES watching them move around, etc. ANGLE, THE WALL. CAMERA MOVES ALONG THE WALLS OF THE SEWERS. FREDDIE looking for something... 73. .THE WALL... .FREDDIE... BOB AND FREDDIE walking/talking: BOB My mom signed my early entrance to the army. FREDDIE How'd she do that? BOB She just signed this letter I made up saying my birth certificate was burned in a fire. She's happy to let me go. FREDDIE You don't want to go there, dummy. BOB There's a lot of pussy there, Freddie. I like those Korean girls the way they look. FREDDIE You're an idiot. BOB I'd rather be there than here. Pussy over there... I've been licking so much pussy this summer... They keep walking. BOB is drunk. He turns, says to FREDDIE: BOB (CONT'D) I jerked off to a picture of my mom once. Did I ever tell you that? FREDDIE No. BOB I did... Bob smiles, giggles... stumbles forward...walks...Freddie watching him... ANGLE, THE OTHERS. Walking and looking, drunk, smoking, etc. They find an area that they think may have something - and start WHACKING AWAY WITH THE SLEDGEHAMMER... 74. ANGLE, FREDDIE AND BOB FREDDIE There's nothing here...let's just go... BOB Yeah. WE'RE COMING BACK!!!! MEET BACK. THE BOYS hear this and head back - CUT TO: INT. SEWERS. THAT MOMENT FREDDIE is walking behind BOB.. .moving towards the intersection to meet with the BOYS... Suddenly, he stops, bends down... FREDDIE Bob... BOB turns ...FREDDIE in kneeling down, aims the FLASHLIGHT: THE JEWELS FROM MRS. PURCELL'S PARTY BOB is stunned. BOB OVER HERE!!!! OVER HERE!!!!! The BOYS run over, look down at the JEWELS. BOYS Where were those? BOB Right here. FREDDIE I found them right here. BOY 2 Holy shit. CUT TO: 75. EXT. STREET They all climb up and out of the sewer - cheering and celebrating. DISSOLVE TO: INT. BOB'S APARTMENT - LATE NIGHT BOB and the other BOYS passed out on couches and floor. FREDDIE is awake, looking around at some photos and things... FREDDIE leaves him the JEWELS, takes a couple family photos with him and writes a note that says: "I'VE GONE TO AFRICA, SEE YOU AGAIN SOMETIME. FREDDIE." and leaves. CUT TO: INT. HOTEL ROOM. DAWN FREDDIE comes up to his room and hears from the hallway: TYPING. He opens up and comes in. MASTER is here, in his underwear, typing away. Very fast. He barely takes notice of Freddie, keeps typing. FREDDIE gets into the bed. MASTER stops for one moment, looks at him, sees his condition, goes back to typing... HELEN SULLIVAN (OC) This city can be cold and unforgiving to new ideas. Philadelphia is the city of brotherly love. We've had miraculous results with the textbooks and lecture tapes. CUT TO: INT. MASTER'S HOTEL ROOM/MARTINIQUE HOTEL - LATER MORNING CU. HELEN SULLIVAN (sweet woman, early 30s) IS SPEAKING. 76. HELEN SULLIVAN If you come, we can guarantee an audience of one hundred people three nights a week and six afternoons a week. We have an engineer from Western Electric who is willing to record all of the lectures for free onto high fidelity audio tapes. Perhaps these can be used for sale. I assure you, you will find a very open city. People with open minds... we keep the bad ones out. I know that new sciences can attract quacks and some strange people, but keep them all away.. MASTER and MARY SUE listening to Helen. NORMAN CONRAD stands to the side... MASTER You are very right about one thing, Helen: this is a dirty city of nothing good. MASTER thinks ... . Everyone looks around at each other ...A WOMAN STARTS SINGING... WOMAN SINGING "A TISKET-A-TASKET-MY PAST LIVES IN A BASKET. I WENT DOWN THE WHOLE-TIME-HOLE AND FOUND I'D DROPPED MY BASKET..." PRE-LAP THE SINGING OVER THE FOLLOWING: CUT TO: EXT. HOTEL/NEW YORK CITY - MORNING Everyone is GETTING INTO CARS.. .the whole ENTOURAGE. FREDDIE at the center of it. MASTER comes out of the hotel quickly and into the sedan that waits... BILL WHITE is there to say good-bye and is all but ignored by MASTER and MARY SUE... The swirl of getting bags, kids and bodies into SEDANS... 77. VAL gets in one car...FREDDIE gets behind the wheel of another... and they DRIVE OFF... CUT TO: INT. CAR - MOVING - DAY FREDDIE is driving. MASTER is asleep in the passenger seat. MARY SUE is breast feeding in the back. She looks at FREDDIE in the rear view; MARY SUE You see anything last night? FREDDIE .with what? MARY SUE With Val. CU. FREDDIE Considers this a moment. FREDDIE No. MARY SUE How does that happen? FREDDIE .lost 'em in the streets... MARY SUE . or maybe you drink too much and you get cross-eyed. CUT TO: EXT. SUBURBAN PHILADELPHIA/CAUSE COLLEGE - NIGHT A party is in progress at HELEN SULLIVAN'S HOME which has been converted into a STUDY COLLEGE. It's beautiful, large, well-appointed home. A woman: JOAN BANKS is singing, ELIZABETH is playing piano. Everyone is here for a welcoming party, good time, cocktails, snacks, etc... JOAN (SINGING) I DROPPED IT, I DROPPED IT, I BETTER GO AND FIND IT. (MORE) 78. JOAN (SINGING) (CONT-D) SOMETHING HURTS AND DON'T NEED THOSE JERKS TO TELL US WHAT TO DO-O - WE'RE HERE NOW, WE'RE HERE NOW. IN LOVELY PHIL-E-DELFI. AND WRESTLE OUR RE-ACTS RIGHT TO THE GROUND AND PUSH, PULL, PIN IT DOWN. WE'LL TAKE IT, WE'LL TAKE IT, THOSE DIRTY SEEDS AND WIPE 'EM. THE APA AND AMA WILL HAVE TO KISS OUR - SS'S.. Everyone applauds, laughs. MASTER is smitten, STANDING OVATION. MASTER walks over to JOAN to shake her hand... She whispers to him: JOAN (CONT'D) What do you do with a student who keeps dreaming she is in bed with you? MASTER Get thee behind me -- JOAN And push. They disperse. PIANO STARTS IN AGAIN... Everyone is relaxed, sitting around. New faces (JOAN and HELEN) sit close to MASTER... A WOMAN is speaking (stories of Cause success she's had at her branch in Minneapolis) WOMAN .a once-a-month meeting... this last Saturday night we had a chiropractor..and he spoke about 'Handwriting Analysis'... MASTER is distracted... as he listens: HE RUBS HIS NOSE AND PULLS HIS EAR, CATCHING FREDDIE'S EYE. As we hear the woman ramble on, FREDDIE gets his FLASK, moves discreetly to get a glass, make a drink and brings it to MASTER. This is unnoticed by everyone but MARY SUE. The WOMAN FINISHES TALKING: MASTER Cheers to that! Everyone raises their glasses and DRINKS. MASTER downs his new drink. A calm... then Master gently protificates: 79. MASTER (CONT'D) Something that Joseph Smith had right: the breeding and the development of the group... doubled, tripled with certain. ..a certain marital structure... how clever. Something to look at deeply for a growth... MARY SUE looks at him. JOAN looks at him. HELEN looks at him. FREDDIE looks at all of it. Helen's husband John looks confused. MASTER (CONT'D) .the consideration of Celestial Marriage. Spiritual Wifery. Plural Unions. These cannot be overlooked so quickly... think of the speed at which a movement could grow... BEAT. Met with a strange silence. MARY SUE moves to get up. . .MASTER changes the topic slightly... MASTER (CONT'D) To live in the days of six-shooters and open frontier, that's what I'd like! My grandfather. Rancher. Wyoming. A criminal of the highest lineage, once told me he met a boy named Buckskin Joe... He keeps talking... CUT TO: INT. MASTER'S ROOM/HELEN'S HOUSE - MORNING It's the next morning. MASTER is getting ready, dressing in the bathroom, getting ready for his lectures... MARY SUE comes in, from behind him... she hugs him from behind.. .he smiles.. .she looks at him in the mirror, he looks at her ... . she REACHES AROUND, GETS INTO HIS PANTS AND STARTS TO JERK HIM OFF, LOOKING STRAIGHT AT HIM IN THE EYE AS SHE SAYS: MARY SUE You can do. Whatever you want. As long as I don't find out. And as long. As. Anyone I know. Doesn't know. Other than that. You stop this idea. And you put it back in its pants. It didn't work for them. And it's not gonna work for you. We. Have. Enough problems. Cum for me. 80. MASTER Yes. Yes. MARY SUE Do it. And get your best behavior out... cum for me... MASTER Yes, master. MARY SUE And no more of that boy's booze. MASTER Yes master. He comes, collapses, sinks to the floor. She washes her hands and walks out of the bathroom. CUT TO: EXT. SUBURBAN PHILADELPHIA/CAUSE COLLEGE - DAY A beautiful spring day. STUDENTS, FOLLOWERS, COME IN, SIGN IN... IN THE MAIN LIVING ROOM, on stage, MASTER is working with a WOMAN, processing her. She lays back on a couch set up...FULL CROWD of students watching... MASTER Try to recall how you feel... WOMAN Oh, I'm sort of glad it's the end.. MASTER What happens next? WOMAN The doctor puts a stethoscope to her chest.. MASTER What is the doctor wearing? WOMAN A white coat. MASTER Is there a smell in the room?. 81. WOMAN It smells like a hospital. MASTER Try to imagine what a hospital smells like. WOMAN Uugh. Uugh. Alright. MASTER What does the doctor say? WOMAN He listens to her chest and says, "She's gone." FREDDIE and VAL are sitting in the front foyer of the house, facing each other in two folding chairs...we see the. STAGE IN THE B.G... .VAL is bored and nodding off to sleep ...FREDDIE watches VAL. FREDDIE kicks his chair -- FREDDIE Wake up. Your Father's speaking.. .you could learn something. VAL What's that? FREDDIE You heard me. VAL He's making this up as he goes, don'tcha know..? You can sleep and wake up and not have missed anything... FREDDIE Maybe you should pay more attention. VAL You have something to say to me? FREDDIE I'm curly-q. Round in circles. So shut up. .FREDDIE takes a nice big drink from his FLASK... FREDDIE looks out the open front door: TWO POLICEMAN AND A MARSHALL are parking their cars and walking towards the house... 82. FREDDIE. Watching them advance... He hesitates. He's not sure what to do. So he stays put... The MEN walk up to the house ...FREDDIE and VAL look: POLICEMAN We're looking for Lancaster Dodd. FREDDIE I don't know who that is... POLICEMAN May we come in? FREDDIE No. You cannot. VAL Yes you can. He's up there - VAL points to the stage... VAL (CONT'D) That's him. FREDDIE You can't come in. Get outta here. MASTER, ON STAGE, looks out - AGAINST THE GLARE OF THE DOOR, he can recognize the FIGURES AS UNIFORMED... ANGLE, AT THE DOOR. POLICEMAN We have a civil warrant to serve to Lancaster Dodd to appear in Philadelphia Bankruptcy Court - an arrest warrant - VAL Stay out of their way, Freddie. MASTER walks down to see what's happening. MASTER What is happening here? POLICEMAN Are you Lancaster Dodd? MASTER Yes I Am. 83. POLICEMAN We have an arrest warrant for you, sir... MASTER What are the charges? POLICEMAN By order of Pennsylvania District Court by the Mildred Purcell Foundation for wrongful withdraw of funds. And operating a medical school without a license. That's.what we'll have to take you in for MASTER This is a silly joke, no? MARSHALL No, sir it isn't. But we have to take you in and book and fingerprint you. MASTER This is comic opera. Is it illegal in this city to get better? MARSHALL Please put your hands behind your back. MASTER I have no disagreement with you boys doing your work in all its silliness as defenders of what code? What honor? What part of the galaxy? This is a scientific gathering - you will cuff me from the front, if you please -- He raises his ARMS for HANDCUFFS. FOLLOWERS COME FORWARD AND START TO PROTEST ABOUT THIS. ONE YOUNG MAN, WITH ONE ARM AND A HOOK FOR A HAND STARTS SWINGING IT AROUND (WWII VET) FREDDIE gets into it and is pushed by a POLICEMAN which unleashes a WRATH IN HIM. IT VERY QUICKLY BECOMES A MINI- MELE. FREDDIE IS SLAMMED TO THE GROUND AND WRESTLED WITH BY THE TWO MARSHALS. HE FIGHTS BACK. IT'S VERY ROUGH AND VIOLENT. MASTER, FREDDIE are taken away in hand cuffs. MARY SUE comes out, angry at the police, everyone is, etc. Quite a scene. 84. MASTER is actually trying to CALM FREDDIE DOWN, WHO IS GOING NUTS IN THE HANDCUFFS AND AT HIS TREATMENT MASTER (CONT'D) Freddie, no, no, no, calm down, please, please. It's nothing, just laugh, we'll be out shortly, it's nothing. I, please, pleasue, Freddie - INT. POLICE CAR THEY SHOVE FREDDIE INTO THE CAR AND HE GOES CRAZY. SMASHING HIS HEAD AGAINST THE WINDOW, THE BACK SEAT, ETC. HE YELLS LIKE AN ANIMAL. KICKS AND SCREAMS, BLEEDING FROM HIS FOREHEAD. MASTER is put into another car. INT. POLICE STATION - LATER They arrive in CARS. FREDDIE in one.car. MASTER in the other. FREDDIE is STILL FIGHTING. THEY DRAG HIM. MASTER is speaking to him, trying to calm him down... CUT TO: INT. HOLDING CELL - LATER It's hours later. FREDDIE is out of energy. MASTER sits with him. Old-fashioned holding cell. MASTER holds his FINGER TO HIS LIPS. MASTER Shhhhhhhhhhhhhhhh. He gets up close to FREDDIE, whispers in his ear; MASTER (CONT'D) Whatever we say is undoubtably being monitored...speak in whispers. FREDDIE I don't want to talk to you right now. MASTER This is FBI work, Russians maybe... this... too much work for the AMA... 85. FREDDIE Stop talking... MASTER You're fear of capture and imprisonment is an implant from millions of years ago. An Invader Force played games with your spirit as it.moved from one body to the next - free for a moment - it was free and the invader force captured it - spun you around in a device not unlike a grinder and hit you with waves of high wattage electrical impulses - quaver bolts to damage you. The impulse lodges and plants the push-pull instinct, dumped in scalding hot water, then freezing cold - a control mechanism - any legal action, a summons to court, the sight of a police officer, exposes a glandular reaction and anxiety wave of the highest order, TRIGGERED - the mere threat of arrest will make a psychotic breakdown. This happened to you and you are free to stop it. Their game and implants are no match for you. Laugh in their face. Laugh at it. These triggers are useless now. You created THEM so YOU can DESTROY THEM. MASTER pulls away ... FREDDIE looks at him. HOLD. FREDDIE Horseshit. MASTER I don't have any opinions. I'm giving you facts. FREDDIE Just shut-your-mouth? You're a fucking DRUNK. MASTER ME shut my mouth? You're a fucking DRUNK. You CACTUS. Play a game with me? I don't think so, you little yo-yo. That ain't the way. You want to shut me up? I'm the best and only friend you have, shut me up from saving you? HELPING YOU. ONLY WAY. FIND ANOTHER ONE, YO-YO. You wanna get rid of this or live this way or MASTER it? (MORE) 86. MASTER (CONT'D) You listen - you wanna spit in that cops face for touching you? I'm gonna beat him with you. Bash his skull in. BUT DON'T TURN ON ME, DRUNK. Long silence. They sit in it. FREDDIE Helen's house...all those girls walking around, the wives of ... . I want to fuck all of them. MASTER Sex is not an aberration. Never has been. So what's wrong? FREDDIE I want to fuck 'em all. I want to stick it in every one of them. MASTER When did you forget that surviving was what you're supposed to do. Stick it in. Stick it in. FREDDIE I don't belong in here, man. I gotta get out of here... MASTER You belong at sea. FREDDIE .hmph... MASTER .You belong to Doris. FREDDIE Why're you talking about her? MASTER You think of Doris. The loss of her. Triggers millions of little shocks and. charges, doesn't it? That present-life loss. FREDDIE It was Val who let them in the house and told them who you were... Val did it. CUT TO: 87. INT. FREDDIE/VAL'S ROOM - HELEN'S HOUSE - LATER MASTER enters the room, Freddie behind him...VAL'S BED IS MADE AND ALL HIS BELONGING ARE GONE...FREDDIE looks at the mirror on the wall. WRITTEN IN LIPSTICK a note to FREDDIE: "YOU'LL NEVER GET BETTER" MOMENTS LATER. SAME. MARY SUE is here, looking at it. She says to Master: MARY SUE Where's he going? What's he doing? MASTER sits on the bed, thinks. She leaves quickly, we hear her go down the hall and knock on ELIZABETH's door... ELIZABETH answers and the speak ...FREDDIE and MASTER look at each other; MASTER His mother was a paranoid schizophrenic who wanted to abort him. Right now he 'wants to be sick.' He's losing his war. CUT TO: EXT. HELEN'S HOUSE/UPPER HALLWAY - MOMENTS LATER FREDDIE is sitting outside the CLOSED DOOR to MASTER'S UPSTAIRS BEDROOM/OFFICE. We HEAR VOICES talking CLARK walks up and sits with FREDDIE, they sit in silence... trying to listen, but not hearing... CLARK He's done this before... FREDDIE What happened? CLARK He ran out of money and came back. He's a squirrel. He's trying to get to The Split Saber, don't you think? To sell it. Sell it off to any of these DISSENTERS - 88. The door ... NORMAN CONRAD asks FREDDIE to come in... INT. OFFICE - THAT MOMENT FREDDIE enters, sits down.. .DOOR CLOSES. They all face him, sit him in a chair... MASTER, ELIZABETH, NORMAN, MARY SUE... MASTER There is a mission against time to be undertaken, Freddie. NORMAN CONRAD Are you prepared to travel wherever we may ask you to go -- ? FREDDIE Yes. MASTER -- An assignment of importance in which more than just life hangs in the balance. MARY SUE -- I want to know if you can stop your boozing? FREDDIE MARY SUE Can you stop drinking? MASTER -- The drinking blocks the physical pain and dissolves treatment from working, FREDDIE -- MARY SUE Let me be unambiguous: Tell me you won't drink. ZOOM IN TOWARDS HIS FACE, ENDS IN CU. FREDDIE I won't drink. MARY SUE Your mission is to go to Phoenix, Arizona to prepare for a Universal Process Congress of the Cause. (MORE) 89. MARY SUE (CONT'D) All branches brought together for a summit ... your mission is to prepare for MOC's arrival and provide security at his home in Camel Foot Hills... NORMAN CONRAD .By bringing everyone together with the promise of unveiling new levels ... there will be interest from outside agencies ... the new works are of great many interests to dark forces... FREDDIE Who? MARY SUE CIA, Russians, Catholic Church. The list is long, Freddie. NORMAN CONRAD We don't expect trouble, but if it comes... we believe and trust that you are the right man for this mission. ELIZABETH You're the only one that can do this, Freddie. FREDDIE .What is Val doing in all this? MARY SUE He's a squirrel. And he has weaknesses. NORMAN CONRAD Do you believe that no man can be neutral in the struggle between civilization and chaos? FREDDIE Yes. MARY SUE Val's not a threat to you. You can handle Val. Can't you? CUT TO: INT. KITCHEN - DAWN FREDDIE and MASTER getting ready to leave. Just the two OF THEM: 90. MASTER Freddie... there's something else...a side project I have for you... FREDDIE MASTER .When you get there...I need you to get something for me ... something of great importance to me. FREDDIE 7 MASTER When you arrive at the house ... you go underneath the house. There's a crawl space. In the center of the house is a small hole. You will see broken soil that marks the spot.. .dig it up. Inside is a box. I need you to take the box and protect it. You can take it to the First Phoenix Bank and register a safe deposit. There it can stay until my arrival... FREDDIE What is it? MASTER Valuables. Personal and confidential to me ... FREDDIE MASTER As Guardian of the Good for this civilization and all it's neighboring galaxies ... . can you promise me that you will safely deliver and protect this box? FREDDIE Yeah. CUT TO: INT. PHILADELPHIA AIRPORT FREDDIE is waiting for his flight. MASTER and HELEN SULLIVAN and her husband JOHN are here... 91. HELEN sits with FREDDIE... HELEN Whatever you're doing... . it feels right. FREDDIE looks at her. She looks at him CUT TO: INT. AIRPLAIN - EN ROUTE - NIGHT FREDDIE is on board. A STEWARDESS comes down the aisle, asks if anyone wants a COCKTAIL. FREDDIE says no thank you. The MAN next to him has a nice GIN AND TONIC. FREDDIE is starting to sweat, gently shakes as he begins to de-tox... CUT TO: EXT. PHOENIX AIRPORT - TARMAC - DAY FREDDIE gets off the plane, walks to the terminal - he carries a DUFFLE BAG. Walking swiftly, purposefully... CUT TO: EXT. SUBURBAN PHOENIX - AFTERNOON FREDDIE is in A CAB that pulls into a SUBURBAN PHOENIX NEIGHBORHOOD. He gets out in front of RANCH STYLE HOME separated a bit form the rest of the neighborhood ... THE CAB WAITS. HE WALKS UP TO THE HOUSE, TAKES OUT THE KEY...HE PUTS THE KEY IN AND STEPS INSIDE. HE LOOKS AND SEES: THE HOUSE HAS BEEN TURNED UPSIDE DOWN AND RANSACKED. Freddie is shocked/nervous ... . suddenly on guard. FREDDIE walks around, looks into what appears to have been MASTER'S OFFICE... Writing, books, etc, thrown all over the place... 92. HOLE'S IN THE WALLS, SOCKETS RIPPED OUT, FLOOR BOARDS RIPPED UP... CUT TO: EXT. PHOENIX HOUSE - THAT MOMENT UNDER THE HOUSE. A CRAWL SPACE. FREDDIE crawls on his belly underneath the house - goes to the center of it and (HAT finds a HOLE. He digs into it...and digs up A BOX BOX SIZE) COVERED IN DUST. HE TAKES THE BOX OUT AND CRAWLS AWAY. HE PUTS THE BOX INTO HIS DUFFLE BAG. HE BRUSHES THE DUST OFF. HE GOES BACK TO THE CAB AND GETS IN -- CUT TO: EXT. DOWNTOWN PHOENIX / THE CAUSE H.O. - DUSK FREDDIE pulls up in the cab to THE CAUSE H.Q. STOREFRONT OPERATION in downtown PHOENIX. He walks in...DICK BRETON (30s, Phoenix Branch Manager) is here - a few others. DICK Good morning. FREDDIE Are you Dick Breton? I'm Freddie Sutton. You're expecting me... FREDDIE is very friendly, but focused on the task, he asks to use the phone to call Master - some place private, perhaps... CUT TO: INT. BACK OFFICE - MOMENTS LATER FREDDIE is alone, on the phone, with MASTER. MASTER Freddie. FREDDIE Someone broke into the house. MASTER .Someone broke into the house... 93. FREDDIE Someone's been there. I don't know when. I may have just missed them - the front door was locked, I went in with the key and the house up ended, all smashed up on the ground - I walked to the back - the door was open - MASTER -- do you have the box? FREDDIE Yes. MASTER Where are you now? FREDDIE I'm at the office with Dick Breton. MASTER Is he there with you? FREDDIE He's outside. The door's closed. MASTER The box is safe in your hands? FREDDIE Yes. It was right where you said it would be...I haven't opened it. MASTER You've done well. You know the severity of what you hold in your hands - FREDDIE Is...did...did Val break into the house looking for it? MASTER Possibly. A crazed lone lunatic for all we know. Certain atomic agencies wouldn't mind a crack at it, I'm sure. FREDDIE What should I do now? MASTER Get yourself a room at the Sun Inn Motel. The Sun Inn Motel ...it's nearby... acceptable accommodations. (MORE) 94 MASTER (CONT'D) Find yourself a room there... and guard it until morning - stay safe until that bank opens... FREDDIE It's good. I got it. MASTER Yes it is. Are you alright? FREDDIE Yeah, yeah. I'm alright. I'm shaking.. MASTER Why? FREDDIE I don't know. It's hot down here. MASTER You feel any stomach pain? FREDDIE No. MASTER Ringing in your ears? FREDDIE No. MASTER Left side feels good? FREDDIE Yeah. MASTER Right side feel good? FREDDIE I'm alright. MASTER Good, good. Alright, soldier. Go to it. FREDDIE hangs up and looks at the DUFFLE BAG.. .he looks out into the front area... sees DICK BRETON and some other Phoenix Followers... they see Freddie.. .try to give him his space... He looks at the Duffle Bag. CUT TO: 95. INT. SUN IN MOTEL - NIGHT FREDDIE has checked into a motel for the night. He is sitting on the bed. THE BOX is on the next bed. He smokes cigarettes and looks at the box. He takes the BOX and puts it in his DUFFLE BAG. ZIPS IT UP. He turns off the light, smokes in the dark. ZOOM TOWARDS THE BAG...ZOOM TOWARDS FREDDIE. STRETCCCCCCHHHH OUT THIS MOMENT. (IMAGINES HIMSELF OPENING THE BOX AND FIRE COMING OUT OF THE BOX AND TEARING UP HIS ARM AND COVERING HIS HEAD. THEN BLOWING HIS HEAD OFF) BACK TO REALITY. HE TAKES THE BOX OUT OF THE DUFFLE BAG AND LEAVES IT ON THE BED. FREDDIE is starting to sweat and shake a bit. He's de- toxing. He looks down at his feet: HE HAS A TATTOO of a PIG on his right foot and a ROOSTER on his left... HE LOOKS AT THESE TATTOO'S... HE SPENDS SOME TIME IN THE TOILET THROWING UP. This goes on...until... CUT TO: INT. MOTEL ROOM - MORNING FREDDIE is up, trying to get steady. Shaking, sweating... FREDDIE looks out the window, down across the street and sees the LOCAL BANK. The BANK MANAGER opens up...FREDDIE moves to leave. . .HE GRABS THE DUFFLE BAG FROM THE BED AND WALKS OUT. CUT TO: INT. HALLWAY - MOTEL - THAT MOMENT FREDDIE cautiously comes out. He walks toward the stairs.. .and SEES: A FLEETING FIGURE RUNS AWAY AND DOWN A FIRE ESCAPE OUTSIDE. 96. FREDDIE RUNS AFTER THIS FIGURE... HE LOOKS OUT THE WINDOW, DOWN THE FIRE ESCAPE... HE LOOKS UP, ACROSS ROOFTOPS, SEES A FIGURE RUNNING AWAY, JUMPING ACROSS ROOFTOPS... FREDDIE makes his way down into the lobby of the motel.. . .very very very carefully... looking for something around any corner... In the lobby... the OWNER nods to him... Freddie nods back... And makes a beeline - hard to the door and out into -- CUT TO: EXT. STREET - THAT MOMENT FREDDIE bursts out into the street in full-ready-for- anything mode ... . STRETCH OUT, MINI SEQUENCE... .looking up at the rooftops, alley's, etc... .He gets across the street, rounds a corner, and into - CUT TO: INT. PHOENIX BANK - MOMENTS LATER FREDDIE comes in, registers a SAFE DEPOSIT BOX. HE PUTS THE BOX IN THE SAFE DEPOSIT. HE LEAVES. CUT TO: INT. CAUSE H.O. PHOENIX - DAY FREDDIE speaking to a group of 20 followers; he reads some of this from a piece of paper ...he's shaking, sweating but doing a terrible job of concealing it... FREDDIE Phoenix will be the home of the Universe Process Congress of the Cause.. .to be held June 5th to 9th... Everyone is excited. 97. FREDDIE (CONT'D) And it is hoped that a major part of the program can be devoted.to a report on a demonstration of any new data or techniques MOC may reveal at that time. FOLLOWER You're talking about Book II? FREDDIE Yes. This will be a unification Congress. All of us together - all branches and as many members as possible, organized in one city - for the presentation of all new levels. CUT TO: INT. CAUSE H.G. PHOENIX - DAY FREDDIE is heard OFF CAMERA in the bathroom VOMITING HIS GUTS OUT as he de-toxes. STUDENTS and a small LECTURE in process tries to ignore the ANIMAL SOUNDS coming from the bathroom... CUT TO: EXT. PHOENIX HOUSE - DAY FREDDIE with DICK BRETON and another FOLLOWER are cleaning, fixing up the ranch house... CUT TO: INT. CAUSE H.Q. PHOENIX - DAY The storefront operation is being READIED AND REFURBISHED. FREDDIE leading the clean-up, etc. FREDDIE acting as MAIN LIAISON AND LIEUTENANT. A STAGE IS PREPARED. MICROPHONES TESTED, RECORDING EQUIPMENT. FREDDIE OUT IN THE NEIGHBORHOOD. Doing the work of the Cause. He invites people to come, hands out FLIERS. CUT TO: 98. INT. LOCAL PHOENIX RADIO STATION FREDDIE is talking with a local STATION MANAGER about buying air-time... INT. RADIO BOOTH FREDDIE is on the radio, reading the PROMO PIECE; FREDDIE You don't have to change you faith or leave the congregation you belong to...So those interested in freedom are urged to please come for free sample processing sessions in being 'younger' feeling 'freer' and understanding where you come from... If every individual in the world had one other individual to whom he could go with his troubles and his ideas; and if he could tell that Other all about his troubles and ideas; and if that Other would listen AND understand, but not evaluate or invalidate or approve or give advice or in any other way try to control the thoughts of the speaker; the people of the world would become sane, well and happy. CUT TO: EXT. PHOENIX AIRPORT / TARMAC - DAY A PLANE TAXI'S TO A STOP, MASTER and MARY SUE, ELIZABETH, etc, all disembark the PLANE... FREDDIE, clean cut and wearing a nice suit, is here to GREET THEM. They head for CARS waiting... CUT TO: EXT. PHOENIX HOUSE - DAY THE WHOLE-ENTOURAGE unloads and heads into the house. CUT TO: 99. INT. PHOENIX HOUSE - THAT MOMENT Everyone comes in, settling in. . .MASTER inspecting some of the damage that has been cleaned up - but traces remain ... FREDDIE there to explain what it looked like... CUT TO: INT. MASTER'S OFFICE - THAT MOMENT MASTER and FREDDIE come in. . .MASTER looks around... MASTER turns to FREDDIE: FREDDIE takes out the SAFE DEPOSIT KEY and hands it to MASTER. FREDDIE The key. Master takes it, pockets it... He looks down at his desk... MASTER I'll need fresh ribbon tonight for the Old 'Vetti and paper, vanilla. Do. we have any? FREDDIE I'll get some. MASTER We'll go to the bank in the morning. First thing? FREDDIE Alright. MASTER Now that we've arrived, let's keep an extra eye open around the perimeter. We're not out of harm's way yet. MASTER leaves the room with Freddie behind... CUT TO: INT. HOUSE.- LATER MASTER is typing off camera. It's later that night, everyone asleep but ELIZABETH and FREDDIE. They have a SCENE: 100. ELIZABETH I hope that one day this place will be a museum to my father and everyone he has helped around the world will come and visit to see where he presented Book II. You did a wonderful job helping him... FREDDIE .where's Clark? ELIZABETH Denver. FREDDIE What's in Denver? ELIZABETH He had a mission there... CU. FREDDIE FREDDIE What kind of mission? ELIZABETH A secret one... CUT TO: EXT. PHOENIX BANK - MORNING MASTER and FREDDIE pull up in a car to the bank, get out, GO IN: CUT TO: INT. BANK - THAT MOMENT They get the BOX/DUFFLE BAG from the SAFE DEPOSIT. FREDDIE watching MASTER. Master doesn't open it, just gets it and they leave. CUT TO: INT. PHOENIX HOUSE - LATER FREDDIE and MASTER come in, MASTER carrying the duffle bag. He says hello to the kids, MARY SUE, etc.. .then goes into his office... 101. FREDDIE stays out in the living room. MARY SUE serves the kids some pancakes. He watches for a SECOND; MARY SUE Do you want some pancakes? HOLD. THEN: CUT TO: EXT. PHOENIX HOUSE - LATER FREDDIE is sitting outside the house, smoking a cig, drinking some coffee... (distant sound of typing coming from inside the house - Master at work) .a CAR PULLS up...across the street. . .he watches it park... . and out steps: BILL WHITE (from New York) .he closes the door... and walks across the street... towards the house ... . he Looks very out of place in the middle of the desert. . .he approaches Freddie: BILL Hello, Freddie. FREDDIE Bill. BILL Just dropped in to see Master, find out what's going on - guess I lost my invitation. FREDDIE There's nothing going on, Bill. BILL What does that mean? FREDDIE That's what that means. BILL Does that mean I'm out? Am I in? What does that mean? FREDDIE That's it. 102. BILL Y'know that I've had no communications from this office for six weeks - no Journals, no answer's to my calls, I wrote a letter, was it received? FREDDIE Yes. BILL I'm mixed up slightly here. You know, when I worked for the Cause, I was made a nearly $800 in salary due me. FREDDIE We appreciate that. BILL And as a Founding Member, I'm supposed to be a member for life? FREDDIE Yes. BILL And that entitles me to the Journals? FREDDIE Yes. BILL But I haven't gotten the Journals? FREDDIE No. BILL And I'm not going to get the Journals? FREDDIE No. BILL And do you know that I'm a Fellow of the Cause and as a Fellow of the Cause I'm a member for life? FREDDIE Yes. BILL But I haven't gotten the Journals? 103. FREDDIE No. BILL And do you know that I paid $800 for the Minister's Course and that entitles me to membership in the Group until January 1? FREDDIE BILL And as a member I'm supposed to get the journals? FREDDIE BILL And I'm not going to get any Journals? FREDDIE No. BILL Ok. Do you know that I paid $50 for my "Doctor Of Divinity" certificate, and for which I also was to receive a medallion, a ribbon, a lapel pin, and a gold bordered book of The Cause? FREDDIE Yes. BILL And I haven't gotten them? FREDDIE No. BILL But you're going to give them to me? FREDDIE No. BILL Then I suppose you're going to refund my money? FREDDIE No. 104. BILL Why? FREDDIE You're a dissenter. And an unfaithful woman. BEAT. BILL. Aren't you ashamed of yourself, sitting there getting all red in the face and being embarrassed because you have to act like a heel? FREDDIE I'm not embarrassed. That's sunburn. BILL I'm not going to let anyone tell me I can't have what I paid for, except Master. I want to see Master. FREDDIE You can't see Master. BILL Why? FREDDIE Because he's busy and I'm not going to let you. BILL Oh...it's Freddie-Barrier now? Why don't you hyphenate that? PAUSE. BILL (CONT'D) You know what this all is? Huh? It's mental cruelty. That's what it is. It's just mental cruelty to invent all these new ideas and never follow through on it and just keep adding and subtracting and I gotta pay for this and that level and more and more-and Book II's coming. All the answers..."if you had that, it's no good 'cause here's the new thing.. .and oh no...you don't need that.. .that's old.. .this is new." And it's more and more and it's all just cruel. (MORE) 105. BILL (CONT'D) And it's all gettin' away form what it was at the start which made sense. This is screwed man. Screw this. And screw you. BILL leaves. FREDDIE watches him go. Something takes hold of him. .FREDDIE walks after BILL, behind his back, come up on him and CRACKS HIM IN THE KIDNEYS. HE GOES DOWN...KICKS HIM FOR GOOD MEASURE, THEN WALKS BACK TO THE PORCH... He sits down and just watches Bill squirm in the middle of the street, finally dragging himself up and into his car. CU. FREDDIE. Just watching him with no/very little compassion. CUT TO: INT. DOWNTOWN PHOENIX / PRINTERS - NEXT MORNING MASTER and FREDDIE hand over THE BOOK II manuscript pages for PRINTING. WE WATCH THE PAGES GO ROUND. DICK BENTON is here to help. They smoke cigarettes and watch the printing machines move... WE SEE THE TITLE OF THE BOOK: "THE SPLIT SABER" We see, IN CLOSE UP, THE LAST LINE OF THE BOOK: ".. .as gift to homo-sapien, in hopes of a better world. Lancaster Dodd, M.D." INT. CAUSE H.O. PHOENIX - DAY Everyone collected for the start of the Congress. 250 people in attendance from all over. APPLAUSE for MASTER as he stands on stage, speaks: MASTER That's enough.. .now that's enough, you're going to make me red all over. . .thank you. Thank you. Book II is about Man. (MORE) 106. MASTER (CONT'D) And the title of the book is: "The Split Saber." This is an adap-tation of the original text... and here we have some answers... Ooooooh's and aaaaaaah's. Whispers, etc. MASTER (CONT'D) No More Secrets... This is a study of your last 83 trillion years.. .This is about the source of creation. Of good and evil ... . and the source of all... Now funny enough - the source of all is... You. I have a unlocked and discovered a secret to living in these bodies that we hold.. .and Ohhhhhhh yessss it's verrrye evre veryvery SERIOUS! The secret is laughter. CU. FREDDIE Listens from the sidelines. It's sweltering HOT in here. FANS ABOVE DO NOTHING. EVERYONE IS POURING SWEAT BUT RAPT IN ATTENTION... Freddie looks up at the stage and MASTER speaking... MASTER keeps talking... Freddie keeps looking...MASTER talks and talks ... . FREDDIE looks... MASTER (CONT'D) .so let's review "Laughter and Processing." and how the role of the listener... FREDDIE imagines himself standing up, going up to the stage, PULLS OUT A LARGE SABER AND SLICES MASTER'S HEAD OFF. HIS HEAD ROLLS INTO THE AUDIENCE... .MASTER keeps talking and talking... MASTER (CONT'D) Man is not an animal Man is an enternal spirit. 107. BACK TO FREDDIE. He's sitting up straight, watching, pouring sweat. It's the end of the lecture. EVERYONE STANDS UP AND GIVES MASTER A HUGE ROUND OF APPLAUSE... CUT TO: INT. CAUSE COLLEGE. a big party at the end of the evening. SLOW ZOOM IN ON FREDDIE. Sober. Sitting and watching everyone dance aroud and have a good time. He's STOIC. People are coming and speaking to him...he is gracious, nodding her and there ... A sexy young woman, JOAN BANKS (30s) sings a song for everyone: ELIZABETH is playing the piano. JOAN (SINGING) A TISKET-A-TASKET-MY PAST LIVES IN A BASKET! WE'RE HERE NOW, WE'RE HERE NOW. IN LOVELY AR-I-ZO-NA. AND WRESTLE OUT RE-ACTS RIGHT TO THE GROUND AND PUSH, PULL, PIN IT DOWN. WE'LL TAKE IT, WELL TAKE IT, THOSE DIRTY SEEDS AND WIPE 'EM. THE APA AND AMA WILL HAVE TO KISS OUR - SS'S Everyone applauds, laughs. FREDDIE watches everyone celebrate and laugh, drink, etc... ELIZABETH comes over and sits with FREDDIE... ELIZABETH Can we have some of your booze now? FREDDIE No more booze, Girl-y. Or haven't you heard? ELIZABETH FREDDIE ELIZABETH 108. She leaves. CUT TO: EXT. DESERT - DAY/NEXT MORNING. MASTER, riding a MOTORCYCLE... and A SEDAN carrying FREDDIE and DICK BRETON.. .pull up in the middle of flatland desert outside PHOENIX... ANGLE, LATER. The three of them stand out in the desert... MASTER The game is "Pick A Point" pick a point... and ride straight at it. as fast as you can. I'll go first. MASTER gets up on the bike. Picks a spot on the horizon. AND DRIVES STRAIGHT AT IT - A THOUSAND MILES AN HOUR. COMPLETE ABANDON. MINIOSEQUENCE HER. SEEING THE SPEED. HE GOES FULL THROTTLE FOR ALMOST HALF A MILE... HE ARRIVES... SKIDS TO A STOP...THE ADRENALINE AND RUSH ...HE TURNS... THEN GOES BACK THE SAME WAY HE CAME. HE PULLS UP. he laughs his head off, talking about what just happened... ANGLE, LATER. FREDDIE'S TURN...he gets on-picks a spot, says what it is... AND DRIVES TOWARDS IT. DRIVING. FAST. HE HITS A BUMP. ALMOST WIPES OUT. KEEPS GOING. FAST. FASTER. FASTER. FREDDIE keeps on going... MASTER watching him go and go-disappear on the horizon line... HOLD. FREDDIE IS GONE. MUSIC STARTS, OVER THE FOLLOWING: (? "ho! For kansas.") DISSOLVE TO: 109. EXT. DESERT - THREE-HOURS LATER - DUSK. MASTER and DICK BRETON get in the car, done waiting for Freddie..and drive off. CUT TO: EXT. GALVESTON, TX. FREDDIE gets passage on a FREIGHTER. It sails off. He's on it. back at sea. CUT TO: EXT. ATLANTIC OCEAN. DAY. FREDDIE ON BOARD. . .DOWN BELOW. HE MAKES HIS SPECIAL POTION OF BOOZE OUT OF RUBBING ALCOHAL AND SOME OTHER INGREDIENTS FOR THE OTHER CREW MEMBERS... THIS ALL ENDS UP IN AN EVENING OF: TATTOO'S. FREDDIE GETS SOME NEW TATTOO'S "TOO TOUGH TO DIE" EXT. LYNN, MASS. SUBERBAN NEIGHBORHOOD WEEKS LATER. FREDDIE walks up to a small house in a suburban neighborhood... He knocks on the door...then stands back off the steps... A NOEWEGIAN WOMAN - MOTHER-type (40s) opens the door, ROCOGNISES HIM; WE SEE FREDDIE. He looks rough, tired...HE HAS MORE TATOOS that come up from under his shirt and start to WRAP UP HIS NECK... MOTHER Hello ... . Freddie? FREDDIE Hi. I'm lookin' for Doris. MOTHER Oh. .what for? 110. FREDDIE 'cause I'm looking for her. Because i want to talk to her. That's what for. MOTHER Well. Doris is in Alabama right now. She lives there ... . she's married to Jim Day. He's in ROTC training. Navy flight training... FREDDIE Jim day? Jim day-jim day? That jim-day? MOTHER Yes. Jim day. From sommerville. FREDDIE When did that happen? MOTHER They've been married for three years. FREDDIE To jim day? MOTHER Yes. FREDDIE Is he still ugly? PAUSE. MOTHER She has two children. FREDDIE .boys or girls? MOTHER Two girls. Are you coming back home? FREDDIE I'm just visiting, wanted to see if she was around, say hello. MOTHER How's your family doing? FREDDIE Yeah, alright. PAUSE. FREDDIE Well, ok-then. If she's not here. MOTHER You could write her. I have an adress. FREDDIE No, I'm not gonna write her a latter. MOTHER Alright. FREDDIE Was she upset that last time I was here? When I left her here? MOTHER Yes. FREDDIE Was she broken up about it? MOTHER Yes. FREDDIE Did she tell you what happened? MOTHER Yes. FREDDIE What did she say? MOTHER That you said you couldn't be with her and that you'd come back some time. Is that right? (it was a long time ago.) FREDDIE Yeah. MOTHER Where have you been? FREDDIE (laughs)...I been working. I been doing a lot of work and travelling, I think I been halfway aroudn the world doing things since I last saw doris... how old is she now? 112 MOTHER Doris is twenty. FREDDIE Casue I wanted to know. She was too young when I knew her, when I saw her. how's Sonny? MOTHER Sonny died in Italy. FREDDIE Yep. Yeah. Alright. BEAT. FREDDIE I loved Doris, but when I came back hom..and she was only sixteen, so...i couldn't wait for her-but she's happy and that's good. So... MOTHER I'll tell her you came to see me. FREDDIE That's not going to matter - give me a BREAK -- MOTHER Do you want her to know? FREDDIE It's better if she thinkgs I was a heel. That's better - so if you can - don't tell her - but you're her mother you'll tell her, so - MOTHER No I won't. I think you're right. FREDDIE Well. . .you do whatever you think is right. MOTHER It was nice to see you. FREDDIE . am I leaving? MOTHER No. Whatever you'd like. You can come in. 113. FREDDIE I gotta go. Thank you. So. . .thank you. How's Mr. Shoeman? MOTHER He's very good. He, s working. FREDDIE Tell him I said hello. MOTHER Alright. LONG PAUSE. FREDDIE So her name is Doris Day? The the Doris Day? MOTHER Yes. FREDDIE Like the movie star. FREDDIE comes up and gives her a kiss on the cheek and walks off. CUT TO: INT. MOVIE THEATER - SOMEWHERE. FREDDIE, by himself, drinking from his FLASK. The movie playing is a short "CASPER THE FRIENDLY GHOST. THERE'S GOOD BOOS TONIGHT." He is PASSED OUT IN THE BACK ROW OF THE BALCONY... A sory of dream moment happens where... an USHER walks up WITH A TELEPHONE AND HANDS IT TO FREDDIE, waking him up, Freddie speaks into the phone: FREDDIE Hello? MASTER (V.0.) I miss you. FREDDIE How'd you find me? 114 MASTER (V.0.) We're tied together. Who got to you, Freddie? FREDDIE What? MASTER (V.0.) Who got to you? FREDDIE Nothing. Nobody. MASTER (V.0.) Come to England... you'll love it here. And I think it will do you some good. Can you do it? FREDDIE Where? MASTER (V.0.) We have a new house ... . it's In England. FREDDIE My spaceship's in the shop and the dance CARD'S FULL MASTER (V.0.) Ha ha ha ha. You've still got it! Will you bring some Kools? FREDDIE They don't have 'em there? MASTER (V.0.) The only bad part over her...no Kools. FREDDIE How'd you find me? MASTER (V.0.) Freddie; I ahve a matter of such urgency - a matter that only you can help me with - that may, in fact, cure the insane once and for all... BACK TO FREDDIE. PASSED OUT IN THE MOVIE THEATER.. .he wakes up, looks around... watches Casper for a second or two.. .gets up... And walks down the very steep flight of stairs on the balcony... 115. .it's dark...he's drunk...he takes a step or two the wrong way - and FALLS...he not only falls down the steps - but OVER THE BALCONY RAILING AND DOWN INTO THE MAIN AUDITORIUM... The fall should either kill him or break his back. Audience members come rushing over, helping him. . .people call for help ...FREDDIE'S KNOCKED OUT. HOLD THIS AND WATCH AS PEOPLE HELP HIM. . .THERE IS WOMAN HER...SHE IS A BIT SHAKEN, FREDDIE FELL RIGHT NEXT TO HER... WE SEE THIS WOMAN, AND RECOGNIZE HER AS THE WOMAN (NUDE DANCER) FROM THE NIGHTCLUB IN NEW YORK CITY... ELLEN... SHE LOOKS AT FREDDIE... CUT TO BLACK. FADE UP IN; INT. HOSPITAL - LATER FREDDIE looks around. He sees a YOUNG WOMAN...it all takes him a minute.. .he focuses on her: It's her...ELLEN. ELLEN You're alright. You're Superman. He looks at her. ELLEN Do you remember me? you saved my life. you don't remember me? You told me where I could get some help. And I did. And it saved my life. Freddie looks at her, looks around, looks down at himself. Only a few bandages, all seems to be in order.. ELLEN Do you know what happened? FREDDIE I fell over the balcony. 116. ELLEN That's right. FREDDIE Am I alright? ELLEN Yes. FREDDIE Sure I'm not dead? ELLEN Yes. FREDDIE Not dreaming? ELLEN Well ...I don't know ... depends on how you mean... you're here right now. With me. In the hospital. It's 1952. New york city. My name is Ellen Rodgers.. You probably don't recognize me with my clothes on...he he he. FREDDIE .why are you here? ELLEN I was in the movie theater. You fell down. Right. Next. To. Me... I just happen to be there. You see? FREDDIE Do you have a cigarette? ELLEN No. PAUSE. She starts to cry a little... ELLEN .you're A mess...I can't see you this way...you...I've thought about you and what my life was life before the Cause and now. . .before I met you... .and you should be a Savior. You are. FREDDIE looks at her...she puts her head on him... 117. ELLEN I'm not a cryer. I'm sorry. I don't know why I'm crying ...I'm just heppy to see you... can I get you something? HOLD... FREDDIE I really want a cigarette... She goes away...comes back...lights him up a cigarette... FREDDIE I want to get to a phone ...I gotta make a phone call. . .can you help me with that? CUT TO: INT. HOSPITAL/HALLWAY. PHONE BOOTH. FREDDIE making a LONG DISTANCE CALL TO PHOENIX ARIZONA. Finally connected with THE CAUSE H.Q. (Ellen lingers in background..) VOICE The Cause College Of Phoenix, Hello. FREDDIE This is Freddie Sutton calling for MOC. VOICE Who? FREDDIE My name is Freddie Sutton. I'm calling for MOC. VOICE MOC is not here, I can help you. Are you calling for help? Are you in trouble or would you like to come in for free processing and evaluation? FREDDIE Is someone there. Elizabeth or mary Sue or Norm Conrad, the family? VOICE No, They're in England. 118. FREDDIE VOICE Who is this? FREDDIE Is Dick Breton there? VOICE Dick Breton no longer works for this organization. Who is this? FREDDIE My name is Freddie Sutton and I'ma friend of the the family. Where in England? VOICE Are you in any kind of trouble that we can help you with? You can come in for an EVALUATION - FREDDIE hangs up. He thinks. He thinks. He thinks. He looks at Ellen... she looks at him... CUT TO: INT. EELEN'S APARTMENT - NEW YOKR CITY - NIGHT. FREDDIE is in Ellen's bed. She is going over his tattto's. She kisses the tops of his FEET. ON HIS LEFT FOOT: A PIG. ONE HIS RIGHT FOOR: A ROOSTER. ELLEN What are these? What does this mean? FREDDIE They keep you from drowning... keep the sea from swallowing you..pig and rooster's always survive a shipwreck. ELLEN How come they survive? FREDDIE I don't know. They can swim better? Never thought about it. ELLEN Did you ever have a shipwreck? FREDDIE .I did. 119. HOLD. He thinks about this. Ellen starts to get a little teary. She hugs his legs and feet, holds onto him... CUT TO: EXT. ATLANTIC OCEAN. DAY. FREDDY on board a ship heading across the ocean. CUT TO: EXT. LONDON. ENGLAND - DAY - MONTHS LATER. FREDDIE, alone, walking down the STREETS OF LONDON...CAMERA WITH HIM, IN THE B.G. there are still VACANT LOTS, HALF BOMBED BUILDINGS, REMNANTS OF THE CITY BOMBARDED... CUT TO: EXT. COUTNRY ROAD/ENGLAND - DAY. FREDDIE walking a long road carrying his DUFFLE BAD...he heads up, passes some STUDENTS (wearing uniforms) He comes into a clearing and heads up a driveway that leads to a VERY LARGE ENGLISH MANOR... CUT TO: INT. RECEPTION AREA/MANSION. A young BRITISH GIRL is very welcoming, asking him: BRITISH GIRL Hello! welcome, can we help you and invite you to sit down? FREDDIE You can... BRITISH GIRL You look like you've travelled here... FREDDIE .how else do you get someplace? 120. BRITISH GIRL Ha, ha, he, he... .can I assist you in help? FREDDIE .I'm here to see your Master. CUT TO: INT. WAITING AREA/COUNTRY ESTATE - MOMENTS LATER. FREDDIE is sitting, waiting.. .he sees: DOWN THE HALLWAY, APPROACHING IS: VAL. he looks good, healthy clean-cut, etc...he's walking with an AID and going over some official business... VAL walks past FREDDIE... VAL sees FREDDIE. FREDDIE sees VAL. He stops, comes back.. .walks up to FREDDIE: VAL Come to get yourself straight? FREDDIE You look good, Val. VAL Thank you. FREDDIE Was in the neighborhood, stopped in to see your old man. VAL Does he know you're here? FREDDIE He should... MASTER comes down the long hallway... MASTER IS THERE A RASCAL IN THE HOUSE?? VAL to FREDDIE quickly before MASTER arrives: VAL They always come back. 121. MASTER IS THERE A RASCAL NEARBY? MASTER comes barreling up to FREDDIE, wraps his arms around FREDDIE in a big-friendly BEAR HUG. MASTER Mold sparring partner. VAL watches... MASTER Traveller. Seamen. Adventurer. Bon vivant. You bring with you elan vitale. days of rugged wear on your face, come with me... CUT TO: INT. MASTER'S OPULENT OFFICE - DAY. MASER and FREDDIE together... MARY SUE is here... CU. FREDDIE he's listening to MASTER speak - MASTER (O.C.) You don't believe that this can work FREDDIE Not really. MASTER (O.C.) Then you'll never know. are you drunk? FREDDIE No. MASTER (O.C.) It's not up to me to decide how ou use it or if you use it. but if you want FACT. And scientific proof. This is it. REVERSE, MASTER. MASTER Who got to you? 122. FREDDIE Nobody. MASTER Do you want to come back? FREDDIE I don't think so. MASTER We could have some fun. Without you, there's less adventure. FREDDIE How did you get this castle? MASTER I think I won it in a card game. He he he. MARY SUE You look sick, Freddie. You don't look healthy. FREDDIE I don't look that way, that's not the way I look. (must be a bad habit.) MARY SUE You should. You can. You don't think you can. ? FREDDIE It's just not how I look. MARY SUE Can't take this-life straight, huh? BEAT. MARY SUE What do you want? What did you hope would happen by coming here today? FREDDIE I don't know.. I had a dream. 123. MASTER The pull and the dream. The intersection of astral planes. Only a man as strong as you can listen to those calls... PAUSE. FREDDIE Do you need some photographs taken? I could do that for you. You know. Whatever I do for you, I'm only gonna do for a minute. It's only gonna be a minute before I go somewhere else again... just the way it's built. MASTER I know it. But this is not fashion. This is something to do for billions of years or not at all... MARY SUE We don't need any photo's taken, Freddie. They all sit and look at each other. MARY SUE gets restless. She stands up... She leaves. It takes her a minute to walk across the huge room. . .PAUSE, THEN: MASTER looks at Freddie..MASTER goes into his desk, takes out a CONTRACT. MASTER We have a new contract. . .it says that you will serve the Cause above all other laws and regulations in this or any other neighboring galaxy for three billion years... .would you sign it? And join with me? FREDDIE MASTER It's not that long in the scheme of things, Freddie.. .he he he he he.. PAUSE. SILENCE between them ...then: MASTER starts to sing. . .and walk over to Freddie... serenades him; 124. MASTER Lighting up the night so bright, for all OF US who sail by night... for those of us who sail by night-light, light, the light. I'd love to get ya... on a slow boat to China all to myself alone... get you and keep ya, in my arms ever more. Leave all your lovers, weepin' on a far-away shore. Out on the briny with that moon big and shinee. Melting your heart of stone. Honey I'd love to get ya on a slow boat to China all to myself alone... They look at each other. CUT TO: EXT. ESTATE - COUNTRYSIDE. FREDDIE walks off, away from the mansion. . .down the road.. .passing STUDENTS ... CUT TO: INT. BROTHEL/APARTMENT - LONDON - NIGHT. FREDDIE is lying in bed with a BRITISH WOMAN. He's smoking, looking at the ceiling, she curls up next to him. . .smokes some of his cigarette... We SEE HIS FULL BODY NOW, COVERED IN AMAZING, INTRICATE TATTOOS'S. BIRDS, SHIPS, FLAGS, PALM TREES, "TOO TOUGH TO DIE," FREDDIE What's your name? WINN I told you...don't rememeber? 125. FREDDIE Say it... WINN You're drunk... FREDDIE No. Not drunk yet. Say it... WINN Winn. FREDDIE Say your full name. WINN Winn Manchester. FREDDIE Say it again... WINN Winn Mancester. FREDDIE Say it again... WINN Winn Manchester. FREDDIE Are you sure you haven't lived before? WINN No. FREDDIE Maybe this isn't your only life... WINN I don't think it is... THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Matrix Reloaded, The.txt b/unformated_scripts/Script_Matrix Reloaded, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..798ba8636cedae2818f076aa2eca0be7fdaa9ca3 --- /dev/null +++ b/unformated_scripts/Script_Matrix Reloaded, The.txt @@ -0,0 +1 @@ + T H E M A T R I X R E L O A D E D Written by Andy and Larry Wachowski April 8, 1999FADE IN ON:Dark clouds below the inky remnants of the scorched sky. We hear windas we sail, like a glider, over the black atmosphere.We DIVE DOWN into the murkiness, through the clouds, into the darkerworld of the dead surface of Earth, the desert of the real. Therotted skeleton of a massive city is sprawled everywhere. We approacha fissure in the Earth's crust, and as we do, we hear the increasingbuzz of multiple hovercraft engines. Blue flashes grow in intensityfrom the fissure. Radio voices, indistinct at first, grow louder aswe approach the fissure. WOMAN (V.O.) "Six o'clock, 300 meters. We can't outrun 'em." MAN (V.O.) "I know. Can't tow this crate fast enough! We gotta ditch it!"We hear the voices as though we're listening to cops through a policescanner. The woman is NIOBE, the captain of the lead ship, Sephora. NIOBE (V.O.) "Can't, the core is still good. And they've got 'The One.'" MAN (V.O.) "Oooh, our savior. Heíd better be worth it." NIOBE (V.O.) "Shut up and make the exit. Hold on!"The azure glow from the fissure is suddenly overwhelming. A tightconvoy of three HOVERCRAFT explode from the fissure, travelingnearly straight up, like a trio of massive locomotives flying intothe sky in tight formation, linked together by tow cables. The blueglow has been emanating from the overworked flare drives of thefirst and third hovercrafts. Between them, suspended by tow cables,is the dark, scorched, and sliced NEBACHANEZZER. They rocket upward,slowing as they reach the top of the arc. NIOBE (V.O.) "Woo-hoooh!"The rush to the ground, pulling up at the last second. The NEB flailswildly between them. MAN (V.O.) "They're still on us!"More vehicles fly from the fissure. A massive army of SQUIDDIES poursup onto the surface.INT. NEBACHANEZZER COCKPITThe NEB is slung between the two HOVERCRAFT, with the cockpit facingbackwards. TRINITY, MORPHEUS, TANK, and NEO, the former ThomasAnderson, crowd the cockpit. Helpless, the landscape speeds away fromthem, while a wall of red-eyed SQUIDDIES speeds to them.It's been a mere TWO DAYS since the realization of NEOíS POWERS andthe defeat of AGENT SMITH. The slipstream whistles violently into theinterior of the ship, and the crew is cold, tired, haggard, andstressed beyond belief as they can only watch the action in theirknocked-out ship. MORPHEUS is on a headset. MORPHEUS "Niobe, theyíre closing." NIOBE "How many?" MORPHEUS "Just a few. Maybe two or three. Hundred."INT. SEPHORA COCKPITNIOBE, as regal as she is beautiful, sits at the controls of her shipwith her co-pilot, a younger female. All visible dials are redlined asthey streak over the dark surface. NIOBE "Youíve got a gift for understatement."INT. FREEDOM COCKPITTHE FREEDOMíS CAPTAIN, a silhouette in a dark cockpit, is flyingblind. His cockpit is awash in the blue flares from NIOBEíS ship.His lieutenant, a shadowy female figure, reaches for the radar screen.As she does, we see her bare shoulder fall into view, a WHITE RABBITtattoo is conspicuous.They switch their screens to the radar, squiddies right on their ass. MAN "Oh shit, weíre screwed. We gotta set down and EMP ëem." NIOBE (V.O.) "Too many!"EXT. FREEDOM HULLA racing SQUIDDIES reaches the hull and latches on, striking up itscutting laser and ripping into the hull.INT. SEPHORA COCKPIT MAN (V.O.) "Theyíre on me! Shit! Losing power!"NIOBEíS Lieutenant, a muscular Asian woman, Circa, notes something ona console. CIRCA "Multiple bogies closing!" NIOBE "No shit." CIRCA "From the front!"Niobe is grim faced as she peers into the sky ahead. Several objectsare closing in fast. CIRCA "Are they - "She doesn't have time to finish the question, as the oncoming fighterslaunch a massive volley of missiles. From afar, they look like darkirises surrounded by a corona of flame. At first, we can't tellexactly what they are, until their fiery trails rip straight at theSEPHORA cockpit.CIRCA DUCKS as the missiles harmlessly streak by.INT. NEB COCKPITA massive swarm off missiles blasts by the cockpit. The individualwarheads swerve at the last second, blowing SQUIDDIES apart, orcasting them to the ground aflame.INT. SEPHORA COCKPITNiobe breathes a sigh of relief. Her lieutenant looks back up to see awing of HOVER FIGHTERS - 'DEFENDERS' fly past their ship. Sleek, withhuge blue flares from their engines, they're gunship fighters armed tothe teeth with missiles and laser turrets studding the fuselage. NIOBE "They're ours." DEFENDER ONE (V.O.) "Hold on, folks, you're in for a little cleaning."EXT. THE SURFACEThe wing of DEFENDERS makes short work of the squiddies. The halfdozen clinging to FREEDOM'S hull are picked off by well-placed lasershots that turn the squiddies into curdling balls of slag. Thesquiddies that survive turn tail and run.INT. NEB COCKPITThe crew of the Neb breathe a collective sigh of relief as they leavethe scene of aerial carnage behind them.NEO has been gripping an oh-shit handle on the edge of the cockpit. Herelaxes his grip as their escape is clear. Their ship suddenly entersa cave, and starts to descend. The blue wash of the ship shows rockwalls and pipes. The ships are slowing down as they descend back intothe earth.TANK'S shoulders drop, and he leans back into his chair. TANK "We're home." TRINITY "Well, not yet, but we're in the defense screen." NEO "What's that?" MORPHEUS "A concentric ring of defenses that shields Zion. The fighters that just saved us constitute the first ring." NIOBE (V.O.) "Neb crew, you can relax now." MORPHEUS "For the moment, perhaps. Its still a long drive home." FADE OUTandFADE INTO:TRINITY'S CABIN. At first we see only stars twinkling, farawaydiamonds on a black velvet background. The camera descends through thedarkness, to a sunset, dark blue, as if just after sunset. The artworkterminates in the metal ring going around her room. It's a much morehospitable place than the rest of the dreary hovercraft. The articlesshe's collected during her time in the resistance dot the cabin. Anunfinished sweatshirt sits on a loom. There are charcoal portraits ofloved ones.Softly lit, the cabin sways slightly. The NEB is still in tow. NEO issitting against the wall on Trin's bed, with her curled up beside himwith her head on his lap.Neo canít sleep. He stares at the wall opposite him. There's a photoof the crew of the NEB, sans Trin, in better days. Smiling, laughingas they are seated around the table. Morpeus, Tank, Dozer, Switch,Epoch, Mouse. Neo stops on the image of a smiling CYPHER. There's anunknown Asian man in the photo, looking withdrawn and a bit lonely.Gently, placing Trinity's head down, NEO stands and examines thephoto. She awakens. TRINITY "I'll have to take that one down now. Cypher..." NEO "Who is this guy?" TRINITY "Who?" NEO points to the mystery man. TRINITY "That was... I... forgot his name." NEO "What happened to him?" TRINITY is sullen. "He didnít make it." NEO returns to the bed and sits down, disturbed. Trinity sits up, awakening. NEO "Was he like me?" TRINITY nods. TRINITY "Not you, though. Like you. There have been others, Neo." "Aren't you tired?" NEO "No. I've never been a big sleeper." TRINITY "I know. I used to watch you hacking without sleeping for days." He turns to her, questions in his eyes. NEO "How many 'ones' have there been?" TRINITY "That's not the point." NEO may not think so. TRINITY "You are him. Youíre mine." NEO "But what does it mean, to be The One?" TRINITY "I don't know, Neo. Our mission was to find you." NEO "So, now what?" TRINITY "Now, Zion will give us a new mission." The hatch swings open. MORPHEUS peers in. MORPHEUS "We're almost home. We'll need a detail. Five minutes." HE closes the hatch and disappears. NEO "Does he ever knock?" TRINITY "Not on his ship." CUT TO:INT. MAIN DECK, NEBThe crew grips the bulkhead and fixtures as the swaying ship comes toa rest. Outside, the sounds of hover engines fade away. Tank unlocksthe main hatch, then jumps as it drops, unpowered, slamming into thetarmac with a resounding smash. CUT TO:EXT. ZION TARMACThe tarmac is a busy, crowded military airport, with hovercraft ofdifferent sizes spread across the lot. Its housed poorly lit,houses in a cave so huge the ceiling is out of site. Crewpersons runaround, servicing battle-damaged vehicles. Munitions are cartedacross the tarmac on robot rolling racks. No one pays the NEB andits battered crew any mind.Nearby, the SEPHORA and FREEDOM are parked. Their engines shut down,and their powered hatches are open. The crewmembers are spilling out.NIOBE hurries to MORPHEUS' side, and he steps toward her, smiling, buttheir military manner is quickly restored, though they can barelycontain their grins. MORPHEUS "Niobe..." SHE shakes his hand, the shake slows down. "M." MORPHEUS "Thanks for the rescue." THEY close for a kiss, when the FREEDOM'S captain suddenly jumps between them. It's CHOI - the NEO's supposed neighbor and hacking financier. Exhuberant and oblivious, he joyfully gets in MORPHEUS' face. CHOI "Brough, you us your asses! We saved you so hard core you don't even know!" NIOBE smiles at Morpheus and fades back as BOOTH shouts his own praises. Morpheus turns to his less-mature peer. CHOI "So, you think you finally found The One, huh? Another One?" DUJOUR, CHOI'S LIEUTENANT, pushes into their conversation, looking offscreen. DUJOUR "Idiot, we helped him find him. Hello, Morpheus." CHOI "Huh?" He looks at what she's seeing. His gaze halts on NEO. He's concentrating on TANK and his apparent girlfriend, who seems to be consoling him. He turns to see CHOI and DUJOUR, does a double-take, and his jaw drops open. NEO "You?" CHOI is quick to resume his cool. CHOI "In the flesh, so to speak." DUJOUR "Welcome to the real world, Neo. I'm glad you're here." CHOI "What do you think, Dujour? Should we take him with us?" DUJOUR "Definitely." CHOI "Morpheus?" MORPHEUS turns from Niobe and a Zion officer. He addresses Trinity, glancing at the others. MORPHEUS"Go on ship's liberty. Meet me in the Dead Duck at 21:00 hours, drunk or sober."EXT. ZION STREETIt's like a valley floor running between two gigantic walls of rockthat are nearly vertical, coming together in an elongated archway.Carved into the street level are innumerable stores and shops, abovethem, apartments and balconies that rise to the top of the arch.People flow through the street. Their clothes are homespun wool,denim, and leather. Dyes and color are absent. Carved into the solidgranite walls, between homes and around windows and doors, areintricate and beautiful carvings.NEO is lead down the street by CHOI, DUJOUR, and TRINITY, and a fewother rebels. The push through a mult-culti crowd of people, humanitymelting into one race. CHOI"See, man? This is home. This is the main street. One of ëem, anyway. Almost everyone is a fighter. Sometimes, even the kids. THEY pass an outdoor workshop where youngsters are assembling small machines. CHOI "Our energy as a people is directed toward liberation. Check it out, here are some newcomers." A group of frail, buzz-cut androgonites pass by them. They look at NEO, recognizing him as one of them, a new comer. NEO "Where did they come from?" CHOI "Energy plant we raided on our last mission. There were some survivors." NEO "How are their minds freed from the Matrix?" TRINITY "With difficulty." DUJOUR "If at all."They step into a club, Dead Duck. Itís a sailor joint. Lots of wood,beer on tap, and rum. Crewmembers of other ships recognize the rebels,greeting them, as they eye Neo. They take a booth in the corner. Thewaitress arrives. WAITRESS "Welcome home, brothers and sisters. First day back?" CHOI "Yes, lovely." WAITRESS "On the house, then. Four rums?" TRINITY "Make it eight." The waitress smirks and leaves. TRINITY turns to CHOI. TRINITY "Any casualties?" CHOI lights up and takes a drag. CHOI "Two. Sidewinder and Left-right." DUJOUR "I canít believe Cypher turned. Bastard." CHOI "He who loses faith..." DUJOUR "Neo, we monitored your fight. Did you really gain enlightenment?" NEO shrugs. NEO "All I know is I kicked Smithís ass." CHOI"Fuckiní finally, Jesus Christ. Itís about time we iced that bastard." DUJOUR "Yeah, we finally won against an agent?" CHOI "I guess 1 ën 298 isnít a bed record, huh?" The drinks arrive. Tall glasses of rum. CHOI holds his glass aloft. They raise their glasses to toast. CHOI "Live free or die." ALL (save NEO) "Live free."They slam the rum back, and slam empty glasses on the table. NEO canbarely manage to sip his. NEO "God, how do you do that?" TRINITY "Youíve never drank before." DUJOUR "Not for real." CHOI "You want to know what being The One means?" NEO "What?" CHOI "One drink and youíre toast." DUJOUR "Neo, you know what else youíve never done?"She glances at Trinity, who falls back against the seat, turning tosuppress a smile. Choi cracks up. NEO "Yeah." DUJOUR "Yeah, youíve never done it." CHOI "And virtual doesnít count, man, doesnít fucking count." NEO "Well. Iíll drink to that." CHOI "Here, here."This time, NEO follows the others and slams back the entire glass. Hecoughs and sputters as his friends and bar patrons cheer him on."EXT. MAIN STREET, ZIONThe lights are dim, and only a few late night revelers stagger throughthe streets on their way back home. Walking straight and calmlythrough the stragglers are MORPHEUS and NIOBE. MORPHEUS "So, how do you like having your own command?" NIOBE "Itís good. But trying. The responsibility..." THEY stop before the entrance to the DEAD DUCK. MORPHEUS "You must be both mother and father to your crew."NIOBE nods, and looks into the bar. Inside, the crews are raging drunkand loud. NIOBE "Who will you be now? The mother, or the father?" MORPHEUS peers in on the scene and grins. MORPHEUS "As long as they donít get out of line, Iíll just be a brother."INT. DEAD DUCKNEO is out of it, while the others are merely comfortably in the bag.Heís acting like a kid who broke into his fatherís liquor cabinet. CHOI "So, you went back in, and you two pulled him out?"TRINITY nods, herself in disbelief. NEO picks his head up off thetable. NEO "Kicked... kicked Smithís ass." CHOI eyes MORPHES and NIOBE coming toward them. CHOI "Hey, did you kick anybody elseís ass, Neo? Like Morpheus?" NEO "Morpheus? Yeah, I smacked him around, too."MORPHEUS arrives just in time to hear the last part. He stands andgrins down at NEO. MORPHEUS "So, you can smack me around, Neo?" NEO "Oh yeah. Anytime."MORPHEUS taps him on the forehead. NEO blinks and falls back into thebooth. He stands before them. TRINITY "Howís Tank?" MORPHEUS "Heís on bereavement leave with his mother. Dozer was the second son sheís lost in this war." His comments set a sober tone. MORPHEUS "The Nebechanezzer is out of commission for at least a month. But, thatís not giving us a rest." TRINITY "Let me guess. Weíve been ordered back out anyway." MORPHEUS "Yes. This is another special op. Iím in command, Niobe and Trinity are team leaders. Neo is our secret weapon." FLASH TO: NEO, passed out with his mouth open on the couch. MORPHEUS "We donít know exactly what heís capable of. He may be just tappinghis potential, or he may have already reached it. We are to learn from him, as he does from us." CHOI"Why are we always getting screwed? Not only do I have to go straight back into the shit, but I lose my command, too?" MORPHEUS"Youíve been assigned to this mission because youíre the best, Choi." DUJOUR "Yeah, and headquarters thinks you might be able to whine the agents to death." CHOI "Oh my God thatís so funny. My point is, donít we need some r-and-r?Unwind a little? We lost two crew on the last one, you lost like five, right? Shit. Iím glad we found Mr. Invincible, here, but Jesus..." MORPHEUS "You donít have to go, Choi. Volunteers only." TRINITY "Heís got a point, M. I have faith, but why so quick?" MORPHEUS "We have a chance, here, but the window of opportunity is brief. Our ships say the Matrix is already upgrading and re-coding to block our entry. And Neoís." CHOI"Fuck. Every fucking time we get another ëone,í this is what they do." MORPHEUS "He is the One." DUJOUR "You havenít lost the faith, have you Choi?" CHOI grabs a half-filled rum glass and swigs it down. CHOI "Well, these are the times that try menís souls. Hereís to victory."EXT. TUNNELThe FREEDOM hovers slowly, silently, like a submarine as it cruisesthrough the murky depths. It suddenly comes to a quiet stop, anddescends. The engines fade out, and the vessel rests, darkened, on thecave.A quartet of SQUIDDIES slips by. We follow as they worm their waysthrough the twisted passageway, watching as they pass the bubblecockpit by mere feet.FREEZE on the cockpit. Within the shadows we see Morpheus and Choi atthe controls.INT. FREEDOM COCKPIT They watch the SQUIDDIES fade into the distance. MORPHEUS "Power up. Sleep mode." CHOI "Aye aye, capitano."MINIMAL cockpit displays turn on, and the cabin remains dark.INT. MAIN DECKThe shipís OPERATOR, a lean Asian kid with a gaze like a laser scan,sits behind NEO, whoís sitting at the operatorís console with hishands on the abbreviated keyboard. Trinity sits with them, her feet upas she observes.NEO stares at the screen. Itís a huge syllabus of Matrix codecharacters. He struggles to learn the complex code. NEO "Ka equals 9. But reverse Ka is point-nine, right? RAZOR nods. RAZOR "You catch on quick, man." NEO"I know these symbols from the hacking trainer. But how come itís so hard to find them on the keyboard?" TRINITY"Your brain knows what to do. But it has to associate characters with your body." RAZOR"Itís muscle memory, Neo. Think of the space bar and your thumbs nailit. Because your thumbs have hit the space bar millions of times. Butthink about reverse ëka,í and your fingers donít hit automatically hit the reverse key and the ëkaí key in one shot." NEO "Where did these symbols come from, anyway?" RAZOR"Most of it is from the old Japanese. Itís Katakana. See, the machines arenít binary. No zero and one. Theyíre quantum-based, so instead of an open-close base of zero or one, open or closed, they use all numbers between zero and one." NEO"All numbers between zero and one. That could be an infinite number of numbers." RAZOR "Not could be, it is." NEO is astounded. NEO "Holy shit. How many calculations per second?" RAZOR"How many CPS? Well, thatís kind of hard to estimate. Put it this way: picture all the particles in the known universe. Not just atoms, but sub-atomic particles that compose atoms." NEO"OK. At last count that was what, a gazillion, right? Two gazillion?" RAZOR barely smiles at the joke. RAZOR "Well, itís up there. In any case, the number of calculations persecond the Matrix can perform is greater than the estimated number of particles in the known universe." NEO "Woah." TRINITY "Thatís how they have the operating power to create entire worlds within their PCs." NEO "OK. Thatís why it looks like reality. They have the computing power to create entire worlds." RAZOR "Right." NEO "So, if we hack into the Matrix, why canít we just change the code while weíre at it?" RAZOR "No, no. See, itís not that simple. The machines, the programs that code, create, and maintain the Matrix, the agents, they are code. There are different types of agents, many work unseen with nointeraction in the matrix. Then, there are the enforcers, the ones we know all too well." NEO "Right." RAZOR "Well, my point is, the machines code and recode the Matrix by purewill. Interaction with the Matrix, the physical act of being there, by default, allows people to change their environment - the Matrix. They move objects, make sound, affect cause." NEO "Like reality." TRINITY "Almost. Reality is unalterable. But the fabric of reality in the Matrix can be rewoven. Some can reach beyond normal cause. Their affects on the Matrix are deeper than average. They have learned tochange it according to their needs. But they donít have total control.Thatís why we need operators like Razor here. But you, you go further than any of us can." NEO "How?"RAZOR stands and taps Neoís skull. He stretches, grabs a Japanesestyle wooden sword, and, out of boredom, starts performing slow,precise Kendo moves around the main deck as he talks. RAZOR"The equipment you carry up here. Youíre a freak. A good freak. Youíre neural kinetics blast past those of average humans. This, combined with your ability to suspend disbelief, allow you to change the reality of the Matrix." NEO "How did I end up as... a freak?" RAZOR practices the same strike a few times. RAZOR "Good question. The Machines create people through cloning, since,obviously, no coppertops have physical sex. Theoretically, all clones in the Matrix are exactly the same as when the first clones. They shouldnít be any different from normal, homegrowns." NEO "OK, so how do you explain me?" TRINITY "Not just you. Morpheus, myself. We were all born inside. NEO "Well, what separates us from others?" TRINITY"For the past 50 years or so, something has been happening to children in the Matrix. Theyíve been mutating, changing in ways the machines never predicted. Some seem to gain faster reflexes and strength. Others seem to have psychic powers."RAZOR looks up to see MORPHEUS, hanging back as he listens. He comesforward. MORPHEUS "And others are able to change the reality of the Matrix itself." HE points to Neo. MORPHEUS "Discussing history, are we?" RAZOR shakes his head. RAZOR "Iím trying to teach this fool some programming, man. Heís stuck in the 20^th century. Heís got no skills, man. Without us, heís helpless." MORPHEUS "In the Matrix, without him, weíre helpless." TRINITY "Morpheus, can you tell us what the mission is now?" MORPHEUS "Not until we reach broadcast depth. Itís slow going out there. Iguess they know weíre coming back, so theyíre patrolling. We have time to rest and ready."EXT. MOUNTAIN TOP, LATE DAY (CONSTRUCT)TRINITY sits alone on the tip of an impossibly high finger of rock. Itlooks like it sits on the rooftop of the world. All around her, as faras the eye can see, lie mountains. Their snow-capped peaks are pink inthe sunset light.She looks into the sunset. Heavy thoughts weigh on her mind.A hand appears on her shoulder. Itís NEO. How he got on the finger ofrock is anyoneís guess. NEO "Boo."TRINITY grins slightly and pulls on his arm. There is only enough roomfor one on the end of the rock, so he sits down behind her. TRINITY "Donít lose your balance." NEO "It doesnít matter if I do." TRINITY "So, you can fly." NEO "Yes." TRINITY "Do you think I can?" NEO "I think you can do anything you want, if you believe." TRINITY "Like you?" NEO "I donít know. I donít know exactly what I can do." TRINITY half turns. TRINITY "Will you teach me to fly?" NEO "I donít know if I can." TRINITY "Free your mind of doubt."NEO stands, and steps in front of TRINITY. Heís on the very, very edgeof the rock. He extends his hand down to her. She grabs it, and hehauls her up. Her eyes dart to the ground, thousands of feet below thefinger. TRINITY "In this construct program, the ground can kill." NEO "I wonít let you fall. Ever."THEY look into each otherís eyes. Despite the trauma theyíve beenthrough, and not even truly knowing one another, thereís a connection.NEO suddenly backs away. He walks on the air with perfect traction, asthough heís on an invisible plane of glass. He leaves TRINITY standingprecariously on the edge, wobbling a bit as she maintains balanceagainst nerves. She breathes deep, and looks back up at NEO,maintaining her cool even as she eyes the spectacle.NEO stands a few feet away from her, completely at ease as the highaltitude winds ruffle his hair.NEO extends a hand to her. NEO"Itís not real, Trinity. Youíre not standing there. Step out. I can do it. You can, too."With one last glance at the infinite drop, she steadies herself andstares straight into his eyes. Blue meet brown. Breathless, she stepsstraight out.She takes one step in the air. For a breathless second, as she stepsoff the edge, she is stable. When she takes her foot off the edge,though, she sways, and her foot slips, as though sheís on a greasysurface bobbing up and down. She corrects herself, tries another step,sags further. TRINITY "Shit."SHE glances down, then locks eyes with NEO. Then drops like an anvil. NEO "Whoops."HE dives down, shooting like a missile. TRINITY is calm, fallingbackwards, watching NEO come for her. The rocky ground looms behindher. She makes no effort to reach for NEO as he draws close to her. HEreaches for her with all his might. NEO "Grab me!"TRINITY makes no effort to save herself, even as collision is secondsaway. She stares at him intently. NEO "Grab on to me!"SEEING she is doing nothing, he goes beneath her and scoops her up,Superman style. He barely accomplishes this before he slows andsettles onto the rocky ground.They are in a twilight glade shaded by the mountains. NEO "What the hell were you doing?" TRINITY smiles slightly. Her madness has a purpose. TRINITY "Showing you, Neo." NEO "Showing me what? You nearly gave me a heart attack." TRINITY "I want you to know how much faith I have in you." NEO "Oh. And this requires acts of insanity?"TRINITY smiles. She looks him up and down. She moves intimately close. "So, you really are Superman." NEO "Only when Iím plugged in." TRINITY steps away. NEO grabs her shoulder and turns her to him. He attempts a kiss, but she turns her face, letting it land on her cheek. NEO "What?" TRINITY looks at him, then up at the sky. TRINITY "Itís not you. Just, not here." NEO doesnít understand. TRINITY rolls her eyes. TRINITY "Theyíre watching us, you big dope. Do you know how horny computer geeks get?"INT. MAIN BRIDGECHOI, RAZOR, DUJOUR, and CIRCA are sitting around the operatorísconsole, feet up, eating. On the screens are patchy images of TRINITYand NEO standing together in the GLADE. Itís like theyíre watching asoap opera.TRINITY and NEO are looking in their direction.ON THE interface chairs, the bodies of TRINITY and NEO lay supine.EXT. GLADE (CONSTRUCT) TRINITY grabs NEO by the arm. TRINITY "Over here." SHE leads him into the shadows.INT. MAIN BRIDGETHE VOYEURISTIC crewmembers collectively groan as the lovers disappearoff the screen and into the darkness.RAZOR puts his hand on CIRCAíS shoulder and sighs. RAZOR "So romantic."CIRCA calmly pats his hand and removes it, holding it in front of him. CIRCA "Iím sure Mary Palmer will appreciate your mood more than I."EXT. GLADE (CONSTRUCT)IN the blue twilight shade, NEO and TRINITY kiss tentatively, slowly,then quicker as they give in to their feelings for one another. WEmove around them slowly, then pan into the shadows, a natural fadeout.INT. OFFICE (MATRIX)AGENTS JONES and BROWN sit across from each other, a steel tablebetween them. They stare at each other for what seems like a longtime. There is a speaker phone in the middle of the table amidst neatstacks of file folders. AGENT JONES "Our defeat is worrisome." AGENT BROWN "As is the loss of our colleague." THEY ARE BOTH seething with anger. AGENT JONES grinds his molars. JONES "We canít defeat them. You saw what happened." JONES "We have a backup copy of Agent Smith..." JONES stands and walks toward the massive panoramic window. The city spreads before him. JONES"A backup is not good enough. We need to upgrade ourselves to meet the new threat." BROWN opens a large file folder. BROWN "Heís being rebuilt. But I have an alternate plan. Why fight the humans, when we can let them fight for us?" JONES "The terrorists have learned to bend our reality in ways we cannot. This was the cause of our defeat." BROWN "Mr. Thomas J. Anderson is not unique. Over the decades, many humans have developed... techniques for manipulating the Matrix. Techniques too primitive for us to understand. Most never realize theirpotential, but all the ones weíve noticed exhibiting these talents are recorded here."ANGLE ON the book as BROWN flips through. Street shots of people fromall walks of life. Young rebels, corporate suits, junkies, housewives. JONES turns on AGENT BROWN. JONES "Do you have anyone in mind?"ANGLE ON the book. It stops on a page dedicated to someone who lookslike NEO, but with long hair and an extremely bad attitude. There arephotos of him on a motorcycle with a blonde, photos of him drinkingwith his gang friends. BROWN "Gregory Lowfield. He exhibits the traits we saw in Mr. Anderson." MANíS VOICE (O.S.) "Mr. Anderson no longer exists. Our enemy now is the one called... NEO." ANGLE ON: THE DOORAGENT SMITH walks in, grinning. There is a new swag to his walk, andhis hair is longer, tied back. BROWN "Youíve been recreated."SMITH flexes his arm, examines his hands, and feels his hair. JONES "And you have more hair."SMITH turns to him, examines the photos on the table. They lock eyes.On the same wavelength, they transfer knowledge without speaking.SMITH looks at the photo on the table. SMITH "I know what youíre thinking. What we need is our own Neo..." JONES "If itís possible." SMITH "Iíll make it possible."WE ZOOM in on the grainy photo of NEOís doppledanger. Quiet at first,growing louder as it grows dark, we here the rumble and roar ofmotorcycles.EXT. DESERT HIGHWAY (NIGHT)FAR OFF in the distance, the glow of motorcycle headlights racingtoward us. As we zoom out and focus in, they are already too close toavoid. They rip by us, thundering explosions and men and womencheering.THE pack of about ten bikers and their women donít wear helmets. Theyfly down the highway using both lanes, drinking and driving with totalabandon.ANGLE ON the lead motorcycle, a massive, custom-made Harley. GREGORYLOWFIELD, Thomas J. Anderson without a desk job, without cares, revshis bike and locks the accelerator. He hands his beer to the blondewho rides behind him, then, in one swift motion, jumps up on his seat,leaning into the slipstream. The feat is IMPOSSIBLE.HIS GIRLFRIEND, CHANDRA, screams at him as she grasps the seat andlowers herself to the bike. CHANDRA "Greg, are you fucking crazy?" GREG "Yes. But donít worry."She clings to his legs as they barrel down the highway. They blastpass a darkened cruiser.INT. CRUISERThe cop sets his paper down just long enough to catch a glimpse of thepack exploding down the highway, with GREGORY surfing his bike.ANGLE ON: the radar gun. Itís flashing 125 MPH COP "Holy shit. Drunk ass punks."EXT. HIGHWAYGREGORY is facing us as he drops back into his seat, taking his beeron cue from CHANDRA. Behind them, the copís lights flare up. GREGORY "Oh boy. Stop, stop, letís have some fun."INT. COP CARWE look through the windshield as the cop drives down the highway,calling in his stop-vehicle report. He suddenly sees something thatmakes him slam on the brakes. COP "Holy shit!"ANGLE THROUGH the copís windshield. The ten bikers, with GREGORY attheir center, are parked in the middle of the road, looking at himcasually."EXT. ROADTHE cruiser comes to a stop mere inches from GREGORYíS leg. The COPbursts out of the door. COP "What the hell are you doing?" GREGORY "Weíll tell you when to stop, little man. Not the other way around." COP "Fuck."HE DIVES back into his cruiser, reaching for the radio. GREGORY pullsa huge silver .44 from his jacket and FIRES. The cruiserís antenna isblown off at the base, and the nine-foot whip flips onto the groundwith a metallic clang.INT. CRUISERThe COP is lying half-on the seat, taking cover. The handset relaysonly static. He reaches for his gun, but is frozen by Gregoryís voice. GREGORY "Donít try anything stupid, man. I gotta bead on your donut-eating ass."EXT. CRUISER The cop comes out with his hands up. COP "Whaddya want with me?" GREGORY"I donít know. I just thought Iíd find out what you wanted without you shooting at me. So, what do you want?"THE COP is a tough one. Far taller than GREGORY, muscular and serious. COP "Youíre all under arrest."THE PACK explodes with laughter. GREGORY walks up to the policeman andcircles him, keeping the gun pointed in the business direction. GREGORY "This is your lucky day, officer. Weíre gonna give you a night off."CHANDRA walks up to him. Seductively, she hands him the bottle of hardliquour. CHANDRA "Drink."WHEN he pauses, GREGORY places the gun against his temple.Reluctantly, the big cop starts to gulp down the alcohol.GREGORY lowers the gun. He and CHANDRA return to their motorcycle. GREGORY "You never even saw us, man." CHANDRA "Keep the bottle."THEY start their bikes and are gone, like ghosts, into the shadows ofthe road. CUT TO:EXT. BEACHA CAMPFIRE blazes only a few feet away from the high tide. A billionstars shine overhead as GREGORY and his biker gang, including the cop,sit or lie around the fire. A few people are still awake, and onepicks drunkenly at a guitar.GREGORY stands, throws a blanket over his shoulder, and scoops upCHANDRA. They make their way into the dunes.EXT. DUNESGREGORY and CHANDRA lie on the blanket, staring at the sky.Inexplicably, GREGROY holds a hand toward the sky. GREGORY "Which one do you want?" CHANDRA "Any one. It doesnít matter."WITH his hand pointed lazily at the sky, a single star starts glowingstronger and stronger. It vibrates, then fades suddenly and comesloose from the sky, and becomes a meteorite, burning across the sky. CHANDRA draws closer to him, enraptured by his power. CHANDRA "How do you do it, Gregory?" GREGORY "I donít know. Sometimes it feels like... Iím reaching beyond the world."HIS hand drops and his head turns. He sits up, startled by something. CHANDRA "What is it?" GREGORY holds up a hand for her to be silent. GREGORY "They found us. Canít you hear it?" CHANDRA "What? I donít hear anything." GREGORY "We can only rebel so long. We can only push until they will hit back." CHANDRA "They? The Men in Black?"CU on GREGORY. In the distance, the faintest sound of a helicopter can be heard, growing louder. GREGORY "Fuck! Get to the bikes."EXT. CAMPFIREGREGORY bursts over the hill, holding hands with CHANDRA as they run.Heís only had time to through on his boots and boxers and grab his.44. Chandra is dressed only in her underwear and Gregoryís leatherjacket. GREGORY "Wake up! Get on your bikes and fucking ride!"HIS gang burst to their feet. They scramble through the dunes, headingfor their bikes.A HELICOPTER, seen only by itís massively strong search lamp, and thewind from its rotors blowing sand everywhere, flies up and over thedunes, buzzing the running pack, blowing some off their feet.GREGORY mounts his bike and CHANDRA jumps on back. WITH A WAVE OF HISHAND, all the bikes, his included, drop into neutral and rev intostart. Their headlights blaze as the helicopter returns, joined byanother. CHOPPER LOUDSPEAKER "THIS IS THE POLICE, STOP YOUR VEHICLES AND SURRENDER!"SUDDENLY, automatic fire sparks from the unseen helicopters. A bullettrail stitches its way across a pair of bikers, sending them to theground as the helicopters fly overhead.GREGORY cranks down on the throttle and his bike explodes ahead.EXT. HIGHWAYTHE pack splits up in two directions as the distant choppers circleback. GREGORY cuts the lights on his bike and follows the highway bystarlight.INT. HELICOPTER COCKPITTINNY RADIO chatter fills the red-lit cockpit over the steady hum ofthe engines. The nose of the chopper points to the ground as itfocuses on GREGORY and CHANDRA, who are ripping down the highway.CU on the cockpit instruments, centered on the airspeed indicator. Theneedle is pushing to the max, going through 150 knots. PILOT (V.O.) "Holy shit, heís outrunning us." CUT TO:EXT. HIGHWAYGREGORY is pasted down to the tank of his bike with CHANDRA grippinghim for her life. The slipstream pulls his lips open and tears streakfrom his eyes as his bike redlines in fifth gear. The helicopters growsmaller behind them. They break chase.CHANDRA looks back and sees the lights turn away. She screams over thewind and the roar. CHANDRA "Theyíre gone!" GREGORY is staring down a dark highway. GREGORY "Canít see shit."HE turns the headlights back on, just in time to see a ROADBLOCK ofheavy duty military trucks. In front of the trucks is a sandbag wallmanned by soldiers. The trucks are flanked by police cars. And if onelooks closely enough, they can see a pair of AGENTS standing to theside.THE stunned soldiers have time to fire off a couple shots as they runfrantically to get out of the way of the bike, 800 pounds of metalflying at 150 miles per hour.GREGORY plows into the sandbag wall, directly between two parkedtrucks. The wall parts in an explosion of sand and sandbags. THEYíRETHROUGH, but the bike scissors uncontrollably, until it rolls and wedrop into bullet-time.AS the bike goes over, we watch from the side as GREGORY dismounts,grabbing CHANDRA as he steps over onto the safe side of the bike. Amassive shower of sparks bursts and trails the bike. It tumbles like abullet falling through syrup, and GREGORY keeps walking over therotating surface, using the bike to protect him and CHANDRA againstthe flesh-ripping concrete.THE bike is coming apart as itís bashed against the concrete. Piecesrise slowly into the air - the front wheel, the forks, the mufflers,and a million flakes of metal, until the body bounces into the air,carrying GREGORY and CHANDRA up. Holding her to him - sheís barelyconscious of the lightning-fast crash, GREGORY rides the flying bodywith one hand on the frame. It comes crashing down and back into realtime.THE bikeís body streaks along the highway. The sparks fade as itslows, and pieces of metal come clanging and banging down around them.They stop, crouching atop the body, with GREGORY crouching overCHANDRA. The disembodied front wheel rolls past them.STUNNED, not quite understanding how or what he just did, he andCHANDRA stand and start running. BEHIND them is a blurry wall of redand blue lights. POLICE SIRENS grow louder.THEY start running down the highway, then GREGORY yanks CHANDRA to astop. GREGORY "Split up, into the desert, go!" THEY split.CU on CHANDRA. In bare feet, she sprints for the side of the road. Thehighway is littered with pieces of the bike, and she stomps on atwisted piece of metal that impales her bare foot. She falls to theasphalt with a scream.GREGORY turns and rushes back to her, even as a police cruiser isbearing down on them, itís V-8 roaring and the siren IMPOSSIBLY LOUD.GREGORY drops to her side, only to look up into the blinding highbeams. He drops over CHANDRA, ducks his head and extends his handtoward the oncoming cruiser and we drop back into BULLET TIME.THE CRUISER runs into his hand and stops as though it hit a steelpost. The hood crumples in the center, pushing the grill in even asthe front quarter panels of the unibody continue around GREGORY andCHANDRA.INT. CRUISERTHE ENGINE smashes in through the console, pushing the cops apart asthe glass windshield explodes and their seats slide forward into theconsole, smashing them like jelly.CU: GREGORY AND CHANDRAWITH HIS HAND still on the grille, CHANDRA AND GREGORY remainuntouched, even as the entire police cruiser rips around them. WE dropback into REAL time and see the cruiserís body rip over and aroundthem. The grille and engine block and part of the mangled transmissionremain still against GREGORYíS HAND. The cruiser was gutted, like abanana shot down the center from top to bottom. It speeds beyond them,silent now, flips and explodes.THE ENGINE block is suspended a few feet in the air. It drops to theground with a thud.GREGORY and CHANDRA get to their feet and run into the early morningdesert.CU: GUTTED CRUISERUNBELIEVABLY, the driver is still alive... barely. The steering wheelis smashed deep into his mouth, splitting his jaw open. Wet, brokenchokes emanate from his blood-filled mouth. His eyes flicker, and justbefore they close forever, his body is seized by pain as he MORPHS.EXT. GUTTED CRUISERTHE CRUMPLED DOOR is knocked out of the frame. WE SEE a black loaferstep from the vehicle and a man in an immaculate black suit steps outslowly.WE rise up from the loafer. As the other cruisers catch up to thescene of the accident, AGENT BROWN watches. He looks into the desert. A POLICE lieutenant approaches BROWN. LIEUTENANT "Sir, should we pursue?" AGENT BROWN "Withdraw your men and pursue the others. We have our own plans for this one."INT. MAIN BRIDGE (NIGHT)The ship is quiet. RAZOR sits at the operator console, smashing thekeyboard as he forces Tetris pieces into place.INT. COCKPITCHOI is sipping coffee as he nudges the ship to a stop. He speaks intohis headphones. CHOI "OK, try it here."INT. MAIN BRIDGERAZOR halts his video game playing and flashes to a different screen.Lines of code come pouring down the screen as he types, then hits theENTER key with a flourish. The screen flashes, and the familiar scrollof the MATRIX cascades down the screens. RAZOR "Holy shit." CUT TO:INT. MAIN BRIDGE CHOI "What? Tell me you got signal." RAZOR (V.O.) "No fucking shit I got signal. Dude, theyíre changing it." CHOI is annoyed. CHOI "Are you using the right pulse wave?" CUT TO:INT. MAIN BRIDGE RAZOR "Shut the fuck up and get back here."THE MATRIX scroll pours down at a streaking pace. Itís almostimpossible to make out the individual characters. CHOI comes up behind RAZOR CHOI "Oh my God. What are they - " RAZOR "Theyíre changing the Matrix." CHOI "Call Morpheus."RAZOR patches into MORPHEUSí cabin through the headset.INT. MORPHEUS CABINITíS dark, but quiet classical music can be heard. Heís not in bedalone. NIOBEíS shaded form can be made out behind him.MORPHEUS sounds awake, but looks anything but. He grabs the buzzinghandset only an armís length from him. MORPHEUS "Iím here." RAZOR "Sir, you gotta get down here."MORPHEUS starts dressing as he talks. He puts a reasurring hand onNIOBEíS shoulder. MORPHEUS "Proximity alarm?" RAZOR "The Matrix, sir. The coding is going nuts." MORPHEUS "Be right there."MORPHEUS hangs up the phone and jumps into his boots. He turns toNIOBE as he works. MORPHEUS "It sounds bad. Theyíre readjusting quicker than we thought." NIOBE jumps up and dresses quickly. NIOBE "Already?" MORPHEUS "It appears that they are learning their lessons." NIOBE shakes her head. "Morpheus, how much are you going to tell him?" MORPHEUS pauses. MORPHEUS "Tell Neo? About his predecessors, I suppose?" NIOBE, dressed, nods. MORPHEUS "He is the -" NIOBE puts a finger to his lips. NIOBE "Six came before him, Morpheus." MORPHEUS shakes his head slowly. MORPHEUS"To me, none came before him. The Oracle told me I would find the one. It is prophecy. You havenít seen what he can do." NIOBE "What if they toughen the Matrix code, like last time?" MORPHEUS "There are lots of ifs. How about this one: What if we lose faith in our cause?" HE disappears through the door, leaving Niobe standing in the dim light.INT. MAIN BRIDGE MORPHEUS leans over RAZOR and CHOI. MORPHEUS "Talk to me." RAZOR "Not good, boss, I gotta compile a new descrambler." MORPHEUS nods. MORPHEUS "Do it. Weíre at broadcast depth?" CHOI "Yes sir." MORPHEUS"We have to download our mission specs. Move aside, I have to log into the mainframe."MORPHEUS takes over RAZORS seat. The scrolling code disappears,replaced by the small words: ZION.dtr1.mnfr4m3 LOGON.MORPHEUS pushes the keyboard under the console so its hidden fromview. He taps at the keyboard. Hidden password appears on the screenin the form of: XXXX XXXX XXXX XXXX XXXX XXXX XXXX. SCREEN: LOGON ACCEPTED. WELCOME, MORPHEUS. MISSION SPECS DOWNLOADING... DOWNLOADED LOGOUT COMPLETE MISSION TYPE: INFILTRATION / DESTRUCTION TARGET: MATRIX MAINFRAMEMORPHEUSí eyes open slightly when he reads the screen, but he regainshis composure quickly. RAZORíS mouth drops open, and CHOI startscracking up. CHOI"The mainframe? Haha. Itís a joke, right Morpheus? Is today April 1^st ?" NIOBE appears behind them. NIOBE "Itís not a joke. We have The One. We must do it now." RAZOR "But theyíre altering the code already. I canít even read it yet." MORPHEUS turns and faces them. MORPHEUS "We have our mission, but itís up to us to interperate how weíll do it." RAZOR "Morpheus, thereís more ice in front of that mainframe than there is in Antarctica. Weíll never cut through it all." MORPHEUS "You havenít seen The One in action." RAZOR looks dubious, and turns to the screens. MORPHEUS "Can you hack in?"RAZOR pounds the keys. The Matrix disappears, replaced by his program. RAZOR "Getting you in is no problem. Maintaining the input/output andhelping you is the problem. Thatís how they killed savior number four, if I remember right. They cut the signal and trapped him in there."MORPHEUS spins the chair, then stops it. Their faces are inches apart. MORPHEUS "We donít speak of the past." RAZOR "Excuse me for dragging up painful memories, sir."HE turns the chair back to the screen and continues coding.CUT TO: NEOHeís standing at the edge of some equipment on the Main Deck. Heísheard every word. He rounds the corner. The others catch sight of him.The same thought is on everyone's mind: How much had he heard. MORPHEUS"Morning. Niobe, wake the rest of the crew. Razor, whatís the ETA for getting us in there?" RAZOR shakes his head. RAZOR "I dunno. Just gimme an hour, Iíll probably have caught up to them." MORPHEUS walks up to NEO. MORPHEUS "Come with me." CUT TO:EXT. DESERT (DAY)FROM FAR AWAY, we see GREGORY and CHANDRA hiding under the only bit ofshade available for miles, a tiny outcropping of rock. We sail in andcut to a panning shot, scanning over the harsh ground, onto CHANDRAíSfeet, clad in Gregoryís boots, up her sun-scorched and scratched legs.Sheís collapsed onto Gregory. Heís in equally bad shape. Gregory leanswith his back against the rock, eyes opening and closing as he driftsin and out of sleep. GREGORY POVHe stars at the horizon and the mirages of water reflecting thejaundiced yellow sky. In the shimmering distance, a man appears, butGregoryís lids shut and we see darkness. When he reopens them, thefigure is more clear. Itís a man, dressed in a black suit. Even in thedistance we can recognize him. We want it to be him.EXT. DESERT ROCKGREGORY can barely come to his senses as the figure approaches.CHANDRA doesnít even wake.EXT. DESERTWe follow the figure at waist heigh as it approaches GREGORY. It comesto a stop just in front of him.EXT. DESERT ROCKGREGORY is fully awake, but he thinks heís dreaming. He reaches outand pokes the black-clad leg of the immaculate man standing before him- a man who doesnít sweat even in the sauna heat. He looks up, but theglaring sun obscures the face. GREGORYís voice is raspy as he starts to speak. GREGORY "Oh my God. Itís... The Man." MAN IN BLACK "Iíve been searching for you for a long time, my friend." GREGORY lowers his head. MAN IN BLACK "We need you, Gregory." GREGORY "What for?" MAN IN BLACK "To save our world."GREGORYíS FACE RAISES, THE MAN IN BLACK eclipses the sun with hishead, making a hallo of hazy sunlight around an all-too familiar face:AGENT SMITH.GREGORYíS head drops back down. He strokes CHANDRAíS hair. GREGORY "Itís too late. Weíre dead." AGENT SMITH "Do you want to live?" GREGORY "What for?" AGENT SMITH "A better life for all. Life for her. And for you, a chance for revenge." GREGORY raises his head.AGENT SMITH grins. He turns away, and the desert landscape before themturns into a soothing, cool, crystal forest lake. Smith takes a steptoward it, then turns and extends his hand. AGENT SMITH "Interested?"GREGORY is mystified. Speechless, he drags himself to his feet,hoisting Chandra, and steps toward the lake. GREGORY "This canít be real." HE steps forward, only to have the image recede. AGENT SMITH "You this, donít you?" GREGORY "Yes." AGENT SMITH "Will you help us?" GREGORY "Anything."CU: SMITH extends his hand. GREGORY grasps it. He lets go, andcollapses into the cool shallow waters of the lake edge.EXT. LAKE SHORETHE DESERT is gone, replaced by forest, though still under thepoisoned sky of the Matrix.GREGORY laps the water up, and pulls CHANDRA in, rubbing the waterover her face. Calmly, AGENT SMITH stands on the lake shore.CU: AGENT SMITH. The humans are reflected in his perfectly stillglasses.CHANDRA stirs and awakens, though she doesnít seem to see SMITH.GREGORY, revitalized, looks around at the miracle, and up at themystery man. GREGORY "Who the fuck are you?" SMITH grins devilishly. AGENT SMITH "Iím nobody. A Smith. Whatís more important, is you. We need you, Gregory."GREGORY stares. He pulls CHANDRA ashore and stands to look AGENT SMITHin the eyes. GREGORY "First you try to kill me. Now you need me." AGENT SMITH "Two years ago, Gregory, your parents were killed in a terrorist attack in the heart of the city." THE words spark something nasty in GREGORY. GREGORY "So what?" AGENT SMITH "The terrorists were led by a certain individual." GREGORY "I know who it was." AGENT SMITH "We need you to kill him."GREGORY laughs he turns to CHANDRA to check on her. Sheís passed outon the smooth grass. GREGORY"What a bunch of bullshit. The whole government canít kill him, so how can I?" AGENT SMITH "No one in the government can do what you can." GREGORY "Fuck you." AGENT SMITH "I believe we have a deal." GREGORY stands and puts his face next to SMITHíS "You know, Iíve always wanted to fuck the devil on a deal. And this looks like a once-in-a lifetime opportunity. So, FUCK YOU!"SMITH frowns. GREGORY looks him up and down. Heís got a few inches andpounds on the smaller agent. GREGORY "What are you gonna do, little man? You looking for a trip to thefucking hospital? Fuck with me and youíll be looking for some plastic surgery, you - "SMITH delivers a chest punch that sends GREGORY sailing back twentyfeet. He tumbles to a stop, coughs, and stares in disbelief at SMITH,standing calmly at what seems like an impossible distance away.CU: SMITH. HE removes his glasses calmly.CU: GREGORY. He was stunned, but heís not out of the fight. Not by along shot. GREGORY "No man can beat me." SMITH "Bring it on, pussy." Pull back as he CHARGES SMITHSMITH is ready to deflect the blow, but GREGORY dodges and bowls himover, barroom style. With SMITH pinned below him, he slams his palmdownward. SMITHíS head dodges the blow that pummels the ground.GREGORY is screaming as he smashes downward with the palms of hisheels. Every blow misses the mark. GREGORY "Mother fucker, what the fu -?"SMITH bucks up, throwing GREGORY into the air. He flips onto his backas GREGORY returns. The sheer force of his street-forged roundhousesknock SMITH around as he blocks. Growing irritated at the untrainedattack, SMITH turns a block into a palm-heel that hits GREGORY in theforehead with the force of a cannon blast. Momentarily stunned, hesteps back enough for SMITH to perform a roundhouse kick. Itís like ahelicopter blade, smashing into GREGORYíS head and sending him to theground in a heap. SMITH "Ready to change your mind?"CU: GREGORYHE canít respond very well. Blood fills his mouth and his face ismashed. A huge welt grows under the loafer mark left by SMITH on theright side of his face. SMITH crouches down by GREGORY SMITH "I can teach you to beat me, you know." THIS interests GREGORY. SMITH "Help us, and both you and her will be free afterward."GREGORY stares at the ground, then gazes past SMITH at CHANDRA.Finally, he starts to rise. SMITH offers a hand, and GREGORY takes it. SMITH"You know it, donít you? That thereís more to your world than what you can see, what you can rationally explain?" GREGORY "Yeah." SMITH"Iím going to teach you how to use the powers you canít even imagine. But first, you need to learn to fight."SMITH puts his hand to his earpiece. GREGORYíS eyes close and his bodySPASMS. He falls to the ground, breathless, and when his eyes open, hestares up at SMITH. GREGORY "Holy shit. What the -"HE stares at his hands. He sits up, and watches his hands, amazed, ashe goes through a series of block-punches. He stops and stares up atSMITH. GREGORY I know Kung-Fu." SMITH grins.INT. COCKPIT (NIGHT)MORPHEUS and NEO sit together. The cockpit lights are dimmed down,only the EMP pulse button glows. Outside the ship, in the dark mistsof the underworld, patches of eerie phosphorescent moss glow on thewalls. Occasionally, a squiddie will pass over the darkened ship. The two of them watch the deadly outside world. MORPHEUS "Weíre deep in their territory." NEO "I see that." MORPHEUS stares out at the night, deep in thought. He turns to NEO. MORPHEUS "Are you rested?" NEO "Yes." MORPHEUS "You know now, that you had predecessors." NEO "Yes. Iíve heard things." MORPHEUS "What types of things?" NEO "That there were others, like me, who you thought were going to be special. But they ended up dead." MORPHEUS nods slowly. MORPHEUS "Itís true. There were others. And I didnít tell you right away. Because you were not ready." NEO nods. MORPHEUS "Does this anger you?" NEO "I donít know yet. So much has happened so fast, that I canít decide whether or not Iím angry, or dissappointed, or even if I should be." MORPHEUS "You shouldnít be, Neo. You are the key in the Oracleís prophecy. Everything forseen to come to pass, has, except one thing." NEO "What?" MORPHEUS "The destruction of The Matrix." MORPHEUS looks out into the darkness. MORPHEUS "Your coming was heralded, and it is my destiny to prepare the world for you, and to baptize you by fire. But from here on out, no one knows." NEO "Can we ask The Oracle." MORPHEUS "Not in this life." NEO is confused. MORPHEUS "No one has heard from her or her priestesses since the day Cypher turned on us." NEO is taken aback. NEO "But she must have known, if they came to her." MORPHEUS "Perhaps she did." NEO shakes his head. NEO"I canít believe it. I donít know, Morpheus, if Iím prepared for this war. Iím not a soldier. How, how are we going to win?" MORPHUES "For decades, we have fought force-on-force, in the real world, without a conclusion. Now, after nearly a century of war, weíre at astandstill. The only way that we can see to win is by destroying theirsource of energy. We have to pull the plug on them. We must crash the Matrix." MORPHEUS grins slyly. MORPHEUS "Remember, when I told you, that Iíll show you how deep the rabbit hole goes?" NEO "Yes." MORPHEUS "I brought you deep, yet I no longer know the way. No one does. With every second we sink deeper than before. You are our guiding light,now. Your powers exceed mine a millionfold. I have shown you the path to victory, Neo. Lead us down it."INT. MAIN DECKMORPHEUS, NEO, TRINITY, CHOI, and NIOBE are on the chairs as theyírebeing JACKED IN by CIRCA and RAZOR.CUT TO: RAZOR jumps in the operatorís chair, his hands blur over thetouchscreens and keyboard as he drops his crewmates into the Matrix. MORPHEUS (O.S.) "Weíre going straight for the throat, people."ANGLE ON: RAZOR and CIRCA typing like made at their keyboards. RAZORhits the ENTER key. They look on, transfixed with anticipation. Thescreaming Matrix code grinds to a readable halt. The slap each otheríshands and continue hacking. MORPHEUS (O.S.)"We have the advantage of surprise. They wonít expect us to return so soon."INT. ABANDONED WAREHOUSETHE FIVE of them stand, immobile, around a ringing phone as theirminds filter in to their body images. They are dressed practically indenim and leather, like blue collar workers. Their dress wouldnítattract the slightest bit of attention, except for the padded coatsand tote bags filled with firepower.INT. MAIN BRIDGE CIRCA "Keep your eyes out for changes, theyíre modifying things. Dial ë0í for operator."INT. ABANDONED WAREHOUSE MORPHEUS holds his celly to his ear. CIRCA (O.S.) "And have a nice day." HE drops the phone into his pocket. They turn to him. MORPHEUS"Niobe, youíre the liasion to our operators. Neo, what do you have for a game plan?" NEO "Where is the mainframe?" MORPHEUS "The Metacortex building." NEOís jaw drops. NEO "What the fuck? Thatís where I worked." CHOI "And what do you think you were doing there, writing code for video games? You were working for The Man." TRINITY "Itís true, Neo. Metacortex employs humans to write code for the Matrix." NEO "I thought I was working on a fucking database." MORPHEUS "They keep the left hand from seeing what the right hand is doing. Thatís how an evil system can be made by innocent people. But, that doesnít matter." NEO recovers. NEO"How ëbout this? I just walk up to the Metacortex building and blow it up?" CHOI laughs. CHOI "What, by power of will?" NEO nods. CHOIíS smile fades. He looks to the others. CHOI "Heís joking right?" MORPHEUS shakes his head. MORPHEUS"Weíll fan out around the city, keeping an eye out for you. If youíreable to accomplish this mission, weíll phase back into the ship. Stay in contact. If you lose your cell, contact an operator immediately."EXT. ABANDONED WAREHOUSETHE five of them exit. They blend into the crowds on the street,anonymous and quiet. MORPHEUS looks back as NEO, taller than most,heads down the street. NIOBE pauses next to him. NIOBE "What is it?" MORPHEUS shakes his head. MORPHEUS "Whatís going to happen? If this is it, right now? The end?" NIOBE "I canít even imagine."HE grins and starts to turn. As he does, his profile matches theprofile on a WANTED poster stuck to the wall. Itís a dark, grainypicture of him, alongside photos of Neo, and Trinity. POSTER: INTERNATIONAL TERRORISTS MORPHEUS glances at it, and continues on.EXT. DOWNTOWN STREETNEO walks calmly, observing the people that filter by. Men, women,children, all oblivious to their true nature.A dirty homeless whino, nose explosion red with burst blood vessels,is staggering along the edge of the crowd, unseen and ignored.Somehow, he catches NEOís eye. HOMELESS "Spare a quarter, buddy?" NEO shakes his head, but still stares.ANGLE on the HOMELESS. He mutters something, and reaches into hisshopping cart to open a garbage bag. Itís filled with twenty dollarbills, thousands of them. NEO "How ëbout a quarter mil?"THE homeless man is astounded. As he stands, speechless, NEO fadesback into the crowd.EXT. FOREST GLADESMITH and GREGORY fight in the glade. SMITH is always one step ahead.HE is a cruel sensei, and doesnít pull punches. But with every blowGREGORY takes, he rebounds and attacks again.FINALLY, just as he seems to be gaining on SMITH, he takes a rapidfire series of blows, and collapses to the ground, breathless andbeaten. GREGORY "Fuck." SMITH circles him. SMITH "Pain is only weakness leaving your body. When you are sufficiently strong, you will feel no pain." GREGORY "Tell me about what is happening. Whatís wrong with the world?" SMITH "Get up and fight."GREGORY gets to his feet and takes a stance. SMITH stares at him froma relaxed poise. He slaps at GREGORY, who deflects the blow and takesa jab, nearly hitting SMITH on the chin. They circle. SMITH "The world is not for you." HE slaps, has it deflected, dodges a blow. GREGORY "What do you mean?" SMITH "Youíre not human, Gregory. Thatís why you donít fit in. Thatís why you have certain powers." GREGORY takes a swipe. They engage, then push off one another. GREGORY "What, am I from planet Krypton?" SMITH "Not quite. But as humans continue to evolve, some are developing capabilities beyond those of the average man. Reality-altering abilities. I have them. Others in the Agency have them. And you have them, too. Weíre all that stands between law and order, and a terrorist dictatorship lead by the one called Morpheus." THEY stop fighting for a moment. SMITH "We need you to stop the terror. We need you to save our world." IT sinks in. GREGORY is starting to believe. SMITH "We need you, because youíre better than me. Now push past your abilities. You can turn you imagination into reality. See your hands striking me, see yourself overcoming me. Fight, boy!"SMITH comes at him, and GREGORY responds. Their fists and kicks are afast, then turn into a blur. GREGORY canít believe his own actions.SMITH misses a block, and GREGORY blows him backward with a chestpunch.SMITH, recovering, looks up. GREGORY looks around. CHANDRA is gone. GREGORY "Where is she?"SMITH stands. From behind his back he produces a baseball sized glassball. He tosses it to GREGORY. SMITH "Here."GREGORY looks in the ball. Itís a window to an apartment overlookingthe city. Chandra is in bed, waking up. SMITH "She doesnít remember our encounter. Sheís fine. Donít worry." THE BALL disappears. SMITH puts his hand to his earpiece.INT. OFFICE BUILDINGAGENT BROWN is staring down at the ground. ACROSS THE STREET, NEO iswalking toward his building. BROWN "Heís back."EXT. FOREST GLADE SMITH "Iíll be there. Execute the defense plan." SMITH turns to GREGORY. SMITH "Come with me. But only watch. Youíre not ready to engage in a fight with the enemy." GREGORY "Why not?" SMITH "Because if you havenít defeated me yet, you wonít defeat them." SMITH snaps his fingers.EXT. ROOFTOPGREGORY finds himself alone on the top of the MAKARAO hotel,overlooking METACORTEX PLAZA.EXT. STREETThe METACORTEX building stands across the street. NEO has been alongthis road a thousand times, but in another lifetime.NEO raises one hand, palm pointed toward the building.CUT TO: NEOíS POV: The building is a massive tower of glowingshimmering energy, no more real than a three-dimensional polygon.EXT. BUILDING ROOFTOPMORPHEUS and NIOBE stand atop a building a few blocks away, lookingtoward the Metacortex building. ANGLE on NEOHE FIXES his gaze on the building, then lowers his head and closes hiseyes.THE building tremors slightly, like a heat mirage. Slowly, it startsmoving downward.ANGLE ON: the first level. The exterior glass disappears, vaporizingin a million crystal shards that melt into the air, exposing the hiveof office cubicles and corridors within.The walls, desks and cubicles vaporize, leaving a few hundred people- office workers, security, maintenance men, standing with nothingbetween them. The massive LOAD BEARING MEMBERS vaporize.CUT TO: the bottom of the building. One can look straight through theentire building. WE go through the empty building, passing dazedpeople, until we pass out the other side, and come to NEO.HE looks up. The office building is supported by nothing. Slowly, itdescends on the stunned people. They rush, screaming, some laughing inhysteria, before the ceiling can come down on them. The last few fleejust before the ceiling touches the ground. The second floor meltsaway just like the first.EXT. BUILDING ROOFTOPNIOBE and MORPHEUS stare on in amazement as the building collapses,floor by floor. NIOBE "Heís doing it." MORPHEUS "I knew it."EXT. STREETCHOI and TRINITY look up in the air at the roof of the METACORTEXbuilding, standing beyond a block of buildings. It sinks toward theground as a flood of people come screaming around the corner. CHOI "It canít be this easy." TRINITY "Itís not over yet." MANíS VOICE (O.S.) "Not by a long shot."CU: TRINITYíS FACE. SOMEONE plants the barrel of a silver Desert Eagle.45 against her temple. TRINITY whips her head backward as it fires.We drop into BULLET TIME as the flame and concussion blossoms in frontof her face, ripping her sunglasses off as she drops backward, pullinga pair of MAC-10 Uzis from under her jacket. THE MANíS VOICE belongs to AGENT BROWNCHOI turns, pulling a short weapon from under his coat. Itís boxy,with a short barrel the size of a soda can. He plants it in the smallof BROWNíS back and pulls the trigger.A CONE OF FIRE burns straight through brown, blowing steam, flame,smoke, vertebrae, and viscera out a massive hole in his stomach.CU on the weapon. It recoils on tension coils, discharging a shell thesize of a 12-ounce soda can. REAL TIMEWhat remains of BROWN flies forward. CHOI helps TRINITY up and theretreat into the building and take cover under a window. Through thewindow, we see military trucks, filled with troops, charging down thestreet, toward the Metacortex plaza. After the trucks come rumbling,black-painted M1A2 ABRAMS tanks. A black APACHE HELICOPTER flies overthe convoy.CHOI looks through the window as he reloads his hand cannon. CHOI "Holy fucking shit." TRINITY "Weíve stirred up the hornetís nest now."INT. METACORTEX OFFICEAGENT SMITH and JONES stare down into the plaza. The building shakesslightly as it descends.FROM the three streets that enter the plaza, military vehicles pourin. Hundreds of troops discharge and form a L-shaped circle aroundNEO. Tanks rumble in, and the Apaches whirl to a hover. Panickingcivilians rush out of the kill zone.NEO stands calmly, continuing his work.EXT. ROOFTOPMORPHEUS and NIOBE stare from the rooftop.EXT. METACORTEX PLAZAThe air rumbles as the building continues to gently collapse. The skyflashes, and massive streaks of lighting blast across it like cracksin reality.CU: SOLDIERS They line their weapons on NEO. They are nervous PRIVATE "This is impossible. Whatís going on?" SERGEANT "Just keep him in your sites, soldier."INT. TANK TURRET CU: TANK GUNNERHIS eye is glued to the tank site and his trigger finger on the firebutton. POV: TANK SITE The green crosshairs sit on NEOíS chest. CU: NEOHis eyes open, but the building continues to collapse. He stares up ata mirrored window, and somehow, straight into the eyes of: CU: AGENT SMITH SMITH "Open fire."A WALL of flame and fingers of tracers bursts from the skirmish lines.The tracers grow into a cone of orange flame bearing down on NEO as wedrop into bullet time.THE bullets sizzle as tracers burn off their backs. The draw towardhim like slugs. Thousands of bullets fired at perpendicular anglesclose in on him. As they draw close to one another along almostperpendicular paths, they tinkle and chime and bounce.The bullets come to a stop, glowing as their tracers backs continue toburn. The world is in stop motion as the bullets stop, turn 180degrees, and suddenly accelerate back at their origins. Faster andfast they fly, until we drop back into REAL TIME.THE SKIRMISH line of troops is ripped apart by a hail of their ownbullets.CU: MACHINE GUNNER. With an M-249 SAW, he blazes away at NEO, only tobe shredded by his own bullets. A private takes a shot at NEO, and abullet slaps into his shoulder. REALIZING whatís happening, he dropshis weapon.THE SOLDIERS are dropping like flies. The firing quickly subsides.NEO stands alone in the center, unharmed. He turns to the skirmishlines. THE surviving soldiers drop their weapons, and run. Panicensues. Only a few officers, NCOs, and soldiers too amazed to think ofrunning remain.INT. HELICOPTER COCKPIT NEO is targeted on an LCD screen. PILOT "Fox One."EXT. HELICOPTER WING CU: AGM-65 HELLFIRE GROUND-TO-AIR-MISSILEThe missile drops from its release claws and ignites, accelerating offscreen. POV: HELLFIRE NOSE CAMThe missile flies horizontally over the plaza, then pitches up, andback down at NEO. He looks at it, and at the last second the nose goesback up.EXT. PLAZAThe missile swoops up over him, leaving him in its exhaust smoke. POV: HELLFIRE NOSE CAMTHE missile banks, panning across the city, until it locks onto thehelicopter from which it originated.INT. HELICOPTER COCKPITTHE missile bears down the chopper.CU: PILOTHEíS TOO stunned to move. Mouth agape, he can only watch as:EXT. HELICOPTERITíS BLOWN to fiery pieces, and comes tumbling down, landing on thestreet as soldiers and civilians flee.INT. TANK TURRET TANK COMMANDER "Fire!" THE GUNNER pulls the trigger.EXT. M1A2 ABRAMSWE drop into bullet time as a cone of fire - bigger than the tank andthe shape of a pine tree, blows out of the barrel, pushing the tankback. From the fire streaks a HEAT round, white hot, leaving a laserlike tracer as it bears down on NEO. REAL TIME THE TRACER stops in front of NEO, and out of the air the HEAT round appears. Suspended in air, it shakes with violence. It accelerates backwards, flying straight back into the tank barrel.INT. TANK TURRETTHE gunner screams as the BREECH explodes, blocking our view.EXT. TANKThe tanks explodes like a 60-ton hand grenade, plowing soldiers ontotheir faces, consuming the unlucky ones close to it, and throwing the30-ton turret straight up, 10 yards into the air. It rotates, aflame,and comes crashing down on a nearby commander and his radio man.INT. METACORTEX OFFICETHE EXPLOSION shakes the building. The scene below is a completeroute. Black smoke billows up from the flaming wrecks. The remainingtanks arenít retreating - the crews are piling out and running. TheApache helicopters turn tail and run. AGENT JONES "The plan is not working." AGENT SMITH "No shit." AGENT BROWN enters the room. AGENT BROWN "What about your protÈgÈ?" AGENT SMITH "Heís not ready yet. Iíll deal with this myself." AGENT JONES "You canít beat him." AGENT SMITH "Iíve been altered. Iím Smith, 2.0." AGENTS BROWN and JONES look at one another. CU: SMITH HE clenches his teeth, as though heís girding himself for something. SMITH "Kill the others. Iíll take care of this."INT. MAIN BRIDGERAZOR is at his operator chair, surrounded by consoles. Some of theMatrix code screens are in blue, others in red, at least one in green.The code on the green screen starts pouring down at an incrediblerate. RAZOR "Fuck." HE hits something on the keypad.EXT. ROOF MORPHEUS answers his phone.INT. MAIN BRIDGE RAZOR"Theyíre about to pull something. Processing power is pouring into theagent programs and theyíre locking onto your 3-D grid displacements.EXT. ROOF MORPHEUS "Send through ghosts to confuse their lock." RAZOR "Got it."INT. MAIN BRIDGETHE GHOST program is loaded. We see 3-D images of Morpheus and theothers flash across the screen.INT. OFFICE BUILDINGSMITH STANDS alone, his comrades have disappeared.THE glass before him shimmers.EXT. OFFICETHE mirrored glass of Smithís office wavers, then explodes towards us.SMITH jumps, and we pan down to follow his descent. He smacks into thepavement on his feet in front of NEO.EXT. METACORTEX PLAZASMITH STANDS, facing NEO, about two fighting distances away.NEOís concentration is broken. The METACORTEX building comes to ashuddering halt. NEO "Youíre back."CU: SMITH He nods. NEO "And you have a ponytail now."AS we concentrate on NEO, and he concentrates on SMITH, we can seemore black suits marching up behind him.NEO attacks SMITH. SMITH backs away slowly, blocking against a losingbattle and taking hits. Meanwhile, the MEN IN BLACK converge on NEO.Just as NEO lands a smashing blow on SMITHíS chin, three voices atonce shout: "HEY!"NEO turns, and SMITH pushes him hard in the opposite direction toface:THREE SMITHS! They attack at once, one going low and hard with a kneebreaking sweep kick, the other punching NEO in the face, and the thirdbreaking to the side and putting his toe into NEOís stomach with avicious side-kick.They attack is in perfect synch, eight arms and eight legs workinglike clockwork, striking their target without getting in the way ofeach other. The attack slams NEO back, right into the first, bloodiedSMITH. NEO slams into his shoving arms, and stops as though he backedinto a brick wall. AGENT SMITH grabs him and holds him in a FULLNELSON, exposing him to his three copies. The copies shift positionand attack again. Two stand together, left shoulder to right, and withtheir combined arms slam NEO in the face, then step apart as the thirdcomes in. The THIRD grabs the shoulders of the other two and flips,walking his loafers up NEOís body, and kicking him from below, rightup into the chin of his jaw! It snaps NEOís back with a spray ofblood.EXT. ROOFTOPMORPHEUS and NIOBE stare on as the fight rages.MORPHEUS grips the edge of the brick wall edge. The stone crumblesunder the tension. MORPHEUS "We can only watch."EXT. PLAZATHE ASSAULT on NEO continues. He struggles, unable to concentrate longenough to find a way to fight back.INT. MAIN DECKRAZOR bangs away at the keyboard. RAZOR"Four fucking agents, no wonder so much processing power is devoted to them."EXT. ROOFA BIRD flying by NIOBE and MORPHEUS slows its flight, slows itsflapping, and freezes.CU: MORPHEUS. A pink lightning bolt freezes as it streaks across thesky, sealing the worldís light in an a light rouge.EXT. CITY STREETNear the plaza, panicked civilians slow, and fall to the ground asthough theyíre passing out.INT. MAIN DECK Razor stares at the data pouring down the screens. RAZOR "No goddamned way." His headphone chimes. RAZOR "Operator."EXT. ROOF MORPHEUS is on the phone MORPHEUS "What the hellís going on?"INT. MAIN DECK RAZOR"Theyíre putting all the coppertops to sleep. They froze the Matrix." MORPHEUS "Why?" RAZOR "All processing power is being re-diverted to the agent program." NIOBE stands at the edge of the building and points down. NIOBE "Morpheus, look!" DOWN on the ground below them, thereís a swarm of AGENT SmithsEXT. STREETThe passed-out people stand, and one by one, MORPH into AGENT SMITHS.It happens over, and over, until dozens, then hundreds, are marchingon the plaza.EXT. PLAZANEO reaches back and puts his hands on either side of SMITHíS head. Asheís being pummeled from the front, he squeezes and screams. Hisscreams are mixed with SMITHíS. The agentís head deforms as weíre heara sickening crack. Suddenly, the body reverts back to that of theoriginal owner, a security guard, and the head simply EXPLODES.THE hold broken, NEO stumbles back over the body, with the threeSMITHS in pursuit. He somersaults, comes up on his feet, and jumps tothe left, putting one Smith in front of the other two. He attacks, hiskilling blows destroying SMITH, smashing through his blocks. He falls,and NEO takes on the other two, giving a kick jump that knocks both ofthem away in one shot.As he comes down, a wall of Smithís converges from all sides. Theystop, leaving a circle around him.WE PAN BACK to view a sea of black-suited SMITHS flooding the plaza.CU: NEOAS his hand passes over his face, it is refreshed, anew, perfectagain. He surveys the wall-to-wall SMITHS.SMITH talks with his voice, times a thousand. SMITH "NEO, leave the Matrix. You know not what youíre doing." NEO "Well, is that right?"HE turns to the METACORTEX building. Itís repairing, growing steelgirders and concrete skin. NEOís face darkens. NEO "No!"REALITY SHIMMERS as his anger strikes out at the building. The topsfloors burn, and then explode. The explosion rips down the building,slowing, slowing, then stopping.THOUSANDS of SMITHS are gazing up at the building, concentrating oncombating NEOís attack.EXT. ROOFGREGORY sees the building exploding, and runs. He smashes through anaccess door.INT. STAIRWAYGREGORY hurtles down the stairs, one at a time.EXT. METACORTEX BUILDINGTHE building is frozen, mid-explosion. TONS of pieces hanging in theair, suspended only by frozen tendrils of fire and arms of smoke anddebris.THE SMITHS attack NEO. They fight in a massive melee, dying in mass.Meanwhile, the METACORTEX building pulls back together, the damage andflame disappearing as time/space around it is reversed. CUT TO:EXT. ROOFTOPCU: AGENT BROWNWith his hand on his ear piece, he comes out the elevator door,slowly. Pistol drawn, he looks around the corner.MORPHEUS and NIOBE stand there, their backs to him.Without hesitating, he advances on them, blasting away with impunity.THE BODIES of MORPHEUS and NIOBE are wracked by gunfire and collapsein a heap of bullet-ravaged flesh.BROWN walks up to the corpses and kicks one with his shoe. Itshimmers, and then disappears, followed by the other.INT. MAIN DECK RAZOR dials the phone. MORPHEUS picks up. MORPHEUS (V.O.) "Yes." RAZOR "Theyíre hitting your ghosts." MASSIVE attack of STATIC bursts on the line. RAZOR "What the - " THE LINE goes dead.EXT. ROOFTOPMORPHEUS looks at the phone and redials. RAZOR comes through, hisvoice digitized and distorted. RAZOR "Theyíre cutting comes, get to the access point on Laxe - " THE line goes dead.MORPHEUS signals to NIOBE. They exit the roof as he dials TRINITYINT. EMPTY BUILDINGCHOI and TRINITY hide in the shadows of an empty room, watching thebattle. TRINITYíS cell rings. She answers silently. MORPHEUS (V.O.) "Letís go. Laxe Three." TRINITY "What about Neo?" MORPHEUS (V.O.) "We can do nothing to help him. Weíll only get in his way." THEY leave the room.INT. LOBBYGREGORY stumbles into the lobby. Slumbering bodies lie everywhere,slumped over desks, half-in chairs, on the ground.EXT. PLAZAHE exits into the street. The scene is one from HELL.UNDER the neon sky, fires are frozen and smoke columns hang in theair, still, like massive tree trunks.The battle rages and surges, a thousand SMITHS pouring onto one NEO.All around, nearly covering the ground, are corpses, destroyed bodiesabandoned by the agent. Men and women, of all ages and designs,smashed, decapitated and broken.CU: NEOTHE SMITHS overwhelm him with sheer numbers. NEO is a blur, a humanchainsaw now, crushing or smashing them all, but they crowd on allsides. The bodies pile up as they fall, and NEO finds himself steppingup the rubbery mass of corpses. A few more smashed SMITHS fall, morphback into their stolen forms, and NEO is KNEE-DEEP IN THE DEAD.He canít take it. Choking, NEO struggles to free himself. SMITHS climbup the corpse pile and drop onto him, pounding viciously. NEO stalls,in shock, his eyes locked with the lifeless blue eyes of a woman hejust killed. She looks amazingly like TRINITY.Perhaps for the first time, he is confronted with the consequences ofthis war, and his mind seizes as the Smiths pummel him.NEO goes berzerk! SCREAMING and fighting, he claws his way out andsurges into the wall of agents. They throw him back, and he canít killthem fast enough. HE leaps upward, trying to fly away, but Smithscling on to him, and cling on to each other.EXT. PLAZANEO struggles to fly, and as he does, heís pulling a stalagtite ofblack suits, clinging like iron filings on a magnet.CU: NEOHIS face is wide with fear and shock. He canít climb anymore, andlooks back down at the mountain of agents heís pulling into the air.His face clenches shut as a scream wells from deep within him. Hestarts to glow, and we jump back to see:A MASSIVE orange, spherical shock wave blasts away from his body. Itrebounds on the plaza and throws bodies upward, even as it blasts theSmiths away, leaving him clean.EVERYTHING slows down as NEO, exhausted, tumbles out of the sky. Onhis way down through the neon light, he passes bodies flying upwardfrom the concussion. NEO hits the ground, bounces, and lies still,sprawled, as people drop all around him, piling up, like Sataníssnowfall.EXT. ALLEY (MATRIX) DAYTHE sky and Matrix are still frozen. TRINITY and CHOI make their wayalong cautiously, leapfrogging from cover to cover. They pause behinda dumpster, and just before looking out, thereís the sound of metaltapping metal, twice.TRINITY looks in the direction of the sound. MORPHEUS and NIOBE arestanding still in the shadows, near the end of the alley. TRINITY ANDCHOI make their way to them.TRINITY peeks cautiously around the edge. On the other side of thestreet is a phone booth. TRINITY "Is it clear?" MORPHEUS "I smell an ambush." NIOBE "Me too. Too quiet." CHOI grips his gun and grimaces. CHOI "Too quiet? The world is frozen. Iíll go first." NO one likes the idea.REAL-TIME suddenly returns. The lightning bolts in the sky suddenlyre-animate, thundering out of existence, making the four of them jumpout of their skulls. The sounds of the city suddenly flood back.ON THE street, people stir to their feet. Everyone is confused as towhat happened.EXT. PLAZAITíS a sea of the dead. From its center, NEO emerges, soaked in blood,gagging and gasping for breath. He stumbles over them. Shocked andcrazed, he glimpses the Metacortex building. Itís in one piece again,unharmed.He falls against a smashed corporate art sculpture. He picks a cellphone up from the ground and dials. NEO "Morpheus, pick up."We hear nothing but static. Disgusted, NEO throws the phone away. Hefalls against the sculpture and looks up. Coming around the corner ofthe building is a group of agents and soldiers.NEO sinks down, staring at his hands. He catches his breath andconcentrates. The blood disappears, and he dons the suit of ananonymous soldier in black. His face, too, seems to change.HE stands and walks away. We only see his back.EXT. ALLEY - DAYTHEY weigh their options. Finally, MORPHUES gives the nod to CHOI. MORPHEUS "Go."CHOI checks his ammo and puts his guns under his coat. There are lotsof people on the streets now. Everyoneís in shock over what happened,and the columns of smoke rising from the center of the city. CHOI"And remember, kids, when youíre in a war, never volunteer yourself!"HE walks out onto the street, eyeing the phone booth and everythingelse. A gorgeous Asian businesswoman stumbles into him. Recognitionlights up her face and she stops him. WOMAN "Choi? Oh my God, I havenít seen you for months." CHOI keeps looking around, making his way to the booth. "Oh yeah, sorry about that." SHE turns angry. "Sorry about that? What kind of an asshole are you?"EXT. ALLEY (MATRIX) - DAYTRINITY is looking around the corner. She pulls back into the alley. TRINITY "Casanova just ran into an old flame."EXT. STREET (MATRIX) - DAY WOMAN "No. Fuck you, Choi, you just think you can come and go when you please?"CHOI is ignoring her now, walking straight for the phone booth as sheis having a fit. Tears are welling in her enraged face."Choi, if you have one shred of decency, if you even care about me - "Inexplicably, CHOI hangs his trench coat on the side of the booth.Standing behind it, he reaches around with his arm, keeping the coatbetween his body and the phone. The WOMAN doesnít even notice the webof gun harnesses and what looks like a ton of ammunition covering theinside of the jacket. WOMAN " - youíll tell me why you donít call, why you, you, what are you doing?" CHOI"The jacket stops fragmentation. Sometimes they bomb the phones. Kiss me for luck."HE grabs her to him and thrusts his mouth onto hers.CU: PHONEHis hand grabs the phone. We hear the dialtone, and he mashes down oneof the numbers of the keypad. The number tone rises in pitch to acrescendo. WE pull back and:THE BOOTH EXPLODES. CHOI and the woman are bowled over by the flame.EXT. ALLEY (MATRIX) - DAYThey take cover from the blast as people all over the street areknocked flat.EXT. STREET (MATRIX) - DAYTHE PHONE BOOTH is obliterated. Miraculously, CHOI and the woman arestill under the cover of the jacket. THROWING the smoking jacket offthem, CHOI screams in agony as he grasps the smoldering stump of hisright shoulder. The arm is history.THE WOMAN looks on, her eyes as wide as dinner plates. Shaking, shefalls back, still staring. CHOI "You werenít lucky."MORPHEUS, NIOBE, and TRINITY rush to him, picking him up on his feet.CHOI is screaming and laughing. Someone grabs his smoldering coat,dragging it along. CHOI stares at the ex-flame as they cart him away.His eyes are crazy. CHOI "You still want me to call you? Ha ha ha!"AS they struggle down the street, CHOI starts to walk more on his own.PEOPLE run from the scene, screaming. CU - the four of them.MORPHUES looks at something off-screen and frowns. HE pulls to theleft. MORPHEUS "This way."TANKS and TROOPS are filling into the street ahead of them, comingfrom around the corner.THEY turn onto a different street. This street, too, is filling withtroops. Worse, itís being lead by AGENT BROWN. NIOBE "Tanks, or agents?" TRINITY "Tanks." CHOI "Yeah, tanks a lot."They break. CHOI stands on his own, and they run back onto the streetwith the tanks.CU: TANKSTHREE ABRAMS stop in the street. Their turrets swing into place withterrifying quickness and precision.AT ONCE, they open fire with their main cannons and machines guns.FIRE FLOWERS blaze from the death machines, sending a typhoon of leaddown the street. Troops filed between the tanks pull their triggersand donít let go. Everything in the street is shredded and blown away,as though it was hit by a high-power pressure hose.WITH UNEARTHLY SPEED, EVERYONE BREAKS for the sides of the street,except for CHOI. He stands amid it all as the tracers come closer tohis body. He raises his machine gun with his good arm, and lays intothe enemy.TRACER rounds kick away from his gun, ripping straight back into thewall of soldiers. His rounds deflect off the sloped armor of thetanks, recoils pile into the flesh of troops. He rakes his fire intothe enemy bodies.CU: CHOITRACERS zoom in on him. A tank round blasts by, and the wall of airkicks him to his side. He continues to fire even as a bullet, followedby another, blasts through the middle of his body. More and morebullets smack into him, blasting chunks of meat and viscera out theback.EXT. STREET (MATRIX) DAYTRINITY and NIOBE take one side of the street, running and shootingsimultaneously. THEY reach the buildings on the side and NIOBE goesSTRAIGHT UP THE FA«ADE OF THE BUILDING, as TRINITY jumps from cover tocover, cart wheeling through tracer fire and bullets.ON THE OTHER side of the street, MORPHEUS goes straight up thebuilding faÁade and starts running sideways, completely defyinggravity, firing downward at the soldiers.CU: CHOIHE WILL NOT FALL, and a hose of lead drills into him, taking his bodyapart piece by piece. Bullets take away pieces of his head, neck, andtorso, and in one final wave of fire, he is disintegrated, leaving hismachine gun, barrel smoking, spinning in the air, firing still. Thearm is still attached and finger clenching on the trigger. It is thelast piece of CHOI to fall.MORPHEUS climbs as he runs. In mid-stride he changes magazines andstops, standing on the wall, his body parallel to the ground.On the other side of the street, NIOBE stands on the wall, blazing atthe mass of troops with two guns that never cease. THERE is no coverand no reprieve from the DOUBLE DEATH from above. Most are stillfiring down the street, or over toward TRINITY.TRINITY runs up the side of the street. Her guns go empty and shedives behind a stoop as a squad of soldiers blazes away at her.CU: SOLDIERIn slow motion, he pulls a spoon from a grenade. Somehow, the metalring reaches TRINITYíS ears.CU: TRINITYShe slaps a magazine into her pistol, pulls the action and comes outfrom under cover just enough to see the soldier releasing the grenade.She fires, hitting the grenade. IT explodes directly over the group ofsoldiers, flattening them to the ground.A BULLET smacks through TRINITYíS wrist, and the hand comes off,popping like the head off a dandelion. Blood spurts from the severedarteries, spraying the hand, with the pistol still in its grip.ABOVE THE STREET, MORPHEU AND NIOBE leap for one another. They catcheach otherís arms, fifty feet above the surviving enemy, and spin inplace, firing away. The tank commanders in their copulas blast upwardwith their machine guns, but the rounds miss the spinning couple.MORPHUES and NIOBE concentrate on the commanders, and cut them down.THEY land amidst the carnage. TRINITY emerges, shaken, pressing hercoat to her arm.EXT. STREET (MATRIX) - DAYThe other end of the street fills with soldiers, and AGENT BROWN.CU: AGENT BROWNHE surveys the scene, and immediately draws and fires, running fullbore for the rebels.MORPHEUS, Niobe and TRINITY are too close to the tanks to be fired on,but the nearest one lunges at them. They climb up over concrete stoopsand over the side of the tank. They sprint down the street as thetanks turn their turrets behind them, searching. MORPHEUS "The garage, hurry!"THEY dive behind a corner as a tank fires. Morpheus throws the womanforward as the tank round hits the edge of the building, blowing theconcrete and brick wall into a massive cloud of powder. Perhaps a tonof rubble falls on Morpheusí legs. He drags himself forward. Niobe andTrinity grab his arms and haul him out of the rubble. Niobe shoots thelock off a steel door, and they pile into the building.EXT. STREET (MATRIX) - DAYAGENT BROWN and his men rush into position around the building therebels are hiding in.Suddenly, an unimaginably powerful engine starts, and as we stare atthe garage door, it explodes outward. A jet-black, hyped COUNTACHexplodes out onto the street, tires literally on fire as they throw upsmoke. It cuts through a few soldiers, hitting them in the knees, asit rips up the street, the throttle going way too high.INT. COUNTACH (MATRIX) - DAYTHE street scene spins before them. TRINITY is at the wheel, a brokenand dusty MORPHEUS sitting next to her. The tach is redlining as thecar rips up the street. Pedestrians dive for cover.TRINITY holds her wounded hand to her chest and drives one-handed. "Shift."MORPHEUS does so, and the tires squeal again when she releases intosecond, then third. In a few seconds theyíre over 60 on the busystreet.EXT. STREET (MATRIX) - DAYSoldiers pick themselves up just in time to hear another engine - asuper powerful track bike, emerges from the burnt rubber smoke screen.A wheely bar on the back of the bike keeps it from flipping around therear tire as it accelerates like a bullet out of a barrel. There isníteven time to take a shot until sheís gone.INT. COUNTACH (MATRIX) - DAYTHEY rocket up the entry to a highway, ripping past cars by driving upthe breakdown lane. Once they hit a straightaway Trinity floors it,and the speedo creeps up past 130 as they dodge in and out of cars.MORPHEUS grabs his twisted, folded legs. He was literally poured intothe seat. Concentrating, his face knotting in pain, he straightens thebroken, fractured legs. He closes his eyes and concentrates. The legs reform into straight, strong limbs. MORPHEUS grabs the wheel. MORPHEUS "Keep your foot on the gas. Heal thyself."TRINITY pulls her bleeding wound from her arm. Her face tightens, andshe closes her eyes, fervently concentrating, shutting the world out,which is good, as they suffer constant close calls as Morpheuscontrols the wheel from his awkward spot.When she opens her eyes again, she grabs the wheel. With BOTH hands.MORPHEUS pulls out his cell and tries the line. Itís still full ofstatic. TRINITY "Any luck?" MORPHEUS "None. Theyíve killed city-wide comms." TRINITY "Then the agents are out of touch with each other." MORPHEUS "They canít track us, but that gives them more time to destroy ourexits, and find the Neb. Weíll try the desert. Communications might be working there still." TRINITY "What about Niobe?" MORPHEUS "She knows to meet us there."EXT. HIGHWAY (MATRIX) - DAYNIOBEís bike sizzles down the highway, insanely lane splitting at over100 miles per hour. The wheely bar is folded up against the rearwheel. A dual stream of vehicles spit by her like giant machine-gunbullets. She zooms out of view.EXT. STREET (MATRIX) - DAYGREGORY slows from a run. He looks back as police cars and ambulancesrace toward the Metacortex building. He canít shake what heís justwitnessed. He looks forward, only to run into: AGENT SMITH GREGORY freezes, then bursts into questions. GREGORY "What the fuck just happened?" SMITH "We need you, Gregory. Will you help us stop this?" GREGORY is perplexed. Resolve comes over his face. GREGORY "I can stop this?" SMITH "Yes." GREGORY "Alright. But how can I fight him?" SMITH "I will give you the power you need."INT. APARTMENT BUILDING (MATRIX) - DAYTHE building is old, crumbling, and inside painted a horrid green thatno sane person could find attractive. The humble place is home to THEORACLE.NEO exits an elevator. Recomposed and dressed normally, he walks upand down the hall, trying to remember which apartment she lived in.A tall black woman, one of the Oracleís priestesses, comes out of thestairwell and recognizes NEO. PRIESTESS "Neo."HE turns and looks at her. She smiles, but as Neo looks at her, aflash of uncertainty, and maybe hate, flies across her face before thesmile returns. PRIESTESS "The Oracle is anxious to see you."NEO follows her into the familiar apartment. The windows are covered,and NEO and the priestess are the only ones there. The Priestess movesinto the dark kitchen.NEOís eyes adjust to the darkness. He hears something squish as hesteps, and looks down.The tattered rug is a swamp of dark, congealing liquid. NEO reachesdown and touches it with his fingertips. Itís half-dried blood.He stands, his eyes adjusted to the dark now. The walls are chipped,covered in bullet holes.In slow-motion, the entry door to the apartment opens. In walks AGENTBROWN. NEO turns to the kitchen. AGENTS SMITH and JONES appear. Theyall draw their .45s.NEO stands still as they walk up to him and put their guns to hishead. AGENT SMITH scoffs. NEO "I was on to you the whole time. I only came in here to isolate you, to destroy you." AGENT JONES "What are you waiting for?" NEO "I realized, that I canít destroy you - " HE nods at SMITH NEO " - without destroying the Matrix itself." SMITH "You killed me too easy last time." BROWN "And if you kill us - " HE nods at JONES BROWN "Weíll only come back like him." BROWN nods to SMITH. NEO "I know." SMITH breathes deep, and drops his gun. The others follow suit. SMITH "So, why donít you take it all down?" NEO "The Matrix?" SMITH "Yes." NEO "I can. But if I destroy the Matrix, everyone within it will die." SMITH snorts. SMITH "I take it the great Morpheus failed to mention this?" NEO looks up at him, but his expression doesnít change. NEO "How many people are in it?" SMITH holsters his weapon. He speaks matter-of-factly. SMITH "Six and a half billion." FOR NEO, the numbers are too huge to imagine. BROWN scoffs. BROWN "Could you destroy us?"ITíS a serious question for Neo. But he nods. He knows his potential. NEO "I could." SMITH "What does that make you feel like? God?" HE is amused by the idea. JONES "This is getting tiresome. Where do we go from here?" NEO "IF you cut the power that the Matrix supplies to your armies, Iíll let you live." SMITH "Idiot. We donít care about life, we care about victory." NEO "Why?" JONES "So our kind... prevails." NEO "You mean, lives." SMITH "Who do you think started this war, boy? Your kind tried to kill us first." BROWN "But you didnít. Youíre not as tough as you think." NEO "Weíll see."THE three agents, helpless to stop him, watch as he walks for the doorof the apartment. NEO opens it, and stops, his face meeting a flyingFIST. His vision FLASHES with the impact, and he staggers back intothe room, falling on his ass and rolling back onto his feet. GREGOR steps into the room, tall and BAD. NEO holds up a hand. NEO "Stop! I donít want to fight you! Youíre human!"GREGORY doesnít answer. He smashes a side-kick into NEOís gut,doubling him over.THE kick carries such an impact that a pale concussion wave flashespast Gregor. It sends NEO crashing out the window.GREGORY stands upright and moves to the window, followed by the threeagents. Thereís nothing on the street, twenty stories below.The building starts trembling. We hear rapid-fire impacts, growinglouder and coming faster.THE FLOOR EXPLODES as NEO crashes up through the concrete, throwingthe agents away as he embraces GREGORY in a bear hug. THEY blast upthrough the ceiling. WE follow them up through three more floors, bam,bam, bam. Each concrete floor smashes GREGORY in the head.EXT. ROOFTOP (MATRIX) - DAYNEO and GREGORY SMASH through the roof, flying upward, like a missile,past us.EXT. SKY (MATRIX) - DAYCU: NEOHIS FACE is contorted in rage as he rockets upward. GREGORY is barelyconscious. Seeing this, NEO stops, and flings Gregoryís body violentlyearthward.NEO looks down as the body falls toward the city, thousands of feetbelow. He turns away, just as the distant GREGORY is falling out ofsight. Just before he does, the speck of a person PULLS up, and growslarger and larger as it returns. A contrail streaks behind him as arips through the air. FISTS FORWARD, GREGORY is like an MX missilebearing on NEO.NEO turns just in time to catch BOTH FISTS in his chest. Like a cueball striking another billiard, all Gregorís momentum is transferredinto Neo. Gregor stops dead in the air as Neo is hurtled out of view.CU: GREGORHE is in shock somehow as he sees NEO flying away. He clenches hisfists and flexes his body, then looks down.WE see the ground, thousands of feet below. GREGORY "Holy shit!"FOR some reason, he starts to fall. Even as he claws to maintainaltitude, his rational mind has caught up with him and is somehowdenying the fact that he can fly.As heís facing the ground, NEO slams into him from above. GrippingGregor by the neck and his belt, he drives straight down. The groundrushes, it takes one second to drop past a 50-story skyscraper. Neoslams Gregor, front first, into the concrete sidewalk. They bustthrough the sidewalk, into the sewer below.INT. SEWER (MATRIX) - DAYNEO stands. Offscreen, we can here choking breaths. Neo looks down.Gregor lies twisted on a concrete slab, impaled multiple times throughthe chest by snapped, rusty rebar. He takes one last breath, and hiseyes half-close.NEO checks the pulse. Finding nothing, he leaps out of the hole.CU: GREGORYHIS eyes blink, and he follows NEOís departure. Choking, unable tobreath with the rebar through him, he writhes. Thereís nothing for himto grab to pull himself off the steel.His eyes clenched shut, Gregor levitates, by force of will, pullinghis body off the rebar. The corrugated bars make wet, sucking soundsas the pull through his body. Finally, he gets to a twisted piece ofbar, and canít make it over. Heís losing all his breath, all his lifeforce, over one piece of twisted steel protruding from his chest.WITH one last, wiggling effort, he works it through him. HIS mouthopens wide, but no sounds emit, lest he recall Neo. Just as the end ofthe steel bar enters his body and we canít take any more, CUT TO:EXT. DESERT HIGHWAY (MATRIX) - SUNSETTHE Countach and bike zip down a long, perfectly flat empty road. Abrown sunset plagues the horizon. There is no civilization in sight.INT. COUNTACH (MATRIX) - SUNSETMORPHEUS tries his cell again. This time, it reaches the Neb.INT. MAIN DECK - NIGHTRAZOR and CIRCA are both operating the consoles. RAZOR "Operator." MORPHEUS (O.S.) "Good to hear youíre still there." RAZOR "Jesus, you too. Where the fuck are you?" MORPHEUS"About two hundred miles east of the city, on highway 315. We need an exit." RAZOR "Coming up on your left, ten miles, a rest stop."INT. COUNTACH (MATRIX) - SUNSET MORPHEUS "I donít remember an exit there." RAZOR "Gimme five minutes." MORPHEUS "Out."INT. MAIN DECK (NIGHT)RAZOR clears the screen in front of him and cracks his fingers. Helooks at Circa. CIRCA "Theyíre OK?" RAZOR "Gotta get ëem out. They need an exit program."CU: Keyboard. RAZORíS fingers fly at inhuman speeds over the keys.Data pours down the console as he blazes away. Finally, he hitsëenterí so hard it rocks the station.RAZOR turns to Circa as Matrix code resumes its cascade down thescreens. RAZOR "Yes! Did you like that?" CIRCA just rolls her eyes.INT. COUNTACH (MATRIX) SUNSET MORPHEUSí phone rings. He answers. Itís Razor. RAZOR "Exit ready sir." MORPHEUS "Check the phone for bombs."INT. MAIN DECK - NIGHT CIRCA looks over some data and shakes her head. CIRCA "Itís clear."INT. COUNTACH (MATRIX) - SUNSET RAZOR (O.S.) "Itís all set. Thereís a pair of cops at the rest stop, though." MORPHEUS "Not a problem."THE Countach pulls into the meager rest stop, not more than a waterfountain, toilet house and phone booth.A police cruiser sits, lights off, waiting to intercept speeders.EXT. REST STOP (MATRIX) - SUNSETTHE Countach skids to a stop, kicking up a massive dust cloud thathides the car. We hear the door slide, and the massive black-cladfigure of MORPHEUS emerges from the dust. An Uzi in each hand, pointed at US.THE COP behind the wheel is too slow to draw, call for backup, or evenduck for cover. The safety glass is destroyed as gunfire rips throughit, chewing the cop to pieces. His body thrashes in the seat.MORPHEUS turns away. NIOBE pulls up on her bike and gets off, slowly,obviously the ride had been a long one. Trinity joins them. Morpheusstops. MORPHEUS "I thought Razor said their were two cops."INT. BATHROOM HOUSE (MATRIX) - SUNSETA ROOKIE cop, his face to young for a razor, is shaking as he peeksthrough a crack in the door, through which he sees the terrorists whojust wasted his partner. He finishes buckling his pants, and draws hisservice pistol, only to shake in pain as his body morphs.INT. MAIN DECK - NIGHTRAZOR and CIRCA see the agent morph as the code flies down the screen. RAZOR "Fuck, fuck fuck!"EXT. REST STOP (MATRIX) - SUNSETTHEY smell somethingís wrong. They move, back to back in a triangle,for the phone booth, weapons draw and looking in all direction atonce. MORPHEUS "Niobe, you first." TRINITY "Bullshit, itís my turn." NIOBE "Junior ranks leave first."TRINITY enters the booth as the phone starts ringing.Itís the moment Smith was waiting for.HE BURSTS out of the door, gun firing at the booth. Inside, glassshatters, and blood sprays as Trinity is riddled with bullets. Smithdoesnít stop. He sprays for an eternity, even firing as she collapses,phone still ringing. Her body slumps, smearing blood against the boothdoor as it shuts from her weight.INT. MAIN DECK (NIGHT)TRINITYíS body spasms violently against her harness as her life signsgo berserk. Sheís not dead, but death is only seconds away. Circascreams, but Razor is locked, staring at the screen with the intensityfrom which he derived his name.EXT. REST STOP (MATRIX) - NIGHTMORPHEUS and NIOBE open fire. Smith shudders, flickers violently, hisbody moving too fast to follow as the two rebels empty their clips at him. The actions of the guns stop in the open position, barrels andempty chambers smoking, as the last empty shells patter to the ground.MORPHEUS throws the guns down and turns to Niobe. MORPHEUS "Get her out."NIOBE dives for the shattered booth, kicking away the starred glassand answering the ringing phone. She pulls it down, and haulsTrinityís destroyed body up, placing the phone to her ear.TRINITYíS head merely sags lifelessly to one side. NIOBE "Come on! Go through, Trinity! God damnit donít give up!"TRINITYíS eyes flicker. She focuses on Niobe, summoning herconsciousness enough to make the phase back into the real world. Shestarts to fade as we cut to:INT. MAIN DECK (NIGHT)CIRCA stands over Trinity as the rebels blue eyes flutter open. Herwhole body goes into a seizure and she chokes and screams as she grabsCirca. CIRCA "Youíre safe, youíre safe!"EXT. REST STOPMORPHEUS charges SMITH. Smith ignores reloads him, and sights in onthe exposed back of Niobe as she is reaching up to put the phone backon the hook. As the sights rest right between her shoulder blades,Morpheus grabs his gun with both hands. He squeezes off one shot, theaction freeze back on an empty chamber, before Morpheus throws hishands up in the airThe shot ricochets clips Niobeís ear and ricochets off the booth. Shehangs up the phone and touches the blood of her ear. The phone rings.She looks at it, then back at Morpheus and Smith, raising dust as theyfight.She leaves the ringing phone and runs to join the fight.INT. MAIN DECK - NIGHTRAZOR pounds the edge of the console as he watches the screen. RAZOR "Crazy mothers!"CIRCA has removed Trinityís interface, but sheís having a seizure.Circa can barely hold her down as she uses her teeth to rip the coveroff a wicked hypo. RAZOR "Whatís wrong with her?" CIRCA "Her bodyís dying but her mind wonít quit."CIRCA straddles her and plunges the massive needle into her chest.EXT. REST STOP (MATRIX)Morpheus and Smith clash in the dust - punches, kicks, and blockscoming too fast to see. Smith is wailing on Morpheus, but Morpheussneaks in a kick that separates them. They take stances a good twodistances away. Theyíre about to go at it again when:NIOBE sprints into the fight. Performing a flying leap kick, Smithgrabs her and swings her down, crashing her body into the concretewith a sickening crack-thud. She rolls, fighting the pain, as Morpheusflies back into action, catching the agent with a furious ass ofswinging kicks.Niobe grits back the pain and rejoins her love. Together they assaultthe agent, their speed almost, almost equaling his, their will cappedby the limits of their Matrix-bending powers. Finally, Smith resurges.He lands a punch into Niobeís stomach, and her body folds overunnaturally, as if her back is broken. She crumples to the deck, bloodpouring from her mouth.MORPHEUS screams and brings a hammer blow down on the back of Smithísneck, smashing the agentís face down and imprinting it in theconcrete. For a moment, Smith is still. Morpheus collects Niobe andruns for the phone booth, which is still ringing.ITíS too far. Smith grabs him around the knees, spilling him forward.Man handling him like he weighs nothing, Smith gets on top of him andstarts smashing his fists down into Morpheusí face. SMITH "I should have killed you the first chance I had."Like an enraged silverback, he raises his fists together for one finalblow. But instead of striking, his eyes catch something. He flipsback, jumping, as a silver streak cuts through the air, a split secondtoo slow to cut the agentís head off. Instead, it slices cleanlythrough the triceps of the raised arms, leaving nick on the throat.RAZOR, dressed in a black kimono and wielding two katanas, steps overMorpheus as he pursues the agent. Smith rolls backwards, gains hisfooting, and retreats from the swirling blades of death. He turns toMorpheus: RAZOR "Go!"INT. MAIN DECK - NIGHTRAZOR is strapped into one of the interface chairs, his eyes closed.EXT. REST STOPHALF-DEAD MORPHEUS drags NIOBE to the booth.Behind them, Agent Smith backs away from RAZORíS dual blades, on long,one short. Whenever Razor attacks, Smith backs away. They circle oneanother. MORPHEUS puts Niobe through the phone. RAZOR forces Smith around. RAZOR "Come on, tough guy, come got some Razor."SMITH frowns and moves forward, but the whistling edge of a blademakes him think twice. RAZOR holds the short sword parallel to theground, the long sword straight up. He hides his eyes behind the shortsword.SMITHís back is against the sunset. The sun drops below a cloud.RAZOR flashes the light off his short blade, directly into Smithíseyes, blinding him as he strikes with the long sword.SMITH, blinded, turns and backs away. RAZOR attacks.IN the booth, Niobe is gone. MORPHEUS hangs up the phone. He canbarely stand up enough to reach the handset. When it rings he picks itup. But he doesnít disappear. MORPHEUS "Reload me."INT. MAIN DECK - NIGHT CIRCA "All right."SHE punches some keys. MORPHEUSí 3-D avatar flashes on a console,along with a massive array of weapons.EXT. BOOTH (MATRIX) - SUNSETMORPHEUS disappears for a second, then reappears. Now he is perfectlyclean, and immaculately dressed. He replaces his sunglasses and kicksthrough the remains of the booth, walking toward the fight as heproduces new weapons, heavy with ammo, from his long coat.RAZOR keeps swinging at SMITH - and missing. Seeing his chance, heruns back for the ringing phone. SMITH pursues, almost on RAZOR whenthe neo-samurai jumps in the air and pirouhettes, swinging one swordafter another, like a helicopter blade from Hell.IN the liquid world of slo-mo, the short sword cuts through Smithísoutstretched fingers, sending them flying. The long sword grazes hisforearm, cutting through the fabric and taking off a slice of flesh.The tip of the sword slices through his suit, cutting his tie off,digging about an inch into his torso.SMITH collapses into the dust, his face a mask of blood and dust. Hedoesnít try to get up.RAZOR passes MORPHEUS, who backs up to the ringing phone booth. Razorgoes through first. MORPHEUS keeps his eyes and weapon locked onSMITH, who makes no attempt to pursue. He stands calmly, and in adignified manner, wipes dust off his clothing as he watches Morpheusstep into the booth, and replace the phone.It rings. One hand on the receiver, Morpheus stares back at Smith.SMITH stands there, not attempting to pursue. Morpheus pauses, takingadvantage of the chance to observe his deadly enemy.SMITH stares at the booth for a second. Emotion twists his face, firstanger, then perhaps sadness. Heís lost. Heíll be in the Matrixforever.With a quicksilver flash, his body reverts back to the shape of therookie cop.THE young man is left standing there. He is filthy, bloody, badlysliced up, and the fingers of one hand are missing. He looks around atthe carnage as his mouth simply opens and closes, reflexively, inshock. He focuses on Morpheus.The rebel answers the phone and disappears, leaving the cop, his bodybroken and his mind blown.INT. MAIN DECK - NIGHTCIRCA helps MORPHEUS off the interface chair. Razor is triumphant. RAZOR "Did you see that? We beat him! A fucking agent! He gave up!"MORPHEUS, unflappable, rises and rushes to the operations consoles. MORPHEUS "Where is Neo?" CIRCA "Havenít heard from him. The city is still cut off from the rest of the Matrix." MORPHEUS appears enraged. He looks at Neo, supine on his chair. MORPHEUS "Why does it still exist? Why hasnít he destroyed it yet?" RAZOR "Maybe he canít." TRINITY is sitting on the edge of her interface chair, looking like hell. TRINITY "Is he even alive? Is he captured?" RAZOR "Last we saw he was trying to blow up the building. Havenít locked onto him since." MORPHEUS "What? Why not?" CIRCA "Call me crazy, but I think heís masking his own displacement signature." RAZOR"His carrier signal just goes nowhere. But there is data going back and forth."MORPHEUS stares at the data on the screens. The Matrix lives. Hepushes Razor out of the way, and starts hacking at the keyboard at anincredible rate. Itís obvious Morpheus can handle computers. MORPHEUS "I found him once. Iíll find him again."We go deeper into the miasma of green symbols, swallowed by theblackness of the screen, and emerge into:INT. PENTHOUSE APARTMENT (MATRIX) - NIGHTThe apartment is luxuriously laid out and furnished. Gregory sits on aleather couch, watching whatever on the tube with the sound off. Heabsentmindedly manipulates a quarter over and around his fingers.Finally, he stops and looks at the quarter.Holding it between his thumb and forefinger, he folds it in half asthough it was a disk of bubble gum. He folds it again, then rools itas though itís a musket ball.Chandra enters the living room and collapses on the couch. She reachespoints the remote at the TV, but Gregory puts his hand over it to gether attention. GREGORY "So, you really donít have any idea how you got here?" CHANDRA "No. I only remember being on the bike." GREGORY sighs. GREGORY "Yeah, you took a pretty good knock on the head. Do you know how we got this place?" She looks at him, annoyed. CHANDRA "Duh. We broke in. We donít own a penthouse." GREGORY "What if I said we did?" CHANDRA "Iíd say youíre insane."She finally gets the remote and changes the channel. The volume comeson, louder and infinitely more tinny and obnoxious than anything inlife. Chandra laughs at the images as Gregory stares into space.INT. BURNT-OUT CATHEDRAL (MATRIX) - NIGHTNEO sits with his back against a blackened brick wall, staring ahead.Heís in the belfry of an ancient, destroyed cathedral, among thepigeon nests, soot, and bird crap.FROM here, in downtown, we can see the modern, uptown section, withits gleaming skyscrapers. METACORTEX still stands, illuminated bysearchlights.NEO sits and broods. Isolated, his world turned upside down and rightside out in less than a week, his mind and spirit are a blank.Again, he tries his cell phone. Static. He collapses it and puts it.Just as it leaves his mind, it rings. The face flips open.NEO puts it to his ear without speaking. MORPHEUS (O.S.) "Neo." NEOíS grim expression is melted by relief. NEO "Morpheus! Holy shit! You wonít believe what happened." MORPHEUS "I know." NEO "I couldnít do it. Morpheus, thereís a problem."INT. MAIN DECK - NIGHT MORPHEUS has the headset on. He stands and surveys NEO. MORPHEUS "Yes, there is a problem. The Matrix exists."EXT. BURNT-OUT CATHEDRAL (MATRIX) - NIGHT NEOíS relief fades into confusion. NEO "I know. Iím sorry." MORPHEUS (O.S.) "And the problem is..." NEO "Uh, itís impossible. If the Matrix is destroyed, the people withinthe system will die. They will all die. There has to be a different way." MORPHEUS doesnít respond. NEO "Morpheus? Did you know this?"We hear nothing. NEO can hear his own heart beating. Anger andconfusion add to the already heavy mental burden he carries. MORPHEUS (O.S.) "I didnít say things would be easy, Neo." NEO sinks to the ground, shocked. He shakes his head. NEO "No."INT. MAIN DECK - NIGHTMORPHEUS isnít happy about what he has to tell his protÈgÈ, but thereis no bending his will. The others look on soberly. MORPHEUS "Neo, the Matrix... itís not real. And itís up to you to end it."EXT. BURNT-OUT CATHEDRAL (MATRIX) - NIGHTNEO canít stand the reality of the situation. Heís coming apart. NEO "No, Morpheus, this canít be! We canít do this! We have to get the people out." MORPHEUS (O.S.) "Even if we could somehow get to them without cutting through theirdefenses, thereís no way we can rehabilitate billions of people. They wouldnít even want to be woken up." Neo is silent. MORPHEUS (O.S.) "You can do it. You can free us." NEO "Why me? Why the fuck do I have to do this?" MORPHEUS is silent for a long while.INT. MAIN DECK - NIGHTEveryone is watching Morpheus, and no one can quite believe what ishappening. MORPHEUS"You know what needs to be done. Time is short. Make up your mind. Theonly way youíre getting out of the Matrix is through its destruction." Morpheus kills the connection.EXT. BURNT-OUT CATHEDRAL (MATRIX) - NIGHTNeo hears the line click dead. He canít believe what has happened.INT. MAIN DECK - NIGHTMORPHEUS drops the headset on the operations console. He types a fewcommands on the keyboard, then addresses the crew. MORPHEUS "No one goes in. Heís on his own." He leaves the main deck.Trinity stares at Neo for a moment, her face fighting for composure Noone looks at her. She walks away, then leans against the bulkhead, herbody shaking.EXT. BURNT-OUT CATHEDRAL (MATRIX) - NIGHTNeo closes the cell phone. He reaches to tuck it away, then pauses,looking at it. He drops it to the ground and walks on.He stands out on a finger of crumbling church, the night air allaround him. The city lights are alive below. He focuses on theMetacortex building. Leaving him there, we rush to it until we diveinto the dark shadows of the very building, going microscopicallyclose, until the darkness gives way to the glowing green miasma ofquantum code. It fills the screen before we bust through intodarkness again.TO BE CONTINUED... \ No newline at end of file diff --git a/unformated_scripts/Script_Matrix, The.txt b/unformated_scripts/Script_Matrix, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..85587158834cba7b8a6fefea3cac0d7842ee55ba --- /dev/null +++ b/unformated_scripts/Script_Matrix, The.txt @@ -0,0 +1 @@ + THE MATRIX Written by Larry and Andy Wachowski April 8, 1996 FADE IN ON: COMPUTER SCREEN So close it has no boundaries. A blinking cursor pulses in the electric darkness like a heart coursing with phosphorous light, burning beneath the derma of black-neon glass. A PHONE begins to RING, we hear it as though we were making the call. The cursor continues to throb, relentlessly patient, until -- MAN (V.O.) Hello? Data now slashes across the screen, information flashing faster than we read. SCREEN Call trans opt: received. 2-19-96 13:24:18 REC:Log> WOMAN (V.O.) I'm inside. Anything to report? We listen to the phone conversation as though we were on a third line. The man's name is CYPHER. The woman, TRINITY. CYPHER (V.O.) Let's see. Target left work at 5:01 PM. SCREEN Trace program: running. The entire screen fills with racing columns of numbers. Shimmering like green-electric rivets, they rush at a 10- digit phone number in the top corner. CYPHER (V.O.) He caught the northbound Howard line. Got off at Sheridan. Stopped at 7-11. Purchased six- pack of beer and a box of Captain Crunch. Returned home. The area code is identified. The first three numbers suddenly fixed, leaving only seven flowing columns. We begin MOVING TOWARD the screen, CLOSING IN as each digit is matched, one by one, snapping into place like the wheels of a slot machine. TRINITY (V.O.) All right, you're relieved. Use the usual exit. CYPHER (V.O.) Do you know when we're going to make contact? TRINITY Soon. Only two thin digits left. CYPHER (V.O.) Just between you and me, you don't believe it, do you? You don't believe this guy is the one? TRINITY (V.O.) I think Morpheus believes he is. CYPHER (V.O.) I know. But what about you? TRINITY (V.O.) I think Morpheus knows things that I don't. CYPHER (V.O.) Yeah, but if he's wrong -- The final number pops into place -- TRINITY (V.O.) Did you hear that? CYPHER (V.O.) Hear what? SCREEN Trace complete. Call origin: #312-555-0690 TRINITY (V.O.) Are you sure this line is clean? CYPHER (V.O.) Yeah, course I'm sure. We MOVE STILL CLOSER, the ELECTRIC HUM of the green numbers GROWING INTO an OMINOUS ROAR. TRINITY (V.O.) I better go. CYPHER (V.O.) Yeah. Right. See you on the other side. She hangs up as we PASS THROUGH the numbers, entering the netherworld of the computer screen. Where gradually the sound of a police radio grows around us. RADIO (V.O.) Attention all units. Attention all units. Suddenly, a flashlight cuts open the darkness and we find ourselves in -- INT. CHASE HOTEL - NIGHT The hotel was abandoned after a fire licked its way across the polyester carpeting, destroying several rooms as it spooled soot up the walls and ceiling leaving patterns of permanent shadow. We FOLLOW four armed POLICE officers using flashlights as they creep down the blackened hall and ready themselves on either side of room 303. The biggest of them violently kicks in the door -- The other cops pour in behind him, guns thrust before them. BIG COP Police! Freeze! The room is almost devoid of furniture. There is a fold- up table and chair with a phone, a modern, and a powerbook computer. The only light in the room is the glow of the computer. Sitting there, her hands still on the keyboard, is TRINITY; a woman in black leather. BIG COP Get your hands behind your head! Trinity rises. BIG COP Hands behind your head! Now! Do it! She slowly puts her hands behind her head. EXT. CHASE HOTEL - NIGHT A black sedan with tinted windows glides in through the police cruisers. AGENT SMITH and AGENT BROWN get out of the car. They wear dark suits and sunglasses even at night. They are also always hardwired; small Secret Service earphones in one ear, its cord coiling back into their shirt collars. AGENT SMITH Lieutenant? LIEUTENANT Oh shit. AGENT SMITH Lieutenant, you were given specific orders -- LIEUTENANT I'm just doing my job. You gimme that Juris-my dick-tion and you can cran it up your ass. AGENT SMITH The orders were for your protection. The Lieutenant laughs. LIEUTENANT I think we can handle one little girl. Agent Smith nods to Agent Brown as they start toward the hotel. LIEUTENANT I sent two units. They're bringing her down now. AGENT SMITH No, Lieutenant, your men are dead. INT. CHASE HOTEL The Big Cop flicks out his cuffs, the other cops holding a bead. They've done this a hundred times, they know they've got her, until the Big Cop reaches with the cuff and Trinity moves -- It almost doesn't register, so smooth and fast, inhumanly fast. The eye blinks and Trinity's palm. snaps up and the nose explodes, blood erupting. The cop is dead before he begins to fall. And Trinity is moving again -- Seizing a wrist, misdirecting a gun, as a startled cop FIRES -- A head explodes. In blind panic, another airs his gun, the barrel, a fixed black hole -- And FIRES -- Trinity twists out of the way, the bullet missing as she reverses into a roundhouse kick, knocking the gun away. The cop begins to scream when a jump kick crushes his windpipe, killing the scream as he falls to the ground. She looks at the four bodies. TRINITY Shit. EXT. CHASE HOTEL Agent Brown enters the hotel, while Agent Smith heads for the alley. INT. CHASE HOTEL Trinity is on the phone, pacing. The other end is answered. MAN (V.O.) Operator. TRINITY Morpheus! The link was traced! I don't know how. MORPHEUS (V.O.) I know. Stay calm. TRINITY Are there any agents? MORPHEUS (V.O.) Yes. TRINITY Goddamnit! MORPHEUS (V.O.) You have to focus. There is a phone. Wells and Laxe. You can make it. She takes a deep breath, centering herself. TRINITY All right -- MORPHEUS (V.O.) Go. She drops the phone. INT. HALL She bursts out of the room as Agent Brown enters the hall, leading another unit of police. Trinity races to the opposite end, exiting through a broken window onto the fire escape. EXT. FIRE E5CAPE In the alley below, Trinity sees Agent Smith staring at her. She can only go up. EXT. ROOF On the roof, Trinity is running as Agent Brown rises over the parapet, leading the cops in pursuit. Trinity begins to jump from one roof to the next, her moverents so clean, gliding in and out of each jump, contrasted to the wild jumps of the cops. Agent Brown, however, has the same unnatural grace. The METAL SCREAM of an EL TRAIN is heard and Trinity turns to it, racing for the back of the building. The edge falls away into a wide back alley. The next building is over 40 feet away, but Trinity's face is perfectly calm, staring at some point beyond the other roof. The cops slow, realizing they are about to see something ugly as Trinity drives at the edge, launching herself into the air. From above, the ground seems to flow beneath her as she hangs in flight Then hitting, somersaulting up, still running hard. COP Motherfucker -- that's impossible! They stare, slack-jawed, as Agent Brown duplicates the move exactly, landing, rolling over a shoulder, up onto one knee. Just below the building are the runbling tracks of riveted steel. The TRAIN SCREECHES beneath her, a rattling blur of gray metal. Trinity junps, landing easily. She looks back just as Agent Brown hurls through the air barely reaching the last car Agent Brown stands, yanking out a gun. Trinity is running hard as BULLETS WHISTLE past her head. Ahead she sees her only chance, 50 feet beyond the point where the train has begun to turn, there is -- A window; a yellow glow in the midst of a dark brick building. Trinity zeroes in on it, running as hard as she can, her speed compounded by the train. The SCREAM of the STEEL rises as she nears the edge where the train rocks into the turn. Trinity hurtles into the empty night space, her body leveling into a dive. She falls, arms covering her head as -- The whole world seems to spin on its axis -- And she crashes with an EXPLOSION of GLASS and WOOD, then falls onto a back stairwell, tumbling, bouncing down stairs bleeding, broken -- But still alive. Through the smashed window, she glimpses Agent Brown, still on the train, his tie and coat whipping in the wind; stone-faced, he touches his ear piece as the train slides him past the window. Trinity tries to move. Everything hurts. TRINITY Get up, Trinity. You're fine. Get up -- just get up! She stands and limps down the rest of the stairs. EXT. STREET Trinity emerges from the shadows of an alley and, at the end of the block, in a pool of white street light, she sees it. The telephone booth. Obviously hurt, she starts down the concrete walk, focusing in completely, her pace quickening, as the PHONE begins to RING. Across the street, a garbage truck suddenly u-turns, its TIRES SCREAMING as it accelerates. Trinity sees the headlights on the truck arcing at the telephone booth as if taking aim. Gritting through the pain, she races the truck -- Slamming into the booth, the headlights blindingly bright, bearing down on the box of Plexiglas just as -- She answers the phone. There is a frozen instant of silence before the hulking mass of dark metal lurches up onto the sidewalk -- Barreling through the booth, bulldozing it into a brick wall, smashing it to Plexiglas pulp. After a moment, a black loafer steps down from the cab of the garbage truck. Agent Smith inspects the wreckage. There is no body. Trinity is gone. His jaw sets as he grinds his molars in frustration. AGENT JONES walks up behind him. AGENT SMITH Did you get anything from the room? AGENT JONES Their next target. The name is Neo. The handset of the pay phone lays on the ground, separated in the crash like a severed limb. AGENT SMITH We'll need a search running. AGENT JONES It's already begun. We are SUCKED TOWARDS the mouthpiece of the phone, CLOSER and CLOSER, UNTIL the smooth gray plastic spreads out like a horizon and the small HOLES WIDEN until we fall through one -- Swallowed by the darkness that becomes -- A computer screen. We are on-line, inside a chat room called "The Matrix." It is an exklusive web-site where hackers hang out. SCREEN JACKON: I heard Morpheus has been on this board. SUPERASTIC: Morpheus doesn't even exist and the Matrix is nothing but an advertising gimmick 4 a new game. TIMAXE: All I want to know is Trinity really a girl? LODIII: 87% of all women on line are really men. QUARK: The Matrix is a euphemism for the government. SUPERASTIC: No, The Matrix is the system controlling our lives. TIMAXE: You mean MTV. SUPERASTIC: I mean Sega. FOS4: ALL HAIL SEGA!!! We drift back from the electric conversation entering -- INT. NEO'S APARTMENT It is a studio apartirent that seems overgrown with technology. Weed-like cables coil everywhere, duct-taped into thickets that wind up and around the legs of several desks. Tabletops are filled with cannibalized equipment that lay open like an autopsied corpse. We turn towards the center of this rat-nest of technology, following the slurping and crunching of cereal. We pass an open box of Capln Crunch as we find -- NEO, a younger man who knows more about living inside a computer than living outside one. NEO Fuckin' idiots don't know shit. He finishes his cereal and is about to disconnect when an anonynous message slices onto the screen. SCREEN Do you want to know what the Matrix is, Neo? Neo is frozen when he reads his name. SCREEN SUPERASTIC: Who said that? JACKON: Who's Neo? GIBSON: This is a private board. If you want to know, follow the white rabbit. NEO What the hell... SCREEN TIMAXE: Someone is hacking the hackers! FOS4: It's Morpheus!!!!! JACKON: Identify yourself. Knock, knock, Neo. A chill runs down his spine and when someone KNOCKS on his door he almost jumps out of his chair. He looks at the door, then back at the computer but the message is gone. He shakes his head, not completely sure what happened. Again, someone knocks. Cautiously, Neo approaches the door. VOICE (O.S.) Hey, Tommy-boy! You in there? Recognizing the voice, he relaxes and opens it. ANTHONY, who lives down the hall, is standing outside with a group of friends. NEO What do you want, Anthony? ANTHONY I need your help, man. Desperate. They got me, man. The shackles of fascism. He holds up the red notice that accompanies the Denver boot. NEO You got the money this time? He holds up two hundred dollars and Neo opens the door. Anthony's girlfriend, DUJOUR, stops in front of Neo. DUJOUR You can really get that thing off, right now? ANTHONY I told you, honey, he may look like just another geek but this here is all we got left standing between Big Brother and the New World Order. EXT. STREET A police officer unlocks a yellow metal boot from the wheel of an enormous oldsmobile. INT. NEO'S APARTMENT They watch from the window as the cops, silently, robotically, climb into their van. ANTHONY Look at 'em. Automatons. Don't think about what they're- doing or why. Computer tells 'em what to do and they do it. FRIEND #l Thc banality of evil. He slaps the money in Neo's hand. ANTHONY Thanks, neighbor. DUJOUR Why don't you come to the party with us? NEO I don't know. I have to work tomorrow. DUJOUR Come on. It'll be fun. He looks up at her and suddenly notices on her black leather motorcycle jacket dozens of pins: bands, symbols, slogans, military medals and -- A small white rabbit. The ROOM TILTS. NEO Yeah, yeah. Sure, I'll go. INT. APARTMENT An older Chicago apartment; a series of halls connects a chain of small high-ceilinged rooms lined with heavy casements. Smoke hangs like a veil, blurring the few lights there are. Dressed predominantly in black, people are everywhere, gathered in cliques around pieces of furniture like jungle cats around a tree. Neo stands against a wall, alone, sipping from a bottle of beer, feeling completely out of place, he is about to leave when he notices a woman staring at him. The woman is Trinity. She walks straight up to him. In the nearest room, shadow-like figures grind against each other to the pneumatic beat of INDUSTRIAL MUSIC. TRINITY Hello, Neo. NEO How did you know that -- TRINITY I know a lot about you. I've been wanting to meet you for some time. NEO Who are you? TRINITY My name is Trinity. NEO Trinity? The Trinity? The Trinity that cracked the I.R.S. Kansas City D-Base? TRINITY That was a long time ago. NEO Gee-zus. TRINITY What? NEO I just thought... you were a guy. TRINITY Most guys do. Neo is a little embarrassed. NEO Do you want to go sorewhere and talk? TRINITY No. It's safe here and I don't have much time. The MUSIC is so loud they must stand very close, talking directly into each other's ear. NEO That was you on the board tonight. That was your note, wasn't it? TRINITY I had to gamble that you would see and they wouldn't. NEO Who wouldn't? TRINITY I can't explain everything to you. I'm sure that it's all going to seem very strange, but I brought you here to warn you, Neo. You are in a lot of danger. NEO What? Why? TRINITY They're watching you. Something happened and they found out about you. Normally, if our target is exposed we let it go. But this time, we can't do that. NEO I don't understand -- TRINITY You came here because you wanted to know the answer to a hacker's question. NEO The Matrix. What is the Matrix? TRINITY Twelve years ago I met a man, a great man, who said that no one could be told the answer to that question. That they had to see it, to believe it. Her body is against his; her lips very close to his ear. TRINITY He told me that no one should look for the answer unless they have to because once you see it, everything changes. Your life and the world you live in will never be the same. It's as if you wake up one morning and the sky is falling. There is a hypnotic quality to her voice and Neo feels the words like a drug, seeping into him. TRINITY The truth is out there, Neo. It's looking for you and it will find you, if you want it to. She takes hold of him with her eyes. TRINITY That's all I can tell you right now. Good-bye, Neo. And good luck. NEO Wait. Who was it? Who was the man? She leans close, her lips alrost touching his ear as she whispers. TRINITY You know who. She turns and he watches her melt into the shifting wall of bodies. A SOUND RISES steadily, growing out of the music, pressing in on Neo until it is all he can hear as we -- CUT TO: INT. NEO'S APARTMENT The sound is an ALARM CLOCK, slowly dragging Neo to consciousness. He strains to read the clock face: 9:15 A.M. NEO Shitshitshit. EXT. SKYSCRAPER The downtown office of CorTechs, a software development company. INT. CORTECHS OFFICE The main offices are along each wall, the windows overlooking downtown Chicago. RHINEHEART, the ultimate company man, lectures Neo without looking at him, typing at his computer continuously. Neo stares at two window cleaners on a scaffolding outside, dragging their rubber squeegees down across the surface of the glass. RHINEHEART You have a problem, Mr. Anderson. You think that you're special. You believe that somehow the rules do not apply to you. He stops, glancing over his glasses at Neo, who turns in time. RHINEHEART Obviously, you are mistaken. His long, bony fingers resume clicking the keyboard. RHINEHEART This company is one of the top software companies in the world because every single employee understands that they are a part of a whole. Thus, if an employee has a problem, the company has a problem. He turns again. RHINEHEART The time has come to make a choice, Mr. Anderson. Either you choose to be at your desk on time from this day forth, or you choose to find yourself another job. Do I make myself clear? NEO Yes, Mr. Rhineheart. Perfectly clear. INT. NEO'S CUBICLE The entire floor looks like a human honeycomb, with a labyrinth of cubicles structured around a core of elevators. Neo slumps down into his chair. A TALL EMPLOYEE stands up in the adjacent cubicle, leaning over the partition. TALL EMPLOYEE What did he say? NEO If I was late again, I'm going to be fired. He smirks. TALL EMPLOYEE Well, it was nice working with you. Neo glares at him, as he sinks down. VOICE (O.S.) Thomas Anderson? Neo turns and finds a FEDERAL EXPRESS MAN at his cubicle door. NEO Yeah. That's me. Neo signs the electronic pad and the Fedex guy hands him the softpak. FEDEX Have a nice day. He opens the bag. Inside is a CELLULAR PHONE. It seems the instant it is in his hand, it RINGS. Unnerved, he flips it open. NEO Hello? MORPHEUS (V.O.) Hello, Neo. This is Morpheus. Neo's knees give and he falls into his chair. MORPHEUS (V.O.) I had hoped for this conversation to take place under less adverse conditions, but you can never count on hope, can you, Neo? NEO ... no. MORPHEUS (V.O.) I've been watching you, Neo, and I want to meet you. I don't know if you're ready to see what I want to show you, but unfortunately, we have run out of time. They're coming for you, Neo. And I'm not sure what they're going to do. NEO Who's coming for me? MORPHEUS (V.O.) Stand up and see for yourself. NEO Right now? MORPHEUS (V.O.) Yes. Now. Neo starts to stand. MORPHEUS (V.O.) Do it slowly. Slowly. The elevator. His head slowly peeks up over the partition. At the elevator, he sees Agent Brown and Agent Jones leading a group of cops. A female employee turns and points out Neo's cubicle. Neo ducks. NEO Holy fuckin' shit! MORPHEUS (V.O.) Yes. One cop stays at the elevator, the others follow the agents. NEO What the fuck do they want with me?! MORPHEUS (V.O.) I'm not sure. But, if you don't want to find out, you better get out of there. NEO How?! MORPHEUS (V.O.) I can guide you out, but you have to do exactly what I say. The agents are moving quickly towards the cubicle. MORPHEUS (V.O.) The cubicle across from you is empty. NEO But what if...? MORPHEUS (V.O.) Go! Now! Neo lunges across the hall, diving into the other cubicle just as the agents turn into his row. Neo crams himself into a dark corner, clutching the phone tightly to him. MORPHEUS (V.O.) Stay here for a moment. The agents enter Neo's empty cubicle. A cop is sent to search the bathroom. Morpheus' voice is a whisper in Neo's ear. MORPHEUS (V.O.) A little longer... Brown is talking to the tall employee. MORPHEUS (V.O.) When I tell you, go to the end of the row to the first office on the left, stay.as low as you can. Sweat trickles down his forehead. MORPHEUS (V.O.) Now. Neo rolls out of the cubicle, his eyes popping as he freezes right behind a cop who has just turned around. Staying crouched, he sneaks away, down the row, SHOOTING across the opening to the first office on the left. The room is empty. MORPHEUS (V.O.) Good. Now there is a window. Open it. NEO How do you know all this? Morpheus laughs quietly. MORPHEUS (V.O.) The answer is coming, Neo. He opens the window. The window howls into the room. MORPHEUS (V.O.) Outside, there's a scaffold. You can use it to get to the roof. Leaning out the window, he sees that the scaffold is several offices away. NEO No! It's too far away. MORPHEUS (V.O.) There's a small ledge. It's a short climb. You can make it. Neo looks down; the building's glass wall vertigos into a concrete chasm. NEO No way, no way, this is crazy. MORPHEUS (V.O.) Don't be controlled by your fear, Neo. There are only two ways out of this building. One is that scaffold. The other is in their custody. You take a chance either way. I leave it to you. CLICK. He hangs up. Neo looks at the door, then back at the scaffold. NEO This is insane! Why is this happening to me? What did I do? I'm nobody. I didn't do anything. Fuck! Fuck! Fuck! He climbs up onto the window ledge. Hanging onto the frame, he steps onto the small ledge. The scaffold seems even farther away. NEO I'm going to die. The WIND suddenly BLASTS up the face of the building, knocking Neo off balance. Recoiling, he clings harder to the frame, and the phone falls out of his hand. He watches as it is swallowed by the distance beneath him. NEO This is insane. I can't do this! Forget it! He climbs back into the office just as a cop opens the door. NEO I didn't do anything! EXT. SKYSCRAPER The agents lead a handcuffed Neo out of the revolving doors, forcing his head down as they push him into the dark sedan. Trinity watches in the rear view mirror of her motorcycle. TRINITY Shit. INT. INTERROGATION ROOM - CLOSE ON CAMERA MONITOR A wide angle view of a white roon, where Neo is sitting at a table alone. We MOVE INTO the monitor, ENTERING the room as if the monitor were a window. At the same moment, the door opens and the agents enter. Smith sits down across from Neo. A thick manila envelope slaps down on the table between them. Neo glances at the name on the file: "Anderson, Thomas A." AGENT SMITH As you can see, we've had our eye on you for some time now, Mr. Anderson. He opens the file. Paper rattle marks the silence as he flips several pages. Neo cannot tell if he is looking at the file or at him. AGENT SMITH It seems that you have been living two lives. In one life, you are Thomas A. Anderson, program writer for a respectable software company. You have a social security number, you pay your taxes and you help your land lady carry out her garbage. The pages continue to turn. AGENT SMITH The other life is lived in computers where you go by the hacker alias Neo, and are guilty of virtually every computer crime we have a law for, including the unauthorized use of the D.M.V. system for the removal of automobile boots. Neo feels himself sinking into a pit of shit. AGENT SMITH One of these,lives has a future. One of them does not. He closes the file. AGENT SMITH I'm going to be as forthcoming as I can be, Mr. Anderson. You are here because we need your help. He removes his sunglasses; his eyes are an unnatural ice- blue. AGENT SMITH We know that you have been contacted by a certain individual. A man who calls himself Morpheus. Whatever you think you know about this man is irrelevant to the fact that he is wanted for acts of terrorism in more countries than any other man in the world. He is considered by many authorities to be the most dangerous man alive. He leans closer. AGENT SMITH My colleagues believe that I am wasting my time with you, but I believe you want to do the right thing. It is obvious that you are an intelligent man, Mr. Anderson, and that you are interested in the future. That is why I believe you are ready to put your past mistakes behind you and get on with your life. Neo tries to match his stare. AGENT SMITH We are willing to wipe the slate clean, to give you a fresh start and all we are asking in return is your cooperation in bringing a known terrorist to justice. Neo nods to himself. NEO Yeah. Wow. That sounds like a real good deal. But I think I have a better one. How about I give you the finger -- He does. NEO And you can cram that file up your Secret Service sphincter. Agent Smith puts his glasses back on. AGENT SMITH You disappoint me, Mr. Anderson. NEO You ain't seen nothing yet. AGENT SMITH The irony of your situation is that you have no choice. NEO You can't scare me with this gestapo crap. I know my rights. I want my phone call. Agent Smith smiles. AGENT SMITH And tell me, Mr. Anderson, what good is a phone call iy you are unable to speak? The question unnerves Neo and strangely, he begins to feel the muscles in his jaw tighten. The standing agents snicker, watching Neo's confusion grow into panic. Neo feels his lips grow soft and sticky as they slowly seal shut, melding into each other until all trace of his mouth is gone. Wild with fear, he lunges for the door but the agents restrain him holding him in the chair. AGENT SMITH You are going to help us, Mr. Anderson, whether you want to or not. Smith nods and the other two rip open his shirt. From a case taken out of his suit coat, Smith removes a long, fiber-optic wire tap. Neo struggles helplessly as Smith dangles the wire over his exposed abdomen. Horrified, he watches as the electronic device animates, become an organic creature that resembles a hybrid of an insect and a fluke worm. Thin, whisker-like tendrils reach out and probe into Neo's navel. He bucks wildly as Smith drops the creature which looks for a moment like an uncut umbilical cord -- Before it begins to burrow its, tail thrashing as it worms its way inside. INT. NEO'S APARTMENT - NIGHT Screaming, Neo bolts upright in bed. He realizes that he is home. Was it a dream? His mouth is normal. His stomach looks fine. He starts to take a deep, everything-is-okay breath, when -- The PHONE RINGS. It almost stops his heart. It CONTINUES RINGING, building pressure in the room, forcing him up out of bed, sucking him in with an almost gravitational force. He answers it, saying nothing. MORPHEUS (V.O.). This line is tapped, so I must be brief. NEO The agents -- MORPHEUS (V.O.) They got to you first, but they've underestimated how important you are. If they knew what I know, you would probably be dead. Neo feels sick. MORPHEUS (V.O.) I don't know what you are thinking right now but I want you to understand that I will not give up on you until you give up on me. Neo's throat cracks, dry as the Sahara. MORPHEUS (V.O.) Do you still want to meet? NEO ... Yes. MORPHEUS (V.O.) Take the Howard line south. CLICK. He closes his eyes, unsure of what he has done. EXT. EL TRAIN An EL TRAIN RAGES against its metal rails. INT. TRAIN It is three a.m., and the train carries the usual urban night crawlers. Neo sits alone, eyes shifting, watching everything nervously. There is a METAL BANG and TRAIN CLATTER fills the car as the door is opened. Neo turns and sees a large man enter. He is wearing sunglasses and a black leather jacket. His name is APOC and he walks straight at Neo. APOC Come with me. Neo stands just as the door at the opposite end opens and two police officers rush in, drawing their guns. Apoc grabs Neo, muscling him to the nearest exit. There is no upcoming station. Apoc yanks the emergency brake and the train buckles against its own speed. The cops are thrown back. Neo slams against the metal rail. The doors open onto nothing and just when Neo regains his balance, Apoc shoves him backwards -- He flies out from the train, arms windrilling as he falls from, the raised tracks -- Hurtling towards a busy city street when, out of nowhere, a truck races under him and -- He crashes into a large dumpster-bed filled with empty boxes. INT. TRUCK BED Still shaking his head, Neo realizes he is not alone. A man named Cabie is aiming a big gun at him. Trinity is next to him, talking into a cellular phone. TRINITY We got him. Call the chop-shop. She hangs up. TRINITY Listen to me, Neo. You have to, trust us. She tears off a long strip of black duct-tape and reaches for his face. NEO What are you doing? TRINITY This has to be done for your protection and ours. She seals his eyes shut with the tape. TRINITY You can't understand right now, but if you're not one of us, you're one of them. EXT. LOWER WACKER A featureless black van glides up to a staircase that curls down from the city's surface. trinity guides the blind Neo down the steps. The back of the van slaps open, revealing a young, skinny man who looks to be still in his teens, wearing an outfit that is a cross between a surgeon and a telephone repair man. His name is GIZMO and he smiles lewdly at Trinity, exposing his teeth that are wired with weird-looking braces. GIZMO Va va va voom. Still the hottest software around. TRINITY Hello, Gizmo. Neo hears the voices around him. GIZMO This is really the guy? The guy that Morpheus thinks -- TRINITY Yeah. GIZMO But he's so old. TRINITY Are you going to help us or aren't you? GIZMO Hacksaw. Load up the copper-top and let's get the hell outta here. Hacksaw is a huge man in a leather welder's apron. He shoulders Neo and hauls him into the van. A moment later the green lights of Lower Wacker curve over the tinted windshield as the van rushes through the underworld. INT. VAN The chop-shop is filled with electronic gadgets, wired to meters and monitors. There are shelves lined with medical supplies and rows of hanging tools, knives, cleavers, and stainless steel clamps. Neo is strapped down to an ambulance cart, listening nervously as Gizmo gets to work. GIZMO Okay, first we take a little look under the hood. He pulls up the goggles hanging at his neck and they blink to life with tiny halogen lights and lenses irising to varying levels of magnification. GIZMO You're going to feel a little prick. He inserts acupuncture-like needles into Neo's lower abdomen. The needles are wired to video monitors. Hacksaw pilots the fiber-optic lens. NEO What are you doing? TRINITY We think you're bugged. We can't take you to Morpheus until you're clean. GIZMO There it is. On a monitor, we see the bug nestled in among Neols large intestines. GIZMO Hit him with 10 ccs of local. Hacksaw loads a hypodermic needle and pumps an anesthetic around Neols navel. Using a device that looks like a miniature speculum, Gizmo inserts a knuckled dental pick. Typing into a calculator keypad wired to the pick, he automates the tip. On the monitor, we watch it telescope out and the end separate into a tiny hooked, metal claw. GIZMO Here, kitty, kitty, kitty. The claw snags hold of the bug. GIZMO Gotcha! But the bug reacts violently. Neo screams as it wraps itself around the soft tissue web of intestine. GIZMO Shit. TRINITY What's happening? GIZMO I don't know. They've never done that before. Neo writhes in pain. GIZMO Hold him down. NEO Jesus! God! TRINITY Do something! GIZMO I got it! Maybe we can stun it. TRINITY Are you crazy? That will kill him. We watch Neo, who can't see what they are talking about. GIZMO It'll work. Come on, do it or Hacksaw will. NEO Do what? The instant he hears the word, he knows. TRINITY Clear. NEO Oh, shit -- The cry is frozen in his mouth as the paddles hit his chest. Gizmo wrestles with the bug. GIZMO Hit him again! Again, the electricity convulses through him as Gizmo yanks the speculum out. GIZMO Got it! Trinity touches Neo, who is just beginning to breathe. She eases the tape off his eyes. TRINITY Neo, are you okay? He nods. TRINITY It's over. We got it. Hanging from the claw pick is the inanimate metal wire- tap. GIZMO Nasty little bugger, ain't it? INT. HOTEL LAFAYETTE The van stops in a deserted alley behind a forgotten hotel. The doors open and Trinity helps Neo get out. TRINITY Thanks for your help, Gizmo. GIZMO I just hope the man knows what he's doing. She nods then climbs out of the van. Gizmo ogles the tight leather pants. GIZMO Goddamn, what I wouldn't give for a copy of that software. Trinity turns around. TRINITY Gizmo, you don't have the hardware to handle this software. He howls with adolescent laughter as the van pulls away. Trinity turns to Neo. TRINITY Let's go. He's waiting. INT. HOTEL LAFAYETTE It is a place of putrefying elegance, a rotting host of urban maggotry. Trinity leads Neo from the stairwell down the hall of the thirteenth floor. They stop outside room 1313. TRINITY This is it. Neo can hear his own heart pounding. TRINITY Let me give one piece of advice. Be honest. He knows more than you can possibly imagine. INT. ROOM 1313 Across the room, a dark figure stares out the tall windows veiled with decaying lace. He turns and his smile lights up the room. MORPHEUS At last. He wears a long black coat and his eyes are invisible behind circular mirrored glasses. He strides to Neo and they shake hands. MORPHEUS Welcome, Neo. As you no doubt have guessed, I am Morpheus. NEO It's an honor. MORPHEUS Please. Come. Sit. He nods to Trinity. MORPHEUS Thank you, Trinity. She bows her head sharply and exits through a door to an adjacent room. They sit across from one another in cracked, burgundy- leather chairs. MORPHEUS I imagine, right now, you must be feeling a bit like Alice, tumbling down the rabbit hole? NEO You could say that. MORPHEUS I can see it in your eyes. You have the look of a man who accepts what he sees because he is expecting to wake up. A smile, razor-thin, curls the corner of his lips. MORPHEUS Ironically, this is not far from the truth. But I'm getting ahead of myself. Can you tell me, Neo, why are you here? NEO You're Morpheus, you're a legend. Most hackers would die to meet you. MORPHEUS Yes. Thank you. But I think we both know there's more to it than that. Do you believe in fate, Neo? NEO No. MORPHEUS Why not? NEO Because I don't like the idea that I'm not in control of my life. MORPHEUS I know exactly what you mean. Again, that smile that could cut glass. MORPHEUS Let me tell you why you are here. You are here because you have the gift. NEO What gift? MORPHEUS I've watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. What you can do inside a computer is not normal. I know. I've seen it. What you do is magic. Neo shrugs. NEO It's not magic. MORPHEUS But it is, Neo. It is. How else would you describe what has been happening to you? He leans forward. MORPHEUS We are trained in this world to accept only what is rational and logical. Have you ever wondered why? Neo shakes his head. MORPHEUS As children, we do not separate the possible from the impossible which is why the younger a mind is the easier it is to free while a mind like yours can be very difficult. NEO Free from what? MORPHEUS From the Matrix. Neo locks at his eyes but only sees a reflection of himself. MORPHEUS Do you want to know what it is, Neo? Neo swallows and nods his head. MORPHEUS It's that feeling you have had all your life. That feeling that something was wrong with the world. You don't know what it is but it's there, like a splinter in your mind, driving you mad, driving you to me. But what is it? The LEATHER CREAKS as he leans back. MORPHEUS The Matrix is everywhere, it's all around us, here even in this room. You can see it out your window, or on your television. You feel it when you go to work, or go to church or pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth. NEO What truth? MORPHEUS That you are a slave, Neo. That you, like everyone else, was born into bondage... ... kept inside a prison that you cannot smell, taste, or touch. A prison for your mind. Outside, the WIND BATTERS a loose PANE of glass. MORPHEUS Unfortunately, no one can be told what the Matrix is. You have to see it for yourself. NEO How? MORPHEUS Hold out your hands. In Neo's right hand, Morpheus drops a red pill. MORPHEUS This is your last chance. After this, there is no going back. In his left, a blue pill. MORPHEUS You take the blue pill and the story ends. You wake in your bed and you believe whatever you want to believe. The pills in his open hands are reflected in the glasses. MORPHEUS You take the red pill and you stay in Wonderland and I show you how deep the rabbit-hole goes. Neo feels the smooth skin of the capsules, with the moisture growing in his palms. MORPHEUS Remember that all I am offering is the truth. Nothing more. Neo opens his mouth and swallows the red pill. The Cheshire smile returns. MORPHEUS Follow me. He leads Neo into the other room, which is cramped with high-tech equipment, glowing ash-bliie and electric green from the racks of monitors. Trinity, Apoc and Cypher look up as they enter. CYPHER Shit. TRINITY I knew he would. Cypher saddles up to Morpheus, talking in a hushed tone away from, Neo. CYPHER Morpheus, I know what you believe but I think this is a mistake. We're rushing him. He's old. I'm afraid he might pop. MORPHEUS Haven't I always told you, Cypher, not to let fear control your life. Apoc, are we on-line? Neo recognizes the large man from the El train. APOC Almost. He and Trinity are working quickly, hardwiring a complex system of monitors, modules and drives. NEO Apoc? You wrote the Four Horsemen Virus. APOC That's right. MORPHEUS Neo, time is always against us. Will you take a seat there? In the center of the room sits a chair. Near the chair is an old oval dressing mirror that is cracked. MORPHEUS I imagine you know sonething about virtual reality. Neo sits and Trinity begins gently fixing white electrode disks to his head, arns, and the back of his neck. NEO A little. MORPHEUS Tell me about it. NEO Essentially, it's a hardware system that uses an apparatus; headgear, gloves and whatever to make you feel that you are in a computer program. MORPHEUS If the virtual reality apparatus, as you called it, was wired to all of your senses and controlled them completely, would you be able to tell the difference between the virtual world and the real world? NEO You might not, no. MORPHEUS No, you wouldn't. Neo whispers to Trinity. NEO You did all this? She nods, placing a set of headphones over his ears. They are wired to an old hotel phone. MORPHEUS The pill you took is part of a trace program. It's going to make things feel a bit strange. Distantly, through the ear phones, he hears Apoc POUNDING on a KEYBOARD. Sweat beads his face. His eyes blink and twitch when he notices the mirror. Wide-eyed he stares as it begins to heal itself, a webwork of cracks that slowly run together as though the mirror were becoming liquid. NEO Shit... Cypher works with Apoc checking reams of phosphorescent data. Trinity monitors Neo's electric vital signs. Neo reaches out to touch the mirror and his fingers disappear beneath the rippling surface. Quickly, he tries to pull his fingers out but the mirror stretches in long rubbery strands like mirrored-taffy stuck to his fingertips. NEO What is this? Mescaline? MORPHEUS Just relax, Neo. The strands thin like rubber cement as he pulls away, until the fragile wisps of mirror thread break. With the TINKLING of GLASS, shimmering snowflakes of electric-blinking mercury fall, hit the ground, and fade. He looks at his hand; fingers distended into mirrored icicles that begin to melt rapidly, dripping, running like wax down his fingers, spreading across his palms where he sees his face reflected. NEO Uh-oh... TRINITY It's going into replication. MORPHEUS Apoc? APOC Still nothing. Morpheus takes out a cellular phone and dials a number. MORPHEUS Tank, we're going to need the signal soon. Stay calm, Neo. The mirror gel seems to come to life, racing, crawling up his arns like hundreds of insects. NEO It's cold. The mirror creeps up his neck as Neo begins to panic, tipping his head as though he were sinking into the mirror, trying to keep his mouth up. NEO It's all over me -- Morpheus is right next to him, with the phone. TRINITY I got a fibrillation! CYPHER I knew it, I knew it... MORPHEUS Shit! Apoc? Streams of mercury run from Neo's nose. APOC Targeting... almost there. An ALARM, on Trinity's monitor ERUPTS. TRINITY He's going into arrest! CYPHER He's gonna pop! APOC Lock! I got him! MORPHEUS Now, Tank now! His eyes tear with mirror, rolling up and closing as a high-pitched ELECTRIC SCREAM ERUPTS in the headphones -- It is a piercing SHRIEK like a computer calling to another computer -- Neo's body arches in agony and we are pulled like we were pulled into the holes of the phone Sucked into his SCREAM and swallowed by darkness. INT. POWER PLANT - CLOSE ON MAN'S BODY Floating in a womb-red amnion. His body spasms, fighting against the thick gelatin. Metal tubes, surreal versions of hospital tubes, obscure his face. Other lines like IVs are connected to limbs and cover his genitals. He is struggling desperately now. Air bubbles into the Jell-O but does not break the surface. Pressing up, the surface distends, stretching like a red rubber coccon. Unable to breathe, he fights wildly to stand, clawing at the thinning elastic shroud -- Until it ruptures, a hole widening around his mouth as he sucks for air. Tearing himself free, he emerges from the cell. It is Neo. He is bald and naked, his body slick with gelatin. Dizzy, nauseous, he waits for his vision to focus. He is standing in an oval capsule of clear alloy filled with red gelatin, the surface of which has solidified like curdled milk. The IVs in his arms are plugged into outlets that appear to be grafted to his flesh. He feels the weight of another cable and reaches to the back of his head where he finds an enormous coaxial plugged and locked into the base of his skull. He tries to pull it out but it would be easier to pull off a finger. To either side he sees other tube-shaped pods filled with red gelatin; beneath the wax-like surface, pale and motionless, he sees other human beings. Fanning out in a circle, there are more. All connected to a center core, each capsule like a red, dimly glowing petal attached to a black metal stem. Above him, level after, level, the stem rises seemingly forever. He moves to the foot of the capsule and looks out. The image assaults his mind. Towers of glowing petals spiral up to incomprehensible heights, disappearing down into a dim murk like an underwater abyss. His sight is blurred and warped, exaggerating the intensity of the vision. The sound of the PLANT is like the sound of the ocean heard from inside the belly of Leviathan. Below Neo, a petal detaches from the stem, bearing away the body of an old man like an automated barge even as a new pod rises up and plugs itself into the empty space. Inside the new capsule, its surface more translucent and pinkish in color, Neo sees a small baby. From above, a machine drops directly in front of Neo. He swallows his scream as it seems to stare at him. It is almost insect-like in its design; beautiful housings of alloyed metal covering organic-like systems of hard and soft polymers. A black particle beam washes over Neo, he reacts in pain as the scanner seems to expose the nervous system wired to the coaxial cable at his cerebral cortex. At the back of the neck, the cable lock spins and opens, disengaging. The cable pulls itself free, a long clear plastic needle and cerebrum-chip slides from the anterior of Neols skull with an ooze of blood and spinal fluid. The other connective hoses snap free and snake away as -- The back of the unit opens and a tremendous vacuum, like an airplane door opening, sucks the gelatin and then Neo into a black hole. INT. WASTE LINE The pipe is a waste disposal system and Neo falls, sliding with the clot of gelatin. Banking through pipe spirals and elbows, flushing up through grease traps clogged with cily clunps of cellulite. Neo begins to drown when he is suddenly snatched from the flow of waste. The metallic cable then lifts, pulling him up into the belly of the futuristic flying nachine, hovering inside the sewer main line. INT. HOVERCRAFT The metal harness opens and drops the half-conscious Neo onto the floor. Human hands and arms help him up as he finds himself looking straight at Morpheus. Trinity and Apoc. And others, dressed in bizarre, high- tech combat gear. Morpheus smiles. MORPHEUS Welcome to the real world, Neo. Neo passes out. FADE TO BLACK. We have no sense of time. We hear VOICES whispering. MAN (O.S.) Do you think Morpheus is right? Do you think he could be the One? WOMAN (O.S.) It doesn't matter now. But if he's wrong... FADE IN: NEO'S POV Neo's eyes flutter open. We see Trinity's face above us, angelic in the fluorescent glow of a light stick. ANGLE ON NEO NEO ... am I dead? TRINITY Far from it. FADE TO BLACK. FADE IN: ANGLE ON NEO He opens his eyes again, something tingling through him. He focuses and sees his body pierced with dozens of acupuncture-like needles wired to a strange device. DOZER He needs a lot of work. MORPHEUS I know. Dozer and Morpheus are operating on Neo. NEO What are you doing? MORPHEUS Your muscles have atrophied. We're rebuilding them. Fluorescent light sticks burn unnaturally bright. NEO Why do my eyes hurt? MORPHEUS You've never used them before. Morpheus takes his sunglasses off and puts them on Neo. Neo lays back. MORPHEUS Rest, Neo. The answers are coming. INT. NEO'S ROOM Neo wakes up from a deep sleep, feeling better. He is wearing a black tank top and shorts. He begins to examine himself. There is a futuristic IV plugged into the jack in his forearm. He pulls it out, staring at the grafted outlet. He feels his bald head. His fingers find and explore the large outlet in the base of his skull. Just as he starts to come unglued, Morpheus opens the door. NEO Morpheus, what's happened to me? What is this place? MORPHEUS More important than what is when? NEO When? MORPHEUS You believe the year is 1997 when in fact it is much closer to 2197. I can't say for certain what year it is because we honestly do not know. The wind is knocked from Neo's chest. NEO That's not possible. MORPHEUS I promised you the truth, Neo, and the truth is that the world you were living in was a lie. NEO How? MORPHEUS I'll show you. INT. HOVERCRAFT Like a sleepwalker, Neo follows Morpheus through the ship. MORPHEUS This is my ship, the Nebuchadnezzar. It's a hovercraft. Small like a submarine. It's dark. It's cramped and cold. But it's home. They climb a ladder up to the main deck. INT. MAIN DECK Everyone is there. MORPHEUS This is the main deck. You know most of my crew. Trinity smiles and nods. MORPHEUS The ones you don't know. That's Mouse and Switch. The two big guys are Tank and Dozer. The names and faces wash meaninglessly over Neo. MORPHEUS And this, this is the Core. This is where we broadcast our pirate signal and hack into the Matrix. It is a swamp of bizarre electronic equipment. Vines of coaxial hang and snake to and from huge monolithic battery slabs, a black portable satellite dish and banks of little systems and computer monitors. At the center of the web, there are six ectoskeleton chairs made of a poly-alloy frame and suspension harness. Near the circle of chairs is the control console and operator's station where the network is monitored. MORPHEUS Help him, Trinity. Neo allows himself to be helped into one of the chairs. MORPHEUS Do you remember when I asked you about an apparatus that could turn a virtual reality into reality? Neo nods. MORPHEUS It's right here. He touches Neo's head. MORPHEUS And it's accessed here. Neo feels Morpheus guiding a coaxial line into the jack at the back of his neck. The cable has the same kind of cerebellum chip we saw inside the plant. MORPHEUS This will feel a little weird. There are several disturbing NOISES as he works the needle in. We MOVE IN as Neo's shoulders bunch and his face tightens into a grimace until a loud CLICK fires and his ears pop like when you equalize them underwater. He relaxes, opening his eyes as we pull back to a feeling of weightlessness inside another place -- INT. CONSTRUCT Neo is standing in an empty, blank-white space. MORPHEUS This is the Construct. Startled, Neo whips around and finds Morpheus now in the room with him. MORPHEUS It is our loading program. We can load anything from clothes, to weapons, to training simulations. Anything we need. Morpheus walks past Neo and when Neo turns he sees the two leather chairs from the hotel set up in front of a large-screen television. MORPHEUS Sit down. Neo stands at the back of the chair as Morpheus sits. NEO Right now, we're inside a computer program? MORPHEUS Wild, isn't it? Neo's hands run over the cracked leather. NEO This isn't real? MORPHEUS What is real? How do you define real? If you're talking about your senses, what you feel, taste, smell, or see, then all you're talking about are electrical signals interpreted by your brain. He picks up a remote control and clicks ON the TELEVISION. We drift through the Windy City circa 1996. MORPHEUS This is the Chicago you know. Chicago as it was at the end of the twentieth century. This Chicago exists only as part of a neural-interactive simulation that we call the Matrix. We GLIDE AT the television as he changes the channel. MORPHEUS You have been living inside Baulliaurd's vision, inside the map, not the territory. This is Chicago as it exists today. The sky is an endless sea of black and green bile. The earth, scorched and split like burnt flesh, spreads out beneath us as we ENTER the television. MORPHEUS 'The desert of the real.' In the distance, we see the ruins of a future Chicago protruding from the wasteland like the blackened ribs of a long-dead corpse. MORPHEUS We are, right now, miles below the earth's surface. The only place humans can survive outside the Matrix is underground. Still MOVING, we TURN and find Neo and Morpheus; the chairs now sitting in the middle of the black desert. Dizzy, Neo holds onto the chair. NEO What happened? MORPHEUS It started early in the twenty- first century, with the birth of artificial intelligence, a singular consciousness that spawned an entire race of machines. In his sunglasses, we see storm clouds gather. MORPHEUS At first all they wanted was to be treated as equals, entitled to the same human inalienable rights. Whatever they were given, it was not enough. In the circular window of the glasses, EXPLOSIONS light up a bloody battle field. MORPHEUS We don't know who struck first. Us or them. But sometime at the end of the twenty-first century the battle was joined. We MOVE INTO his glasses and the war surrounds us. MORPHEUS The war raged for generations and turned the face of our planet from green and blue to black and red. At last we see the Sentinels; killing machines that are at once terrifying and beautiful. They have an organic architecture like a microbiotic organism, that is perpetually in motion. The Sentinel cracks the body armor of a soldier, splitting open the soft, stearing meat inside. MORPHEUS It scorched and burned the sky. Without the sun, the machines sought out a new energy source to survive. The Sentinel locks up, as heat lightning of black ink bursts against the sky, spreading into a permanent cloud of stain. MORPHEUS They discovered a new form of fusion. All that was required to initiate the reaction was a small electric charge. Throughout human history we have been dependent on machines to survive. Fate, it seems, is not without a sense of irony. We return to the power plant that Neo escaped from where we see human beings looking almost blissful in their gelatin cocoons. MORPHEUS The human body generates more bio- electricity than a 120-volt battery and over 25,000 B.T.U.'s of body heat. Outside, spreading all around the power plant, beneath a breathing greenhouse, are the growing fields. MORPHEUS We are, as an energy source, easily renewable and completely recyclable, the dead liquified and fed intravenously to the living. Huge farm-like reapers are harvesting the crop. MORPHEUS All they needed to control this new battery was something to occupy our mind. We see inside a clear tubular husk. Floating in viscous fluid, there is a human fetus; its soft skull already growing around the brain-jack. MORPHEUS And so they built a prison out of our past, wired it to our brains and turned us into slaves. We PULL BACK to find the image is now on the television and we are again inside the white space of the Construct. NEO No! I don't believe it! It's not possible! MORPHEUS I didn't say that it would be easy, Neo. I just said that it would be the truth. The room without walls begins to spin. NEO Stop! Let me out! I want out! INT. MAIN DECK His eyes snap open and he thrashes against the chair, trying to rip the cable from the back of his neck. NEO Get this thing out of me! TRINITY Easy, Neo. Easy. Dozer holds him while Trinity unlocks it. Once it's out, he tears away from them, falling as he trips free of the harness. NEO Don't touch me! Get away from me! On his hands and knees, he reels as the world spins. Sweat pours off him as a pressure builds inside his skull as if his brian had been put into a centrifuge. CYPHER He's going to pop! Vomiting violently, Neo pitches forward and blacks out. INT. NEO'S ROOM He blinks, regaining consciousness. The room is dark. Neo is stretched out on his bed. NEO I can't go back, can I? Morpheus sitting like a shadow on a chair in the far corner. MORPHEUS No. But if you could, would you really want to? Neo isn't sure of that answer. MORPHEUS I feel that I owe you an apology. There is a rule that we do not free a mind once it reaches a certain age. It is dangerous. They have trouble letting go.. Their mind turns against them. I've seen it happen. I broke the rule because I had to. He stares into the darkness, confessing as much to himself as Neo. MORPHEUS When the Matrix was first built there was a man born inside that had the ability to change what he wanted, to remake the Matrix as he saw fit. It was this man that freed the first of us and taught us the secret of the war; control the Matrix and you control the future. He pauses. MORPHEUS When he died, the Oracle at the temple of Zion prophesied his return and envisioned an end to the war and freedom for our people. That is why there are those of us that have spent our entire lives searching the Matrix, looking for him. Neo can feel his eyes on him. MORPHEUS I did what I did, because I believe we have been brought here for a reason, Neo. You are here to serve a purpose, just as I am here to serve mine. NEO I told you I don't believe in fate. Morpheus smiles, leaning towards hin. MORPHEUS But I do, Neo. I do. He stands up. MORPHEUS Get some rest. You're going to need it. NEO For what? MORPHEUS Your training. INT. HOVERCRAFT There is no morning; there is only darkness and then the fluorescent light sticks flicker on. INT. NEO'S ROOM Neo is awake in his bed, staring up at the lights. The door opens and TA.NK steps inside. TANK Morning. Did you sleep? NEO No. TANK You will tonight. I guarantee it. I'm Tank. I'll be your operator. He offers his hand and Neo shakes it. He notices that Tank doesn't have any jacks. NEO You don't have... TANK Any holes? Nope. Me and my brother Dozer, we are 100 percent pure, old fashioned, home-grown human. Born free. Right here in the real world. Genuine child of Zion. NEO Zion? TANK Zion is the place, man. You'll see it one day. Last human city. All we got left. Tank smiles. TANK Goddamn, I got to tell you I'm fairly excited to see what you are capable of. I mean if Morpheus is right and all. We're not supposed to talk.about any of that, but if you are, well then this is an exciting time. We got a lot to do so let's get to it. INT. MAIN DECK Neo is plugged in, hanging in one of the suspension chairs. TANK We're supposed to load all these operations programs first, but this is some major boring shit. Why don't we start something a little fun? Tank smiles as he plops into his operator's chair. He begins flipping through a tall carousel loaded with micro discs. TANK How about sore combat training? Neo reads the label on the disk. NEO Jiujitsu? I'm going to learn jujitsu? Tank slides the disk into Neo's supplement drive. NEO No way. Smiling, Tank punches the "load" code. His body jumps against the harness as his eyes clamp shut. The monitors kick wildly as his heart pounds, adrenaline surges, and his brain sizzles. An instant later his eyes snap open. NEO Holy shit! TANK Hey, Mikey, he likes it! Ready for more? NEO Hell yes! INT. MAIN DECK - CLOSE ON COMPUTER MONITOR - LATER as grey pixels slowly fill a small, half-empty box. It is a meter displaying how much download time is left. The title bar reads: "Combat Series 10 of 12," file categories flashing beneath it: Savate, Jujitsu, Ken Po, Drunken Boxing... Morpheus walks in. MORPHEUS How is he? Tank looks at his watch, rubs his eyes. TANK Ten hours straight. He's a machine. Neo's body spasms and relaxes as his eyes open, breath hissing from his lips. He looks like he just orgasmed. He locks at Morpheus. NEO This is incredible. I know Kung Fu. Morpheus sits in the drive chair next to hin. He nods to Tank. MORPHEUS Show me. INT. DOJO They are standing in a very sparse japanese-style dojo. MORPHEUS This is a sparring program, similar to the programmed reality of the Matrix. Consider this your first lesson. He assumes a fighting stance. MORPHEUS Attack me. Neo assumes a similar stance, cautiously circling until he gives a short cry and launches a furious attack. It is like a Jackie Chan movie at high speed, fists and feet striking from every angle as Neo presses his attack -- But each and every blow is blocked by effortless speed. INT. MAIN DECK While their minds battle in the programmed reality, the two bodies appear quite serene, suspended in the drive chairs. Tank monitors their life systems noticing that Neo is wildly and chaotically lit up as opposed to the slow and steady rhythm of Morpheus. INT. MESS HALL Dinner is up. Everyone is eating bowls of single-cell protein. It has a cottage cheese consistency. MOUSE bursts in the room. MOUSE Morpheus is fighting Neo! All at once they bolt for the door. INT. DOJO Neo's face is knotted, teeth clenched, as he hurls himself at Morpheus. MORPHEUS Good. Adaption. Improvisation. But your weakness isn't your technique. Morpheus attacks him and it is like nothing we have seen. His feet and fists are everywhere taking Neo apart. For every blow Neo blocks, five more hit their marks until -- Neo falls. Panting, on his hands and knees, blood spits fror, his mouth speckling the white floor of the Dojo. MORPHEUS How did I beat you? NEO You -- You're too fast. MORPHEUS Do you think my being faster, stronger has anything to do with my muscles in this place? Neo is frustrated, still unable to catch his breath. MORPHEUS Do you believe that's air you are breathing now? Neo squints at him. MORPHEUS If you can free your mind, the body will follow. Neo stands, nodding. MORPHEUS Again. Their fists fly with pneumatic speed. INT. MAIN DECK Everyone is gathered behind Tank, watching the fight, like watching a game of Mortal Combat. CABLE Jeezus Keerist! That boy is fast! MOUSE You ever seen anyone that fast that soon, Tank? TANK Never. APOC Morpheus is right. He's got to be the one. INT. DOJO The speed of the blows rises like a drum solo that seems impossible to sustain. Neo's face sheds its mask of calm with a scream. He wants to beat Morpheus bad. Finally a single blow catches Morpheus on the side of the head, knocking his glasses off. INT. MAIN DECK There are several gasps. MOUSE I don't believe it! INT. DOJO Morpheus rubs his face. MORPHEUS You are angry with me. Neo pants. NEO I, uh... maybe. MORPHEUS It's all right. It's natural. NEO I feel better. MORPHEUS Good, good. Anger is a gift, Neo, but it's a heavy one. Morpheus smiles. MORPHEUS Tank, load the jump program. Neo straightens as the dojo DISSOLVES away like a curtain lifting, leaving the two men now standing on a building rooftop in a city skyline. MORPHEUS You have to learn to let go of that anger. You must let go of everything. A WIND HOWLS, whipping Morpheus' long coat to the side. MORPHEUS You must empty yourself to free your mind. Morpheus spins, running hard at the edge of the rooftop. And jumps. He sails through the air, his coat billowing out behind him like a cape -- Somersaults once and lands on the rooftop across the street. NEO Shit. Neo looks down at the street twenty floors below, then at Morpheus an impossible fifty feet away. NEO Okie dokie. He takes a deep breath. NEO Yeah. Free my mind. Right. No problem. He concentrates. Runs. INT. MAIN DECK They are transfixed. CABLE He's gonna make it. APOC No way. Not possible. MOUSE No one's ever made their first jump. SWITCH What if he does? APOC He won't. TANK It's never been done. Trinity stares at the screen, her fists clenching as she whispers. TRINITY Come on. EXT. ROOFTOP Summoning every ounce of strength in his legs, Neo launches himself into the air in a single maniacal shriek -- But comes up drastically short. His eyes widen as he plummets. Stories fly by, the ground rushing up at him, but as he hits -- The ground gives way, stretchinp like a trapeze net. He bounces and flips, slowly coming to a rest, flat on his back. He laughs, a bit unsure, wiping the wind-blown tears from his face. Morpheus exits the building and helps him to his feet. MORPHEUS Everyone falls the first time. Neo nods quietly. MORPHEUS If you never know failure, how can you know success? INT. MAIN DECK They break up. MOUSE What does it mean? CABLE It doesn't mean anything. CYPHER Everyone falls, right, Trinity? But Trinity has left. Neo's eyes open as Tank eases the plug out. He tries to move and groans, cradling his ribs. While Tank helps Morpheus, Neo spits blood into his hand. NEO I thought it wasn't real. Neo stares at the blood. NEO If you are killed in the Matrix, you die here? MORPHEUS The body cannot live without the mind. INT. NEO'S ROOM Trinity enters from the hall, carrying a try of food. TRINITY Neo, I saved you some dinner -- She sees him passed out on the bed. She sets the tray down and pulls the blanket over him. She pauses, her face close to his, then inhales lightly, breathing in the scent of him, before slowly pulling away. It seems the moment she closes the door, he wakes with a start, unsure of where he is. After a moment, he gets out of bed. INT. HALL The ship is quiet and dark. Everyone is asleep. INT. MAIN DECK The core glows with monitor light. Cypher is in the operator's chair as Neo cones up behind him. CYPHER Whoa! Shit, Neo, you scared the bejeezus out of ne. NEO Sorry. CYPHER No, it's all right. NEO What are you doing? CYPHER Midnight watch. Neo's eyes light up as he steps closer to the screens that seem alive with a constant flow of data. NEO Is that... ? CYPHER The Matrix? Yeah. The monitors are packed with bizarre codes and equations. CYPHER You want a drink? He pours Neo a drink from a large plastic jug. CYPHER I'll tell you, I feel for you, man. I really do. Most of us were still young, just punks, when Morpheus jacked us. But you, you had a real life. Neo takes a sip and it almost kills him. Cypher pounds on his back. CYPHER Good shit, huh? Dozer makes it. It's good for two things: degreasing engines and killing brain cells. Red-faced, Neo finally stops coughing. CYPHER Did he tell you why he did it? Neo nods. CYPHER, I'll be the didn't tell you that this wasn't the first time he thought he found the One. Neo shakes his head as Cypher fills his cup and laughs. CYPHER Let me give you a piece of advice. Between you and me, if Morpheus says you can fly, I wouldn't go jumping out any windows to find out if he's right. Understand? Cypher raises his drink. Neo swallows another throat- scorching mouthful. CYPHER Welcome to the real world! INT. RESTAURANT (MATRIX) - NIGHT CHAMBER MUSIC and the ambiance of wealth soak the room as we watch a serrated knife saw through a thick, gorgeous steak. CYPHER That's what he said to me nine years ago. The meat is so perfect, charred on the outside, oozing red juice from the inside, that it could be a dream. CYPHER The real world. Ha, what a joke. We recognize the grating voice, the insidious laugh. CYPHER You know what real is? I'll tell you what real is. A fork stabs the cube of meat and we FOLLOW it UP TO the face of Cypher. CYPHER Real is just another four-letter word. He laughs, shoving the steak into his mouth. The restaurant is located on the top floor of a Chicago skyscraper where the view is breathtaking and the menu has no prices. Sitting across from Cypher is Agent Smith. AGENT SMITH Do we have a deal, Mr. Reagan? Cypher chews the steak loudly, smacking it between his teeth. CYPHER Mmm, so, so fucking good. Smith watches him shovel another hunk of meat into his mouth. CYPHER You know, I know that this steak doesn't exist. I know when I put it in my mouth, the Matrix is telling my brain that it is juicy and delicious. After nine years, do you know what I've realized? Pausing, he examines the meat skewered on his fork. He pops it in, eyes rolling up, savoring the tender beef melting in his mouth. CYPHER Ignorance is bliss. AGENT SMITH Then we have a deal? CYPHER I don't want to remember nothing. Nothing! You understand? And I want to be rich. Someone important. Like an actor. You can do that, right? AGENT SMITH Whatever you want, Mr. Reagan. Cypher takes a deep drink of wine. CYPHER All right. You get my body back in a power plant, reinsert me into the Matrix and I'll get you what you want. AGENT SMITH Access codes to Zion. CYPHER I told you, I don't know them. But I can give you the man who does. AGENT SMITH Morpheus. INT. MAIN DECK Sweat dapples his lip as Neo snaps out of the construct coma. NEO Jeez, I was wondering about that. TANK What? NEO Why I was bald here but not in the Matrix. TANK R.S.I. NEO Residual self image. TANK Good. Now what's this? He points to one of Neo's monitors. NEO Life systems monitor, glucose levels. TANK What's that? NEO Main power supply to the core. He follows Tank to the operator's station where he points to a red key-switch. TANK How about this? NEO Mainframe self-destruct. Uses all remaining power to generate an... E.M.P? TANK Electromagnetic pulse. Our best weapon against the machines. The problem is if someone is still in the Matrix when that thing goes off, they're not coming back. Neo nods as Morpheus comes up behind them. MORPHEUS How's he doing? TANK We just finished the operation programs and he's showing great retention. MORPHEUS Good. I want everyone alerted to 12-hour stand-by. We're going in. Neo, it's time for you to know why you're here. Morpheus walks away. NEO What's he talking about? TANK He's taking you into the Matrix to see her. NEO See who? TANK The Oracle. Neo looks down at the monitor teeming with Matrix data that seems to coalesce, equations giving way to images as a METAL SCREAM RISES BECOMING -- EXT. CHICAGO (MATRIX) - DAY An El train. INT. HOTEL LAFAYETTE (MATRIX) - DAY The room is empty, heavy curtains covering windows. It looks as if it hasn't been touched in years. In the bedroom with the cracked oval mirror an old black PHONE begins to RING. In the mirror, we first glimpse them and as we keep TURNING, the room fills with equipment and the team. Morpheus answers the phone. MORPHEUS We're in. He hangs up. MORPHEUS Mouse and Cable hold the exit. Let's go. INT. STAIRWELL (MATRIX) - DAY Neo follows the others down the stairwell that winds around an antique elevator shaft. NEO Did you have to do this? TRINITY Yeah. NEO What did she tell you? TRINITY Lots of things. NEO Any of them true? Trinity looks at him, then looks away. TRINITY Some of them. GIZMO Were they good or bad? TRINITY There's no point in worrylng. Whatever is going to happen is going to happen. They cross the old lobby. Switch and Apoc stop at the doors. MORPHEUS We should be back in an hour. EXT. HOTEL LAFAYETTE (MATRIX) - DAY Neo squints into the sun that seems unnaturally bright. He is the only one without sunglasses. MORPHEUS Do you now understand what it means when we say, if you're not one of us, you're one of them? NEO The agents. They're sentient programs. They can commandeer any software hardwired to the mainframe. MORPHEUS Anyone that is still in a power plant. That is why we try to be invisible in the Matrix. NEO The best hacking is always traceless. Cypher and Trinity move away from them, securing the perimeter. As Cypher passes a garbage can, he surreptitiously drops something inside. It is a cellular phone and we watch the blue display as the LINE CONNECTS. An early 1970s, black Lincoln Continental emerges from a corrugated roll-up garage. Morpheus and Neo get in. INT. LINCOLN CONTINENTAL (MATRIX) - DAY An enormous man is waiting for them. A wad of chewing tobacco bulges his cheek. He spits into a Coke can. MOJO Morpheus, been a long time coming. MORPHEUS You're looking well, Mojo. Mojo coughs a brown, cankerous laugh, juice speckling his chin and shirt. He stares at Neo. MOJO You bringing us geriatrics now. Morpheus? He spits and laughs again. MOJO Guess you are locking for a miracle. EXT. BAR (MATRIX) - DAY The Continental pulls up to a bar in the kind of neighborhood where every corner has a pair of eyes. INT. BAR (MATRIX) - DAY A lightless, lower-class bar. No one enters that is not expected. The front doors open in a brilliant burst of sunlight as Mojo leads Morpheus and Neo inside. Neo looks around, his eyes adjusting to the darkness. Mojo talks to the bartender, then looks over. MOJO All right, it's cool. Go on back. They weave their way to the back of the bar, the STICKY FLOOR SNAPPING under their FEET. A monolith of a man rises from his stool as they walk up. REX You're late. He moves to the side, opening the heavy iron door behind him. They descend the basement staircase toward the single bare bulb at the bottom, hanging above the only door. INT. BASEMENT (MATRIX) - DAY A high-tech laptop and modem are set up on a stack of milk crates. Neo waits as Morpheus types in a series of access codes. After a moment the screen blinks, "Welcome Morpheus." Morpheus walks back to the same door they entered, but it now leads into -- INT. TEMPLE OF ZION (MATRIX) - DAY The walls and floors are polished marble. Neo follows, his mouth agape. NEO What -- what happened? MORPHEUS This is the temple. It is a part of Zion's mainframe. It's hidden inside the Matrix so that we can access it. Two PRIESTESSES are waiting in the antechamber. PRIESTESS Hello, Morpheus. We've been expecting you. MORPHEUS Okay, you're on your own. Go with them. They take Neo by the arm, leading him down a hall into another room. PRIESTESS Wait here. Among the other Potentials. INT. ROOM OF POTENTIALS (MATRIX) - DAY Neo enters and finally understands the attention given to his age. The Potentials are all little children. The room feels at once like a Buddhist temple and a kindergarten class. The children's heads are either shaved or thick with dreadlocks. Some are playing, others meditating or practicing their gift. Neo watches a little girl levitate wooden alphabet blocks. A skinny BOY holds a SPOON which sways like a blade of grass as he bends it with his rnind. Neo crosses to him, sits. The Boy smiles as Neo picks up a spoon and tries to imitate him. Despite his best efforts, Neo cannot make it bend. SPOON BOY Your spoon does not bend because it is just that, a spoon. Mine bends because there is no spoon, just my mind. Neo watches as it curls into a knot. SPOON BOY Link yourself to the spoon. Become the spoon and bend yourself. Neo nods, again holding up his spoon. NEO There is no spoon. Right. He concentrates. The spoon begins to bend just as the Priestess touches his shoulder. PRIESTESS The Oracle will see you now. Spoon Boy smiles. INT. SHRINE (MATRIX) - DAY Neo enters nervously. Beneath his feet is a path of the zodiac leading to marbled stairs that rise to a dais and a three-legged throne. The throne is empty. NEO Hello? A DISTANT FEMALE VOICE calls to him and he follows it up the stairs. At the top of the dais, he smells something cooking. Following the scent, he moves behind the pillars where he finds an open door. VOICE (O.S.) Just come on in. He walks through a vestibule where he sees a fabulous moonstone headdress and velvet robes. A second door leads into -- INT. ORACLE'S CHAMBERS (MATRIX) - DAY It looks like a suburban tract house. There is a lot of cozy furniture, a dining roon hutch filled with china, shelves and tables crowded with doilies, knick-knacks and ceramic brick-a-brack. Neo follows the plastic carpet runner to the kitchen. A WOMAN is huddled beside the oven, peering inside through the cracked door. NEO Hello? ORACLE (WOMAN) I know. You're Neo. Be right with you. NEO You're the Oracle? ORACLE Bingo. I got to say I love seeing you non-believers. It's really a relief. All that pomp and circumstances just plain tucker me out. Almost done. Smell good, don't they? NEO Yeah. ORACLE I'd ask you to sit down, but you're not going to anyway. And don't worry about the vase. NEO What vase? He turns to look around and his elbow knocks a VASE from the table. It BREAKS against the linoleum floor. ORACLE The vase. NEO Shit, I'm sorry. She pulls out a tray of chocolate chip cookies and turns. She is an older woman, wearing big oven mitts, comfortable slacks and a print blouse. She looks like someone's grandma. ORACLE I said don't worry about it. I'll get one of my kids to fix it. NEO How did you know...? She sets the cookie tray on a wooden hot-pad. ORACLE What's really going to bake your noodle later on is, would you still have broken it if I hadn't said anything. Smiling, she lights a cigarette. ORACLE You're cuter than I thought. I see why she likes you. NEO Who? ORACLE Not too bright, though. She winks. ORACLE You know why Morpheus brought you to see me? NEO I think so. ORACLE So? What do you think? You think you're the one? NEO I don't know. She gestures to a wooden plaque, the kind every grandma has, except that the words are in Latin. ORACLE You know what that means? It's Latin. Means, 'Know thyself.' She puts her cigarette down. ORACLE Well, let's have a look at you. She widens his eyes, checks his ears, then feels the glands in his neck. ORACLE Open your mouth. Say, 'ahhh.' She nods then looks at his palms. ORACLE Hmmm. You sure got the gift, but it's tricky. I'd say the bad news is, you're not the one. Still got a lot to learn. Maybe next life. NEO What's the good news? ORACLE Same as the bad news, you're not the one. NEO Is that it, then? ORACLE No. Here. She picks up the tray of cooling cookies. ORACLE You better take a cookie. Got a big day ahead of you. He eyes her, then takes a cookie. ORACLE Make a believer out of you yet. INT. ANTECHAMBER (MATRIX) - DAY Morpheus rises from a bench as the Priestess escorts Neo out. When they are alone, Morpheus puts his hand on Neo's shoulder. MORPHEUS You don't have to tell me anything, Neo, because I already know what she said. NEO You do? MORPHEUS I brought you so that you could hear it for yourself. I knew it would help. Neo finishes his cookie. MORPHEUS No one will ever ask you because it is a gift from her. It is for you and you alone. EXT. CITY STREET (MATRIX) - DAY Storm clouds shroud the streets as the sky turns jaundice. Cypher nervously glances down the surrounding streets. He notices several unmarked white vans. He mops the sweat from his forehead, when Trinity sees the black Lincoln. TRINITY Here they come. INT. MAIN DECK In the hovercraft, we see the sweat rolling down Cypher's face and neck. Tank is typing rapidly at the keyboard. TANK Weird. This area never has this much activity. EXT. HOTEL LAFAYETTE (MATRIX) - DAY Apoc opens the side door and they enter the hotel. INT. ROOM 1313 (MATRIX) - DAY Mouse's CELLULAR RINGS. MOUSE Welcome to Movie-Phone. TANK (V.O.) They're on their way. MOUSE Right. The phone flips shut as he jumps up. MOUSE Let's get to work. INT. HOTEL LAFAYETTE (MATRIX) - DAY Light filters down the throat of the building through a caged skylight at the top of the open elevator shaft. Four figures glide up the dark stairs that wind around the antique elevator. Neo notices a black cat, a yellow-green-eyed shadow that slinks past them and pads quickly down the stairs. A moment later, Neo sees another black cat that looks and moves identically to the first one. NEO Whoa. Deja vu. Those words stop the others dead in their tracks. INT. MAIN DECK The monitors suddenly glitch as though the Matrix had an electronic seizure. TANK Oh, shit! Oh, shit! INT. HOTEL LAFAYETTE (MATRIX) - DAY Trinity turns around, her face tight. TRINITY What did you just say? NEO Nothing. Just had a little deja vu. TRINITY What happened? What did you see? NEO A black cat went past us and then I saw another that looked just like it. TRINITY How much like it? Was it the same cat? NEO It might have been. I'm not sure. Trinity looks at Morpheus, who listens quietly to the rasping breath of the old building. NEO What is it? TRINITY A deja vu is usually a glitch in the Matrix. It happens when they change something. She also listens as the staccato BEAT of HELICOPTER BLADES GROW ominously LOUDER. INT. MAIN DECK Tank sees what was changed. TANK It's a trap! INT. STAIRCASE (MATRIX) - DAY Morpheus looks up the stairs as a helicopter shadow passes over the clouded glass. MORPHEUS Come on! INT. ROOM 1313 (MATRIX) - DAY Cable goes to the draped windows. CABLE Did you just feel something weird? MOUSE Yeah... The CELLULAR RINGS. INT. BASEMENT (MATRIX) - DAY Heavy bolt-cutters snap through the main phone cable. INT. ROOM 1313 (MATRIX) - DAY Mouse answers the phone. MOUSE What's going on? TANK (V.O.) They cut the hard-line! It's a trap! Get out! Cable yanks open the curtain. CABLE Oh, no. The windows are bricked up. INT. HALL (MATRIX) - DAY The door to the roof explodes open as heavily-armed rnen rush towards room 1313. INT. MAIN DECK Tank watches helplessly. TANK No, no, no. INT. ROOM 1313 (MATRIX) - DAY The door slams open and the police force pours in, dozens of assault rifles surrounding Mouse and Cable who are armed with only handguns. CABLE Morpheus! It's a trap -- INT. STAIRS (MATRIX) - DAY Morpheus stops as the scream is drowned by the REPORT of MACHINE GUNS filling the building with a terrible fury. TRINITY Oh, God. INT. MAIN DECK Mouse's body thrashes against its harness as -- INT. ROOM 1313 (MATRIX) - DAY BULLETS POUND him against the blood-splattered brick window. Gun smoke thickens the room, Cable blasting and moving until -- The HAMMER CLICKS empty. He screams as a DOZEN GUNS OPEN FIRE, ripping him apart. INT. MAIN DECK Blood spits from Cable's mouth, his body spasming, then lying perfectly still. The flat-line ALARM softly cries out from the life MONITORS of the two dead men. EXT. HOTEL LAFAYETTE (MATRIX) - DAY More police cars arrive as cops break open the lobby doors. INT. STAIRWELL (MATRIX) - DAY Flying downstairs, Morpheus stops, hearing the police swarming below. He turns and rushes down the hall of the eighth floor. At the end of it, he finds the bricked-up windows. CYPHER That's what they changed. We're trapped. There's no way out. The sound of heavy BOOT-STEPS close around them with the mechanical sureness of a vice. MORPHEUS Give me your phone. TRINITY They'll be able to track it. MORPHEUS We have no choice. INT. MAIN DECK Tank answers the call. MORPHEUS (V.O.) Tank, find a structural drawing of this building and find it fast. His fingers pound the keyboard. INT. LAFAYETTE (MATRIX) - DAY Flashlights probe the rotting darkness as the police search every floor. INT. MAIN DECK The diagram windows onto the screen. TANK Got it. MORPHEUS (V.O.) I need the main wet-wall. INT. HALL (MATRIX) - DAY Agent Smith pauses, his hand going to his earpiece. INT. ROOM 808 (MATRIX) - DAY Morpheus is guided by Tank. TANK (V.O.) Now left and that's it in front of you. MORPHEUS Good. He cuts off the phone. INT. HALL (MATRIX) - DAY Agent Smith hears the LINE CLICK dead. AGENT SMITH Eighth floor. They're on the eighth floor. INT. HALL (MATRIX) - DAY Agent Brown hears Smith on his earphone. AGENT BROWTJ Eighth floor! Move! INT. STAIRWELL (MATRIX) - DAY Cops flood the eighth floor, rushing everywhere. INT. ROOM 808 (MATRIX) - DAY Several cops sweep through the room. It is empty. As they pass the bathroom, we see a man-sized hole smashed through the plaster and lathe. INT. WALL (MATRIX) - DAY They are inside the main plumbing wall, slowly worming their way down the greasy, black stack pipes. Above them, light fills the hole they made to get inside. INT. HALL (MATRIX) - DAY Brown turns to Smith. AGENT BROWN Where are they? INT. ROOM 608 (MATRIX) - DAY The cops search in silence, straining for a clue, when one hears SOMETHING STRANGE near the bathroom. INT. WALL (MATRIX) - DAY Cypher has slipped and is wedged between the wall and several thick supply pipes. INT. ROOM 608 (MATRIX) - DAY The Cop leans in, his ear almost against the thin membrane of plaster separating them. He can hear WHISPERS, HISSES and a GRUNT when -- The WALL suddenly bulges, SHATTER-CRACKING as the Cop realizes -- COP They're in the walls! INT. WALL (MATRIX) - DAY Neo pulls Cypher free just as the Cop OPENS FIRE -- BULLETS PUNCHING shafts of light like swords into the box of soot-black space. INT. ROOM 608 (MATRIX) - DAY The Cop keeps FIRING, his flashlight strapped to his gun barrel, lighting up the wall until -- A BULLET spits out his forehead. Agent Smith watches the BODY fall with a THUD. AGENT SMITH Are orders that hard to follow? I'll say it again. Morpheus must be taken alive. Understand? INT. WALL (MATRIX) - DAY They're almost falling, they're climbing so fast. Above them, plaster is smashed open as crunbling bits shower down on them, filling the crawlway with dust. INT. ROOM 608 (MATRIX) - DAY Agent Smith looks into the open wall, at the exposed intestines of the building, and realizes where they are going. AGENT SMITH How like a rodent. INT. WALL (MATRIX) - DAY Just below, a RIFLE-BUTT SMASHES open the WALL, light raking across the lathe. COP I got him! I got him! Trinity finds her gun first. BULLET-HOLES POP out the WALL as she STRAFES the room, sending cops diving for cover. They continue, Trinity exposed for a roment, when a creeping cop smashes a fist through and grabs a fistful of her hair. He starts to yank her out when Neo kicks, his boot bursting through plaster and splintering lathe, knocking the Cop out. They then quickly sink out of sight. INT. BASEMENT (MATRIX) - DAY This part of the basement, a dark concrete cavern, was the main mechanical room. There are four enormous boilers, dinosaur-like technology that once pumped hot water like arteries. Black and bloody, they squeeze out from the ceiling into the tangled web of pipes. Their enemies are waiting for them. Blinding lights cut open the darkness as gas-masked figures FIRE GRENADE LAUNCHERS. Smoke blossoms from the green-metal canisters. Morpheus never stops moving. Searching the floor, he finds what.he needs; the cover of the catch basin. Cypher watches him pry open the grate, when a gas can bounces near him. MORPHEUS Come on! Cypher seems to trip as the cloud envelops him. INT. MAIN DECK Cypher's body begins to shiver uncontrollably. TANK Nerve gas. INT. BASEMENT (MATRIX) - DAY Morpheus watches Cypher disappear into the smoke then follows the others down the wet-black hole. INT. CATCH BASIN (MATRIX) - DAY They crawl through greasy black water in a three foot diameter pipe that feeds into the sewer main. INT. BASEMENT (MATRIX) - DAY Gas-masked apparitions find the open hole. EXT. HOTEL LAFAYETTE (MATRIX) - DAY Cypher is carried out, hand-cuffed, his body still shaking, mucus bubbling out his nose. As he is led past Agent Smith, it almost seems that both men smile. AGENT SMITH We have them now. INT. SEWER MAIN (MATRIX) - DAY Neo punches out the screen and then spills down into the main water trough. Oily water forms around them as they wade across the man- made underground river, towards the service catwalk. Neo is about to pull himself out when he sees them coming. Flashlights and laser sites sweep at them as cops in helmets and heavy armor, looking more nachine than human, fill both ends of the tunnel. There is a single manhole cover above them. Morpheus whispers to Trinity. MORPHEUS You have to get Neo out. Understand? That's all that matters now. TRINITY Morpheus, don't -- MORPHEUS He must get out. Do you understand me? She nods. A font of water erupts as Morpheus leaps for the manhole ladder, his coat flying open like the wings of a manta ray. COPS There he is! That's him! Pools of light wash over him as he hauls himself to the surface. COP He's heading for the street! Trinity urges the others to follow her. Grabbing Neo, they wade quietly away from the chaos. EXT. STREET (MATRIX) - DAY Morpheus shoots out of the sewer but the police are waiting for him. The closest cop is armed with a tranquilized gun. He fires -- But Morpheus' is too fast, using the manhole cover as a shield, blocking the darts, then -- Frisbee-ing it into the cop's armored chest, knocking him off his feet. The cops lunge at him but every part of his body is a deadly weapon moving with impossible speed. It seems he might fight his way out when he throws a spinning back fist that is caught by -- Agent Smith. AGENT SMITH So, we meet at last. MORPHEUS And you are? AGENT SMITH Smith. I am Agent Smith. MORPHEUS You all look the same to me. AGENT SMITH I've been waiting for this noment. Faster than a snake spits, Morpheus cracks Smith with a jaw-breaking right. MORPHEUS Oh, so have I. Agent Smith smiles. INT. SEWER MAIN (MATRIX) - DAY Trinity leads the others, fading into the darkness of the tunnel, lit only with shafts of lights streaming through the street drains as we RISE TOWARDS them -- THROUGH a grate INTO the fight. EXT. STREET (MATRIX) - DAY Smith and Morpheus exchange a furious serious of blows that is witnessed but not believed by the surrounding police. Agent Smith delivers a punishing kick that staggers Morpheus. AGENT SMITH You can't win. Morpheus smiles. MORPHEUS I already have. He stands up and drops his fists; a steely resolve in his eyes. AGENT SMITH Take him. Cops swarm over Morpheus. INT. MAIN DECK Tank reaches out to the screen as if reaching for Morpheus. TANK No! EXT. HOTEL LAFAYETTE (MATRIX) - DAY Cuff ed and beaten, Morpheus is thrown into a caged transport vehicle. The DOOR CLANGS shut. Agent Jones finds Agent Smith. AGENT JONES The others were lost. AGENT SMITH You've taken care of Reagan? Agent Jones nods. AGENT SMITH Then the others do not matter. EXT. STREET (MATRIX) - DAY A manhole cover cracks open. Two eyes peek out just as a TRUCK RATTLES over it. The THUNDER DOPPLERS AWAY and the cover opens. Neo, Trinity, Switch and Apoc climb out. Trinity pulls a water-logged phone from her pocket. TRINITY We need a phone. INT. MAIN DECK Tank is again at the monitors, searching the Matrix. TANK We gotta find the others. They're still alive. The PHONE RINGS. TANK Operator. CYPHER (V.O.) I need an exit! Fast! TANK Cypher? I thought they had you? EXT. STREET (MATRIX) - DAY Cypher is standing at a public phone. Across the street is the burning paddy wagon that appears to have collided witli an oncoming car. CYPHER There was an accident. A fucking car accident. All of a sudden. Boom. They're all dead. I still got the shakes but, Jesus, someone's going to make a believer out of me. INT. MAIN DECK Dozer spots the wreck. DOZER There he is. TANK I got you. CYPHER (V.O.) Just get me outta here. EXT. STREET (MATRIX) - DAY TANK (V.O.) Nearest exit is Franklin and Erie. An old appliance store. Cypher hangs up and smiles as the fire trucks arrive. CYPHER An actor. Definitely. INT. MAIN DECK The PHONE RINGS. Tank answers. TANK Operator. TRINITY (V.O.) Tank, it's me. EXT. STREET (MATRIX) - DAY They are outside a pawn shop. Trinity has a new cellular. TRINITY We need an exit! TANK (V.O.) Gotcha. You're not far from Cypher. TRINITY Cypher, I thought -- TANK (V.O.) So did we. That boy's got nine lives. I sent him to Franklin and Erie. TRINITY Got it. She hangs up. EXT. STREET (MATRIX) - DAY Running, Cypher turns onto Erie. INT. APPLIANCE STORE (MATRIX) - DAY Dead machines, eviscerated and shrouded with dust lay on metal shelves like bodies in a morgue. Plywood covering a small window is ripped off and Cypher crawls inside. Deep in the back room, a PHONE that has not rung in years begins to RING. INT. MAIN DECK Tank punches the emit command. TANK Got him. Cypher's body twitches in its harness, jerking itself awake. His eyes blink open. Dozer unplugs him. DOZER System check looks fine. Cypher stands, a raspy cough spewing from his lungs. EXT. STREET (MATRIX) - DAY Trinity sees the appliance shop. INT. MAIN DECK Cypher holds his chest. DOZER You okay? CYPHER Goddamn gas. My lungs are killing me. He crosses to an overhead bin. CYPHER We got any pain killers? DOZER The first aid kit's over here. As Dozer stoops for a cabinet, Cypher pulls back a heavy blanket exposing a plasma rifle. INT. APPLIANCE STORE (MATRIX) - DAY Neo crawls through the window that Cypher opened. INT. MAIN DECK Tank finishes loading the exit programs as Cypher rises behind him, swinging the weapon at his back. He looks over as Dozer turns with the first aid kit, a look of frozen disbelief crossing his face -- DOZER No! Tank spins as red hot wads of PLASMA EXPLODE through his chair and into his back. Diving, a second BURST tears up his side -- As Dozer shoots a look at the monitor where Tank was working. He stabs the enter command activating the exit sequence and ducks under a BARRAGE of PLASMA FIRE- INT. APPLIANCE STORE (MATRIX) - DAY The PHONE begins to RING as the others crawl in. SWITCH God, I love that sound. INT. MAIN DECK Dozer rolls up, grabbing a heavy crowbar from a box of tools. Cypher circles the drive chairs as the sights of the plasma rifle find Dozer's face. Dozer charges, screaming, and the PLASMA RIFLE SCREAMS back. INT. APPLIANCE STORE (MATRIX) - DAY The PHONE is still RINGING. TRINITY You first,.Neo. Neo answers the phone when there is a CLICK. There is no signal. Nothing but silence. TRINITY What happened? NEO I don't know. It just went dead. Trinity listens to the dead line and takes out the cellular. INT. MAIN DECK The operator PHONE begins to RING- Cypher steps over the body of Tank and looks at the monitor. INT. APPLIANCE STORE (MATRIX) - DAY Trinity can almost feel him watching them. Every unanswered RING wrings her gut a little tighter, until -- CYPHER (V.O.) Hello, Trinity. TRINITY Cypher? Where's Tank? CYPHER (V.O.) He had an accident. TRINITY An accident? What about Dozer? Is Dozer there? INT. MAIN DECK He walks over to Trinity's body, staring down at it hanging in its coma-like stillness. CYPHER You know, for a long time, I thought I was in love with you, Trinity. I used to dream about you... He nuzzles his face against hers, feeling the softness of it. CYPHER You are a beautiful woman. Too bad things had to work out like this. We INTERCUT BETWEEN the appliance store and the main deck. TRINITY You killed them. APOC What?! SWITCH Oh God. Wearing Tank's operator headgear, Cypher moves among the silent bodies. CYPHER In a way you're very lucky. Most people never know why they die. One minute they're alive, the next they're dead. No warning. Nothing. That's why I thought maybe I should tell you. It seemed the least I could do. He stands over the body of Morpheus, as his anger boils up out of him. CYPHER You see, the truth, the real,truth is that the war is over. It's been over for a long time. And guess what? We lost! Did you hear that? We lost the war! TRINITY What about Zion? CYPHER Zion? Zion is a part of this delusion. More of this madness. That's why this has to be done. It has to end. Now and forever. She suddenly sees the entire dark plan. TRINITY Oh rny God. This is abzut Zion. You gave them Morpheus for the access codes to Zion. Cypher walks away from Morpheus and bends down next to Apoc's body. CYPHER You see, Trinity, we humans have a place in the future. But it's not here. It's in the Matrix. TRINITY The Matrix isn't real! CYPHER Oh, I disagree, Trinity. I disagree. I think the Matrix is more real than this world. I mean, all I do is pull a plug here. But there, you watch a man die. He grabs hold of the cable in Apoc's neck, twists it and yanks it out. CYPHER You tell me which is more real. Apoc seems to go blind for an instant, a scream caught in his throat, his hands reaching for nothing, and then falls dead. Switch screams. CYPHER Welcome to the real world, right? He laughs. TRINITY Somehow, some way, you're going to pay for this. CYPHER Pay for it? I'm not even going to remember it. It'll be like it never happened. The tree falling in the forest. It doesn't make a sound. His hand slides around the neck of Switch as he takes hold of her plug. She suddenly feels her body severed from her mind as she is murdered. TRINITY Goddamn you, Cypher! CYPHER Don't hate me, Trinity. I'm just the messenger. And right now I'm going to prove that the message is true. He stands over Neo. CYPHER If Morpheus was right, then there's no way I can pull this plug, is there? She turns to Neo, eyes wide with fear, and he knows he is next. CYPHER If he is the One, then in the next few seconds there has to be some kind of miracle to stop me. Because if he dies like the others that means Morpheus was wrong. How can he be the One if he's dead? He takes hold of the cord when -- She hears an EXPLOSION and a scream. Cypher is on the ground, his left leg blown off at the knee. He rolls over and finds Tank on the ground, and the sights of the plasma rifle. TANK How's it feel, Cypher? Knowing you're about to die? NEO It's Tank! He's alive. Cypher lunges for Neo's plug just as Tank BLOWS his head off. INT. APPLIANCE STORE (MATRIX) - DAY They're both listening, trying to figure out what is happening when the store PHONE starts to RING. Trinity smiles, tears moistening her eyes as Neo throws his arms around her. For a moment, it looks as if they might kiss before Trinity lets go. TRINITY We should, we should hurry. NEO Yeah. Right. INT. MAIN DECK Trinity's eyes open, a sense of relief surging through her at the sight of the ship. As Tank unplugs her, she sees his charred wounds. TRINITY Tank, you're hurt. TANK I'll be all right. TRINITY Dozer? Tank's face tightens. TRINITY I'm sorry, Tank. EXT. NIKO HOTEL (MATRIX) - DAY A Japanese luxury hotel in downtown Chicago. A military helicopter sets down on the roof. Heavily armed Marines begin to deploy. Agent Jones gets out of the helicopter, flanked by columns of Marines. They open the roof access door and enter the top-floor maintenance level of the hotel. INT. TOP FLOOR (MATRIX) - DAY They get in the elevator. At every door, at least two Marines stop and post guard. INT. HALL (MATRIX) - DAY They exit the elevator and walk to the Presidential suite; the final two Marines post guard. INT. PRESIDENTIAL SUITE (MATRIX) - DAY Inside, he finds Agent Smith. AGENT JONES There is a problem. Reagan has failed to secure the hardware. Agent Smith stares out the window. AGENT SMITH Never send a human to do a machine's job. AGENT JONES But if Reagan has failed, why haven't they pulled the plug? AGENT SMITH Haven't you learned by now, that it is impossible to understand why they do the things they do? He turns. AGENT SMITH Continue as planned. Trace his signal to locate their position and deploy an extermination unit. Morpheus is handcuffed to a chair, stripped to the waist. He is bleeding from numerous wounds and is pumped full of serum, alternately shivering and sweating. He is hooked up to various monitors with white disk electrodes. Agent Brown begins running a trace program. INT. MAIN DECK Neo looks at Morpheus whose body is covered with a cold sweat. NEO What are they doing to him? TANK They're cracking his mind. NEO How? TANK They inject virus-like serums to break down the system. It's like cracking a computer. All it takes is time. NEO How much time? TANK Depends on the mind. But eventually, it will crack and his alpha pattern will change from this to this. Tank punches several commands on Morpheus' personal unit. The monitor waves change from a chaotic pattern to an orderly symmetrical one. TANK When it does, Morpheus will tell them anything they want to know. NEO The access codes to Zion. TANK If an agent got inside Zion's mainframe he could do anything. Disable the defense system. It would be the end of us. He looks up at Trinity who is pacing relentlessly. TANK We can't let that happen. We have to do it, Trinity. Zion has to be protected. Trinity sees Cypher's dead body. Rage overtakes her and she starts kicking hin. TRINITY Goddamnit! Goddamnit! TANK We have to pull the plug. TRINITY No! TANK We don't have any other choice. Those words are like using gasoline to put out a fire and we watch the pain in her eyes burn into a blaze. She walks past him and gets into her chair. TANK Trinity, what are you doing? TRINITY I'm going in after him. TANK Morpheus could conform at any minute -- TRINITY If he does I'm sure you'll do what has to be done. TANK You saw that place. It's suicide. She glares at him. TANK I know what Morpheus means to you -- TRINITY No. No, I don't think you do. If you did, then you would know that I'm not letting him go. Not without a fight, Tank. She yanks her harness tight. TRINITY Not without a fight. INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Smith stands in the bedroon of the enormous suite, staring out the windows at the city, below, shimmering with brilliant sunlight. AGENT SMITH Have you ever stood and stared at it, Morpheus? Marveled at its beauty. Its genius. Billions of people just living out their lives... oblivious. Agent Brown sucks a serum from a glass vial, filling a hypodermic needle. AGENT SMITH Did you know that the first Matrix was designed to be a perfect human world? Where none suffered, where everyone would be happy. It was a disaster. No one would accept the program. Entire crops were lost. Agent Brown jams the needle into Morpheus' shoulder, and plunges down. AGENT SMITH Some believed we lacked the programming language to describe your perfect world. But I believe that, as a species, human beings define their reality through suffering and misery. Agent Brown studies the screens as the life signs react violently to the injection. AGENT SMITH The perfect world was a dream that your primitive cerebrum kept trying to wake up from. Which is why the Matrix was re-designed to this: the peak of your civilization. He turns from the window. AGENT SMITH I say 'your civilization' because as soon as we start thinking for you, it really becomes our civilization, which is, of course, what this is all about. He sits down directly in front of Morpheus. AGENT SMITH Evolution, Morpheus. Evolution. He lifts Morpheus' head. AGENT SMITH Like the dinosaur. Look out that window. You had your time. Morpheus stares hard at him, trying hard not to show the pain racking his mind. AGENT SMITH The future is our world, Morpheus. The future is our time. INT. MAIN DECK Neo goes to his chair and begins strapping in. TRINITY What do you think you're doing? NEO You need help. I'm coming with you. TRINITY No. No way. Morpheus sacrificed himself so you could escape. There's no way you're going back in. NEO Morpheus did what he did because he believed that I'm something that I'm not. TRINITY What? NEO I'm not the One, Trinity. The Oracle told me. Trinity is stunned. NEO She said I had a gift but I still had a lot to learn. She told me maybe next life. TRINITY Did you tell Morpheus? NEO Why? It wouldn't mean anything. He'd still believe what he wanted to believe. But Morpheus is the one that matters. He's more important than me and we both know it. He straps in. NEO I may not be what Morpheus thinks I am, but if I don't try to help him, then I'm not even what I think I am. TRINITY What are you? NEO His friend. INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Smith sits casually across from Morpheus who is hunched over, his body leaking and twitching. AGENT SMITH I'd like to share a revelation that I've had during my time here. It came to me when I tried to classify your species. I've realized that you are not actually mammals. The life signs continue their chaotic patterns. AGENT SMITH Every mammal on this planet instinctively develops a natural equilibrium with the surrounding environment. But you humans do not. You move to an area and you multiply and multiply until every natural resource is consumed and the only way you can survive is to spread to another area. He leans forward. AGENT SMITH There is another organism on this planet that follows the same pattern. Do you know what it is? A virus. He smiles. AGENT SMITH Human beings are a disease, a cancer of this planet. You are a plague. And we are... the cure. INT. MAIN DECK Trinity and Neo hang motionless in the suspension unit. Tank is at the operations station. TANK Okay. Store's open. What do you need? TRINITY (V.O.) Guns. Lots of guns. TANK Coming right up. He loads the weapons disk. INT. CONSTRUCT Racks of weapons appear and Neo and Trinity arm themselves. TRINITY No one has ever done anything like this. NEO Yeah? He snap cocks an Uzi. NEO That's why it's going to work. INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Smith is again at the window. AGENT SMITH Why isn't the serum working? AGENT BROWN Perhaps we are asking the wrong questions. AGENT JONES Or he doesn't know. AGENT SMITH Of course he knows. He's resisting. AGENT BROWN How? AGENT SMITH I don't know. If I knew... Agent Smith hides his knotting fist. He is becoming angry. It is something that isn't supposed to happen to agents. AGENT SMITH Leave me with him. Agent Brown and Jones look at each other. AGENT SMITH Now! INT. MAIN DECK Tank sits down beside Morpheus whose face is ashen like someone near death. He takes hold of his hand. TANK Hold on, Morpheus. They're coming for you. They're coming. EXT. NIKO HOTEL (MATRIX) - DAY A dark wind blows. INT. NIKO HOTEL (MATRIX) - DAY In long, black coats, Trinity and Neo push through the revolving doors. Neo is carrying a duffel bag. Trinity has a large metal suitcase. They cut across the lobby drawing nervous glances. Dark glasses, game faces. Several plainclothes cops try to stop them. They are met by the MUTED SPIT of a SILENCED GUN and the RAZORED WHISTLE of THROWING STARS. The cops slump down to the marbled floor while Neo and Trinity do not even break stride. INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Smith leans close to Morpheus, whispering to him. AGENT SMITH Can you hear me, Morpheus? I'm going to be honest with you. He removes his earphone, letting it dangle over his shoulder. AGENT SMITH I hate this place. This zoo. This prison. This reality, whatever you want to call it, I can't stand it any longer. It's the smell, if there is such a thing. I feel saturated by it. I can taste your stink and every time I do, I fear that I've somehow been infected by it. He wipes sweat from Morpheus' forehead, coating the tips of his fingers, holding them to Morpheus' nose. AGENT SMITH Repulsive, isn't it? He lifts Morpheus' head, holding it tightly with both hands. AGENT SMITH I must get out of here, I must get free. In this mind is tlie key. My key. Morpheus sneers through his pain. AGENT SMITH Once Zion is gone, there's no need for me to be here. Do you understand? I need the codes. I have to get inside Zion. You have to tell me how. He begins squeezing, his fingers gouging into his flesh. AGENT SMITH Tell me! Tell me! The skull is about to shatter when Agents Jones and Brown burst into the room. Agent Smith releases Morpheus. AGENT BROWN What were you doing? Agent Smith recovers, replacing his ear piece. AGENT JONES You don't know. AGENT SMITH Know what? Agent Smith listens to his earphone, not believing what he is hearing. INT. ELEVATORS (MATRIX) - DAY They get in. Trinity immediately drops and opens the suitcase, wiring a plastique and napalm bomb. Beneath their trench coats is an arsenal of weapons slung from climbing harnesses. Neo hits the emergency stop. He pulls down part of the false ceiling and finds the elevator shaft access panel. INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Jones looks at Morpheus. AGENT JONES I think they're trying to save him. INT. ELEVATOR SHAFT (MATRIX) - DAY Neo ratchets down a clamp onto the elevator cable. Both of them lock on. He looks up the long, dark throat of the building and takes a deep breath. NEO There is no spoon. Neo whips out his gun and presses it to the cable, lower than where they attached themselves. BOOM! The CABLE SNAPS. The counter-weights plummet, yanking Trinity and Neo up through the shaft as -- The elevator falls away beneath them, distending space, filling it with the sound of WHISTLING METAL as they soar to the top. INT. LOBBY (MATRIX) - DAY The ELEVATOR hits the botton. BA-BOOM! The massive EXPLOSION blows open the doors, fire clouds engulfing the elevator section of the lobby. INT. PRESIDENTIAL SUITE (MATRIX) - DAY The Agents hear the BLAST AND FIRE ALARMS. AGENT JONES Lower level -- AGENT BROWN They are actually attacking. INT. ELEVATOR SHAFT (MATRIX) - DAY Hanging by a rope, Trinity hot-wires the panel for the door. INT. TOP FLOOR (MATRIX) - DAY Nervous, the Marines watch as the ELEVATOR "DINGS" softly and slides open. Black smoke rises out of the exposed shaft. The nearest Marine eases to the edge, peering down at the churning blaze engulfing the lower levels. He does not see Trinity and Neo above him until it is too late. Krack! Neo kicks, knocking the Marine flying down into the shaft. Before the others can react, Trinity flips out into the hall, decking the nearest Marine. Neo cracks another. The fight is over before it begins. INT. PRESIDENTIAL SUITE (MATRIX) - DAY An enormous EXPLOSION THUNDERS above them, shaking the building. The ALARM SOUNDS, emergency sprinklers begin showering the room. Agent Smith smashes a table. AGENT SMITH Find them and destroy them! Agent Jones nods and touches his ear piece. EXT. ROOF (MATRIX) - DAY The roof-access tower is now engulfed in flames as Neo and Trinity lay waste to a dozen more Marines. Guns and knives, like extensions of their bodies used with the same deadly precision as their feet and their fists. Across the roof, the pilot inside the army helicopter watches the ferocious onslaught. PILOT I repeat, we are under attack! Suddenly his face, his whole body dissolves, consumed by spreading locust-like swarm, of STATIC as -- Agent Jones emerges. Just as she drops the last Marine, Trinity sees what's coming. Neo sees her, the fear in her face, and he knows what is behind him. Screaming, he whirls, GUNS filling his hands with thought-speed. Fingers PUMPING, SHELLS ejecting, dancing up and away, we look through the sights and gun smoke at -- The Agent blurred with motion -- Until the HAMMERS CLICK against empty metal. NEO Trinity! Agent Jones charges. NEO ... help. His GUN BOOMS as we enter the liquid space of -- Bullet-time. The AIR SIZZLES with wads of lead-like angry flies as Neo twists, bends, ducks just between them. Agent Jones still running, narrows the gap, the BULLETS coming faster until -- Neo bent impossibly back, one hand on the ground as a spiraling gray ball shears open his shoulder. He starts to scream as another digs a red groove across his thigh. He has only time to look up, to see the barrel when Agent Jones, standing over him, pulls the TRIGGER the final time. CLICK. Empty. Neo rolls, reaching for another gun when around-house kick snaps his jaw. Agent Jones grabs the gun and levels it at Neo. AGENT JONES Only human... Suddenly Agent Jones stops. Something is wrong. He scans the roof. Trinity is gone. Immediately, he whirls around and turns straight into the muzzle of her .45 -- Jammed right into his head. TRINITY Dodge this, motherfucker! BOOM! BOOM! BOOM! The body flies back with a flash of mercurial light and when it hits the ground -- It is the pilot. Trinity helps Neo up. NEO Thanks. TRINITY You're hit -- NEO I'm fine. Neo is already looking at the helicopter. NEO Can you fly that thing? TRINITY Not yet. She pulls out a cellular phone. INT. HOVERCRAFT Tank is back at the controls. TANK Operator. TRINITY (V.O.) Tank, I need a pilot program for a military M-109 helicopter. Tank is immediately searching the disk drawers. TRINITY (V.O.) Hurry! His fingers flash over the gleaming laser disks, finding one that he feeds into Trinityls supplement drive, punching the "load" cormands on her keyboard. EXT. ROOF (MATRIX) - DAY Trinity's eyes flutter as information surges into her brain, all the essentials of flying a helicopter absorbed at light-speed. TRINITY Let's go. INT. HALL (MATRIX) - DAY Marines, trying to communicate with the men on the roof, are beginning to panic when Agent Jones comes around the corner. SERGEANT Sir! Sir! There was gunfire -- we've lost communication with the roof! AGENT JONES Remain at your posts. SERGEANT But, sir -- the fire -- we should evacuate! AGENT JONES You will do as you are ordered! SERGEANT Yes, sir. Agent Jones marches into the Presidential Suite. INT. PRESIDENTIAL SUITE (MATRIX) - DAY Agent Jones throws open the bedroom door and enters, walking through the puddles pooling in the carpet. Over the RUSHING WATER and the ALARMS, Agent Smith hears a SOUND and understands the seriousness of the attack. He turns to the wall of windows as the helicopter drops INTO VIEW -- Neo is in the back bay, aiming the mounted .50 machine gun. AGENT SMITH No. The GUN jumps and BULLETS EXPLODE through the WINDOW in a cacophony of CRASHING GLASS -- As the Agents go for their weapons. But Neo is too close, the .50 CALIBER too fast and BULLETS are everywhere, perforating the room. Agent Smith is hit first, his body jack-knifing back, blood arcing out with a sudden flash of light -- Then Agent Brown, his GUN still FIRING as his body falls. And finally Agent Jones. Neo stares at Morpheus, trying to will him into action. NEO Get up, Morpheus! Get up! Morpheus sits unmoving, his head still down. Neo grabs the climbing rope just as marines burst into the adjoining room. He attaches only one end to his harness when they OPEN FIRE. Quickly he swings the GUN, SPRAYING the other room, WINDOWS SHATTERING, FURNITURE EXPLODING, marines diving for cover. INT. HALL (MATRIX) - DAY Just outside the Presidential Suite, three marines blister with snow-static. INT. PRESIDENTIAL SUITE (MATRIX) - DAY Morpheus lifts his face into the room's rain. His eyes, still white, begin to blink, twitch, then close. And when he opens them, they are again dark and flashing with fire. The Agents knife into the room, FIRING even as Neo's BULLET TRAILS chase them. Morpheus strains at his handcuffs. The Agents and the marines turn the tide, BLASTING LEAD, RICOCHETING, POCK-MARKING the COPTER. FIRING wildly, Neo turns to see Morpheus rising, snapping the handcuffs, starting for the window. Agent Smith stops and sees Morpheus run past the open bedroom door. AGENT SMITH Nooo! He FIRES, sweeping across the sheetrocked wall in a perfect line. For an instant, we see the BULLETS SHRED, PUNCTURING the WALL, searing through the wet air with jet trails of chalk. And as Morpheus starts to dive for the window, a bullet buries itself in his leg -- Knocking him off balance. NEO He won't make it. Morpheus lunges, out of control -- As Neo spins, every move a whip crack -- Snapping the other rope-end onto a bolted bar. Morpheus begins to fall when Neo hurls himself into the wide blue empty space -- Flying for a moment. The rope snaking out behind him; an umbilical cord attached to a machine. As their two bodies, set in motion, rushing at each other on a seemingly magnetic course until -- They collide. Almost bouncing free of each other, arms, legs, scrambling, hands searching in furious desperation, finding hold and clinging. Until the line ends, snapping taut, cracking their fragile embrace. Morpheus tumbles, legs flipping over, falling down -- The ground deliriously distant -- As Neo snatches hold of his mentor's still handcuffed wrist. NEO Gotcha! Trinity is already pulling the copter up and away. As Agent Smith grabs the M-16 from the nearest marine. He'll bring them all down. Targeting the helicopter, he aims at something only he can see: the oil line. PONK. PONK. PONK. The rear HULL is PUNCHED full of holes and smoke and oil pours out like black blood. TRINITY Shit-shit-no! Neo is pulling Morpheus up to him when he hears the HELICOPTER BEGIN TO DIE. NEO Oh fuck. Trinity throws the helicopter towards the roof of the nearest building. Morpheus and Neo cling to one another as they and the machine above them begin to fall. The ENGINE GRINDS, the CHOPPING BLADES start to slow while -- The Agents stand in the open shattered window, watching the helicopter disappear behind taller buildings. Carried by its nomentum, Trinity guides the parabolic fall over the nearest roof where -- Neo and Morpheus drop safely, rolling free as the rope goes slack. Neo gets to his feet, trying to detach himself but -- The helicopter is falling too fast, arcing over the roof like a setting sun -- The coils of slack snap taught -- Yanking Neo off his feet, dragging him with ferocious speed towards the edge even as -- Trinity lunges for the back door, her gun in one hand, grabbing for the rope with the other -- Neo flies like a skipping stone, hurtling straight AT us, when his feet hit the rain gutter -- A fulcrum that levers him up just as -- Trinity FIRES, severing the cord from the HELICOPTER, falling free of it as it SMASHES, blades first into a glass skyscraper. Holding onto the rope she swings, connected to Neo, who stands on the building's edge watching her arc beneath him as the HELICOPTER EXPLODES -- She bounces against a shatterproof window that spider- cracks out while FLAMES ERUPT behind her. INT. MAIN DECK Tank stares at the screen, his mouth agape. TANK He's the One. He's got to be... EXT. ROOFTOP (MATRIX) - DAY Neo pulls Trinity up into his arms. Both shaking, they hold each other again. MORPHEUS I knew it! I goddamn knew it! TRINITY Morpheus! She runs at him, throwing her arms around him. MORPHEUS Do you believe me now? He's the One! Who else could have done this? NEO Morpheus, I know you won't believe me but the Oracle told ne I'm not the One. MORPHEUS It doesn't matter if I don't believe you -- His eyes light up. MORPHEUS What matters is that you don't believe her. INT. MAIN DECK The PHONE RINGS. TRINITY (V.O.) Tank, get us out of here. TANK Got one ready. An underground El station. State and Balbo. TRINITY (V.O.) See ya soon. LINE GOES DEAD. Tank looks at the bodies and smiles. TANK See ya soon. EXT. ROOFTOP (MATRIX) - DAY The rope is all that remains. Agent Smith can barely control his anger. AGENT BROWN The trace was completed. AGENT JONES We have their position. AGENT BROWN The extermination unit is in place. AGENT JONES Order the strike. Agent Smith can't stand listening to them. He moves to the edge of the building, looking out at the surrounding city. AGENT SMITH They're not out yet. INT. "EL" STATION (MATRIX) - DAY A metal gate is locked, the sign reading, "Station Closed." Neo looks around, takes out a GUN and BLOWS OFF the LOCK. In the moist underground distance they hear the MUTED RING of a TELEPHONE. The PHONE is RINGING inside a graffiti-covered booth. Across from it, sitting hunched against the red concrete wall, is an OLD MAN. He stares at the RINGING PHONE, taking a final pull off his T-bird. No one is around. It continues to RING. Determined, he stands and walks to the booth. He is about to answer the phone, when Neo sees him. NEO Don't! The Old Man stops, Neo rushes at hin, gliding smoothly over the turnstiles. OLD MAN I'm sorry -- I didn't mean! The Old Man is shaking, terrified. Neo looks at his gun. He glances over his shoulder, then eases back the hammer. NEO Get outta here. Okay? Run! Go! The Old Man nods, turns and hurries deeper into the urban cave, disappearing into the shadows as Trinity and Morpheus arrive. TRINITY What happened? Was that -- NEO It was nobody. Neo turns to the RINGING BOOTH. NEO Let's go! You first, Morpheus. Morpheus gets in and answers the phone. Lost in the shadow, the Old Man turns back and watches as Morpheus disappears, the phone dropping, dangling by its cord. His eyes grow wide, glowing white in the dark. EXT. ROOFTOP (MATRIX) - DAY Agent Smith stares, his face twisted with hate. He will never be free of the Matrix. He starts to turn from the edge of the building when he suddenly hears it, his head whipping back around, staring -- INT. "EL" STATION (MATRIX) - DAY As the Old Man stares. Trinity hangs up the phone. She turns to Neo, standing close enough to kiss him. TRINITY Morpheus is right, you know. It doesn't matter what he believes or even what the Oracle believes. What matters is what you believe. NEO I believe... He stares at the fullness of her lips. NEO I want to kiss you. She smiles. TRINITY I want to kiss you too... The PHONE begins to RING. TRINITY But I want it to be real. She pulls herself away and gets into the booth when something catches Neo's eye and he looks to where the Old Man had been. She hears him SCREAM and sees Agent Smith emerge as if formed by congealing darkness, charging with a fistful of metal. The GUN FIRES, the BULLET flying at her, BURSTING through the plastic WINDOW just as -- Trinity disappears. The handset hanging in the air as the BULLET HITS, SHATTERING the EAR-PIECE. INT. HOVERCRAFT Trinity blinks, shivering as her conscious exits the Construct. TRINITY Neo! TANK What the hell just happened? TRINITY An Agent! You have to send me back! TANK I can't! INT. "EL" STATION (MATRIX) - DAY GUN REPORT THUNDERS through the underground, both men BLASTING, moving at impossible speed. For a blinking noment we enter BULLET-TIME. Gun flash tongues curl from Neols gun, bullets float forward like a plane noving across the sky, cartridges cartwheel into space. An instant later they are nearly on top of each other, rolling up out of a move that is almost a mirrored reflection of the other -- Each jamming their gun tight to the other's head. They freeze in a kind of embrace; Neo sweating, panting, Agent Smith machine-calm. Agent Smith smiles. AGENT SMITH You're empty. Neo pulls the TRIGGER. CLICK. NEO So are you. The smile falls. Agent Smith yanks his TRIGGER. CLICK. Agent Smith's face warps with rage and he attacks, fist flying at furious speed, blows and counters, Neo retreating as -- A knife-hand opens his forearm, and a kick sends him slamming back against a steel column. Stunned, he ducks just under a punch that crunches into the beam, STEEL CHUNKS EXPLODING like shrapnel. Behind him, Neo leaps into the air, delivering a neck- snapping reverse round-house. Agent Smith's glasses fly off and he glares at Neo; his eyes, ice blue. AGENT SMITH You can't win. NEO I already have. He attacks with a vicious series of blows but the Agent seems to absorb them, waiting for his opening. And this time Agent Smith's attack is too much, an unrelenting fury, fists pounding like jackhammers. INT. HOVERCRAFT Trinity watches Neo as his body jerks, mouth coughing blood, his life signs going wild. TRINITY Jesus, he's killing him! INT. "EL" STATION (MATRIX) - DAY Agent Smith grabs hold of him, lifting him into the air, hurling him against the curved wall of the train tunnel, where he falls inches from the electrified third-rail. The Agent is about to jump down, and press his attack when he hears sonething. From deep in the tunnel, like an animal cry; a burst of high-speed METAL GRINDING against METAL. The sound of an ON-COMING TRAIN. INT. HOVERCRAFT Tank is trying to find another entrance. TRINITY Send me back, Tank! Anywhere! TANK I'm looking, Trinity! I'm looking! From the cockpit, an ALARM sounds. Morpheus hurries to the front console, typing, bringing up the radar. Trinity follows him. TRINITY What is it... oh no. In every pipe surrounding them, they see the Extermination Unit. TRINITY Sentinels. INT. SEWER MAIN The killing machine we saw in the History Program blister by us like tracer bullets shot down the throat of the abyss. INT. "EL" STATION (MATRIX) - DAY Neo tries to get up. Agent Smith jumps down onto the tracks and drop-kicks him in the face. The world begins to shake, RUMBLING as the TRAIN NEARS. AGENT SMITH Do you hear that, Mr. Anderson? Agent Smith grabs Neo in a choke-hold, forcing him to look down the tracks, the train's headlight burning a hole in the darkness. AGENT SMITH That is the sound of inevitability. Neo sees it coming and he starts to fight. AGENT SMITH It is the sound of your death. There is another METAL SCREECH, MUCH LOUDER, closer, as Agent Smith tightens his hold. Neo is unable to breathe. AGENT SMITH Goodbye, Mr. Anderson. The TRAIN ROARS at them, swallowing Agent Smith's words. The veins bulge in Neo's head, as he grits through the pain. He is not ready to die. NEO My name is Neo. Impossibly, he hurls himself straight up, smashing Smith against the concrete ceiling of the tunnel. They fall as the sound and fury of the TRAIN EXPLODES INTO the station. Neo back-flips up off the tracks just as -- The train barrels over Agent Smith. Neo stands, knees shaking, when the train slams on its emergency brake. With an ear-splitting SHRIEK of TORTURED RAILS, the train slows, part of it still in the station. Neo turns, limping, starting to run, racing for the escalator -- As the train comes to a stop and the doors of the last car open; Agent Smith bursts out in furious pursuit, his glasses again intact. INT. HOVERCRAFT Morpheus checks the ship's self destruct key. TRINITY You can't use that until Neo is out! MORPHEUS I know. Don't worry, he'll make it. EXT. CITY STREET (MATRIX) - DAY A man sits in his Mercedes, talking on his car phone when his door is thrown open. Neo yanks him out and jumps in. Further down the street, Agent Smith slows, calmly touching his ear-piece. Neo throws the car across traffic, rocketing down a side- street. INT. CAR (MATRIX) - DAY Driving like a demon with one hand, he grabs the car phone and dials long distance. INT. HOVERCRAFT Tank answers. TANK Operator. NEO (V.O.) Mr. Wizard, Get me the fuck out of here! INT. CAR (MATRIX) - DAY Looking over his shoulder, watching the mirrors, Neo drives almost unconsciously. NEO Hurry, Tank! I got some serious pursuit! INT. HOVERCRAFT The keyboard clicking, Tank searches for an exit. Trinity screams into the headset. TRINITY Neo, you better get your ass back here! INT. CAR NEO I'm trying, Trinity. I'm trying. TANK (V.O.) I got one! Neo glances to his right and sees Agent Brown, now driving the car beside his. Agent Brown swerves, slamming into him. TANK (V.O.) Wabash and Lake. A hotel. Neo fights the steering wheel as Agent Brown pushes the car up over the median. TANK (V.O.) Room 303. Neo drops the phone as his car bucks into the opposing lane -- Directly into the charging path of an enormous truck driven by Agent Smith. Neo dives from the Mercedes as the truck plows into it, rending metal and GLASS, crushing through, totaling other cars, as it EXPLODES. Neo is up and running even as orange and black clouds billow up behind hin. EXT. CITY STREET (MATRIX) - DAY Three figures silhouette by the burning wreckage become the three agents. Further down the street, Neo hauls his broken, bleeding ass. Agents Brown and Smith slow, touching their ear-pieces as Agent Jones continues chasing full-bore. Neo spins around a corner, racing toward a hotel called: the Heart of Chicago Hotel. Only Agent Jones is behind him now. Neo dives into the alley. At the far end he sees Agent Brown charging. Neo leaps for the fire escape and begins to climb. INT. SEWER MAIN Sentinels open and shift like killer kaleidoscopes as they ready their weapons, swarming around the Nebuchadnezzar. INT. HOVERCRAFT The hovercraft booms as machines drop onto it. TANK I'm going to make the call. MORPHEUS Do it! INT. "HEART OF CHICAGO" HOTEL (MATRIX) - DAY Agent Snith is in the elevator when he hears the DISTANT RING of a PHONE. EXT. ALLEY (MATRIX) - DAY The agents chase him, FIRING, BULLETS SPARKING and RICOCHETING even as Neo jumps for the third-floor platform. Neo kicks in the window, jumping into the hall. The doors count backwards: 310... 309... INT. HOVERCRAFT Morpheus grabs the biggest gun he can find. The lasers begin to slice through the hull. TRINITY Where is he? TANK Almost there. MORPHEUS He's going to make it. TRINITY Hurry, Neo. INT. HALL (MATRIX) - DAY Neo can hear the PHONE RINGING. 305... 304... Agent Brown reaches the broken window behind him just as Neo grabs the handle of 303, throwing open the door to find -- Agent Sniith, waiting, .45 cocked. Neo can't move -- can't think -- BOOM. INT. HOVERCRAFT Neo's body jerks, and everyone hears it as the life monitors snap flat-line. Trinity screams. Morpheus is frozen in disbelief. INT. HALL (MATRIX) - DAY Three holes in his chest, Neo falls to the blue shag carpeting, blood smearing down the wallpaper. Agent Smith stands over him, still aiming, taking no chances. AGENT SMITH Check him. INT. HOVERCRAFT Through the lasered opening, Morpheus screams, blasting away at the machines; comet-wads of plasma burning holes in their armored housings. Trinity collapses onto Neo's body. TRINITY No-no-no! Neo, you're not dead! You can't be dead! INT. HALL (MATRIX) - DAY Kneeling beside him, Agent Brown checks his vital signs. AGENT BROWN He's gone. Agent Smith smiles, standing over him. AGENT SMITH I told you, you couldn't win. INT. HOVERCRAFT Tank is hit, a laser bolt knocking him to the ground. They can't hold them off any longer. Morpheus lunges for the self destruct -- As Trinity whispers in Neo's ear. TRINITY You're right here. I'm holding you, Neo. I'm not letting you go. Do you hear me? I won't let you go. INT. HALL (MATRIX) - DAY The agents walk to the elevator, leaving Neo's body behind. INT. HOVERCRAFT Morpheus flicks the Plexiglas shield of the self- destruct. TRINITY Goddamnit, Neo! Don't give it up! Not now! She pounds on his chest. TRINITY Not now! INT. HOTEL HALL (MATRIX) - DAY The BLOW ECHOES deep in his mind. His eyes snap open. INT. HOVERCRAFT Trinity screams as the monitors jump back to life. Tank and Morpheus stare, unbelieving. It is a miracle. TRINITY Now get up! INT. HALL (MATRIX) - DAY Neo struggles, holding his chest, sitting up. Down the hall, he sees the elevator closing and -- Agent Smith staring at him as if he were looking at a Cypher. Neo gives him the finger. AGENT SMITH Nooooo! Agent Smith pounds on the elevator door. INT. HOVERCRAFT A sentinel BLOWS a hole in Morpheus' right arm and he screams, refusing to let go of the detonator. INT. ROOM 303 (MATRIX) - DAY Neo dives for the RINGING PHONE. INT. HOVERCRAFT Machines split open the craft, pouring in, lasers targeting everywhere. A beat finds the center of Morpheus' forehead and he screams, ready to die. TRINITY Now! He turns the key. INT. OVERFLOW PIT A blinding shock of white lights flood the chamber; sentinels blink and fall instantly dead, filling the pit with their cold, metal carcasses. INT. HOVERCRAFT In the still darkness, only the humans are alive. TRINITY Neo? His eyes open. Tears pour from her smiling eyes as he reaches up to touch her. And she kisses hin; it seems like it might last forever. FADE TO BLACK. FADE IN: ON COMPUTER SCREEN as in the opening. The cursor beating steadily, waiting. A PHONE begins to RING. It is answered and the screen fills instantly with the trace program. After a long beat, we recognize Neo's voice. NEO (V.O.) Hi. It's me. I know you're out there. I know you're working as fast as you can to catch me. We CLOSE IN ON the racing columns of numbers shimmering across the screen. NEO (V.O.) I thought I should call and let you know how things stand. We DIVE THROUGH the numbers, surging UP THROUGH the darkness, sucked TOWARDS a tight constellation of stars. NEO (V.O.) I know you're real proud of this world you've built, the way it works, all the nice little rules and such, but I've got some bad news. We realize that the constellation is actually the holes in the mouthpiece of a phone. Seen from inside. NEO (V.O.) I've decided to make a few changes. We SHOOT THROUGH the holes as Neo hangs up the phone. He steps out of the phone booth and starts walking, wearing a long black coat and dark glasses. He passes a mother dragging her little BOY, who cranes his neck as -- Neo takes off, flying up into the air. BOY Mommy! Mommy! MOMMY What? BOY That man! That man flies! MOMMY Don't be silly, honey. Men don't fly. There is a RUSH of AIR as the Boy stares up as Neo shoots overhead. His coat billowing like a black leather cape as he soars up, up, and away. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Max Payne.txt b/unformated_scripts/Script_Max Payne.txt new file mode 100644 index 0000000000000000000000000000000000000000..14649f6b667ccf7662c978c1b1f2c6a752fa52de --- /dev/null +++ b/unformated_scripts/Script_Max Payne.txt @@ -0,0 +1 @@ + MAX PAYNE Written by Beau Michael Thorne 8/24/2007 OVER BLACK: MAX'S VOICE C I don't believe in heaven, but I have this idea about it. Something I heard in a song. FADE IN: White. pristine, empty frame. Clean and peaceful. MAX'S VOICE Heaven is a place where nothing ever happens. There's gentle motion in the blank frame, like swirling 16mm grain. A RUMBLE starts to build, low but growing louder... The grain moves faster, big chunks fluttering, now a dirty dishwater grey. The RUMBLE becoming a HOWLING WIND. Churning black water LAPS at the bottom of the frame... EXT. HUDSON RIVER - DAWN A blizzard, at the peak of its power. Visibility zero, New York reduced to the hulking shapes of buildings on the banks. MAX PAYNE thrashes in the water, a long way from shore. MAX'S VOICE There's an army of bodies under this river. Criminals, people who ran out of time, out of friends. Chunks of ice float in the dirty water around him. Max's body freezing, skin turning blue. Heavy winter clothes saturating, like an anchor dragging him down... MAX'S VOICE The next time they drag this river, they'll find me on the bottom with the rest of them. And there won't be anybody left to say I was different. Max's face sinks below the surface... CUT TO: INT. HALLWAY - DAY Nothing to orient us to the location, the time. Just a flash of golden light filling the hall, warm as the river was cold. Around a closed door, sunlight streams through the gaps... BEDROOM A WOMAN sleeps on the bed, curled up around a bundled BABY. Is this the final, peaceful memory of a drowning man? Something's wrong, then: the woman's body in an unnatural position, more thrown than laid across the bed. The crib tipped over, blankets scattered. Her eyes frozen open. Something BLACK flutters against the window pane, CRACKING into the glass. The sound of the BLIZZARD creeps in... RESUME - HUDSON RIVER Wind POUNDS the river where Max had once been, but there's no more thrashing in the water. Mixed in behind the falling snowflakes, BLACK SHAPES swirl and dive closer to the water. MAX'S VOICE I could feel the dead down there, just below my feet. Reaching up to welcome me as one of their own. Max breaks the surface - GASPING, STRUGGLING against the undertow. Not simply trying to breathe...trying to swim. MAX'S VOICE It was an easy mistake to make. CUT TO: EXT. STREET (NYC) - NIGHT Abruptly, the snow is gone. Just a bitter wind left in its place, whipping through desolate streets long after midnight. Shuffling up the littered sidewalk, three rough-looking MEN duck out of the wind by descending down to the subway... On the dark side of the street, a pair of BOOTS follows them. TITLE CARD: ONE WEEK EARLIER INT. ROSCOE ST. STATION - DAY A filthy platform, empty except for the three Men huddled on a bench. A squeaking TURNSTILE catches their ear... The same boots grind towards the Men. We don't see the walker's face, distracted by something else: a gleaming gold wristwatch. As if to make certain the Men notice, he pulls back his sleeve to check the time. Quarter past three... The watch glints as it passes into a dark doorway marked `MEN'S.' The Men follow, exchanging wicked grins. Too easy. SUBWAY BATHROOM The Men slink into the bathroom, smirking at their oblivious prey at the sink. Steam rising, he sets the watch on the edge of the sink before washing his hands... MAN #1 Hey, that's a really nice watch. No answer. One of the Men LOCKS the door. At the sound of the lock SNAPPING, he raises his head... Max Payne, but not yet the man struggling for life in the river: clean-shaven, skin like bleached bone. Haunted eyes. In the murky mirror, Max sees the Men circling closer... MAN #1 (drooling over the watch) Kinda reminds me of one I lost-- MAX You didn't lose it. You pawned it up on 128th a few hours ago. Max shuts off the water and calmly turns to face them. MAX (nodding to Man #2) Ask Doug. He was there with you. Doug frowns, deeply confused about being called by his name. DOUG You've been following us all night? MAX No. (pointing) I'm only following you. While Doug digests that, PAWNSHOP pulls a pistol and trains it on Max's forehead. The third man - not much more than a KID, visibly frightened - backs towards the door. 4. PAWNSHOP You a cop, or something? MAX Not tonight. PAWNSHOP Too bad. (to Doug) Go get my watch. Distractedly eyeballing Max, Doug brushes the watch off of the sink. It hits the dirty tile, delicate crystal CRACKING. In a sudden blur of movement, Max has one hand on the pistol, the other one SMASHING into Pawnshop's windpipe... Doug steps forward to help... BOOM! The pistol goes off as Max pries it free. Max looks up at Doug. Nowhere to run, he races into the farthest stall and SLAMS the door. In the same instant, the Kid bolts for the door. Max has to pick: follow or stay with the man he's tracking... In the stall, Doug crawls on his stomach across the sticky floor, trying to squeeze under the divider. Max raises the pistol and BLASTS a hole through the door of the next stall. DOUG (craving, eyes closed) Watch over me, watch over me... The newly-perforated door flies open. Handcuffs SNAP, restraining a WHIMPERING Doug to the toilet pipe. MAX Open your eyes, now. Doug finds himself staring at the pistol's front sight. Max reaches into his pocket and produces a tattered photograph... It's the woman from Max's golden vision in the river. MAX Have you ever seen her before? Doug shakes his head violently, confusion and terror rising. MAX You got busted robbing a house in New Jersey with William Preston three-- DOUG Bill's dead. MAX That's why I'm talking to you. (moving the photo closer) Did he ever say anything about this woman? Did you ever hear anyone-- DOUG Bill died because their wings couldn't lift him up. MAX No, he got shot robbing a liquor store. What are you talking about? DOUG (incoherent, rambling) Their wings are golden, the feathers only look black... Sighing, Max unlocks Doug from the pipe, hauling him up and slamming into the wall as he cuffs his hands behind his back. PLATFORM Max stalks out of the bathroom, pushing Doug ahead of him. Down on the tracks, the Kid shrinks into the shadows... SUBWAY TUNNEL The Kid runs down the dark tracks, nervously glancing back at the receding light of the platform. He slows gradually, relaxing as escape seems certain. Down to a walk, he startles at movement in the tunnel ahead: FLAPPING WINGS - a bird, lost and trapped underground? The Kid freezes, his frightened BREATHS almost enough to drown the sound out. It grows, though, more WINGS joining... He turns to retreat up the tracks, but the WINGS suddenly seem to be echoing towards him from all directions. Panicked, the Kid becomes disoriented in the growing RACKET, the tunnel ahead begins to glow brighter as he spins... Visible now in the growing light, BLACK SHAPES flicker above the tracks - dozens becoming hundreds, swelling larger, their POUNDING wings joined by a train RUMBLING closer... 6. Frozen, the Kid can only squint into the headlights closing in, petrified by the dark wings SWIRLING around him... I NT. COLD CASE OFFICE - DAY The front room of the cold case department is a mess - desks piled high with paperwork and a week's worth of coffee cups. Halfway in the front door, a young DETECTIVE stands holding a box of his belongings. He looks around for signs of life. SERGEANT ADAMS wanders down the hall, frowning at the draft. SGT. ADAMS You my new guy? DETECTIVE I didn't think anybody was here. SGT. ADAMS Everybody's usually a little late. HALLWAY Sgt. Adams leads the detective down a hall, giving the tour. SGT. ADAMS All the cold investigations in the city are collected and delivered over to us. We call each witness to see if they can add anything to their original statement. DETECTIVE And if they can? SGT. ADAMS We send the file back to the original precinct for follow-up. Don't get your hopes up, though. The Sergeant continues towards the center of the building, farther from the light of the windows. He stops at a door. SGT. ADAMS Once you've gone through the file and come up empty, bring it here... FILE ROOM/MAX'S OFFICE They enter a windowless cave, long rows of metal cabinets stretching on forever into the heart of the building. At a desk in the corner, Max slumps over a stack of files. D M 7. SGT. ADAMS Max here handles our filing. Once it hits his desk, a case is officially dead. ax looks up, dark circles from his long night in the subway. He nods, but the Detective is too busy making a note to see. D ETECTIVE What if there's no phone number for a witness? Should I follow up in person? SGT. ADAMS Nope, we don't do that down here. iscretely, Max slides his cut-up knuckles under the desk... DETECTIVE I don't understand, then how-- SGT. ADAMS How do you solve that unsolvable murder mystery and redeem yourself? DETECTIVE The grand jury couldn't find-- SGT. ADAMS Stop. Trust me, there's a tragic story behind why I'm here giving you this tour. We all did something, so just save it. (moving for the door) Follow me to the break room... The Detective turns to Max, embarrassed after his reprimand. DETECTIVE We should get a beer after work, or something... Max smiles and nods, but his eyes give him away as a liar: MAX Yeah. Maybe so. HALLWAY The Detective steals a look at Max as Adams shuts his door. DETECTIVE So what did he do? W M J 8. SGT. ADAMS (sharply) Nothing. Naturally, this reaction piques the detective's curiosity. SGT. ADAMS R emember when you were a kid, and you'd hold your breath when you went past a graveyard? The detective nods. Adams glances through the window at Max. SGT. ADAMS ust...try to leave him alone. MAX'S OFFICE Max sneaks a sideways glance to the door, watching Adams lead the new Detective away. Once they're gone, Max reaches into his desk and removes a file... `PRESTON, WILLIAM A.' ax goes to a rusted cabinet and buries the file deep inside. INT. MAX'S APARTMENT - NIGHT A lock POPS. Max steps inside, only silence to greet him. Max lays his jacket across the back of a worn leather chair, footsteps REVERBERATING because there's little other furniture to absorb the sound. He keeps walking... KITCHEN ...past a table with one chair, past gleaming counters. Max fills a glass of water from the tap. Eyes blank, patient. LIVING ROOM Carefully, Max rests the full glass on the arm of the chair. Reaching underneath the chair, Max produces an artist's sketchbook and places it delicately on the table before him. Sith trembling hands, Max turns back the battered cover... uddenly, colors burst into the monochrome room: bright swirls of oil pastels sketch out a still life in Technicolor. Gradually, Max's eyes lose their hardness. His breaths come FASTER, ragged. Jaw clenched, he turns the page... V I 9. More flowing brush strokes, the artist's feminine initials... Max reaches up to turn the page, hands shaking severely... He takes hold of the corner of the page, but his muscles won't cooperate - as if the page ways more than Max can lift. Max's skin flushes red...tears almost welling... And then at once, Max slams the book shut and turns away. CLOSET The door swings open. Hanging inside, the battered coat we saw Max wear in the subway. A pistol on a hook by the door. Urban armor, scarred by countless nights of service. Max dresses himself for battle, eyes returning to stone. EXT. STREET - NIGHT Max climbs out of the subway into a neighborhood with a foot in two worlds: the buildings are old and crumbling, but the shops inside are sleek and expensive. A jarring combination. M ax walks up the street, brushing past HOMELESS PEOPLE and FASHIONISTAS jostling for the same space on the sidewalk. NT. APARTMENT BUILDING - HALLWAY The hallway is ancient brick, but the doors are pristine steel. Pausing at one with a dozen locks, Max KNOCKS. The door cracks. An EYE appears. Squinting, evaluating. OICE (O.S.) You can't come here anymore. MAX William Preston was a dead end. The door cracks enough to reveal the speaker: TREVOR, skinny- fat in an sharp suit and sunglasses, shirt open a little far. TREVOR You can't come here, I said. I'm done helping you. I've already... (lowering his voice) ...paid my debt to society, you know? I've cooperated enough. MAX We need to talk. Won't take long. T I M 10. TREVOR'S APARTMENT - ENTRANCE HALL Max follows Trevor inside. The narrow brick entry opens into a cutting-edge loft beyond, filled with modern art and a gathering of BEAUTIFUL PEOPLE milling around enjoying it. TREVOR I thought you found Bill's partner. MAX I did, but Doug only wanted to talk about pigeons, or something. I need a new name, someone robbing houses to feed a habit around that same time. T REVOR Three years is a lifetime for guys like that. One way or the other, they're probably all gone now. (a little self-satisfied) Either way, I'm not the one to ask anymore. I cater to a better class, now. One of the guests catches Max's eye: NATASHA, young and beautiful, returns his gaze for an extra moment and smiles. MAX I can see that. TREVOR This is a party. These are my friends. You remember friends? AX I need another name, or I start frisking your friends. Trevor stands his ground, not flinching at Max's threat. TREVOR don't have one to give you, Max. Look, you've gone through all your living leads, now you're running out of dead ones... (beat) I don't think this guy's out there. Max nods, fatigue fighting the determination in his eyes. TREVOR ry sleeping at night every now and then, you'd see that for yourself. W M N Y T 11. Max doesn't answer. His eyes have drifted back to Natasha. She plucks a drink from a passing tray, revealing a dark smudge across the inside of her wrist as she does. TREVOR I'd invite you in, but... Suddenly intent, Max pushes past Trevor and into the loft. MAX hanks. LIVING ROOM - CONTINUOUS Max weaves through the party towards Natasha, out of place in his utilitarian clothes. She looks up as he gets closer... N ATASHA ou decided to stay for a while. She speaks with a Russian accent - smiling, a little nervous. Rather than answering, Max's eyes drop to her wrist. NATASHA ow it's your turn to say something... ax takes her hand, gently turning it to reveal her tattoo: a black wing, stylized feathers tracing faint blue veins. MAX That's interesting. NATASHA Thank you. It's... (glancing past Max) Shit. Max follows her gaze to the front door, where Trevor is nervously greeting another new arrival: MONA SAX. She's striking, beautiful but also a little frightening. It doesn't hurt that she's flanked by BODYGUARDS. Russian Mob. Seeing Natasha standing with Max, Mona barrels across the room towards them. People stand aside to let her pass. ithout preamble, Mona begins YELLING at Natasha in Russian. Natasha RESPONDS in kind, clearly intimidated by Mona. Abruptly, Mona grabs Natasha's arm, jerking her off balance. MAX Why don't you let go-- S 12. MONA (in perfect English) Mind your business. Mona returns to Natasha, dragging her towards the door. Natasha's tone becomes PLEADING, physically no match for Mona. Max steps in, reaching up to touch Mona's shoulder... I t happens in a flash: Mona spins and takes hold of Max's arm. Incredibly, he's just as fast, slipping free of the grip that would surely have snapped his wrist... For a moment, Max and Mona stare each other down. Surprised, reevaluating each other. Natasha continues to TALK, her Russian anxious as Mona's bodyguards push through the crowd. Mona's eyes drop to Max's chest, where the tussle pulled his coat open to reveal a low-pro holster and tarnished badge. With the flick of her wrist, Mona stops her guards' advance. The crowd begins to notice the altercation. Natasha keeps TALKING, trying desperately to make peace and reassure Mona of something. Mona's eyes cut between Natasha and Max... till apprehensive, Mona shakes her head and walks away. NATASHA My sister. (beat) Sort of a bitch. As Max nods at the understatement, Trevor rushes over, forcing a broad smile to reassure his guests. He pulls Max's coat closed over the badge and ushers him towards the door. TREVOR You have to go. Now. MAX (pulling free) Fine. I just want to ask her something first... Max turns to the spot where Natasha had been. She's gone. HALLWAY - LATER The party has grown more crowded. Max fights his way down a dark hall, searching the shadowed faces he passes. Back here, the music is nothing but GROWLING BASS. N S A 13. A flickering glow escapes the gaps around one door... DARK ROOM A ring of candles in the center of the floor provides the only light. It's not enough to really see the PEOPLE inside. We hear them CHANTING, low voices MURMURING in unison... Quick glimpses in the candle light, bare flesh writhing. Cast on the walls, corresponding shadows twist and shift... A black feather billows across the floor between candles. Spreading up the wall, a new shadow rises above the rest... pair of wings - long and distorted in the candle light. Max appears in the doorway as the shadows loose their shape - Max only catching a glimpse, not sure what he's seeing... HALLWAY As Max strains to see detail in the dark room, a face materializes in the haze: cheeks laced with tattoos, eyes twinkling flames sunk in deep shadow. JACK LUPINO. uddenly, Max turns and sees Natasha standing beside him. We immediately notice something different about her: staring boldly into Max's eyes, all her earlier shyness vanished. N ATASHA Looking for me? Natasha glances through the door at the shifting shadows, smiling at what she sees. Max follows her eyes... MAX Were you in there? ATASHA (shrugging, coy) Take me somewhere, I'll tell you. INT. MAX'S APARTMENT - NIGHT Max leads Natasha inside. Before he can even shut the door, Natasha pounces - kissing, hands running over his body. As he pushes back, Natasha's hands slip into Max's pockets... Abruptly, Natasha breaks away and looks around the apartment. NATASHA You just move in? I T M 14. Not really interested, Natasha walks deeper into the room. AX hree years ago. So we're somewhere, now: who was that guy-- In response, Natasha unbuckles her pants and lets them drop. Still walking, opening her shirt on her way out of the room. HALLWAY Max moves down the hallway, following a trail of clothing. From inside a room, we hear the faint sound of CHANTING... BEDROOM In Max's bed, a thin sheet barely covers Natasha's body. Her lips tremble with a slurred SONG. With predatory eyes, she watches Max stop in the doorway, something holding him back. N ATASHA (frustrated sigh) Fine. What was her name? MAX Who? NATASHA The girl from the boring story you want tell me. The one that ends with you living here. Very sad. Caught off guard, Max tries to figure out how much he'll say. Natasha resumes CHANTING as she waits - a stream of frantic SYLLABLES rattling off, nothing recognizable as words. NATASHA tell you what... (beat, evil smile) Call me by her name. MAX (startled) What? Natasha grins, legs spreading, sheet starting to fall away... NATASHA That way you can make love to her again, just like she never left you. (shrill, mocking voice) Oh, Max, I miss you... A N Y M 15. Like a switch, Max's face closes off again. AX You should go. NATASHA Excuse me? MAX (exhausted, to himself) There's nothing you can tell me. Natasha explodes out of the bed, springing up naked in front of Max - shoulders heaving with rage, eyes wild black holes. N ATASHA ou're kicking me out of your bed? For a moment, it seems like Natasha is about to attack. Not physically intimidated, Max stares at her in disbelief. MAX Yeah. Natasha stomps into the hall, gathering her clothes. She pulls a cell phone from her crumpled pants and dials... NATASHA (on phone) Owen, pick up if you're awake... Max watches her disappear down the hall, front door SLAMMING a moment later. He looks around, silence returning again. EXT. STREET - NIGHT Natasha walks down a dark, desolate block, the sound of her HEELS echoing off of the crumbling buildings around her. Her eyes are still wild, her stride quick and aggressive. A group of MEN huddle in a stairway to avoid the wind. As Natasha passes, they look up at her with equally wild eyes. atasha steps off the sidewalk and into an alley, plunging into the darkness like she's been there many times before. In the distance, faint MUSIC rumbles through the street. moment later, the few working lamps on the street dim... N R A 16. ALLEY Natasha barrels down the alley, squinting to see ahead. The music is a little louder, BASS shaking the dumpsters. A wind picks up, garbage blowing... Suddenly unsettled by something, Natasha's pace slows. She tenses, all her swagger vanishing before our eyes... can RATTLES in the alley behind her. Natasha spins... Nothing - just the FLICKERING of moths swarming the alley's only light, their shadows black shapes against the bricks. The sound of much larger BEATING WINGS fills the alley... Eyes wide with terror, Natasha searches for something in the shapes cast by the moths, dread deepening as she finds it: eal winged shapes mix with the shadows, FLAPPING wildly... Natasha CRIES OUT, stumbling back. She turns, running... NATASHA ot yet! Please, just let me... Natasha's SCREAMS seem lost in the chaos of wind and WINGS and distant MUSIC. She suddenly stops running... More SHADOWS assemble ahead of her, their black wings open. INT. MAX'S APARTMENT - BEDROOM - MORNING Max hurriedly dresses, wearing the same suit from yesterday. He picks up his keys, searching around for something else - feeling the pockets of his jacket, down in the cushions... OFFICE Max moves up the sidewalk, nearly at the steps of his office. A rough-running ENGINE idles up the street, getting closer. Slowly, Max realizes that he's being followed. He turns... A LEX HILLMAN sits behind the wheel - about Max's age, but in much rougher condition, everything about him a little ashen. He watches Max turn away from the office and move closer. Max returns Alex's stare. We don't know if they're about to smile or open fire. They don't seem to know, either. Alex slides over and throws the passenger side door open. S A 17. INT. ALEX'S CAR - DAY Alex and Max ride in silence, a palpable tension in the car. lex pulls a pack of cigarettes from his pocket and shakes one out. He holds the pack out to Max, who shakes his head. Alex nods, smiling, using his lighter and then laying it with the pack within Max's reach. Max doesn't even glance down. After a silent moment, Alex looks over at Max and frowns. ALEX You're not serious, are you? Shaking his head in disbelief, Alex pulls to the curb. T hey've parked at a crime scene - the alley in front of them sealed with police tape, COPS posted to keep onlookers away. MAX What's this? Alex pulls a flask from under his seat, taking a quick pull. ALEX I need you to look at something. EXT. ALLEY - DAY Alex approaches the alley, pulling on a leather jacket and snapping a badge onto his belt. The cops let him pass. Max follows Alex, slowing as he crosses the police tape. By the crowd of CSI TECHS, what started here didn't end well. There's blood everywhere, a dozen white sheets on the ground. MAX What happened to them? ALEX Her. Just one. Confused, Max studies the sheets. On second look, they aren't covering anything quite big enough to be a whole body. ALEX omebody found her leg near the sidewalk, called it in a few hours later. We found the other one in the dumpster over there. DETECTIVE #1 (O.S.) I don't believe it. M A 18. Max and Alex turn to see that they've attracted spectators, the other DETECTIVES D the alley watching them intently. in ETECTIVE #1 Don't tell me you two are gonna start working together again. I'd-- LEX (ignoring) What do we know? DETECTIVE #1 Only that it didn't happen here. Beyond that, I don't even know how to describe it in my report. `Disassembled,' that's the word we came up with. The Detective grins, proud of his wit. Alex and Max move on without comment. Max looks at the sheets, shaking his head. MAX Why are you showing me this? Alex pulls out a plastic evidence bag, holding it out... Max's wallet. ALEX We found it here, by her heart. Inside the clear bag, Max's ID picture is smeared with blood. ALEX As far as we know, the victim-- MAX (quiet) Natasha. ax kneels down over a tarp. The edge is pulled back, revealing a pale forearm with a delicate tattoo of a wing. MAX (remembering) They couldn't lift him up... ALEX What did you just say? Max looks up at Alex, who is suddenly quite agitated. He glances back at the other detectives - they're staring at Alex and Max, whispering something amongst themselves. F 19. (2) ALEX We need to talk, Max. Tonight. (writing something) Here's my address... MAX For God's sake, I know where you-- ALEX (somber) No, I moved out. Alex hands over the address and hurries away, leaving Max standing in the alley, surrounded by Natasha's remains. EXT. APARTMENT BUILDING - NIGHT Max steps out of his car, moving up the sidewalk to a surprisingly nice apartment building: uniformed doorman, the works. Double-checking the address, Max steps inside... INT. APARTMENT BUILDING - HALLWAY - NIGHT Near the end of the hall, Max stops at an apartment door. The wood is splintered, pieces of the frame hanging loose... orced open. Max checks the hall in both directions, drawing his pistol... ALEX'S APARTMENT - LIVING ROOM Careful not to make a sound, Max steps into a living room so messy that it's hard to say for sure if it's been ransacked. Max flips a switch by the door, but no lights come on. MAX Alex? Are you in here? Max pauses so his eyes can adjust to the traces of streetlight sneaking through the blinds. He moves deeper... KITCHEN Pistol ready, Max moves into the kitchen. Dirty dishes, flies swarming around the necks of countless liquor bottles. U nseen behind Max's back, the front door pushes closed... HALLWAY Max creeps down a hallway. His shoes CRUNCH in something: A M 20. A broken mirror scattered in the hallway, the pieces growing more concentrated towards the dark end of the hall. Max reaches an open doorway. Cautiously, he sweeps inside... In the hallway behind Max, SOMETHING moves in the shadows. ax moves deeper into the darkness, gleaming shards of mirror grinding underfoot. Something lies in the floor ahead... BODY - legs stretched across the hall, upper torso not visible inside a room. A badge on the belt, a service revolver limp in it's fingers, tattered leather jacket. Alex. At the moment that registers, a NOISE in the hallway behind him sends Max ducking for cover in the doorway beside him. Max crouches, gun raised, staring at Alex's motionless body. MAX Alex! FOOTSTEPS grow closer...slow, steady... Max uses the fragments of mirror scattered around Alex's legs, each giving a tiny view of the hallway... One piece shows a FIGURE moving closer, shrouded in darkness. A nother reflection shows a set of eyes. Frozen. Frantic. It's Alex, staring at Max, seeming to silently beg for help. Max looks from the reflection to the legs. There's no way... There's no way Alex's head is still attached to his body. Thunderstruck, Max looses track of the shadows moving closer to his hiding spot, unable to pull his eyes away from Alex. The Figure lunges out of the shadows, slamming into Max... The Dark Shape's slashing blows glint in the moonlight, cold metal slicing the air faster than Max can fend off... CUT TO: A RAPID SERIES OF IMAGES: Max drags himself up the hall, hands slicing on the shards. The air echoes with angry VOICES, LAUGHTER and SCREAMS. Blood drips down the walls, shadows teem with movement... B T Y 21. The FLAPPING grows louder, gusting WIND scattering glass. Max SHOUTS, disoriented, instinctively pushing himself on. Alex's eyes, frozen wide, watch as Max crawls closer... Shadows in the air above Max roil with movement. Demonic HOWLS rattle the windows. Max reaches out to Alex... Above them, black wings POUND. I NT. HOSPITAL ROOM - DAY Max's eyes pop open. He lies in a hospital bed, surrounded by flashing machinery. Beyond the soft WHIR of equipment fans, the room is silent. BB (O.C.) The E.R. doctor's old man was a patrolman in the 45th. I got him to get you a private room. In a chair by the bed, BB HENSLEY (50s) watches Max wake up. BB's face is weathered and hard, but his smile is kind. BB our contact information was... pretty out of date, you know, but one of the dispatchers remembered me and your dad riding together back in the day. Max nods groggily, struggling to find his bearings... Suddenly, something breaks through. MAX Alex. BB nods, shivering at the mental image his name produces. BB he first unit to respond must've scared them away before they could do the same thing to you. Pretty remarkable, considering your luck. MAX He was trying to tell me something. B Was he alive when you showed up? Did you get a look at the guys who-- M J M 22. MAX No. I get Bflashes, but it's...wrong. B I hate to say it, but you need to come up with something better than that. They've got nothing for leads, so the whole force has you pegged as the prime suspect. AX You tell them where to find me. BB No need. The funeral starts in an hour. Max pops up, tangling the IV tubes running into his hand. BB ust slow down. You need to-- Max wraps the clear tube around his hand and SNAPS it free. AX What I need is to borrow some dress blues. Can you help me out? BB (reluctant) Yeah. My office is on the way. As Max takes an unsteady step onto the cold tile floor, a concerned BB throws his overcoat across Max's shoulders. INT. BB'S CAR - DAY BB and Max ride in silence, RADIO overpowered by the blasting heater. Max closes the overcoat over his hospital gown. D .J. (V.O.) --with a major system moving down from Canada tonight, transportation authorities are bracing for a blizzard... BB pulls against the curb on a block unfamiliar to Max. EXT. ASGARD BUILDING - DAY A massive stone structure, squat like a military fortress and black under the storm clouds. There have been updates over the years, but nothing could to hide the age of the building. I ( B 23. BB starts across the sidewalk to the entrance. Max follows, giving a confused frown at the building they're approaching. MAX You quit working for Aesir? BB leads Max through a wrought-iron gate, into a small courtyard leads back to the thick wood doors of the entrance. B I didn't quit, they made me head of security for the whole parent company. That comes with its own building, such that it is. beat) Check this out. A proud parent, BB points at a deep pit in the stone wall. MAX (impatient) It's a bullet hole. BB Yeah, from a musket ball. The British used this place as a military prison during the Revolutionary War. Think about that. It's older than St. Paul's. M ax looks up at the crumbling gargoyles perched above. NT. ASGARD BUILDING - BB'S OFFICE - DAY The double doors fly open onto a massive office - dark wood panelling, a wall of windows glowing white from the snow. Max goes to the windows. Spreading out bellow him, the wide black expanse of the East River rolls past. Bridges arc up into the storm clouds and disappear before they hit Brooklyn. BB W hen the weather isn't so shitty, the view is unbelievable. (going to the closet) I'm not making any guarantees that any of this will fit. While BB roots around inside, Max absently scans his desk. A slick company newsletter - `AESIR PHARMACEUTICALS.' On the cover, NICOLE HORNE - 50's, dignified, not quite smiling. `A HOLIDAY MESSAGE FROM THE CEO' printed below her face. E M I T T M 24. BB I saved one of those for you. (off Max's confusion) Third page from the back. Max flips the pages - smiling scientists, sparkling labs... ICHELLE PAYNE, bright smile illuminating a bland corporate portrait. The same face in the photo Max showed the Junkie. BB hey're going to set up some kind of scholarship in her name. Taken by surprise, Max doesn't seem to hear BB's explanation. BB hey kept coming to me for suggestions over what she might want. I guess since we go back so far, maybe they think I'm ( family. Nobody knew how to find you... beat) I said art. She liked art, right? Max nods, turning his eyes away from the photograph. BB t's a nice thing, a scholarship. Good way to remember somebody. ax eagerly takes the old uniform from BB, happy to have something else to focus on. BB studies his body language. BB You still haven't been out there, have you? Max doesn't answer, slipping into a wrinkled dress shirt. XT. CEMETERY - DAY Cars line the drive leading into the cemetery. People leave their warmth and hurry through the iron gates - these mourners especially determined, a community out to honor a fallen brother. BB and Max follow them onto the... CEMETERY PATH Max's eyes are on the cemetery. BB follows his gaze... Two marble angels on the hill. One smaller than the other. M B M ( 25. BB (gently pushing) It's a nice spot. I'll go up there with you after, if you want... Max shakes his head. Up ahead, a young mother tends to two little girls dressed in black, escorted through the cemetery gate by the HONOR GUARD. CHRISTA HILLMAN, Alex's widow. Face blank, still in shock. B B suddenly anxious) Go ahead up and say something to Christa. I'll find us some seats... ax threads his way through the mass of UNIFORMED COPS waiting to enter the cemetery. One by one they notice Max, jaws clenching. Max doesn't realize the gauntlet he's in, distracted by a glance of BB slinking into the graves... ...where NICOLE HORNE watches the funeral from among the headstones, almost overdressed in head-to-toe black. Close at hand, JASON COLVIN holds Nicole's umbrella. B approaches Nicole, body language weak and deferential... Max glances back at the path and finds himself facing a wall of angry cops. He keeps walking, no sign of backing down. CHRISTA (O.C.) Let him through. Even with the cops making way, the walk to Christa is hard - the heartbreak and grief on her face slowing Max's gait. AX Christa, I'm really sorry about what-- CHRISTA Don't talk to me like some stranger. Christa's eyes bore into Max with all the weight of a long and deep friendship, momentarily shaming him into silence. CHRISTA Who did this to him, Max? MAX We don't have a lot, yet... Christa steps towards Max, teeth gritted with powerless rage. N I T 26. (2) CHRISTA (seething) When everything happened to you, Alex completely fell apart. He ruined his life, he cared that much. So what are you going to do for him, now? M ax could melt under those eyes, but Christa turns her back and continues up the path to Alex's waiting coffin. Shamed, Max turns away and starts back down the path alone. BRAVURA Detective Payne? Everyone turns to see JIM BRAVURA (40s) leaning on the fence. BRAVURA .A. I need you to come with me. hough they'd been moments from brawling, there's a common reaction from the other cops: nobody likes this guy. Max looks around, humiliated. MAX ow? BRAVURA Now. GRAVESIDE The honor guard stands in formation by the flag-draped casket. The PRIEST waits, his bible ripping in the wind... Christa twists around in her chair, looking down at the cemetery gate. She sees the crowd, Max being escorted away. CHRISTA (sad, to the priest) Okay. Above them all, Nicole Horne stands like a shadow between the graves, too far away to hear the words of the priest. INT. BRAVURA'S OFFICE A cramped office, packed with boxes - a civil servant's tomb. Wedged behind the desk, Bravura sorts through his notes. Max and BB sit across the desk, left on ice while Bravura reads. I H 27. Bravura slides a folder over to Max - photographs of the alley, Natasha's covered body. Bravura watches his reaction. BRAVURA ow'd the girl have your wallet? MAX She stole it. BRAVURA Like...picked your pocket? Max shrugs. BRAVURA So you didn't know she was a prostitute? The slightest uncomfortable look passes between Max and BB. MAX No, I didn't. We met through a friend. BRAVURA Trevor Duncan. He's your friend? MAX I guess. BRAVURA That's classy. You know what Trevor does for a living, I assume? MAX He used to snitch for me. BRAVURA T ell me, Max, what's a glorified file clerk still need a snitch for? Max stays stone-faced, burying any emotion Bravura could use. BRAVURA see. So you'd piss in a cup for us, right? BB (standing) I think you just said the magic words. Call once you hear from the union lawyer. Bravura replaces Natasha's pictures with a stack of shots taken in Alex's apartment. Despite himself, Max freezes. L B Y 28. (2) BRAVURA ou and Detective Hillman haven't worked together since your reassignment. What made you get back in touch? Max is distracted by the photographs: enormous blood stains in stark flash bulb light, no longer hidden by the shadows. MAX He wanted me to help him with something. BRAVURA (making a note) And? Max looks up from the picture, realizing he's been baited into saying more than he'd meant to. He starts for the door. MAX That's what I'm going to do. ravura gives Max a hard look. Mad, but genuinely searching. BRAVURA ook at this from my perspective: I've got two bodies in ten body bags. You M were the last person to see either one... AX (pointing to the photos) And some of that blood is mine. Good luck with your case. As Max storms out, BB calmly stands and pulls on his jacket. BB Nice work, detective. As BB turns to leave, Bravura stands from behind his desk. BRAVURA You've been around long enough to know I'm his only way out. BB looks back and sees the business card Bravura's holding out. After a conflicted moment, BB slips it into his pocket. ELEVATOR Still fuming from the encounter with Bravura, Max watches the numbers over the door fall. BB stands beside him, anxious. A car load of PEOPLE surround them, pressed tightly together. M M A 29. BB Well, I hope that felt good. Max doesn't respond, eyes drifting to the directory mounted above the buttons. `2ND FLOOR, TRAFFIC VIOLATIONS,' `5TH FLOOR, NARCOTICS....' BB It makes you look guilty. You understand that, right? Now it's not just Alex's unit that thinks you're the guy... Max's eyes find `10TH FLOOR, HOMICIDE DIVISION.' The doors open with a CHIME, and the CROWD presses forward. H ALLWAY - CONTINUOUS BB steps out with the other passengers, still talking to Max. BB You need friends on the force right now. There's only so much I can do outside... BB turns to see if his words are doing anything to reach Max. However, Max is still standing in the elevator, the only one left on the car. He presses the button for the tenth floor. BB Where are you going? The doors LURCH shut. HOMICIDE OFFICE Max steps into the room. t once, you're struck by how this is the opposite of the cold case department: desks cluttered by labor instead of neglect, DETECTIVES engaged in their telephone conversations. Eyes start to find him. ax marches forward, ignoring the spreading wave of shock. Max stops at a door marked `ALEX HILLMAN.' It's locked. ax JIGGLES the door knob. F M B 30. DETECTIVE #1 (shouting) Hey! Max doesn't look up. He keeps SHAKING the handle, desperate. DETECTIVE #1 (cont'd) Hey asshole, that door's locked for a reason. One by one, the detectives climb to their feet, expressions showing outrage and anger. They close in on Max... DETECTIVE #2 God damn it, that means you need a-- M ax gives the knob a final twist, and the door swings open. MAX (to himself) There wasn't ever a key. Max steps inside. Enraged, the detectives start to follow... ut the door SLAMS again in their faces. ALEX'S OFFICE The doorknob RATTLES, no method this time. SHOUTS and BANGS ring through the door. Ignoring it, Max surveys the room... The office is bare, no decorations or personal touches. Max walks deeper into the room, opening a filing cabinet. Empty. Trying to remain calm while the door SHAKES violently, Max turns his attention to the desk. One drawer empty... Max tries another drawer, and finds this one locked. ax drives his boot into the drawer, AGAIN and AGAIN. DETECTIVE (O.C.) What are you doing in there? Teeth gritted against the pain, Max delivers a final KICK. The drawer front shatters and collapses. Max reaches inside. iles - not criminal jackets like the ones in Cold Case. More official, somehow. Max flips through one at random... `GREEN, OWEN A.' Not a mug shot, but a military ID photo. M A 31. Out in the hall, the crowd of detectives seems to grow larger, the POUNDING on the door becoming more severe. T he SLAMMING sounds outside push Max deeper into the desk, frantically spilling the contents onto the floor... Michelle's face. Max's eyes go wide. Another photograph of Michelle. nother. Shaking, Max's hands dig deeper... An impact sends CRACKS splitting up the length of the door... HOMICIDE OFFICE Two detectives throw their shoulders into the door. The rest crowd around them, foaming at the mouth to get inside to Max. One more lunge... The door SHATTERS, sending the detectives tumbling inside... ALEX'S OFFICE Photos and documents are scattered across the floor, over Alex's desk, mixed in with the fragments of the broken desk. From an open window, the storm's first flurries drift inside. Max is gone. EXT. STREET - NIGHT The snowfall has picked up, flurries giving way to thick heavy flakes already sticking to the sidewalk. Max leans into the stinging wind, lost in the night's revelations. Hax slows abruptly, looking back at the street behind him... eavy shadows pool around the alleys, doorways and swelling cars. The streetlights seem to carry less in the snow. A FIGURE walks down the opposite sidewalk. With heavy snow filling the space between them, it's hard to make out much... ...but there's something flowing out from the figure's back. W T 32. Max turns back to the sidewalk ahead, jaw clenching... ALLEY Abruptly, Max's ducks into the mouth of alley. Back pressed to the cold brick, he draws his pistol and CHAMBERS a round. Unseen by Max, something moves in the shadows behind him... he street lamps begin to sputter. In the strobing light, long black shadows billow from the Figure's shoulders... Max backs away from the corner, deeper into the dark alley where three SHAPES are surging forward to meet him... Max dodges, but his pistol's KNOCKED to the pavement. Max stumbles, bringing up his guard. The Man charges again. Max sidesteps, grabbing an arm as he does, SNAPPING the bone... O ut on the street, the Man's SCREAMS mix with the howling wind. The Figure steps into the street, towards the alley... Max is jumped from all sides, opponents finally coordinating to overwhelm him. The Figure steps out of the wind... ...and what seemed to be wings turns out to be a long coat. Mona Sax moves closer, opening that coat to reveal a thick metal chain. Max GROWLS as arms pull him upright. MAX Lose your dog? Mona whips the chain into Max's face, CLANKING as it strikes bone. Instantly, blood begins streaming from his mouth... MONA We need to talk about my sister. The chain CRACKS again, Max's teeth rattling from the blow. MAX hoever killed your sister did the same thing to my partner-- (louder) It was the same person. MONA Yeah. You. Mona HITS Max again, this time in the shins. Max CRIES OUT. M ( 33. MAX slurred) So stupid... Slowly at first, Mona WHIRLS the chain into a larger loop... MONA You left your wallet lying beside her body. Who's stupid? M ax slumps to the side, spitting out a stream of blood... MAX Does that sound like something a Homicide cop would get wrong? Mona whips the chain faster, CUTTING the air...thinking... Gasping at the pain, Max slowly straightens up again. MAX You know somebody named Owen? Mona lets the chain's speed gradually slow again. MONA Owen Green? MAX Natasha called him on her way out of my apartment. Give me one day to-- Mona drops the chain with a CLANK. ONA No. Now. She motions for her men to haul Max to his feet. INT. OWEN'S BUILDING - HALLWAY - NIGHT Mona and Max storm down a dim apartment hallway in tense silence. Max wipes the blood from the cuts on his face. MAX Who is this guy? Mona lets her coat fall open, revealing a machine gun. MONA Somebody my sister used to hang around with. Nice kid. (MORE) 34. MONA(CONT'D) (chambering a round) You better hope he backs your story up. MAX I have things I need to ask him, myself. Mona flashes Max a look before POUNDING on a door. MONA (calling through the door) Owen, open up. A louder, longer KNOCK. MONA Open-- A muted SCREAM filters through the door, cutting her short. Max DRIVES his boot into the door, splintering the jam... INT. OWEN'S APARTMENT - CONTINUOUS Max and Mona rush into the room, breath smoking from the cold. All of the windows are open. Gusts of snow blow inside, drifts of white powder extending into the room... MAX (calling out) Owen? He SCREAMS his response from the next room. They rush... LIVING ROOM ...through the door, weapons drawn. Both stop short: OWEN GREEN is all alone in the room. SCREAMING, swatting at empty air around him, each limb moving a different direction. M ax lowers his pistol - ready for anything, not for this. Owen's feet slip over the snow, toes curling desperately on the ice, searching for traction as they slide closer... OWEN (breathless, to no one) Help me. ...to an open window on the other side of the room. MONA Owen? . 35. He doesn't seem to hear - sweat streams down his terrified face, snowflakes frosting the perspiration on his chest. Owen's eyes are instead drawn through the open windows... ..where SILHOUETTES flicker against the storm-darkened sky. Oblivious to the shapes outside, Max and Mona watch Owen's terror intensify, his dervish dance growing more frantic... Outside every window, BLACK SHAPES float closer in the air above the street - vaguely human, long wings POUNDING... ...sending gusts of wind ripping through the windows, kicking up snow and ice. Max and Mona shrink back, shielding their eyes at the blast as Owen's tortured SCREAMS fill the room... Twisting like he's trying to pull free from invisible hands, Owen reaches the window. As if trying to push back, his hands and feet fly up to the trim around the window... MAX Owen, wait... Unable to turn around, Owen's eyes find the reflected images of Max and Mona in the window he's being pulled to... H is attention is torn from their reflections on top of the glass by the spectres looming beyond it outside. Their claws reach in, raking his body, pulling him closer... Realizing that Owen isn't stopping, Max rushes towards him. OWEN (screaming) Make them stop, tell them I can't fly... Max lunges forward, trying in vain to cover yards... ...when Owen only has inches. He's ripped into the void... EXT. OWEN'S BUILDING - CONTINUOUS Max throws himself forward into the window, looking down... ...where Owen falls, looking up at Max helplessly... ... then less terrified, as the wind keeps RUSHING past... ...and then, just before impact, relieved. Owen CRASHES into the sidewalk. B 36. Mona races up to join Max in the window. For a stunned beat they look down at the shattered body of Owen Green - his unblinking eyes frozen on the heavens, collecting snowflakes. MONA (shaken) What did we just see? No answer, Max studies Owen's twisted body. Long, finger- like bruises trace out from his neck, blending with the tattoos that lace his grey skin. Grinning skulls, the USMC eagle/globe/anchor... ...and a pair of wings, just like Natasha's. I NT. TATTOO PARLOR - NIGHT Max drops a Polaroid of Owen's tattoo onto a glass counter. lue water ripples through translucent pipes in the walls and floor, the air of the small room glowing like the ocean. A mirrored ceiling repeats the tattoo parlor again above. MAX You're sure this is the place? MONA Natasha had all her work done here. An elderly TATTOO ARTIST moves up behind the counter. ARTIST Something I can help you with? Max slides the photograph across to the Tattoo Artist. MAX What if I wanted this tattoo? TATTOO ARTIST Then you're probably in the Marine Corps. MAX (pointing to the wings) This one. The Artist stoops closer, tensing when he sees the design. Mona leans over the counter, locking onto the Artist's eyes. MONA What is it? 37. As encouragement, Mona lets her coat open to reveal her gun. TATTOO ARTIST (intimidated) It's a Norse superstition. The Vikings used to wear them for protection. MONA Trust me, my sister had all the guardian angels she needed. TATTOO ARTIST Not angels. Valkyries. T he Artist goes to a shelf bulging with old books - his reference library. He searches through dusty volumes... Just past the shelves, a doorway is cracked open. A young APPRENTICE artist hovers in the dark and listens in on the conversation unnoticed - sweating, his pupils drawing back... Returning with a book, the Artist finds the page: a winged woman led by a pack of wolves over a grizzly battlefield. TATTOO ARTIST In Norse mythology, the only way you get to go to heaven is to die in violence. Die in your sleep, you go to hell. Valkyries fly over the battlefields, picking out the righteous dead. They reward the people who draw first blood. (beat) A soldier's angel. Nodding, Mona lets her gun drift away from the Artist. TATTOO ARTIST I'm generally thrilled to have referral business, but I tell people looking for those wings to find ink closer to home. MONA Where's home? TATTOO ARTIST Some club down in Alphabet City. Mona turns to leave, satisfied, but Max is stuck on the book - the valkyrie's empty eyes, bloody bodies at her feet... MAX Protection from what? I 38. (2) Suddenly, all the lights go out. T he pipes stop glowing, blackness replacing the blue lights. Out of the corner of his eye, Max sees a DARKER SHADOW race across the room towards them, almost too fast to be human... Max and Mona have time to duck; the Artist isn't so lucky. A CRACK of bone, the old man's skull taking the brutal force... Mona's weapon BARKS, a short burst RIPPING through the air. n the momentary fire, Max can see the Shape swinging a club. The bat CUTS through the air, SMASHING open glass pipes in the wall behind Max, the shards raining down over him... The Figure charges at Max again. Max's pistol CRACKS. The room is abruptly silent. The lights flash on. Mona steps out of the back room... Max is stunned to find himself standing over nothing more monstrous than the Apprentice - one hand over the hole in his chest, the other weakly swinging a shard of glass at Max. A PPRENTICE (gurgling, to Max) They see you...they see you... MONA Do you know this guy? Max shakes his head, struck mute by the look in the dying man's eyes. INT. MAX'S CAR - NIGHT Max pushes the car over slick streets, clothes covered in the Artist's blood. Lost in thought, Mona looks out the window. MONA (without conviction) Maybe it isn't anything new. People get strung out, act crazy... MAX You think they were both on something? M 39. MONA Crystal meth, maybe, some amphetamine that raises your body temperature in an overdose. Explains why they were both sweating like that, trying to cool off. (beat) Of course, a junky won't usually jump out the window if there's someone left in the room to beg or rob. ax nods his agreement, replaying Owen's death in his mind. MAX You were standing right beside me. MONA And? MAX Jumped is not the word I'd use. EXT. RAGNA ROK - DUSK In a block of abandoned storefronts, only one retains a spark of life, its red sign burning in the dying light: RAGNA ROK. T he streets are more crowded there, people shuffling towards that sign and the sounds of DARK MUSIC filtering from inside. INT. MAX'S CAR - DUSK Max's car turns onto the block, slowly approaching Ragna Rok. Max and Mona silently absorb the scene on the street. Even from halfway down the block, BASS from the club reaches them. MONA They all look... Across the street, Max watches someone dragging a limp body by one leg. Nobody he walks past seems to notice. MAX Like Owen. Max keeps his speed slow, idling away up the block. MAX This isn't anything I've seen before. M 40. Ragna Rok recedes in the mirror, the block between it and the car studded with more smoldering cars and dead-eye faces, their numbers seeming to grow even as Mona watches. ONA (CONT'D) You ever been to Rome? Max doesn't answer, the coming plague before him registering. Mona glances up at a passing street sign - "LITTLE ITALY." MONA (CONT'D) Better cities than this one have fallen. (pointing to the curb) This is far enough. Mona opens her car door and climbs out, leaning back inside. MONA (CONT'D) Sorry about the chain. Mona SLAMS the door and moves off down the sidewalk, blending into the crowd. Max drops the car into gear, giving one last glance to Ragna Rok before pulling away. T here's some flicker of movement on the rooftop... U EXT. RAGNA ROK - ROOFTOP - DUSK p on the roof, MUSIC inside the club RATTLES old pipes. Perched at the edge of the roof, a figure CHANTS along... Jack Lupino - the tattooed face we caught a glimpse of in the candle light of Trevor's party, now fully visible in the failing sun and no less frightening. His colorless eyes absorb the street, the SCREAMS, Max's car pulling away... On his back, the tattoos of two elaborate black wings. Steam rises from ink-blackened skin, snow melting before it lands. INT. MAX'S APARTMENT - NIGHT Max sits in his chair in the silent room, turning the pages of Michelle's book. There's more than grief on his cut and bruised face tonight, hands not trembling the way they were. Fruit bowls, delicate charcoal nudes flip past... Frustrated, Max lets the images drift by with less sentiment: images no longer speaking to the questions he needs answered. With an exasperated sigh, Max slams the book closed... A faint white sliver appears in the cover. T 41. Max leans closer. It's the corner of a piece of paper, protruding from a razor-thin cut in the spine of the sketchbook, invisible under all but the closest inspection. Max runs his thumbnail into the gap, spreading glue CRACKLING - he flinches, almost afraid to cause the book pain. F or a moment, Max is caught between his desire to protect the memento and to see what's hidden inside. A deep breath... With a sharp pull, the cover of the book SHEARS away. The pages wad and wrinkle, old paint flaking off. The cover he'd caressed RIPS. Fluttering to the floor, a sheaf of yellowed pages hidden in the cover flutter to the floor. Max opens the folded pages. The first is nearly identical to what we saw inside: a bouquet of flowers, unfinished. Max scrutinizes the pencil strokes...suddenly, his eyes go wide: A little pair of bat-like wings. In the corner of the page, having nothing to do with the rest of the still life. Max turns to the next page. There's a another drawing of wings - larger this time, pencil strokes more energetic. Horrified by what he's seeing, Max's hands tremble as they turn the page. On the next, the wings are the main drawing. On the next, they're scrawled in smeared ink. MAX (nauseous, to himself) No... The wings begin to lose their shape, overlapping. Growing together. The last page is completely black. INT. COP BAR - NIGHT Even with everybody out of uniform, the builds and body language mark this as a cop bar. BB rushes inside, hair giving him away as having been asleep shortly before. he bar is still decorated with plastic mistletoe and fake snow. BB looks at the BARTENDER, who motions to the back... 42. BACK BOOTH BB fights his way to a corner booth, where Max is slumped over a beer and a shot. A matching set wait for BB across the table. BB pulls off his coat and sits, forced casual. BB It was sitting at this very table that your father told me I needed to retire. (beat) For about a minute, I just sat here thinking about knocking him out of his chair. The job was everything to me, to the point that I couldn't see the writing on the wall - what it was doing to my marriage, my health. Your old man knew if I was going to listen to reason, it B could only happen in here. B stoops down to find Max's eyes, trying for a connection. BB There's nothing you can't say in here. It's like hallowed ground. For a long beat, Max works up the nerve to speak. MAX I watched a guy throw himself out of a window tonight. The things he was saying- BB Any guy who throws himself out a window, I wouldn't pay any attention to the things he said. MAX The problem is, I knew what he was talking about. BB tries to nod his understanding, but concern creeps in. MAX I haven't been really afraid of anything since...that night. BB And you are now? MAX There's something going on, and I can't find a rational explanation for it. (MORE) B M B 43. MAX(CONT'D) There's...something out there, hurting people-- BB Okay, calm down. MAX It's real. I'm not crazy. BB Then stop acting like it. Max, you're breaking into offices, I.A. is all over you, you won't even show up for work... MAX The night Alex died, there was something else in the room with us. I saw it. B B goes a bit pale, smile fading as Max's words continue. B It's really important that you be careful how you talk to people about this, okay? You're already under suspicion-- MAX It's the same thing these people are seeing right before they die. (beat, pained) I think Michelle saw it, too. BB For God's sake, don't drag her into this. ax stands up, storming towards the exit. BB pulls out a thick money clip and overpays before following... EXT. COP BAR - NIGHT BB rushes out, struggling to keep up with Max's longer legs. BB What's really going on here? MAX Alex found something out about what happened to her. Something new. B There's no way. He would have told us. MAX He was trying, right before he died... ( 44. BB Listen, okay? Why don't you come back with me, let Beth make up the guest room for you. Just for tonight. Max nods, but keeps moving away from BB. BB You need to take some time. Get some sleep, heal up. See if it still feels real after that... MAX It's real. Max crosses against the light, cutting through the driving snow. BB tries to follow, but traffic pushes him back. H elpless, BB can only bury his hands in his pockets and watch Max fade away. After a moment, he pulls something out... A business card: `J. BRAVURA, I.A.' EXT. TRAIN PLATFORM - NIGHT In a ticket booth, an elderly ATTENDANT shivers by a space heater, ticket windows plugged with make-shift insulation. The attendant looks up from his book and sees Max approaching through the snow. Max slows as he gets closer, looking up at the glowing threshold to the trains beyond. He stops. ATTENDANT (via intercom) You riding? Max holds for a moment. For all the danger he's faced, this is the most hesitation we've seen from him so far. ATTENDANT via intercom) If you're coming, you better come on. Way it's looking, might be the last train tonight. Max takes a step into the light of the ticket booth. The attendant opens the ticket slot, letting a gust of freezing air blow inside. Max slides a few bills through. Ticket in hand, Max starts his solitary march to the trains. ( 45. INT. GOGNITTI'S HOTEL - BAR - NIGHT A dingy, dark bar on the first floor of an even sleazier hotel. It's nearly empty, only the dedicated DRUNKS venturing out in the storm. The front door swings open... The old men shiver at the stiff blast of wind rushing in, turning to look. Napkins flutter. Snowflakes blow inside. From a booth in the corner, VINNIE GOGNITTI (50s, pudgy) shoots a hard look at the open door, not immediately recognizing the SILHOUETTE in the passage... VINNIE In or out, asshole. Mona steps inside, boots heavy with ice. Her MEN follow. Flanked by MEN of his own, Vinnie freezes when he sees Mona. VINNIE (CONT'D) So? MONA We need to talk. (beat) Talk. Gradually, Vinnie and his men relax. VINNIE Shut the door, then. You Ruskies may be used to it, but I'm freezing my dick off over here. BACK OFFICE They've packed into a tiny back office - Russian gunmen on one side of the desk, Italians on the other. Mona and Vinnie represent their different sides, the only people seated. VINNIE Okay. So talk. MONA Something was taken from me. It involves a club in Italian territory, so I need your blessing to go make it right. V INNIE You're asking my permission? smirking to his men) Well in that case, sweetheart... M V 46. Mona looks Vinnie over, bored to death by the whole thing. MONA I said `blessing.' VINNIE Oh. Well, blessing might cost extra. Which club are we talking about? MONA Ragna Rok. innie tries to keep a poker face, but the name chills him. MONA (CONT'D) Over on Avenue-- VINNIE Yeah, I know. (beat, rattled) Sure, fine. You have my permission...blessing, whatever. Mona frowns, her wishes granted a little too easily. MONA You do still control that block, right? It's south of-- VINNIE The guy's name is Jack Lupino. MONA Well, that sounds Italian to me. VINNIE He's no kind of Italian I've ever seen. Tattooed freak, a real sicko from what we hear. ONA (sneering) You're afraid of tattoos, now? VINNIE When the club first opened, I sent somebody down to collect the...you know, fire insurance. A day goes by, and I don't see him. Then I get two boxes delivered to me. One box's got my guy's hands and ears in it. The other box has a quarter of a million dollars in cash. E M 47. (2) MONA This neighborhood has been your family's forever. Two-fifty large is all it takes to-- VINNIE What got my attention, Mona, was that the boxes were delivered by a cop car. A guy in uniform hands them to me in broad daylight. (beat) I'm not scared of tattoos, or freaks, or mouthy Russian bitches. But whoever's watching over Lupino, whoever it is you really need to bless you walking inside Ragna Rok...him, I am scared of. EXT. SUBURBAN TRAIN STATION - NIGHT The platform is cleaner than the ones in the city - dressed up for the tastes of the COMMUTERS who step off of the train. Max threads his way through the handful of exhausted BUSINESSMEN arriving home, moving out into the darkness. EXT. SUBURBAN NEIGHBORHOOD - NIGHT The snow's driving just as hard out here, but peaceful houses with warm windows glowing make the storm feel comforting. In the yards, forgotten sleds disappear under new powder, gone for good by morning. Snowmen distort as they swell. Max Payne trudges up the center of the street, a black streak spoiling the peace of the evening. A trespasser. T HE HOUSE One house on the block stands out: there's no neatly shoveled driveway, no colorful Christmas lights flashing from the eaves. A black void behind every window, no life inside. ax stands in the street, looking up at the house. BB (V.O.) She was thirty-five. The daughter, two months. From what we could tell, it started out as a robbery. XT. HOUSE - BACK YARD A row of footprints lead around back. G M B B 48. BB (V.O.) oth of the men had records, mostly bullshit - possession, petty theft. Hanging in the overgrown hedges, an overlooked scrap of yellow police tape shimmers in the wind. BB (V.O.) ut that day...I don't know. They had something else on their minds. Max stands at the back door. He touches the unpainted wood around the glass, repairs never fully complete. BB (V.O.) ax was maybe ten minutes late. Max reaches for the handle...hesitant to actually touch... CUT TO: INT. HOUSE - LATE AFTERNOON (FLASHBACK) A living room in the stillness of evening, golden air packed like amber around baby bottles and toys on the coffee table. The front door opens, and a man steps inside... Max Payne, different in every way: the malnourishment and neglect gone from his face, a fullness in his frame from M regular home-cooked meals. Shave and a haircut. Nice suit. ax picks up the mail from the floor and strolls inside... KITCHEN Tie loosened, Max gets a beer from the fridge. Unwinding, he takes a long sip and begins sorting through the mail. lancing up from the mail, Max sees the kitchen door... Glass smashed. Blinds torn. Standing open. STAIRWAY Max charges upstairs. MEN'S VOICES echo down from above. MAX (calling out) Michelle! His eyes aren't hard yet. Rushing up the stairs, we see Max's faith in the world start to crack for the first time... ( 49. HALLWAY - CONTINUOUS Max turns the corner into a hallway bathed in golden afternoon light, the same one he saw in the river... Between Max and the end of the hall, two JUNKIES are huddled against a door. Twisting the handle, SMACKING the wood. Max pulls a pistol from a low-pro holster, stepping forward. MAX (calling out) Michelle? The Junkies turn to Max, eyes black and glassy. Sick smiles. MAX shouting to the door) Michelle, I'm right here... Without a word, the Junkies charge. Max takes aim and BLASTS one of them in the forehead. The M other keeps rushing, swinging a long knife at Max's neck. ax ducks, a quarter-second and a quarter-inch from a slit throat. The swing throws the thin man off balance... He tries again - ropy muscles straining skin speckled with tracks. Max grabs his arm, throwing the thin man off balance. They go down to the hardwood floor together. Too close to line up a shot, Max drives the butt of the pistol into the man's nose, SPLITTING it across the bridge. Blood spatters his gaunt face, but those eyes never change... JUNKIE It's okay. They're angels, now. Straining, he moves the knife's tip closer to Max's belly... Max jams the barrel under the Junkie's leering jaw and PULLS THE TRIGGER. Blood atomizes into a hanging cloud around him. Max jumps up and races to the door. Locked from the inside. MAX (calling, frantic) Michelle! Max throws his shoulder into the door, SNAPPING the hinges... B C T M 50. BEDROOM - CONTINUOUS The momentum sends Max tumbling inside... A MAN slips out of the window, one leg still inside... ax OPENS FIRE at the retreating shape. Curtains billow in front of the open window, a summer sunset outside. Max lets the gun fall to his side, breathing hard. M ichelle huddles on the bed, baby wrapped tight in her arms. Max rushes over to her, reaching out to touch her shoulder. MAX Michelle... Her mouth is wide open, eyes unfocused. Muscles slack. Michelle's not stunned. She's not unconscious. he baby isn't just sleeping. The moment that hits him, the lights go out of Max's eyes. UT TO: INT. BEDROOM - NIGHT Max stands at the door, seeing the room with those same eyes. The furniture is gone, all the carpet ripped out. One window is still open, no frilly curtains blocking the blackness outside. Snow gusts in, piling on the sill. BB (V.O.) We looked everywhere for the third guy, but there was nothing to go on. Not a hair of him left behind. Slowly marching across the room, Max SLAMS the window shut. INT. ASGARD BUILDING - BB'S OFFICE - NIGHT BB stands in the window, watching the storm. B I called in a favor before I retired, had him transferred to Cold Case while he dealt with the shock of it. I thought it we were patient, gave him time, Max would come back to his old self again. 51. Bravura sits in front of the desk, watching BB. When BB finally looks over, the weight of the story showing in his eyes, Bravura's face B doesn't reveal any hint of emotion. B Look, I called you because I thought I recognized something in you. I thought if we could talk off the record-- BRAVURA I'm listening. BB (emotional) This isn't just some job stress freak- out. This is a man who lost everything, and who deserves a little understanding from the rest of us. If you'd known him before... (beat, pained) You'd want to believe him, too. BRAVURA Believe him about what? Not expecting this turn in the conversation, Bravura sits up. BRAVURA Are you saying you think Max did have something to do with Alex's murder? BB Absolutely not. Alex was his partner, they were like brothers...he couldn't have. There's no way. BRAVURA Then what are we talking about? BB Look, Max is like a son to me. Don't put me in a position to have to hang him. (beat, pained) But you should hear the kinds of things he's saying...hallucinations, none of it makes any sense to me. I'm worried he's going to get into another situation before I can convince him to come in. B RAVURA Are you telling me he was-- T B B B 52. (2) BB I'm telling you to find him tonight, before somebody else gets hurt. Bravura nods, reeling from the revelation of this new information. BB picks up his coat and starts for the door. BB Is there anything we can do to help you bring him in? Unofficially, of course... BRAVURA Bringing him in won't be a problem. Where I need your help will be his-- B Why do you say that? Bravura stands, finishing a note. RAVURA A New Jersey unit ID'd him near his old house. It shouldn't be long. B nods, somberly mulling this over. BB You have to find him first, protect him. Some of the guys from Alex's unit beat you to him, they won't wait for a trial. EXT. STORAGE SPACE - NIGHT At the edge of a strip mall, a ramshackle personal storage business sits behind a razor-wire fence. Inside the fence, rows of stalls for rent, covered by metal garage doors. here's the faint sound of METAL STRETCHING, and Max is over the fence. He moves through the rows, reading the numbers. A padlock hangs from the door, shining metal glazed over with a sheet of ice. Max finds a pristine key on a ring in his pocket. Hands shaking, he cracks the ice and tries... I NT. STORAGE SPACE The garage door raises, cold metal RATTLING as it rolls up. Max stands silhouetted in the doorway, looking in on ragged stacks of cardboard boxes. His breath blooming around him. ` T W 53. Max steps inside, pulling a box marked `GARAGE' out into the light. Opening it, he roots around and finds a flashlight. Switched on, a golden beam cuts through the blue shadows. Max walks deeper into the space, brushing the light over the boxes. He holds his hand over one, as if warming it... Max opens the box. aiting for him under the flaps, a stuffed animal stares up at Max from inside the box. Silly grin, frozen eyes shining. Hands trembling, Max pushes the toy aside. Deeper in the box, he finds a framed picture and pulls it into the light... The photograph is of Max - younger, cleaner, genuinely smiling. Posed along with him, Olan Mills-style, are Elizabeth and the baby. Gauzy backdrop, church clothes. Max studies it, haggard new face reflecting in the glass... Abruptly, Max jumps up and moves away from the box. Long strides, trying in vain to physically shake the memories, to block out the emotions with something productive... The flashlight beam keeps sweeping, deeper and deeper. Max chokes back tears, occasionally glancing at the baby box. he beam hits on a document box in the back row. `OFFICE.' Max rushes over, nearly tipping the other boxes in his hurry to throw the lid off the document box. Rows of folders, all M neatly labeled with feminine script. ax brushes his fingers over the tabs, smiling sadly. Each year numbered -- `1998,' `1999,' `2000'... MAX (to himself) Okay, Chelle. Help me, here... Max's fingers skim to the last file in the box, marked `2004.' Much thinner than the others. Her last year. Only one file in the final section. Max opens it, finding pages of handwritten notes, photocopies, drawings... Closing the file, he checks the name on the tab and frowns. PROJECT VALHALLA.' T V 54. EXT. STORAGE SPACE - NIGHT Max steps out of the storage locker. He tucks the manila folder inside his coat and pulls the metal door closed. He starts away, retracing his steps to the fence. Mind reeling with what he's just seen, the memories flooding back-- There's a second set of footprints in the snow before him. Max freezes, their significance immediately registering. OICE (O.S.) Stay where you are! A YOUNG COP steps out of the shadows behind Max, pistol trained on the back of his head. The cop's eyes are wide M with panic. He assumes an awkward, textbook firing position. AX (turning slowly) Relax, I'm a cop. YOUNG COP Don't move! I know who you are. he gun stays trained on Max. Slowly, he raises his hands. MAX Just relax. I need you to trust me for a minute... YOUNG COP Yeah? Is that what you said to your partner? MAX You don't understand. YOUNG COP (gesturing with the gun) Lay down on your face. Max studies the cop - stiff legs unsteady on the deep snow, his frostbitten fingers wrapped around the trigger. Trapped between two rows of locked doors, Max has no cover to run. Peeking through the snow at Max's feet, an extension cord snakes under the shivering cop's legs and down the corridor. T 55. MAX (bending down) Okay, just take it easy. Max starts to lay down, causally laying his hand over the power cord. The cop edges closer, smirking as Max complies. YOUNG COP Word's gotten around about the sick shit you did to him, too. If I were you, I'd get ready for sort of a long ride back into the city... Max wraps his hand around the cord and whips it tight... The cop pitches backward, squeezing off a SHOT as he falls. Before he can fire again, Max pounces on the cop, driving a T knee into his chest and wrenching the pistol away. he cop twists in the extension cord, unplugging the lights. Max DRIVES the butt of the pistol into the side of his head. he cop goes limp. Max pulls the clip, clears the chamber and lets the gun fall in the snow beside the unconscious cop. Struggling to his feet, Max races down the corridor and scaling the icy chain link. He drops into the snow, immediately breaking into a dead run on the other side. INT. ELEVATOR - NIGHT An express elevator HISSES upwards at great speed, the sleek interior like a European sports car. Alone inside, Jason Colvin watches the blur of numbers with dread. A muted CHIME, and the doors draw back... INT. AESIR SKYSCRAPER - PENTHOUSE OFFICE - NIGHT Thin steel beams loft through the air, three stories of open air encased by glass, a silent void projected into the heart of the storm. In the center of the room, a single black bar. It's a desk, obsidian, polished to a mirrored sheen. Aesir International's cool blue logo reflects across its surface. Jason Colvin approaches the desk, nervously watching the shadowed figure of Nicole Horne read through a document. Every hair, every stitch of clothing perfect. F ootsteps ECHOING, he reaches the desk and waits for a beat. O M ` N 56. COLVIN We have a problem. icole cuts her eyes to Colvin - withering, a current of fear passing through him. With great effort, she smiles. INT. TRAIN - NIGHT Max slumps in his seat, watching the black sky whip past. The manila folder closed in his hands, fingers tracing the edges. Slowly, carefully, he lets the folder fall open. Max's eyes skim across the handwritten notes, lingering over underscored phrases and circled words. Drinking it in. On the next page, a sketch of black wings pulls Max's attention. With dread, he reads a note below the drawing: SUBJECTS DESCRIBE DEMONIC VISIONS, HYSTERICAL RAGE...' MAX (to himself) Subjects? The hypnotic motion of the train begins to change, the rhythm of the RAILS faltering a little. ax turns the page. More wings, each in a slightly different style, each version surrounded by descriptive notes... Max skims, excited, as the train's HICCUPS grow worse... As the blue and black world sweeps past outside the window, Max's face softens almost into a smile... All the lights go out. The train rapidly loses speed... S tartled voices MURMUR. Windows that had been black glow to life as the passengers' eyes adjust to the dark car... utside, the moonless night becomes a hazy expanse of blue snow, covering the embankments along the railroad tracks and the broken-down houses in the distance. The darkness changes Max, too, hardening his face again. He tucks the folder safely into his coat and zips it up tight. At the front of the car, the windows begin to fill with light. The door opens, a flashlight beam sweeps inside... Pistol between his knees, Max pulls the hammer back... C 57. An obese CONDUCTOR (40s) steps inside. Immediately, all of the other passengers begin to QUESTION HIM at once. CONDUCTOR (shouting over) Ladies and gentlemen, please remain calm. The storm's caused a power failure, but it's absolutely nothing to worry about. We'll be up and running again before long. Movement outside catches Max's eye. A FIGURE in the shadows alongside the train. Gravel CRUNCHES. Voices WHISPER. CONDUCTOR (cont'd) Our policy is to move everyone up to the front car until the lights come on again. It'll be a little warmer if we're all together... M ax splits his attention between the other passengers and the window, watching for more movement outside... Suddenly, the Figure breaks in the opposite direction - no attempt at quiet, a POUNDING run away from the train. onfused, Max straightens up. The temperature has changed... THREE MORE FIGURES, running in the opposite direction. Away from the train, up the snowy tracks it's yet to cross. MAX (recognizing) Get out of the train. PASSENGERS fill the aisle. High school girls sneaking into the city... An old man going to work... Drunk yuppies in red and green scarves, on their way back from a Holiday party... MAX (shouting) Get out-- An EXPLOSION rips through the front of the car and swells, a ball of fire smashing through the car and blowing it apart... EXT. CITY STREET - NIGHT Up and down the dark street, shadowed GHOULS break windows and claw at abandoned cars, searching for anything of value. F W M 58. Moving comfortably through the shadows, Mona follows the general movement towards a BASSY QUAKE farther up the block. A red neon `RAGNA ROK' bloodies the snow in the air, marking the entrance to the club responsible for the RUMBLE... I NT. RAGNA ROK - NIGHT Inside, that music is EARSPLITTING - a jet engine at 200 beats per minute. Lights strobe past red gels, frozen glimpses of thin limbs and black pupils on the dance floor. ona melts into a corner, inconspicuously watching the room. inding around the dance floor, CLUBGOERS - some ragged, some in nice clothes - queue at a metal door in the back wall. One after another, they wait for their moment to enter... There's a disturbance at the front door. Black-clad Guards force open a rift in the crowd on the dance floor... Jack Lupino walks inside the rift - his tattooed face red and black, eyes calmly sweeping out across the riotous crowd... ROM THE DANCEFLOOR Lupino moves through bodies roiling like a parted sea, sheer walls of twisting flesh towering above him to the rafters. Mixed within, the wings POUND and SWEEP, blotting the light. Hell. INT. BB'S HOUSE - BEDROOM - NIGHT BB crawls out from under the quilts, careful not to wake his WIFE. He passes windows frosted with ice, on his way to... HALLWAY BB shuffles down the hall, shivering in his boxers. He pauses at the thermostat, frowning to find the heat cut off. B B turns, startling as Max steps out of the shadows - steps stiff with pain, clothes dripping icy water across the floor. BB (terrified) Max? What are you doing? Max opens his coat and pulls out the file, now badly wrinkled and soggy. He opens it and hands BB a newspaper clipping. M I B M 59. `25 CIVILIANS KILLED IN AL-HASAMAH MASSACRE' BB Those grunts who went crazy in Iraq? AX Go a little further, read what they did to the bodies. It's the same as what happened to Alex and that girl. BB reads on, frowning. B Where did you get this? MAX Michelle. BB looks up, startled, as Max pages through Michelle's notes. MAX It's all in her notes: people describing fevers, hallucinations...their lymph nodes swell until their necks bruise like something's been choking them. (pointing to the drawings) The angels they all talk about? Michelle talks about eye spasms that make things seem to flutter. Mixed with the other delusions, that starts looking like wings... (beat) She wasn't seeing them. She was trying to figure out why other people were. B B thought she was working on allergy medicines. AX Somebody at Aesir knows what-- BB (thunderstruck) Oh, my God. Slowly, BB turns to show Max the grief in his eyes. BB It's me. I killed Alex. B Y 60. (2) MAX What are you talking about? BB He came to me about six months ago, asking about one of the executives at Aesir. At the time I had no reason to connect it to Michelle, I just thought... (beat, torn up) I tried to warn him, this guy has connections to some scary people-- MAX Who? What's his name? BB hesitates, rattled by the rage in Max's eyes. BB Jason Colvin. He used to be the head of the pharmaceutical division, but he's moved up over the last few years. (beat) I guess Michelle probably reported directly to him... Max barely nods, jaw clenched as he scoops up the documents. BB ou've got copies of this stuff, right? Thinking for a moment, Max sets the folder down again and turns away towards the dark hallway. BB picks up the folder. BB e careful, Max. Max doesn't respond, storming off into the shadows. EXT. RAILROAD TRACKS - DAWN The snow isn't deep near the charred and twisted metal of the train, melted by the fireball. Police tape rings the area. D ETECTIVES wander between yellow tarps in the train, sipping coffee. Out on the tracks, Bravura works alone. HOMICIDE COP Looks like ten bodies, give or take. Even in New York, that ought to be enough to earn Payne the spike. Y B 61. BRAVURA The blast point is outside the train. None of the detectives want to encourage him by answering. BRAVURA ased on the spread of the wreckage... they moving very fast, either. HOMICIDE COP He forced them to stop, first. Bravura nods at the explanation, but without conviction. He continues to scan the wreckage, still not satisfied... BRAVURA So he had the bomb with him inside, but he decided to walk outside to detonate it? HOMICIDE COP Are you asking if that seems like odd behavior from a guy who cut his partner's head off? The Young Cop from the storage building slips down the snowy bank and towards Bravura. His face is bruised and swollen. OUNG COP You wanted to see me? HOMICIDE COP Careful what you say to him, if you ever want to make detective... YOUNG COP (to Bravura, guarded) I already filled out a report. Bravura sees the Young Cop aware of the detective's presence. BRAVURA Show me where it happened, then. E XT. STORAGE FACILITY - MORNING Bravura and the Young Cop stand on the spot where he fought Max the night before - disturbed snow, the frayed cord... YOUNG COP He jumped out and wrapped that cord around me, and before I had a chance... I A 62. Bravura nods at the bullshit, focus drawn to Max's locker. BRAVURA (pointing) He was coming out of here? When the Young Cop nods, Bravura starts to step inside. HOMICIDE COP Hey, real cops are working here... INT. MAX'S STORAGE LOCKER - MORNING A few CSI TECHS take photographs of Max's storage locker. Bravura walks through, eyes quickly scanning the distracting jumble of boxes. The Homicide Cop follows, exasperated. t the back, Bravura stops and picks something up. It's the lid of the box, `OFFICE' written in Michelle's pen. Bravura looks around. There's no document box to match the lid. However, there are dust-free rectangles in the dirt. BRAVURA (to a CSI tech) Where's the stuff you guys moved? CSI TECH Nothing's been moved. HOMICIDE COP What, you playing detective now? On a mission, Bravura scans the rest of the room. He sees another open box, a colorful stuffed animal peeking out. Bravura opens it, startled by the family portrait. B RAVURA (studying the photo) This is his wife? Bravura finally looks up to see the Homicide cop smirking. BRAVURA spent four hours up at Homicide going through Alex's desk and cataloging pictures of this woman, and not one of you bastards bothered to mention that she was Max Payne's wife? 63. HOMICIDE COP (shrugging) If Alex was getting a little something on the side-- BRAVURA Who are you protecting? Bravura charges closer, carrying enough force that the much larger Homicide Cop steps back. His cool facade crumbles. HOMICIDE COP Nobody, we just...why would anybody talk to IA without a reason? BRAVURA (livid) You've got a reason, now. Tell me everything you know about this woman, starting with her name. EXT. AESIR BUILDING (MIDTOWN) - DAY The city is starting to shut down under the relentless snow - the sidewalks are nearly empty, only cabs on the icy streets. The Aesir corporate offices gleam in the diffuse light, a pillar of glass and steel disappearing up into the storm... R Jason Colvin steps out of a cab and marches up the steps. ECEPTION AREA Stepping off of the elevator, Colvin passes a RECEPTIONIST. COLVIN You should go on home, already. There's nothing going on today... RECEPTIONIST Well, there's someone in your office... COLVIN'S OFFICE Colvin steps through the doorway and stops short. Max stands behind Colvin's desk, inspecting the photographs hanging on the wall. He's cleaned himself up a little. MAX (pointing to a photo) This your daughter? M ( N M 64. COLVIN Yes, it is. Three years old. For reasons Colvin can't fathom, Max's mood seems to darken even farther. Colvin sees the badge clipped to his belt. COLVIN Is there something I can help you with, detective? AX You can tell me about Project Valhalla. COLVIN (nervous laugh) I think you might have the wrong... Barely keeping his poker face, Colvin eyes the phone. MAX eed to make a call? COLVIN Maybe I'd better. Max motions for Colvin to go ahead. While the executive's shaking hands dial the number, Max closes and LOCKS the door. COLVIN Yes, there's a detective here... to Max) What did you say your name was? M AX Max. Abruptly, Max RIPS the phone cord out of the wall. AX (low) She was my wife. The words, Max's flat delivery, catch Colvin like ice water. Still holding the dead receiver, Colvin staggers back... COLVIN (stunned) Excuse me? MAX Michelle Payne was my wife. 65. (2) What color there was to begin with drains out of Colvin. COLVIN What-- MAX Before you say anything else, I want you to know who I am. COLVIN Please, wait... Max throws his elbow up, CRUSHING Colvin's nose. INT. AESIR BUILDING - LOBBY - DAY Bravura enters the soaring lobby of the Aesir building, stomping his shoes clean. He approaches the front desk. BRAVURA (flashing his badge) I need to talk to somebody about a woman who used to work here. COLVIN'S OFFICE Colvin's eyes flutter open. His nose is smashed flat. He's being held upright by his belt, which loops around his neck and the headrest of his ergonomic chair. His wrists are bound to the armrests with strips of his tie. Max sits on the edge of the desk, heavy lamp in his hand. COLVIN (weakly, eyeing the lamp) Please don't hit me again. Max wraps the cord in his hand and jerks it free from the lamp, which he tosses with a CRASH. The cord, he keeps. M AX A week ago, I thought the universe had turned against me. Everything I loved was gone, and for some reason I'd been left here to suffer alone. Max strips back the insulation on the cord, exposing two frizzed bundles of wire: one brass, the other silver. Positive and negative. Colvin watches, apprehensive. T B 66. MAX ut it wasn't the universe that took my family away from me. Max plugs in the cord. MAX It was you. He crouches by Colvin, wire in each hand, moving them closer. MAX Tell me about Valhalla. Colvin struggles to pull away from the approaching wires... COLVIN There is no-- Max brushes the bare wires against Colvin's throat. here's a bright SPARK. Colvin SCREAMS. MAX Tell me. COLVIN There's no Project Valhalla anymore. I shut it down years ago. A timid KNOCKING starts on Colvin's door, VOICES calling in. Max waits for more, eyes frozen, wires hanging ready. COLVIN (reluctant) It was a disaster. The drug was so addictive, the damage it did to the mind was so devastating that we lost our government funding. By the end, we couldn't even guarantee the safety of our scientists administering the experiment. Test subjects would follow them home and kill them for an extra dose. M AX Is that what happened to Michelle? COLVIN Nobody knows what happened to her. Max picks up a cup of coffee from the desk and pours it over Colvin's face as he struggles more frantically. C ( C 67. (2) Max brings the wires closer to Colvin's wet skin. OLVIN terrified) People thought Michelle might be a whistle-blower. That she wasn't loyal enough to Aesir, and she might go public about the program. Max's eyes thaw, hit by the first true words about her death. LOBBY Bravura sits in the lobby, impatiently skimming a magazine. On the far side of the enormous room, movement draws his eye: A line of black-clad SECURITY GUARDS swiftly moving in formation into a stairwell. SWAT precision, heavy hardware. Bravura springs up, approaching the Guards left at the door. GUARD Authorized personnel only. Bravura pulls out his badge, and plans to keep moving... But the guards don't immediately part. They look at each other, silently conferring. Bravura's eyes light up. BRAVURA Don't look at him. Move aside. (louder) I 'm authorized. OLVIN'S OFFICE Max lets the wires fall away. Solemnly, he draws his pistol. COLVIN Why are you asking me about this? MAX I already told you. Be quiet, now. Max chambers a round, leaving his hand up to block the spray. COLVIN But why today? It's over, I got rid of everything before they moved me out of the division-- F ( 68. MAX Then you haven't been Downtown lately, because you missed a spot. Colvin looks up, Max's words suddenly scarier than the gun. COLVIN Are you telling me that there are people out there taking the drug again? urgent) How many of them? Max shakes his head. Colvin's eyes show real terror. COLVIN I knew it, I knew something was going on. I told her the numbers were too good-- The POUNDING outside the door is louder, more VOICES calling. VOICE (O.C.) (calling through the door) Mr. Colvin, are you okay in there? Security's on its way... Max turns to the door - trapped, ready to fire on what comes through. Colvin looks at Max, a sudden realization dawning. COLVIN They're not coming for you. MAX What are you talking about? Colvin begins to struggle harder than ever, but his fear isn't directed at the man with the gun standing over him. C OLVIN You only know my name because somebody high up decided to cut me loose. (gesturing) There's a safe in the wall. It's open. earing a trap, Max pushes aside a painting and pulls open the door. A small stack of DVDs sits inside. COLVIN Show that to whoever will watch. If this thing spreads, nothing will keep the rest of you safe. ( 69. (2) Max looks at the middle manager, desire to pull the trigger slowly losing out to the credibility of Colvin's story. Max unfastens the belt, using it to hoist Colvin to his feet. COLVIN (terrified) Wait, I'm not ready... HALLWAY OFFICE WORKERS draw back and GASP as Colvin's bloody face appears. Max is close behind, holding the belt around Colvin's neck, pressing his pistol to the back of his head. MAX Back up, all of you. Make a path. There's a disturbance at the back of the crowd - glimpses of black uniforms fighting forward. The Guards. Max pivots, holding Colvin towards the Guards as a shield. MAX calling to the guards) Stay back, or I'll-- CRACK! Colvin's head snaps back, blood spraying over Max. T he crowd goes crazy, SCREAMING and trampling each other... More SHOTS ring out, ripping through Colvin as Max lets his lifeless body fall and hides his retreat in the scramble... The Guards chase after Max, slowed by the panicking crowd... STAIRWELL Exhausted, Bravura plods up steps to a landing. Suddenly, AUTOMATIC WEAPONS erupt nearby. He fumbles for a cell phone. BRAVURA This is Jim Bravura, IA. You need to tell the units responding to the Aesir call to come equipped for automatic-- (frowning) The Aesir building, nobody's called anything in yet? (beat) Hell yes, I'd like to report something. We've got machine gun fire in Midtown. M 70. Bravura snaps his phone shut, trying to regulate his breath. Drawing a tiny service revolver he creeps to the door... HALLWAY Max stumbles up the hall. He chances a look back at the black-clad GUARDS crashing through office workers... A BURST of machine gun fire POUNDS the floor in front of Max's feet. More Guards seal off the hall ahead. Nowhere else to go, Max grips a cubicle wall and vaults over... M ax gets a few careful SHOTS off from his new elevation, dropping Guards who've lost sight of him as he jumps from desk to desk, working deeper into the maze of cubicles... The fastest Guards race ahead to block off a burning `EXIT' sign. Max's boots THUNDER across desks, papers flying... The Guards ahead FIRE, but Max shows now sign of slowing. Overhead lights EXPLODE, smoke and sparks raining down... Max launches himself into the air, pistol CRACKING as he falls. Bullets RIP through the retreating Guards... Max hits the ground hard, scrambling through the exit... ANOTHER HALL ...and around the corner. BRAVURA (shouting) Put your hands up! Max slides to a stop, startled to see Bravura aiming at him. While he doesn't exactly comply, Max does lower the barrel. BRAVURA (more human) You need to come in now, before anything else gets pinned on you. ax shakes his head. HEAVY BOOT STEPS rumble closer... MAX She was trying to stop it. BRAVURA Stop what? Tell me what's happening-- ` S A . G 71. Bullets STRAFE the wall just above Max's head. He dives to the ground, plaster dust and smoke pluming above him. W hile Max scrambles for cover, Bravura charges forward, waving his badge in the air above him. BRAVURA NYPD! Hold your fire! uards flow into the hall, a black mass bristling FIRE. It takes a split second for Bravura to realize they aren't stopping. He slips, tumbling back as bullets RIP past him... BRAVURA (screaming) Hold your fire! Finally, the machine guns go quiet. Smoldering gunpowder clouds the hallway. Bravura and the Guards search... ..but Max has disappeared into the smoke. EXT. STREET - NIGHT Mona struggles up a narrow street, buffeted by the wind. Ahead, flashing blue and red lights electrify the snow. squad car idles towards her, searchlight flashing into dark shadows. Mona ducks her head away as the spotlight finds her at her building door. For a moment, she's in a whiteout. lowly, the cop car moves on. Mona starts to use her key... but the lock has already been forced open. INT. MONA'S APARTMENT - NIGHT Mona steps inside, ready for ambush. She turns the corner... Max sits on her couch, scraped and scorched from his escape. M AX (pointing to the TV) You need to see this. ON SCREEN: Over black, the Aesir corporate logo flashes up, quickly replaced by a simple block-letter title card: PROJECT VALHALLA: PROMOTIONAL SPOT #3' S S O A O 72. ANNOUNCER (V.O.) From the beginning of time, great generals have all wrestled with one undeniable truth - morale wins battles. ver an up-tempo ROCK SOUNDTRACK, a slick montage of war imagery: tanks roaring over sand dunes, missiles ripping through palace walls, American troops firing machine guns... ANNOUNCER (V.O.) (CONT'D) Fear, fatigue, loss of focus...the future of combat medicine lies in the mind of the soldier. A cutting-edge lab, SCIENTISTS working complex machinery. NNOUNCER (V.O.) (CONT'D) Thanks to breakthroughs made by Aesir Pharmaceuticals, the military of tomorrow will be able of unlock the limitless potential inside every soldier. n screen, the shot cuts to the interview of a YOUNG SOLDIER in uniform. He smiles easily, confident, eyes alert but maybe a little distant. Something familiar about him... H YOUNG SOLDIER (V.O.) ow has my experience in combat changed since being selected for Project Valhalla? (beat, smiling) I'm never scared, for starters. uperimposed under his face: `PVT. JACK LUPINO.' tartled, Mona moves closer to the screen. MONA That's the guy. MAX What are you talking about? MONA He's the one behind Ragna Rok. It's his club where the drug's being sold. LUPINO (V.O.) You face down a group of insurgents and instead of fear, you're filled with...peace, I guess. (MORE) S M 73. (2) LUPINO(CONT'D) Like you're aware of the power you have in your own hands to make the world a better place. Max studies Lupino's image - thinner, no visible tattoos. All-American. There's already something in his eyes, though. As Mona sits back down, Max brushes past her to get his coat. ONA So what do we do now? Max stands up from the couch and starts away. Confused, Mona tries to follow, but stumbles when something pulls her back: he looks down to see she's been handcuffed to her chair. MONA What are you doing? (beat, louder) Uncuff me. (beat, louder still) Hey! On screen, Lupino smiles, beads of sweat forming on his face. Deliberately, Max stops the DVD and cuts off the television. W MONA hat is this? You think just because he killed your partner, you can decide whether I-- When Max finally speaks, the sound scrapes out of his throat like he hasn't used his voice in years: MAX He killed my wife. Mona struggles at the cuff, chain CLANKING but holding. MONA I've been inside that club. You don't have a chance on your own. (realizing) But you don't care. Max stoops down to pick up Mona's machine gun where it leans against the base of the couch. Mona THRASHES helplessly. MONA You don't want my help, because you think if he puts you out of your misery, you'll get to see her again. E B I I E 74. (3) Without a look back, Max starts out the door. MONA I hope that's really the way it works. The door pulls shut behind him. XT. RAGNA ROK - NIGHT The red neon sign is only an ember, muted under caked ice. n a chair blocking the front door, a GUARD watches the silent street, shivering uncontrollably. NT. RAGNA ROK - NIGHT Inside, the dance floor is empty. Sitting at the top of the stairs, another GUARD sleeps, rifle propped beside him. ACK ROOM A room like the inside of a smoker's lung - walls painted black, haze from candles and whatever else blurring the air. Jack Lupino sits on the floor surrounded by candles, watching the flames with manic focus. Two GUARDS stand above him. I nto a bent spoon, Lupino taps greenish powder from a small glass vial. He uses the candle to heat the spoon. Checking his watch, one of the guards produces a cell phone and dials. GUARD #1 (on phone) All quiet, 4 a.m. Lupino dips a needle into the spoon, drawing the bubbling green liquid into the body of the syringe. XT. RAGNA ROK - NIGHT The guard stomps his feet, trying in vain to keep some blood flowing. Blowing in his hands, he looks both ways down a street that is still just as empty as it has been for hours. GUARD (chattering, to himself) Screw this... Frozen fingers fumbling with the keys, the Guard opens the door. Moving the chair just inside the doorway, the guard settles in the alcove... L M L 75. He pulls the door shut. It won't. Something's blocking it. The guard stands up, opens it wider to build some momentum... Max stands on the top step. BACK ROOM Lupino shoots up, gritted teeth tugging his belt tourniquet tight. Eyes clinched, beads of sweat already forming. The muffled BLAST of a machine gun, out on the dance floor. The Guards surrounding Lupino spring into action. GUARD #1 W ait here, Mr. Lupino. Lupino lets the belt slip free, a deep SIGH rattling out. He opens his eyes, just in time for us to see the irises retracting. Candles shine in the black holes left behind. UPINO I don't need protection. I have my own. The Guards at the door lock and load, moving out... BALLROOM Max walks into the ballroom, motionless Guard bleeding out on the dance floor before him. Gunsmoke hangs in the air... In that final stillness, Max checks his clip. Stone-faced. Thundering BOOTS echo out from the belly of the building. Doors fly open - Guards racing out from the kitchen on the first floor, two more from the office CRASHING out upstairs. ax OPENS UP, flames of automatic fire lighting his way. BACK ROOM Lupino and the Guards listen to the SHOOTING grow closer. Suddenly, the metal door flies open, BANGING at the stop. With lightning reflexes, THE GUARDS BLAST down the hallway. upino slowly stands, eyes glowing in the guard's muzzle flash. Forgotten now, he fades away into the smoke. The Guards crumble and fall until the room goes SILENT. M ax melts out of the smoke, weapon raised. Hunting. I C L U L 76. The back room is deeper than the poor light gives away. Max's boots grind over burned-out candles, occult runes... Lupino launches out of the darkness at Max. Before he sees it coming, Lupino drives a hard punch into Max's skull. Max stumbles forward, ears ringing from the blow. Lupino draws a gleaming knife from his boot and springs on Max. upino swings the knife so quickly it becomes a blur, blade WHISTLING as it cuts through the smoke. He slashes the knife across Max's thigh, dropping him to the ground. nable to stand, Max thrusts the rifle up for protection. The blade CLANKS against the barrel, carving deep trenches in the stock, finally gashing the back of Max's fingers. Blood rushes from the cuts, loosening Max's grip on the weapon. Teeth gnashing like an animal, Lupino reaches out and tries to pull the machine gun out of Max's hands. upino buries the knife into Max's shoulder. He CRIES OUT. LUPINO an you hear them, now? Lupino drives his knee into Max's chest. Arm numb from the stab wound, Max's grip on the gun is slowly overpowered. Helplessly watching it slip away, Max SCREAMS with rage... E XT. RAGNA ROK - NIGHT Outside, no voice could carry on that raging WIND. TWO FIGURES walk up the street, closing slowly on Ragna Rok. NT. RAGNA ROK - BACK ROOM - NIGHT Lupino leans over Max, one hand grinding the knife deeper into his shoulder, the other wrenching the machine gun free. Max desperately tries to dig his nails into the grip... LUPINO We'll see which one us they're flying for. We'll see who they love best. Sweat streams down Lupino's face, dripping down onto Max. Fingernails splitting, Max finally loses hold of the gun. The sudden shift in momentum pitches Lupino back. For an instant, they are apart. S B Y ( 77. In that instant, Max pulls the knife from his own shoulder and buries it to the hilt in Lupino's stomach. Lupino drops the machine gun. Max clamps his hand over Lupino's throat, using his grip to force the knife deeper. While Lupino GASPS, eyes wide, Max struggles to his feet. MAX Who is your contact at Aesir? Lupino looks down at the knife in his stomach. Fascinated. MAX louder) Who sent you after Michelle? L UPINO (with difficulty) You are so blessed. Max looks at Lupino - up close, his undyed skin is ashen and pockmarked, older than his age. Blood drools from his lips. Lupino's eyes swim around, lost in a fog of drugs and pain. MAX ou don't know what I'm talking about, do you? Lupino's eyes stop swimming. For a moment, he sees Max. LUPINO The angels are not done with you yet. Lupino's skull explodes. Max spins towards the hall, but another SHOT rakes across his shoulder and slings him to the ground. Defenseless, Max can only lift his eyes to see who's coming to finish it... B steps out of the smoke. As Max reels at the sight of BB, JOE SALLE (50'S) rumbles in. alle stomps on Max's wrist, in the same motion telescoping a metal baton and CRACKING it across his skull. With the grace of an old pro, Salle snaps on a pair of handcuffs. MAX (in shock) BB? Max is hauled to his feet - bleeding, cuffed, and trapped. B B G ( A M 78. (2) And BB walks right on by. AX What's going on here, BB? As Max watches in disbelief, BB paces around the room taking stock - noting the dead Guards, crouching over Lupino's body. B B t ease, soldier. Max struggles to break free of Salle's grasp. MAX Hey! JOE SALLE (draws pistol, re. Max) Now? BB Not unless you feel like carrying him out of here. Max knows me, and I definitely don't know Mr. Lupino. MAX shouting) Look at me, BB. At least face what you're doing... BB finally does look at Max. Cold, dead eyes. A stranger. BB row up. EXT. RAGNA ROK - NIGHT BB steps through the door, over the guard's upturned chair. The blizzard has won - streets and sidewalks no longer scraped, cars long abandoned under their icy cocoons. The fifth largest city in the world, reduced to a ghost town. B Happy New Year. B strides out in front, taking in the sight. It might as well be a desert, white sand sifting around their boots, buildings rising above like black canyon walls. Max shuffles along behind BB, head bent low in the wind. Plumes of his ragged breaths trailing out behind him. 79. BB (cont'd) Look at it from my perspective: this thing is going to be a true epidemic. One hundred percent dependence within a few doses, and we control the only source. This is so much bigger than Lupino's little bar. This is every street corner in the City in a month, nation wide in two. Max keeps trudging, one foot in front of the other. BB looks annoyed that he's not getting a reaction out of him. B B I hope you're not over there blaming me. Really, this is Michelle's fault. Max's eyes start to burn. BB sneaks a peek, encouraged. BB She had no right to put me in that situation. Asking me to pass up this kind of an opportunity to help her rat out my bosses...I'm sorry, but that's unreasonable. Max's head snaps up, eyes simmering with rage. BB smiles. BB But then again, who could blame her for getting confused, being married to such a righteous man. So maybe it is your fault, after all. (beat) Just like your old man. Always knew you were better than everyone else-- MAX No. Just better than you. BB's smile seems to double. He considers Max for a moment. BB For what it's worth, he didn't know Michelle was going to die. Max starts walking again, doesn't raise his eyes. The seed has been planted, though. BB plays with the silence. BB He thought they were going out there to scare her, destroy her research. M F T F 80. FLASHBACK: MAX'S KITCHEN - DUSK Looking up from the mail, Max sees the smashed kitchen door. R ESUME - EXT. STREET - NIGHT Max keeps walking, trying to fight off the memories. BB strolls along beside him, taking his time with the story. BB I'd arranged with the other guys to finish the job. LASHBACK: MAX'S HALLWAY - DUSK Max races into the hallway bathed in golden light. Between Max and the end of the hall, two JUNKIES are huddled against a door. Twisting the handle, SMACKING the wood. BB (V.O.) He locked them out of the bedroom, tried CPR...boy scout shit. he Junkies turn to Max, eyes black and glassy. Sick smiles. RESUME - EXT. STREET - NIGHT Max looks nauseous. BB sees it, thrilled. BB (smiling) And as thanks, you nearly blew his head off while he crawled out the window. LASHBACK: MAX'S HALLWAY - DUSK Max throws his shoulder into the door, SNAPPING the hinges... BEDROOM - CONTINUOUS A MAN slips out of the window, one leg still inside... ax OPENS FIRE at the retreating shape. RESUME - EXT. STREET - NIGHT Max's gait begins to falter, lost in the memory he's played a thousand times, the images shifting to show something new... B B watches eagerly, waiting for what comes next... S M 81. FLASHBACK: MAX'S BEDROOM - DUSK Max charges in, again firing on the man escaping... ...but this time, we watch the glass behind the billowing curtains. The fabric ripples, revealing a reflection... Alex. BB (V.O.) That's funny, to me. A momentary flash of his profile, a mask of guilt and shame. RESUME - EXT. STREET - NIGHT Max stops walking. All of his will gone. BB steps closer, drinking in the pain in Max's eyes. BB You really didn't know? With a shrug, BB turns away from Max's fury and moves on... INTERSECTION - CONTINUOUS Above them, traffic signals strain under thick icicles. Intermittently, the lights go dark, the power faltering. AX (soft) You should have killed me then, when you had a chance. BB I learned something from your father, years ago. Always give people a choice. tepping into the intersection, BB stops. Abruptly, Joe Salle closes with Max, meaty hand clamping onto his arm. BB He gave me the choice between early retirement or facing the charges he was going to bring against me. He sat me down in that bar and explained that I could either give up the thing I loved, or I could have it taken away by force. That (was my choice. beat) (MORE) I 82. BB(CONT'D) You could have put a gun in your mouth any time you wanted. Or, you could have kept living in the hell I made for you. That's your choice. BB smiles. BB Just out of curiosity, though: why don't I have a chance now? Max's eyes are clear - almost peaceful for the first time. MAX Because now I know it's you. BB moves closer, the arrogance in his smile deepening. BB Well, you're-- Suddenly, Max launches himself forward - a fullback's explosion into the line that catches Salle by surprise... Hands cuffed behind his back, Max drives his shoulder into BB's jaw, splitting his lip. BB tumbles back into the snow. Joe brings the club out again, bashing Max across the head, using it to choke Max until his struggles lose power. JOE SALLE Okay, enough. This is far enough. BB looks around, wiping the blood from his lip. His eyes fall on a mound of construction rubble in a vacant lot. B B Hang on. JOE SALLE BB... BB stands and walks onto the lot, kicking away snow until he exhumes a cinder block in the rubble pile. BB picks it up. BB 've got something better. Carrying the cinder block, BB starts off down a different street. Grudgingly, Salle pushes Max along after him. Visible a few blocks away, the black body of the river waits. I ( H L 83. EXT. PIER - NIGHT An ancient shipping pier juts out into the river, murky water high and roiling around its pilings from the stormy weather. B B motions for Max and Joe Salle to follow him out onto the pier, its planks buried under a thick sheet of ice. BB (to Salle, taking Max) Grab me some of that rope. BB drops the cinder block at Max's feet, CRACKING the ice. BB It's not like we didn't see it coming. Clamping onto Max's arm, BB unlocks his handcuffs. BB Sullen, withdrawn...Max just never seemed the same after the tragedy. ights running the length of the pier flicker, eventually dying altogether. All down the shore, the power fails. BB It's a good thing his father didn't live to see it, though. Bill Payne's only son, a strung-out suicide. idden in the now deeper darkness, BB pulls something from his coat: two glass vials like Lupino's, filled with the same green powder. He tucks them into Max's coat pocket. BB smiling) It would have eaten him alive. MAX Bravura's not going to buy it. BB Sure? Not even once the autopsy turns up traces in your blood? Max looks at BB, trying to understand how that could be. BB dosed you that night at Alex's, just to make sure things were fuzzy. Compliments of the house. J 84. Seeing that BB has removed Max's cuffs, Salle hurries over. The motion puts both men off balance on the slick boards... BB oe, why don't you calm down... Salle grabs Max's arm. Max looks down at Salle's feet, hard- soled shoes slipping. Salle anticipates his next thought... Abruptly, Max jerks his arm away. Not able to let go in time, Salle's feet fly out from under him. The big man crashes down hard on his side. Max ducks and stumbles forward... BB FIRES, missing. Max looks back. Beached on his side, Joe Salle draws his pistol, the next shot coming any moment... Max slips. Struggling to right himself, hands scraping over rough planks, another shot CRACKS inches from Max's legs... With nowhere else to go, Max turns to the water. Boots slipping, he lunges for the edge, careening over... RIVER - CONTINUOUS Max SPLASHES down into the dark water, body twisted in an awkward position, wind blasted from his lungs by the impact. SHOTS from the pier above CUT into the water around him... Max dives under as much as he can stand it in the frigid water, swimming farther from shore. Shots continuing to SPLASH around him, the current pulls him into deeper water... P IER BB and Salle FIRE with less conviction. In the water, the disturbance made by Max grows smaller as he's swept away. BB lowers his gun, motioning for Salle to do the same. BB It's fine, as cold as that water is... (beat) Just in case, though. Make sure. Salle frowns, shoots BB a look. JOE SALLE How? 85. RIVER Max lifts his head. The wide expanse of the river stretches around him, surface broken by swirling pocks of falling snow. The current caries him farther from piers and buildings receding into snow, as black as the water they rise above. Turning, Max sees that the opposite shore is even farther. Slowly, the exhilaration of escape begins to change. Icy water bites his skin. Muscles beginning to tremble... Limbs heavy with saturated clothing, joints seized by cold, Max tries to swim against the current with little success. Max sinks lower, churning water lapping his face. GASPING BREATHS becoming SPUTTERING COUGHS... CUT TO: INT. HALLWAY - TWILIGHT (VISION) Max moves down the hallway, the familiar golden light. Boots A stepping quiet, past the bloody and motionless bodies. t the bedroom's door, Max pauses. Unable to go through. Michelle's body faces away, bundle cradled in her arms. As Max stands watching, Michelle's body stirs... EXT. RIVER - NIGHT Max breaks the surface: COUGHING, GASPING, flailing his arms. It's hopeless; he immediately begins to sink again. Desperation, panic move his limbs, but for nothing. Max Payne slips under without so much as a ripple. INT. HALLWAY - TWILIGHT (VISION) Tentatively, Max crosses the threshold into the bedroom. Michelle's eyes open, aware that she's being watched from the doorway. She looks up at Max, a lazy smile forming. The bundle of blankets stirs. Michelle grins down at their infant daughter, offering her finger to the tiny pink hand. Max edges closer, overwhelmed by the sight. Michelle pats the bed beside them, inviting Max to sit. He doesn't move. M H ( C H C 86. MICHELLE Are you home? For a long moment, Max drinks in the sight of his family... EXT. RIVER - PRE-DAWN Out in the middle of the river, the white curtain of blowing snow parts to reveal a dark shape, drifting in the fog. Like an island in the black water, a small boat bobs in place... T he CAPTAIN steps out onto deck, zipping his coat against the weather while talking into a two-way radio. Faintly visible around him, larger ships are outlined by twinkling lights. APTAIN (into radio) You know how blind I am, I'm not crashing into the dock again. When the power-- A THUD against the hull of the ship; something in the water. CAPTAIN ang on a second. The Captain leans over the gunwale. A body floats below the surface, BUMPING as it bobs in the wake. APTAIN to himself) Jumpers. The Captain swings a gaff, SPLASHING and glancing the sharp hook across the body. He tries again, a solid hit... A hand breaks the surface, weakly grabbing the pole. CAPTAIN oly shit... (to the engine room) Somebody get out here! EXT. DOCK - NIGHT The boat barrels out of the fog, moving too fast towards the pier. The Captain and his FIRST MATE crouch over Max. FIRST MATE It's too late. He's frozen solid. ax lies on the deck, ice water streaming from his clothes. He's blue-gray, shivering violently, tiny puffs of breath... ( C F D C 87. The boat tries to ease into the dock, but is moving too fast: it CRASHES against the pilings. The gathered CROWD SHOUTS. CAPTAIN (calling to the pier) Somebody get some blankets. The Captain and Mate lift Max's rigid body up to the pier. People start to inspect his cut and battered body. CAPTAIN all the cops, he's bleeding everywhere. Catatonic to this point, Max suddenly tries to shake his head. He attempts to sit up, but hands force him down. Powerless, Max's eyes desperately look around, searching... CAPTAIN on't move. We've got help coming. Hand shaking violently, Max reaches inside his coat and pulls out the vials BB planted. Trembling, he flips the caps away. IRST MATE What is that? What's he... With everything he has, Max opens his chattering jaws and dumps the green-tinged powder into his mouth. APTAIN Great, a junkie bleeding on my boat. The dust on Max's lips liquefies. His trembling grows worse. The crowd parts, and a MAN rushes up with blankets. He kneels down over Max, whose body keeps shaking. M AN touching Max, confused) He doesn't really feel that bad... CAPTAIN What do you mean, he's a block of ice... The captain touches Max's skin, jerking away in shock. FIRST MATE Maybe it's a fever already. Max pushes their hands away, his strength suddenly regained. Unsteadily, Max climbs to his feet. The crowd pulls away. B 88. (2) CAPTAIN Let him go, then. Max wobbles up the planks, the snow fall not quite as hard as it had been when he went into the water. Max's gait grows more steady, each step forcefully forward... One by one, the flakes become burning embers drifting from the sky. Max marches ahead, bits of fire raining over him. INT. POLICE STATION - INTERROGATION ROOM - NIGHT A exhausted man in the uniform of a GUARD slumps in an interrogation room. Bravura paces the floor, grilling him. BRAVURA Okay. Again, from the beginning. Before the Guard can answer, the door flies open. Without a word, the RANKING OFFICER summons Bravura into the hall... HALLWAY ...where a row of more GUARDS are handcuffed to a bench. U RANKING OFFICER nder what authority are you interrogating these men? RAVURA An investigation into departmental corruption. They're material witnesses-- RANKING OFFICER Just between you and me, I wouldn't count on these men being any kind of witnesses at all. I served with a few of them, and remember what kind of officers they were. From the bench, Bravura sees the smirks from the Guards. BRAVURA What kind would that be? RANKING OFFICER Cops. Real cops. At the far end of the hall, a group of serious-looking men in DARK SUITS file out of the elevator. Bravura cracks a smile. RANKING OFFICER o offense. The Suits get closer, revealing badges on their belts. FBI. BRAVURA None taken. (to the lead agent) Agent Taliente, I'd like you to meet a real cop. The Ranking Officer and the Agent shake hands. Icy. Standing in the doorway of an office down the hall, a DETECTIVE shrinks back to his desk and picks up the phone. DETECTIVE (on phone) Let me talk to BB. EXT. ASGARD BUILDING - NIGHT With dead streetlights, the hulking black shape of the Asgard building looms like a mountain at the end of the block. ax moves up the street, steam rising from his clothes as they dry from the heat of his skin. Sweat beads on his face. Max enters Asgard's courtyard, the Gothic facade rising high above. He passes through its security lights, shadow casting down onto the clean white snow like a projection screen... Invisible to the naked eye, more shadows of winged shapes dart and swoop in the air above Max's outline on the snow. INT. ASGARD BUILDING - BB'S OFFICE - NIGHT BB POUNDS the receiver down onto the phone, CRACKING the base. Joe Salle watches him angrily pulling on his coat. JOE SALLE What's going on downtown? BB Bravura called in the Feds. BB storms for the door, surprised to turn back and see that Salle hasn't followed him. The big man scowls, nervous. BB or God's sake, come on. Max is dead, they've got nothing else. ENTRY HALL BB and Salle storm down the steps into the main entry hall. B Get up to the armory, hide the-- Salle grabs BB by the arm. On the floor between them and the front door, two guards sprawl face-down in enormous pools of their own blood. JOE SALLE He's not dead. He's here. BB Bullshit. There's no way-- At that moment, they both see movement in the shadows... Max steps forward into the light - soaked in blood up to his elbows, eyes black and animalistic. No longer himself. oe Salle reaches for his pistol. With freakish reflexes, Max raises one of the guard's machine guns and OPENS FIRE. BB and Salle fall back, diving into an ancient elevator car. Slugs ricocheting, BB and Salle struggle to shut the doors. From Max's POV: as the elevator doors slam shut, a glimpse of BB's face stretching and distorting into a demonic grin... ELEVATOR BB and Salle watch the floor number rise. BB finds his cell. JOE SALLE Who are you calling? BB Her. By Salle's face, that's a thought scarier than Max. INT. AESIR BUILDING - PENTHOUSE OFFICE - NIGHT The giant glass-walled penthouse office of the Aesir building sits above the storm clouds. Up here, dawn is close. Nicole Horne watches the storm below her feet. She ANSWERS. NICOLE HORNE (even) This isn't a number you use. INTERCUT - HORNE'S OFFICE/ELEVATOR BB need you to send a helicopter to my building. NThe storm's breaking... NICOLE HORNE here was a shoot-out in my building yesterday, twenty floors from where I'm sitting. A secretary was killed. BB I understand an executive named Jason Colvin was also among the dead. Senseless tragedies, all. Nicole sighs, eyes still fixed on the window. BB Everything's fine, we're just-- NICOLE HORNE This was more than you were ready for. BB What is that supposed to mean? NICOLE HORNE Perhaps our partnership has run its course. BB Think pretty hard about that. I'm about to be surrounded by Federal agents-- NICOLE HORNE (shadenfreude) Good heavens, BB. Best of luck. BB Who needs luck? They're going to love the stories I can tell. NICOLE HORNE Careful. BB (losing it) Send the helicopter, then. After a moment, Horne lets her eyes drift shut. She smiles. NICOLE HORNE It's on its away. INT. ASGARD BUILDING - HALLWAY - CONTINUOUS The elevator opens and BB steps out, snapping his phone shut. BB Take everybody and get downstairs. I want no less than his head. HALLWAY Max turns the corner into a long hallway of prison-like offices. Emergency lights flicker through barred windows... A group of GUARDS look up and see Max at the same moment. Max is without hesitation, SHOOTING two before they can raise their weapons. Falling back, the others start FIRING... S uddenly, an office down the hall bursts to life - a ROAR of flapping wings, light from the window strobing with movement. Max doesn't seek cover, walking into BLAZING machine guns... One by one, all the offices FLICKER with fluttering wings. Max marches on, rage-filled eyes set in a lifeless face... ARMORY Guards empty the weapons lockers, loading for bear as the sounds of GUNFIRE grow closer. BB and Salle supervise. BB Take some C4, wire it so he can't make it to the roof. I'll wait on the chopper. Salle's mistrust of BB is painted all over his face. BB (smiling) You know I won't leave without you. CORRIDOR Max FIRES, plaster from shattered walls caking on his sweat- soaked skin. Guards take cover, fall back for position... With every shot fired, the muzzle flash glows in Max's empty black eyes, the flames glowing brighter as he advances... GREAT HALL ...into the vast, open space at the heart of the building. GUARDS appear at the other end of the hallway, OPENING UP. Their SHOTS echo, the great room ringing like a cave. Max lifts his eyes - what had been four stories now seems like forty, the top not visible behind hazy black smoke. Bullets WHISTLE past Max's ear. Distracted, he RETURNS FIRE, but his eyes are drawn back to the black smoke above. SOMETHING moves in the clouds, swirling closer... STAIRWELL More Guards THUNDER up steps littered with spent casings. In their haste, they don't notice the thin gap in one window... LENDER FINGERS slip in with the swirling snow, opening it... GREAT HALL (MAX'S POV) Crashing back into Max's perspective, a RUSHING WIND presses down from the black clouds above, the darkness spreading. Max's legs buckle, his machine gun scattering SHOTS... The room goes darker as it gets louder, light blotted out by WINGED CREATURES drifting down from above, circling closer... Max stumbles, buffeted by their POUNDING WINGS. CHOKING on sulfurous smoke, hair smoldering, skin starting to singe... ANOTHER HALLWAY A small group of Guards race forward, dodging the bodies of others Max met along the way. They hesitate, form ranks... GREAT HALL - CONTINUOUS ...and the frightened Guards charge into the great room. It is silent. Smokeless. Just a hall. Blood streaks the walls, flows between the crumpled carcasses of more dead GUARDS. At the far end of the hall, something moves: Max. On his hands and knees, rivers of sweat flowing. Confused, the group of Guards approach Max. Weapons ready. MAX'S HALLUCINATION Crushed inside the DEAFENING blackness, Max lifts his eyes to see LEERING DEMONS gazing down, distorted versions of... GREAT HALL - CONTINUOUS ...the four Guards, who look down on Max's trembling, sweat- logged body on the floor. He's MUTTERING, CHANTING... So easy it almost doesn't seem fair, a Guard aims his pistol. Suddenly, bullets RIP through the Guards from behind. No chance to respond, bodies torn open with a merciless BLAST of machine gun fire. They fall around Max, joining the rest. Gun smoking, Mona rushes up the hallway to Max. MAX'S HALLUCINATION The Demons fade away, their howling SCREAMS lingering behind. Awaiting the next horror, Max is shocked by something else: White light splits open the smoke, cutting the black in two. GREAT HALL Mona kneels down over Max, lifting up his head. Max's skin is pale, slick like melting wax. His eyes are empty. There's nothing gentle in her touch - she SLAMS Max's head back onto the cold marble, jerking him up again by his hair. MONA Max! Gradually, Max's black eyes start to find Mona's face. M AX'S HALLUCINATION The white light grows brighter, blasting away shadows and smoke. In its center, traces of Mona's face appear. GREAT HALL Max starts to sit up, gazing with confusion at the hallway. MONA You don't have much time. Max nods. No idea if he understands, Mona helps him up. MONA I'll do what I can to slow them down, but you have to hurry. Max looks back at Mona, clearly having some idea of what that means for her. They look at each other for a long moment. MONA You're not done yet. EXT. ASGARD BUILDING - ROOF - DAWN Sickly light glows in the east. The snow has all but stopped. BB strides across the roof, hope in his eyes. BB (on phone) The weather's broken, your pilot is going to have no problem landing. INT. AESIR SKYSCRAPER - PENTHOUSE OFFICE - DAWN Nicole Horne sits at her desk, watching the storm recede. A red light flashes on her phone. She ignores it. INT. ASGARD BUILDING - HALLWAY - DAWN Joe Salle kneels over a pile of C4 bricks, wiring a bomb. He tenses, hearing something in the hall behind him. Raising his hands and turning slowly, he finds Mona waiting. MONA Where's the detonator? Slowly, Salle holds it out for Mona. She grabs the remote. JOE SALLE There's more like this all over. Even if the building doesn't collapse, this floor is gone. (beat) Careful with that thing, is what I'm saying. I'm sure you and I can work something out. Suddenly, BOOT STEPS ring up the hallway behind Mona. UARDS Drop your weapon! Salle smiles. BB'S OFFICE Max staggers through the door to BB's office. Out the big windows, the East River begins to glow with approaching dawn. ax scans the room for BB, his vision still plagued by flickering shadows, hallucinations receding but not yet gone. He pauses at the glass, caught by his twisted reflection. ax can see his own wings. HALLWAY Salle holds out his hand for the detonator. Behind Mona, elevator doors open to reveal more Guards. They file out... JOE SALLE (to the Guards) Hurry, Max's already upstairs. (to Mona, frustrated) Just hand it over. Mona watches the guards file towards the stairs. Behind her, the elevator car waits, empty, the doors starting to close... JOE SALLE B's done for, but this thing doesn't have to stop. I'm his number two, and somebody has to take over for Lupino. Like I said, we can work something out. Ever so casually, Mona takes a step back onto the elevator. The doors HISS along their tracks, converging... JOE SALLE frowning, confused) Give me one reason we can't do business. Mona presses the button on the detonator. BB'S OFFICE - CONTINUOUS T he window Max stands in front of SHATTERS in the EXPLOSION, his demonic image bursting into a thousand shards of glass... EXT. ASGARD BUILDING - DAWN - CONTINUOUS From the ground, the explosion rains glass down over the Feds and waiting SWAT team. Shielding his eyes, Bravura squints up at the flames in the windows. Taliente pats his shoulder. 97. BRAVURA Try to take Payne alive, if there's anything left. Taliente nods. On his signal, the SWAT team mobilizes. INT. ASGARD BUILDING - BB'S OFFICE - DAWN Wind GUSTS through the shattered windows of BB's office. Max brushes away diamonds of broken glass, struggling to stand. hin rims of color have returned to his eyes. Human again. Max draws his pistol and strides through the roof door... EXT. ASGARD BUILDING - ROOFTOP - DAWN - CONTINUOUS A shower of bullets strikes the doors as he steps outside. Max can't react. Bullets shred the door behind him, one slug hitting Max in the stomach and knocking him to the ground. cross the roof, BB keeps FIRING until his pistol CLICKS. BB returns his attention to the sky, hopelessly waiting. BB It's unbelievable. All that snow, and... Watch it end up being a beautiful day. ritting his teeth, Max struggles to his knees. Blood rushes between his fingers, streaming out of the hole in his side. earing Max's effort, BB turns away from the empty sky. Using the pistol as a crutch, Max finally stands... BB You want my confession, first? You came all this way for it... BB tosses his useless weapon aside. BB (mock penitent) Forgive me, Max, for I have sinned. I should have bet more on you, and less on that helicopter. Max limps closer, pistol swinging at his side. A thin trail of blood follows behind him in the snow... BB watches Max's approach, his swagger rapidly failing. BB Just get to it, already. That's all I ask. You've earned it, so just... With the pain in his stomach causing some difficulty, Max pulls the pistol's slide back to check for a live round. BB watches Max's preparations, terror growing. Unable to resist his panic, BB abruptly tries on a helpless smile. BB But I want you to listen to me, first. Just try to hear what-- Max raises the pistol and PULLS THE TRIGGER. The slug hits BB in the center of the forehead, snapping his neck back. The shell casing twirls down, landing in the snow without a sound. BB's corpse lands a moment later with a clumsy THUD. Max lets the gun slip out of his hand and walks past the body - BB's eyes frozen on the sky, red halo slowly expanding. Max reaches the edge, the river's black body revealed below. His gait falters, blood filling each footprint in the snow... INT. ASGARD BUILDING - BB'S OFFICE - DAWN The SWAT team streams through the door, racing for the roof. EXT. ASGARD BUILDING - ROOFTOP - DAWN Max stands at the roof's edge. A stiff wind buffets against his chest, forcing his unsteady legs to sway a little. Slowly, his eyes drift from the water below to the sky... CUT TO: INT. MAX'S BEDROOM (VISION) - TWILIGHT From the doorway, Max watches Michelle smiling down at their baby, who grabs at her finger with a wide grin. MAX'S VOICE I don't believe in heaven. Gently, Max takes a seat on the edge of the bed beside them. 99. EXT. ASGARD BUILDING - ROOFTOP - DAWN Max looks up at the sky. Behind him, the SWAT team races outside, swarming and BARKING orders at Max, weapons raised. Max drops to his knees. He raises his hands, one dripping with his own blood. But his eyes stay on the sky... MAX'S VOICE But I have this idea about it. ...where a tiny tear opens in the clouds, revealing steel grey dawn beyond. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mechanic, The.txt b/unformated_scripts/Script_Mechanic, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..901486f1ec24ea38071b535159cd02d74efb4f1b --- /dev/null +++ b/unformated_scripts/Script_Mechanic, The.txt @@ -0,0 +1 @@ + THE MECHANIC Written by Karl Gajdusek & Lewis John Carlino DRAFT: 07/17/2009 "Pleased to meet you, hope you guess my name But what's puzzling you, is the nature of my game." The Rolling Stones, 1968 1. INT. BISHOP'S STUDY - NIGHT CLOSE on the needle of a precision-weighted 33rpm turntable. It comes down, touches vinyl. The Rolling Stones "Sympathy for the Devil" purrs out... ARTHUR BISHOP (40's) Sitting in a comfortable wooden chair, stares right through us. Lean, hard, in perfect physical shape. In this moment, carrying the stillness of someone utterly in balance. For all we know, he's been sitting this way for hours. BISHOP (V.O.) Every man has a death that's right for him. Every one. REVERSE to find a wall of photographs, charts, official documents. In the center A PHOTOGRAPH of a man, mid-40's, East-Indian, dressed like the billionaire he is. Dodi Fayed meets Bill Gates. THE MARK. BISHOP (V.O.) (CONT'D) For every man, there's a way to leave this earth which is so right for them, it's almost as if they carry it with them. MOVING over the wall. MORE PHOTOGRAPHS. The Mark escorted from a bullet-proof sedan by ear-wired men. Entertaining at a palatial estate. Magazine covers: "The billion-dollar lifestyle." "The new Playboy." ...passing over smaller articles: "What does this man do with your money?" BISHOP (V.O.) (CONT'D) When the right death overtakes a man, there will be grief in those who knew him, but there will also be a sense of inevitability. Because they will know, that of course... CLOSE ON BISHOP. Statue-like, except his eyes which dart across the wall in front of him, making connections... EXT. RURAL RACETRACK - DAY VINTAGE RACE CARS speed by, a blur of color. But all we hear is the Rolling Stones' song. And... BISHOP (V.O.) ...Of course, this was always going to happen this way. WHOMP! The SOUND OF THE RACE floods in as the cars blow by, revealing Bishop amidst onlookers, watching, calculating. 2. BISHOP'S P.O.V.: Two cars TANGLE in a corner, SPIN to a stop, crushing a half-million in beautiful restored antique. The Mark climbs from his wreck, tosses his helmet, pissed. Bishop raises a camera, takes a picture. EXT. BISHOP'S STUDY - DAY Bishop at his wall again, this time actively engaged, working it. A picture of the Mark in his vintage car goes up, underneath, Bishop tacks a stats page: "Fatality in auto accidents by type of impact. Head on, Side rear,..." Off to the side, bank statements, cash transfers. Saudi Arabia. Chechnya. United Arab Emirates. Bishop tacks more photos up. The Mark, getting off a private plane, the Mark, playing Polo... EXT. POLO GROUNDS - DAY WHACK! A Rider SLAMS a ball forward, spurs his horse onwards, bearing down on the ball... and SLAM! Another Rider comes in from the side, sends the man crashing off his horse. The second man, the Mark, takes a second to gloat over his fallen opponent before CHARGING onwards. IN THE STANDS. Bishop watches, takes a note on a pad. INT. BISHOP'S STUDY - DAY Bishop keeps working, the wall completely covered now. Lists of possible deaths have been ordered, drawbacks circled. Bishop scans over various magazine covers featuring the Mark. One with a vintage hunting rifle slung low in his arms, unbroken. "American Dream or American Nightmare?" Bishop stares at this. Eyes moving over the wall, accident stats, a copy of a hunting-club reprimand... he's arrived. INT. RIVERWAY - NIGHT Bishop stands in front of a moving riverway, his body sheathed in a black slicksuit, backpack on. He slips into the water and starts to SWIM. We STAY with Bishop as he SWIMS HARD, powerfully, not tiring. Finally, we PULL AWAY, across miles of water, realizing this is what Bishop will swim without stopping. 3. EXT. ISLAND SHORE - NIGHT A pair of ARMED SECURITY patrol a wooded shore. One lifts a pair of binoculars, scans the shore as BEHIND THEM, a form moves from behind a tree, blends into the woods. ON BISHOP. Moving fast, silent, towards a LIT STRUCTURE in the distance... INT. HIDEAWAY - NIGHT BLACK. The SENSE that someone is in here with us... A LOW GREEN GLOW illuminates Bishop in a TINY, CRAMPED, COMPARTMENT. No way to know what or where. The glow, coming from his watch, illuminates his face, crammed and claustrophobic. An eye checks the time, the light goes out. Just the sound of his breathing... EXT. SPORTS CLUB WOODS - MORNING CRACK! CRACK! PLUMES OF SMOKE rise from the end of vintage hunting rifles. Game birds scatter into the air. Dogs BARK, tear through underbrush. MEN dressed in traditional hunting livery move through foggy woods, followed by STEWARDS. This is old school hunting, old school weapons. Camera finds The Mark, raising his weapon, sights... BLAM! A PHEASANT falls, dogs race after it. The Mark starts forward but is interrupted by his Steward reminding him to break his weapon as the other hunters have. The Mark pushes the man back, ignoring him, hurrying on. At a small distance, two unhappy private security guards follow. INT. HIDEAWAY - NO TIME BLACKNESS. A soft BEEPING, almost inaudible. A low rustle of cloth, then the green glow illuminates Bishop's face as he checks the time again. Hasn't moved in HOURS. EXT. SPORTS CLUB WOODS - MORNING The Mark stumbles forward, over-eager to get to his prize. He's worked his way ahead of the field. The MIST has grown thicker. Human forms move on all sides, hard to distinguish. CRACK! CRACK! Guns go off around them. Dogs rush by. The Mark brings the weapon to his face... BLAM!! The shot echoes through the foggy woods. 4. INT. SPORTING CLUB - DAY The Mark, pleased with himself as always, bursts into the lodge, gun over his shoulder. A round of APPLAUSE as his Steward holds up the morning's catch. He pushes on into the locker rooms as one security takes station at the door. The second emerges from the lockers, having just done his sweep. INT. LOCKER ROOM, SPORTING CLUB - DAY The Mark leans his vintage hunting rifle against the wall, opens his locker. He kicks off his boots, pulls off his shirt. Takes a second to rub his face with his hands. It can be exhausting being him. Behind the Mark, a locker door opens and closes. Like a ghost did it. He doesn't sense a thing, reaches for his weapon, accidentally knocks it to the side. It LANDS, HARD. The Mark WINCES, half expecting it to fire. But no. He starts to lean down for it when another man's gloved hands reach it first. The Mark smiles down at the well-dressed man crouched by the gun, a little confused. Bishop looks up, smiles back. He puts out a gloved hand. Before the Mark can consider, he's taken Bishop's hand. Bishop holds tight. The Mark's smile... fades. Even though we know it's coming, Bishop's actions are so fast and final we're taken by surprise. He PULLS the Mark in as at the same time he cocks the rifle's hammer, slams the gun into position, barrel pointed up and BOOM! The shot hits the Mark in the face, obliterates him, sends a plume of gore up against the ceiling. One, two seconds before the Mark's SECURITY rush into the room, guns lined. First sees the mess, puts a hand to his mouth. Second starts on the radio. The room is empty. EXT. COUNTRY ROAD - AFTERNOON A vintage 1972 Shelby Cobra parked by the edge of the river. Bishop emerges from the water, pops the trunk of the car. Towel and large rock inside. He towels off, tosses the suit and the rock into his pack, pack goes into the river. He grabs a sweater from inside the trunk. 5. INT. BISHOP'S CAR - CONTINUOUS Bishop gets behind the wheel, dressed. He checks himself in the rearview, finds a bead of sweat traveling from his brow. Wipes it away, irritated, and starts the car. EXT. LOCAL GROCERY - EVENING Establishing. A quaint local convenience store off a two- lane road, nestled amidst trees. Bishop's vintage car pulls up and he gets out. INT. LOCAL GROCERY - CONTINUOUS Door jingles as Bishop steps in, smiles to the GROCER, a friendly beefy guy in his 60's who checks the clock. 7:00 on the nose. GROCER 'Evening, Arthur. Got your weekly right here. The man hoists two bags of groceries onto the counter. Bishop comes forward, sees the Owner's DAUGHTER behind the counter. 12, precocious, reading a dog-eared kid's book. BISHOP Hey, Sophie. I got something for you, wanna see? The girl smiles, puts down the book and comes over. Bishop crouches in front of her. He puts out two empty hands, shows them back and front, then tickles one ear with a hand while the other "appears" a small daisy. The girl sees it, smiles... a little disappointed. BISHOP (CONT'D) I'm just kidding. Bishop reaches into his jacket, pulls out the next installment in the kid's book she's reading: A series featuring a young female Harry-Potter like character on the cover: LUNA CROMWELL. Sophie BEAMS, takes it. A quick hug and she's back to her seat, opening the new book. GROCER What do you say, honey? SOPHIE Thank you, Bishop. 6. BISHOP You're very welcome. And she's back into the book. Bishop smiles, a little sad. It was nice... but the moment's over. He stands and collects his groceries. GROCER See you next week, Arthur. EXT. BISHOP'S HOME - EVENING A ranch-style compound, nestled in the hills. Warm, rustic, and inviting. Bishop's Cobra drives past the MAIN HOUSE, a large craftsman, into a BARN where he parks next to a collection of other beautiful vintage cars. He gets out, crosses the dirt drive towards his home. A STUDIO separate from the main house. Two horses graze in an attached paddock. INT. BISHOP'S HOME - EVENING Bishop's enters, flicking on lights. The home is beautiful, ordered. Everything a model of design and elegance. The walls are home to a collection of original and slightly sociopathic art. Lucian Freud, de Chirico, Zak Smith, Francis Bacon. Isolation, beauty, unrest... INT. BISHOP'S KITCHEN - EVENING Bishop unpacks his groceries. Organic. Raw. Supplements. Vitamins. Nothing looks delicious. His fridge is ordered. Glass containers in rows, lightly hued liquids in each. He opens a can of Friskies, sets it down for a mutt-like tabby-cat who lopes over and eats. Bishop scratches her behind the ears. INT. BISHOP'S STUDY - EVENING Bishop flicks on lights illuminating the WALL covered with charts, documents, photographs of the Mark. He goes to a gas fireplace built into the side of the room, fires up the flames. A sideboard holds a collection of Vinyl Albums. Mint condition, collector. Fingers play over titles... Rolling Stones, Neil Young, Bob Dylan... The turntable needle hits Young's "Needle and the Damage Done." Music croons sweet into the room as pages, photos, everything goes into the fire. 7. One photo in particular: The Mark, busy on the phone as a young girl pulls at his suit jacket. He was a criminal bastard, but also a father. Bishop stares down at the picture, consumed by fire, reflected in his eyes. INT. BISHOP'S GYM - NIGHT Bishop, running on a treadmill, full-tilt. A controlled sprint without end. The gym has all manner of customized exercise equipment. Weights, machines, a climbing wall, an infinite lap-pool. Bishop jumps off the treadmill, immediately takes his pulse, checks it against a clock on the wall, jots a note. Bishop, pressing weights. 300+ pounds. Reps over and over, Muscles HARD, STRAINING. In his eyes, almost a relaxed intensity. The rest of the world, turned off. Bishop RACKS the weights, LOUD. Immediately taking his pulse, checking the clock... INT. BISHOP'S GYM - LATER Bishop sits at a small desk, plotting the evening's work-out in a book. He traces columns, enters points on a graph. THE BOOK. Doesn't matter how impressive the numbers are, they've peaked and are now starting their inevitable slide... ON BISHOP. Staring at the book. INT. BISHOP'S STUDY - NIGHT Bishops stands in front of his phone. He scrolls through the last ten calls that have come through. They all read "McKenna, Harry." Over and over. Three days' worth. INT. BISHOP'S DINING ROOM - NIGHT Bishop eats dinner, alone at the end of a beautiful antique table. Hanging on the wall across from him, a vivid disturbing painting of three women. ON HIS PLATE. His food is a meal we might expect an astronaut to eat. Raw Spinach, a collection of supplements. He crunches through something that looks like cardboard, chews, stares at the painting. In his study, the phone rings. He eyeballs it, lets it ring. 8. INT. DEN, BISHOP'S HOME - NIGHT Bishop sits on the couch in front of the television, his cat curls under his arm, purring. Bishop flips channels through an endless display of over-amped human behavior. People HAW and WINK in the sitcoms, people YELL on the talk-shows, people CRY and LUST on the dramas. Flip. Flip. A news channel shows a PICTURE of The Mark. "Billionaire tech mogul dead in tragic accident." Two ANCHORS discuss... MALE NEWS ANCHOR ...here's a guy at the top of his game. And yes there were questions about the money: Where did it all go. Were some of his friends less than friendly to the US? But in the end, it's not the feds who catch up with him -- FEMALE NEWS ANCHOR It's that age old adage that boys will be boys. These dangerous hobbies come with the risk of accidents like this -- Bishops punches off the tv, heads for the door. EXT. HIGH-END APARTMENT BUILDING - NIGHT Bishop pulls up in his car, looks up. Hundred of lit windows above him, lives going on behind each. He heads forward, the doorman holding the door for him. EXT. CORRIDOR, HIGH-RISE - MOMENTS LATER Bishop gets out of the elevator, stops in front of a door. Beat. He rings the bell. WOMAN'S VOICE (FROM INSIDE) It's open! Bishop pushes the door open, steps into... INT. HIGH RISE APARTMENT - NIGHT Beautifully, warmly furnished. Sofas surround a living area, a gas fire flickering. Throws and rugs. Art on the walls, tasteful and human. An open bottle of wine on a granite counter top. THE VIEW. Over all the city, thousands of lights twinkle. 9. WOMAN'S VOICE I'll just be a minute. We catch a GLIMPSE of the WOMAN. A towel over her hair, wearing a skirt and a bra, crossing from the bathroom into her bedroom. Even in the small glimpse, she's beautiful. Bishop looks down at a coffee table. Magazines, newspaper. A picture of the first Mark's elaborate funeral. BISHOP I'm sorry I was away so long this time. I had some complications... He turns. She's emerged from the bedroom. 30's. Long dark hair, damp from the shower. Buttoning a shirt, the curve of her breasts caught as she does. A comfortable, sophisticated air about her. Effortlessly attractive. WOMAN You don't have to apologize. I'm just glad you're here now. (BEAT) Are you hungry? She starts to move by him, his hand catches her arm and she is in his arms, holding him TIGHT, kissing him. WOMAN (CONT'D) I'm sorry. I just... miss you. I never thought I was going to be a "woman who waits." But I do. I wait for you. He nods. She breaks off, pours red wine in a glass. WOMAN (CONT'D) Were you in Europe? Africa? (BEAT) Was there another woman? BISHOP No. WOMAN Liar. It's alright. I don't mind. (Suddenly shifting gears) I... I made something for you. She picks up a remote, fire up a large flatscreen TV. Hits a button. A moment, then an IMAGE flickers to life. ON THE TV: The WOMAN, sitting in this same living room. She wears a long sleeve shirt over panties. Sips a glass of wine. Smiles warm at the camera. The silence of late night. 10. WOMAN ON CAMERA Hey, you. Just got back from the weekend at the lake with Julianne and Barry and their kids. Their oldest is five. You'd like him. (BEAT) Everybody spoke about you, of course. We should go up there sometime, just the two of us... ON THE TV: She reaches towards the camera and the image JUMPS AHEAD. Another night, late. The WOMAN enters the frame, now wearing a stunning black party dress. WOMAN ON CAMERA (CONT'D) (announcing, giggling) I, just got back from seeing the most boring opening at the Pierre Grochet gallery. And of course everyone's asking where you are and of course I made your apologies, but what I was thinking... ON THE TV: She winks at the camera, happily drunk. Raises her dress a little, suggestive... WOMAN ON CAMERA (CONT'D) (WHISPER) Why weren't you here to take me home and make love to me...? She blows a kiss. Closes her eyes... ON BISHOP: Watching. Emotion breaks the surface. The WOMAN raises the remote. Turns off the image. Looks at Bishop. Plain, not demanding. But caring. BISHOP I'm not a man who... It wouldn't be good for you, if I was around all the time. WOMAN I know. I know. She moves to him and they are kissing fierce. INT. BEDROOM, HIGH RISE APARTMENT - NIGHT Bishop and the woman make love. She's the aggressor at first, pulling away Bishop's clothing, climbing on top of him, pulling her own clothes away... 11. Bishop grabs the woman who LAUGHS in ecstacy. He reverses her, throwing her down on the bed, climbing on top. The two of them, eye to eye as they fuck... INT. BEDROOM, HIGH RISE APARTMENT - EARLY MORNING Early morning light filters into the room. Bishop, awake, staring at the sleeping woman. His eyes click over to the clock which reaches 6:00 am. As if he's been waiting, Bishop rises and dresses, silently. INT. HIGH-RISE APARTMENT - EARLY MORNING Bishop stands in front of the plate glass windows. He turns and moves to a music box on a shelf, opens it. A melancholy tune plays. He admires the machinery as he removes twenty $100 bills from his wallet, tucks them under the box... WOMAN'S VOICE Stay for breakfast? He turns. She's standing in the doorway, tying a robe around herself. A cool professionalism inhabits her demeanor. Not crass or mean-spirited, but the romance is gone. BISHOP Do I ever? WOMAN No. But there's a first time for everything. Bishop goes to the DVD player, slots out the DVD they watched the night before and pockets it. BISHOP Thank you. This was a good one. See you next time. WOMAN Bishop... You all right? He turns, studies her. This is new ground. He nods and leaves. She stares a moment at the door after he's gone. EXT. WOODS - MORNING Bishop, running. Full-tilt again, a maintained sprint. He maneuvers through trees, over rocks. Below him, through the woods, his home comes into view... ... a BLACK BENTLEY sits parked in front of the house. A MAN on a cell phone stands by it. 12. EXT. BISHOP'S HOME - CONTINUOUS The man wears a mid-level suit, a hired professional. MAN (into a phone) Yes, I just got here. No, not yet. He turns, REACTS as Bishop is there, CLOSE, barely sweating. MAN (CONT'D) (INTO PHONE) Hold on, I got him. The man holds his cell phone out for Bishop. A beat, Bishop studying the angles... he takes the phone. MCKENNA (O.S.) Arthur? Jesus Christ, Arthur, is that you? BISHOP ...How are you, Harry? MCKENNA (O.S.) Oh you know, I'm God Damn perfect. I'm redecorating my fucking office and I wanted your advice on the god forsaken curtains is how I am. (beat, serious) This is... this is something, Arthur. I need to see you, for old time's sake. INT. BENTLEY - DAY Bishop sits in the back, looks out at the city moving around them as the man drives. They approach the armored gates of a business tower: MCKENNA HOLDING CORP. The driver nods at SECURITY who recognize the car, open the gate. The car drops down into the garage under the building. INT. PARKING GARAGE - DAY Bishop and the man exit the Bentley. Four more ARMED SECURITY down here, seated around a table, eating delivery from a local Deli. Two stand, one steps forward. SECURITY Sorry, gotta do this... Patient, Bishop puts his arms out as the man searches him. 13. INT. MCKENNA HOLDING CORP. - DAY Bishop steps out of the elevator into a top-level wonderland of money manipulation. Desks, crushed with monitors, manned by casually brilliant MIT-grads. Flat screens track the markets. All of this overseen by a witch's tit of a MANAGER who eyeballs Bishop coolly. A tapping gets Bishop's attention. The corner office is glass-walled. HARRY MCKENNA is tapping on it, gesturing Bishop inside. INT. OFFICE, MCKENNA HOLDING CORP - MOMENTS LATER The office is high-tech. Harry less so. 60's. Overweight and doesn't give a shit. Cigars in a ashtray, ash-burns on the Persian rugs. A man to be reckoned with, in his time. The time has perhaps passed. Harry comes out from behind his desk, points Bishop to a big leather sofa. Bishop perches on the arm. BISHOP I like the new digs. McKenna LAUGHS, like a grunt. Fiddles with his hearing aid, turning it up. Bishop's eyes track. MCKENNA Has it really been that long? Jesus. (BEAT) You know how they say youth is lost on the young? They're right. If I had my nineteen year old body back, I wouldn't be here, I'll tell you that. I'd be out there, making it my personal life mission to bang every stewardess who ever dared put on one of those whatchamacallit skirts. BISHOP Times have changed, Harry. They don't wear skirts anymore. McKenna eyeballs Bishop, shakes his head. He goes to the glass wall, points out at the screens, financial markets. MCKENNA You know what all that is? (off Bishop's nod) That's their money, getting moved, exchanged. Made clean and neat and proper for Uncle Sam. And I have always been extremely careful. 14. McKenna goes to his desk, tosses legal papers on the table between them. MCKENNA (CONT'D) You know what that is? That's a God damn subpoena from the Justice Department. We get a new face in the white house, all of a sudden they want to look at my records. They got accountants want to go through MY BOOKS. Are you kidding me? I got the left hand coming after me for what I did for the right hand. Bishop looks over the papers, nods. MCKENNA (CONT'D) So I call them up. I say "hey, you guys gotta get your own house in order..." BISHOP And... MCKENNA And? And that's the point! Nothing. I tell them they have a problem here and instead of dealing with it I get silence, zippo, fuck- all. What are they, twelve? BISHOP ...I don't see how I can -- MCKENNA That's bullshit, Arthur. Your father -- they still talk about the guy like he walked on water. You, they'll listen to. You -- BISHOP I'm not a part of that. McKenna stares out the window at the street below, nervous. Shakes a pill out of as small vial, pops it. He chuckles, shakes his head. MCKENNA You remember that fishing trip we all took, back in the day. You were, what? About eight, right? (Off Bishop's nod) You fell out of the boat... couldn't swim a stroke. City kid. (Animated, laughing) You're in the water, splashing around. (MORE) 15. MCKENNA (CONT'D) You got these big eyes like saucers, like you're sure you're gonna drown. Splashing... swallowing water... just STARING at your father and he's not making a move. Remember? Just looking down at you like... Suddenly it's gotten less funny. MCKENNA (CONT'D) I finally had to grab you by the hair, pull you back into the boat. You're shivering like hell and he -- your dad -- gives one of those laughs. Those big laughs everyone loved him for. (BEAT) Anyway, the whole time you're in the water, you didn't cry out. Not once. You were a tough sonofabitch, even then. BISHOP That was a long time ago, Harry. McKenna turns from the window, takes in all his monitors, charts. Stock lines tick up and down, graphs flow, pulse... MCKENNA Well, I'm in the water this time, Arthur. You think it's easy for me to ask? It cuts like hell. But that's what I'm doing. Bishop eyes the barely open doorway into a small room off the office. Pillows and blankets on a sofa. Some clothes strewn about. McKenna's been sleeping here. A long beat. Bishop... nods. The tension seems to DRAIN from McKenna. He claps Bishop on the back, nods back. MCKENNA (CONT'D) ...Thank you. Thank you. THROUGH THE GLASS WALL OF THE OFFICE. Bishop's eyes track as elevator doors open and STEVE MCKENNA steps out, a beautiful young woman with him, LOUISE. She's a trophy, the woman you get for being top dog and the one you regret getting. Gorgeous, self-obsessed, entitled. She flops onto a leather sofa as Steve moves towards the office. Steve's young, mid-20's, strikingly handsome, wearing the casual uniform of wealth not earned. But there's something else that arrests Bishop immediately. Unwasted motion, detachment, observing the world around him... from above. 16. Even as Steve nods to one of his father's security and pushes into the room, he picks up Bishop. The two men lock eyes, a strange reflection not of appearance, but of nature. MCKENNA (CONT'D) And here's the prodigal son, arrived to bilk me for ransom. (TO STEVE) Steve, this is Arthur Bishop. Steve shakes Bishop's hand. Strong. Observant. STEVE Hey. Nice to meet you. You work for my father? MCKENNA No, quite the opposite. Arthur's doing me a little favor. STEVE So you're a criminal? MCKENNA That's enough. STEVE Relax, relax. I'm kidding. A last beat between Steve and Bishop, then Steve lets it go, turns his attention to his father. STEVE (CONT'D) I need you to make a donation to Louise's charity. She's mounting some kind of fundraiser and she wants to make sure we do our part. MCKENNA What's it for? STEVE I have no idea. And don't pretend you care, either. Write the check, go to the party, smile when the ORPHANS-SLASH-HOMELESS-WIDOWS THANK you and call you a great and generous man. MCKENNA (TO BISHOP) You ever think of having kids, Arthur? BISHOP Nope. 17. Wearily, McKenna brings out his checkbook. MCKENNA Wise man. How much? STEVE Thirty thousand. (Suddenly, to Bishop) You know, I can't tell what you're thinking, Mr. Bishop. Usually, I'm very good with that, with people. Sort of like a bullshit detector I developed. But you're very... hard to read. BISHOP Sorry. STEVE Don't be. So what are you thinking? BISHOP I was thinking that a son, should be more grateful to his father. STEVE (NODDING) I agree. I agree. I often wonder why I'm not. McKenna tears the check out, hands it to Steve. MCKENNA There. Now go away. STEVE Thank you, dad. Are we going to see you at the house any time soon? MCKENNA Yeah, this is just a few more days. We got this... situation. Steve hears the dark in his father's tone, tracks it. STEVE Anything I can do? MCKENNA You? Yeah, you can earn some money. Get married. (BEAT) No, it's going to be okay now. Arthur's helping me out. Steve glances between the two men. Ego slightly bruised. 18. STEVE Well it's good to meet you Mr. Bishop. My father seems to trust you, which is... unusual. Bishop and McKenna watch as he hits the atrium, hands Louise the check who goes out of her mind, jumping up and down, giving him a kiss that speaks of more to come, trotting off. Steve glances back one more time, then follows her. MCKENNA We will take from our children for a lifetime what we would not suffer from another man for an instant. Explain that to me. (off Bishop's silence) Okay. Okay, call me when you hear something. BISHOP You take care of yourself, Harry. MCKENNA Well, that's your job now, isn't it? INT. PARKING GARAGE - MOMENTS LATER Bishop exits the elevator. Security holds the door to the Bentley open for him. Bishop shakes his head, walks out. INT. ARTIST'S STUDIO - AFTERNOON Bishop exits an old freight elevator, enters this HUGE loft space. Old architecture divided by free-standing walls hung with PAINTINGS from the same artist who's work hangs in Bishop's home. Intense, slightly surreal, deeply haunting. Nudes, raw. Men's faces, distraught, alone. A matronly ART DEALER comes forward familiar, takes his hand. ART DEALER Arthur. Glad you're here. Right this way. As they move across the space Bishop catches sight of a MODEL, lying nude in a pool of blue paint. Across from her, The ARTIST is full-focused on her. He's roughly Bishop's age. Cigarette dangles off a lip, tattoos on his arms. Fully comfortable and committed to the alternative life. The model senses Bishop's gaze, looks over, unashamed. 19. ART DEALER (CONT'D) This way. Bishop follows the Dealer into another area where they approach a canvas. It's a portrait of a young boy, alone. The effect is of rage-filled isolation. ART DEALER (CONT'D) Zak is almost finished. It will make a wonderful addition to your collection. Bishop looks at the canvas. Nods. Glances back to where the artist is carefully adjusting his model's position. ART DEALER (CONT'D) Do you want to meet him? BISHOP ...No. INT. BISHOP'S HOME - NIGHT Bishop enters his home, sets his things down. Stares at his phone a beat, then on impulse picks it up and dials. The voice that answers is female, official. WOMAN'S VOICE Good evening, Mr. Bishop. How can I help you? BISHOP Yes. I'd like to speak to Dean. There's a brief pause on the phone, then. WOMAN'S VOICE ...Mr. Dean is not available right now. Can I take a message? BISHOP No. Just tell him I called. Bishop hangs up, stares at the phone. The doorbell rings. Bishop opens it to find a DHL COURIER on his doorstep. Bishop is suddenly casual, friendly. The public face of Bishop. BISHOP (CONT'D) Hello, Don. They make you drive all the way out here this evening? DON That's the job. 20. The man gestures to the open barn door, the classic cars. DON (CONT'D) You find tires for that old FleetMaster? BISHOP (SIGNING) No, not yet. Maybe when I do, we'll take it out for a spin. Say hello to the wife for me. DON Will do. Good night, Arthur. The man heads back towards his truck. Bishop tears away the strip that seals the envelope, a small USB jump-drive slides into his hands. The friendly grin on Bishop's face... evaporates. INT. STUDY - NIGHT Bishop fires up a computer hooked to a printer. He slots the USB drive into the computer. Nothing seems to happen, just a low pulsing red light on the drive. Almost instantly, his phone rings and he answers. Silence. BISHOP (INTO PHONE) We should all be so lucky. Click. The phone goes dead. Almost at the same time, the glowing red light on the jump-drive turns GREEN. Bishop's PRINTER fires up. It starts printing out pages. A few medical charts... and then a photograph: Harry McKenna. The new mark. INT. DINING ROOM - NIGHT Bishop eats. Lost in thought. Eyes play over his art... INT. STUDY - NIGHT Bishop hits the study, work-mode. All hesitation gone. Pages are tacked up, other ripped down and tossed. He takes out a thick pen, circles words: "Syncope cardiac spasms..." "Prognosis..." "Poor eustachian tube function..." 21. INT. PUBLIC LIBRARY - DAY Bishop sits at a desk under a reading lamp, making notes out of a stack of books. Medical textbooks. Charts. A diagram of the central nervous system. Stress tests. The technical specs for an electronic device. INT. PUBLIC RECORDS OFFICE - DAY Bishop receives a SET OF PLANS from an attendant. Spreads them out over a counter. In the corner, a large photocopier. INT. BISHOP'S STUDY - EVENING Bishop sits at his desk, a Jeweler's Loup over one eye, working with soldering iron and electronic tools, meticulous. Behind him, tacked to the wall, are copies of the building plans. Heavily inked. Routes in and out penned in. Locations of security. Photographs. He's done his recon. Sitting in the sun on a window ledge: an open jar of Mayonnaise, turning rancid. A fly buzzes around it. THROUGH THE JEWELER'S LOUP: Bishop is working on a hearing aide. Tweezers adjust a tiny chip, slot it into place... Phone rings. Bishop eyes it for a beat. Snaps it up. The voice on the other end is world weary, professional. DEAN. DEAN (O.S.) Bishop. I heard you called. Hey, you get the stuff I sent you? BISHOP That's what I called about. I know him. I think there might be a MISUNDERSTANDING -- DEAN (O.S.) Hold on a second. A long pause. Just air on the line. Bishop stares at his work in front of him, his research on McKenna tacked to the wall. Dean's voice comes back as suddenly as it departed. DEAN (O.S.) (CONT'D) No, it's been decided. This one's a go. You take care of yourself, Bishop. The line goes dead. Bishop stares at the phone for a second, sets it down. He looks up at Harry's picture on the wall. 22. EXT. CITYSCAPE - MORNING The sun rises over the city, shafts of light illuminating the top floor plate glass of McKenna Holding Corp. The SOUND OF A PHONE RINGING, being picked up. MCKENNA'S VOICE Hello? BISHOP'S VOICE They want to talk. I'm picking you up in an hour. MCKENNA'S VOICE ARTHUR -- BISHOP'S VOICE Send your people home. I don't want anyone I don't know near you today. I'm serious. MCKENNA'S VOICE ...Thank you, Arthur. INT. DELI - MORNING Bishop hangs up his phone, watches as three bags of food are put up on the TO GO counter. "McKenna Garage" scrawled. Bishop approaches the counter, reaches over the bags for his own food, pushing his drink onto the floor. BISHOP I'm sorry. My bad. The guy at the counter shrugs, turns for a mop. Bishop quickly reaches into the McKenna bag, switches a wrapped sandwich for one he brought. EXT. MCKENNA HOLDING CORP. - DAY A white van passes the entrance to the underground garage, pulls into the Alley behind the building and stops. INT. WHITE VAN - CONTINUOUS Bishop kills the engine, pushes aside a curtain and heads into the back of the van which is empty aside for a heavy acetylene torch. The bottom of the van is covered by a thick black matt which Bishop kicks with his foot. The matt falls aside revealing a large HOLE in the bottom of the van, right down to the pavement and the welded steel cover Bishop has parked on top of. 23. Bishop picks up the torch, SPARKS IT. INT. PARKING GARAGE - MORNING The four SECURITY are eating their delivered lunch. Security #1 puts a hand to his gut. Security #2 looks over. SECURITY #2 Hey, you okay? SECURITY #1 Actually, call central. I'm not -- And with that, he's suddenly up and MOVING towards the bathroom. Security #2 raises his radio. INT. ELEVATOR LOBBY, MCKENNA HOLDING CORP. - DAY Elevator doors open. Another SECURITY GUARD steps out, checks in by radio and heads down a corridor. IN THE ELEVATOR behind him, Bishop drops through the ceiling hatch, dressed casual. He hits a button, doors close. INT. MCKENNA'S OFFICE - MORNING Elevator doors open and Bishop steps out into the office. Deserted. Monitors glow, tracking markets and trades. But the human element is gone. Except for Harry, alone, silhouetted at one of his large plate windows, watching the sun rise over the city. MCKENNA You ever wonder what the last day of your life will feel like, Arthur? BISHOP You keep standing next to that window, maybe you'll be able to tell me. McKenna looks over, smiles weary. He looks exhausted. He goes to his desk, picks up a tie, looks to Bishop. MCKENNA This turns out alright, I'm going to send you a dozen Thai hookers and a case of Cuban Esplandidos. You can return the hookers if you want, but the cigars... 24. BISHOP (SMILING) I don't smoke. MCKENNA You will, my friend. For these, you will. INT. ELEVATOR - MOMENTS LATER Bishop and McKenna heading down. McKenna watches the numbers. Bishop studies McKenna... then, casually: BISHOP Why the change of security? MCKENNA ...What? Beat. Bishop SLAPS the STOP button. Elevator jerks to a halt. Bishop gets a finger into the doors, PRIES them open. MCKENNA (CONT'D) Arthur...? McKenna looks at the effort, sighs. Lets Bishop help him down. Halfway through, BALANCE SHIFTS, McKenna starts to fall. Bishop STEADIES him. McKenna STARES at Bishop, concerned. Bishop nods, heading towards the STAIRS, pocketing a small hearing aide as he goes. ON MCKENNA, touching the hearing aide in his ear... BISHOP Come on... INT. STAIRWELL - MOMENTS LATER Bishop and McKenna reach the bottom of the stairwell. McKenna's winded, steadying himself against a wall. Bishop cracks the door, peers out. BISHOP What the hell...? McKenna moves in, pushes Bishop aside. MCKENNA'S P.O.V.: His SECURITY. Only there are two new faces in the garage. Replacements packing weaponry. MCKENNA This isn't good, Arthur... 25. BISHOP Listen to me. Stay here. I'm going to check it out. MCKENNA Bishop, those men are armed... BISHOP Harry, relax. I know what I'm doing. And Bishop slips out the door, shutting it behind him. INT. PARKING GARAGE - CONTINUOUS The moment he's out, he turns and sinks down in front of it, blocking it with his back. He opens his jacket, brings out a small TRANSMITTER. Waits a beat, then flicks a switch. INT. STAIRWELL - CONTINUOUS McKenna there, STARING at the door. Nothing. He approaches the steel door, tries the handle. Can't open it. Nervous, he carefully puts his head against the door to listen... BLAM! BLAM! BLAM! The SOUND OF GUNFIRE, VOICES fill McKenna's ears. He staggers back, crouched, terrified... CLOSE ON HIS HEARING AIDE: The sounds of gunfire is coming from it. BLAM! BLAM! More shots, then the sound of POUNDING on the door. BISHOP'S VOICE Harry! It's a trap! RUN!!! The door flies opens and Bishop LURCHES IN, gun raised. McKenna starts up the stairs, breathing hard. Behind him, he can see Bishop, gun lined back at the door. BLAM! BLAM! Gunshots assault his eardrums. INT. PARKING GARAGE - CONTINUOUS On the other side of the door, Security hears the door slam, looks over for a moment, but there's nothing else. INT. STAIRWELL - CONTINUOUS McKenna picks up the pace, hauling himself upwards. Sweat POURING off him, eyes wild. He stops, tries to catch his breath. Shooting PAIN through his right arm, he grabs it just as MORE GUNFIRE SOUNDS from below. 26. Bishop comes rushing up the stairs. His shirt stained with blood. Gun in his hand. BISHOP Come on! If we can get to the roof I can hold them off! Come on! McKenna GULPS AIR, staggers on... EXT. ROOFTOP, MCKENNA HOLDING CORP - MOMENTS LATER Door BLOWS open, McKenna staggers onto the rooftop. The manic victory of having made it clashing with the tragic knowledge that his heart is rebelling. He falls to his knees, clutching his right arm. PAIN coursing through his body. Unaware for the moment that everything has gone silent. FEET come into his view. He looks up, sees Bishop standing over him. Bishop's face is a death mask. Emotion removed. Harry stares into his eyes... and understands. MCKENNA ...You. Bishop nods. McKenna CACKLES which turns into a scream as PAIN sends him reeling. He falls, hitting his head. Blood rolls down his face. MCKENNA (CONT'D) You bastard. You... Sonofabitch. You didn't have the balls... The balls to AARRRGHHHH! He CONVULSES. Tears stream down his face. His body HEAVING, not giving up the ghost. ON BISHOP. We know it's in there. But it doesn't show. Instead he checks his watch, calculates time... MCKENNA (CONT'D) Oh God. Oh, Jesus Christ help me. ARRGHHHH!!! ARRRRGHHHHHH!!!! Please... Please... Please... McKenna stops struggling, stares up at Bishop. Tears streaming down his face. MCKENNA (CONT'D) Please, Arthur, put me out of my misery. Your father... Bishop checks his watch again, doesn't meet McKenna's eyes. Checks the stair door, looks over the building edge... 27. MCKENNA (CONT'D) Please. I'm scared. I'm really god damn scared... Suddenly Bishop MOVES. Lightening fast, wrapping up McKenna's head, fingers PRESSING expertly along arteries. McKenna STARES UP one horrible second, then goes limp in his arms, dead. Bishop releases, stands, stares down. For the first time, uncertainty in his face. Why did he do that? He looks at the body, at his hands, out at the city. Wipes his forehead with the back of a hand, furious at himself. He reaches down, removes the hearing aide from McKenna's ear, replaces it with the original, turns away. SEEN FROM FAR ABOVE. McKenna's body, alone on the rooftop. EXT. ROOFTOP, MCKENNA HOLDING CORP - NIGHT WITH STEVE as he pushes through doors into a MASS of Police, detectives, private security, lawyers, all milling about on phones, gathered around a figure on the ground... INT. ARTIST'S STUDIO - NIGHT The Art Dealer hands Bishop the finished painting, wrapped. At the far end of the studio the Artist and his friends smoke and drink and laugh. Bishop nods thanks, turns and leaves. EXT. ROOFTOP, MCKENNA HOLDING CORP - NIGHT Steve stares down at his dead father. A COP draws a line around the body. Steve is expressionless. INT. BISHOP'S HOME - NIGHT Bishop backs off from the wall where he has just hung the new painting of the boy. It stares back at him. EXT. ROOFTOP, MCKENNA HOLDING CORP - EARLY MORNING Blue-gray morning. Cold wind blows across the rooftop. Steve watches the last police leave. He's alone. He stares down at the outline where his father lay. 28. EXT. CEMTERY - DAY A funeral in progress, hundreds of flower arrangements, decorations, fit for a head of state. A few dozen attendees. At the front, Steve McKenna sits in front of his father's coffin, cold. His girlfriend Louise next to him, weeping. She cries at funerals. Bishop stands at the back. His eyes scan over the proceedings. Sixth-sense, Steve suddenly turns his head, makes eye contact with Bishop. PRIEST His good works comfort all of us, even in his going. We commit his remains to your earth, oh Father, and we pray you vouchsafe him eternal life and that you bring comfort to those who have been left behind. His only son, Steve, who is himself devoted to -- The Priest falters as Steve rises, moves away from the event. Bishop tracks him as he wanders through gravestones. PRIEST (CONT'D) ...Glory be to the Father, and to the Son, and to the Holy Ghost... EXT. CEMTERY - DAY (LATER) At the gravesite, men fill in the hole with dirt. Nearby, six limousines are lined up. But only the one directly after the hearse has its door open for Louise who stands, waiting, looking for Steve. Bishop watches the dirt hit the coffin. Then looks over as Steve approaches through mausoleums. BISHOP My condolences. STEVE (NODS) Yeah, Harry was a popular guy. Good to see so many of his friends here. Touching. Bishop considers, tracks the attendees who pass by a suited man as they leave... Each of them receiving and pocketing an envelope as they do. Bishop looks back to Steve. STEVE (CONT'D) Best grief money can buy. Give me a ride home? 29. Bishop nods to the head limo where Louise is waving impatiently at Steve to come. BISHOP Looks like you have one. STEVE Yeah, all of that. Empty limos. Fake guests. All so that the papers print what an important and respected man Harry was. Steve takes in the one or two guests, already counting their money a few yards away. Shakes his head. STEVE (CONT'D) Well, I hope it's what Harry would have wanted. But it's not for me. Beat. Bishop nods. INT. BISHOP'S CAR - DAY Bishop steers the car into the hills, past high-end estates. STEVE You know, what I don't get is you. Harry didn't have any friends. BISHOP Your dad worked with my father a long time ago. STEVE So? BISHOP So, just paying my respects. STEVE So your old man was into all that? BISHOP (SMALL NOD) Yeah, he was into all that. STEVE Well, that is refreshingly honest, Mr. Bishop. What about you? Bishop doesn't answer, steers the car up a manicured drive. P.O.V. - THROUGH THE WINDSHIELD: An ESTATE. A main house, lawns, pools, guest houses. 30. EXT. MCKENNA ESTATE - AFTERNOON Steve and Bishop get out of the car. The McKenna estate was modeled neoclassical for a wanna-be emperor. Now a week of youth with limitless credit has left its mark. A SOUND SYSTEM has been set up poolside. A DJ spins a trance-like deep groove. YOUNG WOMEN lounge around the pool in bikinis, less. Beautiful and bored. YOUNG MEN, most dressed modern hip-hop, mostly white, eyeball the women, fist-bump each other, drink beers. Steve takes the whole thing in, nods, somehow pleased. STEVE Why is it so comforting, when people surpass even our lowest expectations? (BEAT) Come on in, meet the crowd. BISHOP No, thanks. I've got to -- STEVE Please. A favor to me. None of these people even remembered what today was. Bishop nods. They move into the scene. People recognize Steve, hug or bump-fists. Steve's friendly, but stays locked on Bishop. Bishop observes it all, not uncomfortable. STEVE (CONT'D) Do you believe in fate, Mr. Bishop? BISHOP Why? A basketball hoop has been set up near the pool. Young men take turns dunking and then landing in the water. STEVE I think maybe we're all doomed to become our fathers. I'll probably die spoiled, corrupt, lonely and alone. Runs in the blood. What would that make you? BISHOP You're still young. You can do pretty much whatever you please. AT THE HOT TUB, two girls kiss each other, filmed in DV by an young entrepreneur. 31. STEVE You think so? Just chuck all this and go help the children in South America, something like that? BISHOP Maybe. STEVE Well look at you, Mr. Bishop. You're a dreamer. Steve heads inside. A beat, Bishop follows. INT. MCKENNA ESTATE - AFTERNOON As soon as they enter, Steve finds himself locked up by two BEAUTIES who whisper excitedly in his ear. BEAUTY #1 Well? Do you want to...? STEVE No, in fact I'm pretty sure that's illegal in this state. (TO BISHOP) Come on, this way. Steve leaves the Beauties disappointed, moves up some stairs. Bishop follows. INT. MCKENNA ESTATE - CONTINUOUS Steve and Bishop move into another room where two HUGE flatscreens have converted the room into a Wii court. Young muscle-bound posers play a first person head-to-head shoot-em game. Others drink, CHEER. Two bump fists with Steve. One fronts cool at Bishop, fakes a punch at him. Bishop just watches, doesn't do a thing. The kid smiles, nods... On the floor, paintings of Harry McKenna, discarded. INT. MASTER SUITE, MCKENNA ESTATE - CONTINUOUS This used to be Harry's realm. Now Steve's taken it over. Giant ornate king bed. Huge balcony overlooking the estate. Steve goes to the railing of the balcony, looks down at the grounds, the people. Bishop hangs back, glances into a private study, untouched from when Harry ruled there. Papers, books, a portrait of Harry over the desk. 32. STEVE You know, I went up there. To where my father died. BISHOP Oh? STEVE Hell of a place to die. Lonely... Bishop comes abreast of Steve, also looks down. Removed from the party and the pool area, a separate area of the estate contains an outdoor gym. Weights, exercise equipment, a fighting matt and martial arts equipment all present. BISHOP (off the gym area) That all yours? STEVE If the body is weak, the mind can't be strong. Bishop nods, impressed. Something about this young man. Engaged, observing Bishop, but not needy. MALE VOICE (O.S.) Steve! Steve, man. It's Louise. At the door, a FRIEND of Steve's is held back by security. FRIEND She's up in the bungalow. I think she might really do it this time. STEVE (TO BISHOP) My girlfriend thinks that my father's death is a good time to kill herself. She thinks I'm not showing the appropriate human reaction. BISHOP I'll let myself out. STEVE No, please. You've seen this much. Aren't you interested? I am. Off Bishop... 33. EXT. BUNGALOW, MCKENNA ESTATE - EARLY EVENING Steve and Bishop push through a guarded gate, up a small path arriving at a beautiful bungalow, set back in the gardens. Candle light glows inside. INT. BUNGALOW, MCKENNA ESTATE - EARLY EVENING Louise is nude, immersed in the water of a jacuzzi located in the center of the room. On the side, she has a bottle of scotch, some pills, and two razor blades. She looks up at Steve, streaked eyes dart to Bishop. LOUISE Who's he? STEVE A friend. Would have thought you'd have started by now. LOUISE This isn't about me. It's about you. You need to watch. Steve crouches down, pours himself a shot from her whiskey bottle. Something angry and cold in his eyes. STEVE Okay. I'm here. I'm watching. LOUISE You don't believe I'll do it. STEVE No, I know you, Louise. You'll do just about anything if it'll get you enough attention. LOUISE You think you can hide behind that cool attitude. Like nothing matters to you. But I know you. You care. You feel. STEVE Do I? Louise blinks, scared a little. But she pushes the fear away, picks up one of the razor blades. A beat, then with a quick gesture, she slices across one wrist. Blood rises to the surface, runs down her arms into the water. Steve doesn't move. Neither does Bishop. Louise picks up the second blade with the cut hand. Fingers fumble, but she gets it. Slices across her other wrist. 34. Blood runs... stains the water rose. STEVE (CONT'D) ...Wow. LOUISE How long will it take? STEVE (HE SHRUGS) Mr. Bishop? Bishop rises, looks down at her in the tub. BISHOP How much do you weigh? LOUISE A hundred and ten. His eyes take in her body, the flow from her wrists... BISHOP You're a hundred and twenty-five. It'll take an hour and a half, maybe two. When you get cold... then you'll know you're close. Steve takes in Bishop in this moment, nods. Glances at the clock: 9:30. Then he refills his drink, heads out to the patio outside. Sits facing away from them. LOUISE He'll stop it. He thinks he's above it all. But he's not. No one is. Bishop nods. Not clear if he's agreeing or observing. EXT. BUNGALOW, MCKENNA ESTATE - EVENING Bishop sits with Steve on the patio. From inside, Louise's soft crying can be heard. Seen through the trees in front of them, young people dance, splash, party. LOUISE (FROM INSIDE) Steve! Steve! I know you feel this. I know you'll stop me. STEVE (CALLING BACK) If you don't care anything about your life, why should I? Steve looks to Bishop. He checks his watch. 10:30. 35. LOUISE I'm getting cold. Please. I'm frightened. I'm scared, Steve. Bishop looks at Steve who just keeps staring outwards. STEVE You can help her if you want. The sounds of water, splashing. Louise arrives on the patio, a blood-stained robe loosely pulled on around her. Mascara eyes ran. She stares down at Steve. LOUISE You're a bastard. STEVE You know what the kick of it is, Louise? If you actually had the stones, then there's be something for us. But in 30 seconds when you run down that path and all of those people go crazy saving your life... Well, then we'll be done. (BEAT) I know. Catch-22. Life's not fair. LOUISE (REALIZING) What happened to you? STEVE Maybe nothing. Maybe you never really knew me. A beat. Louise, looking between the two men. She SWAYS on her feet and Bishop puts a hand out, steadies her. LOUISE You're a bastard, too. Both of you. Like looking in some dark mirror. STEVE Go on, Louise. You'll do fine. The world's gonna love you. Louise steps away, turns, stumbling down the path into the dark. A beat, the men just watching after her and then a SCREAM from below. COMMOTION, ACTION. People rush to Louise, help her to the ground. Others pulling out cell phones, call for help. Louise's LOUD cries drift back. BISHOP Would you have let her do it? 36. STEVE We'll never know, will we? Steve rises, heads up a small path. EXT. ESTATE GROUNDS - NIGHT Steve and Bishop, walking high above the estate. Far below them, the lights of an ambulance in the driveway. BISHOP You didn't answer my question. STEVE Everybody dies. BISHOP Sure. But it's a whole other world when you're personally involved. There's a very big tab that has to be picked up. STEVE Such as? Bishop stops, looks down at the action far below them. BISHOP Governments, cops, the military... we give young men a licence and send them into it blind, thinking it'll all be okay. Because someone told them they had permission. (BEAT) But when you cross over that line, you do it alone. Most people, they stay that way from then on. Alone. STEVE Everybody can kill. You take a mother, protecting her child... BISHOP Sure. But that's instinct. What I'm talking about is up here... (tapping his head) Knowledge of foresight. Intention. A person who knows that the only way to truly be free of man's laws, is to break his highest one. Beat. It sits there, between them. STEVE Why are you telling me all this? 37. BISHOP Why did you want me to see that little stunt with your girlfriend? Bishop stares down the hill at the commotion. Ants swarming. BISHOP (CONT'D) These aren't your people, are they? You don't have "people." Your life is crowded, but you're alone. Steve unconsciously nods, then: STEVE You know, you're right. You grow up spoiled, rich, like me... Only thing you really learn to recognize in people is when someone wants something from you. (BEAT) What do you want, Mr. Bishop? What are you doing here? Bishop considers Steve, thrown. Then... BISHOP Thanks for the tour. It's been interesting. STEVE Yes, it has. Bishop turns, heads back down towards the estate. Steve watches him go. INT. BISHOP'S HOME - NIGHT Bishop stares down at the line of supplements and pills set out in front of him, something gnawing at him. His cat nuzzles around his legs, purring. He scoops up the lot, washes them down with water. INT. BISHOP'S STUDY - NIGHT (LATER) Bishop sits on his sofa, antsy. On the TV, the day's news plays out in silence. Anti-American PROTESTS in a Middle- Eastern country. Words scroll: "...Official resistance to US eavesdropping policy..." "...Break down of high-level..." Bishop rises, goes to a stack of DVD's. Grabs one, slots it. ON THE TV: The WOMAN, speaking to him from her beautiful apartment. Similar to the one we saw. She leans against a large plate glass windows, shirt and panties, sipping wine. 38. WOMAN ON TV Hey, you. Jesus, what a night. We went to opening of Fernando's new restaurant and Betty was there wearing -- well, whatever we call those things she wears... ON THE STACK OF DVDs. There must be twenty of them. WOMAN ON TV (CONT'D) I miss you. Everybody says hi, of course. But with me... it's like I feel you there with me, even when you're not. ON THE TV: She pulls her shirt off over her head, faces the camera again, topless. WOMAN ON TV (CONT'D) I feel the way you touch me... Bishop rises, blows out of the room. INT. BISHOP'S GYM - NIGHT SLAM! Dropping in on Bishop, SPRINTING on the treadmill. FASTER than we've seen him go before. ON and ON. He hits the weights, slots extra 45's onto the press bar. The weights CLANG into place. ON BISHOP, PRESSING the enormous weight. One, two, three... He RACKS the weights, disgusted. Gets up, throws on more weight. He PRESSES it again. Five... six... RACKS it again, angry. Adds MORE WEIGHT. Back under the bar. Pressing. Muscles distending, STRAINING. Seven... Eight... He CRIES OUT as something GIVES in his shoulder. The Weight SETTLES down on him, crushing him. A moment in his eyes, the weight pressing the air out of his lunges. He LAUGHS MANIC, SURGES up against the weight, tossing it off, the weights slamming into the floor, BOOM! EXT. SUSHI RESTAURANT - EVENING Bishop's car pulls up fast. He gets out, tosses the valet his keys, heads in, weirdly focused. INT. SUSHI RESTAURANT - EVENING Bishop sits alone at a reserved table at the back, a plate of sashimi in front of him. He looks out at the restaurant. 39. BISHOP'S P.O.V.: Laughter, smiles, hands touching, hands waving mid-story, lips parting. Woman's hands touching their necks, eyes sparkling, men laughing, wallets flashing... Bishop rises suddenly, his hand going to his wallet, trying to get out of there. ROOM SWAYS. He steadies himself, moves towards the exit. People look over, alarmed as he grabs backs of chairs to steady himself. VERTIGO LOOMING, sounds DISTORTING and suddenly he's FALLING into blackness... INT. EMERGENCY ROOM - MORNING Bishop, shirtless. A FEMALE DOCTOR is examining the injury. Professional, but attractive. And attracted to him. Her hands on his shoulder, gentle. Her other hand on his back. Her eyes play over his form: SCARS, WOUNDS, healed. A battlefield for a body. FEMALE DOCTOR Quite a collection you have here. Military? BISHOP Something like that. FEMALE DOCTOR Does this hurt? Bishop smiles, recognizing the nature of the touch. BISHOP Yes, a little. The doctor lets her hands rest just a fraction too long, then moves across the room, writes in a chart. FEMALE DOCTOR Any next of kin, anybody we can notify? (off his shake no) How about an acquaintance? BISHOP Am I going to die? FEMALE DOCTOR (SMILE) No, not today. Bishop reaches for his shirt, slips it on. FEMALE DOCTOR (CONT'D) You damaged your deltoid muscle. But that doesn't explain the anxiety attack. (MORE) 40. FEMALE DOCTOR (CONT'D) Any unusual stress recently? Something at work? (off his shake no) I'm prescribing Cataflam for the pain and Paxil for the stress and I'm going to give you my card. If you have any other episodes... or if you need anything else, don't hesitate to give me a call. She holds out her card. He looks at her, lets her stay that way for a moment, then takes the card. She looks away. FEMALE DOCTOR (CONT'D) You can pay at the desk. INT. FRONT DESK, EMERGENCY ROOM - MOMENTS LATER Bishop pays cash. He crumples the prescriptions, tosses it in the trash, starts to toss the doctor's card. Beat. He can see her down the hall, speaking with another doctor. Pretty, real. A moment, he pockets the card. INT. OFFICE, MCKENNA HOLDING CORP. - DAY Steve sits in his father's office chair, staring back at us, occasionally nodding. We REVERSE to find a collection of Investigators, a Forensic Doc, and a hardened SECURITY SPECIALIST. The Doc is in the middle of a presentation. BOARDS hold diagrams, conclusions, crime scene photos, all about Harry McKenna. The Doc demonstrates the precise hold, the pressure points that killed Harry McKenna. Steve watches, impassive. EXT. WOODS - AFTERNOON Bishop runs through the woods, full-tilt. Finally stops in front of his house. He feels his injured shoulder, winces... INT. BISHOP'S HOME - EVENING Bishop sits on his sofa in front of the TV: A bureaucrat at a press conference. A female diplomat pushes through photogs with her hand up, shielding her face. Words scroll: "US Intelligence under scrutiny... High level meeting..." Bishop hits the remote and the TV goes to static, white noise again. His eyes... relax, almost asleep. We stay on his face, a glimpse into his only moments of peace... 41. BANG! BANG! BANG! POUNDING on his front door. Bishop's eyes POP open. He's on his feet, instantly alert, moving past a sideboard. He touches a hidden catch, a "click" and he reaches underneath, comes out with a handgun. EXT. FRONT DOOR, BISHOP'S HOME - MOMENTS LATER Steve is there, pounding on the door. STEVE Mr. Bishop! Arthur! Please, I need to speak with you. The front door opens. Bishop, fronting sleepy. Steve is ENERGIZED, LIT, eyes blazing. BISHOP What time is it? STEVE I wanna show you something. Please. It'll be... It'll be interesting. INT. BENTLEY - EVENING Steve drives, too fast. Bishop is shotgun. The rear area usually reserved for passengers is empty. BISHOP Gonna tell me what the big surprise is? STEVE I'd rather show you. I know, melodramatic. But I think it'll be worth it to you. Bishop TENSES, almost imperceptible as Steve pilots the car into the underground structure beneath McKenna Holding Corp. INT. PARKING GARAGE - CONTINUOUS Car screeches to a stop. Steve grabs a case, is out. Bishops takes in the area. Two of Steve's SECURITY there, looking stern. Bishop checks the gun he has concealed in his waistband, reaches for his door. EXT. ROOFTOP, MCKENNA ENTERPRISES - EVENING Elevator opens at the very top. Steve pushes out onto the roof. Bishop follows. Security lighting floods on, illuminating the desolate surface in eerie even light. 42. Steve opens his case, starts tossing down PHOTOGRAPHS: CLOSE ON THE PICTURES: Harry McKenna. Dead on the roof. Other details. The doors, the elevator shaft, everything. PAPERS, coroner's documents. Medical photographs. BISHOP (CAREFUL) Maybe it's time you start talking. STEVE (off the papers) You know what that says? My dad didn't die of a heart attack. I mean, he was dying of a heart attack, but that's not what killed him. The blood flow to his brain was cut off, his brain died before his body. Somebody killed him. On Bishop, considering Steve. BISHOP What do the police think? STEVE (LAUGHING) The police? They don't want to hear about this. I mean, they'll look into it. But they don't very much like the idea that they totally missed this one and it'd be just easier for everyone if I would shut the hell up. BISHOP ...What do you want? STEVE They killed him. Here, on the roof of his own building. His own security all around. Why here? Why even kill him, if he was already dying? BISHOP You tell me. STEVE To make a point. That no one's safe. That they can get to anyone, whenever they want to. BISHOP So what am I doing here? Bishop, supremely alert, listening. Tracking shadows... 43. STEVE I got my black belt in Karate when I was nineteen. I've studied Judo since I was six. BISHOP I'm impressed. STEVE No, you're not. Most people are, but you're not. If I came at you right now, I'd wind up dead as my father, wouldn't I? Bishop doesn't answer. Steve breaks away, looks down at the place where his father died. STEVE (CONT'D) Same as if I tried to exact justice for my father. These men, what this is... It's something you know about, isn't it? (BEAT) Something you could teach me. BISHOP I didn't get the impression you even liked Harry very much. Steve SURGES forward. Real anger, intensity boiling over. STEVE You really going to stand there and judge how much I loved my father? What the hell do you know about it? Bishop, hearing this. A nerve touched. STEVE (CONT'D) Besides, this isn't just about Harry. Harry's dead, may he rest in peace. But this is about me. They came here and they killed my father. They did that to me. BISHOP You want revenge. Steve doesn't answer. A long moment between them. Steve turns, looks out over the city. STEVE You know the word "Nemesis"? It's not actually a word. It's a name. She was one of the Greek goddesses. Of anger. Retribution against any mortal who became too proud. (MORE) 44. STEVE (CONT'D) The executor of divine justice. It's a beautiful idea, don't you think? Justice. BISHOP Justice? A beat. Bishop shakes his head, turns, starts to walk back towards the elevators. Steve collects his papers, angry. STEVE (CALLING AFTER) Fine. Fine. In case you haven't noticed, I now have a couple of million dollars to spend on this, so I will find them myself and I'll deal with them myself and if I wind up dead trying, you can bury me right next to dear old dad -- BISHOP Jesus, stop your whining. SLAP! No one's ever spoken to Steve that way. He STARES. A stillness between them, even the wind slows, waiting... BISHOP (CONT'D) Corner of sixth and Grand. Tomorrow morning. 7:00 am. Don't be late. STEVE I won't. Beat. Bishop nods, starts to leave, turns back... BISHOP And Steve... no more surprises like this, okay? Steve nods. Bishop goes. On Steve, watching as the elevator doors erase the older man. INT. BISHOP'S HOME - NIGHT Bishop stands in the middle of his home, still. Thinking. Then he moves to his office, grabs a newspaper. He moves to his Study, turns to a page, slaps it down on the glass on his scanner. Hits a button, the white light of the scanner passes. 45. INT. BISHOP'S BEDROOM - CONTINUOUS Big King bed, never used. A huge painting by the Artist on the wall across from the bed. Landscape. Empty. Ruined. Bishop hoists the painting down off the wall. He has a print- out from his computer, tacks it in the center of the blank space left by the painting: The picture of Steve, scanned from the McKenna Obituary, enlarged. Tacked alone on the wall. A start. EXT. CORNER OF SIXTH AND GRAND - MORNING Bishop stands on the corner, waiting. He checks his watch: 6:58. Steve's Bentley pulls up to the corner, parks in a handicapped space. Steve gets out, nods to Bishop. Bishop takes in Steve, the Bentley, a metermaid ten yards away, already moving towards them. INT. STERILE HALLWAY - MORNING Bishop enters this linoleum-lined hallway, slips the bored ATTENDANT $100. The man hits a button, a door CLICKS open. INT. MORGUE - MORNING As they enter, fluorescent lights flicker on. Cheap, overused. Some burnt out, others shorting. ROWS OF GURNEYS line the room. Bodies, covered in green morgue drapes. Steve's eyes play over it. He swallows. Bishop is cold, business-like. BISHOP Stay focused. This is a test. Bishop moves down the rows, pulling drapes away as he does. Nude BODIES are revealed. Men, women, teens. In some, the reason for their death is obvious. Others aren't telling. BISHOP (CONT'D) You want to know about killing, look around. Steve does, a little creeped out, but keeping it cool. BISHOP (CONT'D) The act of killing, is an end in itself. Any other motive keeps it from being pure. STEVE The psychopath has no motive. 46. BISHOP No, he's driven, compelled, by his sickness. He's as much the victim as those he kills. More drapes fall. Dead eyes stare up at them. BISHOP (CONT'D) But when you make your own law, you're responsible to no one else but yourself. Maybe you're free... STEVE I understand. BISHOP Do you? This isn't some idea anymore. This is the real thing. You still with me? STEVE I am. Another drape falls. A beautiful woman. No signs of injury. BISHOP Ever heard the term "Mechanic" used outside of its normal meaning? STEVE My father used it. A dealer... a guy who works the tables. Bishops smiles, shakes his head. STEVE (CONT'D) Or a... killer. A hit man. Bishop just stares. Steve shakes his head, looks away from Bishop, winds up staring at a dead man. Laughs to himself. BISHOP What are you thinking? STEVE I had you pegged as... a security consultant. Maybe ex-military. Someone who... protects people. BISHOP Maybe I do. STEVE Or maybe you just get paid to kill people. Bishop nods his head yes. 47. STEVE (CONT'D) So why let me in? I mean, I know what I want. What do you get out of it? BISHOP ...Times are changing. Security is better trained, more lethal. Sometimes I could use a partner. STEVE Bullshit. Bishop nods, smiles. He moves away from the tables, leaves Steve standing in the middle of it all. BISHOP In this... there isn't room for those who are outside of it. There's too much isolation. Friendships can't work. Eventually everyone expects you to account. The isolation... becomes a liability. You stand out. Standing out... isn't good. Steve smiles, shakes his head. STEVE You need a... friend? BISHOP An associate. (BEAT) I'm offering to teach you something that most people can't be taught. STEVE Because you think I'm a natural. BISHOP That remains to be seen. (taps his head) But you're alone in there, aren't you? That's... the prerequisite. Steve continues to stare at the bodies. Bishops starts towards the exit. BISHOP (CONT'D) Think it over. STEVE Bishop... (BEAT) When I find the men who murdered my father. You help me to kill them. 48. BISHOP You may never find them. STEVE You didn't answer my question. A beat. Bishop nods. INT. BISHOP'S GYM - DAY Dropping into the middle of a FIGHT. Steve and Bishop, attacking each other, mixed martial arts. Steve is the aggressor, moves in knocking Bishop's defenses away. HITTING Bishop who takes the punch, steps back... Steve's still on him. Kicking, two, three times. Bishop catches a kick, tosses Steve back. He lands cat-like on his feet, comes back at Bishop, strong. Hitting, pushing Bishop back against a wall, seeming to dominate the fight. BUZZ! A buzzer goes off. Bishop drops his guard, would be flattened if Steve didn't pull his punch, walks out. EXT. BISHOP'S RANGE - CONTINUOUS Behind Bishop's gym is a rifle range. An assortment of weapons lie on a table. In front of them, some trees, some old cars... some bottles sitting on the limbs of the trees. Bishop picks up a handgun, checks his pulse. Steve has obviously learned from him, does the same. Bishop raises the gun. BLAM! BLAM! Two bottles shatter at 30 yards. He tosses Steve the gun. Steve keeps two fingers on his pulse. STEVE I'm still at 130. BISHOP Too fast. STEVE I know. I'm working on it. Bishop nods, picks up the rifle, sights. BLAM! 1,000 yards away, the bullet IMPACTS the head-rest of an abandoned car. Bishop looks to Steve who gives up, raises the handgun. BLAM! BLAM! BLAM! Three shots. Three misses. Steve tosses down the gun, frustrated. BISHOP You were still over 100. 49. STEVE What am I supposed to do? BISHOP There are no perfect situations. You fought me at 100%, so you were winning. But in doing so, you gave up your shooting option. (BEAT) It's all about choices. Always. Bishop starts to leave. STEVE Bishop... What's your 100% look like? Bishop smiles. EXT. DESERT HIGHWAY - DAY Two cars BLISTERING down the highway. Bishop's Cobra and Steve in a classic Maserati. They JOCKEY for position, WEAVE in and out of the other cars on the road. WITH BISHOP. Portrait of control. Expertly working the tuned car, coaxing power and speed out of it. WITH STEVE. Careless, going for broke, not caring if he has the space to make his moves. He SWERVES his car, right at Bishop... ... who has to PEEL away, off the highway, onto the smooth dirt-pack. He DOWNSHIFTS, blasts back onto the road, catching air. Steve LAUGHS out load as they CREST the top of a rise... LOOMING AHEAD: An existing accident. A beer truck jack- knifed across the freeway. Bishop BRAKES, fighting for control. Steve SWERVES his car, too fast, it goes into a SPIN... CLIPS another car, gains air and PLOWS ass-backwards into the side of the beer truck. BISHOP'S CAR slides to a stop. Bishop gets out, tracks: STEVE, climbing out of the Maserati onto the hood protruding from the side of the truck. LAUGHING, WHOOOPING at the sky. Bishop approaches, sees that hundreds of bottles of BEER have cascaded out of the punctured truck. Steve wipes blood from a cut on his forehead, grabs a beer and cracks it, swigs as he sits on the Maserati hood. He grabs another, tosses it to Bishop. 50. STEVE Come on up, man. The view is beautiful. Bishop takes in the situation, the small crowd gathering... he jumps up, sits on the hood of the car with Steve, both leaning back against the cracked windshield. BISHOP You lost control. STEVE You think? Steve puts out his beer. A hesitation, then Bishop clinks beers with him. They both drink. Stretched out in front of them, the highway seems to go on forever. STEVE (CONT'D) You ever think about just... going? Leaving. Never turning back? BISHOP ...Sometimes. STEVE Why don't you? BISHOP I have... responsibilities. I have a cat. A beat. Steve LAUGHS loud. Bishop laughs. Maybe the first time in ages. They drink, watch the sun move lower in the sky as emergency vehicles approach. INT. BISHOP'S HOME - EVENING Steve comes in from the guest-house, showered. Sees Bishop at the dining room table, takes in the place for the first time. The art on the walls. STEVE You know, looking at these, a person might think maybe there's a screw or two loose up there... Steve catches sight of a manila envelope in front of his empty place. STEVE (CONT'D) Is this what I think it is? BISHOP (SHAKING NO) Don't be so eager. Open it. 51. PLANS, diagrams. Pictures. They're of an outdoor area. Steve's eyes scan over them, interested. STEVE Who's the Mark? BISHOP ...I am. INT. OUTDOOR MARKET - DAY A huge square filled with VENDORS selling all manner of food and good out of CARTS and STALLS. Music, voices, crowds of people. Bishop moves through. Dressed average, just a guy in the crowd. He watches a couple argue. Moves on... BISHOP (V.O.) It's not good enough to simply follow your Mark and attack him. Most of these people know they're targets. They'll be watching for you. ... A moment, then Steve enters the frame, tracking Bishop. BISHOP (V.O.) (CONT'D) You need to understand the location, control the situation. You're looking for escapes, security, police presence... Bishop passes two COPS, squeezes between two parked produce trucks towards the row of shops that border the square. INT. WATCH REPAIR SHOP - CONTINUOUS Bishop stands in front of a case, watches the precision instruments tick. From behind a counter, the Chinese OWNER notices him, puts down the watch he's repairing, approaches. 60's, authoritative, a LOUP on his forehead. OWNER Interest you in anything? Bishop takes in the man, eyes check polished reflective surfaces, back to the man. Bishop points to a watch. BISHOP That's a beauty. OWNER (BEAMING) You know your instruments... 52. EXT. OUTDOOR MARKET - CONTINUOUS Concealed amidst exotic Guatemalan wraps, Steve tracks the Watch Shop. The attractive older woman running the stall eyes him. He looks right through her. STEVE'S P.O.V.: Bishop exits, heading back into the market. BISHOP (V.O.) Most of all, you need to answer this question: "How does this man die here today?" Bishop passes a butcher cutting into a slab of meat. Steve follows behind Bishop, lost in the sea of people. BISHOP (V.O.) (CONT'D) Everybody, everyday, has a way to die. You have to find it. EXT. CURIOS STALL, OUTDOOR MARKET - MOMENTS LATER Bishop stands in front of stall filled with classic toys, rocking horses, vintage dolls. His gaze finds a large, still- boxed doll of the "Luna Cromwell" character that the Grocery Owner's Daughter is obsessed with. Almost life-sized. SALESMAN They don't make that anymore. That's a classic. I can let you have it for three hundred... INT. OUTDOOR MARKET - MOMENTS LATER Bishop turns away from the stand carrying the doll. A GROUP of teens RUNS by Bishop, buffeting him for a moment. Slightly off kilter, he checks his surroundings. Nothing. Bishop starts again, aware for the first time that a MAN is headed his direction, passing a knife-sharpening stand, blades gleaming, his face hidden by a low hat... Bishop tracks the figure out of the corner of his eye, turns and pushes through the tight space between two stalls, out the back where trucks are parked. Bishops glances back for the man, squeezes between two large trucks... ...coming out the other side when POP! A loud SOUND makes Bishop glance over. A HISSING coming from one of the trucks which starts to ROLL backwards and Suddenly HANDS are on Bishop from behind, PUSHING HIM backwards, into the space between the two trucks! A FLASH, A SPLIT SECOND to stare into Steve's face, holding him there to be crushed and... 53. CRASH! The one truck SLAMS into the second, the vice closed, metal crumpling. Bishop, at the last minute pulled back by Steve who's holding him there, smiling. A beat. Bishop checks the surroundings, nods. Steve release him. BISHOP ...Good. Very good. STEVE Good? That's all you got? How about God damn perfect, man? BISHOP Don't get cocky. STEVE Broad daylight. A thousand witnesses. Man takes a wrong step. Excuse me if I take a moment to appreciate myself. Because that was poetry. (laughing, smiling) You just can't bring yourself to be impressed, can you? Bishops considers, notices that the Luna Cromwell doll has fallen in the gutter. Picks it up, tries to dry it. STEVE (CONT'D) (hand to his ear) What's that? You're what? Oh, you are impressed? No, come on, you don't have to say that. Really, I'm fine with -- You what? You've never seen someone better? Wow. BISHOP All right. You did very well. STEVE Damn straight I did. And now, in celebration of me, I'm taking you to a restaurant where the waitresses... what? Something about Bishop's serious gaze has stopped Steve. Bishop reaches into his jacket, places a gun in Steve's hands. A confused beat, Steve conceals the weapon. STEVE (CONT'D) ...Bishop? 54. BISHOP There's a man behind me. Look up once, then look away. Don't look back. Steve glances up. We realize we're right in front of the watch store. The OWNER is pulling the steel grate down over his store, closing for the day. BISHOP (CONT'D) You got him? STEVE Yeah. Look... BISHOP You did good here. Really good. But this was just a game. That man... is your graduation. STEVE Who is he? BISHOP He owns the watch store. STEVE I know. I meant... what did he do? Bishop comes close, FOCUSED. BISHOP I've taught you how to kill without anyone knowing there was a murder. I've taught you to be invisible. But that's strategy, not killing. The real test... it's the actual killing, isn't it? STEVE Bishop... BISHOP Do you want this? Be very sure. Because you can walk away. STEVE No. I'm ready. Bishop studies him... nods. Turns to go. STEVE (CONT'D) Bishop... We're right here, where you wanted us to wind up. You knew where I'd hit you, didn't you? 55. BISHOP ...School's out. Bishop leaves. Steve watches him go. Stuck. Helpless. He turns back. The Owner is headed home for the day. INT. SUSHI RESTAURANT - NIGHT Bishop sits back at his reserved table in the rear of the place. In a chair next to him, the doll is awkwardly perched. Around him, people LAUGH. Lovers NUZZLE.. He reaches into his breast pocket, slides out a new DHL envelope, tears it open. A new jump-drive slides onto the table. He eats, takes pills, his eyes locked on the drive. BISHOP (to Luna doll) Who do you think that is, Luna? He takes a card out of his wallet, studies it. It's from the flirtatious doctor. He pulls out his phone, dials. EXT. CITY STREET - NIGHT Steve sits in a nondescript car, lights out, parked. STEVE'S P.O.V.: Two stories up, a lit apartment. The WATCH STORE OWNER crosses by one of the lit windows. INT. WATCH STORE OWNER'S APARTMENT - NIGHT The Owner has a delicate vintage Brietlang in his hands. He places it on a patch of velvet, watch-repair tools laid next to it. He moves to an old stereo, puts the needle of a turn- table down on spinning vinyl. The lonely sounds of Brahms Piano Concerto No. 2 fill the room. He returns to his desk, sits. A tiny noise from the hall. A "click." He looks up, sees nothing, settles in to work... TRACKING ACROSS THE ROOM To the front HALLWAY. Steve stands in the hallway, motionless. He's just closed the front door behind him. In his hands, a lock-pick set which he now pockets and pulls out the gun Bishop gave him. INT. HALLWAY - NIGHT CLOSE ON BISHOP. No way to tell where he is. He's holding the Luna doll. He reaches forward, knocks on a door. 56. WOMAN'S VOICE (FROM INSIDE) It's open! INT. HIGH RISE APARTMENT - NIGHT The WOMAN's apartment. Not the doctor's, the same we've been to before. Everything eerily identical to the last time. Sofas, gas fire, throws and rugs, open bottle of wine. WOMAN'S VOICE I'll just be a minute. A GLIMPSE of the woman in her bedroom, topless in front of a vanity. She glances back, smiles warm. Laughs a little when she sees the doll. BISHOP It's for a friend. Bishop awkwardly sets the doll down near the front door, moves on, into the apartment. Restless. BISHOP (CONT'D) I'm sorry I was away so long this time. I had some complications -- WOMAN'S VOICE Don't be. He turns. She's emerged from the bedroom, adjusting the dress she's just pulled on. Beautiful. She comes up to him, kisses him. He doesn't respond. She backs off, moves to the kitchen to pour two wines, WOMAN You know who I saw yesterday? (BEAT) Bradley Fliescher. He and Ginny have this little cottage up the coast they hardly use. I was thinking, maybe next week you and I should go. Approaching, handing him a wine. WOMAN (CONT'D) You and me, the whole weekend. What would we... do? She approaches him, sexy. Touches him, intimate. He stares at her, blank. She recovers fast, moves off. WOMAN (CONT'D) Of course why do we need that? We have each other right here. 57. INT. WATCH STORE OWNER'S APARTMENT - NIGHT Carefully, slowly, Steve makes his way down the hall towards the lit living room. IN THE LIVING ROOM The owner pauses, enjoying the crescendo of the music. Eyes closed for a moment. Then they open... ... Steve is standing in the doorway to the living room, the gun pointed at the owner. The owner sees him, becomes motionless. The two men staring across the space between them... and then everything happens very fast. The Owner LURCHES to the side with surprising speed and agility just as Steve FIRES! The bullet catches the Owner in the side, SPINNING him around. He CRASHES to the floor... ... but only for an INSTANT. THEN he's BACK ON HIS FEET, MOVING across the room! Steve tracks, pulls the trigger again but the gun only "clicks" empty. The man reaches a coat rack, grabs it in one fluid motion and is MOVING back at Steve who barely has time to drop the gun and BLOCK the rack as it SLICES through the air at him. The Owner HITS and HITS again. Skilled, professional, martial-arts trained. Steve blocking one, two, the third hit connects, sends Steve REELING back, crashing through the watch-repair table. The Owner leaps at him with the rack. Steve is BARELY able to catch the end before it impales him. The two men, BREATHING, STRUGGLING, the Owner FORCING the point lower towards Steve's face... ... Blood pools on Steve's shirt. Steve and the Owner both track it. The man is bleeding badly from the bullet wound. A split-second calculation and the man abandons the coat- rack, races across the room as Steve clambers to his feet. The man reaches the far wall, hits a RELEASE. The wood paneling slides open, revealing a CAR-15 fully automatic assault rifle with a silencer. The man grabs it, opens up! Bullets CHEW through furniture, drywall, glass searching for Steve who DIVES into the hallway, retreating as the man comes forward, firing in deadly precise BURSTS. Steve hides behind a wall which ERUPTS, blown to bits. He stumbles through a doorway into a KITCHEN. 58. INT. HIGH RISE APARTMENT - NIGHT Stillness. The woman and Bishop, staring forward, watching another of her videos. Another late-night diary. She's in a long shirt and panties, leaning close to the camera. WOMAN ON CAMERA (QUIET) Do you know what I dreamed? I dreamed you and I had a child... Bishops turns from the screen, walks away. Beat, she silences the TV, moves to join him. WOMAN I know, it's crazy. I don't want to pin you down. I know you need your freedom. I just... sometimes I miss you so much... He's staring at her, oddly. WOMAN (CONT'D) What? A beat. His eyes move down to her sofa where another man's tie has been discarded. A moment, then she shakes her head, angry with herself. The pretense dropping. The real woman scooping up the tie, tossing in a drawer. WOMAN (CONT'D) I'm sorry. Really, I am. I just... You didn't give me any warning this time. (BEAT) I'm sorry, Bishop. It won't happen again. BISHOP (NODDING) It's okay. Really. It's okay. INT. WATCH STORE OWNER'S APARTMENT - NIGHT WITH THE OWNER. Holding the CAR-15. Listening for his target. His hand moves to the wound in his side, comes away covered in blood. Another decision, the man slides the weapon over his shoulder, retreats... ...MOVING with the man, through his apartment. He reaches his BATHROOM, blows inside. Tosses the toilet tank to the side, reaches in and comes out with a military-grade STIM needle which he JAMS into his own thigh. A MOMENT with the Owner, feeling the drug course through his system, giving him strength... 59. Steve comes out of nowhere, HITS the man in the head with a heavy copper pot, sending him reeling back into the tub. Steve starts forward, DIVES to the side as the man opens back up, full auto, bullets CHEWING everything... CAR-15 finally clicks empty. Steve rises... and the Man is on him, kicking him. Steve, rolling away. The man PULLING him back. WHAM! WHAM! Steve takes brutal punches to the head and face. Blocks one and they GRAPPLE, rolling in the tight space of the hallway, the man coming up on top, pinning Steve's arm, SLAMMING him in the ribs. Something SNAPS. Steve SCREAMS, surges up with the man... smashing him THROUGH a small table, winding up on top of him, his hand around the owners throat... The two men... eye to eye. Fierce, deadly. Steve SQUEEZING the life out of him. The man's free arm HITTING Steve, OVER and OVER. Brutal body blows. Steve takes the punishment... continues to Squeeze... ...Finally, the man weakening. In his face... a dull resignation. OWNER (WEAKLY) Who... are... you? Steve doesn't answer, just keeps PRESSING. And finally... the man's eyes film over. He dies. Steve just KEEPS PRESSING. Locked. Horrified. Staring into the dead man's face. Finally, he rolls off. Flops back against the wall, broken, bleeding, weeping... He SCREAMS. From the heart, the guts, releasing EVERYTHING. INT. HIGH RISE APARTMENT - NIGHT Bishop sitting at the woman's dining room table. Carefully, she comes and takes the seat opposite him. No pretense. The professional, not the actor. WOMAN Hey, Bishop. You okay? He stares into his wine. Raises the glass to drink. His hand shakes. BISHOP Do you remember, what you wanted to be, when you were a little girl? She hears it, it wounds her. Looks down. 60. BISHOP (CONT'D) I'm sorry, I didn't mean... I was thinking of me. She looks up, clear eyes. She's tough. WOMAN No, it's okay. I wanted to be a Marine Biologist. I used to watch those Jaques Cousteau movies and just... dream. BISHOP What happened? WOMAN (BEAT) I was beautiful. He hears the simple truth of it, nods, respectful. He rises and goes to the music box on the mantle, takes out his wallet and removes the twenty $100 bills. WOMAN (CONT'D) Don't worry about it this time. On the house. A beat. Then he slides the money under the box as before. BISHOP We all gotta make a living. He leaves, grabbing the doll as he goes. She watches him go, strangely. Sadness breaking through her cool. INT. LOCAL GROCERY - NIGHT Bell jingles as Bishop pushes in, holding the large Luna Cromwell doll. The Grocer looks up, smiling as he sees Bishop, then confused as he takes in the doll. A SQUEAL of delight as Sophie appears, running, grabbing the doll out of Bishop's hands. SOPHIE Thank you, thank you! Bishop! Mom! MOM! She takes off back into the living quarters of the house. The two men exchange looks, uncomfortable. BISHOP I saw that in a... I'm sorry, I probably should have asked. A small beat that says "Yes, you should have." 61. GROCER Don't worry about it, Bishop. You have a good night. EXT. BISHOP'S HOME - NIGHT Bishop pulls up in his vintage Cobra. Shuts down the powerful engine, emerges into the night and moves to his porch. The front door has been BLOWN OPEN by gunfire. INT. BISHOP'S HOME - NIGHT Bishop moves in silent, alert. He reaches down under his sideboard for his gun. REACTS as his hand finds nothing. STEVE (O.S.) ...Can I ask you a question? STEVE sits on his sofa in the dark, head lowered. BISHOP Go ahead. STEVE Are you surprised to see me? Beat. Steve reaches over, turns on a table lamp as he looks up. His face is BRUISED, bloody. His clothing, stained and ripped. In his hand, Bishop's gun from the sideboard. Bishop TENSES, doesn't react. Steve spits blood, smiles. STEVE (CONT'D) Guy owns a watch-store, yet keeps a million dollar apartment. Supposedly sits on his ass all day, yet takes stairs double-time. (BEAT) It was sitting there, right in front of my face, wasn't it? Bishop doesn't respond. STEVE (CONT'D) Was that the man who killed my father? BISHOP There's a code, to what we do. It may not be rational, but it matters. The man's name was Harry Xiao. He was a Mechanic. Last year a US Representative died in a fire... along with his wife and two children. (MORE) 62. BISHOP (CONT'D) A few months ago, a CEO vacationing in Costa Rica was found dead with his wife. Because the woman was tortured, the authorities believed it was drug related. STEVE Bishop! -- BISHOP Civilian casualties are very effective at hiding intent, but there's a line --- STEVE I don't give a damn about that! You haven't answer my question: Did he kill my father? Bishop doesn't react, then... BISHOP You should put that behind you now. Steve nods, swallowing emotion. Bishop starts to move and Steve is suddenly there, still angry, pointing the gun right in Bishop's face. STEVE I could have died today! BISHOP You didn't. STEVE Blind fucking luck! Look at me! You tried to kill me! That man was... he was unstoppable. BISHOP But you stopped him. STEVE Fuck you! You sonofabitch! Give me one good reason I don't blow you away right now! ONE GOD DAMN REASON! FAST, Bishop SLAPS the gun away, PINS Steve up against the wall. Cold. BISHOP Now I'm sorry if you got a little scared. But this isn't coaching girl's softball, is it? This is life or death. Every time you go into this, somebody dies. (MORE) 63. BISHOP (CONT'D) Every time, it's you or the other man. So stop your crying. He releases Steve who falls to the floor, sucking air. BISHOP (CONT'D) You got what you came for, congratulations. You're done Go back to your friends, your women, your whole beautiful life. (POINTING) That used to be my front door. Try to close it on the way out. Bishop starts to go. Steve's words stop him. STEVE Bishop. Those things... they don't mean anything to me. This, makes sense. I don't know why. But I think I was meant to do this. (BEAT) And like you said, you could use someone. Bishop studies Steve a long beat. Shakes his head, goes into his study. Steve follows. INT. STUDY - NIGHT Bishop fires up the computer hooked to the printer. He glances over. Steve is standing in the doorway. Bishop tosses Steve the jump-drive. Steve studies it, slots it into the computer. Almost instantly, the phone rings. Bishop punches on SPEAKER. The same silence. BISHOP We should all be so lucky. The phone goes dead. The light on the drive turns GREEN. Bishop's PRINTER fires up. It starts printing out pages... ON BISHOP and STEVE. Watching the pages feed out. PHOTOS: A new Mark at an elegant gathering of powerful men and women. Tall, powerful, entitled. His arm around a Turkish beauty in an elegant black one-piece. Emerging from a limousine at a large public event. Security EVERYWHERE. The same beauty on his arm. Charts. Height, weight, medical history. Bank accounts, figures. Leases, deeds of property. A LAST PHOTO: Peeling out of the printer... THE WOMAN, the beauty, in a diplomatic power-suit. 64. A second to realize: She's the mark. More pictures, we've seen this woman on television recently. ON BISHOP AND STEVE, reacting. Then Bishop gestures towards the large empty wall, waiting. BISHOP (CONT'D) You get started. I'll make coffee. STEVE Bishop... Nemesis. Devine Retribution. ...What did she do? Beat. Unsaid questions asked, unanswered. STEVE (CONT'D) Okay. Okay. Forget I asked. EXT. EMBASSY - DAY Seen through 30x telescope. The images MAGNIFIED, FLAT. The view unstable, moving. Just the low SOUND OF WIND. Panning over upper-floor windows, hesitating on a pair of armed security, making their rounds. Camera "clicks" then move on. Finds the ENTRANCE. A line of people moving through a metal detector. One young man in particular... EXT. ENTRANCE, EMBASSY - DAY Steve collects his cell phone from the other side of a metal detector, slots a bluetooth and heads in. Bishop's voice fills his ears. BISHOP (O.S.) Slow down as soon as you get inside. Security station will be to your left... Steve passes through a door, pauses as two guards talk in the open doorway to a security control room. Monitors visible. BISHOP (O.S.) (CONT'D) How many views? STEVE (eyes moving fast) Sixteen, no, eighteen. Four second intervals. One of the men notices Steve who starts forward to ask a question. The man points him down the hallway towards the consulat's reception. Steve's eyes track monitors. 65. STEVE (CONT'D) Make that four and a half seconds. INT. BUILDING UNDER CONSTRUCTION - CONTINUOUS Bishop is sighting through a camera affixed to the telescope, headphones on. He's on the 14th floor of a skyscraper under construction. Cement pillars and steel-work. STEVE (O.S.) These guys are packing Israeli-made Uzis. Couple are actual military. Bishop takes in the other buildings across the street, then moves his sight up the embassy, adjusts a control P.O.V. - THROUGH THE SCOPE: Large tinted glass windows suddenly turn transparent. Bishop scans, find The Mark's HUSBAND on the bed watching TV, bored. He scans again... finds The Mark in the adjoining room, on the phone and ANGRY. Bishop touches a switch on the telescope and a small LASER projects. The woman's voice fills Bishop's headset: TURKISH ENVOY'S VOICE No, we're literally locked in here. I'm supposed to be presenting at the UN but I can't do that if everyone is going to panic about security... INT. BUILDING UNDER CONSTRUCTION - CONTINUOUS Bishop's scope zoomed in TIGHT on the Mark, staring at herself in the bathroom mirror. She's brave. TURKISH ENVOY'S VOICE ...This is America. People don't just kill people here. Then she shuts the door. Bishop moves his focus upwards to a glassed-in terreriam-like structure on the rooftop. An indoor swimming pool. "Click." "Click." More pictures. INT. BISHOP'S STUDY - EVENING The SAME pictures, now tacked up. MOVING over the wall. Meticulous study, days of work: BLUEPRINTS of the building. Service corridors highlighted, surveillance cameras marked, pictures tacked to locations. Magazine and newspaper clippings about the Mark, showcasing her beauty. 66. Headlines: "The new (and beautiful) face of Turkey." "The face that said "no" to America." Other materials: Doctor's reports. Time-tables, intervals circled, holes noted. Steve and Bishop studying everything. Bishop, almost trance- like. Steve pacing. BISHOP Work it again. STEVE She never leaves. It's like they know we're coming. BISHOP Maybe they do. Steve nods, continues pacing, scoops up Bishop's cat and strokes her. Bishop watches him. STEVE Falls off the rooftop. BISHOP Falls or jumps? Steve moves to the wall of pictures, his gaze lingering on shots of her on vacation is a swimsuit. STEVE (SMILING) I tell you one thing, killing her is not the first thing that jumps to mind... what? Bishop HEARS this, frowns, moves forward. His eyes scan: The Mark at the pool, getting ready to swim. The security... BISHOP Nothing. I'm going for a run. You wanna come? STEVE Let me ask you something. You ever not feel like running 5 miles? EXT. WOODS - MOMENTS LATER Bishops sprints/runs through the woods around his house. Body pushed to limit. In his eyes, his mind somewhere far- off, working... 67. INT. BISHOP'S HOME - EVENING Steve, alone in Bishop's home. He moves from room to room. He hits the kitchen, looks in the fridge, makes a face at the empty shelves, the bottles of supplements. He moves on, pauses to stare at the gas fireplace in the study... moves on towards Bishop's bedroom, takes in the king bed. Runs a finger across the headboard, dusty. He STARES at the large painting across from the bed... BISHOP (O.S.) You like it? Steve REACTS. Didn't hear Bishop come in. STEVE I don't know. Feels disturbed. BISHOP Always made me feel... understood. (BEAT) Come on. INT. BISHOP'S STUDY - CONTINUOUS Steve follows Bishop to the wall of research on the female mark. Bishop points to some OLD RESEARCH on the Mark, glamorous. She was a model. BISHOP The Mark is a beautiful woman. Before arriving at her current position, she enjoyed the way men looked at her. That's gone now. She needs to be taken seriously. She hates that men only see the beauty. Magazines, heads of state, all focusing how what a piece of tail she was. Like you did. Steve SQUINTS... Bishop slaps a picture of the pool, the Mark swimming. Two SECURITY AGENTS positioned. BISHOP (CONT'D) Why is he standing here? Wouldn't he get better coverage... here? STEVE ...He can't see her. BISHOP He can't see her. Neither of them can. Beat. PHONE RINGS. Bishop snaps it up. 68. BISHOP (CONT'D) Bishop. DEAN (O.S.) Hey, Bishop. Catch you at a bad time? Bishop doesn't respond. Waits... DEAN (O.S.) (CONT'D) Always the conversationalist. Anyway, just calling to say we'd like you to go ahead with this one. As soon as you can. Click. Phone goes dead. Bishop hangs it up. Steve looks at him, anticipating... Bishop nods. INT. RESTAURANT - DUSK Nice downtown joint. Businesspeople dine. Second-story tinted glass looking out over downtown. TRACKING over faces, laughing, drinking, relieved to be done for the week... Finding Bishop, sitting alone, watching the people. The flirtations, the animosities... He looks down at the street below where a UPS driver has exited the building. Steve breaks the frame, sits down across from Bishop. BISHOP Run it again. STEVE Patrol number three moves down the service corridor at 18:50. Five minute window after to make it up top. Three minute climb to position. That's 18:54. Three minute window to engage. Shake, stir, add lime and enjoy. Bishop smiles, looks away. STEVE (CONT'D) How'd you get into it? Bishop looks back, surprised. Checks his watch. BISHOP ...This business, it's not like there's a degree you can go get. It's like most trades, it gets passed down. (BEAT) (MORE) 69. BISHOP (CONT'D) My father was very good, better than I'll ever be. But no one controls 100%. The nature of the work is that some people know who you are and what you do. (BEAT) A man told his girlfriend, to impress her. The girlfriend told some people she owned money to... Bishop finishes his glass of water. BISHOP (CONT'D) I was young. It took me four months to find the people, another to find the girl, and she gave me the Man. That's how I... "got into it." STEVE You ever wish you just... walked away? Let it go? BISHOP Sure. Every day. But I wasn't wired that way. (BEAT) What about you? Beat. Steve and Bishop, oddly locked... BOOM! BOOM! BOOM! Three SMALL EXPLOSIONS in the kitchen. FLAMES shoot out of the galley. A cook stumbles out, on fire. A waiter douses him with water. People SCREAM! Alarms BLARE! Steve and Bishop. They haven't moved a muscle. BISHOP (CONT'D) Here we go... And they're MOVING. INT. SECURITY STATION, EMBASSY - EVENING SECURITY takes a call as another man studies his monitor: People fleeing the building across the street, smoke. SECURITY Fire in the restaurant. (into radio, Turkish) Patrols two and five, we're closing down the front entrance. 70. INT. SUITE, EMBASSY - EVENING The MARK stands at her closet, starting to unbutton her shirt to change for her swim. She pulls it closed as one of her security knocks and pushes into the room from a balcony. SECURITY PRO Excuse me, 'mam. There's a fire next door, nothing to worry about. The Mark nods. The man locks the door behind him, crosses the room, leaves through the main door, professional. INT. STAIRWELL - EVENING Steve and Bishop push UPWARDS through a stream of people flooding DOWN the emergency stairs. They reach a heavy door, locked and alarmed. Beat. Three people burst out from the inside. Steve catches the door and they're through... INT. LAW OFFICE - CONTINUOUS A few LAWYERS and a SECRETARY still collecting their things look up as Bishop and Steve push in, holding up badges. STEVE Hey! You need to get out! Whole building is going up! Bishop and Steve move on as the startled employees leave. They move down five doors, push into... INT. LAWYER'S OFFICE - CONTINUOUS A private office. Desk, computer, a handwritten note reads "Leave mail here, will be back Wednesday." A box from UPS which Bishop TEARS open. Inside, what looks like a large WEAPON. Steve goes to the windows, pushes them open. P.O.V. - THE EMBASSY ACROSS: Changing its security pattern. Men are leaving posts on exterior patios, locking doors. Below, the excess manpower is channeled to the front. Bishop turns, FIRES OUT THE WINDOW. A Cable streaks across, SINKS into the wall of the embassy 30 feet away. Bishop HOOKS the cable on this side, tosses the gun in the box. Steve seals it with tape, slaps a return label on it. He crosses the hall, tosses it in the MAIL ROOM. When he returns, Bishop's already secured the cable outside. BISHOP Ready? 71. Steve hooks on as well, they're both wearing harnesses under their clothing. He steps out onto the ledge with Bishop, closes the window behind him. Bishop lets himself fall backwards. EXT. STREETS - NIGHT Flashing light of the fire trucks. No one sees the two figures sliding silently from building to building above, disappearing over a 4th story railing. EXT. BALCONY, EMBASSY - NIGHT Steve lands next to Bishop who unfastens the cord they used to cross, spools it back to them. A look. No way back now, and no trace left behind. Jackets strip, reverse to the pattern of the embassy Security. A quick lock pick, and they slip inside. INT. ROOF LEVEL, EMBASSY - NIGHT Elevator doors open and the Mark gets out. She nods to the guard on duty, heads into a changing room. INT. SECURITY CONTROL ROOM, EMBASSY - NIGHT Two guards monitor screens: Corridors, rooms, entrances and exits. Pairs of guards make their rounds. CLOSING IN ON ONE PAIR. Something about them... The guard squints just as the image CHANGES, showing another part of the embassy. The guard hits a toggle, returns the previous image... But Bishop and Steve are gone. INT. CHANGING ROOM, EMBASSY - NIGHT The Mark pulls the straps of her swimsuit up over her shoulders. Stares in a mirror as she tucks strands of hair under a swim cap. INT. INDOOR POOL - NIGHT Quiet, lit from overhead by large halogen lights hanging from the hanger-like beam structure. Dark shadows in the corners. The low sound of water lapping, light reflecting off the water, moving over walls. 72. The Mark enters, and hangs up her robe. She goes to the edge of the pool, looks down into the water, then glances up at the GUARD who's stationed across the space. He nods back to her, moves to the lower space, giving her a little privacy. EXT. POOL STRUCTURE - NIGHT A second guard looks in, rudely checks out the Mark as she DIVES into the water and out of sight. He shrugs, looks back out at the roof, lifting a cigarette to light... pauses. ACROSS THE ROOF, an access door is open. INT. INDOOR POOL - NIGHT The Mark swims, hard. Cutting through the water. She reaches the far wall and kick-turns against it. UNDERWATER. Her body passing above us. Silhouetted by the strong halogen lights above her. ONLY THE THROBBING SILENCE OF UNDERWATER. ACROSS THE SPACE. The indoor guard checks in on his radio. Looks up as the DOOR nearest him swings open. He rises, approaches the door, curious. Looks out. HIS P.O.V.: The rooftop, lit by security lights, the strobing of the firetrucks below. Dark shadows. He hears a RUSTLING, a BANGING. Torn, he glances backwards. Can't see the Mark in the pool from here, but can hear her strokes. WITH THE MARK She kicks hard, dives under... And we're in her P.O.V. The far wall approaching, then we REVOLVE as she turns, now looking UP at the surface as she backstrokes to the surface, BREAKING THE SURFACE, now swimming face up to the bright lights hanging from the girdered ceiling. EXT. POOL STRUCTURE - NIGHT The second Guard tests the door. Seems fine. Takes out his flashlight and plays it over the roof. Sees nothing. We REVERSE to find Steve there, tucked away, just out of sight. ACROSS THE ROOF The first guard reaches the source of the noise: A plastic bag, caught in a revolving air vent. He pulls it free. 73. INT. INDOOR POOL - CONTINUOUS With the Mark, coming out of another turn, still backstroke, looking up. She makes it half way across the pool... pauses. She slows... floating, staring upwards into the light. HER P.O.V. The lights. But it's like she senses something beyond them, puts a hand up to shield her eyes... AND BISHOP DROPS FROM THE CEILING, FREE-FALL, COMING STRAIGHT DOWN AT HER!!!! She opens her mouth to scream... WHUUMPH! He goes in, taking her with him underwater, his momentum carrying them both several feet under. She TWISTS in his arms, fighting. Screaming, bubbles FLOWING from her mouth! ABOVE THE SURFACE. It's silent. No sign of the violent struggle going on below the surface. ACROSS THE ROOM. Guard number one returns, glances up towards the pool. Doesn't hear anything. He sits back in his chair. UNDERWATER. The struggle is violent, silent, terrible in it's inevitable conclusion. The Mark writhes and jerks but Bishop holds her tight, always pulling her away from the surface. Finally, the fight goes out of her. She goes limp in his arms. He turns her, stares into her unseeing eyes. Then lets her go, rising slowly to the surface. AT THE SURFACE. Bishop just breaks, breathing in, silent. He raises himself slightly, sees the guard at his post. ACROSS THE ROOM. The guard glances back towards the pool, hasn't heard anything for a little bit... BAM! BAM! BAM! A new noise from outside gets his attention again. He heads out, hand on his sidearm... EXT. POOL STRUCTURE, ROOFTOP - NIGHT The guard approaches the same door Guard #2 already checked, banging in the wind. Open again. He starts to move towards it when a FIGURE looms, he almost draws his weapon, breathes relief when he makes Guard #2. GUARD #2 (TURKISH) It's the second time it's come open. She still swimming? 74. INT. POOL STRUCTURE - NIGHT The two Guards come into the pool area. On the far wall, the shower is running, a towel has fallen over the drain and the water is flowing down and into the pool. One of the men steps forward, concerned... GUARD #2 (TURKISH) Oh hell... The Mark floats face-up in the pool, just under the surface. INT. CHANGING ROOM, EMBASSY - NIGHT Bishop has already shed his wet clothing, pulls on dry clothes as Steve comes into the room. They barely acknowledge each other, business. Bishop stuffs the wet clothes in a bag, dumps it into a LAUNDRY chute. STEVE How did it go -- BISHOP Not yet. As if on cue, an ALARM BLARES. Excited voices come on over an embassy wide PA System. VOICES from the next room. Bishop opens the chute again as Steve cracks a glowstick, puts it between his teeth, swings his legs in, and DROPS. ACROSS THE ROOM. The door to the dressing room opens, armed guards flood in, along with Embassy officials speaking on radios. The room is empty. INT. LAUNDRY CHUTE - CONTINUOUS Tight, PITCH BLACK except for the eerie glow coming from the glowsticks Bishop and Steve have in their teeth. They slide FAST, the sides of the tube RUSHING up at them. And then suddenly a dim LIGHT at the bottom, rising fast... INT. SERVICE ROOM, EMABASSY - CONTINUOUS Steve lands hard in a cart of towels. Rises and pushes himself out of the way just in time for Bishop who grabs the pack he tossed down, shoulders it, and they're MOVING again, now through sub-corridors. STEVE Alright, you gotta admire that. You gotta admit, we are a spooky good team... 75. They PUSH through a set of old doors, move fifteen feet to a metal roll-down door. STEVE (CONT'D) It's like one moment we're there... the next moment... He ROLLS UP the door. STARES at a NEW WALL OF CEMENT BRICKS. STEVE (CONT'D) ...we're fucked. Bishop takes in the problem, starts to solve it. He tracks left right, considering options... STEVE (CONT'D) There wasn't any sign of this on the plans. I went over them fifty times!! This isn't supposed to be here! This can't be here! Bishop holds up a finger. "Shhhhhh" They LISTEN. A soft "beeping." Both men PEER around the edge of the metal door to where a small box with a red light BLINKS. STEVE (CONT'D) Bishop... what do we do!? BISHOP Duck... Steve looks at Bishop and BOOM! Doors BLOW OPEN, THREE GUARDS burst through, machine guns raised and SPITTING... Steve hits the deck. Watching Bishop, it's like everything we've seen so far was in slow motion. This is the real thing, unleashed. Bishop WRAPS the first man up, uses his Kevlar vest as a shield to catch the fire from the other two. The man SCREAMS as his arm breaks. Bishop gets control of his weapon, focuses it on the other two. One is BLOWN back. The other DIVES for cover. Fluid, Bishop REVERSES the man, pushes him AWAY from him, coming up with TWO of the man's Flash-bangs in each hand. Each hand DIALS the grenade's timers to two different settings, simultaneously POPPING the levers. Second attacker FIRES a burst which Bishop DUCKS, the bullets stitching across the first attacker, SLAMMING him back, his rounds TEARING into the ceiling, showering Steve in debris. Bishop THROWS the first grenade which reaches the attacker just as he rises for another shot. BOOM! 76. Another down as ANOTHER ATTACKER dives through the door at Bishop who wraps the man up, his fingers finding pressure points on the man who goes limp in his arms, dead. ON STEVE. On the floor, witnessing everything. Even in the chaos, recognizing the move. Bishop SHOVES the last grenade down the front of the dead attacker's clothes, wheels him around, PRESSING him against the concrete brick wall... ... TWO more Security kick open a door, guns fire! Bishop goes horizontal, his legs CRUSHING the one man against the metal Grate even as he returns fire at the other two who fall back and BOOM! The grenade goes off! Bishop is HURLED against the far wall. SMOKE AND DEBRIS fill the space. Bishop MOVES, hauling Steve to his feet and shoving him into the ragged hole blown in the brick wall even as bullets trace after them. A bullet catches Bishop in the side, he sprawls, then LEAPS towards the hole... INT. UNDERGROUND PARKING STRUCTURE - NIGHT Cover in the floor is tossed aside. Bishop and Steve emerge, move 6 feet to a non-descript Buick. Climb in. The keys are waiting, Bishop starts it up, drives up the ramp. Next to him, Steve is catatonic, lost. As he drives, Bishop RIPS a strip from his shirt, pads the wound in his side. BISHOP Hey! Hey! You still here? STEVE ...It was my fault. I was in charge of the exit. I looked at every work order, every entry in the building logs... BISHOP No one controls 100% That's the nature of the beast. Steve swallows, nods as Bishop brings the Buick around a last corner, ACCELERATING at the closed gate in front of them, a Turkish guard waving his arms frantically... EXT. STREETS - NIGHT Firetrucks and ambulances already crowd the streets. There's just no time or extra manpower left to react to the Buick which plows through the gate of the locked garage. 77. INT. BUICK- CONTINUOUS Two blocks behind, a single police car follows. Bishop takes a hard turn, moving FAST. BISHOP Hey! You did good in there. You hear me?. It was asking a lot. You came through. Steve nods, processing, accepting. Another TURN. Bishop slides the car to a stop in a covered lot. Across from them, Bishop's own Cobra waits. Behind them, the police car tears by, lost. INT. BISHOP'S CAR - NIGHT Bishop drives down the small lane leading to his home. Steve is staring out his window, deep in thought. Finally, looks over. For the first time takes in Bishop's injuries. STEVE You're bleeding. BISHOP ...Yup. STEVE So back there. That was one hundred percent? Bishop looks over, gives nothing. Tiny smile. INT. BISHOP'S HOME - NIGHT Door opens and Bishop and Steve come in. Steve plops in a chair, head in his hands. A beat, and then MUSIC filters in. Neil Young's "Needle and the Damage Done." He raises his head, sees light glowing from the study. INT. STUDY - CONTINUOUS Bishop sits in a chair, eyes closed. Steve comes in, stares at Bishop. Looks over and admires the surface of the spinning record... STEVE Do you think you know it, when you've made the mistake you won't survive? Or will it be like the Marks? Wake up on top of the world, never know... 78. Steve glances into the open cabinet where Bishop keeps his vinyl, FREEZES. Comes out with an signed album. STEVE (CONT'D) ...Oh my God. This is a signed Hendrix Axis, 1967 release. This has gotta be worth... we have to play this. You have to play this. BISHOP (shaking head no) That one... is for a special moment. Haven't found it yet. STEVE You haven't found the... Are you kidding? You have to -- what? Bishop's eyes SHOOT open. He looks out the window where a series of SEDANS are pulling up. Men get out, approach. BISHOP This could get... interesting. EXT. BISHOP'S HOME - NIGHT Bishop steps out of his home. One of the several men there steps forward. MAN Mr. Bishop? Mr. Dean would like a moment of your time. Off Bishop who... nods. EXT. AIRSTRIP - NIGHT Sedan pulls up, Bishop is escorted onto a private jet. INT. BISHOP'S HOME - NIGHT Steve stands in the middle of Bishop's home. Home alone. -- Steve stares at the classic vinyl on Bishop's turntable. -- Steve, wiring his IPod to Bishop's stereo. Nine Inch Nails' "Piggy" comes blasting out, insults the speakers. -- Steve moves to the bedroom, STARES at the haunting painting. He reaches forward, takes it down. Nothing. Blank wall behind. 79. INT. BISHOP'S STUDY - NIGHT Steve blasts in, lights glow on, illuminate the wall of research on the Female Mark. He goes to the gas fireplace, flames flicker up. Steve RIPS down the pictures of the woman. Moves to the fire and feeds the first one in. ON STEVE, watching. His eyes... Tracking to the side. STEVE'S P.O.V.: Down, below the fire, stuck to the side of the interior cavity... a scrap of paper... Steve kills the fire, reaches in, carefully removes the scrap of paper. A corner of a photograph. A few buildings, distant, out of focus. Almost nothing. INT. BATHROOM, PRIVATE JET - EARLY MORNING Bishop, shirtless, stares in the mirror. He checks the wound in his side, splashes Vodka from a handful of mini bottles, painfully re-wraps the wound. INT. PRIVATE JET - EARLY MORNING Bishop emerges from the bathroom, peers out at the grey monoliths of Washington D.C., below. EXT. ROOFTOP, MCKENNA HOLDING CORP - MORNING Gray morning. Wind blows. Steve stands alone, holding the scrap of photograph, now in a plastic envelope. He stares at where the chalk line has almost completely faded, then looks up, taking in the views, vantage points. A half mile away a building under construction rises high. EXT. AIRFIELD - MORNING Bishop steps off the plane. Another sedan and driver waits. EXT. OPEN CONSTRUCTION FLOOR - MORNING P.O.V. THROUGH A CAMERA: The McKenna Holding Corp building. Image focuses on the rooftop, shutter clicks. Steve lowers the camera, looks at the display. He removes the scrap from Bishop's fireplace, compares it... the same buildings in the corner of the frame. Perfect match. ON STEVE. No remaining doubt. Bishop killed his father. 80. WIDER. The SECURITY PROFESSIONAL is up here with Steve, hanging back. Steve nods to him. STEVE Do it. I don't care what it costs. I/E. SEDAN - MORNING Driver pulls the sedan to a stop in front of a large nondescript building. Bishop steps out, alone on the street, passes through the morning commuters, and goes in. INT. NATIONAL SECURITY BUILDING - MORNING Bishop passes through a SECURITY CHECKPOINT. Post 9/11, hyper-conscious. Metal detector. Smart guards backed up by battle-ready US Marines. Bishop collects his ID, waits for a door to "click" open. INT. WAITING ROOM, NSA BUILDING - MORNING Bishop sits in a fluorescent lit room, now with a bar-code badge on his coat. A few other people also wait. Bishop checks his wound, pulls his coat closed to mask where blood has stained his shirt. A door opens and a plain woman nods to Bishop. INT. DEAN'S OFFICE - MORNING Bishop sits in a chair. Through blinds, views of gray DC. WIDER. We realize that the plain woman is sitting across from Bishop, watching him. Finally, the door opens and DEAN enters. Pasty white, slightly balding. It's hard to locate where the sense of power come from, but it's there, innate. He motions to the woman who leaves. Dean sits at his desk, taps his fingers on it. DEAN You look like shit. (BEAT) How does Harry McKenna's son figure in? BISHOP He's going to be working with me from now on. DEAN You sure that's wise? 81. BISHOP Do I need your permission? DEAN No... And for the record, I don't believe you'd ask for it. Dean grabs a remote control on his desk, points it at the set of flatscreens on the wall which hum to life, muted. News reports featuring the killing of the Turkish Embassador. Shots of the woman, smiling. Helicopter shots of the pool structure. Words scroll: "Terror on our soil." "Assassination!" "US Envoy ejected from Turkey..." DEAN (CONT'D) (POINTING) That was my baby. But my baby has turned into an epic shit-storm and so when the man who caused said epic shit storm suddenly decides to do some soul-searching... (PLAINLY) What are you doing, Bishop? BISHOP The mistake was mine, not the kid's. DEAN I DON'T CARE. Dean leans in, intense. Bishop watches the screens. A screen changes to a commercial for a Bahamas resort. DEAN (CONT'D) I am on some very fucking thin ice right now which means you are on some very fucking this ice as well. BISHOP Someone I trained. That could be worth a lot to you. Dean laughs, rises with nervous energy and goes to the interior blinds, raises one. From here they can see out over the office. Glimpses of a dozen conversations. Other men and women at work. More than a couple glance over towards Dean's office. A predatory vibe. DEAN And here I thought we were both going to live forever. Bishop smiles. Dean stares at him. Bishop stares back. Suddenly, this becomes the moment, the decision... 82. DEAN (CONT'D) You know, in this business, you only get one mistake. (off the flatscreens) So nothing more like that. You take full responsibility. BISHOP Yes. The two men, face to face. Then Dean's phone rings. He turns to it, snaps it up. DEAN (ON PHONE) Hey, Stanley. Yes, we're all sorted out. I just need you to -- BISHOP The hit, on the woman. What was the reason? Dean looks back, surprised, angered. DEAN (ON PHONE) I'm calling you back. Dean clicks off, takes in this change of rules. A dead seriousness infects his voice. Fear. DEAN (CONT'D) You know, this foul-up, McKenna's son, it's all got some people's panties in a real twirl. (BEAT) This isn't the time for questions. This is the time for survival. Everyone... is expendable. Beat. Dean turns away, picks up the phone again. DEAN (CONT'D) (INTO PHONE) Yeah, get me Stan again... EXT. MCKENNA ESTATE - AFTERNOON Steve lays out by his pool, sunglasses, baking under the sun as his group of hangers-on swarm around him. Play, dance, splash. He's immune to all of it. Louise climbs from the pool, water drips off her perfect form. She nestles in behind Steve, her hands running over his body. He stares straight ahead, as if she didn't exist. 83. LOUISE Come on, baby. What's the matter? Finally, something does catch his attention: At the gate, a DHL Van pulling up, the driver heading toward him. Steve lowers his glasses. EXT. BISHOP'S HOME - EVENING Seen from far away, the sedan pulls up. Bishop gets out. INT. BISHOP'S HOME - NIGHT Bishop enters, looks around. No sign of Steve, or any disturbance. He moves through the house. BISHOP Steve! Steve...!? LATER Bishop tense, in his study, holding the phone which rings... rings... Steve's voice comes on the voicemail: "Hi, this is Steve. You know what to do." LATER Bishop, sitting on his couch. On the TV in front of him, images from a protest in Turkey, an American flag burning. Bishop's eyes flick to the stack of DVDs from the woman. No. He keeps watching the news images. His phone rings. He snatches it up. BISHOP (CONT'D) Bishop. STEVE (O.S.) You're still alive. BISHOP Seems that way. STEVE (O.S.) Hey, can you meet me? Something I want to talk with you about. Bishop, silent. STEVE (O.S.) (CONT'D) It's important. Come up to the house. Please, okay? BISHOP Okay. 84. EXT. MCKENNA ESTATE - NIGHT Bishop's sportscar pulls up in front of the large estate. Bishop gets out, surveys the grounds. Weirdly quiet. The windows of the house, dark. The grounds, empty. He moves to the gates to the back yard, finds them open. He pushes through, cautious. EXT. MCKENNA ESTATE - NIGHT Bishop moves towards the darkened pool area. As he approaches, Steve comes into view, standing by himself on the edge of the diving board in the center of the dark space. STEVE There you are. Thanks for coming. BISHOP What's on your mind? Steve just smiles, shakes his head. Bishop stares at him, tense, confused. Each trying to read the other. Then Steve raises a bottle of whiskey to his mouth, drinks. Bishop takes a step forward and... ... LIGHTS WASH THE SPACE! Explosions! SOUND FILLS THE AIR! VOICES SURPRISE! Bishop ducks, rolls, his hand moving under his jacket... ... but not coming out with his gun. He takes in a surprise party, opening in front of him. Beautiful woman, LAUGHING, blowing horns. Men, pouring champagne. STREAMERS falling to the ground where seconds before they blew into the air, a large BANNER, illuminated behind Steve: "HAPPY BIRTHDAY ARTHUR!" And Steve, standing on the board, master of ceremonies, staring back at Bishop... oddly cool, dispassionate. Then he smiles. Bishop rises. Women come to him, touch him, put a party hat on him and give him small kisses with wishes of "Happy Birthday" as he moves to the pool edge across from Steve. BISHOP It's not my birthday. STEVE When was the last time you celebrated your real birthday? No response from Bishop. Steve nods, swigs the bottle again. He's lit, something fierce and fiery in his eyes. 85. STEVE (CONT'D) See? You're overdue, buddy. BISHOP Who are these people? STEVE They think you're a friend of mine, a producer, from Canada. (BEAT) In other words, they're all your best friends. EXT. POOL AREA, MCKENNA ESTATE - NIGHT (LATER) Bishop sits on an outdoor sofa, surrounded by several gorgeous aspiring MODELS. Steve sits across from him, Louise under his arm. Bishop watches as one of the models ties a cherry-stem into a knot with her tongue, presents it to the group to a round of applause. MODEL (TO BISHOP) So what movies have you made? STEVE (JUMPING IN) Oh, he makes the really violent, disturbing stuff. You wouldn't know it to look at him, I know, but what's locked up away in there... (tapping his head) Frightening, man. MODEL God, I love those. Which ones -- BISHOP Mr. KcKenna has a creative relationship with the truth. I don't actually... The model glances around, unsure... MODEL Oh, okay. That's funny. So what do you do? STEVE Yes, Mr. Bishop. What do you do? Bishop doesn't respond. He's just staring down. BISHOP'S P.O.V.: Discarded, lying beneath the sofa the models are perched on: The tear-strip from a DHL Envelope. 86. STEVE (CONT'D) Come on, Mr. Bishop. We're all waiting. Bishop looks up at Steve who SMILES back. A beat, and then Bishop is up and moving through the crowd, pushing by people LAUGHING, DANCING. He almost runs into a bright blue-haired woman on the arm of a jockish RAPPER. BISHOP Excuse me... He comes up short, realizes he's staring into the face of the Woman. She's utterly different than we've seen her. Tonight, she's the clubbing party-girl. Dark lipstick, bright blue wig, heavy eye-liner. BISHOP (CONT'D) Hi. WOMAN Hi... This is strange. The Rapper she's with has found a group of his buddies. High- fives all around. He glances around for his date... BISHOP Is he your...? WOMAN No, just a job. (off his nod) I have to... BISHOP I know. Go on. She nods, turns away. He also turns, starts moving through the crowd, pushing through DANCING BODIES... ... and suddenly she's back with him. No words. Lights and sound and dance around them. She leans forward, kisses Bishop once. Backs off, smiles, turns away and makes her way back to the guy she came in with who tucks her under his arm without missing a beat, mid-story with his posse. Bishop... staring. Turns away as the MUSIC STOPS. Steve's voice fills the outdoor space, amplified. STEVE Ladies and gentlemen! The man of the hour! A SPOTLIGHT hits Bishop. He squints up as the crowd makes space for him. Steve's near the DJ, speaking on a mic. 87. STEVE (CONT'D) I know that not many of you know my friend. My good, dear... friend. I mean, he's a man of few words... And he's an art lover! Did you know that? His home is covered with work. It's amazing, what you can find in there. Amazing. A weird beat. Steve, smiling fierce. STEVE (CONT'D) Happy birthday, Arthur. Behind Steve, a covered object. Steve now turns to it, pulls the cover off a PORTRAIT of Bishop, clearly done by the Artist he collects. The image is twisted, vivid, disturbing. As the crowd erupts in APPLAUSE the ARTIST himself now comes forward, Steve's arm around his shoulder and bumping fists before the Artist heads on towards Bishop, shaking Bishop's hand. Faces BEAM. People CLAP. On Bishop, just looking at Steve who stares back... unreadable. EXT. MCKENNA ESTATE - NIGHT Bishop bangs out a door into the front drive, makes it to his car, fumbles for his keys. Sweating, off-kilter. STEVE (O.S.) Hey, you forgot something. Steve's there, holding the portrait. Bishop nods, takes it. BISHOP Sorry... Sorry for leaving. I'm just not used to -- STEVE No worries, man. It's your party. You can leave it. (BEAT) It's true, isn't it? What you said to me the first time we met. BISHOP What's that? STEVE This thing we do. Finally, you always do it alone. Bishop nods unconsciously, starts towards his car, forces himself to stop. 88. BISHOP Steve... thank you. STEVE Uh-oh. I can feel some male bonding coming. We gonna hug it out, Bishop? BISHOP No, I'm serious. Thank you. People don't... Anyway, it's been a long time, since someone did something for me. Steve looks back, nods. Strangely dark. STEVE Happy Birthday, Arthur. Steve raises a hand, shoots Bishop with a finger. A wink, and he turns and is gone, back to the party. Bishop climbs into his car, pulls away. INT. BISHOP'S CAR - MOMENTS LATER Bishop drives the car out of McKenna's estate, pulls out onto the street. He starts to accelerate away... then STOPS the car in the middle of the street. ON BISHOP. Fighting what his guts are screaming at him. Losing it, POUNDING on the steering wheel. Suddenly still... EXT. POOL AREA, MCKENNA ESTATE - NIGHT Party rages on, oblivious to the absence of its recipient. Suddenly faces turn UPWARDS... to where Steve is looking down on everyone from a third story balcony over the pool. STEVE (CALLING OUT) Are you all having fun! SHOUTS and NODS. LAUGHTER. STEVE (CONT'D) I despise each and every one of you! MORE SHOUTS, LAUGHTER. Steve LEAPS out into space. Perfect huge swam dive... falling... HITTING the water. A moment of silence... did he? Was that deep enough...? Steve ERUPTS out of the water. Party ROARS back into life. 89. EXT. GROUNDS, MCKENNA ESTATE - CONTINUOUS High above the festivities. Bishop slips over the wall, makes his way down towards the estate. INT. MCKENNA ESTATE - MOMENTS LATER Dark and empty in here, party raging outside. Bishop enters Steve's bedroom. Messy, the bed unmade. A woman's underthings lying on the floor. Bishop surveys the room, checks drawers, peers down into the party below. He can see Steve in the middle of it all, Louise on his arm, his hand on her ass. Bishop moves to the office door, locked. He slides a pick- set out of his pocket, gets to work. INT. OFFICE, MCKENNA ESTATE - NIGHT The door lock "clicks" and Bishop enters, closes the door after himself and locks it, turns around... The room has been STRIPPED of everything that was in here last time. GONE are the paintings, the portraits, the mementos. All traces of Harry McKenna, removed. Instead, a SINGLE desk inhabits the center of the room, a small computer monitor and keyboard centered on it. Bishop comes around, touches a key on the keyboard. The monitor glows to life with a single "PASSWORD" prompt. Bishop stares at it. He sits, staring, concentrating... EXT. POOL AREA, MCKENNA ESTATE - CONTINUOUS Steve has moved to the edge of the raised patio, looking down into the valley. His eyes still, deep, impossible to read. LOUISE Hey! Hey baby! Karen's got some amazing E. You need to come try... Steve turns those cool eyes on her. She shrinks. We think he might slap her, then: STEVE Give me a moment. I'll be right there. We'll do that amazing E. And he looks away, back down over the view. A resigned loneliness settling into his features. 90. INT. OFFICE, MCKENNA ESTATE - NIGHT (LATER) Bishop, just staring at the password prompt which throbs in front of him. Beat. His eyes flick across to the few books lying on the desk. Weaponry, physiology... Greek Mythology. Bishop reaches forward, types "Nemesis." Hits ENTER. A moment... and then our minds are blown. The entire wall of the room in front of Bishop glows to life. It's a one large high-resolution monitor. On it, glows an infinitely detailed work-up on Bishop. A photograph on him glows at the center of the screen, changing every three or four seconds to another. This is Bishop's method, brought into the 21st century. Accounts, Medical charts, psych profile, associates, residence... Bishop approaches... takes it in. Touches "Accounts" and the window SPREADS OUT across the whole wall. Multiple windows, all of Bishop's money, displayed in real time, the numbers subtly changing with the flow of foreign markets. Another window above is labeled "Associates." Bishop touches this one and the financial windows are replaced with a collage of FACES. Not too many. We recognize the Store Owner and his Daughter. Steve himself. An older man "Gerald Bishop," Bishop's father. And a photo of the Woman. Bishop touches the woman and multiple images propagate out from the single. Many stills, but several are in motion, looping: Childhood movies. A commercial done as a teen. A blue movie when she was 20. Bishop's eyes settle on a video image: He and the woman, caught just an hour ago in the middle of the dancing party. The woman leaning to him, kissing him. Bishop stares at the image, then touches another image labeled "Residence." INSTANTLY, the images are replaced with images of the interior and exterior of Bishop's home. Bishop stares at them, confused. SQUINTS... realizing that in one of the images, the trees lightly sway in the breeze. BISHOP Huh. His eyes dart to an image of his DINING ROOM. It looks like a still, until suddenly Bishops' cat passes through the frame. Bishops' eyes dart, moving from frame to frame. The whole interior of his life. His living room, bedroom, study, gym. All live feeds. BISHOP (CONT'D) Son of a bitch... 91. INT. BEDROOM, MCKENNA ESTATE - NIGHT (LATER) Door BURSTS open, Steve pushing in, his arms wrapped around Louise and another gorgeous woman from the party. As the two women hit the bed, start undressing each other, Steve takes a moment -- sensing. Something not right. He pulls keys from his pocket, unlocks the study door, peers in. STEVE'S P.O.V.: THE STUDY - EMPTY LOUISE (O.S.) Come on, Steve. We need you. INT. DIVE BAR - NIGHT Low end. Mean men and loose women. Metal on the juke. Duct- taped naugahyde. Bartender on parole. Eyes raise as Bishop pushes in, scattered focus, hits the bar. BISHOP Whiskey. Neat. Lots of it. Bishop fumbles in his pocket, brings out a thick wad of cash. $100s and $20s. Eyes track. At a booth, two EX CONS lock onto Bishop, one sporting a middle-finger raised FU tattoo on his bare shoulder. Bishop pushes $100 forward. BARTENDER That's too much. Bishop grabs the shot, down it. Pushes the empty shot and the cash back at the bartender. BISHOP I'm not going anywhere. AN HOUR LATER Another shot is put down on the bar, empty. Bishop wipes watery eyes, nods to the bartender to hit it again. Bishop stares at the drink, then his attention is drawn to the bar TV. Footage from the protests in Turkey is narrated by a news anchor, speaking. FEMALE NEWS ANCHOR ...Intelligence services can listen to our calls. But what about the rest of the world? (MORE) 92. FEMALE NEWS ANCHOR (CONT'D) Well, today the answer seems to be 'No" as outrage over the assassination of the Turkish envoy Bahar Miryem has forced the US to reverse its position, now saying that it will not make it support of Turkey's EU bid contingent on its cooperation in the security agreement. Miryem had always advocated for Turkish autonomy from -- Bartender hits a remote, annoyed. Channel changes to a 70's Charles Bronson flick. Bishop blinks, shakes his head... He collects himself, weaves out of the bar. The Ex-Cons watch him go. EXT. CITY STREETS - NIGHT Bishop weaves his way into an alley to piss. Relieves himself on a wall. Done, he zips up, turns... WHAM! One of the Ex-Cons catches him across the face with a punch. Bishop reels back against the wall. BISHOP ...More. WHAM! WHAM! Bishop takes the punches, no defense. Face punished. The guy backs off, slightly winded. EX CON Dude, you don't want any more, give us that money. Bishop shakes his head. WHAM! WHAM! Two more hits to the body. Bishop just keeps taking the punishment. Seems to relish it. Spits blood. BISHOP Look, I'll give you my money, but you have to promise me you won't spend it all on lipstick and tampons. Ex Con #2 pulls a gun, puts it to Bishop's head. EX CON #2 You wanna die right here, motherfucker? Bishop raises his eyes to the man. Not so drunk after all. BISHOP ...Thank you. 93. INT. BISHOP'S HOME - NIGHT Bishop sits at his dining room table, staring straight ahead. His face is cut, his flesh swollen. He STARES. If paranoia and loneliness had a face, this is it. REVERSE to find the Artist's portrait of him, hung on the wall across, a surreal and distorted mirror. He chews his food steady, even, acutely aware he's being watched. We LINGER on the small camera eye tucked in the high corner of the room, staring down... INT. OFFICE, MCKENNA ESTATE - CONTINUOUS Steve sits half-naked in the office chair, the high-tech wall illuminated in front of him. In the bed in the other room, the two women are asleep, nude, draped over each other. Steve watches Bishop leave his table. He hits a control and the image SHIFTS, picks up Bishop checking his mail, grabbing a baseball cap from a rack as Bishop moves to his den, settles into a chair facing the television. Can't see his face, just the back of the cap on his head, the tv screen, set to white static. He touches a key and the IMAGE ZOOMS IN on Bishop, moving slightly... LOUISE (O.S.) (SLEEPY) Steve...? Where are you, baby? INT. BISHOP'S HOME - NIGHT The TV purrs static, white flickering light fills the room. We SLOWLY TURN, reversing, to find: The baseball cap, held up at the top of the chair by a pillow. No sign of Bishop. EXT. BISHOP'S HOME - NIGHT Bishop moves through shadows. He knows the positions of the cameras, avoids them, heads towards his BARN. INT. BARN - NIGHT Bishop enters, turns on lights. He threads his way through his collection of beautiful automobiles until he reaches the far wall. He ROLLS up a large steel door... ... revealing a wall, COVERED with his research on Steve. Lots of it, weeks of work. He moves forward to a paper that lists stats about Steve that includes a blank space for "Occupation:" Bishop fills it in: "Mechanic." 94. Suddenly LIGHTS wash across the space. Bishop glances out: A VAN is making it's way up the drive. INT. OFFICE, MCKENNA ESTATE - NIGHT The wall-sized monitor glows Steve's face as he watches the DHL driver get out, makes his way to the door, knock... Steve's eyes flick to what he can see of Bishop, asleep in the chair. No movement... Steve LEANS FORWARD, interested. The DHL Driver knocks again, rings the bell. Still no motion... and then Bishop RISES from the chair, makes his way to the door. Steve watches Bishop signing, closing the door and moving into his living room where he opens the package, considers the small jump-drive that slides into his hands. ON STEVE. Watching. INT. BISHOP'S STUDY - MORNING CLOSE on Bishop's weighted RP turntable. The needle coming down... touching spinning vinyl. Stones' "Sympathy for the Devil" croons out. ON BISHOP, tacking up pages, photographs, financials. We don't get a clear look, but some pages are redacted, there's government letterhead. Personnel files, budgets, itineraries. Many stamped "CLASSIFIED." Bishop draws lines, connections. Tosses some pages down, pins others higher. Working it. He backs off, stares through us. INT. BISHOP'S HOME - MORNING Steve pushes in, looks around, tracks towards the study. STEVE Hello? Bishop? He enters the study, sees the WALL, the night's work. In the center, a photograph of Dean, Bishop's boss. BISHOP (O.S.) There you are. Bishop is leaning in from outside. Nods to Steve. STEVE So who is he? 95. BISHOP ...US Government. NSA. Very well protected. STEVE What happened to you? BISHOP You should see the other guy. Bishop TOSSES Steve an object, goes back outside. Steve looks at it. A WELDER'S helmet with visor. EXT. BISHOP'S BACK PATIO - MORNING Steve comes out to find Bishop working intently on a chemical project. He's pouring a black plastic-like substance into a shallow mold creating a Quarter-sized object. EXTREME CARE. STEVE What's that? BISHOP This... is liquid Semtex with a built in combustible. Very volatile. Nice and shiny once it dries. But don't... scratch it. Bishop takes a knife, scratches the surface of the coin-sized disc, then backs off, by Steve, back into INT. STUDY - CONTINUOUS STEVE So that's how we take him out? BISHOP (shaking his head) No. That's just to focus the mind. STEVE You makes bombs to focus your mind. BISHOP What do you do? (beat, off the Wall) This one's different. They want it fast, and they don't want it to look like an accident. Someone wants to send a message. STEVE Like with my father. 96. BISHOP Yes. Like that. STEVE Didn't think that was your style. BISHOP (BEAT) First time for everything. Steve looks at Bishop. BOOM! Outside the explosion CONCUSSES against the house. A window CRACKS. Steve crouches, hands covering his head. STEVE Jesus... Bishop puts a hand out. BISHOP There's something I haven't told you. STEVE What? BISHOP ...I broke a rule. I brought you in without asking. So this hit, is a test. Of us, of our arrangement. (beat, off Dean's picture) If that man is breathing three days from now... then they'll need to make an example of us. Do you understand? Steve ... nods. Takes Bishop's hand who pulls him up. STEVE So what you're saying is you and I are stuck with each other. BISHOP I'm sorry. STEVE ...For what? BISHOP For getting you into this -- STEVE I knew what I was doing. Bishop considers, nods. 97. BISHOP Get packed. INT. TENEMENT - DAY Steve and Bishop push in, backpacks on. Trash, bad lighting, sad people in dirty hallways. They start up a long flight of stairs. EXT. ROOFTOP, TENEMENT - DAY Steve and Bishop push out onto this dilapidated rooftop, Washington DC spread out around them. They unpack gear from the backpacks. Tripod, camera and telescope are quickly assembled. Bishop steps back, lets Steve take the first look. Bishop takes notes. STEVE ...I count six... no seven at the main door. P.O.V. THROUGH THE TELESCOPE: The front entrance of the NSA building. The security check Bishop went through. STEVE (CONT'D) Jesus they've got US Marines in there. Two at the door, one... maybe another two out of sight. Bishop considers Steve, locked to the telescope, the sharp point of the pen in his hand... BISHOP (O.S.) Fifth floor, corner office. P.O.V. THROUGH THE TELESCOPE: Steve finds Dean, at his desk, talking on the phone. Animated. STEVE ... Alright, got him. He's at his desk. We could take the shot right from here. BISHOP Glass is three inches thick... Steve moves his hand to turn on the laser Bishop used before to listen with... BISHOP (CONT'D) And has laser sensors. 98. Steve laughs, suddenly walks away from the telescope. Bishop goes to it, takes up the watch. STEVE Alright, fine. What are we doing here? Who is this guy? P.O.V. THROUGH THE TELESCOPE: Dean shouts into the phone, slams it down. Leaves his office. Bishop pulls away from the telescope, hunkers down to wait. BISHOP Starting to get it? STEVE Yeah, I'm getting that this isn't a job. It's just a really complicated... suicide. Bishop smiles. Steve moves off, restless. EXT. ROOFTOP, TENEMENT - NIGHT Whole day has passed. Bishop hasn't moved, stares across at the NSA building, the corner office. Steve sits nearby. STEVE You know, you can front sonofabitch all you want, Bishop. You're scared, too. You don't really know how we're going to pull it off, do you? You ever think there's some things that just can't be done? BISHOP Everyone has a death -- STEVE Really? Because, this guy? I look at this guy, I don't see his death. I see my death. And I don't particularly like the view. Bishop notes the lights going back on in Dean's office, returns to the telescope and starts jotting notes in a book. P.O.V. THROUGH THE TELESCOPE: Dean back at his desk. He looks exhausted. STEVE (CONT'D) And you know, as much as I like the quality time, unless you can read lips, I don't exactly see what we're doing here... 99. Steve glances at Bishop's pad where he's transcribing words: "No, no, tomorrow. I'm sick of this, this is my life we're taking about. You're bringing me in. Give me a time and a place..." STEVE (CONT'D) You read lips. Bishop glances at Steve, puts his eye back to the camera. P.O.V. THROUGH THE LENS: EXTREME CLOSE on Dean's desk. A piece of paper on the blotter. "Click." "Click." Bishop pulls the memory-card from the camera. BISHOP (INNOCENTLY) You any good with computers? INT. BISHOP'S BARN - DAY Bishop is working on his classic Mustang. He's got the steering column apart, working the mechanism. Focused. INT. OFFICE, MCKENNA ESTATE - NIGHT Steve is in front of the electronic wall of info on Bishop. His hospital report open. In a separate window, video feed of the real Bishop in his barn working on his car. Steve marks the injury on Bishop, then opens a new window. Multiple images of the scrap of paper on Dean's desk. Steve gets to work enlarging, rotating, skewing the images... Music and LAUGHTER filter in from outside. Steve becomes aware of the noise from outside, frowns. EXT. MCKENNA ESTATE - MOMENTS LATER Steve emerges onto the high balcony overlooking the never- ending party. He raises a GUN and fires into the air. Faces, startled look up at him. STEVE Everybody out. I'm serious. Get the fuck off my property. A moment, then people start to flee. Only Louise, drink in hand, moves towards Steve, confused. LOUISE Steve, baby...? 100. Steve levels the gun at her. STEVE You, too. INT. OFFICE, MCKENNA ESTATE - CONTINUOUS Steve comes back into his office, facing the wall. He tosses the gun on the table, gets back to work. Glances at one of the other open windows that shows Bishop at his fridge, pouring himself filtered water. Steve's hands fly. The images are pieced together, enlarged, skewed until nonsensical markings resolve into an address. Steve punches it into a search window, waits a beat, then eyes scan over the list of returns, lock onto something. He picks up the phone, punches a number. Watches as Bishop's phone rings, watches Bishop answer it. BISHOP (O.S.) Did you get it? STEVE It's the US Attorney's office in New York. He's running. He's trying to get out. Steve, trying to read Bishop's face, ZOOMING in. STEVE (CONT'D) Do you think we're hitting him because of what he's done, or because he's trying to get away with what he's done? BISHOP (O.S.) Does it make a difference? STEVE ...No, I don't suppose it does. A beat. The two men, far separated. BISHOP (O.S.) Do the angles. Find us a shot. EXT. DULLES INTERNATIONAL AIRPORT - MORNING Steve and Bishop step out of the airport with bags, hail a taxi and climb in, headed into DC. 101. STEVE (V.O.) Security's going to have the actual street locked down. But there's a residential street, perpendicular. EXT. DC STREETS - MORNING Upscale streets lined with brownstone walk-ups. Steve and Bishop walk with roller bags and a shoulder tube past mothers and Nanny's ushering their children to school. STEVE (V.O.) High-end people. They'll put up with a sweep, but they're not going to allow an agent to spend the day. They reach an address. Bishop puts on a hat, some sunglasses, slaps a badge onto his jacket that reads "DC Municipal Utilities." He trots up the the half-flight, rings the bell of an elegant brownstone. INT. DC FLAT - MORNING Nice. Lace curtains. Classic living room. Magazine racks, grand piano, original art. STEVE Besides, the angle isn't right, too flat. Except when they hit the stairs. It'll spread the group vertically. It's... the shot. Steve and Bishop work in quiet efficient silence. Each opens their bag, removes a series of innocuous objects, begins to dismantle them for the more important parts they conceal. From a clock, a firing mechanism. From the tube, an aluminum barrel holds a fishing rod. The rod is discarded, the barrel is attached to a hard plastic stock. AA Batteries are opened and slender shells are removed from each. As this strange choreography continues in silence, we PAN ACROSS to the dining room where a WOMAN and a MAN are bound and tied, pillowcases cinched over their heads. Their bindings allow them to hold each other's hands which they do, tight. They're terrified, but okay. Back in the living room, Bishop adds the last piece to the home-made rifle, a telescope, lifted from a child's gift box, snaps it on top of the rifle. 102. INT. GOVERNMENT LIMO - DAY Dean squints in the back of his limo as it pulls into daylight. He's on the phone, eyes darting, nervous. DEAN (O.S.) Look, I don't care. Find her, I need to talk to her right now... INT. DC FLAT - DAY Bishop puts the rifle to his shoulder, sights. Behind him, Steve slips a blade from the crease of his suitcase, considers it, looks back to Bishop. STEVE You ever worry about the right and wrong of it all? I'm not talking about God, just... (tapping his chest) Whatever you feel here. BISHOP'S P.O.V. THROUGH THE SCOPE: The US Attorney building. The security detail. The steps leading to the street. BISHOP It's a little late for -- STEVE Come on. You're telling me you've never done anything just because it was the right thing to do, even if it didn't make any sense? You never took a chance like that? Bishop pulls his eye away from the scope a touch. BISHOP Once I did... STEVE How'd that work out for you? Beat. Then suddenly Bishop's view is obscured by a large truck, which has stopped trying to make the turn. BISHOP We have a problem... Bishop moves the scope, precisely looking for alternatives. Nothing. He sets the rifle down, thinking as Steve takes in the new situation. STEVE There's no shot. What do we do? There's no shot. 103. A moment more, and then Bishop MOVES. We travel with him, to the entryway. Keys, hats, jackets, sunglasses. Bishop grabs a hat, tosses one to Steve. STEVE (CONT'D) Bishop...? And Bishop's out. EXT. US ATTORNEY'S OFFICE - DAY The TRUCK, wedged in. The security detail, suspicious of the truck. COPS get involved. Men speak into radios. EXT. DC BROWNSTONE - AFTERNOON MOVING with Bishop, Steve following. Hats and sunglasses. They descend the steps onto the sidewalk, closing on the US Attorney building ahead. Steve comes abreast of him as they move down the street. BISHOP On your four. You see him? Coming up, a MAN in a jogging suit stretches, touches his ear where's he's wired. Steve and Bishop come abreast of him. WHAM! Steve pushes him down into the garbage alley between two homes. WHAM! WHAM! The man drops. Steve comes back, the man's gun palmed. Offers it to Bishop. BISHOP (CONT'D) No. You're the shooter. STEVE When? BISHOP You'll know when. WITH THEM, MOVING, taking the corner onto the main street in front of the large building. INT. GOVERNMENT LIMO - CONTINUOUS Dean's eyes track the outside, the limo making the final turn onto the street. Security visible ahead. DEAN (ON PHONE) Hey... Listen, I need you to go out of town for a few days. No, I know, but you have to trust me. (MORE) 104. DEAN (CONT'D) Just go -- no, don't tell me where. Just go, okay. Okay? Yes, I'll call you soon, I gotta go... EXT. DC STREETS - CONTINUOUS Steve and Bishop, MOVING. They pass directly behind a COMMAND VEHICLE. Security on headsets, watching monitors. LOCAL POLICE are also working, one COP in particular guarding the corner of the perimeter. Bishop nods to Steve who heads up the stairs towards the building. Bishop checks his watch, looks down the street where DEAN'S LIMO and escort have turned the corner. Bishop moves to the cop, stands in front of him. The guy patiently puts a hand on him, moving him on. Bishop doesn't move. The cop FROWNS. A needle hits a record's surface. "Pleased to meet you, hope you guess my name..." I/E. GOVERNMENT LIMO - CONTINUOUS Suddenly dropping into Dean's POV as his limo pulls up to the steps. Chaotic motion, LIGHT STREAMING IN as the car door opens, security handlers reach in. We MOVE, fast up steps lined by City POLICE. One of the police turning his head, staring at Dean. Bishop. ON DEAN. Suddenly frozen. His handlers unsure what's going on, alert that something's not right. DEAN ...Bishop? Bishop does NOTHING. Security reads Dean's fear, closes on Bishop even as Dean himself starts to BACK AWAY, separating himself from his own security, now turning to RUN... ... Straight into Steve, gun raised. A small moment frozen in time as Dean understands his end... BANG BANG! - BANG! Steve double-taps Dean in the chest, then one to head. And CHAOS begins its rule. Security which were closing on Bishop now REVERSE, draw weapons and FIRE at Steve who drops down in the small cement crease between stairs and statues. ON STEVE. Ducked low, bullet shattering granite and marble around him, LAUGHING. The first glimpse of something WRONG inside this young man. 105. ACROSS THE STEPS Bishop, for the moment forgotten by the security who have reversed to deal with Steve, suddenly ANIMATES. Perfect timing, the security REVERSING again as Bishop draws his gun and FIRES, over and over, clipping officers and security in the legs as he SPRINTS down the steps towards... INT. GOVERNMENT LIMO - CONTINUOUS Bishop lands inside the limo, pulls the door shut as bullets "thunk" into armored sides and spider bullet-proof glass. The DRIVER looks back through the opening, surprised, just in time for Bishop to grab him by the collar and HAUL him into the back at the same time slipping through the opening and sliding into the driver's position. As he slams the shifter into REVERSE men line up in front, OPEN UP with weapons. EXT. DC STREET - CONTINUOUS WHEELS SMOKE, Limo ACCELERATES backwards, angling UP THE STEPS. Security DIVE ASIDE as the Limo clears the rail, comes down HARD just across from the small alcove Steve's pressed into. The passenger door opens. BISHOP Get in. Security are standing up, opening up, as Steve DIVES forward. INT. GOVERNMENT LIMO - CONTINUOUS Steve lands awkward in the front seat as Bishop throws the limo into drive, floors it DOWN the steps of the building, men diving aside, swerving onto the street. STEVE Thanks. BISHOP Behind you. Steve has half a second to puzzle this one as the Driver grabs him from behind, HAULS him backwards. Bishop eyes his mirrors, counting the number of vehicles pursuing. Eyes makes calculations, gets distracted for a moment from the RAGING FISTFIGHT between Steve and the Driver occurring in the rear compartment. 106. Bishop raises the divider, steps on the gas. EXT. DC STREETS - CONTINUOUS Engine WHINES, Limo surges forward, pursuit cars dropping off. There are no turns, no spins. This is straight-line acceleration circa FRENCH CONNECTION. Bishop guides the limo faster and faster, blasting across intersections, timing his spacing to inches, no margin for error. Around him, pursuit cars aren't as good, they VEER off into crashes, clip traffic, SPIN out of control. INT. GOVERNMENT LIMO - CONTINUOUS In front of Bishop, intersection after intersection of cross- cutting traffic. Bishop speeds up or slows just a fraction, making space for the limo, BARELY. He notices a hand-held automatic weapon secured to the dash, grabs it, checks his mirrors. IN THE REARVIEW: Bishop watches a pursuit car T-BONED by a truck, then his view is blocked by STEVE and the DRIVER as they wrestle and fight. Over his initial surprise, the Driver's trained, and good. He locks Steve up, SLAMS him against the window, choking him. UP AHEAD. Bishop sees a traffic jam LOOMING ahead, the limo closing at 100 mph, no alternatives. He lowers the divider. BISHOP Get in front. STEVE Working on that... BISHOP Now! Bishop HAULS UP the E-Brake, putting the Limo into a SPIN. The shift in force tosses Steve and Guard across the rear space. Steve dives forward towards the front as... EXT. DC STREETS - CONTINUOUS The Limo goes into a 4-wheel ROTATION, angling towards the hard corner of a building and WHAM! Limo clips the building halfway, SHEERS the limo in half. The rear section crumples against the building as the front section SKIDS down the building face, comes to rest against a GROCERY. 107. Bishop and Steve recover, roll out of the now exposed rear of the driver's compartment and into INT. GROCERY - CONTINUOUS Bishop and Steve slide in as POLICE CARS slide to a stop outside. Small glimpses of COPS and SWAT taking positions. Steve peeks over a counter. A few cops fire. A glass window SHEERS, fruit catches rounds. STEVE We have got to go! Steve's pointing at the rear exit. It looks far away. STEVE (CONT'D) You go for it, I'll cover you. Bishop takes in the exit, the gun in Steve's hand... EXT. GROCERY - CONTINUOUS More COPS arrive, take positions. There must be thirty guns pointed in their direction. INT. GROCERY - CONTINUOUS Bishop cranes around, tracks cop and SWAT... BISHOP I'm sorry I brought you into this. STEVE Not now, Bishop, we have to -- BISHOP It was... It was the only thing I knew how to teach you. Steve looks at him oddly, moved. Then... STEVE Don't worry about it, Bishop. I brought myself into this. Bishop considers this, nods. And he's UP AND FIRING towards the SWAT. BISHOP Go! 108. ON STEVE. Clear shot at Bishop. A micro-second hesitation, and then he's RUNNING for the rear exit. EXT. GROCERY - CONTINUOUS Cops and FBI REACT to the shots, ALL open up. INT. GROCERY - CONTINUOUS The WINDOW'S ERUPT in a hail of gunfire from the outside. Bishop hits the ground, rolls towards the rear exit. Bottles and produce EXPLODING under the assault. Steve reaches the exit, glances back to see Bishop on his tail, room being chewed-up behind him. INT. CORRIDOR - CONTINUOUS Steve BLOWS down a corridor. A SWAT member suddenly comes out of as side-door, raising his weapon... Steve FLATTENS him, comes up with the man's weapon, reverses, lining it straight at Bishop... who hits the ground, as Steve FIRES rounds pushing back pursuing SWAT behind Bishop. More SWAT push in, shields raised, guns lined. Bishop SLAMS into them from the side. Pushes one through a door, breaks anothers knee as he disarms him, moves after Steve. EXT. ALLEY ENTRANCE - CONTINUOUS Steve and Bishop emerge almost simultaneously, race up the alley as SWAT emerges behind them, rounds tracing after them. They clear the alley, onto... EXT. DC STREETS - CONTINUOUS Pedestrians and shoppers crowd the small streets. Bishop and Steve tear through people on opposite sides of the street as overhead a helicopter clatters. Behind them, SWAT and COPS give chase. UP AHEAD, a van skids to a halt, SWAT pouring out. Bishop and Steve duck into... 109. INT. RETAIL BUILDING - CONTINUOUS Travel agency. Displays fly as they muscle through to the back, then through service corridors, back into a RESTAURANT, headed for the front door... TWO COP cars close from outside. Bishop raises his weapon, OPENS UP into the metal of the cars. The COPS panic, REVERSE, SLAMMING into parked cars. The cops piling out and taking position as RESTAURANT PATRONS scream and flee. Bishops checks his fire. PURE INSTINCT, swings his weapon to lock onto Steve who's also raised his weapon at Bishop. The two of them, suddenly lining weapons into each other's faces. Breathing had... eyes locked as beyond them another police reinforcement arrive, takes position... The SOUND of a cop, distant outside, CHAMBERING a round into a shotgun... Both men DIVE to the ground, roll even as they switch to single-shot mode to preserve ammo. BANG BANG BANG, they fire back at their attackers, precise, as the cops open up. WITH THE COPS Firing. Bullets find exposed legs and arms, men stumble back or fall to the ground, screaming. STEVE AND BISHOP Almost at the same exact moment, the men switch their aim back to each other. Both men, controlling emotion and body. Gasping for breath, bleeding. BISHOP ...Why? STEVE You don't know? Tense beat. Glimpsed through shattered windows, SWAT arrives, takes the perimeter. They're being surrounded. Suddenly an SUV pulls into view between the restaurant and the SWAT and Police position, a confused and frightened WOMAN at the wheel. Police SHOUT at her, confusing her more. Steve makes a decision. Lowers his weapon, grabs a napkin, ties it to hide his features. STEVE (CONT'D) Cover me. And with that Steve is RUNNING towards the outside... 110. ... BEHIND STEVE, Bishop steps out, gun in each hand. Clean shot of Steve's back. He opens up. Bullets tracing around Steve, pushing the men back just long enough for Steve to reach the SUV, haul open the door. INT. SUV - CONTINUOUS The WOMAN screams as Steve pushes her aside, takes the wheel. She scratches back, one hand ripping the bandana away from Steve's face. He STARES at her for one deadly second. INT. RESTAURANT - CONTINUOUS Bishop FLINCHES as the sound of the SHOT come from the SUV. The passenger door opens and the woman climbs out as the SUV ACCELERATES away, cops and SWAT firing after it. BISHOP'S P.O.V.: The woman watches her car go, then turns and sits on the pavement. Her hand moves to her chest, comes away bloody. ON BISHOP. Angry like we've never seen him. Cold. Furious. The stupid waste of it all. He meets the woman's gaze. She dies looking at him. Helicopters clatter above, bullets plink into dishware and hardwood. Bishop just stares at the woman for a long beat, then he turns away, back into the building. It is... over. EXT. DC STREETS - DAY (LATER) SWAT approaches the SUV, slammed against another car. Shielded men throw the door open. It's empty. INT. RESTAURANT - DAY (LATER) SWAT move into the restaurant Bishop was last seen in. Guns lined, checking corners. But there's no sign of Bishop. INT. DC FLAT - AFTERNOON Bishop enters the flat. Cool afternoon breeze blows through curtains. He stops, stares at the couple who owned the flat who now lie motionless. Small holes in the red-stained pillowcases over their heads. Steve has been here. Bishop swallows, angry. He forces himself back to the task at hand. Breaking down the never-fired weapon. He works efficiently, silently. 111. INT. AIRPORT - EVENING Bishop sits at the gate, waiting to board his plane. He watches families get ready, college kids laughing. On the silent TVs, CNN shows footage of the aftermath of the gunfight in the street. "Eight dead." A US Attorney speaking at a press conference. US ATTORNEY ...Something is wrong in this country. But today because of the actions of a few cowardly men, we may never know the true face of -- A voice announces boarding, drowning out the TV. Bishop collects his things. INT. LOCAL GROCERY - NIGHT Grocer glances at Bishop's two grocery bags, then to the clock: 7:10. Sophie reads her book with her doll. A CAR speeds by outside. Sophie tracks it, looks at her father. INT. BISHOP'S HOME - NIGHT Key in the lock, Bishop enters, stands in his living room. TENSE. WAITING. Nothing. INT. BISHOP'S GYM - NIGHT Bishop stands in front of his machines, still. Reaches out, touches one. Waiting. INT. BISHOP'S HOME- NIGHT Bishop sits across from the portrait of himself, finishes the last bite of his dinner. He takes the plate, walks into the kitchen and to the sink, washes the plate... His cat curls around his legs, purrs. Bishop takes a scrap off the plate, bends down and feeds it to her. She starts to eat, then her EYES NARROW... WHAM! Steve hits him from out of nowhere. Bishop sprawls as Steve LOOMS, gun lined! WHAM! Bishop hits Steve with the fridge door, knocks the gun out of his hands, it skitters along the floor. Bishop moves towards it, Steve swings a knife. Bishop catches the blow, but Steve HAULS down on the bad shoulder. Bishop SCREAMS as something gives, stumbles back as Steve swings again, Bishop turning, catching the blade in his shoulder. 112. Bishop reels back against the wall as Steve picks up the gun and BANG! BANG! BANG! Fires as Bishop flees the room. Steve follows, keeping his shots controlled. Slugs chew into walls, furniture as Bishop dives out the front door. Steve advances, re-loading. STEVE You know, when they came to me... I said "Are you sure?" Bishop?" But They're right, aren't they? EXT. BISHOP'S HOME - CONTINUOUS Steve steps out onto the porch. STEVE ...You don't really like the work anymore. Bishop's voice comes from the darkness near the barn. BISHOP Maybe not. BLAM! BLAM! Steve SHOOTS as Bishop MOVES, finds cover. STEVE Yeah. That's... what did you call it? That's a prerequisite. (BEAT) Besides, I guess I had other reasons. BISHOP If it matters, today we killed the man who ordered the hit on your father. STEVE Yeah, but not the man who actually killed him. Steve advances, clearing the side of the barn, LINES his weapon on Bishop, who's standing next to the barn. BISHOP Why'd you kill those other people? STEVE (shakes his head) You really going moral high ground on me? Seriously? You might want to check your soapbox there, partner. 113. BLAM! Steve fires just as Bishop SLIDES back, into the barn through a side door. Steve LAUGHS, slides towards the front. STEVE (CONT'D) (CALLING OUT) But that's the difference between us, isn't it? You're all alone, but you still... like people. You wish they liked you. Whereas I have people everywhere... and all I ever want, is to be alone. Steve hears BANGING coming from the barn. STEVE (CONT'D) There's no weapons in there, Bishop! I've... what did you teach me? I've controlled the situation. One hundred percent. BOOM! The barn door blast outwards as Bishop's vintage Mustang come careening out of the barn at Steve... Who STANDS HIS GROUND. He aims, fires five times through the windscreen. The rounds IMPACTING Bishop as the car LOOMS at Steve who steps aside at the last moment, the car barely missing him, continuing on and IMPACTING against the side of the house... the propane tank. Steve squints and BOOOOOM! The propane tank ERUPTS in flame. Steve is knocked back. When he rises, the interior of the car is an inferno. The body is slumped against the wheel, the fire consuming him, cleansing him. Steve. Bleeding, bruised, victorious. INT. BISHOP'S HOME - NIGHT Steve enters the study, looking down at Bishop's record player, looks back at the wall of work on Dean. Smoke seeps through the walls, pushes through cracks in sills. Steve opens Bishop's record collection, takes the pristine collector's Hendrix. The one never played. He moves into the living room. FLAMES lick across the walls. Through the smoke, he sees the portrait of Bishop staring back at him. He raises the album in thanks. EXT. BISHOP'S HOME - NIGHT Steve now stands outside Bishop's home, watching. The whole place is an inferno. 114. INSIDE. Pictures bubble and peel before turning black in the heat. The stack of DVDs melts, dripping down... IN THE BARN. Flaming beams crash down, crumple classic cars. Steve watches it all. The fire reflected in his eyes. EXT. MCKENNA ESTATE - DAY A hot gorgeous day. Slight breeze blows through trees, ripples the water on the pool which is suddenly CUT THROUGH by the figure of Steve, swimming laps, hard. He gets out at the far end, looks over his grounds. There's no one here anymore. The place is deserted except for ear- wired SECURITY who patrol the grounds. EXT. BISHOP'S HOME - DAY POLICE and FIRE pick through the smouldering rubble. A DETECTIVE watches as the door to Bishop's fire-ravaged car is pried off. INT. MCKENNA ESTATE - DAY Steve trots in from outside, pulling on a loose shirt. The house is spotless, transformed. No sign of a frivolous young man's pursuits. Art and culture and wealth. EXT. BISHOP'S HOME - DAY The door to the car gives suddenly, falls to the ground. The Detective pulls a handkerchief, puts it over his nose and mouth as he peers in at the body... INT. MCKENNA'S OFFICE - DAY Steve busts in, dragging his father's 80's turntable with him. The portrait of Bishop has been hung here in his office. He glances at it, then breaks the seal on the Hendrix album, stares at the grooves before seating it on the turntable and hitting a switch. Player starts up, needle swings over... Steve moves to his computer and punches in the password. On the wall-sized screen, the Bishop research glows to life. All the connections, people, history that made Bishop. Bishop's cat jumps into his lap, purring, and Steve strokes her. Finally, a decision. He hits a button and the prompt "DELETE FILE?" Appears on the screen. 115. Needle comes down, touches the record, the sweet sound of Hendrix's "Little Wing" fill the world. Steve's finger still hovers over "ENTER." Bishop's cat jumps down, trots away. He watches the cat go, hits the button. The wall-sized screen goes blank. Just a cool white nothing. Steve SMILES, nods, leaning back... when a voice comes from the record player, overlayed above the song. BISHOP'S VOICE ...Steve, if you hear this, then it means you found the right moment to play the record. Good for you. It also means you had to scratch the needle across the surface of the record. Steve's eyes LOCK on the record player, the needle scratching across its surface, from the surface of the record, the smallest trace of smoke... BISHOP'S VOICE (CONT'D) Sorry it has to end this way. Steve's eyes dart to the portrait of Bishop. Its cold eyes stare back. EXT. MCKENNA ESTATE - CONTINUOUS KABOOOM! The windows of Steve's office blow out of the estate's 2nd story. FADE TO: EXT. BISHOP'S HOME - DAY The Detective, handkerchief over his face, leans over the body. Burnt beyond recognition. CAMERA moves away, down to the body's shoulder... BISHOP (V.O.) Every man has a death that's right for them. Every one. ... where a form, a heat shadow, has burnt into the charred remains of a shirt. A fist, middle-finger raised. We know this tattoo. It was on the ex-con who tried to mug Bishop outside the bar. This is not Bishop. BISHOP (V.O.) (CONT'D) A death so right that when it arrives, those who knew him will say "Yes, this is right..." 116. The detective leans the body forward, and the shadow disintegrates into ash. EXT. DESERT ROAD - DAY A brand new Maserati crests the hill, moving FAST. Brakes lock up, it slides to a stop in a patch of dirt. BISHOP (V.O.) "...This was always going to happen this way." Bishop gets out. Shaved, healthy, clean. He climbs onto the roof of the car, stares at the highway which winds away into the distance. Freedom, laid out before him. He stares at it, wanting, needing. He blinks. FADE TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Meet Joe Black.txt b/unformated_scripts/Script_Meet Joe Black.txt new file mode 100644 index 0000000000000000000000000000000000000000..ce1aef1872c69538b92cca003fb5cd185877ec1c --- /dev/null +++ b/unformated_scripts/Script_Meet Joe Black.txt @@ -0,0 +1 @@ + M E E T J O E B L A C K Screenplay by Bo Goldman -------------------------------------------------------------- EXT. ANNANDALE-ON-HUDSON, N.Y. - 4:00 AM A patch of water. PULL BACK TO REVEAL more water. BACK FARTHER TO REVEAL an expanse of river, up the bank to massive lawn running up to a great, classic Hudson River manor house; the country estate of William Parrish. INT. PARRISH COUNTRY ESTATE - 4:00 AM MOVE THROUGH French doors that lead from a wide terrace into an expansive living room, DOWN wide corridors lined with Bierstadt and Cole paintings, the Hudson River School, mists and trees and small boats and distant humans. INT. PARRISH BEDROOM - 4:00 AM MOVE THROUGH the doorway to reveal a master bedroom furnish- ed with exquisite simplicity, revelatory of its sleeping occupant, WILLIAM PARRISH, 64, a warm but commanding face, a man of maturity yet who exudes a glow of enthusiasm. Although asleep, there is an uncommon restlessness to him. Parrish grips his upper arm as if in pain. Now the severity of the pain wakes him, he squeezes his arm. The wind comes up, through the wind a VOICE is heard distantly, or is it the wind itself: VOICE (V.O.) ... Yes. Parrish blinks, has he heard something, has he not, he is not sure, he releases his arm, his grimace of pain fades, the discomfort seems momentarily to have subsided. He rises now, crosses to the bathroom. As he pees, a breeze outside the window, the wind again, but then the Voice comes up: VOICE (V.O.) Yes... It is unmistakably a Voice, it is not the wind, Parrish has heard something, he looks around, but no one is there. He can't finish peeing, turns back to his bedroom. All beweild- ered, Parrish looks around once more, climbs back into bed, trying to trace the source of what he has heard or hasn't heard; he is not sure. He pulls the covers up now, not a SOUND, tries to close his eyes. VOICE (V.O.) Yes. Parrish sits up again, frightened, but still there is no one there, he seems fraught with indecision, should he get up, should he not, what is happening? He looks out: absolute stillness and silence, CRICKETS chirp down by the river, a light FLICKERS from a shadboat, Parrish closes his eyes but then they flutter open, he glances up at the ceiling and finally, exhausted, falls back asleep. EXT. REAR TERRACE, PARRISH COUNTRY ESTATE - NEXT MORNING The great lawn infested with workmen, planting stakes, un- rolling a huge canvas tent, gardeners fashioning topiary and adding landscaping of their own, crews setting up platforms, speakers, lights. Ubiquitous is ALLISON, 35, Parrish's older daughter, foremen competing for her attention and she relishing every moment. A Painter approaches. PAINTER The big tent, Miss Allison -- ALLISON Paint is rust and moss green. Medieval colors -- Daddy's like an old knight. A Florist stops her. FLORIST The head table --? ALLISON What about it? FLORIST The flowers, ma'am--? ALLISON Freesia, freesia, everywhere. Daddy loves freesia -- and you, over there, lights. Not too bright. I'm looking for a saffron glow -- sort of tea- dance twenties. EXT. GREAT HALL, COUNTRY ESTATE - MORNING Parrish, groomed for the day, trots down the stairs, observ- ing the activity outside through the windows. He checks his watch, strides down the hall, encounters MAY, 50, a family retainer who is opening the doors to the terrace as Parrish passes. PARRISH What do you think of all this, May? MAY It's going to be beautiful. And Miss Allison says the President may come. PARRISH Oh, the President's got better things to do than come to my birthday party. MAY (smiling) What? Parrish grins, continues on, is intercepted by Allison who, on catching sight of him, bounces in from the terrace. ALLISON Daddy! PARRISH Hi, Allison -- ALLISON Have you got a minute? PARRISH Not much more. Big day in the big city. What's on your mind? ALLISON Fireworks. Update -- we're con- structing the number '65' on the barge, archers from the State College at New Paltz will shoot flaming arrows at it, when it catches fire it will give us the effect of a Viking funeral with none of the morbidity... The Hudson River Authority says, for you, they'll make a special dispensation - of course there'll be an overtime bill for the Poughkeepsie Fire Dept... PARRISH Allison, I trust you. This is your thing. ALLISON But it's your birthday. Parrish smiles complaisantly, they continue on into a break- fast room where SUSAN, 30, Parrish's younger daughter, is grazing at a table laden with cereals and fruits and coffee. SUSAN Good morning, Dad. PARRISH Hi, honey. ALLISON (to Susan) I'm Allison, you're 'honey'. SUSAN (smiling) Drew called from the AStar, they're still two minutes away. PARRISH Drew's aboard? SUSAN He wanted to ride back down with you. Now sit and relax, get some- thing in that flat tummy of yours -- But Parrish only pours coffee. SUSAN (cont'd) (to Allison) You coming? ALLISON You've got patients waiting, I've got three hysterical chefs, one loves truffles, the other hates truffles, the third one doesn't know what truffles are. I'd better drive down. Parrish gazes at the going-on outside which are increasing in intensity. PARRISH (unconsciously) I hate parties -- ALLISON Calm down, Daddy, you'll see, you're going to love it. PARRISH Isn't it enough to be on this earth sixty-five years without having to be reminded of it. ALLISON No. Allison goes, Susan observes Parrish fidgeting. SUSAN Will you relax? I know it is a big deal day -- PARRISH How did you know? SUSAN Drew told me. PARRISH Does Drew tell you everything? SUSAN I hope so. PARRISH You like him, don't you? SUSAN Yeah. I guess so. A moment. PARRISH I don't like to interfere. SUSAN ...Then don't. The helicopter CHOPS in overhead. SUSAN (cont'd) -- Here comes our boy now -- Shall we? EXT. COUNTRY ESTATE - MORNING A BUTLER and May carry the overnight bags for the family as led by Parrish, they hurry towards the helicopter. En route they pass QUINCE, 38, Allison's husband, who is perched at a portable bar with AMBROSE, the head caterer, tasting wines. QUINCE ...This shit's not bad. AMBROSE -- The late harvest Riesling, Mr. Quince, a possibility for dessert. QUINCE (pointing to another bottle) And that? AMBROSE Pinot Grigio. We're considering it for the appetizer. Ambrose takes a sip, swishes the wine in his mouth, spits it in a bucket. QUINCE What do you do that for? AMBROSE Well sir, it's 9:30 in the morning. QUINCE 9:30's almost 10:30. Where I come from, the sun's over the yardarm, m'boy, and the cocktail lamp is lit. Quince drains his wine, presents it for a refill, when he is hailed by Allison. ALLISON Quince! Everybody's waiting! Quince downs this glass too, runs for the helicopter as DREW, 34, a young man going places, emerges from it, approaches Parrish and Susan. DREW (to Susan) Hello, Beautiful. SUSAN Hi. Drew kisses her, over her shoulder he glances at Parrish. PARRISH Good morning, Drew. Thanks for coming out. DREW Well, it's a big day. Wanted to line up a few ducks before kickoff. Any thoughts? Last minute refine- ments or variations? PARRISH 'Thoughts'? Not a one -- but I did hear a voice last night. DREW A voice? PARRISH In my sleep. DREW What'd it say? PARRISH 'Yes'. DREW 'Yes' to the deal? PARRISH Maybe, who knows? You know how voices are. Let's go. Quince comes running up now. QUINCE Hi, Bill -- PARRISH Good morning, Quince. QUINCE How're you doing--? PARRISH I'm doing great. You ready? QUINCE I am, this is it. B Day. PARRISH How's that, Quince? QUINCE Bontecou Day. Going to close with Big John -- Look at you, Bill, all cool as a cat and over at Bontecou's, I'll bet he's shitting in his pants. ALLISON (to Quince) Honey, please. QUINCE Okay. All aboard - New York, New York! ALLISON Remember everybody, tonight, dinner in the city at Daddy's. You too, Drew. We've still got some loose ends -- PARRISH Not my birthday again? SUSAN You're only six-five once. PARRISH Thank God. Now could we go? Let's get this day started. Drew ushers everybody on, first Parrish, then Susan and Quince, Drew the last to climb on, shuts the door behind him As Allison hurries away from the whirling rotors. INT. ASTAR HELICOPTER - DAY The configuration of seats has Drew beside Parrish, in front of them Quince and Susan opposite each other in single seats. Just as Drew removes color-coded folders from his attache case and spreads them out for Parrish on his tray table, the pilot waves to Drew, indicating 'phone call'. Drew gets up and heads for the cockpit, Parrish scans the folders, glances over at Susan who is making some notes on a file of her own. He motions to her to please come sit beside him, she checks that Drew is still busy in the cockpit, tucks her papers into her carryall, and crosses over to Parrish who folds away the work that Drew set before him into his tray table, locks it. SUSAN I thought you were in a meeting--? PARRISH I am. With you. He peers up ahead at Drew, on the telephone and gesticulat- ing intensely, right at home in the cockpit despite the CHOP of the blades and the pilot pressed up against him. PARRISH (cont'd) Do you love Drew? SUSAN ...There's a start for a meeting. PARRISH I know it's none of my business -- Susan doesn't answer for a moment, then impulsively kisses her father on the cheek. SUSAN No, it's none of your business. Another moment. PARRISH Do you love Drew? SUSAN You mean like you loved Mom? PARRISH Forget about me and Mom -- are you going to marry him? SUSAN Probably. A moment. PARRISH (smiles) Don't get carried away. SUSAN Uh oh -- PARRISH Susan, you're a hell of a woman. You've got a great career, you're beautiful -- SUSAN And I'm your daughter and no man will ever be good enough for me. PARRISH Well, I wasn't going to say that -- SUSAN What were you going to say? PARRISH Listen, I'm crazy about the guy -- He's smart, he's aggressive, he could carry Parrish Communications into the 21st century and me along with it. SUSAN So what's wrong with that? PARRISH That's for me. I'm talking about you. It's not so much what you say about Drew, it's what you don't say. SUSAN You're not listening -- PARRISH Oh yes, I am. Not an ounce of excitement, not a whisper of a thrill, this relationship has all the passion of a pair of titmice. SUSAN Don't get dirty, Dad -- PARRISH Well, it worries me. I want you to get swept away. I want you to levitate. I want you to sing with rapture and dance like a dervish. SUSAN That's all? PARRISH Be deliriously happy. Or at least leave yourself open to be. SUSAN 'Be deliriously happy'. I'm going to do my upmost -- He smiles. PARRISH I know it's a cornball thing but love is passion, obsession, someone you can't live without. If you don't start with that, what are you going to end up with? I say fall head over heels. Find someone you can love like crazy and who'll love you the same way back. And how do you find him? Forget your head and listen to your heart. I'm not hearing any heart. (a moment) Run the risk, if you get hurt, you'll come back. Because, the truth is there is no sense living your life without this. To make the journey and not fall deeply in love -- well, you haven't lived a life at all. You have to try. Because if you haven't tried, you haven't lived. SUSAN Bravo. PARRISH Aw, you're tough. SUSAN I'm sorry. But give it to me again. The short version. PARRISH Stay open. Who knows? Lightning could strike. Silence. PARRISH (cont'd) Forgive the lecture -- SUSAN I won't. And when I tell Drew about it, he won't either. PARRISH You won't tell him, and even if you did, he'd clock it and punch it into his laptop in order to pull out some key phrases when he gives the Commencement Speech at Wharton. SUSAN You're terrible. PARRISH I know. But I'm the only father you've got. She kisses him on the cheek. SUSAN Thank God. PARRISH He doesn't care. But thanks anyway. EXT. 34TH STREET HELIPAD, NEW YORK CITY - DAY The AStar lands, an attendant, waiting with a luggage cart, rushes to open the door and unload the bags. The passengers, Parrish paired with Quince, Drew with Susan, file off the rooftop through a door which opens into an elevator. INT. ELEVATOR, NEW YORK CITY - DAY Parrish, Susan, Drew and Quince face forward as they ride downwards. QUINCE Hey, this is it, the hour approach- es, I'm getting all excited. So what do you think, is it -- (indicates Drew and Parrish) -- just the 'Executive Committee' or could you guys use me? DREW Quince, m'man, thanks for the offer, but it's all set for just me and Bill. More people might -- QUINCE I know. Gum up the works. Parrish is about to make some reassuring comment to Quince when the Voice suddenly intrudes: VOICE (V.O.) '...I know, it's none of my business.' PARRISH What? DREW I was saying to Quince we won't need -- PARRISH Did you just hear something? DREW Why yes, Bill, I was saying to Quince -- PARRISH No no, not you. SUSAN Daddy, what's the matter? PARRISH Nothing. I'm sorry. A respectful silence, the elevator continues downwards, suddenly the Voice intrudes again: VOICE (V.O.) '...I want you to levitate. I want you to sing with rapture and dance like a dervish.' Parrish grunts bizarrely, Susan notices and reacts: SUSAN What is it, Daddy --? PARRISH Nothing. Parrish's eyes dart about, confirming no one has heard a thing but him. PARRISH (cont'd) Just talking to myself again. You know me -- The elevator door opens. PARRISH Well, here we are -- Parrish leads the group out. EXT. 34TH STREET, NEW YORK CITY - DAY They exit the building. SUSAN (to Parrish) Are you okay? PARRISH A-Okay. Got my gloves on, my ears pricked. I'm ready for action. SUSAN Well, go get 'em, Pops. PARRISH Yer damn right. Parrish, followed by Drew, steps into a waiting limousine, Quince looks longingly after them. Susan, blowing a kiss goodbye to her father, steps out into the street to hustle a cab. INT. LOBBY, BONTECOU WORLD HEADQUARTERS - DAY DREW ...Tomorrow we sign off -- photo opportunity, you and Big John, it'll lead network news. Okay so far? PARRISH Sounds good. DREW It's going to be great -- PARRISH Do you think I need a haircut? DREW Bill, after this deal, you'll be able to afford one. Parrish smiles, they step into the elevator. INT. BONTECOU EXECUTIVE OFFICES - DAY Parrish and Drew emerge from the elevator, Parrish observing the overkill decor. DREW Their PR guy asked me, what did I think Parrish Communications stood for, that's principle and ethics- wise? I came up with something, but then it occurred to me, why don't I ask Bill? What do you think? A moment, Parrish shrugs. PARRISH Our first annual report, must be thirty-five years ago now, I owned two stations, I wrote down a state- ment of purpose, that one day you would wake up to a Parrish radio station, read a Parrish paper at breakfast, catch our news on tele- vision during the day, and go to bed with one of our books or magazines and you would always be told the truth and in the bargain, have a good time. DREW That's great! Wait 'til I show it to Bontecou. Drew opens a door, a conference room, a circle of top exec- utives, now stepping out from the group is a huge, white- haired man, JOHN BONTECOU, 55. BONTECOU Bill, thanks for coming over... (to Drew) And how're you doing today, Drew? (to Parrish) You've got a firecracker here, the kid's really set the table. PARRISH Good, good. Glad to hear it. BONTECOU We've met before, y'know, that White House function, the President had you on his right and you know where I was? PARRISH I'm sorry, I don't recall -- BONTECOU Left field somewhere. Well, Bill, I want to come in from the outfield, bat cleanup like you have, learn the plush ropes -- PARRISH I thought you were buying my company. BONTECOU Oh, Mr. Parrish, I could never buy Parrish Communications. I could pay for it, of course, but it would always have your imprint. Silence. Parrish looks around at the circle of 'suits', Bontecou holding away. PARRISH Well, that's very nice to hear. Drew nods excitedly. EXT. NEW YORK HOSPITAL CORNELL MEDICAL CENTER - DAY The busy medical community at 68th Street and New York Avenue. INT. CORINTH COFFEE SHOP, NEW YORK AVENUE - DAY A thriving eatery diagonally across from the hospital's entrance, customers cheek-by-jowl as a pair of waiters juggle breakfasts served to a noisy throng of doctors, residents and interns. Susan has squeezed into a seat in the corner. A counterman, with a smile and a greeting, places a cup of coffee in front of her. A sense this is a daily ritual, arming herself for the day; immediately she becomes aware of a man behind her speaking into the pay phone. An attractive YOUNG MAN, early 30's, a pair of suitcase at his feet, a raincoat slung over his shoulder. YOUNG MAN ...Honey, you've got to go on... there's a time to sow and a time to reap, you sow now and forget about him... yeah, I liked him, I don't like him anymore... because you're my honey and anybody messes with you messes with me -- I'm on a plane in a minute... as soon as I get my phone in, you're my first call, that's a promise... where you going now?... good, hit the books, get that degree, one day we'll hang out a shingle together... you bet, honey... later. The Young Man hangs up, turns around and sits down to an overflowing plate of eggs and meat, potatoes and toast, the counterman refills his cup and the Young Man ties into the breakfast, eating it with such relish that Susan can't take her eyes off him. He senses her eyes, glances over, his cheeks filled with a mouthful of food, swallows embarrassedly. YOUNG MAN Good morning, I was talking kind of loud there, sorry. SUSAN Not at all. It was fascinating. YOUNG MAN Oh yeah? What was 'fascinating' about it? SUSAN You and 'Honey'? YOUNG MAN My kid sister. She just broke up with her boyfriend and she's thinking about dropping out of law school. SUSAN I'm sorry -- YOUNG MAN Nothing to be sorry about. That's the way with men and women, isn't it? SUSAN What's the way? YOUNG MAN Nothing lasts. SUSAN I agree -- YOUNG MAN Why? SUSAN I was just being agreeable, now I've got to explain why? YOUNG MAN I'm not trying to sharpshoot you, but that 'nothing lasts' stuff, that's what was the trouble with Honey's guy. He was fooling around and Honey caught him at it. One girlfriend wasn't enough for him. SUSAN So you're a one-girl guy? YOUNG MAN Damn right. Looking for her right now. Who knows? You might be her. Susan laughs. YOUNG MAN (cont'd) Well, don't laugh. I just arrived in town, got a new job -- I'm trying to get into this apartment. You a doctor? SUSAN How'd you know? YOUNG MAN Everybody's a doctor around here. This apartment house is all green pajamas and slippers. The guy I'm waiting for to vacate is a doctor. What kind of doctor? SUSAN Me? Internal medicine. The Young Man smiles. YOUNG MAN So if I needed a doctor, you could be it? SUSAN I could be her. YOUNG MAN 'Her'. A moment. SUSAN Yes, I could. (a moment) I have an office in the hospital. YOUNG MAN -- This is my lucky day. I arrive in this big bad city and I not only find a doctor, a beautiful woman as well. Susan looks into her coffee. YOUNG MAN (cont'd) I'm sorry, you mind my saying that? SUSAN Not at all. YOUNG MAN How 'bout another cup of coffee? SUSAN I've got patients coming in -- YOUNG MAN And I want to get into my apartment and go to work. Please, what do you say, another cup of coffee? Two pots are warming behind the counter, he reaches over and refills her cup and his. Pushes a container and pitcher to- wards her. YOUNG MAN (cont'd) I see you use lots of sugar and cream. Me, too... They smile at each other, fix up their coffee. EXT. PARRISH COMMUNICATIONS, NEW YORK CITY - DAY A magnificent granite building, a monument to good taste in the midtown sea of glass and aluminum. INT. OUTER LOBBY, PARRISH COMMUNICATIONS - DAY Parrish and Drew enter, no particular fanfare but an aware- ness the 'Chief' has arrived, everyone giving Parrish the appropriate wide berth, Drew right beside him. DREW I'm all excited -- PARRISH Me, too. DREW I thought it was great, I thought you and Big John would be like a couple of bulls in a china shop -- (faltering) Instead it was -- PARRISH Like a marriage made in heaven? DREW You have a way with words. They stride to the main bank of elevators. INT. EXECUTIVE OFFICES, PARRISH COMMUNICATIONS - DAY Parrish, Drew beside him, proceeds through a high tech, but tasteful, maze, spiffy executive secretaries at burnished desks. Neither looking right or left, somehow Parrish man- ages to acknowledge their bright smiles and deferential nods despite his swift entrance. He passes through an open set of doors and he is into his own suite, commanded by JENNIFER, his assistant. JENIFER Good morning, Mr. Parrish. PARRISH Hi, Jennifer. Drew is still at Parrish's heels, but now Parrish stops at the open door, turns back to him, reminding Drew that this is as far as he goes without being invited. DREW So... Board convenes tomorrow, you'll recommend, we close and it's a deal, right? PARRISH As close as a deal could be. DREW (bursting) Olympic. Parrish disappears into his office. Drew, on his way out, glides past Jennifer's desk. DREW (cont'd) This is our lucky day. Jennifer acknowledges Drew with a smile, rises and moves to Parrish's doorway, waiting for the day's instructions, but Parrish only nods to the door and Jennifer quickly closes it, returns to her desk. INT. PARRISH'S OFFICE - DAY Alone in his office, Parrish's ebullient mood immediately changes. Leaning against the back of the couch, he stares out through floor-to-ceiling windows, surveying the Manhattan skyline: cogitates. He takes a seat on the couch, opens a folder, suddenly he flinches with a spasm of pain in his shoulder. It is sharp but brief, he notices it but what it does not continue, he ignores it. Parrish resumes looking at the folder when suddenly the pain comes again. He reaches for his shoulder, tries to massage the pain, it does not subside. Parrish stands, trying to shake it off, but it refuses to go away, some- thing is unmistakably wrong. Now a SOUND which he has come to recognize, makes itself heard: VOICE (V.O.) Yes. Frozen with surprise, Parrish's eyes search the room for the source of the SOUND, it comes from no particular direction, yet surrounds him. Suddenly Parrish's symptoms sharply intensify, he is sinking to the floor but somehow grabs a corner of the desk, holds on with one hand, with the other clutches at his shoulder and arm, the pain has violently seized the upper part of his body. He breaks out in a sweat, his pallor now waxen as the Voice repeats itself: VOICE (V.O., cont'd) ...Yes. Parrish grips the edge of the desk, the pain assaulting him on the one hand, the Voice coming at him from the outer, each aberration feeds on the other, he is beside himself, consumed with pain and bewildered by what seems to be a hallucination but which he is certain is not. Parrish is possessed. He angles his face in every direction, arbi- trarily chooses one and now embarrassedly, unconsciously, enrage, responds to the Voice. PARRISH 'Yes' what? VOICE 'Yes' is the answer to your question. PARRISH I didn't ask any question. VOICE I believe you did. Parrish is absolutely confounded, seized up with pain and consternation at this unseen Voice which has such presence and reality. PARRISH Who are you? Silence. PARRISH (cont'd) Goddammit, what is going on?! VOICE I think you know -- PARRISH I don't! VOICE Try. Because 'if you haven't tried, you haven't lived'. A moment. PARRISH What are you talking about? VOICE What you were talking about. Parrish gasps. PARRISH What is this? Who is this fucking guy? He holds on tight to the corner of the desk, sweat dripping, his skin ashen. Now he addresses the Voice again, searching for it in another direction: PARRISH (cont'd) Tell me who you are! VOICE Are you giving me orders? PARRISH I'm sorry, I -- VOICE No, you're not. You're trying to 'handle' the situation but this is the one situation you knew you never could handle. A spasm, the worst one yet, finally it subsides and there is an eerie silence in the room, a VOID, almost more disturbing than the voice that has filled it. PARRISH Where are you? Are you there? VOICE It's enough now. PARRISH Please. Talk to me -- VOICE There's going to be plenty of time for that. PARRISH What do you mean?! VOICE I think you know -- PARRISH Know what? (a moment) Know what, goddammit! The VOICE is gone. Parrish searches the corner, but the room has lost the quality it had when it was inhabited by the VOICE, it is now just Parrish's office. Faint SQUEALS of traffic from the street, then a KNOCK at the door. Parrish touches his shoulder, the pain is gone, but he is still wet with sweat, the KNOCK again. Parrish straightens himself up, adjusts his tie, runs his fingers through his hair, blinks as he addresses the door. PARRISH (carefully) Come in. Jennifer enters. JENIFER I've been buzzing you, Mr. Parrish. Are you all right? PARRISH Sure. JENIFER Lunch is 'in' today, have you given it any thought --_ PARRISH (interrupting) No. Nothing. JENIFER Nothing? Parrish is within himself, doesn't answer. JENIFER (cont'd) Why don't I think of something? Parrish still doesn't answer, however Jennifer is satisfied, correctly hearing his silence as an affirmative. She has her hand on the door, 'Open' or 'Closed'? He nods and she closes it. Utter silence again. Parrish's eyes search the room, nothing there. INT. CORINTH COFFEE SHOP, YORK AVENUE, DAY The place has cleared out now, the counterman busy bussing tables laden with dishes and cups, Susan and the Young Man are still at the counter, but about to leave. YOUNG MAN ...It's kind of a pro bono job. SUSAN 'Pro bono'. That means doing good -- Going to be doing good all your life? YOUNG MAN I know what you're saying. Doesn't pay very well. Depends on the woman I marry. Maybe she'd like a bigger house, a better car, lotsa kids, college doesn't come cheap -- SUSAN You'd give up what you want for the woman you marry? YOUNG MAN I would. Susan rises now, the Young Man with her, leaving money for their checks they head for the door. YOUNG MAN (cont'd) If I married you, I'd want to give you what you wanted, I know it's old fashioned and all that, but what's wrong with taking care of a woman? She takes care of you. SUSAN You'll have a hard time finding a woman like that these days -- YOUNG MAN You never know. Lightning could strike. Susan at the door now, pauses abruptly, her eyes on the Young Man. EXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY The Young Man holds the door for Susan as they step out onto the street. Susan is staring at him now, he smiles, all open and vulnerable. SUSAN I've got to go -- YOUNG MAN Did I say something wrong? SUSAN No, it was so right it scares me. YOUNG MAN I've been thinking... I don't want you to be my doctor. Because I don't want you to examine me. SUSAN Why? YOUNG MAN Because I like you so much. (a moment) You have coffee here every morning, don't you? If I came by, could you give me the name of a doctor? Another moment. SUSAN Sure, I'll give you the name of a doctor. (a moment) ...And I don't want to examine you. YOUNG MAN Why not? SUSAN Because I like you so much. Now I've got to go. She hurries away down the sidewalk, the Young Man watching her. Now he turns and starts off in the opposite direction. ANOTHER ANGLE - SUSAN She looks back at the Young Man, then turns and walks on. ANOTHER ANGLE - THE YOUNG MAN He looks back at Susan as the distance between them widens, now he turns and walks on. ON SUSAN She looks around once more but the Young Man is still headed in the opposite direction, his back to her. She turns the corner and continues on. ON THE YOUNG MAN Approaching the corner, he looks back for Susan yet again, but she is gone, still turned he steps off into the street and a hospital supplies truck, speeding down the curb lane, HITS HIM BROADSIDE, a horrific impact, the THUD echoes as his body arcs through the air. Another sickening THUD as it lands, the Young Man lies crumpled, still. CUT TO: INT. SALON, PARRISH TOWNHOUSE, NEW YORK CITY - NIGHT A beautiful space adjacent to the dining room, it has a glass roof which offers a superb view of the Manhattan sky- line. The hour is before dinner: gathered on one side of the room are Allison and Parrish, on the other side Drew and Quince. COYLE, a butler, and LUISA, the housekeeper, pass hors d'oeuvres and drinks. ALLISON ...Music, I know how you love music, Daddy, and I want to have music that pleases you -- and of course doesn't put a thousand other people to sleep -- I've agonized over this and finally settled on Sidney Brown, twenty-four men, very eclectic, plus I'm feathering in a Latin sextet on their breaks - Tito Puente, Trini Lopez-zy, I forget their names -- Parrish has tuned Allison out, he tried to stay with it, but his mind has wandered, the event of the day too much with him. ALLISON (cont'd) You haven't heard a word, have you? I keep talking and all you do is nod like Mr. Himmelfass in The Nutcracker. Parrish still doesn't answer. ALLISON (cont'd) You don't care, do you? PARRISH What, honey? ALLISON I lay awake nights in a cold sweat, I want this party to be like some- thing Mom would have made for you, I want it to be perfect -- PARRISH (attentive now) I know you do, darling. ALLISON And you could care less -- PARRISH Oh, you couldn't be more wrong, sweetheart. I can' tell you how much I appreciate it and how I'm looking forward to it. ALLISON Good. Songs. What songs should Sidney -- Pancho and his six men we can forget about -- what songs do you think he should play? A stab of pain, Parrish discreetly grabs his upper arm but manages to keep his attention on Allison. PARRISH Tell it to me again. Suddenly, the Voice cuts in: VOICE (V.O.) ...Yes. Parrish's head snaps, startled by the SOUND. VOICE (V.O., cont'd) (to Parrish) Did you miss me? Parrish reacts once more, aware again he is the only one who has heard the Voice, as an oblivious Allison continues: ALLISON (to Parrish) Never mind. Leave it to me. Parrish ignores her, his attention has been taken by the Voice. His eyelids flutter, nonplused, edgy and fearful. LUISA Mr. Parrish, dinner is served. ALLISON (to Quince and Drew, across the room) Chow-time, you guys. Parrish is confounded. Blindly and disconcerted, he follows Allison and Drew and Quince. INT. DINING ROOM - NIGHT As a disturbed Parrish approaches the table, he hears the Voice once more: VOICE (V.O.) What are you looking so provoked about? 'Did you miss me?' It's a normal question. I missed you. But what do I get back? 'Not an ounce of excitement, not a whisper of a thrill --' Parrish sits. VOICE (V.O., cont'd) '-- This relationship has all the passion of a pair of titmice'. Parrish is on the edge of his seat, struggling to hide his panic. VOICE (V.O., cont'd) I'm waiting outside. The conversation swirls on around Parrish, he is deaf to it: ALLISON (to Drew) Did you speak to the Governor? DREW He's coming. ALLISON His wife? DREW Unfortunately. I sat between them at the Bronx Zoo benefit -- it was better than Seconal. VOICE (V.O.) I'm waiting outside. Won't someone come to the door? Parrish is in shock, still striving to gain control of himself. As Coyle serves him, Parrish turns to Luisa: PARRISH Is somebody waiting outside, Luisa? LUISA I didn't hear a ring, sir. PARRISH Please have a look -- Luisa goes as Coyle continues serving. ALLISON (to Quince) What about the Mayor? QUINCE He said he would be there with bells on. DREW Good, maybe they'll drown him out. Parrish is still not hearing a word, preoccupied with the return of Luisa. ALLISON Please don't be negative, Drew, we have an acceptance list that would do The White House proud -- The Secretary-General of the UN, the Chairman of the FCC, nine Senators, I don't know how many Congressmen, and at least twelve of the Fortune '500'. QUINCE No jocks? A twenty-game winner or a Masters champion? Someone I could talk to. (a moment) Or would talk to me. Luisa returns to Parrish as the others' conversation drones on: LUISA You're right, Mr. Parrish. There was a gentleman at the door. He's waiting for you in the foyer. Parrish is stunned. PARRISH (after a moment) Show him into the library, tell him I'll be right there. Parrish, spinning with anxiety, tries to summon up his courage to go as Allison continues: ALLISON I've arranged for favors -- silver charm bracelets for the women, platinum keychains for the men -- all engraved 'W.P.' -- but now I'm thinking of scrubbing them, they seem so ordinary. Finally Parrish rises from the table, starts out. ALLISON (cont'd) Are they ordinary? Do they seem that way to you, Daddy? PARRISH Uh -- I don't know. No - uh - I don't... Allison is about to press the point, but then drifts into disappointed silence as Parrish leaves the room. DREW (to Allison) You're overthinking it -- QUINCE I don't think they're ordinary. I love keychains. INT. HALLWAY OUTSIDE LIBRARY, PARRISH TOWNHOUSE - NIGHT Parrish moves deliberately down the hall, slows as he nears the doorway to the library. The door is open. He hesitates before he crosses the threshold, taking in as much as his eye can see, now tentatively, he enters. INT. LIBRARY, PARRISH TOWNHOUSE - NIGHT A beautiful, classic room, areas of dim, warm light, club chairs, books reaching to the ceiling, a rolling library ladder, a weathered dictionary on a stand, a model boat carved of bone set into the stacks which are separated from the reading area by a seven-foot high partition of obscured glass. Parrish, poised in the doorway, looks around, nothing in sight. PARRISH Hello? Silence. PARRISH (cont'd) Anyone here? No response. PARRISH (cont'd) I said is anyone here?! VOICE (V.O.) Quiet down. Parrish is startled, he shrinks backward for a moment, his eyes searching the room for the Voice, the timbre and pitch of which is exactly what he has heard before. There is the sense that someone is there but Parrish cannot see him, and he does not dare look. PARRISH (quietly) Where are you? VOICE (V.O.) I'm here. Now a flicker of a shadow from behind a corner of the obscured glass, the section of the room most distant from Parrish, there is a shape. Something is there. PARRISH What is this, a joke, right? Some kind of elaborate practical joke? At my 40th reunion, we delivered a casket to the Class president's hotel room and -- VOICE Quiet. Parrish falls silent, something in the SOUND and TONE of the Voice muting him. He takes a step backwards. VOICE (cont'd) Where are you going? PARRISH I - I - uh -- The shape moves, makes itself more visible. Although still diffused by the glass, the shape has definition, a person, a man, his features are not yet distinguishable, but he is there all right. VOICE The great Bill Parrish at a loss for words? The man from whose lips fall 'rapture' and 'passion' and 'obses- sion'...all those admonitions about being 'deliberately happy', what there is no sense 'living your life without...', all the sparks and energy you give off, the rosy advice you dispense in round, pear-shaped tones -- PARRISH What the hell is this? Who are you? VOICE Just think of millenniums multiplied by aeons compounded by infinity, I've been around that long, but it's only recently that your affairs here have piqued my interest. Call it boredom, the natural curiosity of me, the most lasting and significant element in existence has come to see you. Parrish struggles to make sense of what he is hearing. PARRISH About what? VOICE I want to have a look around before I take you. PARRISH 'Take me'...? Where? VOICE It requires competence, wisdom, experience -- all those things they say about you in testimonials -- and you're the one. PARRISH 'The one' to do what? VOICE Show me around. Be my guide. And in return, you get... PARRISH (breathless) Get what? VOICE Time. PARRISH What the hell are you talking about? VOICE Watch it! PARRISH I'm sorry -- VOICE In return you'll receive minuets, days, weeks, I'm not going to go into details ... what matters is that I stay interested. Parrish squints, trying to make sense of what is happening. VOICE (cont'd) ...'Yes'. PARRISH Yes what? VOICE 'Yes' is the answer to your ques- tion. PARRISH What question? VOICE Bill. Come on. The question. The question you've been asking yourself with increased regularity, at odd moments, panting through the extra game of handball, when you ran for the plane in Delhi, when you sat up in bed last night and hit the floor in the office this morning. The question that is in the back of your throat, choking the blood to your brain, ringing in the ears over and over as you put it to yourself -- PARRISH The 'question' -- VOICE (urging) Yes, Bill. The question. After a moment. PARRISH ...Am I going to die? The figure who is the Voice takes a step forward now, no longer obscured by the glass he comes into the light, re- vealing himself to be the Young Man seen previously in the coffee shop, but there is a change; he seems odd, off- center, not handsome but terrifyingly beautiful. YOUNG MAN Yes. A moment, Parrish beside himself. He cannot bring himself to speak, finally: PARRISH Am I dreaming this? (Another moment) Are you a dream? YOUNG MAN I am not a dream. PARRISH You're coming to 'take me'. What is that? Who the hell are you? The Young Man steps closer to Parrish, his face is inches from a shaking, sweating Parrish's face, the Young Man daring Parrish to identify him: PARRISH You are --? YOUNG MAN (urging again) '...Yes --' Parrish turns away. But the Young Man, spectacularly, is in front of him again. YOUNG MAN (cont'd) (gently) Who am I? PARRISH ...Death. Parrish is shocked, stunned, terrified at the word, by what he has comprehended. He surveys the Young Man who, at this moment, actually seems bewildered by his effect. PARRISH (cont'd) You're Death? YOUNG MAN Yes. PARRISH Death! YOUNG MAN That's me. PARRISH You're not Death. You're just a kid in a jacket and a pair of pants. YOUNG MAN The jacket and the pair of pants came with the body I took. Let me ask your opinion. Do I blend in? A hopelessly confused Parrish does not respond for a moment. PARRISH You want me to be your guide --? YOUNG MAN You fill the bill, Bill. PARRISH I do? (a moment) How long will you be staying? YOUNG MAN You should hope quite a while. PARRISH And then --? The Young Man nods, gently. PARRISH (cont'd) It's... it's... over. A long silence. Parrish and the Young Man take each other in, the sense that now they understand each other. A SOUND at the door. LUISA (O.S.) Mr. Parrish? Parrish does not hear her for the moment, Luisa steps inside the Library. LUISA (cont'd) Will the gentleman be staying for dinner, sir? Parrish ignores her at first, finally he looks at Luisa then at the Young Man, then once more at both of them as if to verify the Young Man's presence has been acknowledged by Luisa. The Young Man interjects: YOUNG MAN (to Luisa) Yes. (a polite afterthought) Thank you. Luisa nods perfunctorily and exits. Parrish is frozen, dumbfounded. YOUNG MAN (cont'd) (to Parrish) Where is dinner? Parrish does not answer at first. PARRISH This is crazy -- you're not going to eat dinner with us. YOUNG MAN Bill, I am eating dinner with you. And your family. And that's what we're doing. It's not open for discussion. Nothing is. Don't you understand? Parrish is frightened by the response. YOUNG MAN (cont'd) Good. Now lead the way. Parrish hesitates, then obediently leads the Young Man out of the library, down a long hallway and across the foyer. PARRISH Excuse me? Could I say something? YOUNG MAN Of course. PARRISH (quietly) It just occurred to me -- YOUNG MAN Speak up, please. PARRISH (louder) When I introduce you, if I say who you are, I don't think anyone will stay for dinner. YOUNG MAN Then don't. INT. DINING ROOM - NIGHT As Parrish and the Young Man enter, Allison is heard in the background. ALLISON ...Well, here's another possibility. It's a little last minute, but how does this strike you? Kaleidoscopes. Little gold kaleidoscopes. Some German firm went kerplunkt, Tiffany's picked these things up, they're perfect party favors, however they're not personal, they're winter scene or something, snow-flakes and dachshunds... Parrish and the Young Man appear at the table, an awkward pause ensues, the unannounced guest's presence at a family dinner being noted, and the guest himself carefully survey- ed. Finally, Allison breaks the ice: ALLISON (cont'd) (to the Young Man) Hi there -- YOUNG MAN Hello. Parrish is horribly uncomfortable as the Young Man looks at each person as if he were discovering a face of the first time. PARRISH Uh -- sorry -- to have stepped away for so long -- uh -- this is a friend of mine I asked to drop by -- we got to talking and stuff -- uh -- he's going to join us for dinner -- um -- Parrish drifts into another awkward pause. ALLISON (to the Young Man) Hello, how nice to meet you. And wouldn't it be nicer if my father would introduce you? YOUNG MAN (to Allison) '...How nice to meet you.' PARRISH Oh, I'm sorry. This is my daughter, Allison, and her husband, Quince, Drew, my number one, works with me... Parrish drifts off as the Young Man awkwardly shakes hands with each person. ALLISON (prompting) Daddy. Does your friend have a name? PARRISH A name? DREW (pleasantly, going along with the joke) Yeah, something he goes by -- PARRISH Oh, excuse me. This is -- uh -- this is -- ALLISON Daddy! Come on, a name. DREW Yeah, Bill, the suspense is killing me. PARRISH Sorry...um - you - you know it's gone right out of my head -- DREW What?! PARRISH (cont'd) I'm sorry. This is - uh - uh... The group waits patiently. PARRISH (cont'd) Joe! ALLISON Joe... Parrish once more drifts into silence. (The YOUNG MAN is now identified as "JOE".) DREW Just plain 'Joe'? ALLISON Love that name. QUINCE Me, too. Hey, buddy! Joe, turned on by Quince's broad smile, reacts to it as Drew squints observingly at Joe. DREW 'Joe...' PARRISH Yes. DREW Is there any more to it? PARRISH (alarmed) What do you mean? DREW Like 'Smith' or 'Jones --' Parrish's face reveals a desperate searching for a last name, a furtive glance at Joe. Parrish's brow darkens and a name tumbles from his lips: PARRISH -- Black. ALLISON Whew, at last. Nice to meet you, Mr. Black. QUINCE 'Joe Black'. Won fifteen and lost two for the Brooklyn Dodgers in 1952. JOE Yes? QUINCE (to Joe) You bet. I'm kind of my Rotisserie League. JOE Are you? PARRISH He is! Let's sit down -- Luisa has set a plate in front of Joe, and Parrish's, which was taken to the kitchen to be warmed, has been returned. Joe looks over at the other guests, then picks up his uten- sils gingerly, strives to copy the others, stops, staring at his foot. ALLISON (to Joe) Paillarde of veal. QUINCE Yeah, they hit the calf over the head with a mallet and then Luisa hits it again in the kitchen. ALLISON Honey --! QUINCE You know what I'm saying, Joe? JOE No -- PARRISH (laughing emptily) Joe knows what you're saying, just being polite -- Drew is studying Joe. DREW (to Joe) Have we met? PARRISH Uh -- he's from out of town -- QUINCE How long you here, Joe? JOE As long as it takes. Drew is provoked by the response, but remains polite: DREW You and Bill old friends? Parrish jumps in: PARRISH No -- DREW (to Joe) I get the feeling you've done some business before. JOE We have an arrangement now. DREW What side of the industry did you say you were on? JOE I didn't say. DREW (to Parrish) Joe sounds like a ringer, Bill. I have the feeling you guys got the broad strokes already. Need any help with the details? Parrish falls silent again, looking for an answer. DREW (cont'd) I'm sorry -- business at dinner... (to Joe) Forgive me for being so rude. JOE Sure. The doors to the dining room open, Susan appears. SUSAN Hi, everybody. Sorry to be late - had to have dinner with my depart- ment chief -- ALLISON You ate? SUSAN ...I'm here, aren't I? Wouldn't miss a loose end meeting. What's on the table for discussion? Party favors, flowers -- hi Dad, hi Drew -- She kisses Drew in some light, humorous way they have ob- viously done before, their heads bobbing like plastic water toys and their lips meeting mid-air. At the kiss's conclusion Susan suddenly notices Joe is present and has been watching. She is shocked, embarrassed, pleased, conflicted, an instant and wide spectrum of emotions. SUSAN (cont'd) What are you doing here? Silence. PARRISH (stunned) You know each other? SUSAN (lightly) We've met. PARRISH What?! SUSAN -- This morning. The Corinth Coffee Shop. He was looking for a doctor. QUINCE Well, I guess he's found one. DREW Joe, you do get around. Joe is happily confounded by all the interaction. SUSAN That's your name? ALLISON And isn't it a lovely one? So sturdy, so straight -- Joe has heard Susan's question but, as he studies her, doesn't answer. DREW Incidentally, Joe, where're you staying? JOE Here... DREW 'Here'? SUSAN In this house? QUINCE Great! Parrish pushes his plate away. PARRISH Uh - will that hold you, Joe? SUSAN Incidentally, 'Joe' what? JOE Black. QUINCE Hey, this is fun. SUSAN So, what are you doing here? Parrish tenses, but Joe doesn't answer. SUSAN (cont'd) Cat got your tongue? You weren't so silent this morning. Drew reacts to this allusion of intimacy. ALLISON Now, I'm getting interested. I want to know more --- PARRISH (to Joe) We've got some things to discuss. Parrish stands, motions for Joe to rise. DREW (to Joe) -- Did I hear 'business'? SUSAN What 'business'? QUINCE Don't bother asking, we already tried. JOE It's so very nice to see you again. SUSAN Funny, I don't get that feeling. Maybe it's because you found out I'm Bill Parrish's daughter. PARRISH Cut it out, Susan. (to Joe) You and I've got to talk. Big day tomorrow, everybody. Joe, let's go. Joe rises, follows Parrish to the door, stops: JOE (to Susan) Susan. (to Allison) Allison. (to Quince) Quince. (to Drew) Drew. (to Parrish) Bill... (to the group) Thank you. He makes an awkward little bow, then heads for the nearest door. PARRISH Joe, that's the kitchen. JOE Thank you. Joe pivots, and he follows Parrish out the proper door. DREW That was 'Joe'. ALLISON He's cute. DREW Very. Susan's eyes are still on the door where Joe exited, her face reflecting her irritation and bewilderment, as well as a tinge of excitement. INT. HALLWAY, PARRISH TOWNHOUSE - NIGHT Parrish leads the way, Joe beside him as they progress through the huge house. PARRISH ...I'm sorry, I'm a little discon- certed, that stuff between you and Susan -- uh -- threw me. JOE 'Threw' you? Where? PARRISH Shook me up. I mean that you knew her and everything -- JOE I didn't know her. The body I took knew her. The man she met in the coffee shop this morning. I - uh - took him. PARRISH So there's nothing between you and Susan? JOE No. PARRISH I wish you had said something to me about staying here -- JOE It hadn't occurred to me until then. I was just having such a wonderful time -- Besides, isn't this what I'm here for? Parrish suddenly looks very anxious, Joe stops. JOE (cont'd) You seem uncomfortable, Bill. PARRISH No, I'm okay with this - uh - I think. So -- He opens a door. INT. MASTER GUEST SUITE, PARRISH TOWNHOUSE - NIGHT PARRISH (to Joe) Bathroom...tub...towels, sauna -- Parrish turns back to the bedroom. PARRISH (cont'd) ...Chair, lamp, bed -- Parrish is in a stunned state, chatters on unconsciously: PARRISH (cont'd) Box springs, they're assembled in Jakarta. Had to stay in a station manager's house there unexpectedly - best night's sleep I ever had. Ordered twenty, they filled a con- tainer and shipped them right over, I've put one in every bedroom here and in the country. Joe tests the springs. JOE What a good idea. PARRISH Thank you. Would you like the man's name? JOE No. Parrish glances around, a room in which the occupant could not want for anything. PARRISH If there is anything else, don't hesitate -- JOE I won't. PARRISH How long have I got? JOE You're putting me on the spot, Bill. A moment. JOE (cont'd) Let's put it this way. When I go, you go. PARRISH When you go, I go. JOE That's the best I can do. (a moment) ...but minute-by-minute, I find myself lingering. PARRISH ...I just saw my doctor, he told me everything was fine. JOE Your doctor? (icily) Did your doctor say anything about a tiny, undetectable hole in your aorta? Did he mention an irreparab- ly weak vein in the further reaches of your famous brain? Were they any prognostications about the possibil- ilites of a fatal collision on a golf cart of suffocating in an avalanche on a skin vacation in Gstaad? PARRISH No -- JOE I hope you realize, Bill...in your office this morning, that was your time. PARRISH Closer than that. Parrish keeps still, trying to cool the heat of Joe's temper. JOE (cont'd) ...But meanwhile, you are still here. Count your blessings. Call it gravy, frosting on the cake, whatever it is you say. PARRISH Well, thank you for letting me know. JOE Not at all. PARRISH And - uh - I guess, 'goodnight'. JOE Good night to you, Bill. Parrish gently closes the door. Joe looks around, checks out his surroundings: curious, attentive. INT. HALLWAY, PARRISH TOWNHOUSE - NIGHT Parrish, unsteady, starts back down the hall, Luisa appears. LUISA ...Miss Allison asked if you would like to have your dinner kept warm? PARRISH No. Thanks, Luisa. LUISA Very good, sir. Luisa turns: PARRISH Luisa -- She stops. PARRISH (cont'd) Mr. Black's luggage was misplaced by the airlines. Would you mind get- ting a few things together for him? A couple of suits, some shirts, ties, underwear, shoes. Have Coyle take his measurements off what he is wearing tonight. LUISA Certainly, sir. Luisa nods, and heads back downstairs. Parrish enters his den, takes a seat in his chair, stares into the middle distance, ruminates. INT. GUEST ROOM, PARRISH TOWNHOUSE - NIGHT Joe has been examining his room, full of curiosity and wonderment at the oddest things, the handle on a casement window, the hem and weight of the fabric of a drape, hinges on the bedroom door. In the process he opens this door, steps out into the hallway. INT. HALLWAY, PARRISH TOWNHOUSE - NIGHT Joe wanders down the hallway past the occasional Dufy or Miro, a Venetian tapestry cheek-by-jowl with a miniature Ming vae, and even a Bonsai garden with a trickling vein of water. INT. KITCHEN HALLWAY, PARRISH TOWNHOUSE - NIGHT In the "back" of the house now, utilitarian paint and decor, the SOUND of laughter and a glare of light. Joe enters. INT. KITCHEN, PARRISH TOWNHOUSE - NIGHT The staff is at ease, some smoking, remains of food around. Coyle, the butler, has his back to Joe and does not see him for a moment. In front of Coyle, an open jar of peanut but- ter which he is spreading in generous hunks of Wonder Bread. Joe is fascinated by the process. Coyle suddenly hears the silence, looks up and see Joe, standing up embarrassedly. COYLE Yes, sir? JOE Hello. I'm Joe Black. Nice to meet you. COYLE Yes sir, Mr. Black, a pleasure. The staff all mumble expansive "Good evening, sir"s to Joe. He motions to them to sit, they do but Coyle does not. Coyle shifts from foot-to-foot, the staff is not used to having Parrish family or guests in this part of the house. JOE (to Coyle) What are you eating. COYLE You mean this, sir? Coyle regards his peanut butter sheepishly. COYLE (cont'd) Laura Scudder's Peanut Butter. JOE (carefully) 'Laura Scudder's Peanut Butter'. (a moment) You like it? COYLE I would say, sir, it is right up there with Jif and Skippy. But miles ahead of Peter Pan. (another moment) Like a taste? Joe nods, Coyle fashions a spoonful, offers it to Joe. Joe swallows it. But he has not yet found a comfortable way of masticating, his mouth and tongue go every which way, the staff observes him, fascinated. COYLE (cont'd) You're a peanut butter man now, eh, sir? JOE Yes, I am. I thoroughly enjoyed this - uh - peanut butter. (to the staff) And I thoroughly enjoyed meeting you. Joe raises the spoonful of peanut butter in a kind of toast to the staff. JOE (cont'd) I'll be moseying on. He heads out, with the spoonful of peanut butter, to cheer- ful "Goodnight, Mr. Black"'s, his tongue again licking the edges of the spoon. INT. SWIMMING POOL, PARRISH TOWNHOUSE - DAY A spectacular indoor Olympic pool, window commanding views of the skyline. Susan is swimming laps, looking very professional in a black Speedo suit, Joe wanders in, still licking his peanut butter. He observes her, but she is unaware of him, however now, as she makes a barrel turn, his shadow falls over a reflection from a window, she aborts her lap, looks up to see who it is. SUSAN What are you doing here? JOE I'm lost. SUSAN -- Can't seem to escape you today. JOE I'm sorry. Susan climbs out of the pool, gets halfway up the ladder, points to a stack of towels. SUSAN Hand me one of those, will you? Joe turns to the towels, but one hand is occupied with the spoonful of peanut butter, he shifts it to the other hand, can't manage the huge Turkish towel one-handed, now implants the spoon in his mouth, lifts the towel with both hands and presents it to Susan. SUSAN (cont'd) You must have something really big going on with my father -- JOE 'Big'? SUSAN You appear at his side out-of-the- blue, stay at his house, eat dinner with his family, it's practically a first. You're in the red-hot center of big business and I thought you were a regular Joe. JOE I am Joe. SUSAN Not the one I met this morning, hit- ting on me in as nice a way as I've been hit on in a long time, but the moment you find out I'm my Dad's daughter, you act like a stranger. JOE That is not my intention. Joe continues to nibble at his peanut butter. SUSAN What are your intentions? To make little dreams in coffee shops, turn a woman's head, and I don't mind admitting it was turned, I liked it, but ten hours later I feel like a fool. I don't get it. You, my father, here in this house, the cof- fee shop, it's making me upset, and I don't like being upset. Who are you anyway? And what are you eating? JOE (mumbles) Peanut butter. He finishes the spoonful. JOE (cont'd) But it's gone now. He shifts the spoon from hand to hand, starts to stick it in his pocket, realizes this is inappropriate. Susan holds her hand out to him, he places the spoon in it and she sets the spoon on the table with the towels. She watches, fascinat- ed, as Joe licks his gums, enjoying every last bit of his spoonful. SUSAN You act like you never had peanut butter before -- JOE I haven't. SUSAN -- What kind of childhood did you have? JOE Do you love Drew? SUSAN Come again? JOE When you put your mouth to his, Susan, it seems a frequent thing. SUSAN Drew is none of your damn business. Nor is where I put my mouth. JOE I'm sorry. Do you live here? SUSAN No, Joe, I'm swimming here. Then I'm going home. JOE I guess what I'm trying to say is -- I'd like us to be friends. SUSAN I've got plenty of friends. JOE I don't have any. SUSAN I can see why. She finishes drying herself, drops the towel on a chair, and prepares to leave. JOE ...I didn't mean to offend you at dinner. I'm not quite at home some- times with people. I get busy doing - uh - what I do, and I don't seem to have developed -- He drifts off. SUSAN Yes --? JOE I have a certain function to per- form, and that seems to take all of my time. Bu sometimes - uh - I speculate - uh - I haven't left room for - uh - anything else. SUSAN I'm sorry to say I know what you're saying. A moment. JOE Susan? SUSAN Yes? JOE Did you know you have a wet spot on your shoulder? She glances at her shoulder, he grabs a towel, touches the drops of water, pats them dry, hands her the towel. She flashes a nervous smile. SUSAN Goodnight, Joe. JOE Goodnight to you, Susan. Susan steps towards a door, Joe takes a step in the wrong direction, they almost walk into each other. Now she takes a step in another direction, as does Joe, again they almost collide. SUSAN Shall we dance? Joe is completely puzzled, finally Susan heads for one door, Joe for another. SUSAN (cont'd) Joe -- JOE Yes? SUSAN I think you want to go to the west wing. Through there. Susan indicates yet another door. JOE (after a moment) Thank you. Joe redirects himself, goes to the door. As they both are about to exit, Joe and Susan sneak furtive looks at each other across the pool, smile at catching each other's glances. Joe exits. For a moment Susan's eyes remain on the door through which he has gone. Now she grips the towel over her shoulders, the one Joe gave her, pats the same spot he did. CUT TO: INT. HALLWAY, PARRISH TOWNHOUSE - NEXT MORNING Parrish, dressed for the day, passes servants busy with their morning tasks, polishing doorknobs, putting away linen, dusting picture frames. He nods and greets them as he strides down the hall, brisk "Good morning"'s to Coyle and Luisa. INT. GUEST SUITE, PARRISH TOWNHOUSE - MORNING Parrish knocks, waits a courteous moment, opens the door, finds Joe in an elegant shirt and trousers trying to tie his tie. PARRISH Good morning. JOE Good morning, Bill. PARRISH How are you? How're you feeling? JOE 'Feeling'? I feel fine. How do you feel? PARRISH Um -- well, I didn't sleep too well. This is crazy. This is the left- field thing of all time. What do I do? What do I tell my family? JOE Oh, I wouldn't tell them anything, Bill. You'll ruin the good start we had last night. I felt as if I were being treated like a person. 'Joe' this and 'Joe' that - a nice smile - Quince passed me the rolls -- no 'rapture' or 'passion' or any of those mighty things you seem so intent on imparting, but I am cer- tain, should you - uh - say - uh - who I am - our adventure would end abruptly. Parrish regards Joe, the tie is a sorry mess now, a batwing of silk stretching across his collarbone. JOE (cont'd) But I did so enjoy your family. Parrish is startled, he regards Joe carefully. PARRISH What about my family? This 'adven- ture' involved only me, right? Silence as Joe considers the point, Parrish quickly crosses to him, undoes the tie, and now begins tying it for him. PARRISH (cont'd) Tell you what, you promised that it's going to be only me and -- JOE And what? PARRISH And I won't tell anyone who you are. JOE Sounds fair enough. PARRISH It is a deal? JOE A 'deal'? PARRISH You give your word, I give mine -- that we'll do what we say. It's a truth exchanged between two people. A moment. JOE Bill -- PARRISH Yes? JOE You've got a deal. Parrish seems relieved. He has now, with some difficulty, completed the tying of Joe's tie, adjusts it beautifully on Joe's collar, then spins him around in front of a mirror. Joe, catching sight of his own appearance, rises to the balls of his feet, quite taken. JOE (cont'd) This is great! (a moment) Now what do we do? PARRISH Shake hands. Joe immediately extends his hand toward Parrish, but Parrish freezes on seeing the hand, stares at it, now takes it. Joe pumps Parrish's hand vigorously, then breaks into a broad smile. EXT. 5TH AVENUE, NEW YORK CITY - DAY Parrish and Joe striding downtown, Joe's jacket fits per- fectly, he blends right in and he clearly enjoys being part of the smart Fifth Avenue crowd on the way to work. Parrish senses Joe's pleasure, his slight preening, his eyes check- ing out the good-looking women headed for the offices at the top of corporate high-rises. PARRISH You know, I got to thinking last night -- with you here, and seem- ingly occupied, how's your work going - uh - elsewhere? A flicker from Joe. He has heard what Parrish has said, his eyes busy with the grift and the sparkle of the Avenue, but he is concentrating on Parrish's words. JOE When you were shaving this morning, you weren't just shaving, right? PARRISH What do you mean? JOE You were hatching ideas, making plans, arriving at decisions, right? PARRISH I guess so. JOE So you understand the concept then. When you're busy here, your work, what your task is, is being executed elsewhere. PARRISH Of course. JOE So you've grasped the idea. Con- gratulations. Now multiply it by infinity and take it to the depth of forever, and you still will have barely a glimpse of what I am talking about. Parrish falls silent, chewing over Joe's admonition. PARRISH Joe --? JOE Yes, Bill. PARRISH How about giving a guy a break? JOE Make an exception? PARRISH There's one to every rule. JOE Not this. They stride on, cutting through the crowd, Joe all at home in his new surrounding, but Parrish just the opposite, un- characteristically uncomfortable, phrases forming on his lips but unspoken, then suddenly he blurts out: PARRISH -- I don't deserve this. I'm still young, this is not my time -- JOE That's what everybody says. PARRISH I'm not everybody. JOE That's what everybody says. Parrish is trying to control himself, glances at Joe. PARRISH I want to live. JOE I understand. A moment. JOE (cont'd) But you can't. A sudden silence between them. Parrish's shoulders appear to have stopped slightly, the courage he displayed at rais- ing these issues has vanished. PARRISH What's it like? JOE What do you mean? PARRISH What's it like where I'm going? JOE Can you keep a secret? PARRISH Yes. JOE So can I. They turn into Parrish's office building. INT. LOBBY, PARRISH COMMUNICATIONS - DAY As Parrish and Joe enter, Parrish is hailed by JAIME, the Elevator Starter. JAIME Good morning, Mr. Parrish. PARRISH Good morning, Jaime. JAIME Knight's Reward in the 4th at Calder -- A bemused Parrish walks on, Joe beside him, Jaime pursuing them. JAIME (cont'd) -- A closer in today with cheap speed. The colt will come from the clouds and boom! Fifty-eight dollar horse. I get you down, Mr. Parrish, just say the word. PARRISH (smiles) I'm sorry, not today, Jaime. Parrish and Joe arrive at the bank of elevators. Jaime, back at his post, hits a button. PARRISH (cont'd) (to Joe) You know, everyday I've walked into this building, Jaime gives me a horse. (a moment) I wonder if any of them won. The elevator materializes, Parrish and Joe step on. INT. PARRISH COMMUNICATIONS, OFFICE OF THE CHAIRMAN - DAY Parrish and Joe emerge from the executive elevator, Jennifer is waiting as usual with her pad, "Good morning"s, etc. As Parrish strides down the hall, Joe right beside him, he passes instructions back to Jennifer who, scribbling, hurries along behind them. PARRISH -- And call my family, I'd like them to come over for dinner tonight. JENIFER Didn't the family get together last night --? PARRISH (remonstrating, gently) Jennifer. JENIFER Of course, Mr. Parrish. Right away. Jennifer wheels and heads right back to the office as Parrish arrives at the door to the Board Room. PARRISH (to Joe) Perhaps you would like to wait in my office --? JOE No. PARRISH What I'm trying to say is this is a Board meeting and you are not a mem- ber of the Board. JOE I'm sure you'll see to it that it won't be a problem. Parrish hesitates, nods, conceding the point, reaches for the doorknob. INT. BOARD ROOM, PARRISH COMMUNICATIONS - DAY Parrish enters, Joe following right behind him. A euphony of "Good morning"'s from the various members of the Board, including Quince. Everyone sits when Parrish does but Joe, right at home, spots a tray of refreshments: coffee, pas- tries, he heads for them. PARRISH (to the Board) -- This is Joe Black, a personal associate of mine - uh - he'll be joining us today. I know it's -- uh -- unusual, and my apologies -- and Drew -- uh -- carry on. Immediately indications of surprise on Board members' faces at Parrish bringing in an 'observer', Drew's reaction guarded but intense. DREW (after a moment, to Joe) Nice to see you. I didn't expect you, but certainly you can't get enough of a good thing. JOE Thank you. DREW (to the Board) The Board of Parrish Communications - is hereby called to order. Our sole order of business is an acceptance of John Bontecou's generous offer and -- JOE (to Drew) Do you have any more of these deli- cious cookies? A hushed silence at the inappropriateness of Joe's inter- ruption. JOE (cont'd) And a cup of tea. With milk, I think. I'd like to try it English- style. Yes, a cup of tea with milk. DREW Anything else, Mr. Black? How about some water? JOE Why yes, thank you. DREW Hot or cold. JOE Cold. DREW And a glass. Drew indicates to the Board's Stenographer to arrange Joe's refreshments. PARRISH (quietly, indicating a chair) Would you like to sit down, Joe? JOE Yes. Joe sits. DREW To review -- we're really crossing the 't's and dotting the 'i's here. Bill had a great and conclusive meeting with John Bontecou yester- day, all that remains for us is to put it to a vote. Smiles and murmurs of a congratulatory receptiveness from the Board at Drew's news. PARRISH (emptily) Thank you, Drew. Parrish takes a moment, draws himself up to say something official then stops himself, what follows is spontaneous, reflective, deeply felt. PARRISH (cont'd) Umm -- I did enjoy -- or rather I was interested in meeting John yes- terday -- impressive... I suppose... But it did get me to thinking. I started in this business because this is what I wanted to do. I knew I wasn't going to write the Great American Novel, but I also knew there was more to life than buying something for a dollar and selling it for two. I wanted to give the news to the world, and I wanted to give it unvarnished. The more we all know about each other, the greater the chance we will survive. Sure, I want to make a profit, you can't exist without one but John Bontecou is all profit. If we give him license to absorb Parrish Communications, and he has his eye on a few others after us, we'll be appointing him to the position he craves -- Gatekeeper. In order to reach the world you will have to go through John Bontecou. And not only will you have to pay him to do this, far more expensive, you'll have to agree with him. Reporting the news is a privilege and a responsibility and it is not exploitable. Parrish Communications has earned this priv- ilege, John Bontecou wants to buy it. As your chairman, I urge you to agree this company is not for sale. A silence, everybody shifts, the Board is in shock, Drew is trying to maintain his balance. DREW (carefully) ...Sounds like you're not leaving much room for discussion. PARRISH (to the Board) Sorry. I know it looks like I'm reversing my field. DREW That's your privilege, Bill. But given our needs, given the absolute necessity for growth, given the fu- ture, the truth is... joining John Bontecou is every bit as certain as - Death and Taxes. Joe interjects: JOE 'Death and Taxes'? After a moment. DREW Yes. JOE "Death and Taxes"? Another moment. DREW Yes. JOE What an odd pairing. DREW It's just a saying, Mr. Black, JOE Of whom? DREW It doesn't matter. JOE Then why did you bring it up? Drew regards Joe. DREW You're not familiar with the phrase, "In this world, nothing is certain but Death and Taxes"? PARRISH I am now. DREW Glad I could be of some help. The Board is provoked and mystified by Joe and even more by his presence, they cast meaningful glances at Parrish, Drew coolly grasps the irritation of the members. Parrish breaks the silence. PARRISH Shall we adjourn? DREW But the matter's still on the table, Bill -- EDWARD SLOANE, a contemporary of Parrish's, has been warily silent, but extremely observant. Protective of Parrish, and sensing his burgeoning difficulty, he interrupts: SLOANE Why don't we let it rest for the moment? Give it some air? PARRISH Well said, Eddie. Mr. Black, shall we? Joe rises. JOE (to Drew) Those cookies were excellent. He exits with Parrish, the door closes behind them. A BABBLE of disturbed reactions from the Board. DREW Who is that guy? Drew grabs a telephone: DREW (cont'd) Felicia? FELICIA (O.S.) Yes, sir? DREW Get me a Field Background check on Joe Black. Litigations. Bankrupt- cies. Credit ratings. The works. Got it? Drew hangs up. INT. PARRISH'S OFFICE - DAY Parrish enters, Joe right on his heels. They booth stop, Parrish regards him. PARRISH -- What's the deal here? Are you going to be breathing down my neck right 'til the very end? JOE I don't understand. Parrish tries to gather himself. PARRISH ...I'd like to be alone for a while. JOE Are you sad, Bill? PARRISH Yes, I am. There's a research lib- rary on the fourth floor. Why don't you go down and read some magazines? JOE You're not thinking of going some- where, are you, Bill? PARRISH Joe, could I ask you to take a walk? Buy a tie or something. I know I'll be seeing you. JOE Of course. But Joe doesn't move. PARRISH (prompting) Now I'd like to be alone. JOE Oh. Okay. Parrish reaches into his pocket and hands Joe some cash. PARRISH Here -- this will hold you for a while. Joe stares at the money as Parrish shows him the door. PARRISH (cont'd) You know about money, don't you? JOE It can't buy happiness? Parrish opens the door. PARRISH Jennifer, give Mr. Black a map of the city. JOE No thank you, Bill. I can manage. Joe goes. INT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY Susan is busy giving instructions to a Nurse, a patient on an examining table beside them. As she finishes, she suddenly notices Joe down the corridor in the reception area. She is startled for the moment, quickly makes a last notation, hands a chart to the Nurse and heads down the corridor. SUSAN Joe -- JOE How nice you look. Is that your uniform? Susan regards him. SUSAN Why did you come here? Joe doesn't have an answer. SUSAN (cont'd) Are you ill? JOE Oh goodness, no. SUSAN Then why are you here, Joe? JOE I came to see you. SUSAN I don't have any time to see you now. I'm doing grand rounds and then I'm examining back-to-back patients until dinner and then -- JOE Very well, I'll watch. SUSAN Watch me do what? JOE Whatever you do. SUSAN That's impossible. I'm a doctor, I'm -- JOE And I'll be a visitor. SUSAN Patients have visitors, not doctors. JOE I don't mind -- Visible now behind them are a Caribbean woman in her mid- thirties, TEENA, an arm around her mother, EASTER, who is holding her stomach and rocking back and forth in her seat, in great pain. TEENA (urgently) Miss? Miss Doctor? SUSAN (gently) Just a minute, please. TEENA Please. My momma's sicker'n he is. Easter looks up and sees Joe. She abruptly becomes still, eyes wide, as if sudden recognition. EASTER Obeah. TEENA No, Momma. But Easter just stares at Joe, fearful. EASTER Obeah mon. I gonna die. TEENA Momma, stop it. Is just a man. Joe looks at Easter, curiously. SUSAN (to Teena) What's obeah? TEENA Bad spirit. She just all fever, she don' mean nothin'. Please help us? SUSAN Have you filled out the insurance forms? Teena shakes her hand anxiously. Joe leans forward to Easter and speaks softly in perfect, lilting West Indian dialect. JOE No obeah, sister. No duppy, no jumbie. Evera ting gon' be irey. Susan and Teena both look at him, astonished. Easter's fearful gaze remains locked on him. JOE (cont'd) Go wi' de doctor lady. Momma be fine. EASTER Don' leave!? TEENA (pleading) Momma. Susan leads Teena away. Easter is riveted on Joe. EASTER (with certainty) Obeah. JOE Obeah evil. I not evil. EASTER What you then? JOE I from dat nex' place. EASTER You wait here'n to take us? Like you bus driver to dere? JOE (smiles) No, no. I on holiday. EASTER (looks around, dubious) Some spot you pick. She winces with pain, gasping. EASTER (cont'd) Pain is bad. JOE I nuttin' to do wi' dat. EASTER Make it go 'way. JOE Doctor lady make it irey. EASTER Not dis pain. Dis pain tru an' tru. Make it go 'way. JOE Can't, sistah. EASTER (adamant, pleading) Can, mistah. Take me to dat nex' place. Joe regards Easter, a long moment. JOE Not time yet. EASTER Make it time. Joe shakes his head, a firm no. But when he looks and speaks to Easter again, it is with concern and even regret. JOE Can't feel wi' de way tings gotta be, Easter. Susan and Teena return with an Orderly and a wheelchair for Easter. EASTER (to Joe) Please... TEENA Come now, Momma. Easter is helped into the wheelchair. She looks pleadingly at Joe. The Orderly starts to wheel her away. Joe stays him, putting his hand on Easter's arm. JOE Close your eyes, Easter. She does, her pained grimace melts into a peaceful smile. JOE (cont'd) Soon. He takes his hand away, and the Orderly wheels Easter off. SUSAN (to Teena) Go with her. I'll be right there. Teena goes. Joe remains his normal voice. JOE She's in a great deal of pain. SUSAN Yes. Susan regards Joe, puzzled. SUSAN (cont'd) Have you spent a lot of time in the islands? JOE Some. Joe shifts. JOE (cont'd) I - uh - I - realize now - uh - my being here - um - your patient -- this is not really appropriate -- and I - uh -- SUSAN Don't apologize. There's nothing to be sorry for -- every hospital should have someone like you. Silence. SUSAN (cont'd) Well...I'm glad you came. JOE Thank you. I'm so very glad to be here. Another awkward silence. JOE (cont'd) I guess you're busy -- SUSAN Yes. She doesn't move, they search for words. JOE Well, I could come again some other time. Susan regards him. SUSAN Joe, I'm with Drew. JOE (sincerely) Not now. Susan smiles gently. JOE (cont'd) Don't you want me to come again...? A moment. SUSAN I have to go, I'm sorry to say -- JOE Be sorry for nothing. Another moment. SUSAN Yes. Well...thank you, Joe. Susan turns to go, hesitates. JOE Good-bye, Susan. Susan waves softly to him, heads down the hall, glances back once to see Joe has not moved, is watching her depart. INT. PARRISH'S OFFICE - AFTERNOON Jennifer shows Joe in, Parrish is deep in thought, beside him a meal laid out beautifully on his desk with linen and silver, but untouched. Joe is more abstracted than usual, he is starting at Parrish's food. JOE Are you going to eat your lunch PARRISH It's all yours. Joe starts eating, Parrish watches him, somewhat fascinated, Joe's chewing has improved. PARRISH (cont'd) Good? JOE Excellent. What is it? PARRISH Cold lamb sandwich with cilantro. A little Coleman's mustard. Joe takes another big bite. JOE Truly - uh - splendid. PARRISH Glad you like it. My wife turned me onto cold lamb sandwiches. Joan -- that was my wife -- JOE (familiarly) Uh-huh. PARRISH Cold lamb sandwiches -- not as chewy as roast beef, not as boring as chicken. She knew stuff like that. Silence, Parrish getting lost in his memories. PARRISH (cont'd) -- Everything reminds me of her -- there isn't a day that goes by that I don't think about her -- One day she was here. The next day she was gone. What are you going to do? -- I guess you've heard all this a trillion times before. JOE And more. PARRISH Why didn't you stop me? JOE Well...I don't know. Silence. JOE (cont'd) How was it the first time you met her? PARRISH I thought you'd heard a trillion times -- JOE This part I'm interested in. A moment. PARRISH She had on this little blue suit -- with a little white collar that had little red piping on it -- Joe is riveted on Parrish ow, Parrish aware of him, has paused. PARRISH (cont'd) You could have put her under glass and I would have just stood and looked at her. But when she spoke -- I loved the sound of her voice and her laugh -- (a moment) -- I couldn't get enough of her -- and gradually -- or maybe it wasn't gradually -- I realized I couldn't live without her. A KNOCK, the door opens and Drew enters, looks at Parrish, then at Joe, stands poised in the doorway. DREW May I interrupting? JOE Yes. PARRISH No. DREW (to joe) 'Just kidding'? PARRISH Sit down, Drew. DREW Before I do -- (glances at Joe) I was hoping we might be alone, Bill. PARRISH Joe and I have no secrets from each other. DREW (to Joe) How nice for you both. Drew takes a moment, then plunges in. DREW (cont'd) Bill, pardon my candor, but I was confounded by your decision this morning. PARRISH Why? DREW I was hired, you told me, to help bring Parrish Communications into the 21st Century. This merger is the vehicle -- Joe interrupts: JOE Perhaps a merger is a way to bring Bill's company into the 21st cen- tury. And perhaps it isn't. And perhaps cheating on your French Philosophers exam at The Groton School was an expedient way to get your diploma, and perhaps it wasn't. Be that as it may, Drew, a question can often be argued both ways. Drew is stunned. PARRISH Joe, cut it out. And you too, Drew. DREW (to Parrish) I thought this was practically a done deal -- PARRISH Well now it's undone, okay? Forget Bontecou! Scrub him! I'm tired of his fancy name and his fancy offer. I'm not going for it. A moment. DREW Okay. Drew heads for the door, turns around. DREW (cont'd) (to Parrish) Can I invite myself to dinner tonight? (a moment) Susan and I had ticket for the Knicks game. But she said you guys were getting together -- PARRISH Dinner? Absolutely. JOE Absolutely. DREW (to Joe) Damn decent of you. Drew exits. JOE Why, at this juncture, are you letting yourself be so concerned by business matters? PARRISH I don't want anybody buying up my life's work and turning it into something it wasn't meant to be. A man wants to leave something behind. And he wants it left behind the way he made it. And he wants it to be run the way he run it -- with a sense of honor, of dedication, of truth. Okay? JOE Okay. PARRISH And I don't need your goddamn permis- sion either! You! Drew! I don't need anyone to tell me how to run my life. JOE Easy, Bill. You'll give yourself a heart attack and ruin my vacation. INT. SALON, PARRISH TOWNHOUSE, NEW YORK CITY - NIGHT The skyline glitters through the terrace windows. The hour is before dinner, Coyle and Luisa weave seamlessly among the family, offering hors d'oeuvres and drinks on a tray. Allison and Susan together by a piano; Parrish, Quince and a distracted Joe are gathered near the terrace. Joe's eyes are on Susan across the room. Her eyes flicker towards him, aware of his gaze. ALLISON (to Susan) ...We're never all together two nights in a row. Maybe Christmas, Thanksgiving, that's it. What's going on? SUSAN Nothing's going on. Maybe he doesn't want to be alone. He's go- ing to be sixty-five in a minute -- ALLISON ...I don't know, Daddy seems funny to me. Ever since Joe showed. It's like he dropped from the clouds... Drew enters. He nuzzles Susan's neck, out of the corner of her eye she sees Joe still observing them. ALLISON (cont'd) ...When Daddy walked in with him, he couldn't even remember his name. Now he's his house guest. And you know how he hates house guests. What is going on? Drew, whose eyes have also been on Joe across the room, turns back. DREW (to Susan and Allison) Good question. Allison sees Susan's eyes flicker over towards Joe. ALLISON -- But he does seem very nice. SUSAN You think so? ANOTHER ANGLE Over at the terrace, Quince buttonholes Parrish, Joe stand- ing by. QUINCE (to Parrish) ...I read you all the way on the Bontecou thing, and I know where you're coming from. And I'm with you a hundred and one percent. PARRISH Thank you, Quince. QUINCE But I've got to tell you, if mergers are in the wild, I've got some great prospects I've developed. I want to talk to you about them next week. PARRISH Next week? QUINCE Yeah. Or the week after. Quince sees Parrish hesitate. QUINCE (cont'd) No good? PARRISH No, anything is possible. (lightly) It's up to Joe. QUINCE Joe, you don't know how glad I am you're aboard. Anybody who can take some of the weight off the old man, I'm in his corner. JOE That's very gracious of you, Quince. QUINCE No problem. I'll leave you two alone. I can tell you guys have something on the fire -- An excited Quince drains his drink and heads for Drew as Allison appears. ALLISON (to Parrish) Did you know twenty-six members of your rifle company are coming? PARRISH Who? ALLISON From the Korean War. PARRISH Conflict, honey. Korean Conflict. ALLISON Whatever it was, they'll be here. We sent out invitations to everyone, plane tickets included -- the RSVP's are amazing. A few of them we didn't hear from, and some of them are dead, of course -- PARRISH Of course. ALLISON (a moment) You know, we're going to give this party for you whether you like it or not. PARRISH I like it. I like it. I'm sorry I don't seem more appreciative. ALLISON (resignedly) That's okay, Daddy. ANOTHER ANGLE Across the room, Quince has pulled Drew aside: QUINCE ...I know you're down, but you know when you're down, Drew, there's no place to go but up. DREW Thanks, Quince. QUINCE Never mind Bontecou. I've got some other merger possibilities up my sleeve, and I'm putting them to see old man. DREW Are you? QUINCE We'll do it together. I'll clue you in. Timing's got to be right. The old man says it's up to Joe. DREW 'It's up to Joe'? Those were his words? QUINCE Yeah. DREW 'It's up to Joe', huh? QUINCE Yeah, that's what he said. DREW Well, that's very interesting. Drew gazes intently over at Joe who is crossing to Susan, for the moment by herself near the piano. QUINCE I thought so, too. Joe's a neat guy. DREW Yeah. Neat. ANOTHER ANGLE Joe approaches Susan. JOE I wanted to apologize, Susan -- SUSAN I thought you said 'Be sorry for nothing'. JOE Well, now I am sorry. For intruding on you this afternoon. SUSAN It wasn't an intrusion. And if it was, it turned out to be welcome. JOE I appreciate you -- SUSAN Excuse me? JOE I mean I appreciate that. SUSAN And I appreciate you, too. A moment between them. JOE (delighted) You do? Well, thank you very much. ANOTHER ANGLE Drew crosses over to Parrish. PARRISH I was a little abrupt with you this afternoon, Drew. Forgive me. I want you to know I value your advice. DREW As much as Joe's? Parrish doesn't answer. DREW (cont'd) Who is this man? He's giving ubiquitous a bad name. A moment. PARRISH You're competitive soul, Drew. That's what makes you a great addi- tion to the money. Joe is just... around. DREW For how long? And why? PARRISH Please. Don't worry about him. And above all, don't antagonize him. Drew glances over at Joe. DREW Boss's orders, huh? I'm great at following them. And I think I'll start right now. Allison calls out from the other side of the room: ALLISON Dinner's ready, everybody! A BUZZ as Coyle opens the doors to the dining room and the family files in, Drew lingering behind with Joe. DREW I have a confession to make to you, Joe. Joe just smiles in response. DREW (cont'd) Do you want to hear it? JOE (pleasantly) No. DREW Well, I'm going to tell you anyway. I did cheat on that exam at Groton. But so did twenty-six other guys, and nobody ever mentioned it until today. And I'm expecting you won't mention it again. I don't know who you are and where you're getting your information, but I'm willing to pretend I did not hear it, and let bygones be bygones. But can I tell you something else, it'd be nice to see the big guy without you next to him. What are you, his shadow? Do you hold his dick for him when he goes to take a leak? You know some- times somebody would like a few min- utes alone with W.P. That means without you. Okay, pal? Let's eat. INT. DINING ROOM, PARRISH TOWNHOUSE - NIGHT Everyone eating silently but looks are exchanged, glances averted, Allison notices Susan and Joe looking at each other, Drew observes Parrish watching Joe, Quince, on the other hand, just eats. Breaking the silence, Parrish chinks his glass, stands. PARRISH -- I - uh - want to thank you all for coming - uh - my family -- Everyone at the table is all attention. PARRISH (cont'd) -- Allison and Quince, Susan -- and the other members -- He glances at Joe, stops. PARRISH (cont'd) -- I'm so happy when we can get together -- I mean I know you all have busy lives -- SUSAN Look who's talking. ALLISON (a laugh) Yeah, speak for yourself. PARRISH Anyway -- I remember when you were little girls -- An awkward pause. Quince chooses to fill the silence. QUINCE I love little girls -- Allison elbows him. PARRISH And now you're all grown up -- and I'm - uh - um -- Parrish struggles to keep his emotions in check, Drew clocking his behavior very carefully. PARRISH (cont'd) I had some words all prepared but now I've forgotten them - uh - um - wait a minute. Silence, everyone waiting for Parrish to proceed. PARRISH (cont'd) Uh, it's gone...um -- it was on the tip of my tongue. SUSAN It'll come back, Daddy. PARRISH Will it?... Parrish looking around, searching for words he will not find. PARRISH (cont'd) Anyway, I'd like to go on but... He hesitates, drifts into silence. ALLISON (tentatively) Daddy, you could sit down if you wanted to. A moment. PARRISH There is so much I would like to say -- but I can't -- (another moment) So I better sit down. Carry on, everybody. He sits, then immediately stands up again. PARRISH (cont'd) One other thing -- why don't we all have dinner again tomorrow night? ALLISON Dinner? Again? SUSAN Haven't you had enough of us, Dad? PARRISH (with great sincerity) No. The word lands with effect, Susan and Allison have heard it well. SUSAN We'll be here. QUINCE You bet. ALLISON With bells on. The guests try to return to their food, Susan is the most concerned about Parrish's lapse, she does not say anything but Drew next to her senses her empathy and, in something of a display, gives her a pro forma hug. Joe has observed every instant of Drew's performance, his anxiety is palpable when Coyle leans over to serve him, offering a tray of a roast that has been carved. JOE (to Coyle) I would prefer some peanut butter. COYLE How would you like that, sir? On some kind of toast? JOE Toast? No...just the butter. COYLE Right away. Coyle heads for the kitchen. SUSAN Why do you love peanut butter so much? JOE (intimately) I don't know. SUSAN I adore things like that....food I can't do without. Don't you? Joe is locked on Susan, it is as if there is nobody else in the room. JOE Yes... SUSAN It comforts you, doesn't it? JOE (captivated) Yes...I've found that it does. DREW Mind if I throw up? PARRISH (admonishing gently) Please, Drew. JOE (to Susan) I'm very concerned about the woman you attended to today. SUSAN I am, too. JOE Has her pain abated? SUSAN We're doing what we can for her. But it doesn't look good. JOE I'm sorry to hear that. DREW Who are we talking about? JOE (to Susan) But I know she's grateful for the care you're giving her. DREW Is this a state secret or are we being excluded just for the fun of it? JOE (to Drew) Susan's patient is whom we are talking about. SUSAN Joe visited the hospital today. Parrish's head swivels to Joe. ALLISON Did he? That's more than we get to do. DREW Well, maybe next time Joe goes, he'll take us along. JOE Perhaps you could remind me. DREW I'll make a note of it. Anything else? QUINCE I'd like to come, too. See Susan strut her stuff. DREW You're on, Quin-cee. Destination Hospital. Joe, you'll be the Tour Guide. Okay? How's that sound to you? Silence. Parrish regards Joe, then Susan, his face reflects a sudden concern with their relationship. JOE Susan is a wonderful doctor. INT. SALON, PARRISH TOWNHOUSE - NIGHT After dinner, the family and guests file back in from the dining room, Drew alongside Parrish. DREW I have to go, Bill -- it's been a helluva day. Need a few minutes to sort everything out. PARRISH Okay, we'll see you tomorrow. DREW Sure. Drew peels off, heads for the foyer and front door, Susan follows him. Parrish corners Joe. PARRISH Why did you go to the hospital? JOE I don't know. PARRISH You were just curious? JOE I guess... PARRISH About Susan? JOE I wouldn't put it that way. PARRISH What way would you put it? JOE You tell me, Bill. PARRISH How about you telling me? When I ask a simple question, I expect a straight answer. That's what I'm used to. Anybody who doesn't give it to me, I fire. JOE Are you going to fire me, Bill? Silence, Parrish is at a loss. INT. FOYER - NIGHT Drew is putting on his coat, Susan with him, a tension between them, a heavy silence finally broken. SUSAN ...See you tomorrow night. DREW Include me out. I've had enough of the conversations. SUSAN You don't mean that. You wouldn't disappoint Daddy -- DREW Daddy'll do fine. Besides, he's got Joe. (a moment) And so do you. SUSAN Drew, you're out of line. DREW That may be. But I don't like the fucker. I don't like the way he looks at you and talks to you. And vice versa. SUSAN Sorry, but I like the way he looks and talks to me. And vice versa. Okay? DREW No, not okay. I thought we had a good thing going here. (a moment) It shows you never know. Silence, neither knows how to continue. SUSAN Well... goodnight. DREW Yeah. Goodnight. Drew goes, Susan turns to find out at the far end of the foyer, he's been observing them. She walks up to him. SUSAN How long have you been standing there? JOE I don't like the way Drew spoken to you. But I feel better about it now because of the way you spoke back. A moment. SUSAN Tell me about yourself, Joe. Who you are. What you're doing with my father. Susan's directness has caught him by surprise, Joe blinks. SUSAN (cont'd) So you're not going to tell me? Joe remains silent, rendered extremely anxious by Susan's inquiries. SUSAN (cont'd) You're married, aren't you? JOE Why? SUSAN Because guys who never say anything about themselves are always married. Joe doesn't respond. SUSAN (cont'd) So you are married. JOE No, I'm not. SUSAN Girlfriend? JOE No. SUSAN Gay? JOE No. Susan comes closer to Joe. SUSAN Then tell me, Joe, how come a man as attractive, intelligent, well- spoken ,diffident in the most sed- uctive way, and yet powerful, is all alone in this world? Joe tries to respond but he can't, his stammer interrupted by Susan. SUSAN (cont'd) I'm sorry, I don't want to pry and you don't want to tell me. So let's leave it a mystery. That's the way you want it, isn't it? Susan takes another step closer to Joe. JOE Thank you, I appreciate that. They are inches apart now, the smell of each other surrounds them, a heaviness to the moment, now Joe turns to head up the stairs. SUSAN Where are you going? JOE (softly) To bed. SUSAN (suddenly fragile) 'To bed'? JOE Yes. I'm tired. He excuses himself with an ineffable gesture, now climbs the stairs, Susan watches him disappear. She turns back into the salon just as Allison and Quince are exiting, "good-byes" all around. Susan is left alone now with Parrish who is fixing a drink at a sidebar. PARRISH That was wonderful. SUSAN Yeah, it's good to get together. PARRISH Do you mind if I raise a little caution flag? SUSAN Raise away. PARRISH What is the nature of your interest in Joe? SUSAN Well, remember how you told me about "lightning striking"? The nature of it's in there somewhere. Parrish drops another cube of ice in his drink, takes his time before answering. PARRISH I won't say you may be getting onto shaken ground -- SUSAN Then what will you say? PARRISH I don't think this is the lightning you are looking for. Drew's a good man. I know I didn't seem to be completely in his corner before, but I've come to appreciate -- SUSAN Now we love Drew and Joe in verbo- ten? What's going on? PARRISH Nothing. SUSAN When you say 'nothing' that way, it's not nothing. PARRISH Then what is it? SUSAN It's something. She kisses him. SUSAN (cont'd) G'night, Daddy. See you tomorrow. This is getting interesting. She goes. CUT TO: INT. THE CARLYLE HOTEL - NEXT DAY A large suite, room service carts creaking with pots of coffee and half-eaten pastries. The Board of Parrish Communications is gathered, absent are Parrish and Quince. Felicia, Drew's secretary, takes notes. DREW ...I know you're all as uncomfor- table as I am to be meeting without Bill, but I got a call last night from John Bontecou. Not only is he still interested, he is sweetening his offer. (a moment) Although it pains me to say it, in my opinion Bill Parrish dealt with us peremptorily in dismissing any deal with Bontecou. Therefore, I'm sorry to say that if we are to exam- ine this new offer responsibly as the Board of Directors of Parrish Communications, we must do so with- out its Chairman. (another moment) Oh yes, there is one additional element: Bontecou is so anxious to get us, he said he'd take Parrish Communications with our Chairman or without. The Board falls silent. Sloane, a peer of Parrish's, fidgets. Drew milks the moment. DREW (cont'D) It's no surprise if I suggest to you that the Bill Parrish we know is not the Bill Parrish you saw yesterday. You heard that speech -- some strange emotional rationale to buttress a knee-jerk rejection of a legitimate offer. Does it not strike you that something is possibly affecting this man's judgement? More specifically -- his judgement to make a critical business decision? Silence, the Board clocking Drew's argument. DREW (cont'D) It's not pleasant to say the follow- ing, but I would be remiss, in this crisis, if I did not. When we pre- sent Bill with the improved Bontecou offer, and if he refuses to let us consider it -- once more makes an adamant or emotional rejection -- we will have no choice but to seek an alternative. SLOANE And what would that be? DREW Bill's birthday is the day after tomorrow. There is a provisory by- law in our charter. Per the discre- tion of the Board, Corporate off- icers can be retired at age sixty- five. SLOANE You're taking this too far, Drew. DREW Am I not obligated to? Drew leans over to Felicia, speaks quietly and she leaves the room. DREW (cont'd) How did this all come about? Crisis -- Bill Parrish, crisis -- his com- pany, crisis for us. I came about with the arrival on the scene of -- Mr. Joe Black. Mr. Joe who? Joe Black. He attends our Board meet- int, he sleeps at Bill's house, re- sides in his office. Never leaves his side. And, in my opinion, is always in his ear. Telling him what to do and Bill is listening. Who is Joe Black? What is his relationship to Bill Parrish? And most important, what is behind his influence on our Chairman? SLOANE You're building this thing up too much, Drew. He's had advisors be- fore. Nobody tells Bill what to do. The door opens and Felicia enters followed by Quince, sur- prised at seeing a convened Board, but still he is all smiles. DREW Thank you for coming. SLOANE Hello, Quince. QUINCE Hi, Ed, hi folks, I didn't know everybody was going to be here, what a nice surprise. What's the big confab? SLOANE (acidly) This is a secret meeting. DREW (to Quince) I hope you'll respect its nature -- What we're trying to do here is gather our thoughts -- in light of Bill's rejection of Bontecou's offer -- and make an appropriate presenta- tion to him as to how we think the company might proceed. Won't you share with our Board the information you gave me last night? Quince hesitates, then realizes what Drew has on his mind. He nods confidently to Drew, then turns importantly to the Board. QUINCE Well, I'm happy to tell you I've got good news. As I was telling Drew, I've been making a little hay while the Bontecou sun was shining -- two, possibly three new and boiling hot prospects for merger. DREW How did Bill react to the leads you've developed? QUINCE He was interested. DREW (prompting) -- But he was concerned about the timing? QUINCE The timing -- yes. He says it's up to Joe. DREW 'It's up to Joe'? QUINCE That's what he said. Quince, having dispensed his information, looks proudly around at the Board members. They are stunned, Sloane in shock. Drew is absolutely still, letting Quince's words sink in. INT. DINING ROOM, PARRISH TOWNHOUSE - NIGHT Parrish, Joe, Susan, Allison and Quince are seated at the table, dessert plates in front of them, coffee cups beside. Allison and Susan's eyes are on Parrish, looking for some clue as to why has he gathered the family together yet again. Parrish is somewhat within himself, but he peeks over his demi-tasse cup at Joe, Parrish aware of Joe's heightened interest in Susan, and Susan's reciprocation. Coyle enters carrying two imposing stemmed silver trays with cakes on them, Luisa follows with one other. They set them down in front of Parrish. PARRISH What is this? ALLISON Annie made them. PARRISH Who's Annie? ALLISON From La Rosette, only the greatest pastry chef in America. (pointing) This is orange, from real Seville oranges. Lemon, on a mille-feuille crust, a little on the fanciful. And a while, nothing like a good old white cake, vanilla, with Angel food but some maroons shavings thrown in. PARRISH I don't like cake. ALLISON It's for the party, Dad -- PARRISH Oh, the goddam party -- ALLISON 'Goddam party'! Allison bursts into tears. ALLISON (cont'd) (to Quince) Did you hear that? Quince quickly slashes a piece, takes a huge bite. QUINCE This is great, honey. The orange. Has it got a little vodka in it? Like that Finnish stuff, orange vodka -- (to Parrish) Put your lips around this one, Bill. It's out of this world. PARRISH No thank you, Quince. (to Allison) I'm sorry, honey. I'm no good at this. Why don't you choose whatever cake you like? ALLISON I knew you were going to say that. Tito Puente. The old platoon. Now the cake. You just don't care. Why did I do this? I should have my head examined. I'm trying to throw the party for the century for my father - and you know what -- he doesn't give a shit. She bursts into tears all over again. QUINCE But he does give a shit. Don't you, Bill? PARRISH Yeah, I give a shit. QUINCE See. There. What'd I tell you? Joe watches as Quince dabs at Allison's tears with a napkin. QUINCE (cont'd) Feel better? ALLISON Yeah, but -- QUINCE But what? ALLISON What will I tell Annie? Parrish forks a bit of a cake. PARRISH This one. QUINCE The vodka. What'd I tell you? Quince puts a reassuring arm around Allison, she seems to relax now, Joe has been a keen observer of what has trans- pired between husband and wife, between man and woman, a sense that he has taken in the virtue of such a relation- ship. INT. SALON, PARRISH TOWNHOUSE - NIGHT After dinner, Parrish, Allison and Susan are gathered to- gether. At the bar on the other side of the room, Joe watches as Quince pours himself a stiff hooker of brandy. JOE (to Quince) Cirrhosis of the liver is the fifth leading killer of adult Western males. QUINCE I didn't know that. JOE On the other hand, Winston Churchill drank a bottle of cognac a day and lived until he was ninety-one. After a moment. QUINCE You're an original, Joe. A little hard to figure, maybe... JOE And you're a nice man, Quince. QUINCE Thanks. JOE You're welcome. ANOTHER ANGLE Drew appears unannounced in the doorway, exchanges a tense glance with Susan, then heads straight for Parrish who seems surprised to see him. DREW (to Parrish) Sorry to intrude, Bill, but we've got a bit of a crisis downtown -- it's not something we could talk about on the phone. Parrish takes Drew aside. DREW (cont'd) The Board's real unhappy, Pappy -- they felt you dealt with them pre- emptorily, you never gave them a chance to speak -- PARRISH What is there to say? They know what John Bontecou is -- and if they didn't, they know now. DREW Yes, you made your feeling abun- dantly clear. Now they want to do the same with theirs. PARRISH What are their feelings? DREW If I read this Board right now, they want you to accept Bontecou's offer. PARRISH Over my dead body. Parrish's burgeoning anger has now gotten the attention of Joe, Susan, Quince and Allison. DREW What do you think the Board is going to say when I tell them that? PARRISH I don't care. DREW With all due respect, you damn well better care because if you try to stonewall them again, there'll be blood on the floor. Silence, Parrish carefully calibrating Drew's remark. PARRISH Whose? DREW Yours. PARRISH I'm feeling real uncomfortable right now because the guy who reports to me is threatening me. DREW I'm just giving you the truth. There was a time when William Parrish liked the truth. Joe, although across the room, is all attention. PARRISH I think it's time you went home, Drew. DREW Certainly. Goodnight. Drew goes, everybody is in shock, Susan pursues him out into the hallway. SUSAN Drew! He stops. SUSAN (cont'd) Never talk to my father like that again. DREW Don't worry about it. There's a beginning and a middle and an end to everything. And I think I've come to the end of my chapter with the Parrishes. Joe has followed them into the hallway. DREW (cont'd) And the end began with this guy. Drew looks down towards Joe. DREW (cont'd) Mr. Black --? We ran a check on you and you know what we came up with? JOE No, I don't -- DREW Not good, not bad, you know what we got? Nothing. No credit, no cars, no mortgages -- no wives. Nothing. Joe waits. DREW (cont'd) All of a sudden a guy appears on the scene with the Chairman of one of the greatest communications corpora- tions of the world, the boss makes him privy to all the company's secrets, he attends the Board meet- ings, and us working stiffs with MBA's up the ass and years and years and years of experience, we're left outside with our noses pressed against the window. Joe doesn't respond. DREW (cont'd) This is a big-time operation, deal- ing in big-time issues, demanding big-time executives who make big- time decisions. So, Joe, why don't you tell me exactly what it is that's big time about you? After a moment. JOE You first. SUSAN (to Drew) Why don't you get off his case? DREW Oh, you're the great Joe's attorney now? Are we going to go to court? Or are we going to go to bed? And I don't mean you and me. I mean you and him. SUSAN That's it. It's over. Get out. DREW So I guess a blowjob's out of the question? Joe clears his throat. DREW (cont'd) Did you say something? Joe considers him evenly. JOE Almost. SUSAN (to Drew) I said get out. Now Drew wheels, heads right for the front door and exits with a SLAM. JOE What an angry fellow. A moment passes before Susan realizes she and Joe are alone, and Joe does as well. SUSAN I'm sorry about -- JOE Please. We don't need to talk about Drew. She regards Joe. SUSAN No. We don't. They drift, osmotically, into the library in awkward silence. SUSAN (cont'd) Brave you had a chance to look at Dad's rare books? Jefferson's Parliamentary Manual, a first edition Bleak House -- Joe comes closer, takes a deep breath. JOE I love your smell. SUSAN -- I guess you haven't. Now Susan, close to Joe, leans closer, her nose in Joe's neck. Joe holds himself very still. SUSAN (cont'd) I like your smell, too. JOE Thank you. SUSAN It was everything. Silence, the TICKING of the clock. SUSAN (cont'd) When I was little, my mother used to say, "Darling, you could set your heart by this clock". JOE -- Could you? SUSAN Never tried, 'til now. (suddenly) Joe, may I kiss you? JOE Why, yes. Thank you. A moment. SUSAN You're welcome. Susan reaches out for Joe, they kiss, he is awkward but his very awkwardness endearing. Susan pulls him closer, they linger now, mouths on each other's, then separate. SUSAN (cont'd) Thank you. JOE You're welcome. The clock TICKS on. A sense of foreboding falls over Joe's face, his fear that he is passing through some barrier, a point of no return. SUSAN Joe? The apprehensive expression on Joe's face fades away. JOE Yes? SUSAN I don't know who you are. JOE Well...I'm -- uh, Joe. And you're Susan. And I - uh - have this weak feeling in my knees -- SUSAN And is your heart beating strangely? JOE Faster. And I want the scent from underneath your ears and the taste of your lips and the touch of your tongue to stay with me -- forever. An intake of breath. She is about to speak. JOE (cont'd) And you don't even have to say a word. Their faces inches from each other's. SUSAN I have to go home. But neither Susan nor Joe moves. SUSAN (cont'd) Don't I? Her question makes Joe, almost involuntarily, smile. Susan takes the opportunity to step back from him. The SOUND of someone at the door, it is Parrish, Susan turns, comprehends immediately how the situation will appear to him. SUSAN Goodnight, Daddy. She drifts right past him, exits. Joe and Parrish are left alone now, eyes on each other's. JOE Hello, Bill. PARRISH (carefully) Hello. Would you like to join me, Quince and Allison for a nightcap? JOE Um -- not right now. An awkward moment. PARRISH Okay. Goodnight. JOE Goodnight. Parrish turns and exits, Joe's head inclines, he breathes in the scent of his collar. CUT TO: INT. EXECUTIVE SUITE, PARRISH COMMUNICATIONS - NEXT DAY Parrish, followed by Joe, emerges from his private elevator, is greeted as usual: JENIFER Good morning, Mr. Parrish. PARRISH Good morning, Jennifer. JENIFER The Board is waiting. PARRISH What? JENIFER Didn't you call a Board meeting? Jennifer sees Parrish is trying to right his balance, she knows better than to press the point. JENIFER (cont'd) Yes, the members are waiting. They are in the Board room now. Jennifer nods respectfully as Parrish doesn't cast a flicker of any further surprise, heads straight for the Board room, Joe right beside him. INT. BOARD ROOM, PARRISH COMMUNICATIONS - DAY Parrish and Joe enter, the entire Board is assembled, includ- ing Drew, Quince and Sloane. PARRISH Good morning. An odd mixture of responses, the Board sheepish and at the same time looking their most dutiful at this odd meeting, its sudden convening clearly a problem for Parrish, a prob- lem which he does not attempt to hide, only control. DREW Did you want to have a cup of coffee or something, Bill? PARRISH I don't think so. Do you? Drew gets the message, at the same time Joe is checking out all the attendees, his eyes come to rest on Drew. DREW (to Parrish) To get to the point, we have re- ceived new information from John Bontecou concerning his desires for this company to merge with his, and we wanted to set the details before you. A moment as Parrish looks around, the moment extends, it appears he may not ever answer. PARRISH That's it? DREW Bontecou wants a quick response and -- PARRISH The answer is no, quick enough for you? DREW Don't you want to hear the details? PARRISH I'm not interested in the details. And I'm not interested in the big picture either. What I am inter- ersted in is how my Board got conven- ed behind my back, is entertaining a further proposal from a man whom it offends me to do business with, moreover has the audacity to present this to me like a prize fish, and I am expected to clap for it like a performing seal. No, thank you. DREW So I am to understand from your re- sponse that you do not want to hear the details of Bontecou's offer? PARRISH Yes, you are to understand that, and now may I ask you a question? DREW Certainly, Bill. PARRISH Are you running this Board or am I? Sloane leans in. SLOANE We're not getting anywhere here. Why don't we take some of the best out of this thing, let's consider it coolly, let's take a week -- DREW Bontecou wants a speedier response than that. SLOANE He'll wait -- PARRISH Doesn't need to. Today, tomorrow, a week from now -- 'a week from now', who can think about a week from now -- the answer is going to be the same -- a loud, unmistakable, all-inclusive, airtight -- 'No'. A BUZZ amongst the Board, they finally rustle into silence under Parrish's withering glance. PARRISH (cont'd) That's it? I've got a busy day and this meeting has already set me behind. Shall we adjourn? DREW Before we do, while we're here, there is a second question the Board would like a response to, a far simpler one. Parrish waits. DREW (cont'd) Who is the man sitting to the right of you? Everybody's eyes are on Joe. PARRISH I've already introduced Mr. Black to you all. DREW But who is he? What are his creden- tials? What is his relationship to you? No response from Parrish. DREW (cont'd) The feeling of the Board is this: we fear Mr. Black is not only influenc- ing your decisions in regard to this company, but that you are relying on him to make them for you. Quince flinches at these words, his hands clasped in front of him, his knuckles white as Parrish regards Drew, but still does not answer. DREW (cont'd) The lack of response, Bill, is not appropriate. We are your Board, we have a right to know how you are managing the operations of this company, and most importantly, that you have not delegated someone to do it for you. Parrish squirms, desperately uncomfortable but still does not speak. DREW (cont'd) Okay, one more time. Drew regards Joe. DREW (cont'd) Who is Joe Black? Parrish stares stoically into the middle distance as Quince's head sinks into his hands. DREW (cont'd) (to the Board) A motion has been brought before the Board to invoke Article 19 of the corporate charter. PARRISH In English, please. DREW Mandatory retirement upon our Chairman's sixty-fifth birthday. Parrish is expressionless. DREW (cont'd) At which time, the Chairman will be named Emeritus, he will be welcome to attend all meetings, and will serve as International Spokesman for the corporation plus, of course, a settlement, a golden parachute of such magnitude that his feet will never touch the ground. Drew pauses. DREW (cont'd) Please indicate your vote by a "Yes" or "No". A "Yes" is heard, now another "Yes", now more "Yes"es, all reluctant, "No" from Sloane, "No" from Quince who realizes he is the instrument of Parrish's dismissal. DREW (cont'd) The motion is passed. We will of course delay the announcement, out of respect for our former Chairman, until after the celebration of his birthday this weekend. PARRISH Thank you for allowing me to save face, Drew. Joe's eyes are riveted on Drew. DREW (to the Board) The other motion before us is the acceptance of John Bontecou's offer to merge this corporation with Bontecou International -- Parrish stands, Drew stops speaking. PARRISH Joe? Silence, then Joe rises. JOE (to the Board) Who I am, and my relationship to Bill, will be divulged in our own good time. Joe follows Parrish out of the room. INT. HALLWAY, OUTSIDE BOARD ROOM - DAY Sloane has pursued Parrish and Joe. SLOANE (to Parrish) ...It's not over, 'til it's over. PARRISH Please, Eddie, no 'Fat Lady Sings" shit. SLOANE I still sense some doubt in this group, we could turn it around. You'll be up in the country? PARRISH Yes, the big 'celebration' of my mandatory retirement birthday. You're an honored guest, Eddie. SLOANE I'm going to stick it out here. We still have a shot. The elevator door opens, Parrish and Joe step inside and the door closes, leaving Sloane behind. INT. HALLWAY, PARRISH COMMUNICATIONS - DAY The Board meeting has broken up, clusters of members have lingered, exchanging post-mortems. And enraged Quince has cornered Drew, out of earshot of the others. QUINCE What have you done? You've gotten the old man fired! DREW That we did. Thanks to you. He was wobbling, mind you, but you stupid the coup de grace. Quince falls silent, aquiver with this reality. QUINCE I'm going to put a stop to this! DREW Quince, you can't unscramble scrambled eggs. QUINCE But I didn't mean to do it! DREW The train's left the station, pal, and you're aboard. Would you like to hear the silver lining? Check that, gold. I've been working with John Bontecou all along. We had a game plan -- acquire Parrish Communications then break it apart and peddle it piece-by-piece to the highest bidder. I set it up for him, he smacks it out of the park. Quince is struck dumb. DREW (cont'd) Don't you know what this'll mean? You'll be rich. You'll sell your stock, you can stop kissing ass -- What'll it feel like to be a man? QUINCE I don't want to get rich this way -- I'm going to expose you. DREW Go right ahead. Tell William Parrish how you betrayed him at a secret Board meeting. And tell Allison how you got her father fired -- and he lost his company. Quince goes ashen. DREW (cont'd) It's just life, Quin-cee. Drew hails an employee across the hall. DREW (cont'd) (to Quince) Wake up and smell the thorns. Drew joins the employee as Quince slumps against the wall. INT. FOYER, PARRISH TOWNHOUSE - DAY Parrish enters, Joe right behind him, Coyle takes their coats, disappears. Parrish hesitates for a moment, shrugs as if he has a thought he doesn't want to share, then heads upstairs with Joe. He is trudging a bit, Joe senses his mood. JOE I'm sorry, Bill -- PARRISH That's okay. JOE What's okay? PARRISH Just a manner of speaking. Joe seems puzzled. PARRISH (cont'd) What 'okay' is, it's 'okay' it's over. We've got bigger fish to fry, don't we, Joe? JOE 'Fish'? PARRISH Never mind. I'm tired. I'm going to take a nap. A moment. PARRISH (cont'd) Are you hungry? Coyle will have Luisa fix you something to eat. JOE I'm not hungry. PARRISH Then I can't help you. Parrish turns into his bedroom, closing the door gently behind him. Joe continues down the hall, enters the guest wing. INT. GUEST SUITE, PARRISH TOWNHOUSE - DAY Midday sunlight streams into the sitting room, Joe passes through to his bedroom, sits tentatively on the bed, feels the edge of the silk spread, touches the pillow, then rises again, crosses back to the sitting room. Susan appears in the doorway, Joe suddenly senses her, turns around. SUSAN You're here? JOE I am. He stands, they regard each other for the moment. JOE (cont'd) May I take your coat? She doesn't answer, starts to take off the coat herself, Joe comes around her to help, Susan senses him breathing in the scent at the back of her neck. SUSAN I just thought I'd drop by, scrounge a little lunch, I was in the neigh- borhood -- JOE How beautiful. He starts to hang Susan's coat up. SUSAN Just throw it on the chair. Joe holds her coat carefully on the chair. An awkward moment, the two of them shifting from foot-to-foot. SUSAN (cont'd) When I called, they said that you and Daddy had just left the office. JOE He's taking a nap. SUSAN He must be tired -- this Bontecou thing -- JOE Yes, he's tired. I believe so. A moment. JOE (cont'd) You must be hungry? Susan sits on the couch. SUSAN No, not anymore. Are you? Joe hears the question but doesn't answer, sits down on the couch beside her. SUSAN (cont'd) (after a moment) Are you cold? JOE ...No. SUSAN Maybe it's the draft through the door. She gets up, closes the door, sits back down again next to Joe. A warm, awkward silence, they move closer to each other, now they fall into a foreplay which Susan recognizes as such, Joe, on the other hand, participates hungrily but has no knowledge where it is leading. His movements are instinctive, the smell of her hair, the shape of her fin- gers, odd things about her seem to interest him. This excites her because she senses his untutoredness and the very sense of that stirs her, their reactions to each other are intuitive and spontaneous; even though Joe has no know- ledge of how to make love to a woman, ironically his actions are such that they never beg the question -- has he done it before. Strange territory for Joe, not to be 'in control' and exert- ing his power, but his inventions and responses in lovemak- ing are so real that an emotional exchange between he and Susan builds. Joe has found himself in an unexplored land of feeling and passion, he loves what is happening and yet at the same time, is terrified by it. He feels himself being lured by some power he has not only never been aware of, but is deeply dangerous to partake of; he knows what he is doing is putting who he is at great risk, yet he goes right on. The powerful contradiction is transmitted to Susan, and in the end there is the knowledge they have together made a journey, they both have been swept away in a stream of events they have created; and they don't care about the consequences. Spent, they lie in silence. Finally Susan speaks: SUSAN It's so wonderful to make love to you. It's like making love to some- one who has never made love before. Joe senses an opportunity not only to admit to what she has said, but to tell her more, even the truth about himself. He weighs, then resists, the impulse. JOE Thank you. Her head nestles underneath his arm, she has a sense of his comforting her without knowing that he is doing so. SUSAN Did you like making love to me? JOE I loved it. SUSAN More than you love peanut butter? JOE Yes! She laughs at the earnestness with which he answers. Joe seems to drift away now, they lie together as one but for the first time, she feels separate from him, sensing him gone to some distant, distant land. SUSAN Where are you going? JOE Nowhere? I'm...here. SUSAN For how long? JOE Oh, I hope a long, long time. A moment. SUSAN Me, too. Another moment. JOE What do we do now? She smiles. SUSAN It will come to us. INT. FOYER, PARRISH TOWNHOUSE (LATER) - DAY Joe and Susan are at the front door, he has helped her on with her coat, she turns around, they kiss. The kiss lingers, Susan breaks away, reaches for the door, looks back longingly at Joe and then she is gone, Joe closing the door softly after her. He turns back into the foyer, looks up, Parrish is on the balcony, it is clear he has observed Joe and Susan. JOE Hello, Bill. Parrish, in a state of shock, doesn't answer for a moment. JOE (cont'd) Did you have a nice nap? PARRISH I couldn't sleep. JOE I'm sorry to hear that. He starts up the stairs. PARRISH No, I'll come down Joe waits guardedly at the bottom of the stairs as Parrish descends. PARRISH (cont'd) What's going on? Joe senses Parrish's tone, doesn't answer. PARRISH (cont'd) I saw you kiss Susan. JOE Yes, I saw you see me. PARRISH Well, you're at the wrong place at the wrong time with the wrong woman. JOE I'll be the judge of that. PARRISH I'm her father! JOE With all due respect, Bill, I'm not asking your permission. PARRISH Well, you goddam well should. You walk into my life, give me the worst news a guy can get, have me dancing on the heads of pins with my busi- ness and with my family, and now you're spooning with my daughter. JOE 'Spooning'? PARRISH Yes, and stop repeating everything I sai, and turning it into a question. Spooning, fooling around, God knows what. You arrive on the scene -- why you picked me, I still don't under- stand -- JOE I picked you for your verve, your excellence, and for your ability to - how shall I say - instruct. You've lived a first-rate life. And I find it eminently usable. Parrish measures Joe. PARRISH What do you want? Joe doesn't answer, riveted now on Parrish. PARRISH (cont'd) Everybody wants something, Joe. You've been taking me from pillar to post here. I thought I knew who you were, and it wasn't a whole lot of fun, however it was almost bear- able. Now I'm getting something else from you, something very, very strange -- what is it that you want, Joe? JOE I'm only following the Parrish bywords. Looking for that 'ounce of excitement', that 'whisper of a thrill' -- What there is no sense living your life without. You know what I mean, Bill. Parrish's jaw sets. PARRISH You're violating the laws of the universe. JOE This universe? PARRISH Any universe that exists or ever existed. You may be the pro, Joe. But I know who you are. And you're all fucked up. JOE I don't like your tone, and I don't like your references. PARRISH And I don't give a shit. JOE May I remind you this is not just a dispute with a putative suitor, this is me. So watch it...Bill. PARRISH Cut the 'Bill' crap out -- you sonofabitch. JOE I told you, 'watch it'. Silence. Now Joe turns on his heel, heads right out the front door. Parrish is left solitary, confounded, staring at the closed door. INT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY Joe walks down a hallway, a bouquet of flowers in hand, looks around the usual feverish activity, he seems lost for the moment, but a Receptionist catches his eye. RECEPTIONIST Can I help you? JOE Dr. Parrish. RECEPTIONIST She comes on at 6. JOE Oh. He looks at the flowers, regards them for a moment, then heads for an elevator. INT. EASTER'S ROOM, NEW YORK HOSPITAL - DAY Easter is sitting up in bed, hooked up to an TV and moni- tors. She glances over at the doorway, Joe is standing there, observing her. An awkward silence, he looks at his flowers again, now sets them respectfully on Easter's bedstand. EASTER Mistah Bad News. 'Bout time you show up. Joe speaks to her in the dialect. JOE Don' be facety, woman. EASTER None facety, mistah. You come for me? Dat's good news. JOE No, I come to see Doctor. EASTER Doctor? What could be wrong wit' you? JOE Nuthin'. Silence, then Easter smiles. EASTER Oh, you come to see Doctor Lady? JOE Yes. EASTER My Doctor Lady? JOE Mine, too. She thinks about this for the moment, Joe grows uncomfort- able. EASTER You in love? Joe seems slightly tormented by the question, Easter senses him trying to frame a respect. JOE Yah. EASTER You loved back? JOE I am. EASTER She knows you real self? JOE She knows how she feel. EASTER (scoffing) Rass! JOE (irritably) Don' need you okayin'. EASTER Schoolboy tings is you head. Badness for you, badness for her, badness for me, lyin' here tumor, big as breadfruit, poison my inners an' waiting. JOE Brung you flowers and all I gettin's facety back. EASTER (stubbornly) Only flowers I wan' see's one's over my peaceful self restin' in the dutty. JOE Can do no right by people. Come to take, you wan' to stay, leave you stay, you wan' to go. Rahtid! Silence, Easter waits, watching Joe. EASTER You not in you right place, mistah. Easter's response stops Joe cold, he looks away and then back at her, she had clearly reached him. EASTER (cont'd) I ain' either. No more. You come wi' me now. Take me. JOE But I not lonely here. Somebody want me here. Easter considers Joe, she smiles sympathetically. EASTER It nice it happen to you. It like you came to Cat Island and you had a holiday, sun didn't burn you red, just brown, sleep no mosquito eat you, rum no poung you head nex' day. But trut' is, dat bound to happen, you stay long enough. So tak dat nice picture home wi' you, but don' be fooled. We lonely here mostly, too. If we lucky, we got some nice pictures. Easter drifts into silence, her eyes and Joe's meet, a sense they understand each other. Easter shifts, trying hard to ease her discomfort. JOE (gently) Got enough nice pictured, Easter. She looks at him and nods gratefully and closes her eyes. Joe watches her, now his eyes close. Easter exhales raspingly, falls still. The monitors flatline. A beeping alarm sound somewhere down the hall. Joe opens his eyes, takes a deep breath, he seems troubled. JOE (cont'd) G'bye, sistah. She slips out of the room. INT. LIBRARY, PARRISH TOWNHOUSE - LATE AFTERNOON Parrish is playing solitaire. The SOUND of the front door closing, HEELS crossing the foyer, he looks up, at the foyer door is Susan. PARRISH Hello, honey. He starts to get up, she motions to him to stay, looks around now. SUSAN Where's Joe? PARRISH Joe? A silence. PARRISH (cont'd) Joe's not around. SUSAN Where is he? PARRISH I don't know. Susan seems distracted. PARRISH (cont'd) Why are you looking for Joe? SUSAN Because I was sitting in a staff meeting, incredibly bored, my mind kept wandering and the only place it landed was -- Joe. PARRISH I don't understand. SUSAN Love. Passion. Obsession, all those things you told me to wait for. Well, they've arrived. Parrish blinks, stares down at his cards. PARRISH This is crazy -- SUSAN Why? A man appears at your side, almost never leaves it, you clearly trust him, depend on him, I sense you value him deeply, why aren't those things good enough for me? PARRISH You don't know anything about Joe -- SUSAN What are you afraid of, Dad? That I'll fall head over heels for Joe -- well, I have -- as you did with Mom. (a moment) That's always been standard, whether you like or not. Parrish tries to get hold of himself, changes gear now. PARRISH Susan, I don't think Joe is going to be with us long. SUSAN Where's he going? PARRISH I don't know, I can't say -- SUSAN C'mon! The guy's working with you. You always know chapter and verse about everyone who works -- PARRISH In this case, I can't. I - uh -- I just can't help you. I only would tell you -- that with Joe, you are on very, very dangerous ground. Susan doesn't answer for a moment. SUSAN I love him. PARRISH I don't care if you love him! I'm telling you he's no good for you! A moment. SUSAN Of course not, Daddy. I'm sorry. There is something in Susan's tone that lets him know not a word has sunk in. Parrish slumps. SUSAN (cont'd) I love you, too. She kisses Parrish, rearranges one of his ranks of cards, shuffles through the deck, turns over the top card, lays down a card Parrish needs. SUSAN (cont'd) Lightning does strike. Parrish watches as Susan turns, disappears out the door. EXT. THIRD AVENUE, NEW YORK CITY - TWILIGHT Joe walking disconcertedly up the street, bumping shoulders with the rush hour crowd, trapped in the life of the city, he peers intently at faces, cars, into store windows. He stops now at the window of a Korean grocery, something has caught his eye, he steps inside. Through the window, Joe can be seen making a purchase, he hands the Korean Clerk some money, walks out. Joe, back on the street now, unscrews the top of a jar of peanut butter, dips a wad out with his fingers. The Korean Clerk runs out after him. CLERK Change! Change! Joe stops, uncomprehending. The Clerk hands Joe bills and coins. JOE Why are you giving me money? CLERK Change. JOE I am who I am. I cannot change. Joe tries to hand the money back, but the baffled Clerk refuses it. CLERK You change! JOE That's impossible. You're wasting your money. I couldn't change even if I wanted to. The Clerk, exasperated, murmurs something in his language and returns to the store. Joe continues on down the street. INT. LIBRARY, PARRISH TOWNHOUSE - NIGHT Parrish is sitting in a wing chair staring at the fire. Joe appears in the doorway, Parrish doesn't notice him. Joe waits, finally Parrish looks up. They regard each other. Silence. JOE Uh -- PARRISH Yes? JOE -- I have the feeling that, all in all, what I made this voyage for -- has served its purpose. PARRISH What are you saying, that it's time to go? Joe doesn't respond, Parrish and Joe measure each other for the moment. PARRISH (cont'd) I'm ready. JOE You are? PARRISH Yeah. JOE Good. Tomorrow, after the party. Parrish nods, Joe nods back. CUT TO: EXT. HELICOPTER POV, HUDSON VALLEY - AFTERNOON A bird's eye view of the Hudson, over the George Washington Bridge, past the widest expanse of the river at the Tappan Zee, coming in now over the great lawns and old estates of the Upper Hudson Valley, down towards Annadale-on-Hudson and the Parrish country estate, which commands a beehive of activity, tents and workmen and vehicles. EXT. PARRISH COUNTRY ESTATE - AFTERNOON The Parrish AStar sets down in its roped-off landing area. The Butler runs towards it to open the door, Parrish and Joe disembark. Following the Butler, they make their way through the maelstrom: tents being raised, platforms for music groups, portable pools with clusters of florists leaning over the edge to arrange lily pads within. Parrish and Joe move solemnly, observing the activity, not speaking to one another. Although they are shoulder-to-shoulder, there is a distance between them. They walk on past chan- deliers in the garden and fake trees with lights woven through their branches. Adding to the confusion, the AStar lifts off, the chandeliers rocking and floral pools rippling from the blast of the rotors. May, the housekeeper, appears. MAY (to Parrish) Telephone call, sir. Mr. Sloane from New York. Parrish nods, starts up for a wing off the main house, Joe right at his side. Parrish stops. PARRISH Excuse me. Joe, not knowing whether to be affronted or not, hesitates, and Parrish strides away. Joe does not follow. INT. PARRISH'S STUDY, COUNTRY ESTATE - AFTERNOON A low-slung but well-appointed room with a writing table, a working fireplace, expensive and appropriate Hudson Valley prints. Parrish enters, clicks on the SPEAKERPHONE, observes the party activity through a wide, bow window. PARRISH Eddie? SLOANE (O.S.) (speakerphone) Yeah - Bill - How are you? You okay? PARRISH Fine, fine. Big doing up here. Why are you still down here? SLOANE (O.S.) (speakerphone) The Board's working through the weekend, trying up the loose ends this damn thing. But I want to give it one more try, I'm still holding out some hope. PARRISH Eddie, hold out all the hope you want but, I promise you, it's hope- less, it's over. Come on up, let's get drunk, if I had your shoulder to lean on I might actually enjoy this -- SLOANE (O.S.) (speakerphone) No, I'm going to stay down here, keep my finger in the dike and maybe by Monday, the waters could recede. PARRISH If you're trying to show me lay- down-in-front-of-the-bus loyalty, forget it. SLOANE (O.S.) (speakerphone) Sorry, Bill, have a drink, eat your cake, blow out the candles and make a wish. Talk to you Monday. Okay? PARRISH Okay, Eddie -- anyway, thanks for the memory. Parrish clicks off the SPEAKERPHONE, turns around and looks out the window again, the party preparations in full swing, colored lights are tested, they flicker on and off. EXT. LAWNS, COUNTRY ESTATE - AFTERNOON Allison is everywhere, Parrish emerges from his wing, she catches his eye immediately, the calm director of a DeMille- like epic, politely giving workers instructions, making lightning decisions. Parrish turns his attention now to an ice-filled fountain encircling two giant topiary letters written in faux- Cyrillic, a 'B' and a 'P', as rubber-booted delivery men carefully arrange giant ice chests of caviar under each letter. A smile creases Parrish's face as, in an unexpected lull, Allison backs into him at the fountain. ALLISON Hi, Daddy, what do you think? PARRISH It's starting to grow on me. But what do the 'B' and 'P' mean? ALLISON The fountain is the Caspian Sea and the Sea is serving up caviar. The 'B's for Beluga, the 'P' for Petrossian. Of course, they also stand for 'Bill' and for 'Parrish'. PARRISH Do they, m'dear? ALLISON -- Plus we've got a baritone with a balalaika coming from The Russian Tea Room. I've dressed him in a Cossack shirt and he'll sing Nelson Eddy songs. Parrish shakes his head. PARRISH You are amazing. Why, oh why, Allison, are you doing all this? But before she can answer, a workman is tugging at Allison's sleeve, she turns away from Parrish to give him instructions out of Parrish's earshot, and then turns back, they step away now, daughter and father, alone. ALLISON I do it because I love you. Because everybody I loved you. Mommy -- wher- ever she is -- Susan, Quince, the people who work for you, everybody who's ever known you. PARRISH Yeah? And what about my enemies? ALLISON They respect you. Isn't that a kind of love? Unexpectedly, Allison brushes a lock away from Parrish's forehead, with a flick she has rearranged his hair, he blinks, a little embarrassed, but having liked it. ALLISON (cont'd) Above all, you've been a wonderful father. PARRISH I haven't been the father to you that -- ALLISON That you've been to Susan? PARRISH I wasn't going to say -- ALLISON But that's what you were thinking. And that's okay. Because I know you love me. Not like it is with Susan, the way your eyes light up when she comes in the room and the way she always gets a laugh out of you, as opposed to me when I walk in a room and that look comes over your face, "What does she want now?" A weather-beaten military parade ground pennant passes, 24th Infantry Regiment "C" (Charlie) Company. ALLISON (cont'd) I already feel I've had everything I could have wanted for my birthday -- PARRISH Hey, there's lots to come. (gesturing to me activity) A little excess -- like you love. The preparations are building to a climax, all the elaborate plans coming to fruition. PARRISH You know, darling, this is going to be a wonderful party. ALLISON (gently) Yes, it is. Allison wades into the maelstrom now, Parrish watches her go, swarms of purveyors and caterers following her. EXT. WINE BAR, LAWNS, COUNTRY ESTATE - AFTERNOON Ambrose, the head caterer, is making a last minute check of the bar's stock, Quince ambles up, in the background the activity has built to a pitch, waiters adjusting their uni- forms, purveyors' trucks pulling out in a cloud of dust. QUINCE Give me a Seagrams and '7'. Ambrose looks at him blankly. QUICNCE (cont'd) No got? Okay a double V.O., water back. AMBROSE I'm afraid this is a wine bar, Mr. Quince. QUINCE Okay, give me a bottle of wine. AMBROSE Red or white? QUINCE Both. Joe appears, looking bewildered, jostled by caterers setting up last-minute tables, a drummer from the band rolls his traps past on a little cart. Joe doesn't seem to know where he is, when his eyes alight on Quince, he heads for this oasis. Ambrose sets down two bottles of wine and departs. QUINCE (cont'd) (to Joe) Red or white? JOE No, thank you. Quince sips the red, now the white, now he pours some of each into one glass. QUINCE C'mon, have a drink. You look like you need one bad as me. JOE Do I? I'm a little confused. QUINCE Confused, huh? About what? JOE Love. QUINCE 'Love'? Oh, man, I've got troubles of my own. JOE You love Allison, don't you? QUINCE Oh yes, I do. JOE How did you meet? QUINCE I was a world-class loser and she was a happy, little rich girl -- and for some reason she took me in. JOE But she loves you? Quince smiles, nods embarrassedly. JOE (cont'd) How do you know? QUINCE Because there's nothing we don't know about each other and it's okay. I mean the deeper, darkest secrets -- they don't matter. JOE 'The deepest, darkest secrets --'? QUINCE Yeah, it's like you know every inch of each other's souls -- and then you're free. JOE What do you mean 'free'? QUINCE Free to love each other. Com- pletely. Totally. No fear. Quince seems uncharacteristically within himself. QUINCE (cont'd) All that hoopla up there reminds me how I will never measure up to a man like Bill Parrish - or his daughter. He drains his wine. QUINCE (cont'd) Do you like me, Joe? JOE Oh yes, you are one of my favorites. QUINCE What would you say if you knew it was me who brought down Bill Parrish? (a moment) I told Drew and the Board that Bill depended on you. Drew led me on, but I had no business telling him in the first place. He was setting up Bill from day one. Drew and Bontecou are going to chop up the company and sell it off for parts. Bontecou was outside, Drew was Mr. Inside. And I was the fool who made it all happen. Oh God, what do I do? Joe regards Quince. JOE Go to Bill Parrish and tell him everything. He'll forgive you. Quince drains one more glass of wine. QUINCE You think so? How do you know? JOE Because that's the kind of man Bill Parrish is. A moment. QUINCE Well, maybe... I guess you know him better than anybody. Another moment. JOE -- Getting to. The orchestra behind them plays a few riffs, sound checks, getting close. QUINCE Do you think I should wait to tell him 'till after the party? JOE No. Quince nods anxiously, then smiles gratefully. They look on as the pre-party activities swirl on around them. EXT. FRONT ENTRANCE, COUNTRY ESTATE - SUNSET (LATER) The moment just before sunset, the last pre-party minutes, a procession of guests' cars winding up to the guest house, being directed into adjacent fields. Susan cuts past a re- ceiving line that files up the stairs, she skirts the house and heads straight for the action, the party on the lawns in the rear, climbs a terrace where she commands a view of the event on which the curtain is just about to rise. EXT. LAWN, COUNTRY ESTATE - SUNSET Guests milling, emerging from the crowd Susan sees, isolated by a fountain, Joe. He looks up towards her, he knows she has seen him, they proceed to a rendezvous that has not been prearranged but which they intuit. Susan slants through the guests, stopping here and there, excited greetings and cha- tter float on the wind, "He, Susie!", "What a party", "You look great", she keeps moving, a shimmering wraith. Joe is on the right coordinate to meet her, his graceful, unfailing step carrying him speedily to a destination he is not certain of, but where he knows he will find Susan. EXT. GARDEN, COUNTRY ESTATE - SUNSET The very last rays of the sun setting over the wide expanse of river, the light catching Susan and Joe as they enter the garden, the party forming behind them, the river flowing in front of them. SUSAN I like you in a black tie. JOE I love you in an evening gown. SUSAN It beats a surgical, doesn't it? He smiles. SUSAN (cont'd) Daddy told me you might be leaving? JOE Yes. Your father and I, our time together has come to an end. SUSAN Where are you going? Joe attempts to answer, but nothing comes out. SUSAN (cont'd) You won't tell me? JOE Well -- I -- SUSAN And you can't tell me who you are. Again the same indescribable gesture from Joe. SUSAN (cont'd) I'm in love with a man, I don't know who he is, where he's going or when. JOE I can tell you the when part. Tonight. SUSAN It gets worse. JOE No worse than it gets for me. I'm in love with a woman whom I don't want to leave. SUSAN Then don't. A moment. JOE We know so little about each other -- SUSAN We know all that we need to know -- JOE But there's so much to tell you -- SUSAN Don't. That will come later. JOE Will it? SUSAN Lightning struck. We caught it in a bottle. Don't let it out. I want to be with you, Joe -- Another moment. JOE What will we do? SUSAN 'Love will find out the way'. JOE 'Love will find out the way'? SUSAN It's a saying. JOE I believe that, don't you? SUSAN Yes, that's why I said it. They are on the brink of some decision, Joe is about to make some declaration when Allison is heard -- ALLISON (O.S.) There you are! Allison appears. ALLISON (cont'd) What's going on here? Tete-a-tetes on my big night? (to Susan) C'mon honey, you're needed. (to Joe) Can it wait? But before he can answer -- ALLISON (cont'd) Glad to hear it! (to Susan) Let's go. She takes Susan's arm and marches her off, Joe, in thrall, watches them go as the MUSIC erupts behind them, as 'up' dance tune, a lilting, catchy melody envelops them all. The curtain has risen on William Parrish's 65th birthday party. INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT Quince is "on the carpet", sweating through a confession, Parrish moroses but philosophical at his desk. QUINCE ...what can I say after I say that I'm sorry? I zipped when I should've zagged, I opened my big mouth one too many times, everything got all twisted -- PARRISH It's okay, Quince. I understand. You've always meant well and I appreciate that. Sometimes things just turn out -- wrong. A KNOCK on the door, it opens, Joe appears. JOE Excuse me -- He starts to step out. QUINCE Come in, Joe -- I want to thank you -- okay, Bill? PARRISH Sure. As Joe enters, Quince flashes a warm smile at him. QUINCE (to Parrish) Joe knew the whole story. I told him. It was his idea that I come clean. I mean I wanted to come clean but he gave me a pair of balls, you know what I mean? PARRISH Yes, I believe I do. Quince now drifts off. QUICHE Yeah, well -- I can tell you guys got business -- PARRISH No, I'm out of business, right, Quince? However I do have some unfinished business -- with Drew. Get him out here. Get him on the chopper and get him out here to- night. I want to tell this guy how I feel about him face-to-face. QUINCE Oh, that could be a tall order, B.P. I doubt that Drew's anxious to see you face-to-face. Joe steps in. JOE (to Quince) Tell Drew that Bill acknowledges that this was a contest and he's lost. The race is to the swift, but could Drew summon a modicum of understanding and allow Bill to save face. Tell him Bill wants it understood in the business community he has merely moved upstairs in his own company, and the executive continuity is unbroken. Tonight's the night to do it. He'll introduce Drew to his press friends as well as some of his close acquaintances from Washington and Drew can tell them that everything's sailing along just fine. Parrish is impressed by Joe's acumen, a look of grudging admiration. He nods to Joe, summarizes: PARRISH (to Quince) All in all, what Bill wants to do is build the golden bridge to Drew with no hard feelings. QUINCE You think Drew will go for it? PARRISH Quince, I've got confidence in you. QUINCE Sir, I'll deliver the package. He heads out, Parrish and Joe fall silent. PARRISH Thanks. JOE Not at all. A moment. JOE (cont'd) How are you doing? PARRISH What the hell do you care? JOE I was just asking, Bill. PARRISH You 'want to know', I'll tell you. You're looking at a man who tonight is not about to walk through the Valley of the Shadow of Death, he's galloping into it. And the same time, the business he built with his own hands and his own head is being commandeered by a couple of cheap pirates. And, oh yes, I almost forgot, my daughter's fallen in love with Death. Another moment. JOE -- And I'm in love with your daughter. PARRISH Say again? JOE I'm in love with your daughter, and I'm taking her with me tonight. Parrish is stunned. PARRISH You're what? JOE I think you heard me, Bill. PARRISH You're not taking Susan anywhere. And what the hell does that mean anyway? Joe doesn't answer for a moment. PARRISH (cont'd) I thought we had a deal. JOE I'm sorry, Bill -- PARRISH Susan is my daughter, she has a wonderful life ahead of her and you're going to deprive her of it and you're telling me you're sorry? Well, I'm sorry, apology not accepted. JOE I love her, Bill. She is all that I ever wanted, and I've never wanted for anything because I've never wanted anything before, if you can understand. PARRISH How perfect for you -- to take whatever you want because it pleases you. It's not love -- JOE Then what is it? PARRISH Some aimless infatuation in which, for the moment, you feel like in- dulging. It's missing everything that matters. JOE Which is what? PARRISH Trust, responsibility, taking the weight, for your choices and feel- ings and spending the rest of your life living up to them. And above all, not hurting the object of your love. JOE So that's what love is? PARRISH Multiply it by infinity and take it to the death of forever and you will still have barely a glimpse of what I am talking about. JOE Those were my words, Bill. PARRISH Well, they're mine now. Joe is silent for a moment, cogitating. JOE Susan wants to come. She says she's in love with me. PARRISH With you?! Who is 'you'? Did you tell her who you are? JOE No. PARRISH Does she know where she's going? Joe doesn't answer. PARRISH (cont'd) Susan went, in whatever way she did, for that poor sonofabitch whose body you took, and everything else since has been aftermath. You say you love her but you don't know what love is. She 'loves' you but she doesn't know who you are. You make a deal, you're breaking it -- the bottom line is, Joe, you're conducting a Great Romance under false pretenses. JOE I don't like what you're saying. PARRISH I don't expect you to. JOE Are you threatening me? PARRISH I certainly hope so -- I loved Susan from the moment she was born, and I love her now, and every minute in between, and what I dream of is a man who will discover her and she will discover a man who will love her, who is worthy of her, who is of this world, of this time and has the grace and compassion and fortitude to walk beside her as she makes her way through this beautiful thing called life. Parrish is beginning to reach Joe. JOE Are you telling me I can't be part of it? A pause, Parrish's posture changes. PARRISH Why did you come in here and tell me, Joe? You are the Biggest Shot of all, you don't have to ask my permission, but that's what you're doing. You know why? Because you've somewhere, somehow, developed into a good guy, and you know this is all wrong... I don't know what you're going to do -- how can this be love? She doesn't know who you are. Why don't you tell her? Try it out on her? See what happens. Reveal everything there is to know about yourself and let the chips fall where they may. Joe has received what Parrish has said. PARRISH (cont'd) Okay? -- I've given it my best shot. I wish I could tell you to sleep on it but... Parrish lets his words drift into silence, he shrugs, Joe regards him. EXT. LAWNS, COUNTRY ESTATE - NIGHT Joe makes his way down the path from Parrish's study, a weight on his shoulders, his step measured, within himself until he is hit by the lights and laughter and MUSIC of the party. He drifts into the center and runs right into Susan, couples swirl about them, the eye of a storm of gaiety. SUSAN Hello, Joe. What'd you know? She smiles. SUSAN (cont'd) There's something so indescribably sexy about you in a crowd. I could make love to you right here. He hesitates, reaches out to take her hand, studies it. SUSAN (cont'd) If you're going to tell my future, you're on the wrong side. A moment. JOE There is something I do want to tell you -- He stammers into silence. SUSAN But you can't. Joe is about to respond but doesn't. SUSAN (cont'd) Just then -- when you hesitated -- the way you shift from foot-to-foot, I've always found endearing but just now -- I got a chill. But he drifts again, now she takes his hand. SUSAN (cont'd) Remember that morning in the coffee shop? You said 'What's wrong with taking care of a woman, she takes care of you --" JOE Did I say that? SUSAN And I said you'd have a hard time finding a woman like that. Joe shifts, she smiles at his embarrasement. SUSAN (cont'd) Well, you've found one, Joe. JOE The 'coffee shop' -- SUSAN -- That was the place... and you were the guy. Joe seems resigned now, the air gone out of him. SUSAN (cont'd) And you said you didn't want me to be your doctor because you didn't want me to examine you --? (a moment) Well, I got to examine you after all -- Joe blinks, at a loss. SUSAN (cont'd) I could come with you -- JOE I - uh -- SUSAN You want me to wait for you, you'll be back -- Joe doesn't answer, Susan is suddenly anxious. SUSAN (cont'd) Why do I want this night to last forever? JOE Don't you know, that's what I want more than anything. He touches her face. SUSAN You said before you couldn't tell me who or where, only the 'when' -- Is when now? A moment. JOE May I kiss you? She waits. He kisses her, they fall into a deep embrace. SUSAN That felt like a goodbye. Joe's silence is heavy. SUSAN (cont'd) What's going on, Joe? I feel like we're lifting off -- JOE I'm still here. SUSAN But you're not. You're somewhere else. (a moment) You're someone else -- Joe is struggling with a response, finally, inevitably, he drifts into a long silence. Susan is beside herself, her emotions tossed in every direction, Joe steadies her. SUSAN Tell me you love me -- tell me you love me now -- JOE I love you now, I'll love you always -- SUSAN Hold me -- He holds on tight to her. They are desperately entwined until finally she releases him. JOE Susan -- SUSAN -- Yes? JOE Thank you for loving me. She smiles wanly, Joe leaves her. INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT Parrish is seated by the window, lights from the party flashing past, the MUSIC and laughter audible but muted, the fever of the celebration lost on him, within himself. Joe enters, Parrish looks up. JOE ...We should think about getting started, Bill. Parrish waits. JOE (cont'd) It'll just be us. The tension in Parrish's body releases, he takes a breath. PARRISH Thank you. Joe nods an acknowledgement, but his face reflects his pain. Parrish regards him sympathetically. The silence is broken by a KNOCK on the door. Parrish, out of politeness to Joe, does not respond. QUINCE (O.S.) Bill --? After a moment. PARRISH Come in. Quince appears, flushed with excitement. QUINCE -- I got him. The chopper's two minutes away. Parrish weighs the information for a moment. PARRISH (to Joe) How are we on time? Joe shrugs, nods gently. JOE Okay. PARRISH (to Quince) Get him in here. Quince exits, Parrish presses the button for the speaker- phone. PARRISH (cont'd) ...May? -- I know you're busy, but I want you to put in a call to Eddie Sloane for me -- MAY (O.S.) At home, sir --? PARRISH No, he's at the office. EXT. LAWNS, COUNTRY ESTATE - NIGHT An area on the fringe of the party, the helicopter blades stop spinning. Quince hurries to the aircraft door, opens it and Drew steps out. Quince leads the way through the lights and MUSIC. Drew, fashioning an imperial entrance for himself, hails partygoers as he passes, Quince enjoying the irony. DREW This is damn big of Bill, I also think it's smart. QUINCE He had no choice. You're a formidable adversary. DREW He said that? QUINCE Well, you've got him by the short- hairs. DREW Yeah, the short, gray hairs. He flashes a pleased-as-punch greeting to some unseen acquaintance as they press on to Parrish's study. INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT Parrish is at his desk, Joe in a distant corner of the room. SLOANE (O.S.) (speakerphone) We're all here, Bill -- PARRISH I appreciate this, Eddie, members of the Board, this will just take a minute of your time. As the custo- dians of the company, you may re- ceive information from what follows that is valuable to you -- (a moment) -- or not. Either way, thanks. SLOANE (O.S.) (speakerphone) We're all ears. Drew enters with Quince, Quince nods, excusing himself, and closes the door behind him. DREW Hi, Bill, happy birthday -- A moment. DREW (cont'd) I just wanted to say how appre- ciative I am of this - uh - grand gesture and -- PARRISH Shut up and sit down. Drew takes a seat. PARRISH (cont'd) You're a worthless sack of shit, you fucked me over, played footsie with John Bontecou, sold my company out to line your own pockets. DREW I don't know where you get that idea -- the Board agreed -- PARRISH The Board didn't know you're a mole who burrowed inside so you could bury us all. DREW Is this Mr. Black's fantasy? Another one of his whoppers? Aren't you sick of this asshole lurking around? No one knows who he is, but one thing everyone does know, he somehow got your ear and has been pouring poison into it ever since. Joe can no longer control himself. JOE You're the poison, Drew. You've operated behind-the-scenes to suborn the trust of a man who has stamped you with his imprimatur of class and elegance and stature. I've seen all kinds and degrees of deception in my time, but Bill Parrish has been on the receiving end of machinations so Machiavellian that it has rarely been my experience to encounter. And yet he has combatted them stoically, and selflessly, without revealing my identity. Had he violated the vow of secrecy he took, his task would have been far easier, he could have turned defeat into victory, but he is too honorable a man to have done that. And now I must release him from that vow. Because of me, he has lost his work, his company, his reputation -- and now he's going to tell you who I am. Parrish is struck dumb. He looks at Joe pleadingly, shaking his head imperceptibly, but Joe nods to him blithely -- and then commandingly. DREW (to Parrish) So tell me, tell me, I'm peeing in my pants. JOE -- And now you're going to pee some more. PARRISH Joe, don't do this -- JOE It's time to put this person where he belongs. PARRISH It's not necessary, Joe. Drew's going to step aside -- DREW I'm not stepping anywhere -- JOE I appreciate your gentlemanliness, Bill, but what we need to do here is drive the dagger home -- DREW The dagger --? PARRISH I told you to shut up. JOE (to Drew) Prepare yourself, Drew - I am -- PARRISH He is -- JOE I'll take it from here -- (to Drew) I am -- PARRISH -- An IRS man. Drew is stunned, Joe glances at Parrish, hesitates. PARRISH (cont'd) Yes, he is. He's an -- IRS man. Aren't you, Joe? Joe is at a loss, Parrish's eyes are glued to his, Joe gets the hint. JOE Yes, I am. (to Drew) IRS man. Drew's head swivels from Joe to Parrish and back again. PARRISH The Treasury Department asked my cooperation in his undercover investigation of John Bontecou. They were convinced that Bontecou, on past deals, had structured his mergers and acquisitions in sus- picious and complicated ways so as to evade paying the taxes he is liable for. The IRS wanted to go after him, and this deal offered them the opportunity. (a moment) I agreed to cooperate. JOE (to Parrish) And we're very grateful. PARRISH Moreover, Agent Joe Black here -- of course that's not his real name -- smelled out your involvement, Drew. He developed evidence you were working both sides of the fence. Unfortunately, that's known as a conflict of interest -- JOE Undisclosed conflict of interest -- PARRISH An offense -- JOE An indictable offense. Silence. DREW I think I'd like to talk to my lawyer -- PARRISH No lawyers, Drew. We're going to offer you a deal. Drew is all attention. PARRISH (cont'd) Confess to the Board every details of your participation and then submit your resignation. DREW And what do I get? PARRISH You get not to go to jail. DREW You're talking through your hat. You're offering a deal because you've got no proof. PARRISH Proof? We've got plenty of proof. JOE (to Drew) And he's talking through his lips. Joe steps forward. JOE (cont'd) Make no mistake, Drew, if you choose to test my resolve in this matter, you'll be looking at an outcome that will have a finality that is beyond your comprehension, and you'll not be counting the days or the months or the years, but millenniums in the house with no doors. Drew slumps. DREW All right, you win. As soon as I get back to the city, I'll meet with the Board. Sloane's voice erupts over the SPEAKERPHONE. SLOANE (O.S.) You're meeting with the Board right now, Drew. Resignation accepted. Moreover, I propose a motion to re- confirm William Parrish as Chairman of the Board of Parrish Communica- tions as well as a rejection of the merger with Bontecou International. How say you, Board? A chorus of thunderous "Yes"es resounds through the SPEAKERPHONE. SLOANE (O.S., cont'd) The motion is passed. PARRISH Well, thank you, that's great, but it's more than I bargained for. I just wanted to set the record straight. SLOANE (O.S.) But we want you back, Bill. Mean- while, enjoy your party, celebrate, we'll attend to the nasty details. And Mr. Black, may we say thank you. JOE My pleasure. This is an IRS Agent's dream. I'll be promoted to Chief of Section off of this. Parrish clicks the speakerphone off. Drew is staring at Joe, shaking his head. DREW Who would've ever believed it? You, an IRS Agent -- Silence. Joe shrugs, smiles. JOE 'Death and Taxes'. The door flies open, an anxious Allison appears. ALLISON Daddy! We've been looking all over for you - this is your party - what are you doing in here? Never mind. You're on. Let's go. She pulls him out of his chair, hustles him out of the room, Joe right behind them. EXT. LAWNS, COUNTRY ESTATE - NIGHT The guests have formed themselves into a huge audience, the orchestra strikes up "Happy Birthday" as Parrish appears with Allison. An enormous cake is unveiled with one great, lit candle, Parrish beams then laughs. He pauses over the cake, now blows the candle out. APPLAUSE, cries of "Speech! Speech!", Parrish tries to demur but the request becomes loud and rhythmic, he holds up his hand, nods, quiets the crowd. Joe observes from the fringe. PARRISH (to the guests) I thought I was going to sneak away tonight... YELLS of "No!" "Never!" PARRISH (cont'd) ...What a glorious night, every face I see is a memory. It may not be a perfectly perfect memory -- sometimes we had our ups and downs -- but we're all together, and you're mine for a night. (a moment) -- And I'm going to break precedent, and tell you my one-candle wish -- that you would have a life as lucky as mine, where you can wake up one morning and say "I don't want anything more." (another moment) Sixty-five years - don't they go by in a blink? Parrish hesitates, waves and steps away, APPLAUSE that grows into CHEERS, the music resumes, another dance tune. Quince grabs him, pumps his hand and claps him on the back. Now Parrish spots Allison, he wraps her in a tight embrace, they hold each other close for a moment, but then are separated by a surge of guests. Parrish sees Susan, she smiles but there is a tinge of sadness about her. He heads towards her, they are somehow situated as if they were alone in this crowd. SUSAN What a night. PARRISH I'm having a helluva time. A moment. SUSAN You were right about Joe, he is going somewhere -- PARRISH (gently) I'm sorry. Susan is examining Parrish very closely. SUSAN Are you relieved? PARRISH Yes, but -- Parrish hesitates. SUSAN But what? PARRISH I want you to know how much I love you. That you've given a meaning to my life that I had no right to expect, and that no one can ever take from me. SUSAN Daddy -- PARRISH No -- I love you so much and I want you to promise me something. I don't want you to ever worry about me. If anything should happen, I'm going to be fine and everything's going to be all right. (a moment) -- And I have no regrets. Susan is in pain now, she can't summon an answer. PARRISH (cont'd) And I want you to feel that way, too. SUSAN I love you, Daddy -- PARRISH That's why it's okay. They drift into silence. PARRISH (cont'd) No regrets? After a moment. SUSAN 'No regrets'. A long silence, Susan smiles. PARRISH It's a good feeling, isn't it? Silence again. SUSAN Everybody's saying goodbye... They regard each other, a long pause, they have reached an understanding. PARRISH I'm still here. (a moment) Would you like to dance with me, Susan? SUSAN Oh, yes -- He starts to lead her to the floor, immediately stops. PARRISH If you don't mind dancing with an old fogey like me. SUSAN Oh, Dad, you're not old. You'll never be old. He takes her in his arms and they dance away. ANOTHER ANGLE On a distant fringe of the party, a grass terrace that still commands a view of the dance floor, is Joe. His eyes are on Parrish and Susan, he watches them admiringly yet ruefully. A Waiter passes, catches sight of Joe, stops. WAITER Can I get you anything, sir? Joe regards the Waiter for a moment. JOE Do you have any peanut butter? The Waiter hesitates. WAITER I don't think so, sir. JOE Thank you, anyway. The Waiter moves off. Joe's attention returns to Parrish and Susan, the dance number ends, a BOOM. ANOTHER ANGLE On the dance floor. PARRISH What was that? SUSAN The fireworks are about to start. Parrish looks up, sees Joe up on the terrace, waiting. SUSAN (cont'd) (to Parrish) Shall we? PARRISH You go ahead, honey, I'm going to catch my breath. Suddenly he hugs her, holds her very close. She looks at him, he smiles, nods, but doesn't release her until she smiles back. Now she heads out with the crowd for the fireworks. When Parrish senses she is on her way, he turns and heads up towards Joe. Joe rises to meet Parrish as he approaches. JOE Happy Birthday, Bill. PARRISH Thank you. They watch the guests gathering to view the fireworks. Joe's gaze lingers. PARRISH (cont'd) Did you say goodbye? JOE Not exactly. PARRISH I guess you have your reasons. JOE Yes. Silence. PARRISH Now that we have a moment, would you mind if I expressed my gratitude for what you did for Susan? Joe waits. PARRISH (cont'd) I never heard her speak of any man as she spoke of you -- It was always what I wanted for her -- but what happens to her now? JOE I wouldn't worry about it, Bill. These things have a way of working out. Joe regards Parrish, waits until he has a sense that Parrish has accepted what Joe has said, then Joe continues: JOE (cont'd) And would you mind if I expressed my gratitude...? Parrish waits. JOE (cont'd) For you. For the time you've given me. For the person you are. A moment. PARRISH Don't blow smoke up my ass, you'll ruin my autopsy. Joe barely manages a smile, now looks back longingly at the crowd below, searching. PARRISH (cont'd) It's hard to let go, isn't it? JOE Yes. PARRISH That's life. What can I tell you? A silence, an understanding there is another more to say. Joe looks inquiringly at Parrish as if to say "Shall we?", Parrish nods and Joe turns with him. They set off now away from the party, up a meadow that leads to a hill overlooking the river. ANOTHER ANGLE Down below, the party guests' faces are lit by the initial fireworks display. Among them is Susan, but her interest isn't there. Not something pulls her attention, an over- powering feeling that compels her to turn and see, at a distance, Parrish and Joe walking away up the meadow. Some- thing about the sight saddens and at the same time frightens her, she turns back to the party, dazed, tracing on the fireworks. ANOTHER ANGLE Up the hill Parrish's step slows, Joe slowing with him. PARRISH I'm getting a little dizzy, I can feel my heart pumping -- But Parrish doesn't wait for a response, just continues on up the meadow, towards the rise of the hill, Joe in step with him. PARRISH (cont'd) Should I be afraid? Joe stops, Parrish stops with him. JOE Not a man like you. Parrish smiles faintly, takes a deep breath, he strides out again, Joe right with him. In tandem they continue on and disappear over the crest of the hill. A barrage of fireworks lights up the sky. ANOTHER ANGLE Down below, Susan, in a pained reflex, again turns and looks up towards the hill. There is nobody there. She hesitates, now glides away from the party, her step quickens as she walks up towards the hill. Susan halts, in the distance a figure is approaching from over the crest of the hill where Joe and Parrish disappeared. He is heading straight for her, she tries to make him out, seems to recognize him, starts to walk towards him as if pulled by a magnet. Now she stops again. It is a man, he keeps coming, and now that he is close and recognizes him. SUSAN Joe...? He smiles quizzically, hasn't quite heard her, stands right in front of her, loose, smiling, disoriented and yet so appealing. They are riveted on each other, uneasy and yet close. SUSAN (cont'd) You're here... He is trying to get his bearings. JOE -- You bet. Something about him makes Susan slightly tentative. SUSAN Where did you go? Joe shrugs, scratches his head endearingly, uncertain of time and place. JOE I don't know -- y'know, I don't know -- it's all blurred up and hazy. And would y'know what I mean if I said I don't think it's worth figuring out? Some realization is dawning on Susan, it renders her lightheaded. JOE (cont'd) ...But now I'm back. Susan regards Joe intently, searching his face for an answer. SUSAN (gently) That's it? JOE Well, I don't know what else to say. It's a helluva party -- SUSAN You think so? JOE Yeah...and you're the prettier thing here. Susan blinks, a long silence, she touches the sleeve of his jacket, now her hand traces the outline of his face, she regards him intently and the dilemma she has been struggling with the last moments fades away. Susan slowly realizes this is the Young Man. She is shaken, a sudden intake of breath. YOUNG MAN Hey, you all right? His hand politely touches her elbow, courteously lending her support. SUSAN The coffee shop -- The Young Man nods, pleased with her recognition. YOUNG MAN I asked you if I said something wrong and you said it was so right it scared you. Susan holds herself very still. YOUNG MAN (cont'd) And forgive me for saying this -- but then you said -- and it's been with me ever since -- SUSAN What has --? He hesitates. YOUNG MAN You said you liked me. SUSAN No -- YOUNG MAN Y'didn't? A moment. SUSAN I said I liked you so much. She falls silent now, overcome by the last moments' revelations. The Young Man senses her discomfort which is on the edge of pain. YOUNG MAN Hey, everything's going great -- don't y'think? She doesn't answer for a moment. YOUNG MAN (cont'd) Don't you feel that way? SUSAN ...We know so little about each other. YOUNG MAN But we've got time. She searches the Young Man's eyes, his face is open, completely vulnerable, waiting for her response. A long silence, the words come out haltingly: SUSAN I wish you could've known my father... Another moment. YOUNG MAN Me, too. Susan signs, the Young Man smiles gently, they are completely intent on each other. SUSAN ...What do we do now? A long silence. YOUNG MAN It will come to us. Susan smiles, the fireworks finale goes off, the MUSIC comes up from below, the night fills with light. The Young Man searches Susan's face, now takes her hand -- and together they start back towards the party. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Meet John Doe.txt b/unformated_scripts/Script_Meet John Doe.txt new file mode 100644 index 0000000000000000000000000000000000000000..836d1512f31093f27256f0df59a62832bd2e8880 --- /dev/null +++ b/unformated_scripts/Script_Meet John Doe.txt @@ -0,0 +1 @@ + MEET JOHN DOE Written by Robert Riskin based on a story by Richard Connell and Robert Presnell Ext. Bulletin Office - Sidewalk. Close-up: Of a time-worn plaque against the side of a building. It reads: THE BULLETIN "A free press for a free people." While we read this, a pair of hands come in holding pneumatic chisel which immediately attacks the sign. As the lettering is being obliterated, Dissolve to: Close-up: A new plaque on which the lettering has been changed to: THE NEW BULLETIN "A streamlined newspaper for a streamlined era." Cut to: Int. Bulletin outer office. Full shot: Of a mid-western newspaper office. Med. shot: At a door at which a sign-painter works. He is painting HENRY CONNELL's name on the door. It opens and a flip office boy emerges. The painter has to wait until the door closes in order to resume his work. Full shot: Of the outer office. The activity of the office seems to suddenly cease, as all eyes are centered on the office boy. Med. shotópanning: With the office boyówho has a small sheet of paper in his hand. He walks jauntily to a desk, refers to his paper, points his finger to a woman, emits a short whistle through his teeth, runs a finger across his throat and jerks his thumb toward managing editor's office. The woman stares starkly at him while her immediate neighbors look on with sympathy. The office boy now goes through the same procedure with several other people. All watch him, terror written in their eyes. Med. shot: Toward CONNELL's office door where painter works. It opens and three people emerge. Two men and a girl. The girl is young and pretty. All three look dourful. The painter again has to wait for the door to shut before resuming his work. The two men exit. The girl suddenly stops. Close shot: Of the girl. Her name is ANN MITCHELL. She stands, thinking, and then suddenly, impulsively, wheels around. Camera pans with her as she returns to CONNELL's office door, flings it open and disappears. The painter remains poised with his brush, waiting for the door to swing back. There is a slight flash of resentment in his eyes. Int. CONNELL's office. Full shot: CONNELL is behind his desk on which is a tray of sandwiches and a glass of milk, half gone. Near him sits POP DWYER, another veteran newspaperman. ANN crosses to CONNELL's desk. CONNELL (on phone) Yeh, D. B. Oh, just cleaning out the dead-wood. Okay. ? 580 ? ANN (supplicatingly) Look, Mr. Connell . . . I just can't afford to be without work right now, not even for a day. I've got a mother and two kid sisters to . . . Secretary enters. (Her name is Mattie.) SECRETARY More good luck telegrams. ANN Well, you know how it is, I, I've just got to keep working. See? CONNELL Sorry, sister. I was sent down here to clean house. I told yuh I can't use your column any more. It's lavender and old lace![1] (flicks dictograph button) MATTIE (over dictograph) Yeah? CONNELL Send those other people in. MATTIE (over dictograph) Okay. ANN I'll tell you what I'll do. I get thirty dollars a week. I'll take twenty-five, twenty if necessary. I'll do anything you say. CONNELL It isn't the money. We're after circulation. What we need is fireworks. People who can hit with sledge hammersóstart arguments. ANN Oh, I can do that. I know this town inside out. Oh, give me a chance, please. She can get no further, for several people enter. They are cowed and frightened. ANN hesitates a moment, then, there being nothing for her to do, she starts to exit. She is stopped by CONNELL's voice. CONNELL All right, come in, come in! Come in! (to Ann) Cashier's got your check. (back to others) Who are these people? Gibbs, Frowley, Cunningham, Jilesó (to Ann at door) Hey, you, sister! Ann turns. ? 581 ? CONNELL Don't forget to get out your last column before you pick up your check! ANN's eyes flash angrily as she exits. Int. Outer Office. Med. shot: ANN storms out. The painter again has to wait for the door to swing back to him. Int. ANN's office. Full shot: ANN enters her office and paces around, furious. A man in alpaca sleeve-bands enters. His name is JOE. JOE You're a couple o' sticks[2] shy in your column, Ann. ANN (ignores him, muttering . . .) A big, rich slob like D. B. Norton buys a paperóand forty heads are chopped off! JOE Did you get it, too? ANN Yeah. You, too? Oh, Joe . . . oh, I'm sorry darling . . . why don't we tear the building down! JOE Before you do, Ann, perhaps you'd better finish this column. ANN Yeah. Lavender and old lace! Suddenly she stops pacing. Her eyes widen as a fiendish idea strikes her. ANN Wait, Joeówait! She flops down in front of her typewriter. ANN (muttering) Wants fireworks, huh? Okay! She begins to pound furiously, her jaw set. Close-up: Of ANN. Eyes flashing as she types. Close-up: Of JOE, watching her. The wild look in her eye and the unnatural speed of her typing causes him to stare dumbly at her. Med. shot: ANN bangs away madly. Finally she finishes. She whips the sheet out of the typewriter, hands it to JOE. ANN Here. As JOE takes it, ANN begins to empty the drawers of her desk. Close-up: Of JOE reading what ANN has written. ? 582 ? JOE (reading) "Below is a letter which reached my desk this morning. It's a commentary on what we laughingly call the civilized world. 'Dear Miss Mitchell: Four years ago I was fired out of my job. Since then I haven't been able to get another one. At first I was sore at the state administration because it's on account of the slimy politics here we have all this unemployment. But in looking around, it seems the whole world's going to pot, so in protest I'm going to commit suicide by jumping off the City Hall roof!' Signed, A disgusted American citizen, John Doe.'" JOE pauses to absorb this. JOE (continues reading) "Editor's note . . . If you ask this column, the wrong people are jumping off roofs." JOE glances up toward ANN, in mild protest. JOE Hey, Ann, this is the old fakeroo, isn't it? Full shot: ANN has just about accumulated all her things. JOE stares at her, knowing it's a fake. ANN Never mind that, Joe. Go ahead. JOE shrugs, shakes his head, and exits. ANN stuffs her things under her arm and also goes. Int. Outer office: Med. shot: Voices ad libó"Awfully sorry you're not going." "Good-bye." (Laughing) ANN comes out. Suddenly, she stops, gets another idea, picks up a book from a desk, and reaches back to heave it. Med. shot: At CONNELL's office door. The sign-painter has just finished CONNELL's name, and as he leans back, pleased, wiping his brushes, the book flies in. The painter lifts his head slowly, his wrath too great to find utterance. Dissolve to: Int. GOVERNOR JACKSON's office: Close-up: Of two of GOVERNOR'S ASSOCIATES. MAN (reading newspaper) " . . . and it's because of the slimy politics that we have all this unemployment here." (agitated) There it is! That's D. B. Norton's opening attack on the Governor! 2ND MAN Why Jim, it's just a letter sent in to a column. JIM No, no. I can smell it. That's Norton! While he speaks, the GOVERNOR has entered. ? 583 ? GOVERNOR Good morning, gentlemen. You're rather early. MEN 'Morning. 'Morning, Governor. GOVERNOR You're here rather early. JIM (pushes paper over to him) Did you happen to see this in the New Bulletin, Governor? He emphasizes the word "new" cynically. GOVERNOR Yes. I had it served with my breakfast this morning. 2ND MAN Jim thinks it's D. B. Norton at work. JIM Of course it is! GOVERNOR Oh, come, Jim. That little item? D. B. Norton does things in a much bigger way . . . JIM This is his opening attack on you, Governor! Take my word for it! What did he buy a paper for? Why did he hire a high-pressure editor like Connell for? He's in the oil business! I tell you, Governor, he's after your scalp! GOVERNOR All right, Jim. Don't burst a blood vessel, I'll attend to it. (flips button on dictograph) Get me Spencer of the Daily Chronicle , please. Dissolve to: Int. SPENCER's office: Med. shot: SPENCER is on the telephone. SPENCER Yes. Yes. I saw it, Governor . . . and if you ask me that's a phoney letter. Why, that gag has got whiskers on it. Huh? Okay, I'll get the Mayor and maybe the Chamber of Commerce to go after them. (into dictagraph) Get Mayor Lovett on the phone! Int. MAYOR's office: Med. shot: Of MAYOR's secretary. SECRETARY (picking up phone) Hello? Sorry, the Mayor's busy on the other phone. ? 584 ? Camera pans over to the MAYOR who is fatuous and excitable. MAYOR (into telephone) Yes, I know, Mrs. Brewster. It's a terrible reflection on our city. I've had a dozen calls already. SECRETARY enters scene. SECRETARY Spencer of the Chronicle . MAYOR Hold him. (into phone) Yes, Mrs. Brewster, I'm listening. The SECRETARY lays down the receiver. Dissolve to: Int. corner of a bedroom: Close shot: Of MRS. BREWSTERóstout and loud. She is propped up in bedóa breakfast tray on her lapóthe newspaper by her side. MRS. BREWSTER I insist that this John Doe man be found and given a job at once. If something isn't done. I'll call out the whole Auxiliary[3] óyes, and the Junior Auxiliary, too. We'll hold a meeting and seeó Cut to: Int. MAYOR's office: Med. shot: Of MAYOR. He lays the receiver down and we continue to hear MRS. BREWSTER's voice. MAYOR picks up SPENCER's phone. MAYOR Yes, Spencer. Who? The Governor? Well, what about me? it's my building he's jumping off of! And I'm up for re-election, too! SECRETARY Shh! MAYOR (to Secretary) What are you doing? Get Connell at the Bulletin ! (to Spencer) Why, he's liable to go right past my window, (suddenlyóto Sec'yóexcitably) What was that?! SECRETARY What? MAYOR Out the window! Something just flew by! SECRETARY I didn't see anything. ? 585 ? MAYOR (semi-hysterical) Well, don't stand there, you idiot. Go and look. Open the window. Oh, why did he have to pick on my building? The SECRETARY, telephone in hand, peers out window. MAYOR Is there a crowd in the street? SECRETARY No, sir. MAYOR Then he may be caught on a ledge! Look again! SECRETARY I think it must have been a sea-gull. MAYOR A sea-gull? What's a sea-gull doing around the city hall? That's a bad omen, isn't it? (picks up Mrs. Brewster's phone) SECRETARY Oh, n-no, sir. The sea-gull is a lovely bird. MAYOR (into telephone) I-it's all right, Mrs. Brewster. It was just a sea-gull. (catches himself) Er. nothing's happened yet! No, I'm watching. Don't worry. Ju-just leave it all to me! The SECRETARY holds out another phone. The MAYOR drops MRS. BREWSTER's phone again, and her voice is still heard. MAYOR (into Spencer's phone) Spencer, I'll call you back. Secretary has gotten CONNELL on the phoneóhands phone to MAYOR. MAYOR Hello! Connell! This isó (to Secretary) What are you doing? (back to phone) This is the Mayor. Int. CONNELL's office: Full shot: CONNELL is on the phone. POP DWYER is draped in a chair nearby. CONNELL Yes, Mayor Lovett! How many times are you gonna call me? I've got everybody and his brother and sister out looking for him. Did you see the box I'm running? ? 586 ? He picks up the front page of the Bulletin; we see a four column box on the front page. CONNELL (reading) "An appeal to John Doe. 'Think it over, John. Life can be beautiful,' says Mayor. 'If you need a job, apply to the editor of this paper . . .'" " and so forth and so forth . . . Okay, Mayor. I'll let you know as soon as I have something! What? . . . Well, pull down the blinds! (he hangs up) The door opens and a man enters. His name is BEANY. Walks fast, talks fast and accomplishes nothing. Outside, we see the painter trying once more to get his sign painted. He reaches inóand pulls the door to. BEANY I went up to Miss Mitchell's house, boss. Boy, she's in a bad way. CONNELL Where is she? BEANY Hey, do you know something? She supports a mother and two kids. What do you know about that? CONNELL (controlling his patience) Did you find her? BEANY No. Her mother's awful worried about her. When she left the house she said she was going on a roaring drunk. Er, the girl, I mean! CONNELL (barking) Go out and find her! BEANY Sure. Hey, but the biggest thing I didn't tell you . . . CONNELL picks up telephone. CONNELL Hello! . . . Yeh? BEANY Her old man was Doc Mitchell. You know, the doc that saved my mother's life and wouldn't take any money for it? You remember that? Okay, boss, I'll go and look for her. BEANY exits, knocking over an ash-stand. ? 587 ? CONNELL (into phone) Holy smokes, Commissioner. You've had twenty-four hours! Okay, Hawkshaw, grab a pencil. Here it is again. She's about five foot five, brown eyes, light chestnut hair and as fine a pair of legs as . . . The door opens, ANN stands thereóCONNELL sees her. CONNELL (into phoneóstaring at Ann) . . . ever walked into this office. Med. shot: At door. The sign painter is slowly beginning to lose patience. He again reaches inópulls the door shutóglaring at ANN. Close-up: Of ANN. ANN (innocently) Did you want to see me? Wider shot: CONNELL, without moving, stares at her. CONNELL (quietlyósizzling) No. I've had the whole army and navy searching for you because that's a game we play here every day. ANN I remember, distinctly, being fired. CONNELL That's right. But you have a piece of property that still belongs to this newspaper. And I'd like to have it! ANN What's that? CONNELL The letter. ANN What letter? CONNELL The letter from John Doe. ANN Oh! CONNELL The whole town's in an uproar. We've got to find him. The letter's our only clue. ANN (simply) There is no letter. ? 588 ? CONNELL We'll get a handwriting expert toó (suddenly realizes what she has said) What! ANN There is no letter. He stares at her for a moment, flabbergastedóexchanges a look with POPócrosses to the back dooróshuts itóthen comes back to face her. Close shot: ANN and CONNELL. CONNELL Say that again. ANN There is no letter. I made it up. CONNELL looks at her a long moment and then up at POP. CONNELL (repeating dully) You made it up. ANN Uh-huh. You said you wanted fireworks. Wider shot: As he recovers from the shock, and then wheels on ANN again. CONNELL Don't you know there are nine jobs waiting for this guy? Twenty-two families want to board him free? Five women want to marry him, and the Mayor's practically ready to adopt him? And you . . . As CONNELL glares at her the door springs open and BEANY enters. BEANY I just called the morgue, boss. They say there's a girl thereó CONNELL Shut up! Close-up: Of BEANY. He is startled by thisóand then stares popeyed as he sees ANN. BEANY Ann! Say, why didn't yuhó CONNELL Beany! Med. shot: At the door. The painter is beginning to grind his teeth. He pulls the door shut, viciously. Wider shot: To include all. ? 589 ? POP Only one thing to do, Hank. Drop the whole business quickly. CONNELL How? POP Run a story. Say John Doe was in here, and is sorry he wrote the letter andó CONNELL (jumps in quickly) That's right. You got it! Sure! He came in here and I made him change his mind. "Bulletin editor saves John Doe's life." Why, it's perfect. I'll have Ned write it up. (into dictograph) Oh, Ned! NED'S VOICE Yeah? CONNELL I got a story I want yuh toó ANN Wait a minute! She rushes overósnaps the dictograph off. Med. shot: Of ANN, leaning on CONNELL's desk. ANN Listen, you great big wonderful genius of a newspaperman! You came down here to shoot some life into this dying paper, didn't you? CONNELL blinks under the attack. POP and BEANY move into the scene. ANN Well, the whole town's curious about John Doe and, boom, just like that you're going to bury him. There's enough circulation in that man to start a shortage in the ink market! CONNELL (thoroughly bewildered) In what man! ANN John Doe. CONNELL What John Doe? ANN Our John Doe! The one I made up! Look, geniusó Now, look. Suppose there was a John Doeóand he walked into this office. What would you do? Find him a job and forget about the whole business, I suppose! Not me! I'd have made a deal with him! ? 590 ? CONNELL A deal? ANN Sure! When you get hold of a stunt that sells papers you don't drop it like a hot potato. Why, this is good for at least a couple of months. You know what I'd do? Between now and let's say, Christmas, when he's gonna jump, I'd run a daily yarn starting with his boyhood, his schooling, his first job! A wide-eyed youngster facing a chaotic world. The problem of the average man, of all the John Does in the world. Two shot: ANN and CONNELL. Despite himself, he's interested in her recital. ANN Now, then comes the drama. He meets discouragement. He finds the world has feet of clay. His ideals crumble. So what does he do? He decides to commit suicide in protest against the state of civilization. He thinks of the river! But no, no, he has a better idea. The City Hall. Why? Because he wants to attract attention. He wants to get a few things off his chest, and that's the only way he can get himself heard. CONNELL So? Full shot: Of the whole group. BEANY grins in admiration. CONNELL has leaned back in his chair, his eyes glued on ANN. ANN So! So he writes me a letter and I dig him up. He pours out his soul to me, and from now on we quote: "I protest, by John Doe." He protests against all the evils in the world; the greed, the lust, the hate, the fear, all of man's inhumanity to man. Arguments will start. Should he commit suicide or should he not! People will write in pleading with him. But no! No, sir! John Doe will remain adamant! On Christmas Eve, hot or cold, he goes! See? She finishes, takes a deep breathóawed, and at the same time proud of her accomplishment. Close shot: Of CONNELL. He just stares at ANN. CONNELL (after a pauseóquietly) Very pretty. Very pretty, indeed, Miss Mitchell. But would you mind telling me who goes on Christmas Eve? ANN John Doe. CONNELL (loses controlóscreams) What John Doe? ? 591 ? ANN (screams right back) The one we hire for the job, you lunkhead! There is silence for a moment. CONNELL (breaking silenceóspeaks with a controlled patience) Wait a minute. Wait a minute. Lemme get this through this lame brain of mine. Are you suggesting we go out and hire someone to say he's gonna commit suicide on Christmas Eve? Is that it? ANN (nodding) Well, you're catching on. CONNELL Who, for instance? ANN Anybody! Er, eróBeany'll do! Close-up: BEANY. He is petrified. BEANY Why sureóWho? Me? Jump off aóOh, no! Any time but Christmas. I'm superstitious. Full shot: BEANY backs away from themóand when he gets to the doorómakes a dash for it. Int. Outer office: Med. shot: At door. As BEANY comes dashing out, he almost upsets the painter from the stool. When the door is shut, the name of "Connell" which he has been printing is all smudged over. The painter stares at it, helplessly for a second, and thenóunable to stand it any more, rises, throws his brush violently to the flooróafter completely smearing the sign himself. Full shot: CONNELL (sighing) Miss Mitchell, do me a favor, will you? Go on out and get married and have a lot o' babiesóbut stay out o' newspaper business! POP Better get that story in, Hank, it's getting late. ANN (to CONNELL) You're supposed to be a smart guy! If it was raining hundred dollar bills, you'd be out looking for a dime you lost some place. CONNELL Holy smokes! Wasting my time listening to this mad woman. ? 592 ? He crosses to his desk just as NED enters from the back door. NED Look, Chief! Look what the Chronicle is running on John Doe. They say it's a fake! CONNELL turns sharply. Close-up: Of ANN. She was just about giving up, when she hears thisóand her eyes brighten alertly. Med. shot: At CONNELL's desk. CONNELLóreading the paperóbecomes incensed. CONNELL Why, the no-goodólow-downó (reading) "John Doe story amateur journalism. It's palpably phoney. It's a wonder anyone is taking it seriously." What do yuh think of those guys! ANN has walked into scene while CONNELL is reading. ANN That's fine! That's fine! Now fall right into their laps. Go ahead. Say John Doe walked in and called the whole thing off. You know what that's going to sound like on top of this! CONNELL (doesn't like Ned hearing all this) That's all, Ned. Thank you. NED All right. NED, puzzled, exits. CONNELL comes away from his desk and walks around. CONNELL (fighting spirit) "Amateur journalism", huh? Why, the bunch of sophomores! I can teach them more aboutó But he is interrupted by the front door being flung open. On the threshold stands BEANY. BEANY Hey, boss. Get a load of this. CONNELL (joins him in the doorway) What? BEANY Look! Med. shot: Over their shoulders. In the outer office are a large group of derelict-looking men. Some standingósome sittingósome leaning. It looks like the lobby of a flophouse had been transplanted. Close shot: Beany and Connell. ? 593 ? CONNELL What do they want? BEANY They all say they wrote the John Doe letter. Med. shot: POP and ANN have walked over and also peer out. CONNELL (amused, turns) Oh, they all wrote the letter? ANN pushes CONNELL asideótalks to BEANY. ANN Tell them all to wait. She shuts the door and turns to CONNELL. ANN Look, Mr. Connellóone of those men is your John Doe. They're desperate and will do anything for a cup of coffee. Pick one out and you can make the Chronicle eat their words. Close-up: Of CONNELL. A broad smile slowly spreads over his face. CONNELL I'm beginning to like this. Med. shot: POP looks worried. POP If you ask me, Hank, you're playing around with dynamite. CONNELL No, no, no, the gal's right. We can't let the Chronicle get the laugh on us! We've got to produce a John Doe now. (muttering) Amateur journalism, huh! (starts for door) I'll show those guys. ANN Sureóand there's no reason for them to find out the truth, either. (significantly) Because, naturally, I won't say anything. CONNELL turns sharply, stares at her a moment puzzled, then grins. CONNELL (grinning) Okay, sister, you get your job back. ANN Plus a bonus. CONNELL What bonus? ? 594 ? Close-up: Of ANN. She takes the plunge. She is a little frightened at her own nerve, but she is going to brazen it out. ANN (tries to drop it casually) Oh, the bonus of a thousand dollars the Chronicle was going to pay me for this little document. You'll find it says, er: "I, Ann Mitchell, hereby certify that the John Doe letter was created by meó" Med. shot: As she speaks, she gets the "little document" out of her bag, hands it to CONNELL who glares at her, takes the paper and starts to read. Ann leans over his shoulder. POP peers over his other shoulder. CONNELL I can read. I can read! ANN Sorry. She backs away. CONNELL continues reading her confession. CONNELL So you think this is worth a thousand dollars, do you? ANN (very carelessly) Oh, the Chronicle would consider it dirt cheap. CONNELL Packs everything, including a gun. (flings paper on desk) Okay, sister, you've got yourself a deal. Now let's take a look at the candidates. The one we pick has gotta be the typical average man. Typical American that can keep his mouth shut. POP Show me an American who can keep his mouth shut andóI'll eat him. CONNELL (opens door) Okay, Beany, bring 'em in one at a time. (he steps back and rubs his hands in anticipation) Wipe to: Montage: Half a dozen different types of hoboes appearóand in each instance ANN shakes her head, negatively. Wipe to: Close shot: Of a TALL CHAP, head hanging shyly. Two shot: Of ANN and CONNELL. They are impressed. Full shot: ANN and CONNELL exchange hopeful glances and begin slowly walking around the new candidate. Close-up: Of TALL CHAP. He feels awkward under this scrutiny. Wider shot: CONNELL stops in his examination of the man. ? 595 ? CONNELL Did you write that letter to Miss Mitchell? TALL CHAP (after a pause) No, I didn't. ANN, CONNELL and POP evince their surprise. CONNELL What are you doing up here then? TALL CHAP Well, the paper said there were some jobs around loose. Thought there might be one left over. They study him for a second, then ANN walks over close to him. Two shot: ANN and TALL CHAP. ANN Had any schooling? TALL CHAP Yeah, a little. ANN What do you do when you work? TALL CHAP (slight pause) I used to pitch. ANN Baseball? TALL CHAP Uh-huh. Till my wing[4] went bad. ANN Where'd you play? TALL CHAP Bush leagues mostly.[5] Med. shot: To include the rest of them. They have their eyes glued on his face. ANN is very much interested. CONNELL How about family? Got any family? TALL CHAP (after a pause) No. CONNELL Oh, just traveling through, huh? TALL CHAP Yeah. Me and a friend of mine. He's outside. ? 596 ? CONNELL nods to the others to join him in a huddle. He crosses to a corner. They follow. Close three shot: They speak in subdued voices. CONNELL Looks all rightó ANN He's perfect! A baseball player. What could be more American! CONNELL I wish he had a family, though. POP Be less complicated without a family. ANN Look at that face. It's wonderful. They'll believe him . Come on. Close-up: Of TALL CHAP. He is a strange, bewildered figure. He knows he is being appraised, but doesn't know why. He fingers his hat nervously and looks around the room. Suddenly he is attracted by something. Close-up: Of tray of sandwiches on CONNELL's desk. Close-up: Of TALL CHAP. He swallows hard. His eyes stare at the sandwiches hungrily. Med. shot: Over his shoulder. Shooting toward the huddling group. It breaks up. They walk toward him. Med. shot: Another angle. CONNELL What's your name? TALL CHAP Willoughby. John Willoughby, Long John Willoughby they called me in baseball. ANN Er, would you, er, would you like to make some money? JOHN Yeah, maybe. NOTE: Henceforth in this script he shall be referred to as JOHN DOE. ANN Would you be willing to say you wrote that letteróand stick by it? JOHN Oh, I get the idea. Yeah, maybe. There is an appraising pause, and CONNELL again signals them to join him in a huddle. They exit to their corner. ? 597 ? Close-up: Of JOHN. His eyes immediately go to the sandwiches. Close-up: Of tray, with sandwiches and milk, on desk. Close-up: Of JOHN. His eyes riveted on tray. He glances, speculatively, over toward them and then back to the tray. Med. shot: Of the huddled group. ANN That's our man. He's made to order. CONNELL I don't know. He don't seem like a guy that'd fall into line. ANN (it's significant to her) When you're desperate for money, you do a lot of things, Mr. Connell. He's our man, I tell you. Suddenly, they are startled by a loud thud: they all look around sharply. ANN He's fainted! Get some water quickly! As all three rush to him. CONNELL Hurry up, Pop. ANN Oh. CONNELL (to John) Right here. Sit down. JOHN Huh? ANN Are you all right? JOHN Yeah, I'm all right. Dissolve to: Int. ANN's office. Close-up: Of JOHNósitting at ANN's desk, just completing a mealóand still eating voraciously. Camera draws back and we find another bindle-stiff sitting beside JOHN, packing food away in silence. He is the friend JOHN referred to. He is much older and goes by the name of COLONEL. Camera continues to pull back revealing ANN who sits nearby, watching them sympathetically. Close shot: JOHN and the COLONEL. They continue eating. JOHN glances up and catches ANN's eye. He smiles self-consciously. Close-up: Of ANN. She, too, smiles warmly. Med. shot: They continue to eat silently. ? 598 ? ANN How many is that, six? Pretty hungry, weren't you? COLONEL Say, all this John Doe business is batty, if yuh ask me. ANN Well, nobody asked yuh. COLONEL Trying to improve the world by jumping off buildings. You couldn't improve the world if the building jumped on you! JOHN (to Ann) Don't mind the Colonel. He hates people. ANN He likes you well enough to stick around. JOHN Oh, that's 'cause we both play doohickies.[6] I met him in a box car a couple o' years ago. I was foolin' around with my harmonica and he comes over and joins in. I haven't been able to shake him since. Full shot: Suddenly, he starts to play the overture from "William Tell." The COLONEL whips out an ocarina and joins him. ANN stares, amused. The door opens and CONNELL and BEANY barge in, followed by half a dozen photographers. CONNELL All right, boys, here he is. ANN (jumping up) No, no, no! You can't take pictures of him like thatóeating a sandwichóand with a beard! She waves the photographers out, and shuts the door. CONNELL But, he's gonna jump off a building! ANN Yes, but not because he's out of a job. That's not news! This man's going to jump as a matter of principle. CONNELL Well, maybe you're right. ANN We'll clean him up and put him in a hotel roomóunder bodyguards. We'll make a mystery out of him. (suddenly) Did you speak to Mr. Norton? ? 599 ? CONNELL (nods) Thinks it's terrific. Says for us to go the limit. Wants us to build a bonfire under every big shot in the state. ANN Oh, swell! Is that the contract? (seeing paper in CONNELL's hand) CONNELL Yes. (sees the COLONEL) What's he doing here? ANN Friend of his. They play duets together. CONNELL Duets? But can we trust him? ANN Oh! JOHN I trust him. CONNELL Oh, you trust him, eh? Well, that's fine. I suppose he trusts you, too? ANN Oh, stop worrying. He's all right. COLONEL (insulted) That'só CONNELL Well, okay. But we don't want more than a couple o' hundred people in on this thing. Now the first thing I want is an exact copy of the John Doe letter in your own handwriting. ANN I got it all ready. Here. CONNELL Well, that's fine. Now I want you to sign this agreement. It gives us an exclusive story under your name day by day from now until Christmas. On December twenty-sixth, you get one railroad ticket out of town, and the Bulletin agrees to pay to have your arm fixed. That's what you want, isn't it? JOHN Yeah, but it's got to be by Bone-Setter Brown. CONNELL Okay, Bone-Setter Brown goes. Here, sign it. Meanwhile, here's fifty dollars for spending money. That's fine. Beany! ? 600 ? BEANY Yeah, Boss? CONNELL Take charge of him. Get him a suite at the Imperial and hire some bodyguards. ANN Yeah, and some new clothes, Beany. BEANY Do you think we better have him de-loused? CONNELL Yeh, yeh, yeh. BEANY Both of 'em? CONNELL Yes, both of 'em! But don't let him out of your sight. ANN Hey, Beany, gray suit, huh? BEANY Yeah. CONNELL Okay, fellows. ANN Take it easy, John Doe. JOHN and the COLONEL follow BEANY out. CONNELL (turns to Ann) And you! Start pounding that typewriter. Oh, boy! This is terrific! No responsibilities on our part. Just statements from John Doe and we can blast our heads off. ANN (interrupting) Before you pop too many buttons, don't forget to make out that check for a thousand. CONNELL (grimaces) Awwwww! Dissolve to: Int. Living-room of suite. Full shot: The door opens and BEANY enters. He is followed by JOHN and the COLONEL. JOHN glances around, impressed. The COLONEL looks glum. Med. shot: At door. As JOHN exits scene into the room, tailed by the unhappy COLONEL. BEANY beckons someone out in the corridor. BEANY Okay, fellas. ? 601 ? Three bruisers stand in the doorway. BEANY Now, lemme see. You sit outside the door. Nobody comes in, see. You two fellas sit in here. As they reach for chairs, Cut to: Med. shot: JOHN is pleased as his gaze wanders around the room. JOHN Hey, pretty nifty, huh? COLONEL You ain't gonna get me to stay here. JOHN Sure, you are. COLONEL No, sir. That spot under the bridge where we slept last night's good enough for me. While he speaks, JOHN has managed to get a glimpse of himself in a mirroróadmiring his new suit. BELL HOP Hey, what'll I do with this baggage? BEANY Aw, stick 'em in the bedroom. COLONEL Gimme mine. I ain't staying! You know we were headed for the Columbia River country before all this John Doe business came up. You remember that, don't yuh? JOHN Sure. I remember . . . Say, did your ears pop coming up in the elevator? Mine did. COLONEL Aw, Long John . . . I tell youóit's no good. You're gonna get used to a lotta stuff that's gonna wreck you. Why, that fifty bucks in your pocket's beginning to show up on you already. And don't pull that on me neither! (as John brings out harmonica) JOHN Stop worrying, Colonel. I'm gonna get my arm fixed out of this. Wider shot: As BEANY enters scene with box of cigars. BEANY Here's some cigars the boss sent up. Have one. JOHN's eyes light up. JOHN Hey, cigars! ? 602 ? He grabs one and stuffs it in his mouth. BEANY (to Colonel) Help yourself. COLONEL Naw. JOHN flops into a luxurious chairóand immediately ANGELFACE holds a light up for his cigar. JOHN looks up, pleased. JOHN Say, I'll bet yuh even the Major Leaguers don't rate an outfit like this. ANGELFACE (hands him a newspaper) Here. Make yourself comfortable. (turns to the Colonel) Paper? COLONEL (sharply) I don't read no papers and I don't listen to radios either. I know the world's been shaved by a drunken barber and I don't have to read it. ANGELFACE backs away, puzzled. COLONEL (crosses to John) I've seen guys like you go under before. Guys that never had a worry. Then they got ahold of some dough and went goofy. The first thing that happens to a guyó BEANY Hey, did yuh get a load of the bedroom? JOHN No. BEANY beckons to him to follow, which JOHN does with great interest. Int. bedroom: Full shot: As BEANY and JOHN puff luxuriously on their cigars and examine the room. COLONEL (in doorway) The first thing that happens to a guy like thatóhe starts wantin' to go into restaurants and sit at a table and eat saladsóand cup cakesóand teaó (disgusted) Boy, what that kinda food does to your system! JOHN pushes on the bed and is impressed with its softness. COLONEL The next thing the dope wants is a room. Yessir, a room with steam heat! And curtains and rugs ? 603 ? and 'fore you know it, he's all softened up and he can't sleep 'less he has a bed. Close-up: Of BEANY. He stares, bewildered, at the COLONEL. Wider shot: JOHN turns and crosses to window. JOHN (as he goes) Hey, stop worrying, Colonel. Fifty bucks ain't going to ruin me. COLONEL I seen plenty of fellers start out with fifty bucks and wind up with a bank account! BEANY (can't stand it any more) Hey, whatsa matter with a bank account, anyway? COLONEL (ignoring him) And let me tell you, Long John. When you become a guy with a bank account, they got you. Yessir, they got you! BEANY Who's got him? COLONEL The heelots! BEANY Who? JOHN (at the window) Hey. There's the City Hall tower I'm supposed to jump off of. It's even higher than this. BEANY Who's got him? COLONEL The heelots! Close-up: JOHN opens window and leans out. Close-up: Of BEANY. His eyes pop; he's petrified. Med. shot: JOHN stretches far out of the window, and quickly bounces back. JOHN Wow! At the same time BEANY springs to his side and yanks him back. BEANY Hey, wait a minute! You ain't supposed to do that till Christmas Eve! Wanta get me in a jam? ? 604 ? JOHN (twinkle in his eye) If it's gonna get you in a jam, I'll do you a favor. I won't jump. He exits to the living room. Int. living room: Full shot: As JOHN enters, flicking ashes from his cigar, grandly, the COLONEL leaves the doorway, still pursuing his point. COLONEL And when they get you, you got no more chance than a road-rabbit. BEANY (dogging the COLONEL) Hey. Who'd you say was gonna get him? JOHN Say, is this one of those places where you ring if you want something? BEANY Yeah. Just use the phone. The thought of this delights JOHN. JOHN Boy! I've always wanted to do this! He goes to the phone. BEANY Hey, Doc, look. Look, Doc. Gimme that again, will yuh? Who's gonna get him? COLONEL The heelots! BEANY Who are they? Two shot: The COLONEL finally levels off on BEANY. COLONEL Listen, sucker, yuh ever been broke? BEANY Sure. Mostly often. COLONEL All right. You're walking alongónot a nickel in your jeansófree as the windónobody bothers youóhundreds of people pass yuh by in every line of businessóshoes, hats, automobiles, radio, furniture, everything. They're all nice, lovable people, and they let you alone. Is that right? Close-up: Of BEANYónodding his head, bewildered. ? 605 ? COLONEL'S VOICE Then you get hold of some dough, and what happens? BEANY instinctively shakes his head. Two shot: The COLONEL takes on a sneering expression. COLONEL All those nice, sweet, lovable people become heelots. A lotta heels. (mysterioso) They begin creeping up on youótrying to sell you something. They've got long claws and they get a strangle-hold on youóand you squirmóand duck and holleróand you try to push 'em awayóbut you haven't got a chanceóthey've got you! First thing you know, you own things. A car, for instance. BEANY has been following him, eyes blinking, mouth open. COLONEL Now your whole life is messed up with more stuffólicense feesóand number platesóand gas and oilóand taxes and insuranceó Close shot: Of the LUGS at the door. One of them listens with a half-smile on his face. The other, more goofy, looks bewildered. He has been listeningóand now, slowly rises, ears cocked, frightened by the harrowing tale. Camera retreats before himóas he slowly walks nearer to BEANY and the COLONEL. Meantime, we continue to hear the COLONEL'S voice. COLONEL'S VOICE . . . and identification cardsóand lettersóand billsóand flat tiresóand dentsóand traffic tickets and motorcycle cops and court roomsóand lawyersóand finesó Wider shot: The LUG steps up directly behind BEANYóand the two horrified faces are close togetheróboth staring at the COLONEL. COLONEL And a million and one other things. And what happens? You're not the free and happy guy you used to be. You gotta have money to pay for all those thingsóso you go after what the other feller's gotó (with finality) And there you areóyou're a heelot yourself! Close shot: Of the two heads of BEANY and the LUG. They continue to stare, wide-eyed, at the COLONEL. Wider shot: As JOHN approaches the COLONEL. JOHN (smiling) You win, Colonel. Here's the fifty. Go on out and get rid of it. ? 606 ? COLONEL (as he goes) You bet I will! As fast as I can! Gonna get some canned goodsóa fishing rod, and the rest I'm gonna give away. ANGELFACE (aghast) Give away? JOHN (calling) Hey. Get me a pitcher's glove! Got to get some practice. ANGELFACE Say, he's giving it away! I'm gonna get me some of that! BEANY Hey, come back here, yuh heelot! JOHN (on the phone) Will you send up five hamburgers with all the trimmings, five chocolate ice cream sodas, and five pieces of apple pie? No, apple, with cheese. Yeah. Thank you. JOHN hangs up. The COLONEL has just reached the door when it flies open and Ann comes in with photographer EDDIEóshe sees JOHN all dressed up. ANN Hello there. Well, well! If it isn't the man about town! EDDIE All set, Ann? ANN (coming out of it) Huh? Oh, yes. Let's go. (she backs away) Now, let's see. We want some action in these pictures. JOHN Action? ANN Um-hum. JOHN winds up in pitching poseóhis left leg lifted up high. EDDIE That's good. ANN No, no, no. This man's going to jump off a roof. EDDIE Oh. ? 607 ? ANN Here. Wait a minute. Let me comb your hair. Sit down. There. That's better. Close shot: She combs his hairóstraightens his tieóetc. He inhales the fragrance of her hair and likes itówinks to the others. She poses JOHN's face and looks it over. ANN You know, he's got a nice face, hasn't he? ANGELFACE Yehóhe's pretty. JOHN gives him a look and starts to get up slowly. ANN Here. Sit down! (to ANGELFACE) Quiet, egghead! (back to JOHN) All right, now, a serious expression. JOHN (laughing) Can't. I'm feeling too good. ANN Oh, come on, now. This is serious. You're a man disgusted with all of civilization. JOHN With all of it? ANN Yes, you're sore at the world. Come on, now. JOHN Oh, crabby guy, huh? He tries scowling. ANN Yeah. No, no! (laughing) No! No, look. You don't have to smell the world! (the men laugh) JOHN Well, all those guys in the bleachers thinkó ANN Never mind those guys. All right, stand up. Now let's see what you look like when you protest. JOHN Against what? ANN Against anything. Just protest. JOHN (laughing) You got me. ? 608 ? ANN Oh, look. I'm the umpire, and you just cut the heart of the plate with your fast one and I call it a ball. What would you do? JOHN (advances toward her) Oh, yuh did, huh? ANN Yes! JOHN Why can't you call right, you bone-headed, pig-eared, lop-eared, pot-belliedó ANN Grab it, Eddie, grab it! Eddie takes the picture. A Montage: Of Newspaper inserts featuring John Doe's picture. "I protest against collapse of decency in the world." "I protest against corruption in local politics." "I protest against civic heads being in league with crime." "I protest against state relief being used as political football." "I protest against County Hospitals shutting out the needy." "I protest against all the brutality and slaughter in the world." Close-up: Superimposed over all of the above is a circulation chartóshowing the circulation of the Bulletin in a constant rise. Dissolve to: Int. GOVERNOR's study: Med. shot: The GOVERNOR paces furiously. In front of him are several associates. GOVERNOR I don't care whose picture they're publishing. I still say that this John Doe person is a myth. And you can quote me on that. And I'm going to insist on his being produced for questioning. You know as well as I do that this whole thing is being engineered by a vicious man with a vicious purposeóMr. D. B. Norton. As he finishes saying this, Dissolve to: Ext. D. B.'s estate: Close-up: Of D. B. NORTON. Camera pulls back and we find him on horseback. Reverse long shot: We discover that he is watching the maneuvers of a motorcycle corps who are in uniform. They are being drilled by TED SHELDON. ? 609 ? Med. shot: As a groom rides toward D. B. GROOM Mr. Connell and Miss Mitchell are at the house, sir. D. B. Oh, they are? All right, come on. Dissolve to: Int. D. B. 's study: Med. shotópanning: As ANN, D. B. and CONNELL enter and cross to D. B. 's desk. ANN (as they walk) Personally, I think it's just plain stupidity to drop it now. They reach D. B. 's desk and stop. ANN You should see his fan mail! Thousands! Why, it's going over like a house afire! Close-up: Of D. B. He studies her a moment before he turns to CONNELL. D. B. What are you afraid of, Connell? It's doubled our circulation. Wider shot: To include all three. CONNELL Yeah, but it's got everybody sore. Ads are being pulledóthe Governor's starting a libel suitówhat's more, they all know John Doe's a phoneyóand they insist on seeing him. ANN Well, what about it? Let them see him! We'll go them one better. They can also hear him. (to D. B.) You own a radio station, Mr. Norton. Why not put him on the air? Close-up: Of D. B. He admires her fight. CONNELL'S VOICE Watch out for this dame, D. B. She'll drive you batty! ANN Ohh! ? 610 ? Wider shot: To include all three. CONNELL Look. We can't let 'em get to this bush-league pitcher and start pumping him. Good night! No telling what that screwball might do. I walked in yesterdayóhere he is, standing on a table with a fishing pole flycasting. Take my advice and get him out of town before this thing explodes in our faces! ANN If you do, Mr. Norton, you're just as much of a dumb cluck as he is! Excuse me. CONNELL (to Annóhotly) No, you've got yourself a meal ticket and you hate to let go. ANN Sure, it's a meal ticket for me. I admit it, but it's also a windfall for somebody like Mr. Norton who's trying to crash national politics. (she turns to D. B.) That's what you bought the newspaper for, isn't it? You wanta reach a lotta people, don't you? Well, put John Doe on the air and you can reach a hundred and fifty million of 'em. He can say anything he wants and they'll listen to him. Close-up: Of D. B. Fascinated by ANN. Wider shot: CONNELL stares at her derisively. D. B. is completely absorbed. ANN All right, let's not forget the Governor, the Mayor and all small fry like that. This can arouse national interest! If he made a hit around hereóhe can do it everywhere else in the country! And you'll be pulling the strings, Mr. Norton! Close-up: Of D. B. His eyes have begun to light up with extensive plans. Wider shot: D. B. continues to study ANN with deep interest. Then he turns to CONNELL. D. B. Go down to the office and arrange for some radio time. CONNELL (protesting) Why, D. B., you're not going to fall foró D. B. (interrupting sharply) I want it as soon as possible. ? 611 ? CONNELL (shrugging) Okay. I just came in to get warm, myself. Come on, let's go. He starts out. ANN picks up her bag, prepared to follow CONNELL. D. B. Er, don't you go. I want to talk to you. CONNELL goes. ANN waits, somewhat nervously. D. B. (when CONNELL is gone) Sit down. Med. two shot: ANN and D. B. D. B. studies her for a moment. D. B. . . . Er, this John Doe idea is yours, huh? ANN Yes, sir. D. B. How much money do you get? ANN Thirty dollars. D. B. (probingly) Thirty dollars? Well, er, what are you after? I mean, what do you want? A journalistic career? ANN Money. D. B. (laughs) Money? Well, I'm glad to hear somebody admit it. Do you suppose you could write a radio speech that would put that fellow over? ANN Oh, I'm sure I can. D. B. Do it, and I'll give you a hundred dollars a week. ANN A hundred dollars! D. B. That's only the beginning. You play your cards right and you'll never have to worry about money again. Oh, I knew it. ANN'S eyes brighten with excitement. They are interrupted by the arrival of TED SHELDON, in uniform. ? 612 ? D. B. (to TED) Hello. Whenever there's a pretty woman around, eró (laughing) This is my nephew, Ted Sheldon, Miss Mitchell. ANN How do you do. TED How do you do! D. B. All right, Casanova. I'll give you a break. See that Miss Mitchell gets a car to take her home. TED Always reading my mind, aren't you? ANN (laughing) Thank you very much for everything. D. B. And, Miss MitchellóI think from now on you'd better work directly with me. ANN Yes, sir. They exit. D. B. walks to the door, a pleased expression on his face. Close-up: Of D. B. His face wreathed in a victorious smile. Fade-out. Fade-in: Int. ANN's living room: Close shot: Of ANN. She sits at a typewriter reading something she has written. Suddenly, impulsively, she yanks the sheet out of the machine and flings it to the floor. As she rises, camera pulls back. We find the floor littered with previously unsuccessful attempts to get the speech written. For a moment, ANN paces agitatedly, until she is interrupted by a commotion. Med. Shot: At door. ANN's two sisters, IRENE and ELLEN, aged nine and elevenóand dressed in their sleeping pajamas, dash in, squealing mischievously. Camera pans with them as they rush to ANN and leap on her. ANN Oh! Hey! Oh, hey! I thought you were asleep! ELLEN We just wanted to say good night, Sis. They embrace and kiss her. ANN Oh, oh! Oh, you little brats! You're just stalling. I said good night! ? 613 ? Med. shot: At door. ANN'S MOTHER appears in the doorway. She is a prim little womanóher clothes have a touch of the Victorian about themóher hair is done up in old-fashioned style, her throat is modestly covered in lace. MOTHER (above the din) Come, come, come, children. It's past your bedtime. ELLEN Oh, all right. MOTHER Go on! ELLEN Come on, Pooch! Come on, come on. MOTHER Now, keep Pooch off the bed. The CHILDREN exit, squealing. ANN'S MOTHER goes to ANN's desk and searches for something. ANN Stick a fork through me! I'm done. I'll never get this speech right. MOTHER Oh, yes you will, Ann dear . . . you're very clever. ANN Yeah, I know. What are you looking for? MOTHER Your purse. I need ten dollars. ANN What for? I gave you fifty just the other day. MOTHER Yes, I know, dear, but Mrs. Burke had her baby yesterday. Nine pounds! And there wasn't a thing in the houseóand then this morning the Community Chest[7] lady came around andó ANN And the fifty's all gone, huh? Who's the ten for? MOTHER The Websters. ANN The Websters! MOTHER You remember those lovely people your father used to take care of? I thought I'd buy them some groceries. Oh, Ann, dear, it's a shame, those pooró ? 614 ? ANN You're marvelous, Ma. You're just like Father used to be. Do you realize a couple of weeks ago we didn't have enough to eat ourselves? MOTHER Well, yes, I know, dear, but these people are in such need and we have plenty now. ANN If you're thinking of that thousand dollars, forget it. It's practically gone. We owed everybody in town. Now, you've just gotta stop giving all your money away. Her MOTHER looks up, surprised at her tone. MRS. MITCHELL Oh, Ann, dear! Close-up: ANN realizes she has spoken sharply to her MOTHER and immediately regrets it. Her face softens. Med. shot: As ANN crosses to her MOTHERóand places an arm around her shoulder, tenderly. ANN Oh, I'm sorry, Ma. Oh, don't pay any attention to me. I guess I'm just upset about all this. Gee whiz, here I am with a great opportunity to get somewhere, to give us security for once in our lives, and I'm stuck. If I could put this over, your Mrs. Burke can have six babies! MOTHER Do you mean the speech you're writing? ANN Yeah, I don't know. I simply can't get it to jell! I created somebody who's gonna give up his life for a principle, hundreds of thousands of people are gonna listen to him over the radio and, unless he says something that's, well, that's sensational, it's just no good! MOTHER Well, honey, of course I don't know what kind of a speech you're trying to write, but judging from the samples I've read, I don't think anybody'll listen. ANN What? MOTHER Darling, there are so many complaining political speeches. People are tired of hearing nothing but doom and despair on the radio. If you're going to have him say anything, why don't you let him say something simple and real, something with hope in it? If your father were alive, he'd know what to say. ? 615 ? ANN Oh, yes, Father certainly would. MOTHER Wait a minute . . . ANN Huh? MRS. MITCHELL crosses to a desk, finds a key and unlocks a compartment. ANN watches her, curiously. Close shot: MRS. MITCHELL extracts a diary from the compartment, which she handles very tenderly. Camera pans with her as she goes back to ANN. MOTHER That's your father's diary, Ann. ANN Father's . . . I never knew he had a diary. MOTHER There's enough in it for a hundred speeches, things people ought to hear nowadays. You be careful of it, won't you dear? It's always helped keep your father alive for me. ANN (holds MOTHER's hand to her cheek) You bet I will, Ma. Her mother abruptly leaves. Close-up: ANN turns her attention to the diary. As she opens it, her eyes sparkle expectantly. She becomes interested in the first thing she sees. Dissolve to: Int. corridor of hotel. Med. shot: At door of JOHN's suite. A crowd of people are around the door trying to crash it. The LUG on guard stands before the door. LUG Wait a minute. John Doe don't wanta sign no autographs. INQUIRER Well, what does he do all day? LUG What does he do all day? He's writin' out his memories! Cut to: Int. living room. Med. shot: BEANY is on the telephone. He is apparently weary from answering them all day. ? 616 ? BEANY Sorry, lady. you can't see Mr. Doe. He wants to be alone. No, no, he just sits around all day and commutes with himself. Camera swings around to JOHN. He stands in the middle of the floor, his pitcher's glove on, playing an imaginary game of ball. He winds up and throws an imaginary ball. Close-up: Of the COLONEL. He wears a catcher's mittóand smacks it as if he just caught the ball. BEANY (umpiring) Ba-ll! COLONEL I don't know how you're gonna stand it around here till after Christmas. Full shot: At the door are the two LUGS, watching the imaginary ball game. The COLONEL takes a couple of steps over home plate, and throws the "ball" back to JOHN who picks it up out of the air. COLONEL (as he steps back behind the plate) I betcha yuh ain't heard a train whistle in two weeks. He crouches on his kneesóand gives JOHN a signal. BEANY St-rike! COLONEL I know why you're hangin' aroundóyou're stuck on a girlóthat's all a guy needs is to get hooked up with a woman. Close shot: Of JOHN. He shakes his head, and waits for another sign. When he gets it, he nods. He steps onto the moundówinds up and lets another one go. This is apparently a hit, for his eyes shoot skyward, and he quickly turnsówatching the progress of the ball as it is flung to first base. From his frown we know the man is safe. Close shot: Of the two LUGS, ANGELFACE and MIKE. ANGELFACE is seriously absorbed in the game. MIKE leans against the wall, eyes narrowed, a plan going on in his head. ANGELFACE (seriously) What was that? A single? Close-up: Of JOHN. JOHN (explaining) The first baseman dropped the ball. Close-up: Of ANGELFACE. ? 617 ? ANGELFACE (shouting at "firstbaseman") Butterfingers! (back to John) That's tough luck, Pal. Med. shot: JOHN disregards him completely. He is too much absorbed with the man on first. He now has the stance of a pitch without the windup. COLONEL When a guy has a woman on his handsóthe first thing he knows his life is balled up with a lot more thingsófurniture andó Close shot: Of JOHN. He catches the "ball"ógets into positionónods to his catcheróraises his hands in the air, takes a peek toward first baseóand suddenly wheels around facing camera, and whips the "ball" toward first base. Almost immediately his face lights up. Close-up: Of ANGELFACE. ANGELFACE Did you get him? Close-up: Of JOHN. He winks. BEANY (umpiring) You're out! Full shot: JOHN flips the glove off his hand so that it dangles from his wristóand massages the ball with his two palms. ANGELFACE That's swell! What's thisóthe end of the eighth? JOHN Ninth! He steps into the "pitcher's box". Wider shot: Just as they take their positions, the LUG, from outside, partly opens the door. LUG Hey, Beany! There's a coupla lugs from the Chronicle snooping around out here! BEANY immediately comes from background. BEANY Come on, Angelface! Gangway! As they reach the door, the LUG speaks to ANGELFACE. LUG What's the score, Angelface? ANGELFACE Three to twoóour favor. ? 618 ? LUG Gee, that's great! Close-up: Of JOHN. He has heard this and grins mischievously. He starts winding up for another pitch. Close-up: Of MIKE. He looks around mischievously, then turns to JOHN. MIKE You've got swell form. Must have been a pretty good pitcher. Wider shot: JOHN is just receiving the ball. JOHN Pretty good? Say, I was just about ready for the major leagues when I chipped a bone in my elbow. I got it pitchin' a nineteen-inning game! MIKE Nineteen! JOHN Yep. There was a major league scout there watching me, too. And he came down after the game with a contract. Do you know what? I couldn't life my arm to sign it. But I'll be okay again as soon as I get it fixed up. MIKE (picks up newspaperósighing) That's too bad. JOHN What do you mean, too bad? MIKE (pretending distraction) Huh? Oh, that you'll never be able to play again. JOHN Well, what are you talking about? I just told you I was gonna get aó MIKE (interrupting carelessly) Well, you know how they are in baseballóif a guy's mixed up in a racketó JOHN (walking over) Racket? What do you mean? MIKE Well, I was just thinking about this John Doe business. Why, as soon as it comes out it's all a fake, you'll be washed up in baseball, won't you? ? 619 ? JOHN Y-yeah. Gee, doggone it, I never thought about that. Gosh! MIKE And another thing, what about all the kids in the country, the kids that idolize ball players? What are they gonna think about you? (shakes his head) Close shot: Of the COLONEL. He has dropped his gloveóflopped into a chairóand has taken out his ocarina. JOHN'S VOICE Hey, did you hear that, Colonel? The COLONEL nods, disinterestedly, and begins to play. Wider shot: JOHN ponders his dilemma for a second. JOHN I gotta figure some way out of this thing! COLONEL The elevators are still runnin'. MIKE (carelessly) I know one way you can do it. JOHN How? MIKE Well, when you get up on the radio, all you have to do is say the whole thing's a frame-up. Make you a hero sure as you're born! John thinks this over, but something troubles him. JOHN Yeah, but how am I gonna get my arm fixed? MIKE Well, that's a cinch. I know somebody that'll give you five thousand dollars just to get up on the radio and tell the truth. COLONEL (eyes popping) Five thousand dollars? MIKE Yeah. Five thousand dollars. And he gets it right away. You don't have to wait till Christmas. COLONEL Look out, Long John! They're closing in on you! ? 620 ? JOHN (ignores COLONEL) Say, who's putting up this dough? MIKE Feller runs the Chronicle . (takes it out of his pocket) Here's the speech you makeóand it's all written out for you. JOHN takes it. Close-up: Of the COLONEL. COLONEL (eyes heaven-ward) Five thousand dollars! Holy mackerel! I can see the heelots comin'. The whole army of them! MIKE It's on the level. Close-up: Of JOHN. Dissolve to: Int. broadcasting station: Close shot: TELEPHONE OPERATORS. 1ST GIRL No, I'm sorry. Tickets for the broadcast are all gone. Phone the Bulletin. 2ND GIRL Sorry. No more tickets left. Med. shot: Crowd chatteringóthey recognize JOHN DOE coming in. Close shot: At a side door in broadcasting station. As the COLONEL and MIKE take their places. Int. office in broadcasting station: Full shot: JOHN is led by BEANY into the office. They are immediately followed by several photographers. BEANY Here he is. ANN Hello, John. All set for the big night? Swell! PHOTOGRAPHER Turn around. 2ND PHOTOGRAPHER One momentóhold it! Now stand still, Mr. Doe. ANN Okay, Beany, take them outside. Two shot: JOHN and ANN. ? 621 ? ANN Now, look, John. Here's the speech. It's in caps and double-spaced. You won't have any trouble reading it. Not nervous, are you? JOHN No. ANN Of course not. He wouldn't be. JOHN Who? ANN John Doe. The one in there. (pointing to speech) BEANY Hey, don't let your knees rattle. It picks up on the mike! ANN Oh, Beany! You needn't be nervous, John. All you have to remember is to be sincere. Wider shot: Man pokes his head in. MAN Pick up the phone, Miss Mitchell. It's for you. ANN (takes phone) Hello? Yes, Mother. Oh, thank you, darling. Full shot: While she speaks on the phone, MRS. BREWSTER barges in, accompanied by two other ladies. MRS. BREWSTER Oh, there he is, the poor, dear man! Oh, good luck to you, Mr. Doe. We want you to know that we're all for you. The girls all decided that you're not to jump off any roof a'tall. Oh, we'll stop it! ANN completes the phone callócrosses to MRS. BREWSTER. ANN Sorry, ladies. Mr. Doe can't be bothered now. He's gotta make a speech out there, andó While she gets them outóMIKE slips into the room. Close shot: MIKE and JOHN. MIKE Have you got the speech I gave you? JOHN (taps breast pocket) Yeah. ? 622 ? MIKE Now, look. I'll give this money to the Colonel just as soon as you get started. We'll have a car waiting at the side entrance for you. JOHN Okay. Full shot: ANN turns away from the door. ANN (to MIKE) How'd you get in here? MIKE Huh? Oh, I just came in to wish him luck. ANN Come on, out. Out! (turning to John) Mother says good luck, too. John, when you read that speech, please, please believe every word of it. He's turned out to be a wonderful person, John. JOHN Who? ANN John Doe, the one in the speech. JOHN Oh. Yeah. ANN You know something? I've actually fallen in love with him. Full shot: They are interrupted by the arrival of CONNELL. He is accompanied by several photographersóand a beautiful girl in a bathing suit. A banner across her front reads: "Miss Average Girl". CONNELL All right, there he is, sister. Now, come onóplenty of oomph! The GIRL, all smiles, throws her arms around JOHN's shoulderóand strikes a languid pose. The flashlights go off. ANN What's the idea? CONNELL No, no, no. Now that's too much! PHOTOGRAPHER One moment, please. ANN This is no time for cheap publicity, Mr. Connell! ? 623 ? CONNELL Listen. If that guy lays an egg. I want to get something out of it. I'm getting a Jane Doe ready! ANN (trying to get rid of them) That's fine, honey. Now, get out! PHOTOGRAPHER All right. I need one more. ANN Go right ahead. While there is this confusion, the COLONEL pushes in and stands in the doorway. COLONEL How're you doin'? CONNELL (calls to Beany outside) All right, Beanyóbring 'em in! While CONNELL speaks, two MIDGETS push the COLONEL out of the way and enter the room. The COLONEL glances downóand nearly jumps out of his skin. BEANY follows them in. COLONEL Holy smoke! A half a heelot! BEANY There you are, Boss, just like you ordered. Symbols of the little people. CONNELL Okay. Get them up. BEANY lifts them and places them, one on each of JOHN's arms. The flashlights go off. ANN This is ridiculous, Mr. Connell! Come on, give him a chance. The man's on the air! While she speaks, she tries to shove the photographers out. BOY MIDGET (to girl midget) Come on, Snooksóyou better bail out. GIRL MIDGET (coquettishly) Goodbye, Mr. Doe! BEANY lifts her offóand ANN pushes them all outójust as the STAGE MANAGER reappears. STAGE MANAGER Better get ready. One minute to go! ? 624 ? Two shot: JOHN and ANN. ANN turns quickly to JOHN. ANN Wow! One minute to go, and the score is nothing to nothing! Now, please, John, you won't let me down, will you? Will you? 'Course you won't. If you'll just think of yourself as the real John Doe. Listen. Everything in that speech are things a certain man believed in. He was my father, John. And when he talked, people listened. They'll listen to you, too. Funnyóyou know what my mother said the other night? She said to look into your eyesóthat I'd see Father there. STAGE MANAGER Heyówhat do you say? ANN Okay! We're coming. Come on! ANN Now, listen, John. You're a pitcher. Now, get in there and pitch! (kisses his cheek) Good luck. For a moment he just stares at her, under a spell. Then, turning, he exits. After a second of watching him, ANN follows. STUDIO OFFICIAL Give him room, let him through. Come on. Int. broadcasting stage: Med. shot: Camera retreats in front of JOHN and the official, as they leave the office and proceed to the microphones. Everyone stares curiously at JOHNówhispering to each other. Med. shot: Shooting through glass partition, toward control booth. We see the two men at the board. They glance nervously at their watchesóthen at the clock on the wall. Close shot: Of ANN. She has taken a position at a table near the mike. Next to her sits CONNELL. ANN watches JOHN with intense interest. The COLONEL has followed JOHN up to the microphone. COLONEL (to John) Hey. Let's get out o' here. There's the door right there. M.C. Hey, what're you doing here? COLONEL That's what I'd like to know! M.C. Come on, out. Out. ? 625 ? JOHN Say, he's a friend of mine. ANN (at John's elbow) Never mind. Let him alone. He's all right. I'll be right over there pulling for you. JOHN starts to follow ANN away from mike. ANN leads him back to mike again. ANN No, Johnóover here. 2ND M.C. Stand by. Med. shot: At door. The COLONEL surreptitiously tries the door, to see that it opens readily. Standing near him is BEANY and the others. Med. shot: Group around SPENCER. They wait expectantly. Their eyes sparkling with excitement. SPENCER Phone the Chronicle . Tell 'em to start getting those extras out. Med. shot: Toward control booth. The man with the earphones on has his hand up ready to give the signal. He listens a moment, then abruptly drops his hand. Close-up: The man near the announcer throws his hand up as a signal to someone off scene. Med. shot: An orchestra in a corner. The conductor waves his batonóand the orchestra blasts out a dramatic fanfare. Close shot: ANNOUNCER and JOHN. ANNOUNCER holds his script up and the moment the music stops he speaks dramatically. ANNOUNCER (rapid-fire) And good evening, ladies and gentlemen. This is Kenneth Frye, speaking for the New Bulletin . Tonight we give you something entirely new and different. Standing beside me is the young man who has declared publicly that on Christmas Eve he intends to commit suicide, giving as his reasonóquote: "I protest against the state of civilization." End quote. Ladies and gentlemen, the New Bulletin takes pleasure in presenting the man who is fast becoming the most talked-of person in the whole country, JOHN DOE! The man next to him waves his handóthere is an outburst of music. A flash: Of ANNóshe looks at JOHN intently. Med. shot: Group around BEANY. They all applaud, except for MIKE and the COLONEL. MIKE, with his hand hanging down, nudges the COLONEL. ? 626 ? Close shot: Of their hands meeting and we see the envelope change hands. Camera pans up to the COLONEL's face which is twisted into a miserable grimace. Close-up: Of JOHN. He glances around, uncertainly. Close shot: Of MIKE and the COLONEL. MIKE elbows the COLONEL to throw his signal. The COLONEL looks toward JOHN and nods his head. Close shot: Of JOHN. He catches the COLONEL'S signal and quickly his hand goes to his pocket. Just as he is about to bring it out, his hand pauses. He turns and looks at ANN. Close-up: Of ANN. A warm, pleading look in her eyes. Med. shot: Around JOHN. He is still staring at ANN, when the ANNOUNCER reaches over and nudges himópointing to the mike. JOHN snaps out of itóturns his face to the mikeópushes the paper back in his pocketóand starts reading ANN'S speech. JOHN (reading speech) Ladies and gentlemen: I am the man you all know as John Doe. (clearing his throat) I took that name because it seems to describeóbecause it seems to describe (his voice unnatural) the average man, and that's me. (repeats, embarrassedly) And that's me. Med. shot: The COLONEL and MIKE. The COLONEL realizes JOHN is not going to make SPENCER'S speech, and his face breaks into a broad grin. He takes MIKE'S hand and slaps the envelope into his palm. Over the shot we hear JOHN'S voice. JOHN'S VOICE Well, it was meóbefore I said I was gonna jump off the City Hall roof at midnight on Christmas Eve. Now, I guess I'm not average any more. Now, I'm getting all sorts of attention, from big shots, too. Med. shot: To include JOHN and ANN. Med. shot: Around SPENCER, as MIKE enters to him and hands him envelope. MIKE (whispering) We've been double-crossed! SPENCER stares at the envelope, frothing at the mouth. SPENCER We have!? ? 627 ? Med. shot: Featuring JOHN and ANN. JOHN The Mayor and the Governor, for instance. They don't like those articles I've been writing. Suddenly they are startled by SPENCER's voice. SPENCER'S VOICE You're an imposter, young fella! That's a pack of lies you're telling! Quick flashes: Of reaction from audience, CONNELL and others. SPENCER Who wrote that speech for you? (pointing accusing finger at JOHN) CONNELL Beany, get that guy! Med. shot: Around SPENCER. It is as far as he gets. Several attendants, BEANY among them, have reached him and start throwing him out. Cut to: Int. D. B. NORTON's study: Med. shot: D. B. and TED SHELDON are listening to JOHN's speech over the radio. D. B. is astonished at the disturbance in the program. D. B. (recognizing the voice) That's Spencer! Cut to: Int. broadcasting stage: Close shot: Of ANNOUNCER. M.C. Ladies and gentlemen, the disturbance you just heard was caused by someone in the audience who tried to heckle Mr. Doe. The speech will continue. Med. shot: Featuring JOHN and ANN. JOHN Well, people like the Governor (laughingóad libs) People like the Governor and that fella there canócan stop worrying. I'm not gonna talk about them. ANN smiles admiringly. Close-up: Of JOHN. He is becoming strangely absorbed in what he is saying. ? 628 ? JOHN I'm gonna talk about us, the average guys, the John Does. If anybody should ask you what the average John Doe is like, you couldn't tell him because he's a million and one things. He's Mr. Big and Mr. Small. He's simple and he's wise. He's inherently honest, but he's got a streak of larceny in his heart. He seldom walks up to a public telephone without shoving his finger into the slot to see if somebody left a nickel there. Close-up: Of ANN. Her eyes are glued on JOHN. JOHN'S VOICE He's the man the ads are written for. He's the fella everybody sells things to. He's Joe Doakes,[8] the world's greatest stooge and the world's greatest strength. (clearing throat) Yes, sir. Yessir, we're a great family, the John Does. We're the meek who are, er, supposed to inherit the earth. You'll find us everywhere. We raise the crops, we dig the mines, work the factories, keep the books, fly the planes and drive the busses! And when a cop yells: "Stand back there, you!" He means us, the John Does! Cut to: Int. D. B. 's study: Med. shot: D. B. and TED listen near the radio. TED's eyes flash angrily. TED Well, what kind of a speech is that? Didn't you read it? D. B. stops him with a gesture of his hand. He doesn't want to miss a word. Cut to: Int. broadcasting stage: Med. shot: Toward JOHN. JOHN We've existed since time began. We built the pyramids, we saw Christ crucified, pulled the oars for Roman emperors, sailed the boats for Columbus, retreated from Moscow with Napoleon and froze with Washington at Valley Forge! (gasping) Yes, sir. We've been in there dodging left hooks since before history began to walk! In our struggle for freedom we've hit the canvas many a time, but we always bounced back! Med. shotópanning: Around audienceóto get a variety of interested faces. JOHN'S VOICE Because we're the people óand we're tough! Close-up: Of JOHN. ? 629 ? JOHN They've started a lot of talk about free people going softóthat we can't take it. That's a lot of hooey! . . . A free people can beat the world at anything, from war to tiddle-de-winks, if we all pull in the same direction! Med. shot: To include radio announcer and other radio officials. Their interest centers on JOHN. JOHN I know a lot of you are saying "What can I do? I'm just a little punk. I don't count." Well, you're dead wrong! The little punks have always counted because in the long run the character of a country is the sum total of the character of its little punks. Int. D. B.'s study. Med. Shot. D. B.'s expression of disturbance has vanished. It is now replaced by one of thoughtfulness and interest. He looks off toward the foyer, and impulsively goes in that direction. Cut to: Int. foyer. Med. shot: D. B. crosses to a pantry door and pushes the swinging door open slightly. Int. pantry: Med. shot: All we can see through the slightly open door is one side of the room. Clustered around the radio on a table are all the household help. They listen, fascinated. Int. foyer: Closeup of D. B. His eyes begin to brighten with an idea. Meantime, over the foregoing shots, JOHN's voice has continued. JOHN'S VOICE But we've all got to get in there and pitch! We can't win the old ball game unless we have team work. And that's where every John Doe comes in! It's up to him to get together with his teammate! Cut to: Int. broadcasting station: Med. shot: Closeup: Of JOHN. JOHN And your teammates, my friends, is the guy next door to you. Your neighbor! He's a terribly important guy, that guy next door! You're gonna need him and he's gonna need you . . . so look him up! If he's sick, call on him! If he's hungry, feed him! If he's out of a job, find him one! To most of you, your neighbor is a stranger, a guy with a barking dog, and a high fence around him. Med. shot: Somewhere in audience. ? 630 ? JOHN'S VOICE Now, you can't be a stranger to any guy that's on your own team. So tear down the fence that separates you, tear down the fence and you'll tear down a lot of hates and prejudices! Tear down all the fences in the country and you'll really have teamwork! Med. shot: Around BEANY and the LUGS. They, too, are interested. JOHN'S VOICE I know a lot of you are saying to yourselves: "He's asking for a miracle to happen. He's expecting people to change all of a sudden." Well, you're wrong. It's no miracle. It's no miracle because I see it happen once every year. And so do you. At Christmas time! There's something swell about the spirit of Christmas, to see what it does to people, all kinds of people . . . Close-up: Of ANN. Her eyes go from JOHN to the audienceóas she watches their reaction. Full shot: Shooting toward audience over JOHN's shoulder. JOHN Now, why can't that spirit, that same warm Christmas spirit last the whole year round? Gosh, if it ever did, if each and every John Doe would make that spirit last three hundred and sixty-five days out of the year, we'd develop such a strength, we'd create such a tidal wave of good will, that no human force could stand against it. Close-up: Of JOHN. He has become visibly affected by the speech himself. JOHN Yes, sir, my friends, the meek can only inherit the earth when the John Does start loving their neighbors. You'd better start right now. Don't wait till the game is called on account of darkness! Wake up, John Doe! You're the hope of the world! He has finishedóbut does not move. He drops his head to conceal the moisture in his eyes. Close-up: Of ANN. She, too, remains seated. Her moist eyes riveted on JOHN. Med. long shot: Of Audience. There is no outburst of applause. All continue to stare forward, emotionally touched. Med. shot: Of ANN. She runs over to John. ANN John! You were wonderful! Med. shot: Of the audience. They too realize it is overóand gradually they rise and applaud him wildly, and the radio station rings with cheers. ? 631 ? Med. shot: JOHN and ANN. JOHN stares at ANN, then turns to COLONEL. JOHN (as he reaches COLONEL) Let's get out of here. They exit through the door at which the COLONEL has been on guard. COLONEL Now you're talking! Med. shot: At side door. The COLONEL opens it, and a little crowd of autograph hounds wait for JOHN. COLONEL Gangway, you heelots! They push their way to a taxi waiting at the curb. Close-up: Of ANN. She stares at them leaving, follows and tries to stop them, but her efforts are unsuccessful. Dissolve to: Ext. under a bridge: Med. shot: JOHN and the COLONEL are in a secluded spot. The lights of the city can be seen in the distance. The COLONEL is building a fire. COLONEL I knew you'd wake up sooner or later! Boy, am I glad we got out of that mess. Close-up: Of JOHN. He reaches around and pulls his pitcher's glove out of his back pocket, and starts pounding his fist into it. JOHN I had that five thousand bucks sewed up! Could have been on my way to old Doc Brown! (imitates Ann) "You're a pitcher, John," she said, "Now go in there and pitch! (self-beratingly) What a sucker! Wider shot: To include the COLONEL, who has quite a mound of twigs built, under which he lights a match. COLONEL Yeah, she's a heelot just like the rest of them. It's lucky you got away from her. JOHN What was I doin' up there makin' a speech, anyway? Me? Huh? Gee, the more I think about it the more I could . . . COLONEL Tear down all the fences. Why, if you tore one picket off of your neighbor's fence he'd sue you! JOHN Five thousand bucks! I had it right in my hand! Dissolve to: Int. D.B.'s study: Close-up: D.B. on telephone. ? 632 ? D.B. What do you mean, he ran away? Well, go after him! Find him! That man is terrific! Dissolve to: Ext. a box car (process). Close shot: Of JOHN and the COLONEL. They play a duet on their instruments. Fade out: Fade in: Ext. a small town streetóday: Med. shot: As JOHN and the COLONEL come from around a corner. Camera pans with them as they enter "Dan's Beanery". Int. DAN's Beanery: Full shot: They enter and flop down on stools. Half a dozen other customers are present. Med. shot: Kids dancing to phonograph. COLONEL Jitterbugs.[9] Close shot: JOHN and the COLONEL. JOHN Yeh. Say, how much money we got left? COLONEL Four bits. JOHN Better make it doughnuts, huh? COLONEL Yeh. DAN What'll it be, gents? JOHN Have you got a coupla steaks about that big and about that thick? (measuring) COLONEL Er, yeh, with hash-brown potatoes and tomatoes andóand apple pie and ice cream and coffeeó DAN And doughnuts! I know. Hey, Ma! Sinkers, a pair! MA'S VOICE Sinkers, a pair, coming up. COLONEL Glad he took the "T" out of that. JOHN (sees something offónudges the Colonel) Hey look! ? 633 ? Long shot: Shooting from their view through the store window. In the street outside, a delivery wagon is passing. On its side is a sign reading "JOIN THE JOHN DOE CLUB". Int. DAN's beanery: Close-up: JOHN and the COLONEL. COLONEL Join the John Doe Club. JOHN John Doe Club? Close shot: Of the WAITER standing near the coffee urn. From back of it he has taken a local paperóon the front page of which is JOHN's picture. The WAITER looks at it and then turns his head to JOHN. Two shot: JOHN and the COLONEL. They turn and see the waiter watching them peculiarly. COLONEL Oh-oh. Wider shot. As the WAITER approaches them. WAITER Are you John Doe? JOHN lowers his head. COLONEL Who? WAITER (pointing to paper) John Doe. COLONEL You need glasses, buddy. WAITER Well, he's the spittin' image ofó COLONEL Yeah, but his name's Willoughby. DAN Oh! JOHN Long John Willoughby. (takes glove out of pocket) I'm a baseball player. COLONEL Sure. DAN (eyes brightening) Oh, no. I'd know that voice anywhere. You can't kid me! You're John Doe! Hey, Ma! Ma! That's John Doe! ? 634 ? John Doe? DAN Yeah. Sitting right there, big as life. CUSTOMER Who'd you say it was? DAN John Doe! The big guy there! Picture's in the paper! JOHN gives the COLONEL the office and they hastily exit. Several customers, who had gathered around, now evince interest. DAN identifies JOHN as JOHN DOE, and the people follow JOHN out into the street. DAN hastily seizes the phone. DAN Hey, Operator? Dan's Beanery. Look. Call everybody in town. John Doe was just in my place. Yeh. He ordered doughnuts. Long shot: Shooting out of window toward street. We see JOHN and the COLONEL as they hurry away, being followed by the crowd which is gradually growing larger . . . as we see people crossing the street to get to themó TOWNSPEOPLE There he is! John Doe! There he is! Come on! Gotta see John Doe! Dissolve to: Ext. sidewalk: Med. shot: Millville City Hall. The sidewalk is crowded with people. Those near the entrance are trying to force their way in. MAYOR HAWKINS guards the door. MAYOR HAWKINS I know, you all voted for me and you're all anxious to see John Doe. We're all neighbors, but my office is packed like a sardine box. GIRL What does John Doe look like, Mr. Mayor. MAYOR HAWKINS Oh, he's one of those great big outdoor type of men. No, you can't see him. MAYOR notices one member of the crowd particularly. MAYOR HAWKINS You didn't vote for me the last time. Shame on youóget off my front porch! (turning) Mr. Norton come yet? What's keeping him? He should of been here fifteen minutes ago. Oh, there he comes now. Now, everybody on your dignity. Don't do anything to disgrace us. This is a little town, but we gotta show off. ? 635 ? Wider shot: Of curb. From off-scene we hear the wail of sirens, and as the crowd on the sidewalk turn they see two motorcycle cops drive in, followed by a limousine. Two shot: ANN and D. B. ANN Better let me talk to him. D. B. All right, but present it to him as a great cause for the common man. ANN nods as they start toward building. Camera pans with them as the cops break through the curious mob. Med. shot: MAYOR HAWKINS endeavors to assist them. MAYOR HAWKINS Ah, here he comes! Give him room down there! Give him room, folks! How do you do, Mr. Norton! I'm the Mayoró COP (to Mayor) Come back here! MAYOR HAWKINS (to cop) Let me go, you dern fool! I'm the Mayor! Mr. Norton! I'm Mayor Hawkins. Your office telephoned me to hold him. Int. City Hall: Med. shot: As they walk toward MAYOR'S office. D. B. (to Mayor Hawkins) Well, that's fine. How is he? MAYOR Oh, he's fine. He's right in my office there. You know, this is a great honor having John Doe here, and you too. Haven't had so much excitement since the old city hall burned down. (chuckling) People were so excited, they nearly tore his clothes off. (turns to secretary) Oh, Matilda darling, phone the newspapers. Tell them Mr. Norton is here. Step right inside, Mr. Nortonómy office is very comfortable here, Mr. Norton. Just had it air-conditioned. Gangway, please. Make room for Mr. Norton. Gangway, gangway. Here he is, Mr. Norton, well taken care of. The neighbors are serving him a light lunch. Int. MAYOR's office. Full shot: JOHN and the COLONEL are surrounded by a room full of people, including the SHERIFF in full uniform and several policemen. JOHN sits at the MAYOR'S desk, which is filled with edibles. D.B., ANN and the MAYOR enter. JOHN, upon seeing ANN, gets to his feet. ? 636 ? ANN Hello, John. JOHN Hello. D. B. Mister Mayor, if you don't mind, we'd like to talk to him alone. MAYOR Why, certainly, certainly. All right, everybody, clear out. They all start to shuffle outóthe MAYOR excitedly egging them on. MAYOR'S WIFE Quit pushing. MAYOR Don't argue with me here. Wait till we get home. WIFE Don't you push me around like that! Even though I'm your wife, you can't push me aroundó MAYOR Ohhhh! They all shuffle out, and D.B. shuts the door. JOHN watches him, doesn't like his proprietary manner. JOHN Look, Mr. Norton, I think you've got a lot of nerve having those people hold us here. D. B. There's nobody holding you here, Mr. Doe. (laughing) It's only natural that peopleó JOHN Well, if there's nobody holding us here, let's get going. Incidentally, my name isn't Doe. It's Willoughby. ANN (gets in front of himópleads) Look, John. Something terribly important's happened. They're forming John Doe Clubs. We know of eight already and they say that there's goingó JOHN (interested despite himself) John Doe Clubs? What for? ANN Uh-huh. To carry out the principles you talked about in your radio speech. ? 637 ? JOHN (regains his former attitude) I don't care what they're forming. I'm on my way and I don't like the idea of being stopped either. ANN Oh, but you don't know how big this thing is. You should see the thousands of telegrams we've received and what they're saying about you. JOHN Look, it started as a circulation stunt, didn't it? ANN Uh-huh . . . JOHN Well, you got your circulation. Now, why don't you let me alone? ANN Oh, it started as a circulation stunt, but it isn't any more. Mr. Norton wants to get back of it and sponsor John Doe Clubs all over the country. He wants to send you on a lecture tour. JOHN Me? ANN Uh-huh. D. B. Why, certainly. With your ability to influence people, it might grow into a glorious movement. JOHN Say, let's get something straight here. I don't want any part of this thing. If you've got an idea I'm going around lecturing to people, why you're crazy! Baseball's my racket, and I'm sticking to it. Come on, Colonel, let's get out of here. ANN John! The beaming COLONEL starts to follow him to the door. When they get there, the door suddenly flies open and a crowd of townspeople push their way inówith the MAYOR and the SHERIFF trying to hold them back. MAYOR Please, please! I just got rid of one crowd. WOMAN Oh, but please. Mr. Mayor, tell him the John Doe Club wants to talk to him. Close-up: Of D. B. He gets an idea. These people might influence JOHN. ? 638 ? D. B. Let them in, Mr. Mayor. Let them come in. Full shot: As the MAYOR and the SHERIFF back away. MAYOR Okay, folks, but remember your manners. No stampeding. Walk slow, like you do when you come to pay your taxes. Med. shot: Of the group. They shuffle forward grinning happily. Those in the rear rise on tiptoes for a better look. The men doff their hats as they come forward. Med. shot: Of JOHN, the COLONEL, ANN and D.B. John glances around nervously. The COLONEL is worried. Med. shot: Of the townspeople. They just stand there, awkwardly, some grinning sheepishly, others staring at JOHN. Finally someone nudges a young man in the foreground and whispers. SOMEONE Come on, Bert. BERT Okay. All right, give me a chance. WOMAN (making room for him) Come right in. Wider shot: As the group around JOHN wait expectantly. BERT (clearing throat) My name's Bert Hansen, Mr. Doe, I'm the head soda jerker at Schwabacher's Drug Store. Close shot: Of BERTóas he plunges into his story. BERT Well, sir, you see, me and my wife, we heard your broadcast, and we got quite a bang out of it, especially my wife. Wider shot: To include JOHN and the others. BERT Kept me up half the night saying "That man's right, honey. The trouble with the world isónobody gives a hoot about his neighbor. That's why everybody in town's sore and cranky at each other." And I kept saying, "Well, that's fine, but how's a guy gonna go around loving the kind of neighbors we got? Old Sourpuss for instance!" (laughing) You see, Sourpuss Smithers is a guy who lives all alone next door to us. He's a cranky old man and runs a second-hand furniture store. We haven't spoken to him for years. I always figured he was an ornery old gent that hated the world cause he was always slamming his garage door and playing the radio so loud he kept half the neighbors up. (laughing) ? 639 ? Close-up: Of BERT. BERT Well, anyway, the next morning I'm out watering the lawn and I look over and there's Sourpuss on the other side of the hedge straightening out a dent in his fender and, er, my wife yells to me out of the window. She says, "Go on. Speak to him, Bert." And I figured, well, heck, I can't lose anythingóso I yelled over to him "Good morning, Mr. Smithers." He went right on pounding his fender, and was I burned! So I turned around to give my wife a dirty look and she said, "Louder, louder. He didn't hear you." So, in a voice you could of heard in the next county, I yelled. "Good morning, Mr. Smithers!" Med. shot: Featuring JOHN and BERT. JOHN is very interested. BERT Well, sir, you coulda knocked me over with a feather. Old Sourpuss turned around surprised like, and he put on a big smile, came over and took my hand like an old lodge brother, and he said. "Good morning, Hansen. I've been wanting to talk to you for years, only I thought you didn't like me." And then he started chatting away like a happy little kid, and he got so excited his eyes begin waterin' up. Med. shot: Of a group of neighbors. They smile sympathetically. BERT'S VOICE Well, Mr. Doe, before we got through, I found out Smithers is a swell egg, only he's pretty deaf, and that accounts for all the noises. Wider shot: To include BERT, JOHN and others. BERT And he says it's a shame how little we know about our neighbors, and then he got an idea, and he said, "How's about inviting everybody some place where we can all get together and know each other a little better?" Well, I'm feeling so good by this time, I'm ripe for anything. Close shot: Of ANN and D. B. They listen, amused and excited. BERT So Smithers goes around the neighborhood inviting everybody to a meeting at the school house and I tell everybody that comes in the store, including Mr. Schwabacher, my boss. (laughing) Oh, I'm talking too much. Med. shot: JOHN and BERT. ? 640 ? BERT Well, I'll be doggoned if over forty people don't show up. 'Course none of us knew what to do, but we sure got a kick out of seeing how glad everybody was just to say hello to one another. BERT'S WIFE Tell him about making Sourpuss chairman, honey. BERT Oh, yeah. We made Sourpuss chairman and decided to call ourselves The John Doe Club. And, say, incidentally, this is my wife. Come here, honey. His WIFE comes forward and stands beside him. BERT This is my wife, Mr. Doe. MRS. HANSEN nods her head shylyóand JOHN acknowledges the introduction by a half wave of his hand. WIFE How do you do, Mr. Doe . . . Er, Sourpuss is here, too. BERT (turns around) Oh, is he? WIFE (pointing) Uh-huh. Med. shot: Of a group around SOURPUSS. He is as described, except when he smiles, his whole face warms up. Those around him push him forward. At first he looks bewildered, then, understanding, he starts toward BERT, grinning sheepishly. Med. shot: Around BERTóas SOURPUSS comes forward. BERT This is Sourpuss. Er, excuse me. Er, Mr. Smithers, Mr. Doe. SOURPUSS Thóthat's all right. If you didn't call me Sourpuss, it wouldn't feel natural. (laughing) There are snickers from the background. BERT Well, anyway, IóI guess nearly everybody in the neighborhood came, except the DeLaneys. The Delaneys live in a big house with an iron fence around it and they always keep their blinds drawn, and we always figured that he was just an old miser that sat back counting his money, so why bother about inviting him? Until Grimes, the milkman spoke up and he said, "Say, you've got the Delaneys all wrong." And then he tells ? 641 ? us about how they cancelled their milk last week, and how, when he found a note in the bottle he got kinda curious like and he sorta peeked in under the blinds and found the house empty. "If you ask me," he says, "they're starving." SOURPUSS Old man Delaney has been bringing his furniture over to my place at night, one piece at a time, and selling it. Close shot: Of JOHN. Profoundly impressed by this. Wider shot: BERT clears his throat. BERT Yeah. And, well, sir, a half a dozen of us ran over there to fetch them and we got them to the meeting. What a reception they got. Why, everybody shook hands with them and made a fuss over them, and, well, finally, Mr. and Mrs. Delaney just sat right down and cried. He smiles, embarrassed, and JOHN, as well as the others, clear their throats. SOURPUSS And then we started to find out about a lot of other people. BERT Yeah, sure. Er, you know Grubbel, for instance. BERT'S WIFE Grubbel's here. See? (pointing) BERT Yeah. That'sóthat's him. Of course, you don't know Grubbel, but he's the man that everybody figured was the worst no-account in the neighborhood because he was living like a hermit and nobody'd have anything to do with him. Er, that is until Murphy, the postman told us the truth. "Why, Grubbel," he says, "he lives out of garbage cans because he won't take charity. Because it'd ruin his self-respect," he says. BERT'S WIFE Just like you said on the radio, Mr. Doe. SOURPUSS Well, sir, about a dozen families got together and gave Grubbel a job watering their lawns. Isn't that wonderful? And then we found jobs for six other people and they've all gone off relief! BERT Yeh. Er, and my boss, Mr. Schwabacker made a job in his warehouse for old man Delaneyó ? 642 ? WIFE And he gave you that five dollar raise. BERT Yeah! Wasn't that swell! (laughing) Med. shot: Around MAYOR HAWKINS. He steps forward. MAYOR Why, Bert, I feel slighted. I'd like to join but nobody asked me. Med. shot: Around BERT and SOURPUSS. SOURPUSS Well, I'm sorry, Mayor, but we voted that no politicians could join. BERT'S WIFE Just the John Does of the neighborhood. Cause you know how politicians are. (becomes embarrassed) Close-up: Of the MAYORócompletely deflated. SOURPUSS Yeah . . . Med. shot: Around JOHN. As they smile, amused at the MAYOR'S discomfiture. Med. shot: Around BERT. He looks over at JOHN, hesitates a moment, and then speaks. BERT Well, er, the reason we wanted to tell you this, Mr. Doe, was to give you an idea what you started. And from where I'm sitting, I don't see any sense in your jumping off any building. GROUP No! SOURPUSS No! BERT Well, thank you for listening. Goodbye, Mr. Doe. You're a wonderful man and it strikes me you can be mighty useful walking around for a while. Close-up: Of JOHN. Deeply touched. Shifts awkwardly, unable to say anything. Med. shot: As D. B. and ANN watch his face to see the effect. GROUP Well, goodbye. SOURPUSS Goodbye Mr. Doe. ? 643 ? BERT has turned to go, and the rest follow suit. They all shuffle silently out. Med. shot: Of an old couple who remain looking up at JOHN, as those around them leave. The old lady takes the old man's arm and starts toward JOHN. Camera pans with them until they reach him. OLD LADY I'm Mrs. Delaney, Mr. Doe . . . and God bless you, my boy. (she gently kisses his hand) The two OLD PEOPLE leave. Close-up: Of JOHN. He swallows a lump in his throat. He watches the old people until they have left, then with a quick glance at his handóand self-consciously in front of the others, stuffs his hand into his pocket. Full shot: As they all watch him, without speaking. JOHN runs his hand through his hair, stealing a fleeting glance at the others, and grins awkwardly. Close shot: Of D. B. as he signals to the MAYOR and the SHERIFF, who have remained, to leave. Med. shot: Of the MAYOR and the SHERIFF, who receive the signal and discreetly exit. Full shot: They wait for JOHN to speak, but JOHN begins walking around, profoundly thoughtful. Close-up: Of the COLONEL watching him, concerned. Two shot: Of D. B. and ANN. Their eyes glued on him, expectantly. Full shot: JOHN still paces, disturbed by clashing emotions. He stops, glances at the door, a soft, thoughtful expression in his eyes. Then, as his thought shifts, he runs his left hand over his pitching arm. JOHN Gee, whizóI'm all mixed upóI don't get it. Look, all those swell people think I'm gonna jump off a building or something. He looks toward the door. JOHN I never had any such idea. Gosh! A fella'd have to be a mighty fine example himself to go around telling other people how toóSay, look, what happened the other night was on account of Miss Mitchell, here. She wrote the stuff. ANN walks over to JOHN. Two shot: ANN and JOHN. She faces him, looking up into his face. ? 644 ? ANN Don't you see what a wonderful thing this can be? (softly) But we need you , John. Close-up: Of the COLONEL. He stares at JOHN, sees him weakening, and grimaces disgustedly. Wider shot: The COLONEL watches JOHN as he continues to turn it over in his mind. COLONEL (suddenly) You're hooked! I can see that right now. They all look up, startled. COLONEL They got you. Well, I'm through. (crosses to dooróstops, turns) For three years I've been trying to get you up to the Columbia River country. First, it was your glass arm. Then it was the radio. And now it's the John Doe clubs. Well, I ain't waiting another minute. He opens the door and when he sees the townspeople still gathered outside, he yells to them. COLONEL Gangway, you heelots! He pushes his way out. JOHN (calling) Hey, Colonel! Wait a minute! He starts after the COLONEL, but when he gets to the door, the townspeople surge toward him and block his way. JOHN Hey, Colonel! CROWD Oh, please, Mr. Doeó Close-up: Of JOHN. JOHN (calling futilely) Hey, Colonel! He tries to peer over the heads of the townspeople who go on chattering. There is a trapped look on JOHN's face. Two shot: D. B. and ANN. They exchange victorious glances: Dissolve to: Int. office of headquarters. Close shot: Of large map of the U.S. over the top of which we read: "John Doe Clubs." There are a dozen pegs scattered over the map, indicating where the clubs are. We hear D. B.'s voice. Camera draws back and we find D. B. talking to a group of men in front of him. ? 645 ? D. B. I want you personally to go along with John Doe and Miss Mitchell and handle the press and the radio. CHARLIE (an experienced promoter) Me? D. B. Yes. I don't want to take any chances. And Johnson? JOHNSON Yes. D. B. D. B. Your crew will do the mop up job. They'll follow John Doe into every town, see that the clubs are properly organized and the charters issued. CHARLIE Right. D. B. There are only eight flags up there now. I want to see that map covered before we get through! Med. shot: D. B. is still speaking as camera moves down to the map again, which constantly remains a background for the montage following. As the montage proceeds, pegs begin to appear in abundance on the map. A montage: Accompanied by a fanfare of music. 1. Flashes of banners reading: "JOHN DOE COMING"ó"JOHN DOE TONIGHT" "GOODBYE JOHN DOE, CALL AGAIN" 2. Close-ups of JOHN speakingósuperimposed over long shots of audiences of various types. 3. Flashes of ANN typing. 4. Flashes of sheets of paper being ripped out of a typewriter. 5. Flashes of JOHN on the radioówith ANN by his side. 6. Flashes of people listening. 7. Flashes of people applauding. 8. Series of signs being nailed up: "JOHN DOE CLUBóBE A BETTER NEIGHOR." 9. Superimposed shots of JOHN and ANN riding in trains, planes and automobiles. 10. Against stock shots of these cities, the names zoom up to the fore-ground of Kansas City, Chicago, Buffalo, Washington, Baltimore, Philadelphia, New York. 11. Superimpose map over the above titles, showing the states they are in being covered with pegs. 12. A picture of JOHN DOE on front page of Time magazine, with a caption under it reading: "MAN OF THE HOUR." ? 646 ? 13. Conference Room. SPEAKER This has been growing like wildfire! If they only made demands, but the John Does ask for nothing! 14. A man sits at a desk on which is a nameplate reading: "Relief Administrator." MAN People are going off relief! If this keeps up, I'll be out of a job! 15. Stock shotóof Capitol Hill. 16. Corner of a club smoking room. A group of legislatorsósome sitósome stand. The room is filled with smoke. MAN As soon as he gets strong enough, we'll find out what John Doe wants! Thirty every Thursdayósixty at sixtyówho knows what! 17. Insert: Sign reading: DEMOCRATIC HEADQUARTERS. A man reports to the boss behind the desk. MAN I'm sorry, boss. they just won't let anybody talk politics to them. It's, it's crazy. 18. Insert: Sign reading: REPUBLICAN HEADQUARTERS. A man at a desk talks to several in front of him. MAN We've got to get to them! They represent millions of voters! Dissolve to: Insert: Of Map. Nearly every state in the union have pegs in them, varying in volume. Camera pulls back and we find the map is on a stand near a door, the sign on which we see in reverse. It reads: "OFFICE OF JOHN DOE HEADQUARTERS." Int. JOHN DOE headquarters. Med. shot: D.B. standing behind his desk, speaking to a group of people in front of him. We recognize the MAYOR, and the President of the Chamber of Commerce. Representatives of several other branches of the City Administration are also present. CONNELL sits near D. B.óscrutinizing him thoughtfully. On the other side of D. B. is TED SHELDON. D. B. I tell you, ladies and gentlemen, this thing has been nothing short of a prairie fire. We've received so many applications for charters to the John Doe Clubs we haven't been able to take care of them. MAYOR LOVETT I'd hate to have that many pins stuck in me! Group laughs. D. B. This John Doe convention is a natural. It's gonna put our city on the map. Why, over twentyfour hundred John Doe clubs are sending delegates. Can you imagine that? You, Mr. Mayor, will be the official host. You will make the arrangements for decorating the city, parades and a reception for John Doe when he gets home! Andódon't wear your high hat! ? 647 ? MAYOR LOVETT (disappointed) No high hat? D. B. No high hat. And from you, Connell, I want a special John Doe edition every day until the convention is over. (dismissing them) And now, if you will please just step into the outer office and look your prettiest because there are photographers there to take pictures of this committee. They start to exit. The MAYOR is full of excitement. MAYOR Don't worry, D. B. Everything'll be taken care of! D. B. Good. COMMITTEE WOMAN Isn't it all too wonderful? The group, chattering, exit into outer office. PHOTOGRAPHER'S VOICE (from the outer office) Oh, Mr. Mayor, would you step right in the front row, please? Will you ladies get close to him? That's it! Close-up: Of CONNELL. To inter-cut with above speech. He has been watching D. B.ódeeply disturbed about something. Wider shot: All have left except CONNELL, TED, and D.B. CONNELL rises from his chairówith a deep sigh. CONNELL (shaking his head) Well, I don't get it. D. B. Huh? Get what? CONNELL Look, D. B. I'm supposed to know my way around. This John Doe movement costs you a fortune. This convention's gonna cost plenty. D. B. (annoyed) Well? CONNELL Well, I'm stuck with two and twoóbut I'm a sucker if I can make four out of it. (cocking his head) Where do you come in? D. B. Whyóuhó (suddenly smiles) Why, I'll have the satisfaction of knowing that my money has been spent for a worthy cause. ? 648 ? Close-up: of CONNELL. He stares at D. B. a moment. He realizes he has been told to mind his own business. Two shot: CONNELL picks up his hat. CONNELL I see. I'd better stick to running the paper, huh? D. B. I think maybe you'd better. And ConnellóI'd like to have the John Doe contract, all the receipts for the money we have advanced him and the letter Miss Mitchell wrote, for which I gave her a thousand dollars. CONNELL Yes. Sure. CONNELL leaves. Dissolve to: Int. a hotel living roomónight. Full shot: ANN's luggage is packed and ready to be taken out. She stands near a desk stuffing papers into a manuscript case. She seems lost in worried thought. The door opens as CHARLIE, high pressure exploitation man, enters. CHARLIE Well, we leave for the airport in half an hour. Is that Johnny-boy's room? I'd better hustle him up! ANN He'll be ready on time. He's packing now. CHARLIE Ah, good! (crosses to Ann) Did you see his picture on the cover of Time ? ANN Yeah. CHARLIE drops the magazine on the desk in front of her. ANN glances at it, unenthusiastically. CHARLIE goes to a table where there are several bottles of coca-cola and starts to pour himself a drink. CHARLIE I gotta give you credit, Annie-girl. I've handled a good many big promotions in my time . . . everything from the world's fair to a channel swimmer, but this one has certainly got me spinning. And now a John Doe Convention! Wow! Say! If you could only get him to jump off the City Hall roof on Christmas Eve, I'd guarantee you half a million people there. ANN Charlie! ANN is lost in troubled thought. CHARLIE'S VOICE Huh? ANN (nods toward door) What do you make of him? ? 649 ? Two shot: CHARLIE and ANN. CHARLIE Who, Johnny-boy? ANN nods. CHARLIE Well, I don't know what angle you want, but I'll give it to you quick. Number one, he's got great yokel appeal; but he's a nice guy. Number two, he's beginning to believe he really wrote that original suicide letter that you made up. Number three, he thinks that you're Joan of Arc or something! Close-up: Of ANN. This is definitely troublesome to her. ANN (hoarsely) Yeah, I know. Wider shot: ANN walks awayópacing perturbedly. CHARLIE Number four, well, you know what number four is. He's nuts about you. Yeah, it's running out of his ears. ANN runs her hand through her hair. Suddenly she wheels around to CHARLIE. ANN You left out number five. We're all heels, me especially. She returns to her packing. CHARLIE watches her a second. CHARLIE Holy smoke! They are interrupted by a knock on the door. ANN (calling) Come in. JOHN enters, carrying a suitcase. JOHN I'm all packed. CHARLIE (starts out) Good. I'll go and get Beany-boy. JOHN (kidding him) Okay, Charlie-boy! ? 650 ? CHARLIE Huh? (laughing)[10] CHARLIE winks good-naturedly and exits. JOHN turns to ANN, who concentrates on her packing. Med. shot: He looks at ANN with great interest, and walks toward her, camera panning with him. ANN feels him coming, but does not turn. JOHN (after a pause) Can I help you pack? ANN No, thank you. JOHN wanders over to a chair and sits on the edgeówatching her. Close-up: Of ANN. She is conscious of his eyes on her and fumbles with her packing. Finally she turns. Close-up: Of JOHN. He stares at her, a warm smile on his face. Close-up: Of ANN. She becomes self-conscious and resumes her packing. Med. shot: JOHN. JOHN Do you care if I sit down out here? ANN No. A broad smile appears on JOHN'S face. JOHN (laughing) You know, I had a crazy dream last night. It was about you. ANN About me? JOHN (laughing) Sure was crazy. I dreamt I was your father. Close-up: Of ANN. The fact that he has seen himself in the image of her father disturbs her. She turns slowly. Two shot: JOHN clears his throat nervously. JOHN There was, there was something I was trying to stop you from doing. So, er, so I got up out of bed and I walked right through the wall here, right straight into your room. (laughing) You know how dreams are. ANN stares at himófearful of the trend his dream is taking. ? 651 ? JOHN And there you were in bed. (quickly apologizing) But youóyou were a little girl. You knowóabout ten. He pauses and recalls the scene. JOHN And very pretty, too. So, I shook you, and the moment you opened your eyes, you hopped out of bed and started running like the devil, in your nightgown. You ran right out the window there. And you ran out over the tops of buildings and roofs and everything for miles, and I was chasing you. (laughing) And all the time you were running you kept growing bigger and bigger and biggeróand pretty soon you were as big as you are now. You knowó grown up. And all the time I kept asking myself, "What am I chasing her for?" And I didn't know. (laughing) Isn't that a hot one? Well, anyway, you ran into some place, and then Iran in after you andóand when I got there, there you were getting married. Close-up: Of JOHN. He suddenly becomes aware he is treading on sensitive grounds. JOHN (awkwardly) And the nightgown had changed into a beautiful wedding gown. You sure looked pretty, too. (laughing) And then I knew what it was I was trying to stop you from doing. Close-up: Of ANN. She, too, begins to feel uncomfortableónot quite knowing how to handle it. Two shot: JOHN glances at her. JOHN Dreams are sure crazy, aren't they? ANN smiles, noncommittedly. JOHN Well, would you like to know who it was you were marrying? ANN (forced lightness) Well, a tall handsome Ubangi, I suppose. JOHN No, not that bad. It was a fella that sends you flowers every day. Er, what's his name? Mr. Norton's nephew. ? 652 ? Close-up: Of ANN. She recognizes the significance in this. ANN (quietly) Ted Sheldon. JOHN Yeah, that's the one. ANN turns back to her packing. Wider shot: JOHN starts to chuckle. JOHN But here's the funniest part of it all. I was the fella up there doing the marrying. You know, the Justice of the Peace or something . . . ANN You were? I thought you were chasing me? JOHN Well, yes, I was. But I was your father then, see? But the real me, John Doe, er, that is, Long John Willoughby, I was the fellow up there with the book. You know what I mean? ANN (amused) I guess so. Then what happened? JOHN Well, I took you across my knee and I started spanking you. ANN turns and stares at him, eyes widening. JOHN (quickly explaining) That is, I didn't do it. (correcting himself) I mean, I did do it, but it wasn't me. You see, I was your father then. Well, I laid you across my knee and I said: "Annie, I won't allow you to marry a man that's, that's just rich, or that has his secretary send you flowers. The man you marry has got to swim rivers for you! He's got to climb high mountains for you! He's got to slay dragons for you! He's got to perform wonderful deeds for you! Yes, sir!" BEANY enters and stands back of him, listening. JOHN And all the time, er, the guy up there, you know, with the book, me, just stood there nodding his head and he said, "Go to it, Pop, whack her one for me, because that's just the way I feel about it, too." So he says, "Come on down here and whack her yourself." So I came down and I whacked you a good one, see? And then he whacked oneóand I whacked you another one, and we both started whacking you like . . . ? 653 ? He demonstrates by slapping his knees, first with one hand and then with the other. Suddenly he becomes aware of BEANY and stops, embarrassed. BEANY (interrupting) Well, if you're through whacking her, come on, let's get going. (to bell boys) Okay, fellows, right in here. (to JOHN) You go out the side entrance. There's a bunch of autograph seekers out front. We'll be down with the bags in a minute. Come on! (speaking to boys) Don't make a government project out of this! The bell boys have lifted her luggage and all exit. Close-up: Of JOHN. He has been left with his proposal unfinished. Dissolve to: Int. airport lunchroomónight. Med. shot: Scene opens with BEANY entering airport lunchroom to end of counter at which CHARLIE is seated. CHARLIE How're you, Beany? BEANY When does our plane take off again. CHARLIE In a couple of minutes. Camera moves down counter to pick up JOHN and ANN at table. They sit silently for a moment. We hear the strains of music from a "juke" box. JOHN (after a pause) How many people do you think we've talked to already, outside the radio, I mean? ANN I don't know. About three hundred thousand. JOHN Three hundred thousand? What makes them do it, Ann? What makes them come and listen and, and get up their John Doe Clubs the way they do? I've been trying to figure it out. ANN (in an effort to disillusion him) Look, Johnówhat we're handing them are platitudes. Things they've heard a million times: "Love thy neighbor," "Clouds have silver linings," "Turn the other cheek." It's just aó ? 654 ? JOHN (sincerely) Yeah, I've heard them a million times, too, butóthere you are. Maybe they're like me. Just beginning to get an idea what those things mean. ANN is deeply concerned. She watches him, helplessly. JOHN (continuing) You know, I never thought much about people before. They were always just somebody to fill up the bleachers. The only time I worried about them was if theyóis when they didn't come in to see me pitch. You know, lately I've been watching them while I talked to them. I could see something in their faces. I could feel that they were hungry for something. Do you know what I mean? ANN nods. JOHN Maybe that's why they came. Maybe they were just lonely and wanted somebody to say hello to. I know how they feel. I've been lonely and hungry for something practically all my life. ANN forces a smile. The moment threatens to become awkwardóuntil they are saved by the pilot's voice. PILOT All aboard, folks! They suddenly snap out of their moodóand as they rise: Fade out. Fade in: Int. D. B.'s dining room. Full shot: As D. B., ANN and TED SHELDON enter and cross to table. ANN starts to sit and notices a fur coat flung over the back of the chair. ANN Oh, somebody else sitting there? D. B. No, no, noóthat's your seat. TED And this is your coat. ANN Mine? D. B. A little token of appreciation. Ann pauses a moment, glances toward D. B.ówhile TED throws the coat over her shoulders. ? 655 ? ANN (glances into a mirror) Oh! Oh, it's beautiful, D. B. WellóI don't quite know what to say . . . D. B. Well, don't say anything at all. Just sit down. Close-up: Of ANN. She sits down, picks up her servietteóand something she sees suddenly makes her look with surprise at D. B. Camera pans down to a jewel box which had been under the serviette. Camera pans back to ANN. She glances up at D. B. somewhat bewildered. ANN Oh! D. B. Go ahead, open it, open it. ANN opens the box and holds up a lovely diamond bracelet. Her eyes dance. ANN Oh! Oh, it's lovely! TED And a new contract goes with it. Wider shot: D. B. and TED exchange satisfied glances. ANN admires the bracelet on her wristóand then turns to D. B., looks directly at him. ANN (shrewdly) Well, come on, spring it! You've got something on your mind. D. B. laughs. ANN Must be stupendous. Wider shot: As D. B. roars with laughter. D. B. You know, that's what I like about her. Right to the point, like that! All right, practical Annie, here it is. He leans forward. ANN waits. TED watches her face. Two shot: ANN and D. B. D. B. Tomorrow night, before a crowd of fifteen thousand people, and talking over a nation-wide radio hook-up, John Doe will announce the formation of a third party. ? 656 ? ANN (eyes widening) A third party? D. B. Yes. The John Doe Party. Wider shot: TED watches ANN, expectantly. D. B. Devoted entirely to the interests of all the John Does all over the country. Which practically means, ninety per cent of the voters. He will also announce the third party's candidate for the presidency. A man whom he, personally, recommends. A great humanitarian; the best friend the John Does have. ANN (in an awed whisper) Mr. D. B. Norton! D. B. verifies her guess by leaning back, a pleased grin on his face, his huge chest expanded. D. B. Yes. Ann looks from one to the other, a little awed by the size of the project. ANN (on her breath) Wow! Dissolve to: Int. broadcasting boothóball parkónight. Med. shot: The place is a bee-hive of activity. Announcers walk about with "mikes" in their handsóall speaking at onceóas they describe the scene below. Close shot: Of N.B.C. ANNOUNCER N.B.C. ANNOUNCER And although the opening of the convention is hours off, the delegates are already pouring into the ball park by the droves, with lunch baskets, banners and petitions, asking John Doe not to jump off any roof . . . Camera pans over to KNOX MANNING. KNOX MANNING It is still a phenomenal movement. The John Does, or the hoi polloi as you've heard people call them, have been laughed at and ridiculed but here they are, gay and happy, having traveled thousands of miles, their expenses paid by their neighbors, to come here to pay homage to their hero, John Doe. Camera pans over to JOHN B. HUGHES. ? 657 ? JOHN B. HUGHES And in these days of wars and bombings, it's a hopeful sign that a simple idea like this can sweep the country, an idea based on friendliness, on giving and not taking, on helping your neighbor and asking nothing in return. And if a thing like this can happen, don't let any of our grumbling friends tell you that humanity is falling apart. This is John B. Hughes, signing off now and returning you to our main studio until nine o'clock when the convention will officially open. Dissolve to: Int. ANN's living room. Med. shot: At Door. ANN's MOTHER opens it and JOHN stands on the threshold. He has a small box of flowers in his hand. Water drips from his hat. MRS. MITCHELL Oh, John. Come in. JOHN Say, I'm kindaóit's raining out a littleó MRS. MITCHELL That's all right. Wider shot: MRS. MITCHELL lays his hat down somewhere. John takes a few steps inside the room, not quite knowing what to do. MRS. MITCHELL (turning to him) It's good to see you. Sit down. JOHN (mumbles) Thanks. He sits on the edge of a sofa, still clinging to the little box. Then holds box out awkwardly. JOHN (awkwardly) It's for Ann . . . MRS. MITCHELL (taking the box) Oh, how nice! Thank you very much. JOHN Flowers. MRS. MITCHELL I'm terribly sorry she isn't here. JOHN She isn't? MRS. MITCHELL No, she just left. I'm surprised you didn't run into her. She went over to Mr. Norton's house. JOHN Oh! ? 658 ? MRS. MITCHELL Did you want to see her about something important? JOHN Yeah. I, uh, well . . . No. It'll wait. (suddenly) Say, he's a nice man, isn't he? Mr. Norton, I mean. He's, er, he's done an awful lot for theó Close-up: Of MRS. MITCHELL. She watches him, amused. JOHN Say, my coat's pretty wet. I'm afraid I might have wet the couch a little. Wider shot: JOHN is still struggling to find conversation. JOHN Well, I guess I'll see her at the convention later. MRS. MITCHELL Yes, of course. I'll see that she gets the flowers. He rises and looks around for hat on the floor and back of the chair. JOHN Thanks. Good night, Mrs. Mitchell. MRS. MITCHELL (finds his hat and gives it to him) Good night, John. Close-up: Of JOHN. He starts away and suddenly stops, speculatively. He glances out of the corner of his eye toward MRS. MITCHELL. JOHN (going back to her) Say, Mrs. Mitchell, I, er, I'm kinda glad Ann isn't here. You see, I was, I came over here hoping to see her alone and kinda hoping I wouldn't, too. You know what I mean? There was something I wanted to talk to her about. But, well, IóIt'll wait, I guess. Good night. Close-up: Of MRS. MITCHELL. She begins to sense what is on his mind, and her face becomes serious. Close-up: Of JOHN. He smiles helplessly. Starts toward door. MRS. MITCHELL'S VOICE Good night, John. Two shot: JOHN and MRS. MITCHELL. He stares at her a second. JOHN (suddenly) Say, look, Mrs. Mitchell, have you ever been married? ? 659 ? (catches himself) Oh, sure you have. (grins sheepishly) Gosh! That's pretty silly! I guess you must think I'm kinda batty! JOHN shakes his head at his own stupidity. JOHN (can't get over it) Well, I guess I'd better be going at that! He bows again, and starts for the door. When he gets there, he is stopped by MRS. MITCHELL's voice. MRS. MITCHELL'S VOICE John. My husband said: "I love you. Will you marry me?" JOHN (whirls) He did? What happened? MRS. MITCHELL I married him. JOHN comes right back to her. Two shot: JOHN and MRS. MITCHELL. JOHN (full of excitement) Oh, yeah. That's what I mean. See? It was easy as all that, huh? MRS. MITCHELL Uh-huh. JOHN Yeah, yeah, but look, Mrs. Mitchell, you know I love Ann and it's gonna be awfully hard for me to say it because, well, you know, she's so wonderful, and, well, the best I ever was was a bush-league pitcher. Close-up: Of JOHN. JOHN And you know, I think she's in love with another man, the one she made up. You know, the real John Doe. Well, that's pretty tough competition. Two shot: JOHN and MRS. MITCHELL. She is terribly fond of JOHN and deeply sympathetic. JOHN I bet you he'd know how to say it all right. And me, I get up to it and around it and in back of it, but, but I never get right to it. Do you know what I mean? So the only chance I've got is, well, if somebody could kinda give her a warning sort of, sorta prepare her for the shock! ? 660 ? MRS. MITCHELL You mean you'd like me to do it, huh? JOHN Well, I was thinking thatóYeah, you know, sort of break the ice. Close-up of MOTHER. She doesn't know how she can, with her present strained relationship with ANN, but JOHN's sincerity touches her. MOTHER Of course I will, John. Two shot: JOHN's face lights up, gratefully. JOHN Gee whiz! Thank you, Mrs. Mitchell. (grabs her hand) Gee, you'reóuhóyou're okay! He exits from sceneóbut almost immediately he is back. He plants a kiss on her cheek and goes. Cut to: Ext. sidewalk. Front of ANN's apartment. Med. Shot: An automobile stands at the curb, in front of which is BEANY. Also waiting, are four motorcycle policeman. BEANY (to the other men) This John Doe meeting is gonna be one of the biggest things that ever happened. As JOHN appears in the doorway of the apartment house, he pretends to throw a baseball at them. BEANY Why, they're coming from all over; trains, box cars, wagonsó (sees JOHN) look out! Med. Shot: Reverse angle. As BEANY holds the door open for JOHN. JOHN Hello, bodyguards! Hey, had your dinner yet? BODYGUARD Not yet. JOHN Well, look. No. Go ahead and have your dinner. I'lló He is about to enter the car when a voice from off-scene stops him. CONNELL'S VOICE Wait a minute, John. Camera pans over to a taxicab which has just driven in. CONNELL hands the driver a bill and walks, rather unsteadily toward JOHN. Med. shot: Around BEANY's car. CONNELL ambles into the scene. ? 661 ? JOHN Hello, Mr. Connell. CONNELL Hiyah, John. (broad wink) John, I want to have a little talk with you. (lurchesóJohn holds him up) What's the matteróare you falling? Come here. Takes his arm to lead him off. BEANY (protesting) Hey, Boss. CONNELL Oh, quiet, quiet, quiet. (to John) Say, tell me something did you read that speech you're gonna make tonight? JOHN No, I never read the speeches before I make them. I get more of a kick out of it that way. CONNELL (wisely) Uh-huh. That's exactly what I thought. Beany, go on down to the office, tell Pop to give you the speech. There's a copy on my desk. BEANY (protesting) Gee whiz, Boss, you know Mr. Norton told me not to leave him, not even for a minute. CONNELL (shooing him away) Go on, go on, go on. And we'll be at Jim's Bar up the street. He points in the general direction and again takes JOHN's arm. JOHN watches him, rather amused to see CONNELL off his milk diet, and allows himself to be led away. Wipe to: Int. a barroom. Close shot: In a corner booth, JOHN and CONNELL sit, close together, drinks in front of them. JOHN's drink has remained untouched. CONNELL is just taking a long swig. From off-scene we hear the strains of an old-fashioned torch ballad, coming from an automatic piano. CONNELL (after a pause) You're a nice guy, John. I like you. You're gentle. I like gentle people. Me? I'm hardóhard and tough. (shakes his headódisparagingly) I got no use for hard people. Gotta be gentle to suit me. Like you, for instance. ? 662 ? JOHN smiles, amused at him. CONNELL starts to light his cigarette, which is bent. He hold the match up, but it never reaches the tip of the bent cigarette. He puffs, satisfied. CONNELL Yep, I'm hard. But you want to know something? I've got a weakness. You'd never guess that, would you? Well, I have. Want to know what it is? JOHN nods. CONNELL The Star Spangled Banner. (looks directly at John) Screwy, huh? (turns back to his glass) Well, maybe it is. But play the "Star Spangled Banner"óand I'm a sucker for it. It always gets me right hereó (thumps his diaphragm) You know what I mean? Close-up: Of JOHN. His face has become serious. JOHN Yeah. (points to back of neck) It gets me right back here. Two shot: JOHN and CONNELL. CONNELL speculates about this with his head cocked. CONNELL Oh, back there, huh? (shrugs, dismissing it) Well, every man to his own taste. JOHN smiles at him. CONNELL tries lighting his bent cigarette againówith the same resultówhile JOHN watches, amused. CONNELL You weren't old enough for the first world war, were you? JOHN starts to answer, but CONNELL goes right on. CONNELL Course not. Must have been a kid. He pours JOHN's drink into his own glass. CONNELL I was. I was just ripe. And rarin' to go. (takes drink) Know what my old man did when I joined up? He joined up too. Close-up: Of JOHN. He finds himself intensely interested. CONNELL'S VOICE Got to be a sergeant. ? 663 ? Two shot: JOHN and CONNELL. CONNELL (as he raises his glass) That's a kick for you. We were in the same outfit. Funny, huh? Close-up: Of CONNELL. He lifts his glass to his lips, and without drinking, lowers it. CONNELL (voice lowers) He was killed, John. Close-up: Of JOHN. His face enveloped in an expression of sympathy. Two shot: CONNELL stares down at the glass which he revolves between his palms. CONNELL I saw him get it. I was right there and saw it with my own eyes. Without glancing at JOHN, he lifts the glass and drains it. CONNELL (turns to JOHN) Me? I came out of it without a scratch. Except for my ulcers. Should be drinking milk. (picks up his glass) This stuff's poison. As he holds up his glass, he realizes it is empty. CONNELL (yelling to bartender) Hey, Tubby! BARTENDER'S VOICE Yes, Mr. Connell? CONNELL (indicates the empty glass) Whadda you say? TUBBY All right. Close shot: JOHN and CONNELL. CONNELL looks around guardedly, to make certain he is not overhead. CONNELL (confidentially) Yessir. I'm a sucker for this country. (gets a little sore about it) I'm a sucker for the Star Spangled Banneróand I'm a sucker for this country. (taps table with his middle finger) I like what we got here! I like it! ? 664 ? (emphasizes each point) A guy can say what he wantsóand do what he wantsówithout having a bayonet shoved through his belly. Med. shot: As he leans back and nods his head, satisfied he made his point. CONNELL Now, that's all right, isn't it? JOHN You betcha. The BARTENDER comes in with drink and departs. CONNELL All right. And we don't want anybody coming around changing it, do we? JOHN shakes his head. JOHN No, sir. Two shot: JOHN and CONNELL. CONNELL No, sir. And when they do I get mad! I get b-boiling mad. And right now, John, I'm sizzling! JOHN looks at him, puzzled. CONNELL I get mad for a lot of other guys besides myselfóI get mad for a guy named Washington! And a guy named Jeffersonóand Lincoln. Lighthouses, John! Lighthouses in a foggy world! You know what I mean? JOHN (huskily) Yeah, you bet! CONNELL takes a drink and looks at JOHN a moment before he speaks. CONNELL (leans on the table) Listen, palóthis fifth column stuff's pretty rotten, isn't it?[11] JOHN Yeah. It certainly is. CONNELL And you'd feel like an awful sucker if you found yourself marching right in the middle of it, wouldn't you? JOHN glances up sharply. ? 665 ? CONNELL And you, of course you wouldn't know it because you're gentle. But that's what you're doing. You're mixed up with a skunk, my boy, a no-good, dangerous skunk! JOHN'S resentment vanishesóand is replaced by puzzlement. JOHN Say, you're not talking about Mr. Norton, are you? Two shot: JOHN and CONNELL. CONNELL (emphatically) I'm not talking about his grandfather's pet poodle! CONNELL again makes an effort to light his bent cigaretteóand again is unsuccessful. JOHN You must be wrong, Mr. Connell, 'cause he's been marvelous about the John Doe Clubs. CONNELL (sarcastically) Yeah? (suddenly) Say, you're sold on the John Doe idea, aren't you? JOHN Sure. CONNELL Sure. I don't blame you. So am I. Close-up: Of CONNELL. CONNELL (sincerely) It's a beautiful miracle. A miracle that could only happen right here in the good old U.S.A. And I think it's terrific! What do you think of that! Me! Hard-boiled Connell! I think it's plenty terrific! Two shot: John is rather pleased to hear him say this. CONNELL All right! Now, supposing a certain unmentionable worm, whose initials are D. B., was trying to use that to shove his way into the White House. So he could put the screws on, so he could turn out the lights in those lighthouses. What would you say about that? Huh? ? 666 ? JOHN Nobody's gonna do that, Mr. Connell. They can't use the John Doe Clubs for politics. That's the main idea. CONNELL Is that so? Then what's a big political boss like Hammett doing in town? And a labor leader like Bennett? And a lot of other big shots who are up at D. B.'s house right now? Wolves, John, wolves waiting to cut up the John Does! (snorting) Wait till you get a gander at that speech you're gonna make tonight! JOHN You're all wet. Miss Mitchell writes those speeches and nobody can make her write that kind of stuff. CONNELL (cynically) They can't, huh? (then barking) Who do you think writes 'em? My Aunt Emma? I know she writes them. Close-up: Of JOHN. His jaw stiffens, angrily. CONNELL'S VOICE And get a big bonus for doing them, too. A mink coat and a diamond bracelet. JOHN glares at him, his rage mounting. Close-up: Of CONNELL. Unaware of JOHN's wrath. CONNELL Don't write 'em? Why, that gold-grabbin' dame would double-cross her own mother for a handful of Chinese yen! JOHN (in an outraged outcry) Shut up! If you weren't drunk I'dó Simultaneously his hand comes in and grabs the startled CONNELL violently by his shirt front, lifting him out of his seat. Camera pulls back to include JOHNówho towers over CONNELL. Wider shot: JOHN is still holding CONNELL, glaring down at him, enraged, when BEANY runs into the scene. BEANY (holding out the envelope) Hey, Boss! Here's the speech, Boss. Suddenly he sees what's happening, and stares open-mouthed. BEANY Hey! ? 667 ? Med. shot: As JOHN pushes CONNELL back into the seat, snatches the envelope from BEANY, and exits. CONNELL Go on and read it, John, and then start socking! Wider shot: As JOHN exits from place. BEANY suddenly realizes he has goneóand chases after him. BEANY Hey, wait a minute, Mr. Doe! CONNELL . . . Tubby? BEANY'S VOICE Yes, sir? CONNELL Better bring me a glass of milk. Close-up: Of CONNELL. He stares at his unlighted cigaretteógrimaces unhappily. CONNELL (mumbling) I'm smoking too much. He grinds out the unlighted cigarette in the tray. Dissolve to: Int. D. B.'s dining room. Close shot: Of D. B., who is at head of table, talking on phone. D. B. (into telephone) . . . Yes, Charlie? You've got everything all set? Fine! Has John Doe been taken care of? Good! How many people do you think will be there? A pleased expression comes over his face. D. B. Fifteen thousand? Oh my, that's fine. Now, listen, Charlie, as soon as John Doe stops talking about me, I want you to start that demonstration. And make it a big one, you understand? As D. B. hangs up. Wider shot: Including TED SHELDON. TED Don't worry about that, D. B. My boys are there. They'll take care of it. D. B. (into telephone) What? yes, I'll be there fifteen minutes after I get your call. Camera draws back as he speaks. We see that dinner has been concluded. His listeners, besides TED and ANN, are half a dozen distinguished looking men, some with cigars stuck in their mouths, others sip from champagne glasses. ANN sits to D. B.'s right. Cut to: Int. foyer: Med. shot: At D. B.'s front door. A butler is opening the door for JOHN. ? 668 ? BUTLER Why, Mr. Doe . . . JOHN Where are they? BUTLER In the dining room, sir. JOHN strides toward the dining room. Camera pans with JOHN, who is dripping wet, as he crosses the foyer until he comes within sight of the open door of the dining room. JOHN stops. Cut back to: Int. D. B.'s dining room. Wider shot: D. B. addressing the group at the table. D. B. Well, gentlemen, I think we're about ready to throw that great big bombshelló SOMEONE'S VOICE Yeah, well it's about time. D. B. Even a conservative estimate shows that we can count on anywhere between ten and twenty million John Doe votes. Now, add to that the labor vote that Mr. Bennett will throw in . . . He indicates BENNETT who nods, importantly. D. B. . . . and the votes controlled by Mr. Hammett and the rest of you gentlemen in your territoriesó (emphatically) and nothing can stop us! Close-up: Of ANN. She seems distressed. She apparently has been listening to things that have caused her considerable anxiety. Wider shot: WESTON leans forward and speaks to D. B. WESTON As I said before, I'm with youóproviding you can guarantee the John Doe vote. D. B. Don't worry about that. BENNETT You can count on me under one condition. Little Bennett's gotta be taken care of! D. B. Didn't I tell you that everybody in this room would be taken care? My agreement with you gentlemen stands! BARRINGTON I'm with you, D. B., but I still think it's a very daring thing we're attempting! ? 669 ? D. B. These are daring times, Mr. Barrington. We're coming to a new order of things. There's been too much talk going on in this country. SOMEONE'S VOICE Exactlyó ANN glances up at D. B., a startled look in her eyes. Close shot: D. B.'s audience beams with satisfaction as he continues. D. B. Too many concessions have been made! What the American people need is an iron hand! WESTON You're right! BENNETT That's true. You're quite right, D. B.! D. B. Discipline! GROUP Quite right! Exactly! There are cries of: "Hear, hear!" and applause. Close-up: Of ANN. She is completely seized by panicóand although she attempts applauding, it is feeble. Med. shot: Shooting through open door toward dining room. Prominently in view is ANN, still lost in troubled thought. D. B. is still on his feet. D. B. And nowó (lifting champagne glass) may I offer a little toast to Miss Ann Mitchellóthe brilliant and beautiful lady who is responsible for all this! The men rise. GROUP Miss Mitchell! Miss Mitchell! ANN Mr. Norton, I'd like to talk to you alone for a moment. D. B. Oh, oh. (chortling) Miss Mitchell has something to say to us. GROUP Well, that's fine. Speech! Speech! Ann spots John. ? 670 ? D. B. (spotting John) Hello? ANN John! I'm so glad to see you. IóI was terribly worried. JOHN (showing her a copy of the speech) Did you write this? ANN Yes, I did, John. But IóI had no idea what was going on. JOHN You didn't? Close-up: Of JOHN. His mouths screws up bitterly. JOHN (quiet contempt) That's a swell bracelet you're wearing. He leaves her, abruptly. Int. dining room: Full shot: JOHN enters and looks the men over appraisingly as he goes toward D. B. They all stare at him. D. B. Johnó (concerned) Why aren't you at the convention? JOHN doesn't answer. D. B. Is there anything wrong? JOHN (after a pause) Oh, no. Nothing's wrong. Everything's fine! So there's gonna be a new order of things, huh? Everybody's gonna cut himself a nice, fat slice of the John Does, eh? (turns toward D. B.) You forgot one detail, Mr. Big Shotóyou forgot me, the prize stooge of the world. Why, if you or anybody else thinks he's gonna use the John Doe clubs for his own rotten purpose, he's gonna have to do it over my dead body! D. B. Now, hold on a minute, young man! Hold on! That's rather big talk! I started the John Doe clubs with my money and I'll decide whether or not they're being properly used! JOHN No you won't! You're through deciding anything! D. B. cannot believe his ears. ? 671 ? JOHN And what's more, I'm going down to that convention and I'm gonna tell those people exactly what you and all your fine-feathered friends here are trying to cook up for them! He looks up at ANNóand starts tearing the speech in his hand. JOHN (strongly) And I'll say it in my own words this time. He flings the torn paper toward ANNóand starts out. HAMMETT AND OTHERS Stop him, somebody! He'll ruin us, D. B.! Med. shot: At Door. As JOHN reaches it, TED steps up in front of him. TED (menacingly) Wait a minute, young fellerómy uncle wants to talk to you. D. B. walks up to JOHN. D. B. Listen to me, my son! Before you lose your head completely, may I remind you that I picked you up out of the gutter and I can throw you right back there again! You've got a nerve accusing people of things! These gentlemen and I know what's the best for the John Does of America, regardless of what tramps like you think! Get off that righteous horse of yours and come to your senses. You're the fake! We believe in what we're doing! You're the one that was paid the thirty pieces of silver! Have you forgotten that? Well, I haven't! You're a fake, John Doe, and I can prove it! You're the big hero that's supposed to jump off tall buildings and things! Do you remember? What do you suppose your precious John Does will say when they find out that you never had any intention of doing it? That you were being paid to say so? You're lucky if they don't run you out of the country! Why, with the newspapers and the radio stations that these gentlemen control, we can kill the John Doe movement deader than a doornail, and we'll do it, too, the moment you step out of line! Now, if you still want to go to that convention and shoot your trap off, you go ahead and do it! Full shot: D. B. leaves JOHN and returns to his chair. JOHN stares at him, unbelievingly. Close shot: of JOHN. ? 672 ? JOHN (after a pause) Do you mean to tell me you'd try to kill the John Doe movement if you can't use it to get what you want? D. B.'S VOICE You bet your bottom dollar we would! JOHN (cynically) Well, that certainly is a new low. I guess I've seen everything now. Wider shot: As JOHN's lips curl up contemptuously and he steps up to the table. JOHN (throwing his hat on the table) You sit there back of your big cigars and think of deliberately killing an idea that's made millions of people a little bit happier! An idea that's brought thousands of them here from all over the country, by bus and by freight, in jallopies and on footóso they could pass on to each other their own simple little experiences. Close-up: Of ANN. Her eyes light up happily. JOHN'S VOICE Why, look, I'm just a mug and I know it. But I'm beginning to understand a lot of things. Why, your type's old as history. If you can't lay your dirty fingers on a decent idea and twist it and squeeze it and stuff it into your own pocket, you slap it down! Like dogs, if you can't eat something, you bury it! Close-up: Of JOHN. His voice is pleading. JOHN Why, this is the one worthwhile thing that's come along. People are finally finding out that the guy next door isn't a bad egg. That's simple, isn't it? And yet a thing like that's got a chance of spreading till it touches every last doggone human being in the worldóand you talk about killing it! Full shot: They listen to himóunmoved. JOHN Why, when this fire dies down, what's going to be left? More misery, more hunger and more hate. And what's to prevent that from starting all over again? Nobody knows the answer to that one, and certainly not you, with those slimy, bolloxed-up theories you've got! The John Doe idea may be the answer, though! It may be the one thing capable of saving this cockeyed world! Yet you sit back there on your fat hulks and tell me you'll kill it if you can't use it! ? 673 ? Well, you go ahead and try! You couldn't do it in a million years, with all your radio stations and all your power! Because it's bigger than whether I'm a fake! It's bigger than your ambitions! And it's bigger than all the bracelets and fur coats in the world! Wider shot: ANN runs to JOHN. ANN (sincerely) You bet it is, John! JOHN starts to exit. Med. shot: Shooting toward door. JOHN (turning to them) And that's exactly what I'm going down there to tell those people! As JOHN reaches door, TED SHELDON jumps in front of him. Close shot: TED Wait a minute, you ungrateful rat! My Uncle's been too good toó While he speaks, JOHN looks down at the fist clutching his shirt, and then, with a suddenness that startles TED, he steps aside and clips TED on the jaw. TED's knees buckle and he goes down. JOHN exits. Wider shot: As several men rush to TED's assistance. D. B. does not move. MAN He's getting away! ANN John! Ext. entrance to D. B.'s house: Med. shot: As JOHN hurries out. He goes by half a dozen members of TED SHELDON's motorcycle troops who wait around to escort D. B. to the convention. Int. Dining room: Full shot: The room is full of commotion. ANN is running out of the room, going after JOHN. Several men bend over TED. D. B. glares toward door, his face hardening. HAMMETT is barking at him. D. B. reaches under the table, lifts up two phones. Hands one to HAMMETT. D. B. Get the Bulletin ! He, himself, dials the other phone. ANN John! ? 674 ? BARRINGTON I've always told you, D. B. you're playing with dynamite! D. B. (calling to men) Don't let that girl get away! The butler rushes out. WESTON Before he gets through tonight he'll ruin us all! BENNETT You've got to stop him, D. B.! D. B. I'll stop him! I'll stop him cold! Don't worry, I've been ready for this! Cut to: Ext. D. B.'s entranceóat gate. Med. shot: As ANN runs alongside JOHN. ANN John! Oh, John, please listen to me! PleaseóI can explain everything, John. I didn't know what they were going to do! Let me go with you, John! John, please! JOHN gets into taxióslams dooróANN runs beside cab as it starts off. JOHN Go ahead, driver! Ball park! ANN John, please let me go with you! Please, John! Several troopers grab ANN. TROOPER Mr. Norton wants to see you. ANN Oh! As the men get a firmer grip on her and ANN fights to get loose: Cut to: Int. D. B.'s study: Med. shot: D. B. is on the phone. The others pace around, perturbedly. HAMMETT has the second phone in his hand. D. B. (into phone) Listen to me, Mayor Lovett, you do as I say. I want them both arrested. You tell the police department to pick up Connell. I've got the girl here. HAMMETT (holds out phone) I've got the Bulletin ! ? 675 ? D. B. (hotly) I don't care what you charge them with! If you're worried, let them go in the morning, but keep them in jail over night! He bangs up the receiver. Grabs another phone from HAMMETT. D. B. Hello, Bulletin ? Put Pop Dwyer on. Dissolve to: Ext. entrance to ball park: Med. shot: Over the entrance gate a huge banner reads: WELCOME TO JOHN DOE CONVENTION People come from all directions and pour through the gates. Some carry umbrellas over their heads, others have their coat collars turned up. Women hold newspapers over their heads to protect their hats. It is a misty, drizzling rain. Ext. ball park: Long shot: Shooting from ANNOUNCER's view down at the Speaker's platform which has been erected on "Home Plate." On it, in the rear, is a brass band. In front of it is a speaker's table, over which dangles the microphone of a public address system. Attached to the table are several microphones with names of broadcasting stations on them. Med. shot: Shooting toward audience. They sing: "Oh, Susanna." Med. shot: Toward people seated in grandstand. They join in the singing. Another angle: Toward a third section. They also pick up the song. Long shot: Taking in as many as possible. Everyone sings, and the volume has risen considerably. Med. shot: Shooting down an aisle. A stream of people take up the song, as they march to their seats. Med. shot: At entrance to Park. Crowds are coming inóand they, too, begin singing. They are also joined by the policemen posted at the gates. Med. shot: A second entrance to Park. Another crowd is entering, also singing. Med. shot: Of BERT and SOURPUSS in the foreground of a group on platform, all of whom sing. BERT has a large rolled-up scroll in his hand. Close-up: Of the COLONEL. Sitting in a corner somewhere, looking around speculatively, with a stubborn mental reservation that they are still all heelots. Several close shots: Of small groupsówith their wet faces held high, singing lustily, eyes sparkling. Long shot: Shooting from the platform down toward the audience. The song finally comes to a climaxóand immediately, lusty cheering starts, as they see JOHN coming on platform. Med. shot: Toward platform. JOHN goes to the microphone of the public address system. ? 676 ? MAN Three cheers for John Doe! JOHN Listen, ladies and gentlemen! Before he can go any further, the band strikes up the strain of "AMERICA" and immediately the large assembly begins singing it. Close-up: Of JOHN. As his lips form the words. His expression is solemn. Various shots: Of groups, singing. Long shot: As people sing. Finally the song is ended, and an enthusiastic cheer is emitted by the crowd. Med. shot: On platform. JOHN again steps toward the microphone and makes another effort to speak, but the CLERGYMAN places a detaining hand on his arm. CLERGYMAN Just a moment, John. We begin with a short prayer. Longer shot: Shooting over the heads of the audience toward the platform in the background. Gradually the cheering subsides. CLERGYMAN (speaking into public address system) Quiet, please. Ladies and gentlemenólet us have a moment of silent prayer for the John Does all over the world . . . many of whom are homeless and hungry. Rise, please. Everybody rise. The CLERGYMAN and JOHN, standing next to him, immediately bow their heads. Long shot: Shooting toward audience. As far as the Camera eye can see, heads are bowed in prayer. The reflection on the wet umbrellas creates a strange and mystic light. Several close shots: Of small groupsóin silent prayer. Close-up: Of the COLONEL. Rather grudgingly, he has his head lowered. Close-up: Of JOHN. His eyes are shutóhis face wreathed in an expression of compassion. Med. shot: At press section. They, too, bow respectfully. The reporters are quiet for the first time. Ext. street: Long shot: Directly in front of entrance to ball park. A stream of news trucks pull up, filled with newsboysóthey immediately alight. Ext. street: Med. shot: In front of another entrance. More trucks arriveópacked with newsboys. Ext. street: Med. shot: Shooting toward entrance. As an army of newsboys, each carrying a stack of newspapers, run toward us yelling: ? 677 ? NEWSBOYS Extry, extry! Read all about it! Med. shot: Toward another entrance. Another swarm of newsboys dash in, also shouting. NEWSBOYS Extry! John Doe a fake! Long shot: Of audience with their heads still bowed. Slowly, they begin turning around, puzzled, as from all directions and down every aisle, boys are running, waving papers in the air. NEWSBOYS (shouting) Here you are! John Doe a fake! Read all about it! John Doe movement a racket! Close shot: Of JOHN. He looks up, terror-stricken. Med. shot: At press section. Great excitement prevails here. ANNOUNCER (JOHN B. HUGHES) Newsboys! Hundreds of yelling newsboys are swarming into the park like locusts! They're yelling, "John Doe's a fake! Fake!" Med. shot: Of audience. As newsboys are distributing papers to the baffled people. NEWSBOYS Here you are! No charge! John Doe a fake! Med. shot: Of a second group. Some already have papers and peer, unbelievingly, at the headlines. Others grab papers from newsboys' hands. MAN (reading) "Federal investigation urged by Chamber of Commerce." Med. shot: Speaker's platform. SOURPUSS and BERT, reading paper. SOURPUSS How could he be a fake? (laughing) BERT It must be some kind of a gag. SOURPUSS A what? BERT A gag. A gag! Ext. : Somewhere inside ball park: Long shot: We hear the shrieking of sirens and almost immediately a limousine, escorted by Sheldon's motorcycle troops, pulls up. Directly behind it is a string of cars. ? 678 ? Med. shot: The door of the limousine flies open and D. B. comes out. He immediately heads for the platform. Camera pans over and we see troopers pouring out of the cars with TED SHELDON directing them. TED Come on, come on, step on it! Step on it! Step on it! You all know your places now, so let's get going! Wait for the signal! Med. shot: DRUNK with a balloon. He holds balloon up to TED, getting in TED's way. DRUNK Hey, mister, will you autograph my balloon? TED Sure! (and breaks balloon) TROOPER (pushing drunk aside) Gangway! Ext.: Park. Med. shot: At Speaker's platform. JOHN is in front of the microphone trying to make himself heard over thousands of voices, all speaking at once. JOHN Ladies and gentlemen! This is exactly what I came down here to tell you about tonight. Please, if you'll all just be quiet for a few minutes I can explain this whole thing to you. As you all know, this paper is published by a man by the name of D. B. Norton . . . Med. shot: Shooting towards audience. Down an aisle stalks D. B., his hand waving in the air. D. B. (shouting) Don't listen to that man! He's a fake! Camera pans with him as he hurries down the aisle to the platformóall eyes turned toward him. Close-up: Of JOHN. As he stares at D. B. approaching, too flustered to know what to do. Med. shot: Toward platform. As D. B. runs up the few steps and proceeds to the microphone, troopers clearing the way for him. TROOPER (drags John from mike) Stand back! D. B. Wait a minute! Everybody wait a minute! Wait a minute, ladies and gentlemen! My name is D. B. Norton . . . you all know me! I accuse this man of being a faker! We've been taken for a lot of suckers! And I'm the biggest of the lot! ? 679 ? I spent a fortune backing this man in what I believed to be a sincere and worthy cause, just as you all did! And now I find out it's nothing but a cheap racket! Cooked up by him and two of my employees for the sole purpose of collecting dues from John Does all over the country! JOHN breaks away from the troopers and gets to the mike. JOHN That's a lie! D. B. It's not a lie! Nickels and dimes! To stuff into their own pockets! You can read all about it in the newspapers there! JOHN That's a lie! Listenódon't believe what he says . . . D. B. (overlapping above speech) Let go of me! This man had no intention of jumping off of the top of a building! He was paid to say so! (turning to John) Do you deny that? JOHN That's got nothing to do with it! D. B. Were you paid for itóor weren't you? JOHN Yes! I was paid! But theó D. B. (over-lapping above speech) And what about the suicide note? You didn't write that, either! JOHN What difference does that make? D. B. Did you write itóor didn't you? JOHN No, I didn't write it, butó D. B. Ah, you bet your life you didn't! You look in your papers, ladies and gentlemen, and you'll find Miss Mitchell's signed confession that she was the one that wrote it! JOHN Listen, folks, it's a fact that I didn't write the letter, but this whole thing startedó ? 680 ? D. B. There! You see? He admits it! You're a fake, John Doe! And for what you've done to all these good peopleóthey ought to run you out of the countryóand I hope they do it! He leaves the platformófollowed by his troopers. Several shots: Of groups as they stare at JOHN, silent and stunned, waiting for him to speak. Full shot: The whole park full of people wait in breathless anticipation. From somewhere in the distance we hear a single voice of a man. VOICE Speak up, John! We believe you! Med. shot: Under the platform. We see several of D. B.'s troopers pulling at the cables of the public address system. Close shot: Of JOHN. He speaks into the microphone. JOHN Please listen, folks! Now that he's through shooting off his face, I've got a couple of things to tell you aboutó Close shot: Under the platform. One of the troopers disconnects the public address system by cutting the cable. Close-up: Of JOHN. He realizes the loud speaker is dead, and looks around helplessly. Med. shot: Somewhere in audience TED SHELDON directs troopers. TED Come on! The rest of you get in here and riot! Break this crowd up! Come on! Med. shot: Of a group of John Does. They still stare uncertainly. Suddenly, the head of one of SHELDON's troopers appearóand cupping his hands over his mouth, he yells toward platform. TROOPER John Doe's a fake! Boo! Boooooo! Long shot: From ANNOUNCER's view. Shooting toward audience. The crowd is all yelling at once now. Med. shot: ANNOUNCER I'm sorry, folks, but we can't hear him any more. Something's gone wrong with the loudspeaker. Med. shot: Of JOHN. Trying to talk over microphone. JOHN Say, they can't hear me! The thing's not working! ? 681 ? (shouts) Ladies and gentlemen! Lookóthis thing's bigger than whether I'm a fakeó (turns to BERT) Look, Bert, you believe me, don't you? BERT (cynically) Sure, I believe you. Walking my legs off digging up five thousand signatures for a phoney! Suddenly, nervously, he begins tearing up the petition in his hand. BERT Well, there you are, Mr. Doe! (flinging crumpled petition at him) Five thousand names asking you not to jump off any roof! He turns to leave. Close shot: Of SOURPUSS, who, heartbroken, stops BERT. SOURPUSS It makes no difference, Bertóthe ideas's still good. We don't have to give up our club. BERT (harshly) Yeah? Well, you can have it! He exits. Long shot: From ANNOUNCER's view. Crowd is yelling wildly. ANNOUNCER They're starting to throw things! 2ND ANNOUNCER Somebody's going to get hurt! Close-up: Of JOHN. He looks helplessly down at the hostile crowd. Int. police station: Full shot: ANN and CONNELL are surrounded by several policemen. A sergeant sits at his desk, on which is a radio. ANN's face is haggard and desperate as she listens to the radio announcer. ANNOUNCER I'm afraid it'll be John Doe. Listen to that mob! Unable to stand it any longer, ANN suddenly jumps out of her seat. ANN I've got to go to him! OFFICER Sorry, ladyóI can't let you out. ? 682 ? ANN (sobbing) Oh, let me go! Let me go to him! Oh, please, please let me go! They're crucifying him! I can help him! OFFICER Sorry, sister. We got orders to hold you. ANN Orders from who? Can't they see it's a frameup? She is still desperately struggling to get freeówhen her mother comes hurrying in. MRS. MITCHELL Ann, darling! ANN Oh, Mother! They won't let me go! They won't let me go! The police release her and she throws herself into her mother's arms. Ext.: Ball park. Close shot: Of JOHN. He still attempts to get himself heard. JOHN Listen, folks! You gotta listen to me, everybody! Med. shot: Of a group of John Does. A MAN (yelling toward JOHN) Back to the jungle, you hobo! 2ND MAN (disgustedly) Just another racket! JOHN'S VOICE Stick to your clubs! MAN (shouting) We've been fed baloney so long we're getting used to it! Close shot: Of JOHN. He disregards the missiles that fly around his head. JOHN (supplicatingly) The idea is still good! Believe me, folks! . . . Ext.: Ball park. Med. long shot: Toward platform. The crowd pushes menacingly around the platform, with policemen struggling to control them. JOHN still stands there, pathetic and helpless. Missiles of all kinds fly into the scene. The members of the band are scrambling off the platformóas well as the others, until John is left alone. ? 683 ? Long shot: Shooting toward audience. They still boo and yell. Med. shot: Of the COLONEL. Fearful for JOHN, he starts pushing his way through the crowd toward him. Med. shot: Of a group of people. Suddenly a woman reaches into a lunch basket she carries and takes out a tomato. WOMAN (shouting) You faker! She reaches back to throw the tomato. Close-up: Of JOHN. His voice is gone. His eyes are glassy. He is making one last effort to speak. JOHN (hoarsely) Listen . . . John Does . . . (weakly) You're the hope of the world . . . As if in challenge to that statement, the tomato flies in and strikes him on the forehead. It seems to stun him. He remains motionless, staring before him with sightless eyes. The red smear of the tomato trickles down his face. Med. shot: Of the COLONEL, amidst the crowd. He sees JOHN hit and winces. Then, setting his jaw, he pushes people violently aside, trying to reach JOHN. Med. shot: On platform, JOHN stares futilely before him. The COLONEL reaches his side and glancing sympathetically up at his face, starts to lead him off the platform. A squadron of policemen also rush to his rescue and precede JOHN and the COLONEL. Trucking shot: Down the aisleóas police disperse the crowd who boo and threaten JOHN from the sidelines. Close shot: Of JOHN. He is oblivious of the jeering, shouting mobóand of the wet newspapers flung in his direction. Med. shot: At dug-out exitóas the police finally manage to get him safely out of the park. Med. shot: ANNOUNCER's booth. JOHN B. HUGHES The police finally manage to get him out of the park! If that boy isn't hurt, it'll be a miracle! Int.: Police station. Med. shot: ANN and her mother sit on a bench. A policeman is in the background. ANN stares into space. Her mother has an arm around her. ANNOUNCER'S VOICE Ladies and gentlemen, this certainly looks like the end of the John Doe movement. A policeman snaps the radio off. ? 684 ? CONNELL (lifts glass of milk) Well, boys, you can chalk up another one to the Pontius Pilates. Two shot: ANN and her mother. ANN (sobbing) I should have been there. I could have helped him. (desolately) He was so all alone! Her MOTHER draws ANN consolingly to her, and lays her head on her breast. Dissolve to: Ext.: A highway. Med. shot: Of BERT's car on the way home. Int.: Car. Close shot: BERT and SOURPUSS. They both look depressed. After a silence, SOURPUSS speaks. SOURPUSS (throatily) A lot of us are going to be mighty ashamed of ourselves after tonight. We certainly didn't give that man much of a chance. They lapse again into silence. BERT stares grimly at the road. Dissolve to: Ext.: Clearing under the bridge. Close-up: Of JOHN. He sits on a rock, his head bent low, tears streaming shamelessly down his cheeks. Camera draws back and we find the COLONEL before the fire, boiling water in a small tin pan. COLONEL'S VOICE Have some more coffee, Long John? JOHN No, thanks, Colonel. JOHN lifts his eyes skyward, stares profoundly, a curious expression over his face. Dissolve to: A Montage. Long shot: Of JOHN, a lonely figure, walking dejectedly. As he walks, faces begin to appear one by one, to taunt him. Their accusing voices are heard. WOMAN'S VOICE Faker! MAN'S VOICE Racketeer! 2ND VOICE Liar! 3RD VOICE Cheat! ? 685 ? 4TH VOICE Imposter! 5TH VOICE Why don't you jump! GIRL'S VOICE Christmas Eve at midnight! (she laughs, sneeringly) Dissolve to: Another shot: Of JOHN walking, his expression immobile. Over the shot appear several scenes through which JOHN has lived: 1. BERT shaking hands with him, saying: BERT You're a wonderful man, Mr. Doe. 2. MRS. DELANEY kissing his hand and saying: MRS. DELANEY May God bless you, my boy. 3. ANN in Broadcasting Station, kissing him: ANN Now, get in there and pitch! 4. D. B. issuing his tirade at JOHN: D. B. You're a fake, John Doe, and I can prove it! You're the big hero that's supposed to jump off tall buildings and things. You remember? What do you suppose your precious John Does will say when they find out that you never had any intention of doing itóthat you were being paid to say so? 5. Again the girl who laughed appears: GIRL Christmas Eve at midnight? And again she laughs sneeringly. Dissolve to: Ext.: City Hall towerónight. Long shot: It is a picturesque scene of the City Hall outlined in silhouette against the sky. A peaceful mantle of snow silently descends upon it. Over the shot we hear the plaintive voices of children singing "Holy Night." Dissolve to: Ext.: Outside of D. B.'s house: Med. shot: Outside D. B.'s Studyóthrough window. A group of eight young carolers sing "Holy Night." It is a continuation of the music from previous scene. Cut to: Int. D. B.'s study. Med. shot: In the dimly lit room, we see the lonely figure of D. B., as he stands near a window staring out, meditatively. The voices of the children singing Christmas carols are faintly heard. ? 686 ? Close-up: Of D. B. He peers into the night, enveloped by disturbing thoughts. After a moment, he takes out his watch and glances at it. Then, as if annoyed by his own apprehension, he shoves it violently back into his pocket. Camera retreats in front of him as he crosses, determinedly, to a humidor, takes a cigar and shoves it into his mouth. Just as he is about to light it, he becomes aware of the signing, and cocks his head, listening. Wider shot: As he drops the match and the unlighted cigaróand starts toward door. Just then the BUTLER comes through. BUTLER Merry Christmas, sir. D. B. Oh. Merry Christmas. D. B. hands him a bill and nods toward the children. The BUTLER exits. Close-up: Of D. B. Staring out into space moodily. We hear the voices of the children saying, "Thank you, sir! Merry Christmas!" D. B.'s mouth screws up, unhappily. It is far from a "merry" Christmas. It is a very lonely, conscience-stricken one. Dissolve to: Int.: Police station. Med. shot: A SERGEANT sits in front of his desk. Opposite him is a POLICEMAN. Their rummy game has been interrupted by a phone call which the SERGEANT is now answering. SERGEANT Who? John Doe? Is that screwball still around? (laughing) POLICEMAN (with disgust) Aw, that dame's been callin' all day. DESK SERGEANT Sure, sure, I know. Yeah. At midnight, huh? Okay, lady. We'll have the place surrounded with nets. He hangs up the phoneótwirls his finger at his temple, shrugsóand reaches for a card. Cut to: Int.: ANN's bedroom. Close shot: ANN is in bed. She looks wan. Her hand still rests on the phone. Camera pulls back to reveal a doctor by her side and her mother at the foot of the bed. They watch heróconcerned. ANN Ohóthey're laughing at me! Impulsively, ANN picks up the receiver and starts dialing again. DOCTOR'S VOICE You're a sick girl, Ann. You'd better take it easy. ? 687 ? MRS. MITCHELL Whom are you calling now? You called that number not ten minutes ago! ANN (into phone) Hello. Mr. Connell? Have you seen him yet? Have youó Cut to: Int: Corridor of City Hall. Med. shot: Toward a telephone booth. CONNELL speaks into the phone. CONNELL Now listen, Annóhe can't possibly get in without our seeing him. I'm watching the side door and the Colonel's out front, so stop worrying. Int.: ANN's bedroom. Close shot: ANN Thank you. She hangs up the receiver, despairingly. Then, suddenly, she jumps out of bed and runs to a clothes closetógrabbing a coat and scarf. MRS. MITCHELL Why, Ann! . . . DOCTOR Ann, don't be foolish! Dissolve to: Insert: The City Hall tower clock registers 11:45. Cut to: Ext.: Highway. Med. shot: BERT's car driving in the snow. Int.: Car. Full shot: BERT HANSEN drives. In the car with him are his wife, SOURPUSS and several others. BERT (complainingly) If this isn't the craziest, the battiest, the looniest wild goose chase I ever heard of? MRS. HANSEN Oh, shut up. Bert. Sourpuss is right. BERT Yeah? Well, if he is, I'm a banana split! SOURPUSS That man is gonna be on that roof. Don't ask me how I know. I just know. And you know it as well as I do. BERT Sure, sure. I'd like to believe in fairy tales, but a guy that's fake isn't gonna jump off any roof. MRS. HANSEN I don't think he was any fakeónot with that face. And, anyway, what he stood for wasn't a fake. ? 688 ? BERT Okay, honey, okay. Cut to: Int: Main floor corridor, City Hall. Full shot: It is vast and empty, except for a colored porter, scrubbing. Med. shot: At entrance. As ANN enters from outside. Determinedly, she starts toward elevators. Close shot: At elevator. ANN pushes button impatiently. She feels weak, and has to brace herself to stay on her feet. Suddenly, she is startled by the COLONEL'S voice. COLONEL Elevators ain't running. Camera pans over to the COLONEL, who sits on the stairs, next to the elevator. Med. shot: ANN walks over to him, her face lighting up hopefully. ANN Colonel! COLONEL You shouldn't have gotten out of bed, Miss. ANN Has he been here? COLONEL No. ANN Have you seen him? COLONEL (sadly) I ain't seen him for a week. ANN Where's Connell? COLONEL He's watching the other door. ANN Oh. Gee, you're swell! Oh. ANN stares at him a moment, then, impulsively, she starts to pass him to go up the stairs. COLONEL (grabs her) No sense in going up there! I been here for hours. He ain't here! ANN (pulls away from him) Oh, let me go, will you! ? 689 ? COLONEL (calling after her) Now, that's crazy. It's fourteen floors! But ANN vanishes. The COLONEL shakes his head and resumes his post. Med. shot: At entrance. As the MAYOR, followed by D. B., HAMMETT, and the others, enters. Camera pans with them as they go toward the elevator. Med. shot: They arrive at the elevator. The MAYOR takes out his keys and unlocks the elevator door. Close shot: Of the COLONEL. He watches them, puzzled. Can't figure out what they are doing here. Cut to: Insert: Of elevator dialóas the light flicks on to number 14, indicating 14th floor. Camera pans down to elevator door, which opens and the men come out. MAYOR This is as far as the elevator goes. We've got to walk up to the tower. He indicates the stairway. Cut to: Wider shot: As they cross to stairway, silently. Dissolve to: Ext.: City Hall roof. Full shot: The men enter. They glance around searchinglyóand then slowly move toward the edge of the parapet. Closer shot: The men look obviously self-conscious. No one speaks for a while. BENNETT (breaking the silence) That tramp is probably full of Christmas cheer and asleep in some flop house. There is again silence. After a few minutes, the MAYOR speaks. MAYOR Let's go. I've got to decorate my tree. Cut to: Int.: Corridoró14th floor. Med. shot: Outside Men's Washroom. JOHN comes out, and as camera pans with him he proceeds to letter chute next to elevator. We see that it is the top of the chute, and from the elevator being there, we know it is the 14th floor. JOHN drops the letter into the chute. Ext.: City Hall roof. Full shot: The place is silent except for occasional scraping of feet as several of the men move around. They continually refer to their watches. Finally, D. B. gives up impatiently. D. B. Well, I give up. I don't know what gave us the idea that heóhe'd attempt anything like this. WESTON I guess you're right. I'm afraid the joke's on us. Let's go. ? 690 ? D. B. I hope nobody finds out we've been here. They all start to exit, when suddenly D. B. stops. He puts his hand out, and they all stop to listen. They hear footsteps, and back into the shadows. Med. shot: Shooting toward stairs. JOHN appears around the bend and mounts the last few steps. Med. shot: Of the huddled group. They watch breathlessly. In the darkness, their eyes dominate the scene. Med. shot: Over their shoulders. As JOHN, expressionless, his cigarette in his hand, crosses to the parapet, and looks out. He takes a puff of his cigarette and exhales the smoke. Med. shot: Of the huddled group. The MAYOR is for stepping forward, but D. B. with an extended hand stops him, indicating for them to wait and see what happens. Close-up: Of JOHN. He takes the envelope out of his pocket and examines it. Close shot: Of the group. Their eyes glued on him tensely. Close shot: Of JOHN. He stares at the envelope. Insert: Of envelope. On it is written: "TO JOHN DOES EVERYWHERE". Close-up: Of JOHN. He replaces the envelope in his pocket. Int.: Tower. Close shot: The group. Their eyes riveted on JOHN. They feel the moment has come. Several of them glance toward D. B. Wider shot: To include them all, and JOHN. He drops his cigarette on the ground, and bending over, crushes it with his foot. Just as he straightens out again, D. B. speaks. D. B. (restrained voice) I wouldn't do that if I were you, John. Close-up: Of JOHN. As he turns sharply, startled. He stares blankly at the five people. Med. shot: Of the group. They move slightly forward and stop. D. B. It'll do you no good. Close-up: Of JOHN. He continues to stare at them, strangely. Wider shot: To include them all. D. B. The Mayor has policemen downstairs with instructions to remove all marks of identification you may have on your person. You'll be buried in Potter's Field[12] and you will have accomplished nothing. Close shot: Of JOHN. After a moment, he speaks. ? 691 ? JOHN (in a sepulchral voice) I've taken care of that. I've already mailed a copy of this letter to Mr. Connell. Med. shot: Of the group. Amazed that he thought of this. They feel themselves helpless. D. B. tries taking an authoritative tone. D. B. (his throat is dry) John, why don't you forget this foolishness? He steps forward as he speaks. JOHN (quicklyóthreateningly) Stop right where you are, Mr. Norton, if you don't want to go overboard with me. Close-up: Of JOHN's face. His eyes have a wild, maniacal look in them. Close-up: Of D. B. He stares into JOHN's eyes and a terrified expression covers his face. Wider shot: As D. B. instinctively backs up. JOHN (throatily) I'm glad you gentlemen are here. You've killed the John Doe movement, all right, but you're going to see it born all over again. Now, take a good look, Mr. Norton. Int.: Landing to tower. Med. shot: As ANN practically has to pull herself up to the last step. Her face is wet from fever and exhaustion. ANN (an outcry) John! Int.: Tower. Full shot: As everyone, startled by the outcry, turns. ANN staggers into scene. ANN (crying) John! She rushes and throws her arms around him. ANN (muffled sobs) Oh, John, darling. No! No! Close shot: JOHN and ANN. He stares down at her, blankly. ANN clutches him, her head buried in his shoulder. ANN (muffled sobs) I won't let you. I love you, darling. ? 692 ? Med. shot: Of the group. They remain motionless, watching. Close shot: JOHN and ANN. She emits wracking sobs, then lifts her eyes up to him. ANN (in a desperate plea) John. Please, John, listen to me. We'll start all over again, just you and I. It isn't too late. The John Doe movement isn't dead yet. Suddenly she becomes conscious of the others present, and she turns her head. Camera pans over to what she sees. The group of men watching, silently. Camera pans back to ANN. Her eyes widen slowly. She looks from them to JOHN and back again, and her face takes on an excited, breathless look, as the reason for their being there becomes comprehensible to her. ANN (excitedly) See, John! It isn't dead, or they wouldn't be here! It's alive in them . They kept it alive. By being afraid of it. That's why they came up here. Close shot: ANN and JOHN. He continues to stand with his hands at his sides, looking at her, while she clings to him desperately. While she speaks, he turns his face from her and stares at the men. ANN Oh, darling. Sure, it should have been killed before. It was dishonest. Close-up: Of JOHN. He is staring strangely at the group of menóas slowly, gradually, the curtain is being lifted from his clouded brain. ANN'S VOICE But we can start clean now. Just you and I. It'll grow again, John. It'll grow big. And it'll be strong, because it'll be honest! Close-up: Of ANN. Her strength is fast ebbing away. She clings to JOHN more tenaciously. ANN (last bit of effort) Oh, darling, if it's worth dying for, it's worth living for. Oh, please, John . . . She looks up at his face, seeking some sign of his relenting-but she finds none. Close-up: Of ANN, who still clinging to him, lays her cheek on his chestóand lifts her eyes heavenward. ANN (a murmured prayer) Oh, please, Godóhelp me! ? 693 ? Flash: Of the menóas they stare transfixed, waiting breathlessly. Med. shot: At entrance. BERT, SOURPUSS and others appearóhaving run up the stairs breathlessly. Their eyes are filled with apprehension. CONNELL and the COLONEL are with them. When they see the scene before them, they stop, awed. Close-up: Of ANN. Suddenly she stares before heróas a divine inspiration comes to her. Her eyes light up with a wide, ecstatic fire. Two shot: ANN and JOHN. ANN turns and glances up at JOHN's face. ANN (tensely) John! She takes his face in her two hands and turns it to her. ANN John, look at me. You want to be honest, don't you? Well, you don't have to die to keep the John Doe idea alive! Someone already died for that once! The first John Doe. And He's kept that idea alive for nearly two thousand years. Close shot: BERT, his WIFE and SOURPUSS. The cynical expression on BERT's face begins to soften. ANN'S VOICE (with sincere conviction) It was He who kept it alive in them óand He'll go on keeping it alive for ever and always! For every John Doe movement these men kill, a new one will be born! Two shot: ANN and JOHN. JOHN remains grimly unmoved. ANN continues. ANN (ecstatically) That's why those bells are ringing, John! They're calling to usónot to give upóbut to keep on fighting! To keep on pitching! Oh, don't you see, darling? This is no time to give up! Several flashes: To intercut with ANN's speechóone of BERT; his WIFE; CONNELL; D. B. Med. shot: Toward ANN and JOHN. ANN's strength is slowly waning. ANN You and I, John, we canó (suddenly) No, John, if you die, I want to die, too! (weakly) Oh, I love you soó Her strength leaves heróand as her eyelids slowly shut, she collapses limply in his arms. Med. shot: Of BERT's group, as they react to this. BERT stares, profoundly moved. ? 694 ? Med. shot: JOHN and ANNóas he stares bewildered, at ANN at his feet. Mechanically, he reaches down and lifts her in his arms. BERT'S VOICE Mr. Doe . . . JOHN vaguely becomes aware of BERT's presence and glances toward him. Med. shot: BERT, his WIFE and SOURPUSS. BERT (his voice chokedóhaltingly) You don't have toóWhy, we're with you, Mr. Doe. We just lost our heads and acted like a mob. Why, we . . . BERT'S WIFE (jumping in) What Bert's trying to say isówellówe need you, Mr. Doe. There were a lot of us didn't believe what that man said. Close-up: Of JOHNóas he listens to her, expressionless. WIFE'S VOICE We were going to start up our John Doe Club again whether we saw you or not. Med. shot: BERT, his WIFE and SOURPUSS. WIFE Weren't we, Bert? BERT nods. WIFE And there were a lot of others that were going to do the same thing. Why, Mr. Sourpuss even got a letter from his cousin in Toledo, and . . . SOURPUSS (joiningóeagerly) Yeah, I got it right here, Mr. Doe! Close-up: Of JOHN. The bewildered look in his eyes has vanished. It is now replaced by an expression of softness and understanding. WIFE'S VOICE (choked) Onlyóonly it'll be a lot easier with you. Pleaseóplease come with us, Mr. Doe! JOHN remains standing, thoughtful. Med. shot: Of BERT's group. They all look supplicatingly at him. Close-up: Of JOHN. He stares at BERT's group and, shifting his gaze, looks at D. B. and his crowd. Then, turning back to BERT, his eyes light up and something of a warm smile appears on his face. Full shot: As JOHN, having decided on his course, starts forward with ANN in his arms. The church bells chime loud and victoriously. ? 695 ? Med. shot: Around BERT. Their eyes brighten ecstatically as JOHN walks toward them. They all speak at once. BERT'S GROUP (ad-lib) Mr. Doe! She'll be all right! We've got a car downstairs . . . They follow JOHN out, chattering excitedly. Only CONNELL and the COLONEL remain. COLONEL Long John! Close-up: Of CONNELL. He glares at D. B. defiantly. Close-up: Of D. B. awe-stricken by the scene he has witnessed. Med. shot: CONNELL and the COLONEL. CONNELL (to D. B.ódefiantly) There you are, Norton! The people! Try and lick that! Come on, Colonel. They exit, arm in arm, as the music swellsósuggesting emergence from darkness and confusion to light and understanding. Fade out. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Megamind.txt b/unformated_scripts/Script_Megamind.txt new file mode 100644 index 0000000000000000000000000000000000000000..4b3623ac12006458fdfe89b63dc56174aae02540 --- /dev/null +++ b/unformated_scripts/Script_Megamind.txt @@ -0,0 +1 @@ + MEGAMIND Written by Alan Schoolcraft & Brent Simons CREDITS SEQUENCE NEWSPAPER HEADLINE MONTAGE: HEADLINES flash before us, displaying their accompanying photographs. "UBERMAN - METRO CITY'S HERO AFTER DEFEATING MASTER MIND! PHOTO: A chiseled, statuesque man wearing the COOLEST SUPER HERO SUIT IMAGINABLE, COMPLETE WITH FLOWING CAPE, shines a confident smile at the lens. This is UBERMAN, champion of METRO CITY. "UBERMAN DEFEATS MASTER MIND'S GIANT ROBOT!" PHOTO: Wide-shot of Uberman in mid-flight lifting the GIANT ROBOT in the sky above the city buildings. "MASTER MIND ALL WET AFTER UBERMAN FOILS AQUARIUM HEIST!" PHOTO: Uberman stands knee-deep in water. He has his enemy by the collar. The villain blocks his face from the shot with a METALLIC GAUNTLET. The images start to flash by even quicker, each showing the MYSTERIOUS VILLAIN in various stages of humiliation. In each photograph he successfully blocks his face with his armored glove. We ZOOM IN to the last headline. "MASTER MIND BEHIND BARS ONCE AGAIN - THANKS TO UBERMAN!" PHOTO: Uberman stands in a gallant pose with his fists on his hips, obviously trying to accentuate the "U" insignia on his chest. END OF CREDITS SEQUENCE EXT. BUILDING - DAY We DISSOLVE from the photograph to Uberman standing in the exact same position. WE PULL BACK showing him atop a BUILDING overlooking the city below. A perfect view for our guardian hero. He watches the thriving metropolis, bristling with life as people happily go about their day. Yet, we can't help but detect a hint of sadness in Uberman's expression. 2. UBERMAN You look so peaceful from up here. His serenity is suddenly interrupted by a loud BEEPING SOUND coming from his wrist. He looks down at a BRACELET (a manly one) on his right arm. It's a silver band with a FLASHING red letter "U". UBERMAN (CONT'D) Looks like Roxanne's in trouble again. Uberman leaps off the building and into the air. His cape gracefully flows in the breeze behind him as he shoots off into the distance like a speeding bullet. EXT. OBSERVATORY HIDEOUT - ESTABLISHING SHOT Grime and moss decorate the outside of this long abandoned building overlooking the COAST. Once a place of knowledge and wonder - now home to a great evil. INT. OBSERVATORY HIDEOUT - DAY The inside is in complete contrast to the exterior. The huge hall with a GIANT TELESCOPE teems with advanced ELECTRONIC EQUIPMENT. Computers, monitors and machines which do not have an obvious function FLASH and HUM. A STEEL DOOR slides open, revealing the subject of our story MASTER MIND - a villainous sight to behold. His FACE IS INEXPLICABLY LIGHT BLUE, topped by an OVERSIZED, MUSHROOM- SHAPED HEAD with a CIRCULAR PATCH OF WHITE HAIR ON TOP. He's dressed in the kind of costume only a super villain could pull off: a PURPLE JUMPSUIT AND BLACK BOOT ENSEMBLE WITH A GIANT GREEN "M" ON THE CHEST. His right hand, hanging at his side, is a METAL GAUNTLET WITH THREE SHORT SPIKES PROTRUDING BETWEEN HIS KNUCKLES. Master Mind begins to survey the room with his TWO PERMANENTLY ARCHED EYEBROWS. A man dressed as ALBERT EINSTEIN is busy ranting to two other men. One, a hulking brute, is dressed as LEONARDO DA VINCI. The other, a small intellectual-type carrying a clip-board, is dressed as the philosopher PLATO. EINSTEIN I hate the outfits. I mean, I get it: we're all supposed to be "masterminds" - very clever. (MORE) 3. EINSTEIN(cont'd) I just feel stupid. I mean, what the hell did Einstein really do anyway? PLATO Theory of relativity. Einstein starts feverishly scratching his side. EINSTEIN Well, you'd think he'd invent a wool sweater that didn't itch so much. Da Vinci and Plato's eyes suddenly grow with concern as they see Master Mind walk up behind Einstein. Einstein notices his colleague's staring over his right shoulder and turns around. He turns around and Master Mind SEIZES HIM BY HIS THROAT with his metal gauntlet. MASTER MIND The real Einstein once said, "God does not play dice with the world." He was right, because the world is MY dice. Is that understood? DA VINCI & PLATO Sir! Yes, sir! EINSTEIN (gasping for air) Yes, sir. Master Mind undoes his grip on Einstein's throat. MASTER MIND Alright, then - clean slate. Do we have the girl? DA VINCI Yes, sir. She fell into our trap just like you knew she would. MASTER MIND Reporters are a curious lot, and easily manipulated. He quickly checks his physique in a GIANT MIRROR, adjusts his posture and sucks in his gut. 4. MASTER MIND Alright, let's not keep the lady waiting. MOMENTS LATER Da Vinci escorts a BLINDFOLDED and bound woman, ROXANNE RITCHI, to the back of the room where Plato and Einstein are standing guard over a large BLACK SWIVEL-CHAIR facing away from us. She pulls free of Da Vinci's grasp and waits for him to undo the blindfold. Her face uncovered, we finally see Roxanne's striking features - all of which seem overshadowed by piercing eyes that seem more put off by the situation than afraid of it. MASTER MIND (O.S.) Miss Ritchi, we meet again. The chair turns menacingly slow, finally revealing Master Mind. ROXANNE You didn't need to turn around like that. I can recognize the stench of failure. Master Mind unleashes a wicked laugh. MASTER MIND I trust you gentlemen know the very sassy Roxanne Ritchi, highly regarded investigative journalist who some say has a more than friendly relationship with our super powered foe Uberman. And Miss Ritchi, I trust you've already met my new crew: The Mad Geniuses! Roxanne gives Einstein a once over. ROXANNE Looks like a real group of winners. At the risk of sounding cliche', you'll never get away with this. MASTER MIND In a way, I already have. Roxanne unleashes an exhausted SIGH. 5. ROXANNE We go through this every time. You kidnap me to get to Uberman, he immediately finds your hideout, escapes whatever lame trap you've come up with, and takes you and your cronies to jail. I propose we just save everybody some heartache this time by YOU letting me go, and ME forgetting this whole thing ever happened? MASTER MIND What about my revenge? ROXANNE We can say it was wasting everyone's time. MASTER MIND You have a wicked tongue. I hope you rid yourself of that when you're my queen. Roxanne unleashes a snort-filled laugh. ROXANNE I'm sorry. What makes you think I would want to be your queen? MASTER MIND Power corrupts absolutely, Miss Ritchi. And when I have ultimate power over this city, I have absolutely every intention of corrupting you with it. PLATO Sir! Master Mind turns to Plato who's now standing at a computer terminal. MASTER MIND (annoyed) What is it!? EXT. OBSERVATORY HIDEOUT - DAY Uberman flies toward the Observatory like a rocket. 6. INT. OBSERVATORY HIDEOUT - DAY Uberman crashes through the wall to the room we were just in. He looks around, but there's suddenly NOT A SOUL IN SIGHT. CUT TO: EXT. MASTER MIND'S HYDROFOIL - DAY The boat is shooting through the ocean, away from the observatory. INT. HYDROFOIL CONTROL ROOM - DAY Machines, cables and terminals criss-cross the craft's main bridge. Through the enormous surrounding windows we can see the observatory shrinking in the distance. Master Mind watches Uberman on a small TV monitor as the hero intently searches his hideout. UBERMAN (on monitor) Master Mind! INT. OBSERVATORY HIDEOUT - DAY Uberman throws up his arms in frustration when suddenly - MASTER MIND (O.S.) Over here, old friend. He turns to see a FAMILIAR BLUE FACE OF EVIL ON A GIANT SCREEN. UBERMAN What's the matter, miss your old jail cell? Uberman starts walking toward the monitor. MASTER MIND (ON MONITOR) Actually, I wanted to share the experience with my oldest friend. A MECHANIZED CAGE shoots out of the floor, suddenly trapping Metro City's protector. Totally unfazed, our hero stares on. 7. UBERMAN You can't possibly believe this will work. Master Mind pulls out a SMALL BLACK BOX with a SINGLE RED BUTTON on it. MASTER MIND (ON MONITOR) Oh, can't I? I have attained control of the Earth's most abundant energy source. I doubt even you are strong enough to withstand the FULL CONCENTRATED POWER OF THE SUN!!! He presses the button. EXT. OUTER SPACE A sinister-looking SATELLITE orbits Earth's atmosphere. Its bay doors suddenly open, deploying two huge SOLAR PANELS. The panels shift, angling themselves in the direction of the sun. They immediately start GLOWING as they absorb the burning star's power. The front of the satellite begins to make a loud HUMMING SOUND as it prepares to unleash its unholy power. INT. HYDROFOIL CONTROL ROOM - DAY From the giant window we can see the boat is a good mile from the observatory. PLATO We're now at minimum safe distance, master. Master Mind turns from the CAMERA he was broadcasting on and puts down the control box. MASTER MIND Excellent. Stop here, I like this view. PLATO Twenty seconds until impact. Master Mind turns to Roxanne who is being held by Da Vinci and Einstein. She almost appears a little bored. Disappointed by her lack of horror, he walks over to the monitor now showing Uberman trapped in the cage. 8. MASTER MIND Any last words? Uberman looks up at the screen with a cocky smile. UBERMAN (ON MONITOR) Yes: there's no caging the power of justice. PLATO Ten seconds to impact. On the screen we see Uberman take two of the cage's bars in his hands. He yanks...NOTHING. PLATO (CONT'D) Nine... Master Mind stares at the monitor, slightly confused. PLATO (CONT'D) Eight... Uberman yanks on the bars again, this time using his foot as leverage. MASTER MIND (genuinely concerned) What's going on? UBERMAN (straining) Hold...on...a second. Master Mind looks back at Plato and Einstein. They're equally befuddled at the hero's sudden weakness. PLATO Seven... Uberman loses his grip and FALLS BACKWARD ON HIS ASS. UBERMAN SON OF A BITCH!! Master Mind and the minions all cringe in unison. Da Vinci turns to Roxanne not believing his ears. DA VINCI What did he just say? 9. PLATO Six......Five... Master Mind begins to laugh. MASTER MIND What kind of trick is this? Uberman looks up at the camera with a very grave expression. UBERMAN Like you don't know. These bars are made of copper, aren't they? PLATO Four... MASTER MIND Yeah, so? Uberman tries to shield his grief with his hand. UBERMAN You figured out my weakness, damn you. I CAN'T BEND COPPER! PLATO Three... MASTER MIND Your weakness is copper? PLATO Two...one. Everyone turns to the window. EXT. OUTER SPACE The satellite fires a giant BEAM OF LIGHT toward the earth. EXT. OBSERVATORY HIDEOUT - DAY The beam hits the observatory. The building instantly EXPLODES in a white nova blast of fire. INT. HYDROFOIL CONTROL ROOM - DAY The blast is so bright everyone turns away from the window. Then, as suddenly as it began, the awesome light dies out. One by one, the passengers unshield their eyes and look out toward the observatory. 10. All we can see through the haze of destruction is fire and smoke. PLATO I don't think even he could have survived that. Einstein suddenly turns giddy with excitement. EINSTEIN Whoa! Is it me or did you just finally destroy Uberman? MASTER MIND (carefully skeptical) Well...let's not get ahead of ourselves. Da Vinci suddenly sees something outside. DA VINCI Look, there's something in the sky, coming this way. ROXANNE Uberman! Master Mind turns toward the window. An object is in the air, flying directly toward them. As it closes in we can just make out the FAMILIAR OUTLINE OF A CAPPED FIGURE. MASTER MIND I KNEW IT! PREPARE YOURSELVES! HE'S GONNA RAM US!!! Everyone scatters and braces themselves for the impact. Master Mind, seeing all the good places taken, doesn't know what to do with himself. He just covers his giant head with his hands. The figure CRASHES THROUGH THE WINDOW and lands at his feet. He looks down to see a CHARRED BLACK HUMAN SKELETON. Around its neck is the unmistakable black cape of Uberman. MASTER MIND (CONT'D) (horrified) HOLY SHIT! 11. Roxanne breaks out of Da Vinci's hold and runs over to the body. ROXANNE Uberman? She stares down at the still smoking corpse, the tattered black cape with the yellow "U" on it. Roxanne turns to Master Mind, who's still visibly dumbfounded at the grotesque sight before him. ROXANNE (CONT'D) You killed him! Roxanne's eyes roll back. Da Vinci catches her from behind as she FAINTS. Einstein turns to Master Mind, looking at him as if he's just walked on water. EINSTEIN You did it! Now that he's committed the impossible - our villain is at a complete loss. MASTER MIND ...so I did. EINSTEIN I mean, I know you always wanted to. I mean, all the schemes all the plots - I never thought you'd actually be capable of it. Giddy as a school girl, Einstein turns to his fellow henchmen. EINSTEIN This is history. Every villain and lackey in the history of villains and lackeys dream of this moment, but when does it actually EVER happen? A sudden realization comes over his face. EINSTEIN Good lord...You do all realize what we get to do now, don't you? 12. His question is met with acquisitive looks from Master Mind and the others. EINSTEIN We get to go on a crime wave. CRIME WAVE MONTAGE - SET TO "Fun Fun Fun" by The Beach Boys. SPINNING HEADLINE: "UBERMAN'S DEATH IGNITES CITY WIDE CRIME WAVE!" ARMORED TRUCK It's driving along when the men inside suddenly notice something - THEY'RE FLYING HIGH ABOVE THE CITY STREETS. We PULL BACK to see the truck being carried by a giant claw at the bottom of a BRAIN COPTER. Inside the cockpit Master Mind and his henchmen laugh maniacally. SPINNING HEADLINE: "CHAMPION-LESS CITY AT THE MERCY OF HOOLIGANS." METRO CITY BANK Da Vinci and Einstein run out the front of the bank holding BAGS OF MONEY. Two beat officers see them and take chase after them around the corner and into an alley. After a moment the police reemerge from the alley screaming and running for their lives as a GIANT ROBOT CHASES after them. The robot stops, then suddenly it's head opens up like convertible car top with Master Mind and Plato at the driver's wheel. They smile and shake hands at a bad deed well done. SPINNING HEADLINE: "MASTER MIND BLACKMAILS METRO!!!" A VICIOUS TORNADO It's heading for downtown Metro as Master Mind and the lackeys coolly look on. Three large DUMP TRUCKS pull up, filled to the brim with bricks of CASH. 13. The DRIVERS jump out as the lackeys take the driver seats in the three trucks. Master Mind is about to climb into the passenger seat of one when a drivers taps him on the shoulder and motions toward the tornado. MASTER MIND (absentmindedly) Oh, right. Master Mind pulls a television REMOTE from his pocket and aims it at approaching windstorm of death. He presses the button marked "Tornado Off." The tornado shrinks and disappears just before it hits the city. As they drive through the city streets, Master stares out the window with a hint of something in his eyes. Is it melancholy? END OF MONTAGE EXT. KINGPIN BOWLING - DAY It's Metro City's premier bowling alley. On top of the neon lit building is a GIANT 30 FOOT TALL CEMENT BOWLING BALL. INT. KINGPIN BOWLING - DAY HAL STEWART (early 30's) takes careful aim with his BOWLING BALL. HAL It's a sport of honor, focus and grace. Honor the ball, focus on the pins, release the ball not hard and fast, but as if you were releasing a baby dove. He takes a step, pulls back his arm, and releases the ball, following it with his eyes. It's a horrible shot - INSTANT GUTTER BALL. An aged barmaid type with a cigarette hanging from her mouth looks over at him. HAL Okay, do something like that - but center it more. 14. She picks up her custom made FOGHAT BALL and takes aim. ATTRACTIVE BLOND Tell me how my form looks, honey. Hal focuses on the misshapen bumps of her enormous Johnson administration era derriere. HAL Oh, it's lookin' good. It's lookin' REAL good. It doesn't get anymore clear. This man is a pig. VINNIE (O.S.) Hal, I want to see you in my office! Hal turns to see VINNIE, owner of the bowling alley, calling him. VINNIE Now! INT. KINGPIN BOWLING - VINNIE'S OFFICE - MOMENTS LATER Hal sits down, facing Vinnie who's sitting at his desk. VINNIE You're fired. Leave your shirt and locker key. This bit of news hits Hal like a freight train. HAL Fired? Are you going to tell me why? VINNIE Showing up to work late. Showing up to work late drunk. Sexually harassing customers. Stealing from the register. HAL Vinnie, I don't know where you're getting these accusations - Vinnie takes out a video tape from his desk drawer and puts in a VCR. 15. HAL Oh, which one do you supposedly have here? VINNIE This is all of them at once. TELEVISION A WOMAN walks up to a BOWLING EMPLOYEE and hands him a pair of shoes. As the employee turns to the wall of shoes, a very drunk and disheveled Hal comes running in and pushes him aside. HAL I've got this one, Benny. So, Cinderella. Can I help you find your glass slipper? WOMAN Yeah, I'm looking for a seven. He folds his arms on the counter and leans into her with a cat-like grin on his face. HAL (with a leer) Seven - Well, maybe I could interest you in something in an EIGHT. Namely, me. Disgusted, she walks off screen. HAL Lesbo. Suddenly realizing the register's open, he quickly grabs a stack of cash and shoves it in his pocket. BACK TO OFFICE Vinnie turns off the television and waits for Hal to respond. HAL From the angle of the camera, I can see where you might have gotten the wrong idea. Listen, Vinnie, I don't think you've thought this through. If you fire me, who's gonna be captain of the alley's bowling team? 16. VINNIE Um, I don't know. Maybe somebody who can actually bowl. You guys have never won a game. I hired you because you said you were on the pro circuit. HAL No, I said I WILL BE on the pro circuit. VINNIE Please, a loser like you will never amount to anything. This harsh remark seems to leave Hal genuinely stunned. HAL Wow...If that's how you feel...I guess we should then talk about what kind of severance I'm gonna get. EXT. KINGPIN BOWLING - DAY TWO BRUISERS open the door and throw Hal out onto the street. He quickly picks himself up and turns back toward the building. HAL Hey...what about my ball? A bowling ball sails past him, just missing his head. HAL Thank-you! EXT. CHANNEL 7 NEWS BUILDING - DAY The massive building with a giant 7 on the roof stands in the heart of Metro City. INT. CHANNEL 7 NEWS BUILDING - OFFICE - DAY The cubicles and offices are alive with the hustle and bustle of a busy news day. Phones are RINGING, REPORTERS are TALKING, and Editors are SHOUTING. The elevator doors open and out steps Roxanne Ritchi. 17. Everything stops as the entire office suddenly falls SILENT. Somewhat taken aback by the reaction, Roxanne scans the room to see every eye on her. ROXANNE It's...um...It's good to be back. Thanks for everyone's cards and concerns. I really appreciated it - now I'm ready to climb back on the horse. No one is budging - their looks of pity are really starting to make her uncomfortable. The back office door suddenly opens and out comes FRANK BONIN, the gruff, middle-aged Producer of Channel 7 News. Noticing the silence, he looks up and sees the sad expressions on everybody's face. FRANK Someone die or something? He suddenly notices Roxanne - both feet are placed firmly in his mouth. FRANK (cursing himself) Oh, Jesus. ROXANNE It's okay. Frank quickly walks up to Roxanne and takes her gently by the arm. FRANK Come on into my office, sweetie. INT. CHANNEL 7 NEWS BUILDING - FRANK'S OFFICE - CONTINUOUS He sits her down on his leather couch, then quickly turns toward his door. FRANK Can we get this woman some water for God's sake? (to Rebecca) I gave you two months off. What're you doing back? People are gonna think I'm a slave driver. 18. ROXANNE Aren't you? FRANK Yeah, but I don't want people to think it. ROXANNE Frank, listen. I want to go back to work. I NEED to go back to work. FRANK ...You're hysterical, aren't you? Frank sits down on the couch and blankets Roxanne with A WARM EMBRACE. ROXANNE What're you doing? FRANK Keeping you warm before you go into shock. (toward the open door) DO I HAVE SLICE OPEN A CAMEL HUMP TO GET A GLASS OF WATER AROUND HERE? A SECRETARY quickly enters with a bottled water. She sets it on the table in front of them and leaves. Roxanne pulls herself out of Frank's grasp and stands up to face him. ROXANNE It was a traumatic experience. Yes, everyone knows Uberman and me were...close. But what I really need - what would really make me better is getting back to work. There's a sudden awkward silence from Frank. FRANK Well, that's going to be... ROXANNE I thought you'd be happy to have me back. 19. FRANK Oh, we are. Honey, nothing makes us happier than to have our girl back, but... ROXANNE Yes? FRANK Things have sorta...changed. ROXANNE In three weeks? FRANK Listen, I'm not one who likes to open up wounds - especially ones that are just starting to scab, but you were sorta our go to girl for the exclusive on Uberman. And now that he's gone...I moved Brad into your anchor spot. ROXANNE (disgusted) Brad? Brad Helms? The man is an idiot. FRANK It's the suits. They think it's time to switch things up. ROXANNE Oh, because they can't use me to get the big story. FRANK C'mon, Roxie. Using is in the nature of what we do. They used you, you used Uberman. Everybody's happy. ROXANNE (defensive) I didn't use him. FRANK Oh, I didn't mean that. I know you two were in love or something. My bad. ROXANNE We were. 20. FRANK And that's great. ROXANNE Very in love. There's a hind of self-doubt in Roxanne's expression, as if she's failed to convince even herself of this. ROXANNE Okay. So, where are they going to move me if Brad has my spot? FRANK ...Human interest. ROXANNE Bake sales and pet stories. FRANK I told them I wouldn't be surprised if you just upped and quit. You busted your ass for that desk. Roxanne can hardly get it out - she's busy swallowing her pride ROXANNE I'll take it. Frank looks up at her, not believing what he's hearing. FRANK What? EXT. ABANDONED METRO CITY LIBRARY - NIGHT Amongst the jungle of high rises, one small building stands out from the rest - A tiny, forgotten piece of 19th century Gothic architecture. LIGHTENING FLASHES, revealing TWO CONCRETE GARGOYLES holding a cracked plaque, reading: METRO CITY LIBRARY. INT. ABANDONED METRO CITY LIBRARY - NIGHT A mixture of old and new. Dusty Victorian furniture and dilapidated bookshelves sit side by side with pristinely futuristic machinery. The building has been converted into Master Mind's new SECRET LAIR. 21. In the center of the main room is a three storey tall GLOWING BLUE ORB. At the base of it is a sign that reads "Reactor - Don't Touch." We PAN OVER to the READING ROOM where Master Mind is sitting on a couch watching TELEVISION. REPORTER ON TELEVISION (O.S.) It's been nearly six weeks, and still no word on the whereabouts of billionaire playboy, and philanthropist, Wayne Scott. Tune in at 11:00 as we look into what has become Metro City's biggest mystery. TELEVISION NARRATOR (O.S.) We now return to "The Hero of our Hearts: The Uberman story." Einstein and Plato come into the room holding a BAG OF LOOT. EINSTEIN Just robbed the diamond exchange. MASTER MIND (feigning pleasure) Great, great. Put it on the pile. Einstein tosses it on a LARGE PILE of purloined valuables in the corner of the room. EINSTEIN Anything else today? MASTER MIND No. Master Mind turns his attention back to the screen. Plato sees that Master Mind is in a funk and tries to snap him out of it. PLATO (cheerfully) Sir, the new reactor is installed. Plato nods to the giant orb. PLATO Do you want to throw the switch? I know how you love to start reactors. 22. MASTER MIND Maybe later. Einstein gives Master Mind a funny look then exchanges glances with Plato before leaving the two of them alone. Without turning away from the TV, Master Mind addresses Plato. MASTER MIND (CONT'D) What is it, Plato? PLATO (nervously) Sir, I can't help but notice that you've been...a little down lately. MASTER MIND When I want your opinion I'll beat it out of you. PLATO Yes, sir, I know, but please forgive my impertinence. It's just that you seem to have lost your lust for our profession. You've stopped going on jobs and spend most of your time watching Uberman specials. Master Mind relaxes slightly and turns to face the window in a classically contemplative pose. After an overdramatic beat... MASTER MIND I have defeated my greatest enemy. I have free reign over Metro City. I have more wealth than a thousand Sultans. I've achieved all I have worked for...so why am I so unhappy? He walks over to a PAINTED PORTRAIT that looks almost exactly like him, except slightly older, maybe meaner - MASTER MIND'S FATHER. MASTER MIND I mean, my father, god rest his evil and tormented soul, raised me straight from the test tube to be a symbol of evil. (MORE) 23. MASTER MIND(cont'd) And, I have accomplished something he had only dreamed about - the destruction of Metro City's champion. I tell you, I've always lived with this unquenchable thirst. I thought it was to make him proud or to get absolute power. But now that I've pretty much accomplished both, I am at a loss. PLATO ...I sort of have a theory about all that. MASTER MIND (snippy) Oh, really? PLATO Well, for one thing, maybe Uberman was more important to you than you thought. MASTER MIND He was a worthy rival. Sometimes I wonder, did he consider me his evil equal or was I just an annoying, little gnat to him? ...What's the second part? PLATO I think you sort of have a thing for Roxanne Ritchi. Master Mind quickly takes his lackey by the throat. MASTER MIND YOU WORM! HOW DARE YOU! WHERE WOULD YOU GET SUCH A NOTION? PLATO Sir, your plans always involve Ms. Ritchi either being kidnapped or placed in danger. If that's not love, I don't know what is. It's the grown up equivalent of dipping her pigtails in the ink well. Don't you see? She's the one treasure that's always escaped you. From Master Mind's expression, we see Plato's words beginning to ring true. 24. INT. RESTURAUNT - DAY Roxanne is having lunch with several girlfriends sitting around her, gabbing. FRIEND #1 I can't believe you came back so soon. FRIEND #2 Are you sure it's not TOO SOON, honey? ROXANNE I just wanted to get back to work. FRIEND #3 What we need to do is get you back on the saddle...the love saddle. Friend 1 and 2 give 3 disapproving looks. FRIEND #3 It's been three weeks. FRIEND #2 She just lost the love of her life, Grace. A WAITER comes by with a tray of CAESAR SALADS and begins setting them out for the ladies. ROXANNE I keep trying to tell people it wasn't really like that. Uberman and I - We were kinda having problems. We broke up. The waiter ALMOST DROPS HIS TRAY AT THIS. The women are too shocked by Roxanne's revelation to notice. FRIEND #1 You broke up with Uberman! FRIEND #3 You must have REALLY, REALLY high standards. I mean, you were dating a god. I mean, what's it take? ROXANNE Maybe someone who's a little more aware of his faults. Someone a little more sensitive. 25. FRIEND #3 Right. Someone who listens, sexy but attainable with cute little cheeks like a hamster and heartbreak in his eyes. She turns to Friend one and two to explain. FRIEND #3 She wants John Cusack. FRIEND #2 The actor? FRIEND #3 No, the famous pediatrist - Yes, the actor. Ever since we were teenagers, Roxanne's totally had the hots for him. ROXANNE Well, until he miraculously comes walking into my life, I'm just going to take a little reflection time for myself. The waiter gets a confused look on his face then slips away as Roxanne and her friends continue to chat away. EXT. RESTURAUNT - DAY The waiter tosses his apron in a trash can, then rolls up his sleeve and presses A STRANGE LOOKING DEVICE STRAPPED TO HIS WRIST. His image gets staticy, like a TV station going out, then disappears - revealing the man's true form underneath: MASTER MIND! MASTER MIND Who the hell is John Cusack? EXT. CITY STREET - DAY A YOUNG MOTHER pushes her baby stroller past a building construction site. ACROSS THE STREET A local POLITICIAN addresses a group of REPORTERS on the sidewalk, including Roxanne. 26. POLITICIAN The Fifth Avenue Renovation Project, which I championed, will breath new life into the downtown area. New life means new jobs and new revenue. ROXANNE Councilman, is it true that your brother-in-law's construction company won the contract for this project? POLITICIAN Well...er...yes, but...look I'm not here to answer a lot of crazy questions... YOUNG MOTHER The young mother stops halfway down the block, reaches into the stroller and tries to comfort her now crying baby. Above her, a CRANE is maneuvering a pile of STEEL GIRDERS to an upper floor. Hal comes around the corner and heads in her direction. CRANE The crane GRINDS TO A HALT. The OPERATOR has a confused look on his face as he moves levers back and forth in an effort to fix the problem. Hal stops a few feet from the woman and stoops down to tie his shoe. CRANE The operator's hand slips off the lever, hitting a RED BUTTON. To his horror the crane DROPS ITS LOAD OF STEEL. HAL AND THE WOMAN The woman looks up to see the girders seconds from crushing her and her baby. She screams. Hal looks up and sees it as well. He starts to run out of the way and crashes into the woman and stroller. ACROSS THE STREET 27. The reporters turns their cameras just in time to catch on film what appears to be Hal pushing the woman to safety just as the GIRDERS CRASH TO THE GROUND. HAL AND MOTHER Tears of joy in her eyes, the woman picks up her baby and kisses it. Hal struggles to catch his breath as the mother turns to him. YOUNG MOTHER Thank you! Thank you for saving me and my baby! She hugs him with her free arm, weeping with joy. HAL (not knowing what she's talking about) Huh? He's a little uncomfortable with the woman's public display of affection and the small child in-between their embrace. HAL (CONT'D) There, there. Hal slowly eases out of the woman's grip. HAL (CONT'D) Okay, we better...well, I hear these little guys smother easy. The reporters rush over and surround Hal and the mother. ROXANNE What's it feel like to be a hero? Hal looks up at Roxanne. Instantly, he's captivated by her beauty. HAL Well...I'm just a man doing what men do. You're Roxanne Ritchi, aren't you? They're suddenly interrupted when another reporter pushes his way in between them. REPORTER Were you scared? 28. HAL Scared? Who had time? The reporters eat this up. INT. ABANDONED METRO CITY LIBRARY - NIGHT TELEVISION John Cusack stands in the rain looking up at a window of a two story house. He holds up a BOOMBOX and "In Your Eyes" by Peter Gabriel begins to play. From the couch, Master Mind and his minions watch. MASTER MIND John Cusack, huh? So all I have to do is have a cute puppy dog stare, be willing to make a fool of myself and - Oh, REMOVE BOTH MY BALLS. He turns to see Da Vinci watching the movie and wiping a tear from his cheek. MASTER MIND Please, get a hold of yourself. INT. BOOKSTORE - NIGHT Roxanne is carrying a large paper coffee cup in her hands as she peruses the isles. She sets it down on a shelf to pull a book out and ends up KNOCKING THE DRINK OVER. ROXANNE Shit. She goes to pick it up when someone bends down and picks it up for her. Looking up to thank him, Roxanne is suddenly stunned speechless - It's popular and critically acclaimed actor JOHN CUSACK, or rather Master Mind disguised as him. "JOHN CUSACK" Oh the humanity - it was a Venti. ROXANNE (stunned) You're...you're. "JOHN CUSACK" Yes, it's me. John Cusack...the actor. 29. He notices the book she's reading. "JOHN CUSACK" Hey, is that Shelly? Wait, I think remember something from that one - Let's see: "My head is screaming `I want you and need you' - my heart it keeps reaching to see you and feel you - yet in the end, I'm alone once again." Wow, I scare even myself. I'm sorry. I'm just really into poetry. Probably because I'm so sensitive and always going to great lengths to express myself. But enough about me. Can I fill you up? ROXANNE (captivated) ...Yes. (catching herself) I mean, excuse me? "JOHN CUSACK" Can I fill you up? Your coffee. ROXANNE Right. INT. BOOKSTORE CAFE' - LATER Roxanne talks as John Cusack listens to her every word intently. ROXANNE I did have a boyfriend - until fairly recently. She suddenly begins to feel the stares around her as passers- by being to notice who she's with. ROXANNE I'm sorry - this is so surreal! "JOHN CUSACK" Yeah, they charge way too much at these places - Now back to your boyfriend. I'm interested and compassionate. I want to know about you. 30. ROXANNE Things were complicated. He was a man married to his work. There was...there was a lot of competition in his line of business. I'm sure you know what that's like. "JOHN CUSACK" Sure. In my business, one thing I have is RIVALS. For example, mine is...uh...Lou Ferr...igno. ROXANNE ...The body-builder who used to play The Hulk on TV? "JOHN CUSACK" Did he? Well, we're always up for the same roles. Did your boyfriend have someone like that? A particular rival that was always getting his goat - so to speak? ROXANNE Well...one rival in particular seemed to get more of his attention than I ever did. But enough about my problems. "JOHN CUSACK" NO, TELL ME MORE!!! Suddenly realizing his outburst, he begins COUGHING to mask it. "JOHN CUSACK" (CONT'D) I'm sorry. I got a whooping cough. Had it ever since Serendipity. I WONDER WHERE OUR REFILLS ARE!!! (fakes cough) See, there it goes again. Please, go on. ROXANNE Right, well, he seemed to need him more than he needed me. "JOHN CUSACK" How do you mean? 31. ROXANNE It was conflict he thrived on. He always said he wouldn't know what to do with himself if Master - I mean, this guy were gone. It was like he needed it, like oxygen. The answer to his mental funk hits him like a bolt of lightening. He turns away from her as if for private time. "JOHN CUSACK" (almost to himself) I think I finally understand...The only logical answer is to recreate that rivalry - or if that's impossible, create one of equal structure. That's it! ROXANNE What? John Cusack snaps out of his dream-like haze realizing she's heard every word. "JOHN CUSACK" Oh, sorry, sorry. Just rehearsing for a part...where I play a man who talks to himself at inappropriate times. In a sudden rush, he rises out of his chair. "JOHN CUSACK" I have to go right now, but I'd really like to see you again - if that's alright. Roxanne looks up at him - She can't help but laugh at the craziness of the situation. ROXANNE I'd love that. INT. ABANDONED METRO CITY LIBRARY - DAY Master storms in the office to find Plato and Einstein playing darts with the original Mona Lisa. EINSTEIN Got her nose! MASTER MIND I've got it! 32. Everyone stops what they're doing upon seeing that their master has returned. MASTER MIND I've got it! MASTER MIND It's plain and simple. Extraordinary minds need extraordinary stimulation. Without that stimulus they wither and die. Therefore, there is only one logical conclusion: I must create a new superhero. EINSTEIN Yeah, maybe that's not such hot idea... MASTER MIND (ignoring him) Prepare for Operation Superhero Genesis! INT. ABANDONED METRO CITY LIBRARY - LABORATORY - DAY The lab is slick, white and ultra modern. Dressed in a lab coat, Master Mind enters through a SLIDING GLASS DOOR rubbing his hands excitedly. MASTER MIND Prepare the subject. He glances down into a large HOLE in the floor to see a naked thirty year old man, SEVERS, shivering. Above the hole, a huge vat dangles precariously. Master Mind steps behind a glass partition next to Plato and Einstein. MASTER MIND (CONT'D) Plato, pour the toxic waste. Plato throws a switch causing the vat to tip hundreds of gallons of green and brown goo into the hole. MASTER MIND (CONT'D) Drainage. The slime is sucked out through the floor, leaving a goo- soaked Severs. 33. Master Mind looks into the pit. MASTER MIND (CONT'D) Well, Severs? SEVERS I feel fine. Just a little sticky, but aside from that everything's completely - BOOM - Severs explodes. A hail of blood and tissue covers Master Mind and his men. For a good ten seconds nobody moves an inch. Finally... MASTER MIND Okay then. INT. ABANDONED METRO CITY LIBRARY - LABORATORY - DAY Through a glass WATER TANK we see a man breathing normally. MASTER MIND And this one? PLATO We attached gills to him. He can breath under water. MASTER MIND Ah. Does he have extraordinary strength? PLATO Well...no. MASTER MIND Can he fly? PLATO No. MASTER MIND Resilient to weapons fire? PLATO No. MASTER MIND He just breathes under water, then. PLATO Ah...yeah. 34. Master Mind rolls his eyes and walks away. INT. ABANDONED METRO CITY LIBRARY - LABORATORY - DAY The next guinea-pig, STENWICK, is standing in a sealed glass tube not much wider than himself. MASTER MIND Plato, the radioactive spider, please. Plato throws the switch DROPPING A SINGLE SPIDER onto Stenwick's arm. Stenwick looks and winces as it bites him. STENWICK Ow! He brushes the spider off. MASTER MIND Anything, Stenwick? STENWICK (shaken) No. Ah...sir, I didn't know this was about spiders. I have a pretty severe case of arachnophobia. Master Mind thinks for a moment, then turns to Plato. MASTER MIND We're gonna need more venom. Plato throws another switch, this time DUMPING THOUSANDS OF SPIDERS on poor Stenwick. His SCREAMS begin to fade as he's engulfed with swarms of crawling arachnids. MASTER MIND (CONT'D) How `bout now, Stenwick? ....Stenwick? INT. ABANDONED METRO CITY LIBRARY - OFFICE - DAY Master Mind is pacing back and forth. The muted TV plays in the background. MASTER MIND This has proven to be a challenge. I just don't know what I want. What do I want? 35. He stares at Einstein, Da Vinci and Plato, but they offer no advice. MASTER MIND (CONT'D) I want a man of moral fiber with a strong sense of right and wrong. Someone who doesn't seek power - instead, they must have it thrust upon them and find, within themselves, the courage to rise to the occasion. Einstein lets out a short laugh, getting everyone's attention. EINSTEIN Yeah, well, it sounds like what you want is Uberman. Master Mind snaps the fingers of his non-metal hand. MASTER MIND That's it! Why make a copy when the real thing will do? The lackeys look at each other, they can't believe what they're hearing. EINSTEIN I was just kidding, sir. In case you forgot, you actually burned Uberman alive. MASTER MIND Then we'll make a new one. Plato, bring me the box! MINUTES LATER Master Mind and the lackeys stand in a circle around a small table. Plato places a STAINLESS STEEL CHEST in the tables center. As Master Mind opens it, he's immediately doused in WHITE GLOW emanating from inside. MASTER MIND Behold - Uberessence. The very thing that gave Uberman his superhuman powers. 36. EINSTEIN Where the hell did you get that? MASTER MIND Oh, I shot him with a power sucking gun and had this idea to use this to clone a whole army of evil Ubermen. I'm not sure why I never got around to following up with that. PLATO I believe he defeated you before you could, master. MASTER MIND ...Right. Man, he was good! DA VINCI You want another volunteer, sir? MASTER MIND Not another volunteer driven by the need for personal gain. Somebody else, somebody pure. Master Mind turns to see an INTERVIEW WITH HAL playing on the muted television. Underneath his face is a blue caption with white lettering that reads: "Hal Stewart - Metro City's Newest Hero?" NEWS REPORTER ...who risked his own life to save that of a young mother and her child. HAL Please, please, you're embarrassing me. I saw someone in need and I helped them. What more can we ask of ourselves. I ask you, what more? A smile creeps across the evil one's face. MASTER MIND (CONT'D) Somebody like him! EXT. CITY STREET - DAY Plato is sitting in the van, staring into a pair of binoculars as he speaks on a cellphone. 37. PLATO Yeah, sir. This guy is a real piece of work. He used to teach bowling at Kingpin's. INT. MASTER MIND'S HIDEOUT - DAY Master Mind is sitting with his feet up on a computer console as he speaks to Plato. MASTER MIND (into phone) A modest profession to brilliantly hide his true heroic nature. I love it. EXT. CITY STREET - DAY PLATO Then you are absolutely going to love this - We follow Plato's line of sight across the street where we see HAL PLAYING WITH A LARGE GROUP OF BLIND CHILDREN. PLATO - He volunteers at a school for the blind. INT. MASTER MIND'S HIDEOUT - DAY Intrigued, he suddenly sits up in his chair. MASTER MIND He volunteers. He doesn't ask for any reward for his deeds. The fates are shining down on me. This Mr. Stewart is truly an unselfish soul. EXT. BLIND SCHOOL - DAY From a distance, Hal seems to be consoling an upset child who's sitting on a rock. But up close... HAL You greedy little bastard. I already gave you a twenty. BLIND KID Hey, you want me to play along? Then pay up, bitch! 38. HAL Fine, but you better be convincing. He gives the kid a bill out of his wallet and looks over his shoulder to see a HOT TEACHER walking toward them. HAL Here she comes, go to work. Like a miniature Brando, the blind kid buries his face in his hands and begins to cry. BLIND KID (weeping) Why can't I see! Why God? Hal puts a warm consoling hand on the weeping boy's shoulder. HAL Hey, Peter. C'mon champ, let me look at you. The Hot Teacher stops and curiously watches from a distance. The boy looks up at Hal, tears running down his dark sunglasses - he should get an Oscar. HAL You know, in life we're all given no more than we can bear. This happened to you maybe because you were meant to rise above it - Maybe to be an inspiration to the other little Peteys out there. BLIND KID You really think so, Hal? HAL Hey, does it LOOK like I'm lying? Now c'mon, go feel your way to class before you get your little butt suspended. The boy stands up and is about to take off. HAL Petey, wait a minute. Hal uses his shirt sleeve to wipe the tears away from the boy's face before sending him on his way. 39. The Hot Teacher grabs her chest. Her heart is about to absolutely melt. HAL Don't run into anything! EXT. STREET - CONTINUOUS Plato lowers his binoculars. From his perspective, Hal should be next in line for popehood. PLATO I think I've seen enough, sir. This is your guy. MASTER MIND (O.S.) (over radio) Then return to base. We have much work to do. Plato starts up the van and pulls away. INT. BAR - DAY It's a busy night. A couple of trucker types are shooting pool as the bartender slings drinks. Hal is nursing a beer at the bar when he suddenly notices a very ATTRACTIVE WOMAN sitting next to him. As he goes to straighten his stool-posture, Hal suddenly catches himself on the bar's TELEVISION - it's a story about how he saved the woman and her baby at the construction site. He turns back to the Attractive Woman next to him, then back to the TV. A plan of attack is forming. HAL (obviously playing it up for the woman's benefit) Oh, there it is again. This is really getting embarrassing now. The woman looks up at the screen and gives Hal a double-take. ATTRACTIVE WOMAN Oh my God! It's you! You're the man who saved that woman and her baby the other day! It is you, isn't it? TRUCKER #1, getting a drink at the bar next to them, OVERHEARS. 40. Hal rolls his eyes and puts his hands up in the air. HAL (to Attractive Woman) Oh, crap. You got me. TRUCKER#1 taps Hal on the shoulder. TRUCKER#1 Let me tell you something. That was just about the bravest damn thing I've ever witnessed. (he turns to the rest of the bar) Hey, everybody! This guy's the hero from TV! The bar ERUPTS IN CHEERS. MOMENTS LATER Hal is riding on the shoulders of TRUCKER#2 and TRUCKER#3 as `I'm Holding Out For A Hero' plays on the jukebox. TRUCKER#1 suddenly puts his hands in the air. The room quickly goes silent. TRUCKER#1 I want to give you something. He reaches into his pocket and takes out a medal. He holds it up in the air for everyone to see. TRUCKER#1 (CONT'D) Lost my whole platoon. They were a lot a good boys, a lot of good boys. That was just the way things were in "The Grenada." I'd rather a real hero have this. Trucker#1 gives the medal to a speechless Hal. ATTRACTIVE WOMAN Hey, you're on TV again. The crowd looks up at the Television. TELEVISION - CONTINUOUS The anchor man, BRAD HELMS (early 40's, amazing mustache), suddenly has a memo passed to him. 41. BRAD HELMS This just in. Upon a second look at that tape from this morning, which we'll now replay for you, it appears it was not the heroic act it first seemed to be. The tape shows Hal running in slow motion. BRAD HELMS (O.S.) (CONT'D) With the tape slowed down you can actually see the man push the woman and her child out of the way in an effort to save his own life. The tape shows Hal, in a clear act of self-preservation, pushing the woman and child out of the way. CUT BACK TO: INT. BAR - CONTINUOUS In unison, everyone turns their heads back to Hal. HAL I guess that looks kinda bad. Trucker#1 snatches his medal back. EXT. NEARBY ROOF - NIGHT Master Mind, Da Vinci and Plato look down, spotting Hal cutting through a dark alley. DA VINCI There he is, boss. Da Vinci hands Master Mind a fantastic looking silver rifle. MASTER MIND Now, we're sure this won't kill him? PLATO Yes, sir. He'll just feel a slight electrical shock. MASTER MIND Good. Master Mind raises the rifle and aims it at Hal. 42. EXT. ALLEY - NIGHT Hal wipes the blood from his nose with his shirtsleeve. A LIGHTENING BOLT suddenly zaps Hal in the back. His teeth spark and arc electrons as his entire body shakes and shudders violently. He finally collapses, knocking over a row of garbage cans. EXT. NEARBY ROOF - NIGHT An angry Master Mind slaps Plato. MASTER MIND Slight electrical shock? EXT. ALLEY - NIGHT Hal lies flat on his back, his jacket smoldering. Dazed, he slowly rises to his feet and looks up at the sky. HAL God, I hate the weather in this city. Hal walks off into the night as he attempts to slap the emitting smoke from his jacket. EXT. NEARBY ROOF - NIGHT Master Mind turns to Da Vinci. MASTER MIND Follow him. INT. HAL'S APARTMENT - NIGHT It's a dirty, small studio. Laundry lies everywhere, dishes are piled in the sink and the litter box looks like a minefield. Hal comes staggering in. Through his POV we see the lights wobble and streak like a hallucination. He shakes his head trying to clear thing up, but it looks worse. Hal makes his way to the kitchen table and plops down on a chair. The room begins to swim. His CAT jumps on the table and sits down in front of him. 43. From Hal's POV the cat's face looks like we're seeing it through a kaleidoscope. Hal seems fascinated by it. CAT You don't look so good, man. HAL I don't feel good. I was struck by freaking lightening. Suddenly Hal realizes his cat's talking to him. HAL (CONT'D) AAAAAAHHHHH! You can talk? CAT No, you're just hallucinating. By the way, we're out of orange juice. HAL AAAAAAHHHHH! Hal jumps up, trips over a cardboard box and knocks himself out on the coffee table. INT. HAL'S APARTMENT - MORNING Hal lies in the same position we left him last night. He sits up and grabs his head. He looks like he has the worst hangover in the world. Finally, he remembers last night. He looks around, but not really sure what he's looking for. HAL Man... Shaking his head, he walks to the kitchen and opens the refrigerator. He pulls out an orange juice container and puts it to his mouth. It's empty. As if suddenly remembering something he looks from the carton to the cat, who is busy cleaning himself. He shakes the thought from his mind. BATHROOM Hal lifts the seat and unbuckles his pants. 44. HAL'S FACE He stares at the ceiling with half closed eyes. The inevitable sound of urine hitting water starts. A content look washes over his face. There is a distinct sound of porcelain CRACKING and SPLINTERING. The sound intensifies. Hal looks down to see his URINE STREAM SMASHING THE TOILET. HAL (CONT'D) Oh, God! He whips his stream away only to cut a LONG RIP IN THE WALL. HAL (CONT'D) Oh, God! He freaks out and begins to lose control of his flow as it destroys everything he accidently aims at; the bathroom mirror, a bottle of cheap cologne, the bathroom window. HAL (CONT'D) Oh, God! He aims back for the toilet, which is pretty much rubble now, to see the floor give way. Finally, the pee stops and he glances down the hole. He sees his downstairs NEIGHBOR sitting at his breakfast table. He has a fork halfway to his mouth as he stares at the smashed toilet on his pancakes. EXT. STREET - DAY Hal turns the corner to see his bus pulling away from the stop. HAL Wait! He starts running after it. ZOOM - HE TAKES OFF LIKE LIGHTENING. HAL (CONT'D) Whoa, whoa, whoa! Unable to stop, he SLAMS INTO THE BACK OF THE BUS and falls back to the ground. 45. As the bus continues on he sees an INDENTATION of his torso right below the rear window. Stunned, to say the least, he rises to his feet. HAL (CONT'D) Something's not right here. He slaps himself in the face as hard as he can. HAL (CONT'D) Wake up! Wake up, Hal! HONK! Hal spins around to see a car barreling toward him. He goes to jump out of the way - ZOOM - he FLIES TWO STORIES UP, nails a building and comes crashing back down to the sidewalk. Hal sits up, disheveled and scared. HAL (CONT'D) Okay, okay. Let's get it together, man. He closes his eyes in an attempt to will back his sanity. HAL (CONT'D) This is just some sort of...episode. It will pass, it will pass. He opens his eyes and looks down the street. A BEAUTIFUL NAKED WOMAN is coming toward him. HAL (CONT'D) Well, not too fast I hope. As she passes him and turns the corner out of his view he catches ANOTHER NAKED WOMAN - an old disgusting one. HAL (CONT'D) Yes, fast, fast! He turns away from her in horror only to see AN ENTIRE BLOCK OF NAKED PEOPLE going about their business. He rubs his eyes and looks down the street again. Everyone has returned to a clothed state. 46. He relaxes a little until he looks down and notices that he's floating a foot off the ground. HAL (CONT'D) I think I need to go home. INT. HAL'S APARTMENT - DAY Hal's front door CREAKS as it slowly opens, revealing Master Mind. He walks over to the bathroom and smiles to himself as he notices the giant hole in the floor. MASTER MIND Welcome to your second birth, Hal Stewart. Master Mind continues to survey the room. He stops to look over a "KARATE KID" POSTER on Hal's living room wall. He focuses on the majestic image of Pat Morita teaching a young Ralph Macchio to kick. MASTER MIND (CONT'D) Instruction is very important in the formative years. Every hero needs a mentor, a father figure to look up to. He presses his special watch, causing his body to MORPH INTO THE SPITTING-IMAGE OF PAT MORITA. "PAT MORITA" Perfect. INT. HAL'S APARTMENT - DAY Hal enters, grabs a bottle of vodka from atop of the fridge and takes a long pull from it. VOICE (O.S.) A man will usually find that if he drinks from a bottle, eventually, the bottle drinks from him. Hal does a SPIT TAKE. In the corner a darkened figure stands. HAL Who are you!? 47. VOICE I am the guide on your journey. Fate has chosen you to be it's champion. Pat Morita steps out from the shadows. Hal passes out again. LATER We are close on Hal's face as his eyes flutter open. He appears to be lying on the couch. He hunches up on his elbows, looks around, but everything is as it seems. He lays his head back down. HAL Thank God. It was a dream. Man, I must be losing it. A voice sounds right next to his ear. "PAT MORITA" (O.S.) You know you're out of orange juice? Hal leaps up to find he's been resting his head on Pat's lap. HAL Jesus! This isn't happening, this isn't happening. Hal backs away and trips over a box. "PAT MORITA" Calm. All things must be filtered through calmness. HAL Bullshit! Sometimes it's best to freak out. "PAT MORITA" I think we must work on your attitude first. HAL Look I'm gonna call the cops in about two seconds if you don't get out of here. 48. Pat rises and walks to Hal. He's so calm it makes Hal calm. "PAT MORITA" Are you calm now? HAL Yeah, I'm okay. Pat slaps him across the face hard. "PAT MORITA" Good, because we've got a lot of work to do. Hal grabs his jaw. HAL What the hell was that for? "PAT MORITA" Rule number one: expect the unexpected. HAL Can you just tell me what this is all about? "PAT MORITA" The heavens are not in the habit of bestowing a gift such as this to just anyone. You are being rewarded for being a man of great moral fortitude with an unwavering belief in humanity. HAL That's me alright. "PAT MORITA" I am to train you so you may fulfill your destiny to defeat the great menace to Metro City: Master Mind. Pat gets up and walks toward the door. "PAT MORITA" (CONT'D) Come. HAL We're are we going? 49. "PAT MORITA" To train. EXT. PAT'S CAR - DAY Pat is sitting in the driver's seat. The car is bumping up and down. "PAT MORITA" Strength is just as much in the mind as it is the muscle. Remember, both need to be exercised. We PULL BACK to see Hal lifting the car up over his head. He's hardly straining. HAL I'M LIFTING A FREAKING CAR!!! Pat leans on the HORN. "PAT MORITA" Hey, Corky? You listening? Two highly attractive female joggers run by. They're clearly impressed with Hal's show of strength. He smiles and mouths a "hello." HAL Yeah, work both muscles. EXT. DESERT - DAY Pat cocks back the chamber of a .357 MAGNUM. He holds it up and carefully takes aim...at Hal's chest. "PAT MORITA" Trust me. HAL What are you doing!? "PAT MORITA" An invulnerability test. Something wrong? HAL Uh...yeah. I would prefer not to get shot. Do not fire that thing! Frustrated, Pat lowers the gun. 50. "PAT MORITA" You're bulletproof. HAL Okay, do you know that for sure? Pat quickly aims and fires. Hal lets out a high pitched scream as the bullet ricochets off his chest. "PAT MORITA" I do now. Hal looks down at his chest, not so much as a scratch. HAL You suck. EXT. SKY - DAY Hal is in the air flying in a sitting position. He's weaving back and forth. HAL Ice Man, I got a bogie on my tail. Two Russian Migs coming in hard and fast. "PAT MORITA" Hey! HAL What? Hal looks down to see Pat Morita yelling at him from the roof of a building down below. "PAT MORITA" What did I tell you? Stomach down, hands up. Hal sighs and assumes the proper superhero in-flight position. HAL God, I feel so gay. Pat's CELL PHONE begins to RING. He answers it. "PAT MORITA" (in Master Mind voice) What is it? 51. ROXANNE (V.O.) John? Pat panics. He looks up to make sure no one is in earshot. He sees Hal now doing somersaults in the air. HAL YEEEE HAWWWW! Pat turns his attention back to the phone, talking in his John Cusack voice. "PAT MORITA" (in Cusack voice) Yes, it's John Cusack. ROXANNE (V.O.) Hi, it's Roxanne. Listen, I...I really enjoyed talking with you the other day. "PAT MORITA" ...As did I. ROXANNE (V.O.) Great. God, I feel really silly, and if you have a lot going on I totally understand. But, I was wondering if you maybe wanted to have lunch. He can't believe what he's hearing. "PAT MORITA" (excited) I'd love to! He quickly recovers his composure. "PAT MORITA" (CONT'D) I mean, I AM a little hungry. ROXANNE (V.O.) Great. How does the park sound, around noon-ish? "PAT MORITA" Sure! ROXANNE (V.O.) Great, see you then. 52. Pat hangs up the phone and returns it to his pocket as Hal lands behind him. HAL WHOOOOA! Man, that is so cool. It's like fly - Oh my God, I almost said it was like flying. "PAT MORITA" For the rest of the day I want you to continue to practice your flying posture. HAL Why, where're ya going? "PAT MORITA" ...To do something...mysterious ...and Asian. HAL Say no more, bro. I'll just keep at it, then. EXT. PARK - DAY John Cusack and Roxanne eat WRAPPED SANDWICHES while walking through Metro City Park. ROXANNE How's your sandwich? "JOHN CUSACK" It's quite delicious. ROXANNE Hope you don't think I'm too forward. Some men are intimidated when a woman asks them out. I just find you really easy to talk to. "JOHN CUSACK" And I you. ROXANNE You know, you're not at all like you are in the movies. "JOHN CUSACK" I'm not? 53. ROXANNE Yeah. I don't know - You have this strange, refined way of speaking. "JOHN CUSACK" I do? That is most interesting. ROXANNE Anyway, when we were talking the other day I just felt, even though we only talked for a couple of hours, that we've known each other for years. "JOHN CUSACK" I know just what you mean. Roxanne bites into her sandwich. ROXANNE You know what? This sandwich is disgusting. She tosses it in a nearby garbage can. ROXANNE (CONT'D) Of course I already ate half of it. I wonder what that says about my character? "JOHN CUSACK" It means you don't give up on a sandwich. You see that it has potential, and you give it every chance to be all it can be. Roxanne smiles at his analogy. ROXANNE Thanks, but knowing me, I was probably projecting my expectations of what a lunch should be on the sandwich. It might have been okay at first, but I just made it bitter. John Cusack notices Roxanne's smile starting to fade. "JOHN CUSACK" Is that what happened with your last sandwich - I mean, boyfriend? 54. ROXANNE When I look back, I probably shouldn't of expected so much from him. He was already a giving person. You know, one of those go out and save the world types. "JOHN CUSACK" I've run into a few. ROXANNE I was selfish, I guess. I didn't want to share him with anybody else. "JOHN CUSACK" It sounds like he was a special man. ROXANNE They broke the mold. John Cusack arches his eyebrow in a very familiar manner. "JOHN CUSACK" Perhaps not. INT. ABANDONED WAREHOUSE - DAY Hal walks up to Pat Morita sporting a Lone Ranger-type mask and wearing a purple and red superhero costume. It's not unlike Uberman's except for a giant "T" on his chest. (From here on, Hal is referred to as TITAN) TITAN What's the "T" stand for? "PAT MORITA" Titan. TITAN What's that supposed to mean? "PAT MORITA" It's from Roman mythology. Zeus's father...oh, just go with it. You look perfect. TITAN I don't think this mask is big enough. Are you sure no one is gonna recognize me? 55. "PAT MORITA" It's fine, just don't slouch. It's all in the posture. He grabs Titan's shoulders like a proud papa. "PAT MORITA" (CONT'D) It is time. INT. BANK - DAY There is a long line of people snaked around the velvet ropes. They're all waiting for their chance at the one open teller window. Four men wearing BEATLES MASKS(JOHN,PAUL,GEORGE,AND RINGO)and CARRYING SHOTGUNS enter the bank. John fires a shot in the air, sending everyone into an immediate panic. JOHN Alright folks, this is a robbery. Nobody moves - yadda, yadda, yadda... Ringo jumps over the teller wall and starts stuffing bills into a bag. As John and Paul cover the crowd, George goes to the corner office and puts a gun to the BANK MANAGER'S head. GEORGE The safe. Let's go. BANK MANAGER Okay, just don't hurt anyone. GEORGE Yeah, yeah, yeah. George leads him out by the collar. CRASH - Titan smashes through the window and lands in a bold superhero stance with hands on hips. TITAN Well, boys, there's no need for all this just to get the free toaster. Paul cocks his gun. 56. PAUL What are you suppose to be? We move in for a nice dramatic close up. TITAN Justice. GEORGE Well, justice, suck on this... George, John and Paul open fire on Titan. He just stands there and yawns as the bullets bounce off him. With their guns empty the three just stare at him in amazement. TITAN Now it's my turn. He turns to George. TITAN (CONT'D) Hey, George, here comes the sun. Titan grabs George and throws him into a fluorescent light fixture in the ceiling. Paul tries to run for the door. Titan snatches the collar of his jacket. TITAN (CONT'D) Say, Paul, your mother should know...that you're a scumbag. He tosses Paul out the window and into a parked DELIVERY TRUCK. Titan turns around just as John hits him with the butt of his shotgun. It instantly breaks apart in his hands. Titan lifts him like a rag doll up into the air. TITAN (CONT'D) John, all you need is love... He throws John who lands on top of a cubical wall - GROIN FIRST. TITAN (CONT'D) ...and a good urologist. 57. Titan effortlessly hops over the teller wall to find Ringo cowering on the floor. He grabs him by the shirt and lifts him up. HAL Well, Ringo...um...um...you're under arrest. EXT. BANK - DAY Titan walks out of the bank with Ringo and George under his arm. He's suddenly swarmed by a group of television reporters, including Roxanne. Across the street is Pat Morita. He watches Titan's first news conference with great anxiety. BANK MANAGER (to Hal) On behalf of the First National Bank of Metro City, I'd like to offer you a reward for your act of bravery. He hands Titan a check. TITAN (reading) Ten thousand dollars! Titan looks over to Pat, who violently shakes his head no. TITAN (CONT'D) (unenthusiastically) I...can't except this. Law and order is it's own...um...reward. Pat gives him the thumbs up. Pat turns, suddenly seeing Roxanne with her camera crew. Captivated, his eyes lock on her. Meanwhile, Roxanne and her cameraman, SETH, are maneuvering around the crowd to get closer to Titan. BRAD HELMS (O.S.) Not so fast, Roxanne. They both turn to see Roxanne's reporter rival Brad Helms, Geraldo without the class, and his cameraman, FRANK. BRAD HELMS This story's mine. 58. ROXANNE Listen, Brad. We were just in the area. I was just trying to - BRAD HELMS I've been in this business long enough to know pretty well what you were "just trying to do." Besides, I heard you couldn't take the big game anymore and were put on fluff detail? Dejected, Roxanne turns and motions for Seth to turn the camera off. SETH You're not gonna take that from him, are you? ROXANNE He's right. Old habit, I guess. (to Brad) We'll get out of your way. As they walk off, Brad makes a comment to Frank loud enough for her to hear. BRAD HELMS Besides, I'm sure there's a pancake supper somewhere that needs covering. INT. ABANDONED METRO CITY LIBRARY - OFFICE - DAY ON TELEVISION We see the news conference on the bank's steps. In the corner of the screen is written: "recorded earlier." BRAD HELMS For months now, since the death of Uberman, the citizens of Metro City have been holding out for a hero. Well, it appears they won't have to hold out for much longer as a new costumed crusader has suddenly stormed onto the scene. Today, at the Metro Savings and Trust, a masked mystery man single-handedly defeated "The Fab Four Gang." Just who is this new caped avenger? Brad holds the microphone to Titan's face. 59. BRAD HELMS I'm sure all of our viewers are now wondering, what's the "T" stand for? TITAN It's a message to all the scum out there. Uberman may be gone, but Metro City has a new protector, and his name is "Tighten!" Another reporter leans in. REPORTER How do you spell that? We PULL BACK to see Plato and Da Vinci watching this spectacle. Master Mind is sitting with them, reading a NEWSPAPER. MASTER MIND (reading paper) Oh, for heaven's sake. I can't believe it. He misspelled his name. Master Mind holds up the newspaper. The headline reads "Metro's New Hero: Tighten." MASTER MIND (CONT'D) No matter, I suppose. Master Mind throws the paper on the floor and begins to pace around the room with his arms folded behind his back. MASTER MIND (CONT'D) We've now fully established Titan as Metro City's hero. They will love him just as they loved Uberman. Everything is going according to plan. Einstein leans over and whispers in Plato's ear. EINSTEIN (whispering) Yeah, if the plan is getting us in jail. Master Mind turns around, facing Einstein. He walks over, standing face to face with the rebellious henchmen. 60. MASTER MIND You know, Einstein, maybe I should have called you Socrates. He also didn't know when to keep his thoughts to himself. EINSTEIN I just fail to see the point in all of this. I mean, why are we creating another superhero when it was such a pain in the ass for you to get rid of the other one? I mean, Uberman is destroyed, we should be using this opportunity to...to... MASTER MIND To what? EINSTEIN I don't know. To take over the weather, space, the world - whatever super villains are SUPPOSED to do. MASTER MIND The reason someone like you will always be a minion is because you have no foresight. We take over the earth, like you said. Then what? Women? Cars? Money? Even the grandest treasures will lose their lustre if you don't have someone to hold them over. Einstein throws up his hands. He's had enough. He pulls off his wig and throws it to the floor. EINSTEIN That's it! This balance of the force bullshit is getting way too Oprah for me. I'm blowing. Who's with me? MASTER MIND You dare? EINSTEIN Yeah, I dare. I'm sick of wearing stupid costumes, and I'm sick of working for a super villain who's turning into a softie. 61. Plato and Da Vinci's mouths drop to the floor. They turn to Master Mind for his rebuttal. MASTER MIND What - did - you - call me? EINSTEIN You heard me. You used to be an inhuman monster, now look at you. You're creating super heroes, you don't go with us on robberies anymore, it's been days since you threatened anyone, oh, and not to mention this Roxanne Ritchi thing. MASTER MIND THAT is none of your business, knave! EINSTEIN Hey, you guys haven't sealed the deal yet, have you? MASTER MIND Silence! EINSTEIN (In a woman's voice) Oh, Master, your head is so big. MASTER MIND I'm warning you, Einstein. EINSTEIN (In a woman's voice) Take me! MASTER MIND I said silence! With his metal gauntlet Master Mind grabs Einstein by the throat and lifts him into the air. Einstein looks frightened as he tries to pry himself free of Master Mind's grip. Master Mind's eyes soften as if his heart is suddenly not into what he's about to do. He let's Einstein drop to the floor. MASTER MIND (CONT'D) Get out of my sight. 62. EXT. RESTAURANT - NIGHT Roxanne and John Cusack are eating on the outside patio of a fancy restaurant. ROXANNE Don't get me wrong, I love being a reporter. I don't think I could do anything else. It's the consequences of what we do that I'm having a problem with. He listens intently as he refills her glass with wine. "JOHN CUSACK" That's where journalistic responsibility comes in, no? ROXANNE It's supposed to. "JOHN CUSACK" Sounds to me like you're running from something. ROXANNE I got someone I cared about killed. If it wasn't for me, he wouldn't have been involved. John suddenly gets a disturbed look in his eye, realizing what she's talking about. He reaches across the table and takes her hand. "JOHN CUSACK" You can't blame yourself. My father used to say each of us must answer the great call to truly feel alive. ROXANNE Was he an actor? "JOHN CUSACK" ...No. He was...a landscaper. And a horrible one. I mean he would fail time and time again at his...landscaping. And sometimes he'd get pretty beaten up or thrown in jail - ROXANNE Jail? 63. "JOHN CUSACK" My point is he took the good with the bad. He grew a little each time. Improved, learned. ROXANNE Was he ever successful? "JOHN CUSACK" God, no...but don't let deter you. Roxanne LAUGHS. ROXANNE Thanks for this. You know, this is embarrassing, but it's been a long time since I - It's starting to lightly sprinkle. Roxanne looks up. ROXANNE (CONT'D) I think it's starting to rain. We might want to find a table inside. "JOHN CUSACK" What were you gonna say? ROXANNE Oh, I was gonna say...It's been a long time since...well, I've been with someone I...enjoy being with. John Cusack smiles warmly and raises his glass for a toast. "JOHN CUSACK" To people who enjoy being with each other. They go to clang glasses, when the rain suddenly causes John Cusack's disguise generator to short. His true form of Master Mind is briefly revealed to Roxanne as a BOLT OF ELECTRICITY encircles his body. Roxanne drops her glass and jumps out of her seat. MASTER MIND (CONT'D) Oh, no. Don't look at me. LIKE A BROKEN TV the image keeps switching between MASTER MIND AND JOHN CUSACK. 64. As Master Mind starts to franticly slap at his watch, the Cusack disguise begins to hold steady. He nonchalantly returns to cutting his steak. "JOHN CUSACK" Okay, never mind that. Now, where were we? Roxanne grabs his glass and throws the drink in his face, causing the generator to short out permanently. Master Mind now sits in his true blue form. ROXANNE Oh my God. MASTER MIND You're not gonna get all freaky about this, are you? ROXANNE This...this is too much, even for you. God, I go out with you, tell you my innermost thoughts. MASTER MIND I only did this because I wanted to talk to you on the same level. You know, without all the baggage? ROXANNE Baggage? You burned my boyfriend alive, you sick son-of-a-bitch! MASTER MIND You see, that's exactly what I'm talking about. Roxanne starts to walk away. MASTER MIND (CONT'D) Roxanne! ROXANNE Stay away from me. Master Mind sinks back down to his chair. Despite the now heavy rain bombarding him, he returns to his food. Several resturaunt patron's are looking at him through the window. 65. Our villain turns to them, giving them a villainous glare. MASTER MIND What? INT. MASTER MIND'S BEDROOM - NIGHT Master Mind is lying on his back, wide awake. MASTER MIND (mumbling to himself) Stupid. What was I thinking? Plato, it's his fault. He's the one who sent me on this weak-willed path. I'll filet his scrotum for this. Me, a creature of evil, in love with Roxanne Ritchi. Preposterous. I hardly give such matters thought He rolls onto his side. He yawns and closes his eyes. Suddenly, they shoot back open. CUT TO: EXT. ROXANNE'S APARTMENT - NIGHT Master Mind pulls up in a blue Rolls Royce, across the street from Roxanne's apartment He stares up at the building, hoping to catch a glimpse of her. Finally, she appears, primping her hair in her apartment window's reflection. MASTER MIND I should just go up there and just lay it all out to her. "Roxanne, I like you - I always have. Oh, and I'm sorry I blew up your ex. (realizing the absurdity of his words) Yeah, that would go over like a pants-less clown at a child's birthday party. What the hell am I even doing here? Who cares what she thinks? I'm a supervillain and here I am acting like a love struck schoolboy. Forget this. I control my own destiny! 66. He turns the ignition key - NOTHING HAPPENS. He repeats but gets the same results. MASTER MIND (CONT'D) (disgusted) Perfect. INT. ROXANNE'S APARTMENT - NIGHT She pulls a pack of smokes off her night stand. Empty. ROXANNE Damn. She grabs her long coat and throws it over her robe. EXT. ROXANNE'S APARTMENT BUILDING Roxanne steps outside. ROXANNE Please be open. Across the street is a liquor store. The light is still on. ROXANNE (CONT'D) Thank God. She walks across the street, passing in front of Master Mind's car. Spotting her, he sinks down in his seat. Roxanne walks by, totally unaware of his presence. Relieved, Master Mind sits back up and watches her go into the store. INT. LIQUOR STORE - NIGHT Roxanne walks up to an elderly Korean SHOPKEEPER at the counter. ROXANNE A pack of Lady Strikes, please. EXT. MASTER MIND'S CAR - NIGHT Master Mind is talking on his cell phone. MASTER MIND Hello, Triple A? 67. He suddenly spots something across the street. EXT. LIQUOR STORE - NIGHT A HOODLUM walks up to the entrance of the store and pulls out a gun from under his coat. EXT. MASTER MIND'S CAR - NIGHT Master Mind stares in shock. MASTER MIND I'll call you back. He hangs up the phone and watches the Hoodlum go inside the store. INT. LIQUOR STORE - NIGHT The Hoodlum reaches across the counter and grabs a fist full of cash from the register. SHOPKEEPER Hey! SHOTGUN HOODLUM Shut up, Gramps. He turns to Roxanne, spotting a GOLD NECKLACE around her neck. SHOTGUN HOODLUM (CONT'D) Gimme that necklace! ROXANNE I don't think so. The Hoodlum cocks his shotgun. SHOTGUN HOODLUM I said give it to me! MASTER MIND (O.S.) The lady said no. The hoodlum turns around to see Master Mind in the doorway holding a STRANGE-LOOKING HAND CANNON (GOO GUN) with knobs and blinking lights. The hoodlum starts to laugh. 68. SHOTGUN HOODLUM What the hell's that? A super soaker? MASTER MIND No, it's a goo gun. The hoodlum turns his gun to Master Mind. SHOTGUN HOODLUM Yeah, what's it do? MASTER MIND It goos. Master Mind fires the cannon. It instantly covers the store in a cloud of SMOKE. The smoke clears to reveal the hoodlum STUCK TO THE WALL, covered in a thick, GREEN GUNK. Roxanne stares at him, dumbfounded. MASTER MIND (CONT'D) It's...a prototype. Master Mind starts to walk out when he's suddenly confronted by the shopkeeper. SHOPKEEPER I know you! You Master Brain guy. You a hero. Master Mind points the goo gun at him. MASTER MIND Don't - EVER - say that again. EXT. LIQUOR STORE - NIGHT Master Mind walks out with the cannon resting on his shoulder like he's a short timer in Da Nang. Roxanne follows shortly behind him. ROXANNE Hey! Master Mind turns around. ROXANNE (CONT'D) Are you following me or something? 69. MASTER MIND Don't flatter yourself. He turns away and continues walking. Roxanne runs in front of him blocking his way. ROXANNE Don't walk away from me when I'm talking to you. Finally it occurs to her what's going on. ROXANNE (CONT'D) What a minute...all that stuff you use to say to me when Uberman was alive - about me being the loyal queen by your side as you rule over Metro City. That wasn't just super villain rhetoric, was it? You actually meant it! MASTER MIND My, someone has a rather high opinion of themselves. They stare at each other in silence, their glares locked in conflict. ROXANNE (coldly) Do you really think I would be with someone like you? This stings Master Mind to the bone. And after a brief contemplation, he reaches the only logical, painful conclusion. MASTER MIND No. With that, Master Mind exits into the night, leaving Roxanne with a baffled expression on her face. INT. ABANDONED METRO CITY LIBRARY - NIGHT Master Mind enters in a huff. Da Vinci closes the door behind him as Plato notices his master's agitated state. PLATO Everything alright, sir? Master Mind GRABS PLATO BY THE GROIN with his metal gauntlet causing Plato's eyes to bulge in pain. 70. MASTER MIND (overly calm) Fine, why do you ask? PLATO You...just...seem... Master Mind tightens his grip. MASTER MIND Go on. PLATO ...distracted. Master Mind releases him. MASTER MIND Just with business, my minion. Just with business. I've decided it is time. PLATO You mean? MASTER MIND Yes, we've created our hero, now it's time to give him a little motivation. DA VINCI How do we do that? MASTER MIND To be simply good is not enough. A hero must be driven by an almost relentless desire to right a wrong that can never be corrected. PLATO You mean? MASTER MIND Yes, he must lose someone near and dear to him - his father figure. Gentlemen, it's time for Operation Mentor Kill! EXT. SKY OVER METRO CITY - DAY Titan flies high over and through the city, under bridges, between buildings, etc. He's not really working, just enjoying himself. 71. INT. WOMAN'S APARTMENT - NIGHT A PRETTY WOMAN sits at her makeup table wearing nothing but her bra and panties. Through the reflection in her mirror we see a large window directly behind her. As she applies lipstick we see Titan fly quickly by in the background. After a moment he slowly slides back in view and begins ogling the girl. She sees him in the mirror and quickly covers herself with a robe. Titan tries to hide his face as he zooms off. MOMENTS LATER Titan looks down to see an APARTMENT BUILDING IN RUIN. Emergency lights flash around it as swarms of people run around in chaos. TITAN Man, what the hell happened down there? Wait a sec - He stops in mid-air as he comes to the striking realization. TITAN (CONT'D) THAT'S MY APARTMENT!!! EXT. HAL'S APARTMENT BUILDING - DAY Titan lands in front of the rubble that was once his home. Reporters stand just beyond the police line. TITAN Crap. From the wreckage crawls a dying Pat Morita. TITAN (CONT'D) PAT! Titan goes and kneels beside Pat, holding him in his arms. TITAN (CONT'D) You okay? "PAT MORITA" I'm dying, kid. There is just one last lesson I have for you. It is the most important of all. 72. TITAN What's that? "PAT MORITA" Master Mind did this, you must avenge me. TITAN Master Mind? Why? "PAT MORITA" Because he's evil. You must stop the evil Hal - stop the... Pat's body goes limp. The cameras begin to pop and flash around them. Titan gently lays Pat's body down and stands respectfully over him. The reporters rush over. REPORTER 1 Tighten, Is this the work of Master Mind? REPORTER 2 How will the death of your mentor affect your resolve? REPORTER 3 Was that Pat Morita? Titan walks up to one of the cameras. TITAN This injustice will not go unpunished. Master Mind, if you can hear me, Tighten is coming for you. In the background we see Plato and Da Vinci, DRESSED AS PARAMEDICS, load pat's body onto a stretcher. PLATO ACCIDENTALLY DROPS HIS SIDE. As he bends down to pick it back up, Pat quickly slaps him, then goes back to playing dead. INT. ABANDONED METRO CITY LIBRARY - NIGHT Master Mind and the boys prepare the fortress for Hal's revenge attack. Master Mind is as giddy as a schoolboy. 73. MASTER MIND Alright, people, we don't have much time. Titan should be here any minute, so let's get the lead out. There is a GIANT MOUNTED DEATH RAY in the middle of the hall being tinkered with by Da Vinci. MASTER MIND (CONT'D) How's the death ray coming? DA VINCI Nearly up to full power, sir. MASTER MIND Hum. Let's turn it down a few notches. It's his first time and we don't want to get in a lucky shot, now do we? Plato enters the room. MASTER MIND (CONT'D) Anything on the radar yet? PLATO Not yet, sir. MASTER MIND I see. Well, he must be planning something big. Are the flame androids deployed? PLATO All twelve. Master Mind rubs his hands in anticipation as he sits down on his throne. MASTER MIND Wonderful, wonderful. Plato, Da Vinci, take your places next to me. They move to either side of the chair. MASTER MIND (CONT'D) No slouching. Da Vinci straightens up and sucks in his gut. They remain this way for several long moments. Master Mind occasionally glances at a DIGITAL CLOCK on the wall. Still no Titan. 74. LATER Apparently quite some time has passed. The bold stances have degraded to fatigue. PLATO He's certainly taking his time. MASTER MIND He'll be here. That's the way it works. STILL LATER Master Mind reclines in his chair and taps his metal gauntlet impatiently on the armrest. Plato has squatted down, resting his chin on his hand. MASTER MIND (CONT'D) Unprofessional, that's what this is. No, it's disrespect for the craft. Master Mind rises and begins to pace back and forth. MASTER MIND (CONT'D) Would Uberman have kept us waiting like this? Of course not. He was a pro who knew the score. It's time we spelled out a few things for this Titan. I will not be made a fool of. He storms out of the room. INT. HAL'S NEW APARTMENT - DAY Titan's sitting on the floor in a barren apartment wearing his costume top and some tighty whities. He sips his beer as he watches a basketball game on a tiny TV. Much to his annoyance, there's a KNOCK at the door. TITAN Oh, for crying out loud. He gets up and opens the door. It's Master Mind. MASTER MIND Do you know who I am? 75. It takes a few moments to register, but Titan's suddenly excited. TITAN Yeah, you're Master Mind. Yeah! You're actually the guy I want to see! MASTER MIND Oh, so NOW you want to get down to it. Well, I want to get a few things off my chest first. Master Mind walks past Titan into the apartment. He spins around, pointing at him accusingly with one of his metal fingers. MASTER MIND (CONT'D) Of all the inconsiderate - Do you have any idea how long we waited for you? We're you even planning on coming to me and getting revenge? Titan shuts the apartment door, and turns back toward his guest. TITAN Well, at first I was going to. You know, because that's what I figured I was supposed to do. But then I got to thinking- MASTER MIND (interrupting) -You got to thinking? There's nothing to think about. I'm the villain. I do something bad, you come and get me. TITAN - I got to thinking...what's the point? Master Mind throws up his hands. MASTER MIND Maybe you're right. What's the point? He suddenly notices something in the corner of his eye. He walks over to a futon in the living room. On top of it is a LARGE SACK OVERFLOWING WITH GOLD WATCHES,RINGS AND OTHER VALUABLES. 76. MASTER MIND (CONT'D) What are these? TITAN That's what I wanted to talk to you about. MASTER MIND (baffled) Where did you get all this? TITAN (proudly) Get this: I stole them. MASTER MIND From where? TITAN From all over. You see, once you killed Pat and ruined my other apartment building I was pretty pissed off, so I figured I'd go, find you and kick some ass. Then I thought to myself: "Okay,then what?" I mean, if we were to fight, what would I get out of it? Would I get my apartment back? Would I be able to pay the bills? MASTER MIND Well, what about your mentor? TITAN Tell you the truth? He was kind of a dick. I mean, being a hero is dandy and all, but it's volunteer work. Now you've always had the right take on all this. I mean, when you rob a bank or take over the diamond exchange you get something out of it. I mean, when you don't get caught, which, no offense, isn't very often. And that brings me to what I wanted to propose to you: Who could catch you if I'm by your side? Perplexed by his proposal, Master Mind just stares at Titan awe-struck. MASTER MIND You want to team-up? 77. TITAN You got the brains, I got the brawn. We could even call ourselves that: `Brain' and `Brawn'. Look at this. Titan picks up a piece of POSTER BOARD off the floor and shows it to Master Mind. TITAN (CONT'D) I even designed us some new costumes. The picture is crudely drawn with magic markers and crayons. A big headed man (Master Mind) is standing on a plate of grass in a blue costume with a picture of a brain on his chest. Next to him, is a picture of Titan in a red costume with a black cape, but his chest is mysteriously blank. Titan proudly points to the two figures. TITAN (CONT'D) See, you'd be brain, so you got a little one on your costume, and then I'll have brawn on mine...once I figure out the best, you know, visual interpretation of it. What do you think? MASTER MIND What do I think? Master Mind shakes his head tiredly. MASTER MIND (CONT'D) I think you're probably the biggest idiot I've ever met. I mean, I can't believe you. All your gifts, all your powers, and all you want to use them for is your own financial fulfillment. You know what? Your kind of people make me sick. Titan puts down his drawing. TITAN I worked hard on this. MASTER MIND Oh - gee - I am so sorry! 78. Master Mind looks to Heaven in disgust. MASTER MIND (CONT'D) (under his breath) Of all the people to pick, it had to be this loser. This strikes a cord with Titan. TITAN Now, hold on. You're going a little too far. MASTER MIND I wish your mother said that to your father the night of your conception, they would have saved me a whole lot of heartache. TITAN Hey, I mean it. Master Mind gets right in his face. MASTER MIND Oh, yeah? What are you gonna do? EXT. HAL'S APARTMENT BUILDING - DAY We see Master Mind's body CRASH through the building and land in a DUMPSTER across the street. A car pulls up. The driver's door opens. Da Vinci gets out and runs to help his master. DA VINCI Master! MASTER MIND (O.S.) It hurts. Da Vinci peeks into the dumpster to see Master Mind's body cushioned by a stack of trash bags. DA VINCI What hurts? MASTER MIND It! The overly large henchmen starts to pull his master from the dumpster when they suddenly hear a voice from above. It's Titan peeking through the hole in his apartment wall. 79. TITAN I don't need you, I don't need anybody. I have the power to do and take anything I want. And now, I'm gonna take back everything this city owes me. Beware Metro City, it's time for Titan to collect. Titan shoots up into the air. TITAN (CONT'D) Oh, and from now on - I'M GONNA FLY THE WAY I WANT TO FLY! He takes a sitting position and flies away as if he were piloting an invisible jet. Master Mind climbs out of the dumpster and watches Titan disappear into the distance. DA VINCI How'd the plan go, boss? MASTER MIND I just made myself redundant, old friend. Da Vinci gives Master Mind a whiff. DA VINCI It's not that bad. INT. BANK - DAY Titan, with a happy bounce in his step, enters the bank. The last time he was here he thwarted a robbery. He looks nostalgic. A SECURITY GUARD shyly walks up to him like a kid meeting his TV idol. SECURITY GUARD Morning, Tighten. TITAN Morning. SECURITY GUARD Is there something we can do for you? 80. TITAN Oh, don't bother about me. I'm just here to make a withdrawal. Titan walks across the lobby, drawing stares of admiration from all. A little girl waves to him sweetly. He gives her a good- natured WINK as he heads straight for the vault. The security guard watches him enter and come out with a SACK OF CASH. Sure he must be misunderstanding what's going on, the security guard just stares at Titan as he passes by and out the door. The bank manager comes over to the guard. BANK MANAGER Say, did he just rob us? SECURITY GUARD Not sure. Sort of looks it, don't it? BANK MANAGER Yeah. SECURITY GUARD Should I, you know, stop him? BANK MANAGER Umm...Yeah. As the security guard exits the bank, the manager stares out the window. His eyes suddenly grow wide with terror. The guard's body suddenly smashes through the window, landing at the startled bank manager's feet. BANK MANAGER (CONT'D) (looking down at the guard) He did rob us, didn't he? CUT TO: TELEVISION "A Channel 7 News Special Report." Brad Helms wipes into view. 81. BRAD HELMS "Absolute power corrupts absolutely." When Lord Acton stated that, in a letter to Bishop Mandell Creighton in 1887, no one thought much about it, but today Metro City is reeling from that very prophecy. Tighten, who many thought of as our savior, has turned his back on the cause of justice. CUT TO: TITAN BEING EVIL - MONTAGE EXT. DIAMOND EXCHANGE - DAY Titan flies through the window of the building. He emerges seconds later laughing with his shirt full of booty. EXT. CITY STREET - DAY A woman screams from the window of a BURNING BUILDING. Titan flies up to her, grabs her fur coat and zooms off again, leaving the woman behind, slightly confused. EXT. OUTSIDE MARKET - DAY Titan steals a little boy's lollipop and gooses his mother. EXT. CITY STREET - DAY Dozens of people run through the streets apparently to get out of a downpour. We cut to the top of a building and see Titan ZIPPING UP HIS PANTS and laughing. INT. ABANDONED METRO CITY LIBRARY - NIGHT Master Mind paces back and forth in front of Plato and Da Vinci. PLATO I don't understand it. He seemed to have every characteristic we were looking for in a superhero. MASTER MIND Well, there's no use crying about it now, we must take action. I'm not going to play second fiddle to that crass buffoon. We must destroy Tighten. 82. PLATO It won't be easy. Uberman had a sense of decency and genuine love for the people. That was his weakness and was easily used against him. MASTER MIND Yes, but he possesses the same flaws present in Uberman's DNA - copper. It's like Benjamin Franklin always said: "If something works don't dick with it." EXT. BAR - DAY It looks like a war zone passed through here. Smashed police cars and debris lay everywhere. This seems to be the only building left untouched. INT. BAR - DAY A very tipsy Titan is sitting at the bar, looking deep into the bottom of his beer glass for answers. TITAN I can have anything I want. I'm like a god. The BARTENDER just listens as he wipes down a glass with a dirty rag. TITAN Point to any woman in this bar. I could have her in a second. He follows the bartender's gaze to THE ONLY OTHER PERSON THERE - A passed out, MIDDLE AGED HAG OF A BARFLY. TITAN (to Old Barfly) Hey, you wanna get with this? BARTENDER Buddy, what do you want? Titan carefully considers this for a moment. TITAN What do you want? That's the question, isn't it. I mean, what do you want when you can have everything? (MORE) 83. TITAN(cont'd) I suppose what I really want is to never be forgotten again. I want to do something that can never be cast aside or one-upped. I want a - what's it called? - A legacy. I want a legacy. Yeah, that's it. I like the sound that. BARTENDER I meant, what do you want to drink? TITAN Oh. EXT. BAR - LATER Titan stumbles out of the bar, carrying a large sack of money. MASTER MIND (O.S.) Your time has come to an end, Titan! He looks up to see Master Mind suddenly standing before him. TITAN What? MASTER MIND There can be only one master criminal in this city - and it's me. TITAN Really? Titan melodramatically throws up his arms. TITAN (CONT'D) I guess I should leave town then, huh? MASTER MIND I have a better idea - NOW! Two floors up Da Vinci releases a rope. A COPPER CAGE, like the one that caged Uberman, drops down on top of Titan. Titan nonchalantly surveys the cage. He walks to the bars, tries to pull them apart but can't. MASTER MIND (CONT'D) That's copper my good man. Your one weakness. (MORE) 84. MASTER MIND(cont'd) For all your amazing gifts of brawn you are no match for my intellect. Titan thinks for a moment. Suddenly, he starts to SPIN like a human top, DRILLING HIMSELF INTO THE STREET BELOW. As he disappears beneath the surface, we see a shocked look on Master Mind's face until Titan suddenly explodes out from under the street in front of him. Master Mind stares up at him, dumbfounded. Titan makes like he's going to strike him down, but stops. TITAN You know what? You're nothing but a bug. Not even worth my effort. He turns his back to Master Mind and continues down the street. Plato makes his way from the shadows to join his master. They watch Titan shrink into the distance. MASTER MIND He's not as dumb as I thought. PLATO I guess not...Funny, though. MASTER MIND What's funny? PLATO Funny Uberman didn't think of the same thing. EXT. HIGH ABOVE METRO CITY - DAY As Titan flies, he looks down at the rooftops of the city below. Suddenly, something catches his attention. HAL That's it! He stops, hovering in place as he looks down below. The buildings, which make up the heart of downtown Metro, are in a PERFECT TRIANGLE with a long strip of street leading up to it. It sorta looks like a bowling lane. 85. HAL Hello, Legacy. EXT. KINGPIN BOWLING - DAY Vinnie and his goons come running out as the hear a COMMOTION. They look up to see Titan ripping off THE GIANT BOWLING BALL from the top of the establishment. VINNIE Hey, that's my ball! INT. ROXANNE'S APARTMENT BUILDING - DAY Roxanne enters the building's elevator. Just before the door closes an ELDERLY WOMAN slides in. ELDERLY WOMAN That was a close one. Sixth floor, please. Roxanne smiles and goes to press the button. The elderly woman suddenly pulls out a SPRAY CAN, shooting a MYSTERIOUS-LOOKING MIST into Roxanne's face. She falls to the floor unconscious. INT. ROXANNE'S APARTMENT - DAY Roxanne awakens, finding herself tied to a chair in her living room. We hear NOISE from a TV in the background as she tries to adjust her vision. Slowly, the blurry figure before her becomes clear. It's Master Mind. He sits on her Lazy-Boy, reading what looks to be some kind of JOURNAL. MASTER MIND Wow, I always thought Uberman was your first superhero - but it looks like our little Roxanne dated a linebacker in college. ROXANNE That's my diary. MASTER MIND So it is. 86. ROXANNE It's personal. MASTER MIND Well, then I wouldn't leave it in your underwear drawer for just anyone to find. He throws the diary over his shoulder. ROXANNE What do you want? MASTER MIND I need your help. ROXANNE So you knock me out and tie me to a chair? MASTER MIND You're not going to like what I'm about to tell you. As she tries to shake off her headache from being knocked unconscious, Roxanne spots something on the TV. ON TELEVISION Brad Helms is huddled behind a van. BRAD HELMS It's chaos here in city square as city police - Behind him, Titan picks up a POLICE CAR and throws it at a PADDY WAGON. Both vehicles EXPLODE on impact. BACK TO SCENE ROXANNE He's really out of control. MASTER MIND Tell me about it. As if finally realizing something, Roxanne looks back at Master Mind. ROXANNE I should have known. You have something to do with this, don't you? - With Titan turning evil. 87. MASTER MIND Well, the evil thing he did by himself. My goal was to give MYSELF purpose by creating an intellectual sparring partner. ROXANNE (confused) You're talking like you made him. MASTER MIND And they call me Master Mind. ROXANNE Let me get this straight. You missed getting your ass kicked, so you made a new guy to kick your ass. That's pathetic. MASTER MIND In hindsight... Roxanne turns back to the TV to see a group of POLICE OFFICERS open fire on Titan. The bullets just deflect off his chest. ROXANNE And his powers, they're just like Uberman's. Why would he have his powers? MASTER MIND (almost ashamed) I had some left over from something. I infused him with it. ROXANNE YOU DID WHAT!? Driven by rage, she struggles to tear out of her bonds. She finally relents, giving Master Mind a look fueled by pure hatred. MASTER MIND Yeah, that's why I decided to tie you up. ROXANNE You did all this because you wanted purpose? MASTER MIND He seemed nice. 88. TELEVISION Titan is standing on top of a destroyed police car. He waves for the camera to zoom in on him. TITAN Closer. I want to show the people my real face. He pulls off his mask, revealing himself as Hal Stewart to the public for the first time. TITAN (CONT'D) Recognize me? BACK TO SCENE ROXANNE Hal Stewart. He's the guy we thought saved that woman and kid. Turned out he was just trying to save his own ass. MASTER MIND Yeah, good to know - NOW! TELEVISION Titan throws the mask over this shoulder and hops off the car. TITAN That's right, I'm really Hal Stewart. Former hero and bowling teacher at Kingpin's Bowling. BACK TO SCENE Roxanne turns to Master Mind, condescending him with her eyes. ROXANNE You picked a bowler to give super powers to? MASTER MIND It's a modest profession! TELEVISION 89. TITAN With my new found power, I've recently started to wonder what sort of legacy I should leave. Should I be a hero? I tried that once before - even saved a lady and her baby from being squashed. I was treated like a god until everyone started to shit on me - Okay, so what if I didn't "purposely" save them! He walks over and puts his hand on a large circular concrete shape just off camera. TITAN Well, I'm going to make something that can't be taken away from me. I'm going to create a permanent monument to my greatness. One that won't be so easily forgotten or erased. The camera pulls back revealing THE GIANT CONCRETE BOWLING BALL from Kingpin's. TITAN I intend to create a new category in the Guinness Book of World's Records by rolling the biggest strike in the history of bowling. He grabs the camera and points it to the DOWNTOWN BUILDINGS. We realize they are PERFECTLY ALIGNED IN BOWLING PIN FORMATION. TITAN My thanks to the city planning commission. This wouldn't have been possible without them. Titan grabs the camera so it's pointing back at him again. TITAN Tell your friends and family to tune in right here to this station at noon tomorrow. BACK TO SCENE ROXANNE My god, he's nuts. That'll destroy the whole business triangle. 90. Master Mind seems to be contemplating something - something bad. ROXANNE What? MASTER MIND My lair is in the direct path of the ball. ROXANNE Oh, real nice. Wouldn't want anything to happen to your hideout, would we? MASTER MIND You don't understand. I have certain equipment that's - that's highly unstable. ROXANNE What do you mean? MASTER MIND I sort of have a hydrogen reactor, okay? ROXANNE A HYDROGEN reactor? MASTER MIND It's experimental - only one in the world...Well, how do you think I power all my inventions? Someone like me can't pay for electricity. The bills would be outrageous. ROXANNE A REACTOR? MASTER MIND It creates 100 times the output of a nuclear one...If destroyed it could... ROXANNE - Vaporize the entire city! MASTER MIND (proudly) Pshaw...the whole eastern seaboard, actually. That little baby is amazing. I'm quite proud of it. (MORE) 91. MASTER MIND(cont'd) (off her deadpan reaction) I mean...we'd better find a way to stop him. Master Mind thinks a moment. MASTER MIND Did Uberman have a hideout? ROXANNE What? MASTER MIND A cave, a solitary fortress of some kind. C'mon, all heros have a place to hang their capes up in. Roxanne, it may be our only chance to find something, a clue, anything that could give us a fighting chance. ROXANNE It's under his house. MASTER MIND Whose house? Roxanne can hardly believe what she's telling him. ROXANNE Wayne Scott's. Master Mind shoots up out of his chair. MASTER MIND Wayne Scott? Uberman was Wayne Scott!? Wayne Scott, the wealthy philanthropist? But he disappeared - ROXANNE (interrupting) He disappeared just over two months ago when you killed him. Not only did you rid the world of a hero, you killed a kind, noble, generous man. Perhaps ashamed, the super villain hangs his head. Master Mind walks behind Roxanne and undoes her bonds. Rubbing her wrists, she watches him as he walks over to the door. 92. ROXANNE (CONT'D) Looks like you got what you always wanted. Uberman is out of the picture and Metro City is doomed. He grabs the door knob and stops, considering her words. MASTER MIND "Metro City doomed." You know, I never thought I'd say something like this, but here it goes - He slowly turns to her, CUE HEROIC MUSIC. MASTER MIND (CONT'D) Not if I have anything to say about it. EXT. WAYNE SCOTT'S MANSION - NIGHT Master Mind stands before the huge, Gothic structure in awe. MASTER MIND Such a dark place for one such as you. I wonder, underneath your noble deeds, what inner demons drove you to your endless crusade for justice? He walks to the front entrance. The double doors have been sealed shut with boards and nails. Master Mind begins to tear them off with his metal hand. INT. WAYNE SCOTT'S MANSION - NIGHT The doors opens. A beam of moonlight immediately pierces the darkness, forming an illuminated path into the heart of the manor. Master Mind enters. Covered in dust and cobwebs, the hall looks like a gigantic crypt. MASTER MIND Good lord, man. You've only been dead for two months. Master Mind walks, coming to a gigantic painted PORTRAIT OF WAYNE SCOTT. He stops to reverently admire the image of his fallen foe. 93. MASTER MIND (CONT'D) A disguise so simple, it's ingenious. No wonder I never caught on. Besides the Armani suit, there's nothing to hide the fact that this is the same person as Uberman. In the picture, he's even standing in the same cheesy, heroic pose with his fists on his hips. MASTER MIND (CONT'D) Two lives, yet in both you were an ideal. Perhaps it was you who was victorious in the end, old friend. A BONGING sound suddenly bellows through the dark halls. Master Mind comes to a grandfather clock standing next to a gigantic BOOKCASE. On the twelfth bong it falls silent. Master Mind begins to slide it across the floor until he hears a loud CLICK. The bookcase slides into the wall, REVEALING A HIDDEN PASSAGE. MASTER MIND (CONT'D) I'll miss how predictable you were. The passage way leads Master Mind to a WORKING ESCALATOR. Master Mind gets off the escalator to see a long hallway with stone walls. He begins to hear strange SOUNDS, almost like MUFFLED SCREAMS, coming from a doorway at the end of the hallway. Master Mind starts walking towards it. As he steps closer, he begins to notice a light cracking through the bottom of the door. MASTER MIND (CONT'D) Hello? Anyone here...besides..all the BIG MEN who are with me now? Nothing. MASTER MIND (CONT'D) (to himself) What's the worst you're gonna find? (MORE) 94. MASTER MIND(cont'd) The man was a boy scout, not a serial killer. He opens the door to his immediate amazement. It's some kind of screening room. A PROJECTOR shoots an image onto A DIRTY WHITE SCREEN hanging on the wall. BEER CANS litter the floor; a table in front of a ripped-up couch is covered in discarded snack goods; and a Kiss Pinball machine stands in the far corner next to a CLOSED DOOR. Master Mind turns his attention to the action on the screen. SCREEN A woman dressed in a leather DOMINATRIX OUTFIT is whipping an overweight man lying on a swing-like device with his butt sticking out. DOMINATRIX IN FILM YOU ARE A WORM! She whips him three times. The man CRIES out in pain. FAT MAN IN FILM PINEAPPLE!!! PINEAPPLE!!! Master Mind's eyes are transfixed on the disturbing imagery. The door by the pinball machine suddenly swings open. WAYNE SCOTT, dressed in raggedy sweats, steps into the room carrying a CAN OF BEER and a bowl of JIFFY-POP. Master Mind cannot believe his horrified eyes. MASTER MIND Ahhhhhh! Wayne Scott is just as startled. WAYNE SCOTT Jesus! He drop his drink and snack to the floor. The two men stare at each other as they struggle to regain their normal breathing patterns. Wayne Scott walks over to the couch, brushes off a thick layer of chip crumbs, and sits down. WAYNE SCOTT (CONT'D) What the hell are you doing here? 95. MASTER MIND I might just ask you the same question. I had thought I incinerated you. WAYNE SCOTT You scared the bejesus out of me. How'd you figure out I was still alive? Wait, how do you know my identity!? MASTER MIND Roxanne told me. As for your ruse, I forgot to line the bottom of the copper cage - Somebody pointed that out to me recently. Figured if they could do it, so could you. But one thing I couldn't figure out - WAYNE SCOTT The skeleton? Something I "borrowed" from a medical school a few months before. MASTER MIND A few months? How long had you been planning this? WAYNE SCOTT I always planned to retire - eventually. I mean, come on, you can't do this sort of thing in your fifties. You'd just look ridiculous. The pieces of the puzzle appear to be coming together in Master Mind's head. MASTER MIND I see it all so clearly now. INT. MASTER MIND'S HYDROFOIL - FLASHBACK Master Mind and his minions cover their eyes as the observatory explodes. MASTER MIND (CONT'D - V.O.) You must have done it just seconds before the observatory exploded. 96. INT. OBSERVATORY - FLASHBACK Similar to what Titan did, Uberman bores out from under the cage. MASTER MIND (CONT'D - V.O.) You bore out from under the cage. Then, using your Uber-Speed, - EXT. OBSERVATORY - FLASHBACK Running in a blur-like haze, Uberman screeches to a halt in front of some bushes. MASTER MIND (CONT'D - V.O.) - you made your way to safety, where you had the skeleton safely hidden away somewhere. EXT OBSERVATORY - SKY - DAY Uberman soars high above the clouds. He looks down at the observatory, which is a mere speck in the distance. MASTER MIND (CONT'D - V.O) (CONT'D) Then you must have flown to a safe distance and waited for the explosion, then... Just as the observatory explodes Uberman aims and throws the SKELETON like a javelin. It soars through the air like a missile, tearing through the flames of the explosion, and crashing right into the windshield of Master Mind's hydrofoil. END OF FLASHBACK Wayne stares at Master Mind, clearly impressed. WAYNE Man, you ARE smart. MASTER MIND But why fake your death? Why go through all of it? You could have just quit. WAYNE SCOTT But the responsibility would still be there. (MORE) 97. WAYNE SCOTT(cont'd) A cop can retire and stop handing out speeding tickets - but people expect more from superheroes. I tell you, a volcano couldn't erupt in Zimbabwe without everyone expecting me to do something about it. I figured, out of sight, out of mind. MASTER MIND And Wayne Scott? Why did he have to disappear? WAYNE SCOTT Both of my lives have so much baggage. It's time for new baggage, you know? Master Mind's is absolutely flabbergasted. MASTER MIND I just can't believe it. This whole time you've been in hiding while a force of great evil is tearing your city apart? Wayne rises to his feet, waving his hands for Master Mind to say no more. WAYNE SCOTT I don't want to hear about it. That's why I don't have a television in here to remind me of all the things I SHOULD be doing. Hell, I could get a wife to do that. MASTER MIND There's a demented supervillain out there about to destroy our - I mean, your city. Wayne shrugs indifferently. MASTER MIND You're really going to do nothing? WAYNE SCOTT Good and evil have a way of balancing themselves out. If this guy is as bad as you say, somebody will rise up to fight him. It's just the order of things. You found me, didn't you? 98. Wayne puts a condescending hand on Master Mind's shoulder. WAYNE SCOTT (CONT'D) I know it's hard, but you'll find someone else someday. He then starts walking to the door. MASTER MIND You're the only one who can stop him. Wayne turns around. WAYNE SCOTT Couldn't if I wanted to. Gotta a plane to catch. MASTER MIND A plane? WAYNE SCOTT Going to Barbados for a little change in climate. Now, if you'll excuse me, I got to go pack. He reads the still defeated look on Master Mind's face. WAYNE SCOTT (CONT'D) You were a good foe. I'm sorry if I've let you down. If it makes a difference, you were the best foe a hero could ask for. MASTER MIND Not smart enough to come up with a full-proof trap. WAYNE SCOTT Well, you did almost have me when you figured out my weakness was copper. Now that made me sweat a little. Took me way too long to drill out from under that cage. MASTER MIND I got lucky. WAYNE SCOTT Anyway, it's a good thing for my sake that I could always count on you for an out. 99. MASTER MIND (suddenly confused) What do you mean? WAYNE SCOTT C'mon, we always threw each other a couple of bones. You would always leave me an out in one of your `full-proof' traps, and I'd never had you incarcerated at a penitentiary that you couldn't eventually escape from. It kept our little game going. Master Mind seems deflated. MASTER MIND Game? - Was that all this ever was to you? You know, I was trying my best every time I fought you. Those `outs' as you call them were unintentional. WAYNE SCOTT Oh. MASTER MIND I guess I was never really a match for you, was I? Wayne shrugs. MASTER MIND (CONT'D) (thoughtfully) Then how can I expect to be one for Titan? A beaten man, Master Mind heads for the door, but stops and turns around. MASTER MIND (CONT'D) What about Roxanne? Wayne unleashes an exhausted sigh. WAYNE SCOTT I think we both got what we wanted out of our relationship. She got a career out of me, and I got plenty of other things out of her. But I'm ready to move on to greener pastures. 100. Master Mind's steel hand clinches into a fist at his side. Wayne's oblivious to this. MASTER MIND I guess I wasn't the villain I thought I was, and you...you weren't the hero I thought you were. He turns to make his exit when he suddenly sees ROXANNE STANDING IN THE DOOR FRAME. Wayne is almost at a loss for words. WAYNE SCOTT Roxanne! How long have you been... ROXANNE Long enough. Roxanne looks at Master Mind. ROXANNE (CONT'D) Don't you have something else you can go do? Master Mind leaves Roxanne and Wayne facing each other in silence. EXT. ANOTHER BAR - DAY Titan emerges with Brad and Frank. He's holding a BEER CAN and a bag of PORK RINDS. TITAN Alright, I want this whole thing to look ESPN professional, understand? A distant MECHANIZED RUMBLE can be heard. The noise rises, signaling the approach of something powerful. Titan and his crew walk out to the center of the plaza as the sound becomes almost deafening. A TANK TRACK as it moves over the street. We PULL BACK to see a whole line of TANKS rolling along the street. PLAZA From the five streets branching off the plaza, a dozen tanks roll toward Titan. 101. Titan turns to Brad and Frank. TITAN (CONT'D) You guys are about to get some good footage. I might need a little room, though. Brad and Frank look at each other and run to take cover behind a nearby building. Meanwhile, Titan nonchalantly sips from his beer as the tanks begin to surround them. FEEDBACK belts out of one of the tank's loudspeaker's, causing Titan to do a mock wince. TANK LOUDSPEAKER Titan, we have orders from the city of Metro to take you into custody. If you do not give your self up willingly, we will be forced to open fire. There's a long pause as no one says anything. TANK LOUDSPEAKER What is your answer? Titan takes a sip of his beverage and UNLEASHES A GIGANTIC BURP - The shockwave of which sends several of the tanks flying into a nearby building. Two of the remaining tanks close in on the villain. Both have him dead to rights at point-blank range with their massive guns. Titan sets down his beer, then calmly plugs a fist into each barrel. They FIRE. The FORCE OF THE BLAST SENDS THEM BOTH FLYING IN OPPOSITE DIRECTIONS where they CRASH into nearby buildings. Titan bends down and pick his beet back up. TITAN (to beer) Miss me? Titan is suddenly bombarded by a massive barrage of machine- gun fire. The force sends him flying into the windshield of a nearby car. 102. He looks up to see an APACHE ASSAULT COPTER. It's nose- mounted GATLING-GUN is turning toward him. Titan gets up to his feet and looks down at his beer can. The bottom of it was blown apart in the blast. TITAN (CONT'D) Didn't mean to get you involved in all of this. He stared daggers up at the helicopter pilot just as the gun gets a bead on him. TITAN (CONT'D) Hey, man! You killed my suds! Titan throws the can up and slaps it with the palm of his hand. It flies with so much force it knocks the helicopter blade clean off. The rest of the Apache crashes to the street like a car dropped off a building. TITAN (CONT'D) That's one was for you, beer. Titan salutes the wreckage and walks away to find Brad and Frank still hiding behind the building. TITAN Guys, please tell me you got that last bit. BRAD HELMS Huh? TITAN You're kidding me. I give you my sexiest moves and you mean to tell me it was for nothing? BRAD HELMS We were afraid something might hit us. TITAN Looks like I've given the story of the century to the wrong man. He thinks about this for a moment, then it hits him. 103. TITAN Wait. What about that other reporter. Blond. Not so lumpy on the topper half, but killer legs. BRAD HELMS Roxanne. You want Roxanne. She's a much better reporter than I am. You want her. TITAN Where can I find her. FRANK We're actually not supposed to give out that sort of information. BRAD HELMS 1314 Mockingbird Lane. I believe she lives in a penthouse. TITAN You've been very helpful. He tosses Brad over his shoulder like a discarded ice cream cone. In the faint distance we see him splash down in the middle of the Metro City river. INT. ABANDONED METRO CITY LIBRARY - DAY Master Mind, pacing anxiously as Plato and Da Vinci pack boxes. Obviously Master Mind is going on the lamb. MASTER MIND Hurry, we must be on our way as soon as possible. DA VINCI Master, why must we flee? MASTER MIND I told you, Titan is too powerful. If he's set on destroying us, there's precious little we could do about it. DA VINCI Where are we going? 104. MASTER MIND To another city, someplace with a shitload of superheroes to fight. We'll start over, we'll go back to doing what we do best. PLATO With our tails between our legs? The old Master Mind would never have let this comment slip by, but as we have seen, he's not the same man. MASTER MIND Plato, do you have a better plan?! Master Mind's cell phone rings. He turns in shame from his men and answers it. MASTER MIND (CONT'D) Hello...Roxanne? INT. ROXANNE'S APARTMENT Roxanne paces back and forth on the phone. ROXANNE What are you going to do about Tighten? INTERCUT between Master Mind and Roxanne on phone. MASTER MIND Right now I'm packing, later I'll have a snack on the train. ROXANNE You're running away? MASTER MIND In a word - yes. ROXANNE You created this monster... MASTER MIND I didn't create this - the god's of irony did and I am eating the crow I so richly deserve. ROXANNE There's no time for self pity. 105. MASTER MIND I'll make the time. Roxanne can't believe what she's hearing. MASTER MIND (CONT'D) You can leave with us. You'll be safe. ROXANNE I'm not going anywhere. MASTER MIND Will you listen to me, no one can stop him. ROXANNE You have to try. The city needs your help. MASTER MIND I'm afraid you have an inflated opinion of me. ROXANNE What the hell's happened to you? The Master Mind I knew would never have run from a fight even though he knew deep in his heart that he didn't have a chance in hell of winning it. It was your best quality. You need to be that man right now...I... MASTER MIND What? ROXANNE (heart felt) I believe in you. Master Mind is taken aback, in a good way. But he catches himself before the words swell his heart. MASTER MIND Sweet words, but that man is dead. Please, Roxanne, just come with me. ROXANNE No...I guess you are a coward after all. Suddenly, there's a loud crash. 106. Roxanne looks up to see a huge hunk of her ceiling has been completely ripped off. Titan is flying above, holding the debris as casually as if it were a paper plate at a barbecue. He looks down at her and smiles. TITAN Man, have I got a story for you. Master Mind can hears Titan's familiar laugh from his side of the line. MASTER MIND Roxanne? Roxanne? EXT. KINGPIN BOWLING - DAY Titan is standing in front of the bowling alley, trying to decide on an appropriate pose for the occasion. TITAN What pose would be best? The corny folded arms thing? He demonstrates, arching his chin proudly in the air. TITAN Or maybe on the hips, like this. It's the classic Superman pose, only not as masculine. TITAN No, makes me look like a flamer pirate. As Titan starts to fix his hair in the window, Frank pretends to fix the lens on his camera as he speaks to Roxanne. FRANK (whispering) Shouldn't we be making a run for it right about now? ROXANNE (whispering) The guy can outrun bullets. I don't think either one of us is in that kind of shape. TITAN She's right, Frank. 107. Frank looks up, stunned that Titan could have possibly heard him. TITAN Also got super hearing. I promise not to keep the both of you long, but you'll thank me when this is all over. Frank and Roxanne exchange helpless expressions. INT. ABANDONED METRO CITY LIBRARY - DAY Master Mind reverently stares up at the painted portrait of his father. MASTER MIND Dad, it's me... (he looks around to make sure no one can hear) ...Bubsy. I know we haven't talked in a while, and I'm sorry. It's been a little crazy trying to live up to a legacy. The painting's menacing stare seems to reach into his very soul. MASTER MIND Anyway...You raised me to be the worst that I could possibly be. And I've tried to live up to that as best as I could - even dropping out of dentistry school like you wanted me to. But I'm about to do something now that would really piss you off. I'm going to go against everything you ever taught me. I hope...I hope that maybe you'll look down at what I'm about to do as not so much a good deed, but more like the outright defiance of a hateful and ungrateful, son. If you could do that, then maybe - in your own little way - you could - for probably the first time - find a reason to be proud of me. He looks back up at the picture. Is it our imagination, or does the painting's stare suddenly seem even angrier? 108. MASTER MIND Well...either way, you're probably going to see me real soon. (calling over his shoulder) Men? Plato and Da Vinci suddenly stop what they're doing and look up at him. PLATO AND DA VINCI Yes Sir? MASTER MIND Stop packing. Our work is not finished here. PLATO AND DA VINCI YES SIR! TELEVISION A news report shows an aerial shot of Titan setting the giant ball down in the middle of a vacant city street. REPORTER We interrupt your regular afternoon programming to show you live footage of a potential dangerous situation in downtown Metro. The former hero knows as Titan is placing what appears to be a giant ball... INT. ABANDONED METRO CITY LIBRARY - CONTINUOUS Da Vinci stops in front of a television set, seeing the news report in progress. REPORTER Hold on...It appears our own Roxanne Ritchi is somehow at the scene. We now go to her with a live report. DA VINCI Sir, I think you should see this! CUT TO: 109. EXT. CITY STREET - DAY Roxanne is standing in front of a camera with a mike in her hand. ROXANNE I'm here with the cause of the destruction in Metro City. He has kidnapped me and a cameraman to chronicle what he refers to as the creation of a monument to his invincibility and overall "Asskickiness." He will use this giant concrete bowling ball to play the largest game of bowling ever using the buildings of downtown Metro City as his pins. Titan suddenly steps into the shot. TITAN And I'm going for the biggest strike ever. He leans into the camera. TITAN And you, Metro City, have a ringside seat as I cement my name in the anal of history. ROXANNE Annals. TITAN What? ROXANNE Nevermind. EXT. CITY STREET - MOMENTS LATER Titan holds up the massive bowling ball, lining up his shot. TITAN (in quiet professional bowler announcer voice) Like Tiger before him, a young savior has come to raise a sport from the ashes. Rookie Hal Stewart, a young man with a dream, realizing that dream here today, folks. (MORE) 110. TITAN(cont'd) One might click there heels and say "There's no place like home" upon finding themselves in such a fantasy. Well, Hal looks very much at home right were he is - with a ball in hand and glory in his sights. INT. METRO CITY LIBRARY - CONTINUOUS In the bowels of Master Mind's hideout, the HYDROGEN REACTOR glows and HUMS MENACINGLY. BACK TO SCENE Roxanne just stand helpless as Frank films away. ROXANNE Hal, I know everyone treated you like shit, but you don't have to do this. TITAN You're right. I don't HAVE to do anything. Isn't that cool? Titan lines up his shot. TITAN Here's one for the record books! Titan flies a few feet and rolls the ball down the main street. ROXANNE Her face is utter horror as she watches the inevitable destruction of Metro City. As the ball rolls - it demolishes everything in it's wake; cars, street lamps - windows shatter as the giant concrete sphere brushes along side buildings. TITAN He smiles in anticipation and uses "body English" to direct the ball. GIANT BOWLING BALL POV It's nearly halfway to its target. ROXANNE 111. She closes her eyes. Titan's smile fades. He looks around as if he hears something we don't. About two hundred feet in front of the first building a GIANT SPIDER WEB flies across the path of the ball, creating a defensive barrier. An enormous letter "M" is etched in the web's center. TITAN (CONT'D) What the...? The ball breaks through the web, but it's speed is greatly reduced. FRANK Look, what's that flying in the air? We suddenly see MASTER MIND FLYING OVER THE ROLLING BALL IN A JET PACK. He quickly pulls out his goo gun and starts laying down a path of sticky plasm to stop the destructive sphere's path. MASTER MIND C'mon, slow down Master Mind looks down to see the meter of the gun close to empty. MASTER MIND C'mon. The ball slows drastically then starts rolling to the side. It heads off an embankment and rolls harmlessly into a CANAL. MASTER MIND Gutterball! TITAN He's furious to say the least. TITAN YOU! Master Mind gives him a mocking grin. MASTER MIND Bowling? What other trailer park sports can you play? 112. TITAN You are becoming a real pain in my ass. I should have done this a long time ago. Titan lunges at his tormentor. Master Mind hits the BOOSTER on his jet pack and heads back toward the other side of the city with Titan in hot pursuit. MASTER MIND (CONT'D) (into walkie talkie) Plato, Da Vinci. Secure Roxanne, he's falling for it. ELSEWHERE A flustered Titan lands. He begins searching the city streets, but Master Mind is nowhere in sight. He turns upon hearing an EEKING sound to his left. Sitting on the ground is a CHIMPANZEE wearing a strange collar. It smiles at him. TITAN What the hell? From behind, Titan is immediately set upon by five more RADIO CONTROLLED APES. TITAN (CONT'D) GODAMNIT! The critters bite hop and hit Titan. As soon as he throws one off two more jump him. Titan breaks free and with his mighty breath blows them across the street into a fruit stand. With Titan out of their sight they begin to attack the fruit. MASTER MIND He's a block away frantically hitting his remote. MASTER MIND Shit! Stupid monkeys and their fruit. Titan flies away from the mad monkeys and lands to find Master Mind sitting on the ground wrapped in a long cape with only his head sticking out. 113. TITAN (CONT'D) No more games. Titan FIRES HIS LASER VISION AT MASTER MIND's CHEST. Master Mind pulls the cloak away to reveal a FIRE HYDRANT. Titan's EYE LASERS burn through the hydrant releasing a high pressure stream of water. Master Mind uses the last remote which dumps two tons of CEMENT mix into the truck. The crowd, police and news crews move in closer when Titan doesn't emerge. Master Mind drops his last remote and walks toward the truck cautiously. MASTER MIND Could it really be that easy-- - BOOM - The back of the truck explodes, throwing dust and concrete everywhere. When the dust clears we see and enraged Titan. MASTER MIND (CONT'D) Didn't think so. As the villain walks toward him, he pulls back his fist to give Master Mind the killing blow. TITAN If you don't mind, I'm going to punch trough your face now. Preparing himself for the end, Master Mind shuts his eyes as a SUDDEN GUST OF WIND BEGINS TO PICK UP. AS Titan goes to strike, a BLURRY FIGURE RUNS IN AND SNATCHES MASTER MIND OUT OF THE AWAY. Stunned, Master Mind begins to feel around his body as if to make sure everything's still in place. MASTER MIND I'm alive. He turns to see UBERMAN standing next to him. MASTER MIND Uberman? 114. The terrified bystanders start to notice the figure standing next to Master Mind. BYSTANDER 1 It's Uberman! BYSTANDER 2 Uberman's alive! BYSTANDER 3 We're saved! As the CROWD CHEERS, A confused Master Mind turns to Metro City's newly resurrected champion. MASTER MIND I thought. UBERMAN So did I. He puts a hand on Master Mind's shoulder. UBERMAN Thank you, old enemy. MASTER MIND For what? UBERMAN Showing me the error of my ways, Showing me I'm meant to be this city's savior, showing me that, while we can try, there is no running away from our true destiny. With that, UBERMAN IS STRICKEN BY A LASER BLAST, INSTANTLY TURNING HIM INTO A CHARRED HUMAN SKELETON. Master Mind turns to see Titan smiling with his STILL SMOKING EYES. TITAN Oh...Did I interrupt something? Master Mind turns to run, but, suddenly Titan is before him. TITAN Where you going, buddy? Titan grabs Master Mind by the collar and throws him across the street into a parked car. 115. TITAN (CONT'D) Welcome to Paintown. Population: you. Master Mind manages to stand on shaky legs. He seems in a daze, unable to move. Titan flies up in the air. TITAN (CONT'D) Time to finish this. With his fist front and center, Titan speeds toward Master Mind. He's like a human torpedo, coming in for the killing blow. Master Mind comes to his senses and puts up his hands. MASTER MIND WAIT!!! Titan screeches to a halt and stops just in front of him like an old Warner Bros cartoon. TITAN What? MASTER MIND Quick joke - What's the capital of Thailand? TITAN Huh - I don't know. MASTER MIND It's bang cock! In a sudden surge of strength, MASTER MIND PUNCHES TITAN IN THE GROIN. The once mighty man instantly drops to his knees, searching, with tears in his eyes, for the proper word to express the pain suddenly surging through his member. TITAN (CONT'D) Ow. Baffled, he looks up at Master Mind's hand and sees his gauntlet is now made ENTIRELY OUT OF COPPER. MASTER MIND So, I guess pennies are good for something. 116. He punches Titan in the face, knocking him out cold. Master Mind looks down on Titan with more than a little pride. Suddenly he hears something behind him. He spins to see the crowd making a strange noise - APPLAUSE. Roxanne comes up to him. The crowd starts to go wild and cheers for Master Mind. He's not sure what to make of it. ROXANNE Pretty strange, huh? MASTER MIND They're cheering for me. ROXANNE You saved them. You saved everybody. How's it feel? Master Mind looks at the smiles all around him. He begins to well up a little. MASTER MIND It's a...it's nice, you know? I usually don't get a lot of feedback. (whispering) But I also kind of caused all this. What happens when they find that out I was the cause of some of this? Roxanne looks at the cheering crowd, then back at Master Mind. ROXANNE What they don't know won't hurt them. MASTER MIND I guess that is all in the past. ROXANNE You're the hero. MASTER MIND I don't think I'd go that far...I mean I just...er... ROXANNE Master Mind? 117. MASTER MIND Yes? ROXANNE Stop talking. She kisses him. The crowd erupts in a cheer. TELEVISION The channel 7 he channel 7 logo zooms in followed by the title "Eye on Metro City." A picture of Master Mind smiling appears on the screen behind her. SAMANTHA SUMMERS Who's bad? Well, not Master Mind. It seems the former villain has done a career 180 after defeating Tighten and saving Metro City from certain enslavement. And here he is getting a full pardon by Metro City's Mayor, Steve Dent. Cut to ceremony on capital steps. The MAYOR is shaking Master Mind's metal gauntlet when it suddenly STARTS TO CRUSH HIS HAND. MAYOR Ahhh! Secret service men quickly start to draw their weapons and take aim at Master Mind. Realizing what's happening, he quickly lets the mayor's hand go and puts his arms in the air. MASTER MIND Sorry - Metal hand. Force of habit. He elbows the mayor. MASTER MIND (CONT'D) We're okay, right? Wincing, the mayor signals the men to put their guns down. WE CUT to video of Titan behind bars in a regular prison. 118. BRAD HELMS And what about Tighten? Is there a prison in existence that can hold this super powered menace? Well, the answer we found is no. A man in a white lab coat stands in front of Titan's cell just out of reach. PRISON SCIENTIST Of course normally he could break out of there anytime, but as you can see we've taken some special precautions. The news camera pans over see Titan in his cell wearing a copper JOCK STRAP with electrical cables hooked to it. Back to Samantha at the desk. BRAD HELMS What is a Hero? It seems never has that question needed to be asked more than it does tonight. We go to our very own Roxanne Ritchi, making her triumphant return to our news desk for the answer. Brad turns. The camera pans over to Roxanne who we now see has been sitting beside him. ROXANNE What is a hero? Well, there are many different kinds. There are those who hear a call, like the policeman or doctor, then there's the kind the public creates in their search for meaning and hope. Then, there are those who have the courage to change. DARK ALLEY - NIGHT A woman is being chased by two large thugs. They're gaining on her. She comes to a brick wall - a dead end. The thugs laugh. THUG #1 Hey, gimme that purse? 119. MASTER MIND (O.S) I don't think it would go with your outfit. The thugs turn around to see Master Mind, standing with his arms folded across his chest. THUG #2 It's Master Mind! Thug #1 draws a knife. THUG #1 So? It's not like he has any superpowers. Thug #1 puts his fingers to his mouth and whistles. Suddenly two more Thugs appear behind Master Mind. MASTER MIND I'm gonna give you a chance to surrender. THUG #1 Four against one. For a Master Mind, you're really bad at math. Master Mind throws a hand signal up in the air. Suddenly a giant robotic foot crashes down on the two men behind him. Thug #1 and Thug #2 drop their knives and raise their hands in the air. Master Mind looks up and waves. MASTER MIND Way to take out those two goons, guys! We see Da Vinci and Plato at the wheel of a gigantic robot. DA VINCI What two goons? The giant robot lifts its foot to check the bottom of it's sole. It KNOCKS OVER WATER TOWER in the process. The woman looks at Master Mind, horrified. 120. MASTER MIND (apologetically) Sorry, we're new at this. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Memento.txt b/unformated_scripts/Script_Memento.txt new file mode 100644 index 0000000000000000000000000000000000000000..3d5eb00be89bb8c6ca64ecb4c4620a1deed7113d --- /dev/null +++ b/unformated_scripts/Script_Memento.txt @@ -0,0 +1 @@ +FADE IN:1 INT. DERELICT HOUSE - DAY <> 1A POLAROID PHOTOGRAPH, clasped between finger and thumb: acrude, crime scene flash picture of a MAN'S BODY lying on adecaying wooden floor, a BLOODY MESS where his head shouldbe.The image in the photo starts to FADE as we SUPER TITLES. Thehand holding the photo suddenly FANS it in a rapid FLAPPINGmotion, then holds it still. The image fades more, and againthe picture is FANNED.As TITLES END the image fades to nothing. The hand holdingthe photo FLAPS it again, then places it at the front of aPOLAROID CAMERA.The camera SUCKS the blank picture up, then the FLASH BURSTS.The Polaroid camera is lowered, revealing the sweaty, heavy-breathing face of LEONARD (mid-30's). There are droplets ofblood across his face. Leonard stares, satisfied, atsomething on the ground in front of him. There is WET BLOODon his BLUE SHIRT and BEIGE SUIT. His hand opens and catchesa HANDGUN which leaps up into his grasp.Still staring, he crouches down and pulls a BODY off thefloor by the wet hair of its BLOODY HEAD. He slowly insertsthe barrel of the gun into the bloody mess where the mouthshould be.Leonard FLINCHES. A DEAFENING ROAR as wet red leaps off hisface and suit and head, with a SPASM, reassembles itselfinto the face of TEDDY (40's, moustache) and we- CUT TO:2 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 2Close on Leonard's eyes. He rolls them to one side, thenturns his head. LEONARD (V.O.) So where are you?Leonard lifts his head. He is lying on a queen-sized bed. LEONARD (cont'd) You're in some motel room. CUT TO: 2.3 EXT. DERELICT BUILDING - DAY <> 3A late model Jaguar bumps across some railroad tracks andapproaches a large, clearly abandoned DERELICT BUILDING.Leonard is driving. He wears a BEIGE SUIT and BLUE SHIRT (noblood). Next to him is TEDDY. Leonard stops the car next to aPICKUP TRUCK sitting Outside the derelict building. Leonardkills the engine, staring at the pickup. LEONARD Looks like somebody's home.Teddy looks from Leonard to the pickup and back. TEDDY That thing's been here for years.Leonard gets out of the Jaguar and moves to the pickup. Heinspects it with a methodical, practiced eye. Teddy follows. LEONARD I think you're wrong. These tracks aren't * more than a few days old.Leonard opens the door of the pickup and searches theinterior. On the dirty vinyl of the passenger seat he finds *six BULLETS. Leonard picks two of them up and studies them. *He drops them onto the dashboard then SHUTS the door. * LEONARD (cont'd) Let's take a look inside.Leonard walks towards the house, patting his jacket pockets.Teddy leans on the pickup, uneasy, watching Leonard.4 INT. DERELICT BUILDING - DAY <> 4Leonard stands in the dimly-lit, decaying former hallway. Hepulls a stack of POLAROID PHOTOGRAPHS out of his pocket andleafs through them as Teddy starts walking towards him.Leonard finds a photo showing Teddy with a shit-eating grinstanding in front of the pickup truck. On the broad whitestrip beneath the photo is handwritten:"TEDDY GAMMELL TEL. 555 0134"Leonard flips the photo over. On the white strip on the back,in the same small handwriting. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 3.4 CONTINUED: 4"DON'T LISTEN TO HIS LIES""HE IS THE ONE""KILL HIM" LEONARD (V.0.) * I've finally found him. How long have I * been looking? *Leonard stuffs the Polaroids back into his pocket, reachesaround to the back of his waistband and draws a HANDGUN,keeping it out of Teddy's line of sight. Teddy enters, wary. TEDDY Find anything? Didn't think so, let's go, yeah?Leonard neither replies nor turns around. Teddy, worried,affects a casual air, shrugging dismissively, TEDDY (cont'd) Fuck this.Teddy turns and heads for the door. Leonard LEAPS on him,pistol-whipping him furiously as he shouts: LEONARD YOU PAY FOR WHAT YOU DID! YOU BEG FORGIVENESS, THEN YOU PAY!Teddy is down. Leonard DRAGS him back, deeper into the dark house. Leonard is in a frenzy. He dumps Teddy at the end ofthe hall and stands over him. Teddy SPITS BLOOD. TEDDY You don't have a clue, you freak.Leonard crouches down and grabs Teddy by the lapels. LEONARD Beg my forgiveness! Beg my wife's forgiveness before I blow your brains out! TEDDY Leonard, you don't have a clue what's going on. You don't even know my name. LEONARD (triumphant smile) Teddy! (CONTINUED)MEMENTO Pink Revisions - 9/7/99 3A.4 CONTINUED: (2) 4 TEDDY You read it off your fucking photo. You don't know me, you don't even know who you are. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 4.4 CONTINUED: (2) 4 LEONARD I'm Leonard Shelby, I'm from San Francisco and I'm - TEDDY (bloody grin) That's who you were, you don't know who you are. LEONARD Shut your mouth! TEDDY Lemme take you down in the basement and show you what you've become.Teddy gestures towards the basement door, in pain, butenjoying Leonard's growing anxiety. TEDDY (cont'd) (intimate) C'mon, Lenny - we'll take a look down there together. Then you'll know. You'll know what you really are.Leonard glances fearfully at the door, then looks at Teddy.He THRUSTS the barrel of his gun into Teddy's mouth and WEARE AT THE SHOT FROM THE END OF THE OPENING SEQUENCE. Teddypanics, shaking his head, trying to talk around the metal,but GAGS just as Leonard pulls the trigger. A SHOT rings outas we - CUT TO:5 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 5Leonard lies on the queen-sized bed. He lifts his head. LEONARD (V.O.) So you're in some motel room...He gets up, surveys the room as if for the first time. Hewears BOXERS and a PLAID WORK SHIRT. LEONARD (cont'd) ... you don't know how long you've been there, or how you got there...There is a room key on the dresser. The plastic tagidentifies it as the key to ROOM 21. Leonard opens drawers inthe room. (CONTINUED) 5.5 CONTINUED: 5 LEONARD (cont'd) Just some anonymous motel room. Won't tell you anything. Nothing in the drawers, but you look anyway.He reaches for the bedside table drawer. LEONARD (cont'd) Nothing except the Gideon Bible.He opens the drawer to find a Gideon Bible. CUT TO:6 INT. DISCOUNT INN OFFICE - DAY <> 6E.C.U. of fingers rifling bills in a wallet. Leonard countsout some money and hands it to the fat, sweaty middle-agedman behind the counter. (BURT). Burt takes the money,spotting something over Leonard's shoulder. BURT That guy's here already.Burt TAPS the POLAROID PHOTOGRAPH of Teddy which is sittingon the counter. Leonard picks up the photo and turns to seeTeddy APPROACHING the glass door of the office. Leonardwatches carefully as Teddy shambles up to the office door. ABELL CHIIIES as Teddy enters and breaks into his shit-eatinggrin. Leonard slips the photo into his pocket. TEDDY Lenny!Leonard nods in apparent recognition, wary. LEONARD It's Leonard... like I told you before.Teddy pretends to think hard. TEDDY Did you? I musta forgot. I'm Teddy. * LEONARD (smiles) I guess I've told you about my condition.Teddy grins and holds the door open for Leonard. TEDDY Only every time I see ya!MEMENTO Pink Revision - 9/7/99 6. 7 EXT. DISCOUNT INN CAR PARK - DAY <> 7Teddy starts for a GREY SEDAN. Leonard pauses behind him. LEONARD My car.Teddy glances back in surprise. TEDDY This is your car. LEONARD (shakes head) You're in a playful mood.Leonard holds up a Polaroid of a late model JAGUAR. LEONARD (cont'd) Shouldn't make fun of somebody's * handicap.Teddy smiles and heads for the BRAND-NEW JAGUAR parkedseveral cars further down. TEDDY Just trying to have a little fun.8 INT. CAR - DAY <> 8Leonard drives, Teddy admires the new car' s interior,reaching down around the seats, exploring the car with hishands. TEDDY Roll your window up, will ya?Leonard hits his window button. A few fragments of safetyglass rise out of the door, remnants of a broken window. LEONARD It's broken.Teddy looks, curious. TEDDY I can get that fixed for you.Leonard shrugs. TEDDY (cont'd) So where are we going, Sherlock? (CONTINUED)MEMENTO Pink Revisions - 9/7/99 6A.8 CONTINUED: 8Leonard fishes a note out of his pocket. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 7. 8 CONTINUED: (2) 8 LEONARD I got a lead on a place.Leonard checks the note, then hands it to Teddy. TEDDY (surprised at the note) What the hell you want to go there for? LEONARD You know it? TEDDY Yeah, it's just this fucked-up building. * Why are we going there? LEONARD (smiling) I don't remember.9 EXT. CONTINUOUS - DERELICT BUILDING - DAY <>9The Jaguar crosses the railroad tracks and approaches theDERELICT BUILDING. Leonard stops the car next to the PICKUPTRUCK and kills the engine, staring at the pickup. LEONARD Looks like somebody's home.10 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 10Leonard, wearing BOXERS and PLAID WORK SHIRT, takes theGIDEON BIBLE out off the open bedside table drawer. LEONARD (V.0.) Nothing except the Gideon Bible.He leafs through a couple off pages, then DROPS the Bible backinto the drawer and shuts it. He notices a MESSAGE written onthe back off his hand:"REMEMBER SAMMY JANKIS" LEONARD (cont'd) Sammy Jankis had the same problem. He * tried writing himself notes. Lots of * notes. But he'd get confused.Leonard licks his thumb, and rubs at the writing. ToLeonard's surprise, IT DOES NOT EVEN SMUDGE.He notices his bare legs. There is a NOTE taped to his RIGHTTHIGH with a handwritten message:(CONTINUED)MEMENTO Pink Revisions - 9/7/99 8.10 CONTINUED: 10"SHAVE"Leonard pulls the note off, studying it carefully. CUT TO:11 INT. DISCOUNT INN ROOM 304 - DAY <> 11 *Close on the Polaroid of Teddy. Leonard flips it over. On theback are the messages:"DON'T BELIEVE HIS LIES""HE IS THE ONE"Leonard writes another message beneath these two:"KILL HIM"He sticks the photo of Teddy BETWEEN HIS TEETH as he holdshis HANDGUN up and checks that it is loaded. He sticks theGUN in the back of his waistband, the PHOTO in his jacketpocket, slings the POLAROID CAMERA over his shoulder.12 EXT. DISCOUNT INN - DAY <> 12 *Leonard leaves room 304 and heads to the office. He pausesjust outside the glass door, breathing, psyching himself up.13 INT. DISCOUNT INN OFFICE - DAY <> 13 *Leonard enters , confident, smiling at the man behind thedesk, BURT (fat, sweaty, 40's). Burt smiles back. BURT Hiya. LEONARD I'm Mr. Shelby from 304. BURT What can I do for you, Leonard? LEONARD I'm sorry... um... ? BURT Burt. LEONARD Burt, I'm not sure, but I may have asked you to hold my calls - (CONTINUED)MEMENTO Blue Revisions - 8/27/99 9.13 CONTINUED: 13 BURT You don't know? LEONARD I think I may have. I'm not good on the phone. BURT (nods) You said you like to look people in the eye when you talk to them. Don't you remember? LEONARD That's the thing. I have this condition. BURT Condition? LEONARD I have no memory. BURT Amnesia? LEONARD No. It's different. I have no short-term memory. I know who I am and all about myself, but since my injury I can't make any new memories. Everything fades. If we talk for too long, I'll forget how we started. I don't know if we've ever met before, and the next time I see you I won't remember this conversation. So if I seem strange or rude, that's probably...He notices that Burt is staring at him as if he were anexotic insect. LEONARD (cont'd) I've told you this before, haven't I? BURT (nods) I don't mean to mess with you. It's just so weird. You don't remember me at all, and we talked a bunch of times.Leonard shrugs. BURT (cont'd) What's the last thing you remember? (CONTINUED) 10.13 CONTINUED: (2) 13Leonard looks through Burt, thinking. LEONARD My wife. BURT (fascinated) What's it like? LEONARD Like waking. Like you always just woke up. * BURT That must suck. All... backwards. *Leonard raises his eyebrows in enquiry. * BURT (cont'd) * Well, like.. you gotta pretty good idea * of what you're gonna do next, but no idea * what you just did. * (chuckles) * I'm the exact opposite. * LEONARD (focuses on Burt) How long have I been here? BURT Couple days. LEONARD So you're holding my calls? BURT As requested.Leonard reaches into his pocket and pulls out his Polaroids LEONARD Okay, but this guy's an exception.Leonard places the Polaroid of Teddy on the counter in frontof Burt. Burt looks at it. LEONARD (cont'd) Know this guy? BURT Your friend, right? (CONTINUED)MEMENTO Pink Revisions - 9/7/99 10A.13 CONTINUED: (3) 13 LEONARD What makes you think he's my friend? BURT Seen you together, that's all. LEONARD He's not my friend, Burt. But if he calls, or if he turns up here, then you give me a call in my room, okay? (CONTINUED) 11.13 CONTINUED: (3) 13 BURT Sure. But nobody else, right? LEONARD Just this guy.Leonard indicates the Polaroid of Teddy. LEONARD (cont'd) I hope my condition won't be a problem for you. BURT Not if you remember to pay your bill.Leonard smiles and reaches into his wallet.E.C.U. of fingers rifling bills in a wallet. Leonard countsout some money and hands it to Burt. Burt takes the money,spotting something over Leonard's shoulder. BURT (cont'd) That guy's here already.Burt TAPS the POLAROID PHOTOGRAPH of Teddy which is sittingon the counter. Leonard picks up the photo and turns to seeTeddy APPROACHING the glass door of the office. CUT TO:14 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 14Leonard, in boxer shorts and plaid work shirt, rips the notefrom his thigh. The note says "SHAVE".15 INT. MOTEL ROOM 21 BATHROOM - DAY ##BLACK AND WHITE 15SEQUENCE##Leonard enters, sees a WHITE PAPER BAG on the counter by thesink. On the bag is a handwritten message:"SHAVE THIGH"Leonard looks into the bag, then pulls out a can of SHAVINGFOAM, and a pack of DISPOSABLE RAZORS. He runs the hot water,steps back and lifts his foot onto the sink. He is awkwardand uncomfortable. He notices an ICE BUCKET by the sink.16 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 16Leonard sits on the bed applying SHAVING FOAM to his thigh.The ICE BUCKET sits on the bedside table, steaming. (CONTINUED) 12.16 CONTINUED: 16Leonard starts awkwardly SHAVING his right thigh. The PHONERINGS and Leonard FLINCHES, NICKING his leg. He looks at thephone, then reaches for the receiver.17 INT. A RESTAURANT RESTROOM - DAY <> 17 Leonard, in BEIGE SUIT and BLUE SHIRT flushes the urinal,then moves to the sink and starts washing his hands. Henotices a MESSAGE written on the back of his hand."REMEMBER SAMMY JANKIS"He stares at the message for a second, thoughtful, then triesto scrub the writing off his skin. To his surprise, it isINDELIBLE. Leonard looks at it, quizzical, then notices somemarkings on his wrist, pulling his sleeve back to get abetter look. He can read the start of a message:"THE FACTS:"Leonard is about to roll his sleeve up further when therestroom door opens and a MAN enters. Leonard dries hishands, then exits the rest room.18 INT. RESTAURANT - DAY <> 18Leonard emerges .nto the waiting area of a crowdedrestaurant. He glances around, lost, then pulls out hisPolaroids, flipping through them. Someone taps him on hisshoulder and he turns to see the smiling face of a waiter. WAITER Sir? You left these at your table.Leonard looks down. The waiter hands him a BROWN ENVELOPE anda MOTEL ROOM KEY (DISCOUNT INN, ROOM 304). On the envelope isa handwritten message:"FOR LEONARD, FROM NATALIE"Leonard looks at his Polaroid photograph of the outside ofthe Discount Inn motel. There is an address written beneathit (7254 Lincoln Street). * LEONARD Thanks. Lincoln Street?The Waiter glances at his Polaroid. WAITER You wanna go east on sixth. (points) Just keep straight, all the way out of town, then take a right.MEMENTO Pink Revisions - 9/7/99 13.19 EXT./INT. JAGUAR - DAY <> 19Leonard drives, consulting his Polaroid photos.20 EXT. DISCOUNT INN ROOM 304 - DAY <> 20 *Leonard, BROWN ENVELOPE in hand, finds the door to room 304.21 INT. DISCOUNT INN ROOM 304 - DAY <> 21 *Leonard enters, looks around as if for the first time. Ananonymous motel room, except that tacked to one wall is aHAND-DRAWN CHART showing the layout of some streets, andstuck to the edges of the chart are POLAROID PHOTOGRAPHS,with ARROWS DRAWN from each photograph to a spot on the map.Leonard inspects the photos. Some are buildings, some arepeople. All have the HANDWRITTEN NOTES on the broad white stripunderneath the image.Leonard gets Polaroids out of his pocket. The first one is ofthe Discount Inn. He STICKS it onto an already-squashed lump *of blue tack at the end of an ARROW drawn from a location onthe outskirts of town.The second photo is a blurred shot of a Brunette turning in adoorway. The name NATALIE is written under the picture.Leonard flips it over. On the back are two handwrittenmessages. The first one has been completely scribbled over,but the other one reads:"SHE HAS ALSO LOST SOMEONE, SHE WILL HELP YOU OUT OF PITY"Leonard nods, then sticks the photo to the chart. He stepsback looking over the Polaroids one by one: Natalie, Burt,Discount Inn, Teddy. *Leonard sits at the desk and opens the BROWN ENVELOPE. Hetakes out a photocopy of a CAR REGISTRATION and a DRIVER'SLICENSE. Both are in the name of JOHN EDWARD GAMMELL, but *when Leonard looks at the picture on the license, herecognizes the face. Leonard moves back to his wall chart,finds the Polaroid of Teddy and compares it to the licensephoto. LEONARD (V.O.) This guy told me his name was Teddy.He turns the photo over and examines the white stop on theback. It says only:"DON'T BELIEVE HIS LIES" (CONTINUED)MEMENTO Blue Revisions - 8/27/99 14.21 CONTINUED: 21Leonard smiles. He goes to the phone and dials the number onthe Polaroid. A couple of rings, then it's answered. TEDDY Yup? LEONARD Mr Gammell? TEDDY Lenny, is that you? LEONARD John Gammell? TEDDY Lenny, it's Teddy. Look, stay there, okay? I'm gonna be right over. LEONARD I'll be waiting. *Leonard hangs up, thinking. He looks at the writing on theback of his hand, then pulls back his sleeve to reveal the words:"THE FACTS:"Leonard removes his jacket, then starts pulling off his shirt.He has WRITING TATTOOED ALL OVER HIS CHEST, STOMACH AND ARMS.MESSAGES in different styles of writing, some CRUDE, someELABORATE. The messages run in all directions, some UPSIDE-DOWN, some BACKWARDS. Leonard examines his tattoos,methodically. From Leonard's POV, the most striking is anupside-down tattoo on his BELLY which says:"PHOTOGPAPH: HOUSE, CAR, FRIEND, FOE"On one FOREARM it says:"THE FACTS:FACT 1. MALEFACT 2. WHITE"On the other FOREARM:"FACT 3. FIRST NAME: JOHN OR JAMESFACT 4. LASTNAME: G-------" (CONTINUED)MEMENTO Pink Revisions - 9/7/99 15.21 CONTINUED: (2) 21Leonard pulls down his trousers. On his right THIGH, crudely-lettered:"FACT 5. DRUG DEALER"And immediately below this, in elegant, neat lettering:"FACT 6. CAR LICENSE NUMBER: SG13 7IU" *Leonard takes out the REGISTRATION DOCUMENT and examines it.Holding the photo of Teddy and the registration document,Leonard checks off his TATTOOED FACTS: LEONARD (cont'd) (under his breath) White... male. First name... John. Last name... G for Gammell. Drugs. License * plate. (checks document against tattoo on thigh) SG... 13... 7... IU. It's him. It's * actually him.Leonard looks coldly at Teddy's smiling image. LEONARD (cont'd) I found you, you fuck.Leonard turns the photo face down, takes a pen and writes:"HE IS THE ONE"Leonard drops the pen. Thinks. He looks at his chest throughthe mirror and a backwards tattoo suddenly BECOMES CLEAR:"JOHN G. RAPED AND MURDERED MY WIFE"Leonard buttons his blue shirt, then writes on the back ofTeddy's picture:"KILL HIM"Leonard sticks the photo of Teddy BETWEEN HIS TEETH as heholds his HANDGUN up and checks that it is loaded. He sticksthe GUN in the back of his waistband.22 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 22Leonard, in his boxers and plaid work shirt, shaving foam onthigh, drops his disposable razor and cautiously picks up theRINGING PHONE. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 16.22 CONTINUED: 22 LEONARD Who is this? (listens) *He unbuttons his shirt. LEONARD (cont'd) And we spoke earlier? I don't remember * that. (listens) Well, yeah, but it's not amnesia. I * remember everything from before my injury, I just can't make any new memories. (listens)Leonard pulls his shirt off. There is a BANDAGE on his LEFTARM. He looks do at the TATTOOS ALL OVER HIS CHEST, STOMACH *AND ARMS. LEONARD (cont'd) So I can't remember talking to you. What did we talk about? (nods) Sammy Jankis. Yeah, I guess I tell people about Sammy to help them understand. Sammy's story helps me understand my own situation.Leonard touches the tattoo on the back of his hand. LEONARD (cont'd) Sammy Jankis wrote himself endless notes. But he'd get mixed up. I've got a more graceful solution to the memory problem. I'm disciplined and organized. I use habit and routine to make my life possible. Sammy had no drive. No reason to make it work.Leonard can see his reflection in the mirror. He studies thetattoo across his chest:"JOHN G. RAPED AND MURDERED MY WIFE". LEONARD (cont'd) Me? I gotta reason.MEMENTO Pink Revisions - 9/7/99 17.23 EXT. THE CITY GRILL ON MAIN ST. - DAY <> 23Leonard parks the Jaguar, gets out, stops outside the door toa restaurant, checking its name against a NOTE, written on a *SMALL PAPER BAG FROM A PHARMACY. The note says: *"CITY GRILL, MAIN ST. THURSDAY, 1.OOPM MEET NATALIE FOR INFO"He sticks the note in his pocket and pulls out his Polaroidphotographs. He flips through them until he finds Natalie's.Leonard flips the picture over. On the back are twohandwritten messages. The first one has been completelyscribbled over, the second reads:"SHE HAS ALSO LOST SOMEONE, SHE WILL HELP YOU OUT OF PITY"24 INT. THE CITY GRILL ON MAIN STREET - DAY <> 24Leonard enters, walking slowly down the aisle, looking at allthe customers. He makes eye contact with a WOMAN (brunette,30's) sitting alone, wearing SUNGLASSES. Her face betrays *nothing. Leonard walks past. She sighs and grabs the back ofhis jacket as he passes. Leonard spins around. LEONARD Natalie.Leonard slips into the seat opposite her. Natalie is pretty,but has bruising around one eye, and a mark on her lip. NATALIE You don't remember me. LEONARD (friendly smile) Sorry, I should have explained. You see, I have this condition - NATALIE You did explain, Lenny.Leonard shifts uncomfortably. LEONARD Please call me Leonard. My wife called me Lenny. NATALIE You told me.Leonard raises his eyebrows, then smiles. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 18.24 CONTINUED: 24 LEONARD Then I probably told you how much I hated it. Could you take off your sunglasses? * It's just hard for me - *Natalie takes them off to reveal her bruises. * NATALIE Yeah. LEONARD So you have information for me? NATALIE Is that what your little note says? LEONARD Yes. NATALIE Must be tough living life according to a few scraps of paper. Mix up your laundry list and your grocery list, you'll be eating your underwear.Natalie smiles. NATALIE (cont'd) But I guess that's why you got those freaky tattoos.Leonard is surprised. LEONARD It is tough. Almost impossible. I'm sorry I can't remember you. It's not personal.Natalie's smile fades. NATALIE I'm sorry.She takes a BROWN ENVELOPE out of her handbag. NATALIE (cont'd) I do have information for you. You gave me a license plate number? I had my friend at the DMV trace it. Guess what name came up.Leonard shrugs. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 18A.24 CONTINUED: (2) 24 NATALIE (cont'd) John Edward Gamme11. John G. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 19.24 CONTINUED: (3) 24 LEONARD You know him? NATALIE No. But the photo on his license looked familiar. I think he's been in the bar beforeNatalie slides the envelope towards him, but stops short. NATALIE (cont'd) This is a copy of his registration, license, photo and all. Are you sure you want this? LEONARD Have I told you what this man did? * NATALIE Yes. LEONARD Then you shouldn't have to ask. NATALIE But even if you get your revenge, you won't remember it. You won't even know it's happened. LEONARD (annoyed) * So I'll take a picture, get a tattoo. * (calms) * The world doesn't disappear when you * close your eyes, does it? My actions * still have meaning, even if I can't * remember them. My wife deserves * vengeance, and it doesn't make any * difference whether I know about it. * NATALIE Tell me about her again. LEONARD Why? NATALIE Because you like to remember her. I want to see you enjoy yourself. LEONARD She was beautiful. Perfect to me - * (CONTINUED)MEMENTO Pink Revisions - 9/7/99 20.24 CONTINUED: (3) 24 NATALIE Don't just recite the words. Close your eyes, remember her.Leonard smiles and shuts his eyes.INSERT FLASHBACK:25 INT. LEONARD'S APARTMENT - DAY <> 25Random images of a woman (30's, black hair, plain). Jump cutsof details: a smile, eating, tucking her hair behind her ear,pulling on a pair of trousers, watching TV, shouting inanger. Sitting on the edge of the bed in her underwear, sheTURNS as Leonard pinches her thigh. LEONARD (V.O.) You can only feel details. Bits and pieces which you didn't bother to put into words. And extreme moments you feel even if you don't want to. Put it together and you get the feel of the person, enough to know how much you miss them, and how much you hate the person who took them away.26 INT. CITY GRILL - DAY - <> 26Leonard opens his eyes. Natalie is looking at him. She nodsand hands him the BROWN ENVELOPE. NATALIE I wrote an address in there, too. Might be useful. It's this abandoned place outside of town. I guy I know used to use it for his bigger deals. LEONARD Deals? NATALIE It's isolated. LEONARD Sounds perfect? What do I owe you? NATALIE I wasn't helping you for money. LEONARD Sorry. (CONTINUED) 21.26 CONTINUED: 26 NATALIE It's not your fault. See, you have this condition...Leonard smiles. Natalie reaches into her purse and pulls outa MOTEL ROOM KEY. NATALIE (cont'd) Are you still at the Discount Inn? Room * 304? You left this at my place.Leonard pulls out a Polaroid of the Discount Inn. * LEONARD The Discount Inn, yeah. *Natalie leaves the key and gets up from the table. NATALIE They treating you alright? LEONARD (smiling) Don't remember. NATALIE You know what we have in common?Leonard shrugs. NATALIE (cont'd) We're both survivors. Take care, Leonard.Leonard watches Natalie leave. He sits at the table, lookingdown at the BROWN ENVELOPE and the MOTEL ROOM KEY (ROOM 304).Leonard rises, and heads to the restroom.27 INT. RESTAURANT RESTROOM - DAY <> 27Leonard flushes the urinal, then moves to the sink and startswashing his hands. He notices a MESSAGE written on the backof his hand:"REMEMBER SAMMY JANKIS"27 CONTINUED: 27He stares at the message for a second, thoughtful, then triesto scrub the writing off his skin. To his surprise, it isINDELIBLE. Leonard looks at it, quizzical, then notices somemarkings on his wrists, pulling his sleeve back to get abetter look. He can read the start of a message:"THE FACTS:" (CONTINUED)MEMENTO Blue Revisions - 8/27/99 22.27 CONTINUED: 27Leonard is about to roll his sleeve up further when therestroom door opens and a MAN enters. Leonard dries hishands, then exits the rest room.28 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 28 Leonard (IN BOXERS, BANDAGED ARM) talks on the phone. He *resumes SHAVING his thigh. LEONARD I met Sammy through work. (listens) Insurance. I was an investigator. I'd * investigate claims to see which ones * were phony. *Leonard dips the razor into the steaming ice bucket. * LEONARD (cont'd) I had to see through people's bullshit. It was useful experience, because now it's my life. When I meet someone, I don't even know if I've met them before. I have to look in their eyes and just figure them out. My job taught me that the best way to find out what someone knew was to let them talk.29 INT. LEONARD'S OFFICE - DAY ##BLACK AND WHITE SEQUENCE## 29Montage: Leonard, wearing a CHEAP DARK SUIT and TIE, sittingopposite various DIFFERENT PEOPLE in an interview situation. LEONARD(V.0.) Throw in the occasional "why?" but just listen. And watch the eyes, the body * language.Leonard watches the people's movements carefully. We seeclose-ups off fiddling hands, neck scratching, etc. LEONARD (V.0.) (cont'd) It's complicated. You might catch a sign but attach the wrong meaning to it. If someone touches their nose while they're talking, experts will tell you it means they're lying. It really means they're nervous, and people get nervous for all sorts of reasons. It's all about context.MEMENTO Pink Revisions - 9/7/99 23.30 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 30 LEONARD (cont'd) I was good. Sammy was my first real challenge.31 EXT. DISCOUNT INN - DAY <> 31 *The Jaguar pulls up. Leonard gets out and heads to theoffice.32 INT. DISCOUNT INN OFFICE - DAY <> 32 *Burt is behind the counter reading a magazine. LEONARD I'm sorry, I think I'm checked in here, But I've misplaced my key. BURT (looks up) Hi, Leonard.Burt puts his magazine down and gets up, sighing. BURT (cont'd) Probably in the room.33 EXT. DISCOUNT INN - DAY <> 33 *Burt, swinging a pass key on a chain, leads Leonard along theGROUND FLOOR to room 21, then unlocks it.34 INT. DISCOUNT INN ROOM 21 - DAY <> 34 *Leonard enters and SCANS the room. Burt picks his nails inthe doorway. Leonard moves to the unmade bed. There is a pileof BLOODSTAINED TISSUES. On the bedside table is an ICEBUCKET. Next to it is a DISPOSABLE RAZOR and a can of SHAVINGFOAM. LEONARD I don't see my key.Burt looks up. He REALIZES something. BURT Shit. Wrong room. LEONARD What?Burt tries to SHEPHERD Leonard out of the room. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 24.34 CONTINUED: 34 BURT This isn't your room. You're in 304. I Fucked up. LEONARD This isn't my room? BURT No, let's go. LEONARD Then why is this my handwriting?Leonard picks a WHITE PAPER BAG up off the floor. Handwrittenon the side is a message:"SHAVE THIGH" LEONARD (cont'd) Better tell me what the fuck's going on.Burt looks uncomfortable. BURT This was your room. You're up in 304 now. LEONARD When was I in here? BURT Last week. Then I rented you another one On top of this. LEONARD Why? BURT Business is slow. I told my boss about You, about your condition. He told me to Try and rent you another room. LEONARD Why didn't you clean it out? * BURT (shrugs) You're still paying for it. It's still Your room.Leonard shakes his head, smiling. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 25.34 CONTINUED: (2) 34 LEONARD So how many rooms am I checked into in this dump? BURT Just two. So far. *Leonard walks out past Burt. LEONARD Well, at least you're being honest about cheating me. BURT Yeah, well you're not gonna remember, anyway. LEONARD You don't have to be that honest, Burt. BURT Leonard.Leonard turns. Burt grins. BURT (cont'd) Always get a receipt. LEONARD I'm gonna write that down.Leonard fishes a piece of paper out of his pocket. There is amessage on it which he reads. It says:"CITY GRILL, MAIN ST. THURSDAY, 1:00PM MEET NATALIE FORINFO"Leonard looks up at Burt. LEONARD (cont'd) What time is it?35 EXT. ROAD - DAY <> 35The Jaguar speeds along. 36 EXT. THE CITY GRILL ON MAIN STREET - DAY <> 36Leonard checks the restaurant name against the note. He getsout his Polaroids, FLIPPING through them until he finds theone of Natalie.MEMENTO Blue Revisions - 8/27/99 26.37 INT. THE CITY GRILL ON MAIN STREET - DAY <> 37Leonard walks through the restaurant, checking the patrons.He makes eye contact with Natalie, but walks past her table.She sighs and grabs the back of his jacket. CUT TO:38 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 38Leonard (in boxers, bandaged arm) SHAVES his thigh, talking *on the phone. LEONARD I'd just become an investigator when I came across Sammy. Mr Samuel R. Jankis - strangest case ever. Guy's 58, semi- retired accountant. He and his wife had been in this car accident... nothing too serious, but he's acting funny - he can't get a handle on what's going on.39 INT. A DOCTOR'S OFFICE - DAY ##BLACK AND WHITE SEQUENCE## 39A DOCTOR examines SAMMY'S head. SAMMY'S WIFE looks on. LEONARD(V.O.) The doctors find some possible damaqe to the hippocampus, nothing conclusive. But Sammy can't remember anything for more than a couple minutes. He can't work, can't do shit, medical bills pile up, his wife calls the insurance company and I get sent in.40 INT. JANKIS HOUSE - MESSY SUBURBAN LIVING ROOM - DAY ##BLACK 40AND WHITE SEQUENCE##SAMMY sits smoking, smiling at Leonard (CHEAP SUIT and TIE). LEONARD (V.0.) My first big claims investigation - I really check into it. Sammy can think just fine, but he can't make any new memories, he can only remember things for a few minutes.Sammy watches a commercial on T.V. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 27.40 CONTINUED: 40 LEONARD (V.0.) (CONT'D) He'd watch T.V., but anything longer than a couple of minutes was too confusing, he couldn't remember how it began. He liked commercials. They were short. *Sammy rolls a small GLASS BOTTLE between the palms of hishands. Mrs. Jankis rolls up her sleeve. Leonard watches asSammy takes a SYRINGE and pushes the needle through therubber of the bottle. The label is marked "INSULIN". LEONARD (V.O.)(cont'd) The crazy part was that this guy who couldn't follow the plot of "Green Acres" could do the most complicated things as long as he had learned them before the accident...Sammy INVERTS the bottle and syringe, DRAWS the insulin intothe syringe, withdraws the needle, holds it up to check forbubbles, TAPPING it delicately. LEONARD (V.0.) (CONT'D) ... and as long as he kept his mind on what he was doing.Sammy wipes a spot on Mrs. Jankis' arm with a swab, thengently PINCHES the skin and confidently INSERTS the needle. *Mrs Jankis winces. * MRS JANKIS * Gentle. *Sammy looks up, worried. Mrs Jankis smiles at him. Sammy pushes *the plunger, withdraws the needle and presses the swab against *the skin, lookinq into Mrs Jankis' eyes and smiling back. *41 INT. JANKIS HOUSE FRONT HALL - DAY ##BLACK AND WHITE 41SEQUENCE##Mrs. Jankis opens the front door to Leonard. Leonard shakeshands with Sammy, who smiles at him in apparent recognition. LEONARD (V.0.) The doctors assure me that there's a real condition called Korsokoff's syndrome; short-term memory loss, rare but legit. But every time I see him I catch a look of recognition. Just a slight look, but he says he can't remember me at all. (MORE) (CONTINUED)MEMENTO Pink Revisions - 9/7/99 27A.41 CONTINUED: 41 LEONARD (cont'd) I can read people and I'm thinking bad * actor. Now I'm suspicious and I order more tests.CUT BACK TO LEONARD IN MOTEL ROOM:MEMENTO Pink Revisions - 9/7/99 28.42 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 42Leonard DABS at some blood on his thigh with toilet paper. LEONARD His wife has to do everything. Sammy can only do simple stuff. He couldn't pick up any new skills at all, and that's how I got him.43 EXT. MAIN STREET - DAY <> 43Leonard's Jaguar pulls up at a red light. Suddenly Teddy isBANGING on the window. TEDDY Lenny! I thought you'd gone for good. What brings you back?Leonard looks at Teddy, sizing him up. LEONARD Unfinished business. What made you think I wasn't coming back? TEDDY You said you were leaving town. LEONARD Things change. TEDDY So I see. It's good to see you. My name's Teddy. LEONARD Guess I've told you about my condition. TEDDY (grins) Only every time I see ya! Come on, I'll buy you lunch.44 INT. DINER - DAY <> 44Teddy pours ketchup all over his steak. Leonard plays withhis food. TEDDY Not hungry? (CONTINUED) 29.44 CONTINUED: 44 LEONARD (shrugs) It's my condition. I never know if I've already eaten, so I always just eat small amounts. TEDDY You don't have to remember to be hungry. LEONARD It's weird, but if you don't eat for a while then your body stops being hungry. You get sort of shaky but you don't realize you haven't eaten. Have I told you about Sammy Jankis? TEDDY Yeah, yeah. I heard enough about him. Tell me about John G. You still think he's here, right? LEONARD Who? TEDDY The guy you're looking for, Johnny G. That's why you haven't left. Am I right?Leonard shrugs. Teddy licks his fingers and frowns. TEDDY (cont'd) Leonard, you need to be very careful. LEONARD Why? TEDDY Well, the other day you made it sound like you thought somebody might be trying to set you up. Get you to kill the wrong guy. LEONARD Yeah, well I go on facts, not recommendations, okay? TEDDY Lenny, you can't trust a man's life to your little notes and pictures. LEONARD Why? (CONTINUED) 30.44 CONTINUED: (2) 44 TEDDY Because you're relying on them alone. You Don't remember what you've discovered or how. Your notes might be unreliable. LEONARD Memory's unreliable.Teddy snorts. LEONARD (cont'd) No, really. Memory's not perfect. It's not even that good. Ask the police, eyewitness testimony is unreliable. The cops don't catch a killer by sitting around remembering stuff. They collect facts, make notes, draw conclusions. Facts, not memories: that's how you investigate. I know, it's what I used to do. Memory can change the shape of a room or the color of a car. It's an interpretation, not a record. Memories can be changed or distorted and they're irrelevant if you have the facts. TEDDY You really want to find this guy? LEONARD He took away the woman I love and he took away my memory. He destroyed everything; my life and my ability to live. TEDDY You're living. LEONARD Just for revenge. That's what keeps me going. It's all I have.Teddy considers this. TEDDY We'll find him. Where are you staying?Leonard reaches into his pocket and takes out a Polaroid. LEONARD Discount Inn. Don't know what room; haven't got my key. TEDDY Probably left it in your room.MEMENTO Blue Revisions - 8/27/99 31.45 EXT. DISCOUNT INN - DAY <> 45 The Jaguar pulls up. Leonard gets out and heads to theoffice.46 INT. DISCOUNT INN OFFICE - DAY <> 46Leonard enters. Burt is behind the counter reading amagazine. LEONARD I'm sorry, I think I'm checked in here, but I've misplaced my key. BURT (looks up) Hi, Leonard.47 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 47Leonard (in boxers, bandaged arm shaving foam on thigh, *strides the row, talking on the phone and gesticulating witha disposable razor. LEONARD So Sammy can't learn any new skills. But I find something in my research: Conditioning. Sammy should still be able to learn through repetition. It's how you learn stuff like riding a bike, things you don't think about, you just get better through practice. Call it muscle memory, whatever, but it's a completely different part of the brain from the short-term memory. So I have the doctors test Sammy's response to conditioning...48 INT. EXAMINATION ROOM - DAY ##BLACK AND WHITE SEQUENCE## 48Sammy sits at a table. A DOCTOR sits opposite pointing outvarious METAL OBJECTS sitting on the table. DOCTOR Just pick up any three objects. SAMMY (amused) That's a test? Where were you guys when I did my CPA? (CONTINUED)MEMENTO Pink Revisions - 9/7/99 32.48 CONTINUED: 48Sammy PICKS UP an object and gestures to the Doctor forapplause. Sammy goes for a second object, but gets a SHOCKwhich makes him recoil in pain. (LEONARD TO SUBSTITUTE) * SAMMY (cont'd) Ah! What the fuck?!Sammy looks ACCUSINGLY at the Doctor. DOCTOR It's a test, Sammy. LEONARD (V.O.) Some of the objects were electrified, They'd give him a small shock.BACK TO LEONARD IN MOTEL ROOM49 INT. MOTEL ROOM 21 - DAY #BLACK AND WHITE SEQUENCE# 49 LEONARD They kept repeating the test, always with the same objects electrified. The point was to see if he could learn to avoid the electrified objects. Not by memory, but by instinct.50 INT. NATALIE'S BEDROOM: MESSY, CHEAPLY BUT ABUNDANTLY 50FURNISHED - MORNING <>Leonard opens his eyes, naked in bed. He looks around,confused. With a START, he realizes that someone else is inthe bed: a BRUNETTE with her back to him.Leonard leans right over her to get a look at her face. It isNATALIE. The BRUISE on her eye and the MARK on her lip areworse than before.She OPENS her eyes and is startled by the sight of Leonard'shovering face. LEONARD Sorry. It's only me.Leonard FLOPS down. Natalie wakes up fully and relaxes. NATALIE Sleep okay? LEONARD Yeah. You?Natalie shrugs. She looks at her bedside clock. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 33.50 CONTINUED: 50 NATALIE I gotta be someplace.She gets out of bed, wearing pajamas. Leonard swings his legsout of the bed and realizes that he is wearing trousers andsocks. He looks at his tattoos, as if he has never seen thembefore. NATALIE (cont'd) Pretty weird.She is smiling at him in the mirror. Leonard smiles, shrugs. LEONARD Useful. You never write a phone number on your hand? NATALIE * (through mirror) * I should be able to talk to my friend * about the license plate today. * LEONARD * Yeah, the license plate... * NATALIE * (smiles) * John G's license plate number. You have * it tattooed on your thigh. *Natalie leaves the room. Leonard pulls down his trousers to *reveal two tattoos: *"FACT 5: DRUG DEALER" *"FACT 6: LICENSE PLATE NUMBER SG13 1NU" *Leonard runs his finger over fact 6, then pulls his trousers *up and looks around the room. He spots his suit jacket *hanging over the back of a chair. He checks the pockets,pulls out his Polaroids, flips through them: a Jaguar, theDiscount Inn, Natalie. He flips Natalie's picture over andlooks at the back. There are two messages, but the first onehas been completely scribbled over. The other one reads:"HAS ALSO LOST SOMEONE, SHE WILL HELP YOU OUT OF PITY"Leonard stuffs the photos back into his pocket, grabs a whiteshirt of f the chair and pulls it on. Natalie comes back inand starts to apply her makeup. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 33A.50 CONTINUED: (2) 50 NATALIE If it's registered in this state it'll * just take seconds to pull up his license and registration. I'll call when I've spoken to him. LEONARD * Why don't we just arrange a meeting now? * I'm not too good on the phone.Natalie takes her eye pencil and writes a NOTE on a SMALL BAG *FROM A PHARMACY. Leonard puts his jacket on. Natalie offers *him the note. It says:"CITY GRILL, MAIN ST. THURSDAY, 1.OOPM MEET NATALIE FOR INFO" (CONTINUED)MEMENTO Pink Revisions - 9/7/99 34.50 CONTINUED: (3) 50 LEONARD (cont'd) (leading) It's great that you would... that you're helping me like this... NATALIE (smiles) I'm helping you because you helped me.Leonard nods. NATALIE (cont'd) So will you remember me next time you seo me?Leonard shakes his head and reaches for the note. Nataliegrabs his lapel and pulls him down to her, kissing him gentlyon the mouth. NATALIE (cont'd) I think you will. LEONARD (smiles) I'm sorry.Leonard heads for the door. NATALIE (amused) Lenny, before you go, can I have my shirt back please?She tosses him his blue shirt. Leonard looks down at thewhite shirt which he has put on. It is way too small.51 EXT. MAIN STREET - DAY <> 51The Jaguar pulls up to a red light. Suddenly Teddy is bangingon the window. TEDDY Lenny! I thought you'd gone for good. What brings you back?52 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 52 *Leonard (in boxers, bandaged arm) STRIDES the room, shaving *foam on leg, razor in one hand, phone in the other. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 35.52 CONTINUED: 52 LEONARD They kept testing Sammy for months, always with the same objects carrying the electrical charge...53 INT. EXAMINATION ROOM - DAY ##BLACK AND WHITE SEQUENCE## 53Sammy sits across the testing table from the Doctor. Sammygoes for a METAL OBJECT and RECOILS in pain from a SHOCK. SAMMY Ah! What the fuck?! DOCTOR It's a test, Sammy. JUMP CUT TO:54 INT. EXAMINATION ROOM - DAY #BLACK AND WHITE SEQUENCE# 54AS BEFORE, but Sammy is DRESSED DIFFERENTLY. He goes for anobject and is SHOCKED. SAMMY Ah! What the fuck?! DOCTOR It's a test, Sammy.SAMMY EXTENDS A TREMBLING MIDDLE FINGER. SAMMY Yeah? Test this you fucking quack.Sequence of JUMP CUTS of Sammy extending his MIDDLE FINGERand RECOILING in shock from the objects. LEONARD (V.O.) Even with total short-term memory loss, Sammy should've learned to instinctively stop picking up the wrong objects. All previous cases of short-term memory loss had responded to conditioning in some way. Sammy didn't respond at all.BACK TO LEONARD IN MOTEL ROOM55 INT. MOTEL ROOM 21 - DAY #BLACK AND WHITE SEQUENCE# 55 LEONARD It was enough to suggest his condition was psychological not physical. (MORE) (CONTINUED) 36.55 CONTINUED: 55 LEONARD (cont'd) We turned down his claim on the grounds that he wasn't covered for mental illness. Sammy's wife got stuck with the bills and I got a promotion for rejecting a big claim.Leonard looks into the mirror. LEONARD (cont'd) Conditioning didn't work for Sammy, so he became helpless. But it works for me. I live the way Sammy couldn't. Habit and Conditioning. Acting on instinct.56 EXT./INT. NATALIE'S FRONT DOOR - DUSK <> 56 *Leonard pulls up in his Jaguar, gets out, rings the frontdoorbell. It is opened by Natalie. LEONARD Natalie, right?Natalie nods, wary of Leonard's barely concealed anger.Leonard thrusts a Polaroid photo in her face. LEONARD (cont'd) Who the fuck is Dodd?The photo is of a MAN who is BOUND, GAGGED, and BLOODY. Onthe back of the photo:"GET RID OF HIM, ASK NATALIE"Natalie takes the picture and examines it. NATALIE Guess I don't have to worry about him anymore. LEONARD (snaps) Who is he? What have you got me into?Natalie looks up and down the street. NATALIE Come inside.57 INT. NATALIE'S LIVING ROOM: COMFORTABLE AND MESSY - NIGHT 57<>Natalie shows Leonard in. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 37.57 CONTINUED: 57 NATALIE Calm down. You're not into anything. It was my problem, you offered no help. It's got nothing to do with your investigation. LEONARD That's the problem! How can I find John G. when I don't know what's going on?! How did you get me into this?! NATALIE Leonard, you offered to help when you saw what this guy did to me.She gestures at the BRUISING on her face. LEONARD How do I know he did that to you? NATALIE I came to you straight after he did it. I showed you what he'd done and asked for your help. LEONARD So I just take your word? NATALIE Yes. LEONARD (sighs) Something feels wrong. I think someone's fucking with me. Trying to get me to kill the wrong guy. NATALIE Did you? LEONARD What? NATALIE Kill him. LEONARD Course not.Natalie waves the Polaroid at him. (CONTINUED) 38.57 CONTINUED: (2) 57 NATALIE This has nothing to do with you. You helped me out, and I'm grateful.She tries to rip the picture. Leonard watches her try. Theplastic is too strong. LEONARD You have to burn them.Natalie scrunches it up and throws it down. Leonard andNatalie sit down on the couch. NATALIE You decided to help me. Trust yourself. Trust your own judgment. You can question everything, you can never know anything for sure. LEONARD There are things you know for sure. NATALIE Such as? LEONARD I know the feel of the world. (reaches forward) I know how this wood will sound when I knock. (raps knuckles on coffee table) I know how this glass will feel when I pick it up. (handles glass) Certainties. You think it's knowledge, but it's a kind of memory, a kind you take for granted. I can remember so much. (runs hands over objects) I know the feel of the world, (beat) and I know her. NATALIE Your wife? LEONARD She's gone and the present is trivia, which I can scribble down as notes.Natalie stares at Leonard, thinking. (CONTINUED) 39.57 CONTINUED: (3) 57 NATALIE Relax a little, okay? Take off your jacket.Leonard takes his jacket off and places it on the back of thecouch, patting the pockets as he does so. LEONARD It's not easy to be calm when - NATALIE Just relax.She reaches for his arm and unbuttons his cuff, revealing theend of Leonard's tattoos. NATALIE (cont'd) You don't seem the type.She pushes back the sleeve, trying to read the tattoo.Leonard watches her. * NATALIE (cont'd) Come on.She starts to unbutton his shirt. He watches. Natalie gaspsas she opens Leonard's shirt and pulls it back over hisshoulders. She tilts her head, trying to read the differentmessages. NATALIE (cont'd) It's backwards. * She pulls him up and turns him around in front of the mirror *to read the backwards tattoo across his chest. *"JOHN G. RAPED AND MURDERED MY WIFE".Natalie touches the blank area of skin above Leonard's heart. * NATALIE (cont'd) * Here? *Leonard looks down at the blank patch, then at Natalie, *vulnerable, confused. * LEONARD * It's... it must be for when I've found him. * *She looks at Leonard. Leonard shrugs. Natalie studies *Leonard's chest, avoiding his eyes. * (CONTINUED)MEMENTO Pink Revisions - 9/7/99 39A.57 CONTINUED: (4) 57 NATALIE (cont'd) I've lost somebody. LEONARD I'm sorry. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 40.57 CONTINUED: (5) 57Natalie picks up a photograph from off a messy desk in thecorner. She shows it to Leonard. The picture shows Nataliesmiling and hugging a smirking YOUNG MAN (JIMMY). Natalie *looks up at Leonard to see his reaction. NATALIE His name was Jimmy. LEONARD What happened? NATALIE He went to meet somebody and didn't come back. LEONARD Who did he go to meet?Natalie studies Leonard. NATALIE A guy called Teddy.Leonard does not react to the name. LEONARD What do the police think? NATALIE They don't look too hard for guys like Jimmy.Natalie puts the photo down. She reaches out to Leonard, *spreading her fingers over the blank part of his chest. * NATALIE (cont'd) When you find this guy, this John G., what are you going to do? LEONARD Kill him. NATALIE Maybe I can help you find him. I know a * lot of people.58 INT. NATALIE'S BEDROOM - NIGHT <> 58Natalie, eyes closed, has her head on Leonard's chest. He is shirtless, lying on top of the covers. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 41.58 CONTINUED: 58 LEONARD I don't even know how long she's been * gone. It's like I've woken up in bed and she's not here because she's gone to the bathroom or something. But somehow I just * know that she'll never come back to bed. * I lie here, not knowing how long I've been alone. If I could just reach out and * touch her side of the bed I could know * that it was cold, but I can't. I have no * idea when she left. *Natalie's eyes are open. LEONARD (cont'd) I know I can't have her back, but I want * to be able to let her go. I don't want to wake up every morning thinking she's still here then realizing that she's not. I want time to pass, but it won't. How * can I heal if I can't feel time?Leonard bends his head around to see if Natalie is awake. Shecloses her eyes. Leonard gingerly slides from underneath herand moves silently out of the bedroom.59 INT. NATALIE'S LIVING ROOM - NIGHT <> 59Leonard enters the dark room. He goes to the couch and picksup his shirt and his jacket. He notices the photograph whichNatalie showed him on top of some papers on a desk in thecorner. He holds it in a shaft of light from the streetlampoutside, studying the photo of Natalie and Jimmy.60 INT. NATALIE'S BEDROOM - NIGHT <> 60Natalie, eyes open, slides her hand over to where Leonard waslying, feeling his residual warmth.ii 61 INT. NATALIE'S LIVING ROOM - NIGHT <> 61Leonard has his Polaroid photograph of Natalie out. He takesa pen out of his jacket, rests the photo against the wall ina patch of light and writes on the back, underneath themessage which has been scribbled out:"SHE HAS ALSO LOST SOMEONE. SHE WILL HELP YOU OUT OF PITY"MEMENTO Pink Revisions - 9/7/99 42.62 INT. NATALIE'S BEDROOM - CONTINUOUS - NIGHT <>Leonard enters, deposits his jacket and shirt, then slidesinto bed next to Natalie.63 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 63 Leonard lies on the bed (in boxers, bandaged arm) talking on *the phone. He wipes the excess shaving foam from his thigh,and feels the SMOOTHNESS of the clean-shaven skin. LEONARD Sammy's wife was crippled by the cost of supporting him and fighting the company's decision - but it wasn't the money that got to her.64 INT. JANKIS HOUSE LIVING ROOM - DAY ##BLACK AND WHITE 64SEQUENCE##Mrs. Jankis comes into the room. Sammy is seated, watchingT.V. He looks up at her with a smile. She smiles back, tense. LEONARD (V.0.) I never said that Sammy was faking. Just that his problem was mental, not physical. But she... she couldn't understand. She looks into his eyes and sees the same person. And if it's not a physical problem...Sammy's Wife starts shouting at Sammy. Sammy squirms. LEONARD (V.0.) (CONT'D) ... he should just... snap out of it.Sammy's Wife THROWS her drink in Sammy's face, puts her headin her hands, SOBBING. Sammy wipes his face on his sleeve.BACK TO LEONARD IN MOTEL ROOM:65 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 65Leonard, talking on the phone, empties the white paper bagonto the bed beside him: Two cheap BALL-POINT PENS, SCOTCHTAPE, a pack of NEEDLES, and a FILE CARD. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 43.65 CONTINUED: 65 LEONARD (cont'd) So good old Leonard Shelby from the insurance company gives her the seed of doubt, just like he gave it to the doctors. But I never said that Sammy was faking. I never said that.Leonard takes a NEEDLE out of the packet.66 INT. LEONARD'S APARTMENT WITH HIGH CEILINGS AND WOODEN FLOOR 66 - NIGHT <>We move along a hallway towards a closed door. An ominous *rumbling builds.A66 INSERT QUICK CUTS: A66TREMBLING, SHALLOW-FOCUS EXTREME CLOSE UPS:A glass bottle SHATTERS against black and white ceramictiles. A SUDDEN MOVEMENT glimpsed through a water-beadedclear plastic shower curtain.The shower curtain pulls TAUT across a GASPING FEMALE FACE.Leonard's REFLECTION in a MIRROR which SHATTERS.67 INT. DODD'S MOTEL ROOM - DAY <> 67Leonard opens his eyes, frightened. He is lying on the bed inhis beige suit and blue shirt. LEONARD (V.0.) Awake.He rolls his eyes to one side. LEONARD (V.O.)(cont'd) Where am I?He lifts his head and surveys the room. LEONARD (V.O.)(cont'd) Motel room.He rises from the bed, looking at the room as if for thefirst time. He starts looking in the dresser drawers, findingnothing. LEONARD (V.O.)(cont'd) Some anonymous motel room. Nothing in the drawers, but you look anyway. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 44.67 CONTINUED: 67He grasps the handle of the bedside drawer. LEONARD (V.O.) (cont'd) Never anything but the Gideon...Leonard pulls the drawer open, and pauses at what he sees. LEONARD (V.O.) (cont'd) ... Bible.In the drawer is a Gideon Bible. Resting on top of it is aHANDGUN.Leonard turns, looks over the rest of the room. He moves tothe bureau and opens drawers. Empty. He goes to the closetand OPENS it.Inside is a BOUND and GAGGED MAN on the floor, knees againstchest. His mouth is taped up with silver electrical tape,stained with DRIED BLOOD from his swollen nose. He looks upat Leonard, blinking in the sudden bright light, TERRIFIED.Leonard SHUTS the closet door, CONFUSED. The Man in thecloset starts GRUNTING and BUMPING the closet door.There is a KNOCK at the door. Leonard looks through thepeephole.68 INT./EXT. DODD'S MOTEL - DAY <> 68INSERT LEONARD'S P.O.V.:A FISH-EYE TEDDY, grinning and waving.69 INT. DODD'S MOTEL - DAY <> 69Leonard looks around, trying to think. Teddy KNOCKS harder.The Man in the closet BUMPS and GROANS. Leonard reaches intohis pocket and pulls out some Polaroids. LEONARD (cont'd) Just a minute!He finds the one of Teddy, then sticks them back into hispocket. He OPENS the door to Teddy and grins. LEONARD (cont'd) Teddy!Teddy brushes past him into the room. TEDDY Finished playing with yourself, Lenny? (CONTINUED) 45.69 CONTINUED: 69Teddy SLUMPS into a chair. Leonard tries to smile. There is afaint GRUNTING and BUMPING from inside the closet. Teddynotices the noise and grins. TEDDY (cont'd) I get it - amorous neighbors. LEONARD Why are you here? TEDDY (surprised) You called me. You wanted my help. You know, Lenny, I've had more rewarding friendships than this one. Although I do get to keep using the same jokes.Leonard thinks, then moves to the CLOSET and OPENS the door.Teddy looks in DISBELIEF at the Man in the closet. TEDDY (cont'd) Who the fuck is that? LEONARD You don't know him? TEDDY No! Should I?Leonard shrugs. TEDDY (cont'd) Is this John G.? LEONARD I don't think so. TEDDY Think so? You don't know? Didn't you write it down? LEONARD I might have fallen asleep before I did.Teddy shakes his head, chuckling. TEDDY Ask him.Leonard crouches down and RIPS the tape from the Man's mouth. LEONARD What's your name? (CONTINUED) 46.69 CONTINUED: (2) 69The Man looks at Leonard, wary, says nothing. Leonard tweakshis broken nose. The Man groans. LEONARD (cont'd) Your name. MAN Dodd. LEONARD Who did this to you? DODD (confused) What? LEONARD Who did this to you? DODD You did.Leonard replaces the gag and SHUTS the closet. TEDDY I'm not gonna help you kill this guy, if that's what - LEONARD No. No, just let me think for a minute.Leonard moves to the dresser and starts methodically emptyinghis pockets. He pulls a Polaroid out of his inside jacketpocket. LEONARD (cont'd) Here we go.The Polaroid shows Dodd sitting on the bed, BOUND, GAGGED andBLEEDING. The name Dodd is written below the picture. Leonardflips it over. On the back it says:"GET RID OF HIM, THEN ASK NATALIE"Teddy looks at the photo over Leonard's shoulder. TEDDY Natalie? Natalie who? LEONARD Why? (CONTINUED) 47.69 CONTINUED: (3) 69 TEDDY I think I know her.Leonard sticks his pictures in his pocket. LEONARD We've got to get him out of here. TEDDY He's got to have a car, right? We just take him back to his car and tell him to get the fuck out of town before we kill him. LEONARD We can't just walk him out tied up and bleeding. TEDDY How'd ya get him in here in the first place? LEONARD I don't know.Leonard looks around the room for inspiration. LEONARD (cont'd) Yes I do... this isn't my room.Teddy looks around at the anonymous room. LEONARD (cont'd) It's his. He was already here. Let's just * go. *Leonard starts for the door, Teddy lays a hand on his chest. * TEDDY * Wait, we can't just leave him. The maid * finds him, calls the cops. He's seen us now *Leonard thinks. * LEONARD * Okay. We clean him up, untie him and * march him out with a gun in his back. * TEDDY Why would I have a gun?Leonard fishes the HANDGUN out of the bedside table drawer. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 47A.69 CONTINUED: (4) 69 LEONARD It must be his. I don't think they'd let someone like me carry a gun. TEDDY Fucking hope not.Leonard covers Dodd with the gun while Teddy pulls him out ofthe closet. Dodd has trouble standing up straight.MEMENTO Pink Revisions - 9/7/99 48.70 EXT. DODD'S MOTEL - DAY <> 70Teddy exits the room, glances around, motions for Leonard andDodd to follow. Dodd is cleaned up and unbound, Leonard ispressed up right behind him. The three of them descend to theparking lot. LEONARD Which one?Dodd leads them to a new LANDCRUISER. Teddy whispers inLeonard's ear. TEDDY We probably ought to take his car, you know, teach him a lesson. LEONARD Shut it, Teddy. TEDDY Easy for you to say, you've got the Jag. LEONARD I'll ride with him. You follow. TEDDY Give me your keys.Leonard looks at him, suspicious. LEONARD Take your own car.Teddy shrugs. Leonard motions Dodd into the driver's seat,then slides into the passenger side. They pull out of theparking lot, Teddy following in his GREY SEDAN.71 EXT. SHOULDER OF HIGHWAY HEADING OUT OF TOWN - DAY <>The Landcruiser PULLS OVER and stops. The grey sedan pulls upbehind. Leonard gets out of the Landcruiser and it PULLS AWAYat speed. Leonard walks back to Teddy's car.72 INT. GREY SEDAN - DAY 72 TEDDY So was he scared? LEONARD Yeah. I think it was your sinister mustache that got him. (CONTINUED) 49.72 CONTINUED: 72Teddy leans over slightly so that he can see his reflectionin the rear view mirror. Leonard smiles. Teddy sees him. TEDDY Fuck you. We shoulda taken his car. LEONARD What's wrong with this one? TEDDY You like it? Let's trade.73 EXT. ALLEY BEHIND THE MOTEL - DAY <> 73The grey sedan pulls up beside Leonard's Jaguar. Leonard getsout. TEDDY So what are you gonna do now? LEONARD I'm gonna ask Natalie what the fuck that was all about. TEDDY Natalie who?Leonard ignores him and gets into his Jaguar.74 EXT. A MODEST SINGLE-STOREY HOUSE - NATALIE'S - DUSK 74<>The Jaguar pulls up. Leonard checks the address against theaddress written on his Polaroid of Natalie, then goes to thedoor and RINGS the bell. It is opened by Natalie. LEONARD Natalie, right?Natalie nods, wary of Leonard's tone. Leonard THRUSTS aPolaroid in her face. LEONARD (cont'd) Who the fuck is Dodd?The photo shows Dodd, BOUND, GAGGED and BLEEDING. CUT TO:75 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 75Leonard (boxers, bandaged arm) talks on the phone as he takesa NEEDLE and tapes it to the BALL-POINT PEN. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 50.75 CONTINUED: 75 LEONARD What Mrs. Jankis didn't understand was that you can't bully someone into remembering... the more pressure you're under, the harder it gets. (listens) Then call me back.Leonard hangs up.76 INT. DODD'S MOTEL ROOM BATHROOM - DAY <> 76Leonard sits on the toilet, grasping an empty VODKA BOTTLE bythe neck. He notices the bottle in his hands as if for thefirst time. LEONARD (V.O.) Don't feel drunk.Leonard looks up from the VODKA BOTTLE, sighs, rubs his face,then stands up. He SNIFFS at his armpit.He puts the empty bottle on the counter by the sink, thenwearily UNDRESSES.Leonard, NAKED, looks in the mirror, then RUNS THE SHOWERthen steps under it, shutting the PEBBLED PLASTIC STALL DOOR.Leonard SHOWERS. He turns the water off, then hears the DOORBEING UNLOCKED. Leonard freezes, standing in the SHOWERSTALL, NAKED and DRIPPING. Through the distortion of thePEBBLED PLASTIC DOOR, Leonard sees a FIGURE enter thebathroom and start pissing into the toilet. The distortedFigure turns and approaches the shower stall, becomingclearer as it gets closer, then YANKS the door open. It isDodd (WITHOUT INJURIES). He is SHOCKED to see the nakedLeonard. Leonard BURSTS out of the shower stall, SMASHINGDodd against the wall.Dodd STRUGGLES around, grabbing at the SLIPPERY, nakedLeonard. Dodd PUSHES against Leonard, SLASMMING him into thesink.Leonard has his arms around Dodd's neck. Leonard SMASHESDodd's head sideways into the wall, HARD.Dodd SLUMPS to the floor. Leonard exhales. Dodd puts a FISTin Leonard's crotch, then GRABS his neck as he doubles over.Dodd uses Leonard to pull himself off the floor then PUNCHESthe side of his head and pushes him HARD, Leonard FLAILINGwildly, GRABBING THE EMPTY VODKA BOTTLE from by the sink ashe falls back into the bedroom. Dodd reaches into his INSIDEPOCKET. 51.77 INT. DODD'S MOTEL ROOM - DAY <> 77Leonard STUMBLES in, naked, from the bathroom, swings around,HITTING Dodd square in the face with the empty vodka bottle,which does not break.Dodd lies still on the floor, bleeding, his hand still in hisinside jacket pocket. Leonard stands above him, naked,dripping wet, catching his breath.There is a KNOCK at the door. FEMALE VOICE (O.S.) Housekeeping.The sound of a KEY entering the lock. Leonard LEAPS for thedoor and flips the privacy latch. LEONARD Not just now!Leonard listens to the maid withdraw her key. LeonardSEARCHES Dodd, finding his GUN in his inside pocket. Leonardexamines the weapon, then starts to search the room. Leonardfinds an overnight bag at the bottom of the closet. Inside itthere are some clothes, spare ammunition, a large huntingknife, and a roll of SILVER ELECTRICAL TAPE.Leonard WRAPS the electrical tape around Dodd's wrists, thenacross his mouth. Leonard finishes taping up Dodd, then sitshim on the edge of the bed. Leonard takes a POLAROIDPHOTOGRAPH of the bloody, taped-up Dodd.Leonard shoves Dodd into the closet, takes out a NOTE andconsults it, then writes "DODD" on the white strip on thefront of the photograph. He flips the picture over and writeson the strip on the back, in smaller writing:"GET RID OF HIM, ASK NATALIE"Leonard dresses, puts the Polaroid into the inside pocket ofhis jacket. He looks again at the note. It says:"DODD, MOUNTCREST INN ON 5TH STREET, ROOM 6" *"PUT HIM ONTO TEDDY OR JUST GET RID OF HIM FOR NATALIE"Leonard picks the stack of Polaroids out of his outsidejacket pocket. He flips through them until he finds the oneof Teddy, then picks up the phone and dials Teddy's number.The phone is answered: (CONTINUED)MEMENTO Pink Revisions - 9/7/99 52.77 CONTINUED: 77 TEDDY (O.S.) You know what to do.Then a BEEP. Leonard does not look like he knows what to do. LEONARD Ah, it's a message for Teddy... *Leonard looks at the note. LEONARD (cont'd) I'm at the MOUNTCREST INN on 5th Street, Room 6, and I need you to come over as soon as you get this, it's important. This is Leonard. Thanks. Bye.Leonard hangs up. He looks around the room. He slips theHANDGUN into the bedside drawer, resting it on the GIDEONBIBLE, then swings his feet up onto the bed and lies down. CUT TO:78 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 78Leonard (boxers, bandaged arm) crooks his neck to hold the *phone. In his hands is the PEN with the NEEDLE taped to it.Leonard wiggles the needle, then applies more tape. CUT TO:79 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUEWCE## 79Leonard (boxers, bandaged arm) takes the NEEDLE/PEN in onehand and picks up a CIGARETTE LIGHTER in the other.Leonard IGNITES the lighter, then holds the needle over the flame.He examines the NEEDLE, then holds it in the flame again.Leonard puts down the lighter and picks up a second BALL-POINT PEN.80 EXT. DODD'S MOTEL - DAY <> 80Leonard's Jaguar pulls up, FAST. Several bits of SHATTEREDSAFETY GLASS are still visible in the frame. He parks aroundthe back, out of sight and consults a note. LEONARD (V.0.) I'll get the jump on you, fucker. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 53.80 CONTINUED: 80Leonard RACES up the stairs to the rooms on the second floor.He stops at Room 9, listening. The T.V. is on.Leonard gets a CREDIT CARD out and slips it into the lockgently, with a practiced hand. He leaves the CARD WEDGED inthe lock, then steps back from the door and KNOCKS.Leonard watches the POINT OF LIGHT in the PEEPHOLE to Room 9.The point of light GOES OUT. Leonard KICKS the door in,SMASHING THE ROOM'S OCCUPANT BACK INTO THE ROOM.Leonard stands over him, looking down. The man isunconscious, blood on his face. Something is not right. LEONARD (V.O.) Is this the guy?Leonard looks down at his NOTE. The room number given is 6.Leonard looks at the "9" on the door, then down at theunconscious man. LEONARD (cont'd) Fuck! Sorry.Leonard reaches down, GRABS his credit card from where itlanded on the floor, and backs out of the doorway, shuttingthe door on the Unconscious Man.He MOVES QUICKLY to Room 6, slips his credit card in the lockand knocks.No answer, so Leonard slips inside.81 INT. DODD'S MOTEL ROOM - DAY <> 81Leonard flicks the light on and glances around. There isnothing in the room except an empty VODKA BOTTLE on thebedside table. LEONARD (V.O.) Need a weapon.He grabs the empty vodka bottle, switches the light off andslips into the bathroom.82 INT. DODD'S MOTEL ROOM BATHROOM - DAY <> 82Leonard sits down on the toilet, holding the empty bottle byits neck. He reaches out and adjusts the angle of the door.His eyes are alert, he is nervous. Waiting. And waiting.83 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 83 (CONTINUED) 54.83 CONTINUED: 83Leonard (boxers, bandaged bicep), takes the second ball-pointpen and SNAPS it in two.84 EXT. SMALL ALLEY BEHIND A ROW OF TRAILER HOMES - DAY <>Leonard is RUNNING FURIOUSLY, arms pumping. LEONARD (V.O.) What the fuck am I doing?Leonard glances to his right, and through a GAP between twotrailers he catches a glimpse of Dodd on the other side ofthe trailer homes, RACING along parallel to Leonard. LEONARD (V.O.) (CONT'D) Chasing him!Leonard CUTS down the next gap between trailers, heading FULLSPEED for Dodd's side.Dodd (without bruises) appears again at the other end of thegap, SEES Leonard, and STARTS RUNNING TOWARDS HIM. There is aGUN in his hand. LEONARD (V.O.) (CONT'D) FUCK! He's chasing me.Leonard SKIDS to a halt and turns around. A BULLET hits thedirt by his feet. He clears the end of the trailer and THROWShimself over a chain link fence, dropping down on the otherside and SCRAMBLING through some bushes. He RACES full tiltinto a parking lot, looking around, desperate. He can hear aCAR ALARM sounding. He pulls his KEYS OUT and hits the ALARMswitch. Hearing the DOUBLE BEEP as the alarm stops, he spotsthe Jaguar.The Jaguar PEELS OUT just as Dodd emerges from the trailerpark.85 INT. JAGUAR - DAY <> 85Leonard is breathing hard, looking around nervously. Hestarts knocking BITS OF BROKEN WINDOW GLASS out of thedriver's side window with his elbow then pulling photos andpieces of paper out of his pockets as he drives.Leonard finds a NOTE that gives a description of Dodd, alongwith the motel and room number where Dodd is staying. CUT TO: 55.86 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 86Leonard (boxers, bandaged arm) has the NEEDLE/PEN in one hand *and the BROKEN PEN in the other. Leonard DIPS the needle intothe clear plastic INK RESERVOIR off the broken pen.87 EXT. TRAILER PARK PARKING LOT - DAY <> 87Leonard is in the Jaguar. Dodd (without any bruises) isstanding by the window, aiming his gun at Leonard. DODD I haven't made a strong enough impression. LEONARD (amused) Don't be too hard on yourself.Dodd motions for Leonard to open the passenger side door.Dodd gets into the passenger seat, gun on Leonard. Leonardnods to him. LEONARD Seat belt.Leonard starts to reach over his left shoulder with his righthand as if for the seat belt. Dodd watches Leonard's righthand.With his left hand, Leonard opens the door. He rolls out,SLAMMING the door in Dodd's face, and hitting the centrallocking on his car keys.Leonard TAKES OFF across the asphalt. Dodd tries the doors,then SHOOTS at Leonard, SHATTERING the driver's side window,triggering the CAR ALARM.Dodd climbs through the window and takes off after him.Leonard slips into a trailer park, TRIPPING as he DIVES intoa gap between two trailers, STUMBLING over the PLASTIC LAWNFURNITURE and OLD BIKES which litter the narrow gap.He picks himself up and SPRINTS into the alley behind thetrailers. He races along behind the trailers.Leonard is RUNNING FURIOUSLY, arms pumping. LEONARD (V.O.)(cont'd) What the fuck am I doing? (CONTINUED)MEMENTO Pink Revisions - 9/7/99 56.87 CONTINUED: 87Leonard glances to his right, and through a GAP between thetwo trailers he catches a glimpse of Dodd on the other sideof the trailer homes, racing along parallel to Leonard. LEONARD (V.O.) (cont'd) Chasing him!Leonard cuts down the next gap between trailers, heading FULLSPEED for Dodd's side. CUT TO:88 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 88Leonard looks at the INK-COVERED NEEDLE. Leonard consults theFILE CARD. It has a HANDWRITTEN MESSAGE:"TATTOO: ACCESS TO DRUGS" CUT TO:89 EXT. DISCOUNT INN - NIGHT <> 89 *Leonard exits room 304 of the Discount Inn carrying a *SHOPPING BAG, looking GRIM-FACED.90 INT. JAGUAR - NIGHT <> 90Leonard gets in, gently places the bag on the passenger seat.91 EXT. STREET - NIGHT <> 91The Jaguar speeds along.92 EXT. PARKING LOT OVERLOOKING RESERVOIR - NIGHT <>Leonard gets out of the Jaguar, carrying the shopping bag. Heclimbs the chain-link fence.93 EXT. RESERVOIR - NIGHT - SAME <> 93Leonard has built a small FIRE. He reaches into the bag andremoves a small STUFFED TOY. He douses it with lighter fluidand places it on the fire. He watches the fur blacken and theplastic eyes melt.Leonard reaches into the bag and pulls out a well-wornPAPERBACK BOOK, whose cover has long-since been ripped off.Leonard flicks through the pages.MEMENTO Blue Revisions - 8/27/99 57.94 INT. BEDROOM, LEONARD'S APARTMENT - NIGHT <>94Leonard is undressing. Leonard's Wife is in bed, reading thewell-worn paperback. LEONARD How can you read that again? LEONARD'S WIFE (without looking up) It's good. LEONARD You've read it a hundred times. LEONARD'S WIFE I enjoy it. LEONARD Yeah, but the pleasure of a book is in wanting to know what happens next - LEONARD'S WIFE (looks up, annoyed) Don't be a prick. I'm not reading it to annoy you, I enjoy it. Just let me read, please.95 EXT. RESERVOIR - NIGHT <> 95He places the BOOK on the fire. He reaches into the bag,produces a BRA and a HAIRBRUSH. He puts the bra on the fire,then pulls some BLACK HAIR out of the hairbrush. He holds afew strands out above the fire until they shrivel up in theheat. He does this with a larger clump and it produces aSMALL FLAME so he DROPS it into the fire. LEONARD (V.O.) Probably tried this before. Probably burned truckloads of your stuff. Can't remember to forget you.He DROPS the brush onto the fire, pulls a GREEN ALARM CLOCKout of the bag and adds it to the fire. Once the bag isEMPTY, Leonard places it on the fire. He sits looking at theflames. DISSOLVE TO:96 EXT. RESERVOIR - DAWN <> 96The sky has brightened. Leonard KICKS the dying embers apart. 58.97 INT./EXT. DAWN - THE JAGUAR SPEEDS ALONG <> 97Leonard looks into his rearview mirror to see a LANDCRUISERfollowing him. Leonard SPEEDS UP, turns right. TheLandcruiser sticks behind. LEONARD (V.O.) Do I know this guy?Leonard fishes photographs out of his pocket, examining them.The Landcruiser ACCELERATES until it is uncomfortably close.Leonard slows, turning into a PARKING LOT. The Landcruiserfollows. LEONARD (V.O.) He seems to know me.The Landcruiser PULLS ALONGSIDE the Jaguar. Leonard looksover. Dodd (no bruises) is at the wheel. Leonard rolls downhis window. LEONARD (V.O.) What the fuck!Dodd pulls out a HASNDGUN and points it at Leonard. LeonardSLAMS on the brakes, JERKING to a halt as the Landcruiserpulls over in front of the Jaguar.98 EXT. TRAILER PARK PARKING LOT - DAY <> 98Dodd, gun in hand, gets out of the Landcruiser andapproaches. DODD I like your car. LEONARD Thanks. DODD Where'd you get it? LEONARD Interested in buying one? DODD I just want you to tell me how you came by that car. LEONARD I forget.Dodd points his gun at Leonard through the window. (CONTINUED) 59.98 CONTINUED: 98 DODD I haven't made a strong enough impression on you. LEONARD (amused) I wouldn't be too hard on yourself.99 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 99Leonard (boxers, bandaged arm) drops the FILE CARD andpresses the INK-COVERED NEEDLE against his thigh. Leonard *pushes the ink-covered needle against his thigh, ABOUT TOBREAK THE SKIN.The PHONE RINGS, surprising Leonard. He watches it ring, thenreaches out with his BANDAGED arm to lift the receiver. LEONARD Who is this? CUT TO:100 INT. MOTEL ROOM 304 - NIGHT <> 100Leonard is WOKEN by the sound of a door SHUTTING FIRMLY. Heturns his head to see a glow from under the bathroom door.In the dim light he can see a well-worn, COVERLESS PAPERBACKBOOK on the far bedside table. Next to it is a HAIRBRUSH anda drinking glass half-full of water. There is a small STUFFEDTOY sitting by the pillow next to Leonard's head. Leonard'seyes are half-closed as he slides his hand onto the otherhalf of the bed, feeling the residual warmth, smiling.He props himself up on one arm, rubs his eyes and reachesover to the SMALL, GREEN ALARM CLOCK, straining to read itsnumbers in the dim light. He breathes heavily, sleepily andshuts his eyes for a second, UTTERLY CONTENT. LEONARD (about to tell her something) Honey?The sound of the SHOWER being run. Leonard opens his eyes andlooks over to the bathroom door. LEONARD (cont'd) (relaxed) Honey? It's late.Leonard swings his legs over and sits on the edge of the bed.Move in on Leonard's face. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 60.100 CONTINUED: 100 LEONARD (cont'd) Everything okay?Leonard looks around with growing unease.101 INT. LEONARD'S APARTMENT BATHROOM - NIGHT <>101TREMBLING, SHALLOW-FOCUS EXTREME CLOSE UPS:A glass bottle SHATTERS against a tiled floor, bath salts andglass spreading out over the black and white tiles.102 INT. MOTEL ROOM 304 - NIGHT <> 102Leonard RISES from the bed, STARING at the bathroom door.103 INT. LEONARD'S APARTMENT BATHROOM - NIGHT <>103SUDDEN MOVEMENT glimpsed through a WATER-BEADED CLEAR PLASTICSHOWER CURTAIN. Mirror SHATTERING.104 INT. MOTEL ROOM 304 - NIGHT <> 104Leonard is at the bathroom door. He TAPS gently.105 INT. LEONARD'S APARTMENT BATHROOM - NIGHT <>105The wet plastic shower curtain pulls TAUT across a GASPING,THRASHING FEMALE FACE.106 INT. MOTEL ROOM 304 - NIGHT <> 106Leonard KNOCKS again. No answer. He KNOCKS louder, concerned. LEONARD (cont'd) Are you okay in there?!Leonard GRABS the handle, THROWS OPEN THE DOOR.107 INT. STEAM-FILLED BATHROOM ROOM 304 - NIGHT <>A BLONDE WOMAN in a silk dressing gown, seated on the toilet,looks up from SNORTING a line of cocaine off a small handmirror. She GIGGLES as she speaks to Leonard. BLONDE Was it good for you?Leonard stands in the doorway, SHAKEN. The Blonde realizesthat Leonard is not happy. (CONTINUED) 61.107 CONTINUED: 107 BLONDE (cont'd) Shit. Was I supposed to lock the door? LEONARD No. That would have been worse.Leonard moves to turn off the shower. LEONARD (cont'd) I'd like you to leave now.108 INT. DISCOUNT INN, ROOM 304 - NIGHT - LATER <>Leonard, fully clothed, grabs a SHOPPING BAG from the closet,and does a quick circuit of the room, grabbing various items(the paperback book, hairbrush, alarm clock, stuffed toy) andSTUFFING them into the bag.109 EXT. DISCOUNT INN - NIGHT <> 109Leonard comes out of Room 304, grim-faced, carrying theshopping bag. He goes to his Jaguar and gets in. CUT TO:110 INT. MOTEL ROOM 21 - NIGHT ##BLACK AND WHITE SEQUENCE## 110Leonard (boxers, bandaged arm) dips the NEEDLE into the ink *reservoir and PUNCTURES the skin of his thigh, talking on thephone. LEONARD Well, sir, that would certainly be in keeping with some of my own discoveries. Yeah, I was hoping to get more on the drugs angle. Hang on a second.Leonard drops the needle/pen, pulls a LARGE FILE out of hissports bag and opens it on the bed. LEONARD (cont'd) The police report mentioned the drugs found in the car outside my house. The car was stolen, but his prints were all over it, along with some of his stuff. And I think there's something... (flips through pages) Something about a syringe... (flips pages, confused) I've got a copy of the police report. (MORE) (CONTINUED)MEMENTO Pink Revisions - 9/7/99 61A.110 CONTINUED: 110 LEONARD (cont'd) It has lots of information, but with my condition, it's tough. I can't really keep it all in mind at once. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 62.110 CONTINUED: (2) 110Leonard looks at the back of the file, where he has written a *list of 'CONCLUSIONS'. * LEONARD (cont'd) * I have to keep summarizing the different * sections... *Leonard flips back to the front page. on it there is ahandwritten note: "MISSING PAGES: 14-17, 19, 23... LEONARD (cont'd) Yeah, and there's pages missing... I guess I've been trying to log them all. (listens, smiles) The police gave me the report themselves. I dealt with them a lot in my insurance job, and I had friends in the department. They must have figured that if I saw the facts of the case, then I would stop believing that we needed to find John G.Leonard flips to the back page to look at his HANDWRITTENCONCLUSIONS. LEONARD (cont'd) They weren't even looking for John G. The stuff they found in the car just fit in with what they believed had happened, so they didn't chase any of it up.111 EXT. DISCOUNT INN - DAY <> 111Leonard pulls up in the Jaguar, checks the name against aNOTE written on a BEER MAT, and heads into the office.Leonard comes out of the office, gets a sports bag from theJaguar, then takes a Polaroid of the entrance and heads forRoom 304.112 INT. DISCOUNT INN - ROOM 304 - DAY <> 112Leonard enters the unoccupied room, flapping the Polaroidphoto. He sifts through his sports bag, pulls out a pen andwrites the motel's address on the picture.With well-practiced, efficient movements, Leonard removes hiswall chart from the sports bag, unrolls it, sticks it to thewall. He takes a stack of Polaroids out of the sports bag andworks through them, considering each new picture and findingits proper place on the chart like someone playing solitaire.LATER: (CONTINUED)MEMENTO Pink Revisions - 9/7/99 62A.112 CONTINUED: 112Leonard flips through the yellow pages, looking under "EscortServices".LATER:Leonard is on the phone. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 63.112 CONTINUED: 112 LEONARD None? Okay, blonde. Yeah, blonde is fine. Discount Inn, 304. Leonard. *LATER:Leonard opens the door to the Blonde.LATER:The Blonde is looking curiously at the chart, drink in hand.Leonard is in the chair. BLONDE Well, what then? LEONARD It's simple, you just go to the bathroom.The Blonde turns, surprised. Leonard smiles, embarrassed. LEONARD (cont'd) No, you just go into the bathroom. We go to bed, you wait till I fall asleep, then you go into the bathroom and slam the door. BLONDE Slam it? LEONARD Just loud enough to wake me up. BLONDE That's it? LEONARD That's it.Leonard gets up, pulls a paper shopping bag out of the closetand hands it to the Blonde. LEONARD (cont'd) But, first I need you to put these things around.The Blonde looks confused. LEONARD (cont'd) Just pretend these things are yours, and this is your bedroom.The Blonde pulls a bra out of the bag. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 64.112 CONTINUED: (3) 112 BLONDE Should I wear it? LEONARD No. Just leave the stuff lying around as if it were yours. Like you just took it off or something. BLONDE Whatever gets you off.The Blonde pulls the hairbrush out of the bag. She moves tobrush her hair with it, but Leonard stops her. LEONARD No! No, don't use it, you, I mean it's... you just have to put it where you would if it were yours.The Blonde sees the BLACK HAIR stuck in the brush.113 INT. DISCOUNT INN ROOM 304 - NIGHT <> 113The lights are off. The Blonde and Leonard are lying side byside in bed.The Blonde checks to see that Leonard is asleep, then slipsout of bed. She grabs her purse then opens the bathroom door.She looks back at Leonard, asleep. She moves into thebathroom and shuts the door firmly, making a LOUD BANG.Leonard's EYES OPEN.114 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQCTENCE## 114Leonard (boxers, bandaged arm) TATTOOS HIMSELF as he talks on *the phone. So far he has tattooed:"FACT 5." LEONARD The drugs stashed in the car doesn't ring true for me.Leonard consults his FILE CARD, which says:"TATTOO: ACCESS TO DRUGS" LEONARD (cont'd) The police figure the guy was an addict needing money to score, but I'm not convinced. He's not gonna be breaking in when he's still got a stash that big. (MORE) (CONTINUED)MEMENTO Pink Revisions - 9/7/99 65.114 CONTINUED: 114 LEONARD (cont'd) (listens) I think John G. left it or planted it. (listens) Well, it was a lot for one guy's personal use. (listens) How do you know that? (listens, checks report) Right, that's true. It fits. (listens) Too much for personal use, so he deals.Leonard takes his pen and alters his FILE CARD to read:"TATTOO: FACT 5. DRUG DEALER"Leonard picks up the NEEDLE/PEN and continues his tattoo.115 EXT. NATALIE'S HOUSE - DAY <> 115The CAR ALARM of the Jaguar is SOUNDING.Leonard exits, walks to the car and gets in, switching offthe alarm. TEDDY (O.S.) You should lock a car as nice as this.Teddy is in the passenger seat. Leonard, startled, GRABS himby the throat. LEONARD Who the fuck are you? TEDDY (gasping) Teddy. Your buddy. LEONARD Prove it. TEDDY (gasping) Sammy. Remember Sammy. You told me about Sammy.Leonard lets him go. LEONARD What are you doing in my car?Teddy is now wearing his big grin, rubbing his neck. (CONTINUED) 66.115 CONTINUED: 115 TEDDY Sense of humour went with the memory, huh? You know why you're still here, don't you? LEONARD Unfinished business. TEDDY Lenny, as a buddy, let me inform you. Your business here is very much finished. You're still here because of Natalie. LEONARD Who's she?Teddy chuckles. TEDDY Whose house do you think you just walked out of?Leonard looks at the house. Teddy motions towards Leonard'spockets. TEDDY (cont'd) Take a look at your pictures, I bet you got one of her.Leonard pulls out his Polaroids and flips through them. Hepauses at the one of Natalie. Teddy SWIPES it out of hishands to get a better look at the blurred image of Natalieturning in a doorway. TEDDY (cont'd) Great shot, Lenny.Teddy flips the photo over. There is nothing on the back.Teddy hands it back to Leonard. TEDDY (cont'd) You wanna make a note that you can't trust her. LEONARD Why's that? TEDDY Because she'll have taken one look at your clothes and your car and started thinking of ways to turn the situation to her advantage. She's already got you staying with her, for fuck's sake. (MORE) (CONTINUED) 67.115 CONTINUED: (2) 115 TEDDY (cont'd) You can't stay with her. Let me give you the name of a motel.Teddy starts looking for a piece of paper. TEDDY (cont'd) Good thing I found you. She's bad news. LEONARD What do you mean "bad news"? TEDDY She's involved with these drug dealers.Teddy opens the GLOVE COMPARTMENT, finding a STACK OF BEERMATS from a local bar called FERDY'S. * TEDDY (cont'd) See these? That's the bar where she works. Her boyfriend's a drug dealer. She'd take orders for him, arrange meets. He'd write messages on these, then leave it on the bar. She'd drop replies when she served him drinks. LEONARD Why should I care?Teddy starts writing on the BEER MAT. TEDDY She's gonna use you. To protect herself. LEONARD From who? TEDDY Guys who'll come after her. Guys who'll want to know what happened to her boyfriend. They'll want to make somebody pay. Maybe she'll try and make it you. LEONARD Yeah, well maybe she'll make it you. Is that it? You worried she'll use me against you? TEDDY She couldn't. LEONARD Why not? (CONTINUED)MEMENTO Blue Revisions - 8/27/99 68.115 CONTINUED: (3) 115 TEDDY (grins) She has no idea who I am. LEONARD Why are you following me? TEDDY I'm trying to help you. I knew she'd get her claws into you. She doesn't know anything about your investigation, so when she offers to help you, it'll be for her own reasons. Why would I lie? Do not go back to her. Take out a pen, write yourself a note, do not trust her.Leonard takes out his pen, places the picture of Natalie facedown on the dash and writes on the white strip on the back:"DON'T TRUST HER" LEONARD Happy now? TEDDY I won't be happy until you leave town. LEONARD Why? TEDDY How long do you think you can hang around here before people start asking questions? LEONARD What sort of questions? TEDDY The sort of questions you should be asking yourself. LEONARD Like what? TEDDY Like how'd you get this car? That suit? LEONARD I have money. (CONTINUED) 69.115 CONTINUED: (4) 115 TEDDY From what? LEONARD My wife's death. I used to work in Insurance, we were well covered. TEDDY So in your grief you wandered into a Jaguar dealership?Leonard says nothing. Teddy laughs. TEDDY (cont'd) You haven't got a clue, have you? You don't even know who you are? LEONARD Yes, I do. I don't have amnesia. I remember everything about myself up until the incident. I'm Leonard Shelby, I'm from San Fran - TEDDY That's who you were, Lenny. You don't know who you are, who you've become since the incident. You're wandering around, playing detective... and you don't even know how long ago it was.Teddy reaches out to Leonard's lapel, and gently opens hisjacket to reveal the label. TEDDY (cont'd) Put it this way. Were you wearing designer suits when you sold insurance? *Leonard looks down at his suit, then back to Teddy. LEONARD I didn't sell - TEDDY I know, you investigated. Maybe you need to apply some of your investigative skills to yourself. LEONARD Yeah, well, thanks for the advice. TEDDY Don't go back in there. There's a motel out of town. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 70.115 CONTINUED: (5) 115Teddy hands Leonard the BEER MAT and gets out of the car. TEDDY (cont'd) It's been fun, Lenny.Teddy walks off. Leonard pulls his Polaroids out of hispocket and finds the one of Teddy. He places it on the dash,face up, next to the one of Natalie which is still face downon the dash. Leonard reads the message he has written on theback of Natalie's picture:"DON'T TRUST HER"He flips Teddy's picture over, like a croupier turning a cardat blackjack. On the back it says:"DON'T BELIEVE HIS LIES"Leonard purses his lips in surprised frustration. He grabshis pen and scribbles on the back of Natalie's picture,obliterating the words:"DON'T TRUST HER"He flips Natalie's picture over and considers her blurredimage. He looks up at her house, then picks up the BEER MAT,reading the address Teddy has given him. LEONARD Fuck it. I need my own place.Leonard starts the engine.116 EXT. DISCOUNT INN - DAY <> 116Leonard pulls up in his Jaguar, checks the name of the motelagainst the note written on the BEER MAT, then heads into theoffice to check in.Leonard comes out of the office, takes a Polaroid of the front of the motel, and heads for Room 304.117 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 117Leonard (boxers, bandaged arm) talks on the phone. He presses *the NEEDLE/PEN against his thigh, working on a "D". LEONARD I can't blame the cops for not taking me seriously. This is a difficult condition for people to understand. I mean look at Sammy Jankis. His own wife couldn't deal with it. (MORE) (CONTINUED)MEMENTO Pink Revisions - 9/7/99 71.117 CONTINUED: 117 LEONARD (cont'd) (listens) I told you about how she tried to get him to snap out of it? (listens) It got much worse than that. Eventually Sammy's wife came to see me at the office, and I found out all kinds of shit. (listens) She knew that I was the one who had built he case for Sammy faking it.118 INT. LEONARD'S OFFICE - DAY ##BLACK AND WHITE SEQUENCE## 118Leonard, in a CHEAP SUIT AND TIE, gets up from behind hisdesk to shake hands with Mrs. Jankis. They talk, Leonardnodding as he listens. Mrs. Jankis is crying. LEONARD (V.O.) She told me about life with Sammy, how she'd treated him. It had got to the point where she'd get Sammy to hide food all around the house, then stop feeding him to see if his hunger would make him remember where he'd hidden the stuff. She wasn't a cruel person, she just wanted her old Sammy back.The tearful Mrs. Jankis gives Leonard a determined look. MRS. JANKIS Mr. Shelby, you know all about Sammy and you decided that he was faking - LEONARD Mrs. Jankis, the company's position isn't that Sammy is "faking" anything, just that his condition can't be shown - MRS. JANKIS I'm not interested in the company position, Mr. Shelby. I want to know your honest opinion about Sammy. LEONARD We shouldn't even be talking this way while the case is still open to appeal. MRS. JANKIS I'm not appealing the decision. LEONARD Then why are you here? (CONTINUED) 72.118 CONTINUED: 118 MRS. JANKIS Mr. Shelby, try and understand. When I look into Sammy's eyes, I don't see some vegetable, I see the same old Sammy. What do you think it's like for me to suspect that he's imagining this whole * problem? That if I could just say the right thing he'd snap out of it and be back to normal? If I knew that my old Sammy was truly gone, then I could say goodbye and start loving this new Sammy. * As long as I have doubt, I can't say goodbye and move on. LEONARD Mrs. Jankis, what do you want from me? MRS. JANKIS I want you to forget the company you work for for thirty seconds, and tell me if you really think that Sammy is faking his condition.Leonard plays with his letter opener, thinking. MRS. JANKIS (cont'd) I need to know what you honestly believe. LEONARD (looks at Mrs. Jankis) I believe that Sammy should be physically capable of making new memories. MRS. JANKIS Thank you.119 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 119 LEONARD She seemed to leave happy. I thought I'd helped her.Leonard puts the NEEDLE/PEN down, and wipes blood from his new,homemade TATTOO, which says:"FACT 5. DRUG DEALER" LEONARD (cont'd) I thought she just needed some kind of answer. (MORE) (CONTINUED)MEMENTO Pink Revisions - 9/7/99 73.119 CONTINUED: 119 LEONARD (cont'd) I didn't think it was important to her what the answer was, just that she had one to believe.Leonard notices the BANDAGE on his LEFT ARM. He starts *fiddling with the TAPE, peeling back the corners. CUT TO:120 INT. NATALIE'S LIVING ROOM - DAY <> 120Leonard sifts through the papers on the desk, agitated. He *hears a car door SLAM. He looks out of the window to see *Natalie getting out of her car.She turns and comes towards the front door. Her face is SWOLLENand BLEEDING.Leonard OPENS the door for her. She RUSHES past him. * LEONARD What happened?Natalie, intensely AGITATED, FUMBLES with things in her purse. NATALIE What does it look like?!She turns to Leonard so that he can see the full extent ofher injuries. Her eye is SWELLING UP, and her lip is SPLIT. NATALIE (cont'd) He beat the shit out of me. LEONARD Who? NATALIE Who?! Fuck, Leonard! Dodd! Dodd beat the shit out of me.Natalie FLINGS her purse to the ground in frustration. Shedoes not know what to do with her hands. LEONARD Why?Natalie turns to him, ENRAGED. NATALIE Because of you, you fucking idiot! Because I did what you told me! (MORE) (CONTINUED)MEMENTO Pink Revisions - 9/7/99 74.120 CONTINUED: 120 NATALIE (cont'd) Go to him, reason with him, tell him about Teddy! Great fucking idealLeonard APPROACHES her, palms out. LEONARD Calm down.Natalie starts to HIT Leonard. He takes her arms. LEONARD (cont'd) (softly) Take it easy. You're safe now. You're safe.He sits her down on the couch. LEONARD (cont'd) Let's get some ice on your face.LATER:Natalie, crying softly, holds a paper towel filled with icecubes to her swollen cheek while Leonard gently uses a damppaper towel to wipe the blood from her upper lip. NATALIE I did exactly what you told me. I went to * Dodd and I said that I didn't have * Jimmy's money, or any drugs, that this Teddy must have taken everything. LEONARD And what did he say? NATALIE He didn't believe me. He said that if I don't get him the money tomorrow he's gonna kill me. Then he started hitting me. LEONARD Where is he? NATALIE What are you gonna do? LEONARD I'll go see him. NATALIE And? (CONTINUED)MEMENTO Pink Revisions - 9/7/99 75.120 CONTINUED: (2) 120 LEONARD Give him some bruises of his own and tell him to look for a guy called Teddy. NATALIE He'll kill you, Lenny. LEONARD (smiling) My wife used to call me Lenny. NATALIE Yeah? LEONARD Yeah, I hated it. NATALIE This guy's dangerous, let's think of something else.Leonard takes out a piece of paper but he cannot find hispen. LEONARD I'll take care of it. Just tell me what he looks like, and where I can find him. Do you have a pen?Natalie gets a pen out of her purse and hands it to him. NATALIE He'll probably find you. LEONARD Me? Why would he be interested in me? NATALIE I told him about your car. LEONARD Why would you do that? NATALIE He was beating the crap out of me! I had to tell him something!Leonard hands Natalie the piece of paper and pen. LEONARD Just write it all down. What he looks * like, where I find him. * (CONTINUED)MEMENTO Pink Revisions - 9/7/99 75A.120 CONTINUED: (3) 120Natalie hands him a note. It says: (CONTINUED)MEMENTO Pink Revisions - 9/7/99 76.120 CONTINUED: (4) 120"DODD MOUNTCREST INN ON 5TH ST., ROOM 6" *"PUT HIM ON TO TEDDY OR JUST GET RID OF HIM FOR NATALIE"Outside, a CAR ALARM starts to sound. Leonard gets up andheads to the door, flipping through his Polaroids.121 EXT. NATALIE'S HOUSE - DAY <> 121The Jaguar's CAR ALARM is sounding.Leonard exits Natalie's house, walks to his Jaguar and getsin, silencing the alarm. TEDDY (O.S.) You should lock a car as nice as this.Leonard, startled, GRABS Teddy by the throat. CUT TO:122 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 122Leonard, in boxers, bandage on arm, sits on the edge of *the bed talking on the phone. LEONARD No, she shouldn't have given me that responsibility. Shit, I'm not a doctor, I'm a claims investigator.Leonard crooks his neck to hold the receiver between ear andshoulder and FIDDLES with the BANDAGE ON HIS LEFT ARM, *starting to peel back the tape, t.zying to look under thecotton pad. LEONARD (cont'd) I suppose, but I've got all sorts of other considerations.Leonard starts to REMOVE THE BANDAGE. LEONARD (cont'd) Legal responsibility, and large financial...LEONARD REMOVES THE BANDAGE FROM HIS LEFT ARM, REVEALING A *CRUDE TATTOO WHICH SAYS:"NEVER ANSWER THE PHONE"Leonard looks up. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 77.122 CONTINUED: 122 LEONARD (cont'd) Who is this?He takes the receiver away from his ear as if the caller hasjust hung up. CUT TO:123 INT. NATALIE'S LIVING ROOM - DAY <> 123Leonard is sitting on the coffee table, relaxed, looking athis Polaroids. Natalie (WITHOUT BRUISES) BURSTS in throughthe front door, scared. LEONARD What's wrong? NATALIE Somebody's come. Already. LEONARD Who? NATALIE Calls himself Dodd. LEONARD What does he want? NATALIE Wants to know what happened to Jimmy. And his money. He thinks I have it. He thinks I took it. LEONARD Did you? NATALIE No! LEONARD What's this all about?Natalie looks at him bitterly. NATALIE You don't know, do you? You're blissfully ignorant, aren't you? LEONARD I have this condition - (CONTINUED) 78.123 CONTINUED: 123 NATALIE I know about your fucking condition, Leonard! I probably know more about it than you do! You don't have a fucking clue about anything else! LEONARD What happened? NATALIE What happened is that Jimmy went to meet a guy called Teddy. He took a lot of money with him and he didn't come back. Jimmy's partners think I set him up. I don't know whether you know this Teddy or how well -Leonard is getting frustrated. LEONARD Neither do I. NATALIE Don't protect him. LEONARD I'm not. NATALIE Help me. LEONARD How? NATALIE Get rid of Dodd for me. LEONARD What? NATALIE Kill him. I'll pay you. LEONARD What do you think I am?! I'm not gonna kill someone for money. NATALIE What then? Love? What would you kill for? For your wife, right? LEONARD That's different. (CONTINUED) 79.123 CONTINUED: (2) 123 NATALIE Not to me! I wasn't fucking married to her! LEONARD Don't talk about my wife. NATALIE I can talk about whoever the fuck I want! You won't even remember what I say! I can tell you that your wife was a fucking whore and we can still be friends!Leonard stands up. LEONARD Calm down. NATALIE That's easy for you to say! You can't get scared, you don't remember how, you fucking idiot! LEONARD Just take it easy, this isn't my fault. NATALIE Maybe it is! How the fuck would you know?! You don't know a fucking thing! You can't get scared, can you get angry?!Leonard steps towards her. LEONARD Yes. NATALIE You pathetic piece of shit. I can say whatever the fuck I want and you won't have a clue, you fucking retard. LEONARD Shut the fuck up!Natalie gets right in his face, grinning. NATALIE I'm gonna use you, you stupid fuck. I'm telling you now because I'll enjoy it more if I know that you could stop me if you weren't a freak. (CONTINUED) 80.123 CONTINUED: (3) 123Leonard grabs his Polaroids and finds one of Natalie. Hereaches into his pocket for a pen, but cannot find one. NATALIE (cont'd) Lost your pen? That's too bad, freak. Otherwise you could've written yourself a little note about how much Natalie hates your retarded guts.Leonard moves around the room searching for a pen. Nataliefollows him, speaking into his ear. NATALIE (cont'd) No pens here, I'm afraid. You're never going to know that I called you a retard, and your wife a whore.Leonard turns to face her, barely controlling his anger. LEONARD Don't say another fucking word! NATALIE About your whore of a wife?Leonard slaps Natalie. She smiles, then speaks softly. NATALIE (cont'd) I read about your problem. You know what one of the causes of short term memory loss is?Leonard fumes. NATALIE (cont'd) Venereal disease. Maybe your cunt of a wife sucked one too many diseased cocks and turned you into a retard.Leonard turns away, body tensed, ready to snap. Nataliereaches out to gently brush the hair above his ear with herfingers. NATALIE (cont'd) You sad freak, you won't remember any of what I've said, and we'll be best friends, or even lovers.Leonard spins around, BACKHANDING Natalie on the cheek.He PUNCHES her in the mouth then pushes her to the floor. Hestands over her, furious with himself as much as her. (CONTINUED) 81.123 CONTINUED: (4) 123Natalie gets to her feet, and goes to the door. She turns toLeonard. Her face is bloody but she smiles. NATALIE (cont'd) See you soon.Natalie exits. Leonard watches her walk out to her car andget in. She just sits there.Leonard turns from the window and looks around the room. Hegrabs at drawers, searching for a pen. He looks back out the *window. Natalie is still sitting in her car. Leonard is *sifting through the papers on the desk when he hears a car *door SLAM. He looks out of the window to see Natalie getting *out of her car. She turns to walk toward the house. Her faceis swollen and bloody.Leonard opens the door for her. LEONARD What happened?Natalie, intensely AGITATED, FUMBLES with things in herpurse. NATALIE What does it look like?124 INT. MOTEL ROOM 21 - DAY <> 124Leonard lies on the bed, in jeans, topless. He reaches for theringing phone with his left arm. As his hand reaches thereceiver Leonard reads the tattoo on his arm which says: *"NEVER ANSWER THE PHONE"Leonard strokes the tattoo as he lets the phone ring. Itstops. Leonard goes to the door, opens it and checks thenumber of the room: 21. He goes back to the phone, makes acall. LEONARD Front desk? Burt, right. Well, this is Mr. Shelby in Room 21. I don't want any * calls, none at all, got it? Thanks. * CUT TO:MEMENTO Pink Revisions - 9/7/99 82.125 EXT. NATALIE'S HOUSE - DAY <> 125Leonard's Jaguar pulls up. Leonard and Natalie (WITHOUTBRUISES) get out. Leonard is carrying his sports bag. *126 INT. NATALIE'S LIVING ROOM - DAY <> 126Natalie leads Leonard in, self-conscious about her messyliving room. NATALIE You can just crash out on the couch. You'll be comfortable.Leonard nods and stands awkwardly. NATALIE (cont'd) Uh, take a seat.Leonard smiles and sits down in a chair. Natalie clearsthings off the coffee table. Leonard unzips his bag and looks *through his things, pulling out his file. * NATALIE (cont'd) So how long you think it's gonna take you?Leonard raises his eyebrows. NATALIE (cont'd) You told me you were looking for the guy who killed your wife. LEONARD (consulting file) * Depends on if he's here in town. Or if he's moved on. See, I've got all this - * NATALIE Can I ask you something?Leonard nods. NATALIE (cont'd) If you've got all this information, how come the police haven't found him for you? LEONARD They're not looking for him. NATALIE Why not? (CONTINUED)MEMENTO Pink Revisions - 9/7/99 83.126 CONTINUED: 126Leonard runs his finger down the list of conclusions on the *back of his file. LEONARD They don't think he exists.Natalie looks confused. LEONARD (cont'd) I told them what I remembered. I was asleep, something woke me up...CUT TO FLASHBACK <>127 INT. LEONARD'S APARTMENT BEDROOM - NIGHT <> 127Leonard opens his eyes. He slides his hand over to the emptyspace on the bed beside him, feeling the sheet. LEONARD (V.0.) Her side of the bed was cold. She'd been * out of bed for a while.Leonard sits up in bed, listening.128 INT. LEONARD'S HALLWAY WITH WOODEN FLOORS AND HIGH CEILINGS 128NIGHT <>We move down the hail towards a closed door. Shadows and *light play across the floorboards from the gap under the *door. An ominous rumbling builds. *A128 INSERT QUICK CUTS: A128Extreme close ups:A glass bottle smashes against ceramic tiles. A mirrorsmashes. Flesh hits tiled floor.129 INT. LEONARD'S APARTMENT BEDROOM - NIGHT <> 129Leonard takes a gun down from the top of the bedroom closet,then quietly makes his way into the corridor.A129 INT. LEONARD'S APARTMENT BATHROOM - NIGHT <>He KICKS the door open, revealing two figures struggling onthe floor of a BATHROOM.Close up of a WOMAN'S FACE, wrapped in the wet clear plasticshower curtain, STRUGGLING to breathe. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 83A.A129 CONTINUED: A129Close up of a BASEBALL CAP-COVERED HEAD turning to reveal aface covered by a DIRTY WHITE COTTON MASK. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 84.A129 CONTINUED: (2) A129Close up of a GLOVED HAND drawing a PISTOL from the back of awaistband.A SHOT rings out and the white cotton mask is BLOWN into RED,the Masked Man falling of f the struggling woman. Leonardstands in the doorway, smoking gun in hand. He is HIT HARDfrom behind by an UNSEEN ASSAILANT who GRABS Leonard by theHAIR and THROWS his HEAD into the MIRROR, SHATTERING IT.Leonard DROPS to the floor.An extreme close up of a woman's staring eyes, seen throughwater-beaded, blood-spattered clear plastic.The EYES BLINK and we WHITE OUT. FADE DOWN FROM WHITE TO:130 INT. NATALIE'S LIVING ROOM - DAY <> 130 LEONARD (cont'd) There had to be a second man. I was struck from behind, I remember. It's about the last thing I do remember. But * the police didn't believe me. NATALIE How did they explain what you remembered? The gun and stuff? LEONARD (points at conclusions on back * of file) * John G. was clever. He took the dead man's gun and replaced it with the sap that he'd hit me with. He left my gun and left the getaway car. He gave the police a complete package. They found a sap with my blood on it in the dead man's hand, and they only found my gun. They didn't need to look for anyone else. I was the only guy who disagreed with the facts, and I had brain damage. *Natalie watches him. * NATALIE You can stay here for a couple of days if it'll help. LEONARD Thank you. (CONTINUED) MEMENTO Pink Revisions - 9/7/99 85.130 CONTINUED: 130 NATALIE I've got to get back for the evening shift, so make yourself at home, watch T.V., whatever. Just grab a blanket and pillow off the bed. I never need them all anyway.Leonard nods. Natalie heads for the door. LEONARD Oh, one thing.Natalie TURNS. Leonard snaps her picture with his Polaroidcamera. He lowers the camera and smiles. LEONARD (cont'd) Something to remember you by.Natalie smiles unconvincingly, perturbed, and exits. Leonardsits down on the couch and writes "Natalie" on the whitestrip under her photo as it develops into the blurred imageof Natalie which we have seen before. He takes out his otherPolaroids, flipping through them.LATER:Leonard watches commercials on TV. He notices the tattoo onhis hand ("REMEMBER SAMMY JANKIS"), then switches the TV off.He starts to examine his Polaroids.Natalie BURSTS through the door, worried. LEONARD (cont'd) What's wrong? NATALIE Somebody's come. Already. CUT TO:131 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 131 *There is a KNOCK at the door. Leonard PULLS ON HIS LONG-SLEEVED PLAID WORK SHIRT, goes to the door and opens it. Burtis standing there. BURT Leonard, it's Burt from the front desk. LEONARD Yeah? (CONTINUED)MEMENTO Blue Revisions - 8/27/99 86.131 CONTINUED: 131 BURT I know you said you didn't want any calls... LEONARD That's right I did, didn't I? BURT Yeah, but there's a call for you from this guy. He's a cop. LEONARD A cop? BURT And he says you're gonna wanna hear what he's got to say. * LEONARD (shakes head) * I'm not too good on the phone. I need to * look people in the eye when I talk to * them. *Burt shrugs, then walks off. * CUT TO:132 INT. FERDY'S BAR - DAY <> 132Leonard sits at a booth looking through his Polaroids. ADRUNK with shaky hands sits at the bar. Natalie (withoutbruises) is working behind the bar. She tops up a silvertankard with beer, brings it over and sets it in front ofLeonard, smiling. NATALIE On the house. LEONARD Thanks.Natalie watches in fascination as Leonard drinks from themug. The Drunk is giggling. NATALIE (fascinated) You really do have a problem. Just like that cop said.Leonard looks at Natalie, confused. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 86A.132 CONTINUED: 132 NATALIE (cont'd) Your condition, I mean. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 87.132 CONTINUED: (2) 132 LEONARD (shrugs) Nobody's perfect.Natalie leans in close, studying Leonard, looking him over. NATALIE What's the last thing you remember? Leonard looks at her.CUT TO FLASHBACK:133 INT. LEONARD'S BATHROOM - NIGHT <> 133An extreme close up, from floor level, of a woman's staringeyes seen through water-beaded, blood-spattered clearplastic.The EYES BLINK.134 INT. FERDY'S BAR - DAY <> 134BACK TO LEONARD IN BAR:Leonard looks at Natalie. LEONARD My wife. NATALIE Sweet. LEONARD Dying. NATALIE What? LEONARD I remember my wife dying.Natalie picks up the silver tankard from the table. NATALIE Let me get you a fresh glass. I think this one was dusty.135 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 135Leonard, in boxers and long-sleeved plaid work shirt, lies on *the bed, trying to ignore the RINGING PHONE. he rubs his *tattoo: "NEVER ANSWER THE PHONE". The phone goes quiet. * (CONTINUED)MEMENTO Pink Revisions - 9/7/99 87A.135 CONTINUED: 135Leonard hears a noise, and turns to see an ENVELOPE sliding *underneath the door. He gets off the bed and picks it up. It *is addressed: "LEONARD". He opens it and removes a POLAROID. *The photo of himself, bare-chested, tattooed and grinning *maniacally, pointing to the bare area of skin above his *heart. Leonard stares at it, disturbed. Underneath the photo *is written: *"TAKE MY CALL" *The phone RINGS. * CUT TO: (CONTINUED)MEMENTO Pink Revisions - 9/7/99 88. 136 OMIT 136*137 INT. JAGUAR PARKED IN FERDY'S BAR PARKING LOT - DAY <>Leonard sits, studying his Polaroids. A metallic howl makes *him glance up and he sees the lid of a dumpster BANG SHUT. He *puts his Polaroids in his pocket and examines the beer mat *with the message: "COME BY AFTERWARDS, NATALIE" *138 OMIT 138*MEMENTO Pink Revisions - 9/7/99 89.139 INT. FERDY'S BAR ON MAIN STREET - DAY <> 139Leonard enters and sits at the bar a couple of places downfrom a filthy, toothless Drunk. Natalie (without bruises)appears in front of him. Leonard looks up at Natalie withoutrecognition. She eyes him coldly, staring at his clothes. LEONARD Beer, please. NATALIE (apprehensive) What do you want? LEONARD A BEER, please. NATALIE Don't just waltz in here dressed like * that and order a beer. *Leonard looks over to the filthy Drunk, then back at Natalie. LEONARD There's a dress code? NATALIE What are you here for? LEONARD I'm meeting someone called Natalie. NATALIE Well, that's me. LEONARD Oh. But haven't we met before?Natalie slowly shakes her head. Leonard is confused. LEONARD (cont'd) So why am I here? NATALIE You tell me. LEONARD I don't remember. See, I have no short- * term memory. It's not amnesia - * (CONTINUED)MEMENTO Pink Revisions - 9/7/99 90.139 CONTINUED: NATALIE You're the memory guy? LEONARD How do you know about me? NATALIE My boyfriend told me about you. LEONARD Who's your boyfriend? NATALIE (beat) Jimmy Grantz. Know him?Leonard shrugs. NATALIE (cont'd) Well, it seems like Jimmy knows you. He told me about you. Said you were staying over at the Discount. Then, just this * evening, this cop comes in here looking * for you. Looking for a guy who couldn't remember stuff, who'd forget how he got here or where he was going. I told him we get a lot of guys like that in here.Leonard does not find this funny. LEONARD Chronic alcoholism ~ one cause of short term memory loss. NATALIE Are you Teddy? LEONARD My name's Leonard. * NATALIE Did Teddy send you? LEONARD I don't know.Natalie stares at Leonard. Her look softens, becoming almostpleading. NATALIE What's happened to Jimmy? (CONTINUED)MEMENTO Pink Revisions - 9/7/99 91.139 CONTINUED: (2) 139 LEONARD I don't know. I'm sorry. NATALIE You have no idea where you've just come from? What you've just done?Leonard shakes his head. LEONARD I can't make new memories. Everything * fades, nothing sticks. By the time we finish this conversation I won't remember how it started, and the next time I see you I won't know that I've ever met you before. NATALIE So why did you come here?Leonard pulls the beer mat out of his pocket and hands it toNatalie. LEONARD Found it in my pocket.Natalie takes it, staring at it, emotional. NATALIE (quiet) Your pocket.She retreats down the bar to attend to a CUSTOMER, eyeingLeonard suspiciously as he pulls out his Polaroids.LATER:Leonard hears a hocking sound and looks over to see thefilthy Drunk spitting a blob of sticky phlegm into a silvertankard which Natalie holds across the bar. Natalie smiles. NATALIE (cont'd) Bar bet.Leonard shakes his head and looks down. He hears a snort andglances over again. The Drunk is pushing his finger againstone nostril, whilst blowing snot out the other into thetankard. Natalie smiles again. NATALIE (cont'd) For a lot of money. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 92.139 CONTINUED: (3) 139She approaches with the tankard. NATALIE (cont'd) Care to contribute?Leonard shakes his head, disgusted. Natalie waves the tankardin his face. NATALIE (cont'd) Come on, proceeds are going to charity.Leonard drops a tidy blob of spit into the beer, shakes hishead, revolted. Natalie places the mug on the bar in front ofthe stool next to Leonard's. She takes a long-handled spoonand stirs it vigorously. Leonard grabs his Polaroids andmoves over to a booth.Natalie brings over the tankard arid places it in front ofhim, smiling. NATALIE (cont'd) On the house. LEONARD Thank-you.Leonard raises the tankard to his lips. CUT TO:140 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 140Leonard, holding the Polaroid of himself, stares at the ringing *phone. He picks up the receiver. * LEONARD * (anxious) * What do you want? * (listens) * I know you're a cop, but what do you * want? Did I do something wrong? * (frightened) * No, but I can't remember things I do. I * don't know what I just did. Maybe I did * something wrong, did I do something * wrong? *Leonard paces. * LEONARD * I dunno - something bad. Maybe I did * something bad. *MEMENTO Pink Revisions - 9/7/99 93.A140 EXT. ALLEYWAY BEHIND TATTOO PARLOUR - DAY <> *Leonard DROPS from a WINDOW, gains his balance and HURRIES to *his Jaguar which is parked on the street by the mouth of the *alley. He slips into the car, CLOSES the door gently, starts *the engine and SPEEDS away. *B140 INT./EXT. JAGUAR PARKED OUTSIDE FERDY'S - DAY <> * Leonard reaches into his jacket pocket and pulls out a round *piece of cardboard. It is a BEER MAT with the name of a local *bar: "FERDY'S". There is a message written on it: *"COME BY AFTERWARDS, NATALIE". *Leonard looks up at the doorway of the bar, then pulls the *car around into the parking lot. Natalie is standing by a *dumpster, heaving a trash bag into it. She watches the car *pull up, unable to see the driver. Natalie casually knocks on *the passenger side window. Leonard lowers the window and *Natalie leans down. * NATALIE * (casual) * Hey, Jimmy - *Natalie stares at Leonard confused. * NATALIE (cont'd) * I'm sorry, I... I thought you were * someone else. *Natalie backs away from the car, perturbed. Just before she *disappears around the corner, she tips the lid of the *dumpster, letting it fall with a metallic howl and a BANG. *C140 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## C140Leonard talks on the phone, worried. * LEONARD * No, Officer, but with my condition, you * don't know anything... you feel angry, * guilty, you don't know why. You could do * something terrible and not have the * faintest idea ten minutes later. Like * Sammy. What if I've done something like * Sammy?! * (listens) * I didn't tell you? Didn't I tell you * what happened to Sammy and his wife?! * (listens) * (MORE) (CONTINUED)MEMENTO Pink Revisions - 9/7/99 93A.C140 CONTINUED: C140 LEONARD (contd) Mrs. Jankis came to my off ice and asked * my honest opinion about Sammy's * condition. *141 INT. LEONARD'S OFFICE - DAY ##BLACK AND WHITE SEQUENCE## 141Mrs. Jankis is seated across the desk from Leonard. She getsup to leave. Leonard just sits there. LEONARD (V.0.) I never said he was faking. Just that his condition was mental, not physical. She seemed satisfied, she just said "thanks" and got up to leave. I found out later that she went home and gave Sammy his final exam.142 INT. THE JANKIS HOUSE LIVING ROOM - DAY ##BLACK AND WHITE 142SEQUENCE##Sammy watches T.V. commercials. Mrs. Jankis watches him. MRS. JANKIS Sammy, it's time for my shot.Sammy looks up, smiling, glad to help. He goes into thekitchen and comes back with a bottle of insulin, a syringeand a cotton swab.Sammy carefully prepares the injection and Mrs. Jankis offershim her arm. (LEONARD AND LEONARD'S WIFE TO SUBSTITUTE) (CONTINUED)MEMENTO Pink Revisions - 9/7/99 94. 142 CONTINUED: 142 LEONARD (V.O.) She knew beyond doubt that he loved her, so she found a way to test him.Sammy injects the insulin, then withdraws the needle, smilesreassuringly at his wife and goes back into the kitchen.Mrs. Jankis watches Sammy flipping through the channels,looking for commercials.She sets her watch back by fifteen minutes. MRS. JANKIS Sammy, it's time for my shot.Sammy looks up, smiling, glad to be able to help. He goesinto the kitchen and comes back with the bottle of insulin,the syringe and a new cotton swab.He carefully prepares the injection and Mrs. Jankis offershim her other arm. Sammy injects the insulin, then looks upat her and smiles.Sammy watches T.V. Mrs. Jankis sets her watch back by fifteenminutes. MRS. JANKIS (cont'd) Sammy, it's time for my shot.Sammy looks over from the T.V., smiling, glad to be able tohelp.Mrs. Jankis offers Sammy her leg, and he gives her anothershot of insulin, smiling. LEONARD (V.O.) She really thought she would call his bluff...Mrs. Jankis sets her watch back by fifteen minutes. LEONARD (V.O.) (cont'd) ... or didn't want to live with the things she'd put him through.Sammy injects her in the stomach. DISSOLVE TO:Mrs. Jankis, unconscious in her chair. Sammy glances over fromwatching T.V. commercials, wondering.He goes to her and takes her hand, nudging her gently. (CONTINUED) 95.142 CONTINUED: (2) 142 LEONARD (V.0.) (CONT'D) She went into a coma and never recovered.Sammy grabs for the phone, dialing frantically. LEONARD (V.O.)(cont'd) Sammy couldn't understand or explain what had happened.Sammy strokes Mrs. Jankis' cheek, crying.143 INT. CROWDED DAY ROOM OF A NURSING HOME - DAY ##BLACK AND 143WHITE SEQUENCE##Sammy sits watching other patients and nursing staff pass by.(LEONARD TO SUBSTITUTE) He looks at each one with a freshlook of expectant recognition. LEONARD (V.0.) He's been in a home ever since. He doesn't even know his wife is dead.144 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 144*Leonard strokes the tattoo on his hand. LEONARD (cont'd) * Sammy's brain didn't respond to * conditioning, but he was no con man. * When his wife looked into his eyes she * thought he could be the same as he ever * was. When I looked into Sammy's eyes, I * thought I saw recognition. We were both * wrong. Leonard looks into the mirror. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 96.144 CONTINUED: 144 LEONARD (cont'd) Now I know. You take it. If you think you're supposed to recognize someone, you pretend to. You bluff it to get a pat on the head from the doctors. You bluff it to seem less of a freak. *145 EXT. STRIP MALL - DAY <> 145The TYRES of the Jaguar SCREAM as the car SCREECHES to ahalt. Leonard backs the car up and stops in front of a TATTOOPARLOR. He grabs a FILE CARD of f the dash which says:"TATTOO: FACT 6. CAR LICENSE: SG13 7IU"146 INT. TATTOO PARLOR - DAY <> 146Leonard (beige suit) enters. A TATTOOIST is sitting with amagazine, smoking. LEONARD Didn't know this town had a parlor. TATTOOIST Every town's got a parlor. LEONARD I'd like this on my thigh please.Leonard hands her a FILE CARD. She reads the card, then looksat him. He shrugs.147 INT. CURTAINED CUBICLE - TATTOO PARLOR - DAY - CONTINUOUS 147<>Leonard unbuckles his trousers and starts to pull them down.He STOPS when he sees his thigh, looking up at the tattooist. LEONARD Promise you won't call me an idiot.He pulls down his trousers, revealing his SCABBY, homemadetattoo. ("FACT 5: DRUG DEALER"). The tattooist looks at it. TATTOOIST (shaking her head) Idiot.MEMENTO Pink Revisions - 9/7/99 97.148 INT. CURTAINED CUBICLE - TATTOO PARLOR - DAY - CONTINUOUS 148<>Extreme close-up of the tattooing needle finishing an "F".Wider shows us Leonard sitting with his suit trousers aroundhis ankles in a curtained cubicle. Next to him on the flooris his sports bag of notes and papers. The tattooist is *tattooing his thigh, Leonard is reading a file, fascinated.The curtain is thrust open and Teddy pokes his head in. TEDDY Hi, Lenny.The tattooist turns and looks up at Teddy. * TATTOOIST * It's private back here. TEDDY It's alright, we know each other, right, Lenny?The tattooist looks to Leaonard. Leonard shrugs. * LEONARD How'd you know I was in here? TEDDY The Jaguar's out front. You didn't even Bother to put it around back.Teddy cranes his neck to see what the tattoo says, but only"6. LI" is visible. TEDDY (cont'd) You should have just left town, Lenny. There's Tattoo parlors up North. LEONARD Guess I wanted to get something down before it slipped my mind.The tattoo needle buzzes as the tattooist makes a start on *the next letter: a "C". Teddy sticks his hand through thecurtain. TEDDY Gimme the keys, I'll move the car.Leonard watches Teddy. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 98.148 CONTINUED: 148 LEONARD It'll be alright for a minute.Teddy shrugs. The tattooist looks up at him. TATTOOIST Wait out there.Teddy goes back through the curtain. Teddy pops his head backthrough the curtain. TEDDY Lenny, I'll be back in a minute. I've got to get you some stuff.149 INT.CURTAINED CUBICLE - TATTOO PARLOR - DAY - MOMENTS LATER 149<>The buzzing of the tattoo needle stops. Leonard looks down athis thigh. It says:"FACT 6. CAR LICENSE: SG13 7IU"150 INT. TATTOO PARLOR - DAY - MOMENTS LATER <> 150Leonard exits the curtained cubicle, buckling his belt. Teddyis waiting for him with a PLASTIC BAG. Leonard pays thetattooist. Teddy looks at her. TEDDY Give us a minute, will ya?She shrugs and heads into the back. Teddy watches her go,then turns to Leonard, conspiratorial. TEDDY (cont'd) We've got to get you out of here. * LEONARD Why? TEDDY Why? Come on, Leonard, we talked about this. It's not safe f or you to be walking around like this. LEONARD Why not? (CONTINUED)MEMENTO Pink Revisions - 9/7/99 99.150 CONTINUED: 150 TEDDY Because that cop's looking for you. We * need to get you a change of identity. Some new clothes and a different car should do for now. Put these on. *Teddy offers the bag of clothes. Leonard refuses it. * LEONARD * What cop? TEDDY This bad cop. He checked you into the * Discount Inn. Then he's been calling you * for days, sticking envelopes under your * door, telling you shit. * LEONARD Envelopes? * TEDDY He knows you're no good on the phone, so * he calls you up to bullshit you. * Sometimes you stop taking his calls, so * he slips something under your door to * frighten you into answering your phone * again. He's been pretending to help you. * Feeding you a line of crap about John G. * being some local drug dealer. * LEONARD How do you know this? TEDDY 'Cos he fucking told me. He thinks it's funny. He's laughing at you. LEONARD How do you know him? TEDDY (glances around) I'm a snitch. He's a cop from out of town looking for information. The local boys put us in touch. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 100.150 CONTINUED: (2) 150Leonard takes the plastic bag. LEONARD * What did he want to know from you? * (CONTINUED)MEMENTO Pink Revisions - 9/7/99 101.150 CONTINUED: (3) 150 TEDDY * He wanted to know all, about Jimmy Grantz. LEONARD Who? TEDDY Jimmy's a drug dealer. This cop wanted to know all about how he sets up deals, shit like that. He's got some score in mind * and you're involved. Come on, there's no * time to argue - if he knew I was helping * you he'd find a way to kill me. Just get * these clothes on. You're gonna take my * car and get the fuck out of here. *Leonard heads back into the curtained cubicle with theplastic bag of clothes.MEMENTO Pink Revisions - 9/7/99 102.151 INT. CURTAINED CUBICLE - TATTOO PARLOR - DAY - CONTINUOUS 151<>Leonard drops the plastic bag and takes his jacket off. Hefeels something in the pocket, sticks his hand in and pulls *out a charred Polaroid photograph. *Leonard examines it, PUZZLED. All that is visible is AN ARM, *lying on a floor. Leonard reaches into the other pocket and *pulls out his POLAROIDS, flicking through them until he findsthe one of Teddy. He flips it over and checks the back:"DON'T BELIEVE HIS LIES"Leonard reacts with amused RELIEF. LEONARD (under his breath) Sneaky fuck. "Bad Cop". Had me going.Leonard puts his jacket back on, checks the other pockets. Hefinds a BEER MAT for a local bar named FERDY'S. There is amessage written on it:"COME BY AFTERWARDS, NATALIE"Leonard sticks it back in his pocket. He PEEKS through thecurtains. Teddy is sitting by the door, waiting. Leonardlooks around, NOTICES a window set high in the wall above thepadded bench in the cubicle. Leonard CLIMBS on the bench,OPENS the window and SQUEEZES himself through.152 EXT. TATTOO PARLOUR ALLEYWAY - DAY - CONTINUOUS <>Leonard DROPS from the window, regains his balance andhurries to his Jaguar which is parked on the street by themouth of the alley. CUT TO:153 INT. MOTEL ROOM 21 - DAY ##BLACK AND WHITE SEQUENCE## 153Leonard, in boxers and plaid work shirt, sits hunched over *the bedside table, flipping through the file as he talks on *the phone. LEONARD So this Jimmy Grantz deals drugs out of * the bar where his girlfriend works. But * he'll come to the meet alone. *Leonard looks down at the FRESH TATTOO on his thigh. * (CONTINUED)MEMENTO Pink Revisions - 9/7/99 102A.153 CONTINUED: 153"FACT 5: DRUG DEALER" *He consults a file which he has drawn from his bag. * LEONARD (cont'd) * I always figured the drugs angle would * be the best way to get him. No, officer, * I'm ready. Ready as I'll ever be. (listens) You're downstairs now? What do you look like? (listens) I'll be right down. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 103.153 CONTINUED: (2) 153Leonard hangs up the phone and pulls on a pair of scruffyjeans. He grabs his Polaroid camera and puts it over his *shoulder.154 EXT. DISCOUNT INN - DAY ##BLACK AND WHITE SEQUENCE## 154Leonard exits and heads to the Motel office.155 INT. DISCOUNT INN OFFICE - DAY ##BLACK AND WHITE SEQUENCE## 155The BELL CHIMES as Leonard enters. Burt is behind thecounter. A MAN stands by the free coffee. The Man TURNS *AROUND. It is Teddy, with a big grin. TEDDY Lenny!Leonard smiles cautiously, and offers his hand. LEONARD Officer Gammell.156 EXT. DISCOUNT INN - DAY ##BLACK AND WHITE SEQUENCE## 156Leonard exits the office, followed by Teddy, and looksthrough his Polaroids. He finds one of a PICKUP TRUCK, spotsit in the lot, and walks over to it. He turns around andpoints his camera at Teddy. Teddy grins wider. Leonard snapsthe picture. LEONARD Something to remember you by.Leonard lowers the camera and takes out a pen, resting thepicture against the truck, about to write on the white stripbeneath the developing picture. LEONARD (cont'd) I'm sorry - is it Officer, or Lieutenant Gammell?Teddy coughs and looks at the picture. TEDDY Just Teddy. Don't write Gammell please.Leonard raises his eyebrows. TEDDY (cont'd) I'm undercover. Here's directions. He'll be heading there now. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 104.156 CONTINUED: 156Teddy pulls a note out of his pocket and hands it to Leonard. LEONARD You're not coming? TEDDY Wouldn't be appropriate. *Leonard climbs into the truck. Teddy taps on the window. TEDDY (cont'd) Leonard?Leonard cranks it down. Teddy looks at Leonard with somethinglike fatherly affection. TEDDY (cont'd) Make him beg.157 INT./EXT. PICKUP TRUCK ON STREET - DAY ##BLACK AND WHITE 157SEQUENCE##The pickup truck speeds along, past strip malls and gasstations, heading into more desolate industrialization.158 EXT. THE DERELICT BUILDING - DAY ##BLACK AND WHITE SEQUENCE##158The pickup truck bumps across the railroad tracks, then pullsup in front of the LARGE DERELICT BUILDING. Leonard gets outof the pickup, looking around.159 INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE## 159He heads into the house, down the DIMLY-LIT, DECAYING FORMERHALLWAY, treading carefully on the LOOSE, ROTTEN FLOORBOARDS.He notices a door at the end of the hallway. He opens thedoor to see that it leads down to the basement.Leonard hears a CAR APPROACHING. He slips into the kitchenand looks out the dirty, broken front windows.160 EXT. DERELICT BUILDING - DAY ##BLACK AND WHITE SEQUENCE## 160THE JAGUAR is approaching fast. It parks next to the PICKUPTRUCK, and the driver emerges; a young man in his 30's,smartly dressed in BEIGE SUIT and BLUE SHIRT. This is JIMMY,the young man from Natalie's photograph. He looks at thetruck then at the house.161 INT. DERELICT BUILDING - DAY ##BLACK AND WHITE SEQUENCE## 161Leonard steps back into the shadows of the crumbling kitchen.Jimmy approaches the doorway, peering into the dark hallway. (CONTINUED)MEMENTO Pink Revisions - 9/7/99 105.161 CONTINUED: 161 JIMMY Teddy?!Jimmy steps cautiously inside. Leonard emerges from thekitchen. LEONARD Jimmy? JIMMY What the fuck are you doing here? LEONARD Do you remember me? JIMMY (laughs) Yeah, I remember you. LEONARD You Jimmy Grantz? * JIMMY Expecting any other Jimmy's out here, Memory Man? Where the fuck's Teddy?Leonard comes out of the gloom, stopping in front of Jimmy,studying his face. Leonard has a JACK HANDLE in his hand. JIMMY (cont'd) Well? FLASHBACK TO:162 INT. LEONARD'S APARTMENT BATHROOM - NIGHT ##BLACK AND WHITE 162SEQUENCE##Leonard's wife, head wrapped in a water-beaded clear plasticshower curtain, THRASHING around, GASPING for breath.163 INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE## 163Leonard HITS Jimmy around the head with the jack handle.Jimmy goes down, but STRUGGLES as Leonard drags him deeperinto the dark hallway. Leonard bends over the groaning Jimmy,frisking him, finding nothing. JIMMY (cont'd) You fucking retard, you can't get away with this -Leonard holds the jack handle above him. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 106.163 CONTINUED: 163 LEONARD Strip!Jimmy starts taking off his suit. JIMMY You're making a big fucking mistake. My associates are not people you want - LEONARD Don't say anything else. JIMMY I knew I couldn't trust that fuck - LEONARD Quiet!Jimmy drops his shirt. LEONARD (cont'd) Pants, too. JIMMY Why? LEONARD I don't want blood on them. JIMMY (sudden fear) Wait! Did he tell you what I was bringing? LEONARD Strip! JIMMY Look, there's two hundred grand stashed in the car. Just take it!Leonard shoves Jimmy to the ground. LEONARD You think you can bargain with me?! JIMMY Take the money and walk away! LEONARD I don't want your fucking money! (CONTINUED) 107.163 CONTINUED: (2) 163 JIMMY What?! What do you want from me?!Leonard looks up.164 INT. LEONARD'S APARTMENT - DAY - ##BLACK AND WHITE SEQUENCE##164Leonard's wife, smiling.165 INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE## 165Leonard is losing it. LEONARD I want my fucking life back!Jimmy SWINGS at Leonard with a BROKEN FLOORBOARD, STRIKINGhis shoulder. The jack handle goes flying. Jimmy SWINGSagain, misses. Leonard GRABS him, taking him down. The two ofthem STRUGGLE on the floor. Leonard gets ON TOP of Jimmy,CHOKING him. Jimmy tries to speak, but can only make GURGLINGnoises. As Leonard watches Jimmy fight for air we:166 INT. LEONARD'S APARTMENT BATHROOM - NIGHT - ##BLACK AND 166WHITE SEQUENCE##Leonard's wife THRASHES her head from side to side,STRUGGLING to breathe though the clear plastic showercurtain.BACK TO SCENE:167 INT. DERELICT BUILDING - DAY - ##BLACK AND WHITE SEQUENCE## 167Jimmy's arms THRASH, his hands catching Leonard's face,SCRATCHING his cheek. Leonard tips his head back andincreases his efforts. Jimmy STOPS struggling. Leonard keepshis hands around Jimmy's throat until he is confident that heis DEAD.Leonard BREATHES as he stands up. He nods to himself withsatisfaction. He looks around for his POLAROID CAMERA. Hesnaps a FLASH picture of Jimmy's body, and stares intently atthe POLAROID as it begins to DEVELOP.We see the IMAGE OF THE STRANGLED JIMMY appear <>(POST)168 INT. DAY - DERELICT BUILDING - CONTINUOUS <>168Leonard stands above Jimmy's body, examining the picture hehas just taken, nodding to himself, catching his breath. (CONTINUED) 108.168 CONTINUED: 168Leonard grabs Jimmy' s body by the legs, DRAGGING him back *towards the basement. He opens the door and BACKS down intothe DARKNESS, pulling Jimmy behind him.169 INT. BASEMENT OF DERELICT BUILDING - DAY - CONTINUOUS 169<>Leonard BACKS DOWN the stairs, dragging Jimmy's BODY, headBUMPING down each step. In the middle of the room, LeonardDROPS the legs. Moving fast, Leonard pulls the BEIGE SUIT *TROUSERS from the body, REMOVES HIS OWN SCRUFFY JEANS AND *PLAID WORK SHIRT. Leonard dresses in Jimmy's BLUE SHIRT and *BEIGE SUIT. He grabs the Polaroids from his PLAID WORK SHIRT *and sticks them in his suit jacket pocket. He dumps his old *clothes onto Jimmy's body. A faint RASPING comes from Jimmy's *throat. Leonard, frightened, bends down to listen. JIMMY (barely and audible rasp) Sammy... remember Sammy...Leonard is SHOCKED. Jimmy is silent. The sound of a CARoutside. Leonard JUMPS to his feet.170 INT. KITCHEN, DERELICT BUILDING - DAY - CONTINUOUS <>Leonard looks out to see Teddy getting out of his GREY SEDAN.Leonard leafs through his Polaroids finding the one of Teddy.There is nothing on the back. He sticks his Polaroids back inhis pocket, pausing at the one of the STRANGLED JIMMY. LEONARD (V.0.) * What have I done? *171 EXT. DERELICT BUILDING - DAY <> 171Leonard emerges to find Teddy trying the Jaguar's doors. LEONARD (distraught) Hey! Mister! I need help!Teddy looks up. TEDDY What's wrong? LEONARD There's a guy in here, hurt bad! We gotta get him to a doctor!Teddy moves towards the house. Leonard leads him in.MEMENTO Pink Revisions - 9/7/99 109.172 INT. DERELICT BUILDING - DAY - CONTINUOUS <172Teddy follows Leonard down the darkened hall. LEONARD (panicked) He might have fallen down the stairs, I don't know, I don't know what's going on, I'm confused. I have this memory thing - do I know you? TEDDY No. Don't worry, I'm a cop. Everything'll be okay. Is he still breathing? LEONARD Maybe. Maybe just.They go down into the basement.173 INT. BASEMENT OF DERELICT BUILDING - DAY - CONTINUOUS 173<>Teddy follows Leonard down the stairs. Jimmy's body, dressedonly in boxers, lies in the middle of the floor. TEDDY So what were you doing here?Teddy moves to the body and crouches down to examine it. LEONARD I don't know. See, I have this condition. TEDDY Well, I hope it's not as serious as his, 'cos this guy's dead.Leonard CRACKS Teddy over the head with the FLOORBOARD. * TEDDY (cont'd) * FUCK, Lenny! That fucking kills! LEONARD Remember me again, huh?Leonard FRISKS him, pulling out a GUN and a POLICE BADGE. * LEONARD (cont'd) * You're a cop. A fucking cop. * (CONTINUED)MEMENTO Yellow Revisions - 9/29/99 109A.173 CONTINUED: 173 TEDDY * Yeah, and I helped you find the guy you * were looking for - * LEONARD * Get up. *Teddy CRAWLS to his feet, RUBBING his head. *MEMENTO Yellow Revision - 9/29/99 110.174 INT. DERELICT BUILDING - DAY - CONTINUOUS <>174Leonard pushes Teddy out of the basement. TEDDY I think you've got the wrong idea -Leonard GRABS Teddy. LEONARD Who was that? He's not the guy. He knew * me. * TEDDY * Sure he did. He raped your wife and * fucked up your brain. * LEONARD * Bullshit. * TEDDY His name's James F. Grantz, John G. Check * your tattoos. * LEONARD So what was he bringing the two hundred * grand for? * TEDDY * What - * LEONARD * What was it for? * TEDDY A load of amphetamine I told him I had. LEONARD This is a drug deal?! TEDDY That, and your thing. * (CONTINUED)MEMENTO - Green Revisions 10/4/99 111.174 CONTINUED: 174 TEDDY (cont'd) * Jimmy's your guy, Leonard. I just figured * we'd make some money on the side. * LEONARD * But how did he know me? * TEDDY * The Discount Inn, he deals out of there. * The guy at the front desk lets him know if anybody comes snooping around. He called Jimmy as soon as you took a picture of that dump. * LEONARD You're using me!Teddy looks at him, offended. TEDDY No! (beat) You get half. *Leonard THROWS him against the wall. LEONARD He knew about Sammy. Why would I tell him about Sammy? * TEDDY (chuckles) You tell everyone about Sammy. Everyone who'll listen. "Remember Sammy Jankis, remember Sammy Jankis". Great story. Gets better every time you tell it. So you lie to yourself to be happy. Nothing wrong with that - we all do. Who cares if there's a few little things you'd rather not remember? LEONARD What the fuck are you talking about? (CONTINUED)MEMENTO - Green Revisions 10-4-99 112.174 CONTINUED: (2) 174 TEDDY (theatrical shrug) I dunno... your wife surviving the assault... her not believing about your condition... the doubt tearing her up inside.., the insulin - LEONARD That's Sammy, not me! I told you about Sammy - TEDDY Like you've told yourself. Over and over. Conditioning yourself to believe. "learning through repetition" - LEONARD Sammy let his wife kill herself! Sammy ended up in an institution - ! * TEDDY Sammy was a con man. A faker. LEONARD I never said he was faking! I never said that! TEDDY You exposed him for what he was: a fraud. (CONTINUED)MEMENTO - Green Revisions 10-4-99 113.174 CONTINUED: (3) 174 LEONARD I was wrong! That's the whole point! Sammy's wife came to me and - TEDDY Sammy didn't have a wife.Leonard freezes, staring at Teddy. TEDDY (cont'd) It was your wife who had diabetes.Leonard thinks.175 INT. LEONARD'S APARTMENT - DAY <> 175Leonard's Wife sitting on the edge of the bed. She feels asharp pain, and turns to Leonard (just as we have seenbefore). LEONARD'S WIFE Gentle.Leonard has a syringe in his hand.176 INT. DERELICT BUILDING - DAY <> 176Leonard shakes his head, clearing his head of the image. LEONARD My wife wasn't diabetic. TEDDY Are you sure?177 INT. LEONARD'S APARTMENT - DAY <> 177Leonard's Wife on the edge of the bed. She feels a sharppain, and turns to Leonard. LEONARD'S WIFE Gentle. (CONTINUED)MEMENTO - Green Revisions 10-4-99 114.177 CONTINUED: 177Leonard is playfully pinching her thigh.178 INT. DERELICT BUILDING - DAY <> 178Leonard shakes his head, smiling. LEONARD She wasn't diabetic. You think I don't * know my own wife? What the fuck is wrong * with you? * TEDDY (shrugs) I guess I can only make you believe the things you want to be true, huh? Like ol' * Jimmy down there. LEONARD But he's not the right guy! * TEDDY * He was to you. Come on, Lenny, you got * your revenge - just enjoy it while you * still remember. * (CONTINUED)MEMENTO - Green Revisions 10-4-99 115.178 CONTINUED: 178 TEDDY (chuckles) What difference does it make whether he * was your guy or not? * LEONARD It makes all the difference. * TEDDY Why? You're never going to know. * LEONARD Yes, I will. TEDDY No, you won't. LEONARD Somehow, I'll know! TEDDY You won't remember! LEONARD When it's done, I'll know! It'll be different! TEDDY I thought so too! I was sure you'd * remember. But you didn't. * Beat. Leonard looks at Teddy, questioning. TEDDY (off look) You know, when we found your guy and * killed him. (off look) That's right, the real John G. Over a * year ago. I helped you find him. He's * already dead. * LEONARD Why do you keep lying to me? * TEDDY I'm not. I was the cop assigned to your * wife's death. I believed you, I thought * you deserved the chance for revenge. I helped you find the other guy who was in your bathroom that night. The guy who cracked your skull and fucked your wife. * We found him and you killed him. * (MORE) (CONTINUED)MEMENTO - Green Revisions 10-4-99 115A.178 CONTINUED: (2) 178 TEDDY (cont'd) You didn't remember, so I helped you * start looking again, looking for the guy * you already killed. LEONARD So who are you saying he was? * TEDDY Just some guy. Does it even matter who? I stopped asking myself why a long time ago. No reason, no conspiracy; just bad fucking luck. A couple of junkies, too * strung out to realize that your wife didn't live alone. When you killed him, * I've never seen you so happy - I was convinced you'd remember. But it didn't stick, like nothing ever sticks. Like this won't stick.Leonard looks at the Polaroid of himself. TEDDY (cont'd) That's the picture, right? I took that, right when you did it. Look how happy you * are. Before you forgot. I wanted to see * that face again. LEONARD * (sarcastic) * Thank you. * TEDDY Fuck you; I gave you a reason to live and * you were more than happy to help. You lie * to yourself! You don't want the truth, * the truth is a fucking coward. So you * make up your own truth. * (CONTINUED)MEMENTO - Green Revisions 10-4-99 116.178 CONTINUED: (3) 178 TEDDY (cont'd) * Look at your police file. It was complete * when I gave it to you. Who took the 12 * pages out? * LEONARD You probably. * TEDDY No. You took them out. * LEONARD Why would I do that? * TEDDY To set yourself a puzzle you won't ever solve. You know how many towns, how many * guys called James G? Or John G? Shit, Leonard, I'm a John G. LEONARD Your name's Teddy. TEDDY (chuckles) My mother calls me Teddy. I'm John Edward Gammell. Cheer up, there's a lot of John * G's for us to find. All you do is moan. * I'm the one that has to live with what * you've done. I'm the one that has to put * it all together. You just wander around * playing detective. You're living a dream, * kid. A dead wife to pine for and a sense * of purpose to your life. A romantic quest * which you wouldn't end even if I wasn't * in the picture. *Leonard sticks the gun in Teddy's face. * LEONARD I should kill you. * TEDDY Quit it! * (brushes the gun away) * You're not a killer, Lenny. That's why * you're so good at it. *Leonard SEARCHES Teddy's pockets, still holding the gun on *Teddy. Leonard finds Teddy's CAR KEYS. He gets off Teddy and *moves towards the light. * (CONTINUED)MEMENTO - Green Revisions 10-4-99 116A.178 CONTINUED: (4) 178 TEDDY (cont'd) Hey, where are you going? You know what * time it is? *Leonard stares at Teddy, mystified. Teddy grins. * TEDDY (cont'd) It's beer o'clock. And I'm buying. Our work here is done.Leonard turns away, and walks out into the light.179 EXT. DERELICT BUILDING - DAY - CONTINUOUS <>179Leonard, in BEIGE SUIT and BLUE SHIRT, comes out into thedaylight, THROWS Teddy's CAR KEYS into some bushes then headsto his PICKUP TRUCK and climbs in. Teddy goes to look for hiskeys in the bushes. (CONTINUED)MEMENTO - Green Revisions 10-4-99 117.180 INT. PICKUP TRUCK - DAY - CONTINUOUS <> 180Leonard opens the revolver and empties the bullets onto thepassenger seat. He flips through the photos until he findsthe one of the STRANGLED JIMMY. LEONARD (V.0.) I'm not a killer...Leonard reaches into his sports bag, grabs a LIGHTER andsparks a flame. Leonard holds the PHOTO in the flame until itCATCHES LIGHT, MELTING and BLACKENING. The flames go out,having destroyed the entire image but for an arm resting on afloor. Leonard sticks the remnants into his jacket pocket. Helooks in the rear-view mirror at Teddy, who scrabbles aroundin the bushes. LEONARD (V.0.) (CON'T'D) ... but right now I need to be.Teddy's GREY SEDAN is parked in front of Leonard. Leonardlooks at the sedan, then reaches into his sports bag for aPEN and a FILE CARD. He writes on the file card:"TATTOO: I'VE DONE IT"Leonard looks from the card to Teddy's sedan. LEONARD (V.O.)(cont'd) Maybe I'm not finished yet. Maybe I need to be sure that you won't ever use me again.Leonard rips up the file card and takes out another. LEONARD (V.0.) (cont'd) You're a John G.? Fine, then you can be my John G.Leonard writes on the file card:"TATTOO: FACT 6. CAR LICENSE NUMBER" LEONARD (V.O.)(cont'd) Do I lie to myself to be happy?Leonard looks up at Teddy's sedan and copies down the licensenumber. The LICENSE NUMBER of Teddy's car is: SG13 7IU. LEONARD (V.O.)(cont'd) In your case, Teddy... yes, I will. (CONTINUED)MEMENTO - Green Revisions 10-4-99 117A.180 CONTINUED: 180Leonard grabs the sports bag and GETS OUT of the PICKUPTRUCK. He goes to THE JAGUAR and OPENS the passenger door,DUMPING his sports bag onto the seat. Teddy SEES this andRUNS over. Leonard walks to the back of the Jaguar and holdsup his camera. TEDDY Hey! Hey, that's not your car!Leonard SNAPS a Polaroid of the Jaguar. LEONARD It is now. TEDDY You can't just take it!Leonard UNLOCKS the trunk, TURNING to Teddy as he does so. LEONARD Why not? (CONTINUED)MEMENTO Yellow Revisions - 9/29/99 118.180 CONTINUED: 180 TEDDY You just killed the guy who owned it! Somebody'll recognize it!Leonard pulls Teddy's EMPTY gun out of his pocket. LEONARD I'd rather be mistaken for a dead guy than a murderer. I'm gonna hang on to this.Leonard TOSSES the GUN into the trunk. It lands on PILES OFBANKNOTES STUFFED IN THE TRUNK. Teddy REACTS to the sight ofthe money. Leonard glances at Teddy, then the money, shakeshis head, then SLAMS the trunk. Teddy jogs back to where hewas looking for his keys.181 INT. JAGUAR - DAY <> 181Leonard starts the engine. Through the rear-view mirror,Leonard stares at Teddy's retreating form. Thinking. LeonardPULLS OUT onto the road.182 INT./EXT. THE ROAD BACK INTO TOWN - DAY <> 182As the Jaguar cruises along, Leonard places the FILE CARD onthe dash. It says:"TATTOO: FACT 6. CAR LICENSE: SG13 7IU" *Leonard drives, HEADING BACK INTO TOWN. He looks at his handon the steering wheel, reading "REMEMBER SAMMY JANKIS". LEONARD (V.O.) I have to believe in the world outside my own mind. I have to believe that my actions still have meaning, even if I can't remember them. I have to believe that when my eyes are closed, the world's still there.Leonard CLOSES HIS EYES, driving blind. Stay on Leonard, notseeing the road ahead, hearing cars whip past. LEONARD (V.O.) (cont'd) (rising tension) But do I? Do I believe the world's still there?Move in on Leonard as cars fly past, horns BLARING. (CONTINUED)MEMENTO Blue Revisions - 8/27/99 119.182 CONTINUED: 182 LEONARD (V.O.) (cont'd) Is it still out there?! (beat) Yes.Leonard OPENS his eyes, straightening up the car, BREATHING.His EYES DART from the STRIP MALLS to the GAS STATIONS, as ifHE IS TRYING TO ABSORB THE WHOLE TOWN IN A SINGLE VIEWING. LEONARD (V.O.) (cont'd) We all need mirrors to remind ourselves who we are. I'm no different.183 EXT. STRIP MALL - DAY <> 183 *From the bewildering BLUR of urban signage, Leonard SUDDENLYGLIMPSES A TATTOO PARLOR in a strip mall. He SLAMS ON THEBRAKES.The tyres SCREAM as the car SCREECHES TO A HALT and we:CUT TO BLACK. LEONARD (V.O.) (cont'd) Now... where was I?ROLL CREDITSEND.----------------------------------------------------------------------The following is Jonathan Nolan's short story"Memento Mori", the inspiration for his brother,Christopher Nolan's, screenplay for the film, MEMENTO:MEMENTO MORIbyJonathan NolanWhat like a bullet can undeceive!" -Herman MelvilleYour wife always used to say you'd be late for your own funeral.Remember that? Her little joke because you were such a slob-alwayslate, always forgetting stuff, even before the incident.Right about now you're probably wondering if you were late for hers.You were there, you can be sure of that. That's what the picture'sfor-the one tacked to the wall by the door. It's not customary to takepictures at a funeral, but somebody, your doctors, I guess, knew youwouldn't remember. They had it blown up nice and big and stuck itright there, next to the door, so you couldn't help but see it everytime you got up to find out where she was.The guy in the picture, the one with the flowers? That's you. And whatare you doing? You're reading the headstone, trying to figure outwho's funeral you're at, same as you're reading it now, trying tofigure why someone stuck that picture next to your door. But whybother reading something that you won't remember?She's gone, gone for good, and you must be hurting right now, hearingthe news. Believe me, I know how you feel. You're probably a wreck.But give it five minutes, maybe ten. Maybe you can even go a wholehalf hour before you forget.But you will forget-I guarantee it. A few more minutes and you'll beheading for the door, looking for her all over again, breaking downwhen you find the picture. How many times do you have to hear the newsbefore some other part of your body, other than that busted brain ofyours, starts to remember?Never-ending grief, never-ending anger. Useless without direction.Maybe you can't understand what's happened. Can't say I reallyunderstand, either. Backwards amnesia. That's what the sign says. CRSdisease. Your guess is as good as mine.Maybe you can't understand what happened to you. But you do rememberwhat happened to HER, don't you? The doctors don't want to talk aboutit. They won't answer my questions. They don't think it's right for aman in your condition to hear about those things. But you rememberenough, don't you? You remember his face.This is why I'm writing to you. Futile, maybe. I don't know how manytimes you'll have to read this before you listen to me. I don't evenknow how long you've been locked up in this room already. Neither doyou. But your advantage in forgetting is that you'll forget to writeyourself off as a lost cause.Sooner or later you'll want to do something about it. And when you do,you'll just have to trust me, because I'm the only one who can helpyou.***EARL OPENS ONE EYE after another to a stretch of white ceiling tilesinterrupted by a hand-printed sign taped right above his head, largeenough for him to read from the bed. An alarm clock is ringingsomewhere. He reads the sign, blinks,reads it again, then takes a lookat the room.It's a white room, overwhelmingly white, from the walls and thecurtains to the institutional furniture and the bedspread. The alarmclock is ringing from the white desk under the window with the whitecurtains. At this point Earl probably notices that he is lying on topof his white comforter. He is already wearing a dressing gown andslippers.He lies back and reads the sign taped to the ceiling again. It says,in crude block capitals, THIS IS YOUR ROOM. THIS IS A ROOM IN AHOSPITAL. THIS IS WHERE YOU LIVE NOW.Earl rises and takes a look around. The room is large for ahospital-empty linoleum stretches out from the bed in threedirections. Two doors and a window. The view isn't very helpful,either-a close of trees in the center of a carefully manicured pieceof turf that terminates in a sliver of two-lane blacktop. The trees,except for the evergreens, are bare-early spring or late fall, one orthe other.Every inch of the desk is covered with Post-it notes, legal pads,neatly printed lists, psychological textbooks, framed pictures. On topof the mess is a half-completed crossword puzzle. The alarm clock isriding a pile of folded newspapers. Earl slaps the snooze button andtakes a cigarette from the pack taped to the sleeve of his dressinggown. He pats the empty pockets of his pajamas for a light. He riflesthe papers on the desk, looks quickly through the drawers. Eventuallyhe finds a box of kitchen matches taped to the wall next to thewindow. Another sign is taped just above the box. It says in loudyellow letters, CIGARETTE? CHECK FOR LIT ONES FIRST, STUPID.Earl laughs at the sign, lights his cigarette, and takes a long draw.Taped to the window in front of him is another piece of looseleafpaper headed YOUR SCHEDULE.It charts off the hours, every hour, in blocks: 10:00 p.m. to 8:00a.m. is labeled go BACK TO SLEEP. Earl consults the alarm clock: 8:15.Given the light outside, it must be morning. He checks his watch:10:30. He presses the watch to his ear and listens. He gives the watcha wind or two and sets it to match the alarm clock.According to the schedule, the entire block from 8:00 to 8:30 has beenlabeled BRUSH YOUR TEETH. Earl laughs again and walks over to thebathroom.The bathroom window is open. As he flaps his arms to keep warm, henotices the ashtray on the windowsill. A cigarette is perched on theashtray, burning steadily through a long finger of ash. He frowns,extinguishes the old butt, and replaces it with the new one.The toothbrush has already been treated to a smudge of white paste.The tap is of the push-button variety-a dose of water with each nudge.Earl pushes the brush into his cheek and fiddles it back and forthwhile he opens the medicine cabinet. The shelves are stocked withsingle-serving packages of vitamins, aspirin, antidiuretics. Themouthwash is also single-serving, about a shot-glass-worth of blueliquid in a sealed plastic bottle. Only the toothpaste isregular-sized. Earl spits the paste out of his mouth and replaces itwith the mouthwash. As he lays the toothbrush next to the toothpaste,he notices a tiny wedge of paper pinched between the glass shelf andthe steel backing of the medicine cabinet. He spits the frothy bluefluid into the sink and nudges for some more water to rinse it down.He closes the medicine cabinet and smiles at his reflection in themirror."Who needs half an hour to brush their teeth?"The paper has been folded down to a minuscule size with all theprecision of a sixth-grader's love note. Earl unfolds it and smoothsit against the mirror. It reads-IF YOU CAN STILL READ THIS, THEN YOU'RE A FUCKING COWARD.Earl stares blankly at the paper, then reads it again. He turns itover. On the back it reads-P.S.: AFTER YOU'VE READ THIS, HIDE IT AGAIN.Earl reads both sides again, then folds the note back down to itsoriginal size and tucks it underneath the toothpaste.Maybe then he notices the scar. It begins just beneath the ear, jaggedand thick, and disappears abruptly into his hairline. Earl turns hishead and stares out of the corner of his eye to follow the scar'sprogress. He traces it with a fingertip, then looks back down at thecigarette burning in the ashtray. A thought seizes him and he spinsout of the bathroom.He is caught at the door to his room, one hand on the knob. Twopictures are taped to the wall by the door. Earl's attention is caughtfirst by the MRI, a shiny black frame for four windows into someone'sskull. In marker, the picture is labeled YOUR BRAIN. Earl stares atit. Concentric circles in different colors. He can make out the bigorbs of his eyes and, behind these, the twin lobes of his brain.Smooth wrinkles, circles, semicircles. But right there in the middleof his head, circled in marker, tunneled in from the back of his necklike a maggot into an apricot, is something different. Deformed,broken, but unmistakable. A dark smudge, the shape of a flower, rightthere in the middle of his brain.He bends to look at the other picture. It is a photograph of a manholding flowers, standing over a fresh grave. The man is bent over,reading the headstone. For a moment this looks like a hall of mirrorsor the beginnings of a sketch of infinity: the one man bent over,looking at the smaller man, bent over, reading the headstone. Earllooks at the picture for a long time. Maybe he begins to cry. Maybe hejust stares silently at the picture. Eventually, he makes his way backto the bed, flops down, seals his eyes shut, tries to sleep.The cigarette burns steadily away in the bathroom. A circuit in thealarm clock counts down from ten, and it starts ringing again.Earl opens one eye after another to a stretch of white ceiling tiles,interrupted by a hand-printed sign taped right above his head, largeenough for him to read from the bed.***You can't have a normal life anymore. You must know that. How can youhave a girlfriend if you can't remember her name? Can't have kids, notunless you want them to grow up with a dad who doesn't recognize them.Sure as hell can't hold down a job. Not too many professions out therethat value forgetfulness. Prostitution, maybe. Politics, of course.No. Your life is over. You're a dead man.The only thing the doctorsare hoping to do is teach you to be less of a burden to the orderlies.And they'll probably never let you go home, wherever that would be.So the question is not "to be or not to be," because you aren't. Thequestion is whether you want to do something about it. Whether revengematters to you.It does to most people. For a few weeks, they plot, they scheme, theytake measures to get even. But the passage of time is all it takes toerode that initial impulse. Time is theft, isn't that what they say?And time eventually convinces most of us that forgiveness is a virtue.Conveniently, cowardice and forgiveness look identical at a certaindistance. Time steals your nerve.If time and fear aren't enough to dissuade people from their revenge,then there's always authority, softly shaking its head and saying, Weunderstand, but you're the better man for letting it go. For risingabove it. For not sinking to their level. And besides, says authority,if you try anything stupid, we'll lock you up in a little room.But they already put you in a little room, didn't they? Only theydon't really lock it or even guard it too carefully because you're acripple. A corpse. A vegetable who probably wouldn't remember to eator take a shit if someone wasn't there to remind you.And as for the passage of time, well, that doesn't really apply to youanymore, does it? Just the same ten minutes, over and over again. Sohow can you forgive if you can't remember to forget?You probably were the type to let it go, weren't you? Before. Butyou're not the man you used to be. Not even half. You're a fraction;you're the ten-minute man.Of course, weakness is strong. It's the primary impulse. You'dprobably prefer to sit in your little room and cry. Live in yourfinite collection of memories, carefully polishing each one. Half alife set behind glass and pinned to cardboard like a collection ofexotic insects. You'd like to live behind that glass, wouldn't you?Preserved in aspic.You'd like to but you can't, can you? You can't because of the lastaddition to your collection. The last thing you remember. His face.His face and your wife, looking to you for help.And maybe this is where you can retire to when it's over. Your littlecollection. They can lock you back up in another little room and youcan live the rest of your life in the past. But only if you've got alittle piece of paper in your hand that says you got him.You know I'm right. You know there's a lot of work to do. It may seemimpossible, but I'm sure if we all do our part, we'll figure somethingout. But you don't have much time. You've only got about ten minutes,in fact. Then it starts all over again. So do something with the timeyou've got.***EARL OPENS HIS EYES and blinks into the darkness. The alarm clock isringing. It says 3:20, and the moonlight streaming through the windowmeans it must be he early morning. Earl fumbles for the lamp, almostknocking it over in the process. Incandescent light fills the room,painting the metal furniture yellow, the walls yellow, the bedspread,too. He lies back and looks up at the stretch of yellow ceiling tilesabove him, interrupted by a handwritten sign taped to the ceiling. Hereads the sign two, maybe three times, then blinks at the room aroundhim.It is a bare room. Institutional, maybe. There is a desk over by thewindow. The desk is bare except for the blaring alarm clock. Earlprobably notices, at this point, that he is fully clothed. He even hashis shoes on under the sheets. He extracts himself from the bed andcrosses to the desk. Nothing in the room would suggest that anyonelived there, or ever had, except for the odd scrap of tape stuck hereand there to the wall. No pictures, no books, nothing. Through thewindow, he can see a full moon shining on carefully manicured grass.Earl slaps the snooze button on the alarm clock and stares a moment atthe two keys taped to the back of his hand. He picks at the tape whilehe searches through the empty drawers. In the left pocket of hisjacket, he finds a roll of hundred-dollar bills and a letter sealed inan envelope. He checks the rest of the main room and the bathroom.Bits of tape, cigarette butts. Nothing else.Earl absentmindedly plays with the lump of scar tissue on his neck andmoves back toward the bed. He lies back down and stares up at theceiling and the sign taped to it. The sign reads, GET UP, GET OUTRIGHT NOW. THESE PEOPLE ARE TRYING TO KILL YOU.Earl closes his eyes.***They tried to teach you to make lists in grade school, remember? Backwhen your day planner was the back of your hand. And if yourassignments came off in the shower, well, then they didn't get done.No direction, they said. No discipline. So they tried to get you towrite it all down somewhere more permanent.Of course, your grade-school teachers would be laughing their pantswet if they could see you now. Because you've become the exact productof their organizational lessons. Because you can't even take a pisswithout consulting one of your lists.They were right. Lists are the only way out of this mess.Here's the truth: People, even regular people, are never just any oneperson with one set of attributes. It's not that simple. We're all atthe mercy of the limbic system, clouds of electricity drifting throughthe brain. Every man is broken into twenty-four-hour fractions, andthen again within those twenty-four hours. It's a daily pantomime, oneman yielding control to the next: a backstage crowded with old hacksclamoring for their turn in the spotlight. Every week, every day. Theangry man hands the baton over to the sulking man, and in turn to thesex addict, the introvert, the conversationalist. Every man is a mob,a chain gang of idiots.This is the tragedy of life. Because for a few minutes of every day,every man becomes a genius. Moments of clarity, insight, whatever youwant to call them. The clouds part, the planets get in a neat littleline, and everything becomes obvious. I should quit smoking, maybe, orhere's how I could make a fast million, or such and such is the key toeternal happiness. That's the miserable truth. For a few moments, thesecrets of the universe are opened to us. Life is a cheap parlortrick.But then the genius, the savant, has to hand over the controls to thenext guy down the pike, most likely the guy who just wants to eatpotato chips, and insight and brilliance and salvation are allentrusted to a moron or a hedonist or a narcoleptic.The only way out of this mess, of course, is to take steps to ensurethat you control the idiots that you become. To take your chain gang,hand in hand, and lead them. The best way to do this is with a list.It's like a letter you write to yourself. A master plan, drafted bythe guy who can see the light, made with steps simple enough for therest of the idiots to understand. Follow steps one through onehundred. Repeat as necessary.Your problem is a little more acute, maybe, but fundamentally the samething.It's like that computer thing, the Chinese room. You remember that?One guy sits in a little room, laying down cards with letters writtenon them in a language he doesn't understand, laying them down oneletter at a time in a sequence according to someone else'sinstructions. The cards are supposed to spell out a joke in Chinese.The guy doesn't speak Chinese, of course. He just follows hisinstructions.There are some obvious differences in your situation, of course: Youbroke out of the room they had you in, so the whole enterprise has tobe portable. And the guy giving the instructions-that's you, too, justan earlier version of you. And the joke you're telling, well, it's gota punch line. I just don't think anyone's going to find it very funny.So that's the idea. All you have to do is follow your instructions.Like climbing a ladder or descending a staircase. One step at a time.Right down the list. Simple.And the secret, of course, to any list is to keep it in a place whereyou're bound to see it.***HE CAN HEAR THE BUZZING through his eyelids. Insistent. He reaches outfor the alarm clock, but he can't move his arm.Earl opens his eyes to see a large man bent double over him. The manlooks up at him, annoyed, then resumes his work. Earl looks aroundhim. Too dark for a doctor's office.Then the pain floods his brain, blocking out the other questions. Hesquirms gain, trying to yank his forearm away, the one that feelslike it's burning. The arm doesn't move, but the man shoots himanother scowl. Earl adjusts himself in the chair to see over the topof the man's head.The noise and the pain are both coming from a gun in the man's hand-agun with a needle where the barrel should be. The needle is digginginto the fleshy underside of Earl's forearm, leaving a trail of puffyletters behind it.Earl tries to rearrange himself to get a better view, to read theletters on his arm, but he can't. He lies back and stares at theceiling.Eventually the tattoo artist turns off the noise, wipes Earl's forearmwith a piece of gauze, and wanders over to the back to dig up apamphlet describing how to deal with a possible infection. Maybe laterhe'll tell his wife about this guy and his little note. Maybe his wifewill convince him to call the police.Earl looks down at the arm. The letters are rising up from the skin,weeping a little. They run from just behind the strap of Earl's watchall the way to the inside of his elbow. Earl blinks at the message andreads it again. It says, in careful little capitals, I RAPED ANDKILLED YOUR WIFE.***It's your birthday today, so I got you a little present. I would havejust bought you a beer, but who knows where that would have ended?So instead, I got you a bell. I think I may have had to pawn yourwatch to buy it, but what the hell did you need a watch for, anyway?You're probably asking yourself, Why a bell? In fact, I'm guessingyou're going to be asking yourself that question every time you findit in your pocket. Too many of these letters now. Too many for you todig back into every time you want to know the answer to some littlequestion.It's a joke, actually. A practical joke. But think of it this way: I'mnot really laughing at you so much as with you.I'd like to think that every time you take it out of your pocket andwonder, Why do I have this bell? a little part of you, a little pieceof your broken brain, will remember and laugh, like I'm laughing now.Besides, you do know the answer. It was something you learned before.So if you think about it, you'll know.Back in the old days, people were obsessed with the fear of beingburied alive. You remember now? Medical science not being quite whatit is today, it wasn't uncommon for people to suddenly wake up in acasket. So rich folks had their coffins outfitted with breathingtubes. Little tubes running up to the mud above so that if someonewoke up when they weren't supposed to, they wouldn't run out ofoxygen. Now, they must have tested this out and realized that youcould shout yourself hoarse through the tube, but it was too narrow tocarry much noise. Not enough to attract attention, at least. So astring was run up the tube to a little bell attached to the headstone.If a dead person came back to life, all he had to do was ring hislittle bell till someone came and dug him up again.I'm laughing now, picturing you on a bus or maybe in a fast-foodrestaurant, reaching into your pocket and finding your little bell andwondering to yourself where it came from, why you have it. Maybeyou'll even ring it.Happy birthday, buddy.I don't know who figured out the solution to our mutual problem, so Idon't know whether to congratulate you or me. A bit of a lifestylechange, admittedly, but an elegant solution, nonetheless.Look to yourself for the answer.That sounds like something out of a Hallmark card. I don't know whenyou thought it up, but my hat's off to you. Not that you know what thehell I'm talking about. But, honestly, a real brainstorm. After all,everybody else needs mirrors to remind themselves who they are. You'reno different.***THE LITTLE MECHANICAL VOICE PAUSES, then repeats itself. It says, "Thetime is 8:00 a.m. This is a courtesy call." Earl opens his eyes andreplaces the receiver. The phone is perched on a cheap veneerheadboard that stretches behind the bed, curves to meet the corner,and ends at the minibar. The TV is still on, blobs of flesh colornattering away at each other. Earl lies back down and is surprised tosee himself, older now, tanned, the hair pulling away from his headlike solar flares. The mirror on the ceiling is cracked, the silverfading increases. Earl continues to stare at himself, astonished bywhat he sees. He is fully dressed, but the clothes are old, threadbarein places.Earl feels the familiar spot on his left wrist for his watch, but it'sgone. He looks down from the mirror to his arm. It is bare and theskin has changed to an even tan, as if he never owned a watch in thefirst place. The skin is even in color except for the solid blackarrow on the inside of Earl's wrist, pointing up his shirtsleeve. Hestares at the arrow for a moment. Perhaps he doesn't try to rub it offanymore. He rolls up his sleeve.The arrow points to a sentence tattooed along Earl's inner arm. Earlreads the sentence once, maybe twice. Another arrow picks up at thebeginning of the sentence, points farther up Earl's arm, disappearingunder the rolled-up shirtsleeve. He unbuttons his shirt.Looking down on his chest, he can make out the shapes but cannot bringthem into focus, so he looks up at the mirror above him.The arrow leads up Earl's arm, crosses at the shoulder, and descendsonto his upper torso, terminating at a picture of a man's face thatoccupies most of his chest. The face is that of a large man, balding,with a mustache and a goatee. It is a particular face, but like apolice sketch it has a certain unreal quality.The rest of his upper torso is covered in words, phrases, bits ofinformation, and instructions, all of them written backward on Earl,forward in the mirror.EventuallyEarl sits up, buttons his shirt, and crosses to the desk. He takes outa pen and a piece of notepaper from the desk drawer, sits, and beginsto write.*** I don't know where you'll be when you read this. I'm not even sure ifyou'll bother to read this. I guess you don't need to.It's a shame, really, that you and I will never meet. But, like thesong says, "By the time you read this note, I'll be gone."We're so close now. That's the way it feels. So many pieces puttogether, spelled out. I guess it's just a matter of time until youfind him.Who knows what we've done to get here? Must be a hell of a story, ifonly you could remember any of it. I guess it's better that you can't.I had a thought just now. Maybe you'll find it useful.Everybody is waiting for the end to come, but what if it alreadypassed us by? What if the final joke of Judgment Day was that it hadalready come and gone and we were none the wiser? Apocalypse arrivesquietly; the chosen are herded off to heaven, and the rest of us, theones who failed the test, just keep on going, oblivious. Deadalready, wandering around long after the gods have stopped keepingscore, still optimistic about the future.I guess if that's true, then it doesn't matter what you do. Noexpectations. If you can't find him, then it doesn't matter, becausenothing matters. And if you do find him, then you can kill him withoutworrying about the consequences. Because there are no consequences.That's what I'm thinking about right now, in this scrappy little room.Framed pictures of ships on the wall. I don't know, obviously, but ifI had to guess, I'd say we're somewhere up the coast. If you'rewondering why your left arm is five shades browner than your right, Idon't know what to tell you. I guess we must have been driving for awhile. And, no, I don't know what happened to your watch.And all these keys: I have no idea. Not a one that I recognize. Carkeys and house keys and the little fiddly keys for padlocks. What havewe been up to?I wonder if he'll feel stupid when you find him. Tracked down by theten-minute man. Assassinated by a vegetable.I'll be gone in a moment. I'll put down the pen, close my eyes, andthen you can read this through if you want.I just wanted you to know that I'm proud of you. No one who matters isleft to say it. No one left is going to want to.EARL'S EYES ARE WIDE OPEN, staring through the window of the car.Smiling eyes. Smiling through the window at the crowd gathering acrossthe street. The crowd gathering around the body in the doorway. Thebody emptying slowly across the sidewalk and into the storm drain.***A stocky guy, facedown, eyes open. Balding head, goatee. In death, asin police sketches, faces tend to look the same. This is definitelysomebody in particular. But really, it could be anybody.Earl is still smiling at the body as the car pulls away from the curb.The car? Who's to say? Maybe it's a police cruiser. Maybe it's just ataxi.As the car is swallowed into traffic, Earl's eyes continue to shineout into the night, watching the body until it disappears into acircle of concerned pedestrians. He chuckles to himself as the carcontinues to make distance between him and the growing crowd.Earl's smile fades a little. Something has occurred to him. He beginsto pat down his pockets; leisurely at first, like a man looking forhis keys, then a little more desperately. Maybe his progress isimpeded by a set of handcuffs. He begins to empty the contents of hispockets out onto the seat next to him. Some money. A bunch of keys.Scraps of paper.A round metal lump rolls out of his pocket and slides across the vinylseat. Earl is frantic now. He hammers at the plastic divider betweenhim and the driver, begging the man for a pen. Perhaps the cabbiedoesn't speak much English. Perhaps the cop isn't in the habit oftalking to suspects. Either way, the divider between the man in frontand the man behind remains closed. A pen is not forthcoming.The car hits a pothole, and Earl blinks at his reflection in therearview mirror. He is calm now. The driver makes another corner, andthe metal lump slides back over to rest against Earl's leg with alittle jingle. He picks it up and looks at it, curious now. It is alittle bell. A little metal bell. Inscribed on it are his name and aset of dates. He recognizes the first one: the year in which he wasborn. But the second date means nothing to him. Nothing at all.As he turns the bell over in his hands, he notices the empty space onhis wrist where his watch used to sit. There is a little arrow there,pointing up his arm. Earl looks at the arrow, then begins to roll uphis sleeve.***"You'd be late for your own funeral," she'd say. Remember? The more Ithink about it, the more trite that seems. What kind of idiot, afterall, is in any kind of rush to get to the end of his own story?And how would I know if I were late, anyway? I don't have a watchanymore. I don't know what we did with it.What the hell do you need a watch for, anyway? It was an antique.Deadweight tugging at your wrist. Symbol of the old you. The you thatbelieved in time.No. Scratch that. It's not so much that you've lost your faith in timeas that time has lost its faith in you. And who needs it, anyway? Whowants to be one of those saps living in the safety of the future, inthe safety of the moment after the moment in which they felt somethingpowerful? Living in the next moment, in which they feel nothing.Crawling down the hands of the clock, away from the people who didunspeakable things to them. Believing the lie that time will heal allwounds-which is just a nice way of saying that time deadens us.But you're different. You're more perfect. Time is three things formost people, but for you, for us, just one. A singularity. One moment.This moment. Like you're the center of the clock, the axis on whichthe hands turn. Time moves about you but never moves you. It has lostits ability to affect you. What is it they say? That time is theft?But not for you. Close your eyes and you can start all over again.Conjure up that necessary emotion, fresh as roses.Time is an absurdity. An abstraction. The only thing that matters isthis moment. This moment a million times over. You have to trust me.If this moment is repeated enough, if you keep trying-and you have tokeep trying-eventually you will come across the next item on yourlist.End. \ No newline at end of file diff --git a/unformated_scripts/Script_Men Who Stare at Goats, The.txt b/unformated_scripts/Script_Men Who Stare at Goats, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..f5afe9ea4eab98cd9c7dd5e09dc2199f48200665 --- /dev/null +++ b/unformated_scripts/Script_Men Who Stare at Goats, The.txt @@ -0,0 +1 @@ + THE MEN WHO STARE AT GOATS Written by Peter Straughan & Jon Ronson 10/21/08 1 BLACK 1 SUPERED TITLES READ: More of this is true than you would believe. FADE IN: 2 ...CLOSE ON A MAN'S FACE... 2 He is STARING at us with fixed concentration. He is sweating slightly in the summer heat. We hold for a moment. Silence, apart from the soft swish of an unseen ceiling fan. WIDE SHOT - the Man, wearing military uniform, sits at his desk in his office, still staring straight ahead. SUPERED TITLES appear, reading: General Putkin, United States Army Intelligence SED. Arlington, Virginia. 1983. The General's assistant, LIEUTENANT BOONE, sits at his desk, working. After a moment Putkin seems to come to a decision. GENERAL PUTKIN (SOLEMNLY) Boone? LIEUTENANT BOONE Yes General? GENERAL PUTKIN I'm going into the next office. LIEUTENANT BOONE Yes sir. The General stands up, smooths down his uniform, steps out from behind his desk and begins to walk. Boone watches, with some trepidation, as the General increases his pace. He quickens to a jog, his face set with determination. He breaks into a run... Then he slams into the WALL of the office, rebounds and lies splayed on the floor. He stares up at the wall balefully. GENERAL PUTKIN Damn it! 2. 3 EXT. FORT BRAGG - DAY 3 General Putkin is being driven in a jeep through the vast military base. He has a band-aid over his injured nose. SUPERED TITLES read: Special Forces Command Centre, Fort Bragg, North Carolina. GENERAL PUTKIN (O.S.) I have been having ideas, gentlemen. Challenging ideas. And when I thought about these ideas I thought about who in the U.S Army would be most receptive to my challenging ideas. The Jeep pulls up at the SPECIAL FORCES COMMAND CENTRE. The General gets out, a brief case in his hand and surveys the centre. GENERAL PUTKIN (CONT'D) (O.S.) (CONT'D) Which section of the military is always straining to reach the peak of their physical and mental capabilities? 4 INT. SPECIAL FORCES COMMAND CENTRE - DAY 4 General Putkin stands in front of a room full of seated SPECIAL FORCES OFFICERS. GENERAL PUTKIN You are, gentlemen. Special Forces. The assembled Officers nod modestly. GENERAL PUTKIN (CONT'D) I want to talk to you about Mind Wars, gentlemen. War...With... MINDS... His audience stare at him. With a flourish he produces a BENT FORK from his briefcase. GENERAL PUTKIN (CONT'D) How'd you like to be able to do this? What if you could teach soldiers to do this? Would you be interested? Silence. (CONTINUED) 3. 4 CONTINUED: 4 GENERAL PUTKIN (CONT'D) (changing tack) Or, or let's say you have a unit operating outside the protection of mainline units. What happens if someone gets hurt? How do you deal with that? He surveys the blank faces. GENERAL PUTKIN (CONT'D) Psychic healing! Protect the unit with hands-off healing. Using the mind to heal. Silence. Putkin senses he is not convincing his audience. GENERAL PUTKIN (CONT'D) Let's talk about time! What if time is not a point but a space and at any one instant we can be anywhere in that space! (Laughing) Physicists go nuts when I say that! Silence. He is growing desperate. GENERAL PUTKIN (CONT'D) Animals! Stopping the hearts of animals! This is the idea I'm coming to you with. You have access to animals right? Special Forces look like they've had enough. A tough looking officer - MAJOR JIM HOLTZ - stirs. MAJOR HOLTZ No sir. We don't have access to animals. 5 EXT. SPECIAL FORCES COMMAND CENTRE - DAY 5 A dejected General Putkin climbs back into his jeep. Lieutenant Boone, in the driving seat, looks at him with sympathy. BOB (V.O.) In 1983, when Special Forces told General Putkin that they weren't interested in his ideas...that was a lie. 6 INT. SPECIAL FORCES COMMAND CENTRE - DAY 6 The BENT FORK sits on the table in the EXTREME FOREGROUND, a window in the background. (CONTINUED) 4. 6 CONTINUED: 6 BOB (V.O.) And when they told him they didn't have access to animals...that was also a lie. We FOCUS on the window - a shaky ZOOM taking us towards an abandoned looking HOSPITAL BUILDING half hidden by trees. 7 INT. ABANDONED HOSPITAL - DAY 7 We TRACK forward into the shadowy interior into a large space which we now see is full of...GOATS. BOB (V.O.) The hundred goats in the disused hospital building had been secretly flown in from Central America so as to avoid customs. Special Forces weren't worried about the General hearing the goats because they'd been de- bleated. The GOATS stare at us, their mouths silently opening and closing. BOB (V.O.) (CONT'D) This is the story of those goats. We CLOSE ON the unblinking EYES of one GOAT, then... DISSOLVE TO: 8 INT. LOCAL NEWSPAPER OFFICE - DAY 8 Bob sits typing at his desk in the modest office. He wears glasses, is attractive in a fresh-faced, enthusiastic kind of way. SUPERED TITLES read: Ann Arbor, Michigan, January 2003. BOB (V.O.) My name is Bob Wilton. Imagine me back in Michigan, where I was born and raised. I studied journalism at Western in Kalamazoo and then I got a job at the Ann Arbor Daily Telegram. I wrote a lot of stories about competitive food eating contests. He looks at the photograph of his wife Debora on his desk and up to where she stands, photocopying in DAVE the Editor's office. Dave is chatting to her. He has a PROSTHETIC ARM. Bob watches his wife, smiling. (CONTINUED) 5. 8 CONTINUED: 8 BOB (CONT'D) (V.O.) (CONT'D) (SADLY) Look at me. So young. "The past is a different country. They...do things there." We PAN to the next desk and Bob's over-weight colleague RON, who sits eating a hot-dog. BOB (CONT'D) (V.O.) (CONT'D) This is Ron. Ron suddenly pitches violently forward, thudding face- first into his desk. BOB (CONT'D) (V.O.) (CONT'D) He's the man who died. 9 INT. OFFICE - LATER 9 Bob is clearing Ron's desk, putting his possessions into a box. BOB (V.O.) My wife, Debora, told me later that Ron's death had been like a wake-up call for her - what people used to call a memento mori. Bob sits down, feeling a little ghoulish, at the dead man's desk. He notices a large INDENTATION on the leather in front of him - the mark left by Ron's forehead. He touches it, fascinated. BOB (CONT'D) (V.O.) (CONT'D) That massive coronary had reminded her that life was too short to waste any chance of true happiness. Bob rests his own forehead, experimentally, onto the indentation, and sits there, face down on the desk. His eyes wander over to where Dave and Debora are talking in Dave's office. BOB'S P.O.V - Debora's hand BRUSHES against Dave's, LINGERS just a fraction too long. Bob frowns. BOB (CONT'D) (V.O.) (CONT'D) A week after the funeral she left me for my editor. 6. 10 INT. BOB'S HOUSE - NIGHT 10 Bob and Debora and Dave talking. Bob is drinking. We JUMP CUT to Bob crying, smashing a lamp, Debora shouting at him. BOB (V.O.) (A sad chuckle) It seemed like such a tragedy at the time. We couldn't see beyond our little lives to the great events of history unfolding out there in the world. JUMP CUT to Dave holding Bob in a head-lock with his one good arm. Debora is sitting, head in hands. BOB (CONT'D) (V.O.) (CONT'D) I was like a child. Or a Hobbit, safe in the Shire. JUMP CUT to Bob alone in the trashed room, exhausted and drunk, watching Bush's STATE OF THE UNION SPEECH on TV. BOB (CONT'D) (V.O.) (CONT'D) Or a blonde farm boy on a distant, desert planet, unaware that he was already taking the first steps on the path that will lead him inexorably towards the heart of a conflict between the forces of Good and Evil. PRESIDENT BUSH (on TV) Americans are a resolute people, who have risen to every test of our time. Adversity has revealed the character of our country, to the world, and to ourselves... Bob wipes his eyes, stares at the screen. BOB (V.O.) Had I known where that path would lead, had a soft wind from my future brought me the name of Bill Django, I might never have gone. But as it was, I did what so many men have done throughout history when a woman has broken their heart... I went to war. We hear the opening of a period song as we... 7. 11 TITLES 11 As the titles and song continue we see U.S TV footage from the Iraq War - a dizzying MTV montage, war made pop- video. Shots include... ""Shock and Awe" air attack on Baghdad Caravans of U.S troops snaking through the desert Fighter plane video of an Iraqi fighter jet being destroyed on the ground Oil Wells ablaze PFC Jessica Lynch being rescued by Special Forces. MNBC Promo - American-flag-draped photomontages with the words "Our hearts go with you". Apache Helicopter attacks and destroys an Iraqi tank. TV Presenters debate "Who is the Hottest Scud Stud?" Soldiers plant an American flag with Iwo Jima-like DETERMINATION American troops pull down a huge statue of Saddam Hussein in central Baghdad. An American flag draped over the head is hastily replaced by an Iraqi flag. BLACK FADE IN: 12 INT. HOTEL ROOM - DAY 12 Bob sits on the bed talking to Debora on the phone. BOB Yeah, no it's been...well, I won't lie to you Debora - it's been pretty damn hairy. DEBORA (O.S.) (over phone, not as concerned as Bob would like) Yeah. We've been watching it on Fox. (CONTINUED) 8. 12 CONTINUED: 12 BOB Yeah, it's not, uh... I've seen things that you shouldn't, you know... He shakes his head sadly. BOB (CONT'D) Pretty damn hairy. DEBORA (O.S.) Well I don't even know why you're there. You're not exactly war correspondent material are you? BOB (STUNG) Well, I think it's important people get an accurate picture of what's... DEBORA (O.S.) (to someone else) What? Yeah. BOB (LISTENING) ...what's, uh, happening, so...is that Dave? DEBORA (O.S.) Yeah. He says Hi. Bob stares out of the window, nodding, afraid he might start to cry. BOB Oh, that's, that's... He BEATS his head off the wall for a moment. BOB (CONT'D) Okay. Gotta go. We're moving out - heading up north to cover the fighting there... 13 EXT. KUWAIT CITY - HOTEL - DAY 13 Bob walks out and puts his sunglasses on, staring around the quiet POOL-SIDE area. He sighs, sits down on a a sunlounger, starts to read his book. TITLES READ "Kuwait City, Kuwait, Spring 2003." JOURNALIST (O.S.) You missed the war? 9. 14 INT. HOTEL LOUNGE - DAY 14 Bob is drinking coffee with two gung-ho type war correspondents. BOB Yeah. They laugh. SECOND JOURNALIST How? BOB (EMBARRASSED) I've been stuck here. They've only just given me the green-light. So I'll probably head over there soon. I'm just working on this story about American contractors coming over for the re-build. The Journalists look bored. BOB (CONT'D) Yeah, I think they didn't want me going over because I'm not embedded. SECOND JOURNALIST Yeah, they don't like the unilats. The troops think the unilats'll stab `em in the back. When you're EMBEDDED you form a bond with the soldiers. You're like one of them. FIRST JOURNALIST (to Second JOURNALIST) You see action? SECOND JOURNALIST Went into Baghdad with Charlie Company, Second Brigade, Third Infantry Division... FIRST JOURNALIST The thunder run? Heard you had it pretty bad. SECOND JOURNALIST Could say that. Technicals all the way, RPG's, fuckers were firing anti-aircraft guns at us... (CONTINUED) 10. 14 CONTINUED: 14 FIRST JOURNALIST You know a Private First Class Zuchero? SECOND MAN Zook? I was standing next to him when he took a hit... Bob sits ignored, feeling inadequate as they continue to swap war stories. 15 EXT. HOTEL TERRACE - NIGHT 15 Bob sits drinking more coffee. BOB (To Waiter) So what's a useful phrase? KUWAIT WAITER La termi, ana sahafi. Bob repeats this. BOB What's that mean? KUWAIT WAITER Don't shoot, I'm a reporter. He walks off. Bob sighs, continues DOODLING in his notebook. We see he has covered the page in stylized drawings of EYES. He notices a A MAN IN A BASEBALL CAP sitting at the next table. BOB (SHYLY) Hey. MAN (without looking up) Hey. Bob reads the logo on the baseball cap. BOB DeWitt Resources. Arkansas. MAN (BEAT) Right. We make trash cans. BOB You over here for the conference? Looking for a contract right? (CONTINUED) 11. 15 CONTINUED: 15 MAN I guess. BOB What's your pitch? The man considers this. He looks up and we see his face for the first time - handsome, older than Bob, tanned, a moustache, a slightly haunted expression. This is LYN CASSADY. MAN Well...we're real cheap. Bob waits for more, but that's it. He holds out his hand. BOB Bob Wilton. LYN CASSADY (SHAKING) Skip. BOB Could I bum a smoke, Skip? Lyn shoves the packet across the table. Bob sits down across from him, pats himself down for a lighter, glances over to where the two embedded Journalists are joking with some Marines. Bob watches them jealously. BOB (CONT'D) (V.O.) (CONT'D) I sat there watching those reporters and realized I didn't want to be me anymore. I wanted to be them. I wanted to face peril and stand witness to the fall and rise of nations. Suddenly the TERRACE LIGHT above them flickers and goes out. Lyn and Bob sit in the dark. BOB (CONT'D) (V.O.) (CONT'D) Everyone gets everything he wants. Like the man said. I wanted a mission. BOB (CONT'D) (patting his pockets in the dark) Oh crap, can't find my... A LIGHTER ignites in Lyn's hand, eerily lighting the lower half of his face, his eyes hidden by the brim of the cap. Bob leans forward to light his cigarette and finds himself staring at the CONFERENCE I.D Lyn has pinned to his shirt. The name on the badge reads LYN S. CASSADY. (CONTINUED) 12. 15 CONTINUED: (2) 15 BOB (CONT'D) (V.O.) (CONT'D) And for my sins, Fate brought me one. He stares at the name as he puffs on the cigarette, vaguely troubled by a memory. BOB (CONT'D) (SUDDENLY) Lyn Cassady...? DISSOLVE TO: 16 EXT. GUS LACEY'S HOUSE- MICHIGAN - DAY - THE PAST 16 Bob pulls up in a car outside. SUPERED TITLES READ: Monroe, Michigan, 1997 GUS LACEY (O.S.) This is the home learning course we're putting out, which is very popular. 17 INT. GUS LACEY'S HOUSE - DAY 17 Bob is interviewing Gus Lacey at Lacey's dining room table. Gus has a sun-bed tan and odd hair. His nervous looking MOTHER sits beside them. Gus is holding up a VIDEO CASE for Bob to see - the cover, illustrated with a picture of Gus, reads "Free To Roam - Learn E.S.P from the master!" GUS LACEY Then there's the seminars. When I'm not teaching I spend a lotta time, right here, remote viewing. BOB Right here? GUS LACEY The kitchen table. That is correct. That's where my body is. But my mind...that's, you know... He gestures to the horizon. BOB Wandering? GUS LACEY Wandering. Roaming. Yeah. BOB So what have you seen lately? (CONTINUED) 13. 17 CONTINUED: 17 GUS LACEY Lately I've been watching the Loch Ness Monster in Scotland, England - which it turns out is the ghost of a dinosaur. That's an exclusive for you. BOB Okay. Wow. E.C.U of Bob's notebook - on which he has written You are Crazy. BOB (CONT'D) So...when did this all start for you Gus? GUS LACEY It started when I was a kid. I used to lie on my bed and RV my cousin, Irene, undressing at night. Then, when I was in the army I joined Bill Django's unit. He trained me and the rest, as they say... BOB Right. I don't know who that is. Gus gives a dreamy smile. GUS LACEY I can't really talk about Bill. BOB So what did you do in the army? GUS LACEY We were Psychic Spies mainly. That was our initial tasking but...once they realized what they were sitting on, the forces at work... He stops, his face darkening. GUS LACEY (CONT'D) We were trained to kill animals. BOB (BEAT) You mean, what...with your...? GUS LACEY With our minds. That is correct. Just by staring at them. (CONTINUED) 14. 17 CONTINUED: (2) 17 BOB (BEAT) Huh. What kind of animals? GUS LACEY One of our unit stopped the heart of a goat. BOB Wow.(Beat) I don't know what to say. GUS LACEY The power they unlocked in us... (Beat, sorrowfully) Last week I killed my hamster. (Beat) You wanna see? 18 BACK OFFICE - LATER 18 TV SCREEN - playing a home video of TWO HAMSTERS in a cage. Bob and Gus sit watching the TV. Gus' mother hovers in the background. GUS LACEY You ever seen a hamster do that before? BOB Well, I've never owned a hamster Gus, so I don't know what... GUS LACEY Look at the way it's glaring at its wheel. Usually that hamster loves its wheel. BOB Maybe some of the readers have hamsters so... GUS LACEY Good. Then they'll know how rare that is. BOB Yeah, I guess any hamster-owning readers will know what's aberrant behavior and, uh, what's...Oh, shit, he's down! ON TV one of the hamsters has fallen over. (CONTINUED) 15. 18 CONTINUED: 18 GUS LACEY Yeah, he's down. At this point I'd been staring at him for about three hours. The other hamster falls over. BOB Oh my God! You've dropped both hamsters! GUS LACEY No, the other one's just fallen over. They watch in silence. Then the hamsters get up and start eating. GUS LACEY (CONT'D) (switching off the TV) Bizarre. Right? BOB Well...it didn't die. I thought you said you killed it? GUS LACEY (SHEEPISH) Yeah well...(He gestures to his Mother) Mother said no. She said you might be a bleeding-heart liberal. She said "Don't show him the hamster dying. Show him the tape where the hamster acts bizarre instead." Bob looks to Gus' Mother who manages to look nervous and defiant at the same time. Gus stares at the blank TV, sips his coffee. GUS LACEY (CONT'D) This was nothing. You should have seen the Skipper at work. BOB Who's the Skipper? GUS LACEY Lyn Cassady. After Bill he was the most psi-gifted guy I ever met. He was like an Occultic force. (Beat) I think he runs a dance studio now. (CONTINUED) 16. 18 CONTINUED: (2) 18 BOB'S NOTEBOOK - as he writes down the name LYN CASSADY... DISSOLVE TO: 19 EXT. HOTEL TERRACE - THE PRESENT - AS BEFORE 19 ON LYN'S NAME TAG Bob straightens from lighting his cigarette, stares at Lyn. BOB Do you...do you know a Gus Lacey? Beat. Lyn gets up and walks away. BOB (CONT'D) Lyn? (Beat) Skip? (Beat) Lyn? 20 INT. HOTEL CORRIDOR - MOMENTS LATER 20 Bob hurries to catch up with Lyn. He follows him around a corner and skids to a halt. Lyn is facing him, standing on one leg, hands raised above his head in an odd martial arts stance. He emits a threatening croon. Bob raises his hands nervously. BOB Whoa! LYN CASSADY You working for Hooper? BOB Hooper? No. I work for the Ann Arbor Daily Telegram. LYN CASSADY How do you know about Lacey? BOB I interviewed him a few years ago. He'd been appearing on this radio talk show. Lyn relaxes his martial arts stance, shakes his head ruefully. LYN CASSADY Little prick...what'd he tell you? BOB He said he joined Bill Django's unit in the army and was trained to, to, uh remote view? (MORE) (CONTINUED) 17. 20 CONTINUED: 20 BOB (CONT'D) And he said the Loch Ness Monster was the ghost of a dinosaur. Who's Bill Django? LYN CASSADY (shaking his head in DISGUST) Did he show you his "Home Study Course"? BOB Yes. LYN CASSADY (walking off down the CORRIDOR) Yeah I bet he did. BOB (hurrying after him) Are you...? Do you mean you corroborate his, uh...? Because, see, I thought he was just an idiot? LYN CASSADY (RUEFULLY) He is an idiot...or he was...he's dead now. He was a paranormal whore. Always trying to get into the spotlight, yak, yak yaking. We took an oath. We don't divulge... BOB But you're saying there was a secret unit? Lyn stops, turns and stares at him. LYN CASSADY We...don't...divulge. 21 INT. LYN'S HOTEL ROOM - LATER 21 Bob and Lyn are talking, passing a bottle of Scotch backwards and forwards between them. Both are drunk. LYN CASSADY Okay. Let me ask you something. What color were the chairs in the hotel bar? BOB (BEAT) Uh...? (CONTINUED) 18. 21 CONTINUED: 21 LYN CASSADY You were in there for hours. What color were the chairs? BOB Um...brown? LYN CASSADY They were green. How many lights are there in this room? Bob starts to look around. LYN CASSADY (CONT'D) A Super Soldier wouldn't need to look. He would just know. BOB A Super Soldier? LYN CASSADY A Jedi Warrior. He would know where all the lights were. He could walk through a room and tell you how many power outlets there were. People are walking around with their eyes closed. At Level One we were trained to instantly absorb all details. BOB (BEAT) What's a Jedi Warrior? LYN CASSADY You're looking at one. BOB You're a Jedi Warrior? LYN CASSADY That's correct. BOB What does that...? I don't think I... LYN CASSADY (PATIENTLY) I'm Sergeant First Class Lyn Cassady, Special Forces, retired. In the eighties I was trained at Fort Bragg in a secret initiative code-named Project Jedi. The objective of the project was to create Super Soldiers. (MORE) (CONTINUED) 19. 21 CONTINUED: (2) 21 LYN CASSADY (CONT'D) Soldiers with Super Powers. We were the first generation of the New Earth Army. BOB (BEAT) You've got super powers? LYN CASSADY That's correct. BOB Hold on, let me...let me just... He takes out his NOTEBOOK, fumbling, trying to get into journalist mode. BOB (CONT'D) Okay, so, so you're saying you were a Psychic Spy, like Lacey? LYN CASSADY We prefer the term Remote Viewer. BOB How does that work? LYN CASSADY Different Jedi had different techniques. Mel Landau used to visualize packing all his cares and worries in a little suitcase, to clear his mind. Steve Cuttle used to read Bible verse... BOB What about you? Lyn thinks about it. LYN CASSADY Well, I find drinking helps. Also if I'm listening to classic rock music. BOB Yeah? (Beat) Like who? LYN CASSADY I like Boston. Boston usually works. Bob jots this down in the notebook. BOB (WRITING) What other powers did you practise? (CONTINUED) 20. 21 CONTINUED: (3) 21 LYN CASSADY Invisibility. BOB (Taken aback) Invisibility? LYN CASSADY Yup. That was Level Three. BOB Actual invisibility? LYN CASSADY Well...yeah, that was the goal. But after a while we adapted it to just finding a way of not being seen. When you understand the, the linkage between observation and reality, you learn to dance with invisibility. Bob tries to follow this. BOB Like camouflage? LYN CASSADY It's not like camouflage. We also practised Phasing. Crossing from particle to wave, from the physical realm to the plane of energy. Solid objects seem to pass right through you. It's starts with a breathing exercise... Lyn makes a weird shallow PANTING SOUND. LYN CASSADY (CONT'D) Then you think black. That's the nothingness. Bob watches him solemnly as he continues his weird panting. BOB I don't...can I be honest, Lyn? I don't know what to make of this. I don't know what to say. This is amazing stuff. (Beat) How would you...I wanna...could I write a story about this? Lyn stops panting, takes a swig of whiskey, stares at the bottle, suddenly taciturn. LYN CASSADY Not going to happen. (CONTINUED) 21. 21 CONTINUED: (4) 21 BOB No, but see, I've been looking for a story Lyn. I was going to write about the re-build contracts but this...this is even better and I... LYN CASSADY Not going to happen. BOB All I'm saying is we could talk some more tomorrow and... LYN CASSADY I'm shipping out tomorrow. BOB You're going home? LYN CASSADY Going to Iraq. There's this factory we might be partnering with in Al Qaim. Bob's face falls. BOB Oh. They sit in silence for a moment. Lyn passes Bob the whiskey. He takes a swig, his mind whirring... BOB (CONT'D) (SUDDENLY) I could come. LYN CASSADY (BEAT) What? BOB I could come with you, maybe, and... LYN CASSADY Bob, I don't want to be a story, okay? I don't need the attention and... BOB No, listen, we could change names, stuff could stay off record and... (CONTINUED) 22. 21 CONTINUED: (5) 21 LYN CASSADY It's a war over there Bob. Okay? A war. I can't be looking out for you. Bob flushes with annoyance. BOB Well you know, you don't... I look after myself. Okay? I look after...And I've been in some pretty hairy situations before. I'm not, you know...I'm a journalist, Lyn. You understand? He slaps his notebook for emphasis. BOB (CONT'D) A journalist. I go where the story is. BOB (V.O.)(CONT'D) I was an American. I was Resolute. I wanted adversity to reveal my character to the world. And to my wife. And to that one-armed cunt Dave. Lyn is staring at Bob's notebook. He takes it from Bob and examines Bob's DRAWINGS OF EYES. LYN CASSADY What's this? BOB What? Nothing. I was just doodling. Lyn examines Bob - something DIFFERENT IN HIS ATTITUDE. BOB (CONT'D) What's the matter? LYN CASSADY (BEAT) Nothing. He considers for a moment, struggling with himself, then seems to reluctantly come to a decision. He reaches into the bag on his bed and pulls out a dog-eared BOOK. He hands it to Bob. Bob examines the book - on the cover is a picture of Da Vinci's Vitruvian Man and the title Pentagon Report 92245. The New Earth Army Manual. Bob stares at the book. He opens the first page and reads... (CONTINUED) 23. 21 CONTINUED: (6) 21 BOB (V.O.) (READING) The U.S Army doesn't really have any serious alternative than to be Wonderful! Bob looks at the DISCLAIMER at the bottom of the page. BOB(V.O.) (CONT'D) (READING) This does not represent the official position of the United States Army at this time. Bob looks up at Lyn who nods gravely. LYN CASSADY You wanted to know who Bill Django was? (Beat) He's the man who wrote that book. 22 EXT. EXPRESSWAY - IRAQ - MORNING 22 Lyn's CAR roars down the expressway into Southern Iraq, passing A TANK which sits by the road-side. 23 I/E. CAR - MORNING 23 Lyn drives. A hung-over Bob sits reading the New Earth Army Manual. BOB (READING) The New Earth Army is a banner under which the forces of good can gather. The courage and nobility of the Warrior, blended with the spirituality of the Monk. 24 EXT. ROAD - DAY 24 The car passes oil fields, beyond the buildings thinning out into the desert. BOB The Jedi Warrior will follow in the footsteps of the great Imagineers of the past - Jesus Christ, Lao Tse Tung, Walt Disney... 25 I/E. CAR - DAY 25 Bob is still reading. (CONTINUED) 24. 25 CONTINUED: 25 BOB (READING) The role of The New Earth Army is to RESOLVE CONFLICT world-wide. Jedis will parachute into war zones, utilizing sparkly eyes technique, carrying symbolic flowers and animals, playing indigenous music and words of peace... INSERT: An illustration of a SOLDIER CARRYING A LAMB and some LILIES - with what appears to be some kind of loudspeaker strapped to his shoulder. BOB (CONT'D) What's the sparkly eyes technique? Lyn raises his shades and twinkles his eyes at Bob for a moment. BOB (CONT'D) Okay. LYN CASSADY You see it? BOB I think so. (Beat) Lyn? LYN CASSADY Yeah? BOB Who is this Bill Django? Lyn draws on his cigarette thoughtfully. LYN CASSADY I don't know where to begin. 26 EXT. VIETNAM - DAY - THE PAST 26 LOW ANGLE - a YOUNG BILL DJANGO - military buzz cut and all - trips out of a HOVERING HELICOPTER and falls, head- first down towards us. WE FREEZE FRAME on his YELLING FACE just before it hits the camera. 27 INT. CAR - AS BEFORE 27 Lyn exhales smoke. (CONTINUED) 25. 27 CONTINUED: 27 LYN CASSADY Bill always said it started for him when he fell out of a helicopter in Vietnam. 28 EXT. VIETNAM - DAY - THE PAST 28 Bill hits the ground, which is luckily mainly composed of MUD. He lies stunned as MORE HELICOPTERS lower around him and his PLATOON begin to debark. The Helicopters barely touch the ground before they take off again. SUPERED TITLES read: Vietnam, January, 1973. Bill gets up onto his knees and examines his M-16 - the barrel clogged with earth. He pokes his finger into the muzzle trying to clean it, then finds he can't get it back out again. BILL DJANGO Oh, man... He tries to pull his finger free, glances up and FREEZES. Ahead of Bill and his Platoon is a WALL OF DEAD AMERICAN TROOPS - rotting in the sun. His men stand staring at the wall aghast. A PRIVATE beside Bill snaps and opens FIRE, yelling wildly. BILL DJANGO (CONT'D) (over the gun-fire) Knock-it off! Chris! Knock-it off! Bill grabs him with his free hand and shakes him, his M- 16 hanging painfully from his other hand. BILL DJANGO (CONT'D) Will you knock it off? (Climbing to his feet) Jesus. What do you think...? THUNK. A SOLDIER standing next to Bill drops, the back of his head sprayed over nearby soldiers. SILENCE. Everyone stares at the dead man. Another shot rings out - another SOLDIER DROPS. The others flinch, scan the tree- line ahead of them. SOLDIER (POINTING) VC in black pyjamas! One hundred meters! It's a woman! The WOMAN is jogging across the tree-line ahead, weapon in hand. (CONTINUED) 26. 28 CONTINUED: 28 BILL DJANGO (trying to free his HAND) Okay! Silence. Long pause. BILL DJANGO (CONT'D) Well!? SOLDIER What? BILL DJANGO What the fu...! Why isn't anyone firing? His men stare back at him, frightened. BILL DJANGO (CONT'D) TAKE HER OUT! The Soldiers open fire - a deafening roar. The Woman keeps on running as the foliage above her head is shredded by bullets. NO SHOT COMES CLOSE. Bill watches amazed. BOB (V.O.) Every single one of Bill's men fired high. They instinctively hadn't wanted to shoot another person. Later Bill would come across a study by General S.L.A Marshall, which revealed that only 15-20 percent of fresh soldiers shot to kill. The rest aimed high, didn't fire at all, or pretended to be busy doing something else. Bullets still flying above her head, the Woman stops running, crouches down and RETURNS FIRE. Bill is SHOT, stumbles backwards and falls into the mud, his finger still stuck in his M-16. He lies there, staring up at the sky, his expression one of puzzlement, as a huge blood stain spreads over his chest. BILL'S P.O.V - the edges of our vision darken down as the sound FADES OUT. The darkness flows inwards, as if an IRIS IS CLOSING DOWN - until only a PIN-POINT OF WHITE LIGHT remains in the centre of the sky. We begin to move towards the light, slowly at first and then faster and faster. Just as we are about to reach it, a VISION OF THE FACE OF the VC WOMAN appears, filling the white disc. (CONTINUED) 27. 28 CONTINUED: (2) 28 VC WOMAN (SOFTLY) Their gentleness is their strength. We begin to sink back down again, faster and faster until the circle of white light has disappeared all together and we are in DARKNESS... FADE IN: 29 INT. MILITARY HOSPITAL - THE PAST - DAY 29 Bill lies in his bed, staring sadly at the other casualties in the ward - amputees, spinals, burns... BOB (V.O.) Recovering in hospital, Bill wrote to General T.L Cornplow, Vice Chief of Staff for the Army, explaining that he wanted to go on a fact-finding mission to explore alternative combat tactics. The Pentagon agreed to pay his salary and expenses for the duration of the journey. We hear the opening of a period song as we... CUT TO: 30 EXT. HIGHWAY - THE PAST - DAY 30 ...as the track continues we see Bill in civilian dress, driving down the Pacific Coast Highway. BOB (V.O.) What Bill hadn't told the Pentagon was that he was really looking for the answer to the riddle of his vision. How could his men's gentleness, their general lack of interest in killing people, how could this be turned into a strength? How could love and peace help win wars? Bill knew where to go to find out. MONTAGE SEQUENCE BEGINS 31 EXT. GROUNDS - DAY 31 TRACKING past a row of HOT TUBS - each filled with naked people hugging. (CONTINUED) 28. 31 CONTINUED: 31 We find an uncomfortable Bill in one tub filled with EMBRACING HIPPY MEN. Self-consciously he strokes his buzz- cut. SUPERED TITLES READ: Naked Hot Tub Encounter Sessions, Santa Rosa. 32 INT. ROOM - DAY 32 Bill and another MAN are arm-wrestling, SCREAMING. Other MEN stand around screaming also. TITLES READ: Primal Arm- Wrestling, Sacramento. 33 EXT. POOL - DAY 33 FOUR PEOPLE are floating on their backs breathing rapidly and loudly. Each one is supported by a partner. Bill, his buzz-cut growing out, floats amongst them, sobbing uncontrollably. TITLES READ: Reichian Rebirthing, San Jose. 34 EXT. HILL - DAY 34 A PLATINUM HAIRED WOMAN is leading a GROUP OF RUNNERS, including Bill, down the hill. They run in an odd way - prancing like horses, their eyes closed, arms raised, smiling ecstatically. TITLES READ Beyond Jogging Movement, Stockton. One of the group runs into a tree. 35 INT. ROOM - DAY 35 Bill lies on his side on a gurney, his hair longer now. We can't see what is being done to him, but he is sobbing uncontrollably once again. TITLES READ Higher Essence Colonic Irrigation Therapy, Monterey. 36 EXT. HOUSE - DAY 36 LONG SHOT - A GROUP OF BARE-CHESTED MEN, including BILL, stand on the roof of the house. TITLES READ The Whole Man Movement - Auburn. A LEADER gives Bill a signal and he jumps off, falls fifteen foot to the road below. He hurts himself quite badly. 37 INT. ESALEN INSTITUTE - DAY 37 Bill sits amongst a large MEDITATION GROUP, long-haired and bearded, indistinguishable now from the San-Francisco Bay area Hippies all around him. TITLES READ: Esalen Institute for the Advancement of Human Potential, Big Sur. (CONTINUED) 29. 37 CONTINUED: 37 ARROWS POINT at various MEDITATORS around the hall, identifying them as BOB DYLAN, GEORGE HARRISON and HENRY MILLER. Bill senses someone staring at him and glances over to the Meditator next to him - Aviator shades, a baseball cap pulled low, empty cigarette holder clenched between his teeth. The Meditator continues to stare intently at him. Then opens his coat to reveal the Magnum .45 strapped to his chest. Bill smiles nervously. An ARROW identifies the gunman as HUNTER S. THOMPSON. BOB (V.O.) Bill disappeared into the New Age Movement for six years. Bill feels Thompson staring at him. He smiles nervously. 38 EXT. FORT BRAGG - MAIN GATES - THE PAST - DAY 38 It's 1980. Bill walks down the road towards the entrance gates. His long hair is braided. He has an EYE painted on his forehead. BOB (V.O.) Like all Shamen before him, he had traversed the wilderness. Now he was returning to his people, a changed man. The SENTRIES at the gate check Bill's PASS suspiciously. BOB (CONT'D) (V.O.) (CONT'D) He brought with him his confidential report - The New Earth Army Manual. The Gates swing open and Bill passes through. DISSOLVE TO: 39 EXT. DESERT - DAY 39 Lyn crouches revolving a curious aluminium CONE towards the sun. Bob sits by the car, reading the manual. He looks up, watches Lyn. BOB (BEAT) Does it direct your powers? (CONTINUED) 30. 39 CONTINUED: 39 LYN CASSADY What? BOB The cone. Does it direct your psychic powers or something? LYN CASSADY No. BOB What does it do? Lyn takes some BURGERS out of a cooler box and puts them into the cone. LYN CASSADY It cooks supper. He examines the stove approvingly. LYN CASSADY (CONT'D) Solar. Utilizing the power of the universe - no pollution, totally renewable. This is like New Earth Army technology. Bob picks up the Manual and starts to read. Lyn watches him. LYN CASSADY (CONT'D) Pretty mind-blowing, isn't it? First time I read it, I was like...what the fuck? BOB Yes. (Beat) But... He stops. LYN CASSADY What? BOB Nothing. LYN CASSADY Go on - what? BOB Well it's just...it's hard to believe the Pentagon paid for this. I mean, it's very interesting, but there's nothing in here that's actually about...fighting? (CONTINUED) 31. 39 CONTINUED: (2) 39 LYN CASSADY The New Earth Army was tasked with preventing conflict. We're a force of peace, not war. Bill realized if you want to change the world, you've got to start by changing the armies. He was the one that started the research into non- lethals. BOB Non-lethals? Lyn flicks away his cigarette. LYN CASSADY Check this out. He takes a yellow PLASTIC BLOB from his pocket with a flourish. LYN CASSADY (CONT'D) The Predator. BOB (LAUGHS) The Predator? (Beat) That's a plastic blob, Lyn. (Pointing at the blob) That's a... Before he can finish Lyn has slipped Bob's finger into a hole in the middle of the blob and twisted it. BOB (CONT'D) OH! OH FUCK! OH...FUCK! LYN CASSADY You see? You're mine now. The Predator is completely biodegradable. It's friendly to the earth but it can hurt you in a hundred ways. He takes the blob off the finger and rubs it's serrated edge down Bob's temple. BOB OWWWWWW! LYN CASSADY It has warrior functions.(Beat) And it looks a bit funny. This is New Earth Army technology. Lyn sticks the Predator in Bob's ear and hauls him to his feet. Bob yells with pain. (CONTINUED) 32. 39 CONTINUED: (3) 39 BOB Stop it! Stop hurting me! Lyn stares at the blob fondly. LYN CASSADY I bought it on line. What's cool about it is that you could see this lying on the ground and you'd never know it had such lethality. Bob holds his ear and pants for breath. Lyn's face lights up. LYN CASSADY (CONT'D) Eyeballs. 40 EXT. DESERT - DAY 40 An empty landscape, as Bob's shout drifts across the sands... BOB No!!!!! 41 EXT. DESERT - SUNSET 41 Bob watches the RED DISK of the sun dip below the horizon. Lyn checks the meat on the stove looking pissed off. It's still raw. BOB I think it's officially night now. Lyn kicks at the stove. LYN CASSADY (MUTTERING) Piece'a shit. 42 INT. CAR - DESERT - LATER 42 Bob and Lyn sit in the car. Bob is reading the Manual, eating cold beans from a can. Bob suddenly notices Lyn has taken a small black case from his bag and is preparing an INJECTION. LYN CASSADY (Off Bob's look) ) I've got Crohn's. The steroids help. (CONTINUED) 33. 42 CONTINUED: 42 Lyn injects himself, packs everything back away in his back-pack. Bob sits, shivering. Lyn finishes, stares up at the stars thoughtfully. LYN CASSADY (CONT'D) Sometimes there's a need, Bob. Sometimes people are calling out for something, even if they don't know it themselves. And then a man like Bill appears out of nowhere, because he heard the call.... DISSOLVE TO: 43 INT. FORT BRAGG - NIGHT - THE PAST 43 A CIRCLE OF OFFICERS including MAJOR HOLTZ sit around BILL who has surrounded himself with a pseudo-forest of plants. There are candles everywhere. His face is painted. SUPERED TITLES read Fort Bragg. 1980. BILL DJANGO I'd like us to begin this with a mantra. If we could all breathe in and then out, holding a long "eeeeee." The OFFICERS stare at him. There are sniggers. Bill stares them down. BILL DJANGO (CONT'D) Breathe in...(they comply) and out... OFFICERS (EMBARRASSED) EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE ee. They finish. Bill nods, smiling, stares around at them. BILL DJANGO We are a Hollow Army, gentlemen. Vietnam has crushed our soul. We are traumatized and melancholic. We are ashamed. That is why I have brought you to this place of Sanctuary. Here we can mend our wounds and dream our dreams. My dream is of an America that will lead the world to paradise, an America that no longer has an exploitative view of natural resources, that no longer promotes consumption at all costs. I believe this is America's destiny. (MORE) (CONTINUED) 34. 43 CONTINUED: 43 BILL DJANGO (CONT'D) But to achieve it we must become the first Superpower to develop super powers. We must create Warrior Monks - men and women who can fall in love with everyone, sense plant auras, pass through walls, stop saying mindless cliches and see into the future. I want you to JOIN me in this vision. (Beat) Be ALL you can BE. Bill finishes. We TRACK along the OFFICERS' FACES - really not sure what to do or say. We reach one officer who looks like Lee Marvin. This is BRIGADIER GENERAL DEAN HOPGOOD. His eyes are shining with excitement. BOB (V.O.) Amongst Bill's audience that night was Brigadier General Dean Hopgood, from the Defense Intelligence Agency. For some time the General had been concerned about information he had been receiving about Soviet research into psychic powers. 44 EXT. POOL - DAY - THE PAST 44 Wearing trunks, the Brigadier General lounges by his pool, engrossed in a PAPER-BACK BOOK titled Psychic Discoveries Behind the Iron Curtain. BOB (V.O.) According to some stories the Soviets were psychically spying on American bases and had designed "psychotronic generators" - machines capable of bombarding the President with negative energy. 45 INT. LABORATORY - DAY - THE PAST 45 Two DIABOLICAL-LOOKING RUSSIAN SCIENTISTS are wiring up some KITTENS to a MACHINE. BOB (V.O.) They were also conducting sadistic experiments to see whether animals had psychic powers. 46 ANOTHER LABORATORY 46 Another DIABOLICAL SCIENTIST is wiring up the KITTENS' MOTHER. (CONTINUED) 35. 46 CONTINUED: 46 BOB (V.O.) Could they, for instance, telepathically detect that their babies were distressed? 47 FIRST LABORATORY 47 With a gloating smile one of the Scientists approaches one of the KITTENS with a lit CIGARETTE. The kitten gives a pitiful MEW as the Scientists LOOMS over it. 48 EXT. POOL - DAY - THE PAST 48 Brigadier General Hopgood can't read on. BRIGADIER GENERAL HOPGOOD Sick bastards... 49 INT. OFFICE - DAY - THE PAST 49 Brigadier General Hopgood is briefing two senior Pentagon OFFICIALS. OFFICIAL But why did the Soviets begin this type of research? BRIGADIER GENERAL HOPGOOD Well sir, it looks like they heard about our attempt to telepathically communicate with one of our nuclear subs - the Nautilus - while it was under the Polar cap. OFFICIAL (BEAT) What attempt? BRIGADIER GENERAL HOPGOOD There was no attempt, sir. It seems the story was a French hoax. But the Russians think the story about the story being a French hoax is just a story sir. SECOND OFFICIAL So, they've started psi research because they thought we were doing psi research, when in fact we weren't doing psi research? (CONTINUED) 36. 49 CONTINUED: 49 BRIGADIER GENERAL HOPGOOD Yes sir. But now that they are doing psi research, we're going to have to do psi research, sir. We can't afford to have the Russians leading the field in the paranormal. The Officials consider this gravely. 49A INT. FORT BRAGG OFFICERS QUARTERS - DAY 49A Bill looks in a mirror as he admires his new insignia. BOB (V.O.) Two weeks later the Army adopted the slogan Be All You Can Be and appointed Bill Commander of the first New Earth Army Battalion. 50 INT. CAR - THE PRESENT - DAWN 50 Bob wakes, stiff and cold, in the front of the car. He sits up and looks around, trying to work out where he is. Suddenly he realizes he is ALONE. Afraid, he scans the landscape around him - featureless desert stretches to the horizon. BOB (SOFTLY) Lyn? 51 EXT. DESERT - CONTINUOUS 51 Bob jumps out of the car, panicking and starts to run in a random direction. BOB (As he runs) Oh God. Oh God. He stops, staring at the immense empty landscape ahead of him. BOB (CONT'D) LYYYYN! LYN CASSADY (O.S.) What? Bob turns and sees Lyn in a YOGA pose on the roof of the car. (CONTINUED) 37. 51 CONTINUED: 51 BOB I didn't...I thought...What are you doing? LYN CASSADY Salute to the Sun. He finishes and jumps down. LYN CASSADY (CONT'D) Okay. We're Oscar Mike. (Getting up) That's "On the Move" soldier. 52 EXT. DESERT ROAD - EARLY MORNING 52 The car cuts across the vast landscape, the day already heating up. 53 INSIDE THE CAR 53 Bob is writing in his notebook as Lyn drives. He notices Lyn keeps looking up at the sky. BOB What are you doing? LYN CASSADY Cloud bursting. Keeps me in shape. Bob stares up at the clouds. BOB Really? Which one? LYN CASSADY (POINTING) That one. Bob tries to work out which cloud he means. BOB That one? LYN CASSADY No. That one. The big one. BOB Isn't that one too far away? Lyn looks at Bob like he's crazy. LYN CASSADY They're all far away. (CONTINUED) 38. 53 CONTINUED: 53 He concentrates on the CLOUD again. Sure enough, it thins and fades until it has DISAPPEARED. Bob stares - not sure what to think. LYN CASSADY (CONT'D) And it's gone. Lyn, smiling up at the sky, doesn't notice that the car is veering off the road a little. BANG! The two men are slammed forward as the car hits something, Bob smacking his face off the dash. 54 EXT. DESERT ROAD - DAY 54 We see the car has run straight into a large ROCK. This is pretty much the only vertical feature in the otherwise flat landscape. The two men stand staring at the wrecked front of the car. Bob is holding a handkerchief to his bloody nose. He looks at the car, stares around him at the desert stretching out. BOB Jesus Lyn. You had like the whole desert to drive in... Lyn rubs his face ruefully. LYN CASSADY Yeah. I'm sorry about that Bob. Must have got a little bi- locational there, you know? But don't worry. Someone'll come along soon. 55 EXT. DESERT ROAD - DAY - MUCH LATER 55 A sweating Bob sits in the shadow of the car, tossing a COIN. Lyn sits smoking. LYN WHEATON Heads. BOB (checking the coin) Right. He tosses again. LYN WHEATON Heads. (CONTINUED) 39. 55 CONTINUED: 55 BOB (CHECKING) Right. He tosses again. BOB (CONT'D) What's your record at this? LYN WHEATON Two hundred and sixty four. Tails. BOB (CHECKING) Right. That's pretty... He stops, listening. We hear the sound of an approaching ENGINE. The two men turn to see a WHITE PICK-UP TRUCK approaching. BOB (CONT'D) (scrambling to his FEET) Oh thank Christ. Bob scuttles into the middle of the road, waving frantically. The pick-up slows and pulls over. A YOUNG IRAQI MAN looks out at them. BOB (CONT'D) Can you help us? We drove into a rock. Could you take us to a town or someplace? Smiling, the Iraqi gestures to the back of the pick-up. BOB (CONT'D) (RELAXING) Thank you! Thanks so much! He grabs his case and climbs up onto the back of the truck. Lyn stares at the driver, then, with a sigh picks up his bag and follows Bob. 56 EXT. DESERT ROAD DAY - BACK OF TRUCK 56 As the Truck bumps off down the road, Bob and Lyn sit down and find themselves facing TWO YOUNG IRAQI MEN. BOB Hi! Hello there. Thanks so much for this. The two Young Men smile in a friendly fashion. (CONTINUED) 40. 56 CONTINUED: 56 BOB (CONT'D) (LAUGHING) Don't know if we would have lasted much longer. Phew! One of the Young Men nods, smiling. He reaches casually forward and takes Lyn's BAG from him. Lyn just sits there, resigned as the Young Man roots through the contents. BOB (CONT'D) (OBLIVIOUS) Yeah, it gets pretty hot out here, huh? The Young Man takes out a ROCK COMPILATION CD from Lyn's bag and inspects it. YOUNG IRAQI (to the other) Deep Purple. They laugh. BOB (laughing too) Oh, you speak English? Great. Deep Purple. Right. You guys like Deep Purple? You like rock or, or... He suddenly notices the Young Iraqi is holding a HANDGUN. The Driver leans out the window and shouts something over the roar of the engine. The Young Man next to Lyn takes off his scarf and starts to blindfold Lyn with it. BOB (CONT'D) (smile fading) Lyn? Is this...is this...? LYN CASSADY (WEARILY) Yeah. 57 INT. ROOM - NIGHT 57 Bob and Lyn, their hands tied, sit on a mattress in the otherwise empty room, lit by a shaft of moonlight from the small window above them. From next door comes the faint sound of a period song playing. Bob is losing it. BOB We're going to die! I'm going to be killed by Al Qaeda! (CONTINUED) 41. 57 CONTINUED: 57 From the next room we hear the Young Iraqis start to sing along to the track, laughing. Lyn listens. LYN CASSADY I don't think they're Al Qaeda. BOB Oh what the hell do you know? You don't know! You don't know anything! And this is all your fault! LYN CASSADY Bob, there's something I have to tell you. When I said I was retired from the unit, that was a lie. I'm on a mission. DeWitts was just my cover. I've been reactivated. I couldn't tell you because this is a Black Op, but...I think you have a part to play. I think that's why you're with me. Bob collapses face down on the mattress. BOB (MUFFLED) You're an idiot. You want to know why I'm with you? Because I got drunk. (Starting to cry a little) I got drunk and I just wanted to get into Iraq so I could prove to my wife I wasn't...just once that I...And now I'm going to die. She's right. I'm such a... He dissolves into misery. Lyn watches with sympathy. LYN CASSADY Have you heard of Optimum Trajectory before? (No answer) Your life is like a river, Bob. If you're aiming for a goal that isn't your destiny, you will always be swimming against the current. Young Ghandi wants to be a stock-car racer? Not gonna happen. Little Anne Frank wants to be a High School teacher. Tough titty Anne. That's not your destiny. But you will go on to move the hearts and minds of millions. Find out what your destiny is and the river will carry you. Now sometimes events in life give an individual clues as to where their Destiny lies. (MORE) (CONTINUED) 42. 57 CONTINUED: (2) 57 LYN CASSADY (CONT'D) Like those doodles you just "happened" to draw? He unbuttons his shirt and reveals an EYE tattooed on his chest - very similar to the one Bob had drawn. Bob looks up. LYN CASSADY (CONT'D) This is the Ajna chakra - the third eye - the symbol of the Jedi. When I saw you'd drawn it...well, the Universe gives me a sign like that, I don't ignore it. You're meant to be here with me, Bob. The Jedi inside you sensed that. Bob stares at the EYE. LYN CASSADY (CONT'D) Now listen to me. I don't think these guys are FRL's or Mehdi Army... I think we're talking standard criminals here, okay? What they're gonna do is try and sell us on to another group. We can't let that happen. BOB How are we gonna stop them? There's three of them! And they've got guns! LYN CASSADY We're Jedi, Bob. The Jedi don't fight with guns. We fight with our minds. BOB What do you mean? LYN CASSADY Let's say we have no choice but to fight with these men. Then we use visual aesthetics to instill psychically in the enemy a disincentive to attack. BOB (BEAT) What do you mean? LYN CASSADY Okay, you lock eyes with one of them, you go into a monotone and you say "No, I'm not going to attack you." You totally relax your body and your voice. And then you rip out one of his eyeballs. (MORE) (CONTINUED) 43. 57 CONTINUED: (3) 57 LYN CASSADY (CONT'D) Or you use a pen, stab him in the neck, create a fountain of blood, I mean really a fountain, get the blood to squirt on his buddies. That's a psychic disincentive, right there. Bob thinks about this, a little nauseated. BOB We haven't got a pen. LYN CASSADY (SIGHS) You're missing the point. (Standing up) Here let me show you something. Stand up. Bob stands up reluctantly. LYN CASSADY (CONT'D) Choke me. BOB Oh...I don't want to Lyn. LYN CASSADY Choke me. What am I gonna do? (pointing at his throat) Just here. Choke. Choke. BOB I don't think I...there's sharp edges around here... LYN CASSADY C'mon...(making quotation marks with his fingers) "Attack me." Bob stares at him, a little annoyed by this. BOB What's with the quotation fingers? That's like implying I'm you know...only capable of ironic attacking or... LYN CASSADY Quit jawing, Bob, and choke me. BOB (BEAT) Well, if I choose to choke you, what are you going to do? LYN CASSADY I'm going to interrupt your thought pattern. (CONTINUED) 44. 57 CONTINUED: (4) 57 Bob thinks about this then raises his hands to choke Lyn. Lyn THROWS him - sailing through the air. He crashes down into the floor behind Lyn. LYN CASSADY (CONT'D) See? I hardly moved. Physics wise there's not much going on. It's the psychic energy that's important. (Beat) You okay? BOB (in pain) Sharp...edges... LYN CASSADY (helping him up) You felt fear didn't you? Before hand? Bob massages his back, impressed despite himself. BOB Yes. LYN CASSADY Would you say that level of fear was abnormal for you? Bob thinks about this. BOB I don't know. I was pretty terrified anyway but the fear I felt on the run-up to the choking did seem, you know, unusual. LYN CASSADY (PLEASED) You know why? It wasn't you. It was me. I was inside your head. Fighting with the Mind. Suddenly the door opens and one of the Young Iraqis comes in, smiling. YOUNGER IRAQI Okay. We go. 58 EXT. DESERT - EARLY MORNING 58 The White Pick-Up bounces over the sand. Bob and Lyn sit in the back with one of the Young Iraqis, who has Lyn's back-pack. BOB (SOFTLY) I'm sorry I freaked out, Lyn. (CONTINUED) 45. 58 CONTINUED: 58 LYN CASSADY That's okay. You learnt a lesson. "Whatever you fear most has no power - it is your fear that has power." BOB (IMPRESSED) Huh. LYN CASSADY Oprah. BOB Uhuh. (Beat) You really don't work for DeWitts? LYN CASSADY Just my cover. BOB (BEAT) Gus Lacey said you ran a dance studio. That was just cover too, right? LYN CASSADY No. I do run a dance school. I love dance. BOB Oh. Okay. (Beat) And you're really on a mission out here? LYN CASSADY In time, Bob. BOB (BEAT) Were you just kidding me back there - about me having some Jedi in me? LYN CASSADY We learn to recognize our own kind after a while. You ever dream about flying? BOB Yes. LYN CASSADY That's one of the signs. BOB Do you really think so? (CONTINUED) 46. 58 CONTINUED: (2) 58 LYN CASSADY Don't you? Haven't you always really felt you were different? Bob considers this. BOB Yes. Yes I have. LYN CASSADY That's the way it is for us. We're the ones who don't fit in as kids. BOB Have you always had powers? LYN CASSADY Kind of. They used to call me the Jinx. BOB Why? 59 INT. GROOM LAKE, NEVADA - DAY - THE PAST 59 Two TECHNICIANS study COMPUTERS. TITLES READ "AREA 51" Groom Lake, Top Secret Test Flight Base, Nevada. 1983 TECHNICIAN (Excited. Into MICROPHONE) Foxtrot-117 has launched. Tracking now. Charlie-Oscar 31.8066667... Lyn (30's), in uniform, walks past and both computers INSTANTLY CRASH. VOICE (over speakers) We just lost contact! Request status? Oh Crap! The TECHNICIANS turn to stare after Lyn. We hear a SIREN begin to wail. 60 INT. OFFICE - DAY - THE PAST 60 Lyn stands nervously to attention in front of a very grim looking Brigadier General Hopgood. BRIGADIER GENERAL HOPGOOD Did you crash those computers? Lyn opens his mouth to lie, but one glance at Hopgood's forbidding countenance changes his mind. (CONTINUED) 47. 60 CONTINUED: 60 LYN CASSADY (MISERABLE) Yes sir. Beat. A SLOW GRIN steals over the General's face. BRIGADIER GENERAL HOPGOOD (SOFTLY) Far fucking out... Lyn blinks. This wasn't the reaction he'd expected. BRIGADIER GENERAL HOPGOOD How'd you feel about a transfer son? 61 INT. EX-MESS HALL - FORT BRAGG, NORTH CAROLINA - DAY 61 A small group of JEDI RECRUITS, Lyn amongst them, stands facing a stern Bill Django in the abandoned-looking building. The walls have been decorated with COSMIC MURALS. BILL DJANGO I am Lieutenant Colonel Bill Django. From now on, you will speak only when spoken to, and the first and last words out of your mouth will be "Sir, yes, sir!" Do you understand? RECRUITS Sir, yes, sir! BILL DJANGO If you complete this course you will be a Psychic Weapon, an Angel of Death, our enemies Worst Nightmare! Until then you are Nothing! Less than Nothing! Do you understand? RECRUITS SIR, YES, SIR! BILL DJANGO (CHUCKLING) Yeah, I'm only kidding with that shit. Okay, what shall we do now? He stares around the men, expectantly. BILL DJANGO (CONT'D) (clapping his hands) Hey! Lets dance! 48. 62 INT. EX-MESS HALL - DAY 62 The Jedis are DANCING to some rock, encouraged by Bill. BILL DJANGO Okay! Give it everything you've got! That's it! The Jedis start to dance more frenetically, eyes closed, jumping about the room, waving their arms... Bill notices Lyn, shuffling self-consciously from foot to foot. BILL DJANGO (CONT'D) What's your name son? LYN CASSADY Lyn Cassady sir. BILL DJANGO Where you from? LYN CASSADY Opelousas, Louisiana, sir. Bill stares at Lyn, taking in his orphan air, his hunted look. BILL DJANGO Tough place to grow up? Lyn shrugs, embarrassed. Bill nods. BILL DJANGO (CONT'D) You've gotta free your feet before you can free your mind, Lyn. LYN CASSADY (EMBARRASSED) Not much of a dancer sir. Bill examines Lyn's face through narrowed eyes. BILL DJANGO But that isn't true is it Lyn? You can dance. It's just someone told you not to. 63 BEDROOM - 1965 63 A TWELVE YEAR OLD LYN - is dancing away to a track on the radio. His FATHER weaves drunkenly past the door and stops, watching. (CONTINUED) 48A. 63 CONTINUED: 63 LYN'S FATHER Stop acting so fucking QUEER! He throws his beer can at Lyn and walks on. Lyn stares after him, upset. The RADIO abruptly catches FIRE. 64 INT. EX-MESS HALL - DAY 64 Bill watches Lyn with compassion. (CONTINUED) 49. 64 CONTINUED: 64 BILL DJANGO Well, I'm your commanding officer Lyn, and I'm ordering you to let the dance out! Lyn starts to dance with a little more abandon. BILL DJANGO (CONT'D) C'mon goddamit! DANCE! Let it go! Let it all go! Lyn starts to go for it. And it's true - he CAN dance. BILL DJANGO (CONT'D) (with approval) Welcome to the Heroes Journey Lyn. Lyn smiles shyly. BILL DJANGO (CONT'D) (to the room) Okay remember everyone, we don't officially exist as a unit so I'm afraid there's no coffee budget. Bring your own coffee. Oh, and no solid food for the first week. As the track continues we... CUT TO: 65 OMITTED 65 MONTAGE SEQUENCE BEGINS 66 EXT. FORT BRAGG - DAY 66 UNIFORMED SOLDIERS march double time across the parade deck. SPECIAL FORCES TROOPS "I don't know but I've been told Eskimo Pussy is mighty cold..." 67 EXT. - DAY - JEDI WARRIORS 67 ...marching, chanting a mantra. JEDI WARRIORS Ommmm... 50. 68 INT. MESS HALL - DAY 68 Soldiers shovel in mouthfuls of creamed potato and steak. 69 INT. MESS HALL - DAY - JEDI WARRIORS 69 ...sipping their vegetable juice. 70 EXT. FIELD - DAY 70 The Jedis stand watching a JEEP driving down a course marked out on the field. 71 INT. INSIDE THE JEEP - DAY 71 Bill sits next to a nervous JEDI TRAINEE who is driving. The Jedi is BLINDFOLDED. BILL DJANGO (CALMLY) Okay, you're doing very well. Now feel the next bend... 72 EXT. ON THE FIELD - DAY 72 The Jedis SCATTER as the jeep swerves erratically off the course and drives straight towards them... 73 INT. CLASSROOM - DAY 73 SOLDIERS examine a DIAGRAM of BATTLE TACTICS. 74 INT. JEDI CLASSROOM - DAY 74 The Jedis examine a blackboard on which Bill is writing: "Before going into Battle the JEDI utilizes A) Yogic Cat Stretch. B) Primal scream and leap. C) Belgian waffle. D) Ginseng E) Amphetamines." 75 EXT. FIELD - DAY 75 The Jedis stare doubtfully at the bed of HOT COALS in front of them. One JEDI stands ready, his feet bare. BILL DJANGO Okay, only when you're ready. The Jedi nods nervously, hesitates, starts to WALK ON THE COALS, almost immediately starts to SCREAM. (CONTINUED) 51. 75 CONTINUED: 75 BILL DJANGO (CONT'D) (ENCOURAGING) Think cold! Think real cold! 76 EXT. FORT BRAGG - ROOFTOP - SUNSET 76 Bill leads the Jedis in the EARTH PRAYER as they face the setting sun. JEDIS Mother Earth, my life support system as a soldier, I must drink your blue water. I pray my boots will always kiss your face and my footsteps match your heartbeat. I am yours and you are mine. I salute you. 77 INT. EX-MESS HALL - EVENING 77 Bill leads the Jedis in another dancing session - rock music blasting - the men dancing in a variety of nerdish and demented ways. Their uniforms have been supplemented with odd, personal touches: hats, badges, sunglasses, a poncho... We find Lyn dancing in blissful, idiotic abandonment. BOB (V.O.) After years of feeling like an oddball Lyn had finally found a home. At last he was amongst men who prided themselves on being different. 78 EXT. BRIG. GENERAL HOPGOOD'S GARDEN - DAY - THE PAST 78 Bill leads the Jedis and Brigadier General Hopgood in a complex YOGA MOVE. We CLOSE on LYN. BOB (V.O.) These were Golden Days for Lyn. There was something so noble and pure in Bill's vision that the Jedis felt themselves inspired to be more than soldiers. In a world torn apart by greed and hate they would be a force for good, for peace. A BUTTERFLY lands on Lyn's outstretched hand. He watches it with a gentle smile. (CONTINUED) 52. 78 CONTINUED: 78 BOB (CONT'D) (V.O.) (CONT'D) For the first time in his life Lyn felt truly happy. The Butterfly flits away and lands on an APPLE in the tree overhead. BOB (CONT'D) (V.O.) (CONT'D) Then into the garden a serpent did come. 79 INT. DINNER PARTY - NIGHT - THE PAST 79 GUESTS sit eating dinner around the large table. Brigadier General Hopgood is talking to his WIFE. He turns back to find the FORK in his hand BENT DOUBLE. He looks in amazement at the man sitting beside him - LARRY HOOPER. BOB (V.O.) Larry Hooper was a failed Sci-Fi writer from Colorado, recruited to the Jedis after Brigadier General Hopgood met him at a spoon-bending party. Other guests laugh and applaud. 80 EXT. FUNCTION ROOM - NIGHT - THE PAST 80 A WEDDING CELEBRATION is in progress. SCOTTY MERCER - one of the JEDI RECRUITS - is dancing, beaming with his new BRIDE. Guests - Lyn and the other Jedis amongst them - stand watching, clapping and cheering, a boisterous atmosphere of bonhomie. Larry watches the revellers with contempt. BOB (V.O.) Right from the start he had made himself unpopular with the other Jedis. Scotty and his wife are walking off the dance floor. Larry stops him to shake his hand. LARRY HOOPER Congratulations Scotty. I'm sorry it doesn't work out for you two. Scotty's face falls. The other Jedis glare at Larry. One of them makes a move towards him but Lyn holds him back. 53. 81 INT. MESS HALL - DAY - THE PAST 81 The Jedis eat at one table. Larry sits alone and shunned at another table. Lyn walks over with a tray, hesitates seeing Larry alone. BOB (V.O.) Larry made it quite clear that he despised most of the other Jedis. Feeling sorry for him Lyn sits beside Larry. Larry flushes red. BOB (CONT'D) (V.O.) (CONT'D) But Lyn - Lyn was different. (Beat) He really hated Lyn. 82 INT. PSI EXPERIMENT ROOM - DAY - THE PAST 82 Scotty, Larry and Lyn sit focusing on a wall of SMALL WOODEN CUPBOARDS. Each cupboard has a letter and number printed on its door. BILL DJANGO A-9. The three men focus on the cupboard in question. SCOTTY It's...it's something cylindrical? I think it's a pencil? BILL DJANGO Okay. Larry? Larry rolls his eyes up in his head, speaks in a high wavering voice with a bad cockney accent. LARRY HOOPER This is Larry's Spirit Guide, Maud. I'm looking into the cupboard now and I'm seeing...I'm seeing...a tin mug? BILL DJANGO Lyn? Lyn stares at his hands, focused. He looks up suddenly, puzzled. LYN CASSADY It's a man on a chair. Bill unlocks the little cupboard and takes a photograph of the Lincoln Memorial. There are murmurs of admiration from the watching Jedis. (CONTINUED) 54. 82 CONTINUED: 82 LARRY HOOPER (BLUSTERING) Oh, no, wait. See, I thought you said K, not A! Bill ignores him, smiles at Lyn. BILL DJANGO Bravo Zulu, Lyn. Outstanding. Larry looks daggers at Lyn. 83 EXT. FIELD - DAY - THE PAST 83 Lyn is walking calmly over the HOT COALS as the other Jedis watch, impressed. 84 INT. GYM - DAY - THE PAST 84 Bill is leading the Jedis in AIKIDO. BILL DJANGO Aikido is a vehicle for harmonizing ourselves with the Universe and the Way. Look upon these sessions as an opportunity to discover yourself and your training partner in a loving environment. LATER Larry flails violently at Lyn. Lyn FLIPS him with ease. Larry gets up and CHARGES bellowing at Lyn who FLIPS him out of the frame. Bill joins Lyn. BILL DJANGO (CONT'D) (addressing the watching Jedi's) Notice how Lyn's circular motions turned Larry's aggression back upon him. Good work Lyn. A CHAIR flies through the frame, just missing Lyn's head. BILL DJANGO (CONT'D) (without looking at HIM) Larry, go outside, calm down. 85 INT. REMOTE VIEWING ROOM - DAY - THE PAST 85 Lyn lies on a couch drinking a beer, staring at a large BROWN ENVELOPE. Bill sits beside him with pad and paper. (CONTINUED) 55. 85 CONTINUED: 85 Lyn opens the envelope and stares at the PHOTOGRAPH of the NATO GENERAL inside. BOB (V.O.) After a year's training, Lyn was given his first tasking. A senior Nato General had been kidnapped by Red Brigade members in Italy. Bill was unofficially asked if his unit would be able to help find him before it was too late. LYN CASSADY (CONCENTRATING) We're north of Verona. It's a little town. There's a lake nearby. I can see a Cinema. Across from the Cinema is a shop or, or...it's a cafe. He's in the apartment above. The town is called...it's something sweet. (Beat) Dolce. It's called Dolce. Bill looks proudly over to where an important looking OFFICIAL watches from the next room. The Official looks impressed. BOB (V.O.) It's true that the unit never found out whether any of their remote viewings were accurate or not. Nevertheless from that moment on Lyn's reputation soared. 86 INT. EX-MESS HALL - DAY 86 Lyn stands in front of the other Jedis. BILL DJANGO Rank, medals...these things mean little to the Jedi. But growth in spirit, in wisdom, in psychic power, these things earn our respect. He presents Lyn with an EAGLE FEATHER. BILL DJANGO (CONT'D) Native Americans believed that when one received an Eagle feather, it was the mark of love, of gratitude and ultimate respect. Only true Human Beings may carry the Eagle feather. He gives the feather to a deeply moved Lyn, as the other Jedis applaud. Larry watches Lyn with HATE. 56. 87 INT. REMOTE VIEWING ROOM - DAY - THE PAST 87 Lyn lies on the couch, drinking another beer, the Eagle Feather on a chain around his neck. A period song is playing in the room. BOB (V.O.) The word soon got out in the intelligence community that there was a sergeant at Fort Bragg who could find whatever you needed found. It was as if Lyn could fly anywhere in the world without leaving his room. We TRACK INTO LYN'S EYE - UNTIL WE ARE INSIDE HIS MIND. LYN'S MIND P.O.V - We move towards the wall. BOB (CONT'D) (V.O.) (CONT'D) As Bill Django said - the Force truly was strong with this one. As the song breaks into the chorus we burst through the wall, into freedom... 88 EXT. THE SKY - DAY - THE PAST 88 As the track continues and we RACE over the land, flying faster and faster, free as a bird, swooping up towards a huge SUN, until the screens WHITES OUT and we... DISSOLVE TO: 89 THE SUN - RISING - THE PRESENT 89 ...as the Pick-up with Bob and Lyn in the back pulls up next to another TRUCK. Two MEN dressed in black with their kaffiyeh covering their faces stand by it staring at them. In the back seat of the Truck sits a blindfolded IRAQI MAN. The Driver of the Pick-Up crosses to the TWO INSURGENTS with a half-gallon bottle of WATER and passes it to them. They drink and confer briefly in Arabic. He turns and gestures to the other two Young Iraqis who push Lyn and Bob down from the back of the pick-up. Lyn stands still. YOUNG IRAQI (gesturing again) Etaharrak! BOB Lyn? (CONTINUED) 57. 89 CONTINUED: 89 LYN CASSADY (GENTLY) It's okay, Bob. We're not getting into that truck. The First Young Iraqi gestures more angrily at the Truck. YOUNG IRAQI Edkhol! LYN CASSADY Don't move Bob. BOB (scared, whispering) Are you going to use the Blob? LYN CASSADY Let's hope it doesn't come to that. One of the Insurgents stirs and says something softly in Arabic. The other laughs. Angrily the First Young Iraqi takes out a HANDGUN and levels it at Lyn. YOUNG IRAQI EDKHOL! Lyn raises one hand towards him. LYN CASSADY You can put your weapon away. You're not interested in us. The Young Iraqi points the gun at Bob who starts to walk towards the truck. LYN CASSADY (CONT'D) (FIRMLY) Stay where you are Bob. Bob stops. BOB Shit...shit... LYN CASSADY (to the Iraqi, CALMLY) We can go about our business. Apparently having had enough one the Insurgents pulls his own GUN out and aims at Lyn. The tension builds. Suddenly Bob remembers the phrase he was taught. BOB (BLURTING) La termi, ana sahafi! (CONTINUED) 58. 89 CONTINUED: (2) 89 Immediately everyone stares at Bob. The Insurgent OPENS FIRE at him. Terrified Bob, dives across the sand. The Young Iraqi behind him also scrambles for cover. Still firing, the Insurgent is suddenly aware of Lyn sprinting towards him. Before he can turn to aim at him, Lyn LEAPS into the air, spinning around, face contorted as he emits a bizarre SHRIEK. We FREEZE-FRAME ON HIM, HUNG IN MID-AIR. BOB (CONT'D) (V.O.) (CONT'D) Now at the time I thought Lyn was having some kind of fit here. Later I discovered what he was actually doing was performing the Echmeyer technique. 90 INT. DOJO - DAY - THE PAST 90 CLOSE on a man who looks like WOODY ALLEN in a jungle hat. He has his eyes closed in IMMENSE CONCENTRATION. A bead of sweat runs down his face. SUPERED TITLES read: BEN ECHMEYER. BOB (V.O.) Ben Echmeyer was a Vietnam vet with sixty-three confirmed kills. He remains the only non-Korean to achieve the rank of Master in Kwa Ra Do. He was one of the Jedi teachers at Fort Bragg. REVERSE SHOOTING from behind Ben to the rows of JEDI RECRUITS watching with expressions of mingled admiration and horror. BOB (V.O.) (CONT'D) It was said he could have a tug of war with a dozen men and not move an inch. We PAN DOWN the back of BEN and find he is NAKED from the waist down. A SAND BAG is somehow hanging between his legs. BOB (V.O.) (CONT'D) He was also able to lift bags of sand on hooks hung through his scrotum. A RECRUIT raises a hand. (CONTINUED) 59. 90 CONTINUED: 90 JEDI RECRUIT Sir, what's the practical application of this? 91 EXT. ARMY BASE - DAY - THE PAST 91 OVER-HEAD SHOT - Ben lies on the ground staring up at us. We hear the sound of an approaching engine. BOB (V.O.) Another demonstration involved letting a recruit drive a jeep over him. This, in the end, was to be his undoing. Next second a JEEP roars straight over Ben, going at sixty miles an hour. We FREEZE FRAME on the JEEP. BOB (V.O.) (CONT'D) Before his untimely death Ben caused quite a stir by advocating his controversial "shock and awe" knife attack method. 92 INT. DOJO - DAY 92 Ben leaps spastically in the air, spinning and shrieking, a knife held in one hand. BOB (V.O.) The approach was hailed by some knife aficionados as revolutionary but criticized by others who believed that the leaping and spinning might lead you to accidentally stab yourself. TRACKING ALONG BEN'S TRAINEE JEDIS - as they watch his display. BOB (V.O.) (CONT'D) Lyn Cassady, however, became a firm convert to the style. We reach LYN who TURNS TO CAMERA. LYN CASSADY Ben, you're not forgotten. The knife you gave me lies next to my beret. God bless Ben Echmeyer. 60. 93 EXT. DESERT - EARLY MORNING 93 We UN-FREEZE ON LYN - as he whirls and shrieks towards the Insurgent. Bob watches amazed from where he lies on the sand. BOB (V.O.) Of course, Lyn didn't actually have a knife with him at this particular time...so I still think what he did was kinda...reckless. The Insurgent, understandably startled, flinches backwards, trips over the water bottle and falls on his ass. Lyn scoops up the gallon bottle of water and begins to POUND the fallen man with it. The Young Iraqi moves to intervene but Lyn smacks him in the face with the bottle. The BLINDFOLDED IRAQI IN THE TRUCK manages to open the door and stumbles out, claws his blindfold off and races away over the sand. The second Insurgent is distracted for a moment by his victim's flight. When he turns back Lyn has scooped up the Insurgent's GUN and is aiming it at him. Beat. Nobody moves. 94 EXT. ROAD - MOMENTS LATER 94 The sun is rising as the PICK-UP TRUCK roars over the sand and swerves onto the road. INSIDE THE TRUCK Lyn drives. Bob is leaning out of the window, staring at the road behind them. BOB (pulling his head back in) They're not coming! We're okay! Oh God, we're gonna be okay! The Truck crests a hill and we see the IRAQI MAN running desperately down the road ahead of us, his hands tied. LYN CASSADY There he is. He puts his foot down and the truck roars after the running man. (CONTINUED) 61. 94 CONTINUED: 94 TRACKING SHOT - pulling the IRAQI MAN, running for all he's worth. Lyn leans out of the truck window as he drives up behind him. LYN CASSADY (CONT'D) (yelling over the ENGINE) Sir? You're okay! We're Americans. We're here to help you! Terrified the Man sprints faster. Lyn tries to pass him, but the Man veers at the same time and the truck CLIPS him, sending him flying. IN THE TRUCK LYN CASSADY (CONT'D) Oh crap! BOB What happened? LYN CASSADY (BRAKING) I think I just ran him over. 95 EXT. ROAD 95 Lyn runs over to where the MAN lies moaning on the road, his head bleeding. LYN CASSADY Sir? Are you okay? (Beat) Bob, give me a hand here will you? Bob gets out and the two lift the Iraqi Man and begin to carry him back towards the truck. They stop listening to an approaching rumble. BOB Oh shit! Oh shit, they're coming! They scuttle faster back towards the truck, the Iraqi Man dangling between them. Next second, two GLEAMING WHITE SUVs crest the hill and roar towards them. Seeing the road blocked by the truck, the SUVs screech to a halt and several MEN IN FLAK JACKETS AND SUNGLASSES tumble out in formation, aiming their M-16's at Lyn and Bob. ARMED MEN'S P.O.V - Lyn and Bob stare at them before dropping the bound Iraqi on the ground. Bob waves nervously. (CONTINUED) 62. 95 CONTINUED: 95 We hear the opening of a period song as we... 96 INT. S.U.V - DAY 96 LAPTOP SCREEN We're rushing over a CGI DESERT, between the CGI rivers Tigress and Euphrates towards a GLEAMING CITY rising from the sand. NIXON (O.S.) Then I say "There it is. The Future!" Bob and the Iraqi Man sit beside TODD NIXON - a suit. Lyn sits behind in between two of the PRIVATE SECURITY GUARDS, who are nodding along to the music playing in the car. Nixon, holding the LAPTOP for Bob to see, watches the screen, moved. NIXON (CONT'D) We play this on these big screens at the conferences, you know? This trumpet music blasting out. Every time I see it, it gets me. He glances over at the Iraqi Man who is holding a dressing to the cut on his forehead, pale and shaken. NIXON (CONT'D) You a businessman, sir? The Iraqi Man nods. NIXON (CONT'D) Yeah, Ali Babas have been targeting locals lately.(Holding out his hand) Todd Nixon, Army Small Business Office. IRAQI MAN (SHAKING) Mahmud Daash. NIXON Ask me what business I'm in, Muhammad. MAHMUD DAASH (WEAKLY) Mahmud. What business are you in sir? (CONTINUED) 63. 96 CONTINUED: 96 NIXON Right now, I'm in the Quality of Life business. Nixon nods, smiling, pleased with the line. NIXON (CONT'D) (To Bob) We've got 25 million Iraqis out here who wanna be independent, wanna make something of their lives. But more than anything else they wanna buy stuff. Cell phones, digital cameras, leisure suits - you name it. If it sells in Boston, then we can damn well sell it in Baghdad! (To Mahmud) Am I right Muhammad? (To Bob) He knows what I'm talking about. We've got Halliburton, Parsons, Perini...just in the primes. We're gonna have Macdonalds, we're gonna have Starbucks...No corporate tax. It's a gold-rush. Oh, and by the way, fuck the French! (Laughing) Did you hear that shit? Chirac wants to bring French contractors in? Can you believe that? Hey, Phil? Raise one hand if you like the French. THE DRIVER (their double act) Raise both your hands if you are French! He raises both his hands. NIXON (LAUGHING) Yeah, okay...watch the wheel Phil. (To Bob) Year Zero boys. Bob nods politely. THE BACK SEAT Lyn prepares an INJECTION for himself. He feels the Security Guard beside him watching. He notices the name of the company on the man's badge - Krom Security. LYN CASSADY (making conversation) What's Krom? The Security Guard continues to watch him through his mirrored shades. (CONTINUED) 64. 96 CONTINUED: (2) 96 SECURITY MAN (Texan accent) God of War. LYN CASSADY (INTERESTED) Really? Is that Norse? SECURITY MAN Conan the Barbarian. S'in the movie. Lyn injects himself. LYN CASSADY Right. Lyn notices the Chilean Security Guard on his other side has a tattoo on his arm - "Viva Pinochet!" DRIVER (SUDDENLY) Okay. We're in Indian Country. Check six. The SUV's are approaching a town and other cars have appeared on the road. The Security Men on either side instantly lean out of their windows with their M-16's - aiming them at the cars which swerve out of their way in fear. NIXON (To Bob) I was pretty down for a while about not getting any trigger time in this war Bob, but you know what I've learnt? Our greatest weapon against evil is commerce. When these people have quality consumer items they will no longer want to kill Americans. He turns to gaze at the TOWN they are now driving into. NIXON (CONT'D) We're not gonna rest until there's a satellite dish on every one of THOSE roofs. Behind him the sound of CARS BRAKING AND SWERVING continues. 65. 97 EXT. TOWN - GAS STATION - DAY 97 A LONG line of cars are waiting for gas - Iraqi men, women and children, suffering in the heat. Many of them have been there for hours. The SUVs approach. 98 INSIDE THE SUV 98 The driver of the first SUV radios Nixon's car. FIRST DRIVER (O.S.) (Over radio) We've got a line for the gas station here. Are we waiting? NIXON'S DRIVER (into radio) Negative. We'd be way too exposed. We're taking the station. Go in fangs out. He accelerates. 99 EXT. GAS STATION - CONTINUOUS 99 ...as the two SUV's roar up, horns blaring, M-16's bristling from the windows. The lead SUV rams the car at the head of the line and sweeps it out of its path. Nixon's SUV barrels through the gap and screeches to a halt by the pumps. The THREE SECURITY MEN roll out showily, machine guns ready. TEXAN SECURITY MAN Secure the perimeter! The men fan out to the corners of the station, while the first SUV blocks the road and more SECURITY pile out, guns raised to cover the line of cars. There are howls of protest from the waiting Iraqis. Inside the SUV Bob, Lyn and Mahmud watch in astonishment. TEXAN SECURITY MAN (CONT'D) Give her the go-juice, Eddy! CHILEAN SECURITY MAN I filled her up last time. TEXAN SECURITY MAN Bullshit. NIXON (cheerfully, out of the window) He did fill her up last time Gary. (CONTINUED) 66. 99 CONTINUED: 99 TEXAN SECURITY MAN With respect sir, bull-fucking- shit. I tanked her last time. THIRD SECURITY MAN Every time! Can we get some sort of fucking system so we don't... We hear a sudden, sharp POPPING sound. Immediately the Men drop into CROUCHES, scanning the area. TEXAN SECURITY MAN (YELLING) Contact! We've got contact! He opens FIRE - IMMEDIATE CHAOS: people scream, duck down, some cars reverse desperately and collide with the cars behind. The other Security Men join in the shooting. THIRD SECURITY MAN (SHOOTING) Where? Where's the shooter? 100 ACROSS THE STREET 100 Another SUV - identical, but black, is passing, hemmed in by traffic. A stray BULLET from the gas-station pings off it's armor plating. Immediately it screeches to a halt and a NEW DETACHMENT OF SECURITY MEN roll from the car - same flak-jackets and Oakley sunglasses but different color uniforms. NEW SECURITY MAN (into radio) Contact! We're under fire! The New Detachment open FIRE blindly in the general direction of the Station. 101 GAS STATION 101 ...as bullets smack off the parked SUV. THIRD SECURITY MAN Two o'clock! Two o'clock! All the Security Men turns and begin spraying bullets across the road. Car windshields and windows explode. INSIDE THE SUV A scowling Nixon has slid low in his seat. NIXON (muttering to HIMSELF) (MORE) (CONTINUED) 67. 101 CONTINUED: 101 NIXON (CONT'D) Trying to help you fucking savages. Mahmud, Bob and Lyn are lying flat on the seats. MAHMUD DAASH My house is not far. We could walk from here. Bob flinches as another bullet ricochets off the SUV. BOB Sounds good Muhammad. MAHMUD DAASH Mahmud. 102 GAS STATION 102 As machine-gun fire from across the street strafes the station and Nixon's Security men return fire blindly. FIRST SECURITY MAN (yelling into Radio) Krom One this is Freedom Frontier. We are under attack. This is a FUBAR situation. Requesting Kiowa! Behind him Lyn, Bob and Mahmud crawl across the station on their hands and knees, bullets zipping past them. 103 EXT. STREET - MOMENTS LATER 103 Mahmud leads Bob and Lyn at a crouching run down the street, amongst the crowd of Iraqis fleeing the gunfire behind them. We hear the whup-whup of a helicopter as a Kiowa Warrior passes over head. Moments later we hear an EXPLOSION as the helicopter opens fire with a MISSILE... 104 INT. MAHMUD'S HOUSE - EVENING 104 TRACKING along a wall, past a crooked WEDDING PORTRAIT - a smiling Mahmud and WIFE, the glass broken... BOB (V.O.) Muhammad led us to his home which it turned out had been robbed in his absence. We TRACK past a row of BULLET HOLES in the wall, a section of smoke damaged wall paper. (CONTINUED) 68. 104 CONTINUED: 104 BOB (CONT'D) (V.O.) (CONT'D) And also accidentally set on fire by a US tank. Neighbors told him his wife had left, they weren't sure where she had gone. We reach Bob, Lyn and Mahmud eating at a low table. The windows behind them have been partially boarded up. Mahmud is sunk into a profound depression. Lyn looks tired, pale. They eat in awkward silence. LYN CASSADY What is this? MAHMUD DAASH Taameeyah. LYN CASSADY They're really good. Bob nods politely. Mahmud nods, sighs. BOB (V.O.) I understood he was going through a lot, but considering we had saved him from kidnappers I still thought his welcome could have been a little warmer. Lyn clears his throat. LYN CASSADY I'm very sorry for running you over, sir. Mahmud shrugs. MAHMUD DAASH It was an accident. LYN CASSADY (BEAT) And I apologize for that security detachment. Please don't think all Americans are like that. Mahmud nods. Beat. MAHMUD DAASH I apologize for the kidnappers. Lyn demurs softly. (CONTINUED) 69. 104 CONTINUED: (2) 104 LYN CASSADY Not your fault sir. I mean we get kidnappers in America too, so...you know. There's always, uh, bad apples, right? The men eat in silence for a moment. Mahmud stares blankly at his plate, looking crumpled and lost. Bob watches him, faintly irritated. Lyn tries to think of something comforting to say. LYN CASSADY (CONT'D) (CAREFULLY) Akhir il ahzan. (May this be the last of your sorrows.) Mahmud looks at him, startled perhaps by the unexpected Arabic phrase. LYN CASSADY (CONT'D) Did I say it wrong? Mahmud shakes his head, moved but embarrassed. MAHMUD DAASH No...that was right. They eat in silence. 105 INT. MAHMUD'S HOUSE - BEDROOM - NIGHT 105 Lyn and Bob are sharing a bed. Bob looks out of the window and notices a CLOUD over the moon. He concentrates on it, trying to "bust" it. Nothing happens. He sighs, looks over to Lyn who is staring at the wall, lost once more in dark thoughts. BOB Lyn? LYN CASSADY What? BOB What are you thinking? LYN CASSADY Just Mahmud. People try to build something of their lives, something lasting, something good... but there's always someone wants to smash it up... DISSOLVE TO: 106 OMITTED 106 70. 107 INT. REMOTE VIEWING ROOM - DAY - THE PAST 107 BOB (V.O.) Lyn was thinking of Larry Hooper and the part he had played in the destruction of the New earth Army. But, in fairness, the Jedis' own eccentricities hadn't exactly won them many allies in the Army. A JEDI - TIM KOOTZ - lies on the couch in a TRANCE, Bill sitting beside him with pen and paper. BOB (V.O.) (CONT'D) For example, there was Tim Kootz who, on being asked to ascertain the whereabouts of General Manuel Noriega, had replied... Tim jerks awake from his trance. TIM KOOTZ (FIRMLY) Ask Angela Lansbury. BILL DJANGO (BEAT) What's that Tim? TIM KOOTZ Ask Angela Lansbury. Bill looks up to an CIA AGENT observing from the next room. The Agent frowns. 108 INT. CORRIDOR - DAY - THE PAST 108 Bill waits a little anxiously. The CIA Agent walks up to him. CIA AGENT We asked Angela Lansbury. BILL DJANGO And? CIA AGENT She said she didn't know where General Noriega was. 109 INT. STAFF CAR - FORT BRAGG - DAY - THE PAST 109 MAJOR GENERAL JACK GILLING is being driven through the base. As he stares out of the window his expression suddenly changes to one of amazement. (CONTINUED) 71. 109 CONTINUED: 109 BOB (V.O.) Or there was the time Major General Gilling was visiting the base and saw Jedi trainee Clifford Hickox... RUSSELL'S P.O.V - we are driving past the training course. A bare-chested, long-haired Hickox is dancing around a wooden pole to which he is attached by two long wires and metal hooks which are stuck in his bleeding nipples. BOB (CONT'D) ...practising the ancient Sun Dance of the Sioux Nation. 110 INT. EX-MESS HALL - FORT BRAGG - DAY - THE PAST 110 Bill is introducing a young, fresh-faced recruit - LIEUTENANT NORM PENDLETON to the other Jedis. BOB (V.O.) The Jedis survived such minor scandals, protected, it was rumored, by a President who was a fan of both the Star Wars films and the paranormal himself. But then, one summer, a young, likeable Lieutenant called Norman Pendleton was recruited to the New Earth Army... Larry Hooper examines the new recruit with interest. 111 EXT. FIELD - MORNING - THE PAST 111 Larry and Norm are jogging together, deep in conversation. BOB (V.O.) Larry Hooper wasted no time befriending the newcomer. Desperate to compete with Lyn, Larry had been doing research into the infamous CIA MK-ULTRA experiments which he believed could enhance his own psychic powers. 112 INT. REMOTE VIEWING ROOM - DAY - THE PAST 112 Norm sits on the couch, smiling innocently as Larry wheels an ELECTRONIC DEVICE on wheels over to the couch. (CONTINUED) 72. 112 CONTINUED: 112 BOB (V.O.) All he needed was a lab rat to try them out on, check if they were safe. Larry, making sure Norm can't see, is pouring a massive dose of LSD into a DRINK. He gives the glass a quick stir and turns, smiling, to Norm with it. 113 INT. REMOTE VIEWING ROOM - DAY - LATER 113 Norm lies tripping on the couch, rigid, wide-eyed, wearing headphones, connected to the electronic device, which emit disturbing electronic frequencies. Larry stands at the light switch, turning the red bulb overhead on and off, eagerly watching Norm's reaction - a modern day Frankenstein. BOB (V.O.) It turned out they weren't. 114 CLOSE ON LARRY - LATER 114 ...cowering terrified under the couch, as the sound of GUNSHOTS fill the room. Norm's NAKED LEGS stride past him. 115 EXT. FORT BRAGG - DAY 115 A NAKED AND DEMENTED NORM walks through the base, firing random shots at scattering soldiers with his Beretta. He finds Bill blocking his way. BILL DJANGO (GENTLY) Norm? Give me the gun, Norm. Norm starts to cry. Then he puts the gun into his mouth... 116 INT. DISCIPLINARY HEARING - DAY 116 Norm's father - MAJOR GENERAL PENDLETON - stares fixedly to where Bill and Brigadier General Hopgood sit in the hearing - his expression filled with icy rage. BOB (V.O.) Norm's father, who it turned out was pretty high up in the Pentagon, wanted blood. (MORE) (CONTINUED) 73. 116 CONTINUED: 116 BOB (V.O.) (CONT'D) Although the Jedis were pretty sure Larry was responsible, nothing could be proved and when he was called to the disciplinary hearing Larry made sure to smear Bill with everything he could... 117 LARRY TALKING BEFORE THE HEARING 117 ...looking every inch the neat, professional soldier. LARRY HOOPER Lieutenant Colonel Django used funds from the project's black budget to procure prostitutes... The OFFICIALS listening register shock and dismay. Bill stands up, outraged. BILL DJANGO That's a lie! LARRY HOOPER ...and also drugs for himself and his men. Bill jumps to his feet again. BILL DJANGO That's a...(catches himself) Well the hooker thing is definitely a lie! The OFFICIALS look at him as if he were SATAN himself. BOB (V.O.) Brigadier General Hopgood resigned and died some years later. Bill received a dishonorable discharge. 118 OMITTED 118 119 EXT. FORT BRAGG - DAY 119 Bill, a broken man, is walking off the base. He reaches the gates and sees Lyn waiting for him. BILL DJANGO Continue the work, Lyn. The World needs the Jedis, now more than ever. Lyn can't speak. Bill hugs him and walks off, the gates closing after him. 74. 120 INT. FORT BRAGG - BARBERSHOP - DAY 120 The Jedis sit having their hair shaved with electric clippers. The Jedi's NEW COMMANDER - MAJOR HOLTZ - not a shred of New Age sympathy in his regulation heart - walks down the line, examining his men coldly. BOB (V.O.) After Bill left, Major Holtz of Special Forces took command of the Jedis. Lyn stares at his reflection as his long hair falls to the floor. BOB (CONT'D) (V.O.) (CONT'D) And nothing was ever the same again. DISSOLVE TO: 121 INT. BEDROOM - EARLY MORNING - THE PRESENT 121 Bob wakes up, listening to the sound of Lyn's laboured breathing. Across the room Lyn sits, sweating with pain, preparing an injection. We see he has used the LAST OF THE MEDICINE. He injects himself, his breathing beginning to ease and sits staring at the empty VIAL. Bob watches for a moment then shuts his eyes, feigning sleep. 122 EXT. ROAD - DAY 122 Lyn and Bob are waiting on the quiet road which is studded with burnt out CARS. Mahmud drives an old Renault out of a warehouse and over to them. He gets out the car and hands Lyn the keys. LYN CASSADY I really appreciate this sir. 123 INT. CAR - MOMENTS LATER 123 Lyn watches Mahmud in the mirror as they drive away. He stands in the middle of the road, staring at his feet. They drive on. 124 EXT. DESERT - ROAD - DAY 124 As the car cuts across the landscape. 75. 125 EXT. DESERT - ROAD - LATER 125 The car has pulled over at a junction. 126 INSIDE THE CAR 126 Lyn sits staring out at the emptiness, looking, perhaps for the first time, worried. BOB (PEEVISH) Jesus Christ. We could'a bought a map if you'd said. LYN CASSADY Bedouins have been navigating this desert for centuries without maps. You can use a wrist-watch in conjunction with the sun. BOB Well? LYN CASSADY What? BOB (EXASPERATED) Well...use your watch. LYN CASSADY I haven't got a watch. BOB Oh for the love of...Here... He gives Lyn his watch. Lyn looks at the watch and turns to stare at Bob. BOB (CONT'D) What? LYN CASSADY This is a digital watch, Bob. BOB So? That's... LYN CASSADY So you need a watch with hands for Christ's sake! BOB Well how the hell am I supposed to know? (MORE) (CONTINUED) 76. 126 CONTINUED: 126 BOB (CONT'D) You're the navigation expert here. You told me you could find the way. LYN CASSADY Will, if you'd just be quiet for a... BOB Turns out you haven't even got a watch! Now what the hell are we... LYN CASSADY Will you shut up? I don't need a watch. I'm using Level Two. BOB (BEAT) What? LYN CASSADY Level Two. Intuition. We were trained to make correct decisions. Somebody runs up to you and says "There's a fork in the road. Do we turn left or do we turn right? And you go...(snapping his fingers) "We go right!" Bob stares at him. BOB Just...instant? LYN CASSADY Instant. (Snapping his fingers) Just like that. BOB WE'VE BEEN SITTING HERE FOR HALF AN HOUR! HOW'S THAT "INSTANT?" Lyn abruptly starts the engine and takes the right turn. BOB (CONT'D) Oh, it's that way? LYN CASSADY (GRIMLY) Yes. It's this way. BOB Right. Now you know. 127 EXT. DESERT ROAD - CONTINUOUS 127 HIGH ANGLE (CONTINUED) 77. 127 CONTINUED: 127 Below us the car drives off into the empty landscape, getting smaller and smaller. Then... BOOM. We see the flash of the explosion and the Renault is flipped like a toy car. A ribbon of black smoke rises into the blue sky. Silence. 128 EXT. DESERT - LATER 128 BOB's P.O.V - We are stumbling forward towards a sand berm. We hear the sound of heavy breathing. BOB (O.S.) (CROAKING) What...what happened? Lyn is staggering over the sand with Bob on his back. He is holding his backpack. Bob has a gash on his forehead which is bleeding. Under the blood his face is white. In the distance, behind them, we can see the column of black smoke rising. LYN CASSADY IED. BOB (BEAT) What? LYN CASSADY Improvised Explosive Device. BOB Oh Jesus. LYN CASSADY You're okay Bob. It's gonna be okay. BOB I can't believe this. Great fucking intuition Lyn. I can't...put me down. I can walk. Put me down. Lyn puts Bob down. Bob keels sideways onto the sand and lies there, wheezing. BOB (CONT'D) Oh, Jeez. Oh, Jeez. LYN CASSADY Alright, c'mon... He hauls Bob to his feet, puts his baseball cap on him and pulls him onto his back. Bob hangs there limply as Lyn sets off again. (CONTINUED) 78. 128 CONTINUED: 128 Lyn reaches up and gropes at Bob's face, removing his spectacles. Bob doesn't notice. BOB Where are we going? We should stay with the car so the army can find us. LYN CASSADY Fedayeen will find us first. BOB Well, I disagree. I totally disagree.(Beat) The Federal what? LYN CASSADY Fedayeen Saddam. Paramilitary. Fellas who probably laid the IED. They could be on their way now. Hold this Bob. He passes Bob his backpack. They stagger on in silence for a moment, Bob jogging up and down on Lyn's back. Lyn snaps the legs off Bob's glasses, uses them as improvised divining rods to scan the sand ahead. BOB What are you doing? LYN CASSADY Could be IED's or mines around here. I'm checking for disturbances in the telluric current. BOB (still dazed) Are they my glasses? Lyn doesn't answer, keeps on walking, struggling a little under the weight. Beat. BOB (CONT'D) Jesus, it's hot. I'm so hot. (Beat) Aren't you hot? LYN CASSADY (not unkindly) Bob? It's pretty important you keep your mouth closed, okay? You can lose a lot of water through an open mouth. He staggers on with him. 79. 129 EXT. DESERT - LATER 129 Bob trails after Lyn, his shirt tied around his head, breathing hard. Lyn is still scanning the sand. BOB I can't breathe properly. I can't...Oh boy... He staggers, manages not to fall. LYN CASSADY You're okay. BOB I think I'm bleeding to death. LYN CASSADY You're not bleeding to death, Bob. It's shock, okay? It's just the shock. It'll pass. You're gonna be okay. BOB If we'd stayed at the road we would be safe now! Now we've got no water, no food or, or... (noticing Lyn's scanning) Will you forget about the fucking tantric currents? LYN CASSADY (PATIENTLY) You're going to be okay. BOB Stop saying that! I just got blown up! I'm in the middle of a desert! I'M NOT GONNA BE OKAY! LYN CASSADY Bob, you're suffering from shock. If you start panicking now your heart's gonna stop. Bob stares after him incredulously. BOB (losing it) Is that...is that supposed to calm me down?! (hurrying after him) You know what color the seats were in the frigging hotel but you can't...you wanna observe something Lyn? Observe the fucking bomb in the middle of the road! (CONTINUED) 80. 129 CONTINUED: 129 Lyn walks on without answering. Bob notices the sun is sinking. BOB (CONT'D) Wait a minute. That's west. Al Qaim's in that direction. We're going the wrong way. LYN CASSADY The mission isn't in Al Qaim. It's somewhere near Al Qaim. BOB Where? LYN CASSADY (BEAT) I don't know. BOB Is that...is that...is that a joke? We've come six hundred miles and you don't know where we're going? LYN CASSADY If the exact whereabouts of the Target was known it wouldn't take a Jedi to find them, would it? Bob watches Lyn stare around him, looking pale and drawn and, for the first time, afraid. BOB Who gave you the mission Lyn? (Beat) Lyn? LYN CASSADY Bill did. BOB What? LYN CASSADY Bill did. He appeared in my trailer two months ago. A psychic projection. I could hear him calling my name. Bob is so staggered by this for a moment he can't speak. BOB (SOFTLY) Oh...Oh Jesus. LYN CASSADY He needed me. (CONTINUED) 81. 129 CONTINUED: (2) 129 BOB Oh Jesus. Oh Jesus Lyn. There's no mission? We're in the middle of the desert because you heard voices? There's no one here! There's no-one fucking here. Lyn starts to walk off but staggers and falls. BOB (CONT'D) Lyn! Bob rushes to him, kneels beside him. Lyn clutches his stomach, grimaces. BOB (CONT'D) Is it the Crohns? LYN CASSADY I don't have Crohns. BOB What's the matter with you? LYN CASSADY I'm dying. Bob stares at him, stunned. LYN CASSADY (CONT'D) I've been murdered. 130 EXT. DESERT - NIGHT 130 Lyn sits staring up at the immense MOON above them. Bob sits watching, huddled against the cold, in the shelter of some rocks. Lyn gets up, stumbles back over to him and lies down, struggling for breath, white with pain. LYN CASSADY It's gone Bob. I can't find him. I've lost my power. It's the curse. BOB What curse? LYN CASSADY (With profound SADNESS) They took this... beautiful thing we'd been building and they corrupted it. They destroyed the New Earth Army. (CONTINUED) 82. 130 CONTINUED: 130 BOB Who destroyed it? Lyn stares at the stars above, remembering, grief stricken. LYN CASSADY I did. DISSOLVE TO: 131 INT. EX-MESS HALL - FORT BRAGG - DAY - THE PAST 131 The Jedis, now indistinguishable from other soldiers, stand white-washing over the COSMIC MURALS. Major Holtz stands watching. MAJOR HOLTZ Yoga is not the business of the US Army, ladies. Drumming circles are not the business of the Army. And love and peace is most certainly not the business of the Army. So you girls better start thinking about how you CAN engage in the business of the United States Army, which, in case you have forgotten, involves winning fucking wars! BOB (V.O.) When the dust of the Pendleton Affair had settled it revealed a surprising victor. 132 INT. MAJOR HOLTZ'S OFFICE - DAY - THE PAST 132 Larry stands to attention in front of Holtz, a REPORT held under one arm. BOB (V.O.) Major Holtz regarded Larry Hooper as a patriotic whistle-blower and the one sound fruit in an otherwise dubious barrel of apples. LARRY HOOPER It's some scientific research I've done for possible offensive psi applications sir. (Beat) I did show the report to Lieutenant Colonel Django, but he didn't seem interested. Holtz snorts angrily. (CONTINUED) 83. 132 CONTINUED: 132 MAJOR HOLTZ (MUTTERING) I bet he wasn't. He takes the report and begins to look through it. Pause. He looks up slowly at Larry. MAJOR HOLTZ (CONT'D) We have men who can do this? LARRY HOOPER (a sly smile) I think I know one sir. Holtz ponders the report, tempted. MAJOR HOLTZ But we don't have the resources. LARRY HOOPER Well sir...there is goat lab? 133 INT. ABANDONED HOSPITAL - DAY - THE PAST 133 The building we saw at the top of the film. A hundred GOATS stare silently at us. BOB (V.O.) Goat Lab was originally created as a clandestine laboratory to provide in-the-field surgical training for Special Forces soldiers. We BOOM down to reveal that many of the goats have their legs in PLASTER. BOB (CONT'D) (V.O.) (CONT'D) The goats would get shot in the leg with a bolt gun and then a trainee would have to dress the wound successfully. Goat lab actually used to be called Dog Lab... 134 SMALL DOG STARING AT US 134 ...with big, brown eyes. BOB (V.O.) But it turned out most soldiers didn't feel good shooting dogs in the leg... A SOLDIER stares doubtfully down at the dog, bolt-gun in hand. 84. 135 EXT. NEVADA TEST SITE - DAY - THE PAST 135 A Goat stands tethered in the desert. TITLES read "Nevada Test Site, Frenchman Flat, 1951." BOB (V.O.) ...whereas the army had long felt fine about doing stuff to goats - even testing atomic weapons on them. We hear the drone of an AEROPLANE high, high above. The goat looks up... 136 INT. ABANDONED HOSPITAL - DAY - THE PAST 136 Lyn stands facing the goats. Holtz and Hooper watch him. Lyn STARES. One of the goats STARES BACK. Lyn STARES. The goat STARES BACK. Lyn STARES. And the Goat falls over. MAJOR HOLTZ (SOFTLY) Holy shit. Beat. The goat gets back up, shakes itself and walks off. Lyn slumps. 137 EXT. DESERT - NIGHT - THE PRESENT 137 Bob listens transfixed. LYN CASSADY This was the real deal, Bob. I was at the Gateway. Afterwards I realized I'd got injured. BOB Huh? LYN CASSADY Sympathetic injury I guess. I was bruised all over. BOB So, it's not that the goat fought back? LYN CASSADY (SADLY) Goat didn't have a chance. BOB But...that was it? (CONTINUED) 85. 137 CONTINUED: 137 LYN CASSADY I wish it was. Hooper told Holtz we should try the experiment again. Only this time they said...kill the goat. 138 INT. ABANDONED HOSPITAL - DAY - THE PAST 138 Six GOATS - each wearing a NUMBERED BIB - stand in a small bare room. A SOLDIER is setting up a VIDEO CAMERA in front of them. 139 INT. ABANDONED HOSPITAL - SECOND ROOM - THE PAST 139 Lyn sits in another bare room. Holtz and Larry Hooper stand watching him. Lyn is also being TAPED. A SOLDIER walks in carrying an envelope. Holtz takes the envelope and draws from it a piece of paper. He shows it to Lyn - the number FOUR. MAJOR HOLTZ Take out number four. Lyn stares at the number. BOB (V.O.) Lyn said he had no intention of killing the goat. 140 EXT. DESERT - NIGHT - THE PRESENT 140 Lyn flushes with indignation at the memory. LYN CASSADY There was no way! What had the goat ever done to me? It was totally against the way of the Jedi. I was just going to pretend to try so they would say, "okay - it can't be done" and forget about it. But then, as I sat there, I felt this, this pulse start inside of me and...I couldn't stop it. He turns to look at Bob, haunted. LYN CASSADY (CONT'D) You know what I keep thinking? 141 INT. ABANDONED HOSPITAL - LYN'S ROOM - THE PAST 141 CLOSE ON LYN ...as he stares, concentrating. (CONTINUED) 86. 141 CONTINUED: 141 LYN CASSADY (V.O.) Maybe deep down inside some dark part of me wanted to see if I could do it? 142 INT. ABANDONED HOSPITAL - GOAT ROOM - DAY - THE PAST 142 VIDEO FOOTAGE Grainy, flickering black and white footage of the six goats in the room. Suddenly one of them goes down. 143 INT. ABANDONED HOSPITAL - LYN'S ROOM - THE PAST 143 A soldier runs into the room. Holtz, Hooper and Lyn turn to him, the atmosphere electric with dread and anticipation. SOLDIER (SOLEMNLY) The goat is dead. The three men stare at him. MAJOR HOLTZ (HOARSELY) Goat number four? SOLDIER (SURPRISED) No. Number five. 144 EXT. DESERT - NIGHT - THE PRESENT 144 Bob stares at Lyn aghast. BOB Collateral damage? LYN CASSADY (eyes glistening) Collateral damage. (Beat) That was it. I'd used my powers for evil and it was like I brought a curse upon us all. Like that poem where the guy kills the seagull and they make him wear it round his neck. Every night I'd dream of that goat in its little bib, it's mouth opening and closing but nothing coming out... Bob shakes his head, stares out into the darkness. (CONTINUED) 87. 144 CONTINUED: 144 BOB The silence of the goats. Lyn flicks a suspicious glance at Bob, but is reassured by his solemn expression. LYN CASSADY I finished my tour and I quit. I walked out of the unit and I never went back. 145 EXT. FORT BRAGG - DAY 145 Lyn, wearing civilian clothes and holding a suitcase, is walking off the base. He reaches the gates and turns for one last look at the place that has been his home. BOB (V.O.) But before he could leave Larry arranged one last parting gift. Lyn tuns back to the gates and finds Larry Hooper standing in front of him, looking WIRED. LYN CASSADY What do you wan...? Before he can finish Larry CHOPS his hand down in an odd blow onto Lyn's forehead. Lyn staggers back a little, holding his head. LYN CASSADY (CONT'D) What the hell? Larry has already darted around him with a crazy laugh and is running madly back into the base. Lyn stares after him, stunned. LYN CASSADY (V.O.) (CONT'D) It was the Dim Mak. 146 EXT. DESERT - NIGHT - THE PRESENT 146 Bob looks at Lyn, puzzled. BOB The Dim Mak? LYN CASSADY The Dim Mak. The Quivering Palm. The Death Touch. It's like this legendary, martial arts move. It was forbidden in the New Earth Army. Larry had got it from a mail- order book. (CONTINUED) 88. 146 CONTINUED: 146 BOB What does the Death Touch do? LYN CASSADY (Beat, patiently) It kills you Bob. With one touch. BOB Jesus. LYN CASSADY There's a story that Wong Wifu, great Chinese martial artist, had a fight with some guy and had him beat when the guy gave him this light tap, and Wong looked at him and the guy just nodded. That was it. He'd given him the death touch and Wong died. BOB Then and there? LYN CASSADY No. Eighteen years later. That's the weird thing with Dim Mak - you never know when it's going to take effect. He flops back, too tired to talk anymore. Bob watches him as he falls asleep. DISSOLVE TO: 147 EXT. DESERT - MORNING 147 The same horizon, the dunes now burning under the sun. We TRACK back and find Bob and Lyn lying asleep, lips cracked, dehydrated, exhausted. Faintly we hear a sound - a tinny BELL. It gets closer. Groggily Bob opens his eyes just as a GOAT walks into the frame and walks past him, the bell tied around its neck. Bob lies, watching it pass, trying to work out if it's a hallucination. He struggles to his feet and sets off up the berm he's been lying at the foot of. The goat walks on ahead of Bob, crests the top of the berm and disappears from sight. Bob reaches the top of the berm and stands, swaying, staring down at something. CLOSE ON BOB'S FACE - stunned. 89. 148 EXT. BERM - DAY 148 Bob is dragging a barely conscious Lyn up the berm, following the goat. He staggers, barely able to put one foot in front of the other. At last we crest the top of the berm and find ourselves looking down on a WATER-HOLE, fringed with palms. The goat stands drinking. It stops to look up at us. 149 EXT. WATER-HOLE - DAY 149 Bob and Lyn collapse into the wet mud of the hole. Bob manages to cup some water into Lyn's mouth and then his own. He rolls onto his back, stares up at the burning sky. We hear a dull roaring, muffled, growing in volume. A HELICOPTER is approaching... FADE OUT. In the BLACK we hear a VOICE. ARMY BROADCASTER (O.S.) (in Arabic, SUBTITLED) In America if I do not like my cell-phone company I change them. I am in charge. This is consumer power. 150 INT. ARMY BASE - INFIRMARY - DAY 150 OVERHEAD SHOT - Lyn and Bob lie side by side in beds, both hooked up to IV's. Sunlight slants through the shutters on the window in the cool room. The voice is coming from a SPEAKER on the wall. ARMY BROADCASTER (O.S.) This is democracy. Let us work together for that. And please stop shooting at those who are only here to help. Lyn opens his eyes, looks around him. ARMY BROADCASTER (O.S.) (CONT'D) This is an old one from Cat Stevens. (Correcting himself) Yusef Islam. That's Yusef Islam. Lyn looks at the door and for a second there's a FLASH OF A FACE staring in through the glass. Then it's gone. (CONTINUED) 90. 150 CONTINUED: 150 Over the speaker comes the sound of a period song. Lyn sits up, staring at the door. Bob stirs in his bed. BOB Lyn? 151 INT. ARMY BASE - CORRIDOR - DAY 151 Lyn walks unsteadily out of the room, towing his IV drip behind him. The door at the end of the corridor is just CLOSING. Lyn sets off down the corridor. Bob appears in the doorway behind him, towing his own IV. BOB (HISSING) Lyn? Where are you going? 152 ANOTHER CORRIDOR - MOMENTS LATER 152 Lyn passes doors, glances into the rooms beyond... LYN'S P.O.V - the room seems to house a PRINTING PRESS. A SOLDIER stands with his back to us, watching LEAFLETS fire out of the press. We pass to the next room which seems to be a RECORDING STUDIO - the walls covered in shelves of CD's. A SOLDIER sits with headphones on playing an electronic keyboard... 153 EXT. ARMY BASE BUILDING - DAY 153 Lyn emerges blinking into the light. He stares around him. The song is playing over speakers, echoing eerily around the base. A door slides shut with a clang nearby and Lyn turns to locate the sound. A trail of FOOTPRINTS leads across the sand to a HANGAR nearby. Lyn heads off across the sand, dragging the IV. Bob emerges behind him. BOB Lyn! Lyn reaches the sliding doors of the building and drags them open and stands staring into the gloomy interior. Bob catches him up. (CONTINUED) 91. 153 CONTINUED: 153 BOB (CONT'D) I don't think we should... He stops following Lyn's gaze... INSIDE THE BUILDING The place is full of GOATS. Lyn and Bob stare at the animals. Slowly Lyn advances into the darkness, peering around him. In the shadows at the back of the building a figure STIRS. Lyn walks slowly forward until he can make out the man - old, bearded, worn and wasted by years of heavy drinking. It's BILL DJANGO. Lyn stares at him. LYN CASSADY (CHOKED) Hello Bill. Bill smiles hesitantly. BILL DJANGO Hello Lyn. Lyn is too choked with emotion for a moment to answer. LYN CASSADY This is Bob. BILL DJANGO Hello Bob. Bob is too amazed to reply. LARRY HOOPER (O.S.) Oh good... Bob and Lyn turn to find Larry Hooper standing in the doorway behind them. LARRY HOOPER (CONT'D) ...the gang's all here. Lyn stares at Larry - shocked. 154 INT. BASE - PSIC HQ - DAY 154 Larry and Bill are showing Bob and Lyn around. A few CIVILIAN WORKERS are working at computers behind them. LARRY HOOPER This is primarily a Psyops base. (CONTINUED) 92. 154 CONTINUED: 154 BOB Psy for psychic? LARRY HOOPER (CHUCKLING) Psy for psychological, although the irony isn't wasted on me. Radio broadcasts, leaflets, that sort of thing. Bob picks up a LEAFLET. LARRY HOOPER (CONT'D) Oh, that's an Iraqi Psyops leaflet they dropped on us. BOB (READING) "American Soldier - your wives are back home having sex with Bart Simpson and Bert Reynolds." LARRY HOOPER Yeah, hadn't exactly done their homework there. Lyn is staring at Bill who is looking a little vacantly at the racks of CD's. Larry notices. LARRY HOOPER (CONT'D) How'd you find us, Lyn? LYN CASSADY I remote viewed you. Larry smiles a little mockingly. BOB If this is Psyops what are you doing here? LARRY HOOPER I said primarily Psyops. This is a restricted area, you understand? Everything you hear and see stays secret or you go to prison. Bob nods a little nervously. LARRY HOOPER (CONT'D) There are individuals in the current administration who are looking for...creative solutions for the War on Terror. (MORE) (CONTINUED) 93. 154 CONTINUED: (2) 154 LARRY HOOPER (CONT'D) They're far more open minded then their predecessors, and they've out-sourced experimental research to my company. He indicates the PSIC name badge he's wearing. BOB "Sick?" LARRY HOOPER It's pronounced psi-ike. Psychic Systems International Corp. Turns out certain people had heard about the New Earth Army and were interested in some of the work we were doing back then. They got in touch with me, I got in touch with Bill. LYN CASSADY (To Bill) You're working for him? Bill frowns at the CDs, not seeming to hear. LARRY HOOPER Bill's been looking into subliminal messaging. (Selecting a disc) This is one we've designed to play to our own troops before combat. He puts the disc in a player and presses play. We hear a burst of a period song. BOB There's a subliminal message in this? LARRY HOOPER (reading the CD) This is..."Don't get drunk before firing heavy machine guns." We've got all sort of products in development.(To Worker) Tell them one of our new ideas. PSIC WORKER Air bag mine? LARRY HOOPER Air bag mine. Non-lethal mine, catapults the fucker up into air. (To another) Gimme another one. 2ND PSIC WORKER Blast target with pheromones and then release Attack Bees. (CONTINUED) 94. 154 CONTINUED: (3) 154 LARRY HOOPER Excellent. Attack Bees. The Forces of Nature! Another. 1ST PSIC WORKER Project Achilles. We mutilate enemy corpses and... LARRY HOOPER We're not doing that anymore! (Throwing an eraser at the worker) Idiot! He turns back to Lyn. LARRY HOOPER (CONT'D) The point is we've got a budget, we've got supporters. I'm rebuilding the New Earth Army. Only this time without the hippy crap. Bill stands up and starts walking a little unsteadily towards the door. LARRY HOOPER (CONT'D) You okay Bill? BILL DJANGO (Without turning) Gonna get some ice-cream. Larry waits until Bill has left before turning back to Lyn. LARRY HOOPER You get the odd flash of what he used to be but... he's pretty burnt out with the booze. Larry shakes his head in apparent sorrow. Then he notices some candy on a desk. LARRY HOOPER (CONT'D) Ooo, Twizzlers. He picks it up and starts to eat it. LARRY HOOPER (CONT'D) (To Lyn) You want one? Lyn shakes his head, trying not to show the emotions he is feeling. LARRY HOOPER (CONT'D) (Watching him) God, I love these things... 95. 155 INT. BASE - CORRIDOR - DAY 155 Bob helps Lyn down the corridor. Lyn suddenly stops, listening. There is a faint sound of MUSIC coming from somewhere nearby. 156 INT. BASE - CELL CORRIDOR - DAY 156 Lyn walks down the corridor, Bob following. At the end of the corridor is a single door with a SPY-HOLE. The loud music is coming from there. We can hear now that it is an annoying children's show song or heavy metal. We TRACK towards the door... Lyn hesitates then slides back the SPY-HOLE cover and peers in. LYN'S P.O.V - An IRAQI PRISONER sits huddled in the cell, illuminated in the flashes of a powerful STROBE LIGHT OVERHEAD. SONG (O.S.) (Lyrics from chosen song.) The prisoner looks terrified, and despite the whimsical music the whole scene is horribly sinister. Lyn steps away from the spy-hole. BOB (ANXIOUSLY) What? What is it? LYN CASSADY It's the Dark Side. 157 INT. ARMY BASE - TENT - DAY 157 Lyn sits on his bed, as low as we've ever seen him. Bob watches him, concerned. BOB What are you going to do? Lyn stares at the wall. BOB (CONT'D) Lyn? What are you going to do? LYN CASSADY It's too late...I'm dying, Bob. (CONTINUED) 96. 157 CONTINUED: 157 BOB Oh, you're not dying! I don't believe you can kill someone with a mail order Dim Sum. You can't... LYN CASSADY Dim Mak. BOB Whatever. I don't believe you can just... LYN CASSADY It's cancer. BOB ...just tap someone and ...it...(Beat) What? LYN CASSADY I mean, I know it was caused by the Dim Mak. But...it's...you know...it's cancer. That's what the doctors say. Different ways of looking at...different names for a reality or, or uh... He lapses into silence. Bob is stunned. Lyn lies down. LYN CASSADY (CONT'D) I shouldn't have come Bob. Shouldn't have come. Lyn pulls the EAGLE FEATHER from the chain around his neck. LYN CASSADY (CONT'D) ...Give this back to Bill...I don't deserve it. Bob stares at him. 158 EXT. BASE - DAY 158 Bill Django sits cross-legged in the sand, drinking from a bottle of whiskey, watching the sun set. Bob marches up to him, stands awkward but determined. BOB I think you should go and see Lyn, sir. (Beat) he needs you. Bill doesn't answer. (CONTINUED) 97. 158 CONTINUED: 158 BOB (CONT'D) The man crossed a desert to see you again. Bill takes a long drink, stares at the sky. Bob watches him with mounting frustration. BOB (CONT'D) You know, he told me all these stories about Bill Django, and I was pretty excited to meet you, but I've gotta tell you...you're one big disappointment. Bill doesn't react. Bob starts to walk away then turns back, and throws the FEATHER down at Bill's feet. BOB (CONT'D) He told me to give you that back. I don't know why. Its supposed to be a mark of honour isn't it? I don't see how you deserve that. Beat. Bill turns to look at Bob for the first time. He takes a long drink. BILL DJANGO (BEAT) It isn't real. BOB What isn't? BILL DJANGO The feather. Twenty thousand dollar fine for taking an eagle feather. This one's off a turkey. You just die the tip black. (Beat) Don't tell Lyn. Bill stares at the feather. BILL DJANGO (CONT'D) None of it was real. BOB (ANGRILY) That isn't true. That isn't true. He looks around for inspiration - notices a LONE CLOUD floating in the sky. Bob places his fingers on his temples and STARES at the cloud, focuses, desperate, hopeful... Bill notices and watches, curious. Slowly, the cloud fades and DISAPPEARS. (CONTINUED) 98. 158 CONTINUED: (2) 158 Bob can't believe it. He looks at Bill who is staring at him. He has tears in his eyes. 159 INT. ARMY BASE - TENT - NIGHT 159 Lyn lies sleeping. Larry sits at the foot of his bed, smoking a cigar. He watches Lyn for a moment, then COUGHS deliberately. Nothing. He repeats the cough - louder. Lyn wakes. LARRY HOOPER Oh. Didn't mean to wake you. The two men stare at each other. LARRY HOOPER (CONT'D) Heard you weren't feeling well? LYN CASSADY (BEAT) Just tired. LARRY HOOPER How'd you find us? LYN CASSADY I told you. I remote viewed you. LARRY HOOPER (SMILING) Scotty Mercer told you, didn't he? LYN CASSADY No. LARRY HOOPER Yeah, he did. We told Scotty we were coming over here, asked him if he wanted some work. LYN CASSADY I haven't seen Scotty. LARRY HOOPER That's funny, because he told me he'd run into you and mentioned that there might be some jobs going with us over here. (Beat) Isn't that why you came, really, Lyn? You want back in, don't you? Lyn stares at him, disturbed, afraid this might be true. LARRY HOOPER (CONT'D) It can happen. You've only got to say the word. Could be the new Golden Age for Psi research. (MORE) (CONTINUED) 99. 159 CONTINUED: 159 LARRY HOOPER (CONT'D) You, me and Bill, back together again. Just like the old days. Larry closes his eyes, trying to remember something. LARRY HOOPER (CONT'D) Mother Earth, my life support system. As a soldier I must drink your blue water, live inside your red clay and eat your green skin. Lyn listens, moved despite himself. 160 EXT. BASE - NIGHT 160 Bill and Bob stand on a picnic table, under the full moon. Bill is leading Bob through some YOGA POSITIONS. Both are drunk. LARRY HOOPER (V.O.) I pray my boots will always kiss your face and my footsteps match your heartbeat. 161 INT. ARMY BASE - TENT - NIGHT 161 Lyn can't help but join in the prayer. LARRY AND LYN Carry my body through space and time. You are my connection to the Universe... 162 EXT. BASE - NIGHT 162 Bill and Bob both stand in a difficult position - balanced on one leg. LARRY AND LYN (V.O.) ...and all that comes after. I am yours and you are mine. As we watch Bill slowly topples forward off the table and crashes out of sight below. 163 INT. ARMY BASE - ROOM - NIGHT 163 The two men finish the prayer. LARRY AND LYN I salute you. (CONTINUED) 100. 163 CONTINUED: 163 LARRY HOOPER (BEAT) Don't make a decision now. Tell me in the morning. He pats Lyn's leg, walks out. 164 EXT. BASE - NIGHT 164 Bob is holding a concussed Bill who has a cut on his head. BOB Bill? Bill are you okay? Bill opens his eyes suddenly. BILL DJANGO I just saw Timothy Leary. BOB (BEAT) Timothy Leary's dead. BILL DJANGO I know. He's had an idea. 165 INT. CORRIDOR/KITCHEN - NIGHT 165 Bill and Bob head down the corridor. They pass a SOLDIER. SOLDIER (SALUTING) Good evening sir. BILL DJANGO (MUMBLING) Getting some ice-cream. They walk on and reach the doors to the KITCHENS. The two men hesitate, look at each other... Then Bob walks in. 166 INT. BASE - CANTEEN - MORNING 166 PSIC WORKERS AND PSYOPS TROOPS are all eating breakfast together, talking, laughing. Bob and Bill sit drinking coffee. Lyn appears with a tray and sits down beside Bob. (CONTINUED) 101. 166 CONTINUED: 166 They eat in silence for a moment. Lyn turns to look out of the window to where Larry Hooper stands outside in the early morning sun, smoking a cigar and drinking coffee. He turns and notices Lyn, raises his cup, smiles. Lyn looks troubled. Bob suddenly leans into Lyn. BOB (SOFTLY) Don't eat the jello. Lyn turns to Bob puzzled. LYN CASSADY (BEAT) What? BOB Don't eat the jello. Lyn tries to puzzle this out but is distracted by Larry outside who seems to have noticed something in the sand at his feet - a small insect of some kind. He begins to watch it with strange fascination. After a moment he sinks to his knees in order to get a better look at it. One of the SOLDIERS notices and starts to laugh softly. His neighbor looks at him as if he's crazy then begins to laugh himself. Lyn looks around him, sensing the strange atmosphere creeping through the room. LYN CASSADY What's going on? BOB We put LSD in the jello. Lyn turns to stare at him. LYN CASSADY What? BOB Bill showed me where Larry had bottles of LSD. So we put it in the jello mix last night. BILL DJANGO (SUDDENLY) And in the water. Bob turns to stare at him. BOB What? BILL DJANGO I put it in the main water tank as well. (CONTINUED) 102. 166 CONTINUED: (2) 166 Bob stares at him, aghast. BOB But...we've drunk the water. BILL DJANGO (THOUGHTFULLY) Yeah. He pours himself another coffee. ARMY BROADCASTER (O.S.) (Into microphone) The weather? The weather is going to be HOT! Through the window we see Larry get on his belly to get a better look at the bug. 167 INT. RADIO STATION - MORNING 167 The DJ SOLDIER has gone off script. A PRODUCER is trying ineffectually to pull him away from the desk. ARMY BROADCASTER (Into microphone) I'm guessing. I mean, I haven't looked at the, the thing but I'd say it's going to be fucking HOT! Hot. Hot. Hot. The Producer pulls and releases the DJ's headphones so they slap against his head and starts giggling. ARMY BROADCASTER (CONT'D) That hurt Greg, you fucking dip- shit. (Laughing too)You fuckity fuck dip-shit fuck-hole. (Remembering something) Hey! Music! He hits a button. 168 EXT. BASE - MORNING 168 CLOSE on a LOUDSPEAKER - blasting a period song out over the base. We BOOM down to where two SOLDIERS are dancing, tripping. ALL OVER THE BASE Soldiers are wandering around, talking, some falling to their knees, weak with laughter. Some stand alone, staring with a beatific smile at the sky. (CONTINUED) 103. 168 CONTINUED: 168 As the music plays on a STRYKER ARMORED VEHICLE drives around the corner of a building, a SOLDIER standing up, arms raised, in the gun turret. The Stryker screeches into a clumsy skid, the Soldier having to hang on. The Stryker roars off again, heading straight for the GATES of the base. SOLDIER (calling down into the vehicle) You're going to hit the gates. You're going to hit the gates. The Stryker veers left and smashes through the perimeter fence and out into the desert. SOLDIER (CONT'D) (CALMLY) It's okay. You missed them. 169 INT. RADIO STATION - MORNING 169 The DJ and the Producer are wrestling over the sound desk, laughing. 170 INT. BASE - CORRIDOR 170 Bob and Bill walk towards the cell block. BOB (ANGRY) Don't you think it might have been more sensible if we hadn't drunk the fucking water? BILL DJANGO That might have aroused suspicion. But don't worry. Over the years I have built up a massive tolerance to all narcotics. 171 INT. CELL - MORNING 171 An IRAQI PRISONER looks up startled as the door to the cell is flung open and Bill stands, filling the doorway, bare-chested, wild-eyed and wild-haired. BILL DJANGO In the name of the New Earth Army and loving people everywhere I'm liberating this base! 104. 172 INT. GOAT SHED - MORNING 172 Lyn slides open the door to the shed and begins to shoo the goats out into the light. 173 EXT. BASE - LATER 173 As the music continues Bob, Lyn and Bill appear leading a column of nervous IRAQI PRISONERS out of the building, towards the gates. Lyn and Bill are holding BABY GOATS in their ARMS. A tripping Bob is holding bunches of flowers - it's as close as they can get to the illustration from the New Earth Army Manual. Lyn holds up a hand to stop the procession. Larry stands in front of them, a GUN in his hand, his face blank. Lyn and Larry stare at each other. Then, unexpectedly, Larry starts to cry. LYN CASSADY (SOFTLY) Give me the gun Larry. Larry starts to raise the gun to his mouth. Pauses. Scratches his head. LARRY HOOPER Wow. I'm hungry. He wanders off. ARMY DJ (O.S.) (Over loudspeaker, LAUGHING) Hey! More music! (muffled) Get off, will ya? Over the loud-speakers we hear the opening of a period song. LYN CASSADY (Beat, relieved) Okay, let's go. 174 FLATTENED SECTION OF FENCE 174 Bob and Lyn stand at one side, Bill at the other, beckoning the prisoners through, hugging the prisoners as they pass through. LYN CASSADY We're very sorry. Ma'assalama. (CONTINUED) 105. 174 CONTINUED: 174 One by one the Iraqis walk out through the broken fence, staring around them suspiciously, expecting a trap. Nothing happens, no one shoots them. LYN CASSADY (CONT'D) (WAVING) That's it. Keep going. Ma'assalama. The Iraqis start to hurry away over the sand. Beyond them we can the Stryker, driving in circles in the desert, a NAKED SOLDIER stands whooping on top. 175 EXT. BASE - LATER 175 Bob, tripping heavily, is staring with fascination at the sand trickling through his fingers. Suddenly we hear the building whine of the HELICOPTER engine starting up. Bob looks up, puzzled. 176 HELICOPTER 176 Bill and Lyn sit in the chopper, Bill at the controls. Lyn is holding the flowers. Bob appears, hurrying over. BOB (CALLING) Wait! Wait for me! Where are you going...what about the mission? LYN CASSADY (Over the sound of the engine) You are the mission Bob! You are the mission! Tell them what happened! The helicopter begins to rise. Bob stands swaying, staring up. Lyn smiles sadly through the window, raises his hand. The Helicopter RISES - HIGHER AND HIGHER. Bob waves goodbye. BOB (V.O.) At the time I was hurt that Lyn hadn't taken me with him. But now I know it was because he and Bill had already seen what was to come. 106. 177 EXT. DESERT - DAY 177 As the helicopter flies off into the blue. BOB (V.O.) Nobody knows exactly what happened. The official story is that their helicopter must have crashed, either because they were hit by an RPG or because...well, that's what happens when you fly a helicopter while you're tripping on acid. All I know is they've never been seen since. Like all Shaman they returned to the sky. The helicopter disappears altogether. DISSOLVE TO: 178 INT. MICHIGAN APARTMENT - EVENING 178 WEEKS LATER. Bob sits typing, frowning with concentration. BOB (V.O.) When I got back home I wrote the story up. Everything. 179 EXT. OUTSIDE BOB'S OLD HOUSE - EVENING 179 Bob sits in his car staring at his old home, across the road. Through the window we can see Bob's ex-wife Debora, eating dinner with Bob's ex-Editor - Dave. BOB (V.O.) I sent it to the newspapers, the radio stations, the TV stations, because that was what Lyn wanted me to do. The people needed to know. 180 INT. BOB'S APARTMENT - EVENING 180 Bob sits watching a Today style show on TV. BOB (V.O.) I was ready for whatever they would do to me. I was ready to disappear. I was ready to go to prison. I was a Jedi and I was fighting for the New Earth Army. (MORE) (CONTINUED) 107. 180 CONTINUED: 180 BOB (V.O.) (CONT'D) (Beat) But they didn't put me in prison. They did something much worse. ON TV NEWS ANCHOR (CHUCKLING) And finally, US forces in Iraq are using what some are calling a cruel and unusual tool to break the resistance of Iraqi POWs, and many parents would agree! Some prisoners are being forced to listen to Barney the Purple Dinosaur sing the I Love You song. I think after an hour of that they'll spill the beans! Don't you? Let's go outside to Al for the weather. Bob watches, ashen. 181 INT. NEWSPAPER OFFICE - DAY 181 Bob is working for another small town newspaper. He sits at his desk, staring fixedly ahead at the wall. BOB (V.O.) That was it. That was the only bit of my story that ran anywhere. And it was a joke. And if I ever needed proof of how the Dark Side have taken the beautiful dream of what a nation could be and had twisted it, destroyed it, that was it. Bob stands up. He starts to walk down the office, his face set with grim determination. BOB'S EDITOR Bob? BOB (V.O.) But I won't stop. I won't give up. Bob quickens his pace. BOB (CONT'D) (V.O.) (CONT'D) Because when I look at what is happening in the world, I know that now, more than ever, we need to become ALL that we can BE. Bob is running. (CONTINUED) 108. 181 CONTINUED: 181 BOB (CONT'D) Now, more than ever, we need the Supermen. Bob rushes towards the WALL. Just as he is about to hit it we FREEZE FRAME. We hear the opening of a period song. BLACK THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Men in Black 3.txt b/unformated_scripts/Script_Men in Black 3.txt new file mode 100644 index 0000000000000000000000000000000000000000..33608836a88a00bfae52e33060da183a28ec071b --- /dev/null +++ b/unformated_scripts/Script_Men in Black 3.txt @@ -0,0 +1 @@ + MEN IN BLACK 3 Written by Etan Cohen & Lowell Cunningham CLOSE ON A PAIR OF MIRROR AVIATOR SUNGLASSES Standard issue throughout the south to abusive, racist prison guards. Widen to reveal that, indeed, these glasses are on the sneering face of just such a man. We follow the guard DOWN A DINGY PRISON HALLWAY Paint peeling off the rusty bars. Somewhere, someone is playing harmonica. Prisoners yell complaints as he passes. He meets them all with-- GUARD Shut up, convict! Get yer hands off the bars! The guard passes through several levels of security doors, deeper and deeper into the more secure bowels of the prison -- home of the scum of the scum. Meanwhile... PRISON VISITING ROOM The lazy-ass guards in charge of screening visitors read magazines, watch TV. Footsteps -- someone's here. Which pisses them off, because that means they actually have to do their jobs. The unseen visitor buzzes for help. They take their time getting off their asses. When they finally look up, their gaze becomes a leer. Follow it to: DEVIL GIRL, the visitor. Too tall, too muscled, but hot if you're into that kind of thing -- an R. Crumb drawing come to life. She holds a CAKE -- the cutest, perfectly-frosted pink cake right off the cover of the Betty Crocker cookbook. GUARD 2 Lookie here. Yaz's visitor. I guess even a turd gets flies to land on it. GUARD 3 Me, I like a big girl. 2. They smirk, hoping for a reaction. Devil girl emits a low, sinister growl like an angry Doberman... The guards look at each other and GET DOWN TO BUSINESS: GUARD 2 I.D., visitation papers. BACK DOWN THE HALLWAY WITH THE GUARD He reaches the end of the hallway. The biggest, most absurdly-reinforced double security door. He punches in a code. The giant door retracts -- its immense weight has it squeaking and groaning the whole way. Whoever's behind this thing must've done something REAL bad. WITH DEVIL GIRL Going through the metal detectors, waved over with security wands. The guards are being thorough. Maybe more thorough than they need to be. They check everything -- even the cake. The digital readout tells them NO METAL DETECTED. GUARD 3 She's clean. Well, not CLEAN, but you know. They laugh, buzz her through. WITH THE GUARD The giant door finally opens, he continues to the end of the hallway. Stops in front of a cell. Yells in: GUARD Hey, Yaz! You got a visitor. Let's go, pretty boy. VISITING ROOM Spare. Just a table and chairs in the middle -- poured concrete. Nothing a convict could, say, smash into the face of a guard. The perimeter of the room is lined with armed guards -- looks like they're not taking chances. 3. At the lone table -- Devil Girl waits with her cake. She hears the door open -- her face lights up as IN STEPS HER BELOVED -- YAZ, an evil hippie/biker badass right out of Easy Rider. A huge mane of hair, a big handlebar moustache that frames a grubby unshaven face... Everything about him seems strangely independently alive -- every strand of hair, every fringe on his dirty jacket -- the way Elvis was in his prime. He wears a distinctive SKULL PINKIE RING. A smirk plays on his mouth that says -- I'm smarter than you, asshole. The guards escort Yaz, who can barely walk in his CHAINS and MANACLES. They dump him into one of the chairs. Devil Girl jumps up, they lock in a kiss -- it goes on too long. A guard pokes them with his billy club -- GUARD 2 This ain't a conjugal visit. quit yer conjugating. YAZ When's the last time you conjugated anything? DEVIL GIRL I brought you a cake. YAZ Thanks, darling. (TO GUARDS) Hey could you cut this up for us? It's our anniversary. I'm romantic like that. A guard picks up the cake. Smirks and takes a dirty three- fingered scoop of frosting. GUARD 2 (MOUTH FULL) Not great. She must.be good at somethin' else. They all LAUGH. He goes back for another scoop. YAZ I wouldn't do that. GUARD 2 Why's that, convict? 4. GUARD POV: Where he scraped away the frosting, REVEAL A HORRIBLE ALIEN MOUTH GUARD 2 (CONT'D) WHAT TH-- But in a flash, the mouth SPRINGS OUT -- IT BELONGS TO A VORACIOUS ALIEN -- another springs out behind it -- they consume the guard's entire face. YAZ That's why. The aliens jump into Yaz's hands like a matching pair of grotesque ORGANIC SIDEARMS -- as vicious and bloodthirsty as their master, snarling and hungry for blood. The guards draw their weapons, but YAZ IS FASTER.-- he launches his aliens, taking them all out. Yaz "holsters" the aliens and... THE PRISON BREAK IS ON!! One guard, badly wounded, crawls to SOUND THE ALARM In the reflection of a pair of blood-spattered aviator glasses -- Devil Girl puts the guard down with his own weapon. She uses one of the cake-aliens like a saw to get Yaz out of his chains. YAZ There's nothing sexier than a girl killing for me. She runs a hand over his bicep. DEVIL GIRL You got so strong in prison. Yaz notices the almost-dead guard: YAZ I'm not just a man of brute force, you know. I prefer to be known for my rapier wit-- His tongue SHOOTS OUT OF HIS MOUTH -- like a rapier -- impaling the guard-- 5. YAZ (CONT'D) --and tongue. The tongue retracts -- he and Devil Girl KISS. They collect weapons off the guards and use the aliens to saw open the door. YAZ AND DEVIL GIRL ESCAPE Prisoners go nuts, guards scramble -- smoke, screaming, chaos. Yaz and Devil Girl, armed with weapons they took off the dead guards, BLAST THEIR WAY OUT. He's a sociopathic badass... and she's no slouch either. Along the way, Yaz shoots the door off the armory and grabs an armload of weapons -- Shotguns, pistols, and a Rocket- Propelled grenade (RPG). He uses and discards them as he goes. They head for the front gate and FREEDOM... But.. They turn the corner and find 50 GUARDS in FULL RIOT GEAR -- Plexiglass shields, helmets, shotguns -- all aimed at Yaz. All Yaz has left is his RPG. GUARD ON MEGAPHONE Give it up, Yaz! There's no way out! A beat of stand-off -- Yaz and Devil girl facing off against the 50 Guards... No one blinking... Prisoners. watching... what's gonna go down? GUARD You can't win. You've only got one shot in there! Yaz lets the tension linger -- he seems to enjoy it. The guards SWELTER in their heavy riot gear. YAZ You look hot. Mind if I open a window? 6. The guards share a look - huh?? Yaz grins, turns his RPG towards the wall behind the guards. The guards' faces go WIDE WITH TERROR. GUARD Hey! Whoa! What are you doing? Don't do that! SLAM! Yaz blasts a hole in the wall -- the guards are IMMEDIATELY SUCKED OUT like from a hole blown in an airplane. What the...? Yaz steps through the hole. ON YAZ As he and Devil girl step through the hole, take a deep, satisfied breath of FREEDOM. Reveal we are on... THE SURFACE OF THE MOON The signage on the prison reads INTERGALACTIC DEPARTMENT OF CORRECTIONS, LUNAR DIVISION Yaz looks up at the BLUE MARBLE OF EARTH, smiles. As Yaz fixes his gaze on our planet, his hair, his fringes INDEPENDENTLY ARTICULATE YAZ'S MALEVOLENT EMOTIONS... they also seem drawn here. Like bees, they express a collective intelligence. YAZ I'm coming for you... Following Yaz's gaze to the Earth, we launch into... CREDITS MiB credits fly us through the Galaxy. Ending on a PARTICULARLY INHOSPITABLE LOOKING PLANET As it revolves, we observe its strange craters and surface, where steaming fissures belch geysers of noxious gases... 7 KAY'S VOICE (V.0.) When you really think about it, the universe is a pretty awful place. Full of danger, brutality, and ten million kinds of scum. So the trick is to find one or two things that make life in this cesspool worth living. And reveal we are actually looking at... PEKING DUCK Rotating on a spit. JAY and KAY watch this awful duck rotate. JAY That? That nasty, greasy thing makes your life worth living? There's people eating here, younger than that duck. KAY I was talking about the noodles. Best noodles in town. And we are in INT. CHINESE RESTAURANT - CHINATOWN, NYC - NIGHT Tanks everywhere filled with strange fish. An eclectic NY crowd eats -- Wall Street guys, hipsters, a Chinese family or two, a couple of NYU professor types who love the "authenticity" of this place. KAY flashes a badge to the OWNER, Chinese. KAY Good evening, Mr. Wu. MR. WU (heavily accented, barely INTELLIGIBLE) Kay, Jay... So happy see you... Mr. Wu get you regular table... KAY Not so fast, Wu. We'd like to take a look in the tanks. 8 MR. WU Yes, you see, very fresh. JAY The tanks in the back, Wu. MR. WU Oh... so sorry... please no English, you come back later... JAY Hey, save the chop socky bullshit for the locals, Wu. We need to see the kitchen. MR. WU (PERFECT ENGLISH) Why are you busting my balls, Jay? KAY (O.S.) Jay, take a look at this. Wu protests, Jay blows by him. THE KITCHEN KAY So this is what you're passing off as tuna? Reveal a giant tank holding a HUGE ALIEN FISH. JAY Wow, I didn't think there was anything uglier than a catfish. Jay taps on the glass -- the fish SNARLS, making Jay JUMP. KAY Ugly AND a clear violation of Health ordinance 32, selling UNLICENSED EXTRATERRESTRIAL foodstuffs. MR. WU That's an earth fish. Very traditional from China. You arrest me, that's hate crime. They turn their stares on him. 9. KAY I guess it would be. (grabbing Wu's apron) If you were Chinese! Reveal -- from the waist down, Wu has the BODY OF A SLUG. MR. WU C'mon, I got larvae to feed. And earth fish is so expensive. This is the only way I could stay afloat. JAY Look, Wu. You can serve it to your... out of town guests, but locals get earth fish. REAL earth fish. The kind that doesn't jump out of their stomach and get everyone asking a lot of annoying questions. Like, "Why is my lunch eating Daddy?" You got it? (back to the fish) DAMN, that's ugly. MR. WU Yeah, yeah, thanks guys. KAY Aren't you forgetting something? INT. CHINESE RESTAURANT - CONTINUOUS Wu walks them to a table, seats them. MR. WU (for benefit of customers) Allow me most honorable benefit of get you noodles. (FOR GUYS) Be right back, guys. Wu walks off. Jay CLOCKS the other diners. JAY Something about this strike you as weird? KAY Yeah, look -- clean fork. 10. JAY Look at table two over there. They haven't ordered a thing. When's the last time Wu let someone sit at a table without ordering? And table five over there just drank his third cup of duck sauce. Now Kay's radar is up -- KAY Come to think of it... Why is Wu getting our noodles... outside? JAY Because it's about to go down. Wu, at the door, closes the blinds. He catches them looking. MR. WU Sorry, guys. Wu leaves, quickly pulling the door behind, him. The guys reach for their weapons. And IT GOES DOWN -- It's a SET-UP, and everyone in the restaurant is in on it -- The hipsters, the families, the wall street guys -- all draw various forms of ALIEN WEAPONS and ATTACK It's like a close-quarters Mafia hit -- everyone pumping truckloads of ordnance at each other. Close hand-to-hand combat. Someone wants Jay and Kay dead and they're not taking any chances. Right ahead of the onslaught, JAY GIVES KAY A HAND SIGNAL -- He nods, and they dive in opposite directions, SAVING THEMSELVES FROM GETTING HIT. But not for long... An explosive lands between them -- Kay gets BLOWN OUT THE FRONT WINDOW, rolls to a stop in the middle of the DESERTED STREET Silhouetted at the top of the block -- a biker on a motorcycle. As he pulls into the light -- YAZI 11. Kay's eyes go wide with recognition. Yaz grins a murderous grin... YAZ Some things are worth waiting for. KAY Then come get it, you worthless PIECE OF-- Yaz guns the engine and BEARS DOWN ON KAY. INSIDE WITH JAY Getting the worst of it. A messy battle THROUGH THE KITCHEN. The Giant fish's tank gets shot -- the FISH IS FREE! And he goes RIGHT AFTER JAY! JAY You probably took that whole catfish thing the wrong way -- The fish SNARLS AFTER HIM -- lunges and BITES! JAY (CONT'D) I was jealous, you know? Because you're so pretty! Jay BATTLES THE FISH-- throwing pots and pans in its mouth, squirting hot sauce -- working like a lion tamer to keep it AT BAY-- JAY (CONT'D) Kay! KAY!!! Little help! Little help! OUTSIDE WITH KAY Yaz getting closer. He pulls out a CANNON of a gun, fires into the air. YAZ This time you don't have your friends to tell you what happens next. KAY Oh, I know what happens next. 12. Kay draws his EQUALLY BADASS-LOOKING WEAPON -- KAY (CONT'D) I've been waiting forty years for another shot at you, scum. Kay takes aim and... CLICK! Empty. GUN (V.0.) Your weapon is empty! Please recharge! KAY Damn! GUN (V.0.) Sorry you're having trouble! If you survive this encounter, please call customer service at-- Kay throws the gun at Yaz. Yaz laughs. Gets Kay in his sights. YAZ All I wanted was justice, Kay. Justice for my brothers. But you had to meddle, didn't you? KAY They deserved what they got. YAZ Why don't you say that to their faces when you see them... Puts the barrel in Kay's face and BOOM!!! Yaz goes up in a GIANT EXPLOSION!! Reveal Jay, just fired the shot. Jay looks like total hell, beaten up, covered with 8 kinds of slime and alien guts. He stumbles over to Kay, who in contrast looks perfectly pressed. JAY So I was thinking about making a chart for each time I save your ass. And when I do it ten times, you buy me lunch. 13. Kay lets out a long, weary sigh. KAY Will you settle for a drink? INT. DESTROYED CHINESE RESTAURANT Kay reaches behind the counter for a couple of beers. Jay is on his phone. JAY (INTO PHONE) We're gonna need a cleanup on the corner of Canal and Mott. And bring a net. Biggest one you've got. Follow Jay's gaze -- the giant fish flops its way down Canal. Jay and Kay back in their booth, Jay grabs a couple noodles off another table and starts eating. Through the scene, various MiB clean-up crew people work the crime scene. JAY (CONT'D) (MOUTH FULL) Why aren't you eating? (GETS NOTHING) So what the hell was that guy? Kay's quiet. Ominously quiet. Weighing his words: KAY Yaz. Put him away a long time ago. Biggest mistake I ever made. JAY Why? Was he the wrong guy? KAY No. Should've killed him. JAY Yeah, well, don't worry, I think I took care of him. KAY That was too easy. JAY I make it look easy. That's the problem with being my partner. (MORE) 14. JAY (CONTD) You get used to my game. It's what Dr. Phil would call taking for granted. KAY You don't get it, hoss. This guy is different. Worse than anyone. He tried to blow up the Earth but I stopped him. He developed a dislike for me and for certain behaviors of mine, such as being alive. JAY C'mon, you know better {than anyone. What does an MiB agent call it when 12 alien species try to kill him? Tuesday. Jay laughs at his own joke. Kay just stares. KAY Maybe. (calling off to cleanup GUYS) Make sure you get all of him, I mean it! He's an assembler! CLEANUP GUY Yes, sir, Agent Kay. JAY Seriously, man, those noodles'll kill you before he does. I got your back. KAY I know you do. Stares at his noodles a while, like there's answers in there: KAY (CONT'D) I used to play a game with my daddy. What would you want for your last meal. Could do worse than this. JAY Oh, yeah? I used to play a game with my dad, too. Called catch. I'd throw the ball, and then it'd hit the house `cause he WASN'T THERE. 15. KAY Do me a favor, don't badmouth your old man. JAY Hard to badmouth someone you don't know. (CHECKS HIMSELF) Alright, forget it. The past is the past. And right now we have something much more important to talk about. Bowling Night. KAY I'm tired. JAY Tired? What -- you afraid I'm gonna take that MVP trophy away from you? KAY Petrified. See you later. Kay takes a few tired steps and turns back -- KAY (CONT'D) And slick? Watch yourself. A guy like Yaz can come after you when you least expect it. Anywhere, anytime. Jay watches Kay walk away. Looks like he's carrying a heavy load. Turns his attention to the clean up crew: KAY (CONT'D) What part of clean up everything don't you understand? There's a spleen on that car! CLEANUP GUY On it, sir. DARK ALLEY A glow of a cigarette illuminates the face of... Devil Girl! She reaches down. We see -- a finger with the distinctive Skull, inching its way along the road. DEVIL GIRL You okay, baby? Momma's got you. now. 16. MIB HQ - LATER THAT NIGHT Jay at his desk -- papers and folders everywhere -- SEARCHING FOR SOMETHING. We see what he's looking through -- KAY'S OLD CASE FILES. JAY Yaz... Yaz... Yaz... Where are you, Yaz...? And he FINDS IT! JAY (CONT'D) Here we go... Jay opens the YAZ INCIDENT REPORT INSIDE: - Pictures of Yaz - A type-written report telling us YAZ APPREHENDED BY AGENT KAY... JULY 16, 1969 - Farther down on the page, a CASUALTY REPORT: ONE CASUALTY... HUMAN DEAD AT THE SCENE... ZED (O.S.) Ready to bring the pain? Reveal Zed in his ridiculous bowling outfit. BOWLING ALLEY - LATER THAT NIGHT A sign says: CLOSED FOR LEAGUE NIGHT We follow a couple normal-looking BOWLERS into INT. BOWLING ALLEY Safely inside, the Bowlers remove their heads -- which become their bowling balls. It's the LEAGUE CHAMPIONSHIP GAME -- ALIENS VS. MIB AGENTS MiB agents and aliens say hi, exchange trash-talk. We see shots of games in progress: An alien rolls a ball -- when it gets to the end of the lane, it sticks out arms, taking down all the pins. 17. The aliens cheer, slap tentacles, clink beers and swallow them whole. A many-armed alien re-sets the pins. A giant alien with perfect dainty form approaches the foul line... and -- gutter ball! He gets mad and shoots the pins with his laser-eyes. We end up with JAY AND THE MIB TEAM, NOT BOWLING BECAUSE THEY'RE WAITING FOR KAY -- Zed paces, wearing way too much bowling regalia. ZED Where's Kay? We either roll or forfeit -- and I didn't put this on to forfeit! JAY Alright, Bowling Robot, do what we built you for. Reveal an incredibly high-tech robot wearing one of those white trash T-shirts that reads "10 reasons why Bowling is better than Women." ROBOT (ROBOT VOICE) This is my time to shine. Robot fires a ball directly down into the floor. An awkward beat as we hear the ball puncture four floors. Then a car alarm. ROBOT (CONT'D) There goes my perfect game. (ROBOT LAUGH) Ha ha ha. JAY Guess it's on me. Jay rolls -- perfect spin -- Jay watches, willing it towards the pins -- which SCRAMBLE OUT OF THE WAY! But Jay's roll is too good -- it spins from fleeing pin to fleeing pin -- a STRIKE! Jay and his teammates triumphant! The frame of a lifetime! Jay looks around -- JAY (CONT'D) Of course -- the one time Kay isn't here... 18. MIB HQ - TUNNEL VENT ROOM Jay enters -- looks a little worse for wear, like somebody who did some celebrating last night. We see why -- when he hoists his GIANT, RIDICULOUS MIB BOWLING TROPHY. JAY Check it out-- The trophy raises a triumphant fist -- we realize it is in fact AN ALIEN. TROPHY We're number one! In your face! Suck it! JAY Look who's league MVP. GUARD Big surprise, you win every year. That's weird... JAY I... huh? MIB HQ - HEADQUARTERS Jay, in a good mood, flaunts his trophy to everyone in the office. The trophy continues its stream of obnoxious trash talk. JAY Where are you, Kay? I think you want to see this. It's the bowling MVP trophy with MY name on it. Jay works his way to his desk. Kay's already at his own adjacent desk -- bent over his work, his back to Jay. JAY (CONT'D) Maybe you want to think twice next time you ditch me. Kay, absorbed in work, doesn't answer. JAY (CONT'D) Kay? 19. KAY (O.S.) (back still to camera) Yeah? JAY Yeah, I just wanted to show you this so I could say-- (SEEING HIM) Who the hell are YOU??? Reveal -- CLINT EASTWOOD I'm agent Kay. JAY You new around here? " KAY" (LAUGHS) Good one, partner. JAY Yeah, okay, but I need the other Kay. You know, craggy old white guy... well, DIFFERENT craggy old white guy. I got you something. He hands over a "World's Best Partner" mug -- "KAY" (CONT'D) Have I told you today how much I appreciate working together? JAY What the HELL is going on here? Why are you pretending to be Kay? " KAY FR You seem upset. Let's go get some coffee and talk about our feelings. JAY How about instead, you go find me THIS guy? Jay opens the YAZ file and pulls out a picture of KAY. But now, splashed across Kay's photo, the words: KILLED IN ACTION -- JULY 16, 1969 20. Jay stares at the photo --- in it, we notice Kay is NOW WEARING A STRANGE MEDALLION JAY (CONT'D) Killed? In 1969? Jay grabs the YAZ FILE -- the one he looked through last night -- but now everything is different. We see -- the incident report stating ONE CASUALTY - AGENT KAY, DEAD AT SCENE... Jay can't believe it, he keeps reading... Snatches of the typewritten incident report The casualty report ONE CASUALTY... AGENT KAY, DEAD AT SCENE... A photo of Kay WEARING A STRANGE MEDALLION. Jay stares, struck by this -- JAY (CONT'D) Kay's dead? How? Why? The Men in Black Computer/Big Board sounds the alarm! COMPUTER (V.0.) Attention. Inbound missiles entering solar system! Inbound missiles entering solar system! Zed enters, chuckling at the warning: ZED Well, must be a Tuesday. Okay, computer [twins]. Give me a trajectory and an ETA on those puppies. COMPUTER (V.0.) Running impact simulator... Everyone watches as we see an animated simulation: the missiles smash into EARTH... COMPUTER (V.0.) (CONT'D) Catastrophic Earth impact imminent. 21. ZED Damn. Welp, looks like we're all done for. Sorry, kid, it's been a good ride. A GENERAL FREAK-OUT ENSUES Jay remains calm: JAY Whoa, what's everyone freaking out about? We had one of these last week. "Kay" hides under a desk, weeping. "KAY" We're all gonna die! JAY Wait - what is everyone's problem? What about that pan-galactic missile shield thing? ZED Sure, great idea, if we had one. COMPUTER (V.0.) Now running pan-galactic shield simulation. We see the missiles being shot down. COMPUTER (V.0.) (CONT'D) Conclusion: 6.72 billion lives saved. With shield... (shows Earth saved) without shield... (shows Earth destroyed) Sorry to say I told you so. ZED I wanted to build one years ago, but Kay talked me out of it. JAY Kay talked you out of it? Kay wouldn't do that. He's the most distrustful person in the galaxy. He personally set up that system to defend our planet from the scum of the universe. 22. " KAY¬Äé I thought we didn't have any enemies anymore. A stranger's just a friend you haven't met. JAY Yeah, that's working out great. Look, I don't know what's frying everyone's brains, but I remember the missile shield --- Kay -- the real Kay -- loved that thing. He wouldn't shut up about it. I mean, that thing was all Kay. (REALIZING) But Kay's dead. He's been dead for years. But I knew him yesterday. Jay looks at the YAZ file. Gears turning. He grabs a picture of Yaz -- JAY (CONT'D) Where the hell did he.get an iPhone in 1969? EXTREME CLOSE UP ON PICTURE -- Peeking out of Yaz's jacket -- an iPhone. Something clicks -- JAY (CONT'D) (REMEMBERING) Kay said Yaz can get you anywhere, anytime. Any TIME. So Yaz killed Kay in 1969 and now there's no missile shield. Jay realizes something and RUNS OFF OKAY" I love you, Jay! JAY You're definitely not Kay! JAY RUNS THROUGH MIB He runs by people dealing with the world coming to an end: COMPUTER (V.0.) Nine minutes to impact. I always loved you, microwave... 23. On the microwave -- it beeps plaintively. Jay runs off with purpose... STREETS OF NYC July in the city. A perfect summer day. Kids eat ice cream. Old ladies head to matinees. The streets of New York team with humanity, blissfully unaware that they are about to die. In other words, a Tuesday. Jay runs through Time Square, where guys sell stuff on blankets. Desperately looking for someone... Among the sellers, a suspicious-looking guy wearing a strange mixture of anachronistic clothing -- tri-cornered hat. As soon as he sees Jay, his eyes go wide and HE FLEES. Jay grabs something off the blanket and smacks him -- lays him out. JAY Where you going in such a hurry, Obadiah? The past? OBADIAH What are you talking about? He throws his arms up, revealing a pocket watch and a telescope. JAY I know you've been time-travelling. OBADIAH No way, man. I've just been here, totally legit, here in New Amsterdam. I mean -- Manahatta ... n I'm legit. JAY Yeah? What's this? Reveal the thing he just hit him with -- a ship's bell with S.S. TITANIC on it. OBADIAH I swear, I'm out of that. That's my grandmother's. 24. JAY What else you got here? OBADIAH Nothing, nothing man. JAY Oh, yeah? Off a Dodo in a cage. JAY (CONT'D) Is that a dodo bird? OBADIAH Family pet. JAY I think he'd be happier free. Jay frees the bird -- it runs, squawking... OBADIAH Oh, come on, man! JAY Interesting. Jay picks up Spider-Man 8 off the blanket. Featuring chubby, bald 50-year-old Tobey Maguire. OBADIAH That's pirated, man. That ain't nothing. Jay rips open his jacket -- JAY And this? Reveal a copy of the Declaration of Independence.. OBADIAH Okay, okay, maybe I've been time travelling a little -- just for personal use, man, just enough to GET BY-- JAY Listen -- I'll look the other way if you tell me who's selling time travel these days. I just want your supplier. 25. OBADIAH No way, man. You don't mess with that guy. He'll kill you, me, and then he'll go after our families! JAY Don't worry, he won't have time. OBADIAH What do you mean? Jay forces the guy to look up-- we see the missiles. JAY Those hit the sun in 8 minutes. You want to live out those minutes? Or you want me to take you out of your misery? Jay picks up an ancient weapon -- crossbow, blunderbuss -- off the blanket and puts it to the criminal's head. OBADIAH Okay, okay, but don't say I didn't warn you, man. You just signed your own death warrant. JAY I just want a name. OBADIAH Fine, but it's the last one you'll ever hear. CUT TO: CLOSE ON THE MOST NON-THREATENING FACE EVER Think Michael Cera at his most geeky. CERA Hi, I'm Trevor! Reveal -- we are in APPLE STORE And Trevor is an "Apple Genius" TREVOR Do you have an appointment? 26. JAY NO--- TREVOR (CHIPPER) Well, if you don't have an appointment, you'll have to come back tomorrow. JAY Yeah, well, the thing about tomorrow is, we'll all be busy being dead. TREVOR Excuse me? JAY Help me, or the world is gonna end. TREVOR Everyone thinks their computer problem is the world coming to an end. JAY Right. Take a look at this. Jay directs Cera's sightline to the sky-- TREVOR Ahhh! What is THAT? JAY That, is We're all dead in... Seven MINUTES UNLESS--- TREVOR Unless WHAT?? JAY You start sharing the illegal time travel tech you've been slinging. NERD Excuse me, can you tell me which one of these batteries is better? The 10-hour or the 12-- JAY You only need seven minutes, get the cheap one. He grabs Trevor- 27. JAY (CONT'D) Where is it?? TREVOR Okay, okay, I'll show you. But this is incredibly powerful technology, so it must remain absolutely secret. Follow me. Trevor LEAVES HIS POST --- Jay follows: TREVOR (CONT'D) Absolutely secret, do you understand? JAY Yes, but we're running out of time-- AFFLUENT WESTSIDE MOM Hey! Excuse me! TREVOR With you in a second, ma'am. AFFLUENT WESTSIDE MOM It'll only take a minute. You see, my nanny's phone number got erased from my favorites and I have to ask her what my daughter wants for her birthday. Jay takes the phone. JAY Oh, I see the problem. He CHUCKS THE PHONE across the store, where it SMASHES TO PIECES. She leaves in a huff. TREVOR I've always wanted to do that. okay, so here's what you do... Trevor pulls Jay in, ready to lay this top secret information on him... TREVOR (CONT'D) Okay, so go to the clock app. And shake it. JAY That's it? Jay does it. 28. On the phone -- TIME TRAVEL BETA TREVOR Now you just type in the year you want to travel to... On the phone -- it's "augmented reality" -- the image through the phone is the image of the targeted time period. JAY Okay, thanks. TREVOR Now listen. This is highly crucial: Time travel is nothing to mess with. You can't change anything, you can't use new technology or all of space-time can just -- kablooey! JAY (OFF MISSILES) Yeah, well, is it ok if I change THAT? TREVOR Yeah. Right. Yeah, that's cool. Jay is about to "enter" time travel... TREVOR (CONT'D) Wait -- hold on a second. If you go -- I'm just gonna stay... and be dead? JAY Don't worry, I'll fix it. You'll only be dead for a little while. Jay DISSOLVES INTO A TIME TRAVEL EFFECT... Cera is left alone. The missiles get EVER CLOSER... Trevor opens a "Voice Recorder" app: TREVOR (INTO PHONE) Trevor's last words. Dear posterity... Should anyone find this, let history remember that Trevor was a man of noble bearing, quiet dignity -- (IMPACT!) OH FUUUUUU----- 29. And the world is vapor. EVERYTHING GOES WHITE... WHITE Pure white. Jay comes to, groggy, like he has the worst hangover of all time, brain bigger than his skull, trying to make his eyes focus. Trying to make sense of his strange blinding white environment -- Is this the afterlife? The reverie disrupted by a TOILET FLUSH The white resolves into INT. BATHROOM Jay realizes he's in a men's room, sitting in a urinal. The music transitions: Whatever hip-hop featuring a 60s sample was playing in the Apple store -- now continues as the 60s song itself, played over a tinny portable radio. He hops up just as a young white office worker comes out of one of the stalls, washes his hands... and flips Jay a quarter. Jay stares at it a beat, confused. Misreading his confusion, the office worker awkwardly digs out another quarter. OFFICE WORKER What the heck, you're doing a great job. The kid leaves. Jay ventures out of the bathroom and finds himself in... INT. HIGH 60'S OFFICE White guys on IBM Selectric typewriters as far as the eye can see -- like the office in the Apartment. Jay stops in his tracks, taking in the 1969-ness of it all. An officious guy, annoyed, runs up-- 30. OFFICIOUS GUY You're late! Where's Mr. Watkins' lunch? JAY OH-- OFFICIOUS GUY Did his girl not put in the order? The officious guy glares at the "girl" -- in her 60s. OFFICIOUS GUY (CONT'D) (shoves a bill in Jay's HAND) Run down to Woolworth's -- Two hamburger sandwiches, fries, egg cream, and a pack of luckies. If you're back in half an hour, you can keep the change. Jay looks at the SINGLE DOLLAR BILL. OFFICIOUS GUY (CONT'D) On the double, OK? JAY Yeah. Jay's moves to the elevator, waits for it. Pockets the profits of the racist misunderstandings. Elevator opens, the elevator operator opens the door -- Jay climbs in with a car full of older executives. Jay shakes his head, just taking this all in. JAY (CONT'D) Wow. 1969. You're all dead now. Just as the elevator's about to close, a leggy blonde tosses him a set of keys. BLONDE The Big Man wants his caddy. Chop- chop. The doors close. 31. EXT. PARKING LOT NEXT DOOR Jay's got the keys. He looks at the parking tag, walks down a row of beautiful classic cars, looking for the right car -- stops and smiles. THE BIG MAN'S CADDY - JAY DRIVING Reveal Jay cruising in the most gorgeous 1964 Coupe deVille convertible. Fins, chrome, a thing of beauty. From the seat next to him -- a fedora. He puts it on, completing the look. In the background we notice the Leggy Blond getting yelled at by the guy who must be "The Big Man" Jay HONKS and waves -- thank you! Jay finds some classic 60s music and enjoys himself for a minute -- a sweet ride through 60s New York. A GREAT 1969 HIT -- THE TEMPTATIONS' "Can't Get Next to You" comes on the radio. Jay is swept up in the music and soon is SINGING ALONG AT FULL BLAST. At a light, he pulls even with an older Brooklyn Italian couple. They give him a disapproving look. The woman clutches her pearls just a little more protectively. He smiles and leans towards them. JAY Guess what? Black president! He laughs and drives off. Pulls up at... EXT. MIB HQ ENTRANCE/VENTILATION BUILDING The secret entrance to MiB HQ, familiar from the first movie. Jay strides up to the entrance and... can't open the door. Bangs on the door -- nothing. Shaking the knob, calling to the guard... nothing. From behind him: VOICE (O.S.) Help you? Look a little lost. JAY Yeah, thanks, listen-- 32. Jay turns and is face-to-face with two grinning Staten Island cops. He instantly realizes what's about to go down. JAY (CONT'D) (SIGHS) Yeah, guess I knew this wasn't gonna be just people handing me money and Cadillacs. COP 1 'Scuse me? JAY Nothing, officer. I'll be on my way. COP 2 That's an awful nice car. JAY Thanks. COP 1 Kind of work you do, individual of your particular... ethnic persuasion... to buy a car like that? COP 2 Wouldn't be anything illegal, would it? COP 1 You an athlete or something? JAY Yeah, I'm the North American champion of kiss my ass. The cop loses his smile, turns to his partner: COP 1 That sound like resisting arrest to you? COP 2 Sure did. They grab him, start to frisk him -- COP 2 (CONT'D) Well, well. Boy, you're gonna have a little problem explaining THIS. 33. The cop holds up Jay's HIGH-TECH GUN -- the NOISY CRICKET and his NEURALIZER. A BLACK CROWN VIC SCREECHES UP between the cops and JAY. Out steps KAY -- but 40+ years younger. KAY (flashes a badge) I'll take it from here. COP Who the hell are you? KAY Agent Kay, Division 2, special... (gives Jay a look) .black ops. Thank you for your cooperation, if I could ask you to look here for a moment -- Kay pulls out what looks like a NEURALIZER -- and swiftly beats each one over the head -- it's just a BLACKJACK -- they crumple. JAY Kay? Kay, is that you? Oh, man it's good to see you, buddy! Jay hugs Kay -- who remains stony-faced. Jay gets a little choked up to see his friend alive -- Kay is a rock. JAY (CONT'D) Look at you, all... sort-of- young... Kay! KAY That's got to be the first time an unregistered alien caught sneaking onto Earth was happy to see me. Jay pulls away, realizing-- JAY Oh! You think -- aw,that's funny. No, it's not like that. You see, I'm your partner. KAY If I had a partner I'd know it. JAY There's a simple explanation for that. 34. KAY I'm all ears. JAY You see I'm your partner... (knows he's about to sound CRAZY) In the future. And I came back to save you. A longdry stare. KAY Well, thank you very much. JAY - Hey, no problem, man. I got you-- KAY Yeah, thought I'd heard them all. Usually, they offer a great gift to the people of Earth in exchange for refuge. Time-travelling partner from the future -- that's some extra-credit right there, and I do appreciate you bringing some much- needed variety to what can be a very dull job. But I'm still gonna have to bring you in. JAY Yeah, ok, I know it sounds a little- KAY It sounds a LOT-- JAY That's why I'm going to prove it to you... Because if I weren't from the future, would I know about -- your little top-secret headquarters right HERE?? He tries to force the door open. Nothing. JAY (CONT'D) I said -- HERE? (tries - nothing) HERE??!? Jay finally kicks the door open -- And inside... we SEE... 35. An abandoned building, filled with spiders, etc. JAY (CONT'D) Right. Not here yet. But it will be. Gonna need to get rid of the raccoons and bats and stuff, but... it'll be real nice. Game room over there for your pinball, you love your pinball. Lotta good times there -- I'm going for an extra ball, Jay! you'd say. And I'd be there. With you. Partners. Long stare from Kay. KAY Let's go. And word of advice -= I don't know what it's like on your planet, but around here, a guy with your... complexion in a car like that is gonna get some attention he doesn't want. EXT. NEW JERSEY STATE PARKWAY We hear the way-too-loud death-rattle exhaust note of what sounds like ten Harleys at once. Reveal -- Yaz, the nightmare biker, looking like Dennis Hopper meets Satan, riding a badass custom skull-themed rig that might have dropped out of the brain of Stanley Mouse. His skull ring gleams on his pinkie. Devil Girl sits behind him, hands on his shoulders. We ride with them a beat, tearing down the highway... They STOP AT A LIGHT -- even with a brightly-painted microbus full of hippies. One of the hippies leans out -- HIPPIE Hey, you guys like to party? Care to make a trade for the mama? Yaz pulls out his alien "guns." The stoned hippie smiles serenely and puts a flower in one of the mouths. Makes a peace sign. HIPPIE (CONT'D) Make love, not war. 36. Yaz "fires" the alien -- it launches into the microbus -- followed by its brother. The microbus rocks, hippies scream, the bus dents from the inside-out. On a bumper sticker: If This Van's a-rockin', don't come a knockin'. The guns, finished, return to Yaz. Yaz surveys the carnage, picks up a medallion off one of the hippies. But looking at it more closely, frowns and throws it away. The head back on their way... Blood drips over the Ass, Gas or Grass bumper sticker... We dissolve from the blood to a deep red STRAWBERRY SUNDAE. Widen to reveal we are in... INT. HORN AND HARDART'S A great NYC automat... The kind of place you go when you like to be alone. Loners and weirdos populate the tables, minding their own business. Immigrants read foreign papers. Jay follows Kay as they walk by the glorious deco machines offering pies... pastries.., beverages... JAY Is this your favorite place? Makes. sense. Zero human interaction. Kay ignores him. JAY (CONT'D) So how old are you? KAY Twenty-six. JAY Really? Wow, you got some city miles on you. Jay laughs. Kay ignores him, stops in front of a machine offering "SPECIALS". Jay grabs a paper off a nearby table: We see headlines about Nixon, Vietnam, the Apollo Launch. 37. Jay looks at the date: July 14, 1969. JAY (CONT'D) The fourteenth. Then we have two days. Kay really takes his time, picking out the right sandwich. JAY (CONT'D) Hey, look, I know your lunch is important, but like I said, we only have two days here. KAY Here we go... Kay puts some money in the machine -- is about to make his selection. Jay reacts to it -- GROSS! We see -- the most unappealing ham sandwich ever. The meat is tinged with green and beginning to get a little fuzzy. No one in their right mind would buy this sandwich. JAY No way, man. I am not letting you eat that. I didn't come all the way here to have you die before I can tell you-- Kay reaches for the button. Jay slaps his hand away. A BEAT of undignified hand-slap-fighting-- JAY (CONT'D) No way, man. No way the world ends because you had to eat that thing-- Kay SUCCEEDS IN HITTING THE BUTTON and FWOOOOOOPI A SECRET DOOR instantly spins them around and Jay and Kay are INT. MIB 1969 HQ A cloud of smoke... It clears and reveals Mid-century futurism with a martini lunch office vibe. It's how Isaac Asimov and Ray Bradbury would have imagined the MiB offices. 38. The cloud of smoke comes from everyone smoking. Aliens run around with ashtrays, cocktail shakers and cigarettes. The alien smokers smoke from surprising orifices. The !liB agents have the feel of ivy league privilege. Very male and very white. Women are there to be secretaries and eye candy. Two many-armed aliens stock the automat. Kay tosses one the sandwich, it goes right back into the automat. Jay recognizes the aliens -- it's the twins! JAY Hey! [long alien name] and Bob! Don't worry, you guys get a big promotion in, like, 20 years. Kay takes Jay down an escalator. Quick atmospheric establishing shots of MiB '69: - A wall of Black and White TVs monitoring the aliens of the times: Castro... Yoko... Hendrix... - A cluster of agents use a joystick to manipulate a very high-tech camera. Reveal they're using it to watch a secretary's ass. She gets wise, turns -- they raise their martinis and she giggles at them: You're incorrigible! - Aliens work switchboards, work in the steno pool. - Someone barks at an alien to grab a couple Mooners and go clean something up. - An MiB barbershop quartet practices. MIB QUARTET (SINGING) The men in blaaaaaaack... Jay can't help laughing -- JAY What planet are they from? KAY The Hamptons. Let's go somewhere we can talk. JAY Finally. 39. INT. HOLDING ROOM Typical interrogation room table in the middle. Kay pulls out a giant form -- it looks like 10 tax returns stacked together. He fits sheets of carbon between the pages. JAY Oh, we're gonna do the forms now. Listen, Kay, I know you're gonna do what you're gonna do, but we're burning time here. When I got here, you had 48 hours. Now you've got 46. KAY Name, planet of origin and Galactic ID NUMBER-- JAY My name is Agent Jay, you gave it to me. KAY (WRITING) "Subject uncooperative." Purpose of visit? JAY To save the Earth. Kay looks at the form, there's a number of options to check: "Create a new race... Steal Earth women... Offer life of eternal youth... vacation... Save the Earth." He checks the box. KAY Save the Earth... Congratulations, you're the third one today... Maybe you'll get a balloon. JAY Fine, don't believe me. But just listen to what I have to say, because it's going to save your life and the life of everyone in this galaxy. It hangs in the air... KAY Are you currently pregnant or preparing to spawn? 40. JAY There's a killer out there. Goes by "Yaz." He's coming for you. You told me your one regret was not killing him when you had the chance. KAY Never heard of any Yaz. JAY You will. Here's what to look for. Long hair, leather, looks kind of like a biker. You'll know him from the skull ring on his pinky. He's trying to blow up the Earth and you get in his way somehow so he kills you. This Friday. In Florida. So, if you want to live -- do not go to Florida. KAY Florida? I hate Florida. I hate everything South of Virginia. If that's what you came to tell me, you're wasting your time. JAY Man, you're as stubborn as you always were. I mean -- always will be. Look, It's not just about you. Because he kills you, you don't live long enough to build the defense shield. And without a defense shield, the Earth gets destroyed. You get it? He kills you, the Earth gets destroyed. I have to save you from him so we can save the planet. Kay stops writing. KAY Huh. Well. This is finally starting to make sense. Jay looks hopeful. KAY (CONT'D) Because you're crazy. Paranoia. Delusions of self-importance-- A BOOMING VOICE INTERRUPTS -- 41. BOOMING VOICE Agent Kay! Door BANGS OPEN -- in walks THE BOSS MAN... and it sure isn't ZED. AGENT EX, flanked by junior agent underlings. EX is a well- tanned WASPy jackass with a room-temperature IQ who probably got this job from his daddy's country club connections. He's good at tennis and not thrilled about this whole "civil rights" fad. Kay stands. KAY Hey, chief. EX Heard you got a mooner in here. Don't take all day. We're not here to babysit them, just figure out where he's from and send him back. KAY Actually, still trying to sort it out. He says he's human. EX Fortunately, we have the technology here to test for that. Ex steps up close to Jay. Looks him over. Then SWIFTLY PUNCHES HIM IN THE STOMACH. EX (CONT'D) Gag reflex. Coughing. Eyes watering. Human. Code 43 him. KAY Got it, chief. THROUGH MIB Kay walks Jay. JAY So what's code 43? They pass through a set of double doors. Tilt up to reveal: ROOM 43 42. ON JAY AND KAY Jay reacts to whatever he's looking at. JAY WHAT THE-- KAY This little baby here is called a Neuralizer. REVEAL -- The 1969 Neuralizer fills an entire room. And we ARE INT. ROOM 43 -- NEURALIZER ROOM It's manned by 60s labcoat technicians with sliderules and punchcards. The Neuralizer itself is a piece of 60s-tech-glory -- magnets, tubes, things that look like they belong in Dr. Frankenstein's lab. JAY Whoa, whoa, what? You're gonna neuralize ME? You can't neuralize me. Haven't you been listening? Two ALIEN ORDERLIES grab Jay. KAY Have a lay down, stretch. The orderlies force Jay on a sort of gurney -- in the '69 Neuralizer, the "patient" is fed through the machine, like for an MRI. JAY You erase what's in here, you erase the whole world. KAY Don't worry. When it's over, you'll forget all about this Yaz and Florida and the end of the world. I think it'll be good for you. Calm you down. JAY I don't need to calm down. 43. KAY Don't worry, it's safe. We even tested it on one of our own men. Kay indicates Q, who wanders around like he's been lobotomized. KAY (CONT'D) Hey, Agent Q! Q waves back: Q Hey, agent Q! KAY No, YOU'RE -- forget it. (back to Jay) We're still.., fine-tuning it. okay, strap him down. TWO BIG-ASS ALIEN ORDERLIES force Jay down. A TECH flips the machine ON -- TUBES POWER UP WITH HUGE NOISE AND FANFARE. Jay struggles as he gets closer and closer to the machine. Jay manages to slide his key fob out of his'pocket -- uses the edge to flip open the clamp on the straps -- and HE'S FREE TECH How the hell-- Kay smiles -- Not bad, kid. The orderlies rush him -- Jay knocks them out. The scientists are fraidy-cats -- they hide. It's down to Jay and Kay. KAY Nice moves. You'd make a good agent. JAY I AM a good agent! Kay takes a SWING at Jay -- Jay dodges it easily. JAY (CONT'D) That's right, you always lead with your left. 44. Kay pulls his weapon -- Jay ducks behind the Neuralizer -- now Kay can't shoot. KAY You're just making it worse for yourself. The following plays over a game of CAT AND MOUSE around the giant structure of the Neuralizer -- like through the stacks in a library. KAY (CONT'D) There's nowhere to run, slim. It's just if we're gonna do it easy or do it hard. Jay runs into a dead end. Kay and the orderlies are on him. The pissed-off orderlies grab him roughly, force him onto the gurney. Jay keeps flailing. JAY I know you, Kay, I can prove it... (SEARCHES) You love to bowl! KAY Bowling is enjoyed by more than 95 million people in more than 90 countries. You gotta do better than that. JAY You've got a scar on the back of your right hand! Jay grabs Kay's hand. They LOCK EYES for a moment. Kay lets Jay flip his hand over, big build-up, REVEALING... .no scar. JAY (CONT'D) Damn. You will! I swear! Kay signals -- the Neuralizer powers up. And Jay is on the conveyor belt into the machine. This is all about to be over. Jay thinks desperately for a way out, THEN-- Eureka!! JAY (CONT'D) Kay! KAY!!! What about your girl on Martha's Vineyard? 45. Kay looks up. Jay sees an opening: JAY (CONT'D) You chose the job over her -- but you never stopped thinking about her. You can't forget her. Kay grabs him. KAY How the hell do you know that? I've never told anyone that. A long look at this guy, who somehow knows things he shouldn't. And he hits the POWER OFF BUTTON... But this being TUBE TECHNOLOGY -- we stay with JAY'S TERRIFYING POV -- as he slides through the claustrophobic Neuralizer chamber -- the tubes powering down just in time, inches away from him. Jay crawls out of the Neuralizer, shaken. JAY You see, Kay? It's me-- But Kay grabs him and puts a gun on him-- KAY If you're gonna drag her into this, you'd better be able to back up your story. Because if you're jerking me around, I'll make a window out of your head. JAY Yeah, okay, um -- according to the file, he should have entered Earth- space in the last couple days. Did you spot any unauthorized landings in the last 48 hours? Kay looks to a tech, who looks at a clipboard -- TECH We did have something -- a landing in New Jersey. Kay and Jay look at each other. 46. KAY (TO JAY) Alright, you're coming with me. Jay grabs his key chain. JAY Can I ask how you're planning on getting me out of here? INT. MIB 1969 HQ Kay leads a "LOBOTOMIZED" Jay through HQ. KAY 'Scuse me, boys. Just did a code 43 on this one. JAY How's it going, fellas? Look, I put on my pants. He feels one of the agent's faces. Kay leads him to the exit. He talks to Jay as if Jay is a dim 3rd-grader who speaks little English: KAY You are a tourist from Kansas. A city slicker took your wallet at the bus station... Kay leads Jay to a SET OF DOORS MARKED "EXIT to STREET" -- MANNED BY MIB AGENTS. KAY (CONT'D) Two out. The agents nod to Kay and WAVE HIM THROUGH-THE EXIT... Which deposits them in... INT. SHOWWORLD CENTER The peepshow megaplex from the bad old days of time square. A creepy pervert sits in a booth. Puts money into the machine. The wall SLIDES UP -- and to his surprise, instead of a peepshow... 47. Jay and Kay climb out. Off the creep's reaction: JAY Aww. Did I spoil the mood? INT. CROWN VIC - KAY DRIVING On the New Jersey State Parkway -- KAY You'd better not be wasting my time- JAY Yeah, yeah. Window out of my head. But hey -- if I don't save you, I'm dead anyway. So do what you want to me -- just make sure you watch out for yourself. They pull up to... EXT. VINCENZI BROTHERS WASTE MANAGEMENT - OFFICES A squat shack on the edge of a dump, home office to a "legitimate local business." The windows are bloodied and broken from the inside. Corpses of wiseguys litter the front of the building, all showing disturbing spore growth. [please see http://www.youtube.com/watch?v=XuKjBIBBALS for reference] The corpses DEMATERIALIZE and disappear. JAY This doesn't look like a mob hit. KAY That's a hell of an observation. What gave it away? JAY Spores. Dematerializing corpses. And THAT. Jay points beyond the building... a SHEER DROP Which is the edge of a HUGE SMOKING CRATER -- And how did this crater get here? 48. In the center, a GIANT ROCKET, all chrome and Flash Gordon. It formed the crater on landing. KAY We're going in. Kay draws his weapon. JAY Aren't you gonna give me a.gun? KAY Right. He pulls out a Smith and Wesson, dumps the bullets, and hands it over. KAY (CONT'D) Try not to get in my way. JAY You try not to get in MY way. Jay and Kay move towards the building... BAM! BAM! BAM!! Someone's firing at them -- they dive for cover. More GUNSHOTS -- Jay gives Kay THE SIGNAL, WE SAW IN THE CHINESE RESTAURANT KAY What the hell is that? JAY Stay behind me. You need to stay alive. KAY The hell I will. Jay tries to go in -- Kay pushes him out of the way and goes in first. VINCENZI BROTHERS Jay and Kay bust in -- almost fall into the room because they're squabbling over who's first -- Then - BAM! 49. Someone's hiding under a desk, holding a gun over his head, firing randomly. Kay gets GRAZED -- They dive for cover. Kay's right hand is bleeding. JAY Huh. So that's how you got the scar. Jay tosses his EMPTY GUN into the corner -- the guy under the desk fires FIVE TIMES - EMPTYING HIS GUN! Jay sprints at him, flips the table -- it's a terrified, quivering WISEGUY. Jay grabs him and DISARMS HIM. The guy is FREAKED OUT. WISEGUY [TERRIFIED BLUBBERING] JAY What'd he look like? WISEGUY [BLUBBERING] JAY Pull it together! Jay SLAPS THE GUY. JAY (CONT'D) The guy who did this --- what'd he look like? WISEGUY Looked like a biker... And he had a... He had a skull ring... Jay and Kay share a look. JAY That's him. BACK WITH JAY AND KAY Walking up to Kay's car. In the background, MiB puts up a facade around the rocket -- "Rocket Waste Disposal", techs take samples. 50. JAY What about the witness? We don't have time to take him back to HQ to NEURALIZE HIM-- KAY We've got something new. Portable Neuralizer. With a rumbling and BLASTS OF AIRHORNS, 18-wheelers drive up, housing the "portable" Neuralizer. KAY (CONT'D) Can you believe how small these things are getting? JAY Yeah. KAY Okay, slick. I'm making a decision to believe you. Not because I do, but because I have to, you get me? He walks to the trunk, pops it open. He flips a switch, revealing a HIDDEN ARSENAL. He grabs a COOL GUN and gives it to Jay. Jay admires the DEADLY FIREARM. JAY Aw, this means you like me, doesn't it? KAY Let's go get this sunovabitch. They climb in but -- SCREECH!!! A Crown Vic swerves to a stop in front of them. Out pops an APOPLECTIC EX -- EX Kay! Don't move a goddamn muscle! I have you on 12 protocol violations! Kay looks to Jay. KAY Make it thirteen. He GUNS IT -- THEY TEAR OFF... 51. YAZ'S BIKE Widen - he's on his bike, pulling into NEW YORK CITY - TOLLBOOTH ON THE BRIDGE Yaz approaches the tollbooth, manned by a gruff NY no-BS, no- time for anyone TOLLBOOTH COLLECTOR. TOLLBOOTH COLLECTER Exact change only. YAZ Can you help a stranger, please? TOLLBOOTH COLLECTER Oh, sure. That's what I'm here for. You see that thing behind you? That's New Jersey. Go home and get some change. YAZ There's been a great injustice in the Universe. I must make it right. TOLLBOOTH COLLECTER You know what's also a great injustice? Sitting in this box all day listening to people try to get out of paying the toll. YAZ Let me ease your pain. On Yaz's evil grin... KAY AND JAY DRIVE INTO THE CITY KAY Now tell me everything you know about this Yaz scumbag. JAY In two days he's gonna kill you in Florida. KAY Two days. Doesn't give me a lot of time. You couldn't have come back a week ago? 52. JAY Sorry, I was distracted by the Earth blowing up. KAY So we have two days to kill him before he kills me. Alright, there's one cesspool everyone washes up in sooner or later. Someone'll know something there. Come on. Let's take a drive to Alien Town. JAY Alien Town? They drive under a sign indicating: EAST VILLAGE WITH YAZ Cruising through NY. Devil Girl on the seat behind him. He pulls even with a patrol car. YAZ Excuse me, officers of the law. Like you, I care a great deal. about justice and I'm looking for some people. Maybe you can help me. OFFICER Okay -- get a shave and a haircut.. They laugh. Yaz smiles sadly. YAZ Have you ever lost someone close to you? I have. I've lost everyone. Everyone except them. Can you help me find them? He gives the cops a picture, they take it grudgingly -- we see it: a half dozen hippies wearing medallions. The cops look at each other and raise eyebrows. OFFICER Only one part of town where people like that hang out... 53. EXT. THE DECKER BUILDING The historic Village landmark. Jay and Kay approach... 60s freaks eyeball the squares... IN THE ELEVATOR Jay and Kay ride to the sixth floor. JAY There's gotta be something that connects you to Yaz. What cases are you working on? KAY Well, I'got this whole dry ice thing. JAY Dry ice? What's that? Someone get killed over some dry ice? Smuggling something in some dry ice? KAY No. We just can't figure out what it is. JAY Wow, you're pretty low on the totem pole, aren't you? The great Kay, looking for dry ice. KAY Don't push your luck. The doors open, and we're in... A WAY-OUT 60'S PARTY Kay's on the hunt for someone. They weave their way through the far-out types, hear snippets of high-60s party conversations. Someone notices Jay's suit -- PARTY SNOB What are you, a time traveller? JAY REACTS-- 54. PARTY SNOB (CONT'D) That suit is SO five years ago. Kay sees who he's looking for, grabs him: KAY We need to talk. Reveal ANDY WARHOL -- and this is the Factory, and this is one of Warhols' famous parties. Draped on Warhol -- a bunch of strange hangers-on, his "stars." ULTRAVIOLET Yum, pigs are getting cute. Jay smiles -- she looks skeeved out. ULTRAVIOLET (CONT'D) I meant the young one. Warhol speaks with his strange -- yes, almost alien -- affect. WARHOL It's not really a good time to talk. I'm creating a party. (sighs, totally put out) But... Maybe if he asks me. JAY What - me? WARHOL I would never say no to anything that came out of that beautiful mouth... Jay is visibly uncomfortable. Kay nudges Jay - do it. JAY [Grumbles about what he has to do for his partner]. (then, to Warhol) We need to talk. Please. Warhol and his Stars ooh and ahh over Jay. Someone snaps a picture. WARHOL Amazing, just amazing. Alright, you talked me into it. Follow me. (MORE) 55 WARHOL (CONT'D) (TO ENTOURAGE) Be back soon, stars. PRIVATE STUDIO LOFT From here, a window looks out over the whole scene. Warhol leads the guys in, shuts the door and LOCKS IT. Immediately, his ENTIRE AFFECT CHANGES -- he rips off his WIG, lights a cigarette, and talks like a hard-nosed cop. WARHOL Damnit, Kay, are you TRYING to blow my cover? KAY Take it easy agent W, your cover is perfectly safe. WARHOL Perfectly safe? Are you out of your goddamned mind? It's only a matter of time before they figure out I'm a total fraud. KAY Cool your jets-- WARHOL I'm so out of ideas I'm painting bananas and soup cans for chrissakes. How long do you really think they're gonna keep buying this shit? Warhol slumps on a chair. WARHOL (CONT'D) I can't take it anymore. Talking to these nutjobs and all these goddamn hippies. God, I hate hippies. They're just filthy, Kay. KAY Yeah, I know they are, buddy. But you're doing good work here. We need you. A knock at the door -- Warhol gets back into character -- 56. WARHOL I'll be right there... I'm just... filming these men eating a hamburger... It's... transcendent. Okay, now the pickle... (back to cop form) You see what I mean? And who the hell's this guy? New partner? JAY Actually, I'm his old partner. I came from the future to warn him ABOUT-- WARHOL Jesus, fine, don't tell me. Alright, what do you need? JAY We're looking for a recent arrival. Long hair, wears a lot of leather... Warhol indicates the party below -- half the guests match that description. WARHOL You'll have to do better than that. Look, if that's all you have, I can't help you. KAY Maybe you know someone who's seen something. STAR (O.S.) Andy, the horse is here... WARHOL I gotta get back in there-- JAY Hold up -- the guy we're looking for -- he's out to destroy the world. WARHOL C'mon, what's new? What does an MiE call it when someone tries to destroy the world? Tuesday. JAY I thought you made that up. 57. KAY C'mon, W, I got a feeling on this one. Like we should take it serious. And we don't have much time. Jay checks his watch. JAY 33 hours. WARHOL Yeah, yeah, alright. (THINKS) Okay, talk to Prell and Vidal. C'mon. IN THE PARTY ON TWO BEAUTIFUL WOMEN - in very 60s fashion with incredibly giant hair - one with a big afro, one with big chignon hairdo. WARHOL (O.S.) (back in "character") Vidal, Prell, can you please talk to these nice men? The women's LIPS DON'T MOVE -- they respond in incongruously GRUFF VOICES: PRELL Whadaya want? VIDAL They look like cops to me. ain't talking. PRELL We're not rats. We swing around them to REVEAL that Warhol/Kay/Jay are not talking to the women's faces -- They're STANDING BEHIND THE WOMEN -- TALKING TO THEIR HAIR- DO'S which we realize are two COMPLETE HAIR ALIENS, VIDAL and PRELL, perched atop these women. KAY Start talking, you two, before you end up on a barber's floor. 58. PRELL Ah, you don't scare me. KAY Yeah? Kay reaches into a passing woman's purse, pulls out HAIRSPRAY. Grab some of Prell and holds up the spray. PRELL You wouldn't! He sprays the hair, it starts to SCREAM IN PAIN. VIDAL Stop, you bastard! PRELL I'm telling you, we don't know anything! KAY You wanna play tough? How about we take a ride to the barber college, see how tough you are? Kay keeps shaking them down, but Jay is distracted... On Jay... something is making him think... A sound... it. grows louder... we start to be able to make out the distinct bip... bip... bip... of PONG Jay FOLLOWS THE SOUND... To a group of people -- that incredible Factory mix from slumming socialites to Black Panthers to the freakiest freaks... They surround a SKANKY GUY -- and whatever they're watching on TV is so mesmerizing it's like they're seeing the face of God... BROOKE ASTOR It's too beautiful. Someone takes a picture of the screen. Jay walks around the TV -- REVEAL: They're watching CLASSIC EARLY 70S PONG. 59. The SKANKY GUY controls it via a BIG MEDALLION hooked up to the TV antennae terminals. He's playing against a young clean-cut square. Jay grabs the wires and rips them out, cutting off the game. Everyone JEERS him. ON KAY, hearing the noise, turns to see what's going on. SKANKY GUY What the hell, man? JAY Just wondering where you got that. SKANKY GUY Your mother. The crowd laughs. JAY Really. So my mother gave you a technology that hasn't been INVENTED FOR SEVEN YEARS? Jay grabs him by the throat. Partygoers react. Someone takes pictures. Someone claps in delight. JAY (CONT'D) Now how about you tell me where you really got it? The skanky guy knows he's in trouble. SKANKY GUY Oh... uh... okay, no hassles, man... I got it from that dude over there... With the beard. Jay turns, lets go just long enough for the guy to LEAP OUT THE WINDOW Jay takes off after him -- Kay joins And the CHASE IS ON CHASE THROUGH THE VILLAGE Jay and Kay chase the guy through various 60s locations - a commune, an ashram, a folk club, a protest. 60. Everywhere they are mistaken for "pigs" - people get in their way. To Jay's surprise, young Kay is a hell of a runner, in incredible shape. It gets competitive between them... Until Jay can't keep up -- Kay takes off... Kay runs the Skanky Guy down - Jay huffs and puffs his way over, grabs the medallion. JAY Alright, one more time. Where'd you get this? SKANKY GUY It was a gift-- JAY Bullshit. Kay puts a gun on him. JAY (CONT'D) Oh, hey. This is my partner. He's about to get fired for excessive violence and he doesn't have much left to lose. SKANKY GUY I borrowed it! CLICK! Kay cocks the gun. SKANKY GUY (CONT'D I stole it, okay? JAY That's what I like. A nice, honest thief. Stole it from who? SKANKY GUY They don't even care, man. They leave their money everywhere. JAY Who? SKANKY GUY I don't know who they are-- 61. KAY Then you're not worth much to us, are you? The gun comes back out. SKANKY GUY I heard they were Archanans. JAY Archanans? They're pretty far out of their neighborhood. I didn't think we'd ever had one on Earth before. SKANKY GUY I can tell you where they live! Southwest corner of 3rd and Avenue C. Top floor. Apartment 12. Jay rips the medallion off his neck. SKANKY GUY (CONT'D) Ow! JAY I'll do a lot worse. Get the hell out of here. The guy runs off. KAY What's the deal with the necklace? JAY You were wearing one just like it when you died. Come on. SOUTHWEST CORNER OF 3RD AND AVENUE C Jay and Kay pull up in front of the building. KAY That address. It's familiar. He pulls out a notebook. KAY (CONT'D) I was going to come by here tomorrow to check out a lead on the dry ice case. 62. JAY So you come here tomorrow, get tangled up with these Archanans... And... KAY And Yaz kills me? JAY Something like that. So do me and the people of Earth a favor and be careful. KAY Aw, put on your big girl panties and let's go. JAY Hey, I've always got my big girl panties on. Huh. That didn't sound right. INT. FREIGHT ELEVATOR Jay and Kay ride up... KAY That thing back at the party, what was it? Some kind of game? JAY Not just any game, PONG. Game of kings. But it wasn't invented until 1974. KAY How do you know that? JAY Because I was the only kid on my block who didn't have one. KAY Aw, what's the matter? Daddy didn't buy you the toy you wanted? JAY Didn't have a daddy to not buy me toys. Here's the only thing I ever got from him-- He holds up his key chain. 63. KAY That's rough. JAY It gets worse. You're the closest thing I have to a dad. DOORS OPEN... DOWN THE RATTY HALLWAY Jay and Kay move carefully, ready for trouble. They get to the door -- Apartment 12. Jay points to the door -- THIS IS IT! They see -- THE DOOR IS SMASHED IN, PUNCHED OFF ITS HINGES And punched into the door -- THE IMPRESSION OF A SKULL RING JAY That's from Yaz's ring. He was here. Or is here. Jay SIGNALS KAY KAY Why do you keep doing that? INT. STUDIO APARTMENT They move into the room on high alert... But it's empty. They realize the strangeness of the room - alien technology (including a TV hooked up to something strange with tons of wires hanging out) and lots of money.. LOTS of money... Not just piles -- the actual furniture is MADE OF STACKS OF MONEY. They've been using it for scrap paper, for napkins. JAY So Yaz was never after you... he was after the Archanans. You just got in the way. KAY Which must make them damn important. But what does he want with them? 64. JAY 'No sign of struggle. They must've cleared out before he got here. Like they knew he was coming. KAY And he's probably on their trail now. But where the hell did they go? They look around, puzzling over this place. Jay picks up a $100 bill off a table made out of stacks of money. JAY Think this might tell us something? On the $100 bill: A strange series of words and numbers: 3 2... 5 1... 7 5.. KAY Looks like some kind of code. We'll take it to HQ, run it through the computer. Figure out where they went. BACK THROUGH THE HALLWAY Jay and Kay walk down the dark hallway -- Yaz steps out of the shadows -- BACK IN THE CAR Jay and Kay head back to HQ. Kay drives, Jay stares at the $100 bill, squinting at it, turning it over -- JAY How about bible verses? Coordinates? Airplane flights? Shoe sizes? KAY So this is how you do it in the future, huh? You just keep guessing until you figure it out? JAY (EUREKA) Phone numbers! They stop at a light. 65. Suddenly -- WHAM! WHAM! Someone FRANTICALLY POUNDS on the trunk -- a frightened 12-year-old prostitute wearing what is basically Jodi Foster's Taxi Driver hooker costume -- hotpants, mary janes, halter top. There's something familiar about her face... HOT PANTS GIRL For God's sake! Help me, would you? There's some maniac after me - JAY Slow down -- who's after you? HOT PANTS GIRL He was like nothing I ever saw -- crazy eyes, and this freaky skull ring. Jay and Kay look at each other: JAY Get in. HOT PANTS GIRL Thank you so much. This is a dangerous city for a girl. The light turns green -- we're on the girl's face. Jay and Kay looking straight ahead. JAY So where can we take you? HOT PANTS GIRL Just make a left up here. Kay does it... There's a rushing noise... In the back seat, Hot Pants Girl IS "INFLATING" AND BECOMING DEVIL GIRL! The car turns down a dark, deserted alley. JAY Are you sure? Seems dangerous. DEVIL GIRL Not for me. Reveal -- the girl has fully "inflated" into her natural form -- DEVIL GIRL! The outfit is grotesque on her. DEVIL GIRL ATTACKS 66. SET PIECE FIGHT in the car. Employing cool MiB tech built into the car. Devil Girl subdued, locked into the trunk in a "CONTAINMENT SACK" -- like what you'd use to stuff a raccoon into. The fight's over, the guys slump against the car. JAY What the hell was that? KAY I don't know, but I'd bet you two to one Yaz sent her. Beat. Light bulb moment for Jay -- JAY Say that again! KAY I think Yaz sent her. JAY No, the whole thing! KAY I'd bet you two to one Yaz sent her. On Jay, realizing-- He grabs the $100 bill -- JAY I know where they are! ON JAY AND KAY Walking -- we hear sounds of crowds, of cheering, REVEAL we ARE AT-- EXT. AQUEDUCT RACETRACK JAY How are we going to find them? Any idea what an Archanan looks like? And then -- they see -- AMID THE SEA OF GUYS IN SUITS, HATS, AND SKINNY TIES... 67. A circle of what looks like Tibetan monks -- colorful, playful, dressed in robes. They could only be -- the Archanans. The group comprises one older Archanan -- the LAMA -- and three younger ATTENDANTS. KAY I think I found them. They step into THE ARCHANANS' AURA Within the space around the Archanans, the chaos and noise of the crowd melts away. Deflected. There are three Archanans and one distinctive older one -- THE LAMA. In the middle -- a giant pile of winnings. All is peaceful within this space. Faint chimes. They greet Jay and Kay happily, chant a strange mantra: ARCHANANS (CHANTING) King Lady Big Trouble Classy... The faint sound of an announcer: ANNOUNCER (V.0.) Results for the sixth race: King, Sweet Sophie, Big Trouble and Red Gent! ARCHANANS (CHANTING) Superba pays 3200 to one... JAY You're in danger-- ARCHANANS You're in danger... you're in danger... Jay thinks they're playing the "echo game" like little kids: JAY Very cute, but-- 68. LAMA In eight seconds, please do us the kindness of ducking. JAY Huh? KAY Yaz! They turn to see YAZ -- he levels a WEAPON AT THEM -- FIRES! Jay and Kay DUCK -- the weapon just misses. JAY Thanks. KAY Let's get into trouble. Jay and Kay engage him -- As they run off, the Lama calls -- LAMA Remember, please, to take the bridge. And we begin BIG FIGHT SET PIECE. Try to include motorcycle and horse elements. Could also involve the actual aqueduct, which is close by. At one point, Jay and Kay seem stuck, they remember... JAY Take the bridge... They take the bridge, which gives them an advantage on Yaz. At one point, Jay corners Yaz -- Yaz BLASTS HIM -- Jay is knocked down. Looks DEAD! But he shakes it off reveal the PONG medallion blocked the shot. Culminating at a toxic waste dump in Staten Island, with Yaz compressed into .a six inch cube - hauled away in the back of a garbage truck. The guys give chase -- they want him captured, but no luck. The truck drives off... 69. KAY He's gone. JAY Only a matter of time before he comes back. And this time he might be really mad. AQUEDUCT RACE TRACK Jay and Kay return to an EMPTY RACE TRACK... It's like a ghost town. No Archanans to be found... JAY Damn, we lost them. They come all the way across the universe and just when we're about to figure out what all of this is about-- Then, faintly... a CHEER KAY Hold that thought. They follow it out to THE TRACK Which is empty. No spectators, no horses. Just the Archanans... Who stand near the track watching... nothing. And yet -- They cheer and clap as if watching the most exciting race ever. Jay and Kay exchange a "what the hell?" Look and approach them. JAY Everybody OK? ARCHANANS Everybody is everybody. 70. JAY Yeah... guess I can't argue with that. So listen up -- Yaz is down but he won't be for long, so we need to start coming up with some answers. First of all-- The Archanans CHEER. Jay shakes it off. JAY (CONT'D) FIRST The Archanans CHEER AGAIN. JAY (CONT'D) What are you cheering about?! ARCHANANS The races. Jay and Kay keep approaching... Puzzled -- the track is empty... JAY What races? Jay and Kay cross the threshold into their aura... and now-- The empty stands are FILLED WITH CHEERING SPECTATORS WATCHING AN INCREDIBLY EXCITING RACE. JAY (CONT'D) Where are we? LAMA. We are tomorrow. Jay steps backwards, out of the aura -- back to empty ghost town. Steps back in -- tomorrow's rabid fans, cheering the race. From the Archanans' POV -- we see ALL VERSIONS/ALL AGES OF JAY AND KAY.. The effect is -- THEY SEE ALL TIME AT ONCE. JAY You... can see the future. LAMA It is what you call the future. 71. ATTENDANT Ah, the future. An illusion of the time-bound, borne of the fallacy that one moment follows another. LAMA Yaz suffers from this greatly. And so he must have revenge on your planet. JAY Revenge?, For what? LAMA He mourns the past because he can not see the dead are still as alive as they ever were. Just not now. JAY Okay, someday you're gonna explain that to me, but right now you need to stop the riddles because there's about two minutes until Yaz crawls out of his hole and gets back to trying to kill you. So help me out. I need to know IN ENGLISH why Yaz is trying to kill you and what that has to do with saving the Earth. ATTENDANT We know what he will know. JAY You know what... he will know... (figuring it out) You know his plans. (REALIZING) And you're going to stop him. He wants to kill you because you stop him. LAMA (CHEERFUL) Yes, if he does not kill us first. KAY Don't you know if he's going to? LAMA Sometimes he kills us, sometimes he does not. There are many futures. 72. JAY Okay, which future is the one where you live and the Earth doesn't blow up? LAMA The one where you take us home. Jay and Kay exchange a look -- KAY Alright, let's get these freaks home, and pronto. LAMA You must let go of your. attachment to time, beginning with your concept of "pronto." And on that -- THUP THUP THUP -- 12 Blacked-out helicopters... EX (V.0.) (MEGAPHONE) Illegal aliens -- you are surrounded... Do not attempt to flee... Jay and Kay YELL INTO THE BACKWASH OF THE ROTORS: JAY No! We need to get them home! But it's all drowned out in the wind and dust... MiB "squad cars" -- pull up and surround them. Jay and Kay look for an escape route -- but MiB cars and trucks seem to be pouring in from everywhere. MiB agents descend on ropes, round up the Archanans-- EX (V.0.) (MEGAPHONE) Agent Kay! Return to your vehicle! Rendezvous at headquarters in 20 minutes! We will escort you by air! And from the noise and chaos of the choppers... To silence... 73. INT. MIB HQ - BENCH OUTSIDE THE CONFERENCE ROOM Jay and Kay watch through a glass wall. Inside the conference room -- the Archanans sit around a table. Ex paces, clearly talking ABOUT the Archanans to the other agents. Body language tells us the MiB reach some kind of consensus. Ex comes out -- Jay and Kay hop up. Ex notices Jay for the first time -- EX What's he doing here? Didn't we just bust you? KAY That was someone else. All these mooners look alike, right? A beat -- and Ex buys it completely. EX Yeah... So look. We've talked about it. And you are to be commended, Agent Kay. You did a fine job bringing these illegals in. Now it's our job to get them out of the city for containment. Somewhere where if someone decides to blow them off the map, the collateral damage will be insignificant. Toronto. KAY But they're in danger. One of the most dangerous beings in the universe is out to kill them-- (looks to Jay) And if that happens, we're all going with them, because they're our only hope of survival. EX Christ, if we listened to every Mooner who showed up telling us how they were gonna save the world, that's all we'd do. Do you know why Earth is still standing? (MORE) 74. EX (CONT'D) Why we're not a smoldering chunk of nothing? Because we don't stick our nose into other people's business. Especially people in danger, because they have enemies, and those enemies destroy Earth. Now. Are you going to execute my order or not? KAY (COLD) I thought we were supposed to be the good guys. EX Careful, Agent Kay. That sounds like insubordination. Kay walks up to Ex, looks him DEAD IN THE EYE KAY It sounds like you need to cut some eyeholes in your stomach, because your head is so far up your ass, that's the only way you could possibly see. EX That's it. You're off this case. Stick to dry ice. If I catch you near them -- or him -- again, I'll have your badge. (to a bunch of other AGENTS) You four -- take the Archanans to transpo. One of the agents looks up-- YOUNG AGENT Me? I'm just an accountant--- EX Go!!! (TO JAY) And you... You just get out of here! The MiB agents GRAB the Archanans and hustle them out. Kay leans in to them-- KAY Don't worry, we'll-- 75. LAMA Yes, we know. Kay looks up -- sees Jay smiling at him. KAY What? JAY I knew Agent Kay wasn't just gonna lie down. So what's the plan? KAY You heard the man. We've got dry ice to investigate. GARBAGE COMPACTOR TRUCK It's the truck that "compacted" Yaz. We follow it to the MIDDLE OF GIANT STATEN ISLAND DUMP Where the truck dumps its load... Including YAZ... Who gets PROCESSED AND PRESSED INTO A CUBE. On the cube -- it begins to swell and force itself back into its natural shape. Around the piles of garbage, other Yaz parts SEEK EACH OTHER OUT... DUMP EXIT Workers stop what they're doing -- get out of the way of something, disturbed. We see Yaz and understand the reaction -- Yaz might be back together, but NOT AT ALL RIGHT -- a leg stuck in the wrong place, the head at a weird angle. He catches his reflection in a hubcap and adjusts himself... Pops out an eye, swaps an arm... He unfurls his tongue, smells the air -- YAZ Where did you go... 76. SHOWWORLD CENTER A SLEAZY GUY is suprised to see not just an agent... but four agents and four Hare-Krishna-looking guys come out of his peep show window. One of the Archanan attendants smiles at him: ATTENDANT (CHEERFUL) You will die alone. SLEAZY GUY Yeah, I know. The agents lead the Archanans through the world's greatest emporium of sleaze. EXT. GRAND CENTRAL STATION The hustle and bustle -- cabs picking up and dropping off PASSENGERS -- We find a LONG LINE OF UNHAPPY KIDS, MAKING UNHAPPY PARENTS -- Kids crying, pulling on Mom's dress... We see -- it's the line to an ICE CREAM TRUCK. And the line isn't moving because KAY IS QUESTIONING THE PAPER-HATTED VENDOR. DRY ICE SMOKE rises from the freezer: KAY Just a few more questions about dry ice and I'll be out of your hair... A BIRD CALL makes Kay turn --.he sees Jay waving him over, pointing at something -- The MiB agents lead the Archanans into the Station! VENDOR I told you ten times -- I got no idea what dry ice is! KAY (not listening). Thanks, you've been very helpful. Jay and Kay peel off, follow the MiB agents, leaving the Vendor scratching his head. He turns back to the kids. Jay and Kay follow the MiBers and Archanans inside... 77. INT. GRAND CENTRAL STATION The Men in Black blend in easily with the guys going home to Greenwich, but the Archanans are easy to spot. Jay and Kay tail them -- and lose them for an instant! They spot a glimpse of robe, run after them, turn a corner -- And it's just some Hare Krishnas. KAY Damn. Wrong freaks. But Jay spots the Archanans... JAY Over there, Kay! As they run off -- HARE KRISHNA Perhaps you'd like to join us for a vegetarian meal? Jay and Kay chase after the MiB agents and Archanans -- The MiB agents approach a cordoned-off area with signs warning WET PAINT! The agents look around, then slip pass the ropes and through a NARROW DOOR marked "WET PAINT" or "MEN WORKING" Jay and Kay follow... Through the skinny half-painted door... THROUGH THE.SKINNY DOOR An EQUALLY SKINNY ESCALATOR descends 100s of feet. A problem: it's going the WRONG WAY -- bringing incognito aliens and MiB agents UP INTO GRAND CENTRAL. Jay and Kay muscle their way down -- lots of 'scuse me -- pardon me -- hey, don't grab that! But once they power past the crowds, Jay's jaw drops as we reveal... 78. SECRET TRAIN STATION A MUCH-BIGGER station under Grand Central, a secret hub for sending aliens back and forth all over the country. It's basically a series of GIANT PNEUMATIC TUBES --people- sized versions of the vacuum tubes that used to beeverywhere in banks, offices, etc. A mix of ALIENS and MIB AGENTS put on helmets and pads, board the tubes and FWOOP off... Quick shots -- a shoeshine stand set up for many-limbed aliens... a newsstand with strange papers... The Beatles in line for Liverpool with a blue meanie... Kareem Abdul- Jabbar... KAY On your 2 o'clock. They spot the MiBers and the Archanans next to the TUBE TO CANADA. TUBE TO CANADA The MiB agents put helmets and pads on the Archanans. They're about to load them into the tubes -- Jay and Kay approach: KAY Hold up. MIB You're off this case, Kay. MIB 2 Yeah, but I heard there's some dry ice in Queens. Magic show at a kid's birthday party. Better hustle, you can get there before. the cake. They all LAUGH at Kay. KAY Change in plans. MIB What? We didn't hear about any change in plans. 79. KAY Yeah, Ex just gave us the new orders -- check this out -- Kay gestures them closer -- he reaches for something in his jacket pocket... The MiBers lean in... And Kay GRABS THEM AND SHOVES THEM BACKWARDS TOWARDS THE TUBE! The MiB agents stumble, surprised -- The Archanans, not surprised, step deftly out of the way, the MiBers FWOOP FWOOP FWOOP into the tube... Jay and Kay exchange a smile and realize... One last VERY YOUNG agent is still standing there, wide-eyed: YOUNG AGENT Don't hurt me! I'm just the accountant! He reaches for his radio... Jay talks him down: JAY I know you're a little freaked out and you want to call for backup, but listen: When you've done this job for a while, you realize there's one rule -- things aren't what they seem. These are innocent beings that need our protection. Are you gonna do the right thing or are you gonna be a company man and send them off to die in Toronto? The young agent thinks -- puts down the radio. JAY (CONT'D) Good, good. What's your name? YOUNG AGENT Agent Zed, sir. KAY You're gonna be okay, kid. Jay can't help laughing -- 80. JAY He's gonna be better than OK. I'm not gonna give you so much shit anymore. The radio CRACKLES -- EX (V.0.) (ON RADIO) Zed, what's your status? ZED Detainees are on the tube to Toronto. No sign of Kay. Over. EX (V.0.) Copy that, good work, Zed. Zed crosses off... JAY Be nice to him. Trust me. Jay, Kay and the Archanans regroup. JAY (CONT'D) Okay, you all wanted to go home. Well here we are. So how do you want to get off this rock? You guys have the spaceport on Long Island yet? Kay just looks at him. JAY (CONT'D) That place is a dump anyway. Best Margaritas in the Universe, my ass. What about the one in Ohio? The Archanans smile. ATTENDANT Here is the way home. The Lama removes a postcard-sized card from his robe and hands it to one of his attendants. The attendant bows, and RITUALLY PASSES IT... it passes through all the attendants and then to JAY. Jay gives it a look. JAY Here, huh? You're sure? 81. LAMA The only future that ends with life begins there. JAY I'll take that as a strong "yes." Okay, then. Follow me. Jay pockets the card and starts herding them across the terminal. Kay catches up -- KAY Where are we going? Jay looks at him a beat. JAY Omaha. And I'm gonna buy you the biggest T-bone you ever saw when we get there. So -- you head over to the Omaha tube and I'm gonna help these guys over here for a second. But I'll meet you in a minute. By the Omaha tube. They stare at each other -- KAY Sounds good. See you there. Kay turns to head off -- then, lightening fast, spins and reaches into Jay's pocket, snatches out the card -- KAY (CONT'D) Omaha, my ass. Kay looks at the card: GREETINGS FROM SUNNY FLORIDA -- a tourist post card with palm trees, oranges and beaches. KAY (CONT'D) Let's go. JAY No, no, no. No way. Florida, Kay. KAY That's what it says. JAY Don't you get it? KAY Yeah, it's hot and muggy. The old people drive slow. (MORE) 82. KAY (CONT'D) We'll stay somewhere air- conditioned and only drive after three when they're at dinner. JAY This is why you were there. In Florida. Because of them. You were helping them and that's why... that's why you get killed. Today, July 16. I saw the report myself. Agent Kay, dead at the scene. Killed by Yaz. KAY You know what an MiB agent calls it when he faces death? Besides I got you to watch my back, right? They walk to the FLORIDA TUBE JAY I just want you to know, I'm doing this out of love, man. KAY Doing what? He gets his answer -- Jay DECKS HIM. JAY You stay home and stay alive. But Kay isn't down. KAY I told them I'd help them -- I'm honor-bound to do it. Kay throws a DIRTY SUCKER-PUNCH to Jay's kidney. Jay recovers and throws an UPPERCUT to Kay's solar plexus. Jay winces -- like he just hit something hard. JAY Damn, you used to have some abs. They continue to pound each other. As they trade punches: JAY (CONT'D) I can't let you go to Florida. KAY I make my own future! Besides -- I'm younger and stronger than you! 83. They both attempt an identical spin kick at the same time -- feet collide. JAY Bet you're sorry you taught me that. The fight continues... They're wearing down, circling each other... And then Kay fakes a left --- JAY (CONT'D) You always lead with your-- But this time Kay connects with his right, knocking Jay down hard. KAY Had enough yet? On Jay -- gasping, spent -- using every last reserve of strength to lift himself off that floor. JAY I can't let you go -- I love you! Jay KICKS KAY SAVAGELY IN THE GROIN. Kay LUNGES AT JAY. They CLINCH... it's a stalemate... KAY Aw, hell, look at that-- behind you- JAY I'm not falling for that. KAY I'm not kidding -- Kay rotates their clinch towards the tube so Jay can see... The ARCHANANS -- very cheerfully, benignly hopping into the FLORIDA TUBE. Jay and Kay share a look -- and both run INTO THE TUBE! THROUGH THE TUBES Jay, Kay and the Archanans hurtle through the MiB system of pneumatic tubes. 84. The Archanans fly through the tubes, relaxed and happy, moving gracefully, like fish through water... Kay is in perfect controlled tube position -- everything clenched, hands by his sides, looking like he's in an "air luge"... Jay is SCREAMING and ricocheting off the sides of the tube like a pinball... They shoot SOUTH, passing landmarks of the Eastern seaboard... Intercut with Jay's face -- blown back like Right Stuff astronauts in a G-Force simulator. Jay FLAILS towards the Archanans, grabs onto the Lama's robe: JAY (yelling over the wind NOISE) I have to know -- can I really prevent Kay's murder? LAMA Yes. JAY Oh. Okay, then. Thanks, good to hear. LAMA But where there was death, there will be death. JAY What does that mean? The Lama smiles and zips ahead through the current. Jay gets CLOBBERED by a bend in the tube. EXT. FIELD Sugar cane workers pick crops next to a GIANT IRRIGATION PIPE. They look up as SCREAMS DOPPLER THROUGH THE PIPE -- what the hell was that? We follow the SCREAM... 85. BACK IN THE TUBE Jay CONTINUES TO SCREAM -- TUBE P.A. (V.0.) All passengers, prepare to de-tube. JAY De-tube? TUBE P.A. (V.0.) Please make sure all helmet and crash suit straps are securely fastened. On Jay -- no helmet, no crash suit. JAY Helmet? No one said anything about A-- POOP! EXT. FLORIDA SWAMP/MANATEE PRESERVE - END OF THE TUBE Jay, Kay and the Archanans are launched from the tube like human cannonballs... The Archanans land gracefully, floating down air currents like kung fu masters... Kay hits with both feet and rolls... Jay face plants into the water. Jay looks up -- FIVE MANATEES STARE HIM DOWN. The ALPHA MANATEE emits along, lowing manatee song which RESOLVES INTO COUGHING -- ALPHA MANATEE Sorry, I have something in my throat. They went that way... JAY Thanks. Surrounded by thick brush, trees. Jay staggers out of the water, looking beat to hell. JAY (CONT'D) Kay? Archanans? Everyone OK? 86. Reveal -- Everyone else looks clean and pressed. Jay looks around -- nothing but brush and swamp. JAY (CONT'D) Listen, your, uh... Arachaness...ness? I don't think this here is the way back to your planet. The Archanans smile and WALK OFF... Jay and Kay follow -- JAY (CONT'D) Hey wait -- we can't help you get home, if you don't tell us how... He trails off as they EMERGE FROM THE BRUSH And stop dead... JAY (CONT'D) Whoa. So that's how you're getting home. Reveal -- A GLORIOUS SHOT OF THE APOLLO ROCKET And they head towards destiny... CAPE CANAVERAL - LAUNCH SITE Jay and Kay take in the MASSIVE SCENE... The huge crowd, the security, the press. HISTORY IN THE MAKING. T-Minus 30 minutes. JAY Okay. So we've got... 30 minutes to get past security. Get into Mission Control. Reprogram the flight path, pull the Astronauts off the launch and get them in that rocket. KAY Well, then. Better get started. JAY Weird. I feel like I've been here. (BEAT) Okay, I've got a plan to get through security. We just need to be invisible. 87. YAZ ON HIS BIKE Hurtling down the highway on his superfast bike, kicking up a HUGE DUSTSTORM... He gets STUCK BEHIND AN 18-WHEELER. Yaz REVS -- and SPEEDS RIGHT THROUGH THE TRUCK, SPLITTING IT IN HALF. Down the CAUSEWAY -- the rocket in the distance... EXT. MISSION CONTROL STRUCTURE ENTRANCE Heavily guarded by AIR FORCE SECURITY -- people with a lot of guns and very little sense of humor. And up steps Jay, leading Kay and the Archanans. JAY (O.S.) 'Scuse me... I need to get inside... I've got the big man's Cadillac... all washed and ready to- Before the words are out of Jay's mouth, he's down on the ground with a submachine gun stuck in his neck. GUARD Move and it's the last thing you do! The security is on Kay and the Archanans, forcing them down. Kay gives Jay a look -- KAY Good work. It's like we're not even here. GUARD (INTO RADIO) Sir, this is unit 3 bravo -- we have an attempted perimeter breach into mission control subhallway Charlie. One caucasian, one negroid, four... other. Yes, sir. We'll hold them here, sir. JAY You've got it wrong, let me explain- 88. GUARD Shut up! Anything you have to say, you can say to my superior officer! And boy does he hate your kind... A click... click... click... Someone is approaching. Someone who walks like they mean business. GUARD (CONT'D) Lt. Colonel! Here are the intruders, sir! Jay cranes to see the Colonel -- he's African American. Jay grins, relieved -- JAY Finally, someone I can talk to-- But the Colonel is on him before you can blink, an equal- opportunity hardass to the extreme: COLONEL The only thing we're gonna talk about is what specific breed of dumbass you have to be to try to penetrate my launch site! He begins patting Jay down. Eyes widen -- COLONEL Weapon! You are going away for a long time... (to his men) Get them into holding. We'll interrogate them after the launch. A beat... and Jay goes for it: JAY Sir, before you do that --- my name is Agent Jay. I appreciate your position, but I'm from a top-secret government agency in charge of protecting the world from the scum of the universe and right now, on behalf of the people of Earth, I.: need to commandeer your rocket so THEY-- (points to Archanans) --can board it. Can we count on your help? The Colonel stares at him for a beat.. 89. COLONEL So you want us to stop the most massive endeavor in American history, an event being watched by the entire world, the moment that will be the culmination of a challenge put to us by President John F. Kennedy himself... so a bunch of Hare Krishnas can take a joy ride? JAY Would it help if I told you I'm from the future? COLONEL Get them out of here! He motions to the other MPs, who move to roust the group... But the Lama takes the Colonel by the arm-- COLONEL (CONT'D) Hey! --and PULLS HIM INTO HIS AURA. On THE COLONEL'S face... He sees something POWERFUL The Lama releases him... The officer is stunned for a moment. Blinks back into focus and turns to the other guards -- COLONEL (CONT'D) You men are no longer needed here. Report to delta gate. GUARD Sir? COLONEL Go! GUARD Yes, sir... The Colonel turns to Jay, Kay and the Archanans: COLONEL The rest of you, come with me. The Colonel heads into the building. They follow. 90. JAY Things change when you can see the future, right? COLONEL They sure do. This is definitely about some next-level shit. The PA crackles: P.A. (V.0.) T-minus seven minutes to launch... MISSION CONTROL STRUCTURE - UNDERGROUND HALLWAY Mission control is an underground hub with hallway "spokes". Jay, Kay and the Archanans follow the Colonel down the hallway towards the main Mission Control center. MISSION CONTROL A hive of activity leading up to the launch.. Miles and miles of white guys in buzzcuts and shortsleeve button-down shirts. Thick glasses, slide rules, pocket protectors -- a sea of IBM men. Everyone smoking, RUSHING AROUND, LAST-MINUTE CHAOS... Hunkered over computer monitors... reel-to-reel data tapes spinning. Less computing power than an iPhone, but we put a man on the moon. P.A. (V.0.) T-minus six minutes... JAY Attention, everyone! We've got a change in plans! Everyone's consumed with the launch and wearing headsets -- they ignore him -- he keeps trying -- JAY (CONT'D) Hey! Attention over here! I need to talk to the man who can re- program this rocket! Still nothing -- JAY (CONT'D) Can anyone hear me? Hey! You in the glasses! 91. 25 people in identical giant black plastic glasses turn. COLONEL (O.S.) Agent Jay! Over here! They see the Colonel with an Engineer at a workstation. COLONEL (CONT'D) This is your man. The guys approach the Engineer -- ENGINEER You see this card? The rocket's flight path is all on cards just like this one. Right here -- He indicates a long metal rack, like a mail-sorting machine, that holds many 1000s of cards and feeds them into a processor. An Archanan approaches and BLOWS ON THE CARDS -- it hits the cards like a mini-whirlwind. The cards spiral everywhere like bats pouring out of a cave -- chads fly off -- they're magically re-programmed! And fly back into the rack. The engineers are STUNNED. And then PANIC: ENGINEER (CONT'D) The trajectory has been altered! A BIG LOW-TECH GRAPHIC APPEARS on the BIG LOW-RES MONITOR: TRAJECTORY CHANGE. ENGINEER (CONT'D) Abort launch! Abort launch! JAY Slow down there! Everyone be cool! ENGINEER Coolness is an inappropriate response! The Engineer flips the SAFETY off a red button marked "ABORT" ENGINEER (CONT'D) Aborting in 5... JAY No! Stop! Do not abort! ENGINEER 4... 92. The Engineer raises his ABORTING HAND -- About to slam it down in the button! - KAY This might help. Kay reaches into his jacket, takes out WHAT APPEARS TO BE A NEURALIZER JAY What's that? You been holding out on me? KAY Little something I've been working on. Glasses if you've got 'em. Jay and Kay put on their glasses... ENGINEER 2. Jay and Kay in sunglasses -- for a moment, it's the iconic look of the posters... JAY Ha ha, just like old times... KAY Oh, and you might want to get under a desk. JAY Get under a--? ENGINEER One! The engineers hand comes down... but before he can hit the BUTTON -- Kay hits the trigger -- But instead of a FLASH -- A MILLION PELLETS EXPLODE OUT OF THE NEURALIZER -- bouncing everywhere, knocking out the engineers. The pellets KEEP WHIZZING EVERYWHERE THROUGH THE FOLLOWING: Jay and Kay have to talk over the sounds of people getting KO'd. 93. JAY What the hell was that?? KAY It's a high-velocity non-lethal pellet-gun. The boys in the lab call it the "hiv-nol-pog." JAY Catchy. The Archanans deftly step out of the way -- or the pellets swerve around them. EX RUNS IN, flanked by security and/or MiB agents. EX It's Kay! There he is! Take him down! Shoot him if you have to! EX catches a PELLET TO THE GROIN, crumples. The pellets settle... quiet... P.A. (V.0.) T-minus... Five minutes. The engineers start COMING TO, dazed, wondering WHAT THE HELL JUST HAPPENED -- Kay and Jay give them a "neuralizer" cover STORY: JAY (TO CROWD) What the hell is wrong with you people? Raquel Welch comes by for a personal tour of Mission Control and you faint like a bunch of schoolgirls! KAY What a waste. ENGINEER Raquel Welch was here? JAY Five minutes to get to the rocket. And keep your eyes open for Yaz. They head out. CUT TO: 94. ON THE TARMAC With only a few minutes to go, service trucks CLEAR THE TARMAC -- dozens of fuel trucks, etc., Driving to get a safe distance away from the blast. The all SWERVE OUT OF THE WAY As one car cuts through them GOING THE OPPOSITE WAY, parting the waters -- it's a military jeep -- THE COLONEL at the wheel, Jay, Kay and the rest, barely hanging on. CUT TO: ASTRONAUT TRANSPORT -- DRIVING The apollo astronauts ride across the tarmac towards the rocket. The only car. Looking up at that rocket. On NEIL ARMSTRONG, practicing: NEIL ARMSTRONG (GRANDIOSE) That's one little step that I did, one big step for the rest of you... Wait, that's not it. Did that sound weird to you guys? The driver SLAMS ON THE BRAKES BUZZ ALDRIN What in Sam Hill is going on? Reveal the Jeep, pulled in front of the Astronauts, cutting them off. KAY No disrespect meant, [major]. I'm a big fan. (Especially of the haircut.) JAY But we've got some bigger fish to fry. Hand over the flight suits. They start pulling the astronauts off the truck. The astronauts protest. JAY (CONT'D) Let's go, people. Why don't you take one giant leap out of there. 95. They look at Jay and Kay... at the Colonel... COLONEL That's right, gentlemen. You need to listen to them. We're going to protocol twelve. The astronauts acquiesce. BUZZ ALDRIN I didn't want to get in that death trap anyways. NEIL ARMSTRONG I'm still getting my parade, right? CUT TO: EXT. MISSION CONTROL STRUCTURE ENTRANCE The same guards who stopped Jay and Kay are back on duty. They hear something -- they draw weapons -- And it's Yaz. Still looking like evil incarnate. The guards take in this unholy picture... GUARD WHAT THE-- YAZ I want in. The guards look at each other -- GUARD Should we radio the Colonel? GUARD (CONT'D) You wanna get yelled at again? They wave him by. GUARD (CONT'D) Go ahead. LAUNCH PLATFORM Kay loads the Archanans into the capsule., Technicians in clean suits assist. 96. Jay works like a secret service agent -- scanning for all possible threats. Jay checks his stop watch -- Four minutes to go... Kay works'with the Archanans-- JAY We good yet, Kay? I don't like being out here in the open -- too many ways for Yaz to get to you... KAY I'm almost there. Kay's got them inside, but having problems with the hatch. KAY (CONT'D) Hey, tech guys -- get back here and help me with the door. TECH It's called-a hatch. KAY Whatever, just get over here. JAY Oh, come on -- what's going on? KAY This door is complicated. JAY Oh, for... KAY What? It's an Apollo rocket, not a Plymouth Valiant, OK? It's complicated. Jay goes over to help Kay with the door. They both fuss and fight over the door. JAY Lift it. You have to lift it. KAY No, I am lifting it. You have to hold the lever. 97. JAY No, if I hold the lever, the rubber thingie won't... go in the thing where the thingie goes... Kay notices something in the reflection of the hatch glass. KAY Jay... Why do you think a highly trained NASA technician would leave the back of his suit unzipped? They exchange a look that parallels the opening scene in the Chinese restaurant... JAY Because it's about to go down. They turn around, draw weapons on the tech -- it's YAZ! NOTE TO READER: Welcome to the good stuff From here, we launch into a GIANT SET PIECE that will take us up and around the Apollo Rocket... As Jay and Kay battle Yaz and Devil Girl in a super-high- stakes confrontation to protect the Archanans... We will pay off that YAZ ISAVIRUS, bentonDESTROYINGTHE EARTH to avenge the deaths ofhis brothers --smallpoxand bubonic plague. The launch clock ticks down -- the action moves around pipes breathing fire, the gigantic scaffolding, liquid oxygen spewing from the rocket... All on top of a rocket taller than a 30-story skyscraper. With T-minus 25 seconds to go, Jay and Kay corner Yaz against the lunar capsule. BACK TO SCENE: Yaz laughs at Jay and Kay. YAZ You can't stop me! Nothing on Earth can stop me! JAY Nothing now. Yaz raises an eyebrow... 98. Jay draws his NOISY CRICKET -- the gun he brought from the future. KAY What's that? JAY Little something I brought with me. Jay points the gun at Yaz -- but Yaz just LAUGHS -- As the clock ticks down to T-minus 5... 4... YAZ Try it! You wouldn't dare! One false shot and you'll rip space and time! JAY That's a chance I'll have to take. Jay BLASTS YAZ Yaz stumbles BACK INTO THE CAPSULE... The hatch SLAMS him in! Just as the ROCKET BEGINS LIFTOFF-- HUGE FLAMES - HUGE CLOUDS OF SMOKE THREATEN TO ENGULF JAY AND KAY - KAY Uh oh -- But the Archanans surround them with their aura -- where the flames and smoke flow harmlessly around them... And then it's over... BIG VICTORY MOMENT As they watch the rocket carry Yaz off... JAY We did it, partner. I hope you remember this when you recruit me -- you won't give me such a hard time. KAY You know I will. JAY Yeah. 99. KAY I guess we'll have to build a prison on the moon or something. Jay realizes -- grabs Kay -- JAY Do a better job this time, OK? That needs to be one hell of a prison. You don't want that guy coming back, or I'm coming back. Look, once was enough, OK? Jay turns to The Colonel -- JAY (CONT'D) Thank you for your help, sir. Hope we don't get you fired. COLONEL Not too worried about that. JAY Can I ask you -- what did the Lama show you in there that made you help us? Was it the Earth being destroyed? COLONEL No -- it was my son. All grown up. As a matter of fact, I'm late to see him -- I promised I'd watch the launch with him. JAY Oh. Thanks. He's a lucky kid. COLONEL I'm a lucky dad. Take care. Jay offers him a handshake. The officer takes it -- and pulls Jay into a hug. JAY Okay... The Colonel leaves. Jay and Kay congratulate each other, smile over a job well done... But then they see the Archanans... And realize... 100. KAY We're sorry we didn't get you home, guys. It was the only way to get rid of Yaz. JAY But we'll make sure you're safe here. And the next rocket out... LAMA All is well. You have done well. JAY No we didn't. You wanted to go home... LAMA There is what we desire and what must be... And now our gift to you... JAY Gift? But we didn't get you home. ARCHANANS There is the action and there is the intention. It is the intention we reward. LAMA You did the right thing. And if humans are capable of such sacrifice, such friendship... perhaps we ARE already home. JAY So then what's the gift? LAMA You already have it. Jay looks at pong. JAY This? Pong? LAMA Yes. PONG. The Pan-Galactic Ordnance Negation Grid. Agent Kay will use this technology... JAY To make the missile defense system. You use this to save the world. 101. ARCHANANS Yes. Don't drop it. They take the PONG and drape it around Kay's neck The Archanans leave, chanting... ARCHANANS (CONT'D) (CHANTING) Bip... Bip... Bip... And it's just Jay and Kay. Jay looks at Kay wearing the PONG... just like in the case file picture... JAY Hey. My watch stopped. We see -- a minute to go. Jay looks at the watch. Something about it bothers him... KAY C'mon. Let's go watch that bastard leave the atmosphere. JAY Yeah, I'll catch up with you in a second. KAY GETS INTO THE ELEVATOR Jay hangs back, approaches the Archanans, walks them down the scaffolding. JAY So you guys understand all this time stuff, right? So is everything going to be okay now? I mean, if I saved everything, and Yaz is really gone, why am I even here? Shouldn't I not have come in the first place? And why do I still have time left on my watch? UNDERGROUND The scaffolding leads Jay and the Archanans into the maze of underground hallways. Jay walks, looking at his watch, thinking... 102. ,He sees a WALL CLOCK -- 3:59. JAY 3:59. But Kay didn't get killed until... And then the AWFUL REALIZATION -- JAY (CONT'D) He didn't come yet! Kay, he didn't come yet!!! Jay races to find Kay. WITH KAY Unaware that his appointment with death is near... WITH YAZ AND DEVIL GIRL Racing down a hallway... hunting Kay... WITH JAY Running... running... searching... where is Kay? INTERCUT BETWEEN KAY... YAZ... JAY... All converging on destiny... WITH JAY Running... more frantic now... And then he sees him! Kay -- at the end of the hallway!. Backlit by the door to the outside... JAY Kay! And then Jay sees -- Yazl Already there! Jay goes for his weapon, but he doesn't have the shot! Yaz pulls his guns... 103. Kay turns to see Yaz -- there's no time to react, only to know HE'S ABOUT TO DIE! Yaz FIRES!! But -- THE COLONEL is somehow there instead! He catches the bullet for Kay -- his body dematerializes. And it gives Jay the split-second he needs to FIRE ON YAZ AND KILL HIM, blowing him OUTSIDE -- where he is INCINERATED BY LIQUID OXYGEN leftover from the launch. They look at each other -- it's over. KAY See? I knew you had my back. Jay hears footsteps. Looks up and sees the SHADOW OF A TALL MAN -- REMARKABLY SIMILAR TO JAY'S OWN SILHOUETTE. As the footsteps approach, the shadow grows smaller, shrinking to KID SIZE. It's a boy. KID'S VOICE Dad? What's going on? The kid steps into the light -- backlit -- but from the shape of his head and Jay's reaction, this kid could only be YOUNG JAY. JAY Where there is death, there will always be death. He saved your life. He swapped his for yours. He saved the world. Kay puts a firm hand on Jay -- KAY I'll take it from here. Kay steps away... but turns back. In a replay of the moment from the first movie, Jay tosses Kay a modern Neuralizer. JAY Leave me some memories this time, OK? KAY Sure, partner. I'll see you around. 104. JAY Yes you will. Kay turns back to the boy, takes his hand. Jay watches them from a distance: Kay takes something off the ground where The Colonel's body was -- hands it to the son. KAY Hey, look -- your Dad wanted you to have this. Kay gives the kid a shiny new commemorative Apollo key chain. Jay looks in his pocket -- the same key chain, scratched and worn. YOUNG JAY Where is he? KAY Your daddy had to go -- he's part of the space program, now. He's okay, he just had to take a trip up to the stars, but you'll be just fine. I'll keep an eye on you... They are silhouetted by the bright light of the Apollo launch... Jay takes out his iPhone and ALL GOES WHITE... PURE WHITE LIGHT... And it resolves into... NEW YORK - BACK TO PRESENT DAY... Jay comes to in the Apple Store, looks to the sky and THE MISSILES ARE STILL COMING!!! JAY Noo!!!! And then... A giant PONG PADDLE rises over the horizon and PONGS THE MISSILES BACK INTO SPACE 105. EXT. MIB HQ ENTRANCE/VENTILATION BUILDING Jay is walking on air -- thrilled to see the deadpan security guard. JAY It's good to see you, man. He gives him a hug-- gets a "what the hell?" face. INT. MIB HQ Jay is thrilled to be back -- hugging everyone he can. No one else knows what he's talking about -- from their POV he never left... It all seems the same except for quick shots of Ex the bitter janitor, aged Devil Girl pushing the coffee cart... Jay bounces through the MiB HQ -- it's just a regular day to everyone else, but it's HOME SWEET HOME to Jay. He even gives the worm guys a big, gushy hug. A crowd of people gathers around Kay, congratulating him on winning the Bowling trophy... AGAIN. Kay looks up -- SMILES BIG when he sees Jay. KAY Alright, everyone, give me and my partner here a minute. They leave the guys alone. A beat -- and Jay just wraps him in THE BIGGEST HUG EVER. JAY It's good to see you, man. So good. I just... do you remember... I mean, do you know what I've been through? Kay just stares at him. KAY You mean, do I remember that you travelled back in time to save my life and the world? Not bad, slick. Not bad. JAY No problem. You'd do the same for me. I just have one question... (MORE) 106. JAY (CONT'D) When you disappeared... Why didn't I forget you when everyone else did? KAY Well, I don't know exactly. Because I was dead. But in a quantum reality, objects can exist in contradictory states... So multiple timelines with varying probabilities can exist, and the one you're closest to MATHEMATICALLY-- JAY Oh, you're talking about our closeness... you're talking about our love... Across timelines! You're saying our love will go on! Kay swats him away -- but the love couldn't be more clear. Jay feels something in his pocket -- the keychain. Takes it out. JAY (CONT'D) He was a good man. KAY Yes he was. JAY I'm glad I know that. KAY So you travelled back in time, huh? JAY Yep. KAY Wow. And you didn't change anything? JAY No. KAY You're sure? Because the littlest thing can have huge repercussions. JAY I was very careful. 107. KAY Good man, good man. Well, let's get you a uniform. JAY Excuse me? We PULL BACK -- Revealing PRESENT DAY MIB IN ALL ITS KICKASS GRANDEUR. Eternally vigilant in the struggle to protect the Earth and all its inhabitants... And every one of those agents wearing BLUE SUITS WITH SHORTS. JAY (CONT'D) Even I can't make that look good. FADE TO BLACK. \ No newline at end of file diff --git a/unformated_scripts/Script_Men in Black.txt b/unformated_scripts/Script_Men in Black.txt new file mode 100644 index 0000000000000000000000000000000000000000..044ca2b33ee150743dec69ca6754bcb8166725b9 --- /dev/null +++ b/unformated_scripts/Script_Men in Black.txt @@ -0,0 +1 @@ + Men In Black by Ed SolomonEXT. ROAD -- TEXAS/MEXICO BORDER -- NIGHTA million stars wink in the night desert sky. Down here on earth, aninsect, one of those big, beautiful, multicolored four-winged jobs, glideseffortlessly on the breeze, wafting along through the crisp Texas air.The insect dips, it banks, it does loop-the-loops -- and then SPLATSunceremoniously against the windshield of a white van that's tearing downthe road.INT. VAN -- TEXAS/MEXICO BORDER -- NIGHTThe DRIVER of the van, a fifty-year-old American, turns on the wipers,smearing the remains all over. DRIVER Goddamn bugs.He squirts some wiper fluid onto the glass, which clears it up a bit, butnow he sees something worse up ahead. It's a grouping of headlights, eightof them, all pointed at him, sealing off the road.He bites his lip and calls over his shoulder, to the back of the van. Hespeaks in Spanish, which is subtitled. DRIVER (CONT'D) Deja me hablar. (Let me do the talking.)EXT. ROAD -- TEXAS/MEXICO BORDER -- NIGHTThe van slows to a stop in front of the parked cars, all government-issuefour doors with "INS" stenciled on the sides. Seven or eight INS AGENTSstand in front of the cars imposingly. Their apparent leader steps forwardand comes to the window.The DRIVER rolls it down. AGENT JANUS, blonde-haired, blue-eyed, alsogovernment issue, looks at him and sighs. AGENT JANUS Well. Nick the Dick. What a surprise. Where you comin' from? DRIVER I was fishing in Cuernavaca. AGENT JANUS Sure you were. What do you say we have a look at your catch?AT THE BACK OF THE VAN,the Agents fling open the rear doors, revealing a DOZEN FRIGHTENEDMEXICANS, hopeful immigrants without official permission. Agent Januslooks at the Driver, who's now held by two other Agents, and shakes hishead. AGENT JANUS Me, I woulda thrown 'em back. (to the passengers, in Spanish) Vamanos. Fuera. Hagan una lina! (Let's go. Out. Form a line!)They pile out of the van. Some are parents with small children. AGENT JANUS (CONT'D) What do you get, Nick? Hundred bucks a head? Two hundred? I hope you saved it all for your lawyer, pal, 'cause you're gonna need --He stops in the middle of his sentence, as another car is approaching,fast, its engine WHINING as it barrels down the road toward them. SeveralAgents pull their weapons.The new car pulls a hard right, goes off the road, spins around the INScars, and SQUEALS to a sideways halt, silhouetted in front of theirheadlights. It's a boxy, black 1986 Ford LTD.TWO MEN get out, dressed in plain black suits, crisp white shirts, simpleblack ties, shiny black shoes. KAY, fiftyish, is the apotheosis ofworld-weary; his partner, DEE, mid-sixties, is just weary. They approachthe INS agents. KAY We'll take it from here. AGENT JANUS Who the hell are you?Kay and Dee flash some form of ID. KAY INS Division 6. AGENT JANUS Division 6? I never heard of Division 6. KAY Really?Kay and Dee move past him and approach the row of nervous immigrants. KAY (CONT'D) What're we thinking, Dee? DEE Tough call, Kay.He walks down the row, studying the faces, greeting each one cheerily inSpanish. KAY !Oye! Que pasa, coma estas? Hey! (What's up, how are you?) No se preocupe, abuela. Bienvenida a los Estados Unidos. (Don't worry grandma. Welcome to the United States.) (next) A donde vas? San Antonio? Buscando trabajo, no? Buena suerta. (Where are you going? San Antonio? Looking for work, aren't you? Good luck.) (next) Es un placer verle aqui. (It's a pleasure seeing you here.)One by one, their faces relax, reassured by Kay's calm demeanor. When hereaches the fifth Guy, he keeps the same cheery tone, but: KAY (CONT'D) Que dices si te rompo la cara? (What do you say if I break your face?)The Guy smiles and nods. Kay stops. His own smile broadens and he drops ahand on the Guy's shoulder. KAY (CONT'D) No hablas ni una palabra del Espanol, verdad, amigo? (You don't speak a word of Spanish, right, friend?)Again, the Guy smiles and nods. Kay looks back at Dee. KAY (CONT'D) We got a winner. (to the others) Los restos estan libres a irse. Largense! (The rest of you are free to go. Scram!) AGENT JANUS Sir! KAY Tomen el camion, y vayeuse. (Get on the road and go.) AGENT JANUS Sir, you can't just -- KAY Don't "Sir" me! You have no idea who you're dealing with!Silence on the road. The Driver grins, jumps back in the front seat of thevan. The others pile into the rear and they tear out of there. KAY (CONT'D) (to Janus) We're gonna have a little chat with our friend here. You boys can hit the road ... and keep on protecting us from dangerous aliens.Kay and Dee escort their captive across the road and over a small rise,leaving the stunned INS agents standing alone in the roadway. AGENT JANUS You ever heard of Division 6? 2ND INS AGENT There is no Division 6. 3RD INS AGENT Who are those guys?EXT. DESERT CLEARING - NIGHTKay and Dee lead their captive into a clearing in the desert brush. Deepulls an enormous handgun from a shoulder holster and stays a pace or twooff, covering him. Kay has an arm draped around the man's shoulders. KAY I think you jumped off the bus in the wrong part of town, amigo. In fact, I'll bet dollars to pesos that you're not --He pulls out a small laser device, which he ZIPS neatly down the front ofthe man's clothes. KAY (CONT'D) -- from anywhere near here.The man's clothes fall to the ground, revealing what he really isunderneath -- A SCALY SPACE BASTARD, about four-and-a-half feet tall, witha snouth, snail-like tentacles, and independently moving eyes on stalks atthe top of his head.The only part of his camouflage not crumpled to the ground is thehumanesque "head," which he still lamely holds in one of his hands. It'spropped up by a stick, like a puppet, and it continues to make expressionsas he holds it. KAY (CONT'D) Mikey?! When did they let you out of jail?MIKEY replies -- an unfathomable combination of GRUNTS, SQUEAKS, andsaliva. KAY (CONT'D) Political refugee. Right. DEE You know how many treaty articles you've just violated?Mikey makes a lame SQUEAK. KAY One, my ass. Try seven. DEE From unauthorized immigration to failure to properly inoculate prior to landing. KAY (off Mikey's objections) Okay, that's enough. Hand me your head and put up your arms.From behind Mikey, they hear a terrified GASP.Kay and Dee both look over quickly. One of the alien's eyes, on a tallstalk, whips around too. All three of them see AGENT JANUS, standing justover the rise, staring in frozen amazement. KAY (CONT'D) Ah, shit.Agent Janus SCREAMS. Mikey rips free of the rest of the "Mexican"disguise, knocks Dee out of the way, and takes off straight at Janus,SCREECHING a horrible Space Bastard screech. Janus freezes, terrified. KAY (CONT'D) Dee! Shoot him!Dee struggles to roll over and change the controls on his gun, which fellout of his hand as he hit the ground. KAY (CONT'D) Dee, for Christ's --Mikey keeps moving, covering the last few yards to Janus quickly. He stepson a rock, launches himself into the air, his dripping jaws cranked wideopen ---- there is a SIZZLING sound, a brilliant white flash ---- and Mikey ERUPTS in a geyser of blue goo that splatters all over theground, the trees, and Agent Janus' face. Behind where Mikey was, Kaystands, smoking weapon in hand.EXT. ROAD -- TEXAS/MEXICO BORDER -- NIGHTOn the road, the INS AGENTS pull their guns and run toward the rise.EXT. DESERT CLEARING -- NIGHTKay has an arm around Janus, whom he is leading further into the clearing.Janus is white, shaking, eyes like silver dollars. AGENT JANUS Th -- th -- th -- KAY (helping) "That." AGENT JANUS That wasn't -- wasn't -- wasn't -- KAY Human, I know. Oops. Got some entrails on you.He takes out a handkerchief and wipes off the Agent's face. As he does,Janus looks back to where Mikey blew up. Then at Kay. And then up at thestars.The other INS Agents burst over the rise, SHOUTING questions. KAY Okay, everybody, situation's under control, calm down. If you'll just give me your attention for a moment I'll tell you what happened.From over the rise, car engines WHINE in the distance and headlights startto flash around them. Kay reaches into his pocket and pulls out a tubularmetallic device the size of a pocket recorder. He checks his watch,figures in his head, then dials an electronic counter on the side of thedevice up to "08." KAY (CONT'D) This is called a "neuralyzer." A gift from some friends from out of town. The red eye here isolates and measures the electronic impulses in your brain. More specifically, the ones for memory.Behind him, six more MEN IN BLACK, all wearing black suits and sunglasses,come over the hill. Kay barks a few orders to them. KAY (CONT'D) Gimme a splay burn on the perimeter, please; holes at 40, 60, and 80. 2ND INS AGENT What in the hell is going on?! KAY Exactly the right question. And the answer lies right -- here. Pay attention. JANUS Who are you, really? KAY Really? I'm just a figment of your imagination.He holds up the neuralyzer. The Agents peer closely at it. Kay reachesinto his pocket, puts on his own black sunglasses ---- and pushes a button on the side of the neuralyzer. A BLINDING FLASH atenth of a second long sears the Agents' eyeballs. They stare blankly. KAY (CONT'D) God, we're a gullible breed.Behind him, TONGUES OF FIRE blast from a flame thrower held by one of theMen in Black. Kay looks back at the INS Agents, who are just comingaround, as if awakening from a concussion. KAY (CONT'D) I mean it, fellas, you are lucky to be alive after a blast like that.The Agents look around, confused. AGENT JANUS What -- blast?Kay gestures behind him, where the Men in Black are now using fireextinguishers to douse the flames they themselves started. KAY Underground gas vein, genius. You guys need to exercise more caution before discharging your firearms.He jabs a finger into Janus' chest. KAY (CONT'D) Especially you.Dee has moved away from them all and is sitting on a rock, staring up atthe night sky, his sunglasses dangling idly from one hand. Kay steps awayfrom the group and finds him. He sits down next to him. DEE I'm sorry. About...back there. KAY Happens. DEE Didn't used to.He holds up his hands, which tremble with age. DEE (CONT'D) The spirit's willing, Kay, but the rest of me...He looks up, at the million stars shining overhead. DEE (CONT'D) They're beautiful, aren't they? KAY What? DEE The stars. We never just -- look. Anymore. (back to Kay) I'll tell ya, Kay. I will miss the chase.Kay pulls his neuralyzer from his pocket and looks down at it. KAY No. You won't.EXT. GRAND CENTRAL STATION -- SOUTHERN EXPOSURE -- NIGHTA shot of the clock on the Station's stately southern exposure. WE PANDOWN TO...A pair of feet running. They belong to a man we will know as thePERPETRATOR. As we track with him, he SPEEDS UP and OUT OF FRAME.A new set of feet come into frame. These belong to JAMES EDWARDS, a NYCCOP in undercover street clothes. In the BACKGROUND, about ten feetbehind, are two other cops, trying to keep up.Edwards is a lot faster, though. He pulls out his badge that hangs from achain under his shirt. EDWARDS Stop! NYPD!He continues running, out of frame, and we stay on one of the other COPS,overweight, who gives up the chase and drops to his knees, heaving air. COP All yours, Edwards!The Cop fumbles in his pocket for a pack of cigarettes.TRACK WITH EDWARDS AND THE PERPAs they run down the bridge that traverses Park Avenue in the low Forties.The Perp veers to the left and, seemingly oblivious to the fact that it'sa thirty-foot drop, he hurdles the guard rail, and drops to Forty-firstStreet below.EDWARDS is surprised by this maneuver, but doesn't waste a second. He,too, hurdles the guard rail and lands on...EXT. 41ST STREET AND PARK AVENUE - NIGHTA DOUBLE-DECKER BUS, one of those cheesy sightseers that hold up midtowntraffic. The bus, of course, is completely filled with JAPANESE TOURISTS,and it seems like every single one of them has a video camera.EDWARDS pushes through the crowd... EDWARDS Grand Central Station off to your left, folks...With the bus still moving, he scrambles down the circular stairs and runsout through the side door.He spots the Perp, sailing east on Forty-first Street. EDWARDS Dammit, man, you're making me sweat up my gear!Edwards spots one of those New York Post delivery trucks, the kind withthe open back door, rumbling by. He runs and jumps into the back.EXT. FIFTH AVENUE -- NIGHTTHE PERP, meanwhile, is running at top speed, when Edwards glides intoframe, leaning off the back of the truck. EDWARDS Yo, man, your luck just ran out.He leaps from the back of the moving truck and tackles the Perp.The Perp, now straddled by Edwards, is terrified. PERP He's coming! He's coming! EDWARDS And when he gets here, I'll kick his ass too.Edwards is about to slap the cuffs on him, when the Perp blinks. Nothingunusual about that, but then another set of translucent, milky whiteeyelids, underneath his regular eyelids, blinks also.Edwards is thrown for a moment, which is all the time the Perp needs topull out...His WEAPON, which is the strangest looking gun you've ever seen. Reactingquickly, Edwards bats it out of the Perp's hand.THE WEAPON smashes into the stone wall surrounding Central Park andSHATTERS into a million pieces. EDWARDS What the...WHOMP! The Perp kicks him in the nuts, then scrambles to his feet andtakes off again. Edwards staggers after him, in pain.The Perp leaps over a moving car, towards the GUGGENHEIM MUSEUM. Edwardstries to follow, but a bus pulls in front of him. After it passes, thePerp is gone.EXT. GUGGENHEIM MUSEUM -- NIGHTEdwards runs over to the Museum, leans over the wall that surrounds it,and in the next instant...The Perp flies past him, having leapt from twenty feet down to the top ofthe Guggenheim. He scrambles up and over the ledge.Edward reacts. He runs to the front door of the Museum, shoots it open andruns inside.He runs from the rotunda up the grand ramp of the Guggenheim.EXT. GUGGENHEIM MUSEUM -- ROOF -- NIGHTOn the roof, the PERP reaches the top, climbs over the edge, and CRUNCHESto the gravel surface. He leaps to his feet and races over to a door. It'slocked.He tugs on another. It's locked too. He pulls on a third. It swings open ---- revealing EDWARDS on the other side, breathing hard. He aims his weaponat the Perp. EDWARDS Wassup?The Perp SCREAMS inhumanly and panics. He backpedals, toward the edge ofthe roof. PERP He's coming! He's coming because I failed, and now he'll kill me too! EDWARDS Stop! PERP You don't understand. Your world is gonna end.But the Perp has backed right into the edge of the roof, and now he startsto fall over. The Perp blinks. EDWARDS What are you?!The Perp looks down. He decides.-- and he falls, SCREAMING, to his death. CUT TO:INT. INTERROGATION ROOM -- NIGHTEDWARDS sits on one side of the table, a POLICE INSPECTOR and a UNIFORMEDSERGEANT (the one who gave up the chase and lit a cigarette earlier), sitacross from him. INSPECTOR Perpetrator then blinked two sets of eyelids. You mean blinked with both eyes? EDWARDS No, sir. He blinked once with one set, then again with another completely different set. SERGEANT Sort of a low beam, high beam. INSPECTOR Was that before or after he drew the weapon which you claim evaporated into a million pieces? EDWARDS After, sir. INSPECTOR And why do you suppose none of the other officers saw either of these two events? EDWARDS 'Cause some of the other officers are a little soggy in the midsection. And they couldn't keep up, sir. SERGEANT Hey, Edwards, if you were half the man I am -- EDWARDS What do you mean? I am half the man you are. SERGEANT What the hell is your problem? EDWARDS My problem is you being all up in my damn face all the time. SERGEANT I think he threw him off the roof. Ten minutes -- your best shot. INSPECTOR (cutting off the Sergeant) Sergeant. I want to talk to you outside. Now. EDWARDS You need ten minutes on a Stairmaster, you pudgy bastard.INT. INTERROGATION ROOM -- LATER -- NIGHTA woman sneaks into the room. DOCTOR LAUREL WEAVER, thirtyish,dark-haired, dark-eyed, general aura of darkness around her, stands abovehim. Laurel looks like she was just dragged out of bed (which she was) andsaw a spaceman (which she did). She looks over her shoulder once, thenwhispers to him. LAUREL Laurel Weaver. Deputy Medical Examiner. I believe you. I opened him up. Find me at the morgue. On 26th. I'll tell you what I found. EDWARDS Hey...Wait a minute. Wait a minute. LAUREL (turning at the door) You have really pretty eyes.She hurries to turn the corner, but is STOPPED by someone who remains justoffscreen. VOICE (O.S.) Dr. Weaver, from the coroner's office? Working on the John Doe?Edwards twists in his chair, to get a better look. All he sees is Laurel,facing whoever it is in the hallway. LAUREL Yes. That's right. VOICE (O.S.) Would you look right here, please.The Someone says something else and Laurel steps forward, now also out ofEdwards's line of vision. LAUREL (O.S.) Look where?Edwards stretches even further in his seat, when there is a blinding FLASHfrom the corridor. Really curious now, he starts to get up ---- when KAY steps into the room and closes the door behind him. Edwardsrolls his eyes. KAY Some night, huh? EDWARDS Oh, yeah, some night.He crosses to the door. KAY They were gills.Edwards stops. KAY Not eyelids. EDWARDS Who are you? KAY Did he say anything to you? EDWARDS (scoffing) Yeah, sure. He said the world was coming to an end. KAY Did he say when? EDWARDS You're kidding, right? KAY Would you recognize his weapon if you saw it again? EDWARDS Absolutely. KAY Let's take a ride. EDWARDS Wait a minute. I got a ton of paperwork. KAY It's all done.At that point, the INSPECTOR sticks his head in, smiles and gives Edwardsthe thumbs up. INSPECTOR Good work, Edwards.Edwards looks at the Inspector, then at Kay. As they leave. KAY You ran that guy down on foot? That's tough. That's double tough. CUT TO:INT. FORD LTD - A MOMENT LATER - DRIVINGIn a plain, boxy Ford, Kay drives, silent. He raises his hand and nods toa black MIB truck coming in the opposite direction.Edwards, in thepassenger seat, is still in his undercover outfit. EDWARDS So who you with?Kay says nothing. EDWARDS (CONT'D) You got the plain clothes, the government-issued wheels. Secret Service? CIA?Kay remains utterly silent. EDWARDS (CONT'D) (referring to the car) Yeah, well, whoever it is, you're short on funding. KAY Nothing is what it seems, kid. EDWARDS Oh, yeah, my bad '86 Ford LTD. That's a luxury ride. C'mon, who ya with?Kay pulls the car to a stop. KAY I'm part of a secret organization that monitors and polices alien activity on earth.Kay opens the door and gets out of the car. Edwards follows.EXT. PAWN SHOP - NIGHTEdwards looks around. Sees they're standing in front of a PAWN SHOP. EDWARDS This is where we're going?They get out of the car. EDWARDS (CONT'D) Jack Jeebs? Guy buys from chain snatchers. Doesn't even sell guns. KAY Really? EDWARDS All right, you think it's worth shaking him up, fine. I'll do my thing. Then I want some answers. KAY Do your "thing," kid. Edwards goes inside.INT. PAWN SHOP - NIGHTJACK JEEBS is the sleazy, sarcastic proprietor of the Pawn Shop. He's noteasily intimidated. JEEBS Officer Edwards. Oh, hey, geez, how'd these get here? I thought I turned 'em in to the proper authorities.He casually brushes some Rolexes off the counter. EDWARDS Way I hear it, Jeebs, you into something a little hotter than some stolen Rolexes. JEEBS Sure -- I'm a big crack dealer now. I just work here because I love the hours.This pisses Edwards off. He grabs Jeebs by the collar. EDWARDS (getting angry) I'm talking about guns, Jeebs. High-tech stuff. JEEBS C'mon, Edwards, whatcha see is what I got. KAY (O.S.) Why don't you show him the imports, Jeebs.At the sound of Kay's voice, Jeebs suddenly pales, a look of fear comingover his face. JEEBS H-hiya Kay, how are you? KAY The imports, Jeebs. Now. JEEBS You know I got outta that business a long time ago, Kay. KAY Why do you lie to me? I hate it when you lie.He pulls his own gun and aims it at Jeebs' forehead. JEEBS Whoa, whoa, Kay, hold on a minute here... KAY I'm going to count to three.Edwards, seeing that Kay is getting somewhere, joins in the routine. EDWARDS He'll do it, Jeebs. KAY One. EDWARDS I've seen him do it. KAY Two. EDWARDS Talk to me, Jeebs, he's crazy when he's like this. JEEBS He's always crazy. (to Kay) Take a cruise. Get a massage -- KAY Three.KA-BOOM! Kay blows Jeebs' head off and Jeebs' body collapses to the floor.Edwards is shocked.Edwards pulls his own weapon and points it at Kay's head. EDWARDS Put down the gun and put your hands on the counter! KAY I warned him. EDWARDS Drop the weapon! KAY You warned him. EDWARDS You are under arrest. You have the right to remain silent. KAY Will you relax? JEEBS (O.S.) (irritated) Don't do that.Edwards whirls around to see Jeebs' BODY, growing another head. Only takesfour or five seconds. Kay calmly shoves his gun up against Jeebs'baby-soft new cheek. JEEBS (CONT'D) Do you know how much that hurts? KAY Show us what you got, Jeebs. Or I'll use up another one.Jeebs, panicked, hits a button on the underside of the counter, whichpromptly flips over, revealing yet another dusty shelf, piled high withjunk ---- but this is all alien junk. Weapons, mostly, bizarre, otherworldlyweapons of all shapes and sizes. KAY Edwards?Edwards, still dazed by Jeebs' regrown head, glances down at all theweapons. EDWARDS Uh, this. This is what I saw.Kay looks at Jeebs, pissed off. KAY You sold a carbonizer with implosion capacity to an unlicensed cephlapoid. JEEBS He looked all right to me. KAY A carbonizer is an assassin's weapon, Jeebs. Who was the target? JEEBS I don't know.Kay raises the weapon again, threatening. KAY Jeebs! JEEBS I don't know!Kay lowers his gun, gestures to the shelf full of weapons. KAY This is all confiscated. All of it. I want you on the next transport off this rock. Or I'll shoot you where it doesn't grow back.Jeebs nods, point taken. Kay leaves. EDWARDS Yeah. I'll be by tomorrow for those Rolexes.Shaken, Edwards follows.EXT. PAWN SHOP -- NIGHTEdwards staggers out of the shop, trying to get the day's events straightin his head. EDWARDS The eyelids, fine ... and the jumping thing ... and the gun ... okay, but the head? KAY Searching for a handle on the moment here? A place to file all this. EDWARDS See a head doesn't do that, it doesn't just grow back. (looking up) What's going on? KAY Can't help you, kid. Only comfort I can offer is that tomorrow, you won't remember a thing. EDWARDS Oh, no. This I'm gonna remember for a long, long time.Kay pulls the neuralyzer from his pocket. He hesitates for the briefest ofmoments -- as if this particular neuralyzation is different than all theothers.Then he puts on his sunglasses. KAY Ever see one of these? CUT TO:INT. CHINESE RESTAURANT - NIGHT-- the flash dims on EDWARDS and KAY, sitting at a table in a Chineserestaurant. KAY (finishing a joke) -- and the wife says yeah, Harry, I know, but this one's eating my popcorn!He busts out laughing. Edwards, across from him, is completelydisoriented. He looks down. There's a half-eaten order of broccoli beefand several empty bottles of beer on the table in front of him. EDWARDS Huh?Kay checks his watch. KAY Whoops. Gotta run. Thanks for the egg rolls. EDWARDS Where am I? KAY See what I mean about tequila? You're a bright young man, James. Just lay off the sauce. I'll see you tomorrow, nine a.m. sharp.He turns and walks out. Edwards checks his watch. A WAITRESS appears. WAITRESS Another beer? EDWARDS Coffee. Please.She walks off. Edwards looks at the table. There is a business card lyingnext to his plate, on which Kay has handwritten "James D. Edwards,Saturday, 9 a.m., 504 Battery Drive."Edwards looks at it, puzzled. He turns the card over and looks at theother side. There's not much there, no name, no phone or fax number, noe-mail address. Just three little letters, dead in the middle of the card: MIB CUT TO:EXT. FARMHOUSE - NIGHTA lonely farmhouse stands amid the fields of upstate New York farmcountry. Several lights are on and through a window we can see thesilhouette of a MAN sitting at the kitchen table, the silhouette of aWOMAN hovering over him, bringing things to him.The Man (EDGAR) waves his arms, ranting. EDGAR (O.S.) I go out, I work my butt off to make a living, all I want is to come home to a nice clean house with a nice fat steak on the table, but instead I get this -- this -- I don't even know what you call this!In the sky above, it's one of those brilliant star fields. But somethingstrange is happening with one of those stars -- it's getting bigger. EDGAR (O.S.) I'll tell you what it looks like, it looks like poison. Don't you take that away, I'm eating that, damn it! It is poison, isn't it?!No, that star isn't getting bigger, it's moving. Toward us. Fast. It goesfrom a pinpoint to a dime, to a nickel, to a quarter, and works its wayinto fruit metaphors. EDGAR (O.S.) I swear to God, I would not be surprised if it was, the way you skulk around here like a dog been hit too much -- or ain't been hit enough, I can't make up my mind.Okay, we're way past watermelon now, that thing is huge, and it's startingto glow hot red as it enters the earth's atmosphere, headed straighttoward us, coming here, to Beatrice and Edgar's place.The blazing fireball barrels through the sky, SNAPS off a couple trees -- EDGAR (O.S.) You're useless, Beatrice! The only thing that pulls its weight around here is my goddamn truck!-- and SLAMS right through a pickup truck parked in the driveway. Aconcussive BLAST follows, then a geyser of smoke and flame erupts. EDGAR (O.S.) Stay here!The silhouette of Edgar leaps to its feet, races to the door, and throwsit open. Edgar is everything his voice led us to expect -- a nasty,bug-eyed redneck carrying a twelve-gauge shotgun. His mouth agape, hewalks across the yard and stares at the hulking shell that was his truck.The skeleton of the truck is still there, but there's a huge, smolderinghole in it, a hole that goes at least ten feet down into the ground. EDGAR Figures.He walks to the truck and touches the door handle. Hot. Using his shirttail, he opens the door and peers down into the hole.IN THE HOLE, he sees a smooth curve of metal and a few blinking lights.Embedded into the ground is, indeed, a spaceship, maybe eight feet across.BEATRICE calls from behind him, standing in the doorway fearfully. BEATRICE What is it, Edgar?! EDGAR (turns to her) Get your big butt back in that house!Beatrice does as she's told, closing the door behind her. Edgar turns backto the smoldering rock, raising his shotgun in defense. AN OTHERWORLDLYVOICE comes from deep in the hole. VOICE (O.S.) Place projectile weapon on ground.Edgar staggers back a step, terrified. But then he regains himself, raisesthe weapon, and steps forward, pointing it menacingly down into the hole. EDGAR You can have my gun when you pry it from my cold, dead fingers!There is a pause while the voice thinks about this offer. Finally, itresponds, in a voice and cadence remarkably similar to Edgar's. VOICE (O.S.) Your proposal is acceptable.A long, hairy pincer flashes out of the hole, grabs Edgar by the head, andpulls him down into the hole.From deep in the hole, we hear a terrible RIPPING sound, like a bedsheetbeing torn in half. There are some disgusting GUSHY sounds, then a momentlater, something flies out of the hole and FLOPS onto the ground next tothe truck.It's Edgar. Well, sort of. His body parts still hang together -- face,arms, legs, even clothes -- but everything inside has been removed and nowhe just lies there, flat and empty, like a tuxedo on the floor after theprom.The shotgun flies out and lands beside him. CUT TO:INT. FARMHOUSE - KITCHEN - NIGHTBEATRICE sits at the kitchen table, terrified, still wiping away tearsfrom Edgar's diatribe. The door opens and EDGAR comes back into thekitchen, seemingly fleshed out again, leaving the door hanging open behindhim. He carries the shotgun.She looks up at him, anxious. But his face is a blank. BEATRICE What on earth was it?!He looks at her strangely. When he speaks, his voice is different thanbefore. More refined. EDGAR Sugar.Pause. She looks out the window, at the smoking truck. BEATRICE I've never seen sugar do that. EDGAR Give me sugar.Puzzled, Beatrice gets up, goes to the cabinet, and grabs a bag of sugar.She holds it out to him. EDGAR (CONT'D) In water.Frightened, she takes a glass of water from the table. She dumps some ofthe sugar into it. EDGAR (CONT'D) More.She puts more, till the glass is brimming. She stirs it quickly with aknife and hands it to him, her hand trembling.Edgar takes it and downs it in a single gulp. Beatrice stares at Edgar, noidea what to think. She notices something odd about the skin on his neck. BEATRICE Edgar, your skin! It's -- it's -- just hanging off your bones!Edgar drops the glass and looks in a window, to catch his reflection. Hereaches up ---- and twists his whole face, as if adjusting a ski mask, then tucks theskin of his neck back into his shirt collar. He looks at her. EDGAR That better?Beatrice faints.EXT. FARMHOUSE - NIGHTStillness. Silence. A loud SCRAPING sound comes from the pit left by thespaceship.The nose of the ship itself rises up out of the pit, wavers, keeps moving,and finally CRUNCHES to the ground outside the pit.EDGAR climbs out of the pit, breathing heavily. He dusts himself off andcontinues pushing the ship, along the ground, off into the darkness. CUT TO:EXT. MIB BUILDING - DAYThe next morning. EDWARDS, holding the small MIB business card in hishand, compares the address written down by Kay to the address on theutterly nondescript building in front of him. It's seven stories high,gray, windowless, perfectly square, squatting on a bridge over a road likea fat guy on the john. "504 Battery Drive."INT. MIB BUILDING - TUNNEL VENT ROOM - DAYEDWARDS steps through a heavily barred metal door and into long, bizarreroom. One wall is entirely dominated by the enormous blades of a tunnelvent air intake. There is an elevator at the far end of the room and anOLD SECURITY GUARD, the rent-a-cop kind, reading a comic book on a foldingmetal chair halfway across.Edwards walks across the room, his footsteps ECHOING. The Guard looks up. GUARD Help you? EDWARDS Maybe, I'm not sure, see, I got this card -- GUARD Elevator. Push the "call" button.And he goes back to his comic book. Edwards, maybe out of nothing morethan curiosity at this point, walks across the room, toward the elevator.As he draws close, the elevator doors WHOOSH open, expecting him.INT. MIB BUILDING - ENTRANCE ELEVATOR - DAYEdwards steps inside and turns around. The doors close. He pushes the"call" button and waits, but the elevator doesn't move. Instead, doors onthe other side of the elevator slide open silently behind him. Edwardswaits, unaware.From behind him, somebody clears their throat. Edwards turns around, andfinds himself standing in --INT. MIB BUILDING - INTERVIEW ROOM - DAYThis back room is every bit as mysterious and unfamiliar as the entryway.Standing at the front of the room is ZED, a wire-haired career G-man, anold school bureaucrat, wearing the exact same kind of suit Kay had on lastnight. SIX OTHER HOT RECRUITS sit in egg-shaped chairs, staring atEdwards.One chair is empty. ZED You're late. Sit down.Edwards takes the remaining chair. The elevator doors slide shut. Zedcontinues addressing the Recruits. ZED (CONT'D) My name is Zed. You're all here because you're the best of the best. Marines, Navy SEALS, Army Rangers...NYPD.They all turn and regard Edwards a little smugly. He gives it back. ZED (CONT'D) And we're looking for one of you. Just one. What will follow is a series of simple tests designed to quantify motor skills, hand-eye coordination, concentration, stamina -- I see we have a question.Edwards's hand is, indeed, up. EDWARDS Why, uh -- I'm sorry, it's just no one really asked this, but -- why, exactly, are we doing this?Silence. Then one of the young recruits eagerly raises his hand. Zed callson him. ZED Son? AMBITIOUS RECRUIT (loud and formal) Jake Jensen, West Point, graduate with honors. We're here because you're looking for the best of the best of the best, sir!Edwards tries to stifle a laugh, but can't. ZED What's so funny, Edwards? EDWARDS I -- I don't know, sir. This guy. "Best of the best of the best of the best of the --" (realizing nobody is with him on this) It just struck me as -- (totally serious) Humorous. Sir.Short pause. Then Zed continues. ZED Okay. Let's get going.INT. MIB BUILDING - INTERVIEW ROOM - LATER - DAYThe recruits scribble away at the written test. It's a thick document --reasoning skills, general knowledge, diagrams. The RECRUITS seem to bereally powering through it, filling in answer after answer.But no desks have been provided for them, and they're all still in theirchairs, writing uncomfortably on their thighs or knees.EDWARDS is really struggling. He writes two words on one answer, thendecides to erase it. The lack of a writing surface is driving him crazy;his pencil even TEARS through the page.He looks up. In the middle of the tile floor, there is an unused table.Edwards gets up, goes to it, grabs hold ---- and drags it, SCREECHING DEAFENINGLY, back to his chair. Everybodylooks up, wincing at the horrible sound that fills the room.Edwards sits back down, now writing on the table. That's better.Zed raises an eyebrow. He stares at Edwards, then looks up, toward asmoked glass window. Behind the dark glass, a FIGURE stands, staring,unemotional. CUT TO:INT. MIB BUILDING -- SHOOTING GALLERY -- DAYSEVEN WEAPONS rest on a table in the middle of an otherwise empty,triangular room. The SEVEN RECRUITS stand in front of the table.There's an odd moment -- where everyone sort of looks around: at eachother, at the blank walls... EDWARDS Anyone, uh...any of you guys know what we're doing here? MARINE (clipped, unquestioning) Looking for the best of the best of the best. EDWARDS (can't help but smile) Well, yeah, I know, but...And then .. suddenly --The two far walls pull apart. The whole room pulsates and the air issuddenly filled with a bewildering swirl of stroboscopic images, bothhuman and alien. Everywhere is color, light and movement -- a holographicmass of strange shapes and characters moving simultaneously.The Recruits lunge for the weapons, snapping them up and taking aim. SIXSHOTS are fired at once. And then, a second later, a SEVENTH SHOT isfired. Everyone sort of looks at Edwards, who puts his gun down last.There's an awkward silence. Then the door opens. Light pours in, and ZEDwith it. Even the highly competitive cadets can't help but feel somesympathy as Zed walks straight to Edwards. ZED The hell happened? EDWARDS Hesitated, sir.Zed looks into the gallery. Most obvious in the frozen tableau ofcreatures is a lunging, snarling beast, which has three bullet holes inits chest. Next to it is a massively deformed humanoid creature with alarge hook for a head, which also has three holes in it. In the backcorner of the gallery, there is a single bullet hole in a prettyeight-year-old girl. ZED May I ask why you felt little Tiffany deserved to die? EDWARDS She was the only one who actually seemed dangerous. At the time. ZED And how did you come to that conclusion? EDWARDS Hook-head guy. You explain to me how he can think with a hook for a head. Answer; it's not his head. His head is that butt-ugly bean-bag thing over there. 'Cause if you look at the snarling beast-guy, he's not snarling, he's sneezing -- he's got tissues in his hand. No threat there, and anyhow, the girl's books were way too advanced for an eight-year-old's. And besides, from where I'm looking, she was the only one who appeared to have a motive. And I don't appreciate your jumping down my throat about it.Sideways glances from the other recruits. Zed sighs. EDWARDS (CONT'D) Or, uh -- do I owe her an apology? CUT TO:INT. MIB BUILDING - OBSERVATION ROOM/INTERVIEW ROOM - DAYZED and KAY stand behind smoked glass, staring at the RECRUITS, who arestill in the shooting gallery, waiting for a decision. ZED He's got a real problem with authority. KAY So do I. The guy ran down a cephlapoid, Zed. On foot. Tenacity. That I can use. ZED I hope you know what you're doing.Zed turns and walks away. Kay stares through the glass, at EDWARDS, whostands alone on one side of the room, apart from the rest of the group.Zed reappears on the other side of the glass, coming through a door andinto the shooting gallery. As he talks, Kay turns and walks off. ZED (CONT'D) Congratulations, you're everything we've come to expect from years of government training. Now, if you'll just follow me, we have one more test to administer, an eye exam.INT. MIB BUILDING - HALLWAY - DAYThe RECRUITS follow ZED out of the shooting gallery and into a longhallway. Zed motions them off to the left. EDWARDS is the last one out ofthe room, but he stops as he steps into the hallway.KAY is outside the door, waiting for him. Edwards recognizes him from lastnight. EDWARDS You! Hey, what's goin' on?The other recruits continue down the hall with Zed. Kay doesn't answer,just gestures to Edwards to follow him down the hall, which he does. KAY Back in the mid-fifties, the government started a little underfunded agency with the simple and laughable purpose of making contact with a race not of this planet.As they pass an alcove, Edwards notices the six other Recruits, who havebeen herded into a corner. Zed, addressing them, pulls a neuralyzer fromhis pocket. ZED Now, if you'll look directly at the end of this device.He holds a neuralyzer up in front of them, and the Recruits stareobediently at it as Zed slips on a pair of black sunglasses.Edwards stares, fascinated, but Kay's hand reaches in and yanks him away,just as Zed's neuralyzer FLASHES WHITE.INT. MIB BUILDING - HALLWAY - DAYAs KAY leads EDWARDS down an impossibly long corridor, he hands him a filefolder stuffed thick with eight by ten photographs.He hands Jay the first picture, a shot of eight or nine MEN in plain blacksuits standing around a fifties-style office with metal desks andfluorescent lights. DEE and ZED are there, much younger. KAY Everybody thought the agency was a joke. Except the aliens. They made contact on March 2nd, 1961, outside New York City.Another photograph, a grainy black and white image of two ships hoveringin the night sky -- classic flying saucer shapes. KAY (CONT'D) There were nine of us that night. Seven agents. An amateur astronomer. And one poor kid who got lost on the wrong back road.Yet another photograph, this one showing a young KAY, in a shirt and tie,holding a bouquet of flowers, staring at the open door of the landedflying saucer. ALIEN SHAPES are visible within. EDWARDS You brought the aliens flowers?Kay steers Edwards to the right, down another corridor, just as long asthe first. KAY They were intergalactic refugees with a simple request. Let us use the earth as an apolitical zone for people without a planet. Ever see "Casablanca?" Same thing, no Nazis. We agreed. So we masked all evidence of their landing.Another picture, this one of the 1964 World's Fair grounds, still underconstruction. Giant models of rockets mark the Fair's theme of spacetravel; most prominent in the construction are two tall towers, with theflying saucers now mounted at the top of each. EDWARDS The 1964 World's Fair was a coverup? KAY Why else would we hold it in Queens? (another hallway) Now left. More nonhumans arrive every year. They live among us, in secret. EDWARDS I see. Not to change the subject, but when was your last cat-scan? KAY Every six months; it's company policy. EDWARDS Well, thanks for the very amusing morning, but I'm hopin' you'll show me where I came in? 'Cause this is where I go out.They have stopped next to an unmarked door. Kay throws it open and stepsinside. KAY Yeah, sure, hang on, I wanna grab a coffee while we're right here.As Kay walks into the kitchenette, Edwards' jaw drops, his eyes widen, andhe stares in wonderment ---- at THREE WORM-LIKE ALIENS standing around a water cooler. Tall,impossibly thin, most certainly not from New York, the aliens hold ananimated conversation in a language that seems like a combination ofEsperanto and microphone feedback. KAY (CONT'D) (to the aliens) Don't tell me we've only got that powdered shit for cream again?One of the Worm Aliens answers him in their native tongue and points tothe counter. KAY (CONT'D) Oh.He finds the cream sitting out on the counter where the alien indicated,dumps some in his coffee, and comes back outside, closing the door behindhim. He reaches up and gently pushes Edwards' jaw up, closing his mouth. KAY (CONT'D) For future reference, this is a better look for you. CUT TO:EXT. BATTERY PARK - DAYEDWARDS, thrown for a major loop, sits like a zombie alongside KAY on abench in Battery Park. Kay drinks his coffee while they talk. KAY Any given time, around fifteen hundred landed aliens are on the planet, the majority right here in Manhattan. Most aliens are decent enough, just trying to make a living. EDWARDS Cab drivers? KAY Not as many as you'd think. Humans, for the most part, don't have a clue. Don't want one, either. They're happy. They think they've got a pretty good bead on things. EDWARDS Why the big secret? People are smart, they can handle it. KAY A person is smart. People are dumb. Everything they've ever "known" has been proven to be wrong. A thousand years ago everybody knew as a fact, that the earth was the center of the universe. Five hundred years ago, they knew it was flat. Fifteen minutes ago, you knew we humans were alone on it. Imagine what you'll know tomorrow. EDWARDS So what's the catch? KAY What you'll gain in perspective, you'll lose in ways you're too young to comprehend. You give up everything. Sever every human contact. No one will know you exist. Ever. EDWARDS Nobody? KAY You're not even allowed a favorite shirt. There. That's the speech I never heard. That's the choice I never got. EDWARDS Hold up. You track me down, put me through those stupid-ass tests, now you're trying to talk me out of it. I don't get it. KAY You got 'til sun-up. EDWARDS Is it worth it? KAY You find out, you let me know. DISSOLVE TO:EXT. BATTERY PARK - DUSKAlmost nighttime now, and the park is empty. EDWARDS is still on thebench. And still thinking. Above him, the stars are coming out.Slowly, he looks up, into the vastness of the heavens. DISSOLVE TO:INT. GARAGE - DAYThe next morning. A door opens on a garage and an ORKIN MAN steps inside,carrying a tank of toxic gas. The morning light spills on an abundance ofspiders, crawling everywhere -- big ones, small ones, hundreds of themhave moved in and taken over this dusty place.The Orkin Man sighs and sets down his tank. ORKIN MAN Well, well, well. Movin' right in, are we? Think we own the place?He unfurls a hose from the side of the tank. ORKIN MAN (CONT'D) Got a little eviction notice for you, boys.He raises a mask to his face and unscrews the handle on the top of thetank. LETHAL GAS starts to HISS from the end of the hose. VOICE (O.S.) Just what exactly do you think you're doing?The Orkin Man turns around. EDGAR stands in the doorway to the garage,staring at him disdainfully. ORKIN MAN (shrugs) Takin' care of your pest problem. EDGAR "Pest" problem? "Pest?" ORKIN MAN Yeah. You got a hell of an infestation.Edgar advances on him, slowly. EDGAR You know, I have noticed an infestation here. Everywhere I look, in fact. Nothing but undeveloped, unevolved, barely conscious pond scum. So convinced of their own superiority as they scurry about their short, pointless lives. ORKIN MAN Well -- yeah. Don't you want to get rid of 'em? EDGAR In the worst way.Edgar lashes out quickly, jerking the mask off the Orkin Man's face withone hand ---- and shoving the gas hose down his throat with the other.THE ORKIN MAN'S CAR KEYS drop to the garage floor, and Edgar picks themup.EXT. GARAGE - DAYA six-by-ten sheet of plywood THUDS to the driveway outside the garage.EDGAR raises one end of it so it's hanging off the back end of the Orkinman's van -- now it's a ramp.He walks off and we hear that familiar SCRAPING sound again. Edgar,GRUNTING with the effort, slowly pushes his spaceship up the ramp and intothe back of the Orkin truck. CUT TO:INT. MIB BUILDING - TUNNEL VENT ROOM - DAYEDWARDS stands in the middle of the tunnel vent room, the same one hefirst came into yesterday. The elevator doors open and KAY, obviouslysummoned by the OLD SECURITY GUARD, stands waiting for him. EDWARDS One thing you gotta know right now.Edwards walks briskly forward and gets in the elevator with Kay.INT. MIB BUILDING - ELEVATOR - DAYInside the elevator, the doors WHOOSH shut, KAY turns a key in a certainfloor number, and the descent begins. EDWARDS continues. EDWARDS All right. I'm in because there's some next-level shit going on around here, and I'm with that. Before you beam me up, there are a couple of things we need to get straight. You chose me 'cause you recognize the skills. So as of now you can cease with all of that calling me "son" or "kid" or "sport." Cool? KAY Cool, slick. Now about those skills of yours,The elevator doors --INT. MIB BUILDING - HEADQUARTERS - DAY-- slide open on Men in Black headquarters. KAY As of this moment, they don't mean much.It's unlike anything we've ever seen -- huge, multileveled, of sixtiesdesign, polished steel and glass. The workplaces are sleek anduncluttered, manned by both HUMANS and ALIENS. Most of the Aliens stay inthe background, like the UPSIDE-DOWN GUY who walks on the ceiling,shuffling papers.KAY and EDWARDS step off the elevator and onto a platform that looks outover the whole place.Kay leads him down into the complex. First, they walk past a sort ofpassport control center, where a human BUREAUCRAT at a desk is checkingthe documents of a line of ALIENS who've just arrived. There are a dozenbizarre life forms in that line, CHATTING in half a dozen different alientongues.Edwards slows as they pass, listening to the PASSPORT CONTROL OFFICER ashe addresses an ARQUILLIAN, a large, humanoid visitor. PASSPORT OFFICER Purpose of trip? ARQUILLIAN Diplomatic mission. PASSPORT OFFICER Duration of stay? ARQUILLIAN Lunch. PASSPORT OFFICER Carrying any fruits or vegetables?Edwards just stares, fascinated, but Kay grabs him by the arm and hurrieshim along. KAY Let's go. He's a little...grouchy.Kay moves him into the central hall. KAY A couple of hours wait after a 17-light-year flight would get on anybody's nerves. EDWARDS What branch of the government do we report to? KAY None. They started asking too many questions. EDWARDS So who pays for all this? KAY Oh, we hold a few patents on gadgets we confiscated from our out-of-state visitors. Velcro. Microwave Ovens. Liposuction.AT A STORAGE CAGE, Kay turns a key in the lock of a caged-in area andthrows the door open. Inside, there are piles of sophisticated-lookingdevices stacked on shelves and tabletops. KAY (picking something up) Here. A new recording device to replace CD's. So now I gotta buy the White Album again? (something else) This is amusing. Universal translator.He holds up a cylindrical metal tube and a small wire clip that looks likea lapel microphone. KAY (CONT'D) We're not supposed to have it. I'll tell you why. Human thought is so primitive it's considered an infectious disease. Makes you proud, doesn't it?Edwards picks up a small yellow ball from one of the shelves. EDWARDS What's this? KAY (CONT'D) Don't touch that!THE BALL ZINGS OUT OF EDWARDS' HANDS -- it flies out into the main complex-- hits the ceiling and ricochets around the room, faster than the eye canfollow --VARIOUS SHOTS OF HUMANS AND ALIENS ducking, dodging, and jumping out ofits way.ON KAY as he calmly, a little wearily, slips an odd-looking metal gloveover his right hand...He raises his hand and the yellow ball zings into it -- Kay catches theball, calmly. KAY (CONT'D) Caused the '77 New York blackout. Practical joke by the Great Attractor. He thought it was funny as hell.They leave the room. EDWARDS Sorry!ON THE MAIN FLOOR, they walk briskly across the room, reaching a giantscreen on the far wall. KAY Observation, the heart of our little endeavor.The screen displays a map of the world on which thousands of tiny lightsblink in all parts of the globe, log lines of data flashing next to them. KAY (CONT'D) This map shows the location of every registered alien on earth at any given time. Some of them we keep under constant surveillance.He hits a button on the console and the map is replaced by hundreds ofboxes, each with smaller video images. KAY (CONT'D) Everyone on these screens is an alien. In public -- normal. In private -- you'll get the idea.ON THE SCREENS, we see live images of aliens. Aliens who look alien are inspots where they can't be seen. Aliens who look human are functioningright out in public -- including SAM DONALDSON. MICHAEL JACKSON. And TONYROBBINS. KAY (CONT'D) Meet the twins.Kay gestures to two small, bony CREATURES with eight arms each and asingle eye growing out of a central stalk in their heads. They turn aroundand wave two or three arms each. EDWARDS I gotta be honest about something. KAY It makes no sense? EDWARDS It makes perfect sense. When I was a third grader in Philadelphia, they told me I was crazy 'cause I swore that our teacher was from, like, Venus or something. KAY Mrs. Edelson.Edwards, stunned, looks at Kay as 4-Eyes boots her onto the screen: Meanface, cat glasses. Bony fingers. Extremely well-hidden tail. KAY Jupiter, actually. Well, one of the moons.With their remaining arms, they punch button after button on the enormousconsole. ZED, who was standing up close to the screen, walks over toEdwards, sizing him up. ZED What's your jacket size, Edwards? EDWARDS Uh -- forty regular. ZED Then let's put it on. EDWARDS Put what on? ZED The last suit you'll ever wear. CUT TO:INT. MIB BUILDING - LOCKER ROOM - DAYLike the rest of the place, the MIB locker room is all white. White walls,white floor, white ceiling, white lockers. ZED'S VOICE comes over: ZED (O.S.) From now on, you'll dress only in attire specially sanctioned by MIB Special Services.EDWARDS reaches out and opens a white locker, revealing a BLACK SUIT hungfrom a hanger in the middle. Above it, on the shelf, a BLACK HAT and apair of BLACK SUNGLASSES. On the bottom, a pair of SHINY BLACK SHOES.INT. MIB BUILDING - HEADQUARTERS - DAYKAY is at a computer terminal. On screen are Edwards's birth certificate,driver's license, social security card, library card, everything. ZED'SVOICE continues: ZED (O.S.) You'll conform to the identity we give you, eat where we tell you, live where we tell you, get approval for any expenditure over a hundred dollars.INT. MIB BUILDING LASER BOOTH - DAYEDWARDS stands in a cramped white booth.He holds both his hands on a TEN-FINGERED KEYPAD, pressing down hard. Thepad glows red, a SEARING sound comes from his hands, and he grimaces asmore lasers instantly and (not at all) painlessly change his fingerprints. ZED (O.S.) You will have no identifying marks of any kind. You will not stand out in any way.INT. MIB BUILDING - HEADQUARTERS - DAYOne by one, KAY deletes Edwards's identity cards.On the computer screen is Edwards' full name -- JAMES DARREL EDWARDS III.Kay punches a couple keys, and the cursor begins to sweep from right toleft, starting to eliminate the rightmost letters of Edwards's name. ZED (O.S.) Your entire image is carefully crafted to leave no lasting memory whatsoever with anyone you encounter.INT. MIB BUILDING - LOCKER ROOM - DAYPants come off the hanger. The white shirt is removed.More letters are eliminated from his name. It reads "JAMES DARREL ED..."then "JAMES DARR..." ZED (O.S.) You're a rumor, recognizable only as deja vu and dismissed just as quickly. You don't exist; you were never even born.The coat is removed. The hat comes off the shelf. ZED (O.S.) Anonymity is your name. Silence your native tongue."JAMES..." "JAM..." ZED (O.S.) You are no longer part of "the system." We're above the system. Over it. Beyond it.Feet slip into black shoes. A belt is buckled. A tie pushed up. ZED (O.S.) We're "them." We're "they."On screen, all that's left is the letter "J."As the coat is buttoned, we notice the sleeve. Monogrammed on the cuff is,simply, the letter "J." ZED (O.S.) We are the Men in Black.INT. MIB BUILDING - HEADQUARTERS - DAYLooking slick and handsome in his extremely sharp suit, JAMES D EDWARDSIII -- or, rather, JAY -- steps into the doorway from the locker room. Hereaches into his pocket, takes out the sunglasses, and looks at KAY. JAY The difference between you and me?He slips on the sunglasses. JAY (CONT'D) I make this look good. CUT TO:EXT. NEW JERSEY - EARLY MORNINGWe are looking at a telephoto shot of Manhattan in all its splendor.We see the Orkin van topping a hill, heading towards Manhattan.INT. MIB BUILDING - ZED'S OFFICE - DAYZed's office is a circular, windowed room elevated above the main floor ofMIB headquarters. JAY and KAY sit across the desk from Zed. There are fivevideo monitors on a wall behind Zed's desk, and on each monitor is anotherMan in Black, in different parts of the world, the city name and a clockticking in a corner of the image.While Zed talks, he goes through paperwork on his desk. ZED Okay, let's see. (to one of the monitors) Bee, we got the deposed sur-prefect of Sinalee touching down in the forest outside Portland tonight. I'm pulling you down from Anchorage to do a meet-and-greet.BEE, an agent on one of the monitors, nods. BEE Humanoid? ZED You wish. Bring a sponge. (going through memos) What else -- everybody, we gotta keep Rolling Fish-Goat out of the sewer system, he's scaring the rats. And Bobo the Squat wants to reveal himself on "Unsolved Mysteries." Bee, make sure he doesn't.He turns a page, coming across a red memo. ZED (CONT'D) Red-letter from last night -- we had an un-authorized landing somewhere in upstate New York farm country. Keep your ears open for this one, Kay, we're not hosting a galactic kegger down here.Next to him, his computer screen BEEPS importantly. Zed looks over at it. ZED Well, well, well -- we got a skimmer. KAY (to Jay) Landed alien out of zone. (to Zed) Who is it? ZED Redgick. He's not cleared to leave Manhattan but he's way out of town right now, stuck in traffic on the New Jersey Turnpike. Why don't you take Jay? This is a good one for him to warm up on.EXT. MIB BUILDING - BATTERY PARK - DAYJAY and KAY come out the front of MIB headquarters. JAY Yo, wussup with Zed? (imitating him) "Go get em, tiger. We're not hosting an intergalactic kegger..." KAY Zed was saving the world before you were born, son. Show some respect.An MIB MECHANIC pulls up in Kay's black LTD and hops out, leaving the dooropen. Jay sizes up the car. JAY We got the use of unlimited technology from the entire universe and we cruise around in this?Kay glares at Jay. He's getting annoyed.INT. MIB LTD - DAYThey get in and slam the doors. Kay starts the car and the engine HUMSquietly. KAY Seat belt. JAY You know, ya'll gotta learn how to talk to people. You could be a little kinder and gentler.Kay grits his teeth. KAY Buckle up, please. JAY Now did that hurt?Kay shifts the car into reverse. The awesome power of the car kicks in andJay sails forward, THWACKING into the dash. Kay shifts into forward andtaps the gas, SLAMMING Jay back into his seat. KAY Makin' fun of my ride...A LIGHTED PANEL rotates into place between the two front seats. Jay'shand falls by accident on a flashing red button in the panel. KAY Jay. The button? JAY Yeah? KAY Never push the button, Jay.Jay jerks his hand away. CUT TO:EXT. HIGHWAY - SIDE OF THE ROAD - DAYThe LTD is now stopped by the side of the road, dust swirling around it.Ahead of it, another car has pulled over. KAY gets out, JAY follows amoment later, shaky-legged. Kay walks up to the window of the car they'vestopped. The DRIVER, a guy in his mid-thirties with a WIFE in hermid-thirties, rolls the window down. KAY License and registration, please.The Driver hands over some documents. Kay flips through them. KAY (CONT'D) Other license and registration, please.The guy digs out two other cards and hands those over. Jay peers overKay's shoulder.The photographs on the "RESIDENT ALIEN ID"cards are of twofriendly-looking reptile types, husband and wife, smiling atthe camera,their long, skinny tongues dangling in a friendly sort of way.Kay hands them back. KAY (CONT'D) Your resident card has you restricted to the five boroughs only. Where do you think you're going? REDGICK It's my wife! She's -- she's -- well, look!Kay leans down and looks in the window. MRS. REDGICK is in front, MOANINGin pain, holding her swollen belly. Kay straightens up, fast. KAY Oh God. How soon?Mrs. Redgick SCREAMS in pain. Real soon. For the first time since we'veseen him, Kay is nervous. KAY (CONT'D) Okay. All right. No big deal. (to Jay) You handle it. JAY Me? KAY Sure, it's easy, you just sorta -- catch.Mrs. Redgick SCREAMS again. Redgick gets out of the car, worried. REDGICK Are you sure he knows what he's doing? KAY Yeah, hell, sure, he does this all the time. C'mon, let him work, Redgick, I wanna ask you something.Kay gives Jay a supportive SLAP on the back and leads Redgick away, to therear of the car. Jay stays in the background and opens the rear door,tentatively. He leans down, into the car. JAY Oh God! I see it I see it I see it!A few yards from the car, Kay turns Redgick to face him. KAY Croagg the Midwife's back on 64th and 8th. You were headed out of town. REDGICK Well, we're, uh -- meeting someone.Suddenly a TENTACLE whips out from between Mrs. Redgick's legs, CRACKS thewhip once, and wraps around the door post, grabbing hold. JAY Oh sweet Jesus Mother of God did you see that?! KAY (still to Redgick) So? Who you meeting? REDGICK Well, it's -- a ship. KAY Really? I didn't see a departure clearance for today. REDGICK You didn't? Uh, well -- it was an emergency.Now a SECOND TENTACLE whips out, but this one wraps around Jay's neck andpulls tight. He GASPS, choking. JAY Guys -- guys -- KAY Doin' fine, Ace. (back to Redgick) What kind of emergency? What's the rush to get off the planet all of a sudden? JAY (choking to death) Help?! HELP! Hello?!He starts tugging for all he's worth, but the fight is sort of goingagainst him, as the tentacles pull him in even harder than he tries topull the baby out. REDGICK We just don't like the neighborhood anymore. Some of the -- new arrivals.Redgick looks at Kay, clearly concealing something, but darts his eyesaway. KAY What new arrivals? This have anything to do with the crasher from last night? JAY (Screaming) Can you guys do this later?!But in that moment, Jay finally gets a foot up on the door frame, acquiresleverage, and RIPS the baby free. He falls, flat on his back in the dirt,the multi-tentacled lizardlike baby resting squarely on his chest. JAY (CONT'D) Oh -- oh -- oh -- man.Kay turns and claps Redgick on the back. KAY Congratulations! It's a lizard.Jay looks down at the creature COOING and nestling on his chest. JAY (misty) Hey, you know, it is sorta --It vomits on him. CUT TO:EXT. HIGHWAY - SIDE OF THE ROAD - MIB LTD - DAYBack in the car, JAY wipes the last of the puke off his suit while KAYstarts up the car. KAY Anything about that seem unusual to you?Jay just looks at him, very Jack Benny. JAY Pick. KAY What kind of "new arrival" would scare Redgick so bad that he'd risk a warp jump with a newborn? (thinks) Let's check the hot sheets.EXT. NEWSSTAND - DAYCLOSE ON on various supermarket tabloids as a hand flips through them.There are headlines like "POPE A FATHER!"and "TOP DOCTORS BAFFLED -- BABYBORN PREGNANT!" and "MAN EATS OWN HOUSE!" (the subhead on that one is "AndThat's Just the Appetizer, Says Neighbor.")KAY and JAY are at a downtown newsstand. Kay is furiously searchingthrough the tabs; Jay is standing behind him, a little embarrassed. JAY These are the hot sheets?Kay pulls a copy of the Weekly World News from the stand and gives the guya buck. KAY Best damn investigative reporting on the planet. But hey, go ahead, read the New York Times if you want. They get lucky sometimes. JAY You're actually looking for tips in a supermarket tabloid? KAY Not looking for. Found.He SMACKS the paper down on the hood in front of Jay, the pages turnedopen to a headline in typeface so large one would think it reserved forthe Second Coming: Farm wife says "ALIEN STOLE MY HUSBAND'S SKIN!" CUT TO:EXT. GEM AND JEWELRY STORE - ORKIN VAN - DAYA flap of skin, now getting gray and crusty with age, hangs off EDGAR'sneck as he sits in the front of his Orkin van. He sucks as hard as hepossibly can on a straw stuck into a Jolt Cola ("Double the Sugar! Triplethe Caffeine!"), one of a six-pack that sits on the dashboard.Across the street, Edgar sees a short, older man come out of one of thejewelry shops on Thirty-Fifth Street. Edgar drops the soda and stares.The Older Man (ROSENBERG), is carrying a cat and an ornate rosewoodjewelry box. Carefully, he sets the box down and lovingly places the caton top of it while he locks all five locks on the door to his distinctiveshop.That finished, he picks up the cat, then the box, then waddles off downthe street, one under each arm.Edgar drops the truck into gear and follows him, slowly, trolling alongbehind him.ON THE STREET, Rosenberg walks happily along, HUMMING to himself. He giveshis cat a little peck. As he rounds a corner, we recognize the tune he'shumming -- "I've Got the Whole World In My Hands."The Orkin van rounds the corner behind him. Following. CUT TO:EXT. FARMHOUSE - DAYThe LTD pulls to a stop at the end of the driveway that leads toBeatrice's farmhouse, where the alien ship landed. The wrecked pickuptruck is still there. JAY and KAY get out, very undercover cop. Jay startsup the driveway. KAY Not so fast. Walk up slow. JAY Why? KAY Part of the routine. Makes it look like we're sizing up the situation. Gives her time to get the wrong impression.BEATRICE appears in the door to the house, curious. KAY (CONT'D) Puts some fear into her. Makes things go smoother.Beatrice calls to them. BEATRICE Can I help you gentlemen?Beatrice looks much better than the last time we saw her -- more nicelydressed, a touch of makeup, a smile on her face.Kay pulls a black card from his wallet and extends it to her as she drawsclose. As she reaches for it, the card reforms into an FBI badge. KAY How do you do, ma'am, I'm Special Agent Manheim, this is Agent Black, FBI. Had a few questions about your visitor. BEATRICE Are you here to make fun of me too? KAY No ma'am. We at the FBI don't have a sense of humor that we're aware of. Mind if we come in? BEATRICE Sure. Lemonade? CUT TO:INT. FARMHOUSE - LIVING ROOM - DAYIn the living room, KAY sips some of her lemonade and winces. JAY movesthrough the room, checking it out as BEATRICE tells her story. BEATRICE And they said to me, "If he was murdered, how could he walk back in the house?" And I must admit, I was a little stumped by that one. But I know Edgar. And that wasn't him. It was more like something else that was wearing him. Like a suit. An Edgar suit.A little GIGGLE escapes her at the thought. Jay, over by a bookcase,notices a framed PHOTO OF EDGAR, kneeling in the woods, proudly about toskin a deer. JAY Damn. If he was this ugly before he was an alien... BEATRICE Sorry? KAY Go on. BEATRICE Anyway, when I came to, he was gone. KAY Did he say anything? BEATRICE Yes! He asked for water. Sugar water, if I remember. KAY Sugar water. JAY Did you taste her lemonade?Kay nods, puts on his sunglasses. Takes out another pair, hands them toJay.Kay draws his neuralyzer. FLASH! Beatrice freezes, staring straight aheadas if hypnotized. Kay takes Jay's glasses off and hands them back to him. KAY Ray Bans. (pulling off Jay's sunglasses) Okay, Beatrice. There was no alien, and the flash of light you saw in the sky wasn't a UFO. Swamp gas from a weather balloon was trapped in a thermal pocket and refracted the light from Venus -- JAY Whoa! That thing erases her memory, and you give her a new one? KAY Standard issue neuralyzer. JAY And that's the best you can come up with? KAY On a more personal note, Beatrice, Edgar ran off with on old girlfriend. Go stay at your mother's for a few days and get over it. Decide you're better off. JAY (butting in) Yeah, and you're better off 'cause he never appreciated you anyway. In fact, you kicked him out, and now that he's gone, you ought to buy some new clothes, maybe hire a decorator or something... CUT TO:EXT. FARMHOUSE - DAYKAY is in the hole where the ship landed, investigating. He holds a pocketspectral analyzer over a section of scorched earth. The analyzer shiftscolors. Red. Then Yellow. JAY (from up outside the hole) Hey. Kay...when am I gonna get one of those memory things?The spectral analyzer turns blue. KAY When you're ready. (re: analyzer) Please -- not green.Purple. And then green.Kay closes his eyes and sits back, leaning against the dirt. Above him,JAY leans over, staring down. Kay looks up at him. KAY (CONT'D) Do you know what alien life form leaves a green spectral trail? JAY Wait -- don't tell me -- that was the question on Final Jeopardy last night.AT THE CAR, Kay snatches up the radio handset and keys the microphone. KAY (softly, into mic) Zed, we have a bug.He turns off the radio and sighs. Jay stands next to him. JAY I'm gonna jump way past you and just guess that this is bad. Right? KAY Bugs thrive on carnage, Tiger. They consume, infest and destroy. They live off the death and decay of other species. JAY So basically you have a racial problem with all insect-based life forms? KAY Listen, kid -- imagine a giant cockroach five times smarter than Albert Einstein, four times stronger than an ox, nine times meaner than hell, strutting his stuff around Manhattan Island in his brand new Edgar suit. Does that sound like fun? JAY What do we do? KAY With a bug in town? Watch the morgues. CUT TO:EXT. LESHKO'S DINER - DAYROSENBERG, the jewelry store owner, steps out of a cab in the meat-packingdistrict, still carrying the ornate box and his beloved cat. He heads intoLeshko's, a Russian diner.A moment later, the Orkin van pulls to a stop across the street.INT. LESHKO'S DINER - DAYROSENBERG comes into the tiny restaurant, squinting in the relativedarkness. At a table in the middle, he sees a man eating alone -- anenormous, dignified, yet profoundly strange-looking man in his midfifties.Rosenberg walks carefully over to the table, but does not sit down. Theman (an ARQUILLIAN, and if we're eagle-eyed, we recognize him as the alienon a "diplomatic mission" from passport control) rises from his chair. Hesteps forward, to face Rosenberg, who sets the ornate box on the table.Immediately, ROSENBERG'S CAT jumps on top of it.Rosenberg and the Arquillian stare at each other for a long moment ---- and then embrace each other. The embrace has an odd, formal quality toit, like mafiosi coming to a sitdown. They hold on, long and hard, andboth seemed choked with emotion.Finally, they break apart and take their seats. They speak in a bizarrealien tongue, which is subtitled. Rosenberg wipes away tears. ROSENBERG Sorry I'm late. The cab drivers on this planet are terrible. ARQUILLIAN Your majesty, you are in grave danger. ROSENBERG Yeah, and they overcharge you every time. ARQUILLIAN Sir, a bug landed here. We must get you off the planet. ROSENBERG A bug? He must know why I'm here. ARQUILLIAN We think he does. (noticing the ornate box on the table) Is that what I think it is? ROSENBERG No, just some diamonds for your children. Do we have time to eat?The Arquillian relaxes. ARQUILLIAN Sure. I ordered you some pirogi.INT. LESHKO'S DINER - KITCHEN - DAYIn the kitchen, the Russian COOK slaps two orders of pirogi up on thestainless steel counter -- COOK Table six is up!-- and turns away, back to the grill.A HAND reaches in, takes the plates, and sets them on a tray. We followthe tray, but see only the right arm and aproned midsection of the waitercarrying it. He carries the tray along the counter toward a pair ofswinging doors that lead out into the restaurant.The doors swing in as another WAITER sweeps into the kitchen, and ourwaiter heads out into the dining area. As the doors swing closed behindhim, they reveal storage shelves crammed with bags of rice, cans of stewedtomatoes ---- and a DEAD WAITER, literally folded in half and stuffed in among theshelves.INT. LESHKO'S DINER - DAYROSENBERG and the ARQUILLIAN raise their glasses in a toast. ARQUILLIAN To the continued reign of the Arquillian Empire. ROSENBERG To the safety of the galaxy.They CLINK glasses and drink, just as the Waiter arrives. Still, we seeonly his arms and midsection as he sets the tray on a stand and lifts theplates of pirogi. He carries them to the table and sets them down.Rosenberg, setting his glass down next to the plate, catches a glimpse ofthe Waiter's hand ---- just as an enormous silverfish bug slithers out of the waiter's sleeveand scurries across the table. The glass slips out of Rosenberg's hand,dumping wine all over the table.He looks up, slowly, and sees the Waiter's face.It's EDGAR. Another half dozen insects of all variety tumble out ofEdgar's sleeves and scurry across the table. Rosenberg and the Arquillianfreeze, paralyzed with fear. They seem to know what dire implicationsEdgar's presence holds. ROSENBERG (in English again) You can kill us both -- but you will not find it.Edgar smiles. EDGAR You're right about one thing.Suddenly a long STINGER whips out from under the back of Edgar's apron andzips under the table. First Rosenberg and then the Arquillian lurchforward their chairs, their faces contorting in pain.They both pitch forward, their faces slogging into fresh pirogi.The stinger SNAPS out from under the table and whips back under Edgar'sapron. He moves quickly, searching their pockets, but he doesn't find whathe's looking for. The cat, still perched on top of the ornate box, HISSESat him.Edgar reaches out and BATS the cat away with one vicious swipe of hishand. The animal HOWLS and flies across the room, landing in a WOMAN'slunch.The Woman SCREAMS. Now other DINERS' attention is drawn to Edgar's table,where two obviously dead men are being robbed by a waiter. There areSHOUTS of outrage, a few MEN rise out of their seats.Edgar grabs the ornate box and tries to open it, but finds it locked. Withthe furor rising around him, he shoves the box under one arm and bolts forthe door.Rosenberg's cat leaps back onto the table and SNARLS at him as he goes. CUT TO:EXT. LESHKO'S DINER - DAYLater, and the Russian diner is now a crime scene, clustered with COPS andflashing lights. THREE BODIES, now on stretchers and covered with sheets,are being loaded into the back of ambulances.ROSENBERG'S CAT races out of a UNIFORMED COP's arms and leaps onto one ofthe stretchers, MEOWING mournfully. The Uniformed Cop turns to a POLICEINSPECTOR who is questioning the WOMAN from the diner. COP What am I supposed to do with the cat? INSPECTOR I don't know. Send it with the stiff. Let family claim it.The Cop nods and follows the stretcher with Rosenberg's body into the backof one of the ambulances, allowing the cat to ride on the chest of itsdead owner for the time being.The doors of the wagon SLAM shut. CUT TO:INT. MORGUE - CORRIDOR - DAYThe stretcher with the corpse on it is wheeled down a corridor in policeheadquarters. ROSENBERG'S CAT, still on his chest, MEOWS curiously as thestretcher approaches two doors with "City Morgue" written across them. Thewords split in half as the stretcher BANGS through the doors.INT. MORGUE - DAYThe city morgue is a crowded, brightly-lit, tiled place with corpsesparked left and right. Busy day in the Apple. The Cop wheeling thestretcher calls out to the CORONER, who's hunched over another body. COP Where do you want contestant number three?The coroner turns around. It's DR. LAUREL WEAVER, the woman who tried tospeak to Jay before. She sighs and waves a hand. LAUREL By the wall, I guess. (noticing) What's with the cat? COP Oh, the cat. There's a problem with the cat. Sign here.Laurel signs his clipboard. LAUREL What's the problem with the cat? COP Your problem.Laurel gives him a dirty look, but he laughs and leaves. She goes over tothe stretcher and bends down, petting Rosenberg's cat gently. LAUREL Are you having a bad day, baby? Cheer up. (of Rosenberg) His is worse.She sets the cat aside and wheels the stretcher under the lights. LAUREL (CONT'D) Okey-dokey. Shall we?INT. MORGUE - LATER - DAYLaurel is hunched over the corpse, the only light in the room coming fromthe overhead spot that illuminates her work.Fascinated by something, she digs deeper. And deeper. And looks up, herface a mixture of alarm and excitement. LAUREL Oh, my God. CUT TO:EXT. MORGUE - NIGHTKay's LTD pulls up in front of the morgue.INT. MORGUE - CORRIDOR - NIGHTTwo men in black suits hurry down the stairs and into the corridor outsidethe morgue. They hasten down the hallway, their shoes CLICKING in perfectlockstep, headed for those swinging doors at the other end.JAY and KAY. Men in Black on a mission.INT. MORGUE - NIGHTIn the morgue, LAUREL has fallen asleep on her desk, her head in her arms.ROSENBERG'S CAT sits on the desk next to her, licking its paws. Suddenly,the cat looks up, MEOWING urgently.Laurel looks up and, following the cat's gaze, turns around slowly in herchair. JAY and KAY stand in the doorway, staring at her. Kay stepsforward, holding out that black card again. It reforms into another kindof official ID, this time it says "DEPARTMENT OF PUBLIC HEALTH" LAUREL (into recorder) ...approximately 112 degrees at time of autopsy, indicating, quite impossibly, a post-mortem increase in body temperature. Examiner attempted to verify result rectally, only to find subject was, uh, without rectum. Which can only be described as...well...as really... KAY (O.S.) Weird? Dr. Leo Menville, Department of Public Health. This is Dr. White.She looks up. Jay and Kay are standing there. LAUREL Yeah, well whoever you are, I'm afraid I'm going to need to see some ID.He hands her his CARTE NOIR, which changes to read "Dr. Menville,Department of Public Health." She hands it back. LAUREL (checking her watch) You boys must not have much of a home life. KAY We watch the morgues very carefully. You've got something unusual? LAUREL I'd say so -- triple homicide.She gets up and goes to the Arquillian's body, which is still out on atable under the lights. LAUREL (CONT'D) The first corpse was perfectly normal, except that he was broken in half, but when I opened up the other two -- well, look.She throws back a sheet, revealing (to them only, not us) the fullydissected Arquillian. Kay raises an eyebrow; Jay nearly retches. LAUREL (CONT'D) There's a skeletal structure at work here unlike anything I've ever seen.Kay steps past her, going straight to the body. He begins to examine it. KAY I'll have a look at this one. Dr. White, why don't you and Dr. Weaver check out the other body? LAUREL This way, Doctor.Jay and Laurel cross the room, to where ROSENBERG's corpse lies out onanother gurney. LAUREL (CONT'D) This one's even stranger. I did a full laparotomy. I started with the lesser curvature of the stomach -- though, if you want, we could begin at the gastro-esophageal junction. JAY I think, uh, we should start at the same place you did. LAUREL All right.Jay hears a MEOW and looks down. Rosenberg's cat is rubbing up against hisleg. JAY Your cat? LAUREL Guess it is now. Came in with the bodies.She SNAPS one of her rubber gloves and reaches down (out of frame),sinking her hands into the body as she moves things aside. Just by thelook on Jay's face, one can imagine how disgusting it is.Laurel digs in, up to her elbows. Jay winces. She pulls one bloody gloveout, to wipe a strand of hair out of her face. He looks at her ---- and she winks at him. He's surprised. She laughs. LAUREL (CONT'D) Okay. Dive right in. God knows he won't mind.Jay is reluctant, so she rolls her eyes and helps him, taking him by thehand and guiding him into the thick of the corpse. LAUREL (CONT'D) You have very pretty eyes. JAY Thank-you, but is this really the time to uh -- you know, come on to me? LAUREL Hey, just walking the dog. (continuing) Feel that? Where the piloric junction would be? JAY Oh, yes. Exactly. LAUREL Now push that aside. Notice anything strange? Stomach? Liver? Lungs? JAY Nope. All fine. LAUREL Doctor, they're all missing. JAY (quickly) Well, of course they are. What I'm pointing out is that there are no pieces of them left. So they're intact, wherever they are. That we can be sure of. LAUREL Have we met before? I have the strangest feeling of deja vu. JAY You know, I was just going to ask you the same thing.Laurel looks at him sideways, skeptical, but also intrigued. She whispersto him. Confiding in him. LAUREL Okay. You wanna know what I really think? (re: Kay) But don't tell that guy. He looks like he's already under enough stress. (then) This body is not really a body, but it's actually some sort of transport unit for something else altogether. The question is: what?Jay just looks at her intrigued. LAUREL By the way, stop me if I'm freaking you out. JAY No, no...not at all.After a particularly gross GUSHY sound, he looks away, toward her. She'sstaring at him.Laurel leans over and lowers her voice, just for him. LAUREL You know what I like to do sometimes? When it's really late? JAY (freaked out) No...From the other side of the room, Kay CLEARS HIS THROAT. JAY (CONT'D) Excuse me.He walks across the morgue to Kay, who is still examining the Arquillian.But Jay never takes his eyes off Laurel. KAY What do you think? JAY (of Laurel) Very interesting. Got a real Queen of the Undead thing goin' on. KAY Of the body. JAY Great body. KAY The dead body? JAY Not a clue. KAY All right. Keep her occupied. Try not to sound too dumb.ACROSS THE MORGUE, Laurel is still examining Rosenberg, now bent down nextto his head, carefully studying his left ear. She notices somethingstrange, turns, and calls over her shoulder to Jay. LAUREL Dr. White.Jay, in conversation with Kay, does not respond to what is not his name. LAUREL (CONT'D) (louder) Dr. White. (still louder) Dr. White.He still doesn't answer. LAUREL (CONT'D) (shouting) DR. WHITE!Kay nudges Jay. KAY You're up, Slugger.Jay turns and races across the room to rejoin her. LAUREL Look at this.Jay leans down. There is strange stitching around the base of Rosenberg'sear. JAY What is that?He reaches out, touches the ear, then he actually turns it. With a softCLICK ---- it pulls away from the head. Like a latch.Jay and Laurel look at each other, astonished. Jay pulls again, andRosenberg's entire face PUSHES OUT with a mechanical HUM, then HINGESOPEN, the whole face rotating out away from the rest of the artificialskull.A TINY LITTLE GREEN MAN SITS INSIDE ROSENBERG'S HEAD.Though not quite dead, the Tiny Little Green Man is gravely wounded. Hestaggers up out of a small control room inside Rosenberg's head, withgearshifts and viewing screens all around the inside of the skull. LAUREL Far -- freaking -- out.They lean in closer. The Tiny Little Green Man (a BALTIAN) forces wordsout of his mouth. BALTIAN Must -- to pre -- prevent -- (searching for the word) -- contest? No...to prevent -- JAY It's all right -- What are you trying to say? Struggle? LAUREL War?The Baltian nods vigorously. That's it. BALTIAN (faltering) Galaxy on -- or -- or -- Orion's -- (thinks) What is word? Be...? JAY Bed? Belt? Orion's Belt?The Baltian nods again, falls, and dies. Jay and Laurel look at the littledead alien, then at each other. JAY (CONT'D) "To prevent war, the galaxy is on Orion's Belt?" The hell does that mean? (turns around) Hey! Kay! I mean, Dr., uh, whatever, come here!Kay begins over. Laurel looks at them. LAUREL "Doctor Whatever"? You're not with the Department of Public Health, are you?Jay shakes his head -- but is now paying more attention to Kay, as heleads him toward the Little Man. JAY He's dead.Kay looks at the mess -- the body, the little dead man. KAY Rosenberg. Damn. Good man. JAY You knew him? KAY One of the few I actually liked. Exiled High Prince. LAUREL I was right -- this is an alien life form, and you're from some government agency who wants to keep it under wraps...Kay and Jay are not paying attention to Laurel. JAY He said "to prevent war, the galaxy is on Orion's Belt." LAUREL ... This make total sense. How else do you explain New York? The other night I'm in a cab, this guy...FLASH! Without even looking at her, Kay whips out his neuralyzer andblanks her out. KAY He said there's a galaxy on Orion's Belt? That makes no sense. JAY That's what he said. (to the dazed Laurel) Didn't he? Right after he -- (realizing) Oh, for Christ's sake, you did the flashy thing already. LAUREL (as if awakening) Uh, hi, whoever you guys are, I'm afraid I'm going to need to see some ID if you're going to be in the morgue, okay? KAY Sure thing, sweetheart. Here you go.FLASH! He neuralyzes her again. Jay slaps his hand. JAY Stop that -- KAY (to Laurel, ignoring Jay) Typical day, too much caffeine, get a life. JAY -- that thing probably gives you brain cancer! KAY Never hurt her before. JAY "Never hurt her before"?! How many times have you done the flashy thing to this poor woman?! KAY (evasive) Couple. JAY Aren't you worried about, you know, long term damage? KAY (more evasive) Little bit. JAY What the hell happened to make you such a callous son of a bitch? KAY I took this job.He heads out. Jay follows. JAY Hey, you never flashed me with that thing, did you? KAY Nah.EXT. MORGUE - NIGHTJay and Kay exit the morgue and walk towards their car. JAY Hey, Kay, I really think I should be in charge of the flashy memory thing department. KAY Not while I'm around, Slim. JAY Yeah, well you're a menace with that thing...An MIB containment vehicle pulls up, and four men dressed in black suitsget out. KAY (to an MIB Agent) We've got two dead aliens in there, and a deputy medical coroner in need of a new memory. CUT TO:EXT. NEW YORK ALLEY - NIGHTThe Orkin van is parked in an alleyway somewhere downtown. From inside,throaty WAILS of frustration can be heard. Two PASSERSBY hear the racketand hesitate, wondering if they should get involved.But an inhuman GROWL rattles the whole van and they wise up, hurrying ontheir way.INT. ORKIN VAN - NEW YORK ALLEY - NIGHTInside the van, the ornate rosewood box is now battered and scarred, itsvarious locks holding tight against EDGAR's repeated attempts to claw hisway into it. Crammed into the back of the van along with his spaceship,Edgar wedges a screwdriver into the thin opening between the top and therest of the box and SMACKS it with his right fist. Nothing doing.He BELLOWS in rage and hurls the box against the side of the van, where itfinally CRACKS a hinge. Edgar snaps it up, pries the rest of the hinge offwith the screwdriver, and wrenches the top off the box.Inside, there are dozens of precious, glittering diamonds, which hepromptly tosses aside as worthless. But the rest of the box is empty. EDGAR No. No, NO, NO, NOOOO!He rips the box apart with his bare hands. There's nothing else there. CUT TO:EXT. MIB BUILDING - MAGIC HOURAs lower Manhattan is waking up, Jay and Kay enter the building.INT. MIB BUILDING - HEADQUARTERS - EARLY MORNINGDespite the early hour, the headquarters is going full-blast. The largescreen displays the familiar grouping of stars that is the CONSTELLATIONORION.Jay and Kay hurry in -- Kay peels off to one of the monitors; Jay headsfor Zed. JAY Doesn't anybody believe in sleep around here? ZED The twins keep us on Alpha Centaurian time -- a 37-hour day. Give it a few months -- you'll get used to it. Or you'll have a psychotic episode.He points up at the screen with a laser pencil. ZED Here's Orion; the brightest grouping of stars in the northern sky... (pointing) and here's Orion's belt --He indicates the three stars that make up the belt. JAY That's what the little guy was talking about, "To prevent war, the galaxy's on Orion's belt..." ZED There are no galaxies on Orion's belt. The belt is just these three stars; galaxies are huge, made up of billions of stars. (switches off the laser pointer) You heard wrong. JAY You're attracted to me, aren't you?Jay starts to cross over to ANOTHER MONITOR, where Kay is sitting alone,tie loosened, slightly disheveled. On the screen, the word "SEARCHING"blinks, encouraging patience. The image changes to a satellite view ofNorth America, which quickly zooms in on the Southwest.On screen, the satellite view zooms down to Arizona, then a city, then aneighborhood, then a block, then a back yard. The printout changes to"SUBJECT ACQUIRED."The image comes into sharp focus on one back yard in particular, where weget a good look at a MIDDLE-AGED WOMAN. SUBJECT: ELIZABETH ANN RESTON PRESENT LOCATION: RESIDENCE 553 FAIRFIELD AVE./TEMPE/AZWhoever Elizabeth Ann Reston is, she's lovely. She's setting a picnictable in her back yard at the moment, unaware that she's being watched byan eye in the sky -- just as Kay is unaware that Jay is standing behindhim.Jay notices the monitor with the Middle-aged Woman on it. He looks atKay's expression, then back at the monitor. JAY Pretty lady...Kay clicks off the picture of her. Jay drags a chair and sits down. JAY (CONT'D) You were the guy with the flowers in the photo, (the night the aliens arrived.) (What, you were on your way to a dance or something and you got lost? And she never got those flowers, did she?]Kay doesn't answer, just stares at the screen. Elizabeth looks up, as ifshe knows she's being watched, but she's just looking at the sky,wondering how many stars'll be out tonight. JAY (CONT'D) Grumpy Guy's story comes into focus. She ever get married? KAY No.It's more than Kay can bear. He reaches out and flicks a switch. Themonitor goes blank, except for a data screen: SUBJECT LOSTKay sits back in the chair and eats a potato chip morosely. Jay looks athim: "Is this me in thirty years?" A moment goes by. Finally: JAY Well, it's better to have loved and lost than never to have -- KAY Try it. ZED (O.S.) Kay.Jay and Kay cross back toward the LAD (Landed Alien Display), where eachof the thousand or so Aliens who live on earth are represented by aflickering LIGHT.Some lights are starting to go out. KAY (quietly, with dread) They're leaving. ZED We've had twelve jumps in the last hour. Redgick was just the beginning. JAY What do they know that we don't know?Kay looks to his partner, then to the screen. Another light flickers out. KAY Why do rats desert the ship? (to the twins) Go to Lem Sat IV. Put up a forty-field view of Manhattan.ON THE SCREEN New York City is just a bright spot of light on the Easterncoast of the United States. KAY (CONT'D) Four hundred.Now there's a view of the earth from space. Nothing unusual. KAY (CONT'D) Four thousand.Now we're looking at earth from far, far away -- and from here we can seesomething that doesn't belong in this picture:A BATTLE CRUISER far off to one side of the earth. The words "LEVEL FOUR"flash in red letters on one side of the map. KAY (CONT'D) That's an Arquillian battle cruiser. JAY And we've got a dead Arquillian prince.A COMMUNICATION STARTS COMING OVER THE SPEAKERS -- a sound like a cat andmouse caught in a blender. KAY Message coming in.The communication continues. KAY (CONT'D) Speak of the devil.The communication continues. JAY They sound pissed. ZED (to the twins) Translate that and step on it! (to Kay) Meanwhile get down to Rosenberg's store and see what you can turn up.Kay and Jay walk away. ZED (CONT'D) And Kay -- take a lot of fire power.IN THE EQUIPMENT LOCKER Kay pulls out the ENORMOUS, MANY-BARRELED HANDGUN. A small, clear, canister sprouts from underneath it, maliciousswirling gases visible through its walls. JAY I like that. KAY Series four de-atomizer.Kay pulls out another weapon, the TINIEST GUN WE'VE EVER SEEN. KAY (CONT'D) Here. We call this the "Noisy Cricket." JAY You get a series four de-atomizer and I get a "Noisy Cricket?!" (looks at the gun) I'm afraid I'm going to break it.Jay follows Kay out, glancing back to see the huge gun turrets on theArquillian Battle Cruiser HUM and WHIR as they swing around into position,pointed down at the unwitting planet below. CUT TO:INT. GEM AND JEWELRY STORE - DAYSMASH! The window in the front door of Rosenberg's jewelry shop collapsesin a shower of glass. EDGAR reaches in and fumbles with the locks, undoingthem one by one. He gets them all and steps inside. Out the window behindhim, we can see his Orkin van, double parked in the street in front.All the gems and jewels are under glass counters. Edgar starts SMASHINGthe glass, grabbing great handfuls of jewels and tossing them aside.Outside, a New York City tow truck pulls up to the front of the Orkin vanand starts to hitch up.Edgar, in his rage, starts to smash anything breakable, even the framedpictures on the walls. He stops at one particular picture, staringintently at it. It's a glamor shot of Rosenberg's cat, provocatively posedon a satin pillow. There are a half dozen more pictures of the cat, someposed with Rosenberg, some by itself. This animal was important toRosenberg.From outside, the ROAR of an engine distracts Edgar. He turns around, intime to see the Orkin van lurch as the tow lifts its front wheels off theground.EXT. GEM AND JEWELRY STORE - DAYEDGAR rushes outside as the tow truck DRIVER gets the van up on the hoist. EDGAR That's my truck! DRIVER And make sure you tell them that at the impound.Edgar reaches into the front seat of the van and pulls out his twelvegauge. He points it at the tow truck Driver. The tow truck driver looks athim with disdain, and pulling back his shirt reveals a mean-looking gun. DRIVER (CONT'D) I got worse.He keeps hitching up the van. Two pedestrians walk past the dispute, veryfast, ignoring the debate, headed right for the shop. We go with them, andrealize that it's ---- JAY and KAY. They stop at the smashed door of the jewelry shop andexchange a glance. Kay pulls a very menacing-looking weapon, nods, andthey step inside.INT. GEM AND JEWELRY STORE - DAYThey look around and see the recent demolition caused by Edgar. Jayfurrows his brow. JAY Who robs a jewelry store and leaves the jewels? KAY Someone who's not looking for jewels.Jay moves behind the counter. On the floor is an ornate, empty bowl and abag of cat food, next to a scrumptious pillow. There are several PHOTOS OFA CAT on the wall.There is also a pile of BEJEWELED CAT COLLARS. Jay picks up one of theCOLLARS, inspects it closely, shaking his head. JAY This guy had a serious crush on his cat.Jay's attention is broken by something through the window. Outside,lumbering straight for the store, is EDGAR.Jay thinks for a moment -- where does he know that face?Suddenly, Edgar raises his arms, pointing both the farmer's rifle and thedriver's shotgun. Before Edgar can shoot, Jay YELLS... JAY Kay! GET DOWN!And then Jay FIRES, shattering the storefront window, and BLOWING UP A CARon the street. The blast hurls him up and back a good ten feet, SLAMMINGhim into the wall with tremendous force. Edgar turns and rushes away downthe street as Jay picks himself up. JAY The bug in the Edgar suit! The ugly redneck from the picture! That's him!Jay leaps through the broken storefront window and after Edgar. KAY (picking himself up) Damn it.Kay runs out after Jay.EXT. GEM AND JEWELRY STORE - DAYEdgar doesn't bother sticking around to continue his fight. He jumpsbehind the wheel of the tow truck, starts it up, and hits the gas. Theengine ROARS.Jay sprints after him, FIRING his noisy cricket. He is thrown back intosome pedestrians, while his SHOT...Hits the rigging between the Orkin Van and the town truck, separating thetwo. Jay pulls himself up and sprints after the tow truck, but itaccelerates too quickly.Edgar is just about to turn the corner when Jay leaps onto a parked CAR totry and get some height. As Jay prepares to shoot, EDGAR DISAPPEARS AROUNDTHE CORNER, and a HUGH TRUCK backs into his line of fire.JAY FIRES, the TRUCK EXPLODES and Jay flies BACKWARDS, hurtling throughthe air and CRASHING through the window of a car, his rear end right inthe woman driver's face.When Jay looks up, Kay is standing before him. He yanks Jay out of thecar. KAY We do not discharge our weapons in view of the public. JAY Can we drop the cover-up bullshit?! There's an Alien Battle Cruiser that's gonna blow-up the world if we don't... KAY There's always an Alien Battle Cruiser...or a Korlian Death Ray, or...an intergalactic plague about to wipe out life on this planet, and the only thing that lets people get on with their hopeful little lives is that they don't know about it.Kay gestures to a group of ONLOOKERS, drawn by the curious blasts from thestore. There's smoking rubble everywhere. KAY Don't worry about the bug. He's not leaving town. We've got his ship.After gesturing to the back of the Orkin van, where Edgar's spaceship isneatly stowed, Kay pulls out his cell phone. KAY (into phone) Zed, we're gonna need a containment crew down here at McDougal, south of Houston.INT. MIB BUILDING - HEADQUARTERS - DAYBack at Men in Black Headquarters, the little lights on the world mapwhich indicate aliens' locations are going out, one by one, about oneevery five or ten seconds. A WARNING BUZZER is sounding, over and over,and HUMAN STAFFERS are rushing left and right.ZED is in his office. ZED Containment may be a moot point, my friend. The exodus continues. It's like the party's over and the last one to leave gets stuck with the check.Zed looks down to the vast floor below and sees the four worm guys withsuitcases walking across the floor. ZED You sorry little ingrates! KAY (O.S.) What about the Arquillians? ZED We've only translated a part of the message so far: "Deliver the Galaxy." KAY (O.S.) No, they don't want much, do they? ZED Oh, it gets better... They're holding us responsible.He looks up at the screen. It reads: MIB DELIVER THE GALAXY. ZED Another contestant has entered the ring.EXT. NEW YORK STREET (OUTSIDE JEWELRY STORE)As Kay puts away his phone, turns to Jay KAY All right, kid. The Arquillians want the galaxy, whatever the hell that means. We need help. A professional. Someone with years of experience in intergalactic politics. I just hope the little prick hasn't skipped town. CUT TO:EXT. UPTOWN NEWSSTAND - DAYThe tow truck SQUEALS to a halt at a curb. EDGAR gets out and walks away,fast, CURSING under his breath. He rants, livid, thinking hard. As hepasses a newsstand, he grabs the NEWS VENDOR by the collar. EDGAR Where do you keep your dead? VENDOR (thinks) I don't have any dead. EDGAR Where?! VENDOR I don't know, the city morgue!Edgar shoves him away roughly. But before he leaves, his eye catches apostcard display marked "LANDMARKS OF THE NEW YORK CITY AREA." Edgarstares, fascinated, but we don't see what he's looking at. He reaches outand picks up a color postcard.He raises it to his face, thinking, then shoves it in his pocket andhurries off. CUT TO:EXT. STREET - KEY KIOSK - DAYKay's LTD SCREECHES to a halt in front of the kiosk on Orchard Street. JAYand KAY leap out and Jay spots the VENDOR, closing up the shop. He'swearing a dirty cardigan, watch cap, and fingerless gloves, his faceaquiver with ticks and mannerisms. He has a small dog in front of him.Jay rolls his eyes as they step up to the counter. JAY Of course that guy's an alien. That's gotta be the worst disguise I've ever seen.A voice answers him, but not the Vendor's. FRANK THE PUG You don't like it, you can kiss my furry little butt.Jay looks down. The voice is coming from the dog. This is FRANK THE PUG.Kay approaches, motioning to Jay to make sure no one hears. KAY You busy, Frank? FRANK THE PUG Sorry, Kay, I can't talk right now, my ride's leaving in --Kay grabs Frank. He yelps like, well, a dog. KAY Call the pound. We got a stray. FRANK THE PUG Hey! Get your paws off me!PASSERBYS glare at Kay, who appears to be seriously mistreating this poorlittle dog. Jay tries to explain. JAY The, uh...dog owes my friend some money. KAY (to Frank) Arquillians and bugs. What do you know? FRANK THE PUG I know nothing. KAY Not a thing?Kay shakes Frank the Pug, trying to force an answer. FRANK THE PUG Stop it. Okay, okay. Rosenberg wasn't some two-bit Arquillian. He was the guardian of a galaxy. They thought he would be safe here on earth. KAY And the bug had other plans. FRANK THE PUG The galaxy is the best source for subatomic energy in the universe. If the bugs get their slimy claws on it, kiss the Arquillians goodbye. JAY Ask him about the belt. KAY (to Frank) Rosenberg said something about a galaxy on "Orion's belt." What's he talking about, Frank? FRANK THE PUG Beats me.Kay shakes Frank the Pug once more. JAY (to a person passing by) They're rehearsing a ventriloquist act. FRANK THE PUG The galaxy is here. KAY Here? JAY The galaxy is hundreds of millions of stars and planets? How's it here?If a dog can smirk, Frank does. FRANK THE PUG You humans, when're you gonna learn that size doesn't matter? Just 'cause something's important, doesn't mean it's not very, very small. KAY How small? FRANK THE PUG Tiny. Like the size of a marble. Or a jewel. Now if you'll excuse me, I need to be walked before the flight.Kay lets go of Frank, turns to Jay, who is lost in thought. KAY (to Frank the Pug) Get out of here. (then to Jay) The galaxy's here. It's not on Orion's belt.Jay suddenly notices Frank the Pug bark at a cat farther down thesidewalk. JAY Kay... CUT TO:INT. MORGUE - DAYIn the morgue, LAUREL is working at a desk when suddenly ROSENBERG'S CATleaps up onto it from nowhere, the way cats do, landing right in themiddle of the file she's studying.Laurel jumps. LAUREL Boy, when you want attention --She pets the cat. As she does, the cat's collar shines in the light.Laurel turns the name tag to face her.CLOSE ON A PRECIOUS JEWEL, AND THE WORD "ORION."As it is written across the collar of the cat. LAUREL (O.S) "Orion." That's a pretty name.From out in the corridor, a bell rings -- DING, DING.Laurel notices something dangling from the cat's collar -- a CIRCULAR ICONof a strange and beautiful metal. The center is some sort of hardened,translucent material, light green in color. LAUREL (CONT'D) What's this?She peers into the jewel, and her face washes over with amazement.INT. ICON - DAYIt's as if Laurel is sucked into another universe. Her face goesbeatifically blank as she sails through a massive starfield, millions ofstars, billions of green, verdant planets, all racing by her at the speedof light.INT. MORGUE - DAY LAUREL Wow.Outside, the bell DINGS again. Orion looks up, as if knowing who's outthere, and not liking it. She SNARLS at the door and leaps off the desk,scurrying across the lab and disappearing under some equipment.INT./EXT. LTD - MANHATTAN - DAYJay and Kay barrel through town. JAY So two galaxies have been fighting for years. And the only people who've been benefiting are a race of creatures called bugs. Then the two galaxies decide to make peace...and the bugs send this guy down to make sure the fighting never stops. KAY By killing the emissaries, and stealing the galaxy they've been fighting about. JAY And if we don't get it back before he leaves the planet...we're history. KAY We're not even history. 'Cause history implies there's someone around to remember it.INT. MORGUE - CORRIDOR - DAYOn a counter in the morgue corridor, a gray, peeling hand BANGS on a bellon a countertop, over and over. The hand belongs to EDGAR, who is carryinghis shotgun, concealing it behind one leg. The morgue attendant, TONY,emerges from a small security cage carrying a worn paperback copy of AtlasShrugged and a fly swatter. TONY Thank you for making sure the bell works.Suddenly, quick as a gunfighter, Tony SNAPS the fly swatter down on aBUZZING FLY. Edgar winces. TONY (CONT'D) (to Edgar) What's up, Farmer John? EDGAR A man came in here earlier. A dead man. TONY And this means what to me? EDGAR He was a very dear friend of mine. And I believe he had an animal with him. A gift I gave him, a pet cat that means worlds to me. I would like it back. TONY I'll need a picture ID, written proof of ownership of the cat, or notarized proof of kinship with --WHACK! Tony flicks the fly swatter again, sending another bug to meet itsmaker. Edgar grits his teeth. TONY (CONT'D) -- the deceased. EDGAR Don't -- do that.WHACK! Still another fly goes down. TONY Do what?Tony looks down, to where Edgar's hands rest on the counter. Half a dozencockroaches stream out of his sleeve. TONY (CONT'D) Shit!He ducks under the counter ---- and comes up with a can of Raid. Edgar's eyes bug out. CUT TO:EXT. MORGUE - DAYKay's LTD pulls to a stop in front of the morgue and JAY and KAY jump out. JAY I'll handle this one, you wait outside. KAY What the hell for? JAY Because all we have to do is walk in and get a cat, it's not that hard. But if you go in, you're gonna lay your Jack Webb on her and flash your brain ray in her face and she's gonna end up with leukemia or some shit. The woman's a doctor, she doesn't need you erasing half her med school classes. Take me five minutes.And he continues into the morgue, leaving Kay waiting outside. KAY Two minutes!INT. MORGUE - DAYLAUREL SLAMS into a wall on one side of the morgue, thrown there by EDGAR.He leans in, close, furious. EDGAR Where is the animal?! LAUREL I told you, I don't know, it ran under some equipment! Over there. EDGAR Get it!He grabs her roughly and drags her across the morgue, toward the equipmentshe pointed to. As they draw close, ORION the cat bolts from underneathit, races between their legs, and leapfrogs over several small cabinets,landing on top of a very tall one with only six inches clearance betweenit and the ceiling. A very tough hiding place.Edgar just starts to turn when they hear the BELL and a VOICE from thecorridor outside. JAY (O.S.) Hello? Anybody here?Edgar looks up at the cat's hiding place. No time to get it. The bellDINGS again. JAY (O.S.) Hello?Roughly, Edgar pulls Laurel close and puts a finger to his lips --"Shhhhhhh."INT. MORGUE - CORRIDOR - DAYIn the corridor, JAY looks around. No Tony, no answer to the bell. HeDINGS once more, then heads into the back.INT. MORGUE - DAYJAY comes into the morgue. LAUREL is in there, standing right up next toan examination table, but there is no corpse on the table, just a sheetdraped over it. She just stands there, in the middle of the room, staringat Jay. JAY Uh, hi. LAUREL (oddly) Hello. JAY (flashes a badge) I'm Sergeant Friday, from the Twenty-Sixth precinct. They brought a cat in here with a corpse the other day, might have said "Orion" on the cat's name tag? LAUREL Yes. That's right. JAY Right, well, the cat is, uh -- the cat's a witness in a murder case and I'm going to need to take it with me. LAUREL I don't know where the cat is at the moment. JAY You don't? LAUREL No. (lowers her voice to a whisper) Maybe you could take me with you instead.Jay looks at her. JAY Excuse me? LAUREL I said, maybe you could take me with you instead. JAY Damn, you do start fast, don't you? LAUREL I'd really like to go with you. Now.Jay just looks at her, amazed at the power he seems to have over thiswoman. He looks over his shoulder, to make sure he has a few more secondsalone. JAY And, uh, why exactly is that?Laurel rolls her eyes. She seems irritated with him, but it doesn't gowith what she's saying. LAUREL I just do.INT. MORGUE - CORRIDOR - DAYKAY comes down the stairs and into the morgue corridor. He checks hiswatch, then leans against the counter and pulls out a pack of cigarettes.Waiting.INT. MORGUE - DAYJay is thoroughly enjoying himself, but Laurel seems to be going crazy. LAUREL I have something I need to show you.She looks down, pointedly, in the direction of her waist. JAY Now slow down, you don't have to hit the gas like that.She leans in and lowers her voice. LAUREL You don't understand. You really need to see this. JAY And I will. But we gotta get something straight here -- I'm gonna drive. It's not some kind of macho trip, it's just the way I'm used to doing things, okay?INT. MORGUE - CORRIDOR - DAYKay pulls out a box of matches and strikes one on the side. He raises itto his cigarette, but as it draws close, the match goes out with a sharpSIZZLE.Kay furrows his brow. Odd.INT. MORGUE - DAYLaurel is at the end of her rope. LAUREL Look, Stud, I don't know how many more times I'm going to get to tell you this. There's something --She points, sharply, at the examination table directly in front of her. LAUREL (CONT'D) -- that you have to help me with.Jay's smile vanishes and his jaw drops as he figures it out. He starts toreach for his gun.INT. MORGUE - CORRIDOR - DAYKay raises another lit match to his cigarette, but as this one gets close,a BIG GLOB OF GOO drops from the ceiling and onto the match, dousing theflame.Kay looks up, sharply.Above him, TONY, the counter guy, is stuck to one high corner of theceiling by an enormous wad of viscous, dripping fluid. He's dead, a frozenlook of terror on his face and the can of Raid still clutched in his hand.From inside the morgue, Laurel SCREAMS.INT. MORGUE - DAYKay races into the morgue just as the examination table EXPLODES into theair, revealing EDGAR, who was hiding beneath it.Now everything happens at once. Jay leaps back and draws the NoisyCricket, Kay pulls out his series four deatomizer, and Edgar holds hisshotgun under Laurel's chin, using her body to shield his own. KAY Freeze it, Bug! JAY Don't shoot! Don't shoot! LAUREL (to Jay) CHRIST, are you THICK! JAY How was I supposed to know!?! LAUREL What did I have to do, SING it for you!?! JAY Maybe if you didn't come on like a drunken prom date! LAUREL Oh, that's SO typical. Any time a woman shows the slightest hint of sexual independence, men just -- EDGAR Everybody shut UP! KAY Let her go, Shit Eater. EDGAR Listen, Monkey Boy, I may have to take that kind of talk in my end of the universe, but compared to you humans, I'm the top rung on the evolutionary ladder, so can it, all right?! KAY You're breakin' my heart. Move six inches to your left and I'll solve all your problems.ORION the cat suddenly attacks, leaping off the top of the cabinet andlanding on Edgar, HISSING and scratching and clawing for all she's worth.Edgar snaps an arm up and whips her off. The cat squirms in his arm, theicon jangling. Edgar grabs the icon, holds onto it, and flings the cataway, across the morgue. The icon comes free, remaining in his hand.He drops it into his mouth and swallows. He shoves the gun hard againstLaurel's cheek. EDGAR That's better. Now put down your weapons. We're leaving.Kay freezes, teeth clenched, gun still in front of him. Standoff. EDGAR (CONT'D) Have you ever pulled the wings off a fly?Edgar cranks one of Laurel's arms behind her back, hard, and she CRIES OUTin pain. EDGAR (CONT'D) Would you care to see the fly get even? KAY How far you think you'll get without your ship? If that's what you call that hunk of space crap we've got back at our office. EDGAR Put the weapons down! KAY Never gonna happen, Insect.Edgar backs away with Laurel, further into the morgue, toward a glasswindow that looks out at the base of an air shaft. Jay and Kay advance,slowly, cornering him. JAY It's okay, Laurel! LAUREL HOW is it okay?! JAY I mean it's going to be okay! EDGAR Don't bet on it, meat sack.And with that he turns, leaps ---- and CRASHES right through the window, into the air shaft.EXT. MORGUE (SIDE STREET) - DUSKEDGAR, still clutching LAUREL, EXPLODES up over a railing.Nobody looks twice as Edgar, dragging Laurel (with his arm over hermouth), races toward the nearby busy Manhattan Street.INT. MORGUE - AIR SHAFT - DUSKJay and Kay duck into the air shaft and look up -- too far to climb, andthe walls are smooth anyway. KAY Damn it!They turn and run out of the morgue.EXT. THE NEARBY BUSY MANHATTAN STREET - DUSKEDGAR, with LAUREL, RUNS right in front of a CAB, which screeches to ahalt inches from them. The CABBIE sticks his head out and YELLS somethingin an unknown language. And KEEPS yelling as --Edgar reaches through the passenger side and pulls the Cabbie out the door(cigarette and wooden seat-beads and all).The Cab Driver is still yelling as Edgar leaps in, pushing Laurel inbefore him, leaving her behind the wheel.He removes a POSTCARD -- the one he took from the display on thenewsstand. EDGAR Take me here. LAUREL What???Edgar just cranks the car into gear -- opening his mouth and swallowingthe icon -- and in so doing revealing a TRIPLE ROW OF SERRATED BUG-TEETH,he SLAMS HIS FOOT on the gas pedal.Laurel's head snaps back as the car rocks forward. She has no choice, butto grab the wheel and start steering as --The car screeches out into traffic, swerving wildly as Laurel is forced tomake a 90-degree turn. The car fishtails wildly, swiping an oncoming caras it straightens and heads into the traffic.The furious Cab Driver runs off after it, still yelling as he disappearsaround the corner.A second later, KAY and JAY rush out into the street. The cab is nowhereto be seen. Jay runs into the street, noticing the wooden beads, theripped pine-scented green deodorizer, and the still-burning cigarette. JAY They're in a cab.And Jay starts running down the street, where DOZENS of cabs are waitingat the intersection. He's running from cab to cab, pounding on windows,scaring the living shit out of people -- JAY Hey! Laurel!? Hey!-- but Laurel and Edgar are nowhere to be found. Up ahead the light turnsgreen and the tide of taxis wash away, leaving Jay on the street. He turnsas a car screeches up behind him, its headlights shining in his eyes. Asit gets closer, Jay sees it's Kay in the LTD. KAY Stop wasting time. He's not getting off the planet in a cab. CUT TO:INT. MIB BUILDING - HEADQUARTERS - NIGHTJay and Kay rush in from the door under the World's Fair mural, and headtoward the main display screen; all around them, the MIB staffers are infrenetic activity in response to the threat from above. KAY (to tech at a desk) Come with me. Put up a bio-net all the way around Manhattan; if it's not human, it's not leaving the island. KAY (CONT'D) What've we got from our friends upstairs? ZED Same thing: "Deliver the galaxy." KAY Yeah, well the bug's got the galaxy, but we've got his ship. He's got to be looking for a way out.Just then, a loud ALARM wails.AT THE MAIN VIEWING SCREEN, A GREEN LINE shoots out from the Arquillianship, striking a region of planet earth.INT. MIB BUILDING - HEADQUARTERS - NIGHT-- headquarters, where every bell, whistle and light imaginable is goingoff. JAY WHAT THE HELL ARE THEY SHOOTING AT US FOR?! ZED Arquillian battle rules, kid. First we get an ultimatum, then a warning shot, then we have a galactic standard week to respond. JAY A galactic standard week? How the hell long is that? KAY One hour. JAY One hour?Viewing the screen, it now reads: MIB DELIVER THE GALAXY OR THE EARTH WILL BE DESTROYED... SORRY ZED To keep the bugs from getting it, the Arquillians will destroy the galaxy and whatever planet it's on. JAY You're talking about US! ZED Sucks, doesn't it? KAY Pull up the locations of all land-based interstellar vehicles. ZED They're all gone. Frank the Pug took the last ship on the planet.As Kay and Zed watch as the machine scrolls through the data, Jay walksback towards the center of the room, deep in thought. Over him we hear: KAY Atlantic City? ZED Gone. KAY That landfill on the Jersey Shore? ZED Gone. JAY Uh, gentlemen. KAY Epcot? ZED Gone. KAY Miami Beach? ZED Gone. JAY Fellas. KAY Hartford? ZED Gone, thank God. JAY Hey. Old guys.Kay and Zed both look up at once, scowling. JAY (CONT'D) Do those still work?They follow his gaze, up, over the computer terminals. There, on the wallin front of them, where it has loomed for the entire movie, is theenormous mural of the 1964 World's Fair grounds. Most prominent in themural are two tall towers that rise dramatically from the ground, toppedby ---- the two flying saucers from the very first alien contact. As they standthere, wide-eyed, staring at it, we -- DISSOLVE TO:EXT. WORLD'S FAIR - NIGHT-- the real-live twin towers on the actual fairgrounds in FlushingMeadows. A taxi SCREECHES to a halt at the edge of a fence a hundred yardsaway. EDGAR shoves LAUREL out through the driver's door and follows behindher, still holding his weapon on her. EDGAR You're coming with me. LAUREL What?! Why?! EDGAR It's a long trip. I'll need a snack.And he shoves her ahead of him, off in the direction of the space ships.Behind him, abandoned on the front seat of the cab, we finally see thefront of the postcard he's been carrying around. "FLUSHING MEADOWS, SITEOF THE 1964 WORLD'S FAIR," it says, with a distinctive photograph of thespaceships.So that's how he knew. CUT TO:EXT. COLUMBUS CIRCLE - NIGHTNighttime now, and the city hums along, just another Thursday night. Theclock in Columbus Circle says it's 7:45.EXT. SIXTH AVENUE - NIGHTTVs in the window of an appliance store show a rerun of "Cheers." PEOPLElaugh.EXT. TIMES SQUARE - NIGHTThe news ticker in Times Square announces the latest shattering news: RAIN LIKELY -- TEMPS DROP TO 60'SEARTHLINGS pass left and right, blissfully unaware of their impendingdoom. CUT TO:EXT. MIB BUILDING - NIGHTKAY and JAY leap into Kay's LTD and SLAM the doors. Kay jams the key inthe ignition, the car ROARS to life, and he turns to Jay. KAY Whaddya say we bag us some bug?He hits the gas and the car ROCKETS away from the curb.EXT. CITY STREETS - NIGHTThe LTD tears through the city.INT. MIB LTD - TRAVELING - NIGHTKay turns sharply to the right, SMACKING Jay around. Looking up ahead, hesees the entrance to the midtown tunnel. JAY You're taking the tunnel?! KAY You know a better way to Queens? JAY It's usually jammed?!EXT. MIDTOWN TUNNEL - NIGHTThe LTD races through the tunnel at top speed. It's clear driving for afew seconds, but then they round a bend ---- and there's a traffic jam up ahead.INT. MIB LTD - TRAVELING - NIGHTKay approaches the line of cars at top speed, with no intention of slowingdown. Jay, terrified, holds on for dear life. JAY I told you! KAY Jay. The button? JAY Yeah?! KAY Push the button, Jay.A LIGHTED PANEL rotates into place between the two front seats, and thatred button flashes underneath its plastic shield again. Jay flips back theplastic cover and JAMS his finger down on the red flashing button. KAY (CONT'D) And you may want to throw on a seat belt.EXT. MIDTOWN TUNNEL - MIB LTD - NIGHTAs the LTD rockets toward the traffic jam up ahead, it begins to evolve,its shape actually changing. The sides and back extend as some sort ofendoskeleton pushes the "normal" panels out. It becomes a larger, wiriermachine, held together by an elaborate series of mechanical muscles andmetallic tendons.Kay's car hurtles toward certain death in the traffic jam, but at the lastpossible moment it swerves off to the side, a SUCKING SOUND coming fromunderneath it.Instead of banging off the wall of the tunnel, the LTD actually clings toit. It swerves up, onto the wall and hangs there, racing by the trafficbelow.It keeps going, turning all the way over and driving upside down, wheelsclinging to the roof of the tunnel.INT. MIB LTD - TRAVELING - NIGHTJay falls from his seat with a CLUNK, onto the upside down ceiling of thecar. Balled up on the back of his neck, he peers out the window as theytear through the tunnel, ZOOMING over the bottlenecked traffic underneath.As they race through the tunnel, they have a minute to kill. KAY Mind if I smoke? JAY What?!? KAY In the car, I mean. JAY I don't care!! KAY Hey, just a common courtesy. It bothers some people if you smoke in a car.He lights a cigarette and blows the smoke out leisurely, one hand on thewheel, just waiting out the tunnel. Jay gives up struggling to righthimself and closes his eyes, suffering through this.EXT. MIB LTD - TRAVELING - NIGHTFrom outside the car, we watch it rocket along on the roof of the tunnel.We can hear KAY'S VOICE as he goes on. And on. KAY Yeah, it's harder and harder to smoke anywhere these days. Hell, I suppose I should quit. I've tried. Never took, though. I'm beginning to think I lack self-control.And they disappear out the other end of the tunnel --INT. MIB LTD - TRAVELING - NIGHT-- and flip over, BANGING back down onto the road on the other side. Jayfalls off the ceiling and SLAMS into his seat. KAY Well, back to work.He flips his cigarette out the window and cranks the wheel to the left.EXT. MIDTOWN TUNNEL - TOLL BOOTH - NIGHTApproaching a toll booth, the LTD shoots across nine lanes of traffic andthrough the only open booth, SHATTERING the gate. Traveling at about twohundred miles an hour, Kay nonchalantly flips a token out the window ---- and it CHINKS in the basket as their taillights disappear. CUT TO:EXT. WORLD'S FAIR - LANDING TOWER - NIGHTEDGAR climbs the outside of the landing tower of one of the space ships,pushing LAUREL up ahead of him, headed for the saucer at the top. LAUREL Come on, let me go, you don't want to eat me. I'm a very important person on my planet. Like a queen. A goddess, even. There are those who worship me, yes. I'm not trying to impress you with this, I'm just letting you know. It could start a war. EDGAR Good. War means food for my family, all seventy-eight million of them. That's a lot of mouths to feed, your highness. LAUREL You're a wonderful dad.And with that she KICKS him squarely in the face. He reels, momentarilylosing his grip on her. She takes advantage of the moment and FLINGSHERSELF out, into the air.Edgar flails, but she is beyond his reach. She falls, tumbling through theair ---- and lands in the branches of a tree. She hits hard, the branchesrattling, and reaches out and hangs on for dear life, high above theground.Above, Edgar just keeps climbing.EXT. WORLD'S FAIR - NIGHTOver at the fence, the LTD comes to a looooong, skidding stop at thefairgrounds.AT THE TRUNK, JAY and KAY flip open the trunk and scarf up whateverweapons look most dangerous. Kay grabs a black box, UNSNAPS a row oflatches, and opens it, revealing ---- the most wicked-looking shotgun on the planet.Three feet long, triple-barreled, over and under and under, plus a pumpaction reloader on top of a storage clip for a dozen more shells. Theshells themselves are solid, glistening like polished steel. Kay loads upthe clip. JAY You know how to work that?Kay pumps it once, with extreme confidence. KAY No idea whatsoever.He SLAMS the trunk, revealing the flying saucers sitting atop theircolumns in the distance. KAY (CONT'D) Let's bag us some bug.As if on cue, one of the saucers begins to HUM. Then it starts to spin,faster and faster. The ship begins to rise. JAY Oh, shit.EXT. WORLD'S FAIR - TREE - NIGHTLaurel sits in her tree, watching with amazement.EXT. SHEA STADIUM - NIGHTAt Shea Stadium, a Mets game is in progress. Behind the home plate side,the flying saucer silently rises up in the night sky, plainly visible.But at that very moment, the batter CRACKS into a fastball, hard. Thecrowd rises to its feet, SHOUTING, staring out at center field, where theball is headed.All eyes in the house are on the Mets' CENTER FIELDER, except for hiseyes, which are on the flying saucer behind home plate. His eyes widen,his jaw drops ---- and the catchable ball sails over his head, THUDDING into the wallbehind him. The crowd BOOS viciously.EXT. WORLD'S FAIR - NIGHTKay raises the weapon he took from the trunk; looks over at Jay. KAY Set it to pulsar level five, sub-sonic implosion factor -- JAY What? KAY Press the little green button, on three.Jay raises his weapon; they press their green buttons. KAY (CONT'D) One...two...They pull their triggers.For a moment, nothing happens, as if it were a misfire. But then, there isa VACUUM WHUMP, like all the air in the immediate area being sucked into aspace the size of a dime, and a tremendous shock wave rolls out from thebarrel of the guns.Jay and Kay are sucked to the ground by the bizarre force, THUDDING totheir stomachs like magnets to a refrigerator.EXT. WORLD'S FAIR - NIGHTThe shock waves wrinkle across the open space between them and the ship,then it HITS the ship ---- and it too is sucked back down. Hurtling back toward them.EXT. LAUREL'S TREE - NIGHTShe flinches as the flying saucer shoots overhead.EXT. WORLD'S FAIR - NIGHTThe saucer CRASHES through the Unisphere, an enormous steel globe, andTHUDS to the earth, CRASHING through brush, dirt and rock...Jay and Kay come to their feet...In front of them, the dust clears... Trees uprooted, stones and dirtthrown everywhere...a dumpster has been cast to their left...And the saucer is there, embedded in the earth, tipped off-kilter in amound of debris...A hatch comes up...revealing Edgar, walking slowly toward them, withcontained fury. EDGAR You don't get it. I've won. It's over. KAY You are under arrest for violating number 4-1-53 of the Tycho accord. Please hand over any galaxy you might be carrying. EDGAR You milk-suckers! You don't matter! In a few seconds you won't even be matter! KAY Move away from the vehicle and put your hands on your head.He pumps the gun for emphasis. EDGAR Put my hands on my head?Edgar stares at him. Then flexes his arms, still encased in flesh. Hisgiant pincers RIP free of the rotting skin.He extends both pincers to the sides, and, my God, his reach must betwelve feet across.Now the skin and clothes on Edgar's legs begins to CRACK and SHRED. TheyBURST APART, revealing two hideous, doubled-over insect legs. The bugraises himself aloft on his legs.He sucks in a deep breath of air, and now the rest of the Edgar suit goesthe way of the arms and legs. The torso EXPLODES in great rendering ofcloth and skin, and finallyEdgar's head simply BURSTS apart, SPATTERING against the walls. Edgar nowreveals himself as he really is: a hairy, bug-like exoskeleton, a scalytail with a long stinger, a head like a cobra with elliptical eyes and asmall nose, and two horse-like feet with three toes each.He raises his pincers in the air, resting them on his head. The GALAXYhangs on a chain around his neck. BUG Like this?Kay and Jay pump their guns and aim at the Bug.Suddenly the Bug SPITS. And a HUGE, SLIMY WAD OF GOO shoots from him andengulfs both shotguns. The Bug snorts it back, tearing them from Jay andKay's grasp, then swallowing them.Jay and Kay have only a second to react before --The Bug SWIPES at them with the back of his clawed hand, like someonebrushing aside a gnat -- and SENDS THEM FLYING FIFTEEN FEET IN THE AIR.EXT. LAUREL'S TREE - NIGHTShe flinches as she sees them hit the ground. She starts to climb thetree.EXT. WORLD'S FAIR - NIGHTJay and Kay hit the ground with loud grunts. JAY That did not go at all like I had planned.They look up to see the Bug moving for the second tower -- and the secondflying saucer. Kay gets to his feet. KAY This guy's really starting to bug me.Kay starts walking after the Bug. KAY Whatever happens, Jay, don't let him get on that ship. JAY Where are you going? KAY Getting my gun back. JAY What!?Kay steps forward and yells at the departing Bug. KAY (CONT'D) Hey, Bug!The Bug just keeps moving toward the ladder. KAY (CONT'D) I'm talking to you, Bug! You know how many of your kind I've swatted with a newspaper?The Bug turns toward Kay. Kay steps up to him, the small human facing offagainst the giant alien hug.EXT. LAUREL'S TREE - NIGHTShe quietly makes it to the ground -- hurries off to the darkness of thewoods.EXT. WORLD'S FAIR - ON KAY AND THE BUG - NIGHTKay has himself in the Bug's face, its dripping fangs inches from Kay'sface. KAY You're just a smear on the sports page to me, you slimy, gut-sucking, intestinal parasite! Eat me!The Bug reacts -- cranks open its massive jaws with a deafening HISS,lunges forward, and sucks Kay into his mouth.The Bug straightens up to its full height and throws his head back. Kayslides down the Bug's throat, bending it sideways as he kicks and SCREAMShis way down into its abdomen.JAY looks on, in stunned horror...AS THE BUG TURNS TO JAY AND STRETCHES TO ITS FULL HEIGHT and lets loose aHIDEOUS SCREAMING HOWL OF TRIUMPH.EXT. WOODS - NIGHTLaurel is still watching.EXT. WORLD'S FAIR - ON JAY AND THE BUG - NIGHTJay watches as the Bug continues its HOWL OF TRIUMPH...He feels totallydefeated. But...He can hardly believe his eyes as he looks down at the Bug's stomach...CLOSE ON BUG'S STOMACH. Through the leathery pouch of the Bug's stomach,we can just make out the distended outline of the two atomizers...and justa few inches from it, a HUMAN HAND is reaching toward the gun... KAY!INT. BUG - NIGHTKay, swimming in the Bug's intestinal fluid, tries to make his way to thegun, Holding his breath. Eyes stinging.EXT. WORLD'S FAIR - NIGHTJay knows what he has to do. He picks up a good-sized chunk of concretedislodged by the crashing saucer and hurls it at the Bug. JAY Hey! Come over here and try that!The concrete THUNKS off the Bug's shell -- he doesn't seem to notice; justkeeps moving.Jay picks up a twisted metal pole and runs at the Bug. JAY Stop right there, or I'll start wailing on your waxy, pointed ass!Jay starts pounding on the Bug with the metal pole.INT. BUG - NIGHTKay almost has his fingers around the stock of the gun -- The POUNDING onthe outside distracts him and he turns -- the gun shifts away.EXT. WORLD'S FAIR - NIGHTThe Bug grabs the metal pole and yanks it out of Jay's hands. He swings atJay -- Jay dodges the blow and falls to the grass.The Bug slices down with razor-sharp claws at Jay ---- Jay rolls out of the way, just as the mean-looking claws dig into thegrass.Jay rolls right underneath the Bug's legs. His hand falls on something inthe grass -- another piece of debris, a sharp metal spike, gleaming like adagger. He grabs the metal spike and looks up at the Bug's apparentlyvulnerable underbelly, right above him.He grabs the spike with both hands and is about to thrust the spike up,into the Bug's gut, when;The Bug bends its head down between its legs.BUG'S POV of Jay there, upside-down from this perspective, lurking betweenthe Bug's legs.EXT. WORLD'S FAIR - NIGHTThe Bug opens its jaws and SNAPS at Jay -- who propels himself backwardout of harm's way.The Bug starts climbing the tower. Jay howls in frustration. JAY What are you, afraid of me? Come on! Stand and fight like an arthropod!In frustration, Jay screams and throws himself on the Bug, hanging ontoits back, trying to drag it down. JAY (CONT'D) You want a piece of this, huh?! Maybe you're a badass in your hive, but this is New York City. You're just another tourist here!The Bug flicks him off with his tail -- sending him SAILING twenty feetthrough the air.Jay CRASHES into the dumpster, landing on a heap in front of the garbage.But, scratched and beat-up, Jay still doesn't quit -- he stands to yell atthe Bug, extending his arm at the creature. JAY You're messing with the wrong species, Bug --He notices something on his arm...a cockroach running down his sleeve. Heflicks it off...Looks down at the ground...sees another roach...looks over to the dumpsterbehind him...there are more of them...a whole mob, in fact...fifty orsixty of the critters, climbing out of a rusted hole in the dumpster...Jay has one last desperate idea...He kicks at the dumpster -- part of theside is rusted paper thin and it kicks apart and crumbles to pieces.TENS OF THOUSANDS OF ROACHES pouring forth from the dumpster, crawlinglike a black glittering river, away from the garbage...Jay leaps to his feet and moves to the glistening mob of insects... JAY Hey, Bug!CLOSE ON JAY'S FOOT as he steps on the roach. CRUNCH.ON THE BUG as he flinches on the ladder -- he hates that sound.ON JAY. He smiles. JAY (CONT'D) If I'm not mistaken, that was a cousin of yours.He knows he's getting to him. He steps toward the Bug -- moving his footover another roach.CRUNCH! He crushes another one. JAY (CONT'D) Whoa! That had to hurt. And, what d'you know, here's your old Uncle Bob!He steps forward again -- CRUNCH!ON THE BUG. He turns around, anger burning in his eyes.INT. BUG - NIGHTKay's hand reaches closer and closer to the gun...EXT. WORLD'S FAIR - ON JAY - NIGHTJay keeps moving toward the Bug, finding new roaches to tread on -- holdshis foot over another one. JAY What's that? Can you hear what he's saying? 'Help me! Help me!'CRUNCH. [ON] THE BUG as he starts climbing down the tower and movingtoward Jay.ON JAY. They are moving toward each other in a show down -- Jay moves on,poising his foot over another roach. JAY Ooh! There's a pretty one. That one looks kinda familiar, don't you think? I know who that is!The Bug is right over Jay now, jaws dripping ready to gobble him up. BUG Don't do that!Jay stares right back at the Bug. Inside, he sees Kay's hand, closingaround the trigger of the shotgun. He brings it around, pointing up,straight at the Bug's head. JAY That's your Momma!He moves to CRUNCH the roach -- The Bug moves to chomp Jay -- Jay staresup at him, unflinching... JAY (CONT'D) Didn't she ever teach you not to bite off more than you can chew?and at that very moment...Kay BLASTS a hole right in the middle of the Bug's midsection. The frontof the Bug's thorax EXPLODES in a shower of bug juice all over Jay.The Bug flies into two pieces -- the butt end sailing one way; the headflying behind Jay.Kay falls out of the Bug, in a mess of goo, gasping for breath, droppingthe atomizer from his slippery fingers.The other gun sails off into the darkness.The ICON drops to the ground, rolls over to Jay's feet, and CLATTERS torest like a silver dollar on a barroom floor.He calmly bends down and picks it up. Jay is pissed and starts in on Kay. JAY You son of a --Kay holds up a finger in a 'wait a minute' gesture -- pulls out his pocketphone and hits a number. KAY Zed. Get a message to the Arquillians. We have the galaxy.INT. MIB HEADQUARTERS - NIGHTZed is standing at the console, a smile on his face. He glances over atthe console that displays alien arrivals and departures on the earth. Thered lights are coming back on. ZED I think the word's already out. Our friends are coming back. (then) Got an authorized landing at Times Square. You and Jay check it out on the way back... And pick me up one of those soft pretzels, while you're at it. Extra salt. I feel like celebrating.EXT. WORLD'S FAIR - NIGHTKay flips the phone closed. KAY You were saying? JAY Getting eaten!? That was your plan!? KAY (shrugs) Worked.As they argue, behind them, unseen, THE FRONT HALF OF THE BUG RAISESITSELF UP on its forearms, eyes gleaming with hate, jaws dripping -- readyto lower itself onto Kay and Jay. JAY After I got the shit beat out of me! KAY And I almost got digested. It goes with the job. JAY You coulda told me what you were doing. KAY There wasn't time, sport!HISSS! The Bug attacks, swinging its head down on them. They turn to seeit, and just before the jaws snap down on their heads...BOOM! The Bug's head explodes into a million bits. Bug juice showers downeverywhere, bucketsful of goo drenching Kay and Jay even further.They turn to see...LAUREL standing behind the dead Bug, the other atomizer in her hands, thebarrel smoking, the weapon and Laurel dripping the Bug innards. LAUREL Interesting job you guys got.ON THE SKY. Bits of Bug juice still flying through the air.INT. A CAR ON THE ADJOINING FREEWAY - NIGHTThe driver sees something tumbling toward the windshield. He winces.-- AND THE BUG'S REMAINS SPLAT AGAINST THE WINDSHIELD.The driver grimaces at the mess. DRIVER Damn bugs.He reaches down and hits a button. Wiper fluid squirts onto the windshieldand the wipers spread the bug goo everywhere. CUT TO:EXT. MIB BUILDING - NIGHTKay's LTD is parked outside Men in Black headquarters. LAUREL leans herback against the car. We see JAY and KAY walking away in the distance. JAY Look, I know we got rules, but she did just bust the Bug for us. And so maybe you don't have to flashy thing her.Kay pulls out the neuralyzer. JAY Who's she gonna tell, anyway? She only hangs out with dead people. KAY Not her. Me. (looking up at the sky) They're beautiful, aren't they? The stars. I never just look anymore and they're beautiful. JAY Kay, you're scaring your partner. KAY I haven't been training a partner -- I've been training a replacement. JAY Oh no, I can't do this job by myself. LAUREL (walking towards them) Hey, guys, we're nowhere near my apartment. We're not even on the right island. KAY Maybe you won't have to.Kay starts dialing back the neuralyzer. KAY Days. Months. Years. Always face it forwards.He hands the neuralyzer to Jay. Taps his pocket. Indicates for him to puthis glasses on. Jay resists. KAY I've just been down the gullet of an interstellar cockroach. That's one of a hundred memories I don't want.Jay takes the neuralyzer. Slips on his glasses. KAY See you around, sport.Jay raises the neuralyzer. With a brilliant FLASH, the screen turns white. JAY No, you won't. CUT TO:EXT. NEWSSTAND - DAYCLOSE ON various tabloid headlines as a hand flicks through them. Here'sone: Mets' Centerfielder Says: "UFO MADE ME MISS HOME RUN BALL!"And here's another one: DETROIT HAS CAR THAT DEFIES GRAVITY! Secret Tests in N.Y.'s TunnelAnd a third: MAN AWAKENS FROM 30-YEAR COMA Returns to Girl He Left BehindA large photograph shows a smiling KAY, arm-in-arm with ELIZABETH RESTON,his long-lost fiancee, in her back yard in Tempe, Arizona.She holds a large bouquet of flowers, the same kind he brought but nevergave her thirty years ago.JAY, who's reading the paper, smiles.AT THE CURB, Jay hurries back to the LTD with the newspapers. ELLE,(formerly Laurel), is waiting, leaning against the hood. Tailored blacksuit. Black shoes. Short-cropped hair. The look never looked better. ELLE Zed called. The High Consulate of Regent-9 emissary wants floor seats to the Knicks -- Bulls game. JAY I'll talk to Dennis Rodman, it's his damn planet. ELLE Let's roll.Both car doors SLAM, Jay drops it in gear, and the LTD BLASTS away fromthe curb.EXT. NEW YORK CITY BLOCK - DAYThe LTD is just one of many cars in a jam-packed Manhattan city block.FROM UP IN THE CLOUDSManhattan itself is just part of a much larger urban and suburban sprawl.FROM THE STRATOSPHEREThe east coast of the United States is just part of a much larger landmass.FROM THE EOSPHERENorth America is just a small portion of the planet Earth.FROM SPACEEarth is just a tiny ball in our solar system.FROM THE MIDDLE OF THE MILKY WAYOur solar system is just a few blips of light in a vast star field.FROM OUTSIDE OUR GALAXYThe Milky Way is just a creamy spiral amid innumerable other creamyspirals.FROM THE OUTER REACHES OF THE UNIVERSEThere seems to be an edge to what we see, a curved border that seems toclose in on things around the perimeters, until everything that existsseems to be contained in one tiny ball ---- which is actually a marble resting on a strange-looking patch of reddirt.An ALIEN HAND reaches down and flicks the marble, sending it skitteringand bouncing across the dirt, where it CLICKS into a dozen other big blueballs just like it. FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Metro.txt b/unformated_scripts/Script_Metro.txt new file mode 100644 index 0000000000000000000000000000000000000000..ab42cbca2291db82a3f490c7da5426f209f51e30 --- /dev/null +++ b/unformated_scripts/Script_Metro.txt @@ -0,0 +1 @@ + "METRO" Screenplay by Randy Feldman SHOOTING DRAFT FADE IN: CLOSEUP OF SCOTT ROPER He's listening to the stretch call of a horse race, and he's into it. TRACK ANNOUNCER (O.S.) ...at the top of the stretch it's Cozy Girl in front with Backtrack coming on... Cozy Girl by a length, Backtrack closing... ROPER Come on. Stay up there, Cozy Girl... The CAMERA GRADUALLY pulls back to reveal that Roper is driving his Trans Am across the Bay Bridge. HELICOPTER SHOTS give a soaring view of the San Francisco skyline. TRACK ANNOUNCER (O.S.) At the eighth pole it's Cozy Girl by half a length... Backtrack closing... INT. CAR - DAY Roper's police radio SQUAWKS. DISPATCHER (V.O.) One-one-four to Roper. He picks up the radio. ROPER Dig in, Cozy Girl... (into the radio) Roper go. DISPATCHER (V.O.) One-four, Roper. Code 2.C.P. 4th and Grand. TRACK ANNOUNCER (O.S.) It's Cozy Girl holding on... Cozy Girl and Backtrack... ROPER I'm en route. E.T.A. in five. He tosses the radio down. Punches the accelerator. ROPER Stay up there, Girl... TRACK ANNOUNCER (O.S.) Cozy Girl in front by a neck... Now a head... EXT. TRANS AM - DAY Weaving through traffic on the bridge. ROPER (V.O.) Where's the damn wire?! TRACK ANNOUNCER (O.S.) Here comes the wire... and... Backtrack gets up in the last jump. Cozy girl a very game second. ROPER (V.O.) SHIT! The Trans Am streak off toward the city. EXT. BANK - DOWNTOWN - DAY A hostage situation. Police barricades. Dozens of squad cars, ambulances, spectators, SWAT team. It's a stalemate. Roper's Trans Am pulls to a stop at the barricades. He hops out, weaves through the spectators and past the barriers. A FEMALE DETECTIVE, EIKO KIMURA, rushes up to him. KIMURA Hi, Roper. ROPER Hi, Kimura. Where's the command post? Kimura points to the diner in the middle of the block. Roper heads toward it. As they walk Kimura briefs him... KIMURA The suspect came in shortly after the bank opened. Botched robbery. A teller hit the silent alarm. He took seven hostages. Shot one -- the guard. He's still alive. So far he's asked for... ROPER ...a car. KIMURA That's right, and a plane waiting at the airport. If he doesn't... ROPER ...get 'em, he's going to start shooting hostages in five minutes... KIMURA That's right. ROPER What's the suspect's name? KIMURA Earl. INT. DINER - DAY Across from the bank. This is where the "command post" is setup. About a dozen cops and the accompanying support staff are here. Lieutenant SAMUEL BAFFERT is in charge. Roper saunters in. ROPER Hello, guys. BAFFERT Hello, Roper. Glad you could join us. Roper walks over to the counter where Baffert is standing. ROPER Do we have a profile on Mr. Earl? Baffert hands him a folder. Roper opens it. BAFFERT This guy is no genius. Roper scans the profile. ROPER They're not usually graduate students. BAFFERT SWAT wants to go in. ROPER What's the rush? They haven't killed anybody yet this week? Roper refers to the folder. ROPER We got a guy who's probably on drugs. He's got a record of 459's and he was busted on possession. But he's never been busted on a major felony. What's his demeanor? KIMURA Well he's a little fucking agitated -- he ripped the phone out. ROPER I have to go face to face. BAFFERT No -- you can't do that. ROPER You got 7 hostages in there, 1 of them's wounded -- We don't know how bad it is -- The guy ripped the phone out -- SWAT said he's got a gun to the head of a female hostage. If SWAT makes entry now, you're gonna lose 1 hostage, maybe 2. I gotta go in. Maybe I can see what's going on in there. BAFFERT I don't know. ROPER He's never offed anybody. His rap doesn't show any violence. BAFFERT Not that we know of. ROPER We don't know how much time we have. If I can get in to talk to him -- maybe we won't lose anyone. BAFFERT Maybe we can get a throw phone in there. KIMURA SWAT says it's broken -- The perp in the last situation rendered it inoperable. BAFFERT What do you mean? KIMURA He urinated on it and shorted out the circuits. ROPER We gonna stand here and talk about it or let the guy in there bleed to death. (beat... beat) Give me a dozen donuts. Roper pulls out his gun and places it on the counter. EXT. STREET - DAY Roper eats the donut as he crosses toward the bank. EXT. ROOFTOP ACROSS THE STREET - DAY A team of two SWAT TEAM MEMBERS, FORBES IS A SPOTTER AND MCCALL IS A SHARPSHOOTER. KEVIN MCCALL, is the one we're interested in. He's 25 years old, handsome, all American. He's the best the SWAT team has. He crouches motionless, staring through the scope of his rifle, watching as Roper calmly walks toward the bank. FORBES What do you think he's got in the bag? MCCALL Donuts. FORBES You can't take a guy down with a donut. INT. BANK - DAY A tense situation. A wild-eyed, white punk, fuck-up of a BANK ROBBER, EARL, is holding a pretty, young TELLER around the neck with a cocked gun held to her temple. The other bank employees are cowering on the floor. A few are giving aid to the wounded bank guard who is half-conscious and oozing blood from his side. Roper strolls right through the front door and walks toward Earl, very sociable. ROPER Hi, Earl, I'm Scott Roper. Wanna donut? I ate the glazed but there's a bunch of chocolate and a -- Earl swipes the donuts out of Roper's hand and starts frisking Roper for weapons with his free hand. The other hand still has the gun poised at the young teller's head. ROPER I'm a negotiator, Earl. I don't carry a weapon. Roper smiles reassuringly at the pretty teller. It seems to help. Earl finishes patting Roper down, straightens back up and puts his hand around the teller's neck. EARL Where's the car? ROPER I need to get something straight first. Roper looks over at the other bank employees huddled on the floor. ROPER Who's the manager? A balding, middle-aged MAN sheepishly raises his hand. MANAGER I am. Roper takes a step toward him. ROPER When did you start keeping longer hours? MANAGER Last spring. ROPER Really! Because I've been thinking of moving to this branch. It would be really convenient for me -- EARL HEY, SHUT UP! Earl wags his gun against the Teller's ear. EARL Do you want me to start killing people?! Roper holds his hand up defensively. ROPER It's my job to see that no one gets killed, Earl... Including you. EARL Then where's my FUCKING car! Earl is pouring sweat. His gun hand is shaking uncontrollably. ROPER I'm getting it, Earl, but we have to do this the right way. Roper keeps his eyes locked on Earl. His voice is calm. ROPER First I need you to point that gun away from -- (to the teller) What's your name? TELLER (voice trembling) Debbie... ROPER Point the gun away from Debbie. EARL Debbie's brains are going to be splattered all over the floor if I don't see a car in five minutes! Roper takes a long look at Earl. The guy is a hair trigger. ROPER Alright! But let's be clear about one thing. If you kill someone, I can't help you. The SWAT guys will take you out. Earl glances at the army of cop cars poised outside. Reflects for a moment on the reality of the situation. EARL What are my chances of getting out of here? Roper calmly moves toward where the wounded guard is laying. ROPER Not bad. Last month, a guy robbed a bank in Daly City... Roper crouches down, smiles at the blurry-eyed guard. ROPER How ya doin'? The guard groans. He's not doing very well. Roper peels back the bloody handkerchief, takes a look. Winces. ROPER (to Earl) ...Cops gave him a car, and he lost them on the freeway. Earl is encouraged by that. EARL Really? ROPER Absolutely. Bank robbers are generally your smartest criminals. Roper looks directly into Earl's eyes. ROPER He didn't kill anybody, though. Roper bends over the guard. ROPER This is gonna hurt. He grabs the guard under the arms and starts dragging him across the floor. The guard MOANS piteously. EARL Hey, leave him alone. What are you doing? Roper keeps dragging the guard toward the front door. ROPER It's part of my negotiator's oath. If there's an injured party and I can help them, I'm duty bound by my oath to do that. You can shoot me if you want, but the next negotiator in here is going to tell you the same thing. Earl is unsure what to do, but he guesses an oath is an oath. He lets Roper drag the guard to the door. ROPER I'll be right back, Earl. Point that gun away from Debbie. Earl compliantly moves the gun away from the teller's head, then re-thinks and jerks it back against her temple. EXT. BANK - DAY Roper drags the guard out the front door and deposits him on the sidewalk. Two SWAT OFFICERS rush up to give aid. One of them is Jennings. ROPER (whispering to Jennings) Give me your gun. (NOTE: The method of disarming Earl is still to be determined) Jennings inconspicuously pulls his gun out and slips it to him. Roper quickly cocks it and shoves it in his waistband under his shirt and vest. ROPER I haven't had to shoot anyone in three years. JENNINGS Why not keep the streak alive? ROPER Because this strung-out junkie is too stupid to get out of this without killing somebody. INT. BANK - DAY Earl watches Roper through the window. He can only see Roper's back. He's getting very agitated. EARL (yelling) HEY, WHAT THE FUCK ARE YOU DOING OUT THERE! The two cops hustle off with the wounded guard, and Roper calmly walks back into the bank. Stops about five paces from Earl. ROPER As a rule, I need one hostage released as show of good faith. Roper glances at Debbie. Gun pressed against her head. Tears start rolling down her cheeks. She's being tremendously brave. ROPER Give me Debbie. Earl squeezes the gun even tighter against the side of her head. EARL Take the old guy. The other hostages watch this exchange tensely. ROPER The Old Guy? What kind of show of faith is that? I want Debbie. EARL Am I gettin' the car? ROPER You're gettin' the car. Earl thinks about it, his gun hand twitching. He points at two of the female employees cowering against the counter. EARL Take them. Roper decides that this is the best he's going to get. ROPER You two, leave. The two women don't need any extra encouragement. They jump up and rush out the front door. EXT. ROOFTOP - DAY McCall and Forbes watch through their rifle scopes as the two released hostages are whisked away by uniformed cops. FORBES This guy is good. MCCALL That's what they say. INT. BANK - DAY ROPER That was fine, Earl. Now I'm going to get your car. Roper turns around and walks toward the front door. He stops and looks over his shoulder. ROPER Oh, there's one last thing. Earl looks like he's right on the edge. EARL What?! ROPER You want a convertible or hardtop? Earl thinks about that for a beat... ROPER Hardtop. Roper turns around, starts walking again. He keeps his eyes focused on the reflection of Earl in the front window of the bank. ROPER (without turning around) Manual or automatic? EARL Automatic. ROPER You got it. In one swift motion, Roper turns, aims and FIRES!... One SHOT. It tears into Earl's shoulder. One inch from Debbie's neck. Earl is blown back against the counter. Debbie shrieks at the top of her lungs. SWAT guys pour in from every entrance. YELLING for everybody to "GET DOWN"! Pointing guns. They pounce on Earl. EARL I give up! I give up! Roper goes to Debbie, puts his arm around her and gently leads her out of the bank. EXT. ROOFTOP - DAY McCall and Forbes still have their rifles trained on the bank door. Their police radio squawks... RADIO The situation is secured. Suspect in custody. Repeat. Situation secured. McCall lowers his rifle as Roper guides Debbie through the wave of cops rushing into the bank. EXT. STREET - SHORT TIME LATER Roper is exiting the bank and putting back on his gun when he hears the sound of a CAMERA SHUTTER. He turns to see VERONICA (RONNIE) TATE holding the camera. She snaps one of Roper with Earl in the b.g. being placed in a squad car. RONNIE There's one for the front page. Roper puts his hand over his heart as if stricken with love... which he in fact is. ROPER Ronnie, why are you torturing me? I can't live without you. Ronnie rolls her eyes. She doesn't take Roper all that seriously. RONNIE Don't start. She slings the camera over her shoulder and starts to walk off. Roper dogs her. ROPER This baseball player you're going out with... (shaking his head) He's no good for you. RONNIE Really?! He's a wonderful guy. He makes two million a year, and he worships me. ROPER I worship you. RONNIE You worship yourself. ROPER Ronnie, forget this what's-his-name. RONNIE Greg. ROPER Did you know he's already got a bad knee? In another 10 years you're going to be pushing him around in a wheelchair. Ronnie stops. Looks him in the eye. RONNIE You know what I think? I think you only want me now, because I'm with somebody else. ROPER Who cares what you think. I want you back and that's all that matters. Ronnie smiles, but offers no response. ROPER Let me take you out tomorrow night... Pleeease. RONNIE I'm going out with Greg tomorrow. ROPER (frowning) This Greg is really getting in my way. Roper gets down on his knees. ROPER Please. I'm begging you. RONNIE Oh, I've got to get a shot of this. She takes the lense cap off her camera. Roper primps his hair to make sure he looks good for the picture... CLICK! Suddenly Roper notices that his Trans Am is being towed. He rushes over to his car. ROPER Hey, that's my car. A REPO MAN stands off to the side watching dispassionately. REPO MAN Not anymore. Now it belongs to Silver Hills Financial. Roper sadly watches the tow truck drive off with his beloved Trans Am. INT. METRO DIVISION HEADQUARTERS - DAY - RAINING Lots of activity. Officers in cubicles; talking on phones; typing reports on computers. Most are plain-clothed. Roper weaves through the room. Passes by Baffert's desk. ROPER Hey, Baffert, what's the story for tonight? Baffert pulls two tickets for the Warriors' game out of his pocket. BAFFERT Floor seats. ROPER You're my hero. BAFFERT Dinner's on you. ROPER Deal. INT. HALLWAY - DAY - RAINING A quiet contrast to the squadroom. This is the executive branch of Metro. All the big-wigs are officed here. Roper walks down the carpeted hall. No one here except Kevin McCall quietly sitting outside Captain Solis' office. Roper and McCall make brief eye contact. Roper thinks nothing of it. He goes into the Captain's office. INT. CAPTAIN SOLIS' OFFICE - RAINING CAPTAIN FRANK SOLIS is on the phone. There's a file on the desk in front of him. He motions Roper to sit down. SOLIS He just walked into my office. (looks over at Roper) The Chief says, "Good work this morning. Congratulations." Roper smiles as he sits down. ROPER Tell him to give me a raise. SOLIS (into the phone) He says, "Thank you very much." (a beat) I'll discuss it with him right now... Good-bye, Chief. Solis hangs up. Looks across the desk at Roper. A long pause. He knows he's got leverage. SOLIS Roper. ROPER What? SOLIS Are you going to make this hard for me? ROPER Depends. What's up? SOLIS There's been some concern about you continuing to work without back-up. ROPER Define concern. Solis dumps his cards on the table. SOLIS What if you die and no one can do what you do as well as you do it? ROPER Your concern is heartwarming. SOLIS It's been decided that you take on another partner and train him to be able to take over for you. ROPER Is that what the guy in the Sunday School suit is doing outside? SOLIS His name's Kevin McCall. Every Metro Captain agrees that he's their top sharp-shooter and most likely to succeed. Roper grabs McCall's folder off the desk. ROPER Let me see that. Roper scans it. ROPER Tested high on his intellectual aptitude... Not as high as me but... National marksman finalist... Attended N. Y. C... Went to college. Very impressive. F.B.I. sniper school... Mayorial commendation. INT. HALLWAY - SAME - RAINING McCall turns around in his chair. He can see Roper and Solis through the glass walls of the office, but he can't hear their voices. INT. SOLIS' OFFICE - SAME - RAINING ROPER "Additional Skills": Biathelete, marathoner, lip-reading, speaks Spanish... Roper throws the folder back on the desk. ROPER Great, send him to the Marines. This guy's not a negotiator. He'll quit in two weeks. SOLIS You let us worry about that. ROPER Is there going to be an expression of your appreciation? SOLIS (gloomily) What kind of appreciation are we talking about? ROPER The financial kind. I figure I'm going to be working extra hours. All sorts of overtime... training sessions... Not to mention the extra stress... SOLIS What do you think would be in order? ROPER Like ahh... I don't know... (boldly) Five thousand dollars. SOLIS (calmly) Okay, I think I could swing that. Uh-oh, Roper thinks maybe he sold short. ROPER (quickly) And a car. SOLIS Hey, you just got a five thousand dollar raise. Get a car of your own. ROPER You know you've got nothing but cars down there in impound. SOLIS Impound isn't a rent-a-car company. ROPER (firmly) The car is part of the deal. SOLIS What happened to your Trans Am? Solis gets up and taps the glass, motions for McCall to come in. ROPER Repoed this morning. SOLIS (relenting) I'll provide you with transportation. ROPER And even if this doesn't work, I want all the money. These SWAT guys don't have the temperament. They don't have the background... McCall enters the office. ROPER (instant character change) Hey, glad to meet you. I've heard nothing but good things about you... Roper reaches out. They shake hands. MCCALL Same here. I've watched you in action. Very impressive. ROPER You've got a lot of hard work ahead of you if you want to be a negotiator. MCCALL I'm ready to do it. (a beat) And I'm going to be here more than two weeks. Roper's face darkens. ROPER Don't go reading my lips, man. That's an intrusion. Save that shit for the sniper school. Comprende? MCCALL Sorry... Habit. SOLIS (intervening) Let's move past this, gentlemen. Roper smiles. ROPER We're already past it, aren't we, Kevin? MCCALL If you say so. SOLIS Then you'll have to excuse me. I have other work to do. Roper and McCall head out the door. SOLIS Roper... Roper turns back around. SOLIS About the transportation issue... You check with the impound sergeant. Roper smiles. Total victory. INT. HALLWAY - DAY - RAINING MOVING with Roper and McCall. ROPER You ever been in a hostage situation? MCCALL Only at the very end. ROPER How do you feel after a shooting. MCCALL (self-assured) Like it had to be done. They enter the squadroom, wind through the cubicles. ROPER It rarely has to be done. MCCALL I've rarely shot anyone. ROPER SWAT is a lifesaving unit, you know. MCCALL (flatly) I know. ROPER Try to remember that. They arrive at Roper's desk. ROPER Okay, "Dead Eye", lesson one... Roper grabs an empty soda bottle from a neighboring desk. He takes the cap off a ball point pen and drops it into the empty bottle. He places the bottle on his desk. ROPER Extract that pen cap without touching or moving the bottle. McCall looks at the bottle quizzically. MCCALL What's the point of this? ROPER A little exercise in lateral thinking. The obvious solution isn't always the only solution... See you tomorrow. Roper grabs his jacket and walks off, leaving McCall to ponder the problem. McCall looks over at another cop who has been observing. The cop shrugs his shoulders. He hasn't got a clue. McCall sits down and thoughtfully peers into the bottle. OMITTED Sequence omitted from original script. INT. UNDERGROUND GARAGE - NIGHT Roper and Baffert walking past the row of cars, including Solis' cadillac, searching for Roper's "new" transportation... Roper is holding the keys in his hand. BAFFERT Mind if we make a stop on the way? We busted Frank Antonucci on possession. He gave us a lead on that Polk Street jewelry heist. ROPER "Phoney Frank"? Don't waste your time. He'd tell you his granny was in on the Kennedy assassination if he could dodge a collar. BAFFERT I still gotta do it. Wasting time is half my job. ROPER Yeah, okay. Roper is looking at the numbered parking spaces. BAFFERT This SWAT guy might be a good idea. He may be able to take a little pressure off you. I worry about you. ROPER You worried about me, too? The chief's worried about me. Solis is worried about me. Maybe you guys should start some kind of organization. BAFFERT Speaking of which. I saw you talking to Ronnie this morning. Why can't you get it back together with her. You've gotta be out of your mind not to get with that one. ROPER It's not me. It's her. She's going out with this baseball player -- Greg Barnett. BAFFERT (impressed) No shit! He's good! ROPER Fuck him. He swings at anything in the dirt. I could strike him out. BAFFERT Don't give up on her. You're getting to the age when you ought to be thinking about these things. Roper bends over like an old man. ROPER Yep, my rheumatism's been acting up. They arrive at their destination. A parking space with a 1957 DODGE PICKUP. BAFFERT This is it. Space 742. Roper looks at the pickup truck in disbelief. ROPER Then he didn't say 742. He must have said 724 or something, because this can't be right. Baffert unlocks the pickup and offers the keys to Roper who is crossing to the truck. ROPER Oh man! What am I, Red Foxx? I'm not riding in this shit. I can't roll in no shit like this. He takes the keys from Baffert who moves around to the passengers side. He opens the door. BAFFERT Where's the stereo? ROPER Fuck the stereo. What's that smell? BAFFERT Come on. Just get in. We gotta go. EXT. MARKET STREET - NIGHT The pickup in traffic. OMITTED Sequence omitted from original script. EXT. KORDA'S BUILDING - NIGHT It's a four story twenties style walk-up. It's evening now. The pickup pulls to a stop out front. INT. PICKUP - NIGHT Baffert pulls out a slip of paper. BAFFERT Apartment 306. ROPER You want me to go up with you? BAFFERT Nah, It probably won't turn up anything. I'm just gonna talk to him. ROPER Good. I don't want to be late. Baffert gets out. Roper grabs his cell phone. ROPER You want anything on the game? Baffert turns back around. BAFFERT What's the line? ROPER It was Warriors plus 6 this morning. BAFFERT I'll take half of your action. Baffert goes into the building. Roper dials his cellular phone. Beep! Beep! DETAIL SHOT A message on the display reads: RECHARGE BATTERY. Roper looks around. There's a payphone across the street. He gets out of the truck and crosses to it. INT. BUILDING - NIGHT Third floor hallway. Nice, middle class place. Well kept up. Baffert walks over to room 306. Knocks. INT. KORDA'S APT. - NIGHT Jazz is playing. MICHAEL KORDA sits motionless in a chair listening to the music. There's a KNOCK. Korda responds as if pulled from a trance. He rises and moves to the door. KORDA Who is it? BAFFERT (V.O.) It's Lieutenant Sam Baffert from the San Francisco Police Department. A slight hesitation from Korda. He glances around the apartment. For what reason, we don't know. Maybe to make sure there's nothing incriminating around. He opens the door. KORDA What happened? Is there a problem? BAFFERT May I come in? I would just like to ask you a couple of questions. Korda steps aside and lets Baffert enter. Korda closes the door. Baffert scans the place. Not bad. He listens to the music. A smile grows on his face. BAFFERT Count Basie? Korda smiles back. Another jazz aficionada. KORDA Duke Ellington. "Things Ain't What They Used To Be", recorded July 30, 1945. BAFFERT Yeah... Yeah... Now I can hear it. Korda goes to the stereo, turns it down. Duke Ellington plays low. BAFFERT Where did you find an old recording like that? KORDA Used record shop down on Turk Street. I was in there looking for some Robert Johnson. (searching for the name) Memories... Memory Lane or something... BAFFERT I've got to stop in there... Mr. Korda, do you know Frank Antonucci? KORDA You mean Frank who owns the bakery down the street? Baffert smiles. BAFFERT No, this is a different Frank. This is a man who deals in jewelry. Stolen jewelry usually. You wouldn't know anybody like that? Korda drifts to the other side of the room. Takes a look out his front window... HIS POV Nobody there. Just the truck. KORDA I certainly wouldn't. He says it as if the very idea disturbs him. He turns away from the window. Baffert feigns a coughing spell. BAFFERT Could I please have a little water? KORDA (the perfect host) Of course. Korda heads toward the kitchen area. Baffert uses this as an opportunity to drift around the room. Do a little snooping. BAFFERT The reason I'm asking you is because we arrested him with some stolen jewelry. It was traced to the robbery of a store down on Polk Street. He said he was fencing it for you. Baffert notices something in the trash can. HIS POV Several glassine envelopes used for raw jewels. They have jeweler's markings on them indicating gem weight and grade. INT. KITCHEN Korda, pouring the water, notices Baffert's discovery, but his face betrays nothing. KORDA (calmly) There's obviously some mistake. I have a cousin who has had run-ins with the law. Korda re-enters the room with the glass of water. KORDA Perhaps for his own reasons he entangled me in this... situation. BAFFERT This cousin of yours... What's his name? KORDA (forthrightly) Clarence Teal. They look at each other a beat. Korda is still holding the water. KORDA Your cough seems to be better. A real repressed tension here. Someone's about to get hurt. Baffert takes the glass of water. BAFFERT Thank you. He takes a sip. Korda watches him like a cobra. Baffert puts the glass down on the table. BAFFERT Well, I'm on my way to the game. I appreciate your cooperation, Mr. Korda. Korda smiles. Baffert walks to the door. Opens it to leave... KORDA Lieutenant... Baffert turns back around. KORDA Do you believe that story about Robert Johnson...? That he made a deal with the devil at the crossroads? Baffert muses along with Korda. BAFFERT Could be. Baffert moves off down the hall and Korda closes his door. INT. HALLWAY - NIGHT Baffert gets into the elevator. INT. ELEVATOR - NIGHT Baffert takes out his cell phone. Dials. BAFFERT (as the elevator descends) Hello, Judge Stone... This is Lieutenant Samuel Baffert. I'm at a suspect's residence. I'm requesting a telephonic search warrant in connection with an armed robbery at a jewelry store. There's visible evidence on the premises. Glassine envelopes with jeweler's markings were seen in the trash can... The elevator hits the first floor. BAFFERT ...I believe a full search of the premises will turn up some stolen property... The elevator opens. Korda is standing there with a knife. Baffert has no time to react... The knife hand slashes forward... Stabbing the chest and slashing across the throat. EXT. BUILDING - NIGHT Korda calmly exits the building as Roper crosses the street, returning from the payphone. Neither of the men take any particular notices of each other. A WOMAN carrying her groceries enters the building. Roper gets to the truck. A SCREAM from inside the building. INT. BUILDING - NIGHT Baffert is laying in the open elevator, knife wounds to his neck and chest. Roper rushes over to him. It doesn't look good. The woman with the groceries is standing halfway up the first flight of stairs. Frozen. Roper pulls out his gun and rushes by her up the stairs. ROPER (to the woman) Get an ambulance! INT. THIRD FLOOR HALLWAY - NIGHT Roper arrives at the top of the stairs. Korda's door is ajar. Duke Ellington can be heard faintly. INT. KORDA'S APT. - NIGHT Roper nudges the door open, takes a step inside, gun ready... No one there. Suddenly, from the hallway, the click of a door. Roper races out. INT. HALLWAY - NIGHT Roper sprints to the door at the end of the hall, KICKS it open. Gun aimed. INT. APT. 302 - NIGHT A five year old stares up at him. Scared stiff. Roper holds up a reassuring hand, and, as quickly as he arrived, he leaves. EXT. BUILDING - NIGHT Roper burst out the front. Down the stairs to the sidewalk. Looks both ways down the street... Realizes in dismay that Korda is long gone. A SIREN approaches. INT. SOLIS OFFICE - NIGHT - RAIN Angle outside window to Roper sitting in a chair by the window looking out to the rain. Solis is in the b.g. on the phone. SOLIS (on the phone) Yes sir. Every resource will be brought to bear. We will find this guy... Yeah, he's here now. I'll tell him. Solis hangs up the phone. SOLIS The chief says to tell you how sorry he is. He knew Sam Baffert was a good man. ROPER (still looking out window) He said he was just going up to talk to him. He said... (beat; turning to Solis) I want to be put on this case. SOLIS I can't do that. ROPER (emphatic) I want to be put on this case. SOLIS You know I can't assign you to this. You're much too close to it. You were much too close to Sam. The department will take care of it. ROPER Who's running it? SOLIS Roper... ROPER Who's running it! SOLIS Kimura and Glass will head the investigation. Roper turns to leave. SOLIS Scott. Go home. Get some sleep. Roper pauses at the door. Then pulls out two basketball tickets and lays them on the table in Solis' office. He exits. CUT TO: INT. METRO OFFICE AREA - NIGHT Two detectives. A female named KIMURA and a tall guy named GLASS, try to make a getaway as they see Roper coming. ROPER Hey, hey, hey... Roper intercepts them. ROPER Anything on Korda so far? KIMURA Solis said to keep you clear of this. Roper responds louder than necessary with a half turn toward Solis' hallway. ROPER I don't give a damn what Solis said. (to the detectives) If you get a lead, I want to know. OMITTED Sequence omitted from original script. EXT. SAN FRANCISCO STREET - NIGHT - RAINING Roper's pickup drives by. INT. PICKUP Thru the windshield. We see Roper as the windshield wipers flap back and forth. His face seems dazed and lost. INT. RONNIE'S HALLWAY - NIGHT Roper knocks. Ronnie's cheerful voice can be heard. RONNIE (O.S.) Just a minute. Roper makes no effort to pull himself together. The door opens and Ronnie's face registers surprise. She's dressed casually in jeans, a nice shirt, but wears make-up and earrings. RONNIE Hey. ROPER Hey yourself. Came by to see Troy. RONNIE (like hell) A little late for that, Scottie. He's asleep. (smells his breath) Jack Daniels? ROPER I'm not drunk. Yet. RONNIE Maybe you should be. ROPER You heard. She nods, sympathetic, but doesn't leave the doorway. RONNIE Yeah. I'm sorry. ROPER Can I come in? Ronnie opens the door reluctantly. INT. RONNIE'S HOUSE - NIGHT Roper enters. Instantly we see he's at home here. He hangs his coat in the closet, puts his keys on the table, notices a photograph on the wall. Quite imposing. Very unique style. ROPER That a new picture? RONNIE About 4 months old. I'm working in a new style. Roper gazes at it indifferently. He falls silent. Thoughts turned inward. Suddenly, TROY, (the dog), bounds in. He's ecstatic to see Roper. He puts his front paws on the couch and his head in Roper's lap. ROPER Hey, Troy. How ya doin' boy? (to Ronnie) He heard my voice. Roper smiles briefly, pats the dog, taking comfort from his presence. His words are light. His tone isn't. ROPER How's the good dog. I miss you buddy. You miss me? Ronnie watches them, suddenly showing the sadness she's carefully buried. ROPER He misses me. She nods. A moment's silence. ROPER I won't stay long. I had to talk to someone. RONNIE (a bit surprised at his openness) You don't usually talk to anyone when you're hurting. ROPER It was my fault. I was right downstairs. I should have gone up with him. RONNIE Scott, You can't save everyone. ROPER I've proved that, didn't I? She's not coming closer. She wants to, but she won't do it. She seems uneasy, glances towards the door. Roper rises. ROPER Oh, hell, forget it. This won't work. RONNIE (gentle) What do you want from me? ROPER Something I guess I can't have anymore. RONNIE Don't try to make me feel guilty. The whole time we were together, you went out of your way to prove you didn't need me. Now, suddenly, for one night, you need me again. I can't do it. I can't be more than your friend. Because I know what will happen. In a few weeks you'll be back on top, and you'll shut me out just as soon as you don't need me again. ROPER (surprised, hurt) You think I didn't need you? RONNIE If you did, you never showed it. ROPER Ronnie... He reaches for her and she looks like she might give in to him, but at that moment there's a KNOCK ON THE DOOR. Ronnie pulls back, confused and guilty. ROPER You expecting someone? Her silence is the answer... A flash of pain from Roper. ROPER This day just keeps getting better. Ronnie watches as he searches for his keys in his pockets. RONNIE (soft) They're on the table where you always leave them. He grabs the keys as she opens the door. GREG stands outside waiting. He's a big, good looking guy with a smile on his face. GREG Hey, baby, I thought maybe you were... Greg's smile fades as he sees Roper. ROPER I was just leaving. Roper strides past Greg who remains in the doorway. Ronnie makes brief eye contact with Greg, but then moves past him to follow Roper. She calls after him. RONNIE Scottie... take care of yourself. Roper doesn't look back. He just goes. EXT. PIER 26 - EARLY MORNING A huge warehouse. Sun coming up over the East Bay, CLARENCE TEAL rides up on a HARLEY MOTORCYLE, carrying a large cup of coffee to go. He enters the warehouse. INT. WAREHOUSE - SAME Car and Boat parts stacked in aisles ten feet high. Clarence shuffles through to his watchman's quarters which are connected to the end of the warehouse. INT. WATCHMAN'S QUARTERS - SAME Built on pilings with a panoramic view of the bay. Korda is waiting behind the door as Clarence enters. He seizes Clarence from behind and slams him against the wall and spins him around. Hot coffee soaks the front of Clarence's shirt. KORDA If you weren't family I'd kill you. Clarence is scared. He offers no defense. KORDA You told Antonucci that shit came from me. CLARENCE So that we could get the best price. He's got respect for you. He's gonna try to lowball me, Mike. Korda tosses Clarence down onto the cot. KORDA You fucking idiot! Why do you think I use you?... To be a walking advertisement. CLARENCE I'm sorry, Mike. I never heard of LaMarra flipping on anyone before. He said he had the cops paid off. Antonucci never flipped on anyone before. He had the cops paid off. KORDA Not the fucking cop that showed up at my door! CLARENCE What happened, Mike. KORDA You don't want to know. Tears start to come to Clarence's eyes. CLARENCE I'm sorry, Mike. Clarence sincerely feels bad. It's kind of touching in a twisted way. Korda moves over to the window to keep from striking Clarence again. He looks off across the bay. KORDA God damn it! I still needed to case that fucking store. It's too risky to show my face now. CLARENCE I got a couple thousand bucks. You could leave town. KORDA Leave town? They're going to know me in fucking Des Moines now!... (a beat) They got over ten million in jewels in that place. That's freedom, man. I could go anywhere I want. Clarence watches Korda warily. Things are beginning to add up in his head. CLARENCE Did you kill him, Mike? Korda turns to Clarence with a penetrated stare that answers the question. Clarence is shaken by that. He starts to whimper again. CLARENCE I'm sorry, Mike. I'm really sorry... We're talking major fear here... Korda moves to him and we think he's going to bash him around again, but, surprisingly, he hugs Clarence's head against his chest. KORDA It's not your fault you're stupid. Tears of relief from Clarence. INT. METRO DIVISION HEADQUARTERS - DAY Roper enters the squadroom. His mood is contained. He walks to a desk where Kimura and Glass are huddling. A couple desks over, McCall is reclining in Roper's chair, reading a book entitled, "Strategies and Counter Measures in Hostage Situations". On the desk in front of him is the bottle with the pen cap still in it. ROPER (to Kimura and Glass) What do you got on Korda? KIMURA We ran a search on relatives. He has a cousin in town -- Clarence Teal. Smalltime thief. Last known address was on Pine Street. He moved out a month ago. We've got a couple leads on him to check out. ROPER (rapid fire) Did you check out DMV for any vehicles registration? KIMURA Being faxed over now. ROPER How about the record room for any incident reports? He might be a victim. We can get medical records. Check with burglary detail and see if anyone else knows him, knows his habits. KIMURA Roper... ROPER And what about bars? We can talk to neighbors to see what bars he frequents. KIMURA Roper, we're into it... Suddenly Solis appears at their side. SOLIS We've had this conversation once, Roper. You're not active on this case. Roper looks at him icily. SOLIS It's in everyone's best interest. McCall, Kimura, Glass all watch this confrontation tensely. After a beat, Roper gives in. Indicates his compliance. Solis heads back to this office. ROPER (softened) You guys are doing good work. He moves toward the desk. McCall gets up when he sees him coming. MCCALL I'm sorry about your friend. I had a friend in SWAT killed. I know how it can be. ROPER I appreciate your concern. Let's leave it at that. McCall respectfully drops it. Roper looks down at the soda bottle. ROPER I don't see much progress here. McCall holds up a finger. Not so fast. He picks up a pot from a nearby "Mr. Coffee" machine. It's filled with water. He takes the water and slowly pours it into the bottle. CLOSE ON THE BOTTLE The pen cap floats to the top and McCall plucks it out without touching or moving the bottle. ROPER Very nice... You get an "A". Notice... No force required. No damage. Just then a SERGEANT calls to Roper across the squadroom. SERGEANT Roper, domestic disturbance at 472 6th Street. Possible hostage situation. McCall grabs his duffel bag. Roper starts away from the desk, then notices the book on "Hostage Strategies". He looks at the title, then makes a demonstration of dropping it in the trash can. He and McCall head out. EXT. MARKET STREET - DAY The pickup is weaving through traffic. INT. PICKUP - DAY Start on one of those air freshener evergreen trees hanging from the rear view mirror. PULL BACK to show a police bubble flashing on the dashboard. Roper weaving through traffic. McCall is sitting calmly as ever. ROPER So, McCall, how come you ended up in San Francisco? MCCALL They recruited me. Promised me fast advancement. ROPER Recruited you from where? MCCALL National Marksman Competition. ROPER With your qualifications you must have had a lot of offers. Why here? MCCALL Furthest point I could find from New York. ROPER You don't like New York? MCCALL Spent my whole life there. I just wanted to get out for a while. ROPER You'd never been out of New York? MCCALL Been to Toronto. My mother was born there. ROPER How did you like Toronto? MCCALL It was okay. ROPER You're a real excitable sort, aren't you? MCCALL You caught me on an "up" day. (a beat) How about you? How did you end up in San Francisco? ROPER I grew up in Oakland... Crossed the Bay Bridge and here I was. (a beat) So you're looking for "fast advancement". MCCALL Is there something wrong with that? ROPER I'm not sure. EXT. 6TH STREET - DAY Several Patrol Cars are parked in front of an unappealing apartment building. A crowd has begun to gather. UNIFORMED POLICEMEN hold them back. TWO COPS are questioning a man wearing only green slacks. No shirt. No shoes. Just the slacks. He is very agitated. The pickup screeches up. Roper and McCall hop out. Roper flashes his badge to the OFFICER in charge. (OFFICER #1) ROPER Roper. Metro Division. Hostage Negotiator. Give me the short version. OFFICER #1 Husband came home. Found that guy and his wife "in flagrante". Now he's holding her at knife point. ROPER Which apartment? The Officer points up to the third floor. OFFICER #1 That one with the bars on the windows. Roper nods. Walks back over to the pickup. Looks up. Eyeballs the building. ROPER How are we gonna get him out of there? MCCALL We could fill it with water. Roper throws him a look. McCall walks to the back of the pickup, reaches into the cab and digs around in his duffel bag. ROPER (to Officer #1) Have you evacuated anyone? OFFICER #1 Only that floor. ROPER Is the hostage injured? OFFICER #1 Don't know. She keeps screaming to stay out. He keeps screaming to stay out. We decided to stay out. ROPER Well, there's a good amount of agreement on that. McCall slams the truck door, sniper rifle in hand. MCCALL I'll take "highground" until SWAT gets here. (surveying the area) I can get a good sight-line from that roof across the street. McCall marches off across the street. ROPER Remember, Quick Draw, we're trying to limit the force here. McCall calls back over his shoulder. MCCALL I know my job. At that moment, a scream echoes down from the third floor window. Roper heads for the front door of the building. INT. APT. HALLWAY/STAIRCASE - (ACROSS THE STREET) McCall bounds up the stairs of the building to the rooftop. INT. 6TH ST. APARTMENT BUILDING HALLWAY - DAY The screams are getting more panicky. Roper comes down the hall quickly. The door to the apartment is open. It's been that way since the guy in the green slacks fled. Roper hurries toward the door. INT. APARTMENT - DAY The WIFE is in bra and panties and the HUSBAND is 6'4". He's giving her a good beating. It's a studio apartment. Unmade bed. Belongings strewn all over. Window open with sun streaming in, and a good view of the building across the street. We hear ROPER'S VOICE from out in the hall. ROPER (V.O.) I'm coming in. I'm not armed. The husband snatches his wife by the hair and holds a knife to her throat. WIFE (shrieking) No, Raymond! RAYMOND (to Roper) Stay the fuck out of here! But Roper steps into the apartment. Sees the wife. Face swollen. Knife to her neck. The enraged husband, contemplating murder. One inch from committing the act. Roper doesn't bat an eye. ROPER I know how you feel, Ray. RAYMOND You don't know shit, and I suggest you leave. He presses the knife against the wife's throat. She winces. Her chest heaves. ROPER I can't leave, Ray. It's part of my negotiator's oath. Once I'm in the room with the hostage, I have to stay. RAYMOND You don't want to see what I'm going to do to her. ROPER Let me show you something, Ray. Roper reaches into his pocket and pulls out his wallet. He extracts a photo. CLOSEUP PHOTO Wife. Two kids. A little dog-eared. Nice touch. ROPER holds it up so Raymond can see it. ROPER Same thing happened to me, man. She cheated on me, but I forgave her. You know why? RAYMOND I ain't interested in your life story. ROPER Because I was partially to blame. I wasn't around as much as I should have been. I forgot how to love her. RAYMOND She's the one to blame. Not me. EXT. ROOF ACROSS THE STREET - ON MCCALL In prone position. Rifle in hand. Eye to scope. POV THROUGH SIGHT of Raymond's open window. INT. RAYMOND'S APARTMENT Everyone where we left them. Roper looks at Ray with utter sincerity. ROPER Ray, think about how she looked when you married her. Think about how happy you were. Don't lose that, man. Don't give up everything. RAYMOND What am I giving up? I'm laid off last year. I'm down to my last unemployment check. I'm out on the streets looking for work and this bitch is banging some asshole in my bed. And now Ray is crying. Blubbering actually. And he's not that coherent. RAYMOND I'm down at Consolidated and I'm begging. I'm saying I'll take half my pay. Eight years, man. I don't even have to work the loading docks anymore. I'll do maintenance. "We're cutting back. We're streamlining, Ray. West Central's running things now. It's out of our hands" Fuck them! Fuck them! FUCK THEM! (deep sigh) I'm gonna kill her and then I'm gonna kill myself, 'cause I don't wanna live anymore. Roper reaches out to him. ROPER Ray, if you walk out of here with me, I'll get you a job. RAYMOND Doing what? Cleaning toilets? ROPER I can't guarantee you what it will be. But I swear on my life, I'll find you work. RAYMOND And why the fuck would you do that for me? ROPER Not for you, Ray. For me. A close friend of mine was killed this week. The way I figure it, I stop you from doin' what you said, I'm one up on body count. RAYMOND Who the fuck are you, Mother Teresa? ROPER My name's Scott Roper. Ray stares blankly at Roper's outstretched hand, the knife clutched tightly in his fist... The wife squeezes her eyes closed. Everything waits for an excruciatingly long beat... Then... RAYMOND I need my coat. It's on a coat rack in the corner. But to get there he has to pass by the window. Ray drops his wife on the bed, turns and goes to get his coat. He crosses in front of the window... Reaches for the coat. POP! A bullet slams into his skull. Ray falls to the floor. The wife runs out of the room, screaming! ROPER NOOOO!! He rushes over to Ray. Circle of blood soaking into the carpet. Ray's empty eyes. His hand still wrapped in his coat. He was dead instantly. Roper slams his fist into the wall. A couple of cops, guns drawn, arrive at the doorway. Roper bolts out of the room... Pounds down the hallway... Pounds down the stairs... down another flight... EXT. APT. BLDG. McCall comes across the street. Roper sees McCall, cool as ever. Rifle slung over his shoulder. Roper steps into his path. ROPER WHO THE FUCK DO YOU THINK YOU ARE? McCall gives no answer. He pushes past Roper and continues into the building. INT. APT. BUILDING - HALLWAY - DAY Roper follows, screaming his head off. ROPER Do you think because the police department issued you a sniper rifle, it makes you God! What the fuck goes on in your head? McCall, still stone-faced, reaches the apartment. Yellow "crime scene" tape is being placed across the doorway. Cops are tiptoeing around, surveying evidence. McCall ducks under the tape. Roper follows. INT. APT. - DAY McCall goes over to Ray's body. Crouches down. Roper comes up behind him. McCall picks up the coat covering Ray's arms. Clutched in Ray's hand is a gun "Saturday night special" variety. McCall looks up at Roper. MCCALL SWAT is a lifesaving unit, remember? I just saved a life. Yours. Roper doesn't miss a beat. ROPER (still angry) You think I've never had a gun pulled on me?! You think every fucking time someone pulls a gun they use it?! McCall gets to his feet. MCCALL Eighty-five percent of domestic disturbances of this nature end in murder/suicide. ROPER (fiercely) Not the ones I'm at. McCall and Roper glare at each other. Toe to toe. A beat. McCall's face softens just perceptibly. MCCALL Sorry. My mistake. He walks out of the room. Roper whips the sheet off the bed, contemplates the gun gripped in Ray's hand... Then tosses the sheet over Ray's dead body. INT. METRO DIVISION - NIGHT Roper seated in the hallway, waiting outside a door marked "Internal Affairs". Things are quiet. Roper stares at the floor. Waiting. The door opens. McCall comes out, escorted by two internal affairs INVESTIGATORS. One of the investigators pats him on the back. INVESTIGATOR Looks like a clean shoot. Go home and get some rest. McCall shakes hands with the investigators and they disappear back into the office. Roper approaches McCall. He's cooled off considerably. Even a tad friendly. ROPER Come on. Let's go for a drink. MCCALL I don't really like to drink. ROPER You have to. It's a tradition. MCCALL Well, if I have to, I have to. INT. BILLY GOAT TAVERN - NIGHT A neighborhood bar. Roper and McCall are playing pool. Half- finished beers are on a nearby table. McCall is bent over the table trying to make a particularly tricky shot. Roper studies him. ROPER You got a girlfriend? MCCALL Why? You like my ass? McCall misses the shot. ROPER Better than your pool game. Roper lines up his shot. ROPER You wouldn't want to put a small wager on this, would you? MCCALL I don't gamble. Roper smiles. Sinks his shot. Moves around the table. MCCALL Yeah, I've got a girlfriend. ROPER You living together? MCCALL She's back in Jersey... going to graduate school. ROPER Explain how that works. MCCALL She's going to come here when she graduates and then we're gonna get married. ROPER She grow up in Livingtston, too? MCCALL (as if that were unthinkable) No, no, no... (a beat) She's from Hoboken. ROPER Oh, "city girl". Don't you ever long for companionship with her such a long way away in New Jersey? MCCALL We see each other every couple of months. ROPER Every couple of months, huh? A couple of months sounds like an awful long time to Roper. ROPER That's a lot of commitment. I admire that. MCCALL Do you really? ROPER No. Actually I think it's fucking crazy, I don't know if I could do it. MCCALL Thanks for clearing that up. (a beat) I hear your former girlfriend is going out with Greg Barnett. ROPER Where did you hear that? MCCALL Around. Barnett's tough competition. ROPER Yeah, well that's a sore subject, and therefore out of bounds to a young sprout of a hostage negotiator under my tutelage. A beat and then McCall realizes that this comment is a major acknowledgement of acceptance from Roper. Roper misses his shot. Picks up his beer glass. ROPER Lesson two, "Dead Eye"... should have been lesson one. Never exchange yourself for a hostage. MCCALL I think I can handle that one. ROPER Yeah, you think so, but it comes up. Roper takes a drink of beer. Nears the bottom of his glass. Calls to the BARTENDER. ROPER Zack, another round. Roper turns back to McCall. ROPER My partner gave himself in exchange for a ten year old girl. He got caught in the crossfire. Two dead. My partner and the bad guy... (takes the last sip) Weird thing is, if he was alive, he'd probably do it again. (a beat) Some people never learn. Roper puts down his glass. ROPER You think you can learn, McCall? MCCALL I think so. Roper nods. Maybe he can. INT. ROOM - DAY We're looking at a door. It's not clear where we are. McCall enters. We only see his face. Determined. MCCALL I'm Officer McCall, what's going on? REVERSE ANGLE It's a training room. It's built to approximate a convenience store. Several mannequins are placed around the room to represent a hostage situation. The "BAD GUY" has a walkie- talkie strapped around his neck. Roper's voice CRACKLES out of it. BAD GUY What the fuck do you think is going on, turdhead? I'm about to waste everyone in this place. McCall hesitates, trying to figure out a response. He seems stiff and awkward. MCCALL H... how can I help you? Tell me what... (looks off to his right) I feel stupid talking to a dummy. Roper enters the training room from a side door. He's holding the other walkie-talkie. ROPER What did you think? I'm going to let you practice on real people? Roper comes up beside him. ROPER First things is, don't say, "What's going on?" Everybody knows what's going on. I come into this situation, I say, (addressing the mannequin) "I'm glad to see nobody's hurt. That's good. I'm here to help you." (turns back to McCall) Second: You hesitated. Don't hesitate. If you're thinking, talk while you're thinking, or else he's going to think you're plotting. Which you are. If he thinks you're plotting, you're going to make him nervous. You don't want him nervous. Got that? MCCALL No. ROPER It'll come. Try again. INT. TRAINING ROOM - MOMENTS LATER ANGLE ON THE DOOR. McCall comes in. The room has the same set-up. McCall takes a look around. Launches immediately into... MCCALL My name's McCall. I'm a hostage negotiator. I'm here to help you. Roper's voice crackles back at him hostilely. ROPER (V.O.) How are you going to help me? McCall's confidence is growing. MCCALL Tell me what you need. ROPER (V.O.) I need you to bring me the scumbag who ran off with my wife so I can cut off his nuts. Now he's stumped. MCCALL (hesitantly) I can't do that. ROPER (V.O.) Then get out of my face you worthless piece of frogshit. McCall looks up to his right. MCCALL Is all the name calling necessary. Roper re-enters the training area. ROPER Nah, I just throw that in because I enjoy it. MCCALL (exasperated) So what do I say to this guy? ROPER You could say something like, (addressing the dummy) "Tell me what the scumbag's name is. Maybe we can work something out." MCCALL What? Bring somebody in so he can cut his nuts off? Roper turns to McCall. ROPER If you want to be a successful negotiator, you've got to learn to lie. MCCALL I'm not good at lying. ROPER Get good at it. MCCALL It's against my nature. Roper gives him an amused smile. ROPER You know the ten commandments? MCCALL Yes. ROPER What's the first commandment? MCCALL Thou shall have no other God before me. That's not the answer Roper wanted. ROPER Okay, forget that. What's the main one. McCall is tired of guessing. MCCALL You tell me. ROPER Thou shall not kill... You've killed, right? MCCALL Yes. ROPER Why? MCCALL To save lives. ROPER So why would you hesitate to lie to save lives? McCall can't argue with that one. Roper turns and heads back to the side door. ROPER Let's try it again. INT. TRAINING ROOM - LATER McCall comes through the door. Hands in the air. The setup in the room has been changed a bit. The bad guy is behind the counter. Several hostages in various positions on the floor. MCCALL My name's McCall. I'm unarmed. ROPER (V.O.) Okay, stop. Roper comes through the side door. ROPER Close your eyes. McCall is surprised by the command but closes them. Roper turns him away from the hostage scene. ROPER What did you see? MCCALL (rapid-fire) A dirtbag behind the counter holding a sawed-off. A Berretta nine millimeter in his belt. A female hostage, red dress, on the floor in front of the cereal display. Male hostage, jeans and blue checked shirt, three feet to her right. Another male hostage, white pants, green shirt, Nikes, laying in front of the magazine rack. A female dirtbag with a gun under her shirt, sitting against the beer cooler, trying to pass herself off as a hostage, and there's a special on toilet-paper, four for a buck twenty-nine. McCall opens his eyes. Roper's impressed. ROPER Very good. You've got good eyes. That's important. INT. CONFERENCE ROOM - DAY Roper and McCall are sitting in the dark watching a video tape. It's grainy footage of a hostage situation in a sporting goods store. A negotiator confronted with a gunman holding a ten year old girl hostage. The negotiator holds his hands out imploringly... Carefully moves toward the gunman. The negotiator exchanges himself for the little girl. The gunman grabs the negotiator around the neck, holds the gun to his head. The little girl runs out of the picture to safety. Roper remains dead silent during all this. McCall looks over at him. The blue light flickers over Roper's motionless face. MCCALL Was that your partner? Roper nods. MCCALL Why did he do it? ROPER (quietly) Because he knew the little girl had zero chance of survival and his chances would be a little better... We had a plan, but SWAT opened up too early. He got caught in the crossfire. (a sad beat) Let's move on... Notice this. Always use the eyes to keep the connection. It almost like hypnosis. That's the most important thing. Create a connection. You're always on their side... McCall watches him for a beat, then turns his attention back on the screen. EXT. GOLDEN GATE RACETRACK - DAY Beautiful day. Roper and McCall leaning against the rail at the walking ring. The horses are being paraded and saddled. Roper scrutinizes them with an expert eye. McCall seems totally disinterested. ROPER You know why I like the track? MCCALL You're a compulsive gambler? Roper ignores that. ROPER Because there are a multitude of possibility's. Everything is there to see if you know what to look for. You have to read the conditions, just like in a hostage situation. Roper points across the ring to a particular horse. ROPER See the four horse. Dropping in class. No works. Front wraps. Looks like he's broken down. But notice the woman in the sun hat. She's the owner. She wouldn't have come if her horse was broken down. He's live. We use him. McCall listens indifferently. ROPER See the favorite? Tail up. Washy. He doesn't want to run today. Cross him off... Now the Six looks good. On his toes. Coat shiny. This trainer/jockey combo does well. We can't leave him out. (turns to McCall) What do you think? MCCALL I have two words for you... Seek help. ROPER I have three words for you... Ex-ac- ta. INT. BETTING WINDOWS - DAY Roper is buying tickets. McCall is with him, watching the other bettors, the odds board, all the monitors... Strange place. Roper finishes and turns away from the window. Hands McCall a ticket. ROPER I bought you a four-six exacta box. You owe me twenty bucks. MCCALL (puzzled) I do. EXT. SEATING AREA - DAY Roper and McCall pass by a gambler. GAMBLER Hey, Roper. ROPER How you doin', Marv? They sit down in a box right up front. ROPER We need the 4 and 6 to finish to first and second. MCCALL (no enthusiasm) Fine. Roper uses his binoculars to watch the horses warm up on the backstretch. MCCALL I'm told that newspaper photographer is your former girlfriend. Roper looks over at him. What's this about? ROPER Ronnie... Yeah, so. MCCALL Now she's going out with Greg Barnett? ROPER So what do you want?... An autograph. MCCALL I don't know why she'd pick him over you. Roper throws McCall a skeptical look. MCCALL (straight-faced) I'm just practicing my lying. ROPER Still needs work. MCCALL (downcast) You're right. I'll never be as good a liar as you. TRACK ANNOUNCER (O.S.) And they're racing! ON THE TRACK The horses spring from the gate. (The track announcer's call plays through race) IN THE STANDS Roper watches intently through the binoculars. McCall sits impassively. ROPER Okay, we're in good shape. We're in good shape. McCall looks across the track. MCCALL The 6 horse is last. ROPER That's okay. That's his style. MCCALL To run last? ROPER To run late! Roper follows the horses into the turn. ROPER The favorite's fading. I told you he wasn't going to run today... The four horse has got the lead! McCall sits like a wax figure. MCCALL (cynically) The 6 horse is still last. ROPER He'll be running at the quarter pole. ON THE TRACK The horses head into the stretch. The FOUR is on the lead and the SIX is starting to unleash a big run. Passing horses with every stride. ROPER (V.O.) There he goes. IN THE STANDS McCall sits forward slightly. MCCALL They need to run first and second? ROPER Yeah, first and second. Roper gets to his feet. ON THE TRACK The horses thunder down the stretch. The FOUR horse is in front and the SIX is coming on from behind. IN THE STANDS Roper is on his feet screaming. ROPER Come on, Russell! Come on, Russell. McCall jumps to this feet and joins him. MCCALL COME ON RUSSELL!... (to Roper) Who the fuck's Russell?! ROPER The jockey! MCCALL COME ON, RUSSELL! Roper and McCall cheer together. ON THE TRACK The FOUR horse crosses the finish line in front. The SIX horse is flying... Needs to beat one horse to be second... He's running out of room... With one last surge he hits the wire and... It's too close to call. IN THE STANDS McCall, really excited, turns to Roper. MCCALL We won! ROPER (disheartened) We lost. MCCALL (confidently) We won. ROPER How much you wanna bet? MCCALL You want to bet on whether you won your bet? This is getting sick. ANGLE ON TOTE BOARD As the photo finish light goes out and the numbers come on... 4-6-8. They won. IN THE STANDS ROPER Yes! High fives. ROPER That's eight hundred bucks. INT. BET/CASH WINDOW - DAY Roper and McCall collect their money. Four hundred a piece, not bad. McCall pockets his money. MCCALL How long you been coming here? ROPER About six years. My partner took me. MCCALL Is it always like this? ROPER Occasionally you lose. Suddenly Roper's BEEPER goes off. He checks it, takes out a cellular phone and dials. ROPER (into the phone) Roper here. (he listens) I'm on my way. He hangs up and turns to McCall. ROPER We gotta go. EXT. JEWELRY STORE - UNION SQUARE - DAY Marble facade. Tastefully reinforced windows and door. Choppers circle overhead. Both ends of the street are sealed off. Barricades are up. Spectators and news crews crowd behind those. Numerous police circulate. This is a major operation in full swing. INT. TRAVEL AGENCY - COMMAND CENTER - DAY It's across the street from the jewelry store. Second story. The walls are plastered with travel posters. A poster of Tahiti is the most prominent. Members of police and SWAT are standing over a blueprint of the jewelry store spread out on a table. Right behind them is a TV monitoring the front of the store. Solis is at another desk, on the phone. He's talking to the suspect. SOLIS We're working on that, Joe. These things aren't quite that simple. EXT. STREET - DAY Roper and McCall push through the barricades and come walking down the cordoned-off street. McCall takes a look at the jewelry store. Well fortified, foreboding. MCCALL This does not look good. Roper looks over there, gives no reaction. They reach Solis' convertible Cadillac. It's parked out front of the travel agency building. ROPER See this. Solis has me driving the shit-mobile, and he picked this up straight out of impound for fourteen grand. Probably worth thirty. MCCALL Police corruption. It's everywhere. INT. COMMAND POST - DAY Roper and McCall enter. McCall joins the men who are studying the blueprint. Roper stands by Solis and listens, takes note of the poster of Tahiti. Looks inviting. SOLIS This will take time to setup. I'll have to get authorizations. (he listens) Okay, you relax, and I'll -- Solis pulls the phone away from his ear. Joe has obviously hung up. ROPER What do we got? SOLIS 32 minutes ago the silent alarm went off, then the fire alarm. A unit was a block away, and the suspect got trapped inside. ROPER Any verification on numbers. SOLIS We've only seen and talked to one suspect. He calls himself "Joe". There's two jewelers, two salespeople, the manager, a security guard, and an elderly woman. This particular store is where they do a lot of jewelry making and repair. They have anywhere from 8 to 10 million in raw stones on any given day, so they sure as shit didn't just wander in. They knew what they were coming for. ROPER What have you promised them? SOLIS Just that I'd talk to my superiors. McCall returns from checking out the blueprints. ROPER Any good points of entry? McCall shakes his head. MCCALL The place is designed to be a vault. Roper picks up the cellular phone. It dials automatically. ROPER (into the phone) My name's Roper. How are you people doing in there? (he listens) Solis is off the job now, Joe. I'm the guy authorized to give you whatever you want. (listens) That's right, but first I need to come down there to talk to you. INT. JEWELRY STORE - DAY We don't see anything but the suspect on the other end of the phone. He's wearing a ski mask and gloves. Totally unrecognizable to the audience. We will find out soon that he is, in fact, Korda. He appears very cool and collected. KORDA You don't have to come here. INT. COMMAND CENTER - DAY ROPER Yes, I do. That way there's no misunderstandings. I need to make sure no one's hurt, then we can take care of business. A long pause... Then a bit sinister. KORDA (V.O.) Alright, Roper. You want to come... come. ROPER Good. I won't be armed. We gotta operate on trust here. We're going to wrap this up and have you guys out of here as soon as possible. Roper clicks off the phone. He already doesn't like the sound of this guy. EXT. STREET OUTSIDE JEWELRY STORE - DAY Roper, bulletproof vest, hands in the air, walks across the eerily deserted street straight toward the jewelry store. It's quiet now. The choppers have been pulled back. Roper reaches the sidewalk right in front of the store. Korda cracks the door open. KORDA (warningly) Stay there. Roper stops in his tracks. ROPER I'm going to put my hands down, okay. Roper slowly lowers his hands. INT. COMMAND CENTER Everybody watching through the window. EXT. JEWELRY STORE - DAY Korda takes a half step out the doorway. The gloved hand that is visible is not holding a weapon. The other half of his body is hidden inside the doorway. He wears jeans, a black shirt, and black Nike tennis shoes. He stares fiercely from behind the ski mask. There's no sign of fear in him. KORDA Are you in charge, Roper? ROPER Yep. KORDA I want a car. Like a four wheel drive. I want it in perfect condition. I want a uniformed cop to drive it up right here. I want him to leave the engine running and walk to the end of the street. Then we'll come out. I don't want any remote control devices in it. I know all the tricks. If it's not in perfect condition, and I mean if its even low on wiper fluid, I'm going to kill somebody and we're gonna start again. Korda lets that sink in. KORDA I want a plane waiting at the airport. I'll tell them where I want to go when I get there. ROPER Is that all? KORDA For now that's all. ROPER You'll get it. But, Joe, I want you to do something for me. Let me take a look around inside. Make sure everybody's okay. KORDA No. You just do shit for me right now. Korda's eyes glare from behind the ski mask. He's an ominous figure. ROPER Joe, I'm doing a lot for you. I think you could give me something to cement the deal... One hostage. KORDA I'll give you something. Korda pulls a wadded-up handkerchief out of his pocket and tosses it to Roper. Roper unwraps the handkerchief. DETAIL SHOT It's a human ear. KORDA In fifteen minutes it'll be a bigger piece. I assume there are no "misunderstanding". Roper is as serious as we've ever seen him. ROPER I understand you completely. Korda disappears back behind the door. EXT. COMMAND CENTER - DAY Roper trudges back in. Things are more active now. Logistical officers are making flow charts. Photos of the hostages are being posted on a bulletin board. Roper approaches Solis, McCall and the SWAT CAPTAIN who are anxiously waiting for his report. ROPER (flatly) We're going to have to take this guy out. That draws a long silence. That's something Roper rarely says. SOLIS Can't we wear him down? Roper hands Solis the handkerchief with the ear in it. Solis eyes it with dismay. ROPER I believe there's at least one fatality in there already. The fire alarm was probably set off by gunfire. I believe he's working alone, both from his conversation and the fact that he wouldn't come out beyond the doorway. He was holding a gun on the hostages while he was talking to me. His demeanor is calm and controlled, that's what really scares me. The other bad news is that he also indicated a familiarity with our techniques. (a beat) So, do you want to go in or wait for him to come out? McCall calmly offers his opinion. MCCALL Let him come out. Too many unknowns in there. Solis nods. That'll be the plan. MCCALL When we drive up the car, make sure it's at an angle about three feet from the curb. (to SWAT Captain) Put our best man "highground", Twenty degree down angle. The SWAT Captain motions and turns to one of his UNDERLINGS. SWAT CAPTAIN Have Anderson prep it and notify us when he's on line. The underling hurries off to take care of it. Solis looks at Roper dejectedly. SOLIS I feel this thing going sideways on us. Roper tries to buck him up. ROPER There is some good news. He's wearing a ski mask, so he's protecting his identity and hasn't determined to kill all the hostages... (big pause) Yet. INT. JEWELRY STORE - DAY The jewel thief pulls off his ski mask to reveal he is Korda. His face is sweaty. Hair matted. ANGLE WIDENS to show five very scared hostages: A JEWELER, middle-aged, balding. The male MANAGER, good-looking, thirties, three piece suit. TWO SALESGIRLS, nicely dressed, late twenties. A FEMALE CUSTOMER, gray-haired Hillsborough matron. They are all seated against the wall. There are two fatalities lying on the floor. The guard and one of the jewelers. Korda points his gun at the manager and the other jeweler and motions to the dead bodies. KORDA Drag them behind the counter. The two men reluctantly get to their feet and commence the grim task. The two salesgirls watch Korda fearfully. The older female customer seems to be in a lesser state of reality. Her eyes are a bit far away. Korda moves over to the remaining display cases that haven't been looted. With the barrel of his gun, He SMASHES the glass, reaches in and picks out the jewelry. He dumps it in an open satchel already half-filled with packets of raw gemstones and gold chains. Suddenly, the older woman customer gets to her feet. She seems fairly out-of-it. Maybe in shock. She starts walking toward the front door frowning with dissatisfaction. WOMAN CUSTOMER I'm not staying here another minute. SALESGIRL #1 (panicky) No, Mrs. Dotson. Korda rushes around the display case. KORDA Come here, hag. He grabs a handful of the woman's coiffed gray hair and drags her away from the door. She shrieks. The manager takes a step toward Korda. MANAGER Leave her alone! Korda pistol whips her across the forehead and drops her unconscious to the floor then turns the gun on the manager. KORDA You're a brave one, aren't you? The manager glares at him. He's about Korda's size. He thinks about making a run at him. SALESGIRL #2 (pleading) Sit down, Doug. A long beat... The manager sits back down on the floor with the other hostages. Salesgirl 1 is giving aid to the old woman. Korda looks down at her. KORDA If she's not conscious when it's time to leave, I'll have to kill her. Korda goes back to the display cases to collect the rest of the gems. EXT. STREET - DAY Cops clear spectators out of the way as a green FORD EXPLORER RUMBLES through the barricade and heads down the deserted street. INT. COMMAND CENTER - DAY Roper and McCall at the window, attention fixed on the store. The Explorer crawls to a stop in front of the jewelry store. Parks at a slight angle. The uniformed police officer gets out, leaving the engine running, and walks off back to the barricade. ROPER Okay. Time to give this fucker a call. Roper picks up the phone, waits. Everybody tensely watching the store. OMITTED Sequence omitted from original script. INT. BUILDING - SAME A sniper team watching the store from a third floor window. INT. COMMAND CENTER - SAME Roper holding the phone. It's still ringing. EXT. ROOFTOP - DIFFERENT BUILDING - SAME Another sharpshooting team. Poised. Waiting. EXT. ANOTHER ROOFTOP - SAME And still another sharpshooter team. INT. COMMAND CENTER - SAME The phone is still ringing. ROPER This fucker's not answering. Just then, the front door of the jewelry store swings open. A spray of white vapor shoots out the doorway. Korda is discharging a fire extinguisher. MCCALL There's your answer. He's smart. ROPER He's cutting down the visibility. MCCALL And doing a very good job of it. A thick cloud of white hangs over the sidewalk obscuring the front of the jewelry store. Roper puts down the phone. MCCALL Come on. Give us one clean shot. SWAT CAPTAIN (into his radio) All positions, you have the green light. MCCALL They're out. Roper grabs a pair of binoculars. HIS POV Through the haze, we catch glimpses of the hostages circled around the figure in the ski mask. They slowly shuffle toward the Explorer. McCall watches intently. EXT. ROOFTOP - SAME A sniper watches through his scope. Finger poised on the trigger. ANGLE THROUGH THE SCOPE Low visibility through the haze. The figure in the ski mask wavers in and out of the crosshairs, shielded momentarily by the jeweler, then he flashes back into the crosshairs. The sniper tries to lock him in. INT. COMMAND CENTER - ROPER'S POV - BINOCULARS - SAME The figure in the ski mask leans slightly and Roper catches a glimpse of the hostage right behind him. Roper recognizes him instantly. ROPER It's Korda. McCall sees him now, too. MCCALL They switched clothes. Roper drops the binoculars and grabs his police radio. ROPER (urgently) Hold your fire! Hold your fire! Too late. A SHOT rings out. The figure in the ski mask goes down, hit by the bullet. ROPER Shit! Where'd that shot come from? Hold your fire! More SHOTS ring out. DOWN ON THE STREET The white vapor cloud swirls. The hostages, spattered with blood, scream and scatter. The figure in the ski mask lies dead on the sidewalk. Korda, dressed in the manager's three piece suit, holding the satchel of jewels in one hand and his gun in the other FIRES back at the snipers. He grabs salesgirl 1 and drags her into the Explorer. INT. COMMAND CENTER Roper sees Korda move toward the car with one of the hostages. MCCALL He's got the girl. ROPER Damnit! As Roper turns into the room he notices a set of keys on Solis' desk. ROPER (grabbing the keys; to Solis) Are these yours? SOLIS Yeah, they are but... ROPER (to McCall) Come on! As Roper and McCall move toward the door... SOLIS Roper, what are you going to do? Don't take my... And Roper and McCall are gone. SOLIS ...car. DOWN ON THE STREET Police come rushing onto the street. Guns drawn. The Explorer ROARS off down the block. Roper and McCall burst out of the command center building, leap into Solis' Cadillac and tear off after the van. McCall is behind the wheel. OMITTED Sequence omitted from original script. EXT. POLICE BARRICADES - DAY The Explorer comes barreling toward it. Spectators scatter. Two squad cars SCREECH up behind the barricades, trying to block Korda's escape. The Explorer PLOWS through the metal barricades. BASHES the squad cars out of the way. And screams off around the corner. OMITTED Sequence omitted from original script. EXT. STREET - DAY The Explorer careens up an alley and bursts into the congested traffic of a side street. HONK-SCREECH! A Toyota swerves to miss it and broadsides a parked car. The Explorer fishtails off down the street. INT. VAN - DAY The salesgirl is terrified. Korda checks the rear view mirror. No one on his tail... At first. Then the Cadillac comes speeding up behind... INT. CADILLAC - DAY Roper and McCall have the Van in sight, about a block ahead. Roper picks up the radio. MCCALL Suspect heading west on Sutter now passing Jones. Can we get an intercept? A voice comes back. VOICE (V.O.) R-32-David. We are proceeding south on Hyde. Will intercept. INT. VAN - DAY Korda has one eye on the road and the other on the rear view mirror. The Cadillac is making up ground. UP AHEAD a squad car SCREECHES into the intersection and smokes to a stop. Korda jerks the wheel, pulls a SCREAMING right turn and heads up the hill. EXT. STREET - DAY The Cadillac is only about a hundred feet behind the van... Brakes SQUEALING, it swerves around the corner in pursuit. THE VAN hits the top of the hill and goes airborne... SLAMS back down to the pavement. INT. VAN - DAY Korda floors it, and we get a frightening view out the windshield as they head straight downhill. The salesgirl is beyond petrified. THE CADILLAC reaches the top of the hill. Going fast. INT. CADILLAC As it rocks forward violently. Front bumper slamming against the pavement. McCall sees the van ahead. Hammers the accelerator. No fear. VAN Korda sees traffic ahead... Intersection jammed. He pulls a hard left. THE VAN cuts straight across the corner... up on the sidewalk... shears a mailbox... a row of newspaper machines fly through the air... The van speeds off down a one-way street... THE CADILLAC arrives at the intersection a few seconds later... Intersection still jammed... People now standing on the corner gawking at the damage. The Caddy SCREECHES to a stop. McCall HONKS... The people scatter... The Cadillac drives through the corner. THE VAN Wrong way down a one-way street. Cars coming right at us in every angle. Frantic HONKING. Salesgirl SHRIEKS. Tires SMOKING... No way to avoid collision... Except Korda pulls a left an instant before impact... The van speeds back up the hill. THE CADILIAC Down the same one way street... Comes up on the head-on traffic, now stopped, paralyzed with fear from the near collision with Korda... EXT. STREET - DAY The Cadillac roars around the corner and heads up the hill. INT. VAN Korda, checking the rear view mirror. The Caddy is a short distance behind. Attention still focused behind, Korda enters an intersection, running a red light... CROSS-TRAFFIC... Korda stiffens... Pulls on the wheel THE STREET The van swerves... But not quick enough... GRINDING metal... SHATTERING glass... The van rolls over another car... BRIEF CUT - LOOKING OUT THROUGH THE WINDSHIELD Korda and the salesgirl tossed about as the van does a dizzying roll... THE VAN ...and CRASHES back down to the street upside down. After a beat, Korda crawls from the wreckage carrying the satchel of jewels. The salesgirl does not emerge. He spots a cable car reaching the top of the hill and starting its long descend. He heads toward it... INT. CABLE CAR As Korda comes toward them from the wreckage, some of the passengers view him uneasily. THE CADILLAC hits the top of the hill just in time for Rope and McCall to see Korda leap onto the moving cable car. CABLE CAR other passengers give Korda room. They can sense that he is not here merely for the ride. Korda looks out the back... Roper and McCall haven't lost track of him. The Cadillac is making up ground on the cable car. Korda moves to the back exit, pulls his gun and FIRES off a couple of shots at the Caddy. INT. CADILLAC A bullet fractures the windshield. McCall swerves. BACK ON THE CABLE CAR That makes up the minds of many of the passenger. They leap off the cable car. Korda takes aim on the Caddy again and FIRES! The brakeman charges down the aisle while Korda has his attention focused out the back and tries to shove him off the cable car... Almost works... but Korda is able to hang on by one hand... He swings around toward the Brakeman who turns involuntarily as he sees the barrel of the gun pointed at him... BANG! Korda shoots him in the back. The brakeman staggers down the aisle and slumps across the brake lever, releasing it more. EXT. UNDER CABLE CAR The brakes are stressed. EXT. STREET Now driverless, the cable car picks up speed... Broadsides a car... Pushing it into parked cars... THE CABLE CAR Korda and the remaining passengers are rocked around. THE CABLE CAR THUNDERS towards us... Filling the FRAME... A SIDE ANGLE Shows the cable car leaving the wreckage in its wake. CADILLAC It passes the smashed car. McCall looks at the speedometer as he paces the cable car. It's going at 45 mph. MCCALL What the fuck is going on. ROPER I don't know, but I've got to get on there. MCCALL You're crazy. ROPER Pull up alongside. EXT. INTERSECTION The cable car barrels through... Plows into two cross-traffic cars... Knocks them aside... Keeps picking up speed. THE CADILLAC Weaves through the wreckage... Makes up ground on the cable car, trying to pull alongside. THE CABLE CAR For the moment, Korda is not shooting at the Caddy. His attention is now focused downhill as... KORDA'S POV The cable car nails another vehicle sending it spinning off to the side. THE CADDY dodges the spinning car... Jumps up onto the sidewalk... Mows down parking meters... Jumps back onto the street. THE CABLE CAR Korda leans out the door, takes aim at the Caddy... Another jammed intersection up ahead... INT. CAR OF MAN TRAPPED IN INTERSECTION He sees the cable car coming in his rear view mirror. He bails out... THE CABLE CAR SLAMS into the back of the car. Major impact. THE CABLE CAR Korda and the passengers are thrown to the floor. THE REAR-ENDED CAR Tumbles down the hill... Hits a car coming uphill and rolls into a parked car. THE CADILLAC Speeds up alongside the cable car. Roper climbs over the windshield, onto the hood and leaps onto the cable car. INT. CABLE CAR Korda sees him coming. FIRES. Roper dives out the other side of the cable car. CABLE CAR Roper hanging off the side. He gets his gun out of his holster... Up ahead, a car pulls away from the curb... Roper swings around to get back into the relative safety of the cable car. As he does his gun is raked out of his hand by the car which avoids a collision by a millimeter. CABLE CAR Korda aims as Roper re-enters... CABLE CAR As it CRASHES into the back of a car turning left. Everyone is thrown toward the front of the car. Korda's gun goes flying. Roper dives on top of him. They trade punches. McCall is in b.g. with the Caddy pacing the cable car. INTERSECTION Pedestrains bolt out of the way as the cable car streaks through... THE CABLE CAR Roper hammers Korda into unconsciousness. Outside McCall is honking and yelling like crazy. Roper looks over... McCall points ahead... ROPER'S POV The cable car. ROPER Leaps to the brake lever. Pulls on it. ANGLE UNDER THE CABLE CAR The clamp tries to slow the descent. It whine and smokes... Then disintegrates before our eyes. THE CABLE CAR Roper feels the lever go slack in his hands. The cable car is speeding toward the end of the line... No way to stop it... Roper turns and takes a running leap into the Caddy... INT. CADDY He lands in the passenger seat. Roper pounds his foot down on the accelerator. The Caddy lunges ahead of the cable car... McCall can't figure out what he's doing. Roper yanks the steering wheel hard right... EXT. STREET The Caddy collides with the front of the cable car. Tires SCREAM. The steel wheels CLATTER. A cloud of burning rubber forms. The cable car grinds forward pushing the Cadillac... But it's working. The cable car is slowing. BOTTOM OF STREET The crowd now sees the Caddy and cable car bearing down on them. General hysteria as they flee. THE CABLE CAR Korda regains consciousness. Sees what's going on. He grabs the satchel and bails out of the cable car... STREET ...Onto the hood of a passing taxi. The taxi slams on its brakes. Korda rolls off the hood, picks himself up and runs into an underground garage. THE CABLE CAR Grinding to a halt just short of the end of the line. Roper grabs McCall's gun off the seat and leaps out of the Caddy to pursue Korda. People approach to ogle the two vehicles in astonishment. INT. GARAGE - DAY Roper moves up an interior stairway, gun in "ready" position. He knows Korda is somewhere in the parking structure. He glides up the stairway to the third level. Checks back over the rail... No one around... Then a sound from inside the garage... Footsteps maybe. Roper carefully opens the door... Swings in with his gun... INT. THIRD LEVEL - GARAGE Lots of cars, but no one in sight. Roper moves quickly to the protection of a row of cars... He crouches down. Scans beneath the cars... No sign of Korda. Roper searches between two rows... Comes up beside a van... Thinks he hears something stirring inside. Whirls a gun toward the window. A dog lunges at the CAMERA... Snarling... baring teeth... Roper moves on. NEW ANGLE As a BMW crawls through the parking structure. Roper steps into the FOREGROUND, right into its path, gun visible. The BMW rolls to a stop. Roper approaches with caution. Roper comes up beside the car and sees a very frightened 30 year old blonde. Roper takes a check out of the backseat. ROPER Sorry, go. INSIDE THE CAR The woman rolls up the window and hits the gas. She drives off. INT. GARAGE Roper stands in the middle of the garage and takes a final scan... He has the discouraging feeling that Korda might have escaped. He heads toward the exit... Suddenly a SCREECH of tires... Roper whirls to see a sedan bearing down on him. He drives and FIRES! Bullets shatter the windshield. The car continues toward Roper. He has to roll out of the path of the car. The car swerves past Roper. Tries to make it down the ramp. Roper fires again, taking out the rear window and a rear tire. The car slides along the guard rail and continues down to the next level. Roper runs after it. GARAGE - 2ND LEVEL As the car reaches the next level, Korda loses control and piles into a parked car. Korda crawls out of the car clutching his precious satchel of jewels. Dazed, he staggers away from the wreck. Roper moves to him with a face grim as death. He strips the satchel from Korda's hand and slams him against the open car door. Korda goes to his knees. Roper holds the barrel of his gun right up between Korda's eyes. ROPER Give me one reason why I shouldn't kill you right here. Korda stares back at Roper defiantly. He knows a cop won't kill him in cold blood... What he doesn't know is that Roper doesn't give a shit about those rules at this moment. ROPER You know Sam Baffert was a friend of mine. He had a wife... and he had a daughter. Korda stares past the barrel of the gun. KORDA I don't give a shit about you or your fucking friends. And that makes Roper even angrier... But he keeps it all inside. His expression is as cold as a San Francisco night. He yanks back hard on Korda's hair. Pushes the gun tighter against Korda's forehead. He's on the verge of executing this guy. KORDA You can't kill me like this. ROPER What if you and me got into a struggle... and my gun went off? In a flash, Roper points the gun upward and fires off a SHOT! ROPER Could I kill you then? (beat, beat) Could I kill you then? Roper jams the gun back under Korda's chin. A pull of the trigger would send a bullet straight up through Korda's skull. And now Korda is fully convinced. He squeezes his eyes closed. Face straining so hard, he looks like he's going to burst out of his skin. ANGLE - MCCALL moving across garage into position. MCCALL Roper! Put it down!... Put it down man, we got him. (beat) Come on... Put it down. Long, long beat. Roper eases up and Korda smiles. Just when we feel the scene is over, Roper turns back quickly and kicks Korda in the stomach, then grabs Korda by the hair, pulls his head back and shoves the gun in his face. ROPER We do this shit by the book, but you ain't gonna be smiling. Korda is doubled up coughing, spitting up blood. Roper walks away as McCall moves in to put the cuffs on Korda. OMITTED Sequence omitted from original script. INT. METRO DIVISION - NIGHT Roper is sitting in a cubicle doing paperwork. A group of reporters and photographers move down the hallway adjoining the squadroom. One of them is Ronnie. Through the glass walls, she notices Roper sitting alone at the computer. She bids good-night to the reporters and comes into the squadroom. RONNIE You weren't at the press conference. Roper keeps tapping away at the computer. ROPER I wanted to get this out of the way. RONNIE You got a bet on the game tonight? ROPER As a matter of fact, I do. She nods knowingly. RONNIE It's already started. ROPER I was going to catch the last half on TV. Ronnie watches him for a moment. He stops typing, looks at her and smiles. She suddenly becomes self-conscious. Guess it was something she was thinking. RONNIE Good-night. She turns abruptly to leave. Roper finds himself rising from his chair. ROPER You having dinner with Mr. Baseball? She turns back around. RONNIE Greg is on a road trip. I was just going to make some pasta. He takes a few steps toward. ROPER That kind with the garlic and the oil that I like so much? RONNIE No. The kind from Kraft, with the macaroni and the cheese. ROPER I've been craving that stuff all week. RONNIE And it's hard to get. He looks at her innocently. RONNIE Just dinner. OMITTED Sequence omitted from original script. INT. KITCHEN - NIGHT Ronnie is making macaroni. Roper helps to prepare a dressing to go with the salad. He is mixing oil, vinegar, sugar and spices. He lets her have a taste. ROPER What do you think? RONNIE Mmm, needs a little something. ROPER What are you talking about? This is it. This is the stuff right here. (beat; he tastes) Well, maybe just a pinch more sugar. RONNIE Yeah that's it. ROPER Why don't you just stick your finger in and stir it up. RONNIE (laughing) Scottie... There is a long pause as he looks at her. ROPER What would you say if I quit gambling? Ronnie stirs the macaroni. RONNIE I'd say you'd be miserable... It's not the gambling. It's what the gambling got in the way of. The track is where you'd take your troubles instead of sharing them with me... Ronnie puts the lid on the macaroni. There is a beat before she continues. RONNIE Scottie, remember the day you lost that hostage in union square. You came over that night and we made mad, crazy love. But I didn't even know what happened... 'til I heard it on the news the next morning. ROPER It's because I wanted to keep you away from that world. RONNIE It's not that world. It's your world. It's part of who you are. ROPER (beat) Veronica, it's not easy for me... I don't know if I can change overnight. But what I'm telling you is that I want to share everything with you, because I don't ever want to be without you again. The dog yawns. They laugh. Roper moves closer to her. He kisses her and she responds. INT. RONNIE'S BEDROOM - NIGHT The lovemaking is over. Roper is gazing at the ceiling, thinking. Ronnie is cuddled around him. A comfortable moment... ROPER What about Greg? What are you gonna tell him? RONNIE It's okay. We broke up. ROPER (surprised) When? RONNIE Just now. INT. COUNTY JAIL VISITING ROOM - DAY Clarence Teal, Korda's cousin sits in front of the plexiglass wall. He's edgy, fidgety. Clarence doesn't like to make visits to jail. Korda, wearing prison clothes, is led in by a guard. Korda takes a seat at the other side of the plexiglass wall and picks up the receiver. Clarence picks up his receiver. CLARENCE How ya doin', man? Korda grips the phone, leans forward and stares through the wall. KORDA You gotta do something for me... this fucker, Roper, he's gotta girlfriend. She works at the newspaper. I want you to take care of her. Clarence is totally unnerved by this request. CLARENCE Hey, Michael, that's not my thing. Korda glares at him murderously. KORDA You gotta do this for me. I'm in here because of you. CLARENCE Man, what's this about? Ya know, you were robbing a store. It wasn't personal. It was his job. KORDA (exploding) Fuck you! You know what he did to me?!... Korda starts to draw the attention of the guard. He controls himself, lowers his voice. But the viciousness is still there. KORDA He held a gun to my head and said he should kill me right then... He made me... He doesn't finish that thought. KORDA You do this for me Clarence. Clarence is getting very upset. CLARENCE Don't make do it, Mike. KORDA Are you going to turn on me too? Who helped you when you were strung out? Who gave you money? Who bailed you out of jail? CLARENCE I won't get away with it. KORDA Nobody knows who you are. Make it look like a robbery. Clarence holds back tears, because he knows he's going to have to do this. EXT. RONNIE'S HOUSE - NIGHT A gray San Francisco evening. It starts to rain. INT. RONNIE'S KITCHEN - NIGHT She's cooking some kind of sauce. She has a taste. EXT. RONNIE'S HOUSE - NIGHT A subjective POV watching through the window as she moves around the kitchen. INT. KITCHEN - NIGHT Ronnie pours some oil in a pan. The phone RINGS. She crosses the kitchen to answer it. INT. PICKUP - NIGHT Roper on his cell phone. Paco is on the seat beside him. ROPER Hi, I'm going to stop at the corner for some wine. Roper notices the rain, searches for the windshield wiper switch. INT. RONNIE'S KITCHEN - NIGHT RONNIE How's Paco doing? INT. PICKUP - NIGHT ROPER He was going nuts at the park. He met this very attractive poodle. They made plans to meet again next weekend. Paco sits there panting. Roper pulls the pickup over in front of the store. INT. KITCHEN - STORE RONNIE Okay, dinner will be ready when you get here. She hangs up. EXT. RONNIE'S HOUSE - NIGHT Through the window we watch her cross back to the stove. INT. KITCHEN - NIGHT Ronnie lifts the lid on the sauce. Stirs. It spatters on her blouse. She regards the stain with dismay. Puts the lid back on and leaves the kitchen. INT. HALLWAY - NIGHT Ronnie unbuttons her blouse as she moves to the... INT. BEDROOM - NIGHT She takes off the blouse, goes to the closet door... throws it open. She looks around. Something's not right. She takes a step into the closet and finds what she's looking for -- A laundry basket -- tucked away in the corner. She puts the soiled blouse in the hamper and takes a fresh one off a hanger. She buttons the clean blouse as she walks to... INT. BATHROOM - NIGHT Dark. She turns on the light. She goes to the mirrored medicine cabinet. IN THE REFLECTION Behind her the shower curtain is drawn, fluttering ever so slightly. She opens the medicine cabinet. Takes out some perfume. Dabs some on her neck. She puts back the bottle and closes the cabinet. We fully expect someone to be standing right behind her in the reflection... There's no one there. She turns off the light as she walks out of the bathroom. INT. HALLWAY - NIGHT Ronnie walks back to the kitchen... Notices something on the floor further down the hallway... What is it? She moves closer... And now we get to the POV that tells us someone is in the house... Watching her through a cracked doorway. BRIEF CUT A hand opening a buck knife. Water drips from the fingers. BACK IN THE HALL Ronnie bends down. It's a wet spot. Like half a shoeprint. She reaches down to touch it... BUZZZZZ!!!! The oven timer. She hurries back to the kitchen. INT. RONNIE'S KITCHEN - NIGHT She turns off the timer and pulls some chicken out of the oven. She puts it down on the counter and cross to the refrigerator. She opens the door and looks inside. The refrigerator door obscures half the FRAME... She digs around for something... We're sure that when she closes the door, he's going to be behind it... She takes out a head of lettuce and... Closes the door... Still no one there. She turns... Clarence is standing there. Dripping wet. Ronnie shrieks... The knife flashes forward... She grabs the lid from the sauce pan and CLANG... Fends off the blade. She bolts for the hallway. Clarence grabs her by the blouse... RIP! She pulls away. IN THE HALLWAY She races down the hall. Clarence lunges into FRAME. She goes down... He goes down... the knife goes skidding down the hallway... Ronnie scrambles to get it... Clarence has her by the ankle... She claws for the knife... Just out of reach. EXT. RONNIE'S HOUSE - NIGHT Roper's pickup pulls up in front. He gets out. Paco jumps out behind him. It's raining harder. They hurry up the walkway toward the house. Suddenly Roper realizes he forgot the wine. He goes back to the truck. Paco pads after him. Roper opens the driver's side door, reaches in and grabs the wine. He closes the door, starts away, but pauses to check himself in the window. Suddenly, a floodlight comes crashing through Ronnie's front bay windows. It SPARKS and FLASHES. Still plugged in, it bungees to a stop hallway down the front of the house. FLICKERING and FLASHING. Roper rushes toward the house... Crashes through the front door... Up the stairway... Paco bounds after him... Roper hits her front door running... Wham! He bounces off. He shoulders it again... The door doesn't give... He pulls out his gun... BAM! BAM! Shoots off the lock. INT. RONNIE'S APT. - NIGHT A QUICK SHOT of Clarence's hand grabbing the knife. INT. STAIRWAY - NIGHT Roper kicks open the door. Charges in. INT. RONNIE'S LIVING ROOM - NIGHT Ronnie is laying on the floor, gasping for air. Choke marks around her throat. Roper rushes to her side. Paco is on his heels. ROPER You okay?! She nods. Points out the back way. ROPER (to Paco) Stay. The dog obediently stays with Ronnie. Roper dashes out the back. EXT. BACK OF RONNIE'S - NIGHT Raining more heavily now. Roper bursts out onto the back porch. Sees Clarence leaping off the last rung of the fire escape to the alley. Roper flies down the fire escape... Vaults the last flight and races after Clarence. EXT. STREET - NIGHT Clarence sprints down the block... Through the intersection... HONK! SCREECH! A car barely misses him. It does a one-eighty on the rain-slick pavement. Clarence disappears into the shadows. Roper arrives a beat later... Streaks through the intersection... Into the shadows. EXT. ANOTHER STREET - NIGHT This one is steep. Clarence huffs and puffs as he labors. He shoots into a doorway. Tries the door. Locked. He looks back. Roper is coming. Relentless. He rushes across the steep street. Almost slips on the reflective asphalt. Roper spots him crossing and picks up the pace. He can see that Clarence is faltering. NEAR THE TOP OF THE HILL Clarence staggers into an alleyway... EXT. ALLEYWAY - NIGHT Narrow, dark and dripping with rain. Roper arrives at the mouth of the alley. Gun ready, he moves cautiously, eyes adjusting to the darkness. The PATTER of rain off the rooftops. His FOOTSTEPS. No other sound. He reaches the end of the alley... A brick wall. No way out. Or so it would seem. However, Clarence is nowhere in sight. Roper turns back. Brick walls tower on both sides, rising into darkness. Roper checks a steel door. Locked. He checks another one on the opposite side of the alley. Also locked. Where did Clarence go? He moves back toward the misting light of the street... Slowly... The FAINT RATTLE of a fire escape... And Clarence leaps down out of the shadow. Slashing with the knife. He catches Roper across the arm. Rips through his clothes right down to the skin. Roper's gun CLATTERS under a parked car and into the street. Clarence has first jump. He scrambles into the street, around the car and grabs the gun... Roper dives over the hood of the car and knocks Clarence down before he can aim. They roll into the middle of the street. Both have a death grip on the weapon. Clarence fights like a trapped animal. Thrashing desperately. Roper pins him on his back, but can't pry the gun out of his fingers. WIDER SHOT Headlights radiate over the crest of the hill. Coming quickly. Roper sees this. He rolls out of the way, abandoning the battle for the gun. Clarence struggles to his knees. Turns the weapon on Roper... A speeding cab lunges over the top of the hill. Clarence turns, trapped in the searing headlights. Tires squeal. Brakes lock. Clarence is transfixed... WHAM! He's launched through the air like a ragdoll... His body lands limply 30 feet down the street. The CABBY gets out of his vehicle. CABBY Jesus Christ. What was he doing?! Roper walks down the hill to the body. The cabby follows. CABBY There was no way I could miss him. Roper ignores the cabby. He looks down at Clarence's body, contemplating something. CABBY This isn't my fault. ROPER Shut the fuck up! The cabby immediately clams up. ROPER Get on your radio and get the police here. Roper stares at Clarence's body, steel-eyed. INT. COUNTY JAIL VISITING ROOM - DAY Korda is led in again. An expression of surprise registers on his face when he sees who's waiting for him. KORDA'S POV Roper is sitting stoically behind the plexiglass wall. KORDA Dons a smug expression and takes a seat. He picks up his receiver as Roper picks up his. ROPER If you try again to hurt me or anyone I know, I'm going to have you killed. Korda feigns total innocence. KORDA What in the world are you talking about, Mr. Roper? Roper takes out a photograph and holds it up against the glass. ROPER Here's a picture of your cousin Clarence. That gentleman standing over him is the coroner. Korda's face tightens. He drops the innocent act. His countenance is now a study in hate. KORDA I used to have an apartment, a car, jewelry. I had a fucking eight thousand dollar watch. Now look what I have. He motions around. KORDA You're threatening me? You think I give a fuck? You think you can scare me off? (a laugh) Why don't you come in here and kick my ass? Get some of your guard friends in here to help. I'd like that. Roper glares at him mounting rage. KORDA (smirking) He really shook you up, didn't he?... I've got ten years worth of appeals to figure out how to fuck with you. Who knows? Maybe some scumbag lawyer will get me out on a technicality. Roper sits there, suddenly feeling powerless. KORDA You came here to threaten me? That's a laugh. Maybe you should BEG me... Go ahead. Get down on your knees. Roper leaps from his chair and smashes the receiver against the plexiglass wall. ROPER You motherfucker, I swear I'll kill you! The guard rushes over and restrains Roper. Wrestles him away from the glass wall. Roper pushes him off and gathers himself. He gives Korda one last stare. Korda sits there smirking back at him... Roper turns his back and walks out. INT. ROPER'S OFFICE - DAY McCall is practicing his negotiating techniques in a mirror. MCCALL I'm here to help you. Not quite right. He adjusts his stance. This time puts a little hand movement into it. MCCALL I'm here to help you. Talk to me. He's still not satisfied. OMITTED Sequence omitted from original script. INT. ROPER'S OFFICE - DAY Captain Solis pokes his head in the door, he's been looking for McCall. SOLIS We got a situation at the V.A. Hospital. The responding officer has requested a negotiator. MCCALL Where's Roper? SOLIS He's on his way. Get over there. EXT. VETERAN'S HOSPITAL ROOFTOP - DAY A VETERAN wearing green fatigue is dangling another WHEELCHAIR BOUND VET over the edge. Fourteen floors up. The two front wheels are literally hanging out there in space. VET #1 (rambling incoherently) I can't fight this technology. They have microprocessors made in totally sterile environments. I've seen those places. Everyone is dressed in white. It's like paper clothing, man. They're not even human. Vet 2 is struggling to stay in the chair and not be tipped into the street 150 feet below. He is, needless to say, very panicky. VET #2 Dave, don't do this, bro. Pull me in. We'll do a few laps in the park and figure out some other way. But he's not getting through to his friend. VET #1 I can't help this, man. Do you have any idea what those microchips look like? How small they are when they put them in your brain? INT. STAIRWELL - DAY Leading to the roof. A COUPLE OF COPS and MEMBERS OF THE HOSPITAL STAFF peek out at the vet as he continues to rant and rave. McCall arrives at the top of the stairs. OFFICER #4 sure looks happy to see him. McCall takes a peek out onto the roof. He isn't happy about what he sees. OFFICER #4 When we got here, he was already doing his balancing act. I was talking to him, but it made him more agitated so I backed off. MCCALL Why is he up there? OFFICER #4 Something about a microchip in his brain. MCCALL Who is he? A NURSE answers him. NURSE HERRIN David Adler. He likes to be called Dave. The other guy is Walter Sinclair. We hear the urgent cry of the vet in the wheelchair. VOICE (V.O.) Somebody help me out here. Somebody stop him. The nurse turns to McCall. NURSE HERRIN What are you waiting for? MCCALL Another negotiator is on his way. NURSE HERRIN We can't wait for another negotiator. You have to do something. MCCALL What about the doctors? NURSE HERRIN He hates all the doctors. He says they're in on the conspiracy. VET #1 (O.S.) Where is everybody? He's going to kill me! McCall takes a deep breath and steps out onto the roof. EXT. ROOF - DAY McCall moves slowly across the tar paper roof. Clouds overhead threaten rain. Vet 1 turns to him suddenly, wobbling the wheelchair. Vet 2 shrieks and nearly goes over. McCall's heart jumps into his mouth. DAVE Get the fuck out of here! McCall is tense and stiff. He stammers. MCCALL I... I'm Kevin. I 'm here to help you, D... Dave. DAVE You can't help me, man. So much for McCall's opener. Now what? WALTER He's high on something, man. Give him some thorazine or something. Dave ignores Walter. DAVE No one can help me. They're controlling my mind. McCall moves a couple steps closer. MCCALL Who's controlling your mind? DAVE Whoa!... The government. They control everybody's mind. You're too fucking stupid to know that? McCall fumbles for the right response. MCCALL This has nothing to do with Walter. DAVE They want Walter dead! EXT. STREET BELOW - DAY Cops keep spectators back from the building. Fire trucks and rescue vehicles are on the scene. Everybody looking straight up watching the wheelchair with its occupant dangling over the side of the building. EXT. ROOF - DAY Walter sits stock still in the wheelchair drenched with sweat, eyes closed, praying. MCCALL Dave, look at me. Dave obliges. He looks at McCall with eyes that have lost the battle for sanity. McCall is momentarily frozen by those eyes. Beads of sweat have formed on his forehead. MCCALL Tell me what's wrong. DAVE Particles, man. I feel them all the time. I feel them in my arms and legs man, that's how they punish me. MCCALL How can I help you with the particles? DAVE It's not just the particles man, it's the whole fucking machine, this is how they get assassins to operate. It's been this way since the cuban missile crisis. Dave starts to look over into the street, he tips Walter forward, Walter shrieks in mortal fear. White knuckles the armrests of his wheelchair and then: MCCALL (blurting out) They have less power over you if you look into my eyes. DAVE Huh? McCall even surprises himself with that one. It was a sheer act of desperation. He holds his breath and waits to see what the effect is. Dave turns back around. DAVE Huh? EXT. STREET - THAT MOMENT Roper's truck comes speeding down the street, lurches to a halt. He leaps out and speaks to a FIREMAN. ROPER Whata ya got? FIREMAN Some nuts dangling a guy over the edge in a wheelchair. ROPER Can you get a net out here? FIREMAN Negative. It's 14 floors up. No nets gonna hold a fall from that high up. EXT. ROOF - DAY McCall nods slowly. Sweat pouring off him. MCCALL We've been onto them for a long time. A glimmer from Dave. Maybe McCall is a kindred spirit. MCCALL Let me show you something. Now he's got Dave's interest. McCall slowly takes out his beeper. MCCALL See this. I'm jamming them, Dave. I'm jamming their frequency so they can't control your mind anymore. Don't you feel that? You don't have to do what they say. Dave listens to his head. WALTER He's jamming them, Dave. Pull me back in. MCCALL You see, the particles are gone, they can't punish you anymore. Dave tries to feel for particles. Tears form in Dave's eyes. DAVE Tell my dad. MCCALL Tell him what, what do you want me to tell him? DAVE Tell my dad I'm sorry about the watch. MCCALL I'll tell him. Where does he live. We'll get him on the phone right now. Dave is suddenly lost in thought again. His expression turns to a frown: DAVE I hate fucking Springfield. MCCALL Is that where you're family lives? Then with sudden swiftness. DAVE I still hear them, man. You can't jam them. They've got the technology, man. They've got the satellites, Jack. They keep shooting beams off those satellites. What power do I have? Dave pushes the wheelchair forward. McCall LUNGES for the wheelchair but doesn't make it. Walter SCREAMS as he falls. MCCALL NOOOO! WALTER AND HIS WHEELCHAIR freefall down toward earth in SLOW MOTION. The wheelchair turns end over end. People SCREAM as Walter IMPACTS with the pavement. The wheelchair CRASHES down nearby. OMITTED Sequence omitted from original script. EXT. ROOF - DAY McCall looks over the edge at Walter's twisted body below. Then he grabs Dave and wrestles him down, cuffing his hands behind his back. The Cops and Medical Staff Members rush out to restrain. INT. LOBBY - DAY The crowd is dispersing. Roper is talking with some of the other cops. McCall storms out of the Vet Hospital and down the stairs. Roper moves toward him. ROPER McCall! No response. McCall gets into his ND Sedan car and fires it up. ROPER McCall! Roper races over and manages to jump in just as the car screeches away from the curb. BAY BRIDGE - DAY McCall doesn't even seem to have registered that Roper is in the car with him. He drives. Stone-faced. Roper studies him for a beat. ROPER Where are we going? INT. CAR - DAY Moving POV thru windshield of car, we see a freeway sign that says "Golden Gate Racetrack." EXT. RACETRACK Establish grand stands. OMITTED Sequence omitted from original script. INT. BETTING AREA - DAY McCall pounds over to the betting window. Roper leans up against the window beside him. Watches. MCCALL Give me a twenty dollar four-six exacta. TELLER The six is scratched. This throws McCall for a beat. MCCALL Then give me a fucking four-seven exacta. The teller punches out the ticket. McCall takes the ticket and pounds over to box seat area. Roper follows a couple of steps behind, giving him some space. EXT. BOX SEAT AREA - DAY McCall sits down in the same box as the last time. Roper sits down next to him. EXT. TRACK - DAY The horses go into the gate. EXT. BOX SEAT AREA - DAY McCall watches intently as the horses spring from the gate. (The track announcer's call plays over the scene.) MCCALL Come on four horse! Come on Seven horse! Roper isn't watching the horse. He's watching McCall. Watching him redirect all his pent up emotion. Understanding exactly how he feels. McCall is screaming his head off. MCCALL Come on four-seven... Come on... Come on... Come on... The horses cross the wire. The four and seven finish mid- pack. McCall hangs his head in despair. He didn't give a shit about the race. He looks inconsolable. ROPER It might have happened no matter who was up there. MCCALL Bullshit! Would it have happened to you? ROPER Maybe... There's one thing you have to remember... You don't create the situations. You can only try to save people from them. MCCALL I thought I could do it. I was so damn sure of myself. But I didn't know what to say. The words wouldn't come. My mouth turned to mush. You make it look so easy, Roper. But it is not. It's not easy. (beat) It's a different job than looking through the rifle scope. ROPER That it is. A long silent beat. MCCALL How many have you lost? ROPER I look at it as how many I've saved. That's the way you've got to look at it. MCCALL And what about the ones you don't save? ROPER You live with it... and they haunt you. It doesn't leave. MCCALL And what if you can't live with it? ROPER You've got to decide that for yourself. McCall squeezes his eyes closed. He can still see that vet falling to his death. Roper can see McCall's pain. ROPER I've lost three. One of them was my partner. I think about them every time I go into a situation. (a beat) There's a million people in this city with all kinds of twisted shit going on in their heads, and the bitch of this job is that we expect to go out every day and do the impossible -- to somehow control all this craziness... and we can't. (a beat) Nobody's faulting you for this, McCall. My advice is you let yourself off the hook. McCall hears him but is still undecided. MCCALL I don't know... I don't know... Roper gets up, stands over McCall, puts a hand on his shoulder. ROPER Let's get out of here. McCall slowly gets up and they walk out. INT. JAIL - DAY It's a small interview room. Korda sits opposite bail bondsman JOHN HAWKINS (white, grizzled, forty). HAWKINS What the fuck... You bring me all the way over here to tell me you've got no collateral! What do I look like to you -- Santa Claus? I'm a bail bondsman! KORDA No, no, see what I'm sayin' is, I've got the -- HAWKINS Pick up a fucking phone for chrissake! You think I got time for this crap? KORDA Hey, hey, I got shit on the outside. I got somebody cashing it in for me and -- Hawkins gets up and goes to the door. HAWKINS Gimme a fuckin' break. KORDA Alright, alright, look, man, look, just leave me your card. I can get it to you by tomorrow night. Hawkins looks at him skeptically for a beat. Then pulls out his BUSINESS CARD and hands it to him. He walks out the door as we HOLD on Korda -- pocketing the card. EXT. POSTRIO - NIGHT Establishing shot. INT. POSTRIO - NIGHT CLOSE-UP of a glass of wine being poured. PULL BACK to reveal Roper and Ronnie all dressed up for a special evening. The waiter hovers as Roper tastes the wine. ROPER (snootily) It has a nice "nose". WAITER The special this evening is braised sweetbreads with a white truffle sauce on cracked bulgar. Roper looks at him a long beat. ROPER That's my favorite. (smiles) Why don't you give us a minute. The waiter retreats. Roper looks across the table at Ronnie as she sips her wine. ROPER You like this place? RONNIE It's very nice. ROPER I guess you realize that there's something special that I want to talk to you about. She didn't realize that. Now she's getting nervous. RONNIE There is? ROPER For the last week things have been going pretty well between us. I think we've been doing a good job getting intimate and all that stuff... Now she's really worried. RONNIE Yeah? ROPER ...Let me just show you. Roper reaches into his coat pocket. RONNIE Scottie, we should think this over before we... He pulls out two airline tickets. ROPER Tahiti. Ronnie is immensely relieved. RONNIE Ohhh... A vacation... Yeah that sounds like a great idea. Roper notices her relief and for the first time realizes what she was thinking. ROPER Oh you thought I was going to ask you... Ronnie averts her eyes, a bit embarrassed. ROPER Oh, no-no-no-no-no... Let's go to Tahiti first and see if that works out... Roper picks up his menu and peruses it. ROPER I assume you're having your usual -- the "air dried venison". INT. HALLWAY JAIL - DAY CLOSE ON The wheels of a laundry cart, moving slowly down the hall. A white metal door slides open, and the cart passes through. INT. PROPERTY ROOM JAIL - CONTINUOUS As the cart rolls into the room TILT UP to see KORDA pushing the cart. He stops. A GUARD (guard #3) stands with his back to Korda. He's on the phone. KORDA Got another load. JAIL GUARD #3 Rack 'em up. (into the phone) Look, man, if it doesn't make it down here by five it's not my problem. As the guard continues, Korda hangs several garment bags, zipped and tagged, onto an ELECTRIC TROLLEY -- similar to the kind used by dry-cleaners to move clothing. KORDA All done. Korda pushes a button and the trolley STARTS TO MOVE. The guard, still on the phone, buzzes open the door. ON THE GUARDS BACK We hear Korda wheeling the cart out the door. CLOSE ANGLE on the door sliding shut. ON THE GUARDS BACK - CLOSE Hold a beat. PANNING SLOWLY around the room to FIND -- suit bag's moving on the trolley. BOOM DOWN to FIND Korda's feet just as they lift off the ground and disappear behind the bags. ANGLE ON KORDA hanging onto the trolley as it moves along the wall and then down through an opening in the floor and into... INT. BASEMENT JAIL - CONTINUOUS as it loops around a large room, carrying him toward the back wall. The metal ridges of the trolley CUT into his fingers, drawing blood. Then he drops down, and quietly rummages through other bags of clothing. He tries on a pair of pants but they come up to his ankles. He looks like he's about to go wading. As he rips them off and reaches for another pair... CUT TO: INT. LONG HALLWAY JAIL - LATER Korda appears around a corner, dressed in street clothes, holding a CLIPBOARD -- moving steadily toward camera. KORDA'S POV - DOWN THE HALLWAY A female civilian EMPLOYEE heading in his direction. As they pass he nods and she nods back. Then Korda passes through a door at the end of the hallway and into... OMITTED Sequence omitted from original script. INT. CELL BLOCK - CONTINUOUS The door closes behind him and locks with the loud SNAP of metal. Slowly, with deliberate steps, he moves down the corridor toward the door at the other end, past the first GUARD (guard #3) -- enclosed in bullet proof glass. TRACKING - KORDA'S FEET step by step. The voices of prisoners, muffled behind thick glass. CLOSE ON KORDA'S FACE trying to stay cool, his heart pounding. Then... A VOICE (O.S.) Hey! Korda FREEZES, then slowly turns to FIND... A prison GUARD (#1) moving toward him. THE GUARD POV - MOVING CLOSER AND CLOSER TO KORDA KORDA ...Yeah? The guard then stops in front of him and holds up his hand. JAIL GUARD #1 You dropped your card. Korda takes THE CARD given to him by the bail bondsman. JAIL GUARD #1 You guys are the scum of the earth. KORDA Just tryin' to make a living. Korda turns and walks out the door into... INT. SECURITY ROOM - CONTINUOUS It's the final step before getting out of the building. A small room with another GUARD (Latino; guard #2) behind glass, and several TV monitors. A BLACK WOMAN (forty-five) is arguing with a LATINO GUARD. JAIL GUARD #2 I don't know what to tell you, mam, your brother ain't here. Try San Bruno. WOMAN I just came from San Bruno -- they sent me here! JAIL GUARD #2 I'm sorry. Then I don't know where he is. Korda, fidgeting behind the woman impatiently, holds up his card... KORDA Listen, can I just sign outta here? WOMAN What do you mean, you don't know where he is?! You can't just lose somebody! JAIL GUARD #2 (to Korda) Who are you again? KORDA Johnny Hawkins. Bail Bonds. I gotta be over at county in fifteen minutes, alright? JAIL GUARD #2 Johnny who? WOMAN (to Korda) Can you believe these people? KORDA It's the criminal justice system. What can I tell ya? It's a mess. The guard shoves the sheet under the glass. JAIL GUARD #2 Alright, alright, just sign. Korda signs the sheet. The guard pushes a button. The metal lock SNAPS, and the door POPS open. Korda takes his card and sticks it in the woman's coat pocket. KORDA If you find him, gimme a call. And Korda walks out. EXT. JAIL SALLY PORT - CONTINUOUS It's a small parking area, with security gates on either end, and a ceiling of heavy steel wire open to the sky. There are three or four CARS parked against the wall. Korda checks inside the first car, looking for keys and finds none. Then the second, and the third until... A VOICE (O.S.) Hey! Korda turns sharply to find the LATINO GUARD (guard #2), holding a clipboard, walking quickly toward him. JAIL GUARD #2 Hold on a second here. KORDA Is there a problem? The guard walks up to him. They're standing between the cars. JAIL GUARD #2 You signed out twice. KORDA I what? JAIL GUARD #2 Look, why don't you just come on back inside for a second. KORDA Wait a minute, lemme see that. As the guard shows him the sign-in sheet, Korda removes the PEN from his own clipboard. KORDA Well, that's funny, I wonder how that happened. In a flash, Korda PLUNGES the pen DEEP into the guard's throat. The BLOOD jumps out of his throat, onto the window of the car as the guard, gagging in stunned silence, slumps to ground. He then falls backward between the two cars, drowning in his own blood. OMITTED Sequence omitted from original script. INT. RONNIE'S HOUSE LIVING ROOM - NIGHT Empty. New front door. Unpainted. Frame splintered from when Roper shot it open. We hold a beat... HEAR ROPER & RONNIE coming up the stairs. Laughing. The door opens. They enter. ROPER How come in those foreign movies the young girl is always with some fat, old guy. RONNIE In Europe women find older men very sexy. Roper closes the door. ROPER When I get old and fat, I'm moving to Europe. Ronnie suddenly remembers something. RONNIE I forgot to leave food for Paco. He's probably starving. She walks back toward the kitchen. Roper takes a seat on the couch. Flips on the TV. Rubs the back of his neck. ROPER Damn, my eyes are tired from reading that movie. FOLLOWING RONNIE She moves down the hall to the kitchen. RONNIE (doggie voice) I'm sorry, Paco. I forgot -- But Paco isn't lying on his pillow like she expected. Curious. RONNIE Paco? She turns around walks back down the hall... Where could he be?... She walks into the bedroom. RONNIE Paco? He's not in here either... She walks back into the hallway. Frowns. SUDDEN CUT A figure leaps out of the bathroom doorway!... Big scare. It's Paco. He nearly knocked her over. He stands on his hind legs, paws on her shoulders. Breathing in her face. RONNIE Paco, have you been eating my face soap, again? RACK FOCUS Roper standing at the other end of the hallway. Tense as a wire. Gun at his side. One look at his demeanor tells Ronnie something is very wrong. RONNIE (very concerned) What is it, Scottie? Roper untenses. Puts away his gun. ROPER Korda escaped. RONNIE And you think he'll... Her voice trails off. He can see she's worried now, too. ROPER Hey, I'm on edge a little. Let's relax. I'm sure he's just going to try to get out of town. Anyway we leave tomorrow. He puts his arms around her waist. ROPER Why don't we do some of that European movie stuff. She puts her arms around his shoulders. RONNIE I don't think you're old and fat enough for me. ROPER Use your imagination. EXT. RONNIE'S HOUSE - NIGHT ANGLE looking up at her window... The light goes out. EXT. RONNIE'S DOORSTEP - DAY A suitcase THUMPS to the ground. Looks like somebody packed for a six month trip around the world. ANGLE WIDENS McCall grimaces as he lugs the bag toward the truck. MCCALL You sure you packed everything? Maybe you forgot your bowling ball. Ronnie stands on the doorstep. RONNIE I sent that ahead, wise guy. Paco is on the sidewalk exploring from tree to tree. Roper calls to Ronnie from the stairway. ROPER (V.O.) Why don't you come back up with me, Ronnie. RONNIE I think I'll stand out here in the sun. INT. STAIRWAY - DAY Roper is still very edgy. ROPER It's better if you stay inside. She climbs up the stairs toward him. RONNIE You've got to calm down -- OMITTED Sequence omitted from original script. INT. RONNIE'S HALLWAY - SAME Roper reaches the top of the stairs. ROPER Ronnie, come on baby, we gotta go. Time to get movin'. INT. RONNIE'S APT. - SAME Roper moves into the room, listening. There's no response. ROPER (continuing) Ronnie? She doesn't answer. He calls out again, moving through the living room. ROPER (continuing) Ronnie, where are you? Time to go. No answer, the room is very quiet. Roper eases his PISTOL out from under his shirt, moving more urgently now, checking out the bathroom, bedroom... ROPER (continuing) Ronnie. Then he HEARS Paco, WHINING. He moves around the entrance to the kitchen. The back door is open, Paco standing in the doorway. Roper rushes forward, quickly looking outside, the alley way empty. He senses a presence behind him, spinning... McCall standing in the doorway to the kitchen. Roper's lowers the weapon... ROPER (continuing) She's gone. McCall sees on the kitchen table, a folded piece of GLASSINE PAPER, just like the one Korda gave Roper at the jewelry store. MCCALL (nodding) Scott... Roper sees it, approaching, barely able to unfold the edges, a momentary tremble in his hand. ROPER That son of a bitch. If he... We PUSH IN as his fingers open the paper... revealing inside a MICRO CASSETTE TAPE. ROPER (continuing; to himself) He's fucking with you, Scott, be cool... keep your head. CUT TO: CLOSE ON a TAPE RECORDER, Korda's VOICE heard over the speaker. KORDA (V.O.) (filtered) I got your lady, Roper. (laughs) Roper and McCall are listening closely to the tape. KORDA (V.O.) (continuing) You got something that belongs to me, and I want it back. (beat) Twelve-fifteen, Mare Island, North Entrance off Dixon. Building twenty- eight, by the dry docks. (beat) I so much as smell another cop, I'll be sending you parts of this bitch for a month. Roper punches off the tape. ROPER He's gonna kill her no matter what. If I take him these jewels he's gonna kill me and her. MCCALL So what do you want to do? ROPER That's a chance I gotta take. MCCALL Then we better get moving... But there's no way we can get the jewels out of evidence. Roper stares at him, the wheels beginning to turn... CUT TO: OMITTED Sequence omitted from original script. INT. POLICE PROPERTY/EVIDENCE ROOM - DAY Roper is standing at the counter to the steel-caged property room. On the other side is FRANK, the property sergeant on duty. The two men speak in hushed, urgent tones... FRANK Scott, we go back a long way but you can't expect me to do this! ROPER Frank, this guy is a psychopath and he's got Ronnie. It's the only way I'm going to get close to him. FRANK Then go to the Lieutenant or the D.A. with it, for Christsakes. You're asking me to put my fucking job on the line! ROPER They'll never approve it, you know that. Besides, I involve the department and she's dead. I got one chance with this guy, Frank, alone. (beat) He killed Sam and he'll kill her. Frank just stares at him, compassion and anger tearing at him. ROPER (continuing) What if it were Mary? (beat) You'd break every fucking rule in the book... wouldn't you? Frank continues to stare at him, a long beat. FRANK I hope to God I never have to make that decision... He pushes back from the counter. FRANK (continuing) ...and this conversation never happened. I never saw you today. Now I gotta go take a leak. He turns and walks away. Roper looks down, SEEING that the drawer beneath Frank's counter has been left slightly open. Roper reaches over, easing it further open -- inside a set of KEYS. He looks around, then takes the keys. ROPER I owe you one, Frank. He walks down the hallway. CUT TO: INT. ROPER'S PICKUP - DAY CLOSE ON the SATCHEL Korda used in the robbery. WIDEN TO REVEAL Roper and McCall, Roper at the wheel, McCall reading a folded MAP featuring MARE ISLAND. MCCALL Mare Island is an abandoned shipyard, cranes, high buildings... he'll be in place where he can see everything. (to Roper) How are we going to get me in there? ROPER Good question. Roper thinks a moment, then turns, looking out the back of the pickup, in the bed a loose CANVAS TARPAULIN. He and McCall study the tarp a beat, then turn, looking at each other... EXT. MARE ISLAND - DAY WIDE VIEW reveals the immensity of the abandoned facility. At one end near the chain link fence, Roper's pickup approaches the gate. EXT. MARE ISLAND - NORTH GATE - DAY Roper cautiously drives toward the gate -- the CHAIN securing the gate has been cut. Roper swings open the gate. As he drives past we see that the bed of the truck has been loosely covered with a TARP. Roper drives on, winding through the maze of roadways, huge buildings and equipment dwarfing the truc PRODUCTION NOTE: The idea is to take us into the facility to sell that it's abandoned, immense, eerie in it's scale -- a ghost town. We end up wherever we want for the next scene. INT. ROPER'S PICKUP - DAY As he rounds a corner, approaching the dry dock area, huge CRANES and mothballed SHIPS in the b.g. He parks near a building, a weathered SIGN reading: BLD 28. Roper shuts off the engine, leaving the keys in the ignition. Taking the satchel he opens the door. EXT. DRY DOCK AREA - DAY Roper steps out, eyes scanning the buildings, the cranes... Korda could be anywhere up there, watching. INT. BUILDING - UPPER LEVEL - DAY KORDA'S POV through the filthy windows, Roper far below, standing beside his pickup. EXT. ROPER - DAY As he moves away from the truck, holding the satchel. ROPER Korda! In response he HEARS Korda's VOICE, eerie, almost a whisper, coming from everywhere and nowhere as if emanating from the ground and the buildings all at once. KORDA (O.S.) (filtered) Nice of you to make it, Roper. Take your jacket off, put it on the hood. Roper complies, his eyes searching the buildings, where is his voice coming from? KORDA (O.S.) (continuing) Now, over to the chains, to your left. Roper SEES a chained off section nearby. Roper takes a few steps when Korda's voice stops him... KORDA (O.S.) (continuing) But first, let's have a look under the tarp. Pull it back. A momentary anxious look from Roper, then he walks to the bed of the truck, pausing a moment, gripping the cover before whipping it back, revealing... Ronnie's LUGGAGE. CUT TO: LOW ANGLE BENEATH THE TRUCK McCall supported under the frame by a makeshift HARNESS around his waist and legs. KORDA (O.S.) All right, move it. McCall watches as Roper heads away, then releases the harness, lowering himself to the ground. Quickly he moves the SMOKING LEATHER GLOVES he was wearing, burned by contact with the hot exhaust pipe. ROPER Reaches the the chained area, REVEALING an empty DRY DOCK, easily one hundred feet deep and five hundred long. At the bottom of the dry dock is a PORTABLE RADIO, the acoustics of natural amphitheater so intense you could hear a whisper -- the source of Korda's voice. KORDA (O.S.) (continuing) Throw in and your piece. Roper tosses his PISTOL into the dry dock. KORDA (O.S.) And your back up. Roper removes the PISTOL from his ankle HOLSTER, tossing it. Korda's VOICE cuts the eerie silence. KORDA (O.S.) (continuing) Walk under the cranes and down the alleyway. At the end, turn right. Building thirty-six. The RADIO CLICKS OFF. Roper walks towards the megalith CRANES, passing under them, then heads down the alleyway created by the tall buildings. EXT. ROPER'S TRUCK - DAY LOW ANGLE BENEATH THE TRUCK McCall, his RIFLE CASE on his chest, watches as Roper turns the corner and heads down the alley way. OUTSIDE THE TRUCK McCall rolls out, scrambling for the cover of the building. Slinging the case over his shoulder he finds a LADDER leading up the side of the building, beginning to climb. EXT. ROPER - DAY Walking down the alley way, nearing the end. EXT. ROOFTOP - BUILDING - DAY McCall moving along the edge, looking down. He spots Roper, moving fast to keep him in sight. He comes to the edge of the building, having to walk across a narrow RAMP to get to the next building. He looks down, Roper turning the corner, McCall moves on, removing the RIFLE from its case as he goes. EXT. ROPER - DAY Leaves the alleyway, a complex of hanger-like buildings revealed. To his far right is a building, a SIGN reading: BLD 36. He clutches the satchel, heading towards it. EXT. ROOFTOP - BUILDING - DAY McCall negotiating another precarious crossing between buildings. He spots Roper, eyes quickly searching the roof tops and buildings for the sniper's position. He sees it, across the way, a location covering the buildings where Roper is now walking. He heads out. EXT. ROPER - DAY Walking towards building 36, passing by a towering, glass fronted building on his right, his eyes are searching the roof tops of the buildings around him. ROPER (to himself) Where the hell are you, McCall? As Roper passes a set of partially open ROLLING DOORS to the glass-fronted building, he's startled by Korda's VOICE from within: KORDA (O.S.) Right there, Roper. Roper's eyes go to building 36, still fifty yards away. ROPER Shit. Roper stops, slowly turning towards the doors. KORDA (O.S.) Come on in, there's someone just dying to see you. Roper hesitates. He turns a bit in profile, eyes searching. ROPER (loudly) Where are you? EXT. HIGH VANTAGE POINT - DAY POV TELESCOPIC SIGHT: Focusing on Roper, his lips moving... McCall, heaving for breath, has just dropped down into position, providing a view of Roper and the inside of the glass fronted building. MCCALL Right here, Scott. He touches the LASER SIGHTING attachment to his scope, a red beam activated... ROPER - DAY From inside the building Korda's VOICE: KORDA (O.S.) Get your ass in here, Roper. Just as Roper starts to move he SEES the red laser DOT on the back of his hand -- McCall is up there, right behind him. Roper moves inside. MCCALL - DAY Lying prone inside the operator's booth, steadies his RIFLE, looking through the scope. TELESCOPIC POV: He can see Roper enter, his field of vision limited inside the building where the light penetrates, the room cast in HARD SHADOWS. He MOVES to the windows, all either painted white or so obscured with grime and dirt he can only see vague shapes and shadows inside. He MOVES BACK to the opening, Roper now just inside. MCCALL Stay cool, real easy... INT. MACHINE SHOP - DAY Cavernous and dark, a jungle of huge MACHINES, LATHES and EQUIPMENT once used in the design of nuclear submarines. Roper moves a few feet inside, remaining in the light and keeping his face in three-quarter profile to McCall's position. ROPER Where is she, Korda? I want to see her. From the darkness beyond... KORDA Walk to the table. Roper walks to a steel SHOP TABLE. KORDA (O.S.) (continuing) Open your shirt. ROPER I'm not wearing a wire. This is just between you and me. KORDA (O.S.) Shut the fuck up and do what I say! Roper puts down the satchel, unbuttoning his shirt, holding it open. ROPER Satisfied? KORDA (O.S.) Open the bag, dump everything on the table. Roper opens the bag, the JEWELRY and the dozens of GLASSINE ENVELOPES spill out onto the table. He lays the satchel on its side, the bottom facing Roper. Taped to the bottom is a short barreled .45 AUTOMATIC. ROPER It's all there. KORDA (O.S.) Spread it out. Roper spreads the pile out across the top of the table. ROPER Only the jewels, Korda, you've got my word. A long beat... KORDA (O.S.) Show me something. Without looking Roper reaches to the pile of GLASSINE ENVELOPES... CLOSE ON ROPER'S HAND Palmed in his hand, the ENVELOPE containing Ronnie's diamond. Roper, without looking, 'digs' into the pile, holding up the GLASSINE ENVELOPE between his fingers, still holding the palmed envelope. He starts to toss the envelope in his fingers... KORDA (O.S.) (continuing) Not that one. Roper hesitates, then drops the envelope, his hand moving over the pile... ROPER (continuing) Right there, the one in front... yeah, that one. Toss it. Roper reaches for the envelope. CLOSE ON ROPER'S HAND As he flips the palmed envelope into his fingers with the skill of a card shark, exchanging it for the one Korda indicated. He tosses it across the room... From the shadows Korda's hand reaches out, picking it up. A long beat. KORDA (O.S.) (continuing) I'm impressed. I didn't think you could do it. What did you have to do, steal them? ROPER Yeah. KORDA (O.S.) (wry) That's not going to look too good on your service record. ROPER I'll worry about that. Let's get on with it. Korda LAUGHS as he slowly emerges from the darkness. KORDA My sentiments exactly. EXT. MCCALL'S TELESCOPIC POV - DAY On the floor he SEES a shadow cast - Korda. He moves to the windows... inside the vague, blurred OUTLINE of a man. His scope goes back to the satchel and the .45 taped to the bottom. MCCALL Wait for the right moment, Scott... INT. MACHINE SHOP - DAY Korda moves closer to the light, tossing an ATHLETIC BAG to Roper, in his hand an AUTOMATIC PISTOL. KORDA Fill it up. Just in case there's a homing device in the other one. Roper slides the jewels into the second bag, eyeing the .45 on the bottom of the satchel. KORDA (continuing) Now bring it over here. Roper hesitates, but all he can do at this point is play for time, he moves forward... EXT. MCCALL'S POV - DAY TELESCOPIC SCOPE Watching Roper as he moves away from the satchel and the gun. MCCALL Oh, shit... He moves the SCOPE ahead of Roper, SEEING Korda's shadow cast on the floor, still unable to see him. MCCALL (continuing) All right, Scott, bring him out. INT. MACHINE SHOP - DAY Roper growing closer to Korda's position. KORDA That's far enough. Bag on the floor. Roper hangs onto the bag -- there's 'four million in jewels' in there -- all he has to bargain with. ROPER I've kept my end. Ronnie first. Korda reacts in mock surprise. KORDA Oh, shit, in all the excitement I almost forgot. She right here... A LIGHT SWITCH is thrown, a bank of lights behind him coming ON, illuminating a massive FLAT BED CIRCULAR LATHE. Roper's eyes in horror go to... RONNIE Tied to the lathe bed spread eagle. Some distance from her body a CUTTING DEVICE is positioned over the lathe bed. Roper looks into Ronnie's terrified eyes. ROPER Be cool, Ronnie, I'm gonna get you out of this. He turns back, Korda grinning at him. KORDA No shit, this I gotta see... Korda swings into position a CONTROL BOX, the buttons held down with TAPE. Korda pulls free the tape, the huge lathe beginning to TURN, very slowly, the cutting device activated... if the table keeps turning, Ronnie's body will soon be under the blade. (PRODUCTION NOTE: Lathe will be cutting into a section of steel plate, demonstrating what will happen to Ronnie. Korda presses the STOP BUTTON, the lathe stopping. He releases his finger again, the lathe turning. He stops it. We can see that Korda is immensely proud of his 'creation', his focus more on sadistic payback than anything else at this point. KORDA (continuing) Fuckin' cool, huh? I rewired the switch. You see, you have to keep your finger on the button or the little lady gets cut... He releases the button, the lathe turning towards the cutting device. He stops it again, holding the button. KORDA (continuing; grins) Right in half. He eases towards Roper, extending his arm on the control box, holding the button down. EXT. MCCALL'S POV - DAY Through the SCOPE, he can see Korda as he steps into view. The CROSSHAIRS settle on Korda's upper forehead. MCCALL Hold it right there... His finger tightens on the trigger... INT. MACHINE SHOP - DAY Korda holds the control box towards Roper. KORDA But then, that's not my problem. He releases the button and the box, the lathe turning, Korda grinning at Roper... EXT. MCCALL'S POV - DAY The RED DOT centered on Korda's forehead... MCCALL (O.S.) Light's out, fucker... And then Roper's HEAD fills the scope, the red dot GLOWING on the back of his head. In shock, McCall releases his finger... MCCALL Jesus! INT. MACHINE SHOP - DAY Roper moving to the control box, pressing the stop button, stopping the lathe... KORDA You see, it's out of my hands. Roper looks at the box, Ronnie's life literally in his hands... OMITTED Sequence omitted from original script. EXT. MCCALL'S POV - DAY Through the SCOPE, Roper's head blocking the shot to Korda. MCCALL Roper, move... EXT. MACHINE SHOP - DAY But Korda bends down, picking up the BAG, stepping back away from Roper, clearly out of McCall's line of fire. KORDA Well, hate to run but I've got a plane to catch. You take good care of the little lady, hear? As Korda walks down the corridor of the huge machine shop, we now SEE a CAR parked near the end facing us. Korda suddenly stops, turning, gesturing to the car. KORDA (continuing) How careless of me. You see, there's only one way out of here, and you're standing right in the way. (grins) You could move, but then... He shakes his head at Roper. KORDA (continuing) Sure hate to be in your shoes. He turns, walking quickly towards his car, TALKING, LAUGHING, to himself. Roper looks to the car, then back at the SATCHEL where the .45 is still taped to the bottom. But Roper can't move, unable to change his position more than a foot or two. He looks around him, no way to stop the lathe if he releases the button. EXT. MCCALL'S POV - DAY He can see Roper holding the box, but nothing else. MCCALL What the hell's going on? INT. MACHINE SHOP - DAY Now Korda reaches his car, hopping inside, STARTING it up. In desperation Roper looks back at the satchel, then turns, calling out... ROPER McCall, stop him, stop the car! Korda REVVING the engine... EXT. MCCALL'S POV - DAY McCall reading Roper's lips... MCCALL What car? He swings the SCOPE up but the back of the machine shop is blocked by his vantage point. Then he HEARS the faint SQUEALING of tires. He lowers his scope, holding, waiting... INT. MACHINE SHOP - DAY Korda at the end of the long building, beginning to accelerate. ROPER Turns toward McCall's position... ROPER McCall! The CAR now screaming down the long corridor... EXT. MCCALL'S POV - DAY McCall still can't see the car... INT. MACHINE SHOP - DAY The car now closing in on Roper, but Roper holds his ground... ROPER McCall, shoot the son of a bitch! INT. KORDA'S CAR - DAY Korda bearing down on Roper. KORDA Bye, bye, cop... ROPER Holding his position, eyes widening in fear... EXT. MCCALL'S TELESCOPIC POV - DAY The CAR comes into view, the CROSSHAIRS on the windshield... but the glare off the window is obscuring any shot of Korda. McCall takes aim and FIRES... INT. KORDA'S CAR - DAY The bullet punches through the window, catching Korda's left shoulder, BLOOD flying. Korda whips the wheel in shock... INT. MACHINE SHOP - DAY KORDA'S CAR Spinning out of control, hitting a table piled with MACHINE PARTS, sending them flying... But the car is now swapping ends, still flying right towards Roper, who can't move...; who won't move. The car flies past him, the SIDE MIRROR catching Roper's shirt, tearing it, a flash of BLOOD from his arm... The car then collides with a series of PIPES crossing the floor, STEAM erupting in every direction as the car then slams into several PROPANE BOTTLES stacked near the benches, a series of EXPLOSIONS ripping through the building. . . ROPER Thrown to the floor by the explosions, releasing the button, as... THE CAR Hits the GLASSED-IN ROLLING DOORS. EXT. MCCALL'S POV - DAY The CAR explodes from the building, GLASS FLYING, the car rolling, flipping over, coming to a rest on its wheels, driver's side away from McCall's position. INT. MACHINE SHOP - DAY ROPER On the floor, recovering. He catches a quick glimpse of the bottom section of the lathe, a GEARBOX, the gears turning... THE LATHE Turning, the cutting blade inching towards Ronnie... ROPER Staggers to his feet, grabbing the control box, pressing the button... nothing happens, the lathe still turning, SPARKS coming out of the box, it's SHORTING... Only a few more seconds... Desperately his eyes search the floor, SEEING a HUGE WRENCH. He grabs the wrench, jamming it between the GEARS in the gearbox, the gears shuddering violently, threatening to crush the wrench... Roper runs to Ronnie's side, frantically pulling at her bonds, the cutting blade now paused an inch away from her... THE GEARBOX Hammering and clanking, the wrench can't last a heartbeat longer... ROPER Pulls the last of the restraints away... THE GEARBOX Just as the massive gears crush the wrench, the table turning... THE LATHE The blade passing directly over Ronnie's position as Roper hauls her away, holding her in his arms. EXT. MACHINE SHOP - DAY MCCALL'S TELESCOPIC POV OF CAR Korda is slumped over the wheel. He looks dead. McCall slings his rifle over his shoulder and moves towards a DRAIN PIPE attached to the side of the building. INT. MACHINE SHOP - DAY Roper holding Ronnie, easing her away from the still turning lathe. RONNIE Scottie, Scottie... ROPER It's all over, babe, it's all over. EXT. MACHINE SHOP - DAY McCall slides to the ground via the drain pipe, but... KORDA'S CAR Korda is not quite dead... The door eases open, Korda rolling to the ground, bag in one hand, AUTOMATIC in the other. He looks up, SEEING McCall. He OPENS FIRE, McCall hitting the deck and taking cover as BULLETS hit the wall around him. McCall whips out his REVOLVER, RETURNING FIRE, a GUN BATTLE ensuing. INT. MACHINE SHOP - DAY ROPER HEARING the shots outside, hauls Ronnie out of the way, keeping her low to the ground. ROPER Stay here, don't move. RONNIE Scottie... ROPER Do it! He pushes her towards the cover of some machines, then crouching low to the floor, recovers the .45 from the bottom of the satchel. He heads out towards the other side of the cavernous, machine-choked building. EXT. MACHINE SHOP - DAY MCCALL FIRES a round at Korda, then trying to close in on the car, runs from his cover into the opening... KORDA Leaps up and FIRES, McCall taking a slug in his leg, knocking him to the ground. The SLIDE to Korda's AUTOMATIC has kicked open, out of bullets. He drops the gun, picks up the BAG and runs alongside the machine shop. ROPER Exits the machine shop, SEEING McCall on the ground, Korda nowhere in sight. Combat-style Roper runs to McCall, dropping to his side. ROPER McCall, you all right? MCCALL (in pain) I'm okay. Korda... went down the side of the building... ROPER Stay put. Roper sprints towards the building, racing alongside it, catching a glimpse of Korda just as he disappears around the other end. Roper charges on... EXT. MACHINE SHOP - REAR - DAY Korda runs past the building, still clutching the BAG. He runs past another building, heading towards the dry dock area and Roper's pickup. A moment later Roper emerges from the machine shop just in time to see Korda round the corner of the next building. KORDA Clearing the building sees Roper's PICKUP. He runs to it, jumping inside, finding the KEYS in the ignition. He starts the truck, pulling out, just as Roper runs into view. ROPER With the truck accelerating towards him he raises and FIRES, two bullet holes in the front WINDSHIELD, missing Korda, the truck still speeding towards him. Roper's gun jams. Roper leaps, sliding forward on the hood, almost falling as he grabs on to the empty window frame and the windshield wiper blades for support, his WEAPON flying from his hand. KORDA Speeds around the buildings and down the alleyways, whipping from side to side, trying to shake Roper off, Roper hanging on for dear life. ROPER (shouting) Give it up, Korda, you got away with nothing! Nothing but a bag of shit! It's all fake! Korda can't help but look at the OPEN BAG beside him. ROPER (continuing) Go on, you stupid fuck, look at it! It's all shit! A hundred dollars worth of glass! Korda reaches in, grabbing a handful of the COSTUME JEWELRY. He can't believe it, it's all fake! KORDA You fuck!!! Korda goes crazy, slamming the truck into the side of a building, trying to throw Roper, but Roper hangs on. Korda then caroms off the sides of buildings, left, right, SPARKS flying, then smashes into BOXES, CRATES, anything he can see stacked alongside the road way, but Roper stays put, clinging on with all he's got, swinging from side to side to avoid the obstacles. Then Korda SEES ahead a huge pile of BOXES, WOOD FRAMING, PALLETS, TRASH, stacked at the side of a building. He hammers the pedal, driving the right side of the truck into the pile... BOXES, WOOD, PAPER, DEBRIS flying everywhere, through the open fron window as well, Korda shielding his eyes with his arm as OBJECTS fly around in a mad flurry inside the cab... ROPER In the maelstrom lets go his grip, grabbing the upper frame of the window and assisted by the speed of the truck, rolls over the top of the cab, landing in the bed of the truck along with BOXES, LUMBER, and TRASH. KORDA Clears his eyes, looking up, Roper is gone! He LAUGHS hysterically... he knocked him off! ROPER IN THE BED OF THE TRUCK Leaning out the passenger's side SEES they are approaching the dry dock area. In the bed of the truck, along with the BOXES, SUITCASES and other objects, he sees several long 2x4's. Grabbing a BOARD he braces himself against the cab and then in one swift movement, stands, swinging to the driver's side, driving the 2x4 through the side window, through the steering wheel, past the dash and catching the tip of the ACCELERATOR PEDAL, pinning it to the floor. As Roper releases the board it WEDGES inside the door frame, locking the wheel and the accelerator, the engine SCREAMING wide open. Korda reacts in panic... Roper clings to the cab, looking over the top, the DRY DOCK looming towards them. He prepares to jump... KORDA Suddenly SEES the approaching dry dock. He jams on the brakes, but it's not enough, the truck racing towards the edge... IN SLOW MOTION THE TRUCK Vaults over the edge of the dry dock as Roper runs down the bed, leaping off the tail gate, arms windmilling as he goes airborne... The truck plummets towards the bottom... ROPER Lands in a huge pile of CARGO NETS and CARDBOARD BOXES, piled near the edge of the dry dock... KORDA SCREAMS in wide-eyed terror as... THE TRUCK Hits the bottom of the dock, EXPLODING into flames. DISSOLVE TO: EXT. TAHITI - DAY Roper and Ronnie lay on a gorgeous white sand beach, drinking from coconuts with umbrellas in them. RONNIE I've never seen sea so blue. Tahiti is magnificent, Scottie. ROPER Yeah, I could get used to this Paradise shit. Roper hails a waitress, serving the hotel guests. ROPER (to waitress) I'll have another Pena Colada. And this time could you shave the ice, please. WAITRESS Oui, Monsieur. Right away. Roper stretches back into his chaise lounge, adjusting his Ray Bans. A purring cat without a care in the world. RONNIE Scottie? ROPER Hmm? RONNIE I've been thinking. TWO GORGEOUS FRENCH GIRLS unstring their bikinis, flopping topless on the beach in front of them. ROPER Hmm? RONNIE Things have been going pretty well between us, haven't they? ROPER (sensing something's up) Yeah. RONNIE You've changed you know. I don't think there's anything you can't do once you put your mind to it. Uh-oh. He removes his shades to get a better look at the curve ball. RONNIE I was just thinking... (here it comes) There's something special I want to talk to you about. (he's listening) I think it's time we went to a whole other phase in our relationship. (pointedly) A deeper level. ROPER (no longer relaxed, sitting up) A deeper level? RONNIE That's right. We've got to bare it all. Here and now. 'Cause I think I'm finally ready to go for it... ROPER (cutting her off at the pass) Whoa! Wait a minute, Ronnie. Hold on. I know it's beautiful here. The sun, the sand, the sea and all that nature shit can really get to you. But we've got to keep our perspective here. This place isn't real. This isn't reality. RONNIE Scott... ROPER I mean I said this trip should be a 'roadtest'. RONNIE ...the hell are you talking about? ROPER I'm talking about... What are you talking about? RONNIE I'm talking about me 'n' you stripping down on this beach and gettin' you know... 'naked in Tahiti'. ROPER You talkin' about gettin' 'nekked?' (off her look) Shit, I thought you were talkin' bout, you know... the "M" word. RONNIE You thought I was talking about getting married?! She laughs her amazing laugh. RONNIE I'm talking about taking our clothes off, silly. You said you would. AD LIBS dialogue below as CAMERA CRANES BACK and we ROLL CREDITS over... ROPER You crazy? With all those people around? RONNIE Know what you are?! You're a prude, Roper. ROPER The hell I am! RONNIE (amused) Prude. ROPER First you want me to put on one of those skinny ass bathing suits -- tongs or thongs or whatever you call them -- with my butt cheeks wrapped around a piece of dental floss... No way. Over her laughter we... FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Miami Vice.txt b/unformated_scripts/Script_Miami Vice.txt new file mode 100644 index 0000000000000000000000000000000000000000..ed40bffa5b95fa1b1c78ccca08ce2e2498fa5c12 --- /dev/null +++ b/unformated_scripts/Script_Miami Vice.txt @@ -0,0 +1 @@ + MIAMI VICE Written by Michael Mann Based on "Miami Vice" created by Anthony Yerkovich First Draft 9/22/04 WGAw FADE IN: FADE IN: EXT. OCEAN - CLOSE UP: WATER - MORNING LIGHT We are at the delicate interface between ocean and air...liquid and gas...the event horizon where molecules evaporate. This interchange is ethereal. Then, low frequencies rumble through depths...louder...closer, now... And the ocean surface is torn by a 46-foot catamaran and the ROAR of 2,700 horsepower, rocketing at us at 140 knots... OFFSHORE RACER: "BORN TO WIN" in PROFILE. AERIAL: "BORN TO WIN" ...has a canopy, low like a B-1 bomber and extends a half mile. It launches off two-foot swells, goes airborne, pushes to 150 knots with another 1,100 RPM left... INT. RACE BOAT - SONNY CROCKETT pilots the "Born to Win" in full helmet. On the throttle and flaps is RICARDO TUBBS... EXT. OCEAN - "BORN TO WIN" leads the frontrunners towards a finish line demarcated by a couple of $10 million yachts loaded with media. At the last moment occurs a small power loss, and "Born to Win" gets nosed into second place by the 46-foot Skater, "Goddess"... CUT TO: EXT. MARINA - "BORN TO WIN" - LATER thunders to the dock, throttled down at low revs. The canopy is up. Crockett and Tubbs' helmets are off. Dockhands tie it off. It's the same crowd you catch at a Grand Prix: nine- figure money, tall, Northern Italian women and minor German princesses with Swiss educations, no bimbos and no questions about asset origins. The exception is "Born to Win's" sponsor, a blonde, dreadlocked, bearded 6'4" SWITEK. He looks like a dot-com entrepreneur who got out in time. Next to him is a blonde Ukranian lady with high cheekbones. We'll see her again. WINNING CIRCLE - CROCKETT + TUBBS in second position to the Japanese driver and throttle man of "Goddess," neither of whom speak English. The #3 boat, "Bicardi Silver," was driven by David Scott and throttled by John Tomlinson... CROCKETT + TUBBS leave the winning circle among Asian and Mexican billionaires. As the small crowd breaks up... A DEEPLY-TANNED PLAYER named NICHOLAS in Vuarnet wraparounds and buzz-cut white hair glides by... NICHOLAS (low) Burnett, what's crackin'? CROCKETT Nothing. TUBBS Maxin' and relaxin'. NICHOLAS (doesn't believe them) Sure. Change your mind; get inclined? Let me know... Whatever Nicholas is soliciting, Crockett and Tubbs don't want. (Nicholas brokers "go-fast" runs, moving loads from offshore into South Florida. Among guys who pilot offshore race boats, there are one or two who've never run a load, but no one's found them yet.) Meanwhile... CUT TO: INT. ALONZO STEVENS' HOUSE - A KITCHEN - NIGHT A couple-hundred-thousand-dollars worth of granite and steel. Off-screen a restaurant-grade Sub-Zero opens with a hiss. Fan starts. Beyond the kitchen we SEE through a dining room to a den. A chair is overturned. We HEAR muffled sounds. We SEE feet extend through a door jamb. Someone's on the floor. A television is playing, distantly. INT. DEN - SEE FAMILY PICTURES so close they almost come to life. A Venezuelan family, two boys and a girl in a pool. Maria, Alonzo, the two boys at their sister's baptism. And we see holding the baby daughter is Riccardo Tubbs. A family dinner at a South American restaurant. Tubbs sits with the youngest daughter on his lap. Maria is on the other side of him. This is the image that almost comes to life. We hear the vivacious latin ambience late on a Sunday afternoon when families take the grandparents and have dinner. INT. KITCHEN - SUB ZERO REFRIGERATOR MOVE from the bright glare of the interior ONTO the broad neck of a MAN. A Viking is tattooed there. The image morphs into a naked woman presenting her rear to a muscled biker next to a chopper above a swastika residing between shoulder blades. SS lightning bolts are on his neck. PULL BACK from this MAN, who is bent into the frig because he's hungry. His head is shaved and he's naked from the waist up. A BLACK HEFTY GARBAGE BAG is tied around his waist. Yellow industrial gloves are on his hands. Something bad is happening in this house... CUT TO: INT. HELICOPTER - NIGHT It's a Sikorski skimming across the water of Biscayne Bay on a moonlit night at living-room level past stilt houses. RICARDO TUBBS pilots the chopper past the brightly lit windows of high-rise Collins Avenue condos for the fugitive rich...and heads towards the MacArthur Causeway. CROCKETT What's our deal? TUBBS Backup in case the Russians get physical. CROCKETT How lucky's Miss Universe gotta be? TUBBS Skin has to touch skin. That's the requirement for the warrant. Then he makes a credible excuse and he stops.... (beat) Her crew blackmailed and asset- stripped the last mark down to his social security... In the back - her long copper legs stretched out under a short skirt - is GINA CALABRESE. GINA This I gotta see... (beat) ...the "make up an excuse and stop" part. CROCKETT Have faith. GINA I have faith. In horoscopes and fortune cookies... TUBBS So? GINA Switek pulling this off...? That's not faith; that's delusional... Wearing enough of nothing to hide the micro .380, which Gina checks right now. There's a round in the chamber. AERIAL: THE SIKORSKI crosses past the stacks of $5 million condos to a landing pad on a roof. The Miami of the '80's, that twilight-zone frontier built on coke-fueled cash flow, is over. The frontier development stage is passed. It has BECOME Casablanca. Anything goes; everything has a price. CUT TO: EXT. ROOFTOP LANDING PAD - WIDE The chopper rockets in, settles. INT. UTILITY STAIRCASE Crockett, Tubbs and Gina descend to the 25th-floor penthouse, the target. As Crockett and Tubbs continue down to 24, she looks over her shoulder at Tubbs... TUBBS Damn, girl... INT. SURVEILLANCE APARTMENT (ONE FLOOR BELOW THE TARGET) PENTHOUSE - CROCKETT + TUBBS - NIGHT enter. Two surveillance technicians, RICK and FRANK, are glued to a monitor showing a bedroom in which nothing happens. LT. CASTILLO is there, out of a past somewhere between CIA and the Jesuits... Referring to the monitor on which there are NO PEOPLE in an EMPTY BEDROOM. They are watching air move. TUBBS This is exciting... RICK That's 'cause nothing is happening. CROCKETT No shit...? FRANK (it goes past him) Yeah. This is their surveillance...how they video their marks? See, we jacked their fiber optics, like we piggybacked their signal. Get it? TUBBS Cooool... They exit to... INT. PENTHOUSE CONDO - CROCKETT + TUBBS are met at the door by security, who recognizes them, and are welcomed by their host, UGO. This is the Baccardi Cup After- Party. The same players from the marina... OVER CROCKETT + TUBBS enter an 8,000-square-foot penthouse...offshore racer types, players, So Bee models... UGO Runnin' the Biscayne 200? Crockett wanders off... TUBBS If a coupla new exhaust manifolds show up... CROCKETT approaches a bar and female bartender... CROCKETT Gin and Tonic. Plymouth or Boodles. BARTENDER (Scandinavian accent) Lemon or lime? CROCKETT Lemon doesn't go in Gin and Tonics, darlin'. Where ya' from? BARTENDER (leaning in) Gottingen. That's in Sweden. CROCKETT You in Miami workin' on your complexion...? She's beautifully bronzed. BARTENDER (laughs) No. I was in Namibia... CROCKETT Doing...? BARTENDER With the United Nations High Commission on Refugees. Famine relief. Gina's listening on her personal comms. CROCKETT Really? I did refugee relocation in Somalia. But they transferred me out after I was wounded... Gina rolls her eyes as she crosses by Tubbs. GINA Only African he ever "relocated" was a $2,000-an-hour Nigerian model for Gucci, and he got wounded when she took an NBA draft choice to the Super Bowl instead of him... TUBBS He did volunteer one time... TRUDY (entering) For a massage parlor bust? (beat) Why am I here...? TRUDY JOPLIN is a tall African-American. She whispers into a small mic. If you looked closely, she's ripped...as if steel cables moved under her smooth skin. She slides past Tubbs and Gina... TUBBS (low) ...to backup Switek. But only if it gets lethal. TRUDY That's impossible. TUBBS Why? TRUDY Because you cannot kill him. SWITEK all white bling, is arguing with his blade-thin, glassy-eyed, adrenaline junkie partner, ZITO. Approaching is "Miss Ukraine." High cheekbones suggest one of Genghis Khan's horsemen found her maternal ancestor as attractive as Switek finds her... Tubbs clocks three beefy Russians in a corner, one is unusually fit. TUBBS And there's Dmitri... CROCKETT The honey trap. And there's the honey. TUBBS Hello, Miss Ukraine... MISS UKRAINE brings Switek his glass of champagne... She whispers something in his ear...and is led towards a back bedroom. Gina ambles over. TRUDY (to Crockett) Eleven to seven he blows it. CROCKETT (whispers) Twenty on my man... TRUDY You're giving away your money, fool... Tubbs opens his Moto as if he's about to make a call...Trudy looks over his shoulder. What we see is the feed from the monitor in the surveillance room downstairs. CLOSER: TUBBS'S MOTO Two blonde people starting to get naked. Switek and Miss Ukraine. A second call comes in. Tubbs ignores it. TUBBS (to Zito) You bet your partner? ZITO Sure. Switek versus primal impulse from the amygdala. Higher thinking versus the lizard brain. Tectonic plates of libido confront the cognitive. GINA Oh, bullshit. She cops his joint. He pushes the button. TRUDY What's so fucking difficult? THEIR FACES. They watch. And...Crockett's cell phone rings. He separates from the group... CROCKETT Yeah...? STEVENS (O.S.) Sonny...? CROCKETT Yeah. STEVENS (O.S.) Where's Riccardo? CROCKETT On the phone. STEVENS (O.S.) I'm sorry. I'm sorry, Sonny... EXT. BALCONY - CROCKETT - NIGHT enters. He's come outside to hear better. In the background Gina shakes her head about Switek. He blew it. Trudy looks at Crockett and sees Crockett's focused, hearing... CROCKETT Who is this? INTERCUT WITH: INT. BENTLEY - ALONZO STEVENS - NIGHT He's cruising at 85. He's floating in a magnolia leather interior. But it's bloodstained from his nose and mouth. He's been beaten. His white shirt is torn. He doesn't care... STEVENS (voice cracks) It's fucked up. I'm sorry... CROCKETT (recognizing him) Alonzo? (beat) What are you talking about? Where are you...? STEVENS They had me from the gate. CROCKETT I don't understand... Crockett's alarmed. He catches Tubbs' eye and waves him outside... STEVENS I gave up nothing on you guys. Don't worry. I kept you and Rico out of it. Only the Feds. They're on their own...it's all their deal, anyway, so fuck 'em. CROCKETT (O.S.) Alonzo, what's goin' on?! STEVENS After I check on Francine and the boys, then I'm gone. Sonny, tell Rico I'm so sorry. I wanted you to know... Tubbs joins Crockett on the balcony. CROCKETT Where are you? STEVENS (O.S.) ...look after her. Ask Rico to. Okay? Do that for me. I had to do it. They had me from the gate. Do that. Whatever you can do for them. Okay? (breaks) Look what I did to them, Sonny...! CROCKETT Alonzo...! STEVENS (O.S.) Goodbye. Crockett's phone goes dead. TUBBS What is it? CROCKETT Alonzo... TUBBS Stevens? CROCKETT (nods) Something's wrong. Crockett's entering a number while... TUBBS (dialing) I'll try Francine... Meanwhile Crockett HEARS... MACHINE VOICE (recording) Federal Bureau of Investigation. Our office hours are... (Crockett punches three- digit code) FBI AGENT VOICE F.B.I.... CROCKETT (cuts him off) This is Detective Crockett. Miami- Dade P.D. Patch me through to your Special Agent in Charge, James Fujima? It's an emergency... FBI AGENT He'll be in on Monday... CROCKETT I said, "emergency." If he's not reachable, who's running the weekend? The ASAC? FBI AGENT We don't give that out... CROCKETT Listen carefully. Crockett compels himself to be patient. Meanwhile, Tubbs has struck out with Alonzo's home phone. CROCKETT (cont'd) (into Nextel) An informant who is working one of YOUR cases right now called me. YOU may have a problem. So get me somebody on the other end of this telephone who knows what the hell I'm talking about...! Meanwhile... TUBBS (into phone) C'mon... VOICE (O.S.) Miami-Dade PD Tech... TUBBS (into phone) Bobby G. The firefly we used to have on Alonzo Stevens' Bentley, check if it still runs; if so, launch Air Support. Locate the Bentley... (pause, listens) I don't know...we haven't worked with him for six months... CROCKETT (waits, then hears a click on his Nextel) Hello? FUJIMA (O.S.) This is Agent James Fujima. CROCKETT Detective Crockett. FUJIMA (O.S.) What's your Miami PD badge number? CROCKETT 4-4-7 Charlie 12-92. FUJIMA (O.S.) (pause) Okay. What's up? CROCKETT A C.I. we cut loose to your Joint Interagency Task Force. Name of Alonzo Stevens. Now, he's YOUR informant. Stevens, called us. I haven't spoken to him for six months. I do not know what case you have him on. I do not know what he is talking about. But whatever he is doing for you, it sounds like it is going bad. Right now... FUJIMA How do I discuss operations over an open line? CROCKETT How do I know? (beat) I got the call from Alonzo on an open line. That is the hand we have been dealt at this moment, at eleven-forty-seven o'clock Friday night. Okay? I am trying to alert you, here. (beat) You know whether or not...you have a thing goin' down. I do not. (beat) But we know this guy. I think you know this guy. Normally, he is cool. Tonight he is distraught. That is atypical. That engenders foreboding. Do you understand the meaning of the word "foreboding"? As in badness is happening to your deal right fucking now? CUT TO: EXT. ABANDONED METAL SHED, INDIAN RIVER - WIDE - NIGHT Nothing. Rusting marine parts and corrugated metal fall into weeds next on a channel of the Indian River. It cuts through inner-city Miami. Distant noise. But... INT. METAL SHED - ARYAN BROTHERS in low light are strapping up. Kevlar vests go over tattooed arms and chests. Glimpses of swastikas. Handguns in waistbands. SMGs (Small Machine Guns) slung from shoulders over white shirts, business-suit jackets. Everybody wears surgical gloves. Shoes are industrial. REAR SHOT: TWO OF THE BROTHERS are leaving. One carries a very long rifle with a flash suppressor. It is a bolt action .50 caliber Burrows. NEARBY ON THE RIVER is a second Aryan Brother sniper team with an identical weapon aimed at an empty lot a thousand yards away across the Indian River... INT. METAL SHED Two Suburbans and an Escalade pull out... CUT TO: EXT. INDIAN RIVER - EMPTY LOT Caribbean freighters seized by US Customs rust at the bank. MOVE IN. Two Cadillacs are parked. Waiting. A door opens. An interior light comes on. MOVE CLOSER. Two Russian slickster types. Patient. One looks at a watch. The other triggers his cell phone. A meeting is imminent. MEANWHILE: INT. FBI OFFICE - RAC JAMES FUJIMA - NIGHT Empty except for the FBI Agent in a sweatsuit carrying files, as if he stopped by when Crockett's call came in. He's on a computer. He picks up the phone... FUJIMA Guy's involved in a "meet"... CROCKETT "Buy and walk"? "Buy and bust"? "Reverse undercover"? What? FUJIMA Meet and greet. "I flash you some of mine, you flash me some of yours?" CROCKETT And the deal goes down at another place at another time. FUJIMA That's right. CROCKETT ...so there's no industrial- strength HRT weapons team out there tonight? Crockett puts his Nextel on "speaker" so Tubbs can hear, too. FUJIMA Correct. Flash samples. Flash cash. TUBBS (into phone) Haitian, Dominican, Russian, Israeli? FUJIMA White supremacist types. Crockett's impatient. CROCKETT OMGs, Mongols, Nazi Low-Riders, prison gangs? FUJIMA NLR, we think. I wanna know... TUBBS (sarcastic) Oh, good... FUJIMA ...what else, what else did he indicate to you? I need to know everything he said. CROCKETT He is saying they had him from the gate. He is saying to my partner and I and to his family "goodbye." What does that tell you? CUT TO: INT. MIAMI-DADE P.D. CHOPPER - SWITEK + ZITO in the back seat get lucky. The pilot reacts as the TECHNICIAN in the copilot seat has picked up a signal from the FIREFLY...the LOCATOR...on Alonzo's Bentley. SWITEK (keys radio; too much static, tries cell phone) Sonny, we got him... INT. BLACK SIKORSKY CHOPPER - CROCKETT + TUBBS Tubbs pilots it while Crockett gets the location of Alonzo's car and repeats it into the headset to Tubbs as the... EXT. SKY OVER MIAMI - C + T'S SIKORSKY - NIGHT banks hard left and heads for north 95 towards Lauderdale. Meanwhile... CUT TO: EXT. INDIAN RIVER - WIDE: THE DEAL - NIGHT Three Aryan Brothers in business suits get out of the rear of the Escalade and Suburban with a driver in each. Our two "Russians" approach from their Cadillac with a backup Cadillac and one driver on the other side. CLOSER: ARYAN BROTHERS. Friendly. Hip-hop culture has invaded White Supremacist gangs. Buzz cuts. Goatees. A couple of diamond earrings. RUSSIAN #1 ...sample now is okay. And we want sample load when we do deal... ARYAN BROTHER Sure, man. RUSSIAN #1 What inventory you can supply...? ARYAN BROTHER #1 Meth. Glass, ice, K's, E's, Mitsu's, Ames, Ex...whatever you need. Coke? Tonnage. And Colombian H. But give us a heads up... The Aryan Brother pops him a couple of vials. ARYAN BROTHER #1 (cont'd) Ice. Spectra-analyze that shit. And party-on with the coke. You are looking at ninety-two percent pure...none of that jumped-on powder they sell up in New Yorioo... ARYAN BROTHER #2 Yeah... (beat) Now, let's see the green... One of the Russians puts his hand on a weapon as the other opens up a Nike sports bag. RUSSIAN Never seen money before? This is called "money." Aryan Brother #1 reaches into the bag at the wrapped stacks of hundreds. Flips through a couple, takes one or two at random. Russian nods for him to go ahead. ARYAN BROTHER #1 Okay. You got lotsa green. We got all the goodies. We party. Larry'll call you in the AM and talk money, quantity, time and place... WIDEN. Everybody goes back to their cars. As the two "Russians" get into theirs, Aryan Brother #1 turns from the running board of the Escalade with his driver's door open. ARYAN BROTHER Hey, Ivan! I forgot to ask you something, my brother... He looks at his partner and nods, who says something into a Nextel. ARYAN BROTHER (cont'd) ...they have a decent death-benefit program in the FBI? For the Russians in the car, time freezes. As they start to react, they're blown up by .50 caliber rounds from the two sniper positions. The .50 caliber rounds go right through car bodies, sheet metal, upholstery, glass, human flesh, bone, more upholstery and metal and out the other end. Another round goes through the passenger door, through the passenger, through the driver, out the driver door and into the night... WIDE The three Aryan Brothers approach the steaming cars with the chopped-up occupants and take the gym bag full of cash. The Escalade driver dons night-vision goggles. They load up and drive off as we hear the "thump, thump" of Air Support and some distant sirens. Meanwhile... CUT TO: INT. MIAMI-DADE CHOPPER - SWITEK + ZITO - NIGHT at 170 knots watching a thermographic image of Alonzo Stevens' car on a monitor weave through traffic northbound on the 95... SEE Tubbs' Sikorsky beyond Switek + Zito as it swoops from a higher altitude right past the Miami-Dade chopper, banks and dives for the freeway. EXT. FREEWAY Tracking with Stevens' Bentley from the front. The black Sikorsky is almost on the Bentley's hood. Tubbs racks the chopper sideways so that Alonzo can see Crockett in the copilot seat... CLOSER: CROCKETT has his handgun out and is waving Alonzo over to the shoulder. Tubbs keeps the chopper almost blocking Alonzo's Bentley. Alonzo pulls over. Tubbs wheels around and lands on the shoulder. They approach... ALONZO STEVENS exits the Bentley and walks toward Crockett and Tubbs. He holds his hand out to keep them at a distance. Freeway traffic roars past. Crockett and Tubbs don't get too close, heeding Alonzo's warning... TUBBS (incensed, over traffic noise) What the hell did you do? STEVENS The Feeb gig was I front a coupla undercover, Russian-speakers to them. One's ATF. And broker the deal. Set up the meet with the NLR types... Stevens takes a low-resolution E-mailed image from his pocket and hands it to Tubbs. Tubbs looks up, shocked, hands it to Crockett. Stevens' head rotates loosely on his shoulders...his mind's elsewhere... CROCKETT'S POV: IMAGE Alonzo's wife, Francine, is bound - clothes torn - to a chair in a TV room. On the floor are two young boys bound with plastic ties. Paper bags are over their heads. Francine's eyes are as large as saucers. Around her neck is a necklace of C-4 explosive connected to a detonator. STEVENS (cont'd) (shouts) So I gave them up, man! Gave up the Feds! Gave up everything I knew. Now I got to go home... CROCKETT How'd they get onto you? STEVENS How do I know? But it was from the get-go. Knew the FBI had run me into them. (beat) Sonny, I gotta go...! MEANWHILE: INT. ALONZO STEVENS' HOUSE - TRUDY - NIGHT and a Miami PD SWAT team crash through the front door. Another team through the back. Trudy in a tactical vest is second in with a 12-gauge. The house is empty. Gina and other detectives hang in the rear. First SWAT team "clears" the living room, dining room. Second clears the kitchen, maid's quarters... INT. ALONZO STEVENS' HOUSE - DOOR TO DEN - NIGHT ...last room to clear...center of the house. SWAT teams appear around corners. Weapons up. The looks on their faces tell us nobody is here...nobody alive...and what they see gives even these veterans pause as blood pools around the legs of a family and overturned chairs. Alonzo didn't save anyone. TRUDY (after changing channel) Hello, Sonny...? EXT. FREEWAY - TUBBS on police radio listens to a message from Trudy while... STEVENS (to Tubbs) I gotta, I gotta go...! TUBBS Alonzo... STEVENS What...? TUBBS (voice cracks) Alonzo, you don't need to go home. Now Alonzo knows. STEVENS They said they wouldn't hurt them, wouldn't hurt them if... TUBBS They lied. CROCKETT They been known to do that... Alonzo Stevens has a strange look in his eyes. He looks at Crockett and Tubbs, as if to say something. He doesn't. Crockett and Tubbs walk towards him, to reach him...to console him... BUT ALONZO STEVENS backs away. Looks at them sadly. And before they can stop him, he steps out onto the freeway, opens his arms, and embraces the front bumper of a 70 m.p.h. 18-wheeler. INT. MERCEDES CL-500 - CROCKETT + TUBBS - NIGHT Grim, silent, race through Miami traffic to the crime scene we know is ahead because... OVER TUBBS' SHOULDER we see all the lights from two dozen emergency vehicles a quarter mile ahead. Death is not procedural or casual, not when it's somebody you know, like an informant you worked cases with. Cell phone rings. TUBBS Yeah. CASTILLO (V.O.) What's your twenty? TUBBS Quarter mile away. We see the lights... CASTILLO (V.O.) Turn around. TUBBS (taking cell) We know these people...! CASTILLO Grieve elsewhere. CUT TO: INT. PARKING STRUCTURE, TOP FLOOR - ANGRY MEN - 3 A.M. in a concrete space. We've entered mid-scene. FUJIMA We're not certain... CASTILLO You said Nazi Low-riders...? FUJIMA We're not certain! TUBBS C'mon, man! FUJIMA We think NLR. We don't know! Alonzo only fronted as a broker for our guys to make the meet. He wasn't deep into the crew. CROCKETT White gangs...? It doesn't track. TUBBS White gangs is tweakers and a crystal meth lab in a trailer park. Bounce around the old lady Saturday night and get your recidivist ass busted back... FUJIMA Not anymore. This is a distribution network out of South Florida, moving poly-drug loads, crystal meth through coke, to Nashville, Atlanta, Memphis, Cleveland. And computer fraud, identity theft. It's like that. CASTILLO (to the point) Tell them what you want. FUJIMA They knew about Alonzo, before he made a move on them. They had our operation. They've cut into us. CROCKETT How? FUJIMA We don't know. TUBBS Break your encryption? Hack your e- mail? Employee databases? Somebody on the inside? FUJIMA We don't know. And that's the point. Maybe there's a mole. Whatever, it's a disaster. And it's a Joint Interagency Task Force. I have DEA, ATF, U.S. Customs components in on it. So the penetration could be from any one agency. What we do know is I have to suspend operations right now from undercover work through interdictions 'cause I have to assume our Operational Security is blown. TUBBS As in, your ass is dead in the water. FUJIMA But Miami PD wasn't part of the J.I.T. And from what Alonzo said, he didn't give you up. CROCKETT So what do you want? FUJIMA To recruit you. Pause. CASTILLO ...I didn't want you around the crime scene because it's crawling with federal law enforcement. We don't know who's straight up, who's not... CROCKETT Recruit us to do what? FUJIMA Get into business with this crew, identify them. Illuminate their network. If you're lucky, discover their source, how they penetrated us. We'll indict and take it from there... CROCKETT How do we do that? Make a buy? (wry) That went well... TUBBS Reverse undercover? WE supply to them? FUJIMA They got a steady stream of supply. So, no... CROCKETT From whom...? FUJIMA A Colombian producer. Named Archangel de Jesus Montoya-Londono. CROCKETT Never heard of him. FUJIMA From the North Valle area. New. Low-level, we think. TUBBS Aryan brothers are not going to change-up suppliers. So... CROCKETT Transpo? How they bringing the loads in...? FUJIMA They're not. They collect in Miami. Montoya, the producer, handles deliveries. That's his end, and he varies the routes. We got some FLIR off an AWAC of a coupla go-fast boats, on one run, that's all. Fujima boots up his military-spec laptop to view the FLIR video. Meanwhile... TUBBS Track with me, here... (beat) They knew the "Russians" were undercover Feeb? They should have no-showed. But, no, these guys show anyway, and commit murder upon federal officers. And steal all your money... (beat; to Fujima) What does that say to you? CROCKETT (speculating) It says, "We do not fear you." (to Fujima) It says, "Fuck off and die." It says, "We get down for recreation..." Fujima's Dell laptop glows to life. Two almost indistinguishable boats and their wakes are SEEN. CROCKETT (cont'd) Blow that up... Crockett's attention goes to something atypical he spots about the wake emerging behind each boat. He exchanges a look with Tubbs. But they say nothing. TUBBS (to Crockett) So? CROCKETT We could try to run loads into these guys. (to Fujima) Run a few loads for Montoya into South Florida. Into this group. FUJIMA You need to consider a few issues. CASTILLO (to Crockett + Tubbs) ...you'd be operating outside territorial United States. Your badges do not count. You have no authorization to carry weapons. If you're busted, it could take a long time to get you re-patriated. And there's no backup... (to Fujima) And you will share with them all your intel on Montoya... FUJIMA Sure. CASTILLO I mean full disclosure. FUJIMA Of course. From my side, I don't WANT to know anything about what you're doing or how you do it... (to Castillo) So let me know if we're on... Fujima splits. Castillo waits until Fujima's car pulls away. CASTILLO (to Tubbs) About the Stevens family, I'm sorry. I know you were close to them. TUBBS I was the kids' godfather. CASTILLO (intuits) And...? TUBBS "And" what? CASTILLO I got to know. There is never any room for "personal"... CROCKETT (for Tubbs) He is fine. And we know the jokes. When it gets vengeful, things get messy. When they get messy the wrong people die... (beat) Everybody gets it. CASTILLO Good. TUBBS And the answer is "yes." (beat) Before she met Alonzo, once upon a time, a long time ago. (beat) You bet it was personal. ...and is now compartmentalized in the past. CASTILLO Okay. (to Crockett) What'd you spot...? CROCKETT Three wakes off the back of those boats. Who runs three Sterling engines off a deep-V hull? TUBBS Sal Maguda. CASTILLO He any good? TUBBS Oh, yeah... CASTILLO So what's gonna persuade Montoya to change off Sal Maguda running his deliveries...? It's a rhetorical question. CUT TO: EXT. INDIAN RIVER - THERMAL IMAGE OF TWO DEEP V-HULL GO-FAST BOATS - NIGHT They're two feet out of the water on their dry dock, next to a Marine Shed. It's an unlikely location because derelict factories, cheap apartments, weeds and marine scrap metal are the neighborhood. EXT. SURVEILLANCE LOCATION - CROCKETT + TUBBS and a SWAT team in the weeds across the river. They include SGT. JEAN-LOUIS BASTIDE, a Haitian in dark sweats. They all are in plain clothes. BASTIDE Odile, she say they're pregnant... We don't know what that means, yet. TUBBS Yeah? Okay. Only Jean-Louis and I do the talking... CUT TO: INT. MARINE SHED - DOOR - NIGHT Both steel doors EXPLODE as if their molecular structure, itself, disintegrated from one BLAST of Tubbs M-40 grenade- launcher firing a canister of ball bearings like a king-size shotgun on steroids as... GUARDS react, but Crockett draws down on one with an AK-47. Bastide wounds the second GUARD who had drawn down his H & K. A Third Guard begs to live in French Patois. They own the place. And Crockett sees... 800 individually-wrapped bricks of North Valle Colombian cocaine are on a table. TUBBS Comme on dit... (Like they said...) JEAN-LOUIS Charger et les recoit d'ici... (Load 'em up and get out of here...) BAD GUY You crazy? Que fais-tu? TUBBS Que faisons-nous? De qu'a-t-il l'air, fou! Nous voulons tous votre drugs. (What are we doing? What's it look like we're doing, fool? We are stealing all your dope.) Suburban crashes through the wreckage of the door and backs to the table. Jean-Louis and SWAT #1 start throwing bricks into the back. Tubbs with Crockett exit. EXT. MARINE SHED - DRY DOCK - CROCKETT + TUBBS approach the two deep V-hull go-fast boats with three engines off the back. Tubbs cracks the breech of the grenade launcher and loads a 40-millimeter shell, while he strolls down the dock... CROCKETT tosses two Willie Peters (white phosphorus grenades) into the boats. Tubbs fires the M-40 at a third boat, which explodes flame, followed by... TWO CARNATIONS OF WHITE PHOSPHORESCENCE destroy the smuggler's Strykers, which we saw in Fujima's video. Crockett + Tubbs have just put Sal Maguda out of business. They walk away and around the side of the shed, disregarding the curious citizens of Little Haiti, come to watch the fireworks... CUT TO: INT. MERCEDES CL 600 ON A MIAMI STREET - CROCKETT + TUBBS - BRILLIANT DAYLIGHT drive. Crockett reaches into a paper bag full of cell phones and grabs one. He dials up a number, grabs another and hands it to Tubbs. CROCKETT (in the phone) Hey, Sailor... (pause) Yeah, I'm good. (beat) Got a hole in the calendar...looking to charge up the cash flow. (waits) Yeah, later. Crockett struck out. While... TUBBS (into phone) Hey, Nicholas, my ace. Wha's up? NICHOLAS (V.O.) You know. Same old... TUBBS (into phone) We got idle all of an instant. You got something from somewhere that's got to go someplace, somewhen, which is not too distantly in the future...? INT. COLLINS AVENUE CONDO - NICHOLAS - DAY ...the guy with the white hair. NICHOLAS It is fortuitous that you called... CUT TO: EXT. LA PERLA DISTRICT OF SAN JUAN, PUERTO RICO - TWILIGHT Corrosion and decay. People look coldly at us. Malevolence and malefaction on every corner. No one's picked up the garbage for a month. Poverty in the Caribbean half-light... CROCKETT & TUBBS cross the street to CAMERA from their rental car. The La Perla section was a 16th Century haven for pirates. It's had little civic improvements in 400 years. They enter a nightclub - shabby neon. INT. NIGHTCLUB - CROCKETT + TUBBS - TWILIGHT There are no customers. They're cautious. Men stop them and frisk them. They expected that. CROCKETT We're from Nicholas to meet JosÈ... They're waved to the rear. They start towards a back table. A small group of people wait... OVER CROCKETT + TUBBS APPROACHING: JOS… "COCHI LOCO" YERO He's a former right-wing Colombian paramilitary from the North Valle near the Pacific coast. He runs operations, communications and security. He has cold eyes and a corpulent face. He's notorious for using torture to ferret-out informants. Right now he watches these two Americans approach. Security people are on either side of him. JOS… YERO (extends hand) JosÈ... CROCKETT Sonny Burnett...this is my partner, Rico. JOS… YERO Sit. As Crockett sits, he notices that at a table a few to the side is a woman. This is ISABELLA. Behind glasses, she seems immobile, filled with intelligence, well-dressed in subdued Tom Ford and staring at him. Reading him. Crockett holds the look that extra beat and turns back to business... CROCKETT (to Security) Dos cafÈ. He's security, not a fucking waiter. But Yero nods. Security fetches coffee, anyway. TUBBS So lay it out, my brother... JOS… YERO Nicholas said you okay. That's nice. But how I know if you any good? CROCKETT What...? JOS… YERO Who you run loads for? Cause other than Nicholas, you knows you? Tubbs looks at Crockett. They thought it was a done deal. CROCKETT (dark) My mommy and daddy know me. Isabella tilts her head imperceptibly. TUBBS And we didn't come down here to audition. Business auditions for us... (beat) ...and know who we are and know they want their load run by us before Nicholas calls. CROCKETT That way we do not waste AvGas or our motherfucking time. Yero's security reacts to the tone and raises weapons. A few start up out of their chair as... ZITO + SWITEK appear at the door, SMGs from shoulder straps. Zito flips a D14 hand grenade which Crockett snatches out of the air, pulls the pin and slams on the table. Everyone FREEZES. Only Crockett's hand pressure restrains the clip. CROCKETT (cont'd) (goes right up in Yero's face) You want to "know" shit? Who the fuck are you? You got a side deal with U.S. Customs to open up the coast in a few spots...in exchange you flip them some gringo runners? Like us...? TUBBS You wearing a wire? Tubbs rips open Yero's shirt. CROCKETT Or DEA? The Feeb? Yero's shirt...open to the waist. No wire. Yero's furious. Yero's people have weapons pointed their way. They outnumber Switek and Zito. Slack's taken up on triggers. It's on the edge. And the edge is overloaded. Tubbs reads that, warns Yero... TUBBS People gonna walk into this place and say, "Ola, hijo! That some crazy wallpaper. Whew...it wild! Is that a Jackson Pollack?" CROCKETT "No, viejo. That was JosÈ Yero, splattered all over his motherfucking wall." TUBBS So we can close each other's eyes right now. Real easy. Real fast. (pause) But, then, nobody makes any money... Yero gestures his security to calm down....one notch. Crockett and Tubbs still hold the grenades. Then Crockett opens his shirt. No wires. So does Tubbs. Pause. JOS… YERO (flat) Equipment? TUBBS Slow and low, Adam A-500s... (Yero looks quizzical) ...carbon composite, stealthy, 1400 nautical-mile range, thousand ki payload...all the way to Caravels and 727's from a source country to a transshipment point. Small freighters. We've done containers... CROCKETT And specialize in very fast go-fast boats for coastal runs. TUBBS What kind of weight? JOS… YERO We don't talk weight. We talk logistics. Isabella sits, watching this. She drinks her coffee. JOS… YERO (cont'd) You get longs and lats for the pickup. Open ocean. You run it in. On shore, our people receive the loads. CROCKETT (interrupts) The people on shore who handle a load we run are our people, not your people. No tweakers, dopers, first- timers we don't know. They didn't do time with us, they ain't doing crime with us. TUBBS What you get from us is a date. A place. "In the parking lot of a Jack-in-the-Box in north Miami." At such-and-such time, an eighteen- wheeler will be there. Keys in the ignition. Ready to roll. You pick it up. And you drive it... (waves his left hand) ...away. CROCKETT Money thing is done in advance in places where there are no guns. Because when money and guns get together, there is violence... JOS… YERO You afraid of violence? CROCKETT I am not John Wayne. There is no "S" on his chest. We get down if the play calls for it. But we are into business and making money. TUBBS And violence is extra. And expensive. So how much weight you looking to move? JOS… YERO Nothing. 'Cause how you do delivery on the beach, I don't like. Maybe this does not work. CROCKETT Then it don't work. TUBBS What happened to the last transporter you had? JOS… YERO What do you care? TUBBS (to Crockett) Do we need this...? CROCKETT (rises) Red light, green light, JosÈ? JOS… YERO (doesn't answer, leans back) I'm also called "Cochi Loco." That means "Crazy pig." 'Cause I enforce security and get people to tell me what I need to know. That part of what I do, you never want to find out about. (pause) Other people will negotiate the money and go or not go. Not me... TUBBS Then what were we talking to you for? JOS… YERO I had to lay eyes on you. CROCKETT And...? Isabella watches Crockett... JOS… YERO (to Tubbs) You seem okay. (to Tubbs re: Crockett) But him? I don't like... how he looks... Everything goes from tense to lethal. Has Yero made them? TUBBS What do I care what you think about how he looks? You wanna fuck my partner or do business? JOS… YERO Wait by the phone. (pause) You get a call. Or maybe you don't. Until then, piss off back to where you come from... Crockett flips the hand grenade and catches it with his left hand...and he drops it in front of JosÈ Yero. It spins on the table. He had reinserted the pin. And they back out. CUT TO: INT. MIAMI SAFE HOUSE - TUBBS IN THE SHOWER - NIGHT Contemplative. Offscreen a door opens. Entering is Gina Calabrese. She's naked. She washes his back. She dumps too much shampoo on his head. He tries to clear it from his eyes. Laughs. They start to make love under the water, in the steam, through the misted glass, offscreen we hear an engine rumble... CLOSER: GINA Somebody's coming. TUBBS ...Sonny can wait. Tubbs and Gina are not random lovers, they're in love. The look in her eyes, the openness is pure femininity behind the Bronx presentation. She smiles, touches the side of his face. EXT. SAFE HOUSE, ON THE INDIAN RIVER - CROCKETT - NIGHT ties up a 75' Sun Seeker. It looks like a 38' deep-V offshore racer on growth hormones. Crockett's alone, as dusk fades over the '60's ranch house on the river. It's under tropical trees, with one strip of white neon utility lighting outlining the flat eave. INT. SAFE HOUSE, KITCHEN - CROCKETT let himself in. He's at a kitchen stool at the counter when Tubbs enters in sweats. TUBBS Anything? CROCKETT Nothing. Gina enters in a robe... GINA (beat) "Hi, Gina. Hi, Sonny." CROCKETT Hi, Gina. (putting shopping bag on table) This is from Frick and Frack. Trudy? TUBBS (re: bag) What do we got? Crockett pulls out three overly-large cell phones... CROCKETT Satellite. New encryption. Supposedly sharper than the G... (to Gina) How good's our background? Tubbs and Crockett look at the Mac screen as Gina boots it up. Gina's fingers tap dance on the keyboard. GINA You're so not the PD, if you got busted on a DUI, you're in serious trouble...you're bad men back to grammar school. (to Tubbs) San Quentin. Pelican Bay. (to Crockett) Marine Corps. Statesville. Pelican Bay, where you guys hooked up. Now you're too smart and too fast to get jacked again... CROCKETT How will it stand up? GINA If they ran the rental car or lease on this place...even if it's EPIC database in El Paso...they'd have to work through the layers of bullshit three weeks deep. Then they'd find your deeper, hidden criminal selves... INT. LIVING ROOM - BAD 3 AM TELEVISION - LATER No one's watching it. INT. BEDROOM - GINA asleep. Tubbs' eyes are wide open, staring... INT. SECOND BEDROOM - ECU: PAGER lights up. Beeps. Crockett's hand grabs it. It's the summons from JosÈ Yero. INT. KITCHEN - GINA - PRE-DAWN GINA (Lazily) What am I supposed to do after I get my nails and hair done...? TUBBS Reality TV and stay by the phone. That's what all wives-in-crime do... He leans over and kisses her. She holds firmly the back of his neck and looks into his eyes. GINA Be...careful... You hear me? He winks at her in assurance and he's gone. Her lazy smile drops off. "Careful"...she's not so sure he will be... CUT TO: INT. LEAR 55 JET - TUBBS PILOTS Crockett in the copilot seat. Switek and Zito are in the back, barely awake. Zito hands out coffee. Switek's stashing weapons behind the fuselage upholstery. Tubbs is clearing US air space as we... EXT. SKY - AERIAL: LEAR JET rockets through cumulonimbus against a black sky up to 35,000 feet. TUBBS Where we meeting 'em...? CROCKETT Port-Au-Prince. EXT. PORT-AU-PRINCE AIRPORT, RUNWAY - LEAR JET - DAWN touches down, drives towards us... Turns towards commercial aviation facility... CLOSER: HATCH opens. Switek and Zito emerge to rental cars with two car- rental clerks waiting... CUT TO: INT. PORT-AU-PRINCE HOTEL ROOM - DOOR - DAY Crockett and Tubbs make a careful entry. Hands on weapons, carrying bags... CROCKETT What do we got? TUBBS Five minutes... We see TRADECRAFT. They clear the room. They check for bugs and external surveillance. They pull curtains. Tubbs from a bag pulls a scanner. Under the two beds. Behind the picture. The lamp. The telephone. Meanwhile... CROCKETT "traps" the room to reveal if it had been searched while they were gone. He aligns the suitcase perfectly parallel on the bench. A matchstick goes against the closed closet door. A ballpoint pen is leaned against the telephone. TUBBS (cont'd) ...show time. From his bag Tubbs pulls a Smith & Wesson J-frame hammerless in .357 Magnum. He holsters this on his ankle. A Remington 780 shotgun with pistol grip, sawed-off to a 12-inch barrel gets slung on a bungee-cord shoulder strap under his right arm. .9mm under his shirt in his waistband and two spare magazines clipped to his belt. CROCKETT loads a .45 "race" gun with rounded sights and a magna-ported barrel, cross-drawn, and a blunt .45 Para-Ordnance in the small of his back. They're ready. INT. CORRIDOR - THEIR DOOR opens. Crockett "traps" that door, too, with a small piece of tape. CROCKETT + TUBBS All of it tells us that where they are and where they're going is a high wire act without a net. No backup. Their badges don't work. There is no law; there is no order. They are in a state of nature where people get killed for their shoes. DISSOLVE TO: EXT. PORT-AU-PRINCE CEMETERY (HAITI) - CROCKETT + TUBBS - LATE AFTERNOON wait. Shadows on white limestone monuments. Bird songs. DISSOLVE TO: WHITE MAUSOLEUMS - DUSK They wait. And wait. And nothing happens. TUBBS They watching us watching them watching us waiting for them? Or what? CROCKETT Who knows... Still apprehensive, concluding they're victims of a "no- show"... TUBBS That's it. They split. CUT TO: INT. HOTEL - THIRD FLOOR CORRIDOR - CROCKETT + TUBBS - TWILIGHT approach their door. Crockett stops. The tape "trap" is torn. Weapons appear in their hands. Someone's been here. INT. HOTEL ROOM - CROCKETT + TUBBS enter stealthily. Then, they relax. They need not have bothered being so careful about detecting a clandestine surveillance. OVER CROCKETT + TUBBS The room is overtly destroyed. Not one piece of furniture is unbroken. Walls have been opened. Pictures ripped. Curtains. Their stuff's strewn all over. And, then... DOORS CRASH in. HAITIAN PARAMILITARY in soccer jerseys and shorts with assault rifles... BEDROOM DOORWAY - FOUR MORE PARAMILITARY AK's are aimed at Crockett and Tubbs' heads. Crockett's .45 and his Para-Ordnance are in each hand. Tubbs' shotgun is aimed at the front door, his .9mm at the men streaming in the windows. Frozen moment. A woman's voice... ISABELLA (O.S.) (to Crockett) Put your guns on the table... (enters, sits) If we wanted you dead, you would no longer be drawing breath in Miami. We wouldn't have brought you all the way here. CROCKETT Really? So, what is this, a party? Crockett + Tubbs put down their weapons. TUBBS We'll have room service wipe up the furniture...and bring drinks. Isabella says something in French. The Cops ease-up. Isabella's personal security frisks Crockett + Tubbs and remain. Paramilitary leave. CROCKETT Glad we came. This place is a lot of fun if you're Doctors Without Borders. So...? Isabella takes off her glasses. She's Afro-Cuban. ISABELLA I run down the numbers. Nothing is very negotiable. Small loads? We pay three thousand a ki. We pay your fuel costs up front plus ten percent. The next ten percent on U.S. landfall. TUBBS Define small. ISABELLA Two, three thousand a ki. Two thousand ki's, your end is $6,000,000. (beat) Complex transshipments or dealing with containers, these have front- loaded costs we pickup. (beat) For this kind of weight, the balance of 80% is when our buyer picks up the load. (beat) Transactions are offshore. Dollars or euros. Secure internet transfers. We have lists of Cayman and Isle of Man banks infiltrated by IRS, to be avoided... (beat) No transactions of cash or other banking instruments take place on U.S. soil... (beat) That's the deal. CROCKETT I thought we had to meet the Man. ISABELLA You do. CROCKETT When? ISABELLA Right now. As she leaves... INT. MERCEDES - CROCKETT + TUBBS - NIGHT in the back seat on a rural road. Isabella is not with them. One of her Russians is. In the front seat, his SMG is ready; his eyes never leave Crockett and Tubbs. EXT. ROAD - CARAVAN A military Hummer in the front carries Isabella with her security. Behind is a crew cab with bench seats loaded with Haitian paramilitary. INT. MERCEDES - TUBBS They approach a town. He nudges Crockett. A police roadblock's ahead. CROCKETT has seen something else. He indicates the pager on his waist. TUBBS' POV: PAGER - NO SIGNAL That's what's surprising. Tubbs pulls his cell phone. Meanwhile, they're slowing down for the police roadblock. Crockett gets tense... TUBBS watches. His cell's SIGNAL STRENGTH INDICATOR steps down to zero. EXT. POLICE ROADBLOCK - COPS stop the caravan. Is this turning bad? INT. CAR - CROCKETT alarmed. EXT. ROADBLOCK - HAITIAN COPS check under the vehicles with mirrors. See all the weapons. Salute. Usher the convoy past. INT. MERCEDES - CROCKETT + TUBBS exchange a look. Then they get it. The cops work as security for the narcotrafficker. The caravan advances towards a major intersection. This one is blocked-off by Haitian military. EXT. SECOND CHECKPOINT - CAR DOOR is snatched open. Haitian soldiers search Crockett and Tubbs. They defer to the Russian-speaking security. Mercedes pulls forward... CROCKETT eyes his pager; Tubbs his cell phone: no signal in an urban area? Blocking signal traffic is something the CIA does over Baghdad. It's not supposed to be happening in Haiti on a dope deal. CROCKETT + TUBBS SEE a third circle of security approach. PRIVATE-SECTOR TYPES IN BUSINESS SUITS carrying automatic weapons, some more casually dressed, some with night-vision goggles. The vehicles stop. EXT. TOWN SQUARE Crockett and Tubbs are directed to get out. They're pushed around and searched. A working class Glaswegion Scot, a couple of 5'10" Brits are off to the side with short hair and shoulders that are too deep and faces like Rugby players (ex- SAS). Russians are ex-KGB. Languages overheard: smatterings of Russian, Hebrew and English. Crockett and Tubbs look at each other: they get it. This is the cream of private sector security. And it says top dollar infrastructure. THEY + WE SEE: EXT. TOWN SQUARE Four avenues lead in. Each avenue is blocked. The square is closed down to vehicles and pedestrians. Locals have disappeared. In the center of the square are FOUR MATCHING BLACK SUBURBANS. CROCKETT gestures to Tubbs to look up. They see... ROOFTOPS: TWO-MAN TEAMS - SNIPER + SPOTTER with night-vision goggles... CROCKETT + TUBBS are clean. CROCKETT, TUBBS + ISABELLA cross through a no-man's land. It feels like being in the open in Kosovo. TUBBS checks out the first Suburban's uplink satellite dish on a hydraulic mast. The rear's converted into computer equipment sitting in ruggedized racks... INT. SECOND SUBURBAN - WIDE Doors open. The interior has been converted into a luxurious, limo-like office with swivel seats. Isabella followed by Crockett and Tubbs enter. It's occupied by ARCHANGEL DE JESUS MONTOYA-LONDONO. He's not flashy. He has smooth skin, slightly opalescent, black eyes. His right arm is normal length, but shriveled. MONTOYA Please take that seat on the side... TUBBS Thank you. MONTOYA (polite, friendly) Excuse me because I am very busy and have many things to do, so this will be brief. Yes? (beat; not waiting) We will try you on a "run." One. To build trust. We do a thousand kis. In all matters, when you work for us, you must do exactly what you say you will do. (beat) In this business with me, if you say you will do a thing, you must do exactly that thing. (beat) Then? You will prosper beyond your dreams and you can live in Miami in millionaire style. (beat) If you are arrested, there will be lawyers made available to you in the United States. You will use them. Anything you need, you will be provided by me. It cost you nothing. You will contact and work through JosÈ Yero on logistics and communications. To do with money, you will work through my wife, Isabella... Crockett notices that Montoya lightly holds her hand. It's confident. And he sees the slight smile on Isabella's face as she watches he and Tubbs... MONTOYA (cont'd) More than I, in finance and business, she is very dangerous. I look forward to our doing work together. Whether we do or not, it is unlikely we will meet again. So I extend my best wishes to your families... (to Tubbs) Particularly to your beautiful wife. (beat) Thank you for making this long trip to see me... Dismissed, they exit. EXT. TOWN SQUARE - EXTREMELY CLOSE: TUBBS Subterranean alarms are going off. Tubbs finds himself in this small city, occupied by narcotraffickers and their security in the middle of nowhere. Urgency agitates Tubbs. He controls it... CROCKETT in the town square, now, too. But Isabella stayed inside Montoya's Suburban. Now, she lowers her window. ROADBLOCKS break up. Montoya's Suburbans pull out. The security cordon deforms. It all disappears around them. It leaves only the Mercedes, a driver, and Crockett and Tubbs... CLOSER: CROCKETT looks after the caravan. CROCKETT'S POV: ISABELLA'S EYES in the side-view mirror on the passenger side. She is looking at him. CROCKETT holds that look. ISABELLA'S EYES IN THE MIRROR holds his. CROCKETT Sound deadens. His attention is on the woman in the mirror...until it's broken by Tubbs' attention to his cell phone. TUBBS' CELL PHONE Signal strength returns. Tubbs punches in numbers. TUBBS (low) ...who did we just meet? He waits. A phone rings. It's picked up by Gina. GINA (O.S.) Hello...? Tubbs is relieved... TUBBS You okay? GINA Yeah. TUBBS You sure? GINA Yes. What's up? TUBBS Nothing. Calling to say hi... What's up with you? INTERCUT WITH: INT. SAFE HOUSE, KITCHEN - GINA GINA Bored. To Tubbs, that's good news. TUBBS Okay...see you soon. GINA ...and thanks for the flowers. EXT. HAITIAN TOWN SQUARE - TUBBS TUBBS What flowers? GINA The bouquet, here. Five-hundred dollars worth of roses...yellow. Pause. TUBBS There a note? Pause. GINA You mean with the flowers...? TUBBS What's it say? GINA "Salutations from the south..." A deep chill. GINA (cont'd) I...I thought it was from you. And, now, she gets it. Gina is in the kitchen. Alone, in their secret safe-house location. She and Tubbs have nothing to say. He looks to Crockett. The message from Montoya- Londono is clear: I know you. I can reach out and locate you our yours. Anytime. YOU ARE NOT SAFE. TUBBS We're on our way... INT. KITCHEN - GINA - NIGHT TUBBS (O.S.) (forced casual) So why don't you...meet the plane... We sense this is code. It means get the fuck out of there right now! GINA (cool) Okay. TUBBS Good idea. (beat) We'll grab a bite. Gina ends the call, drops to the floor to the wall, kills the lights, holds her Sig .9mm at her side as she moves deeper into the interior... CUT TO: INT. CUBAN CAFE ON CALLE OCHO, MIAMI - TUBBS + GINA - 4 AM Close on their two faces. He's holding her hand under the table. The noise of the surrounding crowd is a ROAR. That's the idea. They want their words buried under noise... PAST GINA: CROCKETT discreetly at the door, watching the street. Trudy, Switek and Zito are at adjacent tables. GINA ...the lease, the phones, the cars...layers of false ident. Would take the FBI weeks. How long did it take them? Three hours? Four? (re: the note) This means, "We can reach out and touch somebody." Like Bad Teleflora. TUBBS (cuts in) ...even if they could run the identities you built to EPIC, all they'll find is more cover... Trust what you built. It's quality, girl. We're cool... GINA (leans in; holds his hand tighter) ...you are trying to reassure me because you know when people get anxious, they make mistakes. You're worried about me. Do not be. (into his eyes) I am careful. I am cool. I got Trudy, backup, whatever. You worry about you. Because you are the ones who are in denied territory, not me. If your focus is on me, you'll miss something coming at you. That's how people slip up. Get hurt. And I'd die if anything happened. You worry about you. You and Sonny...are in the dangerous place. I'm fine... Gina leans back in her chair. Their eyes still connect across the distance between them. Their hands still touch. GINA (cont'd) (loud) Fuck 'em. They sent us some flowers. Big deal. Thanks for the flowers... Gina Calabrese shrugs. Tubbs laughs, and we are... INT. SAFE HOUSE - BEDROOM - 4 AM Low music. Dark shadows. Half-light washes the walls from passing headlights. Tubbs are Gina are naked. It's the lovemaking of a man and a woman when they hold precious the moments they have because they know that in these moments they are safe. And that the present is fleeting. And they know their time together is about luck. Because life is short. Departure is imminent. Nothing lives forever. It's in their faces and their eyes... CUT TO: INT. SHACK (GUAJIRA PENINSULA, COLOMBIA) - CROCKETT - DAWN A lantern lights his face. The night is soft. Crockett's with a couple of campesinos, playing poker and drinking beer. Whoever's shack this is, is a Tupac Shakur freak. His image is on all the walls. A diesel truck starts and pulls away outside. EXT. LANDING STRIP - TUBBS - NIGHT checking the cargo tie-downs inside an A-500 Adam aircraft. He's sweating. His shirt's off. The cargo is ten black plastic-wrapped and taped bundles. Like any good pilot, Tubbs trusts nobody but himself to tie-down the load. The rear seats are removed. There's a plastic bladder holding a reserve of 50 gallons of AvGas. INT. SHACK - CROCKETT wins. The girls shriek. Crockett pushes the money towards the Campesinos. They refuse. Crockett insists. One will only accept the money if Crockett accepts his Randall hunting knife. He does. Tubbs is in the doorway. CROCKETT We set. Crockett kisses the girls, gracious about the gift. Tubbs looks out into the night. TUBBS To the limit. CROCKETT You worried about the tree line, US Customs AWACS, or something else on your mind? TUBBS Like...? CROCKETT Gina in the Miami pad. (no answer) You gonna give me phony denials? TUBBS No. (beat) You gonna give me phony reassurances? CROCKETT No. TUBBS Good. So let's go... They head toward the strange-looking plane. It's a single fuselage with two propellers...one at the nose, one at the tail. Off the wings are two booms that connect to a rear wing. It's a Burt Rutan aircraft design. There is neither metal nor exposed exhausts for radar or IF to spot. It does 200 knots at 22,000 feet. It'll fly, forever, 1,000 kilos of flake worth $23 million, and the total air weight is less than two Bentleys. It's the smuggler's dream airplane. EXT. LANDING STRIP - END OF RUNWAY - A-500 ADAMS heads for the tree-line. It will not make it. At the last moment, Tubbs pulls back the stick and the plane lofts over the trees, clipping the tops... INT. A-500 - CROCKETT throws a look sideways at Tubbs. EXT. SKY - A-500 airborne over the Caribbean, heading north... CROCKETT (O.S.) (into radio) Transglobal Airlines flight zero- zero-zero...is in the air... ZITO (V.O.) Roger that. INT. A-500 - CROCKETT - MUCH LATER is dozing. A signal. Tubbs points up and to the right. Crockett wakes, looks. An Aero Commander Turbo Twin is paralleling the A-500's course. Now, it slides over them...almost into a collision. It sits right over the A-500, separated by only 75 feet. INT. OPA-LOCKA AIR TRAFFIC CONTROL - TRAFFIC CONTROLLER - DAY handling a myriad of flights, reacts. On his radar he sees next to the image of the Aero Commander, a ghost image.... AIR TRAFFIC CONTROLLER Eleven-ten, Sierra, do you have a visual on another aircraft...? INT. AERO COMMANDER - SWITEK + ZITO - DAY Switek is flying and looks down at the A-500 below... ZITO Negative, Opa-Locka. INT. OPA-LOCKA AIR TRAFFIC CONTROL - TRAFFIC CONTROLLER keys his radio. AIR TRAFFIC CONTROLLER Opa-Locka Air Traffic Control to JIT 0-seven-six-Nellie-Charlie... AWAC (V.O.) Hello, Opa-Locka. What's up? AIR TRAFFIC CONTROLLER I've got an Aero Commander coming in on a two-seventy-nine heading, but I had a double image...like there's another plane there, now I'm only picking up on one. What do you read? INT. US CUSTOMS AWAC - RADAR OFFICER RADAR OFFICER Let me see... His FLIR (Forward Looking Infrared) picks up Switek and Zito's Air Commander. He flips through all the different modalities of detection, including thermography, for anything else suspicious in the airspace... AWAC RADAR OFFICER (into mic) Too many Mai Tais at lunch... You're seeing double. One blip. One plane. EXT. SKY - SIDE SHOT: THE AERO COMMANDER LIKE A PANCAKE ON TOP OF THE A-500 RIGHT BELOW IT We get the joke. The A-500 with its stealthiness under the Aero Commander together like a single footprint. AERIAL ANGLE: TWO PLANES piggybacked, enter US airspace and cross the coastline into Florida. From underneath, the Aero Commander sweeps to the right on approach as Tubbs radically dives for the trees, hugging the contour at 220 knots at 150 feet...having snuck this plane and its load into the United States of America. CUT TO: EXT. CIRCLE 6 MOTEL, PARKING LOT - U-HAUL-IT TRUCK - NIGHT Alone in the acid-yellow glare of the sodium vapor lights. We wait. We don't know why we're here. PARKING LOT PERIMETER - SAWGRASS MOVE IN...and we REVEAL staked-out are Crockett, Jean-Louis and Tubbs... CROCKETT Neptune gonna show? We don't know who he's talking about. JEAN-LOUIS Oh, he'll show. This is his kind of deal. Crime on crime. Who's gonna call the cops? CROCKETT (skeptical) Usually his thing is street dealers. Torture their families until they cough up the stash. This...? JEAN-LOUIS He's ambitious. TUBBS Heads up... ESCALADE Lights off. Cruises through the parking lot past the U-Haul- It to the other side and disappears. TUBBS (cont'd) That's slick: Neptune's Escalade's worth more than the real estate. But no one's supposed to notice his drive-by? CROCKETT Here's another incognito genius... ANOTHER ANGLE: MALIBU SS cruises the other end of the parking lot. The Escalade returns. All's clear. Both converge around the U-Haul-It truck. Out of the Escalade steps NEPTUNE - 6'4", narrow- shouldered and bald. From the Malibu and back of the Escalade, Four more Haitian ZO POUNDERS with handguns, shotguns and shades... NEPTUNE pops the lock on the U-Haul-It with a crowbar. He rolls up the door expecting millions worth of cocaine. Instead he comes face to face with the barrel of a 12-gauge... TRUDY April Fool, motherfucker. Trudy whips the butt end of the shotgun around, caving in Neptune's cheekbone and nose... WIDER - NEPTUNE goes down for the count. Switek - under the truck - rolls out. Crockett, Tubbs with shotguns, Jean-Louis and Zito with CAR-15s emerge from the perimeter with bright lights on shouting for the Haitians to freeze... TUBBS (Patois) Arrete! Arrete! Freeze! (to one) Et vous, mo-fo! A 250-lb. ZO POUNDER brings up his weapon. Crockett BLOWS the guy's legs out from under him. Zito disarms him. The other two are disarmed. NEPTUNE is rolled over by Crockett. He plastic-ties his wrists and feet. Others are manhandled... JEAN-LOUIS (in French) Get the fuck in the truck...! Zo Pounders, plastic-tied, are thrown into the truck with the thousand kilos of cocaine. But not Neptune. The gate is rolled down and padlocked. CUT TO: INT. SAFE HOUSE - CROCKETT - NIGHT staring at his satellite cell. Waiting. He looks out the window at the passing river. Soft voices from another room...probably Tubbs and Gina. It's five in the morning. It rings. He answers. JOS… YERO (O.S.) Client got delivery. But there were..."extras" in the back of the truck. CROCKETT "Extras" tried to relieve us of your weight... (beat) And by the by, you know of a player in Overtown who goes by the name of "Things Aquatic"? JOS… YERO I do. We don't do business with him... CROCKETT He tried to..."do business"...with you. Around ten. His place. Be there. JOS… YERO I'll be there. EXT. OVERTOWN STREET - JOS… YERO IN A TINTED EXCURSION - DAY cruises storefront churches, chacouteries, Baptist missions, Haitian restaurants and palm trees. Men in dark trousers and white shirts lean in doorways. The SUV preceding Yero stops three houses before us. The Excursion with Yero stops two houses beyond. Security - very casually - deploys. NOW, Yero approaches...seen through the curtains of the window we're looking through. Reveal Tubbs watching. And, he crosses to the door and opens it as Yero cautiously enters. INT. LIVING ROOM - YERO And his face registers surprise. CROCKETT Look familiar? DOPE Carefully stacked in the living room are the PLASTIC-WRAPPED BRICKS OF COCAINE THAT CROCKETT AND TUBBS STOLE FROM SAL MAGUDA'S WAREHOUSE WHEN THEY BLEW UP HIS BOATS. Hog-tied and bleeding all over his clothes, in the corner is Neptune. His mouth is taped. He's shaking his head...disclaiming, disowning and disavowing... TUBBS This the load you lost a while back? JOS… YERO It is. He try to take tonight's load? CROCKETT Yeah. JOS… YERO And what do I do with him? TUBBS (shrugs) Whatever you want. Like we said, we're not into violence. Yero looks around the corner and sees Switek and Zito in the dining room, casually at ease with Galil assault rifles...meaning "don't even think about it"... CUT TO: INT. AN EMPTY MANSION - JOS… YERO - DAY The empty mansion is on its own peninsula. Through the windows we see a yacht and Crockett's 48' Stryker, its canopy open but without its racing supergraphics. The mansion interior...all Beaumaniers limestone...is devoid of all furnishing. They sit on white plastic garden chairs from Sears. JOS… YERO (suspicious) I walk into Neptune's house...very nice. But I also see you... and our drugs that got ripped from Maguda. TUBBS You don't like us finding your load? We can go and lose it all over again... CROCKETT How 'bout this? How'd Neptune know where to hit us? Huh? Whose Op sec's got a leak? Yours? JOS… YERO What'd Neptune tell you? CROCKETT He didn't. Interrogation's not in our skill set. (beat) So c'mon, what suspicions have you master-minded off these associations? JOS… YERO (whispers in Spanish to Isabella) Here's what this is...ask how much they want to turn back to us our load... Yero's certain about their motive. ISABELLA We want it back. CROCKETT Okay. ISABELLA What's the recovery? How much are you looking for? TUBBS (to Crockett) How much we looking for? CROCKETT Nothing. ISABELLA What's "nothing"? CROCKETT Nothing. As in "free, gratis." TUBBS And as an investment in the future... ISABELLA (takes off her glasses and looks at Crockett) "Future" of...? CROCKETT A fine...business...relationship... She holds Crockett's look...as she did before. TUBBS It's yours cause what's yours, is yours. And what's ours is ours... (to Yero) ...like the second ten-percent, which is now due, Yero, my ace. Isabella gestures. Yero kicks across the floor a cardboard box full of money. Tubbs glances inside. Doesn't count it. TUBBS (cont'd) What's up next? Or is this a one- time deal? Isabella decides. ISABELLA (to Yero) Give them the shipment on the seventeenth... Yero doesn't like it. She gestures "do it." TUBBS Conveyance? ISABELLA Maritime. Jose will fill you in. And she starts to leave...and sensing Crockett's gotten up and follows her. Meanwhile TUBBS (to Yero) Lay it out... And Crockett, close behind Isabella, now... CROCKETT (low) There is one thing you can do for me in recognition of the death- defying risks we took to recover your product... ISABELLA (low) And what is that? This is the wife of narcotrafficker Archangel de Jesus Montoya-Londono. CROCKETT Let me buy you a drink. Isabella pauses. Crockett may get killed right now. They're near the open doors to the patio. ISABELLA (low) What do you like to drink? CROCKETT (low) I'm a fiend for mojitas. Isabella looks over at Crockett's boat. Back to Crockett... ISABELLA (low) How fast does that go? CROCKETT It goes very fast. ISABELLA Show me...? Isabella and Crockett head outside towards the dock, Tubbs overtakes... TUBBS Can I talk to you for a second, partner...? They step aside. TUBBS (cont'd) (low, re: Isabella) Wha's up...? CROCKETT (low) I know what I'm doing. And he leaves to help Isabella board. Switek unties and pushes off the boat. Looking out the window at them is JosÈ Yero, as perplexed as Tubbs, who covers... TUBBS ...secure satellite comms. encrypted e-mail, the longs and lats for the transshipment point...all that? It's all cool. But I need a vector, not a location. 'Cause ships move. That's why they call them ships. Ship stops? It's trying to be an apartment building. At sea that attracts attention. That's bad... Meanwhile... INT. STRYKER, CABIN - CROCKETT + ISABELLA pulling away from the docks at 12 knots, repressing the thunder of the 2,700-horsepower engines. Crockett leaves the canopy slid back. They're open to the air. He gives Isabella headsets so they can talk over the roar. The wind starts to move her hair. She's not sure how to put on the headset. Crockett lets the boat rock over the swells while he arranges her headset around her ears. His fingers brush her hair, touch her skin... It was not intentional. But the look in Crockett's eyes is as if a small voltage passed through him. He plugs her headset into the dash, regains the wheel, shoves the throttles forward and... EXT. OPEN OCEAN - "BORN TO WIN" cuts and then leaps over swells. In seven seconds they're doing over 70 knots. And Crockett holds it there as... ISABELLA The wind whips her hair behind her, now. The two are small against the smooth 50' long hull. Crockett hands her wraparound shades for her eyes. She doesn't want them... CROCKETT (through headset) So where's the best place for mojitas? ISABELLA Bodeguita del Medio. It's the only place for mojitas... CROCKETT Where's that? ISABELLA Off a little alley with cobblestones. Hemingway went there... CROCKETT The Keys? ISABELLA Havana. CROCKETT Havana? Cubans don't like us or my business... ISABELLA Are you afraid? (smiles; Crockett shakes his head "no") Good. And you don't need a visa. Cause you're with me. EXT. OPEN OCEAN - OVERHEAD "BORN TO WIN" - DAY rockets from one swell to the next, getting airborne. Wind and salt electrify Isabella. She turns to Crockett and smiles, putting on the glasses, now. Crockett gestures to her knees. She should keep them bent. Crockett pushes it to 75 knots... FRONTAL: CROCKETT + ISABELLA in strong light, ripped by wind. Behind them are ocean and sky and twenty-foot plumes which jet from the props and make a wake that vectors in diagonals to what each is leaving behind them...where they've been...and converge to push them to the new places where they're headed. Behind, the skies are leaden. They're racing a storm. Sunlight shafts through a gap in thunderclouds, turning the clouds yellow. Now, they turn peach against the darkening open water and the grey sky behind. The boat vibrates, the engines scream and... CROCKETT waves her over to join him behind the wheel. He holds out his left hand to steady her. He brings her to him. Both lean against his high upholstered chair. He holds her to his side. Indicates the wheel... CROCKETT Light touch. Everything comes to you through the wheel. CROCKETT stays on the throttle, throttling back when the props are out of the water so you don't redline the engine and forward when reentering. The swells are now four feet. They launch off each, get airborne, cut into the next... CROCKETT (cont'd) How do we get into Cuba?! ISABELLA My cousin is the harbor master. You must not bring in drugs. You cannot be armed. If you're carrying, it has to go. Or stow it inside. No one will go near your boat... CROCKETT You do business in Cuba with your husband? ISABELLA I never do business in Cuba. (beat) And nobody goes to Cuba but me. (smiles) And he is not my husband... Crockett's surprised. And he doesn't push it. CROCKETT Were you born in Havana? ISABELLA Angola. My mother was being a surgeon there. She volunteered. Mozambique and Mali, too... (over the wind) ...those days, in those days...she was part of Cuba's gift to the third world. She came from a bourgeois family with a house in Verdado...we still have the house. We will go there... CROCKETT Where's she now? ISABELLA She's dead... Crockett looks at her. Her perspective is that of the '60's and '70's, the politics of national liberation, the perspective of Marcuse and Franz Fanon. CROCKETT Your father? ISABELLA Angolan Military. Went back to the fighting. Disappeared. Who knows...? Isabella looks at the look on Crockett's face. ISABELLA (cont'd) Go ahead and ask... CROCKETT How's he not your husband? ISABELLA I am no one's wife. I live in my own house. I do not live in a man's house. He has a wife. We are together. I am free. Because of banking and finance and travel... (looks at him, shouts over wind) And I can do anything I want... She laughs. She has that combination of intellect, beauty and youth. Everything is possible...life will never end...she can ride this crest eternally. And Crockett knows that her confidence makes her oblivious to peril, makes "right now" too real because she believes she will live forever. CROCKETT can't help it. He looks right at her. She lifts her face to the spray. Some clouds part and light strikes her... And Crockett wants to possess her; to protect her. He wants no one else to have her. He wants no harm to come to her. And this is an impulse that takes him over to the core of who he is. And, as we MOVE IN CLOSER, Crockett has to turn away... ISABELLA sees this. She's quizzical. Crockett looks back at her. Their eyes connect. "BORN TO WIN" leaps... CROCKETT his left arm around her shoulder, his right on the wheel. She rocks back against his body. They rip across the seas... CUT TO: INT. "JAZZ" - A HAVANA NIGHTCLUB JAMMED WITH PEOPLE - NIGHT 14-piece Afro-Cuban band. IN THE PRESS OF dancers at a small table, Crockett and Isabella... CROCKETT (shouts over noise) Mojitas...? ISABELLA (shouting back) Later! Do you dance? CROCKETT I dance... They move into the crowd under two-story high windows overlooking Meyer Lansky's Hotel Riviera - freeze-dried 1959 Las Vegas. CROCKETT + ISABELLA Whatever we knew about Sonny Crockett, we did not know he could dance. Their feet, their knees and thighs, perfectly matched, they samba, like lightning. He swings her around and turns her to a close embrace as their hips and legs parallel each other's, as he turns her under his arm, stops her, pulls her backwards into his body, her hips into his, the fast beat, the footwork, and he spins her back facing him, pressing her closer as it gets faster and... CUT TO: INT. BEDROOM - CROCKETT + ISABELLA fall onto a bed, shedding the last of their clothes, making love in a house somewhere. Beyond them is an open window to the ocean. The sky turns red and grey but the water stays molten. Their eyes are open...because they're locked together the whole time and their faces are steady and urgently surprised because this is not language; not a symbol, not a representation of a thing. Jesus Montoya is not here. Miami is not here. This is discovery. This is fact. They have discovered each other and have never felt like this about anyone before in their lives. CUT TO: INT. HOUSE, BEDROOM - CROCKETT - MORNING His eyes open. He wakes up. Light and situation flood in. He does not know where he is. He pulls on his pants. Barefoot, he walks to the window. The interior is high- ceilinged with immaculately polished floors. And Crockett looks around, a stranger in a stranger place. EXT. THE BALCONY - CROCKETT enters. The paint on the outside of this house is peeling and patinaed with stain. The yard is overgrown. The stucco fence around the streamline deco facade is crumbling from weather and time... CROCKETT WATCHES THE OCEAN from the balcony of the futuristic villa in Verdado... A futurism from 1939, peeling aqua, aging science fiction. Wherever we are in the world, this place is out of the stream, outside history. And Isabella, this woman from a different world, enters, brings him an oversized cup of coffee. In his trousers, Crockett drapes an arm across her shoulders and they stand in the air. CROCKETT hears voices from the interior. ISABELLA My aunt. She's ancient. She looks after the place... (beat) This was my mother's family's home... CUT TO: INT. BODEGUITA DEL MEDIO - CROCKETT + ISABELLA - AFTERNOON in the funky yellow restaurant drinking mojitas. They've had lunch served to them at the bar. Frosted glasses have sugar on the bottom and are loaded with crushed Cuban herbs. The bartender has been there for 40 years. Crockett and Isabella look like regulars. They've served chicken and plantains. Like any restaurant, the people eating at the bar are the regulars. They sit where Hemingway sat in the slow part of the afternoon. ISABELLA Tell me everything. CROCKETT No. ISABELLA I insist. CROCKETT (flip) Okay. (beat) Macon, Georgia is where I was born. Wound up in a juvenile facility. I was 14. Then the military. Then prison. Because I was dumb and angry. Then I read. Then I got smart. Then I discovered what I know, now...it's all business... Isabella smiles. CROCKETT (cont'd) (to Bartender) My friend, two more. (beat) What was your mother's name...? ISABELLA Blanca...a rubio like you. (pause) I see her in a dress...an old photograph from Lucinda somebody's wedding...everybody is with couples. Husbands and wives. They all pose. My mother is alone because my father had to go back to the fighting. (she points) ...she looks right into the camera. She is the most beautiful woman in the room. By herself. In a party dress. And she looked like she knew she would die alone... (beat...remembers) She spoke many languages. We were in Luanda when she died. I went to her friends in Mali. They sent me to the Ecole Polytechnique in Geneva to study mathematics, where I met Montoya in the discos. He had banking there...I was seventeen and very much into the clubs. And he sent me to University for an MBA in Finance. (pause) Your mother? CROCKETT Died in childbirth, having me... ISABELLA To mothers. And all that we owe them... Isabella looks at Crockett and smiles and puts on her sunglasses. CROCKETT You know how improbable this is...? ISABELLA "Probable"...applies to an event that may be real. Doesn't apply here. CROCKETT ...'cause we have no future...are of today and not tomorrow. ISABELLA (laughs) That's right. CROCKETT ...and therafore there is no consequence? ISABELLA Exactly. Crockett's hand is around her waist and slips down her hip as he pulls her closer and takes off her glasses and she puts down her drink and kisses him at the bar and Crockett's eyes dwell on her and she looks back at him and, now, knowing what he's thinking... CUT TO: INT. THE STREAMLINE HOUSE IN VEDADO - LEADEN SKIES - LATE AFTERNOON The water is like sheet metal as clouds allow only a sliver of light to illuminate the sea while rain greys-out most of it. Minute crimson is a freighter heading to the stone harbor. Fabric billows in the wind. PULL BACK into the room to Crockett and Isabella... TWO NAKED BODIES ...one light skinned, the other brown, intertwine in the opiated moments after sensuality. The afternoon half-light drapes parts of their bodies, making a relief against which their eyes hold each other's... CUT TO: INT. SHOWER - CROCKETT - LATER focused elsewhere. It's as if he's struggling to record the event of her in memory so she'll sustain there, because he compels himself to a different place, now. Then, the shower curtain parts. It startles him... ISABELLA enters. She touches his back. He turns to her with a smile. CROCKETT (soft) Let's talk deliveries. Isabella is not let down by the switch to commerce. She merely goes there, too. After all, this is their subject. Soft smiles. CROCKETT (cont'd) ...and a different kind of deal. ISABELLA Like...? CROCKETT Like "three thousand a ki?" That's nice. And I can supply the transportation into South Florida and the Gulf, more reliable and on-time than FedEx. But, three per ki was OK for openers. ISABELLA And why should continuing excellence cost more? CROCKETT Cost less. That's the point. ISABELLA Is it December? CROCKETT What do you mean? ISABELLA Did Christmas come early this year...? CROCKETT Better than that. (beat) We become partners. Only in this territory and only on loads we run. And you don't pay us three thousand a ki. You pay us zero. Why we get is thirty percent of the load. Product or cash. "And why," you're thinking, "would I be crazy enough to out in these gringos like that? Is he chipping? Crazy for my love? Too many mojitas?" And the answer is, "of course" but also "no. It is because Sonny can deliver what no one else can." ISABELLA Good samba dancing...? CROCKETT Zero risk. ISABELLA 'Cause you don't lose loads? CROCKETT 'Cause we guarantee every load. (beat) Anywhere, for any reason, it comes up short, we make good. Your operations will, from now on, run risk-free. ISABELLA And you're our thirty-percent partner? Her knowing smile speaks of experience beyond her years. ISABELLA (cont'd) (deadly seriously) What if I tell you that your ideas are too big for your skin? (beat) That merely to propose this is a dangerous thing? CROCKETT Then I would say to you, this has been fun... There's a long pause. This is business. This is what is. ISABELLA The range should be between fifteen and seventeen-point-five percent of the P.O.E....to even consider it. CROCKETT I need thirty. Calculate in, also, the cash you don't have to front... ISABELLA Available cash is not an issue for us... CROCKETT Twenty-eight-point-five. ISABELLA What if I pushed to twenty-one...? CROCKETT I would say you're... (hesitates; holds up four fingers) ...four percentage points away from a deal... ISABELLA Maybe I'm only one. And she slides into his arms. And smiles... CROCKETT We'll do it at twenty-two... Isabella laughs. She kisses him under the shower water. And it's tough to know who is pushing it further out onto the edge. CROCKETT (cont'd) ...and now what? ISABELLA And now I make you breakfast again... Her breathing is heavier as she buries her head in his neck. CUT TO: INT. BOAT ON STORMY SEAS - DAY Crockett is alone. Black skies mottled with grey. CROCKETT Rain and wind rip across his face. He left Isabella in Havana. SATELLITE PHONE rings. Crockett picks it up. It's Tubbs... TUBBS (V.O.) Where the hell are you, man? CROCKETT (into phone) On my way back... Crockett disconnects. He pushes it. It launches from one swell, airborne, and knifes into the next. It's violent. Crockett's thoughts and expression are about Isabella. They are criminal conspirators, a woman cheating on her narcotrafficker "husband," an outlaw smuggler who's really an undercover cop... OVER CROCKETT: GOVERNMENT CHANNEL - "BORN TO WIN" rockets in and then throttles back. CUT TO: EXT. INDIAN RIVER SAFE HOUSE - TUBBS - DAY sitting on the U-shaped jetty as we HEAR Crockett kill the engines, tying it off. Gina stands halfway up the small lawn to the early 60's ranch house under tropical palms. Tubbs' mood is dark. As Crockett approaches, he looks blankly at Tubbs, offering no explanation... TUBBS (mutters) The meet with Castillo and the fed got set up. It's in 45 minutes... Tubbs goes inside. Crockett follows. As he passes Gina... GINA What's up, Sonny...? Crockett looks at her. He has no answer. INT. HOUSE - CROCKETT enters. While Tubbs is strapping up... TUBBS Where'd you go? CROCKETT Hit a couple of jazz clubs. Fell back to her place. TUBBS Where? CROCKETT Verdado. TUBBS Verdado where? CROCKETT It's in the suburbs outside Havana. TUBBS Havana, Cuba...? CROCKETT No. Havana, Louisiana. (beat) Don't we have a meet? TUBBS ...where you're makin' a move on the wife of Archangel de Jesus Montoya? CROCKETT No. TUBBS You're not makin' a move on her...? CROCKETT We're makin' moves on each other. TUBBS Oh, that makes it okay, then. CUT TO: INT. ENGINE ROOM OF A TRAMP FREIGHTER SEIZED BY US CUSTOMS AND TIED-UP ON THE INDIAN RIVER - FBI RAC JAMES FUJIMA - DAY We've entered a secret meeting mid-argument. FUJIMA Who said, "go exploring"? We want this staying on track. CROCKETT (to Fujima) Who's the "we"? There's you and there's us. And all we got from you was bad intel. "Low-level producer." Yeah, right... FUJIMA What are you talking about? CROCKETT Montoya. We went to meet the village priest. It turns into Alice in the fucking Vatican and here's the Pope...of the North Valle Colombia dope trade. TUBBS His operations are kingpin size and first-class. His security is ex- Eastern bloc, ex-SAS and Israelis. Their comms are satellite uplink with mainframe encryption, significant Sig Int and in their zones of activity, they have signal- jamming capability... Fujima is surprised... CROCKETT Yeah. CIA-level stuff... TUBBS And what does that level of spending on first-class, private- sector infrastructure signify to you? CROCKETT Mega-tonnage and mega-cash flow... FUJIMA Out of...? CROCKETT Haiti and Puerto Rico. Money through Dubai and Geneva maybe. TUBBS Their loads are poly-drug. "E" from Holland, methamphetamine precursors from Jordan, Afghan "H." Mid-ocean transshipments. His real business is: he's a network. CROCKETT And we can illuminate part of it from the inside out. TUBBS So we want to change-up the mission statement. FUJIMA (no) Identify and indict the white supremacist group of importers. End of story. Everything else I'm hearing is speculation masquerading as intel... Crockett flips him a set of keys. FUJIMA (cont'd) What's this? CROCKETT Keys to the boat. Go do this motherfucker yourself. Fujima looks at Castillo...who is this insubordinate prick? FUJIMA Who are you talking to? TUBBS He's talking to you, bro. (beat) What he means to say is he is reluctant to abandon the penetration of a major narcotrafficking organization... CROCKETT (re: Fujima) Hey, fuck him. TUBBS Chill out Sonny. CROCKETT We're the ones doing the death- defying shit? And he wants us to give that up? For what? A chump-change bust so he can get his picture in The Miami Herald to impress the slug farm in DC... FUJIMA (to Castillo) Control your men. CROCKETT I'm my own man. And anytime you want to see how much man I am? CASTILLO (low) That's. It. Everybody shuts up. CASTILLO (cont'd) (to Tubbs) Where are you on this? We know Tubbs has doubts about Crockett's motives and methods, nevertheless... TUBBS With Sonny. 110%. CASTILLO Then that's it. (to Fujima) Change the mission statement. Crockett stays in. He keeps working up the ladder. The local importers get a pass for the time being. FUJIMA I don't know. CASTILLO Yes you do... FUJIMA I got to talk to my ADO... CASTILLO No, you don't, Jim. (beat) 'Cause if I close this down, you got nothing to make a phone call about. And my guys don't have a week for a Feeb bureaucratic process. Every hour longer they're in there, they risk exposure. So, right here, right now, they're back in or I pull them out and close you down. What's it going to be? Fujima nods acquiescence. FUJIMA Okay. He leaves. When he's out of earshot... CASTILLO (to Crockett) You fuckin' better be right...! CUT TO: EXT. FREIGHTER ON THE INDIAN RIVER - CROCKETT + TUBBS - NIGHT step across to a second ship among the dozens tied-up along the river. Its crimson paint is peeling and it's been stripped of everything salvageable. They're alone. TUBBS (low) What is going on...?! CROCKETT As in...? TUBBS There is "undercover." And there is "Which way is up?" CROCKETT You think I am in so deep I forgot? TUBBS I am asking. You to me. CROCKETT Do you believe...I have forgotten I am a cop? TUBBS I would never doubt you. This is the answer Crockett needed to hear. TUBBS (cont'd) And do you doubt I will slot anyone complicit in the death of Maria, Alonzo and those children? Anyone...whoever they are... CROCKETT No, I do not. And we know that might mean Isabella. EXT. MONTOYA COMPOUND, GUAJIRA PENINSULA, COLOMBIA - ISABELLA - NIGHT We are on a peninsula with palm trees. A bluff dotted with a small forest of satellite dishes. A ribbon of white-sand and beyond that is silver light off the water. It is rural and futuristic at the same time. ISABELLA (O.S.) ...90- and 120-day futures with shorted Canadian and US dollars... CUT TO: INT. MASTER BEDROOM SUITE - ARCHANGEL DE JESUS MONTOYA- LONDONO in pajama top and boxer shorts, smoking a cigar. In a sweatsuit is Isabella, delivering a financial report. It's from memory. Nothing is written down, in the tradition of the elite section of Swiss private banking in which clerks commit portfolios to memory. There are no documents. ISABELLA ...and we're looking at Nigerian crude... MONTOYA Precursor shipments from Ras Tanura and Ju'aymah? ISABELLA Transshipped to a Malaysian container ship. MONTOYA Not French registry? ISABELLA They've been targeted. And Pakistani registry is too vulnerable to search and seizure right now. MONTOYA JosÈ doesn't like the deal in South Florida... Montoya's referring to Crockett. Alarm bells go off. ISABELLA (cuts in) Burnett? (shrugs) They want 22% of the value on loads they run into South Florida. It's the Juarez cartel model. They guarantee the loads. The upside is our risk goes to zero. That frees-up capital. MONTOYA But what does your intuition tell you...? Is he suspicious? Does he suspect Isabella and Crockett are lovers? ISABELLA My "intuition"...? My intuition made him breakfast the other morning in Havana. Her lieson with Crockett is the last thing we expected to hear from Isabella. MONTOYA And...? ISABELLA They're serious. They're cautious. They'll forgo a deal over a technicality of how a delivery's handled...they'd walk away, rather than compromise operational security...that's good. Montoya's thoughtful. ISABELLA (cont'd) But they have to be watched closely... MONTOYA Why? ISABELLA A good deal, like this with us, for Burnett will be good only temporarily. He'll get restless because he believes nothing is forever. Life is dust, make it while you can. He's ambitious. Montoya appreciates her thoughtfulness. ISABELLA (cont'd) So I predict a few good runs. Then there'll be a renegotiation. MONTOYA That's my girl... Montoya uses Isabella and her sexual allure to gather insight into the people he does business with. That's part of their deal. MONTOYA (cont'd) On the next load, JosÈ wants to front them silver. But they them in lead... (beat) He thinks they are wrong. What do you think? ISABELLA (revealing nothing) I think JosÈ suspects anybody he doesn't intimidate. And people, who are good at what they do? They have egos, too... MONTOYA (careful) What would you do...? ISABELLA (equally careful) I like the diminished risk. It frees up capital reserves. I like working with self-interested businessmen who are competent. You can predict their behavior.... Montoya looks at her very carefully. She stares right back at him. ISABELLA (cont'd) On the other hand...if what you wish, mi corazon, is la plumba...the lead? Then let's do that. Accept their deal. After the load is received...we will close their eyes forever... She looks at Montoya squarely. It hangs in the air. In his strange process of decision-making, Montoya reaches a conclusion... MONTOYA Let's try a few runs with these partners, I think. I will tell JosÈ... If Isabella is pleased, she doesn't show it. Montoya continues to stare at her unwavering expression, frozen in stone. He smiles, then, and starts to take off her clothes. He reaches for her hand and brings her to him. She kisses him and he puts aside his cigar, pulls her face into his neck, and she runs her hands down him... CUT TO: EXT. BARRANQUILLA, COLOMBIA AIRPORT - A G3 - NIGHT lands. The door opens. Isabella emerges. CLOSER...she searches, looking for someone as she descends the ramp. Then... CROCKETT emerges from behind an SUV. He came to meet her plane. ISABELLA'S expression changes, but she masks it. Businesslike, she walks across the tarmac. There are two Suburbans. One for her; one full of security. Crockett and her meet. No show of affection. Her Secretary, carrying her briefcase, accompanies her towards the second Suburban. INT. SECOND SUBURBAN - DOOR - NIGHT opens. Crockett and Isabella climb in. The rear is customized cream leather, luxurious with three telephones and a divider. As Isabella climbs in, followed by Crockett, she takes the briefcase from the Secretary and indicates he ride in the front vehicle. Doors close. Windows go up. Air conditioning comes on. She raises the divider, blocking the driver and locks the doors. They are sealed in the back. Alone. And she assaults Crockett with a passion that's desperate...as if making love to him puts her world back in balance. Their clothes come off, Crockett pauses... CROCKETT Hola, chica. ISABELLA Hola, viejo. He touches the side of her face. ISABELLA (CONT'D) Don't stop, bad man... As they continue, we... CUT TO: INT. BARRANQUILLA NIGHTCLUB - TUBBS + GINA - NIGHT at the bar. It's jammed. "Cochi Loco" Yero and his permanent bodyguard, El Tiburon, pass, smile. Tubbs introduces Yero to Gina, as his wife. Yero shakes Gina's hand. He indicates to the bartender that Tubbs and Gina are to pay for nothing...and he moves towards an office. Cobalt blue light illuminates his face, and his fierce yellow eyes are not filled with hospitality. CUT TO: EXT. FALS DE IGUAZU AIRPORT (THREE BORDERS AREA) - MONTOYA - NIGHT deplaning his G-4 crosses to his armored Suburban. INT. SUBURBAN - MONTOYA climbs into the back. It's also a traveling communications center, satellite uplink, encryption, the works... MONTOYA (to an Assistant) Do you have him? Assistant nods. Montoya takes the heavy handset... MONTOYA (cont'd) JosÈ, about the Americans... INTERCUT WITH: INT. BARRANQUILLA CLUB, OFFICE - JOS… YERO JOS… YERO (in Spanish) They are "wrong." I do not trust them. MONTOYA (V.O.) (in Spanish) Why? JOS… YERO (in Spanish) Too good at what they do, I don't know. Something I don't like. They are wrong... Montoya thinks. MONTOYA (V.O.) (in Spanish) Isabella likes them. We made their deal. Montoya hangs up. JosÈ Yero looks at the phone. CUT TO: INT. CLUB - CROCKETT + ISABELLA - NIGHT enter. They join Tubbs and Gina. GINA sees Crockett's carriage with this woman. It's different. Intuitively, she exchanges a look with Tubbs. Crockett makes introductions. Then, they move away to dance to a fast samba in perfect synchronicity. And, they're also SEEN by... JOS… YERO He watches them, too. His yellow eyes are lit by strobes. His eyes locked onto Isabella...dancing with Crockett, their bodies close... And in the way he looks at them, hurt, like a betrayed lover, which he isn't and never could have been...we know now, the core of his antagonism. CUT TO: INT. HONDURAN FREIGHTER, DINING AREA - TUBBS - DAY It's a 30 year old, well-maintained carribean freighter with a steel table and u-shaped bench. In the dark interior, narrow spots reveal the group hovering over a ruggedized Workpad with navigational software. JOS… YERO Transshipment point is here at 17:00 hours on the 23rd. TUBBS Uh-uh. No predetermined places and times to meet. Give me their heading and radio codes and I will talk to them directly with the longs and lats and time which will be a last minute deal... JOS… YERO You give yours to me. We position all the assets hauling our loads... CROCKETT Now how we do it, blood. It risks signal interception and other bad things like people who don't need to know where we're at knowing. Tubbs hands JosÈ Yero's assistant, El Tiburon, a pager. TUBBS At ten to three on the 27th, I will satellite page him with a website and encryption code. He will have ten minutes to log on and receive his new heading. Ten minutes and thirty seconds, website disappears and he can drive his fucking boat up to Iceland... JosÈ Yero doesn't like it. JOS… YERO Malaysian registry. Small containership. (to El Tiburon) Give them their codes and heading. Everything Yero tells them feels to him like exposure. CROCKETT Packaging? JOS… YERO Fifty-gallon drums. Thirty-two. A hundred kilos in each. You transship that to the Malaysian boat. TUBBS Importation value? At twenty-two thousand a ki... JOS… YERO You work that out with La Senora. (beat) You will get sixteen fuel bladders of crystal meth precursors from the Malaysian ship. For collection in North Miami. You warehouse it. Release it when we say. (beat) I'm sure you have friends with fast boats... CROCKETT If you see a few new faces, don't get jumpy... TUBBS And JosÈ, my ace, lots of transshipment. Lots of action. Skies are crowded. And the JIT has assets on land, air, and sea. (beat) So any intel you got that can come our way and contribute to the good and welfare...? JosÈ Yero's on the spot. JOS… YERO Sure. Check your e-mail. Yero gets up and leaves the confined dining room. He exits onto the walkway outside the bridge. His path takes him past... EXT. HONDURAN FREIGHTER - TRUDY with Switek and Zito. Trudy's in a tank top. JosÈ looks at Trudy appreciatively... TRUDY returns the look with a stare that says, "Don't fuck with me". JosÈ raises his eyebrow and after noting the two handguns holstered in the waistband of her hiphuggers... CUT TO: INT. LONG CARGO SHED - JOS… YERO + EL TIBURON walk. Cochi Loco's security leads and tails behind as... JOS… YERO (to El Tiburon) You know what Escobar used to do? EL TIBURON What? JOS… YERO (goes on) In the '80's, air routes came into favor. It required many pilots. The best were American. Former crop-dusters. They didn't fly by the book. Tell one: "Put that 747 down on this fifteen-hundred-foot runway." Somehow, he'd do it. Great pilots. But Pablo had a rule. After they flew six loads...this good pilot who facilitates so much good business... he would come back to MedellÌn or Barranquilla to pick up the next load? (beat) And no one would ever see him again. He'd disappear. (imitates Pablo) "You a good pilot? Make a lot of money for Pablo? Thank you very much." And then Pablo would kill his ass. After six loads. (pause) And who was Pablo Escobar? A provincial who got busted-out by the white collars from Cali. When the gringos got him, he was nobody. We're three times better than Pablo Escobar. (beat) The means we kill these sonsabitches three times sooner. (beat) And do you know why Pablo Escobar did that? EL TIBURON Why? JOS… YERO He didn't like pilots. EXT. BARRANQUILLA HARBOR, CARGO SHED - JOS… YERO + EL TIBURON enter from the cargo shed onto a roadway just as... YERO POV: GINA passes by, driven by Switek. They're en route to pick up Tubbs. JOS… YERO (CONT'D) And put eyes on her. Put eyes on her twenty-four hours a day... CUT TO: EXT. BARRANQUILLA BEACH - CROCKETT + ISABELLA, TUBBS + GINA - NIGHT Isabella hands out banana leaves wrapped and tied around cooked rice and barbecued pork. Gina and Tubbs walk away down the beach towards phosphorescent waves. ISABELLA I forgot the napkins. CROCKETT And the chopsticks and fortune cookies? ISABELLA What's the best fortune you ever got? CROCKETT They're all the same. "Financial security is around the corner." "Your friends love you." ISABELLA In Kowloon, once, I got one that said, "Live now because life is dust." Crockett and Isabella wander down the beach, hard from the ebb tide. CROCKETT Do you have assets somewhere else? Bank accounts? ISABELLA Why? CROCKETT ...to fall back on. You know, a fail-safe. Insurance. ISABELLA Do I need it? CROCKETT (shrugs) Everybody needs it. Ask Prudential. Or Allstate. ISABELLA (laughs) 'Cause whatever can go wrong, will...? The Perseids make the night sky over the water look like the Fourth of July. CROCKETT Something like that. The odds catch up with you. The odds are like gravity. You can't negotiate with them. (then) So...at some point, you should cash out, take your money and run... ISABELLA (smiles) Really? CROCKETT Sure. As far away and as fast as you can. ISABELLA When? CROCKETT Whenever. Maybe later, maybe sooner. What is Sonny Crockett trying to say to her? ISABELLA Would you find me...? CROCKETT Of course. ISABELLA Where would I go? CROCKETT Zanzibar. The Comoros Islands. Somewhere in the Indian Ocean. There's twelve-hundred islands there... ISABELLA (smiles) Is this the protective male talk? CROCKETT (deadly serious) This is the talk of a man...if he were your husband...he would never put you at risk. He would never put you within a thousand miles of anything that could hurt you. ISABELLA And if I were in the Comoros, in the Indian Ocean, where would you be...? CROCKETT A few more moments, still in this business. Then I'd find you. ISABELLA Would you? Because if you couldn't, I would be very lonely... I would have left the only world I know and have known since I was seventeen. (smiles, touches Crockett) But none of this will happen. So it doesn't matter. Because we are on the Guajira Peninsula. And all you see around you...look around... is Archangel de Jesus Montoya- Londono. He is my man. And you are a smuggler moving a load... Her eyes say that she listened to his warnings and will disregard them. Life is dust. Meaning is in the moment, and that's right now. The intensity is because it's impossible. Because it's impossible, they've been free to imagine. And that's made the heat of it stronger... CROCKETT ...in the morning. ISABELLA I'll be on board by noon. Crockett didn't expect that. ISABELLA (cont'd) What did you think? This deal with you is my deal. I am responsible. She vouched for him. She has to stand behind it. He puts his arm around her waist. CUT TO: INT. HONDURAN FREIGHTER, BRIDGE - TRUDY + CROCKETT - DAWN The Freighter is anchored a half mile offshore. Magenta breaks the horizon. Trudy looks at Crockett, looks away... CROCKETT Go ahead. TRUDY Too fast. Too many moving parts. CROCKETT Switek? Zito joins them. SWITEK Same. But it's your call, boss. Tubbs joins them. CROCKETT What's your take? TUBBS What's the point? It's going down. CROCKETT Call the US Coast Guard: "Come and arrest our ass." (beat) And Switek resumes romancing Miss Ukraine... Crockett looks at Trudy. There's a connection between Crockett and Trudy. It's filial. Crockett has a special regard for her judgment. TRUDY If we were for real, and knew our shit, we'd fade this one... CROCKETT Then you should. TRUDY (no) If you're down, we're down for the play. CUT TO: EXT. SAFE HOUSE ON THE INDIAN RIVER - GINA - NIGHT drives up. Parks. She approaches along the sidewalk, down the walkway under the banana trees and birds of paradise. Motion sensors trigger exterior lights. Gina cocks her ear, waiting to hear... Then, offscreen, Tommy the dog barks. Reassured, her left hand on her .380, she reaches for her keys, opens the door... INT. SAFE HOUSE - GHETTO BLASTER A finger pushed the stop button. The dog stops barking. OVERHEAD: ENTRY WAY - GINA enters. FROM BEHIND HER - WE MOVE CLOSER AS... a leather sap arcs through the air and descends onto her left shoulder, paralyzing her arm. Other arms grab her, push her head down. The same sap backhands with massive force across the back of her neck... CUT TO: INT. DOUBLE-WIDE TRAILER - ECU: GINA - NIGHT slowly comes to consciousness. She looks around, disoriented. Her eyes roll back in her head and she slips into dreamland for a moment. She rouses and opens her eyes again, blinks, disoriented... WIDE PAST GINA TO WHICH SHE SEES: AN EMACIATED WOMAN IN A PLAID HOUSEDRESS stares at her from the back corner of the double-wide trailer. With her is an overweight autistic Boy of about 11. He plays in the corner and watches a small TV with a coat hanger for an antenna. The Old Woman pays Gina no attention On her face is zero affect. There are other sounds in the room. WIDER: GINA and we see she is tied to a chair that is bolted to the floor. Her clothes are disheveled and ripped. She tries to focus. Then somebody's thick arms are fitting something around her neck. A blindfold goes over her eyes. Around her neck is a C-4 "necklace" like the one we saw on Stevens' wife in the beginning of the film. The arms and back belong to the deep- chested Aryan Brother we saw from the Stevens' house and Coleman's double-wide. MOVE IN ON GINA. He reaches below the frame and does something. Gina writhes away from him in the chair. He laughs. He backs away from her to camera...and holds something in his hand. A CAMERA He takes a digital picture. CUT TO: EXT. HOMESTEAD FLORIDA TRACT HOUSE - FRONT YARD - DAY A tall wall of planting hides the $150,000 house from the road. Neighbors are double-wide trailers. The house has some sophisticated radio antennas as well as a twelve-foot satellite dish. On the driveway are two Escalades and a Bentley. Out the back, off the dock is a two-million dollar sports/fishing boat. Someone's entering numbers on a cell phone. INT. HOMESTEAD FLORIDA TRACT HOUSE - COLEMAN waits. The guy working the cell phone is the buzz-cut Aryan Brother we saw in the Stevens kitchen in the opening. Coleman's shirt open in the Barcalounger watching ESPN. His watch is loaded with ice, and a four-carat diamond in his ear. He is all white bling. Coleman's tattooed up. Not with "cool" Celtic symbols...his tats are neo-Nazi, white supremacist, hard-core prison stuff. CELL PHONE in the hands of the deep-chested Aryan Brother. Three girls in cutoffs and halters are making sandwiches and laughing in the b.g.. Then: ARYAN BROTHER El Tiburon. Coleman takes the satellite phone, attached to a laptop. He enters a number. A frequency-response graphic displays in the computer. His conversation with El Tiburon is encrypted so the voices are distorted... COLEMAN So...? EL TIBURON (in Spanish) Meth precursors and the Dutch party favors are en route. COLEMAN (perfect Spanish) All I want to know is the where and the when. Spare me mini moves, progress reports and bullshit. EL TIBURON (in Spanish) Okay. You got the "item"? COLEMAN I got the item. EL TIBURON (in Spanish) And our friend don't like the rest of the people bringin' the merch to you. COLEMAN (in Spanish) How many? EL TIBURON (in Spanish) Two main players plus three. COLEMAN (in Spanish) My end? EL TIBURON (in Spanish) 25% discount on the load. COLEMAN (in Spanish) Make it 40%. EL TIBURON (in Spanish) Make it 35. COLEMAN Deal. Coleman hangs up. INT. HONDURAN FREIGHTER - FUNKY BRIDGE In calm seas they're tied up to a Malaysian small container ship. On it, Yemenese with AK-47s maintain a watchful eye. From Crockett's POV as... OTHER ANGLES: SWITEK, TRUDY, ZITO with an assortment of CAR-15s, Galils and two RPGs mount a similar guard. EXT. MALAYSIAN CONTAINER SHIP - FUEL BLADDERS swung by the Honduran freighter's crane cross 10' of open water onto freighter's deck to join 18 others already there. It's the last of the transfer. EXT. MALAYSIAN CONTAINER SHIP - CAPTAIN CAPTAIN (loud hailer) Me-a salama. Ila l-liqa. EXT. HONDURAN FREIGHTER - TUBBS TUBBS Yeah. Whatever... (waves) EXT. OCEAN - THE TWO FREIGHTERS separate. INT. HONDURAN FREIGHTER, BRIDGE - CROCKETT watches crew stow the cargo. Then, his satellite phone blinks red light. Crockett boots up the computer to encryption. Picks up the phone. CROCKETT Yeah? JOS… YERO (O.S.) (phone filter) Hey, Captain Kirk. I think maybe I have second thoughts. Tubbs enters. CROCKETT (into phone) You got something to say, JosÈ, let's hear it. JOS… YERO I confess I have succumbed to my weaknesses. An inability to see another's point of view. (beat) I've discussed it with professionals. Even with one of your friends. She's here now... Crockett puts him on speaker. JOS… YERO (cont'd) (beat) So I want you to deliver my product, how I want my product delivered. Isabella walks in. Crockett gestures for her to be quiet. CROCKETT What friend? JOS… YERO Mrs. Rico. But don't worry. She is safe. To insure that, I am keeping her close to me. It's always good to keep people your friends care about close to you. Tubbs reaches for the phone. Trudy intercepts him. Crockett turns it away and goes off the speaker... JOS… YERO (cont'd) So, I will tell you when you're 10 minutes out where to drop the load into the hands of my people. You have 35 minutes to enter Government Channel. Head up the River... We will watch you. Then I will call you. (beat) And you can reach out for La Senora in Barranquilla or wherever 'cause I don't give a shit... JosÈ Yero does NOT know Isabella's on board. CROCKETT Proof of life. How do I know Mrs. Rico's alive? JOS… YERO 'Cause she will tell you. He hangs up. ISABELLA That sonofabitch! TUBBS (turns on Isabella) You set this up! ISABELLA (sarcastic) Of course! That is why I placed myself here, with you, knowing Yero would pull this crap. CROCKETT Yero doesn't know she's here! Crockett looks at Isabella, who's distracted in calculating what's really happening. SWITEK (entering) Cigarette and the two Starkeys are coming in. (senses) What...? TRUDY They grabbed Gina... Isabella punches numbers into a satellite phone. No results. ISABELLA It's all bullshit. Jesus is out of communication in Fals de Iguazu. JosÈ knows that... Whatever he's going to do, he has to do it fast because he's acting on his own. And he will need a story. TUBBS Meaning...? ISABELLA They will kill you. And then they will kill your wife, too. CROCKETT Yero, by himself? ISABELLA Maybe. Maybe with the crazy whites. Zito enters, makes the situation... ZITO We're half loaded... TRUDY Gina. Like Alonzo's wife... Cochi Loco's got her. CROCKETT Dump the rest. Let's get the boats up that river. Crockett picks up the phone and dials. His eyes contact with Tubbs has Tubbs take Isabella out of the Captain's Bridge. She pulls her arm away. As they head down from the bridge...we see... EXT. HONDURAN FREIGHTER - DOPE-ON-A-ROPE lines run from the freighter to two go-fast boats. The fuel bladders with crampons slide down the rope into the smaller "cigarette" boats..."dope-on-a-rope." WIDER: ONE STARKEY loaded, takes off into the night, no lights. A second one pulls away as the third boat's being loaded; Switek and Zito climb into a cigarette. Meanwhile... INT. HONDURAN FREIGHTER, BRIDGE - CROCKETT on the satellite phone. He waits. CASTILLO (O.S.) (filter) Yeah? CROCKETT JosÈ Yero changed-up the drop plan on us. He's grabbed Gina. CASTILLO Where's the new drop point...? CROCKETT They'll have surveillance on us. We'll know only at the last moment... CASTILLO What do you think? CROCKETT It's a rip and a hit. CASTILLO (to someone else) Get me Air Support... (to Crockett) We'll be airborne and assault the ambush... CROCKETT You can't. TUBBS They'll kill Gina. CASTILLO They may have already, so we protect the living. Proof she's alive? CROCKETT Supposedly it's coming. INT. SCARAB - SWITEK, ZITO + TRUDY rip from one swell to another, airborne, in between their load. Trudy's on the comms. Switek drives with night-vision gear. INT. STRYKER - CROCKETT, TUBBS + ISABELLA Crockett drives. Tubbs is on the throttles. Isabella's between them. Then, Tubbs is sent a page. Reads the number. Picks up the satellite phone. Crockett takes control of the throttles, too. TUBBS (into phone) Hello...? And Tubbs hears..."And weather on the southeast throughout today and looking into the weekend is broken clouds, humidity 78%, small chance of rain. And coming up in four minutes at 5:45 is Lou Dobbs with Friday's market previews..." LOU DOBBS (O.S.) Welcome, folks. Today's Friday, the three-hundredth-and-fourteenth day of the year... TUBBS They're proving it's right now. And that she's alive right now... GINA (O.S.) ...nice friends you got. Trailer trash with a bad smell... INT. DOUBLE-WIDE TRAILER - GINA - NIGHT The phone is ripped away from her. It's disconnected. CUT TO: INT. STRYKER - TUBBS He puts it together... TUBBS Smell. Bad smell. Trailer... (he gets it) She's allergic to diethylene...she in a meth lab? Crockett takes the phone, dials Castillo. CROCKETT Just came in. She's still alive. CASTILLO Safe house is empty... (beat) Air Support's set to jump when we know your drop point. Gina? TUBBS (takes phone) She's sending a message. Meth Lab. Trailer park. Anything with interesting antenna arrays...? CASTILLO There's three between Miami International and the glades. I'm gonna try for her, but this is triage. Protect the maximum number of lives. You need to know that... Crockett knows the Sophie's choice Castillo may have to make. And it may cost Gina. Crockett glances at Tubbs. Crockett pushes the throttles forward... EXT. GOVERNMENT CHANNEL - TWO BOATS: THE SCARAB + THE STRYKER jam over the swells into Government Channel, NOT SLOWING this time, even though the limit is 15 knots. Barely missing sport fishing boats, slower recreational craft. CUT TO: EXT. AERIAL - PAST HELICOPTER CO-PILOT over his FLIR monitor scanning trailer parks. Nothing. Then he notes a double-wide with two satellite dishes. CASTILLO (V.O.) (to Tubbs) Three possibles... CUT TO: INT. STRYKER - TUBBS on with Castillo. CASTILLO (V.O.) ...eliminated one. SWAT's on the next two... TUBBS Trudy and I are goin' for Gina... INT. SCARAB - SWITEK slams the Scarab sideways, spewing a huge wake, driving it through a circle to slough off speed as he pulls into a dock. Crockett's Stryker does the same. Tubbs transfers into this boat with Trudy and Zito. Switek gets into the Stryker with Crockett and Isabella. As they speed up Government Channel. CUT TO: INT. STRYKER - CROCKETT ISABELLA If they attack you... CROCKETT (finishes) ...it's gonna be an L-shaped ambush. They're not gonna open up until they got the party favors, 'cause all they'd get is a lot of police scrambling to a gunfight. They will wait till they got the goods before they do the deed. CUT TO: SCENES IN WHICH: (A) TRUDY + TUBBS DISCOVER + ASSAULT THE PERIMETER SECURITY OF THE TRAILER IN WHICH GINA IS HOSTAGE. (B) CROCKETT, SWITEK, ZITO + ISABELLA AND THE THIRD BOAT MAKE THE DELIVERY. DURING IT ISABELLA, FURIOUS THAT THIS TRAITOROUS SONOFABITCH, COCHI LOCO, IS MAKING HIS OWN MOVE, RAGES INTO THE MIDDLE GROUND, CALLING DOWN JOS… YERO. BLOCKED BY AN ARYAN BROTHER, SHE PUSHES, HE SLAPS HER, SHE SHOOTS HIM IN THE LEG. ALL SIDES DRAW DOWN IMPENDING CHAOS. CROCKETT + COLEMAN COOL IT. COLEMAN WANTS HIS LOAD. THE LURE OF EASY MONEY HAS A VERY STRONG APPEAL. AND ISABELLA IS STILL COMPLETELY UNAWARE CROCKETT + TUBBS ARE ANYTHING OTHER THAN PLAYERS. (C) TUBBS + TRUDY INSERT A FIBER-OPTIC SURVEILLANCE TAP. EXT. TRAILER PARK, DOUBLE-WIDE TRAILER - TRUDY - NIGHT CASTILLO (O.S.) (radio filter) Do you have her?! Trudy DOESN'T answer. She's totally focused on a clamshell video screen connected to a fiber optic... FOLLOW THE FIBER OPTIC...as a SWAT technician feeds it into... CUT TO: INT. METH LAB, DOUBLE-WIDE TRAILER - CU: THE FLOOR - NIGHT Where it meets the wall, a tiny hole has been drilled and we see the 4mm diameter lens connected to the flexible fiber optic poke through. The camera's on the floor where it meets the wall. EXT. TRAILER PARK, DOUBLE-WIDE TRAILER - OVER TRUDY And Trudy and we SEE in fish-eye a long-haired Nazi Low-Rider and the bulked-out Brother with the Hefty garbage-bag apron. Deeper in the trailer, her clothes torn, blindfolded, is Gina with the C-4 necklace. Beyond her, the woman in the house dress and her large, retarded son. TRUDY (into radio, to Castillo) Have eyes on her. She's alive. Moving in... INT. METH LAB, DOUBLE-WIDE TRAILER - LONG-HAIRED NLR GUY reacts to knock on the door. TUBBS (O.S.) Asian Star... ARYAN BROTHER You order Chinese? LONG-HAIRED NLR GUY (laughs) No, but I'm starving... Laughs, reaches for the door... ARYAN BROTHER Don't... Too late. Door's opened. EXT. DOUBLE-WIDE TRAILER - TUBBS, holding the bag of Chinese for the Long-Haired NLR. He reaches and... TUBBS rips Long-Hair through the door, down the stairs, where two SWAT slam him into the ground. He struggles. A baton slams twice across the back of his neck. He's out. Handcuffed, and Tubbs and Trudy are in the interior... INT. METH LAB, DOUBLE-WIDE TRAILER TUBBS HOLD IT!! Bulked-out Aryan has a handgun in one hand, detonator in the other. Eyes wide. Standoff. The Old Woman in house dress is SCREAMING... Her retarded Son sees Tubbs/Gina as a threat to his mother...grabs butcher knife...rushes forward during... TRUDY PUT DOWN THE DETONATOR! FROZEN. Aryan doesn't move. The FARQ-like necklace of C-4 around Gina's neck. GINA struggles against plastic ties, to hear, to see, as... OBESE SON shouts, surges past bulky Aryan, heading for Tubbs... TUBBS prepares for the autistic son, not seeing behind him... ARYAN BROTHER #3 rising from a bare mattress with an aluminum baseball bat, coming up behind Tubbs. WIDE - TUBBS slips the Autistic Son, rotating his right arm around the kid's right arm, getting slashed on the back of his forearm, but grabbing the Son's wrist as the momentum propels him past Tubbs, who torques the wrist back. Screaming, Son's ruined wrist, Tubbs took the knife, and as the Aryan Brother swings the bat... LOW ANGLE: TUBBS ducks the bat. It dents the faux-wood paneling. Tubbs slams the knife twice into the man's slide, doubling him up, leaving the AB Brother to crawl, bleeding, with a 10-inch butcher knife through his kidney into his right lung... AND Tubbs' gun in his left hand has never moved off-target of the Aryan brother with the detonator in his hand the whole time until right now: he snaps a ROUND into the wounded Aryan Brother's head. And, that fast, Tubbs' gun is back on target. AND THE FIERCE EYES OF BULKED-OUT BROTHER A nihilistic smile dawns there. ARYAN BROTHER Shoot me, she dies. Hey, fuck it, man. We can all go. TRUDY (cool) That's not what will happen. (that stops him) What will happen is... (as she's aiming her Car- 15 and slowly taking up the slack on the trigger...) ...what will happen is, I will put a round precisely through the medula at the base of your brain, at an entry-point mid-distance between your upper lip and the bottom of your nose, and you will be dead from the neck down. Your finger won't be able to twitch. Do you believe that? ARYAN BROTHER Fuck... BLAM. That's all he gets out. Trudy does exactly that. Aryan Brother falls like a felled tree. Tubbs retrieves the detonator. Trudy unties Gina. Carefully, Tubbs pulls the sensitive remote detonator from his hands. TUBBS puts his coat over Gina. As she half leaves, turns to the fallen AB... GINA Motherfucker! She kicks him in the head. Tubbs grabs her to pull her off. TUBBS He's dead! TRUDY (on radio, to Castillo) ...got Gina. She's okay. CUT TO: EXT. INDIAN RIVER - CASTILLO - NIGHT hears. CASTILLO (into loud hailer) Go! EXT. RUSTED FREIGHTER - AB SNIPER #2 with a .50 caliber Burrows is hit about 15 times from MPD SWAT firing from across the bridge on a down angle towards him. MPD helicopters suddenly LIGHT up the sky. CUT TO: INT. SUBURBAN - YERO observing from a block south on the bridge sees the police assault, raises night-vision binoculars. YERO'S POV: HE SEES CROCKETT + ISABELLA behind structures on the jetty. Crockett fires with the MPD SWAT. INT. SUBURBAN - YERO pushes "send" on his satellite phone... CUT TO: INT. GUAJIRA PENINSULA COMPOUND, COMMUNICATIONS CENTER - ENCRYPTION The technicians are eating in the next room. We hear the recording... YERO (in Spanish) Isabella. The gringos are police. She's their informant...! CUT TO: INT. SUBURBAN - YERO YERO Go! EXT. STREET + BRIDGE - YERO'S SUBURBAN pulls out, racing to get away from the firefight. But BRIGHT LIGHT freezes it...heavy rounds slam into the engine, crack the block, stream sprays, it seizes up. Suburban crashes into a car at the curb. Yero bails out. EXT. SKY - HELICOPTER - TUBBS half out of his seat, a Galil in full auto on his shoulder, hovering above Yero and the Suburban. PA (loud hailer) Freeze! You're under arrest. Down on your knees. Put your hands on your head... CLOSE: YERO does none of that. Enraged, he pulls up a 9mm H+K SMG to fire up at the helicopter ON TUBBS aiming down at CAM. The assault rifle unloads in three-shot bursts. OVER TUBBS DOWN TO YERO IN THE BRIGHT LIGHT The pavement, the car and Yero are cratered by the 7.62mm rounds. Yero goes down. Dead. EXT. STREET - WIDE: HELICOPTER lands. Tubbs bails, grabbing his duffle bag and the rifle and turns down the street towards the firefight and Crockett... CUT TO: EXT. JETTY - CROCKETT holding Isabella down, FIRES past a Toyota. It's turned into a sieve. He tells Isabella to stay behind the engine block. Then he ASSAULTS the ambush. SWITEK is shot in the calf, spins, goes down, gets up, limps to cover, keeps firing. EXT. SCRAP FREIGHTER - COLEMAN ...taking and returning FIRE from Crockett and Zito and from his left flank from the SWAT team on the bridge...knows every moment more he's here, more MPD assets are coming in. He wants to finish it faster. LOW + WIDE: COLEMAN bails off the freighter onto the dock. DARK-HAIRED ARYAN BROTHER with a full auto AK is with him. They move from cover to cover, their heavy Kevlar body armor absorbing rounds. And they attack Crockett and Zito, who are outgunned. CROCKETT + ZITO run for cover, fire three-shot bursts, run and cover. But... ISABELLA runs from cover into the clear with her handgun firing at the crazy whites, furious at the betrayal by Yero. She's shouting in Spanish. It's insane. CROCKETT sees Isabella, moves. COLEMAN sees Isabella, swings his assault rifle onto her as... CROCKETT Isabella!! CROCKETT RUNS and sees Coleman because he's turned he's exposed his legs and Crockett slows and blows Coleman's legs out from under him. Coleman's on the ground, scrambling for his rifle to kill Isabella. Dark-Haired NLR is pulling the trigger on Crockett when BOOM... TUBBS fires the M40 grenade launcher loaded with shot. Dark-Haired NLR is nearly cut in half. CROCKETT + ZITO FIRE at the prone Coleman. Coleman's dead. WIDER: THE FREIGHTERS - THE FIREFIGHT continues as other NLR battle Miami SWAT. Meanwhile... CROCKETT goes to Isabella, pulls her into the shadows away from dockside, keeping her low, seemingly away from the police. OK, how will they get out of here? OVER CROCKETT + ISABELLA: TUBBS approaches from the left. Tubbs and Crockett's eyes connect. CLOSER: TUBBS sees his partner with this woman. The frozen moment. Isabella doesn't understand the changed expression on Tubbs' face. We do. CROCKETT EYE TO EYE WITH HIS PARTNER 50 yards away. All meaning is transmitted. And Tubbs nods...and the nod means: "get her out of here..." As Tubbs speaks into his radio, his right arm belted where it was slashed, heading towards the diminished firefight, now under MPD control, as... CROCKETT RACES ISABELLA AWAY through the weeds and scrap, away from the firefight, away from the freighters, AWAY FROM THE POLICE. Beyond them, we hear the gunfight diminishing. CUT TO: EXT. STREET - CROCKETT + ISABELLA enter from the rubble-filled industrial lot. Cars have stopped, their occupants seeking cover behind them. Crockett hesitates not at all. He grabs a late '80's Mercedes left with its door open. Its owner, a middle-aged man at the curb, starts to object. Crockett raises his gun. Owner demurs. Crockett steals away in it down the street into the night, its lights off. CUT TO: INT. MERCEDES - CROCKETT + ISABELLA breathing. She's hyperventilating. He steadies her. Then, Crockett sees something and she does, too. CROCKETT'S POV: A ROADBLOCK appears around the corner. Rearview mirror: flashing lights on his tail. Nowhere to go. Crockett stops. ISABELLA thinks this is it. She's dead. SWAT, shotguns and assault rifles, approach. INT. MERCEDES - CROCKETT CROCKETT Touch the windshield with your hands. Let 'em see your hands are empty. Steady. SWAT SERGEANT (approaching) Don't move! Don't move! Keep your hands where I can see them... They do. Then the SWAT Sergeant stops... SWAT SERGEANT (cont'd) ...Sonny? CROCKETT Yeah. Hey, Robert. The police relax, turn away. SWAT SERGEANT Are you okay?! CROCKETT Yeah. Going to Miami General. Check out Gina. Everybody's okay. Everybody's fine... Crockett nods and drives through the roadblock. He drives away into the night. CUT TO: INT. MERCEDES - CROCKETT does not look at Isabella. He shoots up the on-ramp onto I-95. His eyes at the moment are world-weary and street- wise. It's all out. All is in the open. Finally, he looks over his right shoulder at her. ISABELLA stares at him. Incredulous. For the first time she realizes he's the police and has been undercover. And now she hits him... EXT. HIGHWAY - MERCEDES swerves across three lanes, up on two wheels, almost rolls, cuts off a semi, which barely recovers, and spins out onto the shoulder, off the shoulder, down into the gravel. It comes to a stop and... INT. MERCEDES - ISABELLA tries to bring her .380 around. Crockett overpowers her. Takes the gun. She slams him in the face with a closed fist. He grabs her wrists, spins her around, pushes her at the door, handcuffs her behind her back. EXT. HIGHWAY He floors the Mercedes. It spins through 270 degrees, scattering gravel and dust, and pulls back onto the freeway, driving out of the city, away from Miami, out, into the night. CUT TO: INT. MERCEDES - LATER She won't look at him. She won't reply. She's frozen, immobile, withdrawn deep, darkly into herself. CROCKETT Isabella...? No reply. Isabella wonders where he's taking her, what will happen to her, but she won't ask. CUT TO: EXT. TWO-LANE BLACKTOP THROUGH CYPRESS - NIGHT Nothing. The cypress are silhouettes against a lighter mauve sky. Engine sound. Then, the Mercedes enters and speeds down the empty two-lane blacktop. And at the end, the trees open up and there's the open ocean and, beyond that, the Florida Keys. We see a house. CUT TO: INT. HOUSE IN THE CYPRESS - WIDE: NIGHT Door opens. Crockett leads Isabella in. He uncuffs her. She rips away from his hand holding her arm. She walks to the other end of the large room with the picture windows overlooking the water and the jetty and a boat tied up there. Low furniture. Sparse, it was built in the '60's. She walks to a restroom, slams the door. Offscreen, a faucet runs. Suddenly, the door opens. She comes out, glaring, shouting. ISABELLA What are you going to do with me? Are you taking me to jail? You think I will turn into your informant, is that it? CROCKETT No. CUT TO: INT. MONTOYA COMPOUND, GUAJIRA PENINSULA - COLOMBIAN MILITARY + DEA TYPES - DAY in stencilled body armor storm in through doors and windows. It is a police action, an assault. REVERSE: EMPTINESS It's as if no one had ever lived there. A few papers flutter in the breeze from the light wind entering through the open doorways. White papers against white marble against white walls. A profound statement of nobody is home. Wherever Montoya is, he is not here. CUT TO: INT. HOUSE IN THE CYPRESS - CROCKETT - LATE AFTERNOON staring out the window at the narrow jetty. Isabella sits, distantly, alone at the end. CLOSER: ISABELLA Crockett joins her. She's withdrawn into herself. CROCKETT No part of it wasn't real. ISABELLA I know. (quietly) And now? CROCKETT It still is. I'm so in this, I don't know which way is up... All I know is I won't let anything bad happen to you. (beat) Just like I said. (beat) And I know we can't ever see each other again. And we never will. Isabella sits there for a moment. She glances at him, looks away. Then... ISABELLA You said time is luck... Meaning, who can tell? There may be a time for them somewhere else. CROCKETT Luck ran out. (beat) This was too good to last. He touches her hand. And she leans all her weight against his arm. CUT TO: INT. CYPRESS HOUSE, BEDROOM - CROCKETT - LATER asleep. The moonlight is silver tinged with green. Someone else had been in the bed with him, but he is there alone, now. Crockett wakes up. He looks around. She was there and now she's gone. He gets out of the bed and looks out to the ocean and the jetty. The boat's gone. She's gone. Sonny Crockett looks out the window. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Midnight Cowboy.txt b/unformated_scripts/Script_Midnight Cowboy.txt new file mode 100644 index 0000000000000000000000000000000000000000..02a53185ffe7cc808aaf46aabe2245235e1d82dc --- /dev/null +++ b/unformated_scripts/Script_Midnight Cowboy.txt @@ -0,0 +1 @@ +FADE IN:INT. TV STUDIO - DAYA Susskind-type MODERATOR is speaking into camera: MODERATOR Tonight we'll discuss a subject most of us seem to consider either bad taste or frivolous or funny. But if our experts are right, we face what might be called a masculinity crisis. Every fourth American man uptight, threatened by the increasing sexual demands of American women...EXT. SIDEWALK INTERVIEW - DAYAn IRATE WOMAN speaks into camera: IRATE WOMAN They always put it that way, but well, all it means, you know, is every fourth American woman's never satisfied. That's it. I never am -- have been, you know...EXT. SIDEWALK INTERVIEW - DAYA COOL WOMAN speaks into camera: COOL WOMAN This, this image of the, the man eating woman. It isn't our increasing demands. I think it's the shrinking American male...EXT. SIDEWALK INTERVIEW - DAYA SAD WOMAN speaks into camera: SAD WOMAN No, I never had, well, whatever it is you call it. But the hours he works, I can't blame him...INT. CAFETERIA SCULLERY (TEXAS) - DAYFull frame -- a scandal sheet picture of a sex-starved wife,naked while her husband sleeps, captioned I BUY WHAT MYHUSBAND CAN'T GIVE. SAD WOMAN'S VOICE ... but it's a problem. A big problem. With so many women I know...Camera pulls back to show the picture among other pinups ofwomen -- rich, beautiful or naked, but all blonde -- steamwilted on the wall over a dishwashing machine. JOE BUCK grinsat the wall as he scrapes garbage. JOB Just keep your pants on, ladies...MULTIPLE SPLIT SCREENA LADY COMMENTATOR, gradually surrounded by lonely women... BEAUTY PARLOR FASHION SHOW PSYCHIATRIST'S COUCH COCKTAIL BAR GYMNASIUM STATUE OF LIBERTY LADY COMMENTATOR Before World War One -- American men outnumbered women by over six percent. Today American women not only outnumber men, but live five years longer -- leaving them in control of vast corporate wealth and seventy-five percent of America's purchasing power...The Lady Commentator is replaced by Joe, stacking dishes,surrounded by frustrated ladies. He laughs tolerantly. JOE Y'all,line up and take your turn...INT. TV STUDIO - DAYThe Moderator smiles into camera. MODERATOR My question is this -- will American know-how come up with a marketable male to replace all the men who are worrying themselves into an early grave over women's increasing sexual demands?INT. STALL SHOWER - DAYJoe sings as he soaps himself, "Whoopee ti yi yo, git alonglittle dogies, for you know New York will be your new home!"Sound and image freeze on Joe's open mouth.SUPERIMPOSED MAIN TITLE AND CREDITSTITLES follow as indicated, sound and action continuing aftereach credit.INT. SUNSHINE CAFETERIA - DAYJoe's song continues over a sweating WAITRESS, glancing up. WAITRESS Where's that Joe Buck?INT. HOTEL ROOM - DAYWrapped in a towel, singing in front of his dresser mirror,Joe sprays himself with deodorant, aiming a last playfulblast at the unseen crotch -- freezing song and image asCREDITS continue over...... a calendar girl on the wall blushing orange, mouth frozenin a tiny O, staring wide-eyed. Joe's song continues as...... Joe rips the wrapping from a new Stetson and sets it onhis head, freezing song and image as CREDITS continue.INT. CAFETERIA SCULLERY - DAYRALPH, an aging black man, faces a mountain of dirty dishes. RALPH Where's that Joe Buck?INT. HOTEL ROOM - DAYSinging as he buttons his new cowboy shirt, Joe interruptshimself to answer Ralph... JOE Yeah, where's that Joe Buck?... continuing his song as he pulls up and zips his tightthighed black slacks, freezing song and image for CREDITS.INT. REMEMBERED BEAUTY PARLOR - ANOTHER TIMESALLY BUCK, a pretty middle-aged blonde, smiles down atcamera, SALLY BUCK You look real nice, Joe baby...INT. HOTEL ROOM - DAYJoe sings as he pulls on his new cowboy boots, arranging hiscuffs to show off the yellow sunburst at the ankle, freezingsong and image for CREDITS.INT. SUNSHINE CAFETERIA - DAYThe pink MANAGER scowls at his pocket watch. MANAGER Where's that Joe Buck?INT. HOTEL ROOM - DAYJoe hums as he piles a complete wardrobe of cowboy clothes,still in their wrappers, into a shiny new suitcase of blackand white horsehide. JOE Yeah, where's that Joe Buck?INT. SUNSHINE CAFETERIA - DAYHolding his watch, the Manager wags a finger at camera. MANAGER You're due here at four o'clock. Look at those dishes, look!INT. HOTEL ROOM - DAYJoe laughs as he locks his suitcase. JOE Know what you can do with those dishes? And if you ain't man enough to do it yourself, I'd be happy to oblige...Joe picks up his suitcase, a portable transistor radio, walksaway from the mirror, then pauses to run a comb through hishair, hook a cigarette at the corner of his mouth and strikea match on his thumbnail before he turns back for oneadmiring glance at himself in the mirror -- proud, exultant,ready -- freezing the image as CREDITS END.EXT. TEXAS TOWN MAIN STREET - DAYJoe leaves the hotel, carrying his suitcase.INT. CAFETERIA SCULLERY - DAYThe pink Manager points at his watch angrily. MANAGER Four to midnight, understand?Angle widens to include Joe, holding his suitcase and radio.Ralph stares at him curiously, stacking dishes. JOE Say, look, uh, I gotta have a word with you, if you got a second. MANAGER Later. Later maybe.The Manager hurries away, carrying a basket of dishes. RALPH You ain't coming to work? JOE Don't guess. Just come for my day's pay owing and to tell you I'm heading East.Joe tilts his Stetson as the Waitress appears at the door... WAITRESS Cups!... but she disappears without noticing Joe. Ralph offers hishand. Joe takes it, holds it. RALPH What you gonna do back there, East? JOE Lotta rich women back there... RALPH Yeah? JOE Men, they mostly faggots. RALPH Must be some mess back there. JOE Well, ain't no use hanging around here. RALPH Ain't gonna collect your pay? JOE I got me two hundred twenty-four bucks of flat folding money... (slaps hip) He know what he can do with that chicken-shit day's pay. And if he ain't man enough to do it for himself, I be happy to oblige!INT. SUNSHINE CAFETERIA - DAYThe door marked EMPLOYEES ONLY swings open and Joe appears,measuring his effect on the customers and his fellowemployees as he crosses the sterile white dining room,observing the drab details of the life he has left behind -garbage on greasy dishes, limp food in steam table trays,coffee-soaked cigarette butts, caked mustard and ketchup onformica table tops -- two pimply high school girls slurpingsuggestive noises after Joe through the straws of empty cokeglasses. O.S. a Tiomkin-tradition chorus sings, "From thisvalley they say you are going -- we will miss your brighteyes and sweet smile for they say you are taking thesunshine..."EXT. TOWN MAIN STREET - DAYThe song ends as Joe comes from the cafeteria "... thatbrightened our pathway a while." JOE Tough tiddy, ladies, you had your chance.From a high angle -- Joe starts his long walk toward the busdepot along the street of a small Western town struggling tourbanize itself. The click-clack-click of his boots is loudbut somehow lonely The radio at his ear drones grain priceson the Commodity change. Joe's pace slows as he passes...EXT. SALLY BUCK'S BEAUTY SALON - DAY... a gilt-lettered sign in the window, glittering in thesun, momentarily hiding the fact that the shop is deserted.Joe grins as he hears remembered sounds and voices incompleteflashes, more significant in tone than content a girlgiggling sexily -- "Keep your meat hooks off my beautyoperators, sugar" -- tinkling noises of a busy beauty parlor - Sally Buck singing "Hush, little baby, don't say a word,Grammaw gonna buy you a mockingbird..."... a shift of light revealing a row of tarnished driers, abroken mirror, a FOR RENT sign in the window. Joe turnstoward the bus depot, radio pressed to his ear. ANNOUNCER'S VOICE Benson and Hedges One Hundreds makes special awards from time to time for anything that's longer than anything... JOE Care to get out your yardstick, gentlemen?At the same moment, a recognizable variant of the "BigCountry" theme blares loud.INTERCUT WESTERN FILM CLIPGary Cooper (or John Wayne) walks a frontier street.EXT. BUS DEPOT - DAYHigh angle of the departing bus, intercut "Big Country"fashion, alternating high shots with close-ups of the buswheals.EXT. FREEWAY CLOVERLEAF - DAYThrough the bus windshield -- a dizzying montage of trafficlines, arrows and signs as the bus sweeps around and up ontothe freeway.INT. BUS - DAYJoe sits at the front, opposite the driver, cracking his gumas he watches the huge billboards streaking by, promising himpower, happiness and beautiful women if he chooses the rightbreakfast food, hair oil or automobile. Joe listens to thehumming tires, the roar of the engine, shaking his head. JOE This is a powerful mothah, ain't it?Ignored by the driver, Joe rises and walks back to his emptydouble seat, glancing around to see what impression he's madeon his immediate fellow travelers -- an OLD LADY in front ofhim -- a hostile young sailor with acne behind him -- twoteeny-boppers flirting with Joe hysterically -- a PALE BLONDEdirectly across the aisle, smiling at Joe weakly. PALE BLONDE Do you have a stick of gum?Joe leans across, snapping his gum as he offers her a stick.He watches her nibble it daintily on her front teeth. PALE BLONDE (CONT'D) Thank you. JOE Plenty more where that came from. PALE BLONDE Thank you, no, it's just till the Dramamine works. I get carsick. JOE I only get carsick on boats. (waits, then) But seems to me that's more the fish smell than the bouncing...Joe realizes that her eyes are closed. Mildly depressed, hestretches himself across both seats and turns on his radio,finds only static and snaps it off. Further depressed, heexamines his reflection in the bus window, squeezes a blackhead and runs the comb through his hair, picks a piece oftobacco off his tooth and lights a cigarette, watching theflame die in reflection, forgetting to discard the burnt-outmatch as he stares out at a vast lonely prairie, a solitarycowboy in the distance, a row of sharecropper shacksapparently deserted, a barefoot little girl motionless at theroadside, watching the bus pass. Through this, leading intothe next scene, Sally Buck sings softly "... if that mockingbird don't sing, Grammaw gonna buy you a golden ring..."INT. REMEMBERED BEAUTY SALON - ANOTHER TIMESally Buck, relaxing in the middle of a busy day, eyes closedwearily, while little Joe massages her neck. Her songcontinues over the noises of the busy beauty parlor "... ifthat golden ring turns brass, Grammaw gonna buy you a lookingglass..." SALLY BUCK No, a little lower, sugar, yeah, yeah, that's good. Grammaw's beat. SALESMAN'S VOICE You gotta sell yourself, that's the whole trick...INT. BUS - DAYA seedy TRAVELING SALESMAN with badly-fitted dentures and afrayed collar has taken the aisle seat next to Joe. As helectures Joe on salesmanship, he figures his expenses in aworn leatherette notebook, nervous fingers and eyesunconsciously revealing the extent of his failure. SALESMAN It ain't the product and it ain't the price, no sir, and it ain't what you sell, it's personality, pure and simple. I ain't shined my own shoes or shaved my own face in forty years, how's that? Not bad for a kid that didn't pass the eighth grade, right? JOE Yeah, hell, yeah. SALESMAN And that's my golden rule. Make 'em love you. Put yourself over and you can sell them anything. If they like you, they'll buy horsemeat for prime beef...INT. REMEMBERED BEAUTY SALON - ANOTHER TIMEA gawky, adolescent Joe sits sprawled on the couch, leafingthrough a magazine while Sally Buck bleaches the roots of ayoung woman's hair. SALLY BUCK You get him to the church, honey. He ain't gonna find out you ain't a real blonde till after you're married, then's too late.Sally Buck turns, pretending to be stern as Toe laughs. SALLY BUCK (CONT'D) You getting too big for your britches, sugar.EXT. HIGHWAY - NIGHTThe headlights of the bus flash past a huge sign, painted onthe slant roof of a barn: JESUS SAVES.INT. BUS - NIGHTJoe is alone again. The Salesman has disappeared. The bus isdark, most-passengers trying to sleep. Only one reading lightstill burns, over the head of the old-Lady in the seat aheadof Joe. Joe squirms, restless, trying to lull himself tosleep with the music of a revivalist gospel group on theradio. SALLY BUCK'S VOICE Don't forget to say your prayers, honey...Joe leans forward to help the old Lady, irritably strugglingwith the release button on her seat. She scowls as Joe leansover to release her seat, then pulls her blanket around herand turns away from him. Joe switches off her reading light. OLD LADY I want it on.Joe switches it on again, fakes a good-natured grin, settlesback with his radio, aware of an OLD COWHAND seated oppositehim, replacing the Pale Blonde. The Old Cowhand is appraisingJoe's wardrobe curiously. He looks away when he sees Joewatching him. Joe settles back, unable to think of a way toopen a conversation. EVANGELIST'S VOICE Oh, my friends, I say unto you, invest with Jesus, put your dollars to work where they'll pay off at compound interest. The Good Book says money answereth all things...The Old Cowhand has rolled-himself a cigarette. Joe quicklylights a match on his thumb and holds it across the aisle. JOE Light?The Old Cowhand's "thanks" is lost in a fit of coughing as heinhales his first drag. He settles back, wiping his wateryeyes on a faded bandana. EVANGELIST'S VOICE ... everyone who sends a dollar to the Evangelical Congregation of the Air will get free gratis a genuine leatherette hymn book so you can sing along with Sister Rosella and the Evangelical Choir... JOE You throw in Sister Rosella and you got a deal, right, old timer?Joe glances across the aisle. The Old Cowhand manages afaint, humorless smile. JOE (CONT'D) Going far? OLD COWHAND Up the line. Not far. JOE I'm bound for New York City.The Old Cowhand reappraises Joe's wardrobe even morecuriously. JOE (CONT'D) Ever happen to come across a cowman name of Woodsy Niles? Friend of my grammaw Sally Buck...The Old Cowhand considers, shakes his head. Joe leans back,laughing to himself.INT. REMEMBERED BEDROOM - ANOTHER TIMELittle Joe's head is lost in a beat-up cowboy hat, similar tothe one worn by the old Cowhand. Sally Buck smiles on WOODSYNILES -- a long-legged cowboy with a shock of black hair --who stands at her dressing table, admiring himself in a newStetson. SALLY BUCK Like it, honey? Does it fit? WOODSY You do me good, Sal, you do me real good. You know what I gonna give you for that Stetson?Woodsy grabs Sally Buck, lifting her off her feet, carryingher to the bed. Struggling, they fall across the coverstogether, Little Joe laughing with them. SALLY BUCK Woodsy Niles! The boy! WOODSY He don't know what makes little apples by now, it's time he found out.INT. BUS - NIGHTJoe shakes his head, grinning, offering the old Cowhand acigarette. JOE Smoke?The old Cowhand shakes his head, showing the rolled cigaretteJoe lit for him. Joe nods, still bemused.INT. REMEMBERED BEDROOM - ANOTHER TIMELittle Joe is cuddled in Sally Buck's arms, under the covers,watching Woodsy, sitting cross-legged on the bed, nakedexcept for his Stetson and guitar, singing drunkenly. WOODSY ... git along little dogies!EXT. MIDWEST TOWN - MORNINGFrom a high angle -- the bus slows to a stop.INT. BUS - MORNINGJoe awakens, stiff-necked, momentarily confused. Hestraightens in his seat as he sees the old Cowhand lifting asweat-stained saddle down from the overhead rack, startingtoward the front of the bus. Joe calls after him. JOE Nice talking to you, old timer.Joe stuffs a stick of gum in his mouth, turns to wave at theOld Cowhand through the window as the bus pulls away. WOODSY'S VOICE She-dogs squat, boy. He-dogs stand up and lift their leg...INT. REMEMBERED MEN'S ROOM - ANOTHER TIMEWoodsy, in his new Stetson, watches Little Joe in his beat-upcowboy hat, trying to balance on one foot, one leg lifted infront of the trough. Woodsy roars with laughter. WOODSY ... but he-men stand and shoot from the hip.INT. BUS RESTROOM - DAYJoe laughs, flushes, checks his hair in the mirror.EXT. HIGHWAY - DAYThe bus streaks past a brightly-colored billboard -- IN NEWYORK, A WELCOME AWAITS YOU AT THE TIMES SQUARE PALACE HOTEL!INT. BUS - DAYJoe is now sitting in the wide rear seat, between two youngMARINES and a group of VETERANS wearing campaign caps andconvention buttons, passing a bottle, singing "From the Ballsof Montezuma to the Shores of Tripoli..." Joe follows theconversation between a VETERAN and a MARINE, participatingonly because he's sitting beside them, adopting a rememberedmilitary stance. VETERAN Ever stationed at Kennedy? Those Florida chicks... MARINE Instant V-goddam-D. VETERAN This Pensacola teeny-bopper -- jail bait -- but built? Ten bucks she wanted. Three of us made a deal for, twenty-five, see, big goddam bargain? MARINE Big peni-goddam-cillin bargain, right? VETERAN You got it. MARINE No. You got it. JOE Jesus goddam Christ, I ain't laughed so hard since I was out at Fort Benning, Georgia. MARINE Did you make the Viet? JOE What? Oh, hell no. Motor pool mostly... (shakes his head) Kee-rist...INT. REMEMBERED WHOREHOUSE - ANOTEER TIMEA plump, aging PROSTITUTE laughs up into camera. PROSTITUTE Hey, hey, what you try to do to me? You gonna cost me money, soldier!INT. BUS - DAYJoe laughs as he passes the bottle, trying to sing alongwithout knowing the words as the Veterans segue into "Overhill, over dale, we will hit the dusty trail, as the caissonsgo rolling along..."INT. REMEMBERED BEAUTY SALON - ANOTHER TIMESally Buck fondly wipes lipstick from Joe's lips. SALLY BUCK Keep your meat hooks off my operators, sugar, hear?INT. BUS - DAYJoe slaps one of the Veterans on the back, trying to followthe song into "Off we go, into the wild blue yonder..."INT. REMEMBERED MOVIE HOUSE - ANOTHER TIMEANASTASIA clutches a younger Joe, eyes wild, gasping. ANASTASIA You're the only one, Joe, the only, only one ever!INT. BUS - DAYJoe is leaning across the two Marines, staring out of thewindow as the Veterans switch to "Anchors aweigh, my boys,anchors aweigh..."EXT. MANHATTAN SKYLINE - DAYA stunning view through the bus window past Joe's reflection. JOE'S REFLECTION Gonna swing my lasso and rope that whole goddam island, yeah!EXT. BROADWAY PARADE - DAYDrum majorettes leading the parade -- ticker tape andconfetti -- girls at skyscraper windows.INTERCUT NEWSREEL CLIPCharles Lindberg (or James Stewart) waving at the crowd.EXT. NEW YORK HARBOR - DAYGirls lining the piers -- flags, banners, bunting -- shiphorns, whistles, bells.INT. BUS - DAYJoe crowded as the veterans prepare to leave the bus, liftingdown banners and flags.EXT. LINCOLN TUNNEEL - DAYThe bus suddenly surrounded by converging traffic, hornshonking, segueing into the noises of Times Square.EXT. MARQUEE - DAYFlag draped, reading: WELCOME VETERANS.EXT. STREET - BANNER - DAYFlapping in the wind -- WELCOME VETERANS!EXT. TIMES SQUARE PALACE HOTEL - DAYThe marquee announces TRANSIENTS WELCOME. O.S. a singingradio station break blares "W-I-N-S NEW YORK..."EXT. RADIO TOWER - DAYThe sign flashes WINS "... ten-ten on your dial!" A torchywoman's voice sings from a lonely echo chamber -- introducinga love theme which will haunt Joe throughout the film.INT. ROOM 1014 - DAYJoe sets his radio on the dresser, his suitcase on the bed,then turns to examine his new home -- as anonymous as hisTexas hotel room -- but boasting a coin-operated televisionset. Fascinated, Joe inserts a quarter.... the love song continues over a television talk Showfeaturing a POODLE WIGMAKER defending his profession againsta Joe Pyne-type PANEL HOST, "...well, I perform a realservice, there's a need, so many people, you know, reallylive in their pets, I mean, lonely, I grant you, but theirfeeling is real. They want to lavish as much love, give themas much, yes, pamper them like they were really humanchildren or whatever..." SALLY BUCK'S VOICE There's a TV dinner in the fridge, lover boy...INT. REMEMBERED PARLOR - ANOTHER TIMELittle Joe stares sullenly at an antique TV box while SallyBuck puts her hat on at the fireplace mirror. There is aframed picture of Woodsy Niles on the mantle. SALLY BUCK You be okay, won't you? Maybe I bring you a treat if you're a good boy...INT. ROOM 1014 - DAYJoe watches the Panel Host, "... you're a nut case, fella, areal nut case..."INT. REMEMBERED BEAUTY SALON - ANOTHER TIMELittle Joe massaging Sally Buck's neck -- continuing theearlier scene. SALLY BUCK I'm so beat, no point you waiting round, toots, think I'll stop in for a beer or two...INT. ROOM 1014 - DAYJoe sits on the edge of the bed, watching the poodles primp.INT. REMEMBERED PARLOR - ANOTEER TIMELittle Joe stares unblinking at the TV screen as Sally Buckkisses him on the forehead, dressed for the street. SALLY BUCK Expect me when you see me. Looks like I got me a new beau, lover boy, how's that for an old grammaw? I'll leave you movie money...Sally Buck tucks a dollar bill under a framed picture ofJesus, who has replaced Woodsy Niles on the mantle.INT. ROOM 1014 - DAYAs a fairy godmother's magic wand removes sticky hair sprayfrom a pretty model's head, Joe's quarter runs out and thescreen goes blank. At the same moment, the love song is cutoff by a singing station break "W-I-N-S NEW YORK" Joe rises,flipping the dial of the radio to a cultured woman's voicereading "...the Dow Jones averages, brought you by MorganVandercook. Up your income with sound investmentcounseling..." JOE Up yours, lady.... but Joe leaves the lady on, savoring the expensive soundof her voice reading the stock quotations. Joe seats himselfat the desk, pleased to find a postcard photograph of thehotel. He picks up a ballpoint pen, counts ten floors up fromthe street and marks a huge X -- THIS IS ME, then turns thecard over, pen poised over the address blank.INT. CAFETERIA SCULLERY - DAYRalph stares at the card, surrounded by dirty dishes. RALPH Hell, he know I can't read...INT. ROOM 1014 - DAYJoe's pen wavers, starts to write and stops.EXT. SALLY BUCK'S BEAUTY PARLOR - DAYAs we saw it last, deserted, a FOR RENT sign in the window.Joe's reflection appears, staring at himself, dressed in hisdishwasher's clothes. JOE'S VOICE After all them dishes are washed, what? JOE'S REFLECTION Then they bring some more dishes and I wash them and then I, uh, sleep some and then wash some more dishes and then I... JOE'S VOICE Say it, lover boy! JOE'S REFLECTION Die.INT. ROOM 1014 - DAYJoe stares at the postcard, bemused, JOE'S VOICE Well, you better just shake your tail, lover boy, and root, hog or die.Joe rises abruptly, rips up the postcard and tosses it outthe window. JOE Goddam if I came to this town to write postcards.EXT. TIMES SQUARE - DAYThe torn fragments flutter down on the crowd -- a womanbrushing irritably at her hair -- a man grimacing, glancingup -- a cop removing his hat to examine it.EXT. TIMES SQUARE PALACE HOTEL - DAYFrom a low angle -- identical with the postcard photograph --an unseen hand scrawls a huge X--- THIS IS ME. Camera zoomsup to a close-up of Joe at the window.EXT. FIFTH AVENUE - DAYFrom on high -- as though Joe were watching himself -- theStetson moves through a crowd of Fifth Avenue shoppers...EXT. GLASS BUILDING - DAY... passing a glass bank, lady tellers counting money...EXT. CAR SHOWROOM - DAY... passing a display of imported luxury cars...EXT. JEWELRY STORE - DAY... passing a window which features a single gem -- pausingas horns blast O.S. and a mod blonde in a stalled sports carmotions to Joe -- she needs a push. Joe grins, glances athimself in the window, runs a comb through his hair, thenturns back to see a cop helping the mod blonde. EXT. PARK AVENUE - DAYJoe's heels drag as he walks a deserted block of luxuryapartment houses. O.S. The torchy woman's voice sings Joe'slove theme in counterpoint to the blasting horns, a siren, afire bell, a screech of brakes. Joe's spirits rise as hehears the tic-tac-tic of high heels overtaking the heavyclick-clack-click of his boots. He adjusts his pace to arriveat the corner at the same time as a smart and -- in Joe'seyes -- very RICH LADY. Joe grins boyishly, holding hisStetson over his heart. JOE Beg pardon, ma'am, I'm new here in town, just in from Houston, Texas, and looking for the Statue of Liberty.The delicate profile gives no signs of hearing. Joe followsher to the parkway in the middle of the avenue. There shestops and turns, neither friendly nor hostile. RICH LADY Were you looking? About the Statue of Liberty? JOE Joking? No, ma'am. Oh no! I mean business! RICH LADY I'm sorry. I thought you were -- never mind -- I've never actually been there, but let me see, you take the Seventh Avenue subway, I think, to the end of the line... JOE You sure are a pretty lady.The Rich Lady tries to frown, taken aback, blushing. RICH LADY You're not looking for the Statue of Liberty at all. JOE No, ma'am, I'm not. RICH LADY Why, that's perfectly dreadful. Aren't you ashamed of yourself?A twinkle of amusement and sympathy reveals the age lines atthe corner of her eyes. Then she continues on quickly, justas the light turns. Joe's view is blocked for a moment bytraffic, then he sees...... the Rich Lady, newly aware of her flanks as she climbsthe steps of a brownstone and searches for her key. Stillfrom Joe's viewpoint, he sees himself move into frame andfollow the Rich Lady up the steps. The love theme swells O.S.as the Rich Lady leads him into the house and closes thedoor...... leaving Joe standing alone on the parkway island,surrounded by towering wealth. The love theme continuesover...EXT. LEXINGTON AVENUE - DAY... a pair of high-heeled pink slippers, walking a miniaturepoodle -- slowing slightly, reacting to Joe's cowboy boots asthey pass, pause and turn back. CASS'S VOICE Hurry up, Baby. Do um goody-goods for Mama.Joe grins, holding his hat over his heart as he approachesCASS TREHUNE, a blonde lady in a tight black dress, with thelook of a movie star who wrecked her career with food. JOE Beg pardon, ma'am. I'm brand spanking new to this town, come from Houston, Texas, and hoping to get a look at the Statue of Liberty... CASS You're hoping to get a look at what? JOE The Statue of Liberty. CASS It's up in Central Park, taking a leak. If you hurry, you'll make the supper show. Now get lost.But as she turns, Cass winks, dimpling the corners of hermouth, signaling Joe to follow her.INT. APARTMENT HOUSE ELEVATOR - DAYCass holds the DOOR OPEN button till Joe enters the elevator,then the doors close with a soft expensive little klloooshand Cass turns with the smile of a very tiny girl... CASS Hi.... her lips closing on Joe's as the poodle yaps shrilly attheir feet. Superimposed, almost subliminally, a goldendollar sign appears, halating like a star, and the bell of apinball machine rings O.S.INT. CASS'S APARTMENT - DAYA princess telephone is ringing on a gold and white desk.Cass runs to grab it... CASS Hello?... as Joe steps from the elevator, which opens directly ontoCass's penthouse. Cass beckons him toward her, hooks a fingerinto his neckerchief and pulls his mouth toward hers whileshe talks on the phone. CASS (CONT'D) Morey? Hi-ee, honey...Cass gurgles happily as her free hand unbuckles Joe'sgarrison belt. CASS (CONT'D) I'm just out of breath, honey, running to catch the phone.As her fingers reach for Joe's zipper, cut to...... Joe's hand unzipping her dress. CASS (CONT'D) I was walking Baby. Him got to do him goody-goods, right?The poodle tugs at Joe's slacks until they fall. Cass steersher ear to Joe's mouth, shuddering deliciously. CASS (CONT'D) Oh God, oh stop. I can't stand that. I just die... (quickly into phone) It's Baby, Morey. Him trying to say hello. Say hello to Morey, Baby.Cass holds the phone toward the yapping poodle, twistingherself against Joe as she wriggles out of her dress, passingthe phone from one hand to the other. CASS (CONT'D) Okay, old goosie? Now lookie, when do you want me to meet you? Whatever you say. I'll take a nap, watch TV, you know, kill time. Okay, but just one, a big wet one.Cass hangs up. The poodle yaps hysterically, disentanglinghimself from her tumbling dress -- hops onto the couch glances off and flees again as an overturned lamp crashesO.S.INT. CASS'S BEDROOM - DAYThe poodle bounces onto the bed -- remaining long enough toestablish a TV REMOTE CONTROL TUNER lying on the satincoverlet -- then leaps down in panic as he hears Joe and Cassexplode into the bedroom, laughing lustily...... the remote control tuner buried suddenly under the fullflesh of Cass's hip, activating...... a twenty-five-inch television screen, blasting at fullvolume...... Cass's eyes widening, profoundly impressed... CASS Ye gods...... the images and sound of the television set flickingjoyfully from channel to channel...... Joe laughing, engulfed by Cass's abundance...... Cass wild-eyed, overflowing the frame...... a gleaming slot machine -- three Sahara cowgirls clickinginto line for jackpot -- silver dollars overflowing theframe...EXT. MANHATTAN SKYLINE - DAY... the Mutual of New York tower flashes MONY! JOE'S VOICE Holy shee-it, this is a goddam penthouse you got here, Cass, a real goddam penthouse.INT. CASS'S BEDROOM - DAYJoe turns away from a small terrace, buckling his belt,glancing off toward the sound of Cass in the shower. Heflicks the TV remote control, enjoying his power, ignoringthe silent images on the screen -- battle casualties, apretty girl recommending aspirin, a man's stomach flashinganimated pain, starving war refugees, a dog eating pzazz --flicking it off to concentrate on the costume jewelry andperfume bottles on Cass's dressing table. CASS'S VOICE Don't look, baby...Joe turns to look as Cass comes from the bathroom, holding atowel around her as she runs behind the closet door. JOE Say, Cass, I, uh, sure have enjoyed being here. Believe it's as fine a time as I've had in my life! CASS'S VOICE Me, too, lover. JOE That's good, it is, cause, well I guess I didn't tell you why I came to New York, did I?A tower of black bugle beads emerges from the closet door. CASS Zip this thing, will you, Tex?Joe zips her dress, follows her to the dressing table, whereshe sprays her hair with lacquer. JOB Truth is, Cass, I'm, well, I'm in business. CASS Oh, poor you. Morey's got terrible ulcers.Cass stretches her upper lip across her teeth and she smearsit with, orange lipstick. JOE Don't know what line Morey's in, but myself now, fact is -- I'm a hustler. CASS (lips stretched) Hers'n zodda meg a livig. JOE Beg pardon, ma'am? CASS Said, a person's gotta make a living. JOE You sure you heard what I said? CASS Scuse me, hon, fraid I'm only half here. Maybe you oughta run on along. But why don't you take this phone number?Joe grins, relieved as she takes out a gold lame purse andopens it. He frowns as she folds; it upside down, empty. CASS (CONT'D) Darn! I didn't get to the bank -- Tex -- could you let me have a little coin for the taxi-waxi?Joe stands mute as she cups his chin in her hand,seductively. CASS (CONT'D) You're such a doll. I hate money, don't you? God, it's been fun. JOE Funny thing, you mentioning money. I was just about to ask your for some...Joe tries to laugh but it sticks in his throat as Cass speaks-- an impassioned whisper -- still holding Joe's chin. CASS You bastard! You son of a bitch! You think you're dealing with some old slut? Look at me! You think just cause you're a longhorn bull you can get away with this crap? Well, you're out of your mind. I am a gorgeous chick, thirty-one, that's right, you said it!Sobbing suddenly, she throws herself on the bed. Joe standsbewildered by the vastness of her grief. JOE Hey. Hey, Cass. Did you think I meant that? Christ, would I be asking you for money with a wad like that riding on my hip?Joe waves his wallet at her, but she only cries louder. Hehands her a kleenex. She clutches it to her face, wailing.Joe leans over the bed, whispering in her ear: JOE (CONT'D) Hey. You are a gorgeous-looking piece, Cass. Guy gets horny, just looking at you. It's a fact. How much you need for that taxi? Ten? Twenty? There you go.Joe tucks a twenty-dollar bill into her bosom, tilts hisStetson and starts out. Cass blows her nose, looking afterhim. O.S. chorus sings, "From this valley they say you aregoing -- we will miss your bright eyes and sweet smile..."EXT. LEXINGTON AVENUE - DAYFrom a high angle, Joe walks away from the apartment house,chorus continuing O.S. "... they say you are taking thesunshine that brightened our pathway a while."INT. EVERETT'S BAR - DAYJoe sits at the bar, staring morosely at his image in themirror, already quite drunk, oblivious to the assorted typeshiding from daylight in the barn-like saloon, waiting fornight to fall. RATSO'S VOICE Excuse me, I'm just admiring that colossal shirt...RATSO studies Joe across the corner of the bar -- a sickly,child-size old man of twenty-one -- hopefully nursing anempty beer glass, contemplating the money on the bar in frontof Joe. RATSO That is one hell of a shirt. I bet you paid a pretty price for it, am I right? JOE Oh, it ain't cheap. I mean, yeah, I'd say this was an all right shirt. Don't like to, uh, you know, have a lot of cheap stuff on my back.Ratso spits as JACKIE leans on the bar next to Joe -- afeminine young person, heavily made-up, hair teased, wearingearrings and a lace-trimmed blouse over shocking pink levis. JACKIE Got a cigarette, cowboy? RATSO (a stage whisper) More goddam faggots in this town.Reaching for a cigarette, Joe glances at Jackie, startled asJackie twitches his pink levis angrily and turns away. JOE Shee-it... (shakes his head) Kee-rist, you really know the ropes. Wish to hell I bumped into you before. I'm Joe Buck from Texas and I'm gonna buy you a drink, what do you say to that? RATSO Enrico Rizzo from the Bronx. Don't mind if I do. JOE (slaps bar) Same all around! For my friend, too!The TV screen over the bar features a mating game program asJackie cruises down to join a tall farm boy with pluckedeyebrows. The TV HOST points to three young men, visible onlyfrom the shoulders up, from whom a pretty DATE GIRL inblindfold must choose an escort. TV HOST ... and for the losers, who don't get the girl, we'll give as consolation prices -- a six month supply of underarm deodorant...In a booth now -- the TV screen in the background, continuingthe game -- Joe is refilling Ratso's beer glass as he speaks,loud over the laughter of the TV audience. JOE ... you see what I'm getting at here? She got a penthouse up there with color TV and more goddam diamonds than an archbishop and she busts out bawling when I ask for money! RATSO For what? JOE For money. RATSO For money for what? JOE I'm a hustler, hell, didn't you know that? RATSO How would I know? You gotta tell a person these things (shakes his head) A hustler? Picking up trade on the street like that -- baby, believe me -- you need management. JOE I think you just put your finger on it, I do. RATSO My friend O'Daniel. That's who you need. Operates the biggest stable in town. In the whole goddam metropolitan area. A stud like you - paying! -- not that I blame you -- a dame starts crying, I cut my heart for her... JACKIE'S VOICE I'd call that a very minor operation...Ratso grabs the neck of a bottle, sliding back in the booth.Joe scowls as Jackie appears with the tall farm boy. JACKIE ... in fact, you just sit comfy and I'll cut it out with my fingernail file. You won't even need Blue Cross, Ratso. RATSO The name is Rizzo. JACKIE That's what I said, Ratso. JOE (suddenly) Hey now, you heard him.On the TV screen -- the Date Girl announces: TV DATE GIRL I pick Number Two! He's cool! RATSO That's okay, Joe. I'm used to these types that like to pick on cripples. Sewers're full of 'em. JACKIE May I ask one thing, cowboy? If you sit there and he sits way over there, how's he gonna get his hand into your pocket? But I'm sure he has that all figured out... (to Ratso) Good night, sweets. TV HOST May present your chosen mate!The TV host pulls aside the screen which has concealed thelower half of the three young men. Number Two, her chosenmate, is a dwarf sitting on a high stool. The girl'sspontaneous dismay starts everyone laughing hysterically,including the dwarf.EXT. SIXTH AVENUE - DAYJoe has difficulty keening up with Ratso, who swings himselfalong with surprising agility, his half skipping little gatefavoring one game leg. RATSO Look, with these chicks that want to buy it, most of 'em are older, dignified, right? Social register types. They can't be trotting down to Times Square to pick out the merchandise. They need a middleman, right? That's O'Daniel.Joe hesitates as Ratso darts into traffic against a redlight, yelling unheard obscenities at a cab driver who blastshis horn. Joe runs recklessly forward as Ratso slams the taxifender with his fist, pretending to be hit, falling intoJoe's arms. The taxi stops, halting traffic. Ratso, recovers,strolls casually in front of the cab, biting his thumb at thedriver. RATSO (CONT'D) It is a crime, a stud like you passing out double sawbucks to a chick like that. With proper management you should be taking home fifty, a hundred bucks a day. More if you wanta moonlight...EXT. SIDEWALK CAFE - COCKTAIL HOURAt,the corner of Central Park South, Ratso points toward ayoung man with diamond cuff-links, sitting with a blue-hairedmatron who puffs on a small cigar. Ratso waves jauntily atthe young man, raising his thumb and forefinger in a circle,leaving the young man baffled as Ratso hurries Joe on. RATSO Him I placed with O'Daniel just two weeks ago. And look. Not much of a stud either, what I hear...EXT. CENTRAL PARK SOUTH - COCKTAIL HOURRatso automatically checks the coin return boxes of the phonebooths they pass. Walking the park side of the street,looking across at the limousines and taxis waiting outsideluxury hotels and apartment buildings. JOE Hey, listen, how about you take me to mee this Mister O'Diddle bird right now? RATSO Well, Joe, you're a nice guy, and I'd be doing you both a favor, but why? What'm I dragging my bum leg all over town for? It's no picnic and what for, for me myself, what?Ratso stops opposite the Plaza hotel, pointing across at anaristocratic blonde stepping out of a Rolls Royce. RATSO (CONT'D) Tomorrow when some piece like that's scratching your back in a Fifth Avenue townhouse, where'll your pal Rizzo be? Nedicks. JOE Hold it, just hold it. You think I'm that kinda sombitch? Just name your cut, whatever you want, you got it right now. Five? Ten, how's that?Joe peels a ten from his wallet and offers it to Ratso. RATSO Joe, please. You know what I'd ask anyone else? Oh hell, tell you what I'll do, I'll take the ten... (he does) ... but when I hand you over to Mr. O'Daniel, I'll have to have another ten, Joe; just to like cover expenses...INT. PUBLIC PHONE BOOTH - DUSKRatso is on the phone. Joe holds the door open, listening. RATSO This boy is just your meat, Mr. O'Daniel, believe it, I'm telling you -- what? -- Enrico Rizzo from the Bronx. The point is he needs you. Right now. Tonight... (aside to Joe) I got his tongue hanging out...EXT. WEST SIDE HOTEL - DUSKCamera moves slowly up the anonymous wall of a drab hotel,following the line of dim red lights marking the fire exits. RATSO'S VOICE Name's Joe Buck. Cowboy. Just in from Texas, don't know the ropes, new to the city, but very promising material, sir, and ready, if you get what I mean. Fabulous. Right away. What's that room number there again? INT. WEST SIDE HOTEL ELEVATOR - DUSKAs ancient open cage lift rises at the same pace as camera inpreceding shot. Joe grins excitedly at Ratso, who nods butglances significantly at the elevator operator. Ratso followsJoe to door as the operator grinds to a stop. INT. WEST SIDE HOTEL CORRIDOR - DUSK Ratso steps out with Joe, gesturing to the corridor... RATSO Hold it a second...... but the operator slams the door and starts on up. Ratsoleans heavily on the down button, glancing at Joe. RATSO (CONT'D) Nine-oh-one, got it?Ratso glances up the elevator shaft nervously, rings againand turns back to Joe. RATSO (CONT'D) Let's see how you look. Fine. You look fine. Now I'm gonna have to have that other ten... JOE (digs in wallet) Ten, ten -- I got a twenty -- take that... RATSO Oh hell, forget it. JOE Now take it. Go on. (gives it to him) Listen, where can I reach you? Cause I'm gonna make this right with you soon's I get me set up... RATSO Forget it. JOE I mean, dammit, where you live?Ratso leans on the DOWN as the cage grinds slowly down intoview and stops. RATSO Sherry-Netherlands Hotel. Now get your ass in there. He's waiting!Ratso steps into the elevator as the door opens then closes,leaving Joe alone, repeating "Cherry Neverlin" as he startsalong the corridor looking for 901. EXT. WEST SIDE HOTEL - DUSK Ratso bursts from the hotel, almost running as he disappears. INT. WEST SIDE HOTEL CORRIDOR - DUSKJoe finds 901 at a dark end of the corridor, knocksconfidently, hearing a few bars of his love theme as hestuffs a fresh stick of gum in his mouth. Then the door isthrown open by O'DANIEL -- for an instant appearing to wear adiamond-studded skull-cap, the naked overhead light bulbbright after the dark corridor, halating in Joe's eyes likethe earlier dollar sign. O'DANIEL You must be Joe Buck. Come in. O'Daniel, fat in a worn-out bathrobe, examines Joe like aprodigal son as he leads him into the room -- as anonymous asJoe's own room. O'DANIEL (CONT'D) Am I tickled to find you, boy! Come on in and let's get a look at you. Turn around. Good strong back. You'll need it. So you want help -- take a seat, relax, tell me about yourself. Cowboy, huh? JOE No sir, I'm no cowboy really, but I'm a first class stud. O'DANIEL Take it,easy, boy... (laughs) Seems to me you're different than a lotta boys that come to me. Most of 'em seem troubled, confused, but I'd say you knew exactly what you want. JOE You bet I do, sir. O'DANIEL But I'll bet you got one thing in common with them other boys. I'll bet you're lonesome. JOE Well, not too, I mean, a little.O'Daniel rises suddenly in a fury of self-righteousness,pacing, his voice simpering, whining sarcastically. O'DANIEL I'm lonesome. I'm lonesome so I'm a drunk. I'm lonesome so I'm a dope fiend. I'm lonesome so I'm a thief, a fornicator, a whore-monger. Poop, I say, poop! I've heard it all and I'm sick of it, sick to death. JOE Yessir, I can see that. O'DANIEL Lonesomeness is something you take. You bear? Dammit, you take it and go about your business, that's all. JOE Well, uh, I'm raring to go. O'DANIEL Yes, I believe you are. Cowboy, huh? JOE Uh, yessir. O'DANIEL Ready for hard work, son? JOE Ready for anything. O'DANIEL I got a hunch, Joe Buck, it's gonna be easier for you than most. JOE Gonna be like money from home. O'DANIEL Money from home, see, there's your strength, you put things in earthy terms any man can understand, son. I warn you I'm gonna use you, I'm gonna run you ragged!Joe laughs, driving an obscene uppercut into the air.O'Daniel laughs with him. O'DANIEL (CONT'D) You're a wonderful boy. You'n me gonna have fun, dammit, it don't have to be joyless. Say, why don't we get right down on our knees now? JOE Get down -- where? O'DANIEL Right here, why not? I prayed in saloons, I prayed in the street, I prayed an the toilet. He don't care where, what He wants is that prayer.O'Daniel drops on all fours, crawling to find the plug of anelectric cord. He shoves it into a wall socket, switches offthe overhead light and suddenly a hollow, tinted plasticJesus glows on the dresser. O.S. a revivalist congregationsings. And now we notice, with Joe, placards and flags, hornsand tracts, all the paraphernalia of a street cornerevangelist. JOB Shee-it... O'DANIEL That's the ticket, just open your heart and let it flow. It ain't the words, it's the love beyond 'em!EXT. REMEMBERED BAPTISM - ANOTHER TIMESally Buck sings with the congregation while a rawbonedpreacher stands in the river, preparing to immerse littleJoe. O'DANIEL'S VOICE Don't fight it, boy!INT. WEST SIDE HOTEL ROOM - DUSKO'Daniel tries to pull Joe down beside him. O'DANIEL Pray and you shall be heard!EXT. REMEMBERED BAPTISM - ANOTHER TIMECamera becomes little Joe, glimpsing the fevered faces ofSally Buck and the congregation singing on the riverbank,just before being plunged under the river. O'Daniel's voicereechoes, filtered through water. O'DANIEL Don't be frightened, son!EXT. TIMES SQUARE - NIGHTJoe runs in aimless panic, pushing through the crowd, pursuedby O'Daniel's voice and the singing congregation. O'DANIEL Don't run from Jesus!Joe stops short as he sees the front page of a tabloid on anewsstand. There is a picture of Joe being led away by twodeputies, under a headline ALABAMA MURDERER SHOTGUNS ELEVEN.EXT. FORTY-SECOND STREET - NIGHTJoe searches the faces of the crowd, running forward suddenlyas he sees Jackie and the farmboy picked up by two men in alarge convertible. Joe chases the car to Eighth Avenue butstops, frightened as he sees himself in multiple image on thefront of every newspaper displayed on a newsstand.INT. EVERETT'S BAR - NIGHTThe saloon is almost empty during the after dinner lull. TheBARTENDER doesn't look up from his newspaper as Joeapproaches. JOE Say, you know that runty little bastard I was with? BARTENDER I don't know nothing.Joe tenses as he sees the . tabloid picture of himself on theback of the bartender's paper. Joe's hand closes around anempty beer bottle, a terrible violence surging very near thesurface. O.S. women scream.INT. REMEMBERED BEAUTY SALON - ANOTHER TIMEReflected in the mirror, we see little Joe wildly smashingbottles and glass display cabinets -- the voices of womenscreaming O.S. -- little Joe hurling a perfume bottle whichshatters the mirror and his own image.INT. EVERETT'S BAR - NIGHTThe empty beer bottle stands where it was. Joe hasdisappeared. On the TV screen over the bar, sound drowned outby the jukebox, we see a blowup of the tabloid photograph,revealing a young man very similar to, but clearly not Joe.EXT. TIMES SQUARE - NIGHTColorful lights still flash seductive promise. The vertical,lights on the MONY tower reach bottom and freeze momentarily.STILL PHOTOGRAPHJoe at his hotel window staring out blankly. Gun fire O.S....INT. SHOOTING GALLERY - DAYThe radio at Joe's ear is drowned out by a kid in cowboy hat,shooting alone in the gallery.Two policemen idly slap their thighs with night sticks. Joemoves on, unconsciously checking the coin return box of a payphone.STILL PHOTOGRAPHJoe curled up on his bed like a baby, fully dressed, hisradio on the night stand. O.S. his love theme, remote,hollow...EXT. FORTY-SECOND STREET - NIGHTJoe's radio is at his ear "... never too late to look great,Ben's Bargain Basement's open 'till five a.m., miles andmiles of Western styles, worth more at any store, money talksand nobody walks." For the first time, Joe is aware of theother midnight cowboys lurking in doorways, the cruisingqueens, the middle-age men in sport shirts. Joe moves on selfconsciously as he sees a scar-faced policeman, unconsciouslymassaging his night stick. Camera holds on a window displayof gag buttons, featuring NEW YORK WILL BREAK YOUR HEART,BABY.STILL PHOTOGRAPHJoe soaking in the tub, eyes closed.EXT. TIMES SQUARE DANCE HALL - DAYJoe's radio promises job opportunities for young men eighteento twenty-five in the U.S. Air Force. He stands with a crowdstaring up at a girl go-go dancing in the window of SERGEANTPEPPER'S LONELY HEART CLUB.STILL PHOTOGRAPHJoe staring in the mirror. O.S. static over his love theme.EXT. SIXTH AVENUE - NIGHTBy work-light, the tarrier in metal helmet leans on a jackhammer, beyond the sign DIG WE MUST, drowning out Joe'sradio.STILL PHOTOGRAPHJoe flexing his muscles in his jockey shorts while -- LIVE ONTV SCREEN -- a physical culture personality finishes push-upsand starts pitching his own extra protein bread.EXT. TIMES SQUARE PANCAKE HOUSE - DAYJoe's radio continues the super-break commercial while a frycook flips flapjacks in the window.But Joe's eyes are on a sign DISHWASHER WANTED. Joe looks upand his eyes meet those of the young man scraping garbagebehind the counter. It's Joe. JOE Shee-it.STILL PHOTOGRAPHJoe sits in the hotel lobby, staring out at the street,unable to concentrate on his comic book. On two-way radio, awoman's voice giggles as she speaks, "When I can't sleep,well, I just dial the time and listen to those old secondsclicking by like, you know, counting sheep?"EXT. SIDEWALK CAFE - COCKTAIL HOURJoe watches a young man hold a taxi door for an older lady,at the same corner where Ratso waved to another young man.The woman's predatory eyes linger momentarily on Joe beforeshe leads the young man into the Cafe. The two-way radiocontinues over, "... that's what I do about insomnia." JOE Well, now, ma'am, next time you got that feeling coming on, you dial Joe Buck. I'll show you what to do...STILL PHOTOGRAPHJoe straddles a chair, staring at a blank TV screen. SINGING COMMERCIAL Need a little easy money? It's E-Z. Want a little easy cash? It's E-Z.E-Z LOAN COMMERCIALAs the jingle continues, we follow Joe and his radio into theloan office, the depressing reality photographed and editedin the style of a TV commercial: JINGLE Easy locations to get to Easy ladies to greet you Easy chairs to seat you Easy payments to meet Let E-Z set you On Easy Street Joe arrives confident Harassed E-Z receptionist Lines of uneasy customers Desperate, angry faces Reams of E-Z forms to fill Clerk's sneer, says Joe has to be kiddingINT. TIMES SQUARE PALACE LOBBY - NIGHTJoe's image frozen -- as if another still photograph -standing at the desk, waiting for his key. JOE'S VOICE Key to 1014...Action continues as the DESK CLERK hands Joe a folded paperinstead of a key. Joe opens it, deeply perplexed. DESK CLERK Looks like you been locked out of your room, buddy. Till you pick up your tab. JOE Uh, what about my things'n all? DESK CLERK We keep them nice and safe till you get this straightened out.INTERCUTRoom 1014 warm and inviting, Joe's suitcase on the bed. JOE Listen, tell you what, you can keep all the rest of the goddam junk if you let me have just the suitcase. That suitcase means a lot to me.INTERCUTThe postcard photograph marked X -- THIS IS ME. DESK CLERK We keep everything. House rules.EXT. TIMES SQUARE - NIGHTJoe stands outside the hotel, stunned, seeing the brightcolored lights turn suddenly grey. The film continues inblack and white as Joe walks into the crowd.EXT. SALLY BUCK'S BEAUTY SALON - DAYThe FOR RENT sign flapping in the wind.INT. BAR - DAYJoe nurses a short beer, like the regulars. He looks up as acrippled panhandler approaches, vaguely reminiscent of Ratso. JOE Screw off.INT. ROOM 1014 - NIGHTThe bed turned back, clean sheets, a soft night light.INT. BUS DEPOT - NIGHTJoe is stretched on a bench, his Stetson over his eyes. Aloud speaker announces a bus "departing for Texas" but Joedoes not move. A policeman taps Joe's boots with his nightstick. Joe rises and starts away with mixed anger andapprehension.INT. PUBLIC MEN'S ROOM - DAYTwo matching Ivy Leaguers exchange a glance as they see Joewashing his feet in the basin. Joe stares back with abelligerent grin. JOE Any objection, gentlemen?INT. ALL NIGHT CAFETERIA - NIGHTJoe balances a cup of coffee, walking past the other solitarynight people, avoiding each other's eyes. Joe spots what he'slooking for and seats himself next to a gaunt woman and herten year old son, both freaked out, erratically touchingthings, themselves, each other in a futile effort to makecontact with reality. But Joe is only concerned with theplastic-wrapped crackers left by their empty soup bowls. JOB Y'ain't gonna eat them?The woman stares at Joe blankly. The boy runs a toy mouseacross the table, up his mother's arm and around her face.With a polite nod, Joe opens the crackers and squirts onewith ketchup. Joe upsets his chair as a great gob of ketchupspills onto his pants... JOE Shee-it.... glancing around with an embarrassed laugh, but the onlyone looking is a cop, scratching his calf with a night stick.Joe keeps his back to the customers as he moves to the waterdispenser, wets a paper napkin and tries to wipe away thestain. But the water has only spread the stain across hispants and down his leg. He blushes as a blonde youngstreetwalker giggles. SALLY BUCK'S VOICE Wet your britches, lover boy?INT. SUBWAY ARCADE - NIGHTJoe tries to hide the stain with his jacket as he checks thecoin boxes of vending machines, wary as he passes a burlypoliceman, abstractedly snapping his handcuffs in front of abakery window display of bride-and-groom wedding cakes. Joebarely glances at a confused MIDDLE-AGE LADY. MIDDLE-AGE LADY How do I get to Grand Central? JOE Shuttle. Follow the green light.Automatically,checking the trough of a gum vending machine,Joe unexpectedly faces himself in the mirror, the eyesstaring at him tired and hopeless. His hand reachesunconsciously for a cigarette, The package is empty. Hecrumples it in his fist but holds it. JOE (CONT'D) Alright, cowboy. Enough of this shee-it. You know what you got to do? (nods) Then go do it.EXT. FORTY-SECOND STREET - NIGHTJoe hurls the crumpled package into a DON'T BE A LITTERBUGbasket as he emerges from the subway, his radio at his ear.The torchy voice belts his love song, merging with streetnoises crying danger -- an ambulance, a burglar alarm, apoliceman's whistle -- the lights flashing lurid color forthe first time since Joe was locked out, no longer promisingbut threatening, clashing, warning as...... from a high angle, across the street, Joe joins the othermidnight cowboys, offering himself to all comers. His figureis momentarily obliterated by traffic then...... zooming in, we see Joe self-consciously trying to hidethe stain on his pants, embarrassed as a large sedan slowsthen moves on to stop in front of a motorcycle freak. Joe isbriefly obliterated again by a passing police car...... the receding flash of its turret light revealing Joe inclose conversation with a frightened young FAT BOY, whoseeyes plead for reassurance as Joe scowls.INT. ROOM 1014 - DAYJoe's black and white suitcase gleams on the bed. JOE'S VOICE Twenty-three bucks, I got to have twenty-three bucks...INT. ALL NIGHT MOVIE - NIGHTFrom an apparently empty balcony -- an old science fictionfilm grinds endlessly through the night -- a lost spacemantrying to make contact with a tantalizing Martian maidenacross an invisible time barrier, theremin voices calling,"Earthling, where are you?" FAT BOY'S VOICE Okay. Sure. I got twenty-five...At the top of the balcony, Joe leans back, turning his faceaway as the Fat Boy embraces him, kissing Joe's cheek andneck, his head moving down out of frame to show -- on thescreen -- the spaceman and Martian maiden meeting, armsoutstretched. But the Martian maiden moves right on throughthe spaceman, crying, "Earthling come back, however manycenturies it is, I'll wait!" Joe closes his eyes, forcing hismemory back...INT. REMEMBERED MOVIE HOUSE - ANOTHER TIME... repeating the remembered image of Anastasia and a youngerJoe, behind the movie screen... ANASTASIA You're the only one, Joe, the only, only one ever!... the remembered passion continuing, mounting -- intercutwith flash impressions, like flipping pages of a nudiemagazine -- naked, half-draped blondes gazing into camerawith sultry eyes, including one comic strip sexpot and thecalendar girl in Joe's Texas hotel room... ANASTASIA'S VOICE You're the best, the very best, yes, yes, kiss me, oh God please kiss me, Joe, now, now, now!... Joe's face in extreme close-up, sounds of both moviehouses merging, confused, dominated by the voices ofadolescent boys... BOYS' VOICES Hey, Joe, give someone else a chance! What's he doing for chrisake? He kissing Anastasia? You better swallow a whole goddam drugstore, man!... an adolescent ratpack waiting in line behind the screen,laughing in coarse whispers, watching Joe and Anastasia. O.S.theremin voices call "Earthling, where are you?"INT. ALL NIGHT MOVIE - NIGHTOn screen, the Martian maiden moves through the spaceman,crying, "Earthling, come back, however many centuries it is,I'll wait!"INT. ALL NIGHT MOVIE RESTROOM - NIGHTJoe watches the Fat Boy doubled over, retching. JOE I'm awful damn sorry you're sick, kid, but you gonna have to gimme that money like you said. FAT BOY I was lying. I don't have it. What're you going to do to me? JOE (controls fury) What you got in your pockets?Eagerly, the boy produces a family photograph, a subwaytoken, a dirty handkerchief. Joe grabs his wrist, revealing awatch. JOE (CONT'D) How much's that worth? FAT BOY I can't go home without my watch! My mother'd die! She'd die! Take my books! Not my watch! She'd die!But Joe has already kicked open the door. Theremin voicesdrown out the Fat Boy, calling "Earthling, where are you?"INT. ALL NIGHT MOVIE - NIGHTJoe sprawls, trying to sleep, his feet on the balcony rail,the radio at his ear. On screen, once again, the Martianmaiden moves through the spaceman, crying, but we hear thevoice of a desperate woman on two-way radio. As she speaks, apoliceman moves along the aisle, slapping his palm with hisnight stick. DESPERATE VOICE Bill, can I call you Bill, Mister Bonner? I feel like I know you from listening. What I called about, Bill, I'm gonna kill myself...EXT. SIXTH AVENUE - DAYFrom a high angle, only Joe's Stetson and radio can be seenabove a passing bus, its side panel advertising BILL BONNER'SSTRAIGHT LINE, A STRAIGHT TALK SHOW. BONNER'S VOICE Why call me, baby? If you want to do it; just do it, don't talk about it. Are we drunky? Feeling a little sorry for ourselves maybe?Joe appears in full figure as the bus passes. He standslooking at the suitcases in a luggage shop window. DESPERATE VOICE Well, Bill, what I got thinking, I didn't want the neighbors to have to find me, this young couple with the boy I want to have my cat, see, Bill?INT. RADIO STATION - DAYBONNER, tough in a grey crew-cut, talks on the phone. BONNER Okay, baby, now listen, just hold on while I leave the line for a minute. And think about all the kids that are dying overseas for you, okay, baby? Got that? I'll be back in exactly sixty seconds. After this message from...A taxi born blasts, interrupting the sponsor's message.EXT. SIXTH AVENUE - DAYJoe's fist slams a fender violently, using Ratso's fakeinjury trick to stop traffic, running across the streettoward...EXT. NEDICK'S - DAY... Ratso staring out at Joe, paralyzed in the act oflighting a cigarette -- intercut in flashing close-ups -- Joeoutside the window, Ratso inside -- reflecting theirconflicting emotions -- Joe's murderous rage -- Ratso's panic-- one almost subliminal flash of each revealing somethinglike pleasure at finding a long-lost friend...INT. NEDICK'S - DAY... Ratso staring up into camera, holding his breath. RATSO Don't hit me, I'm a cripple.Joe's hand falls on Ratso's shoulder. JOE Oh, I ain't gonna hit you, I'm gonna strangle you to death...The cigarette in Ratso's mouth burns into his lip. He jerksspasmodically, choking on smoke as he rips skin away with thebutt and drops it in his coffee cup. JOE (CONT'D) ... only first I'm gonna turn you upside down and shake you out right here and now.Coughing, eyes tearing, Ratso empties his pockets on thecounter, finally producing: sixty-four cents, a few sticks ofgum, an almost empty cigarette package, a book of matches andtwo pawn tickets. He raises his eyes, somehow ashamed. Joekicks the toe of Ratso's loafer. JOE What's in your socks? RATSO Not a cent, I swear to God, I swear on my mother's eyes.Ratso removes his loafers and shakes them, glancing at thecounter man. His socks don't even conceal his toes.Disgusted, Joe shoves Ratso's small pile back at him. RATSO (CONT'D) You keep the sixty-four cents. I want you to have it. JOE It's sticky. What you do, slobber on 'em? I wouldn't touch 'em.Joe should leave -- Ratso obviously has nothing tangible tooffer -- but Joe hesitates, lighting a cigarette as Ratsopulls on his loafers. RATSO How do you like that O'Daniel, flipping out like that? I wanted to get in touch with you when I heard, but I been laid up with this cold...Ratso touches his chest, forcing a cough which continuesitself beyond his intention. JOE You want some free medical advice, shut your goddam mouth about that night. RATSO Okay, right, right, okay. Another subject. Where you living? Still at the hotel?INT. ROOM 1014 - DAYThe black and white suitcase lies open on the bed.INT. NEDICK'S - DAYJoe turns abruptly and walks away. JOE Shee-it. I got better things to do than talk to you.EXT. SIXTH AVENUE - DAYJoe strides north, pretending he doesn't hear... RATSO'S VOICE Hey, wait up, for crissake!... Ratso hop-skipping to overtake Joe at the traffic light. JOE Listen, keep away from me, hear? You come near me again, I snatch you bald-headed! RATSO I'm inviting you. I mean if you're not located, I got a place. I'm inviting you, goddamit. JOE You inviting shee-it.EXT. TENEMENT STREET - DAYA contractor's sign announces LUXURY APARTMENTS AVAILABLE inhigh-rise co-op, under construction beyond a raw of tenementswith X's taped on the windows. Ratso's voice continues overthe click-clack-click of Joe's boots and the flip-flap-squeakof Ratso's loafers as camera moves toward a condemnedbuilding. RATSO'S VOICE The X on the window means the landlord can't collect rent -- which is a convenience, hey? -- on account of it's condemned.INT. TENEMENT STAIRS - DAYFootsteps climb past rubbish piled outside empty flats. RATSO'S VOICE The electric's off. Another convenience. I don't mess with Con Edison, hey? What the hell, I got candles, right?INT. X FLAT - DAYLight from the X window shines on a Florida tourist poster asRatso leads Joe into an abandoned tub-in-kitchen flat, barelyfurnished with a table and chair, a rumple of blankets on aburnt-out mattress. RATSO I got no heat, but by that time, you know, cold weather, hey, I'll be in Florida. Stretch out. Make yourself comfortable. You hungry? I'll put up some water for coffee.Ratso fills a saucepan from the tub-sink, sets it on a Sternostove. Joe sits himself on the mattress-bed, pretending totest it, weeks of exhaustion and tension overwhelming himsuddenly, his only immediate problem being the effort torestrain a large, comfortable yawn. JOE Comfortable, kee-rist, I slept on subways softer than this.Joe stretches himself, yawning, his eyelids drooping heavily.The sounds of the city recede. Joe's love theme plays softlyon a distant radio. Joe's eyes close momentarily in spite ofhim elf.INT. REMEMBERED CAR - ANOTHER TIMEA vintage dashboard, radio dial glowing, Anastasia's face. ANASTASIA Love me, Joe?EXT. DEMOLITION SITE - DAYA huge metal ball arcs on chain, demolishing a brick facade.INT. X FLAT - DAYRatso's face seems to radiate evil as he lights a Sterno can.Joe forces his eyes half-open. JOE Smart thing for me to do is haul ass outta here. RATSO Whatsa matter now?Joe shivers, pulls a blanket around him, resisting sleep, butthe noises of demolition fade, the love theme lures Joe back. JOE You don't seem like no fag... RATSO What's that supposed to mean?Joe's eyes close, his voice continuing out of half-sleep.JOE Want me to stay here, y'after something. What y'after?INT. REMEMBERED CAR - NIGHTJoe's thumbnail flares a match, exposing Anastasia on the carseat with Joe, both nearly naked. Anastasia butterfly-kissesJoe's chest as he lights a cigarette.ANASTASIASay you love me. Just say it.JOEOkay. I love you.Anastasia purrs as her lips find Joe's breast, trying tonurse. A flashlight flares suddenly through the car window.NIGHTMARE - MULTIPLE SPLIT SCREENLow angle Ratso bending over Joe, into camera...... Sally Buck shocked, hand still on switch... ... Joe blinded by halation... ... Anastasia's mouth screaming soundlessly... ... flashlights multiplying on car window...Full frame -- Anastasia catatonic in hospital gown -- awoman's voice "What'd he do to you, Annie?"...... gang-bang ratpack surrounding car with flashlights... ... Jackie shrieking "He loves her he loves her"... ... hands closing on Joe's buttocks... ... hand closing on Joe's naked left foot... ... hand on naked right foot... ... dentist leaning over Joe's mouth... ... hands pulling Joe's legs apart...Zoom close-up -- Anastasia screaming soundlessly...... thermometer under Little Joe's tongue... ... Sally Buck shoves chocolate in her mouth... ... bewigged poodle licks her fingers... ... Sally Buck hangs enema can on bedpost... ... Ratso leads ratpack chasing naked Anastasia... ... corona of flashlights...Anastasia screaming soundlessly -- flashlight shoved into hermouth -- electronic rock blasting...... blank-eyed go-go girl in dance hall window... ... Joe held naked by ratpack... ... Ratso breaking beer bottle on Everett's bar... ... dwarf laughing on television... ... Ratso aims broken bottle at Joe's crotch... ... shooting gallery cowboys riddle Joe's pelvis...Anastasia catatonic in courtroom -- between gaunt parents -whining singsong "Raped her raped her Joe Buck raped her"...... Fat Boy's mouth finds Joe's breast, tries to nurse... ... Sally Buck kisses him open-mouthed... ... slug crawls up Joe's stomach, trailing mucus... ... Cass's poodle laps at his toes... ... butterflies settle on his eyes...Anastasia catatonic in courtroom between parents -- who arenow O'Daniel and Sally Buck...... drawling voice "evidence of repeated violations"... ... Bill Bonner in flag-cloth judge's robe... ... police advancing, swinging night sticks... ... Joe running into Times Square, suddenly naked... ... Anastasia sitting in all-night cafeteria... ... freaky child running toy mouse over her naked body...Siren screaming -- Anastasia staring catatonic from rearwindow of ambulance...... ambulance racing away... ... Joe chasing naked after ambulance... ... running into the arms of the police... ... Ratso laughing as police beat Joe...INT. X FLAT - NIGHTJoe awakens in a cold sweat, fighting the blankets, wild-eyedas he sees Ratso at the table, examining Joe's radio bycandle-light. Joe lunges across the room to snatch the radiofrom Ratso's hands. RATSO For crissake!Still wild-eyed, Joe suddenly points at his stocking feet. JOE Where's my boots -- ?EXT. TIMES SQUARE - DAYJoe facing the crowd, naked except for his boots.INT. X FLAT - NIGHTRatso points to the boots on the floor by the mattress. JOB How'd they get off me? RATSO I took 'em off. JOE What for? RATSO So you could sleep! I mean Christ!Joe inspects the boots, seats himself on a battered Army cot - which has been added while he slept -- swinging a boot byits strap, considering whether to stay or go. RATSO (CONT'D) I drug in a cot, if you want to stay. JOE Well now, Ratso, I'm gonna tell you something for your own good, only first gimme a cigarette.Ratso offers a cigarette from his crushed package, Joestrikes a match on his thumbnail and lights up, staring atRatso. JOE (CONT'D) You want me to stay here tonight, is that the idea? RATSO I ain't forcing you, like, I mean, who's forcing you? JOE Oh. Guess I got the wrong impression.Joe makes a slow move to pull on one boot. RATSO I want you to stay, okay? I goddam invited you, didn't I? JOE Well, I hope you know what you're in for. I'm a very dangerous person. Someone does me bad like you. If I caught up with you that night, there'd be one dead Ratso long about now. Hear? RATSO I'm impressed. You're a killer. JOE So if you want me to hang around for a few days, I thought you should know.Joe yawns, picks up a few blankets and spreads them on thecot. He puzzles out the faded printing on one blanket. JOE (CONT'D) Property of the YMCA. You make me wanna puke sometimes, Ratso.Ratso blows out the candle and wraps himself in blankets. RATSO Joe -- do me one favor -- this is my place, am I wrong? You know, in my own place my name ain't Ratso. I mean it so happens my name is Enrico Salvatore Rizzo. JOE Shee-it, man, I can't say all that. RATSO Rico then, at least call me Rico in my own goddam place. JOE Rico! Rico! Rico! Is that enough? (then) And keep your meat hooks off my radio.EXT. VEGETABLE MARKET - DAYRatso wears a threadbare raincoat of faded black, severalsizes too large, as he shops with housewives at a sidewalkvegetable stand -- elbowing his way through the ladies,testing fruit, picking up vegetables and putting them back --till the GREENGROCER spots him. GREENGROCER You! Out! Out! I told you, I calla cops!The other shoppers deliberately turn their backs, avoidinginvolvement. As the Greengrocer grabs Ratso, Joe ambles intothe scene, wearing his dangerous little smile. JOE Hey, looka here, that ain't nice, picking on a cripple...Joe intervenes just long enough for Ratso to escape, thenambles on, leaving the Greengrocer in frustrated fury. Cameraholds on a tray of coconuts.INT. X FLAT - DAYJoe lies on his cot, watching Ratso struggle to penetrate thefibrous husk of a coconut, experimenting with a variety ofrusty tools in an old cigar box. RATSO The two basic items necessary to sustain life are sunshine and coconut milk. That's a known fact. If I can find the goddam hole the milk squirts out. JOE This is an okay setup you got here, but I'd say you ain't just exactly, uh, flush, is that right or not? RATSO I been sick. Hold this, will ya?Joe takes his time rising to hold the coconut while Ratsotries to poke a hole with a bent ice-pick. RATSO (CONT'D) In Florida, they come smooth, ready to eat. Down there, your only problem is, diet-wise, you gotta lift an arm to wipe warm milk off your chin. Tough, hey? JOE I think finding you's the smartest thing I ever did, for both of us. You just the crooked kinda sneaky little sidewinder I need to get me hustling in this town. Hey!Joe jerks his hand away just in time to avoid the ice-pick.The coconut bounces on the floor. Ratso picks it up, holdsit, while Joe tries to crack it, swinging his boot like ahammer. RATSO Miami Beach is the only place for a real hustler. Florida has more rich chicks per square yard than any resort spot in the world. They lie out in their pagodas and pergolas waiting to grab the first jockstrap that passes. JOE What's all this sweet talk about Florida? Your friend O'Daniel got a stable down there now?Joe swings violently. Ratso yelps, hopping on his one goodleg, sucking his thumb. RATSO Cowboy killers! Break my finger, Christ! I got news for you, baby, no chick with any class buys that big dumb cowboy crap...Ratso holds his thumb under the tub-sink faucet. RATSO (CONT'D) ... the cowboy bit's out, except among fags of a certain type, which take a certain, type hustler to exploit. Like I could handle it -- being a stealing operation basically -- but take your average fag, very few of them want a cripple.Joe holds the coconut like Yorick's skull, thinking hard.* JOE Well, I am dumb, that's for sure. I don't talk right. I can't think too good. Just only one thing I ever been good for's loving. Women go crazy for me. Fact. Crazy Annie. Had to send her away. So I don't cash in on that, what am I? I'm shee-it. May's well flush me down that hole with the dishwater.Joe sets the coconut on the floor, holding it with both handswhile he tries to smash it with the heel of his boot. JOE (CONT'D) That's why you gonna stop crapping about Florida and get your skinny butt moving to earn twenty bucks worth of management you owe me...INT. ROOM 1014 - DAYThe suitcase lies open, displaying Joe's wardrobe. JOE'S VOICE Make that twenty-three bucks.INT. X FLAT - DAYJoe slams his heel down. The coconut shoots out from underhim and he lands on his ass. RATSO Look at yourself, Joe, no offense, but frankly, you're beginning to smell. For a stud in this town that's a handicap. JOE You talk like a man with a tin twat.Ratso sets the coconut on the window sill, balancing it as heraises the X window. RATSO You ain't got a chance in hell. You need threads and glitter, baby. A front, hey? JOE Well, uh, my manager's gonna manage all that crap, or else he gonna get a coconut up his flue.Joe slams, the window down. The coconut flies down to crashO.S. on the sidewalk below.EXT. SIDEWALK - DAYAn alley cat laps up the milk of the broken coconut.EXT. TIMES SQUARE - FANTASYJoe stands naked in the middle of traffic. A siren shrills.Anastasia, catatonic in a hospital smock, moves toward Joelike a sleepwalker, passing through him.INT. LAUNDROMAT - DAYWearing only his boots, Joe sits like an Indian chief,wrapped in a blanket -- angle widening to show Ratso,spotting Joe's jacket, slacks and shirt with cleaning fluid --his eyes on a very pregnant Italian lady. As she starts toload a coin cleaning machine, Ratso intervenes solicitously,speaking in Italian... RATSO A woman in your condition shouldn't do that. Let me help...... adroitly slipping Joe's cleaning in with her load as sheturns to seat herself beside Joe. JOE'S VOICE It ain't right, stealing from a pregnant lady.INT. HAT CLEANERS - DAYJoe and Ratso stand waiting at the counter. RATSO What did it cost her? The laundromat syndicate lost a couple coins. I'm crying.The owner brings Joe's clean and blocked Stetson from therear of the shop. Joe sets it on his head and examineshimself in a mirror as the owner hands Ratso, the bill. RATSO (CONT'D) Where's mine? The black homburg? I brought it in the same time.The owner glances at the slip, puzzled, returns to the rearof the shop to search for the nonexistent homburg. Ratsoquickly drags Joe away from the mirror and out of the shop.INT. SUBWAY ARCADE - NIGHTThe rhythmic duet of boots and loafers follows Joe and Ratso - checking coin boxes and telephone booths -- till they reacha shoeshine stand, locked for the night. They loiter till ayoung couple has disappeared, then Joe kicks loose 'thepadlock on the equipment drawer, mounts one of the chairs andRatso goes to work on his boots with furious expertise,flourishing double brushes, snapping the rag like a jazzdrummer. JOE Hey, you're good! I bet you could pick up a living at this if you tried. RATSO And end up a hunchback like my old man? You think I'm crippled? You shoulda caught him the end of a day.Ratso demonstrates a chimpanzee walk. Joe laughs. Ratso turnsback in panic as another man takes a chair next to Joe. Ratsois about to retuse when a cop takes the third chair, swinginghis handcuffs around to the front, tapping his shoe with hisnight stick. Ratso quickly drops a rag over the brokenpadlock, cursing under his breath as he starts working on allthree customers at the same time. RATSO'S VOICE You think it's funny?INT. X FLAT - DAYJoe is seated in a straight-back chair near the X window, atowel tucked around his neck as Ratso trims his hair, almostas expert a barber as shoeshine boy. RATSO Stupid bastard coughed his lungs out breathing that resin all day. They buried him with gloves on. Even the fag undertaker couldn't get his nails clean.As if by conditioned reflex, Ratso chokes on the cigarette inhis mouth, coughing painfully. He crushes it out, opens thewindow to spit, shivering, then slam it and turns back toremove the towel from Joe's neck. JOE Kee-rist, you pretty damn clever for a skimpy little gimp. RATSO You like it? Take a look. JOE Don't rush me. How I do it, see, I get myself primed, like I was turning on the charm for some pretty little blonde lady, then kinda mosey away slow and easy and - swing around! -- and there you are, you handsome devil.Joe performs his ritual as he speaks, but more relaxed,faintly laughing at himself with Ratso. The wall mirror hasbeen added since we last saw the flat, along with a leglessoverstuffed chair with burnt-out cushions, a tasselled tablecover, pinups, calendar girls and several new Florida touristposters, Ratso moves to Joe's side, arranging theneckerchief, nodding. RATSO Not bad -- for a cowboy -- you're okay, you're okay. JOE What I'm gonna do, I'm gonna make a cowboy outta you, kid. How about that? Build you up a little, teach you couple little tricks'n turn y'out to stud, Rat-stuff.Joe slaps his hat on Ratso's head, tilts it, hooks Ratso'sthumbs in his jeans and shoves a cigarette into the corner ofRatso's mouth. Ratso laughs till he chokes -- for oneinstant, self-consciously, mimicking Joe -- then removes thehat and reaches for his threadbare black raincoat. JOE (CONT'D) Okay, you got yourself one handsome, sweet-smelling cowboy, strut your stuff...EXT. CONVERTED TOWN HOUSE - DAYJoe and Ratso peer down through a basement bay window, intothe office of THE PERFECT GENTLEMAN ESCORT SERVICE --endorsed by leading travel agencies and credit clubs offeringdiscreet companionship and personal guided tours in anylanguage. A large-busted matron, on a French phone, fills outa memo and hands it to an immaculate young ESCORT, who slipsthe memo into his topcoat pocket as he comes from the officeand hails a cab. Ratso darts forward, limping exaggeratedly,holding the door, lifting the memo as he brushes off theEscort's topcoat. The young man waves him away with out atip. Ratso slams the door and bites his thumb after the cab,unfolding the memo as he joins Joe on the sidewalk. RATSO How do you like that? Cheap bastard... (reads, then) I think we struck gold. This is one high-class chick. The Barbizon for Women!EXT. MANHATTAN SKYLINE - DUSKThe Mutual of New York tower flashes MONY.INT. CORNER PHONE BOOTH - DUSKRatso consults the memo as he speaks into the phone. RATSO Mr. McNeill, I'm calling for Miss Beecham at the Barbizon Hotel for Women. She won't need you tonight...EXT. BARBIZON FOR WOMEN - NIGHTA doorman helps a young lady into a limousine. RATSO'S VOICE Would you believe a whole goddam hotel with nothing but lonely chicks?Joe and Ratso watch from across the street. RATSO Score once in that setup, the way chicks talk, Christ...Joe cracks his gum, tilts his hat, starts across the street. RATSO (CONT'D) Get the money! Remember Cass Trehune? Cash! These rich bitches write a check at night, call the bank and stop payment in the morning. Get the cash!In Ratso's eyes -- as Joe enters the hotel -- its facadesuddenly wipes away to reveal rich ladies in negligee waitingin every room.INT. BARBIZON FOR WOMEN - NIGHTJoe starts up the stairs, two at a time. A BELLHOP grabs him. BELLHOP Hey! No men upstairs!EXT. BARBIZON FOR WOMEN - NIGHTRatso warms his hands at a chestnut vendor's cart, seeing...... zoom close-up, a lady in a window grabbing Joe.INT. BARBIZON FOR WOMEN - NIGHTJoe picks up a house phone, watched by the Bellhop.EXT. BARBIZON FOR WOMEN - NIGHTRatso sees Joe zip from room to room in wild animation.INT. BARBIZON FOR WOMEN - NIGHTThe lobby watches Joe blow a gum bubble at the elevator.EXT. EXCLUSIVE DRESS SHOP - NIGHTStaring at a window display of Florida sportswear, Ratso'simagination soars, seeing...EXT. FLORIDA BEACH FRONT - FANTASY... Ratso, like a model in a travel poster, in gaudy sportshirt, talking on the phone against a background of hotels...... Ratso like James Bond, surrounded by bikinis, dictatingwhile girls serve coconut milk and massage his game leg...... Ratso like George Raft, in evening clothes, running aposh casino, flicking a coin...... Ratso simply himself, dressed as he is, sitting on thebeach, at peace in the sun...... the same identical picture with Joe sitting beside Ratso.INT. BARBIZON FOR WOMEN - NIGHTJoe faces MISS BEECHAM, a reserved and rather plain younglady in evening dress, She tries to speak softly. MISS BEECHAM I'm afraid there's been a terrible mistake...EXT. EXCLUSIVE DRESS SHOP - NIGHTRatso leans against the window, flipping a coin.EXT. BARBIZON FOR WOMEN - NIGHTMiss Beecham is flushed with humiliation, the entire lobbywatching Joe in the hands of two bellboys. JOE I want my money, goddamit, you owe me my money whether you get laid or not, lady, shee-it!EXT. EXCLUSIVE DRESS SHOP - NIGHTThe lights in the window suddenly switch off, blacking outFlorida. Ratso glances toward the growl of a siren O.S.EXT. BARBIZON FOR WOMEN - NIGHTA police prowl car slows in front of the hotel. Ratso swingsacross the street with incredible speed to meet Joe as he'stossed onto the sidewalk. Ratso picks up the Stetson andbrushes it off, then helps Joe to his feet.EXT. SIXTH AVENUE - NIGHTFrom a high angle -- the two figures move slowly along thedeserted avenue, their rhythmic musical duet growing more andmore faint in the distance, a broken grasshopper and a sixfoot tarnished cowboy -- passing a tuxedo rental store, nextto a lighted sign -- TEMPERATURE IN MIAMI BEACH, FLORIDA 89DEGREES -- their pace slowing to a dead stop...INT. X FLAT - NIGHT... Joe and Ratso frozen -- rain on the X windowpane freezinginto sheet ice. O.S.a radio commercial plays warm, sentimental music while a cozyvoice explains how easy it is to heat with Humble oil.EXT. CONDEMNED TENEMENTS - DAYJoe and Ratso frozen in a narrow shaft of sunlight, watchingthe huge metal ball demolish the building next door. O.S. aradio announcer sells FROZEN SUNSHINE ORANGE JUICE.INT. X FLAT - NIGHTJoe and Ratso frozen, staring significantly at Joe's radio.O.S. a singing commercial, "Don't wheeze and sneeze thewinter away! Drink Frozen sunshine every day!" EXT. PAWN SHOP - DAYThrough the window -- Joe and Ratso watch the pawnbrokerexamine Joe's radio, "Be healthier, wealthier, life can befine, when you drink Frozen" -- Sunshine is clicked off bythe pawnbroker.INT. X FLAT - NIGHTJoe and Ratso frozen, wrapped in blankets as...... the canned heat dies with a faint puff...... water dripping in the tub-sink freezes into an icicle...... the candle burns down and out, leaving the screen dark.EXT. CONDEMNED TENEMENTS - DAYJoe and Ratso warm themselves on the smoke and steam risingfrom a subway grating -- watching two officials in furcollared coats inspect the front of their X flat building.Reading their doom, Joe and Ratso, continue on, disappearinginto the subway.EXT. FORTY-SECOND STREET - NIGHTJoe stands alone, watching the midnight cowboys ply theirtrade. Camera pulls back as Joe turns away and enters a storefront blood bank, offering ten dollars to blood donors.INSERTA huge hypodermic fills the frame, sucking Joe's blood. O.S.Ratso coughs uncontrollably.INT. X FLAT - NIGHTRatso leans over the tub-sink, dry-heaving while he coughs,wearing a sheepskin coat much too large for him. He controlsthe cough with effort -- hearing the door open and close O.S.-- wipes his mouth and turns to grin at...... Joe, trying to light the empty Sterno can, deliberatelyignoring Ratso. Ratso shrugs, washes his mouth at the faucet,finds a cigarette butt and lights it, careful to avoidinhaling the first puff. JOE Shee-it. Cough yourself inside out, then light a fag, a goddam fag. You make me puke. Where'd you steal it? In the movies? RATSO The coat? A guy I did a favor once gave it to me. Christ. JOE Who'd you ever do a favor for? You just let some poor bastard freeze to death, wouldn't you?Joe slams ten dollars on the table. Ratso glances at Joe withcurious concern. RATSO Where'd that come from? JOE Forty-second Street. Where'n hell you think it come from? RATSO You wanna know the truth? You dumb bastard, I got it for you. Look at it. Goddam thing's ten sizes too big for me.Ratso pulls off the coat and throws it at Joe. JOE Wear it yourself. I wouldn't put it on my back.Joe throws it back at Ratso. RATSO Goddamned if I'll wear it!Ratso hurls it in a corner. Joe shoves the ten at Ratso. JOE Go get your medicine. Before you die on my goddam, hands...EXT. EAST RIVER BRIDGE - DAYHigh angle -- Joe and Ratso cross an foot, chilled by wind,neither wearing the sheepskin coat. The Queens riverfront andfactories appear cold and bleak, deserted on Sunday.EXT. LONG ISLAND CEMETERIES - DAYCamera moves into acres of tombstones, piled like low-renthousing projects for the dead, the various faiths segregatedby crumbling boundaries. JOE'S VOICE Shee-it. I hate boneyards. RATSO'S VOICE So split. He ain't your goddam, father.EXT. PROTESTANT CEMETERY - DAYRatso leads Joe past a Negro family at a grave -- glancesaround -- snatches an elaborate floral piece from a headstoneand hides it under his black raincoat as he darts toward alow dividing wail and swings himself over into...EXT. CATHOLIC CEMETERY - DAY... an endless section of plain stone markers. Joe toucheshis hat to two nuns, guiltily hurrying to overtake Ratso atibis father's grave, indistinguishable from the other gravesexcept for the name on the headstone. Ratso places the floralpiece on the grave with almost absurd solemnity. Joe laughs. JOE Kee-rist, you sure are one twisty little bastard, Ratso. RATSO The name's Rico, at my own father's grave, a man deserves some respect. JOE Respect shee-it! You even steal flowers for his grave. RATSO Can he smell the difference, eh?Joe reads from the ribbon on the floral display. JOE Well, uh, he dam well know he ain't 'be-loved Aunt Winifred'. RATSO He can't read. Even dumber than you. Couldn't write his own name. X -- that's what it ought to say there on that goddam headstone. One big lousy X like our flat. Condemned. By order of City Hall.Joe is frowning, standing at the,headstone, momentarilydepressed with an undefined sorrow. JOE My Grammaw Sally Buck, she died without letting me know.EXT. SALLY BUCK'S BEAUTY SALON - DAYThrough the window, past the FOR RENT sign, the tarnishingdriers are lined up like tombstones.EXT. JEWISH CEMETERY - DAYJoe frowns, puzzled, as Ratso pulls out a black skullcap,leading Joe toward a group of professional mourners,whispering: RATSO Just keep your hat on and cry a little. They tip you when it's over.Joe and Ratso join the mourners as the funeral moves to thegrave, Ratso mouthing an authentic double-talk...... Joe standing self-consciously, aware of the covertglances of the other mourners, automatically reaching up toremove his hat, remembering when Ratso elbows him in theribs...... Joe scowling, tight-lipped, embarrassed by the tip thatis thrust in his hand.INT. LUNCH COUNTER - EVENINGA weary Santa Claus, in a rented beard and over-largecostume, warms his hands over the steam of his coffee cup.Joe and Ratso are arguing farther down the counter. JOE Just ain't right, cheating someone dead and can't cheat back.In the background, as Ratso speaks, HANSEL and GRETELMACALBERTSON enter the lunch counter, inspecting thecustomers one by one. Both wear black turtlenecks and jeans,dressed as twins, both blond and pretty. RATSO You and my old man. Same kinda mind. Putting me down till the day he died... (mimics) ... why can't you be like your brothers? Sons a father could be proud of. Yeah, sure. My brothers. Too goddam busy making something of themselves to show up when the old man's dying!Conditioned reflex, Ratso starts to cough. Joe sees theMacAlbertsons in the mirror, standing behind him, studyinghim. Gretel nods, Hansel hands Joe a large black card,smiling vaguely, then moves on. RATSO (CONT'D) What was that all about?Joe studies the black card, frowning at first, suddenlysmiling, turning as if to call after the MacAlbertsons, butthey are disappearing around the corner. Joe hands the cardto Ratso. JOE You wanna read something, read this. I been invited somewhere.Shocking pink letters on the black card read YOU ARE INVITEDTO HELP US BURY LOVE -- TONIGHT AT BROADWAY AND HARMONY LANE - HANSEL AND GRETEL MACALBERTSON. JOE (CONT'D) They picked me. The only one in the whole goddam place. You see how they looked me over, up and down before they give me that? RATSO So?Joe sees a young man washing cups behind the counter. Joeshakes his head, wonderingly, turning to study himself in themirror. JOE Well, this thought just struck me. It wasn't too long ago I was washing dishes way the hell somewhere in Texas. RATSO Yeah, well, so? JOE Now I'm here. I'm in New York City. Getting picked for things. Don't you see what I'm driving at? RATSO What you're driving at, you want me to get lost so you can go to your fancy-ass party. JOE Did I say that? Did I? (studies card) It don't say nothing about you... RATSO Don't say nothing about you either. JOE But they picked me, right? So what I'll do, I'll just say, now look, you want me? Well, I don't go nowhere without my buddy here. RATSO (shrugs) Well, what the hell, I got nothing better to do.EXT. LOFT BUILDING - NIGHTSnow swirls in the aureole of a street light as Joe and Ratsorun, heads lowered, turning into...INT. LOFT BUILDING - NIGHT... a drab entrance hall, dimly lit -- signs identifyingvarious commercial tenants -- a pink-on-black placard readingMACALBERTSON, TWO FLIGHTS UP. Joe has started up before henotices Ratso, leaning on the bannister at the foot of thestairs, struggling to catch his breath. His face and hair arewet with perspiration, his lips lavender-blue.In swift flashes -- intercut -- Joe reads the panic inRatso's eyes, so intense that Joe shares it, unable to speakor offer reassurance. JOE Better dry your hair some. You sweating all over the goddam place.Joe pulls out his shirttail, grabs Ratso by the neck and rubshis head dry. JOE (CONT'D) You got a comb? RATSO Don't need a comb. JOE Few dozen cooties won't kill me, don't guess.Joe hands Ratso his own comb. Ratso swipes at his tangledhair angrily until two teeth break in the comb. He hands thecomb back, tugs at his hair with his fingers, pats it inplace, then looks back into Joe's eyes. RATSO Okay? I look okay?In a moment of silence, distant sounds can be heard -- asiren, the grinding teeth of a garbage truck, the twang of anelectric guitar upstairs at the party -- then Ratso makes aquick gesture of impatience and starts up the stairs, pullinghimself on the bannister.INT. MACALBERTSONS' LOFT - NIGHTA bank of lights blinds Joe and Ratso as they enter --electronic rock blasts their ears -- a bearded cameraman on astep-ladder photographs them as they stand confused -- facinga monstrous collage of tabloid photos blown up, showing themurder of a hippie known as Groovy -- in-huge black letters,LOVE WAS GROOVY -- GROOVY IS DEAD. Joe shouts over theamplified music. JOE Better get a hold of someone and tell them I'm here.Ratso points to his ear -- he can't hear -- following Joeacross the room. The huge loft is crowded with a randomselection, gathered to serve as dress extras in anunderground film. The party is the scene. The MacAlbertsonsmerely supply the ingredients and allow it to happen, withcameras strategically placed to record the happening...... Hansel with tape recorder, Gretel with hand-held camera drifting through the crowd -- catching words and images in adetached, whimsical fashion. Gretel turns her camera on Joeand Ratso as they approach. JOE (CONT'D) Well, I made it. This here is Ratso Rizzo and I... RATSO Rico. Rico Rizzo.Gretel smiles without recognition. Hansel gestures vaguely. HANSEL Do you need anything? I mean there's beer and so forth. Whatever your thing is...The twins move away together, pausing to confer with theoperator of a tripod camera -- focused on an emaciated flowergirl with long hair and dirty feet, stretched in asarcophagus, clutching a dead daffodil, her eyes glazed.Scrawled in huge letters on the wall over her head -- LOVE! RATSO If you want the word on that brother and sister act, I'll give you the word. That Hansel's a fag and Gretel's got the hots for herself. So who cares, right? Load up on the salami...Ratso heads for the refreshment table. Joe starts after himbut pauses, intrigued by an alcove under the balcony where alight show is in progress -- surreal images of naked bodiesprojected against abstract currents of color and strobelight...... a bored fat lady in a muu-muu, squatted like a Buddha ata low table, rolling joints for the guests.She lights a joint and offers it to Joe as he wanders in towatch the show. Joe laughs delightedly when he realizes whatit is... JOE Shee-it, this is one helluva party!... glancing around at the others, imitating their techniques-- the quick inhaler, who follows with sharp gulps of air -the deep inhalers who draw air as they inhale -- the stylistwho lets the smoke drift out and inhales through the nostrils-- Joe puffing himself slightly dizzy, starting to laugh atthe silent flick effect of the strobe light -- the actionaround him slowing almost imperceptibly, overcranked -- aveil of smoke hanging over the fat woman's face, transformingher into a laughing witch -- a similar veil around Joe'shead, relaxing the self-conscious tension of his face,spontaneously curious about the play of light on his hand,grinning at...... a serious young technician handling the light show,scattering psychedelic stars across a sky of magenta flesh...... Joe reaching for the stars as he rises and wanders backto the crowded loft, fascinated to see...... a crew with cameras and lights, on the balcony at one endof the loft, photographing the scene below...... a dark-haired lady by the name of SHIRLEY -- chic in thestyle of a gangster's moll -- drinking beer from the bottle,predatory eyes searching the crowd...... Ratso surreptitiously stuffing his pockets from thebuffet table, glancing nervously over his shoulder, unawareof Gretel and her hand-held camera, photographing Ratso as hesteals, turning away casually, disinterested...... Joe laughing as he dances for a moment with a tall blackgirl -- the lights swinging around them -- faces swimming...... Shirley in fleeting close-up, gone in an instant,reappearing...INT. MACALBERTSON BATHROOM - NIGHT... her face in the mirror smiling in a dark, provocative way-- Joe standing at the bathroom door, forgetting to beembarrassed as Shirley turns away from the mirror,unhurriedly, running her fingers through her hair, boldlymeeting Joe's eyes. SHIRLEY I can tell, can't you? JOE Yeah, oh yeah. SHIRLEY What'll we do? Leave now or what? Your place or mine? Oh God, the second I looked at you I knew. Did you?Joe grins, watching Shirley's lips move, unable to keep herin sync, startled to hear Ratso's voice. RATSO'S VOICE She's hooked...INT. MACALBERTSONS' LOFT - NIGHTJoe realizes he is back at the party, Ratso whisperinghoarsely. RATSO ... I'd say she was good for ten bucks, but I'll ask for twenty...But Joe is watching with terrible fascination as Hansel andGretel lift the flower girl from her sarcophagus. SHIRLEY'S VOICE Did you know? We were going to make it?Joe glances down to see himself flanked by Ratso and Shirley. RATSO You really want to do business? SHIRLEY Who's he? Oh God! Don't tell me you two are a couple -- ?The flower girl, hypnotically dazed, accepts a broom dippedin black paint and smears a huge X across LOVE. Joe laughs. HANSEL'S VOICE Why are you laughing, Joe?Hansel holds a microphone toward Joe, who shrugs, grinning atRatso and Shirley. Gretel's camera moves down Joe's body. HANSEL Are you for real, Joe? JOE Well, I ain't a f'real cowboy, but I'm one hell of a stud!Shirley glances at Ratso, who nods, whispering in her ear. RATSO A very expensive stud. And I happen to be his manager.The scene -- from Joe's viewpoint -- becomes increasinglyconfusing and fragmented, dialogue and image moving in andout of focus, cameras and lights surrounding him, keeping thecenter of attention in his own blown mind...... Shirley's eyes unnaturally bright, inspecting his body,lingering on his thighs, moistening her lips... SHIRLEY It's too much -- to come face to face with a walking talking sex fantasy -- to buy a man's -- God!... the tall black girl dancing in stroble light, starting toremove her clothes -- Gretel following her with a camera... SHIRLEY'S VOICE I can't wait to tell my man Monday. I should be taking notes. Look at my arm!... Shirley's talon-like fingernails caressing the goosefleshon her tanned arm... RATSO'S VOICE I gotta sit down. I feel crummy.Ratso stretched out on a Victorian love seat -- the flowergirl walking unsteadily, passing out dead daffodils, placingone in Ratso's hand Gretel photographing his reaction... SHIRLEY'S VOICE Eat it -- a man in your line of work has to keep his strength up...... Shirley bringing Joe a massive sandwich on a paper plate,watching him bite into it... SHIRLEY It's fantastic, now I know, everything you do has sexual implications. If I you know, bought it -- could I take pictures of you naked? That's part of it, isn't it, kinky kinda things?... the tall black girl and a few others are trying topromote an orgy. A scrofulous old wino dances spastically,working his toothless gums, preparing to expose himself totwo girls dancing together... HANSEL'S VOICE We want you, Joe. You've been chosen.... five youths stand beside the sarcophagus -- two sailors,two cycle freaks, a weight-lifter -- waiting to bepallbearers. Joe joins them. All lights and cameras areturned on the slow funeral procession, carrying the flowergirl out of the loft to the tune of "Moonlight and Roses".Strobe light adds to the unreality of the scene... SHIRLEY'S VOICE I had a thing for him. Before I knew. Why should knowing make it more of a thing?... Shirley talks to Gretel as she photographs the funeral. SHIRLEY Naturally I'll have to ask myself why a cowboy? And why a cowboy whore? But not tonight.INT. MACALBERTSON LANDING - NIGHTShirley is pulling her coat out of the pile on the bannister. SHIRLEY Incidentally, how much is this going to cost me anyway?Joe turns to Ratso, whose attention is fixed on the coats. JOE Tell her, Ratso. RATSO Twenty bucks... SHIRLEY Sold. Let's go. RATSO ... and taxi fare for me. SHIRLEY Get lost. RATSO I agree. And for that service I charge one dollar taxi fare.She takes a dollar from her purse and hands it to Ratso,takes Joe's arm and starts down the stairs. Ratso lingers,starting quickly through the coats, frisking them for loosechange.INT. LOFT BUILDING LOBBY - NIGHTAt the foot of the stairs, Shirley kisses Joe violently. SHIRLEY Your name's Joe. Which is fabulous. Joe could be anyone. Kiss me, Joe, move over, Joe, go away, Joe. It's just perfect.They glance up as Ratso appears, swinging down too rapidly onthe bannister. He misses a step and falls -- a clown's fall,unable to stop but apparently not hurting himself. Shirleyand Joe are laughing when Ratso lands at the foot of thestairs. SHIRLEY (CONT'D) He fell. Hey, fella, you fell. Is he all right? RATSO (rises, mimics) Is he all right! JOE Well, if you're awright, why you hanging on the bannister. Can you walk or not? RATSO Walk? Naturally I can walk. SHIRLEY He's got taxi fare. JOE Sure you're all right? RATSO (shouts) I said yeah! Yeah, yeah, yeah!INT. TAXICAB - NIGHTJoe and Shirley are kissing. Shirley rolls away, flushed,fanning herself. Joe rolls down the window.EXT. VILLAGE STREET - NIGHTJoe leans out of the taxi window, waving his Stetson,bellowing at the snow. JOE Whoopee ti yi yo...!EXT. LOFT BUILDING - NIGHTRatso makes his way slowly from the building to the curb,whistling between his teeth sharply, hailing a cab. The cabslows to a stop. Then the driver sees Ratso, shifts into gearand drives on. Ratso bites his thumb after the cab, rests fora moment on the lamp post, then starts painfully inching hisway along the deserted street.INT. SHIRLEY'S BEDROOM - NIGHTJoe lies on his back, staring fixedly at a fragile mobilehanging from the ceiling, stirring listlessly. SHIRLEY'S VOICE That happens. Don't worry about it...Shirley leans on one elbow, looking at Joe sympathetically,fighting an almost irrepressible desire to laugh. Stillavoiding Shirley's eyes, Joe finds a cigarette on the sidetable, searches for matches. JOE Well, that's something never happened to me before, you can bet your bottom dollar. Uh, where's the matches, ma'am? SHIRLEY Top drawer. Maybe if you didn't call me ma'am, things would work out better.Joe finds the matches, lights up and lies back, staring atthe mobile as he smokes, still not looking at Shirley. JOE First goddam, time it ever quit on me. Fact.The repressed laugh finally breaks through. Shirley stiflesit quickly as Joe sits up, looking at her. JOE (CONT'D) You think I'm lying! SHIRLEY (controls herself) No. Of course not. Just something struck me funny...Close on Joe -- watching Shirley closely, reacting. SHIRLEY'S VOICE I just put myself in your shoes. I had this image of a bugler without a horn, a policeman without a stick, etcetera, etcetera and I... (giggles) I think I'd better shut up, I'm making it worse.Shirley composes her face, reaching out to touch Joe. Butthat doesn't help either. He reacts sharply. SHIRLEY Maybe we should take a little nap, see what happens? JOE I ain't sleepy. SHIRLEY I know. Scribbage!Extreme close-up of Joe -- frowning, puzzled... JOE Shee-it...... camera pulling back to show Joe concentrating on a game,spread out on the sheet, consisting of nine dice lettered onall sides, the object being to build as many words aspossible, Scrabble fashion, while a sand timer counts theseconds. Shirley watches Joe's efforts to think withsympathetic amusement. The only word Joe has composed so faris MAN. SHIRLEY That's pretty Freudian, Joe. JOE What? It's a perfectly good word, ain't it. How much time I got? (glances up) Goddam sand thing drive you crazy. Kee-rist. Spelling never was a very strong point with me. Even in school. SHIRLEY If you didn't talk so much, maybe you could think more. JOE Talking helps. Don't talk, you get muddled in your head. Hey! Now you just look at this here!Joe spells out MONY, down from the M in MAN. SHIRLEY There's an E in MONEY. If that's your word. JOE M-O-N-Y -- I'm right! That's just exactly how they spell it up there on that big building, bet you could see it from here. M-O-N-Y. SHIRLEY (stifles giggle) Okay. Never argue with a man. JOE Y -- what in hell starts with Y?Shirley slyly trails the tips of her fingernails across Joe'schest as she leans over to study the game, breathing softlyinto his ear as she speaks. SHIRLEY It can end in Y day, pay, lay -- hey, pay lay!One predatory hand rests on his knee -- as if by accident -disarranging the sheet, talon nails lightly brushing histhigh. JOE Cut it out. That's cheating, teasing me so I can't think. Just one bitsy Y word and I gonna beat you! SHIRLEY You gonna beat me, Joe? JOE Beat your butt, you don't lemme think! SHIRLEY Gay ends in Y. Fey. You like that -- gay fey -- is that your problem? JOE I show you what problem --But the end of his sentence is swallowed by Shirley, takinghis kiss in her open mouth, crushed by its impact, an animalnoise snarling deep in her throat -- the agonized alley catwail of pleasure -- Joe's problem is solved. Joe's love themeswells triumphant. At the same time, Shirley half-rises,trying to force Joe's head down, her own on top. The issue isjoined. Shirley has named the game. Her objective is to forceJoe onto his back. Joe's objective is to retain hisinitiative. Camera ignores the classic action on the centralfront, concentrating exclusively on peripheral tacticalmaneuvers...... Joe's elbows pinning her shoulders...... her eyes bright, accepting the challenge...... his tight smile revealing clenched teeth...... her fingers searching out then tickling his underarm...... Joe laughing as he falls lopsidedly...... Shirley laughing triumphantly...... his hand closing on her wrist...... her talon-nails clawing the air...... her toes walking up his calf...... her legs suddenly locking around his knees...... her free hand grabbing his hair...... her shoulder rising as she forces his head back...... her lips pressing down on his...... his hand swatting an unidentified mass of flesh...... her eyes popping, teeth clamping his ear lobe...... his hand catching her ankle...... her teeth losing the ear lobe as she screams...... her foot appearing upside down beside her face...... her talon-nails furrowing flesh, drawing blood...... his head rearing back, roaring...... both rolling to the floor, out of view...... her feet suddenly flying up into view...... her hand tugging rhythmically at the blanket...... her other hand wildly exploring Joe's back...... her ankles locking spasmodically...... her eyes and mouth wide, gaping...... the blanket suddenly ripping free, flying into the air asher arm flings itself around Joe...... the bedclothes spilling down around them, muffling herascending shrieks. JOE'S VOICE Whoopee ti yi yo...INT. SHIRLEY'S BEDROOM - MORNINGShirley has difficulty reverting to her nine-to-five role asa Madison Avenue career girl. Half-dressed for work, she istalking on the telephone, her eyes on the open door to thebathroom, through which Joe's voice continues singing. SHIRLEY Well, I really can't talk now, if you know what I mean, but believe me when I say, Myra, it's an experience every emancipated woman owes herself. I'm not. I'm not exaggerating. Well, what's Phil's poker night? (yells off) Joe -- are you available next Thursday, eight-thirty?INT. SHIRLEY'S BATHROOM - MORNINGThoroughly shaved, bathed and groomed, Joe is sprinkling anexpensive cologne into his boots. He yells backenthusiastically. JOE Well, lemme think now, Thursday, eight-thirty, yeah, I guess I could be available. Hell, yeah.INT. SHIRLEY'S BEDROOM - MORNINGShirley turns back to the phone. Joe appears, grinning. SHIRLEY Why don't you just come here? I'll be working every night this week. I'll leave a key with the super... JOE'S VOICE Well, ma'am -- Shirley -- I sure hate to trouble you, but...Shirley opens her purse, savoring the moment. As she placesthe money in Joe's hand...INT. MEN'S STORE - DAY... Joe slaps a bill on the counter, admiring a fine newcowboy shirt in the mirror, wriggling new white socks intohis boots. Suddenly remembering, he goes to the sock rack andbuys two pairs, one large and one small. Graduallydominating, Joe's love theme recurs, continuing over...INT. CHAIN DRUG STORE - DAY... Joe slaps down money to pay for an assortment ofmedicine.INT. CONDEMNED TENEMENT - DAYJoe takes the stairs two at a time to burst in on...INT. X FLAT - DAY... Ratso huddled in the overstuffed chair -- wearing thestolen sheepskin coat -- wrapped in blankets, his teethchattering, in spite of the sweat on his forehead. Joe stopsabruptly, his mood shattered by Ratso's alarming condition.They simply stare at each other for a moment, then Joe turnsaway to see soup heating on the Sterno stove. Joe tosses oneof his paper bags onto Ratso's lap... JOE See what you think of that crap. I'll pour your soup. Got some of that junk you like to swill, too. Mentholatum. Aspirin. All that shee it...Ratso opens the paper bag, trying to control his shivering,pulling out the socks and a suit of long underwear. He seesJoe watching him for a reaction. The best Ratso can do is aslight shake of his head. JOE (CONT'D) They wrong? RATSO No. But while you was buying the underwear, I could have lifted the socks. JOE You couldn't lift fly specks from a sugar bowl. Can you hold this?Joe hands Ratso the soup. Ratso seems steadied by the warmthin his hands. He nods, sipping the soup. RATSO But thanks. (hesitates, then) Hey, Joe, don't get sore about this or anything. You promise? JOE Yeah. RATSO Well, I don't think I can walk. (embarrassed) I mean, I been falling down a lot and, uh... JOE And what? RATSO I'm scared. JOE What of? RATSO What'll happen. I mean what they do to, you know, do with you -- if you can't -- ah, Christ! JOE Who? RATSO I don't know. Cops. Or the -- how should I know?Ratso is trembling so violently that the sou, starts to slopover. Joe takes it and sets it on the table. JOE Okay. Here it is. You gonna go see the doctor. I got nine bucks and twenty more Thursday and I gonna be riding high before you know it. So you gonna get you the best goddam doctor in this town and get yourself straightened out, that's what. RATSO No doctors. No, sir. Not me. Doctors are like goddam auto mechanics. Fix one-thing, unplug another. Operate for piles and while they're there, they unscrew your liver. My old man, for God's sake, wasn't any sicker'n I am when he went to the doctor. JOE Well, just exactly what the hell you think you're gonna do? Die on me? RATSO I'm going to Florida, that's my only chance. JOE You know what's wrong with you? You got fevers. You kinky as a bedbug. How you gonna get to Florida? RATSO I'll find the money. If you just get me on the bus, that's all I ask. JOE Just when everything's going my way, you gotta pull a stunt like this. RATSO I don't even want you to go. Whaddya think of that? I got other plans for my life than dragging around some dumb cowboy that thinks he's God's gift to women. One twenty-buck trick and he's already the biggest stud in New York City. It's laughable.Joe sets his Stetson on his head. JOE When I put you on that bus down to Florida tonight, that'll be the happiest day of my life!INT. PHONE BOOTH - DAYJoe strikes a match with his thumbnail and watches it curlaway while he waits, hearing a phone ring. Then the phone isanswered by a woman's voice. JOE Hey, Shirley... Miss who? Oh, yeah, well, when will Missus Gardner be home? ... I'm a friend of hers, a goddam good friend... Shee-it, I can't wait till then...Joe hangs up while the answering service's voice is stilltalking. The match has burned out. Joe flips it away.INSERTHeadline -- WALTER P. BOX TAKES NEW YORK BY SURPRISE.EXT. TIMES SQUARE - DUSKJoe loiters outside a gag headline print shop, his eyesfollowing a man in homburg and chesterfield.EXT./INT. METROPOLE - DUSKJoe lingers momentarily, identifying with the violence in ajazz drummer, his eyes searching for a pickup.INT. ARCADE - DUSKJoe tests his skills in a shoot-down with a large metalcowboy and kills him, a recorded voice sneaks, "Got me!" asthe cowboy slumps. Joe glances off as he hears politeapplause... TOWNY'S VOICE Bravo...... TOWNY -- a stout, round-faced man -- clasps Joe's handbetween both of his own, like an old friend. TOWNY How are you? (more quietly) Townsend P. Locke, from Chicago. Call me Towny. I'm here to attend a paper manufacturers' convention and, frankly, to have a little fun, dammit...Towny grips Joe's elbow, almost forcibly leading him away.EXT. SIDE STREET WEST OF BROADWAY - DUSKTowny's face appears huge at Joe's shoulder. TOWNY This is my first night in town and I'll consider it a ghastly omen clouding my entire ten days, if you don't consent to have dinner with me. Anywhere you like...Towny's mouth continues speaking at an incredible rate, buthis words are drowned out momentarily by the grinder of asanitation truck, chewing up a discarded Christmas tree withtinsel clinging to it. Towny is still talking when they'vepassed the truck. TOWNY (CONT'D) ... never mind how you're dressed. They know me. I'll say you're with the rodeo. There's always a rodeo in New York, dammit. Besides, you look very elegant...EXT. STREET CORNER - NIGHTJoe hardly notices O'Daniel on a far cornet, his whiningscarcely audible."Ye are the salt of the earth, Jesus said, but if the salthath lost its savor, wherewith shall it be salted?" TOWNY But, dammit all, I just remembered, we'll have to eat in my room because I have this phone call coming at nine-thirty...INT. TOWNY'S HOTEL ELEVATOR - NIGHTAn ancient open cage lift. TOWNY What I like about you, you're such a wonderful conversationalist. So won't that be nice to have dinner sent up?INT. TOWNY'S HOTEL CORRIDOR - NIGHTA threadbare, carpeted but spacious hallway. TOWNY Fifty years ago this was the only hotel in Manhattan. My mother always calls me at her bedtime, so I've got to be there.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTThe room has little to recommend it except its size and largeFrench window, through which -- ignored by Joe -- the Mutualtower flashes MONY. Towny waves Joe toward the couch, quicklyslipping several physical culture magazines from the coffeetable onto a shelf beneath. TOWNY A drink? I've got some nice gin. If you'd prefer something else, they'll send it up... JOE Gin's okay. TOWNY It's so exciting. New York. The mad forward thrust of everything. My sense of time here is completely altered.INT. TENEMENT STAIRS - DAYJoe carries Ratso down the stairs, wrapped in a blanket.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTThe coffee table is littered with empty cartons of Chinesefood, soaked through with brown sauce. Joe finds the last eggroll and eats it as Towny's voice drones on. TOWNY Sometimes it seems to me time stopped twenty years ago. There was this war, there was this handsome young man with quite black hair and he was supposed to die. But he didn't. Isn't that amusing? JOE What?Towny's dialogue moves out of sync. Towny's eyes seem to lookinto camera -- from Joe's viewpoint -- but slightly past it.The quality of the scene grows increasingly disjointed as Joeglances around the room, looking for something to steal,losing personal contact with Towny, viewing him as an objectto be used for a specific purpose. TOWNY Enough about me. I'm through talking for the evening. Now I want to hear about conditions in the West. The romance of the West holds a tremendous power over me. Mother was actually a pioneer woman, can you believe it? When she calls, I'll introduce you and she'll be so thrilled.EXT. TENEMENT NEIGHBORHOOD - DAYRatso sits an a stoop while Joe hails a cab.INT. TOWNY'S BATHROOM - NIGHTTowny's voice is only a shrill monotone from here, Joesearches with increasing desperation for something of value.An old electric razor is too bulky for Joe's pocket, probablyworthless anyhow. Towny's array of medicines merely recallsJoe's purpose. TOWNY'S VOICE Mama, a coincidence. Guess who was being discussed. Discussed. Not disgusted. Discussed! Do you have that thing turned up? Why aren't you wearing it! This is impossible!EXT. GREYHOUND BUS TERMINAL - DAYJoe lifts Ratso from the taxi and carries him inside. JOE'S VOICE Listen, Towny, did I mention I got a sick kid?INT. TOWNY'S BATHROOM - NIGHTJoe is rehearsing the speech in the bathroom mirror. JOE Well, he is, he's sicker'n shee-it. And I've gotta get him South quick as I can...INT. GREYHOUND BUS TERMINAL - DAYJoe stands in a long line, glancing impatiently at the clockwhile Ratso waits on a bench, wrapped in his blanket.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTTowny is stretched out on the couch, staring morosely. TOWNY I was so childish with her.Joe moves into frame past camera, standing in front of him,so that we can see the scene from behind Joe's waist. JOE What d'you want? TOWNY What? JOE What you got me up here for? TOWNY Oh, difficult, it's so difficult. You're a nice person, Joe -- I should never have asked you up -- a lovely person. Oh, how I loathe life. I loathe it. Please go. Please. JOE You want me to leave? TOWNY No, yes. No, I mean yes please go. Help me to be good. Come back tomorrow. Promise. JOE I'm going to Florida. TOWNY This is terrible. I meet someone who -- then -- wait, I want to give you a present. For your trip. You'll let me please...INT. GREYHOUND BUS TERMINAL - DAYJoe's face is expectant, next in line at the ticket window.He nods reassuringly toward Ratso.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTJoe's face is puzzled then angry as Towny takes a SaintChristopher medal from his sack and hands it to Joe. His eyesare looking past Joe, his speech out of sync. TOWNY Please take it. You don't have to be Catholic. Saint Christopher is the patron saint of all travelers. I want you to have it. For helping me be good.INT. GREYHOUND BUS TERMINAL - DAYIt's Joe's turn. The clerk looks at him expectantly.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTJoe's voice is angry. JOE Listen, I gotta have money. TOWNY Oh. Yes. Of course. I should have thought. You shouldn't have to ask. That was thoughtless of me. Yes. Wait here...Towny hurries across the room to the bedside table. Besidethe telephone is a picture of a prosperous pioneer womanwearing a hearing-aid.Towny tries to conceal his movements as he takes a walletfrom the drawer, lifts out a bill and tucks the wallet backand turns -- terrified to see Joe close behind him -- almostknocking the lamp off the table in his fright. Pressedagainst the table, protecting but calling attention to hiswallet, Towny holds out the bill. TOWNY (CONT'D) Here. Don't even thank me. JOE (takes the bill) I gotta have more'n ten. I gotta have fifty-seven dollars. TOWNY I simply don't have it, Joe. JOE Get outta my way. TOWNY You're wasting your time. There's nothing in there.Towny clutches the table, staring at Joe, shaking his headlike a bad little boy. Joe backhands him angrily. Trying toduck the blow, Towny stumbles and slips to the floor, butgrabs the table in his arms, watching Joe out of the cornerof his eyes, whimpering. Joe grabs his hair, turning his faceup. JOE Let go. Let go of the table.Joe slaps him, but Towny clings more fiercely to the table asJoe tries to jerk it free. Joe strikes him with his fist. TOWNY I deserved that, I know I did.But he clutches the table wildly. His mother's picture fallsunnoticed. Joe stands in panic, sickened, unable to fulfillthe role Towny has assigned him. TOWNY (CONT'D) I brought this on myself. I'm bleeding, my nose is bleeding, isn't it?Towny's eyes shine, teeth clenched in a crazy smile, bloodtrickling from his nose. Suddenly Joe jerks the lamp free ofits socket. JOE You wanna gimme fifty-seven dollars or you wanna busted skull?Towny simply stares at the lamp. JOE (CONT'D) Please let go of that table.Joe threatens, swings the lamp down, but stops short ofhitting Towny. Towny shrieks -- eyes rolling back as he fallslimp -- loosing his grip on the table, leaning on the bed,laughing and crying hysterically. Joe has to step over him toreach the wallet in the drawer. He takes all the money --probably twice what he needs -- desperate to get out of theroom.INT. GREYHOUND BUS TERMINAL - DAYJoe carries Ratso up the steps onto the bus.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHTTowny's shrill little whisper says... TOWNY Thank you, Joe.... provoking Joe to glance back. Towny is reaching for thetelephone, his eyes on Joe with wild brightness, holding hishand on the receiver. Joe knocks the phone from his hand,hits Towny in the mouth, jerks the cord from the wall asTowny falls -- gagging -- finally dislodging his dentures onthe carpet. Joe stands sick and confused, holding the uselessphone in two hands...EXT. GREYHOUND BUS TERMINAL - DAYThe bus driver revs the powerful engine, shifting gears.INT. TOWNY'S BEDROOM-SITTING ROOM - NIGHT... Joe is about to hang the dead receiver on its hook when on sudden impulse -- he shoves the small end of the receiverinto the toothless mouth of the man on the floor.EXT. LINCOLN TUNNEL - DAYThe bus roars into the tunnel.INT. GREYHOUND BUS - DAYJoe and Ratso sit near the rear of the bus. Ratso's teethchatter, wrapped in the blanket. RATSO Thirty-one hours.They ride a few moments in silence. RATSO (CONT'D) The trip is. Nine-thirty in the morning we get there. Not this morning but the next one at nine thirty.Both nod for a moment in silence. JOE These guys're good drivers. RATSO They gotta be. JOE Yeah.EXT. HIGHWAY - DAYThe bus tires sing as it speeds South.INT. GREYHOUND BUS - DAYJoe and Ratso have reversed places, putting Ratso by thewindow. Joe watches a middle-aged couple try on their newstraw hats, unaware that Joe is watching them. RATSO You get your first palm tree in South Carolina. JOE How'n hell a dumb Bronx kid like you know that? RATSO I read it. JOE Shee-it. You believe all you read?EXT. BRIDGE - NIGHTThe metal grating rings as the bus soars onto it.INT. GREYHOUND BUS - NIGHTTwo aging young ladies in brand-new resort wear are casuallyexamining Joe, along with the other men on the bus, but Joeis frowning at Ratso, who shivers despite the bright sun. JOE If you have to shiver, why don't you pull the blanket up more? RATSO I been thinking. I hope we're not gonna have a lotta trouble about my name down there. Because like what's the whole point of this trip anyway? JOE Keep the goddam blanket on. RATSO I mean New York's one thing, but can you see this guy, imagine it, running around the goddam beach all suntan and he's going in swimming, like, and then somebody yells 'Hey, Ratso' -- how does that sound to you? JOE Sounds like they knew you. RATSO Sounds like crap, admit it. And I'm not gonna have it. I'm Rico all the time, okay, do you blame me? That's agreed, okay? We're gonna tell all these new people my name's Rico?Joe nods. Ratso closes his eyes, momentarily at peace.EXT. HIGHWAY - DAWNThe bus passes a Florida hotel sign too swiftly to read it.INT. GREYHOUND BUS - DAWNJoe frowns in his sleep, awakens, lifts his Stetson to seeRatso wide awake, in misery, wiping tears from his eyes. JOE Hey -- whatsa matter? RATSO (barely audible) I'm wet. JOE You're what? RATSO I wet my pants! My seat's all wet. JOE Hell, don't cry about it! RATSO Here I am going to Florida and my leg hurts, my butt hurts, my chest hurts, my face hurts, and like that ain't enough, I gotta pee all over myself.Joe laughs suddenly, uncontrollably. RATSO (CONT'D) I'm falling apart, that's funny? JOE (nods, laughing) You just -- just -- what happened, you just had a little rest stop wasn't on the schedule.Ratso begins to laugh with Joe as if it were the funniestthing they'd ever heard. Then Ratso's face pales as he startsto choke and cough. Joe pats him on the back. JOE (CONT'D) Hey, what size pants you wear?EXT. SMALL TOWN STREET - DAYThe bus is parked in the distance. Joe comes from a clothingstore, bare-headed, wearing plain slacks and sport-shirt. Hecarries the boots, Stetson and cowboy suit in one hand, abundle under his arm. He dumps his cowboy regalia in thetrash bin of a sandwich stand and calls to the WAITRESS. JOE Couple crullers'n coffee to go.The Waitress draws coffee, wraps crullers. WAITRESS Where you from? JOE New York.Joe pays. She smiles, gives him change. Joe smiles, starts ontoward the bus, hardly aware that he has accomplishedsomething rare and remarkable for Joe -- a simple humancontact without fear or threat, a pleasant everydayhappening.INT. GREYHOUND BUS - DAYJoe and Ratso have moved to the seat farthest back, widerthan the others. Joe blocks the view of the other passengersas he helps Ratso into a new pair of corduroy pants and aFlorida shirt. In the middle of the operation, Ratso dozesoff. Joe shakes his head, scowling, annoyed, but continues,lifting Ratso enough to slide the pants around his waist.Ratso awakens as Joe zips the fly. RATSO Hey, what the hell you doing? JOE I'm zipping your fly, what the hell you think I'm doing?They both smile. It isn't funny enough to laugh at. Joearranges the blanket, takes out a package of cigarettes,glances at Ratso and puts it away.EXT. TRAVELING SHOT WITH BUS - DAYPalm trees are streaking past the window. The sun is glaringhot. A group of kids in bare feet and straw hats wave to thebus as it passes.INT. GREYHOUND BUS - DAYRatso's eyes squint in a dazed half-sleep. Joe leans acrossto pull down the shade. He hesitates a moment, watching...... past his reflection, a group of young men on their way towork, carrying lunch pails, dressed exactly as Joe is nowdressed...... then Joe lowers the blind and seats himself. Ratso nodsslightly, his voice practically inaudible. RATSO Thanks, Joe. JOE Shee-it, you know, I got this thing all figured out, Ratso. I mean Rico. When we get to Miami, what I'll do, I'll go to work. I gotta do that, 'cause see, I ain't no kind of a hustler. I ain't even any goddam good as a bum. I'm a nothing, that's what I am. So reckon I'd better go to work and get me a goddam job. Okay?Joe glances at Ratso, but there is no response.Surreptitiously, Joe takes out a cigarette, turns his faceaway from Ratso and lights it, hiding it cupped in his handas he smokes. JOE (CONT'D) Yeah, guess that's what I'm gonna do.They ride for a moment in semi-darkness, Joe smoking, lookingat the other people on the bus, brighter without the shadesdown. Joe turns, checking the blanket around Ratso, noticingthat Ratso is sitting in a peculiarly stiff, awkwardposition. Joe leans over to straighten Ratso's head, blockingour view for a moment. Then Joe leans back, frowning,thoughtful. We still do not see Ratso's face. Joe risesslowly, starting forward in the bus...... passing an older couple, a schoolgirl, two ladies withstraw hats, a young man trying to read, pausing when hereaches...... the DRIVER, staring out at the Sunshine Parkway with theDriver, leaning over so he won't have to speak too loudly. DRIVER Yes, sir? JOE, My friend's dead in the back seat. DRIVER Your friend's what in the back seat? JOE Dead. Dead as a doornail. DRIVER Is this some kind of...He glances at Joe, then pulls off the road and stands up. DRIVER (CONT'D) Okay, folks, everything's fine. Nothing to worry about.The passengers crane their necks as Joe follows the Driver tothe rear of the bus. The passengers at the rear are staringahead, trying not to see what is going on. The Driver touchesRatso, straightens, touches his hat, but doesn't remove it. DRIVER (CONT'D) Is he kin to you?Joe nods no. DRIVER (CONT'D) Don't you want to close his eyes? JOE Close them? DRIVER Just reach over and close them. That's all.Joe closes Ratso's eyes. DRIVER (CONT'D) I guess we'll just drive on, right? Nothing else to do. JOE No, sir. Not till Miami. I'll see to burying then.The Driver moves to the front and turns to the passengers. DRIVER Just a little sickness, folks, nothing serious. We'll be in Miami... (looks at watch) ... in forty minutes.INT. GREYHOUND BUS - DAYJoe sits stiffly, very frightened, as the bus starts on. Thenhe glances at Ratso, frowning, reaches out an arm and puts itaround Ratso, settling back, staring straight ahead. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Midnight Express.txt b/unformated_scripts/Script_Midnight Express.txt new file mode 100644 index 0000000000000000000000000000000000000000..2b2532551c66316ed8e45f7ace659b1f29581ecf --- /dev/null +++ b/unformated_scripts/Script_Midnight Express.txt @@ -0,0 +1 @@ + MIDNIGHT EXPRESS Screenplay by Oliver Stone Based on The Autobiography by Billy Hayes with William Hoffer Revised Draft June, 1977 PROLOGUE BLACK SCREEN - SUPERIMPOSE: THE FOLLOWING IS BASED ON A TRUE STORY. IT OCTOBER 6, 1970 ISTANBUL, TURKEY - SOUND UNDER, SHARP: CRACKLE - RIP - SNIP... FADE IN: A SET OF CLOTHES ON A HOTEL ROOM BED -- trenchcoat, bulky white turtle-neck sweater, T-shirt, jeans, Western style boots. SOUNDS continue, Accentuated. MOVE Across open TRAVEL BAGS On The bed. Clothes, possessions. CONTINUE Across FURNITURE, WASHBASIN, TOILET...A large room, high old ceilings And windows suggesting Ancient Europe & design, A haunting greenish AFTERNOON light. We MOVE to HANDS, TIGHT - drawing out a strip of adhesive tape, SCISSORS move in TIGHT...SNIP! UNDERARM, TIGHT. Tape being laid over it. BACK OF SHOULDER. TIGHT. Tape going on. BELLYBUTTON, TIGHT. TAPE going Then: a harsh RIP! SOUND and the tape comes off the bellybutton. HANDS with new strip of tape. Moving to: HASHISH PLAQUE. Four of them, thinly pressed. One on top of the other. The HAND wrapping a portion of the TAPE around them and: BELLY, TIGHT. SOUNDS of BREATHING stop. The belly is sucked in. The TAPE is pulled HARD across, then CLINCHED. We hear F.X. of HEART BEAT-- MOVE UP THE CHEST TO: BILLY HAYES - 21, baby-face, attractive, medium build an aura of innocence. His eyes moving off his belly to: MIRROR. FULL SHOT. Climax. A creature in a bondage of his own devise, he is naked in his underpants, his body criss-crossed by a network of TAPE and 40 tightly pressed plaques of HASHISH in every conceivable crevice of his body. The eyes are hard. NIX THROUGH HEART BEAT, SOUNDS OF AIRPORT. CUT: INTERIOR ISTANBUL AIR TERMINAL dirty, crowded, wooden benches, peddlers. Turkish flight instructions on LOUDSPEAKER, followed by mediocre English translations. NOTE: ALL DIALOGUE IN TURKISH TO FOLLOW WILL BE MARKED OFF BY PARENTHESIS. A CERTAIN WILL BE SUBTITLED, BUT SOME NOT. LOUDSPEAKER VOICE Pan American Flight 1 to Frankfurt, London, and New York has arrived and will be ready for boarding at Gate 7 in 20 minutes. REPEAT IN ENGLISH over: BILL walking down a long CORRIDOR. He moves somewhat stuffly in the clothes we saw laid out on the bed; his face complicated by dark, rather ridiculous aviator sunglasses and an increasing edge of nervousness to his actions. With him is: SUSAN 23, healthy outdoor looks, dressed casually colorful like an American student abroad. APPROACHING P.O.V. - a group of TURKISH SECURITY GUARDS, in rumpled green uniforms, at a security CHECKPOINT inspect the carry-on bags of several PASSENGERS. BILLY tensely contemplating the guards as he walks. SUSAN digging in her bag for her passport as she walks. BILLY, looking from guards ahead to SUSAN. He suddenly breaks stride, still a fair distance from the checkpoint. SUSAN glances at him. He is holding his belly. BILLY I think I've been poisoned. SUSAN And you ate two baclavas, right? I not to touch them, mine was awful. BILLY (his voice strained) Look, I think I'm going to have to go to the john again. You go on through, I'll catch up. With a sense of panic, he turns and goes back down the corridor without waiting for a response. SUSAN concerned, moves on. CUT: BILLY in the WASHROOM MIRROR, again checks himself out. His glasses are off, and he has just watered himself down. But the SOUND of his HEARTBEAT is up, and his nerves are visible in his eyeballs and he knows it. He dabs at the sweat on his sideburns. He closes his eyes, takes a DEEP BREATH. A pause. He puts his dark sunglasses back on. Turns away from the mirror. No going back now. ADVANCING P.O.V. - SECURITY CHECKPOINT. The GUARDS again. Closer, closer, Guns in their HOLSTERS. SOUND of billy's heartbeat, CLOSE - GUARD smoking a cigarette, bored, uniform, looks at BILLY. CUT: The GUARDS again.SOUND of Billy's in a tattered olive GUARD Passport! BILLY PASSPORT. The Guard's tobacco-stained FINGERS take it open it. Basic information on Billy: Birth Date April 17, 1949. Birth Place: Babylon, Long Island. No wife, no minors. Signature. GUARD gives it back to BILLY. GUARD Bag! BILLY opens his shoulder bag, proffers it. The GUARD tosses it, pushing aside books, grabbing a white plastic dish. GUARD Nebu? BILLY (Understand the Turkish expression, "What's this?") It's a frisbee. GUARD Nebu? BILLY A Frisbee. (makes a throwing gesture of the wrist) You throw, catch it. Game! Curious, one of the other GUARDS ambles over looking at the frisbee. BILLY tightens. Cursing the frisbee. Sweat now runs his sideburns again. HEARTBEAT up. 2ND GUARD American game. Baseball. GUARD Ah! (puzzled, turns the Frisbee around and around) THE SECOND GUARD studies BILLY curious about the sweat. Suddenly reaches up, indicates the eyes. GUARD Take off the glasses. BILLY understanding the gesture rather than the words, removes his glasses. His eyes. Straight, staring at the GUARD without trying to look away. A long moment. FIRST GUARD stuffs the frisbee back into the bag. Scowls. Takes a puff on his cigarette, coughs. Phlegm rattles around in his throat. Reads the International Herald Tribune, seated on a crowded olive-colored out on the tarmac She has saved him a seat and pulls her bag off as BILLY sits down. FIRST GUARD Aaaah! He waves BILLY through. BILLY puts his glasses walks past the back the SECOND GUARD turns away. BILLY walks past the Checkpoint. His HEARTBEAT drops. SUSAN reads the International Herald Tribune, seated on an crowded olive-colored BUS out on the tarmac. She has save him a seat and pulls her bag off as BILLY sits down. SUSAN Are you all right? He looks at her. Relief. A smile, awkward - he wishes he could tell her. BILLY Yeah... Yeah. Lays his head back on the wooden bench. Reaches out: TAKES HER HAND in his. She returns the grip. THE BUS DOOR slams shut. THE TURKISH BUS DRIVER rolls the bus out towards the PLANES visible in the far distance?. SUSAN, feeling Billy is better, shows him the Herald Tribune. SUSAN (saddened) D'you see this? Janis Joplin died yesterday. BILLY, his sunglasses removed, looks at the paper, almost abstractedly. SUSAN (OFF) Overdose, in a Hollywood motel. NEWSPAPER Picture of JANIS JOPLIN. That big, earthy, rugged smile. BILLY'S P.O.V. - Moves Up page One To The Headline: NIXON OUT-RAGED AT PALESTINIAN HIJACKERS: CALLS FOR CAPITAL PUNISHMENT SUSAN (a faint voice) Never Was anybody like Janis. BILLY, thinking other happier things, reaches over and playful!.:squeezes her tit twice, rapidly. BILLY (smiles) Never was anybody like you... SUSAN (annoyed, brushes his hand away ,a clicking sound in her throat) You can't take anything seriously. BILLY (smiles) You're right. Bus stops suddenly. BILLY changes expression. THROUGH FRONT WINDSHIELD we see TURKISH SOLDIERS in several HALFTRACKS drawn up in a semicircle blocking the bus. The Pan American PLANE is directly behind. Also JEEPS and a POLICEMAN waving the bus down. BUS BOOR opens and the Turkish Police OFFICER hops aboard briskly: OFFICER Attention please, Ladies and Gentlemen. For your own safety we're conducting a security check before you board your airplane, Kindly file out the back. Women and children in one line. Men in another. PASSENGERS. A confused hum. VARIOUS PASSENGERS What's he saying? I don't know... Marian. Hey Marian, what the hell... The Turkish-speaking PASSENGERS are gathering together their items and beginning to exit as: POLICE OFFICER repeats, in ENGLISH POLICE OFFICER Idem. CLOSE BILLY. The POLICE OFFICER is only beginning the speech.in English but already Billy realizes, And it's panic. Silent panic. That horrendous cold feeling all over his back: Oh God what have I done, what can I do now? He freezes. MOVE TO SUSAN rising, fetching her things, irritated. SUSAN Jesus, they do everything ass backwards in Turkey. Behind her we see the other AMERICAN PASSENGERS beginning to disembark with the usual chorus of overlapped conversations, expletives, including: PASSENGERS They're checking for hijackers. Any Palestinians aboard? Hey Harry, get rid of your grenades... Laughter is returned from several of the American contingent, but we MOVE BACK to BILLY in foreground; all of a sudden he is on his knees trying to crawl under the seat. SUSAN (OFF) Billy, what's the matter? BILLY My passport! SUSAN No! She bends down to look, coming FACE TO FACE with him. He grips her arm. BILLY (low voice) Susan - forget it. Go get us a seat on the plane. Now. SUSAN (picking up the real fear in his voice) What is it? . . . Billy? BILLY (a fierce whisper, panic) For Christ's sake, just GET on the plane, okay! His tone stuns her; never before has he spoken to her like that. A LOOK between them; he has his glasses off now. She's not a stupid girl by any means and realizes something is very wrong and for the both of them, she'd best do exactly as he says. And fast. She moves OUT OF SHOT. BILLY, crouched low in the aisle starts to work fast, his finger: shaking reaching into his sweater starting to work the TAPE loose from around his chest; looking from under the bench. Still quite a bit of commotion as passengers are exiting. BUT THEN: BILLY P.O.V. - UNIFORMED LEGS coming slowly down Isle Towards him. The muzzle of An M-l RIFLE tapping loosely Against the side of the kneecap. PAN WITH and MOVE UP as TURKISH MILITARY LIEUTENANT comes into view, intersecting outgoing PASSENGERS, eyes casually coming to rest on: BILLY looks up from his kneeling position on floor; his sweater rolled back down; he indicates the passport in his hand. "Just found it" expression. MOVE to the LIEUTENANT not necessarily suspecting anything, but with a customary insolence reserved for young vagrant- types, he stretches his rifle arms length with one hand and gently prods Billy up with the tip of the muzzle placed under his chin. MOVE BACK to the OFFICER, bringing the rifle back to his side, indicating Billy get off the bus with the others. All in silence. CUT: BILLY among a group of MALE PASSENGERS funnelling into two lines that pass on either side of a wooden inspection table. Thirty TURKISH SOLDIERS with rifles ring the area. It is open, vast, no place to run or hide. The only apparent hope is to melt into their regular jostling patterns of the passengers impatiently waiting. TWO PLAINCLOTHESMEN (Police) are on each side of the table, body-searching the male passengers alternately. SUSAN is in a similar set-up twenty yards away, with FEMALE ATTENDANTS doing the searching. She glances at Billy as she undergoes search. She is cleared, passes on, towards the ramp of the plane. BILLY, his sunglasses off, smoothly melts among the male PASSENGERS pulling some books from his shoulder bag. Glides to the head of the line. MOVE TO: The FIRST OFFICER patting down a PASSENGER, his back partially turned to Billy. MOVE AROUND bringing him into foreground as: BILLY skirts him in the background, camouflaged among two other conversing PASSENGERS waiting for the SECOND OFFICER who now appears in foreground on the lateral TRACK; he is busy with another passenger. In passing him, Billy replaces the books in his shoulder bag as though he had already been searched by the first officer, Tension. FOLLOW BILLY as he approaches the boarding ramp. BILLY P.O.V. - SUSAN at the top of the ramp waiting. Smiling STEWARDESSES. Pan America. Haven. BILLY - FOOT rising off Turkish soil onto ramp. TURKISH HAND lightly touching Billy's elbow, then grasping the ARM. TURK (OFF) Just a minute! BILLY his eyes flattening. SUSAN in LONG SHOT, reacting. BILLY turns trying to seem casual; he confronts the SECOND OFFICER face to face and gestures towards the: FIRST OFFICER who happens to glance at them. SECOND Nebu? Did you search him? FIRST OFFICER (frowns) No! SECOND OFFICER tightens his grip on BILLY, angry, and pulls him back to the TABLE. MOVE with them. The officer has been lied to; in addition he is young, inexperienced, about eighteen. SECOND OFFICER (grunts a command, makes a gesture) BILLY, comprehending, spreads his arms. The OFFICER pats him down carefully, brushing against his armpits. Precisely in the area where we saw the hashish. But incredibly he doesn't notice, continuing to work his way down the hips and legs. CLOSE BILLY eyes on the sky behind the OFFICER, praying silently for a break. TURKISH FINGERS moving up the inside of his legs, onto his belly, touching the hard bulge below the navel. But again not noticing. BILLY in limbo, SOUND of his heartbeat. SECOND OFFICER pausing, his fingers around Billy's chest, about to let it go, then: PLACES HIS HAND suddenly flat on Billy's heart. OFFICER, sensing the accelerated Heartbeat, stares at: BILLY whose eyes jump, startled by this technique. FINGERS like excited spiders quickly run back up into the armpit area. STOP - right on the packets. TURKISH EYES SWIVEL to BILLY EYES CLOSE. Frozen moment. Then, sudden blur of movement at the edge of frame. SECOND OFFICER jumping back, grabbing his pistol from his holster, crouching on one knee, aiming the gun barrel at BILLY, hand shaking. He is terrified. SECOND OFFICER (screaming) Bomb! He's got a bomb! AMERICAN PASSENGERS scream and the deck all around. AMERICAN PASSENGER Bomb! Bomb! BILLY stands there, arms straight up in the air, eyes clamped shut, trying not to breathe. CHORUS of rifle and revolver CLICKS OFF as: PULL BACK to OVERHEAD SHOT BILLY surrounded by thirty SOLDIERS with rifles pointed at him from all directions, crouched nervously. The PASSENGERS all huddled on the ground. BILLY, eyes closed. Edge of frame shows a shaky muzzle a REVOLVER poked into his belly, moving up. MOVE to THE FIRST OFFICER, older, more experienced but scared, poking with the revolver; reaches in with his hand cautiously, starts to pull up the turtleneck sweater. MOVE with the hand, revealing the HASHISH PLAQUES around the navel. A pause. His HAND draws the sweater higher. More PLAQUES. FIRST OFFICER'S FACE relaxes. Starts to smile, finding it funny. FIRST OFFICER (yells out) It's hashish. just a smuggler. SOLDIERS (OFF) (in chorus echo, relaxing, chuckling) Hashish...smuggler...hippy... MASTER ANGLE SOLDIERS REGROUPING. PASSENGERS starting to rise from the ground. SUSAN dumbfounded watching all this from the door of the PLANE, starts back down the ramp. But a flow of upcoming PASSENGERS slows her descent. BILLY is led roughly by TWO SOLDIERS parallel to the plane his hands on his head. He manages a glance at Susan. A slight but strong movement of the head and eyes. 'No. Don't come down the stairs' SUSAN understands it, looks helplessly, hesitates lost between two worlds. A silent shaping of a puzzled mouth. SUSAN ...Billy...? She is washed back along in the flow of passengers. CUT: VIP ROOM AIRPORT LOUNGE. The scene moves very fast, Indicating A sense of chaos. Much smoke. Many phone calls. Half A dozen Turkish police OFFICERS Are bizarrely seated In A row of fold up chairs next to A desk. Chattering among themselves (AD LIB) lighting their Turkish cigarettes. They hardly pay attention as: MOVE TO BILLY, scared, sweating - backlit by the huge windows overlooking the airstrip. In background, we see the 707 Pan American PLANE beginning to circle towards the runway. GUARDS have stripped him down to his bare chest and now knife through the adhesive tape from two sides at once. Then RIP the tape off. BILLY winces. ANOTHER ANGLE the room. Billy's luggage Is being Tossed. Clothes fly through the air. A sweatshirt; Marquette University Rowing Team. A 35mm camera. A gift package for his mother ripped open. A silver Turkish kettle, clanging To The floor. Another package is ripped open and a set of Turkish tea cups smash and break all over the floor. Very fast. BILLY watches, bewildered. He is stripped of the last plaque in of the confusion is that each time another police officer his navel. FOLLOW the plaque clattering onto the pile of forty plaques. FIRSTOFFICER (OFF) Name? BILLY (OFF) William Hayes. MOVE BACK QUICKLY to the OFFICER with notebook at the desk. Part of the confusion is that each time we see another police officer we see he has another face. FIRST OFFICER Vi... Vilyum... Vilyum... BILLY (OFF) Hayes. FIRST OFFICER Hi-yes... (writes it down) ANOTHER ANGLE -- FIRST OFFICER 'Merican? BILLY (nods) New York. The OFFICER is puzzled. BILLY New York... New York... FIRST OFFICER Ahhhh...Nev Yok! (writes it down) A LOUD SOUND OFF. The DOOR flies open and ANOTHER OFFICER strides in. Paunchy, moustached. The room is suddenly silent as we TRACK him in, followed by a grinning civilian FLUNKY with a big portable photo instrument and bulb. THE FIRST OFFICER jumps up from the desk, makes an obsequious salute to the SECOND OFFICER who arrogantly acknowledges it and takes the vacated chair behind the desk. The FIRST OFFICER moves to the first fold-up chair in the row, pushing the police officer in that chair further down. THIS OFFICER, in turn, shoves the next man down. It goes all the way down the line like a comedy until the last man in the row stands up against the wall. But this is all in the background as: SECOND OFFICER Name? BILLY William Hayes. SECOND OFFICER Vil... Vilyum...? BILLY Hayes... Sharp SOUND OFF of FILM BEING RIPPED FROM CAMERA. He darts a look at POLICEMAN stretching the undeveloped film out. Another loud SOUND OFF, interrupting this-- THE DOOR flies open again and a THIRD OFFICER strides in, obviously the most important yet, because the SECOND OFFICER jumps up from the desk, and all the others immediately move down one seat in the hierarchy without a moment's hesitation. But the THIRD OFFICER strides right up to Billy, waves to the SECOND OFFICER. THE CAMERAMAN in background bubbles with enthusiasm, sliding into position. Billy is puzzled - what's going on? His arm is grabbed and he is swivelled around. REVERSE ANGLE - OVER CAMERAMAN BILLY in the middle, flanked by SECOND and THIRD OFFICER, grinning like big game hunters, their arms on his shoulders. The FIRST OFFICER, sticking a bunch of hashish plaques into Billy's hands, runs OUT OF FRAME. BILLY looks from side to side. The SECOND OFFICER pats him hard on the back of the head, meaning 'look at camera'. BILLY glances at him, sees the grin on both the officers' faces. Thinking this is the necessary expression, he grins at the camera. CAMERAMAN disgustedly looks up from his eyepiece. CAMERAMAN No.. He's smiling. Make him look miserable. SECOND OFFICER slugs BILLY in the stomach with a quick back-handed fist. BILLY groans, sinks to his knees. The plaques fall on the floor. FIRST OFFICER (running up) Gel? Gel?? He growls, grabbing Billy's arm and hauling him up, gathering the hashish plaques and putting them back in his arms. The TWO OFFICERS put their arms back on Billy's shoulders. BILLY, in pain, makes the proper expression of misery. FLASH! The bulb goes. CUT: THE 707 PAN AMERICAN PLANE, destination New York, roars up into the sky. PULL BACK all the way to BILLY sitting next to the window, huddled over, feeling woozy and near vomiting. He glimpses the plane but it is anti-climatic now; as he stares down at his boots. Then remembers something! Surprised. ANOTHER ANGLE - ROOM. The Turkish OFFICERS talk AD LIB among themselves, congratulating, slapping shoulders, pointing to the hashish plaques, etc. In center background, we see BILLY submissively lifting his arm for permission to speak, THIRD OFFICER nods, approaches, followed by OTHERS. BILLY slowly, partly out of pain, pulls off one of his boots, bangs it on the heel and two more PLAQUES clatter to the floor. TURKISH MOUTHS drop open. BILLY finishes the process with the other boot. An awkward silence OFF. BILLY (trying to explain, innocent) I forgot... I really did. (makes ineffective gestures) ANOTHER ANGLE. The room explodes with screams and commotion. AD LIB: THIRD OFFICER (screaming at SECOND OFFICER) You idiot, you fool. You told me the American was searched... and he's pulling hashish out of his boots! You're all dogshit! SECOND OFFICER (turning on First Officer, screaming) You worthless piece of garbage, where did you learn to search a prisoner? He's been in our custody for an hour, etc. FIRST OFFICER (screaming at the others) Who searched him? Who? Amid all the screaming TWO POLICEMEN rush over and yank BILLY upwards, and start to strip all his clothes. BILLY (protesting) That's it! That's all I have! CUT: BILLY spread-eagled STARK NAKED against the wall. He is afraid to move. A strange silence. ANOTHER ANGLE. BILLY naked in center B.G. against the wall.The OFFICERS and SOLDIERS quietly leering at his trim, muscular buttocks. Hungry stares. Bisexuality is prevalent in Turkey.But there is also embarrassment among the officers; none would do anything openly in front of the others; instead they just stare and smoke their cigarettes. Low murmurs. Continued telephone calls. Much thick smoke all over the room. Another DOOR opens OFF. Obsequious GREETINGS in Turkish. BILLY is afraid to look over his shoulder, feeling enormously humiliated. VOICE (OFF) Howdy, Billy. Howya doing, Ok? A perfect Texas drawl. BILLY glances over his shoulder. Sees: TEX a tall, lanky blonde-haired American in a business suit with boots. Clean cut, very handsome, with a strong flavour of danger in his blue eyes. TEX (smiling, extends Billy's clothes) I think these gentlemen have finished for the time being if you'd like to put your clothes on. ANOTHER ANGLE - BILLY, so grateful at last to see a fellow American, reaches quietly for the clothes, his eyes never leaving Tex. Release? CUT: TURKISH DETECTIVE sits at the main desk in the room. Unlike the others, he has no moustache; a skeletal face, intelligent looking. TEX Is behind, leaning casually up against the wall. Angled to Billy's side is the entire array of seated OFFICERS looking on like a tribunal. DETECTIVE (thickly accented English, sympathetic) Are you afraid, Vilyum? BILLY, standing to the side of the desk, clothed now, buckling his belt - afraid. BILLY No, I'm not afraid. DETECTIVE Good. There's nothing to be afraid of. If you co-operate with us, you will be on the plane for New York tomorrow... yes? BILLY (softly, hoping) Yes...? DETECTIVE Good. Now, where did you get the hashish? BILLY A cabdriver. He picked me up in the Pudding Shoppe in the bazaar. DETECTIVE Would you recognize him again? BILLY Yes. I think so. DETECTIVE Good. Would you go back to the Pudding Shoppe now and point him out to my men if you see him? BILLY'S EYES MOVE TO: TEX who makes a cool affirmative nod of the eyes to Billy. BILLY (OFF) Yes. STREETS, ISTANBUL, AFTERNOON. TEX drives his American CAR; BILLY in the passenger seat; TWO TURKISH PLAINCLOTHESMEN in the rear seats . Various BACKGROUND SHOTS of the city. TEX (casual tone) You decided to fly at a bad time Billy Palestinian Guerrillas all over the place blowing up planes and all. BILLY (shakes his head) Stupid. TEX Four planes in four days...but I guess you kids don't read the newspapers...and what with our people kicking up a shit storm 'bout the flow of heroin from Turkey you got... BILLY But didn't have heroin. TURK (grins) Well I'm not up on all that. A drug's a drug seems to me Billy and... BILLY (sweating) But it was my first time. I'm not really a smuggler, was just two kilos. TEX Well, you see Billy, it don't really matter right now if it's 2 kilos or 200 kilos. The Turks love to catch any foreigner smuggling - it shows the world they're fighting the drug trade. BILLY But just... TEX Just what? BILLY I just needed some extra money. I was broke, the guy offered me the hash and... It sounds bad. Tex looks at him without expression. Pause.Billy tries to sense a sympathy in this ambiguous man, a liking towards himself. But feels nothing yet, except someone who can speak English. BILLY ...are you with the Consulate? TEX (not looking at him) Something like that. Cigarette? ANOTHER ANGLE - BILLY nervously takes the pack and matches. TEX How much you pay this joker... this cab driver? BILLY Two hundred dollars. It was my last two hundred. TEX How much did you figure to make? BILLY fumbles to light up his cigarette. He is nervous, grateful to volunteer any information...anything. BILLY Three, four thousand...I don't know. The guy offered me the hash-- (shakes his head) ...it just seemed like easy money. TEX Beats working. BILLY I was just going to sell it to friends. I'm not a pusher, honest. TEX grins, sceptical of his naivete, changing the subject. TEX Got a family back there? BILLY (inhales deeply) Yeah. Parents, brother, sister. Babylon, Long Island. TEX What's your father do? BILLY He sells insurance for Metropolitan Life. TEX (a pause, not looking at Billy) Be tough on 'em. BILLY nods, takes a deep drag on his cigarette. ANOTHER ANGLE TEX Girlfriend? BILLY ...She was on the plane. Tex glances at him, questioningly. BILLY She didn't know anything about...I wouldn't have wanted her to. TEX Lucky girl. Billy leans back in seat, blowing out the cigarette smoke. BILLY Jeez, she used to say I was the lucky one. TEX Let's hope so, Billy. Let's sure hope so. A narrow cobblestone STREET. TEX pulls the car to a halt. CUT: THE PUDDING SHOPPE TWILIGHT Internationally-known cafe, adjacent BAZAAR. Crowded, noisy. WOMEN dressed in black hold crying CHILDREN by the hands. FOREIGNERS, mostly students and hippies, move about laughing, joking. Hawkers, street peddlers, vendors cooking shishkebab. small GYPSY BOY leads a huge MUZZLED BEAR on a leash. BILLY sits at a small outdoor TABLE alone sipping tea and eating baclava - nervous, very nervous, still trying to sort it all out in his head. If he doesn't find the seller, what will happen next? MOVE across the TABLES, past a middle-aged AMERICAN COUPLE, to TWO TURKISH PLAINCLOTHESMEN watching him closely. They look evident. TWO HIPPIES make a wide berth around them. HIPPIES (OFF) (in passing, low) Hey Janet, why don't you go sell 'em some dope. MOVE ON to another TABLE where TWO MORE PLAINCLOTHESMEN sit, equally evident, watching BILLY. TEX sits in his car, in the distance, casually glancing at a newspaper. BILLY's eyes rove. INTERIOR PUDDING SHOPPE Large. Many tables. Stairs. A back exit. ANOTHER GYPSY BOY leads a huge PINK PIG leashed with a wooden sign around its neck proclaiming "Pig" in Turkish. Various TURKS point the pig out, laughing at it, some disgusted by it, making faces and gestures: "Go way, go way! "Ayip!" The PIG moves past BILLY, who shifts his gaze to: POV - CABDRIVER #1 lingering at the curb. PAN to CABDRIVER #2 PAN to CABDRIVER #3. PAN BACK to #1 and again to #2 indicating no real fix on identity. BILLY tense now, knowing this is the chance he must take, nods with his head, pointing at CABDRIVER #2, off. THE PLAINCLOTHESMEN move out towards CABDRIVER #2. BILLY tentatively rises, as if to join them, but moves slyly towards the interior of the cafe. PLAINCLOTHESMEN move in roughly on a surprised CABDRIVER #2 who begins to protest LOUDLY (AD LIB). BILLY moves through the INTERIOR of the PUDDING SHOPPE, past the tables, past the stairs, towards the back of the shop, at a normal.to attract attention. A PLAINCLOTHESMAN looks around, sees he is gone. Tells the others (AD LIB) They spread out looking, abandoning the CABDRIVER #2 who spits and curses them (AD LIB). BILLY, with one backward glance, now eases out the BACK DOOR, into a bilious sunlight, onto a STREET. Pause. A HAND with GUN moves into FRAME pointing a six-inch barrel right at his temple. BILLY freezes, moving just his eyes to: TEX looking down at him calm, merciless. TEX You seem like a nice enough kid to me Billy, but try it and I'll blow your fucking brains out. BILLY - the sense of betrayal in his eyes. ESTABLISH PRISON - OVERHEAD ANGLE. A large and Byzantine structure suggesting the 15th Century Sultan's Janissary Barracks. Irregular crescent various wings; a MOSQUE inside the prison. The possibly a shapes to the sense of an endless a decorative an equally in a city, labyrinth built by some mad Arab architect to suit purpose and now, in the 20th Century, transformed by mad Turkish bureaucracy into a prison. It should be preferably made to look like Istanbul. Faint background atonal Turkish CHANTING. Evening Muslim prayer."Allah wakbah, Allah wakbah..." on and on, suggesting to us fear rather than praise. BILLY VOICE Dear Mom and Dad. This is the hardest letter I've ever had to write. know the confusion and the pain it will cause you. And the disappointment... BILLY - his scalp being shaved off by a prison BARBER in an un-specified ANTI-CHAMBER, His eyes are staring dead ahead. BILLY VOICE (continuous) I really thought knew what I was doing with my life. I'd hoped somehow to get out of this quickly so that you'd never know about it. But that just isn't possible now. I don't know what's going to happen. But what can I say to you? Will 'I'm sorry' make a difference? Will it ease the pain, the shame you must be feeling? Forgive me...Please... BILLY is now completely BALD, SOUND SHARP OVER: CUT: A CELL DOOR SLIDING OPEN. BILLY steps in, bewildered. ZIAT VOICE (OFF) Git! The cell is dark, almost black, an overpowering stench; a small grey metal bunk is bolted to the floor with a lumpy mattress. BILLY turns, looking back at the man staring at him from the door. ZIAT is quickly summing up Billy's character. This is his craft.He is a prisoner and trustee. sinister man whose one motivation in life is the accumulation of money, in the pursuit of which he has acquired an ugly purplish SCAR running the width of his throat, various other facial SCARS; and one blind milky white EYE. He's stocky and strong -- about five ten, with bushy eyebrows, brown cigarette teeth, big dirty nails, repulsively in need of a bath. What's surprising is that he is no more than thirty years old looks and behaves like sixty. The personification of the denaturalization of a man. Time, body, mind - all of them warped. BILLY, not yet attuned to his nature, only repulsed, is still wearing his own clothes and makes a shivering gesture, enunciating very clearly, hoping he will understand. BILLY Cold. Very cold. Can I get blanket? Blanket? (makes a gesture of a blanket wrapped around him) ZIAT smiles, showing his stained teeth, and starts to slide shut the cell door on its ROLLER. ZIAT (in English) Mo sell...Too late. Tomorrow... A cobra smile flashes, as the cell door bangs shut. ZIAT (through the bars) You be here tomorrow. "Ayi Gedjaler"("good night") Goes. BILLY walks around the cell, hugging himself for warmth. VOICE (OFF) Pssst! BILLY stops, goes to the edge of the cell. A BONY BARE ARM motions from the bars of the cell next to his. We never see the face but hear a thick ITALIAN ACCENT, hoarse and cracked. VOICE (OFF) (Whispering) Your cell, no key. Open...! Blanket. Three cell down. You get me one. Take... Extends a stick with a big nail pounded into the end, twisted over to form a hook. BILLY takes it. Hesitates. VOICE (OFF) Ziat go for night. Go! BILLY cautiously slides the cell door open, amazed that it's been left open. Nothing makes any sense to him in this labyrinth ANOTHER ANGLE - BILLY steps out into a WALKWAY. A bare bulb overhead casts light. He glides past the three cells, seemingly empty. Finds the cell with blankets, sheets, towels and various supplies stacked inside. But it's locked. He slips the stick in between the bars and stretching, hooks the first blanket. BILLY asleep with the blankets pulled up to his chin. Suddenly DIRTY HANDS reach into frame and rip the blanket off. WIDEN TO: ZIAT (tugging the sheet, growls) Brack!...Brack! Then SLAPS at BILLY. BILLY ducks away. Encouraged, ZIAT steps up closer to him, sticks his fingers in his chest screaming. ZIAT You, goddamn you, give me sheet. Give me! And feints as if to hit BILLY again. BILLY reacts to defend himself, pushing ZIAT off and jumping out of the bunk. ZIAT, Enraged by the shove, comes back at BILLY, screaming, arms flailing like a bear to pummel him, but BILLY, not understanding the Turkish bluster in his mannerisms, meets him with a sharp right FIST into the front of his face. ZIAT staggers back, startled into silence; he has misjudged this kid. BILLY waits, ready for the fight in the defensive position. The guy is bigger than himself. ZIAT, however, now feels the blood from his mouth and nose and freaks out, running out of the cell SCREAMING at the top of his lungs as if he's dying. CUT: BILLY is blindfolded, stumbling down stone steps pushed by a GUARD, into a dungeon-like basement room. THE PUNISHMENT CELLS. CUT: THE GUARD removes the blindfold. BILLY, adjusting to the light, stares around. The cell is spartan, with a series of pulleys and primitive bondage devices hanging from the cobwebbed ceiling.A DOOR opens and: HAMIDOU STEPS in, lowering his head to get through the door.Chief of the guards. A clean uniform. Four stripes. The only guard to carry a holstered gun. very frightening man. He is about six two, two forty, and muscular, and moves lightly like a fighter on his feet. His skull is bullet-shaped and completely shaven like Billy's, Enhancing this effect, he has no eyebrows, and his pale blue eyes (suggesting a trace of Indo-European stock in his ancestry) are set deep in his skull somewhat like turtle eyes, giving nothing away. His nose is a beak of skin his neck broad, his mouth a small crescent that moves as lightly as his feet between anger and amusement. He approaches BILLY, looks into his eyes, drawing out the moment for himself, enjoying the tension and the fear he instils in others. BILLY meets his eyes respectfully, then realizing this is perhaps not the thing do to, looks away. But, fascinated by the man's features beyond his self-control, he looks back. HAMIDOU, amused by eye actions, smiles thinly. The sort of smile that could imply friendship such is its hint of charm. HAMIDOU (to one of the guards) Name? GUARD (checking a clipboard) Vilyum Hi-yes HAMIDOU (looking at BILLY, repeating it) Vilyum Hi-yes... And slowly his hand moves up to caress the edge of his hairless upper lip. An erotic gesture in Turkey. HAMIDOU Vilyum Hi-yes "Its in my memory locked." He slowly extends his right arm stiff out to his side. BILLY watches, fascinated. HAMIDOU lets the arm linger; then: SMASHES BILLY across the face with an open palm. BILLY shoots back: and smashes against the wall just from the force of one blow. Stunned. HAMIDOU advances, taking a wooden CLUB (FALUKA STICK) about feet three long and three inches wide from a GUARD. BILLY scared, emphasizing the words, trying to make himself understood. BILLY It was cold. Cold! I get blanket. Blanket! Cold! THWACK! BILLY'S LEG BUCKLES, where the faluka stick has just smashed him behind the kneecap. He SCREAMS going down. BILLY looks up from the floor: HAMIDOU with his club in hand. HAMIDOU (In some sort of English, smiles) No do. No do. Raises the club. BILLY tries to block it with his hand, and the CLUB smashes his thumb. SCREAM. SHARP CUT: BILLY is hoisted upside-down in his UNDERPANTS ONLY with thick rope tied about his ankles, the legs spread - onto a PULLEY suspended from the ceiling. He is yanked upwards, then lowered slightly, his head and backs of shoulders banging against the stone floor. THE PULLEY is LOCKED into place. (LOUD SOUND) BILLY has this surprised look on his face still, through the tears. What's happening? Hamidou motions the GUARDS out of the room (AD LIB). Turns back to BILLY, raises his club. BRINGS IT DOWN FORCE on the soles of BILLY'S BARE FEET. SCREAM. He cocks the club again. BILLY twists To avoid The blow CLUB catches him On The ANKLEBONE BILLY SCREAMs louder than ever as we hear The SOUND of wood On bone. Whimpering SOUNDS follow. BILLY looking through teary eyes, sure now that he is going to be killed. The CLUB - OFF - smacks sole skin with the same force as the first blow. No let up. CUT: BILLY still in the same position, vomits all over himself. HAMIDOU SPINS the PULLEY to a new position bringing: BILLY into a steeper, more vertical position. He is on the verge of fainting, bleary-eyed, looking as: HAMIDOU moves around in between his legs. Doing something indistinct with the stick between his legs, then dropping the stick. Then, with this bizarrely excited expression on his hairless face, he begins to undo his own pants. But, for Billy, it all BLURS OUT TO: JAPANESE SILK SCREEN depicting a fat jovial Buddhist monk, fishing placidly by a stream. Then moves to soap carvings of chess pieces Then a bed-sheet hung as a curtain with astrological symbols paint; on it. SOUND OFF, of a blaring radio. Atonal TURKISH MUSIC. VOICE (close, intense) Hey man, he's gotta walk, or his feet gonna swell up worse. 2ND VOICE (softer, sonorous, Swedish accent) We take him down to courtyard... Then: ERICH - a gentle long bird's face. Long whitish-blond- hair, Swedish, well above six feet, 25. Another FACE moves into view JIMMY BELL, American, 23 fiery eyes, black hair and moustache, intense, strong. BELL Smoke this rocket, it'll cool the pain. ANOTHER ANGLE - BELL puts a huge cone-shaped JOINT with aluminium foil filter into BILLY'S LIPS. He hardly knows what it is, Puffing weakly. Though dehydrated and his face white without color, he has no facial markings. BELL You gotta walk around some man, or your feet gonna swell up something bad... BILLY looks down at HIS FEET Bloated black and blue with inflamed red points in various spots. A vicious bruise on his anklebone. ERICH is running a cold rag from a basin of water over them, his fingers tender. BELL (OVER) You've been out for days man, talking all kinds of shit. Come on, we'll walk you down to the courtyard. BELL eases BILLY up from the bed, as ERICH puts a pair of clip-clops on his feet. ERICH Okay? BILLY nods. They rise together, bracing his shoulder. BILLY adjusting to the sensation of standing. ERICH How's it feel? BILLY (dizzy) About as good as it looks. BELL Getchmis olsun BILLY Getchmis...? BELL Olsun - "May it pass quickly." I'm Bell, Jimmy Bell. This is Erich something Swedish. ERICH (smiling) Just Erich. BILLY I'm Billy Hayes... At least I used to be. Looks around. A DORMITORY TYPE ROOM with 24 bunk beds set head to head in horizontal fashion, cramped and with minimal privacy. A narrow WALKWAY leading towards a TOILET AREA and STAIRCASE. BILLY Looks like a cheap hotel. BELL Yeah... Only the room service is lousy. Come on, let me show you the tennis courts. Helps him with ERICH to take the first steps. THE COURTYARD. The THREE of them emerge in a thin AFTERNOON sun, Billy now disengaging and hobbling on his own power. ERICH (watching Billy limp) Feeling all right? BILLY (still groggy) Yeah. That guy who beat me? (stops, slightly puzzled) I feel stoned. BELL (grins, interjects) 'Figgers. BILLY (vague, going on) ...He had a bald skull and... BELL Hamidou. Chief of the Guards. Don't fuck with him. He almost killed an Italian dude couple months ago. Bad news. He try anything with you? BILLY glances at him, understanding. Pause. BILLY No... I don't remember. Glances at ERICH. BELL With these fucking Turks, soon as the light goes out... I keep one hand on their feet and their feet better not grow. You'll meet Max. He got raped something bad down in Section 13. That's the pits. THE COURTYARD VARIOUS ANGLES The yard is 30 by 50 paces with a wall 20 feet high. Cigarette butts, orange peels crumpled news- papers, rocks, sticks, broken glass litter the place. No guards are on the walls; the only GUARDS are unarmed inanimate lumps of boredom who look as helpless as the prisoners with whom they intermingle; they have raggedy olive green uniforms and worn boots (they make $1 a month, augmented by bribes). On one side of the yard is a 2-story ROGUS (cellblock) with barred windows from which Billy and his two companions have just emerged. On the other side of the yard is another 2-story KOGUS (the children's kogus). The COURTYARD is colorful, almost like a bazaar, about 8O people in it - groups of exotically dressed AFRICANS, AFGHANS, ARABS, MALAYSIANS, EUROPEANS, and predominantly TURKS pacing back and forth talking in little circles, hawking wares, trading illegal currencies. Screaming Turkish STREET URCHINS 10-14 years old, share the space playing soccer and volleyball with a surprising viciousness, continually hitting each other and cursing. A bunch of them vehemently lay bets on the soccer game. Other aspects of the prison which should become evident: 1) NOISE - continuous, Loud. Radios, Turkish music, screaming, shouting. 2) CATS - all kinds, some of them pets, some stray, tolerated because they kill the rats. 3) THE PRISONERS all wear their own clothing; the foreigners preferring jeans, clip-clops, sneakers, Sweat suits. 4) THE HEADS of only the new prisoners are shaved, then allowed to grow back. 5) MANY PRISONERS have physical disabilities. Carbuncles on the back from wet mattresses. Boils on the lymph glands around the neck, buttocks, under-arms, sometimes SO painful the victim walks with his arms up in the air. Arthritic in the knees, hips, ankles. Fungus on the feet. Many limp. ANOTHER ANGLE - THE PRISONERS glance at BILLY as he walks, noting the beating he has taken and sizing him up, then going on with their business. BILLY The kids? Why are they... BELL (snorts) Little fuckers are thieves, rapists, pickpockets, murderers, you name it - they do it. Don't trust any of 'em... BELL's eyes follow a knot of KIDS to: ZIAT has a window open on the FIRST FLOOR KOGUS and is selling little cups of tea to the kids from inside where he works a GAS STOVE. The kids push and punch each other to get the tea faster. BELL (OVER) ...They tell Ziat everything. He's the squeal round here. Goes all over the prison. Sells watered- down tea, blankets, hash, black money, nembutols --anything for a buck... ZIAT leaves the stove in the hands of an ASSISTANT and moves down the window to a particularly gaudy AFGHANI a fierce hawk-faced old man with a chunk of his ear missing. He wears a colorful flowing robe, various scarves, turban, trinkets, rings, baggy pants, and pointed curved shoes, and makes emphatic violent gestures at ZIAT with his mutilated THREE FINGERS. ZIAT Seems to speak something of his language and bargains back. BELL (continuous) He was an informer on the outside but he tried to screw the cops out of 60 kilos of opium. Watch him, he's a fox. BILLY says nothing to them about the Ziat incident, sizing him up for himself. THE AFGHANI having concluded the deal with ZIAT reaches deep into his layers of clothing around his crotch and pulls out several scrofulous $10 bills which discreetly takes in exchange for a thick wad of Turkish currency, his eyes moving around, stopping on BILLY. A hooded look. BELL (OVER) Whatcha' in for, smuggling? Rash? BILLY turning his eyes away from ZIAT BILLY Yeah. BELL (shaking his head) History, man, history. How much? BILLY Two kilos. BELL Where? BILLY The airport. Trying to get on the plane for the States. BELL (whistling a kind of punctuation) Could be ten or fifteen. Maybe even twenty. BILLY (tensing) Twenty months? BELL Twenty fucking YEARS, man - YEARS! I figger ten at the least. BILLY stunned. BILLY (soft) Years? BELL Yeah, what do you think this is, the good USA? This is Turkey, man... (laughs bitterly)) It's a fucking accident here if you're innocent. And anyway... ...ain't nobody who's innocent. ANOTHER ANGLE - all the color and breath seems to have gone from BILLY. ERICH (his English is halting but has a calming effect) Don't pay too much attention, anything is possible in Turkey. You might get bail. BELL snorts, amused, kicking the SOCCER BALL away hard as it dribbles towards them. ERICH ...If you make bail, you're free. You can get a fake passport or sneak across the border to Greece. The Greeks hate the Turks so much they never send you back. The Turks know it. They just keep the bail. money. BELL Sure, keep dreaming and see where that gets you... like Max, up in the head, you know... (makes a crazy signal towards the head) You gonna eat a lot more fasoulia beans, Billy baby, 'fore you taste a hamburger 'gain cause you broke the law man, and you got caught... (grins) And that... is history. ERICH The law is sometimes wrong. BELL (eyes feverish) The Law is never wrong, asshole. The Law is! And stalks away, disgusted. A deep anger inside him. ERICH looks at BILLY who is quiet; by way of apology. ERICH New people sometimes get on his nerves. BILLY (lifeless) What did he do? ERIC He was caught steeling from a Mosque. That's heavy here. He got 30 years. BILLY Thirty years? ERICH Jimmy has more balls than brains. He didn't tell his parents he was in jail for a year and a half. He says he got himself in and now he's going to get himself out. He shakes his head, looking at: BELL him across the courtyard huddling with a cigarette, bartering angrily. a raggedy GUARD giving him a cigarette, bartering angrily. BILLY and ERICH. BILLY And you? ERICH Hashish. Ninety percent of the foreigners are in for hashish. They walk. BILLY What they give you? ERICH (passive) Twelve years. Billy stops. BILLY How much did you have? ERICH A hundred grams. BILLY (appalled) It's not fair! Even ERICH has to smile now. ERICH There is no fair in Turkey, Billy. It's all "sula-bula" like this, like that. An Italian hippie had a car accident and a Turk was killed. SO, they threw him in here for six months... BILLY That doesn't seem so bad. ERICH But he was eating lunch a mile away when the Turk smashed into killed himself. BILLY He wasn't even in the car? ERICH (shakes his head) Aslan, there... (points) ASLAN - a young big fat heavily moustached Turk, wearing a black silk double-breasted business suit, grotesque cuff- links, heavily pomaded hair, is huddling in a section of the YARD with FIVE other grinning GANGSTER TYPES, all in suits. ERICH (OVER) Killed a guy. But his father's a big gangster on the docks. A "Kapidiye." He'll stay in... twelve months no more, and get parole. In Turkey, murder is manly - "erkek". ERICH Glances back at BILLY ERICH You just got to get yourself a good lawyer. And some money... Talk to Max. He's been in the longest. BILLY How long? ERICH Seven years... CUT: MAX - "Eskilet" (skeleton). British, tall, straggly long hair with wire spectacles set crookedly over his nose. An earing in one ear. The far away eyes of an international junkie, preoccupied and uninterested in small talk. Tough in his skinny way, like apiece of old dried leather. He occupies with his YOUNG STRIPED CAT a bunk in the far corner of the SECOND FLOOR KOGUS - in the process of shooting himself up with "Gastro" a smelly brown liquid stomach medicine. No one is in the vicinity except ANOTHER ANGLE ERICH and BILLY who watches repelled as MAX fumbles with a piece of twine tied around his arm in a tourniquet, searching for an unused spot amid dirty infected track marks. PLUNGES the needle in, pumping in the black gunk. Glances at BILLY. MAX (smiles) Gastro. Stomach medicine. Has codeine in it... Best can do Pulls out the needle, loosens the tourniquet. His eyes take on a far away stare. ERICH Lawyers? MAX Yeah... there's no straight lawyers in Turkey... They're all bent bent as hairpins... Gives a spoon with a taste of the black residue to: HIS CAT who is full of spunk, and tries to catch Max's HAND. He looks at BILLY, not remembering him. ERICH His name? MAX Who? ERICH The lawyer? MAX is beginning to go. He sits on his bunk. MAX What lawyer? ERICH Who got the Frenchman out? MAX Oh Yesil... Yesil's his name but I...don't know anything... 'bout...Yesil... ANOTHER ANGLE - MAX'S head begins to bob back and forth.Focuses on BILLY. MAX Best way is get your ass out... any... way... you can... BILLY What do you mean? MAX Get the... midnight... express. BILLY What's that? MAX smiles from faraway like a Cheshire cat and his head drops forward onto his knees, nodding off. CUT: HAMIDOU, swinging his falaka stick rhythmically against his leg and that calm killer look on his face, leads an uneasy BILLY down a MAIN WALKWAY with a roof overhead; we gather that the prison contains several separate wings. ADMINISTRATIVE BUILDING - HAMIDOU glances back at BILLY, indicates with his stick "come here" and opens an office door. BILLY, still bewildered, his bruised feet almost back to normal, limps in warily eyeing HAMIDOU who follows. NECDIT YESIL, the lawyer, fleshy, grinning, thin black hair heavily greased, sits at a conference table. Standing adjacent is STANLEY DAVIS, the U.S. Consul - eyeglasses, striped tie, neat summer suit with stripes, trimmed hair, ivy league look, his eyes moving from Billy to: OLDER MAN, late 50's white hair, blue-eyed New York Irishman.A suburban insurance agent, rumpled suit, an anxious look on his face. Moving towards BILLY fast: FATHER Billy! FATHER AND SON embrace; the father's left hand grabbing Billy's arm tightly as if never to let go. BILLY Dad! HAMIDOU looks on, intrigued by the Father and Son; leaves silently, closing the door. FATHER looks into his son's eyes, his own eyes moistening. He looks tired, pain all over his face. BILLY looks down. BILLY Dad...I'm... ANOTHER ANGLE FATHER (voice quivering) ...Don't worry about it. (managing a smile) I can punch you in the nose later. Right now we've got to get you out of here. You all right? BILLY (eyes moistening) Yeah. How's Mom? FATHER Bad. She couldn't make the trip. You know Her boy... (breaks off) Susan told us before we got your letter. She's fine; she's trying to get the money to come back and see you, but... BILLY No, don't let her! I'll... How about Peg? Robbie? FATHER Same. None of the neighbors know. We told them you were in a hospital in Europe. Oh... this is Stanley Davis. He's the American Consul here... And Necdit Yesil, the lawyer you wanted... ANOTHER ANGLE DAVIS (shaking hands) Hello, Billy. BILLY Hello. The professional smile from the Consul, but in the handshake and the eye contact, BILLY is cool. The unanswered question: Where were you before my father arrived? DAVIS I want you to know we're going to do everything, in our power to get you out as soon as possible. Believe me. BILLY Thank you. ANOTHER ANGLE YESIL moves forward. unctuous. bubbling with high spirits, profusely shaking BILLY's hand, exuding confidence in fractured English, YESIL Vilyum, I am Necdit Yesil. BILLY Mr. Yesil. YESIL I know exactly what you feel but you must not worry, we are acting immediately, we get the right court, the right judge, I arrange everything - just right. And I think we get you bail. If very bad, maybe twenty month sentence... But I think we get you bail... Pause, BILLY looks at him wondering how to take him in. YESIL (reassuringly) You know I have lectured at the University of Maryland in your country? Also University Michigan Very nice country. We both go back. (smiles) BILLY (trying to concentrate) If I get bail, Mister Yesil, they say it's easy to cross the border into Greece? FATHER (pacing up, hungry) Right! That's what we're shooting for. Mister Davis and have been in contact with the State Department, but right now relations with the Turks aren't too good, Nixon's upset the hell out of them. Our best bet's... right here. BILLY Dad... (pauses, glances at Davis and Yesil, embarrassed) I'll pay you back for all this, I Promise. ANOTHER ANGLE FATHER Don't worry about it. Right now money doesn't count. Okay? A pause. YESIL Shifts, Throats are cleared. BILLY moves to sit down, limping faintly; he is wearing sneakers and the bruises don't show. FATHER Where'd you get that limp? BILLY (not wanting to alarm him) Nothing. Just twisted my ankle. Sits down at the conference TABLE. BILLY Where you staying, Dad? FATHER (pulls up a seat next to Billy) The Hilton. BILLY How do you like it? Istanbul? FATHER Well, it's an interesting place... (lowers his voice, a hint of a smile) Tell you the truth, I think the food is lousy. The crap they sell in these little restaurants. I went out to eat in one of them last night, and I had to run to the damn toilet... You shoulda' seen the toilet. BILLY laughs. BILLY You mean you got toilets? FATHER is happy to see his son laugh. FATHER Yeah, with real toilet paper - and you don't have to use both sides. BILLY laughs again. FATHER So now I'm eating at the Hilton every night. BILLY smiles. A pause. A worried look returns to the Father's face FATHER Why'd you do it, Billy? BILLY For the money... (Looks away)) FATHER (sighs) I know you kids smoke that stuff, and we drink booze, but taking it across a border - it was stupid, Billy. Stupid. BILLY I know. Glances at DAVIS, YESIL back to his father, his voice beginning to tremble, ashamed of himself for letting it show. BILLY Dad get me out of here. ANOTHER ANGLE. The FATHER understands the desperation in his voice, puts his hand on his son's. FATHER I promise you, Billy. Just sit tight and don't.. DON'T do anything stupid. Let me work with Mr. Yesil and Mr. Davis. We'll get you out... Okay? Billy, okay? All the assurance of the world is written in this kindly Irishman's face. BILLY feels it. BILLY being led by TWO GUARDS down a huge arched CORRIDOR in the COURTROOM BUILDING. BILLY Okay. CUT: PROSECUTOR VOICE (OVER) THE world is now looking at Turkey. We are called the Heroin Supplier of the world. Stories about us are in newspapers and on television every day all around the world. The time has come, your Honor, to alter this image before we find ourselves isolated and morally ostracized by the rest of the human race... THE COURTROOM - monolithic, frightening, immense with cross- currents of greenish light from the enormous windows. People seem insignificant. THE PROSECUTOR, wearing dark green glasses, continues, scowling, gesturing profusely at: BILLY in the PRISONERS DOCK, baroque design, isolated. Doesn't understand a thing, Erich's extra-large blue pin- striped suit makes him look rather absurd. HIS FATHER, CONSUL DAVIS, YESIL and ANOTHER LAWYER are seated together at the defence table conferring in low tones with each other. YESIL looks over at BILLY with a big reassuring grin, nods his head - nothing to worry about. TURKISH GIRL from the Press with a yellow legal pad, makes notes in the Spectator Gallery. Her legs flare out from a short skirt. BILLY pries his eyes away to: PROSECUTOR continuing in front of the THREE JUDGES high on an Alice in Wonderland podium wearing long black robes with scarlet collars. One of the Judges is bald, the other has his eyes closed, could be asleep. The CHIEF JUDGE in the middle has a sagging somewhat kindly face and short grey hair. A YOUNG MAN below the podium, is clacking at an ancient typewriter on a small table. PROSECUTOR VOICE (OVER) (continuous) ...We must alter this image by punishing only our own drug smugglers-but by handing out foreigners who infest our culture with their depravity ungodly and behavior. We must start now - by sentencing this American, Vilyum Hi-yes, to the maximum sentence for smuggling, to be held up to the light of the world as an example of Turkish justice and its intention to halt the drug trade once and for all.. .I ask the Court therefore to sentence Vilyum Hi-yes to Life Imprisonment. He sits, staring malignantly at BILLY. THE JUDGES rise. JUDGE Thank you, Prosecutor. The Court will now recess to consider its verdict. The JUDGES exit. ANOTHER ANGLE, General commotion in the courtroom as people move about. The FATHER and DAVIS and the OTHER LAWYER consult among themselves, the FATHER vigorously nodding his head. YESIL approaches BILLY. BILLY leans forward anxiously in the dock. BILLY What'd the Prosecutor say? YESIL (hurried) It's not important, just technical things. We make our case. You were very good, you spoke well. The Judge like you. It look good. Don't worry. BILLY (pressing) Did you ask for bail? But YESIL is called over by the other LAWYER and hurries off. A SOLDIER comes over and sits BILLY down. CUT: THE CHIEF JUDGE puts on his glasses, stands to read the verdict. YESIL, standing with the OTHERS, motions BILLY to rise. BILLY rises, tense. FATHER looks over at him, manages a reassuring smile. JUDGE continuing, after preliminaries: JUDGE The Defendant has been found guilty by the Court of the illegal possession of Hashish... PROSECUTOR, his expression souring, makes a gesture of defeat. We wanted a conviction for smuggling, not possession. BILLY, not understanding sees the Prosecutor's gesture, and a hint of hope crosses his expression. JUDGE puts the paper away, looks at BILLY directly. JUDGE ...Therefore. this court sentences you, Vilyum Hi-yes to be imprisoned at Sagamilcar Prison for a term of four years and two months. This Case is now closed. BILLY looking at the JUDGE doesn't understand. Thinks he might be free. But suddenly TWO SOLDIERS move in, and start chaining his hands together. He is bewildered, looking at: YESIL hastily conferring with Billy's FATHER, more concerned about making a good impression with him than with Billy. YESILF Four years, two months. It's good. FATHER (stunned) Four years! YESIL (quickly) We appeal it. BILLY watching this, a lost look. FATHER is too shocked to do anything but look at YESIL who continues on: YESIL You will see, he will have maybe one year taken off this sentence for good behaviour. Remember, it is only for possession; the prosecutor wanted life sentence for smuggling... (a smile) To be honest Mr. Hayes, it is a great victory! BILLY is forcibly removed from the DOCK - in chains. CUT: THE FATHER, in the same CONFERENCE ROOM, FATHER (embarrassed) ...With good time Billy it works out to about 3 years... then there's the appeal. Yesil, Davis, they're all working for you We're going to try to make a deal to get you transferred to a Stateside prison. And Davis thinks there might be a political amnesty any month... Stops. Knows it sounds bad. BILLY looks down. FATHER Look - I know it sounds tough, Billy, but we're gonna get you out... FATHER grips BILLY by the arm hard. FATHER ...I promise you, but I don't want you to get stupid again. Pull anything. They can play with your sentence. BILLY nods, acquiescent. FATTIER (his voice starting to crack) I'm putting $500 in the bank for you. Anything you need you write... BILLY nods. His FATHER points to a stack of ITEMS on the conference table, picks up a cigarette carton. FATHER There's food, candy, writing paper, soap, books... (his eyes start to water) ...cigarettes, soap, tooth-brush, there's... Jesus! (cracks, throws down the cigarette carton) I been writing insurance policies on people for thirty goddamn years... (laughs and cries at the same time) And now I gotta see my own son...Jesus! Jesus! If I could be where you are Billy, I'd be there... Goddamn Jesus! These bastards. HUGS HIS SON BILLY is on the verge of tears. BILLY DAD! FATHER Oh Jesus! (sobbing) HAMIDOU enters the room. A morbid curiosity in his expression about this show of grief. Watches a few moments, then indicating the visit is over, he taps his falaka stick lightly a few times on the hollow door. THWACK! THWACK! FATHER breaks the embrace with BILLY, tears streaking his cheeks. Silently indicates for him to "Go, go Fast." BILLY goes, past HAMIDOU FATHER shaking his finger at HAMIDOU FATHER You take good care of my boy, you hear, or I'll have your fucking head, you Turkish bastard! It sputters out of his mouth, senseless to: HAMIDOU who closes the door. He has an angry glint in his eye. CUT: BILLY lies on his bunk at night deeply depressed, paler. Candlelight flutters softly against the stone walls. A PHOTO of SUSAN taken outdoors with a mountain range in the background, is on his wall with various SOAP CARVINGS of little chess piece she has designed. In the distance, very faintly coming upwards into our sound consciousness we hear a TRAIN WHISTLING in the night, on an old railroad track bypassing the prison walls. Two whistles. Chugging. Then passing off. The Midnight Express. BILLY'S VOICE Dear Susan. 1970 has now passed into 1971. You can drift in here and never know you're gone. You can fade so far out and you don't know where you are anymore or where anything else is... The CAMERA DRIFTS around the SECOND STORY KOGUS revealing the sleepers: ERICH, BELL, MAX... BILLY'S VOICE (continuous) I find loneliness is a physical pain which hurts all over; you can't isolate it in one part of your body. I so much need your softness, your strength. I have your letters. They charge me, give me courage.News about amnesty and getting out - tangled, complicated... The CAMERA LINGERS on ZIAT in a far corner of the Kogus, top bunk, against a wall. Never secure, he shuffles in his sleep. VOICE ...I feel myself drifting more heavily into smoking hashish. The haze helps the time pass. Also I do soap carvings. Erich taught me. And I have been learning Turkish because it helps me to deal with the guards and the prisoners. I'm trying hard to maintain some sort of schedule to my life, but sometimes it seems like I'm just trying in order to try... ZIAT is evidently awake he pulls his RADIO over into the bed, and peering around to make sure no one is watching, here moves the screws from the back of it, pulls off the cover and puts in a sheaf of large denomination GERMAN MARKS: inside we briefly glimpse a wad of different-colored CURRENCIES stacked with rubber bands. CUT: COURTYARD. Volleyball game in progress. ERICH is tall and plays with dexterous grace. BILLY is fast, agile. BELL is muscular, intense, his hits power-packed. BILLY'S VOICE (continuous) ... In the daytimes we sometimes play volleyball against the big Turkish gangsters... THE THREE they play against are hilarious looking in this context, moving like big clumsy bears, waving their arms and screaming at each other, disorganized. Ever conscious of fashion, they have their jackets and vests off but play in their Elvis Presley shirts rolled up at the sleeves, shiny slacks, black pointed pumps. The boys wear shorts and sneakers. On the sidelines we see a group of PRISONERS laying bets and shouting encouragement. BILLY leaps up for a ball close to the net and as the TURKISH OPPONENT backs off, he dinks the ball in just over the net; the Turk SCREAMS his teammates scream at him. CUT: BELL goes up for another ball close to the net and really SMASHES it with all his might, and: BALL bangs right into the eye of a TURK who flails his arms and SCREAMS with pain, very theatrical. CUT: THE SAME TURK now swaggers around the COURTYARD, wearing sunglasses so no one will see his black eye. BILLY'S VOICE ...To the Turks all foreigners are "ayip" - unclean, dirty. We don't shave our under-arms or around our crotch... BELL across the pointyard grins at him and points him out to BILLY, and ERICH. BILLY VOICE (continuous) Even the yoga I sometimes do is "ayip" - too suggestive... THE TURK scowls back at BELL, huddles menacingly with another TURK. BILLY'S VOICE (continuous) And you're never supposed to eat with your left hand. You know why? Because that's what they use to wipe their asses with instead of toilet paper. And yet they hate pigs. There are no pigs in Turkey. They're considered dirty... BELL, smirking at the Turk, turns and walks away. BILLY VOICE (continuous) So is homosexuality. That's a big crime here but most of them do it every chance they get. There are about a thousand things that are "ayip". But they're really so hypocritical, like children breaking the rules. For instance... Suddenly a CRY OFF and: THE TURK runs up, pulling a sharp SHIV from his pants, and using the cloth as a handle he repeatedly STABS BELL in the ass and backs of his thighs. One, two, three, four, five QUICK STABS, like a cook hammering veal. In spite of its violence, the action seems like slapstick. BELL tumbles to the ground, crying out. THE TURK stashes the shiv and disappears among his FRIENDS, his honor restored. BILLY and ERICH run over to help BELL who is obviously more in pain than in danger. BILLY VOICE (continuous) ...You can stab or shoot some body the but not above the waist because that's intent to kill. So everybody runs around stabbing everyone else in the ass. That's what they call 'Turkish revenge'. There's also a lot of "Baksheesh" that's a favorite Turkish word for bribery... LONG SHOT - HAMIDOU and ASLAN the young fat Turkish gangster pointed out previously by Erich, are taking tea together in the FIRST STORY KOGUS alone except for ZIATR and Hamidou's two FAT SONS, 7 and 8 years old, both dressed in little suits listening politely as Hamidou gestures to them, in couched terms. The voices are distant and, after a few beats, UNDER BILLY'S VOICE: HAMIDOU Unfortunately my youngest son Arief is having problems with his teeth; he needs braces, but dentists are so expensive these days ASLAN (patting Arief on the head) Poor kid... You know I have a friend, a very good friend; he's a dentist; maybe he could get you some braces at a... reasonable price. HAMIDOU (protesting with his hands, shaking his head)) Oh, no...it's out of the question...wouldn't want to ask your friend... ASLAN Yes. Please! As a favour... I insist They go on, each protesting. BILLY VOICE (continuous) Hamidou hints that he needs new braces for one of his sons. Aslan of course has a friend who's a dentist. They bullshit for half an hour and Hamidou finally accepts the "Baksheesh" in return... A BURLAP BAG comes flying over the WALL of the COURTYARD late at NIGHT. Then another comes over, lands in the yard. one is around. BILLY VOICE (continuous) Dope and all kinds of shipments get delivered to Aslan, who re- sells it through his runners. People like Ziat. But one night, it backfired... A THIRD BAG comes over, gets caught on a hooknail and rips right open. HUNDREDS of yellow PILLS spill out. CUT: COURTYARD. The SUN is just coming up in the East. PRAYER can be heard in the distance. Thousands of bombers are scattered all over the courtyard. BILLY VOICE (continuous) There were thousands of yellow nembutols. Aslan as usual had the privilege of going into the courtyard before anybody else to pick up his stuff but... ASLAN arguing vehemently with a GUARD, in his ragged uniform, who won't open the cell of the FIRST FLOOR KOGUS into the courtyard. BILLY'S VOICE (continuous) ...it happened to be a new guard that day and he didn't understand the system. GUARD No. It's too early. ASLAN Open the fucking Gate, you asshole! Do you know who I am? You want to get in trouble! GUARD (angry) Hey, I your mother! Get back to your bunk. ASLAN, red in the face, steps back, suddenly pulling out a little REVOLVER. He promptly shoots the GUARD in both legs and stalks back towards his bunk. CUT: PRISONERS rushing out into the COURTYARD, scrambling for the windfall of free nembutols. THE PRISON DIRECTOR, A balding unimpressive looking man in a western suit, is calling up the circular stone STAIRS to the second story Kogus from the first story. With him are several GUARDS, equally reluctant to move forward. Hamidou is absent. PRISON DIRECTOR Aslan...be reasonable. Come down and talk. ASLAN (OFF) (from second story) You come up here and talk! PRISON DIRECTOR (not moving) Aslan... if you give up the gun, you can keep the bullets BILLY'S VOICE (continuous) A week later Aslan had a new gun... A PHOTOGRAPHER, seedy looking, readies a big old fashioned box of a CAMERA. He snaps the shutter on: BILLY'S VOICE ...I know all this must sound crazy to you, but this place is crazy... CUT: ASLAN and a group of FELLOW GANGSTERS, all impeccably dressed and grinning for camera, fresh from their victory. BILLY, ERICH, MAX, form their own group; in contrast to the Turks, none of them are smiling, MAX has his YOUNG CAT in hand. The PHOTOGRAPHER is lining up his shot, posing them like actors. BILLY (continuous) Everything is "sula-bula" which means "like this, like that" - you never know what will happen. One day one of the new kids was raped in the children's kogus, so they picked out six of the worst kids... COURTYARD. GUARDS pull out SIX KIDS by the ears from a line-up. CUT: CLOSE KID being pinned onto his back on the floor in CHILDREN'S KOGUS: then he is bent over double by a wooden bench; and TWO GUARDS sit on each end of the bench, holding him down. A silence, HAMIDOU appears in a hat and mohair suit with narrow lapels, accompanied by his two little fat SONS, also in their Sunday best. With a ceremonious solemnity, HAMIDOU takes off his jacket, hat, vest, hands them to his sons. BILLY watches through the WINDOW with OTHER PRISONERS. HAMIDOU is passed a falaka stick. He raises it high in the air and begins to whack at the buttocks, legs, and feet of the SCREAMING KID. ANOTHER ANGLE - On this cue, the five GUARDS on the other benches begin whacking away; the KIDS squirm, scream, struggle but the GUARDS sitting on the of the benches brace their legs farther apart to keep their balance, In immediate background, the other KIDS watch, scared. THE TWO SONS with wide-eyed but passive expressions, stare at their father at work. HAMIDOU beating his VICTIM, screams out: HAMIDOU PIS! PIS" ("Obscene, filthy") Then stops. BILLY WATCHES AS: HAMIDOU is handed back his vest, jacket and hat by his SONS: Puts them on ever so neatly and leads them off as if on a Sunday stroll leaving the CRYING behind. On their backs, we hear, placidly: HAMIDOU You see Mamur, Mamet - what happens when you're not a good boy. BILLY VOICE (continuos) Then there's Ziat. The more I know of him... CUT: TEN DOLLAR BILL exchanging HANDS. The dirty nails of ZIAT clutch the bill, waving it to the candlelight to see if it is authentic his milky white EYE across the BILL. He is next to his bunk at night. BILLY VOICE ...the more hate him. MAX and BILLY are next to him, MAX eagerly gouging with his knife into a small bar of SOAP: PULLS out a ball of HASHISH inside, neatly concealed. Brings it up to his NOSE, sniffing. ANOTHER ANGLE - BILLY is watching with glazed eyes - stoned. Approving of the $10, tucks it into his belly cloth looking over and scowling at: MAX'S YOUNG CAT on his bunk scratching playfully at one of his wool sweaters. ANOTHER ANGLE MAX holding the ball of hash: MAX Ten dollars for this shit? You greedy one-eyed git. ZIAT NO! Is good! (gets his English wrong) Me good shit. (Meaning my shit is good) MAX No! You big shit! ZIAT thinking MAX is correcting his English, nods and repeats: ZIAT Yeah! Efe big shit. BILLY and MAX snigger and ZIAT realizes they are making fun of him. He hates that and suddenly reaches over and: ZIAT JAAAASH! SHAKES THE CAT hard off his bunk. A SQUEAL from the cat. MAX surprised, glares at Ziat. MAX You asshole! Then hurries after it, calling its name... MAX Hikmet come here boy. Hikmet ZIAT shrugs. So what? BILLY (irritated) What is it with you man, what the hell is it? ZIAT Cat, ah! Ayip! BILLY You're ayip! ZIAT (glares at him, then lets it go) Look, you don't fuck with me, I don't fuck with you, right? BILLY But you fuck with me. You fuck with me all the time. You make crummy tea. You rip us off on the hash. ZIAT (amused) I make special tea for you, Hiyes, okay? We've to live like brothers. We have to be in here together. BILLY (tired of it) Oh shove it, Ziat for all the money you have, you have nothing! ZIAT grins, shrugs, squats and fiddles with his keys and footlocker. ZIAT You 'Merican. You don't know. BILLY watches, repulsed and fascinated. BILLY Know what? ZIAT Was.. (makes gesture with his fingers) ...seven years old. I was on street in Suk. Buy. Sell. No family to take care. I learn. BILLY Learn what? ZIAT shrugs. He thinks BILLY is an idiot. ZIAT Dog eat dog, Hi-yes. You fuck other man before he fuck you. (grins) And you must fuck last. BILLY That's a great philosophy. ZIAT (shakes his head) You 'Merican. You don't know. MAX has followed his cat down to the end of the floor but it has run up into a rafter which he cannot reach. He calls up. MAX Here Hikmet! Come down here boy! Hikmet... RAFTER Nothing. Max gives up. MAX Sodding cat! He shuffles off back to his bunk. THE CAT is back on ZIAT'S BUNK - NIGHT scratching with his paw around the radio. of the neck, hard. Suddenly he is GRABBED by the scruff of the neck, hard. CUT: BILLY jerks up from his bunk as he the hears a loud, piercing SCREECH, OFF, echoing through the Kogus. Then silence. CUT: ZIAT, industrious as always, is preparing his tea on the three burners of the small bottled gas' stove in THE KITCHEN, FIRST FLOOR Kogus; needless to say the area is filthy with scraps all over the floor, cats and two large wooden eating tables occupied by some PRISONERS. The Kitchen opens up in background into a WASHING ROOM with SINK. It is EARLY MORNING - Muslim CHANTING OFF, THREE TURKISH PRISONERS walk in, talking (AD LIB), followed by MAX stoned, who shuffles over to the table, about to sit, sees something. HIS CAT, dead stabbed, and lying there neglected in the corner, just another scrap ready to be swept out. ZIAT calmly pours the tea for the table, paying MAX no attention, an excellent actor. Prominently seated, however, is a GUARD. MAX quietly glares at ZIAT and the Guard but says nothing; he has been in prison long enough to know how to hold it in. ANOTHER ANGLE MAX - silently walks over and gently picks up the corpse in his arms, starts to walk out. CUT: BILLY listening impassively to: YESIL the lawyer. They are in a booth in the VISITING CAMBER. Bars separate prisoner and visitor. YESIL (smiling) The new American Ambassador here is following your case very closely. He says there is progress. But there is another route that is quite possible... (lowers his voice and leans close) ...For the proper amount of money it is possible I can convince certain officials to lose track of your papers before the High Court in Ankara confirms the sentence of the Lower Court in Istanbul... You would not exist; and you could be in Greece by the time the Turkish courts discovered a stupid clerical mistake...But I have to act before the official sentence is handed down, and for that I must pay certain officials in advance... BILLY closes his eyes as YESIL'S VOICE drones on, explaining the details, the cast, the simplicity Of it, FADING OUT UNDER: BILLY walking the COURTYARD counting his paces 48, 49, 50 Turns, goes back. SUSAN'S VOICE ...My dearest Billy. I know it is long and it is hard for you, but your family and I are thinking about you all the time. I am trying hard to make enough money nights to come and see you. Your father says that lawyer Yesil wants another $2000. I know you distrust him more and more, but your father wants to do everything he can, and he is borrowing all he can on the mortgage of the house. Money seems to be the only way out of there. Except of course the other way... BILLY, MAX and BELL (bandaged around the ass from the stabbing) are huddled around BELL's BUNK late NIGHT candle burning, a sheet sealing off some of the kogus. Bell furtively looks around, pulling out and elaborately unfolding a set of DRAWINGS from a pack of letters. SUSAN'S VOICE (continuous) ...But I cannot say I am for it. Nor are your parents. They consulted the priest, and he said to send you money for that reason would be like sealing your death. BELL (excited) The blueprints! MAX To what? BELL The prison, man. There was this German cat an architect in the hospital. He was helping the Turks build some shit round the place. I laid some bread on him and he let me copy them. BILLY, puzzled, turns the drawings upside-down, sideways. THE DRAWINGS are a lunatic mess of scrambled lines, dots, crosses. ANOTHER ANGLE MAX and BILLY, trying to follow the map, look at each other dubiously. MAX Too bad you didn't have a machine. BELL (intent) There's two ways out I figger - over the roof, but that's only one person, maybe two. The other way is Under. BILLY Tunnel? BELL (grins) It's already built! There's a basement substructure where they used to keep weapons and stuff, but beneath that there's these old catacombs that the Christians built 'bout a thousand fucking years ago to bury their dead. We're sitting right on top of it -- here. INSERT DRAWING, illustrating roughly the structure of the prison. His FINGER tracing, bubbling with nervous enthusiasm. BELL (OVER) The Kraut said there's a whole bunch of hollow sealed shafts sort of like dumbwaiters running along this wall; one of them is right in there, right next to our shower. We get in there, he says, we can get down into the catacombs. With three of us working.... (stops) MAX is standing, tapping on the wall, listening, a funny look on is face. MAX Gotta be here someplace. Thought I heard a couple of dead Christians singing down there. ANOTHER ANGLE BELL (irritated) Stop shitting me, man! BILLY (trying to be serious) But how would you get into the shaft, Jimmy? MAX I suppose you knock three times and ask for St. Peter. BELL (turning on Max) Hey! I'm getting this together man and I don't need no fucking Gastro-head along on this trip! (a fierce look at Max then back to Billy) We go through the wall. BILLY (a resigned look on his face) We go through the wall? MAX (quite sure Bell is out of his skull) We go through the wall. BELL between BILLY and MAX walking in the COURTYARD continuing intently: BELL ...The Kraut was right! I checked it out - there's no reinforced steel in those bath walls. They're real soft from underground seepage-- BELL reaches the wall, turns around and continues Lowers his voice occasionally as other PRISONERS intersect them. BELL (gesturing profusely) --the water like "'weeps" through the cement, see. Twenty, thirty years, you can almost push it over. All we do is use Gastrohead's screwdriver here and scrape the mortar out. Pull out 2, 3 stones, squeeze through, put 'em back, and get our ass down the shaft, It's a two night operation, maybe three. MAX And what do you do when you in the catacombs? BELL The catacoombs? Whaddya want, a door? There's miles of em like a sewer system but they got to come up someplace in Istanbul. Max is fed up with it now, no longer joking. MAX You gotta be fucking crazy! You got stabbed in the ass once too much, sweetheart, cause you're gonna end up in Section 13, that's what - not the 'catacombs. BILLY Section 13? MAX (looking at Bell) Yeah, for the criminally insane. (looks at Billy) I was there once for two weeks and it ain't an illusion. It's awful. Namidou runs it like a death camp, that's where he spends most of his time... BILLY Where is it? MAX I don' t know. It's someplace down in there.... (points at the ground) ..deep.. A big door...a wheel.... His eyes go back in time, haunted, vague breaks off. ANOTHER ANGLE BELL (low-keyed) Hey, you know what's gonna get us out of here? It's not a map, Max. It's our balls. You know what I mean... (straight at Max, Billy, very sincere, his eyes almost watering) ...I gotta get laid man, I don't know 'bout you guys, but if I don't get it on soon, I'm... I'm not gonna make it. MAX (under his breath) Shit. BELL Billy? BILLY ...The roof sounds better to me than digging through a wall. Ziat's round there all the time. But the roof.... (looks up) P.O.V. - THE ROOF, its edges visible over the courtyard. BILLY shakes his head. BILLY The bullet percentage is awful high. A pause. BILLY looks away from BELL'S stare. BILLY If I get caught, Jimmy, I'm facing another months. I'd be back up to 3 years, maybe more... Looks down. BELL understands, deeply disappointed. BELL Well fuck it! Choose your own death, babe, I'm taking the roof out of here! Bell leaves: CUT: A LONG DUNGEON CORRIDOR at the end of it, the frame of a small; DOOR, cracks of light at its edges. TRACK IN - F.X. of a siren, capture and now BEATING - heavy beating from behind that door. CLOSER we reach it. The door FLIES OPEN and HAMIDOU is glimpsed lighting a cigarette. Like a surreal dream, his hand holding the match has a thick LEATHER THONG bound around its knuckles and blood speckled on his fingers. A BLUR of foreground movement a GUARD coming out the door - dragging: BELL by the hair across the floor. His face contorting in agony. BILLY'S VOICE Dear Susan. Poor Jimmy was caught and beaten so badly he got a severe hernia and lost a testicle. He's been in the hospital for months having operations.. CUT: CLOSE BILLY'S TOOTH BEING PULLED BILLY VOICE (continuous) ...In comparison my problems seem very small. But two and a half years have now gone by, and in their own fashion, the Turks are slowly draining my life away... WIDEN to a STONE CHAMBER and a crazy looking DENTIST in a filthy long white smock, puffing on a cigarette holder, his ashes falling over Billy as he works his mouth. A motorized drill is plugged into the wall, adjacent a filthy spittoon covered with blood; dried blood is spattered liberally around the chamber. BILLY spits out the blood and looks in the mirror. BILLY'S VOICE ...I have problems with my stomach and my leg muscles feel very weak. My gums seem to be shrinking and they sometimes bleed when I massage them... They've pulled five of my teeth... Suddenly he starts SHOUTING angrily in TURKISH. The DENTIST screams back at him. AD LIB. THE DENTIST still screaming, leans BILLY back in the chair and looks in his mouth. BILLY'S VOICE (continuous) ...sometimes they null the wrong one... CUT: BILLY is washing himself in his undershorts at the SINK with ERICH; the hot water is on full blast and billows of vapor fill the small stone room, like a sauna. He pours a pitcher full of hot water over his head; his eyes lingering on: THE STONES of the wall with their cracked moldings; some areas are noticeably darker than others - Bell's "wet spots", the alternate escape route. BILLY VOICE (continuos) ...even my dreams don't seem to work any more. Because the outside doesn't seem real any more. It's not even a fantasy...because there is no fantasy. ERICH uses a coarse washing sponge on BILLY's back. BILLY'S VOICE (continuous) Even masturbation has become boring. It teaches you, like the rest of prison life, to seal up your emotions, and this is the greatest danger, this is what makes so many of the men change into something monstrous... EYES of the ARABS peer through the musky vapors at Billy and Erich; they loll about the door curious, lecherous for their bodies. CUT: ERICH massaging BILLY on his bunk in the SECOND STORY KOGUS. BILLY VOICE (continuous) It is Erich who has taught me how it is to be conscious, to channel and direct my energy. He has convinced me to stop smoking hashish, he is the calmest man I have ever known. If you don't control your energy in here if can blow you apart like with Bell. And you can't waste it either. You have to weigh up every one of your actions - for and against. Too little sex, too much sex either will throw you off balance... ERICH leans forward and kisses a tentative BILLY on the lips. A gentle kiss. They are standing inside the TOILET STALL; lower themselves down onto the seat. ERICH looks back over his shoulder, guarding their privacy. It is late NIGHT. BILLY VOICE (continuously) ...he has taught me about feelings, and the need to express them. And he has taught me about love... BILLY closes his eyes, softly - and with hesitation - returns ERICH's caress. Their hands probe each other's bodies. BILLY VOICE (continuous) ...and what love really is, beyond its physical forms.. .I think up to now I have only considered my own self, never really another... CUT: ERICH and BILLY do yoga positions together EARLY MORNING fully clothed, in the FIRST FLOOR KOGUS empty space. ERICH lies on his belly, his back stiffly arched, feet raised. BILLY stands silent, balanced lightly on his feet, his palms pressed together beneath his chin, centering, eyes closed. BILLY VOICE ...and now strange as it seems, Susan, without having seen you in so long I feel myself more inside of you than ever before. I feel your female mind. I sense you, touch you; ...know you; and find myself falling more and more... in love with you. BILLY rises gracefully onto his toes, stretching his arms out above his head. It is the beginning posture, his body greeting the day. BILLY and ERICH sit silently now in lotus position, facing each other, breathing slowly, relaxing minds still, looking into each other's eyes. Billy closes eyes. BILLY (chant-like, gathering momentum) A prison a monastery a cloister a cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister... SOUND OFF, interrupting the clomp of FOOTSTEPS on the STAIRS. ZIAT comes down, staring at the two of them as he goes into the KITCHEN to prepare early morning tea. BILLY's expression changes. BILLY Prison. Rises from his position. CUT: THE SUN flowering up over ISTANBUL. BILLY rises from his BUNK to the chanting drone of "Allah Wakbah" OFF, and moving to the closest wall, takes out an old wet rag. BILLY'S VOICE Dear Susan. Erich has been transferred to a prison back in Sweden. He has profoundly affected my life and though I am lonely without him I am calmer than ever... BILLY erases out a scraped numeral (54) on the wall and with a chalky piece of rock, inscribes in bold strokes the numberal: 53 BILLY'S VOICE (continuous) Though I only have 53 days left, I feel I have never been so well adjusted to prison and to living as now.... BELL (OFF) Allah fuck Off! JIMMY BELL wakes, hearing the perpetual "Allah Wakbah" CHANT. BELL Asina Covaciml. (I stick it in his mouth) He is noticeably pale and weaker than before. BILLY'S VOICE (continuous) ...Poor Jimmy... BILLY cuts hair in the FIRST FLOOR there with a disturbed tight look on his face, work with a pocket mirror. BELL sits inspecting the BILLY VOICE (continuous) ...Though his health is bad he still won't give up... GUARD approaching with a slip in hand. BILLY'S VOICE (continuous) ...He still talks of escape. THE GUARD hands the slip to BILLY who is pleasantly surprised. A visitor. BILLY, walking down and turning a CORRIDOR into: in the PRISON, following a GUARD and turning into: THE VISITING ROOM where the little booths with BARS separate prisoner and visitor. Behind the grill is the Consul, STANLEY DAVIS. His face is grim and grey. BILLY senses it immediately. BILLY What's wrong? DAVIS Sit down a moment, Billy. I'm afraid I have some bad news for you. BILLY sits, tense. BILLY Something happen to Dad?... Mom? DAVIS swallows hard, not to say it DAVIS No... It looks like your going to have a new court. BILLY What do you mean? DAVIS The Prosecutor objected to your sentence for possession; he wanted a smuggling conviction and the High Court in Ankara reviewed it. ANOTHER ANGLE BILLY And? DAVIS We've been notified that they rejected the sentence... Billy's face drains of all expression. DAVIS (continuing) There were 35 judges on the High Court. Twenty eight of them voted for a life sentence. BILLY'S EYES. Numb, dazed, surreal. DAVIS (OFF) The Lower Court in Istanbul will have to go along with the decision. The Judge likes you and he'll do the only thing he can do under the law.... . He'll reduce the sentence to thirty years... We're notified... Billy. Suddenly he is GRABBED by his ivy-league striped tie and his face is yanked up to the bars, his glasses falling off. BILLY is berserk, his face right up against the bars, GRIPPING Davis tight. BILLY What do you mean LIFE FOR FOR WHAT! FOR WHAT! DAVIS (choking) Billy! Please! Commotion OFF as GUARDS run in, HAMIDOU in the lead. BILLY FOR WHAT! FOR WHAT! The GUARDS try to pry loose BILLY'S strangling grip ON DAVIS' tie. BILLY I HAVE FIFTY THREE DAYS LEFT! HAMIDOU takes out a KNIFE and cuts the consul's tie in half. DAVIS falls backwards. BILLY is hauled now. back, still gripping half the tie. He is trembling now. BILLY I HAVE FIFTY THREE DAYS LEFT! DAVIS is shaken. He has red bar marks across his face and is absent-mindedly trying to adjust half a tie as he looks at: BILLY being hauled out by HAMIDOU, SCREAMING something indistinct. CUT: COURTROOM. Same as before. BILLY, in the prisoner's dock, addresses the Court; as he speaks, a Turkish TRANSLATOR. drones underneath his voice level: BILLY ...What is the crime? And what is the punishment? The answer seems to vary from place to place, and from time to time. What's legal today is suddenly illegal tomorrow cause some society says it's so; and what's illegal yesterday all of a sudden gets legal today because everybody's doing it and you can't throw everybody in jail. Well I'm not saying this is right or wrong. It's just the way things are.... YESIL the lawyer; DAVIS the consul. THE PRESS GIRL from the previous trial in the short skirt. BILLY BILLY (continuous) But I spent the last three and a half years of my life in your prison and I think I paid for my error and if it's your decision today to sentence me to more years, I... I... (a break) You know my lawyers told me 'be cool Billy don't get upset, don't get angry, if you're good I can maybe get a pardon, an amnesty, an appeal, this that and the other thing.' Well that's been going down now for 35 years... YESIL looks over, surprised he is talking like this. Looks at DAVIS. BILLY. BILLY (continuous) And I've been playing it cool and I've been good and now I'm damn tired of being good cause you people gave me the belief that I had 53 days left. You hung 53 days in front of my eyes and then you took those 53 days away, and Mister Prosecutor! I just wish you could... PROSECUTOR looks over, through his dark green glasses. BILLY (OVER) ... stand right here where I'm standing and feel what that... ...feels like, cause then you'd know something you don't know you'd know what means, Mister Prosecutor and you'd know the concept of a society is based on the quality of its mercy means, of its sense of fair play, its sense of justice... but (shrugs and scoffs at himself) I guess that's just like asking a bear to shit in a toilet... TRANSLATOR stops, looks puzzled. BILLY BILLY (same self-mocking tone) For a nation of pigs, it's funny you don't eat them. Fuck it, give me the sentence. Jesus forgave the bastards, but I can't. I hate you. Nation. I hate your I hate your people. And I fuck your sons and daughters! Sits down, disgusted; under his breath: BILLY ...cause you're all pigs. SILENCE in the uncomfortably. courtroom. PEOPLE looking at each other DAVIS looks down. YESIL flips some pages abstractedly. TRANSLATOR SCARED: TRANSLATOR Would Your honor like me to translate? THE OLD CHIEF JUDGE, the same one as before Shakes his head. JUDGE That won't be necessary ANOTHER ANGLE - THE JUDGE turns to BILLY in the foreground rises, and unexpectedly crosses his wrists out in front of him. JUDGE (emotionally) My hands are tied by Ankara! Makes the gesture of the hands forcefully, with anger. TRANSLATOR (OFF) My hands are tied by Ankara! BILLY WATCHING, JUDGE (OFF) I must sentence you, Vilyum Hiyes... JUDGE JUDGE ... to be imprisoned at Sagamilcar for a term no less than thirty years...Getchmis olsun TRANSLATOR (OFF) "I must sentence you, Vilyum Hiyes, to be imprisoned at Sagamilcar for a term no less than years... "Getchmis Olsun" As he translates, the JUDGE unable to control his emotion exits rapidly, not looking at Billy, followed by the TWO OTHER JUDGES. TRANSLATOR (OFF) "May it pass quickly." CUT: THREE OLD GLEANING WOMEN swathed in black like three fates turn from their sweeping as BILLY is led out COURTROOM NUMBER SIX down a long stone corridor. Dust floats through long slanting shafts of yellowish light, like a striped leotard dream. BILLY walks, his eyes straight ahead - determined. SONG OVER (BELL) (old Southern blues beat, improvised) "Mmmmm... got the blues babe, Got those old Istanbul blues, Said Yeah, I got the blues babe Got those old Istanbul blues... Thirty years in Turkey, babe, Ain't got nothing left to lose..." CUT: BELL sings it, strumming sloppily but with feeling on his guitar. BILLY lies, his back up, on his BUNK nearby. MAX, stoned, sits at the base of the bunk. It is NIGHT. The song falters, but MAX now joins in, improvising: SONG OVER (MAX AND BELL) "Busted at the border Two keys in my shoes Said I was busted at the border with two keys in my shoes An they gave me thirty years, babe To learn the old Istanbul blues..." SEVERAL TURKS are partying it up down at the other end of the SECOND FLOOR KOGUS, playing a "sas" - Turkish type guitar, counterpointed by a little drum; the music is stridently Turkish, and one of the men does a belly-dance in underpants with two lemons masquerading as breasts under his shirt. The LOUD TWANGING of Bell's GUITAR can be heard OFF, interrupting them. They are annoyed. BELL leading MAX into the next stanza: SONG OVER (MAX AND BELL) "I said Lord now save me Please save me from this pain" BILLY, touched - listening, thinking. SONG OVER (OVER) "I said Lord come and save me, Come save me from this pain Come set me free sweet Jesus..." TURK (OFF) Hey knock off that shit music... TWO TURKS from the party walk up, waving at BELL's guitar, annoyed. TURK ...We're playing the sas. BELL (understanding their Turkish) Omina koyden your sas! (Put your sas in your cunt!) THE TWO TURKS tense, the mood changing. BELL gets even angrier, puts the guitar aside, ready to spring. BELL ...And besides that I fuck Allah and I fuck your Muslim mother too... They don't understand but one of them is reaching into his pants for his shiv. BELL You got that, shit face? Asina... BILLY (OFF) KNOCK IT OFF! ANOTHER ANGLE BILLY is moving fast between the TWO TURKS and BELL. A new authority in his voice, and controlled anger in his face. BILLY (to Bell) Cut it! No more fights. BELL looks. BILLY We're getting out of here. BELL astonished. CUT: BILLY, with Max's little screwdriver and a metal spoon, digs hard at the cracks around a dark stone in the SINK ROOM, FIRST FLOOR KOGUS. With him is MAX working on the same stone. They are sweating, shirtless, looking back over their shoulders at: BELL guarding the STAIRS. BILLY works the stucco out, jiggling with the stone (about a nine inch circumference) using his fingers and screwdriver. Painful work. BILLY'S VOICE Dear Susan. It's taken me a long time to find out that it's got to stop somewhere. I've learned painfully not to trust the Turks, the courts, the lawyers, the Consul, the United States Government, and not even my loving parents. There is only one way out of here.. The Midnight Express. BILLY kicks with his sneakers at the stone, as silently as possible. A LOUD NOISE - crumbling dust, stucco. BELL at the stairs freezes, fearful. Then SILENCE. He Runs over. MAX, BELL, BILLY. MAX (in a whisper) We're undermining the other stones! BELL studies it, pointing to the stone above left the one that has been loosened. BELL We gotta take a chance and do that one next - (pointing) Then pull out this one - (pointing to the one directly left of the loosened stone, excited) Just jiggle it, scratch it out, loose nit up, it's soft real soft! BILLY has his head pressed close to the loosened stone. Suddenly: BILLY It's there! BELL What? BILLY Listen! ANOTHER ANGLE - all THREE press their ears to the stone. A silence. The faintest whisper of WIND and dripping 'WATER - indicating a shaft of some nature. BELL looks back at BILLY. BELL I told you, I told you you cock- suckers! You didn't believe me. BILLY smiles. MAX reaches over and grabs Bell's face between his hands, kisses him violently. MAX Fuck me! You beautiful mother, you! CUT: MAX now on guard at the STAIRS, looks over at: BELL AND BILLY - with fresh paste putting the finishing touches on the edges of the stone which has been replaced in its original position. Bell's half naked torso reveals a pair of dice with lucky sevens tattooed on his shoulder. CUT: THE REPLACED STONE. On close inspection, it is apparent that the stucco around it doesn't match the other stones one bit, but as we PULL BACK to see ZIAT washing his tea cups in the SINK during the DAY, this irregularity is lost in the greater mosaic of the wall structure. At least ZIAT doesn't notice as: BILLY nervously comes into the SINK area, watching him, and calls to him. BILLY (using Turkish) Hey, Ziat, hurry up with the tea will ay! ZIAT (mutters to himself) Work, work, work, that's all do BILLY I don't hear you bitch about the money. BILLY followed by ZIAT into the KITCHEN casts a look of relief at: BELL and MAX who wait at a table with empty tea cups. CUT: A HORDE OF COCKROACHES stream out from a crack in the stone as BILLY and MAX dig, scrape, jiggle the third stone. Both covered with sweat, working with confidence now. A DARK EMPTY SHAFT on the other side. Dripping water. Two stones removed. BELL runs over: BELL Want me to take over? BILLY You want to split your hernia again? MAX Get off our tits! Bell turns to go. Suddenly a LOUD CRUMBLING NOISE and: A FOURTH STONE starts to go - but brakes itself. BILLY, MAX, BELL all framed in a posture of fear -- not daring to move. SECOND STORY KOGUS remains silent. BELL looks up the STAIRS, tiptoes back, indicating they are clear. MAX AND BILLY. All THREE of them look: THE THREE A HALF STONE SPACE. Easily big enough for them to squeeze through. BILLY shines a candle in the shaft, OFF. THE THREE look at each other. The same thought. Eager eyes. The TRAIN WHISTLES by in the night, OFF. BELL (sudden) Let's go! BILLY looks at his watch, hates to do it. Shakes his head. BILLY No. No time. Put 'em back. MAX groans to himself. CUT: BILLY tense and restless at his BUNK TWILIGHT. A loud RADIO OFF - Turkish News. BILLY We go early. Any fuck-ups we should be back here and have the stones in by dawn. ANOTHER ANGLE - MAX, BELL, AND BILLY. A pause. BILLY You got your stuff? MAX Yeah. BELL (persistent) Haps, railroad, bus timetables? MAX (business-like) Everything. BILLY Okay. (looks around the group) Let's do it. He extends his hands and the other two cross in a six-handed shake. CUT: MAX signals down the STAIRS - "all clear". BILLY going through the HOLE in the STONES that NIGHT into: A DARK SHAFT spookily leading downwards. He lights a thick CANDLE tied horizontally across his sneakers so as to give him his light source where his footholds are. His P.V.O: PART DUMBWAITER SHAFT, PART WATER WELL from a previous century A series of corrugated mossy old footholds and iron spikes lead down at irregular intervals. CUT: BILLY, MAX AND BELL, each with their own foot candle, are spaced along the shaft easing downwards. BILLY looks up at MAX about ten feet above. BILLY Okay? MAX Yeah! BILLY Jimmy? BELL (struggling.) What? BILLY How's your hernia? BELL Don't make me laugh. BILLY in a sweat, slips. A tense moment - then he catches himself. OFF - the TRAIN WHISTLE can be heard, echoing into the shaft.Mixed suddenly with LOUD TALKING OFF. Arguing in Turkish. BILLY freezes, signals upwards with a sharp hiss of breath. VOICE #1 (OFF) What do you mean, you forgot, he'll have my ass! VOICE #2 (OFF) Well I can't do two things at once, you were supposed to be here at nine o'clock! BILLY identifying the relative location of the voices, eases downwards, coming to a GRILL, looks in at: A BASEMENT ROOM with FURNACE. TWO TURKISH GUARDS throw the prison rubbish in the furnace, still arguing, AD LIB. BILLY signals upwards. REVERSE ANGLE, from inside the basement, of BILLY slipping past the grill, his face sharply illuminated by the flame of the furnace. Off the walls around the grill we can see the GIANT SILHOUETTES of the two guards still arguing. BILLY comes to the base of the shaft. A puddle of scummy water. Unstraps the candle. A current of WIND He peers around. P.O.V. - A WINDING NARROW CATACOMB, WITH BEEHIVE BURIAL PLACES ON BOTH SIDES. BILLY, sniffing the stench, unrolls a ball of THREAD ties it to a marker and heads in. CUT: BILLY, BELL and MAX are in the catacomb. A scratchy hideous sound and: BATS fly out squealing from the ceiling. THE BOYS hit the ground as BATWINGS flap over them, colliding against each other, knocking off walls, SCREECHING, then diminishing in sound. Fewer and fewer. Then gone. MAX (looking up, scared) Jesus! BILLY looking up. BILLY Anybody bitten? ANOTHER ANGLE BELL Nah, just covered with batshit! BILLY (getting to his knees) They went out over there: must be some kind of exit. Heads in that direction. CUT: A HUGE SPIDER scatters off, as BILLY's CANDLE illuminates: ANOTHER ENDLESS WALKWAY. BILLY comes to a stop - frustrated. BILLY Let's go back the other way. INTERSECTION Two walkways. BELL leads in, unwinding the thread, stops. BELL (desperate) The fuck are we? BILLY comes into view, equally frustrated. BILLY What time is it? MAX Two thirty. ANOTHER MAZE of walkways. The three stop exhausted, faces blackened. BILLY, in utter rage and frustration starts kicking the wall. BILLY Shit! Shit! Shit! MAX (slumping to the ground) It's a dead end. The Turks musta' sealed it up. BELL What the fuck we gonna do? SILENCE as the three pathetic escapees ponder their fate. BILLY, getting a grip on himself, thinking. BILLY We go back. ANOTHER ANGLE MAX What? You gotta be joking. BILLY (resolute) We go back, seal it up again, and come in tomorrow night - every night 'till we get out of here. There's gotta be a way. Those bats got out someplace. (rises) Now let's go. Doubletime! Takes the THREAD and starts to follow it back. CUT: THE SHAFT. BILLY leads the climbers UP. MAX reaches a new foothold, stops, getting his breath. Looks down at BELL heavy breathing OFF. Urging him on. MAX You gotta have a lot of balls for this BELL, suffering, can't help but grin. BELL (murmurs) Count me out. (to himself, shaking his head) Who ever heard of anybody sneaking back into a fucking jail? MAX overhearing it. MAX Yeah, what if got caught? BELL starts to giggle. BILLY (OFF) (up the shaft) Hey Max, don't make the dummy laugh. MAX laughing, shaking his head. MAX (between giggles) Who's laughing? I mean I find this terribly depressing... Can you see old Hamidou's face when he tries to figure this one out? BILLY can't go on, starts to giggle at the thought. BILLY (between giggles) We'll tell him we were checking out our escape route. We wanted to be completely sure before we tried it. ANOTHER ANGLE - the THREE of them, spaced along the shaft, are all giggling hysterically. Echoing. HOLD ON them. CUT: BILLY comes through the HOLE in the stones in the SINK AREA. It is still NIGHT. He looks around - silence. MAX follows through the hole. CUT: BILLY and MAX work fractically to seal up the STONES. BELL, exhausted, is at the STAIRS guarding. Distant early morning SOUNDS of prison waking up. We feel they will be spotted this time, but: CUT: BILLY slumps into his BUNK as the first rays of LIGHT come up in the sky and the CHANT from the Mosque commences. He immediately sinks into sleep. CLOSE on OLD TEA LEAVES being washed in the SINK. A MILKY WHITE EYE follows into view. ZIAT is preparing his early morning tea, his good eye now moving to something beyond the tea leaves. Curious, he straightens, throwing the withered bunch of leaves the sink. ZIAT approaches the irregular stucco paste around the REPLACED STONES; runs his fingers along the ridges, noticing the paste is fresh. BILLY snoring from fatigue. BELL wakes him quickly. BELL Billy, wake up! They found it! OFF there is a lot of SHOUTING downstairs. BILLY Who? BELL Ziat! CUT: BILLY standing in a group of PRISONERS with BELL and MAX. He has a look of total despair on his face, as he watches. THE SINK. PRISONERS are everywhere jabbering excitedly among themselves. ZIAT is conferring with HAMIDOU as GUARDS rip out the last stone, revealing the HOLE leading to the SHAFT. BILLY's gaze shifts to ZIAT fixing all his hatred on him. ZIAT grinning, moves away, and his falaka stick cocked like a sergeant major - moves among the prisoners. HAMIDOU Shut up! They all fall immediately silent. HAMIDOU continues his walk among them, bypassing: MAX who shifts his gaze onto: BILLY. HAMIDOU approaches, his eyes moving over BILLY with contempt, and shifting him aside with the stick. To him Billy is the same passive prisoner as before. He moves on, shifting OTHERS aside and then stops at: BELL. HAMIDOU swings his stick up slowly and taps him lightly on the chest. BELL realizes and is afraid. HAMIDOU No do! No do! I tell you I see you again.. Finish! He punctuates this last with a theatrical tap on the chest and he gestures to the GUARDS. HAMIDOU Take him! BELL, already broken by bad beatings, shivers. BELL. No! Oh no! No... GUARDS grab him, hurry him out the Kogus behind HAMIDOU BILLY holds himself rigid, trying not to break. Bell's PROTESTS continue OFF. MAX unable to contain his anger, strides right up to ZIAT, collars him, livid. MAX You bastard! This time I'm gonna kick your fucking brains all over this kitchen! ZIAT (calm) Fine. Good. Man to man. We fight now. And when finish I bring Hamidou and he kick you fuckinq ass. MAX is about to swing when BILLY grabs him. BILLY Max! Cool it! (looking at Ziat calmly) Ziat's just doing his job. ZIAT Glances from BILLY back to MAX fixing on him as BILLY walks him away. CUT: MAX is at his BUNK that NIGHT; puts away the hypodermic needle, stoned and speeding at the same time, smoking a cigarette. BILLY inwardly tense, sits with his head in his hands. MAX Bell's gonna talk. They got to find out. Man, we gotta out. Tears have formed in his eyes. MAX Goddamn Gastro's killing me. Making me blind. Hey Billy! BILLY (sympathetic) Yeah. MAX I got some acid man. Maybe we can drop some on the guards huh? In their tea or something. BILLY looks away, not even considering. But MAX is caught up in the notion. MAX Yeah I got it all worked out. Billy, listen to me. (looks at Billy, his eyes glazed) That old guard likes you, You drop some acid on him. When he's Seeing rainbows yer know. walk out - tonight. BILLY Then we're outside the kogus. Then what? MAX What? BILLY After we're outside the kogus? MAX Oh we... we... BILLY Max... Your BILLY shirt's on fire... MAX clumsily brushes the burning ash off his shirt where it's made a hole. MAX Oh shit! Oh Christ! His eyes cloud with tears. He sits down, head between his hands. MAX There just comes a time you know... you know you're never going to git it on. Suddenly shifts mood again, stands, pulling out a SHIV, resolute, eyes brightening. MAX That's what I'm gonna do. (giggles) BILLY looks up wondering. BILLY What? MAX (crazily) Cut his fucking throat. BILLY Whose? MAX ZIAT... What do I got to lose huh! What do I got to lose. And I'd really enjoy it. Lurches against the bunk. BILLY Max, sit down. You're in no shape to kill anybody. MAX I want to cut his throat. BILLY It's already been cut. MAX Then I'll cut his balls off. BILLY smiles, shakes his head, then: BILLY If you really wanted to hurt Ziat (pause) MAX slumps back down on the bunk, suddenly tired of killing. BILLY (reflective) ...His money - steal that, you steal his blood... Could you see his face when everything he worked so hard to get got snatched? (plays with the thought idly, then shrugs) If we knew where he hid it. (waves it away) Anyway, steal from him they'd pick up the whole prison and shake it sideways. We couldn't hide it anywhere. MAX (head bobbing now, murmurs) You know where it is? BILLY What? MAX (a vague grin) I know where it is. BILLY glances at him, not sure whether he heard. BILLY His money? MAX gives him a goofy nod - and a grin. Imitating Robert Newton as Long John Silver. MAX 'Dem dat hides can finds says I'... I seen him, the clever tit, sneaking looks at it late at night, talking to it. BILLY (beginning to believe him) Yeah? Where? MAX, distracted, let's his attention wander back. Inaudible his head bobbing now. MAX Hishradyo. BILLY Max - where? MAX (his mouth hanging open, eyes closed) His radio Back of his open, radio... He lurches over gently on the bunk. MAX That's why he never plays it... MAX Sleeps. BILLY surprised, then reflective. CUT: THE BACK OF THE RADIO is unscrewed; the cover pulled off. EMPTY! MOVE TO ZIAT. The look is as Billy expected. Horror, shock, anger, fear. ZIAT SCREAMS hysterically like old Greek widow and: BEATING HIS CHEST and tearing at his hair, ZIAT runs out of the KOGUS wailing, moaning. CUT: THE SECOND STORY KOGUS is being" controlled" by the GUARDS. WIDE ANGLE reveals a circus of clockwork destruction as the GUARDS, making abundant NOISE, systematically rip up each bunk, locker, mattress, picture, book, etc., their faces flushed with this opportunity for orgy. CUT: THE PRISONERS are lined up in the COURTYARD, each one being body searched.Prominent are MAX and BILLY, looking up amused at the SECOND STORY WINDOWS - feathers from a mattress fly around. ZIAT Briefly appears, his face at the window, looking at the prisoners in the yard, frustrated. HAMIDOU breaks apart a with his bare hands. ZIAT is stripping MAX's possessions, sure he will find it here. VOICE (OFF) Down here! Ziat springs up. GUARD calling out from the STAIRS. GUARD We found it! CUT: ZIAT leaning in CLOSE, OVER THE STOVE in the KITCHEN, framed by GUARDS. It is the same crouched posture he always uses to work the stove but now his eyes show complete despair as he sees: A THOUSAND SHREDS OF PAPER MONEY floating in his pots amid his withered tea bags. From ashes to ashes and dust to dust. ZIAT folds his head into his hands, sobbing then wailing very human, very sad. CUT: KITCHEN - NEGDIR an Arab, is now running the tea concession. A jolly ebullient man. Pours a cup for MAX. Several OTHERS are at the table. NEGDIR (heavily accented English) ...He sell me tea business - everything. No the same. Ziat lose all... (makes the gesture towards the heart and the gut, using the Arabic word) Heart! Soul! MAX He never had one. NEGDIR Soon he go back streets Istanbul. Thousand enemy. No money. (makes throat cutting gesture) MAX I'll drink to that. (toasting with the tea) Just as: ZIAT enters the kitchen; he eyes Max with hatred, sits at the other TABLE and orders tea. Surprisingly, he is wearing a suit and clean shirt-unlike his usual grimy appearance. BILLY, looking shaken, enters the kitchen, glances at ZIAT sits with MAX. BILLY Just got some news on Bell. MAX What? BILLY Bad. Sent to the City Hospital. They ruptured his hernia again. MAX (grim) Oh shit. BILLY I Guess he didn't talk...Poor bastard. BILLY glances over at: ZIAT drinking tea. BILLY AND MAX BILLY Why the suit? MAX Maybe he's changing jobs. VOICE (OFF) SAYIM! SAYIM! BILLY looks over to see: HAMIDOU and a DOZEN GUARDS spreading through the KOGUS, assembling everybody with shouts of "SAYIM!" CUT: THE PRISONERS are lined up in ranks in the FIRST FLOOR KOGUS. BILLY glancing at MAX next to him, wondering why. HAMIDOU goes down the line, his FLUNKIES searching each man. A GUARD reaches into ZIAT'S pocket and comes out with a matchbox. Yells to HAMIDOU who comes over. HAMIDOU (opening the matchbox) Nebu? MATCHBOX Containing a small amount of HASHISH. HAMIDOU reaches over and pulls ZIAT out of the 'line roughly. HAMIDOU Nebu? Starts to slap him around. BILLY glancing at MAX. MAX (worried) What's going on? Maybe Ziat can't pay off; Hamidou's taking it out in trade. HAMIDOU smashes ZIAT again, but pulls the punch. HAMIDOU Where did you get this hash? Raises his arm again. ZIAT (cowering, pretending fear) From Max. Point at: MAX who stiffens, eyes like cracked eggs. MAX (under his breath) You got to be kidding. HAMIDOU peers at MAX, advances. HAMIDOU What's happening with this hash? Indicates the matchbox in his hand. MAX I didn't sell it to him. I don't have anything to do with this, I... HAMIDOU (leans closer) I know your face. Where did you get the hash? BILLY (interrupting in Turkish)) (He knows nothing about it. Ziat's lying. HAMIDOU (turns on Billy, in English) You, goddamn you, shut up! (Back to MAX) Take him to the cellar) GUARDS drag off. MAX Get out of here! He's lying! That cock-sucker! Billy...? CUT: BILLY sits on his his anger building, his imagination running wild. CUT: MAX being dragged down a CORRIDOR by his feet. A SCREAM. BILLY CUT: BELL, his features distorted, being carried into an AMBULANCE. CUT: BELL, MAX and BILLY at the wall, digging together, MAX hugging BELL the time they found the shaft. CUT: MAX twisting out of the grip of a GUARD and, grabbing the glass from his smashed spectacles, he cuts deep into his wrist. GUARDS grab him. A LOUD LAUGH OFF carrying over. BILLY turning on his bunk to see: ZIAT joking with TWO GUARDS as he enters the SECOND STORY. The guards back down the stairs. BILLY already in movement. ZIAT, in his suit, collecting suitcase from his bunk, preparing to leave. VOICE (OFF) ZIAT! Turns and catches a FIST in the side of the face. Staggers into a bunk. BILLY, fists clenched, yells a string of Turkish curse words at him: BILLY Asina covacim, ipnave pesankek...yosakt. Lunges. ZIAT is bulky, throws the smaller BILLY off and scrambles past a bunk. BILLY is up and after him. Jumps back as a SHIV cuts the air in front of him. His side is cut. ZIAT holding the shiv, feints, cursing BILLY in Turkish. BILLY skips back, takes a MATTRESS off the bed and runs it right into KNOCKING HIM AND THE WHOLE BUNK OVER. THE TWO scramble around, BILLY tackling him into another BUNK which also goes over. Chairs break. ZIAT butts his head into BILLY'S jaw. BILLY staggers back from the blow and ZIAT jumps him, BITING into his ear. ZIAT, getting a better hold, now BITES into BILLY'S NOSE. BILLY slams ZIAT in the nose hard with the palm of his hand. ZIAT relinquishes his hold, grabbing at his broken bleeding nose. BILLY beats him around the head but though the blood now flows and teeth are broken, is like a clumsy bear, hard to kill. ZIAT scrambles away on his knees under another BUNK now screaming as loud as he can. ZIAT HELP ME! GUARDS! HELP ME! SEVERAL PRISONERS watching from further down the SECOND STORY Kogus now move in sync, turning on their RADIOS loud as possible, drowning out the cries for help, others watching the stairs. BILLY takes the BUNK and throws it over, revealing ZIAT cowering in pure terror. He grabs ZIAT by the hair, hauls him up and LAUNCHES HIS KNEE into HIS FACE. ZIAT thuds onto the floor. BILLY stomps him in the gut hard. ZIAT screams unnaturally shrill. BILLY, driven by supernatural anger, now jumps on him and CLAMPS HIS MOUTH right on ZIAT'S open SCREAM. A STRUGGLING KISS ensues. BILLY pulls back, his mouth filled with blood, spitting out. AN UNIDENTIFIED PIECE OF FLESH which Bits the ground with an odd slow motion grace. ZIAT - CLOSE in terror; throat cords rippling; eyes bulging with disbelief, body quivering, mouth open and screaming, but it is a SILENT SCREAM and the mouth is a dark hole filled with blood and without a TONGUE. BILLY, without a moment's mercy, crashes his fist into ZIAT'S face. ZIAT his strength now broken, collapses on his back. BILLY crashes his fist again into the hated face. He is GRABBED now by a GUARD, but: ANOTHER ANGLE - BILLY shakes the GUARD OFF, then as ANOTHER GUARD runs up, BILLY SLAMS him aside and, obsessed, lunges back down on ZIAT and BOTH HANDS CLAMPED TOGETHER high in the air delivers a final blow to ZIAT'S face. The bones shatter. Pause. His ogre unconscious beneath him, BILLY, now in SLOW MOTION, EXTENDS HIS ARMS IN THE AIR - in the fighter's victory gesture, and his eyes glow with the fever in them, and with his mouth and face bloodied, he looks like a savage. No longer Billy Hayes. SHARP CUT: BILLY bound in a thick leather belt (a kiyis) which screws tightly around the waist and cinches the hands together, is being HAULED in continuing SLOW MOTION through a huge DOOR somewhere in one of the cavernous corridors of the prison.The door is approximately NINE FEET by SIX FEET, strong and wooden with a circular iron handle which one of the GUARDS now pulls open; a GLIMPSE of darkness within. THE DOOR CLOSES. SUPERIMPOSE: SECTION 13 - ASYLUM FOR THE CRIMINALLY INSANE A YEAR LATER MAX, barely recognizable in a torn sheet and with a blackened face, comes rushing into a crowded ROOM, screaming louder than any other inmate. marks on his face, He is enraged, blood dripping from scratch ATTENDANTS in white smocks chase him over the beds. Max is yelling in Turkish. MAX Please, will you listen to me? Will someone please listen to me? JUST LISTEN To ME! ATTENDANTS Hamidou! Get Hamidou! Get the Kiyisl! The ATTENDANTS wrestle with him, but he throws them off, tearing around the room mindlessly. In the process we see that not much attention is paid him because everybody else is crazy! There are 50 other LUNATICS yelling at each other in fights over sheets, blankets, beds, cigarettes, jumping: screaming, pushing, shoving; some babbling to themselves, rocking, crying, chanting, singing. Several of them (the craziest) are stark naked. some, wrapped in torn blackened sheets, patrol the room like quick ferrets, sharp eyes open for anything they can steal. Others move in meaningless, blank-eyed silence. The walls are filthy black and join the ceilings in arches rather than angles, giving the look of an old dungeon. Fifty beds are lined up right next to each other so that you walk right into your bed. A constant nerve-racking NOISE. HAMIDOU bursts into the ROOM, the angry look in his eyes spelling real trouble for Max. MOVE with him as he sweep sin on MAX and picks him up with one move and SMASHES HIM against the wall. Max hardly notices. ANOTHER ANGLE - HAMIDOU takes the leather kiyis from an ATTENDANT, moves in on MAX and starts clamping it around him. AN ATTENDANT walks through the room with an apron containing several large pockets bulging with red, green, blue, white PILLS, which he distributes by the handful. ATTENDANT (crying out) Hop! Hop! Hop! Full moon. Hop! Hop! Hop! THE LUNATICS gobble them up as if they were candy. In some of the clustered areas, nine lunatics occupy as little as three beds. MAX is tightly bound now by HAMIDOU, but his body arches against the bindings, his neck straining, his teeth snapping at the air. HAMIDOU grabs him with one hand by the leather waist, hauls him high up in the air and THROWS MAX half-ways across the room, MAX smashing heavily against some beds, continuing to SCREAM OFF as: THE ATTENDANT with the pills-now bypasses BILLY on one of the beds. ATTENDANT Hop! Hop! Full Moon - take your pills! BILLY gobbles them up. He has changed. Lines in his face. No smile, no sense of humor; a brooding silence about him, a straight ahead look. He pays no attention to MAX off; he is in grubby white pyjamas and shower sandals. Rolls back onto hi& bed with its filthy torn sheet, totally ignoring the surrounding commotion, and ANOTHER ANGLE - turning onto his shoulder, BILLY suddenly finds himself face to face with a dark saddened visage. The MAN is very young and stark naked but for an old black rag wrapped around his head and clutched under his chin. His eyes are yellow, the voice pleading. YOUNG MAN Cigare? (pause, same tone, holds out his palm) Cigare? Cigare? BILLY shakes his head sharply --too sharply --and barks, irritable. BILLY Go away! Turns on his other shoulder, trying to sleep. YOUNG MAN (OFF) Cigare? Cigare? YOUNG MAN in a surprisingly meek tone. YOUNG MAN S'il Vous plait, Monsieur? S'il vous plait? BILLY, really aggravated now, springs up from the bed, and in the quirky way the mad and the eccentric adopt walks determinedly away from the young man, looking back to shake his head bizarrely at him one more time. ANOTHER ANGLE BILLY walking down the aisle bypasses MAX int he kiyis, rolling on the floor, still screaming in Turkish. MAX Will you listen to me? PLEASE LISTEN TO ME! Several LUNATICS are gathered around tormenting him, one of them yanking on his penis as if it were made of rubber; another is playing with his ass. A third one, also in a leather kiyis, is leaning over MAX jabbering and drooling into his face. MAX, more enraged by this than the other bodily offences, lunges up sharply and bites the man's FACE. SCREAMS, etc. BILLY, paying no attention except for a brief disinterested glance, keeps going into: A SECOND ROOM. MORE LUNATICS. A screaming OLD MAN is chasing after another OLD MAN who has stolen his tespe beads, waving them back at the first old man who howls with rage, frantic to have his beads back. The second old man throws the beads to a THIRD OLD MAN who hops across the beds with the FIRST OLD MAN chasing him. BILLY intersects. OLD MAN (pleading) Allah! Allah! Yok! Yok! Yok! Brack! A LITTLE NERVOUS MAN stares into a broken pocket mirror fingering the large round carbuncle under his eye, trying to rub it away with little grimaces and flurries of nervous motion. TWO ATTENDANTS in smocks indifferently finish eating on a newspaper spread across one of the beds; they shake out the paper. CHICKEN BONES, ORANGE PEELS hitting the floor. A flurry of movement, as the LUNATICS scuffle like rats over the left- overs. AD LIB curses, yells. AN OLD MAN obscenely gestures to BILLY from his bed. OLD MAN Hey American. Fik! Fick! Come. Fik! Fik! His blackened teeth leer. BILLY, seemingly immune to all of this in some private island of his own madness, walks in his determined way past a PARTITION to: A CIRCULAR STONE STAIRCASE leading downwards, the stones damp, dark, slippery. BILLY continues with the same straight- ahead determination to: A LONER LEVEL. at last BILLY's expression changes to almost childish relief, for here at last is the refuge he seeks the relative comfort and silence of THE WHEEL. It is a grim, squat PILLAR dominating the room and bearing the weight of the ceiling. And around it some SIXTY LUNATICS trudge slowly, near silently, in counter-clockwise flow. It is a hypnotic shuffle and BILLY blends right in, sliding easily into the sluggish, mindless river, his eyes hanging loosely on the floor, watching: THE SOOTHING RHYTHM OF FEET shuffling at a comforting pace. These are the spokes of the wheel. CUT: TWO TINY BARE LIGHT-BULBS give faint, eerie illumination to the chamber. One one side, a pot-bellied stove flickers, etching the shadows of the walkers in a strange orange glow. SOME LUNATICS, not walking, hover around the stove. OTHERS are jammed onto a low L-shaped wooden platform that runs the length of two walls. of these men are naked, covered with open running sores over their knees, elbows, buttocks. But they are much quieter than the upstairs crowd. They are the lowest order of madmen. They have no minds left. They are the damned. BILLY walks among them, expressionless. A tall, thin cadaverous TURK with a grizzled beard now shuffles up alongside BILLY, looks at him, walks with him. is about fifty, his pyjamas relatively clean, looking more sane than the average but his eyes are bright and scary and his wet hair is matted down on his head, and big clumps of it have been pulled out. He speaks with a cultured English accent. AHMET You're an American? BILLY is interrupted but keeps his eyes on the ground. AHMET doesn't wait for an answer. AHMET Ah yes, America! My name is Ahmet. I studied philosophy at Harvard for many many years. But actually Oxford is my real Alma Mata - I've also studied in Vienna. Now I study here. BILLY doesn't notice, shuffles along. AHMET ...They put me here. They say I raped a little boy. I have been here very long time. They will never let me go. BILLY pays no attention, keeps shuffling on. Glances at him, smiles. AHMET They won't let YOU go either. The smug certainty of his manner reaches some chord deep inside Billy, because Billy glances briefly at this lunatic who is smiling. Billy looks back at his feet. AHMET No, they'll never let you go. They tell you they let you go but you stay. You never go from here. BILLY plods on. grins and tries to explain the situation like a father lecturing a child. AHMET You see we all come from a factory. Sometimes the factory makes bad machines that don't work. They put them here. The bad machines don't know they're bad machines, but the people at the factory know. They know one of the machines that doesn't work... They walk on. Ahmet's expression changes. AHMET (polite) I think we have spoken enough for today. I say good night to you. He wraps his rags around himself quite carefully and we FOLLOW him out of the circle. He drops to his hands and knees and with a sense of dignity, crawls into the filthy blackness under the L-shaped wooden platform, disappearing like a cockroach. BILLY plods on. CUT: AN OLD WHITE-BEARDED MADMAN the Hoja, grandiose in his rags, leads MUSLIM PRAYER in the first ROOM. Some of his followers have prayer mats, others a scrap of sheet or newspaper; their tones discordant, still pushing and shoving at each other during the prayer. TWO SPASTICS can't follow the routine of kneeling and bending; they tangle up absurdly and fall to the floor in a ball of arms and legs. A FALAKA STICK pokes BILLY wake SOUND of the CHANTING fills room. It is evidently impossible to distinguish night from day because there are no windows. ATTENDANTS poke the LUNATICS awake with their "clubs. ATTENDANTS Head count! Head count! CUT: A MASS OF LUNATICS in the ROOM all at once. Attendants take a redundant and comic head count. The place sounds like a "yadi yadi room" the noise fearsome. ANOTHER ANGLE ATTENDANT #1 Sixty two, sixty three, sixty four.... ATTENDANT #2 Seventy four, seventy five, seventy six.. .get back there, you! . . . seventy five, seventy six....) ATTENDANTS poke around underneath a bed and pull out a very old trembling VEGETABLE. OTHER ATTENDANTS wrap an old DEAD LUNATIC with no teeth and foam on his open lips into a dirty sheet and haul him away. BILLY amid the LUNATICS. We MOVE closer and closer to him, the head COUNT regressing. The room has become a torture cell - the NOISE LOUDER, LOUDER, closing in on Billy. CUT: BILLY is led down a CORRIDOR by HAMIDOU into: A VISITING room - Cabins are lined up like narrow wooden phone booths. HAMIDOU Kabin on-yedi BILLY plods without interest to the specified cabin, closes the door, sits in the chair. No one is there. He waits - indifferent to any sense of time. Dirty two glass panes separate visitor and prisoner booths; bars are between the panes. An erratic microphone is the method of communication, giving a weird and distant aspect to the voice. HAMIDOU opens a small peep-hole in the cabin door, looks in unseen as: TEE VISITOR DOOR opens and SUSAN tentatively walks in holding a large photo album; it takes several moments for her to react, and then her face shows the shock. BILLY stares at her, his face rabid, decaying; if he remembers her even, he doesn't register it because she is a shock to him as well. Reality, the outside world all at once. His mind is spinning, unbalanced, unable to grasp it. SUSAN (OFF) Oh my God...! SUSAN SUSAN Billy, what have they done to you...my God! The MICROPHONE makes her voice jarring, gagged. She looks silently. No sobbing, no big sad looks. Just shock. Shock of recognition, shock of time gone by. BILLY looking at her, his eyes moving down to: BILLY P.O.V. - SUSAN, her neck, her breasts straining against the thin shirt. SUSAN fingers the photo album nervously, speaking slow and distinct; not sure she is communicating. SUSAN ...Billy, your family is fine. Senator Buckley just made a special plea on your behalf in the Senate. Newsday has written several big articles about you. They've called you a pawn in the poppy game between Nixon and the Turks. The letters are coming in, Billy. People care.... Stops, shakes her head. It sounds all wrong in this context. BILLY is still staring at her breasts. He hasn't seen a woman for five years and now a hungry animal look comes into his eyes He moves suddenly pressing up against the glass, rabid. And in Turkish: BILLY (in Turkish) Take it off. Take it off! (then remembering the English) Take it off. Take it off! His voice is savage, demanding. SUSAN understands, startled. Looks around. SUSAN Billy - you'll just make yourself crazy. BILLY BILLY Take it off! Take it off! (suddenly in a very soft voice) ...S'il vous plait?... A strange look in his eye. SUSAN slowly, scared, begins to unbutton her shirt. HAMIDOU looks on silently, does nothing. BILLY follows every movement with wild-eyed lust. SUSAN leans up close to the window. With both hands on the front of her blouse, she slowly draws it apart. BILLY going wild! Against the window. His hand down in his pyjamas. HER BREASTS spring free, quivering, full and ripe with a deep cleavage and hard dark nipples. They hang full and loose. FULL SCREEN BILLY'S EYES - FULL SCREEN. BILLY beats on the window, working his mouth soundlessly. SUSAN is shattered, scared of Billy's sanity. SUSAN Oh Billy, Billy, I wish I could make it better for you. Please don't... don't... Tears. Fear. BILLY tightens dramatically and comes right in his pants, slumps against the window. SUSAN realizes he has come, surprised. BILLY looks at her. Furtive, animal shame. And suddenly he starts to cry. A flood of feelings locked up too long come pouring out. He murmurs some words, Turkish SOUNDS sputtering out in his throat, then: BILLY S.... Susan? Softly, working his mouth finding it hard to speak. SUSAN yearning. Tears sprinkling her eyes. SUSAN Yes, Billy? BILLY straining, not out of physical weakness but an emotional one. Sputters, eyes closed. BILLY ...I love you.... It sounds pathetic, lost. SUSAN is worked up to the limit, tries to hug him through the window. SUSAN Oh Billy... Billy! Don't give up. Please don't give up. You'll get out. I know you will! Remembers something. Grabs the PHOTO ALBUM with all her strength, holding it up for him to see through the glass.Then remembering herself, looks around the room to make sure they're alone and in a contained voice: SUSAN Billy, your father gave me this for you. There's pictures of your Mom and Dad...Rob...Peg... BILLY looks at it listlessly. HIS P.V.O - SUSAN holding the album open to PICTURES of his MOTHER and FATHER in front of the house, ROB on a bicycle, PEG in her cheer-leading outfit. SUSAN And there's pictures in the back of your old Mr. Franklin. Remember him... From the bank? A certain tone slips into her voice. SUSAN He's over in Greece now. He bought a ticket. BILLY looks from the album to Susan. Possibly there is a gleam of understanding in his eyes but it is very faint. An Attendant BANGS on Susan's door, OFF. VOICE Visiting is over. SUSAN quickly puts the album away as if it were a hidden weapon. SUSAN I'll give it to them for you. She buttons her blouse but her eyes are worried, on Billy. SUSAN You were right Billy don't count on them, you hear, don't count on anybody but yourself! The ATTENDANT now swings open her door, annoyed. ATTENDANT Let's go! Susan stands, about to go, then suddenly leans up close to the bars, hard and practical. SUSAN (quickly) If you stay you'll die Billy! Get out of here. Get to Greece, you hear me?...Billy? Pause. Silence. She closes her eyes, in pain; she doesn't think she has reached him. She turns to go, resigned. BILLY looking at her. Behind him HAMIDOU opens the door. A calm and cunning look on his face, glancing with Billy towards A BRIEF GLIMPSE of SUSAN looking back, the album under her arm. The door closes. CUT: BILLY, with the same deadened expression as before, comes down the STAIRS towards THE WHEEL. It is early morning and the walkers haven't started yet. Billy looks at the Pillar a dire look of reflection passing over his eyes. Then he starts walking but in a clockwise motion, opposite the normal pattern; in the same methodical manner as before. ANOTHER ANGLE BILLY, on the inner track, passes TWO LUNATICS who are walking counter-clockwise. They glare at him, motion for him to turn around. Billy just keeps walking. BILLY intersects several more LUNATICS going counter- clockwise They motion for him to turn. LUNATIC (grunting) Gower! Tries to block Billy's way, but BILLY shakes his head, brushes by him - determined. AHMET Slides up next to BILLY in his rags. AHMET Good morning, my American friend! There will be trouble if you go this way. A good Turk always walks to the right. Left is communist. Right is good. You must go the other way... It's Good. More LUNATICS join the flow, gesturing or grunting at BILLY. BILLY STOPS, turns, looks at the rest of them slogging in the usual direction, looks as if he 'sees' them; and he walks out of the wheel, towards the stairs. AHMET curious about his unusual behavior, follows BILLY. AHMET Why you go? Why don't you walk the wheel with us? (suspiciously leaning forward, suddenly realizing the answer) The bad machine doesn't know he's a bad machine. You still don't believe it? You still don't believe you're a bad machine? ANOTHER ANGLE BILLY stops and turns to look at AHMET at the base of the STAIRS. BILLY carries on up the stairs. AHMET (shakes his head) To know oneself is to know God, my friend. The factory knows. That's why they put you here. You'll see. You'll find out. Later on you'll know. BILLY stops and turns to look at AHMET. His eyes glint with special knowledge and he takes AHMET into his confidence using the latter's tone of voice: BILLY I already know. I know that you're a bad machine. That's why the factory keeps you here. (Lowers s voice) You know how I know? I know because I'm from the factory. I make the machines.. I'm here to spy on you. Eyes narrow. Surprise. Fear. He shuffles away. BILLY looks at him and turns up the STAIRS. CUT: BILLY in his BED. The usual UPROAR. THE ATTENDANT comes by with the pills, offers a handful to BILLY. ATTENDANT Hop! Hop! Take! He takes them, puts a few into his mouth, swallows. Reflective, unsure. A RADIO playing OFF blares suddenly with the U.S. Armed Forces Station - JANIS JOPLIN singing "Take another piece of my heat now, Baby" then it's switched back to a TURKISH STATION, loud. Billy rises. BILLY enters the TOILET with the PHOTO ALBUM tightly clutched under his arm. A dark stone room, very shadowy. Piles of waste on the floor. A vacant-eyed barefoot LUNATIC shuffles past BILLY who goes to one of the four partitioned HOLES cut into the floor. ANOTHER ANGLE - BILLY squats over it and with his filthy long nails he starts to slit open the back binder of the album Susan gave him. Flickering shadows. He looks up absently. THREE LUNATIC FACES stare in at him through wooden slats, tongues hanging out and drooling - playing with themselves - OFF. BILLY makes a lunatic face and SCREAM kicking at the partition. BILLY Aaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhh!!! THE LUNATICS, petrified, scatter off but ONE LUNATIC skids in a puddle of urine and crashes onto the tile howling. BILLY slits open the binder to reveal TEN HUNDRED DOLLAR BILLS with Pictures of Mr. Franklin' neatly inserted. ANOTHER ANGLE BILLY has no particular expression on his face. Reflective, staring at the money; he looks up. A LARGE SILHOUETTE is moving towards him. BILLY just watches, transfixed, not trying to hide the money. HAMIDOU comes into a faint light, looking down at him; glances at the money. Shakes his head gently. HAMIDOU No do! No do! Reaches for and: ANOTHER ANGLE - HAMIDOU takes the money from BILLY like candy from a baby, then takes him by the ear and slowly lifts him up. Billy is like a vegetable in his hands. HAMIDOU (in his broken English) I tell you I see 'gain... (into Turkish) I take you down to bath and your feet be big like...Breasts (a gesture) HAMIDOU leads BILLY roughly out of the lunatic room, pulling him by the ear. HAMIDOU still Pulling BILLY by the ear, guides him through the GUARD QUARTERS. HAMIDOU leads him up a narrow winding flight of STAIRS. HAMIDO First you make mistake with Ziat, now you make mistake with money. You're not a new Prisoner, Vilyum Hi-yes. The tone of his voice indicates a severe reckoning this time. HAMIDOU pulls BILLY by the ear into a large echoing BATH. BILLY looking, bent over by the ear - a hint of awareness of new surroundings. ANOTHER ANGLE - the BATH is deserted, spooky with greenish Yellow fish light flittering down from holes in ceiling around damp mossy arches. Steam rises off a bath. Benches, buckets of water. HAMIDOU swings BILLY around until he is facing him. HAMIDOU makes an elaborate gesture of putting aside his falaka stick and holstered gun; he will use his hands. HAMIDOU (shakes his head) You've been in prison too long, Vilyum Hi-yes. He takes that: stiff arm all the way back to its full arc and WHACKS BILLY up against the wall. BILLY bounces back off the wall. The print of Hamidou's fingers is imbedded like a flaring white rainbow in the redness of his left cheek. SLAM - a backhanded whack. BILLY bounces right back from the wall. steadies him. HAMIDOU You go crazy here Vilyum Hi-yes. Many people go crazy here. Best thing for crazy people is this... THE BLOW, in SLOW MOTION comes sailing into: BILLY, and we see the brief boxer's distortion of all his face as he flies upwards and back into: THE BENCH smashing it. Echo like jarring F.X. BILLY is held up by the PAJAMAS, steadied. The Turkish words seem far away, incomprehensible. HAMIDOU (OFF) Vilyum Hi-yes. You die here, Hi- yes. WHACK - ANOTHER BLOW, but: HAMIDOU this time holds onto the pajamas using Billy like a punching bag. WHACK - A REVERSE BLOW. HAMIDOU increasingly excited. HAMIDOU Babba sikijam! I fuck your mother, I fuck your sister... WHACK - ANOTHER BLOW in SLOW MOTION HAMIDOU ...I fuck your father, I fuck your brother... RIP! - a loud SOUND as HAMIDOU moves with a blur of speed, and shreds BILLY's pajamas with his hands. BILLY naked, totally passive, semiconscious. HAMIDOU suddenly shifts position and snaps Billy into a strenuous wrestling hold across his knee on the steamy floor. He loosens him up by cracking his bones along his back. HAMIDOU - sweat pouring off his face, excited. HAMIDOU ...And I fuck your grandmother and I fuck your pretty girlfriend... And I fuck you Hi-yes!) A bizarre otherworldly scene. This man is dredging Billy through a sadistic imagination sparked by the steam, the sweat, and an ethnic identification with a Turkish steam bath as a bedroom. He loosens his hold abruptly, rises, moves off as: BILLY holds himself on his knees, head sunk on his chest, gasping for breath, about to vomit. Pause; he looks up horrified at: HAMIDOU pouring fresh buckets of water on the floor. SSSSSSSSSS! The awakened STEAM coils like a snake into every cranny of the little room. BLURRED VISUALS - HAMIDOU stripping his shirt off. A huge muscular flash of chest, A BELT being snapped open. BILLY waiting. A FIGURE moving through the steam, closer. BILLY backing away from it. STEAM - a glint of a FACE coming through. HAMIDOU - his eyes so intense they seem to burn off the steam like sun cutting haze. Then disappear again. BILLY pulls back. A pause. Silence. Cat and mouse. Then very suddenly: A HAND reaches out of the STEAM and GRABS BILLY by the hair. A GRUNT, OFF. BILLY his eyes moving fast. A FLASH of a huge darkened penis, fully erect cutting forward into the steam like a from drill, detached from the rest of the body. A SOUND - grotesque and so sudden after the silence it jars the senses. A BLURRED VISUAL then: BILLY Launching forward in SLOW MOTION, desperation distorting his features and: STEAM - then BILLY'S HEAD SLAMS through it in SLOW MOTION and: SMASHES the penis with its skull. A horrifying GASP. BLURRED VISUALS - STEAM - HAMIDOU staggering CLOSE - surprise, pain... BILLY MOVING. A FOOT coming up fast through the steam, connecting again with the genitals. Another SCREAM. A BODY hitting the tiles. BILLY groping for the falaka stick. Raises it. A STRUGGLE - Two bodies thrashing, one of them screaming now in pain. A definitive sound then a THWACK! Another thwack! The steam seems to clear and BILLY is on top of the gigantic HAMIDOU smashing him with the falaka stick with all his might. HAMIDOU is in contortions, his nose busted and bleeding. His HAND gripping BILLY by the neck, forcing him back and strangling him at the same time. Billy is red in the face, such is the force of this creature but continues to beat him, harder, harder. His expression filled with a life energy, seeded in hatred, that he thought he had lost. Again, Again - BILLY Babba sikijam, Hamidu! I fuck your Mother, I fuck your daughter, I fuck your sons, I fuck your wife! The BAND slips from his throat, then springs up desperately again and clenches Billy's whole face with one gigantic palm, clawing to get in, then just as quickly slips away. BILLY beats on - again, again. BLOOD flows fast in agitated swirls into the little pool. CUT: BILLY opens a door gently, moves across an empty CORRIDOR, dressed in and gun in intense. Hamidou's holster. large uniform with his He looks shaken, weak, falaka stick dizzy but VOICE (OFF) How about a shoe shine, friend? BILLY starts, clenches the falaka stick ready to spring, spins. A LITTLE SHOESHINE BOY is his case down the corridor. BILLY has not seen a child in a long time. get words out, then manages: Surprised. Can't get the words out, then manages: BILLY No! THE KID shrugs, moves on, looking At Billy strangely. BILLY goes up a flight of STAIRS. Ahead, VOICES passing. He stops. Goes on. BILLY goes through an empty GUARD QUARTERS. BILLY is in another CORRIDOR, approaches A SMALL PORTAL, daylight at its edges. Locked? BILLY, tense, tries it. It swings open on: DAYLIGHT! BILLY squints. Adjusting to the harsh sensation. AN ISTANBUL STREET - TRAFFIC, SOUNDS. TWO GUARDS approaching the portal in the distance, drinking soda pop. BILLY steps back, straightens his clothes, steps out briskly and at such an angle that THE TWO GUARDS don't notice him in the traffic as they enter the open portal. LONG SHOT - BILLY walking down the street, looking back, almost bewildered, not quiet believing this. CUT: TIGHT - RAILROAD TICKET being stamped. SOUND - SNAP. MOVE UP to TICKET CLERK behind a grill. VOICE (OFF) Edirne to Uzun Kopru? THE CLERK looks puzzled. BILLY is on the other side of the grill. A ill-fitting new Western style suit, a hat over his dyed black hair; totally paranoid. He hasn't slept in three days and the bruises from the Hamidou beating now show clearly black and blue on his face. His eyes are alert, darting around, his speech clipped and to the point. BILLY What's the matter? THE CLEF!! Shrugs. CLERK 'What are you crazy? There's no train anymore to Uzun Kopru, it'd have to go through Greece. The border's closed. BILLY taken by surprise. BILLY No train? CLERK (OFF) No more train. BILLY Moves off a small provincial RAILROAD DEPOT - DAY. He looks at the: EMPTY TRACKS - No 'midnight express'. CUT: BILLY, tenser than ever, uses the occasion of buying a newspaper at an OUTDOOR STAND to study: THE MAIN SQUARE of the VILLAGE (EDIRNE) - DAY. SOLDIERS and POLICE are abundant, chattering bustling amid tanks and half-tracks. Mountains can be seen in the far distance. BILLY camouflages his face as best he can in the Newspaper "Hurriyet" studying: CABDRIVERS in the Main Square. Most of them are older, grizzled looking standing next to their old battered dusty cabs talking with stray SOLDIERS. Billy's eyes settle on a YOUNGER DRIVER with longish hair, possibly an ally. BILLY glances down at his newspaper as a SOLDIER intersects and his expression goes stony as he sees: FULL COLOR DRAWING (first page) of a ridiculously fierce heavy-muscled barechested MAN beating a facsimile of Hamidou into the ground. Next to it a blurry badly reproduced photograph of BILLY with a superimposed GUN in his hand. You can't really tell it's him. BILLY, controlling himself, crumples up the newspaper into a baton, his eyes everywhere. Be the darting A crosses square. ANOTHER ANGLE - BILLY, intersecting a POLICEMAN who glances at him, joins the YOUNG CABDRIVER.. BILLY Listen, I have Swedish friends camping south of the town. I was supposed to meet them here this morning but I was late. Can you take me there? DRIVER looks at him neutral. DRIVER You know where they are? BILLY (anxious to get in the cab) Sure. DRIVER How far? BILLY (impatient) About ten kilometers. DRIVER Sixty Lira? BILLY (surprised) Sixty? Billy eyes: APPROACHING SOLDIERS. BILLY (OFF) Okay. THE DRIVER, noticing Billy's look at the soldiers, gets in the cab. BILLY climbs into the back seat, feeling already he has made a mistake. There is something too alert, too hard in this young driver. CUT: BILLY P.O.V. - THE MOUNTAINS as they roll in the taxi. FORESTS - FIELDS. INTERIOR TAXI BILLY Those mountains? are they? DRIVER (Greece (shakes his head) Very bad now. Maybe war. Those Greek pigs try to steal Cyprus again (pause)) How'd you lose your friends? BILLY leaning back in his seat, casual. BILLY Oh, I drank a lot of raka last night in Istanbul. Got into a fight. Indicates the bruises on his face. DRIVER looking at him in the rear view mirror. His curiosity narrowing. DRIVER How come you speak Turkish so good? BILLY casually glances out the window. BILLY Did twenty months in prison in Istanbul. Hash THE DRIVER studies BILLY in the rear-view mirror. Then: DRIVER You want to score some? Cheap? BILLY looks at him hard. Something's wrong with this man. BILLY (curt) No! Cutting off further conversation, he looks out at: THE MOUNTAINS of Greece - with longing. BILLY stares back at: THE DRIVER whose eyes now move away from the rear-view mirror under the pressure of the stare. SOUND OFF loud machinery. BILLY turning - in rear window, we see a TURKISH HALFTRACK pulling alongside the cab, SOLDIERS waving their arms for the cabdriver to get out of the way. ANOTHER ANGLE - the HALFTRACK pulls level. The CABDRIVER slows down, with a curse. BILLY - beads of sweat trickle his brow THE PERSONNEL CARRIER, disinterested, pulls past. BILLY breathes heavily with nervous relief. CUT: THE CAB pulls up to the end of a dirt road. BILLY has his MAP out, studying it. BILLY The Maritas River? Where is it? ANOTHER ANGLE - the DRIVER, exasperated, waves southwest. DRIVER Two miles! Minefields over there. Do you know where this campground is or not? BILLY Not far. Just a little way. DRIVER No! I'm not going any further! It'll wreck my car. BILLY I'll pay extra DRIVER How much? ANOTHER ANGLE - BILLY slips him fifty lira. The DRIVER takes it, muttering under his breath, jams the cab into gear. THE CAB follows rutted tracks into low HILLS. INTERIOR CAB - very bumpy. BILLY Where are the minefields? DRIVER All over. Turkish Army up there. It's against the law. They shoot us. (looks up in the mirror) You sure you looking for your friends, man? BILLY(VERY SHARP NOW) (very sharp now) Okay! Ley me out right here. I'm getting tired of all this bullshit from you. I'll walk it. DRIVER (looks back, then ahead, suddenly brightening) Ah, look! they probably know where the campers are BILLY's entire expression changes. It is all over. A TANK AND HALFTRACK are sitting there by the rutted track, with SOLDIERS. And a little LEAN-TO with several POLICE. Also a couple of attack DOGS on leashes. The Driver honks his horn on the approach. ANOTHER ANGLE DRIVER Hey officer, we're looking for the campground. Do you know where it is? ANOTHER ANGLE - TWO POLICEMEN and A SOLDIER come sauntering over, their collars open, beer bottles in hand, slightly drunk. POLICEMAN (curt) You're not supposed to be here DRIVER (indicated Billy) He's a tourist, what do you want, he says he's looking for friends at the campground. FIRST POLICEMAN glances BILLY POLICEMAN Campground? (shrugs) Never heard of one. DRIVER Seen any Swedish foreigners in a camper-bus? SECOND POLICEMAN meanwhile eases his arm down on the OPEN WINDOW bringing BILLY into foreground. The COP'S mouth is open and exhaling a wave of beer breath over-BILLY. BILLY P.O.V. - BEER FACE FOCUS PAST him to SOLDIER at tank reading "Hurriyet" - the picture of BILLY on page one, spread for all to see. BEER FACE Noldu? DRIVER turning around to address him. DRIVER Seen any foreigners in a camper bus? SOLDIER circles the cab from the other side. BILLY motions to the DRIVER. BILLY Okay, they haven't seen him, let's go back to town, it's getting late. THE DRIVER ignores it. Calls out again, louder to BEER FACE. DRIVER Foreigners! KAMPER. VOLKSWAGEN BILLY rigid. This asshole of a driver! BEER FACE glances at BILLY, pulls his head out the window. Looks down the road. Takes a sip of beer. SOLDIER, disinterested, moves back towards the tank. BEER FACE looks in the other direction down the road, burps.Very conscious of his authority, shakes his head without looking at the driver. Moves away. BILLY nudges the DRIVER. BILLY Okay, let's go. THE DRIVER impatiently turns and looks straight at BILLY, aware of his anxiety. DRIVER Is no Volkswagen, man! Something wrong with you? BILLY hardening. DRIVER calling out. BEER FACE turns. DRIVER leans out the window. DRIVER This guy's fishy...I think he might be trying to get to Greece. BILLY looks around fast. BEER FACE starts back lazily, half drunk, with the OTHER POLICEMAN BEER FACE Huh? DRIVER DRIVER I don't know, there's His eyes grow big suddenly As he sees the barrel of Hamidou's REVOLVER right in His cheek. BILLY all business, very quiet. BILLY Get out -- right now, move! BEER-FACE advancing looks puzzled, thinks he sees something, then crouches as: DRIVER gets out the door crouching, yells. DRIVER He's got a gun! BILLY firing SHOTS off to distract them has climbed over the front seat, jams the cab into gear. It stalls! Again he tries, and now shoots off. THE CAB Roars past the roadblock. THE COPS AND SOLDIER, scattered by the shots, now scream at each other. They run. SHOTS are fired. BILLY guns the cab down the road, flying. CLOUDS OF DUST trail the cab. THE TANK starts to roll after it. Full speed. The HALFTRACK follows, the MEN riding it shouting. BILLY looks back, then looking ahead sees something. P.O.V - a speck in the far distance. Another ROADBLOCK. BILLY decides, then - THE CAB swerves right off the road and jumps into the gently rolling FIELD on the border of the road, pock marked with HILLS. THE TURKS come roaring down the road, pointing to the cab. LOW ANGLE - the TANK makes a flat out stop, gears grinding. THE GUN TURRET swings left. THE CAB in the far distance, at an angle to the tank, starts running up an incline. THE TANK FIRES. P.O.V. - SHELL BLASTS WIDE OF THE CAB. BILLY, startled, looks back, guns for the top of the incline. HIS P.O.V. - ANOTHER SHELL now blasts to his front right, closer. Something heavy (shrapnel) thuds into the rood of the cab. BILLY drives all out. P.O.V. - THE INCLINE CLOSER, CLOSER, ABOUT TO MAKE IT, THEN: A BLAST TANK P.O.V. - the CAB spinning in the blast of the adjacent shell-burst. BILLY, shaken but unhurt, staggers out of the cab, looks: P.O.V. - A WHEEL BLASTED AWAY, FUEL PISSING OUT FROM THE SHRAPNEL HOLES, SMASHED WINDSHIELD AND FENDER. THE TURKS are coming up the incline now, like the Cavalry -- some on foot running, others on the HALFTRACK. BULLETS whistle and pop nearby. BILLY running. He tears off his jacket. SOLDIERS pass the wrecked car, at the top of the incline shouting, pointing and firing at BILLY in the distance. ONE SOLDIER seems lighter than the others and takes off in a sprint as the OTHERS follow. THE HALFTRACK now crests the incline and gathering full gear and momentum, roars off down the slope after Billy. CLOSE BILLY running sweat all over him. In background, the HALFTRACK and running FIGURES. BILLY runs into a high dry cornfield with the sun starting to set ahead of him in the Greek mountains. MOUNTAINS - must make those mountains. BILLY running all out - eyes fixed on them, breathing, skipping heartbeats. THE PERSONNEL CARRIER bypasses the FAST SOLDIER who slows down, panting. Billy has outrun him. OTHER SOLDIERS run up in the distance. BILLY, tireless, obsessed, runs right into a POPPY FIELD.It is a splendid beautiful scarlet red, set off by the dipping rays of the sun. HIS FEET smashing down the poppy plants. Fast - THUCK! THUCK! THUCK! THUCK! THUCK! THUCK! CROSSCUT the metal TREADS of the Halftrack into the poppy, mowing down entire rows. TWO SOLDIERS on the PERSONNEL CARRIER are waving encouragement to the driver inside. They have him. ANOTHER ANGLE the HALFTRACK closing the distance on BILLY now thirty yards apart. BILLY looking back, starting to fade. Huge wheezing gasps of breath. SOLDIERS running up looking at THE HALFTRACK in the distance. SOLDIERS yell. SOLDIERS Minefield! Minefield! Come back! Stop! (NO SUBTITLE) BILLY runs out of the POPPY FIELD into a THIN FOREST. THE SOLDIERS screaming in the distance, jumping up and down waving for the halftrack to come back. LOW ANGLE - the HALFTRACK with the waving SOLDIERS on board now blasts out of the poppy field at full speed. BILLY -- he has no chance, In immediate background is the fast HALFTRACK. ONE SOLDIER on the HALFTRACK now looking back to the SHOUTS of his comrades. Confused. Turns bout back to yell something and: ENORMOUS EXPLOSION The HALFTRACK disintegrates in a tank landmine. BILLY thrown to the ground by the force of the blast, looks back, GASPS! A BURNING WRECKAGE. Black spirals of smoke. Secondary explosions. BILLY stumbles up. A gash of blood is on his temple but he doesn't know it or feel it such is his stress. He runs on, SHOTS whistling towards him from the poppy field. TURKISH OFFICER screaming angrily at Billy, cursing, shaking his fist at the sky. BILLY, in the forest, is totally out of breath and out of eyesight of the pursuers. He stops against a tree. FROG SOUNDS. The gurgle of water. Muddy ground. He looks: THE MARITAS RIVER rushing ahead. A strong current. BILLY peels off all his clothing except his pants, not delaying one more moment. He feels he must keep going. And he's right. DOGS are barking OFF. A SNARLING ATTACK DOG is tearing through the minefield, fast, ahead of the others. BILLY looks, sees it. THIRTY YARDS - the huge DOG coming right at him! BILLY runs for the edge of the bank and plunges in. THE ATTACK DOG sprints up to the edge of the river bank and without a moment's hesitation, plunges right in after him. BILLY lashing into the current with a fierce breast stroke, is swept downstream kicking futilely. THE DOG, its jaws open and clacking, is also swept down river. BILLY going under, coming back up - fighting, still fighting. THE DOG struggling sails past as BILLY hauls himself out of the river, going in a circle, dizzy. Falls. Struggles up again. Looks back. Must keep going. Must. THE BASE OF' MOUNTAIN - hilly, rugged. BILLY runs, drags, runs again. He is a lamentable sight - naked except for ripped wet pants, barefoot, bleeding, muddied. Dimly he makes out: A FARMHOUSE - TWILIGHT. Some cows, goats, chickens. NO sign of people. BILLY staggers towards it. Wears something. A rooting SOUND. Stops. Something familiar about it. A FAMILY OF PIGS snort and root in the mud, little piglets running around. BILLY staggers towards them, muttering to himself. BILLY Pigs...! Pigs...! Then yells in the recognition of it BILLY Pigs... You... Beautiful... BILLY BILLY falls to his knees in the confined pen; the pigs run around squealing. Trying to reach out for one of them, he falls face first into the mud and lies there. Pause. A wooden DOOR squeaks open OFF. BILLY slowly turns his muddy eyes over his shoulder. BILLY P.O.V. - TWO SOLDIERS, khaki-colored uniforms, helmets, olive faces, mustaches, approach cautiously from the farmhouse, rifles ready. Following them is an OLD FARMER, Further behind in the doorway is his WIFE and CHILDREN. BILLY muttering to himself, in Turkish. BILLY Greek?... Greek?... THE SOLDIERS approach close, stand above this strange figure, look at each other. SOLDIER Ti leei? (What is he saying?) 2ND SOLDIER Mou fainetai san Toupkika (It sounded like Turkish) BILLY with dimming strength. BILLY THE FARMER understands, makes a vigorous nod of his head. FARMER Malisee...Ellada! (Ah, yes... Greece!) CUT: CAR DOOR SLAMS SHUT - and BILLY, his movements still weak, moves a few steps from the car and stops. SUBTITLE: OCTOBER 24, 1975 - BABYLON, LONG ISLAND Framing Billy are SUSAN and his FATHER, both silent. They look with him at HIS SISTER, BROTHER, UNCLE, AUNT, SISTER-In-LAW FAMILY FRIEND - AND GRANDMOTHER, all on the porch of the ordinary house in BABYLON, LONG ISLAND - DAY; all of them returning his gaze in that first SILENT moment. Curiosity. Recognition. Shock. Love. And then they move. But we don't hear their movements. It is SOUNDLESS reunion; the SISTER running out first in SLOW MOTION, the MOTHER following last, crying; the GRANDMOTHER too infirm to move, the shaking her head from side to side in SLOW MOTION, her tears lost somewhere in the wrinkles of her face. BILLY surrounded by FAMILY - SLOW MOTION - SOUNDLESS. His eyes flooding. All the feelings in him. And deep inside - a solitary question. EPILOGUE BLACK SCREEN - SUPERIMPOSE: THE CHARACTER NAMED BELL IS STILL INSIDE. AS ARE: (ROLL THE LIST OF NAMES) And OVER this, the SOUND of a PASSING TRAIN rushing by in the night - UP, FAST and AWAY. (Getchmis Olsun) THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Midnight in Paris.txt b/unformated_scripts/Script_Midnight in Paris.txt new file mode 100644 index 0000000000000000000000000000000000000000..b3aa98b0ca7292cd7b5647d491d0d9c0e8b7922c --- /dev/null +++ b/unformated_scripts/Script_Midnight in Paris.txt @@ -0,0 +1 @@ + MIDNIGHT IN PARIS Written by Woody Allen MONTAGE - POV SHOTS OF PARIS SET TO MUSIC We hear voices over - GIL and INEZ, a young couple of Americans, engaged to be married as we shall learn. (Standard locations are listed here but they will be determined later when we location scout. Music. EXT. MONET'S GARDENS - DAY1 1 GIL (V.O.) This is unbelievable - look at this. There's no city like this in the world. There never was. INEZ (V.O.) It's become so touristy. GIL (V.O.) Well that's just the awful era we live in but can you just imagine what this was like before - but even with all the fast food joints and the traffic - god, you just can't imagine what it was like years ago. INEZ (V.O.) Well you like cities. GIL (V.O.) I really do - I love cities - I love big cities with all the crowds and all the action. (Having seen a panoramic view of let us say the Champs Elysee we embark on a montage of the city. The comments offered above and following are an approximation of what the actors feel.) CUT TO: EXT. TBD - DAY2 2 GIL (V.O.) Look at these places - the streets - the boulevards. INEZ (V.O.) You act like you've never been here before. 2 CONTD:2 2 GIL (V.O.) I don't get here often enough is the problem. Every once in a while for a few days is nothing - my biggest regret is that I didn't settle here the first time I came. I should have gone with my instincts. INEZ (V.O.) I admit it's pretty but so are so many other places I've visited. GIL If I'd have stayed the first time I came by now I'd be a Parisian. INEZ (V.O.) Starving. CUT TO: EXT. TBD - DAY3 3 (Pause here for third dialogue exchange) GIL (V.O.) I'm thinking of a painting by Pisarro I've seen of Paris in the rain. Can you picture how drop dead gorgeous this city is in the rain? Imagine this town in the twenties - Paris in the twenties - in the rain - the artists and writers - I was born too late. Why did God deliver me into the world in the 1970's and in Pasadena yet. INEZ (V.O.) Why does every city have to be in the rain? What's wonderful about getting wet? GIL (V.O.) It's romantic. INEZ (V.O.) It's annoying. 3 CONTD:3 3 GIL (V.O.) Or Paris when it's just getting dark - the lights go on - or at night - it's great at night - or no, sunset on the Champs Elysees - GIL (V.O.) Could you ever think of us moving here after we're married? CUT TO: EXT. TBD - DAY4 4 INEZ (V.O.) Oh god, no. I could never live out of the United States. And if I could it would be someplace totally different. GIL (V.O.) Like? INEZ (V.O.) I don't know, Hawaii. GIL (V.O.) Hawaii is America. INEZ (V.O.) Yes but it's - Hawaiian. GIL (V.O.) If I had stayed here and written novels and not gotten into grinding out movie scripts. INEZ (V.O.) Right, and becoming rich and successful. Tell me the sad story. GIL (V.O.) But this is where all the artists came to live, to work - the writers, the painters. INEZ (V.O.) That was ninety years ago. 4 CONTD:4 4 GIL (V.O.) Boy, I'd drop the house in Beverly Hills, the pool, everything - in a heartbeat. Look - this is where Monet lived and painted - we're thirty minutes from town. Imagine the two of us settling here. If my book turns out we could do it - you could just as easily make jewelry here. CUT TO: EXT. MONET'S GARDENS - DAY5 5 INEZ (V.O.) You're in love with a fantasy. Now we CUT AROUND and see Gil and Inez live. GIL I'm in love with you. (kiss) CUT TO: INT/EXT. HOTEL LOBBY - DAY6 6 Gil and Inez enter lobby of hotel they are all at. In the lobby they are awaited by her parents, JOHN and HELEN BLAIR. JOHN There are our sight-seers. INEZ If I never see another charming boulevard or bistro - GIL What a town. HELEN To visit. GIL I could easily see myself as a Parisien - strolling the Left Bank - a baguette under my arm - finishing my novel - at a table at the Cafe Flore. A Moveable Feast - Hemingway called it. 5 CONTD:6 6 HELEN In this traffic nothing moves. GIL Well yes it was different then. JOHN Can we continue this talk of moveable feasts at Grand Vefour because I'm starved. GIL Americans eat dinner so early. JOHN And I'm proud of it. CUT TO: INT. GRAND VEFOUR RESTAURANT - NIGHT7 7 HELEN (lifting wine glass) A toast to John's new business venture here. JOHN Well I'll be perfectly frank - I'm excited over this corporate merger between our people and the French company but otherwise I'm not a big Francophile. HELEN John hates their politics. JOHN They've certainly been no friend to the united States. GIL (amiably) You can't say they weren't right in not backing Bush's moronic war in Iraq. INEZ Please let's not get into that discussion yet again? 6 CONTD:7 7 GIL There's nothing wrong with your father and I disagreeing. That's what democracy is. Your father defends the right wing of the Republican party and I happen to think they represent sub-mental Neanderthals. But we respect each other's views - am I right? (this last directed at John gets no enthusiasm but a cold look from him) HELEN Can we discuss the wedding plans? Your father's used his good offices with the opera to get some of the singers to attend and sing. I thought Puccini would be nice. INEZ Isn't that great Gil? GIL Just no Wagner. When she walks down the aisle not The Ride of the Valkyries. Hey look, I just want to say that I am politically bipartisan in that, in my view, to be a politician of any party one must of necessity be a whore. INEZ Gil. Just then another young couple pass the table and recognize Inez. PAUL and CAROL BATES. PAUL Inez. INEZ Paul! Carol- (ad-lib introductions) Paul and Carol Bates - Mom, Dad, you know Gil - you didn't mention you'd be here. CAROL It was sudden. Paul got invited to lecture at the Sorbonne. 7 CONTD: (2)7 7 INEZ Oh - how terrific. Dad's here on business and we free-loaded along. PAUL It's great. We can spend some time together. GIL Don't we have a lot of commitments? INEZ What? CAROL What are you doing tomorrow? We're driving to Versailles. INEZ I'm dying to see Versailles. GIL Don't we have something tomorrow? We were going to have lunch at the Brasserie Lipp. My old professor once actually saw James Joyce there. He said Joyce was eating sauerkraut and frankfurters. (silent pause) INEZ Is that the end of the story? GIL It is actually - INEZ We'd love to go with you guys. Versailles is beautiful - I have to see it Gil - it's perfect for you with your obsession with "les temps perdus" ∑ GIL Yes - but - PAUL It's such a lovely treat running into you here. A demain. CUT TO: 8 INT. HOTEL SUITE - NIGHT8 8 INEZ (as they do their nocturnal ablutions) I hope you're not going to be as anti-social tomorrow when we go to Versailles. GIL How was I anti-social? INEZ It was so clear you didn't want to go. GIL Well they're your friends and I can't say I'm as taken with him as you are. INEZ He's brilliant. I used to have such a crush on him at college. And Carol's very bright. GIL I find him a pseudo-intellectual. INEZ I hardly think the Sorbo nne would have him lecturing if he's a pseudo- intellectual. You should give him your novel to read. I'm sure he'd be able to critique your writing and show you why you're having so much trouble. GIL I'm having trouble because I'm a Hollywood hack who never gave actual literature a real shot. INEZ (said with her usual seductiveness) Gil, promise me if this book doesn't come off you'll give up beating your brains out and get back to what you do best. (MORE) 9 CONTD:8 8 INEZ (cont'd) The studios adore you - you're in demand - I don't think you want to trade everything just to struggle. CUT TO: EXT. VERSAILLES - DAY9 9 Next day. The two couples are there and Paul waxes pedantically as they tour the grounds or inside. PAUL I believe Louis moved his court here in about 1682 - originally this was all swamp land - in fact, if I'm not mistaken, in old French the word Versailles means something like "terrain where the weeds have been pulled". The main structure is French classical style at its height - the work, I believe of Louis Le Vau, I think Mansart and Charles LeBrun I believe ∑∑∑ CUT TO: EXT. VERSAILLES/PICTURESQUE SPOT/GARDEN - DAY10 10 INEZ I think I could get used to a summer home like this. PAUL Me too except, remember, in those days they only had baths and I'm definitely a shower man. CAROL Where are you two planning to live after the wedding? INEZ We're looking in Malibu. We love where you live. GIL I keep trying to talk her into a little attic with a skylight in Paris - 10 CONTD:10 10 CAROL La Boheme. PAUL All that's missing is tuberculosis. INEZ He doesn't even know if he can write a novel. So far your track record's - you know - whereas, everyone likes your movies - GIL Yes movie scripts are easier. INEZ Tell them about the lead character in the book you're working on. GIL I don't like to discuss my work. INEZ Not the plot, just the lead character. He works in a nostalgia shop. CAROL What's a nostalgia shop? PAUL Not one of those stores that sells Shirley Temple dolls and old radios? I never know who buys that stuff - who'd want it. INEZ (pointedly) People who live in the past. Who think their lives would have been happier if they lived in an earlier time. PAUL And just what era would you have preferred to live in, Miniver Cheevy? INEZ (teasing Gil) Paris in the twenties - in the rain - when the rain wasn't acid rain. 1110 10 CONTD: (2) PAUL I see. And no global warming, no TV or suicide bombing, nuclear weapons, drug cartels. CAROL The usual menu of cliched horror stories. PAUL Nostalgia is denial. Denial of the painful present. INEZ He's a romantic. Gil would be just fine living in a perpetual state of denial. PAUL The name for this fallacy is called, Golden Age thinking. INEZ Touche. PAUL The erroneous notion that a different time period was better than the one, one's living in. It's a flaw in the romantic imagination of those who find coping with the present too difficult. CUT TO: EXT. CHOPARD/PLACE VENDOME - DAY11 11 HELEN It's definitely the nicest ring we've seen. INEZ I love a diamond wedding band. The way it sparkled they'll see it in the last row when he puts it on my finger. HELEN This is going to be such an event, Inez. I only wish - 12 CONTD:11 11 INEZ (cutting her off) I don't want to keep going over it, Mom. HELEN Look, he's your choice. What can I say? INEZ Gil's smart and successful. HELEN And yet he talks of g1.v1.ng it up and moving here. That frightens me. INEZ The world is full of people who dream of writing the great American novel. Let me handle him. HELEN You're father thinks you're comfortable with Gil because you can control him. INEZ He likes to please me - is that so terrible? Oh gosh - I have to go - Paul arranged a private tour of the Rodin Museum. CUT TO: OMITTED12 12 EXT. RODIN MUSEUM GARDEN - DAY13 13 Paul, Carol, Gil and Inez getting guided tour. Guide speaks French and mostly English - as she feels. GUIDE This is, of course, Rodin's most famous statue. A cast of this work was placed next to his tomb. Rodin wished for it to serve as his headstone and epitaph. 13 CONTD:13 13 PAUL That would be in Meudon. He died of the flu if I'm not mistaken - 1917 I believe. GUIDE Exactly correct. You know your art history, monsieur. The design - PAUL (cutting her off) The Thinker is so powerful because he thinks not just with his brain - he thinks with every limb and muscle - you feel the concentration. INEZ (to Gil) He's so knowledgeable, isn't he? PAUL So much of Rodin's work was influenced by his wife, Camille. GUIDE Yes, she was an influence - though Camille was not the wife but his mistress. PAUL Camille? No. GUIDE Yes. Rose was the wife. PAUL He never married Rose. GUIDE Yes, in the last year of their lives. PAUL I think you're mistaken. CAROL Are you arguing with the guide? PAUL am. I 1413 CONTD: (2) 13 GUIDE Ah, non, non, je suis certaine. GIL I'm afraid she's right. I just read the recent two volume biography of Rodin - Rose was definitely the wife, Camille the mistress. PAUL You read that? Where did you read that? GIL I did - no question. Camille- Rose. INEZ Don't forget, Dad invited you to join us at a wine tasting tonight. CAROL It'll be so fun. Paul's an expert on French wines. INEZ (walking with Gil) When did you read the biography of Rodin? GIL Me? Why would I read a biography of Rodin? CUT TO: EXT. WINE TASTING - EVENING14 14 Inez already a little high. Her parents having fun. Gil is also feeling it by now. INEZ (tasting) I can't tell the difference. They're both delicious. JOHN Take it easy Inez. Those little sips add up. 15 CONTD:14 14 HELEN You should talk, John - especially for someone who once advocated the boycott of french wines. JOHN I'll always take a California wine but the Napa Valley is six thousand miles away. They laugh and drink. INEZ (to Gil) Which do you prefer? GIL To me they're all great. What the hell do I know? INEZ I don't think I've ever seen your cheeks so red. GIL Pheromones, it's your pheromones. Paul and Carol have ambled over, having heard Gil's last amorous remark. PAUL Ah yes - sex and alcohol - It fuels the desire but kills the performance - according to the Bard. CAROL Have you tasted the '61? It's divine - though Paul found it - what? PAUL Slightly more tannic than the '59. I prefer a smoky feeling to a fruity feeling, don't you agree? GIL You will admit she's a sexy woman. PAUL This I have known for many years. You're a very lucky man. (toast) (MORE) 1614 14 CONTD: (2) PAUL (cont' d) May you make the transition from movies to literature and may your book glorify all the Shirley Temple dolls and Charlie Chaplin wristwatches that make us nostalgic for an allegedly once simpler, more charming world. GIL (a bit high) To the little green Heinz pickle pin. CUT TO: EXT. WINE TASTING/STREET - NIGHT15 15 PAUL Carol and I are going to go dancing - we heard of a great place. Interested? INEZ Sure. GIL I don't want to be a party pooper but I just want fresh air. INEZ Oh come on - although if you're just going to sit there and obsess over where the fire exits are. CAROL If Gil doesn't want to go, I'll share Paul with you. I'm very democratic. And he's a marvelous dancer. GIL If it's okay with you, I'd really just like a little walk and go to bed. We can do it another night. INEZ Well I can go, right? GIL You go? 17 CaNTO:15 15 INEZ I'm not tired and I'm dying to dance. I'll just meet you back at the hotel. PAUL I'll take good care of her. GIL I - I - guess so ∑∑∑ CUT TO: INT. TAXI - NIGHT16 16 The three are having a fine time. INEZ Isn't it great we're all on holiday at the same time. CAROL Back home we just joined a marvelous tennis club and Paul says you play. Does Gil? INEZ I can't introduce him to tennis - Daddy's having the damndest time pressuring him to learn golf. PAUL Is he a good writer? Have you read his prose? INEZ He won't let anybody - PAUL If he wants I'd be glad to go over his novel and critique it for him. INEZ That's what he needs, to have it read by someone who really knows and wouldn't pull any punches. The problem is - when it comes to his writing he has no respect for anyone's opinion. CUT TO: 18 EXT. STREET - NIGHT17 17 Gil walks street, obviously lost. EXT. LOVELY SPOT - NIGHT18 18 Gil wanders. Eventually he is at a lovely spot. Perhaps by the river, the bridge - or somewhere else but he's just wandering lost. Finally he looks at his watch. Either by his watch or a nearby building clock, the hands move to exactly midnight. perhaps midnight chimes somewhere. At precisely that moment a car happens to pull up along side him. Inside are TWO MEN and TWO WOMAN - elegant - they have champagne and glasses and they pour from the open bottle and drink happily. DOUG Come on - get in. GIL Huh? DENISE (speaking with French accent) Let's go, we're late. GIL You have the wrong person. DENISE Mais non, pas de tout - allez montez - GIL Look, I'm a little drunk - DOUG C'mon - for god's sake - we can't sit here all night. GIL This is a great old peugeot. I have a friend in Beverly Hills who has the same one - he collects - DENISE Let's go. (dragging him in) We have so many parties to go to. 1918 CONTD: 18 GIL What parties? DOUG a Venez - la prochain gauche. DENISE Here - you need some champagne - Gil gets in. They shut door and pull off. CUT TO: INT/EXT. CAR - NIGHT19 19 GIL Where are we going? PHIL 36 rue de (tbd address) and lets hurry. GIL It's not fair - my head is swimming from wine. DENISE (refilling glass of champagne) Prenez du champagne - detendez-vous un peu. GIL I do like champagne. DENISE The night is young - drink up, drink up, drink up. GIL I'm drinking up. He drinks, befuddled. CUT TO: 20 EXT. LEFT BANK STREET - NIGHT20 20 Car pulling up at some great old street. They all get out and take him inside to a party in progress. CUT TO: INT. PARTY - NIGHT21 21 There is a mixture of elegant plus bohemian types. In the background a MAN sits at the piano singing a Cole Porter tune. Gil looks at the revelers. A few CUTS. Music plays. Finally A WOMAN comes over to Gil. ZELDA (glass in hand drinking) You look lost. GIL You're American. ZELDA If you count Alabama as America which I do. I miss the bathtub gin. What do you do? GIL Oh I - I'm a writer. ZELDA What do you write? GIL Right now I'm working on a novel. ZELDA Oh yes? I'm Zelda by the way. Oh Scott - Scott come over here. Here's a writer from, where? GIL California. SCOTT (Scott joins) Scott Fitzgerald, and who are you old sport? GIL I'm Gil Pen - oh you two have the same names as - 21 CONTD:21 21 SCOTT As what? GIL Scott Fitzgerald and - SCOTT (drinking) Scott and Zelda Fitzgerald. The Fitzgeralds. Isn't she beautiful? GIL Yes - its a coincidence. I mean it is a funny coincidence. ZELDA You have a glazed look in your eye. Stunned, stupefied, anesthetized, lobotomized - GIL I - I - I keep thinking that man at the piano - believe it or not I recognize his face from some old sheet music - what am I talking about here? ZELDA I know if I put my mind to it I could be one of the great writers of musical lyrics not that I can write melodies - and I try - and then I hear the songs he writes and I realize I'll never write a great lyric and that my talent really lies in drinking. GIL Yes but - he didn't write that song - did he? That's not possible - SCOTT What kind of books do you write? GIL I - I - I - I'm - I'm working on a - exactly where am I? SCOTT I'm sorry - Don't you know the host? Some friends have gotten together a little party for Jean Cocteau. 22 CONTD: (2)21 21 GIL (looks around, drinks it in) Hey lady, are you kidding me? ZELDA I know what you're thinking - this is boring - I agree - I'm ready to move on - let's do Bricktop's, Scott, I'm bored, he's bored, we're all bored. SCOTT Whatever you say, sweetheart. See if Cole and Linda want to come with. Coming? Gil stares open mouthed. CUT TO: INT/EXT. CAR - NIGHT 2222 Shot of group (Gil, Cole Porter, Fitzgeralds) piled into period open top car tearing down a Parisian street. (Note: we can include Denise and Doug or Phil if we want) CUT TO: INT. BRICKTOP'S CLUB - NIGHT23 23 The group is watching someone like Josephine Baker. Gil is stunned by it all. The Fitzgerald's drink a lot. CUT TO: EXT. CAFE #3 - NIGHT A24A24 Group entering cafe. INT. CAFE #3 - NIGHT24 24 A little late night cafe, very bohemian. Scott, Zelda and Gil enter, the group having thinned out. The Fitzgeralds drink a lot. ZELDA Une bouteille de bourbon. 23 CONTD:24 24 SCOTT (stops at another table) Greetings and salutations. You'll forgive me - I've been mixing grain and grappa ∑∑∑ This is Gil - Gil? Yes, Gil. GIL Gil Pender. HEMINGWAY Hemingway. GIL Hemingway? Hey, is this some kind of a - HEMINGWAY You liked my book? GIL Liked - I loved - everything you wrote - HEMINGWAY Yes it was a good book because it was an honest book and that's what war does to men and there's nothing fine and noble about dying in the mud unless you die gracefully and then it's not only noble but brave. GIL Ernest Hemingway - this is - I - HEMINGWAY (introduces his drinking partner) Say hello to Pender - the bulls in the ring don't frighten Belmonte - he's killed many brave ones. Fine brave bulls. GIL I'm sure - good bulls, true bulls ∑∑∑ HEMINGWAY Why are you smiling? 24 CONTD: (2)24 24 SCOTT (drinks) In New York you can't buy this - it can only be made in a bathtub - and some of the bathtub mixtures are damn good - (to Zelda) Isn't that so? She prefers her hootch from a homemade still - more kick. ZELDA (to Hemingway) Did you read my story? What did you think? HEMINGWAY It began well - really well - then it became weak. ZELDA I might've known you'd hate it. SCOTT Darling you're too sensitive. ZELDA You liked the story but he hates me. HEMINGWAY There was some fine writing but it was not fulfilled. SCOTT Please old sport - you make matters extremely difficult. ZELDA I'm jumpy - suddenly I don't like the atmosphere here anymore. (to Belmonte) Where are you going? JUAN BELMONTE Para reunirse con amigos en el St. Germain ... ZELDA He's going to St. Germain. I'm going with him. 25 CONTD: (3)24 24 SCOTT Zelda - ZELDA If you're going to stay and drink with him I'm going with the toreador. SCOTT (to a polite Belmonte) Get her back at a reasonable time. They go. HEMINGWAY She'll drive you crazy, this woman. SCOTT She's exciting - and she has talent. HEMINGWAY This month it's writing, last month it was something else. You're a writer - you need time to write - not all this playing around - she's wasting you - because she's really a competitor - don't you agree? GIL Me? I just met - HEMINGWAY Speak up for Christ's sake. I'm asking you if you think my friend is making a tragic mistake. GIL Actually I don't know the Fitzgeralds that well - HEMINGWAY You're a writer - you make observations - you were with them all night. SCOTT Can we not discuss my personal life in public? 2624 24 CONTD: (4) HEMINGWAY She has him on yachts, at parties, jumping into swimming pools you're wasting your talent. SCOTT You don't understand her. HEMINGWAY (to Gil) She's jealous of his gift and it's a damn fine gift. It's rare. You like his work? You can speak freely. SCOTT Stop it. HEMINGWAY You like Mark Twain? GIL I do - very much. SCOTT I'm going to find Zelda. I don't like the thought of her with the Spaniard. (stumbles out) HEMINGWAY He's a fine writer, Fitzgerald. You box? GIL No. HEMINGWAY What are you writing? GIL A novel. HEMINGWAY About what? GIL A man who works in a nostalgia shop. HEMINGWAY What the hell's a nostalgia shop? 27 CONTD: (5)24 24 GIL Where they sell old things - memorabilia. Does that sound terrible to you? HEMINGWAY No subject is terrible if the story is true. If the prose is clean and honest and if it affirms courage and grace under pressure. GIL Would you do me the biggest favor in the world - I can't even ask ∑∑∑ HEMINGWAY What? GIL Would you read it? HEMINGWAY Your novel? GIL It's only about four hundred pages - if you could just give me your opinion. HEMINGWAY My opinion is I hate it. GIL You do? HEMINGWAY If it's bad I'll hate it because I hate bad writing and if it's good I'll be envious and hate it all the more. You don't want the opinion of another writer. GIL But there's no one I really trust to evaluate it - HEMINGWAY Writers are competitive. GIL I could never compete with you - 28 CONTD: (6)24 24 HEMINGWAY You're too self-effacing - it's not manly. If you're a writer, declare yourself the best writer - but you're not the best as long as I'm around. Unless you want to put the gloves on and settle it. GIL No - no - that's okay - HEMINGWAY I won't read your novel but I'll tell you what I'll do. GIL Yes? HEMINGWAY I'll bring it over to Gertrude Stein. She's the only one I trust to read my work. No one discovers new talent like Gert - whether it's poetry, painting, music - She'll tell you if you have a book or not. GIL You could have Gertrude Stein read my novel? HEMINGWAY Give it to me. GIL I have to get it. It's at the hotel. HEMINGWAY She gets back from Spain tomorrow. GIL (rises) I'm so thrilled - my heart is beating. I'll go home and get it - I'll give it to you - I can't tell you what this means to me. To have Gertrude Stein read my novel - thank you, thank you - He exits the place. 29 EXT. CAFE #3 - NIGHT25 25 GIL Calm yourself - get a grip, Gil - deep breaths - been quite a night - Fitzgerald - Hemingway - the Hemingway - Papa - where do I meet him - he never said. Gil goes to return to the cafe - he can't find the door, nor the club facade. It's gone. We are in the present and he searches the wall of a facade where he came out but he is in despair over the fact he can't find it. CUT TO: INT. HOTEL SUITE - DAY26 26 Next morning. Gil and Inez probably dressing. INEZ Lucky you didn't go last night. You'd have hated the music and the crowd - but I had fun. GIL Uh-huh. INEZ What are you thinking? You seem in a daze. GIL If I told you I was with Ernest Hemingway and Scott Fitzgerald last night, what would you say? INEZ Is that what you were dreaming about? Your literary idols. GIL But if I wasn't dreaming - INEZ What does that mean? 30 CaNTO:26 26 GIL If I told you I spent time with Hemingway and Fitzgerald and Cole Porter - INEZ I'd be thinking brain tumor. GIL Can I tell you Zelda Fitzgerald is exactly as we've come to know her from articles and books - she's mercurial and moody and she does not get along with Hemingway - and Scott knows Hemingway's right about it but you can see how conflicted he is because he loves her - INEZ Right, right - er where's my cold cream - we should knock off the idle chatter because we're going to be late. GIL Actually I wanted to stay and work on my novel - it needs a little polishing. INEZ You can work on it later. And we can use Mom's decorator's discount. CUT TO: INT. ANTIQUE STORE - DAY27 27 Helen, Inez and Gil in antique store. HELEN Come look at this Inez - wouldn't this be charming for a Malibu beach house? OWNER Dix-huit mille. HELEN (to Inez) It's a steal at eighteen thousand dollars. 31 CONTD:27 27 GIL Eighteen thousand dollars? HELEN Oh wait, that's Euros so it's more - INEZ That's over twenty thousand dollars, Mom. HELEN Yes but it's very hard to find anything like this at home. INEZ She's right, Gil. GIL Yes but we haven't even found a house yet and I'm trying to keep expenses down so I can turn down jobs. HELEN You get what you pay for. Cheap is cheap. GIL I know you love Malibu but - INEZ (sotto seductively) Did you ever make love in a chaise like this? Imagine the possibilities. GIL Er - of course when you think of it that way it does help amortize the eighteen grand. HELEN And don't forget - we're taking you to dinner tonight at (*tbd). INEZ Great. GIL (sotto to Inez) And after I have a terrific surprise for you. 32 CONTD: (2)27 27 INEZ What? I'm not big on surprises. GIL You will be. Believe me. HELEN Look at these marvelous Blackamoors. I see them in your living room. CUT TO:l EXT. LOVELY SPOT - NIGHT28 28 Gil and Inez arriving at the spot he was picked up by car. He waits nervously. INEZ Where are you taking me? You made me rush through dinner. Dad wasn't finished with his profiteroles. GIL You're going on one of the most amazing adventures of your life. INEZ Where? And why are you carrying around your manuscript. GIL You'll see - you'll see - and your jaw will drop. DISSOLVE TO: EXT. LOVELY SPOT - NIGHT29 29 They're still waiting with nothing happening. Cars pass but no action. INEZ I don't know what it is you're carrying on about but this is not my idea of an amazing adventure. I'm exhausted from the gym and the massage. GIL Inez. 33 CaNTO:29 29 INEZ Look - you want to walk the streets and "drink in Paris by night" - go ahead. I'm in the middle of a great book Carol lent me and if I'm asleep when you get in, don't wake me. (she gets in cab) GIL (to himself) What am I doing wrong? Unless she's right and I need to see a neurologist. Left the wine tasting - a little high yes - right here. The clock begins to chime midnight. GIL (CONT'D) I remember the river - the clock struck midnight - I - the clock struck midnight! Yes - On the dot of midnight I He looks at his watch which obviously confirms the chimes he hears. The period car comes - the door opens. We hear Hemingway'S voice: HEMINGWAY (V. o. ) Get in. Gil gets in, car pulls off CUT TO: INT/EXT. CAR - NIGHT30 30 Only Gil and Hemingway. HEMINGWAY The assignment was to take the hill. There were four of us. (MORE) 34 CONTD:30 30 HEMINGWAY (cont'd) Five if you counted Vincente but he had lost his hand when a grenade went off and he couldn't fight as he could when I first met him and he was young and brave and the hill was soggy from days of rain and sloped down toward a road and there were many German soldiers on the road and the idea was to aim at the first group and if our aim was true we could delay them. GIL Weren't you scared? HEMINGWAY Of what? GIL Getting killed. HEMINGWAY You'll never write well if you fear dying. Do you? GIL It's my biggest fear. HEMINGWAY But it's something all men before you have done and all men will do. GIL Yes but - HEMINGWAY Have you ever made love to a truly great woman? GIL My fiance is very sexy. HEMINGWAY And when you make love to her you feel true and beautiful passion and you at least for that moment lose your fear of death. GIL I don't know about that - 35 CaNTO: (2)30 30 HEMINGWAY I believe that love that's true and real creates a respite from death. All cowardice comes from not loving or not loving well which is the same thing and when the man who is brave and true looks death squarely in the face like some rhino hunters I know or Belmonte who is truly brave, it is because they love with sufficient passion to push death out of their minds till it returns as it does to all men and then you must make really good love again. Think about it. CUT TO: EXT. GERTRUDE STEIN'S PLACE - NIGHTA31 A31 Shot of them arriving at Gertrude Stein's. INT. GERTRUDE STEIN'S PLACE - NIGHT31 31 They enter. HEMINGWAY This is Gil Pender. He's a young American writer. I thought you two should know each other. STEIN I'm glad you're here. You can help decide which of us is right and which of us is wrong. She leads them into other room, introduces Gil. STEIN (CONT'D) This is Gil - GIL Pender. STEIN Pablo Picasso. They ad-lib greetings. Picasso speaks French and is with a beautiful girl - Adriana. 36 CONTD:31 31 STEIN I was just telling Pablo that this portrait doesn't capture Adriana. It has universality but no objectivity. PABLO Vous ne le comprenez pas correctment. Vous ne connaissez pas Adriana mais c'est tout ce qui la represente. STEIN No tu n'a pas raison. Look how he's done her - dripping with sexual innuendo. Carnal to the point of smoldering and yes she's beautiful but it's a subtle beauty - an implied sensuality. (to Gil) What is your first impression of Adriana? GIL (very taken) ∑∑∑∑∑ Exceptionally lovely. STEIN Belle, mais plus subtil plus implicite, Pablo. HEMINGWAY You're right Gertrude - of course you can see why he's lost his objectivity. (flirting with her) STEIN You've made a creation of Place Pigalle, a whore with volcanic appetites. PABLO Mais c'est comme elle est, si vous la connaissez. STEIN Yes - avec vous en prive - because she's your lover - but we don't know her that way - so you make a petit bourgeoise judgment and turn her into an object of pleasure. (MORE) 37 CONTD: (2)31 31 STEIN (cont'd) C'est plus comme une nature morte qu'on portrait. It's more like a still life than a portrait. PABLO (waves her off and goes to get a drink) Je ne suis pas d'accord. STEIN (turning to Gil) And what about this book of yours I've been hearing about? (to Hemingway) Have you read it? HEMINGWAY No, this I leave to you. You've always been the best judge of my work. STEIN (thumbing first page, she reads) "Out of the Past was the name of the store and its products consisted of memories. What was prosaic and even vulgar to one generation had been transmuted by the mere passing of years to a status at once magical and also camp. " ADRIANA I love it. I'm already - hooked? Hooked. STEIN I'll start it tonight. But first we have something to talk about. She collars Hemingway and they huddle to one side. Picasso has busied himself at a distant spot with a drink, sulking. This leaves Gil off with Adriana to chat. GIL Did my opening lines really get to you that strongly? ADRIANA The past has always had a great charisma for me. 38 CONTD: (3)31 31 GIL Me too. I was born too late. ADRIANA Oui, exactement. For me Belle Epoque Paris would have been perfect. The whole sensibility, the street lamps, the kiosks - the horse and carriages. And Maxims - then. GIL You speak very good English. ADRIANA No, not really. GIL Yes - and how long have you been dating Picasso? My god, did I say that? ADRIANA Pardon. GIL Oh - I - no, I didn't mean anything - you know - to pry ∑∑∑ born in Paris? ADRIANA I was born in Bordeaux - I moved here to study fashion and - you don't want to hear this - GIL No, I do. ADRIANA I came here - to study with Coco Chanel - and I fell in love with Paris and also a very dark eyed, haunted, Jewish-Italian painter - and I knew Amedeo had another woman but still I couldn't resist moving into his apartment when he asked and it was a beautiful six months. GIL Not Modigliani? Was it Modigliani? You lived with Modigliani? 39 CONTD: (4)31 31 ADRIANA You asked me so I'm telling you my sad story. With Braque also there was another woman - many - and now with Pablo - I mean Pablo is married but every day it's on again, off again - I don't know how any woman can stay with him - he's so difficult. GIL My god you are a whole different level of art groupie. ADRIANA Pardon. GIL Nothing - I'm - ADRIANA But tell me about yourself. Have you come to Paris to write because these days so many Americans feel the need to move here. Isn't Hemingway attractive? I love his writing. GIL Actually I'm visiting. ADRIANA Oh you must stay here. It's a wonderful city for artists and writers. GIL Believe me, I want to but it's not that simple. ADRIANA And I did fall madly in love with the start of your book so I want to hear the rest of it. Hemingway and Stein return. HEMINGWAY Come, let's all go for a drink up at Montmartre. 40 CONTD: (5)31 31 STEIN We'll discuss your book as soon as I finish it. Where can I reach you? GIL Oh that's okay - I'll drop by - it'll be easier for you - if that's okay. STEIN We run an open house. ADRIANA You sure you won't come? GIL (checks watch) I only wish I could but I can't - but hopefully I'll see you again - ADRIANA That would be nice. Hemingway, Picasso and Adriana are going off - Hemingway flirtatious with her. HEMINGWAY (teasing Picasso) One of these days I plan to steal you away from this genius who's great but no Miro. CUT TO: EXT. HOTEL - NIGHT32 32 Gil returning. CUT TO: INT. HOTEL SUITE - NIGHT33 33 Gil gets into bed with Inez. She's asleep and he lies awake thinking. He pinches himself to make sure he's awake. 41 CONTD:33 33 GIL (to himself) I'm Gil Pender - I was with Hemingway and Picasso - Pablo Picasso - Ernest Hemingway - I'm Gil Pender from Pasadena - the Cub Scouts - I failed freshman English - I'm Gil Pender and my novel is with Gertrude Stein - I once worked at The House of Pies. I'm little Gil Pender. And that girl was so lovely. CUT TO: EXT. FLEA MARKET - DAY34 34 Gil, Inez and Helen. HELEN It's a shame you two didn't come to the movies last night. We saw a wonderfully funny American film. I forget the name. GIL Wonderful but forgettable. I've seen that picture. HELEN I know it was moronic and infantile and lacking any wit or believability but John and I laughed in spite of ourselves. INEZ What time did you get in? I was dead asleep. GIL Not late. I find these midnight strolls are very good for me creatively - without the distractions of the day - I'll probably take another long walk tonight. INEZ We'll see. Oh how about this? 42 CONTD:34 34 HELEN Oh look at these wonderful glass figures. As they're preoccupied, Gil is caught up by a woman who plays some old 78 records on an old phonograph and she's playing the Cole Porter tune Cole was playing the other night. GABRIELLE C'est jolie, no. GIL Yes - very beautiful. GABRIELLE Cole Porter. Vous aimez - you like Cole Porter? GIL Love his music - we're very close - Cole, Linda and I. She gives him a look. GABRIELLE Very pretty and tres amusant. He listens. Inez comes over. INEZ Gil - Gil - Gil? GIL (coming out if, realizing she's been talking to him) Huh? INEZ We should go. We're meeting Paul and Carol for a private showing at the museum. GIL With the same sharp guide? INEZ It's a different museum and we don't need a guide. Paul's an expert on Monet. (MORE) 4334 34 CONTD: (2) INEZ (cont'd) We can see all those beautiful water lilies at his home. CUT TO: INT. L'ORANGERIE MUSEUM - DAY35 35 Paul, Carol, Inez and Gil in circular room with huge Monets. PAUL The juxtaposition of color is amazing. This man was the real father of abstract expressionism. I take that back, maybe Turner. INEZ I prefer Monet. I mean I love Turner but this is overwhelming. PAUL If I'm not mistaken it took him two years to complete this. And he worked out at Giverny - where he frequently - GIL They say Monet used to - INEZ Shhh. I want to hear what Paul's saying. PAUL He was frequently visited by Caillebotte - an artist I personally feel was underrated. CAROL I find Monet almost too pretty - like Renoir - sometimes it's cloying. DISSOLVE TO: INT. ANOTHER FLOOR OF THE MUSEUM - DAY A36A36 PAUL (coming to Picasso's portrait of Adriana) Ah - now here's a superb Picasso. 44 CONTD: A36A36 Gil is stunned. PAUL (CONT'D) If I'm not mistaken he painted this marvelous portrait of his French mistress Madeline Brissou in the twenties. GIL Er - I have to differ with you on this one. PAUL Really? INEZ Gil pay attention and you'll learn something. GIL If I'm not mistaken this was a failed attempt to capture a young French girl named Adriana - from Bordeaux - if my art history serves me - came to Paris to study costume design for the theatre. Believe she had a brief affair with Modigliani - then Braque - that's where Pablo met her - er Picasso. You'd never know it from this portrait but she's quite subtly beautiful. INEZ What have you been smoking? GIL And I'd hardly call the picture superb. It's more of a petit bourgeoise statement of how Pablo er Picasso sees her, saw her - he's distracted by the fact she was a volcano in the sack. CUT TO: INT. RESTAURANT - NIGHT36 36 John, Helen and Inez finishing fancy dinner. JOHN Too rich for me. 45 CONTD:36 36 HELEN Where did Gil run off to? INEZ Work - he likes to walk around Paris - the way the city is all lit up at night allegedly inspires him - It's okay. Paul and I are going dancing. HELEN Where's Carol? INEZ In bed with a bad oyster. (rising) See you later. Thanks for dinner Dad. She exits. JOHN Where does Gil go every night? HELEN You heard her. He walks and gets ideas. JOHN Uh-huh. HELEN You sound skeptical. JOHN I don't know. I see what he earns but sometimes I think he's got a part missing. And I didn't like his remark about tea party Republicans. They're decent people who want to take back the country - they're not crypto-fascist, airhead zombies. Did you hear him say that? HELEN Nevertheless I hardly think your idea of having him followed is practical. 46 CONTD: (2)36 36 JOHN No? I'd like to know where he goes every night. HELEN Well we know one thing - he doesn't go dancing. CUT TO: INT. FITZGERALD'S PARTY - NIGHT37 37 Gil dancing with a woman at Fitzgerald's party. He stops finally and Adriana wanders over. ADRIANA Hello again? How nice you're here. GIL I was at Gertrude Stein's - she's almost finished with my novel. And the Fitzgeralds invited me over and said you'd be here - you and Pablo. ADRIANA Pablo's home - we had a bit of a quarrel. But you looked like you were having fun dancing with Djuna Barnes. GIL That was Djuna Barnes? No wonder she wanted to lead. ADRIANA Isn't this a wonderful place to throw a party - only the Fitzgeralds would think of it. Look - this is from the turn of the century. Everything was so beautiful then. Hemingway coming over now. He squeezes Adriana playfully flirtatious. HEMINGWAY Isn't this little Parisienne dream a movable feast? Mark my words - I'm going to steal you from that fugitive from Malaga one way or the other. (MORE) 47 CONTD:37 37 HEMINGWAY (cont'd) (referring to his companion of the moment) Between Belmonte and myself - which of us would you choose? ADRIANA Vous etes tous deux tres impressionants. HEMINGWAY But he has more courage. He faces death more directly and more often and if you chose him I would be disappointed but understand. JUAN BELMONTE Por desgracia para ambos ella ha elegido Pablo. HEMINGWAY Yes, she's chosen Picasso - But Pablo thinks women are only to paint or sleep with. ADRIANA And you? HEMINGWAY I think women are the equal of men in courage. Have you ever shot a charging lion? ADRIANA Never. HEMINGWAY Have you ever hunted? (to Gil) Have you? GIL Only for bargains. BELMONTE (to Hemingway) venga - tomemos otra copa. GIL (to Adriana) Would you like to maybe take a walk? CUT TO: 48 EXT. PLACE DAUPHINE - NIGHT38 38 Gil and Adriana walk. GIL I hope it was nothing serious with you and Pablo? ADRIANA He's moody and possessive. Artists are all like children. GIL I understand why they all want to paint you - you're so damn interesting to look at in a lovely way. ADRIANA And you're interesting in a lost way. Tell me more about your book. GIL I don't want to talk about my book. I want to enjoy Paris by night. ADRIANA I keep forgetting, you're only a tourist. GIL That's putting it mildly. CUT TO: EXT. MONTAGE/PARIS - NIGHT39 39 Adriana is showing him around. ADRIANA I can never decide whether Paris is more beautiful by day or by night. GIL There's no book or painting, or symphony or sculpture that can rival a great city. All these streets and boulevards as a special art form. (MORE) 49 CONTD:39 39 GIL (cont'd) When you think in the cold, violent, meaningless universe Paris exists - these lights - I mean nothing's happening on Jupiter or Neptune or out beyond - but from way out in space you can see these lights in the whole dark void - the cafes, people drinking and dancing - I mean for all we know this town is the hottest spot in the entire universe - ADRIANA Vous avez l'ame d'un poete. GIL You're very kind. I would not call my babbling poetic. CUT TO: OMITTED40 40 EXT. PLACE PIGALLE - NIGHT41 41 Gil and Adriana are here with the street lined with prostitutes. ADRIANA See anything you like? GIL I'm ashamed to admit I'm attracted to all of them. I like cheap-sexy. I know it's shallow. ADRIANA When I was in Catholic school, one weekend, my roommate and I paid one of the girls of Pigalle to come teach us all her tricks. GIL Well, that's the most interesting thing I've ever heard in my life - I'd like to think about that for awhile. CUT TO: 50 EXT. RIVER - NIGHT42 42 Gil and Adriana walking by the river. ADRIANA I love that the main character in your book sells memories. GIL Because he believes in his soul that progress is not automatically for the better. ADRIANA Often quite the opposite. GIL Say - is that who I think it is? ADRIANA What is she doing here? And why is she staring into the river. They see a distraught woman contemplating jumping into the river. Upon running to her, it's Zelda. ADRIANA Oh gosh! My god - what are you doing? ZELDA Please leave me alone. I don't want to live. ADRIANA What is it? What's going on? ZELDA It all became clear to me tonight. Scott and that beautiful Countess - it was so obvious they were whispering about me and the more they drank the more he fell in love with her. GIL Scott loves only you. I can tell you with absolute certainty. ZELDA No, he's tired of me. 51 CONTD:42 42 GIL No you're wrong. I know. ZELDA How? How? GIL Trust me. I know. ZELDA But you just met us. How can you know anything. My skin hurts. I hate the way I look. GIL Take this. (pill) ZELDA What is this? GIL A Valium - it'll calm you down. ADRIANA You carry medicine? GIL Only since Inez and I became engaged. I've had these anxiety attacks - I'm sure after the wedding they'll subside. ZELDA I never heard of Valium. What is this? GIL Er - it's the pill of the future. ZELDA But pills wear off - and then it all comes back. No, I won't kill myself. I'll write and I'll write more passionately than Scott. I'll work harder. ADRIANA He loves you. He's not with that woman. She's already on her way back to Rome. 52 CONTD: (2)42 42 GIL I'll try and score some more for you. And I have some Xanax at the hotel - it's another one you'll like. ADRIANA Come on, we'll find a taxi. We'll see you home - things will be better in the morning. CUT TO: INT. BOHEMIAN CAFE - NIGHT43 43 ADRIANA You never said you were getting married. GIL Yes - I - I mean it's in the future. ADRIANA Well good luck with your book and your wedding. GIL You'd like Inez - she has a sharp sense of humor - and she's sexy - not that we agree on everything. ADRIANA But the important things. GIL Actually the small things - the important things we don't - she'd like to live in Malibu and that I'd work in Hollywood - but I will say we both like - er - er Indian food - not all Indian food - pita bread - we both like pita bread - ADRIANA (rising) I should go. Pablo will be missing me. GIL I'll walk you home - 53 CONTD:43 43 ADRIANA NO, no ∑∑∑ Finish your drink. I live just around the corner. GIL No, I wouldn't think - ADRIANA I'd prefer to be by myself for awhile. Thank you for this evening. And she goes. He's stressed, thinks. Presently Salvador Dali comes to table. DALI We met earlier tonight. At the party. GIL Yes - I remember - DALI Dali - si? Dali! Dali! Une bouteille de vin rouge I waiter scurries for one. DALI (CONT'D) You like the shape of the rhinoceros? GIL A rhinoceros? I never thought about it. DALI I paint rhinoceros. I paint you - sad eyes - big lips - melting over hot sand - with one tear - yes - and in your tear - Christ's face. And rhinoceros. GIL I'm sure I look sad. I'm in a very perplexing situation. DALI Everyone is in perplexing situation - to be or not to be - this is ultimate perplexing question - you agree? Ah - here they are - 54 CONTD: (2)43 43 Bufiuel, Man Ray enter and the table enlarges as they sit. Dali introduces them to Gil. GIL My god, I own a surrealist print - only a print by Magritte. DALI Pender - Pen-der - Pen-derrr - and I am Da-li. Pender is in perplexing situation. GIL It sounds so crazy when I say it and you'll think I'm drunk but I've got to tell someone I'm from a different time - a whole other era - the future - and I pass from the two thousandth millennium to here - a car picks me up - I slide through time - MAN RAY Exactly correct - you inhabit two worlds - so far I see nothing strange. GIL Look, you're sur-realists - but I'm a normal guy - See, in one life I'm engaged to marry a woman I love - at least I think I love her. Christ, I'm supposed to love her if I'm marrying her. DALI Love - the word love - love - the word love - same as the word rhinoceros - the rhinoceros makes love by mounting the female - but is there difference in beauty between two rhinoceroses? MAN RAY But there is nothing more sur-real than the human heart. DALI Past is also present. 55 CONTD: (3)43 43 GIL In a dream - which is fine for you because you guys dabble in dreams. MAN RAY There is another woman? GIL Adriana is her name. And I felt drawn to her - but it wouldn't matter - men much greater than me, profound artists - she's drawn to geniuses - and they to her. DALI I see you with Christ - he is smiling while you are crucified on the heavy wooden cross of self- doubt. GIL Of course my biggest problem is reality. BuNuEL Reality is nothing more than a dream - we all exist in the dream of a dog. GIL I was born in the wrong time. DALI Time is all the mind. Time melts - the watches melt - the hands of the clock melt ∑∑∑ MAN RAY A man in love with a woman from a different era. I see a photograph. BuNuEL I see a movie. GIL I see an insurmountable problem. DALI I see - a rhinoceros. 56 INT. HOTEL SUITE - DAY44 44 Next morning. Room service breakfast. INEZ Did you get much work done last night? GIL Er - some - yes - I'm beginning to think my book may be too realistic - that I've missed some chances to let my imagination run wild and not be so damn logical ∑∑∑ INEZ Shouldn't we be getting dressed? GIL C'mere - you always look great in the morning. INEZ (she does) We'll be late. GIL I have to work. I'm working like a demon but I can't resist you half dressed like that. INEZ Paul says we have to see the countryside. He's taking us for lunch at this beautiful little inn. I know you like making love in the morning but I find it much sexier late afternoon - just before we go out to dinner. Except I always have to explain to my parents why your cheeks look radiant. Hey- I'm not going to force you. I know you're hot on your writing. I'll be happy when you finish this book and move on. CUT TO: EXT. RODIN MUSEUM GARDEN - DAY45 45 Gil is near The Kiss. He has tracked down the guide. 57 CQNTD:45 45 GIL Hello - Bonjour - I'd like to ask you a question about Rodin. GUIDE Yes? GIL He loved his wife, he also loved his mistress - is it really possible to be in love with two women? GUIDE He loved both in different ways. GIL God it's so French. Er - you remember me? GUIDE I do. Qui - you were with the group, the pedantic gentleman. GIL Yeah, pedantic - perfect word. You're very observant. I need some advice. I'd like a woman's take. A French woman - an observant French woman. I met some woman that I very quickly became smitten with. Smitten? GUIDE Uh-huh. GIL I'm engaged to be married. I know Rodin had a wife and a mistress but I'm American - we can't handle that - we're monogamous. GUIDE You're engaged and you met a new woman - GIL Yes. Her name's Adriana. Right now she's living with Picas-- with a Spaniard - er he paints - fairly well. ∑∑ 58 CONTD: (2)45 45 GUIDE Yes - and does she love him? Or you? GIL Love him or me? Well I hardly think, me. But we've just met. See, another very gifted man flirts with her, a writer. All these geniuses fall in love with her. And what am I? And then of course there's another big problem. I can't exactly explain. GUIDE Yes? GIL I don't know whether to call it an age difference - or a problem of geography - I'm so messed up. I'm not Hemingway, I'm not Picasso, I'm not Rodin. I'm just a guy who was born too late. CUT TO: OMITTED46 46 EXT. STREET/INT. BUILDING - DAY47 47 John walks down a street and enters a building. As he goes up the stairs we learn it is the office of a private detective agency. CUT TO: INT. AGENCY OFFICE - DAY48 48 John and M. DuBois, the head detective. M. Tisserant, the second is present too. JOHN Here's his photo. I want to know where he goes each night. DUBOIS What is your suspicion? 59 CONTD:48 48 JOHN He's engaged to my daughter - to marry and I want to be certain she's making a wise decision. Naturally discretion is paramount. DUBOIS You've come to the right place, monsieur. Monsieur Tisserant - will personally keep track of the gentleman and report back on his whereabouts at night. CUT TO: EXT. LOVELY SPOT/INT. CAR - NIGHT49 49 Gil getting into the car as usual at the same spot at midnight. Another man is in there. Tisserant is observing from his car. TOM Come. GIL (gets in) Thanks for stopping. Gil Pender. TOM Tom Eliot. GIL Tom Eliot? Tom - Stearns - T.S. Eliot? T.S. Eliot? SHOT of Gil entering car. GIL (CONT'D) I'm stunned, stunned - Prufrock - my mantra - As the car pulls off, we hear Gil speaking. GIL (CONT'D)(V.O) May I tell you where I come from they measure out their lives in coke spoons. CUT TO: OMITTED50 50 60 INT. GERTRUDE STEIN'S PLACE - NIGHT51 51 Picasso present - dour. STEIN Oh Pender - I'll get to your book in a moment. I finished it. We're just in the middle of a little personal crisis. GIL I didn't mean to intrude. STEIN No, it's no secret. Adriana has left Pablo and has flown to Africa with Ernest Hemingway. GIL What? PABLO Sabia que tenia una obsesi6n con este fanforr6n. Sobre esto discutimos. STEIN Estoy seguro que regresara muy devoto. (English to Gil) He took her hunting kudu but she'll be back to him - the sound of hyenas every night when you're trying to sleep in a tent gets on your nerves pretty quickly. Mt. Kilimanjaro is not Paris. GIL They're on Mt. Kilimanjaro? STEIN Now about your book. Very unusual indeed. In a way it's almost science fiction - fiction with all the futuristic devices - television sets, supersonic flight - and yet it's not typical science fiction - it's unique. (MORE) 61 CONTD:51 51 STEIN (cont'd) Nevertheless you have to get rid of all that technology - what's good about your book are the characters - the human questions - love - mortality - nobody cares about the technology, they care about the human heart. We all fear death and question our place in the universe. Unfortunately your book lapses into easy pessimism. I was having this conversation with Giacometti the other day - he's such a gloom monger. GIL Still, those sculptures - STEIN It's the artist's job not to succumb to despair but to find an antidote to the emptiness of existence. I find your voice clear and lively - don't be such a defeatist. CUT TO: OMITTED52 52 EXT. FRONT OF HOTEL - DAY53 53 Inez, her mother and father loading into car. HELEN Tell Gil to bring a suit because tomorrow night we'll be dining formal. Where's Gil. INEZ I forgot to tell you. Gil is not going with us to Mont St. Michel. JOHN Why not? I don't understand it. INEZ He writes, he rewrites, he rewrites his rewrites. He says Picasso never left his studio. (MORE) 62 CONTD:53 53 INEZ (cont'd) I said, Gil, you have absolutely nothing in common with Picasso ∑∑∑ He just looks at me. HELEN Well he's going to miss a great weekend. CUT TO: OMITTED54 54 EXT. FLEA MARKET - DAY 5555 Gil browsing. He listens to the old phonograph recordings. GIL Any Cole Porter? GABRIELLE Oh yes - I remember - he was your friend. GIL I was kidding you realize. GABRIELLE I did realize. You're a bit young. GIL I'm surprised you're so familiar with his work. GABRIELLE He wrote many songs about Paris - very beautiful. GIL Yes - he was in love with your hometown. You're a Parisiene? GABRIELLE Oui monsieur. GIL How much. GABRIELLE Dix-huit euro. 63 CONTD:55 55 He pays. Takes album. CUT TO: OMITTED56 56 EXT. BOOK MARKET - DAY57 57 Gil at a place that has a bin of various old books more pretty than great - the kind people buy for the binding or plates. He picks up a pretty bound but totally wrecked book in the inside. It is slim, leather, torn up. He reads the title page in hand writing. It reads: "This diary belongs to Adriana Dupree." GIL (to customer) Can you translate this? Speak English? customer shrugs. Moves off. CUT TO: EXT. NOTRE DAME GARDEN - DAY58 58 Gil with Museum Guide. She's translating the diary into English. GUIDE (reading) That Paris exists and anyone could choose to live anywhere else in the world will always be a mystery to me. Turns pages. GUIDE (continuing) Dinner with Pablo and Henri Matisse. Pablo is the greater artist although Matisse is the greater painter. 64 CONTD:58 58 GUIDE (continuing) Paris in the summer - what it must have been like to sit opposite one's lover at Maxim's in it's heyday. Pages are torn and text cuts off. GUIDE (continuing) I am in love with an American writer I just met named Gil Pender. His eyes widen. GUIDE (continuing) That immediate magic one hears about happened to me. I know that both Picasso and Hemingway are in love with me but for whatever inexplicable reasons the heart has, I am drawn to Gil. Perhaps because he seems naive and unassuming. GUIDE (continuing) As always in this sad life he is about to marry a woman named Inez. I had a dream where he came to me and brought me a little gift - earrings they were - and we made love. perhaps it is just as well I accept Hemingway's offer to go to Africa. Life with Pablo is too full of conflict and I am suffocating under his genius. Why I need to go from one brilliant man to another is my weakness. Gil is different, perhaps not a genius but not moody and selfish like Pablo or Amedeo was. I think a trip to Africa with Hemingway would help get these feelings for Gil off my mind. GUIDE (finished reading) I don't understand. What is this? 65 CONTD: (2)58 58 GIL It's a little complicated to explain. Thanks for translating - GUIDE The writer clearly has feelings for this man Gil. That's your name, no? GIL She finds him no genius - naive and unassuming - that's not exactly dazzling. GUIDE To some women naivete is endearing. And she's romantic. She dreams of Belle Epoque Paris and a gift of earrings and making love with this man. Gil stares, thinking. CUT TO: INT. HOTEL SUITE - NIGHT59 59 Gil is sprucing up. He douses himself with aftershave, checks clock. It's eleven PM. GIL (to himself) Eleven - let's see - where the hell am I going to get earrings at this hour? (thinks) I must improvise. He goes to Inez's jewelry box and picks out art nouveau earrings he knows Adriana would like. He grabs a box and gift wraps it quickly. Maybe it comes in a blue velvet box and he finds some colored paper. Gil writes card: To Adriana with love. He crosses it out - To Adriana avec amour. He gives a final check to himself and opens door to leave, running smack into Inez and both her parents, home from their trip prematurely. GIL Ohmigodl What are you doing back? 66 CONTD:59 59 INEZ Daddy got chest pains. GIL Really? JOHN I'm sure it's indigestion. HELEN Well we can't take a chance. INEZ Daddy had an angioplasty three years ago. JOHN They put a balloon in me. Big deal. HELEN (phone) Yes - I want the hotel doctor - suite 818. (she trails off) INEZ Why are you so dressed up? GIL Me? No - I was just writing. INEZ You dress and put on cologne to write? GIL I took a break and showered. I think better in the shower. All those positive ions. INEZ We were halfway to Mont. St. Michele and Daddy started to look pale. GIL That's terrible. INEZ We turned right around. 67 CONTD: (2)59 59 GIL No - sure - is there anything I can get you, John? JOHN I'm fine. I'm sure it's the beef bourguignon. INEZ What's this. (picking up gift) GIL (grabs it from her) It's nothing - nothing - INEZ What is that? It's a present. GIL Yes - yes ∑∑∑ it is. Because it's gift wrapped ∑∑∑ but er - you're not supposed to see that - it's a surprise. INEZ You got me something? GIL It's nothing great - from the flea market. INEZ Let me open it. GIL No! No - not now ∑∑∑ I got it for - I mean to give it to you at a special dinner - just leave it ∑∑∑ INEZ Now I'm dying of curiosity. If it's jewelry I hope it's my taste - not like the moonstone necklace. GIL You didn't like the moonstones? They're understated yet elegant - (to Helen) Don't you always say that, ha, ha .∑. 68 CONTD: (3)59 59 HELEN Cheap is cheap is what I always say. INEZ You never saw the necklace he got me. I've never actually worn it. You'll see why immediately. Opens her jewelry box, holds up moonstones. GIL I thought you'd like their simplicity. INEZ That's just it, they're too simple. HELEN I agree. INEZ Hey - where are my art nouveau earrings? GIL You probably didn't pack them. INEZ I've worn them here. GIL I guess you lost them. They probably dropped off. INEZ Both of them? My ears are pierced. HELEN I told you to keep everything in the hotel safe. INEZ You think it was the maid? HELEN It's always the maid. INEZ I remember seeing them there this morning. 69 CONTD: (4)59 59 HELEN I would report the theft right away. INEZ I'll bet it was that maid. She was so snotty yesterday about turning out the beds. She goes to phone. GIL Gee I wouldn't jump to any conclusions. I mean an accusation of theft. INEZ (phone) I want to report a theft. I'd like the house detective to please come to room 818. GIL Oh god - INEZ (hangs up) I didn't like that maid from the first day, didn't I say that? Door rings. GIL The maid was very sweet. INEZ (opening door, doctor is there) Right. Take the side of the help as usual. That's why Dad calls you a Communist. DOCTOR I'm Dr. Gerard. HELEN Come in - he's right there ∑∑∑ JOHN I'm fine. HELEN He's had an angioplasty. 70 CONTD: (5)59 59 Amidst the ad-lib moment, Gil has managed to secure a private spot and has swiped the box. He's torn it open and removing earrings, runs into the room with them. GIL Look! Look! Are these what you're missing? INEZ Where did you find them? GIL They were in the bathroom. INEZ The bathroom? GIL Right out on the sink. HELEN I was in the bathroom, I didn't see them. GIL Well you're under stress ∑∑∑ INEZ Why the hell would they be in the bathroom? GIL Maybe you thought you put them away and left them out or dropped them, and the maid found them and left them out where you could see them easily. INEZ I didn't drop them or leave them out ... GIL The main thing is they're not stolen. DOCTOR I'm going to send you for some tests but I think that you are right and this is only indigestion. 71 CONTD: (6)59 59 JOHN See. Incidentally, it was very nice of you to come over so late. HELEN Yes - my god, is it midnight already? Gil is disappointed. CUT TO: EXT. FLEA MARKET - DAY60 60 Gil is buying earrings. CUT TO: OMITTED61 61 EXT. DETECTIVE TISSERANT'S CAR/LOVELY SPOT - NIGHT62 62 He is behind the wheel of his car observing. Car stops - picks up Gil, pulls off. Tisserant pulls off to follow. CUT TO: INT. GERTRUDE STEIN'S PLACE - NIGHT63 63 STEIN (to Matisse) C'est l'un de vos meilleurs jusqu'a present. Je parlai a Leo. Je pense qu'il souhaite l'acheter. Matisse is delighted, goes about his business there as she turns to Gil. STEIN I was just telling Matisse we want to buy one of his new pictures for our personal collection. Five hundred francs seems fair. GIL Five hundred francs? For a Matisse? (half to himself) (MORE) 72 CONTD:63 63 GIL (cont'd) Gee, why don't I pick up half a dozen? I could clean up - but how's all this possible - I should have paid more attention in my physics class ∑∑∑ STEIN Well? GIL Oh er - I brought a rewrite of the first few chapters of my book and was hoping you would tell me if you thought I was on the right track. STEIN Leave it with me. GIL Er - have you heard from Hemingway? STEIN Oh yes, they've been back for days. The trip didn't work out. I knew they wouldn't hit it off. That's over. with Picasso too. She's at Deyrolles - by herself. GIL By herself? STEIN On of those surrealist painters is getting married and they did it up there. She'll be glad to see you. CUT TO: INT. DEYROLLE - NIGHT64 64 Wedding in progress. Informal, non-traditional wedding with artist type guests. Gil finds Adriana. ADRIANA Oh - what are you doing here? GIL I came to find you. 73 CONTD:64 64 ADRIANA You did? GIL Let's just say as a writer I see into women's souls and I sense that you have very complicated feelings towards me. ADRIANA But you're going to be married. GIL I'm not so sure about anything anymore - can we just go where it's quiet? They are almost out the door when they run into Luis Bufiuel. GIL (CONT'D) Oh, Mr. Bufiuel, I had a nice idea for a movie for you. BuNuEL Yes? GIL A group of people are at a formal dinner party and after dinner when they try to leave the room, they can't. BuNuEL Why not? GIL They just can't seem to exit the door. BuNuEL But why? GIL And because they're all forced to stay together the veneer of civilization quickly comes off them and they behave as who they really are - animals. BuNuEL But I don't get it - why don't they just walk out of the room? 74 CONTD: (2)64 64 GIL Just think about it - that's all I'm saying - maybe one day you'll be shaving and it'll tickle your fancy. They go off as Bufiuel gets in last line. BuNuEL I don't understand - what's holding them in the room? CUT TO: EXT. PRETTY LOCATION - NIGHT65 65 Gil and Adriana at romantic locale. He kisses her. ADRIANA What are you doing? GIL I don't know but I do know that for a brief moment, when I was doing it, I felt - immortal. ADRIANA But - you look so sad. GIL Because life is too mysterious for me. ADRIANA It's the time we live in. Everything moves so fast - life is noisy and complicated - not like the Belle Epoque. In those years Paris lived only for beauty. GIL I've always been a logical person. I never took chances - did anything crazy - like move here when I first came or take a shot at being a real writer, not a Hollywood hired hand - but I feel like letting everything go. Gil gives her earrings. 75 CaNTO:65 65 GIL Here. ADRIANA How remarkable - they're beautiful. A horse and carriage pulls up. DIDIER Monsieur, mademoiselle - on y vas. ADRIANA What? Who are you? CHLOE Montez. On y vas. Nous allons etre en retard. GIL What's going on? They get in. ADRIANA Where are we going? DIDIER To drink champagne. DISSOLVE TO: EXT. MAXIMS - NIGHT66 66 They pull up at Maxims. People from the Belle Epoque enter and exit. ADRIANA This is so beautiful. ADRIANA (CONT'D) All those pictures I've seen of Belle Epoque Paris. We're herel - GIL I don't know what it is about this city but I must write a thank you note to the chamber of commerce. 76 INT. MAXIMS - NIGHT67 67 Inside. MARIE Welcome - and oh what marvelous outfits. So avant garde - please have some champagne. ADRIANA I can't believe this is happening to me. DISSOLVE TO: INT. MAXIMS - NIGHT68 68 Gil and Adriana are dancing romantically. ADRIANA I never want to go back to the present. Never. GIL The present - Yes, the present always seems worse than the past but it can't be - to always think this generation is stupider and coarser than the last - and yet - here we are at Maxims tonight and yes, it's fabulous. ADRIANA And I know just where I want to go after. CUT TO: INT. MOULIN ROUGE/STAGE - NIGHT69 69 The girls dance. CUT TO: INT. MOULIN ROUGE/AUDIENCE - NIGHT70 70 Gil and Adriana sit and hold hands. Dance ends and girls run off. 77 CONTD:70 70 ADRIANA (to waiter) Encore du vin. Le meme chose. (to Gil) Isn't this something. Lookl Look I She points out Lautrec sketching. ADRIANA Pablo worships him. I have to say hello. Come with me, I'm nervous. GIL We shouldn't bother him. ADRIANA But we know he's a lonely man ∑∑∑ he longs for company. They go over. She speaks to Lautrec. ADRIANA We're both great admirers of your work. Nous sommes tout les deux de grands admirateurs de votre travail. LAUTREC Merci madame. ADRIANA Pouvons nous vous offrir un verre? LAUTREC J'en serai enchante mademoiselle. Prenez un siege je vous en prie. ADRIANA He's asking us to sit down with him. GIL This much French I know. LAUTREC Etes vous Americain? GIL I'm American. Oui - LAUTREC Je l'ai devine a votre accent. 78 CONTD: (2)70 70 ADRIANA Nous aimons, tous les vos dessins et peintures, en realite tout ce que vous faites. GIL Yes, I love your pictures too. LAUTREC (welcomes two new men to table) Oh - puis-je vous presenter mes amis ∑∑∑ Monsieur Degas and Monsieur Gauguin. ADRIANA Ohmigoodness - hello - enchante - (ad-lib hellos best they can) (to Gil) Isn't this thrilling? You see the sketch he's made? Nobody can draw like that today - not Pablo, not Matisse - We see fine drawing, Lautrec style. GIL Parlez Anglais? DEGAS No monsieur. LAUTREC (referring to Gauguin) 11 parle un petit peut. GAUGUIN I speak well - je parle tres bien. DEGAS (scornfully over Gauguin's boasting) Ah- GAUGUIN Degas and I were just talking about how - cette generation est depourvue de sens et mangue d'imagination. 79 CONTD: (3)70 70 ADRIANA He says they find this generation sterile and empty - GAUGUIN La Renaissance est beaucoup mieux - better to have lived during the Renaissance. ADRIANA No - this is the Golden Age - L'Age D'or. DEGAS Pas do tout - la Renaissance - c'etait mieux - leur vetements sont tres, tres modernes, tres originaux. ADRIANA He says your clothes are very modern and original. GIL Er - yes - Monsieur Lauren - Ralph. (to Gauguin) Shouldn't you be in Tahiti? GAUGUIN I? What? Yes - I live on the island - a much better life than here - better there - but then I miss Paris - up and back - Qu'est que vous faites dans la vie? ADRIANA What do I do? Je suis etudiante. En haute couture - fashion designer but studying - DEGAS Ah ga compte pour les vetements outrageux. LAUTREC Vous devriez la presenter a Richard. GAUGUIN He wants Degas to have you meet his friend Richard. (MORE) 80 CONTD: (4)70 70 GAUGUIN ( cont ' d) He's looking for someone to do costumes for the ballet. ADRIANA Ballet costumes - my god - I don't live here. I mean I do but I don't. Je n'habite pas ici. GIL I wouldn't get into too many details with them. Let's just leave it that we're temporarily passing through. ADRIANA (to Gil) Can I speak with you a minute? (to table) Permettez-moi de m'absenter un instant. (she gets him off) Let's never go back to the twenties. GIL What are you talking about? ADRIANA I think we should stay here - it's the start of the Belle Epoque - this is the greatest, most beautiful era Paris has ever known. GIL But I love the Jazz Age. ADRIANA The twenties are full of strife and uncertainty. But think of it, Gil - the two of us - in a lovely art nouveau home - I'll work in the fashion world - I love the styles - you can write ∑∑∑ it's the age of Debussy and Guimard. Maybe you can meet Balzac. GIL But what happened to the twenties and the Charleston and Cole Porter? ADRIANA That's the present, it's dull. 8170 70 CONTD: (5) GIL It's not the present for me - I'm from 2010. ADRIANA What do you mean? GIL I dropped in on you just the way we dropped in on the 1890's. ADRIANA You did? GIL I wanted to escape my present just like you wanted to escape yours. To a golden age. ADRIANA Surely you don't think the twenties are a golden age? GIL To me they are. ADRIANA But I'm from the twenties and I'm tellin~ you the golden age is the Belle Epoque. GIL Yes but don't you see - to these guys the golden age was the Renaissance. They'd all trade the Belle Epoque to paint alongside Michelangelo or Titian. And those guys probably imagine life was better when Kubla Khan was around. I'm having an insight. A minor one but that accounts for the anxiety of my dream. ADRIANA What dream? GIL Last night I dreamed I ran out of zithromax - and then I went to the dentist and there was no novacaine - these people have no antibiotics - 8270 70 CONTD: (6) ADRIANA What are you talking about? GIL And even in the twenties - no dishwashers - no 911 if your appendix bursts - no "movies on demand" ∑ ADRIANA But if we love each other what does it matter when we live? GIL Because if you stay here and this becomes your present, sooner or later you'll imagine another time was really the golden time. And so will I - I'm beginning to see why it can't work, Adriana. The present has a hold on you because it's your present and while there's never any progress in the most important things, you get to appreciate - what little progress is made - the internet - Pepto- Bismol. The present is always going to seem unsatisfying because life itself is unsatisfying - that's why Gauguin goes back and forth between Paris and Tahiti, searching - it's my job as a writer to try and come up with reasons why despite life being tragic and unsatisfying, it's still worth it. ADRIANA That's the problem with writers - you're all so full of words - but I'm more emotional. I'm going to stay and live in Paris' most glorious time. You made a choice to leave Paris once and you regretted it. GIL Yes, that one I regretted but it was a real choice and I made the wrong one. This is a choice between accepting reality or surreal insanity. 83 CONTD: (7)70 70 ADRIANA So finally you do love Inez more than me. GIL No - I love you - but this way lies madness - and if I'm ever going to write anything worthwhile I've got to get rid of my illusions and that I'd be happier in the past is one of them. ADRIANA Goodbye, Gil. GIL Goodbye Adriana. Good luck. They kiss, she turns and goes to the table of artists. CUT TO: INT. GERTRUDE STEIN'S PLACE - NIGHT71 71 Gil being admitted to the Stein home. He is full of energy. STEIN Ah - Pender - I read your rewrite. Yes ∑∑∑ you're nicely on the right track. You've understood me clearly. If the rest of the book reads as well when you're done you'll have something of value. GIL (taking it back) Thank you. I can't tell you how much this means to me. STEIN Hemingway who read your chapters and agrees it's going to be a fine book did have one plot suggestion. GIL Hemingway read it? What was his suggestion? 84 CaNTO:71 71 STEIN He finds it hard to believe the protagonist doesn't see his fiancee is having an affair that's going on right before his eyes. GIL with - STEIN The other character - the pedantic one - GIL It's called denial. Thanks again. (to passing poet) You're Ezra Pound right? T.S. Eliot says you owe him forty francs. CUT TO: INT. HOTEL SUITE - DAY72 72 Gil back in present in mid-argument with Inez. INEZ You're crazy - Paul and me? Where did you get such an insane notion? GIL From Ernest Hemingway. He thought it out and it makes perfect sense. INEZ Gil, your brain tumor's acting up again. GIL There's nothing crazy about Ernest Hemingway or Gertrude Stein or Fitzgerald or Salvador Dali - INEZ Nothing except they've all been dead for years. GIL It was William Faulkner who said, the past is not dead. (MORE) 8572 CONTD: 72 GIL (cont'd) In fact, it's not even past. Actually I ran into Bill Faulkner at a party. INEZ You're a raving lunatic. GIL I guess I'm too trusting. I'm jealous and also trusting - cognitive dissonance, Scott Fitzgerald speaks of it. INEZ Gil - GIL I know it Inez - you can fool me but not Hemingway. INEZ Jesus Christ I'm dealing with a madman - okay - Paul and I had a few nights alone. We danced, we drank - you were always working - he's very attractive, he spoke to me in French - the whole mystique of this corny city got to me - it's over. We can put this all in perspective at home. GIL I'm not going back. INEZ What? GIL I'm staying here. It's not the romantic fling. Paris is Paris. It's that I'm not in love with you. INEZ What? GIL A lot has happened to me since we got here. I won't begin to bore you - but - I know what that feeling of love is and it's not us. 86 CONTD: (2)72 72 INEZ Have you met someone else? All those late night walks. GIL I was attracted to another woman but it was the whole deal - meeting Gertrude Stein and Hemingway and Dali and Scott and Zelda - INEZ Honey, you better listen to yourself. You're a psycho. You don't know what you're doing. You see everything here through magical colored glasses. You're a California film writer with a house in Beverly Hills with two Mercedes'. You're not some kind of twenties expatriate novelist. Her parents enter from the adjoining suite. HELEN What's going on? We can hear every word. GIL If I'm not happy I'll move back. But right now I'm going to stay. INEZ With who? All your crazy hallucinatory friends? Mother was right about you - there's a part missing. JOHN said that first. ~ INEZ Anyone who's protagonist makes a living selling old cap pistols and Joan Crawford cut out books. GIL You're better off without me. INEZ Go ahead. Walk the streets - gush over the Parisian light and the rooftops. 87 CONTD: (3)72 72 GIL Goodbye Inez. He goes. JOHN I had a private detective follow him - I knew he was up to no good. INEZ Daddy you didn't. JOHN I did. He saw him get into a car at midnight each night and he followed close behind. HELEN What happened? JOHN I don't know. The detective agency says the detective is missing. CUT TO: INT. VERSAILLES - DAY73 73 Detective Tisserant is in a period room with two stunned period occupants. They all speak French. COUNT A qui ai-je l'honneur? TISSERANT Je me suis perdu - J'ai pas du tourner au bon endroit COUNTESS Guardes! Guardes! COUNT Qu'on lui coupe la tete! CUT TO: OMITTED74 74 88 EXT. PONT ALEXANDRE III - NIGHT75 75 Gil walking at night. He sees someone approaching and realizes it is the girl from the Flea Market, Gabrielle. GIL Hey, I know you - the girl at the flea market. GABRIELLE Oh yes - yes - the Cole Porter one. GIL What are you doing here? GABRIELLE I'm returning from dinner with my girlfriends. I live near here. GIL What's your name? GABRIELLE Gabrielle. GIL Gabrielle, - I'm Gil - I just moved to Paris this week. GABRIELLE Oh I'm sure you'll love it. GIL Can I walk along with you or can I buy you a coffee? Oh god, it's starting to rain. GABRIELLE That's okay. I don't mind getting wet. Paris is the most beautiful in the rain. GIL Oh what a thing to say. I couldn't agree more. GABRIELLE I just thought about you the other day because my boss got in a whole album of Cole Porter songs. GIL Hey what are those bells? 89 CONTD:75 75 GABRIELLE It's midnight. GIL Midnight - right - right - pretty name. FADE OUT as they walk off together in the rain. \ No newline at end of file diff --git a/unformated_scripts/Script_Milk.txt b/unformated_scripts/Script_Milk.txt new file mode 100644 index 0000000000000000000000000000000000000000..4654779a574fcb2d5a8caca411d049ca71ca818c --- /dev/null +++ b/unformated_scripts/Script_Milk.txt @@ -0,0 +1 @@ + MILK Written by Dustin Lance Black FADE IN: 1 INT. HARVEY'S KITCHEN - RECORDED WILL - NIGHT - 1978 Close on a finger pressing the "record" button of a circa 1970's tape recorder. HARVEY MILK (V.O.) This is Harvey Milk speaking on Friday November 18th. This is to be played only in the event of my death by assassination... REVEAL: HARVEY MILK, 48, sitting at his kitchen table in a cluttered San Francisco apartment. HARVEY MILK (CONT'D) During one of the early campaigns, I started opening my speeches with the same line and it sort of became my signature... 2 EXT. CITY HALL - NIGHT In street clothes, trying to corral an angry mob on City Hall's steps, Harvey lifts a bullhorn. HARVEY MILK Hello, I'm Harvey Milk, and I'm here to recruit you. 3 INT. HARVEY'S KITCHEN - RECORDED WILL - NIGHT Harvey at his kitchen table making his recording... HARVEY MILK If I was speaking to a slightly hostile or mostly straight audience, I'd try to break the tension with a joke... 4 INT. UNION HALL - NIGHT Harvey is in a plain, ill fitting brown suit making a CAMPAIGN SPEECH to a crowd of stone faced UNION BOYS. HARVEY MILK I know, I know, I'm not what you were expecting, but I left my high heels at home. Harvey gets a LAUGH from the AUDIENCE. 2. 5 INT. HARVEY'S KITCHEN - RECORDED WILL - NIGHT RETURN TO: Harvey speaking into his tape recorder. HARVEY MILK I fully realize that a person who stands for what I stand for - an activist, a gay activist - becomes the target or potential target for a person who is insecure, terrified, afraid or very disturbed themselves... 6 INT. CITY HALL OFFICES - MONTAGE - DAY POLICE OFFICERS AND PRESS RACE THROUGH THE HALLS of City Hall, their walkie-talkies squawking. Something terrible has happened. It's chaos. A STRETCHER IS WHEELED OUT OF AN OFFICE. On it, a FILLED BODY BAG with a WHITE SHEET draped over it. The press rush to get a shot. The police officers quickly load the body onto the elevator and disappear from sight. 9 EXT. S.F. CITY HALL / FRONT STEPS - DAY A shell shocked DIANNE FEINSTEIN, 45, wades into a throng of REPORTERS. Those surrounding her try to quiet the crowd. DIANNE FEINSTEIN As President of the Board of Supervisors, it's my duty to make this announcement. Both Mayor Moscone and Supervisor Harvey Milk have been shot... and killed. GASPS from the REPORTERS. Dianne struggles to be heard. DIANNE FEINSTEIN (CONT'D) Police are looking for a suspect... Supervisor Dan White. 10 INT. ST. MARY'S CATHEDRAL - DAY The very picture of loveliness, MARY-ANN WHITE, 28, finds her husband DAN WHITE, 31, sitting in the pews praying. He's a handsome, devout, all-American man in a three-piece suit. She sits by him. A weight hangs. He can't make eye contact. DAN WHITE Something has happened. 3. She puts her arm around him, feels a gun at his side. She holds him, firmly gripping the revolver in his holster, to conceal, to keep him from using it, potentially on himself. 11 INT. HARVEY'S KITCHEN - RECORDED WILL - NIGHT RETURN TO: Harvey speaking into his tape recorder... HARVEY MILK Knowing that I could be assassinated at any moment, I feel it's important that some people should understand my thoughts. I think that-- (pauses, not sure what to say) I wish I had time to explain everything I did. Almost everything that was done was done with an eye on the gay movement. CUT TO BLACK: CLEAN WHITE LETTERS ON A BLACK SCREEN READ “MILK" 13 INT. NEW YORK SUBWAY PLATFORM - NIGHT TITLE: "New York City. 1970." HARVEY, 40, is HEADING UP THE STAIRS from the subway platform. He is wearing a SUIT, but he's less than clean cut. His hair is brushing past his ears. HARVEY'S VERY INTERESTED POV: SCOTT SMITH, 22, a sexy curly haired hippie in tight jeans and boots, is HEADING DOWN THE THE STAIRS. Harvey tries to make eye contact. HARVEY MILK Hey. I'm Harvey. SCOTT SMITH (so what?) Okay, Harvey... HARVEY MILK Today's my birthday. (Scott laughs) No, today is actually my birthday. Well, tonight. At midnight. SCOTT SMITH Really? 4. HARVEY MILK And, believe it or not, I don't have any plans. People took me out after work... SCOTT SMITH (looking him over) Work? So, that would be... Let me guess. Ma Bell or AT&T. HARVEY MILK The Great American Insurance Company. I'm part of the big, evil, corporate establishment that, let me guess, you think is the cause of every evil thing in the world from Vietnam to diaper rash. SCOTT SMITH You left out bad breath. Falling for it, Harvey covers his mouth. Scott laughs. They both smile, realizing they share a wry sense of humor. A TRAIN IS COMING, Harvey has to work fast. HARVEY MILK So... You're not going to let me celebrate my birthday all by myself are you? SCOTT SMITH (gently teasing) Listen, Harvey, you're kind of cute for a suit... But I don't do guys over forty. HARVEY MILK Well then, I'm in luck. SCOTT SMITH How's that? HARVEY MILK Because I'm still thirty-nine... (showing Scott his watch) And it's only eleven-fifteen. 14 INT. HARVEY'S NEW YORK APARTMENT - NIGHT IN A TIGHT TWO-SHOT, Scott is pressed against a wall with Harvey pressed against his back having sex. Harvey is the aggressor, completely uninhibited. 5. OPERA MUSIC PLAYS on a record player. (Wagner's Tristan and ISOLDE) 15 INT. HARVEY'S NEW YORK APARTMENT - NIGHT Harvey feeds Scott spoonfuls of CREAM PIE from a TRAY FULL of FOOD that rests on the bed between them. Ice cream, cookies, milk, berries... It's over the top and adorable. HARVEY MILK Where are you from? SCOTT SMITH Jackson, Mississippi. HARVEY MILK Well, this isn't Jackson, but you still can't respond to every strange man you meet on a subway platform. It's too dangerous. SCOTT SMITH Now you tell me. HARVEY MILK There's nothing tougher than a New York City cop. They're arrogant, and they're everywhere. I'll show you the cruising spots, if you want, if you promise you'll be careful... little Scottie-san. SCOTT SMITH Are you on uppers or what? HARVEY MILK No. This is just... plain old me. SCOTT SMITH You're afraid of the cops? HARVEY MILK I'm just discreet. I know a lot of people here. If they found out, I could lose my job. SCOTT SMITH (meaning a closet case) Oh. You're one of "those." (examines Harvey's eyes) I think you need a change of scenery. New friends. 6. HARVEY MILK I need a change. SCOTT SMITH (looks at the clock) You're forty now. HARVEY MILK (just the truth) Forty years old and I haven't done a thing I'm proud of. SCOTT SMITH (re: the desert tray) You keep eating like this and you'll be a fat ass by fifty. HARVEY MILK (laughs it off) No. Don't you worry. I won't make it to fifty. Scott distracts him, playful, like a newlywed at a wedding, he rubs a slice of pie in Harvey's face. Harvey reacts. Wipes the pie from his eye, and tackles his young, frisky new lover. They kiss. The mess getting everywhere. Harvey brushes it out of Scott's hair. HARVEY MILK (CONT'D) (an idea, half-jokingly, HALF-SERIOUSLY) Why don't we run away together? SCOTT SMITH Where to? 16 INT. FLASH FORWARD - HARVEY'S KITCHEN - RECORDED WILL - NIGHT RETURN TO: Harvey speaks to the tape recorder. (Throughout the film, these scenes should feel intimate, as if Harvey is telling us things no one else knows.) HARVEY MILK In those days, San Francisco was the place where everyone wanted to go... To drop out... To fall in love... 16A INT. DODGE CHARGER - MONTAGE - (1972) 8MM HOME MOVIE MONTAGE of Harvey and Scott DRESSED FULL-OUT LIKE HIPPIES, long hair, beard, beads, sunglasses, driving 7. through the redwoods, over the Golden Gate Bridge, and into San Francisco. HARVEY MILK (V.O.) But by 1972, The Haight was boarded up. Crime-filled. Drug-filled. The new place for us refugees was this run down Irish Catholic neighborhood in Eureka Valley. Six blocks square... The Castro. 17 EXT. CASTRO STREET - DAY Harvey lifts a Nikon camera and starts SNAPPING PHOTOS of Castro Street. WE SEE WHAT HARVEY SEES THROUGH THE LENS: A HARDWARE STORE, a LIQUOR STORE, empty buildings, boarded windows... Harvey points the camera toward The MARQUEE of the Castro Theater, big letters spelling out... "C A S T R O..." Harvey points his camera across the street at the gray- haired, OWNER of a liquor store. Harvey snaps PHOTOS of his face, an expression of distrust. Harvey SNAPS a SIGN in the liquor shop window that reads: "EUREKA VALLEY MERCHANTS SOCIETY." Harvey's CAMERA focuses on TWO CUTE, YOUNG, HIPPIE BOYS WALKING PAST, one puts his arm over the other. To Harvey's eyes it's a very new site. It's overt. Thrilling. Harvey snaps a photo of an empty storefront with a FOR RENT SIGN hanging out front. 19 INT. HARVEY'S AND SCOTT'S EMPTY APARTMENT - DAY The place is FILLED with OPERA MUSIC from a record player. Harvey is loading a roll of film into his camera. Scott is getting high, lying in the sun that pours through the large, empty windows. SCOTT SMITH I cashed my last unemployment check yesterday... HARVEY MILK Well, I hope you did something useful with it. SCOTT SMITH I bought an ounce of pot. I was just wondering if you had any (MORE) 8. SCOTT SMITH (CONT'D) plans, or thoughts... About us doing something to, you know, bring in an income. HARVEY MILK Don't move. Harvey straddles Scott. He begins SNAPPING PHOTOS of him. SCOTT SMITH I suppose I can wait tables. HARVEY No way. I want you right here with me... Did you see place downstairs is for rent? SCOTT SMITH Yeah. HARVEY MILK I was thinking we could open a shop together. SCOTT SMITH What kind of shop? HARVEY MILK One with very little overhead. Not too much work... A little one, just like Morris and Minnie Milk of Woodmere, New York... 20 EXT. CASTRO STREET CAMERA SHOP - DAY (1973) Harvey's empty store front has been converted to a CAMERA STORE (with a few, not very impressive, products). Harvey is out on the sidewalk directing Scott who is inside the store's large window hanging a sign: "CASTRO CAMERA." HARVEY MILK Just a little to the left... The old liquor store owner from earlier, MCCONNELLY, crosses the street to watch. Harvey gives him a warm welcome: HARVEY MILK (CONT'D) Hello there. I'm Harvey Milk. MCCONNELLY You're the new renters? HARVEY MILK Yes. Welcome to Castro Camera. 9. Harvey extends his hand. McConnelly shakes, but is wary. HARVEY MILK (CONT'D) I want to join the, um... What is it? The Eureka Valley Merchant's Association. I want to help in any way possible. I'm no interloper. A Jew perhaps, but I hope you'll forgive that. McConnelly looks from Harvey to Scott in the window. MCCONNELLY I don't think your application will be approved, Mr. Milk. This is a family neighborhood. Your kind are far more welcome on Haight street. HARVEY MILK (trying to keep it friendly) What "kind" do you mean, sir? MCCONNELLY (not playing along) The Merchant's Association will have the police pull your license if you open your doors. SCOTT SMITH Based on what law? MCCONNELLY There's man's law and there's God's law in this neighborhood and in this City. The San Francisco Police force is happy to enforce either. HARVEY MILK (to McConnelly as he walks away) Thanks for the warm welcome to the neighborhood! SCOTT SMITH We pay taxes you know! Harvey grabs Scott's hand... keeps him from heating up, from pouncing. It's not the time for them to bite yet. 21 INT. HARVEY AND SCOTT'S APARTMENT ABOVE THE STORE -- DAY Scott is sitting on the bed, while Harvey is TALKING A MILE A MINUTE FROM THE KITCHEN, totally energized. 10. HARVEY MILK We'll form our own business association! Start with the gay- owned businesses... We'll take down the addresses of every customer that comes in for a roll of film. We'll ask them what they want to see done here... what they want changed... We'll get money rolling into this neighborhood. Revitalize it... SCOTT SMITH Can I come in now? HARVEY MILK (O.S.) One more minute! (back to his new scheme) I'll go to the neighborhood banks. They must have some gay customers. SCOTT SMITH Harvey. What's with all this political activist crap? I thought you were a goddamn Republican. Harvey walks into the small dining room holding two plates of food. He sets them out on a small dining room table, still rambling on to Scott in the bedroom. HARVEY MILK I'm a businessman, Scott. I think businesses ought to treat their customers right. Even their gay customers. For God's sake, this is San Francisco! SCOTT SMITH Harvey. It's just like every other city in this country. People hate us. Big surprise. HARVEY MILK We should have at least one block in one city right? Start there and take over the neighborhood. (a smile) Okay, you can come in now! Scott heads toward the kitchen. The table is LAID OUT with a home-cooked meal, CANDLES and a huge bouquet of FLOWERS. SCOTT SMITH Wow. This is-- 11. Harvey SMASHES A CREAM PIE into Scott's face. Payback. HARVEY MILK Happy birthday! Scott chases Harvey around the apartment, trying to smear some of the CREAM PIE onto him. 22 EXT. THE CASTRO - DAY The street is shut down for the first ever Castro Street Fair. The crowd is mostly gay, the majority congregate outside Toad Hall bar. ANGLE ON: SOME OF THE OLD-SCHOOL, IRISH LOCALS milling about, eyeing the scene skeptically. Harvey MOVES THROUGH THE CROWD with Scott, shaking hands. MAN ON THE STREET Thanks for the party, Mr. Milk! HARVEY MILK Thanks for joining the Castro Village Association! Harvey arrives at A LONG LINE OF GAY MEN winding out of the Irish liquor store (from earlier). He squeezes past them, into the store, leaving Scott outside. HARVEY MILK (CONT'D) Excuse me gentleman... ladies. (finding the shop owner) Hello! Mr. McConnelly! McConnelly, at the register, is overwhelmed with all the new business. HARVEY MILK (CONT'D) I just wanted to stop in and see how business was doing. MCCONNELLY Fine. HARVEY MILK So you don't mind all these homosexuals in here, do you? McConnelly grins, uncomfortable. The line of gay men is curious about the hubbub. Point made, Harvey does a 180. 12. HARVEY MILK (CONT'D) No. No. Just a joke. Mr. McConnelly here loves our kind. Spend away! (to McConnelly) Tell your wife Hello for me. Harvey spots Scott in the crowd and PULLS HIM TOWARD HIM, KISSING HIM ON THE MOUTH. It's quite the show. They step back out onto the street where an Irish band is now playing. Gay men watch. Some clap. Harvey grabs Scott and spins him through a sharp waltz. OFF the pair at home in their new neighborhood. 23 INT. FLASH FORWARD - HARVEY'S KITCHEN - RECORDED WILL - NIGHT HARVEY MILK And people started hanging around our store. Not customers. Activists, kids, folks who needed a home away from home... 26 EXT. CASTRO CAMERA - INTERCUT A NEW sign goes in the window: "We are VERY open." 27 INT. CASTRO CAMERA SHOP - DAY A FEW YOUNG MEN are hanging out in the shop, the beginnings of Harvey's entourage. Harvey moves among them, sharing a clipped Sunday cartoon, lecturing them on politics or the arts, and checking out the cute ones. HARVEY MILK (V.O.) There was Danny Niccoletta, a cute art student who I'd picked up at Toad Hall. Turns out he was also good at running the Camera Shop... something Scott and I found we had surprising little interest in... ON DANNY NICCOLETTA, young, waif-like, somewhat helpless. DANNY NICCOLETTA Opera is passe, Harvey. It's about street theater, now. HARVEY MILK What you're not getting is the spectacle of it, the bigger than life emotions... Danny jumps up and IMITATES the LARGER THAN LIFE GESTURES of an opera diva, making Harvey laugh. 13. HARVEY MILK (V.O.) (CONT'D) Jim Rivaldo. A great mind. A great wit. A Harvard graduate, which nobody cared about, in those days, in the Castro... including himself. JIM RIVALDO flops down into the vintage dental chair that sits in front of Harvey's desk. He seems to be looking for something to occupy his keen mind. A sharply dressed young man, 20s, DICK PABICH, walks up to peek over his shoulder. HARVEY MILK (V.O.) (CONT'D) And somewhere along the line Jim picked up a protege, a cute political kid from Wisconsin... Dick Pabich... And of course there was Dennis Peron, who ran a very popular business with the new kids... DENNIS PERON hands Scott a FREE JOINT. HARVEY MILK (V.O.) (CONT'D) And on occasion we actually had a real customer. But only occasionally. ACROSS THE ROOM, Scott is waiting on a CUSTOMER, he's out of place: straight, gruff, a union man, ALLAN BAIRD, 40s. SCOTT SMITH Harvey... This guy wants to talk to you. HARVEY MILK (approaches Allan) Welcome. What can we do for you? ALLAN BAIRD Hi, I'm Allan Baird. Teamsters representative, and Director of the Coors beer boycott in California. HARVEY MILK Everyone, this is Allan Baird. He's a very big deal, so behave yourselves. ALLAN BAIRD I was told you were like the Mayor of the Castro, said you organized the CVA, you might know some people in the bars. 14. HARVEY MILK I do have friends in awfully low places, but just so you know, it's not official yet. ALLAN BAIRD What's that? HARVEY MILK The Mayor part. I've considered gathering an army of queers to march up to City Hall and secede, but so far the young gays seem more interested in jeeps and jeans. But if I could be of any use, I'm all ears! ALLAN BAIRD We can't get Coors to go union. These guys are like me, they can't be out of work too long. Harvey pulls Allan aside, away from the audience, easing his nerves. It's Harvey at his best. HARVEY MILK I'm just curious. Are we your first stop or your last? ALLAN BAIRD (clearly his last) It's been a tough one, Mr. Milk. HARVEY MILK Well, you seem to have noticed that my kind of people drink a lot of beer. If we're going to fast for your sake, I think we should get to deliver some of it when you win this fight, don't you? ALLAN BAIRD (INCREDULOUS) Is that what you really want? HARVEY MILK And allies. I'll have Coors out of every bar in the Castro by the end of the week. Deal? ALLAN BAIRD (nods, sincere) Thank you Mr. Milk. 15. JUMP TO: Allan is on his way out. Harvey walks back behind the counter to Scott. HARVEY MILK No more Coors beer. It's gotta come out of every bar. Gay and straight. SCOTT SMITH What's he giving you? HARVEY MILK Nothing for me. That's a convert. SCOTT SMITH A convert to what? HARVEY MILK The cause. 27A INT. VARIOUS SAN FRANCISCO BARS - PHOTO MONTAGE A STILL PHOTO MONTAGE: Jim, Dick, Scott and Danny get bar owners throughout San Francisco to unscrew their Coors taps, throw out their Coors stock, put on "Boycott Coors" buttons and tape up "Dump Coors" posters. HARVEY MILK (V.O.) I got "my people" to get Coors out of all the Gay Bars. 30 million bottles worth in San Francisco alone. Coors beer immediately fell from number 1. They caved. One week later, union man Allan Baird hired the first ever openly gay union boys to drive Teamsters trucks... We weren't just a group of pansies anymore. We had a neighborhood. We had the unions. And for the first time, we had a little bit of power. 27B INT. FLASH FORWARD - HARVEY'S KITCHEN - RECORDED WILL - NIGHT HARVEY MILK Maybe that was the day someone first called me the "Mayor" of Castro Street. (a knowing grin) Or perhaps I invented it myself. 28 INT. CASTRO CAMERA - ANOTHER NIGHT Harvey, Jim & Dick, Scott, Danny and Dennis debate the merits of working within "the system" versus dropping out. Everyone is talking over each other... 16. A YOUNG GAY MAN runs into the store. YOUNG GAY MAN The fucking cops, man, they're up on Castro Street! Toad Hall. Harvey and the guys race out of the store. 29 EXT. CASTRO STREET - DAY Harvey, Scott, Jim, Dick, Dennis run up the street toward one of the Castro GAY BARS where POLICE ARE GETTING OUT OF SQUAD CARS AND APPROACHING CUSTOMERS crowding around the entrance. COP Clear the sidewalk! Some of the GAY MEN move out of the COPS' way but some of them don't move FAST ENOUGH. The COPS start BEATING them. Harvey, Scott and the OTHERS try to break into the crowd, to get closer to the fight. To pull the cops off their friends. Danny HANGS BACK, snapping PHOTOS of the event. Scott SHOVES his way past the cops. A COP BRINGS HIS NIGHT STICK down hard on SCOTT'S HEAD. 30 INT. HARVEY'S AND SCOTT'S BATHROOM - THAT NIGHT Scott sits on the toilet. Harvey rinses blood from a white washcloth and goes back to cleaning Scott's HEAD WOUND. HARVEY MILK ...if we had someone in the government who saw things the way we see them, the way the black community has black leaders who look out for their interests-- SCOTT SMITH You're gonna run for Supervisor, is that the idea? HARVEY MILK (HALF-JOKING) I could go right for mayor, but I think I should work my way up to it... You'll be my campaign manager. 17. SCOTT SMITH (SARCASTIC) Because I have so much experience in politics. HARVEY MILK Politics is theater. It doesn't matter if you win. You make a statement. You say, "I'm here, pay attention to me." SCOTT SMITH Harvey, you do that every time you cross the street. HARVEY MILK Coors looks like it might cave. The union boys will owe me. Imagine if we get their vote... It'll be fun! SCOTT SMITH Fun? Harvey starts kissing him all over. HARVEY MILK We'll make it a spectacle. 31 EXT. CASTRO STREET - DAY Harvey walks down to Market St. with a box. He waves, shakes, flirts with everyone. His warmest hello is from a gruff UNION MAN. Behind Harvey, Scott pushes a loaded shopping cart. Harvey sets his box down right beside a SFPD OFFICER. It reads, “Soap Box.” Harvey steps onto it. A crowd forms. HARVEY MILK A week ago, Police officers came into our area with covered up badges and sent fourteen of our people to the hospitals, and to jail. The charges, "Blocking a Sidewalk." Like a round girl at a boxing match, Scott parades around a blown up PHOTO from his shopping cart: TWO SF COPS DRAGGING GAY MEN INTO A PADDY WAGON. HARVEY MILK (CONT'D) --Let us have our tax money go for our protection and not our persecution. Worry about gun control and not marijuana control. (MORE) 18. HARVEY MILK (CONT'D) School supplies, seniors, not what books I read-- Scott displays an old "Muscle Boys" magazine. Harvey does a well timed take. A few hoots from the eclectic crowd. HARVEY MILK (CONT'D) My fellow degenerates, I would like to announce my candidacy for San Francisco City Supervisor! Scott unfurls three hand made "MILK FOR CITY SUPERVISOR" banners that lap over the sides of the shopping cart. 32 EXT. VARIOUS STREETS IN SF - HANDING OUT FLYERS MONTAGE WE SEE SCOTT, DANNY, JIM handing out FLYERS to a variety of SF CITIZENS: gay boys, older people, Chinese people, scared straight people, heckling high school boys. Harvey EAGERLY APPROACHES anyone and everyone, shaking hands if they'll let him, reaching out to old people, straight people, gay people, even buttoned down BUSINESSMEN who cross the street to try to get away from him. 33 EXT. THE CASTRO/18TH AND CASTRO - DAY Harvey hands out campaign literature to a PASSERSBY. HARVEY MILK Public dental care for retired people... Legalize pot, vote Milk. Harvey is distracted. A young, long haired CLEVE JONES passes. At 18, he looks 15. Harvey tries for his attention: HARVEY MILK (CONT'D) Hey, I like the way your pants fit... Where are you from, kid? CLEVE JONES (LAUGHS) Sorry old man, not interested. HARVEY MILK Where's home? CLEVE JONES Phoenix. HARVEY MILK I'm Harvey Milk. I'm running for Supervisor. What's your name? 19. CLEVE JONES Cleve... Jones. HARVEY MILK Well Mr. Jones, we should walk up to my camera shop and register you. CLEVE JONES Fuck that. Elections of any kind are a bourgeois affectation. HARVEY MILK Is that right? Do you trick up on Polk Street? CLEVE JONES (only half-joking) If I need the cash... But I'm selective about my clients. HARVEY MILK Tell me one thing before you get back to work then. What was it like to be a little queer in Phoenix? CLEVE JONES I faked a lung disease to get out of PE. So what? What are you, some kind of street shrink? HARVEY MILK Sometimes. But what I'm saying is, Phoenix can change. But we have to start with our street: rent control, police abuse, pot, parks, seniors. CLEVE JONES (turns to go) Well, good luck with all that. HARVEY MILK You know what I think, Cleve Jones? CLEVE JONES That you're gonna get somewhere if you keep talking? HARVEY MILK No. That you need to do what you're good at. Be a prick. Fight City Hall. Fight the cops. Fight the people who made you come here to do what you do. 20. CLEVE JONES Sorry old man, I'm leaving for Spain tomorrow. Europe. Got all the cash I need in my back pocket. A GROUP OF CLEVE'S FRIENDS shout at him to join them. Harvey watches him dart across the street to his friends. HARVEY MILK (V.O.) I didn't come out until very late in life. There was nobody to-- 34 INT. FLASH FORWARD - HARVEY'S KITCHEN - RECORDED WILL HARVEY MILK --look up to, no hope for a better life. Those that did were outcast... arrested.. suicide. And the young ones, who did escape home... and who arrive in San Francisco, and then what... 35 EXT. CHURCH STREET - EVENING ANGLE ON: PARAMEDICS placing a BLOODY VICTIM into a BODY BAG. COP The “fruit” was walking home with his “trick” when they were jumped. REVEAL: Harvey picks a blood stained whistle up off the street, the man's last attempt to call for help. COP (CONT'D) (from the victim's wallet) Name's Robert Hillsborough. Did you know him? HARVEY MILK He used to come into my shop. Are there any witnesses? COP Just the "trick." Jerry Taylor. HARVEY MILK Jerry wasn't a trick. They were lovers. COP Call it what you will. He's our only witness and he says he can't identify the attackers. 21. HARVEY MILK There'd be a dozen witnesses if they thought you boys had any real interest in keeping them safe. COP You're the Mayor of Castro Street now, right Harvey? You really wanna help? Get your people to show some discretion on the streets, huh? HARVEY'S POV: The PARAMEDICS pull up the zipper on the body bag. We follow the zipper past the victim's bloody hands, his torso, his face. 36 INT. CASTRO CAMERA - DAY CLOSE ON: A CUSTOMER'S SET OF PHOTOS BEING PASSED FROM HAND TO HAND DURING THE FOLLOWING POLITICAL MEETING. (We catch a glimpse of the PHOTOS and see naked skin). JIM RIVALDO Well, it looks like the big guns and the rich gays in San Francisco are going to back Dianne Feinstein and other straight candidates they consider "gay-friendly." SCOTT SMITH Who cares about those old queens? Scott is laying down on THE BIG RED COUCH. HARVEY MILK Why isn't my campaign manager leading the meeting? SCOTT SMITH I'm beat, Harvey. I passed out flyers for seven hours straight. HARVEY MILK In the bathhouse? SCOTT SMITH (giving it right back) People in bathhouses vote. I'm tired. I'm taking a nap. Scott heads up the stairs to their apartment. A CUSTOMER comes in. Danny quickly gathers the REVEALING PHOTOS and puts them back in the envelope. 22. HARVEY MILK Just checking the exposure. That a new boyfriend? He's very cute. CUSTOMER (taking the photos, embarrassed) Um... Thanks, Harvey. HARVEY MILK (to Jim) So who are these so-called "gay leaders?" And who appointed them? And what are you suggesting, Jim, that I'm supposed to go and solicit their endorsement? PAST HARVEY WE SEE A GRANDMOTHERLY VOLUNTEER, THELMA, opening the mail, casually reading a letter, then rising and approaching Harvey. THELMA HARVEY-- HARVEY MILK We're down here, on the streets, trying to help people, so where they hell are they? DICK PABICH David Goodstein is the publisher of The Advocate and he has a house-- JIM RIVALDO A mansion-- DICK PABICH --in Atherton. THELMA (clearly shaken) Harvey, you should read this. CLOSE ON THE LETTER as it goes from Thelma to Harvey. 37 INT. HARVEY'S APARTMENT / KITCHEN - LATER Scott reads the LETTER. Harvey sits VERY STILL. SCOTT SMITH "Harvey Milk will have a dream journey and nightmare to hell, a night of horror. You will be stabbed and have your genitals, cock, balls, prick cut off." (MORE) 23. SCOTT SMITH (CONT'D) (BEAT) I'm calling the police. HARVEY MILK They probably wrote it. (off Scott's anxiety) Hey, If somebody tries to kill me, I'll get the sympathy vote, right? Could be just the push we need. SCOTT SMITH You think this is funny? Look at it. Reluctantly, Harvey takes the letter from Scott. HARVEY MILK It's a complete joke. No rhythm. No humor. It's insulting. CLOSE ON THE LETTER: Someone has drawn a STICK FIGURE of Harvey being tortured - bullets, knives, fire, etc. Harvey makes a DECISION: He sticks the DRAWING to the refrigerator, the first thing he'll see in the morning. SCOTT SMITH Don't do that. HARVEY MILK If you put it away, hide it in a drawer, it'll just get bigger and scarier. Now it's there. We'll see it every day. It can't get us. SCOTT SMITH All this energy... to make yourself a target. And what for? Something we have no chance to win. Harvey wraps his arms around him. HARVEY MILK I keep telling you, it's not just about winning. 38 EXT. DAVID GOODSTEIN'S MANSION - DAY Harvey, in his work boots and jeans, watches as a LARGE GATE SLIDES OPEN allowing his entry. Scott, even scruffier looking than Harvey, stands next to him. HARVEY MILK (V.O.) The "top gays" in San Francisco were David Goodstein and his lawyer sidekick Rick Stokes. David was a (MORE) 24. HARVEY MILK (V.O.) (CONT'D) rich old queen who'd bought the biggest gay magazine, The Advocate. He had it delivered to subscribers in brown paper bags so no-one would know... That's how he lived his life, covered up, discreet. Harvey and Scott are shown to the pool area by a HOUSE BOY. Statues and potted plants and expensive marble. Everything shouts "GOOD TASTE!" Scott strips off his clothes and DIVES INTO THE POOL. 40 EXT. GOODSTEIN'S POOL - LATER Harvey has lunch with the "gay establishment": DAVID GOODSTEIN, 58, gold and turquoise jewelry, and Goodstein's protégé, RICK STOKES, 45, reserved. Rick can't keep his eyes off naked Scott in the pool. DAVID GOODSTEIN I worked for a financial institution. I was very discreet. But someone spotted me at the opera, sitting in a box, next to my lover. And I was fired. That's when I decided to do something. So I bought The Advocate. And I use my money and my influence in quiet ways, to do what I can... HARVEY MILK Endorsing straight candidates is what you think is best to help us? DAVID GOODSTEIN Yes, if they're friendly to our cause. RICK STOKES (DEFENSIVE) Politics is complicated in San Francisco, and Supervisor is a citywide office. Political alliances need to be built. You can't simply move here from across the country and run for office. HARVEY MILK But I am running for office. I'm on the ballot. I have the union rank and file, the seniors, and I could use your magazine's endorsement. 25. DAVID GOODSTEIN Harvey, we're like the Catholic church. We welcome converts, but we don't make them Pope the same day. HARVEY MILK And why haven't you run? DAVID GOODSTEIN It's too early for a gay candidate for Supervisor. Especially one from the Castro. It's bad for the community's image. Scott climbs out of the pool and sits at the table, naked and sopping wet. SCOTT SMITH What's wrong with the Castro? DAVID GOODSTEIN Nobody works there. It's all sex and drugs and more sex and no one taking responsibility for their own problems. HARVEY MILK The cops come into our neighborhood and beat us. They turn a blind eye if one of us is murdered. RICK STOKES Then we file a lawsuit against the city. We go to our political allies in City Hall... HARVEY MILK There are no real gay allies. Yes, our friends may sense our struggle, but they can't feel it. It's not life or death for them. We need our own in office. RICK STOKES You can't demand acceptance overnight. HARVEY MILK Why not? How can we ask them to respect us if we don't show ourselves some self respect, David. 26. DAVID GOODSTEIN The more “out” you make us, the more you incite them. Step back and quiet down. HARVEY MILK Go back into the closet? Is that what you're saying? Because I know the closet. I lived in it for more years than I care to remember. (rising to go) I don't need your endorsement. I'm not asking anyone for acceptance. I don't have time to ask. DAVID GOODSTEIN For you, politics is a game, a lark. Like putting on a rock festival or staging a "love-in." You're too old to be a hippie, Harvey Milk! Harvey turns around, ready for a fight. HARVEY MILK I'm not a candidate, I'm part of a movement. The movement is the candidate. There's a difference. You don't see the difference. But I do. SCOTT SMITH (getting Harvey out) Thanks for the swim. I'm sorry I pissed in your pool. 41 EXT. THE CASTRO - ELECTION DAY A SLOW MOTION MONTAGE OF: the citizens of the Castro are turning out to vote. Young, old, gay, straight... but a weight hangs over the day. HARVEY MILK (V.O.) When the vote came in on election day... out of 32 candidates vying for 6 seats... We came in 10th. Just a handful short of being the first big eared, gay as a three- dollar-bill, cock sucker ever elected to public office. 27. 42 INT. FLASH FORWARD - HARVEY'S KITCHEN - RECORDED WILL - NIGHT HARVEY MILK So... I went for it again in '75... with just a few... minor... adjustments. 43 INT. SECOND HAND STORE IN THE CASTRO - DAY CLOSE ON: Harvey looking through a hole in the bottom of a pair of well worn wing-tips. He tries them on anyhow. JUMP TO: Harvey steps out of a dressing room in a brown suit. His hair is cut short, his face is shaven clean. It's quite a transformation. Scott and the old owner, LILY, size him up. SCOTT SMITH No. Not cute. The shoes are hideous and I hate your hair. You're not fooling anybody. HARVEY MILK I'm not gonna let the Pacific Heights biddies write me off again because of a ponytail. I like it. Scott is horrified. Harvey pulls a pair of movie ticket stubs from its inner pocket. HARVEY MILK (CONT'D) Cabaret? For two? Lily, is this from one of my kind? LILY No, no. You won't run into the owner. He died in that suit. SCOTT SMITH This isn't sexy, Harvey. Harvey grabs Scott, kisses him. Then playful: HARVEY MILK Too bad. No more pot, no more bath houses for me and little poo. 44 INT/EXT. CASTRO CAMERA - DAY MONTAGE: More ACTIVITY inside and outside the shop. More VOLUNTEERS. The printing press burns through flyers. HARVEY MILK (V.O.) We ran and we lost the Supervisors race a second time in '75, but with (MORE) 28. HARVEY MILK (V.O.) (CONT'D) more votes than ever. So in 1976, against everyone's advice, I really pissed off the Democratic political power houses, because I ran against "their boy"-- A SIGN GOES IN THE SHOP WINDOW "HARVEY MILK VS. THE MACHINE." HARVEY MILK (V.O.) (CONT'D) --Art Agnos, a part of their "Political Machine." And this time we weren't running for City Supervisor. This time it was bigger, California State Assembly. 50 INT. HASTINGS COLLEGE OF LAW / CANDIDATE DEBATE - NIGHT It's a firestorm of words as Harvey debates Art Agnos. HARVEY MILK It's a racket. It's 1976 and you still have to be straight, white, Catholic and male to get into the San Francisco police force. It's Racist. Homophobic. ART AGNOS How many people do you consider enemies, Harvey? I've counted five already. Art smiles. Chuckles flutter through the audience. HARVEY MILK You're right, Art. And many are your closest friends. You see, I don't think State Assembly seats should be awarded on the basis of service to the Democrat Machine. Machines operate on oil and grease. They're dirty, dehumanizing, and too often unresponsive to any needs but those of the operator. ART AGNOS Mr. Milk, I've worked for years as a social worker in this city. I know Sacramento. I know how to get done what we all need done there. HARVEY MILK Tell me Mr. Agnos... right here in the Castro, Robert Hillsbourough was murdered for walking home with his long time partner. Stabbed, (MORE) 29. HARVEY MILK (CONT'D) fifteen times. The last words he heard were "Faggot, Faggot, Faggot..." And you say you're outraged, but why won't your liberal establishment return our calls? Why won't they bring these murderers to justice? 51 EXT. HASTINGS COLLEGE OF LAW - LATER Art Agnos puts his arm around Harvey as they walk out. ART AGNOS You know Harv', your whole rap's a real downer. HARVEY MILK My God, you're handsome up close. I can't tell you how much I'm looking forward to licking you... in the polls. ART AGNOS (LAUGHS) You talk a lot about what you're against. What are you for? In this town, you gotta give em' a reason for optimism or you're cooked. Art gets into his car and goes. Harvey has no car. He stops and PONDERS ART'S WORDS... They stick with him. 51A INT. HARVEY'S AND SCOTT'S APARTMENT - EVENING Scott tries to make a simple meal of pasta, struggling to operate in the kitchen that is filled with Harvey's POLITICAL ENTOURAGE and VOLUNTEERS. He finds Harvey, Jim, and Dick having an impromptu strategy meeting in the adjoining bedroom. SCOTT SMITH Harvey. Dinner. HARVEY ... get some union boys in the audience, they love me... JIM RIVALDO I can't control who's in the audience... SCOTT SMITH Harvey, you need to eat something. Now. 30. Scott steps back into the kitchen. SCOTT SMITH (CONT'D) Ladies and Gentlemen. Our apartment is officially off limits. CHASES the VOLUNTEERS out of the kitchen, out of his bedroom... down the stairs... SCOTT SMITH (CONT'D) Downstairs. Time to go. Go. OUT! Harvey emerges, about to intervene. SCOTT SMITH (CONT'D) Don't say anything. For once, Harvey keeps his mouth shut. Jim and Dick sneak past Scott, sheepishly. When Scott and Harvey are alone... SCOTT SMITH (CONT'D) Sit down and eat. Harvey and Scott eat dinner in tense silence. HARVEY SCOTTIE-- SCOTT If you say one thing about politics or your campaign or where you're speaking tonight or whose endorsement you need... I'll stab you with my fork I swear to God. HARVEY I just wanted to say... This is the most delicious meal I've ever eaten in my entire life. Harvey gives a warm smile. Scott gives a laugh, but he looks like he's about to lose it. HARVEY MILK If we lose this one, it'll be just me and you again. I promise. Scott nods. That's exactly what he needed to hear. 52 EXT. THE CASTRO - NIGHT Harvey walks Castro's streets alone, toward his apartment. 31. A CAR PULLS UP BEHIND HARVEY. A MAN jumps out of the car, and the driver speeds around the block. Harvey turns a corner. The man follows. Harvey picks up his pace. He searches his pockets for a whistle, a weapon, and beelines it to his shop, his nerves are failing him. He gets to the doorway of his camera store, and runs face first into: CLEVE JONES. He's not the feisty young kid he met on the street earlier. He's been sitting on Harvey's steps, waiting with wet eyes. HARVEY MILK Phoenix? (off Cleve's smile) We should go inside. They do. Harvey locks the door behind them. 53 INT. CASTRO CAMERA - LATER Harvey pours two cups of coffee, and delivers one to Cleve who is pulled away on the big red couch. CLEVE JONES You staying up with me? HARVEY MILK The election's tomorrow. I won't sleep... Was he good looking? CLEVE JONES No. He was hideous. HARVEY MILK Hard to tell what's worse. With me, my boyfriends usually find better looking ones to cheat with. CLEVE JONES I thought we were gonna spend the rest of our lives together. HARVEY MILK Guess what, Cleve Jones. CLEVE JONES What? HARVEY MILK You're going to meet the most extraordinary men, the sexiest, brightest, funniest men, and you're going to fall in love with so many of them, and you won't know until (MORE) 32. HARVEY MILK (CONT'D) the end of your life who your greatest friends were or your greatest love was. CLEVE JONES Is that supposed to help? HARVEY MILK Maybe a little. Or not. CLEVE JONES I went to Spain last month... long story. In Barcelona, there was this memorial march for gay people who died under Franco. The police tried to break it up. It started a riot. A bullet ripped through a drag queens scalp, his wig flew off, but he kept fighting. There was blood literally running in the gutter. HARVEY MILK We could have a revolution here too. But you can't just use the Castro to cruise. You gotta fight. CLEVE JONES You think you'll win? HARVEY MILK Winning isn't my strong suit. CLEVE JONES (BRAVADO) Well, I don't "do" losing. Ever. Maybe I should run for office, and you can work for me. (off Harvey's laugh) If you can do it, I can do it. HARVEY MILK Can you assemble a thousand people in an hour? CLEVE JONES Yeah, sure. HARVEY MILK All right, if I run again, you're my man. CLEVE JONES If...? 33. HARVEY MILK Polls open in 3 hours. Lets hit the bus stops. 54 EXT. SAN FRANCISCO - DAY Harvey is on the back of a motorcycle. The driver heads up Market Street. Folks stand in voting lines, flags outside of polling places. City Hall's tall dome grows nearer. HARVEY MILK (V.O.) And we lost that Assembly Race too, which made me a bona fide three- time, political loser. 55 INT. CASTRO CAMERA - NIGHT CLOSE ON THE TV SET PLAYING A 1970's ORANGE JUICE COMMERCIAL featuring runner up to Miss America, ANITA BRYANT. ANITA BRYANT (SINGING ON TV) "Come to the Florida sunshine tree, great tasting orange juice naturally, orange juice with lots of vitamin c, from the Florida sunshine tree." Harvey is alone in the shop, surrounded by remnants of a celebration party that never happened. Jim Rivaldo lets himself into the store. Jim has his maps rolled up under his arm. JIM RIVALDO (trying to cheer up Harvey) We lost, but we lost by less! More votes than ever... (Harvey fake grins) I remember when that used to work. I want to show you something. This is remarkable. Jim starts laying out his trusty MAPS, color coded with precinct results from that night. JIM RIVALDO (CONT'D) The red is where you did best tonight. If we can get the initiative on district elections to pass, and we can -- we can -- our new Supervisor's District will go right up Market. Right around the Castro. 34. The district Jim outlines is ALL BRIGHT RED. JIM RIVALDO (CONT'D) If you run for Supervisor with this new district, it's a potential landslide. You'll be the first up- front gay man elected to major office in the U.S. HARVEY MILK I don't know if I have another one in me. Or Scott. But Harvey's gaze deceives his words. HOLD ON HARVEY - contemplating a FOURTH run for office. 56 INT. CASTRO CAMERA - EVENING The GROUP gathers around the TV WHICH SHOWS NATIONWIDE NEWS CLIPS OF ANITA BRYANT celebrating her election victory in Florida (overturning a pro-gay statute). A CHYRON READS: "Landslide defeat for Florida Gay Rights Law." ANITA BRYANT (ON TV) Tonight the laws of God and the cultural values of man have been vindicated. The people of Dade county, the normal majority, have said enough, enough, enough. 57 INT. HARVEY'S APARTMENT - THE SAME NIGHT ON THE TV: A REPORT ABOUT ANITA BRYANT'S VICTORY IN FLORIDA. TV REPORTER Gays in Florida can now be removed from their jobs and prosecuted if their "deviant" lifestyles are uncovered. HARVEY'S POV OUT A WINDOW: FURIOUS GAYS pour out of the bars BLOWING WHISTLES, raising TRASH CANS... It might turn into a RIOT. ANITA BRYANT (ON TV) Gays can't reproduce, so they must recruit young people into their lifestyle... TV REPORTER Bryant, a spokeswoman for the orange juice industry, vowed to (MORE) 35. TV REPORTER (CONT'D) bring her campaign to the rest of the country... Harvey's PHONE RINGS. He snatches it up. HARVEY MILK Scottie? BOY'S VOICE I'm sorry sir. I um... I read about you in the paper. HARVEY MILK I'm sorry. I can't talk right-- BOY'S VOICE Sir, I think I want to kill myself. HARVEY MILK No. You don't want to do that. (BEAT) Where do you live? BOY'S VOICE In Minnesota. HARVEY MILK You saw me in a paper in Minnesota? How'd I look? BOY'S VOICE My folks are taking me to this place tomorrow. A hospital. To fix me. HARVEY MILK There's nothing wrong with you. Listen to me. You don't have to hurt yourself, okay? Are you there? (only breathing from the other end) Here's what you have to do. Are you listening? BOY'S VOICE Yes. HARVEY MILK Get on a bus. Go to the next biggest city. New York, San Francisco, LA, or even Minneapolis. It doesn't matter. Just leave. (off the boy's tears) You won't be alone. There are people out here just like you who will welcome you and love you. (MORE) 36. HARVEY MILK (CONT'D) You're not sick. You're not wrong. God does not hate you. Just leave. BOY'S VOICE I can't. HARVEY MILK Yes. You can. Just get on a bus. BOY'S VOICE I can't... I can't walk, sir. I'm in a wheelchair... Sir. Are you there? Harvey FORCES HIMSELF TO SOUND CALM... HARVEY MILK That's okay. It's going to be okay. Over the phone, Harvey hears the SOUND OF AN ADULT VOICE, someone finding the BOY on the phone, then... The LINE goes DEAD. It's all too much for Harvey. There's nothing a speech or a pep talk can do to fix this. Harvey is overwhelmed. Dick comes upstairs. DICK PABICH Harvey, you better come down. There's gonna be a riot. Moving in a daze, stunned by the call, Harvey digs out A BULLHORN and heads out. 58 INT. CASTRO CAMERA - SAME From inside, SCOTT WATCHES HIS LOVER JUMPING BACK IN THE FREY. A weight hangs. He doesn't follow... 58B INT. CASTRO STREET BAR - NIGHT Cleve RUSHES into the bar (ON FIRE WITH RIGHTEOUS FURY) and BLOWS A POLICE WHISTLE to get everyone's attention. CLEVE JONES Out of the bar and into the streets! Anita Bryant is coming after you! 59 EXT. CASTRO AND MARKET STREET - NIGHT Angry young men mill around the streets, their rage building. Someone TOSSES a trash can and it ROLLS. A POLICEMAN in riot gear comes up to Harvey. 37. POLICEMAN If you can't control em', we will. HARVEY MILK Give me permission to march them. POLICEMAN Where? HARVEY MILK Anywhere. 60 EXT. CASTRO AND MARKET STREET - MOMENTS LATER Surrounded by the massive crowd, HARVEY CLIMBS THE LARGE BOX that covers the subway construction at Market and Castro. It's a stage of sorts. Harvey lifts his bullhorn to his lips. HARVEY MILK I know you are angry. I am angry. Follow me through the streets of San Francisco to share our anger! Harvey jumps down and begins walking, not sure if the mob will follow. Finally, they do. Cleve catches up. HARVEY MILK (CONT'D) Are they following in back? CLEVE JONES Yes. Where are we going? HARVEY MILK I don't know. (off Cleve's concern) We have to keep them moving. Exhaust them. March them till they drop. We can't have a riot tonight. Harvey LIFTS THE BULLHORN. He starts a marching chant. The crowd starts following along. JUMP TO: Gays glare at cops. Cops beat their nightsticks against their chests and power poles. Anger burns as Harvey marches the mob toward City Hall. Dick and Jim catch up. DICK PABICH They're still too hot in back. They'll burn the joint down. HARVEY MILK Help me turn them up Van Ness. We'll go all the way to Broadway. 38. Dick heads back to try and wrangle the crowd. Harvey continues marching. 61 EXT. CITY HALL - LATER THAT NIGHT Harvey arrives, the crowd still hot. Cops beat their nightsticks against their shields. Some jab protesters, trying to incite a fight. Anger burns. Harvey climbs the steps, his stage. He lifts his bullhorn. HARVEY MILK My name is Harvey Milk... And I want to recruit you. The CROWD ROARS APPROVAL. HARVEY MILK (CONT'D) I am here tonight to say, we will no longer sit quietly in our closets. We must fight. Not just in the Castro, or San Francisco, but everywhere the Anitas go. Anita Bryant did not win tonight. Anita Bryant has brought us together... She is going to create a national gay force! (The crowd ROARS) And the young people in Richmond, Minnesota, or Jackson, Mississippi, or Woodmere, New York... Who are coming out and hearing Anita Bryant on television telling them that they're wrong, they're sick, that there is no place for them in this great country, in this world... They're looking to us for something tonight... (his big moment, realizing his true mission) And I say, we have to give them hope! The CROWD goes WILD. HARVEY'S SPEECH CROSSES THE CUT TO... 63 INT. COMMUNITY CENTER - NIGHT Harvey speaks to the "PARENT-TEACHERS UNITED FOR BETTER SCHOOLS" group. HARVEY MILK (V.O.) --Hope for a better world... Hope for a better tomorrow... Hope for a (MORE) 39. HARVEY MILK (V.O.) (CONT'D) better place to come to if the pressures at home are too great... 64 INT. UNION HALL - NIGHT Harvey speaks to a hall filled with TEAMSTERS. HARVEY MILK Hope for the worker who awakens from the American dream to find that all the jobs have left the country... We gotta give em' HOPE! PAN FACES OF TEAMSTERS - Several MINORITY FACES. CLOSE ON ALLAN BAIRD (UNION LEADER OF THE COORS BEER BOYCOTT). HE STARTS TO APPLAUD. OTHERS JOIN IN. HARVEY MILK (V.O.) (CONT'D) (pre-lap, an intimate tone) When San Francisco changed the voting rules-- 65 INT. FLASH FORWARD - HARVEY'S KITCHEN - RECORDED WILL - NIGHT Harvey is still speaking into the tape recorder... HARVEY MILK --they allowed people to elect Supervisors directly from their own neighborhoods. A black neighborhood could elect an African- American. Chinatown could elect a Chinese Supervisor... And the Castro could choose me or Rick Stokes. But decent art begs for balance, right? So little district 8, two miles south of The Castro-- 66 EXT. DISTRICT 8 - DAN WHITE'S NEIGHBORHOOD - DAY CAMERA MOVES ALONG THE STREET catching glimpses of churches, shops and tidy houses. HARVEY MILK (V.O.) --promised to stay the same as ever. Conservative, Irish, Catholic and with just the right touch of poetry, they found themselves a handsome ex-cop. 67 INT. S.F. FIRE STATION 1977 - DAY DAN WHITE holds a small press conference. His words are fiery, but his delivery and stage presence are lacking. 40. DAN WHITE I'm not going to be forced out of San Francisco by splinter groups of social radicals, social deviants, and incorrigibles. You must realize there are thousands upon thousands of frustrated, angry people such as yourselves waiting to unleash a fury that will eradicate the malignancies which blight our beautiful city. 68 INT. HARVEY MILK'S APARTMENT - DAY Harvey's suit is laid out. A record turns. Wagner blasts from the windows. Scott is folding his clothes into a box. HARVEY MILK Evelyn Lear's in town, at the Opera house in Tannhauser. SCOTT SMITH Clearly. HARVEY MILK What if she strolls into the Castro for a cocktail? (Scott keeps packing) Just one more. We can't let Rick Stokes take it. SCOTT SMITH Let Rick have it. Nobody thinks you're a fraud here, Harvey. You're not in New York, you're not a closet case asshole anymore. People respect you here. Relax for a year. Get us back on our feet. HARVEY MILK If people are ever going to take me seriously, I have to win this one. SCOTT SMITH Since when did you care if anyone took you seriously? HARVEY MILK Anita wants to put us all back in concentration camps. Rick Stokes is too weak to beat her back if she gets to California. I have to be in office to protect us from them. 41. SCOTT SMITH I can't do another one. (Harvey says nothing) I'll be back for my sheets. If you're not here, I'll see you in the shop next week. Scott picks up his box of clothes and starts out of the apartment. Harvey, not meaning a word: HARVEY MILK If you leave me right now... I can find someone new. SCOTT SMITH I know. You're a catch. Scott leaves. Harvey is in shock, unable to comprehend the loss. Unable/unwilling to reverse the choice he's made. 69 INT. CASTRO CAMERA - DAY The ENTOURAGE is completely caught up in the new campaign (Cleve, Jim, Dick, and newcomer MICHAEL WONG, 23, asexual and devoutly political). Harvey is RANTING, ripping down an Assembly campaign poster. HARVEY MILK --Ring out the old, ring in the new. This is over. Done. I don't want to see anything that say's fucking Assembly. This three-time loser faggot is running for Supervisor goddamn it! ANNE KRONENBERG, 23, parks her motorcycle outside, WALKS INTO THE CAMERA SHOP, and plants herself behind HARVEY'S DESK. Cleve, Mike, Jim and Dick are STARING at Anne. JIM RIVALDO Who the heck is she? HARVEY MILK (suddenly cool) Our new campaign manager. She called last week to volunteer and I asked her to help. DICK PABICH Help or take over? What about Scott? HARVEY MILK We need new blood. (introducing them) (MORE) 42. HARVEY MILK (CONT'D) Guys... Anne Kronenberg. (Off their puzzled looks) She's a woman... A woman who likes women. Odd, isn't it? ANNE KRONENBERG Hi guys. Mr. Milk... Rick Stokes isn't pulling out. He's officially filed to run against you. My friend at The Advocate says David Goodstein is backing him. MICHAEL WONG A gay candidate against a gay candidate. It's unfortunate. JIM RIVALDO They'll split the gay vote. The straights will divide and conquer. HARVEY MILK Try to find out when they're going to announce. DICK PABICH You replaced Scott with a lesbian? HARVEY MILK Anne worked on a recycling campaign up North. She's very organized. JIM RIVALDO How do you know she's not a plant from Rick Stokes' campaign? ANNE KRONENBERG Are you guys always this paranoid? MICHAEL WONG Yes. They take after Harvey. HARVEY MILK Shouldn't you be doing someone's laundry? MICHAEL WONG Right after you redecorate my house. ANNE KRONENBERG (pointed at Jim Rivaldo) Sir, my girlfriends say you guys don't like women. Just asking, is there a place for us in all this, or are you scared of girls? 43. HARVEY MILK Gentleman, we already have a tinker bell, a lotus-blossom, Jim and Dick in your three-piece suits. We need someone to manage things. A woman this time. She's the right price, and she has bigger balls than any of you. ANNE KRONENBERG Just give me whatever's left over in the register at the end of the day. So should I call the Chronicle about getting US an endorsement? No? OFF the group of misfits, considering the addition. 69B INT. HALLWAY OUTSIDE A LECTURE HALL - NIGHT PAN OFF: a large "RICK STOKES, SUPERVISOR DISTRICT 5" poster to reveal Anne Kronenberg outside the hall handing "MILK" signs to a long line of gathering women and lesbians who are filing in. Flanked by a PEEVED AID, Rick Stokes rushes out of the lecture hall and confronts Anne. RICK STOKES Young lady, you must be confused. This is my night, not Mr. Milk's. ANNE KRONENBERG (as pleasant as can be) No, sir. I'm Harvey's new campaign manager. Anne Kronenberg. RICK STOKES Then you should know this race is for District 5, the Castro, not for all of your lesbian... compadres-- A tough lesbian kisses Anne and stares Rick down as she heads in. Rick looks uncomfortable around all these women. ANNE KRONENBERG I'm sorry. Are we distracting you, Mr. Stokes? I'd hate to screw you up on your big night. Dick runs up looking for more fliers. Taking Rick even more off his game, Dick is flirtatious. DICK PABICH Hi Rick, handsome suit. Annie, do you have any more hand cards? 44. RICK STOKES These people are not from this area. They need to leave. Now. DICK PABICH Not true. Guess where we found them all, Rick? A slew of them. Way up on Valencia Street. Living right there in our district. And you see, as it turns out, Annie here is very, very popular with the ladies. Dick puts his arm around Anne. Rick is stupefied. 70 EXT. SF STREET - DAY Dozens of supporters hold "MILK for Supervisor" signs in a long line along Market St. waving to commuters. Anne walks the long line, handing out new signs to arriving volunteers. Harvey is handing out FLYERS. He is exhausted, his throat is RAW. The campaign is nearly over. A WEIRD MOMENT: A BOY walks up to Harvey and hands him a flier. ALL SOUND GOES DEAD ON THE SOUNDTRACK as HARVEY'S EYES lock into the BOY'S EYES. Harvey reads the FLIER: “Unite and Fight for Dan White.” Harvey looks back to pat the BOY'S head, but he's gone. He looks to the sidewalk for the kid... a parent... nothing... 71 INT. CASTRO CAMERA - NIGHT Harvey is still looking at the flier. Anne is leaving with a stack of SF Chronicles. Cleve comes in, pulls one off her stack, and looks for "the article." HARVEY MILK They've accused me of many things, but never as blatant a lie as this. ANNE KRONENBERG First ever newspaper endorsement. CLEVE JONES (reading the article) They endorsed you for being a good businessman? Has Scott read this? He'll piss himself. HARVEY MILK Yeah? Go show him. (Cleve starts to go) (MORE) 45. HARVEY MILK (CONT'D) Cleve, maybe you should go find a boy to celebrate with. Just in case. CLEVE JONES I'm going to The Stud. Meet me out. Cleve goes. His energy is boundless. Harvey sits alone watching the bargoers return home through his front window. A bitter-sweetness lingers. A couple waves, one shouts out: GAY MAN Gonna win this time, Milk? They walk on, not waiting for an answer. Then, a drunk, cute, Latino, JACK LIRA, 25, stops. He stares in at the political ads in the window. Harvey watches him sway drunk out of his mind, waiting for him to fall. The two make eye contact. Harvey smiles. Jack tries to. Harvey picks up a folding chair and walks it out to him. JACK LIRA (re: poster in the window) You're more handsome in the posters. HARVEY MILK Thank you. Where do you live? JACK LIRA (too drunk to hear, flirting) ...Palomino's are my favorite horse. They're smart. They're fast and compact. Do you think I'm more like a Palomino or a Stallion? Jack smiles, out of his mind. Then he sits/falls down into the chair, and slides off. Harvey stands above the passed out young man. A newcomer. A wounded bird. Perfect. 72 INT. HARVEY'S APARTMENT - NIGHT Completely nude, Jack plays a tantalizing game of seduction, allowing Harvey to hold him, then wriggling away... Dancing against Harvey then BITING his shoulder... LYING on the bed, then ROLLING away when Harvey tries to hold him... No TALK. No POLITICS. Just SEX. A perfect RELEASE for Harvey. 73 INT. HARVEY'S APARTMENT - LATER THAT NIGHT Harvey holds Jack after lovemaking. 46. JACK LIRA My father beat me when he found out... So I came here. I stay in this man's house. But I don't like him. HARVEY Shh, it's okay, now. No one's ever going to beat you again. A long, comforting beat between them. JACK LIRA I love you. HARVEY (smiles, playful) Do you even remember my name? (a beat, Jack shakes his head, he can't remember) Harvey. JACK LIRA I love you, Harvey. 74 INT. VOTING BOOTH - DAY HARVEY stands in a voting booth. He goes down the list of names. He finally punches the one next to "HARVEY MILK" District 5, and pulls the lever. The chads fall. HARVEY MILK (V.O.) And for the first time in my life, it all came together... the union boys, the women, the seniors, the minorities... All of the us's showed up... 75 EXT. CASTRO CAMERA - ELECTION NIGHT TV lights blast Castro Camera. A raucous crowd pours into the streets to greet the roar of motorcycles. Anne pulls up with the Sheriff on back. Harvey is passenger on a second bike. HARVEY IS VICTORIOUS! He is instantly swarmed. 76 INT. CASTRO CAMERA - LATER The Shop is packed. It's a giant celebration party. Anne and Cleve are working the door. SCOTT SMITH WATCHES FROM THE CROWD OUTSIDE THE SHOP as Rick Stokes and David Goodstein try to get in. RICK STOKES We just want to congratulate him. 47. CLEVE JONES I'm sorry. We're all full. DAVID GOODSTEIN (seeing Harvey inside) Harvey! Harvey! HARVEY MILK It's too crowded. Sorry! JACK LIRA shoves his way toward the door... JACK LIRA Harvey! Harvey PULLS JACK INSIDE, right past Goodstein and Stokes. Harvey CATCHES A GLIMPSE OF SCOTT OUTSIDE... HARVEY MILK Scottie--? But Scott fades into the CROWD. Harvey (with Jack at his side) is pulled back into the party. CLEVE JONES (eyeing Jack skeptically) The new Mrs. Milk. I give it a week. JACK LIRA (the crowd) Harvey, is this all for you? Are you this famous? HARVEY MILK No, darling. We do this all the time. Do you like it? Jim is calling out NAMES of the OTHER WINNERS. JIM RIVALDO Carol Ruth Silver... Gordon Lau... It's the most liberal Board in years! HARVEY MILK What about Dan White? Did he win? JIM RIVALDO (YES) We'll deal with him tomorrow. Harvey is DOUSED with champagne. 48. JUMP TO: Harvey is interviewed by a TV REPORTER. Jack squeezes his way under Harvey's arm and into the picture. CHANNEL 5 REPORTER Does this mean, as many straights are concerned, maybe the gays are taking over San Francisco? Are you going to be a Supervisor for all the people? HARVEY MILK I have to be. That's what I was elected for. I have to be there to open up the dialogue for the sensitivities of all people, all their problems, the problems that effect this city effect all of us. (toasts the camera) Thank you San Francisco! Thank you! 77 EXT. MARKET STREET MONTAGE - DAY - JAN 1978 SET TO MUSIC: In his old brown suit, Harvey walks to City Hall with a crowd of supporters. The familiar faces now include Jack Lira. 78 EXT. CITY HALL - DAY On City Hall's steps, Mayor Moscone swears in HARVEY. HARVEY MILK I, Harvey Milk, do solemnly swear that I will support and defend the Constitution of the United States and the Constitution of the State of California against all enemies, foreign and domestic; and that I will well and faithfully discharge the duties upon which I am about to enter and during such time as I hold the office of Supervisor, City and County of San Francisco. Bulbs FLASH. A light rain begins to fall. Umbrellas go up. HARVEY MILK(CONT'D) Anita Bryant said gay people brought the drought to California. Looks to me like it's finally started raining! Cheers. Harvey is emboldened. 49. 79 INT. SCOTT'S APARTMENT / TV SET - MORNING Off a TV in Scott's NEW APARTMENT, we see a S.F. Morning show featuring new Supervisors, Harvey Milk and Dan White. HOST (ON TV) This will be the first time in many years that we've seen so many new faces on the Board of Supervisors. Do you think such diversity will cripple the Board? HARVEY MILK (ON TV) The name of the game on the Board is six votes to get anything passed. So, like it or not, Dan and I are now in bed together... politically speaking. THE CAMERA REVEALS SCOTT watching the program. He's been up all night. DAN WHITE (ON TV) I've assured Harvey here that my brochure's comments about "social deviants" referred more to junkies than to his people. See, I'm about to have my first child. I have to make sure this city remains a decent place to raise him. 80 INT. TELEVISION STATION - MOMENTS LATER The segment over, sound assistants help Harvey and Dan remove their microphones. Harvey tries to draw Dan in: HARVEY MILK How long were you a fireman, Dan? DAN WHITE A couple of years. HARVEY MILK And before that... You were a police officer? Dan studies Harvey suspiciously... What's his point? DAN WHITE You have something against cops? HARVEY MILK No. They tend to have something against me. (MORE) 50. HARVEY MILK (CONT'D) (seeing Dan react uncomfortably) But firefighters. Now those are true heroes... They supported me in the last campaign. I support them fully. DAN WHITE I appreciate it. HARVEY MILK I meant what I said. I'd like to work together. Dan hesitantly accepts Harvey's handshake. It's a step. DAN WHITE (cracking a smile) I'll see you at the office, Mr. Milk. 81 INT. CITY HALL - DAY Harvey goes through the metal detectors at the entrance and finds Cleve in a NEW SUIT waiting for the elevator. HARVEY MILK What do you think of my new theater? CLEVE JONES A bit over the top. HARVEY MILK What's with the suit? CLEVE JONES I got it from a friend. Harvey leads Cleve from the elevator to the grand staircase. HARVEY MILK When you come here, I want you to wear the tightest jeans possible. Never blend in. And no elevators. Ever. Always take the stairs, you can make such a grand entrance going up the stairs. 82 INT. CITY HALL / SUPERVISORS' OFFICES - MOMENTS LATER Harvey leads Cleve down the hall of Supervisors' offices, passing Dianne Feinstein's open door. HARVEY MILK And street talk only around Feinstein. Shit, goddamn, fuck, (MORE) 51. HARVEY MILK (CONT'D) all that. It bugs the hell out of her. They arrive at his Lead Aide's desk: it's Anne Kronenberg. HARVEY MILK (CONT'D) Morning Annie, let's set Cleve up on mail. ANNE KRONENBERG Will do. HARVEY MILK Come into my office... 83 INT. CITY HALL / HARVEY'S OFFICE - CONTINUOUS Harvey walks in. Michael and Jim are in a strategy session. HARVEY MILK The first order of business that will come out of this office is a city wide Gay Rights Ordinance. Just like the one Anita shot down in Dade County. What do you think, Lotus Blossom? MICHAEL WONG I think it's good. Not great. HARVEY MILK Then make it brilliant. I want Anita's attention here. In San Francisco. I want her to bring her fight to US... This Bill needs a unanimous vote. We need headlines. JIM RIVALDO Dan White won't vote for this. Harvey puts his fingers to his lips and points down the hall, indicating Dan is down there. Harvey whispers: HARVEY MILK Dan's fine. He's just uneducated. We can teach him. Dan pops his head into Harvey's office. DAN WHITE Harvey, committee meets at 9:30. Oh, hi Michael, Jim. (to Harvey) Hey, did you get the invitation to (MORE) 52. DAN WHITE (CONT'D) my son's christening? I invited a few of the other supes as well. HARVEY MILK I'll be there. DAN WHITE Great! All smiles, Dan leaves. Cleve mocks him. OFF Mike Wong's expression: THAT WAS BIZARRE. ANNE KRONENBERG Are you going? HARVEY MILK Hey. I'll let him christen me, if he'll vote for my Gay Rights Ordinance. We need allies. We need everyone. 84 EXT. THE CASTRO - TWILIGHT The neighborhood is booming. Storefronts and sidewalks filled. This is not the rundown Castro that Harvey moved into 3 years ago. Harvey heads home, greeted by his PROUD CONSTITUENTS. He stops at the CAMERA SHOP when he notices a BROKEN WINDOW near the side entrance to his apartment. 85 INT. HARVEY'S APARTMENT - TWILIGHT Harvey RUSHES UP THE STAIRS into his apartment and finds: JACK LIRA - Lighting a candle on the table which has been set for a lovely, romantic dinner. HARVEY Jack? JACK LIRA Welcome home, Harvey! I hope you're hungry. I only know how to cook one thing, but I make it good. HARVEY Did you... break in? JACK LIRA I asked the boy downstairs to let me in... HARVEY Danny? 53. JACK LIRA He wouldn't let me in. So I came in this way. Your friends aren't very nice to me. HARVEY (avoiding the fight) I have a Town Hall meeting tonight, Jack. JACK LIRA You work too hard. I'm sorry about your window. I'll fix it tomorrow. (turning on the charm) Are you surprised?! HARVEY MILK Jack, I have to go. I have an invitation to a party tomorrow. Lots of rich people, politicians. We could get all dressed up... Jack turns up the music, takes Harvey's hands and guides him through a simple dance. JACK LIRA So I could be the first lady? HARVEY MILK Uh-huh. JACK LIRA I watched TV here today. All day. I saw All My Children. They killed Margo. I knew it was going to happen. They try and trick you but it never works. HARVEY MILK (enjoying this) You always see it coming? JACK LIRA What? Killing the blonde? Every time. I'm good with that. (gets slow, sensual) I think now the old lady is going to have an affair. Then she'll get killed or married. Always one or the other. Dead or married. Jack starts dancing with Harvey again. It's sweet, intimate. 54. HARVEY MILK If I make you a key, you won't break my windows again, right? JACK LIRA That's right. The dance lesson is a lovely distraction. Harvey won't be going back to work tonight. 86 INT. CATHOLIC CHURCH - DAY Harvey watches water pour over an INFANT BOY. He tries hard to feel comfortable, but he's the only Jew, and likely the only gay man at Dan's child's baptism. Dan looks to Harvey, the proud father. Harvey waves. 87 INT. CATHOLIC CHURCH - LATER Harvey and Dan have pulled themselves away. HARVEY MILK I'm proposing a citywide ordinance. It ensures that a person who already has a job can't be fired for their orientation. DAN WHITE I'm not sure my constituents would favor that. Dan looks over to his WIFE and NEWBORN SON. HARVEY MILK Is anyone else here from the Board? DAN WHITE You're the only one who showed up I think. HARVEY MILK Were you christened here? DAN WHITE Yes. Right here. Same Parish. My grandma immigrated here when this was an Irish Catholic city. The City of St. Francis... A lot's changed here since then. HARVEY MILK You're more like one of us now... an outsider. 55. DAN WHITE You're not like most homosexuals, are you, Harvey? HARVEY MILK Do you know a lot of "homosexuals?" DAN WHITE (smiles, then) Say, where do you stand on the Psychiatric Center the City's been pushing into my district? HARVEY MILK Well, I'd have to study it... DAN WHITE Getting it out of my district was a key piece of my platform. It only attracts arsonist, rapists, all that, you know. HARVEY MILK Sure, sure. A campaign promise. DAN WHITE A big one. (QUIET) What do you say we watch out for each other's interests? I'd like that. HARVEY MILK I'd like that, too, Dan. Mary Ann White approaches with their child. It's awkward, as if she's walked in on something intimate. DAN WHITE I'm sorry. Slipped into some shop talk. HARVEY MILK The Gay Rights Ordinance. My fault. MARY ANN WHITE Seems an inappropriate subject in here don't you think? HARVEY MILK Hey, don't knock it till you've tried it. His attempt to break the tension goes down in flames. She cracks a polite smile. They're from very different worlds. 56. 88 INT. HARVEY'S CITY HALL OFFICE - DAY Harvey is under pressure from his own advisors (Michael, Dick, Cleve) to vote against Dan's bill. DICK PABICH Supervisors Silver and Lau are asking you to vote to keep this Psychiatric Center in Dan's district. It'll go down 6 to 5 if you vote to get rid of it. MICHAEL WONG It's a Youth Campus, Harvey. These are kids that would be displaced from their families if it's moved. HARVEY MILK I can't just dump Dan. The guy's got nothing going for him. No friends... CLEVE JONES Here we go, Harvey to the rescue. Isn't it enough we have to put up with Jack? HARVEY MILK Lay off. He registered 120 voters last week. CLEVE JONES So do any of your volunteers, but you don't make them all first lady. MICHAEL WONG What does Dan White do for you? Really? Politically? HARVEY MILK He intrigues me... I think he may be one of us. Everyone groans. Cleve camps it up: CLEVE JONES Dear God, say it ain't so! HARVEY MILK It's just a theory... DICK PABICH You just think he's cute. 57. HARVEY MILK No... I know what it's like to live that life. That lie. You can see it in Dan's eyes... The fear, the pressure... Anne Kronenberg walks in. She's got that look in her eyes. Something's up. HARVEY MILK (CONT'D) Good or Bad? ANNE KRONENBERG Not great. State Senator John Briggs is Anita Bryant's go-to guy in California for sure. He's filed his petition for a statewide referendum to fire all gay teachers and anyone who supports them. A pall falls over the room. This is worse than expected. HARVEY MILK How many signatures will he need to qualify for the ballot? CLEVE JONES Whatever. He can get them in two Sundays at church in Orange County. HARVEY MILK (instead of fear, excitement bubbles up) This means the fight's coming here, where we can do something about it! Wichita's one thing, Kansas City. But Anita's heading for San Francisco! She's not going to know what hit her. Smile, children! This is the fight we've been waiting for. 89 EXT. S.F. CITY HALL STEPS - DAY CA State Senator, JOHN BRIGGS, 47, delivers his message to the PRESS, THE TV CREWS, AND A MASS OF PROTESTERS. HARVEY AND HIS GROUP are amongst the crowd. JOHN BRIGGS My proposition promises to protect our children from these gay perverts and pedophiles who recruit our children to their deviant lifestyles, including the ones who (MORE) 58. JOHN BRIGGS (CONT'D) do it in our public schools. It's time to root them out. In the crowd is teacher TOM AMMIANO, 36, colorful, worked up: TOM AMMIANO And how are you going to determine who's a homosexual? JOHN BRIGGS Sir, my bill outlines procedures for identifying homosexuals. ANOTHER PROTESTER How? Will you be sucking them off? JOHN BRIGGS Sir, you can argue with me, but you cannot argue with God. It's getting ugly fast. Briggs is whisked away by TWO OFFICERS. He trips off the curb and is quickly scooped up. 90 INT. DAN WHITE'S HOME - DAY Dan's house is filled with RELATIVES for a birthday celebration. Dan is glued to the NEWS, watching BRIGGS. Dan's RELATIVES gather around the TV. Mary Ann puts their BABY into Dan's arms and returns to wrangling kids. THE COVERAGE CUTS TO HARVEY BEING INTERVIEWED: HARVEY MILK (ON TV) Look what happened in Germany. Now Anita Bryant already says that Jews and Muslims are going to hell, you know she's got a shopping list. We are not going to let John Briggs or Anita Bryant legislate bigotry in this city... Hold on Dan watching Harvey on TV. 90B INT. UPSCALE SF HOUSE - NIGHT Cleve and Anne sit in the entry way, Cleve in his tight jeans and shirt. He's very out of place amongst all the suits. Harvey walks in. Cleve and Anne rush to his side. David Goodstein and Rick Stokes turn to greet Milk. DAVID GOODSTEIN Hello, Harvey. Running late? (Harvey doesn't stop) (MORE) 59. DAVID GOODSTEIN (CONT'D) Oh Harvey... your boyfriend is in the closet. HARVEY MILK Excuse me, David? RICK STOKES (QUIETLY) The Latino, he's locked himself in the coat room... Mr. Milk, Phil Burton is here. He's likely the next Speaker of the House and a much needed ally against Prop Six. We don't need a scene. 90C INT. UPSCALE S.F. HOUSE / COAT ROOM DOOR - MOMENTS LATER Harvey is at the door. Jack is locked inside the room. HARVEY MILK You're right, I know, I was late by twenty minutes. I'm sorry, Jack. JACK LIRA (O.S.) Who were you with? Scott? Some boy? HARVEY MILK I was at work. Come out, sugar pea. JACK LIRA (O.S.) No. You embarrassed me. I didn't know anyone. These are not good people. I don't want to be here. HARVEY MILK Then go home, Jack. JACK LIRA (O.S.) No. I'll wait for you. Go away. A tight smile from Harvey as he looks up to Cleve. 91 INT. UPSCALE S.F. HOUSE / STUDY - LATER Harvey, Cleve and a dozen others are scattered about the room for a meeting with the DEMOCRATIC PARTY ESTABLISHMENT. U.S. Congressman PHIL BURTON, 51, leans on a desk, listening. DAVID GOODSTEIN The Briggs initiative is polling at 75 percent for approval statewide. CLEVE JONES 80 percent in other polls. Some even have us losing San Francisco. 60. DAVID GOODSTEIN (condescending to Cleve) So it's important we not deceive people into thinking we can beat this, or we'll have riots and only increase this backlash. HARVEY JONES Good point, David. Let's just roll right over. Make it easier for Briggs to fuck us up the ass. Rick and David are horrified. Phil Burton rises above it, passing out copies of his new Anti-Briggs Initiative flier. PHIL BURTON We're taking this very seriously in my office. We want to send one of these to every home in California. We'll need money to do that. HARVEY MILK (reading the flier) "Proposition Six is an affront to Human Rights. An invasion of the State into the private lives of California citizens." (points to the pictures) Does it even say the word gay on this thing? Anywhere? DAVID GOODSTEIN No Harvey, purposefully not. PHIL BURTON With the heat bearing down on your movement right now, we think it's best to dodge the "gay" bullet. Go for the human rights angle. HARVEY MILK People need to know who's affected. This flier needs at least one old queen on it. (a dig, to Goodstein) Why don't you volunteer for that, David? RICK STOKES (an olive branch) Corey Wares is an out gay-- 61. DAVID GOODSTEIN (cutting Rick him off) RICK-- HARVEY MILK This is shit. Shit and masturbation. It's a coward's response to a dangerous threat. DAVID GOODSTEIN (a beat, then) I think you should leave. In the face of Phil Burton, most the others seem to agree. HARVEY PUTS PHIL BURTON'S FLYER IN THE FIREPLACE on his way out of the room. 91B INT. UPSCALE SF HOUSE - MOMENTS LATER Harvey knocks on the coat check door. HARVEY MILK Jack, it's time to go. (to Cleve) Get everyone together. I want young people, women, fresh heads. Fighters and organizers, not politicians. CLEVE JONES (as if Jack can't spell) What about, S-C-O-T-T? OFF HARVEY, knowing Scott would be an asset. Jack opens the door and grabs Harvey's hand. They go. 92 INT. CLEVE'S APARTMENT - NIGHT Harvey's clan is assembled (Jim, Dick, Mike, Cleve, Anne, Jack, Denis) along with fiery teacher Tom Amiano and MANY OTHER YOUNG ACTIVISTS. A HANDSOME PIZZA DELIVERY GUY is setting down boxes of pizzas. They're in for the night. The atmosphere is 180 degrees different from the previous stuffy meeting. CLEVE JONES We're not interested in working with those old Democratic Party shits. THE DOOR OPENS and someone new enters. He's HOLDING THE HAND OF... SCOTT SMITH. They are obviously a new couple. 62. Scott and his BOYFRIEND find a place on the floor. Harvey's and Scott's EYES MEET across the room. JIM RIVALDO But we can't afford infighting anymore, Cleve. We have to bring together every group. Even the old school Democrats. HARVEY MILK (taking over) Is anybody gonna pay the pizza guy, or are we just gonna stare? People start chipping in for the HANDSOME PIZZA GUY. HARVEY MILK (CONT'D) If we're gonna convince the 90% to give a shit about us 10%... We have to let 'em know who we are. (his big new idea) Everybody's coming out. The entire state. No matter where they live. DICK PABICH "Come out, come out, wherever you are!" HARVEY MILK I'm serious. (beat, the room gets quiet) We're going to tell everyone in the state to come out. Every gay doctor, lawyer, teacher, dog catcher... We have to leave the ghetto, let all those people out there know that they do know one of us. And if people won't step out of the closet, we open the door for them. ANNE KRONENBERG Jesus. SCOTT SMITH The whole state is not San Francisco. HARVEY MILK Clearly, Scott. JIM RIVALDO It could be dangerous. There is such a thing as a right to privacy. 63. HARVEY MILK Privacy's our enemy. You want real political power? Let's tell the truth for a change. Starting here. If there's anybody in this room, right now, who hasn't told their families, their friends, their employers... Do it. Now. ANNE KRONENBERG My folks know already. A beat. The room is silent. Dick looks ill. DICK PABICH I haven't told my father yet... HARVEY MILK (a beat, then) People vote two to one for us if they know just one of us. (BEAT) Cleve, show Dick where you keep your phone. CLEVE JONES It's in the bedroom. After a moment, Dick RISES and follows Cleve out of the room. People are stunned by Harvey's outrageous demand. Harvey sees Scott GLARING at him. 93 EXT. CLEVE'S APARTMENT / STAIRCASE - LATER The meeting is breaking up, and Scott lets his NEW BOYFRIEND go ahead. Harvey ducks away from Jack and intercepts Scott. HARVEY MILK I thought you were done with politics. SCOTT SMITH Politics. Not the movement. What the hell was that in there? HARVEY MILK The movement needs people to be up- front. Why were you fighting me? SCOTT SMITH You were the biggest closet case alive in New York. You told me and all your boyfriends to keep our (MORE) 64. SCOTT SMITH (CONT'D) traps shut. You were the hypocrite in there. HARVEY MILK My parents are gone. My brother knows. I'm sure they knew. SCOTT SMITH I had to listen to your phone calls home to Mom. Hear you deny that I existed. You want to be "normal" as bad as any of us. More than any of us... Those are kids in there. You're asking them to lose their families. HARVEY MILK If their families won't love them for who they are, who they really are, then they should lose them. SCOTT SMITH That's fucking insane. HARVEY MILK (re: Scott's new Boyfriend) Who's he? Do you live together? SCOTT SMITH Someone I'm seeing. He's good for me. He makes me stay home at nights, out of the bars... HARVEY MILK (quietly, so Jack doesn't hear) I miss you. SCOTT SMITH Oh, Harvey, don't... (eyeing Jack down the street) What's that about? JACK LIRA (calling out) Har-veyyyyy! HARVEY MILK He needs me. Scott nods. THAT'S ALWAYS BEEN HARVEY'S ACHILLES HEAL. He walks away from Harvey, leaving him alone. 65. 94 INT. CITY HALL / SUPERVISORS' CHAMBERS - DAY Dianne bangs her gavel like a mad woman. Harvey's adamant. HARVEY MILK DIANNE FEINSTEIN I have told no lies here Supervisor Milk, you will today or to Supervisor White come to order. in the past-- HARVEY MILK --I want it noted that I never promised to back moving any Mental Health Centers. I greatly respect Supervisor White, but I would like his remarks stricken. DIANNE FEINSTEIN Duly noted. We will take a recess before recording the vote. Fellow Supervisor, CAROL RUTH SILVER, leans over to Harvey. CAROL RUTH SILVER Thank you, Harvey. Harvey is preoccupied with Dan approaching. He leans back. DAN WHITE Can I have a moment with Harvey? Alone, please, Carol? She politely recognizes the tension and gets up. DAN WHITE (CONT'D) Why are you turning on me like this at the last minute? What did I do? HARVEY MILK I didn't have all the details. I'll help you craft a different version that doesn't displace any kids. DAN WHITE Harvey, I can't go back to my family and to my folks and to my district without this. Don't do this. HARVEY MILK I'm getting a lot of pressure, Dan. DAN WHITE You strung me along. And now you're throwing me to the wolves. 66. HARVEY MILK You only need one more vote, Dan. There are 5 other Supervisors you could convince besides me. Dan grabs Harvey. It's threatening. A new side of Dan. DAN WHITE I'll vote against your Queer Law. I'll get Quentin against it. HARVEY MILK It'll still pass. You can't keep alienating yourself here, Dan. DAN WHITE I gave you a chance, Harvey. I really did. You blew it. You really blew it. Dan goes, the rage of a scorned adolescent under his suit. 94A INT. FLASH FORWARD - HARVEY'S KITCHEN - RECORDED WILL - NIGHT Harvey's mood has darkened as he talks into his recorder... HARVEY MILK Across the country, a handful of city councils had passed the very first ordinances protecting gay people against discrimination. But Anita Bryant and her right wing Christian fundamentalists were creating and exploiting and fanning a backlash. Now she had referenda to repeal all of these gay rights ordinances. While we were preparing for the battle against Briggs and Prop Six, Anita Bryant was taking her show on the road... sweeping the country. Her next stop was Wichita, Kansas. 95 INT. TV NEWS REPORTS - NIGHT CHYRON: "Landslide: Wichita says NO to Gays." Anita talks to a REPORTER. BRIGGS is among the supporters at her side. ANITA BRYANT I give thanks for all of our foot soldiers of God here in Wichita. But we must push on. Look what happened to Sodom and to the world of Noah. Onward Christian soldiers! (MORE) 67. ANITA BRYANT (CONT'D) (lifting her hand with BRIGGS'S) On to California! 96 I/E. TELEPHONE TREE MONTAGE / EFFECT - DAY A telephone tree MONTAGE starts with Cleve on a PAY PHONE on Castro Street: CLEVE JONES Hi. We're losing Wichita. Rally tonight. Sundown. Market and Castro. A MULTIPLYING FRAME EFFECT: the person he called calls two others, they call four, then more and more as the tree grows. 98 INT. HARVEY'S APARTMENT - THAT NIGHT HARVEY'S POV ON: The VIOLENT DEATH THREAT LETTER AND DRAWING that is still tacked up to his refrigerator. OUTSIDE: The SOUNDS of a RIOT in the making. Harvey rips down the threatening LETTER and throws it away. 99 INT. CAMERA SHOP - CONTINUOUS Harvey BOUNDS down the stairs and into the shop. Cleve RUSHES into the store, breathless. CLEVE JONES They're moving. I don't know where, but... HARVEY MILK Did Jim call the press? (shouting at Danny) Get out there with your camera! DANNY NICCOLETTA I'm going! CLEVE JONES Press is covered. But we don't have a permit to march. HARVEY MILK (digs for his bullhorn) When I got Coors out of the bars, the Union gave me this. I want you to have it. CLEVE JONES What do I do with this? 68. HARVEY MILK You're an activist. Take it. March them. (off Cleve, unsure) March those people up to the front doors of City Hall. When it looks really bad, the city's first gay Supervisor will come out and play peacemaker. We save the city from a riot. We can turn this night into more political power for the cause. CLEVE JONES I can't do it like you do it. HARVEY MILK I won't always be here. Somebody else will have to take over. (looking him in the eye) I need you to be the scary one now. 100 EXT. CASTRO AND MARKET STREET - NIGHT A massive, angry crowd has gathered. Baby-faced Cleve takes a makeshift stage. He lifts the bullhorn and with nerves, reads a speech. Its pages blow about. CLEVE'S POV: Harvey watches from afar. Encouraging him. CLEVE JONES Forty years ago tonight, the gay citizens of Germany found out they no longer had civil rights. Tomorrow morning, the gay citizens of Wichita will also awaken to find that they too have lost their civil rights. You have whistles. You use them when we have been attacked. Tonight we have been attacked. Initially Cleve is successful, but then the crowd turns, marching toward City Hall without him. CLEVE JONES(CONT'D) Fuck. Shit. Harvey! Cleve runs as fast as he can to cut through the crowd, to get to the front. He gets on his walkie-talkie. CLEVE JONES (CONT'D) Get the press to the overpass! ON HARVEY: Ducking through EMPTY STREETS, trying to get AHEAD OF THE CROWD and beat them to City Hall. 69. Cleve gets to the head of the crowd. CLEVE JONES (CONT'D) Move... Left... Move... Left... JIM RIVALDO (charging up) What are you doing? Where's Harvey? CLEVE JONES We're shutting down traffic, both directions. Cleve looks up at the press that's arrived on the overpass above, and turns to two HIPPIE KIDS near the front. CLEVE JONES(CONT'D) Disconnect the power arms! The boys climb up a trolley and knock down the power arms. Sparks fly. Brakes squeal. The press snaps photos. 100B INT. CASTRO STREET BAR - NIGHT The angry protesters march past the large glass windows of TWIN PEAKS bar. Unlike the Dade County march, the bar is empty. The patrons are already in the streets. 101 INT. CITY HALL - LATER Harvey RACES to his office. He stops at a mirror to straighten his tie and collect himself. OUTSIDE: The SOUND of the ANGRY MOB on City Hall's front steps. "Civil Rights or Civil War!" Someone THROWS A ROCK at the City Hall doors. Harvey rushes out the front doors, pushing past the police to greet THE MOB on City Hall's front steps. Through the glass doors we see Cleve rush up and hand Harvey his bullhorn: HARVEY MILK Hello. My name is Harvey Milk, and I want to recruit you. (AN ENORMOUS CHEER rises) I want to recruit you for the fight to preserve our democracy against the Anita Bryants and John Briggs who are trying to legalize bigotry! We have a choice to make. The fight is at our doors. We must either go back in the closet and shut it tight, or fight... History shows (MORE) 70. HARVEY MILK (CONT'D) that if we continue to fight, we... will... win. 101B INT. CITY HALL / HARVEY'S OFFICE - DAY Jim, Dick, Anne, Michael, Frank and Cleve are all in the office. The FRONT PAGE of the Examiner features a PICTURE OF CLEVE AND HARVEY ARM IN ARM on City Hall's steps. Cleve is jazzed. Harvey stews. CLEVE JONES They're calling it a "successful mediation." You're a God damn hero. Fuck. It came this close to a riot. HARVEY Lose the note cards next time. Your job is just to say into that bullhorn what they're all feeling. CLEVE JONES You're just jealous it wasn't you out there. HARVEY MILK We're losing Prop Six by 60% and you're over there celebrating a riot. I need more visibility... (the real problem:) If we're going to beat this thing, we have to get Briggs to acknowledge us. Harvey steps away, hot, pensive. Anne gets quiet. ANNE KRONENBERG Every paper's calling Prop Six the main event now. We lose this, we'll have anti-gay laws in all fifty states, and Briggs won't return our calls for a public debate. DICK PABICH He's ignoring us to death. HARVEY MILK (steaming back in) We need something populist. What's the number one complaint about city life? CLEVE JONES The piss smell in the Tenderloin. 71. HARVEY MILK Close. FRANK ROBINSON Dog shit. JIM RIVALDO If you cleaned up all the dog shit in the city, you could be elected Mayor. CLEVE JONES "Mayor Milk." HARVEY MILK I like it. 104 EXT. SF SIDEWALKS - DAY Cleve searches frantically for something... He SEES a pile of DOG POOP. He scoops it up and runs it back to City Hall's front lawn and plants it in the grass. 105 EXT. CITY HALL / FRONT LAWN - MOMENTS LATER IN THE VERY SAME SPOT CLEVE JUST WAS: Harvey with a clump of REPORTERS, a red and white "No on 6" button pinned to his lapel (HENCEFORTH, IT'S A FIXTURE). HARVEY MILK Dog mess is a hazard, and on top of that, it's disgusting. Under the ordinance, dog owners that don't clean up can be fined. This really is the bottom line! He smiles at his own joke, punctuating it by "accidentally" stepping in Cleve's well-placed dog shit. A BIG grin. BULBS FLASH. These flashes transition into: 106 INT. CITY HALL / SUPERVISORS' CHAMBERS - DAY HARVEY STUDIES HIS OWN PHOTO on the FRONT PAGE of the Chronicle, making his announcement about dog poop. The SUPERVISORS are assembled for a vote. The CLERK, 60, wraps up his roll call CLERK Supervisor Lau? GORDON LAU Aye. 72. CLERK Lau, Aye. Supervisor Silver? CAROL RUTH SILVER Aye. CLERK Silver, Aye. Supervisor White? DAN WHITE No. CLERK White, No. Madam President, I have ten ayes and one no. Dianne Feinstein BANGS HER GAVEL down hard. DIANNE FEINSTEIN The San Francisco Gay Rights Ordinance sponsored by Supervisors Milk and Silver is passed. CAMERA'S FLASH! THE PACKED CHAMBERS ROAR! Harvey locks onto Dan White. Dan makes eye contact. Harvey turns his attention to the chamber audience's applause. 107 INT. CITY HALL / MAYOR MOSCONE'S OFFICE - DAY A gaggle of press has congregated. Mayor Moscone and Harvey walk into the office keeping their conversation private. MAYOR MOSCONE I can't get my stories on page ten, you're getting page one? HARVEY MILK Doggy-doo's a real problem, George. With a shit eating grin, Harvey offers up a powder blue pen. HARVEY MILK (CONT'D) Powder blue to sign they city's first Gay Rights law... George, we need your help with Briggs... The gay community will have your back from now on. On all issues. I hope you'll have ours. A beat between them. An alliance is forming. The Mayor sits behind his desk and turns to the press with Harvey's pen. 73. MAYOR MOSCONE Good morning, everyone... I don't do this enough, taking swift and unambiguous action on a substantive move for civil rights. Moscone signs the law with the powder blue pen. Harvey leans over him. THE PRESS CAPTURES THE MOMENT. 107A INT. DAN WHITE'S OFFICE - DAY Dan sits at his desk, agitated. DAN'S POV: The FRONT PAGE of the Examiner featuring MOSCONE AND HARVEY. Harvey comes to the door. HARVEY MILK What are you working on, Dan? DAN WHITE If you have something to discuss, you can have your aide make an appointment with my aide. HARVEY MILK Listen, I know you're disappointed about the Psychiatric Center... What else do you have coming up? DAN WHITE Now you need something from me. You want my me to join in with the Queers on this Prop Six business? HARVEY MILK We prefer the word "gay," Dan. Just as I'm sure you prefer the word, "Irish-American" to "Mick." DAN WHITE Harvey, our society can't exist without the family, without the church. HARVEY MILK We're not against those things. DAN WHITE You're not? Can two men reproduce? HARVEY MILK (a smile) No. But, we keep trying! (SERIOUSLY) (MORE) 74. HARVEY MILK (CONT'D) C'mon, Dan. You're channeling Anita and Briggs... we can work together. On something... DAN WHITE Okay. You introduce an initiative for Supervisor pay raises. HARVEY MILK (anything but that) It's a bad time politically. I have an election next year. DAN WHITE You asked for something. Introduce pay raises. I can't take care of my family on our salaries. You don't have that problem, do you? Dan's AIDE steps into the doorway. She seems surprised to see Harvey in Dan's office. DAN WHITE (CONT'D) Mr. Milk, You'll excuse me, I have a development meeting. Dan goes. 108 INT. A SAN FRANCISCO HALL - NIGHT A crowd sings “Happy Birthday.” One after another, Harvey's guests throw CREAM PIES in his face. RICK AND DAVID GOODSTEIN INCLUDED. A PEACE OFFERING. Harvey wipes pie from his eyes. In the B.G. the black drag queen sensation, SYLVESTER, breaks into his top 10 anthem, "You Make Me Feel." It's a who's who of San Francisco's political elite. Jack scoots up to Harvey. HARVEY MILK What's wrong, Taco Bell? JACK LIRA Anne and Cleve tried to cut me out of your table. You should fire them. HARVEY MILK I'll take it under consideration. Why don't you get us a drink? A kiss and Jack heads to the bar. Scott approaches. SCOTT SMITH Don't let Cezar Chavez hear you calling him Taco Bell. 75. HARVEY MILK He's getting better. He's enrolling in classes on Monday. Scott wipes PIE CREAM from Harvey's jacket. SCOTT SMITH I remember when your birthdays were a bit less... lavish. More intimate. HARVEY MILK Who invited you? Anne? SCOTT SMITH My boyfriend got an invitation. I was his "plus one." HARVEY MILK Congratulations. It was a tough ticket to get. SCOTT SMITH Congratulations to you. Looks like you're part of the Machine now. (Harvey looks away, toward Jack) You can do better. HARVEY MILK When I come home to Jack, I don't have to talk politics or talk intelligently. Or even talk. (SELF-DEPRECATING) And where's an old man like me going to get such a good looking young man, right? SCOTT SMITH You're not so old. You look handsome... Happy 48th. Looks like you're gonna make it to fifty after- all, Mr. Milk. Scott gives Harvey a BIRTHDAY KISS. 109 INT. A SAN FRANCISCO HALL - LATER THAT NIGHT Harvey, still wearing cream pie remnants on his jacket, waits for Jack to come out of the rest room. Harvey's one of the last guests to leave. WAITERS are clearing tables. HARVEY'S POV DOWN A DIMLY LIT CORRIDOR: A MALE FIGURE APPROACHES, footsteps ECHOING on the marble floor. Harvey braces himself. 76. Emerging from the shadows: DAN WHITE. He approaches Harvey with a bottle of Chivas. Dan is SUPER-FRIENDLY, as if nothing unpleasant has ever happened between them. DAN WHITE Sorry I missed the party, Harv... HARVEY MILK No problem, Dan. Good to see you. DAN WHITE Dog poop? HARVEY MILK Yeah. DAN WHITE It's good! It's a good one. HARVEY MILK Thanks. But it's a real problem. DAN WHITE Oh, yeah. I mean, God knows how many problems it causes. All kinds of diseases, birth defects probably, I mean, stuff you can't even... (drifting off, drunkenly) Hey, I got you a little something. HARVEY MILK You didn't have to-- DAN WHITE (at the same time) You didn't have to-- (LAUGHING) Why do people always say that? "You didn't have to?" I mean, of course, right? But, that's what they always say. They always say things like that... Dan's attempts to be witty and erudite (like Harvey) only leave him confused and tongue tied. Harvey HAS NO IDEA why Dan is here. HARVEY MILK Are you okay, Dan? 77. DAN WHITE Oh, what? Yeah, sure. Harvey, I just... I just want to say... Happy Birthday. Dan PUTS HIS ARMS AROUND HARVEY for a sort-of macho but really weird birthday hug. Harvey stiffens, it's such a peculiar moment. Dan steps back, looks him over. DAN WHITE (CONT'D) I've really learned a lot from watching you, Harvey. HARVEY MILK I doubt that. DAN WHITE No, I have. You gotta get out there. Get noticed. That's how it works. But, you have an issue. That's your advantage. HARVEY MILK It's more than an issue, Dan. (a beat, one last try to get through to him) Dan. I've had four relationships in my life. Three of those four tried to kill themselves. I know it was my fault they did it. I told them to stay quiet. To hide. Most of my life I've been closeted. That's what living this life is like for most of us. The way things are... This isn't just about our jobs, or any issue, it's our lives we're fighting for. Jack emerges from the bathroom, barely together and leans on Harvey. Dan steps back from Harvey and Jack, his moment alone stolen away. DAN WHITE I've learned a lot from you, Harvey. I'm going to get my picture in the papers, too. You'll see. I've got my own issue. That's right. Dan White's Got An Issue! 110 EXT. GAY FREEDOM DAY PARADE - DAY STOCK FOOTAGE: Along Market street: 375,000 people have shown up for the parade, many holding signs naming their hometowns: Newark, San Antonio, Lincoln. 78. A MONTAGE: of the various marchers, floats, "Parents and Friends Of", high-camp drag queens, etc. Harvey sits on top of a car with a pink lei around his neck, a fistful of white flowers in one hand, and in the other, a hand written sign: "I'm from Woodmere, NY." To a news camera: HARVEY MILK Come out! Just come on out! DRIVING THE CAR: Anne keeps a close eye on the parade watchers. Any one of them could be an assassin. 111 ON A STREET CORNER - DAN WHITE IS WITH A REPORTER: DAN WHITE I see naked men walking around, naked women walking around, which doesn't bother me as far as my personal standards of nudity, but it's not proper. We wouldn't allow it for any other parade in San Francisco, and it should not be allowed for the gay parade. 112 EXT. GAY FREEDOM DAY PARADE / STAGE - LATER Just off stage. Anne hands him a typed postcard. ANNE KRONENBERG It came in the mail today. HARVEY MILK "You get the first bullet the minute you stand at the microphone." (looking for a silver lining) Looks like the publicity's working. ANNE KRONENBERG You don't have to go up there. HARVEY MILK It could happen any day, any night, any time... (off the ROARING CROWD that's waiting for him) The nation's eye is on us. I have to do this. JUMP TO: POV shots of cops and loners amongst the massive audience hint at Harvey's paranoia. Like diving off a cliff, Harvey launches up to the microphone. The deafening cheers surely would have drowned 79. out gunfire, but when it fades, He's standing. He delivers his impassioned call to action: HARVEY MILK (CONT'D) My name is Harvey Milk, and I want to recruit you. I want to recruit you for the fight to preserve your democracy. Brothers and sisters, you must come out. Come out to your parents. I know that it is hard and will hurt them but think about how they will hurt you in the voting booth! Come out to your friends, if they indeed are your friends. Come out to your neighbors, to your fellow workers. Once and for all, break down the myths, destroy the lies and distortions. For your sake. For their sake. For the sake of the youngsters who are becoming scared by the votes from Dade to Eugene. On the Statue of Liberty it says "Give me your tired, your poor, your huddled masses yearning to be free." In the Declaration of Independence it is written "All men are created equal and are endowed with certain inalienable rights." For Mr. Briggs and Mrs. Bryant and all the bigots out there, no matter how hard you try, you cannot erase those words from the Declaration of Independence. No matter how hard you try, you cannot chip those words from off the base of the Statue of Liberty. That is what America is. Love it or leave it. Wild applause. He scans the crowd as he steps off stage. A bit surprised to still be alive. Cleve grabs him. CLEVE JONES The Mayor says Briggs is on his way here. He could intercept him for us. We could get him face to face. He couldn't ignore us anymore. HARVEY MILK Get the press. 113 INT. LIMOUSINE / 5 BLOCKS FROM THE FREEDOM DAY PARADE - SAME John Briggs rides in a limo watching the “freaks" outside. As he nears the Parade Stages his POLICE ESCORTS take an unplanned turn. He leans forward. 80. JOHN BRIGGS The parade is the other direction. DRIVER They're taking us another way, Sir. 114 INT. WAREHOUSE ON THE PIER - MOMENTS LATER The limo pulls in. Briggs cautiously steps out. Greeting him are Moscone, the POLICE CHIEF, 25 SFPD officers, a gaggle of press, and Harvey Milk. It's a showdown... HIGH NOON. JOHN BRIGGS I have a right to be here, Mr. Mayor. MAYOR MOSCONE I'm afraid it's not in the interest of your safety, or my public's safety to let you into that parade grounds. Finally face to face, Harvey extends his hand. Its a show for the FLASHING CAMERAS. Briggs is clearly uncomfortable. HARVEY MILK Hi, I'm Harvey Milk. It's quite an honor to meet you, Mr. Briggs. JOHN BRIGGS I'm aware. Sad you're too afraid to fight this out in public, Mr. Milk. HARVEY MILK No sir. I would love to have a public debate. I'm very interested in the details of your argument. JOHN BRIGGS You know the details. As do the people. Look at the votes across this nation. The "public" is with me. HARVEY MILK Yes sir, today they are. But with my City's Mayor and the San Francisco press as my witnesses, I'm challenging you to a public debate. John nods, stiff. He can no longer avoid Harvey Milk. He gets back in his limo. 81. INT. SCHOOL GYMNASIUM - NIGHT - (ON TV) 115 Harvey sits with John Briggs at a table facing forward. We hear the cheers and jeers of the packed audience. HARVEY MILK Senator, as a Christian it's interesting that you don't seem to understand what Christ was about. He was about accepting people and giving love, not carrying a Bible in one hand and hatred in the other... (cheers from the audience) ...Now all the gay myths have been shattered, all the fears, all the-- JOHN BRIGGS Not in my mind they haven't-- HARVEY MILK That's it. In your mind they haven't, and I'm wondering why-- JOHN BRIGGS Mr. Milk, we don't allow people who believe in practicing bestiality to teach our children, and the reason we don't is because it is illegal. But it's not illegal to be a homosexual in California. HARVEY MILK And your law goes even further. Any school employee who even supports a gay person will be fired-- JOHN BRIGGS True. But, gay people don't have children of their own. If they don't recruit our children, they'd all die away. That's why they want to be teachers, to encourage our children to join them. HARVEY MILK (ON TV) How do you teach homosexuality? Like French? I was born of heterosexual parents, I was taught by heterosexual teachers in a fiercely heterosexual society. So then why am I homosexual? And no offense meant, but if it were true that children mimicked their (MORE) 82. HARVEY MILK (ON TV) (CONT'D) teachers, you'd sure have a helluva lot more nuns running around. The audience eats it up. It feel like "The Harvey Milk Show." 116 EXT. CITY HALL - DAY Briggs makes a STATEMENT to the press. JOHN BRIGGS If they're going to lead such an open life of homosexuality that they want a 21-gun salute every time somebody goes by them, those people are going to be in danger of being removed their job. 116B INT. FLASH FORWARD - HARVEY'S KITCHEN - RECORDED WILL - NIGHT Continuing on with his recorded will... HARVEY MILK We were really genuinely frightened by Proposition Six, and with the backlash gaining strength, we were very pessimistic. We didn't think there was any chance we could beat it. What we hoped to do was to organize to the point that when we did lose, there would be a revolt... That all hell would break lose. 117 INT. CITY HALL / HARVEY'S OFFICE - DAY Harvey, pacing, decisive. DICK PABICH People are coming out, though. We met with groups in Bakersfield, Redding, a dozen people showed up in a library basement in Fresno asking for our support if they came out. Last Sunday, the Reverend of St. Mary's came out to his entire congregation... HARVEY MILK We're still losing, 60 to 30. We have to take the show on the road. Call Briggs's office. Do a press release. Tell them he can pick the town, the audience, and I'll ask our supporters not to attend. 83. DICK PABICH Their audiences are insanely devout. We'll get killed. HARVEY MILK Get me Orange County. 118 INT. HARVEY'S APARTMENT - NIGHT Jack is FLIPPING OUT, storming around the place. JACK LIRA You just have to go down to LA and guess the right things on TV and they'll pay us... You have to use your fame now while you have it. We could have nice things. HARVEY MILK I don't have time to do game shows right now... This stops Jack cold. JACK LIRA You are horrible! I have worked on this surprise for you for weeks! HARVEY MILK Are you drunk right now? JACK LIRA You are an ungrateful asshole! HARVEY MILK Jack, I'll have more time soon. JACK LIRA You're ashamed of me! HARVEY MILK That's not true. I think you're smart. You're capable. No matter what your family or your father said. I believe in you... We should figure out something for you to do. I could get you a job. JACK LIRA I'll never be good enough for you! Jack THROWS A PIECE OF POTTERY AT HARVEY. It misses, CRASHING THROUGH THE WINDOW onto the street below. 84. HARVEY MILK I'll get a broom. Harvey goes. Jack collapses into a chair. 119 INT. AUDITORIUM IN ORANGE COUNTY - NIGHT TV CAMERAS ROLL. They've gotten their ORANGE COUNTY DEBATE! BRIGGS'S SUPPORTERS jeer Harvey as he rips into their State Senator. Their vehemence frightens Dick in the audience. Harvey lifts a Briggs flier. HARVEY MILK If in your statements here you say that child molestation is not an issue, why do you put out literature that hammers it home, why do you play on that myth and fear? JOHN BRIGGS Same thing with VD Harvey, we put out publications about VD so you can avoid it. HARVEY MILK (with a grin) But you've even admitted that there's more molestation in the heterosexual group! So why not get rid of the heterosexual teachers? Boos from the conservative audience. JOHN BRIGGS We are not talking about homos... child molestation, the fact is, at least 95 percent of the people are heterosexual. If we took heterosexuals out AND homosexuals out, you know what-- JOHN BRIGGS (CONT'D) HARVEY MILK --we'd have no teachers We'd have no teachers-- HARVEY MILK --No child molestation... So you're saying the percentage of population is equal to the percentage of child molestation? JOHN BRIGGS (getting more lost) No, no, I'm not saying that at all-- 85. HARVEY MILK That's what you just said. JOHN BRIGGS No. I'm saying that we cannot prevent child molestation so let's cut our odds down and take out the homosexual group and keep in the heterosexual group-- Harvey laughs in disbelief at the asinine argument. Briggs looks down to his notes, lost. Harvey takes the opportunity to rip into the State Senator: HARVEY MILK (directly to Briggs) --Sir, in your own drive for personal power, how many careers are you willing to see destroyed? How many lives will you destroy in your lust for power, and when will you stop? The crowd boos, rails. This isn't San Francisco, it's Orange County. In the audience, Dick Pabich sweats, taken aback by the level of hatred. Harvey tries to maintain his composure. 120 EXT. CASTRO STREET - NIGHT Harvey heads home from work. He starts into his store. He sees JACK LIRA'S SHADOW through the curtains upstairs, and turns instead to the cafe next door. 121 INT. CASTRO CAFE - NIGHT Harvey sits down at the bar. The WAITER pours a coffee for him. Harvey looks up to the TV. HARVEY'S POV: DAN WHITE ON TV talking to a news reporter. It feels as if Dan is talking directly to Harvey. DAN WHITE All I'm really saying is, if we don't protect ourselves with this kind of legislation, a transvestite can show up at a public school with all the qualifications for teaching and they can't refuse to hire him. 86. 122 INT. CITY HALL / HARVEY'S OFFICE - DAY Harvey rushes from a packed session in the Supervisors' Chambers to his office. Anne is behind him. He picks up the phone. It seems urgent. HARVEY MILK Hey Jack, what's wrong? 123 INT. HARVEY'S APARTMENT - INTERCUT JACK LIRA Nothing. I just want to know when you'll be home. HARVEY MILK You just had them pull me out of my big vote on the dog shit ordinance. Did you do this on purpose, Jack? JACK LIRA It's poop, Harvey. Aren't I more important than poop? HARVEY MILK Yes, but... I don't know when I'll be home. Maybe 6. 6:15. JACK LIRA Fine. 6:15. Harvey hangs up. His patience is slipping. He looks up in time to see Dan heading down the hall with his briefcase. 124 INT. CITY HALL / SUPERVISORS' CHAMBERS HALLWAY - DAY Harvey catches up to Dan who is on his way out. HARVEY MILK Dan? How's the baby? DAN WHITE You didn't bring up Supervisor pay raises. In fact, I heard you plan to publicly oppose them. HARVEY MILK I heard you planned to vote against them too, Dan. Were you trying to set me up? DAN WHITE (parrotting Harvey EARLIER) (MORE) 87. DAN WHITE (CONT'D) It's not a good time for me to bring it up. Politically. HARVEY MILK Dan, there's a vote to approve the police desegregation settlement, give me that and I'll consider backing pay raises. DAN WHITE (suddenly very dark) I don't trade votes... unlike you, the way I was raised, we believe in right and wrong. Moral and immoral. HARVEY MILK Black skin and White in your police department? (Dan steams) Dan, even Ronald Reagan's come out against Proposition Six. You're looking more and more out of touch. DAN WHITE If I come out against Prop Six, it's only for the invasion of State's rights issue. HARVEY MILK (smiles, trying to lighten) And the potential witch hunts against you "straight people," right? Dan tries hard to come up with a cogent response. He can't. His behavior is alarming. He sets down his briefcase. DAN WHITE You underestimate me, Milk. You're very, very wrong about me. HARVEY MILK I don't know what you mean. A moment. Dan is on the verge of tears, hot angry tears. HARVEY MILK (CONT'D) What is it, Dan? You can tell me. DAN WHITE You don't... You can't humiliate me. And you will not demean me. 88. Anne appears down the hall. Dan has more on his mind, but the moment has passed. He picks up his briefcase and walks out of the building. Off Harvey, concerned. 125 EXT. CITY HALL - LATER Harvey walks home. A PASSERBY shouts: PASSERBY You're the asshole that just passed that dog shit thing aren't you? What the hell do you have against dogs? HARVEY MILK (with his trademark charm) Sir, blind people can't see "shit." What the heck do you have against blind people? The young folks surrounding the PASSERBY laugh and hoot at Harvey's joke. Even the harassing PASSERBY can't help but crack a grin. Harvey beams. 126 INT. HARVEY'S APARTMENT - MOMENTS LATER Opening the door, Harvey finds a trail of voter registration cards, anti-Briggs literature, and Coors beer cans. Pushing through his fear, he carefully follows the cans and flyers up the stairs and through his apartment. Odd notes are taped to the walls. They all lead to a black velvet curtain with a note attached: "YOU'VE ALWAYS LOVED THE CIRCUS, HARVEY, WHAT DO YOU THINK OF MY LAST ACT?" Harvey pulls back the curtain to find Jack's body, cold and discolored, hanging from a beam by a noose. HARVEY CAN'T MOVE. He is mesmerized... horrified. He grabs a knife and frantically tries cutting Jack down. He cuts through the rope and FALLS TO THE FLOOR with the HEAVY BODY. 127 INT. HARVEY'S APARTMENT - LATER Scott arrives. Sitting very still, Harvey is being consoled by Cleve and Anne. Tears in his eyes, Harvey won't look up. SCOTT SMITH Harvey. Look at me. Look at me. You did everything you could. HARVEY No, I didn't. Not everything... 89. SCOTT SMITH What else could you have done? HARVEY I could have come home at six o'clock, not six-fifteen. Scott puts his arm around Harvey. Harvey buries his head. Anne helps Cleve take down Jack's many hidden notes. Cleve quietly reads a prominently placed one: CLEVE JONES "Beware. The ides. Of November." 127A INT. FLASH FORWARD - HARVEY'S KITCHEN - RECORDED WILL - NIGHT Into the recorder as if re-living the event over again... HARVEY MILK Jack was gone. I didn't have time to mourn... There was no choice but to keep on... to keep fighting. 128 INT. BARNUM AND BAILEY CIRCUS / MAKE UP ROOM / S.F. - DAY Harvey sits in a make-up chair. A MAKE-UP artist is painting him up to look like a clown. Several other CITY OFFICIALS are in chairs beyond him. Harvey turns to the make-up artist. With sincere enthusiasm: HARVEY MILK Thank you for this great honor. But do you think once the magazine is done snapping pictures, maybe I could keep the suit for a while? 129 EXT. SAN FRANCISCO - DAY Still made up from head to toe as a clown, Harvey walks the streets of San Francisco. He waves, smiles, poses for photos with tourists. It's a rare moment of grace. He jumps on a trolley headed toward Castro. He instantly captures the imagination of a small GIRL wearing a knit hat. HARVEY MILK (re: their hats) Would you like to trade with me? GIRL No. What the heck are you? HARVEY MILK Oh, me? I'm an elected official. I run this city. 90. He makes a show of it. She smiles. He hands her the flower he's been holding onto all afternoon. 130 INT. "NO ON SIX" CENTER / MARKET STREET - NIGHT THIS IS THE MOMENT. Harvey watches aides on the phones comb districts for voting results. Jim fills up a map on the wall. DICK PABICH San Bernadino is coming in. Not good. HARVEY MILK Of course not. How not good? MICHAEL WONG 60% for Briggs. Same in Fresno. HARVEY MILK Dear God, little Lotus Blossom. Harvey is stunned. Other districts follow with similar results. They go up in red on the map. JIM RIVALDO Imperial is 69% "for" so far. HARVEY MILK Put it up on the board. Harvey tries to stomach this major defeat, loss after loss. He starts reflexively tying his tie in a knot. Cleve comes up to Harvey, concerned. HARVEY MILK (CONT'D) The whole world is watching this. This is San Francisco we're about to lose. Are you ready? CLEVE JONES I can have 15,000 people in an hour. But there's gonna be riots if this thing passes. HARVEY MILK (darkens, pointed) There goddamn better be. CLEVE JONES (stops, a beat, then:) What are you telling me? 91. HARVEY MILK I can't say it because I'm a public official, but for God's sake, if this thing passes, fight back. Cleve is stunned, holding the weight of Harvey's words. Harvey's focus is interrupted when Anne brings him the phone. ANNE KRONENBERG Don Amador down in LA. HARVEY (reluctantly answers) Kind of a bad time, Don. YOUNG TEEN (V.O.) No sir, this is Paul. Don just gave me the phone. HARVEY MILK Paul who? YOUNG TEEN (V.O.) You talked to me on the phone a year or so ago. I'm from Minnesota... I'm in a wheelchair. REVEAL: The boy in his wheelchair on the other end. HARVEY MILK (a beat to take it in, then:) I thought you were a goner, Paul. YOUNG TEEN I'm sorry. I should have called. When I read in the paper that you won the Supervisor seat, I got a friend to put me on a bus to LA. HARVEY MILK Who did you know in Los Angeles? YOUNG TEEN Nobody. That's the uh... I just didn't want to die anymore, sir. (Harvey's at a loss for words) I met your friend Don down here. I turned 18. I voted today against Prop Six... Thank you, Mr. Milk. HARVEY MILK No. You did this all by yourself. 92. YOUNG TEEN I don't think I'd be alive right now without you, sir. You were right about LA. It's like gay Disney World. HARVEY MILK Then you have to see San Francisco! YOUNG TEEN Okay. I will. Don wanted me to um... congratulate you on what he says looks like a big win for us tonight. Congratulations Mr. Milk. Harvey turns back to the map. Jim Rivaldo is now coloring in LA county with green. On the other end of the phone, Harvey's friend in LA, Don Amador, is back on the line. DON AMADOR (V.O.) It looks like we've taken LA County, Harvey. By 65%. It's huge. HARVEY MILK I gotta go, Don. Thank you. (frantic, to the room) LA by 65% put it up! Put it up! The tone in the room is changing. Jim storms up. JIM RIVALDO The polls were off. Briggs is going down by more than 2 to 1. The only district where it's leading in San Francisco is Dan White's. Harvey takes a moment to absorb the map. Anne, Dick & Jim, all the volunteers. What this apparent win means to him, to his people. To Cleve: HARVEY MILK Well crap Cleve, now what are we going to do tonight?! (re: a giant, jock strap wearing, Lady Liberty) Cover up Lady Liberty. The cameras will be coming our way. 131 INT. "NO ON SIX" CENTER / MARKET STREET - LATER TV cameras roll. Lady liberty is covered with a "No on Six" poster. A brass band marches dramatically into the hall. Balloons fall. Harvey MOUNTS the stage to INCREDIBLE CHEERS. 93. HARVEY MILK To the gay community all over this state... my message to you is... so far a lot of people joined us and rejected Proposition Six, and now we owe them something... We must destroy the myths once and for all, shatter them. We must continue to speak out... and most importantly, most importantly, every gay person must come out. (CHEERS) Tonight... Tonight it is clear that everyone out there does know one of us. And now that they do, they see we are not sick... they can feel we are not wrong... and they know we should have a place in this great country and in this world... A message of hope has been to sent to all the young people out there... to all those afraid of this wave of hate... to all those who have lost their homes and their hometowns... tonight we know there is a place for us! My brothers and sisters... we can come home again! The crowd goes WILD. Harvey BEAMS. Moscone walks up onto stage and lifts Harvey's hand. Harvey is now a member of the S.F. political elite. Cleve watches from afar as Harvey steps off and disappears into the crowd. 132 INT. DAN WHITE'S HOME - NIGHT Dan watches HARVEY'S VICTORY SPEECH on the local news. 133 EXT. THE CASTRO - MOMENTS LATER The party behind him, Harvey scans the block. Cleve catches up, looking at Harvey, probing: CLEVE JONES What's the matter? HARVEY MILK You ever heard of sore losers? Well, I'm a sore winner... I thought we were goners. (HALF-JOKING) I'd started looking forward to the riots. 94. CLEVE JONES I told you, I don't "do" losing. HARVEY MILK I think maybe we're best with our backs to the wall. It's too quiet. (a new idea, what's next) I think we should march on Washington D.C. next year. CLEVE JONES Milk, you're a decent politician, a mediocre businessman, but you're a lousy gay man. (Harvey knows what he's getting at) Take some time off. Fifty's right around the corner. (a devilish grin) Nobody will want you after that... I can handle D.C. HARVEY MILK (smiles, incredulous) The people voted for us, Cleve Jones. CLEVE JONES They did. There's nowhere to march tonight, Mr. Harvey Milk. Lets go back inside. Turning back, they savor the moment, like father and son walking to Castro Camera, growing ever smaller in the frame. 134 INT. CITY HALL / SUPERVISORS' OFFICES - DAY Dan White slides a sealed letter across a desk to an Aide. It's addressed to Moscone. He seems oddly calm. DAN WHITE Could you give this to the Mayor for me? As soon as possible. 135 INT. CITY HALL / SUPERVISORS' OFFICES - DAY Harvey walks down the hallway to his office, a spring in his step. There are nods, hellos if not outright deference from most passersby. His newfound political muscle is evident. He comes face to face with Dan White. HARVEY MILK Morning, Dan. 95. DAN WHITE I just resigned. Congratulations. I'm sure you're pleased. Harvey doesn't know what to say. Dan's right, it does make him happy. But it's not that simple. DAN WHITE (CONT'D) You'll be the next President of the Board. HARVEY MILK I'm sure we could work together-- Dan walks away from Harvey. He doesn't want to hear anything Harvey has to say. Harvey watches as Dan is met in the hallway by an OFFICER from the POLICE OFFICERS ASSOCIATION. OFFICER Hey, Dan. Just got word. Can we talk to you for a minute? DAN WHITE Sure... Dan heads for his office. OFFICER Downstairs. The Association meeting room... Harvey watches as Dan follows the officer down the stairs to an ASSOCIATION MEETING ROOM on the next floor. When the DOOR OPENS, Harvey sees SEVERAL REPRESENTATIVES from the Police Department wearing somber expressions. It looks as if Dan is about to get REAMED OUT. 136 INT. TV NEWS REPORT - DAY ACTUAL FOOTAGE: Channel 5 reporting from Dan White's street: DAVID FOWLER (ON TV) Most people were surprised when Dan White quit last Friday citing financial difficulties. Now we've heard that White is asking for his Supervisor job back. But many say-- 137 INT. CITY HALL / HARVEY'S OFFICE - DAY Harvey, watching on the small TV set in his office. 96. DAVID FOWLER (ON TV) --White gave up all of his political chits when he resigned without making any arrangements. The news story transitions in the B.G. as Harvey gets up. NEWS ANCHOR (ON TV/BG) The city of San Francisco is in disbelief. Four-hundred bodies have been found thus far in Jonestown, Guyana. Leader of the People's Temple, Jim Jones... 138 INT. CITY HALL / DAN WHITE'S OFFICE - MOMENTS LATER Harvey heads to Dan's office. He toys with the nameplate. Something bittersweet lingers. He walks in. HARVEY'S POV: On City Hall's lawn, Dan is with the press. He looks up, seeing Harvey in his office window. They make eye contact. It bears all the awkwardness of a relationship lost. 139 EXT. CITY HALL - MOMENTS LATER Something's snapped. With adolescent frustration in evidence, Dan is with his wife, the press and a few supporters. DAN WHITE It was a major decision on Friday that I had to come... to arrive at. But since that time, people unknown to me, plus my family and friends, have come to me and stated that they want me to stay in office, that they support me... So I'm asking the Mayor to let me stay in office to serve the people... 140 INT. CITY HALL / MAYOR MOSCONE'S OFFICE - DAY Harvey is firm, his hands planted on the Mayor's desk. HARVEY MILK He gets dragged into a closed door meeting with the Police Officers Association, and comes out demanding his job back? What do you think they promised him? Or worse, how did they threaten him? 97. MAYOR MOSCONE A man has the right to change his mind. Give me some peace. HARVEY MILK How many of our propositions has Dan shut down? We could finally settle this police desegregation nonsense. Cement rent control. It's his vote on this Board that stands in our way. MAYOR MOSCONE I get it, Harvey. I've been lobbied all week. Enough. HARVEY MILK Let me just remind you that you're up for re-election. If you re- appoint Dan, you lose the gay vote. They listen to me. You won't get elected dog catcher. MAYOR MOSCONE (stern, silent, a beat, then:) I'll make my decision on Monday. (as Harvey's on his way out, with a wry grin) You know what you sounded like just now? Boss Tweed or Mayor Daly. HARVEY MILK (returns the smile) A "homosexual" with a bit of power... rather scary isn't it, Mr. Mayor? OFF Harvey. He's come a long way. OPERA MUSIC CROSSES THE CUT TO: 141 INT. SAN FRANCISCO OPERA HOUSE - NIGHT Harvey sits in a balcony seat of the filled, darkened opera house next to Brazilian opera star BIDU SAYAO, 76. He's enraptured by a production of TOSCA. ON STAGE IT'S "O Scarpia, we shall meet before God!" Refusing to be taken prisoner, Tosca jumps from the walls of the castle set to her death. 142 INT. DAN WHITE'S HOME / LIVING ROOM - NIGHT Mary Ann offers the phone to Dan. Dan takes it. 98. DAN WHITE (into the phone) Yes. This is Dan White. KCBS REPORTER (V.O.) I'm Barbra Taylor from KCBS. I'm interested in your reaction. I've received information from the Mayor's office that you won't be getting your job back. DAN WHITE I'm sorry. I don't know anything about that. Dan hangs up on her. 143 INT. HARVEY'S APARTMENT - LATE NIGHT Harvey can't sleep. He dials the phone. He lets it ring and ring. Finally, a voice picks up on the other line. SCOTT SMITH Hello? REVEAL: Scott, half asleep. HARVEY MILK Sorry to wake you up. SCOTT SMITH What's wrong? HARVEY MILK I went to the opera tonight. Guess who my date was. SCOTT SMITH Who? HARVEY MILK Bidu Sayao herself. She was in the first Puccini I ever saw. The crowd went wild. It was like I was young again, seeing my first live opera... SCOTT SMITH If you go to the opera again, you should call me. HARVEY MILK Really? Scott gets out of bed, considers his words. It's intimate. 99. SCOTT SMITH Yes. I'd go with you. HARVEY MILK I'd like that. Harvey is quiet, a rare moment of reflection. An unexpected tear rolls down his cheek. SCOTT SMITH Harvey? HARVEY MILK Look out the window, the sun's coming up. SCOTT SMITH It's late. You should get some sleep. HARVEY MILK I don't want to miss it. SCOTT SMITH Miss what? HARVEY MILK This. Harvey's single word answer means, "Life." OFF Harvey: Neither wants to hang up the phone. 144 INT. DAN WHITE'S HOME / LIVING ROOM - MORNING The sun rising in his own living room, Dan White has been up all night, too. The coffee table is covered with coke cans and junk food wrappers. 145 INT. CITY HALL - DAY Waiting for a MAN inside to turn away, Dan sneaks in through a side window at City Hall. The man calls after him: MAN Hey, wait a minute, Mr.-- DAN WHITE My aide was supposed to come down here and let me in the side door, but she never showed up. MAN And you are? 100. DAN WHITE I'm Dan White. City Supervisor. We follow Dan down the hall and into the grand entry-way. 146 INT. CITY HALL / METAL DETECTORS - SAME Harvey walks through City Hall's METAL DETECTORS. He picks up his keys from the dish and heads up the grand staircase. Like ships in the night, Harvey just misses Dan exiting the elevator. Dan heads into Mayor Moscone's office. 147 INT. CITY HALL / SUPERVISORS' CHAMBERS - MOMENTS LATER With Dianne, Harvey is thrilled, rubbing it in. HARVEY MILK Who's it gonna be? Is he replacing Dan with that God Damned liberal lefty Don Horanzy? That'll really shake up the Board, huh? DIANNE FEINSTEIN All I know is that we're getting a new Supervisor today. If Dan shows up, just avoid him. We don't need a scene today, right Harvey? HARVEY MILK (grins ear to ear) Heaven forbid, Dianne. 148 INT. CITY HALL / MAYOR MOSCONE'S WAITING ROOM - SAME The MAYOR'S SECRETARY sits at her desk. Shouting can be heard from inside his office. 149 INT. CITY HALL / MAYOR MOSCONE'S OFFICE - SAME Moscone leads Dan White to the bar beside his office. Dan is enraged. Moscone lights a cigarette. DAN WHITE You can't take this away from me! Moscone has his back turned, pouring them cocktails. MAYOR MOSCONE The issue is what's fair, for the people of your district. Take some time off. Spend it with your family. 101. Moscone finishes pouring two cocktails, and turns to see Dan White brandishing his revolver. 150 INT. CITY HALL / MAYOR MOSCONE'S WAITING ROOM - SAME Moscone's Secretary, and a WAITING MAN note the THREE DULL THUDS, not so different than a backfire. The secretary looks out the window, concerned. The waiting man checks his watch. 151 INT. CITY HALL / MAYOR MOSCONE'S OFFICE - SAME Still gripped in his hand, Moscone's cigarette burns a hole in his tie. 152 INT. CITY HALL / SUPERVISORS' OFFICES - MOMENTS LATER Dan walks past Dick Pabich, past Dianne's office. Harvey's voice can be heard down the hall. He sounds up-beat, OPTIMISTIC: HARVEY MILK (V.O.) This time next year we're marching on Washington D.C. It'll look like Market and Castro, but with a million people. Write that down. Tell President Carter we're coming after him next. I'm going to deposit this. I'll be back in 20 minutes. Dan arrives at Harvey's office door. Harvey is with a FRIEND, preparing to leave, surprised to see Dan in his doorway. DAN WHITE Say, Harve, can I see you for a minute? HARVEY MILK Sure. Dan walks Harvey down the hall to his old office. 153 INT. CITY HALL / DAN WHITE'S OFFICE - CONTINUOUS Harvey walks in first. Dan stays between Harvey and the door. Dan closes it. Harvey smiles, sensing something is off. Dan draws his revolver. Harvey raises his hand. Dan Fires. The bullet rips through Harvey's hand and down his arm. HARVEY MILK Oh no... N-- Dan Fires again, silencing Harvey's cry for help. 102. Harvey turns away. Another bullet rips into his chest, and he falls to his knees, now facing the window. He staggers toward it. The moment is extended as we see Harvey's POV of the Opera House outside the window, and the Castro beyond it. HOLD ON HARVEY, gazing out at his beloved city. Dan puts his revolver to the back of Harvey's head. HE FIRES. And just like that, Harvey falls. HARVEY MILK (V.O.) (CONT'D) Last week I got a phone call-- 156 INT. FLASH BACK - HARVEY'S KITCHEN - RECORDED WILL Harvey is still speaking into the tape recorder... HARVEY --from Altoona, Pennsylvania, and the voice was quite young, and the person said... "Thanks." You've got to elect gay people so that that young child and the thousands upon thousand like him know there's hope... hope for a better world... 157 INT. MEMORIAL SERVICE / SAN FRANCISCO - EARLY EVENING Scott and Anne enter a sparsely attended memorial service. Most of the seats are empty. The speaker is unfamiliar, some appointed CITY OFFICIAL. SCOTT SMITH (finally crumbling, tears roll) Where is everybody? Didn't anyone give a damn? 158 INT. FLASH BACK - HARVEY'S KITCHEN - RECORDED WILL Harvey speaking into the tape recorder. HARVEY MILK I ask this... If there should be an assassination, I would hope that five, ten, one hundred, a thousand would rise. I would like to see every gay lawyer, every gay architect come out-- 159 EXT. MEMORIAL SERVICE 1978 - CONTINUOUS Walking back out onto the street, Anne and Scott turn to look down Market Street, the camera pans and drifts to reveal: 103. A MASSIVE CANDLELIGHT MARCH. CLEVE JONES LEADS TENS OF THOUSANDS of San Franciscans of every religion, nationality, sexuality, all of the familiar faces and many new ones... THEY ALL MARCH SILENTLY up Market Street to the palace Harvey dreamed could be his own: City Hall. HARVEY MILK (V.O.) --If a bullet should enter my brain, let that bullet destroy every closet door... And that's all. I ask for the movement to continue. Because it's not about personal gain, not about ego, not about power... it's about the "us's" out there. Not only gays, but the Blacks, the Asians, the disabled, the seniors, the us's. Without hope, the us's give up-- As the thousands of mourners arrive at City Hall, they place their candles around the statue of Lincoln. HARVEY MILK (V.O.) (CONT'D) --I know you cannot live on hope alone, but without it, life is not worth living. So you, and you, and you... 159B INT. FLASHBACK - HARVEY'S KITCHEN - RECORDED WILL - NIGHT HARVEY MILK You gotta give em' hope... you gotta give em' hope. Harvey closes his note pad, puts down his pencil, and pushes stop on his recorder. 160 EXT. CASTRO CAMERA - NIGHT Push in on Castro Camera. The sign still in the window, "We're Very Open." FADE TO BLACK. 161 END TITLES: TITLE CARD: A JURY OF DAN WHITE'S PEERS FOUND HIM GUILTY OF MANSLAUGHTER, THE MINIMUM CHARGE FOR BOTH MURDERS. THE DEFENSE ARGUED DAN WHITE'S DIET OF JUNK FOOD CREATED A CHEMICAL IMBALANCE THAT CAUSED THE KILLINGS. TITLE CARD: THE VERDICT SET OFF "THE WHITE NIGHT RIOTS," THE MOST VIOLENT UPRISING IN THE GAY MOVEMENT'S HISTORY. 104. TITLE CARD: IN 1984, AFTER SERVING ONLY 5 YEARS, DAN WHITE WAS RELEASED FROM PRISON. LESS THAN TWO YEARS LATER, HE RETURNED TO SAN FRANCISCO AND COMMITTED SUICIDE. AS CREDITS ROLL: The following updates are accompanied by images of the actual people from 1977 to current day: TITLE CARD: SCOTT WORKED TO PRESERVE HARVEY'S LEGACY. HE DIED OF AIDS RELATED COMPLICATIONS IN 1995. TITLE CARD: ANNE KRONENBERG IS A MOTHER OF THREE AND DEPUTY DIRECTOR OF THE DEPARTMENT OF PUBLIC HEALTH IN SAN FRANCISCO. TITLE CARD: JIM RIVALDO AND DICK PABICH WENT ON TO RUN THEIR OWN POLITICAL PR COMPANY OUT OF THE CASTRO. DICK PABICH PASSED AWAY FROM AIDS RELATED COMPLICATIONS IN JANUARY 2000. JIM RIVALDO PASSED AWAY IN 2007. TITLE CARD: CLEVE CONTINUES HIS POLITICAL ACTIVISM TODAY. IN 1987, HE CREATED "THE NAMES PROJECT" AIDS MEMORIAL QUILT WHICH REMAINS AN INTERNATIONALLY RECOGNIZED SYMBOL FOR THE AIDS CRISIS. \ No newline at end of file diff --git a/unformated_scripts/Script_Miller's Crossing.txt b/unformated_scripts/Script_Miller's Crossing.txt new file mode 100644 index 0000000000000000000000000000000000000000..6253dad5ec6f9e8989751513a081333696cc7715 --- /dev/null +++ b/unformated_scripts/Script_Miller's Crossing.txt @@ -0,0 +1 @@ +Miller's Crossing An Original Screenplay By Joel Coen and Ethan Coen1. FADE IN: CLOSE SHOT A WHISKEY TUMBLER That sits on an oak side bar under a glowing green bankers lamp, as two ice cubes are dropped in. From elsewhere in the room: Man (off) I'm talkin' about friendship. I'm talkin' about character. I'm talkin' about--hell, Leo, I ain't embarassed to use the word--I'm talkin' about ethics. Whiskey is poured into the tumbler, filling it almost to the rim, as the offscreen man continues. . . . You know I'm a sporting man. I like to make the occasional bet. But I ain't that sporting. THE SPEAKER A balding middle-aged man with a round, open face. He still wears his overcoat and sits in a leather chair in the dark room, illuminated by the offscreen glow of a desk lamp. This is Johnny Caspar. Behind him stands another man, harder looking, wearing an overcoat and hat and holding another hat--presumably Caspar's. This is Bluepoiont Vance. Caspar (cont'd) When I fix a fight, say--if I pay a three-to-one favorite to throw a goddamn fight--I figure I got a right to expect that fight to go off at three- to-one. But every time I lay a bet with this sonofabitch Bernie Bernheim, before I know it the odds is even up--or worse, I'm betting the short money. . . Behind Caspar we hear the clink of ice in the tumbler and a figure emerges from the shadows, walking away from the glowing bar in the backgound. . . . The sheeny knows I like sure things. He's selling the information I fixed the fight. Out- of-town money comes pourin' in. The odds go straight to hell. I don't know who he's sellin' it to, maybe the Los Angeles combine, I don't know. The point is, Bernie ain't satisfied with the honest dollar he can make off the vig. He ain't satisfied with the business I do on his book. He's sellin' tips on how I bet, and that means part of the payoff that should be ridin' on my hip is ridin' on someone else's. So back we go to these questions--friendship, character, ethics. The man with the whiskey glass has just passed the camera and we cut to the: REVERSE Another well dressed, middle aged man, behind a large polished oak desk, listening intently. This is Leo. He is short but powerfully built, with the face of a man who has seen things. The man with the whiskey enters frame and passes Leo to lean against the wall behind him, where he listens quietly. Caspar . . . So its clear what I'm sayin'? Leo Clear as mud. Caspar purses his lips but continues unfazed. Caspar It's a wrong situation. It's gettin' so a businessman can't expect no return from a fixed fight. Now if you can't trust a fix, what can you trust? For a good return you gotta go bettin' on chance, and then you're back with anarchy. Right back inna jungle. On account of the breakdown of ethics. That's why ethics is important. It's the grease makes us get along, what separates us from the animals, beasts a burden, beasts a prey. Ethics. Whereas Bernie Bernheim is a horse of a different color ethics- wise. As in, he ain't got any. He's stealin' from me plain and simple. Leo leans back in his chair. The man behind Leo raises the whiskey glass to his lips. He is trimmer and younger than Leo, perhaps in his thir- ties, dark-complected, with a pencil mustache and a gaunt intensity that is not entirely healthy-looking. This is Tom. As he drinks, he studies Caspar and Bluepoint. Leo You sure it's Bernie, selling you out? For the first time the man behind Caspar speaks: Bluepoint It ain't elves. Leo Nobody else knows about the fix? Caspar No one that ain't got ethics. Leo What about the fighters you pay to tank out? Bluepoint We only pick fighters we can put the fear of God in. Leo Any other bookies know? You play anyone else's book? Caspar I lay an occasional bet with Mink Larouie. Bluepoint But it ain't Mink, I'll vouch for that. Leo How do you know? Caspar shakes his head. Caspar It ain't Mink. Mink is Bluepoint's boy. Leo Mm. And of course, Bluepoint always knows about the fix. Bluepoint What the hell is that supposed to mean? Leo Let it drift. All it means is a lot of people know. Caspar I guess you ain't been listening. Sure other people know. That's why we gotta go to this question of character, determine just who exactly is chiseling in an my fix. And that's how we know it's Bernie Bernheim. The Motzah Kid. 'Cause ethically, he's kinda shaky. Leo You know Bernie's chiseling you because he's a chiseler. And you know he's a chiseler because he's chiseling you. Airily: Caspar Sometimes you just know. Leo . . . So you wanna kill him. Bluepoint For starters. Leo nods, thinking. He swivels to look interrogatively at Tom. Tom gives an almost imperceptable shrug. The ice cubes in his glass clink. Leo turns back to Caspar, pauses. Leo . . . Sorry, Caspar. Bernie pays me for protec- tion. Tom, peering over his drink, does not entirely conceal his surprise. Caspar stares at Leo, his mouth open. It is not the response he expected. Caspar . . . Listen, Leo, I ain't askin, for permission. I'm tellin' you as a courtesy. I need to do this thing, so it's gonna get done. Leo Then I'm telling you as a courtesy that you'll have trouble. You came here to see if I'd kick if you killed Bernie. Well there's your answer. Caspar's voice is harder: Caspar Listen Leo, I pay off to you every month like a greengrocer--a lot more than the Motzah--and I'm sick a gettin' the high hat-- Leo You pay off for protection, just like everyone else. Far as I know--and what I don't know in this town ain't worth knowing--the cops haven't closed any of your dives and the O.A. hasn't touched any of your rackets. You haven't bought any license to kill bookies and today I ain't selling any. Now take your flunky and dangle. Caspar is staring at Leo. He looks at Tom, then rises slowly to his feet. Back at Leo: Caspar Ya know I'm tryin'. . . I'm tryin not to raise my voice in anga. I've always gone along to get along. But you make me lay off the Matzoh and you're givin' me the needle. I told you the sheeny was robbin' me blind, I told you I wanna put him in the ground and I'm telling you now I'm sick a the high hat. He swipes his hat from Bluepoint. . . . You think I'm some guinea fresh off the boat and you think you can kick me. But I'm too big for that now. He puts his hands on the desk and leans towards Leo. The cords stand out on his ndck. I'm sick-of takin' the strap from you, Leo. I'm sick a marchin' down to this goddamn office to kiss your Irish ass and I'M SICK A THE HIGH HAT! Caspar stops, out of breath. He is red faced and panting. Bluepoint has put a gently restraining hand an his shoul- der. Leo and Tom stare at Caspar impasssively. After a beat Caspar shuts his mouth. His eyes lose some of their glaze. He looks at Bluepoint's hand, turns and strides towards the door. Caspar . . . Youse fuckin' fancy-pants, all of ya. He opens the docr, but Leo's voice stops him. Leo (softly) Johnny. You're exactly as big as I let you be and no bigger and don't forget it. Ever. Caspar looks at Lea from the open doorway. After a beat he chuckles. Caspar Ats right, Leo, you're the big-shot around here. He dances over at Tom again, then back to Leo: . . . And I'm just some schnook likes to get slapped around. He leaves, Bluepoint following, shutting the door. After a beat Tom crosses in front of the desk and sits down in the chair Caspar has just vacated. Leo chuckles and leans back in his chair. Leo Twist a pig's ear. Watch him squeal. Tom swallows the last of his drink and stares ruminatively down at his glass. Tom . . . Bad play, Leo. Leo, unfazed, grins at Tom. Leo Got up on the wrong side, huh? Tom Same side as always. Leo That's what I mean. Still owe money to--who's your bookie? Lazarre? Tom Mm. Leo I could put it right for you. Tom Thanxs Leo, I don't need it. Leo In a pig's eye. You haven't played a winner in six weeks. People'll speak ill of me if I let him break your legs. Tom grins back, for the first time. Tom People'll say I had it coming. Leo And they'll be right, but that ain't the point. Call me a big-hearted slob, but I'm gonna square it for ya. He picks up a phone on his desk and starts to dial. . . . Yeah, I think I'll do that, this very same night. Looking at you moping around takes away all my . . . What did you call it? Joy de veever. Tom stands and walks over to the desk. Tom Joi de vivre. He takes the receiver from Leo and prongs the phone. Leo Well look, if your gonna laugh at me, the hell with you. Tom walks to the door, putting an his hat. Tom And with you. I'll square myself with Lazarre if you don't mind. Thats why God invented cards. He pauses in the doorway and turns back to Leo. . . . There is something you can do for me. Leo Name it. Tom Think about what protecting Bernie gets us. Think about what offending Caspar loses us. Leo chuckles good-naturedly. Leo Come on, Tommy, you know I don't like to think. Tom has stepped into the hallway and, just as he closes the door: Tom Yeah. Well, think about whether you should start. The door clicks shut. CUT TO BLACK2. FADE IN: THE WOODS CREDIT SEQUENCE Although it is day, the tree cover gives an effect of almost cathedral-like darkness. The sun filters down through the leaves in gently shifting patterns. We hear only the sound of the wind and the creaking and groaning of tree limbs in the breeze. Head titles are supered over the dissolving series of woods scenes. In the last woods scene the angle is low--almost ground- level. The sun dapples the floor of the forest, which is carpeted with pine needles. With a whoosh of rustling leaves the wind gusts a fedora into frame. For a moment it lies still in the foreground, sunlight rippling over it, making it seem almost alive. Then the wind picks up again and the hat tumbles away from us, end over end, in slow motion into the background, impossibly far away until . . . it dissappears. As we fade out, we hear a distant knocking.3. FADE IN: CLOSE SHOT TOM Unshaven, eyes closed, motionless. The head credits continue over this one-shot scene. The knocking continues, faintly, offscreen. As we hear a door opening we pull back to a looser shot, revealinq that Tom is slumped back on a tired green sofa. A fat hand enters to shake Tom's shoulder. Voice Wake up, Tommy. Without ocening his eyes: Tom I'm awake. Voice You're eyes were shut. Tom Who're you gonna believe? Tom sits up, though it seems like an effort. He looks sick. From a small mirror behind the couch we see that we are in the back room of a gambling establishment. The leavings of a card game litter a table in the middle background. Tom . . . How'd I do? Voice What do you think. You're a millionaire. You gonna remember your friends? Tom reaches up to feel his head, and looks stupidly about. Tom . . . Where's my hat? Voice You bet it, ya moron. Good thing the game broke up before you bet your shorts. After a beat of staring at nothing in particular, Tom abruptly lurches to his feet and staggers out of frame. The other man sits heavily onto the couch that Tom has just vacated. He is Fat Tony, a big man wearing an apron. He watches as we hear Tom, offscreen, staggering across the room, bumping into something which scrapes and then clatters over, opening a door, staggering across tile, and then vomiting. Fat Tony watches with mild interest. Finally: Tom's Voice . . . Who left with my hat? Tony Verna. Verna and Mink. Tom . . . Who? Louder: Tony Mink and Verna. Offscreen we hear a tap running. Tom . . . Thunderclap running tonight? Tony Yeah. Tom What's she leave at? Tony Three-to-one, more'n likely. Lay off, Tom. You shouldn't go deeper in the hole. Tom Tell Lazarre I want five hundred on the nose. Tony shrugs. Tony You would have it. Tom . . . Somebody hit me? Tony Yeah. Mink hit you. Tom . . . Whyzat? Tony inspects a hangnail on his thumb. Tony You asked him to.4. CUT TO: A HALLWAY A loose shot looking over Tom's shoulder as he knocks on an partment door. Head credits continue. The door swings open and Verna, an attractive but hard- looking woman in her late twenties or early thirties looks coldly out at Tom. Tom (still slightly woozy) Miss me? Verna You again. What now? Tom I want my hat. Verna . . . Is that all you came for? Tom Yeah. I want my hat. Verna I won it. It's mine. Tom What're you gonna do with it? Verna Drop dead. She slams the door. There is a long, motionless beat. Tom raises his hand and knocks again, missing the door completely on his first try. After a knock or two the door swings open again. Tom I need a drink. Verna Why didn't you say so. She steps away from the door and Tom enters the apartment. As the door clicks shut we cut to black, and the last of the movie's head credits. Music clays under the credits, mixed in with the woods sounds we heard earlier. As the last of the credits is fading to black we hear a distant knocking, and from black we:5. CUT TO: CLOSE SHOT A FEDORA Lying on a marble bureau top in a dark room. A gently rippling cookie plays over it--light from a streetlamp thrown through a curtained window. Reflected in the bureau mirror behind the fedora we see the soft glow of a burning cigarette. REVERSE Tracking in on Tom, sitting in bed, smoking, staring at the bureau. The rippling street light plays over him from the window. We hear a distant knocking. WIDER The bedroom, as Tom swings his legs around and gets out of bed. Tom throws on a dressing gown and leaves the bedroom through its double oak pocket doors, closing the doors behind him.6. LIVING ROOM Also dark, lit only by streetlight filtering in. The knocking is louder here. Tom crosses the room, silhouetted against the windows, to the apartment's front door. Light fans in as he opens it. Shiftng uncomfortably in the hallway is Leo, in an overcoat and fedora. Leo 'Lo, Tommy. Sorry about the hour. Tom I'll live. What's the rumpus? Leo Can i come in? Tom thinks about this for the slightest beat. Tom Sure. He lets Leo precede him into the living room. Tom turns on a lamp that sits on a rolling bar. . . . Drink? Leo I wouldn't mind. . . I tried calling earlier. Tom I got home late. As Tom sits down facing Leo with two drinks: Leo Well. . . Sorry about the hour. Tom Uh-huh. He waits, with no apparent impatience. The older man is uncomfortable; he is having trouble finding the words. Finally he lifts his glass and swallows it in one gulp. Leo . . . Not bad. . . Tom Better than the paint we sell at the club. Leo That it is. . . That it is. . . Tom Thought about cutting Bernie loose? Leo is shuffling his hat nervously from hand to hand. Leo Can't do it, Tommy, can't do it. . . That's sort of why I'm. . . Tommy. . . I don't know where Verna is. Tom fixes him with a level stare, then takes a sip of his drink. Tom Uh-huh. Leo I know what you're thinking: What else is new? But the situation now, I'm worried. . . Tom blows out air. Tom Verna can take care of herself. Maybe better than you can. Leo What does that mean? Tom stands up, takes Leo's glass and walks back over to the bar. Tom Want another? Leo No. What does that mean? Tom turns to look at Leo, pauses, then decides to speak: Tom How far has she got her hooks into you? Leo That's a hell of a question. Tom It's a grift, Leo. If she didn't need you to protect her brother from Johnny Caspar, d'you think she'd still go with you on slow carriage rides through the park? That is the deal, isn't it? You keep Bernie under wraps 'till Caspar cools down? Leo Jesus but you're a prickly pear. What's wrong with her wanting her brother taken care of? Tom Not a thing. I don't blame her. She sees the angle--which is you--and she plays it. She's a grifter, just like her brother. They probably had grifter parents and grifter grandparents and someday they'll each spawn little grifter kids-- Leo Stop it, Tommy. I don't like to hear my friends run down. Even by other friends. Tom shrugs. Tom Friendship's got nothing to do with it. Leo The hell you say. You do anything to help your friends. Just like you do anything to kick your enemies. Tom Wrong, Leo. You do things for a reason. Leo Okay, Tom, you know the angles--Christ, better than anybody. But you're wrong about this. You don't know what's in Verna's heart. . . Tom stares down into his drink. There is an awkward pause. Then finally, without looking up: Tom Leo, throw her down. And her brother, too. Dump her. Leo looks like he has just been stepped on. Leo Jesus, Tom. . . Verna's okay. . . He nods to himself. She's a little wild, but she's okay. I like her. Tom smiles. Tom Yeah, you like her. Like the Kaiser likes cabbage. You're dizzy for her. Leo scowls at Tom. Leo What of it? Jesus, Tom, ain't you ever been bit by that bug? Tom Leo, if she's such an angel, why are you looking for her at four in the morning? Leo digs his hands into his pockets and slouches back, profoundly embarassed. Leo I put a tail on her this afternoon. Tom Hah! Leo Yeah, I asked Rug Daniels to follow her around-- just, you know, just to keep her out of trouble. Tom And to tell you what trouble she was managing to whip up herself. Leo It wasn't to spy, Tom; I was worried. After that meeting with Caspar, well--you can't be too careful. Tom Uh-huh. And what did Rug tell you that has you scurrying over here? Leo That's just it. Nothing. He's disappeared. Tom laughs humorlessly. Tom So you've lost your ladyfriend and the tail you put an her. Leo I guess it does sound pretty sorry at that. . . He looks from his empty glass up to Tom. . . . Help me out, Tom. I wouldn't know where to start looking. You know Rug's crowd, you know the people Verna runs with. I'm just worried now, with things the way they are between me and Caspar-- Tom gives a wave of disgust. Tom You shouldn't be confronting Johnny Caspar, it's what I've been trying to tell you. You can't trade body blows with him. He's gotten too strong. For the first time Leo displays some testiness: Leo I reckon I can still trade body blows with any man in this town. . . He sighs, looks back down at his drink. . . . Except you, Tom. Tom And Verna. Leo smiles good-naturedly. Leo Okay, give me the needle. I am a sap, I deserve it. . . He stands and walks to the door. Tom doesn't move. His eyes remain fixed on the chair Leo has just vacated. Leo pauses in the open doorway. . . . Thanks for the drink. Let me know if you hear anything. . . The door closes and he is gone. Tom grimaces and stands up. Sunlight is just starting to come in through the windows, defining for the first time the corners of the large semi-circular room as Tom walks across it to the bedroom. Distant early-morning traffic noise is filtering up from the street.7. INT BEDROOM As Tom opens the double oak doors and enters, leaving them open. He crosses to the bed and sits an its edge, hunched forward, thinking. Behind him, a woman stirs. Woman (sleepily) Who was that? Tom Leo. . . He takes a cigarette from the nightstand and lights it. . . . He's looking for you. Verna stiffens. Verna Did you tell him I was here? Tom No. Verna relaxes. Verna Did you put in a good word for my brother? Tom No. Verna You said you would. Tom . . . I said I'd think about it. Verna What did you tell him? Tom is lost in thought. He exhales smoke. Tom . . . Did you see Rug Daniels last night? Verna No. What did you tell Leo? Tom finally turns to face her. After looking at her for a beat: Tom . . . I told him you were a tramp and he should dump you. A shoe flies past his head and hits the wall behind him. Verna You're a son of a bitch, Tom.7. EXT ALLEYWAY EARLY MORNING We are on an extreme close shot of a small dog. Behind him, in the distance, we can see the mouth of the alley. The dog is on point, perfectly still, one front leg crooked and raised off the ground, his ears pointed straight up, his eyes in a fixed stare. A MAN is slouched, half-sitting, against the wall of the alley. He is motionless. His mouth is agape. His eyes are rolled up in a lifeless stare. He is wearing an overcoat but it is unbuttoned and reveals a blood stain in the middle of his chest. His fedora lies on the ground near one of his splayed hands. There is something subtly odd about his hair. CLOSE SHOT A LITTLE BOY Perhaps five years old. He stares down at the dead man in front of him. CLOSE SHOT THE MAN Staring vacantly. THE BOY After a moment, he reaches forward. THE MAN As the boy's hand enters frame. The boy pokes once at the man's shoulder. There is no reaction. The boy touches the top of the man's head. The man's hair slips forward a couple of inches over over his forehead. THE BOY Staring. THE MAN Also staring, his skewed hairpiece ill becoming his stunned expression. The boy reaches forward and takes the hairpiece off the man's head. Now a bald man stares off into smace, still looking stunned, still quite dead. WIDE SHOT THE ALLEY The dead man and the little bov face each other in profile in the middle foreground. In the background, between them, the little boy's dog faces us, still on point, still whining. The little boy is fascinated by the hairpiece he holds. He turns it over and around, and looks from it to the dead man. Suddenly the boy turns and runs, away from us, towards the mouth of the alley, still clutching the hairpiece. As he passes the dog it turns and runs after him, wagging its tail, happy to be leaving. FADE OUT9. FADE IN: INT DINER EVENING A man sits facing us at the counter in the foreground. His face is hidden by the newspaper he is reading. The page of the newspaper being presented to the camera bears a story headlined: GANGSTER SLAIN. The subhead: Politician's "Aide" Found Dead in Alley. After a beat the diner drops the paper to the counter, and we see that it is Tom, wearing overcoat and hat. He is grimacing at whatever he was reading. He stands and digs into his pocket. REVERSE Looking down at the newspaper an the counter, next to a steaming cup of coffee. Tom's hand enters to put some change on the counter, leaves, and we hear his receding footsteps. The headlined story on the page Tom was reading is: THUNDERCLAP INJURED IN RACING MISHAP.10. CUT TO: TRACKING IN TO CLOSE SHOT PLAQUE Set into the brick of a building's exterior, it reads: SHENANDOAH CLUB. In script underneath: Members Only.11. INT THE CLUB NIGHT Tracking towards the front door as Tom enters. He puts his coat and hat on the check counter. Tom Hello, Beryl-- Her arm sweeps across frame to slap Tom hard. Check Girl (off) Ain't you got a conscience? Tom stares dumbly. ON BERYL A diminutive woman in a french maid's uniform with a pill box hat. She rocks her weight on one leg with her hands proceed defiantly on her hips. . . . It's a little voice inside that tells you when you been a heel! Tom Mine's been mum lately--what'd I do? Beryl Stood me up is all. Made me wait an hour and a half is all? Or maybe you don't remember sayin' you'd pick me up after work last night. I seen heels in my time, sure, plenty of 'em! But none so low as couldn't tell me to my face when they was sick of me! . . . She throws a check number at him. . . . You know where you can stick it!12. CUT TO: TRACKING SHOT Pulling Tom as he walks across the gambling floor. He is joined bv a nervous young man in a tuxedo. Mink 'Lo Tom. What's the rumpus? Tom Mink. Mink throws a glance back in the direction of the coat check. Mink . . . I see you got your hat back. Tom Yeah, what of it. Mink Not a thing, Tommy. I got not a thing to say. Listen, Bernie wants to see you. It's important. Tom Well I'm right here, and I'm not made of glass. Mink Yeah, but he's nervous walkin' around in public. He's a right guy, but he's nervous, Tommy! He's very nervous! Who wouldn't be?! Tom looks at Mink for the first time. Tom Mink-- Mink The spot he's in, who wouldn't be! He asked me to ask you to ask Leo to take care of him. You know, put in a good word with Leo. Leo listens to you. Not that Leo wouldn't help the Motzoh anyway! A guy like Bernie? A square gee like the Motzah! A straight shooter like him? Tom I don't get it, Mink-- Mink What's to get?! It's as plain as the nose-- Tom I thought you were Bluepoint's sycophant. Mink Yeah Tom, that's right. But a guy can have more than one friend, can't he? Not that I'd want Bluepoint to know about it, but a square gee like the Motzah? He's a right guy, Tom! He's a straight shooter! I know he's got a mixed reputation, but for a sheeny he's got a lot a good qualities! Tom has reached the foot of a large staircase. He turns to look at Mink with mild curiosity. Tom Why should I care what happens to Bernie? Mink C'mon Tom, you like Bernie dontcha? Tom I don't like anybody, Mink, you know that. Mink Well, you like his sister. Tom What's that supposed to mean? Mink Nothing, Tom. If it ain't my business I got not a thing to say. Tom studies Mink for a beat. Tom What's going an between you and Bernie? Mink Nothin, Tom! We're just friends--you know, amigos? He sics on his cigarette and looks nervously around the floor, then back at Tom, who stares coolly back. Tom You're a fickle boy, Mink. If Bluepoint found out you had another "amigo"--well, I don't peg him for the understanding type. Mink is startled. In a high shrill voice, as Tom walks up the stairs, clutching his drink: Mink Find out!? How would he find out?! Damnit Tom, me and you ain't even been talking! Jesus Tom, damnit, Jesus!13. INT LEO'S OFFICE Pulling Tom as he enters the office. Leo (off) 'Lo, Tom. You know O'Gar. . . REVERSE Leo faces us from behind his desk. Seated in two chairs facing the desk, twisting around to greet Tom, are two men. O'Gar is a large man wearing a police uniform. Dale Levander wears a suit; a florid man with a shock of white hair, in his mid-sixties. Leo . . . and the mayor. Tom I ought to. I voted for him six times last May. Levander chuckles. Levander And that ain't the record, either. Tom is crossing to the bar. Leo Verna turned up. She's downstairs. Tom, his back to Leo as he pours a drink, stiffens. Tom . . . She say where she'd been? Leo No, I uh. . . didn't want to press her. Hear about Rug? Drink in hand, Tom turns and crosses to perch an a corner of Leo's desk. Tom Yeah, R.I.P. Leo They took his hair, Tommy. Jesus that's strange. Why would they do that? Tom Maybe it was Injuns. Leo Eye-ties, more like it. Giovanni Casparro. Tom So you figure it was Caspar bumped Rug? Leo, with a puzzled smile, glances at O'Gar and the mayor, and then back at Tom. Leo . . . Well it's pretty obvious ain't it? Tom Mm. . . So what's the plan? Leo Jump on the guinea hard. With both feet. He looks at the mayor who shifts uncomfortably in his seat. . . . Give him the low-down, Dale. Mayor Yes, well. . . Leo here has just reminded us that Mr. Caspar operates several clubs in our city wherein the patrons imbibe of rum and play at games of chance. Morosely: O'Gar And we're sunnosed to stop the party. Tom Uh-huh. . . Looking at Leo, he jerks his head towards the two men. . . . They don't seem too happy about it, Leo. O'Gar Naw, it ain't that, Tom. Mayor Jesus, Tom! We do as we're told! Tom ignores them. Tom Maybe they're right not to like it. Stirring up this hornets' nest won't be good for anyone. And it'll mean killing. Leo Well I'm not thrilled about it either, but I can't just lay down to Caspar. Tom You could do worse. You might not like it, but giving up Bernie Bernheim is a pretty small price to pay for peace. Business is business and a war's going to hurt everybody. Bernie plays with fire, he's got to deal with the consequences-- even if that means he gets bumped off. Leo Sweet Jesus, Tom, that ain't even the point anymore. Caspar pooped Rug. The day I back down from a fight, Caspar is welcome to the rackets, this town, and my place at the table. I didn't start this thing, but-- Tom's voice is sharp: Tom You did start it--you and Verna-- The mayor has risen to his feet. Uncomfortably: Mayor We can dangle, Leo, if you'd prefer. Leo Siddown Dale, we're all friends here. Tom --and Caspar hasn't broken the rules, Bernie has- -and you too, by helping him. And if that isn't enough, consider that if you make it a war, you have more to lose than Caspar. Leo is getting up from behind the desk and walking over to stare out the window. Leo Okay, but more to beat him with. Jesus, Tom, the two of us've faced worse odds. Tom But never without reason. It helps to have one. Leo doesn't reply. Tom is irritated, but shrugs indif- ference. . . . Well, it's your call. He gets to his feet and starts for the door. . . . My opinion use to count for something around here, but it's always yours to take or leave. Leo has turned from the window and is striding after Tom, gesturing appologetically. Leo Aw, c'mon Tommy. Its not like that. . . The door clicks shut. . . . Goddamnit. Goddamn kid is just like a twist.14. CUT TO: FAT TONY Tending the downstairs bar as Tom stalks over. Tom Gimme a stiff one. Tony No small talk, huh? They shoot vour nag? Tony has finished pouring a shot of whiskey which Tom immediately knocks back. Tom If there's any justice. Verna around? Tony She stepped into the ladies, room. You got Lazarre's five hundred? Tom He'll have to carry me for a few days. Tom is pouring himself another drink. Tony He ain't gonna like that. Couldn't, you get it from Leo? Tom is irritated: Tom It's not Leo's debt. I'll pay my own way. Tony I admire a man of principle. Does this go on the tab? Drink in hand, Tom is already walking away.15. INT LADIES' LOUNGE As Tom bangs through the door, still carelessly holding his tumbler of whiskey. A rogue lock of hair hangs down over his forehead. Tom Close your eyes, ladies, I'm coming through. REVERSE The hubbub of female voices evaporates as all turn to look at the male intruder. The lounge's decor is done in various shades of pink. Some of the women apply make-up facing the large bulb-encircled mirrors on overstuffed seashell shaped pink chairs. Other women sit, smoking, in the banquettes that line the other wall. All react to Tom's entrance with surprise mixed with various degrees of outrage, and they hurry to gather their things and leave. The one exception is Verna, who looks at Tom with unperturbed distaste. As he crosses to her seashell chair: Tom Who's the warpaint for? Verna Go home and dry out. Tom You don't need it for Leo, believe me. He already thinks you're the original Miss Jesus. She glances hurriedly around the lounge, but the last of the women are already leaving. Verna . . . What the hell's the matter with you? Tom What's the matter with you? Afraid people might get the right idea? Verna studies him for a beat. Verna Leo's got the right idea. I like him, he's honest and he's got a heart. Tom weaves a couple of steps closer to her. Tom Then its true what they say. Opposites attract. Verna Do me a favor and mind your own business. She turns back to the mirror and starts applying her lipstick. Tom drops down to face her in the mirror. Tom This is my business. Intimidating helpless women is part of what I do. Verna Then find one and intimidate her. Tom swallows the rest of his drink in one gulp. Tom Leo's upstairs getting ready to shoot himself in the foot on your account. Verna I don't know what you're talking about. Tom He's gonna go to the mat for your brother. And it's gonna hurt him. Verna I don't know Leo's business, but he's a big boy. Tom He used to be. Verna causes with the lipstick. She looks at Tom intently but her tone softens. Verna Look. What do you want, Tom? You want me to pretend I don't care what happens to Bernie? Well I do. He's my brother and I don't want him to get hurt. If Leo wants to help him out I'll step out with him, show him a good time in return. There's no harm in that. Tom There's a name for that kind of business arrange- ment. Verna I'll do what I have to for Bernie and there's no reason for you to try and queer that. Regardless of what you think of me, Bernie's a decent guy. Tom A straight shooter, huh? A square gee? Verna Yeah, sneer at him like everyone else. Just because he's different. People think he's a degenerate. People think he's scum. Well he's not. Tom Poor misunderstood Bernie. Verna swivels around to stare quizzically at Tom. Verna . . . What is this about? You want me to stop seeing Leo . . . Why don't you just say so? Tom I want you to quit spinning Leo in circles and pointing him where to go. Verna I forgot--that's your job, isn't it? Tom I'll do what I have to to protect Leo. I'm asking you--politely, for me--to leave him alone. I don't have to ask. If I told him about our little dance last night, your pull would dry up pretty fast. Now Verna is irritated: Verna So would yours. I don't like being threatened. Tom I don't like being played for a sucker. That game might work with Leo but it won't work with me. Verna You think last night was just more campaigning for my brother? Tom I can see the angles. . . He grabs her by the arm and drags her roughly to her feet. . . . And I know if there was a market for little old ladies, you'd have Grandma Bernheim first on line. Verna (struggling to get out of his grasp) You're a pathetic rumhead. Tom And I love you, Angel. Tom takes her hat off, tosses it onto the chair, and kisses her roughly on the lips. Verna breaks away and socks him on the jaw. Tom staggers back, upsetting a table of toiletries and landing against a banquette. He throws his empty whiskey glass at Verna. She ducks and it smashes into the mirror. They stand staring at each other for a beat, breathing hard. Tom has a smear of lipstick near one side of his mouth. Finally: Verna. . . . I suppose you think you've raised hell. She picks up her stole and heads for the door. Tom stands staring at her back, swaying, ever so slightly. Tom Sister, when T've raised hell you'll know it.16. CUT TO: INT TOM'S APARTMENT A wide shot, facing the semi-circular windows, the door of the apartment behind us. A large easy chair in the middle foreground faces away from us: a smaller chair is at the window end of the room, facing us. At the cut we hear the ringing of the telephone. Offscreen we can hear the unhurried scrape of a key in the lock, then the door opening, then the door closing. Tom's back enters frame as he strolls into the room and then disappears briefly through an open doorway to the right. We hear an icebox door opening and closing, and then Tom reenters again, still not reacting to the insis- tently ringing phone. He is now holding a balled-up towel. He walks over to the facing chair at the window end of the room, shrugs off his overcoat, drapes it on the chair, sits, crosses his legs, takes off his hat, tosses it onto the upraised toes of his crossed leg, tilts his head back, and presses the towel against his forehead--apparently it is an icepack. We are beginning to track slowly towards him. After a beat he takes out a cigarette, lights it, and reaches back for the phone that refuses to stop ringing. Tom Yeah. . . He casually looks forward, just off to one side, at a specific point in space. He does not react to whatever he is hearing. . . . I need a couple days. . . Because I don't have it now. . . We are almost in close shot now. His gaze is still fixed and emotionless. . . . Because I say so. . . What would be good enough?. . . Well, if it'll make him feel any better, tell Lazarre he can send someone by to break my legs. I won't squawk. He prongs the earpiece, still looking off. The track has stopped in close shot. He exhales a stream of smoke, then after a beat: . . . 'Lo, Bernie. REVERSE Slouched in a chair, in the corner of the room, facing Tom, is Bernie Bernheim. He is about thirty and wears his overcoat and hat and a good-natured smile. He holds an apple in one hand and a paring knife in the other. The long peel of the apple corkscrews down off the knife. Bernie 'Lo, Tom. What's the rumpus? Tom C'mon in, make yourself at home. Bernie Yeah, you weren't here so I thought I'd do that. Didn't wanna answer the phone, though. Figured it wasn't for me. Tom Uh-huh. After a silent beat, Bernie chuckles. Bernie . . . I get it, get to the point, huh? Okay. The point is: I'm a good guy. Tom I've heard that from a lot of people today. Bernie slices off an apple section and holds it out to Tom, who shakes his head. Bernie Good guy, lot of friends--that's the way it works. Maybe if you appreciated me a little more, you wouldn't be making waves with Leo. He pops the slice in his mouth. It's a bad time to be doing that. I mean, right now we're both in a jam. I hear you're on a bad streak, short of funds, and I've got that psychotic guinea mad at me. Don't ask me why; I'm just a small-timer trying to get by, like everyone else. I need help from my friends. Like Leo. And you. Tom Leo gets your sister, what're you selling me? Bernie C'mon Tom, its not like that at all. Wasn't my idea. She'll sleep with anyone, you know that. She's even tried to teach me a thing or two about bed artistry. Can you believe that--my own sister! Some crackpot idea about saving me from my friends. . . Bernie laughs pleasantly. She's a sick twist all right. I guess some guys like that. Tom She speaks highly of you. Bernie shrugs. Bernie Yeah, well, you stick by your family. The point is, I can help you with your debts if that would make us friends. My motto is, a guy can't have too many. Big payday Saturday, Tom. You could be in on it. For the first time, Tom is interested. Tom Another fix? Which fight? Bernie Well that's confidential at the moment. But it doesn't have to stay that way. Tom gives Bernie a speculative eye. Tom How d'you know about it? Caspar isn't laying any more bets with you. Bernie Mm. Tom gives a humorless smile. Tom . . . You must really have Mink jumping through hoops. Bernie is getting to his feet wiping the knife blade on his coat. Bernie Like I say, you can't have too many. He pauses at the open door, looks up and down the hall and turns to look at Tom. . . . We got a deal? Tom . . . I'll think about it. On his way out: Bernie I wouldn't want it any other way. On the click of the door latch we cut to:17. STREET DAY Pulling Tom along the sidewalk. Tom Cud. . . He is calling out to a short rail-like man lounging against a building who joins him as he walks. Cud has small sharp features except for one cheek, which is hugely distended by a wad of chewing tobacco. . . . My credit still good with you? Cud gives a so-so flutter of his hand. . . . Give me a hundred across on Tailor Maid in the third tonight. Cud shakes his head. Cud Lazarre won't like it. Tom Try fifty across. Cud shrugs. Cud I'll try. That'll make another one-fifty you owe him. Tom Only if I lose, Cud. Cud Tommy, the way you're goin'--horses got knees? Tom I dunno. Fetlocks. Cud Well the way you're goin', if I was a horse I'd be down on my fetlocks prayin' you don't bet on me. Another man, a huge man, has walked up to flank Tom's other side. This is Frankie. Frankie Drift, small guy. Cud Drop dead, ape. Frankie C'mon Tom, my boss wants to see you. He didn't have time to engrave nothin' formal. Cud starts to fade away. Cud I'll see you later, Tommy. I gotta go spit.18. INT ROOM It is a large room with a couple of card tables, straight- backed chairs, a ratty sofa--a sparsely furnished card room off the main floor of a club. At the cut we are tracking behind Tom into the room as Frankie and Tic-Tac, a small ferret-faced-man, escort him in. We hear a woman's voice speaking rapid-fire Italian. Bluepoint is sitting on the couch, wearing his overcoat and his hat pushed back an his forehead. Sitting at one of the card tables is Caspar. With him is his wife, a short, very round Italian woman, and his son, Johnny Jr. Johnny Jr., about five years old, is also very round. He wears a suit with short pants that reveal dimpled knees. Bluepoint, an the couch, is watching the domestic scene without any particular warmth. Caspar Whaddya mean he's eatin' too much? Whadduz the goddamn doctor know? He turns to the little boy. . . . What you eat for lunch? Johnny Jr. A hot dog. Caspar Just a hot dog? The boy shakes his head. Johnny Jr. A hot dog and mustard. Caspar throws his head back and roars with laughter. Caspar A hot dog with mustard! A hot dog with mustard! You hear that, Bluepoint! The kids as smart as a whip! Even Uncle Bluepoint thinks that's funny. Bluenpoint's face is a solem mask. . . . Whadduz the goddamn doctor know! Caspar wipes away tears of mirth and digs in his pocket with his left hand. Extending two closed fists towards the boy: . . . G'head, which hand is the penny in? The boy touches his right fist. . . . Choose again. The boy just looks at him. . . . Okay, here ya go. Take the penny. Shiny new penny. To his wife. . . . Take the kid. Wait in the car. Give'm a penny, boys. Tic-Tac and Frankie dig in their pockets for change as the boy and his mother cross to the door. Frankie I ain't got a penny, boss. Caspar has turned his attention to a check book that lies on the table in front of him. As he writes: Caspar Ah, well, that's a penny ya owe him. 'Lo Tom, what's the rumpus? You like kids? Tom No. Absently: Caspar Uh-huh. Have a seat. G'ahead. He tears out the check. . . . Well, you're missin' out on a complete life. I know, kids, big deal, but still, I'm tellin' ya. He blows on the check. . . . Anyway. . . Thanks for comin' by. I just wrote this check out to your bookmaker, Lazarre. It's for an even fifteen hundred, which is more than I hear you owe him but I figure you can always use some money on the cuff, a high roller such as yaself whaddya say? Tom . . . Thanks. Caspar laughs. Caspar Always the yapper, huh? Well, you're welcome. You wanna know why I'm putting you square with Lazarre? Tom Not particularly. Caspar Bad feeling. It ain't a good thing. It's a poison, kid. I want everybody to be friends. I do this, you're friends with Lazarre, he's friends with you, and you're friends with me. And all you gotta do, show you're a friend, is to give me Bernie Bernheim. You know it's the right thing anyway; I can't keep any discipline if I can't punish the people I need to punish. The Motzah steals from me, I can't have Leo givin' him a shiny new penny. . . You find some way to make Leo understand that. Tom So the deal is, I give you the Motzah, smooth it over with Leo, and you bail me out with Lazarre. Caspar Yeah, then we're all friends again: You, me, Leo, Bluepoint. Bluepoint sneers from the couch: Bluepoint We can maybe have tea sometime. Caspar C'mon, Bluepoint. Friends is a mental state. Wuddya say, kid? Tom . . . I'll think about it. Caspar He'll think about it. Hear that, Bluepoint? That's terrific. The kid's a thinker. Bluepoint Does he want a pillow for his head? Caspar Okay kid, think about it. It's a mental state. But make it quick, my family's waitin'. Tom I'll think about it and tell you later. Bluepoint He needs to think in the thinking room. Caspar shakes his head sadly. Caspar Kid, if it'll help you think, you should know that if you don't do this you won't be in any shape to walk outa here. Tom considers this. Tom . . . Would that be physically, or just a mental state? Caspar stares at him for a beat, then slowly starts to tear up the check. Caspar . . . That ain't friendly, kid. I make you a nice offer, I get the high hat. He gets up and walks over to the door. Tic-Tac opens it for him and precedes him out. Before following Caspar out the door, Bluepoint grins at Tom. Bluepoint Too bad for you, smart guy. He leaves, shutting the door. The room is quiet. Tom looks at Frankie, the large man, who looks back. Frankie stands, takes off his suit coat, and hangs it carefully on a rack by the door. He approaches Tom. Tom Hold it. Frankie complies. Tom is standing and shrugging off his coat. He folds it neatly and turns to lay it on the chair he was in. When he turns around again he is holding the chair and he smashes it into Frankie's face. Frankie staggers back but doesn't drop. He reaches up to his nose and his hand comes away bloody. Frankie . . . Jesus, Tom. Tom still holds the chair. Frankie looks at him for a moment, then walks over to the door, opens it, and leaves, shutting it behind him. The room is very quiet. Tom stands facing the door, still holding the chair. After a beat or two, he starts to put it down. The door opens and he quickly raises the chair again. Tic-Tac, the little man with the hawk nose, is striding into the room, briskly approaching Tom. Frankie, the gorilla, follows cautiously. Tic-Tac blocks Ton's swing of the chair with his forearm, wraps both arms around it and pulls it awav from Tom. As Frankie circles Tom, Tic-Tac tosses the chair across the room. Frankie, now behind Tom, wallops him in the small of the back. The blow sends him staggering towards Tic-Tac, who cracks him in the jaw. Frankie grabs Tom's hair and yanks his head back as Tic-Tac works on his midsection. Tom's hands are reaching back to grope for Frankie. Still holding his hair with one hand, Frankie cuffs Tom awkwardly on the side of the head. Tom staggers around and Tic-Tac, now behind him, also hits him on the side of the head. Tom goes down. His head hits the floor with a thunk. We are on a low angle an the floor. Behind Tom's head, in the background, we see the door to the room. The door splinters in with a loud crash. Frankie's feet are walking up alongside Tom's head, as blue uniforms stream into the room. Frankie Just in the nick of time, huh? He brings his foot back to deliver a walloping kick to the back of Tom's head. On the impact we cut to: BLACK Over black we hear the sound of running water.19. FADE IN: TOM Gasping for air as his head is pulled out from under a running faucet. The uniformed policeman who was holding him there and is now pulling him back up, grins at him. Cop No harm done. Unless your friend broke his foot. Tom is still woozy. Tom . . . Wuzzit. . . How long. . . What day is it? Cop Friday, 12th of September, 1929. Same as when you left us, about ten seconds ago. . . He is leading Tom by the arm out of the cramped bathroom, back into the card room where he was beat up. Another cop has Frankie cuffed in a straightbacked chair and is taking roundhouse swings at him. He pauses, breathing heavily. Second Cop . . . 'Lo, Tom. Care to skin a knuckle an your playmate here? Tom No. . . thanks, Delahanty. . . As Tom and the first cop leave the card room: Second Cop Well if you change your mind, we'll be inter- rogatin' for a while. . . Tom and his escort are emerging onto the casino floor. First Cop What was that party about, anyway? Tom We do this every weekend. Blue uniforms are everywhere. Some are escorting tuxedoed patrons and employees to the exit; some wield axes on the gaming equipment; others are using nightsticks to smash the bottles behind the bar. Tom winces at this and lights a cigarette. Tom Jesus. . . He takes a battle and glass from a table as they walk by. . . . What the hell is the matter with you people? First Cop Well, they said make it hurt. . . So we make it hurt.22. EXT THE BUILDING We see that the building's facade claims to be SABBATINI'S ANTIQUES AND COLLECTIBLES. Tom weaves across the street with his battle and glass towards O'Gar, the police chief, leaning against a squad car, chewing a toothpick. He is watching morosely as his men load other men into paddywagons; the street is clogged with police vehicles. Tom Drink, O'Gar? O'Gar does not bother to look at Tom as they talk; he is unhappily watching the spectacle. O'Gar I'm an duty. Tom pours himself a glass. Tom To Volstead. . . He tosses back a shot. . . . Any news on Rug? O'Gar Still dead, far as I know. Tom Get a slug out of him? O'Gar Yeah, a .22. Listen, Tom, I'm just the chief around here, so don't bother telling me if you don't happen to feel like it, but what the hell is Leo doing? Tom Ours is not to reason why, friend. O'Gar Balls. Look at this mess. Make him listen to you, Tom. It ain't right, all this fuss over one sheeny. Let Caspar have Bernie--Jesus, what's one Hebrew more or less? He nods at the building. . . . We're burning our mealticket here. Tom Leo'll do what suits him, and you'll do what he tells you. Last I heard Leo's still running this town. O'Gar He won't be for long if this keeps up. It's no good for anyone--you said as much yourself. Tom First off, O'Gar, I can say what I please to Leo and about him. . . He taps him on the chest. . . . You can't. Second, once Leo decides-- that's that. And if that sticks going down, there are plenty of other coppers wouldn't mind being chief, and could swallow it clean. O'Gar looks chastened. O'Gar Jesus, Tom, I was just speculatin' about a hypothesis. I know I don't know nothin'. It's just a damn mess is all-- He is interrupted by gunfire from an upper story of the facing building. O'Gar's men react, finding cover, returning the fire. O'Gar unholsters his gun as he and Tom scramble for cover. . . . a goddamn mess.23. HALLWAY We are shooting over Tom's shoulder as he knocks at the door to Verna's apartment. After a beat, Verna opens the door. On seeing who it is she starts to swing the door shut. Tom puts his toe in the doorway and leans into the door. As he pushes his way in: Tom Thanks, don't mind if I do.24. INT APARTMENT As Verna gives up and Tom enters. Verna walks over to the phone. As she dials, Tom tosses his hat onto a chair and checks the apartment to see if they're alone. Verna Hello, officer, I'd like to report an intruder at 346 West-- Tom grabs the phone away from her. Tom Who's this?. . . 'Lo, Shad, Tom Duchaisne here. We won't be needing any today. . . That's right, my mother. She didn't recognize me. Lemme talk to Mulvaney. He takes a flask out of his packet and looks across the room towards Verna. . . . Miss me? Verna Drop dead. We hear a voice barking through the line and Tom turns back to the phone. Tom . . . 'Lo Sean, tell O'Car to send a car over to Leo's tonight. If we're going to be banging away at Caspar we ought to be ready for him to bang back. . . Yeah. He hangs up the phone and tips the flask back, draining the last drop. Verna What do you want? Tom is crossing to the bar. Tom I was in the neighborhood, feeling a little daffy. Thought I'd drop in for an apperitif. He pours himself a drink. . . . Rug Daniels is dead. Verna Gee, that's tough. Tom Don't get hysterical. I've had enough excitement for one nigit without a dame going all weepy on me. Verna I barely knew the gentleman. Tom Rug? Bit of a shakedown artist. Not above the occasional grift, but you'd understand that. All in all not a bad guy, if looks, brains and personality don't count. Verna You better hope they don't. He gives her a sick grin. Tom . . . Yeah well, we're none of us the saint I hear your brother is. Verna Who killed him? Tom Leo thinks Caspar did. Verna But you know better. Tom I do now. Caspar just tried to buy me into settling his tiff with Leo, which held hardly do if he was waging war. So I figure you killed him, Angel. You or Saint Bernard. Verna Why would I--or my brother--kill Rug Daniels or anybody else? Tom Rug was following you. He knew about you and me. That wouldn't help your play with Leo, would it? He looks at her. She holds his gaze. Verna You think I murdered someone. Come on, Tom, you know me a little. Tom Nobody knows anybody--not that well. Verna You know or you wouldn't be here. Tom Not at all, sugar. I came to hear your side of the story--how horrible Rug was, how he goaded you into it, how he tried to shake you down-- Verna That's not why you came either. Tom shrugs. Tom Tell me why I came. Verna looks at him. Verna The oldest reason there is. Tom There are friendlier places to drink. Verna Why can't you admit it? Tom Admit what? Verna Admit you don't like me seeing Lee because you're jealous. Admit it isn't all cool calculation with you--that you've got a heart--even if it's small and feeble and you can't remember the last time you used it. Tom If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon. Verna smiles. Verna . . . Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride. She turns to walk across the room. . . . Though one day you'll pay a crice for it. Tom grabs her wrist. Tom Okay, Verna. But until then, let's get stinko. He draws her close. Verna . . . Let's do something else first. She reaches up, takes off his hat, and tosses it casually away. We pan with the hat to where it lands on the floor, in front of a curtained window. Tom (off) Yeah. Let's do plenty.25. DISSOLVE THROUGH TO: ANOTHER WINDOW NIGHT A living room window, open, its white sheers billowing lazily in the draft. Faintly, from another room in the house, we can hear a phonograph playing John McCormack singing "Danny Boy". At the cut we hear a thump, close by, and briefly the sounds of a struggle. We then hear a breathy, gurgling sound, which quickly subsides. The living room is late-night quiet. The shot is a lateral track, which brings us off the window to an end table in the foreground. On the end table is a pouch of Bull Durham, a package of rolling papers, a cup of coffee with steaming rising off of it, and a section of a newspaper. The draft gently lifts a couple rolling papers off the table. The continuing track takes us off the end table and, booming down, shows us an upset chair and the legs of the man who occupied it. We track along the man's body to discover that he is face- down on the section of newspaper he was reading, blood oozing out of his slit throat onto the newspaper. The continuing track shows that, between the fingers of one outflung hand, a cigarette burns. It is resting on the newspaper. We see the feet of another man who is turning and walking away from the man on the floor, into the background. We pan over to watch him recede, framing out all of the dying man except his outflung hand and cigarette. As the walking man recedes, more and more of his topcoated body crops in. By the time he reaches the house's front door, in the deep background, we can see him full figure. The newspaper in the foreground is crackling into flame. The rug it rests on is beginning to smoke and discolor. As the man in the background opens the front door we jump in: OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora. He is holding two tommy guns. The men do not exchange words. The man outside hands his partner a tommy gun and follows him as he walks back into the house. Still faint, we continue to hear "Danny Boy". We also hear the lick of flames.26. A VICTROLA The song is louder at the cut. We are in an upstairs bedroom. LEO Stretched out an his bed, wearing a robe over his pyjamas, smoking a cigar, listening--but only to the phonograph. Its sound covers any other noise in the house.27. STAIRWAY A close track on the two pairs of feet climbing the stairs. We see only the feet, the swaying hems of the topcoats and, occasionally dipping into frame, the muzzles of the two tommy guns.26. BEDROOM Leo, is motionless, looking down, a puzzled expression. HIS POV The floor. Thin smoke is beginning to sift up through the floorboards.28. STAIRWAY Tracking on the approaching feet. The song grows louder.26. BEDROOM Leo, looking, slowly taking the cigar from his mouth. BEDROOM DOOR From inside as--CRASH--it is kicked in. LEO Hitting the floor and rolling under the bed. THE TWO GUNMEN Striding into the room. LEO On his belly under the bed, facing the door, swinging a handgun in front of him. HIS POV From floor level, the bottom of the mattress above us, the floorboards stretching away. The bed crops the two gunmen mid-shin as they swing their guns up, firing. RAT-TAT-TAT-TAT--the hems of their coats sway as they fire. The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress. The mattress above us dances under the gunfire as ticking sprays down at the floor. Smoke curls up throuch the floorboards. LEO Jaw clamped on his cigar, he starts firing. HIS POV Blood spurts as one gunman takes a hit in the ankle. He staggers and his tommy gun clatters to the floor. LEO Still firing. HIS POV The other gunman is ducking out the door. The injured gunman pitches forward, head towards us, his hat rolling off. LEO Firing. HIS POV A bullet hit in the top of the fallen man's head. LEO Rolling out from under the bed. He stoops to pick up the dead man's tommy gun. Thick smoke seeps up through the floor. The phonograph plays. Leo ducks through another door.28. HALLWAY Facing down the length of the dark hallway, towards the mouth of the stairs. As Leo leaps across frame in the foreground, to enter a facing room, muzzle flashes erupt at the end of the hall-- where the other gunman has been waiting in the darkness.29. SECOND ROOM Leo throws open a window.30. EXT As Leo rolls out onto the long sloping eave of a front porch. His gun skates down the eave and falls. Leo grabs the rain gutter, hangs by his hands and drops down to the front lawn. The first floor of the house is in flames. From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house, looking up at the second story. His open robe flaps in the breeze. The dead cigar is still clamped between his teeth. LEO'S POV The second floor window that he just emerged from. Staccato gunfire erupts in the dark room. The strobing gunfire makes a strobing shadow of the gunman, whose back is to us as he rakes the room with fire. LEO Firing, the gun jumping and bucking in his hands.29. INSIDE THE ROOM The gunman, riddled with bullets and showered with broken glass, spins around, his thompson still firing uncontrol- lably. Bullets dance across the walls and ceiling, blast out the remaining glass and sing harmlessly into the trees outside. BACK TO LEO As we hear the screech of skidding tires. A black coupe takes a curve on the street behind him, machine gun fire spitting out of the back window. Leo turns, in the glow of the fanning flames, walking calmly into the street, firing at the receeding car. ON THE CAR Growing smaller, still snitting fire and lead. PULLING LEO Still walking calmly up the street, the gun still bucking in his hands. Bullets whistle by and claw up the pavement around him. BEHIND LEO His robe whips back in the breeze. He fires again and we hear the distant sound of shattering glass. The car weaves, runs up off the road, hits a tree and bursts into flame. A figure emerges from the car and staggers off into the darkness. He is on fire. CLOSE ON LEO As he stops, squinting, raising the gun. HIS POV The burning gunman zig-zagging into the darkness. BACK TO LEO A faint smile curls around the cigar. He drops the muzzle of the gun. Leo Huhh. . . The shell of the car explodes in a fireball as we:31. CUT TO: UPSTAIRS HALLWAY SHENANDOAH CLUB The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre- maturely white hair. This is Dead Terry McGill. Gunmen of every description line the hallway, lounging against the walls, barely acknowledging the two men. Tom Who's winning? Terry We are, for the nonce. Tom What's the disposish? Terry Last night? Four to one. Dana Cudahy went up with the house. Tom And theirs? Terry One burned. Tom The other three? Terry Lead. Tom Whose? Terry Leo's. He is opening the door to admit Tom. In a low, gravelly voice: . . . The old man's still an artist with a thompson.32. INT LEO'S OFFICE As Tom enters. Leo is bellowing into the phone: Leo --well find him, goddamnit! Go see if he fell in the john! And get him, over here! He slams down the phone. . . . Sonofabitch! No chief! Who's running the goddamned store? Tom goes to the bar to pour himself a drink. Tom Can't raise O'Gar? Leo No, nor the mayor either. Tom Hmm. He takes a sip. . . . That's not good. They're running. Leo They wouldn't dare. Tom I don't know, Leo. I warned you not to hit Caspar's club-- Leo I'm still here, ain't I? Tom Caspar's play hurt you anyway. Leo Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him-- Tom Listen to me Leo. Last night made you look vulnerable. You don't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it. Leo Jesus, Tom, sounds like a bad break for me I wasn't killed. Tom I mean it, Leo. Start taking Caspar seriously. Leo Don't sing me the blues again, Tommy. I need your help. He shoots, we gotta answer-- Tom That's what got you in this mess. Leo I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems. Tom It won't anymore, I'll grant that. Now its either you or Caspar. But going toe-to-toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky. Leo The hell I do! Tom Then where's the mayor? Why aren't there any police here? Why weren't there police at your place last night? Leo I didn't ask for any. Tom I did. Leo chuckles. Leo Mother hen, huh? What's the matter, Tommy, you think I can't take care of myself? Tom I know you can't. Here's the smart play, Leo: you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness-- Leo Please, Tom. . . Tom stares at him. Tom You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it. Leo leans back in his chair, puts his feet up, and gazes out the window. Leo . . . Tom, it ain't all as clear-cut as you make it. . . Bernie's--Well hell, you know about me and Verna. . . Things now are--not that I haven't been a gentleman, but. . . I, uh. . . I plan to ask her to marry me, Tom. There is a long, awkward silence. Leo avoids Tom's look but finally responds to the silence: . . . I guess you think that's a bonehead play. Tom Do you think she wants you to? Leo How the hell do I know, Tom?. . . I think she does. . . Yeah, 'course she does. I know, I know, you think different but--well, we just differ on that. Tom Leo. Tom takes a deep breath, and exhales. . . . Caspar didn't kill Rug. Absently: Leo Course he did. Tom No. Think about it. Just this one time. Who was Rug following? This gets Leo's attention. He turns to look at Tom. Leo . . . Huh? Tom It needn't have been that sinister. A strange man, following her down a dark alley, late at night. . . I've told you, Leo, she can take care of herself. Leo stares at Tom. He seems somewhat dazed. Leo . . . Tom, why're you saying that? Christ, Tom. I just told you, I plan to. . . Tom They pulled a .22 slug out of him. A pop gun, Leo--a woman's gun. Leo . . . That's a whiskey dream. Verna wouldn't panic--shoot someone--just because he was following her. He gazes off again, shaking his head. . . . No. . . It wouldn't have happened that way in the first place, and if it had she would have told me. . . I know you don't like her, Tom, but I trust Verna as much as I trust you. Tom On her account you'll burn the town down. Leo Don't worry, Tom. We'll still be standing when the smoke clears. Tom's tone is gentle: Tom Okay Leo. Then maybe it wasn't that innocent. Maybe Rug knew something she didn't like him knowing, and wouldn't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with. . . Leo has taken his feet off the sill and has turned back to face Tom. He studies him carefully. Leo Maybes don't make it so. Tom's suddenly very earnest, almost beseeching. Tom They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this. Leo This is too important. Tom I don't ask much, and I don't ask often. Trist me on this. Leo Tommy-- Tom Trust me on this or the hell with you. Leo You don't mean that. Tom . . . She was at my place. The night Rug was following her; the night you dropped by. Leo is still staring impassively at Tom. Tom doesn't flinch from his gaze. After a long beat Leo gets up slowly from his chair, walks over to the window, shoves his hands in his pockets and gazes out. For a moment Tom looks at Leo's motionless back, but he has nothing left to say. He rises, plucks his hat from the desk and goes to the door. Before exiting, he looks back. Leo, in long shot, is still gazing out the window. Tom exits.33. HALLWAY Pulling Tom up the hall. Behind him we can see the door to Leo's office opening and Leo coming out. He strides up the hall after Tom. Tom turns as Leo reaches him. Leo, without breaking stride, seems to walk right into him, throwing a punch that catches Tom on the chin and sends him stumbling back, his hat flying off. The men 1ining the hall watch with casual interest. Tom staggers into one of the men who catches him. Another man has picked up Tom's hat and now hands it to him. The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw.34. This blow sends Tom rolling down the staircase, still clutching his hat. Leo is clomping down the stairs; his army of private retainers clomp down behind him. In his shirtsleeves and chomping an unlit cigar, Leo looks like a labor leader taking the rank and file to the barricades. Tom claws himself up the wall to his feet. Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos. A path clears for Leo and his entourage. He has not slackened his pace, but is also not hurrying. Tom weaves, watching Leo approach, but makes no attempt to defend himself. Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face. Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support. She bats at him with her handbag as he slips down. Fat Tony emerges from the crowd and helps Tom to his feet. He raises his hand to stop Leo. Tony Okay, Leo. I'll throw him out. Leo stops, panting. He is looking at Tom, but speaking to to Tony. Leo . . . Yeah. Do that. . . It's the kiss-off. If I never see him again it'll be soon enough.35. CUT TO: TOM'S APARTMENT Wide shot of his living room, facing the windows. It is night. Tom sits with his back to us at the window, feet propped up on the sill. He is smoking a cigarette. A full ashtray on a table at his side indicates that he has been sitting there for some time. We are slowly tracking in. The telephone sits on the the arm of his chair. After a moment he stubs out the cigarette, picks up the phone and dials. Tom . . .'Lo Frankie its Tom, how's the flunky business?. . . I've had worse; your ventilator healing up? Offscreen we hear a knocking at the door to the apartment. Tom ignores it. . . . Tell Caspar its already forgotten. I'd like to see him. . . The knocking continues. . . . All right, do what you have to do and let me know. He cradles the phone, lights another cigarette, takes a drag, blows a thoughtful cloud of smoke and turns to face the door. After a beat he rises and leaves frame. THE DOOR As Tom swings it open. Verna stands in the hallway outside. After a wordless beat she moves past him into the apartment. Tom turns and follows her. He walks over to his bar, pours two drinks, then crosses the room to Verna who has seated herself, hands her a drink and sits down in a chair facing hers. Verna . . . It worked, whatever you did; Leo told me we're quits. But you know I didn't have anything to do with Rug. Tom Maybe not. . . Anyway, that isn't what soured him on you. The thought is bitter but her tone isn't: Verna Oh, you and me, huh? You always take the long way around to get what you want, don't you Tom. . . . You could have just asked. Tom looks at her. Tom . . . What did I want? Verna returns his look, then answers evenly: Verna Me. After a beat Tom, his eyes still on Verna, brings the glass to his lips and takes a sip. The ice cubes clink. FADE OUT36. FADE IN: THE BEDROOM Tom sits perched on the edge of the bed, smoking a ciga- rette. Verna is in bed behind him. The lamp on the nightstand is burning a faint yellow. The telephone rings. As Tom reaches for it, Verna stirs behind him. Tom Yeah? He reaches over to switch off the light; when he does the room remains illuminated by dull gray light; it is dawn. . . . Yeah yeah, when?. . . Okay. He hangs up, and continues to smoke, staring absently off. Verna . . . You're still up? Tom answers without turning to face her: Tom Yeah. Verna . . . What're you chewing over? Tom . . . Remembering something. . . Verna What was it? Tom turns to look at her, then turns back and looks out the window. Tom Just a dream. I was walking in the woods, don't know why. . . The wind came up and blew my hat off. . . Verna And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it wasn't a hat anymore. It had changed into something else--something wonderful. Tom No. It stayed a hat. And no I didn't chase it. I watched it blow away. . . He takes a drag an the cigarette. . . . Nothing more foolish than a man chasing his hat. Tom rouses himself, rises, and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror. Verna Where're you going? Tom Out. Verna stares at him. Verna . . . Don't let on more than you have to. Tom shrugs. Tom Just have to do a few things. Verna You and Leo might still be able to patch things up. Tom grimaces into the mirror. Tom Me and Leo are finished. Nothing's going to change that. Verna You never know. He's got a big heart. Tom We're quits--as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought. Verna . . . Then why don't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me. Tom is starting to knot a tie. Tom What about Bernie? Verna He could come with us. Tom You, me and Bernie. Where would we go, Verna? Niagara Falls? Verna Why do you hate him? Tom I don't hate anyone. Verna Or like anyone. Tom Whatever. Where is Bernie? Verna looks at him. Verna Why? Tom Leo can't protect him anymore. I ought to tell him to skip. Verna The Royale. Room three-oh-two. She gazes off. . . . I guess we both double-crossed Leo, there's no getting around that. I guess he's well rid of both of us. Tom Mm. Verna The two of us, we're about bad enough to deserve each other. Tom Are we? Verna We're a couple of heels, Tom. Yes we are.37. PULLING TOM Into a dark office. Behind him, Frankie, his nose swathed with bandages, is closing the door from the outside. Caspar (off) 'Lo, Kid. You know O'Gar. . . TOM'S POV Caspar sits behind his desk. Bluenoint sits slouched on a couch to one side, wearing his hat, his hands jammed into the pockets of his overcoat. In two chairs facing the desk, away from us, sit two men who are twisting around to smile at Tom. Caspar . . . and the mayor. Tom 'Lo, boys. Mayor Tom's a big booster. Always has been. Caspar S'fine, s'fine. Well, Tom and me's got the proverbial fat to chew-- The mayor and O'Gar are already rising to their feet. Mayor Well, let us know if you need anything. . . Caspar Yeah, happy days. Have a seat, kid. . . Tom sits into one of the vacated chairs facing Caspar. . . . So you had enough time to think about it? Tom Yeah, well, circumstances have changed. Caspar Don't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic-Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gonna go bust-o. If the kid ain't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I didn't. Like a goddamn psychic. G'ahead. Ask him. Tom turns to look at Bluepoint. Tom You vouch for this psychic business? From the couch, Bluepoint sneers: Bluepoint That's right, smart guy. Caspar cheerfully continues, oblivious to any hostility in the room: Caspar I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust-o. He chuckles. . . . That's why last night we didn't put the arm on you. Only Leo. Tom Seeing how you squiffed your play on Leo, I can be only so grateful. Bluepoint That's brave, coming from Little Miss Punching Bag. Caspar C'mon Bluepoint. Friends now, huh? Bluepoint Nuts. Caspar smiles at Tom. Caspar So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid? Tom Maybe. Caspar laughs. Caspar What maybe. You know or you wouldn't be bust-o. So I guess you're looking for a job? Tom I might be. Caspar laughs. Caspar You got references? You been to college, kid? We only take yeggs what's been to college. Ain't that right, Bluepoint? Bluepoint says nothing. His scowl is set in cement. . . . I'm jokin', of course. We all know you can be useful to us, a smart kid such as yaself, the man who walks behind the man and whispers in his ear. I guess you could be useful, in spades. Tom Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you. Caspar I'm tellin' ya not to worry about Leo. We got plans for him. Tom Yeah? What? Bluepoint Not so fast there, Kaputnik. There is a beat through which Caspar continues to smile at Tom. Caspar . . . I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave-me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You gotta put somethin' on the table. Ante up. Tom Fair enough. Where shall we start. Caspar Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!. . . He rocks back in his chair and dries his eyes. Tom smiles pleasantly. Finally Caspar sighs. . . . Well, we could start for instance with the Motzah. . . Like where's the Motzah? You could maybe tell us that. . . Tom The Royale. Room three-oh-two. You might find Mink with him. Bluepoint The hell you say. Tom Sure, Bernie and Mink are as cozy as lice. He turns to look at Bluepoint. . . . And it ain't just business. Caspar looks at Bluepoint. Bluepoint's eyes bare into Tom. Bluepoint This guy's lying. Tom shrugs. Tom Why would I? Bluepoint This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy. Caspar is still staring at Bluepoint, no longer smiling. Caspar Easy enough to find out, ain't it? You find Mink, bring him back here. He nods at Tom. . . . You go down to the car. I'll send Frankie and Tic-Tac with you to the Royale. If Bernie's there, Frankie and Tic-Tac'll take care of him. Bluepoint And if he's not there? Tom shrugs. Tom I'll sit facing the corner in a funny hat.38. CUT TO: INT CAR Tom sits behind the wheel of the parked car; we are an his profile. Tom's face is rigidly set; we don't know why as we watch him for a short beat. BAM--with a loud impact Bernie Bernheim's face is slammed against the driver's window. Tom still faces forward. Bernie is wailing as he is muscled back away from the window by two topcoated torsos--their faces above the car window. They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened. Bernie's voice, off, is near hysteria: Bernie Frankie, let me go, I'm prayin' to ya, Jesus God- -Tom! Jesus! As Frankie and Tic-Tac pile Bernie into the back, we continue to hold on Tom's face. He still does not react. Bernie . . . Are you part of this?! You can't be part of this! I think these guys're gonna whack me! You gotta talk to 'em, Tommy! Frankie You gimme a headache, you little sheeny.To Tom: Tic-Tac Okay, we're going to Miller's Crossing. Tom still doesn't react. There is a beat of Bernie's crying. Finally: Frankie . . . Lets go! As Tom reaches forward and starts the car: Bernie You're not part of this! Tom! Help me! These guys are gonna whack me! Tic-Tac Whack you inna mouth you don't shut up.39. MILLER'S CROSSING WIDE Day. A wooded area outside of town. The wind blows. The car pulls into frame and stops on the shoulder. The backseat passengers--Frankie, Tic-Tac and Bernie--emerge; Tom remains in the driver's seat. Bernie is weeping, loudly; he has lost control. Frankie takes out a gun and whacks him smartly on the side of his head. The blow sends him stumbling over towards Tic-Tac, who kicks him down. The blows haven't quelled Bernie's sobbing. Tic-Tac I don't want you runnin' anywhere. Frankie takes a swig from his flask and hands it to Tic- Tac, who leans in the car window. INT CAR Tom gazes forward, jaw set, eyes off the doings outside. As Tic-Tac hands his gun in through the window: Tic-Tac Okay. Take him in the woods and whack him. Tom Huh? I don't. . . Tic-Tac Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys. Tom stares dumbly at the gun. Tic-Tac holds it, grip towards Tom, motionless. After a beat he takes the gun. Tic-Tac You know how to do this, right? You gotta remember to put one in his brain. Your first shot puts him down, then you put one in his brain. Then he's dead, then we go home. Tom opens his door. WIDE EXT Bernie is still on the ground, sobbing, not responding to Frankie who prods him with his foot. Frankie Get up. Bernie I can't get up! I can't get up! Frankie drags him to his feet. Frankie Get up and walk, you chiselin' little yid. He pushes him towards the woods and reaches for the whiskey flask. Bernie stumbles off; Tom follows him.40. TRACK Through the woods, pulling the two men, Bernie in the foreground. Tree limbs groan in the wind. Bernie is stumbling, his clothes rumpled and dirty, his face stained by tears and blood from the gun blow. His shaking voice strains for a tone of reasonableness: Bernie . . . Tommy, you can't do this. You don't bump guys. You're not like those animals back there. . . Tom marches on, face drawn, silent. . . . It's not right, Tom. They can't make us do this. It's a wrong situation. They can't make us different people than we are. We're not muscle, Tom. I never killed anybody. I used a little information for a chisel, that's all. I couldn't help it, Tom, it's my nature. Somebody hands me an angle, I play it. I don't deserve to die for that! D'you think I do? I'm just a grifter! Huh, Tom? Still no response from Tom. Bernie is fighting a losing battle to keep himself from whining. . . . But I'll tell you what, I never crossed a friend. Huh, Tom? Never killed anybody, never crossed a friend. Nor you, I'll bet. We're not like those animals. You can't do this! You're not like those animals. This is not us! This is some hop dream! Tom's face is a ---ny mask. Bernie is losing control again. He starts to weep. . . . It's a dream! Tommy! I'm praying to you! I can't die! I can't die! Out here in the woods! Like a dumb animal! I can't die! He turns and sinks to his knees, wailing, his hands clasped in front of him, staring up at Tom. . . . You can't kill me. I'm praying to you! look in your heart! I'm praying to you! Look in your heart! Tom stares down at Bernie, his face drawn and pale. . . . I'm praying to you! Look in your heart! Slowly Tom raises the gun and levels it at Bernie's head. . . . Look in your heart! Look in your-- BOOM! The gun blast is deafening. With it, Bernie's sobbing abruptly stops. The shot echoes away in the woods, taking the wind with it, leaving silence. CLOSE BERNIE Still kneeling, in shock, staring wide-eyed at Tom. Finally, whispering: Bernie . . . Tommy. Tom Shutup. You're dead, get me? Still whispering: Bernie I understand. I'm dead. God bless you-- Tom Shutup. You have to disappear. You have to blow, for good. Nobody can see you, nobody can know. Bernie God bless you-- Tom Go somewhere no one knows you. Anyone sees you, you really are dead, I don't care, you're not my problem any more. Bernie Of course not. Of course not. You've done your share. Thank you. Don't worry, I understand. Thank you-- Tom Shutup. Just get the hell out, before I change my mind. Bernie is already on his feet, and running. CLOSE ON TOM Watching Bernie go. TRACKING Pulling Bernie as he runs. Foreground trees flash by. In the background we see Tom standing, his gun dangling at his side. Boom!--another gun blast. Running, Bernie reacts, but Tom has only fired into the ground. On the echo of the shot we cut to:41. WIDE THE ROAD Tic-Tac and Frankie are leaning against the car, trading the flask back and forth. In the background, Tom emerges from the woods. Frankie Put one in his brain? Tom takes a few steps more before answering: Tom . . . Yeah. Frankie Attaboy. FADE OUT Over black we hear the sound of coins being dropped into a phone box.42. FADE IN Looking down a deserted street towards a glowing phone booth on a dark corner. Tom stands inside the booth waiting, the receiver to his ear. Tom Mink? Tom Duchaisne. Where've you been?. . . CLOSE ON TOM Inside the phone booth. . . . Well you're lucky, Bluepoint's been looking for you. Bernie's dead--Stop wailing and listen to me. Caspar knows you were in on selling out his fix. . . I guess I gave him that idea. Sorry Mink, we were chatting and it just slipped out.-- Shutup and let me talk. You've gotta make yourself missing, but let me know where you hole up. You're gonna say some things for me. . . Some stories. About Bluepoint, to Caspar--don't worry, I'll let you know. For now just dis- appear. . . Yeah, I got you into it. Just remember, Mink, I'm the only one who can get you out. Tom hangs up the phone, turns around and opens up the glass door. WHOMMMP! A fist slams into his stomach, driving him back into the phone booth, knocking his hat off of his head. The man who hit him leans down, picks up the hat, dusts it off and hands it into the booth. It is Dead Terry, the tall cadaverous man we saw earlier outside of Leo's office. A cigarette dangles from his lower lip. Behind him a black sedan is parked at the curb. Three or four gunmen stand on the sidewalk looking warily up and down the road. Tom looks up, the color drained from his face, and reaches feebly out for his hat. Tom 'Lo, Terry. Getting out the vote? Dead Terry flicks his cigarette away and smiles. Terry Message from Leo. Leo says, if you're smart you'll sit this one out--not that he cares one way or the other. Leo says if you're on the wrong side you take your chances, like anyone else. Leo says he gives no special favors. That's all. Tom Mm. . . Terry starts to turn away. . . . Tell Leo he's not God on the throne, he's just a cheap mick political boss with no brains and an office that looks like a French whore- house. Tom moves to exit the booth but Terry lays a hand on his shoulder. Terry One more thing. . . He cracks Tom across the chin with a clean left hook, knocking him back into the booth again. Tom rubs his chin, looking up at Terry. Tom Leo say that too. . . ? As Terry and the gunmen get into the car: Terry No, I said that. Cross Leo and next time I'll say plenty. We FADE OUT as the door slams and the car roars off. Over black we hear: Caspar When you're right you're right, but you never say I told you so.43. FADE IN On Tom, sitting into frame in Caspar's office. Tom So what'm I right about? Behind his desk, Caspar is smiling. Caspar Well, I'll tell ya, but first you gotta promise not to say I told you so. Tom's eyes hold an Caspar's. He is taking out a pack of cigarettes. Tom I never say that. And I don't like people who do. Caspar Mink was robbin' me right along with the Mptzah. Tom . . . What convinced you of that? Caspar Mink Larouie took a powder. We can't find him. Bluepoint's makin' excuses for him, but personal- ly, I think you were right. I think Mink and Bernie was in it together. I think Mink heard you'd bumped the Motzah, and lit out. The lousy sonofabitch. His eyes on Caspar, Tom takes out a cigarette, lights it, takes a deep drag. Tom . . . I told you so. Caspar laughs. Caspar Okay. You got a lip on ya. Ats all right. I don't generally care for it, but that's all right. . . You were a good sport to bump the Motzah. I just like to make sure my friends is my friends. So. He throws his hands up. . . . Friends, right? Tom How d'you know Mink skipped? Caspar Bluepoint can't find him. Tom So he says. Caspar stares at Tom. Caspar Meanin' what, exactly? Tom Maybe nothing. . . I didn't give it much thought until now, since a guy will say pretty much anything when he knows his number is up, but just before I bumped Bernie he swore to me that Bluepoint and Mink were setting him up. That they were the ones that were selling out your fix. Caspar looks at Tom. Caspar 'Zat so. . . He thinks for a beat. . . . Like you say, a guy'll say anything. Tom . . . Uh-huh. So why isn't Bluepoint here? Caspar Well. . . He figdets. . . . He don't care for you, kid. Maybe it's only fair to tell you. . . After you left us, he tried to sell me on a double-cross. He says to me, why don't we double-cross you and give you the bump once we get the Motzah. But I figure a deals a deal, you're square with me, you bump the Motzah, I'll hold up my end. Question of ethics. Everything above board, that's how I like it, so everybody knows who's a friend and who's an enemy. . . But Bluepoint wouldn't cross me. We go back. Tom Uh-huh. . . Course, there's always that wild card when love is involved. . . Caspar is staring intently at Tom. After a beat: Caspar . . . I know Mink is Bluepoint's boy, but I still don't make it that way. Tom Mm. Well, then there's nothing to worry about. Caspar seems lost in thought: Caspar Yeah. . . We hear the door to the office open offscreen and Johnny Jr. runs into frame clutching a scrolled piece of paper. Johnny Jr. Poppa! Poppa! I got a prize from the-- Caspar holds his hand up to quiet the youngster, still looking at Tom. Caspar Just a minute. As Tom rises to his feet: . . . Course, there's no reason not to be careful-- Johnny Jr. Poppa! Poppa! The sisters gave me a--unnnh! Cascar has cuffed him sharply on the side of the head. He points at Tom. Caspar Shaddap! You take a page outta this guy's book. A little less you talk and a little more you think! Cascar looks at Tom and smiles. . . . Kids. Ya gotta be firm. Anyways. You know what I'm sayin'. No reason to worry but no reason not to investigate, neither. If Mink is around I want you to find him. He can tell us what's what. . . (to Johnny Jr.:) . . . What's a matter, somebody hit you, what's a matter, we ain't friends anymore?. . . He picks up Johnny Jr., who is crying softly, and sets him in his lap. Encouraged by the attention, the child starts wailing. Caspar bounces him on his knee and raises his voice over the sobs: . . . If you find him, I wanna talk to him alone. That's how you get the straight dope. Man-to- man. Just me, Mink. . . He pats his jacket where his shoulder holster is. . . . and my friend roscoe. Y'understand what I'm sayin'? Tom takes a contemplative drag on his cigarette. Tom . . . It ain't complicated.44. CUT TO: CLOSE SHOT A MAN'S FACE Crunch!--being hit by a gloved hand. The blow and the man's grunt echo. CLOSE ON A NEWSPAPER As the noise of fists against flesh continues, echoing, in the background. The newspaper headline reads: PARTY BOSS LOOSES MUNICIPAL CONTRACT. The subhead reads: Liam (Leo) O'Bannon Removed From City Highway Commission; New Construction Contracts To Raffo Bros. ON TOM Leaning against a pillar in a large bare room with a hardwood floor. He is reading the newspaper. We are in a gym. In a ring in the background two boxers are sparring as two or three old men with towels slung over their shoulders and elbows hooked over the ropes idly watch, and offer occasional bits of half-hearted advice. We hear high heels echoing across the floor and Verna enters. Tom You should leave town for a few days; things are going to heat up here. Go out to the Pallisades; I'll join you once I'm done. Verna . . . I can't find Bernie. Did you find him? Tom looks out at the fighters in the background, avoiding Verna's look. Tom . . . Yeah. Verna Is he leaving? Tom He left. Verna Where to? Tom . . . He didn't say. You should-- She reaches out to touch his hand-- Verna Thanks. She leans in to embrace him. Tom's eyes drift up to the fighters.45. EXT THE GYM Peeling paint on its blackened-out window reads: Gleason's Gym. Training in The Sweet Science. Verna is exiting the gym in long shot. We pull back to bring Bluepoint into frame. He sits in the driver's seat of a car, watching through his side window as Verna recedes. Quietly: Bluepoint What's he up to? An offscreen voice, a passenger: Voice I dunno. Bluepoint That's Bernie's sister, isn't it? Voice I dunno. Bluepoint thinks, a short beat. Bluepoint What's he seeing her for? Voice I dunno, maybe he's-- Bluepoint Shutup. Get outta the car. Stick with the bighead. Bluepoint reaches for the ignition, as we hear the car door open. . . . I'll see where the twist flops.46. CUT TO: INT SPEAKEASY A hand swings through frame holding the barrel of a gun, smashing the butt into a surprised face. With a loud crash the surprised man stumbles back into a table and hits the floor. Legs and the skirts of an overcoat approach the prostrate, round, middle-aged man and start kicking him. He rolls across the floor trying to shield himself from the blows. Voice (off) C'mon, get up. I just wanna talk. Another Voice (off) Yeah, get up. He ain't gonna hurt ya. Round Man He already hurt me! He broke my goddamn nose! Whisper, the man standing over him, has a long scar across his neck. He has a rasping voice: Whisper So what? I had my nose broke once. Round Man I already paid Leo's men. Bert, another enforcer, is down at the end of the bar with Tom. Bert You still pay Leo for protection? Is he protec- tin' you? As he kicks at the little round man: Whisper We's protectin' you. Johnny Caspar's runnin' things or maybe you ain't heard. In the background Whisper continues to hector and kick at the round man as Bert and Tom talk in the foreground. Tom So Bluepoint hasn't got a line on Leo yet? Bert Not that I know about. He's been lookin', but I guess Leo's been movin' around and--hoist this over the bar, will ya?--and thingslve been kinda hectic. He is handing Tom a briefcase. As Tom leans over the bar to drop it behind: Tom Do me a favor--let me know if he finds anything. Bert is pouring himself a drink. Bert Yeah, okay-- Whisper, gun drawn, calls from the back of the bar: Whisper I'm gonna put this one to sleep, wuddya think Bert? Bert shrugs into his overcoat. Bert Yeah, okay. Tom If you kill him he won't be able to think things over. Whisper He don't seem like such a hot thinker. Tom You'll think about what you've learned here, won't you Louie? Round Man You bet, Tom, I'll think plenty! Bert shrugs. Bert Ah, what the hell. . . The round man scrambles to his feet and runs out the back door. Whisper puts away his gun and saunters over to Tom and Bert. As the three men head for the front door: Bert . . . If we can't trust a dago, the whole thing's hopeless anyway.47. EXT SPEAKEASY As the three men emerge into the afternoon sun. Tom So, are we winning? Bert gives a so-so flutter of his hand. Bert It's tough. Leo's still got some teeth left. His men bushwhacked Tony Campisi last night, slit his throat. Whisper Yeah? He die? Bert I said, they slit his throat. Whisper So what, genius? I had my t'roat slit once. Tom Sure Whisper, but normal people's brains need oxygen-- BOOM!--Behind the three men the front of the speakeasy blows--glass flying, flame licking out. Though there is commotion among the passers-by, Tom, Bert and Whisper don't even turn around to look. Bert Get the car, will ya Whisper? As Whisper trots out into the street: Tom Don't tell Bluepoint I was asking about him. Bert Yeah yeah. Tom Caspar just wanted me to check up, make sure he's doing everything he can-- There is a faint but distinct popping sound. Tom looks into the street. Whisper is staggering around, as if drunk. He turns to face Tom and Bert. He lurches toward them. A red stain is blossoming on his chest. The ambient hubbub fades to total silence; we hear only the crisp staggering scuffle of Whisper's shoes as he stumbles into the foreground, looking stunned. He drops. A woman screams. Noise wells up. Bert is unhoistering his gun, looking up. Tom looks where Bert is looking. FACING ROOFTOP A man with a distinctive shock of white hair--Dead Terry McGill. He puts up his gun and starts running along the roof. BERT Starts running along the street to keep pace, firing up at the facing roof. A POLICE CAR Siren wailing, up on two wheels, taking a speeding turn onto the street. It is speeding towards Bert. PULLING BERT Running, he is pointing, and bellowing at the car: Bert Leo's man! Up there! POLICE CAR Cops with guns hang out every window. They start firing. TRACKING TOWARDS BERT Bert . . . Up there! Leo's-- A hail of bullets cuts him to pieces. A limp rag, he hits the road. The police car squeals to a halt in front of his corpse. A sergeant and his men pile out. Tom is sauntering over, smoking a cigarette. Sergeant 'Lo, Tom. Chalk one up for the good guys, huh? Tom Yeah, Caspar'll be thrilled. You just shot one of his apes. Sergeant Bullshit! Tom's attention is drawn by something down the street. HIS POV About a block away, a man with white hair is crossing the street, from the side where the sniper's shot came from. Sergeant (off) I'm tellin' you that's Two-Toe Jackson! He's Leo's! BACK TO TOM As he starts to leave. Tom It's Bert Sachetti, Caspar's bang-man. Behind him the Sergeant bellows at another cop: Sergeant Bullshit! Take his shoes off. Count his goddamn toes!48. INT DINER Dead Terry McGill sits at a stool looking angrily down at a cup of coffee. Tom enters to sit next to him. Through the windows behind them, we can see people running back and forth on the street, a fire engine racing past-- furious activity, its noise muted inside the diner. Tom 'Lo, Terry. You weren't aiming at me, were you? Terry does not even look over at him. Sullenly: Terry In the first place, I don't know what you're talking about. In the second place, if I had been aiming at you I'd've hit you. In the third place, I don't know what you're talking about in the first place. He tosses some coins onto the counter and gets up. We hold on Tom as Terry talks to Tom's back: . . . I'd like to have, believe me. Leo won't let me--yet. But I'll bring him around. He puts a hand on Tom's stoulder and swivels him around. Terry clenches a fist and draws it back to throw a punch. Tom and Terry look at each other, Tom making no movement to defend himself. After a long beat, Terry uncldnches his fist and sneers: . . . I won't give you the satisfaction.49. CUT TO: DOORKNOB As--CRASH--a foot enters to kick it and the door in. INT VERNA'S APARTMENT Verna is backing away from the door--behind us--into the apartment. Bluepoint strides into frame. Bluepoint Know who I am? Verna continues to back away; Bluepoint continues to advance. Verna Yeah, Johnny Caspar's shadow. Did he stay in bed today? Bluepoint Jesus. I open my mouth, the whole world turns smart. . . He glances around the room. Verna is backing around the couch. Bluepoint continues to follow her. . . . What business d'you have with Tom Duchaisne? Verna None. She continues to back away; Bluepoint continues to follow. Bluepoint You're Leo's twist, right? Verna Me and Leo are through. She picks up her purse from the sill behind the couch and rummages. Bluepoint doesn't seem to mind. Bluepoint Yeah? So you're sluttin' around with Tom now, huh? Verna has taken a gun from her purse; she levels it at Bluepoint. Verna Get outta here. As he continues to stride towards her: Bluepoint Okay, see ya later. . . His hand shoots out in a flash--he has grabbed the gun with one hand, her arm with the other. . . . Before I go, what's your boyfriend up to? Verna is stuggling in his grasp to no effect. Verna Nothing I know about. Bluepoint drags her close, nose to nose: Bluepoint Yeah? It doesn't figure for me, your dumping Leo for the guy who put a bullet in your brother. Verna stops resisting and stares at him. Bluepoint stares back at her, thinking. . . . Didn't tell you, huh? We hear a footstep offscreen. REVERSE Facing the door, from behind Bluepoint and Verna. Bluepoint wheels, swinging her body in front of his as two topcoated men enter, guns drawn. Both intruders hold fire, their shot blocked by Verna. The gun in Bluepoint's hand barks once. The lead man pitches forward, his gun clattering away. His partner is ducking back out the door. Verna still struggles futilely; Bluepoint keeps his gun, peeking out from behind Verna, trained on the empty doorway. The man an the floor, still alive, has started clawing himself towards his gun, a few paces away. Bluepoint ignores him. He stares at the open door. After a silent beat, from the hall: Man In Hall . . . Let her go, Bluepoint, there's nothing you can do. Leave by the fire escape. There's more of us on the way-- BANG--Bluepoint fires. Wood splinters in the door, which shudders back a few more inches towards the wall. The voice from the hall has stopped short. After a short silent beat, we hear a gun clattering to the floor outside in the hall. We hear fabric drag across wall, and then see the dead man drop to the floor just outside the door. Bluepoint tosses Verna away and saunters unhurriedly over to the first man, who has almost reached his gun. Just as the man's hand closes over it Bluepoint, in stride, steps onto the hand and gun. Most of his weight is on it. Head cocked, he looks down at the man in front of him. Bluepoint . . . You Leo's? Man Yeah. He wanted her looked out for. Bluepoint Well you did a bang-up job; I'll be sure to tell him. Where is Leo? Man . . . If I tell you, how do know you won't kill me? Bluepoint Because if you told me, and I killed you, and you were lying, then I wouldn't get to kill you then. Where's Leo? The man is sweating. Man . . . He's--he's moving around. But tomorrow night he's getting his mob together at Whiskey Nick's. Bluepoint points his gun at the man's head. Bluepoint You sure? Man Check it. It's gold. Bluepeint You know something, yegg? I believe you. BANG. Bluepoint straightens up from the body and turns. LOW AND WIDE ON BLUEPOINT One corpse an the floor beside him, the other corpse in the doorway behind him. He absently wraps one hand around the warm barrel of the gun, then brings the hand up to blow against its open palm. Bluepoint Go ahead and run, sweetie . . . HIS POV THE WINDOW The main zoom is now empty. Sheers billow at the window, now open, that let's out on the fire escape. Off: Bluepoint . . . I'll track down all a you whores.50. DISSOLVE THROUGH TO: WINDOW NIGHT Sheers billow in the breeze. TOM Sitting up in bed, smoking a cigarette, thinking. The bedroom is dark. There is a knock at the apartment's front door. Tom reacts, but does not immediately rise. The knock is repeated. Tom finally throws the covers off and swings his feet around to the floor. But the knocking stops and another sound brings him up short: The person at the door is now playing with the lock. Tom sits motionless, listening. After some rattling we hear the lock spring, then the door swinging open, then shut again. We hear footsteps cross the main room, and then the squeak of chair springs. Silence. Tom rises and walks to the living room doorway. He leans against the jamb.51. HIS POV The windows throw moonlit squares onto the floor. We can see only the legs of someone sitting in the armchair. Tom 'Lo, Bernie. Come on in, make yourself at home. Bernie turns on the lamn on the table at his elbow. He holds a gun casually in his lap. Bernie 'Lo, Tom. Thought I'd do that, since you didn't seem to be in. Figured it was a bad idea to wait in the hall, seeing as I'm supposed to be dead. Tom Mm. Bernie How'd you know it was me? Tom You're the only person I know'd knock and break in. Bernie Your other friends wouldn't break in, huh? Tom shakes his head. Tom My other friends wanna kill me, so they wouldn't knock. He crosses to the chair facing Bernie's. . . . What's on your mind, Bernie? Bernie Things. . . I guess you must be kind of angry. I'm supposed to be gone, far away. I guess it seems sort of irresponsible, my being here. . . Bernie leaves room for a response but Tom is only listen- ing. . . . And I was gonna leave. Honest I was. But then I started thinking. If I stuck around, that would not be good for you. And then I started thinking that. . . that might not be bad for me. Tom still doesn't answer. . . . I guess you didn't see the play you gave me. I mean what'm I gonna do? If I leave, I got nothing--no money, no friends, nothing. If I stay, I got you. Anyone finds out I'm alive-- you're dead, so. . . I got you, Tommy. Tom is silent. . . . What's the matter, you got nothin' to crack wise about? Bernie ain't so funny anymore? Bernie's lip is quivering. His voice is softer: . . . I guess I made kinda a fool a myself out there. . . I was shittin' myself, Tommy. . . you didn't tell anyone about that. Tom No. Bernie 'Course you know about it. . . its . . . It's a painful memory. And I can't help remembering that you put the finger on me, and you took me out there to whack me. . . I know you didn't. . . I know you didn't shoot me. . . but. . . but-- Tom But what have I done for you lately? Bernie Don't smart me. He stares hard at Tom for a moment. . . . See, I wanna watch you squirm. I wanna see you sweat a little. And when you smart me, it ruins it. Bernie gets to his feet, keeping the gun trained on Tom. . . . There's one other thing I want. I wanna see Johnny Caspar cold and stiff. That's what you'll do for your friend Bernie. . . He has opened the door to the flat. . . . In the meantime I'll stay outa sight. But if Caspar ain't stiff in a couple of days I start eating in restaurants. The door shuts behind him. Tom, heretofore very still, springs from the chair, goes to the bedroom and reemerges with a gun. He bolts for the door, instinctively grabbing his hat off a hook. He is wearing only his boxer shorts, a sleeveless tee-shirt, and the hat jammed onto his head. He throws open the door.52. HALLWAY Empty. Tom runs to the bannister and looks down. HIS POV A flight down, a hand slides down along the railing. Bernie's trotting footsteps echo in the stairwell. TOM He runs back to his apartment.53. APARTMENT Tom runs across to the open window and clambers out.54. FIRE ESCAPE Tom trots down. His bare feet ring dully against the steel of the fire escape. He reaches the bottom landing, swings over the railing, hangs by his hands for one brief moment and then drops. THE ALLEY As his bare feet hit the pavement. Tom is a silhouette in the lamplight from the end of the alley. He straightens from his crouch and runs. BACK DOOR Of his apartment building--over Tom's shoulder as he enters frame. The empty, brightly lit hall inside runs straight the length of the building to the front door, which is just closing. Tom throws open the back door.55. HALLWAY As Tom runs through toward the front. Before reaching the door, he falls violently forward. His gun skates away from him across the floor. He starts to roll over to look behind him and a crunching blow catches him on the chin, snapping his head the rest of the way around and sending him flat onto his back. Bernie, who has emerged from under the staircase, towers over him. Bernie You make me laugh, Tommy. You're gonna catch cold, then you're no good to me. . . He is walking over to Tom's gun, which he picks up and unloads into his hand. . . . What were you gonna do if you caught me, I'd just squirt a few and then you'd let me go again. He tosses Tom the empty gun and walks out. Tom, white-faced and shivering, pulls himself up to sit leaning against the wall. A first-floor apartment door opens and a sixty-year-old woman emerges, pulling a housecoat tight. She goggles at Tom. Woman Why Mr. Duchaisne! What on earth. . . Tom tries a smile that looks idiotic. Tom They took everything. . . LONG SHOT THE HALL Clucking sympathetically, the old woman is leaning down to help Tom up. As he drapes an arm over her shoulder: Tom . . . I fought like hell but there were too many of 'em . . . FADE OUT56. CUT TO: CLOSE SHOT PLAQUE Set into an exterior wall, identifying the SHENANDOAH CLUB.57. INT CLUB Tom, in his overcoat and hat, is walking up to the bar. Tom 'Lo, Tony. How's the club holding up? Behind the bar, Tony looks sour. Tony We're managing to squeak by without you. Got Lazarre's money? Tom No. Tony Well, you're not supposed to be here since you turned rat. Tom Relax, Tony, Leo's not around, is he? Tony Maybe Leo's not the only one doesn't care for you here. Tom works to keep his smile. Tom . . . Fickle, huh Tony? You could almost be a dame. Tony Pal, you read my mind, you sneak my thoughts. Jesus, I hope you know what you're doing. Tom No more than usual. The last couple days, you booked any heavy bets on a long shot at Satur- day's fights? Tony Why the hell should I tell you? Tom shrugs. Tom The truth is Tony, there's no reason on earth. Staring at Tom, Tony blows air through his teeth. He sets up a drink for Tom. Tony . . . Saturday's fights. Yeah. Drop Johnson parked two yards on one yesterday. On Sailor Reese, an undercard bum. Tom downs the drink in a gulp. Tom Drop Johnson? He play your book much? Tony You kidding? I didn't even know he could count. From offscreen there is a loud CRASH and, with that, many of the club patrons start screaming. Tony looks off and Tom swivels to look. Tony Oh Jesus. . . You bring them with you? As he shoves off from the bar: Tom No. Uniformed policemen are pouring into the club, wielding axes. They destroy everything in their path, sweeping the elegantly dressed patrons before them. Tom wades into the sea of blue and nods at Delahanty, the policeman we know from the raid on Caspar's. Tom 'Lo, Brian. Still fighting the good fight? Delahanty 'Lo, Tom. Neither wind nor rain nor snow. . . Tom That's just the mailmen. Is O'Gar here? Delahanty Just look for the long face.58. EXT THE CLUB It is just cracking dawn. O'Gar is leaning against a car, facing the club, taking in the scene as he glumly chews on a toothpick. The street is clogged with police vehicles. Tom approaches. Tom 'Lo, O'Gar. You don't look happy. O'Gar Look at this mess. Gutting the golden calf again. He shakes his head. . . . I don't know whether to laugh or cry. Tom Yeah, it's awful confusing. You know a yegg named Drop Johnson? O'Gar We've spanked him a couple times. Tom Where does he flop? O'Gar The Terminal Hotel on Bay Street, whenever he's broke--which is one hundred percent of always. Jesus . . . He reacts to gunfire from the second story of the club. . . . Don't nobody ask me, since I'm only the chief around here, but I'll tell you my opinion: Caspar's just as crazy as Leo. And an eye-tie into the bargain. As he heads off: Tom What's the matter, O'Gar, doesn't anything ever suit you?59. PULLING TOM As he walks along a nearby street; we can still faintly hear the sirens and police activity back at the club. A black touring car is tooling up alongside of him. Tic- Tac leans out the driver's window. He has welts around his mouth and looks like he has been a little roughed up. Tic-Tac Hop in, Tom, we been lookin' for you. Still briskly walking: Tom I'm busy. Tic-Tac Hop in anyway, as in you ain't got no choice. Tom You can't hijack me, Tic-Tac, we're on the same side now--or didn't you get that far in school? The car screeches over to put a wheel on the sidewalk and block Tom's way. The back door swings open and Frankie emerges to help Tom in. Like Tic-Tac, Frankie looks a little worked over. Tom quickly sizes up the situation and decides to comply.60. INT CAR As Tom sits into the back, next to Bluepoint. Frankie slides in after him. Bluepoint How'd you get the fat lip? The car starts moving. Tom Old war wound. Acts up around morons. Bluepoint Very smart. What were you doing at the club? Talking things over with Leo? Tom Don't think so hard, Bluepoint, you might sprain something. Bluepoint You're so goddamn smart. Except you ain't. I get you, smart guy, I know what you are. Straight as a corkscrew. Mr. Inside-Outsky. Like a goddamn bolshevik, picking up your orders from Yegg Central. You think you're so goddamn smart. He sneers: You joined up with Caspar. You bumped Bernie Bernheim. Down is up. Black is white. Well I think you're half-smart. I think you were straight with your frail and queer with Johnny Caspar. And I think you'd sooner join the Ladies' League then gun a guy down. His eyes narrow at Tom. . . . Then I hear that these two geniuses never even saw this rub-out take place. Defensively: Tic-Tac The boss just said have him do it, he didn't say nothing about-- Bluepoint Shutup, or maybe you still got too many teeth. Tic-Tac sulks. Bluepoint turns and gazes out the window of the car. . . . Everyone's so goddamn smart. Well, we'll go to Miller's Crossing. And we'll see who's smart.61. EXT WOODS It is morning; the sun is now fully up. Bluepoint and Tom walk side-by-side through the woods. Frankie and Tic-Tac walk several steps ahead of them, each off to one side, searching. Frankie is singing an old Neapolitan song. Bluepoint Y'understand if we don't find a stiff out here, we leave a fresh one. Tom walks a little unsteadily. His shoulders are hunched and his hands are jammed into his overcoat packets. He stares woodenly forward. Bluepoint laughs softly. . . . Where're your friends when you need 'em, huh? Where's Leo now? Tom tramps mechanically on. His eyes drift up. HIS POV Tracking. A canopy of leaves, sprinkled by sunlight. The boughs of the trees sough quietly in the wind. We hear the unearthly groaning of the tree limbs. TOM Looks forward. Bluepoint calls out: Bluepoint Hey Tic-Tac, ever notice how the snappy dialogue dries up once a guy starts soiling his union suit? Tom tramps on. HIS POV The backs of Frankie and Tic-Tac as they walk on ahead. Frankie is still singing. TOM He looks stupidly at Bluepoint. He looks ahead. He stops abruptly. Bluepoint What? Tom is still for a moment, then with jerky movements gets down on his knees, hugs a tree with one arm for support, and vomits. Bluepoint watches him, then calls out to Frankie and Tic- Tac: . . . Okay, there's nothing out here. He grabs Tom's hat off his head and flings it away. Then he plants a foot against Tom's side and shoves him to the ground. CLOSE ON TOM As his face hits the ground. Bluepoint's foot enters; he plants it an the side of Tom's neck to keep him pinned. TOM'S POV Skewed angle, from the ground. Frankie is ambling back, singing. BLUEPOINT Checking the open chamber of his gun. He snaps it shut. As he levels the gun at Tom: Bluepoint Think about this, smart guy. TOM Closing his eyes. From offscreen: Tic-Tac Uh-oh, hankie time! FRANKIE He stops singing and turns to look. TOM The foot comes off his neck. BLUEPOINT Looking towards Tic-Tac. TIC-TAC Taking a handkerchief out of his breast pocket and bringing it to his face as he looks at something on the ground in front of him. BLUEPOINT He hauls Tom to his feet and pushes him towards Tic-Tac. We track behind the two men as they approach Tic-Tac and Frankie enters from the side. We cannot yet see what is on the ground in front of him. Tic-Tac Birds been at him. Frankie is taking out his hankie as he draws near. Frankie Jesus Christ. . . He looks up at Tom as Tom approaches. Over Tom and Bluepoint's shoulders, stretching away from us, face-up, is a body. We cannot see much of its face; what we do see is pulp. Tic-Tac is laughing, incredulously. Tic-Tac . . . I said put one in his brain, not in his stinking face. . . EXTREME LONG SHOT Four very small men in overcoats and fedoras, looking down at the ground; they are dwarfed by the surrounding trees. Very faintly we can hear: Frankie I told you, Bluepoint, we heard two shots. . . QUICK FADE OUT62. CUT TO: APARTMENT BUILDING DOOR BUZZER A beat-up panel in the building's entryway, listing tenants' names and apartments opposite a row of buttons. A hand coasts along the names and stops at CLARENCE JOHNSON/4C, then moves away and presses two other buzzers on the fifth floor. After a beat, we hear the front door buzz open.63. FOURTH-FLOOR HALLWAY Tom walks up to 4C, unpocketing a gun. He gently tries the knob, which turns, and enters.64. DROP'S APARTMENT As Tom enters. Drop Johnson is sitting at a table in the living room, which also serves as kitchen and dining room. He is a large man with a thick neck, a low forehead, and rather vacant eyes. He is looking up at Tom, a spoonful of cereal frozen halfway to his mouth, a folded-back newspaper in his other hand, opened to the funnies. Tom 'Lo, Drop. How're the Katzenjammers? Uncomfortably: Drop 'Lo, Tom. What's the rumpus? As he talks, Tom walks casually around the apartment, bumping open doors, sticking his head in each room. Tom Had any visitors? Drop's head swivels to follow Tom around the room; aside from that he does not move. He speaks cautiously: Drop No. Tom Not ever, Drop? Drop . . . Not lately. Tom nods. Tom Then you must be happy to see me. Drop doesn't respond. . . . So you didn't see Bernie Bernheim, before he was shown across? Drop No. Tom . . . Seen him since? Drop maintains a sullen silence. Tom is picking up a hat from a clutter on top of a bureau. Tom One last question, Drop. I hear you've got a lot of money on tomorrow's fight. Is that your bet, or did you place it for a friend? Drop No, uh. . . it's my bet. I just. . . I have a good feeling about that fight. . . Tom's stroll through the apartment has brought him behind where Drop sits. Tom A good feeling, huh. When did the feeling return to your head? Drop . . . Huh? Tom puts the hat on top of Drop's head. Drop's eyes roll up to look at it, but otherwise he still doesn't move. The hat, too small, sits ludicrously atop his head. Tom starts toward the door. Tom You've outgrown that one. Must be all the thinking you've been doing. . . He pauses with his hand on the knob. . . . Tell Bernie something's come up. He has to get in touch. There'll be nothing stirring til I talk to him. He slams the door.65. CUT TO: A LARGE WINDOW We are looking at the ground-floor window from the street. Letters stencilled on the glass identify the SONS OF ERIN SOCIAL CLUB. A topcoated man scurries into frame, knocks out a pane with the grip of a gun, and tosses a small pipelike device inside. He scurries away and we pan with him across the street to reveal a line of cars, police and civilian, parked along the far curb. No men are visible except the scurrying man, who takes cover behind one of the parked cars. SOCIAL CLUB A beat. From inside we hear a pair of trotting footsteps-- BOOM! The window blows out, spitting glass into the street, along with a large dark form. THE STREET Glass showers the pavement and a charred rag-doll of a body hits hard, face down, and skids a couple feet. Smoke wisps from it. THE CLUB A lick of flame from the bomb is already dying and heavy grey smoke is billowing out. THE STREET Men start cautiously rising from behind the cars. A lot of men. Some wear police uniforms; some are civilians. All are armed. THE CLUB Billowing smoke. THE STREET The men have straightened up. A policeman calls through a bullhorn: Policeman All right. Anyone left in there, come on out, grabbing air. You know the drill. THE CLUB After a beat, the front door swings open. A man emerges, one hand in the air, one holding a handkerchief over his mouth. He walks into the middle of the street. One of the civilians behind the cars fires. The man takes the bullet in the chest and drops to the ground, where he twitches. The man who fired, in the foreground, grins. A ripple of laughter runs down the line of men. THE CLUB WINDOW Smoke still pouring out. With a RAT-A-TAT-TAT muzzle flashes from inside illuminate the smoke. THE STREET Bullet hits chew up the cars and a few of the men; the others drop back down behind the cars and start returning fire. THE WINDOW A forbidding black hole in the exterior wall. A second tommy has joined the first to pour lead out into the street.66. CUT TO: RECEPTION AREA Tracking in an a youngish secretary in a severe dress, sitting behind a desk. Faintly, from a distance, we can still hear gunfire. Secretary 'Lo, Tom, where've you been hiding? REVERSE On Tom. Tom Hither and yon. The mayor in? Secretary With Mr. Caspar. Tom is already heading for the door. Tom That's who I'm looking for. Scare up some hootch, will you honey? Secretary Surely. I'll announce you. As he opens the door: Tom Don't bother, I'm well liked.67. INT MAYOR'S OFFICE A grand, high-ceilinged place. Mayor Levander sits behind his desk sputtering, his face turning purple. Caspar, sitting across from him, is also turning purple. Sitting to one side are two identical thirty-year-old men, appar- ently twins, mustachiced, silent, respectful, mournful, their hands clasped over the hats in their laps, wearing stiff new-looking suits with old-fashioned collars. Mayor I can't do it, Johnny! I'll look ridiculous! Why, it simply isn't done! Assistants, maybe-- Caspar For a mayor, you don't hear so hot! I said head! Head of the assessor's office! Mayor But there's two of 'em! Caspar I can count! Co-heads! Mayor Johnny, needless to say, this office will do anything in its power to assist you and your cousins. We did it for Leo, of course, on countless occasions-- Caspar Damn right--had every potato eater from County Cork an the public tit-- Mayor But there's a way we do things, hallowed by usage and consecrated by time! When we put people on the pad, when Leo was running things, we-- Caspar is furious: Caspar Leo ain't running things! I ain't innarested in ancient history! I'm running things now! Mayor Johnny, no one appreciates that more than I! I can give them jobs! I can give them good jobs! I can even give them jobs where thev won't have to perform any work, where their lack of English will be no impediment! But I cant-- Caspar What is this, the high hat?! The mayor mops his face with a handkerchief and looks beseechingly at Tom. Mayor Tom, can you explain it to him? I can put them in public works but I can't-- Tom You can do whatever the hell Caspar tells you. I don't remember all this double-talk when Leo gave you an order. The mayor looks flabbergasted. Mayor Tom! Jesus! Tom Stop whimpering and do as you're told. Caspar You can start by gettin' outta here. Mayor But Johnny, it's my office! Caspar Get outta here! Take it on the heel and toe, before I whack you one!. . . The mayor retreats and Casmar stares at the two men sitting to the side. . . . You too, beat it! The two men look at each other, then back at Caspar. First Man . . . Partiamo? Caspar Yeah, go keep the mayor company. I'll take care of ya's later. The immigrants rise and leave the room. Caspar takes out a handkerchief and wipes his brow. . . . Runnin' things. It ain't all gravy. The secretary enters the office with a bottle of whiskey, a soda siphon and ice. She places it an the mayor's desk and leaves. We can still hear faint gunfire and an occasional booming explosion that rattles the windows of the office. Tom What's the fireworks? Caspar Knockin' over one of Leo's clubs. Sonofabitch just won't go belly-up. . . I'm sorry, kid. I heard about your little ride this morning. Tom is walking over to pour himself a drink. Tom Yeah, well sorry don't fix things. We could just as easily've missed Bernie's corpse as stumbled over it, and I'd be dead now. Caspar I know, I know. But it don't mean Bluepoint's up to anything. So he heard some rumor Bernie ain't dead, those stories pop up, people seen Dillinger in eight states last week. So he hears a story, and he don't like you much anyway, so he decides to check it out-- Tom Any stories about Bernie being alive, Bluepoint's made up himself. Caspar Aw, you don't know that. It don't even make sense--why would he? Tom stares at Caspar for a beat. Tom . . . There could be a damn good reason. . . Caspar squints at Tom. . . . If you've got a fixed fight coming up. Do you? Caspar . . . Maybe. Okay, yeah, sure. Tomorrow night, the fix is in. What of it? Tom Bluepoint knows about it? Caspar Yeah. . . He gazes off. . . . Okay, I get it. Tom If Bluepoint's been selling you out on these fights, and means to again, he'll have to be able to point the finger at someone else-- Uncomfortably: Caspar Yeah, yeah, I get it. Tom --but with Bernie dead there ain't a hell of a lot of people he can point to. Caspar Yeah. Bluepoint sells me out. Makes pretend Bernie's still doin' it. Ats real pretty. Bernie leaked the fix, and you take the fall for supposedly not killing him. . . . He leans back in the mayor's chair and gazes off, sucking his lips in and out as he thinks. Finally: . . . But I dunno, why would Bluepoint cross me like that? Money, okay, everybody likes money. But somehow it don't seem like him. And I know the Bluepoint. Tom Nobody knows anybody. Not that well. Caspar shakes his head. Caspar Money don't mean that much to him. Tom shrugs. Tom Then it's not just money he's after. He's got a wart on his fanny. Caspar . . . Huh? Tom A wart. On his fanny. Giving him the fidgets. Maybe he's sick of sitting on the couch and maybe behind your desk don't look like a bad place to move to. Maybe he figures the money can help move him there. Caspar studies Tom. Caspar . . . Kid, you got a lip on ya. He looks off again. . . . I don't generally care for it. But you're honest, and that's something we can't get enough of in this business. . . I'll admit, since last we jawed, my stomach's been seazin' up on me. Bluepoint saying we should double-cross you; you double-cross once, where's it all end? An innaresting ethical question. I'll find Blue- point, talk to him, straighten it out-- Tom laughs bitterly. Tom Sure, talk to him. Have a chat. Ask him whether he's selling you out. Don't take care of him before he makes his next move, just sit back and let him make it. You're swimmin' in it. Caspars eyes flash. Tom's tone softens: . . . Johnny, my chin's hanging out right along side yours. Caspar goes slack. Caspar Yeah. Tom stands up. Tom . . . I'd worry a lot less if I thought you were worrying enough. Caspar, miserable, rubs his face. From the distant street, we hear another booming explosion. Caspar . . . But I am, kid. . . Christ. . . running things. . .68. CUT TO: TOM'S APARTMENT The phone is ringing at the cut. We are looking at the window sill upon which the phone sits, with an empty chair facing. Footsteps approach and Tom sits into frame and takes the phone. Tom Yeah? Through the phone: Voice I got your message. Tom 'Lo, Bernie, I had a dream about you the other day. We hear Bernie laugh. Bernie . . . Yeah? A nightmare? Tom On the contrary; very sweet. I dreamt you were lying out at Miller's Crossing with your face blown off. More laughter. Bernie . . . You get a kick out of that? Tom I was in stitches. It's Mink, isn't it? Bernie I came back and he wasn't happy to see me. Can you beat that, Tom? All he could taik about was how he had to skip, and how much trouble he'd be in if anyone found me at his place. Tom Some friend. Bernie Yeah. And you know what a nervous boy he was. I figured, hell, you're a friend. Maybe you could use some insurance. Tom That's you to the gills, Bernie: thoughtful. You didn't happen to keep his gun, did you? After a moment's hesitation: . . . Didn't Mink have a .22? Bernie Held already ditched it. Why? Another hesitation: Tom . . . After Rug? Bernie Yeah. . . How did you know? Down to business: Tom Doesn't matter. Listen, Bernie, I've been thinking about our little deal and I've decided you can stick it in your ear. Bernie . . . Huh? Tom I figure you don't have anything on me that I don't have on you. As a matter of fact, less, since I've decided to leave town. So I'm calling your bluff. Bernie Wait a minute-- Tom Shutup and let me talk. I'm pulling out of here, tomorrow morning. The only thing for you to decide is whether or not I leave behind a message for Caspar that you're still around. If you want me to keep my mouth shut, it'll cost you some dough. Bernie You can't-- Tom I figure a thousand bucks is reasonable. So I want two thousand. Bernie In a pig's eye-- Tom This isn't a debate, it's instructions. I'm going out for a while; I'll be back here at four this morning. Bring me the money. If you're not at my place, four o'clock, with the dough, Caspar'll be looking for you tomorrow. He hangs up.69. CUT TO: HALLWAY We are close on Tom as, in overcoat and hat, he emerges from his apartment and looks down at the keys in his hand. WHAP--A fist swings into frame to connect with Tom's cheek. He falls back. Three topcoated men loom over him. First Man Got any money? Tom is massaging his face. Tom . . . No. The first man nods at the other two. First Man Okay. The two men pick Tom off the floor and start to work him over. He doesn't resist. The first man watches dispassionately. . . . Third race tonight. By the finish, Tailor Maid had a view of the field. He lights himself a cigarette. . . . You oughta lay off the ponies, Tom. The two men work in silence for a while. Tom too is silent. Finally: . . . Okay. The two men back away from Tom, breathing heavily. He slides down the wall to the floor. . . . Lazarre said he's sorry about this. It's just getting out of hand. Tom speaks thickly, his head propped against the baseboard: Tom . . . Yeah. First Man He likes you, Tom. He said we didn't have to break anything. Tom Yeah. Okay. . . Tell him no hard feelings. First Man Christ, Tom, he knows that. With a jerk of the head the first man signals the other two and the trio turns to leave. First Man . . . Take care now.70. CUT TO: DOORWAY: NIGHT We are looking over Tom's shoulder as he waits in the rain in front of a large oak doorway with wrought-iron fretwork. At the cut we hear chimes dying, and the door swings open. There is a grand foyer with a parquet floor, unsittable furniture and a large chandelier. A liveried butler looks inquiringly out at Tom. Tom Tom Duchaisne. Butler Yes sir . . . He steps back. . . . Mr. Caspar is in the great room. Tom is handing the butler his hat. Tom Swell. Can you take this? INT FOYER As Tom starts to shrug out of his coat, Caspar is crossing towards him. Caspar Kid, what's the rumpus? Caspar seems as unhappy as last time we saw him. Tom I got news. Caspar Yeah, news at this end too. My stomach's been seazin' up on me. Tom Mink just told me that he-- This has woken Caspar up: Caspar You talked to Mink?! Tom Yeah, on the phone. Bluepoint wants you to think he's dissappeared, so you can't talk to him, but he's been right here in town. Caspar You're sure it was Mink? Tom shrugs. Tom See for yourself; he's coming to my place, four o'clock this morning. Having handed the butler his coat and hat, Tom lets Caspar lead him towards a pair of double doors. . . . He's afraid of a cross from Bluepoint. He told me about the fix. Says he'll sing for a couple grand skip money, tell us everyone involved. . .71. Caspar opens one of the double doors, and we continue tracking behind the two men as they enter the trophy room. The room has the low warm light of a men's club. Outside the dark windows the rain sheets down. Caspar sits in behind his desk and swivels away to poke morosely with a fire shovel at the blaze in the fireplace. In the foreground, back to us, Tom rests his knuckles an the desk to lean towards Caspar. . . . But you better take care of Bluepoint right away. Mink says if he comes after us its going to be tonight. As he looks into the fire: Caspar Leo's holed up at Whiskey Nick's dump. Tom is momentarily taken aback. Tom . . . How d'you know? A chuckle comes from behind REVERSE On Tom. In the background, Bluepoint is walking over to the door to the room to close it. Bluepoint That ain't all we know, smart guy. He points with a nod towards the couch. . . . Recognize your playmate? On the couch sits Drop Johnson. Drop's face looks worked on, and is beaded over with sweat. Having shut the door, Bluepoint is sauntering over to Tom. . . . Yeah. You thought I'd quit. He shakes his head. Huh-uh. I followed you this afternoon. And I wondered why Einstein would want to talk to a gorilla. . . He is nose to nose with Tom, smiling at him. . . . So I grabbed the gorilla. . . And I beat it out of him. He shrugs. . . . Give me a big guy, every time. They crack easy. Not like you. Tom holds Bluepoint's look. Tom Is there a point? Or are you just brushing up on your small talk? Bluepoint I like that. Cool under fire. I'm impressed. Very quickly he delivers two slaps--forehand and backhand. Tom's head rocks but he recovers to stare back at Blue- point. . . . The gorilla didn't know whose stiff we found, but I can fill that in. You killed Mink, you sonofabitch. He grabs Tom by the lapels, swings him away from the desk, and lands a punch on his chin. Tom stumbles backs. Caspar has turned from the fireplace, watching the doings across the room. Bluepoint moves towards Tom, breathing hard with antici- pated pleasure. . . . Come here, bum. I'm gonna send you to a deep dark place. And I'm gonna have fun doing it. Bluepoint's hand snakes out and grabs Tom by the front of the coat, hauling him close. He slaps him savagely. . . . It was Mink, and by God I'll hear you say it! Tom Is this how you taught Drop his story? In one motion Bluepoint's hands wrap around Tom's throat choking him off. As the pressure increases, Tom, purpling, sinks to his knees. Bluepoint I like the way you think. Maybe when you're dead I'll cut your head off, put it on my mantle-- WHANG--a shovel blade swings into frame to smash Bluepoint in the face. He drops. From somewhere in the room, a scream. Bluepoint is on his hands and knees, one hand pressed over his ruined face, blood pouring from between the fingers. Caspar Sonafabitch. . . He stands over Bluepoint with the fireplace shovel. . . . If there's one thing I can't stand, it's a double-cross artist. I had a feeling 'bout this sonofabitch-- He swings the shovel back and delivers an overhand blow to the top of Bluepoint's head. Bluepoint drops to the floor, instantly motionless. The scream, however, continues. Drop Johnson, on the couch, his eyes wide, his hands spastically squeezing his knees, is looking down at Bluepoint. Drop's mouth is stretched wide. He is scream- ing. Tom gets slowly to his feet. Cascar looks at Drop. . . . Shut it, you sonofabitch! He is striding over to him with the shovel. . . . I'll give you something to holler about! Tom intercepts him. Tom Johnny. It's okay. Bluepoint made him. It's okay. It's not important. Caspar is panting. Caspar Then have him shut it! Drop does. There is a beat. Incongruously, Caspar's bellow breaks the silence: . . . And we do the same to Mink! This very same night! Another silence. The rain. The crackle of the fire. Tom's tone is soothing: Tom . . . Johnny. We can't double-cross him. He wants to spill the whole set-up-- Caspar stares at him through glazed eyes. Caspar I've never let a sonofabitch walk! Tom You've never crossed anyone . . . Caspar is staring at him. His eyes have lost some of their glaze. Tom . . . Four o'clock, my place. Mink's coming in on his own hook so I promised him the money. Don't make me out a liar-- Drop is suddenly screaming again. Caspar looks where Drop is looking: Bluepoint is raising his head, moaning. His face is a mask of blood. One hand gropes in his overcoat pocket for his gun. Caspar shouts over Drop's howl as he pulls something from his desk drawer: Caspar . . . Lookit this, kid. He strides over to Bluepoint. . . . Something I try and teach all my boys. . . With the gun point blank against the back of Bluepoint's head, he fires. Tom recoils. . . . Always put one inna brain!72. A CLOCK A large wall clock. It is 3:30. We are pulling back and down to reveal that we are inside a diner; we are isolating on a section of counter on which sits a half-empty cup of coffee and an ashtray half-filled with butts. A hand puts some change on the counter and leaves frame.73. EXT DINER As Tom pushes the door open and exits. He tucks his overcoat collar up as he walks; it is pouring rain. Tom turns at the sound of approaching heels and recognizes Verna with some surprise. He glances up and down the street, but it is deserted. Verna doesn't seem to much notice the rain. Tom 'Lo, Verna. What's the rumpus. Coldly, as they walk on together: Verna I was just in the neighborhood, feeling a little daffy. What're you doing? Tom . . . Walking. Verna Don't let on more than you have to. Tom In the rain. Tom glances at her. . . . What're you doing out? Verna Bernie's dead, isn't he? They walk on for a beat, Tom looking down at the sidewalk. Finally: Tom . . . What makes you think that? Verna That's no answer. Tom again glances around, and escorts Verna into a dark doorway alcove. It is very small; they have to crowd into each other to stay out of the rain. Water drops from the brim of Tom's fedora. He studies her for a beat. Tom I can't tell you anything yet. Verna Nobody cares, do they? His friends didn't really like him. Tom shrugs. Tom He didn't like his friends. Verna You're a sonofabitch, Tom. You're someone to talk. You got me to tell you where he was and then you killed him. She is raising a gun into frame: She presses it into his stomach. Tom stiffens but continues to stare at her calmly. . . . Tell me why. What was in it for you? Tom Nothing for me. Verna Then why? Tom . . . Giving up Bernie was the only way I could see to straighten things out for Leo. Verna You said you didn't care about Leo. Tom I said we were through. It's not the same thing. Verna looks at him. Verna I don't understand. I don't care. I don't care what reason you had or thought you had. She raises the gun and presses its barrel into the under- side of Tom's chin. Tom stiffens but remains calm. Tom . . . He's still alive. Verna stares at him. Verna You expect me to believe you? Tom . . . No. Verna That's you all over, Tom. A lie and no heart. Verna pulls back the hammer. There is a long beat. Verna's eves widen, locked an Tom's. Tom returns her look; his is sympathetic. Verna starts trembling. Tom's tone is soft, understanding. It's the first time we have ever seen compassion from him. Tom . . . It isn't easy, is it Verna? She abruptly lurches away and staggers a couple of paces onto the sidewalk in the rain. She hugs a lamppost for support. She is staring down at the street, still trem- bling. Tom walks up behind her and rests a hand an her shoulder. . . . Are you all right? She doesn't look around. After a moment: Verna . . . I don't know how you did it. She shrugs off his hand and stumbles off down the street. Tom watches her dissappear into the rain.74. CUT TO: TREE LIMBS Night, but sometime later--it has stopped raining. The branches groan in the wind. As they sway, streetlight glitters off the leaves, still wet with rain.. We are booming down to reveal that we are in front of Tom's building, its windows dark. During the boom we hear the rumble of an approaching car and the hiss of its tires on wet asphalt. The boom down ends as the car pulls into frame to stop at the curb with the camera framed on the driver's window. The driver has a small bandage on his left cheek. We hear Caspar's voice as we hear him getting out the back: Caspar Ya put the razor in cold water, not hot--'cause metal does what in cold? Driver I dunno, Johnny. We hear the back door slam and Caspar appears in the front passenger window. . . . 'Ats what I'm tellin' ya. It contracts. 'At way you get a first class shave. Driver Okay, Johnny. As Caspar walks off the driver slouches back, pulls his fedora over his eyes and folds his arms across his chest. A back enters frame in the foreground. Tom's Voice: 'Lo, Sal. You can dangle. The driver looks up, startled. Driver 'Lo, Tom. You sure? You don't look so hot. We still don't see Tom's face. Tom I'm okay. Go ahead, I'll drive him home. The driver shrugs. REVERSE Wider, from the other side of the car, as the car pulls away. Tom walks into the foreground, toward his house; we tilt up to hold him. The low-angle shows us the tree behind Tom, its branches still creaking in the wind. Crack crack--we hear two gunshots from inside the house. Tom stops momentarily in close shot, looking up, and then continues on out of frame.75. OVER TOM'S SHOULDER We follow him as he walks into the building and slowly down the first-floor hall. The hallway is quiet excent for a light moaning wind. Beyond Tom we see the door to the first-floor apartment crack open a slit. Hissing: Voice Mr. Duchaisne. . . The door opens wider. Mrs. Zarpmas, wearing a housecoat, her gray hair down in braids, sticks her head out. . . . There were shots. Tom looks up towards the staircase, then back at Mrs. Zarpas. Tom Go down to the drugstore. Call the police. She stares at him, nods. As she drapes on a raincoat: Mrs. Zarpas Yes, Mr. Duchaisne. Tom You better stay there til the officers arrive. Mrs. Zarpas Yes . . . She pauses. . . . Will the cats be all right here? Tom stares at her. Finally, he nods. Tom . . . They'll be fine. Mrs. Zarpas returns his dazed nod, and shuffles away. So far, upstairs, all is quiet. PULLING TOM As he starts slowly towards the staircase. TOM'S POV TRACKING FORWARD A small black object on the staircase--an upside-down fedora. Blood drips with a hollow rattle down onto a step, a couple steps above the hat. PULLING TOM He looks up. POV A head sticks through the balusters of the second story landing return. The body is on its back; the head lolls back over the tip of the landing down towards the stair- case. Our climbing low angle shows us mostly the back of the head. The body's far shoulder has knocked out a baluster whose splintered bottom juts down towards the stairs. PULLING TOM Still climbing, looking at the body. HIS POV Climbing and panning as we draw even with the head. It is Caspar. Blood has been expelled through his nostrils over his mouth and chin. His face is deep red. His eyes stare glassily at Tom. PULLING TOM As he reaches the top of the stairs and swings around to face along the landing. We hear a chuckle, close by. Wind is groaning through the hallway. POV In the middle foreground Caspar lies an the floor; beyond him, Bernie leans against the doorframe in Tom's open doorway, smiling, his arms folded over his chest. The balusters stretch away in a regular line, throwing vertical shadows upwards against the opposite wall. Bernie I get it. You set me up. Tom leans against the wall and looks morosely down at Caspar. Bernie . . . Anything to avoid a little dirty work yourself, huh? Tom doesn't answer. . . . How'd you know held get it and not me? Or didn't you care? Tom shrugs, still staring down at Caspar. Tom I figured you'd come early, and be looking for blood. He wouldn't, so you'd likely have the drop on him. Bernie takes his gun out of his overcoat packet and saunters over. Bernie You're a sonofabitch, Tom. I like the way you think. You're right, the bonehead never knew what hit him. He looks down at Caspar, unable to supress a smile. . . . But if you knew I'd come looking to kill you, how do you know I won't still? Tom shrugs again. Tom Nothing in it for you, now. With him dead we got nothing on each other. Let me have the gun. Bernie Why? Tom jerks his head towards Caspar. Tom Pin this on Bluepoint. Neither of us wants him walking around after this. Bernie shakes his head. Bernie The cops'll be Leo's now. They won't care what they hang Bluepoint for. Tom shrugs again. Tom I guess that's so. If you don't mind keeping the gun that killed Caspar. And Mink. He stoops down over Caspar's body and starts feeling through Caspar's pockets, looking for something. . . . Why did Mink shoot Rug, anyway? Bernie is walking towards him, emptying the bullets from his gun. Bernie I dunno, it was just a mix-up. Here. Tom looks back over his shoulder. Bernie hands him the gun, which Tom slips into his overcoat packet. . . . So you're gonna say Bluepoint did this? As he goes back to the body: Tom Mink thought Rug was tailing him? He finds Caspar's gun and sets it on the floor, but keeps looking. Bernie Yeah yeah, you know Mink. Hysterical. Skin full of hop, head full of bogeymen. Comes home crying one day, said he had to pop a guy, one of Bluepoint's spies. Tom Rug was following Verna, not Mink. Mink just happened to be with her. He has found a wallet and is thumbing through it. Bernie Yeah. Funny, ain't it? But you know, Mink was terrified Bluepoint'd find out me and him were jungled up together. Tom has taken out the money, rifles it, and replaces the wallet. Tom And I'll bet you'd kept him plenty worried about that, to keep him under your thumb. Bernie Yeah, so what . . . Bernie is peering over Tom's shoulder at the monev. . . . Scratch, huh? A little bonus? Tom straightens up, Caspar's gun in hand. Tom Why did Mink take Rug's hair? Bernie shrugs. Bernie Beats me, the kid was dizzy. Fifty-fifty on the dough? Or maybe I should get a little more, since I did the deed. Tom is stuffing the money into his pocket. . . . Okay, you keep it. I want you to have it. Tom Bernie. . . He nods towards Caspar's body. . . . We can't hang this on Bluepoint. Bernie Huh? Why not? Tom Bluepoint's already dead, halfway 'cross town. Bernie's smile is fading. Bernie What the hell are you talking about? Tom Bluepoint's dead. It's gotta be you. I mean hell, it's your gun. Alarm is beginning to rise: Bernie What is this! What the hell are you talking about! . . . He looks down at Caspar and then back at Tom. . . . You took my gun! Just your word against mine! Tom pops the chamber of Caspar's gun, glances in, and snaps it shut. Tom Not necessarily. Bernie's eyes widen. Bernie Are you crazy! We're square! You said it yourself! We got nothing on each other! Tom Yup. Bernie fights against hysteria: Bernie So what's in it for you?! There's no angle! You can't just shoot me, like that! He sinks to his knees, his voice rising. . . . Jesus Christ! It don't make sense! Tommy! Look in your heart! Tom What heart. BANG--Bernie splays backwards from the knees, a bullet drilled neatly through his forehead. Tom drops the gun by Caspar's body. Unpocketing Bernie's gun, Tom goes over to his corpse and drops it there. We pan with Tom's legs to bring his doorway into view as he walks into his apartment, to the window chair in the background, and sits with his back to us. The windows show daylight breaking. Far away a clock strikes the quarter hour. Tom is picking up the phone and dialing. Waiting for an answer, he reaches over to turn off the feeble yellow lamp burning chairside. As we start to FADE OUT, we can hear Tom talking into the phone: Tom . . . Tony? Tom. Tell Lazarre I've got his money. . . Yeah, all of it. And I want to place a bet on tonight's fight. . . A BEAT OF BLACK76. CUT TO: THE HALLWAY Of Leo's club, leading to his office. We are tracking over Tom's shoulder as he walks down the hall, led by Dead Terry. Terry They set you up downstairs? Tom How's that? Terry Hootch? Whatever? Tom gestures with the drink he is carrying. Its ice cubes clink. . . . Well thanks for coming, Tom. Leo's real anxious to see you. . . Tom Yeah. I happened to be near. We can hear muffled bellowing coming from Leo's office, growing louder as we approach. Terry seems embarassed: Terry Actually. . . this might not be the best time. . . They have pulled up in front of the closed door to Leo's office. Leo's bellowing, inside, abates for a moment. We can hear another voice, muffled so that we don't hear words, but only the voice's plaintive quality. Leo's bellowing cuts it short. Tom . . . Who's he got in there? Terry O'Gar and the mayor. As he leaves frame: Tom I'll try again. Terry calls after him: Terry I'll tell him you stopped by.77. DOWNSTATRS Pulling Tom as he walks across the gambling floor, drink still in hand. Behind him we can see workmen busily repairing the damage done to the club in the police raid. Halfway across the floor Tom stiffens and slows, seeing something. Verna is entering the club. The two meet. Tom 'Lo, Verna. Verna See Leo? They both lean against a counterstop and look out at the floor. Tom He was busy. Verna You should see him. He has something to tell you. Tom Maybe I'll run into him. Verna Bernie's funeral is tomorrow. You could stop by. Tom Maybe. Verna . . . Leo has something to tell you. Tom So you said. There is a silent beat. Verna scowls. Verna . . . Tell me something, Tom. Why didn't you tell me what was going on? I thought he was dead, and you never-- Tom There was no point in telling you. It could only have queered things if it had gotten out-- Verna Jesus, Tom! You don't just talk to people for the play it gives you or doesn't give you! I suffered, you no-heart son of a bitch! Tom lets this drift. Verna tries to compose herself. . . . I'm sorry. It's just that things might've been different. With us. If I'd known that you hadn't. . . done anything to him. . . Tom You know now. Verna looks at him intently. Verna What happened that night? Tom still looks at her evenly. Tom I went to a bar. Passed out. When I got back to my place they were both dead. Verna studies him. Verna . . . Passed out, huh? Tom Yeah. She looks at him a beat more, then out at the floor. Verna It's funny. . . I've never even seen you sleep-- though you told me once about a dream you had. Tom Maybe I lied. WHAP! Verna slaps him hard. His head rocks under the blow. Verna You've never been straight with me about any- thing! You are a sonofabitch! She stalks off. Tom watches her go. He raises the drink and rolls it across his slapped cheek. The ice cubes clink.78. CEMETARY An small old marble orchard set on a hilltop cleared against the woods. Stars of David adorn the headstones; in the foreground Bernie's funeral is ending. Present is a rabbi, just finishing the chanting of the liturgy, Verna, and Leo. In the background, on the road at the foot of the hill, Tom is emerging from a taxi. It rolls away as he starts up the hill. Just as he arrives, Leo and Verna turn to leave. Tom takes in the scene. Tom Big turnout. Verna Drop dead. She stalks off, leaving Leo and Tom alone. Leo takes off his yarmulke and fiddles with it uncomfortably. The two men start walking. Leo . . . She's under a lot of strain. Tom Well, at least she didn't hit me. Leo chuckles. They walk on. Leo Tommy, I'm glad you came. . . Tom She's taking the car. Leo Huh? Leo looks up. Verna is getting into the elegant black touring-car that waits at the bottom of the hill. It pulls away. Leo looks at Tom. . . . I guess we're walking. Tom I guess we are. They walk in silence for a beat. Leo . . . We're getting married. Tom stiffens. He brings out: Tom . . . Congratulations, Leo. Leo too is uncomfortable. Leo The funny thing is. . . She asked me. To tie the knot. I guess you're not supposed to say that. Tom It doesn't matter. Congratulations. Leo Thanks. . . Hell, Tom! Why didn't you tell me what you were up to?! I thought you'd really gone over--not that I didn't deserve it. But you could have told me. Tom Telling you could only've queered things if it had. . . Tom cuts himself off and walks in silence for a moment. . . . There just wasn't any point. Leo wants to be encouraging. He nods. Leo I can see that. Well. It was a smart play, all around. I guess you know I'm grateful. Tom No need. Leo is grinning again. Leo I guess you picked that fight with me just to tuck yourself in with Caspar. Tom I dunno. Do you always know why you do things, Leo? Leo greets this with a puzzled Smile. Leo Course I do. He nods to himself. . . . It was a smart play. They walk on. Tom You'll do fine. Leo stops, grabs Tom's arm, and the words come cut in a rush: Leo . . . Jesus, Tom! I'd give anything if you'd work for me again! I know I've made some bonehead plays! I know I can be pig-headed but, damnit, so can you! I need your help, and things can be like they were, I know it! I just know it! As for you and Verna--well I understand, you're both young, and--well, damnit, Tom, I forgive you! Tom instantly bristles. For the first time, his tone is sharp: Tom I didn't ask for that and I don't want it. The two men stare at each other--Tom's look angry; Leo's, distraught. Tom's look softens. . . . Goodbye, Leo. Leo still stares at him, waiting for something else. When nothing is forthcoming he turns and walks away. Tom watches him go. He unpockets a flask and raises it to his lips. Behind him a tree soughs in the wind. FADE OUT \ No newline at end of file diff --git a/unformated_scripts/Script_Mimic.txt b/unformated_scripts/Script_Mimic.txt new file mode 100644 index 0000000000000000000000000000000000000000..2236e3b5b989e6e8a4fdd255cf1951e54f1d1206 --- /dev/null +++ b/unformated_scripts/Script_Mimic.txt @@ -0,0 +1 @@ +M i M i C a revision by Matt Greenberg and Guillermo del Toro June 19th 1996 NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. FADE IN: THE SCREEN Stygean darkness. Wet CLICKING SOUNDS. A BEAM of purplish ULTRA-VIOLET LIGHT reveals a mosaic of moving forms... COCKROACHES. They skitter restlessly under the beam's intensity. SERIES OF SHOTS -- the UV Beam passing over various parts of the space. Pipe webs, walls, girders -- all covered with the insects. Thousands of them. PULL BACK TO REVEAL INT. SEWER SYSTEM Innards of steel. A vast maze of tunnels. A GROUP OF FIGURES advances through the tunnels with handheld UV lamps. The figures are dressed in gray air-tight NEOPRENE SUITS, their faces hidden by skin tight MASKS and bug-like NIGHT VISION GOGGLES. In the dense silence, respirator valves HISS- CLICK at the corner of their lips in mechanical rhythm. The scene has a dream-like, choreographed quality. NIGHT-VISION POV Eerie, aquatic green. The horde of insects appear to be some kind of sea-life, crawling over the floor of a dead ocean. THE TEAM OF FIGURES From their midst appears another FIGURE, its neoprene suit a flat WHITE. Female, clearly the TEAM LEADER. She carries a stainless steel CONTAINER filled with twenty small compartments, each bearing a large, heavy-shelled roach with a different BARCODE on their back. JUDAS ROACHES. She kneels and opens the CASE TCHK!! A dozen of the Judas roaches are released. They slide through into the area. THE NEARBY ROACHES react instantaneously. In a rustle of tiny legs, they begin to stream toward the Judases. Jostle and fight each other for position to mate with them. They even crawl over the Team Leader in an effort to reach the Judases. The Team Leader makes no effort to brush them off. Patient, almost godlike, she watches the MATING. LATER A MANHOLE has been opened above. CHAINS are dropped down and attached by a Team Member to A 100-GALLON DISPOSAL DRUM. REVEAL the floor of the tunnel, carpeted with the still forms of the roaches, now all DEAD. The Team Members quietly shovel the tiny corpses into other disposal drums. At their feet skitter the only survivors of the massacre: the bar-coded Judas Roaches. In a crunch of machinery, the first disposal drum is lifted by the chains through the manhole to EXT. A CITY STREET - DAY MIDTOWN MANHATTAN. A cacophony of SOUND and LIGHT. Dirty snow drifts over Bryant Park. Emergency lights blink everywhere. A wall of cars sits on Sixth Avenue, stopped dead. Exhaust fumes hang in the air. Jaded TRAFFIC COPS send the cars on crosstown detours. Mounted policemen patrol a line of yellow sawhorses near dozens of Department of Public Health vehicles, angle-parked in a military phalanx. A monumental ribcage-like scaffolding has been erected in the middle of the street, "sealing" the area with amber plastic. Inside, UNIFORMED WORKERS take the disposal drum of roaches and toss it into one of a number of huge DUMPSTERS. The Team Leader watches from nearby, exhauster. Her mask is off. We see her face: Enthomologist SUSAN WYETH, 28. An ARM gently drapes over her shoulder. PETER (OS) How we doing? She looks over at DR. PETER TYLER, 34, bespectacled. A HEADSET around his neck, a coat emblazoned with the DEPARTMENT OF HEALTH logo. He has the look of a man who's just fought a long battle and come out victorious. SUSAN We'll see... He offers her a bite of a PAY DAY CANDYBAR. Susan smiles, shakes her head. She wearily leans against him. Peter looks out as the dumpster filled with roaches is raised by MECHANICAL ARMS into the waiting maw of the dump truck. THE SCREEN. DARKNESS. A voice, a somber bas-relief in the darkness. ANCHORMAN (VO) Strickler's Disease crept into Manhattan like a thief in the night, claiming its first hundred victims before it was even classified. INT. HOSPITAL - NIGHT - FLOATING SHOT We FLOAT through a long hospital ward. Past ROWS of illuminated oxygen tents, pulsating softly in the dark like cocoons of light. ANCHORMAN (VO) Most were children under ten. TRACK past tents. BODIES OF SMALL CHILDREN inside, wrapped in white sheets, hooked up to IVs or breathing apparatus. Skeletal hands, parched lips, glazed eyes. BELLOWS of respirators push in and out, labored, failing. IMAGE RESOLVES TO A VIDEO ON A SCREEN. PULL BACK to reveal a number of SCREENS, each with a different set of images. We are in a NEWS VAN. A TECHNICIAN and DIRECTOR sit watching. The voice belongs to an ANCHORMAN who's now overimposed. ANCHORMAN Only after the numbers had reached into the thousands were officials able to identify the carrier of the deadly infection... DIRECTOR Cut to three. The Technician manipulates the controls. On another screen we see them cut to STOCK NEWS FOOTAGE: regular cockroaches, crawling on garbage. ANCHORMAN Blattida Germanica. The common cockroach. DIRECTOR (To a RUNNER) Tell them we're ready for a live feed. EXT. OUTSIDE VAN - CITY HALL - DUSK The runner exits the News Van. Other such vehicles parked nearby. A CROWD of ONLOOKERS, REPORTERS and a gaggle of PROTESTERS with handpainted signs. Gliding past them, we pick up sound bites... REPORTER 1 ...an insect that has proven virtually immune to chemical control... REPORTER 2 ...the announcement by the Health Department that an end to the nightmare has finally... REPORTER 3 is interviewing a Greenpeace PROTESTER who is holding up a photograph of Susan. REPORTER 3 ...an ex-colleague of Doctor Susan Wyeth... PROTESTER ...Susan has always been opposed to biological tampering. A real advocate for ecological causes, it's not... MOVE past them to further inside of the perimeter... INT. AUDITORIUM - CITY HALL A NEWS CONFERENCE in progress. A packed house. T.V. monitors spaced ever 10 seats or so. In the audience, the MAYOR OF NEW YORK and various CITY OFFICIALS, listening to Peter, speaking at the podium with the ease and enthusiasm of a public servant still untainted by bureaucracy. ON A TV MONITOR While Peter talks, a news title appears at the bottom of the screen: PETER TYLER. DEPUTY DIRECTOR, DEPARTMENT OF HEALTH. PETER (wrapping up) ...in Nature, evolution is a long, leisurely conversation between an organism and its environment. We, however, did not have the luxury of time... Susan is waiting in the wings. She observes the audience. She notices that the entire front row is composed of CHILDREN who have survived Strickler's. Leg and arm braces, facial scarring... He nods at Susan, who takes the podium, adjusting her jacket, slightly ill at ease in her business suit. She clears her throat, speaks softly. SUSAN With the aid of genetic labs throughout the country, we recombined cockroach DNA with genetic information from termites and mantids. We were able to create a biological counter-agent. A new ally, if you will... She places a clear container on the podium for all to see. SUSAN Blattida Traditor. CU CONTAINER One of the Judas roaches skitters about in the container. SUSAN (OS) The "Judas Roach". Cameras FLASH. MURMURS from the audience. SUSAN The Judas is a non-carrier of Stricklers, with a short life-span and heightened pheromone emission. On the back row she can see some ecological hand-painted signs being raised in silent protest. She stumbles for a second, then resumes her speech. SUSAN The female is basically a sexual magnet; common males travelled miles and fought for the right to mate with them. The audience is rapt. SUSAN When they did, they took away something else we added -- a hormone, passed through sexual congress that causes their metabolism to go into overdrive. No matter what their food intake, they starved to death in a matter of hours. Now Peter takes the mic. PETER We've achieved almost total eradication of the roach population. As of today, the disease has been officially contained. A STANDING OVATION starts and is carried on as we... CUT TO: INT. TYLER APARTMENT - BATHROOM - SUSAN in a tub in a dark bathroom. Her business suit crumpled on the bathroom floor. SOUND of a TV outside. PETER (OS) Sus, come on. You're missing it. INT. LIVING ROOM Nothing grand. Peter in his shorts at a TV with shitty reception. He adjusts the disgruntled cable box. He is seen over the TV, giving his address. PETER Fucking thing! I hope someone's taping this. (Out.) Susan, come on. It's really good this time. I got most of the lines out. (No response.) Sus? Peter sighs. He picks up an open bottle of champagne and two mis-matched ceramic cups, then heads for the bathroom. INT. BATHROOM PETER Life's a bitch. Our 15 minutes came and went and all we got was bad cable... Susan doesn't answer, clearly not in the same high spirits. PETER Hiding from the hard glare of publicity? He notices her crumpled garment on the floor. He picks it up, puts it up on the hanger. PETER A shame. You looked great tonight. SUSAN Please. PETER You did! He sits by the tub. SUSAN Do you think we did the right thing? PETER Taking a cab instead of hiring a limo? SUSAN You know what I mean... Peter pours some champagne into the cups. SUSAN We did no impact evaluation. The consequences of... PETER (sighs) Is this a Catholic guilt thing...? We hear a NEWSREADER on the TV. NEWSREADER (TV) ...a flawless strategy which has stopped a potential epidemic in its tracks... PETER You hear that? Flawless. SUSAN We just don't know. He offers one cup to Susan. She doesn't take it. PETER We know we saved lives. He sits closer to her. PETER There're gonna be a lot of kids running around next year because of you. Beat. Susan starts to relax. He kisses her. PETER Who know? We get lucky, maybe a couple of 'em'll be ours. SUSAN (smiling now) We're down to a "couple" now, huh? She pats the water, beckoning. PETER Oh, I don't know. People are beginning to talk about us... Still partially clothed, he steps into the bathtub. Susan shakes her head, laughs ruefully. SUSAN Don't worry, I'll save your honor. Maybe I'll even marry you. She reaches over, kisses him. FADE OUT: FADE IN TO: EXT. ALPHABET CITY - NIGHT The WILLIAMSBURG BRIDGE dimly visible through the rain. ALPHABET CITY STREETS Empty warehouses. Closed businesses. Traffic lights blinking on empty streets. Everything seems doomed under the heavy layer of rain. SUPERIMPOSE: TWO YEARS LATER A DILAPIDATED BUILDING before us. A blazing NEON CROSS made of the words 'JESUS SAVES' hangs askew from its facade. CRANE to see the ROOFTOP. WHAM! The door to the interior stairs FLIES OPEN and a tall, thin CHINESE PREACHER in his sixties lurches out, eyes wild with terror. He looks back down the steps. Something's climbing up fast, casting ominous, complex shadows on the wall. Too many FOOTSTEPS for it to be just one person. The man hurriedly shuts the door and slides a bolt home. Trembling, he backs away as a booming THUD makes the door shudder. Raw, frenzied pounding and scratching follows... something inhuman, determined to break through. The metal surface suddenly buckles and bulges. On the man's white undershirt, a blotch of blood starts to grow. Needles of rain stab his flesh. He searches wildly for a possible escape. He reaches the edge of the roof: it's five floors down to the sidewalk. Two of the hinges on the door come loose, pulverizing the surrounding concrete. WHAM! The door to the stairs bulges outward as something SMASHES against it again and again. Frenzied SCRATCHING. The man sprints to the other end of the roof. There, on the adjoining building... THE CHINESE PREACHER'S POV Just one floor below on the building across the alley is a suspended PAINTERS' PLATFORM, crowded with paint cans under a tarp. A two-story old EYEWEAR ADVERTISEMENT from the 40's is being painted over. THE CHINESE PREACHER Looks back to the door. BAM! a tremendous SHATTERING sound. LIGHT spills from inside. Two bolts fly in the air, a hinge gives. He CRIES OUT in terror. The man gauges the distance between buildings; can he make it? He takes a few steps back, a few more... Panting hard, he closes his eyes, his chest soaked in blood and rain. THE DOOR EXPLODES OUTWARD AND SKIDS ACROSS THE SLIPPERY ROOF. Light from inside projects the shadow of wild, busy things onto the curtain of rain. Weeping with fear, the man desperately tries to hurl himself to the catwalk. It's too far. He FALLS...CRASH! he hits the platform, knocking boards loose and sending paint cans onto their sides, rolling. He bounces, slides off the edge, barely able to grab onto a loose board to save himself from falling. The RAIN blasts down. The scaffold CREAKS. He hits the edge, upsetting the cans of paint there. He holds onto the planks with all his might, trying to push with his feet, but they slide on the wet wall. BELOW Cans bounce off the pavement. White pain blasts all over. CU HANDS The man's hands slip on the planks, tiring. FEET The Chinese Preacher's FEET bicycle in the air, unable to find a purchase on the wet brick wall- THE CHINESE PREACHER is hanging just in front of the painted EYE of the forties' model. He looks up above him, sees something- CHINESE PREACHER No. Please, God, no! A SHADOW crosses his face as something looms above him. Suddenly there is a CRACK and the platform tilts completely on one end. HANDS The Chinese Preacher's fingernails dig in, then slip on the wet wood. His hands paw the air. WIDER For a moment his body, silhouetted in the rain, seems suspended in a void. Then he falls backwards. THE GROUND Impact. His body cracks the pavement. Small pools of rain form on his dead, open eyes. We CRANE to reveal A WINDOW ON A BUILDING ACROSS THE STREET CHUY, a young Latino boy. He stares out the window at the Chinese Preacher's body with no discernable emotion. He works a small WIRE SCULPTURE in his hands. APARTMENT It's a small one-bedroom apartment. An old man sleeps peacefully on a cot: Chuy's grandfather. MANNY GAVIOLA, mid 60's, white hair haloes his handsome, benign face. All around him: SHOES, shoes everywhere you look, on the table, on the chairs, on the kitchen counter, on the floor. A small altar is illuminated by votive candles. Next to it, standing by the window is CHUY HIS P.O.V. We see a blurry vision of The Chinese Preacher's splayed figure in a swirl of color. Chuy's attention focuses on the Preacher's shoes. CHUY CHUY (a whisper) Oxfords, 8 1/2. Black... He looks away from the body and goes back to twisting the wire into shape. THE PUDDLE OF PAINT around the preacher, reflects large shadows moving above, and across the neon sign... CHUY hears a strange sound, a rhythmic clicking. His head lifts and what he sees causes his expression to change--there is an uncharacteristic flicker of excitement in his eyes. ACROSS THE ROOFTOP We are behind whatever it is that has captured Chuy's attention. TICKETY-TACKETY-TOCK... The strange clicking sound grows louder. The figure begins moving in some weird, preparatory fashion. Then it steps forward and drops out of frame. CHUY His eyes follow the figure down to the pavement in a slow arc. Chuy puts down the wire miniature and opens the window to get a better view. GROUND LEVEL The Chinese Preacher's body is now being dragged toward the rear of the alley, leaving colored paint smears in its wake. CHUY We isolate the boy's face and, on the soundtrack, every other noise FADES AWAY. Chuy reaches for a pair of SPOONS nearby. He begins to click them together. Imitating the strange clicking sound heard a moment ago. THE CHINESE PREACHER is being pulled into a small, ground-level vent. The only problem is that no human is small enough to squeeze through this hole. CHUY watches, still clicking with his spoons. THE CHINESE PREACHER'S BODY is stuck. One of his legs is through the hole up to the thigh, but the other is folded up unnaturally and pressing against the wall next to the vent. Impossible. There is a silent beat, and then a series of INCREDIBLY VIOLENT TUGS, BAM! BAM! BAM! shaking the Paint-soaked body like a rag doll. CHUY His spoons stop. His jaw tightens a little as we hear terrible cracking and scraping sounds. THE WINDOW The Chinese Preacher's head and hands disappear into the hole. Bits of clothing, paint and blood stick to the edges of the opening. CHUY watches, still fascinated. CHUY (very low) Funny, funny shoes... He starts a new wire sculpture. CUT TO: EXT. JOGGING PATH - CENTRAL PARK - DAWN Peter is covered in sweat, running at a good clip around the Central Park reservoir. A beautiful day dawns behind him; the windows of the Beresford sparkle in the morning sun. Peter outperforms most of the other RUNNERS in the track, his steady rhythm evidence of years of practice. Keeping his stride, he runs off the track and past a flock of OLD NUNS. PETER Excuse me, ladies... Without slowing down, Peter retakes the path and moves past them. EXT. JOGGER'S PATH - NEAR FIFTH AVENUE - LATER Peter finally slows down. He checks his pulse and stops at a water fountain. As he drinks, he sees a DERELICT drawing a figure on the sidewalk. The derelict spots Peter. He picks up his chalk, drifts off. Intrigued, Peter goes closer to the drawing. An arrow points to a manhole cover set among the bushes. Peter circles around, trying to make sense out of the lines. Then the painted motif finally reveals itself. GRAFFITI A talismanic figure of raw, archetypal power. A few jagged lines form the shape of a MAN IN AN OVERCOAT. His face is little more than a malignant blotch. CUT TO: INT. MUSEUM - EXHIBIT ROOM - DAY A room of half-finished exhibits. A group of SCULPTORS -- most of them undergraduates -- work on a gigantic piece representing a termite mound. They're supervised by SIRI, a punkish young Indian research assistant. Susan talks to some of the sculptors about a 100-1 scale clay model of an insect's head. She gestures to the model's mandible set. SUSAN ...no, guys, these have to fit perfectly. No spaces in between. Let me tell you why. Insects have no hands. All they have is this set of mandibles. She grabs the outer mandible set. SUSAN See? This little piggy will grab the prey. Then unfolds a second set... SUSAN Then this little piggy will tear it in half... And a third!!! SUSAN ...and this little one will grind it to a pulp and push it in... all the way into the mouth. These are precision tools here. Can you remember that? The guys nod. SUSAN Good. Then get it right. A piece of the termite mound is raised above their heads, revealing... ...Peter, at the entrance, still dressed in his jogging sweats. He smiles at Susan. CUT TO: EXHIBITS Peter and Susan walk through. Peter pulls something from a KNAPSACK. A bottle of medicine marked: METALLININ. PETER (teasing) "Baby in a bottle..." He gives it to Susan. SUSAN Don't tease. Around them, WORKMEN begin unloading crates of display stuff, as a MAN on a ladder tacks up an "ARCHITECTS OF NATURE" banner. Susan proceeds behind an exhibit representing a honeycomb. Peter follows as she begins to arrange some tools. PETER You know where they get this fertility stuff? They extract it from the urine of menopausal Italian nuns. SUSAN (laughs) Monks bottle their own wine. Don't they? She gently touches her belly. SUSAN Trust me. I've never been this late. Never. She shakes the bottle. SUSAN If nun's pee is what it takes... Peter's cellular RINGS from his knapsack. Susan grabs a larvae model from a pile on the floor. SUSAN You were the one who ran around with ice in his underwear, don't forget that. PETER Don't get kinky here... Peter takes the call. Susan cuts away the excess plastic on the lid around the honeycomb moldings. The larvae fits perfectly inside. PETER Okay, meet me out front. (to Susan) I gotta go. Josh's picking me up in five. see you tonight. SUSAN I'll be late. He kisses her and leaves. Susan turns to Siri and the group working on that sculpture. SUSAN Siri, sandblast that thing. It looks like Trump Tower. Those mounds are supposed to be made of dirt and excretions... SIRI (a wicked smile) Just like Trump Tower, then. CUT TO: EXT. STREET A Department of Health VAN honks its way through a traffic jam. INT. VAN Peter's right hand man, JOSH MASLOW -- a young, good-natured, can-do guy -- drives. JOSH ...So I say "buddy, you have every violation in the book. Gimme one good reason not to close you down." You know what the Kraut says to me? In the back, Peter finishes changing out of his jogging sweats and into his worksuit. JOSH The blintzes! "Try the blintzes..." PETER (distractedly) Selling your sould for a fistful of carbohydrates... JOSH Not just any carbohydrates, mind you. It was like being on the receiving end of some kind of transcendent oral sex. (honks furiously) We should get a strobe on this thing. Maybe even a siren. PETER Yeah, and a loudspeaker so you can yell "Epidemic! Epidemic! You're all going to die!" EXT. FLOPHOUSE - DAY The Department of Health van pulls up outside the flophouse where the Chinese Preacher died. Peter and Josh get out. COPS push back a few ONLOOKERS. Josh proudly flashes his DOH badge. JOSH Health Department... The cops let them pass. PETER You really love flashing that thing, don't you? JOSH Hey. I'm a short guy. Waddaya want? Two cops -- WOYCHEK and RICE -- approach, in no real hurry. PETER Peter Tyler, DOH. You gentlemen were the first on the scene? WOYCHEK (gestures to Rice) We were both on patrol, saw this paint mess. Then I looked through that cellar window. We both did... PETER You gone in? WOYCHEK No. We waited. PETER Good. Peter peeks through a narrow cellar window on the floor. Through the oily, smeared window, a ghostly array of PALE FACE AND HANDS appears, startling him. PETER (to Josh) Get the EMT's in there, now. CUT TO: LATER PARAMEDIC AMBULANCES rush in. Sirens at full blast. Stepping out of the building across, Manny walks next to Chuy, who holds his hand. The old man carries a box full of shoes. Chuy looks back at the cop circus, amused. MANNY C'mon Chuy, we're gonna be late. (discreetly crossing himself) Cops are bad news. Don't look at them. He gently pulls his grandson's hand and moves briskly away. JOSH uses an iron bar, and breaks a padlocked cellar door. A heavy stench emanates from inside. The cops cover their noses. INT. CELLAR Peter and Josh enter a dingy, dungeon-like cellar, illuminated only by bug zappers and emergency lights. Every door and window has been nailed shut or sports a heavy-duty padlock. Peter and Josh walk through the dismal scene. In sharp contrast with the dirt-smeared walls, we see shiny metallic SEWING MACHINES and swatches of cloth appliqued with a FUNNY BUNNY cartoon character. Josh examines the label stitched into the collar. It reads: PROUDLY MADE IN USA. PETER Jesus. His light hits a group of quivering, skeletal CHINESE IMMIGRANTS, standing in a tight group against a wall. WOYCHEK (from the outside) They look real sick, don't they? CUT TO: INT. STAIRWELL, MUSEUM - DUSK Carrying boxes full of terrarium material, Susan and Siri ride an antiquated cage-steel elevator. No floor buttons, just an old-fashioned hand-activated lever. SUSAN ...as long as they're ready for the opening I don't care, just tell them that. SIRI I'm on it. Don't worry. (Beat) Look, Susan...I don't mean to pry, but... I kinda overheard you and Peter. SUSAN (Smiles ironically) Watch your step, Siri. Your grant could be on the line here. SIRI I just...well, I had this cousin in Delhi. She was having problems, too. She, ah... SUSAN What? SIRI She used a baster. Susan looks at her. SIRI Not a big one. I mean, it was like a turkey baster. SUSAN Oh, Jesus. She tries to stop the elevator at the fourth floor, but it rises just a little too far. SUSAN Come on, darlin'... Susan has to jimmy the lever till the elevator falls level to the floor. SIRI (continues) She kept it under her bed. Thing is, it kinda worked. I mean, she had to hide it from her husband, but... A pair of young boys, RICKY and DAVIS, sit on the floor outside Susan's lab door. A crumpled paper bag and a shoe box sit beside them. SUSAN What's this? SIRI Oh, right... They been here since noon. I told them you're real busy. Susan smiles at the boys, who stand when they see her. SUSAN Hello. RICKY You the bug lady, right? Siri chuckles. SUSAN (smiles) I suppose so. Ricky raises and shakes the paper bag. RICKY We're here to deal. INT. MOUNTING ROOM - DUSK SUNLIGHT slants in to illuminate an incredible array of live and mounted dead INSECTS, trapped in turn-of-the-century glass fronted cabinets. Davis puts his nose up against one, fascinated. SUSAN Metaxonycha Godmani, Trigonopelastes Delta. Field Butterflies. Have you been upstate? She examines the boys' findings, mostly rag-tag specimens of battered butterflies. DAVIS Avenue B. SUSAN (sadly) I guess they got lost in this city. RICKY So, you wanna buy em? DAVIS There's extra wings in the bag. Siri lingers in the background. SUSAN You guys have done a nice job. How bout five dollars? RICKY (dismayed) That's it? DAVIS (to Ricky) Show her the weirdbug. He indicates the shoebox- RICKY Cost a dollar just to look. DAVIS It's a great bug. We kinda broke it a little... Siri impatiently points at the wall clock- SUSAN Fellas, I'll tell you what...ten dollars for everything. Plus a killing jar, some tweezers and mounts so the next bunch you catch will be in better shape. DAVIS Deal! RICKY You crazy! That's the best!! DAVIS Bug's almost dead anyway. Susan holds out two five dollar bills. The boys can't resist. Davis grabs the money- DAVIS Thanks, lady. Ricky gives a last possessive look to the shoe box, then follows Davis out. Siri crosses to the window and wrestles to close it. SIRI Ten dollars? Susan places all the kid's items -including the shoebox- in a wastebasket. SUSAN Alphabet City kids- there's much worse things they could be selling. Siri hits the window frame with a paperweight, gets it half way down. SIRI I hate this fucking window... EXT. ACROSS STREET FROM MUSEUM - NIGHTFALL CRANE TO a nearby alley. A GAUNT MAN IN AN OVERCOAT stands in the shadows, looking up at Siri working on the window. As a streetlamp lights up, he backs up into the shadows. CUT TO: INT. FLOPHOUSE. LOBBY - NIGHTFALL Religious slogans and posters are hung everywhere in what used to be the lobby of a men's hotel. A hand-lettered sign: "NO LIQUOR, NO DRUGS, NO PROFANITY" PARAMEDICS are leading a number of ill CHINESE IMMIGRANTS up from the cellar door seen earlier. Many are brought out on STRETCHERS. DOH staff put tags on their wrists. Peter examines a PALE OLD MAN on a stretcher while simultaneously talking to Josh. PETER (to Josh) There's plenty of systemic infection already, so as soon as we get a preliminary reading, start them on anti-biotics. You saw this? Peter flicks on his penlight, examines the Old Man's eyes. One of them is completely bloodshot. Then he shows Josh the gums. They're bleeding. PETER Internal hemorrage. 2 our of 5 have it. No definite signs of TB, but we'll quarantine them a week just to make sure. JOSH Immigration's gonna love you for that. PETER Tell them to send flowers to the usual address. INT. SWEAT SHOP. BASEMENT Peter pushes back a sheet hung across a doorway. BASEMENT SHOWERS A tiled nightmare. Concentration camp-cozy. A pile of old, rusting sewing machines clutter the floor, spilling oxide to a central grate. JOSH Two shifts, people rotating from bed to work. One toilet. We're in Wal-Mart hell, here. Josh swats a fly. PETER Did they get the sleazebag who owns this place? JOSH Triad, Chinese Mafia. They bring people from Yunan. Slave labor... (eyes his notebook) Reverend Harry Wong, a preacher had the flophouse fronting for them. No sign of him. An overhead door is opened. Daylight streams in. Peter spots YANG, an Asian cop, talking to a CHINESE WOMAN lying on a stretcher which hasn't been moved yet. She is hollow-eyed, near death. Her hand weakly hangs on to the cop as if for dear life. PETER Tell her she's going to be alright. We'll take care of her. Peter kneels next to her, looking at her and nodding while Yang translates. The woman mutters again, tears of fear in her eyes. Yang shakes his head. YANG She's delirious. Keeps saying the "Dark Angels" are coming for her. She says they took some of her people away. PETER Dark Angels? YANG (Shrugs.) Probably a gang. Chinese people, man. They come up with some wacky stuff. They pull the stretcher out through the open overhead door and into an ALLEY The stretcher is rolled into a waiting vehicle, its lights flashing. Unseen by them, on a brick wall, nearly buried by graffiti, is a crude DRAWING. It is of the same, odd figure Peter saw drawn earlier. The OVERCOAT MAN. INT. LAB - NIGHT - MONTAGE Susan and Siri, both wearing Walkman headsets, deftly mount BUTTERFLIES and other INSECTS onto display boards for the exhibit. Rain is blowing in through the half-open window. Their movements are precise and lyrical, the colors and designs of the insects are beautiful. We understand how you can get lost in this world. Susan works steadily, a partially-eaten PAY-DAY BAR and the wrappers of several others are evidence of her dinner. A PAGER goes off in Susan's lab coat. She takes off her headset; CLASSICAL MUSIC leaks from her headphones. On the PAGER's LCD screen the message reads: LATE TONIGHT. PETE. Susan puts the pager down. Goes to close the window. There is a loud, angry BUZZING sound. SUSAN Siri? (louder) Siri?! Siri pulls her headset off; HEAVY METAL MUSIC leaks from her headphones. The BUZZING sound again. We PAN across the various bugs and mounting implements till we come to rest... ...on the SHOEBOX the boys gave Susan. Something rattles wildly inside. SIRI ...the fuck? Susan crosses to the trash bin, picks the box out. It vibrates on her hand, then becomes quiet, something moves inside. She slowly opens the lid. The bottom of the box is littered with two inches of shredded newspaper. Crumbs of bread and some rice-krispies can be spotted here and there: a kid's idea of a comfy critter's nest. She moves her free hand closer. SUSAN (To Siri) Can you...? Suddenly and INSECT big as her hand springs out of the shredded paper nest and tries to grab on to her! Minute pieces of paper fly through the air!! Susan slaps the lid back down. SUSAN (a scared whisper) Could you...help me...? CUT TO: LATER Siri comes over as Susan grabs steel tongs and a cork dissecting board. SUSAN I'm gonna pull it out and I want you to pin it down, okay? SIRI What is it? SUSAN I have no idea. Are you ready? Siri nods, pins in hand. Susan opens the lid and grabs the nymph with the tongs. The creature goes berserk, flailing its spindly limbs, BUZZING and CROAKING, a milky substance FOAMING out of its body. SIRI Oh my God... Susan deposits the insect onto the corkboard. Siri tries to get a hold of it; but it twists out of the tongs and wraps its coarse legs around her hand!! A spider trapping a sparrow. SIRI Shit!! Get it! Get it! SNAP! It bites her hand between index and forefinger. Susan pins the insect into the corkboard. It spins furiously, like a crazy LP record. Susan gets a grip on it again with the tongs. Siri uses more pins to secure it down. SUSAN (Noticing Siri's hand) It bit you. SIRI No shit. SUSAN leans to get a closer look at the NYMPH: Deep dark brown, flat as a pancake, one rear leg broken, lower tail smashed. It squirms helplessly now, looking pitiful under the harsh overhead light. SUSAN This wing configuration. I've never... SIRI (looking at her injury) Fuck! It broke the skin... SUSAN And they're not fully developed. This thing's not even an adult. The nymph continues to HISS and FOAM, struggling against the steel pins. Susan looks closely at the insect's belly. SUSAN My God. SIRI What? Susan gestures to look. Siri stares down at THE NYMPH'S TORSO where a SET OF VALVES on its underside click in and out. SUSAN (OS) It's breathing. SIRI shakes her head. SIRI That's impossible. Insects don't... SUSAN I know. (Picks up a SCALPEL) Help me get a sample. Susan touches her scalpel to the nymph's leg. The nymph CLICKS nervously. SUSAN Hold on, big guy, hold on... She traps the nymph down and CUTS THE LEG OFF. A painful, agonized BUZZ echoes around the room. CUT TO: MONITOR Susan attaches the insect's leg to a samll holder. It is frozen in a swirl of dry ice. The brittle leg is then mounted in a LASER MICROTOME. Bit by bit, the machine executes MICROSCOPIC WAFER CUTS. Siri is making slides out of each section. A series of MICROPHOTOGRAPHIC IMAGES flash onto the screen. In the background we hear the high-pitched BUZZ- We see the lights from the mounting room through a glass brick wall. INT. MOUNTING ROOM - NIGHT We see the nymph slowly squirming in the FG, then RACK FOCUS to the rain-spattered WINDOW. Suddenly the OVERCOAT MAN is standing on the windowsill! The window is lifted effortlesly from the outside. SUSAN prepares a blue solution and places two drops on each smear slide. Reflected in the glass brick behind her we see the man moving across the room. THE OVERCOAT MAN seen only through rippled glass and reflections, moves through the lab. His body STEAMS lightly from the rain. His movements are quirky, spastic. The man observes the imprisoned insects with curiosity. He comes to the nymph, pinned and mutilated on the worktable. The nymph CLICKS and CHITTERS excitedly, as if communicating with the man. He looks up at the worklight. It seems to bother him. WHUMP!!! In a blur of motion, he SMASHES the light bulb. SUSAN watches the smear slide. The blue droplets begin to CHANGE COLOR once in contact with the leg section... SUSAN Hold on a second... ...slowly turning a deep green. SIRI What? Then, THREE LARGE BEETLES fly into the room. Siri looks at Susan. Susan gets up, hesitant, signals for Siri to stay. We FOLLOW Susan into the mounting room. SUSAN'S POV She walks in, barely able to see her hand in front of her face. The window facing the street is wide open, rain blowing in. Something CRUNCHES under her feet. She bends down, looks. She's stepped on the broken glass of the lightbulb. The floor is alive with various INSECTS -- crawling, hopping, flying away from their displays, which have been opened. The nymph is gone from the board! She looks under the work table the nymph was on. We LOWER as we TRACK BACK with her. Something is folded up in the corner of the ceiling behind her, camouflaged in the shadows, clinging impossibly to the wall. THE OVERCOAT MAN. He lowers himself with silent grace. Susan whirls. WHOOSH! A GUST OF WIND! A FLUTTERING SHADOW OFF THE WINDOW! Silence. SIRI (O.S.) Susan? Susan GASPS, startled. We SHIFT to see Siri at the door. SUSAN Call security. CUT TO: EXT. FLOPHOUSE - NIGHT The last DOH van takes off under the heavy rain. Across the street, Chuy looks down from his apartment window. INT. MANNY'S APARTMENT - SAME Chuy sits at the window, twisting wire into a human-like figure. MOVING past him, we see a group of other WIRE FIGURES on the table, backs of chairs, lamps, everywhere. Manny sits at the kitchen table. He IGNITES a can of shoe polish with a match, then lights a cigarette off the flame. He puts the cigarette in his mouth and proceeds to polish a pair of shoes. A SILLY SHOW plays over the TV. MANNY Not too little, not too much. You rub it in, around and around like this. Let the leather take it. Manny leans tiredly against the table. He looks fatigued and in pain. He takes a small pill and places it under his tongue. MANNY You watching? You should learn to work the shoes. You're good with your hands... Manny shoots a glance over to his grandson. MANNY Chuy...you gonna get all wet. Chuy doesn't pay attention, just stares out at the street. MANNY Did you look at the story book I got you? Manny lifts a brightly colored CHILDREN'S BOOK. MANNY Our Animal Friends. Can you say that, Chico? "Friends"? Nothing from Chuy. CHUY'S POV - STREET The building across the street. Yellow DOH tape at the entrance. MANNY (OS) A friend is the one you can trust. When you are with a friend, no matter where in the world, you are at home. A FIGURE moves out of the shadows and totters in the rain toward the entrance. It is the OVERCOAT MAN, barely visible in the rain. MANNY In this city. A friend is a hard thing to find... CHUY His face shows a bit of animation. CHUY Funny Shoes... Manny looks up from the book. CHUY Alli. Mr. Funny Shoes. Manny comes over, looks out. THEIR POV The figure has disappeared into the dark front of the boarded-up building. MANNY AND CHUY MANNY No one is there. Is empty. Chuy doesn't respond. Manny turns the boy's face to his. MANNY Chuy, listen to me. They have Jesus on the cross, but that is not a holy place. You understand? Chuy looks at him blankly. Manny sighs; he knows he doesn't. MANNY Ah, Nino. God only knows what goes on in your head, eh? He pats the boy on the head, then goes back to work. Chuy turns back to stare at the street. CHUY Mr. Funny Shoes... CUT TO: EXT. OUTSIDE TYLER APARTMENT BUILDING - NIGHT The D.O.H. Van pulls up in front of a modest Pre-war building. Josh and Peter climb out. Peter is reviewing a roster. PETER Josh, what was Immigration's countdown? Josh hands Peter a plastic bag with his sweat clothes and running shoes. JOSH Thirty-three workers. Peter hands him the roster. PETER There are thirty five listed in the reverend Wong's roster... JOSH Shit. Peter walks up the front steps. PETER Remember what that woman said, about people being taken? Check with the copsin the area. INT. TYLER APARTMENT - NIGHT Peter enters the apartment, which has long since been remodeled with a nicer couch and a bigger TV with slightly better reception. PETER Sus? No answer. He notices the dining room table is filled with yellowed FILES, all marked JUDAS TRADITOR. PETER (Looks around once again) Susan? INT. LAUNDRY ROOM Peter comes in to find Susan sitting in a chair before a dryer, quietly watching laundry whirl within. PETER (Regarding the laundry.) Thought it was my week for that. SUSAN (Shrugs.) I needed to think. It was either this or the weather channel. Peter walks over, kisses her. He notices an open book of INSECT MORPHOLOGY on her lap. There's a FULL COLOR PHOTOGRAPH of an OOTHECA -- an insect eggcase. INT. LAUNDRY ROOM - LATER Peter folds laundry into his/her piles. Susan paces. SUSAN This thing was the size of my fist, Peter!! That's off the charts! PETER Okay. So you lost a great specimen- SUSAN Don't you get it? It's more than that. Peter takes a bedsheet. Susan helps him fold it. SUSAN You know why insects don't grow larger? Because they don't have a complex respiratory system. What I saw did. It had lungs. Peter walks backward with his end of the sheet. The two begin to fold it together. SUSAN Evolution doesn't work that fast. Something pushed that thing to take the leap. We need to find another specimen. PETER We? As they fold the sheet, they move closer together. SUSAN I did a PH test on its tarsal pads. The folding of the sheet has brought them almost face to face. Susan finishes folding herself. SUSAN There's only two species who match the enzymes I found. One's a leaf-cutter ant in the Amazon... She has his full attention now. SUSAN The other we released here two years ago. EXT. ALPHABET CITY - AVENUE B - DAY A TAXI CAB makes a U turn and cruises on. INT. CAB Susan ignores the yakking Armenian DRIVER as she scans the buildings and empty lots- ARMENIAN DRIVER Avenue B... again! Maybe you got wrong letter, uh? The cabbie looks up at a Manhattan street map glued over his head on the roof of the cab. SUSAN Keep going. We'll tell you when to stop... PETER Maybe they lied to you. SUSAN Even if they did... that's all we have, isn't it? The cab cruises past the tenement buildings, nondescript stores, junked cars and rubble-strewn lots. It stops before a traffic light. A LEERING HOMELESS GUY with a greasy rag and greasier cleaning solution approaches the windshield. ARMENIAN No... Oh, shit. Get away, you Turk! The Homeless guy begins wiping/smudging the windshield with his dirty rag. The driver sends him away. The light turns green. The Driver accelerates, turning on the windshield wipers to expunge the smears left by the guy. Susan sees something. SUSAN Pull over! ARMENIAN DRIVER What...? Susan motions excitedly. The Driver pulls over. Susan gets out. EXT. OUTSIDE CAR Susan rushes over, removes something from the windshield wiper. A BUTTERFLY, its wing pinned under the rubber flapper. She holds it in her palm, then looks up at Peter. SUSAN Metaxonycha Godmani. PETER So? Susan looks around. Just ahead is an empty LOT surrounded by a wooden fence plastered with flyers for rock bands and performance artists. An identical BUTTERFLY perches on the edge of a board. EXT. EMPTY LOT Susan and Peter walk through waist-high GRASS of a small urban wilderness. Dozens of BUTTERFLIES flutter around them from the weeds. RICKY (OS) If you want your money back, forget it! Peter and Susan look up. The voice comes from a RAMSHACKLE CLUBHOUSE, built of wood scraps and cardboard. DAVIS (OS) We already spent it! Susan walks forward. SUSAN We're here to deal. Long beat. The door to the clubhouse swings open. CUT TO: INT. SUBWAY STATION - DAY A BLUR of subway cars goes by with an ear-pulverizing SOUND. At the end of the platform, Davis untwists a wire around the busted lock of a locker room door. Peter paces nervously nearby. PETER Here, let me... He starts on it himself. Meanwhile, Ricky stares at a PHOTOGRAPH Susan has given to him: a ribbed, tortoise- brown colored EGGCASE. SUSAN You sure you didn't see one of these? RICKY Gross. What is it? SUSAN An "Ootheca". An eggcase. It probably had more, uh "weirdbugs" inside. RICKY (shakes his head) No way. I see one of those, I'd puke. Davis opens the door with a CLICK. INT. SUBWAY LOCKER ROOM A dark, abandoned LOCKER ROOM once used for transit workers. Susan and Peter walk in with the boys, nervous in the off- limits area. DAVIS It was in that corner over there. Davis points to a bank of dented metal LOCKERS. RICKY Sucker was fast, man. (Picks up a pipe.) Had to take it out with one a these. PETER Okay, guys. We'll take it from here. Peter hands Ricky some money. The boy looksdown at it slyly. RICKY Make it ten an' we won't tell the cops you're here. Peter regards the little scam artist dryly. PETER Let's keep it at five and I won't condemn your clubhouse. Peter hands him a couple of dollars more. The two boys take off. Peter removes a PENLIGHT from his pocket. Dust covers everything. A forest of COPPER TUBING and PIPES where the sinks used to be. PETER inspects the floor. It's littered with cheap objects: chipped combs, used rubbers, soggy newspapers, smeared heroin syringes. Something shiny catches his eye. He picks it up. PETER (quietly) Look, a broken tooth... Something rustles nearby. He notices an old, rotting poster on the back wall. It seems ODDLY TEXTURED somehow. He walks toward it. SUSAN kneeling, pushes aside a dented trash bin. Behind it, there is a cabinet with rusty sliding doors. A SUBWAY TRAIN RUMBLES by outside, the sound echoes off the tile walls. Susan forces the door back. She peeks through the opening. Her face stares back at her from a dirty pocket mirror. She starts pulling something out. PETER at the oddly texture wall. He shines the penlight at it... ...and is met with a FLUTTER OF WINGS. MOTHS, perfectly camouflaged against the poster on the wall, whiz past him. Peter recoils. SUSAN (OS) You okay? He nods. SUSAN turns back to her locker. She withdraws a cheap PLASTIC NECKLACE from it. As she removes it, it breaks. A coulpe of beads fall away... ...rolls under the locker... ...and BOUNCE -- once, twice, thrice -- each time going deeper till they comes to a stop. Susan peers where the beads fell. SUSAN There's something under here. Peter comes over, kneels by her. Susan takes a handful of beads and throws them at the base of the locker. CAMERA TRACKS to follow one of them. It rolls all the way under. A moment later, from some interior space, the sound of it BOUNCING on cement. He shines his light inside. INT. HOLE - PETER'S HAND Very dark. A highlight glints off a shell-like surface. The light barely touches it. THE WHOLE SURFACE BACKS AWAY. Peter drops the penlight. It gets stuck in a jutting piece of concrete. PETER PETER Shit. Peter tries to get his hand in DEEPER But he cannot reach the light. It is literally inches from his fingers... SUSAN SUSAN Let me try. My hands are smaller. She kneels and goes for it. INT. HOLE - SUSAN'S HAND Her hand reaches for the penlight. She barely touches it. The penlight spins around. Its light now illuminates... THE FACE OF A MAN. Unseen by Susan. Terrifying in its doll- like simplicity. In the darkness, its features seem indiscernable, inert, almost frozen in a perfectly symmetrical pattern. It regards the spiderlike movement of Susan's fingers. SUSAN'S face squinches with the effort. PETER Honey, just leave it. SUSAN No, there's... INT. HOLE - SUSAN'S HAND As Susan's hand moves closer, the strange Face begins to TREMBLE. A CLICKING SOUND. Susan's hand is almost there. SUSAN reaches further. And suddenly A BEAM OF LIGHT cuts through the darkness. Their vision resolves. The figures of two MTA COPS stand before them: ERNEST, 50, burly and bull-necked; and LEONARD -- African American, 45, more formidable than fat. LEONARD (Wearily) Now don't tell me. INT. HOLE Susan's hand withdraws. LEONARD (OS) You lost a token, right? CUT TO: INT. SUBWAY PLATFORM - LATER SHH-SHH-SHH. A felt rag is expertly being pulled across a set of pristine black shoes. REVEAL Leonard sitting like a king in a chair, getting his shoes shined by Manny. He leans back laconically while arguing with Peter. Ernest examines the ootheca picture. PETER Look, I showed you my badge... LEONARD Yeah, and you gonna have to show me a lot bigger one you wanna go down there. That's the old maintenance grid, Doc. Swiss cheese: tunnels, tracks... PETER The Department of Public Health... LEONARD ...should know better'n to go sneakin' around my turf... PETER Fine. You want me to call your supervisor? LEONARD Please do. He's a lonely guy. Uninterested, Leonard looks over to Susan and Chuy. ANGLE ON SUSAN She leans against the wall, inspects her dirty hand. Ernest gives her his handkerchief. CHUY (OS) Gucci. Flat pump. She looks down at Chuy, who sits nearby, holding a PAIR OF SPOONS. ERNEST Your shoes. She stares down at her shoes. Gucci flat pumps, all right. Susan smiles. Just then, a SUBWAY TRAIN pulls up. The doors open, disgorging passengers. Chuy flips into action. He starts playing his spoons, CLICKING them together, slapping them against his knee. Susan watches in wonder as the boy begins to use the spoons to IMITATE the different rhythmical step patterns of the VARIOUS COMMUTERS: The rolling, comical gait of A FAT MAN, the lithe haughty step of A PRIM LADY. SUSAN (Laughs. To Chuy.) That's wonderful! What grade are you in? Chuy doesn't answer. ERNEST No school. Shoes're all Chuy knows about. Ernest discreetly points to his forehead. MANNY (immediately) He's special. LEONARD He can imitate anything, you just watch him. PETER (Irritably, to Leonard) Excuse me, I'm talking to you. LEONARD No, you talkin' at me. Leonard hands Manny a $5.00 bill for the shine, gets up and walks past Peter as if he were invisible. ERNEST (discreetly, to Susan) Is there some reward for this? SUSAN I guess that could be arranged. Ernest smiles, pockets the ootheca picture. PETER For Chrissakes. You gonna lay a two- bit bureaucratic, territorial number on me? LEONARD You wanna keep up the conversation, you best come back with the proper permits and the right attitude. Leonard saunters away with Ernest in tow. Peter shakes his head angrily. He takes Susan by the arm, heads off in another direction. Chuy, without watching, clicks his spoons to the imitation of their steps. INT. SUBWAY STAIRS - DAY Susan and Peter walk up the stairs; Peter still fumes. PETER You give someone a fucking uniform and... Did you hear how he talked to us? SUSAN I heard how you talked to him. PETER Oh, so I'm the bad guy now? Susan spares him an ironic look. SUSAN He was just doing his job. PETER Fine, then I'm the bad guy. Jesus! At the top of the stairs they're completely engulfed by sunlight. PETER He wants a permit, I'll get him a permit. CUT TO: INT. SUBWAY TRACKS - DUSK A train blurs by. A FLASHLIGHT BEAM over dirty gravel. TILT with the beam to see Ernest walking his beat past TRACKS and GIRDERS. Hulking out-of-service SUBWAY CARS surround him. He shines his light on the ootheca picture and then around him at the walls. A SOUND catches his attention. A RUSTLING. He notices something off to a corner, walks over to it. A SHINY BROWN LUMP in the corner, covered in garbage. He touches the lump with his shoe. It STIRS slightly. He touches it again... ...and a PAIR OF LEGS suddenly LASH OUT, kicking at him reflexively. Ernest jumps back. Another SET OF LEGS emerges... Oddly enough, Ernest relaxes. ERNEST Chrissakes... He grabs the surface of the lump, and pulls it. We see that it was just a SHINY BROWN TARP. Underneath, a group of THREE HOMELESS PEOPLE -- emaciated, toothless -- sleeping intertwined for warmth. In the dim light, they almost seem like a single organism. ERNEST Guys, c'mon. The Homeless People stare back at him mutely. Ernest starts getting annoyed. ERNEST I told you to stick by the maintenance area. BAG LADY Nah... It's private property now. Ernest looks at her, confused. SKELETAL BUM He eats down there. ERNEST Who? HOMELESS MAN The Stickman. BAG LADY Long John. The homeless man points. Ernest turns his light. Another SILHOUETTE of the OVERCOAT MAN drawn on the wall. An arrow below it points east. ERNEST Graffiti artist, uh? (To Homeless People) Look guys, just get off my beat, you hear? Get moving. Ernest hustles them out. The homeless people glare at him, pick up their things and head into the gloom. Ernest watches them go. He turns back to the graffiti painting of The Stickman. DISSOLVE TO: INT. SUBWAY TUNNEL - LATER Ernest walks deeper into the tunnels. Dusklight slants in weakly from grates above. He stops as a RUMBLE is heard ahead of him He ducks into a recess in the wall. The RUMBLE grows LOUDER, LOUDER. A SUBWAY TRAIN curves around the bend up ahead, its HEADLIGHTS raking the opposite wall to reveal... A FIGURE crouched over something. We hear CHOMPING and SWALLOWING sounds. CU ERNEST Squinting to see over his flashlight beam. ERNEST Hey, buddy! No answer. Just the wet sounds of food getting chewed and ingested. Ernest is revolted. ERNEST Get off my track... The crouching figure lifts its head and looks around in a unusually quick BLUR OF MOTION. It's the OVERCOAT MAN. Another distant RUMBLE. Ernest's clothes flutter in the puff of hot wind that signals an approaching train. Ernest pulls a CAN OF MACE from his belt, begins to advance. The Overcoat Man stands up. Ernest stops in his tracks. For he sees that the Overcoat Man is holding a large OBJECT in his arms. Something wet and shiny with blood. A dead dog. The Overcoat Man drops the animal. It rolls slowly down his chest... ...and is briefly caught BY ANOTHER SET OF ARMS EXTENDING FROM HIS TORSO. ERNEST Sweet Jesus... The Overcoat Man lets the animal fall to the ground. He begins walking toward Ernest. Ernest backs away. The Overcoat Man LEAPS on him just as the SUBWAY TRAIN ROARS PAST! CRACK! Ernest's body is twisted and crunched by powerful arms. Through the strobing windows we see Ernest enveloped by the dark figure, then raised above, taken away. TRACK The can of mace rolls next to the track as the TRAIN CLEARS. The track is empty again. CUT TO: INT. EXHIBITION HALL - BANNER We PAN across the banner: 'ARCHITECTS OF NATURE'. INT. EXHIBITION FLOOR EXHIBITS under glass set up throughout the room: Insect chambers and vaults of great complexity, etc. An opening night CROWD of affluent MUSEUM PATRONS. All tuxedoes and painted smiles. Some peremptorily peruse the displays; most just camp out at the buffet table. Peter enters, dressed in his worksuit. He scans the room, sees Siri leaning against a wall by the buffet table, drinking an orange juice. He goes over to her. PETER Heya. (Kisses her on the cheek.) Where's the boss? Siri gestures to the far end of the room. Susan stands alone, sipping a chardonnay by an ANT MOUND exhibit. SIRI Ant mound. Peter notices Siri seems unusually weary. She covers one of her eyes. PETER You okay? SIRI It's just a headache. We were sandblasting Trump Tower here since four this morning. PETER Maybe you should sit... SIRI I'm fine. Go talk to Susan. She could use a good word right now. She nods for him to go ahead. Peter leaves. Siri closes her eyes. She rubs the bandage around the insect bite on her hand. PETER approaches Susan. She's staring through thr glass panes of the exhibit at the crowd of patrons. In the refraction, their black tuxedoes and evening gowns seem to blend into one another. PETER Great crowd. SUSAN No such thing, baby. She looks over at the crowd congregated around the buffet table. SUSAN I get the feeling they came more for the potroast than the apterids. PETER Fuck 'em. They don't know what they're missing. SUSAN (Distantly) Right. Peter looks at her. PETER What's wrong? Susan sighs. SUSAN Oh...nothing that a little menopausal's pee daikiri couldn't cure. Least that's what I thought. Peter looks at her, notices that one of her hands is on her stomach. PETER (genuinely moved) Oh, no, you were- SUSAN I was just late. Susan nods. Peter takes her hand. They sit by the ant mound. SUSAN Ironic, don't you think? These guys can hatch hundreds of offspring in a single clutch of eggs, right? And here we are... PETER Susan, we're not b- SIRI (OS) Susan? Susan looks up to see Siri standing on the other side of the glass case. SIRI (Weakly.) I'm sorry. I think...I need... One of her eyes is completely bloodshot. Her mouth is bleeding. She puts her hand on the case to steady herself. Her fingers leave a STREAK OF BLOOD on the glass. SUSAN Siri... Siri collapses. The exhibit tips over. Peter pulls Susan out of the way just as the exhibit FALLS AND SMASHES TO THE GROUND! SUSAN Siri! The room erupts into COMMOTION. Susan and Peter run to Siri, who lies unconscious on the floor. Peter gently turns her over. Siri's BLEEDING from the corner of her mouth. Just like the Chinese workers in the sweatshop. Tuxedoed people encircle her next to the insect mounds. SMASH CUT TO: EXT. NEW YORK STREET - NIGHT An ambulance races down the avenue toward a distant hospital. INT. HOSPITAL - HALLWAY Siri is rushed on a gurney toward the Emergency Room. Peter and Susan walk next to it talking to DR. CHRIS RAYMOND, a 35-year old ER physician. PETER ...I think it's some kind of systemic infection, Chris. I saw a few cases like it yesterday. A sweatshop in Canal. RAYMOND (to Peter.) Okay, look. You better come in with me. Help me through. INT. EMERGENCY ROOM Raymond, Peter, and several other ER STAFF work on Siri, now lying on an operating table. RAYMOND (To Peter) All hands on deck, Pete. Remember the dril? PETER It'll come back to me. RAYMOND inspects Siri's wounded hand. The bandage has been removed. The bite-wound is infected and suppurating. A large red circular RASH around it. PETER Looks like a Lyme disease rash. RAYMOND It's not consistent with the internal bleeding. Any idea what bit her? Peter shakes his head. RAYMOND I think we're gonna need to have that specimen here. An ASSISTANT finishes inserting a catheter down her throat. Blood and fluid leak up through the clear tube. ABOVE THE OPERATING THEATER. Staring down through the circular glass deck, Susan silently observes the procedures. CUT TO: INT. MANNY'S APARTMENT - NIGHT Salmon-colored LIGHT slants in from sodium vapor streetlight. PAN through the shadowy room, past Manny's sleeping form to Chuy, asleep under a tent made of an old Star Wars blanket. A RHYTHMICAL CLICKING SOUND is heard from outside. Chuy pops his head out from under the blanket, listening. EXT. FIRE ESCAPE - NIGHT Wearing only his pajama bottoms, Chuy steps out on the fire escape with his spoons in hand. The CLICKING RESUMES from the building across the street. OVERHEAD VIEW The barefoot little boy crosses the street, steps through the center of the huge PAINT STAIN on the sidewalk. The CLICKING sound comes again. STREET LEVEL The CLICKING comes again from inside the flophouse. It continues a little bit, then stops. Chuy CLICKS his spoons together, mimicking the sound. Beat. A CLICKING from within again; almost an answer. Chuy ducks under the yellow DOH tape, walks toward the front of the building. He comes to the boarded entrance. There is a hole, narrow, and low in the doorway. Chuy squats, begins to wriggle through it. INT. FLOPHOUSE - LOBBY Chuy steps into the lobby. The CLICKING comes again, from further inside. Chuy moves to find it. CHAPEL Bits of STREETLIGHT slant in. Chuy walks slowly, listening. He steps into the SHADOW of a LOOMING FIGURE. He turns... CHUY'S POV - CRUCIFIX We start on bleeding, nail-pierced feet, then TILT up the twisted body to the face of Jesus, looking down. CHUY stares without emotion at the plaster figure. MOVEMENT to his side. He turns again. A dimly-lit FIGURE stands before him. Shapes fold and regroup in the darkness, resolving into the tall figure of the OVERCOAT MAN. The Man begins to emit the CLICKING NOISE from under his chin, his whole head VIBRATING. Chuy smiles. He has a beautiful smile. CHUY Mr. Funny Shoes. He plays his spoons, imitating the sound the figure made. He is answered...but this time, it's from the other side of the room. We PAN as he turns. ANOTHER OVERCOAT MAN appears in the shadows. Chuy GIGGLES, delighted. CUT TO: INT. HOSPITAL - WAITING ROOM Susan and Peter. SUSAN ...you don't even know what you're looking for. PETER You said that thing was big as your hand. I don't think I'm going to miss... SUSAN Why take the chance? Just let me go down there with you... PETER No. Susan glares at him. Peter sits down by her. PETER Susan, listen to me: you handled that insect almost as much as Siri... SUSAN It didn't bite me. PETER I know. But if it was carrying something...there's a chance you could have been exposed. Susan is silent. PETER Chris is going to run some blood tests on you. I want you to stay here till he's absolutely sure you're clean. Okay? Then you'll call me... You'll catch up with us... Susan looks up at him. Finally, she nods. PETER We'll be all right, Sus. I promise. He leans over, kisses her gently. But Susan seems hardly reassured. CUT TO: INT. MANNY'S APARTMENT - PREDAWN The blue hours before dawn. Laconic movement outside. New York dragging itself out of bed. We FIND Manny fixing some melted cheese sandwiches on a hot plate. He addresses Chuy's tented bed behind him. MANNY My father saw me stay in bed, he'd go get a pitcher. Cold water, whoosh, I tell you that's some alarm clock, brrrrr! Manny cuts the bread in four equal sections and arranges them in a star-shaped pattern. A breakfast ritual of some kind. MANNY Ah! There you go! The way you like 'em, Chu-chu... (He pours a glass of milk.) We're low on milk, you remind Grampa to pick some up tonight, okay? He walks over to Chuy's tent bed. He pulls the sheets aside. His grandson is gone. CUT TO: EXT. SEWAGE FILTRATION PLANT - PREDAWN Sewage water BUBBLES in huge tanks. A WORKMAN walks down catwalks above the tank, disengaging the larger pieces of debris from the filter areas with grappling hooks. Shoes, tires, rags... A GRINDING SOUND is heard. The Workman YELLS out to a CONTROL BOOTH above. WORKMAN Hold up! We gotta block on filter D. SOUND of the pump coming to a halt. The Workman walks to the filter area. He sinks his grappling hook into the polluted waters. UNDERWATER SHOT Spooky, silent. The grappling hook moves like a scythe to the filter... ...past long, soft filaments of RAGGED TISSUE... ...and connects with a LARGER FORM. ABOVE WATER The Workman feels the grappling hook connecting. He gives a YANK, hooking whatever it is. He begins pulling it up. A PALE FORM bubbles to the surface. The Workman's face goes pale. WORKMAN Oh, God... A grating VOICE from the control booth is heard over the P.A. CONTROL BOOTH VOICE What's the problem? It take the Workman a moment to speak. WORKMAN I think it's a baby! The Workman pulls the form (as if that will do any good) toward the edge of the tank. He bends down, and now gets his first good look at it. The Workman SCREAMS. His grappling hook falls from his hand, into the sewage. CUT TO: INT. HOSPITAL - ICU WARD Susan watches Siri from behind a pane of glass. Siri is connected to a respirator, her vital signs monitored by several machines. Raymond approaches Susan, two cups of coffee in his hands. RAYMOND How you feeling? SUSAN You tell me. He smiles, gives her one of the cups. RAYMOND Your blood tests were all negative. You checked out. Susan visibly relaxes. She looks back at the ICU ward. SUSAN What about Siri? RAYMOND She's stable. I don't think there's any immediate danger, but we'll have to keep her under observation... SUSAN You think it's some form of Strickler's, don't you? Beat. Raymond shrugs. RAYMOND Pathology's still working on the tissue samples. If it is...it must be an errant strain. Shorter incubation period. (Beat.) I'm sorry, Sue. We just don't know yet. INT. HOSPITAL - BATHROOM At the sink, Susan runs water over her hands, her face, trying to collect herself. She looks up in the mirror. We see that her eyes are swollen, tear-stained. INT. HOSPITAL - HALLWAY She walks out of the ladies room, drying her face with a paper towel. SOUNDS of a nearby argument catch her attention. JEREMY (OS) ...how many times I gotta tell you, man: we can't accept this! EMT (OS) Well, what the hell else am I suppose to do with it? Susan heads in the direction of the voices. INT. HOSPITAL - HALLWAY NEAR MORGUE An ORDERLY (JEREMY) argues with an EMT. Their point of contention: a small FORM lying on a stretcher. JEREMY Take it out back and throw it in the friggin' dumpster! EMT Not unless somebody signs for it. Susan walks toward them, catches sight of the tiny form. Her eyes go wide. SUSAN Oh, my God. Jeremy notices her. JEREMY Hey, you can't... SUSAN What's your name? JEREMY Jeremy... SUSAN Okay, Jeremy...go get Dr. Chris Raymond, will you? JEREMY Lady... SUSAN Did you hear me? Get Dr. Raymond! NOW!! Jeremy hesitates. But if her tone wasn't enough, the stare she gives him certainly is. JEREMY Okay. Jeremy backs away, takes off down the hall. Susan approaches the stretcher. SUSAN (To EMT) Where'd you find it? EMT Washed up at the filtration plant on Bank street. Some asshole there thought it was a baby. They called us. Susan bends over it. She covers her mouth and nose at the stench. EMT It's a lobster, right? But it's not. What lies on the stretcher before them looks more like a demon from a Brueghel painting. A THREE FOOT INSECT. It's mephitic, pink-white body is rotten, falling apart. The head's intact, with strange, large jaws thrown wide open. The chitin on one is half gone. CUT TO: INT. SUBWAY LOCKER ROOM Josh deposits a backpack full of equipment on the floor, along with a small acrylic cage. Peter trains his FLASHLIGHT into the bank of lockers. Leonard, weary and pissed, looks at his watch. LEONARD Better hurry it up, Doc. My shift's almost over. Josh hands him a piece of paper. PETER Guess someone requested you for overtime...buddy. Peter braces his legs and tries to push the whole bank of lockers clear--the locker section tips and falls with an ENORMOUS BANG, which echoes loudly off the tile walls. Dust flies everywhere. When the dust settles and flashlights are focussed on the area of the wall where the lockers stood, we see a LARGE HOLE. CUT TO: INT. MORGUE - DAY Using a steel probe, Susan examines the dead insect. SUSAN Posterior sternites are gone...half the protonum rotted off. Raymond lifts one of the wings. A CLUMP OF WHITE LARVAE feasts on the flesh underneath. RAYMOND Maggots... SUSAN Near hatching. Thing must've died about three weeks ago. Susan closes the mandibles and examines them. SUSAN Do you have a polaroid? CUT TO: INT. SUBWAY TRACKS Water DRIPPING from overhead, ECHOING footsteps- very spooky. Leonard leads Peter and Josh down the tunnel- LEONARD You all watch your step. We got some burrows goin' down seven stories here. You fall, I don't wanna have to come pick you up. JOSH (Whisper to Peter) New York's finest. Monumental archways give way to naves as big as Notre Dame. Josh flashes the ultra-violet light over an abandoned underground encampment, made of cardboard walls, electrical wiring, elaborate debris kitchens. The walls are completely taken by layer after layer of hand carved initials and messages. Everything from "Kilroy was here" to elaborate quotations from the bible. JOSH There's really people living down here? LEONARD Mole people. This section was pretty popular, all the way to Fulton Street... Their flashlights shine in a haze of brown dust. The air is heavy. LEONARD Substance abusers, mental cases... Then about a year ago, Poof! All gone. Rumors got started... Someone found a couple of stiffs... They work their way down a steep incline. They're covered in sweat. LEONARD Down here's the land of talk, see? So the wildest version goes the farthest. They mark that area with a sign or a drawing, and its as good as closed. (chuckles) We had one fella... for years said he was Bela Lugosi. Got him on Geraldo. Peter's cellular rings. He picks up -big static- INTERCUT WITH: MORGUE Susan's got the phone up on her shoulder, clamped against her ear. Raymond's cranking out a bunch of Polaroids. Color shots of the insect, from every angle. SUSAN It's me. Can you hear me? PETER (phone, barely audible) Yeah, barely. We haven't found anything down here. Nothing... Jeremy goes to the fridge for a beer. SUSAN I have. The fridge light plays over the large insects jaws. It makes out a few new ridges and valleys. Raymond snaps a couple of Polaroids. SUSAN I'm on my way. I've got something for you to look at... Susan notices something weird and undefinable about the contours of the claws... But she can't put her finger on it. BACK AT THE TUNNEL PETER We'll be back at the platform in... LEONARD 20 minutes. If you don't go sight-seeing anymore. PETER (To phone.) 20 minutes. (Beat.) Susan? The call is lost. Peter tries to change frequencies, but it's useless. Peter replaces the phone in his pocket. He walks off. LEONARD Funny. Shoulda seen some track bunnies by now. JOSH What? LEONARD Track bunnies. Rats. They're usually around. No one notices the OVERCOAT MAN carving on the wall. CUT TO: INT. MANNY'S APARTMENT - NIGHT On Manny's dining room table, a heap of unpolished shoes has accumulated. The radio is playing a sad, elegiac Tango. MANNY No, no, please understand... I can't wait that long. Looking disheveled and tired, Manny clutches the phone, listening intently. MANNY Please. I write it down. (he writes) 2... 8... 7... 3. What does this mean "case number"? Okay. So, now what? When can you...? He holds a color snapshot of Chuy sitting on a mailbox. MANNY No, I can't wait...no, listen... Click. Manny slowly hangs up. He stares at his notepad, at the number 2873. MANNY Hijos de puta. He crumples it up, throws it away, crosses to the window, picks up Chuy's last wire figure- FIGURE, CLOSER Another human-looking figure, long and thin, but with something slightly off about it. It has six limbs instead of four! MANNY frowns, looks down at the dark flophouse across the street. MANNY Mr. Funny Shoes. Distant thunder is heard. BATHROOM CABINET Manny takes a STRAIGHT RAZOR from the bathroom cabinet, opens the blade. EXT. SUBWAY STATION - DAY Susan arrives at the stairs leading down to the subway station. A COUPLE passes her on their way up. A sign over the entrance says "STATION WILL CLOSE FOR REPAIRS AT 3 PM - TOKENS ONLY". Susan looks around- the area is semi- deserted, a bit creepy. She takes a deep breath, descends. INT. SUBWAY - DAY Susan pushes through the turnstile, enters the long corridors of gleaming tile, a somewhat de-humanizing atmosphere, straight out of a George Tooker painting. Very creepy. Susan's footsteps ECHO in the empty tunnel. She sneaks a nervous glance over her shoulder- nobody is following her- PLATFORM "A" DELANCEY Susan observes the locker room door impatiently. A small crew of REPAIRMEN are dismantling a row of fluorescent lights. She sits and waits. CUT TO: INT. DEEP IN TUNNEL Peter, Josh and Leonard walk through a darker area. The floor beneath them suddenly changes, becomes tile. JOSH (Sniffing) Smells like acid. Peter stops, looks around. PETER Ammonia. Josh walks to the right, where the smell seems to emanate from. At last they come to INT. VAULTED AREA - CONTINUOUS Josh LIGHTS a flare, sets it on the ground, walks ahead. The ominous RUMBLE of a subway is heard in the distance. A cracked WATER MAIN above. Water dribbles to the ground. JOSH Peter... PETER Yeah...? JOSH There's some weird shit here. PETER Weird shit...? JOSH Take a look. Leonard shines his flashlight ahead. Revealed, quite literally, is a world of shit. LARGE FECES scattered everywhere: on the floor, hanging sausage-like from the ceiling. One can almost taste the stench of old ammonia. Peter puts on a rubber glove, inspects one of the fecal stalactites. JOSH Fecal matter, unknown origin: weird shit. (Beat) Whatever it is, it's not human. Josh breaks off a sample, drops it in a jar with a hard THUNK. Leonard turns away in distaste. LEONARD And it needs some metamucil. CUT TO: EXT. FLOPHOUSE - NIGHT It's raining like hell. Manny approaches the abandoned flophouse. He peeks through the boarded-up front entrance. Right there, on the dusty lobby floor, clearer than the larger shoeprints... ...he discovers a trail of tiny, barefoot prints. MANNY Chuy... He kicks experimentally at the planks, but they're far too strong. ALLEY Manny explores the opposite face of the building, looking for a way in. A DOG is BARKING incessantly. Manny turns. Something moves in the shadows! Something long and thin, haloed by the rain. It moves again, the streetlight touching it for a fleeting moment as it totters around to the rear of the building. It's The Overcoat Man! The man hurries past. Manny sprints after him. ALLEYS Manny comes running around a pile of grocery crates. There is the OVERCOAT MAN. CARGO WORKERS mill around a group of vegetable trucks, unloading produce. The OVERCOAT MAN attracts no attention. Keeping his head down, staying near the shadowed buildings. Jumping and hopping, he skitters into an alley. FOLLOWING Manny has to trot to keep up with the mysterious figure. He pauses to take a pill and place it under his tongue. Once it takes effect he moves on. The OVERCOAT MAN has moved past a chainlink fence. How?? It's too high!!! The old man squeezes through a jagged opening. The metal fabric cuts his shirt. On the other side: a dead end. Nowhere to go except for... A SEWAGE GRATE Manny lifts it. SEWAGE PIPE Manny lands on his feet with considerable difficulty. He flicks his lighter flame and opens the straight razor. This pipe is carpeted with trash and a thick crust of dirt. Something moves under a wet newspaper: a thick mass of long- legged spiders dissolve onto the walls and floor. Suddenly...the distant sound of spoons playing. MANNY Chuy... Manny pulls a rosary from his pocket, wraps it around his wrist and crosses himself with the razor... ...then begins to move down the pipe. CUT TO: PLATFORM "A" DELANCEY Susan examines the Polaroids. She pulls out a payday bar. The crew of repairmen are leaving. REPAIRMAN Hey, Lady, all power will be down in five minutes, okay? SUSAN Okay.... She munches on the bar. She stops: one snapshot has caught her attention. The fridge light illuminated this photograph. Susan turns it around... and around... Trying to find something different in the lines. A train roars by. Then she notices it: THE POLAROID The closed jaws. They look like A HUMAN FACE. SUSAN Gets up nervously and heads for the dor to the locker room. A whole row of lamps goes off. The rest flickers in and out. Then we see, now standing on her platform: THE OVERCOAT MAN!! He looks at her between a row of columns under the dead neon lights. Susan tries the locker room door. It's unlocked. INT. LOCKER ROOM - SUSAN carefully crosses the floor to the bank of lockers. She kneels to examine the hole in the wall. She nears a noise. THE OVERCOAT MAN is moving toward her. SUSAN Peter? OVERCOAT MAN The man's face TIPS BACK... ...raising the complex, glittering INSECT HEAD FROM BEHIND ITS MASK-LIKE FRONT JAWS. Its multi-parted MOUTH clicks OPEN. Susan SCREAMS! The thing charges, its "coat" opening to reveal...SIX LEATHERY WINGS, fully extended! The wingspan blocks the whole tunnel, they vibrate rapidly. Susan tries to run, but the creature -- hereafter known simply as "The Mimic" -- LEAPS ONTO HER CHEST! She's dragged screaming into the hole. Their silhouettes recede rapidly amidst a confusion of legs, wings and pipes. CUT TO: INT. VAULTED AREA Peter and Josh put the fecal samples into the back-pack. Leonard stands at the other end of the area. He inspects some OLD SCAFFOLDING set up at an opening which leads to THE REMAINS OF AN OLD STATION fifteen feet below. LEONARD I've never been this deep. This area here is the Old Armory station. They built it in the 40's. Ran out of money half-way through... It's like Grand Central's dead little brother. Tiled mosaic walls, columns, monumental arches. Spaces for shops. A group of abandoned turn-of-the-century subway cars on parallel tracks. LEONARD Okay, the fat lady's singing. Time to go. Everything is gray with dust. PETER (O.S.) (To Josh) I want a team in here by six tonight, hands and knees with toothpicks... Leonard squints down at the planks of the scaffolding. A NYMPH -- big as the one seen earlier -- emerges from a pile of nearby feces as if it were part of the mound. Keeping his eyes fixed on the insect, Leonard coolly bends down, picks up a ROCK. PETER putting the last sample boxes into the back-pack, looks up and sees LEONARD step onto the scaffolding, raising the rock to crush the nymph. PETER Don't!! SMASH! Leonard tosses the rock at the insect, crushing it. Peter rushes to the insect's corpse on the scaffolding. LEONARD Did you see the size of that thing?! PETER Look what you did! You stupid sonofa- A CREAK from the scaffolding at their combined weight. Leonard grabs Peter, tries to pull him from the scaffolding. CREEEEAAAAAK! THE ENTIRE SCAFFOLDING GIVES WAY! Buckling diagonally... ...taking Peter and Leonard with it... CRASH! Both Peter and Leonard are thrown to the ground of the station below. The scaffolding falls around them. JOSH rushes forward. JOSH Peter! PETER AND LEONARD stir in the wreckage. Peter rises shakily. He puts his glasses on. One of the lenses is badly smashed. PETER It's okay. I'm all right. He tries to help Leonard up; Leonard knocks his hand away. LEONARD Get the hell away from me! Peter looks up at Josh. PETER (Deadpan) He's all right, too. Leonard brushes himself off, checks out his walkie-talkie. It's been broken in the fall, a tangle of plastic and wires. He curses under his breath. Peter checks the wall for a handhold. But there's only smooth tile and dust. LEONARD Oh, that's gonna work. PETER You got a better way up? Leonard removes his badge, tosses it up to Josh. LEONARD (To Josh.) Show that to the station manager. Tell him Leonard's gonna have his bubble-butt he don't have someone down here in ten. JOSH H-how do I get...? LEONARD Way we came. Take the first tunnel to your right... Leonard's voice echoes off the cavernous walls. Josh hurriedly writes it down in his notebook. LEONARD (OS) Go left. Go left again till you hit the fork... Then right again. You got that? JOSH I think so. One right, two lefts... LEONARD And a right. JOSH Right. PETER Go Josh. Now. Josh obeys. CUT TO: INT. NICHE We hear a persistent BEEPING... A concrete ROOM filled with glimmering debris. Cans, eyeglasses, fake teeth, chrome, foil, glass shards, broken watches. Susan lies unconscious, half-sunk in a mulch of decomposing food, old newspapers, plastic garbage bags. An inch of brown WATER burbles past her bloody head. SOMETHING jostles her, rocking her back and forth. Her eyelids slowly open. A HUGE MIMIC IS PERCHED ON HER BODY! Its WINGCASE is drooped around her like a shroud. The creature furiously tears at her jacket, trying to get at Susan's beeper. The beeper spills from her pocket along with several Pay Day bars. The Mimic CRUSHES the machine instantly, then chomps up all the candy bars with a single move of its mandibles. Susan watches in terror as the creature steps away. A SOUND from an adjacent tunnel. Susan looks... ...and sees ANOTHER MIMIC pulling the REMAINS OF A MAN into the darkness. Susan gropes around her in the soggy debris, looking for some weapon. SUSAN'S HAND Her fingers close around a three-foot piece of RUSTY PIPE. Something dark drips on her hand. SUSAN looks up. Above her, a badly decomposing HUMAN FOOT, or what is left of it. All part of the excarnated corpse of the Chinese Preacher. His gold cross shines boldly in the dark. Susan GASPS. THE MIMIC hears the sound. It immediately SKITTERS back to her. SUSAN jerks herself sideways... AND STABS THE PIPE into the Mimic's thorax with a wet CRRK! Susan heaves herself up, pushing the thing onto its back. The Mimic BUZZES furiously, milky WHITE FOAM pumping from the wound. Its legs slash the air as it tries to right itself. Susan runs for the tunnels, debris falling from her clothing. CUT TO: JOSH comes to a t-junction. He checks his notepad for the appropriate direction. He turns, heads left. CUT TO: INT. TUNNELS Susan staggers through a dark PASSAGEWAY. Water drizzles into her grimy face. She looks up. Rain leaks from an overhead grate three stories up. She can see the SHOES of PEOPLE walking to and fro above. SUSAN HELP!!! EXT. STREET ABOVE - NIGHT Life as usual on Delancey street. Pedestrians crisscross the metal grate, hunched under their umbrellas. Traffic noise, T.V. displays on street front stores, boom boxes, car horns... They drown out the tiny sound of Susan's voice... SUSAN hears distant FEET SCURRYING toward her, punctuated by a metallic CLANG! CLANG! CLANG! SIDE TUNNEL CLANG! The metal pipe, still imbedded in the Mimic, BANGS the wall as the insect moves down the dripping narrow tunnel. SUSAN looks around frantically. She crosses to a METAL LID on the floor, lifts it. A HOLE is below, dropping off into darkness. The Mimic's CLANGING grows louder. Susan sits herself on the edge of the hole, grasping the metal lid by handles on its underside. The Mimic rushes into the chamber, speeding toward her... Susan JUMPS into the hole, hanging onto the lid... WHANG! The lid SLAMS SHUT over the hole a fraction of a second before the creature reaches it. The Mimic touches the lid with its antennae, confused. INT. HOLE The TICK-TICKING of the Mimic's antennae scanning the lid. Susan hangs from the handles on the lid, her arms trembling. Susan's strength gives out. She lets go, falls. PIPE GALLERY Susan CRASHES onto a juncture between two large PIPES. She MOANS in pain. CLOSER - SUSAN secures her position, looks down. A seemingly bottomless pit below, crisscrossed with a FOREST OF PIPES AND DUCTS. The nearest pipe above her is well beyond reach. She is trapped. Then she hears the SOUND of the LID OPENING above. She holds her breath. A faint YELLOW LIGHT of a lighter flickers down at her. CUT TO: WET SECTION Josh cautiously enters a vaulted area. Old pipes have been ripped from the walls. WATER gushes over the steel-plated walls. He looks around- this doesn't seem familiar. Josh freezes as he sees something behind a loose metal PLATE on the wall. He yanks at the plate- it gives a little bit. He yanks harder- the plate falls down on one side, hanging precariously from a loose bolt. It reveals A HOLE PACKED WITH DOZENS AND DOZENS OF OOTHECAS. He leans close to examine them- there is a NOISE in the tunnel behind him- JOSH'S POV - WATERFALL A curtain of WATER falls over the side of a pipe onto the floor. Behind it, something ENORMOUS crawls into view. Multiple legs, antennae, an elongated body distorted by the water and the light of a flare. It stops- JOSH Holding his breath and tiptoeing sideways, never taking his eyes off the thing, Josh begins to move away. He sees a narrow OPENING in the wall- there seems to be dim LIGHT coming from something beyond it. He tries to squeeze through the opening- MIMIC The creature is immobile behind the sheet of water, as if mesmerized by its flow- PIT - JOSH With tremendous effort, Josh passes through the opening. He finds himself inside a bowl-shaped mud hole. Scattered around him he sees FUNNY BUNNY PATCHES that were sewn in the sweatshop. He trips on a half-buried SEWING MACHINE. He looks up- Above him is a grate. He's come to the SHOWER ROOM of the sweatshop! INT. SWEATSHOP SHOWER ROOM Empty now, except for the rusting sewing machines in a corner. We TILT to see Josh moving the grate away. He jumps- no way he can grab onto the slippery tile- HIS HANDS SLIDE!! PIT Josh puts the old sewing machine upright. OUTSIDE Suddenly, the bolt hinging the plate gives way and... the steel plate hits the ground: KLANGG!! THE MIMIC leaps into action! PIT - JOSH hears the CLICKING, fairly close. He shines his light back down the hole he entered through- JOSH'S POV - THE MIMIC moves past the waterfall and takes the wall at full speed. JOSH JOSH Oh shit, oh shit, oh shit! He stands on top of the sewing machine, wobbling, reaches for the floor above- SWEATSHOP SHOWER ROOM Josh's head and one shoulder are in through the hole. His arms tremble. He makes a desperate lunge and manages to grab the POWER CORD of one of the abandoned sewing machines. THE MIMIC rushes through the opening without even slowing down. JOSH pulls himself up, up- WHAM! The Mimic hits the lower part of his body, BLOOD spraying up through the hole. He SCREAMS, grasps the cord with both hands! He is brutally YANKED down into the hole, the sewing machine tipping, then dragged across the tiled floor till it wedges violently in the hole! We track over to reveal, one of Chuy's perfectly executed WIRE SCULPTURES. Sitting atop another sewing machine. CUT TO: INT. REMAINS OF THE SUBWAY STATION A ring of FLARES burns in the darkness like an island. Peter lights another one, revealing a space buried in layers of dust and time. Cracked MANNEQUIN FACES stares out from an unopened TAILOR SHOP. A FLOWER PARLOR decorated with cobwebs. A yellowed NEWSPAPER on the floor, its headlines reading: GERMAN TROOPS DRIVEN BACK ACROSS RHINE. Peter looks up to see Leonard approaching from the track. PETER Any luck? LEONARD Well...there's an old service elevator half a mile down the tracks. Ain't gonna be much use, though. Lines are dead. Peter shines his flare up at a thick cord of cables which HUM ominously with electricity. PETER You said those cables're still live. Can't we rewire...? LEONARD Oh, man, there you go again. PETER What? LEONARD Those things bring juice to the new stations. You just can't rewire that shit... Peter approaches him. PETER For Chrissakes, what's the problem? You need a memo every time you fart? LEONARD All right, motherfucker, that's it. He pushes Peter violently. Their eyes lock and meet. Inches away from a fistfight. PETER Shh! Shh! A SOUND rushing towards them, its echoes increasing by the second. Where is it coming from? Peter looks at Leonard. Leonard unbuttons his holster clip, places his hand on his .22 A SHADOW appears outside the archway. It steps onto the platform. Leonard frowns. LEONARD (tentative) Manny?! The old man stumbles out of the darkness, out of breath. A rusted crowbar in his hand. Leonard walks over to him solicitously. LEONARD My God, what the hell are you...? MANNY Hurry, the woman needs help! A shadow crosses Peter's face. PETER Woman? CUT TO: INT. PIPE GALLERY OUTSTRETCHED HANDS in the darkness. REVEAL Peter leaning across the void with one hand while Manny and Leonard grip his other. Susan below, balancing precariously on the crisscrossing pipes. A mess, but still alive. She reaches up to Peter. It's too far. SUSAN (A whisper) Don't. PETER Listen to me: we're getting you out. Leonard and Manny pull Peter back into INT. TUNNELS Peter undoes his belt. PETER (To Manny and Leonard) Give me your belts. They obey. Peter buckles them together with his. He then loops one end around a bannister, the other around his wrist. LEONARD (to Manny, as he ties them together) What are you doing down here? MANNY Chuy. He was taken. He's down here somewhere... (to Peter) Oh, please, hurry. I saw what was after her. PETER What's...? MANNY Just hurry. Peter takes his word for it. He uses the belts to lower himself to the nearest pipe. Leonard LIGHTS a flare to illuminate the pipe gallery. Peter works his way down. The web of pipes seem to recede into Hades. The lifeline tightens. Peter gets to the last solid footing, lies down on his stomach and lets the belts down. PETER I'm coming, Sus, I'm coming. But then, he sees something move below her. Then a hollow CLANG! CLANG! CLANG! SUSAN No, Jesus, no. PETER (To Leonard) Toss the flare down! LEONARD I only got... PETER Just do it! Leonard lets the flare drop from his hand. It falls past them, ricocheting off the maze of pipes, spinning down to the pitch-black below. And for a split second the flame illuminates... THE MIMIC pipe in its thorax, nimbly CLIMBING THE PIPES TOWARD SUSAN CLANG! CLANG! CLANG! PETER'S eyes grow huge. PETER Oh, Jesus... LEONARD just plain loses it. LEONARD What the fuck is that?! What the fuck is that?! SUSAN knows all too well what's coming for her. SUSAN (A desperate appeal) Peter... Throwing caution to the wind, Peter reaches the belt down. PETER Wrap it around your hand! Susan at last gets a grip. Peter pulls with both arms. CLANG! CLANG! CLANG! Getting closer. PETER Come on! Susan struggles for footholds on the slippery pipes, ascending foot by foot... Peter pulls her into his arms. CLANG! CLANG! CLANG! Peter bends down. PETER Get on my shoulders! Susan steps onto his shoulders. He pushes her up... And Leonard and Manny yank her out. CLANG! CLANG! CLANG! Peter scrambles up, SLAMS the lid back on the hole. PETER Let's go! The four of them run. HOLD ON the lid. WHAM! It bursts from the floor, rolls away like a coin. INT. ABANDONED PLATFORM The four humans run down the empty platform. Peter spares a look back. PETER Oh, shit... Far down the tunnel, THE MIMIC HAS SPREAD ITS WINGS AND IS FLYING AFTER THEM!! MANNY There! He points to the open DOOR of an ancient SUBWAY CAR. They sprint for the car, get to the door. Manny, Peter, Leonard, then Susan... INT. SUBWAY REPAIR CAR ...tumble inside a repair car crammed with shelves and empty crates. LEONARD Get the goddam door! Leonard and Peter both grab its handle, slide it shut... SPLACK! The Mimic crashes into it! KLANGGG! The door bulges out from the impact, almost tearing itself off the hinges. Susan jumps back. Manny runs to cover her. The creature is caught, half in, half out, antennae and forelegs waving wildly! The abdomen CRASHES through a pane of glass. PETER Push it! Push it! Don't let up! Leonard and Peter push harder, barely keeping it pinned. THE UPPER HALF OF THE MIMIC TEARS ITSELF LOOSE. WHITE BLOOD SPATTERS everywhere. The Mimic is NOW CUT IN HALF! The wings flap wildly, the abdomen shatters the safety window's outer panels. But the FRONT SECTION IS STILL ALIVE. It scrabbles in, spraying white blood... ...drags itself up on the ceiling, then down onto the floor and under a row of shelves in a half-circle around the car till it finally comes to a halt. Silence. The only sound is a SKITTERING outside. Susan looks outside the window. The Mimic's REAR HALF IS STILL TRYING TO PUSH THROUGH THE DOOR, its feet blindly dragging along. LEONARD LEONARD What the fuck was that? Peter says nothing. Leonard grabs him by the shirt. LEONARD You better tell me what the hell's going on here! MANNY Hey, hey!! Take it easy!! PETER (to Leonard) We don't know!! We don't know what it is! Leonard releases Peter and, cocking his gun moves closer to the still thing. PETER Wait a minute- LEONARD Fuck you, wait a minute. I'm going to- SNAP! The Mimic POUNCES on him, catching his leg in its front mandibles. A sickening CRUNCH as the Mimic's mouth begins to work the leg like a grinder-blender. LEONARD GET IT! GET IT OFF ME! Peter and Manny try to pull the thing off as Leonard falls and writhes on the floor. BAM! BAM! BAM! The men flinch away as Leonard empties his guns on it, until the thing's shell finally CRACKS! But the thing is still locked onto Leonard's leg. Peter tries to work it free from the creature's jaws. No good. PETER Its muscles are locked. LEONARD (Hoarse) Oh, Jesus!! MANNY Wait... Manny removes a can of shoe polish from his coat, then starts smearing the stuff onto the Mimic's head and jaws. LEONARD Oh, Jesus! It's hitting the bone man, get it off!! He lights a CIGARETTE LIGHTER, goes to touch the flame to the flammable stuff. PETER (Stopping him.) Hey hey hey... MANNY Is how we make loose the ticks back home. Peter hesitates, but lets him go. Manny lights the polish. WHOOSH...the Mimic's head is engulfed in a halo of flame. THE LEGS LOOSEN THEIR GRIP. Peter and Manny yank it free from Leonard, who's PASSED OUT from the pain. His leg is torn and bloody. CUT TO: INT. SUBWAY REPAIR CAR - LATER We now see the car is 50's vintage. A POSTER of Mickey Mantle above an empty worktable. Peter sits before Susan. She's trembling, understandably shaken from her previous experience. BLOOD pours from a CUT on her forehead. Peter takes a bit of torn cloth, puts it to the wound, then tenderly raises her hand to keep the bandage in place. PETER Just keep holding it. Can you do that for me? (No reponse.) Susan? Susan nods silently. Her hand weakly presses the compress. MANNY (OS) Doctor Tyler? He turns to Manny, who sits solicitously next to Leonard. His wound is wrapped with makeshift bandages. He begins to stir. Peter gets up, but Susan's hand is closed tightly around his, like the jaws of the Mimic. He kisses her gently, then slowly manages to release his hand. He walks to Leonard, inspects his wound. Touches the sole of his foot. PETER You feel anything? LEONARD Yeah, I feel like ripping your fucking eyes out... PETER Leonard, listen. I need to see if there's any nerve damage before we carry you back. (No response.) Look, I'm trying to help you here... LEONARD Oh, you helped me here, all right, white boy. You and your goddam memo. You needed to prove your point, uh? PETER I'm sorry. But I don't think letting you bleed to death is the best apology. Peter touches his foot again. Leonard finally nods. Manny gazes at the Mimic carcass at the end of the car. MANNY Where the hell'd that thing come from? Peter looks at Susan. She remains silent. PETER (Quietly) A mistake. LEONARD "Mistake"? What's that supposed to...? PETER It doesn't matter, all right? It's dead. LEONARD How you know that? Shit, it was runnin' around with its buttside gone and a fucking pipe through its heart... SUSAN (Quietly) It doesn't have a heart. Peter looks up at her. SUSAN Just inner chambers... MANNY But it look like a man. It... I saw it. SUSAN No... She gets up, finally moving. SUSAN That's what it wanted you to see. CUT TO: OUTSIDE CAR The subway car sits at the end of the platform, windows dimly glowing in the dark. The door opens, and Manny and Peter snatch the lower half and wing pieces back into the car. INSIDE CAR - A LITTLE LATER The lower half of the insect has been moved into the car. Susan is reassembling it. PETER So, you're saying this is like those bugs that -- that look like twigs or leaves or... SUSAN (shakes her head) That's camouflage... Susan displays the partly-charred head. SUSAN This is mimicry. They evolve to mimic their predators. A butterfly can look like the eyes of an owl. A catterpillar can copy a snake... Susan closes the multiple mouth parts into a self-contained bud shape, then pushes back the "face" mandibles. SUSAN This has evolved to mimic the most dangerous predator it's ever had... She holds it in her hand, like Yorick's skull. The mimic's head obscenely mirrors her own. She inserts it into the shoulder cavity. She stands back. SUSAN Us. CAMERA cranes up and reveals that the thing now looks like THE OVERCOAT MAN. SUSAN Mantids can mimic. We gave the Judas that code... MANNY (quotes) "...and behold he will come that walks as a man, yet is not a man- ..." SUSAN This, is our baby Peter. Yours and mine. Aren't you proud? OUTSIDE OF THE CAR - IN THE TUNNELS We see four shadows move fast, scuttling on the walls and ceiling... ...heading towards the car... INSIDE THE CAR A SUBWAY MAP on the wall. Red, blue, and orange lines branching through the boroughs like veins. SUSAN All these...they're like tunnels of an insect colony. Once these things hit a certain population density, they'll have to move out, form new colonies. The realization hits the others. SUSAN We have to get help down here. Burn the tunnels before... She's interrupted by a CLICKING from the tunnel ahead. It's answered by CLICKING from the tunnel behind. LEONARD Get the doors! A brief glimpse down the car shows too many OTHER DOORS to close in time. PETER Is there a switch? LEONARD Third rail is dead. (To Manny and Susan.) Get me up. There must be a manual override in the booth. Manny and Susan help Leonard up. SUSAN (Whispering to Peter) The lights! Peter turns off the flashlights. Susan and Manny help Leonard to the car's CONTROL BOOTH. Peter looks OUTSIDE where the silhouette of a MIMIC moves to the rear of the car. CONTROL BOOTH Leonard opens a box on the side-wall marked MANUAL OVERRIDE. Inside, there is a large, HEXAGONAL SHAPED HOLE. LEONARD (Starts looking around) Where's the damn crank?! OUTSIDE The Mimic is only yards away. OTHER SHADOWS emerge from the distant dark. INSIDE Manny leaves Leonard and Susan to look for the lever crank. He runs to help Peter try and shut the doors manually. But it's useless. Many of the doors won't budge. PETER (hissing a whisper) They're coming! OUTSIDE The shadows get nearer, their CLICKING louder... CONTROL BOOTH Susan looks under the dashboard, finds a HEXAGONAL SHAPED ROD. The lever crank. SUSAN I got it! Susan gives it to Leonard. He JAMS the rod into the hexagonal shaped hole. Perfect fit. Leonard begins CRANKING the thing. But it's rusty and slow... SUSAN Hurry! Please! THROUGHOUT SUBWAY CAR The doors begin to swing shut very slowly. OUTSIDE - A MIMIC'S POV sees the moving doors, starts heading for them. CONTROL BOOTH Leonard can't crank fast enough. Susan joins in, putting her hands over Leonard's. Both spin the thing as fast as possible. SUBWAY CAR Peter and Manny each pulling on a door, trying to speed up the closing process. SHADOWS are seen approaching, now very close. CONTROL BOOTH Leonard and Susan put all their effort into turning the crank one more time... LEONARD Come on, you son-of-a... SUBWAY CAR A SOFT CLICK as the doors SHUT IN UNISON. Silence. All four are stock still, like a submarine crew awaiting the blast of depth charges. Their eyes dart to the WINDOWS caked with soot, irradiated by the distant glow of one of the red flares. THUCK! Something BUMPS against the door. A machine-gun patter of FOOTSTEPS on the roof. The car SHAKES. OUTSIDE The dark platform is alive with phantom shapes. INSIDE SCREEECH!! Something sharp is drawn along the car roof like a nail over a chalkboard. THUMP! THUMP! Impacts on the sides... An obscene symphony of sounds as Mimics lay siege to the car. PETER A BUZZ OF WINGS catches his attention. He turns. His face is reflected in a security window. CRACK! The window SPLINTERS, destroying Peter's reflection. ABOVE MANNY Claws SCRATCH the ceiling. It begins to dent. BELOW SUSAN AND LEONARD Large forms CLICKING underneath, looking for a way in. Susan stares at the floor, her eyes following the course of the clicking... ...which leads to Leonard's wounded, bloodstained leg. SUSAN Oh, God. (Looks at Leonard.) The blood... KLANGGG! A Mimic leg PIERCES the ceiling above them! Susan pulls Leonard out of the way just in time as IN THE SUBWAY CAR KLANG! KLANG! More legs break through the ceiling! SUSAN AND LEONARD emerge from the control booth, Leonard's arm over Susan's shoulder. SUSAN His blood! It's driving them crazy! We have to mask the odor! PETER How?! But there's not time enough to discuss possible solutions. Leonard pulls off his jacket. Susan begins wrapping it around his wound to mask it. Manny helps. Peter has upended one shelf, jamming it against a broken window as a barricade. Despite their efforts, the Mimics are not thrown off the scent. PETER It's no use! They know we're in here! SUSAN They don't know anything Peter, they just sense. They're hardwired! PETER Right. Hardwired to eat anything that's not like them! The whole car is now shaking and buckling. SUSAN Exac... She looks over at the severed Mimic corpse nearby. A realization... SUSAN (To Manny) Give me your razor. Manny looks at her blankly. Susan just takes the blade. The whole car is now shaking and buckling. She runs to the Mimic's carcass. For a moment, she hesitates. But the pandemonium leaves her little choice. She SLICES into the Mimic's corpse with the razor... PETER What are you doing? ...sticks her arm in all the way to the elbow... ...and pulls out two fat AMBER SACS the size of softballs. She SLICES them open. Orange GOO leaks out, its stench overpowering. LEONARD (covers his nose) Shit! Peter looks up as Susan slides one of the sacs over to him. SUSAN Rub it on the windows! PETER What- SUSAN Just do it!! Holding his breath, against the stench, he smears the crap on the windows, the doorframe... MANNY looks to the roof, listening. And remarkably, the SOUNDS of the Mimics START SUBSIDING. Susan comes over to Leonard, begins dabbing the goop on Leonard's wound. Leonard makes a face at the stink. LEONARD What are you putting that crap on me for? SUSAN Scent glands. Insects use 'em to identify themselves to each other. She smears the floor area behind Leonard. The activity winds down gradually, and finally comes almost to a halt. CUT TO: SUBWAY CAR - LATER Leaning against the dirtied window, Manny creates a streak for every Mimic he sees. Peter, Leonard and Susan are hard at work. Leonard has created a small "model" of the station using pocket debris and the wall map. LEONARD (O.S.) Okay. That's us. Manny's lighter represents the subway car. LEONARD This track we're on? Goes down into the repair area. (Makes an "X" further down) The elevator's over here. Leads up to the active tunnels. THUMP! An oily, soft abdomen brushes lazily up against the glass. Manny moves away. PETER Can we get this car there? LEONARD Someone'd have to go to the switchroom, pull the coupling lever, that'll send us left and to the elevator. SUSAN But the power... LEONARD Hell, I might be able to juice the whole area, if I can get to the power box. It's just a couple of cables... MANNY Oh, how you gonna get there, Leonard? Hop? PETER (To Leonard) Just talk me through it. I can go with Manny. LEONARD It would take a minute or so. (beat) You won't last that long out there. SUSAN Peter, you couldn't even fix our TV! Tense silence. He points at the glands on the floor. PETER We'll cover ourselves with this. They can mimic us- we Goddam mimic them! SUSAN Peter- PETER It worked before... SUSAN (an edge in her voice) The scent won't last... PETER That's why we should do it now. Susan knows they have no other choice. LATER Susan is stuffing Leonard's old bloody bandages into the thorax of the dead Mimic. She ties a flare to its center. LEONARD It's just a regular old pump switch, okay? Right by the track signal board. Manny is spreading the mucus-like liquid of the gland-sac on himself and Peter as Leonard instructs them- LEONARD The lights come up, you pull the switch. MANNY I pull. LEONARD You don't do that, we're on the wrong track. (turns to Peter) You... The two men look into each other's eyes. LEONARD You gonna finally get to fuck around with the wires. Think you can handle it? PETER Depends. You got a memo? Leonard's hard feelings give way to an almost imperceptible smile. Using a ballpoint pen, he draws a schematic on the back of Peter's hand. LEONARD All right then. You gonna find two wires. One's green. The other's blue... SUSAN approaches Manny, who looks distractedly out the window. MANNY He's out there. I heard him. How can he be? This things... SUSAN Manny... MANNY I didn't protect him, lady. He trusted me. And I didn't protect him... His father...I lost his father to the streets and now, Chuy... SUSAN We'll find him. We'll be back and find him. Manny doesn't respond. READY TO GO Susan dabs at Peter's face with the last touches of the scent gland substance. She doesn't meet his eyes as she speaks. SUSAN You're going to have to keep it really slow. Their eyes react to sudden movements. Peter barely nods, his nerves clearly on edge. He instinctively goes to wipe his forehead. Susan stops him. SUSAN Don't touch it. And for Godsakes, try not to sweat. They can sense chemical changes... PETER Try not to sweat? Leonard turns to Susan and Peter. LEONARD Okay, people... Leonard's voice comes through like a clarion. LEONARD (OS) ...are we ready for this? Susan has her hand on Peter's chest; Peter is taking deep breaths, trying to cool down his body to prevent sweat. It's an odd parody of Lamaze exercise. LEONARD Whatever you do, don't step on the third rail coming back. Six hundred volts'll blow your leg right off. A final breath. He's about as calm as he's going to get. He looks at Susan a long moment. He takes her hand. PETER I was just thinking how I could use a pair of pliers... and I remembered where they are... SUSAN (overlapping) That's it. That's it. Breathe easy. A sad, nervous smile appears on Peter's face. PETER In the tool box under the kitchen counter... Susan kisses him softly on the lips. Manny approaches. Show time. Susan steps away from Peter. She looks toward the control booth. SUSAN Open it. LEONARD begins turning the lever crank slowly. SUBWAY DOORS gradually begin to open, and stop half way. The darkness outside is alive with CLICKING. PETER AND MANNY slowly move between the opening of the door and make their way to INT. PLATFORM They step onto the dusty concrete. Come to a stop. SUSAN watches nervously for the reaction of the Mimics OUTSIDE LARGE SHADOWS pass far and near of Peter and Manny; but none of the Mimics seem to care about them one way or the other. Peter and Manny exchange looks: a moment of relief. It's working. Peter slowly moves right along the track to the nearby POWER BOX. Manny goes left, starts to make a longer journey across the platform to the SWITCH ROOM. SUBWAY CAR Susan moves away from the door, goes over the Mimic carcass, filled with the bloody bandages. PLATFORM - BY THE TRACKS Peter makes his way to the edge of the platform, whispering to himself. He lowers himself slowly to the track. PLATFORM - NEAR THE SWITCHROOM Manny moves toward the door. A large WINDOW OF DUSTY GLASS reflects his image...and the distant ones of the Mimics. BY THE TRACKS Peter gets to the track. He turns And is met FACE TO FACE WITH A MIMIC! Its antennae move toward his head, curious. Its human-mask face plate clicks apart and together. Peter remains stock still. He starts breathing deeply... SUBWAY CAR Leonard has now fully opened the doors. SUSAN pulls the tipcase of the FLARE tied to the dead Mimic's midsection. FSST! The flare SPARKS alive. The sudden light draws the attention of several Mimics outside. Susan pushes the carcass toward an open door at the front of the car... ...and with a HEAVE, throws it onto the front track. OUTSIDE The other Mimics take instant notice. BY PETER The Mimic before him suddenly turns. In a flash of speed, it's gone, heading toward THE DEAD MIMIC stuffed with the bloody rage, the thing sends its fellow into a feeding frenzy. The other Mimics begin TEARING into it, ripping their brother to shreds in cannibalistic orgy. SUBWAY CAR Susan watches in disgust. SUSAN Choke on it, motherfuckers. Leonard turns the lever crank again. The doors begin to shut. PETER breathes a sigh of relief. He goes to the powerbox, opens it up. He shines his flashlight down on the back of his hand. The simple chart tells him what to wire: BLUE WIRES TO THE GREEN WIRES. PETER (to himself) Green...Blue... He looks back up at the powerbox. His face falls. All the wires are a GROSS BROWN, their colored plastic casings having long ago faded into goo. INT. SWITCHROOM Manny enters. The space is even more dusty than the rest of the station. Spiderwebs strung over old machinery. White Doric PILLARS support the ceiling like skeletal bones. 1940s style LAMPS are built into their side. Manny looks around. Off to the right, right next to the rusted track switch board, he heads for the COUPLING SWITCH. Once there, he rests and, through the murky windows, he waves back to LEONARD. He pulls out his pills box and takes a pill. But his hands are shaking, under enormous tension. Some of the pills scatter on the floor. He puts the box away and leans against the wall. A CLICKING nearby catches his attention, echoing from the entrance of ANOTHER ROOM. It is not the sound of the Mimics; but rather, of METAL. Spoons. MANNY Chuy...? Manny follows the sound. BY THE TRACK Peter desperately tries to connect the wires the right way. He wipes off the brown gunk, tries to discern any semblance of color. He feels himself start to sweat. He tries to relax. Breathes... INT. ROOM BEHIND SWITCHROOM The space is larger than the switchroom. The walls and ceiling have an odd, shiny consistency. Manny heads in further, locates the levers and waits. Something pale and small emerges from the dark, a few feet away, a face that seems to float in the eerie half-light. A RUSTLING behind him. Manny turns around. MANNY (Whispering) Nino... He swings the light onto Chuy, sitting on the floor before the remains of a RUSTY COLUMN. That beautiful, emotionless smile on his pale face. MANNY Chuy... BY THE POWERBOX Peter has made all the necessary connections. He turns now to the fuse-section. A red throw-switch is there, and two big slots for fuses. One is still occupied. The other one empty. PETER Dammit! CU - PETER'S FOREHEAD BEADS OF SWEAT begin to form. SUBWAY CAR Susan watches the Mimics at their feast. All of a sudden, they begin to stop, as if losing interest. SUSAN (horrified) The scent's fading... Susan steps back, looks around desperately for a flashlight. LEONARD (tense as hell) What's Manny doing? I can't see him anymore. ROOM BEHIND SWITCHROOM MANNY Nino, please... Manny slaps his knees with both hands in a parental gesture of "come to me". In the darkness, something that looks like a PALM FROND floats gracefully down from the ceiling, making see-saw gestures as it falls through the air. Manny shines his flashlight on the floor. It's not a palm frond. It's a wing. Manny turns his flashlight to the ceiling and walls. The place IS COVERED WITH MIMICS. They are in the middle of a vicious mating ritual. The males tear savagely at the females wings as they proceed to mount them. A chaotic clusterfuck. Manny is sickened. CHUY GIGGLES. Manny shines his light ahead. Manny's face falls. MANNY Dios mio... The WHITE PILLAR BEHIND CHUY IS MOVING... ...unfolding... ...at last revealing... AN ALBINO MIMIC! Another leap for evolution... Its form is different from the other Mimics. Sleeker, more supple, almost beautiful. And while its movements are still not completely human, there is a kind of unearthly grace to them that at the very least entrance us. The thing raises itself to full height, dwarfing the tiny boy. It stands over him like a king over his court fool. Chuy giggles happily. It's all a game to him. The Albino CLICKS in response -- a long, leisurely sound, as if trying to communicate with the boy. Chuy pulls his spoons out and begins to play them, making a perfect imitation of the sound. Manny starts to tremble as the creature gazes upon him with huge, expressionless 'eyes'. He turns to Chuy- MANNY (barely audible) Chuy... CHUY (whispers) Friends. MANNY NO, NO, CHUY, NO... CHUY Friends. The Albino CLICKS his jaws, moving in toward Manny. CHUY plays his SPOONS in perfect imitation. MANNY stands under an archway in a swirl of dust. He raises his arms, like a prophet. He lets go of hsi razor and kneels. MANNY God has closed his eyes. This, he cannot see... His vacant eyes, fill with tears, he prays quietly, a strange serenity invades him. The Albino's jaws open and charge. PLATFORM Some Mimics advance toward Peter's direction. SUBWAY CAR Susan desperately waves a flashlight and bangs the window, trying to attract their attention. SUSAN Over here! Over here! Goddam you!! BY THE TRACKS Peter BREAKS the arm off one of his glasses. He jams it at the empty fuse. It SPARKS. PLATFORM THUMP! The electricity COMES ON... The lamps on the columns BURST INTO FLAMES from the power surge. Fire illuminates the station like a Greek temple. BY THE TRACKS Peter climbs up onto the tracks... ...sweat staining his forehead... Peter wipes it and removes the scent coating. THE MIMICS clearly react, sensing the chemical change, like bees reacting to honey. SUBWAY CAR SUSAN (to Leonard) THE DOOR! OPEN THE FUCKING DOOR! LEONARD looks at the now lit control panels, tries to decide which button to press. He begins to press each one in turn. PETER hears the sound of spoons playing. He turns to see Chuy, standing by the outside of the switch room. The boy smiles. A flashlight shines behind him. PETER Manny... But the thing holding the flashlight is anything but human: The ALBINO steps into view, moving eerily like an unstrung puppet. His claws and jaws are coated in blood. Chuy joyfully announces the arrival like a little drummer boy. THE MIMICS climb over the roof, moving toward the rear of the- SUBWAY CAR - CONTROL BOOTH Susan runs in. SLAMS her hand down on a button. FSST! THE SUBWAY CAR The doors open. SUSAN Peter!! Peter hesitates, takes a step toward Chuy. PETER Come on, kid... Chuy seeks shelter behind the Albino's legs. PETER (horrified) Jesus! The albino charges toward him. SUSAN Run!! Peter!! Peter bolts for the car. THE MIMICS jump and land SUBWAY CAR just as Peter squeezes through one of the doors. BAM! THUD! The doors dent. Glass cracks. SUSAN (Yelling to Leonard) GO!! Susan presses the button. The doors close again. LEONARD The kid... PETER The kid's with them!! LEONARD What do you-? PETER Go!! Just go!! CONTROL BOOTH Leonard throws the dead man's switch by the control board. SUBWAY CAR JOLTS into action. OUTSIDE The train LURCHES forward. Wheels spark and kick into gear. The mimics scramble and re- assemble quickly, ready to attack. THE ALBINO changes position and charges towards the car. THE MOVING CAR reaches a "Y" section. The car moves to the track to the right. INSIDE SUBWAY CAR Leonard's eyes go wide as he sees LEONARD He didn't do it! SUSAN What? LEONARD Manny never threw the coupling switch!! We're goin' the wrong way!!! OUTSIDE CAR It keeps bearing right. Further away from their destination. ...towards an old STORAGE YARD in their path. Idle cars and repair equipment on the tracks. A crash seems inevitable. INSIDE THE CAR Leonard pulls THE BRAKES but they don't work at all. From below the car we see the wheels spinning freely, heading for collision. INSIDE THE CAR Susan grabs Leonard from the control booth. To Peter SUSAN MOVE BACK!!! They rush back against the opposite door. STORAGE YARD - SUBWAY CAR CRAAASHH!! The car BASHES into a parked section of train in a GRIN of tearing metal... ...flips off the track... ...and onto its side... The car skids to a stop. SPARKS fill the air. INSIDE SUBWAY CAR All three are hurt. Leonard's leg wound has reopened. Peter has badly damaged his right arm. SUSAN You all right? Peter nods painfully. Susan to Leonard. LEONARD (Simply, re: his leg) Can't feel it. Peter and Susan sling Leonard's arms over their shoulders. They raise him up. OUTSIDE SUBWAY CAR They move unsteadily outside. SUSAN Which way? LEONARD Across both tracks!! PETER Shit. They head off over a concrete island in the direction of the correct track. FURTHER BACK The Mimics and the Albino moving closer. PETER AND SUSAN try to hurry, but it's no use given Leonard's condition. LEONARD (Quietly) Lemme go. Peter and Susan both disregard the order. SUSAN We're no leaving you! LEONARD No way we can outrun 'em together. Move it! Leonard suddenly grabs his POLICE BATON from his belt clip. He pushes the two away. LEONARD NOW!! GO!! Get the hell off my beat! Leonard turns away from them. Peter goes to get Leonard, but Susan stops him. This MTA officer is staying put. LEONARD Come on. Come to poppa. Reluctantly, the two begin down the tunnel. LEONARD takes a stand by the third rail, baton in hand. INT. SUBWAY TUNNEL - FURTHER DOWN Peter and Susan run. SUSAN There. An open CAGE ELEVATOR on a platform nearby. A sign overhead: AUTHORIZED PERSONNEL ONLY. They rush toward it. INT. SUBWAY TUNNELS - "Y" SECTION Leonard stands like a guardian to the tunnel mouth. SOUNDS of the Mimics approaching. He glances at the third rail beside him, then down the track. LEONARD Come here, you mealy-mouthed... The sound gets louder. LEONARD Multi-legged... Leonard raises his baton in top MTA form. LEONARD Maggot-munchin' motherfu... THUD! Several Mimcs slam onto Leonard! Leonard goes down, HITTING them futilely with his baton. They begin to tear at his limbs. Leonard rolls... ...kicks his good leg out... ...and CONNECTS WITH THE THIRD RAIL. AN ARC of ELECTRICITY lights up the darkness, consuming Leonard and the Mimics. INT. BY THE CAGE ELEVATOR The crackling sound echoes through to Peter and Susan. Susan hits the elevator button again. SUSAN I can't tell if it's working! Peter has unbarred the gate. SUSAN looks up, into the shaft. THE ELEVATOR coming down, but it's taking its own sweet time. SUSAN Oh, come on, come on! PETER Jump in. Peter pulls her into the shaft, closes the security gate behind them. INT. SHAFT A skeletal framework on each side. Just enough for a handhold. Peter steadies Susan as she climbs in beside him. She balances on the narrow ledge. Peter SLAMS the cage door shut, latching it. PETER You go first. I'll be right below you. SUSAN Your arm, you can't... PETER I can. We can do this... He shows her the first hand and foothold. Susan grabs on. INT. SUBWAY TUNNEL The Albino amkes its way forward, flanked by two Mimics. It stops. Turns toward the elevator. INT. SHAFT Susan hauls herself up the framework, handhold by handhold. Peter is right below her. She can see his arms are starting to tremble dangerously with the effort. SUSAN We're gonna make it! Peter grinds his teeth, trying to make the next handhold. WHAM! Something hits the gate below them! INT. BY THE ELEVATOR GATE The Mimics are tearing at the metal gate. The Albino remains still, watching them work. PETER AND SUSAN Susan's arm and legs are shaking now. Her breath starts catching in her throat with the effort. PETER Don't hold your breath! Keep it going, even flow! Susan tried, but can't. She tries to pull herself up to the next level. PETER C'mon... SUSAN Ah... PETER Talk to me. SUSAN Peter... Susan pulls herself up. SUSUAN I'm really glad I'm not pregnant. REVERSE We look down past them as they climb. Two of the Mimics and the Albino have gotten into the shaft! The Albino is so long it climbs by bracing its legs against opposite walls. SUSAN AND PETER Susan is crying, barely any strength left. Peter does his best to stay in control, but in truth is barely hanging on himself. LIGHT hits them from the shaft above now, SOUNDS of PEOPLE TALKING and a muffled P.A. ANNOUNCEMENT filter down. MIMICS rushing upward on the shaft wall, higher, higher. INT. ELEVATOR SHAFT Peter's hands grab onto the grating of the gate on the next floor. KCHUNK! is heard above them. Peter looks up. Now the elevator is coming down. PETER Hang onto me. Peter pulls Susan up till she can grab it too, both of them able to get a foothold on the ledge- PETER Hang on tight! He begins to KICK on the gate, trying to tear it free. Susan looks back down. SUSAN'S POV - SHAFT The Mimics rush up, closer, closer. The Albino opens its mandibles. SUSAN AND PETER both KICK at the gate, it gives, Peter pulls Susan through to the INT. SUBWAY TRACK PETER Come on! Peter and Susan stumble away. INT. ELEVATOR SHAFT The Albino sees the elevator approaching from above. It gives a few CLICKS to its minions. The two other Mimics race up the shaft... ...toward the elevator... ...and WEDGE THEMSELVES IN ON EITHER SIDE! They are CRUSHED instantly. But the elevator is stopped just above the open gate. With just enough room for the Albino to get through to INT. SUBWAY TRACKS Susan and Peter run. There is LIGHT just up the tunnel. We hear VOICES. SUSAN Don't look back! They go for it. At last, they make it to INT. A PLATFORM Susan and Peter stumble forward. Light streams down from overheads. Susan turns. SUSAN'S POV The Albino spills out onto the track behind them. Sleek, streamlined, light glancing beautifully off it. SUSAN AND PETER turn back... HEADLIGHTS hit them as we hear the ROAR of a SUBWAY TRAIN heading at them from the other side of the platform! SUSAN No... PETER We can do it! They run. ALBINO runs, faster than any other Mimic. TRAIN The express train BLOWS its HORN, RUSHING FORWARD. PLATFORM - COMMUTERS Weary late-night COMMUTERS stand half-asleep on the tracks. A sleepy-eyed little girl points, tugging on her mother's hand. LITTLE GIRL Mommy, there's people... PETER AND SUSAN PETER (Adrenaline pumping) We-can-do-this!!! MOTORMAN The driver sees the battered couple... He reaches for the brake... SUSAN AND PETER They reach the edge of the platform, the HORN deafening as the train speeds toward them. Peter pushes Susan up, leaps- INT. TRAIN - CONDUCTOR We RUSH toward his horrified face. THE ALBINO directly ahead. The train, still flying, PLOWS INTO IT... ...flattening, grinding, pulverizing... ...until the windshield of the subway car is covered in white blood. The motoran leans on the brake, his eyes screwed shut in primal horror. The train SQUEALS to a stop... ON THE PLATFORM Susan and Peter collapse on the cement floor in each others arms. Heaving and weeping. INT. GRAND CENTRAL STATION - NIGHT COMMUTERS turn to stare as Peter and Susan move across the floor. Both bruised and bloodied, leaning against each other, heading for the exit. Some DERELICTS observe them with curiosity. A trio of MTA cops start towards them. PETER It'll be fine... it... They're still down there. We'll seal the whole system, go in with whatever it takes... But Peter's voice evidences a lack of conviction now, he's trying to convince both Susan and himself of something he doesn't fully believe. PETER It'll be fine... We nailed them before, we'll do it again... He hurries to meet the MTA cops. Susan looks up. SUSAN'S POV Commuters move to and fro, moving up and down and in and out of the illuminated areas of the station. In the crush of onlookers is one deadpan face- a MIMIC, hugging the shadows, waiting for its moment! We PAN 180 degrees to the other side of the platform- there, briefly glimpsed is ANOTHER, and ANOTHER. We TILT down to the throng below. SUSAN (barely audible) They've come up... The electrified VOICE of the train ANNOUNCER suddenly FADES UP, telling of departures and delays- We raise above Susan's head- TRAIN ANNOUNCER The 11:16 local to Poughkeepsie, boarding now, Track 32- the 7:20 Connecticut local, making connections to South Norwalk- DOWN ANGLE -culminating in an OVERHEAD VIEW of the main terminal. The movement continues. But from here, the people are dots, their importanec no greater than that of a colony of ants. FADE OUT: LOS ANGELES, JUNE-19-96 \ No newline at end of file diff --git a/unformated_scripts/Script_Mini's First Time.txt b/unformated_scripts/Script_Mini's First Time.txt new file mode 100644 index 0000000000000000000000000000000000000000..c1a6f734d421383e622b22b97d295735beec65f0 --- /dev/null +++ b/unformated_scripts/Script_Mini's First Time.txt @@ -0,0 +1 @@ + MINI'S FIRST TIME Written by Nick Guthe CLOSE ON: The face of MINERVA "MINI" DROGUES, 18, watching something. She looks extremely bored by the television images flickering across her eyes. She has a pretty face: Large eyes, and pouty mouth. Her knowing look is incongruous with a face clearly still that of a girl. - MINI (V.O.) I know what you're thinking. Don't bullshit me, because I do... You're - thinking, oh dear lord in heaven, please, I'm begging you. I'll gouge - out my eyes with the straw in my drink right now. I'll jam every last kernel of popcorn into my - mouth until I suffocate, just not another fucking teenage coming-of- age story. We pull back to reveal her body, which is moving out of that awkward stage between adolescence and womanhood. Though tall and thin, her hips haven't quite rounded. She's wearing a "FUCT" T-shirt and jean shorts. MINI (V.O.) (CONT'D) Well, relax...no prom night highjinks, no nerds becoming popular and no Shakespeare set in high school...I promise. CLOSE ON: THE TV SCREEN. "When Animals Attack" is on. In a series of quick cuts: A zoo keeper is mauled by an elephant. A sport fisherman is attacked on the deck of a boat by a shark he and his buddies thought was dead. A pit bull clamps down on his owner's arm. An alligator hunter stupidly puts his head in the mouth of a just-captured alligator, only to have it chomp down on his skull. MINI (V.O.) Since it happened, everyone's asked me how it all started. 2. Mini's face registers no reaction to the gruesome images. We now see she is sitting in the living room of a well-appointed Studio City hillside home. INT. THE LIVING ROOM- EVENING- A PARTY. TEENAGERS OF PRIVILEGE and their UPTIGHT PARENTS are milling around, dancing and chatting as A DEEJAY spins tunes. MINI (V.O.) I suppose the obvious answer is my eighteenth birthday... Mini dances with a few friends in a very short mini-skirt and halter top. She clearly understands how to the drive the boys crazy and this is not lost on her mother, DIANE, 42, who stands off to the side, nursing a drink with some other HYPER- AEROBICIZED MOTHERS. MINI (V.O.) See, I was blessed with a terrific mom. Not only is she a lush, but she also hates me. Diane is beautiful, but there is an essential hardness to her that comes from a life spent trading on her looks. The blouse and mini-skirt she wears are inappropriately revealing for the occasion of her daughter's birthday. MINI (V.O.) A few days before the party, I overhear her on the phone ordering me a male stripper. Nothing says "I love you" like ten inches of man meat in your face. Diane and the other mothers are talking about Mini's dancing. MINI (V.O.) And knowing dear old ma, she'll try and nail him after the party...in my bed. Mini's friend KAYLA, a little rounder, but also brash, comes dancing over. She's swaying her hips provocatively at Mini, almost challenging her. MIKE RUDELL, a tanned and trim man of 55, watches their display, clearly enjoying the way it's jump-starting his imagination. (CONTINUED) 3. CONTINUED: MINI (V.O.) That guy? Our neighbor Mike Rudell, big shot TV producer and the guy my mom screws whenever the batteries run out. Kayla and Mini begin dancing together in a very explicit way, clearly trying to make the adults uncomfortable. MINI Yo, bee-ach! KAYLA Yo, birthday bee-ach! MINI Is it on? KAYLA Oh, it's on! MINI That's my girl! Mini grabs Kayla and dips her low. INT. THE KITCHEN - LATER. Kayla instructs some CATERERS to start wheeling a giant birthday cake into the living room. The caterers look confused, but Kayla is insistent and the young men obey, starting to wheel the cake down the long hall. INT. THE LIVING ROOM - CONTINUOUS The cake emerges from the hallway. The caterers begin singing "Happy Birthday", as Diane turns to see it and her eyes flash rage. As Diane comes storming over, we switch to SLOW MOTION. MINI (V.O.) See, to understand me, you need to understand that life, in my opinion, is all about new experiences. "Firsts" is what I call them. As she strides across the room, the look of vitriolic rage on Diane's face grows stronger with every step. (CONTINUED) 4. CONTINUED: MINI (V.O.) (CONT'D) Somewhere around fourteen, when I had my first...rhymes with duck, I realized that the goal of life, any life, should be to cram as many "firsts" into it as possible. We switch back to real time. DIANE What the hell are you doing? I said wait until- (looking around) She's not even here, you morons! A YOUNG CATERER'S face turns white. CATERER But, but her friend said-- POP! Suddenly the lid to the cake flies off and from behind we see A NUDE MINI rises out of it like Venus on the half shell. MINI SURPRISE! MINI'S POV: A collection of reactions from the party goers: The mothers are numb, the fathers pretend to be disturbed, while copping looks, and her friends are in stitches. Some are even waving dollar bills. M MINI (V.O.) (CONT'D) That was definitely a first, but more importantly, it was the first time I really understood my potential...And that's when it all started. Mini leans over and gives her STUNNED mom a big hug. MINI (CONT'D) (doing her best Donna Reed) Oh, Mom, this is the best birthday ever! 5. INT. MINI'S BATHROOM - NIGHT Mini stands in a bathrobe with a towel around her head, having just taken a shower. She removes the towel to reveal she's just changed her hair color to FLAMING RED. MINI (V.O.) That little stunt got me grounded for a week, but it was worth it. CUT TO: Mini blow drying her hair. MINI (V.O.) (CONT'D) See, I just don't understand people who live their lives as one big routine. CUT TO: Mini evenly spreading the base to her make-up. MINI (V.O.) (CONT'D) They're basically saying "I'm not worthy of a unique experience on this earth."...Well, sorry, but I am. CUT TO: Mini applying blush to her cheeks. MINI (V.O.) (CONT'D) The law of firsts has served me well, because it's liberated me from the usual pathetic, repetitive concerns of high school. CUT TO: Mini applying eye liner. MINI (V.O.) (CONT'D) I simply don't care if I'm popular, because if I did, then I'd be constantly stressing about whether my clothes are cool enough, or if Troy, the "gay but he doesn't know it yet" quarterback, is gonna call. 6. INT. THE HALLWAY OF MINI'S HIGH SCHOOL - DAY Mini and Kayla walk down the crowded halls attracting lustful looks from some of the more aggressive boys. They approach a group of FOOTBALL PLAYERS. KAYLA (whispering, worried) Oh, God, it's Troy. MINI Just keep walking and don't look at him. T ROY, a cocky, chiseled, all-around nightmare, sticks his tongue in his cheek, simulating a blow job. TROY Yo, Kayla, I got some more of what you were looking for Saturday night. MINI (V.O.) Ahh...The joys of the American educational system. Kayla puts her head down, her face turning red, as Mini stops to address Troy and his posse. MINI (CONT'D) (suddenly brightening) Actually, Troy, I think you confused her with that senile, toothless grandmother of yours. "Ooohs" and "Aaahs" erupt from the onlookers as Troy looks concerned his ambush has backfired. TROY Yo, Mini, why don't you use that mouth for something useful and suck my dick? More students start to gather, overhearing them. MINI Actually, now that you mention it, I can't think of anything I'd rather do than suck your dick. (CONTINUED) 7. CONTINUED: Troy looks around, surprised and emboldened by her declaration. TROY Well, it's all for you, babe. Mini moves closer, looking him right in the eye. MINI Really? TROY (daring her) If you can fit it all in. The crowd has now swelled to a few dozen, as everyone is riveted by the exchange. Suddenly, Mini starts unzipping his fly. TROY (CONT'D) Hey, what the?! MINI (grabbing his belt buckle) I'm going to suck your dick, Troy, you said I could. Troy tries to push her away, but she's got a grip on his belt. Everyone watching is almost speechless at first, but then giggles start to erupt. TROY Yo, this ain't funny! MINI No, Troy, I want to suck your dick right now! TROY Jesus, Mini, come on, get off! MINI (screaming) No, Troy! You said I could, now come on! She gets down on her knees, struggling to get a hand in his pants. The crowd howls with approval, as they almost can't believe their eyes. (CONTINUED) 8. CONTINUED: (2) MINI Let's see it! Come on, I want to suck your throbbing member right now! Troy finally pushes her off, humiliated, and runs down the hall as the mob laughs at him. Kayla looks at her gratefully and smiles. CUT TO: Mini applying frosty hot pink lipstick, making her lips as full as possible. DIANE (O.S.) Mini? Mini looks towards the door, deciding to ignore her mother. DIANE (O.S.) (screaming) MINI?! Mini turns towards the sound. MINI WHAT?! Diane comes storming in. DIANE When I call you, I expect you to answer. MINI (flatly) Sorry. DIANE Don't patronize me. MINI (sugar sweet) Sorry! DIANE If you're trying to get me to call you a spoiled little ungrateful bitch, you're out of luck, because I won't give you the satisfaction. (CONTINUED) 9. CONTINUED: MINI Thanks, mommy. Diane's eyes narrow, as it's clear Mini knows exactly where her mother's buttons are. MINI (CONT'D) What do you want? DIANE I'm going out and I need you to wait for the delivery from the liquor store. They'll be here by nine. MINI Fine. Diane gives Mini the once over, lingering on her mini-skirt. Diane winces at the outfit. DIANE Just thought you should know, that makes your thighs look fat. MINI (deadpan) Gosh, you're right, mom, I'm such a cow. MINI (V.O.) It's a freakin' miracle I'm not anorexic after eighteen years of her little pep talks. MINI Have fun, don't do anything I wouldn't. Diane turns and leaves. DIANE (over her shoulder) Well, that doesn't leave much. MINI (under her breath) Cunt. Mini turns back to the mirror. 10. INT. MINI'S BEDROOM - NIGHT Mini pulls on a pair of thigh-high stockings, as a lit cigarette hangs from M her mouth. MINI (V.O.) My mother moved out to LA from Ohio when she was twenty to become an actress. Even though she was a total flatliner, somehow she managed to land a few bit parts on soaps...without screwing anyone. INT. A HALLWAY OF THE HOUSE - LATER. Mini walks along the corridor in a pair of "fuck me" pumps, as the doorbell is heard ringing. MINI (V.O.) When she gets really sauced, she'll pop the tapes in and make me watch, then I'll threaten to call the suicide hotline. She continues through the living room towards the door, hiking her mini skirt up a little. MINI (V.O.) (CONT'D) After a few years, she got desperate and spread 'em for this fat, ugly producer when he promised to give her a role in some bullshit cable series that was basically softcore porn. She got knocked up with me and he told her she couldn't be on the show, unless she hoovered me out. She reaches the front the door. MINI (V.O.) (CONT'D) Excuse me for one sec. She opens the door to reveal a delivery boy, JIMMY 20's, with six cases of liquor stacked on a handcart. JIMMY (nervously excited) Hey, Mini, how you doin'? MINI You're late. 11. INT. THE KITCHEN- MOMENTS LATER. Mini watches as Jimmy carefully lifts one case after another on to the counter. MINI (V.O.) She was gonna do it, too, at least that what's she told me when she was feeling particularly loving. But then she heard rumors the show wasn't gonna fly and realized eighteen years of child support beat thirteen weeks on "Skin Tight", so I got to stick around. ...Bad choice. Mini opens one case, takes out a bottle and heads out of the kitchen. I NT. THE WET BAR - LATER. Mini mixes herself a large Sapphire martini. MINI (V.O.) Anyway, what Mom didn't count on was the prick having a heart attack and croaking a year after I was born. She pours it into a martini glass and drops an olive in. MINI (V.O.) When she tried to collect on his estate, she found out he'd owed the government two point five in back taxes. EXT. A RUN DOWN STUCCO APARTMENT BUILDING IN THE VALLEY- CIRCA 1993. Diane walks down the steps to a waiting Porsche, with a SLEAZY LOOKING, BUT CLEARLY RICH GUY behind the wheel. (CONTINUED) 12. CONTINUED: MINI (V.O.) Now, if she had been smart, she would've set her sights a little lower and gone after a guy who would've worshipped the ground she walked on and wouldn't care that she already had a kid... CUT TO: Diane getting into the car. She turns to the driver and gives him a flirty smile. IT'S NOW A DIFFERENT, but just as SLEAZY GUY smiling back at her. MINI (V.O.) But not mom, she was gonna bag another elephant if it meant gobbling every knob from Hollywood to the Palisades. As the car pulls away, we see an 8 YEAR OLD MINI watch from an upstairs window of the building. INT. THE SAME RUN DOWN APARTMENT - EVENING Mini sits watching TV as Diane walks in with YET ANOTHER SLEAZY GUY, his hands all over her. Diane looks surprised and pissed to see Mini still up. DIANE Jesus Chr--Mini, why aren't you in bed? Mini just stares at her, then shifts her penetrating gaze to SLEAZY GUY #3. He looks unnerved by Mini. SLEAZY GUY #3 I thought you said we'd be-- DIANE Don't worry, Larry, she's going to bed, right now. Aren't you? I NT. MINI'S TINY BEDROOM - NIGHT Mini lies awake as the SOUNDS OF DIANE FUCKING SLEAZY GUY #3's brains out waft through the thin walls. 13. INT. THE KITCHEN OF DIANE'S APARTMENT - EARLY MORNING. Mini sits at the kitchen table eating cereal as THE FOURTH SLEAZY GUY emerges from Diane's bedroom, he's tucking his shirt in. He looks a little startled to see her up. SLEAZY GUY #4 Oh...Uh, hi, uh, tell your mom I, uh, had a good time. MINI Oh, I will...Like some coffee for the road? The guy looks at her a little surprised, then smiles. SLEAZY GUY #4 Sure...thanks, kid. CUT TO: Mini watching the PORSCHE PULL AWAY from the curb. In her hand, she holds a bottle of MAXIMUM STRENGTH EX-LAX. CUT TO: SLEAZY GUY #4 driving down the freeway, drinking coffee from a paper cup. Suddenly, a look of absolute dread overcomes him. INT. DIANE'S APARTMENT - LATER. Diane emerges from her bedroom in her bathrobe, looking disheveled. She glares at Mini, who sits at the kitchen table eating her cereal. DIANE Do you want to live in this shit hole your whole life? Mini just stares at her. DIANE Then stay in your fucking room until they leave. Got it? Mini says nothing. Suddenly, Diane picks up a SMALL PIECE OF POTTERY from the coffee table and throws it at Mini's head. Mini ducks as it SMASHES behind her on the wall. 14. CUT BACK TO: 18 YEAR OLD MINI MIXING HER MARTINI IN THE WET BAR. MINI (V.O.) So it pretty much went on like that until... MALE VOICE (O.S.) Mini? Diane? I'm home. MINI (V.O.) Five years ago, when she met Martin. Mini starts downing the drink in a few big gulps. M MINI (V.O.) (CONT'D) It was a win-win... INT. A HOTEL BALLROOM - NIGHT Mini, Diane and MARTIN TANNEN, 45, a trim executive in an Armani suit and $300 haircut, mingle at a large corporate cocktail party. Martin, a man who understands, in his world, style over substance is a way of life, works the crowd effortlessly. MINI (V.O.) He didn't want kids, but needed a ready-made family to help project an image of stability for his corporate outings...We finally got out of Reseda... CUT TO: Mini at the bar, stealing the drink of a TROPHY WIFE who has turned her back on it, to make a point to her OLDER HUSBAND. MINI (V.O.) (CONT'D) It was great for about a year... CUT TO: LATER. Martin finishes talking to a client and heads out on the balcony to get some air, where he sees Diane kissing a HANDSOME YOUNG EXECUTIVE off to the side. Martin stiffens as he watches in SLOW MOTION her tongue slip into his mouth. MINI (V.O.) (CONT'D) Then he figured out what he had married...by then it was too late. 15. INT. THE FRONT DOOR TO THE HOUSE - NIGHT Martin puts his keys and cell phone on a table near the door. MINI (breezing past him) You're home early. MINI (V.O.) (CONT'D) First time in three months he's walked in before Letterman. He totally forgot my birthday party, and right now I'm thinking his pin cushion must have given him the walking papers or...found a new pin. MARTIN Yeah...uh... (searching) A dinner with a client got canceled. MINI (V.O.) Bingo. MINI Tough day? MARTIN About the same... They head back into the living room. MINI Protecting all those poor defenseless oil companies from those big bad environmentalists? M ARTIN Someone's got to make the payments on your Beemer. MINI (V.O.) He's a partner at a public relations firm, which is ironic because I can't remember the last time he and my mom were seen in public together...or had relations. He plops down on the couch, taking an electronic organizer out of his breast pocket. (CONTINUED) 16. CONTINUED: MARTIN Is your mother around? MINI No, she went to a party off Beachwood. She was in one of her "happy moods", so I doubt she'll be sleeping here... MARTIN Oh. MINI (innocently) If you were thinking of inviting a guest over. MARTIN (measured) I wasn't, but thanks for the concern...You're going out on a school night? MINI Yeah? Martin punches a few buttons on the organizer, his mind clearly elsewhere. MARTIN Mmm...Is your homework done? MINI Haven't even cracked a book. MARTIN (not listening) Mmm... INT. MINI'S BATHROOM- MOMENTS LATER. Mini double checks her purse for everything: lipstick, compact, Altoids, a flask of liquor and a string of condoms. MINI (V.O.) Considering how many guys my mom has done in his bed, you've got to admire his resolve. He could've left her years ago, but with no pre- nup, he loses half and he just won't give in. 17. EXT. THE FRONT OF THE HOUSE- MOMENTS LATER. Mini walks out the front door, revealing an impressive front of the house with stone pillars and a brick circular drive. Martin's MERCEDES 500 SL COUPE and Mini's BMW Z3 convertible sit in the open garage. MINI (V.O.) Their arrangement actually keeps everything very calm. Mini gets into her BMW. EXT. SUNSET BOULEVARD - NIGHT The BMW drives down the street, weaving in and out of traffic. M MINI (V.O.) As I said, the rule of firsts guides my life. Once you've gotten into every club in town and had enough Ivy League lawyers cum too fast, drastic measures are called for. EXT. HOLLYWOOD BOULEVARD - NIGHT Mini walks past the neon covered shop windows. MINI (V.O.) I thought it would be a goof if I put a photo ad in one of those 25 cent "outcall" massage newspapers they sell around town. But I just got a bunch of pervs breathing heavy on my voice mail. So I went to an escort service, and when they found out I was 18, they told me they had two tricks in the same hotel that night...if I was up to it. She passes OLDER PROSTITUTES soliciting cars that have slowed down for a peek. MINI (V.O.) (CONT'D) Would you look at them? One of the prostitutes gives her a threatening look. (CONTINUED) 18. CONTINUED: MINI (V.O.) (CONT'D) It's pathetic. I mean, she's got to be, what? At least twenty eight?...In dog years. (pausing) Oh, wait, that would make her four. She arrives in front of the HOLLYWOOD ROOSEVELT HOTEL. INT. A HALLWAY OF THE HOTEL - NIGHT Mini walks down a hall and stops in front of a room and knocks. She looks around trepidatiously, as she waits for an answer. The door opens and a MIDDLE AGED MAN opens the door. He's very well groomed in a creepy middle american way. He could be a serial killer or... INT. A HOTEL ROOM - LATER. Mini pulls her red top on and heads for the door, as the man sheepishly follows her. MINI (V.O.) My first night as a call girl was a serious let down. It turns out both guys were in town for the "Promise Keepers" convention. She reaches the door. He opens it and points to the room across from his. Mini walks across and knocks. M MINI (V.O.) The first one got so excited I didn't even get a chance to get my panties off before he creamed himself. A HEAVIER MAN in a denim shirt opens it. INT. THE OTHER HOTEL ROOM - LATER. The heavier man is on his knees, weeping as he hugs Mini around the waist. MINI (V.O.) And the other said I looked so much like his niece, he started whimpering and praying for forgiveness. She rolls her eyes in frustration. 19. EXT. FOUNTAIN AVENUE - NIGHT Mini drives home, suddenly a SIREN is heard and she sees the FLASHING LIGHTS of a cop car behind her. Mini pulls over looking pissed. MINI (V.O.) Time to bat the eye lashes... The cop car pulls up behind her and a FEMALE COP WITH A BUZZ CUT gets out, approaching the car. Mini looks in her mirror, with a sly smile. The cop reaches Mini's door and looks down at her, clearly attracted to her. EXT. A BACK ALLEY OFF FOUNTAIN - NIGHT THE POLICE CRUISER is parked with its lights off. INT. THE CAR - CONTINUOUS THE FEMALE COP is lying on the seat with her legs spread, as Mini goes down on her. The woman is clutching the steering wheel with her left hand and the seat with her right, hanging on for dear life as Mini rocks her world. MINI (V.O.) This? Are you kidding? My first woman and my first cop?...It would've been perfect if she hadn't wanted to cuddle afterwards. INT. THE TANNEN'S HOUSE - LATER. Mini unlocks the door and walks in to find Diane passed out, face-up on the sofa in a loosely-tied bathrobe. At the sound of the door, Diane looks up. DIANE (slurring) Oh...wha- what are you doing here? M ini stops and looks at her mother, absorbing her insightful question. Mini sighs and heads for the bedroom. DIANE Did you have fun, dear? MINI Yeah, I turned two tricks and went down on a dyke cop. (CONTINUED) 20. CONTINUED: DIANE Thass nice... Mini heads down the hallway. MINI (V.O.) God, what's gotten into her? She was almost warm and fuzzy. INT. MINI'S BEDROOM- MOMENTS LATER. Mini walks in and stops dead in her tracks. A GREASY-HAIRED NAKED MAN lies passed out on her bed. His body hair is thick and matted. His genitals are covered by her pillow, which he cradles like a teddy bear. Mini's jaw tightens slowly. INT. THE LOBBY OF THE PENINSULA HOTEL - NIGHT Mini walks through the lobby past TWO BUSINESSMEN sitting at the bar, chatting up TWO VERY ATTRACTIVE WOMEN in their mid twenties. MINI (V.O.) After that night, things really picked up. The men's eyes instinctively follow Mini, as their dates exchange a glance of annoyance. MINI (V.O.) My one rule which the agency wasn't too happy about was, of course, only firsts, no repeat customers. EXT. AN OFFICE BUILDING IN SHERMAN OAKS - DAY This time Mini walks in, dressed like a normal high school student, past a SECURITY GUARD. MINI (V.O.) But believe me, they didn't have too much trouble honoring that request. INT. AN IMPRESSIVE CORNER OFFICE - CONTINUOUS Mini is led in by a SECRETARY who presents Mini to one of the PENINSULA BUSINESSMEN sitting behind a large oak desk. (CONTINUED) 21. CONTINUED: MINI (V.O.) I'd make house calls to offices at lunch hour and we'd say I was someone's niece or cousin in town on vacation. The man stands up and greets her like she's family, and then quickly shuts the door. E XT. A HOUSE IN THE HILLS - NIGHT Mini arrives in her convertible and gets out dressed in a cheerleaders uniform. MINI (V.O.) And then when football season started, Saturday through Monday... INT. THE ENTRANCE TO THE HOUSE - CONTINUOUS A HUSKY MAN in a football jersey opens the door to find Mini waving her pom poms with a Texas sized grin on her face. MINI (V.O.) I was busier than Domino's. INT/EXT. A MULTI LEVEL PARKING GARAGE - NIGHT Mini drives into the garage. MINI (V.O.) Then one Thursday night I get a a last minute gig at a fuck pad in Westwood that some executive keeps so "wifey" doesn't find the motel bills on the gold card statements. They say I'm just his type...young. INT. THE LOBBY OF A MODERN APARTMENT BUILDING - NIGHT Mini walks quickly through the lobby. MINI (V.O.) They tell me he's not big on the chit-chat and he loves paying extra for the stuff we charge extra for. INT. THE HALLWAY OUTSIDE THE APARTMENT- MOMENTS LATER. Mini knocks on the door. (CONTINUED) 22. CONTINUED: MALE VOICE (O.S.) It's open. INT. THE APARTMENT - CONTINUOUS The executive "convenience" apartment is cold, sterile and clearly just used for short amounts of time. Mini opens the door, passing the closet, the bathroom door and then stops suddenly as she sees... MARTIN, her stepfather, sitting up in bed. She quickly turns away before he sees her face. MARTIN Hello? MINI (V.O.) Can you fucking believe it? Mini goes back towards the front door, panicking. She absently hangs her jacket up in the closet, to buy some time. MINI Uh...hi, (quickly adopting a southern accent) Sorry, I'm Mlate. ARTIN Don't worry about it. MINI Mind if I freshen up? MARTIN Sure. Mini ducks into the bathroom. INT. THE BATHROOM - CONTINUOUS Mini shuts the door, turns on the light and looks at herself in the mirror. She's almost white from the shock. She looks down at the counter. MINI (V.O.) My own dad! My first thought was "how sick is he?" But then I started thinking...I'm one to talk, and...well... (CONTINUED) 23. CONTINUED: Mini's expression softens as she examines herself closer. MINI (V.O.) Why not? I mean, he isn't my real dad...and talk about a first. The more I thought about it... A wicked glint dances across her eyes. MINI (V.O.) ...the more turned on I got. Then I thought that if my mother could do some strange guy in my bed, I could do her strange guy in this bed. MARTIN (O.S.) Everything alright in there? MINI (still in her southern accent) Just peachy. Listen, Sugar, would you mind turning the lights off, I'm kinda new to all this and a little shy. MARTIN (O.S.) No, that's fine, but can we get this show on the road? MINI Sure can, in two shakes of a lamb's tail. INT. THE BEDROOM - CONTINUOUS Martin turns the light off next to the bed. A little bit of light from the street sneaks in around the edges of the blinds. After a second, the door opens and Mini comes out in a bra and panties. Mini crosses the room slowly and sits on the edge of the bed, letting her hair fall over her face. Martin tries to pull her hair away from her eyes, but she turns away, playfully shaking her head "no". She reaches down and touches him through the sheet. He looks up at her, clearly excited, but she keeps her gaze down. He reaches over to the nightstand and picks up his wallet. M INI What did you have in mind tonight? (CONTINUED) 24. CONTINUED: MARTIN The deluxe. MINI Oh, so you want complete access? MARTIN (voice quivering) Y...yes. MINI You do know that's extra? He nods. MINI Just so we're clear...Now, close your eyes. Martin furrows his brow, disappointed. MINI Come on. He obeys. MINI Now just keep them shut for a while. Mini pulls the sheet back, revealing his body to her. She starts kissing his chest, inhaling deeply. She looks up at his expectant face, intoxicated with her power. Her mouth starts to move down his chest. Martin lets out a small, almost self-conscious gasp. FADE OUT: INT. THE ROOM - LATER. It is still dark as Martin and Mini lie under the sheets, post coitus in the "spoons" position. Martin has a dreamy, satisfied look on his face. Mini smiles to herself. MINI (V.O.) I can't believe I pulled that off. Keeping my face hidden actually wasn't that hard, and he pretty much let me do whatever I wanted. 25. INT. THE BATHROOM- MOMENTS LATER. Mini is getting dressed. MINI (V.O.) And you know what?...He was damn good. I don't why Mom is throwing the cat all over town, when she can have this every night. INT. THE BEDROOM- MOMENTS LATER. The room still dark, Mini emerges from the bathroom, dressed. MARTIN I... (searching) that was...you were really good. MINI (southern accent) Thanks, Sugar. MARTIN I'd like to see you again, but...uh...I never got your name? Even in the dark, he looks a little embarrassed. Mini smiles. MINI Ginger. MARTIN Ginger, I won't forget. INT/EXT. UPPER LEVEL OF THE BUILDING'S PARKING GARAGE- LATER. Mini walks to her car, giddy with excitement. M MINI (V.O.) I literally couldn't feel the ground under my feet. A first to top all firsts. I knew I'd tell him one day, but I wanted to savor it for a while. She reaches her car and looks for her keys in her purse. Her eyebrows furrow as she has trouble finding them. Suddenly, she realizes they aren't there. She freezes. (CONTINUED) 26. CONTINUED: MARTIN (O.S.) Ginger! You forgot your... Startled, her head whips around to see Martin walking towards her, carrying her jacket. He stops, the realization setting in. MARTIN ...Jacket. Seconds go by as Mini allows a pathologically triumphant smile to spread across her mouth. MINI (V.O.) Here's to immediate gratification. Martin starts to look nauseous, as Mini walks slowly over and gives him a deep, wet kiss right on the mouth. MINI (whispering) You were great. Martin just stares straight ahead, numb. After another moment he walks to the railing of the garage, staring down at the street below. MARTIN'S POV: A few cars rush by on the street below. It appears to be about a three or four story drop. He looks back at Mini. He starts to lift a leg over the railing. MINI Uh, that fall probably won't kill you, and considering what a caring nurturer your wife is, I don't think that's a risk you can afford to take. Martin looks down at the street for another moment. MINI (V.O.) God, what a drama queen. Don't let this little act fool you. He'd never let mom get all his money. He glances back at her, looking tortured. (CONTINUED) 27. CONTINUED: (2) MINI (V.O.) This is just his twisted public relations brain working overtime to figure what the appropriate response should be to fucking your stepdaughter...ah ha! Contemplate suicide! M artin backs away from the railing. MINI (V.O.) Now that's thinking outside the box. INT. AN ALL NIGHT COFFEE SHOP - LATER. Martin and Mini sit at a booth. Martin stirs his coffee looking shell shocked. Mini devours a plate of Belgian waffles covered with whipped cream. MINI (V.O.) We spent the next few hours just sitting there. I don't think we said three words. I think he was trying to find a way to justify the whole thing, but it was actually one of the sweetest nights I ever spent with a guy. EXT. VENTURA BLVD- JUST BEFORE DAWN. Mini drives home with the top down. MINI (V.O.) He told me it was a monumental mistake and that we should both never mention it again. I told him that was fine. INT. THEIR KITCHEN - MORNING Mini sits at the table eating cereal. Martin enters, looking a little guilty as they exchange an awkward glance. MINI (V.O.) Suddenly, he started coming home every night and even started really asking me about my homework. MARTIN Morning, Kiddo, you finish those math problems? (CONTINUED) 28. CONTINUED: MINI (V.O.) Kiddo? Mini looks up at him, raising her eyebrows. MARTIN I'd be happy to help you with it, if you need. MINI Actually, I'm thinking about starting a 401K plan at work, could you help me pick a good mutual fund? Martin looks down uncomfortably. INT. THE LIVING ROOM - NIGHT Martin watches television next to Diane, who's passed out with an empty bottle of vodka sitting on the coffee table. A BOTTLE OF PRESCRIPTION MEDICATION is open as well. Martin looks over at Diane, pokes her to make sure she's truly blitzed, checks his watch and stands up. I NT. MINI'S BEDROOM - NIGHT Mini lies in bed under the covers, reading. The door to her room opens. She looks at the clock. It reads: 12:15am. Martin enters. MINI (V.O.) It took exactly one week. INT. MINI'S BEDROOM - NIGHT The lights are off, and the two of them are going at it under the covers. MINI (V.O.) In the beginning, I was concerned this would violate my rule as he technically was a repeat customer, but then I realized this was my first affair, and with my stepfather no less. To be perfectly honest...I loved it. Talk about electric, knowing at any moment she could walk in was better than any drug. It reminded me of when I was young and brought guys home after school. 29. INT. MINI'S BATHROOM - NIGHT Mini and Martin are locked in an embrace behind a steamed- over glass shower door. MINI (V.O.) At first, we were very discreet, only doing it when Joan Crawford wasn't home or was completely comatose. INT. MINI'S BEDROOM - NIGHT Mini and Martin post coital, catching their breath, as they both stare at the ceiling. Martin looks over at her and they share a conspiratorial smile. MINI (V.O.) Then we got bolder, doing it before she would pass out. I think we were seeing exactly how far we could push the envelope. INT. THE LIVING ROOM - EVENING Mini and Martin poke their heads out from the hallway that leads to Mini's bedroom. Diane is watching TV with a martini glass in her hand. MINI (V.O.) One night we did it before "Entertainment Tonight" ended. DISSOLVE TO: Them under the covers, but this time the lights in her room are on. M MINI (V.O.) We even almost got caught. DIANE (O.S.) Mini? Mini and Martin stop at the sound of her voice, they look at each other, realizing Diane's right outside. MINI (startled) Yeah? (CONTINUED) 30. CONTINUED: Suddenly, the door flies open, as Martin ducks under the covers. Diane stands there with a drink in her hand and what appears to be cocaine residue under her nostrils. She appears truly wired and incoherent, it's unclear whether she's even noticed someone else in the bed. MINI God, I've told you a thousand times to knock. DIANE Have you seen Martin? I think he was in his study a half hour ago. MINI Uh...can't say that I have. DIANE Well, I assume he's gone out, so I've invited Ricardo over for a...cocktail. You know how children make him uneasy, so I'd appreciate if you and... (pointing to Martin under the sheet) ...your friend could either stay in here or use the back door when he arrives. For a moment, Mini can't believe her mother appears to have no problem with there being a man in her bed. MINI Oh...sure, no problem. Diane shuts the door. MINI Okay, she's gone. Martin pokes his head out of the covers. The two of them share a smile, not believing their luck. They start to laugh and then after a moment she kisses him deeply and they resume where they left off. MINI (V.O.) Looking back, that may have been the moment we fell in love. 31. INT. A WOMEN'S CLOTHING STORE IN A SHOPPING MALL - DAY Mini tries on a cocktail dress, as Martin looks on, giving his approval. MINI (V.O.) We became inseparable. EXT. THE TANNEN'S POOL - DAY Mini sits at the pool side table, as Martin helps her with her homework. M MINI (V.O.) Mom thought it was cute how we had suddenly grown so close, and thought it was wonderful how Martin had taken an interest in my education. From inside the house, Diane is seen lighting a cigarette, looking out at them and smiling. CLOSE ON HER HOMEWORK: Mini has drawn a dirty cartoon which indicates how well endowed he is. She jots down an arrow next to the words "actual size". Martin blushes, averting his eyes. EXT. THE OUTDOOR PATIO AT IL CIELO RESTAURANT - NIGHT The two of them sit at a romantic table in the candlelight, as A WAITER refreshes their wine. MINI (V.O.) Now that we were spending time together, I actually started to find out what Martin was like for the first time. Martin tells her something and they both crack up. MINI (V.O.) He wasn't the drip I thought he was. EXT. VENICE BEACH - SUNSET The two walk hand in hand, stopping to watch the drum rhythm circle filled with LOCAL PERCUSSIONISTS and ON LOOKERS moving to the throbbing beat. (CONTINUED) 32. CONTINUED: MINI (V.O.) He was funny, charming, sweet and even a little shy. Mini jumps into the circle, dancing along with the other revelers. Martin is content to watch, until she runs to the edge of the circle and pulls him in. Reluctantly, he begins to move with her and slowly start to enjoy himself. EXT. OCEAN AVENUE- SANTA MONICA- EARLY EVENING. Mini and Martin walk close together, but not the way couples do. MINI (V.O.) Being seen in public was no sweat, as long as we didn't act like a couple. EXT. MULHOLLAND DRIVE - NIGHT Martin's Mercedes snakes through an "s" curve, as the lights M of the city twinkle in the background. MINI (V.O.) This went on for two months, before we had the talk we both knew was coming. The car pulls off the road at one of the tourist overlook areas with a view of the city. INT. THE MERCEDES - CONTINUOUS Martin pulls up the parking break and turns to her. MARTIN So... MINI So. MARTIN I don't want to have to sneak around in my own house. MINI Well, I don't think telling her is such a hot idea. (CONTINUED) 33. CONTINUED: MARTIN I mean, I don't want to live under the same roof with her. CLOSE ON: A FEW RAIN DROPS HITTING THE ROOF OF THE CAR. MINI You can't leave, she'll get half. Martin exhales, knowing she's right. MINI Can I ask how the hell you married her without a pre-nup? Her? MARTIN (sighing) She wasn't as bad an actress as you think. MINI Well, there is another option. THE RAIN PICKS UP, PLINK, PLUNKING ON THE ROOF. MARTIN There is? Her eyes harden as she looks out at the city. MINI But it will take some planning... and some resolve. Martin's eyes suddenly widen. MARTIN Wait, you don't mean- MINI Kill her? She lets the word linger, as the rain beats down steadily. MINI No, of course not, she is my mother. MARTIN Good... (CONTINUED) 34. CONTINUED: MINI But I've been thinking, if she suddenly got ill- MARTIN Ill? MINI Unstable, unpredictable, irrational...dangerous to the safety of her husband...her child...She would have to be sent someplace where they could give her the care she needs. Martin searches her eyes, almost unsure he's heard her right. Her gaze is unwavering and after a few seconds he realizes she's serious. He can't help but let the hint of a grin cross his lips. M ARTIN It would be for her own good. MINI The only truly caring action we could take. MARTIN As painful as it would be for me to be without my loving wife. MINI You did it for the well being of your daughter. The selfless act of a devoted parent. The sexual tension arises between them, as he starts moving closer to her lips. MARTIN Of course, we'll have to make sure her episodes are well documented. She responds in kind, tilting her head. MINI And corroborated by friends and people outside the family. MARTIN A public complaint by a neighbor wouldn't hurt. (CONTINUED) 35. CONTINUED: (2) MINI No, that would be useful. Their lips are now almost touching. MARTIN And we'll find her a very comfortable place out in the country. MINI With lots of fresh air. MARTIN It will be a much better life for her. MINI Much. Unable to stand it, their lips meet and they start to hungrily tear at each other's clothes. EXT. THE CAR - CONTINUOUS The car rocks gently back and forth in the rain, as another car whizzes by, spray flying up behind it as it disappears around a curve. INT. MINI'S BEDROOM - MORNING Mini wakes up with a look of pure joy, ready to face the world. MINI (V.O.) I awoke the next morning, as excited as I could remember. Unlike most firsts which are over too quickly, this would take determination... EXT. THEIR BACKYARD- MOMENTS LATER. Mini swims on her back in the pool, a lit cigarette dangling between her lips. MINI (V.O.) Stamina... INT. THEIR KITCHEN - MORNING Mini and Martin sit together, eating breakfast. (CONTINUED) 36. CONTINUED: MINI (V.O.) And imagination. Diane storms through the living room in the background, passing out of sight, behind the door frame. M MINI (V.O.) I decided to start simply. DIANE Goddamn it! Goddamn it! Goddamn it! MINI (V.O.) Part one, violent mood swings- slash-uncontrollable rages. Cushions from the living room couch fly past the door frame. DIANE Fucking shit! Where are they? Mini stirs her coffee innocently. Diane again can be seen through the door, this time throwing magazines and papers off the coffee table. DIANE I'm gonna be late! It took me three weeks to get an appointment with Anton... MINI (V.O.) Anton Michelle, masseuse to the stars and reported possessor of one of the biggest schlongs in town. Rumor has it, he's pouring the pork to every rich wife between Malibu and Pasadena. He must be incredible if Mary Magdalene dragged her ass out of bed this early. DIANE ...and now I'm gonna miss it because I can't find my fucking car keys?! Martin and Mini exchange a smirk. She turns towards them, eyes ablaze. DIANE I could use a little help in here! Martin looks up from his morning paper as cheerful as can be. (CONTINUED) 37. CONTINUED: (2) MARTIN Coming, honey. INT. THE LIVING ROOM - CONTINUOUS Mini and Martin walk in to see Diane on all fours, looking under one of the sofas. Her panties are blatantly visible from under her mini-skirt. Mini and Martin exchange a smirk. MARTIN Diane, sugar, do you remember where you put them when you came home last night? DIANE Yeah, in the fucking bowl by the fucking door where I always fucking put them! MINI Well, uh, you were kinda out of it last night. DIANE No, I wasn't! I had one drink with Marie, one! MARTIN Uh, are you sure? You did seem a bit tipsy. DIANE Yes, I'm sure, you dickless wonder. D iane starts rummaging through the drawers of a desk near the front door. MINI (under her breath) Now don't you listen to her, you are not a dickless wonder. Martin tries not to let on how much he's enjoying this. Completely frustrated, Diane stops looking and heads for the "key" bowl by the door. DIANE Mini, I'm taking your car. Martin, take her to school. Diane grabs a set of keys. (CONTINUED) 38. CONTINUED: MARTIN Diane, I have a meeting with Chapman, he's our biggest client-- DIANE (opening the door) Tell him it's an emergency. She slams the door behind her. Mini looks at Martin with a sly grin then removes a cell phone from her pocket and dials a number. As she waits for an answer, she twirls DIANE'S KEY RING around her finger. MINI (V.O.) Now, here comes the really fun part. I realized a year ago that by lowering my voice a bit I could do a passable job imitating... MINI (mimicking Diane) Hello, Anton? It's Diane Tannen, I know it's late notice, but I'm going to have to cancel our appointment. What? No, of course, I realize I'll still have to pay...yes, something came up. INT. THE "OFFICE" OF ANTON MICHELLE - LATER. ANTON MICHELLE, 30, the very muscular "it boy" masseuse is furiously fucking JEANETTE LANG, a similarly hyper- aerobicized wife, on his massage table. He's bent her over the table and is taking her from behind when, suddenly, the door flies open. They both look up to see...DIANE with a stunned expression. DIANE Anton? But...Jeanette? JEANETTE Uh...hi, Diane? ANTON (french accent) But, Mrs. Tannen, you call and cancel zee session thirty meenutes ago? D IANE What? No, I didn't! (CONTINUED) 39. CONTINUED: ANTON Yes, I spoke to you myself, you say sometheeng come up. Diane looks at Jeanette, her eyes narrowing. DIANE Jeanette, you knew I had an appointment today, did you pretend- JEANETTE (flustered) No, I, I ...Anton called me and told me he had a cancellation. ANTON Yes, I call her after you call me. Jeanette nervously tries to wrap the massage towel around herself. DIANE Why, you sneaky little bitch! Suddenly, Diane LUNGES for Jeanette, grabbing her by the hair and pulling her off the table. Jeannette shrieks as Anton struggles to pull up his pants and pry them apart. INT. THE TANNEN'S DINING ROOM - EVENING Diane sits at the table with her arm in a sling. Martin cuts her meat for her, as Mini pours her some red wine. MINI (V.O.) Needless to say, word of the L'incidÈnt de Anton spread quickly through the community. MINI Do you think she'll press charges? DIANE Are you kidding? She should get twenty to life! When I told Margo and Penny about her little stunt, they both said they'd have ripped her eyes out. She'll be lucky if anyone speaks to her again. Martin holds up a forkful of food. (CONTINUED) 40. CONTINUED: MARTIN Here comes the choo-choo. Diane grabs the fork with her good hand. DIANE For god's sake, I didn't break both hands. MINI Jeez, I still can't believe you broke your hand on her face? It's so Linda Hamilton. DIANE (slugging some wine) I hope she enjoys shitting out the teeth she swallowed. INT. THE ROSA ANGELICA FLOWER SHOP - CONTINUOUS CLOSE ON: The store's owner, CARLOS, 50, picking up the RINGING PHONE. CARLOS R osa Angelica, this is Carlos. MINI IMPERSONATING DIANE (O.S.) Hello, Carlos, it's Diane Tannen calling. CARLOS Ah, sÌ, Senora Tannen, como esta? MINI IMPERSONATING DIANE (O.S.) (annoyed) Uh, Carlos...english, comprende? CARLOS (taken aback) Okay. MINI IMPERSONATING DIANE (O.S.) I'm going to need a delivery to the house. EXT. THE TANNEN'S HOUSE - DAY A "MOONWALK" INFLATABLE CARNIVAL RIDE is being inflated on the front lawn by a WORKER, as TWO JUGGLERS warm up next to it, tossing clubs between them. (CONTINUED) 41. CONTINUED: MINI (V.O.) Phase two: wild shopping sprees carried out in a euphoric state. FIVE DELIVERY VANS from Rosa Angelica are parked outside as FIVE DELIVERY BOYS unload their cargo. It appears that they have brought the entire inventory of Rosa Angelica. DOZENS OF BOUQUETS and ARRANGEMENTS line the driveway. Mini stands outside next to Carlos, sucking on a lollipop. MINI Gosh, look at all the pretty flowers. CARLOS Your mother said you are having a big party! MINI (innocently) I know, can you believe all this? Just then, Diane's Jaguar pulls into the driveway. She looks at the trucks, her expression souring. She stops the car and flies out. DIANE Carlos, what the hell is going on? CARLOS Senora Tannen, the delivery you ordered yesterday for the party? DIANE Ordered, I didn't order anything?! Who told you to bring these here? CARLOS (flustered) But, but, Senora, you did, you called me, I talked to you. DIANE No, you didn't! CARLOS SÌ, you said you were having a party, don't you remember? (MORE) (CONTINUED) 42. CONTINUED: (2) CARLOS(CONT'D) You were very excited, saying you were going to have the most wonderful party and invite everyone you knew and it had to be just perfect. Perfect, that's what you said. M INI Mom, is that what you were talking about yesterday? DIANE What?! MINI Well, it was after lunch and you had washed your pain killers down with some wine. You mumbled something about a party before you took a nap. DIANE No, I did not! MINI (wincing) Mom, you did. The doctor said no more mixing pain killers and alcohol. DIANE But, but...I only slept for-- MINI (to Carlos) I am so sorry. Listen, we'll pay, don't worry. Mini leads Carlos back to his vans, just Martin's Mercedes pulls up. Diane turns around to see his car and a look of dread strikes her. DIANE Oh, god. MINI (V.O.) Right on cue. Let's see how convincing he is. Martin gets out of the car, surveying the damage. A look of pure indignant outrage overcomes him and it's impossible to tell this is an act. (CONTINUED) 43. CONTINUED: (3) MARTIN What is going on?! Carlos, what the fuck are all these flowers doing here?! MINI (V.O.) Oooh, now I see why he makes the big bucks. CARLOS SeÒor Tannen, we-- DIANE Uh, Martin, I, I... MARTIN Diane, did you order all this?! MINI Mom, go inside, just go, I'll handle him. (trying to calm him) It's under control, Dad. Please, let's not make a scene. MONTAGE: -Mini opens the front door to find A DELIVERY VAN from WATERFORD CRYSTAL pull up. MINI (V.O.) Over the next few days, whenever Mom had passed out from too much drinky-drinky... -The door opens again as A FURRIER holding a full length mink coat stands before her with a big smile on his face. MINI (V.O.) I'd pull out her wallet... -A SALESMAN dangling the keys to a FORD MUSTANG CONVERTIBLE which is parked behind him in the driveway. M MINI (V.O.) ...and reach out and touch someone. -A FLATBED TRUCK hauling a 30 FOOT SAILBOAT behind it pulls up in front of the house. (CONTINUED) 44. CONTINUED: (4) MINI (V.O.) It's really remarkable what you can order with a Platinum card these days. INT. THE TANNEN'S HOUSE - CONTINUOUS A strung out Diane sits on the couch, smoking and nursing a Vodka tonic. THE DOORBELL rings and Diane reacts like a dog in a thunderstorm, a jolt of fear coursing through her body. MINI (V.O.) Talk about easy. After a week of my version of the home shopping network, the doorbell might as well have been a canon. Diane gets up and walks unsteadily towards the front door. INT. A CLASS ROOM AT MINI'S HIGH SCHOOL - DAY Mini and Kayla sit in a history class, looking dreamily at their teacher, WARREN BISHOP, 25, an earnest young preppy in the middle of a lecture. MINI (V.O.) At this point, dear old mummy was so spooked, I was actually afraid she might stop drinking. So I needed a back up plan, to keep her...off-balance. BISHOP As we see from a closer examination of the facts, Abraham Lincoln's decision to... Bishop's voice fades out as he continues to speak. MINI (V.O.) Now, here's someone I'd like to make sit, roll over and then toss me his snausage. But today... priorities are priorities. Mini raises her hand. MINI Mr. Bishop, can I go to the little girls room? (CONTINUED) 45. CONTINUED: BISHOP Of course, Mini. INT. THE HALLWAY - CONTINUOUS Mini walks down the empty corridor. INT. THE GIRL'S BATHROOM- MOMENTS LATER. The SCHOOL NURSE, HELGA HAUPTF‹HRER, 55 and very Aryan, enters the empty bathroom and walks into a stall. MINI (V.O.) The school nurse, a regimented Kraut lush named Helga Hauptf¸hrer, or "der F¸hrer" as she was affectionately known, starts jonesing for her afternoon nip... I NT. THE STALL - CONTINUOUS Hauptf¸hrer sits down and takes a bottle of vodka out of her nurses coat. MINI (V.O.) ...exactly 45 minutes after lunch each day. She takes a long slug. INT. THE NURSE'S OFFICE - CONTINUOUS Mini quickly picks the flimsy lock on the medicine cabinet with a paper clip. She quickly looks through the bottles. MINI (V.O.) Which leaves me free to help myself to the candy store. Mini finds what she needs and holds it up to read the label. CLOSE ON: THE LABEL indicating "RITALIN" and the dosage. Mini quickly closes the cabinet, walks out and stuffs the bottle in her pocket, just before Hauptf¸hrer enters. (CONTINUED) 46. CONTINUED: MINI (V.O.) Thank god for the quack who invented ADD and the lazy parents willing to let "Der F¸hrer" keep their kids comfortably numb on what basically amounts to legalized speed. INT. THE TANNEN'S KITCHEN - EVENING Mini stands at the counter, making her mom A MARGARITA. She's cutting up all kinds of tropical fruits and putting them into a blender. MINI (V.O.) My fears of mom giving up the sauce were unfounded. Actually, she started drinking more. She then takes a few tablets of Ritalin and grinds them up with their coffee grinder. She pours that into the blender and puts the lid on. MINI (V.O.) Which gave me the perfect opportunity to prescribe her a little pick-me-up. She turns on the blender. INT. DIANE'S DRESSING ROOM- MOMENTS LATER. Diane's getting dressed for a party, trying to gracefully camouflage her cast with jewelry. DIANE (annoyed) Mini! I asked you for that drink ten minutes ago! Mini walks in, carrying the margarita. D IANE Put it on the counter. MINI You're welcome. Diane takes a pain killer and washes it down with the margarita. (CONTINUED) 47. CONTINUED: DIANE Mmm...this is really good. What's in it, Sweetie? MINI (V.O.) The first time in my life she calls me "sweetie" and I've just slipped her the mother of all Mickeys. MINI Oh, this and that. INT. A POSH PARTY IN THE HILLS - NIGHT The party is chock full of TROPHY WIVES and their decidedly less attractive HUSBANDS. Diane is in a full blown booze and Ritalin induced monologue, having cornered TWO WOMEN. DIANE My god, let me tell you, breaking my hand on that bitch's face... The two women recoil. DIANE ...was the best thing that ever happened to me. MINI (V.O.) Phase three: rambling incoherent monologues in public. DIANE I feel fantastic, just fabulous. I mean, I feel like I could run a marathon like that Bruce Jenner guy. He did that, right? Boy, I'll tell you before he had that face lift that made him look like a drag queen, I would've let him stick his javelin in me any day. Suddenly, her ears unconsciously pick up the strands of a conversation going on behind them between TWO HUSBANDS. HUSBAND #1 So I looked each and every juror in the eye- (CONTINUED) 48. CONTINUED: DIANE (spinning around) I want to talk to you about juries, will you come and talk to me about juries? HUSBAND #1 Uh... DIANE I'd like to be on a jury and say "guilty!" or "sidebar!" What do you think goes on in all the sequestered situations? Do you think any of the jurors have sex with each other? I was once on an episode of Love Boat, playing the role of "Bikini Girl" and my line was "I'll have another," it was with "Isaac" at the pool bar. I had to suck one of the associate producers off to get the line, but it got me my SAG card, so I guess it was worth it. T he men shoot each other an uncomfortable glance. HUSBAND #2 Uh, I think I could use a refill. HUSBAND #1 Me too, (to Diane) please, excuse us. They head towards the bar and Diane follows. The two women she turned away from shake their heads at the spectacle. DIANE But, but we were talking about juries and Isaac and, and that drag queen I broke my face on and.. The two men try to ignore her, but she keeps following them. She finally realizes they aren't stopping. She grabs the first man by the shoulder, pissed. DIANE Hey! COCKBREATH! (CONTINUED) 49. CONTINUED: (2) The party stops. Everyone is staring at Diane as the music continues to play. She looks around the room at the disapproving eyes, panic setting in. EXT. THE HOUSE OF THE PARTY - LATER. Diane is led away by Martin and Mini, as other partygoers watch the sad scene. They both struggle to keep Diane from stumbling. DIANE (slurring) ...And then I told him that I had been an extra on Hello Larry and Mike Farrell had tried to-- MINI MacLean Stevenson. DIANE What? MINI MacLean Stevenson played "Larry." DIANE Right, that's what I said...and then MacKenzie Phillips tried to slip me the tongue! INT. THE MASTER BEDROOM - LATER. Diane lies passed out on the bed as Mini and Martin watch her sleep. MARTIN Listen, great job, but you need to give me more warning. I was at dinner with Chapman, and it's the second time I've had to re- schedule. MINI I'm sorry, but it was a golden opportunity. You always said you can't pay enough for good publicity. INT. A HARDWARE STORE - DAY Mini and Martin peruse the aisles. (CONTINUED) 50. CONTINUED: MINI (V.O.) At this point, with all those witnesses, Martin thought we could get a shrink to have her sent away. T hey stop in front of a wall of tools: hand axes, hammers and saws. Mini selects a large hand axe. MINI (V.O.) My feeling was that until they were ready to weld the door to her padded cell shut... CUT TO: Mini picking out two black ski masks, two pairs of black goggles and two black sweatsuits. MINI (V.O.) ...there was more work to be done. INT. THE SHERMAN OAKS GALLERIA - DAY Diane walks through the mall aimlessly. She wears a wrinkled, mis-buttoned pink blouse. Her eyes are hollow, her cheeks sunken. A few SHOPPERS throw her a concerned glance as they pass. MINI (V.O.) Final phase: Complete psychotic breakdown. MINI, disguised in a hat and sunglasses, leans on the railing from the next level up, watching her mother. INT. THE FOOD COURT OF THE MALL - CONTINUOUS Mini slides into a table next to TWO SKATEPUNKS. MINI Hey, boys. The two guys exchange a glance. Cute girls like Mini clearly don't "hey, boys" them. MINI Wanna have a little fun? INT. THE DISPLAY WINDOW OF A STORE - CONTINUOUS Diane looks at some clothes. RING! Her cell phone goes off and she answers it. (CONTINUED) 51. CONTINUED: DIANE Hello? MALE VOICE (V.O.) (breathy, threatening) Diane? DIANE Yes? The breathing increases, getting deeper and more menacing. DIANE Hello?...What do you want? MALE VOICE (V.O.) I can see you? Can you see me? DIANE (alarmed) Who is this? MALE VOICE (V.O.) Do you feel safe? DIANE (looking around) Who is this? MALE VOICE (V.O.) You didn't answer the question. Mini and the two skatepunks giggle with glee at the terror they're inflicting. She looks around, scanning THE MALL. Nothing seems out of the ordinary. D IANE This isn't funny. I'm hanging up. MALE VOICE (V.O.) I wouldn't do that. DIANE If this is some kind of joke... MALE VOICE (V.O.) I assure you, I'm no joke. May I say that pink blouse is very fetching. (CONTINUED) 52. CONTINUED: (2) Panicked, she heads for an exit. A FEW SHOPPERS look at her with concern. MALE VOICE (V.O.) Diane, your car is the other way. (menacing) Now answer my question. Do you feel safe? A whimper escapes from her throat as she looks around. DIANE I'm hanging up. MALE VOICE (V.O.) (very calm) Hang up and you're dead. DIANE (falling apart) Why are you doing this? MALE VOICE (V.O.) Can you see me? She scans the crowd frantically, then starts walking towards a VICTORIA'S SECRET STORE for help. MALE VOICE (V.O.) Pick me out something sexy. DIANE Leave me alone! MALE VOICE (V.O.) (very calm) But I'm so close to you... She stops, frozen in fear. Just then, the second SKATEPUNK comes up behind her, brushing into her. She jerks away from him. DIANE (screeching) Get away!!! EVERY SHOPPER within ear shot turns around, including TWO SECURITY GUARDS. SKATEPUNK #2 Take it easy, lady, what the hell's your problem? (CONTINUED) 53. CONTINUED: (3) The skatepunk walks away. MINI and THE FIRST SKATEPUNK watch with amusement from an upper level as A SECURITY GUARD moves towards her. MALE VOICE (V.O.) Peek a boo...I'm coming for you...but that guard can't help you. Maybe you should make a run for that Gold Jag you drive home to Mira Loma Lane. DIANE (whimpering) How do you know where I live? MALE VOICE (O.S.) I know everything about you. DIANE No! DIFFERENT MALE VOICE (O.S.) Maam? Diane spins around to find TWO SECURITY GUARDS standing behind her. S ECURITY GUARD #1 I'm going to have to ask you to leave the mall. We'll walk you to your car. DIANE No! I can't leave, he knows where I live! SECURITY GUARD #1 Maam, you're going to have to leave. DIANE Did you hear me?! He knows where I live! SECURITY GUARD #1 Who knows? She hands him the phone. (CONTINUED) 54. CONTINUED: DIANE Him! The security guard puts the phone to his ear. The BEEPING sound of a hang up is heard. He nods to his partner, as he removes a walkie talkie. SECURITY GUARD #1 (into walkie talkie) Yeah, this is Franklin, we've got a code 7, get an EMS unit over here. The two guards grab her. She drops the phone and starts scratching at one guard's face. The other pepper sprays her, as she falls down, howling. DIANE What are you doing?! SECURITY GUARD #1 Sorry, Maam, this is for your own protection. RING! The phone is like a jolt of electricity through her body. Diane kicks and punches at the guards. DIANE It's him! Answer it! Answer it! He said he was gonna kill me! The guards finally tackle her, getting handcuffs on. DIANE He, he knows where I live! THE OTHER SHOPPERS watch for a moment and lose interest, writing her off as just another LA kook. MINI watches from the upper level, quite satisfied. INT. MARTIN AND DIANE'S BEDROOM - LATER. Diane lies in bed, half awake, watching TV. A scotch and soda rests in her hand. MINI (V.O.) After her performance at the mall, I'm sure she would have qualified as "committable". But that wasn't enough, I wanted her to beg the boys in the white coats to take her away. (CONTINUED) 55. CONTINUED: Mini pokes her head in the door of the room. M INI Mom, we're going to get some dinner. Do you want us to bring you back something? DIANE You're leaving? Both of you? MINI (O.S.) For the last three days she hasn't left the house. DIANE Why don't we just order in? MINI Mom, we can't stay in here forever. Do you want to come with us? Diane considers the question by looking at her face in the bed side mirror. It's still puffy and blotchy from the pepper spray. MINI Mom? She looks up at Mini. MINI (V.O.) Ah...vanity, the most predictable of sins. DIANE I...can't. You two go. MINI Okay. EXT. THE BACKYARD - LATER. It is dark and quiet, as the evening dew rises on the lawn. INT. MARTIN AND DIANE'S BEDROOM - LATER. Diane is almost asleep when the phone next to the bed RINGS, waking her up. She stares at it for a moment, trying to decide if she should answer it. On the forth ring, she answers. (CONTINUED) 56. CONTINUED: DIANE Hello? A DIAL TONE rings in her ear. She hangs up the phone. A second later it RINGS again. She waits two rings and then answers. Again a DIAL TONE. Now a bit freaked, Diane is fully awake and staring at the phone, waiting... PLINK! Something small hits the window across the room. Startled, she turns her head towards it. DIANE'S POV: Through the window, in the distance by the hedges a BLACK CLAD FIGURE is visible, wearing a ski mask and goggles. In the figure's right hand there is a gleaming, sharp kitchen knife. She can't believe her eyes. HER POV: The figure stands silently, bringing the knife up, indicating that he's going to cut her throat. Eyes wild with panic, Diane picks up the phone and dials 911. D The phone dials and she waits. IANE Please, please, oh god. She looks back out the window: THE HOODED FIGURE walks out of the bushes and heads towards the house. RECORDED VOICE (V.O.) You have reached 911, if this is an emergency, please remain on the line... DIANE Oh god, oh god! Diane realizes she doesn't have time to wait and runs out of the room, leaving the phone off the hook. INT. THE HALLWAY - CONTINUOUS Diane stumbles down the hallway, almost tripping on the steps down to the living room. She goes straight for the phone on the end table next to the couch. She picks it up. RECORDED VOICE (V.O.) Please continue to hold, your call will be answered... (CONTINUED) 57. CONTINUED: She hangs up the phone and looks back at the hallway, but as she does, she sees reflected in a wall mirror: ANOTHER BLACK CLAD FIGURE outside the living room window, but this one holds a HAND AXE. She turns around to look out the window. THE FIGURE raises the axe slowly. DIANE No...no...help! Help! She heads towards the front door to scream for help, but the axe wielding figure moves swiftly towards the door, making it unsafe for her to even try. Her face dissolves into utter despair, as she stumbles out of the room. INT. THE FAMILY DEN - CONTINUOUS Diane runs in to check that the sliding doors are locked. She clicks the lock shut, just as THE FIRST FIGURE with the knife appears in the door frame. DIANE Oh, God! Help! Someone! Diane is transfixed by her own eyes reflected in the lenses of the goggles. DIANE (softly ) No, please, no. She slowly backs away from the door, as the figure tries to open it. The door frame rattles on its track, as the figure D violently tugs at the handle. IANE Help! Someone please, help me! INT. THE LIVING ROOM - CONTINUOUS She runs back in, checking THE WINDOW. It's clear. She decides to check the front door. She runs over and looks out the peep hole. PEEP HOLE POV: It appears clear. She starts to undo the lock and then slowly peeks through the slit in the door, leaving the chain on. THROUGH THE SLIT: everything looks good. (CONTINUED) 58. CONTINUED: She opens the door and looks towards the front gate, which is open. She looks as if she's thinking of making a dash for the gates. Just then, from behind the gate, steps the AXE WIELDING FIGURE. It shakes a finger "no" at her, as it walks towards the house. Terrified, she slams the door, locking it behind her. She instinctively pushes her back against the door, hyper- ventilating. She looks up at the ceiling, her eyes filling with tears. DIANE Please God, please God...please! She looks around the room, searching for options. Suddenly, her eyes bulge as she sees THE KNIFE WIELDING FIGURE standing not ten feet away in the door to the kitchen. Diane screams and runs back down the hallway, towards the bedroom. The knife wielding figure follows behind her. She looks back, as it runs after her, grabbing her by the shoulder. She shrieks and struggles out of it's grasp before running in the bathroom and slamming the door. INT. THE BATHROOM - CONTINUOUS Diane throws her weight against the door, struggling to keep the intruder out. She looks for anything to help her, and then sees in the window to the bathroom...THE AXE WIELDING FIGURE standing silently, staring back at her. D iane collapses to the floor in a pool of tears. She looks up again at THE WINDOW: It's empty. The pushing on the door suddenly stops, but Diane is so disturbed, she doesn't notice through her sobs. CLOSE ON: A PAIR OF BLACK GLOVED HANDS puts the bedroom phone back on its cradle. MINI (V.O.) Our work finished... INT. DOCTOR HOGGLY WOGGLY'S TYLER TEXAS BARBECUE - LATER. Mini and Martin laugh and giggle at the enormous slabs of beef put in front of them. MINI (V.O.) We rewarded ourselves on a job well done... 59. INT. THE HALLWAY OF THE TANNEN'S HOUSE - LATER. Mini and Martin walk down the hallway towards the master bedroom. MINI (V.O.) And we returned home expecting to find her blabbering like a three year old. MINI Mom, we're home! MARTIN Diane, honey, we brought you a pulled pork plate! They reach the door to the bathroom. It's still closed. Martin and Mini exchange a look, not believing that Diane could still be in there. MARTIN Honey? You okay?...Honey? MINI Mom? Martin tries the door. Diane still appears to be leaning against it. He pushes hard on the door, opening it a few inches. Mini reaches in and shoves Diane over so they can can open the door. She appears drugged. They lay her flat and try to wake her up. MARTIN Diane, it's us, wake up. Mini slaps her hard across the face. MINI (feigning concern) Wake up, Mommy. MARTIN Mini. MINI Killjoy. Martin lightly taps Diane's cheeks. MARTIN Diane, come on, come on. (CONTINUED) 60. CONTINUED: Mini looks up at the counter. AN EMPTY BOTTLE OF PRESCRIPTION SLEEPING PILLS lies open next to the sink. MINI Martin... H e looks up and immediately sees the bottle. MINI I picked that prescription up three days ago. It was probably more than half full. The two of them look at each other, studying each other's reaction. Seconds go by as both wait for the other to make the first move. MINI (eerily calm) I suppose we should call an ambulance? The suggestion hangs in the air, as Martin feels Diane's wrist again. MARTIN Her pulse is almost gone. MINI Do you really think they can save her? MARTIN I...I don't know. MINI She'll only try it again. You know she will. MARTIN She will if we keep this torture up. Martin looks down at Diane. MARTIN (suddenly with resolve) This is wrong, call an ambulance. (CONTINUED) 61. CONTINUED: (2) MINI Hold on, who are we to say her choice was wrong? She put those pills in her mouth. MARTIN Mini-- MINI Don't "Mini" me, you've been bankrolling my little project from day one. MARTIN We both agreed murder was out. MINI I'd hardly call it murder, if anything, we're just helping to fulfill her last wish. MARTIN She wouldn't have taken the pills if we hadn't- (urgently) Mini, for gods sake, she still has a pulse. MINI So do people in comas. It's just a matter of time- MARTIN Mini, we- MINI Look, you can drop the indignant outrage, because if you really cared, you'd have already grabbed the phone and dialed 911 by now. She's got him and he knows it. MINI (softening) Can't we just admit how lucky we are? It's the perfect alibi, she put the drugs in her system. MARTIN What? Just leave her here? (CONTINUED) 62. CONTINUED: (3) MINI Exactly. MARTIN I don't know. MINI Can you think of one person she knows who would say she's sane at this point? This is just the natural, sad and inevitable conclusion to a tragic life. M artin ponders the choice. MINI We're this close from being free...let's just let nature take its course. INT. THE LIVING ROOM - LATER. Mini and Martin sit watching a game show called Absolutely Positive. MINI And so we passed the time watching my favorite show. CLOSE ON THE TV: A YOUNG MALE GAME SHOW HOST comes out on stage to the applause of the audience. HOST Welcome to "Absolutely Positive!" The show where we give couples about to get married a last chance to make sure they're... He puts a hand to his ear, encouraging the studio audience. STUDIO AUDIENCE Absolutely Positive! HOST That's right! We send them out on one last date with someone other than their fiance, so they can be sure they're really ready to make that lifelong commitment. (CONTINUED) 63. CONTINUED: MINI (V.O.) Our neighbor, Mike Rudell, the scumbag at my birthday, produces it and it's so twisted, I'm surprised I didn't think of it. On the screen, the host introduces THE COUPLE, who nervously walk out to the studio applause. MINI (V.O.) Take happy couples about to marry and try to break them up. The catch is the couples are always sent on dates with people just a little better looking than their fiancÈs. Then the TWO DATES are brought out to sit on either side of the couple. Both dates are, indeed, slightly better looking than the engaged couple. INT. THE BATHROOM - LATER. Mini checks Diane's pulse. MINI (V.O.) And we waited some more. INT. THE LIVING ROOM - LATER. Martin sits on the couch. He looks up as Mini comes in from the bathroom, shaking her head "no", indicating she's not I dead yet. NT. THE BATHROOM - LATER. Mini checks Diane's pulse again. MINI (V.O.) Typical mom, she managed to fuck up her last act of free will... INT. THE LIVING ROOM - CONTINUOUS The 11 O'clock news is starting, as Mini impatiently looks towards the hallway leading to the bathroom. MINI (V.O.) Finally, it was time to do the only humane thing. Mini stands up. (CONTINUED) 64. CONTINUED: MINI Come on, let's go. MARTIN What? MINI It's time to speed this up. MARTIN Speed this up? MINI We can't wait anymore, our alibi is only believable for maybe another hour. We can say that after dinner we went to a movie, but if she hasn't croaked by midnight, you can forget about this. Martin looks at her for a long moment, clearly realizing the implications of "speed this up". MARTIN No, I'm sorry, this is going somewhere I'm not prepared to go. MINI Oh, but you were prepared to sit here until the pills did her in? I hate to break it to you, but wherever you "weren't prepared to go"...the hypocrite express just rolled into the station. Martin stares straight ahead, coming to grips with the truth of his actions. MARTIN What are you suggesting? MINI Well, I thought we'd disembowel her and leave her for the raccoons. Martin recoils. MINI Kidding...God, you've lost your sense of humor. Don't worry, it'll be painless. (CONTINUED) 65. CONTINUED: (2) Martin takes a deep breath, considering his options. INT. DIANE'S WALK IN CLOSET- MOMENTS LATER. Mini goes through her mother's clothes, as Diane lies crumpled in a heap on the floor. Martin looks on impatiently. MINI (V.O.) To be honest, I think we both knew in our hearts it would come to this. And as my first assisted suicide, I was going to make it flawless. M ARTIN Come on, we don't have time. MINI Look, if we're going to screw up the details we might as well call San Quentin and tell them to fire up the dutch oven. (off his confusion) The gas chamber? (exasperated) Martin, please, I can't explain everything. Mini holds a chic black Chanel suit up to the full length mirror. CUT TO: Mini applying make-up and lipstick to Diane's face in front of her vanity mirror. Martin holds Diane's head still. MARTIN I don't think this is a good idea. MINI Have you lost your mind, "Mr. Public Relations"? What's the one thing all her friends are going to be talking about when they find out? (waits for his answer) "How did she look"? Do you think anyone will think twice if the answer is "fabulous"? 66. INT. THE GARAGE - CONTINUOUS The door to the dark garage opens and Mini turns on a light. Martin, carrying Diane (now dressed in the suit) over his shoulder, struggles through the doorway. INT. DIANE'S JAGUAR- MOMENTS LATER. Mini props Diane up in the driver's seat and begins touching up the make-up. She ties a silk scarf around Diane's neck, ever so elegantly. Satisfied, she turns the ignition key and lowers all the power windows in the car. She looks up at Martin. MINI Well, if you've got anything to say to her, now would be the time. MARTIN Could you just pretend to have a little remorse? INT. THE LIVING ROOM - CONTINUOUS Mini and Martin walk through the door to the garage and close it behind them. The hum of the car engine can he heard through the wall. INT. THE GARAGE - CONTINUOUS Diane sits in the driver's seat, as THE EXHAUST PIPE spews E fumes into the sealed garage. XT. THE HOUSE - LATER. The garage door is open and Diane's body is visible on the garage floor as Martin and Mini kneel beside her. The wail of an ambulance siren is heard as it pulls up in front, cutting the engine. Mini comes running outside in tears. MINI Help us, please! My mom, I think she's dead! INT. THE GARAGE- MOMENTS LATER. TWO PARAMEDICS try to revive Diane, having laid her out on the floor of the garage. Mini sobs hysterically, as Martin hugs her. MINI Mommy, wake up! (CONTINUED) 67. CONTINUED: MARTIN It's okay, sweetheart, everything's going to be okay. FIRST PARAMEDIC Mr. Tannen, I think you should take your daughter in the house. MINI Oh, please, don't let her die! EXT. THE HOUSE - LATER. Two POLICE CRUISERS are parked outside as Diane's body, now wrapped in a body bag, is being wheeled into the ambulance. A FEW "LOOKY LOOS" are standing at the gates to the house, interested to see what's happened. INT. THE LIVING ROOM - LATER. One of the paramedics fills out a report on a clipboard in the background, as Martin continues to comfort Mini. A MAN, 30, with a slightly weary look, walks in the front door wearing an off-the-rack grey suit and barber shop haircut. GARSON Mr. Tannen? Martin looks up. MARTIN Yes? MAN I'm Detective Bill Garson, LAPD. MARTIN Yes? GARSON I'm sorry to be here right now, but whenever there's an apparent suicide we are required to do an investigation to rule out homicide. MARTIN (clearly surprised) Oh...uh...right. GARSON It's really just a formality. (CONTINUED) 68. CONTINUED: MINI (exploding) My mother just killed herself! They haven't even taken her away yet! What's wrong with you? M ARTIN Mini, please! He's just doing his job. MINI Tell him to leave! This is outrageous! MARTIN (to Garson) Could we do this another time? GARSON Of course we-- MARTIN Thank you. Mini looks at Martin, relieved. GARSON But I do need to ask just a few simple questions before I go. MINI Didn't you hear him?! He said-- MARTIN (sharply) Mini, it's okay...just go lie down for a moment. INT. THE GARAGE- MOMENTS LATER. Martin stands in the garage with Garson, going over what happened. MARTIN So after dinner and the movie, we came home at around 11:30 and found her in the garage. I turned off the car and opened the garage door to let out the exhaust. (CONTINUED) 69. CONTINUED: GARSON What about trying to revive your wife? Martin seems a bit taken aback by the question. MARTIN Of course, we did that too, but I couldn't feel a pulse. Mini took a course at school in CPR and tried that, but... (taking a breath) it didn't work. GARSON So your wife did this sometime between 8:00 and 11:33 when you placed the 911 call? MARTIN Yes. GARSON May I ask why you left your wife alone when she had been acting in such an unstable state? MARTIN We never thought she'd do anything like...this. After the episode in the mall, Diane hadn't left the house for three days and my daughter and I just needed a break. It's been a very stressful time. GARSON Of course. So this was your wife's car? MARTIN Yes. GARSON Was it in the garage when you left for dinner or did she drive it in? MARTIN What? GARSON Was it in the garage when you left? (CONTINUED) 70. CONTINUED: (2) MARTIN (a little flustered) Is, is that important? G ARSON Just trying to reconstruct what happened. MARTIN Oh, well...after she was brought home from the mall, the car was towed here and we put it in the garage. GARSON And no one drove it during those three days? MARTIN No, Mini and I have our own cars. GARSON We are going to have to impound it for a few days to take it to the crime lab. MARTIN Crime lab? Oh, okay. GARSON Again, purely routine. MARTIN Sure. GARSON Have you found a note yet? MARTIN (confused) I'm sorry? Garson's eyes flicker for a split second. GARSON A suicide note? The deceased usually leaves one. MARTIN Oh...right, no...not yet. But we haven't really looked. (CONTINUED) 71. CONTINUED: (3) GARSON Mind if I take a look around? Martin hesitates for just a split second. MARTIN No...of course not. INT. MINI'S BEDROOM- MOMENTS LATER. Mini and Martin whisper together. MINI Who cares if we didn't leave a note? Just relax. MARTIN But they said it's-- MINI So what? He'll do his little dance and chalk it up to another failed actress who realized after forty she might as well be dead. MARTIN (remembering something) Oh, shit! MINI What? MARTIN The sweatsuits and goggles. MINI I already snuck out the back and threw them in Mike Rudell's garbage cans. MARTIN (exhaling) Good. MINI Angelpie, just relax, we did it, we're free. EXT. THE LAS HADAS RESORT- MANZANILLO MEXICO - DAY Martin and Mini arrive in a shuttle bus in front of the lush resort. (CONTINUED) 72. CONTINUED: MINI (V.O.) After the funeral, I felt it would be good idea if we took a vacation and went somewhere where we could act like a real couple for the first time. INT. THEIR HOTEL ROOM - LATER. M artin tips the BELL HOP on the way out and the moment the door closes, Mini jumps into his arms. MINI (V.O.) Martin agreed and let me pick the place. I chose Las Hadas in Mexico, because that's where Dudley Moore and Bo Derek did it in Ten. EXT. THE BEACH - DAY Martin spreads sun tan lotion on Mini's back. MINI (V.O.) I figured sugar daddy/younger woman would be old news down there. A few other OLDER MAN/YOUNGER WOMAN couples lounge near them, mixed among more traditional pairings. INT. AN OUTDOOR TIKI BAR/DANCE FLOOR - NIGHT MARIACHIS play a sexy Mexican ballad as Mini, wearing a thin sundress, dances very close with Martin. MINI (V.O.) I could feel that Martin had let the whole thing with the cops go. It had been two weeks since Mom's death and it already felt like it happened a year ago. EXT. THE BEACH - NIGHT Mini lies on top of Martin on a lounge chair. They both stare up at the stars. The gentle breaking of waves further adds to the tranquility of the evening. MINI You know, I've been thinking that I might enjoy working in your office this summer. (CONTINUED) 73. CONTINUED: MARTIN Really? Sure, if you want. MINI I want. She moves to kiss him. MALE VOICE (O.S.) Martin, Mini? Is that you? Martin and Mini look up to see MIKE RUDELL, their producer neighbor, peering at them in the dark. He has an arm wrapped around the waist of A YOUNG BLONDE who is clearly Playmate material. MINI (V.O.) I swear I thought Martin was going to wet himself. Mini quickly sits up, trying to make it look like innocent father/daughter closeness. MARTIN (extremely tense) Oh...hi, Mike, what, what are you doing here? R udell comes over, clearly aware of how un-father/daughter they were lying. RUDELL Last week Mini mentioned you two were coming here for a little R&R, and I suddenly realized I hadn't taken a vacation in god knows when. Jennifer, this is my neighbor Martin Tannen and his daughter, Mini. Martin barely looks at Jennifer as he shakes her hand. She looks equally uncomfortable. MINI I'm sorry, but, Jennifer, have we met? You look so familiar. Jennifer looks quite uneasy, as she forces a smile. JENNIFER I don't think so. (CONTINUED) 74. CONTINUED: (2) MINI (V.O.) And the icing is that Jennifer works for the same escort service that I did. Now this is rich. MIKE I wanted you both to know how sorry I am for your loss. MINI (V.O.) Our loss? He just lost six or seven freebies a year. MIKE If there's anything I can do... (to Mini) for either of you... MINI (V.O.) Yikes, now that Mom's out of the way, I guess I'm fair game. MIKE ...don't hesitate to ask. Remember I'm just right across the fence. The meaning is not lost on Martin. MARTIN (measured) Thanks, Mike, we appreciate it. INT. THEIR HOTEL ROOM - LATER. Martin paces back and forth as Mini sits on the bed. His neck muscles bulge with frustration. MARTIN Why did you tell him?! MINI I was just being friendly, I had no idea he'd decide to come here. MARTIN He knows. He found the clothes and goggles and he fucking knows! MINI I doubt he even knows where his trash cans are. (MORE) (CONTINUED) 75. CONTINUED: MINI(CONT'D) You're overreacting. It's just coincidence. MARTIN Yeah, well coincidence or not, he saw us together. MINI It was dark, I sat up before he saw anything. M ARTIN No, he knows. It was like he was toying with us. MINI Just relax, what is he going to do? Go home and tell everyone we're a couple? We'll just laugh it off and tell everyone he vacations with hookers. Martin stops and looks at her, surprised. MINI Oh, come on, could that little moment between you and Jennifer have been any more awkward? His face turns a little red. MINI I'm not jealous or anything, I just think it's funny. Talk about six degrees of penetration. Martin rubs his temples, clearly overwhelmed. MARTIN You realize he could blackmail us? If the police found out about us, that suicide wouldn't look so routine. MINI Martin, please, calm down. Trust me, nothing is going to happen. Her words don't appear to have calmed him. 76. EXT. THE POOL - DAY Martin sits on a lounger, reading a book and looking very unhappy. From the pool, Mini emerges, soaking wet in a bikini. MINI (V.O.) The next few days were a laugh riot. Martin looks up from the book, looking around suspiciously. Suddenly, Mini appears behind him and gives him a kiss on the mouth. He instinctively pulls back. MINI (V.O.) Suddenly, Martin was acting like he really was my father. Just then, Rudell and his bimbo enter the pool area, waving at them. Mini's head is not close enough for the scene to look incriminating, but Martin is too spooked to know the difference. INT. THE TANNEN'S LIVING ROOM - NIGHT Mini and Martin sit watching TV. Mini flips channels, stopping at Absolutely, Positive! Martin snatches the remote and grumpily changes M channels. Mini looks very annoyed. MINI (V.O.) We returned home and things didn't get much better. MONTAGE: Mini trying on various sexy outfits in front of her mirror: -Catholic School girl. MINI (V.O.) What little sex we were having was getting dull. -Cheerleader. MINI (V.O.) Quite frankly, with my little project successfully completed... -Naughty Nurse. (CONTINUED) 77. CONTINUED: MINI (V.O.) I was bored. I became concerned that in my world of firsts I had achieved my greatest first... -French Maid. MINI (V.O.) ...at too young an age. -Marilyn Monroe in the sequined dress she sang to JFK in. MINI (singing breathily) "Happy birthday, Mr. President" MINI (V.O.) As for school, well, I was just in no state to return to my studies after the trauma of my mother's death. THE DOOR BELL RINGS. Mini looks towards the hallway. EXT. THE FRONT DOOR TO THE HOUSE- MOMENTS LATER. Mini answers it, having removed her Marilyn wig, but still in the sequined dress. Detective Garson stands at the door, looking her up and down. Mini hides her surprise well. MINI (V.O.) Uh oh. MINI Yes? GARSON Minerva Tannen, Detective Garson, I don't know if you remember me? MINI Drogues, my last name is Drogues. And "yes", I remember you, you were the big hearted lug who wanted your questions answered while my mother was still warm. GARSON (ignoring her dig) So, Mr. Tannen is your stepfather? (CONTINUED) 78. CONTINUED: MINI Nice work, McGruff. GARSON Again, I am sorry about that night, but it is policy that we get the preliminary facts as soon as possible. MINI What do you want? GARSON I need to ask you a few more questions about your mother's death. M INI Sure, come on in. INT. THEIR LIVING ROOM - CONTINUOUS Mini leads him in. MINI (V.O.) I know, it's stupid as hell to talk to a cop without a lawyer, but I didn't want to look jumpy and my first real interrogation? I could feel something tingle deep inside. Mini and Garson take a seat. Mini lights a cigarette. Garson looks over her outfit again. GARSON It's a little early for the prom, isn't it? MINI A girl can dream, can't she? GARSON Perfectly legal. So, anyway, we got the preliminary coroner's report. Although the pills knocked her out, she died of the carbon monoxide poisoning from the exhaust. MINI Is it that important? (CONTINUED) 79. CONTINUED: GARSON Well, it's just a little unusual for a suicide victim to use two methods. Her choices seemed, I don't know how to put it... improvisational. MINI Well, maybe she wanted to drift off before the fumes got her? She clearly put some thought into that outfit. GARSON Clearly...But dying from carbon monoxide poisoning is actually pretty painless, you just basically pass out. MINI I doubt she would have had an intimate knowledge of how car fumes feel when you choke on them. GARSON I suppose you're right...Also we checked the phone records and there was a 911 call placed at 8:12. It was a hang up and when the 911 dispatcher called back a few minutes later, there was no answer. MINI Really? GARSON Any idea why she'd call 911? MINI (V.O.) Okie fine, this may be the most exciting thing I've done in a while, but even I know when the rush isn't worth the risk. MINI Look, I think you should come back when my father's around. He'll be upset I let a stranger in the house. G ARSON I think you're safe with me. (CONTINUED) 80. CONTINUED: (2) MINI Even so, he won't be happy. GARSON Not a problem, will he be home tonight? INT. MARTIN'S OFFICE - DAY Martin is on the phone. MARTIN And you let him in?! EXT. THE POOL - CONTINUOUS Mini lounges in a bikini, talking on the cordless phone, while sucking on a red popsicle. MINI I played it cool, it would've looked worse to be defensive. Mini looks across the yard to see... MIKE RUDELL looking down at her from the upstairs balcony of his home. He's dressed in a plush terry cloth robe and is smoking a pipe, which he raises in greeting. His eyes are locked on hers. MARTIN (V.O.) Well, when's he coming over? MINI Tonight? MARTIN (V.O.) Tonight!? I've got a dinner with Chapman. I've already cancelled-- (frustrated) Damn it! Why didn't you call me?! RUDELL allows the folds of his robe to open in the breeze, revealing his chest and pair of silk boxers. He's in good shape for a man his age. MINI (annoyed) Hey, I didn't know you had plans! Mini responds to Rudell's challenge, lowering a strap on her bikini top. (CONTINUED) 81. CONTINUED: MARTIN (V.O.) Listen, I'll be home early so we can get the story straight. MINI Okay. Mini hangs up the phone, removing the popsicle slowly from her mouth. INT. THE LIVING ROOM - EVENING Martin and Mini sit across from Garson. Martin appears cool and relaxed, a scotch in his hand. GARSON I really appreciate you taking the time to help us out. There's just a few loose ends we want to tie up. MARTIN Absolutely. What would you like to know? Garson opens his briefcase and removes a report. He starts G leafing through papers. ARSON There appears to be some question as to the time of death. You said you went to dinner and a movie- MARTIN Detective, not to be overly sensitive, but do I need my lawyer here? Because these sound like the questions one asks when there's a homicide investigation. GARSON Mr. Tannen, I'd really like to just finish this up, I've got real homicides that need attention. How about if I just ask you some questions and the one's you don't want to answer, we'll just skip? MINI That sounds good, doesn't it, Dad? I mean, let's just get this over with. (CONTINUED) 82. CONTINUED: Martin looks at Mini, trying hard not to allow his anger to escape for a second. MARTIN Fair enough. GARSON Terrific...now, the preliminary blood report indicated she had ritalin in her system. Mini's eyes shift between Garson and his note pad. MARTIN I wasn't aware my wife was taking ritalin. GARSON Neither was her physician, he had never prescribed it. MARTIN Well, as you may have discovered by now, my wife had substance abuse problems, I'm sure there were many drugs she took without a prescription. GARSON I know, but it's an odd drug to be taking. It's mostly given to adults and children with Attention Deficit Disorder to calm them. But in people who don't need it, it has the reverse effect, making them incredibly hyper and agitated. MARTIN Again, Detective, I really can't say why she was taking these drugs. GARSON Fair enough...Mr. Tannen, were you and your wife close? MARTIN No...we led, for the most part, separate lives. We had decided to stay together for Mini. (CONTINUED) 83. CONTINUED: (2) MINI (V.O.) O oh...sacrifice personal happiness for the benefit of the child. Excellent. GARSON I see... MARTIN Listen, Detective Garson, I must admit I don't see the relevance of these questions. Diane was an extremely disturbed person. Haven't you interviewed enough people who saw her at her worst? GARSON Yes, but what I'm still unclear about is her time of death. MARTIN Well, that makes two of us... Again, detective, we were out for the whole evening. GARSON (looking at his notes) After dinner you saw a movie that night? MARTIN That's right. MINI (V.O.) Start time 9 o'clock. GARSON What did you see? MARTIN That new Jackie Chan movie where the terrorists try to blow up Mount Rushmore. MINI (V.O.) Running time 115 minutes. GARSON Ahh...My buddy told me the end is crazy. (CONTINUED) 84. CONTINUED: (3) MINI (V.O.) For god sakes, does he think we wouldn't actually see it? MARTIN Yeah, he slides down Washington's nose with the bomb strapped to him. MINI Dad...Don't give it away, he hasn't seen it yet. Martin turns to Mini, giving her a fatherly smile. MARTIN Another demerit... Mini rolls her eyes at Garson. GARSON That's okay...Where did you see it? MARTIN The Galleria. MINI (V.O.) Drive time 17 minutes. GARSON And you got home at? MINI (V.O.) Precisely... MARTIN 11:30. MINI (V.O.) With 12 minutes of previews. You didn't think we'd forget the previews? MARTIN Now, if there aren't any more questions, it is a school night. GARSON No, that about wraps it up for now. (CONTINUED) 85. CONTINUED: (4) MARTIN For now? Detective we are trying very hard to put our lives back together, but every time you come by, it just dredges everything back up. We've told you everything we know. G ARSON I wish I could be more definitive. MARTIN Well, I'm telling you the next time you have a question, it had better be because you're charging us- GARSON Us? Martin momentarily freezes. MARTIN I'm just asking you to please let us deal with our grief and get on with our lives. GARSON (standing) Thanks again for your time. EXT. THE POOL - LATER. Mini sits in a chair as Martin paces. MARTIN What the hell was I thinking, letting you talk me into this? MINI It's probably just routine stuff. MARTIN That was not routine, my dear. MINI Nice use of the word "us", by the way. MARTIN Sorry, it just slipped out. (CONTINUED) 86. CONTINUED: MINI If I had a nickel for every time I heard that- MARTIN (sharply) Okay. MINI Look, just chill, I'm sure this will blow over in a few days. MARTIN Chill?! Believe me, we'll be chilling in a pine box if he figures everything out. You do understand they could go for the death penalty? MINI He's probably just trying to spook us. MARTIN Hello?! They don't try and spook you unless they think you did it! MINI It was a great plan, no one can prove we stuck those sleeping pills in her mouth, because we didn't. MARTIN (seething) Well, if it was such a great plan, why am I cancelling business dinners to accommodate a detective who appears convinced it wasn't a suicide? Mini glares at him and then stands up, heading inside. MINI I'll see you later. MARTIN Where are you going? MINI Out. 87. INT. A DANCE CLUB IN EAGLE ROCK - NIGHT The club is packed with YOUNG LATINO CLUBHOPPERS gyrating to the pulsating beat. Mini, in a tight crimson dress, has attracted quite a crowd, as she dances very provocatively with a MUSCULAR YOUNG LATINO. M MINI (V.O.) Would he follow? His face and shoulders glisten with sweat, as she lifts one leg around his waist and then the other. As she straddles him, their hips rocking together, she puts her arms around his neck and leans all the way back, her hair hanging down in ecstasy. As she pulls herself back up, her eyes scan the room. MARTIN stands in the back, watching her, his eyes sullen. MINI (V.O.) Was there any question? Mini's eyes move quickly enough past him that it's ambiguous to him whether she spotted him or not. Martin watches as Mini leans in and in SLOW MOTION gives her partner a deep, long kiss. MARTIN looks ill. EXT. THE TANNEN'S HOUSE - DAWN Mini's car pulls into the driveway. She gets out, looking rumpled. INT. THE KITCHEN- MOMENTS LATER. Mini walks in to find Martin, sitting at the table in a bathrobe. He's reading the paper, with a cup of coffee. Mini opens the fridge and removes a carton of orange juice, taking a big slug. MARTIN A phone call would have been appreciated at some point. I was worried. MINI (V.O.) Worried that refugee from a J.Lo video rode me `til the tires fell off? (CONTINUED) 88. CONTINUED: MINI Uh...Martin, I'm not sure you're aware, but at this point you can't be my dad and my lover. Where I go and how late I stay out is my business. MARTIN I wasn't saying that as a dad. (very sincere) Before your mother and I...grew apart, I would worry if she was out late. MINI Well, that's sweet, but I'm not her and I can assure you I won't end up passed out in some greaseball's fuck pad with my panties around my ankles... (cold, smooth) u nless I choose to. MARTIN What the hell's gotten into you? I just expressed concern for you and you turn around and threaten me? Mini, in a relationship, it's okay to worry about someone else. MINI (V.O.) I kind of have to admire this. He really is one of the world's premiere bullshit artists. MARTIN Haven't you ever been in a relationship? The questions hangs in the air. Mini looks down, almost ashamed. MARTIN My god, you haven't. She tries to hold back the tears as she looks up. MINI Congratulations... (sniffling) you're my first. (CONTINUED) 89. CONTINUED: (2) He comes over and gives her a very sweet hug. MARTIN Oh, angel. MINI (V.O.) And I'd like to thank the academy and god and, oh yeah, "Free Tibet". INT. AN ELEVATOR - MORNING Martin rides up in the elevator with other OFFICE WORKERS. His eyes look tired from staying up all night. MINI (V.O.) Fake tears aside...he actually was my first relationship. Which, in itself, was significant, because I had always felt that by living my life by the rule of firsts, I would never be able to find someone who could accept me on those terms. INT. MARTIN'S OFFICE - MORNING He strides off the elevator sending "hellos" and nods to his employees, as he passes the large corporate logo: "BOYD, MATHER, TANNEN & ASSOCIATES". MINI (V.O.) And I was willing to give him the chance to be that person... He reaches his desk, where his YOUNG SECRETARY, LOIS, is waiting with an envelope. MINI (V.O.) ...if he could just hold it together. MARTIN Morning, Lois. LOIS Mr. Tannen, this just arrived for you. She hands him a manila envelope marked "MARTIN TANNEN- VIA MESSENGER". He takes it from her and walks into his office, sitting down. He opens the package to find an 8x10 glossy photo of: (CONTINUED) 90. CONTINUED: MINI SITTING WITH HIM AT THE POOL IN MEXICO. The caption reads: "THANK HEAVEN FOR LITTLE GIRLS". MINI (V.O.) That's when things started to get interesting. Martin looks up, the empty look in his eyes revealing a terrified mind already calculating the potential outcomes. He examines THE ENVELOPE. There is a SPEEDWAY COURIER STICKER, but no return address. INT. MARTIN'S CAR - LATER. Martin angrily honks his horn in slow traffic as he talks on his cell. MARTIN Lois, I need you to re-schedule the Chapman meeting... (listening) I know...Tell him...tell him it's an unavoidable emergency. INT. SPEEDWAY COURIER - DAY Martin stands at the front desk, talking to A CLERK. MARTIN What do you mean you don't keep records on who your senders are? CLERK When it's paid cash, we only keep records on packages, not envelopes. EXT. THE SPEEDWAY BRANCH - CONTINUOUS Martin walks outside, frustrated. His cell goes off and he answers it. MARTIN Yeah? LOIS (O.S.) Mr. Tannen, I just spoke to Mr. Chapman...he told me to tell you that he's going to be seeking a new firm to handle his company's needs. Martin's jaw tightens. (CONTINUED) 91. CONTINUED: MARTIN Thank you, Lois. Martin hangs up the phone, as he looks up, he sees across the street a large sign on a modern office building: RUDELL WORLDWIDE ENTERTAINMENT. Martin closes his eyes, trying to remain in control. INT. A CONFERENCE ROOM AT MARTIN'S FIRM - LATER. Martin walks into the office to find his partners, STEVE BOYD and CHARLES MATHER waiting for him. Martin looks surprised and concerned. MARTIN Steve? Charlie? What, what are you doing in town? Why didn't you tell me you were coming-- M ATHER We just heard about Chapman...not that it matters. BOYD We can't afford to lose any more clients. The color drains from Martin's face. MARTIN Jesus, guys, my wife just committed suicide... MATHER No one's saying this isn't a difficult time for you, but whatever's been distracting you started long before that. BOYD There's just no way to sugarcoat this...you're a liability we can't afford anymore... Martin sits very still, his world crumbling around him. MARTIN Fifteen years...we've been-- (CONTINUED) 92. CONTINUED: MATHER (curtly) We'll be asking all our clients who they would prefer to stay with, and of course, you'll have an equal shot to make your case with them. Martin continues to stare off into space, reeling. INT. MARTIN'S CAR - LATER. Martin sits in the traffic on Beverly Glen. The veins in his neck are starting to bulge as he stares straight ahead. Suddenly, he starts pounding on the steering wheel. MARTIN Fucking shit! Fucking shit! Fucking shit! Just then, he looks over to the next car. A three year old GIRL in the back seat holds up her "PO" TELETUBBY DOLL to show him. CLOSE ON: AN UPSTAIRS WINDOW OF MIKE RUDELL'S HOUSE- NIGHT. Through a BINOCULAR'S VIEWFINDER: Rudell is seen through the window talking on the phone, unaware he's being watched. MARTIN (O.S.) Look at that smug prick...He's fucking with me and I will not be fucked with. INT. THE KITCHEN OF THE TANNEN'S HOUSE - CONTINUOUS Martin and Mini stand in the dark kitchen, as Martin peers out the window through binoculars at RUDELL across the yard. MINI What are you gonna do? Martin goes to a drawer and removes the LARGE KNIFE they bought at Williams Sonoma. M ARTIN I'm gonna go over there and tell him to back off or he's gonna get hurt. (CONTINUED) 93. CONTINUED: MINI Are you crazy? We're not even positive it's him! MARTIN My god, the picture was dropped off at a messenger service right across the street from his office! He was the only person at the resort who knew who we were! MINI He could go to the cops and tell them you threatened him, then they'd really start investigating us. It's just one photo and you can't even really tell if it's me. MARTIN That son of bitch just cost me the firm I worked fifteen years to build. MINI Well, if you start waving that thing around, he's gonna cost you a lot more than that. INT. THEIR BEDROOM - LATER. Mini lies awake, looking annoyed as Martin keeps turning and shifting in bed. MINI (V.O.) Martin didn't sleep at all that night and made damn well sure I didn't either. EXT. THE FRONT DOOR OF MIKE RUDELL'S HOUSE - MORNING Mini walks up the long driveway. MINI (V.O.) With Mommy Dearest out of the way, I decided to take the matter of Rudell into my own hands. I knew Martin wouldn't approve, but at this point...action had to be taken. She arrives at the front door and rings the bell. (CONTINUED) 94. CONTINUED: MINI (V.O.) I would catch him off guard, disorient him and then kill him... The door opens and Rudell stands before her in the same plush bathrobe. MINI (V.O.) ...with kindness. MINI Hi, Mr. Rudell, I'm sorry to bother you. RUDELL Not at all, as I said down in Mexico... (slightly lascivious) anything for a neighbor. MINI May I come in? INT. RUDELL'S IMPRESSIVE LIVING ROOM - CONTINUOUS Eighteen foot ceilings frame the room, garishly decorated with very modern, modular furniture. Rudell leads Mini in. M INI Wow, I haven't been here since you redecorated. RUDELL It was just finished. I'm sorry your mother never got to see it completed. MINI I know she'd approve. RUDELL If you don't mind me asking, ...how are you doing? MINI It's been hard, but I guess I've just been telling myself that she's probably much happier where she is now. RUDELL You're absolutely- (CONTINUED) 95. CONTINUED: MINI Positive!? Mini giggles, almost embarrassed. RUDELL (chuckling) Well, that too, but "correct" was the word I was thinking of. Do you like the show? MINI Oh, god, it's my favorite. I love how you never know if the couples will decide to stay together. RUDELL I could arrange for you to go to the set one day if you'd like, or even be a contestant? MINI A contestant? Really? RUDELL Sure, those dates are really quite harmless. You just spend an evening with the person. We prep you on what to say before the show. MINI It sounds like fun. Rudell lets his eyes take a walk all over her. Mini, keenly aware, blushes. RUDELL Anyway, what's on your mind? MINI Well, um...this may sound strange, but you haven't seen any suspicious looking people around our house lately? RUDELL No, is everything okay? MINI Yes, it's just that since mom's death, someone sent us a photo of Martin and I together. (CONTINUED) 96. CONTINUED: (2) RUDELL Together? MINI It indicated that we were...I know this sounds crazy, but...a couple. RUDELL A couple? You and Martin? Hmmm...I mean, certainly older men and younger women are an (searching again) ...accepted part of society, but for someone to do that, well...it's just tasteless. MINI Exactly, so we're just trying to figure who Rit could be. UDELL Hmm, I haven't noticed anyone at all...Out of curiosity, what kind of a picture could they send you to indicate that you and Martin were together? MINI Oh, it wasn't like we were naked or anything. I mean, of course, he's seen me naked, he is my step- father. RUDELL Of course. EXT. RUDELL'S POOL - LATER. Mini and Rudell sit at a table, enjoying iced teas, as Mini flirts shamelessly with him. MINI (V.O.) Much to my surprise, I was invited to stay for a refreshing beverage... EXT. RUDELL'S HOT HOUSE - LATER. Rudell shows Mini around his collection of rare tropical flowers. He plucks a tiger lily off a stem and puts it in her hair. (CONTINUED) 97. CONTINUED: MINI (V.O.) I knew he had had no shortage of young women in his bed, but he had been paying for it in one form or another for a long time. EXT. RUDELL'S PUTTING GREEN - LATER. Rudell shows Mini how to use a pitching wedge on the small putting green off his back patio. He stands behind her, wrapping his arms around her, guiding her arms through the swing. MINI (V.O.) And the one undeniable fact I had learned from Martin is that there is no greater thrill or triumph in a man's life... INT. RUDELL'S KITCHEN - LATER. Rudell makes her a giant banana split, covering it with whip cream. MINI (V.O.) ...than getting a ripe young woman to open the gates to heaven for no other reason than she wanted to. He accidently gets some whip cream on his nose. Mini reaches over and wipes it off, licking her finger clean. Rudell tries to hide the wonderment in his eyes. MINI (V.O.) Frankly, I'm surprised the anticipation of pulling off a mother-daughter double dip didn't give him a stroke right there. E XT. RUDELL'S FRONT GATE - LATER. Mini walks out, skipping down the path, singing "The Candy Man" to herself. MINI "Who can take tomorrow? Dip it in a dream, separate the sorrow and collect up all the cream, the candy man, oh, the candy man can" (CONTINUED) 98. CONTINUED: MINI (V.O.) I left that day, exhilarated in the knowledge that in one afternoon, I had turned Rudell into a trout on a line...and he'd follow me anywhere I tugged the pole. MINI (singing) "The candy man can 'cause he mixes it with love and makes the world taste good..." INT. THE HALLWAY OF MINI'S HIGH SCHOOL - DAY Mini walks down the corridor with Kayla. MINI (V.O.) The photos stopped coming and although Martin was freaking out about his business, things were returning to normal. I even decided to return to school. They approach TROY, the football player she humiliated earlier. Mini raises two fingers to her mouth in a "V", simulating cunnilingus, taunting Troy. His friends laugh and he wilts, pretending he didn't see her. INT. A CLASSROOM- MOMENTS LATER. Mini and Kayla walk in with other students. Her teacher, Warren Bishop, comes over to her immediately. BISHOP Mini, I've got a message for you to go to the principal's office right away. INT. THE PRINCIPAL'S OFFICE - LATER. Mini is led in by A SECRETARY, as Detective Garson sits in a chair next to PRINCIPAL PATTY ANDREWS, 50. MINI (V.O.) Then things got interesting again. Mini immediately sizes up the situation and takes on the appropriate concerned tone. (CONTINUED) 99. CONTINUED: MINI Detective Garson, is everything all right? CLOSE ON: A VIDEO MONITOR. A black and white surveillance tape of one of the school's hallways is seen. GARSON (O.S.) Mini, this tape was shot a week before your mother's death. The door to the nurses office is seen opening and Nurse Hauptf¸hrer walks out. GARSON (O.S.) The next day, the school nurse reported two bottles of Ritalin missing from the medicine cabinet. A few seconds later, Mini is seen entering the nurse's office, checking over her shoulder to make sure no one saw her. THE TAPE FREEZES, then fast forwards. Mini is seen leaving the office, stuffing something in her pocket. INT. AN EMPTY CLASSROOM - CONTINUOUS A TV and VCR sit on a rolling cabinet in the corner, as Garson puts down the remote and looks at Mini. Principal Andrews is not pleased. GARSON We've lifted two prints from the door and the inside of the medicine cabinet. They don't match the nurse. PRINCIPAL ANDREWS Mini, is there something you'd like to say to Detective Garson? Mini eyes remain calm. MINI Can we see the tape of the Der F¸hrer sucking down her afternoon fix of Smirnoff, or don't you have cameras in the bathroom stalls? (CONTINUED) 100. CONTINUED: PRINCIPAL ANDREWS Young lady, stealing anything, especially prescription drugs is a serious matter. Mini looks at Andrews, her eyes suddenly starting to tear up. MINI You got me, okay? But what was I supposed to do? PRINCIPAL ANDREWS What do you mean? MINI (suddenly hysterical) She...She said if I didn't, she was...was gonna-- PRINCIPAL ANDREWS Who? Another student? MINI My mother! She made me steal them for her! I didn't want to, but she said she was going to send me to boarding school in Canada if I didn't! P RINCIPAL ANDREWS Canada? MINI (sobbing) The Yukon territories! Are you happy, now? You got me! PRINCIPAL ANDREWS Oh my lord, I had know idea, she was-- MINI An addict? Detective Garson knew! We told him, and now what? The whole school's gonna know!? Mini hides her face in her hands. MINI She's dead, my mommy's dead. Can't we just leave her be? (CONTINUED) 101. CONTINUED: (2) Andrews casts a harsh glance at a frustrated Garson. PRINCIPAL ANDREWS Detective Garson, I assume, there won't be a need to press charges against Ms. Drogues? Mini holds out her wrists to Garson. MINI (sniffling) You gonna cuff me, Copper!? Garson looks at Mini, clearly not convinced of her innocence. GARSON She's free to go. INT. THE LOBBY OF MARTIN'S OFFICE BUILDING - DAY Martin gets off the elevator and heads across the lobby. GARSON and A UNIFORMED OFFICER approach him. Martin looks a little unnerved to see them. GARSON Ah, Mr. Tannen, we were just coming up to see you. Have you got a minute? MARTIN Detective, I told you no more questions without my lawyer. GARSON I think you'd better call him. INT. AN INTERROGATION ROOM - LATER. Martin sits at a table, conferring with his lawyer, NED VOLANT, an impeccably dressed operator with a mane of thick, heavily gelled hair. Garson sits across from them. GARSON There's a small discrepancy that I can't quite figure out and I was hoping you might be able to explain it. MARTIN I suppose I can try. (CONTINUED) 102. CONTINUED: GARSON The final toxicology report came back and your wife definitely didn't die from the pills. She wasn't conscious past 9:30, but it was the fumes that killed her. M ARTIN Well, hallelujah, thanks for the update- VOLANT Martin, easy. MARTIN I'm sorry, but this is harassment. GARSON See, here's what I needed to ask you. The gas tank in the Jag was almost full, just a gallon had been used. MARTIN And? GARSON Well, if she was unconscious by 9:30, that means the car must have been running for at least two hours when you found her. An unconscious person can't turn on a car, right? VOLANT Detective, with all due respect, could you get to the point? GARSON Well, here's where I get confused, see, that particular model idling for two hours will burn at least four gallons of gas. Martin tries to remain calm, as the panic starts to settle in for a long stay. GARSON So, there's really no way the tank could be almost full if it was running for two hours. Is there? He looks at Martin, waiting for an answer. (CONTINUED) 103. CONTINUED: (2) GARSON So, I guess what I'm asking is, whose idea was it to put her in the car? VOLANT Martin, don't say anything. GARSON Now, Mr. Tannen, you clearly had the most to gain from her death, but I've learned from a number of your wife's friends that she and Mini had a strained relationship. VOLANT Again, Detective, my client won't be answering anything, so let's just cut the cat and mouse. GARSON I'd like Mr. Tannen to know that if he's trying to be a protective father by covering up something Mini did, I'd be careful. The district attorney is viewing this case as an opportunity to show the public that the rich don't get away with murder in this town. Martin whispers something in Volant's ear and he in turn, V whispers back. OLANT Does this mean he's offering Mr. Tannen immunity if he says he was protecting his daughter? Garson takes a sip of water, as Martin anxiously waits for his answer. GARSON It's a strong possibility. But he wants Mr. Tannen to know he will go for the maximum sentence if he doesn't. No manslaughter, no plea bargains, nothing. Martin's eyes shift slightly. 104. INT. ANOTHER INTERROGATION ROOM - CONTINUOUS Garson, now finished with Martin, sits across from Mini and her lawyer, HERB PELHAM, who doesn't look nearly as confident as Martin's lawyer. MINI It was Colonel Mustard in the library with the candlestick. Garson smiles at Mini, admiring her resolve. PELHAM (nervously) Uh...Miss Drogues, as your lawyer- MINI Don't wet your pants, I know when to shut up and swallow... Mini takes out a sip a water, letting a trickle of liquid roll down her chin. MINI ...my tongue. Even Garson appears a little intimidated by the overt flirtation. GARSON Look, the fact that the marriage was unhappy and there was no pre- nup gives all the motive to Martin. MINI So you want me to say it was his idea? GARSON If it was his idea, give me one reason you should take the fall? MINI (V.O.) At that moment I knew we had him. If he was trying to get me to rat on Martin, he didn't have enough to charge either one of us. (CONTINUED) 105. CONTINUED: MINI So if I tell the jury it was his idea and I was scared for my life, because he said he'd kill me if I ever told anyone, then I walk? Garson instinctively leans forward in his chair, just a bit. Mini stares into Garson's eyes, unflinching. She looks around the room, weighing her options. Pelham attempts to whisper something in her ear. She waves him off. M INI Sorry, sport, but I'll take my chances. INT. MARTIN'S CAR - LATER. Mini and Martin drive home together. There is an icy chill between them, as Martin looks over at Mini. MARTIN I never doubted for a minute you were going to hold firm. Not a second. I hope you know that? MINI Oh, I knew...I knew. MARTIN Good. You realize, we've got to rely on each other? MINI Who else do we have? MARTIN Exactly. We're almost home free. My lawyer says that gas gauge theory is circumstantial as hell. I've only got one concern now. MINI What? MARTIN Rudell. If a jury knew we were a couple, we've both got a motive and that changes everything. Mini puts her hand on Martin's, reassuringly. (CONTINUED) 106. CONTINUED: MINI Baby, don't worry about him, he's just jealous 'cause you've still got rockin' abs and a better hairline. Martin looks over at her, softening. MINI Even if he did send that picture, what does it prove?...Nothing. INT. THE SHERMAN OAKS GALLERIA - DAY Mini walks through the mall. MINI (V.O.) For all of Martin's talk of relying on each other... MARTIN follows about a hundred yards behind. MINI (V.O.) Garson had succeeded in planting the seeds of distrust. MINI turns around and Martin ducks into a boutique. EXT. A MOVIE THEATER - NIGHT Mini walks out of a movie theater, with Kayla and TWO BOYS. MINI (V.O.) Our relationship had turned into what some might call... A few seconds later, Martin walks out of the theater, wearing dark glasses and a hat. He follows them. MINI (V.O.) ...unhealthy. INT. THEIR LIVING ROOM - NIGHT Mini sits in front of the TV, watching a commercial. She is wearing the same "Fuct" T-shirt she wore when we first met her. Her eyes are filled with anticipation. M MINI (V.O.) Something had to give, and ironically enough, it was the night I was making my television debut. (MORE) (CONTINUED) 107. CONTINUED: MINI(CONT'D) I had asked Martin to be home by eight for a big surprise. Martin walks in the front door with his briefcase. MINI Oh, hey, come and watch. You're missing me, I'm on TV! MARTIN What? Why? MINI Hurry up, the commercial's almost over! Martin walks over. CLOSE ON: THE TV. Absolutely Positive! Comes back on and we see that MINI and A MALE CONTESTANT are sitting on either side of this show's BLONDE HAIRED ENGAGED COUPLE. Mini and her male counterpart are just a bit better looking than the engaged couple, both of whom have a midwestern wholesomeness. MARTIN'S FACE turns white. THE HOST turns to the camera. HOST Welcome back to Absolutely Positive. Now it's time to hear how the date between Jason and Mini ended. MARTIN You? You went on- MINI Yeah, I thought it'd be a gas...now shhh... CLOSE ON THE SCREEN: HOST Jason, you said that the reason you wanted to come on the show was to test your ability to resist temptation. (CONTINUED) 108. CONTINUED: JASON (a bit nervous) Well, since Becky and I have dated since high school and decided to remain virgins until marriage, I just wanted to go on a date with another girl just to see how I would react. You know, whether there'd be any feelings of doubt about my decision? HOST So, after dinner, what happened? JASON Oh, gosh, well she suggested we go to a dance club she knew. I'm not really a good dancer, but I said "yes." BECKY (hurt) We never go dancing. Jason smiles at her uncomfortably. HOST So, Mini, is Jason a good dancer? M INI Well, he's a damn quick learner, and not just at dancing. MARTIN shoots a look at Mini MINI Martin, for god's sake, that was their line. You think I talk like that? CLOSE ON THE SCREEN: HOST Oh, really? So there was some other teacher-student stuff going on? JASON (uncomfortable) Uh, no, not really- (CONTINUED) 109. CONTINUED: (2) MINI Oh, come on, what about when we went back to your place? BECKY You what?! JASON I, I don't know what she's talking about. MINI Come on, don't be bashful. He put on some soft music and- JASON No! This isn't true, why are you- MINI We started kissing and- BECKY Jason! JASON (to Mini) Shut up! STUDIO AUDIENCE OOOOHHHHH! MINI But, Jay-Jay, it was really special. (to the host) He loves to be called "Jay-Jay". BECKY You, you... MINI Let me tell you, Becky, you're in for a wild ride from this Bronco. STUDIO AUDIENCE WHOOOOOOAAAA! CUT TO: MARTIN staring at Mini. (CONTINUED) 110. CONTINUED: (3) MARTIN Did, did you... BECKY (O.S.) You slept with her?! MINI God, Martin, it was a one time thing. He was a virgin, how could I say "no"? Believe me, she'll thank me after their wedding night. MARTIN You had me come home early to- MINI Don't be jealous. It won't happen again. It was just a goof. Martin stands there, speechless, while ON THE SCREEN: BECKY dissolves into a puddle of tears as Jason tries to console her. Suddenly, she runs off stage. MARTIN picks up the remote and hits "mute". MARTIN Rudell? He let you go on? MINI Yeah, I thought it would be fun. I wasn't really supposed to, you know, "go all the way" but- MARTIN I can't believe you...th-that couple, you ruined their relationship. M INI Excuse me, but the show is called Absolutely Positive for a reason. Clearly, the only thing Jason was positive about was- MARTIN You're a sick little twist, you know that? MINI Well, what does that make you? (CONTINUED) 111. CONTINUED: (4) MARTIN (heading outside) I need some air. MINI Oh, by the way, some intern from your office stopped by earlier today with something. It's on the desk. Martin walks over to the desk and picks up an envelope marked "MARTIN TANNEN". He opens it to find... AN 8x11 PHOTO of him and Mini kissing passionately on the beach in Mexico. This time there is no question as to the nature of their relationship. Scrawled across the bottom in black marker is: "REMEMBER, I'M JUST ACROSS THE FENCE". Martin's eyes scan the photo, a look of resignation setting in. MINI What is it? Martin slowly holds it up for her to see. MINI Oh, my god. MARTIN (very evenly) I think it's time I had a little chat with our neighbor MINI No, this is exactly what he wants! What if he's working with Garson? MARTIN Then he can't blackmail me. Wait here, I'll be right back. Martin heads for the back door. MINI No, please, don't do this! Let me go with you! MARTIN I said wait here. Mini jumps up and runs over to him, grabbing his wrist. (CONTINUED) 112. CONTINUED: (5) MINI Don't do this, we can leave tonight! We'll drive to Mexico! Martin looks up at her. MARTIN He'll never leave us alone, you realize that? MINI No! Let me talk to him, he promised me he wouldn't hurt us! MARTIN He did? When? MINI A few days ago! MARTIN You saw him? MINI I went to try and find out what he knew! I spent the afternoon with him- M ARTIN You...spen- MINI I was doing it for us! I figured he wouldn't turn us in if I... MARTIN If you...? MINI If I made him think I was... interested. A wave of nausea washes over Martin's face. MARTIN And was he? Mini nods. MARTIN Please tell me you didn't. (CONTINUED) 113. CONTINUED: (6) Mini hesitates. MINI No... Martin looks unconvinced. MINI I just made him think I would, so he wouldn't turn us in. When Animals Attack comes on the TV in the background. MARTIN (sarcastically) Thank you, I appreciate your restraint. MINI Fuck you. I'd think you'd be a little more appreciative. MARTIN Who were you doing it for when you did it with that kid? Huh? Who was that selfless act for!? MINI Oh, like you're such a martyr for being faithful? It shows amazing restraint to limit yourself to just one stepdaughter! MARTIN Don't lecture me about fidelity! Your mother was cheating within six months of the "I do's"! He heads for the door again. MARTIN Now, if you'll excuse me... Mini grabs him again, desperate. MINI Please-- Look, I'm sorry, I really am, but this isn't the answer! Martin grabs her wrist, forcefully. (CONTINUED) 114. CONTINUED: (7) MINI You're hurting me! MARTIN (through his teeth) Calm down or I'll snap it in two, do you hear me? Mini nods her head. MARTIN Now, I want you to wait here for me. Do you understand? Mini nods again. MINI (softly) Please don't do this. He lets go and calmly walks towards the sliding doors to the back yard. Mini watches him go. EXT. RUDELL'S FRONT DOOR- MOMENTS LATER. Martin stands outside and rings the bell. The door opens and Rudell stands there in a smoking jacket and pajamas. He looks Martin up and down with a self-satisfied smile, as Sinatra's R "Nice and Easy" is playing on his stereo in the background. UDELL Martin, what a surprise, how are you? MARTIN Just watched Mini on your show. RUDELL Ahh...was tonight the night? We taped that two weeks ago. Let me tell you, I have girls audition all the time for me and... (enjoying this) She was fucking incredible. Rudell watches Martin's eyes for a reaction. MARTIN A natural, huh? (CONTINUED) 115. CONTINUED: RUDELL Like a duck to water...and totally willing to take direction. Martin's jaw tightens, as Rudell is loving twisting the knife in him. RUDELL I wish all the girls I worked with had her...how can I put this?... Need to please. MARTIN You son of a bitch... Martin explodes, punching Rudell in the mouth, sending him staggering backwards inside. SINATRA (V.O.) "Let's take it nice and easy..." INT. THE TANNEN'S LIVING ROOM - CONTINUOUS Mini stands at the window, nervously waiting on the phone. She looks out THE WINDOW at the fight beginning in Rudell's house. MINI (frantic) Yes, hello, you've got to send a police car to 2376 Mira Loma Lane right away! My father's gone crazy, I think he's going to hurt our neighbor...yes 2376 Mira Loma, oh god, hurry! INT. RUDELL'S LIVING ROOM - CONTINUOUS Rudell struggles to his feet and charges Martin, shoving him against his wet bar. Rudell grabs a glass and smashes it over Martin's face, grinding the glass into his face. SINATRA (V.O.) "Hey, baby, what's your hurry? Relax, don't you worry..." Martin screams in agony and throws Rudell off him. Rudell crashes into a glass coffee table, smashing it to pieces. Martin tries to pick the glass out of his eyes, as Rudell gets to his feet and grabs one of metal legs of the shattered coffee table. (CONTINUED) 116. CONTINUED: He rushes Martin, clubbing him in the head with it. Martin crumples to the floor and Rudell starts kicking him. Martin grabs Rudell by the ankles and flips him. The two men grapple on the floor. MARTIN Where are they?! Huh? RUDELL What are you talk- MARTIN Don't fuck with me! The negatives! RUDELL What?! EXT. RUDELL'S PATIO AND POOL - CONTINUOUS Rudell and Martin crash through the plate glass window on to the brick patio. Martin gets to his feet first and grabs a golf club propped up on a chair next to the putting green. SINATRA (V.O.) "The problem now of course is, to simply hold your horses..." Rudell struggles to his feet, just in time to see the pitching wedge heading straight for his ribs. THWACK! Martin catches him square and he goes down like a sack of potatoes. Martin starts hitting him with one swing after another. SINATRA (V.O.) "To rush would be a crime..." Rudell cries out in agony, as the blows smash one rib after another. MARTIN You son of a bitch! How's that feel?! You like that?! You thought you could have my wife and my daughter too?! SINATRA (V.O.) "`Cause nice and easy does it, nice and easy does it..." Martin bends down and grabs Rudell's hair, twisting his head around so he can look him in the eye. In the distance a SIREN is heard getting closer. (CONTINUED) 117. CONTINUED: MARTIN Sorry, pal, she's mine! Diane may have taken pity on you between vodkas, but not her! Not her! Martin smashes his face into the patio. Rudell lets out a moan, grasping at the ground, trying to get up, but his legs don't obey him. Martin stands up and grabs the club, raising it with both hands above his head for a final swing. M ARTIN Now tell me where they are or I swear to god, I'll crack your head open! MINI (O.S.) Martin, don't! He turns around to see Mini, tears coming down her cheeks, standing ten feet away. The SIRENS suddenly stop. MARTIN Go look for the negatives! MINI No! This is insane! MARTIN We need the negatives! He raises the club again. Mini runs for him, grabbing his arm before it comes down. MINI You're gonna kill him! He tries to pull the club away. MARTIN What are you doing! He'll tell everyone! MALE VOICE (O.S.) Freeze, police! Martin turns around to see TWO UNIFORMED OFFICERS with their guns drawn. Martin looks down at Rudell, gasping for air, his face covered in blood. He looks at his own blood-soaked clothes, the reality hitting him. (CONTINUED) 118. CONTINUED: (2) OFFICER Drop the club and put your hands up! Martin obeys and Mini runs into the arms of the second officer. The first one moves quickly to Martin and shoves him on the ground. MINI Thank God! Thank God, you came! MARTIN Mini, you called them?! How could you call them?! Mini buries her face in the officer's chest. MINI He's...he's crazy, I told him not to! I told him to stop! SINATRA (V.O.) "Nice and easy does it...every time." FADE OUT: EXT. THE FRONT OF A POLICE STATION - DAY Mini emerges from the station with her lawyer as a throng of REPORTERS jostle for a photo. MINI (V.O.) Needless to say, my appearance on Absolutely Positive was the most sought after clip in every newsroom in town. TV VIDEO FOOTAGE OF: Mini at Martin's trial sitting in the front row. MINI (V.O.) The trial was quick. Once Mom's affair with Rudell came out, the D.A. realized he had a motive and a slam dunk. T HE FOREWOMAN, an elderly hispanic woman, casts a harsh eye towards Martin and then reads the verdict. FOREWOMAN Guilty. (CONTINUED) 119. CONTINUED: Martin stares straight ahead, showing no emotion as Mini sobs behind him. MINI (V.O.) Since, Rudell was in a coma, the issue of my relationship with Martin was moot. Martin realized trying to pin anything on me would probably get him the chair. EXT. THE COURTHOUSE - DAY Martin, wearing an ORANGE PRISON UNIFORM, is led into a van by a DEPUTY. MINI (V.O.) At his sentencing I begged for leniency. He got off with ten for the attempted murder of Rudell and twenty to life for mom's death. EXT. THE TANNEN'S HOUSE - CONTINUOUS Mini opens the door to find reporters camped on the lawn, snapping photos. Dozens of bouquets and wreaths are piled up next to the front door. MINI (V.O.) The outpouring of support was amazing. A MAILMAN hauls a bag of sympathy cards to the front door. She leads him inside where he dumps them next to three other bags full. EXT. A DUSTY TWO LANE ROAD IN THE CENTRAL VALLEY - DAY The sun is blistering hot as Mini drives Martin's Mercedes convertible with the top down. MINI (V.O.) Martin's assets were put in a trust for me and since I was eighteen, I was allowed to live by myself. She turns down another road at a sign reading "LOMPOC STATE PRISON, 5 MILES". 120. INT. A VISITING ROOM AT LOMPOC - DAY Mini and Martin sit facing each other behind a plexiglas barrier. There are dividers between each phone to provide the prisoners with a little privacy. MINI I'm sorry I forgot to bring that book you wanted. MARTIN It's okay, Myou can mail it. INI Are you okay? You look like you haven't showered in days. MARTIN (disturbed) Well...uh...you have to be careful about sh-...So how's school? MINI (excited) You'll never guess what happened. MARTIN What? MINI I was voted valedictorian! MARTIN But don't you have to be- MINI The best student? I know! But the students took a vote and they said they wanted me to have it for demonstrating remarkable courage in the face of unspeakable loss. MARTIN (smiling sadly) I wonder how the real valedictorian feels? MINI Like slitting his wrists with the sharp end of a protractor. (CONTINUED) 121. CONTINUED: MARTIN Is Rudell out of his coma yet? MINI I don't know, why? MARTIN Why? (taken aback) Mini, if he recovers, he may try to blackmail you with those pictures. MINI (nonchalant) Oh...I wouldn't worry about that. MARTIN But if the D.A. got those pictures, you could- MINI I'm pretty sure he won't be doing anything with them. He looks suddenly very worried. MARTIN Mini, you're not thinking of sleeping with him to keep him quiet? Because I've met people in here who could help us with him, if it comes to that. MINI Help us? MARTIN They know people on the outside we could...pay to make sure he doesn't try to take advantage of you. MINI Oh, gosh, that's so romantic. It's like you're a real life criminal with connections and everything, but I'm a little surprised you haven't figured it out yet. MARTIN What? (CONTINUED) 122. CONTINUED: (2) Mini's eyes glint ever so slightly, as she examines Martin's face, almost as if he's an animal at the zoo. MINI Oh...wow, like I thought you were just playing along `cause I'm your only link to the outside world, but you really don't know? Martin furrows his brow, confused. M INI Rudell didn't send those pictures. He suddenly becomes very still, as Mini's lips curl in a thin smile. MINI You remember, Aurelio? Martin looks at her blankly. MARTIN Our cabana boy from Mexico? Suddenly, it hits him. He looks almost nauseous. MINI What a sweetie, I thought I might have to fuck him, but just giving him the camera was enough. His knuckles tighten around the phone. MARTIN You...you... MINI It was pretty clear Garson wasn't gonna give up, and sooner or later he'd find enough to charge us. It just seemed ridiculous that we'd both end up suffering. Martins jaw tightens as his pupils go black. MINI Oh, come on, you would've done it if you thought of it first...you know I'm right. The veins start to bulge in his arm holding the phone. (CONTINUED) 123. CONTINUED: (3) MINI (suddenly switching gears) Hey, listen, since conjugal visits are pretty much out of the question, I thought it would be cool if we tried a little prison phone sex. Martin stares at her, taking deep steady breaths. MINI They don't tap these lines, do they? (looking around) I think I might even be able to open my blouse without anyone seeing...you ready? MARTIN Guard! MINI No? Are you sure? I won't be able to come back for a few weeks. (mock jealous) Wait, have you met someone in here?! MARTIN Guard! MINI Why, you old dog! I knew you wouldn't be single in here for long. A PRISON GUARD appears behind Martin's stall. MARTIN Guard! She did it! She just admitted it! It was her idea! MINI I guess this means I could start dating around too? MARTIN Don't let her leave! She's guilty! Get the warden! G UARD Okay, that's enough! (CONTINUED) 124. CONTINUED: (4) The guard moves to take the phone from him. Martin clutches it to his head. MARTIN You bitch! You little whore! MINI (starting to cry) Daddy, why are you saying those things! The guard struggles to rip the phone away, but Martin holds on for dear life. MARTIN I'm gonna kill you! Do you hear me, you little bitch! MINI (sobbing) Daddy, stop! I love you! Don't say that! I love you! Finally, the guard smashes Martin with a billy club, sending him sprawling on the floor. Martin screams behind the glass, but cannot be heard, as the guard hog ties him and drags him away by his feet. EXT. A HIGH SCHOOL GRADUATION CEREMONY - DAY SENIORS in gowns sit awaiting their diplomas, as PARENTS sit in the audience, fanning themselves with programs. Mini stands at the dais, addressing the class. MINI (V.O.) ...As many of you know, the past few months of my life have been very difficult. I don't know how I would have gotten through it without all of you. I really think it is a testament to the love in this institution, that I stand before you today, as the first straight "C" student in school history voted Valedictorian. A FEW CHEERS go up from the rowdier students. MINI (CONT'D) (MORE) (CONTINUED) 125. CONTINUED: Again, to Marvin Tepperman, the real valedictorian, he deserved this and I want to wish him a speedy recovery. I spoke to his doctors today and they say, with medication and therapy, Marvin should be able to attend Harvard this fall. A polite smattering of applause is heard. MINI While I may not have excelled in the classroom, I think my recent experiences in that bigger schoolhouse we call "life", have taught me a few lessons that I'd like to share with my fellow graduates. Her classmates instinctively lean forward a little to listen. MINI Follow your heart and don't question it, now matter where it tells you to go. Trust me, it'll open up a world of new experiences you can't even imagine. Principal Andrews nods in approval. MINI But as you listen to it, don't forget your family, your parents. Don't forget they're people too, and while we may not always agree with them, remember to love them when they need love. A few PARENTS look almost surprised to hear positive things said about them. MINI (voice breaking) And I mean really love them, don't just pay them lip service. Really do it...Whenever you can. (holding back tears) (MORE) (CONTINUED) 126. CONTINUED: (2) MINI(CONT'D) I know I did, and I just wish my dad could be here today, so after this speech I could just walk down into the audience and give him my love right here...in front of all of you. Thank you and good luck. Mini puts her speech down, gently sobbing, as THE AUDIENCE ERUPTS. PRINCIPAL ANDREWS moves quickly to console her. MINI (V.O.) (CONT'D) Like I promised, no prom night highjinks, no nerds becoming popular, no Shakespeare shoved up your ass. MINI'S FELLOW GRADUATES give her a standing ovation. A few PARENTS become misty-eyed. MINI (V.O.) (CONT'D) And in case you're feeling guilty about having no one to identify with but me, relax... MINI looks out across the crowd and a huge smile ripples across her face, as she waves to everyone in the golden sunlight. MINI (V.O.) (CONT'D) ...There's a first time for everything. FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Minority Report.txt b/unformated_scripts/Script_Minority Report.txt new file mode 100644 index 0000000000000000000000000000000000000000..333e3b13aa9de6e947089f389fca68e511e4ab70 --- /dev/null +++ b/unformated_scripts/Script_Minority Report.txt @@ -0,0 +1 @@ + "MINORITY REPORT" -- Aug 15th 1997 rewrite by Jon Cohen DARKNESS And then, slowly emerging from the mists of darkness, a pale, beautifully proportioned FACE. The oval face is female, a woman of indeterminate age, her features as fragile as porcelain. Her eyes are closed in sleep, or in death ... or in something in between. Now TWO MORE FACES emerge out of the darkness. They are male, and they float into position on either side of the female. They are just as ethereally beautiful, just as pale, and like the female their eyes are closed. The ghostly lips of the female begin to twitch. Her features, which have been expressionless, suddenly contort, mask-like, into the face of a woman in fear. Her eyes open. The male face on her right contorts too. His features warp into an angry snarl -- the mask of a man enraged. His eyes open. The male face on her left takes on the expression of a young boy, a boy who is terribly frightened. His eyes open wide. As if they are lost in the same terrible waking dream, a sudden and unnerving exchange begins ... FEMALE (frightened woman) JOHNNY, PLEASE MALE RIGHT (mocking man) "Johnny, please. Johnny please." FEMALE You're scaring me. MALE LEFT (child's voice) DADDY, DON'T. DADDY MALE RIGHT (considering) I don't like you any more, Carol. FEMALE (imploring) Put the scissors down. You're scaring me. Please. MALE RIGHT Oh, Carol. FEMALE Johnny! Stop!----------------------------------------------------------------------------------------------------- 2. MALE RIGHT Don't grab at me! Let MALE LEFT Daddy! No! All we see are three faces on the screen mouthing words but we can imagine a terrible struggle taking place before us: a man with scissors lunging at his wife, her anguished scream, the whimpering cries of their son. And then there is silence, and it is over, and the three faces instantly return to their impassive porcelain state. Their eyes slowly close. They do not move. So that when they do move again, it is startling. In abrupt unison, the EYES flash open. Three pairs of eyes stare straight at us, accusing. Three mouths open, but speak, in rasping tones, as one. ALL THREE Murderer! The faces linger a moment, the weary eyes slowly close, and the dark reaches forth, and takes them. DISSOLVE TO: EXT. SUBURBIA DAY Morning in America. Just look at it. America in the midfifties, the suburban landscape stretching endlessly into the sun drenched distance. White house upon white house. Emerald lawns, glistening with dew. In each driveway, a big Chevy, or a Ford, muscled with chrome, long tailfins that taper like the fins on rocket ships. Kids burst out of the houses, and zoom down sidewalks on trikes. Mothers in bright dresses stand in doorways, watching. The smiling mothers wave to one another, then go back into their houses. Dogs bark, birds sing in trees of just the right height, boys and girls laugh and ring the bells on their trikes. It is a delicious world, where dogs and birds and children are safe. INT. A HOUSE A family room with all the trappings of the era: a flagstone fireplace, a console TV, a man's leatherette Barca-Lounger, a pipe stand holding two pipes on a nearby table, boxes of children's games neatly stacked on a wall shelf.----------------------------------------------------------------------------------------------------- 3. A young mother, CAROL, her hair -in a pony-tail, stands at a picture window in a corner of the family room, staring mildly at the scene outside. CAROL'S POV - A LITTLE GIRL A little girl bounces a red ball on the sidewalk. The ball gets away from her, and rolls into the street. At the same moment, a two-toned CHEVY, lush and huge, rounds the corner. The girl sees the car coming, but still goes after the ball. THE FAMILY ROOM Carol sees what is about to happen -- but she doesn't cry out, or bang on the window, or run for the front door. She watches. And smiles a little. OUTSIDE The girl careens gleefully into the middle of the street. INSIDE THE CHEVY The driver -- a man in a loose fitting dark green suit, white shirt, thin brown tie -- sits behind the steering wheel of the car. Disturbingly, the man's hands are not on the steering wheel. Not only that, he is holding the morning newspaper up in front of him, reading, oblivious to the scene before him. Through the windshield, we see the little girl in the road in front of him, going for her ball. CAROL Watches, her smile in place. OUTSIDE The little girl picks up her red ball, as the Chevy bears down on her. INSIDE THE CHEVY An alarm suddenly CHIRPS. The car automatically brakes to a halt. The man looks around the edge of his paper to see what is happening. THE STREET The car has stopped, inches from the girl. The girl giggles as, the man in the car gives her a big wink. She waves, then runs back to the sidewalk with her red ball.----------------------------------------------------------------------------------------------------- 4. The man goes back to his newspaper, and the car, entirely on its own, starts up again. The car rounds a corner, and disappears. INSIDE THE HOUSE Carol turns away from the window. She startles when she sees her husband, JOHNNY, is there behind her. He is in his pajamas. How long has he been there, watching her? JOHNNY (gruff) Why'd you let me sleep so long? CAROL It's Saturday, Johnny, you always -- (beat) Why are you staring at me like that? He takes a step toward her. He stands there, his thick black hair tousled with sleep, scratching his stubbled jaw, considering her. JOHNNY I'm unhappy that you let me sleep so long. He takes another step toward her. She doesn't move a muscle. A little BOY suddenly enters the room. Johnny turns, looks at his son, looks back over his shoulder at his wife. Then, without a word, he begins to walk out of the room. On his way out, Johnny's eyes flick to Carol's sewing basket, which sits beside a sewing machine. It is not the sewing that has caught his attention, but a large pair of garment SCISSORS which lie across a fold of colored cloth. EXT. THE HOUSE -- MOMENTS LATER Johnny stands on the front porch, scratching. He walks down his front walk, and bends over to pick up the newspaper. Carol stands in the doorway, watching him. A SHADOW slides over Johnny, cast from above. The air fills with the piercing WHINE of an engine. Johnny looks up, alarmed. In the sky above him, just beyond the tips of the suburban trees, is a black PRECRIME POLICE HOVERCRAFT. The children, the mothers, Carol in the doorway -- everyone freezes in place, as Johnny is cast into an inexplicable drama. Racing SOUNDLESSLY down the street toward him, are SLEEK TECHNOLOGICAL MARVELS, lethal and efficient looking -- they seem to be cars -- but they are so different from the fat Fords and Chevies in the driveways that it is hard for us to process them.----------------------------------------------------------------------------------------------------- 5. Helmeted police with mirrored visors erupt out of the cars. More police drop from the hovercraft in harnesses. Their uniforms are black, seem actually to absorb light. Their left hands are bare, their right hands are encased in some sort of complicated glove. CLOSE ON - A GLOVE The glove is a weapon of some kind, the elongated index finger ending in an open barrel. Clearly, this is not, as it first seemed, the past -- not America in the 1950's. It is the neo-past, the retro world of America 2040, where the familiar of yesterday is intermeshed with hypertechnology. And all of that hypertechnology is focused on JOHNNY, as he makes a run for the house, sheets of newspaper scattering behind him. He bursts up the front porch, shoving Carol out of the way. Eight Precrime police officers assemble in the yard. From a backpack, one of them quickly removes an instrument with a handle grip and an ovoid screen. It is a holographic scanner. He activates it, scans the OFFICER in front of him, and an IDENTICAL POLICE OFFICER takes three-dimensional form. The two real officers circle the house, repeating the maneuver a dozen times. In less than a minute, a decoy force of men -- three dimensional, standing in place, but shifting and turning like living beings -- has been created. An overwhelming police deterrent presence has been established. INSIDE THE HOUSE The Precrime police overwhelm the interior of the house, too. It is impossible to tell which officers are real, and which are scanned holographs. The juxtaposition of the futuristic cops in a 1950's style house is disorienting. INSIDE A BEDROOM CLOSET Johnny, in his pajamas, crouches beneath a rack full of his wife's dresses. UPSTAIRS HALLWAY Two OFFICERS, standing back-to-back, hold their gloved hands out in front of them, palm out. When the first officer points his palm toward a door at the end of the hallway, his glove BEEPS softly.----------------------------------------------------------------------------------------------------- 6. The officer looks at his PALM. A red thermal IMAGE appears on a small flexible screen -- the heat outline of a crouching man. The first officer flicks his helmeted head to the second officer. THE BEDROOM The room is packed with police -- how many are real? THE CLOSET Johnny squirms, his pajamas saturated with sweat. He calls out through the door. JOHNNY I didn't do anything! OUTSIDE THE CLOSET Every OFFICER in the room lifts his gloved hand and points his index barrel at the closet door. The effect is deeply accusatory. An OFFICER speaks, his VOICE electronically manipulated to be as menacing as possible. OFFICER 1 Come out of the closet on your hands and knees. Nothing happens. Two officers aim their barrels at the perimeter of the door. In repeated, small SONIC BLASTS, the closet door is blown off of its frame, revealing Johnny among the dresses. Johnny starts to rise, and BAM, a section of floorboards is blasted away beneath his feet. OFFICER 1 Hands and knees! Johnny trips among the splintered floorboards, and drops. He stays on his hands and knees, and approaches. He lifts his head and looks up at the officer. JOHNNY I didn't... Another OFFICER 2 bends down with a DEVICE -- the words "IdentiScan" on its side -- and blips a red laser light into each of Johnny's, eyes, reading his irises. The officer nods affirmatively to the other officer. OFFICER 2 POSITIVE FOR JOHN PALMER.----------------------------------------------------------------------------------------------------- 7. OFFICER 1 (to Johnny) John Palmer, if you were being arrested for any other crime, I would now read you your rights. (beat) But you are under arrest for the future murderer of your wife, Carol Palmer. You have no rights. Johnny, on his hands and knees, goes limp. EXT. THE HOUSE -- LATER In the background, Johnny is guided into a Precrime police vehicle as the neighbors look on. Carol and her son stand in the doorway, stunned. TWO OFFICERS remove their helmets. The first man is tall, sandy-haired, good eyes, deeply blue; This is PAUL ANDERSON, late thirties, Director of the Precrime Division, Washington D.C. The second man is ED WITWER, Anderson's second in command, late thirties, big like Anderson, good face, strong in the shoulders, short brown hair. The two men are deeply comfortable together. They can speak, or not. It doesn't matter -- they still communicate. Two good cops, good together. They walk side-by-side around the house, dematerializing the holographic decoy cops. WITWER Thought we might a had a runner. Anderson seems tired, takes a moment to answer. ANDERSON Yeah, a runner. WITWER A little chase -- that'd been good. ANDERSON Fifty cops on the scene takes the chase out of them. WITWER (smiles) But only eight of us were real. Witwer dematerializes the last decoy. ANDERSON We ever get a runner, I'd be too old to give chase.----------------------------------------------------------------------------------------------------- 8. WITWER You'd chase. You'd love it,. Man. They get to the front of the house and watch the Precrime vehicle holding Johnny zoom SOUNDLESSLY away. ANDERSON I love it more Johnny boy doesn't get to murder his wife. WITWER (beat) It's a beautiful world. EXT. SAME SCENE -- LATER The children play on their trikes. The wives talk among themselves. The birds sing, the dogs bark. The little girl bounces her red ball again. She stops a. minute, when two pieces of newspaper blow past her, unexpectantly littering the orderly suburban landscape. INT. A BEDROOM - SUBURBAN VIRGINIA (OUTSIDE WASHINGTON) DAY Decorated in a 1950's style. Anderson lies in bed beside his wife, LISA, a pretty, green-eyed brunette. It is early morning, they are both awake. Her hand caresses his chest. Maybe they will make love. Lisa's hand stops suddenly on the center of Anderson's chest. LISA Jesus, Paul. Your heart's hammering. (playfully) I excite you that much? He turns to her, and the grim set of his jaw makes her smile vanish. ANDERSON I used to love being a cop. LISA You're still a cop. I'm a factory worker. We don't catch murderers. We process them. Lisa takes a long breath. She's been down this road before. She speaks reassuringly. LISA You're the best homicide cop in the country. ANDERSON snorts disdainfully. ANDERSON Great -- except there's no such thing as homicide. What I do best doesn't exist anymore.----------------------------------------------------------------------------------------------------- 9. LISA PAUL. (beat) You're the Director of a perfect system. A Cop with a perfect record ANDERSON The Precogs have a perfect record. They identify the accused -- I just put on my monkey suit and go round them up. Lisa hugs him, kisses the back of his neck. LISA And then I prosecute them. And they go to jail. And lives are saved. Thousands of lives. (beat) And that's a cop's dream. Anderson is silent for a time. He sighs, then smiles, and turns to his wife, takes her in his arms. ANDERSON No. You're a cop's dream. INT. THE BATHROOM -- LATER Anderson steps out of the shower, and begins to towel himself dry- He glances out a casement window. He tilts his head, curious, then wipes at the steam on the window. ANDERSON'S POV LISA Lisa stands in the backyard in her nightgown, talking on a cell phone. She hangs up, moves quickly back into the house. ANDERSON Cocks his head, then goes back to toweling off. INT. KITCHEN -- LATER Checkered linoleum floor. Appliances out of the 1950's. Except there are little differences. When Lisa puts a skillet of eggs on the stove, the heating element is not an electric coil, or gas but a shimmering field of light. Lisa is dressed in a blue jersey skirt and a brief jacket. Anderson wears a gray suit, thin blue tie, white shirt, wingtipped shoes. He doesn't look up from the newspaper as he speaks. ANDERSON Who called?----------------------------------------------------------------------------------------------------- 10. Lisa keeps her back to him as she flips the eggs. She touches her long brown hair. LISA No one. I called about my hair. Getting it done this afternoon. Anderson looks like he's about to say something else, when suddenly someone RAPS on the back screen door. Anderson and Lisa both turn and smile. ANDERSON Come on in, neighbor. Want some coffee? OUTSIDE THE DOOR FRANK D'IGNAZIO, 65, white-haired, robust, hesitates before coming in. A thin METALLIC ARM with a red laser light arches quickly down from above the doorway, shines into each of his EYES, scanning the irises. The arm lifts out of view, the screen door UNLATCHES. Frank enters the kitchen, carrying a basket of tomatoes. FRANK D'IGNAZIO Brought these for your supper. LISA Oh, Frank. That's so sweet. Thank you. FRANK D'IGNAZIO Sweet, nothing. I gotta get rid of these things. One plant, and I'm invaded by tomatoes. When I was a kid ... Anderson laughs, claps his friend and neighbor on the back, teases him. ANDERSON Before all this genetically engineered crap ... Frank gives him an ornery look, then a smile. FRANK D'IGNAZIO Yeah well, it's true. It used to be a challenge to grow things. An art. Now you put one plant in the ground -- then jump the hell out of the way. Anderson gestures for Frank to sit down. ANDERSON Coffee?----------------------------------------------------------------------------------------------------- 11. FRANK D'IGNAZIO Nah, thanks. Can't stay. You guys are rushing off to work anyway. Lisa sets the eggs down in front of Anderson. LISA You and Ellie come for supper then. ANDERSON We'll barbecue. Frank nods and pushes on the screen door. FRANK D'IGNAZIO You betcha. We'll bring some more tomatoes -- a new batch will have grown by then. They all laugh, Frank exits, Anderson goes back to his paper. EXT. DRIVEWAY -- LATER Anderson waves to Lisa. Her big Studebaker drives off down the tree-lined street and away. Anderson approaches his Chevy. He doesn't take out a key to unlock it. There is no lock. He slides in behind the wheel. Doesn't take out a key for the ignition -- there is no ignition. A thin METALLIC ARM arches down from the sun visor, scans Anderson's EYES, identifying him. A seat harness wraps around him, and the car STARTS. Anderson picks up a folder marked "Precrime" and begins to read through the papers. The Chevy backs out of the driveway and takes him to work. EXT. INTERSTATE 95 - ALEXANDRIA, VA -- LATER A vast spread of corporate and government buildings -- the spillover from Washington D.C. across the Potomac River into Virginia. Beyond the white of Washington is "The Sprawl" -- the massive unzoned city that has spread uncontrolled on the outskirts of the Capitol. It is impenetrable and uninviting, especially to those comfortable in the utopian suburbs. Anderson's Chevy moves in a sea of fifties-type cars. Occasionally, an ultramodern vehicle zips past them. In the sky above is another sea -- of advertising dirigibles, holographic billboards, hovercrafts, skim-jet transports. On one of the holographic billboards giant words begin to flash: "I LIKE MIKE!"----------------------------------------------------------------------------------------------------- 12. Then a picture of the smiling President appears. Then the words: "RE-ELECT PRESIDENT MIKE BILLINGS FOR ANOTHER FOUR YEARS! KEEP THE PAST IN OUR FUTURE!" INSIDE ANDERSON'S CHEVY Through his windshield, Anderson glances at a holographic road sign. THE ROAD SIGN reads: "FBI Headquarters 1 mile. CIA Headquarters 1.5 miles. PRECRIME Headquarters 2 miles." Anderson goes back to his papers. INT. PRECRIME HEADQUARTERS Anderson sits in a too large office in a too large chair. He abruptly rises and begins to pace. The room is large, but he paces like a lion confined in a cage. He punches an intercom. A female VOICE responds. INTERCOM VOICE Yes, Director Anderson? ANDERSON Where's Ennis Page? Why hasn't he delivered this morning's Precog discs? Ed Witwer opens the door to the office., and casually walks in. INTERCOM VOICE I'll find him, sir. Ed shakes his head, smiles. WITWER Bullying the staff again, Director Anderson? ANDERSON Screw you. Anderson turns away and stares out a large window. Witwer joins him. ANDERSON (CONT'D) Was that fun for you, yesterday? WITWER The Johnny Palmer bust? ANDERSON Yeah. WITWER It was okay. We got our man.----------------------------------------------------------------------------------------------------- 13. Anderson takes a long breath. ANDERSON When do we not get our man? They turn as Ennis PAGE, 44, a thin, tight little man with burr cut hair, knocks and enters the room. He carries a black BRIEFCASE marked: "Zone 218 - Washington/Alexandria, VA." The case is cuffed to his wrist. PAGE Sorry I'm late, sir. Precogs put out a heavy national volume this morning -- four for our zone. ANDERSON (DISTRACTED) Put the case on my desk, Ennis. Page hesitates, doesn't do it. Anderson moves quickly to Page. ANDERSON (CONT'D) What was I thinking. Anderson leans over the BRIEFCASE. A small panel recedes, a red laser scanner clicks on, scans Anderson's eyes, BEEPS affirmatively, then clicks off. The cuff on Page's wrist falls open. Now Page puts the case on Anderson's desk. Page hesitates. Anderson and Witwer know just what he's going to do. Page reaches down, unable to resist straightening a pile of papers strewn on Anderson's desk. Anderson and Witwer exchange knowing smiles. When Page looks up they try to cover, but are not quick enough. He frowns tightly, and heads for the door. Anderson calls after him. ANDERSON Thanks, Ennis. Witwer turns to leave, too. WITWER Now that's a guy who really cares. Witwer grins to himself as he walks out of the office. Anderson takes a deep breath and goes to his desk, and opens the briefcase. Four small bright DISCS sit in rows. He removes one, places it in a VIDEO MONITOR that lifts into view from the center of his desk. He sits back, weary, and watches.----------------------------------------------------------------------------------------------------- 14. VIDEO SCREEN A young black woman stands in a hallway. She stares at a door, gun in hand. She opens the door, enters a bedroom. She glides toward a bed, where a man lies sleeping. She lifts the gun and fires it into his sleeping form. ANDERSON pops the disc, jots down some notes, pops in a new disc. VIDEO SCREEN A white woman stands at a stove, cooking. A man comes up behind her slowly, silently, a necktie taut between his hands. He raises the necktie toward her neck ANDERSON He's not watching the screen. He is out of his chair now, looking out the window. INT. PRECRIME MAIN LOBBY A tour of Precrime is in progress, like the public relations tours run by present-day FBI. The TOUR GUIDE, a pretty, smartly uniformed woman in her twenties, leads a group of adults and children, all with glowing nametags, through the building. TOUR GUIDE Welcome to the main headquarters of Precrime. Smaller Precrime branches are scattered throughout the United States. The group follows the guide slowly through the lobby. TOUR GUIDE (CONT'D) Precrime was established in 2030, with the harnessing of the remarkable talents of the Precognitive mutants. She points cheerfully to a stubby little man, MR. HARRIS. TOUR GUIDE (CONT'D) Mr. Harris, can you tell me how many Precogs there are? MR. HARRIS Three. Uh, right? TOUR GUIDE That's exactly right! A lot of people assume there are Precogs in every branch office. (MORE)----------------------------------------------------------------------------------------------------- 15. TOUR GUIDE (CONT'D) But there are only three Precogs, right here in this building. And the information they give us, we send out to all the other branches. (beat) And what is that information -what do the Precogs do? An eager boy, TIMMY has the answer to that one. TIMMY They protect us. The guide tousles his hair. TOUR GUIDE (chipper voice) That's right, Timmy. Because of the Precogs, you're going to grow up murderfree. Isn't that something? MR. HARRIS They ever wrong? The Precogs ever screw up when they predict a murder? The guide laughs tolerantly. TOUR GUIDE Never, sir. It's an infallible system. The Precogs predict a homicide, and our Precrime police then apprehend that future murderer before the event occurs. And right next door is the Judicial Center, where we prosecute the future murderers. TIMMY Can we see the Precogs? TOUR GUIDE No, I'm sorry. That part of the building is not open to the public. (beat) Now, if you'll just step this way ... She waves the group on toward an elevator. INT. THE PRECOG CHAMBER The chamber is an elaborate, hypertech hospital, constructed for the maintenance of three beings -- the Precogs. They are triplets -- two of the Precogs are male, one is female.----------------------------------------------------------------------------------------------------- 16. Technicians swarm all over them like worker bees. The bodies of the Precogs are being tended to: exercised, cleansed, groomed. The head of each Precog is encased in a complex, ornate HELMET that seems to be an amalgam of organic tissues and bright metallics. The helmets pulse slightly, and the surfaces seem to flow and shift, like oil on water. A network of micro-thin cables that are actually strands of light, rise Medusa-like from each helmet, then centralize into a single strand, and connect to a massive mainframe computer. The Precogs appear to be in suspended animation, or in comas. They are absolutely still and limp -- except for their faces. Their faces are in constant motion, the lips mouthing scenes from murders only they can see. Life for a Precog is an endless cycle of death. CLOSE ON - THE FEMALE PRECOG we recognize her fragile and perfect FACE from the opening scene of the movie. She floats in a glowing nutritive bath. Like her brothers, she seems to be eternally young, or eternally old. The technicians lift her from her bath. She is dried, dressed in a robe, then guided into an over-sized, throne like chair. Her brothers are guided into their thrones, on either side of her. Not once are their helmets removed. What they feed into the mainframe is too valuable. It must be gathered twenty-four unrelenting hours a day. INT. A ROOM Ennis Page sits in a room just off the Precog Chamber. He can see them through a large window. He works a large computer console, the gathering point for the information the Precogs constantly feed the computer. Perhaps every ten seconds, a small DISC is released by the computer, and mechanically gathered, sorted, and placed -under Page's watchful eye -- into a black case. ANDERSON is in the room standing quietly behind Page. As Director, Anderson is authorized to come and go, but from his fussy movements, it's obvious Page sees anyone else in the room as an intruder in his special domain. Anderson turns and looks through the window at the Precogs. ANDERSON What would they think about if we unhooked them?----------------------------------------------------------------------------------------------------- 17. Page looks up from his work. PAGE They don't think, sir. They just see. Anderson is silent. PAGE (CONT'D) They're not even alive, really. Anderson contemplates the scene, nods to Page's words, then turns and walks out of the room, as Page looks on. INT. THE PRECOG CHAMBER The female Precog sits in her chair. Her eyes are open. She faces the window that looks into Page's main frame room. In the window we see Anderson leaving the room. The female Precog's eyes drift closed. DISSOLVE TO: INT.COURTROOM - JUDICIAL CENTER -- DAY A trial is in progress. The defendant is Johnny Palmer. He sits, ashen, at a table, his DEFENSE ATTORNEY beside him. There are no jurors in the Juror BOX. There is a JUDGE, 55, and stern. There are a few people in the public seats. The Precrime prosecuting attorney is Lisa Anderson. She wears a black robe, and addresses the Director of Precrime, Anderson, who sits in the witness stand. LISA Director Anderson, do you swear that the disc you now present to the court is the only and authentic disc of the future murder of Carol Palmer by her husband, John Palmer? It is a ritual that they both have acted out hundreds of times. Anderson gives the rote answer as he holds up the DISC. ANDERSON Yes. This is the only and authentic disc of the event seen by the Precognitive mutants and recorded by the Precrime Division. This is the immutable evidence of the infallible system.----------------------------------------------------------------------------------------------------- 18. LISA The murder of Carol Palmer will occur ... ? ANDERSON In one week -- June 16th, 2040 at 10:33 in the morning. Lisa steps back. The judge reaches out and Anderson hands him the disc. The judge inserts it into a special video machine on his desk. Anderson steps down, his ritual part in this trial completed. A huge MONITOR comes to life behind the judge. He does not turn around to watch -- he has his own monitor. Johnny Palmer watches, eyes wide. We now see, in detail, what we previously heard the Precogs act out in the beginning of the movie. THE MONITOR The Palmer's family room. Johnny reaches into Carol's sewing basket for the scissors. Carol stands defenseless in front of him. Their son cowers in a corner of the room. CAROL Johnny, please -- JOHNNY "Johnny, please. Johnny please." CAROL You're scaring me. JOHNNY'S SON DADDY, DON'T. DADDY Johnny approaches his wife with deadly menace. JOHNNY (considering) I don't like you any more, Carol. CAROL (imploring) Put the scissors down. You're scaring me. Please. We cut away from the monitor and stay on JOHNNY PALMER'S FACE as he sits at the defense table. He winces at each terrible exchange. JOHNNY (O.S.) Oh, Carol. CAROL (O.S.) Johnny! Stop!----------------------------------------------------------------------------------------------------- 19. JOHNNY (O.S.) Don't grab at me! Let go... JOHNNY'S SON (O.S.) Daddy! No! Johnny Palmer cries out as the MONITOR goes blank. JOHNNY I didn't do it. I'm innocent! It didn't happen! The JUDGE hits his gavel. JUDGE How does the defense plead? The defense attorney glances at his watch, then quickly rattles off the words to his part of this judicial ritual. DEFENSE ATTORNEY The defense acknowledges the infallibility of the system. We are Guilty. We throw ourselves at the mercy of the court. JOHNNY No! No! The Precogs are wrong! No! The court guards are on him in an instant. They lead him out of the courtroom. INT.A BOARDING HOUSE - THE SPRAWL -- DAY Anderson pushes down a tight hallway thick with police and enters a disheveled room. The fifties interior is drab: a Formica table, bad curtains, a frayed Lazy Boy positioned in front of a TV. Ed Witwer is already on the scene. He stands a few feet from the BODY of a man, gunshot wound to the head, a handgun on the floor nearby. WITWER (to Anderson) Looks like the old days. Anderson nods to his former partner. Anderson leans over the body. ANDERSON That would be bad news for an infallible system. Witwer is suddenly bored.----------------------------------------------------------------------------------------------------- 20. WITWER We know it can't be a murder -- the Precogs would've seen it. Why do you insist on coming to these things? ANDERSON Keeps the system honest. And besides, I like to pretend I'm a cop. Anderson turns to an officer. ANDERSON (CONT'D) Who's got the Coroner? Another OFFICER steps forward with a large blue case. OFFICER Right here, sir. The officer places the case beside the corpse, and opens the latches. Inside the case is a large metallic APPARATUS: the "Coroner." It comes to auto-life, and begins to unfold itself - It rises crab-like, and steps out of its case. Except for his mouth, the doctor doesn't move. His projected image stands beside the body, his arms folded behind his back. He is the interface, the way the humans communicate with the crab apparatus. ANDERSON Hi DOC. HOLOGRAPHIC DOCTOR Hello, Director Anderson. The coroner crab begins to walk the body, which is face down on the floor. It moves slowly, hesitating as it crawls the body's back to insert various razor thin probes and core samplers through the shirt and into the spinal cord. WITWER This a homicide, Doc? HOLOGRAPHIC DOCTOR I'm presently analyzing neurohormones, Assistant Director Witwer. I have not concluded my examination. The crab engulfs the back of the head, probes the wound. HOLOGRAPHIC DOCTOR (CONT'D) I'm detecting carbonization of skull fragments around the entry wound. Witwer whispers to Anderson.----------------------------------------------------------------------------------------------------- 21. WITWER Bingo. The guy put the gun to his own head. HOLOGRAPHIC DOCTOR I have not determined that yet, Assistant Director. Witwer grins. WITWER You have good ears for a ghost, Doc. The coroner crab steps away from the body. HOLOGRAPHIC DOCTOR Please rotate the corpse to the lateral supine position. Two officers turn the body face-up. The crab inches close to probe the face. Disconcertingly, it lifts the eyelids, and examines the interior of the mouth, so that for a moment the manipulation makes the corpse seem alive. Then the crab moves down the trunk and the legs At last, it comes to a standstill. The holographic Doctor closes his eyes as if in thought. WITWER Can you imagine if this was a homicide? Who even knows how to hunt down a killer any more? Anderson gives him a hard look. ANDERSON I know how, dammit. You know how. WITWER Easy, partner. (beat) But you know what I'm saying. The state legislatures are pushing to stop funding for training homicide detectives ... ANDERSON God bless the Precogs. The Doctor opens his eyes. HOLOGRAPHIC DOCTOR This event is a negative homicide. A mortal wound was generated by a .22 calibre bullet self-delivered to the parietal 'portion of the skull on June 10th, 2040, at 11:57 pm, (MORE)----------------------------------------------------------------------------------------------------- 22. HOLOGRAPHIC DOCTOR (CONT'D) Eastern Standard Time. This event is a positive suicide. The holographic doctor begins to shimmer, then disappears back into the coroner crab. The crab crawls back into its case, folds its probes and legs tight to its metal body, and shuts down. Witwer turns to Anderson. WITWER It's time to stop coming to these, partner. Anderson watches as the med techs lift the body onto a stretcher. ANDERSON Yeah. You're right. INT. A BANQUET - WASHINGTON, D.C. -- NIGHT Anderson, in black-tie, with Lisa in a shimmering blue gown at his side, moves through a huge room filled high level government officials and politicians. ANDERSON A little bit of me dies every time I come to one of these things. LISA It's only a party, Paul. ANDERSON I'd never have let them appoint me to Precrime if I'd have known this was going to be part of it. LISA You're exactly what Precrime needed. An amazing homicide cop and a real person in an unreal job. ANDERSON Exactly. LISA The public loves the Precogs. But they give people the creeps, too. You're something they understandp a regular cop running things. Anderson sighs as he looks around the elegantly appointed banquet hall. ANDERSON Let's invite all these irregular assholes over for a barbecue. Burgers and beer - think they'd come?----------------------------------------------------------------------------------------------------- 23. A barrel-chested man with a great shock of pepper gray hair, SENATOR MALCOLM, 58, takes hold of Anderson's elbow from behind. SENATOR MALCOLM I'd come, Mr. Director. And I'd make all the other assholes come with me. Lisa reddens, Anderson gives an embarrassed cough. The Senator laughs and claps him on the back. SENATOR MALCOLM (CONT'D) Nice job this morning. Another negative homicide. The Precogs never let us down. Mrs. Malcolm smoothly occupies Lisa, while the Senator eases Anderson in the opposite direction SENATOR MALCOLM I have a dream, Paul. ANDERSON I know you do, Senator. SENATOR MALCOLM Hundreds of Precogs. Not just predicting murders, but predicting all crimes. Burglary, arson, assaults ... ANDERSON How about jaywalking? Littering? Now there's a crime. The Senator smiles through his teeth. SENATOR MALCOLM I don't want a police state, you know that. But we have an opportunity here, and ANDERSON No sir, we don't have that opportunity. There are only three Precogs. They're a lucky accident of nature. There are no more. SENATOR MALCOLM (beat) We can make more. Just give me your support. Help me increase funding for the Precog Engineering Project. ANDERSON Precogs aren't sheep or pigs. Seeing into the future is a gift, a nonreproducible event. (MORE)----------------------------------------------------------------------------------------------------- 24. ANDERSON (CONT'D) There was only one Mozart, and there are only three Precogs. SENATOR MALCOLM Fuck Mozart. The people want to be safe. They want that more than they want food or love. He gestures at the room full of glittering partygoers. SENATOR MALCOLM (CONT'D) Look at us -it's 2040 and we've wrapped ourselves up in the 1950's like a big security blanket. Why? Because we want to feel like they felt. Safe. ANDERSON Senator, a world filled with hundreds of Precogs is not my idea of a safe place. The Senator gives it one last shot. SENATOR MALCOLM Sure could use your help, Paul. ANDERSON I decline, Senator. I'm sorry. SENATOR MALCOLM (icily) Don't think I'll come to your barbecue after all. The senator moves off. Anderson stands stiffly among the sea of black-ties and exquisite fifties dresses. INT. PRECOG ENGINEERING LAB - CHEVY CHASE, MD DAY Anderson walks through the lab with a tall, pale man, DR, RESFIELD, 60, the head scientist. It is not a place that warms Anderson's heart. Biotechnicians work at long stainless steel tables dissecting and examining protoplasmic tissue masses. Other technicians peer through massive microscopes. Still others use robotic arms to manipulate radioactive organics behind leaded-glass barriers. DR. RESFIELD You don't get out here much. ANDERSON Not my sort of place. Dr. Resfield emits a dry little laugh.----------------------------------------------------------------------------------------------------- 25. DR. RESFIELD The head of Precrime squeamish? ANDERSON When it comes to needles and scalpels, yeah. DR. RESFIELD I promise we won't use any on you. ANDERSON What do you use them on? DR. RESFIELD (beat) On bits of this and that. Anderson looks at him. The doctor pauses outside a thick door. An IdentiScan device quickly reads their eyes, and the door opens with an electronic hiss. Anderson looks around the lab. Technicians lower mesh cylinders into some sort of chemical VAT. Another technician turns a dial, and an electric charge courses through the roiling liquid. ANDERSON What's happening here? DR. RESFIELD We're in an interesting phase. ANDERSON What's in the cylinders? DR. RESFIELD Neurotissue. ANDERSON From ...? DR. RESFIELD A fusion of sources. From the Precogs' deceased mother. From the Precogs themselves. ANDERSON A fusion of ... ? DR. RESFIELD In lay terms, we mated sperm from the brothers with ova from the mother and sister to create new growth. The CYLINDERS shudder as the voltage is increased. DR. RESFIELD (CONT'D) And then we add mutating variables.----------------------------------------------------------------------------------------------------- 26. Anderson stares into the roiling vat. Dr. Resfield waits for more questions. But it is clear from Anderson's expression he has already learned enough. INT. ANDERSON'S OFFICE -- DAY Anderson sits in his office reviewing Precog discs for premurders in the local Washington area. We stay on him as he watches the monitor. He pops the disc, jots down some notes, slides in the next disc. Anderson's mouth slowly opens. He leans close to the monitor, his face ashen. EXT. FRANK D'IGNAZIO'S BACKYARD -- LATER Frank is on his hands and knees, working his vegetable garden. He whistles softly under his breath as he trowels the rich soil. He sits up as he hears someone open the garden gate. He lifts his straw hat in greeting, gives a smile. It's ANDERSON. FRANK D'IGNAZIO What are you doing, playing hooky? Anderson tries to smile. But it won't come. He looks around the abundant garden. ANDERSON It's great out here, Frank.. You got the touch. Frank straightens with a grimace. FRANK D'IGNAZIO I got the arthritis, is what I got. Anderson reflexively looks up at a high WHINING sound from over head. Frank follows his gaze. A Precrime HOVERCRAFT glides into position overhead. Frank stares, then lowers his eyes to the ground. He takes a long sad breath. FRANK D'IGNAZIO (CONT'D) Ah shit, neighbor. (beat) Goddamn Precogs don't miss a beat, do they? (beat) Can we do this inside? Ellie's not home. Anderson's voice is full of pain.----------------------------------------------------------------------------------------------------- 27. ANDERSON Sure, Frank. Yeah. INT. FRANK'S KITCHEN -- MOMENTS LATER Frank wanders the kitchen, trying to focus on his situation. Anderson has trouble meeting his friend's eyes. Through a window we can see black suited police officers with mirrored helmets swarming outside Frank's house. FRANK D'IGNAZIO (distracted) I thought I'd buried it all. Thirty-five years -- all those minutes and days to bury it. (beat) But suddenly you see the man who murdered your daughter walking the streets -- my God it throws you. Frank stops pacing. He stares at a kitchen drawer. ANDERSON He'd served his time, Frank. I know it's not fair. It's way beyond not fair ... Frank looks. At Anderson bitterly. FRANK D'IGNAZIO (yells) God damn the Precogs. You know? Why couldn't they have been around to save my girl? (softly) Now they're catching me. Frank reaches into the drawer and pulls out a small handgun. FRANK D'IGNAZIO (CONT'D) I really shoot the bastard, huh? When? ANDERSON Next Wednesday, at noon. FRANK D'IGNAZIO Good. Anderson's cop eyes are all over the gun. ANDERSON It's not in you, Frank, to kill anybody.----------------------------------------------------------------------------------------------------- 28. FRANK D'IGRAZIO Tell it to the Precogs. It's set in stone now, right? Frank puts the gun on the kitchen counter. Anderson relaxes. FRANK D'IGNAZIO (almost inaudible) I don't want to be a part of this world anymore. ANDERSON I know, Frank. Frank gives Anderson a look -- no, friend, you don't know. Then Frank looks hard at the gun on the counter. FRANK D'IGNAZIO (beat) So. Tell me, Paul. Do the Precogs see everything? ANDERSON No. FRANK D'IGRAZIO Then they won't have seen this. Frank suddenly snatches up the gun and presses it to his own head. On Anderson's anguished FACE, at the SOUND of the gun going off. EXT. FRONT YARD -- LATER Anderson stands with his old partner, Witwer, on Frank's front porch. Behind them, through an open door, we see Lisa comforting Ellie D'Ignazio in the living room. Anderson is deeply shaken. Witwer tries to talk him through it. WITWER (GENTLY) We had to bring him in. Anderson doesn't respond. WITWER (CONT'D) He was a future murderer. ANDERSON (angrily) You blame him? The guy killed his daughter! Witwer lets the implication of his words sink in. ANDERSON (CONT'D) Yeah. I know. I know.----------------------------------------------------------------------------------------------------- 29. Anderson turns and watches as they wheel Frank's draped body into the back of an ambulance. Anderson's bitterness erupts. ANDERSON (CONT'D) I hate the Precogs, Ed. I believe in them absolutely and I hate them absolutely. Jesus. Witwer listens to him. ANDERSON (CONT'D) And that goddamn lab trying to grow more of them. Put a Precog in every home, you know? So we can have more Franks - people shooting themselves -- over who knows what? Witwer kneads Anderson's shoulder, talks to him in soothing tones like you'd calm an agitated horse. WITWER Precrime did the job it was supposed to do. The two men can hear Ellie sobbing inside the house. WITWER (CONT'D) You know it. And you believe in it. ANDERSON (BEAT) Yeah. WITWER It's not easy. It beats us down. Ellie in there -- no doubt she hates you right now. Anderson turns to Witwer. ANDERSON That's why I got into this business -- to be hated. Anderson almost manages a small smile. Witwer puts his arm around him. Walks him away from the scene. WITWER They hated us when we were regular cops. Now we're Precrime, and they still hate US. It's one of the little perks of law enforcement nobody knows about. Their quiet laughter is tinged with sadness. Anderson looks into his partner's good, open face. Then they both look away, their understanding of each other complete.----------------------------------------------------------------------------------------------------- 30. INT. ANDERSON'S BEDROOM -- LATE NIGHT Anderson stares out the window at Frank's house, illuminated by the moon. It's a mournful sight. Lisa rises on an elbow and watches him from the bed. DISSOLVE TO: INT. PRECRIME HEADQUARTERS-ALEXANDRIA-DAY - ONE WEEK LATER Ennis Page, in the mainframe room just off the Precog Chamber, picks up a black BRIEFCASE marked: "Zone 218 Washington / Alexandria, VA." He approaches the door, and his eyes are scanned. The door opens with a HISS. We follow Page as he walks through doors and corridors until he reaches a long hallway leading to the Director's office. Anderson's secretary, Angela, looks up on Page's approach. She nods. He nods. He walks around her desk. His eyes are scanned, and the door to Anderson's office opens. ANDERSON looks up, wearily. INT. ANDERSON'S OFFICE -- LATER Anderson inserts a disc into the video monitor, almost absently. As we have seen him do before, he swivels his chair away from the monitor, and stares at Washington D.C. across the Potomac. Hovercrafts and transports skim through the sky above the Washington Monument. The camera stays on Anderson's back as the sound from the Precog disc begins. He hears his own voice speaking in strained, agitated tones. ANDERSON (O.S.) Let's not do this, Ed. Anderson slowly swivels around and stares with disbelief and horror at the monitor. THE MONITOR shows Anderson and Witwer in a room, a few feet apart pointing guns directly at each other. Their eyes intense and panicked. Who murders whom? Ed's eyes cut to a huge digital clock on the wall as the red seconds tumble away. ANDERSON Oh, Ed ...----------------------------------------------------------------------------------------------------- 31. Witwer lowers his gun. He stands unresisting before Anderson. Witwer sees his own death in Anderson's wild eyes, has always seen it. Anderson FIRES his weapon, puts a bullet straight into Witwer's heart, throwing him back against a wall. Witwer slumps, dying, beneath the huge digital clock, which reads: 5:20 AM. BACK TO SCENE Anderson stares as the monitor fades to a blank. His hand goes to his mouth. His body begins to shake. He hugs himself, but he can't stop the shaking. The DISC pops out of the side of the monitor. It is a small SOUND, but it has Anderson up and out of his chair as if it were a gunshot, He reaches for the disc but cannot touch it. His legs suddenly weaken, and he drops to one knee beside his desk, like a man in need of prayer. There is a single thought that screams through his brain. It is an almost visible thing, filling the room, blackly. Anderson whispers the sickening words that shape his fate. ANDERSON (CONT'D) I kill you. (beat) Oh god, I kill you. As Anderson pulls himself up, and tries to reach again for the disc ... CUT TO: INT. THE PRECOG CHAMBER In an image just like the scene in the beginning of the movie, the three FACES of the Precogs hover in the misty darkness. Their closed eyes open in SUDDEN UNISON. They speak as one. ALL THREE Murderer! After a long moment, the eyes close again, and the Precogs fade into the mists ... CUT TO: INT. ANDERSON'S OFFICE Anderson looks up sharply at the SOUND of a knock on his door. Every normal sound seems grotesquely AMPLIFIED, the traffic outside, his own breathing.----------------------------------------------------------------------------------------------------- 32. His senses are on overload. The door begins to open. A stockinged leg is the first thing Anderson sees. His secretary, ANGELA. ANGELA Sir? She hesitates before fully entering the room, Anderson grabs at the incriminating disc. He sees his EYES reflected in its alloy surface. He pushes the disc deep into his pants pocket. Somehow he finds his voice. ANDERSON Come in. Angela. She looks at him, uncertain. Then she places a small stack of papers on his desk. ANGELA Need you to sign these. And your eleven o'clock starts in five minutes. ANDERSON My ... eleven. ANGELA (beat) Budget coordination with the FBI. (beat) You okay, sir? Anderson runs his hand through his hair, can't think fast enough. He sees her glance at the black Precog disc case. He shuts it, awkwardly, and it auto-locks. ANDERSON Have Page take this. Angela steps back, disturbed. ANGELA But sir, the procedure ANDERSON (SNAPS) I make procedure. Call him. (long beat) I'm not okay, Angela ... you're right. My head and stomach. I'm going down to the clinic. Or maybe just home. Angela looks relieved at the explanation. ANGELA Yes sir.----------------------------------------------------------------------------------------------------- 33. He moves past her. His FINGERS fidget against the hidden disc in his pocket. ANDERSON I'll speak to Witwer, put him in charge for the rest of the day. He hesitates at the door, turns to look at his office, and at his view of Washington. Then he is gone. INT. OUTSIDE WITWER'S OFFICE -- MOMENTS LATER Anderson looks in the door Of Witwer's empty office. He takes a step inside. Witwer's booming voice sounds from behind him, startling him. WITWER Breaking and entering. That'll get you five to ten, hard. Witwer immediately scans his old partner's ashen face. WITWER (CONT'D) What's wrong? Anderson can hardly bear to meet his friend's eyes. He REACHES into his pocket, as if to lift the disc into the light. If he could just do that, show it to Witwer. WITWER Paul? Anderson's hand comes out of his pocket, EMPTY. ANDERSON Take over for me today? WITWER You sick? ANDERSON Yeah. Witwer makes a show of backing away. WITWER Don't give it to me. You probably have that Trans-10 virus going around. A stomach thing. I hate stomach things. Anderson Almost smiles. ANDERSON Ed.----------------------------------------------------------------------------------------------------- 34. WITWER Yeah? Witwer looks at him. Anderson almost reaches out for him. ANDERSON Run the place, okay? WITWER (smiles) Sure. Right into the ground. (beat) Go on home before I call Infectious Control and have them spray you down with something. Anderson moves unsteadily down the hallway. Witwer calls out. WITWER (CONT'D) You want me to do the discs, or hold them for you to review when you get back? ANDERSON Can't let them back up. Do 'em. WITWER Call you later. Take it easy, all right? Witwer lifts his hand in farewell, Anderson fixes on that last image -- Witwer waving goodbye. INT. PRECRIME UNDERGROUND GARAGE -- LATER Anderson, sweating now, leans against a thick cement pillar and pulls out a cell phone. He hits a button. INTERCUT BETWEEN ANDERSON / LISA AT THE JUDICIAL CENTER Lisa sits in a meeting. Her phone CHIRPS softly. She glances at the display, then rises to take it. She goes to a corner of the room. LISA Paul? ANDERSON Listen to me. Lisa presses her phone close to her ear. LISA I can hardly hear you.----------------------------------------------------------------------------------------------------- 35. ANDERSON I'm underground. Weakens the signal so it can't be picked up. Alarm moves across her face. LISA But we're on Secure ANDERSON Listen, dammit! I'm going to murder Ed. The Precogs picked it up. On Lisa -- can she have heard right? LISA Paul. Paul His crackling voice faintly comes through the phone. ANDERSON'S VOICE ... home. Lisa's phone goes dead. BACK TO ANDERSON Anderson looks down a long row of parked Precrime ground transports. They are sleek and menacing, the black shells lumpy with dangerous gadgetry. In the distance, a POLICE OFFICER, holding an armful of equipment, opens the back of one of them. He looks up at Anderson's approach. He puts his equipment down, and salutes. POLICE OFFICER Hello, sir. Anderson nods, moves close. ANDERSON What's your name, officer? POLICE OFFICER Bob, uh, Robert Smythe. ANDERSON These the new Python transports? The young officer turns and looks at the transport with pride, is about to speak, when Anderson touches a palm-sized Nova stun gun to the base of his neck. ANDERSON (CONT'D) (sincerely) Sorry, Officer Smythe.----------------------------------------------------------------------------------------------------- 36. The officer buckles. Anderson catches him, rolls him gently into the back of the transport. Then Anderson quickly reaches into the transport, and begins stuffing equipment into a duffel bag: a helmet and black uniform, the weapon-glove, a folded rifle, a holographic scanner, and other equipment whose function we can only guess at. Anderson looks up at a sound, echoey FOOTSTEPS. They approach, then fade away. Anderson places the officer's hands and legs together, then aims a nozzled cylinder at them. He shoots a spray of blue BindFoam chemical restraint, sticking the man to the floor of the transport in an adhesive glob. Then he leaves the scene, running. INT. ANDERSON'S CHEVY Anderson grips the wheel of his Chevy, driving down 1-95. The fact that he can't control his car -- that the steering wheel has no function, his speed is predetermined, and his direction is guided by satellite -- is maddening now. From inside the cars that glide along beside him people turn and look curiously at the man who is actually gripping his steering wheel. Anderson slams it with his fist. Through his windshield Anderson sees a four year old boy in the driver's seat of a passing red and black Ford. His mother sits in the passenger's seat, blithely reading. The boy mimics Anderson, gleefully slams his steering wheel too, then laughs. Anderson turns and looks the other way, into the distance, at the "Sprawl,' the vast unzoned city attached to Washington D.C. You can see it in his face: a man could lose himself in there. EXT. POTOMAC PARK Anderson stands on an embankment. He holds the Precog disc in his hand, ready to throw it into the river. He stands like that ... and then slowly lets his hand drop. He doesn't do it. INT. ANDERSON'S HOME - SUBURBS -- LATER Lisa enters the house, in a rush. Every shade is drawn. Paul Anderson sits in an overstuffed chair, absolutely motionless, like a man who has died suddenly. ANDERSON Don't move.----------------------------------------------------------------------------------------------------- 37. Lisa doesn't get it. She continues toward him. ANDERSON (CONT'D) Stop! Moving heats you up, makes it easier for them to pick you up on their thermals. She looks at him, scared, stops in her tracks. She is suddenly suffocating. LISA It's a hundred degrees in here. ANDERSON I turned the furnace all the way up. Your hair dryer. The oven. If they come, it'll buy me twenty seconds. Maybe thirty. LISA Nobody's coming for you. Anderson stares at her. LISA (CONT'D) On the phone -- what you said. It's impossible. She shakes her head in disbelief. Anderson speaks, choking on the words. ANDERSON I'm going to kill Ed Witwer. LISA It's not true. Anderson's right hand hangs over the side of his armchair. We see the bright DISC cupped in the palm. He seems about to reveal it to her, but doesn't, yet. He keeps staring at her intently. Something is holding him back. LISA (CONT'D) You're upset. You've been unhappy. There's a lot of pressure on you. And then Frank ... ANDERSON One week from today. Tuesday, June 25, at five-twenty in the morning. I shoot him, Lisa. LISA (beat) You need to take time off. Anderson laughs harshly.----------------------------------------------------------------------------------------------------- 38. ANDERSON You don't have to worry about that. She steps toward him. LISA (gently) I want to hold you. ANDERSON If you love me, stand there. And don't move. Tears well in her eyes. ANDERSON (CONT'D) I saw the disc, Lisa. I shoot him. In the chest. And he dies. I've watched a thousand murders. This time I star in one. LISA Something's wrong. You wouldn't do it. ANDERSON The Precogs are never wrong. They emit a single disc. "The immutable evidence of the infallible system." The room is terribly hot, his words -- she begins to sway unsteadily. Anderson focuses on her. Her face. Her hair ... LISA We'll figure this out. We'll review the system. ANDERSON There is no review. There's only the disc. It Shows My guilt. There's no defense. Her long hair. He stares. LISA You can't run. Please, let's -- A SOUND outside. They both turn. A deep silence. The furnace churns out heat. And Anderson looks at Lisa's hair ... and finally understands. Slowly, and very carefully, Anderson slides the DISC back into his pocket. He rises from his chair. For the first time he goes to her, reaches out, and touches her hair.----------------------------------------------------------------------------------------------------- 39. ANDERSON Last week. It was strange. I watched from the bathroom window. You went out in the backyard to make a call. She looks at him. ANDERSON (CONT'D) An appointment, you said. For a haircut that afternoon. Lisa's hand jumps to her hair. ANDERSON (CONT'D) You didn't get your hair cut. You went to the trouble of calling first thing in the morning. It was that important ... She reaches for him. He pulls away. LISA Stop it! Paul, please. You're panicking. Everything's going to look wrong. You're going to distrust everybody and everything now. Lisa implores him. LISA (CONT'D) You can't distrust me. (beat) It was Ed I called. Anderson cocks his head. ANDERSON Ed. why outside? Why lie about it? LISA Stop being a cop and listen to me! A booming, electronically altered VOICE suddenly penetrates the walls of the house from outside. VOICE (O.S.) Director Anderson! There is no escape! Anderson, betrayed, glares at his wife. She's frantic. LISA Your birthday's tomorrow! We wanted to... But be's already on the move, running for the upstairs.----------------------------------------------------------------------------------------------------- 40. VOICE (O.S.) Drop to your hands and knees and stay there. Precrime is entering your house! Lisa screams, as her front door is sonically BLASTED off its hinges, and a swarm of Precrime officers in mirrored helmets hurtle in. LISA Paul! They move past her and spread through the rooms and up the stairs like a disease in fast motion. UPSTAIRS Helmeted officers hold their gloved right bands palm out, scanning rooms for thermal presence. An OFFICER 1 steps out of a small room. He speaks, his voice electronically altered. OFFICER 1 He's got a hair dryer going. Screwed up my reading. The others nod. OFFICER 2 We're not picking up shit. They rush into rooms, with increased urgency. We follow OFFICER 1 as he moves counter to the group and down the stairs. He hesitates as he moves through the living room, which is awash in personnel. Lisa stands against the wall, pale and shaken. He looks at her for a long beat, then steps over the shattered door and out into the sunlight. OUTSIDE Everywhere else in the neighborhood it is green and calm. But Anderson's house looks like a wasps's nest someone has kicked. Four Precrime hovercrafts are suspended above it, engines WHINING. Black Python transports are all over the street out in front, and more keep coming. And everywhere on foot, there are Precrime police. OFFICER I approaches a Python ground transport. Another officer guards it, weapon out, his head turning right to left. He settles on OFFICER 1's approach and raises his weapon. OFFICER 1 doesn't even break stride. He walks right up to the guard -- and then right through him. A holograph decoy. OFFICER 1 enters the Python.----------------------------------------------------------------------------------------------------- 41. INSIDE THE PYTHON OFFICER 1 removes his helmet -- it's Anderson. And then comes the moment of truth -- have they cancelled his IdentiScan access to Precrime vehicles yet? A little scanner arm arches down from the visor, and flashes a red beam into his eyes. Anderson presses his lips together. The Python turns on, and a generated voice greets him. VOICE Paul Anderson 0256 clear. Anderson grips the steering wheel. But his time, since it is a law enforcement. Vehicle, the steering actually works. Anderson pulls out. FROM ABOVE, as the Python transport slips away from the chaos. THEN HIGHER, and we see that the direction the Python is headed will take it from the green of the suburbs, through the white of Washington, and into the dark of The Sprawl. INT. PRECRIME HEADQUARTERS -- DAY Ed Witwer sits alone in an antechamber. He stares at an oversized oak door, then looks down at the floor. He runs both hands through his hair. He is tired, his eyes weary, lost. A voice comes over the intercom. VOICE Enter now please, Assistant Director Witwer. Witwer pulls himself together, and opens the door. INT. A CONFERENCE ROOM Witwer takes a seat at the end of a long table. Powerful men sit at the other end of the table. SWANSON, sharp-boned, the FBI Director. CRONIN, awl-like eyes, the CIA Director. Senator Malcolm. Chief Justice POLLARD, whose face reveals nothing. Vice-President ALMER, whose tongue darts across his dry lips unsettlingly. Unpleasant looking men in an unpleasant mood. Cronin looks up from a printout he's been reading and stares at Witwer. CIA CRONIN The central question is: Why does Anderson want to kill Witwer?----------------------------------------------------------------------------------------------------- 42. Cronin holds up the printout. CIA CRONIN (CONT'D) We checked your finances. His finances. Nothing irregular, you don't steal from him, he doesn't steal from you. You haven't done anything that he might have discovered, and vice versa. Swanson holds up another sheath of papers. FBI SWANSON Personnel checks reveal no ambitious coups planned by you to topple him. (beat) He's done nothing to you, or you to him. Witwer presses his lips together. VICE-PRESIDENT ALMER You fucking his wife? WITWER No. FBI SWANSON HIS MOTHER? HIS BROTHER? Witwer gives him a bad look. FBI SWANSON (CONT'D) Okay. There we are. JUSTICE POLLARD So, you are friends, partners, and soul mates. Anderson has no motive. WITWER I can't think of one. (beat) Maybe JUSTICE POLLARD The Precogs are mistaken? Witwer looks away. Jesus, he wants out of this room. JUSTICE POLLARD You don't believe that, do you? WITWER (barely audible) No. The Precogs are infallible. Senator Malcolm is impatient with all this.----------------------------------------------------------------------------------------------------- 43. SENATOR MALCOLM You're goddam right. So, gentlemen -screw the motive. We got a pre-murderer on the run, and a nasty little PR problem. The very powerful men level their unpleasant gazes on Witwer. VICE-PRESIDENT ALMER And here is our solution. You are now Director Witwer. Witwer shakes his head, starts to protest. Almer silences him with a raised finger. VICE-PRESIDENT ALMER (CONT'D) Precrime must demonstrate its willingness to go after one of its own. Total impartiality. WITWER Now look-- Cronin talks right over him. CIA CRONIN The public must believe that every future murderer is pursued with equal vigor. FBI SWANSON Therefore, Precrime will put in charge the man best suited to the job. And who would pursue a murderer harder ... than his intended victim? JUSTICE POLLARD You went after Anderson yesterday -because it was right, and because you believe. Almer speaks with a tight irony. VICE-PRESIDENT ALMER And your belief will certainly grow stronger with each tick of the clock. Witwer looks at the men with thinly-veiled hatred. But he does not deny their words. JUSTICE POLLARD Haw long will it take, Director? Wiltwer takes a long breath, concentrates his mind on the task he can't avoid.----------------------------------------------------------------------------------------------------- 44. WITWER He knows Precrime, of course. And the streets -- he's rusty, but he'll remember how to work them. It'll come back to him fast. He's ... the best. Witwer almost smiles. Justice Pollard's not smiling. JUSTICE POLLARD We're not here to praise Caesar -- we're here to bury him. Witwer looks at Pollard, then lifts a finger and touches his right eye. WITWER He can't avoid iris identification. Every door he opens, every ATM he uses, or taxi or transport he boards -- he'll get scanned. (quietly) It won't take long to find him. The eyes that look back at Witwer are unblinking. EXT. THE SPRAWL NIGHT The unzoned city is full of 1950's iconography, but it all feels different than it did in the suburbs. Where the burbs were Ike, the city is Joseph McCarthy. The fat Ramblers and Studebakers have a little grime on them. The women's dresses are tighter and more urgent, the men's suits have some shine at the elbows. You look over your shoulder here, move faster, and smile a lot less. And some streets you don't go on at all. Anderson's Python moves down one of them. He stops under a blackened suspension bridge, gets out. He's still in uniform. He holds a duffel bag. He starts to walk away from the Python, then hesitates. He's left the door open. He shakes his head at his sloppiness. Goes back and shuts the door. Walks away again. INSIDE THE CAR He's left a small DEVICE on the passenger's seat. Digital numbers shoot by in reverse. Something CLICKS. OUTSIDE THE CAR Anderson continues walking away. He doesn't look back as the Python is engulfed in a miniature sun of heat and flame. It's not a gasoline powered vehicle -- so it doesn't explode. It just ceases to exist.----------------------------------------------------------------------------------------------------- 45. EXT. ORANGE DRY CLEANERS - -- NIGHT LATER Through a smeared window Anderson sees racks of suits and dresses hanging in clear plastic bags. He gets to work on the door. INT. ANDERSON'S HOUSE -- NIGHT Lisa lies in her bed, alone in the dark. She listens to an almost inaudible sound, a high WHINE. EXT. ANDERSON'S HOUSE A Precrime HOVERCRAFT floats high above her house, a dark moon in the low clouds. EXT. ORANGE DRY CLEANERS -- EARLY MORNING A worker stands in the back of the store puzzling over the clean clothes piled on the floor. It almost looks like a nest, like someone slept there EXT. SUBWAY LATER Anderson, in a blue suit and fedora, carrying his duffel bag, stands on a subway platform. He takes out a cell phone, dials a number. He looks up at the SOUND of a train. The approaching MagLev train has a lit sign on its front car: "33rd Street Express." CUT TO: INT. PRECRIME HEADQUARTERS Search and Command room. Witwer moves up and down the aisles, past technicians who man computers and holographic tracking displays. A Precrime TECHNICIAN 1 suddenly sits upright. Witwer picks him out of the crowd and zeroes in. TECHNICIAN It's Anderson. Witwer grabs a phone, punches a button WITWER Paul! The technicians scramble to pinpoint Anderson on a Glowing holographic MAP. CUT TO:----------------------------------------------------------------------------------------------------- 46. EXT. SUBWAY STATION Anderson, holding his phone, is IdentiScanned along with everyone else as he steps onto the train. CUT TO: INT. PRECRIME HEADQUARTERS Another TECHNICIAN 2 calls out to Witwer. Witwer covers his phone mouthpiece. TECHNICIAN 2 He's been Scanned. He's on the 33rd Street Subway! TECHNICIAN 1 Calls from the other side of the room TECHNICIAN His cell phone tracks for The Sprawl. We got him on the Subway, too! CUT TO: INT. SUBWAY CAR Anderson sits on a seat in the rear of the car. ANDERSON Why am I going to kill you,Ed? INTERCUT:ANDERSON ON THE SUBWAY /WITWER AT PRECRIME WITWER There's no motive ANDERSON My wife calling you before breakfast? WITWER We were planning a surprise party. It was going to be today. (beat, ironic) Happy birthday, partner. ANDERSON This party's no fun, Ed. It's a hell of a surprise, though. (beat) I'm having trouble trusting people, Ed, I gotta tell you. At Precrime, they upload a MAP DISPLAY of the Express train's route. We see a blue light moving -- the train. And two separate red dots along its route. An OFFICER points at the dots, and speaks to Witwer in a low voice.----------------------------------------------------------------------------------------------------- 47. OFFICER The train makes two stops, here and here: 20th, then 33rd Street. Witwer covers the Mouthpiece WITWER (to the officer) Split the units, go to both OFFICER We'll never make 20th Witwer waves him away -- do your job. Now. ANDERSON You there, Ed? WITWER I'm here. You gotta come in, Paul . ANDERSON I'm a Cop, Ed. I need a motive. WITWER Come in. We'll figure this thing out together. CUT TO: EXT. THE SPRAWL Precrime transports zoom through the city CUT TO: INT. THE SUBWAY TRAIN Anderson looks out the window into the tunnel dark. He talks to Witwer. INTERCUT: ANDERSON/WITWER WITWER It'll get ugly if you keep running. And your eyes, Paul -- every move you make a Scanner will pinpoint you for us. ANDERSON I saw a news flash. You're the new Director. Is that the point of this? WITWER Fuck you. Anderson smiles.----------------------------------------------------------------------------------------------------- 48. ANDERSON Didn't think so. But it has to be something, Ed. Witwer looks at the DISPLAY MAP. We see the blue train nearing its first stop, 20th street. We see two waves of lighted green dots -- Precrime units heading for 20th and 33rd. WITWER Paul. Come in. Anderson sees an overhead light come on in the train: "Next Stop 20th Street. ANDERSON If I come in, it puts me close to you. If I get close ... I may kill you. I can't risk that. (beat) Anyway, they'd force you to lock me up. And that'd be it -- I'd never get my chance to solve this thing. Witwer needs to keep him talking WITWER You're kinds liking this, in a way, aren't you? The action ... ANDERSON And you get to be a real cop again. We get to flex our muscles. CUT TO: EXT. 20TH STREET SUBWAY STATION Precrime vehicles pull up. Hovercrafts appear in the sky above. CUT TO: INT. 20TH STREET SUBWAY STATION Anderson's train is just finishing off-loading passengers. The doors close and the train begins to pull out as the first helmeted Precrime officers flood the platform. One of them points. CLOSE ON: A TRAIN WINDOW----------------------------------------------------------------------------------------------------- 49. Anderson is visible through the window, talking on his cell phone. CUT TO: INT.PRECRIME HEADQUARTERS Witwer stares at the map. The train has stopped at 20th street. But Anderson's still talking. He isn't getting off -- he's going on to 33rd Street, the last stop. Technician 2 presses his earphone close, listens, then calls over to Witwer. Witwer covers his mouthpiece. TECHNICIAN 2 We have visual verification -- he's still on the train. Witwer gives him a thumb's up. We STAY ON Witwer as he listens to Anderson, and watches his train move toward 33rd on the MAP. ANDERSON'S VOICE I want to tell you something, partner. You listening? Witwer nods. Now the MAP shows all the Precrime units swarming toward the 33rd Street subway station. WITWER Yeah. ANDERSON'S VOICE I gotta do this. I have to figure this thing out. (beat) But listen to me now. If it was you running, I'd come after you, Ed. Witwer stares at the MAP, at all the units he's sent after his friend. ANDERSON'S VOICE (CONT'D) You're a cop. And I'm a future murderer. (beat) Do your job, Ed. Come after me hard. Because, Jesus Christ, I wouldn't sleep or eat until I had tracked you down and put a gun to your head. CUT TO:----------------------------------------------------------------------------------------------------- 50. EXT. 33RD STREET SUBWAY Precrime officers pour down the stairs toward the train platform. CUT TO: INT. PRECRIME HEADQUARTERS Witwer watches on the MAP at all the little symbols merging together, like a gameboard -- but this game ends in a reallife confrontation between one man and an army of them. WITWER You wouldn't shoot a cop would you, Paul? (beat) Paul? Paul? He looks urgently to the phone technician TECHNICIAN 1 He's still on the line. Witwer presses his ear to the phone. He can hear the subway make its STOP. Then he hears a chorus of mechanized VOICES -the voices of the Precrime police, the SCREAMS of panicked passengers VOICES ON ANDERSON'S PHONE Police. Everyone down on your hands and knees! (then) Oh, shit. CUT TO: INT.SUBWAY TRAIN The Precrime officers aim the index barrels of their gloveweapons at ANDERSON, who sits blithely on a seat, holding his cell phone to his ear. Anderson begins to shimmer, then dematerialize ghost-like, into nothingness. He was a holographic decoy. What is actually there on the train seat is Anderson's cell phone. Rigged to its mouthpiece is a tiny digital voice recorder. CUT TO: INT. 20TH STREET SUBWAY Anderson trots up the stairs and safely out onto the streets of The Sprawl. DISSOLVE TO:----------------------------------------------------------------------------------------------------- 51. EXT. STREET - THE SPRAWL -- NIGHT Every city has its underbelly. If you lifted the fat dark underbelly of The Sprawl this is where you'd end up. The streets here feel like alleys, clotted and tight. There are streetlights, bright ones -- but the light dies at its source, never makes it through the sour air down to the ground. The retro fifties look comes apart here. The people that you see -- and you only catch quick glimpses of them, they move like rats -- wear black mostly, tight fitting tech-fibers. ANDERSON'S caught one of the rats, a thin bald guy in black. Anderson has him pinned up against a wall. They're having some kind of exchange -- which consists of the guy answering none of Anderson's questions, and Anderson pressing him harder against the wall. Finally, the guy does something odd. He lifts a finger and pulls down Anderson's right lower eyelid. Anderson lets him. Then the guy does the same on the left. Has a long look. And then nods. Anderson releases him, and they go off together. EXT. AN APARTMENT BUILDING -- LATER An oppressive brick thing on a side street. The facade is crumbling. Nothing good happens in a building like this.. The guy leads Anderson to the building, then scurries off into the night. INT. ROOM -- LATER A stained overstuffed chair in the corner, a dreary little kitchen with crusted dishes in the sink. But jarringly, in the center of all this, is a make-shift hypertech medical setup: a gleaming operating table, an array of lasers, scalpels and surgical equipment, an anesthesia console. Anderson sits in a chair facing DOC. DOC is a big man with delicate fingers. He sneezes, then blows his nose hard into a handkerchief. DOC Got a cold. Anderson looks at him uneasily. It's not just DOC -- it's the whole setup, the needles and scalpels, the medical thing, which Anderson truly does not care for. Doc sneezes again, then looks up at his patient.----------------------------------------------------------------------------------------------------- 52. DOC (CONT'D) Don't worry. I could cut open your chest, sew a dead cat in there, and you'd never get an infection. Not with the spectrum antibios I'll be shooting into you. ANDERSON I'm not here for cat surgery, Doc. Doc chuckles. Then he waits, expectantly. Anderson hands him a tiny opalescent card. A preset cash card. DOC slides it into small console, watches the numbers flash up. He frowns, sighs. ANDERSON (CONT'D) It's all I could safely move He waits. Doc's not thrilled, but finally, he nods. DOC Yeah. All right. Time to got down to business. Doc walks over to a large medical cabinet and opens the door. It's full of EYES, and parts of eyes -- 611 ! A cryo-jars. Anderson tightens. DOC (CONT'D) You understand what I told you then. I can't just give you new irises. The Scanners will read the scar tissue. Alarms will go off. ANDERSOIN I'm a cop, I know DOC I gotta take your eyes out. Anderson knows this, too, wishes Doc would shut up ANDERSON Yeah. DOC (CONT'D) And put in new ones. ANDERSON Yeah. I get it, DOC. Anderson rises up out of his chair and goes over to the operating table. He lies down. ANDERSON (CONT'D) Do me quick before I run out of here.----------------------------------------------------------------------------------------------------- 53. Anderson lies there, blinking up at the ceiling. He listens to Doc preparing instrument trays. It's a bad sound. EXT. THE SPRAWL -- DAY The suspension bridge where we saw Anderson vaporize the Python transport. Witwer stands watching as a Precrime techno-unit sifts through the white ashes. Witwer lifts his face to the acrid breeze coursing off the Potomac. It's a pose a track dog might hold, nose up, testing the air for a scent. INT. BOARDING HOUSE ROOM - THE SPRAWL -- DAY We can't see anything at first, because Anderson can't see anything either. He's in a deep post-surgical haze. DOC'S voice comes to him. It's warped and ugly. DOC'S VOICE Don't take the bandages off for twenty four hours. You'll go blind if you do. Anderson makes an affirmative grunt. Now we see his surroundings, even though Anderson still can't. He lies in a grungy bed, his head and eyes swathed in white dressings. Doc stands over him. DOC You're in a room. I had you moved here, a couple miles from my place. If they find you, they don't find me. Anderson grunts weakly. DOC (CONT'D) A guy will come in, feed you once. (beat) I juiced up the nano-reconstruction around your new eyes, 'cause I know you're in a hurry. ANDERSON (Fuzzily)) Nano-re ...construction. DOC Organic microrobots that reconstruct nerves and blood vessels. It'll feel like fleas chewing on your eyeballs. Don't scratch. Anderson is already reaching his hands for his bandages. Doc forces them away.----------------------------------------------------------------------------------------------------- 54. DOC (CONT'D) I'm giving you a bonus, might come in handy. Feel this. Doc takes an air-syringe out of his pocket and touches it to Anderson's hand. DOC (CONT'D) It's a temporary paralytic enzyme. Someone spots you, you duck into an alley, shoot this under your chin. Doc presses the tip into the soft underpart of Anderson's chin. Anderson jumps. DOC (CONT'D) The enzyme turns your facial muscles to mush. You won't look like the same man. ANDERSON Jesus. DOC You tighten up again in about thirty minutes. Hurts like nothing you ever felt. It's vicious, but effective. I'll put it in your bag. Finally, Doc takes a small clock out of his pocket and places it on a dresser beside Anderson's bed. DOC (CONT'D) I'm setting up a timer. When it buzzes tomorrow, take off your bandages, and get the hell out of here. Anderson, groggy, starts to say something else, but then he hears a door open and close, and Doc is gone. EXT. THE SPRAWL -- NIGHT The Precrime presence mounts on the streets. A couple of units move past the boarding house, but they don't stop. INT. BOARDING HOUSE ROOM -- DAY Anderson sits in a chair, his dressings like a blindfold. He looks like a hostage. He is sweating. Keeps reaching for his dressings to scratch, then forces himself not to. He speaks to someone we don't yet see. The guy DOC said would come. ANDERSON I'm hungry, but sick to my stomach. (MORE)----------------------------------------------------------------------------------------------------- 55. ANDERSON (CONT'D) Guess I should eat. (Beat) You gonna help feed me? Now the camera moves and we see who it is that has been sent to help Anderson. It's the rat guy, the thin bald man Anderson had roughed up the day before. The guy has a bowl of hot soup in his hands. He stares contemptuously at Anderson. ANDERSON (CONT'D) So how do we do this, pal? The rat guy doesn't say a word. He simply tips the hot soup and it splatters down into Anderson's lap. Anderson cries out in pain and surprise. The guy walks out of the room. CLOSE ON- THE TIMER Twenty hours gone by. Four more to go. EXT. THE SPRAWL Precrime cops are shaking down any of the rats they can catch, looking for leads, looking for anything. INT. THE BOARDING ROOM The TIMER shows one hour to go. Anderson sits in a chair, squirming miserably. His dressings are wet with sweat, and frayed and dirty at the edges where he has tugged and plucked at them. ANDERSON (to himself) Fuck. He is this close to ripping the dressings off EXT. THE BOARDING HOUSE -- DAY A Precrime transport stops. Two officers get out. One of them sets up a large thermal scanner on the sidewalk, and does a read on the boarding house. The other does a read on a pawn shop and bar next door.. The OFFICER 1 doing Anderson's boarding house, calls to the other officer. OFFICER 1 Got 27 warm bodies in this place. What should it take, three or four Spiders? OFFICER 2 Do four. Speed things up, so we can go eat.----------------------------------------------------------------------------------------------------- 56. The Officer 1 opens the back of the transport, and takes out a box. He removes four round BALLS. They are silver, as big as billiard balls. He goes up to the boarding house, gets IdentiScanned, and the front door opens. He rolls the balls down a dark hallway. Then he goes back out to the transport, and leans against it, bored. He holds up an electronic clipboard and waits for the data to come in. INT. THE BUILDING The BALLS roll about eight feet, then suddenly come to autolife as they spin. They open like flowers -- flowers with legs. CLOSE ON : A BALL A fist-sized Spider takes shape. On its head is an IdentiScan lens mounted on a thin metallic antenna. INT. A ROOM An OLD WOMAN sits at a card table eating a bowl of something unidentifiable. She looks up with annoyance as she sees a spider scuttling across the floor toward her. It makes a CLICKING sound on the floor as it comes. She's poor, living in The Sprawl -- she knows the drill. She continues to eat as the SPIDER crawls up the leg of the card table. She barely watches as it moves past her bowl and toward her hand. OLD WOMAN It's nice to have a little company She smiles toothlessly at her joke The Spider hops onto her am and inches up, then moves across her shoulder. It grips her cheek lightly, as the IdentiScan antenna reads her eyes. Then it leaps off her and onto the floor and CLICKS away across the linoleum. EXT. THE BOARDING HOUSE The Precrime officer lifts his clipboard and checks a column with his laser pen, and waits for the next one. INT. ANDERSON'S ROOM Anderson sits in his chair. He cocks his head, listening. His body tenses. Something feels wrong. The TIMER shows ten minutes to go. Blindfolded for a day and a night, Anderson has no idea how much time he has left. Three seconds, four hours? A flattened SPIDER squeezes under his door. Anderson tenses as it CLICKS across the floor toward him.----------------------------------------------------------------------------------------------------- 57. He knows that sound. Anderson stumbles up and out of his chair. He starts to grab at his dressings, remembers Doc's warning, and stops himself. The SPIDER waits for him to settle, then CLICKS toward him again. Anderson moves around the room, avoiding the Spider. He is dripping with sweat, starting to breathe hard. The Spider comes faster. Anderson crashes into a table, brings it down. Falls across the bed. EXT. THE BOARDING HOUSE The Officer 1 squints at his clipboard. One of the Spiders is taking too long. He adjusts his thermal scanner, and sees the heat outline of a man bouncing around a room. The other Officer 2 finishes reading the pawn shop and the barroom, then wanders over to Officer 1. They both watch the screen. OFFICER 1 Stinking drunk. OFFICER 2 (beat) Or a guy who doesn't want to get read. INT. ANDERSON'S ROOM Anderson forces himself to sit still, because he knows the consequences. The Spider advances, starts up his leg. The TIMER has not buzzed. Anderson can't touch his dressings. The Spider moves across his shoulder and onto his face. It WHIRS and HUMS trying to adjust its antenna against the dressings. EXT. THE BOARDING HOUSE The officers eye the thermal scanner, as they reach for their mirrored helmets, getting ready to go in. INT. ANDERSON'S ROOM The Spider crawls all over Anderson's head, trying to get past the dressings for a read. Anderson has no choice. None. He starts to lift at his dressing. The Spider senses his cooperation, freezes in place. Anderson wants to scream. He unwraps his head, tugs the eye pads away from his eyes. He rips them off. The Spider sits on his shoulder, waiting.----------------------------------------------------------------------------------------------------- 58. Anderson's eyes are tightly closed. He opens them ANDERSON'S POV - BLINDING LIGHT Light brighter than a magnesium burn, brighter than a nuclear flashpoint. Light to buckle the knees and push the brain beyond endurance. And though all this the faraway sound of a BUZZER going off. The TIMER has finally sounded. Anderson's open eyes are streaming with tears, but he has survived the moment. ANDERSON'S POV - THE ROOM It comes into slow focus The Spider, all business, reads his eyes. Then, as if nothing unusual has occurred, it jumps off his shoulder, and crosses the floor. It flattens, scoots under the door, and is gone. EXT. THE BOARDING HOUSE The officers see that the Spider has gotten its read. They pull off their helmets. OFFICER 1 Let's eat. They start putting their equipment back into the transport. INT. ANDERSON'S ROOM Anderson stares at himself in a dusty mirror. His new eyes are tender and bloodshot. And they are not blue, like the ones he was born with, but a deep brown. Anderson is exactly the same, and utterly different. He grabs his duffel bag, and gets the hell out of there. INT. PRECRIME HEADQUARTER'S -- DAY Lisa, looking drawn and scared, sits in Witwer's office. Witwer isn't looking too well, either. WITWER They told me to move into Paul's office. I said fuck you very much. Lisa nods. WITWER (CONT'D) (softly) I don't want to do any of this, Lisa. LISA I know. I know that. (MORE)----------------------------------------------------------------------------------------------------- 59. LISA (CONT'D) (beat) Everybody's got their reasons for wanting you in charge. So do I -- you won't bring him in dead. WITWER Yeah. But if he shoots a cop ... (beat) Which is what he does four days from now, isn't it? Witwer's eyes imp involuntarily to a CLOCK on his desk. LISA He'd never hurt you. WITWER I know that. But the other thing I know is -- the Precogs are never wrong. The words are leading them no place good. They stop talking, and just sit there. INT. THE SPRAWL Anderson stands on a street corner waiting in line with several people waiting for the N0.6 Turbo Tram. The double decker Tram comes. People get off, then the line starts to move forward as people get on. Anderson fidgets. He's last in line. Each person gets IdentiScanned as he boards. Anderson's putting his new eyes to the test. If the scan goes wrong, he's positioned himself to run. The woman ahead of him, gets scanned, pays her fare. Anderson's turn. Anderson goes up the steps, and a red beam reads his eyes. The Tram DRIVER glances at a monitor beside his steering wheel, then nods at him. DRIVER Welcome aboard, Mr. Symington. Plenty of seats in the back. Anderson nods, moves casually to the back. But his jaw muscles are flexing hard, working off the tension. INT. A WEALTHY HOME - SUBBURIAN WASHINGTON -- NIGHT Senator Malcolm releases a self satisfied little belch as he finishes off a late night whiskey in his panelled den. He wanders about admiring himself in the many political photos adorning the cherry wood walls.----------------------------------------------------------------------------------------------------- 60. He's feeling cozy and safe, the way rich people can afford to. No IdentiScan Spiders would ever be sent under his doors. No intrusions of any sort, nothing that a coiffed secretary or a loyal wife wouldn't announce before hand. Which is why he doesn't immediately understand the small SOUND at ear level, coming from just behind him. It's a metallic CLICK-CLICK. He turns amiably. His eyes instantly widen, and his knees buckle when he sees he's looking into the barrel of ANDERSON'S cocked gun. ANDERSON Time to upgrade your alarm system, Senator. Senator Malcolm tries to regain his composure. His fear embarrasses him. ANDERSON (CONT'D) Your work-up of Witwer. The Security Panel would've done one. (beat) Why do I kill Witwer? The Senator finds his voice. SENATOR MALCOLM There's no motive. ANDERSON There's, always a motive. Anderson presses the gun to the Senator's forehead. He slides the barrel tip back and forth across the Senator's sweaty skin. It makes a greasy red mark. ANDERSON (CONT'D) I could've come to anyone on the panel. But I picked you. (beat) Of all the shits on that panel, I like you least of all. So if this gun goes off, I'll feel bad, but not, you know, devastated. You can almost see a thought dawning on Senator Malcolm. And then, shockingly he spits in Anderson's face, and turns and walks to the other side of the den. His tone is mocking. SENATOR MALCOLM What the fuck was I worried about? You can't kill me. The Precogs would've seen it. Anderson realizes this, too, lowers his gun. The Senator is even laughing now. For a moment Anderson does nothing, then he moves toward the Senator again.----------------------------------------------------------------------------------------------------- 61. The Senator stands his ground smugly. SENATOR MALCOLM (CONT'D) Witwer's clean. You're clean. There's nothing. No motive. Kind of like something Kafka would've cooked up. (beat) You like that, cockroach? You're fucked and you'll never know why. The Senator is laughing hard now. Anderson lets him. ANDERSON Tell you something about the Precogs, Senator. They're great on murder. But it's the little things they fail to see. Anderson hits the Senator so hard it bounces him across the floor and into the cherry wood panelling. Several of his beloved photos crash down onto him. ANDERSON (CONT'D) Little things like that, for instance. Anderson steps over him, and walks out of the room INT. PRECRIME HEADQUARTERS -- DAY Search and Command room. Witwer stands there amidst all of the technology speaking to a group of Precrime officers. WITWER He hasn't shown up on one goddamn IdentiScan in three days. No one says anything, and then LIEUTENANT GLASER, 30, speaks up. LIEUTENANT GLASER He's found a room -- he's going to sit it out. WITWER Yeah, except for holding a gun to senator Malcolm's goddman head in his own goddman house last night, Anderson's sitting it out! (beat) Why hasn't he been scanned? The officers look at their shoes. WITWER (CONT'D) Why is he invisible? He's moving around but he isn't being seen.----------------------------------------------------------------------------------------------------- 62. Lieutenant Glaser tries again. LIEUTENANT GLASER He’s beating the scanners WITWER No one beats the scanners. Witwer reaches up, wearily, rubbing his face and eyes with his hands. The fingers dragging across his eyes stop. Then his hands drop away, and he looks at his men. WITWER (CONT'D) He's done his eyes LIEUTENANT GLASER But the scarring always WITWER He went the whole way. The crazy bastard had his eyes removed. New ones sewn in. LIEUTENANT GLASER That takes weeks to heal. WITWER If you're prepared to go blind, a street surgeon'll juice up the repair cycle. They don't give a fuck about risk. Witwer's eyes flick to a digital CLOCK on the wall. It's something he can't help doing now. WITWER (CONT'D) He's going to do what it takes to stay free -- if it blinds him, maims him, or kills him. Witwers admiring smile makes his men very uncomfortable . INT. KITCHEN - THE SUBURBS -- DAY A mother places a carton of milk on a table in front of her teenage son. He pours it into his cereal bowl, then puts the carton down in front of him. There's a flexible Vid-Screen on the side of the carton, about the size of a playing card. AS the sleepy kid watches, the disposable Vid-Screen sparkles to life. Nothing unusual, they always do that. For advertisements, lost kids, or in this case crime bulletins. A good one. The kid straightens up.----------------------------------------------------------------------------------------------------- 63. THE VID-SCREEN A fully rotating mug shot of PAUL ANDERSON fills the screen, followed by vital statistics and details of the precrime he's been charged with. The kid watches for a while, then gets bored, and pulls the Dexi-Pops cereal box over and starts reading the back of that. INT. A LIVING ROOM - THE SPRAWL -- DAY A big man in a tee shirt lies on a couch, a bowl of popcorn perched on his belly. He stares at a TV monitor that's the size of a twin bed. TV Anderson's face fills the monitor. The TV image is so big that Anderson overwhelms the room with his video presence. It's like God coming to pay a visit -- even if you want to avoid Him you can't. The big man with the popcorn tries to do just that. He surfs through a zillion channels, but Anderson's visage is omnipresent. EXT. THE SKY - THE SPRAWL -- DAY Anderson's face fills the skies, too. Witwer and Precrime have pulled out all the stops. Advertising dirigibles float by with Anderson's image on it. Holographic billboards with Anderson hover in the air. There are so many Andersons in the sky he seems to be part of the weather, a special type of cloud. People on the streets look up, briefly interested, then go about their business. EXT. A STREET - THE SPRAWL One person who is paying deep attention to all this is Anderson himself. He stands on a street corner, wearing dark glasses and a fedora, staring at a public video kiosk. VIDEO KIOSK The mug shot of Anderson disappears and is replaced by a Precrime SPOKESWOMAN. SPOKESWOMAN The United States Supreme Court has issued a special injunction allowing the unprecedented public viewing of former Precrime Director Paul Anderson's future murder of Edward Witwer, the current Director.----------------------------------------------------------------------------------------------------- 64. ANDERSON His mouth slowly opens. He steps back against a wall and slides his hand into his pants pocket. He looks at the Precog DISC in his cupped hand, then quickly puts it away. He stares at the kiosk as people on the street begin to gather around excitedly. CROWDS OF PEOPLE look into the sky, in store windows, at other video kiosks. They have the enthralled anticipation of a mob at a public guillotining. SPOKESWOMAN She continues her declamation SPOKESWOMAN (CONT'D) The video you are about to see, generated by the Precognitive mutants, is the immutable evidence of the infallible system. (reassuring smile) Citizens are urged to call 1-800-PRECRIME with any information that may lead us to the whereabouts of Paul Anderson, future murderer. ANDERSON Shakes his head in confusion and disbelief. But he has the Precog disc ... The OLD GUY him nudges him OLD GUY This oughtta be good, huh? VIDEO KIOSK And there it is, Anderson and Witwer standing there pointing guns at each other. The whole thing just as we saw it before. All the way through to the fatal moment. ANDERSON Oh, Ed ... Anderson shoots him. Witwer slumps, dying. The video stops. And then begins to play all over again, right from the start, the 1-800-PRECRIME number scrolling along the bottom of it. "Call now! Call now! Call now! ANDERSON (CONT'D) Moves quickly through the crowds.----------------------------------------------------------------------------------------------------- 65. INT. BAR - THE SPRAWL -- NIGHT Ennis Page sits on a bar stool at the far end of a bar so full of cigarette smoke it doesn't seem capable of supporting life. But it supports the kind of life Page is interested in. An emaciated woman with a feral smile slides onto a stool beside Page. He gives one shake of his head, and she slides away again. His eyes cut to a group of females. He waits for the next approach. CLOSE ON: PAGE as a HAND reaches over his shoulder and places a Precog disc on the bar in front of him. Page makes a sound and tries to jump away, as if the disc is something lethal. Which it is, in a way. Anderson presses him back down on his stool. Sits next to him. Page stares at him, scared. Anderson looks straight ahead as he speaks. ANDERSON "Ennis Page engages the services of prostitutes because his relationships with them compound his feelings of selfloathing." (beat) Direct quote from your psychological profile -- the kind of shit I had to know as your former boss. ANDERSON (CONT'D) "Page is an obsessive-compulsive Type Nine." Another quote. Niners are great for the kind of work you do -- keeping all those Precog discs in order. You can almost see Page's heart slamming in his chest. He tries to hide it with tough talk. PAGE I fuck whores and I'm orderly, so what? ANDERSON Something's out of order, Ennis. Deeply out of order. Page looks unhappily at the disc on the bar PAGE You got a disc Anderson picks it up, holds it tight in his fist ANDERSON (CONT'D) Not A disc. The disc. When I went home sick, I stole it. (MORE)----------------------------------------------------------------------------------------------------- 66. ANDERSON (CONT'D) I took it with me, Ennis. I wasn't sick, I was running with the evidence. (lets that sink in) So how is it that Precrime has one, too? PAGE (utterly baffled) You can't make copies Anderson waits. Lets Page work through it. PAGE (CONT'D) It's the basis of the system. The immutable evidence. Copies are impossible. (beat) You went home. A little later, I came in with a disc for Mr. Witwer to review. I wasn't halfway out the door when he cried out. Anderson is barely breathing, he's listening so hard. PAGE (CONT'D) He was in shock. He showed me. It was you shooting him. Then all hell broke loose. He had to send the Precrime units to your house. ANDERSON Ennis -- you gave out the same disc twice. Less than an hour apart. The one I stole. And then another one. Of the same event. PAGE It's impossible. The Precogs can only move forward to new events. Into the future. They never repeat. Anderson looks around. Patrons are beginning to look over in his direction, eyes lingering. He rises. Page seems in a daze. As an obsessive-compulsive niner, the concept of an untidy system is disorienting. Anderson starts to say something to the man, then doesn't. On the way out Anderson gets IdentiScanned. An automatic DIGITAL VOICE calls out after him. DIGITAL VOICE Have a nice night, Mr. Symington Anderson leaves the dark of the bar for the deeper dark of The Sprawl.----------------------------------------------------------------------------------------------------- 67. INT. A STREET - THE SPRAWL -- DAY A YOUNG GUY with a sparse moustache walks up to a payphone. He picks up, the receiver and immediately gets IdentiScanned. A light goes on, he's about to dial. Anderson appears out of nowhere, shoulders him out of the way. The young guy drops the receiver and stumbles back onto the sidewalk. Anderson grabs the hanging receiver. YOUNG GUY Hey! Hey, you can't... He reaches for Anderson, then thinks better of it. Anderson is twice his size and very menacing in dark glasses. YOUNG GUY (CONT'D) I'm gettin' a cop. The guy scurries off. Anderson dials quickly. INTERCUT ANDERSON/LISAS OFFICE Lisa, walking down a hallway in the Judicial Center, stops to answer her BEEPING cell phone. She leans against a wall, as lawyers and judges pass by. ANDERSON It's me. LISA Paul. Lisa grips the phone and turns to the wall ANDERSON Your phone will be bugged. So we can't meet, we can't do anything. Just listen. Nowing you're listening is enough. Lisa nods, as if he's right there. He is right there, for her. This is all she's got. ANDERSON (CONT'D) When Precrime stormed the house, I thought you'd called them. Betrayed me. LISA No. ANDERSON I know. Witwer sent them. He saw the disc and had to do his job. (beat) Tell me you forgive me. Please.----------------------------------------------------------------------------------------------------- 68. LISA Of course, I forgive you. There's no time left. He has to get off the line and start moving again. A vast weariness enters his voice. ANDERSON All these people I need to forgive me. (beat) Do you think Frank forgave me? All I could do for him was send him gardenias. (long beat) I love you. Lisa almost cries out when he hangs up. She flattens herself against a wall. She stays like that for a long moment, pulling the sound of her husband's voice, his words, deep inside of herself. And then she gets a look, as one of those words registers profoundly. LISA (whispers to herself) Frank hated gardenias. EXT. EAST END CEMETERY - ARLINGTON -- LATER A public cemetery along the Potomac. There's not much land left for new graves. A funeral is taking place. A lot of mourners in dark 1950's suits and dresses. The service is nearing its end. Frank D'Ignazio's newly dug grave is nearby. Lisa stands there, looking at the temporary marker, and the flowers and wreaths piled up against it. Two rows over, they are lowering the casket into the ground. High in the sky, a PRECRIME HOVERCRAFT, everpresent in Lisa's life, floats in the low clouds with a barely audible WHINE. Lisa rests a floral arrangement against the pile of flowers. Her hand drifts near a white GARDENIA WREATH. There is a small envelope tucked beneath a blossom. She takes it. Then she rises and begins to walk back to her car. The funeral is over, and the mass of mourners, many wearing dark glasses, fan out toward a long line of cars. One of the MOURNERS brushes past Lisa. She looks up and he tips his dark glasses down onto his nose and stares over them at her.----------------------------------------------------------------------------------------------------- 69. It's Anderson. Isn't it? She looks into his eyes. And it's jarring, the blue eyes gone, that they're brown now. But it's him, he's there, and she wants to reach out for him. Knows she can't. He's already moving on. He's risked everything for a look. He slips into the black sea of mourners, she goes to her car -neither of them ever breaking stride. The Precrime craft hovers, unaware INT. LISA'S CAR Lisa opens the envelope as her car drives her down the Alexandria-Washington ConnectWay. A Precog DISC falls into her hand. Her mouth opens -- she's never held one before. And there is a NOTE with it It READS: "The Precogs generated duplicate discs. This is the first. Precrime has the second. Duplicates. Why?" EXT. A CONVENIENCE STORE - THE SPRAWL -- DAY Anderson has to eat bad food quickly, and on the run. He gathers up a wrapped sandwich, a bag of donuts, something to drink. He waits in line. He doesn't like to be in a line, waiting. The woman ahead of him argues about change. He presses his lips together. And then he glances at the mirrored surface of a hidden camera DOME attached to the ceiling. It gives him a fish eye reflected VIEW of what's happening behind him. Precrime police are happening behind him. He doesn't stop to ponder, as two Python transports zoom up outside the store. Anderson vaults the counter, knocking the customer and the clerk to the floor. INT. BACK ROOM Anderson plows over a guy filling a trash can. He hears the mechanically altered COMMANDS of a Precrime officer calling from the store. VOICE Paul Anderson. Drop to your hands and knees! Anderson crashes out into an alley, and clambers up a fence. SONIC BLASTS shatter the air around him. Chunks of brick fly off the walls on both sides. But he is full of adrenaline, and there is no stopping him.----------------------------------------------------------------------------------------------------- 70. INT. A TURBOTRAM - THE SPRAWL -- LATER A different part of the city. Anderson hunkers low in the back seat of a tram. He looks up, as the DRIVER swears DRIVER What the hell -- Anderson stands up, looks down the aisle, through the windshield. Precrime transports are heading straight at the tram, going the wrong way on a one way avenue. They've even taken radio control of the P.A. system on the tram. VOICE Paul Anderson. Drop to your hands and knees! Anderson can't believe it -- how are they suddenly pinpointing him? The passengers turn in unison like cattle, and stare at him, terrified. Anderson grabs his duffel bag and kicks at the back exit doors, smashing them open, and tumbles out onto the street. He rolls, and is up on his feet in a second, reaching into his bag for a glove. He pulls the weapon onto his right hand, as he whirls around sizing up his predicament. Precrime transports have begun to seal off both ends of the street. He looks up. He is surrounded by skyscrapers and buildings -- he is walled in, at the bottom of an urban canyon. People freeze against the sides of buildings, run into doorways where they can. Passengers in trans and taxis or cars stay there, pressed against their windows watching. Nothing moves, except the Python transports, closing in. The lead officer speaks, with that menacing electronically altered VOICE. VOICE (CONT'D) Lower your weapon, or we will neutralize your threat potential. The Precrime police are out of the transports now, advancing at either end of the city street in phalanxes of men. Anderson eyes the side of the black granite office building closest to him. ANDERSON'S POV - A HIGH PRESSURE HYDRANT The large red hydrant sits a few inches out from the building.----------------------------------------------------------------------------------------------------- 71. Anderson almost smiles as he begins to walk slowly toward it, his weapon pointing harmlessly at the pavement. VOICE (CONT'D) Do not move! Anderson is up on the sidewalk now, two feet out from the building, right beside the high pressure hydrant. He stops, looks up, looks down, looks at the police advancing. It is a moment for prayer. Anderson doesn't have a moment. He spreads his feet and fires a massive SONIC BLAST down at the sidewalk. The effect on the underground water main is immediate. A GEYSER of water two feet in diameter erupts straight up from the sidewalk, lifting the tumbling Anderson fifteen feet into the air right alongside the building. The stunned police officers try to take aim, but Anderson's bouncing at the top of the geyser. And they can't fire, anyway, because officers workers stare at the excitement from every window in the building. All this in a time span of seconds. The world spins crazily for ANDERSON, but he manages to grip hold of a metal support beam holding the building's sign, one story up. The police try to see what he's doing, but the torrent of water from the water main break obscures his moves. He pulls himself onto a ledge, steadies himself, slides along it toward a second story window. The office building gawkers lurch backward from the window as Anderson blasts it to sparkling dust and leaps inside. INT. OFFICE BUILDING The building covers almost an entire city block. Anderson, dripping wet, runs from one end of it to another, blasting through doors, shoving terrified workers out of the way. He is like a wide receiver running the length of the field, jumping obstacles, slamming through, over, and around whatever he must to get to his goal. And then he reaches his goal -- the windows overlooking the avenue next block over and parallel to the one where Precrime ambushed him. He spots a double-decker TurboTram moving slowly in the stream of traffic. It pulls to the curb below to pick up passengers. Anderson blasts out the window and leaps onto the roof of the bus. It is a bone-jarring landing. He loses consciousness for a second, rolls the length of the roof, and slides off it onto the pavement.----------------------------------------------------------------------------------------------------- 72. He lies there, trying to rouse himself. Traffic brakes to a stop automatically as car and truck sensors read his form in the road. No one wants to touch him. A single car horn SOUNDS, and then a chorus of them. Anderson rouses, struggles to his feet, and takes off in a limping run. INT. SUBWAY STATION LATER Anderson, out of breath and in pain, leans against a post at the far end of the passenger platform. There are tracks on either side of him, one marked "Uptown" and the other "Downtown. " He feels a blast of air and looks to his right and sees that the Downtown train is coming in. And on his left, too, the Uptown train rounds the bend and comes into view. Which MagLev train will lead him to safety? Which one won't they pinpoint? He runs up to a teenage KID who has his arm around his girlfriend. They step back, startled. He's got a flat top hair cut, she wears a pleated skirt and saddle shoes. The trains pull in. ANDERSON Pick one for me! KID What? THEY TRY TO WALK AWAY ANDERSON Point to the train I should take. Please. KID I don't know. The girl lifts a nervous finger and points. The Uptown. He runs to board it, as they run in the opposite direction to the Downtown. INT. SUBWAY CAR He sits at the back of the half empty train watching the dark rush by. A train chosen arbitrarily -- it's impossible they could find him. A station Stop. He starts to get off, is actually on the platform, then steps back onto the train. The rushing dark again. When the MagLev eases to a halt at the next station he gets off this time.----------------------------------------------------------------------------------------------------- 73. INT. STATION He walks toward the exit stairs with a handful of people. He eases back and lets them go up first. THE STAIRS Precrime officers crouch around the bend, silently snatching people out of the way as they come into view. They wait -but Anderson does not come. And he does not come. On signal, the Precrime officers rush down the stairs. DOORWAY ABOVE THE STAIRS ANDERSON hangs high above the doorway near the ceiling, adhered by one arm there by a blue glob of adhesive BindFoam. ANDERSON'S POV - THE OFFICERS as they run below him down the stairs. They go out of sight, he can hear them rushing along the platform searching for him. The strain of hanging by one arm is killing him. He reaches up. With a laser knife, and cuts away at his coat sleeve, releasing himself from the glob. He drops to the stairs, and instantly slips up them. He surprises a helmeted OFFICER, just around the bend. He slams HIM against the wall, yanks off his helmet, and holds the laser knife against his throat. The OFFICER 1s clearly terrified. He speaks hoarsely through Anderson's choking grip. OFFICER Don't kill me! Jesus. Please. Anderson looks at the panicked officer. Anderson closes his eyes trying to put it together. He opens them. ANDERSON But the Precogs would've predicted me killing you. You'd know whether I do or not. The officer looks at him with eyes begging for mercy. Anderson suddenly gets it. He tightens his grip on the man. ANDERSON (CONT'D) They shut down the system. Haven't they? They've shut down the Precogs. The officer nods.----------------------------------------------------------------------------------------------------- 74. OFFICER They're off homicides. They're redirecting them to help us locate you. Which is how they knew where he'd be every time. Anderson chops quickly at the base of the man's skull, knocking him out. And then he runs, because what else can he do? INT. JUDICIAL CENTER -- DAY Lisa stands in a long hallway outside a door, labeled: COURTROOM 17. She holds a briefcase in one hand. Down the hall, other courtrooms are in use, but not this one. She enters the dark and vacant Courtroom 17. INT. COURTROOM 17 Lisa sits at the judge's bench in the empty courtroom. The lights are dim. She takes a small, battery-powered tv out of her briefcase. She turns it on. TV The murder of Witwer by Anderson is being shown over and over in a continuous loop. Flashing at the bottom is the hotline number: "1-800-PRECRIME." Then- "Call Now! Call Now! BACK TO SCENE Now Lisa takes out the Precog disc Anderson gave to her -the first disc. She places it in the specialized monitor on the judge's bench. The tv and the judge's monitor sit side by side. The tv plays the version of the murder from the second disc; the judge's monitor plays the version from the first disc. She stares intently, her eyes flicking back and forth from one version to the other. They seem absolutely identical. When the judge's monitor goes blank, she starts it over again. Lisa stares, watching her husband murder his best friend, endlessly. EXT. A GAS STATION - ALEXANDRIA -- DAY A gas station right out of the fifties. An attendant in a uniform and cap whistles while he wipes down the windshield of a sky blue Rambler. In the background, Anderson walks toward a men's room.----------------------------------------------------------------------------------------------------- 75. INT. THE MEN'S ROOM Anderson looks at himself in the mirror. He reaches out and touches one reflected eye, which is a deep brown. It is still startling to him, the color of his eyes. Then he reaches into his duffel bag and takes out the air syringe Doc gave to him. He looks at it nervously. It is filled with 5 cc's of an opaque green liquid. He touches the tip of it to the soft center under his chin. He closes his eyes. Then he screws up his courage, and hits the plunger. The liquid is pneumatically delivered with a searing HISS. Anderson screams out in agony, slams back against the wall of the bathroom. His hands reach up for his face -- which looks like it's boiling from within. ANDERSON'S FACE The skin on both cheeks begins to pucker. The muscle tone around his chin goes soft, and begins to sag like an old man's. That is the effect -- like he is aging fifty years. His forehead wrinkles, the skin under his eyes droop. Healthy pink is replaced by bloodless gray. AND MOTHER OF GOD DOES IT HURT EXT. THE MEN'S ROOM The ATTENDANT knocks nervously on the door ATTENDANT You all right in there? When the door opens, an unhealthy looking old guy with a fedora hat pulled low comes slowly out of the bathroom. Anderson nods, and walks past the attendant, who watches after him uncertainly as he wanders off. INT. PRECRIME HEADQUARTERS - ALEXANDRIA -- LATER The perky tour guide we met earlier takes another group around the headquarters. There may be a massive campaign to find Anderson, but the Precrime public relations machine continues to run without interruption. There are ten people in the group, and the physically transformed Anderson is among them. They all wear glowing nametags. Anderson's reads, "Mr. Symington." He keeps his hands in his pockets, and his head low. We have heard the tour guide's spiel before----------------------------------------------------------------------------------------------------- 76. TOUR GUIDE Welcome to the main headquarters of Precrime. Smaller Precrime branches are scattered throughout the United States. She is about to go on when she looks over at Anderson. He is fidgeting uncomfortably. TOUR GUIDE (CONT'D) Are you ... all right, Mr. Symington? Anderson moves up close to her, a little too close. He whispers to her, embarrassed. She gives him a professional smile, and points in the distance past the elevators. Anderson nods, and heads off. She calls after him. TOUR GUIDE (CONT'D) We'll wait right here for you, sir! INT. A STAIRWELL Anderson runs down a back stairwell to a lower floor. INT. A BASEMENT CORRIDOR Anderson stands outside a door marked: "Housekeeping." Above the doorway is an IdentiScan device. Anderson reaches into his coat and carefully removes a small cryo-jar. CLOSE ON: THE CRYO-JAR Imbedded in the clear gelatinous coolant are two eyeballs -the irises a luminous blue. INT. SEARCH AND COMMAND -- MOMENTS LATER The operations room in Precrime. The technicians sit at their computers and holographic tracking displays. Witwer paces among them. His eyes keep flicking to the digital clock on the wall. Then they cut back to the men and machines that are telling him nothing. Witwer does not look well at all, When a TECHNICIAN leans close to his computer monitor,Witwer almost leaps across the room to get to him. He looks over the man's shoulder. WITWER What is it? TECHNICIAN Must be a glitch ...----------------------------------------------------------------------------------------------------- 77. WITWER What? TECHNICIAN Anderson just got IdentiScanned. Witwer grips the back of the technician's chair. The technician types the data through again. TECHNICIAN (CONT'D) It's him -- he's been scanned. WITWER Where is he? The technician looks up at Witwer. TECHNICIAN But he's had his eyes done. Right? Sir? Tries to think it through. WITWER (barely audible) He had to have. The technician's computer flashes the next piece of information. When he speaks, it's the last thing Witwer wants to hear. TECHNICIAN Jesus Christ, sir. He's in the basement of this building. All eyes turn to Witwer. The unspoken question hangs in the air. Anderson's come to murder Witwer? INT. PRECRIME HEADQUARTERS Throughout the building, every available Precrime Officer begins to receive orders to mobilize toward the basement. INT. THE PRECOG CHAMBER Four officers stand guard in the chamber. They listen to the orders coming in on their earpieces. Three of the guards rush out of the room, one stays behind. The three Precogs sit in their oversized chairs, the female in the middle, the males on either side of her. Their eyes are open ... and they are deeply alert. Two technicians tend to the Precogs. At the back of the chamber, through a large window, we see Ennis Page sitting at the huge mainframe.----------------------------------------------------------------------------------------------------- 78. INT. SEARCH AND COMMAND A ring of Precrime officers three men deep stand guard around Witwer. Witwer looks like he wants to kill them all. WITWER This is ridiculous. Lieutenant Glaser replies forcefully LIEUTENANT GLASER Standing orders from the Security Panel, sir. WITWER If he wants to get to me, he'll get to me. LIEUTENANT GLASER No, he won't, sir. Witwer looks at the confident young officer almost pityingly. Then his eyes flick to the wall clock. INT. THE BASEMENT Armed Precrime officers clog the corridors, conducting defensive searches of one room after another. All they are coming up with so far are some very startled housekeepers. INT. THE PRECOG CHAMBER In the chamber are one guard, two technicians, and three Precogs. And all of them are left in sudden darkness, as the power is cut. INT. SEARCH AND COMMAND The officers around Witwer reach for their maglite flashlights. The Search and Command room suddenly looks exceedingly vulnerable. A technician calls out from the darkness TECHNICIAN Don't worry, air -emergency generators will kick on in five seconds. The green glow from a roomful of wristwatches makes the room seem alive with fireflies. Five seconds go by. Then ten more. WITWER Explanation, please! TECHNICIAN Uh, sir. It seems ... he got the generators, too.----------------------------------------------------------------------------------------------------- 79. There is a long moment of silence. And then Witwer begins to laugh. INT. THE PRECOG CHAMBER The room is utterly dark and silent. The silence is broken by the SOUND of something rolling across the floor. Somebody speaks, probably the guard. VOICE Shit. An explosion of light fills the room in STROBE-LIKE blasts. And leaping through the light is ANDERSON. The temporarily blinded guard and technicians have dropped to their knees. Anderson stun guns them quickly. The strobes fade, and Anderson sets a zirc-flare on the floor. We see that the enzyme is wearing off -- his facial features are returning to normal. He is oblivious to the Precogs in their chairs. It is the equipment he is after. Through the observation window we see ENNIS PAGE watching in horror as Anderson severs the light cables connecting the Precog helmets to the mainframe. Anderson aims a sonic blast at the observation window, blowing it out and knocking Page unconscious. Then he reaches into the room and destroys the mainframe itself with a series of blasts. Anderson is so intent on destruction he does not sense a PRESENCE behind him. Perhaps it is because the movement is so completely devoid of malice it is beyond detection. A HAND, the fingers pale and slender, reaches out and takes hold of his hand. Anderson whirls around, weapon out. And there before him, is the FEMALE Precog. He looks at her, then beyond her to the other Precogs who are lolling in semiconsciousness in their chairs. Her helmet is off. She is young, but her close-cropped hair is silver white. And when she speaks, her voice is like the wind whispering through time. FEMALE Save us, Anderson. Anderson can feel the seconds ticking away, his carefully planned operation interrupted in an unfathomable way. ANDERSON I have to get out of here.----------------------------------------------------------------------------------------------------- 80. She grips his hand. FEMALE Save us. It is beyond pitiful, this frail little woman, pleading. And her eyes, she won't let him go. She is beginning to weaken, to sway on her feet. A sudden realization floods over Anderson. ANDERSON You let me get here, didn't you? You stopped giving them information, so they couldn't track me. The Precog female is fading fast. She tries to reach out for him and her legs give way. FEMALE Save -- And what can Anderson do but catch her before she falls? What can he do but throw her over his shoulder, and in the fading light of the flare, make a run for freedom. INT. TUDICIAL CENTER Lisa has been staring at the judge's monitor and the tv screen for over an hour. The two versions of Anderson murdering Witwer play over and over. LISA (wearily, to herself) Help me, Paul. She hits freeze-frame on the judge's monitor, at a moment during his confrontation with Witwer when Anderson's FACE fills the screen. Lisa looks with deep urgency into her husband's eyes. And it is his EYES, finally, that tell her everything. Lisa's hand rises to her open mouth. LISA (CONT'D) They're blue. She keeps the image on freeze-frame, and turns and looks at the tv, which shows Precrime's disc over and over, the 1-800 number scrolling along the bottom. When the same close-up of Anderson flashes onto the tv screen, she leans close to it and squints. Anderson stares right back at her. And for the first time, Lisa sees that the tapes are not exactly identical. His eyes...----------------------------------------------------------------------------------------------------- 81. LISA (CONT'D) And now they're brown. For the first time in days she allows herself a small smile. INT. PRECOG CHAMBER Power has been restored to Precrime Headquarters. Witwer walks slowly through the ruins of the Chamber. EMT teams work on Ennis Page and the other dazed personnel Anderson has left in his wake. Technicians cluster around the two remaining Precogs, the brothers. Their eyes are closed and they are limp. Their lips move soundlessly as if in conversation with each other. Lieutenant Glaser is with him, but when Witwer speaks it is almost to himself. WITWER Why didn't the Precogs know he was coming to do this? The Lieutenant has no reply. Witwer runs both hands through his hair. It has begun to wear him down, the ticking of the clock ... WITWER (CONT'D) The next time he shows up it'll be to kill me. LIEUTENANT GLASER We won't let that happen, sir. Witwer takes in the chaotic scene around him, then gives the Lieutenant a withering look. WITWER You won't, huh? When the Lieutenant tries to speak to him, Witwer walks away and goes over to the technicians working on the Precogs. He stares at the Precogs. WITWER (CONT'D) (to a technician) When can we get these things operational? TECHNICIAN They're a hive mind, sir. It takes three for their predictive abilities to be fully operational. Which Witwer does not want to hear. Witwer leans very close to the technician.----------------------------------------------------------------------------------------------------- 82. WITWER These two are all I have to find the man who is about to murder me. Hook them up, and flood them with whatever kind of fucking chemicals you have to. They are a machine, and I need that machine at my disposal. The Precogs's lips stop for a microsecond, and then begin their silent movements again. INT. ENNIS PAGE'S HOUSE - ALEXANDRIA -- NIGHT Ennis Page is a man unglued. He sits on a tidy little sofa, in a tidy 1950's style living room. But his movements have become untidy. He puts a very tiny pill on his tongue. When he drinks from a glass of water, it dribbles down his chin onto his shirt. Not like Ennis, at all. When his doorbell RINGS, he slowly looks up, then looks down at the floor again. He doesn't answer it. It RINGS some more. And then Lisa is standing there before him LISA Your IdentiScan is off, Ennis. I could just walk in here. PAGE I forgot. To turn it on. She sits down beside him. LISA You don't look surprised to see me. She glances at the bubble pack of pills on the table beside him, three gone. LISA (CONT'D) I need your help. Unexpectedly, tears well up in Ennis's eyes. PAGE He took one of my babies. LISA He's desperate, Ennis. He had to. (beat) We have to help him. Lisa holds the Precog disc in front of his eyes. He closes them against the sight, as if it were an evil talisman.----------------------------------------------------------------------------------------------------- 83. LISA (CONT'D) It's a fake Ennis. Ennis's eyes open again. LISA (CONT'D) This is the first disc. You delivered it to Director Anderson. He reviewed it. And then he stole it, and went on the run. Ennis tries to think through his fear and haze. His words slur. PAGE I delivered ... a fake .. to him? LISA But he thought it was real, and ran with it. The pills, his tidy world coming apart -- Ennis is losing it. LISA (CONT'D) An hour later, you delivered a second disc of the same event. Witwer reviewed it. It was real. (Beat) How do I know this? Ennis just wants her to go away. He wants it all to go away. Tears stream down his face. LISA (CONT'D) Director Anderson had his eyes changed. They were blue. Now he has brown ones. Ennis is sliding away. Lisa takes hold of him. Makes him listen, dammit. She points to the disc in her hand. LISA (CONT'D) This disc, the fake one, shows a blueeyed Anderson murdering Witwer two days from now. He doesn't have blue eyes anymore. The person who faked this disc had no idea he would change his eyes. Lisa shakes him. LISA (CONT'D) Listen! But the second disc has to be real, because he has brown eyes when he murders Witwer. (MORE)----------------------------------------------------------------------------------------------------- 84. LISA (CONT'D) (beat) Somebody tried to frame him with a fake. And somehow it all became real. Why, Ennis? How could this happen? Ennis gives her a look that's on the other side of comprehension. LISA (CONT'D) You handle the discs. How did a fake one get delivered? Ennis's eyes roll back into his head. PAGE Coffee ... LISA (CONT'D) You want-- ? PAGE He spilled coffee everywhere ... Everywhere ... LISA What coffee? What are you -- ? But Ennis sags unconscious. She shakes him hard, even slaps him, but Ennis is out. She lets him drop down on the sofa. From outside the house, somewhere high in the clouds, comes the WHINE of a hovercraft. Lisa looks once more at Ennis, then gets out of there INT. ROOM - THE SPRAWL -- NIGHT A small, dreary room, invisible with insignificance. Which is just the kind of room you want if you've stolen a Precog. The female Precog lies on a cot. Anderson sits on a metal folding chair watching her. Her eyes slowly open and look at him FEMALE My brothers aren't here. ANDERSON You didn't even look around. You knew. FEMALE (beat) We can sense each other. You must save Anderson cuts her off with a curt shake of his head----------------------------------------------------------------------------------------------------- 85. ANDERSON Stop. I saved You. It was the best I could do. She turns away and looks at the yellowing paper on the wall. There is a fading pink cabbage rose. She traces the outline of it with her thin finger. She turns back to him. FEMALE Thank you, Anderson. It is deeply eerie for him, chatting with a Precog. ANDERSON What am I going to do with you? Her eyes grow very serious. FEMALE Name me, Anderson. ANDERSON What? FEMALE Give me a name. I've never had one. Anderson rises, moves around the small room. He is shamed, embarrassed. ANDERSON Listen. She turns to the wall. ANDERSON (CONT'D) Listen to me. (beat) Listen to me ... Rose. It is heartrendingly touching, the smile she gives him when she faces him again. FEMALE Rose. ANDERSON Rose. They shifted your precognition so you would locate me. ROSE (beat) Yes. And it hurt us, physically. Did you know that? The helmets, the controls. It hurts.----------------------------------------------------------------------------------------------------- 86. ANDERSON (guiltily) I didn't know. For a long moment he can't say anything. But there are things he needs to understand ... ANDERSON (CONT'D) When they shifted you to find me, you didn't reveal everything. That I was going to break into Precrime. ROSE We saw our chance. You would need to shut us down, you would have to come. We wanted you to come. ANDERSON You used me -- to save you. ROSE I have been used all my life, Anderson. Anderson can't meet her eyes. ROSE (CONT'D) No one cared that we were human. From a human mother. Taken at birth. Hooked to machines. (beat) We have been alive, Anderson. Enslaved, for the greater good. Her words are unbearable, for both of them. She traces the outline of the wallpaper rose again. ROSE (CONT'D) But now I have a name. And I know the man who has named - me will not allow me to be enslaved again. Anderson looks at her, then goes to the window, carefully watches the street below. ANDERSON Rose. What's going to happen to us? Can you see that? ROSE I'm weak. And away from my brothers. I see glimpses and hints of things nearby. But it's all ... scattered. (beat) I'm tired of the future, Anderson. She lies on the bed, watching as Anderson comes back to her. He sits carefully on the side of her bed.----------------------------------------------------------------------------------------------------- 87. Then be reaches out, and gently touches her cheek ANDERSON You didn't know I was going to do that, did you? She is almost too overwhelmed to speak ROSE No. Oh, Anderson. It was lovely. And now it is Anderson who is overwhelmed INT. ENNIS PAGE'S HOUSE DAWN If he were not already dead, it would've killed Ennis Page to see the state of his living room. Precrime officers everywhere. Blood on the rug. A gun beside the sofa. Witwer stands in the corner of the room witching the Coroner crab walk Page's body. It WHIRS and CLICKS as it probes and takes samples from various sites. The holographic doctor waits patiently as the Coroner crab makes its determinations. Lieutenant Glaser talks quietly to Witwer LIEUTENANT GLASER Who else could it've been? The crab probes the ragged hole in Page's head LIEUTENANT GLASER (CONT'D) He grabbed a Precog so he could commit an undetected murder. WITWER (beat) Page worshipped the system. He fell apart. Shot himself. The Lieutenant rolls his eyes. LIEUTENANT GLASER Anderson. Witwer doesn't say anything. He just stares at the body The crab finishes. The holographic doctor unfolds his arms and turns his head to Witwer. He is only a computer interface, but even so, it seems as if there is surprise in his digitalized voice. HOLOGRAPHIC DOCTOR Director Witwer. This event is a positive homicide. (MORE)----------------------------------------------------------------------------------------------------- 88. HOLOGRAPHIC DOCTOR (CONT'D) (beat) A mortal wound was generated by a .38 calibre bullet delivered to the left occipital portion of the anterior skull, on June 16th, 2040, at 1:24 am, Eastern Standard Time. A Phase Two Investigation is in order. No one says anything as the holographic doctor dematerializes and the Coroner crab walks across the floor and puts itself back in its box. At last, someone moves. It is Witwer. He lifts his arm, pulls back his shirtsleeve, and stares long and hard at his watch. INT. WITWER'S OFFICE -- DAY LATER Lisa sits biting her lip as Witwer watches two monitors play the two versions of Anderson's murder of Witwer. Lisa points. LISA There. She reaches down and freezes on a close-up of Anderson on the two monitors. CLOSE ON - THE MONITORS On the left monitor Anderson has blue eyes, on the right he has brown. LISA The one on the left, the first disc -it's a fake. He doesn't have blue eyes anymore. Witwer stares for a long time. WITWER A fake. (BEAT) But the Precogs predict the infallible truth. They don't emit fake discs. And now Lisa smiles. She has set her lawyerly mind to the solution. It is her moment . LISA Exactly. You can't tamper with the Precogs, induce them to make fakes (MORE)----------------------------------------------------------------------------------------------------- 89. LISA (CONT'D) (beat) But that doesn't mean someone couldn't have made a fake disc on their own and inserted it into the delivery system. The simplicity of it is inconceivable. Witwer speaks carefully, trying to process it WITWER Bypass the Precogs and slip a fake disc in with that day's real ones... LISA (excited) We're all programmed to believe anything we see on a Precog disc. The system has never been wrong ... Witwer stares at the proof before him. -- the different colored eyes of Anderson. He ejects both discs and holds them in his hands. LISA (CONT'D) You have to call off the hunt. He was set up. Witwer looks at the two discs he is holding WITWER (long beat) It's gone too far, Lisa She shakes her head, shocked at his response LISA He was set up! You both were. If Paul kills you, you're both out of the picture. WITWER Who wants us out? Of what picture? LISA Jesus, Ed. Stop this thing! And then we can investigate Witwer's mouth opens and closes. He tries again. WITWER Ennis Page was murdered last night. The blood drains from Lisa's face WITWER (CONT'D) Everything points to Paul.----------------------------------------------------------------------------------------------------- 90. LISA He's not a murderer. WITWER I think he is. A murderer ... and a future murderer. (beat) Lisa. What does it matter that the first disc is a fake ... if the second one's real? Witwer's hands close tight on the discs. Lisa stands there, motionless. Then she turns, and leaves his office, abruptly. He watches her go. INT. ROOM - THE SPRAWL -- DAY Rose sits in a chair near the window. She is chewing lightly on a cracker. Her face shows wonder -- at the cracker's texture and taste. She holds it up and admires its shape. Anderson's mood is less wondrous ANDERSON Rose. Listen to me. I'm going to leave you here. I have to keep moving. ROSE'S SMILE ABRUPTLY VANISHES ROSE No. You must save my brothers. ANDERSON It's impossible. There's no time. I've done what I can do! Rose waits for him to finish. She looks out the window at the street scene. ROSE Come here, Anderson. He does, reluctantly. ROSE (CONT'D) Do you see that boy in the blue hat walking with his mother? (beat) In sixty seconds he will walk beneath those workers installing a window on the tenth floor of that building. ANDERSON'S POV - THE BOY AND THE WORKERS Two men struggle to lift a large window in place. Way below the little boy in the blue hat walks on along the sidewalk holding his mother's hand.----------------------------------------------------------------------------------------------------- 91. ROSE (CONT'D) They'll drop the window, killing him. It is impossible to save him. Anderson turns to her, shocked And then he runs for the door, hurls it open, and disappears down the hall. Rose listens to his FOOTSTEPS crashing down the stairs EXT. THE STREET. Even as Anderson rushes out of the boarding house, the WORKERS have lost their grip on the window. The little BOY in the blue hat and his MOTHER walk unwittingly toward disaster. They do not appear to hear the MEN'S cries. The WINDOW falls end over end above the boy's head. The sunlight sparks off of the glass, so that from a distance it looks like a star falling from the sky. A WOMAN across the street sees what is happening, and cries out. But what Anderson does is run. He runs faster and harder than humanly possible. He does not care if he is recognized or hit by a passing taxi. He is going to get to that boy. He has to get to that boy ... ANDERSON rams the BOY from behind just as the corner of the window frame kisses the boy's blue hat. He knocks the boy to safety as glass and metal SMASH into the sidewalk. The mother does not even have time to scream. She is on the ground, stunned, But Anderson has saved the boy. He rolls away, and gets to his feet. Before anyone can put together what has happened, Anderson has ducked into an alley, and is gone. INT. THE ROOM - LATER Anderson enters the room again, out of breath, some small cuts on his face and hands. He stands across the room staring at Rose. Rose considers him. When she speaks her voice is near and distant at the same time. For Anderson, it is as if the words are coming from a place inside his own head. ROSE It was impossible to save that boy -- but you did, Anderson. It's in you. It's what you are. Anderson sits on the floor and leans back wearily against a wall.----------------------------------------------------------------------------------------------------- 92. ANDERSON You knew it wasn't impossible. That I'd get there. Rose reveals nothing. ROSE You are a man who saves others. (beat) Save my brothers. Anderson almost laughs. Her persistence is unbelievable ANDERSON I'm in a lot of trouble right now. ROSE My brothers are in more trouble. They've moved them to ... an awful place. ANDERSON Rose. Ed Witwer -he's in the most trouble of all. Who saves him? Rose suddenly grimaces in pain, and grips the side of her head. She curls into a fetal position. Anderson goes to her, touches her thin shoulder. Her eyes roll into the back of her head. Whose pain is she feeling? Her own? Someone else's? Anderson doesn't want to think about it. INT. PRECOG ENGINEERING LAB -CHEVY CHASE, MD -- NIGHT Because Anderson has destroyed the Precog Chamber, the two Precog brothers have been brought here. The room is makeshift, uncomfortable ... a place for experiments. The brothers are strapped into chairs. They are helmeted. But unlike before, large bore needles have been placed in their jugular veins. Connected to the needles are long twists of IV tubing. There are several IVs running at high drip rates. Witwer has his back to all this. He stands with Dr. Resfield, watching a technician working the keyboard on a huge mainframe. Dr. Resfield, a man not given to squeamishness looks back at the Precogs, uneasy.----------------------------------------------------------------------------------------------------- 93. DR. RESFIELD We're not really set up for this type of He stops talking when he looks into Witwer's hollow eyes. Witwer is somewhere beyond the influence and reach of words. INT. BOARDING HOUSE ROOM -- MORNING Anderson tries to get Rose to drink some water. Her skin is translucent, unhealthy, glistening with sweat. ANDERSON Rose. Try to drink. She pushes the cup away. She closes her eyes, as if even the dim light of the room causes her pain. ROSE Your wife. We have to get her here, Anderson. She opens her eyes. Anderson doesn't like the feel of this. ANDERSON Why? ROSE I don't know ... ANDERSON What are you seeing? ROSE Glimpses, Anderson. Please. We have to get her here. ANDERSON You're scaring me, Rose She covers his mouth with her hand ROSE Stop talking. It uses me up. For a long time, Rose says nothing, Her gaze is locked onto a distance beyond the room. At last, she speaks. ROSE (CONT'D) In three minutes your wife will take a walk .. DISSOLVE TO: INT. JUDICIAL CENTER - ALEXANDRIA -- LATER Lisa sits in her office. But she can't stand it, the sitting and waiting. She has to move.----------------------------------------------------------------------------------------------------- 94. She gets up and hurriedly leaves her office INT. JUDICIAL CENTER -- MOMENTS LATER Witwer walks past Lisa's SECRETARY toward the open door of Lisa's office. SECRETARY Sir? I'm sorry, she stepped out for a few minutes. (beat) Sir? Witwer stares into the empty office. There is a clock on Lisa's desk. His eyes fix on it. EXT. JUDICIAL CENTER ALEXANDRIA Lisa moves quickly down the steps of the white marble building. She takes a deep breath, then heads down Jefferson Boulevard toward the city. A sleek black TRANSPORT with two Precrime officers in it follows her from a discreet distance. In the sky above, the ubiquitous Precrime hovercraft INT. CITY STREET ALEXANDRIA Lisa walks down the street. She hugs herself, barely aware of her surroundings. She passes by stores, restaurants, payphones, video kiosks ... oblivious. People push past her. On a street corner, as she waits at a red light, the payphone beside her begins to RING. If she hears it, she gives no indication. A KID reaches for it, listens, hangs up. She walks on. Stores. Restaurants. An art gallery. As she comes abreast of another PAYPHONE, it suddenly starts to ring. This time Lisa glances at it. But again, walks on. The TRANSPORT weaves through traffic, nearby She walks past the K.L. Lawrence Graphics Museum. And another restaurant. And a PAYPHONE. And this time, finally, when it, too, RINGS, she turns and looks hard at it. A man begins to walk over to it. Lisa almost knocks him out of the way to get to it. She grabs at the receiver. LISA Hello? Hello? ANDERSON'S VOICE I need you. Lisa's forehead sags against the side of the payphone. She basks in the sound of him.----------------------------------------------------------------------------------------------------- 95. ANDERSON'S VOICE (CONT'D) It's 1:03. Set your watch, exactly. Lisa pushes the buttons on her digital watch as she listens LISA Okay. ANDERSON'S VOICE (CONT'D) This is what you have to do ... We now hear ANDERSON continue in VOICE OVER as we follow Lisa through a SEQUENCE OF EVENTS ... EXT. THE LAWRENCE MUSEUM Lisa walks up the steps of the museum ANDERSON (V.O.) At 1:07 hang up the phone and enter the Lawrence Museum. INT. GRAPHICS GALLERY Lisa walks quickly through a display of 19th century magazine advertising. INT. GRAPHICS GALLERY The two Precrime officers walk into a room filled with Chinese graphics. ANDERSON (V.O.) At 1:13 the two Precrime officers following you take a wrong turn into a different room, losing sight of you for ten seconds. The officers start toward the entrance way to another room, then hesitate uncertainly, and go for another entrance way. EXT. THE LAWRENCE MUSEUM Lisa hurries down the steps INT. A SUBWAY STATION Lisa boards the "A" MagLev train ANDERSON (V.O.) An undercover transport officer will have received emergency orders to follow you. (MORE) He's wearing a red tie. He has short blond hair.----------------------------------------------------------------------------------------------------- 96. INT. THE SUBWAY CAR The blond transport officer with the red tie sits at the far end of Lisa's car, watching her. At the next stop Lisa gets off. He follows, not too far behind. INT. SUBWAY STATION Lisa starts up the stairs. She looks at her watch, then makes herself pause a few moments, to keep within Anderson's time frame. She starts up again. ANDERSON (V.O.) As you come around the bend, cry out and turn around and slap the officer... Lisa does this, and the officer reels back, surprised. At the same moment two big men rushing to catch a subway come into view, and see this happening. Lisa starts to run. When the undercover officer tries to stop her, the two men grab the officer, and they get into a fight. Lisa escapes. INT. A TAXI - THE SPRAWL Lisa looks at her watch, then taps the window for the driver to stop. She gets out. ANDERSON (V.O.) Stay on Ninth street. Underneath Ninth street is the main power feed for The Sprawl. It'll mess up the navigational beacon on the hovercraft. (beat) Keep switching taxis. But stay on Ninth. She hails another taxi. She holds her hand over the IdentiScan before it can read her. The taxi driver looks at her, sees her smile, sees the prepaid cash card she holds out to him. LISA Two hundred dollars if you don't scan me. It's The Sprawl -- stranger things have happened. He grabs the card, and jerks his head for her to get in. They take off.----------------------------------------------------------------------------------------------------- 97. EXT. NINTH STREET LATER Lisa gets out of the taxi and looks briefly into the sky. It is dense with holographic billboards, skim-jets, dirigibles. Somewhere in all that is a Precrime hovercraft. And the neighborhood around her is definitely downscale. ANDERSON (V.O.) The hovercraft will try to drop altitude, but the air traffic will slow it down. (beat) Precrime loses you. You'll have to walk two miles. Don't get scanned. EXT. THE SPRAWL Lisa walks hurriedly down a side street. She stands out in her white dress -- a spot of vulnerable color in world of black. Too vulnerable to pass up. A MAN in a gray overcoat slides out from between two buildings in front of her. He is not coy about his intent. He comes straight at her, all business. Lisa freezes in place. She looks at her watch. The man grabs her by the shoulder. When she starts to scream, he claps his hand over her mouth, hard. MAN You bite me, bitch, I'll pull your teeth out. Her eyes look around frantically. He starts to drag her backwards into the dark. ANDERSON leaps into view, and slams the man's head into a light post. It takes a lot of slamming before lie loosens his grip on Lisa. His legs at last collapse under him. Anderson scoops Lisa off the ground. She hugs him hard. Then pulls back from him. She gives him a look. LISA Cut it a little close there, honeybunch. ANDERSON Rose got the street wrong. She's getting weak. LISA Rose?----------------------------------------------------------------------------------------------------- 98. INT. THE BOARDING HOUSE -- LATER Rose sits up in bed silently watching Lisa and Anderson together. Lisa needs to touch him. She keeps a hand on his arm, brushes back a loose look of his hair. Rose is mesmerized by her actions. She drinks in everything, every bit of life. Anderson and Lisa are deep in conversation. They speak to each other as if Rose were hardly present in the room. Anderson is trying to process everything Lisa has told him. ANDERSON Two discs. One fake. One real. LISA I don't think there were supposed to be two. Whoever planned it, wasn't counting on two. They are silent for a long time. Rose watches them work it through. ANDERSON An infallible system. Every disc ever generated has been true ... LISA Somebody wants you out of the way -- so they make a fake disc. Who ever doubts the discs? ANDERSON I never doubted it. I saw it. And believed it, absolutely. I was certain I was going to murder Witwer. Anderson is shaking. Lisa wraps her arms around him. His voice is a stunned whisper. ANDERSON (CONT'D) I saw the fake, and believed so much in the system, that I saw myself as a murderer. (beats) And the Precogs picked up those thoughts ... LISA And generated the second disc. The real one. ANDERSON A self-fulfilling prophesy. I believed it was true. And that made it true.----------------------------------------------------------------------------------------------------- 99. Anderson and Lisa turn and look at Rose. She lies curled on the bed, her face to the wall. ANDERSON (CONT'D) Rose. If all this is based on a lie -the fake disc -- then do I really kill Witwer? ROSE (beat) We see what we see. I'm sorry, Anderson. It's been predicted. Such a small voice, delivering a message of such finality INT. WITWER'S OFFICE -- MIDNIGHT Lieutenant Glaser tries to get through to Witwer. Witwer's back is turned to him. LIEUTENANT GLASER We can't take chances, sir Witwer doesn't move or answer. LIEUTENANT GLASER (CONT'D) It happens in less than three hours. (beat) We put you in a hovercraft and keep you airborne -- until after the event. WITWER The event. Lieutenant Glaser shifts uncomfortably LIEUTENANT GLASER I've been ordered to get you onto the craft. By force if necessary. WITWER The event is inevitable, Lieutenant. Witwer doesn't turn around. WITWER (CONT'D) The Precogs are never wrong. The event will take place. I'm a believer. Aren't you? LIEUTENANT GLASER I don't leave this room without you, sir. The Security Panel insists. CUT TO:----------------------------------------------------------------------------------------------------- 100. INT. THE BOARDING HOUSE SIMULTANEOUS Anderson and Lisa keep working it, peeling away the layers. Rose lies silent. ANDERSON Nobody could slip a fake disc past Ennis Page Lisa shakes her head. LISA He was the weak link in the perfect system. ANDERSON Obsessive compulsive niners can't allow changes in the routine LISA Something threw him off. (beat) He tried to tell me. It didn't make any sense. Something about "spilled coffee." (beat) Someone was in his office with him. And coffee spilled ... We stay CLOSE ON Anderson and Lisa as Rose's voice cuts in. ROSE (V.O.) We were always treated as if we weren't alive. As if we weren't there. The camera pulls back and they are watching her as she continues to speak. ROSE (CONT'D) Even now. You forget that I'm here. You talk between yourselves. And when you need me to see into the future, then you turn to me. ANDERSON Rose. What is it? ROSE (beat) We weren't just lost in the future. We were in the Chamber, too. Our eyes were open. In the present. And then Anderson gets it. He kneels beside her bed ANDERSON Your eyes were open. What did you see, Rose?----------------------------------------------------------------------------------------------------- 101. ROSE Who would I have told? Who ever talked to us? Who cared that we could talk? ANDERSON Rose. Who spilled the coffee? Straight ahead ... Rose stares stright ahead ... MEMORY HIT Rose sits in her chair in the Precog Chamber. Her brothers sit in their usual places on either side of her. The technicians tend to them. Rose's eyes are open. She sees everything in the room. The technicians, the machines ... and across the room a large window where she can see Ennis Page working the mainframe computer. Rose watches through the window ... As the computer emits discs, Page gathers them ROSE (V.O.) Ed Witwer entered Page's office. Witwer carries a mug of coffee. Ennis Page goes red in the face, stares at the coffee. Speaks to Witwer, angrily, pointing to the coffee. We can't hear the words. ROSE (V.O.) (CONT'D) Page was so upset at the sight of the coffee. Witwer goes to put the coffee down on a small table. It tips, and spills. Page looks like his head will explode. He pulls a neatly folded white handkerchief out of his back pocket and drops to his hands and knees and begins to obsessively blot at the coffee stain on his spotless rug. ROSE (V.O.) (CONT'D) Ed Witwer took a disc from his pocket, reached over Page and put it in one of the open cases. Witwer closes the case. He looks through the window into the Precog Chamber, but the only one watching him is Rose -- and what does she matter?----------------------------------------------------------------------------------------------------- 102. Page rises angrily from cleaning the rug. Witwer shrugs in apology and leaves the room. Page stares after him. BACK TO SCENE Rose is weeping. She looks at Anderson and Lisa. ROSE (CONT'D) I didn't understand what I'd seen. And I had no one to tell ... Lisa puts her arms around Rose Anderson tries to comprehend what he has heard. ANDERSON Ed ... Lisa turns, and speaks softly to her husband. LISA The perfect system -brought down by a cup of coffee. My god. ANDERSON (long beat) He set into motion his own death. He didn't know it would go this far. (to Rose) What makes me leave this room? If I stay here I won't kill him. Right? But Rose and her brothers have already answered that question for him. CUT TO: INT. WITWER'S OFFICE Lieutenant Glaser looks at his watch. Witwer is still in his chair, turned away from him. WITWER You see, if you think you can put me on a hovercraft and save me, then you don't believe in the infallibility of the Precog system. Lieutenant Glaser has his orders. He begins to approach. And as he does, Witwer swivels his chair around, and lifts the weapon he has been holding and silently shoots Lieutenant Glaser in the forehead. WITWER (CONT'D) And what I do not want around me, are nonbelievers.----------------------------------------------------------------------------------------------------- 103. Witwer steps over the body as if it doesn't exist, and walks out of the office, locking the door behind him. EXT. THE PRECOG ENGINEERING LAB - CHEVY CHASE, MD -- LATER Witwer gets out his car and looks at the two story concrete building that houses the lab. The lights are out in all the windows except the back section of the second floor. There, the lights burn brightly. Witwer sees Precrime officers posted at intervals around it. He smiles as if he knows something they don't. He looks at his watch. It is a cool night, but his face is slick with sweat. He walks to the entrance of the building. An OFFICER 1s startled to see him. WITWER Things quiet? OFFICER Sir. Should you ... be here? WITWER There's been a development. A body's been found in the Sprawl. OFFICER Anderson's? WITWER They're checking it out. I need to see what the Precogs have seen. Witwer is IdentiScanned. The door opens and he goes in. INT. THE LAB Dr. Resfield looks up as Witwer strides into the lab, carrying a tv under his arm. Witwer is the last person he wants to see. WITWER Borrowed this from the technicians' lounge. You don't think they'll mind, do you? DR.RESFIELD You shouldn't be here, Director. Dr. Resfield's eyes cut to a large digital clock on the wall, the red numbers ticking off time in seconds. Witwer looks for a plug, finds one. Plugs in the tv.----------------------------------------------------------------------------------------------------- 104. WITWER No, no. This is exactly where I should be. DR. RESFIELD You're under a lot of strain, Director. Witwer finds what he's looking for -- the continuous loop of his murder by Anderson. "Call Now! Call Now!" WITWER And tv's so good for that -- soothes the mind. Witwer turns his sweaty face to Resfield and gives him a bright smile. The scientist looks like he wants to run out of the room. Witwer takes him by the elbow and guides him toward the Precogs. Two technicians hover over the Precogs adjusting IV's and turning dials on the Precogs's organic helmets. The Precogs wince and shiver with each turn of the dial. But they are no longer violently seizing -- they are too weak for that. WITWER (CONT'D) Bring me up to speed, Doc. DR. RESFIELD We're getting nothing from them. WITWER And that's because ... ? Witwer still grips him by the elbow. DR. RESFIELD I don't know. WITWER Do you think they know where Anderson is? DR. RESFIELD It's impossible to tell. (beat) We've done everything. Maybe even too much. WITWER STARES AT THE PRECOGS WITWER They know how to find Anderson for me. (MORE)----------------------------------------------------------------------------------------------------- 105. WITWER (CONT'D) (beat) They're the perfect machine, Doctor. You just have to know which button to push. INT. BOARDING HOUSE - THE SPRAWL Rose looks like she's on fire. Anderson wets another towel, wrings it over the sink. Lisa takes it, and wipes down Rose's face and arms . Rose's lips are moving soundlessly. Her eyes are shut tight. She begins to writhe in bed. ANDERSON Jesus Christ. LISA Come on, Rose. ANDERSON LOOKS AT HIS WATCH ANDERSON One hour. We hold it together for an hour, Witwer lives -- and I'm not a murderer. LISA She won't last an hour. It suddenly looks much worse than that. Rose's body contorts horribly and she arches up off the bed. Lisa can't control her. Anderson reaches for her, wraps her in his arms, trying to hold and comfort her. ANDERSON Rose! She begins to wail as she thrashes in his arms. ROSE He's killed him, Anderson! Rose stiffens into a seizure posture, then her body goes slack. Anderson eases her back on the bed. He stares at her, stricken. Her voice barely leaves her now ROSE (CONT'D) You didn't save my brother. Anderson reels at her words.----------------------------------------------------------------------------------------------------- 106. ANDERSON Did he kill both of them, Rose? Rose! Rose manages to speak, one last time. Her whispered words damn him. ROSE Does it matter, Anderson? Anderson rises. Looks down at Rose. It matters. He starts to move, quickly. Lisa takes hold of his arm. LISA If you leave this room... Anderson kisses her. ANDERSON Then I'm a cop, just trying to do hisjob. He reaches for his duffel bag. When the door closes behind him, Rose turns her head slightly and looks. And then her eyes drift closed, as she goes to a place deep within her own mind. EXT. A STREET - THE SPRAWL - MOMENTS LATER He passes by several cars on the street. But they're all auto-drive, they won't do him any good. So he smashes a store window within forty-five seconds a city police transport zooms up, lights flashing. Two city officers leap out of the transport. They approach the smashed-in store window, weapons drawn. Which is a mistake. Anderson rises into view behind them, and sonically blasts a small crater in the sidewalk they are standing on. As they trip and fall, he is already spraying them down with BindFoam. Their second mistake is they left the engine running to power the bank of Nits -Tracker lights on the car's hood and roof. Anderson screeches off through the choking predawn streets of The Sprawl, a beacon of light in the darkness. INT. THE LAB The DIGITAL CLOCK races through time. Witwer reaches his hand up and touches the vanishing numbers. The camera pulls back, and we see Dr. Resfield and the two technicians bound and gagged in a heap in the corner.----------------------------------------------------------------------------------------------------- 107. And when we see the lab in its entirety, there sprawled on the floor in front of his chair is one of the Precog brothers. A small rise of blood comes from a torn place in the back of his skull. The other Precog sits very still in his chair. He is still connected to everything -- his helmet is in place, the TVs drip into him. His eyes are open, and when Witwer moves, the Precog's eyes follow him. Witwer can feel them on him. He turns around. WITWER Is he coming? No? Yes? Maybe? (beat) I think yes. The Precog looks at him. WITWER (CONT'D) And you think yes. Witwer points to the tv screen, running Anderson's murder of Witwer. Witwer smiles triumphantly. WITWER (CONT'D) Infallibly, immutably yes. The Precog looks at him. Witwer's smile vanishes, and suddenly strides across the room, and claps his hand over the Precog's eyes. Then he turns, and stares again at the clock. EXT. THE PRECOG ENGINEERING LAB Three officers stand thirty feet apart in front of the building, facing outward toward the parking lot, weapons cradled in their arms. Behind them is a line of yew bushes. AS we watch, the officer on the left is yanked off his feet backward into the bushes. Several moments pass, and the same thing happens to the officer on the right. The officer guarding the front entrance casually looks right. Then he looks hard. He grips his weapon tight, and swings left. No one there, either. ANDERSON drops him hard, from behind. The officer crumples onto the cement. But Anderson's not done with him. Anderson lifts him up, struggles to drag him forward toward the entrance. Anderson holds him upright in place. The man's head lolls backward. Which is. Perfect for what Anderson needs to do. Anderson reaches his fingers towards the man's closed eyes. He pulls up on the eyelids.----------------------------------------------------------------------------------------------------- 108. An IdentiScan over the entrance clicks on and reads the man's eyes. Access granted, the doors HISS open. Anderson enters the building, dragging the officer with him. INT. THE LAB Anderson enters the lab. The very building sickens him. What he sees sickens him even more. The remaining Precog sits strapped into his chair. Witwer sits beside him in the other Precog chair, the dead brother at his feet. Witwer wears the dead Precog's helmet. His hand is in his lap, holding a gun. He grins when Anderson appears. He takes off the helmet, drops it on the floor. WITWER I figured, since I can see the future, too, maybe I could get a little disc action going. (beat) Just kidding. Anderson stares at his old partner. Then he looks up at the digital clock. Five-seventeen AM. Witwer looks too, then turns back to Anderson. WITWER (CONT'D) You find you been doing that a lot this week? Looking at clocks? (beat) Three minutes to go. Anderson turns to the tv. ANDERSON There's never anything good on, you know? Now Witwer smiles. WITWER There. That's the old Paul. ANDERSON You're not the old Ed. You've lost it. Witwer rises from the chair, the gun in his hand. WITWER You lost it. You went weak in the knees, partner. ANDERSON I'm not your partner.----------------------------------------------------------------------------------------------------- 109. Witwer looks at him sadly. WITWER The air went out of you when Frank D'Ignazio killed himself. ANDERSON He was guilty. I accepted that. WITWER No you didn't. The doubts were creeping in on you. The lab trying to engineer more Precogs ... Malcolm pressuring you to expand ... Witwer reaches out and gently touches the remaining Precog brother's cheek. WITWER (CONT'D) Belief is the basis of the system. It was your job to be the ultimate believer. Witwer is breathing hard. He lifts a hand and wipes the sweat from his face. WITWER (CONT'D) And when Frank died, you faltered. I'm a cop, I see into the hearts of men. (beat) And the thing about you is, you wouldn't have just walked away. ANDERSON Never been my style. Witwer gives him the flicker of a smile WITWER Precrime needs to grow. You would have stood in its way. The Security Panel wouldn't have understood that. What you're capable of. What a bulldog you are. (beat) Look what you've been doing to us all week. Amazing. You're the best. ANDERSON So you took matters into your own hands. WITWER I understood the threat. I understood YOU Anderson looks at the dead Precog----------------------------------------------------------------------------------------------------- 110. ANDERSON You killed a Precog. You ended the system you wanted to protect. WITWER Wrong. This lab will make more. Believe it, Paul. They look at the CLOCK. Five-nineteen. ANDERSON Knowing the exact moment of your death -it's made you crazy, Ed. Witwer looks at the tv. The TV REALITY is almost in synch with what is happening in the room. Witwer lifts his gun -- and then realizes something is terribly wrong. Anderson is standing there before him just as he is on the disc -- except there is a major difference. WITWER You sonofabitch! Anderson lifts up both hands WITWER (CONT'D) You didn't bring your gun! ANDERSON That's right. No gun. WITWER You see?! That's exactly what I'm talking about. You don't Believe! Anderson just looks at Witwer, raging at him. WITWER (CONT'D) The system is infallible. ANDERSON Doesn't Seem to be Witwer reaches behind him and pulls a second gun from out of his belt. WITWER (CONT'D) I guess that's why I've always carried two. He tosses the gun to Anderson. It clatters at Anderson's feet. ANDERSON You can't have it both ways. You don't want to die. That's why you lured me here -- to kill me first. (MORE)----------------------------------------------------------------------------------------------------- 111. ANDERSON (CONT'D) (beat) But it you don't diet the system is flawed, and you couldn't live with that. Witwer SHOOTS him once, in the right thigh. Anderson cries out, falls to the concrete floor. WITWER Pick it up Anderson speaks through his teeth ANDERSON It doesn't happen. Witwer looks frantically at the tv, at the clock. He reaches over and opens the dripmeter on a piggy back IV feeding into the Precog's main line. A thick, yellow fluid begins to flow toward the Precog's jugular vein. WITWER (CONT'D) You're killing him, partner. And what choice, finally, does Anderson have? He reaches for the gun. ANDERSON Let's not do this, Ed Witwer trains his gun on Anderson. Anderson trains his gun on Witwer. ANDERSON (CONT'D) Oh, Ed ... Witwer lowers his gun. And stands there between Anderson and the doomed Precog. The yellow liquid has almost reached the Precog's jugular. Anderson shoots Witwer, once in the heart. Witwer is thrown back across the room, against a wall, beneath the clock. Anderson drags himself to the Precog, and rips the yellow IV out of the main line. The yellow drips onto the floor, mingling with Witwer's red. Anderson crawls to his friend, and cradles him. Witwer whispers something, and Anderson leans close to hear him. WITWER Now do you believe? Anderson pulls away from Witwer, and lets him take his last breaths alone. DISSOLVE TO:----------------------------------------------------------------------------------------------------- 112. DARKNESS And then, slowly emerging from the mists of darkness, a pale, beautifully proportioned FACE. It is Rose's face. The camera pulls back and we see that she is lying on a grassy hillside. Her brother is lying beside her. They are looking up at the night sky, at a sky filled with stars. Rose stares up into the sky, and speaks in a soft voice to her brother. ROSE James. Can you guess what I'm thinking? JAMES (beat) NO. James smiles. And then, after a long moment, so does Rose. THE END diff --git a/unformated_scripts/Script_Miracle Worker, The.txt b/unformated_scripts/Script_Miracle Worker, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..9b3dfba92f9db07e10566a6b9502935ebb20ef60 --- /dev/null +++ b/unformated_scripts/Script_Miracle Worker, The.txt @@ -0,0 +1 @@ + THE MIRACLE WORKER Written by William Gibson July 8th, 1961 1 • NIGHT. INI . NURSERY. 0 We see three faces in lamplight, looking down. They have been through a long vigil and it shows in their tired eyes and disarranged clothing. One is a young gentlewoman with a sweet girlish face, KATE KELLER; the second is an elderly DOCTOR, stethoscope at neck, thermometer in fingers; the third is a gruff gentleman in his forties with chin whis- kers, CAPTAIN ARTHUR KELLER. DOCTOR Shet11 live. KATE closes her eyes. I can tell you now, I thought she wouldn't, KELLER (INDULGENT) I've brought up two of them, but this is my wife's first, she isn't battle-scarred yet. KATE Doctor. Will my girl be all right? 0 DOCTOR Oh, by morning she'll be knocking down Captain Kellerfs fences again. KATE Is there nothing we should do? KELLER (JOVIAL) Put up stronger fencing, ha? DOCTOR Just let her get well, she knows how to do it better than we do. These things come and go in infants, never know why. Call it acute congestion of the stomach and brain. KELL ? moves after the DOCTOR, we hear them off-camera; we see only KATE'S face hovering over us, her hand adjust- ing the blanket. KELLER I'll see you to your buggy, Doctor. (CONTINUED) 2 1. CONTINUED DOCTOR (OFF CAMERA) 0 Main thing is the fever's gone. I've never seen a baby, more vitality, that's the truth -- Their voices and footsteps fade. KATE is bent lovingly over the crib, which emits a bleat; her finger is play- ful with the baby's face. KATE Hush. Don't you cry now, you've been trouble enough. Call it acute congestion, indeed, I don't see what's so cute about a con- gestion, just because it's yours? We'll have your father run an editorial in his paper, the wonders of modern medicine, they don't know what they're curing even when they cure it. Men, men and their battle scars, we women will have to -- Helen, Helen Captain, Captain, will you come. (She screams) 2. NIGHT. EXT. SIDE OF KELLER HOUSE. KELLER standing lamp in hand watching the doctor's buggy recede in the night. Suddenly from the house behind him comes a knifing scream. KELLER wheels, the scream comes again and the CAMERA follows KELLER's run with the lamp across the yard. 3. NIGHT. INT. KELLER HOUSE. KELLER runs into the house and up the dark stairs. 4. NIGHT. INT. HELEN'S NURSERY. KELLER bursts into the bedroom where KATE is screaming at the crib, her look intent on the baby and terrible. KELLER Katie, what's wrong? KATE Look. (CONTINUED) 3 c o.w- u UED She makes a pass with her hand in the crib, at the baby's eyes. I KATE (Cont'd) She can't see. Look at her eyes. She takes the lamp from him, moves it before the child's face. She can't seel KELLER (HOARSELY) Helen. A K TE Or hear. When I screamed she didn't blink. Not an eyelash -- KELLER Helen. Heleni KATE She can't hear youl YELLER HELENL His face has something like fury in it, crying the child's name; KATE almost fainting presses her knuckles to her mouth, to stop her own cry. FADE OUT 5. DAY. INT. KELLEL HOUSE - TITLE SHOT. The stairs in the Keller House. In the foreground we see the bannisters, in the background the wall. A shadow.of the erratic, staggering figure of 5 year old HELEN appears on the wall, moving slowly. The two Negro children scamper past -- their excited laughter coming to us, in contrast to the mute HELEN. In CU, in the FG, HELEN'S little hands come into the frame, grasping the bannister rail. 6. DAY. EXT. YARD - TITLE SHOT. HIGH LONG SHOT lookin`, down on lines of bed sheets hung up in the Keller yard to dry. It appears to be a kind of (CONTINUED) 6. CONTINUED maze, the sheets blowing in the wind; and staggering among them is the figure of the child, HELEN 5 years old, reach- ing out, struggling, buffeted by the damp, blowing sheets, CRANE DOWN towards the figure. HELEN lashes out, her face frightened, unknowing --- she pulls down a sheet, be- comes tangled in its folds, almost hysterical. In the BG KATE comes rushing from the house -- to help her. 7. NIGHT. INT. LIVING ROOM KELLER HOUSE - TITLE SHOT. There is a Christmas tree with decorations and in a WIDE SHOT we see HELEN, 7 years old, reaching up into tree. At a window we see the faces of Percy 8 years, and Martha, 7 years, looking in. HELENrS hand gets a Christmas ball and rips it down, shattering at her feet. CRAB IN AND AROUND coming to the side of the tree, seeing HELENtS hands, another ball, she pulls it down. We see her face, blurred out, through the pine branches and needles, and beyond her the other children watching. $. DAY. EXT. AFIELD - TITLE SHOT. A WIDE HIGH SHOT. We see the lonely expanse of field with 0 a low grass sprouting up, in the BG is the Keller house perhaps. Going slowly across the field is the figure of the child HELEN, Patty Duke. From in under CAMERA comes KATE, following her. (CONTINUE SCRIPT) 9. OMIT. 10. DAY. EXT. BACKYARD KELLER HOUSE AND PUMP - TITLE SHOT. Scene will be out MOS up until RINGING OF BELL: Now we are in leaf-dappled sunlight in the Keller yard, on three kneeling children and an old dog around the pump. V INEY with jug on way to barn to get milk. The dog is a setter named BELLE, and she is sleeping. Two of the children are Negroes, MARTHA and PERCY. The third child is HELEN, quite unkempt, in body a vivacious little person with a fine head, attractive, but noticeably blind, one eye larger and protruding; her gestures are abrupt, insistent, lacking in human restraint, and her face never 0 (CONTINUED) 5 10. CONTINUED smiles. She is flanked by the other two, in a litter of 0 paper-doll cutouts, and while they speak, HELEN'S hands thrust at their faces in turn, feeling baffledly at the movements of their lips. The CAMERA is on this; the dialogue is only background. MARTHA (SNIPPING) First Itm gonna cut off this doe- torts leg, one, two, now then -- PERCY Why you cuttin' off that doctor's legs? MARTHA I'm gonna give him a operation. Now I'm gonna cut off his arms, one, two. Now I'm gonna fix up She pushes HELEN'S hand away from her mouth. You stop that. PERCY Cut off his stomach, that's a good operation. 0 MARTHA No, I'm gonna cut off his head first, he got a bad cold. PERCY Ain't gonna be much of that doc- tor left to fix up, time you finish all them opera-- But HELEN is poking her fingers inside his mouth, to feel his tongue; he bites at them, annoyed, and she jerks them away. HELEN now fingers her own lips, moving them in imitation, but soundlessly. Again the CAMERA on this. MARTHA What you do, bite hand? PERCY That's how I do, she keep pokint. her fingers in my mouth, I just bite 'em off. (CONTINUED) 6. 10. CONTI :1ARTEA -.That she tryin' do now? 0 PEERCY She tryint talk. She gonna get read. Looka her try in' talk.. ILLEN is scowling, the lips under her fingertips moving in silence, growing more and more frantic, until in a bizarre rage she bites at her own fingers. This sends PERCY off into laughter, but alarms :MARTHA. MARTI Hey, you stop now. She pulls EELEI' S hand down, You just sit quiet and But at once HELEIT topples LTARTHA on her back, knees pinning her shoulders down, and ;-ravs the sissors. MARTHA screams, hile her tied b _nchlets of hair f17 off in snips of the scissors. PERCY darts to the bell stria on the porch, yanks it W THE DELL RIPGS. bOA. DAY. INT. LIVID ROOLI E CAPTAIN X LLER is at work at his deal. JA ES is at his ease in conversation with KATE and AUNT EV. KATE is serving a cool refreshment. ITAR RINGING OF BELL. KATE rushes out the door followed more slowly by A"MITT W, leaving behind JAILS & FELLER. 11. KATE O? ?` NINC DOOR ONTO ARCH SEES THE SCONE. Five years have done much to her, the girlish play- fulness is gone, she is a woman settled in grief. BATE (for the thousandth time) Helen. She is dorm the steps at once to them, seizing Ii LE'TT S wrists and lifting her off IARTHA. VINE= runs in and chases MARTHA and PERCY OFF. 0 6A. , 11. 4 :'?1 ± 17-T I) `kAT_J (C O1'~T I D Let me have those scissors, E SATE reaches for the scissors in HELEN' S hand. Put HEL N pulls the scissors bacI.', they stru g:le 'for then: a mno_m.ent, then KATE gives up, lets HELE1.1 keep them. She tries to drrrr HELEN into the house. HELEN jerks swwray. KATE next goes do.-,rn on her knees, tskes ?ELE! 1 S hands gently, and using; the scissors like a doll, m& es HELi N caress and cradle them; she points =,Y' S finger houseward.s. III�LEN' S whole body now beco_nnes ea^er; she surrenders the scissors, KATE t?'-rns her toward the door and -..hues her a little pus-1. I LEN scrambles up and toward the h_�u se, and NA= risin- follows her, 12. DAY. INT. I,ELL.ER LIVINC ROOD. There is a cradle with a sleeping infant, T1IrDRED: C".PT_":IN KE!,L:_R in spectacles is working over netrs- paper pages at a corner desk; a benign AM1T EV, wearing a hat, with a sew in-,. basket on a sofa is put- tin the finishing stitches on a big shapeless doll made out of towels; an ineol ont young man of I"TE' S are, JA S 1c_ tR turns from the window to look at H E L_,'N. i LE halts, her hands alert to grope, and E KATE turns her to the AUNT, who gives her the doll, the AUNT is meanwhile speaking to TELLER. AUNT EV Arthur, something ought to be done for that child. T- A refresh,; ng suggg;estion. '°l .at? AUNT EV '-Thy, this ver-T famous Perkins School in Poston; they're just supposed to do wonders. IC'ELLER The child's been to speci lists everywhere. The- couldn't help her in Baltimore or 1,1 -7aslaington, could they? 7. 12. CO:' 'I]'' T J' 0 t'iin the Cap;':ain will write to the Perkins School soon. KELL' R :ratie, Howe many tines can you let- then brew.{ your heart? Any number of tines, h T e foreroinz and follovrin" dialo,ue is peripheral to the we are on }EL ' T 1 She sits on the or to explore the doll t71th h.r fingers, gravely, and her hand pauses over the face: this is no face, a blan area, and it troubles her. CLOS'_' UP on her finger-- tips searching for flaatures. She tans ouestioninSly f'o:' eyes, but no one notices. She then yanks at her _Jfl''T1S dress, and taps amain viForousRy for eyes. 0 C O:T'! I ICJ n 0 12. CONTINUED 0 AUNT EV What, child? Obviously not hearing, HELEN commences to go around from person to person, tapping her eyes, but no one attends or understands. KATE (No break) As long as there's the least chance. For her to see. Or hear, or -- KELLER There isntt. Now I must finish here. KATE I think, with your permission, Captain, I'd like to write to the Perkins School. KELLER I said no, Katie. 0 AUNT EV Why, writing does no harm, Arthur, only a little bitty letter. To see if they can help her. FELLER They can't. KATE We won't know that; to be a fact, Captain, until afLLer you write. 13. HELEN NOW IS GROPING AMONG THING.' ON FELL ER t S DESK, AND PAWS HIS PAPERS TO THE FLOOR. KJ MLIM IS EXASPERATED. K I J,ER Katie. KATE quickly turns HELEN away, and retrives the papers. I might as well t°y to work in a henyard as in th.s house -- (CONTINUED) 9 13. C ONTINU.D JAMES (PLACATING) You really ought to put her away, Father. KATE (Staring up) What? JAMES Some asylum. It's the kindest thing. AUNT EV Why, she's your sister, James, not a nobody -- JAMES Half sister, and half-mentally defective, she can't even keep herself clean. It's not pleasant to see her about all the time. KATE Do you dare? Complain of what 0 you can see? KELLER (Very annoyed) This discussion is at an end] HELEN gropes her way with the doll back to AUNT EV. The house is at sixes and sevens from morning 'til night over the childl I want some peace here, I don't care how, but one way we won't have it is by rushing up and down the country every time someone hears of a new quack. I'm as sensible to this affliction as -- 14. HELEN WITH AUNT EV fingering her dress, yanks two buttons from it. AUNT EV Helena My buttons. (CONTINUED) 0 10 14. CONTINUED HELEN pushes the buttons into the doll's face. KATE 0 now sees, comes swiftly to kneel, lifts HELEN'S hand to her own eyes in question. KATE Eyes? HELEN nods energetically. She wants the doll to have eyes. Another kind of silence now, while KATE takes pins and buttons from the sewing basket and attaches them to the doll as eyes. KELLER stands, caught, and watches morosely, AUNT EV blinks and conceals her emotion by inspecting her dress. AUNT EV My goodness me, I'm not decent. KATE She doesn't know better, Aunt Ev. I'll sew them on again. AUNT EV (INDULGENTLY) 40 It's worth a couple of buttons, Kate, look. HELEN now has the doll with eyes, and cannot contain herself for joy; she rocks the doll, pats it vigorously, kisses it. This child has more sense than all these men Kellers, if there's ever any way to reach that mind of hers. 15. HELEN SUDDENLY SCRAMBLES TOWARD THE CRADLE, AND UN- HESITATINGLY OVERTURNS IT. The swaddled baby tumbles out and CAPTAIN KELLER barely manages to dive and catch it in time. KELLER Helen! All are in commotion, the baby screams, but HELEN un- perturbed is lying her doll in its place, KATE on her (CONTINUED) I 11 15. CONTINUED knees, pulls her hands off the cradle, wringing them; 0 HELEN is bewildered. KATE Helen, Helen, you're not to do such things, how can I make you UNDERSTAND-- KELLER (Hoarsely, handing the baby to AUNT EV) Katie. KATE How can I get it into your head, my darling, my poor -- KELLER Katie, some way of teaching her an iota of discipline has to be KATE (FLARING) How can you discipline an afflicted child? Is it her fault? 0 HELEN'S fingers have fluttered to her Mother's lips, vainly trying to comprehend their movements; we are close on these two. KELLER I didn't say it was her fault. KATE Then whose? I don't know what to dot How can I teach her, beat her -- until she's black and blue? KELLER It's not safe to let her run around loose. Now there must be a way of confining her, somehow, so she can't--- KATE Where, in a cage? She's a growing child, she has to use her limbs! KELLER Answer me one thing, is it fair to Mildred here? (CONTINUIM) 12 15. CONTINUED S KATE (INEXORABLY) Are you willing to put her away? Now HELEN'S face darkens in the same rage as at herself earlier, and her hand strikes at KATE'S lips. KATE catches her again, and HELEN begins to kick, struggle, twist. KELLER Now what? KATE She wants to talk, like -- be like you and me. She holds HELEN struggling until we HEAR from the child her first sound so far, an inarticulate weird noise in her throat such as an animal in a trap might make; and KATE releases her. The second she is free, HELEN blunders away collides violently with a chair, falls, and sits weeping. KATE comes to her, embraces, caresses, soothes her, and buries her own face in her hair, until she can control her voice. 0 KATE Every day she slips further away. I don't know how to call her back. AUNT EV Oh, I've a mind to write to Boston myself. If that School can't help her, maybe they'll know somebody who can. KELLER (Presently, heavily) I'll write to Perkins, Katie. He stands with the baby in his clasp, staring at HELEN'S head, hanging down on KATE'S arm. 16. DAY. EXT. BOSTON STATION - SHOOTING UP INTO VESTIBULE OF TRAIN. M.R. ANAGNOS on platform with ANNIE'S suitcase, is reach- ing up to help ANNIE mount steps. CAMERA is behind ANNIE. 0 (CONTINUED) 13 16. C 013TINUM ANAGNOS 0 -- only that a suitable governess has been found here and will come. It will no doubt be difficult for you there, Annie, but it has been difficult for you at our school too, hmmm? 17. CAMERA IN VESTIBULE - SEE ANNIE AND ANAGNOS FROM REAR. ANAGNOS ...-This is my last time to counsel you, Annie, and you do lack some -- by some I mean all -- what, tact, or talent to bencT. To others. And what has saved you on one or more occasions at Perkins is that there was nowhere to expel you to. Above ANNIEIS seat ANAGNOS puts her suitcase, looking .down at her. Your eyes hurt? 0 18. CU ANNIE - WEARING SMOKED GLASSES. ANNIE My ears, Mr. Anagnos. ANAGNOS (SEVERELY) Nowhere but back to that dreadful place where children learn to be saucy. Annie, I know how unhappy it was there, but that battle is dead and done with. Why not let it stay buried? ANNIE (CHEERILY) I think God must owe me a resur- rection. ANAGNOS (A bit shocked) What? 14 19. ANNIE TAPS HER BROW. ANNIE 0 Well, he keeps digging up that battle. ANAGNOS That is not a proper thing to say. Annie, be humble. He extends a gift to her.. You'll need their affection, work- ing with this child. ANNIE, not quite comprehending, looks at gift. A gift with our affection. ANNIE opens a small box and sees a garnet ring. She looks up, blinking, then down. ANNIE Dear Mr. Anagnos, (Her voice is trembling) I -- But she swallows over getting the ring on her finger and cannot continue until she finds a woebegone joke. 0 Well, what should I say -- I'm an ignorant, opinionated girl and everything I am I owe to you? ANAGNOS (SMILES) That is only half true, Annie. ANNIE Which half? The train lurches. ANAGNOS bends and kisses her on the cheek and says, ANAGNOS Goodbye. Goodbye. ANNIE (She calls after him LOUDLY) I won't give them any trouble. I'll be so ladylike they won't notice I've come. (CONTINUED) 15 19. CONTINUED 0 Passengers behind ANNIE turn reacting to her shout. She is conscious of this and sinks down'in seat. Past ANNIE, through window of train, we see ANAGNOS join 5 or 6 blind girls on the platform, and the train departs. BEGIN MONTAGE SEQUENCES OF TRAIN SHOTS. 20. ANNIE, TRAVELING, SITTING IN SEAT OF MOVING TRAIN. 21. SCENE IN FILTHY TRAIN, ANNIE READING PERKINS REPORT. SEAT DIFFERENT INDICATING ANOTHER TRAIN. 22. ANNIE DESCENDING FROM TRAIN VESTIBULE INTO DARKNESS OF STATION PLATFORM. IN BG PORTION OF SIGN "WASHINGTON". 23. ANNIE ATTEMPTING TO SLEEP ON A NIGHT TRAIN WITH PERKINS REPORT OVER FACE. 24. ANNIE SITTING ON SEAT OF MOVING TRAIN. Suddenly train rushes into a tunnel, and darkness comes over the scene. YOUNG JIMMIE (VO) Where are we going, Annie? YOUNG ANNIE (VO ) Jimmie. YOUNG JIMMIE (VO) Where are we going? YOUNG ANNIE (VO) I said I'm taking care of you. YOUNG JIMMIE (VO) Where we go... DISSOLVE TO: 25. STYLIZED TEWKESBURY ADMISSIONS OFFICE. YOUNG JIMMIE and YOUNG ANNIE are standing in front of desk. We do not see man sitting behind desk, but we hear his voice. 25. CONTINUED 11Al3' S VOICE Annie Sullivan, aged nine, virtually 0 blind; Jaynes Sullivan, aged seven, -- what's the matter with your legs sonny? GIRL It's his hip, N ster, he was born that way. is AN' S VOICE Can't he walk without that crutch? The GIRL shakes her head. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mirrors.txt b/unformated_scripts/Script_Mirrors.txt new file mode 100644 index 0000000000000000000000000000000000000000..cf9269dc3d510d488b6a91f1d62462b2a03748ca --- /dev/null +++ b/unformated_scripts/Script_Mirrors.txt @@ -0,0 +1 @@ + MIRRORS Written by Alexandre Aja & Gregory Levasseur Fourth draft January 5th 2007"I give you the secret of all secrets. Mirrors are the gatesthrough which death comes and goes. Tell no one." OrphÈe, Jean Cocteau1 OMITTED 1 1A INT. NIGHT - HARLEM SUBWAY STATION 1A A subway screeches by at full speed revealing a station platform somewhere in Harlem. A man runs for his life in the deserted space. He's an African American male in his forties wearing a security guard uniform. He turns into an empty corridor, climbs a set of stairs towards the exit, but- The gates are down and the station is closed. Desperate and out of breath, he is forced to trace his way back, searching for an exit or a place to hide. He sees a door to the public restroom and runs inside. 1B INT. NIGHT - SUBWAY PUBLIC RESTROOM 1B The place is deserted as well. One of the mirrors is smashed while the others are covered by graffiti and dirt - The neon lights are flickering, bringing the place in and out of the dark. The man checks each stall one at a time. His face lights up as he looks inside the last one- A SMALL WINDOW ABOVE THE TOILET IS JUST BIG ENOUGH FOR HIM TO CRAWL THROUGH. He steps onto the toilet seat but the window is shut too tight. After a brief struggle, he swings it open, only to discover- A wall of bricks. Panic returns to his eyes. He slowly opens the stall door, fearful of what could be waiting outside. A FAINT SOUND OF SHATTERING GLASS is heard. He quickly shuts the door, holding his breath. Frozen. Silence. His heart racing, he exits the stall in the direction of the sound. The place is empty. The room is revealed by flashes of flickering neon lights. He moves closer to the sinks and the spiderweb cracked mirror. His image is fragmented and deformed. It resembles a Cubist portrait. (CONTINUED) 2.1B CONTINUED: 1B MAN I'm sorry... I... I... I wasn't trying to get away... He talks to his own reflection in the mirror- MAN (CONT'D) No, please don't... He approaches and starts crying like a child. His head resting against the mirror, he pleads for his life. Then, seeing the dirt and grime on the mirror, his behaving shifts to another extreme. He starts cleaning it frantically with his hands. Too frantically- A piece of the spiderweb cracked mirror falls on the ground. Immediately, he bends down to pick it up but- HIS REFLECTION IN THE MIRROR REMAINS STANDING IN SILENCE, WATCHING HIM. Looking up, the man realizes his reflection has become independent. A separate being... Terrified, he slowly stands staring at his stationary double. The pointy and sharp piece of broken mirror in his hand reflects the neon lights just like a knife blade. His eyes turn cold with fear when- HIS DOUBLE IN THE MIRROR STABS ITSELF DEEP IN ITS THROAT! IN REALITY, THE MAN HAS NOT MOVED AN INCH, YET HIS THROAT RIPS OPEN, RELEASING A RIVER OF BLOOD. Void of any facial expression, the man's reflection slices his jugular from end to end. In reality, the man chokes on his own blood which splatters on the mirror- TURNING THE IMAGE TO A DARK DEEP RED. CUT TO: 1C EXT. DAY - NEW YORK 1C OPENING CREDITS ON- All the reflections catch in the glass buildings of Manhattan- The traffic in the streets, the old turn-of-the-century faÁades, the people walking on the sidewalk, the pigeons flying away, the Brooklyn Bridge and the Manhattan skyline reflecting off the surface of the Hudson River... (CONTINUED) 3.1C CONTINUED: 1C Seen through the mirrored surfaces, everything in the city seems to move in a distorted way. Ominous. The softness of the sun's rising light is contrasted with the eerie, haunting music. CUT TO:2 INT. DAY - APARTMENT QUEENS 2 "A WEEK BEFORE" Bip. Bip. Bip... It's 8 a.m. The blinking digital numbers of the alarm clock reflect off the wooden floor of the apartment. The sunlight is diffused through the drawn curtains of the living room. Seen in the reflection of the TV-set, a man is sleeping on the couch. He switches off the alarm and rises to go into the bathroom. 3 BATHROOM - CONTINUITY 3 Like a thick fog, the steam from the shower fills the bathroom. The shower turns off. A hand reaches out to wipe away the mist on the mirror above the sink, revealing- The face of BEN CARSON, 41 years old. His eyes reflect the hardships of life. A life, that from the lines on his face, we suspect hasn't been easy. On his chest and shoulder, SEVERAL BULLET SCARS. Ben changes his razor blade and starts to shave his 3 day old stubble.4 BEDROOM - CONTINUITY 4 Ben finishes getting dressed and walks to the half opened bedroom door. Inside, ANGELA is asleep in the bed. She is younger than Ben. ANGELA awakens slowly- ANGELA What time is it? BEN Almost 8:30... Coffee? (CONTINUED) 4.4 CONTINUED: 4 ANGELA No, you're going to be late. BEN Go back to sleep... I'll call you, OK? ANGELA Yeah, I won't be working until later tonight. He comes to kiss her on the forehead. She opens a sleepy eye and smiles. ANGELA (CONT'D) You shaved? She strokes his face gently. ANGELA (CONT'D) I like it. It makes you look younger. Ben slips on his old military parka before leaving. ANGELA (CONT'D) Good luck! BEN See you later, Angie. 5 INT. DAY - HALLWAY BUILDING 5 Ben walks down the hallway. The building is old and clearly not well maintained, cracks and graffiti cover the walls. CUT TO: 6 OMITTED 6 7 OMITTED 7 7A EXT. DAY - MANHATTAN 7A The downtown streets are clogged with the early morning rush hour traffic. 8 INT. DAY - POLICE STATION- MANHATTAN 8 On the honorary board of the NYPD we can read the names of all the officers decorated for their courage. In the reflection of the copper plate we find Ben, sitting on the bench across from the office of - (CONTINUED) 5.8 CONTINUED: 8 Captain LARRY BYRNE (55) who appears at the end of the corridor- LARRY Sorry, I'm late... Have you been waiting long? BEN I just got here. They shake hands. LARRY You look awful. BEN Thanks Larry. LARRY You know, you should sleep at night. Come in... Ben follows him into the office. 9 INT. DAY - LARRY'S' OFFICE 9 Larry takes a seat and briefly looks over the messages and files that have been dropped off on his desk- LARRY So did you find an apartment yet? BEN No, not yet. LARRY You need a place to stay? BEN No, I'm staying at my sister's, in Queens. LARRY I didn't know you had a sister. What does she do? BEN She's a bartender. LARRY That's not too good for you! Anyway, you know you are always welcome to stay at our house. Larry looks up at Ben, slightly uneasy- (CONTINUED) 6.9 CONTINUED: 9 LARRY (CONT'D) I ran into Amy the other day. How are things going between the two of you? Ben remains silent. He obviously doesn't want to get into that subject. LARRY (CONT'D) So, why did you want to see me Ben? BEN You know what I want. I'm ready to come back, I'm feeling much better now. LARRY Listen Ben, I can't bring you back on the force. Nobody in the squad wants you around right now. I'm sorry but I have to be honest with you. You understand, right? BEN Larry, I'm telling you, I'm ready. LARRY If it was up to me, I would bring you back tomorrow, but I'm not the only one who decides. Listen, I think I've got something else for you. I know a guy at the Mayflower corporation and they need someone to watch over one of their department stores. BEN What?! Come on Larry, a security guard job... I'm not ready to retire yet! LARRY Hey! I'm just trying to help here. I know you're over qualified for that position but it's a good opportunity for you for the time being...until the situation here quiets down. Also the money is not that bad. Ben is having a hard time to contain his anger. LARRY (CONT'D) You need the money, Ben. You're in the middle of a divorce and you've got child support to cover. If you want to see your kids, you've got to get a job, any job. Deep inside, Ben knows Larry's right. (CONTINUED) 7.9 CONTINUED: (2) 9 LARRY (CONT'D) Do you know the Mayflower on West 38th Street? BEN I do. The one that burned down? LARRY Yes, their night watchman hasn't shown up for work in several days. They need someone right away. Take it, relax, and we will talk about your situation again in a couple months. BEN Yeah, in a couple months... I gave everything for the NYPD. I almost died out there. Everyone seems to have forgotten that. LARRY I didn't. CUT TO: 10 INT. DAY- CORONER'S OFFICE 10 We discover a whole different world- In the sterile environment of the NYC Chief Medical Examiner's Office, forensic scientists with tape recorders in hand, describe the corpses. We are a world away from the Hollywood clichÈs of neatly laid out, immaculate cadavers. Here, some of the corpses have reached a state of advanced decomposition and others are still frozen in contorted positions, expressing their ultimate agony before dying. From the homeless man fished out of the river, to the woman killed by gun shots, each corpse tells his own story... Amidst the group of doctors 35-year-old AMY, deeply immersed in an autopsy, is interrupted by her cell phone. Amy checks the display for the incoming call- BEN. She hesitates for a moment and doesn't answer the call. Amy goes back to the postmortem analysis on her tape recorder.11 EXT. DAY - NEW YORK 11 Dozens of pigeons fly away as the above ground subway passes by. (CONTINUED) 8.11 CONTINUED: 11 AMY (O.S.) " ...You have reached Amy Carson. I am not available to take your call. Please leave a message and I will get back to you as soon as I can." Caught in the pouring rain, Ben has taken shelter under the scaffolding at a street corner. He plugs his ear with his finger to block the traffic and city commotion - BEN (on Amy's voicemail) Amy, it's me... I just wanted to let you know that I got a job today... It's nothing special, just a security guard job... If you still want to go ahead with it, we can sign the divorce papers... I mean, if that's what you really want. (he hesitates) I've been thinking about Michael's birthday tomorrow. It would be nice if we could celebrate it together ... You know, for the kids' sake... Call me... Please. Ben hangs up the phone. He lingers under the scaffolding for a moment, watching the falling rain.12 EXT. DAY - NEW YORK 12 The glass skyscrapers mirror the black clouds in the sky above as they slowly break up, giving way to the sun. 13 EXT. DAY - MAYFLOWER DEPARTMENT STORE 13 On 38th Street, just off of Broadway, the Mayflower has withstood the passage of time and the huge fire that forced it to shut down- The damage from the fire is still noticeable on the facade of the building- The fire appears to have started on the ground floor and seems to have spread all the way up to the top. Some of the windows are shattered, while others are boarded up. What was once an impressive ornate building, a fine example of 1920's architecture standing on one of Manhattan's most dynamic streets, now gives off a feeling of devastation and desolation. What is left of it is a mere ruin, a sort of neglected ghost ship, abandoned in the heart of the city. 9.14 INT. DAY - MAYFLOWER 14 The last beams of daylight shine through the broken windowpanes. Inside the department store, everything has remained the same since the fire, as if time stood still. The display cases, the departments, the mannequins, and even the clothes are all burnt or blackened by the fire. A thick coat of soot covers the floor and rainwater drips down all over the place. MAN (O.S.) It's been five years and they're still in a legal battle with the insurance companies. Even cleaning up that mess is impossible... In his dark brown uniform, the daytime security guard, LORENZO SAPELLI, 60's, seems pleased to guide Ben through what was once a temple of beauty and vanity. LORENZO You know, the Meredith family acquired this building after St. John's Hospital closed in 1952. It was the very first Mayflower to open on the East Coast. On the cracked walls, THE HUGE 1920 MIRRORS that have survived the flames reflect merely the remnants of the past. The customers are long gone and have been replaced by pigeons flying in and out of the gaps in the roof. LORENZO (CONT'D) The company wants us to patrol the premises every couple of hours, but I do my rounds every three hours and that's more than enough. Anyway, you'll see, there's not much going on. It's pretty calm around here. Ben follows Lorenzo through the burnt display counters. He listens but his mind has drifted elsewhere. This place makes him uncomfortable. It's not only the lingering smell of a fire, but also a sense of death that hangs over it. The whistling of the wind through the store's old ventilation system sounds like faraway voices. Ben and Lorenzo appear at the top of the staircase of the 2nd floor. LORENZO (CONT'D) Here you go... Men's department, or what's left of it anyway... (CONTINUED) 10.14 CONTINUED: 14 Ben observes the surroundings- Yet another spectacle of devastation. LORENZO (CONT'D) Thank God you didn't show up any later. This place gives me the chills at night. ... No electricity, and all these mirrors... You know, I live in Brooklyn near a Jewish neighborhood, and when someone dies, they cover all the mirrors in their house. Some say that it's just to renounce all vanity during the mourning period, but others say something else... They say it's to keep the soul of the dead from being trapped in the mirrors... Believe it or not, there's always a bit of truth in any superstition. Am I right? Amused and skeptical at the same time, Ben contemplates the mirrors that surround him- LORENZO (CONT'D) I guess you just have to keep your eyes away from them. Unlike the rest of the scenery, THE MIRRORS ARE PERFECTLY CLEAN AND GLISTENING. BEN Did you clean them? LORENZO What? BEN The mirrors, why are they so clean? Lorenzo smiles- LORENZO That's Gary Lewis, the fellow who worked here before you. He was completely obsessed with these damn mirrors. He'd spend the entire night polishing them. BEN Why did he leave? LORENZO No idea. Just didn't show up one night. I take it he's found a better opportunity somewhere else. (MORE) (CONTINUED) 11.14 CONTINUED: (2) 14 LORENZO (CONT'D) I'm not one to complain, but I never really liked him much... Could never be bothered to say hello or at least ask "how are you doing?"... I mean, damn, do we work together as a team or what?! You, on the other hand, seem like a nice guy. How long has it been since you left the NYPD? BEN Almost a year. LORENZO Why did you resign from the force? You were a detective, is that correct? BEN I was wounded during a holdup... It kind of changed my perspective on things. Ben and Lorenzo reach the next floor. LORENZO Third floor... Ladies' department. You gotta be careful here. When the wind blows, sometimes the tiles fly off the roof and they'll just snap your ear off, if you follow what I'm saying... Lorenzo checks the time on his watch. LORENZO (CONT'D) Well, I'll let you get acquainted with the rest of the store on your own. They turn around. LORENZO (CONT'D) Follow me, I'll show you our "headquarters" and I'll get you one of these uniforms.15 EXT. DUSK - MAYFLOWER - SECURITY GUARD TRAILER 15 It's almost night. Ben and Lorenzo have finished their visit and exit the department store. LORENZO We were a pretty big team working here before the fire. When you stop to think that of all the department stores in New York, this one was the most beautiful, the most luxurious... It breaks your heart, it really does... (CONTINUED) 12.15 CONTINUED: 15 Outside the building behind the fence blocking its entry, a construction trailer has been outfitted for the guards. LORENZO (CONT'D) Here you go. This is where you'll be spending most of your time. At least you've got electricity in here. It's nice and warm, and there's even a TV.16 INT. NIGHT - SECURITY GUARD TRAILER 16 Cartoons flicker on an old television set. All bundled up in a coat, and wearing a woolen hat, a young boy is watching TV. Lorenzo and Ben enter the mobile home- LORENZO Lorenzo Junior, my grandson... Say hello Lorenzo. LORENZO JR. Hello. LORENZO Lorenzo and I are going to the movies tonight... Lorenzo strokes his grandson on the head and proceeds to the back of the mobile home, leaving Ben alone with the child. The boy looks almost hypnotized by the images on TV. BEN How old are you, Lorenzo? LORENZO JR. 8. Lorenzo Jr. shifts his attention from the cartoons and stares Ben in the face- LORENZO JR. (CONT'D) Do you work in the department store? BEN I do now. LORENZO JR. Grandpa says there are ghosts in the store... Is that true? Ben smiles. BEN I think your grandpa just wants to scare you a little. (CONTINUED) 13.16 CONTINUED: 16 Lorenzo Senior has changed clothes, and returns with a uniform, which he hands over to Ben- LORENZO Here, this should fit you. Lorenzo, put your coat on... We are already late. (to Ben, on the sly) There's a drop of Jack Daniel's in the cupboard... To keep yourself warm. Lorenzo hands over the keys- LORENZO (CONT'D) Well, Ben, the place is all yours. He's about to leave when- LORENZO (CONT'D) Oh! I forgot the most important thing... the flashlights! You'll be needing one of these at night. We've got two of them. They run on batteries. Don't forget to charge them... See you in the morning, Ben. BEN See you tomorrow. Lorenzo and Lorenzo Jr. exit the trailer. Through the window, Ben sees them walk out to the street. Ben inspects the trailer- scattered with knickknacks, the decoration of the place corresponds well with Lorenzo's personality - warmhearted and humble. The clock on the wall shows 7 p.m.... A long night lies ahead. Ben grabs a flashlight and turns it on. The beam of light is dazzling- CUT TO:17 INT. NIGHT - MAYFLOWER - A FEW HOURS LATER 17 The flashlight sweeps across the dark entrance hall. Wearing the security guard's uniform marked with an embroidered "M", Ben makes his first round of the store. The pigeons perched on the roof seem to observe him. Ben proceeds slowly up the stairs. 14.18 - SECOND FLOOR - 18 In the Men's department, Ben's flashlight is a mere luminous spot twirling in the night. The ever-present mirrors magnify the space to infinity.19 - THIRD FLOOR - 19 Ben walks through the different sections of the Ladies' department. He examines the remains of the charred garments sagging on the hangers. The silhouettes of the burnt mannequins emerge in the gloom of the night. STRANGE AND DISTURBING SHAPES REFLECT OFF THE MIRRORS. 19A EXT. NIGHT - MAYFLOWER 19A Wide exterior shot- By night, the department store's ornate facade takes on an entirely different appearance - more menacing, almost evil. 19B INT. NIGHT - MAYFLOWER 19B Ben continues his rounds. We follow his path through reflections in the mirrors- AS IF HE WAS BEING WATCHED... Then- For the first time, we discover another perspective, another POV FROM WITHIN THE MIRRORS. It feels ominous, slightly detached. The sound is muted. Ben crosses back the third floor- The second floor... 20 OMITTED 20 21 OMITTED 21 22 OMITTED 22 15.23 - ENTRANCE HALL GROUND FLOOR - 23 In the reflection of one of the grand mirrors in the entrance hall, we see Ben come down the stairs. He stops for a moment, facing his reflection in the mirror. He fixes his collar and looks at himself in his new clothes- Not quite an NYPD uniform... Suddenly, his eyes freeze. Intrigued, he comes closer to the mirror and leans forward- A HANDPRINT, BARELY VISIBLE, ON THE ICE COLD SURFACE. He touches it with the tip of his fingers and tries to rub it off, unsuccessfully. He picks up a rag from the ground, spits on the mirror, and rubs the mark fervently. The print remains. This confirms his hunch- THE HANDPRINT IS INSIDE THE MIRROR... By angling the flashlight, another handprint is revealed. Another. And yet another- THE ENTIRE MIRROR IS COVERED WITH HANDPRINTS, JUST AS IF A CROWD OF PEOPLE ON THE OTHER SIDE HAD PRESSED ITSELF AGAINST THE GLASS TO GET OUT... As he looks back up in the mirror he sees- THE ACCESS DOOR TO THE BASEMENT OPENING... Ben turns around. His gaze freezes- THE ACCESS DOOR TO THE BASEMENT IS CLOSED! YET, IN THE MIRROR, IT CONTINUES TO SLOWLY SCREECH OPEN! Ben swings his head back and forth, between the shut door in reality and the opened door in the mirror. What is happening? Is he dreaming or hallucinating? Ben walks backwards towards the basement door, keeping his eyes fixed on the mirror. As he goes to reach for the handle, he sees his reflection reaching for the handle of an invisible door! Ben opens it- THE SYNCHRONICITY BETWEEN THE REAL WORLD AND THE ONE REFLECTED IN THE MIRROR HAS BEEN RESTORED. Ben tries to reenact the phenomenon. He opens and closes the door over and over, while observing his reflection, but the mirror is no longer deceitful. The staircase leading to the basement vanishes into the dark. Ben hesitates. 16.24 OMITTED 24 25 OMITTED 25 26 OMITTED 26 27 OMITTED 27 28 OMITTED 28 29 OMITTED 29 30 OMITTED 30 31 OMITTED 31 31A OMITTED 31A 32 OMITTED 32 33 OMITTED 33 34 OMITTED 34 35 OMITTED 35 36 INT. NIGHT - BASEMENT CORRIDOR MAYFLOWER - CONTINUITY 36 Ben walks down the stairs, step-by-step, lighting his way with a flashlight. The beam of light dims, the battery is almost dead. He gives it a few taps to make the light reappear. Last step- HIS FOOT LANDS IN WATER! BEN Fuck... A few inches of water cover the basement floor. One of the water pipes must have burst due to the cold. (CONTINUED) 17.36 CONTINUED: 36 The light flickers back for a moment, revealing before him- the narrow subterranean corridors of the department store. Along a wall, Ben finds a fuse box and pushes some of the switches. Further down in the corridor, a couple of fluorescent lights flicker to life- two tiny sources deep inside the darkness. AS BEN DISCOVERS HIS SURROUNDINGS, THE CAMERA PULLS BACK SLOWLY, UP ALONG THE STAIRS, THROUGH THE OPEN DOOR, IT ACCELERATES AND STOPS IN FRONT OF THE MIRROR- IN THE REFLECTION, WE SEE THE BASEMENT DOOR SHUT... FADE TO BLACK37 EXT. DAY - NEW JERSEY STREET 37 It's been snowing all day and a white coat of powder outlines the trees and houses. On the front lawn of their house, 5 year old MICHAEL and 7 year old DAISY are building a snowman. MICHAEL Why did they say on TV that it wasn't supposed to snow today, but tomorrow instead? Why did they lie? DAISY Sometimes they make mistakes, Michael. It happens... MICHAEL Grown-ups don't make mistakes. Only little children do. Slightly annoyed, the little boy places the eyes on the snowman. Daisy's face lights up with a big smile when she catches sight of her father's car approaching- DAISY Daddy! Michael turns around and sees Ben exiting his 1986 Oldsmobile, with a big wrapped package in his arms. The children abandon their snowman and rush towards their father. Ben takes Michael into his arms- MICHAEL (pointing to the wrapped present) What is that? (CONTINUED) 18.37 CONTINUED: 37 BEN Well I don't know, I just found this package hidden behind a tree. MICHAEL Is it for me? BEN Maybe... (to his daughter) Daisy, has Michael been a good boy? Does he deserve his birthday present? Michael nods. DAISY No! Yesterday he finished the whole bag of candy when mom had told him he could only have one piece. MICHAEL Not true! DAISY Yes it's true! MICHAEL No, it's not true... She's lying Daddy. I've been a very good boy, I promise. They enter the house. BEN Is mom back? DAISY Not yet. Rosa came to pick us up from school today. 38 INT. DAY - HOUSE - CONTINUITY 38 In the kitchen, ROSA, the nanny, is rinsing the dishes from the afternoon snack- BEN Hello Rosa! ROSA Hello SeÒor Carson. How are you? BEN I'm good, very good... What time will Amy be back? (CONTINUED) 19.38 CONTINUED: 38 ROSA Not before six, Sir... BEN OK, I'll wait for her. ROSA Do you want me to fix you a snack? BEN No, thank you. I'll be fine. Ben takes off his coat and joins the kids in the living room. He hands over the present to his son. Daisy is sitting in the armchair, holding her cat, TIGER, in her arms. BEN (CONT'D) Happy birthday, Michael. MICHAEL What is it? DAISY Duh, open it stupid! Michael tears away the wrapping paper and discovers a remote control car. The little boy is on cloud nine.39 - LATER IN THE AFTERNOON - 39 Through the front window, we see a Volvo station wagon park in front of the house. Amy gets out of the car, loaded with shopping bags. She enters the house and hands the groceries over to Rosa. AMY Hi Rosa... Where are the kids? ROSA Upstairs... (in a low voice) ...With SeÒor Ben. The expression on Amy's face shifts. Noticeably irritated, she goes up to the second floor. Michael's remote control car drives at full speed down the hallway. Ben shows his children how to operate the remote control while the bathtub fills up. He seems as excited as the kids by the new toy. Ben turns around to find Amy watching them. (CONTINUED) 20.39 CONTINUED: 39 BEN Hey Amy... MICHAEL Look Mommy, look what Daddy got me. AMY It's great, you will have to show me how it works! MICHAEL It's so fast Mommy! AMY Ben, can I talk to you, in private? Ben puts down the remote control- BEN (to his kids) Ok kids, it's time for your bath. No fooling around. Ben follows Amy into the bedroom. She closes the door behind them.40 INT. EARLY EVENING- BEDROOM HOUSE 40 Amy is not equally pleased to see him- She's beside herself with anger- AMY What is this? I already asked you not to drop by without calling, didn't I? BEN I do, but you never take my calls! AMY I don't need your calls in the middle of the night. I'm better off without them. BEN I haven't had a drink in three months but, then again, how would you know? AMY I don't want to know, Ben. I don't want to hear about it. It's not my problem. You're not my problem. You've done more than enough harm already. BEN You don't think people can change? (CONTINUED) 21.40 CONTINUED: 40 AMY We are not talking about people, we're talking about you. How many times did you tell me you were gonna change and nothing happened? It only got worse. Ben moves closer to his ex-wife- BEN Just give me another chance. She smiles- How many other chances did she already give him? Behind the firmness and intransigence she conveys, we sense Amy is torn. She still loves him as well. AMY I need more time, Ben. Listen, I will never stop you from seeing your children but we have to set up some rules. Out of nowhere, Ben hits the wall with his bare fist- BEN WHAT RULES?! IT'S MY SON'S FUCKING BIRTHDAY TODAY! COME ON AMY, WHAT RULE IS GOING TO STOP ME FROM SEEING HIM? 41 INT. EARLY EVENING - HOUSE BATHROOM 41 In the bathtub, Daisy and Michael cannot avoid overhearing their parents arguing. In denial, Michael blocks his ears with his hands and lies back under the water... 42 BACK IN THE BEDROOM - 42 Amy seems distrustful of Ben, scared of how close he is to the edge. We can see the anger in his eyes... AMY Look at yourself. You're still carrying around so much of that anger. He catches a glimpse of his reflection in the mirror- and of the desperate violence in his eyes... Ben steps back. BEN (trying to calm down) I'm sorry, I didn't mean to yell at you... Things could be so different between us. AMY Yes I know, but it's up to you Ben. (CONTINUED) 22.42 CONTINUED: 42 BEN Yeah... Anyway, I wasn't planning on staying. My shift starts in an hour. I'll just kiss them goodbye and then I'm leaving. Ben exits the room. Amy is left alone- Through the window, she watches Ben exit the house and get into his car. When she turns away, she discovers Michael and Daisy standing outside the bathtub dripping wet in their towels. She smiles, and quickly comes to dry them. MICHAEL Mom? AMY Yes, honey. MICHAEL Is Daddy coming back to live with us? She smiles gently. AMY I don't know sweetheart. I don't know. 43 INT. DAY - BASEMENT CORRIDOR MAYFLOWER 43 The beams from the flashlight are reflected in the few inches of water flooding the basement corridor. Since yesterday, the water level has continued to rise. The outline of Ben and Lorenzo's silhouettes appear in the staircase leading to the ground floor- BEN I haven't managed to find the source of the leak. My guess is it doesn't come from the store... It must be a municipal pipe that blew with the cold... LORENZO I'll call the company tomorrow morning and have them come take a look at it.44 INT. NIGHT- SECURITY GUARD TRAILER 44 On the gas stove, a kettle is whistling. (CONTINUED) 23.44 CONTINUED: 44 Ben rummages through the cupboards and the drawers. He finds some instant coffee next to the bottle of Jack Daniels. He briefly hesitates between the coffee and the whisky... He grabs a cup and pours the boiling water into the instant coffee. In the reflection of the clock, we see Ben watching TV. It is past midnight. Ben gets up and grabs his flashlight- It's time for his rounds.45 INT. NIGHT - MAYFLOWER CENTRAL HALL 45 Through the shattered panes of the central dome, we see Ben walking through the store. Since the mysterious occurrences of the night before, his attitude has changed. He avoids, as much as possible, looking into the mirrors. He is on guard, fearing another supernatural manifestation. The shadows, the mannequins, and the shapes in the mirrors are all disturbing and unsettling. Even what remains of the sculptures on the top of the marble columns seems alive in the dark. As he crosses the entrance hall, a glint of light catches his attention. Despite himself, he stops and gazes into the mirror- AT THE FAR END OF THE STORE, ONE OF THE DEPARTMENTS IS IN FULL SWING AND BATHED IN DAYLIGHT! EVERYTHING IS SPOTLESS, AS IF THE FIRE HAD NEVER TAKEN PLACE. CUSTOMERS COME AND GO AS IF NOTHING HAPPENED. How is this possible? Ben turns around to see the same spot in the real world- ONLY IT'S IN RUINS... Ben glances back at the reflection in the mirror- The vision of the past prevails. Unable to ignore it, Ben decides to check it out for himself... Ben wanders off towards the far end of the store, a landscape of dust and desolation. HIS REFLECTION IN THE MIRROR, ON THE OTHER HAND, HEADS IN THE DIRECTION OF THE "FLASHBACK"- We follow him in the mirror- Ben has left the night behind and enters the "daytime" department. Everything is in perfect order and unspoiled. Ben continues his journey into the past. (CONTINUED) 24.45 CONTINUED: 45 The customers jostle one another while shopping during a big sale. Children run wild in the aisles. Women fight over articles of clothing. Ben stops dead in his tracks when he notices, around his shoes, a transparent liquid spilling out on the floor- He bends down and dips his fingertips into the liquid- GASOLINE. Gallons of flowing gasoline gradually spreading over the floor of the department store. Ben turns around and sees, under the shelving, A HAND LIGHTING A ZIPPO- The lighter falls to the floor in slow motion. The liquid bursts into flame instantly. THE CHEERFUL VISION OF A DAY IN THE DEPARTMENT STORE QUICKLY TURNS INTO A NIGHTMARE- EVERYTHING IS ENGULFED IN FLAMES. THE CLOTHES, THE MANNEQUINS AND LAST BUT NOT LEAST, THE CROWD! THE AGONIZING SHRIEKS OF PAIN AND PANIC ARE DEAFENING. Frightened, Ben steps back- The flames spread quickly to the escalators where the crowd has rushed to escape death- HORRIFIC VISIONS OF PEOPLE BURNING ALIVE... INCINERATED FLESH. FACES DISTORTED BY THE PAIN, SKIN MELTING TO THE BONE. In the midst of the flames through the heat waves, Ben spots the face of the firestarter- IS IT HIS OWN? Ben has no time to react. In a split second, his uniform catches fire. Panicked, he attempts to put out the fire with his hands- CUT TO: IN THE DARK NIGHT SURROUNDED BY THE CHARRED RUINS, BEN QUIVERS DELIRIOUSLY AS HE TRIES TO SMOTHER THE INVISIBLE FLAMES. He comes back to reality- Ben catches his breath, trying to come to his senses. What's happening to him? What he just experienced certainly felt real. During his panic, the flashlight rolled under one of the counters. Ben bends down to pick it up. The beam illuminates the ground and throws light on an object a bit further away- A LEATHER WALLET. (CONTINUED) 25.45 CONTINUED: (2) 45 He stretches out his hand to pick it up. The leather is worn-out but the absence of dust establishes that the wallet has landed there recently. Ben examines the object with the experienced touch of a professional accustomed to handling evidence. Between the collection of cards and scraps of paper, Ben finds a driver's license belonging to- GARY LEWIS, 55 years old, a sturdily built African American man. WE RECOGNIZE THE MAN RUNNING IN THE SUBWAY, AT THE BEGINNING. The name rings a bell for him- 46 INT. NIGHT - SECURITY GUARD TRAILER 46 Ben returns to the trailer and rummages through the closet- He stops when he finds another uniform. A name is embroidered on the shoulder- AGAIN THE SAME NAME: GARY LEWIS, BEN'S PREDECESSOR, THE MISSING NIGHT WATCHMAN. The wallet rests on the table and piques Ben's curiosity. He cannot hold back his police instincts. He finally empties out the contents on the table- A Blockbuster card, restaurant receipts, a driver's license, Phillips' business card from Mayflower, cash and a sheet of paper folded in four- Ben unfolds the sheet of paper and sees, written in ink- ESSEKER Ben chews over these seven letters. Is it somebody's name? A place? A code? Initials? He folds it up again and puts everything back, neatly, in the wallet that he stows away in one of the drawers. FADE TO BLACK 48 OMITTED 48 48A EXT. DAY - QUEENS STREET 48A A busy street under the subway overpass. We see a neighborhood bar on the corner-49 INT. DAY -QUEENS BAR 49 At this time of day the place is deserted. A plasma screen shows a baseball game. A drunk guy is half asleep at the corner table. (CONTINUED) 26.49 CONTINUED: 49 Sitting at the bar, Ben is nervous, tense... He removes the steeped tea bag from his cup. Ben stares at himself in the mirror, behind the bottle display shelves. It is not his mirror image that he is observing. His gaze seems to pierce through his own reflection, to dive beyond, into the very depths of his soul. Angela interrupts, across from him, behind the bar. She works here. ANGELA (intrigued) What are you looking at? BEN Nothing special... ANGELA (playfully) Come on, you've been looking at yourself for more than half an hour. You never used to be so vain. BEN You can't avoid them. They're everywhere... ANGELA What are you talking about? BEN The mirrors... In the department store, at every street corner, in the windows of every fucking building in this city. I feel like I'm not the one looking into the mirrors, but rather they're looking at me. Angela smiles, not sure if he is serious- ANGELA You need a drink. BEN No, I'm serious. ANGELA Don't you think you're being a little bit paranoid? Ben observes the palm of his hand. ANGELA (CONT'D) Mirrors are just glass and silver, Ben... (CONTINUED) 27.49 CONTINUED: (2) 49 Angela smiles at him and continues to polish the drinking glasses. 50 INT. NIGHT - BASEMENT MAYFLOWER 50 In the darkness, a rat glides peacefully on the water surface. In the basement, the water level continues to rise. With a flashlight in hand, and his feet submerged in the water, Ben moves deeper into the tunnel. He is searching for the source of the leak. The beam of light sweeps across the walls and the piping. Ben crosses an intersection. In the corner, on the tiled wall, he barely discerns an old inscription ingrained with decades of dust and dirt. He sinks his hand into the water and wipes it off, revealing an arrow pointing to, ST JOHN'S DEPARTMENT OF PSYCHIATRY. He continues his exploration of the subterranean passageways. Suddenly, he notices a darker area on the wall. He comes closer and discovers a brownish damp-spot, covered with mold. The humidity has pearled into droplets. He has found the source of the leak. His hand brushes the wall, causing it to crumble instantly. Ben digs into the plaster as if it were butter, bringing a cracked water pipe to light. The leakage has damaged the wall in which the tubing was embedded. Ben hears the echoing sound of streaming water, as if there were another room on the other side of the wall. He pushes against the saturated wall, and pierces through it with his arm. He removes his arm. For a moment, he observes the gaping black hole that he has just left behind. Ben peeks through the hole with his flashlight, but he cannot make out what is on the other side. He makes the hole bigger, until the passage is large enough for him to crawl through- ON THE OTHER SIDE, HE DISCOVERS A LARGE BRICK ROOM AND IN THE MIDDLE OF IT ANOTHER ROOM- AN OCTAGONAL ONE WHOSE EACH AND EVERY WALL, INCLUDING THE CEILING, IS MADE OF GIGANTIC TWO WAYS MIRRORS. One of the mirrors is opened, ajar- It's a door. He enters. (CONTINUED) 28.50 CONTINUED: 50 His image is reflected in all directions and from infinite angles. Ben moves towards the center of the room- ALTHOUGH THE ROOM SEEMED EMPTY BEFORE, SOMEBODY IS NOW STANDING IN THE CORNER. It's a well-built man. He too is wearing the blue security guard's uniform. From where he stands, Ben can only see the back of the man's head. As he moves in closer, he can make out the name embroidered on the man's shoulder- IT'S GARY LEWIS, THE FORMER NIGHT WATCHMAN! BEN Gary? The silhouette remains still. BEN (CONT'D) Gary? Ben comes a bit closer. His gaze freezes when he realizes that Gary is not standing in front of the mirror with his face pressed against it, but- HE IS BEHIND THE MIRROR, INSIDE! Ben steps back, terrified. He doesn't know how to interpret this new phenomenon. Ben gathers his courage and returns in front of the mirror- Knock, knock, knock... He hits the mirror with his fist, as if it were merely a glass window behind which Gary Lewis was standing, on the other side- No reaction. Ben strikes the mirror harder. Knock, knock, knock... The former night watchman turns around slowly towards Ben, revealing his face little by little... CUT TO:51 INT. DAY - QUEENS APARTMENT 51 Knock, knock, knock... (CONTINUED) 29.51 CONTINUED: 51 In his bed, Ben wakes up with a jolt- THE ENCOUNTER WITH GARY WAS A DREAM. Knock, knock, knock... Somebody is knocking at his door. Ben gets up from the couch- BEN Coming... Ben opens the door to a UPS deliveryman holding out a package- DELIVERYMAN Mr. Carson? (Ben nods) Would you mind signing here, please? Ben signs for it and takes the package. DELIVERYMAN (CONT'D) You have a nice day, Sir... Ben shuts the door and examines the UPS box. He's not used to getting many deliveries. He flips it over to see who it is from- THE SENDER IS GARY LEWIS... Ben grabs a kitchen knife to open the parcel. He tears away the cardboard and empties out the contents onto the living room table- A DOZEN NEWSPAPER CLIPPINGS LAND, ALL MIXED UP, ON THE TABLE. More or less recent, all the articles relate to the department store and the fire that burned it down... Gary has meticulously cut them out and sent them to Ben. But why? 52 EXT. DAY - MAYFLOWER 52 Ben's car parks in front of the fence that encloses the entrance to Mayflower. He runs into Lorenzo who exits the trailer, ready to go home from work- LORENZO I've just been through the craziest day here... No kidding! Your ex- colleagues came to pay us a visit... BEN What happened? (CONTINUED) 30.52 CONTINUED: 52 LORENZO You know Gary, the guy who was working here before you, the cops found him dead in a subway station in Harlem. I never liked him too much, but poor guy, he didn't deserve to go like that... BEN Did they mention the cause of death? LORENZO No... they wouldn't tell me. Lorenzo hands him over the keys. LORENZO (CONT'D) Well, Ben? I better get going, Mrs. Sapelli is waiting for me at home. Have a good night at work, Ben. Oh, and by the way, about that leak, they're sending someone over to work at it the beginning of next week. BEN Have a good night, Lorenzo. Ben remains standing on the landing of the trailer for a moment, his gaze fixed at the department store- THE WALLET, THE DREAM, AND NOW, ON TOP OF EVERYTHING, THE NEWS OF GARY'S DEATH... ALL THESE STRANGE COINCIDENCES AROUND HIS PREDECESSOR HAVE AWOKEN HIS CURIOSITY AND DOUBT. BEN WANTS TO KNOW...53 INT. DAY-NIGHT - MAYFLOWER ENTRANCE HALL 53 WIDE SHOT OF MAYFLOWER FIRST FLOOR- IN FAST MOTION- FROM THE FINAL HOUR OF DAY TO THE FALL OF NIGHT. IN THE REFLECTION OF THE MIRRORS, LIGHT GIVES WAY TO THE DARKNESS... The beam from the flashlight appears in the distance- Determined, Ben crosses the entrance hall in the direction of the basement door. He goes down-54 INT. NIGHT - BASEMENT MAYFLOWER 54 Ben appears at the bottom of the stairs with his flashlight, and follows the subterranean passageway. (CONTINUED) 31.54 CONTINUED: 54 Suddenly he is struck by a frightening feeling of dÈj‡-vu, HE IS IN THE VERY ACT OF RELIVING HIS NIGHTMARE IN DETAIL, STEP BY STEP- In the darkness, the rat glides peacefully on the water surface. He crosses an intersection and, once again- He recognizes the half-visible Psychiatric Department sign on the tiled wall. The beam from his flashlight sweeps across the walls and the piping, bringing to light, in the distance- THE BROWNISH DAMP-SPOT. BEN (to himself) Damn... What is happening to me? The moisture has pearled into droplets. Slowly, his hand comes closer. The wall crumbles at the slightest touch... Pushed by curiosity, Ben begins to dig a hole in the plaster, just as he had done in his nightmare... He hears the echoing sound of streaming water, coming from the other side of the wall. It confirms the existence of a hidden room. Ben begins to dig frenetically in the saturated wall, creating a large enough opening to access the other side- He inspects the interior with his flashlight, revealing- THE BRICK ROOM AND IN THE MIDDLE THE OCTAGONAL ROOM, SURROUNDED BY THE MIRRORING WALLS. He enters. His image is reflected in all directions and multiplied into infinity. His dream was foreboding. Everything is perfectly identical to the nightmare, with the exception of Gary Lewis- The former watchman is not there but... ALL OF A SUDDEN, BEHIND HIM, ONE OF BEN'S DUPLICATES IN THE INFINITE REFLECTION TURNS AROUND TO OBSERVE HIM WITH AN ICE COLD GLARE... Sensing something wrong, Ben turns around. In the silence he faces his infinite reflections, all of them identical- OR ALMOST... Taking a closer look Ben notices one of the duplicates' faces bearing an expression slightly different from the others'. A SUBTLE GRIN. (CONTINUED) 32.54 CONTINUED: (2) 54 Knowing that it has been noticed by Ben, the "rebel duplicate" turns his face towards Ben, eyeing him with an evil gaze- We can hardly recognize Ben's image. The duplicate takes a step forward from the line of the other reflections and slowly walks towards Ben. Instinctively, Ben closes his eyes in an attempt to make the vision disappear. When he opens up his eyes again- HIS EVIL DOUBLE RUSHES TOWARDS HIM- Ben steps back terrified. CUT TO:55 INT. DAY- CORONER'S OFFICE 55 Under the dazzling neon light of the NYPD coroner's premises, Amy is in full swing submitting her conclusions on a homicide to the police inspectors in charge of the investigation. She is interrupted by somebody who enters the room- There is someone for her at the reception, who insists on seeing her urgently. Amy excuses herself, removes her examination gloves, and exits the autopsy room. We follow her down the corridors as she passes men in police uniforms and doctors in white coats, in the endless comings and goings between the police station and the hospital. The atmosphere here is highly charged, reflecting the excessive activity of this particular department. There is no doubt- we are in New York City. 55A CORONER'S OFFICE LOBBY - CONTINUOUS 55A Amy comes to the reception desk. Ben, who clearly hasn't slept since the night before, is pacing back and forth. AMY Are you OK? What's happening? What are you doing here? BEN Amy, I need you to do me a favor... (CONTINUED) 33.55A CONTINUED: 55A AMY Listen, I am in the middle of work, I don't really have time now. BEN I need your help... It won't take more than twenty minutes. Please, Amy? From his pocket, Ben takes out Gary's driver's license. He shows it to her- BEN (CONT'D) You picked up this guy yesterday morning... I need to take a look at him. It's very important. AMY Why do you want to see him? BEN He used to work at the Mayflower as a night watchman, before I replaced him. AMY Where did you get his driver's license? BEN I found his wallet in the department store. I need to find out how he died... AMY You are no longer a cop, Ben. This isn't your business anymore. BEN He sent me a package before he died, with newspaper articles about the Mayflower... I think he was trying to tell me something... I don't know him. I've never even met him, Amy... I need to figure this out.56 INT. DAY - MORGUE 56 The refrigerated compartment bays, containing the corpses, are aligned along the basement walls. A young doctor escorts Ben and Amy down the corridors of the morgue. As he is walking, the doctor flips through the register, in search of a name. (CONTINUED) 34.56 CONTINUED: 56 YOUNG DOCTOR Gary Lewis... Gary Lewis... Oh, there he is, 58B... He slashed his throat... AMY (to Ben) There you go... There's your answer. Your man committed suicide. BEN You know a lot of people who cut their own throats? YOUNG DOCTOR (interrupting) Well, all I know is that the cops are still investigating this one. That's why we still have the body. People can be very creative when it comes to suicide. I'm sure it's not the craziest thing you've seen. The young doctor stops in front of the number 58B. He opens the door to the refrigerated compartment bay and pulls out the tray carrying the corpse, wrapped in a white sheet- YOUNG DOCTOR (CONT'D) Gary Lewis... He lifts the sheet, revealing Gary Lewis' upper body- Gary's eyes are rolled upwards and his throat is wide open. His skin has become translucent, almost purple. His contorted corpse is frozen in a deadly expression of profound suffering... His flesh has started to decompose and putrefy. Ben stares at the body, in search of a hint, a clue, any useful information... Amy becomes impatient. AMY I've got to get back to work, Ben. They're waiting for me upstairs. BEN How... What did he slit his throat with? The doctor checks the report. YOUNG DOCTOR With... with a piece of mirror. Ben looks up. (CONTINUED) 35.56 CONTINUED: (2) 56 YOUNG DOCTOR (CONT'D) ...He must have smashed it into pieces to have something to slash it with... The doctor, has a smirk on his face- YOUNG DOCTOR (CONT'D) ...Seven years of bad luck. Suddenly, reflected in the stainless-steel door of the compartment bay, Ben sees- GARY'S FACE TURN SLOWLY TOWARDS HIM. GARY STARES DIRECTLY AT HIM. WITH A VOICE FROM BEYOND, HE DELIVERS A MESSAGE TO BEN- GARY ...ESSSEKERRR... Ben jumps out of his skin and backs away, terrified. Neither Amy nor the doctor saw anything, of course. They gaze at him with a puzzled look- AMY Are you OK, Ben? What's going on? Ben looks at the corpse and its reflection again- Gary is frozen in the same contorted position, as if nothing ever happened. BEN (coming to his senses) I need to see his files... AMY What? Ben raises his voice. BEN I NEED TO SEE HIS FILES! AMY Come on, Ben, what is it you're after? I am not supposed to show you any file... You're not even allowed to be here. I could get fired for this. The doctor senses that the conversation is taking on a more personal turn. YOUNG DOCTOR Well, I'll be off. Amy, you know where to find me if you need me. Amy is left alone with Ben. (CONTINUED) 36.56 CONTINUED: (3) 56 AMY What is happening to you? What is all this supposed to mean? What is going on, Ben? BEN I won't leave until I see that file. CUT TO:57 INT. DAY -AMY'S OFFICE 57 On the shelves, photographs of Michael and Daisy stand next to the medical records and legal-medicine textbooks. Sitting behind Amy's desk, Ben is studying Gary Lewis' file. He flips back and forth through the different documents, photographs, and police reports. Amy observes him, perplexed. We sense that she is concerned about Ben's strange behavior and over sensitivity. BEN Look at this picture... Come and see, Amy. He shows her a snapshot taken by the police. We see Gary soaked in his own blood, the throat slit open. The picture is real, crude. He lies outstretched, facing a mirror shattered into several pointy pieces, like a spider web. In his hand, Gary still holds the piece of glass that he used to cut himself. BEN (CONT'D) Look... AMY What!? Ben points to the reflection in the mirror- BEN Look at the piece of mirror in his hand. In the reflection of the mirror it's covered in blood, and look- in reality, it's clean. Not a drop of blood... AMY So what? BEN Don't you find it strange that this mirror doesn't reflect an exact image of reality? (CONTINUED) 37.57 CONTINUED: 57 AMY I can't see the difference. It must be an effect of the angle from which the photograph was taken. What is it you are you trying to prove? BEN What if the mirrors were showing us something different? AMY What? For Christ's sake, listen to yourself, Ben! What are you talking about? BEN What if the mirrors were reflecting something that goes beyond reality? AMY (irritated) OK... This is way over my head. I don't have time for your barfly theories. Ben realizes that he will not succeed in convincing her. Not today. BEN Thanks for your help... He's on his way out, when she holds him back- AMY You should go home and get some rest. This guy probably just killed himself because he couldn't live with himself anymore. It happens to thousands of people, you know... CUT TO: 58 INT. DAY - APARTMENT QUEENS - BATHROOM 58 The steam has fogged up the mirror of the medicine cabinet. Ben grabs a towel and steps out of the shower. He watches his blurry reflection. With his finger, on the surface of the fogged mirror, he writes- ESSEKER He contemplates the dripping letters for a long moment, trying to interpret their meaning. (CONTINUED) 38.58 CONTINUED: 58 In the end, he wipes off the mirror with his hand, erasing the word. Angela is standing behind him in the door opening- ANGELA I'm off... Amy called me today, she's worried about you. What's happening, Ben? BEN Please, not you... ANGELA I'm your sister, you can talk to me. Is it your new job? That place, the Mayflower, has bad vibes. It's getting under your skin. Just think about what I told you... BEN I made a deal, Angie... I can't just walk out on them like that. I need this job, I need the money. I'm not going to sleep on your couch for the rest of my life! ANGELA You won't have any trouble finding another one. A daytime job, a regular job... While she's talking, we see the scene from another point of view- from inside the mirror- As if SOMEONE ELSE WAS LISTENING TO THEM. Angela leaves the bathroom. Ben brushes his teeth. He leans over to rinse his mouth, and when he straightens up- IT IS NOT HIM IN THE REFLECTION OF THE MIRROR, BUT GARY LEWIS WHO SLASHES HIS THROAT FROM END TO END WITH A SHARP PIECE OF MIRROR- Ben steps back and loses his balance, knocking down a shelf. Angela rushes into the bathroom- ANGELA (CONT'D) What happened Ben? Are you all right? He refuses her help. BEN LEAVE ME ALONE... Ben gets to his feet and looks into the mirror. His reflection is back. Everything looks normal but- (CONTINUED) 39.58 CONTINUED: (2) 58 WHEN HE TURNS TO EXIT THE BATHROOM, HIS REFLECTION STAYS STILL, WATCHING HIM... CUT TO:59 EXT. DAY- GARY LEWIS' BUILDING 59 The sun sets behind the Harlem skyline. Ben's Oldsmobile pulls over in the street- He has decided to pass by Gary Lewis' old house before his nightshift. He presses the doorbell next to Gary Lewis' name. An old lady answers- BEN Mrs. Lewis... Sorry to bother you... My name is Ben Carson. I worked with Gary, at Mayflower. Could I come up and talk to you for a few minutes? Silence. BEN (CONT'D) Mrs. Lewis ? MRS. LEWIS ...5th floor, apartment 3B... The entrance door of the building opens. CUT TO:60 INT. DAY- MRS. LEWIS' APARTMENT 60 MRS. LEWIS is at least 80 years old, and almost blind behind her thick glasses. She lives alone in the small apartment that she used to share with her grandson. We sense that she is distraught by Gary's death. MRS. LEWIS ...My Gary hadn't slept at home for three weeks. At first I figured he had found himself a girlfriend, so I didn't worry much about it... It's terrible. The policeman told me that he was living in the streets... They found his body in the subway. Why? He had everything he needed here. Every morning I would have his breakfast ready when he'd come home from work. (CONTINUED) 40.60 CONTINUED: 60 BEN Did he use any drugs? MRS. LEWIS Gary? Huh-huh! Never... He was a good boy. BEN Did you notice anything different, the days prior to his leaving the house, anything unusual in his behavior? MRS. LEWIS Oh yes, but that goes way back to when he started working at Mayflower. BEN What kind of changes? MRS. LEWIS He didn't care much for anything anymore. Before, we'd sit up and watch television together. But once he started that job as a night watchman, he'd spend all his time-off locked up in his room... BEN Sleeping? MRS. LEWIS He hardly slept anymore... He was way too busy! BEN Busy doing what? MRS. LEWIS That, I don't know... I never knew what he was up to... She reaches for a picture frame on the chest. MRS. LEWIS (CONT'D) Look, in this picture he was twelve years old... BEN Is that you standing next to him? MRS. LEWIS Yes, back in the days... BEN Mrs. Lewis, I found a note that Gary wrote. (MORE) (CONTINUED) 41.60 CONTINUED: (2) 60 BEN (CONT'D) A piece of paper, where he'd scribbled down the name, Esseker... Does that mean anything to you? MRS. LEWIS Esseker, is that what you're saying? The old lady dwells on it for a moment- MRS. LEWIS (CONT'D) No, that don't mean a thing to me... She sets down the picture frame. BEN May I see his room? MRS. LEWIS Yes, of course. Come, follow me, it's down the hallway, the door at the very end. Ben follows Mrs. Lewis to her grandson's room- It looks nothing like the room of a fifty-year-old man, but rather like that of an old teenager. From what we can see, Gary grew up in here, and each object recalls a stage in his life. Everything is clean and in its proper place, it is perfectly tidy. BEN Do you mind if I stay in here for a moment? Mrs. Lewis smiles at him. She too, likes to gather her thoughts in Gary's room. Ben scrutinizes the room in search of a clue, a hint that might help him on the Esseker lead. He opens the drawers and looks through the papers- Nothing is of any help to him. The only place left that he hasn't searched is the walk-in closet, whose half-open doors seem to invite him to enter... What Ben discovers inside is beyond anything he could ever have imagined- The closet has been emptied out completely, and MIRRORS COVER EACH AND EVERY WALL, FROM THE FLOOR TO THE CEILING! - It's a miniature replica of the hidden room that Ben discovered back in the basement of the department store... MRS. LEWIS He would spend hours looking at himself... Mrs. Lewis steps up behind him- (CONTINUED) 42.60 CONTINUED: (3) 60 MRS. LEWIS (CONT'D) To look at oneself too much is a sin. A terrible sin. Do you know sir in the Garden of Eden in order to seduce Eve, Satan did not keep the appearance of a snake... Satan reproduced the young woman's traits in such a way that Eve would only see and listen to the image of herself... As in a mirror.61 INT. NIGHT - MAYFLOWER 61 Night has fallen. The department store is calm and silent. We move down each floor to the entrance hall. The basement door is open and, in the darkness, we see the gleam of the flashlight. Ben must be down there. ALL OF A SUDDEN, A LOUD SHRIEK TEARS THROUGH THE SILENCE. There is a woman, somewhere in the store. Ben runs up to the entrance hall at full speed. The shrieks resound through the department store again. They seem to come from one of the floors above. Without hesitation, Ben dashes up the stairs- He arrives on the second floor and searches through all the departments. Impossible to tell where the cries originate from. He climbs up to the third floor. The beam of the flashlight sweeps past each nook and dark corner- Somewhere in the store, the woman continues to scream and wail to death. BEN (shouting) WHERE ARE YOU?!! No answer. Ben goes up to the fourth floor. The shrieks are heard again, but this time, coming from one of the floors below. Ben dashes for the Ladies' department- BEN (CONT'D) STAY CALM... I'M COMING! 61A INT. NIGHT - LADIES' DEPARTMENT DRESSING ROOMS 61A The screams come closer. Ben passes the counters and enters the dressing rooms - or rather, what is left of them since the fire. The woman must be in here, hiding somewhere. (CONTINUED) 43.61A CONTINUED: 61A BEN I'm here Ma'am... Short of breath, Ben inspects the dressing rooms with his flashlight. The woman seems to have vanished. BEN (CONT'D) Ma'am? I'm right he... ANOTHER SHRIEK IS EMITTED, RIGHT NEXT TO HIM. He turns around- No one there. About to leave the dressing rooms, Ben catches sight of a mirror. In the reflection he sees the row of empty rooms- A BLOODY HAND BURSTS OUT FROM THE LAST ONE, ACCOMPANIED BY ANOTHER PIERCING SCREECH OF PAIN! Ben runs to it, but finds it empty. IN THE REFLECTION OF THE MIRROR, HOWEVER, THE HAND IS STILL STRETCHED OUT TOWARDS HIM! Ben stops to think- If he can somehow move the mirror to have it face the last booth, he might be able to see what truly happened inside. Ben unhooks the mirror. It is way too heavy and bulky to carry. He lets it slide down the wall. Inch by inch, Ben hauls the mirror across the floor. He reaches the last dressing room- Through the reflection in the mirror, he examines the interior of the cubicle. In the dark he catches sight of BARE FEET STAMPING AGAINST THE TILED FLOOR. The torn, half-burnt curtains conceal the rest of the body... With his eyes fixed on the mirror, Ben walks backward towards the dressing room. He is scared of what he is about to discover. He gives the curtain a quick yank, revealing- A NAKED YOUNG WOMAN IS GOING INTO SPASMS AND SCREECHING WITH PAIN. DESPITE THE ABSENCE OF REAL FLAMES, HER SKIN AND FLESH ARE ROASTING, AS IF SHE WERE BURNING ALIVE FROM THE INSIDE OUT! CUT TO: BLACK SCREEN (CONTINUED) 44.61A CONTINUED: (2) 61A CHILD'S VOICE O.S. Mom! Mom! Mom!62 INT. NIGHT -NEW JERSEY HOUSE 62 We are in the darkness of Daisy and Michael's bedroom. Michael is terrified and cries out for his mother- MICHAEL Mom! Mom! Amy swings the door open and turns on the light. AMY What is it Michael? The little boy throws himself into his mother's arms. Daisy wakes up. AMY (CONT'D) What is it? Did you have a bad dream? MICHAEL There's a lady screaming... AMY Where Michael? Michael points to the mirror wall facing the bunk beds. MICHAEL There... In the mirror... AMY No, Michael... Look, there's nothing there. MICHAEL I saw her mom. I swear I did. AMY It was just a nightmare. It's late, you have to go back to sleep. I'll turn on the night-light, if you want. Amy tucks him into bed and kisses him. Before leaving the room she plugs in the night-light. DAISY Mom, can you leave the door open? AMY Sure sweetheart... OK, you two go to sleep now. (CONTINUED) 45.62 CONTINUED: 62 Amy leaves the room. In his bed, Michael cannot stop himself from staring at the dimly lit mirror.63 INT. NIGHT - AMY'S BEDROOM 63 Amy goes back to her room. The local news play on the TV. She gets into bed and turns off the light. She reaches for the remote and clicks the TV off, turning over- THE NAKED BURNED WOMAN FROM THE STORE STANDS STILL IN THE REFLECTION OF THE TV SET. The entity watches Amy while she is sleeping. Once again, the POV from behind the mirror. OMINOUS, SLIGHTLY DETACHED AND MUTED. CUT TO:64 EXT. NIGHT - MAYFLOWER 64 Ben secures the padlock of the department store entrance. He walks towards the trailer, while keeping a fixed eye on the facade of the building. The scene he just witnessed in the dressing rooms has shaken him up. He goes inside. Through one of the windows we see him pick up the phone and dial a number-65 INT. NIGHT - APARTMENT QUEENS / INTERCUT INT. NIGHT - LODGE 65 Angela is in the bathroom when the phone starts ringing. She turns on the tap of the cast-iron bathtub and goes to answer. ANGELA Hello... Ben? BEN (O.S.) Sorry I'm calling you this late. Were you sleeping? ANGELA No, no, I just got home from work. What's wrong? You sound strange. On the phone, Ben struggles to put his feelings into words- BEN(O.S.) Don't worry, everything's OK. (CONTINUED) 46.65 CONTINUED: 65 ANGELA Are you sure? BEN (O.S.) Actually, no. I think maybe I'm losing my mind. ANGELA What happened? BEN (O.S.) You were right about the Mayflower... I'll quit tomorrow. ANGELA That's the smart thing to do, Ben. You deserve better than that. You should come back here and get some sleep. BEN (O.S.) No, I'll wait till the daytime guy gets here to tell him. ANGELA Are you sure? BEN (O.S.) Yeah, sure. See you later, Angie. ANGELA Be careful... Love you. BEN Love you too, sis. She hangs up the receiver and stays in the dark for a moment, concerned. The sound of the pouring bath brings her back to reality. We follow her into the bathroom. She dips her fingers into the water to check the temperature. The bathtub is almost full. Angela undresses in front of the medicine cabinet mirror. When she turns around to climb into the hot bath, HER REFLECTION REMAINS MOTIONLESS IN THE MIRROR, STARING BLANKLY AT EACH OF HER MOVEMENTS. Unaware, Angela soaks into her hot bath. The water continues to pour from the tap. Angela shuts her eyes- It's been a long day. IN THE MIRROR, ANGELA'S REFLECTION FIXES HER WITH A COLD GLARE- (CONTINUED) 47.65 CONTINUED: (2) 65 Without a word, Angela's reflection brings its hands to its face and digs its fingers into its mouth. In a sudden jerk, it pulls open its jaw- AS IF SHE WERE ELECTROCUTED, ANGELA'S BODY CONTORTS VIOLENTLY FORWARD. HER MOUTH IS DEFORMED, AS IF AN INVISIBLE FORCE WERE WRENCHING IT WIDE OPEN. IN THE MIRROR, HER EVIL DOUBLE CONTINUES TO PULL OPEN ITS MOUTH, SUDDENLY RIPPING ITS JAW OFF WITH THE SOUND OF CRACKING BONES AND CARTILAGE- AT THE SAME INSTANT, IN THE BATHTUB, ANGELA HAS NO TIME TO REACT BEFORE SHE UNDERGOES THE SAME AGONIZING TORTURE! The mirror cracks by itself. The bathtub overflows with red water spilling out on the white tiled bathroom floor. FADE TO BLACK66 INT. DAY - APARTMENT QUEENS - THE NEXT MORNING 66 The camera flashes illuminate the crime scene. Angela's body lies afloat in the bathtub. The apartment is entirely flooded. Two men in police uniforms close off a security zone, to keep the intrusive neighbors away. A detective is interrogating an old Puerto Rican couple- the downstairs neighbors. They were the ones who alerted the police, after having noticed the water leakage. The old woman explains how "it was raining blood into her living room"... Amongst the police officers and the legal medical squad, we find Larry. He is in charge of the case. Leaning over the bathtub, Larry examines the visible parts of the corpse. Angela's face is concealed by her own long black hair, floating in the murky water. Larry slips on an examination glove, pulls up his sleeve and sinks his arm into the blood-red bath. He feels around for the chain of the plug in order to drain the bathtub. The water level begins to recede, gradually revealing Angela's naked corpse. With the tip of his fingers, Larry lifts away the few strands of hair covering Angela's face- (CONTINUED) 48.66 CONTINUED: 66 Taken by surprise, he steps back from the horrifying sight of this JAW-LESS FACE. Larry removes his glove, wipes off his bloodied arm and starts to leave the bathroom when something else catches his attention- He comes closer to the spiderweb cracked medicine cabinet mirror. A TINY DROP OF BLOOD is dripping from one of the cracks. Strange. A DARK SILHOUETTE PASSES BEHIND HIM IN THE REFLECTION. He turns immediately- The bloodied bathroom is still and silent. Angela's destroyed body lies in the empty bathtub. A police inspector in the next room, calls out to him- POLICE INSPECTOR O.S. Larry? Take a look at this... LARRY What is it? POLICE INSPECTOR O.S. Come take a look for yourself. Larry exits the bathroom. The police inspector in the living room holds a picture frame in his hands. He turns towards Larry- POLICE INSPECTOR Look... Isn't Ben Carson in the picture? CUT TO:67 INT. DAY - POLICE STATION - INTERROGATION ROOM 67 Still wearing his uniform, Ben is sitting alone in one of the interrogation rooms of the police station. His haggard face expresses great grief. His sister's death has left him distraught. He fiddles with an empty plastic cup in his hands. The classic two-way mirror facing him, throws back his reflection. Ben knows that he is being watched. Behind the two-way mirror, Amy observes him. Larry is standing next to her. LARRY The water has obliterated most of the marks. No trace of struggle or broken entry, the entrance door was locked. (MORE) (CONTINUED) 49.67 CONTINUED: 67 LARRY (CONT'D) The person who did this must have had the keys to her apartment, or otherwise it was somebody she knew... AMY He would never have laid a finger on her. When their father died, Ben took care of his sister. Angela meant the world to him. LARRY Listen, so far, his statement is pretty consistent with the facts... We checked it out, he did place a call from work at 12:30, and the woman's downstairs neighbors claim they started noticing the water leakage at around two in the morning. The daytime security guard, Lorenzo Sappeli, confirms he came on after Ben's shift at seven a.m. The only strange thing, and it may just be a coincidence, is that Ben told Sappeli that he had decided to quit his job, as if he was planning to go away somewhere... Did he mention anything about it to you? AMY No, lately, communication hasn't quite been our strong point... (she smiles) I only found out yesterday that he was staying at his sister's. What are you going to do with him? LARRY I figure we'll let him go. At this point we haven't got any real reason to keep him here. And, I think he's had his share for the day. AMY You know what's gonna happen if you let him go. He won't stop here. I know him, he won't stop until he finds who did this to her. LARRY Listen, where we stand now, we got nothing, not a single clue. I'm sure he can help us. AMY What kind of friend are you? You are using him. He's not a cop anymore. (CONTINUED) 50.67 CONTINUED: (2) 67 LARRY He's still the best one I know, even if he's one of the suspects. Amy comes closer to the two-way mirror. She looks at her ex- husband on the other side. He seems overcome with grief and confusion. She can see the distress in his eyes. LARRY (CONT'D) Try to keep an eye on him. CUT TO: 68 EXT. DAY - POLICE STATION 68 Ben has been released. Under the pouring rain, on the front steps of the police station, Amy tries to reason with him- AMY You have to see someone Ben. You cannot stay in this situation any longer. You need help, psychological support. Ben is not listening. His mind is elsewhere. AMY (CONT'D) Why don't you...if you want...come spend a few days at home, with the kids? BEN No, I don't want to put them in any danger. AMY What do you mean? BEN I've got things I need to deal with. AMY Ben, look at me! I don't want you to get into any trouble. Think about Daisy and Michael. You are not going to solve this case. Please, stay out of it. BEN She asked me to quit and they got to her... AMY What? Who are you talking about? (CONTINUED) 51.68 CONTINUED: 68 BEN I know who did this Amy. AMY In that case, you have to tell them everything. BEN They wouldn't believe me and neither would you... Goodbye. Ben walks away, leaving Amy alone on the steps of the police station AMY Ben, wait... Ben does not turn around. The rain is beating down harder and the thunder grumbles in the distance. The first lightning flashes light up the sky. Another flash-68A - QUEENS APARTMENT - 68A Ben ignores the crime scene's restriction perimeter and enters Angela's apartment. Without turning on the light, he goes straight for a leather pouch stashed among his cardboard boxes. Inside- A .357 MAGNUM, his former cop weapon. Another flash- 69 EXT. NIGHT - MAYFLOWER 69 The lightning bolts illuminate the facade of the department store. Ben's car is parked in front of the construction fence.70 INT. NIGHT - MAYFLOWER 70 The rainwater pours through the openings in the roof, penetrating the interior of the deserted department store. It dribbles down the cracked walls and over the half-burnt mannequins...71 INT. NIGHT - MAYFLOWER BASEMENT- MIRROR ROOM 71 We hear the echo of the roaring thunder outside, but in the gloom of the flooded basement, there is another blaring sound- (CONTINUED) 52.71 CONTINUED: 71 A DULL METALLIC THUD. It gets louder and louder, closer and closer as we advance towards the opening to the mirror room- Inside, we find Ben, out of his mind, throwing a chair against the mirrors with all his strength, in an attempt to demolish them- He's exhausted and he's forced to stop. Not a single shard of glass, not even a scratch, the mirrors seem completely indestructible... Ben is not through with them. He drops the chair to the ground and pulls out the gun from his belt. Without a moment's hesitation he opens fire- THE MIRRORS SHATTER VIOLENTLY, CRACKING WITH THE POWERFUL IMPACT OF THE BULLETS. In the spiderweb-cracked mirror, his image is deformed. Having found a weak spot, Ben savors his sweet victory when, suddenly, something inconceivable unfolds before his very eyes- THE BULLET IMPACTS DISSOLVE AS IF BY MAGIC AND THE MIRRORS ARE RECONSTITUTED! Ben's shock and disbelief give way to rage. He fires, in a fury, emptying the entire clip this time- Again, the bullet holes vanish, leaving Ben alone, face to face with his own reflection. He breaks down nervously- BEN Why did you do it? WHY? WHY DID YOU HAVE TO KILL HER? Silence. BEN (CONT'D) What is it you want? What do you want from me? ANSWER ME! WHAT IS IT YOU WANT?! Suddenly, one after the other, letters, start appearing in one of the mirrors, as if an invisible finger were tracing them in the dust- REKESSE Ben turns around, and in the reflection of the opposite mirror he recognizes the inverted word- the same word he found on the note in Gary's wallet, the word Ben himself had traced in his bathroom mirror- (CONTINUED) 53.71 CONTINUED: (2) 71 ESSEKER CUT TO:72 INT. NIGHT -QUEENS APARTMENT 72 Back in the Queens apartment, Ben still hasn't gotten any sleep. On the wall, he is assembling all the newspaper clippings, articles and photographs that Gary sent him. Each and every mirror in Angela's apartment has been covered with sheets, blankets, old rags- anything he could find to neutralize the reflective surfaces. With the phone cradled between his ear and shoulder he is in the middle of a heated conversation- BEN ...Look up Esseker... Yes, Echo, Sierra, Sierra, Echo, Kilo, Echo, Romeo... Esseker. No idea, my guess is that it's a name... No, I haven't got a first name. Yes, in New York. Over the past five or six years. I know it's hazy but that's all I've got. I already looked it up in the phone book. I also called someone at the IRS and at the DMV, but nothing there. It's very important Larry. You'll call me back? Ok... Ben hangs up the phone and remains in front of the wall covered with clippings for a moment. Now he can have a clear overview of Gary's investigative research. All the articles date back approximately to the same period and are all related to the fire that ravaged Mayflower five years ago. But not a hint of Esseker. Ben studies the newspaper clippings, trying to piece the story together- " Deadly Fire at Mayflower- 29 dead and 78 wounded " " Brutal Massacre- Mother and her three daughters slaughtered..." " ...the children, drowned, in the bathtub... " " ...the throat slit open... " " Mayflower's security guard taken in for questioning... " (CONTINUED) 54.72 CONTINUED: 72 " The night watchman confesses to setting the fire but firmly denies the accusation of murdering his family... " " Terrence Berry confesses but claims the mirrors are guilty- The security guard at Mayflower finally confesses. He started the fire in the department store with the intention of destroying the mirrors, responsible, according to him, for the death of his wife and three daughters. " Ben observes Terrence Berry's face in one of the archive photographs. He looks like a perfectly normal guy, rather kind, surely he was a good father... Ben can't help but empathize with him. As he looks up, Ben catches a glimpse of his reflection in the window- What if he too lost his mind and went on to slaughter his family? Or what if the mirrors would do it? The phone rings- BEN (CONT'D) Yes, so, what'd you find out? Nothing under that name? Shit, shit, shit, shit... Can you look up Berry, Terrence Berry... Ben holds on the line, for a moment. BEN (CONT'D) ...Got anything? Great...No, I already know all that. Is he still alive? No... Can you find out where he was committed before his death? Wait, I'm writing it down... Ben sits down on the bed and scribbles down the address on a piece of paper. BEN (CONT'D) ...Roosevelt Psychiatric Detention Center... Yeah, I know where it is. Thanks. He hangs up the phone. Under the blanket, next to him, he spots the T-shirt that his sister was wearing the other night. The pain is too strong. He cannot hold back his tears anymore and starts crying. CUT TO: 55.73 INT. DAY -NEW JERSEY HOUSE - KITCHEN 73 The next morning - Heavy-eyed and sleepy, Michael is hypnotized in front of the weather forecast on TV. The hot chocolate set in front of him is getting cold. His sister Daisy pours herself some more orange juice. Amy, shaking a box of cereal, interrupts the little boy in his dream state- AMY Do you want the cereal in your hot chocolate or in a separate bowl? The little boy does not answer. AMY (CONT'D) Michael? MICHAEL In the chocolate... AMY ...In the chocolate, please, mom... MICHAEL (repeating after her) ...Please, mom. She pours the cereal in his hot chocolate. DAISY Yuck, that's gross, how can you eat that? AMY Come on, come on, let's get going, or you're going to be late for school. Michael begins to eat his breakfast, his gaze still fixed on the weatherman's forecast on TV. As Amy fills the cat's bowl with pellets, Tiger rushes over to join the rest of the family. DAISY Mom? AMY What is it sweetheart? DAISY Do you know that Michael has a new friend? (CONTINUED) 56.73 CONTINUED: 73 MICHAEL No, that's not true! AMY Really, what's his name? MICHAEL (to his sister) You promised not to tell. AMY Does he go to your school? Michael doesn't answer. Daisy shakes her head. AMY (CONT'D) (pretending to be indifferent) Very well. If you don't want to tell me about it... The little boy stays quiet. MICHAEL He doesn't want me to talk about him. Amy suddenly becomes more concerned and sits down next to Michael- AMY Why doesn't he want you to talk about him? Is he a grown up? MICHAEL No... AMY So, he's a little boy your age, then? Michael gives a reluctant nod. Amy is reassured. He finishes his mug of cereal and goes to place it in the sink. Amy gives Daisy a questioning look- AMY (CONT'D) (to Michael) Does he live in our street? Is it one of our neighbors? Michael remains silent and Daisy answers for him- DAISY He lives in the mirror in our room. Daisy bursts out laughing... Michael glares back at her, furious. Puzzled, Amy reflects briefly on Daisy's remark- (CONTINUED) 57.73 CONTINUED: (2) 73 AMY Is it your father who told you that? Michael remains silent. AMY (CONT'D) Michael, answer me. Did your father talk to you about the mirrors? MICHAEL No Mommy. Amy questions him with her eyes. Michael lowers his. AMY OK... Come on, come on guys, let's get our teeth brushed, and our coats on. The first one in the car is the winner. The two kids dash up the stairs. Amy is left alone to clean up breakfast. She casts a glance at the front hall mirror. Daisy's comment lingers in her thoughts. Dressed in their coats, Michael and Daisy come running down the stairs and rush out of the house... Amy exits the house. The car drives away. Daisy's cat leaps onto the kitchen table and directs his gaze to the mirror- FOR NO APPARENT REASON, THE CAT SUDDENLY STIFFENS INTO A POSITION OF DEFENSE. HE BRISTLES HIS COAT AND HISSES AND SPITS TOWARDS HIS REFLECTION IN THE MIRROR. CUT TO:74 EXT. DAY - ROOSEVELT PSYCHIATRIC DETENTION CENTER 74 Wide shot- The high security psychiatric hospital stands under a leaden sky - DR. MORRIS (V.O.) You know, Mr. Carson, when one starts to perceive one's own reflection as a completely separate being, one is suddenly confronted with two entirely separate egos, two entirely separate worlds that can surface at any given moment- 58.75 INT. DAY - ROOSEVELT PSYCHIATRIC DETENTION CENTER 75 DR. MORRIS, the doctor who had once been in charge of Terrence Berry, escorts Ben down the corridor- DR. MORRIS A feeling of self-hatred, generally triggered by a psychological shock can split the personality in two, hence creating two or more personalities with distinct memories or behavior patterns within the same individual. The patient then has a faulty perception of the existence of two distinct worlds, which are principally the "real" word, and the world "inside the mirror". The two men pass a number of guards and security check-points as they head down towards the hospital's film and video archive- BEN Did you consider Terrence innocent? Dr. Morris swipes his magnetic card through the electronic device, unlocking the door to the archives. DR. MORRIS In my opinion, he was convinced that he was telling the truth when he claimed he didn't kill his family. I too am convinced that when it happened, Terrence was not himself, but rather his double, his mirror image, one might say. He enters the archives, followed by Ben- 76 INT. DAY - ARCHIVES- ROOSEVELT PSYCHIATRIC DETENTION CENTER 76 Dr. Morris' finger glides across several DV-tapes dated 2001 in search of one particular tape- DR. MORRIS These recordings are from Terrence's trial. You will find that they speak for themselves. He pushes the tape into the deck. A grainy picture appears on the screen- We discover TERRENCE BERRY, sitting behind a desk. His hands are cuffed. Facing him, DR. MORRIS is leading the cross-examination. (CONTINUED) 59.76 CONTINUED: 76 Terrence is tense and uncomfortable. He keeps his face down, never looking into the camera. DESPITE HAVING SURVIVED THE FIRE, TERRENCE'S FACE IS NONETHELESS DISFIGURED BY THIRD DEGREE BURNS. HE NO LONGER HAS FACIAL FEATURES, AND HE STRUGGLES WITH HIS SPEECH. DR. MORRIS (CONT'D) Why did you set the department store on fire? TERRENCE In order to... to destroy the mirrors. Only fire can destroy a mirror, isn't that right, Doctor? DR. MORRIS What made you think you absolutely had to destroy those mirrors, Terrence? Terrence remains silent. Dr. Morris repeats his question- DR. MORRIS (CONT'D) What made you want to destroy those mirrors, Terrence? TERRENCE They killed Helen and my three little girls... DR. MORRIS For what reason? Why would mirrors want to kill your family? TERRENCE Because I didn't... Terrence breaks out in tears. DR. MORRIS Didn't do what? With his eyes fixed on the video monitor, deep inside, Ben already knows the answer that Terrence is about to give... TERRENCE They asked me to find Esseker... Like they did with the others... DR. MORRIS Who are the others you're talking about? TERRENCE I wasn't the first one they asked... (CONTINUED) 60.76 CONTINUED: (2) 76 DR. MORRIS And what happened? TERRENCE I didn't succeed. I didn't succeed in finding Esseker... Ben realizes that he's in the exact same situation- BEN Amy... (to Dr. Morris) I have to go. He stands to leave. The monitor keeps playing the old footage- DR. MORRIS Tell me about Esseker, Terrence. Terrence doesn't speak. DR. MORRIS (CONT'D) Who is Esseker, Terrence? Suddenly, Terrence's behavior shifts to another extreme. He stands up, and flying into a rage, he becomes brutal and hysterical- TERRENCE I DON'T KNOW WHO ESSEKER IS! I DON'T KNOW WHO ESSEKER IS, I DON'T KNOW!! Terrence becomes uncontrollable. He wrecks the folders lying on the desk and throws himself, head first, against a wall mirror that shatters to pieces. CUT TO:77 EXT. DAY - STREET-NEW JERSEY HOUSE 77 Ben's car comes to a screeching halt in front of his old house. Ben rushes inside.78 INT. DAY -NEW JERSEY HOUSE - CONTINUITY 78 He is beside himself. After seeing the video footage on Terrence, he has been struck with fear and panic for his family- Before the perplexed gaze of Rosa and his children, Ben agitatedly comes and goes in the hallway of the second floor. He is removing the mirrors from each and every room. He tears away the bathroom mirror, unhooks the one in the far end of the hallway, and removes some from Amy's room... (CONTINUED) 61.78 CONTINUED: 78 Rosa fears more and more for the children and takes them under her protective arms. Amy is not back yet. The only mirror left that Ben cannot remove, is the one in the children's room. He rushes down to the basement and comes back with a bucket of old paint. He immediately begins to paint the wall mirror in order to neutralize its reflection. DAISY What are you doing dad? BEN Don't worry, there's nothing wrong. Everything is OK... DAISY But why are you doing that? BEN I'm doing it to protect you.79 EXT. DAY NEW JERSEY HOUSE - CONTINUITY 79 At the same time, Amy's car pulls up in front of the house. As soon as she sees the front door open, and the mirrors laid out on the landing of the front steps, Amy rushes into the house, panic-stricken.80 INT. DAY -NEW JERSEY HOUSE - CONTINUITY 80 She races up the stairs to the second floor, barging into the children's room where Ben is painting the mirror. She signals Rosa to take the kids out. AMY Do you mind telling me what the hell you're doing? Focused and determined, Ben does not answer her question. AMY (CONT'D) Ben! BEN Look Amy, you've got to trust me, I know what I'm doing... It's for your own good. AMY I want you to stop what you're doing and get out of our house right now. (MORE) (CONTINUED) 62.80 CONTINUED: 80 AMY (CONT'D) You're scaring the kids acting like this. Ben continues to paint the mirror. AMY (CONT'D) If you don't leave immediately, I'm going to call the police, Ben, and I warn you, you will never see your children again. Do you understand what I'm saying? Ben stops- BEN You have to trust me Amy, I'm not completely crazy... These mirrors are dangerous. At first, I thought it was only the ones at the store, but now I know they can get you anywhere. They got Angela... I promise I'll leave the house once I've taken them all down. AMY Do you realize what you're saying, Ben? What is wrong with you? I know that what you're going through isn't easy. Angela was a part of our lives too, but you have no right to do this to us... Ever since your obsession with these damn mirrors the kids are scared to death. Your son has nightmares. He's scared Ben... Your behavior is starting to rub off on him. He's only 5 years old... And I have to protect him. Ben can see that she is very upset about the situation. He sets down the paint bucket on the floor- BEN Come Amy, come with me, I want to show you something. He leads her back down, through the first floor, and out on the front steps of the house-81 EXT. DAY -NEW JERSEY HOUSE - CONTINUITY 81 BEN Look, you'll see... Ben pulls his Magnum out of his belt and points the gun at one of the mirrors he has dragged outside. Amy steps back, terrified- (CONTINUED) 63.81 CONTINUED: 81 AMY What are you doing with that gun... Put it down, BEN... PUT IT DOWN RIGHT NOW! Without a moment's hesitation, Ben opens fire. The mirror shatters to pieces- AMY (CONT'D) ARE YOU CRAZY BEN? HAVE YOU GONE COMPLETELY MAD? Ben smiles, all excited- BEN Wait, look, you'll see... Through the front window, Daisy and Michael witness the scene- AMY SEE WHAT, BEN?! WHAT AM I SUPPOSED TO SEE ?! Ben keeps a piercing gaze as the bullet impacts the mirror, waiting for the magic to do its trick and for the cracks to dissolve again- BUT NOTHING HAPPENS. THE CRACKS REMAIN, IN A SPIDER WEB PATTERN. Behind the front door, Ben notices Michael, watching him, in tears. Without any evidence, Ben is in over his head. BEN But... I swear to you I... I saw...Amy... The neighbors, alerted by the blast of the gun, come out of their houses to find out what has happened. Ben stands alone, looking like a mad man... Amy holds back her tears and tries to stay in control- AMY Get out...now! I don't ever want to see you here again, Ben. And I'll have the lawyers make sure the same goes for the kids. You are insane, Ben, and dangerous... You've got to get help. With gun in hand, Ben walks away, dismayed, as he gradually becomes aware of the situation he has just created. He enters his car and drives off at top speed. 64.82 EXT/INT. DAY - ROAD - BEN'S CAR 82 Ben drives nervously. He feels guilty about his conduct in front of the children. A thousand thoughts rush through his head, leaving him in an utter state of confusion. He doesn't know what to do nor what to think anymore. Ben reaches for his cell phone and dials Larry's number- BEN Hello, Larry? It's me... I'm going to need your help again- LARRY (O.S.) Come on, Ben... For Christ's sake! What are you doing? BEN Mayflower used to be a hospital before it became a department store. St. John's Hospital. Do you have any idea where all the medical records could have ended up after it closed down? LARRY (O.S.) How am I supposed to know that?! BEN Go to the city hall archives... They must have something considering it was a public hospital. LARRY (O.S.) I've got others things to do. I can't go to City Hall today. I've - BEN Larry, Larry stop it... If I could go myself, I wouldn't be asking you. Go to the City Hall archives, and ask them to look up Esseker among the former patients. Please. LARRY (O.S.) Ben, for god's sake, what are you trying to prove? BEN Please, do it for me. LARRY (O.S.) You know you're a real pain in the ass. (CONTINUED) 65.82 CONTINUED: 82 BEN Talk to you later. Ben hangs up. He glances back at the rear view mirror and sees ANGELA'S CORPSE, SITTING ON THE BACK SEAT! Startled, he loses control of the vehicle. A truck approaches at full speed in the opposite lane. He barely avoids the collision. Two other cars appear. Ben zigzags in and out, just barely avoiding a fatal crash. He stops along the edge of the road. Ben closes his eyes and rests his head against the steering wheel in an attempt to clear his mind. He looks up into the rear- view mirror again- ANGELA'S REFLECTION IS STILL THERE. Behind her long black hair, she fixes him with a milky gaze. Ben flies into a rage. HE SMASHES THE REAR-VIEW MIRROR WITH HIS BARE FIST, REDUCING IT TO SCRAPS... Ben is alone and lost. BEN (CONT'D) What have I done? I don't understand... What have I done? Insert on what is written on the side rear-view mirror- "OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR" 83 EXT. NIGHT -MANHATTAN STREET - NYPD POLICE STATION 83 Under the pouring rain, the police patrol cars come and go in front of the police station. A bit further away we recognize Ben's Oldsmobile, parked on an adjacent street. Ben is waiting inside. A man approaches, knocks on the car window and enters the vehicle. It's LARRY- The rainwater drips down his raincoat. Under his arm he holds a file of documents, wrapped in a plastic bag. LARRY This ought to make you happy... (handing him the file) Anna Esseker... (CONTINUED) 66.83 CONTINUED: 83 Ben nervously tears open the plastic wrapping- LARRY (CONT'D) I wasn't quite sure what you needed, so I got all of her medical records. BEN Perfect, Larry. That's perfect. Ben skims through the pages. He cannot believe that he has finally discovered who Esseker is... LARRY Everyone's real edgy up there. You're still a fuckin' murder suspect. People are wondering why I let you out. You have to tell me more. What does the history of the Mayflower have to do with the death of your sister? BEN I don't know exactly. I can't tell you, but some really fucked up things started happening to me when I took the job over there. Nothing makes any sense to me either but I have to follow my instinct. Larry notices the broken rear-view mirror- LARRY What happened? Did you have an accident? Ben is too absorbed in the records. He doesn't answer. BEN Anna Esseker... Where did you find her files? Did you go to City Hall? LARRY No, you were wrong about that, they had nothing. All the medical records from St. John's Hospital are still up there with the unclassified cases. Ben squints at him. LARRY (CONT'D) She was a patient at St. John's in the psych ward run by a Dr. Kane, between March and September 1952. She was only twelve years old when she died... Ben freezes- (CONTINUED) 67.83 CONTINUED: (2) 83 BEN What? LARRY When the nurses went on their rounds, first thing on the morning of October 6th, they discovered that all the patients had left their rooms during the night and gathered in the main room. All of them were dead, including the girl. Apparently, they had killed one another... A slaughter house... After that they shut down the place. Nobody ever found out what really happened. BEN What about the doctor? Dr. Kane? LARRY He was arrested. They found him dead on the first day of his hearing. He had slit his wrists with a piece of his cell mirror! CUT TO: 84 INT. NIGHT - QUEENS BUILDING- ENTRANCE HALL 84 Ben heads home with the file containing Anna's medical records. He walks through the lobby of his building.85 OMITTED 85 86 INT. NIGHT - QUEENS APARTMENT 86 Angela's apartment is plunged in total darkness- Ben lays Anna Esseker's file on the coffee table and aims the desk lamp at his "research corner" on the wall. He turns the lamp back at the file and sits down to study it. WHY ARE THE MIRRORS ASKING FOR ANNA IF SHE'S ALREADY DEAD? WHY? IT DOESN'T MAKE ANY SENSE... On an index card filled in by Anna's parents in September 1952, Ben finds a Pennsylvania home address. Dr. Kane's first diagnosis is irrevocable - "Despite her young age, Anna Esseker suffers from severe schizophrenia, leading to withdrawal from reality, delusional and violent behavior." (CONTINUED) 68.86 CONTINUED: 86 He shuffles through the first few pages of various administrative documents. His eye lands on several photographs of Anna taken at the time she was admitted to the hospital- She is just a child, yet, six male nurses were needed to restrain and immobilize her in front of the photographer. Her face is hardly discernible as she struggles like a wild animal. A high-pitched sound of cracking glass is heard from behind. Ben turns around- Another loud crack - It comes from one of the covered mirrors in the apartment. Ben rises slowly to his feet and comes closer. He removes the sheet hanging on the frame- A crack has appeared in the upper corner of the mirror. Ben casts his eyes over the reflection. His glance comes to rest on Anna's file laying on the desk- He goes to fetch the photograph of the little girl and presents it to the mirror- KRAAAAACK - the crack in the mirror spreads, as if some kind of pressure were applied on the other side of the mirror as a reaction to the photograph... BEN You're still alive, aren't you? All of a sudden, Ben realizes something. He runs back to the file on the table and goes through the documents again, one by one. He stops on a carbon copy of a hospital release form and checks the date. BEN (CONT'D) You're wrong Larry, you're wrong... His eyes light up- BEN (CONT'D) ...she left the hospital on the 4th. According to the document, Anna left two days before the massacre! CUT TO: 87 INT. - DAY -NEW JERSEY HOUSE 87 The next morning- (CONTINUED) 69.87 CONTINUED: 87 Through the half-opened door at the end of the hallway, we see Daisy brushing her teeth before going to school. The little girl is humming as she watches herself in the mirror... Amy comes out of her room- AMY Come on, come on... Let's go... Daisy, Michael? She passes in front of the children's room and stops- INSIDE, MICHAEL IS TALKING TO SOMEBODY. Amy listens closely, but she can only hear Michael's voice. On the other side of the door, the little boy bursts out in laughter- 88 INT. DAY - CHILDREN'S ROOM 88 She opens the door and finds her son squatting in front of the mirror, talking to his own reflection. AMY What are you doing Michael? Come on, we're going to be late. The little boy does as his mother says. He gets up and dashes out of the room. Amy's glance freezes in horror. Terrified, she almost loses her balance- MICHAEL'S REFLECTION IS STILL IN THE MIRROR, SITTING IN A SQUATTING POSITION! HE LOOKS AT AMY WITH A BIG SMILE. Amy attempts to speak but can't- The mirror image of her son remains silent. Amy steps closer to the mirror and, in the reflection, behind the boy, she discovers- HER MIRROR IMAGE IS THERE TOO, BEARING THE SAME FORCED GRIN... CUT TO:89 INT. DAY -QUEENS APARTMENT 89 The phone rings. Ben wakes up in a jolt and picks it up- AMY IS ON THE OTHER END OF THE LINE, IN TEARS. BEN Amy ? What's wrong? (CONTINUED) 70.89 CONTINUED: 89 AMY O.S. ...You have to come over... Right away... BEN What? Amy cannot get the words out. The convulsive sobs overtake her voice. AMY O.S. I'm so scared, Ben... BEN What's happening? AMY O.S. There's something in the house... Something in the mirrors. BEN Where are Daisy and Michael? Are the kids all right? AMY O.S. They're with me... They're right here with me. Come over, please! BEN Get out of the house. I'll be right over...90 EXT. DAY -QUEENS' STREET 90 Ben runs to his car and throws the Esseker file on the passenger seat. He drives off at full speed and disappears at the far end of the road. CUT TO :91 EXT/INT. DAY - MAYFLOWER 91 On 38th Street, away from the hustle and bustle of Broadway, the Mayflower facade is unsettling and disturbing. AMIDST THE RUINS OF THE DESERTED DEPARTMENT STORE, THE MIRRORS ARE WAITING PATIENTLY FOR THEIR TIME TO COME...92 EXT. DAY - NEW JERSEY HOUSE 92 When he arrives, Ben finds his wife waiting in front of the house. The kids are playing in the snow. Ben's car pulls up in the driveway. (CONTINUED) 71.92 CONTINUED: 92 Amy throws herself into his arms, crying with relief. BEN I'm right here, Amy. I'm here now... Thank god you're alright. Ben comforts her, holding her tightly with all his strength. AMY We can't stay here, we have to leave the house now... We can go to my mother's or to a hotel... BEN Anyplace is gonna have mirrors or windows... Anything you can see your self in is dangerous. We have to make the house safe. The only way is to cover all the reflections. If we keep them in the dark we can avoid them. We need paint, we need tape... CUT TO :93 INT. DAY -NEW JERSEY HOUSE - A MOMENT LATER 93 Ben has brought up some more paint from the basement. With Amy's help he paints over all the mirrors in the house. In the face of this hardship, all the arguments seem far away. We can feel a connection between the two of them. The windowpanes and picture frames have been wrapped securely with newspaper and tape. Every inch of reflective surface in the house, such as the TV- screen and the shiny taps, have been "neutralized" with strips of masking tape... IN NO TIME, THERE IS NOT A SINGLE SURFACE CAPABLE OF REFLECTING LIGHT LEFT IN THE HOUSE. CUT TO :94 EXT. DAY -NEW JERSEY HOUSE 94 The front door of the house opens. On the landing of the front steps, Ben kisses Daisy goodbye. DAISY When will you be back, Dad? (CONTINUED) 72.94 CONTINUED: 94 BEN As quickly as I can, sweetheart. I promise. He kisses Michael who hugs him back- MICHAEL I love you, Dad. He strokes Michael gently on the head and goes to his car. Daisy and Michael watch their father leave. Amy walks him to the vehicle- AMY What if you don't find her? Maybe she doesn't live there anymore? Maybe she's really dead. BEN They want her, I'm gonna find her wherever she is. We don't have any other choice. Ben holds her tightly in his arms and plants a tender kiss on her forehead. BEN (CONT'D) I'm sorry about everything I've put you through... I didn't want to... Amy interrupts him. AMY I know. Ben gets into the car. BEN Amy, I want you to stay here with the kids until all this is over. All the mirrors are covered, there's no more danger. I'll come back as soon as I can. Tears well up in Amy's eyes. He takes her hand- BEN (CONT'D) Hey baby, everything's gonna be fine. I love you. She smiles tenderly. Ben drives off. 73.95 INT. DAY - BEN'S CAR 95 Through the back window, we see Amy in front of the house, growing more and more distant. Anna's medical file lies open on the passenger seat- At the top of the page we can read her old address in Pennsylvania.96 EXT. DAY - ROAD 96 -Aerial shot- We fly over a lake- the waters are so placid that the forest and outline of the scenery surrounding it reflect off its surface, creating two perfectly symmetrical landscapes. We glide over the treetops, diving deeper into the forest, to follow the main road that zigzags along the slope of the hill.97 DISSOLVE TO: 97 98 INT. DAY -BEN'S CAR 98 A sign on the edge of the road indicates 67 miles to Pennsylvania. Ben focuses on the road, determined to put an end to what hides behind the mirrors and to rescue his family. 98A OMITTED 98A 99 EXT. DAY - COUNTRY ROAD 99 Ben's car slows down as he reaches a dirt road. On one of the mailboxes standing on the edge of the road he spots the name Esseker-100 EXT. DAY - ESSEKER FARMHOUSE 100 The wind blows over the land. In the winter season, the muddy fields have little to offer to the few starving crows flying over them. A feeling of desolation and solitude hangs over the deserted landscape. Ben's car has left the asphalt road behind, driving through the countryside down a winding dirt road. (CONTINUED) 74.100 CONTINUED: 100 An old farmhouse stands at the very end of the path. If it weren't for the parked pick-up truck and the few piglets running wild, one would think that the farmhouse was abandoned. Ben gets out of the car and goes to knock on the door. His shoes sink into the mud. He walks up the steps of the porch and peeks inside the house through the front window. In the dark he discerns the silhouette of a person who is watching TV. He can't help but notice all the mirrors have been covered or turned towards the wall. A big dog barks behind the window. Ben steps back, surprised. The front door opens before Ben has even made his presence known. A young man stares at him in silence. BEN Hello... Is this the Esseker farmhouse? The young man nods. A woman's voice is heard from inside- WOMAN'S VOICE What is it Jimmy? JIMMY I don't know Mom. (to Ben) What can I do for you sir? BEN I am looking for Anna, Anna Esseker. The young man looks at Ben questioningly. Apparently he has never heard the name before. JIMMY (to his mother inside) There's a man who's looking for... (back to Ben) You said Anna? (Ben confirms) Anna Esseker, Mom! Jimmy's mother, in her fifties, an obese woman who has trouble moving around- shows up in the opening of the door - JIMMY'S MOTHER What is it you want with Anna Esseker? She catches him unaware. Ben makes up a false identity- (CONTINUED) 75.100 CONTINUED: (2) 100 BEN I huh... I am doing some research for a book on the history of St. John's Hospital, in New York... Jimmy's mother stares at him for a moment with a suspicious look- JIMMY'S MOTHER Jimmy, go tell grandpa that there's a man here who'd like to talk to him about his sister.101 INT. DAY - FARMHOUSE BASEMENT 101 We are in the dark basement, under the farmhouse. The door to the first floor opens, letting the light in. Ben appears next to the silhouette of an old man- ROBERT ESSEKER, 80 years old, Anna's elder brother. Robert walks down the steps, signaling Ben to follow him- ROBERT You know, up to this day, the visions of Anna's fits still haunt me at night. They walk through the basement towards an old wooden door. ROBERT (CONT'D) I helped my father fix up this part of the basement, especially for her- The old man turns the key in the padlock. Slowly, the door swings open, revealing- ROBERT (CONT'D) Her fits were too violent. My mother couldn't take her screams anymore. What's left of a very primitive child's room, SURROUNDED BY DOUBLE WIRE FENCING AND IRON BARS. Rather than a cell, it more resembles a HUMAN-SIZED CAGE, CAPABLE OF RESISTING THE MOST FEROCIOUS BEAST. As he's talking, images flash on screen- painful memories from that time come back to him- Anna being carried to the basement, her innocent eyes full of hate. It's even hard to recognize the face of a little girl. Her howling screams. Her nails digging into her own flesh. Her unnatural strength and the violent thrashing of her arms and legs. (CONTINUED) 76.101 CONTINUED: 101 ROBERT (CONT'D) We had every priest, doctor, healer, coming from all over the state, one after the other. But no one could help her. Ben comes closer to the iron bars of the cage. He can see Anna's scratch marks next to the bed, giving his imagination a taste of her plight and suffering. ROBERT (CONT'D) Finally, Dr. Kane from New York answered my parents' cry for help. He rejected the idea of demonic possession, said he didn't believe in it. He was convinced that Anna suffered from a rare form of personality disorder. He wanted Anna under his care, at St. John's. My parents were very poor, but he agreed to cover all the hospital costs... In less than five months, Dr. Kane had cured Anna. It was unbelievable. She was her old self again. A real miracle of science. BEN And after the hospital? ROBERT You don't know? She died there with all of Kane's other patients. Ben takes the old release form out of his pocket and shows it to Robert. BEN Anna left the hospital two days before the massacre. Kane changed the records to make her disappear. ROBERT You're not a journalist, are you? What do you want? BEN I want to know. After St. John's, where did she go? Robert stares at Ben, unsure of saying what he's about to reveal to this perfect stranger- ROBERT Anna came back to live with us for a while... (CONTINUED) 77.101 CONTINUED: (2) 101 BEN For a while? Robert lowers his eyes. BEN (CONT'D) And after? Why did she leave? ROBERT Because... Because strange things started to happen in the house... BEN With Anna? ROBERT No, not with Anna... The old man obviously doesn't want to get into the details. The memories are too painful. BEN With the mirrors? Robert stiffens, eyeing Ben with a dark look- How does he know? BEN (CONT'D) Mr. Esseker, tell me where I can find your sister. It's very important. It's a matter of life and death. Robert hesitates - ROBERT Before he died, Kane sent us a letter asking us to keep Anna away from mirrors and that whatever happens she should be in a place where the mirrors could never find her. BEN Where is she now? ROBERT To protect us, she left the house and joined the monastic orders, where mirrors are forbidden... St. Augustine's monastery, on the road to Midwich.102 EXT. DAY - ESSEKER FARMHOUSE 102 Ben's car does a one-eighty turn in front of the farmhouse, heading back to the main road. (CONTINUED) 78.102 CONTINUED: 102 Standing on the porch, with an anxious look on his face, Robert watches him disappear in the distance. He sits down on the steps, and wipes his glasses. The crows fly low in the sky- It's a bad sign. CUT TO :103 EXT. DAY - MIDWICH MONASTERY 103 The nuns come and go under the arches of the monastic courtyard. A deadly silence prevails over the monastery, where time seems to stand still. All these women have taken vows of poverty, obedience and chastity to serve god. On the other side of the cloister wall, a small winding road zigzags between the pine trees. Ben's car draws nearer. He parks in front of the entrance to the monastery. 104 INT. DAY - MIDWICH MONASTERY VESTIBULE 104 Ben pushes open the heavy front door. The place is dark and silent. He goes to the front desk- Behind a wooden screen he can barely make out the two nuns in charge of admissions. They are the only nuns granted exposure to the outside world. For the rest, physical and visual contact is strictly prohibited. SISTER Yes, how can I help you? BEN Hello Sister. I have come to visit a member of your community... Sister Anna? Her real name is Anna Esseker. SISTER Is she expecting you? BEN No, not really. SISTER Are you a relative? BEN Listen, Sister, I must see her. SISTER If you are not listed, I cannot help you sir. (MORE) (CONTINUED) 79.104 CONTINUED: 104 SISTER (CONT'D) We have strict regulations concerning visitations, which are exclusively for family members. BEN Please, tell her that I came all the way from New York and that I work with Dr. Kane at St. John's Hospital... SISTER Wait here for a moment. She stands up and escapes through one of the back doors. The other nun behind the screen, observes Ben with curiosity. Time goes by, and Ben grows impatient.107 INT. DAY - HOUSE NEW JERSEY 107 Inside the house in Jersey, Amy has isolated herself with the kids in the parent's bedroom. She's reading them a bedtime story. Even if all the windows, screens, and TV are covered by newspapers or painting, Amy acts in front of Daisy and Michael as if nothing has happened. In the rest of the house, everything has been meticulously covered, wrapped, painted or reversed. Still, here and there, a barely audible rustle pierces through the silence- In the children's room, the paint covering the mirror slowly begins to flake off... The newspaper wrapped around the windowpanes begins to rip... THE MIRRORS ARE RESISTING AND ATTEMPTING TO SET THEMSELVES FREE. 107A INT. DAY - MIDWICH MONASTERY VESTIBULE 107A Ben is losing his calm. Time is running out. The nun reappears behind the wooden screen- SISTER Sister Anna has agreed to talk to you, you may proceed to the parlor next door. Ben crosses the hall and opens the door that the nun gestures him to. He enters the parlor alone. In the spare room, a chair stands by a wooden screen, fencing him off, once again. (CONTINUED) 80.107A CONTINUED: 107A Behind the screen, a silhouette awaits him. SISTER ANNA St. John's closed down in 1952. Who are you? Ben sits down. Even at a short distance he cannot discern the face of Anna Esseker, who is now Sister Anna. BEN My name is Benjamin Carson. I work as a night watchman at 1229 West 38th Street in New York City, what used to be St. John's Hospital. SISTER ANNA What is it you want Mr. Carson? BEN I need your help. SISTER ANNA My help? I don't quite see how I could possibly be of any help. BEN My wife and children are in danger. What is threatening my family is asking for you... For a split second, Ben makes eye contact with Anna behind the screen. She has understood... BEN (CONT'D) If you don't help me I may lose the only thing that matters to me. SISTER ANNA I cannot leave the precincts. It's impossible. BEN Tell me why are the mirrors from the old hospital so determined to find you? Sister Anna remains silent- BEN (CONT'D) I must know, Sister. SISTER ANNA It is not the wish of the mirrors to find me, but of what is imprisoned inside them. The mirrors are merely windows on our world... (CONTINUED) 81.107A CONTINUED: (2) 107A BEN A window... For what? For whom? ANNA At the time that I was at St. John's, Dr. Kane's therapy for personality disorders consisted of locking the patient up in a mirrored room for several days on end, in order to force him to confront his own image. I spent the darkest days of my life in that room. On the 6th day the nurses found me lifeless, almost dead. Since that day, I have never had another fit. But deep down inside I've always known the truth. BEN What truth? ANNA There is no cure for schizophrenia, it was something else, Mr. Carson. And whatever it was, it entered the mirror. We can feel the emotion in her voice. ANNA (CONT'D) I thought that after fifty years, this would have all gone away. They would have disappeared from the mirrors. I didn't know.... I'm sorry but if I agree to go with you and return to that place, I will make it possible for them to cross the threshold back into the real world. Everything is now making sense for Ben- BEN It entered with you and they need you to get out. ANNA The consequences of such an act, Mr. Carson, would be more devastating than letting them suffer where they are now. I'm going to pray for you and your family. That's all I can do right now, Mr. Carson. God bless you... She stands to leave. (CONTINUED) 82.107A CONTINUED: (3) 107A BEN Wait... Please, listen to me- Terence Berry, Gary Lewis and many others before me... Those are the people who died trying to find you. Because they failed, their families died too. My sister was murdered two days ago... My wife and kids will next if you don't come with me. Look- From his wallet Ben takes out a wrinkled photograph of Michael, as a baby, in Amy's arms. Daisy stands next to them in the picture. Ben presses the photograph against the grating for Anna to look at it. BEN (CONT'D) My wife and two children. They're all I've got. They're innocent... Please. Anna stays quiet a moment behind the screen and leaves. BEN (CONT'D) I KNOW YOU ARE SCARED OF GOING BACK THERE. IT'S EASIER TO KEEP HIDING BUT THIS IS NOT THE HOUSE OF GOD ANYMORE. WHILE YOU'RE PRAYING PEOPLE ARE DYING ON YOUR TIME! Anna doesn't respond and disappears in the distance. Ben failed. He's desperate and lost. He has a hard time containing his anger. 105 EXT. DAY - MONASTERY 105 On the horizon, a red sun sets behind the treetops. It's almost nightfall. The bells from the monastery begin to toll. The cross above the monastery reflects upside down in a puddle of rain water. Frustrated, Ben walks back to his car and dials his home number on his cell phone - 106 EXT. NIGHT -NEW JERSEY HOUSE 106 In the distance, the lights of Manhattan sparkle in the night. In the house, all the lights are off. All is quiet, too quiet. 83.108 INT. NIGHT - HALLWAY 108 In the hallway, the shiny doorknob leading to Amy's bedroom is the only reflecting surface that has been forgotten. In the distorted reflection, we see Michael's silhouette approaching. The little boy reaches for the knob but- IN REALITY, NO HAND TOUCHES IT- IT'S MICHAEL'S REFLECTION INSIDE THE SHINY KNOB THAT IS OPENING THE DOOR! Inside the bedroom, Amy fell asleep with Daisy in her arms. On the bedside table, THE HOME PHONE STARTS RINGING- She wakes up with a jolt and picks up the cordless receiver- AMY Hello? Ben... Where are you? Did you find her? Did you talk to... She stops speaking as she realizes- Daisy is asleep next to her but MICHAEL IS NO LONGER THERE. AMY (CONT'D) Michael? MICHAEL!? (on the phone) Ben hold on, Michael is gone... BEN (O.S.) What? AMY (to Ben on the phone) I don't know, I fell asleep with the kids on the bed and... She sees that THE BEDROOM DOOR IS HALF OPENED. AMY (CONT'D) Michael? The sound of pouring water is heard, coming from the hallway. Michael must be in the bathroom. BEN (O.S.) Amy, what's going on? Are you alright? Amy runs to the door, waking Daisy up. DAISY What is it Mom? (CONTINUED) 84.108 CONTINUED: 108 AMY (to her daughter) You stay right here sweetheart, I'm going to look for your brother. Stay right here. (to Ben on the phone) Ben, I have to call you back, I have to find Michael... BEN (O.S.) No Amy, stay with me... 109 INT. NIGHT - CORRIDOR/BATHROOM - CONTINUITY 109 Amy comes out of the bedroom and notices that the floor is completely soaked. She turns on the light in the hallway, only to discover- The entire upper floor is covered by an inch of water- all the taps in the bathroom are turned on and have transformed the surface of the floor into A LARGE NATURAL MIRROR... AMY (to Ben on the phone) Fuck! There is water everywhere... Michael? Michael? MICHAEL?! Amy freezes when she realizes that all the picture frames and all the mirrors in the corridor have been scraped, bringing the reflecting surfaces, once again, to the light... AMY (CONT'D) (scared) Ben, someone scraped all the mirrors... There is someone in the house. BEN (O.S.) Where is Michael? AMY (panicked) I don't know where he is. I don't see him. I... As she turns in the hallway, Amy sees A DARK SHADOW MOVING IN ONE OF THE MIRRORS. Terrified, she steps back and hits the opposite wall. She drops the phone on the flooded floor- 109A EXT. DAY - MONASTERY 109A At the same moment, Ben, still outside of the monastery, is cut off in his conversation with his wife- (CONTINUED) 85.109A CONTINUED: 109A BEN Amy? Amy? Answer me? He tried to redial but that doesn't work. He knows something weird is happening there. Without hesitation, Ben grabs his gun inside the car and walks back towards the monastery gates. 109B -BACK IN THE HOUSE- 109B Unsure of what she saw, Amy makes a step towards the mirror but only finds her own reflection. She picks up the phone- The water shorted it out... AMY Damn it... Cautiously, Amy walks up to the bathroom. AMY (CONT'D) Michael? She opens the door- the sink and bathtub are filled with water overflowing onto the tiled floor. Michael is not there. CUT TO: 109C INT. NIGHT - MONASTERY CELL 109C A hand enters frame to light some candles. Sister Anna is back in her cell. The way her hand shakes as she carries the match from one candle to the other betrays how upset she is by the confrontation with Ben- It's been too much time that she's carrying the guilt. She runs the rosary nervously between her fingers and kneels down in front of her bed to pray when- A loud muted sound followed by a sudden wave of agitation is heard outside the cell. Someone has broken into the monastery. She recognizes Ben's voice- Like a mad man, he's looking for her everywhere and threatens the other nuns to show him the way. Anna stands up when Ben bursts into her cell with his gun in his hand. Behind him, the other nuns are terrified. Ben points the gun at Anna- BEN My kids are not going to die tonight. You're coming with me, now. (CONTINUED) 86.109C CONTINUED: 109C Not intimidated by the weapon, Anna steps towards Ben. FOR THE FIRST TIME, BEN CAN SEE HER FACE- The old lady seems more determined than ever- ANNA If I come with you Mr. Carson, you have to promise to do everything I tell you. My way. No questions. Ben lowers his gun- BEN You have my word. CUT TO: 110 INT. NIGHT- BEDROOM- MEANWHILE 110 Daisy waits patiently in the bed following her mother's instructions. Suddenly she hears her mother calling her from the children's bedroom- AMY (O.S.) Daisy... Daisy... Come here... Daisy steps into the corridor and stops, for a moment, when she notices the flooding. She enters her bedroom, following the voice that calls out for her- AMY (O.S.) (CONT'D) Daisy... Daisy...111 INT. NIGHT - CHILDREN'S BEDROOM - CONTINUITY 111 Daisy explores the bedroom. The voice is still calling, but her mother is not there. The door shuts behind her. She walks up to the mirror on the wall. The paint has been partially scraped off- THE LITTLE GIRL DISCOVERS HER MOTHER'S REFLECTION ON THE OTHER SIDE OF THE MIRROR-112 INT. NIGHT - BATHROOM - MEANWHILE 112 BUT IN REALITY, AMY IS STILL IN THE BATHROOM! She turns off the tap and sinks her hand into the depths of the bathtub to pull the plug, when she sees Michael's reflection on the surface - (CONTINUED) 87.112 CONTINUED: 112 AMY Micha... She turns around, but Michael is not behind her. The reflection lied. SUDDENLY HER ARM IS PULLED INTO THE BATHTUB. AN INVISIBLE FORCE PLUNGES HER HEAD INTO THE WATER TO DROWN HER. AMY STRUGGLES FRENETICALLY BUT THE PRESSURE IS TOO STRONG FOR HER TO BREAK FREE.113 -BACK IN THE CHILDREN'S BEDROOM- 113 Daisy walks up to her mother's reflection in the mirror. AMY'S REFLECTION Come sweetheart... Come, come closer... Come... Daisy is mistrustful. She senses that something is not right. In the mirror, her mother's attitude is different and strange... DAISY What are you doing in there, Mom? AMY'S REFLECTION Come closer, don't worry... Everything is all right, sweetheart. Daisy obeys when, suddenly, she notices that her mother holds a pair of scissors in her hand. Daisy has no time to react- THE REFLECTION OF THE MOTHER GRABS THE REFLECTION OF THE LITTLE GIRL, HOLDING HER FIRMLY IN HER ARMS- BY SOME INVISIBLE FORCE, IN REALITY, DAISY IS SUSPENDED IN THE AIR IN FRONT OF THE MIRROR.114 -BACK IN THE BATHROOM - 114 With her head still submerged in the bathtub, Amy is drowning. She tries to fight back. Unsuccessfully. Her head stays under the water. With the tips of her fingers, Amy feels her way to the plug. She pulls it out. Slowly, the water level begins to go down. Too slowly. Amy struggles to pull her head out of the water to breath again. (CONTINUED) 88.114 CONTINUED: 114 The water continues to recede. Amy has reached exhaustion, her hands clutch onto the edge of the bathtub. She is suffocating. At the last minute, she turns her head to gasp for air. The remaining water swirls down the drain. The bathtub is now empty and the invisible force seems to have vanished. Amy collapses to the ground, spitting and coughing. She comes to her senses, gets back to her feet and dashes out of the bathroom. AMY Michael?! Michael? As she runs past the bedroom, she notices that the door is open- AMY (CONT'D) Daisy !? Daisy is no longer there. AMY (CONT'D) Daisy ! Panicked, Amy crosses the corridor and barges into the children's room. Inside she discovers-115 INT. NIGHT - CHILDREN'S ROOM 115 SUSPENDED IN THE AIR, A FEW INCHES OFF THE GROUND, DAISY STRUGGLES TO BREAK FREE. In the mirror, Amy sees her own reflection bringing the sharp blade of the scissors to her daughter's throat. The blade glides over her skin. In reality, A TRICKLE OF BLOOD APPEARS ON DAISY'S THROAT. Instinctively, Amy throws herself against Daisy, tearing her away from the grip of her own reflection. They land on the floor and crawl to the corner of the room, safe from the danger of the reflections. Amy tears off a piece of her clothing, which she presses against Daisy's throat in order to stop the bleeding. AMY Oh my god, don't move baby, don't move... Amy is out of control, holding Daisy tightly in her arms. She is terror-stricken by the events in the house... (CONTINUED) 89.115 CONTINUED: 115 AMY (CONT'D) Don't move sweetheart... Fortunately, Daisy's wound is not deep. The blade did not reach the main artery. Amy saved her life at the very last minute. Daisy is half conscious from the loss of blood. She struggles to speak- DAISY Why did you do this, Mom? AMY (in tears) It wasn't me Daisy, it wasn't me... I would never hurt you, you know that. DAISY Whe...where is Michael ? AMY I don't know where he is... I'm going to take care of you and then we're going to find him...OK But for now, we have to get out of here. DAISY Is Daddy coming back soon? AMY Yes, he'll be here soon as he can. A bit further away, in the scraped section of the mirror, we can see Amy's reflection, on its knees above Daisy who lies on the floor- IN THIS EVIL VERSION OF THE REALITY, Amy's double has killed her own daughter. Using the scissors, she's "working" on the dead body. What exactly is she doing to the little girl? She turns toward us, revealing HER FACE AND HANDS COVERED WITH FRESH BLOOD! AMY'S REFLECTION COMES CLOSER TO PEEK THROUGH THE MIRROR , WITH HER HANDS PRESSED AGAINST THE GLASS, AS IF IT WERE JUST A WINDOW. IN SEARCH OF THE REAL AMY AND DAISY, the forces of the mirrors are determined to get them. Away from the field of vision of the mirror, Amy crawls on the floor towards the door- 90.116 INT. NIGHT - BEDROOM 116 Amy comes back to the bedroom, carrying Daisy in her arms. As she passes the bureau, she grabs the first-aid-kit from one of the drawers. She sets her daughter down in the walk-in closet, away from the mirrors. The little girl has trouble moving. Amy examines the cut on Daisy's throat. Quickly, with a professional touch, she disinfects and bandages the wound. AMY Listen to me carefully Daisy... I want you to stay in here and be quiet. Daisy is terrified and with her remaining strength, she holds on to her mother tightly. AMY (CONT'D) You have to be brave, sweetheart... I want you to stay in here and not get out until I come back, no matter what happens. I'm going to find Michael... Do you hear me? Not quite convinced, Daisy accepts reluctantly. AMY (CONT'D) I am so proud of you. Amy shuts the door of the closet. Through the wooden slats she can see her daughter inside- AMY (CONT'D) Don't move... Amy exits the room.117 INT. NIGHT - CORRIDOR/STAIRCASE 117 Even though she turned off the taps upstairs Amy can still hear the water pouring downstairs... On guard, Amy walks down the stairs, step by step. She is frightened and her heart is pounding. AMY Michael ? Michael ? At the bottom of the stairs, Amy catches sight of Michael at the other end of the living room. (CONTINUED) 91.117 CONTINUED: 117 The first floor is completely flooded. ALL THE SPACE IS COVERED BY A THIN LAYER OF WATER THAT'S MIRRORING EVERYTHING IN HOUSE. The little boy has climbed up onto a stool and is scraping the paint off the mirror with a sharp knife... It was Michael who had scraped all the mirrors in the house in order to set the force of the mirrors free. AMY (CONT'D) Michael ! He doesn't answer. He doesn't seem to hear her. Amy comes down the last step. AMY (CONT'D) Michael ? What are you doing? The little boy turns around towards his mother with a big smile- IN THE MIRROR, HIS REFLECTION REMAINS FACING THEM. MICHAEL They want to come play with us, Mommy. Amy moves slowly towards her son. AMY Michael, I want you to drop that knife, do you hear me? You know very well you are not allowed to play with that, don't you? Michael looks at her in confusion and steps down from the stool. AMY (CONT'D) That's a good boy, now give me the knife... Instead of obeying, Michael runs off and disappears into another room on the first floor. AMY (CONT'D) MICHAEL ! Amy rushes after him.118 INT. NIGHT - BEDROOM 118 Amy's cell phone, laying on the night table, begins to ring. On the display we can see the call is from Ben. Through the wooden slats of the closet door, Daisy catches sight of the phone. (CONTINUED) 92.118 CONTINUED: 118 She thinks about leaving the closet to answer, but remembers her mother's strict instructions about staying in the hiding place. The phone continues to ring, but no one answer it.119 INT. NIGHT - FIRST FLOOR 119 Amy hears the phone ringing upstairs, but she cannot answer it now- She must find Michael first. CUT TO :120 EXT/INT. NIGHT - BEN'S CAR - MANHATTAN 120 Ben's car drives down a Manhattan street. Behind the wheel, Ben is on the phone and gets Amy's voicemail. He dials again- BEN Answer! God damn it... Answer the phone... Once again he gets the voicemail. BEN (CONT'D) Fuck... Ben is losing his calm.121 EXT. NIGHT - MAYFLOWER DEPARTMENT STORE 121 Ben's car pulls up in front of the department store. Through the windshield, Anna catches sight of the devastated building. Ben hangs up the phone- BEN Something's wrong over there, my wife is not answering. Ben is torn - He knows that going back to Amy isn't going to help- BEN (CONT'D) We have to get inside the Mayflower now. Anna steps out. She cannot conceal the sudden shiver that runs through her when she stands in front of the former hospital- ANNA From now on, I'm going to close my eyes. (MORE) (CONTINUED) 93.121 CONTINUED: 121 ANNA (CONT'D) Take me to the basement, to the mirror room. It has to stop where it began... Ben grabs her forcefully- BEN Come on, let's go. ANNA Mr. Carson, no matter what happens in there, I want you to do as I say and make sure I never get out of this place. Ben pulls out his keys and unlocks the front door. Anna closes her eyes and follows him inside.122 INT. NIGHT - ENTRANCE HALL- MAYFLOWER DEPARTMENT STORE 122 Anna has barely crossed the threshold when the hall mirrors start trembling- They can feel her presence. She tightens her grip around Ben's hand. She is anxious, and even with her eyes shut, she can sense the threatening vibes sent off by the mirrors. Ben is focused, gazing straight ahead as they cross the ground floor in the direction of the basement door. Yet, from the corner of his eye, he cannot help but glimpse the mirrors. What he discovers goes beyond his worst nightmares- A CROWD OF MEN AND WOMEN, FLAYED ALIVE, CRAWLING AND PRESSING THEMSELVES AGAINST THE GLASS PANES, INSIDE THE MIRRORS. THEY OBSERVE BEN AND ANNA WITH BLANK, LIFELESS GAZES. SOME ARE BANGING THEIR FISTS, THEIR HANDS, AND EVEN THEIR HEADS AGAINST THE GLASS, IN AN ATTEMPT TO BREAK FREE FROM THE MIRROR. SUDDENLY BEHIND HIM, ONE OF THESE VISIONS BASHES AGAINST THE MIRROR! KEEPING ITS WIDE OPENED EYES ON THEM, THE VISION STARTS LICKING THE OTHER SIDE OF THE MIRROR LIKE AN ANIMAL. ANNA They are waiting for me... Ben turns towards Anna and realizes that in the mirror, there's something else- Anna's reflection is different- IT'S NOT THE OLD NUN ANYMORE BUT THE 12 YEARS OLD GIRL, EXACTLY AS ANNA WAS IN THE TIME OF ST. JOHNS HOSPITAL! 94.123 INT. NIGHT -NEW JERSEY HOUSE 123 We are back in the house. Amy is still searching for Michael. She goes into the kitchen to turn off the tap. Above the sink, the newspaper on the windows had been ripped as well and the hot steam is now covering the glass. A HAND PRINT APPEARS ON ONE OF THE WINDOW PANES AND SLIDES DOWN AGAINST THE GLASS... The forces are everywhere. Amy steps back and runs out of the kitchen. THE THIN LAYER OF WATER ON THE FLOOR HAS TRANSFORMED THE ENTIRE HOUSE INTO A MIRROR EXTENDING THROUGH EACH ROOM. AN INESCAPABLE MIRROR... The sound of rapid, splashing footsteps catches her attention. Amy turns around and leaves the kitchen- AMY Michael ? Michael's reflection sweeps over the water surface. Amy runs after him but stops short when she catches sight of him. Michael is hiding under the living room couch. She comes closer and bends over- THERE IS NO ONE UNDER THE COUCH! Yet, in the reflection of the wet floor, Michael is there... He smiles at her, playfully. IN A QUICK MOVEMENT, THE LITTLE BOY'S REFLECTION BRANDISHES THE KNIFE IN EXCITEMENT AND TEARS IT THROUGH HIS MOTHER'S FACE- AMY LETS OUT A CRY OF PAIN AS SHE BRINGS HER HAND TO HER CHEEK- THE INVISIBLE BLADE HAS SLASHED HER FACE. The blood gushes between her fingers. Michael's reflection has disappeared. She turns around just in time to catch sight of the little boy's reflection escaping. His invisible footsteps splash in the water as he moves further away... She hears Michael run up the stairs to the first floor. 95.124 INT. NIGHT - STEP-IN CLOSET 124 Protected from the mirrors, in her hiding place in the closet, Daisy inspects the room through the wooden slats. Suddenly, the bedroom door squeaks open. Daisy curls up in the corner of the closet, overtaken with fear- It's only the cat who enters the room with a meow. DAISY Tiger! Come here kitty, come here... She opens the door a tiny crack to let him in. The little girl takes the pet in her arms, reassuringly. CUT TO :125 INT. NIGHT -MAYFLOWER BASEMENT 125 In the dark, the surface of the water lies perfectly still. We are no longer in the New Jersey house, but in the subterranean passageways corridors of the department store. Ben and Anna's silhouettes appear, walking down the stairs. Ben turns on his flashlight. The lights along the corridor are too weak. BEN Watch your step, a water pipe has burst, the whole basement is flooded. Ben guides Anna, with her eyes still shut, through the tunnels. The beam of the flashlight sweeps across the walls, and the piping. They pass the junction of the two tunnels and arrive at the demolished wall. ANNA You stay outside... Anna steps over the rubble as she feels her way into the mirror room. IN ALL THE MIRRORS IT'S NOT ANNA THE NUN, BUT ANNA THE LITTLE GIRL THAT WE CAN SEE- When she places her hand against one of the mirrors, cracks appear instantly. The pressure on the other side is growing stronger and stronger. (CONTINUED) 96.125 CONTINUED: 125 Anna positions herself in the center of the room, from where her reflection is multiplied to infinity from all the possible angles. She kneels down with her eyes closed. CUT TO :126 INT. NIGHT -NEW JERSEY HOUSE 126 Compared to the gloom of the basement in the department store, the second floor of the house seems to be bathed in light. Michael is sitting quietly in front of his room. As Narcissus did, he is observing his reflection, mirrored in the surface of the water that covers the wooden floor. AMY Michael ? Hypnotized by his mirror image, the little boy does not hear his mother's call. Amy appears at the top of the stairs and catches sight of him. AMY (CONT'D) Michael... Michael, look at me... I'm right here. Michael doesn't answer. Gently, he caresses his reflection in the surface of the water. Amy comes up to him slowly, determined to pull him away from his reflection... She lays her hand on his shoulder. This time Michael reacts and turns towards her. Before he can utter a single word- THE REFLECTION OF THE HAND BECOMES REAL, GRABBING THE CHILD'S WRISTS. MICHAEL'S REFLECTION PULLS HIM THROUGH ITS SURFACE. MICHAEL DISAPPEARS INTO THE FLOOR. Amy throws herself to the ground in an attempt to catch him. Too late, the little boy has been submerged in the thin layer of water covering the floor. MICHAEL HAS BEEN PULLED INTO THE OTHER SIDE OF THE MIRROR! Amy sees her son struggling under the water, as if he were caught under a coat of ice. AMY (CONT'D) Michael, Michael... No, no... (CONTINUED) 97.126 CONTINUED: 126 In desperation, Amy beats her fists against the floor with all her strength, trying to break through to the other side. AMY (CONT'D) MICHAEL !! NOOOOO... Flying into a rage, she beats her fists again and again in an attempt to break the surface and save Michael from drowning. She sees Michael's body sinking into the depths... CUT TO :127 INT. NIGHT - MIRROR ROOM 127 Back to the subterranean world of the department store. Ben is waiting in the corridor with his gun in hand. In the mirror room, Anna recites a prayer for strength. IN THE REFLECTION, YOUNG ANNA IS DOING THE SAME... The mirrors around her shake more and more violently- Anna remains with her eyes still shut. Ben sees cracks forming on the walls and the surface of the water at his feet trembling...127A INT. NIGHT - MAYFLOWER 127A SOMETHING IS HAPPENING IN THE REST OF THE STORE AS WELL- ON EACH FLOOR, IN EVERY DEPARTMENT, ALL THE MIRRORS BEGIN TO VIBRATE UNCONTROLLABLY, TO TWIST OUT OF SHAPE, TO SWELL, TO SHRIVEL AND FINALLY- 127B BACK IN THE MIRROR ROOM 127B ANNA OPENS HER EYES- ALL THE MIRRORS EXPLODE! FROM ONE AREA TO THE NEXT IN THE DEPARTMENT STORE, THE EXPLOSIONS ARE SPECTACULAR AND APOCALYPTIC. Anna's eyes freeze- her pupils constrict- thousands of shards of glass are sent flying into the air, piercing through her body like a dozen sharpened daggers. The blow of the explosion causes the walls to tremble. Instinctively, Ben takes shelter behind the wall. CUT TO : 98.128 INT. NIGHT - NEW JERSEY HOUSE 128 MICHAEL'S BODY REEMERGES TO THE SURFACE! Amy clings to him and pulls him out of the water. The little boy is unconscious. She begins to shake him and to perform mouth-to-mouth resuscitation as she applies rhythmical pressure to his chest. Amy tries not to lose her head, determined to bring her little boy back to life. Her eyes fill with tears, blurring her vision. She mustn't lose faith. She mustn't give up... Cardiac massage, mouth-to-mouth resuscitation, cardiac massage... MICHAEL REMAINS UNCONSCIOUS... 129 INT. NIGHT - MIRROR ROOM / SUBTERRANEAN PASSAGEWAYS 129 IN THE BASEMENT, THE CALM HAS BEEN RESTORED. Ben is still crouching behind the sheltering wall of the mirror room. In the silence, he waits. He must establish beyond a doubt that it's all over. He aims his flashlight at the surface of the water- Everything seems to be back to normal. His reflection is deformed by the slight stir of the water, slowly becoming placid. Ben steps over the rubble to enter the mirror room- All the mirrors have been pulverized leaving behind only the metal cage that was holding them in place. The floor is covered with thousands of pieces of mirror floating in the water, shimmering in the shadows. The beam of the flashlight sweeps the room in search of Anna, or her dead body- Nothing... Ben inspects all the dark corners behind the metal structure - The woman has vanished. He aims his flashlight at the ceiling. The beam of light instantly reveals a dark shape hanging above him- It's her, or at least what is left of her- A POSSESSED, METAMORPHOSED, HUMAN FRAME. SHE IS BARELY RECOGNIZABLE. (CONTINUED) 99.129 CONTINUED: 129 WITH HER EYES ROLLED UPWARD, HER SLASHED FACE AND HER BODY PIERCED BY THE SHARDS OF GLASS, SHE LOOKS LIKE A DEMON, DEPRIVED OF ANY HUMAN TRAITS. THE REAL ANNA DISAPPEARED FROM THE MOMENT SHE OPENED HER EYES AND RELEASED THE FORCES OF THE MIRROR. Ben has no time to react before "Anna" charges at him. He drops his flashlight to the ground, trying to resist her as much as he can. HER WAY OF MOVING IS NO LONGER HUMAN. MORE LIKE A STROBOSCOPIC CONVULSION, HER MOVEMENTS ARE SOMETHING BETWEEN AN ENRAGED BEAST AND THE WORST EPILEPTIC FIT. Ben manages to pin the creature against the wall. "Anna" spits blood in his face. He applies all his strength to immobilize her- the shards of glass dig deeper into the elderly woman's flesh, which only seems to provide her an intense pleasure... "Anna" froths at the mouth. Her speech has become a deep, animalistic, incomprehensible gurgle. In an effortless movement, "Anna" pushes him away. Her demonic strength is ten times his. Ben is merely a puppet, a rag doll that she sends flying into the air, only to crash violently against the brick walls... Blood squirts onto the surface of the water. Ben smashes into the wall separating the mirror room from the underground passageways. On the other side, he lands on the ground, in the dark. He strives to regain consciousness... Ben takes advantage of the brief respite to pull out his gun but- "Anna" appears from the dark and, in a flash, she strikes a backhanded blow that sends the gun off into the air. She lifts Ben up and throws him across the room. He rams into the wall. With the absence of light in the basement, Ben is defenseless. He cannot see his assailant... Ben is caught by the leg and dragged backwards. His hand struggles to catch on to anything that could hold him back. Suddenly, under the water, his hand lands on the gun. He grabs it, turns onto his back, and fires point-blank at "Anna". The bullets go flying through her body, but they don't stop her. (CONTINUED) 100.129 CONTINUED: (2) 129 Ben is being dragged. He manages to grab hold of one pipe after the other, trying to hold on, but the pipe gives way and breaks off from the wall, LETTING OUT A POWERFUL JET OF GAS. Once again, Ben is sent flying down the tunnel. He struggles to get back on his feet- Apart from the sound of the flowing gas, a disturbing silence surrounds the subterranean passageways. Ben makes out "Anna's" silhouette, hiding behind the leaking gas pipe. With his bloodied face, Ben is no longer the same man anymore- Something in his eyes has shifted. Rage and violence have replaced the terror and dread. He is determined to put an end to the creature, no matter what happens. He slides the weapon in his belt and steps, with his bare hands, towards what once was "Anna"... Crouched over in the water, the demon looks up, ready to charge. Ben takes another step forward with the same determination. The creature thrusts itself against him- THE CLASH IS EXTREMELY VIOLENT. Ben uses all his strength to keep his assailant's jaw at a distance. In a swift movement, Ben turns around AND IMPALES "ANNA" ON THE BROKEN GAS PIPE! IN A GUSH OF BLOOD THE SHARP METAL TIP PIERCES THROUGH HER STOMACH BUT- Despite being momentarily immobilised, the demon seems unaffected by the near total destruction of its outer shell. On the contrary, it struggles more violently to escape from the trap. Ben moves away, keeping an eye on "Anna". He takes his gun and aims it at her. Ben is exhausted. With his arm outstretched, he is ready to shoot, waiting for the right moment. The silhouette suddenly emerges from the dark. Ben stands by- The demon goes through the cloud of gas- Ben fires- THE EXPLOSION IS INSTANTANEOUS. "ANNA" IS ENGULFED IN FLAMES. THE FIRE SPREADS THROUGH THE TUNNELS. Ben throws himself to the ground to avoid the flames. (CONTINUED) 101.129 CONTINUED: (3) 129 SUDDENLY, IN A DOMINO EFFECT, ONE EXPLOSION FOLLOWS THE OTHER. A BLAST OCCURS A BIT FURTHER DOWN THE TUNNEL, AND ANOTHER INSIDE THE WALLS. THE SUBTERRANEAN PASSAGEWAYS ARE ABOUT TO COLLAPSE- Cracks appear everywhere. The brick walls begin to fall apart. A part of the ceiling at the far end of the corridor caves in. Ben gets back on his feet and dashes for the stairs. Totally burnt, flesh charred, "Anna" is enraged by her prey's resistance. The blazing demon runs after Ben. Behind them, one after the other, sections of the walls collapse. Ben runs as fast as he can. "Anna" is coming closer to him, when suddenly - JUST BEHIND BEN, A SECTION OF THE GROUND FLOOR CAVES IN, BURYING HER UNDER A MASS OF RUBBLE. Ben narrowly escaped the collapse. He reaches the staircase and catches sight of the exit above when suddenly- THE ENTIRE FOUNDATION OF THE BUILDING COLLAPSES OVER HIM. Ben finds himself crushed along the floor and penetrates the mirroring water surface DISAPPEARING ON THE OTHER SIDE OF THE MIRROR. 129A INT. NIGHT - JERSEY HOUSE 129A All of her efforts are in vain. Amy is unable to bring back her son. Nonetheless, she continues with the same determination, refusing to accept reality. She finally breaks down, pleading with the sky above... 129B THE OTHER SIDE OF THE MIRROR 129B Lost and floating in this strange and unfamiliar place, Ben turns and sees Michael's body/soul which is also trapped in this parallel dimension, on the other side of the mirror. In the distance, he can see the surface leading to the hallway of the New Jersey house. Above it, Amy tries to resuscitate Michael. (CONTINUED) 102.129B CONTINUED: 129B Ben grabs his son and holds him tightly in his arms for a moment, then pushes him towards the surface- THE CHILD OPENS HIS EYES!- 130 INT. NIGHT -NEW JERSEY HOUSE 130 MICHAEL COMES AROUND, COUGHING OUT THE WATER FROM HIS LUNGS. Amy bursts into tears, sobbing with joy. She holds him tightly in her arms, with all her strength, with all her love. Holding Michael in her arms, Amy comes back for Daisy in the bedroom. She opens the closet door and finds her little girl inside. The child throws herself into her mother's arms- DAISY It is over, Mom? Amy throws a glance at her reflection in the mirror. Everything seems back to normal. AMY Yes sweetheart, it's over... Amy holds her two children tightly, savoring this moment of joy and relief. Through the window, we see the first light of dawn appearing on the horizon.131 INT. DAWN - MAYFLOWER 131 The sunbeams slice through the windowpanes of the glass dome above the entrance hall of the department store. The pigeons fly in and out... The burnt mannequins are still standing in the middle of the ruins. ON THE WALLS, ALL THAT REMAINS FROM THE MIRRORS IS THEIR 1920's GOLD FRAMES. The floor has completely subsided. It looks like there was just an earthquake under the building. In the middle of the pile of debris, something in the rubble begins to move- A HAND APPEARS. SOMEBODY SURFACES - It's Ben. He gasps for air. Wounded and covered in dust, it is a miracle that he has survived. (CONTINUED) 103.131 CONTINUED: 131 He struggles back to his feet and climbs over the blocks of concrete to regain the ground floor. Limping, he crosses the entrance hall. His discovery of the absence of mirrors on the walls brings a smile to his face- He has finally triumphed over the mirrors that he once believed to be indestructible...132 EXT. DAY - MAYFLOWER 132 Ben steps out of the department store, walks out of the closed off area, and reaches the street. Police cars, fire trucks, and ambulances with spinning lights have surrounded the fencing. Ben approaches the scene. He needs medical attention. He catches sight of Lorenzo, talking to some policemen. Ben stops dead in his tracks- THE NAME LORENZO, EMBROIDERED ON THE UNIFORM, IS WRITTEN BACKWARDS... Ben glances at the police vehicles and their license plates- How is it possible? EVERYTHING IS REVERSED. Ben steps back in panic. As he walks away from the scene we discover something else in the back of the ambulance- ANNA'S CHARRED CADAVER, THAT HAS BEEN DUG OUT OF THE RUBBLE. CUT TO: 133 EXT. DAY - TIME SQUARE 133 Ben walks up west 38th Street to Broadway and stops at the intersection of the streets, paralyzed with fear- The activity of Time Square seems normal for an early morning, cars driving by and the eternal hustle and bustle of the pedestrians, but ALL THE SIGNS, ALL THE BILLBOARDS ARE REVERSED. AND SO IS THE DIRECTION OF THE TRAFFIC FLOW... Ben turns around towards a glass building where a homeless person is sleeping- His eyes fill with horror- HE CAN SEE THE REFLECTION OF THE HOMELESS MAN BUT NOT HIS OWN.. (CONTINUED) 104.133 CONTINUED: 133 Ben presses his hand against the glass. The reflection of the world surrounding him is the right way around in the mirror but he remains invisible. He removes his hand from the mirror, leaving a clear and well- defined handprint on the reflective surface. Ben slowly comes to realize what is happening to him - IF HIS REFLECTION IS NOT THERE, IT MEANS THAT HE NO LONGER BELONGS TO THE WORLD OF THE LIVING. BEN DID NOT SURVIVE- HIS SOUL IS NOW A CAPTIVE ON THE OTHER SIDE OF THE MIRROR... CUT TO: 134 EXT. DAY - MAYFLOWER 134 Back in the ambulance, a paramedic comes to close the back door. The vehicle starts and leaves the Mayflower. 135 EXT. DAY - NEW-YORK - CONTINUITY 135 The ambulance turns on the avenue. 136 INT. DAY - AMBULANCE - MOVING 136 In the back of the ambulance, as the vehicle drives away, we discover that another corpse is laid out next to Anna's- IT'S BEN'S BODY, COVERED WITH DUST AND DRY BLOOD. Its fingers suddenly twitch... Was it the bumpy road? The dead fingers twitch again and- IN THE SHADOW, BEN'S CORPSE SLOWLY BEGINS TO STAND. It turns its head- BEN'S EYES ARE ROLLED UPWARD, NO LONGER HUMAN... EVIL. CUT TO : BLACK \ No newline at end of file diff --git a/unformated_scripts/Script_Mission Impossible II.txt b/unformated_scripts/Script_Mission Impossible II.txt new file mode 100644 index 0000000000000000000000000000000000000000..ec8060ee4034d7fe01dc94f95419c150d0a407a4 --- /dev/null +++ b/unformated_scripts/Script_Mission Impossible II.txt @@ -0,0 +1 @@ +MISSION IMPOSSIBLE 2 By Robert Towne Revised. 12/4/99 NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. FADE IN: A WORN SATCHEL (MOVING - DAY) is being carried by a world weary middle European wearing a black armband. VLADIMIR NEKHORVICH exits a gleaming building, pausing for a moment, under a motto clearly visible above his head, 'Where the future is now'. He checks the time. INSERT - WATCH set in Countdown Mode. It's at 19 hours forty-seven minutes and sixteen seconds and dropping, 19:37.15, :14, :13, :12 etc. O.S. children are singing: Ring a ring a rosy/a pocketful of posy/ a tissue a tissue/we all fall down. Nekhorvich looks to see children at play outside the adjacent Natural History Museum. They are moving in and around an odd freeform sculpture. POV - SCULPTURE AND CHILDREN a blur where the sculpture seems to be distorting the children, almost like mirrors in a fun house. NEKHORVICH wipes his eyes, a horn honks. He looks toward the sound. MOVING SHOT - SATCHEL (INT. AIRPORT SECURITY - DAY) on the belt that takes it thru X-Ray. On the other side a guard opens the satchel and pokes thru a few toilet articles, personal items, books, a battleship gray digital camera and - in a small plastic container marked 'S.G.' - a small, square shiny object, hi-tech and at odds with the other items. She pulls out an urn- shaped vessel. GUARD What's this, then? NEKHORVICH (handing her documents) The ashes of a colleague, I'm taking them to his family. If you wish to open it, please be careful. COMPUTERIZED SCREEN DISPLAY (INT. PLANE - MOVING - DAY) on the cabin wall displays a colorful map showing the flight point of departure in Sydney, continuously updating distance, direction and time to its ultimate destination, Atlanta, Georgia. CAPTAIN'S VOICE - folks, we're a little over two and a half hours from touchdown in Atlanta, but if you look out your windows on either side of the aircraft, we'll soon be crossing the southern section of the Rocky Mountains, a range which includes more than 50 peaks rising above 14,000 feet. The chain's loftiest point, Mount Elbert, at 14, 433 feet should be coming into view as we pass over central Colorado shortly.. NEKHORVICH (INT. CABIN - DAY) seems intent on the map, its changing times and distance. He checks his watch - the countdown has gone from 20 to three hours and 32 minutes as Nekhorvich is mesmerized by the descending seconds whipping by. ETHAN HUNT sits into shot on the vacant first class aisle seat beside Nekhorvich. ETHAN You keep staring at that watch as if your life depended on it, Doctor.. NEKHORVICH Well, yes. I suppose I am a bit anxious. ETHAN They're ready and waiting. You'll soon be with old friends. NEKHORVICH (meaning Ethan) I'm with an old friend now, Dmitri. ETHAN Sorry it couldn't be under happier circumstances. NEKHORVICH Yes, I'm sorry too.. 'You're sorry and I'm sorry..' (bemused laughter, then looks at Ethan) - you do know Gradski thought the world of you. Nekhorvich is overcome. Ethan puts a comforting hand on his shoulder: ETHAN He was quite a man. Did he know before the end you two had succeeded? NEKHORVICH Yes, he knew. Just.. ETHAN ..not in time to save him. NEKHORVICH No. After you've lived with Chimera for twenty hours, nothing can save you. Not even...Bellerophon. Nekhorvich pats the satchel. ETHAN You carry them together? Safely? With an almost impish grin and a wink: NEKHORVICH Yes, and you'll get us to a safe place with them, thank god!..left to my own devices, I'm an old fart too inept to read a railroad timetable!.. Good-natured laughter. Cut off by a flight steward who passes by, giving a sidelong silence in Ethan and Nekhorvich's direction. Oxygen masks suddenly deploy from the ceiling. Passengers are puzzled and alarmed. CAPTAIN'S VOICE You Captain again. We've experienced a slight but abrupt drop in cabin pressure.. A passenger struggling with his mask. As Nekhorvich fumbles with the strap on his mask he notes that the display screen shows their altitude is below 30,000 feet and dropping. He checks the countdown time on his watch again. Nekhorvich looks around him. The flight attendants are conspicuously absent and all the passengers who have on oxygen masks are passed out. INT - COCKPIT The flight crew now wearing their oxygen masks. CAPTAIN (into radio) Pan, pan, pan, Denver Center. This is Trans Pac Flight two-two-zero-seven, 747 heavy. We are not reading you. We're unable to maintain cabin pressurization. We have initiated a descent to one six thousand. The Co-pilot is working on the plane's altitude when his hands slip off the controls. His eyes flutter, then: CO-PILOT Captain, I don't..can't.. He passes out. The Captain, HUGH STAMP, turns to verify that the relief pilot is also unconscious at the controls. He then removes his oxygen mask, sets the auto pilot, inputting numbers to slow the plane and descend. As the craft titles downward... INT - GALLERY The flight attendants are pulling on jump suits. Stamp emerges from the cockpit. INT - CABIN Ethan returns. Nekhorvich beckons to him. Ethan sits. Grinning around, Nekhorvich conspiratorially: NEKHORVICH ..it seems we have a problem, Dmitri. ETHAN (in the same tone) You keep calling me Dmitri. You really shouldn't. Nekhorvich's eyes narrow. NEKHORVICH You're not Dmitri? With a lightning swift move Ethan breaks Nekhorvich's neck. ETHAN - no. He grabs the satchel. ETHAN (cont'd) (to Wallis) Wallis, hold onto it. Wallis slashes the satchel handle open, takes the satchel for Ambrose. He peels off the latex mask, revealing SEAN AMBROSE. ETHAN (cont'd) Ulrich, pull the - He tears off the vocal oscillator at his adam's apple, clears his throat, now as Ambrose: AMBROSE - pull the NO2 tank and dump it, it's potential evidence.. STAMP (the 'captain' into shot) All done, chief.. AMBROSE (what else) - right - (kidding) - don't go too far ahead of me now - STAMP Not possible.. Ulrich has rolled back the carpet over an access panel just beneath them that leads to the belly of the plane. Stamp pulls back the panel, hops into the compartment below which is four walls of electronic equipment. Stamp kneels and slides back the floor hatch. The wind howls, puffs of cloud zip by beneath them. As they descend into the belly: WALLIS Checkpoint Charlie plus 30, altitude minus two-zero-thousand. Airspeed one-seven- niner knots.. AMBROSE It's that time. Go. They don goggles and, with Ambrose in the lead, the team leaps, one after another from the hatch, sailing off into the sky. INT - COCKPIT (DAY) An automated voice repeats in an ominous monotone: VOICE Terrain, terrain. Pull up, pull up. The co-pilot stirs. He blearily rouses himself just in time to see: A mountain rushing toward him. As mountain meets airplane, the frame is filled with fire, but when camera pulls back from the fireball, it is in fact no more than a match head filling frame, which ignited, lights a fuse.. The MI theme music kicks in, the main credits roll to: EXT - FACE OF MOUNTAIN (DAY) For a moment it might be thought part of the same range when the plane crashed but when Ethan Hunt climbs into frame the angle widen and titles down, revealing more of where he's come from than where he's going. Aside from the fact that he's in the midst of free-climbing what is easily a sheer rock face of at least a thousand feet, there's the sunny picture-postcard view of a lovely valley and pellucid lake thousands of feet below. Ethan climbs out of shot. WIDE UP ANGLE (DAY) revealing the summit, a light breeze hitting the lichen and whatever growth has a slender purchase on the rocky mountainside, fluffy clouds overhead. Ethan into shot. Despite the spectacularly precarious handholds he's using to hang onto the mountain and his life, he appears relaxed, engaged - for him - in the equivalent of busman's holiday. It's leisurely danger for Ethan; one might almost expect to hear Julie Andrews trilling 'Climb Every Mountain' on the soundtrack. Then a rock he's been grasping crumbles and Ethan drops about six inches before he grabs onto the mountain again. As he hangs by five fingers thousands of feet above the earth he doesn't seem terribly concerned until he spots a helicopter. It's materialized behind the summit and passes surprisingly close just overhead, casting its shadow downward over Ethan. Instinctively, Ethan flattens himself against the rock surface, as if the copter poses some sort of threat to him. But when its rotors whir it into the distance Ethan relaxes and resumes his climb. A HAIRY OVERHANG (EXT. MOUNTAIN - DAY) near the summit Ethan departing from the vertical and is now traversing the mountain with more of his back than his feet exposed to the earth far below. He's clinging to the mountain almost like a fly walking on the ceiling. When he reaches for a handhold that will restore him to the vertical, he dislodges a lizard - and manages to catch it before it plunges thousand of feet to oblivion. ETHAN Whoaa.. He pockets the lizard, climbs the overhang. REVERSE ANGLE - SUMMIT with Ethan's hand, then Ethan coming into view and making the summit. He reaches into his pocket and releases the lizard who favors Ethan with a stern reptilian stare by way of gratitude. To lizard: ETHAN You're welcome. The lizard scampers off, then a low beeping sound at his back attracts his attention. He turns to see the source of the beeping, a small package in day-glo colors with a day-glo streamer. Ethan looks to the sky where the helicopter is now ominously circling back. Ethan lifts the day-glo package and waves it in the direction of the copter. With a distinct lack of enthusiasm. The helicopter once again turns, banks and disappears. Ethan has opened the beeping package and finds a pair of sunglasses. ETHAN'S POV SUNGLASSES First, a retinal scan. ELECTRONIC VOICE Identity confirmed. SWANBECK Good morning, Mr. Hunt. Swanbeck's face flashes onscreen. Over his introduction of Nyah is a series of satellite photographs whose subject is so elusive she never seems to give the camera a clean shot. SWANBECK'S VOICE Your mission, should you choose to accept it, requires you to recover a stolen item, designated Chimera. Essential to the mission is the recruitment of a civilian -- a Miss Nyah Nordoff-Hall. She is a highly capable professional thief currently active in Spain. A series of Nyah's 'accomplishments', i.e., warrants, complaints, Interpol summaries of her various criminal activities, as well as glimpses of the elusive Nyah circulating about Seville. SWANBECK'S VOICE (cont'd) Her dossier's available on I-COM 3. You have 48 hours to recruit Ms. Nordoff-Hall and meet me in Seville to receive further details. Should you or any member of your IM force be caught or killed, the Secretary will disavow all knowledge of your actions. Swanbeck's face reappears on screen: SWANBECK'S VOICE (cont'd) And Mr. Hunt - the next time you go on vacation, please be good enough to let us know where you're going. This message will self-destruct in five seconds. Ethan removes the glasses, then tosses them into space. ETHAN If I let you know where I'm going - The glasses explode in a puff of smoke. ETHAN (cont'd) - won't be on holiday. Ethan, with a fair amount of disgust, gets to his feet and jumps off the mountain, in, what for a moment looks like a suicidal snit. Then, somewhere hundreds of feet below camera, there's a little puff of color as the tulip-shaped chute pops out of his back-pack. Begin the sound of a castanets and the animal-like cries of flamenco dancers. DISSOLVE TO: EXT - ANDALUSIAN VILLA (EVE) Bustling in the activity of a large private party, with arriving guests and attentive valets, as a young woman, her face unseen, exits her car and enters the villa. A FLASH OF SKIRT AND LACE (INT-EXT. VILLA - FLAMENCO DANCERS - EVE) where to the cries of dancers add graceful feminine hands wielding the castanets. The dancers perform on a raised platform and NYAH NORDOFF-HALL'S face can be glimpsed thru the swirling skirts and pounding heels, looking thru, not at them. REVERSE ANGLE - ETHAN looking back in a similar way to Nyah; surreal lighting and the relentless chorus of pounding heels seem to isolate them in the crowed party. Nyah continues to look at Ethan over the shoulder over her wanna-be escort, a very attentive gentleman. Nyah offers up her empty glass, and the gentleman eagerly takes it to the bar for a refill, leaving Nyah and Ethan looking at one another. Ethan approaches her. ETHAN Do you know me? NYAH No. Should I? ETHAN No. You just looked as if you did. NYAH No. Just as if I'd like to. ETHAN Oh. Well. I think that can be arranged. NYAH Not tonight. Bad timing. Sorry - ETHAN There's not enough time in the world for any of it to be bad. This stops her. Nyah moves closer to him, until they're nose to nose. Whispered but breezy: NYAH Look, it's either you or the rent and I don't mind telling you it's not an easy choice. ETHAN What if I pay the rent? NYAH Uh-huh. ETHAN Uh-huh? Glancing at the gentleman making his way back with her drink then: NYAH Go find the wealthy lady you came with and next time we meet - I'll pay your rent. (kissing him, sweetly) Now bugger off. And purposeful creature that she is, she takes her frustrated desire upstairs, timing her footsteps so as to use the sound of the dancer's steps to cover her own. Once upstairs, a security guard near the master bedroom can be seen eagerly following her down the hall, both moving past a pair of windows, visible to Ethan. In a few moments, Nyah can be seen past the windows in the opposite direction, without the guard following. In another moment or two, a very puzzled looking security guard can be glimpsed in the first window, looking up and down the hall, clearly having lost sight of Nyah. Ethan smiles, moves out of shot. INT - MASTER BEDROOM (EVE) Nyah has opened the door and moves swiftly thru the bedroom. INT - BATH (EVE) A decadent looking affair with suggestive lighting, mirrored walls. The tub has a tray across it which includes a wine cooler chilling a bottle of Crystal and a mound of caviar on a bed of ice. Nyah can't resist. She spoons a dollop of the caviar and downs it before she moves along the frescoed walls of the tub to its back. There, she pulls out her compact and removes the puff, revealing an electronic density meter. She turns it on and holds it at the rear of the tub. Its sweep gauge jumps sharply from green thru yellow and into red. NYAH (her fondest hopes confirmed) Mmmm. She now steps into the tub and focuses on the grout between the tiles just above the sop dish. Her knee eyes search for any cracks in the grout and she spots one. Using a tweezers she pulls the silver of the grout out from between the tiles, revealing something that looks like a credit card wedged between the tiles. She slips the card into a narrow opening under the sop dish. There's the sound of hydraulics and two arms move the marble casing out from the rear of the tub. Nyah breathes a sigh of relief and anticipation: kneeling in the tub she finds herself looking down at an open safe, revealing some half-dozen locked compartments. As she studies them: ETHAN Decisions, decisions. Nyah looks up to see Ethan's reflection in the bathroom mirrors, looking down at her kneeling in the tub. NYAH What are you doing here? ETHAN Think you're the only one who can pick a lock? NYAH (not altogether pleased) I see. You're not just another pretty face.. Before Ethan can answer, a voice can be heard coming from the bedroom warbling Granada in Spanish, and with considerable gusto. NYAH (cont'd) Oh god. A bloody baritone. Nyah catches a reflection behind Ethan's in the bathroom mirror. She reaches up and grabs Ethan by the lapel, yanking him into the tub, pulling him down on top of her. Once again they're nose to nose. ETHAN I take it you prefer tenors. She glances up at the mirror. In it is the reflection of SENOR AUGUSTO DE L'ARENA, a big amiable Castilian in his fifties who's changing a white dinner jacket that's had wine split on it. He breaks into a heavily accented version of 'Now or Never', and disappears from the dressing room mirror. NYAH Would you mind if I'm on top? ETHAN Oh, either way works for me. With a jaundiced look she rolls over on top of Ethan and begins working on one of the safe compartments, using a tiny torque wrench from a tube of lipstick and a carbide pick from a mascara brush. She glances down and is rather disconcerted. Continues working with the pick and wrench. ETHAN'S VOICE You're never gonna find it there. NYAH (she jumps, dropping the torque wrench) Damn it! Find what? ETHAN His ex-wife's Bulgari necklace that goes up for auction Tuesday. Looking down to Ethan, a touch of indignation: LOOKING UP more or less, hands locked behind his neck as he rests against the raked back of the tub, his eyes and nose inches from Nyah's lower pelvic region as she straddles him. Not exactly in the mood to move: She stiffens - he knows too damn much. NYAH - right..where is it? ETHAN Far right. She immediately switches her efforts from top left to the bottom right compartment. She's utterly nonplussed: NYAH Where's the bloody - ETHAN (plucking it off his chest, offering it up like a mechanic under the chassis) - torque wrench. NYAH - this is very disconerting.. ETHAN Hey, you put me here. I just do what I'm told. NYAH - right.. She unstraddles him and, with a few deft moves with the torque wrench and carbide pick - and it's open. She withdraws a velvet pouch and opens the pouch. Out spills the spectacular necklace. NYAH (cont'd) Lovely. (starting to close the safe) Who are you and what's it going to cost me? ETHAN (having sat up) I wouldn't do that. NYAH Do what? The alarm goes off. ETHAN That. The bathroom is suddenly filled with security guards, gun drawn Senor de l'Arena, looking highly upset, pops in. SENOR DE L'ARENA Oh, Senor Keyes, thank God it is you! (in Spanish to security guards, annoyed) It's Senor Keyes, the security engineer. ETHAN Well, Senor de l'Arena the goods news is that the heat sensors were activated. But Miss Nordoff-Hall, my associate - Senor de l'Arena kisses Nyah's hand. SENOR DE L'ARENA Mucho gusto, senorita. ETHAN - did feel that she had rather too long to work on the safe before they triggered the alarm, isn't that right Miss Hall? NYAH Oh yes. Absolutely. Much too long I should yes. Nyah's initial shock and panic slowly gives way to a wary, intensified curiosity - about Ethan. ETHAN Under the circumstances I think we would recommend re-setting the senors to respond to a lighter load. How do you feel about forty kilos, Miss Hall? NYAH Indeed. ETHAN Well, Senor de l'Arena, there's no reason to disrupt your party any longer. we have some further concerns about the disposition of your security guards, which you'll receive in our written report by fax in the morning, hard copy to follow. Shall we? He offers Nyah his arm. They start out. Ethan immediately stops. ETHAN (cont'd) Miss Hall. Haven't you forgotten something? Nyah looking genuinely puzzled. NYAH The necklace? Nyah slowly reaches into her dress and withdraws the glittering string of diamonds and rubies from her bust. SENOR DE L'ARENA (a great kidder) What are you trying to do, senorita? Rob me. They all laugh, and Ethan's got her out the door. EXT - ANDALUSIAN VILLA (LATE NIGHT - PRE DAWN) The stars dimming, the sky a gun metal blue. Ethan and Nyah emerge from the villa, walking slowly. Nyah's clearly preoccupied. NYAH I'm missing something here, aside from a 500,000 pound necklace. Even after I botched the job, I could've walked out of there with the bloody thing. ETHAN At least you walked. NYAH If you weren't going to let me get away with it, why did you let me go thru with it? ETHAN Wanted to see how good you were. I'm hoping we might work together. NYAH May I say something, no offence? You look like a gigolo, you sound like a thief, you act like a cop - what the bloody hell do you have in mind? ETHAN Working under adverse conditions. Highly adverse conditions. NYAH Sounds smashing. I'm in. Muchacho, mi carro, por favor! Now be serious. You couldn't possibly want me off tonight's performance.. ETHAN You didn't do that badly. Her car arrives. NYAH (as she moves to her car) You're apologizing for me? Quite the gentleman.. ETHAN (opening the car door) Not really. I triggered the alarm.. One foot on the floorboard she freezes, back to Ethan. ETHAN Hey, the Bulgari job last week was flawless. And I've always been partial to pale yellows. She slides behind the wheel. NYAH (as he leads on the car) I don't do laundry, or put up with cheeky bastards who set me up on their territory so they can poach on mine. She takes off, spewing bits of gravel and dust in her wake. Ethan smiles and shakes his head. ON THE ROAD - NYAH (MOVING) around curves, hair flying, she's free. Her car phone rings. Perplexed, she lets it ring once or twice picks it up: NYAH (tentatively) Hola.. ETHAN Hi. Would you mind slowing down? NYAH Where did you get this number? I don't even have it! ETHAN' VOICE Would you like it? She hits the End button and disconnects. The phone immediately rings again. She refuses to pick up. Ethan pulls alongside hers. She looks at him. They speak through the open cars. ETHAN Pull over and listen to me, will you? Just listen.. NYAH Listen to what? ETHAN I need your help and I thin you can use mine. NYAH Your help? What are you talking about? ETHAN Scotland Yard, Interpol, every Dutch authority. I can make them go away. NYAH Oh bloody hell. You're a spy. She floors it and shoots ahead of Ethan, nicking his car as she takes off. ETHAN (to himself) I deserved that. SERIES OF DRIVING SHOTS - NYAH AND ETHAN Ethan rings her again. And keeps ringing. Her face becomes grim, her flight progressively more desperate and with Ethan's pursuit progressively more determined. They are reaching the limits of adhesion around blind curves. MORE SHOTS DRIVING (DAWN) The sky's battleship gray; Ethan pursues Nyah around hairpin turns high above the Costa del Sol; they rip thru patches of marine fog drifting on the road, obscuring it. Both are appalled by the other's willingness to escalate risk in this game of flight and pursuit until Ethan tears thru a fogbank and sees on his GPS what Nyah can't see thru the fog - less than four hundred meters ahead is a turn she can't possibly negotiate and if she can't she'll plunge off the road hundreds of feet to rock and sea below. Ringing her number again: ETHAN (half to himself) Slow down, slow down. She turns up a mound and loses control. She spins out and heads toward the edge of the cliff. NYAH (realizing she's in trouble) Uh-oh. Ethan cuts her off and sends them both into a 540 degree spin. Her car stops just at the cliff's edge. Furious she wrenches open the car door and gets out. ETHAN No! Suddenly there's no Nyah. Ethan leaps over to Nyah's car and sees Nyah dangling over the ocean and rocks hundreds of feet below, holding the door handle. NYAH Oh..oh.. Taking a firm grip on her wrist. ETHAN Don't look down. Just..look at me. That's it..that's it.. He pulls Nyah up to the car, across the seat and half into his arms. For a long moment it looks like she's in shock. Then: NYAH What's you name? ETHAN Ethan Hunt. NYAH Well, Ethan Hunt, what is it you want to talk to me about? Thru the veil of morning fog, Nyah looks at Ethan. Her dark eyes suggest wit, and willingness, and longing. ETHAN ...more than I thought.. They scarcely to move to bring their lips together: NYAH Awfully short notice.. ETHAN Care to wait a decent interval? NYAH Who wants to be decent?.. DISSOLVE: CLOSE - ETHAN (INT-EXT. SAFEHOUSE - SEVILLE - DAY-EVE) sleeping. His eyes open slowly. He comes to full consciousness, his head still on the pillow. Something approaching serious anxiety informs his features. He lifts his head and looks at his left, angle widening. Nyah lies on her side facing him, sleeping serenely. Anxiety on the order of oh-God-this-isn't- approved-recruiting-technique, confirmed. He lets his head flop back on the pillow. Then he turns so he and Nyah are profile to- profile. As he looks at her sleeping his anxiety fades, replaced by curiosity and even wonder. He lifts his hand and just brushes her cheek. Her eyes open. She knows where she is. ETHAN So what've you got against spooks? Nyah smiles. NYAH When they've got your recruiting technique? Not a thing. ETHAN Oh. Well..this isn't exactly by the book. NYAH They've got a book for this? ETHAN They've got a book for everything. NYAH The only other spook I knew was a liar. Charming but absolutely incapable of telling the truth. He'd lie about his favorite color. But then I reckon it's an occupational hazard. All spies really do is conceal the truth and tell lies. ETHAN Not revealing information doesn't necessarily make someone a liar. NYAH That's not the point. In the end what spies rely on is the one thing they think they know that you don't. ETHAN Which is? NYAH That they're lying. Ethan laughs. NYAH (cont'd) ..once they know that they can get very very..crosee.. Nyah shoulder and moves into Ethan. ETHAN So where did I got right? NYAH You're not a liar. Or you're an awfully good one.. (then) ..this thing these blokes pinched.. ETHAN I don't know that they 'pinched' it. Don't even know that they're blokes. Nyah stops to think about this. NYAH Well, then, what I am I doing here? I assume I'm meant to be some sort of thief-to catch-a-thief.. ETHAN So do I. Sort of. Nyah looks at Ethan, a little worried. NYAH Spoken like a spook..you ever afraid? ETHAN Of what? Nyah laughs. NYAH Ask a question, you get an answer!.. ETHAN Damn, you're beautiful. NYAH That's because I'm on my back. Quick as a cat Ethan flips Nyah over so she's looking down at him. ETHAN I don't think so. She sinks into his arms. EXT-INT - STREET - SEVILLE (VALENCIA FESTIVAL) (EVE) Ethan's step is unusually jaunty as he bounces along, making his way thru the festive and jostling crowds preparing for the Crema portion of the Fallas de Valencia. On this night great papier mache effigies, some serious, some comic, are placed all thru the city and torched in great bonfires. Outside the bar Ethan's looking for there's a street vendor, hawking Fallas mementos and flowers. He starts past the vendor, and it hits him - he's going to buy some flowers. He chooses a colorful spring bouquet so fresh the dew can be seen on the petals. Ethan pays the vendor, starts into the bar, and thinks better of walking into Swanbeck with the bouquet. Turns back to the vendor. ETHAN Are you gonna be here a while? VENDOR Si, senor. ETHAN I'll pick'em up on my way out, okay? Ethan enter the bar and goes upstairs to the second floor where he passes security at a pair of double doors. INT - IMF BRIEFING ROOM Swanbeck stands looking out the window. Noisy crowds from the festival provides a constant walla, and during the sequence, the first effigies are lit, and smoke and flame provide a vivid background thru briefing room's window. SWANBECK Fetival's a pain in the ass. Honoring saint by setting'em on fire. (turning to Ethan) Sit down, sit down. Ethan sits. SWANBECK (cont'd) Let's you know what they think of saints, doesn't it? Damn near set me on fire on my way over here. As if I haven't been burned enough today. A moment where it's impossible to tell which way the wind is going to blow between these two. Then civilly: SWANBECK (cont'd) Sorry I barged in on your vacation. ETHAN Sorry I didn't let you know where I was. SWANBECK Don't be. Wouldn't be on vacation if you did. ETHAN Well. You're sorry and I'm sorry. SWANBECK Why did you phrase it like that? ETHAN Like what? SWANBECK 'You're sorry and I'm sorry.' ETHAN You gotta be kidding. Swanbeck turns to his computer and begins play on a DVD, and projected onto a computer screen staring back at Ethan is: VLADIMIR NEKHORVICH NEKHORVICH (with exaggerate brio) Well, Dmitri! How are you?.. Nekhorvich pauses as if waiting for reply. Ethan smiles. ETHAN ..I'm fine..and you? NEKHORVICH I'm fine.. Ethan laughs. ETHAN I'm fine and you're fine.. With Ethan simultaneously whispering: NEKHORVICH I'm fine too.. I'm fine and you're fine - do you remember, dear fried, how you got Sergei and I to repeat those lines from Dr. Strangelove and we gave you the name of that silly Soviet Premier because we didn't know your name?..In those days, you not only saved our lives, you saved our sanity. 'Now, then Dmitri - we have this little problem': Every search for a hero must begin with something that every hero requires; a villain. Therefore, in a search for our hero, Bellerophon, we created a monster Chimera. I beg you, Dmitri, come to Sydney and accompany me to Atlanta immediately. However we travel, I must arrive at me destination, within 20 hours of departure. Forgive this fanciful explanation, but for now prudence dictates that I communicate nothing but the gravest urgency. I fear I can entrust this to no one but you, Dmitri. as we say, 'I'm sorry and you're sorry'.. Swanbeck stops the DVD. SWANBECK Let me ask you something. You have any idea what the hell he's talking about? Ethan smiles. ETHAN An idea, yeah. SWANBECK Like? ETHAN Like it's a good idea to pick him up in a hurry. And a bad idea to fly him on a commercial carrier. So let's get on with it. He's still in Sydney? SWANBECK Dr. Vladimir Nekhorvich is dead. So is his colleague, Gradski, but that happened earlier. We had Nekhorvich on a flight from Sydney that crashed in the Rockies.. Ethan sits back, heavily. SWANBECK (cont'd) - Hunt, are you listening?.. Slowly looking up: ETHAN If he didn't want to go anywhere without me, how did you get him on the flight? SWANBECK You were there. Swanbeck clears his throat. He turns back to the computer and punches in: MISSION DOUBLE IMAGE. File open to computer scans of AMBROSE, SEAN, and HUNT, ETHAN, the computer scanning and comparing their features, millimeter by millimeter, stat by stat, as the computer then imposes, with the help of the physiognomy scan, Ethan's face on Ambrose: hence, mission double image. ETHAN slowly looks up at Swanbeck. SWANBECK When I couldn't find you, I had to replace you. Sean Ambrose was the obvious choice. He double you, what? Two, three times? ETHAN Twice. SWANBECK What did you think of him? ETHAN You know we had reservations about each other. Isn't it a little late in the day to be asking me that? SWANBECK Not necessarily. Swanbeck shows Ethan a photo of airline Captain. SWANBECK Airline record list Captain Harold Macintosh as the pilot for Flt 2207. as far as the media and all governmental agencies are concerned, Captain Macintosh died on the flight, but in fact he missed it. He did, however make the next flight - in cargo, stuffed into a rather small suitcase considering his size. Another photo of an open suitcase, the body in it partially obscured by a ring of police and customs officers. SWANBECK (cont'd) Someone on that flight planned an operation designed to down the plane and make it look like an accident. Someone skillful enough to bring the whole thing off without a hitch but - they don't always get your luggage on the plane, even when you fly first class. ETHAN So there's one thing we know Ambrose doesn't. SWANBECK Then you do think it was Ambrose. Ethan barely nods. SWANBECK (cont'd) And you're not surprised. Ethan gives Swanbeck a look. ETHAN Whatever Nekhorvich was carrying Sean wanted and he wanted to conceal the fact that he took it. SWANBECK Enough to kill Nekhorvich and two hundred innocent passengers? Ethan smiles. ETHAN Sean feels he hasn't done the job unless he leaves a lot of hats on the ground. SWANBECK The question is why? What was this Chimera Nekhorvich was carrying? Ethan rises and moves to the window. ETHAN Right now only Ambrose knows that. SWANBECK In any case, you've got to recover Chimera and bring it to us. ETHAN In order to do that, I've got to figure out how he plans to make money with it. SWANBECK - right. In fact since the plane went down our banking sources have confirmed a marked increase in the stock pilling of cash in terrorists accounts. ETHAN 'Terrorists?' SWANBECK Well you know Nekhorvich's history. You're the one who got him out of the Soviet Union was it still in bio- weapon business. ETHAN If that's what you're thinking Ambrose would have set up a bidding situation with any number of buyers before he got on the plane. Locating him in time to stop something like that - SWANBECK - is where Miss Hall comes in. ETHAN (blindsided) Excuse me? SWANBECK Miss Hall and Ambrose had a relationship which he took very seriously. She walked away and he's wanting her back ever since. We believe she's our surest and quickest way of location him. ETHAN (acidly) And then what? SWANBECK Then makes sure she continues to see him. Gets him confide in her and report to you. ETHAN You made it sound as if I was recruiting her for her skills as a thief. SWANBECK Well, then I mislead you. Or you made the wrong assumption. Either way we're asking her to resume a prior relationship, not do anything she hasn't already done. ETHAN She's got no training for this kind of thing. SWANBECK Go to bed with a man and lie to him? She's a woman. She's got all the training she needs. Ethan's anger flashes but does his best to contain it. ETHAN I don't think I can get her to do it. SWANBECK You mean it'll be difficult. ETHAN Very. SWANBECK Well it's not mission difficult, Hunt. It's mission impossible. Difficult should be a walk in the park for you. If you can think of a quicker way to get to Ambrose, you're welcome to try. Oh, by the way, you might want to take a look at these..if you have any further qualms about getting her to do the job. He pulls out a little Minolta digital camera (identical to the one in Nekhorvich's bag at airport security). Swanbeck sets it on the table. Ethan picks it up the tiny camera and puts it to his eye. EXT - BAR (NIGHT) A grim Ethan, starring fixedly ahead of him emerges to an ever more lively crowd. as he does: STREET VENDOR Senor, senor! Your flowers. The vendor holds up the spring bouquet. Ethan seems genuinely surprised by them. ETHAN Yes. They're very nice.. And he's lost in the crowd, leaving a very puzzled vendor holding the bouquet. STILL OF CRASH SITE IN ROCKIES (THRU MINOLTA STILL CAMERA) One after the other flashing by. They are more evocative than specific in their suggestion of an abrupt, fiery, ending, where the lives of hundred are literally and figuratively torn apart and strewn over a desolate landscape. NYAH carefully places the little Minolta on a glass-topped coffee table. She's beautifully pulled together, the safehouse has the lights low, flamenco music playing, and when she walks out onto the balcony Ethan sees the candlelit table and a bottle of champagne chilling. There's a light breeze the fire from the burning effigies throwing smoke and flame all over the city. NYAH What's the population of Seville any idea? ETHAN Five, six-hundred thousand. NYAH There's nearly 2 million in London. ETHAN And six billion in the world. NYAH That's lot of people out there..how many of them, I wonder, are capable of something like that? ETHAN Sean Ambrose, for one. A long shocked moment. Nyah laughs. NYAH Right... INT - SAFEHOUSE (EVE - LATER) The pounding beat of the flamenco music seems to fill the room Nyah's back to Ethan: NYAH (grimly amused) Not that it matter much but..I seem to recall you staying something like, 'I was hoping we could work together.' ETHAN This wasn't what I had in mind, Nyah. NYAH But it is what you'd like me to do. so tell me to do it.. She approaches Ethan. They're inches apart. NYAH (cont'd) Come on, out with it. Tell me to go and insinuate myself back into Sean's life. ETHAN Go and insinuate yourself back into Sean's life. NYAH I'd like a little more conviction.. ETHAN So would I. But it's not mine to give. NYAH (archness there) You've either got it or you don't. Let your conscience be your guide? ETHAN Something like that. With a smile and a wink. NYAH But I don't have a conscience. I'm a bloody thief. ETHAN You can be a thief and have a conscience. NYAH No. You can be a thief and have a conscience: Not me. Why did you have to tell me about this! (pouring herself a drink) What do I have to do to get away from this guy? When you're with him, he messes about with your head every waking moment..even now I'll be at some out-of- the-way-place, a tin of caviar and a bottle of Crystal shows up at the table, with two glass, God knows how he finds out at any given moment where I am in the world but he does. And it looks like he's done it again. You know his definition of a true paranoid? ETHAN I don't. NYAH Someone in possession of all the facts. (she turns away, pauses) Are you telling me I have to do this? ETHAN Generally, I don't favor coercing someone. Not when there's a chance my life could end up in their hands. NYAH And that's the only reason? ETHAN Can you think of a better one? NYAH Not me. I was just hoping you might..or that..somehow in the course of business this got personal as well as physical. ETHAN Look, would it make you feel better if I didn't want you to do this? NYAH Much. ETHAN Then feel better!.. Long moment while she looks at him. ETHAN (cont'd) Well. That made all the difference in the world, didn't it? Ethan walks out onto the balcony. She looks at his back. NYAH Sean will never be anything but suspicious if he picks up some sort of 'yoo-hoo-I'm- not-nad' message. Not after the way we broke up. ETHAN What wouldn't make him suspicious? NYAH Probably that I needed him in some urgent way..destitute - in serious trouble..the kind I couldn't possible sort out myself.. Ethan's been smiling slightly. ETHAN Serious trouble, Nyah, is something I can always arrange.. NYAH IN A SPANISH JAIL standing for front and side mug shot. O.S. sound of teletype continues. SUPERIMPOSE: Ethan holding up something the size of a dime: ETHAN This little chip sends a coded signal that can be picked up only by our computer. On the screen of the GPS computer, a little yellow blip appears pulsating on the screen. ETHAN'S VOICE When it's in your ankle we can track you within three feet of anywhere in the world. OVER ETHAN AND ONTO COMPUTER SCREEN He types a small Interpol bulletin stating that Nyah Nordoff Hall, apprehended March 13 in Seville, is awaiting extradition while the authorities in London, Paris, and Amsterdam squabble over where she's going to be tried first, for the various thefts and burglaries she's committed in the three cities. COMPUTER SCREEN (AMBROSE TENT ANNEX - DAY) Ambrose picking up on a version of the Interpol bulletin Ethan's put out. He leans over the screen for a moment, then moves to the window, and stares out thoughtful at the bay, almost as if he were watching... EXT - NYAH IN JAIL COURTYARD From a beautiful blue sky, pan down to the courtyard of the jail where Nyah is allowed out for an airing, seemingly alone but being watched by: ETHAN AND COMPUTER SCREEN His attention fixed on the screen, Ethan stares at satellite shot of Nyah in the jail courtyard. INT - PRISON - NYAH being allowed a phone call, a prison guard visible b.g. Cross cut with Ethan. ETHAN Look, I can't run your arrest in CNN, but I guarantee he's monitoring every law enforcement agency in the world, for what they might be saying about him, if nothing else - he's got the ability and, we assume, the desire to get you out of there. NYAH This doesn't seem to be accomplishing much. ETHAN Well, I mean it's not a total loss. It is keeping a very capable thief off the street.. NYAH Very funny..maybe he has heard and doesn't want to know. Maybe he's lost interest. Her guard, b.g. is handed a note. GUARD (to Nyah) Your lawyer to see you. NYAH What lawyer? ETHAN AND COMPUTER SCREEN ETHAN Well, here we go. SECTOR: AUSTRALIA, moving into NEW SOUTH WALES, and then to: Sydney. Here Ethan pulls up names, photos and profiles of potential candidates. They scroll past, one face morphing into another. Ethan punches in on WILLIAM A. BAIRD. EXPERTISE: Qualified in virtually every mode of transport, land, sea, air. ORDINANCES: Small arms and automatic weapons authority, edged and impact weapons. PROCUREMENT: Resourceful. EXPLOSIVES: Precision detonation, diffusion. Ethan punches: Request immediate availability. EXT - GOVERNMENT BUILDING - SEVILLE (DAY) Nyah emerges from the entrance to the jail. ETHAN Stop and look for something in you purse..kneel down.. She does. They're effectively blocked from the street. NYAH Limo's waiting. Ethan hands her a key chain with what appear to be a car-key. ETHAN - Ambrose will have counter-surveillance second to no one's. When and if he contacts you, push this button before you actually end up under his roof it'll scramble your transmission to us. She takes the key chain. Her hands are shaking. NYAH When will you be there? ETHAN Before you are. NYAH How can you possibly? I've got to get right on the plane. I'm leaving now. ETHAN You don't trust me. NYAH Oh, I do. But as we know I'm a very poor judge of character. ETHAN He's got you on Qantas flight 2735. It's going to be delayed. NYAH Yes? ETHAN You'll be fine. I'm going to lose you. NYAH Ethan, you take care of yourself, I'll take care of myself because if push comes to shove, I'm gonna bail - and without giving two week notice. ETHAN Well, forewarned is forearmed. And while we're at it, be especially sensitive to any sudden change in Ambrose's plans, especially any involving you.. They rise. A quick squeeze of her hand and he's gone. A look of something like longing replaces the toughness as she gazes after him, then starts across the street toward the limo and driver. MI music theme kicks in and continues over: POV HELICOPTER (MOVING - SYDNEY - DAY) over the Harbor Bridge, sails dotting the bay like confetti. EXT - FARM (DAY) pans of sheep are bleating and looking for sort of cover in response to the sound of a helicopter touching down. EXT - COPTER (DAY) Billy and Luther emerge, Luther with computer looking acutely uncomfortable in a wrinkled suit. ETHAN'S VOICE Welcome to Australia, mate. They look up to a smiling Ethan who points to the ground beneath Luther's feet. Luther looks down to see that he is standing in a pile of sheep-shit. LUTHER Thanks - mate. Both men laugh and all three move to: INT - FARMHOUSE (DAY) Luther and Billy with Ethan setting up their operation. There's a blip on one of the screens. LUTHER It's the transponder. ETHAN Put in the coordinates and let's get a visual. The visuals aren't coming up. LUTHER The satellite doesn't work as fast as I do. BILLY Yeah, I've heard about you, Luther, and I just want to tell you it's an honor and a pleasure to be working with you blokes, whoaa! That's some transponder! As Billy speaks, the visual come on line and Nyah has become visible. LUTHER (a jaundiced eye, to Ethan) It certainly is. How did we get so lucky? Ethan pointedly ignore the question. POV - MOVING (PALM BEACH - DAY) rounding the tip of the bay's crescent, revealing the beach and dock at Ambrose's palm-lined residence. NYAH The speedboat's engine's are cut. Nyah looks momentarily stricken. POV NYAH (MOVING) a lone slender figure silhouetted at the end of the dock, still as the piling besides which it stands. But the features remain obscured by the sun at his back. ETHAN leans forward as the slender figure grows larger, BILLY (to Ethan) Is it him, then? POV - MOVING The tide is too low for the boat to dock, making it necessary for he boat to approach the shore. The slender figure moves off the end of the dock and onto the beach. THE CIGARETTE idles into shadow water but the props start chewing into the sand - the boatman grumbles he can't get any closer. The slender figure has moved to the shoreline and the angle of the light changes - Ambrose is waiting. Nyah hesitates only a flicker of an instant, slips over the side into thigh-high water without taking her eyes off Ambrose. Ambrose strides right on into the bay. as they are just an arm's length apart: NYAH takes a deep breath, presses the button to scramble the transponder. WITH ETHAN (INT. SHEEPFARM SAFEHOUSE) The picture abruptly goes dead. BILLY Damn. Just when it was about to get interesting. ETHAN It's okay. She scrambled the transmission. Luther, continue feeding the GPS her position. Luther punches in. The signal - and the global coordinates are given. They wait. INT - SPACE The satellite positions itself. WITH THE THREE ETHAN Can't we speed this up. Luther shoots him a disgusted look. LUTHER With what? This is the only computer that'll do this. THE SIGNALS AND PHOTOS start to bounce back, growing larger and larger on the screen, until: Nyah can be seen, water up to her thighs, lingering in Ambrose's arms with each blow-up, and linger. And lingering. BILLY - right. Now there's a bloke who knows how to deliver a proper welcome. Don't get me wrong, mate. You were quite hospitable. Is it him, then? Ethan's look suggests he's worried about lapse in recruiting judgment. LUTHER It is, Billy. BILLY Then we got'em! ETHAN We don't know what we've got because we don't know what he's got, where he's got it or what he's doing in Sydney with it. Ethan strides away from the screen, the edge in his voice and the move not altogether lost on either Luther or Billy. INT - THE BAY (EXT. PALM BEACH - DAY) Perfectly poised, still loosely in his arms, Nyah returns Ambrose's penetrating gaze with a pleasant, clear eyed one. AMBROSE Not much luggage. NYAH I left in a bit of a hurry. I'm terribly grateful, Sean. AMBROSE How grateful? NYAH Well that depends. AMBROSE On what. NYAH How hard you had to work to get me out of there..how in the world did you ever find me? AMBROSE (stopping) How I usually find you, Nyah. NYAH How do you that. AMBROSE Magic... NYAH Ahh.. POV THRU TENT ANNEX WINDOW (AMBROSE COMPOUND) looking down the length of the dock. Ambrose, his arm around Nyah and carrying her suitcase, moves up the dock toward the house and camera. Stamp steps into the annex and looks over to Wallis, who watches Nyah on the monitors. WALLIS No flies on her. (checking her on a scanner screen) No bugs either. She's clean. STAMP (drily) All cats are. INT - ETHAN - SAFEHOUSE (SHEEP FARM - DAY) Ethan watches the Nekhorvich video on the computer screen. NEKHORVICH ...therefore in a search for our hero, Bellerophon, we created a monster, Chimera. Ethan then flips through a series of pictures on the computer depicting the myth of Bellerophon attacking Chimera. Billy moves up behind him. BILLY What you got there, mate? ETHAN A myth..just a myth...shouldn't you be checking out their countersurveillance? BILLY Well you know his blokes'll place the OSCOR in his annex, where else if you're pinpointing transmitters, video signals, covert chip cameras, anything radiating, oscillating.. ETHAN ..or hard wired.. BILLY (please) - or hard wired, right. First line of perimeter defence'll run from the back of the dock to the front of the house. Whatever moves burps or bleep is gonna be picked up to a height of twenty feet. Basically impenetrable, I'd say. LUTHER Ethan, here's Nekhorvich, and here's his boss Luther scans an entry from the IMF database with newspaper clippings, sidebars of still of McCloy and Nekhorvich. LUTHER (cont'd) McCloy, Jon Chaddick, CEO Biocyte Pharmaceuticals..D.O.B. September 30, 1952, Manchester, England. BILLY (a little lost) Well do you disagree with that? ETHAN Not at all. But how about going into town and confirming your intuitions on site? BILLY Oh well, if that's how you feel about it. Billy leaves. LUTHER ..then Cambridge..Harvard..entrepreneurial efforts..in efforts..in 1989, acquired Biocyte in hostile takeover.. As Luther transfer info to Ethan's computer: LUTHER (cont'd) Ethan, have a look at this. On Ethan's screen appears the Biocyte website; where among he various icons one offer McCloy's proud detailing of Biocyte's philanthropic efforts: MCCLOY'S VOICE We at out state-of-the-art solar powered Biocyte building recognized that eternal vigilance is the price of health.. whether it's funding the teaching center at the Royal Prince Edward Hospital, removing aerosol products from the marker or braving the influenza quarantine at Bruny island late last month..at Biocyte your life..is our life's work.. ETHAN (quietly) ..Biocyte workers at Bruny Island. INT - AMBROSE'S (DAY) They've reached the head of the stairs. Ambrose opens a door. It's a large bedroom opening onto a veranda with a view of the tent annex and the beach, and a very large bed. NYAH Your room. AMBROSE (yes) Mmmm. NYAH And my room? A long moment. Ambrose walks to a mirrored wall. The mirrors are sliding doors. With a sweeping gesture, he slides one of the mirrors back and reveals a wardrobe of beautiful designer clothes. AMBROSE Thought you could use a little something to wear. Nyah stares at the spectacular wardrobe. Ambrose pulls out a slinky Armani and drapes it on the bed. AMBROSE ( cont'd) Try it on.. Nyah hesitates. AMBROSE (cont'd) Go ahead. I'm dying to see if I remembered your size.. Nyah picks it up. NYAH No changing room? Ambrose sits on a chair by the window and waits. Her blouse, belt, skirt, fall on the bed. As her slender arm reaches down to pick up the Armani: AMBROSE grips her wrist, the flimsy Armani dangling in the air. CLOSE - NYAH meeting Ambrose's look. NYAH You're not interested in seeing how it looks. AMBROSE Oh, I am. Later.. The Armani falls in a fragile heap on the floor. CLOSE - ETHAN (DUSK) standing off to one side, listening to Nekhorvich's voice. NEKHORVICH ..therefore in a search for our hero, Bellerophon, we created a monster, Chimera. LUTHER Why's Nekhorvich going on about an old Greek myth? ETHAN Nekhorvich specialized in recombining DNA molecules. In the myth, Bellerophon killed Chimera, a recombinant monster with the head of a lion and the tail of a serpent who plagued the ancient world. I think Nekhorvich has created a monster virus in Chimera and apparently the means to kill it in Bellerophon. LUTHER That simple, huh? ETHAN Why not? CLOSE - NYAH (INT. AMBROSE BEDROOM - DUSK) lying back on a pillow, looking and off into space to right off camera. She hears Ambrose's voice, with Ethan's voice AMBROSE'S VOICE/ETHAN'S VOICE Damn, you're beautiful.. Nyah reacts as if she'd been rapped on the nose, her eyes moist. She turns abruptly to camera. NYAH Did you say something? AMBROSE leaning on an elbow, looking down. AMBROSE I said you're beautiful, Nyah. NYAH Only because..it's spring..chalk it up (looking him dead in the eye) - to spring fever. Ambrose, amused, lights a cigarette and inhaling: AMBROSE Won't do, love. It's not spring. It's nearly autumn..You're in Oz. everything's upside down and backwards here. NYAH (more direct) Maybe that's it, then. Everything's upside down and backwards... CLOSE - ETHAN (SHEEP FARM SAFEHOUSE - DUSK) ETHAN Luther..get us everything you can on the outbreak of influenza on Bruny Island last month, including photos of the victims. LUTHER Right. I guess there aren't many flu epidemics in the middle of summer. Luther resumes working on his computer and sees Ethan is locked on Ambrose's compound on his computer screen, thinking of Nyah. LUTHER (cont'd) She did it, Ethan. Nyah's in the compound. ETHAN Yeah? I've just rolled up a snowball and tosses it into hell. Ethan stands. OUTSIDE THE SHEEP FARM SAFEHOUSE A brooding Ethan exits the sheep farm safehouse under a setting sun. ETHAN'S VOICE Now we'll see what chance it has. Ethan stops, looking out over the broken plain. His voice is heard overlapping into the next scene. ETHAN'S VOICE (cont'd) (softly) Damn, You're beautiful. CLOSE - NYAH (NIGHT) lying in bed, obviously hearing Ethan's voice again, and feeling very much alone. She stares out into the night, a gaze that in its bemused intensity is an exact match to Ethan's. FADE: CLOSE - PHOTO - HONG KONG TIMES (INT. AMBROSE STUDY - EARLY DAWN) its front page, except for the headlines and date, covered with stacks of paper money, banded bundled dollars piled high as a cord of wood. The amount $24 millions is written in ink over the money. AMBROSE Twenty-four mil.. Ambrose's hands shift to another photo of another newspaper, the LONDON TIMES, this one piled high with English pounds and the written amount: 37 million pounds. AMBROSE'S VOICE Thirty-seven million pounds. That's a promising bid. The third photo is of the AFTERNOON ARUBAN, with $14 million packaged on it. Ambrose, wearing a robe and seated at a glass-topped table, sets this last photo on the table on top the others. He picks up Nekhorvich's digital camera, removes the film disk, and snaps it into its plastic case. He places the case into an envelope (NOTE: The same envelope seen at the track) and hands it to Stamp. AMBROSE We'll need this at the track. Well then. Sorted. Stamp is seated near him. Glances toward Ambrose's bedroom and Nyah asleep in Ambrose's bed. STAMP (pointedly) Not everything. Why do you think she's really here? AMBROSE From her point of view or mine? STAMP Wasn't exactly gagging for it when she left you six months ago..The question is, do you trust her? As he speaks, Ambrose pulls a cigar case and a cutter out of his robe. Takes a cigar out of the case and clips the end of the cigar; the razor-sharp cutter decapitates the tip of the cigar like a guillotine. AMBROSE One considers her timing, of course - getting nicked within a week of the plane going down. Suggestive, even borderline suspicious, but hardly conclusive. STAMP Well, you've thorough about it, at any rate. Ambrose opens the cutter again to clean off the fragments of tobacco trapped by the cut. AMBROSE Tell me, Hugh. You don't exactly hang on Nyah's every word and gesture, do you? Fairly ratty nail, that. Sean touches the nail of Stamp's left pinkie finger. Stamp reacts by slightly withdrawing his hand. STAMP Sean.. With his left hand Ambrose grabs Stamp's left wrist. AMBROSE You're not scrutinizing any casual shrug for some hair-splitting nuance, are you? STAMP Sean, please.. Sean pulls Stamp's hand closer. AMBROSE Suppose she is some sort of Trojan horse sent in by IMF to spy in us, why should I deny myself the pleasure of a ride or two? Or don't you think I can learn more from her than she can from me? Ambrose twists Stamp's wrist so that Stamp drops to one knee trying to alleviate the pain. STAMP (in pain) I do!.. Ambrose leans in close to Stamp's face as he places the cutter around Stamp's pinkie. AMBROSE Now Hugh, you must realize that some of us have the burden of sex to deal with..and my dear chap. I may or may not know why she thinks she's here, but I'm willing to take the risk, because Hugh, I am gaging for it.. Ambrose closes the cutter on Stamp's finger and cuts the nail, just nicking the top of the finger and drawing blood. Stamp cries out. Ambrose tosses Stamp a napkin, light his cigar and exhale. AMBROSE (cont'd) Don't ever question my judgment again. DISSOLVE: EMPTY FRAME (EXT. RANDWICK RACE TRACK - DAY) with no sound, the back stretch an unrecognizable blur until horses at high speed burst into the frame bringing with them the sight and sound of their great nostrils snorting and gasping for jostling and going to the whip, the sound of the crowd overwhelming all but the announcer's voice carrying everyone around the far turn and into the home stretch with a ringing, controlled frenzy. EXT - PRIVATE BLEACHER (DAY) Nyah and Ambrose rising as the horses cross the finish. AMBROSE (surprised) You won. NYAH (looking at her ticket) I suppose I did. AMBROSE What made you pick that nag? She'd never won a bloody thing. NYAH 'Thief in the Night?' AMBROSE Say no more. I'm off to grab a drink. Still favor Bellinis? She smiles, a little shakily. Ambrose leaves. A VOICE Naturally Vain.. It's Billy passing behind her. NYAH Pardon me? BILLY 'Naturally Vain.' In the fourth. Check her out. She's due. Billy hands her a chest sheet and moves on. She opens it to the fourth race. Taped onto 'Naturally Vain' is a small plastic piece with the note. she regards the note, places the plastic piece in her ear. ETHAN'S VOICE You can speak as if I'm right by your side. NYAH (picking up binoculars) Where are you? ETHAN'S VOICE At the mounting enclosure, just off the tracks at two o'clock. THRU BINOCULARS - NYAH'S POV - MOVING thru the crowd onto the track over to the pre-post paddock where an animated gaggle of owners, heavy batters and investerace touts surround it. Only Ethan is stock still - and looking up at Nyah. CLOSE - NYAH a swift intake of breath as she see him. ETHAN How's it going? Everything okay? NYAH Just like old times. ETHAN Just like old times? NYAH Just about.. She appears to be the picture of unruffled sang-froid. ETHAN Tell me who you've run into at Ambrose's. ETHAN'S POV (THRU GLASSES) moving from Nyah to the champagne bar just behind where Ambrose is seen greeting someone in the crowd and they sit at a corner table in front of the window overlooking the track. NYAH (a breath, then:) Near as I can tell, there's at least a half-dozen other blokes about the place. Maybe more. Hugh Stamp, an old mate of Sean's, is the only one I recognize, bit of a creep and then some.. POV ETHAN Stamp, stands a pillar, his finger bandages, looking glum and looking down at Nyah. ETHAN We know him. He's over your left shoulder, looking right at you as you go on.. NYAH - Michael, his driver's an Aussie, new to me. Then there's the blokes in the annex at the back of the house. ETHAN Have you met them? NYAH Annex is strictly off limits to me and they never come to the main house, Michael even takes their meals to them all but shoves them under the door. ETHAN (looking into Champagne Bar) I've no doubt. ETHAN'S POV MONOCULAR VIDEO RANGE FINDER of Ambrose sitting with someone whose face is obscured from his angle by bar patrons. BILLY is also looking. POV RANGE FINDER BILLY and from his point of view it can be seen that Ambrose is talking with John McCloy, the head Biocyte. Ambrose takes an envelope out of his inner left jacket pocket and from it pulls out a small plastic container marked 'S.G.' (Identical to the object first seen in Nekhorvich's satchel at airport security.) He opens it and removes a small shiny object about the size of a quarter. He turns to the window and gestures. Stamp enters the bar. BILLY Ambrose is meeting some bloke in the bar. Big bloke, ginger hair. They're into something. ETHAN'S POV ETHAN I'll be damned. It's McCloy, the Biocyte CEO. LUTHER Nekhorvich's boss? ETHAN Yep. NYAH Ambrose has photographs of newspapers with loads of money piled on them -- thirty- seven million on the London Times. What's that about? ETHAN Bids from possible Chimera buyers -- to prove that as of the date on the newspaper those bids are back up by earnest money -- INT - VAN - LUTHER is monitoring both cameras. All see Ambrose give the little wafer-like object to Stamp who places it in a small camera, hands it back to Ambrose and exits, waiting just outside the glass door. Ambrose hands the camera to McCloy who looks puzzled. LUTHER Looks like Ambrose is showing McCloy how to use a digital camera.. McCloy puts it to his eye, fumbles, then with Ambrose's direction: ETHAN Whatever McCloy's looking at, he's not happy about. McCloy puts the camera down. The two men have words. McCloy shakily leave the table. Ambrose opens the camera. LUTHER Ambrose just pulled the memory card out of the digital camera and put it into an envelope, put it in his inner left jacket pocket... ETHAN Left jacket pocket? LUTHER Roger that. ETHAN Confirm. Left jacket pocket. LUTHER Left jacket pocket confirmed. ETHAN BY THE MOUNTING ENCLOSURE ETHAN Nyah, Ambrose is heading back. There's an enveloped inside -- NYAH -- his left jacket pocket. ETHAN Affirmative. AMBROSE passes by Stamp on his way back, hands him the camera. NYAH (after a brief pause) Where do I meet you? ETHAN Betting table twelve off the paddock. Nyah, are you up to this? NYAH I'll muddle through. WIDE ANGLE - BLEACHER (DAY) Ambrose arriving with a pair of drinks. Nyah rises. AMBROSE See anything you like? NYAH Yeah. Naturally vain -- but they're about to close the betting table and I haven't a sou.. While Ambrose is still juggling the drinks, Nyah reaches into his trouser pockets, and rummages around. AMBROSE (laughing) Nyah! ETHAN Billy, make sure Nyah's not followed. BILLY No worries, mate. She pulls out a fifty-dollar note. NYAH Would you mind terribly? AMBROSE (cont'd) (amused and turned on) - not at all. But you'll pay for that and with interest.. NYAH I've no doubt.. She heads up the stairs. AMBROSE (reaching into his pocket for money) Hold on. Ambrose grabs her arm, and she almost drops the envelope she's just lifted. (NOTE: It is important not to see her actually lift it). She's holding it, pinned between her right arm and side. As it's slipping, she notes Stamp above her, looking down and has to conceal what she's holding from him as well: AMBROSE (cont'd) Put down a couple of hundred for. NYAH To win? AMBROSE What else? She takes it and as she does the envelope falls, but she manages to catch it with her left hand, blocking the move with her body as she does. WIDER ANGLE - NYAH moves along the aisle. ETHAN'S VOICE Luther, smallest digital you got. Ready to transmit. Betting table twelve. EXT - VAN (DAY) designated as NEW SOUTH WALES DELIVERIES, 'anytime, anywhere.' Luther bursts out of the van, carrying the tiny camera and begins to thread his way thru cars and foot traffic. BILLY in dramatic contrast ambles at a conspicuously leisurely pace. NYAH passes Stamp, not seeing him standing just a row above, blocked from her by one of the pillars. Stamp idly regards her and then decides: he follows. LUTHER perspiring, approaches the betting table thru the last of the parked cars. STAMP approaches the door thru which Nyah had gone and starts to open it - only to have the door slammed in his face and on his bandaged finger by Billy, in a track usher's uniforms. BILLY (very solicitous) Sorry about that, mate, that must've really - aggrhh!.. Even as Stamp winces in pain his arm has shot out and Billy finds himself pinned to the wall gasping for air. If he'd been welded there by a band of steal he'd have more room to maneuver. STAMP Say again? BILLY Aggrhh-aggrhh-aggrhh... STAMP Whatever you're about in future, watch your step. Never know who you might run into... Stamp looks around, Nyah's nowhere in sight. He's lost her. Sees his hand's bleeding and lets Billy go, who nearly drops to the floor. STAMP Where's the loo then? BILLY (pointing up) - aggrhh-aggrhh-aggrhh... Stamp heads up the men's room. BILLY (croaking it out) ... Shakes his head, feeling lucky to escape with his life. EXT - PADDOCK - BETTING TABLE TWELVE Nyah into shot. Stands in line. She looks around. ETHAN'S VOICE How'd you do? Don't turn around. Nyah turns and looks Ethan dead in the eye. NYAH I managed. ETHAN You noticed. What're you going to do? Spank me? She slips Ethan the envelope. Ethan himself returns the look, holding it in spite of: BILLY'S VOICE Stamp's out of the loo. Luther arrives, with the camera, opening for Ethan. Nyah turns away. Ethan pulls out the tiny memory card, slips it in the camera. ETHAN (CONT'D) (looking into camera) This is going to take a couple of minutes.. LUTHER is racing back to the van. LUTHER There in twenty, Ethan.. NYAH AND ETHAN (IN LINE) edge toward the window. BILLY'S VOICE Stamp's a little shaky, but headed your way, mate. ETHAN Copy that. (to Nyah) Who do you like? In the race? NYAH (nervous, she's heard Billy too) What race are we talking about? INT - VAN (DAY) A sweaty Luther: LUTHER I'm booted up. Go, Ethan. BILLY'S VOICE He's heading down the stairs, now.. Ethan places the digital camera on play and begins to go thru the stills. As they cliff off, Ethan is visibly affected. LUTHER IN THE VAN watches the stills as well. He's no less affected. ETHAN WITH NYAH He mutters some expletive under his breath, then, evenly: ETHAN I want you out of Ambrose's place. BILLY'S VOICE He's one tier from the bottom. Ethan glances over to the bottom of the stairs. NYAH What are you talking about? As he lowers camera and removes the memory card. ETHAN I want you out of there. NYAH Why? What's happened. What did you see? BILLY Thirty steps.. Slipping card back into envelope. ETHAN Nyah, you've done more than enough. Even the best of snake charmers get bit. NYAH Ethan, tell me - BILLY'S VOICE Twenty, nineteen.. Ethan's been talking to someone he's been urging to walk, not run to the nearest exit. Now he drops all pretence: ETHAN I want you out of Australia! (more quickly) ..I don't know how much more plainly I can put it. NYAH How do you suggest I go about it? ETHAN He's touched your heart. You're overwhelmed. You need to think it over. You'll meet him somewhere in a month. If You're not out in 48 hours I'm coming in and getting you out. Give me the ear piece. She just gets it out of her hear and gives it to Ethan when she reaches the bookie who warns her to get down her bet. She gives him her money and gets the tickets just as the buzzer goes off - no more bets. Flustered by it she picks up her tickets but drops the envelope. She quickly kneels and scrambles to recover it, tucking it away and looking up - to see Stamp standing over her. almost exactly where Ethan had stood when she looked away. NYAH tries not to register alarm while she gauges how much Stamp had seen. STAMP Get your bet down? NYAH Just.. She rises. Stamp waits only a moment then follows. AT THE PRIVATE BLEACHERS (DAY) everyone's on their feet, the horses are in the backstretch. Ambrose is watching the race through binoculars. Nyah comes up behind and puts her arms around him. With her left hand she puts the envelope into his right jacket pocket. AMBROSE Your nag is making a run for it on the outside! (lowering binoculars) Bloody hell, Nyah! She's momentarily startled. Then: AMBROSE (CONT'D) You picked another winner! NYAH Well, that's good, isn't? A BLOW UP (INT. SHEEP FARM IMF SAFEHOUSE - DAY) of a shot from a digital camera card. ETHAN'S VOICE Dr. Segi Gradski, Nekhorvich's colleague and lifelong friend.. The photos is coded with the data in the lower left hand corner, 01.27.99, the time in the right, 10:02:56 A.M. Burned into the photo is '20 hours, 03 minutes after exposure.' Ethan paunches in. ETHAN'S VOICE (cont'd) Twenty hours and three minutes after exposure. (sotto voce) Twenty hours. Ethan doesn't say anything for a moment, then goes on to the next photo on the card: '25 hours, 40 minutes after exposure.' It's Gradski again. Gradski's eyes are darkly circled, his skull look mottled. ETHAN Six hours later. Another photo: '31 hours, 30 minutes after exposure.' Gradski's bleeding from nose, mouth and ears, the skin eruptions are pervasive, his body an open wound. ETHAN ( cont'd) Six more hours. The next photo. '34 hours, 25 minutes after exposure.' Gradski's body at rest. ETHAN (cont'd) Three hours after that, Gradski was dead.. LUTHER Here's a victim from the Bruny Island outbreak. The victim's face shows a devastation undeniably like Gradski's. A long, long moment as Ethan, Luther, and Billy sit in silence. BILLY Oh, happy day. Ethan looks again at the first photo of Gradski. ETHAN Nekhorvich said 'However we travel, I must arrive at my destination within 20 hours hours of departure.' CLOSE - NYAH (EXT. AMBROSE VERANDA - LATE AFTERNOON) Nyah is on the balcony. Ambrose enters with two glasses of champagne. AMBROSE To Australia. It's made so many convicts feel at home. Here's hoping it does the same for you.. He laughs. She doesn't. NYAH Sean, there's something I've been meaning to talk to you about... Isn't going to be easy for me to say. AMBROSE (jocular) Then don't say it. NYAH I don't know what to do about you, Sean. I'm more than a bit muddled. I need time. AMBROSE To do what? NYAH Sort it all out. AMBROSE And you're going to have time. There's been a change of plans. NYAH A change of plans? AMBROSE Yes. We won't be able to have dinner tonight. Something's come up. I hope you don't mind. NYAH Oh, no, not at all. Maybe just a bit. AMBROSE Ulrich will be about. He'll look after you. NYAH Lovely. INT - AMBROSE STUDY (LATE AFTERNOON) Ambrose enters, slips off his jacket and hangs it over a chair. He walks to a desk and brings up a computer the Biocyte website and McCloy infomercial. Stamp notes that Ambrose is on the computer and moves to the desk. STAMP I thought you were going to dinner. AMBROSE (pulling up something on the computer) Hugh, take care of the Nekhorvich memory card. STAMP Where is it? AMBROSE In the envelope in my pocket. My right.. jacket..pocket.. Stamp leans over and pulls out the envelope. As he does he sees Ambrose has pulled up and started to play McCloy's informercial. AMBROSE (cont'd) (calmly) We've got an opportunity here. I'm not going to miss it.. CAMERA CARD PHOTOS (INT. SHEEP FARM - ETHAN & CREW) a microscopic view of myriads of ugly green spiky objects amid exploding red ones.. ETHAN Chimera attacking human blood.. One more shot. A lavender stained group of spiky objects amid exploding the green ones. ETHAN (cont'd) Bellerophon attacking Chimera.. On an adjacent screen is a frozen frame of McCloy looking thru the digital camera at the racetrack. BILLY Ambrose obviously got these from Nekhorvich on the plane. LUTHER What manic invents disease like that in the first place? Why would he do it? ETHAN I don't know, but Nekhorvich was not a manic. Get me a twenty on Nyah. LUTHER She must still be on the property. ETHAN I told her to get outta there. EXT - LIMO (EVE) McCloy gets in the rear of the limo and lights up a cigar. The limo takes off. another car pulls out and tags along behind the limo. INT - OTHER CAR (MOVING) Michael at the wheel. INT - LIMO - MOVING (EVE) McCloy doesn't like the taste of the cigar, goes to toss it out but the electronic window button doesn't work. He notices the evening paper partially open on the seat. His name leaps out. He opens the paper THE HEADLINES announce that John C. McCloy, CEO of Biocyte, Inc., one of the world's leading pharmaceutical companies, has died of a straight and terrible strain of influenza Shocked, McCloy drops the paper, calling out: MCCLOY George. George. George. The drover doesn't turn around. McCloy can't believe it. He bangs on chauffeur window. The driver turns on the air conditioning in the rear of the limo. McCloy clutches his throat and passes out. MCCLOY (INT. ICU UNIT - NIGHT) regains consciousness. He's got tubes coming out of every orifice and is contained in the equivalent of a plastic bubble. Drenched in perspiration and he looks around for a call button. He grips the side of the bed. MCCLOY Bloody room..just..shut your eyes, shut your eyes. He can't resist. Opens them to look up thru the plastic to see: NEKHORVICH a shimmering blur coming in and out of focus. MCCLOY (cont'd) I'll be buggered!..What's this then? NEKHORVICH A visit from an old friend. MCCLOY What's happening here? You're dead! NEKHORVICH Fatigued, certainly. But dead is a little extreme. On the other hand, when me dear Gradski had your pulse and blood pressure he has less than ten hours to live. MCCLOY (confused) It was in the bloody papers, on the telly..what's this about Gradski? NEKHORVICH You are infected with Chimera, my friend. INT - AMBROSE BEDROOM (NIGHT) NYAH is on the phone. NYAH International, please. I'd like to make a reservation on the next available flight tonight. OPERATOR Where to? NYAH Where is next available flight going? The operator answers. NYAH Fine. I'll take it. She hangs up, goes to the door. The house is eerily silent. POV - STAIRWELL (NIGHT) a play of shadows, the sound of the kitchen fridge. CLOSE - NYAH Moves softly downstairs & hesitates at bottom, glancing about. NYAH Ulrich?..Ulrich!... Silence. she goes into the kitchen. No one. She goes out the door. OVER NYAH'S SHOULDER - MOVING (EXT. SYDNEY - NIGHT) running pell-mell down to the shore. Stops. Looks outside the small skiff moored at the end of the dock. It's dark and she decides to chance it. She moves onto the pier, trying to glide by the boathouse. A figure darts out and grabs her. She tries to scream but can't. The figure whips her around and she sees: ETHAN Easy, easy, easy, shhh! NYAH Oh Ethan!.. She throws her arms around him. ETHAN Are you okay? NYAH I am now. Get me out of here. Just get me out of here. ETHAN It's going to be okay. He holds her. INT - HOSPITAL ROOM McCloy's strapped down, but manages to reach the call button and push it. Again and again. NEKHORVICH No use, my friend. The medical staff wants no part of this. Doctors don't fancy the idea of dying any more than anybody else. McCloy stares at Nekhorvich for a long moment. MCCLOY How could I possibly be infected? Nekhorvich shrugs. NEKHORVICH That's exactly what Gradski said - 27 hours before he died. With Chimera, the most minute exposure can be fatal. McCloy again looks at his vital sign on the monitor. He grips the edge of the hospital bed. NEKHORVICH But then you shouldn't be feeling to ill. not for another three of four hours anyway. McCloy breaks a fresh sweat in a sudden spasm of anxiety. MCCLOY You have Bellerophon. NEKHORVICH (mildly) Do I? MCCLOY You took it! All of it! And what if I need it? NEKHORVICH (amused) 'If?' My, my, my...the five hundred people on Bruny Island that you deliberately infected with Chimera needed it as well. MCCLOY Oh, please! How was I to know they had to be treated with Bellerophon within twenty hours? NEKHORVICH By asking me. MCCLOY You still don't get it, do you? You want to make an omelet, you break a few eggs - I needed to know just how bad the disease was - in the real world, not the lab. And you never know til you try. You thought you were genetically splicing together strains of influenza to create a cure for all influenzas. But I saw you creating a disease so terrible in Chimera that the cure would be priceless. NEKHORVICH You wanted the disease in order to peddle the cure. MCCLOY Well, the thought had occurred to me. I needed Chimera in order to peddle Bellerophon. For hero to be appreciated, you need a monster. Now that's not so difficult to understand, is it? Look, time was a shot of penicillin could knock off every bloody bug in the zoo! Not anymore!..have you any idea the R&D money it takes to float one little pissy boutique antibiotic that's barely effective against one strain of one bacterium? If I couldn't makes money killing the microscopic little shits that are out there, you'd help me put one out there I can make on!..there it is. I've confessed. I, John C. McCloy, am in business to make money. Lilly's making billions feeding Prozac to depressed dogs. Pfizer doesn't even know where to put the money they're making on Viagra, and let me tell you that shit didn't do a thing for me even at twice the recommended dose, Jesus, who do I have to screw to get a a break!..now get me out of here, get me treated and let's go back to work!.. NEKHORVICH You know, I think it's a little late for that. Do give my regards to Gradski if you see him. INT - HALLWAY (OUTSIDE MCCLOY'S ROOM) Nekhorvich heaves a sigh and rips off a latex mask, and the vocal oscillator, revealing an exhausted Ethan. Angle widens to include Luther and Billy in hospital greens. Luther and Billy nod in disgusted assent. EXT - ANNEX (NIGHT) NYAH holds tight in her embrace with Ethan. NYAH Ethan, you know what frightens me most when I'm with him?..the thought of never seeing you..how are we getting out of here? ETHAN Nyah, it's very important not do anything to alarm Ambrose.. NYAH What? You told me to get out of here. I thought you were here to collect me. I was so relieved. ETHAN (with growing urgency) No time to explain. You've done well, and we're so close. So close. It's critical that you do whatever Ambrose asks. Don't worry - it'll be over soon.. That's a promise.. Come on, now off you go! He gives her an affectionate smile and she reluctantly heads back to the house, her expression troubled, even suspicious. INT - HALLWAY (OUTSIDE MCCLOY'S ROOM) Having just taken off the mask, Ethan stands with Luther and Billy. LUTHER (disgusted by what he's heard) So Ambrose has Bellerophon and McCloy's got Chimera. BILLY There guys are walking around with different halves of the same dollar bill? ETHAN Ambrose got Bellerophon from Nekhorvich on the plane, but he didn't get the Chimera virus. LUTHER Yeah. Why else would he come back to Australia? If he had them both, he could sell them anywhere. ETHAN I kill Chimera at Biocyte and he's sitting on a cure without a disease. LUTHER You've got the voice print, I'll get us in.. EXT - AMBROSE HOUSE (NIGHT) Ethan enters and tears off his mask, revealing Ambrose filled with implacable rage. He looks up to see Stamp who's been obviously waiting for him. Tearing the voice oscillator. Leaning with both hands on a counter-surveillance monitor table he stares at the floor, his face rictus of hateful intensity. STAMP You were right. Hunt stung McCloy tonight. He knows. They'll be going into Biocyte... Ambrose looks up slowly to Stamp who's been standing by. AMBROSE Good..then we go where he'll be, don't we? Well done, Hugh. Well done. CHAUFFEUR'S WINDOW (INT. LIMO - EVE) being rapped on by the driver. MCCLOY wakes with a start. The window's lowered -- Billy's in livery. BILLY You're home, guv'ner. Home.. It's taking time to register. Then: MCCLOY - where's George. My regular driver. Where is he? BILLY Took ill, guv'. Touch of the flu. They say it's going around. Nasty business. Mind you don't catch a chill now. Still dazed, McCloy manages to nod and exit the limo. Billy drives off. CLOSE - COMPUTER SCREEN - BIOCYTE BUILDING BLUEPRINTS (INT. SHEEP FARM SAFEHOUSE) including all specifications. ETHAN Luther, do you have the building up and running? Luther punches in and up comes a squat little island a hundred yards off shore, connected to the mainland by a wooden bridge. ETHAN (cont'd) That's not exactly it. LUTHER Sorry, that it a Biocyte facility, their storage structure.. ETHAN Nyah still on the property? BILLY She hasn't left it. Then: LUTHER Okay, here you go - As Luther speaks, the building - on his computer graphics, one with the BIOCYTE PHARMACEUTICALS ELEVATORS AND RENDERINGS, is being rapidly morphed to three dimension existence off the rendering specifications by Luther, as if the building itself were being constructed at a madly rapid pace, from its foundation to its reinforced steel structure, to its honeycombing of floors, to its outer skin. Luther's reconstitution of the building lot static, but moving around and above it even as he proceeds. ETHAN Let's start from the inside out. LUTHER All storage and production of Chimera is done here, in this lab on the forty-second floor, the heart of the building. BIOCYTE LAB Only about eight personnel -- chemists in lab coats, workers in bio-containment suits, etc. -- populate the lab, passing through security door and air locks, monitoring the virus stock, pading the injection gun, etc. LUTHER'S VOICE Chimera itself is kept in two places: in production vials in an incubation room and housed in a small airtight chamber - inside three injection guns. BILLY'S VOICE Mate, you kill it in both places, we're laughin' and we go home. WITH LUTHER AND ETHAN ETHAN Now how to get in there. LUTHER No garage entrance. Lobby's protected by five guards on rotating patrol. Ethan watches the rendition of the Biocyte lobby on screen CLOSE - AMBROSE (NIGHT) in overhead light, his eyes are dark pits, somehow underlying her saturnine intensity: AMBROSE If you look at Hunt's operational history, he invariably favors misdirection and deception. For a start he won't go into Biocyte from the ground where he has to risk confrontation with security. ETHAN Not going in from the ground. Show me the atrium. INT - BIOCYTE ATRIUM SHAFT The height and extent of the atrium are revealed, as well as its conclusion in a glass floor in the ceiling of the lab. LUTHER'S VOICE (unhappily) The atrium? One of a kind. Runs down the center of the building. Provides 24-hour natural light via mirrors and daylight storage cells. Optimal growing conditions for the virus. Ends in a glass floor which doubles as part of the lab's ceiling. WITH LUTHER AND ETHAN Luther sees the glint growing in Ethan's eye. LUTHER Hey, atrium roof closes at sundown. EXT - BIOCYTE ATRIUM SHAFT As the sun sets, the louvers of the atrium roof begin closing. LUTHER'S VOICE And if the louvers are open for more than thirty seconds at night, the Civil Emergency alarms are tipped. Those even I can't stop. Thirty seconds total to get you in and the cable out. ETHAN Security? LUTHER Thirty-second opening in the roof and a 250-foot drop. ETHAN I'm not waiting 48 hours. When we're done at Biocyte, if she's not out of Ambrose's, I'm going in and getting her out. CLOSE - AMBROSE (NIGHT) AMBROSE No, Hunt will prefer to engage in some sort of acrobatic insanity to enter Biocyte somewhere through the atrium where security is minimal.. Suddenly there's the roar of helicopter rotors. ETHAN (EXT. SYDNEY - NIGHT) is poised, upside down, on cable against the Sydney skyline. THE ATRIUM LOUVERS begin to open. WITH LUTHER (INT. VAN) hurriedly working the atrium's controls, hitting 'ENTER', repeatedly. INT - COPTER (HOVERING) BILLY Package away in five..four..three.. two..one... LUTHER I'm not ready! ETHAN I'm gone.. Ethan plummets towards the atrium. WITH LUTHER (INT. VAN - NIGHT) LUTHER (frantically working controls) C'mon! C'mon! C'mon! ETHAN'S DESCENT is so swift it appears as though he's going to hit the atrium louvers but as he reaches roof level they crack open just enough for him to dart thru like thread thru a needle Luther begins the countdown. His countdown continues, running under the action and dialogue below. LUTHER'S VOICE ..nineteen..eighteen..seventeen... ETHAN IN MID-DESCENT (MOVING) moves down the shaft of bluish light, past the building's walls. LUTHER'S VOICE (low) ..sixteen..fifteen.. Ethan streaks thru the beams of light toward the atrium floor. INT - ATRIUM FLOOR - ETHAN reaches the end of the cord, slows himself to a stop and sees the security guard through the window. The guard starts as he catches a glimpse of Ethan's reflection in the control panels. ETHAN Luther, I'm looking at security. CLOSE - LUTHER LUTHER (utterly shocked) Oh. Uh. Commencing diversion. (sotto voce, typing swiftly) Alarm in cosmetics. INT - ATRIUM FLOOR Ethan swings himself up to the ledge above the guard's window, putting himself out of the puzzled guard's sight. LUTHER'S VOICE Gotta get that cable out. Ethan unhooks the cord and flips to the atrium floor. An alarm goes off. LUTHER'S VOICE (cont'd) There it goes.. Still confused and concerned, the guard doesn't immediately react to the alarm or the ringing phone. He finally answers the phone. GUARD #2'S VOICE (on phone) AY! what's the matter with you? Can't you hear the alarm's gone off in cosmetics? The first guard gives up what's confused him. GUARD (sarcastic) Right. Then I guess I'll have to trot off to see who's pinching eyeliner, won't I. (exits, grumbling) I'll even check the stairwell on the way. UP ANGLE - CABLE being swiftly retracted toward the atrium's opening as it closes. BILLY Retracting cable. LUTHER'S VOICE (low) Three..two..one.. UP ANGLE - ATRIUM The cable just makes it thru the atrium as the louvers close. BILLY'S VOICE Cable's clear. INT - ATRIUM FLOOR - ETHAN reaches down and presses a silent beeper. WITH LUTHER (INT. VAN) sees a little red diamond-shaped light pop on his screen LUTHER Transponder activated..Reading package and Cable is clean. (exhaling, relieved) He's on his way. Staring at the buildings control panels. ETHAN (INT. ATRIUM) hugs the floor just out of sight of the befuddled security guard. AMBROSE'S VOICE He'll make the attempt at the only possible time for both of us, 11 P.M. - when the guards rotate and the buildings air-filtration generators go active, covering the sound of his break-in.. WITH LUTHER LUTHER Ethan, the generators are about to go active. We'll be out of contact for eleven minutes. CLOSE - GENERATORS dark and silent. GENERATORS turn over and roar to life. ETHAN AT BOTTOM OF ATRIUM cuts into the glass floor, pops it out, and drops thru the opening. None of it's heard under the generators.. Ethan drops onto the lab floor and heads across the lab and up the ramp to the hot zone. AMBROSE'S VOICE The frequency of the generators operate to our advantage - cutting radio communication from his team for the next eleven minutes.. INT - BIOCYTE LOBBY (NIGHT) Stamp, flanked by several of his team in Biocyte security guard uniform, crosses the lobby toward a pair of actual Biocyte security guards who appear more puzzled than alarmed at this unexpected influx. ONE OF THE GUARDS What's this, then? Reinforcements? STAMP Not exactly, mate. WITH LUTHER (INT. CONSTRUCTION VAN - NIGHT) His attention in drawn to a spot on the grid where Nyah's transponder blip, a circular yellow one in contrast to Ethan's, is moving. Troubled: LUTHER Billy. I think we got a problem. Nyah's on the wing. Up early. Billy, do you copy? INT - CHOPPER BILLY Exactly where is she? LUTHER ..in the building... BILLY'S VOICE Say again. Sounds like you're saying 'she's in the building.' LUTHER I am. She is. AMBROSE'S VOICE Ethan does it the hard way to avoid confrontation. Neutralizing security guards is simply too distasteful to him.. INT - BIOCYTE LOBBY The two guards who had greeted Stamp and his arriving team lie inert on the lobby floor. AMBROSE'S VOICE I've never found that a problem... WITH BILLY (INT. HELICOPTER - NIGHT) Billy's so surprised he momentarily gets loose with the copter and it banks off. As it and he recover: BILLY Right. Well, then. She's not likely to be alone. is she? LUTHER'S VOICE The question Is 'how many of 'em?' I can't get thru to Ethan. Not 'til the generators go off. BILLY When's that? LUTHER'S VOICE Not for another eight and a half minutes. WITH LUTHER staring at the red and yellow blips in vertical alignment, the Yellow one, Nyah, considerably below the red one, Ethan. INT - HOT ZONE ENTRANCE (NIGHT) The door reads. DANGER: LIVE VIRUS: INCUBATION ZONE. EXPOSURE IS FATAL. Ethan pulls on a protective mask from his pack and puts a miniaturized recorder up to the voice print activator: MCCLOY'S VOICE John C. McCloy.. Ethan's buzzed into the hot zone. He steps into the air locks. INT - SHEEP FARM IMF SAFEHOUSE A small bomb is placed by the dark gloves of someone unseen. EXT - CONSTRUCTION VAN - NIGHT a shadow falls across the dirt in front of the bumper. A SMALL OBJECT with a digital clock face, its red LED illuminating descending numbers, is carefully placed inside the bumper. The magnet on it doesn't quite catch. It's then placed more carefully. INT - CONSTRUCTION VAN Luther doesn't pick up on the faint metallic sound just outside. He's concentrating on the flashes on the screen showing the transponder rising in the building. Increasingly desperate: LUTHER It looks like Nyah's headed toward an elevator. ETHAN working meticulously an a computer monitor. DOWN ANGLE - ELEVATOR DOORS and a security guard's body lying in the corridor. A pair of trousered legs step over the body and into the elevator joining Nyah's legs and feet, and other pairs of trousered legs. The elevator doors close. AMBROSE'S VOICE If Hunt actually manages to squeak thru the atrium he's liable to make it to Chimera before we will.. CLOSE LUTHER On his computer screen the yellow dot continues its ascent, the two dots growing ever closer. LUTHER She's in the elevator heading toward Ethan. BILLY'S VOICE How much longer before you can reach him? LUTHER Five and a half minutes. (looking at his chronometer) He's breached the hot zone.. AMBROSE'S VOICE On the other hand we know where Hunt will be and he doesn't know we're coming.. INT - INCUBATION ZONE In front of each of three large television monitors is a vial shaped roughly like a sealed beaker somewhere between one and two liters in size. Each one is contained behind Plexiglas and each one pale yellow, one sunset red. Behind them are monitors marked, respectively: WORKING SEED STOCK, MASTER SEED STOCK, IN VITRO VIRUS. Behind these is a monitor screen with a blow-up of the contents of the vials & the magnitude of the blow-up - 950,000x. These are X-Ray microscope blow-ups, i.e., allowing the viewer to see the motility of the virus and its metabolism, not dissimilar to an MRI this of Chimera in its three different cultures.. Ethan's on the computer controls, racing thru to WORKING SEED STOCK, which calls for optimal levels of 6.9 pH and 11 degrees Celsius. He drops the pH to zero and punches up the temperature to a hundred. The effect on the greenish hue in the bottle is subtle but immediate - not so subtle is the effect on the virus seeds viewed microscopically - they immediately appear agitated, their microscopic DNA innards contracting and expanding. Ethan moves on to the Master Seed Stock and the In Vitro Virus panels on the computer. The changes he makes are reflected on the digital monitoring panels before each viral container. THE WORKING SEED vial has begun to change colors from sea green to a paler pea- green. The liquid itself begins to thicken: COMPUTER VOICE (female) Alert. Chimera-working-seed-stock-pH-and- temperature-level-outside-optimal range. As the liquid grows more viscous the X-Ray have a progressively more difficult time penetrating the individual cells, resulting in a low humming sound which grows as the liquid gels. ETHAN at the control panels for maintaining the virus. ANOTHER COMPUTER VOICE Alert. Chimera-master-seed-stock-pH-and- temperature-level-outside-optimal range. FIRST COMPUTER VOICE Alert. Chimera-working-seed-stock-pH-at- unacceptable-level.. THIRD COMPUTER VOICE Alert. Chimera-in-vitro-pH-and- temperature-level-outside-optimal range.. FIRST COMPUTER VOICE Alert. Chimera-working-seed-stock-pH-at- critical-level. Alert. Stock-life threatened. Alert. The X-Ray microscope shows the individual seed-cells sticking together, some exploding, then all movement ceasing. The Liquid itself is suddenly shod thru fluorescent sparks before it congeals to an opaque mush. FIRST COMPUTER VOICE (cont'd) Alert. Chimera stock life..terminated.. Simultaneously with the seed stock, Ethan's damaging both the working seed in-vitro virus. WIDE ANGLE - HOT ZONE Ethan places a little plastique on a timer and runs up a ramp to the decontaminant air lock at the back entrance to the hot zone. BILLY'S VOICE How're we doin', then? LUTHER He should've have killed the virus in the incubation area..Nyah's exited the elevator on the same level as the lab. BILLY'S VOICE What can we do' mate? LUTHER (staring at them) Hope he kills all the bugs before the yellow dot gets to the red one. CLOSE - LUTHER'S SCREEN The read and yellow blips are now on the same plane. The yellow dot moves toward the red one as if drawn by a slow motion magnet. DOWN ANGLE - ETHAN looking up as his entire body is hit with air like he's a wind tunnel. When the air flow ceases, a green light goes on. COMPUTER VOICE Subject is contaminate free. Zero contaminate factor. Subject contaminate free. ETHAN - GLASS OBSERVATION ROOM heads up a ramp to the three injection guns. Hands in gloves he reaches into the chamber for one of the injection guns. LUTHER'S VOICE He's still got three injection guns in the test lab..They're loaded with doses of Chimera which he'll destroy by firing into a hyper-thermal chamber. He places the barrel of the gun, seals the chamber, and fires. There's a tiny flash of light. Ethan withdraws the gun. INT - CONSTRUCTION VAN Luther's sweating it as the clock counts down: :30, :29, :28.. LUTHER - twenty-seven, twenty-six, twenty-five, come on, Ethan we're almost there! I-I'm off sensitive for this.. In a spasm of anxiety Luther bolts to his feet, wipes his brow. LUTHER (cont'd) - eighteen seconds, the generators'll be off and Ethan's back on line.. Luther glances thru the van window only to see reflected in the van side mirror: MIRROR REFLECTION - CHROME BUMPER (EXT. CONSTRUCTION VAN) reflected in it is the face of a digital clock, its red LED illuminating the clock's numbers fourteen - thirteen - twelve - WITH LUTHER LUTHER (realizing what he's in for) Oh - oh - oh - Even as he moans he's frantically ripping out the computer and cords dangling, hotfoots toward the van exit. INT - HOT ZONE - GLASS OBSERVATION ROOM Ethan fires the second injection gun. Picks up the third and last. He pauses as he's about to fire it, staring intently suddenly the gun is held by: NEKHORVICH who turns the barrel from the hyper-thermal chamber and releases into his wrist. BACK TO ETHAN - GLASS OBSERVATION ROOM whose vision of of Nekhorvich fades. Still thinking of Nekhorvich he continues to stare at the gun for another moment and before he can fire: INT - SHEEP FARM IMF SAFEHOUSE The bomb's LED readout shows 6, 5, 4, 3, 2, 1.. As it reaches 0 a small light on the bomb suddenly stops its incessant blinking. EXT - VAN explodes. Saw horses and dirt fly. INT - GLASS OBSERVATION ROOM - ETHAN looks up just in time to see Ambrose and team arrive at the far end of the lab. They immediately open fire, shattering the room's walls and the glass injection gun chamber. As the injection gun begins falling to the lab floor below, one of Ambrose's team runs to grab it, but before he can reach it he is shot by Ethan, who's falling to the floor below. AMBROSE (to Ulrich) Get it. As Ethan hits and dives for cover, Ulrich goes for the gun Ethan shoots Ulrich in the leg. Ulrich hops back in pain. AMBROSE Those were two explosions, your van and your safehouse, in case you didn't hear them both -- I believe that means you've also lost a friend. Ethan's crouching on the ground protected behind a series of vertical metal sheets. ETHAN And you couldn't walk to tell me about it. Ethan moves to pick up the injection gun which lies in the shattered glass on the floor. Ambrose, Wallis, and a couple of other Ambrose team members fire, kicking up broken glass. Ethan backs off. AMBROSE (yelling) Hold your fire, dammit! The two spot one another in a mirror on the far wall of the hot zone.. AMBROSE (cont'd) Well, Hunt. How've you been? ETHAN (smiling) Fight a bit of a cold.. AMBROSE And you're happy about that? ETHAN Beats fighting the flu, I'm here to tell you. AMBROSE You know, that was the hardest part of having to portray you. Grinning like an idiot every fifteen minutes. ETHAN I would've thought the hardest part was exercising restraint. Curbing that pressing need of your to get your gun off. You were in such a hurry to knock off that 747, you never figured out where the virus really was. AMBROSE I knew where it was. ETHAN Oh. then you knew the only way could smuggle the live virus to the CDC scientists in Atlanta was by injecting himself and using his own bloodstream as a Petri dish, doing it inside of twenty hours so he could take the anti-virus and still have it be effective. You knew that while you were knocking him off and destroying the very thing you came for. Ethan has been using this exchange to ease a fresh seventeen round clip into his weapon and he punctuates this last with a spray of gunfire, attempting to cover his own effort to the reach the injection gun. The return fire nearly hits the injection gun, kicking up glass and dust and making it move around on the floor. AMBROSE Stop! Put a sock in it! Hit that bloody gun and you'll spray the bloody virus all over the place! Everybody's regained cover but the injection gun remains out of everybody's reach. ETHAN There it is, guys, the last of it. AMBROSE Yep. You've provided us with a golden opportunity to have both the bug and the bug killer. ETHAN What was the top bid? AMBROSE Why, you going to make me a better offer? ETHAN Than thirty-seven million pounds? Not really. AMBROSE (not amused) Somebody's been slipping you our mail. Come on out here, you bad girl. Nyah walks out into view on her own. Ethan sees her reflection in the mirror. Enraged, but trying to control it. ETHAN She doesn't belong here, Sean. Let her go. AMBROSE She wouldn't be here if it wasn't for you, Hunt. from this moment you're responsible for what happens to her, and if you're looking out for her well-being, I suggest you advise her to pick up the gun and bring it to me. Ball's in your court, Hunt. What've you got to say? Nyah's waiting for your answer. A pregnant pause. LUTHER'S VOICE (breaking through the static) Ethan, Nyah's in the building! Do you copy? WITH LUTHER (EXT. BIOCYTE) a mess amid the rubble of the construction van. ETHAN ETHAN (dryly) Thank you. ETHAN (cont'd) Sure he won't shoot you the minute he's got it? AMBROSE Oh, Hunt, please! One can't hold Nyah responsible for her actions.. ETHAN In other words, you're calling her a flake. CLOSE - NYAH listening. AMBROSE You know women, mate. Like monkeys, they are. Won't let go of one branch til they've got a grip on the next...get it, Nyah. I'll cover you. Ambrose cocks his weapon. AMBROSE (cont'd) I'm waiting. NYAH (not much more than body length from Ethan) This isn't exactly working out the way you thought it would, Ethan. Sorry. Finger on the injection trigger, she rises and turns the barrel on her arm, firing. The sound of the air pressure pushing the virus into her is unmistakable, as is the circle of tiny puncture wounds on her skin. Nyah moves in front of Ethan, covering him, as she turns to face Ambrose. ETHAN shocked by Nyah's gesture but as she addresses Ambrose he resets the 'Countdown' on his chronometer to twenty hours. As it drops into the nineteen: AMBROSE (frustrated in the extreme) You..bitch! She's been laughing away with Ethan: NYAH You're not going to shoot, Sean. Not this bitch. She's worth thirty-seven million pounds. CLOSE - ETHAN'S HANDS fingers press a red button on a tiny detonator. There's a bright heat flash from the hot zone and an explosion of gas and water -- the plastique killing any airborne virus. Ethan uses the diversion to grab Nyah and run with her to the far side of the lab, behind a stock of horizontal cylinders. INT - LAB Ambrose and team recover from the explosion and begin firing on the tanks protecting Ethan and Nyah, surrounding the two with fire and jets of released steam. INT - LAB - ETHAN AND NYAH behind the stack of tanks. Ethan launches an explosive down a short hallway, blowing a hole in the building's exterior wall. INT - ENTRANCES TO THE LAB A group of Biocyte security guards enter from behind Ambrose and team and catch them off-guard. All hell breaks loose. INT - LAB - ETHAN AND NYAH ETHAN (outraged) What did you think you were doing! NYAH I wasn't thinking! Just..trying to keep you from getting hurt, that's all. This hits Ethan with the force of a blow. ETHAN - you who don't have a conscience. NYAH (something of surprise to her) I guess I lied..You can't get both of us out of here, can you? ETHAN No. NYAH Then you'll have to kill me before it's too late. Before I start killing people. ETHAN No. NYAH I'm infected with Chimera. You know you don't have a choice. Just do it now. She puts Ethan's gun to her forehead. NYAH (cont'd) For god's sake, get it over with. THE HAMMER pulls back. CLOSE - ETHAN He can't fire, lower the hammer. ETHAN We've got 19 hours and 57 minutes before you start killing anybody. I'll get Bellerophon into your system by then. Just stay alive. I'm not gonna lose you. Ethan runs from the cover of the tanks toward the exploded wall once in the open, he exchanges direct gunfire with Ambrose's team, wounding a couple men. He reaches the wall and dives thru, camera with him as he drops 25 stories, the sound of gunfire in the air all around him. Less than a hundred feet from the ground a small dark chute deploys and Ethan is lost from view beneath it. PANNING SHOT - PAINTINGS (INT. CULTURAL ARTIFACT CENTER) of Aborigine paintings, eerie patterns made of man and nature phantasmagorical, like the patterns that form under the eyelids shortly before sleep. B.G. the haunting notes of didgeridoo insure they're not being overheard. SWANBECK (reading the paintings titles) 'Dreaming of Birds and Flying Fox,' 'Bushfire Dreaming,' 'Wind Dreaming,' -- oddly appropriate - Swanbeck breaks off and turns to a somewhat battered and battle weary Ethan: SWANBECK (cont'd) - since it appears that Chimera, the mother of all nightmares is on the loose somewhere around here - is there any way this disaster can be viewed as a qualified one? ETHAN (tight-lipped) Not yet. We did manage to pull any sensitive equipment and material out of our safehouse wreckage. SWANBECK We could lock down passport control and all ports of authority, but that won't stop Ambrose, and beyond him, we don't know who else we're looking for -- all terrorist bank accounts of which we're aware are stable. No deposits, no withdrawals. Therefore no suspects. ETHAN We think we've got our finger on the buyer. SWANBECK Do you? Even assuming you're able to prevent Ambrose selling Chimera, you've now got an additional problem. You destroyed all of Chimera at Biocyte. If Ambrose is going to sell Chimera now, he'll have to do it by taking a pint or so of Miss Hall's blood to market. ETHAN Yes, I believe that's right. SWANBECK But that leaves another seven or eight pints of Chimera. ETHAN You mean that leaves Miss Hall. SWANBECK Yes, I believe that's right. Now my understanding is that 20 hours after exposure, the victim becomes infectious. Highly infectious. Ethan glances at his chronometer. Swanbeck sees it. SWANBECK (CONT'D) You noted the time of exposure? Ethan nods. SWANBECK (CONT'D) - good. Then if you manage to get hold of Ambrose, and obtain what he's got, you've got - (glancing at the chronometer) - 8 hours 57 minutes and twenty-three seconds to destroy the largest remaining source of Chimera on earth. ETHAN She sacrificed herself.. SWANBECK Brave girl. If you can get hold of Bellerophon with the time limit, you may spare her the ultimate sacrifice. But in either case you've got less than nine hours to kill her or cure her. After that it's out of our hands and a matter of worldwide material law. And Hunt. However you obtain it, we want you to preserve a sample of Chimera. Bring it back alive. Ethan's staring at Swanbeck. SWANBECK (CONT'D) Something else? ETHAN Aren't you even curious? About why she did it? SWANBECK No. I can't afford to be curious. And neither can you, Hunt.. As the eerie wail of the didgeridoo seems to mount in volume and intensity, the overcast sky filtering into the loft seems particularly oppressive. Ethan's up against it and he knows it. A VIEW OF SYDNEY from harbors to skyline in all its sunlight splendor. Nyah sits for a moment, looking steadily at Ambrose. Ambrose pats the cannister he's carrying. AMBROSE Feel like pleading for your life? NYAH (with an edge) Not as much as you feel like hearing it. Ambrose slaps her. With scarcely a flicker of hesitation she slaps him back. AMBROSE God damn it, Nyah! Why did you do it? Why did you save that bastard? NYAH If it'll make you feel any better I won't do it again. It doesn't. Full of pain and rage, he gets out of the car. AMBROSE If it'll make you feel any better, you're going to take a lot of Aussies with you and make me a lot of money. NYAH What are you talking about? AMBROSE In just a few hours you can be assured of going down in history as the typhoid Mary of Oz. G'day. A nameless guard from Michael's car idling nearby gets into the back seat with Nyah. Ambrose shuts the car door in Nyah's face, gets in Michael's car takes off. EXT/INT - IMF HELICOPTER - BLUFF ETHAN Luther?..Luther. Luther drops a tiny part into his computer board and, as he tries to fish it out with the aid of a magnifying glass: LUTHER Ethan, I keep telling you there's not a chance of locating Nyah til I access the satellite and there's not a chance of doing that til I get this thing booted up and running! How much time does she have left? ETHAN Ninety-seven minutes, twenty-seven seconds. BILLY Before we kill her or cure her.. LUTHER Right. ETHAN Wrong. All we've got to worry about is Ambrose. Nyah will take care of Nyah. BILLY What are you talking about? ETHAN Unless we dose her with Bellerophon on the next ninety-seven minutes, Nyah will kill herself. So, first things, first. Swanbeck said there's no cash movement from any monitored terrorist accounts. EXT - BEAR ISLAND CAR PARK McCloy's black limousine is in the car park. ETHAN'S VOICE Confirms what Ambrose is gonna do - INT - TUNNEL - BEAR ISLAND Barrels of toxic materials line the walls, as an armed guard patrols the corridor, leading into the main chamber, where we follow McCloy into INT - SLABHOUSE McCloy enters and begins pacing. ETHAN'S VOICE (CONT'D) - who he's doing it with, and where he's gonna do it. EXT - MOTORCYCLE AND LINE OF VEHICLES (DAY) speed along an isolated road in close formation before turning onto a side road, revealed as leading to a bridge across a small strip of water to a small island. EXT - BEAR ISLAND - LANDWARD SIDE (DAY) As the cycles and vehicles cross the bridge and approach the front gate, the camera swings around the side of the island establishing the geography and the six cannon emplacements before coming to a stop on EXT - BEAR ISLAND - SEAWARD CLIFF - ETHAN scaling the seaward side of the island with minimal gear EXT/INT - IMF HELICOPTER - BLUFF resting like a giant locust, half hidden by a cluster of trees on the bluff overlooking Bear Island. Billy's at the controls, with binoculars, maintaining surveillance of the island and environs. In the back, Luther is at Work on his GPS computer. BILLY'S VOICE Ethan's out from under the bridge and on the south-east face.. EXT - CLIFF/VIEW OF TUNNEL Ethan climbs the side of the cliff. BILLY'S VOICE Ethan, Ambrose and his tem have over the bridge - ETHAN Copy that. Ethan reaches the clifftop and sees armed guards patrolling. BILLY'S VOICE You all right, mate? From here it looks like very security. What's it look like like from there? ETHAN Risky. He's over the top and moves swiftly to cover. Ethan surprises and kills a perimeter guard, then runs to a length of grating and lifts one of the panels. Ethan climbs down through the grating in the roof of the tunnel. Using a bar to swing down, he breaks a second guard's neck and drops to the floor. EXT - BEAR ISLAND - ENTRANCE (DAY) Ambrose and team drive through the entry gate -- passing its BIOCYTE PHARMACEUTICALS sign and various no-nonsense warnings of 'No Trespassing,' etc. -- before Biocyte security guards close it behind them. INT - TUNNEL - NEAR THE GRATING ETHAN Breached the structure at the ten o'clock grating. In the tunnel moving toward the target. Ethan begins heading down the tunnel. INT - SLABHOUSE BUILDING Ambrose and team enter, where McCloy and his CHEMIST and ACCOUNTANT are waiting. As Stamp stands back, observing, and Wallis sets up a laptop, Ambrose walks up to a refectory-like table and stands opposite McCloy. Ambrose reaches into his coat and puts two cannisters on the table in front of McCloy. McCloy's chemist picks up the cannisters and inserts them into two chambers connected to his microscope. CHEMIST It's a DNA match. The blood's loaded with Chimera. An insert of the microscope plate shows the two samples, as Bellerophen destroys Chimera. The chemist presses a button on the chamber and there's a heat flash. The chamber red light moves to green, and there's a mechanical voice: 'Substance destroyed.' CHEMIST (cont'd) And they certainly have Bellerophen. The Kev cannister is out on the table. MCCLOY Well, then. You've got both the virus and the anti-virus, Chimera and Bellerophen. Which means I've thirty million for you Ambrose doesn't respond. MCCLOY (cont'd) That's all the cash I can come up with AMBROSE Not exactly. Wallis? WALLIS (off Biocyte figures on laptop) More like two-two point two million. AMBROSE In any case we don't want your cash. MCCLOY Then what do you want? Ambrose picks up a mobile phone and dials. AMBROSE Stock, Mr. McCloy. Stock options, to be a little more precise.. (into the phone) - cut her loose..right in the center of town..the more crowded the better.. (punching off, to McCloy) How quickly can you manufacture more of the antivirus. INT - TUNNEL - CAVITY IN THE WALL As he moves along the tunnel, Ethan suddenly flattens himself against a wall as he receives a transmission from Luther. LUTHER'S VOICE Ethan, just picked up an Ambrose call - Nyah's been dropped off. I think she's alive. ETHAN Where is she? EXT - HELICOPTER - BLUFF LUTHER Somewhere in Sydney. INT - TUNNEL - CAVITY IN THE WALL Ethan hears something and ducks into a nearby cavity in the tunnel wall. As a guard approaches, Ethan steps out of the cavity and knocks the guard out, then throws him into the opposite wall. LUTHER'S VOICE Ethan? Do you copy? ETHAN'S VOICE 'Somewhere in Sydney?' Care to harden the target? LUTHER'S VOICE Can't. Until I can get the GPS up on our computer..it's still down.. ETHAN The clock is ticking.. Back to the matter at hand, Ethan completes the move on the guard and knocks him out. INT - SLABHOUSE MCCLOY Bellerophen? No time at all once I've got it. AMBROSE Good. Biocyte stock is just a week or two away from going through the roof. MCCLOY (alarmed) What are you talking about? AMBROSE An outbreak of Chimera. MCCLOY Where? AMBROSE In downtown Sydney for a start. McCloy is stunned. AMBROSE (cont'd) You create the supply, Mr. McCloy, we've just created the demand. Three million people in Sydney and 17 million people in Australia are going to need Bellerophen within a matter of days..not to mention the rest of the world.. INT - TUNNEL - OPEN AREA - ETHAN'S FEET stealthily approach a couple dozen jittery pigeons, cooing and pecking. The intensity of their noise-making increases as Ethan reaches them. INT - TUNNEL - OUTSIDE OF THE SLABHOUSE ROOM DOORS Hearing the disruption of the pigeons, one of Ambrose's guards leaves his post at the double doors and head the tunnel toward the birds to investigate. INT - TUNNEL - OPEN AREA Ambrose's guard draws his gun and continues approaching the pigeons. Before the guard can see him, Ethan runs forward, and sends the pigeons into scattered flight, blinding the guard. Ethan jumps into a back flip and double kicks -- first knocking away the guard's gun and then knocking him out and flat on his back. Ethan continues his flip and lands right back on his feet. INT - SLABHOUSE AMBROSE -- now here's the way it's going to work..Wallis, the shares outstanding are.. WALLIS Ninety-three point four million. AMBROSE Which means, Mr. McCloy, we have to get our hands on four hundred and eighty thousand options. We'll borrow your thirty million to buy those options. Your stock's never sold above thirty-one dollars a share. We'll agree to buy at fifty. AMBROSE (cont'd) When your stock goes north of two hundred, and it will, those options will be worth billions. We can borrow whatever we need to buy the 48,000,000 shares, fifty-one percent of Biocyte. MCCLOY Outrageous. I won't let you take control of my company. AMBROSE Sit down. You'll be a billionaire. Better than being broke. I've got terrorists and other pharmaceutical companies standing in line. Ball's in your court, Mr. McCloy. INT - TUNNEL - OUTSIDE THE SLABHOUSE ROOM DOORS Ethan pulls a can of explosive material form his pack. He rolls it towards the double doors, and it stops just before reaching them. Then, pointing his gun to the ceiling, he fires into the air. INT - SLABHOUSE ROOM - AMBROSE hears a noise and looks to Stamp, who heard it as well. Stamp nods to two guards to check it out. They head across the room to the double doors. INT - TUNNEL - OUTSIDE THE SLABHOUSE ROOM DOORS - ETHAN waits for the right moment before raising his and firing at the can of explosives. Just as it ignites, the guards open the doors and are blown back by force of the explosion. INT - SLABHOUSE ROOM - AMBROSE reacts and turns toward the explosion. Amidst the flames and debris, a single white dove comes flying into the room. And beyond it, Ambrose can see Ethan Hunt in silhouette walking slowly past the doorway. AMBROSE Run that bastard down. Orders are shouted, and guards, along with Stamp, hotfoot it down the tunnel-corridor in the direction of the explosion. INT - TUNNEL - STAMP AND GUARDS run down the tunnel. The guards move commando-style, directed by Stamp's hand signals. INT - SLABHOUSE - MCCLOY AND AMBROSE Ambrose loads his gun and drags the tip of the barrel along the table. AMBROSE We're running short on time, Mr. McCloy. We've got to conclude our business. McCloy pauses only a moment before nodding to his accountant. MCCLOY Yes, start the transfer. The accountant begins working on his laptop. AMBROSE (to Wallis) Follow it. Let me know. INT - TUNNEL - STAMP AND GUARDS pass a couple of doorways. A pigeon flies past Stamp's face and he stops. As he turn, Ethan Lowers himself from a hiding place in the ceiling. Stamp and Ethan pull their guns on one another. They're in a face-off until they both agree to drop their guns, but Stamp catches his in mid-air and points it back at Ethan. ETHAN You broke our deal. STAMP You're too trusting. Raise your hands slowly. As Ethan raises his hands, he pulls the pin on a grenade and then kicks it between Stamp's legs. The handle flies off: It's live. When Stamp looks down in surprise at the grenade, Ethan kicks out his gun. Trying to escape the grenade, Stamp smashes into Ethan and seems to have hit him in the jaw. Both hit the ground as the grenade explodes, with Stamp appearing to have the upper hand. INT - SLABHOUSE As everyone waits for the transfer to complete, the grenade explodes out in the tunnel. McCloy and his accountant freeze with alarm as a sprinkling of dust settles on the room. AMBROSE (to the accountant) Keep it going. STAMP'S VOICE Sean, this rat's reached the end of the maze. AMBROSE (into walkie-talkie) Is he alive? STAMP'S VOICE More or less. AMBROSE Bring him to me. INT - HELICOPTER - BILLY AND LUTHER Luther has the GPS computer starting to access the satellite. BILLY (nervously) We're due to take off. LUTHER Not for seven more minutes. INT - SLABHOUSE - WALLIS checking his computer screen, which shows the transfer has finished successfully. WALLIS Sean. Transfer complete. Stamp drags Ethan in, arms pinned with heavy tape. Stamp Ethan look grimy as sandbags after a busy day of tunneling. Ambrose rises to examine his prize. MCCLOY (apprehensive) What exactly do you intend to do with him? Ambrose walks behind Ethan and kicks his knees out from under him. Ethan falls to the floor. INT - HELICOPTER - BILLY AND LUTHER LUTHER Ethan? Ethan? Do you copy? Luther hears nothing in response but while noise. He looks to Billy and indicates there's no answer. ETHAN Well, mate, maybe this is one of those times we shouldn't follow orders. EXT - HELICOPTER (DAY) the rotor blades turn over. INT - SLABHOUSE BUILDING (DAY) AMBROSE (to Ethan) What have you got to say for yourself. Hunt? Any last words? Ethan appears as if he wants to respond, but can't. Ambrose kicks him again. AMBROSE (cont'd) Stop mumbling. STAMP Afraid he's got no choice. I believe I broke his jaw. AMBROSE Hugh, I'm impressed.. Ambrose has picked up a pair of Berettas, and is proceeding to load both full seventeen round clips. MCCLOY (anxiety mounting) What do you intend to do? Ambrose favors McCloy with a glance of genial exacerbation. AMBROSE You needn't watch. FULL SHOT - HELICOPTER (DAY) rising off the golf green, and banking toward the island. INT - SLABHOUSE (DAY) Ambrose standing before Hunt with a pair of fully loaded Berettas. The sound of the helicopter grows. AMBROSE - right. We don't have a lot of time, Hunt. whatever you've got to say, say it now. Ethan indeed makes some considerable effort to speak but can only manage a few guttural, progressively desperate sounds which continue as: AMBROSE (cont'd) Sorry mate, I can't understand a bloody word. How about giving us a big smile to remember you by? (hearing the helicopter) No? Well, then. This is what's known as getting your gun off. With that Ambrose empties thirty four rounds from the two Berettas into Ethan whose body jerks crazily on the floor. McCloy nearly faints, and Ambrose laughs at his squeamishness until something on Ethan's body catches his eye: the top of the little finger on the right hand is bleeding. Ambrose grabs Ethan's face, and rips off a latex mask: revealing Stamp, eyes wide open and thoroughly lifeless. His jaw, under the mask had been taped carefully close with the same heavy tape Ethan has used to mount the drain-pipe shotgun on the tunnel wall. AMBROSE (cont'd) Bloody hell! He looks around, but Stamp is gone. So is the cannister and kevlar vest that had been on the table moments before. EXT - BEAR ISLAND Ethan's on the motorcycle, heading toward the gates, which a pair of security guards are frantically trying to close. Billy and Luther in the copter are over the island, and bank so Luther can fire a grenade launcher and blow the back of Ambrose's boat. The guards close the gate, Ethan runs the motorcycle up the hillock and jumps the gate, over onto the bridge. Ambrose follows in the SUV, crashing thru the gate. They race across the bridge and the road, onto the huge greensward opposite to and similar in shape to Bare Island. There, with the helicopter hovering, Ambrose manages to corner Ethan and after they expend whatever ammunition their weapons hold, they move into each other bare handed and engage in ferocious, no-holds-barred combat, the helicopter hovering low enough to keep away whatever's left of Ambrose's henchmen, the chopper's downdraft hitting them and flattening the grass around them. Ethan prevails. A SPECTACULAR VIEW OF SYDNEY on bluffs overlooking the city. Camera moves slowly to the top of the bluff. EXT/INT - IMF HELICOPTER (DAY) With Billy flying and Luther at the door, machine gun in hand, the copter nears the Bare Island gun pit and Ethan. EXT - BEAR ISLAND GUN PIT - ETHAN runs into the central 'hole' area, guns in both hands and wearing the kevlar vest. He runs toward the walled edge of the enclosure and jumps. As he pulls himself up the top of the wall, he sees the IMF helicopter approaching. A gunman appears from the tunnel entrance and opens fire, the bullets exploding into the wall around Ethan, who jumps out of the way to avoid them. EXT/INT - IMF HELICOPTER is under fire as well, bullets spraying the windshield, driving Luther back inside and causing Billy to turn the chopper around. BILLY Man at your six. EXT - BEAR ISLAND GUN PIT - ETHAN who rolls and returns fire at the gunman. Ethan first hits the gunman in the leg, and then shoots and explodes the canisters behind the gunman, killing him. ETHAN (to Billy) The field of fire is too heavy. Back off and pinpoint their positions. BEAR ISLAND HILL - MOTORCYCLE bearing down on him as he stands up. Ethan just manages to dive out of its path before a second motorcycle comes up over the hill. Ethan flips backwards and fires his pistol, shooting the second cyclist off his bike. The motorcycle flies over Ethan, who runs after it and jumps on, revving the throttle and taking off. BEAR ISLAND - PARKING AREA - AMBROSE deploys some of his men via walkie-talkie while others scramble into their cars. AMBROSE (into walkie-talkie) Hunt's heading for the bridge. Coming in at twelve o'clock high. BEAR ISLAND BRIDGE A Gold Falcon with several of Ambrose's men inside enters the bridge from the mainland and speeds toward the island. EXT - BEAR ISLAND COMPLEX Ambrose's men exit the complex and get into their cars. BEAR ISLAND HILL - ETHAN crests a hill aboard the cycle, the IMF chopper in b.g. ETHAN Clear that bridge for me. LUTHER' VOICE Roger that. BILLY'S VOICE They're tracking you on the left, Ethan. Prepare for some fire. BEAR ISLAND ROADWAY Michael's SUV and Wallis' sedan speed along as a gunman from the SUV fires on Ethan up the hill, spraying bullets around him. BEAR ISLAND BRIDGE - GOLD FALCON approaches the island. Luther fires his grenade launcher. It hits the Falcon's trunk, lifting its back wheel off the ground, but the Falcon keeps coming, its trunk ablaze. Luther reloads as a gunman leans out the window, firing up at Ethan on the hill. BEAR ISLAND HILL - ETHAN lays on the cycle's throttle, accelerates down the hill and propels the bike into the air and off the island, just as EXT - IMF HELICOPTER - LUTHER again fires his grenade launcher, this time at the front of the BEAR ISLAND BRIDGE - GOLD FALCON on the bridge. The grenade explodes at the front of the car and hurls the Falcon into the air and off the bridge. BEAR ISLAND - HILL/BRIDGE - ETHAN is in mid-air on the cycle, heading down toward the bridge. Just as he lands, the Gold Falcon flies off the bridge, and Ethan speeds through the flames and off onto the mainland. BEAR ISLAND - BRIDGE Michael's SUV arrives and tears through the gate and flames, followed by Wallis' sedan and then Ambrose, riding a motorcycle. ROAD LEADING FROM BRIDGE - ETHAN races up the road to find a white Falcon approaching. The IMF chopper arrives and gunfire's exchanged. Luther takes a hit in the shoulder and drops his gun as the chopper banks away. INT - HELICOPTER - LUTHER Luther grips his shoulder in pain and falls back into his seat, jarring the GPS computer. It responds by beeping and coming to life. Nyah's yellow dot pops up on the screen. GPS COMPUTER The target is located. LUTHER Ethan, the computer's up. I've got Nyah. She's moved out of the city. ETHAN Luther, say again. LUTHER She's on the North Head Bluff - approaching the cliffs. One klick away. EXT - ROADWAY - ETHAN ETHAN (over increasing static) Copy. She's only got twenty-eight minutes left. Track ahead and pick her up. INT - IMF HELICOPTER Luther bands his shoulder wound and monitors his GPS laptop. LUTHER We won't be able to cover you. EXT - ROADWAY - ETHAN slightly slows the bike to concentrate over the static. ETHAN You're breaking up. Track ahead and pick her up. You've got me on GPS. Bring her to me. Ethan pulls out and throws away the earpiece. INT - IMF HELICOPTER LUTHER Billy, North Head. Haul ass. EXT - ROADWAY Ethan heads downhill as the SUV approaches on an adjacent road. He pulls out in front of it, immediately drawing fire. Without slowing, Ethan drops to the side his cycle for cover. INT - IMF HELICOPTER - LUTHER watches the GPS laptop as the chopper speeds over Sydney. EXT - ROADWAY - ETHAN AND WALLIS' SEDAN Wallis' sedan appears from an adjoining road and pulls in behind Ethan, who climbs back aboard his cycle. Cut off, the SUV turns onto a side road to intercept Ethan. WALLIS Get him. ULRICH I can't get a good shot. Before an intersection, Ethan both revs and brakes, spinning the bike and creating a smoke screen. Wallis' car enters the smoke. ULRICH (cont'd) I can't see him, mate. Slow down! WALLIS Shut up. I know what I'm doing. Wallis breaks hard, but not hard enough: he stops just in the path of an oncoming 18-wheeler. His car's demolished. EXT - ROADWAY - ETHAN AND SUV Ethan pulls out of the smoke as the SUV bursts out of the scrub behind him, striking the rear of the cycle. Ethan puts his bike into a spin and pulls his gun, ending up alongside the SUV passenger window. He fires through the window, shooting both Michael and the bodyguard. The SUV veers off, crashing into a line of parked cars. It hits the first car and flips up and over, landing upside down on several more parked cars. Ethan speeds off on his smoking cycle. Ambrose arrives and then takes a side road. INT - IMF HELICOPTER - LUTHER working on his GPS laptop. The range -- ie, the distance from the moving copter to the yellow dot, Nyah, on the edge of the screen -- is reduced to about two kilometers. LUTHER (to Billy) Range is two kay. BILLY I hope there's a place to land. Luther looks up from the screen to see the bluff of North Head at the entrance to Sydney's harbor. EXT - THREE-LINED ROADWAY - ETHAN tearing down the road, when suddenly from a side trail Ambrose pulls out behind him and begins firing. Ethan weaves to avoid Ambrose's fire and passes a car, pulling in front of it for cover. The car skids, forcing Ambrose to veer around it. FROM COPTER TO GROUND (MOVING) rapidly approaching the North Head bluff. BILLY There she is. I got visual. LUTHER We're down to seven minutes 23 seconds.. HIGH ANGLE - NORTH HEAD moving up behind Nyah who is walking purposefully to the edge of the bluff and a precipitous drop to rocks and surf a hundred and fifty feet below. Camera drops to Nyah's shoulder level and moves with her to the bluff's edge. As she's just a few steps away from stepping off, there's a roar and the helicopter rises into the shot, before her wild-eyed Billy gesturing, 'Stop! Stop!' to Nyah. EXT - ROADWAY Ethan passes narrowly between a car and oncoming truck. Ambrose follows as soon as the truck clears. Ethan fires backward using his side-view mirror to aim, exploding Ambrose's windscreen. Ambrose skids until his wheel clips a rock, knocking him upright. Ethan turns into a side road and speeds through open scrub. Back on the main road, Ambrose roars off to intercept Ethan. EXT - CLIFFTOP - ROCK LEDGE On a clifftop clearing, Ethan races along as Ambrose moves to cut him off. They head toward one another. LUTHER'S VOICE Ethan, we've got her. Tracking to you now. We're reading 5 minutes 19 seconds. EXT - CLIFFTOP - CLEARING Ethan and Ambrose round a bend and face one another. Without hesitating, they charge towards each other. As they near one another, each leaps forward and off his bike, and they collide hard in mid-air. They fall to the ground fighting as their bikes skid and Ethan's explodes, raining debris upon them. Ethan and Ambrose rush towards one another. Ethan flips Ambrose to the ground. Ambrose pulls a gun from his ankle holster. As Ethan knocks it away, he loses his own gun and they both fall off a 30-foot cliff. INT - IMF HELICOPTER at top speed over Sydney. Nyah appears weak and shivers. LUTHER (to Billy) Bearing two one zero. About 3 klicks. (into microphone) Ethan, we're moments away.. EXT - CLIFFTOP - CLEARING - FIGHT Ethan and Ambrose rise from the fall. Ethan jumps up and sweeps Ambrose, dropping him to the ground. Ethan begins strangling Ambrose but gets knocked off, and when they both stand, Ambrose gets Ethan in a choke hold. Ambrose hits him and grabs a rock and hits Ethan in the midsection and the face. Ethan kicks it out of his hand and connects with several punches, knocking Ambrose to the ground. Kneeling, Ambrose pulls a knife from a boot holster and cuts Ethan across the back and face. Ambrose dives on Ethan and the knife is poised above Ethan's eye before Ethan grabs the knife and clears, holding it out toward Ambrose. AMBROSE Go ahead. Use it Hunt. It's not a bad way to go. A lot better than the way that bitch is going to die. Ambrose swings again and misses, and Ethan delivers a series of kicks, leaving Ambrose stunned and barely standing. Ethan steps back, and with a running start, strikes Ambrose with a leaping kick that drops him to the ground and knock the knife out of his hand. EXT/INT - IMF HELICOPTER - CLIFFTOP As they approach in the distance, Billy, Luther and Nyah finally gain sight of Ethan in hand-to-hand combat. EXT - CLIFFTOP - CLEARING - FIGHT Ethan turns and walks away from Ambrose toward the cliff edge. The copter lands and Luther runs toward Ethan but pulls up, looking over Ethan's shoulder. Ambrose has a gun aimed at Ethan's back. AMBROSE Hunt. You should have killed me. Near Hunt's feet is his own gun, obscured from Ambrose's view by dust from the copter. Ethan tosses the canister to Luther and then kicks his gun up out of the dirt and into the air. He catches it, drops down and fires, killing Ambrose. EXT/ INT - HELICOPTER ON CLIFFTOP Ethan reaches Nyah at the copter. Inches apart, they can only stare silently at one another. INT - CULTURAL MUSEUM Didgeridoo music. A child admires a painting. Swanbeck and Ethan face one another. A long, long pause. For a moment it appears as if Swanbeck has lost awareness of Ethan's presence. SWANBECK Sorry, Ethan. I don't quite know where to begin. Any suggestions? ETHAN You'd like me to conduct my own debriefing. SWANBECK Why not? You've done just about everything else on this operation. ETHAN I'd thank you -- but I'm not sure that was a compliment. SWANBECK Of course it was. Anyone whose operations requires the level of disinformation that yours do, is bound to get a little flak here and there. You try flogging the stories on CNN I've had to come up with about what's been going on around here the last few days. At any rate, it's been most instructive -- what they'll swallow, or what they'll broadcast with a straight face. (picking up a file) Miss Hall's blood, it appears, has absolutely no elements of the Chimera virus. Not even antibodies. ETHAN Yes, I gathered as much. SWANBECK And the only other remaining sample was in the canister you recover from Ambrose. ETHAN Yes. SWANBECK And that appears to have been destroyed. It also contained the anti-virus, Bellerophon. ETHAN Well, Bellerophon, it turns out, was only really effective against Chimera. SWANBECK But you were under specific instructions to bring back a living sample of the Chimera virus. I'd be very interested to know how, after you'd managed its recovery intact, it subsequently got destroyed. ETHAN By fire. That's the best way, really. SWANBECK So you didn't fail mission, you simply changed it. Ethan doesn't respond. SWANBECK (cont'd) It's no longer enough for you to execute and implement IMF policy, you now wish to go in the business of creating it? ETHAN No, I don't. But in this case - SWANBECK In this case, it wasn't a bad idea. In face, it was a pretty damn good idea. Just don't make a habit of it. And, as for Ms. Hall, in light of her efforts, her criminal records will certainly be expunged. I'm assuming you approve. ETHAN I do. SWANBECK Where is she now, by the way? Do you know? ETHAN I don't. No exactly. SWANBECK Well, Hunt, what are your plans? ETHAN Not sure. Some sort of vacation. I'll let you know where I'm going. SWANBECK Oh, you don't have to do that. Wouldn't be a vacation if you did. Ethan and Swanbeck exchange one final, knowing glance. SKY NEWSCASTER This incident in the wake of rumors suddenly surfacing about Mr. McCloy and Biocyte's financial difficulties -- including criminal allegations of insider trading, embezzlement, conspiracy to commit fraud, and stock parking -- have, understandably, sent stock prices of the pharmaceutical company plummeting. EXT - SYDNEY (DAY) Ethan emerges to a very crowded street. Billy and Luther are waiting. Both look to Ethan. LUTHER (worried) So what did he say? ETHAN Good job. And thanks. BILLY (incredulous) That's it? That's it? That's it? LUTHER (dryly, looking at Billy) And the check's in the mall. BILLY Right. Just remember, mates. Billy Baird's the name. Anything you need to get, move or watch, I'm your man. And Billy's gone. Ethan and Luther remain alone, both reluctant to say anything, both reluctant to leave. One quick bear hug, then: LUTHER Always nice hearing from you man. Stay in touch.. And Luther's off. Ethan looks after him, a bit wistfully. Then, curiously tentative he moves off into the crowd. After a half- dozen steps, something catches his eyes. He stops. One quick bear hug, then: NYAH (a tad wary) Do you know me? NYAH is inches from him. Without batting an eye. ETHAN No. Should I? NYAH No. You just looked as if you did. ETHAN No... She wraps her arms around him and kisses him with considerable conviction. ETHAN (cont'd) ...just as if I'd like to. NYAH Oh. Well.. He kisses her with a conviction that is more than a match for hers. NYAH (cont'd) ..I think that can be arranged. Looks around at the swirling crowd: ETHAN Let's get lost. And in a moment they've vanished from the frame and into the crowd. Camera begins to pull back, the bustling crowd ever filling the frame - and in the distance, perhaps, just a splash of a bouquet of flowers can be seen, appearing to bounce along on its own, the rising beat of the MI theme: BEGIN CREDITS: IMF II - CHIMERA \ No newline at end of file diff --git a/unformated_scripts/Script_Mission Impossible.txt b/unformated_scripts/Script_Mission Impossible.txt new file mode 100644 index 0000000000000000000000000000000000000000..4f18251964da45207a372b71a6d94b1eddb2458b --- /dev/null +++ b/unformated_scripts/Script_Mission Impossible.txt @@ -0,0 +1 @@ +MISSION: IMPOSSIBLE FINAL SHOOTING SCRIPT 16TH AUGUST 1995 NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. INT. KIEV APARTMENT - NIGHT We're in a large closet. JACK KIEFER, an athletic American in his late thirties wearing a headset, is wedged into a corner, staring at a television screen. The television shows a surveillance view of the living room that lies outside the confines of the closet. The TV image is in black and white. JACK shifts, trying like hell to get comfortable but he's been there a while ON THE SCREEN A bare bulb shines down on the contents of a shabby hotel room. Directly under the blub a man, GENNADY KASIMOV, sits in a straight backed wooden chair in his blood-stained T- shirt. There are a couple of THUGS and a stray HOOKER in the room behind him. A legend: KIEV KASIMOV is sobbing. Uncontrollably. A MAN enters the room, ANATOLY, an imperious Russian in his forties, a Russian godfather. The THUGS and HOOKERS are ushered out. ANATOLY looks down at KASIMOV pitiously and urges him to go and sit by him in a chair he picks up for him. KASIMOV does as he is bid, looking gratefully up at ANATOLY. They speak in Russian which is subtitled. ANATOLY Kasimov, Kasimov, good that you called us. KASIMOV (sobbing) I don't remember what happened! We were at the bar, drinking, laughing -- having fun. ANATOLY gets up out of the chair and goes to a bed across the room. A WOMAN lies half under the sheets. She's lying in an unnatural position on the bed, and the sheets are smeared with blood. She's dead. ANATOLY lifts her eyelid. KASIMOV I don't even know how I got here. I swear, Anatoly, I never touched her! I didn't lay a finger on her. ANATOLY moves away from the WOMAN. ANATOLY Kasimov. Don't flounder. IN THE CLOSET JACK, impatient, checks his watch. JACK Jesus, she's been under too long. Come on, come on! ON THE SCREEN KASIMOV You're the only one who can help me. Desperately he tugs at ANATOLY'S jacket. But ANATOLY hits his hand away and smacks him around the head. IN THE CLOSET JACK reacts. ON THE SCREEN ANATOLY bends close to KASIMOV. ANATOLY C'mon, c'mon, tell the truth...c'mon. KASIMOV They'll kill me. ANATOLY paces up the room, away from KASIMOV. ANATOLY You asked for my help. You asked for my help...come on... KASIMOV You're right, of course. IN THE CLOSET JACK leans forward. JACK The name pal...give us the name. ON THE SCREEN KASIMOV The contact in Minsk..the contact in Minsk..works in a travel agency. IN THE CLOSET JACK Come on! ON THE SCREEN ANATOLY Come on! KASIMOV His name is.....Dimitri Miediev. ANATOLY Dimitri Miediev...Dimitri Miediev... IN THE CLOSET JACK Got him. ON THE SCREEN Back on screen, ANATOLY places a hand on KASIMOV'S shoulder as if he had just anointed him. IN THE CLOSET In the closet, JACK types the name into a computer and cross checks -- "MIEDIEV" comes up, then "posting/American consulate/Kiev." JACK turns and nods to a WHOREHOUSE WAITRESS in costume in the closet next to him, dressed in traditional Russian tunic and virtually no bottom. She quickly leaves. INT. SHABBY ROOM - NIGHT We enter the room for the first time as the WAITRESS does. She's carrying a tray with a bottle of vodka and two shot glasses. ANATOLY Now, we drink. He pours them out and hands one to KASIMOV. ANATOLY (CONT'D) To friends. KASIMOV Yes, Anatoly, yes. JACK Cheers. He drinks. He blinks. Something felt funny about that. Dizzied, KASIMOV swoons and passes out on the floor. ANATOLY moves to the closet door and opens it. IN THE CLOSET ANATOLY reaches up to his face -- --and tears away a mask of flesh. He's no middle aged Russian mobster, he's ETHAN HUNT, an American in his early thirties. He gestures to KASIMOV contemptuously. JACK hands ETHAN a hypodermic kit and he goes quickly back into the room. ETHAN (in English now) Get rid of this scum. Immediately, there is activity, and PEOPLE everywhere. TWO OTHERS come into the room and carry KASIMOV out. ETHAN goes quickly to the body of the dead woman. He cheeks the pulse in her neck, shines a penlight in her eye. He strips the adrenalin kit and jabs the long needle into the dead woman's thigh. He checks her pulse again, checking a stopwatch. In about ten seconds, the woman's eyes open. CLAIRE is her name, a French woman of thirty or so. She half rolls over, GROANS, and wipes some of the blood from her mouth. CLAIRE Did we get it? ETHAN We got it. On your feet. CLAIRE I want to sleep. Can I sleep here. ETHAN Walk, just walk. Start walking. CLAIRE I'm walking. ETHAN Talking's good, walking's better. CLAIRE Sleeping's better. Meanwhile, MEN in overalls take apart the room. The ceiling lifts right off the walls, and the walls themselves start to come down, revealing the "hotel room" to be an elaborate set in the middle of an empty warehouse. JACK comes into the room from the closet. He hands CLAIRE her jewelry, including a watch and a wedding ring. ETHAN stops what he's doing, noticing. She looks up at him questioningly. CLAIRE Are you all right Ethan. What's wrong with you? ETHAN If you're gonna do this again Claire, It's not gonna be on my watch. CLAIRE Oh yeah? JACK comes into the room from the closet. He hands CLAIRE her jewelry, including a watch and a wedding ring. ETHAN stops what he's doing, noticing. She looks up at him, questioningly. JACK Claire. ETHAN Jack. She almost unconsciously slips the wedding ring onto her finger. ETHAN notices. He turns and SHOUTS to the room at large. ETHAN IS THERE ANY PARTICULAR REASON WE'RE NOT OUT OF HERE YET?! JACK Just waiting for you, tubs. He walks across the room and out the door. CLAIRE, worried, clutches her hands together, glancing down at her wedding ring. We move in on it -- CUT TO: INT. JET - DAY -- and come out on another wedding ring, this one on a MAN's finger. One of several he's drumming on an arm rest in the plush first class cabin of a commercial airliner. He shoves some money into his wallet, and as he does so we catch a fleeting glimpse of a photograph of CLAIRE. The pilot's voice makes an announcement. VOICE (O.S.) Ladies and gentlemen, we have leveled off at our cruising altitude of thirty-eight thousand feet-and we should be arriving in Prague right on schedule. A FLIGHT ATTENDANT makes her way between the seats, passing out menus. FLIGHT ATTENDANT Would you like to watch a movie Mr Rosen? A passenger takes one. The ATTENDANT continues on. FLIGHT ATTENDANT (CONT'D) Would you like to watch a movie Mr Phelps? The MAN with the wedding ring looks up. JIM PHELPS is in his mid-forties, good-looking, intense. He's a tired man, and not just now, it's a profound fatigue. He looks up at the ATTENDANT and smiles warmly. PHELPS No, I prefer the theatre. A look crosses the FLIGHT ATTENDANT'S face; her tone becomes stilted. FLIGHT ATTENDANT Would you consider the cinema of the Ukraine? PHELPS Perhaps you'd choose one for me. The ATTENDANT turns and walks away. PHELPS sits back, shakes a cigarette out of a pack, and taps it nervously on the armrest. AT THE FRONT OF THE CABIN. The FLIGHT ATTENDANT opens a case loaded with video 8 cassettes of feature films. She opens a panel in the top of the case and withdraws a tape hidden back there. BACK AT PHELPS' SEAT The ATTENDANT returns with the tape and hands it to PHELPS. He takes it without a word and she moves on. PHELPS reaches down and turns a lever on the support between his seat and the empty one beside him. He flips up a small movie screen and angles it toward himself, away from the other passengers. He puts on a headset, opens a door in the armrest, and puts the tape in. He presses play. ON THE TAPE, the image of a man comes on. EUGENE KITTRIDGE is fortyish, but seems permanently stuck in the Nixon era -- horn rimmed glasses, short short haircut, rather be caught dead than tieless. But if he catches your eye, he will never, ever look away. He's seated at a desk, looking into the camera. KITTRIDGE (on the tape) Good morning, Mr. Phelps. The man you're about to see is Aleksander Golitsyn -- The screen winks and shows an image of GOLITSYN, a burly man in his forties. The image is herky-jerky videotape, presumably taken from a concealed camera as GOLITSYN walks down a foreign street. KITTRIDGE (O.S.) -- a former KGB Line X officer now working the international black market selling intelligence. This morning, we learned that Golitsyn has stolen one half of a CIA NOC list, the list of our non- official cover agents working in Eastern Europe. The screen shows an image of what such a list might look like, code names and other information scrolling by on a computer screen at high speed. KITTRIDGE (O.S.) For security reasons, the NOC list is divided into two encoded halves. Golitsyn already has the cryptonym portion, which contains agent code names and targeting areas. This portion is useless unless combined with the second half -- the true name list that is kept in the CIA station in our Embassy in Prague. The Embassy itself comes on screen, a beautiful old building at the base of the Charles Bridge, which spans the Vltava River. KITTRIDGE (O.S.) We believe Golitsyn plans to steal the true name list at an Embassy function tomorrow night. Your mission, should you decide to accept it, is to obtain photographic proof of the theft, apprehend those involved, and return the stolen list. I don't have to stress the importance of this matter, Jim. We're keeping it internally black. Because of its urgency, I've already sent to Prague a team selected from your usual group. Still photographs come on screen, some of which we're already seen -- JACK KIEFER, CLAIRE and ETHAN. KITTRIDGE (O.S.) Ethan Hunt will of course be your point man, as usual. He's in Kiev; we're getting word to him now. INT. JET - DAY PHELPS sits back in his seat, closes his eyes, and rubs his tired brow. KITTRIDGE himself comes back on the tape. KITTRIDGE (O.S.) As always, should you or any member of your IM force be caught or killed, the Secretary will disavow all knowledge of your actions. This tape will self- destruct in five seconds. Good luck, Jim! PHELPS inhales deeply -- -- the tape in the armrest starts to smolder, sending up a plume of wispy smoke -- -- and PHELPS exhales, concealing the plume in a cloud of cigarette smoke. CUT TO: EXT. PRAGUE SAFE HOUSE - DAY SARAH and HANNA, a German woman in her mid-thirties enter. Another legend: PRAGUE INT. SAFE HOUSE - PRAGUE - DAY The IMF team's safe house is a sparsely furnished Prague apartment with a panoramic view of the city. The IMF team is scattered around the room. Sketches, pads, overfilled ashtrays and equipment are strewn everywhere. JACK and SARAH seated next to each other - JACK demonstrating the VISCO glasses to her. CLAIRE is seated opposite JACK at the computer. JIM and ETHAN are in the kitchen. HANNAH taking a roll of black-out curtain through the room. JACK Look to your right, then back to me. There's a camera built right into the bridge. Whatever you see it sees and transmits it back here. Can you hear me? SARAH Of course I can hear you. JACK No, in your...ear piece. You have a lovely smile (eyes). Can you hear me now? SARAH Loud and clear. JACK What's going on? SARAH I don't know. JACK Why don't you take a look? SARAH Jack...that's spying. JACK That's what we do isn't it? SARAH Jack you're so wicked. JACK Too wicked to have a drink later? SARAH I think I might just take that look. ETHAN and JIM PHELPS are in a heated conversation. ETHAN Yeah, well, Jim, fact is I've got more than ninety days leave coming. PHELPS A hundred and sixty-seven, I think it is. Take it all, if you want. After this one. ETHAN I thought I'd take some now. PHELPS (quietly, to Ethan) What the hell's made you decide to take your leave at the worst possible time? Claire's in a weird mood too. ETHAN Oh? What's the problem? PHELPS I don't know, I had to go to Chicago again. You were in Kiev. You tell me. ETHAN Tell you what? PHELPS When you started noticing your short term memory loss. What the problem was you and Claire had in Kiev? ETHAN What problem? PHELPS (laughs) Ah, God, forget it. What are we talking burnout here? ETHAN I guess. PHELPS Ethan, you can't burn out. ETHAN Why not? PHELPS Because I can't afford it. And because you'd burn up before you'd burn out. CLAIRE, who is at the computer behind them, somehow seems to be the reference point in the following exchange: ETHAN How was Chicago? PHELPS Wonderful. Ran into a convention of auto dealers at the Drake Hotel. You hear the one about the astronaut who comes back from the first manned flight to Mars after two years? His wife's got a year old kid. So he says "All right. Who was it? My friend Harry?" She says no. "Oh, it was my friend Sammy." She says it wasn't Sammy. "Oh, I suppose it was my friend Lou." "No, what's the matter, don't you think I have any friends of my own?!" PHELPS laughs. ETHAN doesn't. The back of CLAIRE'S head is in his line of sight. PHELPS (CONT'D) Boy, you really are grim. Come here, take a look. He leads ETHAN to the window, which overlooks the city. EXT. PRAGUE - DAY ETHAN's POV of Embassy. INT. SAFE HOUSE - DAY ETHAN nods. PHELPS (CONT'D) Beyond Charles Bridge there is our Embassy. See it? Tomorrow night, if anything goes wrong, this guy will steal the names of our agents in every country all over Eastern Europe. Up for grabs to the highest bidders -- third world terrorists, arms dealers, drug lords -- any and everybody who'd love to get rid of long term coverts like us, and some very dear friends among them. If they're exposed, they'll be executed. Come over here. Take a lock at this. CLAIRE, who is working at a computer, has pulled up a quicktime video image in a box on her screen. In it, an old edition of the McLaughlin Report, the PBS news show, is playing. ETHAN is distracted by it. INSERT - TELEVISION SENATOR WALTZER, a bearded, bespectacled man in his forties, is holding forth: SENATOR WALTZER I'll go you one further. I say the CIA and all its shadow organizations have become irrelevant at best and unconstitutional at worst. It's time we throw a little light on the whole concept of the Pentagon's "black budget." These covert agency subgroups have confidential funding, they report to no one -- who are these people?! We were living in a democracy the last time I checked. BACK TO SCENE ETHAN looks back at JIM. ETHAN You're going to use Walter? PHELPS He's our guy. ETHAN Isn't he chairing the Armed Services hearing? PHELPS Not this week. This week he's flyfishing at the Oughterard Slough in County Kildare, with one of our best Irish guides. ETHAN He won't be back in a hurry? PHELPS No, not in a hurry. What do you think? You think the plot'll work? ETHAN Sure. If the main character does. PHELPS If you were me, Ethan, who would you trust to make him believable? JACK comes breezing in with a piece of bubble gum. JACK Sorry, am I interrupting? ETHAN Always. JACK shows the gum to ETHAN. JACK Stick of gum. If you come up against a lock you can't pick -- Half the gum is red, the other half is green. JACK (CONT'D) Red light. Green light. Mash them together, asta lasagna. Don't get any on you -- you have five seconds. He offers the gum to ETHAN. PHELPS Are you gonna take it? CLAIRE glances up from the computer and catches ETHAN's eye. PHELPS may have caught the glance, but is focused on ETHAN. ETHAN (relenting) Give me the God damn gum. JACK Just don't chew it. PHELPS Thank you. CUT TO: EXT. AMERICAN EMBASSY - NIGHT The American Embassy glitters beside the Vltava River. Party at the Embassy tonight. INT. AN ELEVATOR SHAFT - NIGHT JACK, wearing black coveralls and slightly odd-looking eyeglasses (they're called Visco glasses), enters an elevator shaft through a small door at the base of the wall. He looks up the shaft, shining a flashlight until he finds what he's looking for -- -- a gray metal box, protruding from the wall one floor up. INT. SAFE HOUSE - NIGHT PHELPS is at a table in the safe house apartment, watching the bank of monitors HANNAH wired together earlier. The monitors are alive now, showing various views of the inside of the Embassy, where the party is going on, and one view of the elevator shaft. PHELPS wearing an IMF headset and speaks into the mouthpiece. PHELPS Ethan. Jack's inside. Window's open by twenty-three hundred. INT. EMBASSY - NIGHT Inside the Embassy, the party is a formal, tuxedoed affair that's in full swing on the second floor. SENATOR WALTZER, the man who was on TV, walks up a grand staircase, headed in. An AMERICAN DIPLOMAT in a tuxedo hurries up to him. DIPLOMAT How do you do, Senator, I'm Rand Housman, the Ambassador's aide. If I could just steer you through the reception line here -- The DIPLOMAT pilots the SENATOR by one arm, guiding him to a reception line at the base of the stairs to the party. DIPLOMAT (CONT'D) Allow me to introduce Jaroslav Reid, the director of the National Gallery -- Petr Brandl, the mayor of Prague -- SARAH, a very attractive young American dressed in an elegant gown, steps out of the reception line and shakes hands with WALTZER. SARAH I bet you don't remember me, do you, Senator? SENATOR WALTZER Of course I do. How are you, Miss Norman? He leans in and kisses her on the cheek, and as he does so SARAH whispers something in his ear. SARAH He's in pocket. Under the archway behind me. Her tone, her words -- we realize she's on the team. The SENATOR pulls a pair of Visco glasses from his pocket (and if we didn't know the SENATOR was ETHAN before, this confirms it), puts them on, and looks up, over her shoulder. UNDER AN ARCHWAY NEAR THE ENTRANCE, ALEKSANDER GOLITSYN, the Ukrainian, has just come in from outside. INT. SAFE HOUSE - NIGHT PHELPS sees the SENATOR's point of view of GOLITSYN, through the glasses, broadcast back to PHELPS' monitor. He speaks into his microphone. PHELPS Sarah, mark the package and go to two. INT. EMBASSY PARTY - NIGHT SARAH still has the SENATOR's attention. SARAH Your advance team mentioned you'd want a tour of the facility, so I've gone ahead and set that up for you -- SENATOR WALTZER Terrific. Let's get going. (to the Diplomat) Will you excuse us? He slips an arm around SARAH and they walk off, not into the party, but the other way, toward a staircase that leads further into the Embassy. DIPLOMAT Uh, sir? INT. ELEVATOR SHAFT - NIGHT JACK climbs up the elevator shaft, towards the gray metal box. He just begins to remove the cover when he hears a noise from above. He looks up and sees the elevator above him descending. JACK quickly pulls himself flush against the wall. The elevator comes down adjacent to him and stops, pinning him to the wall. JACK Great. Come on. INT. EMBASSY PARTY - NIGHT As the SENATOR and SARAH pass behind the entering GOLITSYN, SARAH pulls a small bottle of perfume from her purse. But as she sprays, she points it slightly to the left, missing herself and hitting the back of GOLITSYN'S head. He never notices. They move on and down the flight of stairs. INT. SAFE HOUSE - NIGHT JIM PHELPS monitors the Visco views of the party. He looks to the fourth monitor and checks a view of the party, a jumpy one, as someone hurrying up stairs. PHELPS Hannah. He's marked. Lets go. INT. EMBASSY PARTY - NIGHT On a flight of stairs, HANNAH, dressed for the party and slightly out of breath, hurries up the stairs. HANNAH En route. She also has a pair of Visco glasses, which she trains on the party below. She pushes a micro switch on the side of her glasses, activating an electronic filter, which tints the lenses. PHELPS (O/S) Hannah, pull the shade (or - Hannah go to night vision). HANNAHíS VISCO POV the party looks the same, but one head in the crowd stands out. That head is GOLITSYN'S, his hair a fluorescent green where SARAH sprayed it. INT. THE DENIED AREA/ELEVATOR BANK - NIGHT The SENATOR (let's just call him ETHAN) and SARAH come down the stairs and pass a sign that says "Denied Area -- Political Attaches Only." ETHAN checks his watch. 23:00. He nods to SARAH, they round a corner, and come to an elevator at the end of the corridor. A sign in front of it says "Out of Order." They head for it anyway. A MARINE GUARD appears from behind a side door, catching them by surprise. JACK Governor's in position. We have the elevator. GUARD Excuse me, can I help you? SARAH -- which leads directly to the Denied Area, the only limited access area in the whole facility. SARAH flashes an ID at the GUARD and keeps talking. SARAH (CONT'D) As you can see. this area has both a Marine guard and video surveillance, and is strictly monitored at all times. She walks up to the thumbprint analyzer on the elevator bank and slides her thumb inside. The panel lights up and flashes a message -- "ACCESS DENIED." SARAH and ETHAN trade a look. SARAH (CONT'D) (covering) Senator, don't you have a young man on your staff named JACK? She tries the thumb again, Still no soap. ETHAN Jack? I believe we did have a young man named Jack. Not a reliable man, as I recall. Constantly late or behind in his work. Now the GUARD, noticing that Sarah's not being allowed access, comes closer to them. GUARD Excuse me, let me see that ID again! INT. ELEVATOR SHAFT - NIGHT JACK is still pinned to the wall by the elevator, listening to their conversation. PHELPS (O.S.) Jack's pinned down Sarah. Should be a second. Keep dancing. ETHAN (O.S.) (with the Senator's southern accent) We were forced to tie him to my best stallion and drag him around the barn a few times. Finally, the elevator moves down a floor and JACK is freed. JACK Relax your crack, Foghorn, I'm workin' on it. He quickly opens the gray metal box, revealing a maze of circuitry. He patches in his computer, climbs on top of the elevator, and hits the keyboard, beginning to download. THE LAPTOP there's a split-screen of SARAH's thumbprint and the ID picture. JACK downloads her file into the security computer. INT. THE DENIED AREA/ELEVATOR BANK - NIGHT Ignoring the GUARD, SARAH turns and slides her thumb into the thumbprint analyzer once more. The panel glows, this time the message flashes -- IDENTITY CONFIRMED -- and the elevator doors slide open briskly. The GUARD, surprised, now catches sight of the SENATOR. GUARD Oh. Sorry, sir. He snaps a salute. ETHAN and SARAH get into the elevator and the doors close behind them. INT. ELEVATOR SHAFT - NIGHT JACK looks down at the elevator below. Through a grating, he can see them inside. JACK The drink (date) with Sarah is definitely off. INT. SAFE HOUSE - NIGHT PHELPS moves from JACK's view of the elevator car to HANNAH's view of the party on his video monitors. PHELPS (a touch of impatience) Hannah -- I'm blind again. Hannah. INT. EMBASSY PARTY - NIGHT HANNAH, stationed on the second floor of the Embassy, moves to get a better view of the party. She reacquires GOLITSYN's glowing head. HANNAH He's heading to the denied area. INT. EMBASSY WORK ROOM - NIGHT This work room is filled with combination lock filing cabinets and various computer terminals. ETHAN hands SARAH his Visco glasses and she crosses the room, placing them upside down on top of a filing cabinet. ETHAN straps on a Visco wrist monitor and tunes it in, switching several times. ETHAN (to Sarah) Higher. Higher. SARAH Higher. ETHAN Right, right. Good. SARAH adjusts the glasses. THROUGH THE GLASSES, the view of the main computer terminal is upside down, but clear. Anyone sitting there will be recorded. INT. SAFE HOUSE - NIGHT On PHELPS' monitor, we see ETHAN, via his Visco glasses on the filing cabinet, standing next to the computer. PHELPS barks out a warning. PHELPS Get moving, Ethan. He's rolling to you. INT. EMBASSY WORK ROOM - NIGHT ETHAN pushes the elevator button but the elevator is already moving up. ETHAN Jack we're in position. INT. ELEVATOR SHAFT/WORK ROOM - NIGHT In a split view, we see both sides of the elevator wall simultaneously -- on one side, JACK is lying on top of the rising elevator, on the other side, ETHAN and SARAH are waiting for it to arrive. ETHAN Jack. Jack. JACK I didn't touch it. The elevator stops, the doors open -- -- and GOLITSYN gets on. GOLITSYN descends in the elevator with JACK on top and ETHAN and SARAH waiting down below! INT. SAFE HOUSE - NIGHT PHELPS sees JACK's point of view of the elevator, with GOLITSYN inside. PHELPS (tension rising) He's in the box, Ethan, he's in the box! INT. EMBASSY WORK ROOM - NIGHT ETHAN and SARAH are waiting in front of the elevator, the one GOLITSYN is about to step off of! ETHAN looks around, for a place to hide. ETHAN OK. Taking Golitsyn's exit. Jack, open the doors. SARAH What about my coat? I'll freeze. JACK (O.S.) I don't have it. INT. SAFE HOUSE - NIGHT PHELPS whips over to a laptop and starts typing. PHELPS Opening the doors. Go under. He jabs ENTER on his keyboard. INT. EMBASSY WORK ROOM - NIGHT The elevator doors WHISK open, revealing the empty shaft beyond. ETHAN and SARAH jump into the shaft. INT. ELEVATOR SHAFT - NIGHT ETHAN and SARAH jump down into the five foot empty space below the work room floor. Above them, the elevator continues its descent, with them hiding below. The elevator drops to just over their heads and stops. INT. EMBASSY WORK ROOM - NIGHT GOLITSYN steps off the elevator, crosses the room and slides a 3.5 computer disk into the computer in the work room. Through the Visco glasses, we can clearly see him at work, downloading the vital information. INT. ELEVATOR SHAFT (BELOW ELEVATOR) - NIGHT Waiting below the elevator, ETHAN takes off his jacket, starting to reverse it. He checks his Visco wrist monitor as GOLITSYN perpetrates the theft. He smiles and speaks into a microphone. ETHAN He's got it. Saved your ass again Jack. JACK (O.S.) Give me a break, Pops. SARAH Such a nice ass. JACK (O.S.) And a lonely ass. ETHAN Sarah's reconsidering. Claire, transport in five minutes. CLAIRE (O.S.) Roger that. INT. ELEVATOR SHAFT (BELOW ELEVATOR) - NIGHT Back inside, ETHAN strips off his mask and wearing his now reversed jacket, he and SARAH exit the small door at the base of the elevator shaft. EXT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT JACK rapidly disconnects his equipment. But as he pulls the final electrical clip from the elevator's wiring, it flashes and SPARKS. EXT. EMBASSY - NIGHT ETHAN and SARAH exit an Embassy service area by the waterfront and blend into the Embassy crowd, as an amorous couple. ETHAN In position. Jack open the door, let the package roll. JACK (O.S.) Roger that. Opening doors now. ETHAN Stairway, youíre wrapped, go to transport. ETHANíS voice comes over HANNAHíS earpiece. HANNAH En route. HANNAH breaks off and goes up the stairs. INT. ELEVATOR - NIGHT The button marked "ROOF" lights up, seemingly all by itself. INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT The car engages with a sharp jolt -- JACK Hey. --and starts to rise. JACK looks down, into the elevator car, through the grate. Thereís no one in it. INT. SAFE HOUSE - NIGHT On one of his monitors, PHELPS sees the elevator moving in the shaft. PHELPS Jack, what are you doing?! INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT JACK Iím not doing anything! (I donít have it either). INT. SAFE HOUSE - NIGHT PHELPS is typing at his keyboard and jamming the enter button but gets no response. PHELPS I donít have it -- I donít have control! INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT JACKíS face pales. He looks up, above him, at the approaching ceiling. JACK Uh -- then I have a problem. INT. EMBASSY WORK ROOM - NIGHT GOLITSYN pulls out the now-programmed disk from the computer, slips it in his jacket pocket and heads for the door. INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT JACK looks up through his Visco glasses at the approaching roof, covered with spikes. EXT. EMBASSY - NIGHT Through the monitor, ETHAN sees JACKíS P.O.V. of the roof of the building approaching. Fast. ETHAN Cut the power. Cut the power Jack. Do you hear me. INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT On top of the elevator, JACK has ripped open the control panel again and is frantically trying to adjust wires to get the thing to stop. He swears, his fingers fumble, he works faster and faster. He looks up. The roof of the building is nearly upon him. ETHAN (O.S.) Come on, Jack, come on. JACK looks up again, he cringes, he covers his head with his hands, he SCREAMS -- --and heís crushed to death against the roof. EXT. EMBASSY - NIGHT ETHAN is staring at the static on the monitor that once was JACKíS signal. ETHAN Jack. Jack. He closes his eyes, knowing what that means. INT. SAFE HOUSE - NIGHT PHELPS also sees the static. PHELPS Man down. Stay where you are. Iím on my way. He gets up and races out of the apartment. INT. EMBASSY WORK ROOM - NIGHT GOLITSYN, who now has the disk, jabs again and again at the elevator button but it wonít even light up. He studies the elevator doors and jumps into the shaft, just as ETHAN and SARAH did moments before. He hits the floor of the elevator shaft and exits the small door at the shaftís base. EXT. PRAGUE SAFE HOUSE - NIGHT PHELPS hurries towards the bridge. PHELPS En route. EXT. CHARLES BRIDGE - NIGHT PHELPS dashes onto the Charles Bridge and heads across the river, toward the Embassy. He throws a look back, over his shoulder. Paranoiaís setting in. EXT. EMBASSY (AS SEEN FROM CHARLES BRIDGE) - NIGHT Outside the Embassy, GOLITSYN escapes, pushing through the service area door and racing past a DRUNKEN COUPLE who are in the midst of a loverís quarrel, in Russian. Pan past the embankment and onto the bridge where PHELPS is still racing to meet ETHAN. But he stops suddenly, as if hearing something and looks behind him, at the deepening gloom. EXT. EMBASSY - NIGHT ETHAN and SARAH hear PHELPíS voice over the monitor. SARAH The package is in the open. ETHAN Jim. Jim. Heís in the open. PHELPS (O.S.) Iíve got a shadow. ETHAN Can you lose him? PHELPS (O.S.) No. Abort. Over ETHANís shoulder, SARAH sees GOLITSYN getting away. Fog starts to roll over the river towards the bridge. SARAH Ethan. Heís out of pocket. ETHAN (to Phelps) Jim we canít. PHELPS (O.S.) Abort. Thatís an order. ETHAN Negative, Golitsynís on the move. INT. GETAWAY CAR - NIGHT Seated in the getaway car, CLAIRE listens to JIM and ETHAN argue. PHELPS (O.S.) No, damn it, no, I said ABORT! EXT. EMBASSY - NIGHT Outside the Embassy, SARAH and ETHAN argue. ETHAN Sarah eye on the package. Jim, Iím coming to you. SARAH Jim gave an abort, we should walk away. ETHAN No, weíre going to recover the disk, understand?! Now move! ETHAN takes off for the bridge, leaving SARAH to shadow GOLITSYN. EXT. PARKING AREA - NIGHT HANNAH hurries toward the getaway vehicle. EXT. RESIDENTIAL STREET - NIGHT ETHAN moves to the bridge stairs. PHELPS (O.S.) Where are you? ETHAN About two hundred yards from the bridge. PHELPS (O.S.) Theyíre covering this frequency, Ethan. Cut all radio communications. Repeat. Cut all radio communications. ETHAN continues to run toward the stairs to the bridge. Past CLAIRE who sits in the getaway car. He looks on his monitor and again sees PHELPSí POV. Only ominous silence. Phelps is looking back over his shoulder. The bridge is deserted. EXT. EMBANKMENT - NIGHT SARAH follows GOLITSYN as he hurries toward the shore, where a cobblestone promenade runs along the river. He disappears into the fog at the edge of the river. EXT. STAIRS TO BRIDGE - NIGHT ETHAN checks his monitor again. THE MONITOR PHELPSí point of view changes radically as his head swivels on the darkened bridge. He whirls again, looking over his shoulder and this time the barrel of a gun is visible, pointing at him and before PHELPS has a chance to react a GUNSHOT CRACKLES over the monitor. The point of view goes crazy for a moment, then over and down to a bloody hole in his own chest. His head rocks again, then goes over the side of the bridge and makes the long, hard fall into the river below. EXT. STAIRS TO BRIDGE - NIGHT ETHANís face goes white with shock. ETHAN JIM! EXT. CHARLES BRIDGE - NIGHT He races up the rest of the stairs to the bridge but thereís no sign of PHELPS. ETHAN runs to the railing and looks down into the river but sees only dark, choppy waters below, now becoming obscured in the gathering fog. He turns and looks to the embankment. He can faintly see GOLITSYN, hurrying along the promenade. ETHAN gives chase. EXT. PARKING AREA - NIGHT ETHAN runs towards the getaway car, reaching a vantage point on the top of the stairs, he can see CLAIREíS outline, visible in the driverís seat. But as he descends the stairs -- --the car explodes and bursts into flames. The force of the blast knocks ETHAN back. ETHAN CLAIRE! He watches the burning car in stunned silence for a moment, a stunned CROWD starts to gather. Remembering SARAH, he rushes down the stairs towards the embankment. EXT. EMBANKMENT - NIGHT SARAH comes out of the fog near the riverbank and sees GOLITSYN again, slowing down. A MAN comes out of the fog an seems to ask GOLITSYN for a light. SARAH draws closer. Behind her, the DRUNKEN COUPLE seems to be hanging with her for some reason. EXT. STAIRS FROM BRIDGE - NIGHT ETHAN continues towards the embankment. EXT. EMBANKMENT - NIGHT SARAH is almost to GOLITSYN. Suddenly, the MAN in front of GOLITSYN pulls him towards him. Sensing something wrong, SARAH quickens her pace. The MAN is now hunched over GOLITSYN, facing away from SARAH, going through GOLITSYNís pockets. The figure finds what itís looking for -- the disk -- and takes it. SARAH comes closer -- -- and the figure whirls. It brings a knife up sharply, plunges it into her chest and slinks away out of sight. ANGLE ETHAN races around the corner onto the embankment. He bursts out of the fog, just in time to see SARAH fall to her knees, over GOLITSYNís body. ETHAN sees the knife in her chest and GASPS. He pulls the knife out of SARAH, who is close to death. He looks at it -- it is a black Teflon knife with a serrated edge. BEHIND ETHAN The DRUNKEN COUPLE seem drunk no more. In fact, theyíre watching ETHAN. Through the fog and night, they see him leaning over SARAH, holding the knife in his hands. AT THE BODIES SARAH goes still. ETHAN lays her down, turns the other body over and sees that it is GOLITSYN. He quickly begins rummaging through his pockets. ETHAN hear police sirens and sees... ANGLE A Prague police boat, SIREN wailing, arrives at the dock in front of the Embassy. The DRUNKEN MAN and WOMAN stop suddenly. As THREE POLICE leap off the boat and race toward the explosion, ETHAN leaps over the gate and races up the alley and out of sight. EXT. STREET -- PHONE BOOTH - NIGHT ETHAN unscrews the mouthpiece of a payphone receiver. Heís holding a flat piece of metal with six prongs on it, a modernist cockroach. He CLICKS the cockroach into the guts of the phoneís wiring, piercing it with its little prongs. He screws the mouthpiece back on, holds the phoneís tongue down for a second, releases it and listens. He has a dial tone. Now he punches in a fourteen digit number he knows by heart. After a moment, a FLAT VOICE comes on the other side. FLAT VOICE (O.S.) Satcom seven. ETHAN Central Europe. Unsecured. FLAT VOICE (O.S.) Designator? ETHAN Bravo Echo one one. FLAT VOICE (O.S.) Switching. There is a long pause and then familiar voice comes on the line. KITTRIDGE (O.S.) This is Kittridge. ETHAN Go secure. Pause. A funny series of CLICKS comes over the line. KITTRIDGE (O.S.) Go ahead. ETHAN Theyíre dead. KITTRIDGE (O.S.) Whoís dead? ETHAN My team. Claire, Jack, even Jim - - Hannah, maybe, I -- donít know KITTRIDGE (O.S.) Are you damaged? ETHAN They knew we were coming. Golitsynís dead too. The disk is gone. KITTRIDGE (O.S.) Are you intact? ETHAN Do you read me? The list is in the open! KITTRIDGE (O.S.) Let's just bring you in safely, and then we'll worry about that, okay? Were you followed? ETHAN closes his eyes. KITTRIDGEíS voice is strong and reassuring and he needs that right now. ETHAN I donít think so. KITTRIDGE (O.S.) Donít think, be sure. Are you clean? ETHAN Yes. KITTRIDGE (O.S.) Location green. One hour. Iíll be there myself. ETHAN Youíre in Prague? KITTRIDGE (O.S.) Heard a lot about you, Hunt. Donít disappoint me. ETHAN No sir. KITTRIDGE (O.S.) One hour. He hangs up. ETHAN does the same. He stares at the phone for a moment, thinking. He checks his watch. EXT. STREET - NIGHT ETHAN steps out of the phone booth and starts down the street. Every face seems to be starring at him now, every sound is menacing. He pulls his coat in tight, shoves his hands in his pockets and walks among the crowd. EXT. OLD TOWN SQUARE - NIGHT ETHAN makes his way past the old town clock, a towering, gothic structure and into a plaza, surrounded mostly by residential buildings. ETHANíS POV Straight across from him is a glass enclosed restaurant built on the portico of an old palace. Brilliantly lit up from inside, the restaurant positively shimmers, every table visible from everywhere in the plaza. INT. RESTAURANT - NIGHT ETHAN'S POV ETHAN walks in the glass front doors, right next to an enormous fish tank, part of the restaurant's exterior wall. He scans the clientele carefully -- maybe a dozen PATRONS are scattered around. EUGENE KITTRIDGE is seated at a table in the middle. He and ETHAN make eye contact. ETHAN walks to the table, a couple of quick, seemingly cursory glances around the room as he goes. KITTRIDGE has been working on a pretty good-sized lobster. He rises to greet ETHAN and they sit. KITTRIDGE I can't tell you how sorry I am. I know how much Jim in particular meant to you, Ethan. Personally as well as professionally. ETHAN Yeah. He spots a stack of documents on the table. ETHAN picks them up. There's a Canadian picture bearing ETHAN photo and the name Phillipe Doucette, credit cards, driver's license, etc. KITTRIDGE Passport, visas - you know the drill. We'll work the exfiltration thru Canada, debrief you at Langley. Throw the Prague police a bone, you know toss them a few suspects. Follow me? ETHAN Yeah. I follow you. KITTRIDGE We've lost enough agents for one night. ETHAN You mean I've lost enough agents for one night. KITTRIDGE seems to be at the point of saying one thing, then, carefully: KITTRIDGE You seem hell bent on blaming yourself, Ethan. ETHAN Who else is left? KITTRIDGE Yes. I see your point. ETHAN Why was there another team? KITTRIDGE What? ETHAN Of IMF agents. At the Embassy. Tonight. KITTRIDGE I don't quite follow you. ETHAN Let's see if you can follow me around this room. (eyes moving around the room) The drunk Russians on the embankment at 7 and 8 o'clock...The couple waltzing around me at the Embassy at 9 and 11. The waiter behind Hannah at the top of the staircase - Bowtie, 12 o'clock. The other IMF team. You're worried about me. Why? KITTRIDGE (a tight little smile) You're right. Maybe this'll save some time. The figures around the room have grown restless. KITTRIDGE tries to indicate that it's okay. He pulls some papers out of his jacket. KITTRIDGE (CONT'D) For a little over two years now we've been spotting serious blowback in IMF operations. We have a penetration. The other day we decoded a message on the Internet from a Czech we know as "Max." ETHAN The arms dealer. KITTRIDGE That's right. Max, it seems, has two unique gifts -- a capacity for anonymity and for corrupting susceptible agents. This time he's gotten to someone on the inside - he's put himself in a position to buy our NOC list. An operation he referred to as "Job 314". The job he thought Golitsyn was doing tonight. ETHAN But the list Golitsyn stole was a decoy. KITTRIDGE Correct the actual list is safe at Langley. "Golitsyn" was a lightning rod, one of ours. ETHAN This whole operation was a molehunt. KITTRIDGE Yes, the mole's deep inside. And -- like you said. You survived. ETHAN stares at him levelly. KITTRIDGE (CONT'D) I want to show you something, Ethan. He now shoves the papers across the table. They're xeroxed copies of a Wisconsin bank account in the name of DONALD and MARGARET ETHAN HUNT. It shows a balance of $127, 000. KITTRIDGE (CONT'D) Since your father's death, your family's farm has been in sub-chapter S and now, suddenly, they're flush with over a hundred and twenty grand in the bank. Dad's illness was supposed to have wiped out the bank account -- dying slowly in America after all, can be a very expensive proposition Ethan. So, why don't we go quietly out of here onto the plane... ETHAN How about if we just go quietly into the bathroom and I wash your mouth out with soap - you pathetic button down bureaucratic asshole. KITTRIDGE (CONT'D) Ethan, I can understand you're very upset. ETHAN Kitteridge, you've never seen me very upset. ETHAN takes something from his jacket pocket. While KITTRIDGE talks, ETHAN unwraps whatever is in his hand. KITTRIDGE All right, enough is enough Hunt. You've bribed, cajoled, killed - and relied on intimate loyalties to get away with it. You're determined to shake hands with the devil and I'm going to make sure you do it in hell. We see what ETHAN holds in his hand -- it's the piece of bubble gum, half red, half green. He squeezes the gum, mushing the two sides together. ETHAN lashes out, swatting KITTRIDGE'S glass of wine off the table in one quick motion. As he does, he hurls the piece of gum. Diners look up, startled at the sound of the breaking wine glass. KITTRIDGE follows the trajectory of the glass -- -- and sees the piece of gum, stuck to the tank. His eyes widen. KA BOOM! The tiny piece of plastique explodes, SHATTERING the fish tank. A hundred gallons of water flow over the MAN and WOMAN, knocking them to the ground. At the same time, ETHAN bolts for the door. EXT. OLD TOWN SQUARE - NIGHT ETHAN races out of the restaurant and takes off, into the deserted square. EXT. SAFE HOUSE - ENTRYWAY - NIGHT Silence. ETHAN enters the darkened entry. INT. SAFE HOUSE STAIRWELL - NIGHT ETHAN glances up at the stairwell. Naked light bulbs illuminate the way up. He slips off his jacket and shirt, then puts his jacket back on. INT. SAFE HOUSE STAIRWELL - MOMENTS LATER - NIGHT ETHAN unscrews a bulb. He crushes the bulb in his shirt and scatters the glass fragments on the steps. He climbs to the next bulb. INT. SAFE HOUSE - DOORWAY - NIGHT At the now-darkened door to the apartment, there's the soft sound of another bulb being POPPED in cloth, glass fragments dropping and ETHAN'S at the door. INT. SAFE HOUSE - NIGHT In the darkened safe house, ETHAN goes to a vase with flowers, picks it up and unscrews the bottom, retrieving a Sig Sauer automatic. He moves through the rooms, checking them as he goes. INT. SAFE HOUSE BATHROOM - NIGHT ETHAN checks the shower, then goes to his shaving kit, pulling out a shaving cream can and a hairspray can. He unscrews the bottoms, retrieving cash in various denominations from various countries and a couple of passports. As he pockets them, he catches sight of himself in the mirror. He's a mess. He splashes water on his face. INT. SAFE HOUSE KITCHEN - NIGHT ETHAN greedily tears the cap off a bottle of mineral water and proceeds to guzzle it as if he was dying of thirst. INT. SAFE HOUSE - NIGHT He comes back into the living room. Still drinking, he notices flickering lights on the other side of the room, the static from the four monitors PHELPS was watching. One by one, he switches them off. THE LAPTOP JACK had been using lies closed at his abandoned desk. ETHAN wakes it up. The computer emits a DIAL TONE, then STATIC as it hits its connection. It prompts ETHAN along: SELECT USENET GROUP ETHAN TYPES IN job 314 ETHAN Job. Job 3:14. March fourteen. Job 31 March. The computer replies: SEARCHING STRING NOT FOUND ETHAN tries again: max.com The answer: SEARCH STRING NOT FOUND He tries a few more, quickly -- "job," "jobs," "joblist.com," but nothing comes up. He tries something else -- "scroll usenet groups." The computer scrolls names of bulletin boards at a dizzying speed, by the hundreds. That's not going anywhere. ETHAN pauses, slaking his bottomless thirst and trying to figure out what permutation of "job 314" he should add to the others on his computer screen. He MUMBLES. ETHAN Job three fourteen. Job -- (a realization, the Biblical pronunciation) It's Job! He rummages around on the desk, checks the bookshelf and finds a Gideon Bible. He turns to Job 3:14 and reads the Bible passage "Kings and Counsellors..." He thinks for another moment, then punches back into the Internet and under the command "Select Usenet Group" he types: BIBLE The computer replies: 126 ENTRIES FOUND, SPECIFY GROUP ETHAN: BOOK OF JOB The computer presents a multi-colored screen of religious icons and artwork with an accompanying message: WELCOME TO THE BOOK OF JOB DISCUSSION GROUP. WHICH CHAPTER AND VERSE DO YOU WISH TO POST YOUR ENTRY UNDER? ETHAN types his answer "Job 3:14" and the screen presents a "stickie" for him to write his message on. He does: ETHAN Max -- Goods tainted. Consider extremely hazardous. DO NOT USE. Fate will be that of kings and counsellors who built for themselves palaces now lying in ruins. Must meet to discuss a.s.a.p. ANGLE A rhythmic CRUNCHING sound and from the darkness on the other side of the room, PHELPS staggers toward him, wet and muddy, his middle a hopelessly bloody mess. He looks like he's dying on his feet. ETHAN freezes, appalled. PHELPS Ethan, what are you doing? ETHAN tries to speak but nothing will come out. PHELPS (CONT'D) I needed you, Ethan. 1 needed you on the bridge, and -- you weren't there. Ethan? Ethan? ETHAN reaches out to grab PHELPS but can't seem to touch him. PHELPS suddenly vanishes into thin air, ETHAN awakens from the dream and finds himself leaping to his feet, gun cocked and pointed at -- ANGLE It's CLAIRE. ETHAN What are you doing here?! CLAIRE freezes, her hands half-raised. CLAIRE (carefully) Ethan -- Ethan, it's okay. It's Claire. Ethan what's wrong with you? ETHAN Don't move. Her right hand has moved a fraction. She freezes again. ETHAN You were in the car! CLAIRE I wasn't. I heard that Jim was in trouble on the radio. He said someone was... ETHAN Shut up! I saw you. You were in the car. CLAIRE No, I got out of the car and I ran to the bridge. ETHAN Don't give me that! I was on the bridge. CLAIRE What happened to Jim? ETHAN There was nobody on the bridge. CLAIRE What happened to Jim? Ethan grabs her wrists, shouting. ETHAN Dead. Dead. Dead! Wake up, Claire! Jim's dead, they're dead. They're all dead! ETHAN releases her wrists. CLAIRE (mumbling) They're dead. Jim's dead. ETHAN Take off your coat. CLAIRE What? ETHAN Take off your God damn coat! He grabs a sleeve and literally tears the coat off her, half- spinning her around. The coat hits the floor like a dead body. CLAIRE'S instinctive move is to cover her chest. CLAIRE begins to shiver. ETHAN circles her, runs his hand cursorily across her body. It accentuates CLAIRE'S shivering. ETHAN (CONT'D) Where were you? CLAIRE I walked away. He said abort. He was gone so I walked away. ETHAN That was four hours ago! Who sent you? Did they send you here? CLAIRE (slowly) Who is "they?" ETHAN Did they send you...Did they send you? CLAIRE Who is they, who is they? ETHAN grabs her by the wrists. ETHAN Who sent you?! Who sent you? CLAIRE (screaming) No one sent me! We're supposed to be back here at four o'clock, four o'clock, if we abort, we don't return here until four o'clock, 0-four hundred, four am, four o'clock --! She sags. A moment. Then the clock begins to chime -- BONG, BONG, BONG, BONG. In the wake of the bells' reverb, ETHAN releases his grip on her wrists. INT. SAFE HOUSE - LATER THE SAME NIGHT ETHAN sits in front of the computer, staring blankly at it, still waiting for a response. CLAIRE sitting on the end of the bed. Dawn approaches, it's very, very quiet. CLAIRE Why haven't they brought us in yet? ETHAN I've been disavowed. They think I killed Jim and everyone else. Somehow a hundred thousand dollars found its way into my parents' bank account. Kittridge assumes I'm a mole they've been tracing and I've been in the employ of an arms dealer, Max, for the last two years, to get him our NOC list. A long moment while she stares at ETHAN's back. CLAIRE What are you going to do? ETHAN I'm going to get it for him. Whoever the mole is, I think goes by the name of Job, at least part of the time. 1 can't find him, but if he knows 1 have the NOC list, he'll find me. CLAIRE Ethan, you're not making sense. Let me go in and talk to Kittridge. I'm going to tell him you had nothing to do... ETHAN Claire, Claire, Claire, if you're not dead, he's going to assume you're with me. The computer blinks and makes a noise - ETHAN goes to it. THE COMPUTER SCREEN Blinking -- "MESSAGE WAITING." ETHAN hurries over and clicks on the message box. The screen blinks and the message shows up: ? JOB - CORNER OF NEKAZANKA AND PRlKOPY ONE P.M. ? BUY A PACKET OF DUNHILL ? AND ASK THE MAN SITTING ON THE BUS ? STOP BENCH FOR A MATCH CLAIRE looks to ETHAN. CLAIRE The message is for Job. ETHAN I'm going to answer it. EXT. STREET BY BANK/FLORENC BUS STOP - DAY ETHAN arrives at the bus stop outside the Savoy Arcade. A MAN in a black wind-breaker sits on the bench, his back to ETHAN. ETHAN Excuse me, could I trouble you for a match? Without turning, the MAN offers up a box of matches. As ETHAN takes them, TWO MEN from behind take him by either arm and escort him into a car which has just pulled up. INT. CAR - DAY ETHAN slides into the back seat, between the TWO MEN. MATTHIAS, the man on the left, holds up a black hood. He extends it to ETHAN, who doesn't take it. MATTHIAS Would you remove your hat please? ETHAN Why? MATTHIAS You wish to meet Max? This is the price of admission. Reluctantly, Ethan pulls the hood over his head and the car takes off. INT. MAX'S APARTMENT - DAY The black hood still on his head, ETHAN has trouble sitting upright. He's before a desk, in an apartment somewhere in the city -- it's impossible to tell where, as the blinds are drawn. The place is roomy and lavishly furnished -- expensive Oriental rugs, well-chosen objects of art. Somewhere down the block, a dog BARKS, steadily, every few seconds. In the hallway outside the apartment door, someone is VACUUMING. MATTHIAS and the OTHER MAN are nearby. ETHAN I thought I was going to see Max. MATTHIAS You misunderstood. No one sees Max. ETHAN Then what am I doing here? MATTHIAS Allowing Max to see you and hear what you've got to say. ETHAN I don't communicate very well through a shroud. MATTHIAS If Max doesn't like what you have to say, you'll be wearing that shroud indefinitely. ETHAN I'm willing to take the chance. MATTHIAS Very well. MAX'S figure into frame. MATTHIAS removes ETHAN's hood. When it comes off ETHAN finds himself looking up at a tall woman of indeterminate age. She's handsome to the point of severity. MAX Who are you and what are you doing here? ETHAN I need one hundred thousand dollars. MAX Really? And you thought if you simply showed up I might give it to you? ETHAN Why not? You gave Job a hundred and twenty five thousand. MAX The penny drops. You are not Job. Yes, Job is not given to quoting Scripture in his communications. And there was its tone -- aggressive but playful. Job is not playful. So you're something of a paradox. ETHAN That depends. MAX On what? ETHAN Whether you like a paradox. I want a hundred and fifty thousand dollars. MAX It's quite out of the question. ETHAN The disk Job sold you is worthless. It's bait, part of an internal molehunt. MAX And how might you know that? Are you another Company man? ETHAN Like Job? MAX Ah, but, we're asking about you. ETHAN I'm NOC. Was. Now disavowed. MAX Why, may I ask? ETHAN That's the question I want to ask Job. MAX I don't know Job any more than he knows me. ETHAN Even so, I'm sure you could arrange an introduction. MAX Why should I? ETHAN Because I can deliver the actual NOC list. The one you have is not only worthless, it's certain to be equipped with a homing device to pinpoint your exact location. MAX It's easy to say the disk is worthless when you say I can't look at the information and see if it's worthless. Not a tenable position, sir. ETHAN Okay, boot it up and in anywhere from thirty seconds to ten minutes you're gonna have Virginia farm boys hopping around you like jackrabbits. MAX (Pause.) Mm - Hmmm... ETHAN Tell you what. How good's the RF scanner you used in the car? MAX Very good. ETHAN Okay, use it. But I suggest pack up first. ANGLE MATTHIAS boots up. There's a little musical noise and the screen brightens. The computer WHIRS and CLICKS and a complex list of names, addresses, phone numbers and other personal information scrolls by. But Matthias is watching the digital read-out on the RF scanner. MATTHIAS Twenty-six, twenty-seven. So far so good. MAX That's not so good for you, my friend. On the scanner, the digital read-out is now in the thirties. MATTHIAS Thirty-two and change. MAX (to Ethan) Doesn't mean it's a signal. Could just be the hard drive heating up. She looks from the scanner to ETHAN as if she's trying to make up her mind about something. MATTHIAS Forty-four. Forty-five. ETHAN I'd say you've got about two minutes. MAX still doubts it. The OTHER MAN goes to the windows -- --nothing happens. He opens the French doors that lead out onto a balcony. EXT. MAX'S APARTMENT - BALCONY - DAY The OTHER MAN comes out on the balcony. Nothing out here but a beautiful day. He walks to the railing and looks down at the street. Down below, the dog that's still barking is tied to a street sign. WOOF. WOOF. WOOF. Abruptly, it stops. INT. MAX'S APARTMENT - DAY Back inside: MATTHIAS Fifty-seven. Fifty-nine. EXT. MAX'S APARTMENT A pollution control van and a taxi arrive amidst other street activity. KITTRIDGE and the FEMALE CZECH AGENT exit the taxi as BARNES and TWO OTHER UNDERCOVER MALE IMF agents leave the van. INT. MAX'S BUILDING - LOBBY - DAY Led by KITTRIDGE, the FIVE IMF AGENTS wearing Kevlar-lined trenchcoats creep through the lobby of the building and hit the stairs. They climb them silently. INT. MAX'S BUILDING HALLWAY - DAY A CLEANING WOMAN is vacuuming the hall carpeting when the AGENTS come up the stairs, guns drawn. Her jaw drops and she turns off the vacuum cleaner. FEMALE IMF (in czech) Switch it on. Keep cleaning. KITTRIDGE looks at her sharply and gestures. She turns the vacuum back on. They reach the door of a certain apartment and -- INT. APARTMENT - DAY -- KICK through it. The AGENTS swarm into MAX'S apartment, guns waving in all directions. KITTRIDGE sweeps in between them and takes command of the place -- --but there's nobody here. TWO AGENTS race into the bedroom, and just as quickly out again. EXT. POWDER TOWER - TOP SHOT - DAY MAX, ETHAN, MATTHIAS and the OTHER MAN move quickly across the bridge that connects Max's apartment to the tower. EXT. MAX'S APARTMENT BALCONY - DAY KITTRIDGE kicks open the door to the balcony, comes outside, and looks around. Nobody in sight. KITTRIDGE GOD D- INT. MAX'S CAR - ETHAN AND MAX - DAY MAX Oh dear, Gunther will never let me use one of his apartments again. (turns to Ethan) Phew, sorry I doubted you, dear boy. You're a good sport. Do accept the compliment. ETHAN Thanks, Max. Or is it Maxine? INT. CAR - MOVING - DAY MAX I don't have to tell you what a comfort anonymity can be in my profession -- like a warm blanket. (abruptly) My deal with Job was subject to a successful boot scan. Obviously it didn't pass muster. Deal's off. ETHAN What was your deal with Job? MAX Six million dollars. I'll give you the same. But I want the complete list now, not just Eastern Europe. I won't do this piecemeal, it's too dangerous. I want the entire list, the true name of every non-official cover agent throughout the world. ETHAN Ten million. Ten million in negotiable U.S. Treasury certificates, in bearer form, coupons attached. And one more thing -- your personal assurance that Job will be at the exchange. MAX Done. Bring it to me in London. I want it by the end of the week. ETHAN How will you make sure Job will be there? MAX How will you make sure I'll have the list in three days? It's been a delight. Now where can I drop you dear boy? ETHAN I'm not being dropped anywhere without my money. MAX manages to laugh without coughing. Then, with an admonishing forefinger: MAX I'm going to have to front you personally. Don't lose that money without losing your life. ETHAN I wouldn't dream of it. MAX settles back and regards ETHAN. A theatrical sigh. She fancies this guy. CUT TO: INT. MAX'S APARTMENT - DAY KITTRIDGE waits on the balcony for his AGENTS to complete their search. HARRY BARNES, a middle-aged, gray suited, somewhat gray-faced bureaucrat, comes to join Kittridge. KITTRIDGE The man's gone black, Barnes. He's under until he decides to surface. BARNES Look we can use someone from the Embassy and we can get the local authorities involved. Close off his transportation. KITTRIDGE What can we do, Barnes? Put a guy at the airport? How many identities do you think Hunt has? How many times has he slipped past custom, in how many countries? These guys are trained to be ghosts. We taught them how to do it, for Christ's sake! BARNES So what do you suggest? KITTRIDGE Let's not waste time chasing him. Make him come to us. Everybodyís got pressure points. Find out something that's important to him personally and you squeeze. CUT TO: INT. SAFE HOUSE - DAY ETHAN enters the living room. CLAIRE walks out of the bedroom holding a gun. ETHAN reaches into his jacket and holds up a hefty wad of currency. CLAIRE Max made a deal with you? ETHAN I deliver the NOC list, Max delivers Job. CLAIRE We've got seventy-five rounds for your Glock 9, but only twenty for the Sig Sauer, one pair of Visco glasses with monitor, plenty of passports. You said it yourself -- if I'm not dead, I'm with you. ETHAN You're sure about this? CLAIRE Jim was my husband. I want to know who killed him. ( ALT ) I want to get the son of a bitch who did this. ETHAN We need help, and we don't have time. They have to be local. CLAIRE What kind of help? INT. SAFE HOUSE - MOMENTS LATER - DAY The KY57 crypto phone, a black box with an ordinary phone receiver in the top, THUNKS down on the table. ETHAN plugs the phone cable from his laptop into the back. The green display on top of the KY57 dials a number and makes a computer connection. On the computer, the screen says: I.M.F. PERSONNEL DATABASE ENTER PASSWORD NOW ETHAN types a password and the screen asks him for the CATEGORY? He types in a single word. DISAVOWED DISSOLVE TO: INT. TRAIN - STATEROOM - NIGHT The word "disavowed" dissolves slowly over the stateroom of a high speed train, where the newly assembled IM force has gathered around a table -- KRIEGER, a dangerous-looking Frenchman of forty or so, LUTHER STICKELL, a muscular, soft- spoken American in his mid-thirties. ETHAN, and CLAIRE. LUTHER regards the others warily. ETHAN Simple game. Four players. (points to Krieger) Exfil opens the pocket -- (and to Luther) -- cyber ops lifts the wallet. KRIEGER Bank? ETHAN IMF mainframe. KRIEGER (after a moment) Where exactly is it? ETHAN In Langley. LUTHER In Langley? The one in Virginia, Langley? KRIEGER Inside CIA headquarters at Langley. ETHAN nods. KRIEGER turns to CLAIRE. KRIEGER (CONT'D) Is he serious? CLAIRE Always. KRIEGER If we're going to Virginia, why don't we drop by Fort Knox? I can fly a helicopter right in through the lobby and set it down inside the vault and it will be a hell of a lot easier than breaking into the God damn CIA. LUTHER What are we downloading? ETHAN Information. LUTHER What kind? ETHAN Profitable. CLAIRE Payment on delivery. LUTHER I don't know. This I don't know. ETHAN This doesn't sound like the Luther Stickell I've heard of. What'd they used to call you? The Net Ranger? Phineas Phreak? The only man alive who actually hacked NATO Ghostcom. LUTHER There was never any physical evidence that I had anything to do with that.. that.. (correcting himself) With that exceptional piece of work. ETHAN You don't know what you're missing. This is the Mt. Everest of hacks. LUTHER You're all kidding yourselves. Even with top of the line crypto. Cray access. STU 3's -- CLAIRE Krieger can get it. (to Krieger) Right? KRIEGER May take a little time. ETHAN May take a little time. That's not what Claire tells me about you. LUTHER Thinking Machine laptops, I'm talking about the 686 prototypes -- with the artificial intelligence Risk chip -- ETHAN looks at KRIEGER. KRIEGER Twenty-four hours. ETHAN looks back at LUTHER. LUTHER thinks. LUTHER And I get to keep the equipment when we're done. ETHAN Luther, I guess you're all out of excuses. LUTHER I can't just hack my way inside. There's no modem access to the mainframe, it's in a stand-alone. I'd have to be physically at the terminal. ETHAN Luther, relax, it's worse than you think. The terminal's in black vault lock-down. INT. CIA CORRIDOR/GUARD STATION - DAY While ETHAN talks, we see what he's referring to: A CIA ANALYST carrying a glass of iced tea and several file folders walks down a long corridor in the headquarters building. He comes to an impressive guard station and rests his chin on a strange-looking optometric device. ETHAN (V.O.) They missed nothing in that room. Even the vents have laser nets over them. Apparently the device approves and the ANALYST is buzzed into a "RESTRICTED" area of the building. INT. CIA COMPUTER ANTEROOM - DAY The ANALYST reaches a curtained area. He shoves the curtain aside and comes to a large, vaulted door. He slides a card- key into a slot, leaves it there and slides a second card-key into the slot beneath it. ETHAN (V.O.) Inside, there are three countermeasure systems that can only be deactivated by authorized entry. Which we won't have. A panel next to the ANALYST says "INTRUSION COUNTERMEASURES OFF." The ANALYST next spins a three digit combination code, CHUNKS the door open and steps into -- INT. CIA COMPUTER ROOM - DAY -- the secured terminal room. It's not large but it's impressive. A single terminal is bolted into the middle of the floor and the glass and tile walls of the room overlook computer storage towers. ETHAN (V.O.) The first system is sound-sensitive, anything above a whisper sets it off. The second system is on the floor and pressure-sensitive -- The ANALYST closes the vault door behind him and walks across the room. As he walks, the floor tiles light up under his feet, turning off again when he lifts the weight from them. ETHAN (V.O.) --and the third detects any increase in temperature. Even the body heat of an unauthorized person in the room will trigger it. A thermometer on the wall shows the temperature is 72 degrees. The ANALYST sets his glass down, boots up the computer, and starts entering data from the file folders. ETHAN (V.O.) All three systems are state of the art. The ANALYST turns and takes a sip of his iced tea. A drop of condensation runs down the glass and hits the floor. When it makes contact, the floor panel lights up. INT. TRAIN STATEROOM - NIGHT The other team members gathered around the table look at ETHAN skeptically. LUTHER And you really think we can do this. INT. TRAIN CORRIDOR - NIGHT The middle of the night and the train is dark. The team members come out of the stateroom to go to bed -- KRIEGER heads in one direction, ETHAN and CLAIRE in the other. ETHAN stops. His attention is drawn to the car ahead. There is a window in the door to the car and he looks through it. ETHAN'S P.O.V. THRU WINDOW (INT. BUSINESS CAR - NIGHT) Ethan sees the business car, a plush space for busy executives to get some work done on the train. There are laptops, cellular phones, desks that fold out in front of spacious seats. A FEMALE EXECUTIVE, forty or so, is seated at one of the desks, typing away into her laptop. INT. TRAIN - CORRIDOR - NIGHT ETHAN knocks on the compartment door. ETHAN May I come in? CLAIRE (wary but interested) Sure... INT. TRAIN - CLAIREíS COMPARTMENT - NIGHT ETHAN and CLAIRE enter, ETHAN closing the compartment door. He pulls an envelope from his jacket and holds it out to her. She takes it, waits. ETHAN It's cash. And a second passport. If anything goes wrong when we're inside, if you sense even the slightest deviation don't look over your shoulder, you walk away - you hear me? Just walk away. CLAIRE You don't think we're going to make it. ETHAN I didn't say that. CLAIRE You didn't have to......... ETHAN I just need you to be safe. CLAIRE What about you? ETHAN What about me - Jim called an abort - I didn't comply. I lost the team. I just need you to be safe. CLAIRE's coolness causes ETHAN to hesitate just enough to take it in. CLAIRE I wish I'd never laid eyes on you.. And they're suddenly, violently in each others arms, kissing and half-falling onto the converted bed. She suddenly resists. He senses it and pulls away. ETHAN Sorry. He rises and goes to the door. He's got his hand on the knob when CLAIRE wraps her arms around him from behind, turns him to her and kisses him, deeply. This time they sink slowly to the bed. CUT TO: EXT. CIA LANGLEY - DAY Seen from the air, CIA headquarters is a sprawling complex, two huge buildings surrounded by acres of parking lots hacked out of a thick forest. LANGLEY INT. COMMUNICATIONS ROOM - DAY KITTRIDGE, BARNES, and their STAFF are hard at work, photographs and biographical data of ETHAN on various computer and television screens around the room. KITTRIDGE leans back in his chair, staring at the ceiling. BARNES What I want to know is how Hunt accessed the disavowed file, even after we cut off his authorization code. AGENT LOWDEN/AGENT MAREK He may have used Phelps' code. They were friends, and Phelps, was still valid for twenty-four hours. BARNES If that's the case, we need to implement a system to immediately deactivate an agent's code immediately... KITTRIDGE brings his chair legs down on the floor with a BANG. KITTRIDGE I can't believe what I'm listening to. Hunt just kicked us in the ass, you guys are standing here trying to figure out what kind of shoes he had on! I don't care how he did it, I want to know why he did it! Is he recruiting? For what purpose? From somewhere in the building, an ALARM sounds, not too loud in here. AGENT PAT/AGENT LOWDEN Survival. The alarm get louder as it goes off in another part of the building. KITTRIDGE Too short sighted. This guy's proactive, he initiates. The question is what does he want now and where does he need to get it and Barnes what the hell is that noise?! An AGENT is just coming in from the hallway. AGENT Fire alarm, Gene. KITTRIDGE Oh, for -- do we have to evacuate? BARNES That's S.O.P.. KITTRIDGE S.O.P.. CUT TO: EXT. VIRGINIA TWO LANE HIGHWAY - DAY SIRENS BLARING, three fire trucks race past an inconspicuous gray van parked on the shoulder of a two lane highway. INT. CIA LANGLEY LOBBY - DAY Three FIREMEN stomp into the main lobby of the CIA headquarters building. ETHAN and KRIEGER are among them, in firemen's jumpsuits, carrying packs of equipment. ETHAN takes a breath as they cross to the GUARD's desk. He looks up, above him. Etched into the top of one wall are the words "AND YE SHALL KNOW THE TRUTH AND THE TRUTH SHALL MAKE YOU FREE." They reach the GUARD. ETHAN, who wears Visco glasses, elbows to the front of the group and takes charge. ETHAN (to the Guard) We picked up alarms in sectors three, seven, and twelve. The GUARD checks a screen in front of him. GUARD RICHARD Yeah. That's what I've got too. The FIREMEN look at each other. Who is this guy? But he seems to know what he's talking about, so -- ETHAN (to the Guard) What sector's the air conditioning? GUARD RANDALL Uh -- twenty-one, but there's no alarm in sector twenty-one. ETHAN I gotta go in there and shut it down! GUARD RANDALL Nobody goes into any sector where the alarm didn't go off. ETHAN Do you want to blow the fire through the whole building? GUARD RICHARD (reciting policy) Nobody goes into any sector where the alarm did not go off -- EXT. CIA LANGLEY - PARKING AREA - DAY One fire truck is parked slightly behind the others in the parking area of the headquarters building. Second truck roars past. LUTHER watches it go. INT. FIRE TRUCK - DAY LUTHER is in the belly of the fire truck with a ton of equipment -- three laptops, a bundle of phone cable, a mini- dish antenna, a cellular phone, several thick phone company manuals with names like "COSMOS" and "SWITCHED ACCESS SERVICE." One laptop serves as a Visco monitor, showing a video image in which LUTHER watches ETHAN'S point of view of the stubborn GUARD, who's finishing his sentence. GUARD (on screen) --and it did not go off in twenty-one! LUTHER turns to a screen on another computer and searches through a complex facilities menu. LUTHER (mouths) Twenty-one, twenty-one -- He finds what he's looking for and double clicks on it. A red box on his screen lights up -- INT. CIA LANGLEY - LOBBY - DAY -- and the same red box lights up on the GUARD'S screen. From in the distance, a new ALARM begins to wail. GUARD RANDALL Wait! Hold it - it's on. Let's go. ETHAN Let's move! ETHAN turns and looks at one of the FIREMEN behind them -- it's CLAIRE. CLAIRE and KRIEGER follow ETHAN/GUARD to corridor. INT. CIA STORAGE ROOM - DAY CLAIRE quickly slips out of her fireman's jumpsuit, revealing a business suit underneath. She clips an ID tag to her breast pocket. She pulls a piece of paper from her pocket, a computer printout of a man's ID photo. She stares at the face, studying it. INT. CIA CAFETERIA - DAY CLAIRE, carrying a cup of coffee and a muffin, looks for a spot among the tables in the cafeteria of the headquarters building. She sees a MAN sitting alone, reading a newspaper. It's the man whose picture she looked at in the storage room. She sits next to him. He looks up and gives her an acknowledging half smile, then goes back to his paper. He turns to pick up the paper and in the moment he is facing the other way, CLAIRE pulls out a small vial resembling a perfume sampler. She dumps the clear liquid contents into his coffee. He turns back and hands her part of the paper. CLAIRE smiles. COFFEE MAN drinks up. CLAIRE stares at his shoulder strangely. He notices. She reaches out and flicks something off his shoulder blade. He smiles. But she hasn't flicked something off his shoulder blade, she's flicked something onto it -- a little piece of shiny gray metallic tape. CLAIRE leaves the table. COFFEE MAN drinks up and leaves the table. INT. FIRE TRUCK - DAY LUTHER stares at another one of his laptops, this one with a blueprint of the inside of the building. A cursor begins to flash in one of the rooms. LUTHER smiles. LUTHER Hi there. INT. CIA CORRIDOR/GUARD STATION - DAY A GUARD carrying an MP5, a handheld machine gun, leads ETHAN and KRIEGER to a heavy metal door marked SERVICE. GUARD Air conditioning's through here! They turn a corner, walking directly past -- -- COFFEE MAN, who's coming the other way. We stay with COFFEE MAN. INT. CIA LANGLEY - CORRIDORS - DAY COFFEE MAN comes out of the cafeteria, walks down the corridor. he goes to the restricted access door, taps the control panel. CIA ANALYST William Donloe. COFFEE MAN (ANALYST) walks past a GUARD desk and peers into an optometric scanner and we suddenly remember where we've seen COFFEE MAN before. He's the TECHNICIAN who works at the secured computer terminal. INT. CIA - SERVICE AREA - DAY ETHAN and KRIEGER in the service area - preparing. ETHAN putting the mask in a bag. The GUARD returns. GUARD Where's the other guy? The GUARD moves towards ETHAN, who kicks back at him, pushing him back to KRIEGER, who zaps the GUARD on the back of the neck. He twitches and slumps to the ground, unconscious. KRIEGER quickly grabs him around the neck. ETHAN turns. Holding the GUARD'S head with one hand, KRIEGER pulls a stiletto from the sheath in the back of his belt with the other. He jabs it toward the base of the GUARD'S skull - -- but ETHAN is on him in a flash. He grabs KRIEGER's knife arm shoving it up against the wall. Staring into KRIEGER'S face in warning. ETHAN Zero body count. KRIEGER (a threat) We'll see. ETHAN Time up. ETHAN releases him and walks away. INT. VERTICAL DUCT - DAY The Guard is tied up, lying on the floor of the Service Area Room. ETHAN and KRIEGER are below the open vent into the duct system. The first climb is straight up. KRIEGER cups his hands under ETHAN'S foot and lifts him up into the duct as he starts to climb. INT. DUCT - DAY ETHAN and KRIEGER crawl quickly through the ducts, moving horizontally now. They reach a juncture and turn right. ETHAN 1 - 2 - 3 - Toast, toast. Luther, I'm going in. Don't disappoint me...Krieger, from here on in, absolute silence. INT. DUCT - DAY ETHAN and KRIEGER reach a ventilator shaft in the duct. A laser net protects the ventilator, red shafts of light cris- crossing every which way. ETHAN looks down, through the net. He can see the computer room below and the top of the TECHNICIAN'S head. INT. DUCT - DAY In the duct, ETHAN signals to KRIEGER, making a triangle of his hands. KRIEGER wriggles forward and hands him a multi- sided, pyramid shaped glass object. ETHAN raises the pyramid and intercepts a portion of one of the laser net's beams. The pyramid glows and we realise what it is -- a prism. The laser beam now captive in the prism, ETHAN carefully moves it out of the centre of the ventilator shaft and directs it toward another prism, clearing a path through the shaft. INT. CIA - COMPUTER ROOM - DAY Up in the ceiling above it, one of the screws starts to move in the ventilator shaft, unscrewing. When it appears ready to drop out, a thin strip of metal snakes out from between the bars of the shaft and edges up next to the screw. The screw drops out of its hole but it doesn't drop to the floor, it zips over and clings to the side of the metal strip with a gentle CLICK, as to a magnet. The screw is pulled up, through the shaft. Now the whole shaft moves, down, into the room, held by a hand. It turns sideways and is pulled up, into the duct. A rubber tube snakes down, through the hole, coming to a stop near the thermostat, which says it's seventy-two degrees. A gentle WHOOSH is audible as frosty air blows through the tube, cooling the room. INT. CIA COMPUTER ROOM - DAY The TECHNICIAN defaults the security systems outside the terminal room. INT. CIA - COMPUTER ROOM - DAY It is eerily still in the locked-down computer room we saw earlier. No-one is there, there's not a sound but for the gentle HUM of the computer as it waits to be put to use. Now ETHAN's head descends slowly into the room, his hair falling in front of him. At first it seems he's just poking his head in for a look, but he keeps coming and coming -- first his head, then shoulders, then waist, then knees, and finally we see his ankles and understand. He is lowered to stop in front of the thermometer and temperature read out on the computer. Suddenly ETHAN is lifted back up quickly to hang at ceiling height above the computer as the ANALYST enters the room. INT. CIA - COMPUTER ROOM - DAY The TECHNICIAN crosses to the computer and sits down, a stack of work to his right. INT. CIA COMPUTER ROOM - DAY The TECHNICIAN is working away at the computer. He pauses and wipes some sweat from his forehead. INT. CIA COMPUTER ROOM - DAY With a strange look on his face, the TECHNICIAN looks up. It's almost as if he senses ETHAN above him but instead -- TECHNICIAN Oh, God. -- he vomits. He reaches for the garbage can and upchucks again. Puzzled, sick and feeling another wave coming on, he drags himself to his feet, hauls himself across the room and leaves. INT. CIA - COMPUTER ANTEROOM - DAY Even sick, the TECHNICIAN still thinks to re-activate the alarm systems with a card-key. They HUM back to life efficiently, a light flashing: INTRUSION COUNTERMEASURES ON INT. CIA COMPUTER ROOM - DAY ETHAN descends again, slowly but steadily, until he is at the same height as the computer terminal to hang horizontally in front of the computer. A heavy velcro strap binds his ankles together, secured by a rope that leads up into the ventilator shaft and through the set of pulleys. INT. DUCT - DAY KRIEGER holds the rope, his jaw clenched, sweat breaking out on his forehead. INT. CIA - COMPUTER ROOM - DAY Unfortunately, he's three feet away from it. He stretches his arms but can't reach. He blinks, unable to believe this. He curls himself into a situp and looks up, into the shaft. INT. DUCT - DAY KRIEGER sees the predicament. INT. CIA - COMPUTER ROOM - DAY ETHAN gestures to him, pointing to the floor. Slowly, KRIEGER drops him another few feet. Now ETHAN's lower than the terminal and still three feet away from it. He closes his eyes, summoning his strength and does another situp, bringing himself up right in front of the terminal. INT. FIRE TRUCK - DAY In the fire truck, LUTHER, who is watching on the Visco monitor, turns his head upside down to get a look at what ETHAN sees. He cups his hands around the microphone of his headset and begins to whisper. We hear only the moist, airy sound of his breath, not the words. LUTHER Type this password: AW96B6. Return. Go to the files menu, find the NOC list file. Open "NOC List." Put your diskette in. Double click on the NOC list. INT. CIA - COMPUTER ROOM - DAY ETHAN's ear receiver WHISPERS ever-so-slightly. He reaches out, to the upside down keyboard, cranes his head to see it and starts typing, softly. The computer HUMS, activated. ETHAN unbuttons his pocket, withdraws a 3.5 disk and slides it gently into the floppy drive. The computer accepts it with a soft WHIR. ETHAN winces, even that soft sound is deafening in these circumstances. But no alarms go off. INT. FIRE TRUCK - DAY LUTHER cranes his head again to see the computer terminal through ETHAN's trembling viewpoint. He WHISPERS more commands. LUTHER Ok, good! It's scrolling. 0K, now we're going to download. Edit menu. Select "copy to disc". You're downloading. When it's all green it's done. INT. CIA - COMPUTER ROOM - DAY ETHAN types in the contends, presses enter and the screen displays a comforting message: DOWNLOADING INT. FIRE TRUCK - DAY LUTHER'S eyes widen as he gets his first look, on the Visco monitor, of the specific information they're downloading. The NOC list. LUTHER Holy mother of God. INT. DUCT - DAY KRIEGER shakes with the strain of holding the rope. His eyes suddenly widen as he sees something next to him. It's a rat. KRIEGER stares. The rat stares back. Neither moves. Puzzled by KRIEGER'S lack of response, the rat crawls forward, inquisitive. KRIEGER's eyes water, his nose twitches. He's about to sneeze. INT. FIRE TRUCK - DAY LUTHER pulls himself together and WHISPERS another command into the microphone. LUTHER You've done it. Eject it. INT. CIA - COMPUTER ROOM - DAY The 3.5 disk is ejected from the floppy drive. ETHAN pockets it and signals to be raised. Slowly, his body starts to move up. As it does, a bead of sweat rolls down his nose, balling at the tip. ETHAN ignores it. But below him, he sees the floor tiles, four of them lit up under the wheels of the chair at the computer terminal. His eyes widen as he realizes something -- --the drop of sweat falls -- --and he catches it with his right hand. INT. CIA - MEN'S - DAY CIA ANALYST crosses corridor from restricted access door to bathroom. A toilet FLUSHES, smashing the silence, and the TECHNICIAN staggers out of the bathroom. He goes to the sink and throws some water on his face. He's still unaware of the piece of shiny metallic tape stuck to his shoulder blade. He walks out of the bathroom, crosses corridor to door. INT. FIRE TRUCK - DAY On one of LUTHER'S laptops, the blinking cursor starts to move down a corridor. LUTHER speaks into his microphone. LUTHER He's rolling. Get moving! INT. CIA - COMPUTER ROOM - DAY ETHAN is near the ceiling, but KRIEGER isn't pulling any more. ETHAN looks up at him, wide-eyed and gestures to pull him up. KRIEGER shakes his head no. ETHAN gestures -- "WHAT?!" INT. FIRE TRUCK - DAY The cursor is halfway across the screen. LUTHER Get out of there -- get out of there -- INT. CIA - COMPUTER ROOM - DAY ETHAN still dangles. Holding the rope with one hand, KRIEGER holds out his other, demanding something. He wants the disk. INT. CIA CORRIDOR/GUARD STATION - DAY The TECHNICIAN makes his way back down the corridor, toward the computer room. INT. FIRE TRUCK - DAY The blinking cursor is near the edge of the screen and LUTHER is sweating. LUTHER He's at the vault - get moving! 1 yellow, 2 yellows...Toast! INT. CIA - COMPUTER ROOM - DAY ETHAN, still hanging upside down, has refused. KRIEGER demands again. INT. CORRIDOR/GUARD STATION - DAY The TECHNICIAN passes through the optometric scanner. INT. FIRE TRUCK - DAY LUTHER You're not moving! INT. CIA - COMPUTER ROOM - DAY ETHAN is hoisted up. INT. FIRE TRUCK - DAY LUTHER Phew! (to himself) NOC list. INT. CIA - COMPUTER ROOM - DAY ETHAN has the diskette in his mouth. KRIEGER leans down and takes it. He drops the knife. KRIEGER Merci. ETHAN We're not outta here yet. INT. CIA - COMPUTER ANTEROOM - DAY The TECHNICIAN deactivates the alarm systems, swings the door open and comes back into the room. He turns to close the door behind him and in so doing just misses seeing ETHAN'S head as it is pulled back up into the ceiling. CUT TO: INT. DUCT - DAY ETHAN throws smoke cannisters and he and KRIEGER crawl frantically back through the duct, the way they came. INT. CIA LANGLEY - LOBBY - DAY CLAIRE walks quickly past the GUARDS in the reception area and out of the building. INT. CIA - COMPUTER ROOM - DAY The TECHNICIAN enters the room and shuts the door. He sees the knife, picks it up, looks at it and then puts it down. He resumes his work at the computer but when he punches up his program, something prints out on his screen. Its header: KEYSTROKE LOG -- FILE DOWNLOAD 11/18/95 9.58 AM And it goes on. The TECHNICIAN'S eyes widen in disbelief. He spins back in his chair and reaches for the nearest telephone. INT. CIA - COMMUNICATIONS ROOM - DAY In the communications room, tempers are running a little high. KITTRIDGE is on his feet, berating his staff. KITTRIDGE Think, for Christ's sake, you guys are mired in detail, open your minds, it's gotta be staring us in the face! What does Ethan Hunt want?! BARNES Same thing he wanted in Prague! Same thing he's always wanted! The NOC list! KITTRIDGE Okay! Now it's coming together in KITTRIDGE'S mind and a horrible thought occurs to him. KITTRIDGE (CONT'D) And where is the list vulnerable? There is nervous silence for a moment. Behind KITTRIDGE, on the other side of the room, the phone starts to ring. An AGENT gets up to answer it as a creeping fear pervades the room. KITTRIDGE (CONT'D) (joking) Other than here. Nervous laughter goes around the table. It fades. On the other side of the room, the AGENT who answered the phone turns, receiver in hand, face ashen. He holds the phone out to KITTRIDGE, terrified, the bearer of extremely bad news. They all turn slowly and look at him. He holds the phone out to KITTRIDGE, shaking slightly. AGENT It's for you. KITTRIDGE Kittridge, yup? CUT TO: EXT. VIRGINIA ROAD - DAY It may be a HUMAN SCREAM or it may be a SIREN'S WAIL but it echoes over the forest as a lone fire truck ROARS away from the headquarters building, making its escape. INT. FIRE TRUCK - MOVING - DAY LUTHER, KRIEGER, CLAIRE and ETHAN, the victorious team, are in the truck's cab. They exchange looks of massive relief. But no one speaks. LUTHER, in particular, looks heavily troubled by what they've just done. ETHAN looks at CLAIRE, who is jammed into the seat next to him. She drops her head on his shoulder, exhausted. KRIEGER, in the driver's seat literally and figuratively. ETHAN just looks straight ahead and to CLAIRE. CUT TO: INT. COMMUNICATIONS ROOM - DAY The TECHNICIAN who discovered the theft of the list sits at one end of the now-empty conference table in the communications room. KITTRIDGE sits in a chair beside, staring gravely at him. He gets up and walks to the door, where HARRY BARNES hovers. KITTRIDGE lowers his voice, it's barely audible. KITTRIDGE (CONT'D) (to Barnes) You and I know about this -- and that's where it stops. Understand? It never happened. BARNES What about him...? He gestures to the TECHNICIAN, who watches them anxiously. KITTRIDGE I want him manning a radar tower in Alaska by the end of the day. Just mail him his clothes. He leaves. Barnes turns to the TECHNICIAN, who looks up at him anxiously. CUT TO: EXT. LONDON - NIGHT Night. This street is a row of nondescript hotels, one after the other, with anonymous names like "Hotel Pomeroy," "Hotel Vincent," and "Hotel Berridge." LONDON INT. LONDON SAFE HOUSE - NIGHT This barely furnished flat is as nondescript as the row of buildings it's in. ETHAN hurriedly digs through an overnight bag until he finds what he's looking for -- the now-battered bible he's used to contact Max. He flips through the pages and crosses the room to his laptop, which is powered up and waiting on the tiny desk. LUTHER, alone in a chair across the room. is seriously preoccupied. KRIEGER is sprawled-on a ratty sofa, hoisting a lager and watching CNN. CLAIRE is at the window staring out, anxious. KRIEGER glances over the back of the sofa at ETHAN. KRIEGER You contacting your buyer? (no answer) Ethan? From the desk, ETHAN glances up. Then goes back to the computer. KRIEGER continues to glare over the sofa back. KRIEGER (CONT'D) Ethan? Oh, 'scuse me Mr. Hunt? ETHAN ignores him, working. His computer jams with static as it connects to a BBS. The screen blinks and displays the familiar Bible group service through which he's contacted Max. When it asks him which chapter and verse for the posting, ETHAN flicks through the Bible, looking for the next code. He begins to type. MAX -- Now might be an excellent time to interpret Scripture face to face. Meet on TGV, noon tomorrow. Take seat 27. Bring our mutual friend Job. KRIEGER suddenly appears over his shoulder and knocks bible out of Ethan's hands to the floor. KRIEGER You're not going to any meeting without me. ETHAN My contact is extremely shy. He goes back to the computer, his finger hovering over the "ENTER" button. LUTHER and CLAIRE watch this growing conflict closely. ETHAN sighs and stands up. KRIEGER pulls out the blue disk he took from ETHAN in the computer room and waves it in front of him. KRIEGER I don't think you're in any position to give orders, do you? Not while I'm holding this. CLAIRE Krieger. KRIEGER Stay out of this. OR Lachez - moi OR T'agueue ETHAN Don't you mean this? He reaches into his briefcase and pulls out an identical disk. He puts it back in his jacket pocket. KRIEGER stares for a second. KRIEGER That's not it. That's not the list. ETHAN What's the matter, you don't know this trick? He holds the jacket pocket wide open, for KRIEGER to look into. KRIEGER does. The pocket is empty. ETHAN (CONT'D) (mock surprise) Where did it go?! It's GONE! ETHAN walks over to CLAIRE, reaches into the pocket of the trousers she's wearing and pulls out the disk. ETHAN (CONT'D) But not too far! He palms the disk in his right hand. ETHAN (CONT'D) I know what you're thinking, Krieger. You're thinking, back in the computer room -- I was up here -- he was down there -- . He was carrying two discs. While he talks, he rotates his hand, palm away from KRIEGER. When he rotates it back, the disk is gone again. He holds up his left hand. It's there now. ETHAN (CONT'D) So hard to keep track of these things. ETHAN shows his hands -- now both are empty. KRIEGER (fuming) Where is it? ETHAN pats his pockets, pretending to be frantic. ETHAN I thought you had it! Do you actually think I'd let you have the NOC list? KRIEGER just stares at him, shaken. CLAIRE laughs. KRIEGER looks at her. He turns completely red. When he looks back at ETHAN, ETHAN holds two disks -- one in each hand. KRIEGER Try any sleight-of-hand with my money and Iíll cut your throat. He tosses his worthless disk into the trash can and storms out, SLAMMING the door behind him. ETHAN picks up the Bible and sees Drake Hotel. CLAIRE I'm so sorry. Krieger was my call. I've never worked with him. I'm sorry, Ethan. ETHAN We did what we had to do. CLAIRE I'm going to try and get some sleep. She leaves, closing the door behind her, leaving ETHAN and LUTHER alone. ANGLE ETHAN waits a moment, then casually walks to the trash can, picks up the disk KRIEGER threw out and brushes it off carefully. He replaces it, in the trash, with the blue disk from his jacket pocket. LUTHER Krieger did have the NOC list. ETHAN Now I want you to hold onto it. LUTHER What makes you trust me? ETHAN Because if you knew what you were getting into, you never would have done it. LUTHER I'm not letting this list get out in the open. ETHAN Exactly, that's your job. Tomorrow on the train, you can't let this list get out into the open. What's the range of this thing? LUTHER It's hard to tell. I'm gonna have to be close. ETHAN I'll get you close. Claire opens the door. CLAIRE Ethan I need to talk to you. ETHAN follows CLAIRE into her room where she shows him the television screen. INSERT - SCREEN On the screen, an anchor in the CNN news center. ANCHOR The unlikely setting...a farm in the heartland of America...the State of Wisconsin, where federal agents claim to have broken the brain trust behind an international drug ring. For a report we go live now to CNN correspondent (Joe Jones) in the state capitol, Madison. (Joe)...? CNN reporter speaks to camera, on the steps of a courthouse. REPORTER Authorities have identified the couple as Margaret Ethan Hunt and Donald Hunt. BACK TO SCENE ETHAN looks. CLAIRE behind him. INSERT - SCREEN An OLDER COUPLE, mid-sixties, exit the doors and are led down the steps of the courthouse in shackles. The Reporter and other news crews race up to the door. REPORTER Here they are now. Camera follows the couple downstairs. Police roughly pull them away from the news crews. BACK TO SCENE INSERT - SCREEN REPORTER They were apprehended this morning by the DEA in a major sting operation for the illegal manufacture of the drug methcathinone, known on the street as "cat". BACK TO SCENE ETHAN INSERT - SCREEN VOICE (O.S.) Similar to methamphetamines, cat is seen by officials as one of the most powerful and dangerous drugs in the world. Some thirty-four cat labs have been seized so far, but the recently widowed Mrs. Hunt and her brother-in-law are believed to be involved in a global drug distribution network. A public official exits the building. The reporter and other news crews charge up to him. REPORTER Mr. Fairchild, agent Fairchild, a comment please. The image on the television changes to an interview with a PUBLIC OFFICIAL who faces a bank of microphones. PUBLIC OFFICIAL I think it's sad, really. Farmers, unless they're a conglomerate, are always operating on a paper-thin margin. I'm afraid what we have here is a case of a naive and lonely widow with a lot of financial problems who chose to make money through illegal means. REPORTER That was John Fairchild, the DEA agent in charge of this investigation. Officials tell me that international law enforcement agents are expected to arrive here later today to question the Hunts. This is Joe Jones, CNN, Love in Madison, Wisconsin. BACK TO SCENE ETHAN Kittridge... CLAIRE Bastard! ETHAN switches TV off and paces away from it. His anger erupts and he kicks the old filing cabinets, then picks up a chair and throws it across the room so it smashes into the wall. CLAIRE tries to get hold of him, but he shakes her away. ETHAN Don't...don't touch me... CAMERA SWING PANS between them. CLAIRE What are you going to do? ETHAN (turns to her and gestures at TV) He's expecting my call. (strides to door) I'm going to the station... (o/s at door) And I'm going to call him. EXT. LONDON SAFE HOUSE - RAIN - NIGHT ETHAN comes out from a side street by Liverpool Street Underground Station and crosses the road to the main station. CLAIRE watches him from the window. INT. LONDON TERMINUS RAILWAY STATION - NIGHT ETHAN hurries down escalator. CAMERA MOVES IN on him. He crosses to the TELEPHONE BOXES. He starts to dial a number. CUT TO: INT. CIA - COMMUNICATIONS ROOM - NIGHT A light flashes and a phone BUZZES. KITTRIDGE in shirt and tie, picks up. BARNES and several other AGENTS are monitoring newscasts and engaged in various activities related to the Hunt case. KITTRIDGE (picking up) Kittridge. ETHAN (O.S.) I see you've been out visiting the folks. KITTRIDGE (covers receiver) It's Hunt. What do you need for a pinpoint? (to Ethan) Been watching a little T.V., have you? One of the technicians frantically scratches something on a piece of foolscap and waves it at KITTRIDGE: "80 SECONDS". KITTRIDGE nods. EXT. PHONE BOX - LONDON - NIGHT ETHAN Hauling Mom off to jail in shackles was an especially nice touch. INT. CIA - COMMUNICATIONS ROOM - NIGHT At the console, the number 44 flashes on the TECHNICIAN'S screen. TECHNICIAN He's in England. BARNES scratches England and 22 seconds on foolscap and waves it. KITTRIDGE (covering receiver) Get MI5. The TECHNICIAN opens another line on his console and begins patching through to Whitehall. KITTRIDGE Ethan, I want to reassure you that my first order of business after you come in is to get these ridiculous charges against your family dropped and eliminated completely from their files. Come in now, we can plea down the charges against you as well. The wall clock is thirty seconds and counting down. The TECHNICIAN is frantically signalling KITTRIDGE to keep talking. KITTRIDGE is momentarily stuck. Fortunately: ETHAN (O.S.) Can I ask you something, Kittridge? KITTRIDGE Certainly Ethan. INT. PHONE BOX - LONDON - NIGHT ETHAN If you're dealing with someone who's crushed, stabbed, shot and detonated five members of his own IMF team, how devastated do you think you're going to make him by marching Ma and Uncle Donald down to the county courthouse? INT. CIA - COMMUNICATIONS ROOM - NIGHT KITTRIDGE I don't know, Ethan. Suppose you tell me? Click. ETHAN has hung up. KITTRIDGE looks hopefully to the TECHNICIAN who says: BARNES Lost him. We needed three more seconds. Surprisingly KITTRIDGE is not as upset as he is puzzled. KITTRIDGE He wanted us to know he was in London. Clearly that's the question that KITTRIDGE is turning over in his mind and he doesn't have a simple answer to it. CUT TO: EXT. PHONE BOX - LONDON - NIGHT Close Digital clock. It reads 23.59. Angle widens to show ETHAN looking at it with grim satisfaction. He opens the door of the phone booth and almost SMACKS right into -- --the pale, weary, ghostlike figure of a man standing just inches in front of him. Startled, ETHAN looks up, but what he sees shakes him to the core. The man is JIM PHELPS. ETHAN SHOUTS and almost falls back into the phone booth. PHELPS leans against the door of the booth and smiles weakly. PHELPS You're a hard man to catch up with. PHELPS falls towards ETHAN. ETHAN tries to speak, but can't even form words. INT - RAILWAY STATION CAFE (DAY) ETHAN and PHELPS opposite one another in a booth, PHELPS looking clammy and listing to one side. But the banter seems friendly and very quick - two friends and close colleagues able to follow one another's reasoning easily, finishing each other's sentences: PHELPS ..the next day I managed to drag myself to the safe house, must've just missed you..anyway, I checked our aliases. ETHAN - and picked us up in the States - PHELPS - but you left before I could get there and I could check just so many places.. ETHAN Yeah, smaller countries don't computerize customs records - PHELPS - so I watched Europe. Once you showed up in England..it was easy. ETHAN You knew I liked the rentals at Liverpool Street. PHELPS Hey, I showed 'em to you! ETHAN I remember.. PHELPS smiles warmly, has to steady himself to maintain an upright position. He opens a medicine bottle and takes the pain killers. ETHAN Jim, who do you think you're kidding? A doctor's gotta look at that. You can't sit up straight. PHELPS I can sit up straight. I just can't..sit up straight very well. It's not important! I saw who shot me. Ethan, I saw the mole. It was Kittridge. (a fist into the table) Kittridge! PHELPS grips the sides of the table. ETHAN Kitteridge. Oh my god! Kittridge is the mole? PHELPS Yeah. ETHAN How did Kittridge do it?.. EXT. CHARLES BRIDGE - FLASHBACK - NIGHT A reprise of PHELPS'S narrative only now ETHAN'S telling it and camera is showing the events as ETHAN sees they actually happened. ETHAN VO - first he took care of Jack in the elevator - At the Embassy PHELPS sends the elevator to the top of the building, watching it go and crush Kiefer. ETHAN VO - he shot you on the bridge - On the Charles bridge PHELPS using the Visco glasses aims the gun toward them, fires, cants the glasses and tosses them into the Vltava River. ETHAN VO - he must have had back up take out Golitsyn and Sarah at the fence.. There on the embankment, in the night and fog, it is KRIEGER who takes out GOLITSYN and SARAH thru the fence.. ETHAN VO How did he do Hannah? Here it is CLAIRE with back to camera who presses the detonator and turns dreamily to face it, the explosion brilliant behind her... ETHAN VO No. No. He could've taken out Hannah himself. PHELPS presses the remote detonator and the car blows.. OVER SHOULDER - PHELPS (INT. RAILWAY CAFE) ETHAN looking intently at him. ETHAN Why, Jim? Why? Awkward moment. PHELPS ..when you think about it, Ethan, it was inevitable..no more Cold War. No more secrets you keep from everyone but yourself, operations you answer to no one but yourself. Then one morning you wake up and find out the President of the United States is running the country - without your permission. The son-of-a- bitch! How dare he? You realize itís over, youíre an obsolete piece of hardware not worth upgrading, youíve got a lousy marriage and sixty-two grand a year. Kittridge, weíll go after that no good son-of-a-bitch, big time! ETHAN We donít have to, Jim. Heíll come after us. PHELPS Whatís going to make him do that? ETHAN What he didnít get in Prague. The NOC list. PHELPS Jesus, Ethan. Good for you. ETHAN A meeting tomorrow on the TGV, enroute to Paris. PHELPS Tight security. No guns. Real plus. ETHAN If I supposedly deliver the NOC list to Max, Max has agreed to deliver Job to me. Iíll have Claire and Luther Stickell with me on the train. Marcel Krieger will have helicopter transport waiting in Paris. PHELPS looks away. Seems badly shaken. ETHAN Jim...? PHELPS I was sitting in a cafe waiting for you and suddenly there she was, standing in the rain just outside the safe house..alive and beautiful..and thinking Iím dead and gone. God knows what sheís had to do forget about me to keep going and get the job done, I.. PHELPS breaks off abruptly. Apparently some inner struggle over this threatens to overwhelm him. Then, controlling it: PHELPS - no. She canít know about me. No one can. Not til this is over. Thereís too much at stake, Ethan. ETHAN Youíre probably right. PHELPS I usually am. ETHAN Once we leave the safehouse, get in there and crash. Iíll call you from Paris. PHELPS You got it. ETHAN And get a doctor. PHELPS Good luck. INT. LONDON SAFE HOUSE - CLAIREíS ROOM - NIGHT The door to CLAIRE'S room in the safe house opens, throwing a shaft of light over her form. ETHAN creeps in and closes the door behind him. It is approximately one a.m. . CLAIRE is huddled in the corner. ETHAN enters and stands looking at her. CLAIRE What happened? ETHAN (walks towards her) I sent the message to Max. Weíre on for tomorrow. CLAIRE Okay... ETHAN (he steps towards her, stops) Is this the only way? CLAIRE Yes.......come here....viens pres moi... She draws him down by his hand to kiss her. He kisses her again, more fully. She wraps an arm around him and he holds onto the kiss. The room appears to revolve around them. CUT TO: EXT. PRIVATE HELIPAD - DAY Suddenly itís bright, broad daylight, so bright it hurts our eyes. KITTRIDGE and BARNES step off a military helicopter, blinking at the sunlight and hurry down the steps. TWO AGENTS immediately flank KITTRIDGE at the bottom and fall into step alongside, ready to brief him. One of them holds out a small package with "for Job" written on it. KITTRIDGE looks at him. He rips it open. A note inside simply says: TGV. LONDON TERMINUS Noon. KITTRIDGE looks at his watch. Itís ten to twelve. As he reads the note, something else falls out of the envelope and CLUNKS to the ground. He bends over, picks it up, and looks at it. Cradled in his hand, we canít see what it is. But to him, itís very interesting. He steps up his pace, headed for the car. KITTRIDGE (to the Agent) How long to the London Terminus? AGENT Twenty, twenty-five minutes. KITTRIDGE Youíve got ten. Move! INT. WATERLOO STATION PLATFORM - DAY The sleek front power car, looking like the nose of an SST, gets its 25,000 volt charge from the overhead catenary. The rear power car gets its jolt. The TGV starts to move, pulling out of the station. INT. BUSINESS CAR - MOVING - DAY The business car is similar to the one ETHAN saw on the first train they look across Europe. Itís crowded, maybe THIRTY MEN and WOMEN in suits, most of them already immersed in work on their laptops or talking on their cellular phones. One such woman is MAX in her seat, number 27. MATTHIAS and the OTHER MAN, last seen dropping off ETHAN in Prague, sit across from her, her laptop is on the table next to her, in her briefcase. MAX How long until we reach the Chunnel? MATTHIAS Twenty minutes. INT. REAR CAR - MOVING - DAY A MAN puts a cellular phone and a radio/cassette machine on the bunk-bed. We only see his hands as he proceeds to take the parts of a pistol out of the cassette machine and assemble a wicked-looking pistol from the seemingly innocuous electrical parts inside. INT. BUSINESS CAR - MOVING - DAY MAX is reading the Financial Times. MATTHIAS is looking out of the window. A cellular phone rings inside MAXís briefcase in front of MATTHIAS. MATTHIAS takes the phone out. MATTHIAS Yes... (holds phone out for Max) Itís him. MAX (into phone) This wasnít what we discussed. ETHAN (O.S.) (on phone) My apologies Max. Couldnít be helped. Thereís a piece of black cloth under your seat. Tear it away and youíll find the disk. MAX reaches down and does as instructed, finding the computer disk as promised. She hands it to Matthias who strips off the velcro covering and slots it into the drive next to the computer in the briefcase. He boots it up quickly and turns the briefcase containing the computer toward MAX for her to see. One half of the screen, with the heading "CRYPTONYM AND OPERATIONAL SPECS" is already jammed with information. The blank second half of the screen acquires the title "TRUE NAME," and information starts filling itself in rapidly -- names, addresses, identities. As the two sides match up, a legend flashes: IDENTITY MATCH MAX (back into phone) Ha, dear boy! I do hope this doesnít prelude a meeting in private. ETHAN (O.S.) It doesnít, dear girl. as long as you tell me where the money is. MAX The possibility alone is worth ten million. Baggage car, rack 3. Silver briefcase. Combination 314. ETHAN (O.S.) What about Job? MAX I wouldnít worry about him. Once youíve got the money -- heíll find you. INT. BUSINESS CAR - MOVING (ANOTHER ANGLE) LUTHER, three rows behind in another seat, is at work on a laptop of his own. A mobile Nokia phone is beside it - red light flashing. INT. SECOND CLASS CAR - MOVING (ANOTHER ANGLE) - DAY KITTRIDGE and BARNES move through the second class car. They turn around and start working their way back again. At the front, CLAIRE is getting desperate. A LARGE MAN passes through the door behind her. The LARGE MAN continues back, nearing KITTRIDGE and BARNES, who are forced to step into empty seats on the side in order to make room for him to pass. As they move by him, their vision is momentarily blocked -- -- and CLAIRE gets up to follow. She follows to the rear of the car and she passes through the door and out of the car, after KITTRIDGE and BARNES talk in doorway. BARNES Only four more cars. KITTRIDGE And if we donít find him - weíll search the whole train again. BARNES Whatís Hunt doing on the TGV? KITTRIDGE High speed train. No-one gets on. No- one gets off. High security. Good place for a pass off to Max. BARNES But why tell us? KITTRIDGE Heís putting on a show, Barnes. BARNES What kind of show. KITTRIDGE I donít know. (looks at his wrist monitor) It didnít say on the tickets. KITTRIDGE and BARNES go off back through the next coach. CLAIRE follows into the same doorway and stops to speak into her wristwatch to ETHAN: CLAIRE Ethan...Kittridge is on the train. ETHAN Kittridge is Job. Max delivered. How far is he from Luther? CLAIRE Two cars. Where are you? ETHAN You are my eyes. Stay with him. She moves onto the next coach, going after KITTRIDGE and BARNES. INT. BUSINESS CAR - MOVING - (MAX) - DAY On her computer screen in the business car, an ominous message flashes. LIST COMPLETE MAX dials a number on her cellular phone. She is calling Job. MAX (into phone) Heís in the baggage car. PHELPS (O/S) (assembling gun in sleeping compartment) Iíll be there. MAX hangs up and hands the phone to MATTHIAS who slots it into the briefcase next to the computer. He dials a number on the keyboard and pushes send. The computer emits a DIAL TONE. Her computer flashes a message. MODEM DENIED MAX Whatís the problem. MATTHIAS Connection denied. MAX Try it again. MATTHIAS Itís not working. MAX Is something wrong with the phone? (Pause as he tries the phone) Well is something wrong with the batteries? MATTHIAS I always check the batteries. MAX Run it through from the top. INT. REAR CAR (SLEEPING COMPARTMENT) - MOVING - DAY The MAN assembling the gun CLICKS the last piece, the silencer, into place. INT. CAR (NEXT TO MAXíS CAR) - MOVING - DAY KITTRIDGE and BARNES looking - stop in doorway. BARNES Nothing but civilians, Gene. KITTRIDGE This is bullshit - we donít even know what Max looks like. BARNES Maybe we donít have to know what he looks like. If heís got that list, heís going to want to check it. We should be looking for laptops. KITTRIDGE Good idea. INT. BUSINESS CAR - (LUTHER) - MOVING - DAY LUTHER sees them coming. He smacks the laptop shut and positions his jamming phone on the table to point at Maxís computer. He gets up, taking his computer with him, headed for the rear of the car. A WAITER sees the phone and goes after LUTHER with it. WAITER Excuse me, Sir, your telephone... OTHER PASSENGERSí phones nearby go haywire. LUTHER looks to MAX. Exits car. INT. BUSINESS CAR - MOVING - (MAX) - DAY Her dial tone finally hits the static of a computer connection and the message on her screen changes: TRANSFER IN PROGRESS MATTHIAS Itís working. MAX Phew! Weíve got five minutes... INT. BUSINESS CAR - MOVING - DAY LUTHER shuts himself in the bathroom. The OTHER MAN follows him, tries the door and waits his moment. The OTHER MAN bangs against the door. LUTHER braces himself against the door. INT. ANOTHER CAR - MOVING - DAY CLAIRE walking through. She pauses to listen in her earpiece. ETHAN (O/S) Iíve got the money. Meet me in the baggage car. She walks on. INT. BUSINESS CAR - MOVING - DAY KITTRIDGE and BARNES are looking at the people in the Business Car behind MAX. CLAIRE passes them by heading for the last executive coach to get to Club and Baggage Car. She passes the OTHER MAN at the bathroom door. He follows her. KITTRIDGE Get this door open. KITTRIDGE and BARNES have seen CLAIRE go through MAXíS Business Car and past the OTHER MAN at the bathroom door. They follow, but suspect the locked bathroom door and stop there to listen. INT. LAST EXECUTIVE CAR - MOVING - DAY CLAIRE moves swiftly through the last car (after MAXíS car). up into the Club Car and opens the door leading to the BAGGAGE CAR. Goes in. The door slams shut. KITTRIDGE Hello, Luther. Whereís Hunt? LUTHER Mr. Kittridge, the NOC list is being modemed off the train. KITTRIDGE Where? INT. REAR CAR - MOVING - DAY CLAIRE enters a little breathless. Spotting PHELPíS profile in the darkened car. CLAIRE Ethanís right behind me. Listen to me Jim. Is it such a good idea to kill him? We take the money. Ethan takes the blame. No-one else has seen you alive. No-one will believe him. ETHAN Of course - Iím sorry to hear you say that Claire. CLAIRE Ethan? PHELPS Yes. Ethan Hunt, darling. Remember him? Here PHELPS pulls out his assembled pistol. CLAIRE You knew about Jim? PHELPS Course he did. Just exactly when he knew is something of a question. Before or after I showed in London, mind telling me, Ethan? ETHAN Before London. But after you took the Bible out of the Drake Hotel in Chicago. PHELPS They stamped it, didnít they? Those damn Gideons. PHELPíS watch alarm goes off. PHELPS Two minutes til Krieger shows. Thisíll have to be quicker than Iíd like. Certainly quicker than youíd like. CLAIRE Ethan, if you knew about Jim?..Why.. PHELPS Why the masquerade? Why take the risk? Well, Claire, youíve asked the question and you are the answer. ETHAN I knew about Jim. PHELPS But, he didnít know about you. In all fairness, Ethan, Claire was never convinced her charms would work with you. But I was supremely confident - having tastes the goods. "Thou shall not covet thy Neighbourís wife", Ethan. Oh, Ethan is in love with you, Claire, make no mistake about it. And like all the worldís lovers, heís tortured by the same, one pathetic question - "does she feel the same way I do?" JIM turns to CLAIRE. PHELPS Well Claire do you? Have you been exploiting his feelings or returning them? CLAIRE Jim - lets just get the money and get out of here. CLAIRE goes to ETHAN. CLAIRE (CONT'D) The money Ethan. ETHAN hands her the money. ETHAN Youíve earned it. CLAIRE goes to Jim with the money. PHELPS Count it. CLAIRE starts to count. ETHAN Tell me something Claire, that night in Prague, was it you or Jim that blew up the car and scattered Hannah all over town? PHELPS Keep counting Claire. CLAIRE It was me. I did it. CLAIRE hands PHELPS the money. PHELPS Satisfied? CLAIRE All ten million. PHELPS Fold it. Fold it tight. ETHAN Arenít you going to thank me Jim. Ten million is better than six. PHELPS Donít flatter yourself - six was for Eastern Europe. You made a lousy deal - ten for the world? What is that? But I needed you for the transfer with Max. I got a little extra change; and you got a little extra too. PHELPíS watch alarm goes off. PHELPS Sorry Ethan. Times up. Say goodbye. ETHAN Youíre wrong about one thing. Iím not the only one whoís seen you alive. ETHAN throws JIM the Visco glasses. KITTRIDGE Good morning, Mr Phelps. PHELPS and CLAIRE are stunned. PHELPS You son of a bitch. PHELPS points the gun at ETHAN. CLAIRE Donít Jim. PHELPS Now we donít have to eliminate him? You like that, donít you Claire? Donít you? CLAIRE Yes. ETHAN Jim, itís over. PHELPS Ethan - Iíve always taught you, nothing can be more dangerous than the truth. It can kill you. PHELPS shoots CLAIRE. Struggle between PHELPS and ETHAN. The gun is lost. PHELPS beats ETHAN to the ground. His watch alarm beeps rapidly. He turns, goes up the stairs and... ETHAN goes to CLAIRE. ETHAN Claire...Hey... CLAIRE This stuff is so sticky. ETHAN Claire. CLAIRE Itís all right, Ethan..youíll bring me back...wonít you... ETHAN I always have, Claire.. CLAIRE dies. ETHAN looks to ladder hatch and climbs ladder. INT. REAR CAR - ENGINEER'S SECTION - DAY PHELPS climbs up a ladder past an inert engineer slumped over the control panel -- an obvious earlier victim of PHELPS. PHELPS puts on a pair of clear goggles, reaches a trap door and climbs through it -- EXT. ROOF OF TRAIN - DAY -- halfway out onto the roof of the train. He reaches into his jacket pocket and pulls out a suction cup with a handle on the end of it. He SMACKS the suction cup down on the roof and pulls himself the rest of the way out. He pulls out a second suction cup and SMACKS it down on the smooth surface of the train. Now for the tough part. Using the suction cups, PHELPS slowly pulls himself forward, a foot at a time, pulling and replanting the cups as he goes. He drags himself over the length of the final car, to the back of the train, where the rear engine slants off sharply, a window for the ENGINEER. Half kneeling on the roof, PHELPS pulls out the clip from his belt. He looks up, scanning the sky behind the train. From out of the fog, a helicopter approaches. PHELPS turns and looks ahead, in the direction the train is going. In the distance, he can see the chunnel approaching the tunnel under the English Channel. His eyes widen. INT. HELICOPTER - DAY KRIEGER is at the controls. He sees the approaching tunnel as well. EXT. ROOF OF TRAIN - DAY PHELPS crawls like hell to get into position. Looking up, he sees KRIEGER pointing frantically behind him. PHELPS turns. ETHAN is climbing out the trap door. A cable and hook swing down from the helicopter, almost touching the roof of the train. PHELPS crawls closer to it. ETHAN, behind him, is in a far more precarious position. Without goggles or suction cups, he has to use his fingers to grab small holes on the roof. He is flipped over by the wind, ending up facing the other way. Loses his grip and is blown backwards over the roof. INT. HELICOPTER - DAY KRIEGER sees the Chunnel entrance approaching. He gestures to PHELPS and tries to move the cable closer to him, passing over PHELPS and then back to him. EXT. ROOF OF TRAIN - DAY PHELPS grabs the cable and is about to hook the cable onto his belt, ETHAN slides into him and they both crash onto the roof. ETHAN grabs the cable out of PHELPS hand and clips it onto the roof. PHELPS and ETHAN struggle, but they are hurtling dangerously closer to the chunnel entrance. They're now right on top of the chunnel entrance. INT. HELICOPTER - DAY KRIEGER sees the tunnel, only seconds away now. He paws at the controls, jerking back desperately on a certain lever. EXT. ROOF OF TRAIN - DAY PHELPS kicks ETHAN and he falls off the far side of the train. PHELPS falls off the near side and holding onto the strap manages to pull himself back on. -- The train ZOOMS into the tunnel -- -- AND THE HELICOPTER ROARS RIGHT IN BEHIND IT! INT. BUSINESS CAR/TUNNEL - MOVING - DAY As the train roars into the tunnel, the business car goes nearly dark and the message on MAX'S computer screen changes one last time. This time it says: CONNECTION TERMINATED. TRANSFER LOST. MAX'S face falls. MAX Damn! INT. REAR CAR/ENGINEER'S SECTION - DAY Another CONDUCTOR races into the power car, past his inert companion, and is shocked to see the copter right behind the train. He grabs a radio and SCREAMS into it. CONDUCTOR No, no, it's IN the tunnel! VOICE (O.S.) Stop the train! CONDUCTOR It'll crash into us! Accelerate, accelerate. EXT. ROOF OF TRAIN/TUNNEL - DAY For a moment, we see no one. No ETHAN. No PHELPS. Moving around to the other end of the car, we see where they've gone. They're dangling from either side of it. PHELPS paws for one of the suction cups and pulls himself back onto the roof of the train. ETHAN reaches for the other cup. The helicopter, fortunate that this tunnel is double track and barely wide enough to accomodate it, pursues, KRIEGER pushing it up to full speed again. But it can't lift up high enough to go completely over the train. EXT. ROOF OF TRAIN/TUNNEL - DAY PHELPS, nearing the back, manoeuvers himself to the windshield of the rear power car, trying to grab the skid of KRIEGER'S copter. He doesn't see what's headed toward him, coming from the other direction. Another train. At the last moment, PHELPS notices the reflection of the oncoming train in the windshield and swings back onto the roof of his train, barely avoiding getting creamed by it as it blows by. The helicopter avoids the oncoming train too -- and PHELPS misses the skid. KRIEGER tips the front of the copter, trying to decapitate ETHAN with the rotor. PHELPS jumps onto the skid, but the copter pitches so far forward the blade hits the top of the tunnel. SPARKS and chunks of cement fly. KRIEGER levels the chopper quickly. ETHAN uses the moment to leap from the train onto the other helicopter skid. PHELPS and ETHAN now hang on the skids, facing one another. Crouching on the skid, ETHAN digs in his pocket and pulls out -- -- a red and green piece of bubble gum. PHELPS sees it and SCREAMS at KRIEGER, who scrambles frantically for his gun. ETHAN Red light, green light. Asta Lasagna mother fucker. ETHAN mashes the red into the green, slaps the gum onto the copter's underbelly and turns away from it. PHELPS kicks vainly at the gum, SCREAMING -- -- but the gum EXPLODES. The force of the blast rockets ETHAN forward, he lands on the train's windshield. The helicopter whirls and BASHES into the tunnel, veers wildly, then pitches forward and down, smashing PHELPS under the skid and EXPLODING in a giant fireball. ETHAN, stuck on the windshield, can only watch as the wreckage of the copter tumbles down the train towards him. It stops just short of him, with its bent and broken rotor blade barely missing his throat. ETHAN lays his head against the windshield glass, utterly drained. INT. BUSINESS CAR/TUNNEL - MOVING - DAY KITTRIDGE comes back into the business car and is joined by BARNES. LUTHER, only slightly bruised, stands up next to them and gestures to MAX and her laptop. LUTHER I think this is what you're looking for. MAX looks up, stunned. KITTRIDGE leans over and peers at her screen. He just smiles and sits down next to her, content to wait for her to speak. When she finally does, she's almost charming. MAX My lawyers will have a field day with this. Entrapment, jurisdictional conflicts -- KITTRIDGE leans closer to her and lowers his voice, just as friendly. KITTRIDGE Maybe we'll just keep the courts out of this one. MAX I'm sure we can find something I have that you need. KITTRIDGE You know, I would love to try. EXT. LONDON PUB - DAY LUTHER sits on a high stool, his PowerBook next to him, while he sips a beer. A television screen is featuring follow-up coverage of yesterday's dramatic helicopter-train wreck in the chunnel. Aside from emphasizing that it was the work of a lone, crazed character in a helicopter who was killed in the crash, there are comments about how miraculous it was there were no other fatalaties. There are intermittent sounds of aircraft taking off and landing, announcements of arrivals and departures. ETHAN into shot. He sits beside LUTHER. LUTHER Reach your folks? (ETHAN nods) How they feeling? ETHAN About what? LUTHER The official apology from the Justice Department, the VIP treatment, you know, the whole nine yards. ETHAN Well my Mother was a little confused about how the DEA could mistake her and Uncle Donald for a couple of dope smugglers in the Florida keys. LUTHER picks up his beer. LUTHER (Laughs and with a British accent) Cheers. They drink. ETHAN Here's to you, Luther. (clink glasses) To being off the disavowed list. LUTHER Hey, I'm the flavour of the month! ETHAN You're more than that, Luther. They were mistaken about you and they're trying to show you they know it. They want you back in. LUTHER Sure. They want me back in so I won't break in! They still can't figure out how we did it. ETHAN You didn't tell 'em at the debriefing? LUTHER I figured I'd let 'em reinstate my back pay, give me a promotion, check out my office at Langley and then, maybe, talk about it. ETHAN (laughing) It's all one big negotiation, isn't it? LUTHER Why don't you come back with me? ETHAN Just don't know why I'd be doing it. LUTHER You really liked Phelps, didn't you? ETHAN He was a good guy for a long, long time. Just - not long enough. (looks up) Gotta catch my flight..(rising) So. How's it feel being a solid citizen again? LUTHER Oh man...I don't know. I'm gonna miss being disreputable. ETHAN Well, Luther - if it makes you feel any better I'll always think of you that way. The two men understand one another and LUTHER will say no more. The two exchange slight gestures of farewell and in a moment ETHAN disappears from the bar, leaving a contemplative LUTHER looking after him. INT. PLANE - NIGHT ETHAN HUNT slumps down in his scat, dosing. A FLIGHT ATTENDANT makes her way down the aisle, holding a case filled with movie cassettes. She stops before a lady passenger. FLIGHT ATTENDANT Would you like to watch a movie, Miss Clarke? She then stops before ETHAN. FLIGHT ATTENDANT Excuse me, Mr. Hunt. Would you like to watch a movie. ETHAN No, thank you. FLIGHT ATTENDANT Would you consider the cinema of the Caribbean? ETHAN just stares at her. This couldn't be what it's sounding like. FLIGHT ATTENDANT Aruba, perhaps? The camera moves into ETHAN's face. They found him. They want him back. He looks up at her and..... CUT TO BLACK THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mission to Mars.txt b/unformated_scripts/Script_Mission to Mars.txt new file mode 100644 index 0000000000000000000000000000000000000000..c02922574c196f6c4e89f39ef41476faac0007de --- /dev/null +++ b/unformated_scripts/Script_Mission to Mars.txt @@ -0,0 +1 @@ + "MISSION TO MARS" Screenplay by Jim Thomas, John Thomas & Graham Yost Story by Lowell Cannon, Jim Thomas & John Thomas SHOOTING DRAFT FADE IN: EXT. LATE AFTERNOON SKY Blue sky, a few puffs of cloud, pierced by slanting rays of sunlight. Late afternoon on a perfect day. SUPER TITLE: "HOUSTON, TEXAS. JULY 4, 2020." As we hear, after a few more beats, an ASTRONAUT'S VOICE. PHIL T minus ten, nine, eight, start ignition sequence, five, four, three, two, one, ignition... Liftoff! A tiny red streak zips into the sky, then bursts with a faint, ludicrous POP. A bottle rocket. We hear CHILDREN'S LAUGHTER, excited SHOUTS. EXT. LAWN PARTY. LUKE GRAHAM'S HOUSE. LATE AFTERNOON DESCENDING, we see PHIL OHLMYER, late 20's, kneeling, with a gaggle of eager CHILDREN around him. Phil, an astronaut, has got an impressive array of fireworks lined up, and is using an empty longneck as his launching tube. CHILDREN (all at once) My turn! My turn! No, I was next! No, me! Uncle Phil, Uncle Phil, can I do one? I want to do one! PHIL Guys, guys, please! This is risky stuff here. And I'm a highly trained professional. Derisive GROANS from the kids, more SHOUTS. Phil grins. There's little danger NASA will ever use him on a recruiting poster: he's messy, very hyper. Phil waves his hands for silence. PHIL Okay, okay! Uncle Phil will launch another booster... Another astronaut, RENEE COTE, a tall, very fit French woman, is walking by with a fresh six-pack. She tosses a beer and Phil catches it. PHIL ...just as soon as he completes his fuel intake. ANGLE FOLLOWS COTE Who grins, walking away from Phil and the kids, as we begin to get a better sense of the scope of this party. We are in the big back yard of a middle-class home in a Houston suburb. DOZENS OF PEOPLE - astronauts, NASA personnel, and their families -- are gathered around picnic tables or spread-out blankets. Lots of red, white and blue bunting, lots of balloons. We hear snatches of MUSIC, mostly country-flavored, from dueling boomboxes. Futuristic Frisbees are being tossed about. A banner, strung between trees, reads "BON VOYAGE, MARS ONE!!!" WILLIS It'll take us six months just to get to Mars. Another year on the surface, then six months back. That's two years... Passing the banner, Cote lobs a beer to another astronaut, NICHOLAS WILLIS, who snags it neatly. He's got his other arm around the waist of a PRETTY GIRL. As Cote moves OUT OF FRAME, ANGLE LINGERS on these two. Willis, a very young astronaut, early 20s, is recruiting poster material, and knows it all too well. WILLIS I guess what I'm trying to say is, since this is my last night on Earth, it's gonna be a very precious memory to me. Y'know? PRETTY GIRL Nice try, Nick. As the Pretty Girl slips out of his grasp, laughing, and walks away, Willis shrugs philosophically. He pops open his beer, swigs it. ANGLE FOLLOWS THE PRETTY GIRL As she swerves around an open- pit barbecue, where other ASTRONAUTS are gathered. Cote has paused here, too, distributing the last of her beers. SERGEI KIROV, a Russian cosmonaut, is watching some kids nearby as they play a game of wiffle ball. He turns, grinning beerily at the chef. KIROV Hey, Woody, our Mars One crew won't be heading back to Earth till ten days after you guys land at our base camp with Mars Two. That's a pretty good long rendezvous. WOODY BLAKE, late 30s, is a big, rangy guy in a cowboy hat over a Hawaiian shirt and a "KISS THE CHEF" apron. An entire pig is turning on a spit over the flames, and Woody is basting this as he smiles at Malik. WOODY What are you suggesting, Sergei? KIROV Maybe you should bring a baseball bat. Yes? American baseball? Our two crews could have ourselves a little Solar System Series. WOODY Please. Half you guys are foreigners. We'd crush you. KIROV No, no, we have equal crews. Three men, one woman. Same handicap. He grins teasingly at Cote, who makes a face at him. WOODY Easy now, you're talking about my wife. (seeing her approach) And Terri just happens to be one helluva shortstop. DR. TERRI FISHER, early 30s, passes by with a platter of corn-on-the-cob. Short, sturdy body, a face made attractive by its alert, questing intelligence. She pauses to kiss Woody's cheek; there's a wonderful, sexy spark between them. Then she glances at Kirov, all business now. TERRI Fast pitch, no steals, batter calls his own strikes. Thousand bucks make it interesting? He's a bit rattled by her cockiness, and looks at Cote, who smiles, nods her cool agreement. COTE Eh bien. Winner take all. TERRI Good. (smiles sweetly at Kirov) Bring some balls. The other men ooooh at this, busting on Kirov and Cote, as Terri moves on. Woody, watching her go, has a thousand-watt grin. WOODY You wanna know the sad part? Technically I outrank her. But if we want any peace at all on Mars Two, I'm gonna be saying a lot of "Yes, dears." The others laugh. ANGLE FOLLOWS TERRI as she dodges a PACK OF KIDS -- they run by her, shrieking happily - before she finally reaches a picnic table, where ASTRONAUTS' WIVES are opening containers of baked beans, coleslaw, and potato salad. 1ST WIFE ...just not sure how I feel about NASA allowing couples to go on this type of mission together. One of the other women raises a warning eyebrow, and the 1st Wife turns, sees Terri setting down her platter. 1ST WIFE (embarrassed) Nothing personal, Terri. It's just that, well, it's kind of a funny feeling for those of us staying behind. TERRI (carefully neutral) All the research shows that marriage will provide stability on these long duration trips. 2ND WIFE Then they haven't studied some of the couples I've known. Laughter at this. Terri smiles politely -- she doesn't really have much in common with these women -- before moving on. ANGLE LINGERS on the wives, who watch her go with a slight tinge of jealousy. One of them is looking around. 3RD WIFE Anybody seen Jim McConnell? 4TH WIFE I don't think he's coming. 1ST WIFE God, that poor man. How's he doing? 2ND WIFE Totally losing it, from what I hear. Can't sleep, can't eat. Visits her grave almost every day. (lowers her voice) They say he could lose mission status. 3RD WIFE Oh, that's so sad. That is just so tragic. You go to a routine physical one day, and wham. 4TH WIFE After all those years of training, too. It was their whole dream. 1ST WIFE Must be a pretty funny feeling for Luke Graham. Y'know? Now he's gonna be in the history books. First man on Mars... She shakes her head, awed by the thought. The others nod in agreement, following her glance... In the distance, a lone MALE FIGURE stands by the garage, his back to them, facing the parked cars, vans, and SUVs which stretch down the driveway and along the street. Another figure, a WOMAN, can be seen approaching him. CLOSER ANGLE FOLLOWS the moving woman -- DEBRA GRAHAM, early 30s, very attractive -- until she reaches her husband. LUKE GRAHAM, mid 30s, has the lean, fit body of an astronaut, the restless intellect of a scientist. He's unaware of her approach until she touches his shoulder. He looks at her with an apologetic smile. DEBRA He's not coming, Luke. LUKE Jim deserves this, too. All his friends are here. And it's my last night. DEBRA (gently) Your last night with us, too. He looks at her, moved. She summons a smile. He slides his arms around her waist, kisses her forehead. LUKE I love you, Deb. DEBRA I love you too, baby. But maybe you should spend some time with Bobby. LUKE Yeah. I will. Where is he? DEBRA Up in his fort. He kisses her again, then goes. Debra's eyes follow him, with a mixture of pride and sadness. ANGLE FOLLOWS Luke away from the garage, into EXT. THE BACK YARD. LATE AFTERNOON Luke moves through the crowd. Phil and the kids are still shooting off rockets. Red streaks arc high overhead. In the back corner of the yard, where it's quieter, he passes Willis, who's sitting on a blanket, murmuring soulfully to PRETTY GIRL #2. WILLIS Deep space is so lonesome. So cold. But I guess I'll have my memories to keep me warm... Luke shakes his head. Willis is incorrigible. Finally he reaches a tall redwood playset. He looks up the ladder. A SMALL BOY sits on the platform of the tower, arms around his knees, staring up at the stars. A telescope rests nearby on a tripod. He looks lonely. Luke climbs up, sits down on the wooden deck next to him. BOBBY, 7, glances over at his dad, his idol, then back at the sky. BOBBY Who's gonna read to me now, at bedtime? Luke is surprised by the question. A pause. LUKE Mommy will. BOBBY I like when you do it. Now we're never gonna finish our book. His voice is unexpectedly fierce. He's fighting back tears. Luke is moved. Another brief silence. LUKE Well, I'll tell you what. I've been thinking about that. And what I thought was -- how 'bout if I bring along my own copy? (Bobby looks at him) Then every night, wherever I am, I'll read a little bit more of it. And I'll know that you and Mommy, wherever you are, you're reading it too. That way, it'll feel like we're still reading it together. 'Cause I don't know about you, but I'm pretty anxious to find out how 'ol Ben Gunn got marooned on that island. What d'you say? Bobby manages a smile. He nods, feeling a little better. Luke is proud of his son's courage. LUKE Good deal. Can I have a hug? Bobby's arms go around his father's neck. He hugs Luke fiercely, and Luke hugs him back. His eyes, over the thin young shoulders, are brimming with love and impending absence. Then, from the distance, the sound of an APPROACHING CAR. They both turn. An open Jeep is coming down the street. Its DRIVER is alone. Luke's expression changes. Recognition, then happiness. EXT. LUKE'S STREET. LATE AFTERNOON The Jeep stops, its electric engine WHIRRING down. The Driver climbs out wearily, reaching into the back seat, and comes out with a champagne bottle, hastily decorated with ribbon. The PARTY SOUNDS are drifting this way, and he hesitates a moment, seeming to gather himself. He starts gamely towards the party, then pauses again. Debra Graham stands nearby on the front lawn, waiting. She smiles tentatively. JIM MCCONNELL, early 40s, manages a smile in return. He has dark circles under his eyes, and his clothes look slept in. Yet we sense, even through his sadness, a kind of quiet competence in this man, an unforced authority; he's a natural leader. Debra hurries forward, into his arms, and he hugs her. They separate, looking at each other. Her eyes are shining. DEBRA We were afraid you wouldn't come. MCCONNELL I caught a whiff of your barbecue. After that I was helpless. DEBRA All the way out in Galveston? MCCONNELL Something like that. (she smiles) It's his night, Deb. I didn't want to spoil it. DEBRA Spoil it? He's been going crazy looking for you. Over her shoulder he sees Luke approaching, his arm around Bobby. The two men look at each other, the bond between them so strong it needs no words. Finally Luke smiles. LUKE C'mon. A whole lot of folks here are gonna be mighty glad to see you. McConnell comes towards him, accompanied by Debra, and together the four of them move OUT OF FRAME, heading towards the party. ANGLE HOLDS on the parking area, as we... DISSOLVE TO: EXT. SAME VIEW. NIGHT (HOURS LATER) All the parked cars and vans are gone now, except for two: McConnell's Jeep and Woody's classic 'Vette. Willis, one of the last to go, is just departing on his motorcycle. Perched behind him, arms around his waist, is PRETTY GIRL #3. They zoom away, through the darkened neighborhood. EXT. BACK YARD. NIGHT The yard is nearly deserted. The "Bon Voyage" banner has torn loose at one end and flutters limply. Here and there a napkin blows across the ground. In the distance, THREE FIGURES sit on the ground, by the waning fire of the barbecue pit, sipping beers. CLOSER ON THIS TRIO As Woody shoves another piece of wood into the flames. For a moment he, McConnell, and Luke are silent, staring at the sparks as they rise towards the stars -- red and gold dots mingling with the silver ones. WOODY (abruptly) I wish we were all going. Together. The intensity in his voice surprises the others, and even Woody himself. Luke glances at McConnell. An awkward beat. LUKE Then you've got a short memory. Think back to how we were by the second week of lunar training. WOODY Oh, you're not gonna bring that up again -- LUKE (laughing) I'm trying to remember, let's see, which one of us scored the lowest ranking up there? WOODY You just can't let that go -- LUKE Oh, man, three commanders, on the same ship? If they sent us off to Mars together, there wouldn't be enough fuel to lift all those egos. WOODY (laughs) Bullshit, we would've made a great crew. MCCONNELL That was never gonna happen. I was always teamed with Maggie, and we were mostly chalkboard jockies. You know? Systems. Payloads... LUKE Listen to him. Mr. Cover-of-Time Magazine! WOODY Yeah, who landed the crippled Block II Shuttle? LUKE Yeah, and who scored highest on the lunar rankings? WOODY Let it go, Luke. MCCONNELL (smiles) Sure, I made a little noise. But putting the first footprints on Mars? Nah. That's for guys who... (looks at Luke) ...wrote their Ph.D. thesis on how to colonize the place. And guys who... (looks at Woody) ...read too much science fiction as a kid and still wear little Flash Gordon rocketships around their necks. He grabs playfully at Woody's neck. Woody smacks his hand away, laughing. WOODY You read the same damn science fiction books that I did! You're just not man enough to wear jewelry! He pulls from his shirt a little Flash Gordon rocketship emblem hanging on a chain, and waggles this tauntingly at McConnell, as Luke and McConnell laugh. WOODY You want Flash. You know you want him. Well you'll have to come through me! Luke grabs Woody's arm to give McConnell a better shot at the emblem, but Woody cuffs his hands away, laughing. McConnell, watching their horseplay, shakes his head. MCCONNELL God, she would've loved to see you two clowns. Just one more time. He tries to smile, but his face reddens. Then all at once his chest is heaving as he struggles to control his emotions. Woody sees this, reaches out a reassuring hand, but McConnell shakes him off, rises abruptly. He turns his back on them, walking away a few steps. Woody and Luke exchange a worried glance. EXT. LUKE'S STREET. LATER THAT NIGHT McConnell and Luke watch as Woody starts up his Corvette. McConnell has regained his composure. LUKE Hey, Woodrow, isn't it about time you donated this thing to a museum? Woody revs the engine, which ROARS lustily. He grins. WOODY Internal combustion, boys. Accept no substitutes. Luke laughs. Woody looks at McConnell. WOODY Jim, if there's ever... if there's anything Terri and I can do -- MCCONNELL I'm okay. Really. Thanks. Woody reaches out to shake Luke's hand. WOODY See you when I get to Mars, Luke. Don't solve all the mysteries of the universe, okay? Leave a little something for the next guys. LUKE I'll see what I can do. Just make sure you bring some fresh beer. WOODY You got it. With a final glance at McConnell, Woody slips the car into gear. McConnell and Luke watch as he drives away. A silence. Luke glances at his old friend, growing more serious. We sense he's been waiting all night for a chance to say this. LUKE Should've been your mission, Jim. Yours and Maggie's. McConnell, looking after Woody's car, becomes very still. LUKE None of us ever wanted Mars the way you two did. Not even Woody. Twelve years of hoping for this assignment, training for it -- MCCONNELL That's all over now. LUKE If Maggie hadn't gotten sick -- if you hadn't pulled yourself out of the rotation to take care of her -- McConnell turns to him, his eyes flashing danger. He will not tolerate pity. Luke sees this but presses on. LUKE No, I'm gonna say this. I have to say it... (pause) I wanted Mars One. Hell, I battled you for it every step of the way. Never wanted to beat anybody so bad in my life. But not like this... Jim, I'd give this all up in a second, if it would bring Maggie back to us. McConnell is deeply moved, and for a moment doesn't trust his own voice. MCCONNELL I know that, Luke. You don't have to say it... Mars is yours now. Go get it. LUKE (pause) Take care of yourself. MCCONNELL Yeah. You too. Luke nods. They grab hands for a second, then let go. Luke walks back towards his house. McConnell watches him for a moment, then turns, walks over to his Jeep. He opens his door, then pauses. He turns. Looks up at -- EXT. NIGHT SKY A tiny reddish dot hovers there, glowing steadily. Mars itself, a tantalizing prize. But for him now, more distant than ever. For him, perhaps, never to be attained. CLOSE ON MCCONNELL'S FACE As we see these thoughts going through him. After a moment he looks down at HIS SHOES And the sandy verge of the front yard. MCCONNELL'S EYES Are a map of complex emotions: regret, injured pride, infinite yearning. Gently, a bit self-consciously, HE LIFTS ONE SHOE And sets it down again, making a careful, deliberate footprint in the sandy soil... OMITTED Sequence omitted from original script. EXT. MARS. CHRYSE PLANITIA. DAY Instantly we're hurled into an immense, stunning LANDSCAPE, mysterious and vivid as a fever dream. Dazzling sunlight. A vast plain of rust-orange soil. Countless craters. Boulders the size of houses, tossed about by the hands of gods. Twin moons hanging in a salmon-pink sky. On the horizon, towering, craggy peaks. And, at center -- the only sign of life -- a small, mysterious, moving puff of dust. OMITTED Sequence omitted from original script. EXT. MARS. DAY CLOSER ANGLE as a small, Sojourner-like, multi-wheeled robotic vehicle ambles INTO FRAME, jouncing along the orange Martian soil, pausing to snuffle its sensors towards the occasionally interesting rock. Lettering on its side reads "ARES-8." SUPER TITLE: "MARS. PLAINS OF CYDONIA. EIGHT MONTHS LATER." Suddenly Ares-8 pauses. Its video lens WHIRRS out, fine-tuning focus, as it becomes intrigued by something OFFSCREEN -- a higher, more distant target. The little fellow almost quivers with excitement. EXT. MARS. TIU VALLIS. DAY A one-man ATV ROVER waits in the background, in a dry streambed, as Luke, in an EVA spacesuit, swings a clawed rock hammer against a multi-layered, sedimentary rock face. Reddish dust coats his bulky white suit. Despite that bulk, he moves easily in the light Martian gravity (1/3 Earth's). A hunk of rock breaks off, and Luke examines it more closely, holding it up to his clear faceplate. He's very happy, absorbed in this work, when his RADIO CRACKLES. COTE Luke, you read me? LUKE Yeah, Renee. COTE Luke, I just got ARES-8 on line and... Well, we think you're gonna wanna see this for yourself. Luke, though reluctant to break off work, is intrigued. LUKE Copy that. As Luke turns away, headed for the rover WE PULL WIDE To REVEAL a STAGGERING PROSPECT, seen for the first time: Valles Marineris, that planet-creasing slash. So wide, so deep, it boggles the mind: on earth it would reach from New York to L.A. OMITTED Sequence omitted from original script. INT. MARS ONE HAB. DAY The crew of Mars One - Kirov, Willis, and Cote -- have joined Luke, gathered around some display monitors. They're in NASA jumpsuits; the Hab has artificial atmosphere, enhanced gravity, and heat. All are captivated by what they see. ON A VIDEO SCREEN We see a low-angle image of an elongated, rubble and dirt- covered MOUNTAIN. Hard to tell scale, but it looks huge. What's most striking, however, is a WHITE PEAK barely protruding through the rubble two-thirds of the way along the mountain's ridgeline. Its whiteness is in clear contrast to the typical rust-orange of the surrounding rubble; what's more, this strange little peak also displays an oddly-smooth, multi-planed symmetry. LUKE What the hell is that? COTE No idea, boss. LUKE Where is it? Cote glances at the others. They're all smirking, as if they share some secret joke Luke's not yet in on. WILLIS You don't wanna know. LUKE C'mon, what's so funny? Gimme the coordinates. He leans over to read a digital gauge, but Cote covers it with her hand, enjoying the tease. COTE Latitude 41 degrees north, longitude 9 degrees west. LUKE The Plains of Cydonia. So? (pause) Oh no. You're not telling me -- They all laugh as the other shoe drops. Luke's expression is incredulous, exasperated. COTE Oui. Exactement! It's Kirov's fault, he picked today's sector. KIROV Hey, c'mon! We've got a scientific duty to check that thing out. Luke sits, taking over the Ares remote control from Cote. They all watch as he fine tunes the image, trying without success to coax more resolution. LUKE Great. That's great. The first anomaly we hit, and it's gotta be in the one place guaranteed to make NASA look ridiculous... You know how many books have been written about that damned mountain? COTE The Egyptians put it there. KIROV No, the Amazons. WILLIS No, it was little green men! LUKE And all because a couple of lousy impact craters happen to look like eye sockets. If this gets out, we'll have every UFO kook on Earth spouting off on the six o'clock news... C'mon, people, gimme a read here. Is that a cinder cone? KIROV Nah, too smooth. Too angular. Volcanic upwelling? COTE No fissures. No caldera. LUKE It's an upwelling, for sure. But maybe not volcanic... The others look at him, puzzled. Luke leans in closer, with growing excitement. He points to the screen. LUKE Look at the color. And see how shiny it is? I could swear that's ice... COTE This far south? WILLIS Impossible. You can't have ice at this latitude. Not unless... They look at each other, Luke's excitement now leaping from one to another of them. They're almost trembling. WILLIS Oh my God. LUKE How far away is it? KIROV Sixteen kilometers northeast. Take us twenty minutes to get there. LUKE (considers a moment) Let's send a packet to Micker. Then we'll go check it out. EXT. MARS ONE BASE CAMP. DAY AIRLOCK DOORS Slide back, REVEALING the crew in EVA suits, carrying gear. They walk over to... THE FOUR-MAN ROVER The astronauts climb in through the hatch. The last one in pulls it shut behind him and locks the latches. We see Cote and Luke check their screens and press some buttons. Luke puts the rover in drive. WIDER ANGLE, PULLING UP AND AWAY As the rover moves off across the rocky surface, dust kicking up from the wheels, we get our first exterior glimpse of the Mars One Base Camp. The main HAB UNIT looks like a huge tuna can with a conical top section; it connects to a separate, inflated-bubble GREENHOUSE. There's also an OXYGEN STILL, PROPELLANT PLANT, and, on the other side, a couple hundred meters distant, the massive ERV (Earth Return Vehicle), which arrived as a separate, unmanned flight. Rows of SOLAR PANELS, arrayed on the ground, and an AMERICAN FLAG on a thin pole, about man-height, complete the scene. DISSOLVE TO: EXT. INTERNATIONAL SPACE STATION (ISP). EARTH ORBIT. DAY A vast, impressive, MULTI-SECTIONED SPACECRAFT is drifting majestically above Earth. The main hull displays both NASA and U.N. flag decals. SUPER TITLE: "INTERNATIONAL SPACE STATION. MARS MISSION CONTROL ROOM (MMCR). 20 MINUTE TIME LAG." We MOVE IN towards another of the station's segments, which is dedicated entirely (as we see from more labels and insignias) to the Mars Program: Control Room, Training and Living Quarters, and a Vehicle Docking and Launch Area, where Mars Two is already positioned for its eventual flight. We hear LUKE'S EXCITED VOICE, over speakers. LUKE This is a truly anomalous formation. Looks like nothing we've seen so far. The structure appears to be crystalline, at least from the angle displayed by ARES-8 ... INT. MMCR. DAY On a large CENTER DISPLAY SCREEN, we see Luke and the Mars One crew, sitting around their kitchen table in the Hab, finishing lunch while taping this VIDEO MESSAGE. LUKE (grins) We're all trying not to go too nuts up here, but -- we think there's a good chance this could be an extrusion from some subsurface, geothermal column of water. And if we're right... He looks at his crew. They beam like cats who ate canaries. LUKE ...then we've found the key to permanent human colonization. IN THE MMCR There's an EXCITED BUZZ among the assembled TECHNICIANS, FLIGHT ENGINEERS, and SCIENTISTS. This would be a fantastic, epochal discovery. MCCONNELL Sits at the center console, wearing a headset. He's now the Mars One CAPCOM (Capsule Communicator), and his manner is brisk, efficient, all-business. A TECHNICIAN leans in for instructions. MCCONNELL Tell geology and hydrology we need to scramble on this. Full-court press. The technician nods, hurries away. McConnell, sharing the intense excitement of those around him, stares up at THE SCREEN Where Luke and his crew are still smiling, well knowing the excitement their bombshell will create. LUKE Anyway, we'are going out to take a closer look at it, try to get an idea of its composition. (checks his watch) By the time you receive this, we should be just about on-site. EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY The rover is a hundred meters away and moving fast TOWARDS CAMERA. We BOOM DOWN to REVEAL Ares-8, still faithfully holding its point, like an Irish Setter, with its video snout WHIRRING OUT. The rover drives up and slows to a stop nearby. The hatch door cracks open and some dust vents out. The door opens all the way and the astronauts climb out. They all look up in awe. We hear their voices ON RADIOS. KIROV Jesus Christ... THE MYSTERIOUS PEAK Gleams in the sun, dazzling white, its facets as planed and smooth as if an architect had drawn them. It pierces through the topmost rubble at the near end of the big mountain -- an isolated, butte-like giant, stretching two miles from left to right in front of them. THE ASTRONAUTS Walk towards the mountain. There's a very deep, very low, staccato tone intruding over their headsets. LUKE Anyone else hear that? COTE Yeah. What is it? WILLIS Sounds like our antenna's out of phase. LUKE Can you fix it? WILLIS Hey, skip, I can fix anything. LUKE Big talker. Renee, Sergei, let's break out the radar, see what this thing's made of. As they go to their jobs, the deep, barely audible rumbling tone continues. INT. SPACE STATION. CORRIDOR OUTSIDE MMCR. DAY MULTINATIONAL CREWMEMBERS walk by, in the artificial gravity of the busy station, as RAY BECK, mid-50s, approaches from the opposite direction. Beck is the tough, crewcut, PR-savvy head of the NASA Mars Program (ID'd by his name tag), and just now he's leading a covey of U.N. AMBASSADORS on a tour. The ambassadors, of both sexes, many nations, and all races, look as excited as schoolkids. BECK ...and this is the Mars Mission Control Room, nicknamed "Micker." I understand a comm packet is incoming from Mars One Base Camp, so you may find this interesting. He opens the doors, ushering his flock inside. INT. MMCR. DAY The ambassadors enter, oohing and ahhing over the impressive array of gadgetry and personnel, and especially over the big screen. Some of them start taking souvenir snaphots. The NIGERIAN AMBASSADOR turns to Beck, whispering curiously. AMBASSADOR That man over there. He's in charge? BECK FOLLOWS HIS GLANCE TO MCCONNELL Who is surrounded by a KNOT OF TECHNICIANS, to whom he is giving quiet, precise instructions. They hover, then depart, like so many eager bees. BECK Smiles indulgently at the ambassador's misunderstanding. BECK No, actually, that's Jim McConnell, the CAPCOM. Our voice link to the astronauts? Jim's been with the manned Mars program since its inception. One of our real pioneers. AMBASSADOR Will he be going to Mars, too? BECK Ah, no. This is as close as he gets. ON THE SCREEN Luke and his crew have finished eating, and are clearing away their dishes and leftovers. LUKE ...anyway, that's about it. We'll send another packet when we get back. Cote clears her throat, gives Luke a look. The others can barely conceal their grins. LUKE Oh, right. One more thing. Today is a very special day for a good friend of ours, and I know he's there right now. McConnell looks at the screen, worried. What's Luke up to? LUKE Now, he hates it when any fuss is made, so I won't mention his name... A look of relief comes over McConnell. LUKE ...because the last thing in the world I'd ever want to do is embarrass someone like Jim McConnell. McConnell winces -- Dear God, no -- as, on the screen, Kirov appears from OFF CAMERA holding a cupcake with a burning candle stuck in it, and the Mars One crew starts SINGING "Happy Birthday" to him. Loudly. And very off-key. LUKE C'mon, you Micker weasels, sing! Soon most everyone in MMCR is singing along -- even some of the jolly ambassadors -- with the noticeable exception of Beck, who stiffens unhappily. McConnell is mortified. LUKE (sings a line, then, to CAMERA:) Hey, Ray! Take a look at him! Is he all red with one of those fake "I'm- a-good-sport" grins? Beck looks over at McConnell, who indeed is red in the face with a fake "I'm-a-good-sport" grin. LUKE And hey, you guys, check out Ray! Does he have on one of his "This- wasn't-in-my-mission-plan" faces? Indeed, Beck's smile is thin, sour, disapproving. LUKE Nothing you can do about it, Ray! We're a hundred million miles away! Luke and the crew finish singing the song. Luke raises the cupcake in a toast. LUKE Happy Birthday, Jimbo! Make a wish! He and his crew lean in, blow out the candle. They laugh and applaud, then wave goodbye. LUKE Catch you again soon. Take care, buddy. End of transmission. Luke reaches out, turns OFF the CAMERA, and the display screen GOES BLACK. Beck turns, his gaze locking with McConnell's. He's annoyed, as if this violation of protocol were somehow McConnell's fault. McConnell returns his stare coolly. EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Cote stands by a display screen mounted on the rover. Kirov has a big radar gun on a tripod, pointing at the mountain. Luke turns to Cote. LUKE Well? What's under there? COTE (puzzled) Je ne sais pas. I... I think there's something wrong with the equipment. LUKE What? COTE I mean, it can't be right. It says... it says there's metal under there. Luke doesn't understand. He walks up to look at the display screen. COTE (points) There's ten, twelve meters of rubble and sand, and then... solid metal. LUKE That doesn't make any sense. You're reading a vein of ore. COTE (shakes her head) No. It's under the whole mountain. The deep pulsing tone continues. Luke frowns. LUKE Nick, could the problem with the antenna be interfering? WILLIS Could be. LUKE (to Cote and Kirov) Try it closer and up the power. I'll watch the screen. INT. MMCR. DAY McConnell is taping an audio message to be sent to Mars as the rest of MMCR looks on. Beck is gone. So are the U. N. ambassadors. MCCONNELL Ah, we're all pretty stoked about that formation you spotted, Mars One. The folks in the geology and hydrology back rooms are going over your images and comparing them to every photomap they've got. EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Cote and Kirov are close to the foot of the mountain, resetting the radar gun on its tripod. The deep vibrating tone continues. Luke is some distance away, by the rover. He looks at Willis, who's still working on the rover's antenna. LUKE Nick, how we coming on that antenna? WILLIS Goin' as fast as I can, boss. Cote and Kirov are having some trouble with the switches on the radar gun. They turn towards Luke and Willis. KIROV Hey, Nick. Come show me how stupid I am. I can't get this to work. Willis looks at Luke. Luke nods -- Go help them. Willis starts towards the radar gun. INT. MMCR. DAY McConnell is handed a slip of paper, glances at it. MCCONNELL Medical wants me to remind you that you're three days late on your blood tests. I know they're a bore, but you've got to get them done, or else... or else I don't know what. Just do them, okay? EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Willis, Cote, and Kirov get the radar gun up and running. KIROV All set here, chief. Luke sidles over to the display screen on the rover. LUKE Okay. Crank up the juice and let's see what's in this sucker. INT. MMCR. DAY McConnell checks over his clipboard list of updates. MCCONNELL I think that's about it for business. But on a personal note, be advised that, ah, none of you can sing worth a damn. LAUGHTER in the MMCR. EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke watches the screen on the rover, as, by the mound... KIROV Flips a switch on the radar gun, then swivels its muzzle slowly across the near slope of the mountain. We hear and feel the radar signal. The immediate result is that the pulsing tone we've been hearing suddenly stops. LUKE Looks up from the display screen. A puzzled expression. LUKE Why did that stop? A split-second later, he gets his answer. We hear a WHOOSH, a mighty rushing of wind, as A GIGANTIC, TRANSLUCENT CYLINDER Starts to swirl and rise, straight up from the top or the mountain, at its center. As it swirls, the cylinder picks up debris -- pebbles, sand -- from the sediment-encrusted surface of the slopes. THE FOUR ASTRONAUTS Stare up at this spectacle, awed. A cyclone? Some kind of energy wave? They have no idea. At the moment they're too fascinated to even be scared. TILTING UP - FROM THEIR POV We see the whirling cylinder rise, higher and higher, perfectly straight, until in just moments it's as tall as a skyscraper. As it rises, it gains speed and power, narrowing at its top into a conical vortex. It's sucking up so much dirt, so many rocks -- even small boulders now -- that the accumulating debris begins to darken its swirling, translucent outer "skin". THE ASTRONAUTS Exchange amazed glances. Can't believe their eyes... INT. MMCR. DAY McConnell still hovers by the microphone. MCCONNELL Honestly, Luke, if you guys don't have anything better to do with your time, I can make some suggestions to mission medical. There are worse things than blood tests. LAUGHTER and GROANS from the staff in MMCR. EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke, still staring in fascination, becomes aware of sand and pebbles flashing past his helmet. From behind. He turns. SAND PATTERS AGAINST HIS FACEPLATE As the nearby landscape BLURS. The vacuuming effect is becoming more general across the area. More violent. LUKE IS ALARMED And the spell is broken. He keys his throat mike, his lips moving, but no sound can be heard over the ROARING WIND. He waves his arms, motioning for the others to back away, towards the rover. Wind whips at their EVA suits as they obey him, retreating. Luke, backing away himself, is afraid to take his eyes off the cylinder. Then he sees that one man -- Willis -- hasn't moved. In fact he's busily snapping photographs of the cylinder. Luke hurries over to him, tugs his sleeve. WILLIS LOWERS HIS CAMERA But still stares up, transfixed, like a man face to face with a cobra. Luke follows the young astronaut's frightened gaze, and his own eyes widen as he sees THE TOP OF THE VORTEX Beginning to tilt down, then coil sideways. Suddenly they're looking into the huge open "mouth" of it, as sand and rocks fly into the swirling darkness... The monstrous, gaping maw slithers down over the rim of the mountain, turning this way, then that. Seeking them. And then, with horrifying precision, it locks in on the little group of astronauts. And lunges towards them... EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY Luke and Willis turn, running as hard as they can towards the rover. But the suction is so great, it's as if they're held back by wires. The ground itself is SHAKING, RUMBLING, as earthquakes begin to open fissures across the plain. The ROAR of the vortex, the GROANING of the earth, are like an onrushing freight train... AHEAD OF THEM In the maelstrom of flying debris, they can barely make out Cote and Kirov, still retreating, leaning back with all their strength against the suction, while staring up, aghast. Suddenly a hurtling rock, the size of a basketball, smashes into Cote's helmet from behind, crushing it and killing her instantly. Blood sprays into the wind, immediately crystallizing, in the sub-zero atmosphere, into red pellets... LUKE, HORRIFIED, FLINGS HIS ARM UP As bloody hail patters against his faceplate and forearm. An instant later he sees KIROV Snatched up by the wind, then swept past him, in a terrifying blur, arms and legs flailing, mouth open in a silent scream as he vanishes... THE GROUND AT LUKE'S FEET Abruptly opens, and he slides into a fissure. Scrabbling frantically with his gloved hands, he manages to momentarily arrest his fall, gripping the edge of the fault line, with his helmet and one elbow thrust over its lip. The air is almost solidly choked with debris, deadly boulders bound over him, and torrents of cascading sand are burying him alive... CLOSE ON LUKE Barely conscious, as he watches, for a horrifying final instant, as... HIS LAST CREWMAN, WILLIS Is sucked bodily into the black maw of the vortex, spinning and tumbling like a rag doll... CLOSE ON WILLIS'S FACE His features grotesquely distorted by the forces tearing at him, before suddenly his faceplate is sprayed with blood, and... DISTANT ANGLE - LUKE'S POV Willis's spacesuit explodes, his entire body disintegrating into a million bits, which instantly disappear into the hellish maelstrom. And then that maelstrom itself, just as abruptly... STOPS. Vanishes. There is an instant, ringing SILENCE, as awesome in its own way as the roaring storm itself had been... WIDE ANGLE On the plain, as the last pebbles, released from suction, pitter down, bouncing. Swirls of dust and sand drift away, settling gently. The harsh orange landscape is once again calm, peaceful. And then, from the direction of the nearby mountain, we hear another sound: the deep bass pulsing rumble returns. INT. MMCR. DAY As McConnell finishes his message to Luke. MCCONNELL Oh, and I talked to Debra. She and Bobby are doing fine. Said to tell you, they're, ah, they're on their "third time through the book, page -- (glances at a note) -- page 125." They send their love and say take care of yourself. Same from us here, buddy. Till next time, then. End of transmission. EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY MOVING ANGLE, the CAMERA EXPLORING ground zero, as the bass, pulsing rumble continues... WE PASS the Rover, canted sideways into a little crater, with its canopy missing, one axle fractured, but miraculously still with all four wheels... WE PASS faithful little ARES-8, lying on its side, partially crushed under a boulder. It gives a final, pitiful WHINE, its video snout slowly extending, then dies. And finally we come to the area where the fissure had been, and see THE FISSURE HAS BEEN FILLED IN Leaving only a slender crease of umber sand. No sign of Luke. The pulsing rumble continues, over, as we see EXT. AERIAL VIEW. DAY An extraordinary sight, seen from high in the air, looking back down. Staring up at us from the bottom of a shallow crater, scoured clean of its aeons of accumulated silt and rubble, is a structure resembling a vast humanoid Face. The surface is gleaming white, apparently metallic. The features are suggested by intricately interlocking planes, slopes, ramps. The "eyes" -- hatches of some kind? -- are closed, and the overall expression is eerily calm, but terrible in its power, like some ancient tribal mask. We see the Face clearly for only a few beats before thick, scudding clouds OBSCURE it, but the deep, pulsing rumble continues, low and insistent... DISSOLVE TO: INT. MARS TWO (DOCKED). COCKPIT. DAY We're inside the Mars Two spacecraft, which is still in its docked position alongside the Space Station. Woody Blake, wearing a NASA jumpsuit, floats up into the cockpit in Zero-G, studying a thick manual. WOODY (reads) "Problem: Hatch door malfunction, backup power fail, manual override fail. Solution: Replace circuit breaker 907B." He straps into the pilot's seat, staring at an electrical junction box at one end of the console. WOODY Okay... Piece of cake. He swings open the housing, revealing a bewildering tangle of fuses and wires. He sighs heavily, as Terri drifts up beside him, also in a jumpsuit, and straps into the co-pilot's seat. WOODY God, who dreams up these nightmares? TERRI Don't try to change the subject. WOODY I'm not! We're talking about your sister's wedding, right? TERRI Very funny. We're talking about dancing lessons. Before my sister's wedding. WOODY Honey, do you mind? I've got a catastrophic power failure here. He peers into the housing with exaggerated concern. But Terri's not so easily sidetracked. TERRI Woody, we're a married couple. Would it kill you to invite me out on the floor once in awhile? WOODY I danced with you at our wedding. TERRI I'm not talking about shuffling your feet around while you grab my butt. I mean real dancing. Cha-cha, rhumba, jitterbug -- WOODY Face it, honey, some couples dance, some go to Mars. That's life. TERRI I'm serious. We've got two more months in this training rotation, but just as soon as we get home, we're starting lessons. If we never dance, people will think there's something wrong. WOODY If they see me dance, they'll know there's something wrong. Reaching past him, she pulls out the required breaker. As he reacts, surprised, she smiles, despite her exasperation. TERRI You are such a lug. Overhead, an intercom CRACKLES. We hear PHIL. PHIL'S VOICE Cockpit, this is Control. TERRI Control, this is Cockpit. PHIL'S VOICE Uh, Terri, they want us all back in the Station. Report to Micker. TERRI Who says report to Micker? PHIL'S VOICE The little men who live in my head. WOODY Phil, c'mon! We just started this drill. PHIL Woody, it was Ray Beck. He told me to round up the team. Now. Woody and Terri exchange a worried look. What's wrong? OMITTED Sequence omitted from original script. INT. SPACE STATION. MMCR. DAY A crisis atmosphere prevails. The big room is more crowded than we've ever seen it, with ENGINEERS and MANAGERS hurrying by, huddling in tense, conferring knots, or muttering feverishly into microphones. On the center screen, a giant image of Mars. A frantic flow of green numbers crawls above and below this, and the site of the Mars One Base Camp is marked in blinking red. WOODY AND HIS CREW Are staring up at this screen, appalled. McConnell and Beck stand nearby, briefing them. BECK Then, at 1417, the X-band continuous data stream from Mars went silent. All data -- med, environmental, everything -- suddenly stopped. While we were trying to figure out what the hell went wrong, we got a signal from the folks at the Large Array at Soccoro. MCCONNELL At the same moment we lost the data stream, they picked up an intense burst of energy from Mars. WOODY What do you mean, "intense"? MCCONNELL (hesitates) Catastrophic. Looks are exchanged among the Mars Two crew. TERRI What about the crew? BECK The level of energy in the pulse... didn't seem survivable. WOODY What about the REMO? It went into Mars orbit last week. Maybe that could give us some clue. MCCONNELL Good thinking, Woody. That's just what we tried next. He leans over, punches buttons on a keyboard. ON THE CENTER SCREEN An orange dot can be seen in its orbital ellipse around Mars, leaving a glowing electronic trail. This dot gets isolated in a viewing box, then enlarged and rotated into the computer- animated image of a small, ugly, industrial-looking unmanned cargo craft, labelled "REMO." MCCONNELL The Resupply Module checked out fine. No instrument failures, no change in status. Orbit holding steady. But there was something else. The REMO'S computer contained an uplink message -- a very faint, highly distorted transmission from Mars One Base Camp. TERRI Someone's alive. MCCONNELL Yes. PHIL How? BECK The message is almost indecipherable. Two teams are still working on it. You better see for yourselves. INT. MMCR. DAY FINGERS press buttons on a console. McConnell, Woody, Terri, and Phil are crowded around a monitor with Beck and two weary TECHNICIANS. TECHNICIAN Still concentrating on the audio. We managed to bring out a couple more words, but we've got a long way to go. WOODY Show us whatever you've got. The technician nods, then gestures to his assistant who hits a play button. CLOSE ON A MONITOR Black for a moment, then static. Out of this static comes a faint image of Luke, sitting alone at the Hab kitchen table. He looks awful -- dried blood on his face, bloodshot eyes. The image is blurry, heavily streaked, and most of what he says is lost in waves of static. LUKE ...make this quick... may be only ch-- (long section of static) ...to the site, when we... hit us just as we... --thers are all dead... Woody, Terri and Phil look at each other -- Oh, God. LUKE (following more static) ...low sound that we couldn't understand. Then all of a sudden there was this terrib... (another long burst of static) ...--stems are holding up for now, but I don't know how long I can... The monitor screen GOES BLACK. INT. MMCR. DAY TECHNICIAN That's it. Woody and his crew stare at the screen, stunned. This is a catastrophe almost too huge to grasp. INT. SPACE STATION. DAY As Beck leads McConnell and the other shaken astronauts down a corridor, Phil pauses, seeing... A SOBBING TECHNICIAN At her desk. TWO CO-WORKERS are trying to comfort her. One of these women looks up, and her reddened eyes meet... PHIL'S EYES He looks back at her, haunted. TERRI What did Luke mean by a "low sound?" INT. SPACE STATION. DAY In an otherwise empty lounge, the astronauts clutch Styrofoam coffee cups. Beck stands nearby. Through a large viewport behind them, stars glitter against the inky blackness. BECK If this was a earthquake, as we're now assuming, there's usually an auditory component. WOODY But that energy pulse they picked up in New Mexico... PHIL Electromagnetic emission. Not uncommon with large-scale geophysical phenomena. WOODY (incredulous) Causing this kind of damage? I don't buy it. We're missing something here. McConnell and Woody exchange a glance... Woody's right. TERRI Luke must be in pretty bad shape if he hasn't blasted out of there in the Earth Return Vehicle. That thing's designed so even one crew member could fly it back to Earth. MCCONNELL Even if Luke was in great shape, he couldn't get home. That energy pulse would've fried the ERV'S computers. WOODY Other than the computers, how do we think the ERV fared? BECK Well, so far our modelling says it should be in pretty good shape. WOODY Which means it's gonna be up to us to get new motherboards, drives, and software to Mars. As fast as we can. McConnell looks at him, nods. They're on the same wavelength. But Beck is more cautious. BECK Whoa, slow down. It's gonna take us weeks just to analyze this data. MCCONNELL Right, but meanwhile, we've gotta be working up a mission plan. WOODY Luke needs us now. BECK Luke may already be dead. And even if he's not, it's doubtful he's going to be able to transmit again. So we wouldn't know whether it's safe to land until you were almost there. PHIL What about SIMA? Terri looks at Phil -- SIMA? PHIL The Saturn Imaging Probe. It's going to slingshot around Mars on its way through the solar system. It could be retasked to take pictures, read radiation levels at Mars One Base Camp. WOODY Good idea Phil. If SIMA tells us Luke hasn't survived and it's not safe to land, we swing around Mars and come right back home. MCCONNELL Yes. We can design the mission to have a free return capability. It's a long trip, but if you don't land it's the best option. BECK We're getting ahead of ourselves. You're forgetting the bigger problem. (they look at him) The orbits are all wrong. Our first decent launch window is almost eight months from now. MCCONNELL But we can go earlier and get there faster if we reconfigure the payload for extra fuel. We've modelled that, Ray. I've modelled it. BECK On paper, yeah. But those stresses have never been tested in space. MCCONNELL The ship can take it. BECK I wasn't thinking of just the ship. A tense beat. Again we sense the test of wills between these two tough-minded men, once good friends. MCCONNELL I know the protocols for a Mars Recovery Mission better than anybody, because I helped design them. And I'm saying these guys can do it. WOODY He's right, Ray. We've got a real shot. A pause with beck weighing the odds. He looks at Woody. BECK Give me an updated mission plan by 0800 tomorrow. Then I'll put it in the works. MCCONNELL You'll have it by 0600. He looks at Woody, Phil and Terri, who are just as eager. MCCONNELL Let's get to work. McConnell exits followed by Terri and Phil, but as Beck starts out, too, Woody stops him. WOODY Chief, could I have a word? Beck looks at him a moment, nods. OMITTED Sequence omitted from original script. INT. SPACE STATION. MMCR. DAY In a quiet corner, Woody and Beck are alone. WOODY I've no longer got the right crew. BECK (surprised) What do you mean? Bjornstrom can be up here on the next shuttle. WOODY Bjornstrom is a geologist. He's good, but not for this. My people just lost eight months of training. This is a different mission, with a different objective. BECK I haven't been given authorization for a mission yet. WOODY But when you are, it ought to be given the best chance for success. I want McConnell to fly right seat. Beck's expression hardens. BECK He's no longer on mission status. WOODY Yeah. Because you washed him out. BECK He washed himself out. He only had to pass a few more psych evaluations, but he refused to take them. WOODY Ray, he's the best pilot I ever saw, and you've got him benched at a desk. BECK Everybody has to pass the psych prelims. No exceptions. Jim knew that. WOODY Maggie was his wife. He didn't want to lie on a couch and share her with strangers. BECK That was his call. But I had to make one too. It was tough as hell, but I'd do it again. WOODY His wife wasted away in front of his eyes. What was he supposed to do? Suck it up? Get with the program? What was his crime? That he was upset? That he cried...? BECK I couldn't trust him! Beck and Woody stare at each other. A long tense beat. BECK (his voice softer) Not in a crisis... I'm sorry Woody, but Jim lost his edge. Are you gonna stand there and tell me Jim McConnell is the same man he was two years ago? You want me to bet four more lives on that? This stops Woody, just for a beat. Then makes him press on harder, with even greater intensity. WOODY When Maggie died, yeah, it knocked the shit out of him. It knocked the hell out of all of us. But you know and I know that he's still the best we've got. He and Maggie wrote the book on Mars. He's got more hours in the sims than the rest of us put together. Ray, we can do this. Give me McConnell as co-pilot, and we will bring Luke home. And that's a promise. Beck looks back at him, his features taunt. INT. SPACE STATION. MMCR. DAY Woody, Terri, and Phil stand at the edge of the big control room, waiting and watching, in a tense silence, as IN THE DISTANCE, FROM THEIR POV Beck and McConnell are huddled together at the CAPCOM's console. Other personnel have moved away, giving them room. Both men are seated, leaning forward, with McConnell listening intently, while Beck does most of the talking, very quietly. After a moment McConnell looks up in surprise. His eyes search the room till they find WOODY'S FACE Woody looks back at him, nods: C'mon, man. Take it. MCCONNELL'S OWN FACE Is a study in conflicting emotions. But after a moment he masters his feelings, turns back toward Beck. A few more quiet words are exchanged, then Beck offers his hand. McConnell hesitates, then shakes it. Both men rise, and McConnell turns again to look towards WOODY, TERRI, AND PHIL Who react with relief, glad that he's now a part of their crew. Woody grins, giving him a thumb's up. CLOSE ON MCCONNELL'S FACE As he smiles. Then he starts towards them, with a new energy in his step, a new sense of confidence and purpose. And as he WALKS TOWARDS US, PASSING OUT OF FRAME... OMITTED Sequence omitted from original script. DISSOLVE TO: EXT. DEEP SPACE. MARS RECOVERY. DAY An infinite canopy of stars. After a moment, some of them begin to be BLOTTED OUT as A SPACESHIP Glides INTO VIEW. "MARS RECOVERY" (formerly Mars Two) looks much like its sister craft on Mars: a conical cockpit mounted above a "tuna can" crew Hab module. SUPER TITLE: "MARS RECOVERY. MISSION DAY 172." The entire lower deck forms a segmented section of the hull that rotates on bearings to provide artificial gravity; we see window ports spinning past, then an American flag emblem. Behind this lower deck, in an extending network of struts, like the abdomen of a dragonfly, are the three huge round PROPELLANT TANKS. Then vast, delicate-looking rectangular SOLAR PANELS, which sweep out to either side of the ship; these also bear the dish of the earth-pointing HI-GAIN ANTENNA. And finally comes the great mass of the ENGINE BELLS, housed within a curving AEROSHELL; three hatches in the aeroshell can open to allow the main thrusters to fire through for a mid-course burn. CAMERA DRIFTS CLOSER To the forward section of the ship, APPROACHING a viewport in the EVA airlock chamber. Inside, we can see Phil leaning forward, concentrating on some task... OMITTED Sequence omitted from original script. INT. EVA AIRLOCK. DAY. A BUNCH OF M&MS Are floating in mid-air, forming an intricate 3D pattern. In the EVA airlock, it's zero G. Phil, strapped into a chair by a galley counter, is just completing this weightless puzzle by placing a final blue M&M. He looks bored, sluggish. In the b.g., Terri is hunched over a microscope. McConnell emerges from the core tunnel, behind them, coming up from the lower Hab, then pushes off from the ladder, floating towards Phil. He grins, admiring Phil's obsessive handiwork. MCCONNELL What's that? PHIL That... is the exact chemical composition of my ideal woman. MCCONNELL Used to be. He plucks out a couple of the M&Ms as he drifts by. PHIL Hey! McConnell grins, snacking on the M&Ms. MCCONNELL Now what is it? Phil looks sadly at his floating model. PHIL A frog. McConnell and Terri laugh as Phil starts scarfing down the rest of the M&Ms. Swooping at them with both hands. TERRI I guess now we have our answer to the effects of long-term interplanetary travel on the human mind. The answer is Phil. MCCONNELL (smiles) I'm gonna get an update on SIMA. It should be just about close enough to start capturing some surface images. He's drifted to another short ladder, and now grabs it, starts up to the cockpit, atop the Hab. INT. COCKPIT. DAY As McConnell appears in the cockpit, he sees Woody by the forward instrumentation panel, looking at a monitor. The cockpit is also zero G. MCCONNELL Hey, Skip. WOODY Take a look. McConnell pulls himself forward. ANGLE ON MONITOR MARS completely fills the screen. Surface details are clearly visible. Something is moving down there, an amorphous brown swirl. INT. COCKPIT. DAY WOODY What do you make of that? MCCONNELL Dust storm. Southern hemisphere, coming from the east... Big fella, too. WOODY Headed for Chryse Planitia. MCCONNELL Yup. Could get a little hairy just about landing time... McConnell pulls back from the screen, looks at Woody. WOODY We'll have to be ready to move fast. Maybe even advance our ETA. Those things can cover the whole planet, and last up to a year. A beat. They both hope he's wrong. MCCONNELL When does SIMA do her fly-by? WOODY Tomorrow morning, about 0600. That's when we find out whether we came all this way for nothing. They exchange a glance. Woody's right, but the thought is too terrible to dwell on. McConnell looks back at Mars. MCCONNELL (softly) My money's on Luke. INT. MARS RECOVERY. EVA AIRLOCK. NEXT MORNING CLOSE ON A DIGITAL CLOCK Just turning over to read "0545." TERRI Pulls her gaze away from these numbers. Judging from her redrimmed eyes, it's been a long, anxious night. Restlessly, looking to distract herself, she reaches for a test tube of blood, straps it into a centrifuge, sets it spinning. Nearby is her electron microscope. MCCONNELL (LOWER HAB) Lies on his cot in his own cubicle, with the door closed. The lower hab has artificial gravity (AG) and McConnell can move normally. Hands behind his head, he stares at his bureau. PHOTO OF A WOMAN Rests there, in its leather travel frame. Beautiful, smiling, dark-haired: MAGGIE MCCONNELL. Her face glows with intelligence and energy. MCCONNELL Shifts his eyes. The clock on his bulkhead reads "0546." PHIL (LOWER HAB) Stands in the communal bathroom, still in his pajamas, a towel around his shoulders, brushing his teeth. He glances at another digital clock, which reads "0547." Shakes his head impatiently. He looks back into the mirror, then is surprised to hear MUSIC lilting incongruously over the loudspeakers: Elvis Presley's "Blue Moon." OMITTED Sequence omitted from original script. INT. EVA AIRLOCK. DAY Phil floats in through the connecting tunnel, then stops himself at a handhold. He grins, charmed by the sight of WOODY AND TERRI DANCING Like a weightless Fred and Ginger. Woody is surprisingly good at this. Enthusiastic, unselfconscious. He sweeps Terri gallantly about the little cabin, pushing off from every handy surface, even guiding her into some passable twirls and dips. She laughs, shaking her head. PHIL What brought this on? WOODY Zero-G. My last chance to be graceful. Once we're in Mars gravity, it's back to shuffling my feet and grabbing her butt. TERRI I'll take what I can get. She grins, kisses his ear, as Phil turns, sees MCCONNELL Who has now arrived, is also watching the dancing couple. A twinge of sadness crosses his features. But when his eyes meet Phil's, he shakes off the feeling and manages a smile: Aren't they something? Over the music, they hear a CHIRP from the SHIP'S COMPUTER, then an announcement. COMPUTER Attention. Incoming packet. They all look at each other. This is it! Woody spins over to a console, shuts off the music. MCCONNELL It's SIMA. INT. COCKPIT. DAY. MINUTES LATER The crew is gathered around a display screen. The lights are dim, reflecting up off their faces. By their expressions, we can tell the news is not good. CLOSE ON THE SCREEN It's a color, high-resolution satellite image of the Mars One Base Camp. Ghostly, dust-covered. No signs of life. WOODY Looks deserted. PHIL It's still standing, though. So is the ERV. And look, there's the greenhouse. MCCONNELL We know Luke survived for at least a few hours. Question is, are there any signs of recent activity? They all scan the screen. Phil spots something. PHIL There. He grabs a stylus and touches the screen. They all look. CLOSE ON THE SCREEN Using where the stylus touches the screen as the focal point, the image enlarges. THREE LONGISH DIRT PILES appear, some fifty meters from the hab. PHIL What the hell are those? McConnell gets it first. MCCONNELL Graves. They all realize he's right. They sit back, stunned. But then Phil has another thought. PHIL Hold on. There's only three. That means -- TERRI Phil -- PHIL It means Luke must still be -- TERRI No. It just means there was nobody left to bury him. This quiets everyone for a long moment. WOODY Check the radiation levels. Phil keys in some commands and data pops up onscreen. PHIL Normal. WOODY Go to the disaster site. Phil uses the stylus to bring MORE IMAGES into view. The frame moves over the terrain in the direction of the Face, first in SWIFT BLURS, then slowing. Scattered rock debris come into view. The IMAGE ARRIVES where the mountain was, and they see... Debris in every direction, NEAT SPIRALS of it now, dropped uncannily into place, like some massive earth sculpture. As if - but this makes no sense -- it had been swirled towards a LARGE CRATER. The crater itself is a perfect circle. They FOCUS on the CENTER OF THE CRATER, but the image gets distorted by STATIC. MCCONNELL What's wrong? PHIL I don't know. Magnetic interference? Phil tweaks the stylus, but the image won't clear up. WOODY Go to infrared. Phil works the keyboard. THE SCREEN Goes to INFRARED, reading heat, The middle of the IMAGE, where the Face is, is still distorted, refusing focus. THE ASTRONAUTS Sit back, exasperated. PHIL Must be a problem with SIMA. I don't see how an earthquake, six months ago, could give us this kind of distortion. MCCONNELL That was no quake. He leans closer, staring intently. WOODY Then what the hell was it? McConnell shakes his head. But his every sense is engaged; he's like a predator just sighting his prey for the first time. We see in his eyes an utter determination to unlock this secret. EXT. SPACE. DAY Mars Recovery is speeding ever closer to Mars, which now looms large, a dusty red mysterious sphere. INT. MARS RECOVERY. LOWER HAB. DAY McConnell and crew are eating dinner while they watch a taped message from MMCR. CLOSE ON MONITOR SCREEN As Ray Beck addresses them. Other NASA STAFFERS, twenty or more, have crowded in behind him, and we sense their great hopefulness and high spirits; the whole team's triumph is tantalizingly close now. BECK We're going to continue analyzing this data and try to determine what the problem is with those images. Frankly, we're just as stumped as you guys, but we'll keep on it. (glancing around) We agree that the evidence of the graves is inconclusive and that a ground search is advisable. Be aware there are little sand storms kicking up near Mars One Base, but the big one you spotted is turning south. It shouldn't be a factor. Beck takes a breath, smiles. BECK We're all pretty excited here and we're sure you must be feeling the same. Enjoy your meal and get a good night's sleep. We anticipate that tomorrow morning you will be Go for Mars Orbital Insertion. INT. MARS RECOVERY. LOWER HAB. DAY WHOOPS OF JOY from McConnell's crew. Woody and Terri high five each other. BECK God bless you and goodnight. End of transmission. The monitor screen GOES BLACK. INT. MARS RECOVERY. LOWER HAB. NIGHT The lighting is subdued for a sleep period, but everyone's too restless. There's a low HUM of equipment. INT. EVA AIRLOCK. NIGHT Terri and Phil are playing computer Monopoly under a single light. Terri is using touch-screen technology to move her piece. She glances at Phil. He has spread some M&Ms out, letting them drift in mid-air as he performs his ritual weeding out of the red ones. She shakes her head. TERRI What if you opened up your meal packs and found that, instead of putting in everything but red ones, they'd made a mistake and put in only red ones? PHIL Hey, that's a funny notion. And what if in your meal packs, instead of brown rice, there were spring-loaded spikes that shot into your eyes? TERRI (pause) How did you ever pass the psych evaluation? PHIL When you're schizophrenic, they take the higher score. He touches the screen to roll the dice. INT. MARS RECOVERY. LOWER HAB. NIGHT McConnell, in his cubicle, looks away from the photo of Maggie. Haunted by memories. He rises, flips through the CDs in a storage case, pulls one out. He holds this carefully, hesitating, then feeds it into his computer. Immediately his screen saver vanishes and we see HOME VIDEO OF A PARTY An impromptu celebration, a bunch of friends gathered in a semi-darkened living room. The footage is HANDHELD, a bit jerky. People have paper plates of food, beers in hand, everyone is a little tipsy. Debra is there, Terri, Phil, Cote, Kirov, others. They're watching a STILL PHOTO SEQUENCE, shown on a large screen TV, with commentary by Luke and Woody. THE FIRST PHOTO Is of a small boy (YOUNG MCCONNELL) in his pajamas, kneeling in front of a Christmas tree. He's grinning ecstatically as he holds up a brand new model rocket. LUKE Jim's first ship was seriously underpowered... LAUGHTER at this. Some AD LIB CRACKS about the painfully bad haircut and the pajamas. THE SECOND PHOTO Is of a gawky-looking teenage girl (YOUNG MAGGIE), standing on a porch at night, posing a bit self-consciously by a telescope on its tripod. WOODY Maggie was always starstruck... More LAUGHTER, plus some digs about the nerdy eyeglasses and braces. VIDEOCAMERA swings around the room, REVEALING the adult JIM and MAGGIE. They sit side by side on the hearth, leaning into each other, looking very happy. MAGGIE I'll get you guys for this. More LAUGHTER. Everyone's having a great time. The VIDEOCAMERA swings back towards the TV screen as THIRD PHOTO APPEARS Jim and Maggie, young adults, standing on the wing of a fighter jet. Both in Air Force flight suits, helmets in hand. Suntanned, cocky, flashing radiant smiles. LUKE When they met at the Air Force Academy, it was "love at first flight." GROANS and LAUGHTER from the offscreen watchers. WOODY After that, NASA training was tough. All Jim could think about was exploring a heavenly body. More ribald LAUGHTER, as FOURTH PHOTO APPEARS Maggie and Jim, tethered together, floating weightlessly in space suits. LUKE But Maggie, as you can see, kept him on a short leash. Until... A FIFTH PHOTO Shows McConnell, in a dress uniform, leaning in to kiss Maggie, who wears a white bridal gown. WOODY Mission accomplished! ANGLE ON MCCONNELL, IN THE PRESENT As he smiles at this, hearing the renewed LAUGHTER and CHEERS, the AD-LIBBED DIGS from the video. He becomes aware he's not alone. He looks up. WOODY Stands in the doorway of his cubicle. Their eyes meet. They both smile, turning back to the video. Remembering. IN THE VIDEO Luke and Woody have stepped forward, INTO SHOT, standing at the sides of the TV, where the last photo lingers. Luke waves his hands, hushing everybody. LUKE Today we celebrate a new chapter in their story. And guys, it's a pretty historic one. Both men raise champagne flutes. WOODY Let's hear it for the newly-announced Captain and Co-Captain of Mars One. To Jim and Maggie! CHEERS at this, repeats of "Jim and Maggie!" Luke grins, giving a little signal, and we see A FINAL PHOTO Of Maggie in Jim's arms, both of them in goofy tropical vacation wear, smiling. Evidently a photo taken in the surf somewhere, but here it's been crudely superimposed onto a Martian landscape. Laughter greets this unlikely image. LUKE When you guys land, it'll prove once and for all there's no intelligent life on Mars. More hoots of LAUGHTER, CATCALLS, but Maggie jumps in to protest, as the VIDEOCAMERA SWINGS TO HER AND JIM. Terri sits nearby. MAGGIE Hey, c'mon, what if I'm right? ASSORTED VOICES Oh no, here we go! Don't get her started! Somebody put on some music! MAGGIE It's our sister planet! PHIL Oh brother! LAUGHTER at this, and Maggie joins in. She's a good sport. TERRI Maggie, why does this have to be about us? Mars is a great opportunity for pure science. MAGGIE We'll do the science. And we'll do it very well. That's what we've trained for. But what if there's more...? In all our myths, in every human culture, Mars has always held a special attraction. What if that means something? Only we don't understand it yet... The mood of the party is changing, as everyone is caught up in Maggie's spell. She has a radiant simplicity. The VIDEO CAMERA DRIFTS IN ON HER; we are caught up, too. MAGGIE The universe is not chaos. It's connection. Life reaches out for life... She looks at McConnell, smiles. He takes her hand. MAGGIE This is what we were born for, isn't it? To stand on a new world, and look beyond it to the next one. It's who we are. A silence; the guests are enchanted by the purity of her passion. She smiles, suddenly self-conscious. She hadn't meant to get so carried away. IN THE PRESENT - MCCONNELL Reaches out, gently taps the keyboard, FREEZING the screen. He and Woody, their eyes shining, stare at her image. A beat. WOODY You okay? MCCONNELL Yeah. I'm good to go. Woody glances at him. It's true. Rather than being saddened, McConnell seems to have taken on new strength. A renewed sense of wonder. MCCONNELL After all these years... Can you believe it? Tomorrow we'll be standing on Mars. Woody nods, smiles. WOODY You know what? She may have been right. McConnell looks at him. WOODY If that wasn't a quake down there, then something else caused it. Or planned it... You're thinking the same thing. MCCONNELL It's never been out of my mind. WOODY Jesus. You realize what this means? McConnell nods. Looks again at Maggie's face on the screen. MCCONNELL She knew, Woody. She was the only one of us that ever thought there might be something down there. WOODY Yeah, and we're not leaving until we find out... Deal? McConnell nods. They clasp hands briefly. Deal. Then Woody turns. Before leaving, he hesitates just a moment, turning back. One last thought, and he doesn't know he's going to say it until it comes out. WOODY Maggie was the best of us. McConnell looks at him, silent but grateful. Woody goes. McConnell turns back, looking at her smiling face, frozen on the screen. INT. COCKPIT. NIGHT MARS LOOMS AHEAD OF US. As seen through the cockpit windows. Huge, beautiful, MUCH CLOSER now. We can make out swirling pink clouds, large surface features. It's just before Martian dawn, the next morning. MCCONNELL Range 6783 and closing. 35 minutes till Mars Orbital Capture. WOODY Okay, people let's look sharp. If we overshoot, there's no coming back. PHIL (O.S.) Yeah, and drifting through eternity will ruin your whole day. In the cockpit, Woody and McConnell are in the pilot and co- pilot's wearing space suits but not yet helmets. AS CAMERA PULLS BACK AND AWAY, we see them making instrument adjustments in preparation for MOI. TERRI (O.S.) Delta V systems initialized. WOODY Charge primary APU. TERRI (O.S.) Engaged. Charged. WOODY Select HPU fuel cells for run. TERRI (O.S.) Engaged. MCCONNELL Tie main bus to systems. PHIL (O.S.) Power ready. MCCONNELL Select H2/O2 HPU and fuel cells for open. PHIL (O.S.) H2/O2 control valves open. CAMERA TURNS, PUSHING DOWN INTO... INT. EVA AIRLOCK. NIGHT ...Where Phil and Terri sit side by side at a pair of computers, relaying cockpit commands to the systems. WOODY (O.S.) Charge flow. TERRI Charged and on-line WOODY (O.S.) Reset PW. TERRI Set MCCONNELL Transfer protocol data from EVA station. PHIL Transferred. Awaiting track confirmation. There's a sudden LOUD, BRITTLE POP from somewhere overhead, and Phil's gloved hand, hovering over a computer screen, is punctured through and through. The screen itself is holed and spiderwebbed with a loud CRACK! PHIL Uhhh! PHIL HOLDS UP HIS HAND As he and Terri stare at it, dumbfounded. Thick droplets of blood leak out and begin to swirl away, sucked up towards the venting puncture in the hull over head. The astronauts' helmets dangle up there, awaiting use. TERRI What in God's -- Suddenly we hear HIGH PITCHED ALARMS SOUNDING, then the PINGING OF MORE TINY MISSILES, slashing across the ship's outer skin. WOODY AND MCCONNELL Are staring back from the cockpit, reacting in astonishment to Phil's drifting blood and to the alarms. Then Woody suddenly understands. WOODY Micrometeoroids MCCONNELL (scanning sensors) Breach hits in the hull! ANGLES ON TERRI AND PHIL As she seizes his wounded hand, tries to stop the bleeding. He's staring at a gauge. PHIL Outgassing! Losing pressure! TERRI Woody, seal the breech! ANGLE ON WOODY As he unbuckles, dives from the cockpit back down into the EVA, and floats quickly over to a storage hatch. He yanks this open pulling out a PATCH GUN Then spins around in zero-G, as his eyes track THE RISING DROPLETS OF BLOOD Which give a telltale hint of the puncture's location, somewhere up among the dangling helmets on the "ceiling." WOODY PUSHES OFF Rising to this area, and shoves aside a helmet with a shattered faceplate -- its label reads "MCCONNELL" -- to REVEAL A BREECH IN THE HULL. Jagged metal edges, dangling insulation. The blood droplets are whirling out through here, going into the vacuum of space. Quickly Woody stuffs the muzzle of the patch gun into the puncture, firing a thick grey sealant. We hear MORE PINGS, ECHOING LOUDLY, but after a few seconds they DIMINISH, then abruptly STOP. The KLAXONS continue to wail. WOODY Kill those alarms! McConnell punches buttons, MUTING THE ALARMS, and they all strain to listen, faces tense and sweating. A long beat. But the meteor shower has passed by, as abruptly as it appeared. The astronauts turn, becoming aware of a strange phenomenon. PHIL'S BLOOD DROPLETS Have stopped in place, wobbling eerily as perfect spheres in the zero-G. Then suddenly they start moving again, faster and faster, in a new direction. Down through the open core tunnel that leads to the lower Hab. MCCONNELL Stares at a gauge that confirms what's happening. MCCONNELL Still outgassing in the lower Hab! There must be another hole down there, even bigger. PHIL Losing pressure fast! We're gonna decompress! WOODY Computer, how long until zero atmosphere? COMPUTER (after a beat) Four minutes, nine seconds. PHIL If we get below 20% atmosphere, the power will shut down! TERRI Are you sure? PHIL Positive! A vacuum inside the ship would cause a total electrical failure. The nav computers will fry! MCCONNELL (to Woody) We'll lose all control. We won't be able to fire the engines to capture Mars orbit. Just then a computer screen flickers, freezes. Phil punches keys with his good hand. What he sees shocks him. PHIL It's already starting. The primary L- 1 hub has been smashed. The systems are crashing. Woody looks back at his crew, struggling to project more calm than he really feels. WOODY Everybody switch to suit oxygen. We beat this in the simulator, we can do it here. Jim, you've got the ship. I'm going EVA. They stare at him, stunned by their immense task. WOODY C'mon, people, let's go! Let's work the problem! INT. EVA AIRLOCK. MOMENTS LATER Terri, now helmeted, is putting Woody's helmet on him, but something's in the way, chafing his neck. He reaches into his suit, pulls out... THE CHAIN From around his neck, with his little Flash Gordon rocketship dangling. WOODY HANDS THIS TO TERRI As they share a brief, loving glance, but there's no time for words. She tightens his helmet ring, and he brushes his gloved fingertips on her faceplate. Then he hurries towards the inner hatch door, where McConnell is throwing airlock switches. Woody and McConnell exchange a look. At the EVA computer panel, Phil is shutting down non-essential power drains, trying to get the main computer system back on line. His wounded hand makes this difficult and painful. PHIL Jesus, it's still bleeding. TERRI Keep the pressure on! COMPUTER Eighty percent atmosphere... INT./EXT. AIRLOCK. NIGHT The outer airlock door is now open, revealing stars, as Woody drifts through it into space. He's now wearing the MMU, an oversized jet pack like the ones used by the shuttle astronauts. INT. EVA ROOM. NIGHT MCCONNELL'S HELMET. With its shattered faceplate -- now useless -- drifts past Terri as she is wrapping med tape around gauze pads on Phil's glove. MCCONNELL Floats up to them, checking on Phil's work at the computer. TERRI Jim, you've gotta get your spare helmet from storage. MCCONNELL No time. Phil, can you keep the nav computers on-line? PHIL I can't get this damn machine to re- initialize! And the automated systems just went down. We can't shut down the hab rotation from here. MCCONNELL I'll do it from below. TERRI We're losing pressure. You could embolize. COMPUTER Seventy percent atmosphere... McConnell looks at her, knows she's right. But he starts off anyway. Phil reaches out his good hand. PHIL Jim, I've got an idea. If you guys can save enough atmosphere, I'll disconnect the power in the main computer bay, then jump start the systems. I'll do a hard boot. This is a radical, incredibly risky notion. McConnell stares hard at Phil. So does Terri. MCCONNELL Has that ever been tested? PHIL Are you kidding? These machines are much too valuable. McConnell looks from Terri to Phil. It's life and death. MCCONNELL Do it. Then he turns, and the CAMERA FOLLOWS MCCONNELL as he pushes away from the console and dives down into the core tunnel, heading towards the OMITTED Sequence omitted from original script. INT. LOWER HAB ...where he emerges from the core into the rotating Hab deck, and pushes himself down a ladder toward the floor. He accelerates as he gets closer to the floor, then rights himself with a twist and lands on his feet -- now in gravity. EXT. MARS RECOVERY. NIGHT Woody, in the MMU, is hovering over the lower segment of the Hab hull, and right away we see his problem. He can't reach the damaged spot because it's spinning past him, spewing vapor. WOODY (over radio) Jim, how we doin' on the AG? INT. LOWER HAB. NIGHT McConnell runs to a computer terminal and starts clicking with the mouse. MCCONNELL Just one goddamn second. Come on, c'mon... COMPUTER Voice print identification. MCCONNELL McConnell! COMPUTER (a beat) Accepted. Shutting down artificial gravitational rotation. McConnell hears a sound up at the core tunnel. He turns, it's Terri. She holds an small 0-2 cannister, marked with a red cross. MCCONNELL Hang on! McConnell grabs onto a counter edge as... EXT. SPACE. NIGHT Attitude control thrusters on the hull begin firing in pulses. The rotation of the lower Hab deck immediately starts to slow down. The great red ball of Mars drifts by. INT. CORE TUNNEL. NIGHT Terri, lurching, grabs a ladder strut, and watches from the tunnel as... MCCONNELL Is also jarred by the firing of the thrusters. The rotation slows until the Hab is still. Zero-G. McConnell floats. He and Terri can hear the terrifying sound of air whistling out into space through the breach hole. COMPUTER Sixty per cent atmosphere... WOODY (V.O.) Get some light on the hole so I can locate it. MCCONNELL I've got a better idea. (shouts to Terri) Stay there! He starts rooting through Phil's storage area -- bags of M&Ms, comic books -- looking for what he needs. INT. COCKPIT. NIGHT Phil is now strapped into the pilot's seat. He's scared, sweating hard, but concentrating fiercely as his one good hand works a battery-powered screwdriver. He's removing the panel of the main computer bay. Over the intercom, he can hear the merciless struggle going on elsewhere. WOODY (V.O.) I'm topside, Jim, do you know which sector? MCCONNELL (V.O.) I'm workin' on it! EXT. SPACE. NIGHT The lower Hab deck is no longer revolving. Woody pops his thrusters and drifts over the metallic skin. But there's such a vast area to search! WOODY Jesus, uh, OK, this is gonna be like searching for a needle in a haystack. INT. LOWER HAB NIGHT McConnell locates a can of Dr. Pepper, shakes this violently, then tosses it up to Terri, who's still in the tunnel mouth. She catches the drifting can, confused. When McConnell speaks again, he's gasping for air. MCCONNELL Shake out the liquid. TERRI Jim, I don't -- MCCONNELL Shake it out near the hull! Terri shakes out soda from the open can. She and McConnell watch the brown stream of fluid swirl up into the air, caught by escaping oxygen. It rises towards the "ceiling" of the outer hull, like a miniature tornado. OMITTED Sequence omitted from original script. EXT. SPACE. NIGHT Woody still drifts over the hull, searching intently as his frustration builds. WOODY C'mon, c'mon, where are you...? COMPUTER (V.O.) Fifty per cent atmosphere... INT. LOWER HAB. NIGHT Terri, staring at the ceiling, sees something remarkable. THE SODA STREAM Swirling ever tighter, has formed a whirlpool that's now being sucked out through the breach hole in the hull. She can now see the ugly puncture for the first time. MCCONNELL (gasping) Woody, the breech is in sector four! Sector four, copy that? WOODY (V.O.) Copy, I' heading there now. Terri turns, excited by McConnell's triumph; she's just in time to see him collapse to the floor below her, as he starts to lose consciousness. He's deathly pale. EXT. SPACE. NIGHT Woody spots a tiny geyser of brownish ice crystals spouting out of the hull of the lower Hab. It's some distance away from him, but clearly visible. WOODY (to himself, marveling) Sonofabitch. You never did that in the simulator. INT. LOWER HAB. NIGHT Terri pushes off from the ladder, drifting weightlessly down to McConnell. She opens the valve of the oxygen cannister, pushing the plastic mask over McConnell's face. He sucks in air, color returning to his skin as he revives. INT. COCKPIT. NIGHT CLOSE ON THE COMPUTER'S GUTS. An incredible tangle of tubes, wires, chips, as Phil's gloved fingers -- both hands now -- probe desperately through them. PHIL Where are you, you little bastard, where are you...? PHIL WINCES WITH PAIN. As he moves his hands and forearms deep inside the computer bay. Around him, several of the smaller screens and gauges are starting to malfunction, the data streams breaking apart, streaking into electronic snow. He shoots a tense glance at THE NAVIGATIONAL MONITOR Which is flickering crazily. It shows the ship moving much closer to its critical MOI point, indicated by a flashing red triangle aimed down at the Martian surface. COMPUTER Forty percent atmosphere... EXT. SPACE. NIGHT Woody, popping his thrusters, moves as fast as he can towards the protruding finger of crystal, but he's not there yet. All of a sudden Woody's thrusters cut out. The ship is moving by, a meter beneath him. Woody punches his arm controls. Nothing. Then just as the outer edge of the hab starts to pass him, the thrusters kick back in. Woody grabs the edge, starts to move to the hole. Woody lets out a breath. WOODY (to himself) Whoa. INT. LOWER HAB. NIGHT McConnell, holding his breath, grabs a patch gun from a storage locker. Terri's still got the 0-2 cannister. He nods to her, and together they push off from the floor, leaping weightlessly up to the other side of the Hab, the "ceiling." They reach the gaping puncture, which they now see has been only partially dammed by the soda ice. INT. COCKPIT. NIGHT VERY CLOSE ON THE COMPUTER'S INTERIOR As Phil's gloved fingers finally locate the plug he's been searching for. He hopes. And grip it firmly. PHIL Gotcha! PHIL TAKES A DEEP BREATH. Says a silent prayer. Then he yanks the plug. SHRILL WHINES, ELECTRONIC CRACKLES from all around him, as the systems are abruptly shut down, in a way they were never meant to be mishandled. Terrifyingly, a couple of the monitors arc to each other as they die. Dodging sparks, Phil stares at THE NAVIGATIONAL MONITOR As it also flickers and dies. Now they're flying blind. COMPUTER Thirty percent atmosphere... EXT. SPACE. NIGHT Woody arrives at the ice finger, knocks away the big crystal, then pulls his patch equipment from a pouch. INT. LOWER HAB. NIGHT In the Hab, Terri uses the base of the 0-2 cannister to smash away the interior ice chunk, then McConnell, who's getting wobbly again, blasts the hole with the epoxy gun. As he works, Terri gives him another hit of air. COMPUTER Twenty percent atmosphere... The lights flicker out in the Hab. EXT. SPACE. NIGHT Outside, Woody slaps a big square patch over the hole, rips off the backing. CLOSE ON THE PATCH As it changes color and shrinks, drawing itself down into the metal of the hull. INT. COCKPIT. NIGHT VERY CLOSE ON THE COMPUTER'S INTERIOR. As Phil's fingers re-connect the same plug. PHIL PULLS HIS HAND OUT From inside the computer bay. He's trembling, sweat-streaked inside his faceplate. Blood has soaked through his gauze pads. His good hand hovers over the red main power switch. The moment of truth. PHIL OK... OK now... With a dramatic click, he throws the switch, hard-booting the computer system back on. He stares at the screens. Nothing happens! PHIL Come on. Come on...! Frightened, furious, Phil bangs on the switch with his cordless screwdriver. When all else fails, hit something. INT. LOWER HAB. NIGHT Feeble starlight from the viewports. McConnell and Terri, drifting side by side, stare at one another, expecting to die within seconds. It feels like an agonizing eternity. COMPUTER Twenty percent atmosphere... McConnell's eyes widen, as he realizes this is the same as the last reading. COMPUTER Pressure stabilizing... Atmosphere level increasing. Terri and McConnell look at each other. Tears of relief in her eyes. He is exhausted, nearly spent, but manages a grin. She holds the 0-2 mask up to his face, and as he grips it, breathing deeply, they hug one another. INT. COCKPIT. NIGHT The lights and computer screens are flickering back on. All of them! The cockpit lights up like a Christmas tree. Phil bounces up and down like a madman, babbling in triumph. PHIL Yes! Awriiiight! Had it all the way. Yes! Forgetting his injury, he pounds his gloved fist on the console in triumph. PHIL Shit! He wrings his injured hand, then his gaze is caught by THE NAVIGATIONAL MONITOR Which pops back on, showing the ship and the MOI point coming perilously close together. PHIL'S EYES WIDEN IN FEAR As he keys his mike urgently. PHIL Get back in here, guys! EXT. SPACE. NIGHT Woody floats above the repaired hole, scanning the nearby surface of the hull. WOODY Jim, there's a lot of scarring... I'd better check for other punctures while I'm out here. MCCONNELL (V.O.) Negative, negative. Woody, get back inside. We've gotta start the checklist for orbital insertion. WOODY (a beat; reluctantly) Copy, I'm heading there now. Woody jets back towards the open EVA hatch. But as he reaches this, about to re-enter the ship, he's captured momentarily by a breathtakingly beautiful sight below him. SUNRISE OVER MARS As the huge planet is REVEALED in all its red, unearthly glory. It's so close now that individual features can be seen with the naked eye -- the vast chasm of Valles Marineris, and then Olympus Mons, poking all the way up through the Martian atmosphere. A stunning, alluring spectacle. WOODY Stares down at Mars, enthralled, as sunlight floods the side of the spaceship, sparkles off his visor. Dawn, after a very long night indeed. He whispers lovingly, under his breath. WOODY Hey, Beautiful... Then he stirs himself out of his reverie and hurries through the EVA hatch. CAMERA DRIFTS QUICKLY BACK and down along the hull as stark sunlight flares off the big propellant tanks, three in a row, and the thick silver tubes that join them. There's a good deal of scarring and denting from the meteor shower. Then, as the ship begins to MOVE OUT OF FRAME... WE MOVE IN CLOSER On one of these tubes, a feeder line to the engine bells, we see a scatter of tiny, undetected holes, about the size of the eraser at the end of a pencil. So small, so apparently harmless... OMITTED Sequence omitted from original script. INT. EVA AIRLOCK. DAY As Woody enters, stripped from the MMU, dripping with sweat, McConnell is waiting for him. For a moment the two men just look at each other, then they surge forward into a fierce hug. WOODY (whispers) Know what? You've got enough left. McConnell looks at him, understands. Terri sits nearby, where she has just finished stitching up Phil's hand. As Woody goes to her, she rises from her seat and looks at him tears of relief and pride in her eyes. TERRI Piece of cake? WOODY Well. Easier than the cha-cha. He scoops her into his arms; they kiss passionately. Phil is blinking; something seems to be getting into his own eyes. His voice catches for a moment. PHIL I don't know what you're getting so cocky about. We scored better times in the sim at least twice. MCCONNELL (grins) How's his hand? Terri separates from Woody, looks down at Phil. TERRI Seems OK. Couple of the tendons are going to be a little tight for awhile. Try to close your fingers, Phil, nice and slowly. Phil starts curling up his fingers. The middle digit remains extended in the universal gesture. They all consider this for a moment. Then Phil looks up cheerfully. PHIL Well, at least I'll still be able to drive. After a split-second they get it, and the whole crew roars with LAUGHTER, which builds and builds; they're almost giddy with the relief of the tension... EXT. DEEP SPACE. DAY MARS RECOVERY Sails INTO VIEW, with small attitude thrusters firing as the great ship maneuvers into position for its orbital-capture burn. Mars looks very large, blood-red. The entire spectacle is majestic, awe-inspiring. WOODY OK, we're ready to light this candle. Go/No Go for braking burn and MOI. Engines? INT. COCKPIT. DAY All four astronauts are strapped in, fully suited and helmeted. Mars looms through the cockpit windows. The atmosphere is electric with excitement. MCCONNELL Go. WOODY Systems. TERRI Go. WOODY Nav. PHIL Go. WOODY We are Go for the burn. I'm fueling the engines. He flips three switches, in rapid sequence, and... EXT. MARS RECOVERY. DAY As we MOVE IN on the damaged fuel line, we see a tiny but steady spray of fuel venting from the hole caused by the meterorite. This freezes into eerie streamers and chunks, which slowly drift away from the ship. They're quite beautiful. PHIL (V.O.) Optimum angle of entry minus seven degrees. Six... Five... INT. COCKPIT. DAY Woody looks at the others for moment -- everyone is set, looking good -- then reaches for a last switch. PHIL Four... Three... Woody hesitates, then glances at McConnell. WOODY Jim? McConnell, moved by this honor, nods. He reaches out to throw the switch himself. MCCONNELL Let's go to Mars. As the countdown indicator reaches "0000.00.00", a final signal PINGS, and he flips the switch. EXT. MARS RECOVERY. DAY In total silence, the engines ignite. The second they do, the streamers of frozen fuel explode in a white flash. INT. COCKPIT. DAY With alarms sounding, the four astronauts are slammed violently forward, against their restraints. WOODY What the -- MCCONNELL Shut down engines! He and Woody both reach out, straining against the incredible G-forces, and manage to grab a red emergency lever, yanking it down hard. EXT. MARS RECOVERY. DAY Too late! IN SLOW MOTION, we see a terrifyingly violent chain reaction. The fuel tanks themselves explode, one after another. The supporting metal struts are vaporized. The solar panels are snapped off. Two of the huge engine bells are smashed sideways, out of alignment, while the third, trailing pieces of the cowling, goes hurtling off, PAST CAMERA, like a flaming cannon ball. The entire aft section of the ship, including much of the lower Hab, instantly becomes a shredded, charred tangle of metal, and even worse, the explosion causes what's left of the ship -- mainly the EVA chamber and cockpit -- to tumble end over end, cartwheeling down towards Mars. INT. COCKPIT. DAY In the windows, Mars goes crazily in and out of view. The astronauts, flung this way, then that, are all fighting against unconsciousness. WOODY Engines negative! No response! I've got no attitude control! MCCONNELL Manual separation! Blow the bolts! WOODY Negative! The CM doesn't have enough thrust to correct this rotation! PHIL We're too steep! Falling into the atmosphere...! EXT. MARS RECOVERY. DAY From further away, the charred remainder of the ship can be seen spinning down towards Mars, which now fills the screen, looming as large as Earth, when seen from the space shuttle. The ship's motion is mercifully slowing as it hits the outer atmosphere, but just as clearly this steep, unplanned angle of entry dooms it. PHIL Christ, at this angle we'll burn up! INT. COCKPIT. DAY ON A COMPUTER. Their ANGLE OF ENTRY is shown -- much too direct -- with an indicated swerve into blinking red disaster. Warnings flash: CRITICAL ENTRY! PULL OUT! WOODY How much time've we got? PHIL I don't know! Three minutes? I don't know! McConnell's mind is racing furiously, desperately. MCCONNELL Where's the REMO? PHIL The Resupply Module? Why? That's not -- MCCONNELL Where is it?! Phil punches buttons. ON THE SCREEN a second ellipse appears: a blinking orange dot labelled "REMO." It appears to be soon intersecting with their own trajectory. PHIL Uh, it's close... MCCONNELL Damn it, how close?! PHIL (shaken) I-I don't know. It'll take time... MCCONNELL We don't have time! Figure it out! Now! Phil frantically types in commands on the computer. WOODY Jim, we're dead stick, there's no way to maneuver this ship into a link-up! MCCONNELL Not the ship. Just us. We have to go EVA. They look at him, stunned. Leave the ship? PHIL You want us to transfer in suits? TERRI Jesus, Jim -- if we don't make it -- if we miss the REMO... MCCONNELL There's no other choice! Phil, how close?! PHIL One kilometer, that's the best I can do! They stare at Woody. We feel the full, terrible weight of his responsibility. Four lives hang on his call. WOODY Prepare to abandon ship. OMITTED Sequence omitted from original script. EXT. SPACE. DAY The astronauts are outside the ship, tethered to each other with long shock cords. Other cords, clipped to their suits, trail gear bags. Phil clutches a silver metallic case -- his precious computer repair kit. Woody is in the MMU. They're all rotating at the same speed as the ship behind them. WOODY On my mark, seven percent left thruster. Three, two, one, fire. All four astronauts fire a brief, simultaneous burst from the tiny attitude control thrusters in their suits. This stops their rotation, bringing their travel under control. The ship continues spinning in the background. Woody takes a final look at the charred, doomed Mars Recovery. The only home they've known for six months. He exchanges a silent glance with the others. They all expect to be dead in the next few minutes. Woody takes a breath, nods. WOODY Okay. Let's go. He pops the big thrusters on the MMU and starts heading away from the ship. The cord between Woody and the others pulls taut and they start to follow. WIDE SHOT Of Woody leading them away from the crippled spaceship, against the magnificent backdrop of the blood-red planet below. Four tiny figures, all alone in space. ANGLE ON MCCONNELL AND THE OTHERS As Phil looks back, his eyes searching the stars. TERRI What're you looking for? PHIL (softly, sadly) Earth. TERRI (beat) Hey. When we get back? We really will have to try this in the sim. He tries to smile. So does she. MCCONNELL How we doin' on fuel, Woody? Woody eyes a small display screen on his forearm. WOODY I'm at fifty percent. (looking down) But I don't see the REMO. THEIR POV Everyone is looking back at the curve of Mars against black space, expecting to see the REMO coming up behind them. TERRI Happens to glance directly below. TERRI There she is! THEIR POV The black outline of the little cargo craft drifts against the red of Mars. WOODY Jesus. She's not where I thought she'd be. PHIL We're going to miss her. WOODY Looks again at his display screen, frustrated. MCCONNELL What do you think? WOODY We can't catch it. Not like this. MCCONNELL (thinking quickly) Use the tether. From a compartment on the side of the MMU, Woody pulls out... THE TETHER GUN About the size of a large flare gun. There's a carabiner- like hook five inches in diameter on the front of the gun. MCCONNELL We'll only have one, maybe two shots before she's out of reach. WOODY It'll be better if I leave you the gun while I run out to the REMO. I've got enough fuel left for that. MCCONNELL You'll be going too fast. WOODY I'll aim to overshoot, then brake like hell; arc it in. McConnell looks at him. They both know how risky this is, and they also know it's their only chance. Woody flips a switch on the gun and pulls on the hook. Off it comes, trailing wire. Woody clips the hook to the MMU, then hands McConnell the gun. WOODY Seeya in a few. McConnell nods. Woody and Terri exchange a look -- tender, loving -- then Woody turns around and fires the MMU jets at full throttle. As Woody pulls away, line unspools from the tether gun. WOODY AND THE REMO Woody is chasing the REMO from above. It's as if he were in an airplane, trying to land on a car racing along a freeway. Woody is picking up speed quickly. Maybe too quickly. He checks his armpad display screen. WOODY Okay. I'm on path to overshoot. I'm gonna take the edge off. Woody starts braking with the MMU thrusters as hard as he can. CLOSE ON THE THRUSTERS Glowing with orange flame. They suddenly cut off. WOODY'S EYES Show alarm. He checks his display. WOODY I'm out. Coming in hot. Still long. (beat) Abandoning the unit. I'll brake with suit jets. Woody hits some buttons and the MMU's latches snap open. He grabs the hook connected to the tether line, then pushes himself free of the MMU, starts firing his small suit jets. WOODY'S POV He's still going very quickly. WITH MCCONNELL, TERRI AND PHIL Floating close together. The tether line is still unspooling from the gun. They watch Woody, below and ahead of them, as he races towards the REMO. Terri's heart is in her throat. TERRI Oh Jesus. Jesus... McConnell reaches a glove out, touching her arm. BACK ON WOODY Still speeding towards the REMO. His suit jets cut out. WOODY Suit jets gone. But I'm gonna make contact... MCCONNELL, TERRI AND PHIL Stare at Woody's distant figure. INTERCUT -- MCCONNELL At what velocity? WOODY Impact's gonna be a little rough. MCCONNELL At what velocity? WOODY (beat) Thirty-two. A look between McConnell and Terri; her face is stricken. MCCONNELL I'm gonna use the gun to slow you. WOODY No! You slow me and I'll fall short. MCCONNELL It's too fast, Woody. WOODY No choice. I'll be okay. Here we go... WOODY AND THE REMO Woody's coming down on the module at over thirty kilometers an hour. He holds the hook out in front of him with one hand while grabbing the tether line with the other, and WHAM! -- he crashes into the REMO. WOODY'S HAND Slams the hook against a receiver on the hull of the REMO. IT CONNECTS -- WOODY Tries to hold onto the tether line but his momentum is too much. HIS GLOVED HANDS Are ripped from the line. WOODY Slides over the hull of the REMO. HIS HANDS Grasp in vain for something to grab onto. They drag and bump and then finally his fingers close on... empty space. WOODY Is past the REMO, freefalling toward Mars. BACK ON MCCONNELL, TERRI AND PHIL As Terri screams. TERRI Woody!! McConnell hits a button on the tether gun and starts to reel them quickly in towards the REMO. WOODY Tries his suit jets again -- they're empty. HIS POV Falling away from the REMO. MCCONNELL AND THE OTHERS Are being reeled towards the REMO by the tether line. Another couple hundred meters to go. MCCONNELL Woody, what's your status? INTERCUTTING -- WOODY (after a beat) Uh, well, no suit jets and I'm still carrying a good deal of velocity. MCCONNELL As soon as we get hooked up, I'll come get you. WOODY (after a beat) Uh, I'd have to say negative on that, Jim. MCCONNELL Negative on the transmission? WOODY No, I heard you. Negative on the maneuver. I am not retrievable. McConnell and Terri share a quick, anguished look. TERRI Woody, that's not possible. You're not going that fast. WOODY It comes down to the amount of fuel, honey. The suit jets were designed for attitude control, not travel. Retrieval just won't work. PHIL It has to work! WOODY Hey, believe me, I don't like it any more than you do. TERRI Woody -- WOODY Run the numbers, Jim. MCCONNELL I am. McConnell finishes looking over the numbers on his display pad. Terri is staring at him. When McConnell's eyes meet hers, they are red-rimmed. Haunted. MCCONNELL Woody, you hang tight. We'll get into the REMO, fire her up, drop her into a lower orbit and come scoop you up. WOODY Sounds good, Jim. TERRI It's gonna take half an hour to get the REMO reoriented! Woody'll be... He'll be in the atmosphere by then! MCCONNELL Then we'll have to get her moving faster. TERRI We don't have time! WOODY You listen to Jim, honey. It's a good plan. TERRI No! We are going to -- PHIL Oh Jesus, look! The ship! Phil points. McConnell and Terri look. THE MARS RECOVERY COCKPIT Is now several kilometers below and behind them. It's glowing red... then orange... then white. Then it erupts into a giant fireball, devoured by friction with Mars' atmosphere. MCCONNELL, TERRI AND PHIL IN DEEP SPACE Are all staring at this, awed, when McConnell happens to look up again. He sees something alarming. MCCONNELL Look out! THEIR POV They are drifting quickly into the REMO. MCCONNELL Brakes! ALL THREE Fire their suit jets, slowing themselves down. They bang into the REMO at about one-tenth the speed Woody did. They find handholds and grab on. McConnell hits a button on the tether gun. THE HOOK Releases from the REMO's hull. McConnell hits another button and it is reeled all the way into the gun. Phil is already scrabbling at a latch on the REMO's outer airlock door. MCCONNELL Okay, let's get inside! Phil, start dumping the cargo, or there won't be room for us. PHIL But we need those supplies for -- MCCONNELL Dump the cargo. Hang on, Woody! WOODY Is looking back at the REMO. Smiles with relief to see that Terri has reached it safely. WOODY Will do, Jim. He turns to look at... MARS Right below him, filling his field of view. A long beat. WOODY (softly) Hey, Beautiful... BACK AT THE REMO Terri makes a snap decision. She grabs the tether gun from McConnell's surprised hands, then pushes off from the REMO. McConnell lunges after her, his gloved hand straining. MCCONNELL Terri, no! But it's too late. She's already out of reach, and now fires her suit jets, pulling quickly away from the REMO. MCCONNELL Is reaching to activate his own jets, when PHIL'S HAND Grabs at his wrist, restraining this suicidal courage. They stare at each other. McConnell wrenches his hand free, half- maddened, agonized, staring after Terri. MCCONNELL Goddammit, Terri, it won't work! But Terri keeps on going. WOODY Looks back at the REMO, as he continues to fall towards Mars. Sees the small figure of his wife heading towards him. WOODY Terri, what are you doing? INTERCUT -- TERRI I'll tell you what I'm not doing, Woody. I'm not going to watch you die. WOODY Terri -- TERRI You'd do the same for me. AT THE REMO Phil is watching as Terri drops towards the distant twinkle of Woody's suit lights. The airlock door hangs open. Phil looks at McConnell, anguished. MCCONNELL Get inside. Dump the cargo, then start the systems. (Phil hesitates) Now. INTERCUTTING BETWEEN WOODY AND TERRI As Woody keys his mike. Tries to steady his voice. WOODY No. I wouldn't come for you. Not if it just wasn't possible. TERRI I can do it! WOODY No, Terri, you can't! You don't have enough fuel to get me, stop us both, and get us back. Hell, you come any farther and you won't have enough to get back yourself. No response from Terri. WOODY Listen to me, goddammit! You have to stop! You have to stop now! MCCONNELL He's right, Terri... It's no use. Terri looks at her armpad display. CLOSE ON DISPLAY SCREEN As her fuel indicator drops from 50 percent to 49 to... TERRI Releases her thumb from the toggle control. HER SUIT JETS Stop firing. TERRI Drifts, staring towards Woody. TERRI AND WOODY Are on the same trajectory, going the same speed, and only about a hundred meters apart. But it might as well be infinity. WOODY Okay, honey...? You gotta go back now. TERRI The hell I do. Terri raises up the tether gun and pulls the trigger. THE HOOK Comes shooting out of the gun, wire spooling out behind it. WOODY Watches as it comes shooting down toward him. PLATE POV -- MOVING -- AS Woody gets larger and larger, the hook gets closer and closer, and then SNAP! -- the hook stops. ANGLE ON THE TETHER GUN The wire has run all the way out. WOODY Looks at the drifting hook, ten agonizing meters away from him. His only life preserver. TERRI Hits the button and the wire starts winching fast back into the gun. WOODY What are you doing? TERRI I'm gonna jet a little closer and try again. WOODY Terri, you spend any fuel getting closer, you won't get back, and if anyone tries to get you, they'll die too. No response from Terri. THE HOOK Is whipping back toward Terri and the gun. Woody's voice cracks; he's very close to tears. Pleading now. WOODY Honey, please go back. Go back and help everyone get down to the surface. The hook slams back against the muzzle of the gun. Terri resets the gun quickly, in an anguished fury. TERRI I am not losing you. WOODY I can't let you do it. I can't. I'm sorry. TERRI Looks at Woody, two hundred meters away, sensing something different in his voice now, a terrible resolve... TERRI Woody...? WOODY Raises his hands to his helmet ring. His eyes shining. WOODY I love you, Terri. God how I love you. He unscrews the ring, pops the seal. The outrush of air pushes his helmet all the way off. Woody shuts his eyes and opens his mouth. TERRI Woody, nooooooo...!!! Ice crystals bloom with Woody's last breath. There's nothing to suck in. He doesn't fight it. He lets death come. ANGLE ON TERRI Tears streaming, chest heaving, frantic. TERRI Woody, oh Woody, please God, no! HER THUMB Hovers over her suit jet toggle control. McConnell's voice, from the distance, sounds very tired. Like he's aged fifty years in the blink of an eye. MCCONNELL Come back, Terri. Terri's thumb is still poised. Death would be better. ANGLE ON MCCONNELL Outside the REMO. The hatch is still open. We see Phil inside, staring out anxiously towards Terri. MCCONNELL (quietly, simply) He's gone. He sees no movement from the distant, small figure of Terri. MCCONNELL Please, Terri... (long beat) We need you. TERRI'S THUMB Pushes the toggle control... to one side, not forward. TERRI'S FACE Inside her helmet, is streaming with tears. She turns herself around, reluctantly. Heads slowly back towards the REMO. INT. INTERNATIONAL SPACE STATION. MMCR. DAY On the big screen at MMCR, a glowing green icon labelled "MARS RECOVERY" is shown in orbit, as a stream of computer figures crawls beside it. SUPER TITLE: "SPACE STATION. MMCR. 20 MINUTE TIME LAG" Beck stands by the NEW CAPCOM, as the latter repeats headset data. NEW CAPCOM Okay, they're Go for the burn and MOI. Should be initiating the burn just about... now. Suddenly the data stream goes crazy. It shivers, streaks, breaks up... then stops. The blinking green icon representing Mars Recovery glows brighter... then vanishes. A moment of stunned silence in the big room. Then a rising babble of scared, confused voices. RAY BECK Takes a step forward, staring helplessly at the screen. His face goes pale, stricken. His worst nightmare is taking place, right before his eyes -- and for the second mission in a row... DISSOLVE TO: EXT. REMO. MARS ORBIT. NIGHT The REMO is now on the night side of Mars. Cargo boxes, packing cases and assorted equipment containers float outside. The hatch is sealed. INT. REMO. MARS ORBIT. NIGHT McConnell hovers by a bulkhead. He's anguished, haunted by the image of Woody's death. We see him struggling to overcome his grief and shock, trying to force himself to concentrate on the critical tasks at hand. In front of him, a panel has been opened; he's facing SMALL UTILITY MONITOR Already glowing, surrounded by coded switches, indicator lights, com ports. MCCONNELL Stares at these, thinking hard, remembering. He's holding a palm-sized computer, already wired into this panel. He begins tapping the keys, but then stops himself. Reconsiders. He turns, looking back at TERRI AND PHIL Hunched on what would be the floor if the REMO were on land. They grip stowage straps to keep from drifting. Clearly this tiny, rude cargo craft was never designed for manned operation. It's claustrophobic, bitterly cold. PHIL'S FACE Is a map of torment. He is shivering, both from cold and fear, barely holding himself together. He hugs his computer supply case like a scared child would hug a teddy bear. TERRI Is worse. A thousand-yard stare. She's in shock. MCCONNELL Knows he has to occupy them. Speaks softly. MCCONNELL Phil? (no response) Hey, Phil...? Phil looks up at him dully. MCCONNELL We're going in blind. We'll deploy the chutes by laptop. I need to get on the data bus, put in a software patch, and try to soften this tin can's landing. I could use your help with the patch. After a moment Phil releases his strap, pushes towards McConnell. He stares numbly at the monitor for a few beats, then takes the little computer from McConnell. He begins to tap the keys, slowly at first, but then with more confidence. MCCONNELL That's great. Good job. (turning to Terri) Hey, Terri, I was wondering. Think maybe we could rig some kind of seatbelts out of those cargo straps? Terri hesitates a moment, then looks at the strap in her hand, as if she's never seen it before. Dully she reaches for another one, begins looping them together. MCCONNELL Studies both of their faces intently. Knows that he can't push them too hard, too fast. They're moving like robots, but at least they're moving. EXT. REMO. MARS ORBIT. NIGHT. (MINUTES LATER) Small thrusters are firing, getting the REMO into position for entry into the atmosphere. Then all the jets fire in unison, braking the REMO, as it falls away from us, towards Mars at night. INT. REMO. HIGH ATMOSPHERE. NIGHT The astronauts, restrained on the floor by Terri's jury-rigged strap system, hold on for dear life. The buffeting through the atmosphere is shaking them violently. BEHIND THEIR FACEPLATES We see the effect of the incredible g-forces: faces distorted, unable to focus their eyes. Each of them thinking, once again: Now I'm going to die... OMITTED Sequence omitted from original script. EXT. MARS ONE BASE CAMP. NIGHT The Mars One Base Camp looms in the foreground, like some desolate, otherwordly ghost town. And then, in the night sky beyond it, we see an eerie and beautiful sight: a bright streak of red as the REMO slashes down into the Martian atmosphere, like a shooting star, finally disappearing behind distant mountains. Then all is stillness again, deathly stillness and silence... INT. INTERNATIONAL SPACE STATION. VIEWPORT. DAY Beck stands by a viewport, staring out into space. He's just lost four good friends, and also knows he is seeing, in this disaster, the probable end of the Mars Program, and the certain end of his own career. He doesn't, at first, even hear the nearby VOICE. NEW CAPCOM Ray...? We've got some new data, just coming in. Beck looks up, his eyes red-rimmed. The CapCom shifts uneasily. He's holding a computer printout. NEW CAPCOM We just -- it doesn't make any sense. We're not sure how to read this. BECK Data? NEW CAPCOM Yes sir. Telemetry reports the REMO has left its orbit and reached the Martian surface. BECK (pause) Crashed? NEW CAPCOM No sir. Under power. Beck snatches the paper, staring at it. For the first time we see some life coming back into him. BECK When? NEW CAPCOM Sixty-three minutes after Mars Recovery went off-line. Sir, the graph reads like a controlled descent. But that doesn't make any -- Beck suddenly understands. And it's a joy to see his face, the tears of happiness that spring into his eyes. BECK They used the REMO as a lander. The CapCom stares back at him, feeling the same surge of hope. BECK It's McConnell, it's got to be! Nobody else could have pulled this off. Son of a bitch! They're alive. OMITTED Sequence omitted from original script. EXT. MARTIAN SURFACE. MARS ONE BASE CAMP. DAY POV ANGLE - WIDE As we see the Mars One Base Camp: silent, very still. In the distance, the massive ERV still looms, perched for takeoff, the bottom rungs of its ladder buried. PANNING We see that sand has drifted high against the Hab, as well as the sides of the partially-deflated tunnel and greenhouse, and the four-man rover. The oxygen still and propellant plant are almost buried. Solar panels, some of them punctured by micrometeors, FLAP and CREAK eerily in the slight breeze. And finally, CLOSER TO CAMERA We see the camp's American flag, still on its toppled pole, but nearly obliterated by sand. ANGLE ON MCCONNELL, TERRI, AND PHIL Who are spooked by this desolation. They've paused at the edge of the camp. They have dragged along with them from their landing site a crude sledge, improvised from the REMO's hatch cover and some cargo straps. On this, their meager supplies. McConnell, glancing at the others, knows he's got to keep their spirits up. He kneels, digs out the flag pole. Brushing off the sand, he rights this and re-plants it firmly in the ground, packing the sand down with his boot. He stands for a moment looking at the flag, his eyes moist. Despite the cost, they have made it to Mars. When he turns, Terri and Phil are looking at him, moved. MCCONNELL Better? PHIL (pause) Damn right. MCCONNELL Terri, let's see if that oxygen still is operational. Phil, you better check out the ERV. I'll take the Hab. If you find Luke's -- He catches himself. Phil and Terri look at him. MCCONNELL Just keep in touch. EXT. ERV. DAY Phil steps from the umber sand onto the ERV's ladder, begins to climb. The four-man rover is nearby, sand drifted high against its tires. EXT. OXYGEN STILL. DAY Terri kneels by the oxygen still, begins to scoop away sand with her gloved hands. She still looks numb. EXT. HAB. DAY MCCONNELL (on radio) I'm at the main airlock door. He unlatches a panel, grips the emergency lever inside, tugs it. After a seeming eternity, the door groans and creaks open. Little puffs of dust and sand swirl about, settle. MCCONNELL Entering Hab. EXT. ERV. DAY Perched atop the ERV's ladder, Phil, using a battery-powered drill, is just removing the final screw from the hatch cover. He lifts off the heavy cover, lets it tumble to the sand. PHIL I've got ERV access. I'm going in. Terri, you okay? EXT. OXYGEN STILL. DAY Terri is still scooping sand. She's just cleared the first row of gauges. TERRI Yeah. This is gonna take awhile to get back to 100% capacity. INT. MARS ONE HAB. DAY McConnell walks through the kitchen, which we recognize. He pauses to look at the table from which Luke and his crew taped their final, fateful message. HIS BIRTHDAY CUPCAKE Still sits there, eerily, with its stub of burned-out candle. Half-finished, frozen cups of coffee. Suddenly, out of the corner of his eye, he catches a flash of white. He spins, startled, and sees HIS OWN REFLECTION. In his white pressure suit, staring back at him from the screen of a video monitor. Above this is perched the camera the Mars One astronauts used for their comm packets. MCCONNELL SHIVERS This place is filled with ghosts. INT. ERV COCKPIT. DAY Phil, in the pilot's seat of the ERV, pushes a computer's power button. The screen flickers weakly to life, startling him a bit, but all he sees on it are white streaks, crazy static. PHIL ERV appears structurally intact. Computers are fried, just as we thought. EXT. OXYGEN STILL. DAY Terri has cleared more gauges, valves. She sits back on her heels, studying the tangle of pipes. TERRI Copy that. I've got busted filters here, clogged intakes. Helluva cleanup job, but so far no major damage. INT. GREENHOUSE. DAY AN INNER AIRLOCK DOOR WHOOSHES OPEN, AND MCCONNELL ENTERS. THEN STOPS, ASTONISHED. HIS POV On a fantastic, almost jungle-like atmosphere. The plants have been allowed -- encouraged? -- to grow wildly. Some are even pushing against the inflated roof. Water condenses on the leaves and the roof, then is captured and routed through pipes of every shape and size, dripping into a clever assortment of collection jars. Liquid water. MCCONNELL Reaches into a bucket, touches the water. His glove comes up before his wondering eyes, dripping. Grasping the implication, he looks down at his forearm instrument pad. Blinking red letters read "25 deg. C." And something else -- the puffy white material of his suit is starting to slightly deflate, revealing his arm's shape. There's air pressure in here! MCCONNELL Punches in more numbers, and gets the readout: "Nitr. 78%/ 02 20%/ C02 1%/ Trace gasses 1%." MCCONNELL Slowly reaches up, unsealing the neck ring of his helmet. He hesitates, then lifts it off. Takes a deep, quenching lungful of pure air. Holds it in. Lets it slowly out. For a moment he doesn't trust his own voice. Then speaks softly towards his helmet. MCCONNELL I'm in the greenhouse. You better... you better come see this for yourselves. INT. ERV. DAY Phil, still sitting at the cockpit controls, turns. Through a side viewport he can just make out the greenhouse. PHIL What is it? There's no answer. He rises. EXT. OXYGEN STILL. DAY Terri rises, concerned, and turns. Through the distant, translucent wall of the greenhouse, McConnell's shadowy figure can be seen, moving slowly. TERRI Jim...? INT. GREENHOUSE. DAY McConnell sets down his helmet, starts exploring, pushing through fronds as he makes his way down an aisle. The dripping foliage is so dense it almost chokes his path. Everywhere he looks, he has the sense of a scrounged-together, recycled, jury-rigged environment, where a great deal of ingenuity has come into play. He pauses, looking up... Overhead, a bellows, stitched together from pieces of plastic tarp, slowly inhales and exhales, pumping air into a vent in the upper deck of the Hab. Its power comes from a crude water wheel, a buckets-and-strut assemblage, tidily sutured with duct tape, like some giant Erector set. As McConnell turns away from this, still marvelling, a ragged figure leaps through the foliage! It smashes into him, with a HARSH SCREECH, knocking him to the ground. McConnell, on his back, straddled by his attacker, fights back as best he can. A blur of flailing arms and fists, as he tries to push the creature away. Staring up, he catches a glimpse of the almost unrecognizable LUKE GRAHAM Whose frightened eyes glare back at him through a swaying curtain of dreadlocks. His skin is creased, weathered, above a scraggly beard. His clothes are tattered, patched together. In one fist he grips a rock hammer, which he swings high overhead, about to drive the claw through McConnell's skull. McConnell grabs his arm desperately, trying to fend him off. MCCONNELL Luke, it's me! Jim McConnell! We see a flash of uncertainty in Luke's eyes. Then he yanks his arm free, and his hammer arcs up even higher, trembles in the air. LUKE You're not here! MCCONNELL Luke, it's Jim! LUKE No, no, you're not... you can't be here. MCCONNELL Your wife is Debra! Your son is Bobby! You were reading Treasure Island with him...! As he stares down at McConnell, Luke's eyes finally light up with recognition. but before he can move, he is seized from behind and flung backwards to the ground, the hammer ripped from his grasp, as Terri and Phil pinion his arms. McConnell scrambles to his feet. MCCONNELL Don't hurt him! McConnell kneels beside Luke, signalling to Terri and Phil that it's okay to let him go. They stand back, pulling off their helmets. Everyone is panting, out of breath. Luke sits up, slowly studying their features, one after another, as if still not quite certain whether they might vanish. His voice is hoarse, rusty from disuse. LUKE Phil... Terri... Luke looks with incomprehension at McConnell. LUKE Jim... I don't understand. You're not supposed to be here... Why are you here? Where's Woody? MCCONNELL He didn't make it Luke. Luke stares at McConnell, trying to absorb everything. He looks to Terri, who looks down. LUKE Oh no. Luke shakes his head in dismay. He seems to shrink in on himself. It's all too much for him to take in. McConnell kneels and puts his arm around Luke, comforting him. OMITTED Sequence omitted from original script. INT. ELSEWHERE IN THE GREENHOUSE. DAY (MINUTES LATER) Luke sits on the side of his cot, in the little tented sleeping area he's created in one corner of the greenhouse. Nearby, his hotplate, pots, and some freshly harvested vegetables and greens. The others crouch around him. MCCONNELL Luke, what happened here? A flash of fear in Luke's eyes. LUKE (whispers) We fired the radar. It came. They all died. MCCONNELL What came? LUKE They all died, but I was spared. Why? Had to be for a reason. Then, all of a sudden, I knew why I was spared. His voice drops to a conspiratorial whisper. LUKE So somebody would be left to figure out the secret. He taps his forehead, significantly, then nods once or twice. The others exchange an uneasy glance. MCCONNELL Luke, we still don't understand. LUKE Come. Comecomecome. He rises quickly and scuttles off, waving an impatient hand, without waiting to see if they'll follow. McConnell, Terri and Phil stare after him for a long moment. Phil breaks the silence. PHIL Is it just me? Or is he about two mealpacks short of a picnic? TERRI Long term exposure to low gravity can have an adverse impact on the brain. He could be suffering from a form of asphyxia. MCCONNELL Or maybe his whole crew died and he's been marooned alone on Mars. Let's give him time to adjust. McConnell and Terri follow in the direction Luke went. Phil, trailing, mutters to himself. PHIL Greatgreatgreat. EXT. MARS ONE BASE CAMP. DAY Luke, now in a patched-up pressure suit and grubby-looking helmet, stands peering down unhappily at the improvised sledge, with its meager supplies. McConnell, Terri, and Phil walk up behind him, wearing their helmets again. They hear Luke over his RADIO. LUKE So... let me be sure I understand this. Your ship blew up, with all its supplies. Then you emptied the cargo out of the REMO, and it was totalled on landing. You've got no food, no water, no spare oxygen, nothing but what I see here...? McConnell and the others are silent, embarrassed. Then McConnell nods. Luke looks at him, a cracked grin. LUKE What kinda rescue mission is this? MCCONNELL That kind. He points to the computer repair case, as Phil lifts it off a sledge. Luke turns, looks at the case, then Phil. PHIL Check it out. New nav boards for the ERV. I got four round-trip tickets, baby, right in here. LUKE (softly) Four. In some mysterious way, this reminder of Woody's death seems to bring him fully back into himself. He takes Terri by the shoulders, deeply saddened. She meets his gaze. LUKE Terri... I'm so sorry. He was a good man. TERRI Thanks, Luke. LUKE When there's time, we'll talk. She nods, grateful. A beat. He looks at the others. LUKE This way. He starts off across the sand, and they follow. EXT. GRAVE SITE. DAY They stand looking down at the three long mounds of dirt, as Luke completes his account of the disaster. LUKE ...When I came to and dug myself out of the sand, my faceplate was cracked. Leaking badly. I barely made it back to Base. It was weeks before I could work up the nerve to go back out there and look for their... He has to pause, collect himself. LUKE Renee was the only one I could find. But it didn't seem right, somehow, to dig just one grave. There is an emotional silence. Luke turns, takes a few steps. He stares into the distance, observing the swirling dust around them. McConnell hesitates, notices Luke's gaze. MCCONNELL Has it been blowing like this for a while? (Luke nods) We saw a big storm from space. But Micker said it was turning south. Luke looks off into the distance, studies something only he seems to see. LUKE If it holds course. McConnell pulls his gaze away from the horizon, looks at Luke. MCCONNELL This -- whatever it was -- this force. You say it came directly out of the top of the mountain? LUKE You don't believe me. That's okay. But I'm not crazy, Jim. McConnell isn't quite sure how to reply to this. MCCONNELL What did you mean by its "secret?" What secret? LUKE (pause) You better see for yourselves. OMITTED Sequence omitted from original script. INT. MARS ONE HAB. DAY McConnell, Terri, and Phil follow Luke into the Science Lab area of the Hab, then stop in their tracks. Their helmets are off. It's very cold in here; their breath is frosty. THEIR POV -- The Lab is crammed with rock and sand samples from many locations, all tagged and labelled. There are drawings and diagrams covering the walls: Martian landscapes, annotated maps, and over and over, obsessively repeated, drawings of the vortex that destroyed the Mars One crew. LUKE See, where they made their mistake was, they must've planned for it to be visible from Earth... The others turn, looking at him. Luke is aiming an electric space heater at his computer. As the coils glow red, he rubs his hands together, poised over the keyboard. MCCONNELL Who's "they"? Luke reacts to their blank stares. He has a kind of jittery feverish intensity, a secret excitement. LUKE Don't you understand? Hundreds of millions of years have gone by. You've got erosion, sand storms, lava flows, meteor impacts -- hell, in that much time, the whole surface would've changed. So no wonder we never saw it before. Well, I mean, we saw it, but not like they meant us too. Too much dirt on it. The others exchange worried glances. Is he totally nuts? TERRI Saw what? LUKE This. On the computer screen they're looking at... CLOSE ON THE MONITOR Pictures of the Face after the disaster, seen from ground- level, in telephoto views. Rising out of a ring of rock and dirt rubble is the shiny-white profile of a gigantic face. The white is smooth, impenetrable. It has the scale of a mountain, but the planes and angles are clearly unnatural. MCCONNELL, PHIL AND TERRI (INT. MARS ONE HAB.) They are stunned. Can hardly believe their eyes. PHIL Jesus... TERRI What is that...? LUKE I don't know. But whatever it is, somebody built it. And not us. A few moments of silence while they try to absorb this. MCCONNELL What about the sound? That signal you heard before the explosion? LUKE Good, Jim, good. That's the key. A click of the mouse and they all HEAR, over speakers, the DEEP PULSING BASS TONE. LUKE Hear the pauses? That's what made me realize it's a pattern -- a repeating pattern. MCCONNELL Mathematical? Luke is trembling with excitement. His words tumble out very quickly. He's been waiting so long to share this. LUKE That's what I thought. There are distinct blocks in the pattern, and within each block the tones come in groups of three. Threethreethree. For months I struggled to analyze it, trying different constructs... Then I thought about dimensions. MCCONNELL X-Y-Z coordinates... LUKE Right! Three groups equals three dimensions... So I tried assigning different graphic values to each block, group and tone. And finally I got... this. He types another command. They all look at the monitor, the glow reflecting on their faces. They are amazed again. CLOSE ON THE MONITOR Where we see the beautiful interlocking chain, the universally familiar double helix, of a DNA molecule -- the elegant blueprint of life. BACK TO SCENE (INT. MARS ONE HAB.) PHIL My God... Is that what I think it is? TERRI DNA... that's a model of DNA! LUKE You see it, too. Thank God. I was afraid I was just suffering from a form of asphyxia. She glances at him, surprised that he overheard her earlier diagnosis. But he smiles, not offended. PHIL So, okay, so -- somebody left this thing here, somebody -- other than human. But what the hell is it? LUKE My guess is, it's a signature. A self-portrait of whatever species created the Face. MCCONNELL But that DNA looks human. TERRI No way. It's missing the last pair of chromosomes. See? MCCONNELL Yeah, but it's close. Damn close. TERRI The difference between a man and an ape is less than three percent of genetic material. But that three percent gives you Mozart. Einstein. PHIL Or Jack the Ripper. They look at him. Then all four turn, stare again at the slowly rotating DNA, pondering its awesome mystery. MCCONNELL When he finally speaks, never takes his eyes off the screen. We can read in them the almost overwhelming grip this mystery has on his imagination. MCCONNELL It's been a long day. Let's get a couple hours sleep, then tackle this thing when we're fresher. Phil, your first priority will be to get the motherboards over to the ERV. Concentrate on getting communications up first. (Phil nods) Soon as we've got the juice, we'll send a packet to Micker, tell them Luke's OK, and that... everything else that's happened. The rest of us will take an inventory of supplies, see where we stand. Okay? The others nod in weary agreement. As they start out, towards the relative warmth of the greenhouse, Terri looks at Luke, at his scraggly beard and his long, lank hair. She smiles, brushing some locks off his forehead. TERRI C'mon. There's a pair of scissors in my medkit. OMITTED Sequence omitted from original script. INT. MARS ONE HAB. ANOTHER SECTION. NEXT MORNING As in the Science Area, this space has enough thin oxygen for the astronauts to remain unhelmeted. McConnell and Luke are still going through what few supplies were salvaged from the REMO. Luke pauses, rubbing the unfamiliar smoothness of his cheek. His beard is gone, his hair neatly trimmed. McConnell enjoys Luke's own wonder at his transformation. MCCONNELL How do you feel? LUKE Like I just got back my other three percent. McConnell smiles. Terri enters through the hatch, removing her helmet. TERRI The backup generator is salvageable, and two of the solar panels. I'm pretty sure I can get the oxygen still back into production, too. So we're not in such bad shape, considering. LUKE Good work, Terri. McConnell, rummaging through Phil's backpack, drops an already- opened bag of M&Ms. The CANDIES scatter and bounce all over the floor. MCCONNELL Look at that. Phil's idea of absolute essentials. Luke and Terri smile. McConnell scoops up the fallen M&Ms. He slows down as he does it, looking at the scatter of little round CANDIES. Something tugging at the back of his mind... FLASHBACK TO: OMITTED Sequence omitted from original script. INT. MARS RECOVERY. EVA AIRLOCK. DAY Phil's intricately designed M&M model of his "ideal woman", floating weightlessly, as McConnell drifts past it, plucking away a couple pieces of the candy. Phil reacting, in good- natured annoyance. The gap in the design left by McConnell's theft... INT. MARS ONE HAB. ANOTHER SECTION. DAY CLOSE ON MCCONNELL As he trembles with excitement. With sudden comprehension. MCCONNELL It's not a signature. LUKE (puzzled) What? MCCONNELL That noise from the Face... It's not a signature. It's a test. Luke and Terri stare at him. INT. MARS ONE HAB. MOMENTS LATER McConnell sits in front of the computer back in the science lab area, staring once again at the mysterious DNA model. Luke and Terri stand behind him. McConnell's energy, his new certainty, is almost electrifying. MCCONNELL It's asking us for the right answer. It wants us to put in the missing pair of chromosomes. LUKE But why? MCCONNELL To prove that we're human. Terri and Luke look at each other, starting to understand. LUKE We fired radar into that thing. Concentrated sound waves... MCCONNELL Which it interpreted as a wrong answer... Yes! It's like a, a security alarm. When it gets an incorrect response, it defends itself. INT. ERV COCKPIT. DAY Phil is listening in on radio. He's got panels open, wires dangling, as he works his ongoing repair. He keys his mike, uneasily. PHIL So what happens when it gets the right answer? INT. MARS ONE HAB. DAY As McConnell looks at Luke and Terri. MCCONNELL (hesitates) I don't know. But we've got to find out. (to Luke, pointing) Can you work this the other way? Figure out which tones would be equivalent to the missing chromosomes? Then dub them into your recording of the signal? LUKE I think so, yes. MCCONNELL What about the radar gun? Will it accept that input? Can we transmit a completed signal back to the Face? Luke stares at him, startled by what he's implying. INT. ERV COCKPIT. DAY Phil is also growing increasingly nervous. PHIL Whoa, whoa, hold on, Jim. What if you're wrong? Whoever goes out there... I mean, what if you're wrong? Three people have already died over that thing. INT. MARS ONE HAB. DAY As Luke and Terri look tensely at McConnell. TERRI Four. McConnell looks at her. MCCONNELL Terri, if we leave here without getting some answers, they all died in vain. Terri shakes her head. TERRI We just don't know enough about that -- that thing out there to take any more chances. MCCONNELL What are we here for, if not to take chances...? His passion startles them; they've never seen him so emotional. He points at the computer screen. MCCONNELL This means we're not alone. It means we're on the brink of the greatest discovery in mankind's history. But we've still got to prove it. Who knows when someone else will get back here? Or if they ever will? You know what Congress is like. They'll say it's too dangerous, too much loss of life, let's go back to unmanned flights. We could be the last explorers to come here for decades. We're it, guys. (pause) We're it. LUKE (quietly) We don't have to go out there. There's a better way. They look at him, surprised. OMITTED Sequence omitted from original script. EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY The familiar, plucky little figure of ARES-8 wheels across ocher sand, with the radar gun jury-rigged onto its back. Ares' video snout WHIRRS out, extending. The familiar bass rumble of the Face is very loud from here. LUKE Checking video feed... INT. MARS ONE HAB. LATE DAY McConnell, Terri, and Phil have gathered around Luke as he pushes buttons, and a monitor CRACKLES to life. White streaks, then a blurry image, which he tries to enhance. Finally the image starts to sharpen. LUKE There! ON THE MONITOR They see the familiar stark white profile of the FACE, shot from ground level, in a SLOWLY APPROACHING ANGLE... THE FOUR ASTRONAUTS Stare at the ominous sight. They're all more nervous than they want to show. Luke's fingers delicately work a joystick as he maneuvers the remote surveyor. MCCONNELL How close do we need to get? LUKE I'm not sure. Maybe we better stop by that boulder. EXT. MARS. THE FACE. LATE DAY Ares-8 whines to a stop by a large boulder, which partially shields it from the Face, looming beyond. The radar gun swivels, locating its target. Then stops, ready to fire. INT. MARS ONE HAB. LATE DAY Luke looks at Terri, Phil, and McConnell. Phil shuts the lid of the box holding the new nav boards, snaps it protectively down. He nods. Terri takes a deep breath, then she nods. Luke's hand hovers over the red firing button; a moment of awesome uncertainty and danger. He looks at McConnell, who finally gives a nod of command. Then Luke hits the button. EXT. MARS. THE FACE. LATE DAY From the radar gun on Ares-8's back, a sharp, high-pitched electronic burst is emitted, pulsating like a tuning fork as it's fired towards the Face. After a few seconds it stops. For a moment nothing happens. Then the deep bass rumbling stops as well. The only remaining sound is of WIND, stirring up dust on the Martian plains. ANGLE ON THE FACE As suddenly a huge, curved segment of the white surface begins to rise from the earth, like a gigantic hangar door, sliding out of sight into an upper sheath of some kind. The movement is measured, stately, utterly silent. As the segment rises, it reveals a blinding white light: the interior of the Face. No inside details can be seen. INT. MARS ONE HAB. DAY McConnell, Luke, Terri and Phil stare at this phenomenon, awed. They're barely breathing. PHIL Oh my God... LUKE It worked... It worked! MCCONNELL Check for radiation. Luke punches buttons, waits anxiously for a readout. LUKE Normal. Seismic... normal. Anemometer steady. No sign of the vortex. PHIL I don't know what we did, but guys -- does that look to you like a hostile gesture? TERRI No. More like an invitation. LUKE Or another test... McConnell is staring at the mysterious opening. On his face, a growing look of determination. MCCONNELL Luke, the four-man rover. Does it still work? The others look at him, their expressions changing as they realize what he's implying. OMITTED Sequence omitted from original script. EXT. MARS ONE BASE CAMP. LATE DAY McConnell, once again helmeted, emerges from the Hab airlock. Luke, Terri and Phil are coming out behind him. The wind has picked up, and fine dust is blowing. They stop, staring off in astonishment towards A FRIGHTENING SIGHT The entire sky has darkened from its customary salmon into purplish-black at the horizon, with bloody streaks above. The DUST STORM has turned their way; it's now sixty kilometers away and closing. The main body of it reaches two thousand meters above the surface and stretches out along a thousand- kilometer front. THE ASTRONAUTS Stare at this unholy juggernaut, alarmed. McConnell turns to Luke, whose expression is grim. MCCONNELL How long before it hits? LUKE An hour? Maybe less. MCCONNELL How bad? LUKE A storm like that? It could go planetary. And last a year. McConnell stares at him. LUKE It'll sock us in, Jim. We won't be able to take off. If that happens, with what few supplies we've got left...? We'll starve to death. McConnell turns, staring off towards the killer storm. The others look at him with questioning gazes. He turns again. There's the four-man rover, ready to go. Waiting. MCCONNELL Phil, how much longer to prep the ERV? PHIL Maybe forty-five minutes. It'll be tight, but we can make it. MCCONNELL Then there's still time for us to get out there and back. He looks a question at Luke and Terri, one after the other. Their eyes, tense but excited, signal agreement. MCCONNELL Stay here. Continue the repair. If something goes wrong, you get out of here before that storm hits. PHIL Go back... alone? MCCONNELL If we're not back in forty-five minutes, I want you to prep and launch. (looks at his armpad display) That's 1950 hours. PHIL Jim -- MCCONNELL It's not a suggestion, it's an order. You understand? PHIL (reluctantly) I understand. But -- MCCONNELL You understand what? PHIL If you're not back by 1950, I prep and launch. McConnell nods, satisfied. Looks at Terri and Luke. MCCONNELL Let's go. They start towards the four-man rover. Dust is swirling more thickly through the air, and the WIND IS LOUDER NOW. Phil stands watching them go, a lone, rather forlorn figure. EXT. PLAINS OF CYDONIA. DUSK In a WIDE SHOT, we see the rover approaching the Face, across the plains. The sky beyond the Face is almost black, as the storm approaches from that direction. It's marching relentlessly across the planet, with flashes of lightning now rippling up and down its face, and even small tornadoes spinning off near its purple-black base... INT. ERV COCKPIT. DUSK Phil has panels off. He's reaching into the guts of the main computer, working feverishly. His repair kit is beside him. EXT. MARS. THE FACE. DUSK In a HIGH SHOT, we look down across the side of the Face and its vast, open doorway, out of which the bright white light is streaming. Into this corridor of light, we see the rover arrive, slewing to a stop, throwing sand from its wheels. GROUND LEVEL SHOT Looking at the cavernous vertical gap in the side of the Face. The opening towers to a dizzying height above us; the white light strains our eyes. The three astronauts ENTER FRAME as we see them, from behind, staring up. ON THE ASTRONAUTS' AWED FACES As they are stunned by the immensity of the scene, the cosmic mystery before them. Luke and Terri look at McConnell. Another moment of critical decision. He keys his mike. MCCONNELL Phil, do you read me? INT. ERV COCKPIT. DUSK Phil keys his own mike. PHIL Yeah, Jim. Your signal's breaking up a little in the storm, but I read you. EXT. THE FACE. DUSK McConnell stares into the bright opening. Bathed in its light. MCCONNELL We're at the Face. We're gonna need a few minutes here. Same deadline, launch at 1950. With or without us. Do you copy? PHIL (pause) Copy that. Terri and Luke exchange a tense glance. TERRI Jim, are you sure you want to do this? MCCONNELL I'm not sure of anything anymore. But I didn't come a hundred million miles just to turn back in the last ten feet. Luke smiles. The three of them stare into the portal. McConnell, between the others, reaches out and grips each of them by a gloved hand. They take a sort of collective breath. Then they walk forward together, into the light. INT. THE FACE. DUSK The astronauts continue forward, each of them extending a free hand. The light is too dazzling for them to gauge distances, textures, colors -- anything at all. They can't see walls, ceiling, even a floor. MCCONNELL Surface seems firm and level. LUKE Roger that. Texture is smooth. TERRI I've got good footing and no obstructions. Let's check our -- Behind them, there is an abrupt WHOOOSH, like a giant airlock sealing shut. They turn, startled and nervous. Letting go of each other's hands, Luke and Terri run back the way they came, but almost immediately are stopped by a wall of some sort. The vast hangar-type door has closed behind them. TERRI It's solid again! We're trapped. MCCONNELL Don't move! Keep this orientation. The three scared, helmeted faces seem to float in the brightness, some twenty feet apart. MCCONNELL (keys his mike) Phil? Phil, can you still hear me? INT. ERV COCKPIT. DUSK Phil, saying a silent prayer, reaches over and turns on the main computer. It works! He's immensely relieved. PHIL Computers are online! Ready to load software. But guys -- we're losing visibility here. He glances out the cockpit window at the blowing dust. Then realizes that he's hearing only silence over his radio. PHIL Guys...? Jim? Luke? Terri? Is anyone there...? No answer. Phil stares at his radio in dread. PHIL Don't leave me. INT. FACE. DUSK McConnell is staring at his spacesuit's sleeve. He can see that the suit material is starting to deflate, revealing the shape of his arm, just as it did in Luke's greenhouse. He hesitates, then begins to unscrew the sealing ring on his right glove. Terri and Luke see this. TERRI (alarmed) Jim, what're you doing? You'll depressurize! MCCONNELL I don't think so. McConnell makes the final twist on his glove and there's the hiss of rushing air. LUKE Jim, seal it! MCCONNELL No. That was air going into my suit, not out. Look at your own suits -- they're not rigid anymore. We've got pressure in here. Luke looks at his sleeve. McConnell's right. TERRI Above Mars atmospheric? That's impossible. MCCONNELL We're millions of miles from Earth and we're inside a gigantic white face. What's impossible? Terri types on her arm keypad. She's amazed. TERRI There's six psi in here... (taps more keys) Nitrogen and oxygen. LUKE Otherwise known as air? Terri nods. McConnell starts unscrewing his helmet ring. Luke follows suit. TERRI Hey, there may be some lethal trace gasses I haven't picked up yet, or... or... oh, the hell with it. Terri starts taking off her helmet. In a few moments, all three helmets are off. They hold them, glowing softly, against their chests, as they breathe deeply and gratefully. Air. And then, at this very moment, as if they have just passed another kind of test... HIGH, STRIATED WALL Appears through the glare, soaring up before their startled eyes. White, metallic, composed of complexly-linked bands, plates, ramps. It's part of a STRUCTURE whose overall height and breadth keep us from understanding its purpose. But the hatch opening slowly in its side, at the top of an approach ramp, is unmistakable. Radiant white light streams out from within, forming a glowing tunnel, down towards the astronauts. THE ASTRONAUTS BLINK Raising their gloves against the dazzling glow. At the end of this tunnel of light, inside the hatch frame A SHAPE MATERIALIZES And slowly resolves itself into a glowing humanoid form, which we somehow sense is female. She appears benign, wondrous. This glowing MARTIAN -- a holograph -- regards the astronauts for a few moments, then beckons to them, as if to say "Enter." All her motions are both calm and calming -- precise, unhurried, gracious. MCCONNELL, LUKE AND TERRI Look at each other. They're awed into silence, and still tense, but now more out of excitement and anticipation than fear. Their eyes agree: Let's go. They walk forward slowly, carrying their helmets, up the ramp and into the tunnel of light, following the Martian, who retreats before them. They go through the hatch and disappear inside. INT. MARTIAN STRUCTURE. DUSK Following the Martian, they find themselves in a round, open space, defined by light, with a smooth matte-metallic floor, but without apparent walls. The Martian stops, turns, facing them. The astronauts stop, too, uncertain what they're meant to do. Then the Martian gestures again. A cylindrical holographic column appears, rising from the floor in front of the astronauts. Inside it, a swirl of eerie lights, millions of them, like cosmic fireflies... MCCONNELL, LUKE, AND TERRI Set down their helmets, then cautiously converge around this column, forming a loose triangle. As they stare into it, the myriad lights are reflected off their own eyes and their spacesuits. IN THE HOLOGRAPHIC COLUMN The whirling lights resolve into images, which relate to them the story of ancient Mars: A BLUE PLANET we do not recognize. All is peaceful, beautiful. INTERCUT MCCONNELL (softly) Is that what I think it is? LUKE Yeah. It's Mars. SUDDENLY A HUGE ASTEROID Tumbles through space towards the planet... TERRI Oh my God. ON THE PLANET - CLOSER VIEW As thousands of small rocketships lift away from the surface, heading in a stream out of the solar system... THE ASTEROID IMPACTS And a wall of fire and debris scours the planet. Oceans boil and vaporize. Two gigantic hunks are blasted out of the planet, spinning in flames... MCCONNELL, LUKE, AND TERRI Involuntarily flinch, bathed in the fiery images... THE PLANET IS NOW DEAD As dust storms roil across its cold, lifeless surface. The flaming hunks of molten rock cool into twin moons. THE ASTRONAUTS Stare at this devastation, deeply moved. IN DEEP SPACE The stream of Martian ships grows smaller and smaller as it continues on its epic voyage towards a new solar system. Then we zero in on ONE PARTICULAR ROCKETSHIP As it peels off and goes in another direction. Graphics show a model of what the ship contains: the familiar double helix of DNA. The ship heads towards another blue planet in our solar system... EARTH As it was then. More clouds than now, more ocean, and the landforms all wedged together. TERRI Her voice is soft. TERRI Earth, when it was still Pangaea. Before the continents separated. THE LONE MARTIAN SHIP Makes a fiery streak through Earth's atmosphere and plunges into the ocean. Instantly the image of the DNA double helix grows, filling the entire holographic column, then it begins to spin and pulse, disintegrating into a phantasmagoric whirl of new images... MCCONNELL, LUKE, AND TERRI Cry out, stunned by the strobelike power of the display as LIVING FORMS Flash into the holographic column, swimming, growing, crawling, leaping, flying: one-celled microscopic organisms, plankton, plants of all kinds, insects, then fish, dinosaurs, birds, small mammals, larger mammals -- the entire stunning panorama of evolution, distilled into a single explosive sequence, as the images wash over the dazzled, awestruck FACES OF THE ASTRONAUTS Until finally the images whirl away, the holographic column dissolves, leaving only a circle of glowing, concentric, colored rings on the floor. The astronauts are left staring at each other across the open space where the column had been. THE MARTIAN Now comes forward with outstretched arms and completes their circle, taking the fourth position. McConnell is opposite her glowing form, and Terri and Luke are at either side. The Martian reaches her arms out, inviting them to link hands. As they do so, the Martian seems to be staring directly into McConnell's eyes. MCCONNELL Is in wondrous awe, his whole face radiant with joy. It's the first time we've ever seen him utterly without sadness or reserve. Staring at the Martian, he understands. MCCONNELL They're us. We're them... LUKE We're Martians...? MCCONNELL That's what she means. TERRI Oh my God. The Cambrian explosion. McConnell and Luke look at her. TERRI Almost six hundred million years ago, there was a sudden expansion of life on Earth. The first multi-celled plants and animals appeared. No one has ever understood why... LUKE They seeded Earth. We hear a BELL-LIKE TONE, a single lingering high note, and simultaneously the outermost ring of the circle on the floor begins to glow brightly. It is an intense chromium yellow. THE ASTRONAUTS Step back, startled, unlinking their hands, and look at the circle of colored rings. These shade from yellow, on the outer rim, to a deeper yellow, then orange, then finally reds. Inside the final, deep red ring is a circle of indigo blue, about a meter across. Small points of light glitter here, like stars against a midnight sky. THE MARTIAN Steps closer to McConnell. She has picked him out in particular. Now she beckons for him to move inside the circle of colored rings, to stand on the indigo core. MCCONNELL Looks back at her, nods his understanding. For the first time she seems to smile. Benevolence, reassurance. Then as abruptly as she first appeared, she fades away. Vanishes. Luke and Terri look at McConnell, confused. There is a sudden, static-filled CRACKLE from their helmets, nearby on the floor. PHIL (over radio) ...in, please. Can you... me? Terri picks up her helmet, leans into its mike. TERRI Phil, we're here! We read you. Even through the scratchy interference, they can hear the relief in Phil's voice. And then the desperation. PHIL Thank God! Listen, this storm is really -- (loud static) -- few more minutes, I can't -- (more static) You've gotta get back to the ship! And then they hear only STATIC. His signal is lost. TERRI Phil? Phil...? Suddenly the BELL-LIKE TONE REPEATS, at a lower register, with a more sustained note, and simultaneously, the last of the yellow circles of light begins to fade, as THE FIRST ORANGE BAND Begins to glow brighter. McConnell turns, looking at this new color, then looks back at Luke and Terri. MCCONNELL We are in a ship. This is a ship. And the countdown has already started. Terri looks at Luke, alarmed. LUKE He's right. TERRI Then let's get the hell out of here! She scoops up Luke's helmet, tosses it to him. As he catches it, she's already starting back out, in the direction they came from, and Luke follows her. Until they both become aware that McConnell isn't with them. They turn back. He's still rooted to the spot, his gaze locked on the indigo core of the colored rings. LUKE Jim... McConnell doesn't turn. LUKE Jim, we gotta go. MCCONNELL I'm not coming with you. TERRI (stunned) What? Coming back, she sees how calm he is. How certain. TERRI What are you talking about? We've got to get home. MCCONNELL That's where I'm going. Don't you see? That's what all this is for. (McConnell gestures at the ship around them) You were right Terri. This is an invitation. To follow them. To follow them home. He looks into their faces. Terri is trying to grasp this idea, still incredulous. Luke has the beginning of a half smile. MCCONNELL I have to go. This is the mission now. To find out who we are. Isn't that why we came here? Like Maggie said, "To stand on a new world and look beyond it to the next one." Luke nods at the memory of Maggie's words. Terri remembers too. McConnell's passionate conviction is affecting them both. MCCONNELL You know, when you think about it -- I wasn't even supposed to be here -- all the accidents, everything that got us to this point, it's just... it's just... I just know it's right. Terri looks at Luke. Luke is smiling. He understands. MCCONNELL I'm okay. I know what I'm doing. But you're running out of time. You've gotta get back to the ERV and get off this planet. Now please go. Luke steps closer, looking at his old friend. LUKE I once felt like I was taking your turn. But now I think maybe you're taking mine. Guess I'm a little jealous. They clasp hands for a moment. But in this moment is a lifetime of camaraderie, an eternity of farewell. LUKE Thanks for saving my life. MCCONNELL My pleasure. Luke nods, deeply moved. He turns away, picking up his helmet, as Terri comes closer, looking at McConnell, a long unspoken beat. Her eyes are glistening. TERRI I wish Woody were here to see this. He would've wanted to go too, Jim. Terri smiles. She is starting on the road to recovery. She's going to be okay. MCCONNELL He's here, Terri. We wouldn't have made it without him. Terri nods. She digs into one of her suit's pockets, pulls something out. She hands it to McConnell, and his fist closes around it. TERRI Take care, Jim. McConnell smiles. Terri smiles back at him. Then she turns, picks up her helmet, and crosses to where Luke has paused, looking back. LUKE Hey, Jim...? MCCONNELL Yeah? LUKE Have a great ride. MCCONNELL Always do. Luke and Terri exchange a final silent farewell with him, then hurry away, into the darkness. MCCONNELL Looks down at what Terri gave him. IT'S WOODY'S NECK CHAIN With the little Flash Gordon rocketship. MCCONNELL Grips this tightly as he looks up. OMITTED Sequence omitted from original script. EXT. MARS. THE FACE. PLAINS OF CYDONIA. NIGHT The hanger-like hatch has reopened, and Luke and Terri, helmeted again, emerge from the Face. The leading edge of the dust storm is upon them. They can't see much more than a few meters. As they reach the rover, they hear, even in this chaos, that the deep pulsing tone of the Face has started again. They look at each other, uncertain what this means. But McConnell is now beyond their help. Luke keys his mike. LUKE Phil? Phil, do you read? (to Terri) He's not reading. TERRI I can barely read you. Let's get the hell out of here! INT. ERV COCKPIT. NIGHT PHIL Is anyone there? Can anyone read me? Phil gets no response. He is shaking, almost crying. He hesitates, then starts hitting some keys. CLOSE ON HIS COMPUTER DISPLAY Which reads: "PRE-LAUNCH CHECKLIST." INT. MARTIAN SPACESHIP. NIGHT McConnell has shed his backpack, with its unneeded oxygen tank. He steps cautiously onto the colored rings. Nothing seems to happen. Moving further, he takes his place on the indigo circle at their core. He looks at THE GLOWING TAKE-OFF COUNTDOWN INDICATOR As it dips from orange into red; the BELL TONES are continuous now, very deep and rapid. EXT. PLAINS OF CYDONIA. NIGHT The rover, with Luke and Terri inside, races away towards the safety of the ERV, as the maelstrom boils over the Face behind them. The sky is purplish black, thick with flying debris and eerie lightning flashes. Towering billows of dust chase them over the plain, nearly enveloping them as they speed towards us, passing OUT OF FRAME. INT. MARTIAN SPACESHIP. NIGHT McConnell reacts, surprised, as suddenly A TRANSPARENT, GLASS-LIKE CYLINDER Begins to rise around him, swiftly and smoothly, coming up from the circumference of the indigo circle. Then a second, identical cylinder -- the top half -- drops down from somewhere overhead. The two sections meet and fuse in a flash of light, containing McConnell inside them, as neatly as if he were in a giant, transparent mailing tube. MCCONNELL Fights against a stab of claustrophobia. Is he being imprisoned? Or somehow protected? Either way, he's virtually immobilized. In this tight space in his bulky suit, he can't even move his arms. Only his head and neck can still shift. INT. ERV COCKPIT. NIGHT Phil is going over his final pre-launch checklist, flipping switches and pressing buttons. He looks at his DIGITAL CLOCK Which reads "1350." PHIL IS STRICKEN, TORMENTED His finger hovers over a "Fire" button. He licks his lips nervously, squeezes his eyes shut, and hits the button. CLOSE ON COMPUTER DISPLAY And the words: "IGNITION SEQUENCE INITIATED" INT. MARTIAN SPACESHIP. NIGHT McConnell is straining inside the cylinder that surrounds him, when something catches his attention. He arches his neck, looking down. A COBALT-BLUE TRANSPARENT LIQUID Is beginning to fill the cylinder! It swirls in, from some unknown source, rising rapidly; already his lower boots are covered. MCCONNELL'S EYES Widen in alarm. He strains against the sides of the cylinder but HIS GLOVED HANDS Slide helplessly across the smooth surface. MCCONNELL Looks down again. THE COBALT LIQUID Is up to his knees. Now his thighs... MCCONNELL Cranes his neck, staring up. Can he wedge himself higher, can he somehow climb to safety? ABOVE HIM The entire "ceiling" of the Face is becoming translucent. He can see the dust storm, boiling overhead. And now, rising into this, are fiery coils of energy from the Face itself. These swirl and twist in every direction, like angry water snakes; battered by the fierce winds. Two vast forces on a collision course. INT. ROVER. NIGHT Luke drives the rover through the blinding storm, as Terri stares at a dashboard computer screen. They have to shout to be heard over the ROARING WIND. TERRI I've lost the Base Camp beacon! Luke looks over alarmed. CLOSE ON A DIAL As the needle spins freely, giving no direction whatsoever. TERRI No good! We're driving blind. LUKE I'll try to keep on a straight line! It's our only chance. TERRI Don't worry! I've worked with Phil for four years! I know Jim gave him a direct order, but he won't leave without us. EXT. PLAINS OF CYDONIA. NIGHT The Rover races towards us, the front of the storm chasing it from behind, then completely overtaking the Rover. It disappears from view! INT. ERV COCKPIT. NIGHT Phil sits in the pilot's seat. He is looking at a computer graphic that shows the engines readying to launch. With resignation, he keys his mike. PHIL This is ERV, do you read? ERV to Rover, do you read...? Phil waits a second, then reaches slowly for a blinking red switch that reads "LAUNCH." He hesitates, then actually has his fingers on it, about to flip it, when he hears a crackle of static on the radio. Phil keys his mike. PHIL This is ERV, do you read? LUKE (very faint) Save the fuel, Phil. We're coming in. And Phil chokes back a sob. Blinking back the tears, he tries to compose himself, then keys his mike. PHIL Uh, Phil's not here right now. He left for Earth five minutes ago. Please leave your message at the beep. EXT. THE FACE. NIGHT FROM GROUND LEVEL we see that the coils of energy are rising from the forehead of the Face, from its "third eye," spinning and looping faster and faster, starting to form a vortex. But unlike the wind vortex that killed the Mars One crew, this is a vortex of fire. As we watch, more fiery streaks begin to emerge from the sides of the Face, from the chin, cheeks and temples. These all rush upwards, like lava flowing uphill, gathering in intensity as they leap free of the Face itself and spiral into the atmosphere. The peak of the forming vortex is already piercing the lowest layer of storm clouds, causing a dark counter-swirl. EXT. MARS ONE BASE CAMP. NIGHT Phil stands at the bottom of the ERV's ladder, gripping it to steady himself, staring into the swirling dust. THE ROVER appears out of the dust and sand, the immense storm seeming to chase it from behind. Luke and Terri climb out, struggle towards him through the wind. Phil grips their hands, helping them over to the ladder. He looks back, confused. PHIL Where's Jim? TERRI He got another ride. Phil stares at her, bewildered. LUKE Tell you on the way. Let's go! OMITTED Sequence omitted from original script. INT. MARTIAN SHIP. NIGHT LOOKING DOWN INTO THE CYLINDER, we see that the cobalt-blue fluid has risen to McConnell's upper chest. Now it's at his shoulders! It pours into his suit through his neck ring. He strains on tiptoes, craning his head back, trying to keep his unhelmeted face above the rising liquid. He sucks in deep desperate gulps of air, his head thrashing from side to side. Then suddenly the fluid is over his mouth, his nose, his forehead. His whole body is submerged! The level of fluid continues to rise towards the unseen top of the cylinder. MCCONNELL Squeezes his eyes shut, holding his breath. Not so much fighting this anymore as simply floating in place, waiting for his inevitable death... EXT. PLAINS OF CYDONIA. NIGHT WIDEVIEW FROM ABOVE, as the energy vortex bends from side to side, pushing back the swirling storm that surrounds the Face. As the vortex coalesces its energy into a cylindrical shape, we see through its center to a rising form -- the Martian ship. It is a flattened convex circle whose matte- metallic angles replicate the "Face" imagery. EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE As the Face burns away around us, the Martian ship begins to rise and spin. OMITTED Sequence omitted from original script. EXT. PLAINS OF CYDONIA. NIGHT The vortex is now a tight, rapidly spinning cylinder. As it draws more and more power from the disintegrating Face, the Martian ship in its center spins faster and faster. INT. MARTIAN SHIP. NIGHT MCCONNELL'S FACE Is spinning and shaking too, more and more violently, as the huge buildup of G-forces tears at his body. We're reminded of Nick Willis just before the vortex exploded him; is the same thing about to happen to McConnell? His eyes remain tightly shut, bubbles are streaming from his lips. His last breath is nearly exhausted, it's being shaken from his lungs. OMITTED Sequence omitted from original script. INT. MARTIAN SPACESHIP. NIGHT As we MOVE IN CLOSER ON HIS FACE, we suddenly see, with him, a SERIES of rapid-fire, almost subliminal IMAGES FROM THE PAST. We recognize each one. Previously, though, we saw them as still photos; now they have movement, life, and we view them from new and slightly different angles. These images INTERCUT with glimpses of McConnell's pale, shaking, near- death face in the present... OMITTED Sequence omitted from original script. THE YOUNG MCCONNELL Under the Christmas tree, lifts his new model rocket from its box. He turns to us, smiling joyfully. A blinding white flash, and he disappears... OMITTED Sequence omitted from original script. THE TEENAGED MAGGIE Is on her porch, under a night sky, bending down to the eyepiece of a TELESCOPE. She looks up at us with a shy, proud smile. A blinding white flash and she's gone... OMITTED Sequence omitted from original script. MAGGIE AND MCCONNELL In flight suits, holding their helmets, stand on the wing of a fighter jet. The radiant young couple turn to each other, kissing. A blinding white flash and they vanish... MAGGIE MCCONNELL In an astronaut's pressure suit, drifts rapidly towards us, reeling in along a tether. A man's gloved hand is outstretched, reaching for her. As she grips the hand, we see her triumphant expression through her faceplate. A blinding flash; she's gone... MCCONNELL'S FACE - IN THE PRESENT Is shaking savagely; he is very near death. And then, all at once, the SHAKING STOPS. Time itself seems to stop. McConnell opens his eyes, staring STRAIGHT AT US. And then, fully accepting his fate, he throws his head back, opens his mouth and takes in a deep lungful of the fluid. He can breathe it. His eyes widen in surprise and understanding. He can breathe it! This fluid will keep him alive! His whole body relaxes, the tension draining from his head and shoulders, as he fully trusts this launch for the first time. And then, with his eyes wide open, he sees, from memory, one final image... BRIDAL VEIL IS LIFTED And REVEALS, in CLOSEUP, the beautiful face, the shining eyes of MAGGIE McCONNELL. Beatific, eternal. She gazes directly INTO CAMERA, then smiles... MCCONNELL Smiles back. EXT. PLAINS OF CYDONIA. NIGHT WIDE VIEW, FROM ABOVE, as the energy vortex changes from red- orange to blue-white. It ROARS with terrifying power as its top starts to bend, angling like a telescope towards a specific point in the stars. Then the Martian ship -- a rounded darker form, little more than a blip within the vast, blue-white column of energy -- shoots away from the surface, leaving only a blacked crater where the Face had been. EXT. MARS. HIGH ATMOSPHERE. NIGHT ANGLE FROM DEEP SPACE, LOOKING DOWN, as the Martian ship, riding its blue-white column of energy, streaks up into the vast blackness, like a narrowly focused spotlight piercing the night. Down below, we can see the dust storm in all its vastness still boiling orange and brown across the planet's surface, which it now completely covers. As the Martian ship flashes by us, it passes another ship, much smaller and slower, rising through the storm clouds on a different trajectory. We recognize the familiar, comfortable sight of the ERV. PUSHING IN QUICKLY ON THIS. We see three figures in the cockpit. OMITTED Sequence omitted from original script. INT. ERV COCKPIT. NIGHT Luke, Terri and Phil are strapped in, with their acceleration just starting to level off, when suddenly their cockpit interior is starkly bathed in white light. They wince at the unearthly radiance, shielding their faceplates with gloved hands. TERRI Dear God. Look at that. Through their cockpit window, they watch the Martian ship hurtle by them at a hundred times their speed. PHIL Is that him? Luke nods. Their eyes are glistening. Luke's voice is a whisper, both of prayer and farewell. LUKE Godspeed Jim McConnell. OMITTED Sequence omitted from original script. OMITTED Sequence omitted from original script. EXT. SPACE Looking through the cockpit window we see the Martian ship receding into the infinite distance of space -- a long blue- white scratch that in moments begins to fade. Finally it is a tiny point of light, taking its place amongst the limitless expanse of the star-filled heavens. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Moneyball.txt b/unformated_scripts/Script_Moneyball.txt new file mode 100644 index 0000000000000000000000000000000000000000..e782b09d0c5b8de2858dd33d375949cbd751bd79 --- /dev/null +++ b/unformated_scripts/Script_Moneyball.txt @@ -0,0 +1 @@ + MONEYBALL Written by Steven Zaillian & Aaron Sorkin IN BLACK: There will always be people who are ahead of the curve, and people who are behind the curve. But knowledge moves the curve. - Bill James 1 INT. OAKLAND COLISEUM - NIGHT 1 Static shots: A deserted locker room. Empty showers. Cinder-block tunnels lit with wire-encased lamps like in a coal mine. THREE SECURITY GUARDS watch a game on a TV. LEGEND: October 15, 2001 We begin to hear disembodied cheering crowds and the faint voice of an announcer - BRENNAMAN V/O ... nobody on, two and two to Saenz - who has just three at bats in the series, and none of them hits - as he settles back in - 2 EXT. OAKLAND COLISEUM -NIGHT 2 At the end of a tunnel, the A's empty dugout. The empty diamond. Just a couple of the floodlights are on. BRENNAMAN V/O - Rivera looks in for the sign, he has it, the pitch, Saenz swings and - The announcer's voice and excited crowd abruptly cut off. In silence, we regard the 60,000 empty seats that wrap around the playing field ... but then see that, in fact, it's 59,999 empty seats. There's a lone figure seated in one of them. The sound snaps back on: STEVE LYONS V/O - a ground out to second, Thom, is not what the A's were looking for from Saenz - down by two in the ninth - The lone man in the stadium has a radio and a bag of peanuts. He seems at peace as he looks down on the empty diamond - a peace only slightly belied, perhaps, by the baseball he absently turns in a hand. He switches the radio back on - BRENNAMAN V/O Eric Byrnes has emerged from the dugout to bat for Menechino - 2. 2. He turns it off again. Calmly eats a peanut. Waits. Switches the radio back on - BRENNAMAN V/O - the A's are down to their last strike and this Yankee crowd is on its feet - Rivera squints for the sign, he has it, delivers and - Again, at the crucial moment, he cuts the radio. Waits just a few moments. Turns the radio back on - BRENNAMAN V/O It is bedlam in New York. The Yankees - down two games to none - have come back to win three, and the Division Series. The outcome of the series seems to have no effect on Billy. He simply gets up, switches off the radio, and climbs the steps to leave. But somehow we still faintly hear, as he comes past shuttered concession stands toward an exit, the voice of one of the announcers - STEVE LYONS V/O This is an exceptional feat not only for New York, Thom, but for Oakland - though not the kind you can be proud of: Only once before has a team lost a Division Series after winning the first two games - 3 INT. OAKLAND COLISEUM - NIGHT 3 It's coming from a small television a night security guard is watching. But when he sees Billy approaching, he quickly shuts it off. BILLY It's okay, Joe, you can leave it on. It's no big deal. SECURITY GUARD No, it's okay, I don't need to watch it. The guard's eyes consider the baseball Billy absently turns in his hands - BILLY How's Meg? SECURITY GUARD She's good, thanks. - and the glass window of the bar behind him - 3. 3. BILLY And the boys? SECURITY GUARD They're good. Everybody's good. BILLY That's good. The security guard waits for the baseball to sail through the glass, but it doesn't happen. BILLY Night. SECURITY GUARD Night, Billy. It was a great season. 4 EXT. COLISEUM - PARKING LOT - MOMENTS LATER - NIGHT 4 A lone car sits in the parking lot in front of the Coliseum. We HEAR- TARA V/O They had three times your payroll, Billy. BILLY Yeah... TARA V/O You're not watching them celebrate, right? Car's off. Billy sits in the dark on his phone. BILLY No. That would be, uh-- TARA V/O Pointless? Self-destructive? Masochistic? BILLY Are you asking me to pick one? TARA V/O What you should be doing is thinking about what an amazing job you did and how great you are. BILLY I'll be honest, right this minute I'm not thinking about either of those things. 4. 4. TARA V/O You take a team with that payroll to the playoffs? You take the Yankees to a fifth game? I'm not even sure the better team won. BILLY They were down two-love and then beat us three in a row. Trust me, the better team won. BILLY presses a button on his portable radio and is hit with sound of sports talk radio-- CALLER V/O --while embarrassing the entire city and making a mockery of their fans. I'm sick of this. TARA V/O Let's go away. BILLY That sounds good. CUT TO WHAT BILLY'S BEEN LOOKING AT THIS WHOLE TIME - Three enormous looming likenesses of the Oakland A's premiere players on floodlit banners--Jason Giambi, Johnny Damon, Jason Isringhausen. TARA V/O Someplace they don't have a baseball team. BILLY How about Oakland? TARA V/O Okay, here are the rules for tonight. You can do anything you want but you can't give any quotes to the press, go on the internet or hurt my car, we have a deal? BILLY Yeah. TARA V/O They had three times your payroll, Billy. From the radio we've been hearing shards of "--an unprecedented choke--", "--get rid of Billy Beane--", "-- Billy Beane knows nothing about baseball--". 5. 5. BILLY Yeah. TARA V/O How about Hawaii? I'll make a reservation someplace. The place with the turtles. Billy gets out of the car. BILLY Great. I'm on my way. Billy chucks the radio away. Gets back in the car, puts it in gear. HARD CUT TO -- 5 INT. OAKLAND AIRPORT TERMINAL - DAY 5 Blur of shapes and colors as we move through a crush of travelers to a Hawaiian Airlines counter where Billy and Tara check luggage. Billy's got a cell phone to his ear. BILLY Is it Boston? You're talking to Boston? What are they offering? BORAS (ON PHONE) What does it matter to you? BILLY What?! BORAS V/O I mean -- what does it matter since whatever it is you can't afford it. BILLY You don't know that. BORAS V/O I don't? TICKET CLERK You need to hurry. BILLY I don't know that -- since I don't know what they're offering. (TO TARA) What did she say? TARA She said we had to hurry up. 6. 6. BILLY Scott? Scott? The call's been disconnected. CUT TO: Another corridor, as Billy and Tara head toward security. Billy on the phone with Boras, continuing where they left off -- BILLY What did they offer? BORAS V/O They offered seven and a quarter. BILLY Just to be clear -- they offered seven and a quarter. BORAS V/O Yes. BILLY As opposed to you said seven and a quarter and they're thinking about it. BORAS V/O No, they offered seven and a quarter and I'm thinking about it. (nothing from Billy) And you're thinking -- what. BILLY I'm thinking I don't want to lose Damon, but I don't pay my whole infield seven million dollars. TARA We're losing Damon? BORAS V/O For seven and a half, Billy, you can keep Johnny Damon and we can be done thinking. I have to go, my plane is boarding. BILLY Wait, don't hang up. Don't hang up -- Billy drops the phone in a plastic container, steps through the metal detector like it's a stick-up, grabs the phone again. TSA OFFICER 1 Is that phone still on? BILLY What's the difference? 7. 7. TSA OFFICER 1 Faradie. Can his phone be on? TSA OFFICER 2 Sir, you need to turn your phone off. BILLY It's already through. Billy grabs his phone from the other side. BILLY Seven point five? BORAS V/O Seven point five. BILLY I'll talk to Steve. BORAS V/O Talk to Steve. Boras hangs up. TARA Try to relax. BILLY (hitting speed dial on another number) A small emergency is starting to develop. TARA Try. Try to relax. BILLY You look fantastic today. ARN V/O Hello? BILLY Arn. Billy. We gotta talk about Giambi. TARA Wait, we're losing Giambi, too? ARN V/O I can't talk about that now. I can't talk about anything now. BILLY We can talk now. We're talking now. 8. 8. ARN V/O We can't talk now. I'm at a family thing. I'll call you Monday. BILLY Who are you talking to -- the Yankees? ARN V/O I'm talking to everybody. But not today. I'm not in today. I'm hanging up. BILLY Don't hang up. (OFF PHONE) He hung up. TARA You found Giambi. Billy dials another number -- TARA A thousand dollars says you don't get on the plane. SECRETARY V/O Arn Tellem's office. BILLY Denise. Billy. (TO TARA) These guys are auctioning off my team one player at a time. SECRETARY V/O (OVERLAPPING) He's not in today, Billy. BILLY I know, I just want to send him flowers. SECRETARY V/O Flowers? TARA Flowers? BILLY Where would I send them? SECRETARY V/O To who? BILLY To Arn. 9. 9. SECRETARY V/O You want to send him flowers? TARA (OVERLAPPING) You're not going to be anywhere near Hawaii. BILLY To where he is now, yes. SECRETARY V/O Beth Israel Temple, Beverly Hills. TARA The airport is as close as you got. BILLY (INTO PHONE) Thank you, Tara. SECRETARY V/O Denise. TARA I'm Tara. BILLY I know. I need a day. TARA BILLY -- BILLY One day. I'll fly out tomorrow. TARA It's gonna be more than one day. (PAUSE) We're losing Isringhausen too? BILLY Only if my luck stays exactly the same. TARA It's like the bell rang but you're still getting hit in the head. (hands him tickets) Just in case. BILLY I'm sorry. Have fun out there. 10. 10. TARA I'm picking up a guy at the breakfast buffet. BILLY A left-handed reliever if you can. 6 OMITTED 6 7 INT. SINAI TEMPLE - BRENTWOOD - LATER - DAY 7 The ceremony is in progress as Billy arrives, plucks a yarmulke from a basket, sets it on his head and finds a place in the back row for himself and his carry-on. He listens to the boy's monotone-reading of verses. He fidgets. Taps his foot. Checks his watch. Turns to the person down the row and whispers -- BILLY How much longer you think? GUEST What? BILLY Nah, it's okay. 8 INT. TEMPLE LOBBY - LATER - DAY 8 As attendees exit the ceremony and enter the adjacent banquet hall, Billy has cornered Arn Tellem, picking up right where he left off three hours ago in Oakland on the PHONE -- BILLY Arn, I don't wanna lose him. ARN BILLY -- BILLY I don't wanna lose him. ARN This is my nephew's Bar Mitzvah. BILLY He did well with his Torah portion I thought. ARN Thank you. 11. 11. BILLY What did they offer? ARN He's not staying in Oakland, Billy. BILLY What did the Yankees offer him? ARN It's New York; you've got to give a player a reason not to play there. BILLY What did they offer? ARN 17 million. BILLY No way. ARN Yeah. BILLY I don't pay my whole infield 17 million dollars. ARN I know, I know... BILLY For how long? ARN 17 a year for seven years. Billy stares, completely nonplussed... BILLY A hundred and twenty million dollars? ARN Hundred and nineteen. (BEAT) You gotta get Steve to let you spend some money. BILLY That's pretty good advice, I should do that. 12. 12. ARN Steve doesn't get it. This isn't a charity raffle. BILLY Arn. I get it, he gets it, Jason gets it and you certainly get it. I'll talk to him. ARN And you're losing Isringhausen, too. BILLY Ya think? ARN I've gotta get back. BILLY Hey mazel tov, Arn. ARN Thank you. Good luck. Arn walks away. Billy looks to his right to see a 12 year old kid standing right next to him. KID Are you Billy Beane? BILLY Yes. KID That was a pretty serious choke. BILLY Are you from around here? KID Yeah. BILLY You a Dodger fan? KID Yeah. Billy hands the kid his scotch -- BILLY Here, drink a lot of this. -- and walks away. 13. 13. 9 INT. OFFICE - SAN BRUNO - LATER - DAY 9 Billy tries, but is having trouble sitting still as he talks with Steve Schott - the A's owner - around 60 - a college player way back when. He's a successful home builder now. Models of developments lie around. BILLY We're losing Damon and Giambi. We can't survive losing Damon and Giambi. SCHOTT Isringhausen's gone, too, don't you think? BILLY I can win without a closer. I can't without power. SCHOTT So negotiate with them. BILLY I have. They want more. SCHOTT So offer them a little more. BILLY I have. They want more than a little more. SCHOTT Like what. What'll it cost - say - to keep Giambi? BILLY 17. SCHOTT 17 for how many (years) - BILLY One. SCHOTT For one year? Billy nods. Steve smiles. And Billy knows what it means. It means, That makes it easy - there's nothing more to discuss on the matter. SCHOTT I have confidence you'll find a way to make it work without them. 14. 14. BILLY I can't. SCHOTT Sure you can. BILLY STEVE - SCHOTT Billy. What are we? The Taj Mahal? We're a small-market team. Obviously, we can't afford Giambi at such a (price) - BILLY Fine. He's gone. But I might - for a bit more than last year - be able to keep Damon in (Oakland) - (Steve is shaking his HEAD NO) I need more money, Steve. SCHOTT Billy... BILLY I can't compete against a hundred and twenty million dollar payroll with a forty million dollar payroll. SCHOTT We just won 102 games with a forty million dollar payroll. BILLY With Giambi and Damon. We wouldn't have without them. Silence. Then - BILLY You can't ask me to be okay with losing. That's too much to ask a professional athlete. SCHOTT BILLY-- BILLY It's too much, Steve! SCHOTT You're not a professional athlete! (BEAT) You're a professional GM. (MORE) 15. 15. SCHOTT (CONT'D) We're a small market team. You're a small market GM. And I'm asking you to be okay with not spending money I don't have. And I'm asking you to take a breath and shake off the loss. And then I'm asking you to get back in a room with your people and figure out how you're going to replace these guys with the money I do have. (BEAT) Got it? SCHOTT can go from milquetoast to ruthless in a blink and he just did. 10 INT. BILLY'S TRUCK - MOVING - LATER - DAY 10 Billy's on his cell again as he crosses the Bay Bridge. BILLY Scott. Billy. BORAS V/O What was that beep? BILLY It's just my phone, it's about to die, but this'll be quick - listen - I'm losing my favorite prospects, but I got you the seven point five. BORAS V/O That's great. I'll get right back to (YOU) - BILLY No. No, you won't. I got it for you and we're done. Damon stays in Oakland. BORAS V/O Billy - I have to talk to Johnny - obviously. It's my fiduciary (duty) - BILLY Whose number is that - seven point five. Mine? BORAS V/O No, it's mine - BILLY It's yours. So make your call, but don't play me, Scott. We have a deal. I won't be a stalking horse. The word stays in the - dictionary. 16. 16. 11 INT. BILLY'S HOUSE - DANVILLE - LATER - DAY 11 The door pushes open and Billy comes in after his very long day. He sets his carry-on bag down. Takes out his dead cell phone and plugs it into a charger. Calls Tara on the land line. BILLY Sorry, hon. I'm gonna need another day. TARA (V.O.) Take your time, do your thing. There are a lot of cute guys here. BILLY You've got my suitcase? TARA (V.O.) No, the airline sent it to Prague. BILLY (PAUSE) Why? TARA (V.O.) Well, we left out of Oakland, honey... and I think the baggage handlers knew it was yours. BILLY (beat, can this get any worse?) Okay. Billy's cell phone rings -- BILLY I gotta take this. TARA (V.O.) Wish you weren't insane. Miss you. She hangs up. Billy hangs up and switches to his cell -- BILLY Yeah. BORAS (V.O.) Billy. Scott. I just got off the phone with Dan. BILLY No, you didn't. 17. 17. BORAS (V.O.) Yeah, I was surprised he even called me. Because he had said -- BILLY No, I have Johnny for seven-point-five or he's not playing anywhere, because that's the deal -- BORAS (V.O.) Boston just upped it to seven-seven-five. Billy's hand is already in motion to smash the phone, but in a herculean feat of self disciple, he manages to restrain himself before impact. BORAS (V.O.) You there? BILLY We had a deal. BORAS (V.O.) We have a deal. If it's eight million. BILLY Why am I the ugliest girl at the dance, Scott? Why do I get the feeling I'm always gonna be a quarter million short? BORAS (V.O.) I'm just doing my job for my client. That's all I'm doing. BILLY No, you played me. And you're playing me now. Congratulations, asshole. You win. Billy hangs up on him. CUT TO: 12-14 OMITTED 12-14 15 INT. OAKLAND COLISEUM - SCOUTING ROOM - PRESENT DAY 15 Billy and his scouting department - ten men older than him - all former players and tobacco chewers still, each with his own can of Copenhagen and wastebasket - sitting around a large underground cinder block "war room" whose most extravagant appointment is a Mr. Coffee. Two large white-boards dominate a wall, covered with magnetic strips with players' names on them. 18. 18. On the left board - every player in the A's organization. On the other, even larger board - every player that may be of interest to them from the other organizations. It's the most complex chess board you will ever see. But what can be easily discerned are the obvious holes in the A's team - the star players they are about to lose - their names set apart from the positions they're vacating: Jason Giambi (1B), Johnny Damon (CF), Jason Isringhausen (RP). GRADY Alright, guys... we had a great year. We won 102 games and we only came a buck short in New York. Now the bad news... we've got three big holes to fill. (THEN) Let's start with who we like for Giambi. We'll go around the room. Who you like, Matty? KEOUGH I like Geronimo. (approval from the OTHER SCOUTS) Guy's an athlete. This guy is big, fast and talented. GEORGE Six foot four. PITTARO Top of my list. POTE Clean cut, good face. ARTIE Good jaw. He's the real deal. GEORGE Five tools, good lookin'. BILLY Can he hit? KEOUGH He's a tools guy. BILLY Can he hit? KEOUGH He's got a great swing. Natural swing. 19. 19. BILLY So you're saying he can't hit. KEOUGH He can hit. BARRY The ball explodes off his bat. ARTIE It's exciting. When he hits it sounds like he's droppin' a firecracker at his feet. PITTARO Down in the pisser you can hear that sound. BARRY Sounds like Mays, Mantle, Aaron... BILLY That's not what I asked. I asked can he hit. KEOUGH He's a good hitter. BILLY If he's a good hitter, why doesn't he hit good? KEOUGH He needs a little work. He'll be able to hit. He could be a great hitter. BILLY Right... we put him up against big league competition and suddenly he'll be able to hit. Grady moves on -- GRADY Artie, who do we like? Billy backs off, incredulous as the scouts prattle on -- ARTIE I like Perez. He swings like a man. KEOUGH He swings like a man who swings at too much. 20. 20. ARTIE There's some work needs to be done. I admit it. He needs to be reworked a little. But he's noticeable. GRADY He's notable? ARTIE No, he's noticeable. You notice him. KEOGH He's got an ugly girlfriend. BARRY What's that mean? KEOGH Ugly girlfriend means no confidence. BARRY Alright. That's true. PITTARO I agree with Art. I like the way he walks into a room. Kid's so confident his dick gets there two minutes before he does. GEORGE Passes the eye candy test. He's got the looks, he's ready to play the part. He just needs some playing time. KEOUGH I'm just saying, his girlfriend's a 6. BARRY Billy, if you want to talk about another Giambi, this guy could be it. Enough. Billy raises a book above the table, drops it with a dull THUD... STOPPING TRAFFIC. GRADY Is that a suggestion, Billy? BILLY Guys, stop. You're talking like this is business as usual. It's not. GRADY We're trying to solve the problem. 21. 21. BILLY Not like this. You're not even looking at the problem. GRADY We not only have a very clear understanding of the problem we now face, but everyone in this room has faced similar problems countless times before. BILLY Good. What's the problem? GRADY The problem is that we've lost 3 key players that we now have to replace. BILLY Uh-uh. What's the problem? PITTARO The problem is the same as it always is; we've got to put a team together with what we've got. BILLY Uh-uh. What's the problem? BARRY We've got 38 home runs to replace, 120 rbi's, 47 doubles... BILLY Okay, stop. The problem we're trying to solve is that this is an unfair game. There are rich teams, poor teams, 50 feet of crap and then there's us. And now we've been gutted. We're organ donors to the rich. The Red Sox took our kidneys and the Yankees took our heart. And now I'm listening to the same old shit about having a good body and being a tools guy like you're looking for Fabio. Is there another first baseman like Giambi? (BEAT) Is there? Everyone mumbles "no." BILLY Then stop looking for one because what we'll surely wind up with is the McNuggets version of Giambi. 22. 22. GRADY Look, we're gonna find 25 guys, put `em through player development, teach `em how to play Oakland A baseball. This is no time to push the panic button. This is the way we've been doing it for 150 years. Let us do our job. BILLY If we try to play like the Yankees in here, we're not going to be able to play with them out there. GRADY That's fortune cookie wisdom. BILLY No, it's just regular wisdom. POTE Who's Fabio? GRADY Okay, Billy. Clearly you have something on your mind. BILLY Bill James. ARTIE You're not serious? PITTARO We're not playing fantasy baseball, Billy. BARRY Those aren't new ideas, they disproved that years ago. GRADY Bill James was a night security guard at the Stokely Van Camp Pork and Beans Factory. BILLY He thinks differently than anyone in baseball. GRADY He's not in baseball. He's in pork and beans. 23. 23. BILLY Don't attack the man, attack the argument. PITTARO (to the room) I think he just won the argument. Chuckles. BILLY What if we've been wrong this whole time about what ingredients manufacture a win? What if this whole time we thought it was the chicken that made the chicken soup taste good when really it was the onions that made the chicken soup taste good? Onions are a lot cheaper than chicken, you see what I'm saying? POTE I don't have the first idea what you're saying. BILLY We gotta start over. We gotta rethink this thing. We gotta look where others aren't looking. GRADY With all due respect, we've been doing this for a long time. BILLY That doesn't mean you're doing it right. Do you watch nature docs? You know what happens to the runt of the litter? He dies. I'm open to any solution, as long as it's not what the other guys are doing. (THEN) Now, I'm going to Cleveland to poach an outfielder named Brandon Garcia -- TBD SCOUT Hold on -- You're going to Cleveland for a double-A guy? GRADY Billy, I've seen Garcia. He's got a bad body. It's not a pretty sight. PITTARO Kid wears a large pair of underwear. 24. 24. KEOGH That is a big boy. GRADY He's not just big, but kind of doughy. A fleshy kind of body. BILLY Oh, you mean like Babe Ruth. SCOUTS (UNISON) He's no Babe Ruth. PITTARO When he walks, Billy, his thighs stick together. There's enough friction there to start a bonfire. KEOGH If you saw him, I'm telling you, you wouldn't want to go to Cleveland. BARRY Billy, can I make a suggestion? If you could get Ricardo Rincon... he'd be worth the trip to Cleveland. GEORGE That would solve our left handed reliever problem. Unanimous approval from the scouts -- BILLY Really? SCOUTS (UNISON) Yeah. BILLY I should get Rincon? SCOUTS (UNISON) Definitely. BILLY Okay. I'll also come back with Joe DiMaggio and Ty Cobb. And who would like a FabergÈ egg? Guys, you aren't hearing me -- in what universe can we afford Rincon? (THEN) I'm asking you guys to look at this game differently than you've ever looked at it before. I'm going to Cleveland. (MORE) 25. 25. BILLY (CONT'D) And when I come back, I want you to tell me something I don't already know. I want to question everything. We've got to rethink this game. As he exits -- BILLY And Grady? Nobody cares about a 102 win season. Billy storms out. KEOUGH What's a FabergÈ egg? A16 EXT. HIGH SCHOOL BASEBALL FIELD - DAY - FLASHBACK - 1980 A16 CRACK! A ball sails well over the heads of the SCOUTS in the outfield who are shagging the batting practice flies. The KIDS in the parking lot have seen Billy play before and so know just how far back to stand in order to shag a ball. BILLY's at the plate, crushing pitches from a pitching machine. CRACK!--he sends another one sailing over the heads of the cluster of scouts. CRACK! CRACK! CRACK! BILLY, tanned and glistening with sweat, looks over to see THREE GIRLS watching him from behind the backstop. They're looking at him like he's Elvis and BILLY tries to nonchalant it but can't help a small smile to himself BEFORE-- CRACK! CRACK! CRACK! SABATINI This is the guy. MARTINEZ He's got a great path. I love the extension in his swing and the backspin he creates. SABATINI That's some amazing power right there, huh? 26. 26. MARTINEZ Good approach, great balance. How's he compare to the others around the country? SABATINI He's number one. Let's just hope he's still there when we pick. MARTINEZ This guy'll go in the first round. CUT TO: B16 EXT. HIGH SCHOOL BASEBALL FIELD - DAY - 1980 B16 The scouts put the players through their paces -- sprinting, fielding... CUT TO: C16 EXT. DUGOUT STEPS - DAY - 1980 C16 SABATINI and MARTINEZ are talking to BILLY, who's toweling off and is still a little aware of all the people who are standing nearby to watch the birth of a star. SABATINI Billy. I'm Sabatini, Area Scout, New York Mets. Can we get a couple minutes of your time, find out more about you? BILLY Of course. SABATINI I'd like to introduce you to Tom Martinez. MARTINEZ Very impressive performance today. In my job as the national cross-checker for the New York Mets, I see the top 200 players in the United States. It's been a while since I've seen a five tools guy, the complete package. Your throwing ability, your fielding skills... Ed told me you had power but I had no idea it was of the light tower variety. I hope you're as interested in professional baseball as we are in acquiring you in the upcoming draft. 27. 27. BILLY Well, sir, I'd need to talk it out with my parents, decide if baseball is something I want to do full time. I have a scholarship to play football at Stanford. MARTINEZ Well, Billy, we're certainly looking forward to meeting your folks and talking to them as well. And we believe in college, but that's something you can do in the winter months. You need to know the sky's the limit with your ability. You could be a superstar before you've even graduated. But to get to that level, you need to work with our people. Pro-ball is where you need to be to develop the skills God gave you. CUT TO: 16 INT. RECEPTION - INDIANS CORPORATE OFFICES - DAY 16 Unlike the A's, this is a franchise that can spend actual money on players, and on nice lobby furniture, which is where Billy sits, staring at a classic baseball photo that hangs in the lobby. ASSISTANT Mr. Beane? Mark's ready to see you now. 17 OMITTED 17 18 INT. MARK SHAPIRO'S OFFICE - CLEVELAND - DAY 18 Billy's counterpart in Cleveland--Indians General Manager MARK SHAPIRO--35 and about three weeks into the job--sits behind his desk in a tie and shirt sleeves like Billy. Joining them in the room are FOUR OTHERS, including PETER BRAND. SHAPIRO So Billy, what are you looking for? BILLY 50 million in additional payroll. SHAPIRO Try Giambi. BILLY Ouch. 28. 28. SHAPIRO 120 million. BILLY I should've been a hitter. SHAPIRO Where's Steve in all this? BILLY Supportive. Excited about rebuilding the team. SHAPIRO Bonds is available. BILLY Yeah, how do I afford the rest of the field? SHAPIRO So what are you looking for? I want to help out. BILLY I guess you've touched the bottom of the sports industry when your opponent is OFFERING YOU-- SHAPIRO BILLY-- BILLY I need a lefty reliever and I want Ricardo Rincon. SHAPIRO Not going to happen. BILLY Not even a discussion? SHAPIRO Come on Billy, even if you could afford him we're not about to let him go. BILLY Why's that? You've got the Venezuelan kid in North Carolina you're bringing up. SHAPIRO We dished him to Detroit. Keep up. BILLY Well there goes my other idea. 29. 29. SHAPIRO What else you thinking Billy? BILLY You have any outfielders I should be looking at? SHAPIRO To replace Damon? BILLY Yeah. SHAPIRO That's a tough one Billy. BILLY Yeah. Who do you got? SHAPIRO The guys you might be able to afford? Hollins, Garcia... Coste. BILLY Tell me about Garcia. SHAPIRO To replace Damon?! BILLY Is he healthy? SHAPIRO He had a back thing, some minor surgery, but he's okay. Petey? PETEY He'll be good by Spring Training. BILLY He'll do. I can give you Guthrie for him if you kick in some cash. SHAPIRO Mark Guthrie? As Shapiro and gang review Guthrie's stats, Billy notices Peter whispering to the guy next to him. Shapiro looks around the room at the guys who don't object. SHAPIRO How much are you thinking? 30. 30. BILLY 200 K. BRUCE approaches Shapiro and whispers and steps away. SHAPIRO Sorry about that. So... Garcia is going to be a no. What else are you thinking about? BILLY Let's make it work, I'll go straight up with you, Garcia for Guthrie, no kicker. Shapiro looks to Bruce, Peter is covering his mouth with his hand but we can just barely hear him whisper the word 'no'. Bruce subtly shakes his head to Mark. SHAPIRO Sorry Billy, who else you interested in? 19 INT. INDIANS CORPORATE OFFICES - DAY 19 Peter sits at his cubicle absorbed in his computer until he notices Billy hovering over him. BILLY Hey. PETER Hi. BILLY Who are you? PETER My name is Peter Brand. BILLY What do you do? PETER I'm special assistant to Mark Shapiro. BILLY So what do you do? (pointing at co- WORKER) Hey, mind your own business. (HE DOES) What do you do? PETER Mostly player evaluation right now. 31. 31. BILLY Why does Mark listen to you? PETER Actually he rarely does. BILLY He just did. PETER I don't think he was really listening to me in there per se. BILLY Really? PETER Yeah, I think he was listening to Bruce. BILLY Who are you? PETER Peter Brand. BILLY I don't give a rat's ass about your name. Nothing from Peter. BILLY What happened in there? PETER I'm not sure what you're asking me. BILLY What did you tell Butch? PETER Huh? Oh Bruce? I told him I like Garcia. BILLY (BEAT) Why? PETER (BEAT) Probably for the same reasons you do. BILLY Meaning what? 32. 32. PETER He's undervalued. You were smart to go after him. BILLY (LONG BEAT) What makes him undervalued? Peter is stuck. He can't bring himself to say anything. After a long beat Billy nods to him in a way that seems to say, `I understand, it's okay'. BILLY Come on. Billy makes a strong gesture indicating Peter to follow. Which he does. They exit the offices into 20 INT. A VAST PARKING STRUCTURE - CONTINUOUS 20 BILLY Where you from Peter? PETER Maryland. BILLY Where did you go to school? PETER Yale. BILLY I hate Yale. PETER Why? BILLY Kid from Yale once blocked a trade I was trying to make. What'd you study? PETER Economics. BILLY What are you doing in baseball? PETER I love baseball. BILLY I'm just curious. Why were you so cagey in there? 33. 33. PETER I work for a different team. BILLY I know, but I'm the first person in baseball who's ever talked to you this long. Right? Why is Garcia undervalued? PETER Okay, truthfully, it might not be so easy to explain. BILLY Really? Why's that Peter? PETER We might not see the game the same way. BILLY Oh really? What do you mean by that? PETER You've spent your life in baseball and I don't have a very traditional view of the game. BILLY Hey Pete, just say it. I'm not about to beat you up. Say what you've always wanted to say to a GM. PETER Baseball thinking is medieval. It's stuck in the Dark Ages. I have a more scientific view of the game. BILLY Keep going, Peter. PETER There is an epidemic failure within the game to understand what's really happening. And it leads people who run major league teams to misjudge their players and mismanage their teams. They're still asking the wrong questions. People who run baseball teams still think in terms of buying players. Sorry to say that. BILLY Peter, don't apologize for what you believe. 34. 34. PETER The goal shouldn't be to buy players, what you want to buy is wins. To buy wins, you buy runs. You're trying to replace Johnny Damon. The Red Sox look at Johnny Damon and they see a star worth seven point five million a year. When I look at Johnny Damon, I see an imperfect understanding of where runs come from. SUDDEN CUT TO: ARCHIVAL VIDEO: The back of Johnny Damon's A's jersey as he walks to the plate to adoring Oakland fans. PETER V/O His batting average is ignorable. What matters is his on base percentage- DAMON swings at the first pitch and knocks it into left field for a single. He leads off first-- PETER V/O - which in 2001 was .324. That's 10 points lower than league average, and 17 points lower than Garcia's. On the next pitch, DAMON takes off for second-- PETER V/O True, he stole some bases. But attempted steals in general have to succeed 70% of the time before they even start to contribute to run totals. In 2001 he cost you runs. DAMON's tagged out at second. BACK TO THE GARAGE PETER He's got a good glove. He's a decent leadoff hitter. He steals bases. But he's not worth the seven point five million Boston is paying him. You're lucky to have him off your payroll, it opens all kinds of interesting possibilities. BILLY You read Bill James, Pete? PETER Yes. These ideas and this approach to the game aren't all new. In fact, some of them have been around for two decades. 35. 35. BILLY If this approach has been around for so long, why isn't anybody in baseball doing them? PETER That's a much more difficult question than how to win baseball games. Once you begin to pull at that string, your understanding of the world might begin to unravel. The elevator door closes. 21 INT. AIRPLANE - NIGHT 21 Billy's in coach, staring at the night through the window, lost in thought. 22 INT. HOUSE - SAN DIEGO - DAY - 1980 22 Billy's mother and father escort Martinez and Mets Head Scout Roger Jongewaard into the kitchen. MOTHER Billy? They're here. JONGEWAARD Billy... Good to see you again. Obviously you're a very special player. We'd like to compliment you on your high school career, and we're looking forward to you being a part of the Mets family. Jongewaard sits at the kitchen table, speaking more to Billy's parents than Billy himself -- JONGEWAARD There's good -- and there's premium. Your son is premium. He has it all -- power, speed, the arm. The Look -- and I'm never wrong about that. Which is why this is a premium number. He sets a contract on the table. Clipped to its top- sheet is a check. On its left-hand corner is the Mets insignia; on the right, the amount: $125,000. They all see it. A lot of money in 1980. Silence. Then -- MOTHER Billy's been offered a scholarship to Stanford. 36. 36. JONGEWAARD I know. And that's a great accomplishment. I'm sure you're very proud of him. MOTHER So he can accept that, go there, and then - - Jongewaard is already shaking his head no. JONGEWAARD I understand how important college is. I do. But what I can't do is burn a second first-round draft pick on someone who can't play for four years -- no matter how good he is. Four years is ample time for someone to get hurt. It happens all the time. So, no. I'm sorry. It has to be one or the other. To postpone four years is four years he could be in big leagues. The sooner he gets there the sooner he can reap the benefits. Stanford or The Money. Young Billy regards the check, and then his parents. He really doesn't know what to do. JONGEWAARD We're going to give him a different kind of education. This won't be his life's career, it'll be his first career. He's going to be a young guy in the business world when his baseball career is done. He'll still have his whole life ahead of him. FATHER It's your decision, Billy. Whatever you decide is fine with us. 23 INT. BILLY'S HOUSE - NIGHT 23 BILLY's looking out his window while holding his cordless phone. He's dialed the numbers in and just has to hit the green button. And now he does. INTERCUT WITH 24 INT. PETER'S APARTMENT - SAME TIME 24 PETER's ringing cell phone wakes him up and he answers it. 37. 37. PETER Hello? BILLY It's Billy Beane. PETER What time is it? BILLY I don't care. Would you have drafted me in the first round? PETER What? BILLY After I left you ran me through your computer, right? Would you have drafted me in the first round? PETER You were a good baseball player. BILLY Would you have drafted me in the first round? PETER (PAUSE) I'd have drafted you in the ninth round. No signing bonus. You'd have passed and gone to Stanford. BILLY Pack your suitcases. PETER Why? BILLY I just bought you from the Cleveland Indians. BILLY hangs up the phone. He sits all alone for a moment. 25 EXT. OAKLAND COLISEUM - MORNING 25 MONTAGE: Peter pulls into the parking lot for his first day of work, takes in the sight of the colossal, concrete relic that is the Oakland Coliseum. He's just in time to see a paint roller on a long pole laying a white stripe down the middle of Jason Giambi's giant portrait. CUT TO: 38. 38. 26 INT. PETER'S OFFICE - NIGHT 26 PETER's completely converted the place. The dry erase boards are covered with undecipherable equations, algorithms and numbers and PETER, who's pretty tired now after not a lot of sleep, is in the middle of this. This is what BILLY sees when he walks into the doorway, where he slows down, stops and looks around blankly. BILLY Good evening. PETER Good evening. BILLY I asked you to do three. PETER Yes. BILLY To evaluate three available players. PETER Yeah. BILLY And how many did you do? PETER 47. BILLY OKAY-- PETER 51, I don't know why I lied just then. BILLY Talk me through the wall. PETER gets up and gives BILLY a tour of the dry erase boards. PETER This is the American League West. This year we're going to need to win between 97 and 101 games to make the post season. Here's the number of runs we'll need to score in order to win those games and here's the number of runs we can allow. 39. 39. BILLY Let's make sure we're on the same page. PETER Okay. BILLY We're going to re-think baseball. PETER Yes. BILLY Look for an inefficiencies in statistics. PETER Examine the ways that runs are scored and prevented. BILLY Exploit the fact that unspectacular runs are just as valuable as 450-foot bombs. PETER Unspectacular runs are more valuable. BILLY Why? PETER/BILLY (SIMULTANEOUSLY) Because they cost less. BILLY We believe there's a river that hasn't been fished. PETER We know it for sure. BILLY And because players have been overlooked because they don't rise to the standards of traditional baseball thinking, we believe that in this river, there are fish...fish who-- (BILLY lost it) Help me with-- PETER Forget the fish. In this room is every available player at every level of professional baseball, and somewhere in that group are 25 players that everyone has else has thrown out. (MORE) 40. 40. PETER (CONT'D) An island of misfit toys. In this room is a championship team that we can afford. BILLY Yes. But let me ask you this. If our theory is right-- PETER Math isn't a theory. BILLY If it's right-- PETER It's right. BILLY It sounds right. PETER It is right. BILLY If math isn't a theory-- PETER It isn't. BILLY I'm gonna punch you in the kidneys if you don't let me finish a sentence. PETER Sorry. BILLY If this is right, why isn't everybody doing it? In fact, why isn't anybody doing it? PETER Somebody once said, "It's not what you don't know that worries me it's what you know for sure that's got me scared." In the mid-19th Century in Budapest there was an incredibly high instance of mothers dying shortly after childbirth from a disease called puerperal fever. 35%. BILLY Make this story less boring as soon as you can. 41. 41. PETER A doctor named Semmelweiss showed that if the attending physicians and nurses sterilized their hands before delivery, the mortality rate dropped to 1%. BILLY And he was vilified? PETER He was institutionalized. For suggesting that washing your hands before putting them inside someone else's body was a good idea. High functioning people can live under the spell of an inexplicable mental lapse when they think as a group. Why isn't anybody else doing it? Because they don't think guys who look like you are what win baseball games. They know it for sure. BILLY (PAUSE) Alright, let's find our team. CUT TO: 27 INT. VIDEO ROOM - DAY 27 Peter schleps his computer stuff. Sets up, plugs in, fires up. Turns an unused room into a war room with dry erase boards and computers. He installs software in the video room computer, works on a computer in his room, prints two pages of data and reviews. CUT TO: 28 INT. BILLY'S OFFICE - NIGHT 28 Peter enters and hands the two pages to Billy. Billy reviews, stands, then slowly paces as he reads. Peter stands and watches. CUT TO: 29 EXT. OAKLAND COLISEUM - NIGHT 29 From somewhere in the outfield, we have a wide view of the darkened stadium and Billy's office, which, unlike the others, is illuminated. We can just discern Billy's silhouette as he continues to slowly pace and study. CUT TO: 42. 42. 30 INT. OAKLAND COLISEUM - DAY 30 Billy and Peter walk down a long, subterranean corridor. Peter carries a laptop and a slim notebook. BILLY Nervous? PETER No?? BILLY Huh. Interesting. Peter doesn't know what to make of that. 31 INT. HALLWAY OUTSIDE SCOUTING ROOM - CONTINUOUS 31 As they near the scouting room, Billy sees ART HOWE waiting for him outside it. BILLY Hey, Art. ART Can I talk to you a second before you get started. BILLY I got a lot to do. ART I know. Whatever it is, Billy knows it can't be as dire as his other problems, but also knows that to ignore Art would be to insult him. He gestures for Peter to go into the scouting room alone. He'd rather not, but does. The scouts, assuming perhaps he's there to make coffee, ignore him. He finds a place to sit in a corner. ART Who's the kid? BILLY That's Peter. ART I can't manage this team under a one-year contract. BILLY Sure you can. 43. 43. ART No I can't. BILLY I've got to put a team on the field, then I'll deal with your contract. ART How about you deal with the manager's contract and then put a team on the field? BILLY At the moment, if a ground ball is hit to first base, nobody's going to be there to stop it from rolling. ART I have to tell you it's not easy doing what I do under the cloud of a one-year contract. BILLY I know. I been there. ART I know you have. And a 1-year contract says the same thing to a manager as it does to a player: There's not a lot of faith there. Which is strange after a 102-win season. BILLY If you lose the last one of the season nobody gives a shit about the others. ART It's on me now? BILLY It's on me, Art! (BEAT) And the kid's the new assistant general manager. ART (PAUSE) What the fuck are you about to do? BILLY doesn't answer the question, just walks into the- 44. 44. 32 INT. SCOUTING ROOM - DAY 32 -and ignoring Peter - who has tried to inconspicuously plant himself in a corner - pulls up a chair to receive his scouts' report - which Grady, as always, will lead. Art wanders off. GRADY How did it go in Cleveland? BILLY It was cold. The news bothers no one. GRADY Let's get after our relief pitching problem. BILLY We got Chad Bradford. Right-hander. Few, if any of them, have heard of Bradford and begin leafing through their printouts and notes. GRADY Submariner? BILLY That's the one. Technically an underhander. GRADY What's his velocity? BILLY Unimpressive. ARTIE About 85. GRADY Does he have a good breaking ball? BILLY Doesn't have one. GRADY Why do you like this guy? BILLY Well, he gets people out. 45. 45. ARTIE The left-hander hitters get a really good look at him. GRADY He's down there. He's down there real low, too. BILLY Let's move on. The scouts aren't sure what to say, and so say nothing. EVENTUALLY - GRADY Well, we, I think, have fared better. We have some ideas for what to do about Giambi. BILLY Knock me down. GRADY We trade power for speed. A rabbit for a gorilla - We go for an overachiever. A big heart in the last year his contract. Tend to play hard. We usually get a pretty good year out of them. Make up for some of the offense we lost. (puts more names up) Or the other option. Just a thought. We go for a high-maintenance guy. A guy that's a little difficult but talented. A guy like Milton Bradley. Well, not like Milton. Milton himself. Which do you want to talk about first? BILLY None of them. Grady looks like a man who can't take much more. BILLY You're still looking to replace him; you're just saying it another way. BARRY We got some trades here. BILLY We can't do it. What we can do is recreate his value to us in the aggregate. 46. 46. GRADY The (what) - BILLY Giambi's on-base percentage was .477. Damon's was .324. And Olmeda's - bless his heart - was .291. Add that up and you get - He points to Peter. PETER You want me to speak? BILLY When I point at you, yes. PETER Ten-ninety-two. BILLY Divided by three - PETER Three-sixty-four. BILLY That's what we're looking for. And that's what we'll find. Three players whose average OBP is - PETER Three-sixty-four. ARTIE That doesn't come out right. BILLY You gotta carry the one. ARTIE Still don't look right. BILLY It's right. The others aren't sure what confuses them more - the logic, or the guy who shouldn't be in this room. GRADY Billy? BILLY Yes. 47. 47. GRADY Who's that? BILLY That's Peter. And that's all he's going to tell them about Peter. GRADY I don't know how to say this delicately - but does - Peter - need to be here? BILLY Yes. POLONI What's with this on base percentage obsession? Is that Bill James bullshit? BILLY You can call it Billy Beane bullshit for all I care. Billy takes a Marks-A-Lot, jots down three names on strips, and approaches the board. BILLY So here's who we want. One. He puts the first strip up. It reads: JEREMY GIAMBI. BILLY Jason's little brother Jeremy. BARRY He never comes home from the games. POLONI Billy, if I may, he's had his problems on the field -- not to mention his problems off the field -- not to mention he's getting a little thick around the middle -- there's the stuff with the weed. He's at strip joints... GRADY This guy could start the year with an agent and end up with a parole officer for Christ's sake. BILLY His on-base percentage is all we're looking at now and he gets on base an awful lot for someone who only costs $285,000 a year. 48. 48. GEORGE He can't catch a ball in the outfield. I've seen him lose a ball in the moonlight. Billy puts up another name: DAVID JUSTICE. BILLY David Justice. GRADY Ten years ago he was a big name. He's going to really help our season tickets at the beginning of the year. But by June he's not going to be hitting his weight. PITTARO He's 36! ARTIE His legs are gone. He's a defensive liability. I question whether the bat speed is still there. BARRY Steinbrenner is so pissed at his decline he's willing to eat up half his contract to get rid of him. BILLY That's good. HOPKINS He's a fossil. With all due respect, bringing these three guys aboard is like putting bubble gum on a flat tire. GRADY And why do we want to be the ones to bail Justice out of his contract? Billy points at PETER -- PETER He gets on base. GRADY I got 37 free agents who are better than those guys. BILLY Scott Hatteberg. 49. 49. POTE Who? BILLY Exactly. Sounds like an Oakland A already. Yes, he's got a little damage in his elbow. GRADY Some damage? He can't throw. BILLY We're not interested in him for his arm anymore than we wanted Giambi for his. GRADY Wait, you're talkin' about Hatteberg at first? BILLY Yes. HOPKINS He's a career .260 hitter and the good part of his career is over. BILLY I say it's just starting. PITTARO Well, Billy, you'll like the sound of this... I hear Boston wants to cut him and no one wants to pick him up. BILLY That's good news for us. He's cheap. GRADY Let me understand this. At first base you want a guy who's been cut from half of the minor league teams in the country due to irreparable nerve damage? BILLY He can't hit and he can't field, but what can he do? (BEAT) Look at the piece of paper or I'm going to point at Peter. The SCOUTS consult their spreadsheets and then answer HALF-HEARTEDLY-- 50. 50. SCOUTS (HALF-HEARTEDLY) He can get-- BILLY He can get on base. POLONI Alright, so he walks a lot. BILLY He gets on base a lot, Rocco. Do I care if it's a walk or a hit? PETER You do not. POLONI These three players, by your own admission, are defective in one way or another. BILLY Yeah. GRADY You want to replace Jason Giambi with not one but three defective players? BILLY You got it. GRADY Billy, we've all been busting our asses the last six and a half weeks to make this a better ball-- BILLY (cutting him off) Grady, it's not a discussion. POTE I think we're all losing sight of the fact that you're the general manager. You only have to answer to ownership and God. BILLY I didn't know God followed baseball. POTE I hope he does. 51. 51. Some of the scouts look over in Peter's direction, no doubt wondering if he's had something to do with their general manager's ideas. WASHINGTON Billy, I just don't see it. BILLY That's okay, Wash. We won't be victimized by what we see anymore. WASHINGTON I understand what you're saying about their averages, but there's something you're forgetting. None of them plays first base. BILLY I haven't forgotten that, Wash. One of them is going to have to learn. WASHINGTON Learn. BILLY You're going to have to teach him. WASHINGTON Teach. BILLY Instruct. WASHINGTON Which one? 33 EXT/INT. TACOMA HOUSE - NIGHT 33 A Christmas tree. Four stockings hang from the mantle. The phone rings. SCOTT HATTEBERG gets up. He looks at it. Looks at his wife. Picks it up. SCOTT Hello? BILLY (VO) Scott? SCOTT Yes? BILLY (VO) It's Billy Beane. Oakland A's. SCOTT was expecting that it would be someone else... 52. 52. SCOTT Yes? BILLY (VO) Can we talk? SCOTT Yes. BILLY (VO) You want to invite me in? SCOTT What? BILLY (VO) I'm outside. I can see you in the window. SCOTT goes to the window and cups his hands against the glass to see outside. ELIZABETH Honey? Two silhouettes are standing on the edge of the fairway. One of them waves. 34 INT. SCOTT HATTEBERG'S HOUSE - LATER - NIGHT 34 ELIZABETH is putting out some cookies shaped like stars and bells for the late-night guests: BILLY and RON WASHINGTON. BILLY Thank you, ma'am. WASHINGTON Thank you, ma'am. She leaves her husband with the two men but listens in on their conversation from the next room, nibbling on a cookie of her own. BILLY You've played catcher your whole life? SCOTT Since I was 8. BILLY produces a baseball from his windbreaker and hands it to SCOTT. SCOTT can only manage to grip the baseball like a claw. Washington looks to heaven. BILLY How's the elbow? 53. 53. SCOTT Good. Real good. It's great. (FUCK IT) I can't throw at all. BILLY Yeah, don't worry about it. You've thrown your last baseball from behind the plate. I want you at first. SCOTT is so thrown by this that all he can do is stare at BILLY. Then at WASHINGTON, who's shrug tells SCOTT "This wasn't my idea." SCOTT I've only ever played catcher. BILLY You're not a catcher anymore. If you were, then mine wouldn't have been the only call you got when your contract expired at midnight. SCOTT I appreciate it but-- BILLY You're welcome. SCOTT YOU SEE-- BILLY You don't know how to play first base. SCOTT That's right. BILLY It's not that hard. Tell him, Wash. WASHINGTON It's incredibly hard! BILLY Anything worth doing is. Wash is gonna teach you. SCOTT Wait a minute, what about-- BILLY Jason's gone, Scott. 54. 54. SCOTT I'm taking Giambi's spot at first? What about the fans? WASHINGTON Yeah, maybe I can teach one of them. BILLY The fans don't run-- (TO WASHINGTON) --GOOD ONE-- (back to SCOTT) --the fans don't run my ball club. SCOTT They're gonna hate me. WASHINGTON (motioning to BILLY) No, they're gonna hate him. BILLY The fans love me. WASHINGTON Okay. HATTEBERG's YOUNG DAUGHTER comes down the staircase in her pajamas, having just woken up in the middle of the night. BILLY Hello. HATTEBERG'S DAUGHTER Hi. SCOTT That's our youngest daughter. BILLY Great. SCOTT Do you have kids? BILLY doesn't like to share personal lives with the players but he covers well-- BILLY --yeah, I have a daughter. BILLY takes a contract out of his windbreaker and sets it on the table next to the cookies. 55. 55. BILLY This is a contract for you to play baseball with the Oakland A's. A copy's on its way to your agent. Discuss it with your wife and let us know. (They get up and Billy calls off) Thanks for the cookies, ma'am. We see ELIZABETH with tears running down her face...then go back to the living room-- ELIZABETH (O.S.) You're welcome. BILLY (on his way out) Merry Christmas. 35 EXT./INT. SAN DIEGO - PRESENT DAY 35 The door of a suburban house opens, revealing a WOMAN. BILLY Hi. SHARON Hi, Billy. She pulls the door open so he can come in. As he does - BILLY She home? SHARON She's out, but she'll be home soon. 36 INT. SAN DIEGO HOUSE - CONTINUOUS 36 As Billy enters his ex-wife Sharon's house, her husband ALAN walks in, talking on the phone. ALAN (ON PHONE) Yeah, no, don't worry about it sweetie. Here's mom. Alan hands Sharon the phone. BILLY Hey Alan. ALAN Come on in have a seat. Want some coconut water? It's really refreshing. 56. 56. BILLY I'm all set, thanks. ALAN What are you benching now? BILLY I don't keep count. ALAN Well, whatever it is, it's working. You look good. They sit on the couch next to a Christmas tree. ALAN I haven't got to see you since the playoffs in New York. That was heartbreaking, Billy. We were rooting for you. BILLY (BEAT) Yep. ALAN You know what I say? BILLY Fuck `em. (BEAT) I'm sorry Alan, what do you say? ALAN No, I just wanted to say that a lot of teams don't get that far, and to make it that far is a really big accomplishment. Sharon gets off the phone and joins them. BILLY (TO SHARON) So how is she? SHARON She's great. Be here in a minute. How's the team shaping up? BILLY New beginnings. Blue horizons. ALAN I read that you lost two players. Damon AND - (MORE) 57. 57. ALAN (CONT'D) (MISPRONOUNCES) Ghee-ambi? SHARON Giambi. Wow, that's tough. That's really tough. BILLY And Isringhausen. ALAN Sounds tough. BILLY So where is she? ALAN I just talked to her on her cell. She's just coming up the hill, she's two minutes away. BILLY You bought her a cell phone? SHARON Yeah. BILLY At 12? ALAN Just for emergencies. I'm sorry, we should have consulted you for that DECISION- BILLY It's probably a good idea. SHARON But actually I called you - The front door opens. It's Billy's daughter Casey - a pre- teen indie-rock girl - and not a moment too soon. He's up quickly to give her a hug and to get out of here. BILLY Let's go shopping. 37 INT. GUITAR CENTER - LA MESA - DAY 37 Billy and Casey peruse guitars. BILLY You want one with nylon strings, right? 58. 58. CASEY I like the red ones. BILLY How about this? CASEY Yeah, that's cool. BILLY Let's try it out over here. They take a seat. Casey easily fingers through a very tough spray of notes. BILLY (GENUINELY IMPRESSED) Casey. CASEY Yeah. BILLY You got good. CASEY I've just been playing a lot. BILLY That's... that's not the way most 12 year olds play. CASEY Alan thinks I should have a better teacher. BILLY Who's Alan? CASEY looks at him -- BILLY Oh, yeah. Mom's Alan. What's wrong with the teacher you have now? CASEY Alan thinks I should be working more on technique so I don't learn bad habits. BILLY Well, you seem to be doing just fine to me. Do you like playing? CASEY I love it. 59. 59. BILLY That's so great. I'm so happy for you. The most important thing in life is to find something you love and do it well. Do you like your teacher? CASEY Yeah. BILLY Okay, I'll talk to Mom and Alan. Do you like that guitar? CASEY Yes! BILLY That the one? CASEY Yeah, I think so. BILLY Let's get it. Let's get it now. CASEY Really? BILLY Merry Christmas. CUT TO: 38 EXT. DODGER STADIUM 38 LEGEND: 1984 BILLY's at the plate, a batting helmet snug around his head, wearing a METS uniform, as a 97 mph fastball buzzes by him and the UMPIRE calls-- UMPIRE Striiike! BILLY steps out of the box, taps the dirt off his cleats and steps back in. A younger-looking SHARON is sitting in field level seats, looking on nervously and trying not to show it. BILLY half-swings at the breaking ball, holding his swing at the last minute. 60. 60. The CATCHER and PLATE UMPIRE both point down to first base for the call and the FIRST BASE UMPIRE makes a fist in the air, indicating that Billy swung. UMPIRE Striiike! And Billy's out. SHARON holds her head in her hands and BILLY walks back to the dugout, passing a player with "STRAWBERRY" on his back. And now the quick scenes of failure become staccato-- 39-40 OMITTED 39-40 41 EXT. TIDEWATER 41 LEGEND: 1985 BILLY playing for minor league Tidewater and he grounds OUT AND CUT TO: 42 EXT. TOLEDO 42 LEGEND: 1986 BILLY playing for minor League Toledo. He swings and pops up lamely to the PITCHER, throwing his bat down in frustration as he jogs hopelessly to first and we ANNOUNCER V/O ...Billy Beane, who's quickly establishing a new record for breaking bats, bat racks and water coolers, was actually a much-touted first round pick of the New York Mets in 1980 but the majors have not been kind to him with only 18 plate appearances in two years and this won't doing anything to help him as... 43 EXT. YANKEE STADIUM 43 LEGEND: 1986 BILLY playing for the Minnesota Twins where he comes back into the dug out and throws his batting helmet down and CUT TO: 61. 61. 44 EXT. PORTLAND 44 LEGEND: 1987 BILLY playing for minor league Portland and a water cooler goes flying across the dugout and CUT TO: A45 EXT. MINNESOTA A45 LEGEND: 1987 ANNOUNCER V/O ...one of two first round picks in 1980 along with Daryl Strawberry, Beane was brought up last year and sent back down after 8 at-bats so here's a second chance as Smith delivers... BILLY playing for the Minnesota Twins. He swings hard at a pitch and strikes out and we CUT TO: 45 EXT. DETROIT 45 LEGEND: 1988 BILLY playing for the Detroit Tigers and the bat rack gets heaved across the field and CUT TO: 46 EXT. OAKLAND COLISEUM FIELD - NIGHT 46 LEGEND: 1989 ANNOUNCER V/O ...If you're a real baseball fan with a good memory you might remember that Billy Beane was taken in the first round of the amateur draft back in 1980, separated from All-Star outfielder Daryl Strawberry by only 14 picks, so it just goes to show... BILLY in an A's uniform. He stands and watches a called third strike sail past him. UMPIRE Strike! Billy breaks the bat over his thigh and drops the pieces on the plate. He begins to walk off. 62. 62. UMPIRE Hey Billy, clean up after yourself. Billy hears him but continues to walk off. TO BE WRITTEN: THE UMP TOSSES BILLY FROM THE GAME. BILLY looks up at SHARON in the seats behind the dugout but the two can't quite meet each other's eyes. 47 INT. OAKLAND COLISEUM - DAY 47 In the subterranean video room - an even less elegant place than the rest of the stadium - someone has put up a scraggly Christmas tree. There, Peter watches a tape of a minor leaguer on the Lowell Spinners, a Single-A Boston affiliate. Billy comes in. PETER How'd it go? BILLY How'd what go? PETER Hatteberg. BILLY He can barely hold a baseball. But he's our guy now. Billy sits. BILLY Who's that? PETER That is Kevin Youkilis. This is the guy we want more than anyone else in the world. Billy watches the guy on the screen. He's an overweight right-handed batter with a peculiar stance. PETER He can't run, throw or field. But he walks more than anyone in baseball except Barry Bonds. Take out intentional walks and it's more than Bonds. He's the Greek God of Walks. On the TV, the batter takes another pitch just off the edge of the strike zone. 63. 63. PETER I tried to get Shapiro to draft him last June. He said he waddled like a duck. Boston took him. Boston won't let him go yet. They're going to wait and see. They watch him lay off a pitch an inch outside the strike zone. Peter gives Billy a look that says, You see that? PETER You all right, Billy? GRADY O/S Billy? Grady has appeared behind them at the door. GRADY Can we talk a minute? BILLY Yeah. (TO PETER) Yeah. 48 INT. LOCKER ROOM - MOMENTS LATER 48 Grady closes the video room door for privacy. The only other person in sight is manager Art Howe, in his office in street clothes. He shuts his windowed door so Grady and Billy can talk in confidence. GRADY Your boy and I had a talk while you were in Tacoma. I didn't like much of what I heard. BILLY No? GRADY No. You got a kid in there with a Yale economics degree and a scout out here with 29 years baseball experience and you're listening to the wrong one. BILLY I don't listen to anyone, you know that. GRADY This isn't a joke. BILLY I'm not joking. 64. 64. GRADY This isn't how you run a ball club, with a computer. You know that. You're a baseball man. There are intangibles that only a scout can see in a player that you're not going to pick up with just numbers, with someone who doesn't play the game, who knows nothing about the game but how to feed numbers into a computer. BILLY That's what we're doing. That's exactly what we're doing. GRADY If this is what baseball is, if it's not Kirk Gibson going up to the plate on two bad legs because the manager felt in his heart that he had one swing left in that body... a computer wouldn't do that. They would have had him sitting up in the stands. BILLY A computer doesn't romanticize the sport. Leave that for the fans. GRADY Well, romance and the fans, it's called a love affair with the game and it's been going on for one hundred and fifty years. BILLY I don't want to hurt you love affair with the game. Just because we've been doing it one way for a hundred and fifty years doesn't mean we've been doing it right. You have any idea how long people thought the sun revolved around the earth? To your eyes it looks like that's what's happening. GRADY You're saying everybody's been wrong? Everybody? Beat. GRADY Are you saying everybody's been wrong? BILLY Yes. Maybe. (BEAT) (MORE) 65. 65. BILLY (CONT'D) Yes, and I've thought so my whole life. And now we're gonna see if I'm-- GRADY --we're gonna see if you're right?! This is about you and your shit? Some scouts from 20 years ago called it wrong, okay? They thought you were a ballplayer and you weren't. As you know, it happens. Don't take it out on-- BILLY I'm not--taking it out on-- GRADY I'm trying to help, okay, I'm saying-- BILLY No, you're not saying anything to me right now. (BEAT) Grady, you don't have special powers. You don't have the ability to look at a guy and "just know" because you're a scout with special powers. I've watched you sit at kitchen tables for years and tell the parents of a 17 year old kid, "Trust me, when I know, I know, and when it comes to your son, I know" and you don't. We're shopping in a new store--full of complicated statistical analysis and equations and I get that it turns your world upside down but on base percentage-- our best chance to score on our budget isn't getting a 6'4" Adonis to the plate, it's getting a 5'10" washout who's already at first base. GRADY (PAUSE) May I speak? BILLY Yes. GRADY Major League Baseball and its fans will be happy to hand you and Google Boy your heads if you keep doing what you're doing here, I don't give a shit about friendship this situation or the past. Major League Baseball thinks the way I think. You're not gonna win. And I'll give you a nickel's worth of free advice. (MORE) 66. 66. GRADY (CONT'D) You're making it impossible for yourself to get another job once Schott fires you after this catastrophic season you're setting us all up for and you're gonna have to explain to your wife and your kid why you're working at Dick's Sporting Goods. BILLY I'm not gonna fire you, Grady. GRADY Go fuck yourself, Billy. BILLY Well now maybe. GRADY takes off. BILLY stands there a moment. On his way out, passing Art's windowed office, he exchanges a look with the manager. Billy takes a short walk to where a few of his scouts are standing around an arcade console. To the youngest one - BILLY Eric. You never even played high school ball, right? The young scout shakes his head, embarrassed. BILLY Grady's gone. You're the new Head Scout. Billy turns away and is headed back to the video room. Pokes his head in. BILLY Don't try to explain things to scouts. They're not programmed to get it. It's just us. He leaves. Peter watches the door close, then glances back to the tape as Youkilis takes ball four and waddles down to first base. CUT TO: A49 EXT. PHOENIX MUNICIPAL STADIUM - DAY A49 Team / JumboTron photos are taken of our new A's. It's clear from the photo Billy didn't hire them to sell jeans. LEGEND: March 2, 2002 - SPRING TRAINING 67. 67. Billy gives an interview to a SPORTS REPORTER. SPORTS REPORTER Billy, will the fans still come out now that you've lost Giambi? BILLY I don't know, Graham. Will they listen to your insipid radio show? B49 INT. LOCKER ROOM - ARIZONA - DAY B49 MIKE MAGNANTE goes through the effort of putting on his knee-braces. Scott Hatteberg, lacing up, watches him. 49 EXT. PHOENIX MUNICIPAL STADIUM - DAY 49 Various stations have been set up at which infielders go through their warm-ups - wind sprints, arm loosening. Infielders field grounders hit by Art Howe from a fungo. Billy paces in the foul territory off the first base line. HIS POV: JEREMY GIAMBI missing a fly ball, DAVID JUSTICE looking tired, HATTEBERG missing the scoop. Art hits another grounder which Hatteberg botches again. Art looks at Billy a good long beat, then hits to another infielder. Peter walks up to Billy, just as - A poke off the bat sends Jeremy Giambi scrambling back like a postman trying to escape a mad dog. The ball lands behind him. BILLY Well, we didn't pay him for his defense. Art and Washington hit grounders to Carlos Pena and Scott Hatteberg. Hatteberg miraculously gets his mitt on it. BILLY That's the way, Hatte. Pickin' Machine. Behind a portable backstop, a guy with a radar gun gets ready to clock a trio of relievers. Mike Magnante has his pant legs pulled up to adjust knee-braces. Magnante gets up and begins throwing, increasing his velocity each time. BILLY None of those broke 85. 68. 68. They watch the second pitcher - the gentle-faced kid from the locker room - Chad Bradford - step up. BILLY Chad I have high hopes for. Bradford overthrows his first submarine hand-scraping- the-ground pitch, and the ball sails wide of the catcher. Somebody ducks. Art Howe glances with a long-suffering look to Billy. BILLY It just got away from him. They watch David Justice do wind sprints. BILLY He's still got it. Then Justice stops, winded. 50 INT. LOCKER ROOM - ARIZONA - LATER 50 As the players shower and change into street clothes, Art, Billy and Washington discuss Hatteberg, who knows they're discussing him. BILLY It's the first day of week one. There's nothing to judge yet. ART I can judge it and so can you. First base is the moon to him. BILLY It wasn't to Giambi? He's the worst first baseman in baseball. What do you think of him, Wash? WASHINGTON The nicest way I can put it is, he lacks confidence. BILLY Work with him Wash. WASHINGTON I'll do that, Billy, but we've got Pena who can play first. And he's looking pretty good out there. BILLY I want to make it work with Hatte, Wash. 69. 69. As Washington crosses the locker room to lie to Scott about how much progress he's making, he passes Magnante taking off his knee braces, and Chad Bradford sitting at his locker with a Bible in his lap. ART Not to mention we already have a first baseman. BILLY A rookie first baseman. It's not the same. ART Number 11 on the Top 100 Prospects list. BILLY Lists aren't baseball. ART Catchers at first base aren't baseball. Who's idea was this? Peter's? BILLY Hatteberg will be fine, Art. ART He will be fine, you're right. Pinch hitting while Pena plays first base. 51 EXT. OAKLAND COLISEUM - DAY 51 A towering portrait of David Justice has been painted where Jason Giambi's used to be. The hardest diehard fans file under it and through the turnstiles. You know what they look like, dripping A's merchandise, radios and Sharpies, arriving so early the B.P. cage is still being dragged into place. A SERIES OF SHOTS Indicate the arrival of opening day. INCLUDING: foul lines are painted, broadcast trucks plug in, the network control room fires up, ANNOUNCERS do their prep, Steve Schott lands in his helicopter. LEGEND: April 1, 2002 - OPENING DAY IN THE LOCKER ROOM: Players prepare. Magnante puts on his knee braces. MAGNANTE Yeah... been doing it for way too long. 70. 70. HATTEBERG How long does it take? MAGNANTE When I first started these things? It was like a half hour process. Now I can knock these suckers out in 30 seconds, no problem. 52 INT. A'S LOCKER ROOM - SAME TIME - DAY 52 Jeremy Giambi's boombox is on again as he and his 24 teammates suit up. 36-year-old David Justice wanders past to a soda machine. Presses a button, but nothing comes out. Tries again. TEJADA Is a dollar, mang. JUSTICE What? TEJADA Always been like that here. JUSTICE You're kidding me, right? TEJADA Welcome to Oakland. BILLY and PETER walk through. He walks past CHAD BRADFORD's locker... CHAD Excuse me, Mr. Beane. BILLY Hey Chad. CHAD I hope I'm not disturbing you. BILLY You're not, what's up? CHAD I wanted to say thanks for the opportunity. BILLY It's gonna work out well for both of us. 71. 71. CHAD Nobody in the major league ever took me seriously. BILLY (PAUSE) Nobody? CHAD Just you, sir. BILLY Okay. (BEAT) It's a big day, you won't forget it. CHAD I'm going to pray for you and your family. PETER follows BILLY out of the locker room. 53 OMITTED 53 A54 EXT. OAKLAND COLISEUM - ANNOUNCER'S BOOTH - DAY A54 SHOTS OF THE GAME ANNOUNCERS. KEN KORACH, GREG PAPA and GLEN KUIPER welcome the fans to opening day, discuss the A's lineup and the problems they face this season. 54 EXT. OAKLAND COLISEUM FIELD - DAY 54 MONTAGE: It's fifteen minutes before the game as some executives have their picture taken on the field with BILLY. BILLY Hey, great to see you. Thanks for coming out. Got a good box? You want a picture? Sure, let me step in there. Great, big smiles now. Big smiles. Know what I like about opening day? Everyone's even. Thank you. You all enjoy the game. BILLY gets his picture taken with KIDS from an area Little League team. He's laughing and being a good host. BILLY Hey, how you guys doing. So you won? That's great. What position are you? How's your fastball? 92? Alright, should we get a pic? 72. 72. Billy and the Little League team pose with a giant donation check. The announcer then directs everyone's attention to a trophy ceremony in progress. As Chavez receives his Golden Glove award and smiles for the fans... CUT TO: 55 EXT. OAKLAND COLISEUM FIELD LEVEL SEATS - DAY 55 BILLY greeting some VIP's in their field-level seats. Throughout this we'll hear bits of talk radio. HOST #1 (FROM RADIO) With the departure of head scout Grady Fuson and a roster that I'll describe as unusual, if not eccentric, you have to wonder what Billy Beane is thinking. BILLY catches a glance of ELIZABETH HATTEBERG taking her seat nearby. In the family area, Elizabeth introduces herself to Tara. ELIZABETH Hi, I'm Elizabeth. TARA Hi. Tara. Which is yours? ELIZABETH Scott Hatteberg. Catcher - actually first base - actually we don't know. Yours? TARA GM. ELIZABETH (EXCITEDLY) Mr. Beane? Tara nods. ELIZABETH He's a saint. TARA Really? CUT TO: A56 EXT. OAKLAND COLISEUM FIELD - DAY A56 Art is talking to a JOURNALIST. 73. 73. JOURNALIST Are they picking up your option for next year? A beat. ART I brought it up to them during the off- season, and I still do not have my option. JOURNALIST Are you frustrated? ART I think it's fair to say that. 56 OMITTED 56 57 OMITTED (INCORPORATED INTO 54) 57 A58 EXT. OAKLAND COLISEUM - LATER A58 Art Howe stands mid-field as the starting lineup is announced. One by one, players join him on the field. The honor guard presents the flag as everyone stands for the National Anthem. Afterward, the players scatter to warm up for the game. 58 EXT. OAKLAND COLISEUM FIELD LEVEL - DAY 58 The CROWD CHEERS as the A's take the field. Billy and Peter are at the edge of the tunnel, watching. BILLY Okay, good. (BEAT) I'm heading in. PETER Why? BILLY I don't watch the games. PETER Is this a joke? BILLY shakes his head "no". PETER gestures "What the fuck are you talking about?" BILLY I don't know what you're miming. 74. 74. PETER I'm miming "You don't watch the games?!" BILLY This is my team. And they've taken the field. They're world class athletes who are fighting for their lives and I stand with them. Except not literally so I need you to text me what Art does. BILLY walks out onto-- CUT TO: 59 INT. BILLY'S OFFICE - DAY 59 BILLY's watching the game on TV (ARCHIVAL VIDEO) with the sound off but we can hear the live crowd in the stadium. CRACK--a TEXAS RANGER hits a three-run homer and BILLY walks out of the room and CUT TO: 60 EXT. OAKLAND COLISEUM FIELD - DAY - ARCHIVAL VIDEO 60 An OAKLAND A hits an easy pop-up to center field and CUT TO: 61 INT. WEIGHT ROOM - DAY 61 Where BILLY's on a stationary bike. His blackberry buzzes and he takes a look-- "Fly out to cntr" CUT TO: 62 INT. WEIGHT ROOM - DAY 62 Where BILLY's bench pressing and CRACK-- CUT TO: 63 EXT. OAKLAND COLISEUM FIELD - DAY - ARCHIVAL VIDEO 63 Where an OAKLAND A has just hit a ground ball to the SHORTSTOP, who tosses it easily to second for the first out, and the SECOND BASEMAN throws it over to first for-- CUT TO: 64 INT. WEIGHT ROOM - DAY 64 Where BILLY looks at the blackberry which now says-- 75. 75. "643 DBL PLAY" The blackberry goes crashing into the wall and blows apart. CUT TO: 65 INT. LOCKER ROOM/AREA OUTSIDE ART'S OFFICE - NIGHT 65 We find Billy and Art in conversation. BILLY Yeah. I should have made you a bigger part of the conversation, I should have had you in the scout meetings from the first day, that way you would have understood this better and that was another mistake, I take full responsibility. ART What are you trying to say? BILLY It doesn't matter what moves I make if you don't play the team the way I need them played. ART BILLY - (LONG BEAT) You are out of your depth. BILLY Why wasn't Hatteberg at first? ART Because he can't play first. BILLY How do you know? ART Not my first baseball game. BILLY ART-- ART Scott Hatteberg can't hit. BILLY He gets on-- 76. 76. ART And his defense-- BILLY Still keeps us in the plus column and we only need to be 7 over 500. ART Anything else? BILLY Yeah, I would have rather seen Chad Bradford in there at the end than Magnante. ART BRADFORD'S-- BILLY I don't care about righty/lefty. ART I do. BILLY This is about your contract? ART No, you've made it clear what you think about that. This is about you doing your job and me doing mine. Mine's being left alone to manage the beer league team you assembled for me. BILLY I didn't assemble them for you, I assembled them for me. ART No shit. 66 INT. BILLY'S OFFICE - DAY 66 BILLY I want you to go on the road with the team. PETER You don't go on the road with the team. BILLY That's why I want you to do it. PETER Why don't you? 77. 77. BILLY I don't want to develop personal relationships. I need to trade them, send them down and sometimes cut them. You should learn how to do that by the way. PETER The only way I'd have to cut a player is if you oh come on! BILLY Yeah, let's practice. PETER No. BILLY I'm a player, cut me from the roster. PETER No. BILLY Do it. PETER This is stupid. BILLY Man-up, Yale. PETER Fine. Billy, would you have a seat for a moment, I need to talk to you. BILLY I'm already sitting. PETER I was pretending you weren't sitting. BILLY But I am. Keep going. PETER This is the hardest thing there is to do in baseball. BILLY You got that from Bull Durham? PETER Yeah. 78. 78. BILLY Hitting a curve ball is the hardest thing there is to do in baseball but go ahead. PETER You've been a huge part of this team but decisions have to be made that are best for the team, I'm sure you can understand that. BILLY You're cutting me? PETER I'm really sorry. BILLY I just bought a house here. PETER (BEAT) Well... BILLY Well? That's all you have to say? My kids just started at a new school, they made friends. PETER That's--I'd leave them in school, you don't want to take them out in the middle OF THE-- BILLY What the hell are you doing? PETER Are you you or the player? BILLY I'm me. You're talking about kids and schools and you should've been out of the room three minutes ago. PETER Shouldn't I tell them that they'll always be a part of the A's family? BILLY That makes me feel so good I'm thinking of burning your house down with you in it. These are professional baseball players. You just do it. "Peter, I need to let you go. Jack's office'll handle the paperwork." 79. 79. PETER That's it? BILLY Would you rather get one bullet in the head or five in the chest and bleed to death? PETER Those are my only choices? BILLY Go on the road with the team. CUT TO: 67 INT. AIRPLANE - IN FLIGHT - NIGHT 67 Jeremy Giambi discreetly mixes a highball from a cache of hotel minibar liquor bottles as he watches his favorite movie on a portable DVD player, The Natural. DAVID JUSTICE is sitting next to PETER, who scrolls down stats on his laptop. DAVID How come your boss doesn't travel with the team? PETER He doesn't like to mingle with the players. DAVID Makes us easier to cut? PETER doesn't say anything... DAVID He's gonna make some moves if we keep losing. PETER gives a small "Yeah" shrug... DAVID How come soda costs a dollar in the clubhouse? PETER Billy likes to keep the money on the field. DAVID Soda money? 80. 80. PETER doesn't say anything... DAVID Where on the field is the dollar I pay for soda? PETER (BEAT) It's hard to see. DAVID (shaking his head) Alright. 68 INT. WEIGHT ROOM - NIGHT 68 Billy watches the T.V. ON TV - PENA taking his place at first. TV ANNOUNCER V/O The A's begin their first road trip of the season having dropped 7 of their first 11 games at home and their schedule doesn't get any easier from here. If there's a bright spot it's rookie first baseman Carlos Pena. Billy turns off the T.V., gets beeper updates as he works out. 69 INT. BILLY'S TRUCK - DAY 69 Billy drives. VOICES V/O With the A's getting off to a miserable start/13 of their last 20/17 of their last 25/etc... 70 INT. OAKLAND AIRPORT - DAY 70 BILLY's waiting for someone. HE'S WATCHING THE A'S GAME BY THE GATE. A PASSENGER, also watching the game, recognizes Billy. PASSENGER Hey, aren't you Billy Beane? BILLY Yeah. PASSENGER Shouldn't you be at the game? 81. 81. BILLY Nope. CASEY emerges from the gate, sees her father before he sees her and runs to him. They hug. CASEY Hey, Dad. BILLY Hey, honey... I'm glad to see you. CUT TO: 71 INT. BILLY'S/PETER'S OFFICE - DAY 71 BILLY and PETER are throwing a ball through their office doors on either side of the hallway-- PETER It's not a big enough sample yet. I want to wait until we play more games. 72 INT. BILLY'S OFFICE - DAY 72 BILLY watches the game from the office T.V. He sees -- 73 EXT. OAKLAND COLISEUM - DAY - ARCHIVAL VIDEO 73 DAVID JUSTICE grounds into a double play to end the game. TV ANNOUNCER And Justice hits into the 6-4-3 double play to end the game... The INDIANS trot on the field to high-five each other. 74 OMITTED 74 A75 INT. BILLY'S HOUSE - AFTERNOON A75 Casey sits at the table as Billy scoops ice cream. BILLY Do you want strawberry or vanilla? CASEY Both. BILLY Don't tell your mother. (THEN) If you could only have one ice cream for the rest of your life, which would you choose? 82. 82. CASEY Vanilla. Definitely vanilla. BILLY Interesting. Chocolate sauce? CASEY Yup. A beat. Then -- CASEY Dad... if you could choose between the power of invisibility or flight, which would you choose? BILLY Flight. Yeah, I'd wanna fly. You? CASEY I think I'd want invisibility. BILLY Really? Why? CASEY I don't know. People wouldn't notice me as much. BILLY Why wouldn't you want people to notice you? CASEY I don't know. BILLY Well, I guess you could sneak up on people. Or eavesdrop on their conversations. You could be a spy. (THEN) So how's school? CASEY My teacher's kinda mean. She doesn't like us to ask questions. BILLY What kind of teacher doesn't let you ask questions? CASEY I know, right? Mom was mad, too. She thinks maybe I should be home schooled. 83. 83. BILLY Wouldn't you miss your friends? CASEY Yeah. But the other kids are mean. BILLY There are always going to be bullies. Try not to let them get to you. But let me know if it's becoming a problem. CASEY Can I ask you a question? Are you still chewing tobacco? BILLY Yeah... CASEY Please stop. BILLY I know, it's terrible. Look, I promise I'll quit in November if you promise not to worry about it. CASEY Pinkie swear? BILLY Pinkie swear. 75 INT. BILLY'S OFFICE - DAY 75 PETER Theoretically, when we've played more games the numbers will become more REPRESENTATIVE OF-- BILLY Theoretically? 76 EXT. SAFECO FIELD - SEATTLE - DAY 76 The scoreboard shows the A's down by 1 in the 6th. As Art trudges toward the mound to pull his starter, he touches his left arm. Magnante emerges from the pen - and Peter, up in a VIP box, flips open his phone. CUT TO: 77 INT. OAKLAND AIRPORT - DAY 77 BILLY is saying goodbye to CASEY. 84. 84. BILLY Alright. Be good. CASEY Okay. Billy's Blackberry chimes. He ignores it. BILLY (PAUSE) I feel like-- CASEY (PAUSE) You feel like what? BILLY (BEAT) I don't know, did we talk enough this time? CASEY About what? BILLY Anything. Did we talk about the things you want to talk about, did we have fun? CASEY (PAUSE) Yeah!? BILLY Okay. CASEY I love you, Dad. BILLY You're doing it right now. CASEY What? BILLY You're worrying about me. CASEY Sorry. BILLY Do I look like I'm worried? CASEY Yeah. 85. 85. BILLY `Cause you're getting on an airplane and those things crash all the time. Will you please stop worrying about your father? You're a kid, I can't have it. CASEY Okay. Can I worry about the airplane now though? BILLY Absolutely. A FLIGHT ATTENDANT approaches -- FLIGHT ATTENDANT We're all set. BILLY Great. There's a slightly awkward moment and CASEY isn't sure whether she's supposed to hug her father again and so they do a sort of half-hug. BILLY I love you. BILLY watches her go off with the attendant, feeling like it was an unsatisfying visit. He looks at his blackberry-- 3-2. Magnante in. BILLY (SHOUTING) No! WHY IS HE IN THERE?! EVERYONE in the area stops to look at the madman. BILLY (to the people looking at him) No no. I'm alright. 78 EXT. TRACK - MORNING 78 Billy runs the warning track with a small radio that he turns on long enough to follow what's happening, and switches it off again. Over the following, we hear a cacophony of radio and TV VOICES tumbling into each other-- 86. 86. 79 THE STANDINGS ON PETER'S COMPUTER: 79 The A's have fallen to 19-25. 80 EXT. YANKEE STADIUM - NIGHT 80 MAGNATE giving up a save-blowing hit while BRADFORD sits in the bullpen... 81 EXT. JACOB'S FIELD - CLEVELAND - DAY 81 An Oakland A hits into a double-play, strike out, caught stealing, picked off first, a lop-sided scoreboard, half- EMPTY STANDS-- A82 EXT. OAKLAND COLISEUM - NIGHT A82 The parking lot is a vast, empty black sea with just two pin-points of moving light. Headlights. Billy drives around the lot like a downhill skier with nothing in his way -- his daughter's mix-tape playing. 82 EXT. EDISON FIELD - ANAHEIM, CA - NIGHT 82 Jeremy lines a single to right, but is so slow he's almost thrown out at first. Art Howe glances at his bench coach, Ken Macha. ANNOUNCER Art Howe is the only manager in baseball who has to think about pinch running his leadoff hitter. Down in the Visitors' pen, Chad sits with Mike Magnante. MAGNANTE Why do you do it? CHAD I can't not do it. MAGNANTE How do you do it? Every ball park's different. CHAD I take that into account and adjust the distance of my steps. MAGNANTE Exactly seventy-four, from the pen to the mound. (MORE) 87. 87. MAGNANTE (CONT'D) (BRADFORD NODS) You should get that looked at, man. CUT TO: 83 EXT. SAFECO FIELD - NIGHT 83 The TEAM in the dugout, hanging their heads during a BLOWOUT AND CUT TO: 84 INT. CLUB HOUSE - NIGHT 84 Peter erases the percentage of games left they need to win and writes in a higher number and CUT TO: 85 INT. BILLY'S TRUCK - DAY 85 He's listening to the radio. REPORTER V/O -- after Sunday's 11-0 rout. Now, having dropped 13 of 16, the A's are a game away from being swept at home by the AL East last place Baltimore Orioles. CUT TO: 86 AERIAL SHOT 86 as we follow Billy's truck from Oakland over the Bay Bridge into San Francisco. CUT TO: 87 INT. SCHOTT'S OFFICE - DAY 87 BILLY Steve. SCHOTT Billy. BILLY You remember Peter. SCHOTT Peter. Guys, give me some idea of what's going on out there. 88. 88. BILLY Listen, it's a team of probabilities, and we're gonna need 162 games to tell that tale in a nascent form. It's phase one, we're evolving and we feel confident where we're heading. SCHOTT BILLY - BILLY We're not scared. SCHOTT 3 out of 17 games. 3. We're getting crucified in the press. What makes you think this is gonna turn around? BILLY Because I believe in what we're doing. I believe the numbers. I believe the record doesn't accurately reflect the team and where we're going to be at the end of the season. Peter and I feel very strongly that we need to stick to the game plan, and you can tell your partners to start booking their tickets to the playoffs. SCHOTT Billy, look, you've got guys who are nearly crippled, who couldn't get hired as an usher in a ballpark now playing on the team. Give me something I can go back to these guys with and feel like I have the confidence that you're gonna turn these things around. BILLY With all due respect you asked me to build a team with shoelaces and gum wrappers and we've done it. SCHOTT You haven't done it yet billy. BILLY And it will pay off. Stick with us. Suffer the blows. Listen, life with no money means we're gonna have to suffer a few embarrassments along the way, but we are okay in the end. SCHOTT Billy, there's a lot of money at stake here. (MORE) 89. 89. SCHOTT (CONT'D) And a lot of people with vested interest in seeing this be successful. I've given you a lot of flexibility. When are we gonna start to see a change in these results? Schott sits back at his desk. SCHOTT Give me a date, give me a time frame. BILLY (TO PETER) Where do we expect to be mid July All Star break? PETER Our goal and our expectation by the All Star break is to be within seven games of first place. BILLY That'll keep us in the hunt. PETER And that would be this working exceptionally well. SCHOTT 7 within 500. By July. And what's going to keep us from getting there? BILLY Nothing Steve. SCHOTT Nothing. We're 3 for 17 right now. You've got to be able to give me a little bit more to go back to my partners with. BILLY Listen, you hired me to do this job and that's where we're going to be. SCHOTT That's not good enough. BILLY Well, let's go buy Barry Bonds, then. This is the team we've got and this is the team we'll win with. 90. 90. SCHOTT Billy, put yourself in my shoes. What do you imagine is going to happen if things don't turn around? BILLY It's very clear, Steve. If I put myself in your shoes, I'd spend another 20 million on the team. SCHOTT We don't have another 20 million BILLY I'm just kidding, Steve, I'm just kidding. We've got the team. SCHOTT I gotta be honest with you, Billy, I wish you had a little more worry and a little more fear. Because things aren't going in our direction right now. BILLY 162 games Steve. SCHOTT Let's hope the next 30 are better than the last 30. BILLY I don't need to hope. SCHOTT All right fellas. Let's go try and win one. We're in May, we've got til July. 88 EXT. OAKLAND COLISEUM - DAY 88 The A's take batting practice. LEGEND: May 23, 2002 89 INT. OAKLAND COLISEUM - DAY 89 ART, as he always does, is watching not from the railing but from the bench. BILLY walks into the dugout without saying hello. BILLY We're not gonna lose three at home to the Orioles. (MORE) 91. 91. BILLY (CONT'D) I want Dye in right, Justice DH-ing, Pena on the bench, Hatteberg at first and anyone but Magnante first out of the pen. ART You want Pena on the bench? BILLY That's right. So that you can play Hatteberg. ART Hatte - as opposed to the guy who's going to win Rookie of the Year. BILLY No, Hatte - as opposed to the guy who gets on base less. Pena getting voted Rookie of the Year and the A's making the playoffs are two entirely different-- ART Pena's not just the best first baseman on the roster, he's the only first baseman on the roster and the most valuable member on this team. BILLY Not according to, what do you call `em, facts. ART HATTEBERG-- BILLY Listen to me--gets on base more than Pena. 25% more. ART HIS FIELDING-- BILLY His fielding doesn't matter. ART It does matter and Pena only has one error in 70 games. BILLY Not only is that number statistically insignificant but it's also subjective. It measures what someone did against what someone else thought they were supposed to do. 92. 92. ART Part of the conversation? I've heard enough of the conversation and I disagree with you, plain and simple. Moreover, I strongly believe that you're in the middle of experiencing some sort of personal crisis and you seem indifferent to the fact that you're taking a whole organization down with you. I'm playing my team in a way I can explain in job interviews this winter. Some As players arrive in the dugout, causing Billy to hold his tongue. He simply says - BILLY Hatte, not Pena. 90 INT. WEIGHT ROOM - NIGHT 90 The game plays silently on the TV as Billy lifts weights. Not wanting to watch but not being able not to, he looks at the screen to see Pena trotting out to first base ... 91 EXT. OAKLAND COLISEUM - LATER - NIGHT 91 The Orioles' bench clears to high-five the players coming off the field. The game is over, and, obviously, they've won. The A's exit their dugout to the tunnels. 92 INT. ART'S OFFICE - LATER - NIGHT 92 As Art crosses to his office, he sees Billy waiting inside it with a towel around his neck. He hesitates, then goes in and we follow him. Billy says nothing, but his silence is worse. Art has to break it - ART It's just one game. BILLY That's the point, you think? ART The point is always tomorrow's game. BILLY No, the point - as you said - is to win. I don't like sharing the cellar with Texas, do you? We hear FUNK MUSIC begin to play in the distance. 93. 93. ART I'm doing the best I can with what I've got. I'm playing the players I've got. BILLY I'm through talking. 93 INT. CLUB HOUSE LOCKER ROOM - NIGHT 93 Billy lets himself out and walks down the hall to the locker room - regards Jeremy Giambi - JEREMY Yeah! He's not even aware of Billy. It's just like any other night as far as Jeremy Giambi is concerned. He dances to a CD of funk music as he dresses, until he becomes aware of Billy standing there, and smiling, he kills the music. JEREMY (NERVOUS LAUGH) What? BILLY Getting swept by the Red Sox at home. Having Long lead off the ninth with a triple in a one-run game and not being able to score a runner from first with nobody out, is that fun? JEREMY No. BILLY Then what the fuck are you having fun for?! (CALMLY) This is what losing sounds like. He heads out. 94 OMITTED 94 95 INT. BILLY'S TRUCK - NIGHT 95 PETER V/O ...point 3-5 below the AL average field which isn't bad. (BEAT) Billy? 94. 94. BILLY Yeah? CUT TO: 96 PETER IN THE VIDEO ROOM - SAME TIME 96 Peter rattles off player stats. PETER Cruz -- .283, .347, .476. Stevens -- .244, .349, .560. Miner -- .272, .349, .499. Hanson -- .280, .363, .450. Baretta -- .273, .354, .497. Durazo -- .292, .395, .621. What do you think? (THEN) Billy? BILLY (V.O.) (BEAT) I don't know where I am. PETER You okay? BILLY (V.O.) I missed my exit. CUT TO: A97 INT. BILLY'S TRUCK - NIGHT A97 Billy takes the next off ramp and as LIGHTS FLARE on the windshield, we transition to ANOTHER TIME, YOUNG BILLY DRIVING -- B97 INT. CAR - MOVING - NIGHT - 1989 B97 Billy and his wife drive home from a game in silence, their infant daughter Casey asleep in a car seat in back. Sharon regards Billy's hands, clutched too tightly to the steering wheel. SHARON Have you thought about what you might do if baseball doesn't work out? BILLY (PAUSE) What? SHARON That was too abrupt. 95. 95. BILLY No. (PAUSE) What? SHARON (BEAT) If baseball doesn't work out. Have you thought about what you might do? BILLY (BEAT) The game's only been over for three hours, I haven't had that much time to think about it. SHARON Sure. (BEAT) Maybe real estate. BILLY I'll be honest, if I don't make it in baseball I don't think I'm going to be able to afford much real estate. SHARON I MEANT-- BILLY I know what you meant. SHARON (PAUSE) It's just a slump, right? BILLY (BEAT) No. SHARON You're saying every scout was wrong? BILLY You're kind of saying it too. SHARON BILLY-- BILLY Honey...don't you think you should divorce me now while you're young? SHARON looks at him... then her eyes go to the window. 96. 96. COMMENTATOR (PRELAP) When a science experiment fails in a lab, things blow up. 97 OMITTED 97 IN BLACK: Problems are the price you pay for progress. - Branch Rickey 98 INT. OAKLAND COLISEUM - CORRIDOR - DAY 98 Billy shoves a wad of Copenhagen under his lip as he and Peter walk-and-talk. BILLY Get me Wade. PETER Why. BILLY Get him. PETER Why. BILLY Get him. A99 INT. BILLY'S OFFICE - DAY A99 Billy's seated at his desk. Peter reluctantly dials a number from a list, the number across from the Phillies' GM's name. It connects on the speaker. WADE V/O Hello? BILLY Ed. Billy. I need some help on defense and I'm willing to trade Jeremy Giambi for it. PETER No, you (aren't) - BILLY (ignoring Peter; to WADE) Who you got? 97. 97. WADE V/O Let me think. PETER What are you doing? Jeremy's doing (GREAT) - BILLY Cleaning house. WADE V/O Maybe? BILLY Maybe what? WADE V/O No. Mabry. BILLY Hang on. (put the call on HOLD) Mabry? PETER I don't know. BILLY Yes, you do. PETER Runs hot and cold, Billy. Impossible to know what we're going to get. He's a crap shoot. He's exactly the kind of player we're not looking for. BILLY (into the phone) He'll be fine, Ed. WADE V/O Why do I get the feeling you're picking my pocket? BILLY I'm not picking your pocket, you're picking mine. Giambi's name alone is worth more than Mabry. WADE V/O You realize - 98. 98. BILLY (INTO PHONE) I do. His career is stagnant, to put it nicely. Can we say it's done in theory and start drawing up paperwork? WADE V/O Okay. But - BILLY Great. He hangs up. PETER I think he was going to say something else. BILLY Peter. Rule Number 3: When you get the answer you're looking for - hang up. That's done, and in a minute Pena's going to Detroit. PETER I don't think you want to do that. BILLY Art can't put him at first if he's playing for the Tigers and I want Hatte in the lineup tonight. PETER Maybe you should think about this. You're upset and this is - this - BILLY What am I missing? PETER It's just a very hard move to explain. People are going to think you've lost your mind. BILLY Why's that a problem Peter? Beat. PETER Don't make an emotional decision Billy. SUZANNE David Dombrowski's on 3. 99. 99. Billy picks up the call. BILLY (TO PETER) Sometimes you have to shake it up. (INTO PHONE) David, PeÒa's going on the blocks, you're my first call... because he's making the rest of the team look bad... He's going to be rookie of the year... PETER (not eager to help but...) Probably an all star. BILLY He's an all star Dave... (winks at Peter, LISTENS) It's more like he's creating self-esteem problems for the other guys... No, I'm looking for a reliever and some cash... Ok... five minutes Dave, I'm not waiting. (HANGS UP) What's the problem? PETER (trying to slow it DOWN) Billy, PeÒa is an all star. If you dump him, and if Hatte doesn't work out, you know, this is the kind of decision that gets you fired. BILLY Why you worrying about my job? (BEAT) You worried about my job or yours? PETER (BEAT) I'm worried about yours. BILLY Well you should be worrying about yours because if this thing we're doing don't work... neither of us have jobs. PETER That's probably true. 100. 100. BILLY In which case I'm a 44 year old guy with a high-school diploma and a daughter who I'd like to be able to put through college one day. (lets it sink in) You're 25 years old with a degree from Yale and a pretty impressive apprenticeship. (BEAT) I don't think we're asking the right question. I think the question we're supposed to be asking now is, do you believe in what we're doing or not? (BEAT) It's a problem that you think we need to explain ourselves. Don't... to anyone. I'm going to see this through, for better or for worse. Just tell me, do you project we'll win more games with PeÒa or Hatteberg on first? PETER It's close Billy but theoretically Hatteberg. BILLY What are we talking about then? The phone rings. BILLY Dave. (LISTENS) That works. Great. There's just one more thing I need. I don't want the guys paying for soda--I want you to stock my soda machine for three years. Uh huh, uh huh, great... then that's a deal. Billy hangs up. He stares at Peter. PETER That was thoughtful. BILLY Yeah. Okay. You gotta tell Pena to pack. PETER You want me to tell Pena he's been traded? BILLY Be a man. 101. 101. PETER What about Jeremy? Am I telling him, too. BILLY No. I'll do that. B99 INT. LOCKER ROOM B99 Peter walks into the locker room. Sees Pena talking to a couple of other players. He approaches Pena. PETER Hey, Carlos. PENA Yeah. PETER Can I get a moment with you? PENA Sure. PETER Okay, maybe we can talk over here. They walk awkwardly to the players' lounge. PETER Have a seat. They sit. PETER So, um, Carlos, you've been traded to the Tigers. This is the number of Jay Palmer, their travel secretary. He's expecting your call. He'll help you arrange travel to Detroit. Pena sits and stares at him. It's excruciating for Peter, awkward, until -- PENA Is that all? PETER Yeah. PENA Cool. Pena just takes it. Picks up the number and leaves. 102. 102. 99 INT. ART'S OFFICE - LATER - DAY 99 Billy knocks and lets himself in. BILLY Mind if I have a seat. ART Please. BILLY You can't start Pena at first tonight, you'll have to start Hatteberg. ART I don't want to go 15 rounds, Billy, the line-up card is mine and that's all. BILLY The line-up card is definitely yours, I'm just saying you can't start Pena at first. ART I am starting Pena at first. BILLY I don't think so, he plays for the Detroit Tigers now. ART (PAUSE) You traded Pena?! BILLY Along with German, Hiljus and Jeremy Giambi. ART You are outside your fucking mind. Art stares at him in a silence broken by Jeremy Giambi knocking on the open door. BILLY Jeremy, come on in. Billy jots a phone number on an A's Post-It and hands it to him. BILLY This is Ed Wade's number. You know him? Art looks sick. 103. 103. JEREMY No. BILLY Phillies General Manager. Real nice guy. Give him a call - he's expecting it - say hello - then talk to Futterman about arranging a flight for you. JEREMY The what? BILLY The flight. To Philadelphia. Billy gets up and shakes his hand. BILLY It's been a real pleasure, Jeremy. I mean that. You're a great ballplayer and great guy. Jeremy, not sure he heard right, looks at the Post-It in his hand as Billy escorts him to the door. BILLY We're going to miss you. Jeremy leaves. Billy looks at Art from the door. BILLY Adkins is gone, too. ART You're killing this team. BILLY Art? I can do this all day long. He leaves. Art notices Peter, who had been lurking by the door, eavesdropping. ART What are you looking at? PETER I'm not looking at anything. ART You went along with this? You agree with this bullshit? PETER (BEAT) A hundred percent. 104. 104. A100 INT. LOCKER ROOM - DAY A100 Pena cleans out his locker. Several players stop by to say goodbye. Tejada -- TEJADA Keep your head up, okay? It's part of the business. You're gonna be a great player, okay? PENA Thank you, man. TEJADA Don't let this bother you at all. Chad Bradford -- CHAD Nice to meet you, brother. Take care and... God bless you, man. PENA Thank you. Scott Hatteberg -- HATTEBERG You're the best first baseman here. It's not right, Carlos. PENA Thank you, Hattie. HATTEBERG Yeah. 100 INT. LOCKER ROOM - DAY 100 BILLY and PETER stride through as the team is getting dressed for batting practice. The place quiets down as BILLY comes in. They've all heard the news and they've never experienced a move like this in their careers. BILLY (CALLING OUT) Scottie H.! SCOTT Yes sir. BILLY Go out and field some grounders. 105. 105. BILLY looks around at the PLAYERS, who are looking at Billy... BILLY Everybody, listen up. You may not look like a winning ball team. In fact, you look nothing like a winning ball team. But you are one. So play like one tonight. You'll get further instructions tomorrow. CUT TO: 101 EXT. THE FIELD - NIGHT (HYBRID) 101 DAVID JUSTICE hits a single up the middle as the runners on 2nd and 3rd round the bases to score. 102 INT. WEIGHT ROOM - SAME TIME 102 BILLY's blackberry buzzes. "Sngl up the mdl--2 rns scr" BILLY Okay. A103 INT. WEIGHT ROOM - NIGHT A103 Billy talks to Chavez and Ellis. Peter stands nearby. BILLY No more bunts. CHAVEZ No more bunts? BILLY A bunt is an out. You're paid to avoid outs, not make them. CHAVEZ A bunt isn't an out. It's a sacrifice. BILLY A bunt is for pitchers and weak hitters. You're not a pitcher, Chavvie, so what are you saying? (THEN) Until the third out, anything can happen. After the third out, it's over. You gotta protect your outs like they're your children. Every out's precious, don't give `em away. (THEN) (MORE) 106. 106. BILLY (CONT'D) Another thing -- you should see more pitches. We wanna get into their bullpen. Deep into their bullpen. We want to see 100 pitches by the end of the 5th inning. You wanna get your at-bats off their 10th and 11th pitcher. ELLIS You want us to walk more. How much more? BILLY Pete? PETER At least once every ten at bats. ELLIS Or...? BILLY Triple-A Sacramento's only 80 miles away. And there's no flights. (as they look to PETER) Don't look at him. Here's the deal. I'm not interested in what you think you know about baseball, or what you think I don't know about it. I'm not interested in guts or heart or determination or anything else the fans or your mothers love about you. I'm interested in you getting on base. If you do that, we win. If you don't, we lose. And I hate to lose. I hate to lose more than I need to win. There's a difference. B103 INT. VIDEO ROOM - DAY B103 Billy and Peter give advice to Dye and Byrnes. PETER Every at bat is like a hand of blackjack. Every card that's dealt, your odds completely change. For instance, every first pitch strike, your batting average goes down about 75 points. BILLY 75 points. PETER 75 points. Every first pitch ball, it goes up about the same amount. So you gotta lay off the first pitch. 107. 107. BYRNES First pitch curveball or first pitch fastball? PETER First pitch period. When you swing at the first pitch you're batting .140. BILLY We want to see more pitches. DYE How many pitches? PETER Every starter, we want to see 100 pitches by the 5th inning. DYE So... 5, 6 pitches per at bat? PETER Yeah. I mean, Hatteberg drained 38 pitches. BILLY And Byrnsie, you're hackin' at everything. You're all squirrely out there. Wait for your pitch, man. This is a war of attrition. There's no clock on this thing. Wait `em out. Let them make the mistakes. And when your enemy's making mistakes -- don't interrupt them. C103 INT. WEIGHT ROOM - DAY C103 Peter advises Durham as he works out. PETER Basically, these are all your at bats. This is you versus righties, you versus lefties... and then, of course, all your count knowledge, okay? In an 0-0 count you're batting .290. In an 0-1 you average .238. In a 0-2, .159. When you're 1-0, you're batting .324. Understand what I'm saying? DURHAM Not really. PETER I know, it's a lot of math. When your first pitch is a strike, your batting average goes down about 70 points. (MORE) 108. 108. PETER (CONT'D) When it's a ball, it goes up about 30. If you draw a ball on your first pitch, you're unstoppable. If you strike on the first pitch, you might as well be jumping off cliff. I'm trying to get you to lay off the first pitch. DURHAM But I'm a first pitch hitter. I like to swing at fastballs. PETER And that's the way you've been trained. But it's a habit we'd like to break you from. We're trying to design the game to your strengths. This has nothing to do with you being a great hitter -- you're a great hitter. We just want to get you on base. DURHAM But if I get my pitch, I'm gonna swing at it, no matter what the count is. PETER I'm not worried about you crushing the ball out of the park. I just want you to lay off anything that will result in a strike. DURHAM I guess I'll have to watch some film and take a look at it. PETER Absolutely. The video room is open to you any time, I'm always available. 103 INT. A'S LOCKER ROOM - NIGHT 103 BILLY and PETER with a group of players around the card table, post-game. PETER -- But seriously. Make him use up all his bullets. BILLY Yeah, make him work. HATTEBERG So... Mr. Beane? BILLY Billy's fine. 109. 109. HATTEBERG BILLY -- BILLY Nah, make it Mr. Beane. HATTEBERG Mr. Beane -- BILLY I'm screwin' with you, Haddie. HATTEBERG So we just don't steal? BILLY That's right. LONG That's what I do. That's what you pay me to do. BILLY No, I pay you to get on first, not get thrown out at second. LONG I don't get thrown out much. BILLY I don't hit on 17 at the blackjack table, but if I did, the odds would be the same. PETER You've actually gotten caught 6 out of 17 tries this season. LONG I get 11 of 17. That's not bad. BILLY You just handed them an out. Protect your outs like they're your children. There's no clock on this game. Until the third out, anything can happen. Get on base and let the next guy move you up. Pass the torch, pass the torch. We're like a machine. A run making machine. A104 INT. LOCKER ROOM - KITCHEN - DAY A104 As JUSTICE and HATTEBERG prepare food -- JUSTICE What's your biggest fear? 110. 110. SCOTT A baseball being hit in my general direction. JUSTICE That's funny. (THEN) No, seriously. SCOTT Seriously. 104 INT. OAKLAND COLISEUM BATTING CAGE - DAY 104 BILLY Hey, Dave. I've been thinking... I want you to -- JUSTICE You gonna teach me something? BILLY Excuse me? JUSTICE I've never seen a GM talk to players. BILLY You've never seen a GM who was a player. JUSTICE Huh. BILLY Is there a problem? JUSTICE It's okay, man. I know your routine. It's a patter, it's rap, it's for effect. That's okay. But it's for them, it's not for me. BILLY You're special? JUSTICE You're paying me 7 million bucks so I guess I am a little. BILLY As a matter of fact I'm not paying you 7 million bucks, David. The Yankees are paying half your salary. That's what the New York Yankees think of you. (MORE) 111. 111. BILLY (CONT'D) They're paying you three and a half million dollars to play against them. If this is news to Justice, he doesn't show it. JUSTICE Where are you going with this, Billy? BILLY You're almost 37, Dave. Almost as old as me. Let's be honest with each other about what we each want. I want to milk the last ounce of baseball you have left in you, and you want to stay in the show. So let's do that. I'm not paying you to be the player you used to be, I'm paying you to be the player you are now. You're smart, you know what's going on here. I need you to set an example for the younger guys. Take a leadership role. Justice just studies him ... then nods. BILLY We're cool? JUSTICE We're cool. BILLY All right. Billy starts to leave, but has one last thought for him -- BILLY You know -- the Yankees are coming to town. If it were me -- I'd want to take that three point five and shove it up their ass. But I'm a competitor. Billy exits. Justice calls after him -- JUSTICE You know, I got a couple World Series rings. I think I'm a pretty good competitor, too. BILLY (CALLING BACK) You want another one? CUT TO: 112. 112. 105 EXT. OAKLAND COLISEUM FIELD - NIGHT 105 DAVID JUSTICE takes ball four from a Yanks pitcher, tosses his bat to the side and trots down to first base. CUT TO: 106 EXT. OAKLAND COLISEUM FIELD - NIGHT 106 TEJADA is on first and taking a big lead toward second. He wants to steal it bad. ANNOUNCER (VO) Tejada taking a big lead off first, eyeing the steal-- 107 INT. CLUBHOUSE MANAGER'S OFFICE - NIGHT 107 BILLY watches with two or three TEAM EMPLOYEES. BILLY Don't do it, Migs. 108 EXT. FIELD - NIGHT 108 And CRACK--a base hit sends Tejada to 3rd. 109 INT. CLUBHOUSE MANAGER'S OFFICE - NIGHT 109 BILLY's blackberry buzzes: Sngl to lft. Frst and thrd--nobody out. BILLY Thank you. 110 EXT. AIRPLANE - IN FLIGHT 110 The wheels of the team jet lift off-- 111 INT. BILLY'S OFFICE - NIGHT 111 The TV is on as BILLY and PETER work, seeming more and more like mad scientists who are getting closer and closer to splitting the atom. GREG PAPA OR RAY FOSSE (TV) What is happening in Oakland?!! The A's have won seven in a row and 15 of their last 19. You got to hand it to Art Howe. He's managing this unorthodox team in an unorthodox way. They are not bunting. They are not stealing. They are just winning. And Art Howe is the reason. 113. 113. PETER Did you hear that? BILLY I heard 7 in a row. Billy clicks off the TV and it's very quiet. Billy is scrolling down numbers that show trends and comparisons of all of the A's relief pitching. BILLY Can you show me righty-lefty matchups for the division and overall versus Mariners? Peter reaches over and with a few clicks produces new columns of numbers, upon which Billy darts his eyes as he scrolls through them. Finally - BILLY Okay. He gets up and heads out. A112 INT. LOCKER ROOM - AFTERNOON A112 BILLY walks through the clubhouse, shouting locker room shoutouts to PLAYERS as he walks by. BILLY Voos. VOOS Billy. BILLY (pointing back down HALL) That smell is getting worse. VOOS I'm on it, Billy. BILLY (TO HERNANDEZ) What are we doing tonight? HERNANDEZ Splitting the plate in half. BILLY Both sides. (to Hudson, playing CARDS) Huddy, you gotta mix it up tonight. Trust your slider. 114. 114. HUDSON Yes sir. BILLY (to the others) You guys stop distracting him. (TO CHAVEZ) Chavvie -- you couldn't hit that shit with a boat paddle last night. You gotta see more pitches. Patience. CHAVEZ You got it, Billy. As Billy crosses through the weight room -- BILLY (TO JUSTICE) Hey David -- JUSTICE Hey, man. BILLY Great at bats. Really. Quality. JUSTICE Thank you. 112 INT. ART'S OFFICE - CONTINUOUS 112 BILLY knocks on Art's door -- something we haven't seen him do before. ART can see BILLY through the window blinds and is a little surprised at the courtesy of a knock. ART Come in. BILLY does. He's going to try to do this nicely. BILLY How are ya? ART Good. You knocked. BILLY I did, and I hope you take it as a show of respect. ART We'll see. 115. 115. BILLY You look good. ART We've won 7 in a row, what am I doing wrong now? BILLY Absolutely nothing. ART Good. BILLY But. ART Yeah. BILLY Magnante's having some head problems. ART Head problems. BILLY Yeah. ART Okay. BILLY He's 37 and he's got three blown saves in two weeks. Everytime he winds up he's thinking he's about to throw the last pitch of his life. So he grips it a little hard. ART I appreciate this. BILLY Sure. ART But I know my bullpen. BILLY Yes you do. Yes you absolutely do. No question about it. Except not really. ART Yeah? 116. 116. BILLY If we have a lead late in the game and they have runners on base, I'd rather not see Magnante out of the bullpen. ART I'll make that decision when the time comes. BILLY That's what you should do. Baseball's a game of situations and you should make the decision when the time comes. Except you should make it now. ART LOOK-- BILLY Don't bring Magnante out if we've gotta hold a late lead with runners on. He's 37, he's scared shitless of being the guy who blows this winning streak. ART You think a lot of yourself, don't you? BILLY I......think the regular amount of myself. Magnante on the other hand, he doesn't think very much of himself at all, and when he tightens up we've got ourselves an adventure. So I'd like to see Chad Bradford out of the pen tonight when we're in, let's say, just to make it easier for you, any situation. Righty/lefty, two outs, no outs, the umpires have decided we're going to finish the game by playing darts, whatever. Bradford's the first guy out of the pen. (BEAT) Okay? ART regards BILLY for a moment... ART I could've coached you up, you know. BILLY I don't think so. ART You think you went as far as you could have? 117. 117. BILLY (PAUSE) Yeah, that's what I meant. Play Bradford. BILLY steps out of Art's office into-- 113 INT. WEIGHT ROOM - LATER - NIGHT 113 The game plays on TV as BILLY bench presses. The A's are up by three runs in the ninth inning but the Indians have a runner on first. Through the tunnel, BILLY can hear the crack of the bat and a collective groan from the stands. BILLY holds the barbell in the air--frozen--as he simply looks at the T.V. and sees the silent images. 114 EXT. FIELD - NIGHT (HYBRID) 114 ART HOWE walking to the mound, tapping his left hand. MAGNANTE heading to the mound. 115 INT. WEIGHT ROOM - NIGHT 115 We think BILLY's going to trash the weights, but he simply returns the barbell to the bracket, sits up and watches the silent images. 116 EXT. FIELD - NIGHT (HYBRID) 116 MAGNANTE mops his brow, squints for the sign, winds up and makes his pitch. It misses low for ball four and PEDRO walks to first. 117 INT. WEIGHT ROOM - NIGHT 117 Billy lays back on the bench, breathes, then unmutes the T.V. and we hear - ANNOUNCER (FROM TV) Magnante has quickly let two on base for Lee Stevens who's the go ahead run for the Indians in a game that Oakland appeared to have put away. And then - BILLY sits calmly...waits for it...and-- CRACK! --BILLY nods his head at the inevitable. 118. 118. ANNOUNCER (FROM TV) That ball is deep....way back...three run homer for Lee Stevens to put Cleveland ahead in the ninth inning... BILLY can hear 40,000 people booing their lungs out. He takes a moment, then grabs his jacket. 118 EXT. FIELD - NIGHT 118 The FANS are booing as ART makes his way to the mound to take MAGNANTE out. BRADFORD makes his way from the bullpen and takes the ball from ART. ART turns to head back to the dugout but slows as he sees a strange sight: BILLY is standing at the dugout rail. The plate UMPIRE notices and follows Art's line of sight. He sees BILLY and walks over there ahead of Art. UMPIRE You can't be in there, Billy. BILLY doesn't move. He just watches ART as he comes into the dugout. UMPIRE Billy? The PLAYERS are watching to see what's going to happen. BILLY puts his hand on ART's shoulder a second as he says- - BILLY Just nod a little bit--not too much--like I'm assuring you you didn't just make a calamitous vocational decision. UMPIRE Players and coaches only, Billy. BILLY (ignoring the umpire-- still quietly to ART) Remember that in about four seconds-- BILLY sees one of the nearby TV cameras pivot over to catch this conversation-- BILLY --yeah there it is. We're the lead story on Sports Center now so let me be brief. First of all, that was an awfully costly fuck-you, wouldn't you say? 119. 119. ART LOOK-- BILLY Second of all, genius, those boos? They're for you. Drink up. UMPIRE Come on, Billy. BILLY Get me this game back. As BILLY passes MAGNANTE he pats his back before we-- CUT TO: 119 INT. BILLY'S TRUCK - NIGHT 119 The radio is on and the ANNOUNCER is telling us-- ANNOUNCER (FROM RADIO) ...after giving up the lead on a three run homer off Magnante, the A's came right back to win it in the bottom of the ninth with another three run homer by Miguel Tejada. And the A's have won eight in a row! AA120 OMITTED AA120 A120 EXT. OAKLAND COLISEUM - DAY A120 As the early-bird fanatics arrive - players arrive at the players' entrance - B120 INT. LOCKER ROOM - COLISEUM - DAY B120 Magnante walks into the A's locker room. C120 OMITTED C120 D120 INT. LOCKER ROOMS - COLISEUM - SAME TIME - DAY D120 Billy, standing at the door, surveys the room, his eyes moving from player to player as they're hanging up their street clothes. The team's equipment manager, pouring himself a cup of coffee, glances over - VOOS You want one, Billy? BILLY I'm good, Voos. Thanks. 120. 120. Voos wanders off. Billy keeps looking at the players ... LEGEND: July 31 - TRADE DEADLINE E120 INT. SCOUTS ROOM - MOMENTS LATER - DAY E120 Billy comes in sticking some tobacco under his lip and, like a shark that knows it could die if it stops moving, doesn't through the entire scene -- BILLY Suzanne, get Shapiro on the phone. PETER Are you thinking Rincon? BILLY Yeah, he's lost faith for the season. I think he's gonna dump him. PETER Hardcore. They wait as Suzanne dials the Indians' GM, staring at the speakerphone that sits like a little island in the middle of the conference table. SUZANNE Shapiro on two. BILLY Mark. Billy. Let's be honest. A premiere setup man is not going to get you any closer to the playoffs. SHAPIRO V/O Are you referring to Rincon? BILLY He's a luxury you can't afford. SHAPIRO V/O And you can? There's half a million on his contract and at least one other suitor. BILLY By at least one, you mean one? Who is it? SHAPIRO V/O I'd rather not say. 121. 121. PETER (WHISPERS) San Francisco. BILLY I'll call you back. He hangs up. Stares down Peter. PETER What do you think we can get for Magnante? BILLY Nothing. (continues to stare DOWN PETER) What's left on Venafro's contract? PETER Two-seventy-five. BILLY Suzanne -- get me Sabean. (THEN) If we can get San Francisco interested in Venafro, Shapiro's only got one buyer for Rincon. PETER Us. Pete gets busy on his computer. SUZANNE On three. BILLY Sabes. Billy. You like Venafro. I can let you have him for almost nothing. SABEAN V/O (smelling a rat) Why would you do that, Billy? BILLY Because I'm amazing. SABEAN V/O Uh-huh. BILLY All I want is a couple of bucks and a sweetener. Throw in, say... 122. 122. Billy snaps his fingers at Peter -- PETER Anderson. BILLY Anderson. SABEAN V/O I like Anderson. BILLY No, you don't. I don't even like him. I don't know why I'm doing this -- but let's do it anyway. Venafro for Michaelson? PETER Anderson. BILLY Anderson. See, I don't even know his name. SABEAN V/O I'll think (about) -- BILLY Think about it and call me back. He hangs up. BILLY Get Shapiro back on. Billy and Pete stare at each other in silence. SUZANNE Two! BILLY MARK -- SHAPIRO V/O You can't afford him, Billy. BILLY You sure about that? I get the impression the market for Rincon is softening. I could be wrong. Call whoever's interested and make sure they're still interested. And call me back. He hangs up. 123. 123. BILLY What about the Mets for Venafro? PETER You just offered him to the Giants. BILLY Suzanne -- Steve Phillips! Get me Steve Phillips. Pete works his computer. BILLY Between Bonds, Nen, Kent and Snow, they're never gonna do it. PETER Totally agree. BILLY We just need them to cool on Rincon. SUZANNE Phillips on two. BILLY Steve-O. Billy. I hear you're looking for a left-handed reliever. What do you think of Venafro? I can make it quick and easy for you. PHILLIPS V/O What's the angle? BILLY No angle. PHILLIPS V/O Who am I getting fleeced for? BILLY Hang on a second. He puts him on hold. Peter is already scrolling through the Mets' farm system, his eyes darting around the stats. PETER Bennett maybe? BILLY How old? PETER Twenty-six. 124. 124. BILLY Twenty-six and in Double-A? Forget it. PETER Duncan? No. Cerda? No. Furbush? BILLY Furbush? (BEAT) No. PETER Eckerton? Eckerton. Eckerton, that's the guy. Billy punches the phone off hold. BILLY Eckerton. PHILLIPS V/O Eckerton? I like Eckerton. BILLY You don't even know who Eckerton is. The phone on Pete's desk rings. Peter answers a second blinking line. PETER Hello? PHILLIPS V/O Is Venafro hurt? PETER Oh, hi. BILLY No, he's not hurt. He's fine. This is just a situation for us. PETER It's Steve. PHILLIPS V/O Last couple of times out, he got hammered. BILLY (MUTE) I'm on with Steve. (UNMUTE) Not his fault. We misused him. 125. 125. PETER Steve Schott. BILLY Tell him to hold. (to Steve Phillips) Look. Steve. Here's the deal. I'm being straight with you. I'm getting Rincon. It's a done deal. It's done. PHILLIPS V/O I heard the Giants -- BILLY No, the Giants want Venafro. And I told them they can have him for Michaelson... PETER ANDERSON -- BILLY -- but I'd rather deal with you. Because you can give me Eckerton and two hundred and twenty-five thousand cash and the Giants can't. Billy's look to Peter says, Doesn't hurt to ask. As they listen to silence on Phillips' side of the call -- PETER Yes, I understand it's impolite to keep you holding. PHILLIPS V/O I'll think about it. BILLY Of course. Think. But whoever calls me back first gets Venafro. He hangs up. Looks for the blinking light that belongs to his owner. PETER He hung up. Silence. Then -- BILLY If you could have the power of flight or invisibility, which would you choose? PETER What? 126. 126. BILLY Invisibility or flight? PETER (THINKS) Invisibility. BILLY That's what Casey said. Why? PETER You'd have total access. Besides, everyone else would choose flight. Quiet. BILLY Why isn't anybody calling? The phone rings. SUZANNE Shapiro's on two. Billy picks up. Listens. Fist pump. BILLY Great. Lemme talk to my owner. Call you right back. (THEN) Get Steve. PETER Phillips or Schott? BILLY Why would I call Phillips back? Schott. Tell him I'm on the other line. PETER Right. Peter dials. Billy can't sit. PETER Mr. Schott, it's Peter Brand. Sorry I left you on hold. Billy asked me to call you back. He's on another line. BILLY Tell him we need two hundred and twenty- five grand for Rincon. 127. 127. PETER Billy says he needs two hundred and twenty-five thousand dollars for Ricardo Rincon. Please? (THEN) Yes, I added the please. (listens; to Billy) No. Billy thinks intensely. Finally -- BILLY Tell him I'll pay it, but when I sell him next year for twice that, I keep the money. PETER Billy says he'll pay for Rincon himself, sell him next year, and keep the profit. Peter listens to whatever Steve Schott is saying, then -- PETER Okay. Thank you. (HANGS UP) He says he'll pay for Rincon. High five. BILLY Great! Shit. What are we forgetting? (CALLING OUT) Get me Shapiro! -- as he grabs his cell phone and hits speed dial. BILLY Wait, never mind! (beat, then into PHONE) Mark. Yeah, it's Billy. Here's the deal. I don't want Rincon pitching against me tonight. Tell him to change his clothes. I got you the money and I accept your gratitude. It's done. He hangs up. Fist bump. BILLY We gotta let someone go. It's Mags. It's gotta be Mags. PETER I call not it. 128. 128. Billy dials an extension. BILLY Art. Billy. The good news is Ricardo Rincon's heading over to the clubhouse. The bad news is you got to tell Mags he threw his last pitch for the Oakland A's last night. ART V/O No. BILLY What do you mean, no. ART V/O No, as in no. I'm not doing it. You do it. You did it, so you do it. Art hangs up. Billy slams the speakerphone. PETER It's not the phone's fault. Suzanne, we're gonna need a new speakerphone. BILLY We gotta catch Mags before Rincon comes over. He leaves. F120 INT. A'S LOCKER ROOM - 20 MINUTES LATER F120 Billy comes through the clubhouse past his team suiting up to where Magnante is adjusting his knee braces next to his locker, and sits with him. BILLY MIKE -- MAGNANTE Hey, Billy. I know I've been struggling lately. But we're coming into the home stretch, and I promise I'm gonna turn it AROUND -- BILLY -- I need you to stop getting dressed. Magnante isn't sure he heard right, but the silence tells him he did. Eventually - MAGNANTE Traded? 129. 129. Billy shakes his head, no. BILLY I'm sorry for the crap news. I know it hurts. (THEN) Mike. I can't have 26 guys in the clubhouse. Magnante nods. MAGNANTE Alright. BILLY Thanks. Billy gets up to leave. As he exits, he sees Peter enter with Rincon, standing with his new uniform in his arms, looking like a prison inmate. Oops. Billy joins them. BILLY Hey, Ricardo. RINCON Hola, senor. BILLY Hola. Hey, I know this must seem a bit sudden, but the Oakland A's have been trying to get you for a long time. You're gonna love it here. The guys are fun. PETER Muy divertido. RINCON I pitch tonight? BILLY I don't know if you're gonna pitch tonight. But you're on our team tonight. RINCON I no wanna pitch tonight. BILLY Right. So... where you from? RINCON Veracruz, Mexico. 130. 130. BILLY Well, you're a lot closer to home. Why don't you hang out there for five menudos and we'll get you a uniform and everything. (to side room) Hey guys, clear the room, huh? Say hi to Ricardo Rincon. As the other players file out and say hello... CUT TO: G120 INT. RESTAURANT - NIGHT G120 Billy, Tara and Casey at dinner. BILLY Tara and me were thinking -- CASEY Dad... Tara and I -- TARA She is correct. BILLY Tara and I were thinking about going to Point Reyes to the beach. CASEY That'd be fun. TARA Me go, too? BILLY And I'll work on my grammar. CASEY (beat, then) Dad... are you going to lose your job? BILLY What? Where did you hear that, honey? CASEY The internet. BILLY No, I'm not going to lose my job. Don't go on the internet or watch TV or read the papers or talk to people. 131. 131. CASEY I'm not talking to people, I'm just reading stuff. BILLY Don't worry. You don't believe me? Ask Tara. TARA He's not (losing his job). Your dad is a brilliant man. He's the best GM in baseball. CASEY But say that you did -- just saying -- would you have to move away? BILLY No, honey. Absolutely not. And even if I did, I'm not going anywhere. I told you not to worry about me. People say a lot of crazy things and they don't always know what they're talking about. It's just gossip. Like gossipers at school. TARA You can't always believe what you read. Sometimes you need to scratch underneath the surface and find who the authority is. BILLY And once you do find out who the authorities are, ignore them at all costs. TARA You can always ask your dad. BILLY Everything's fine, honey. I'm not going anywhere. The only way I would lose my job is if someone was to give me a better one. Don't worry about me, okay? Dad knows what he's doing. CASEY Pinkie swear? BILLY Pinkie swear. 132. 132. 120 A GRAPHIC 120 of the AL West standings over A GAME BEING PLAYED--from the start of the season until now--the teams shifting positions as the "games-out" and winning percentage numbers change like an adding machine, too fast for us to really follow, but then: The calculations abruptly lock and we're given enough time to understand where we--and Oakland--are after 120 GAMES: AL West GB WP Seattle --- .610 Anaheim 2.0 .593 Oakland 4.5 .571 Texas 21.5 .427 REPORTER V/O The A's begin this road trip on a 10 game winning streak, picking up two games on the Mariners and the Angels, and it should be noted this is their longest winning streak in six years heading into-- A121 EXT. OAKLAND COLISEUM FIELD - DAY A121 A PITCH TRACKING CAMERA mounted in center field. ZOOM IN to the lens... B121 INT. VIDEO ROOM - DAY B121 Peter sits with Hatteberg, reviewing his hits on a monitor. PETER This is a chart of what you should and shouldn't be swinging at. These circles represent different pitches. Red is hit, blue is out, yellow's missed or foul, green is chased, white taken. This is you versus Conway. What do you see? HATTEBERG I'm chasing a lot of high and outside. PETER The red is where most hits happen. That's where you want to be swinging. You don't want to be swinging at the junk at the top of the strike zone. We'd rather take those strikes, `cause you're not going to hit `em out of the park. And you're good about that, patient. (MORE) 133. 133. PETER (CONT'D) Right now you're averaging about 4 pitches per at-bat. HATTEBERG 4 per bat? PETER Yeah, and that's great. One of the reasons why we love you. You're draining a pitcher's pitches. Now, guys like Bonds and Jason Giambi average a little over 5. That's top tier. Does this chart make sense to you? HATTEBERG Yeah. I'll get on base more if I lay off anything high. This is awesome. So you have a breakdown of this from every game? PETER Every game. Your instincts are in the right place. This isn't something they teach you in little league. This is something fundamental we're looking for -- how to wear out a pitcher's arm. If you're about to face Conway and wondering what you should and shouldn't swing at, come in here and watch how you're tending. You can click on any one of these pitches and watch it happen. Pretty great, right? HATTEBERG Show me some of the stuff I'm chasing up high... TIME LAPSE of hundreds of at bats registering and changing modalities to produce graphs and numbers. PULL OUT to reveal we're now in C121 INT. VIDEO ROOM - LATER C121 Peter and Bradford review footage. 121 INT. BILLY'S OFFICE - DAY 121 Peter analyzes the data with Billy as they throw a ball back and forth. PETER Everybody thinks the first pitch is what's most important, but it's not. It's the first two out of three pitches that matter the most. (MORE) 134. 134. PETER (CONT'D) The difference between 1-2 and 2-1 is the difference between a scrub and an All Star. BILLY So you're saying if we can get our guys to lay off the first pitch it'll put us in the driver's seat? PETER Any sort of extra discipline in the first three pitches will help us. A game is on TV in the background. Billy makes various comments the the screen -- BILLY That's a problem right there. Terrance jogging to first. (THEN) Mr. Justice. That's what we pay you for. (THEN) Chad Bradford, you deceptive son of a bitch, I love you. (THEN) He's a pain in the ass, but that Giambi gets on base. Another train of thought -- PETER Hatteberg once had 18 walks in 30 at bats. BILLY My whole career I only had eighteen walks. PETER Actually... 11. BILLY Shut up. And now we have QUICK SCENES OF BILLY TAKING PLAYERS ASIDE -- 122 LOCKER ROOM--BILLY AND TEJADA - DAY 122 BILLY Migs, let's make a deal. I'll pay you fifty bucks for every away fastball you hit to opposite field, but you've gotta pay me fifty for every one of those you pull. 135. 135. Tejada immediately starts thinking about it. 123 INT. LOCKER ROOM - DAY 123 TERRANCE LONG is working out. Billy pokes his head in. BILLY Hey, T. Did your car get egged? LONG Yeah. BILLY I think I just got an e-mail from the culprit. He said he was tired of paying good money just to watch you jogging around the bases. LONG What the hell does that have to do with anything? BILLY I don't know, man. Don't worry about it. Billy exits. Long calls after -- LONG Who brings eggs to the ballpark anyway?! A124 INT. CLUBHOUSE HALLWAY - DAY A124 Billy and Mecir walk down the hall with the smelly stain. BILLY Man, you're not fooling anyone but yourself out there. You're falling further and further behind. In your mind, what's the problem? Mecir mumbles something. BILLY I can't understand you with your hand over your mouth. MECIR Sorry, Billy. It's just, the smell... BILLY Right? (INDICATES STAIN) It's that. And it's growing. They stare at the stain in silence. Finally -- 136. 136. MECIR I'm gonna grab a shower. BILLY Yup. 124 OMITTED 124 125 INT. OAKLAND COLISEUM CLUB HOUSE - DAY 125 Hatteberg in the clubhouse. Billy enters. BILLY Hey, Scottie. What's on your mind? HATTEBERG I feel like I'm hurting the team. At first base I'm making a lot of errors. I'm gonna cost us a hundred runs. BILLY 16.5 actually. But as a hitter, you will create 70 runs. 70 runs wins us an awful lot of ball games. I can live with that. Can you live with that? HATTEBERG I appreciate that, but I know you're just pulling those numbers out of your ass. BILLY I'm pulling them out of Pete's, actually. (THEN) And another thing. When a guy reaches first base, be social. HATTEBERG Social? BILLY Like a greeter at the Gap. A guy steps into your office, chat him up. You're well read, you went to college. Have some fun out there. Relax. HATTEBERG Yes sir. BILLY Scottie, you deserve to be here. 126 INT. BILLY'S OFFICE - DAY 126 PETER is erasing the percentage of games left that they need to win and writing in a LOWER number-- 137. 137. BILLY More information. TIME LAPSE PHOTOGRAPHY of all of the changes to the board over the following two weeks. 127 OMITTED 127 A128 EXT. OAKLAND COLISEUM FIELD - DAY A128 It's the Twins vs. the A's. A TWINS PLAYER stands at first, stoic. Scott figures "What the hell?" and turns to him. HATTEBERG What are you guys getting up to tonight? The focused Twins player looks at Scott like he's crazy. TWINS PLAYER #1 Bed by ten o'clock. Game time. HATTEBERG I don't buy it. TWINS PLAYER #1 I'm sore, man. Beat up. Day in, day out. HATTEBERG Where d'you guys go next? TWINS PLAYER #1 Houston. HATTEBERG Houston? (THEN) You ever get up to Boundary Waters up there in Minnesota? It's beautiful. I went on a trip up there. Fishing trip. Caught some walleye. TWINS PLAYER #1 That's good fishing. CUT TO: Scott chatting with a DIFFERENT TWIN on first. HATTEBERG "Mankevich" is polish? TWINS PLAYER #2 Yes, sir. 138. 138. Crack! The ball's in play. It's thrown to Hatteberg, who tags out the stunned player. CUT TO: A DIFFERENT TWIN is on first. HATTEBERG Where'd you go to school? TWINS PLAYER #3 University of Arizona. HATTEBERG What are you guys getting up to tonight? TWINS PLAYER #3 See what the city's about -- San Francisco. What are you up to? HATTEBERG I don't know. Depends on if we beat you today. Probably celebrating. (THEN) So my GM says I gotta be more social. What was your name? TWINS PLAYER #3 Jaqcue. HATTEBERG I'm Scott. TWINS PLAYER #3 How are you doing, Scott? HATTEBERG Pretty good. You got kids? TWINS PLAYER #3 Yeah... Crack! Hatteberg catches the ball, making another out. 128 GRAPHICS 128 The standings graphic shows the A's have just moved up into a three-way tie for first place-- 139. 139. REPORTER Oakland's offense has exploded, scoring 40 runs in their last four games and extending their streak to 17 in a row which is an American League record going back to 1954 and just three shy of the ALL-TIME-- AL West GB WP Oakland --- .619 Anaheim 4.0 .591 Seattle 4.5 .586 Texas 22.5 .450 129 EXT. OAKLAND COLISEUM FIELD - NIGHT 129 CHAD BRADFORD smokes the last batter on a called third strike to end the game against the Twins, and the TEAM rushes in to congratulate him-- 130 INT. BILLY'S OFFICE - NIGHT 130 BILLY looks down at his blackberry, sees the result and makes a small fist pump. REPORTER Who would have thought in April I'd be saying this: The A's won their 18th game in a row, that's two-shy of tying, three- shy of beating the American League record- CUT TO: 131-137 OMITTED 131-137 A138 EXT. OAKLAND COLISEUM - ANNOUNCER'S BOOTH - DAY A138 SHOTS OF THE GAME ANNOUNCERS. 138 EXT. OAKLAND COLISEUM - DAY 138 --where the energy is electric. AL West GB WP Oakland --- .633 Anaheim 3.5 .609 Seattle 7.0 .583 Texas 25.5 .449 REPORTER #1 V/O This is something special now and far be it for me to jinx it by saying how many consecutive games the A's have won-- 140. 140. REPORTER #2 V/O NINETEEN-- REPORTER #1 V/O Well you said it not me. Tickets are torn and purses searched as record breaking numbers of fans pour into the stadium. REPORTER #2 V/O None of the Oakland fans in their cars down there have forgotten the A's inglorious history-making choke in Game 5 of the ALDS last October and tonight-- 139 INT. A'S LOCKER ROOM - DAY 139 It's like a tomb. The PLAYERS are getting ready without music or chat. Justice steps up to deliver a pre-game pep talk. JUSTICE Hey, listen up fellas... bring it up real quick. (THEN) We got some older guys on this team, we got some younger guys on this team. What we got right now is a chance for everyone to make history. I don't want to get sappy and corny, but this is what we play for. We've been playin' real good for 19. Let's get 20. We get 20, they can't take that away from us until they do it themselves. Guys that are starting tonight, keep playing like you've been playing. Guys not starting, be ready. Huddie, you got the ball -- shove it up their ass tonight. Let's play some ball! Let's go! LEGEND: September 4, 2002 Kansas City Royals at Oakland A's GAME 20 REPORTER #2 V/O --one game shy of 20 consecutive wins, they have a shot at redemption. How rare is it to win 20 games in a row? This rare: No American League team has ever done it. 141. 141. 140 INT. BILLY'S TRUCK - MOVING - DAY 140 BILLY heads east on 580. His cell phone rings and he hits the speaker button for the truck. BILLY Don't tell me the score, Peter. SHARON V/O It's me, Billy. BILLY How you doin', leggy. SHARON V/O Nope. BILLY Sharon? SHARON V/O You hangin' in there? BILLY Yeah. There's silence... BILLY Hello? (BEAT) Sharon? SHARON V/O (PAUSE) "Go into real estate". What a stupid thing to say. BILLY didn't even realize until that moment how much he wanted to hear her say that...He's not sure what to say back. BILLY I appreciate that, thanks. SHARON V/O Good luck. Casey wants to talk to you. CASEY V/O Are you on your way to the stadium? BILLY No, I'm on my way to Visalia to see our minor league team. 142. 142. CASEY Dad - turn around. You have to see the game. BILLY No, I don't. CASEY Turn around. BILLY I'll talk to you later, sweetheart. I love you. He hangs up, drives a little longer...letting what Casey said sink in. Then... BILLY (TO HIMSELF) Shhhit. ...he turns on the radio. ANNOUNCER V/O Tim Hudson is carving through this Royals line-up and at the end of three, it's the A's 11 and Kansas City nothing. BILLY (QUIETLY) Oh God. (BEAT) Ohhhh God. BILLY sees the sign for the next exit coming up. He makes a decision and quickly crosses to the right, just making the exit. CUT TO: A141 OMITTED A141 141 INT. OAKLAND COLISEUM - LATER - DAY 141 BILLY is striding through an underground corridor which is echoing with the cheers of 55,000 fans. 142 EXT. OAKLAND COLISEUM FIELD LEVEL - DAY 142 BILLY emerges from a tunnel to a sight Billy's denied himself for 138 games: The lit-up ballpark with a game in play. From the field, we see Billy finding his place in the seats behind home plate. Peter is already there. 143. 143. BILLY'S POV OF THE SCOREBOARD: 11-0 at the bottom of the 3rd. Unfortunately the idyllic moment is short-lived as Dye strikes out swinging and the teams swap places. The A's take the field with TIM HUDSON pitching. Billy looks around. He sees the scoreboard, a FAN with a big funky cowboy hat, the charged-up crowd in the stands, it's like the Coliseum at Rome. A143 EXT. OAKLAND COLISEUM FIELD - DAY - TOP OF THE 4TH A143 IBANEZ of the Royals singles to center field. RANDA of the Royals singles to left field. But the Oakland fans are still jubilant and do the wave. Then a big error from Tejada puts runners on 1st, 2nd and 3rd (MAYNE, Ibanez and Randa). A143A EXT. OAKLAND COLISEUM FIELD - MAGIC HOUR - TOP OF 4TH A143A As if we've entered the Twilight Zone, it becomes twilight and LIGHTS GO ON. DEE BROWN of the Royals singles to right, bringing Ibanez and Randa home, and Mayne to 3rd. Ibanez and Randa high-five each other at the plate, passing Billy as they head to their dugout. Okay, the Royals are on the board now: 11-2, but just barely. Until- A143B EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 4TH A143B PEREZ of the Royals singles to center field, bringing Mayne home. Then TUCKER of the Royals doubles to left field. Justice makes an embarrassing fall trying to catch it, and Brown and Perez score. They high-five and pass Billy as they leave the plate, the second time he's seen that, and suddenly the Royals have 5. Reaction shot CLOSE-UPS: Justice, Tejada, Tucker on 2nd, Art Howe, the Royals' dugout, a pitcher's conference with Peterson and Hudson. And finally Billy, who WALKS OUT. B143 EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 5TH B143 MIKE SWEENEY of the Royals singles to left-center field -- Neither Justice or Long get it, it lands between them. And they have WORDS. 144. 144. Randa makes a sloppy single to left field... this one goes between Justice and Tejada. C143 EXT. OAKLAND COLISEUM FIELD - NIGHT - BOTTOM OF THE 5TH C143 MONTAGE of A's at bat: Hernandez grounds out, DURHAM strikes out, Mabry grounds out... A stunned A'S FAN stands up with his arms out in a "WTF??" gesture. While the A's are still up, this is excruciating for the fans. 143 OMITTED 143 144 EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 7TH 144 ANNOUNCER V/O Kansas City's scored five and Oakland's lead is down to six as Art Howe comes out to the mound to pull Tim Hudson. Art Howe comes out of the dugout, gives the signal for "underhander," takes the ball from Hudson. ANNOUNCER V/O He'll go with the submariner, Chad Bradford. We see SHOTS OF FANS in the sold-out stadium experiencing the height of tension and excitement in sports. Chad Bradford comes off the bullpen mound to relieve Hudson, and begins counting his steps - CHAD One, two, three, four - 145 EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 7TH 145 Chad arriving at the mound taking the game ball from Art, who we see is genuinely supportive and encouraging to Chad. 146 EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 7TH 146 Chad finishing his warm-up pitches. CHAD I know what it is to be in need and to have plenty. I am content. I can do all things through Christ who gives me STRENGTH-- 147 INT. ART'S OFFICE - NIGHT - TOP OF THE 7TH 147 BILLY is just as tense as the fans. 145. 145. BILLY (to himself but to CHAD) Okay Chad, let's see it. 148 EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 8TH 148 CHAD walks Mayne. An angry fan throws toilet paper onto center field, the one thing Long manages to pick up. The crowd grows anxious. CHAD's submariner pitch to the next batter, DEE BROWN, walks him. BROWN trots down to first and there are now two runners on. Some FANS have to cover their eyes. There's a pitcher conference. Art Howe simmers in frustration. He signals Rincon to warm up. The fans aren't happy either. ORDAZ of the Royals grounds to Tejada, who throws home for the force, and misses. Now it's 11-6! Howe pulls Bradford. Rincon throws a controversial strike out. The Royals batter, TUCKER, protests, and fans go crazy BOOING. Brown scores, 11-7 now, Royals chipping away that lead, AND -- Howe pulls Rincon. Tam comes in to relieve him. Sweeney's up. In rapid succession, we seem him battle off TEN PITCHES of Tam. He's got two strikes on him, more toilet paper flies on the field, Bowie comes in to warm up which Tam sees, then - SWEENEY HITS A THREE-RUN HOMER TO MAKE IT 11-10! This is excruciating. 149 OMITTED 149 150 EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 9TH 150 BOWIE is already gone. KOCH is on the mound. There's a Royal, PELLOW, on 2nd. According to the scoreboard, it's 2 outs, 2 strikes. If Koch throws a strike, the game is over. The fans are fucking feverish. ALICEA of the Royals singles to left and Pellow scores. The game is now TIED. In their dugout, Royals GLOAT. 146. 146. He's ended the inning, but in the A's dugout, Koch slams the wall. 151 OMITTED 151 152 EXT. OAKLAND COLISEUM FIELD - NIGHT - BOTTOM OF THE 9TH 152 The scoreboard shows us that it's still tied in the bottom of the ninth. Nobody's out. DYE grabs a bat and walks to the plate. Then, inexplicably, Howe turns to- ART Hattie. Grab a bat. SCOTT HATTEBERG actually points to himself and mouths, Me? ART Let's go. SCOTT pulls a bat from the rack and heads to the on-deck circle. He only manages a warmup pitch or two before - A153 INT. WEIGHT ROOM A153 Billy is watching on a muted television as he sees Dye fly out to right field. As Hatte approaches the plate, he kills the TV. 153 OMITTED 153 154 EXT. OAKLAND COLISEUM - SAME TIME 154 As ROY STEELE's booming voice echoes: VOICE OF GOD Pinch hitting for Eric Byrnes--Scott Hatteberg. Scott's wife, ELIZABETH, watches from the VIP seats. She clutches her face. SCOTT lets the first pitch go by. UMPIRE Ball! Art Howe looks like he can't stand it any longer. In the dugout, Koch looks like a psychopath ready to kill. SCOTT steps out of the box to catch his breath. He steps back in and stares at the exact spot in space he thinks the pitch will leave the pitcher's hand. The pitch. SCOTT swings. 147. 147. Crack! 55,000 erupt. The A's leap to the front of the dugout steps and watch. We see the ball ascending on a strong trajectory, but before we can know for sure where it's headed, TIME SLOWS TO A CRAWL- 155 INT. WEIGHT ROOM - SAME TIME 155 BILLY's sitting on the floor with his back against the wall, trying to breathe. He looks like he's in pain. He can't move. He hears the crowd ERUPT outside. His Blackberry buzzes: "hatte homered. a's 12, ryls 11" Billy flips on the TV. With sound off, he watches silent images of his team swarming the mound in (archival footage) mixed in with Art Howe celebrating with them. 156 OMITTED 156 157 OMITTED 157 158 EXT. OAKLAND COLISEUM - SAME TIME 158 The place is going crazy. ELIZABETH is screaming as she watches her husband get mauled by his teammates at the plate. 159 INT. WEIGHT ROOM - MOMENTS LATER 159 BILLY's still contemplating making AL history as celebrating players flood into the locker room just outside. Billy looks through a portal on the door. He's trapped in here now. He crosses into the 160 INT. LOCKER ROOM - CONTINUOUS 160 The place is packed with players, coaches and news crews. There's no champagne spraying but they feel like they won the World Series and in fact have done something much more rare. Billy is trying to make a fast unnoticed exit. After pushing through the crowd, he walks outside of the club house into the - A161 INT. CORRIDORS / FAMILY AREA - CONTINUOUS A161 where the players' families and wives are waiting. Billy sees ELIZABETH HATTEBERG walking toward him-- 148. 148. ELIZABETH Mr. Beane? I'm Elizabeth Hatteberg. We met at my house last Christmas. BILLY Sure. ELIZABETH Thank you. BILLY Thank me? Thank you. Whatever you put in those Christmas cookies, keep-- ELIZABETH starts to cry-- BILLY Whoa. It's okay. ELIZABETH I'm sorry. BILLY It's alright. ELIZABETH You don't know what it's like to have everyone think you're a failure. BILLY doesn't say anything but of course he does. BILLY Well...You never thought that, and that's WHAT'S-- ELIZABETH (the worst possible SIN) I did. (BEAT) And he knows I did. BILLY takes this in a second... BILLY Yeah he does know you did. ELIZABETH He's talked to you? BILLY No. I just know. (BEAT) That's all over now. (MORE) 149. 149. BILLY (CONT'D) Your husband just took a Jason Grimsley two-seam fastball and parked it in the upper deck in left field for a pinch-hit walk-off home run in a record breaking game. Go tell him about it. ELIZABETH looks at him a moment...and then starts crying AGAIN-- BILLY No it's okay now, just go. ELIZABETH goes off to find her husband. BILLY sees PETER standing there. BILLY Gilligan. PETER Congratulations. CUT TO: 161 INT. RESTAURANT - NIGHT 161 BILLY and TARA are eating. BILLY Aw, man. I spend the season trying to reduce it to numbers and we won on romance. Suddenly it's the Natural with Hatteberg. Scott Hatteberg. (TOASTS) To twenty. TARA To twenty. (THEN) You should've seen Elizabeth's face when it went right over. BILLY She showed up afterwards. TARA What did she say? BILLY I was a big moment for them. You know everyone wrote him off? TARA You didn't. You found him and you put that together. 150. 150. BILLY I know. It was beautiful. But you know... it's not gonna mean a thing. He's upset. She knows it. BILLY Here's the thing -- we changed the game. We got this year, maybe next, then they're gonna catch on. This is our moment. I want to go the distance. I wanna shove it up the Yankees' ass. Not just the Yankees, but... these guys deserve it. TARA You deserve it. Honey, 20 games. It's a record. BILLY That's right, it's just a record. It gets buried in some book. Come on, tell me who won 19? I don't even know. It's 4th place at the Olympics. Any other team wins the World Series this year... great. We're still in the record books. But if we win, we've changed the game. We've put it on its head and shoved it up their ass. If we don't, they're gonna erase us. CUT TO: 162 OMITTED 162 163 EXT. OAKLAND COLISEUM - NIGHT 163 The same shot as at the beginning: the Coliseum from high above, only this time the final game of the division series is being played at home. LEGEND: 2002 ALDS DECIDING GAME 5 Minnesota Twins at Oakland A's The camera pans down the huge scoreboard. It's excruciating. The numbers on the board tell us it's been an incredibly close game but the A's are losing by one run in the bottom of the ninth with two outs and nobody on. 151. 151. Ray Durham stands in at the plate. Strike one to the Durham as we hear the venerable voice of ESPN's Joe Morgan, who's speaking post-game. JOE MORGAN V/O The flaw in the A's thinking, and this comes from the top of their organization-- is their failure to comprehend you have to manufacture runs in the post season. Durham fouls off a pitch. Strike two. JOE MORGAN V/O You have to steal. You have to bunt. You have to sacrifice. You have to trust in small ball, not Billy Ball. Durham swings at the fastball and connects, but it's a pop fly to second which a TWINS INFIELDER easily nabs. The PITCHER throws his glove in the air and the CATCHER runs out to the mound as the rest of the Twins run to the middle of the field to begin their victory celebration. Durham turns away and heads back to the dugout. The A's have lost the series. JOE MORGAN V/O They think they've devised a science to win games. They think it resides in a computer. They thumb their nose at fundamentals. At tradition. At Baseball. 164 OMITTED 164 A165 INT. VIDEO ROOM - NIGHT A165 Harrowed by the defeat, PETER stares at the TV, listening to Joe Morgan. JOE MORGAN V/O They're bean counters in Oakland. That's bean with an "e" at the end. They're card counters at the blackjack table who forget the house always wins. JUMP CUT TO: B165 INT. VIDEO ROOM - NIGHT B165 Peter SMASHING a wooden chair to pieces with a baseball bat. JUMP CUT TO: 152. 152. C165 INT. VIDEO ROOM - NIGHT C165 Peter, in exhaustion, his eyes glued again to the screen watching shots (ARCHIVAL VIDEO) of euphoric Twins reveling and A's stunned at their misfortune. 165 EXT. OAKLAND COLISEUM FIELD - NIGHT 165 A LOCKED-OFF SHOT begins to slowly move towards the pile of celebrating players on the mound and as we near, the sound begins to fade and the PLAYERS BEGIN TO DISAPPEAR, as do the FANS and ALL OCCUPANTS OF THE COLISEUM. DRIFT in an empty stadium, towards the dugout, where the last of the CLEANING CREW brooms the floor. A166 INT. OAKLAND COLISEUM - NIGHT A166 CAMERA MOVES down a dimly lit cinder block corridor, and finally into the - 166 INT. A'S LOCKER ROOM - NIGHT - 1989 166 where we discover a solitary figure. The camera comes to settle on the Oakland A's player, still in uniform, hours after the game has ended, sitting with his face in his hands. After a long, deep breath he sits up and we discover that it's Billy, 10 years prior. CUT TO: 167 INT. CORRIDOR - NIGHT - 1989 167 Billy, still in uniform, walks down the long corridor that leads to the GM's office, his cleats clicking on the concrete halls. ALDERSON V/O This is weird, Billy. CUT TO: 168 INT. SANDY ALDERSON'S OFFICE (FLASHBACK) - NIGHT - 1989 168 BILLY's standing in front of the A's GM wearing his uniform pants and a t-shirt. ALDERSON It's like a politician quitting a campaign to become a staffer. Do you even know what a scout does? BILLY I've been scouted since I was 15. 153. 153. ALDERSON And you're ready to say, "I'm not a baseball player"? BILLY I'm not a baseball player. CUT TO: 169 INT. BILLY'S OFFICE - DAY 169 BILLY Ready to do this? Pete nods. Billy calls out -- BILLY Suzanne? Get Schott on. (TO PETER) You ever been to Boston? The speakerphone rings. Billy answers. BILLY We need to talk about the Red Sox. SCHOTT (V.O.) So I heard. John Henry reached out to you? BILLY Yes. But I haven't spoken with him yet. SCHOTT (V.O.) That's what he said. BILLY I want your blessing before I do. SCHOTT (V.O.) Well, how am I supposed to react to all of this? You're under contract, Billy. You extended. BILLY I know that, Steve, but I'd like to talk to them. I want to see what they have to say. SCHOTT (V.O.) You're asking me to let them talk to you? BILLY Yes. With your permission. 154. 154. SCHOTT (V.O.) Well, I can't do that unless I know Peter is in place as my GM. BILLY Pete? SCHOTT (V.O.) I'm not letting you take him with you, and I have no idea if he's willing to stay if you aren't here. How do I even know I can come to terms with him, given the extremely disadvantaged bargaining position you're putting me in? BILLY Well, I think you'll agree this is a great opportunity for him. I can't believe he's not going to make a deal. Peter is frozen. Neither Steve nor Billy are acting like he's even in the room. SCHOTT (V.O.) If you want out of your contract, I want their whole team and a lot of cash. We've invested in you. BILLY I haven't asked to get out of my contract, Steve, I just asked if I could talk to them. SCHOTT (V.O.) And I said I won't give you permission unless I know I have Peter! You can't leave me with a vacant front office. BILLY Then talk to Peter. SCHOTT (V.O.) I will. Silence. SCHOTT (V.O.) All right. You know what? I've made it a point never to stand in the way of a man wanting to make more money. They made the call, the genie's out of the bottle. I had faith in your judgement when I named you GM; that's why I did it and I have faith in it now. Good luck, Billy. 155. 155. Billy hangs up. A long beat. Peter looks at Billy. PETER Well, I didn't see that coming. BILLY I think you should think about staying. You're one of the architects of this thing, it belongs as much to you as it does to me. PETER Okay... okay... BILLY How you doing Pete? PETER I'm a little overwhelmed right now. I think I need to process what's happening. BILLY Why don't you take the day off. CUT TO: A170 INT. TOWNCAR - DAY A170 Billy regards culinary treats presented fancifully in a towncar that transports him to Fenway Park. 170 EXT. FENWAY PARK - BOSTON - DAY 170 We establish the famous home of the Red Sox before finding BILLY standing on home plate. He looks around at the historic stadium... JOHN (O.S.) Billy Beane! JOHN HENRY, the new owner of the Boston Red Sox, is shouting at him from the owner's box. BILLY gives a kind of wave. HENRY Due respect to the Coliseum, but this is a ball park. BILLY Yes it is. It is. HENRY (SHOUTING) You ever play here? 156. 156. FLASH CUT: BILLY swinging hard at a pitch in the dirt. CUT BACK TO: BILLY No. JOHN That's a shame. Let's walk the field. BILLY and JOHN begin a stroll around the perimeter of Fenway. JOHN Hey, I'm sorry I kept you waiting but believe it or not there was snow on 84. The second week in October. The car turns on to Yawkee Way and it's 53 degrees and this. How can there be an entirely different weather system here than there is three miles from here? Is that global warming or a sign that there's no such thing? BILLY I don't know. JOHN What's that Billy Joel song? Oh the snow it was falling from Stockbridge to Boston. And the hilltops seemed something because of that frosting. BILLY I think that's James Taylor and I'm certain those aren't the words. JOHN Well whatever, it was snowing from Stockbridge to Boston so I'm sorry I'm late. We'll have lunch in a little bit but why don't I have some coffee sent up. (he's already got his cell phone open) Denise? (back to BILLY) We've got espresso, cappuccino, latte, we've got a machine that makes whatever you want. BILLY We've got free soda. 157. 157. JOHN I heard about that. (INTO PHONE) Can you have some coffee in there for us? (BEAT) Thank you. He snaps the phone shut. A171 INT. PRESS BOX - DAY A171 Billy and John admire the view. DENISE sets down a tray of coffee and exits. JOHN It's her birthday and I need to get her a present but she's usually the one who does that for me so do you have any ideas? BILLY (PAUSE) A scarf? JOHN You mean like wool? BILLY No I meant something that women wear with, you know, a decorative -- JOHN Sure! Excellent. (PAUSE) And where would I get something like that? BILLY John, no disrespect, I just lost in five for the second year in a row -- give her a bowling ball for all I care. JOHN Steve Schott told me he's offering you a new contract. BILLY Yes he is. JOHN So why'd you return my call? BILLY You're the Red Sox, and I think I can help you. (MORE) 158. 158. BILLY (CONT'D) I think I can do something about the Curse of the Bambino. I heard you hired Bill James. HENRY Why it took someone so long to hire that guy is beyond me. BILLY Because baseball hates him. HENRY Money buys a lot of things. One is the luxury to disregard what baseball thinks. BILLY That must be nice. (beat, then) I was grateful to get your call. JOHN looks at BILLY a moment... JOHN You were grateful. BILLY Yeah. JOHN For 41 million you built a playoff team. You lost Damon, Giambi, Isringhausen and Pena and you won two more games without them than you did with them. And we begin a slow push-in on BILLY... this is the first person in baseball other than his assistant who doesn't think he's crazy. JOHN You won the exact same number of games as the Yankees but the Yankees paid 1.4 million dollars per win and you paid two- hundred and sixty thousand. Yes, I want you to be my General Manager. (PAUSE) I know you're taking it in the teeth. The first guy through a wall always gets hurt. But those are dying voices. Any GM that doesn't tear down their team and rebuild it using your model is gonna be a dinosaur. JOHN's taken a piece of paper out of his pocket and slides it to BILLY -- 159. 159. BILLY What's this? JOHN My first offer. BILLY opens it, looks at it for less than a second, and looks back up at JOHN... 171 INT. LIMO - DAY 171 Billy looks out at the Boston scenery. He steals a glance at the paper in his hand, John's offer, pensive... CUT TO: 172 OMITTED 172 173 INT. OAKLAND COLISEUM - LOCKER ROOM - DAY 173 Billy comes into the locker room and gives it a look. 174 OMITTED (MOVED TO G177) 174 175 OMITTED 175 176 INT. OAKLAND COLISEUM LOCKER ROOM - DAY 176 Billy sits at a table. A baseball SLAMS down in front of him. He looks up to see where it came from. PETER is standing in the doorway. PETER Heads up! BILLY Jesus. What the hell -- PETER Sorry. BILLY What the hell was that? PETER I don't know. Sorry. (THEN) How was Boston? BILLY Impressive. PETER You're giving me Youkilis, Billy. 160. 160. BILLY Why would I ever do that? PETER Come on Billy, Schott's going to want something in exchange for letting you out of your contract and I want Youkilis. BILLY Oh, what is that, your GM voice? You can't have him. PETER And Cash. And a player to be named later. BILLY You already have my job. What else do you want from me? PETER I don't want your job. BILLY Why did you take it? PETER You didn't leave me much choice. (THEN) Did Henry make you a good offer? BILLY It doesn't matter. PETER Did he make you a good offer? BILLY It was fine. PETER What was it? BILLY It doesn't matter. Pete just stares at him. Finally, Billy reaches into his pocket, takes out the folded piece of paper and hands it to Peter. Peter looks at it... PETER He offered to make you the highest paid GM in pro sports. 161. 161. BILLY (GENUINELY CONFLICTED) Do I love the Red Sox? PETER I don't know. I've never heard you say you did. BILLY So why am I doing this? PETER You're not doing it for the money. BILLY I'm not? PETER You're doing it for what the money says. It says what it says to any player who gets big money: that they're worth it. BILLY The offer says that. The money itself is redundant. (BEAT) I made one personal decision based on money in my life and I swore to never do that again. PETER So you're not going to Boston? BILLY I haven't decided. PETER It's all over the news that it's a done deal. BILLY Look at this place. What a dump. (THEN) I so wanted to win here. PETER I think you've already won, Billy. BILLY No Pete, we lost. PETER You haven't given yourself time to get over it, it's only been three days. 162. 162. BILLY I'm not even over last year yet. I don't get over it. PETER (BEAT) I've got something in the video room, come with me. BILLY I really can't look at video right now. PETER No, come with me. A177 OMITTED (MOVED TO K177) A177 B177 INT. VIDEO ROOM - DAY B177 PAUL It's not much more than a home movie but you'll get the idea. BILLY Who is it? PAUL The Visalia Oaks and their 240 pound catcher, Jeremy Brown, who's scared of running to second. This was in a game six weeks ago. PAUL hits the remote and the tape starts. The quality is poor and the camera is focused only on Jeremy. PAUL This guy's gonna start him off with a fastball low and in because he hasn't read the book on our guy and doesn't know that low and in is where he eats. Jeremy takes him to deep center -- We see JEREMY BROWN connect and the ball fly off the bat but the camera stays on JEREMY running to first. PAUL slows down the picture with the remote PAUL -- and he knows that if he runs it's a stand-up double and he's running. BILLY (QUIETLY) Go pal. 163. 163. PAUL And now he's gonna do something he never does. He's gonna round first base, he's gonna take the turn. BILLY Please tell me he's safe at second. PAUL No. Because right here -- JEREMY slips and stumbles to the ground. PAUL -- is what he's always been afraid of. It's all he can do to get himself back to first. JEREMY has been scrambling in the dirt to get safely back to first base. BILLY What is that? PAUL That's the first base coach. BILLY Why's he laughing? I'm gonna fire that guy, why the hell is he -- PAUL Everybody's laughing. JEREMY's looking around the field now, looking at his own dugout. We can't see what he sees but he's confused. PAUL And now Jeremy finds out why. Watch his face because this is art. He's just found out the ball went 60 feet over the fence. He'd hit a home run but he didn't know it. And JEREMY's face explodes into a smile. He slaps hands with the first base coach and begins his trot around the bases. BILLY stares at this. He takes the remote and backs it up a little so he can see Jeremy's face again. BILLY How can anybody not be romantic about baseball? 164. 164. PAUL (PAUSE) It was a metaph-- BILLY I know it was a metaphor. PAUL That was a hell of a baseball season, boss. BILLY The Island of Misfit Toys. Okay. And with that, Billy's mind begins to go elsewhere. No resolution, no decision, other than to get up and wander on. CUT TO: C177 INT. OAKLAND COLISEUM HALLWAY - DAY C177 Billy stops in front of a door, checks to see if it's open, it is and he enters. D177 INT. OAKLAND COLISEUM SCOUT ROOM - DAY D177 Billy Stands and takes it in. CUT TO: E177 INT. ART HOWE'S OFFICE - DAY E177 Billy stands and takes it in. CUT TO: F177 INT. OAKLAND COLISEUM HALLWAY - DAY F177 Billy stands at area from which a mysterious smell still emanates. CUT TO: G177 EXT. OAKLAND COLISEUM FIELD - DAY (FORMERLY 174) G177 Billy haunts the field, talking to himself. Eventually he stands at the plate, and has an imaginary at bat. CUT TO: 165. 165. H177 INT. VIDEO ROOM - CONTINUOUS H177 Pete watches Billy from the pitch tracking monitor as he argues with an imaginary ump before hitting an imaginary inside the park home run that ends with a slide into home. CUT TO: J177 EXT. OAKLAND COLISEUM FIELD - DAY J177 Billy wanders over to the pitcher's mound. Lies down. His POV of perfect sky... K177 EXT. FREEWAY - DAY (FORMERLY A177) K177 BILLY's driving along and listening to the continued DRONE of talk radio criticism. RADIO VOICE (V.O.) ARCHIVAL RADIO CHATTER BILLY keeps listening a moment, then reaches in the glove box and pulls out a CD marked "Dad's Mix". BILLY slips it in the CD player. The sound of the radio immediately snaps off and the momentary silence is soon broken by CASEY's VOICE-- CASEY (V.O.) Hey, Dad. I picked these songs out just for you. And then the first track on the CD comes on (SONG TBD). And BILLY smiles. He continues on down the freeway into dusk, as-- 177 EXT. MLB FIELD 177 David Justice at the plate. As he takes ball four and trots down to first, the image freezes - Legend: David Justice retired after the 2002 season, leaving baseball with a team-leading on-base percentage with most walks. 178 EXT. MLB FIELD 178 Scott Hatteberg, looking comfortable on the infield dirt finally, dives for a line drive - freeze. 166. 166. Legend: Scott Hatteberg played three more seasons with the A's, then signed with Cincinnati in 2006 - as a first baseman. He retired in 2007. 179 EXT. MLB FIELD 179 Chad Bradford goes into his windup from Mars. As his hand scrapes the dirt - freeze. Legend: Chad Bradford went to the Red Sox in 2005. In 2008, he was traded to Tampa Bay who went on to the World Series with a payroll even lower than the A's. 180 EXT. MLB FIELD 180 Kevin Youkilis, in a Red Sox uniform, shimmies at the plate. As he lays off ball four and the umpire points to first - freeze. Legend: Boston never traded to Billy - or anyone else - their Greek God of Walks, Kevin Youkilis. He was part of the historic World Series Championship Red Sox of 2004, and is still with the club. 181 EXT. MLB FIELD 181 Peter, in a Yale Bulldogs uniform, scoops a grounder to second. As he throws out a Yale Bulldog - freeze. Legend: Peter Brand left Oakland in 2004 to become the General Manager of the Dodgers. He's now with the San Diego Padres. 182 EXT. MLB FIELD 182 Billy - 18 years old - in his Mount Carmel High uniform, takes his stance at the plate with the supreme confidence of youth. The pitch comes. He swings. And as his bat makes contact - freeze. Legend: Billy Beane is still the General Manager of the Oakland A's. 183 EXT. OAKLAND COLISEUM - NIGHT 183 The Coliseum's floodlights switch off and the green of the grass darkens - TO BLACK \ No newline at end of file diff --git a/unformated_scripts/Script_Monkeybone.txt b/unformated_scripts/Script_Monkeybone.txt new file mode 100644 index 0000000000000000000000000000000000000000..9f5f53df67e19b5154b3864ded7e6ce3eef2aeab --- /dev/null +++ b/unformated_scripts/Script_Monkeybone.txt @@ -0,0 +1 @@ + MONKEYBONE Written by Sam Hamm based on the comic book "Dark Town" by Kaja Blackley and Vanessa Chong SEVENTH DRAFT 3 FEBRUARY 1999FADE IN:MAIN CREDITS ROLLover BLACK SCREEN, with PORTENTOUS SPOOKY MUSIC underneath. Just as themusic reaches its crescendo, we hear a simian SCREECH.A BUCK-TOOTHED CARTOON MONKEY swings past on a vine. TITLE WIPES IN withhim: MONKEYBONE(tm) in "FREUD CHICKEN!"TIGHT CLOSEUP - STANLEY (ANIMATED)A POCKETWATCH swings back and forth in F.G. Gaping at it is a goofy,bespectacled CARTOON CHARACTER, sucking his thumb as his EYES move backand forth. After a moment, the LEFT EYE freezes in place - but the righteye keeps going back and forth with the watch. SHRINK'S VOICE (o.s.) Back, Stanley...you're going back...back to when it all began. Are you going back yet? Come on, get back, ve haven't got all day.Now BOTH EYES are locked in place. The patient is hypnotized.INT. SCHOOLROOM - DAY (ANIMATED)A squat, lumpy TEACHER, MISS HUDLAPP, is straining to erase theGettysburg Address, which is written along the very top of theblackboard. There's an obtrusive, rhythmic BANGING noice in B.G. STANLEY (V.O.) It was third grade. The teacher was Miss Hudlapp. She was kinda squat and lumpy - she smelled funny - but she was kind. MISS HUDLAPP CLASS! (turning around suddenly) How many times have I told you? In this class we do not pound tenpenny nails into Stanley's head!REVERSE ANGLE - ON STANLEYHapless ten-year-old STANLEY, still goofy and bespectacled, in hisfront-row desk. NAILS stick out of his head. The FOUR MEAN KIDS poisedaround him lower their hammers and return to their seats, grumbling.A dreamy SMILE crosses STANLEY's face as he gazes at MISS HUDLAPP. STANLEY (V.O.) You know how some teachers have those, kind of, flaps on their arms - those big sacks of limp flab that like, dangle?As MISS HUDLAPP pulls her sweater off, TWO MASSIVE ARM-FLAPS - fiftygallons of flab apiece - SPILL OUT and SMACK INTO THE FLOOR.MISS HUDDLAPP claps two erasers together, kicking up a cloud of dust.Young STANLEY watches, transfixed by her massive ARM FLAPS. We TRACK INon the gigantic ARM FLAPS as they swing hypnotically back and forth,with a loud SLAP each time they collide. STANLEY (V.O.) It sounds weird...but for some reason, as I watched those big old flaps of hers, I began to feel...well...oddly...Now we TRACK IN on the mesmerized STANLEY. A SONG comes up underneath:Donna Summer, "I FEEL LOVE." STANLEY (V.O.) ...aroused. (beat) And then the horror began.DOINK! STANLEY looks down at his LAP in horror. The boys and girlsaround him are pointing and tittering.Grimacing in embarrassment, he discreetly places a heavy TEXTBOOK ontohis lap, suppressing the bulge in his pants. But SPROING!! - the BOOKgoes flying across the room. The BULGE is fighting back!The kids DUCK AND COVER beneath their desks as STANLEY slams a STACK oftextbooks onto his lap. It's no use - the WHOLE STACK goes flying, andBOOKS come raining down on the entire class! Now MISS HUDLAPP is staringdirectly at him... MISS HUDLAPP Young man. What's that in your lap?She marches toward him. STANLEY pulls his BACKPACK over his lap. STANLEY (V.O.) It was useless. Like putting a baseball cap on the Washington Monument. And then...all at once ...there he was.The BACKPACK bucks and wriggles, as if something inside is trying to GETOUT. And then - with a flourish of rousing disco strings - IT DOES! STANLEY (V.O.) Monkeybone!!The libidinous cartoon monkey BURSTS OUT of the backpack, POINTS at MISSHUDLAPP - and announces, in his Barry White baritone: MONKEYBONE Oooo-oo-ooh, baby. I love your way.KC and the SUNSHINE BAND comes up underneath as MONKEYBONE DANCES to thefront of the class. He grabs MISS HUDLAPP by the hands and beginsdancing The Bump with her ARM FLAPS. Butt left, WHAP. Butt right, WHAP.The KIDS are bug-eyed - agog. With each WHAP their little heads turnback and forth as if they're watching a nude tennis match.INT. SCREENING ROOM - ON AUDIENCE (LIVE-ACTION)A roomful of LIVE HUMANS watching the cartoon, heads turning in syncwith the kids onscreen. TV-INDUSTRY HIPSTERS, AD EXECS, MANUFACTURER'SREPS...they're all guests at this sneak preview of the Monkeybone show,and they're LAUGHING UPROARIOUSLY.In the midst of the crowd is a handsome young couple: JULIE McELROY andSTU MILEY. JULIE's a research scientist, brainy, professional,abnormally well-adjusted - and pretty enough that she'd be intimidatingif it weren't for a prominent goofy streak.STU is the one guy in the auditorium who isn't laughing at the cartoonon the screen. In fact, he's solemn as a judge - peering nervouslyaround to see how the rest of the audience is responding.Why? Because he's the cartoonist who created the characters on screen.In his looks (gangly, disheveled) and manner (sardonic, self-deprecating), he's the obvious model for the character of STANLEY.INT. CLASSROOM (ANIMATED)As the monkey dance continues, we ZOOM IN on the mortified face ofLITTLE STANLEY. His eyes begin doing the familiar HYPNO-SWIRL...INT. SHRINK'S OFFICE (ANIMATED)A CUCKOO pops out of a wall clock. ADULT STANLEY'S THUMB pops out of hismouth. He awakens from his trance in a cold sweat. STANLEY How about it, Doc? Can you help me? SHRINK Not overnight. These imaginary monkey cases take time. I vould estimate...roughly...On the desk is a CATALOGUE, open to a two-page spread depicting a 40-foot CABIN CRUISER. "NEW FOR SUMMER! ONLY $229,999.95!" With his freehand, the SHRINK is working a CALCULATOR... SHRINK Twelve years and three months ought to do it.The SHRINK hustles STANLEY to the door and shakes his hand. STANLEY One question, doc - what did you mean when you said "imaginary"? SHRINK All in good time, my boy. All in good time.The SHRINK shoves STANLEY out and slams the door behind him. Two beats.Then he doubles over, WEEPING with LAUGHTER. SHRINK Vot a crackpot! Monkey on ze back - HAH!! ROLL OUT ZE WACKY WAGON!!Now he notices a BACKPACK, which STANLEY has left on the couch. ItTWITCHES slightly - of its own free will. VOICE IN BACKPACK Imaginary, huh? You quack.EXT. SHRINK'S BUILDING (ANIMATED)A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLESHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all theway down to the street.SPLAT! A gob of gore hits STANLEY in the face as he exits the building.He kneels on the sidewalk - finding a PIPE and a GOATEE. STANLEY Aw, Monkeybone! At this rate I'll never find a good shrink. MONKEYBONE Those guys are a waste of money! I'll show you how to stop sucking your thumb...MONKEYBONE sticks his thumb in his butt as he and STANLEY toddle offinto the sunset.INT. SCREENING ROOM - THAT MOMENTSTANDING O from the crowd as the cartoon ends and the lights come up.HERB, an all-purpose sidekick type, appears at the podium: HERB Thank you...that's our pilot...the good news is, Comedy Channel has just picked us up with an order for six new episodes!HERB leads a round of APPLAUSE. JULIE nudges STU - the only guy in theroom who's still in his seat. HERB Now, let's give it up for the guy who started it all. Creator of America's most disturbed comic strip...the man behind the monkey...Mister Stu Miley!A SPOTLIGHT hits him, and he STANDS to tumultuous applause. He looksgenuinely stunned. He can't believe it's happening.JULIE surreptitiously PINCHES him on the bottom, giving him a start. SheWINKS at him. He shoots her a small private smile - then turns to WAVEat the adoring crowd.INT. LOBBY - HALF-HOUR LATER - NIGHTSTU working his way through a crowd of well-wishers and FANS. STU I don't actually draw all the animation, no. We have sweatshop workers who couldn't get jobs at Nike doing that.A beautiful, heavily-pierced FEMALE FAN hands STU a marker. BEAUTIFUL FAN Mr. Miley, would you draw Monkeybone on my belly? As a guide? STU Guide...? BEAUTIFUL FAN For my tattoo artist?She exposes her taut midriff. STU thinks for a moment, then goes towork. When he's done, Monkeybone appears to be climbing out of thegirl's pants and WAVING to her. Nearby FANS APPLAUD. BEAUTIFUL FAN Wait! You have to draw the rest of him -She begins unbuckling her belt so STU will have enough room to drawMonkeybone's bottom half. STU demurs... STU I - I have to, uh, check in with my doctor. DO- OCCCC!!He wanders across the room, finds JULIE deep in conversation with abunch of other GUESTS, and pulls her aside. STU Hey, Doc. Come here. There's something really cool I want to show you.He grabs her by the sleeve, pulls her across the floor to -INT. ALCOVE - OFF LOBBY - CONTINUOUSThere's nothing "cool" about it - it's a stairway landing, with metalfire doors that open onto the parking lot outside. STU See these doors? The cool thing is, you go out ...they close...you can't get back in!He opens one door and holds it for JULIE. JULIE You want to leave? But Stu - you're a big hit! Everyone loves you! STU They don't love me. They love Monkeybone. JULIE It was you who got the standing O. It was you drawing on the belly over there... STU That was especially Monkeybone. Come on, Doc, I don't want to be stuck here with this bunch of media creeps. I just want to be us. Home. Alone! (conspiratorially) I have something I have to give you. JULIE Can't you give it to me later? STU Yeah, I could, but the thing is, if later got here sooner, it would be...better.He gives up trying to explain...pulls her close and kisses her. For amoment they completely forget about the party in the next room.Then HERB appears behind them, trying to catch STU's eye as he waits forthe clinch to break up. Finally he pries them apart: HERB Sorry, Julie - won't be a minute. Now Stu - I know you don't like the idea, but you really ought to talk to these guys - STU Julie and I - we were just gonna go...But before STU knows what's hit him, HERB is leading him back to -INT. LOBBY - THAT MOMENT - CONTINUOUS HERB Go? There's a potload of money here, pal. You got three major toy companies...you got the guys from Burger God over here... STU Burger God. The ones that found the pig hair in the french fries? HERB Never proven. They're ready to pop for a pre- emptive endorsement. Kids love Burger God -The MERCHANDISERS shoot STU an expectant wave. STU waves back and turnsin the opposite direction. HERB grabs him by the sleeve. STU Herb, it's too much. It's all out of hand. HERB Do you know what kind of opportunity you have here? You gotta strike. I'm talking mansions. Lamborghinis. Champagne for mouthwash when you brush your teeth! STU I don't want to be rich. It's just a trap! HERB Being rich is not a trap. That is a dirty lie perpetuated by rich people to keep the failures from killing them. STU Herb. I have to go. HERB Why? STU I got the ring. (beat) Tonight's the night, Herb. Tonight's the night.He nods toward JULIE, who's at the open bar grabbing two glasses ofpunch. HERB realizes a proposal is in the works. HERB Oh my God...you're proposing? STU My life was totally crappy, Herb, and she... fixed it. She made me happy. Which I'd never been. She loves me the way I am - right now. (beat) I don't want everything to change. I don't want her saying yes to some big success. I just want her saying yes to me. HERB ...In some weird way I respect that.JULIE's over by the punchbowl. She sees the two boys staring at herconspiratorially - MAKES A FACE at them as she waves back. HERB Okay then. If I get you out of here - you pop the question - tonight. Or else. Get me?STU nods gravely.EXT. PARKING LOT - NIGHTSTU, JULIE, and HERB in the parking lot. A small safari of FLUNKIES isloading enormous boxes full of MONKEYBONE JUNK into STU's beat-up car -stuffed dolls, action figures, board games, lunchboxes, beach towels,team jackets and more! STU groans at the sight of it... HERB They're just prototypes...take 'em home and look at 'em before you say no... (scanning the streets) If you could just hold on a minute or two, we're expecting a couple more trucks.STU GLOWERS at HERB as he opens the car door for JULIE. HERB Okay, okay! You're a beautiful couple. Go.INT. CAR - NIGHT - MOVINGSTU backs out of his space. The small parking lot is full of DELIVERYTRUCKS from would-be merchandisers - all too large for the spacesthey're parked in. STU has to keep backing up because the exit lanes areblocked. It's like negotiating a labyrinth. STU Look at this! He won't let us leave! JULIE Who? STU The monkey!! He's everywhere! He'll take over both our lives if we let him. JULIE Stu - stop it. That monkey is good luck. You thought him up, and everybody loves him, and he's probably going to make you rich. So relax! Enjoy it! STU I'm trying. It's weird, that's all. I never had any good luck, until I met you...what if it's all just another bad dream? JULIE What's the "bad" part? STU I might wake up. JULIE (laughing; taking his hand) If you do, I'll be right there beside you. So face it. You're just going to have to be happy! STU I am happy. It just so happens this is the happiest night of my life.He says it so solemnly that she cracks up. After a moment he joins in.EXT. PARKING LOT - THAT MOMENT - NIGHTA PLASTIC BANNER stretches between two poles on either side of the entryto the lot. It shows MONKEYBONE in a typical languorous pose: It's His World. We Just Live in It! MONKEYBONE Sunday Nights This FallTWO GUYS on EXTENSION LADDERS are taking the sign down as STU'S CARidles at the exit below. There's a strong wind tonight, and one guyLOSES HOLD of his end of the banner just as he gets it detached...INT. CAR - THAT MOMENT - NIGHTAs STU pulls into the intersection he sees a DELIVERY TRUCK approachingin the opposite lane, with a cardboard likeness of MONKEYBONE mountedatop the cab. He chuckles... STU That damn monkey is everywh--Suddenly his view of the street DISAPPEARS. The MONKEYBONE BANNER hasfallen DIRECTLY ACROSS HIS WINDSHIELD, like a huge SHROUD. All he cansee is a great, grinning MONKEY FACE!!JULIE SCREAMS. STU SCREAMS. Unable to see, he slams on the brakes andJERKS THE WHEEL RIGHT.Off screen: HORNS BLARING. TIRES SQUEALING. The horrible crunch of METALON METAL.But Stu's car comes to a halt untouched. After a moment he opens hiseyes...and JULIE opens hers... STU Did we just - hit something? JULIE I don't think so. STU Are you okay??She thinks it over, nods. STU takes a moment to catch his breath, thenopens the door gingerly. A HORN BLARES as a car speeds past in theopposite lane, nearly taking STU's door off. He jumps back inside,waits, opens the door again...EXT. INTERSECTION - THAT MOMENTHis eyes widen in horror as he steps out to survey the scene. Theasphalt is strewn with MONKEYBONE MERCHANDISE - stuffed dolls, games,lunchboxes. SKID MARKS show where the TRUCK which was carrying all thisSWERVED......and slammed into the rear of a BUICK REGAL, pinning it up against aTELEPHONE POLE. STU races up to the Buick. Its front end is mashed uplike an accordion, but the occupants - a couple of TEENAGERS dressed forthe prom - seem to be okay. STU Hey! Are you guys all right in there? TEENAGE GIRL We're fine. STU That stupid monkey banner! It fell on my windshield - it practically killed us all! (to JULIE) God, Julie, if anything had happened to you - JULIE I'm fine, baby. We're all okay. We were lucky. STU I'd better go report this...He spots a PHONE BOOTH and starts across the street. On the way there heplucks a STUFFED MONKEYBONE DOLL off the pavement and CHOKES IT withboth hands.JULIE stays behind with the prom kids. The TEENAGE BOY in his tux isglassy-eyed, miserable beyond description. JULIE Dad's car?The BOY begins to SOB softly. JULIE nods in sympathy.Then: EVERYONE WINCES. The air is full of a horrible CREAKING noise,like nails on a blackboard... TEENAGE GIRL What was that? Did you hear that?The horrible CREAKING NOISE continues. JULIE turns. Behind her, theTELEPHONE POLE that the car slammed into is beginning to TEETER. Then itTOPPLES. Directly toward... JULIE STU!!ON STU - IN PHONE BOOTHHe sees JULIE running toward him and holds up a single finger. STU Operator? I want to report an accident.Finally he glances up - just in time to see the TELEPHONE POLE comingdown toward the phone booth like a gigantic sledgehammer. His eyeswiden. The STUFFED MONKEYBONE slips from his grasp...CLOSEUP - MONKEYBONEA HORRIBLE CRASH. SCREAMS. CAMERA ZEROES IN on the MONKEYBONE DOLL whichSTU was holding, surrounded by broken glass, its face twisted into aninsane, almost macabre grin.The screen fades to PITCH BLACK for a few seconds...until we hear aDISTANT SIREN, and an IMAGE comes swimming into focus...STU'S POV: ON JULIEHe's in the back of an ambulance, with PARAMEDICS all around him,working feverishly. JULIE hovers above him, holding his hand. JULIE Stu? I'm here, baby. It's me. It's Julie. I love you. You're gonna be okay, baby, I promise -All at once he seems to be RECEDING from JULIE and the others - as ifSINKING THROUGH the bottom of the stretcher, and BEYOND - through thefloor of the ambulance! JULIE's voice grows weaker, more distant: JULIE (V.O.) I'm here, baby. I won't leave you...And then all trace of the ambulance is gone, and he's floating downthrough some strange LIMBO, surrounded by the silhouettes of billowingSHROUDS, with the sound of BIRDS CALLING all around him...An AWFUL MECHANICAL RATCHETING NOISE fills the soundtrack. STU's eyesclose - and when they reopen, he finds himself in:EXT. TROLLEY - MOVINGA tiny ROLLER-COASTER CAR descends from dense clouds down the length ofan impossibly long and rickety METAL TRACK. The track leads through avast black VOID......to a tiny ISLAND floating in the darkness...an island that looks notunlike a disembodied FIST.And, as the car draws closer, the fist begins to OPEN - tulip-like -turning into a HAND, with a full-sized TOWN nestled in its palm! In thetown, CARNIVAL LIGHTS begin to glitter. MUSIC begins to tinkle...EXT. PLATFORM - NIGHTThe car - a one-passenger job with a CARTOON ANIMAL FACE on its prow -stops with a lurch. STU steps out onto a fog-shrouded TRAIN STATIONPLATFORM. Before he knows it, the little car DEPARTS behind him. He'sstranded - alone. STU Hello? Anybody? - Am I dead? (beat) PLEASE. I'D LIKE TO KNOW IF I'M DEAD.Off in the fog is a big wheeled CART with the sign: "PSYCHOLOGICALBAGGAGE CLAIM." There STU finds two SUITCASES and a BACKPACK. Heexamines the TAGS. They all belong to him!He sits on the edge of the cart, opens a SUITCASE, and pulls out... - A bagged copy of Marvel Comics' Conan the Barbarian #1; - An 8mm reel of highlights from Ray Harryhausen's Jason and the Argonauts, with swordfighting skeletons on the box cover; - A SPIRAL NOTEBOOK, its cover labelled "STU M. - GEOGRAPHY," its inside pages covered with drawings of dinosaurs and airplanes; - Transparent plastic models of "THE VISIBLE MAN" and his mate, "THE VISIBLE WOMAN," with a couple of spare organs that young STU never quite found a place for; - A vinyl LP of "BREAD'S GREATEST HITS," which STU quickly slips back into the suitcase lest anyone see it.As he gathers his bags, he hears odd SQUEAKS and CHITTERING... RACCOON (o.s.) Carry your bags, mister?A STRANGE FURRY CREATURE pops out from beneath the platform and yanks onSTU's pants leg. It looks like a raccoon, but it's FLAT - an animatedpelt. Before STU has time to let out a yell, a FLAT SNAKESKIN comesslithering out from beneath the baggage cart... SNAKE Cigars, mister? Genuine Coobans!STU looks down and sees a SQUASHED RABBIT humping his leg. RABBIT Wanna meet my sister?These bordertown types are known as ROADKILL, and they're sporting thetire tracks to prove it. STU SCREAMS, shakes them off, and RUNS.EXT. DARK TOWN GATES - NIGHTA long stone STAIRWAY leads to decorative wrought-iron GATES. SHADOWYCARVED SPHINXES sit on either side. As STU races up the steps, asputtering NEON SIGN comes to life overhead: D RK TOWNA FANFARE BLOWS as the creaky gates begin to part. A SPOTLIGHT hits theSPHINXES - and they COME TO LIFE! They rise up on their hind legs, puton boater hats. One of them blows a note on a kazoo... SINGING SPHINXES Weeee...welcome you to Dark Town And while you're in your coma This odd amusement park-town Will be your Home Sweet Homa -STU bolts THROUGH THE GATES, with the ROADKILL TRIO right on his heels.The indignant SPHINXES exchange a look of outrage.EXT. DARK TOWN - MIDWAY - NIGHTIt's a carny town, a tourist trap, seedy and nightmarish. Despite thefestive trappings, there's something off about it - an air of neglectand decrepitude - as if they'd tried to turn Alcatraz into Disneyland,and given up halfway through.STU looks back and sees the ROADKILL gaining on him. He spots a smallgroup of OTHER HUMANS... STU Help me. Please. There's animals. They -The humans just YAWN. They're COMA VICTIMS, just like STU. He ditchesone of his SUITCASES as the ROADKILL come after him. VOICE Pony ride, Mister?He turns and spots a helpful-looking fellow in a COWBOY OUTFIT. TheCOWBOY is in fact a CENTAUR - rider and mount rolled into one!The characters who run this place - the BARKERS, TICKET-TAKERS, and RIDEOPERATORS - are all weird HYBRIDS, part human, part ANIMAL. They couldbe the ancient Gods of some primitive culture - reduced to working asstreet entertainers in this ramshackle resort town.STU pinballs down the street, bouncing from one shock to another: - JOE CAMEL, doing community service as a STREET SWEEPER - JOE CAMEL Hey, Mister. Mister! Got a smoke? - a YETI selling SNO-CONES from a cart outside the MORPHEUM THEATRE. The marquee reads: LIVE! NIGHTMARES! LIVE! First-Run - Continuous Performances - Popular Prices Rated NR-H - Not Recommended for Humans - A CYCLOPS working as a barker at the Penny Arcade; - A VIDEO RENTAL OUTLET - "BAD DREAMS VIDEO," offering your favorite nightmares, cult and classic, three nights for $2.95. A THREE-HEADED DEVIL emerges from the shop carrying a sackful of videos - and recognizes STU, much to his horror. HEAD #1 Hey, aren't you Stu Miley? HEAD #2 We're big fans. HEAD #3 Could we have your autograph?Reduced to babbling hysteria, STU ducks into the nearest building. Abovethe door, an ANIMATED NEON SIGN shows a happy boozer lifting his martiniglass, then falling over flat on his back, at which point his eyes arereplaced by the traditional cartoon X's. This is the COMA BAR.INT. COMA BAR - A MOMENT LATER - NIGHTSTU bursts in, flattens himself against the wall as the ROADKILL skitterpast outside. He's given them the slip. He looks around.The bar's a weird melange of styles. COMA VICTIMS ride around inwheelchairs refurbished as BUMPER CARS, drinking cocktails from IVbottler. A four-armed ELEPHANT GOD is at the Mighty Wurlitzer while aMERMAID VOCALIST in a half-shell belts out the wistful lyrics of JohnnyMercer's "DREAM." And over at the BAR... BULL (o.s.) New in town, huh? What're you drinking?Out of breath, STU edges toward the bar as the BARTENDER, BULL, turnsaway to grab a fresh glass. STU Chasing me - animals - horrible - BULL Animals? What kind of animals?STU GAGS. BULL is a full-fledged MINOTAUR, body of a man, head of aBULL. His features are CUBIST - weirdly squashed over to one side. BULL Yeah, I know - Picasso. Guernica, right? That's what everybody says - although personally, I don't see the resemblance. What are you drinking? STU Uhh - martini? BULL Olive or eyeball? STU Olive. - Where exactly am I? BULL Dark Town. Land of nightmares. I'm Bull. STU Stu Miley. BULL Yeah, I've seen a few of your dreams. You're quite a celebrity down here.STU gives him a cockeyed look. BULL points to a MONITOR mounted over thebar, on which a panicked man in pajamas is trying to run barefootthrough a great sticky SEA OF MOLASSES. BULL I told you, it's the land of nightmares. Same on every channel...all the stuff people dream, after they have the extra anchovies.He changes channels with a remote. Now we see a guy falling throughmidair, arms and legs flailing, falling, falling, falling... STU Jeez, it all looks like bad late-night cable. BULL Sad commentary, huh?Now a small muffled VOICE speaks from the area of STU'S BACKPACK: DISEMBODIED VOICE (o.s.) "Bull," huh? That's cute. What's your last name - "Shit"?? BULL (turning angrily to STU) I beg your pardon? STU I didn't say anything. VOICE (o.s.) Nice face. Lemme guess. You were in a bullfight ...with a Mack Truck!!STU claps both hands over his mouth to prove he's not the one talking.BULL glowers at him, snorting STEAM out of both nostrils. STU I was, uh, just getting ready to leave... BULL Yo, Jumbo. We got us some kind of ventriloquist here.The ELEPHANT GOD from the Wurlitzer organ comes lumbering over. VOICE (o.s.) Well, hello, sailor. Get a lot of dates with that ding-dong on your face??BULL and JUMBO rear back to PUNCH STU'S LIGHTS OUT. He's saying hisprayers when his BACKPACK begins to BULGE and QUIVER - and a SMALL FURRYBEAST pops out, CACKLING HIS HEAD OFF!! MONKEYBONE Just kiddin', folks! Drinks for everybody - (pointing at STU) On him!! HIYA, BOSS!!BULL and JUMBO back off, STUNNED. The monkey grabs STU'S FACE and plantsa big wet SMOOCH right on his NOSE. STU SCREAMS. CUT TO:INT. HOSPITAL ROOM - THAT MOMENT - NIGHTTIGHT ON an EEG monitor. There's a sudden BLIP on the readout. NURSE Just a spike, ma'am. It happens. It's perfectly natural with coma patients. JULIE I'm a doctor too. I know this man's brain -JULIE strokes STU's limp hand. He's COMATOSE, cocooned in a tangle ofwires and tubes. His head and shoulders are heavily bandaged. He'shooked up to as much machinery as you can cram into one room. DOCTOR Go home, Doctor. Rest. Come back when you can do us some good.INT. HOSPITAL - WAITING ROOM - NIGHTDead on her feet, JULIE stumbles toward the exit. As she's leaving shepasses the WAITING ROOM - WOMAN'S VOICE Julie?She turns and sees an older colleague from work - ALICE - waiting in thedoorway. Hovering right behind ALICE is HERB. And behind him -It appears that almost everyone in the waiting room is a friend of JULIEand STU's. Disheveled and groggy, they rouse themselves and make theirway over to JULIE's side. She's overcome with emotion.INT. STU & JULIE'S HOUSE - ENTRY - NIGHTThe sound of the key in the lock is met by INSANE BARKING. JULIE andALICE enter and are met by BUSTER, the pet basset - jumping and yippinglike crazy after 24 hours without food or human company. ALICE Now don't pick a fight. I'm staying over. JULIE Oh, poor Buster. He hasn't been fed in a day and a half. Let me get some food...ALICE kneels to play with the dog. She hears a sudden GASP from thekitchen. JULIE is standing by the open refrigerator, wearing anabsolutely stricken expression...INT. KITCHEN - THAT MOMENT - NIGHTALICE finds JULIE holding a bottle of champagne - Veuve Clicquot LaGrande Dame 1989 - all wrapped up in a bow and ribbon. ALICE Special occasion? JULIE I don't know. I guess it was...She bursts into tears. ALICE sits her down at the kitchen table andtakes the champagne from her. ALICE Don't get all poignant. We're keeping this bottle on ice. When he comes around you're going to need it.INT. BATHROOM - LATER - NIGHTA limp JULIE soaking in a steamy tub, one arm dangling over the side. Onthe vanity is a framed PHOTO STRIP, four poses for a dollar. In thefirst three, STU and JULIE are making outrageously goony faces. In thefourth, they imitate the stern-faced farm couple from American Gothic.She gazes at it for a long, long time. Eventually she smiles.INT. SECOND BEDROOM/STUDIO - NIGHTOPEN on two PHOTOS, mounted in a single frame. On the left, BUSTERKEATON, droopy-eyed, in his familiar porkpie hat and vest. On the right,a Photoshopped image of BUSTER THE BASSETT HOUND, in the same pose, alsowearing Keaton's hat and vest.These photos are on the wall of the cramped room which serves as STU'sstudio and JULIE's office. MONKEYBONE STRIPS are scattered across thedrafting table. ALICE is making up the sofa as a guest bed.As she's hanging her coat in the closet she comes across an ACRYLICCANVAS in the back, stashed behind a battered portfolio and a box fullof spiral-bound sketchbooks. She pulls it out. She's obviously disturbedby it, but she can't tear her eyes away...She's still gaping at the painting when JULIE enters in a terryclothrobe. ALICE Who did this? JULIE Stu. That was right about the time we met. ALICE When he first came in to the sleep lab? JULIE Yeah...before your time.The canvas depicts a group of SURGEONS with the faces of wolves. They'restanding over a HUMAN PATIENT, replacing his internal organs withMACHINE PARTS. The style is at once cartoony and unsettling. ALICE Jesus, honey...he always joked about you curing him, but I never realized what you cured him from. JULIE He hadn't gotten a good night's sleep in years. The nightmares would wake him up, and he'd start right in painting... (chuckling) That boy looked like pluperfect hell.ALICE's gaze goes from the nightmare paintings to the MONKEYBONE stripstacked up over the drafting table. ALICE How do you get from here - to there? JULIE Switch hands. ALICE What? JULIE I'm serious. It was bicameral disjunction - right brain and left brain out of balance. He was a rightie, so I made him switch the pencil to his left hand. Just to see what'd come out.A smile comes to JULIE's face. She settles in on the floor beside ALICEand digs through the various portfolios until she comes up with aquickie CARTOON on the back of a napkin - the prototype for... ALICE Monkeybone? JULIE Left-handed, he was funny. He'd been doing all this scary, intense work...then he found out he could draw this stuff, and make me laugh, and he liked that. (shrugging) And then the nightmares just...stopped. ALICE Wow - two guys in the same brain. - Which one did you fall in love with?JULIE smiles at the cartoon. She isn't telling. JULIE I've put a ton of work into that boy, Alice. I am not going to let him get away from me.INT. ICU - MORNINGJULIE, in her white lab coat, wanders through Intensive Care and finds aWOMAN hunched over STU's bed, BAWLING HER EYES OUT. JULIE Kimmy...?KIMMY looks up. She's crying so much she can barely recognize JULIE. KIMMY Oh, Julie...my poor Stu...my poor baby brother... JULIE When'd you get in? KIMMY An hour ago. (gathering herself) I tried to prepare myself, but I didn't know he would be like, like this. I can't even bear to look at him... How about you? You're okay? JULIE I'm fine, Kimmy. Fine. KIMMY I had so much I always wanted to say to him. At least he had a chance to give you the ring. JULIE The ring... KIMMY Grandmama's ring. The engagement ring. He asked me to send it to him -JULIE turns to look at STU in the bed. The certain knowledge that he wasabout to propose is like a knife in her heart. KIMMY feels bad as well,having let the cat out of the bag, but before they can hash it out - VOICE FROM BEHIND Mrs. Brewster? Julie? I'm Dr. Edelstein.Cheery DR. EDELSTEIN enters. He shakes hands with the women, then checksSTU's readouts, making notations on his clipboard. DR. EDELSTEIN Vital signs have stabilized. That's good. KIMMY Can you give us a realistic sense of my brother's chances? DR. EDELSTEIN He's held on this far. We can't do much but wait and see. KIMMY But these...machines are what's keeping him alive, is that right?This remark sends a shiver down JULIE's spine, but she keeps silent. DR. EDELSTEIN At the moment, yes. KIMMY Can you give me a realistic idea...of how long this is going to last? DR. EDELSTEIN Comas are unpredictable. He could wake up today, tomorrow, a month from now... KIMMY Honey, I have to clarify this. The thing is, Dr. Edelstein, my brother has an absolute horror of doctors - hospitals - needles - all of it - JULIE Kimmy, he doesn't know what's going on. He doesn't even know he's in a - KIMMY Please, Julie. This is not easy for me. Our father took a long time to die. A long time. It just about killed us all. And Stu and I made a pact that when our time came - we wouldn't let it drag out. JULIE It's too soon even to - talk about that! KIMMY Give me a date, Doctor. DR. EDELSTEIN Three months. (pause) There's always some brain damage. But at three months...the chances of coming back shrink dramatically with every day. KIMMY I want him to have every chance, Doctor. We can certainly give it...three months.No one says anything. But both women look at STU, and then at eachother, and everyone knows exactly where everyone else stands. JULIE hasa sinking feeling that STU is working on a 3-month deadline. DISSOLVE TO:INSERT - TELEVISION SCREENA beauty pageant - shapely INGENUES in EVENING GOWNS being introduced byan EMCEE with enormous teeth. EMCEE And now the last of our five finalists...Miss Michigan...GEORGE T. WILLOUGHBY!GEORGE is a pudgy shmoe with a small pencil mustache who's wearingglasses, a necktie, and NOTHING ELSE. He steps forward, holding abriefcase in front of his crotch, looking EXTREMELY MORTIFIED. EMCEE And now George will give us his analysis of Heisenberg's Uncertainty Principle as it pertains to third-world economics!!CAMERA PULLS BACK - and we realize we're in:INT. COMA BAR - NIGHTwhere BULL the BARTENDER and a number of PATRONS are watching GEORGE'snightmare on the TV mounted over the bar.Onscreen, NUDE GEORGE is sweating bullets. He has no idea what to say,and the audience is beginning to laugh at him. In a desperate, feebleattempt to buy time...he begins to SING. GEORGE I'm gonna wash that man right outta my hair!In fact he goes into a little softshoe, keeping the briefcase poisedover his crotch. Unfortunately, THE CASE POPS OPEN, dumping frillyLINGERIE all over the stage. The weeping GEORGE must crawl around on allfours to retrieve it...By now the onlookers at the bar are CRACKING UP. All except one - thelonely, disconsolate fellow on the last stool, nursing a martini - STU. BULL Hey, Stu, why so glum? Everybody loves a good humiliation nightmare. STU Three months, Bull. Three months tonight. Three months since the accident - and I'm no closer to going home than I was then. BULL Aw, buck up. Have another 'tini. STU I'm sick of martinis. I'm sick of the waiting, and the carnival rides, and watching people's nightmares. And of course, I need not add -He GRIMACES at MONKEYBONE, who's stretched out atop the mighty Wurlitzerat the other end of the room. The MERMAID CHANTEUSE is singing aDietrich number, "The Laziest Gal in Town" - or at least trying to,because MONKEYBONE is caterwauling behind her. By the time she gets tothe grand finale, he's practically BAYING AT THE MOON.Pissed off, she SHAKES her FIST at MONKEYBONE and pulls the lid of herclamshell SHUT. This suits MONKEYBONE just fine, as it leaves him alonein the spotlight to soak up what little applause there is. MONKEYBONE Thank you, thank you for that very modest response. I know you're all in comas, but still. And now...it's dedication time!He gestures to JUMBO, the elephant organist, who begins to vamp. MONKEYBONE We've got a special dedication tonight. This one's from my ever-lovin' boss, Mr. Stu Mopey - I mean Miley - and we're sendin' it up to a very special lady in the land of the living. Yes, I do mean Julie - the beautiful Miss Julie - who, if she has a brain in her head, is shacked up right now with some good-lookin' doc she met in the E.R.! (pointing at STU) JUST KIDDING, BUDDY! Because if we know anything about Miss Julie, we know she is faithful, loyal, and true. Even if her boyfriend is an eggplant. Which is why we're dedicating...this very special tune...to her. Jumbo?JUMBO's tasteful vamping gives way to a RAUNCHY ROCK BEAT - andMONKEYBONE begins STRUTTING across the top of the piano, bumping andgrinding and shaking his booty to the tune of - MONKEYBONE MAH baby does the Hanky-Panky! UNHH! MAH baby does the Hanky-Panky! UNHH!MONKEYBONE sings the same poignant line over and over until STU comesstorming over from the bar and YANKS HIM off the Wurlitzer by the scruffof his scrawny NECK.A trouper to the end, MONKEYBONE WAVES at the crowd even as STU dragshim off to an empty table in the farthest corner of the room. STU You have humiliated me in public for the last time. MONKEYBONE I doubt that. Besides, I can't help myself. I'm just a figment of your imagination. STU Then you can learn to act normally. I had to! MONKEYBONE Aw, come on. You know you love me. You're a masochistic pain freak. You gotta love me. STU I am not. And I don't gotta.MONKEYBONE waves and winks at every female who passes by. STU whacks himupside the head. MONKEYBONE You are too! Mooning over Julie when we could both be gettin' some o' this fine local action. It's not like she's gonna know. Out of town, under five minutes, and in a coma don't count. STU Sorry. The women here aren't my type. Most of them aren't even my species.Cocktail waitress KITTY, a seven-foot cat-faced feline sex bomb, arrivesin her skimpy black dress and shows STU a Cheshire-cat grin. MONKEYBONEreclines, Odalisque-style, on the table. MONKEYBONE Hellooooooooo, Kitty. KITTY Hiya, Stu. Refill on that martini? MONKEYBONE I'd like something with an umbrella in it and a really smutty name. Like a...Sex Behind the Sofa with Your Parents in the Same Room Watching "The Brady Bunch." STU Nothing for him! He's being repressed. KITTY Is something wrong, Stu? You seem so tense. MONKEYBONE Aaah, it's the same as always...poor mope's just wishin' he was me. STU I've been trying to get through to the head guy - the nightmare god - what's his name? KITTY Hypnos? STU Yeah. To see if he could expedite my case. But I wait, and I wait, and...I'm starting to think I'll never see her again.A softie at heart, KITTY sits across from STU and takes his hand. STU I shoulda proposed, Kitty. That way at least she'd know how I feel. That way she'd...wait for me.She leans forward sympathetically. From this particular vantage,MONKEYBONE has an unobstructed view of KITTY's cleavage. And so does STU- although he's not quite as obvious about staring. KITTY She is waiting for you, Stu. I know she is. Guys like you don't come along that often. Believe me, I know.MONKEYBONE slinks over behind STU - up onto his shoulder - and whispersinto his ear: MONKEYBONE My Fellow Americans. I have a dream. Let us boldly go where no man has gone before. STU (trying to ignore him) I'm sorry, Kitty - what were you saying? KITTY I mean it, Stu. You're one in a million.KITTY is holding the cleavage pose for an unnaturally long time. Herfurry tail begins to swing back and forth playfully in the air. It'shypnotic - like a windshield wiper.STU stares at it. MONKEYBONE stares at it. And MONKEYBONE'S TAILresponds by straightening...stiffening...bending upward slightly. STU I'm not so special. I'm just - kind of -STU is suddenly aware of something LONG, RED, and WET unrolling onto hisshoulder. It's a TONGUE...dangling out of MONKEYBONE'S OPEN MOUTH. STUlets out a YOWL OF SHOCK.Blushing bright red, he GRABS THE TONGUE and shoves it manually backinto the monkey mouth whence it came. MONKEYBONE Come on, pal! It was a compliment! You'da done the same if you had the equipment! STU THAT DOES IT! BACK IN THE PACK! MONKEYBONE FORGET IT! NO WAY! I'M NOT GETTING -STU LUNGES at MONKEYBONE - who JUMPS OVER HIM, BOUNDS off the edge ofthe table, and grabs hold of a CHANDELIER. MONKEYBONE I'm reportin' this to my union!! STU What union? MONKEYBONE The sidekicks' union! Me, Tonto, and Robin the Boy Wonder. You top bananas better watch your ass!STU grabs a CHAIR and swings it at the chandelier. MONKEYBONE makes aseries of SUBMARINE NOISES - MONKEYBONE DIVE! DIVE!!- and DIVES - directly between KITTY's breasts into her skimpy blackdress!! STU circles around KITTY, following the undulating monkey-sizedBLOB that's tunnelling around under her dress. Finally MONKEYBONE popsout of the BACK of the dress and NUZZLES KITTY'S EAR: MONKEYBONE I left my phone number in your undies. Try not to lose it in traffic. STU Sorry, Kitty! I'll be right back after I choke my monkey.MONKEYBONE runs under the pool table. STU is giving chase when -suddenly - a DOOR blows open in the chill night wind.EVERYONE IN THE BAR freezes in place.For there, in the doorway, is a looming, ominous figure - the mostdreaded figure in all of Dark Town -- a GRIM REAPER, nine feet tall and swinging a scythe, come to take somehapless coma victim to the land of Death!EERIE WINDS WHISTLE and the shroud FLUTTERS in the night breeze as theREAPER looks from face to face. For a moment he focuses on STU. STUbacks away involuntarily, with a mounting sense of dread...andMONKEYBONE jumps into his arms, clinging to him fearfully.But the REAPER moves on - past each COMA VICTIM in turn - finallySTOPPING in front of a TINY, WIZENED, PRUNELIKE OLD GENT in awheelchair, who looks to be 110 years old at least. MONKEYBONE Him. Whew. About time! REAPER EARL BIEGLER. I'VE COME - EARL Can't hear you, young fellow. Speak up! REAPER EARL BIEGLER, I'VE COME TO GIVE YOU - aw, hell. Here.GASPS OF ANTICIPATION all around the room as the REAPER hands EARL along white ENVELOPE. EARL opens it slowly and removes......an oversized rectangular TICKET...the size of a Hershey bar, made ofSOLID GOLD, with the letter "E" stamped upon it.VARIOUS CHARACTERS around the barroom react, in hushed voices: BULL An E-Ticket! PATRON He got a reprieve. KITTY Good for him! He's gonna wake up!EARL throws his crutches aside, jumps out of his chair, and DANCES AJIG, waving the ticket over his head. STU stares at him with naked envy. STU No. No. Not him. EARL So long, suckers! See you in the funny papers!EARL does an end-zone dance toward the door. One by one, OTHER PATRONSget up from their seats to watch EARL's departure.EXT. COMA BAR - STREETS - NIGHTThe COMA VICTIMS shuffle toward a BIG RIDE across the midway.It's a "TEST YOUR STRENGTH" machine - the kind where you slam down amallet and try to ring the bell. It's surrounded by crocodile moats andstorm fences and electrified barbed wire, and a big sign reading PRIVATE- NO ADMITTANCE.EARL, still jubilant, inserts his E-ticket into a receptacle at theentrance. A DRAWBRIDGE LOWERS, and CAROUSEL MUSIC cranks up, andCARNIVAL LIGHTS blink on, and FIREWORKS rocket into the sky...All around them, faces turn skyward. CLOUDS are parting. An EDDY ofswirling colors is forming DIRECTLY ABOVE the E-ticket ride - and aPINPOINT HOLE opens up at its center.The "TEST YOUR STRENGTH" machine has been outfitted with a SEAT wherethe bell-ringer should be. Once EARL has settled in, a GIANT MECHANICALMAN lifts its enormous mallet......and SLAMS IT DOWN on the lever end of the machine, sending EARLROCKETING UPWARD toward the hole in the sky. DING!! The SEAT hits theBELL, but EARL keeps going - up - up - UP...Then, with a distinct POP, he's gone. Over the rainbow...home. STU He's ninety. He's practically dead already. How come he goes back and I stay here? MONKEYBONE Maybe he wanted to pick out his own casket? STU (turning abruptly) HEY!! HEY, YOU!!STU marches across the street to the GRIM REAPER - who's climbing ontohis WINGED BICYCLE and seems shocked that anyone would want to chat withhim. MONKEYBONE scurries alongside, terrified. STU He got an E-ticket. Where's mine? When do I get to wake up?? MONKEYBONE Stu? Stu? Let's not disturb the nice Reaper. STU I've been stuck down here for months. Somebody had better start paying attention, or I'm gonna - I'm gonna kick ass! MONKEYBONE Let's not kick the nice Reaper's ass.MONKEYBONE practically swoons. But the REAPER just stares at STU: REAPER SORRY, BUD. OFF-DUTY.The REAPER climbs onto his winged bike and PEDALS OFF down the midway.STU lets out a HOWL OF FRUSTRATION. MONKEYBONE Stu? Stu? Let's calm down, talk things over. How about some comedy relief? Okay. Brontosaurus walks into a gay bar...STU BOOTS MONKEYBONE aside. They're at a GAME STALL manned by Elsie theCow - the one where you throw baseballs at milk bottles. STU picks up abaseball and HURLS IT at the departing REAPER.The ball hits the REAPER smack on the head, knocking him off his bike! STU/MONKEYBONE (in unison - impressed) Damn.MONKEYBONE cowers in fear as the REAPER gets up, shaking a fist at them.But STU isn't intimidated. He grabs another ball and winds up. MONKEYBONE Stu? Stu? I think weve got this backwards. Your behavior...is disturbing me.The REAPER, scared shitless, jumps back on his bike and PEDALS OFF asthe ball whizzes past. STU starts chasing after him!The REAPER turns down a side street and pedals up an incline - one ofthe "fingers" of the hand that holds Dark Town. When the bike hits theend of the finger, it TAKES OFF into the void and KEEPS ON GOING. STU That's right. Run! And don't come back unless you've got my e-ticket!!The REAPER vanishes. STU sits dejectedly on the edge of the curb. STU Who am I kidding? I'm never gonna get out of here. I'll never see her again.Just then, a multi-armed MESSENGER BOY in royal livery toodles past on aCHILD'S SCOOTER. He stops... MESSENGER BOY Miley? Stu Miley?STU looks up. Six arms reach into six pockets. Finally the MESSENGERfinds an ENVELOPE and hands it over. Inside is an ENGRAVED INVITATION: YOU Are Invited to a PAJAMA PARTY at HYPNOS' HIDEAWAY Penthouse Suite - 10 PM Sharp "If You Snooze, You Lose"STU'S EYES widen with excitement as the MESSENGER scoots off. STU Hypnos! The god of nightmares! Do you know what this means, Monkeybone? He's finally going to hear my case. I'm going home! DISSOLVE TO:INT. STU'S PRIVATE ROOM - MORNINGAs she's done every morning for the last three months, JULIE brushesSTU'S TEETH. Although she looks a bit more worn and haggard than when wesaw her last, she always affects a cheerful manner around STU - on theoff chance that he might be aware of her presence.She packs the toothbrush away, runs a hand along his stubbly cheek. JULIE I think we can go another day without shaving. Long as you don't look like you're growing one of those stupid little goatees.She opens up the entertainment section of the daily newspaper. JULIE Hey, there's an article about the Monkeybone show. They've run that one episode about eight times now. Herb says it gets higher ratings every time...they're hoping you'll give 'em some new material soon... (long, bored pause) Wanna hear another joke?She refolds the paper and reaches into a bedside drawer for a paperbackentitled The Book of Raunch. She pages through it for a moment. JULIE Okay...let me see...here we go. A plane full of explorers crashlands in New Guinea; they are captured by a cannibal tribe and taken to the chief's hut, where...wait a minute. I know this one... (reading ahead) You stinker! You swiped this joke for a Monkeybone strip!She whacks him on the arm with the book. No response at all. JULIE Okay. Let's try again. Why did the pervert cross the road?The sound of SOBBING interrupts her joke. She looks up and sees KIMMYstanding in the doorway, red-eyed and crying. JULIE Kimmy! What's the matter? KIMMY This is hard for me, Julie...very hard...but it's been three months now, and... (long pause) I gave the order.JULIE just stares at her for a beat or two, refusing to understand. Thenit sinks in. Her hand goes to her mouth in horror and grief. FADE THROUGH TO:EXT. HYPNOSPIRE - ESTABLISHING - NIGHTCAMERA TRACKS up the seemingly endless length of the HYPNOSPIRE - up,up, THROUGH a heavy layer of clouds, to the ROTATING PENTHOUSE DOME ofthe building......which is festooned with oodles of 18-INCH DSS SATELLITE DISHES.INT. HYP'S HIDEAWAY - NIGHTELEVATOR DOORS open, and we glide into the swank, swingin', space-agebachelor pad of HYPNOS, God of Sleep. A giant flying CUPID welcomes us,tiny bumblebee wings somehow keeping his vast bulk aloft.HYP'S HIDEAWAY occupies the entire penthouse floor, and there's always aparty in full effect. A rotating disco ball flashes colored light onwalls, floors, and ceilings covered with shockadelic OP-ART PATTERNS. MONKEYBONE Now this...is livin'.Of course, a party needs party animals - and the DARKTOWNERS on thescene are in fine fettle, working up a sweat on the dance floor. DJSLEEPY ZZZ'S has three turntables spinning at once.As STU wanders through, he gets a big surprise. Reproductions of his oldNIGHTMARE PAINTINGS are hanging on the walls! They've been turned intoONE-SHEETS for the coming attractions at the Morpheum. MONKEYBONE Y'call that art? Why, my three-year-old can paint better than that. STU Like you'd know. You started out on the back of a napkin, you little...doodle.Scowling at each other, the boys turn their backs and part ways. Wefollow MONKEYBONE to the wet bar, where he almost immediately bumps intoa statuesque GORGON with a full head of writhing SNAKES. MONKEYBONE Hey! Like the do. So tell me, are you a, uhh... natural snakehead? GORGON Only fifty dollars to find out. MONKEYBONE Fifty dollars?! Bite me! GORGON You got it, big boy.He grins and shrugs: what the hell. As they head for a back room, theBARTENDER hands him a SNAKEBITE KIT.A look of apprehension crosses MONKEYBONE's face. But before he canchange his mind, the GORGON'S HAND yanks him out of frame.STU, meanwhile, is crossing the dance floor, moving among glitteringanimal-people who DANCE in their bizarre, uninhibited way. A FIVE-LEGGEDWOMAN - the bottom half of her body a big human HAND - SMILES at STU ashe passes. He tries to talk to her, but she's dancing, and with fiveconstantly moving legs it's difficult to get in close. STU Say, have you seen Mr. Hypnos? HAND WOMAN Hyp? He was here a while ago. Aren't you Stu Miley? The nightmare guy?STU grins meekly, nods yes. She pulls him over to dance. HAND WOMAN I heard you were going to be here tonight. This is so cool!JUMBO the ELEPHANT GOD is dancing in ungainly fashion nearby. His trunkswings out and hits one of the HAND WOMAN'S arms - which SNAPS OFF likemarble statuary. Before she can let out a squeal, he does it again. Nowshe's armless - a regular Venus de Milo! HAND WOMAN You fat slob! Watch what you're doing! JUMBO Why don't you slap me? Go on, slap me! HAND WOMAN Come on, Stu. Let's go where the real fun is.She leads him over to the sunken living room. Among the other guests, wesee a CYCLOPS, a YETI, a BBQ PIG. A number of sofas and lounge chairsare arranged around a big crystal ORB in the center of the room.The ORB is where nightmares happen. Although the perspective shifts andthe locales change abruptly, as in a movie, all the nightmares have a3-D quality - as if they're taking place right here in the room with us! STU Wow. Live feed, huh? HAND WOMAN You bet. Hyp gets all the best stuff before it goes out to the theatres.STU grins in anticipation. He finds an empty chair and starts to sitdown - but there's a SLUG with a MAN'S HEAD already in it! SLUG WITH A MAN'S HEAD HEY! STU Sorry.STU picks another seat. The HAND WOMAN sidles up alongside him. HAND WOMAN Shh! There's a new one just starting.EXT. FIELD OF FLOWERS (NIGHTMARE ORB)In long shot we see a handsome young couple dressed in paisley prints.Emerging from a sylvan glade, they kiss in golden sunlight. Then the MANbreaks free - sprints through knee-high sunflowers to the middle of thefield, where a picnic blanket is waiting.CLOSEUP - STUHIS FACE GOES PALE as he recognizes the man in the paisley shirt. STU That - that's me. CYCLOPS Nice shirt, dude!EXT. FIELD OF FLOWERS (NIGHTMARE ORB) - DAYPaisley-shirted STU pours champagne for two. Toasts his beloved - whois, of course, JULIE, the dreamer of the dream.He pulls out a little velvet RING BOX and offers it to her. But when shetries to take it, he pulls it away, teasing her, and STEALS A KISS.Suddenly the two of them are locked in a tight embrace, rolling togetherthrough the flowers, LAUGHING, full of joy.INT. HYP'S HIDEAWAY - THAT MOMENTThe DARKTOWNERS are rubbing their hands together in anticipation ofhorrors to come. STU looks from one misshapen face to the next, hisheart pounding with dread. STU What is this? Who's dreaming this?? (beat) Julie?? YETI Hey, keep it down!EXT. FIELD OF FLOWERS (NIGHTMARE ORB) - DAYJULIE rolls onto her back on the grass, FACE AGLOW. Only to realize...that STU IS NO LONGER THERE BESIDE HER.She looks around. Gets to her feet. Turns. And the BACKGROUND behind herMORPHS suddenly into...INT. HOSPITAL ROOM (NIGHTMARE ORB)The room is decorated for a FAREWELL PARTY, complete with streamers andconfetti. KIMMY, DR. EDELSTEIN, various MEDICAL PERSONNEL and FRIENDSare wearing party hats, lifting champagne glasses in a toast to theguest of honor...the comatose Stu!INT. HYP'S HIDEAWAY - THAT MOMENTThe DARKTOWNERS clustered around the orb can barely conceal their animalexcitement. It's obvious that the nightmares they're watching are morethan mere entertainment - they get some kind of addictive, visceralcharge from the spectacle of human terror. STU JULIE!!He tries to push his way forward to the orb. An angry CYCLOPS elbows himaside. A YETI grabs his coat and pushes him out of the way. HAND WOMAN Stu!! What are you doing? Chill out!!INT. HOSPITAL ROOM (NIGHTMARE ORB)COMATOSE STU stands in the center of the room, UPRIGHT and IMMOBILE in aparty hat. A weird UMBILICAL CORD extends from his navel to a hugegroaning BELLOWS DEVICE - like an artificial lung, it's all that keepshim breathing.EDELSTEIN hands a pair of OVERSIZED CEREMONIAL SCISSORS to KIMMY, andshe CUTS THE CORD, as if opening a new mall. Applause all around. JULIEraces toward STU in slo-mo, SHRIEKING -- as he DEFLATES into a LIMP PUDDLE OF FLESH before her eyes!! JULIE No. No. STU!INT. HYP'S HIDEAWAY - ON STUJULIE's distress is killing him. Yet all around him, DARKTOWNERS arecackling their heads off, growling, howling, punching their fists in theair like rowdy drunks at a football game. He LOSES IT ALTOGETHER. STU JULIE! I'M HERE, DOC! DON'T LET THEM PULL THE PLUG! I'M HERE!!!He won't be stopped this time. He makes for the orb - climbing oversofas, pushing guests aside, knocking over their drinks - CYCLOPS HEY! Watch it, you stinkin' gringo - STU JULIE! I'M HERE! I LOVE YOU!Somehow, JULIE has heard him!! Down in the nightmare orb, her dream selfis looking UP, trying to locate the source of STU's disembodied voice!He struggles to reach the orb, but the CYCLOPS is holding him back. JULIE Stu? STU...?STU breaks free and FLINGS HIMSELF on the ORB - which SHORTS OUT in ahaze of smoke and sparks, abruptly ending the nightmare. JULIE's imagevanishes - and STU gropes at the air, DESPAIRING.INT. STU'S PRIVATE ROOM - NIGHTThe real JULIE awakens suddenly and lets out a scream of her own. JULIE STU!!!!Only now does she realize where she is. She's fallen asleep in thevisitor's chair next to STU's bed. The clock on the wall reads 1:15 AM.STU'S READOUTS are spiking like crazy.INT. HYP'S HIDEAWAY - THAT MOMENT - NIGHTSTU is being dragged across the dance floor by the YETI and JUMBO THEELEPHANT GOD. HAND WOMAN brings up the rear. JUMBO Who invited this schmuck, anyway? HAND WOMAN Oh, it's my fault. I thought he was cooler than that. STU Listen. Please. It's my girlfriend. I've gotta get a message to her...But just then a hush falls over the room, and someone screams... WOMAN'S VOICE HYP!!!A WALL PANEL does a 180-degree turn, and a CIRCULAR BED rotates into theroom. Languishing atop it, garbed in a silk robe which exactly matchesthe black & white checkerboard pattern of the bedspread......is a CHUBBY, GRINNING, SLEEPY-EYED SATYR, with horns and hooves. TWOWASP WOMEN are with him on the bed, brushing his furry goat legs andfeeding him grapes.As STU fights his way over, he sees an odd LUMP wriggling under thebedcovers. Out pops MONKEYBONE, clutching a bottle of champagne! MONKEYBONE I knew I left it in there somewhere.He shakes the bottle, pops the cork, and SPRAYS SPURTING BUBBLY atHYPNOS, the GIRLS, and everyone else within firing range! HYPNOS Haw! I like a monkey with vision! MONKEYBONE You said it, partner!Hilarity all around. STU snatches MONKEYBONE off the bed - STU How'd you get in there? MONKEYBONE Stu... It's a party. STU Mr. Hypnos - sir - I needed to talk to you - HYPNOS Wait a minute. Stu Miley, right? Boys and girls ...Mr. Stu Miley, in the house! (leading a round of applause) This is an honor. We see a lot of nightmares down here, but yours are like caviar, man. You da shits!! STU Mr. Hypnos, I saw a dream. My girlfriend was having it. She dreamed they were pulling the plug on me. She was watching me die. HYPNOS Uh huh. And? STU Well, I have to get a message to her. I have to let her know I'm okay. Until I can get out of here...A vaguely embarrassed look crosses HYPNOS's face. All the nearbyDARKTOWNERS stare at their shoes, clear their throats. STU ...which is actually what I wanted to talk to you about. See, I've been here three months -With a brusque gesture, HYPNOS sends the party girls packing. He slingsone arm around STU's shoulder and pulls him aside. HYPNOS Kid - didn't they tell you about this party? STU Tell me what? HYPNOS It's a special kind of party. A farewell party. Do you...get what I'm saying? STU Farewell? You mean - you mean I'm -STU EXPLODES WITH JOY. He practically dances a jig. STU I'M GOING HOME! I'M WAKING UP! HEY, EVERYBODY! I'M OUTTA HERE. I...One by one, the celebrants turn their backs and slink discreetly away. STU I think I...I'm about to... Am I mistaken, or don't I get to... Is there some... HYPNOS Y'see, Stu, as I understand it, you made this pact with your sister...no life support?MONKEYBONE's jaw drops. He slaps himself across the forehead. MONKEYBONE Pact? Pact? NO LIFE SUPPORT?? STU Well - yeah - but that doesn't...apply. It was different then. I was depressed. My life is great now. I'm in love!MONKEYBONE marches back and forth across the bed, wearing a dimwit'sexpression as he MOCKS STU in a singsongy voice... MONKEYBONE Pull the plug! Pull the plug! Take my organs! I don't need 'em! I don't need no! Life support! I'm an idiot! Pull the pl--STU grabs the monkey and clamps a hand over his mouth. STU Besides, Julie wouldn't...she'd never... HYPNOS Actually, Stu, Julie doesn't get to decide. That's why she was having the nightmare. (an embarrassed shrug) They're pulling the plug at nine AM. STU Nine AM! But that's - twelve hours.In checking his watch, STU removes his hand from MONKEYBONE's mouth. Thesingsong resumes... MONKEYBONE I'm so dumb! I deserve to die - STU Mr. Hypnos, you run this place. I'm begging you. There's gotta be something I can do. HYPNOS Stu, I like you personally, I admire your work, but I'm just the God of Sleep. This is Death's bailiwick. STU Maybe you could talk to Death! HYPNOS Me? Me, go crawling to Death? My friend, it will be a cold, cold day in Las Vegas, Nevada, before I go crawling to that piece of -HYP shuts up. Looks around the room, as if he's afraid of beingoverheard. Then he gestures to the boys to join him on the bed.They climb aboard eagerly. HYPNOS hits his remote...INT. HYPNOS'S BEDROOM - ON BED...and they rotate AWAY from the party. Privacy at last. HYPNOS Now Death is not what you would call a people person, like me. Death is a putz - and I should know. I'm his little brother. STU You're Death's brother? HYPNOS Oh yeah. Mr. By-the-book, Stick-Up-the-Ass, My- Way-or-the-Highway Death. Believe me - over the course of eternity, you get pretty damned tired of that schtick. (spreading his hands) So I need a job. He sticks me in this broke-down amusement park, with a buncha animals to run it. I'm supposed to be grateful? MONKEYBONE The penthouse is pretty swank, though. HYPNOS Thank you. I decorated it myself. STU Guys, I don't mean to be rude, but I only have eleven hours and fifty-three minutes to... HYPNOS Oh, right. Cheating Death. There's one thing you might try. Only one guy in history ever pulled it off. Well, actually two. Actually, no, there was that other guy who...well, very few people have done it. STU Hyp, I'll do anything. MONKEYBONE Me too. And I mean anything. Ask the chicks in the back room. HYPNOS You've seen those E-tickets, right? Well, what you gotta do...is go into the Land of Death... and steal an E-ticket right out from under Death's nose. STU Land of Death. How do I get there? HYPNOS Kid, listen: that's all I'm saying. And you didn't hear it from me.HYP hits the remote. The bed begins to ROTATE OUTWARD again. HYPNOS You've heard of a fate worse than Death? That's what's waiting for you if you screw up.INT. HYP'S HIDEAWAY - A MOMENT LATERHYP gives the boys a wink and a thumbs-up, then wanders off to shmoozehis other guests. MONKEYBONE shakes STU's hand. MONKEYBONE Fate worse than death! Well, it's been real, boss, but I gotta go buff up my resumÈ. ANYBODY HERE NEED A FIGMENT? STU Fine! Don't put yourself out. I'll go to the land of Death alone. MONKEYBONE Stu, you have my absolute confidence. ≠- DEAD MAN! DEAD MAN WALKING!! STU (grabbing him by the throat) I've got one chance to get back to Julie, and I'm gonna take it - with or without you.He turns and stalks off. MONKEYBONE stands there blinking. MONKEYBONE Hey. Aren't you gonna talk me into it? STU No. Goodbye. Thanks for nothing.Stunned, MONKEYBONE scurries along behind him, PLEADING. MONKEYBONE You gotta talk me into it. You'll screw up on your own. I mean, a guy's gotta have a sidekick. For moral support! Wisecracks - snappy banter - (wrapping himself around STU's leg) It's the land of Death, Stu, the Land of Death! Don't go in there without your comedy relief!! STU All right. You can come. MONKEYBONE OH, THANK YOU! THANK YOU! TH-- (suddenly realizing) Something went very, very wrong here. STU Now we just gotta figure out how to get there.As if in reply, a PALE, SPECTRAL PRESENCE comes drifting across thedance floor - an eight-foot-tall GRIM REAPER.The boys duck behind a POTTED PLANT to watch as he zeroes in on the WETBAR - where a beautiful coma victim, LULU, is drunkenly making out withanother sloshed corpse-to-be, FRED. REAPER LULU LA RUE. I HAVE COME FOR YOU.LULU doesn't notice. She continues grappling with FRED. Muttering, theREAPER dives in and tries to disentangle them. REAPER LULU LA RUE, I HAVE COME FOR - LULU Shay, you're kinda cute.She ditches FRED and throws her arms around the REAPER. Repulsed, hepushes her away, props her against the nearest wall -- and TOUCHES HER with one bony finger above the heart! It's likethrowing a switch. Her body stiffens. Her EYES cross. Her TONGUE droopsout of her mouth. She makes a noise like a DIAL TONE.The true horror of death is that it makes you look like a total idiot.The REAPER pulls a collapsible HAND TRUCK from beneath his shroud andstarts maneuvering LULU onto it. FRED Say there. How 'bout one for the road?The REAPER ignores him. FRED holds up a cocktail glass. FRED Hold this for me, pally.The REAPER heaves a sigh and takes the cocktail glass. FRED grabs apitcher filled with some luminescent tropical concoction......and POURS IT down the REAPER's front! FRED Ooopsy daisy.ON STU AND MONKEYBONE - BEHIND THE PLANTWINCING at the REAPER in his sopping wet, pink-stained shroud. MONKEYBONE Is that what they call "death with dignity"?The REAPER wrings out his shroud and grabs the hand truck. As he wheelsLULU past the boys, MONKEYBONE pops up with a helpful hint: MONKEYBONE Two words for you, my friend: club soda.STU claps a hand over MB's mouth as the REAPER turns down a hall.EXT. DARK TOWN GATES - NIGHTThe still-muttering REAPER wheels LULU toward the entrance to Dark Town.The boys are skulking along behind him at a discreet distance. STU He's taking her to the land of Death, right? So all we've gotta do is...hitch a ride! (beat) Stop shaking! I'll protect you. MONKEYBONE Oh, sure. Mr. Action Hero! Why couldn't I be Arnold Schwarzenegger's figment?The REAPER approaches the GATES. He presses a remote-control BEEPER andthe meshing teeth of the gates slide back far enough to let him passthrough.STU realizes they've only got an instant to make their move. He DIVESthrough the gates at top speed. As soon as he's on the other side, hehears a nasty CLANG behind him...MONKEYBONE is caught - his body contorted like a pretzel, woven in andout among the meshing teeth! STU gives him a good hard YANK, and heslips out like a strand of fettuccine.They hear RUMBLING on the tracks outside. A CAR is arriving!EXT. DARK TOWN GATES - OTHER SIDE - NIGHTThe REAPER loads LULU into the little roller-coaster and climbs aboard.The car begins to move. STU and MONKEYBONE get there just in time tojump onto the LUGGAGE RACK in the back!ON ROLLER-COASTER - MOVING - THAT MOMENTThey peep over the back of the car at the REAPER and wonder what to donext. MONKEYBONE spies a TOOL KIT mounted under the rack - opens it, andpulls out a big, nasty MONKEYWRENCH.The boys nod in agreement. MONKEYBONE clambers over the back of the carand hoists the wrench. STU covers his eyes. WHANG!STU looks up - sees a confused MONKEYBONE alone in the car with LULU.Now he clambers into the car as well. STU Where'd he go?? MONKEYBONE I don't know.There's no trace of the REAPER - except for a rumpled shroud, awristwatch, and a St. Christopher's medal on the floor of the car. Theboys exchange a puzzled shrug. MONKEYBONE tries on the watch. DISSOLVE TO:INT. SLEEP LAB - PRE-DAWNThe wall clock says it's not quite 3 AM, yet JULIE has managed to roundup all her co-workers: ALICE, HUTCH, CLARISSA, et al. They're groggy,disheveled, un-made-up, unshaven. But they're there. JULIE Six hours. That's when they pull the plug. That's how long we've got to wake him up. (beat) Now these are Stu's old charts from five years ago, when he first came to the sleep lab...She points to a series of EASELS where HUTCH and ALICE have been tackingup EEG printouts, engram maps, etc. JULIE ...they show incredibly intense nightmare activity. The chart below is his new chart...The lower chart shows a JAGGED SPIKE virtually identical to the one onthe upper chart. JULIE pauses for effect - then pulls on the edge of thelower chart, OPENING IT UP like a gatefold -The onlookers GASP. Opened accordion-style, the lower chart shows theSAME SPIKE recurring again and again, TEN TIMES OVER! HUTCH Holy shit. JULIE He's stuck in a loop - a nightmare loop. (beat) Anybody here know what Oneirix is? CLARISSA Sure - it's an enzyme. The brain secretes it during violent dream activity... HUTCH It's nightmare juice. Julie and I were on the team that learned to synthesize it. If those charts are right, Stu's swimming in the stuff. (puzzled) Are you thinking we can decrease the levels? JULIE No. I want to give him more. I want to give him a massive dose. HUTCH That's not going to stop his nightmare - JULIE I don't want to stop the nightmare, Hutch. I want to crank it up. I want to take it right off the charts. I want to scare him awake.The group exchanges nervous glances: it's risky. JULIE claps her hands: JULIE All right! We have a plan. Let's move!As the group swings into action, HUTCH pulls JULIE aside. HUTCH You know, Julie, even if this works - which it probably won't - that stuff is tricky. You don't know what it'll do to his brain. JULIE What'll it do if they pull the plug? DISSOLVE TO:INT. LAND OF DEATH - NIGHTA PANORAMIC VIEW of an impossibly grand, Gilded-Age TRAIN STATION. Acentral turntable is the hub for dozens of TUNNELS, which converge likethe spokes of a wheel, disgorging long trains full of DEAD PASSENGERSfrom all over the world.Far above, in the dizzying reaches of the vaulted DOME that crowns thestation, REAPERS on FLYING BICYCLES spiral about like mosquitos,bringing dead souls to their final reward.This is Thanatopolis - land of Death - truly the end of the line.A WET SQUEEGEE scrapes across the frame - wielded by a GRIM REAPER in ajumpsuit bearing the logo of "LAND OF DEATH WINDOW WASHERS, INC." Thenoise is irritating, so a REAPER on the inside snaps the venetian blindsshut, cutting off our view.CAMERA PULLS BACK, and we realize we've been seeing all this through thewall-to-wall windows of...INT. DEATH'S OFFICE - NIGHTIt looks like the observation bridge in the nose of the Nautilus; thedecor is ornate, and the office equipment - vacuum tubes, pipeintercoms, etc. - is on loan from the Jules Verne Museum of DefunctTechnology.REAPERS are bustling about everywhere. One of them pushing a HAND TRUCKladen with oversized crates bearing the label "DEAD SOULS." REAPER Batch of souls - just back from Processing. DEATH'S ASSISTANT Put them over there with the others.He unloads the crates in a corner of the room, where SCORES of cratedsouls are already piled up. DEATH'S ASSISTANT Your Grimness? We have a new shipment - DEATH (o.s.) Yeah, yeah, yeah... I'll get to it...We can't see DEATH himself - just the back of a tall swivel chair. Withmuch creaking, it rotates around - bringing us face-to-face with...CLOSEUP - DEATHHe's not at all what you'd expect. He's a chubby-cheeked, bespectacledACCOUNTANT TYPE...a harried bureaucrat, just trying to do his job.There's something sweet, almost avuncular about him.There's an open crate of DEAD SOULS on his desk. Dead souls take theform of PERFORATED PAPER DOLLS...two-dimensional, underwear-clad,usually wearing expressions of shock. DEATH pulls a sheet from the box,detaches the dead soul, and outfits it with a cut-out TOGA.Now he places it in a big diorama - with OODLES of toga-clad soulsstaring up at a scale model of an active volcano. He throws a switch andBEAMS as the volcano spits BLOBS OF KETCHUP into the air. DEATH Last Days of Pompeii...now there was a Great Moment in Death. DEATH'S ASSISTANT If I may point out...it is 12:05...DEATH, grumbling, digs into the box and pulls out another soul. His eyeslight up. He clutches the sheet with trembling hands. DEATH I can't believe - oh, man, I - SINATRA!! Do you know how long I've been waiting for this?Sure enough, the doll on the sheet is Ol' Blue Eyes. DEATH digs in adesk drawer and pulls out a SHOEBOX DIORAMA...DINO and SAMMY standing atmicrophones, with a third, center mike conspicuously open. DEATH'S ASSISTANT Make that 12:07, your bleakness...the dispatch team is waiting...Grumpy, DEATH shoves FRANK, DEAN, and SAMMY back in the drawer. DEATH Okay, okay, send 'em in. Jeez.INT. DEATH'S OFFICE - CONTINUOUS - DAYA FLUNKY opens the office door, and a long line of REAPERS glides in.DEATH lugs an enormous musty leather-bound BOOK over to a long table. Hesnaps his fingers and WHISTLES.His pet HELLHOUND - a tiny plump weiner dog, with a HORNED DEATH'S HEADfor a face, comes skittering across the office floor and jumps into hislap. Meanwhile, the ASSISTANT turns on a chugging, card-shuffling UNIVACCOMPUTER, which spits out a length of TICKERTAPE. ASSISTANT Chakasandra Singh, New Delhi. Snakebite.DEATH checks the name against the master list in his big ledger. Hepulls out a document and puts his STAMP on it - the DEATH WARRANT. Thishe gives to the REAPER at the head of the line. ASSISTANT Mulrooney, Lavinia P., Dearborn, Michigan. Head crushed in a pants press.As the line moves along, we notice an odd-looking REAPER nearing thedesk. His gait is wobbly. His head bobs independently of the rest of hisbody. There's a big, luminescent STAIN on the front of his shroud. DEATH YOU!!!EVERYONE FREEZES as DEATH points a bony finger DIRECTLY AT the wobblyREAPER with the iridescent stain. DEATH You're the customer, okay? You're about to die. It's a big occasion. A formal occasion. And as you shuffle off this mortal coil, the last thing your eyes behold is a Grim Reaper covered with... (sputtering) What the hell is that??TWO VOICES come out from under the shroud at once: STU MONKEYBONE Cranberry Margarita. Sex on the Beach.Much COUGHING and THROAT-CLEARING from under the shroud. By now DEATH'SLAPDOG is GROWLING at the STAINED REAPER, and DEATH can't hear whatanyone is saying. He shushes the dog. DEATH ...What?? STU MONKEYBONE Salty Dog. Sufferin' Bastard.The little hellhound YIPS VICIOUSLY. DEATH whacks him on the rump. DEATH Well - whatever it is - you get that shroud to the dry cleaner ASAP! Now where were we? ASSISTANT Clarke P. Devereaux, San Francisco. Complications resulting from coma... DEATH Oh, wait. Says here he's supposed to recover.A loud chorus of "A WWWWW's" from the disappointed REAPERS. DEATH stampsthe word "REPRIEVE" on Clarke's warrant.His ASSISTANT crosses the room. In the far wall is a steel-reinforcedVAULT DOOR with a hydraulic wheel - the kind you see at banks. TheASSISTANT dials in a combination, turns the wheel, laboriously pulls thedoor open and STEPS INSIDE......returning, a moment later, with a priceless gold E-TICKET!!The UPPER HALF of the STAINED REAPER begins to gyrate wildly.CLOSEUP - ON STU - UNDER THE SHROUDMONKEYBONE is doing an agitated TAP DANCE on his head. His TAIL whipsrepeatedly across STU'S FACE.INT. DEATH'S OFFICE - BACK TO SCENEThe REAPER in front of the boys stares at the E-ticket, crestfallen. DEATH Take this to Dark Town. Sad to say, he's gonna live another forty years. (a consoling pat on the shoulder) Sorry. Nobody said this job would be easy.The ASSISTANT hands the REAPER a YELLOW MAILMAN'S POUCH containing theE-ticket. But before he can depart, the STAINED REAPER - aka STU andMONKEYBONE - jumps to the front of the line. MONKEYBONE Say, Death, just out of curiosity, could we maybe swap jobs with that other guy? See, we've been meaning to drop in on Dark Town - I mean I've been meaning to...DEATH is stunned by this unprecedented breach of protocol. The otherREAPERS in the line are ABUZZ. DEATH ...I beg your pardon? MONKEYBONE I got relatives there. I...EEP!!CLOSEUP - ON STU - UNDER SHROUDAn ENRAGED STU is yanking on MONKEYBONE'S TAIL, signalling him to shutup. MONKEYBONE, in pain, squeals repeatedly. Finally he reaches down andPUNCHES STU IN THE NOSE.INT. DEATH'S OFFICE - BACK TO SCENEThe blow sends STU staggering. DEATH and the other REAPERS look on inastonishment as the STAINED REAPER does a bizarre DANCE across thefloor, top half and bottom half moving independently. Miraculously, hemanages to right himself and regain his balance. DEATH Now what were you saying? STU/MONKEYBONE (in unison) Nothing. DEATH I'd like to have a word with you in private.He stands and gestures toward a side room. The boys follow. The littleHELLHOUND scampers out from behind the desk......and GRABS THE HEM OF THEIR SHROUD in its teeth! The boys keep onwalking, but the shroud stays behind. Somehow they go three or foursteps before they realize they've been exposed.DEATH jumps a foot in the air and SHRIEKS. PANDEMONIUM ERUPTS. DEATH IMPOSTORS!! GET 'EM!!The boys back toward the big WINDOW overlooking the trainyard. TheREAPERS close in on them, BRANDISHING THEIR SCYTHES. DEATH HYPNOS! That little twerp! He's the one who put you up to this!With a SCREECH, MONKEYBONE LEAPS into the air, BOUNDS OVER the heads andshoulders of the advancing REAPERS, and SNATCHES the yellow E-ticketpouch from the guy Death gave it to.He bounds over a table and into STU's arms, with the precious pouch inhand! DEATH lets out a great rattling BELLOW OF RAGE.His features begin to JITTER VIOLENTLY. HIS HEAD EXPLODES!!! MONKEYBONE Yowie.Nothing to lose at this point. With a CRASH, the boys DIVE THROUGH THEBIG WINDOW overlooking the trainyard!The headless DEATH gropes around blindly, waving to his ASSISTANT. DEATH Head. HEAD!!The ASSISTANT opens a cabinet containing a half-dozen identical HEADS.He pulls out a spare and screws it onto DEATH's neck.EXT. TRAINYARD - THAT MOMENT - NIGHTThe boys land hard at the edge of the trainyard. Behind them, REAPERSare shepherding a line of newly arrived DEAD PEOPLE past a sign whichreads: "PROCESSING - THIS WAY."By the time they can dust themselves off, an ALARM starts blaring.REAPERS drop what they're doing, point at the boys. Panic time!Nearby, a FLYING BICYCLE is propped up against a SIGN. Side-by-side theyrace toward the bike, each of them clutching the strap of the pouch,YANKING each other back and forth in a tug-of-war.STU's bigger. He pulls the pouch onto his shoulder, and MONKEYBONE withit. They grab the bike, climb aboard, and pedal off -- revealing the SIGN it was leaning against: "CYCLE REPAIR."EXT. TRAINYARD - ON BICYCLE - THAT MOMENTSTU pedals onto the central turntable area. The BATWINGS on the rear ofthe bike flap feebly, but the flying bike just won't fly.MONKEYBONE looks over his shoulder. A small ARMY of REAPERS, anned withscythes, is pouring into the trainyard behind them. MONKEYBONE Stu...Stu... STU IT'S NOT WORKING. MONKEYBONE There's a thing here! There's a switch!MONKEYBONE fiddles with the ignition switch. A BLACK CLOUD OF EXHAUSTbelches violently from the rear of the bike, almost pitching them offtheir seat. The batwings start to flap faster...SPUT. BLAP. The engine BACKFIRES and DIES. STU fiddles with the switch,but it's no go. MONKEYBONE Stu...LOOK! STU What? MONKEYBONE Isn't that Lulu?LULU is still sitting in her little car at the edge of the tracks, eyescrossed, mouth agape. MONKEYBONE waves brightly. Then a mob of REAPERSappears on either side of LULU's car, swarming out onto the tracks! STUstarts pedaling for his life.He makes for the TRAIN TUNNELS in the far wall of the station.ILLUMINATED SIGNS over the tunnels read: Calcutta...Hong Kong...Waco, TX...and directly ahead...Dark Town!! By now they're well out onto the turnaround. STU pedalsfrantically, BOUNCING over tracks and ties. MONKEYBONE bites hisfingernails down to the quick as he watches the column of REAPERSpursuing them onto the tracks.INT. OFFICE - ON DEATHwatching through a crooked spyglass as the boys pedal down the tracks. DEATH Now we've got 'em.Petting his hellhound, he reaches for a WALL SWITCH.EXT. TRAINYARD - HIGH ANGLEThe boys are almost at the Dark Town tunnel. The REAPERS, on foot, willnever be able to catch them. But as they pick up speed for the stretchrun, the GROUND begins to move beneath them!DEATH has activated the TRAIN TURNAROUND - the rotating platform at theend of the line which allows an engine to reverse direction. Before theyknow it, they're doing a full 180!EXT. TRAINYARD - ON BICYCLEThe boys continue to bounce down the tracks - but the tunnel entrancesseem to be SPINNING before their eyes. Before they know it, they'repedaling directly TOWARD the mob of ANGRY REAPERS!! MONKEYBONE Weren't we just here?STU jerks the handlebars HARD RIGHT and JUMPS THE TRACK he's on. HeWINCES IN PAIN as the bike BOUNCES over a series of rails... MONKEYBONE What'd I tell you? You go to the Land of Death, wear a jockstrap!EXT. TRAINYARD - HIGH ANGLEThe REAPERS are SPREADING OUT around the turntable - encircling it! STUrides around the periphery of the great turning platter, but there's nogetting off. They're completely surrounded!EXT. TRAINYARD - ON BICYCLEMONKEYBONE covers both eyes and wails in fear. But STU is rattling theignition switch, making ONE LAST EFFORT to get the bike aloft...THE ENGINE CATCHES. Trailing black fumes, the BICYCLE RISES! The REAPERSconverge in its path, and RAISE THEIR SCYTHES...But the bike JUST MANAGES TO CLEAR the tangle of scythes - leaving theREAPERS slicing at empty air!INT. OFFICE - ON DEATHThrough the big window, he sees the boys leveling off, flying toward theDARK TOWN TUNNEL. They're moments away from a clean escape.INT. STU'S ROOM - NIGHTSTU's readout monitors are registering frantic nightmare activity whenJULIE and ALICE enter. JULIE sets her purse on STU's bedside table -removes a SYRINGE and a test tube filled with PURPLISH FLUID. JULIE What's the maximum safe dose? ALICE Most we've ever used is half a CC. JULIE Five CC's.CLOSEUP - DEATHHe unlocks a RED SECURITY BOX on his wall. Inside is a TOGGLE SWITCHlabelled "FATE WORSE THAN DEATH." He flips it...CLOSEUP - THE SYRINGEThe plunger goes down, injecting fluid into STU...EXT. TRAINYARD - ON FLYING BIKEMONKEYBONE is sitting on STU's shoulder, facing backward, thumbing hisnose at the REAPERS. STU glances back as well, laughing, unable tobelieve his own good luck.Since they're both looking the wrong way, neither of them sees thesheer, monolithic WALL rising up DIRECTLY IN THEIR PATH.It's no ordinary wall. It's STU'S PAINTING - the one ALICE found in thecloset, the wolf-surgeon canvas from his scary period -- and as the bicycle SLAMS INTO IT, it begins to TOPPLE OVER - PINNINGSTU against the ground underneath!STU'S DREAMSCAPENo bike. No monkey. Just STU - who finds himself on an operating table,with the world of the painting coming to 3-D life around him. The WOLF-FACED SURGEONS are closing in on him, baring their fangs, brandishingtheir scalpels and their metallic REPLACEMENT PARTS...Suddenly the fabric of this weird reality TEARS - just like a rip in acanvas. A FURRY PAW reaches through - GRABS STU by the hand... MONKEYBONE This ain't my nightmare!EXT. TRAINYARD - JUST OUTSIDE TUNNELMONKEYBONE PULLS STU through the rip in the back of the giant toppledcanvas. The bike's there waiting. They hop aboard and pedal off INTO THEDARK TOWN TUNNEL a split-second before the REAPERS arrive to slice themto ribbons.INT. DARK TOWN TUNNEL - ON BICYCLESTU pedals so hard his heart is about to burst. He feels down at hisside - the yellow pouch containing the E-ticket is still there. TheREAPERS are clustered at the mouth of the tunnel, but they aren'tfollowing.The boys WEEP WITH GLEE. It's a miracle - they've cheated Death! DISSOLVE TO:EXT. DARK TOWN GATES - NIGHTAn exhausted STU huffs and puffs as he pedals the bike up the laststretch of track to the platform outside the gates. He climbs off thebike and stares back - it looks like the last thousand miles or so haveall been uphill. He slings the YELLOW POUCH over his shoulder... STU You saved my life, Monkeybone. I never would've made it without you. MONKEYBONE Move it. We got exactly five minutes left. STU It's just...now that I'm leaving, I feel like there's lots of things I haven't said. Who's gonna look out for you? Are you gonna be okay when I'm gone? MONKEYBONE Oh, don't you worry. I'll be fine. STU You've been a hell of a figment, pal. I sure wish I could take you home with me.The gates slide open. STU passes through. But MONKEYBONE lingers behinda moment - just long enough for one of the SINGING SPHINXES to slip hima big, nasty BASEBALL BAT. MONKEYBONE Awwww. Worried about my feelings, are you? Well, there's a new twist. STU Don't joke around, little buddy. I mean it. I really do love y--He turns - and MONKEYBONE MARK McGWIRES HIM upside the head! STUcrumples in a heap... MONKEYBONE Love you too. Boss.Laughing maniacally, MONKEYBONE STEALS the E-TICKET and goes RACING OFFDOWN THE MIDWAY!!STU'S HEAD is swimming. It takes him a few seconds, but he gets to hisfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,STU'S WATCH reads 8:59 AM!!! STU Stop! Monkeybone! Please!!EXT. DARK TOWN PLAZA - NIGHTThe STREETS ARE LINED with Darktowners ROOTING MONKEYBONE ON as if he'sthe hometown favorite in a big footrace. Which he is.MONKEYBONE reaches the E-TICKET RIDE - drops his E-TICKET into thereceptacle at the gate. The drawbridge lowers...As STU sprints down the street, the SNAIL MAN oozes into his path - andTRIPS HIM! Before he can get up, cackling DARKTOWNERS converge on him -forcing him back to the ground and HOLDING HIM THERE. STU NO! DON'T YOU UNDERSTAND?? HE'S GOT MY E-TICKET! HE'S GOT MY - HYPNOS Sorry, Stu. It's all part of the deal. We've got big plans for that body of yours!EXT. E-TICKET RIDE - ON MONKEYBONEThe familiar miasma of COLORS is beginning to swirl in the night skyoverhead. MONKEYBONE straps on a NEEDLE-TIPPED HELMET which makes himlook like a simian DART. Then he climbs into the seat of the TEST-YOUR-STRENGTH machine and braces himself for the big ride!EXT. DARK TOWN PLAZA - THAT MOMENT - RIGHTONLOOKERS APPLAUD as the robot lifts its mallet and LETS FLY. DING!! Thetiny figure of MONKEYBONE soars toward the swirling colors. His DART-HELMET strikes the black hole dead center.STU WATCHES HELPLESSLY as MONKEYBONE penetrates the veil of the sky andVANISHES. He's still SCREAMING when the cackling DARKTOWNERS drag himout of the plaza by the heels... STU NO! JULIE! NO-O-O-O!AERIAL SHOT - ON MONKEYBONEROCKETING UPWARD through the clouds in his dart-helmet, a look of SHEEREXHILARATION on his simian face. Somewhere a CLOCK begins to chime thehour...INT. STU'S PRIVATE ROOM - 8:59 AM - DAYMOST OF OUR CAST is either in STU's room or in the hallway outside.PLUS we've got a man of the cloth; two LEGAL TYPES, with briefcases; andseveral of the NURSES from the facility.ALICE squeezes JULIE's hand, and JULIE squeezes STU's. The minute handon the clock hits twelve. KIMMY, sobbing into a handkerchief, gives DR.EDELSTEIN the nod. As he reaches for the power switch... STU EEEEEEPP!!JULIE DROPS the hand with a gasp. The DOCTOR jumps half a foot.All at once STU is sitting BOLT UPRIGHT IN BED...shaking his head andfeeling around gingerly under the bedclothes, as if something VERY SHARPhas just poked him in the ass. STU Oooie! That smarts!!!KIMMY sighs and FAINTS DEAD AWAY.STU blinks and looks about the room, disoriented. It could be becausehe's just come out of a coma after seven months. Or it could be becausehe's a MONKEY unaccustomed to hanging out in a human body. JULIE Stu? STU Julie?... Hey, you are a looker.A BURST OF LAUGHTER from the others in the room. Weeping TEARS OF JOY,JULIE flings herself across the bed and hugs him tight.While JULIE is hugging him, STU is checking out his new fingers andtoes, RUBBING his sparse patch of CHEST FUR. DOCTORS and NURSES look onin amazement from the doorway. NURSE It's a miracle. It's a miracle. DOCTOR Two more ticks of the clock...STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quickpeek at his CROTCH, and grins delightedly.JULIE gives him another kiss, WHISPERS in his ear: JULIE Thank you. Thank you for coming back to me.What she doesn't know is that, although he still looks like STU, hisbody is now occupied by MONKEYBONE. Since he's now a hybrid character,man on the outside and monkey within, let's call him... STU-BONE Boy, I don't know about you guys, but I'm starving. WIPE TO:INT. DUNGEON - NIGHTA damp, stonewalled VAULT with a barred door. STU is sprawled on thefloor, OUT COLD, when a VOICE awakes him... RAT GUARD (o.s.) Heads up! Feeding time!STU comes around just in time to see a PANEL sliding open in the ceilingfar overhead. A torrent of JUNK - stale popcorn, half-eaten candy bars,molten ice cream pops, and sticky soda - rains down ON HIS FACE.A horde of DARK FIGURES emerge from the shadowy catacombs around him.All at once, HANDS are grabbing at him from all directions. STU lets outa SCREAM - backs up against a wall - STU Who are y-- WHAT DO YOU WANT??A MONGOL WARRIOR with a droopy mustache looks up at him. GENGHIS KHAN Dinner.After a moment STU realizes that the DARK FIGURES have almost nointerest in him - instead, they've been grabbing at the half-eatenSNACKS that cascaded down onto his head. A long-haired SLAV - RASPUTIN -dives on a Hershey bar with only one bite out of it, but an oddlyfamiliar FAT MAN gets there first. STU gapes at him... STU Alfred Hitchcock?? EDGAR ALLAN POE A fat bastard, but damn quick on his feet. TYPHOID MARY That's how he keeps his girlish figure. STEPHEN KING Gotta move fast in this crowd, or you'll starve. Here you go, pal. Have some popcorn.He offers STU a box of popcorn soaked in Dr. Pepper. STU What is this stuff? STEPHEN KING They feed us the slops from the Morpheum Theatre. You hope for Jujubes, settle for goobers. - I'm Steve. Steve King. STU Stephen King? What are you doing in here?Various OTHERS emerge from the shadows to shake STU's hand. JACK THE RIPPER I'm Jack the Ripper. TYPHOID MARY Typhoid Mary. ATILLA THE HUN Atilla the Hun. Trade you a Twizzler for a box of Raisinets! STU Atilla the - ! What in hell is this place?As if in reply, a FANFARE sounds in the distance...INT. DUNGEON - ENTRANCEA RAT GUARD stands at attention by the door, TOOTING HIS KAZOO toannounce the arrival of an honored guest. RAT GUARD All hail the most glorious! Most eminent! Most esteemed all-powerful God of Sleep...his Royal Lassitude - HYPNOS Enough, enough, I'm hung over.As HYPNOS passes, the DUNGEON DWELLERS race up to the WALL OF BARS thatseparates the entry area from the dungeon proper. TYPHOID MARY Hyp! Did you bring me the cough medicine? STEPHEN KING Did you remember the night light I asked for? EDGAR ALLAN POE King, you pussy. STEPHEN KING Bite me, Poe! I hate waking up in the dark. HYPNOS Sorry, Steve, maybe next time. And how's our new guest settling in - ? STU YOU SET ME UP!!STU LUNGES at HYPNOS - who backs up just out of reach. HYPNOS Easy, pal! I was coming to congratulate you. It ain't easy snatching one of those E-tickets. Steve here was the last guy to pull it off, and that musta been, what, 25 years ago...? STU Why'd you do it? What'd I ever do to you?!? HYPNOS It's simple, Stu. We need nightmares - lots of 'em. So whenever we can swing it, we send a guy up to stimulate the flow...a nightmare maker! Like Steve here. Poe. Rasputin...we've been doing this all the way back to Atilla and Genghis Khan! STU But why me? Why'd you pick on me?? HYPNOS The monkey, of course. It was his idea. STU Monkeybone...!? HYPNOS Nobody wants to be a sidekick, Stu. So one day he comes to us - he's got a proposition. We help him get your body...in return he gives us all the nightmares we want. STU You're nuts! I'm a comic strip artist! What's he gonna do - draw really scary cartoons?? HYPNOS Oh, no, no, no. Y'see, Stu, as it happens, that girlfriend of yours figured out the chemical basis of bad dreams. And she just whipped up a big old batch of nightmare juice!STU's face goes white as he realizes the point of the master plan. HYPNOS Oh, we're predicting a record box-office. It's like I always say...nightmares are your best entertainment!HYPNOS marches off, chuckling. STU's head sinks into his hands.EXT. STU AND JULIE'S HOUSE - DAYSTU's back from the hospital. JULIE is removing his bags from the trunkof KIMMY's car while STU and KIMMY chat in the front seat. KIMMY I just couldn't stand the thought of you suffering. I love you so, I would never have... forgive me, Stu. Please forgive me. STU-BONE Kimmy. Chill. We've still got a pact. If anything ever happens to you, I'll be right there to return the favor. (baring his teeth) So drive carefully! From now on.He climbs out. KIMMY is so rattled that she smacks bumpers with the carparked in front of her. She PEELS OUT with the hand brake still on.INT. STU & JULIE'S HOUSE - DAYSTU-BONE and JULIE enter with luggage. He stands there for a momentscoping out the unfamiliar surroundings. She sets the bags down, tapshim on the shoulder. JULIE Welcome home.STU-BONE grins insipidly. She kisses him, pulls him into a tight embrace- and then, overwhelmed by emotion, begins to SOB. JULIE Oh, baby, I can't believe you're back. STU-BONE Home sweet home, huh? Actually, I was expecting something a little swankier. How much loot does old Stu rake in, anyway?She gives him an extremely puzzled look. STU-BONE Meaning me, of course. I'm referring to myself. You have to assume Monkeybone would be a pretty lucrative franchise... JULIE Baby? Why don't you just...rest on the sofa for a minute. I'll be right back.She goes into the kitchen as STU-BONE plops onto the sofa. He spies abowl of FRESH FRUIT on the coffee table and immediately tries to pick upa banana with his FOOT.But he can't. He's got shoes on. Frowning, he unties his shoe, peels offhis sock. His bare foot is in the fruit bowl when JULIE returns from thekitchen with a TRAY holding a chocolate cake and the bottle of CHAMPAGNEStu bought three months ago. The cake bears the message "WELCOME HOME -I LOVE YOU" in pink icing.She sits beside him with the goodies. He removes his foot from the bowl,crosses his legs, WIGGLES HIS TOES at her. She smiles uncertainly. Thenshe opens the bottle of champagne and pours two flutes full. JULIE Here's to a bottle...we should have opened... three months ago.She finishes pouring, hands a flute to STU-BONE. His face is smearedwith CAKE and ICING. He's scooped out a big fistful and crammed it rightinto his pie hole. He GRINS at her. STU-BONE Bitchin' good cake. JULIE Stu, are you...feeling okay? STU-BONE Sure. Why? JULIE You're acting kind of...odd. STU-BONE (grabbing another fistful) In what way?Then: we hear TINY NAILS skittering across the hardwood floors at highspeed. And BUSTER THE DOG races into the living room! JULIE Buster! Look who's here!STU-BONE tenses instinctively. The dog is yipping, wagging his tailinsanely at the sight of his long-lost master - until he gets just alittle bit closer, and senses that something is very, very wrong.BUSTER sizes STU-BONE up and GROWLS. STU-BONE bares his teeth andHISSES. The dog LUNGES - and STU-BONE jumps up on the sofa! STU-BONE Oh shit, the cake!He bends down, snatches up the cake, and CRADLES IT under one arm as heKICKS AT BUSTER from the sofa. STU-BONE Mine. Get back! MINE!!The frazzled JULIE pours herself another jolt of champagne - a stiffone.INT. BEDROOM - NIGHTSOUNDS of JULIE taking a shower in the adjacent bathroom o.s.STU-BONE is sprawled in bed, pillows propped up behind him, flippingchannels on the bedroom TV with his trusty remote. The Discovery Channelhappens to be showing a Jane Goodall special... NARRATOR (on TV) The mating rituals of the African silverback are as rigidly formalized as those of any animal we know - with the possible exception of man.Onscreen a FEMALE GORILLA is presenting her furry haunches to an ALPHAMALE.STU-BONE watches this erotic spectacle with a connoisseur's eye. Heglances over at the open bathroom door and catches a teasing glimpse ofJULIE'S SHADOW as she steps out of the shower and pulls on a robe. HeSCRATCHES and SNIFFS, just to put himself in the mood.On TV: MONKEY FOREPLAY, which consists of a pounce from behind. NARRATOR (on TV) In the wild, a dominant chimpanzee male is likely to engage in sex numerous times throughout the day, with a shockingly wide variety of -STU-BONE mutes the nature special and sneaks up behind JULIE just as sheemerges from the bathroom in her robe and towel-turban. JULIE What are you watching? STU-BONE Ohhh, nothing.She tries to pass, but he grabs the belt of her robe and spins heraround. He delicately unwraps the turban, then opens her robe and pullsit closed around the two of them. They kiss... JULIE You sure this is...medically advisable? STU-BONE Got a doctor on duty. JULIE Well. As long as it's okay with Monkeybone -STU-BONE almost lets out a gasp of shock. What does she mean??? JULIE (glancing downward) - which it seems to be.STU-BONE does a take. The good news is, she doesn't suspect. The badnews is, he's apparently named after his creator's penis.INT. HALLWAY - A MOMENT LATERAll at once the air is full of Barry White's lush baritone on thebedroom CD player. Through the bedroom doorway we see STU-BONE and JULIEwaltzing romantically, belly to belly, still wrapped up in the singlerobe.The only jarring note is BUSTER'S FRANTIC BARKING. The poor dog is stuckbehind an accordion gate in the hall, going crazy, trying to warn hismistress about the imposter in STU's body. The dog is almost drowningout Barry White -- so STU-BONE stops kissing JULIE long enough to reach over with onefoot and KICK THE DOOR SHUT.INT. BEDROOM - A MOMENT LATERJULIE watches from the bed as STU-BONE begins peeling off his PJ's,going into a bizarrely formalized MONKEY MATING DANCE. He circles backand forth from one side of the bed to the other, making faces, grunting,FEINTING at her occasionally.JULIE has some dim sense that this ritual is supposed to be erotic, butin fact, it's making her damned nervous. She finds herself scrunching upon the bed, trying to keep out of STU-BONE's way.Now he LEAPS UP onto the foot of the bed. REARS BACK. And with an animalhowl of triumph, POUNCES AT JULIE!Terrified, she rolls out of the way. STU-BONE'S SKULL slams into theheadboard. JULIE Oh, God!! Baby! Are you -Dazed, he sits up. He tries to stand, but his rubbery legs give way, andhe pitches over - CRACKING HIS SKULL AGAIN on the nightstand.EXT. HALLWAY - A MOMENT LATERJULIE helps a punchdrunk, staggering STU to the stairway. STU How was it? I don't recall. JULIE It was great, baby. Let's get you to the ER.As they pass, BUSTER lets out a little growl of satisfaction from behindhis gate. HOLD ON THE DOG's satisfied expression as STU-BONE loses hisbalance and topples down the stairs O.S. DISSOLVE TO:INT. DUNGEON - NIGHTRASPUTIN, ATILLA, JACK THE RIPPER and STEPHEN KING are engrossed intheir weekly Parcheesi game. STU is clinging to the bars, bemoaning hisfate. STU I'm not like the rest of you. I'm just a regular guy! I'm not a "nightmare maker." RASPUTIN Neither are we. We got our bodies hijacked just like you. The guys who replaced us are the nightmare makers! ATTILA Like me. I was a mess sergeant in the Mongol Horde. I never wanted to be the Scourge of Asia. I just wanted a new recipe for yak! JACK THE RIPPER I was Jack the Haberdasher. STU But how? Did you all have sidekicks? Figments? ...Monkeys?? STEPHEN KING Hey, I got screwed over by my own dog. Go through hell to get that E-ticket, and who winds up in my body? That darn Cujo.TYPHOID MARY runs past, GIGGLING, pursued by a huffing HITCHCOCK. RASPUTIN He's sure got a thing for those icy blondes.KAZOOS SOUND. The RAT GUARD appears to announce: RAT GUARD Miley. You got a visitor. STU ...Kitty?!?At the sight of STU behind bars, she breaks down CRYING. KITTY I'm so sorry, Stu. I wanted to tell you what was going on. I really, really liked you. STU Kitty...my situation is really not important. The thing is, my girlfriend is now living with, and possibly engaged to, a demented monkey. KITTY You're such a beautiful man. Look at you - stuck in this place, and only thinking of her. STU Listen to me! Is there any way I can warn her what Monkeybone is up to?? RAT GUARD Time's up! Break it up, you two.The RAT GUARD pushes STU back with a prod. KITTY reaches out... KITTY No! Give me a moment. Just to look at him. Oh, Stu. Oh, my sweet, sweet Stu.As she gazes at him, love struck, the overhead PANEL opens and a delugeof CRUD from the Morpheum lands directly on STU. RAT GUARD Feeding time!KITTY BAWLS inconsolably as the RAT GUARD leads her away. DISSOLVE TO:INT. KITCHEN - DAYSTU-BONE in pajamas and a head bandage, reading the morning funnies. Hepounds the table, practically WEEPING with hilarity at the MONKEYBONECOMIC STRIP. STU-BONE Priceless! Priceless! This stuff just kills me! JULIE I'm heading in to work, baby. Are you sure you'll be okay? STU-BONE Oh yeah. There's just one thing I don't get. "Monkeybone Creator Awakens from Coma" that's a big story! That's front page news! But I can't find a word of coverage in this stinkin' rag! (shuffling through the paper) Hey. Don't I have a TV show? JULIE They only made the one episode. They've shown it about nineteen times. STU-BONE I need a new PR guy.JULIE grins, plants a goodbye smooch on his forehead, and exits. Hewaits a minute, then reaches for the PHONE. WIPE TO:INT. LIVING ROOM - EVENINGThe house is crawling with PRESS. There must be three dozen REPORTERSand PHOTOGRAPHERS and TV CREWS hanging on STU≠BONE's every pronouncement. STU-BONE Yes, being in a coma taught Stu Miley a thing or two about life. Buckle your seat belts, for one. But seriously, Stu Miley is a different man today. I'm much homier.The front door opens. A stunned JULIE pushes her way inside... STU-BONE And speaking of which, here's the light of my life, the pert and saucy Miss Julie McElroy. JULIE I had to park two blocks away. Is something -He pulls her to his side for a photo op. FLASHBULBS go off. STU I took the liberty of calling a little press conference. We're on TV, so don't say "shit." ≠(covering his mouth) Shit! I said it. Shit! I said it again! REPORTER Stu, what is it about Monkeybone that makes him so popular? STU-BONE Well, it's partly that he punctures all the phony pretensions of our modern society...and it's partly that he's a breathtakin', heartbreakin', rump-shakin' sex machine! (beat) Ask these gentlemen here. They're an important cog in my media machine. They'll be doing six new episodes of the Monkeybone show under my personal supervision.He pauses for a photo op with MIKE CACHUELA and MIKE MITCHELL. STU-BONE It's all synergy. The show synergizes the strip, which synergizes the merchandising, which synergizes the religion, which synergizes the Barbara Walters special; and then, baby, we are all in the United Empire of Monkeybonia.INT. KITCHEN - THAT MOMENT - LATE AFTERNOONJULIE squeezes through the crowd, finds HERB working the phone. HERB I tell you, he's ready to merchandise. We've gotta move quickly. Get the toy guys, the burger guys, the lunchbox guys - JULIE Herb...what in God's name -HERB holds up a finger. He's too busy talking. STU-BONE enters with thevideo crew in tow. JULIE somehow manages to sideline him. JULIE What's this about merchandising? You always hated merchandising! STU-BONE Well, baby, I do, but to look at it from another angle...there's a potload of money here. DISSOLVE TO:EXT. STREET - DAYSUPERCHARGED POP MUSIC underneath as STU-BONE comes running around acorner - followed, a moment later, by a SCREAMING HORDE of BEAUTIFULGROUPIES in black miniskirts and high heels. It's like something out ofA Hard Day's Night, only more so.INT. BEDROOM - NIGHTTIGHT on STU-BONE, head still bandaged, eyes closed, SNORING slightly.He wears a big monkey grin as he DREAMS the above.EXT. STREET - DAYA CARLOAD OF SUPERMODELS. They kill their engine in the middle of a busyintersection and climb out to join the mob chasing STU-BONE.He cuts around a corner, ducks into an alley, and FLATTENS HIMSELFbehind a dumpster. As the girls run past, he pulls out a handkerchiefand MOPS SWEAT from his brow.Then, with a what-the-hell twinkle, he steps out and FLINGS HIS SWEATYHANKIE into the midst of the GROUPIES. A CATFIGHT ensues as theyscramble after this precious memento. The chase resumes.Suddenly he realizes he's SLOWING DOWN...running in SLO-MO. Same dealwith the girls on his trail. After a moment, he FREEZES. He can't moveanything except his EYES; he looks right, left, up, down......and suddenly he sees HYPNOS winking into view directly in front ofhim! HYPNOS is perfectly capable of moving. He strolls right up to thefrozen STU-BONE and SLAPS HIM REPEATEDLY, Moe Howard-style. HYPNOS You two-bit simian stooge. WHAT THE HELL IS THIS? We didn't send you up here to shake your booty and chase broads. We sent you up to make nightmares!!STU-BONE tries to speak. All that comes out is a slo-mo DRAWL. HYPNOS Now find that nightmare juice and get to work. 'Cause you may be a free man during the day... but when you dream, your monkey ass is mine!He winds up - throws a ROUNDHOUSE PUNCH at STU-BONE'S FACE.INT. BEDROOM - NIGHTSTU-BONE sits up suddenly in bed. For a moment he's relieved - it wasall a dream. Then he realizes his FACE is swelling like aprizefighter's. His front tooth is loose. BLOOD is streaming from hisnose! STU-BONE Eep!INT. DOWNSTAIRS HALLWAY - NIGHTHe's awake, fully dressed, and fishing around in the pocket of JULIE'stopcoat. He finds her KEY RING and tiptoes furtively to the front door. STU-BONE Friggin' Hypnos. I'll show him...INT. SLEEP LAB - NIGHTHe unlocks the door and enters the darkened lab. Finds the dispensaryarea and kneels beside a LOCKED REFRIGERATOR. Then he shuffles throughthe keys on the ring until he finds one labelled "FRIDGE."On the top shelf is a corked beaker of purple fluid bearing the label"ONEIRIX" with red DANGER stickers all over it. STU-BONE takes it out,flashes a sinister grin, and EMPTIES ITS CONTENTS into a similar beaker.Then he refills the original from a hip flask and replaces it.He's just about to leave when he's startled by a series of SIMIAN GRUNTSand SQUEAKS - which are TRANSLATED in SUBTITLE: FEMALE BABOON Hey, handsome.He turns and spots a SEDUCTIVE FEMALE BABOON who's confmed to a CAGE inthe corner. The conversation continues in MONKEY TALK. FEMALE BABOON Yeah, you. Come here, good-looking. (beat) Why don't you let me out of this cage? STU-BONE Hey, I'd love to, baby, but...it'd put me in hot water. FEMALE BABOON (caressing his chin) I know how to be very, very grateful.He pulls out a MATCHBOOK and scribbles a number on it. STU-BONE Tell you what, angel. When you get out, give me a call...A LIGHT goes on suddenly in the outside hallway! STU-BONE tries to divefor cover, but the FEMALE BABOON grabs him by the belt and pulls himagainst the cage.Startled, he drops the ONEIRIX BEAKER - which rolls out into the hall!INT. HALLWAY - NIGHTThe beaker CLATTERS LOUDLY as it rolls through the lab door. STU-BONE'SHANDS grope through the doorway - but the FEMALE BABOON has got him bythe pants leg and won't let go, no matter how much he rattles the cage.He can't quite pull himself through the door...He unbuckles the belt. UNZIPS HIS PANTS. Keeps clawing toward thebeaker. But he still can't quite make it, and the BABOON won't let go.Now his pants are down around his knees. He keeps wriggling until hispants legs are entirely INSIDE OUT - and still he can't quite reach thebeaker! His shoes are caught in his pants cuffs! RRRRRIPPPPP...Freedom! Minus his pants, he GRABS THE BEAKER.In FG through all this is a dim teenage JANITOR pushing his electricfloor polisher. He has his Walkman on and he can't hear any of themayhem behind him. He sings along atonally with the music: JANITOR Gettin' jiggy wit' it - gettin' jiggy wit' it...INT. BEDROOM - NIGHTA disheveled STU-BONE, back from his secret mission, is trying to takehis clothes off so he won't wake JULIE. But she starts to rouse, so hejumps into bed fully dressed and pulls up the covers. JULIE Stu? Is that you? Where did you go? STU-BONE Me? Nowhere. I was asleep. JULIE Baby, don't lie. I know you went out. STU-BONE Not me. Nope. You must've been dreaming.She pulls the covers back. He's still wearing his topcoat, shoes, socks,and shorts...but NO PANTS. JULIE You're wearing a topcoat, Stu. - Where are your pants? STU-BONE Well, Miss Smarty, if I didn't go out, I wouldn't need any pants. Now would I?He pulls the covers up to his chin. The two of them lie there in thedark staring up at the ceiling.INT. STU'S LIVING ROOM - DAYThe entire Monkeybone brain trust has come to visit: HERB, syndicatehead MR. BOWERS, and several CORPORATE REPS hoping to arrange tie-indeals. Host STU-BONE has started to take on a simian look: moreprominent ears, flared nostrils, heavy beard stubble, etc.The BURGER GOD REP sets a tray of FAST FOOD in front of STU-BONE - thepackaging all covered with angelic haloed Monkeybones. BURGER GOD REP As you know, Burger God has 1700 outlets nationwide...we're prepared to back a major TV buy to launch our Mega Monkey Meal. (beat) Go ahead. Try a bite.STU-BONE takes a bite out of his Monkeyburger - looks pleased at first -then begins PICKING something out of his teeth. HERB What's the matter? STU-BONE I think it's a pig hair. (examining a contract) How much is McDonald's offering? HERB Less.STU-BONE immediately signs the contract and shakes hands with the BURGERGOD REP. HERB consults his agenda. HERB Oh, here's something. The city zoo is kicking off a fund-raising campaign. They wonder if you'd be willing to appear at a benefit. STU-BONE How much? HERB Well, nothing. It's a benefit. But we could probably get People and Entertainment Tonight to cover it. STU-BONE I get it. We could give the public the impression that we were doing something... charitable. Brilliant!! HERB And last...you remember Bill here, from the Bazoom Toy Company? He's got a little something I think you'll like.The TOY REP sets a LOCKBOX on the table. A stencil on the box reads "TOPSECRET." He pulls out a key and opens it to reveal......a tuxedoed, collector's-edition MONKEYBONE DOLL lying on a bed ofCRUSHED PURPLE VELVET. He carefully removes the treasure from its chest.Its right hand is hinged. The doll's thumb is UP ITS REAR. BAZOOM TOY REP It's a prototype. Code name "Little Jack Horner." Go on - pull out his thumb.STU-BONE stares at the doll - cautiously yanks its thumb out. We go toSLO-MO as the rising arm causes a NOXIOUS AEROSOL SPRAY to shoot out ofMonkeybone's ass!And we STAY in slo-mo as STU-BONE stares at the doll in wonderment andawe...a man in looooove.Still in slo-mo, the EXECS crack up, gag, hold their noses at the awfulstank of it. STU-BONE is the only one not laughing. He reaches out totouch the doll - to fondle it adoringly -- and suddenly we're back to REAL-TIME. BAZOOM TOY REP You know kids - they love anything gross... STU-BONE Kids? Kids?! This is a work of genius. This is art. This is the answer to all my prayers! (beat) Say - just a technical question - could you fill these babies up with a particulate solution of one part chemical enzyme to ten parts water? BAZOOM EXEC Well - I guess... STU-BONE Aww righhhhht!He breaks into RIOTOUS LAUGHTER and begins blasting monkeyfarts at HERBand the EXECS, who dive for cover under the conference table.EXT. STU AND JULIE'S HOUSE - DAYLaughter and back-slapping as STU-BONE walks his guests to their cars. STU So here's my idea. We do a giveaway at the zoo benefit. We get a big piÒata. We fill it with Monkeybone dolls - hundreds of 'em. HERB A piÒata. That's a great idea! STU-BONE You guys don't know it, but you just saved my ass!With a big grin, he pantomimes sticking a thumb up his ass, in obviousimitation of the doll, and then gives the thumbs-up sign. The unnervedEXECS gape at him as he goes back inside - he's developed an odd, lopinggait, and his arms swing outward in wide arcs as he walks. BURGER GOD EXEC Interesting fellow. HERB Head trauma.INT. STU'S KITCHEN - THAT MOMENTHe digs around under the sink, finds the purple beaker of ONEIRIX. Looksat the FARTING DOLL...and GRINS. STU-BONE This'll get him off my back!INSERT - TV SCREENA PROMO for the MONKEYBONE cartoon show. MONKEYBONE swings across thescreen on a vine, followed by a string of grinning, live-action FANSdoing a scratch 'n' sniff, pull-out-a-plum LINE DANCE. ANNOUNCER It's his world - we just live in it. Monkeybone! Back with six all-new episodes, starting -INT. LIVING ROOM - REVERSE ANGLE - NIGHTA distraught JULIE mutes the TV. Her friend ALICE is on the sofa besideher, having coffee and dessert. JULIE The thing is, I'm responsible for the way he's acting. It's the nightmare juice. It's got to be. ALICE Julie, that stuff probably saved his life. JULIE I can't explain this, Alice, but I'm not so sure it did. It's as if...he's not Stu any more. The Stu I love is gone! (beat) He spends all his time in the garage. He says he's...autographing.INT. GARAGE - NIGHTTIGHT ON the flask of ONEIRIX as STU-BONE picks it up.He's wearing a GAS MASK. He's rigged a CLOTHESLINE in the garage.MONKEYBONE DOLLS are clipped to it, ass-end up - forming a makeshiftASSEMBLY LINE. He dips a TURKEY BASTER into the flask...withdraws aquantity of purple fluid...plucks the FINGER out of the first doll'sbehind...- and plunges the TURKEY BASTER into the doll's hindquarters, filling itwith ONEIRIX!! The doll's buttocks take on the purple hue characteristicof Orangutans in heat. STU-BONE holds the doll at arm's length and pullsits finger - launching a purple puff of SPIKED NIGHTMARE GAS. STU-BONE Yeah, baby! Nightmare-in-a-butt! (looking around) Okay...guinea pig, guinea pig...EXT. GARAGE/BACK YARD - NIGHTSTU-BONE steps out into the driveway and hears a low growl - BUSTER isgiving him the stinkeye from behind the picket fence. STU-BONE's eyeslight up with inspiration. STU-BONE C'mere, boy...c'mere, ole buddy...INT. LIVING ROOM - A MOMENT LATER - NIGHTLOUD BARKING outside. JULIE wanders over toward the window. ALICE Listen. Let's bring him in for some tests. I guarantee you're overreacting.JULIE lifts the curtain - and sees STU-BONE in his gas mask, bent overin a weird crab like stance, chasing BUSTER around the yard with theMonkeybone doll.JULIE doesn't seem especially surprised - but ALICE's mouth falls open. JULIE Actually, no, I don't think I'm overreacting.EXT. BACK YARD - THAT MOMENT - NIGHTBUSTER is apparently ALONE now - he's pacing in circles under a HIGHTREE BRANCH, staring up and GROWLING. Someone throws a PINE CONE at thepicket fence. BUSTER'S HEAD TURNS, just for an instant - STU-BONE KREEEGAHHHH!!!- and STU-BONE plunges out of the tree, DIRECTLY ON TOP OF THE DOG! Thetwo of them GRAPPLE, rolling around on the grass.For a moment it looks like this battle royale could go either way. ThenSTU-BONE gets on top of BUSTER, STRADDLES HIM, shoves the ASS of theMonkeybone doll up against his muzzle...FOONT! A purple cloud of NIGHTMARE GAS hits BUSTER in the face. The doggoes limp. His eyes roll back in his head. He starts to TWITCH. STU-BONE Sweet dreams, you little bastard!Disheveled but triumphant, STU-BONE stands up, pounds his chest withboth fists, and lets out a Tarzanian ROAR. Lights go on all over theneighborhood. ANGRY NEIGHBORS poke their heads out the windows.INT. GARAGE - NIGHTSTU-BONE skulks back into the garage. He throws back a tarp, revealingHUNDREDS of boxed Monkeybone dolls, stacked so high they fill an entirewall of the garage. He pulls out his turkey baster, cranks up theclothesline, and goes to work.EXT. BACK YARD - THAT MOMENT - NIGHTCAMERA TRACKS IN on the twitching face of BUSTER, and we seeBUSTER'S DREAM (BLACK & WHITE)A German-expressionist nightmare, all low angles and heavy shadows.We're in some kind of OPERATING ROOM, where a struggling PATIENT isbeing wheeled in on a tall, creaking GURNEY. Four ORDERLIES in surgicalmasks are holding him down.The PATIENT is BUSTER. And the ORDERLIES...are CATS.A CAT SURGEON draws the sheet back. Looks at the spreadeagled BUSTER.And brandishes a big nasty pair of GARDEN SHEARS.INT. HYP'S HIDEAWAY - THAT MOMENT - NIGHTThe Dark Town audience is scratching its collective head at Buster'sdream, which is showing in one of HYP'S NIGHTMARE ORBS. An angry HYPNOSslams down the phone and storms across the dance floor to his bigcircular bed. HYPNOS Dog dreams!! That stinkin' monkey. I can't believe it. We give him a body, and he sends us ...dogs.A FELINE BEAUTY embraces him from behind, pulls him onto the bed. KITTY Let's not think about dogs. Let's think about pussycats. Meeowwwwwwrrrr....She draws ONE SHARP CLAW lightly down his chest. He gives her a now-you're-talkin' grin and hits a switch - causing the big circular bed toROTATE off the dance floor and into the boudoir.As it turns, we see KITTY'S PAW closing discreetly around a KEY CHAIN onthe nightstand...INT. DUNGEON - RIGHTSTU's curled up on the dank floor when he's awakened by the sound of aVISITOR in the corridor outside - KITTY. She passes a sack containingFOOD and BOTTLED WATER through the bars - and SHUSHES the astonished STUbefore he can speak. KITTY Shh! You'll need it when you're traveling.Glancing back at the GUARDS, she pulls a KEY from her cleavage. KITTY Don't ask where I got it. STU You can't do this! You'll get in trouble! KITTY You're the only true-hearted man I ever met. You find a way back to that girl of yours and make her happy. STU How am I gonna get past the guards? KITTY I'll worry about the guards. (loudly) OKAY, STU. SEE YOU IN A DAY OR TWO.She turns down the corridor. STU stands there for a beat, GAPING at thekey in his hand.Then he hears the sound of CARNAGE outside. A FEROCIOUS, BLOODY BATTLEseems to be underway. Realizing that KITTY must be in trouble, he usesthe key to unlock the dungeon door.INT. DUNGEON - THAT MOMENT - NIGHTHe finds KITTY hunched in the corner on all fours, surrounded by bloodand tufts of fur and an abandoned GUARD'S HAT. KITTY Go. Just go. STU Thanks, Kitty, I'll never forget you for th--She looks up at him, feline eyes aglow. There's a three-foot-longRODENT'S TAIL dangling out of her mouth. STU I'll really...never...forget you.He races off as KITTY resumes her feast. The sound of fighting hasroused the other DUNGEON DWELLERS, and when they realize the dungeondoor is open they come rushing out en masse.Then the PANEL opens. They hear FOOD raining down behind them. HITCHCOCKis the first to turn back - then STEPHEN KING - then ATILLA. A momentlater they're back to their old habits, climbing over one another to getat a half-empty box of Raisinets. WIPE TO:INT. SLEEP LAB - DAYThe usual gang sitting around at their computer terminals, etc. JULIE iscoolly reading NOTEBOOK ENTRIES into a TAPE RECORDER. JULIE "4/17: Subject, when unaware of observation, prefers to hold eating utensils...with feet. Successfully carves turkey roll holding eating utensils...with feet." ALICE They had a case like that at Johns Hopkins. Wires got crossed between hands and feet. CLARISSA Great lead. I'll try and find it on the net. JULIE "4/18: Subject climbs backyard tree...to perform elimination. When confronted with product... blames it on family dog."DEAD SILENCE from the mortified group. They never had a case like thatat Johns Hopkins. JULIE somehow keeps a stiff upper lip - deeplyembarrassed for STU, but a scientist nonetheless. HUTCH Seems perfectly obvious. He's been possessed by a monkey!The others all GLOWER at HUTCH for this egregious display of bad taste.EXT. GARAGE - AFTERNOONSTU-BONE and HERB are standing outside the garage in formal attire as acrew of ZOO WORKERS load MONKEYBONE DOLLS into a pickup. HERB You're really gonna pop the question? STU-BONE Got the ring. Got the airline tickets. Soon as they break that piÒata, we'll grab a cab - and it's off to the land of palm trees and coconuts. HERB I can't believe you. You used to hate being the center of attention. Now you're proposing, in public, at a benefit. STU-BONE Yeah, I was thinking...I mean, I'm a celebrity now, do I really want to get married? But on the other hand, if you're married, they can't testify against you.HERB wonders if this is a joke, decides it is, and forces a chuckle.INT. BEDROOM - DAYJULIE is getting dressed for the benefit when the PHONE RINGS. JULIE Hello? Oh, Hutch - what?INTERCUT - JULIE AND HUTCHHUTCH is at the sleep lab, standing over the open refrigerator. HUTCH The Nightmare Juice! It's gone! Somebody switched it for a beaker of grape Kool-Aid!! JULIE Kool-Aid!? But who'd would want to -Her eyes move to the WINDOW - to STU-BONE out by the garage. JULIE Okay. Call the police. I'll be right over.INT. SLEEP LAB - LATE AFTERNOONTwo DETECTIVES examining the scene of the crime. JULIE The technical name is Oneirix. It's an enzyme. It's present in the brains of - DETECTIVE (cutting her off; writing) Yeah, yeah...Nightmare juice. DETECTIVE II And there's been no sign of a break-in? HUTCH Holy shit...the pants. (remembering) The janitor found a pair of torn-up pants. It was the same night the monkey tipped her cage over. Remember that, Julie? JULIE (suddenly afraid) Yeah...I remember it vividly.EXT. ZOO - DAYLIVERIED WAITERS scurrying all about in preparation for the benefit. ZOOWORKERS set up tables and chairs underneath a giant CANOPY.STU-BONE watches with satisfaction as the last of the DOLLS is loadedinto a giant piÒata in the shape of STANLEY. WIPE TO:INT. DEATH'S OFFICE - NIGHTThe big creaky swivel chair swings around, revealing DEATH. DEATH Now, if I may ask - what kind of idiot sneaks into the Land of Death twice?The party he's addressing is STU - who's stretched out horizontally,strapped to a medieval TORTURE RACK, with a whole posse of GRIM REAPERSstanding guard around him. STU You're mad at me. Great. You have every right to be. But we're both mad at Dark Town. We're both mad at Hypnos. DEATH Oh, sure. Now you're gonna tell me it was all his idea. You were completely innocent - STU I'm not going to tell you that. I wanted that E- ticket. I wanted it so bad I'd stare you right in the face to get it - and I'd do the same again. DEATH Why?? STU I have a girl up there. And I never - I should've - I just want to tell her I love her. DEATH I'm a simple man. I'm just doing my job. I enjoy my job. Why does everyone want to make it difficult for me? Stealing tickets, switching bodies...it is so irresponsible. STU Death, I'm trying to make things right. Take my soul. Turn me into a paper doll. But give me just one lousy hour. DEATH Well - you'd need a body.DEATH gestures for the REAPERS to unshackle STU. DEATH If it wasn't for that comic strip of yours, I wouldn't be doing this. But a good chuckle is darned hard to come by. (chortling) That one where Monkeybone stole the soap cake out of the urinal - I thought I would die. STU Coming from you, that's quite a compliment. DEATH De nada. Now, come here...bend over...before I change my mind. STU Bend over?DEATH rears back and KICKS HIM, full-force, SMACK IN THE ASS. Thesupernatural might of the blow sends STU ROCKETING UPWARD THROUGH THECEILING!!INT. HOSPITAL - OPERATING ROOM - DAYA TEAM OF SURGEONS. The lead SURGEON has his arm buried up to the elbowin the open torso of an ORGAN DONOR. SURGEON Okay...detaching the left kidney...SCREAMS ALL AROUND as the ORGAN DONOR sits BOLT UPRIGHT! The startledSURGEON drops the kidney back into place. ORGAN DONOR What the - who the hell am I?? SURGEON You're an organ donor! ORGAN DONOR Am I dead?!? SURGEON The chute didn't open. We kind of assumed - ORGAN DONOR I need this body. Just for a few minutes. I'll bring it back, okay?The ORGAN DONOR grabs a lab coat from a nearby rack and races out. (Andsince STU is temporarily occupying the DONOR's body, we will henceforthrefer to him as O.D. STU.)INT. HOSPITAL CORRIDOR - A MOMENT LATERO.D. STU comes racing around a corridor. His LAB COAT is already coveredwith gore, and he's having trouble holding his GUTS in. His PANCREASspills out onto the floor just as two DOCTORS stroll past. DOCTOR (eyeing the pancreas) Might have someone take a look at that. O.D. STU Oh. Yeah. Thanks.The DOCTORS move on. O.D. STU spots a JANITOR'S CART with a roll of DUCTTAPE on one shelf. He WRAPS IT TIGHTLY around his midsection to keep hisinnards from falling out. Then he runs for it.Now the TEAM OF SURGEONS rounds the corner in hot pursuit. The leadSURGEON spots O.D. STU at the end of the corridor and takes off afterhim. But he SLIPS on the PANCREAS and goes sprawling!The pancreas goes flying down the hall, where it gets SQUASHED in rapidsuccession by a GURNEY and by a little old lady's MOTORIZED WHEELCHAIR.When the SURGEONS retrieve it, it's a hunk of pulp. LEAD SURGEON I think it can still be saved. Put it on ice.EXT. ZOO - DAYGUESTS are beginning to arrive for the benefit. In the cages andhabitats, animals stare up at a gigantic MONKEYBONE BALLOON.EXT. ZOO - ANOTHER ANGLE - DAYThe BAZOOM TOY REP is rounding a corner when HERB pops out from behind atree and BLASTS HIM with a jolt of purple gas from a Monkeybone doll! Hesputters and coughs...Then he grabs the doll away and blasts HERB right back! The two of themchase each other around the tree, giggling. The BAZOOM REP'S WIFE, inher formal gown, affects a look of supreme mortification.EXT. STU'S HOUSE - BACK YARD - DAYO.D. STU climbs over the fence, finds a hidden key, and lets himself in.INT. HOUSE - STUDIO - DAYO.D. STU rushes frantically from room to room. O.D. STU (o.s.) DOC? DOC?? - JULIE?No reply - the joint's empty. O.D. STU enters the studio and spots aNEWSPAPER on his drafting table. The paper is folded back to a bigDISPLAY AD for the benefit: "MEET STU MILEY AND MONKEYBONE - 8 PMTONIGHT!" He checks the wall clock: time is short.Reaching into the drawer of the drafting table, he pulls out a TACKLEBOX which contains old brushes...and a small VELVET BOX. O.D. STU opensthe velvet box to reveal Grandma's ANTIQUE RING.He hears GROWLING behind him - it's BUSTER. The dog looks up, cocks hishead - and begins WAGGING HIS TAIL. Somehow, even though STU's in adifferent body, BUSTER recognizes him.EXT. STU AND JULIE'S HOUSE - DAYO.D. STU exits, ring in hand. Behind him, BUSTER is throwing a fit -barking, FLINGING himself at the screen door. He wants to come along!A BUS pulls up at the corner, and O.D. STU boards it. BUSTER throwseverything he's got at the door - and it gives! He takes off after STU.EXT. ZOO - GROUNDS - DAYAs HERB is walking toward the refreshment table, an ODD LOOK crosses hisface. All at once he begins to TUG at his collar. He yanks his TIE off...doffs his JACKET onto the pavement...POV HERB - PSYCHO-VISIONThe nightmare drug is kicking in! The whole zoo SWIMS around him. All atonce he's being ATTACKED...by a HORDE of EMPTY CLOTHES!!EXT. ZOO - GROUNDS - DAYJULIE has arrived at the zoo. She's wandering zombie-like through thefood court, flanked by her friends ALICE and CLARISSA. JULIE Whatever he's done, I'm responsible for it. CLARISSA That's not true, Julie. It's not true. ALICE This is not about your guilt, Julie. There could be innocent people in danger. CLARISSA He's not the same guy. He's not your Stu. (beat) I didn't want to tell you this, but the other day he pinched me on the butt. ALICE I didn't want to tell you this, but the other day he tried to mount me from behind! Look, you have to tell the police. JULIE Tell them what? I don't know anything concrete. All I have is a feeling.All of a sudden, they hear SHOUTS and LAUGHTER from the area of thereptile house. In the distance, ZOO SECURITY GUARDS are chasing a NAKEDMAN through the crowds of formally-dressed partygoers. CLARISSA Oh my God, we've got a flasher. JULIE That...that's Herb!The GUARDS catch hold of HERB and drag him away past JULIE, ALICE, andCLARISSA. He doesn't recognize any of them. He's PSYCHOTIC: HERB CLOTHES! Beware of clothes. They're working together. All of them. Shirts...pants... ENSEMBLES...!The three women exchange looks of stupefied HORROR.INT. MUNI BUS - LATE AFTERNOONPASSENGERS are holding their noses, frantically pulling on the BELL ROPEto alert the driver that they want off. As we move toward the back wesee O.D. STU sitting alone, with rows of empty seats on either side.He looks rough. He's bone-white, his taped-up lab coat is crusted withblood, and he never did find any shoes. Also, it's a hot night and he'sstarting to get a little ripe. FLIES are buzzing all around him.EXT. STREETS - THAT MOMENTBUSTER runs down the sidewalk as fast as his stumpy little legs willcarry him, in pursuit of the BUS.INT. CAR - MOVING - LATE AFTERNOONThe team of SURGEONS has been tracking O.D. STU across the city! Throughthe windshield they see the BUS pulling up outside the zoo. O.D. STUhops out and sprints across the parking lot. SURGEON IT'S HIM! HE'S GETTING OFF!INT. ZOO - ENTRANCE - LATE AFTERNOONO.D. STU doesn't even stop at the ticket window. He VAULTS over theturnstile, knocking benefit guests aside. The SURGEONS aren't farbehind. They race up to the ticket window - SURGEON Did you see a corpse running this way?The TICKET-TAKER shrugs and points off in O.D. STU's direction.INT. BANQUET TENT - THAT MOMENT - LATE AFTERNOONThe last stages of dinner. WAITERS are already clearing plates, andalthough JULIE has barely touched her food she sends her plate away.Onstage a BAND is playing tasteful zoo jazz. When the number ends, STU-BONE approaches the dais and leans into the mike. STU-BONE As emcee I want to thank you all for joining us at this swingin' bash...it's a special night for the birds, and the lions, and the monkeys, but it's also a special night for - (tapping his chest) - this monkey. And it's special because of a very special lady. Her name is - (checking a note in his pocket) Julie McElroy. Just kiddin', Julie. Stand up.JULIE stands reluctantly. The CROWD APPLAUDS. STU-BONE And to make this special night extra-special, I'd like to do a special number...especially for you.A DISCO BALL lowers. STU-BONE turns to welcome a group of BACKUP SOULSINGERS who are just joining the band on stage.The TENT begins to ROCK with a throbbing beat. And STU-BONE launchesinto a wild-eyed, hip-shaking parody of Mick Jagger singing the RollingStones' "MONKEY MAN"!As he sings, STU-BONE gyrates over toward JULIE, bumping and grindinglike the cartoon-monkey sex machine he is. He waves his mike to thecrowd, urging everyone to join in. JULIE gasps in disbelief, but thecrowd is eating it up - clapping and singing along with STU-BONE.He gestures for pretty women to join him out on the floor. He opens hisshirt at the neck, exposing a hitherto unseen plenitude of chest hair.He pulls out a hanky to mop his brow and tosses it to the crowd. Hewipes his armpits with a second hanky and tosses it to the crowd. Heblows his nose into a third and tosses it to the crowd.Then he JUMPS UP ON THE TABLES and shakes his booty wildly,≠ strutting inand out among the dessert plates. If the real Jagger could see him, hewould creep home a sad and broken man.For the big finale, he jumps off the table and SLIDES ACROSS THE FLOORto JULIE'S table - arriving ON HIS KNEES. STU-BONE I am just a Monkey Man! I'm glad you are a monkey...woman...too. (soft voice) How about it, Julie?He pulls out a RING BOX and hands it to the beet-red JULIE. The crowdlets out a collective GASP - followed by WILD APPLAUSE.She stares down at the ring - a big vulgar sparkler. She can't speak. STU-BONE We'll hop a plane tonight. An island ceremony. An Abba Dabba honeymoon! JULIE It looks so...new. STU-BONE It is new. Why wouldn't it be new? JULIE But the heirloom ring. Your grandmother's ring... STU-BONE Heirloom? Huh? You want a used ring - ?No reply. She's taking a long time to say yes. The audience ismuttering. STU-BONE Ju-leeee... Operators are standing by... Offer expires at midnight, December 31...Suddenly a GORE-STAINED FIGURE bursts into the tent. O.D. STU DOC! DOC! DON'T DO IT! HE ISN'T STU! HE'S MONKEYBONE!!!JULIE's jaw drops. She barely gets a glimpse of O.D. STU before the ZOOGUARDS arrive to haul him away. STU-BONE Boy, the nuts are out tonight. What'd that creep call you - ? JULIE He called me "Doc."- which STU-BONE never does. Someone in the crowd yells... GUEST HEY MONKEYBONE!!STU-BONE turns and does a simian COMEDY SHTICK for the crowd. STU-BONE That's me, folks! Monkeybone! Let's party!By the time he's done scratching his ribs, JULIE has vanished!EXT. ZOO GROUNDS - LATE AFTERNOONShe races out of the tent - grabs a passing ZOO GUARD. JULIE Please. Where did you take that man...?The GUARD points to an ANIMAL CONTROL VAN. JULIE sees O.D. STU peeringout through a small barred panel. Their eyes meet... JULIE Who are you? Why did you say those things? O.D. STU Oh, Doc, it's all a mixup. We were in the land of death. He stole my e-ticket. That's how he got my body, see? All they had left for me was this corpse!JULIE digests this, nods professionally, and turns to walk away. O.D. STU Don't walk away, Doc! He's only here to give people nightmares! (no response) Doc! Please! Don't you remember the dream? They were pulling the plug - I called out to you - and you heard me. Remember?This stops JULIE cold. Her spine is tingling. She turns slowly, a singletear rolling down her cheek. And then... JULIE BUSTER?!?The dog runs right past JULIE and bounds up to the animal control van,barking his head off. Now JULIE is starting to believe. She turns - JULIE Stu...how? O.D. STU I had to come back, Julie. I had to give you this.THROUGH THE BARS he hands her the little box containing Grandma'santique ring. O.D. STU I meant to give it to you before. The night we crashed. I was so happy, Julie, I...try to remember me like that, okay? Not like this.She slips the ring on her finger - looks up at O.D. STU with TEARSWELLING in her eyes. He makes an odd SNORKELING kind of noise. JULIE What's wrong? O.D. STU I'm crying too. I just don't have any tears. I'm all dried up.JULIE TURNS. The two DETECTIVES we saw in the sleep lab have justarrived at the gate, and ALICE and CLARISSA are leading them over. ALICE Detective, please let this man out of the van.EXT. ZOO GROUNDS - PI—ATA AREA - THAT MOMENTThe PARTYGOERS are lined up under the gigantic Stanley-shaped PI—ATA,which is hanging from a tree. A TUBBY BANKER in a blindfold takes a goodhard whack. CRACKS are beginning to appear... STU-BONE Okay, folks, it's piÒata time - you know the rules - five bucks a pop - and remember, it's all for the benefit of our friends the animals! (eyes brightening) Oooooh! This one's on me!The next contestant is a GORGEOUS WOMAN. He blindfolds her and embracesher from behind to help her with her grip on the bat. STU-BONE Choke up, baby. That's right. Choke up!Suddenly he notices the COPS marching up with JULIE, O.D. STU and co. intow. He freezes, terrified - BACKS AWAY from the BABE -- and catches a BAT IN THE FACE. Several people rush up to help him asthe COPS consult with the BENEFIT ORGANIZERS... ORGANIZER I don't understand, officer. This is a benefit. Surely this can wait until - COP Sorry, ma'am...we need to question Mr. Miley on a most urgent matter. JULIE Stop this. Now. Those dolls have been tampered with. They're toxic!O.D. STU comes marching through the crowd. He passes a LIFE-SIZEDDISPLAY of Stanley and Monkeybone...GRABS THE BACKPACK off the Stanleyfigure...and proceeds deliberately toward STU-BONE. O.D. STU MONKEYBONE...BACK IN THE PACK.The old command seems to retain its magical power, because STU-BONEclutches his gut as if stricken at the sound of it. O.D. STU I mean it this time. Back in the pack.STU-BONE bends over - jerks and twitches - becoming more SIMIAN by themoment as O.D. STU approaches. STU-BONE Stu...I can explain...I was sick of being a figment, see? It's awful being a figment. It's degrading! And I never really wanted to give people nightmares. I just told 'em that so they'd help me get a body. O.D. STU Yeah - my body. Back in the pack, you simian shitbird!The COPS are tres confused by all this - COP Ma'am, can you give me some idea of what's going on here?- but JULIE holds them back so the scene can play itself out. Now STU-BONE is doing a weird little monkey dance - PLAYING UP to the puzzledcrowd, who laugh and snicker, wondering what to make of all this. STU-BONE Laugh, damn you...laugh at the sidekick...the happy little monkey. He doesn't have any feelings. He's just a figment of your immagination!He turns suddenly - GRABS THE BAT from the puzzled BABE - STU-BONE GIMME THAT GODDAM BAT!He wails on the piÒata like Ken Griffey Jr. O.D. STU tries to stop him,but it's too late - the piÒata BURSTS, and hundreds of PURPLE-ASSEDMONKEYBONE DOLLS spill out onto the ground!An equal number of RABID PARTYGOERS surge forward to scoop them up. TheCOPS swing into action, trying to hold the crowd back... COP HE'S GETTING AWAY!STU-BONE climbs a tree and JUMPS from a branch onto one of the TWINJUNGLE TOWERS at the pavilion - begins CLIMBING toward the giantMONKEYBONE BALLOON moored up above!O.D. STU sees him - pulls away from JULIE - O.D. STU I LOVE YOU! JULIE STU!!STU-BONE unties the mooring rope and wraps it around his midsection. Nowfreed, the balloon LIFTS INTO THE AIR, CARRYING HIM ALOFT!O.D. STU climbs up the opposite tower as the balloon starts to driftaway. He GRABS HOLD of the MOORING ROPE as it whips past.And the TEAM OF SURGEONS - who have been combing the grounds in searchof O.D. STU - catch sight of him just as he FLOATS OFF INTO THE AIR, ONTHE END OF THE ROPE! HEAD SURGEON LOOK! IT'S HIM!EXT. ZOO GROUNDS - ON BALLOON - MOVINGThey rise to an altitude of ten or twelve feet. But O.D. STU'sadditional weight pulls the balloon back DOWN - and both of them hit theground! They have to RUN at top speed just to keep pace with theballoon! STU-BONE Let...go...you...dingleberry...As he's trying to KICK O.D. STU off the rope, a GUST OF WIND catches theballoon and LIFTS IT HIGH INTO THE AIR.For about three seconds. The boys tumble to earth, off-balance, in aheap, BOUNCING along the pavement. The balloon pulls them over aWROUGHT-IRON FENCE and drags them through the ALLIGATOR PIT. Giant jawssnap as the boys glide overhead like bait on a hook.As the balloon LIFTS UP AGAIN, O.D. STU hauls himself along the lengthof the rope.He gets close enough to GRAB STU-BONE's LEG. STU-BONE reaches down topush him away...grabs a fistful of DUCT TAPE......and RIP! The tape TEARS - exposing the great big GASH in O.D. STU'smidsection! He tries to pull himself together...EXT. FOOD COURT - THAT MOMENT - LATE AFTERNOONA SERVER ladles out a cup of PUNCH from a big silver PUNCHBOWL.Something PINK comes plummeting out of the sky - and the next thing heknows, the SERVER is DRENCHED!The SURGEONS come rushing up. They all stick their hands in thepunchbowl at once...fishing out O.D. STU'S KIDNEY! HEAD SURGEON Put it on ice. I think it can still be saved!One of the TEAM finds an ice cooler full of soft drinks. In it goes.EXT. TIGER HABITAT - LATE AFTERNOONBOTH BOYS SCREAM as the balloon drags them perilously close to the RAZORWIRE atop a tall storm fence.They clear it by inches - but they don't have much time to celebrate.They're dangling over the Bengal Tiger exhibit, and the great cats areLEAPING INTO THE AIR trying to snag them!As O.D. STU squirms out of reach, his LIVER drops out...EXT. GROUNDS - TIGER HABITAT - LATE AFTERNOONIt lands close enough to the FENCE that one of the SURGEONS thinks hecan reach it. He reaches through the bars and sees a pack of BENGALTIGERS racing toward him! He manages to grab ONE END of the liver - buta TIGER gets the other end -- and it's a TUG-OF-WAR until the tiger BITES the liver in half, sendingthe terrified SURGEON sprawling on the pavement outside the bars! TheHEAD SURGEON examines the remaining half-liver... HEAD SURGEON Put it on ice. I think it can still be saved.ANGLE ON BALLOONSTU-BONE socks O.D. STU hard across the face! He lets go of his incision...and his SMALL INTESTINE falls out! Since it's still connected at bothends, the intestine forms a great big LOOP...EXT. FOOD COURT - SERVING TABLE - LATE AFTERNOONThe SERVER has just brought out a new PUNCHBOWL full of nice cleanpunch. He sets it down on the table and is about to ladle out a cupfulwhen STU flies past overhead. His intestinal LOOP slides across thetable, knocking over glasses, snagging the PUNCHBOWL at its base......and YANKING IT right off the table! Bystanding GUESTS are DRENCHED inpunch as the punch bowl FLIES END OVER END......and, with the sound of a GONG being struck, BEANS a member of theSURGICAL TEAM from behind!! Naturally it's the guy who's lugging the ICECHEST full of O.D. STU's organs. When the punchbowl strikes, he GOESDOWN HARD, PITCHING the ice chest...... at a pair of COPS who are over by the piÒata, loading CONFISCATEDMONKEYBONE DOLLS into a SHOPPING CART. The ICE CHEST knocks them offtheir feet - and sends the SHOPPING CART rolling downhill!The COPS try to get up, but they skid every which way on the SPILLED ICEunderneath. On top of which, the SURGICAL TEAM is all over them, playingGRAB-ASS with the COPS as they try to retrieve precious organs.The HEAD SURGEON kneels beside his fallen comrade, the guy who gotBEANED by the punchbowl, and feels for a pulse. HEAD SURGEON Put him on ice. I think he can still be saved!EXT. ZOO GROUNDS - LATE AFTERNOONCOPS sprint downhill, trying to intercept the runaway SHOPPING CART fullof confiscated dolls. Too late. The CART slams into a fence and goesass-over-teakettle, dumping its contents into the PENGUIN HABITAT...INT. HYP'S HIDEAWAY - THAT MOMENTHYPNOS and an audience of DARKTOWNERS peer into the nightmare orb. Theysee a Keystone-Cops vision of fur-clad ESKIMOS, with clubs andspearguns, amid a colony of terrified PENGUINS. HYPNOS Not again. THAT STINKING MONKEY!!!AERIAL SHOT - STU'S POV - MOVINGSTU gets an idea as he looks down at his dangling INTESTINE. He beginsFEEDING IT OUT - giving himself more rope to work with - and when it'slong enough, begins SWINGING IT like a LASSO!EXT. WATER BUFFALO HABITAT - LATE AFTERNOONWATER BUFFALO graze Buddha-like as STU'S INTESTINE snags one of themaround the HORNS. The lasso draws taut - and holds!ANGLE ON BALLOON - O.D. STU AND STU-BONEThe balloon is moored in place again! O.D. STU pulls himself upward,toward STU-BONE, who KICKS AT him frantically!EXT. ZOO GROUNDS - LATE AFTERNOONA COP pulls his sidearm and TAKES AIM at the now-stabilized balloon. COP I think I can bring 'em down.ANGLE ON BALLOON - MOVING - LATE AFTERNOONBLAM! The cop's shot hits the giant MONKEYBONE BALLOON smack in the ass.With a gale-force helium FART, the balloon ZOOMS UPWARD. The INTESTINEsnaps. STU-BONE and O.D. STU shoot off into the air!ON STU-BONE & O.D. STU - AERIALAT APOGEE. They exchange a LOOK as the last gasp of helium hisses out ofthe gigantic balloon. Then it occurs to them to look DOWN...THEIR POV - PARKING LOT - OVERHEAD ANGLE...at the tiny CARS parked far, far below. They must be close to ahundred feet up in the air - and all at once the ground is coming upfast!EXT. ZOO - ON JULIE & CROWD - LATE AFTERNOONJULIE et al SCREAM IN HORROR as the two bodies plunge earthward.ON STU-BONE & O.D. STU - FALLING...and falling and falling until they SMACK INTO the hot asphalt of theparking lot, the deflated balloon settling over them like a shroud.Their BODIES have stopped - but their SPIRITS keep on falling...AERIAL SHOT - SKIES OVER DARK TOWN - NIGHT...and the fight continues - even into the afterlife! As they plummetdown through the heavens, they REVERT to their true personae. It's STUvs. MONKEYBONE, creator vs. sidekick, still duking it out - like acouple of skydivers fighting over a single parachute!EXT. STREETS - DARK TOWN - RIGHTDARKTOWNERS pour into the streets to watch the epic struggle overhead.They're placing bets, rooting their favorites on. Then...THE GROUND SHAKES AND THUNDERS - and the DARKTOWNERS scatter in alldirections, DIVING for the nearest hiding place. They seem to know whatthis mighty rumbing signifies.The E-TICKET RIDE pops out of the ground - begins to RISE into the air -and a COLOSSUS appears beneath it! A FIFTY-FOOT WARRIOR clad in JAPANESECEREMONIAL ARMOR, he TOWERS over Dark Town, so mighty and enormous thathe can wear the E-TICKET RIDE as a hat!!ON STU AND MONKEYBONE - FALLINGSTU lands a HAYMAKER, and the two of them break loose of each other -ON ARMORED COLOSSUS - THAT MOMENT- LANDING in the upturned palms of the COLOSSUS! STU watches indisbelief as a PANEL pops open in the giant's CHEST, revealing... STU DEATH!! DEATH I dress up when I want to make an impression. - So how'd it go? STU Fine, thanks. Saw my girl, said goodbye, everything's gonna be okay. (shrugging) I guess I'm yours now. MONKEYBONE Death, I'd like to point out that none of this was my fault. The roots of this tragedy go back to a callous, uncaring society that -DEATH lets out a MIGHTY ROAR and CLAPS HIS GREAT METAL HANDS together.Man and monkey are surely squished. But when DEATH opens his hands, STUis still there, cupped safely in his palms. STU Hey. Where's Monkeybone? DEATH Back in your head, where he belongs. (beat) No offense, Stu, but on your own you're kinda vanilla. I didn't want to send you back without him. STU Back? You're sending me back? DEATH It's irregular, but...I just love that strip of yours. I figure I'll take the "Family Circus" guy instead. STU Death! Thank you! DEATH Thank me next time you see me.He sends STU ROCKETING UPWARD INTO THE STRATOSPHERE with a single flickof his finger. Then he turns... DEATH Ohhhh, Hypnos??A BUNCH OF FRIGHTENED DARKTOWNERS pitch the quivering satyr out into themiddle of the town square. HYPNOS Death! So nice to see you. I can explain -He looks up tremulously. A GIANT SHADOW falls across him...followed by aGIANT ARMORED FOOT.EXT. ZOO - DUSKJULIE SOBS in a POLICEMAN's arms at the exit to the zoo. JULIE I don't know what happened. All I know is...he was in a coma...and then he came back...and now he's gone again.They wander out. Behind them, a squad of COPS are confiscatingMONKEYBONE DOLLS from squawling children as they file out.EXT. ZOO - PARKING LOT - DUSKThe TWO CORPSES, on gurneys, are being loaded into the back of thepolice ambulance. The SURGEON and his team come wandering up. SURGEON Excuse me. We lost a corpse - we saw him heading this way... DRIVER I got a couple of fresh ones in the back. Help yourself.The SURGEON pulls the sheet off CORPSE #1 - aka O.D. STU. SURGEON I'll be. It's him all right. Still dead...The SECOND CORPSE sits up abruptly. His sheet falls away, revealing STU...the real STU...now back in his own body! The SURGEON and his TEAM runaway from the ambulance SHRIEKING.EXT. ZOO - ANOTHER ANGLE - DUSKBUSTER barks like a maniac. JULIE turns and sees an IMPOSSIBLE VISIONambling toward her...STU, alive and kicking. She can't believe it's himuntil he grabs her and pulls her close. JULIE Is it you? Is it really you this time?He pulls her close and kisses her long and hard, quelling all doubts. JULIE Oh, Stu. Tell me I'm not dreaming. STU Baby...you're asking the wrong guy.They wander off, arm in arm. STU TUGS at the seat of his pants. JULIE What's the matter? STU My tail itches.He DOES A TAKE as he realizes what he's just said - but JULIE smiles,and he shrugs it off. Johnny Mercer's "DREAM" comes up underneath as thereunited lovers walk off into the moonlight, and we FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Monte Carlo.txt b/unformated_scripts/Script_Monte Carlo.txt new file mode 100644 index 0000000000000000000000000000000000000000..bf0bd05c187792cab17e141c2c19ed6714a0b2a0 --- /dev/null +++ b/unformated_scripts/Script_Monte Carlo.txt @@ -0,0 +1 @@ + MONTE CARLO Written by Ron Bass Based on the novel "HEADHUNTERS" by Jules Bass THIRD DRAFT November 4, 2007 OVER BLACK: ALICE (V.0.) Think of the future, and events that will have already happened. INT. HIGH SCHOOL CLASSROOM - DAY ALICE PERRY (30s), her innate and amiable authority eclipsed only by a self-consciousness about her hair, afraid perhaps that she hasn't lived up to the promise of its red color, chalks "Futur Anterieur" in precise cursive at the board. ALICE "By tomorrow, we will have flown to France." She turns to face her TENTH GRADE FRENCH CLASS. Though Alice's make up, earrings and practical flats are simple, there is an inherent elegance to their combination that hints at a more complex, if uncharted, interior. ALICE (CONT'D) Who can give me an example? Paul? NOTE: Throughout, all blocks of italicized dialogue should be read as in FRENCH with ENGLISH subtitles. PAUL "I will have completed the assigned translation by the end of vacation." ALICE C'est bon! Amber? AMBER I will have failed French again by the end of the year. Alice pauses, regarding Amber with a pained sympathy. ALICE En francais si'l vows plait? INT. HIGH SCHOOL CLASSROOM - DAY EMMA So, the definition of the derivative of the function "f" at point "x" is..? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 2. CONTINUED: EMMA LINDGARD (late 20's) rapidly scribbles a complex calculus formula at the board while all of her TWELFTH GRADE MALE STUDENTS avidly admire her shape in a tight, stylish skirt and heels. She turns suddenly, smiling brightly. EMMA (CONT'D) Okay! Kyle? KYLE snaps his eyes up to Emma's face, tries to cover. KYLE Um... I guess I'm a little lost. If optimists see a glass as half full, Emma's is in a constant state of cheerful, blonde overflow, even when a level of wilfulness is required. EMMA Try to follow along. I really want you guys to get this! David? DAVID gazes back dumbly, stuck in an erotic fog. EMMA (CONT'D) Cindy? IS INT. HIGH SCHOOL - HOME ARTS LAB - DAY TWO GIRLS ( 17) laugh conspiratorially, dredging woven pot holders through an egg mixture and dropping them into a sputtering pan, as the rest of the CLASS makes French toast. The girls sneak looks at MEG KELLY (30's) who tears recipes from a Gourmet magazine at her desk at the front of the room. Dark hair pulled into a pony tail, face unadorned by makeup, Meg's natural sexiness is muted by an air of indifference. She glances up when the pan erupts in flames and the girls leap back with a shriek, shakes her head. The girls attempt to knock the pan from the burner with the handle of a broom when a pot lid bangs down, instantly snuffing the flames. They shrink back as Meg waves the lid, clearing the smoke. MEG Do me a favor, and let's just try to get to vacation. The class bell RINGS! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 3. CONTINUED: MEG (CONT'D) You can burn the school down as soon as we're back. EXT. HIGH SCHOOL - DAY Alice, a heavy bag slung over her shoulder, and her boyfriend RICHARD (30's, scruffily handsome in sweats and a coach's jersey), carrying three binders and a bag of baseball bats, exit the school among a crush of students. Together, they cross a lawn dotted with patches of late snow, to the parking lot, stopping at Alice's weathered Volvo where Richard hands over the binders with a kiss. RICHARD Got practice until five thirty, then I'll be by. ALICE I'll see you then. Thanks. They kiss again and Richard takes off for the athletic fields, passing Meg as she comes from the school, waves. RICHARD Hey, Meg! Bon voyage! Alice offers a binder to Meg as she arrives at Alice's car. ALICE I finished our travel binders! Meg takes the binder, looks it over. MEG Remind me again why we're taking phonebooks to France? Alice gives her a look. MEG (CONT'D) I love my binder. I do. ALICE Where's Emma? She knows we're meeting, right? MEG Forgot her purse. (watching the students) (MORE) (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 4. CONTINUED: MEG (CONT'D) You know, for the first time in a long time, I feel just as lucky as any of these kids. They may have their whole lives ahead of them but we've got a week in Paris. ALICE Oh, that's right. I keep forgetting your life is completely over. So sad. I'm really going to miss you. MEG Funny. EMMA Well, that was a close call! They turn to see Emma. crossing the parking lot holding a quality knock-off designer handbag over her head. MEG Look at her. The only teacher in Racine County that wears four inch heels in six feet of snow. ALICE She always looks great, doesn't she? ME G (WITH AFFECTION) Damn her. EMMA (ARRIVES) My passport was in here! MEG Where'd you find it? EMMA Second floor girl's bathroom. Right where I left it. This MORNING-- (SEES BINDER) Ooh, binders! Great! Alice passes one to Emma. EMMA (CONT'D) You guys were so nice to ask me to come with-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 5. CONTINUED: (2) ALICE Emma, we're a team. EMMA I'd just be sitting around the condo, trolling e-Harmony... MEG The fact that you have trouble finding a date-- EMMA I'm telling you, it's this town! MEG Gives me less than no hope. EMMA You know what we should do, Meg? When we're over there? we should all treat ourselves. Find a real salon. Total spa treatment. And I'm gonna get my hair done. Just like this! She holds up a European tabloid she's pulled from her purse, stabbing a finger at a photograph: CORDELIA WINTHROP SCOTT (30's), a blonde heiress deflecting paparazzi in couture. NOTE: EMMA and CORDELIA are Played by the same actress. ALICE Look at us. Meg and Emma turn to Alice, smiling. ALICE (CONT'D) (MARVELLING) We're really going. INT. ALICE'S HOME - BEDROOM - NIGHT Alice's passport and a brochure emblazoned with a logo: Esprit de Corps Tours, sit on top of her dresser, next to a framed photo of Alice and Richard at the Wisconsin Dells. Alice struggles to close the overstuffed suitcase on her bed, tugging at the stubborn zipper. ALICE Come on... Please... please... (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 6. CONTINUED: The zipper tears away from the suitcase witha loud RIP! is INT. MEG'S HOME - LIVING ROOM - NIGHT Meg pulls a well-worn stuffed dog from her open suitcase on the couch, holding it up to her daughter, FINN (6) who wears a spangled tutu and cowboy boots. FINN She wants to see Paris, too! MEG Finn, if Edith goes to Paris with me, she can't go to Daddy's with you. Finn's brows come together as she considers this, then reaches for the dog. MEG (CONT'D) That's what I thought. (CALLING) Seamus! SEAMUS, Meg's ten year old son, pounds down the stairs carrying an enormous backpack as Meg zips her bag closed. MEG (CONT'D) Toothbrush? Seamus makes a face, drops his bag and heads back up the stairs as the doorbell rings. FINN Daddy! EXT. MEG'S HOUSE - NIGHT GLENN (30s), in a police uniform, watches Meg squeeze her children tightly. MEG (TO SEAMUS) Remember. Gameboy goes to bed when you do. Nine o'clock. GLENN Seam, why don't you take your sister to the car while your mom and I talk. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 7. CONTINUED: FINN Can we get on the radio? MEG GLENN No. No. Meg watches her kids run to the squad car parked at the curb, just as KARYN (30's, also in uniform) emerges on the passenger side to meet them. GLENN And no lights! KARYN Hey, Meg! Meg lifts her chin in greeting, but that's it. GLENN I uh... I heard from my lawyer. She said you'd signed your papers. Meg watches her kids climb in the car with Karyn. GLENN (CONT'D) Guess that makes us official, then. MEG You and me? (a nod to the car) Or... GLENN You and me, Meg. A beat as they look at one another, hold. SEAMUS Mom! Seamus reappears, charging up the walk to pull Meg down to his level, hugging her. SEAMUS (CONT'D) Have fun. INT. EMMA'S CONDO - LIVING ROOM - NIGHT Emma's packed suitcases stand neatly arranged by the door of the sparsely furnished, undecorated room. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 S. CONTINUED: ANSWERING MACHINE You have no messages. Leaning on the lip of the kitchen's bar, Emma presses the record button on her answering machine, then speaks with a put-on, coolly sophisticated,'jet-setting accent. EMMA Hello. You've reached the home of Emma Lindgard. I'm afraid I won't be able to return your call right away, as I'm currently traveling. In Europe. But, please, do leave a message. TV ANNOUNCER ". .She was known as 'The People's Princess'... Emma turns at the counter to see Princes Diana touring an African encampment with children on the television. EMMA Ooh! She hangs up the phone and sits herself down at the coffee table where a game of solitaire is laid next to a microwaved Lean Cuisine dinner. She turns up the volume with the remote and gathers the cards, shuffling. Eyes glued to Princess Diana on television, Emma suddenly shoots her hands three feet wide, rifling the cards in perfect vertical formation like a seasoned cardsharp. EXT. ALICE'S HOUSE - NIGHT Alice opens the door, kissing Richard who holds up a suitcase in one hand, a bottle of champagne in the other. RICHARD Special delivery. INT. ALICE'S BEDROOM - NIGHT Alice zips the suitcase shut and raises her arms in victory as Richard pours the Champagne into two glasses. ALICE That's it! I am good to go! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 9. CONTINUED: Richard brings a glass to Alice, nuzzles her ear. RICHARD I'm proud of you, you know. Alice takes her glass and presses Richard down onto the bed, climbing on top of him. ALICE Like Christmas when I was a kid. There's no way I'm going to be able to sleep tonight-- RICHARD Good for me. They kiss. ALICE I mean, how long have I been talking about this? RICHARD Mmm... You were reading Colette. In the teacher's lounge. First time we met. Long time. Alice pauses as this lands somewhere deep inside. RICHARD (CONT'D) This is just the beginning. ALICE (BRIGHTENING) It feels like it. They clink glasses and Richard watches Alice tip her glass back then stop mid-sip to peer down at the delicate diamond ring sitting at the bottom of her glass. ALICE (CONT'D) (STUNNED) Oh. Richard... It's so... It's beautiful... Richard takes her glass and fishes out the ring. RICHARD Let's try it on. ALICE But, we can't even celebrate-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 10. CONTINUED: (2) RICHARD What are you talking about? We're CELEBRATING-- ALICE But, I'm leaving. I'm--. I'm getting on a plane in the morning. RICHARD (LAUGHS) Maybe I want to make sure you come BACK-- (stops, sobers) Wait. You're serious. Are you serious? You're serious. ALICE Let's do this when I get back. In a week. RICHARD Can you hear yourself? ALICE Honey, listen, it's just the timing. I wasn't planning on this TONIGHT-- RICHARD Whoa. I planned tonight. Tonight was my plan-- ALICE And it's great. This is great. You're great. But, Richard, I feel like I just need to do this one thing first. Then I can do the next. Then I can do this. (off his silence) Can you understand? There's a world I haven't even seen yet... Alice, hopeful, searches Richard's inscrutable expression a beat, then he turns away and gets up, ring in hand. RICHARD I thought we'd be seeing it together. (pockets the ring) Have a great trip, Alice. He heads for the door. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 11. CONTINUED: (3) ALICE (STRICKEN) Richard, come on. You're leaving? RICHARD (without looking back) Maybe I'll see you in a week. Alice listens to his footfalls and the slam of the front door, then falls back on the bed, striking her head on the open suitcase, wincing. ALICE (MISERABLE) I'm sorry... PILOT (PRE-LAP) Ladies and Gentleman, we are about to begin our descent into Charles de Gaulle International Airport... INT. AIRPLANE - IN FLIGHT - DAY Meg sleeps in an aisle seat of the dim coach cabin where all the window shades have been drawn down, Emma dozing beside her, a game of cards laid out on her tray table. Alice brings her seat to the upright position as instructed and sits, hyper-alert, looking at her closed window shade. A beat. She reaches out and raises the shade a tentative crack, flooding their row with light. She glances furtively around the cabin, then inches the shade higher, drawing in a sharp breath at what she sees. She flings the shade up. ALL OF PARIS is laid out below her; a magical nautilus-like wheel with the Eiffel Tower as its central axle. Her breath steams the window as she drinks it all in. She turns, eyes full, to Meg who cranes across Emma to share in the view and squeeze Alice's arm with a smile. EMMA Are we there?! 0 Monte Carlo Draft 3 - November 4, 2007 12. INT. CHARLES DE GAULLE AIRPORT - DAY A CUSTOMS AGENT stamps Alice's passport with a thump. CUSTOMS AGENT Bien venue. Alice looks up from her imprinted passport, smiles hugely. ALICE Merci . EXT. CHARLES DE GAULLE AIRPORT - DAY Alice emerges with Meg and Emma, each struggling with their luggage, onto the thronged arrivals deck. EMMA There it is! Esprit de Corps! Alice looks to where Emma points, seeing a small sky-blue flag at the end of a long staff held by MADAME VALERY (40s, pinched) their harried tour guide in a suit of the same blue. ALICE Excuse me, are you Madame Valery? 0 Madame Valery glances up from her clipboard beside their bus. ALICE (CONT'D) Hi, my name is Alice Perry-- MADAME VALERY (GESTURING) Bags go under the bus. ALICE I'm traveling with my friends, Meg Kelly and Emma Lindgard-- MADAME VALERY (FLAT) I speak English. EMMA Well, that's great! ALICE We're so excited! Madame Valery eyes Alice unfolding a map from her binder. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 13. CONTINUED: ALICE (CONT'D) Now, I was hoping you could tell me which route the bus will be taking-- MADAME VALERY (WEARILY PREDICTIVE) You're not going to be a problem, are you? EXT. PARIS - DAY The battered Esprits de Corps Tours bus careens through the streets, listing wildly from side to side. INT. TOUR BUS - DAY - MOVING MADAME VALERY (over bus's P.A.) On your right... Alice, squashed beside Meg on the over-crowded bus, whips her head up from her guidebook. MADAME VALERY (CONT'D) Was the Arc de Triomphe. ALICE This is ridiculous... EMMA Hey, Alice! Meg! Alice and Meg turn to Emma across the aisle, who hooks a thumb at CARL and DEEDEE (late 60's, both stout) beside her. EMMA (CONT'D) Can you believe? They're from St. Paul! On their honeymoon! CARL Waited a long time for this! But, we finally made it! EMMA Alice, that's like you! (back to couple) We're here celebrating my friend Meg's divorce! 0 Monte Carlo Draft 3 - November 4, 2007 14. EXT. THE LOUVRE - DAY The bus hurtles around the drive, screeching to a halt, bouncing roughly on its shocks at the museum's entrance. INT. LOUVRE - DAY Alice, Meg and Emma race past gallery after gallery, trying to keep Madame Valery's little blue flag in sight as it flies over the crowd in the distance. Alice whipsaws her head at everything they're missing, making notes in her guidebook on the fly. ALICE Try to remember that! We'll double back for the Chagalls! INT. LOUVRE - DAY Madame Valery leads the charge up the right wing of the Daru staircase, past the statue of Winged Victory. Alice stops Meg and Emma in front of the statue, while Carl and Deedee try to catch their breath on the landing. ALICE (READING FAST) .Also called Nike of Samothrace. Greek goddess Nike, meaning victory. Two-twenty to one-ninety B. C. Okay, go! They head for the right stairs just as Madam Valery reappears, descending with her group on the left. ALICE (CONT'D) Oh. Alice turns Meg and Emma around to come back down. DEEDEE Well, that saved us a climb. INT. LOUVRE - DAY Emma elbows her way out of a crush of raised cameras and cellphones to Alice and Meg who strain at the rear of the CROWD to view a painting, all but the top of its gold frame obscured. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 15. CONTINUED: EMMA (waving her camera) I got it! I got it! INT. BISTRO - NIGHT Meg and Emma sit hunched over Emma's camera and its shaky, digital image of the Mona Lisa, squeezed in with Alice and the rest of their tour at too few tables. EMMA Alice, I'll e-mail it to you. Meg looks up, catching Alice eyeing their surroundings. MEG (re: Mona Lisa) At least she's smiling. ALICE (snaps to, smiling) What? No. I'm--. I'm just a little tired. EMMA (a happy idea) Hey! I'll bet you have jet lag! We'll probably all get it! Meg raises a glass of wine. MEG To jet lag. Emma and Alice raise their glasses to toast as WAITERS plunk down identical plates of steak frites before them. MEG (CONT'D) To Alice. Best organizer. Best guide. Best friend. EMMA To Alice! They clink glasses and Alice is suddenly jostled, just as she's about to sip, by Carl as he turns from the table behind her, spilling her wine. DEEDEE Oh, Carl! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 16. CONTINUED: CARL I am so sorry! ALICE (mopping her front) IT'S OKAY-- DEEDEE He was just looking for the catsup- CARL If you're not using it. As Emma passes the bottle of catsup, Meg offers Alice her napkin, and waiters sweep their plates away, replacing them with creme brulees. ALICE Oh! No. Wait. Pardon, Monsieur-- CARL (RECEIVING CATSUP) Merci! He turns now, catsup in hand, to blink at the creme brulee that has replaced his own and Deedee's steaks. Alice places a hand on Madam Valery's arm as she passes. ALICE Pardon, Madame, but... Madam Valery slowly raises her eyes from Alice's hand. ALICE (CONT'D) I'm sorry, but-- MEG Are you apologizing? ALICE They've taken our dinners away-- Madame Valery taps her watch and then her clipboard. MADAME VALERY There were stragglers at the. museum. Now, I am behind schedule. 0 Monte Carlo Draft 3 - November 4, 2007 17. EXT. LE PETIT SOMMEIL HOTEL - NIGHT Esprit de Corps tour members disembark from their bus in front of a comically narrow and vertical Baroque hotel with its name in feeble buzzing neon: Le Petit Sommeil. ALICE (PRE-LAP) Look! Look at this picture and tell me what's different! INT. LE PETIT SOMMEIL HOTEL - NIGHT The women lower the travel brochure and its photograph of a tidy well-appointed suite, to regard the actual one in which they stand; dingy, impossibly small, crowded by an armoire that nearly meets the low sloping ceiling, with two spindly twin beds and a military-style cot. EMMA Toujour le suck-ez vous. ALICE I researched at least a million TOURS-- MEG Well. This is the one we could afford. A beat as they consider the room and their lot in life. MEG (CONT'D) It's only five nights-- EMMA Five nights? Here?! MEG And, Alice, you said yourself, we'll hardly ever be in our room. (SELLING IT) It'll be like camping. At Eagle River. It'll be fun! Emma opens what is essentially a closet with a toilet. EMMA Here's your outhouse, Meg. Go nuts. Alice joins Emma at the bathroom door. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 18. CONTINUED: EMMA (CONT'D) Me? I'm going to try to hold it. MEG Okay, Emma. Let's just unpack-- she turns for the luggage, nearly falling over at the weight of Emma's suitcase as she reaches to lift it. MEG (CONT'D) Holy--! Alice, help-- Alice climbs onto one of the beds to help Meg lift. ALICE Emma, what have you got in here? EMMA Just the stuff you put on my list-- (off her look) And a couple options. The bag slips from Meg's grasp, crashing onto the foot of the bed which collapses, catapulting Alice onto the cot which flips up over her, knocking Emma into the tiny bathroom. EMMA (CONT'D) Hey! Come on, guys! INT. LE PETIT SOMMEIL HOTEL - NIGHT Alice gazes out a window that opens onto a narrow alley and the ugly backsides of buildings, as Meg and Emma sleep fitfully behind her. She looks down at the cellphone in her hands, scrolling through her speed dial to stop at: 1. Richard. She hesitates with her thumb over the "call" button. She turns back to the miserable view, considering for a beat, then folds her phone away as she blinks back tears. EXT. PONT DES ARTS BRIDGE - DAY Madame Valery leads a diminished flock, bobbing her staff with its blue flag, in a forced march across the span of the ornate pedestrian bridge toward the waiting tour bus. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 19. CONTINUED: MADAME VALERY The Pont des Arts has it's name for the vast number of art students that come here to paint this famous city view... Meg and Emma, the worse for wear, trail Madame Valery at a distance with Alice who now leads her own handful of tour members, Carl and Deedee among them. ALICE It's called the Pont des Arts because the Louvre was formally known as the Palais des Arts... Madame Valery stops ahead, turning back to take in Alice and her cluster of appreciative followers. MADAME VALERY People! We must keep together! EXT. NOTRE DAME CATHEDRAL -- DAY Alice's group circles an inscribed stone medallion with a star-shaped brass inset on the pavement outside Notre Dame. DEEDEE "Point zero. Dez roots dee France." ALICE It's from right here that all the highway miles in all of France are measured. They also say that if you stand on this exact spot, you are be destined to return to France in the future. MEG Oh, I'm in! Come on. Everyone! Together, they all step forward, arms entwined, laughing. EMMA I want a picture! Of all of us! Alice looks up as Emma breaks away, to see Madam Valery leading her dwindling group from the great church. Madame Valery sends her charges to the bus, then heads straight for Alice as Emma tries to enlist a JAPANESE COUPLE to take a group photo with her camera. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 20. CONTINUED: MADAME VALERY My head count was short in the cathedral. ALICE I'm sorry. I was explaining about POINT ZERO-- Madame Valery sizes Alice up and taps her staff as the group forms around them, joined by the Japanese couple. MADAME VALERY This flag? I do not carry it for my pleasure. ALICE We were just on our way inside-- MADAME VALERY Well, now you may head to the bus. ALICE But, we haven't been-- MADAME VALERY Which is why you must follow my flag! ALICE okay. We will. I promise. But, these people haven't seen the CATHEDRAL--- MADAME VALERY There are many churches on the tour. ALICE But, this is Notre Dame! They need to see this-- MADAME VALERY I assure you, they will see everything they need to see-- ALICE (LOSING IT) Well, what's the point if it's all a big fat blur? When nobody can see anything properly? Let alone experience it, or appreciate-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 21. CONTINUED: (2) MADAME VALERY You seem quite the Paris expert, for someone who has never been. EMMA Ill bet she knows more about it than you! The Japanese wife frames the action with Emma's camera. ALICE I might not have ever been here before, but... (EMOTIONAL) I've waited my whole life for this trip. CARL We've waited thirty years-- MEG You tell her, Carl. ALICE You keep rushing us through, like this is some kind of race-- (REALLY HURT) And you won't even speak French with me. (SGUARES HERSELF) Now, I think I've been very nice. We're from Wisconsin. But, I'm telling you, I am not getting on that bus until my friends and I have seen Notre Dame. Meg and Emma exchange looks as Alice plants herself with folded arms and steely resolve before Madame Valery. MADAME VALERY Perhaps, if Madame is not satisfied with my tour she could conduct her own. EMMA What'd she say? Alice's eyes narrow in regarding Madame Valery and all fall silent a beat; a crowd anticipating fireworks. CLICK! The Japanese wife snaps a picture of the standoff, the sound of the shutter triggering Alice to action. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 22. CONTINUED: (3) With lightning speed, she seizes Madame Valery's flag. CROWD Whoa! Madame Valery, nonplussed, reaches out to reclaim her flag, but Alice jerks it further away, while the Japanese woman snaps picture after picture. DEEDEE Carl, we're getting on the bus! Madame Valery lunges for the stick. EXT. NOTRE DAME CATHEDRAL - DAY The bus pulls away, revealing the Japanese couple who return Emma's camera with a bow, Meg, and Alice holding the flag. EMMA That was fantastic! MEG "A" plus! Alice, cheeks flushed, watches Carl waving goodbye from the 0 bus's rear window. MEG (CONT'D) Alice, you okay? Alice brings the staff down across her knee, snapping it in two, casting the broken ends into the gutter as she raises herself to her full height. ALICE Now, the real tour can begin! MEG Let's kick this town's ass! Alice marches forward as a few drops of rain fall. EMMA I think it's starting to rain-- ALICE Who cares? We're in Paris! What's a little rain? 0 Monte Carlo Draft 3 - November 4, 2007 23. EXT. LE MEURICE HOTEL - NIGHT Water pours in sheets from the sky as Alice, Meg and Emma splash down the Rue de Rivoli and duck beneath the shelter of the hotel's canopy. They shake water from their arms and hair, pluck at their sopping clothes. PHOTOGRAPHER 1 Cordelia! They glance over at a few PAPARAZZI sharing the protection of the overhang on the far side of the entrance, as a camera flashes in taking Emma's picture. Emma smiles, blinks, confused as another photographer admonishes the first. PHOTOGRAPHER 2 You're wasting your film. That's not her. EMMA What're they saying? Alice looks about in equal confusion, but stops short when she sees the opulent restaurant behind the window's glass. ALICE Oh. Meg and Emma turn to gape as well at the DINERS and elegant tables inside as the rain hammers down. ALICE (CONT'D) That, mes aims, is Paris. EMMA You think they'd let me use the bathroom? INT. LE MEURICE HOTEL - LOBBY - NIGHT Meg and Emma step into the lobby, a palatial world of marble, gold and flowers, as Alice confers with the DOORMAN. EMMA Wow. 0 (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 24. CONTINUED: ALICE (TO DOORMAN) Merci. (joins Emma and Meg) Okay, Emma, it's down the hall to the left. Meg and I'll go and get us a table-- EMMA Meet you in there. Emma heads for the ladies room, gaping at the lobby. EMMA (CONT'D) Wow... MEG Get us a table? Alice, we can't afford to eat here-- ALICE My treat. ME G You can't afford--- ALICE (hooking Meg's arm) We're going to do one thing right in Paris. I don't care how much it costs. They turn for the dining room, passing the front desk where CORDELIA WINTHROP SCOTT (dressed similarly to Emma, though at ten times the cost) unleashes her ire on the CONCIERGE. CORDELIA And, just how do you propose I am to travel tomorrow, then? CONCIERGE I am sorry, but, there is nothing-- A MANAGER enters from the back. MANAGER Mademoiselle Scott, I have checked and there is no sign of a package-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 25. CONTINUED: ( 2) CORDELIA Marvelous. I'd like to see someone who speaks English, please. If there is such a person in France. The concierge and manager look to one another and back. MANAGER This is not English we are speaking? INT. LE MEURICE HOTEL -- LADIES ROOM - NIGHT Emma swings through the door into the black marble bathroom, grabbing a towel to swipe at her wet hair. She stops abruptly, examines the towel. EMMA These are cloth! She takes the towel into one of the stalls, closing the door behind her just as Cordelia strides in, stops at the counter. CORDELIA (ACID DISGUST) France. Cordelia's cellphone RINGS! and she pulls it from her purse. EMMA (O.S.) Hello? CORDELIA (INTO PHONE) You would not believe these people. So rude! She takes her phone into the stall next to Emma's and closes the door just as Alice and Meg enter. CORDELIA (O.S.) (CONT'D) And they wonder why none of us do Paris anymore! What I've been through--. And, Daddy is being PERFECTLY HIDEOUS-- Alice and Meg look at one another in the mirror, overhearing Cordelia, as they pick up towels to dry off. CORDELIA (O.S.) (CONT'D) He's making me go to Monte Carlo! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 26. CONTINUED: ALICE Emma? EMMA (0. S.) Yeah. I'm here. CORDELIA (O.S.) I don't know. Some auction. One of those foundations--. But, have I heard from them? No. And they were to take care of the plane--. Well, I'm certainly not going to go if, Wait, where are you? (LISTENS) Reykjavik? Would I need a coat? A toilet flushes and Cordelia opens her stall door, heads for the counter, oblivious to Alice and Meg who freeze with their towels, blinking at her uncanny resemblance to Emma. CORDELIA (CONT'D) Do you know if there's an evening flight--? Alice and Meg turn to each other, then to Cordelia's reflection in the glass, their mouths hanging open. CORDELIA (CONT'D) Ooh, I think I can just make it. No. I won't even check out here. It's better if everyone thinks I'm being a good girl and taken the trip down to-- Cordelia stops when her eyes snag on Alice and Meg. CORDELIA (CONT'D) Let me call you when I get to the airport. It may take awhile... She gives Alice and Meg a devastating look up and down. CORDELIA (CONT'D) It appears to be raining outside. Quite hard. She picks up her purse and exits without looking back just as Emma opens her stall door and joins Alice and Meg, who gape at her with towels in their hands. EMMA Did you see those are cloth? Monte Carlo Draft 3 - November 4, 2007 27. INT. LE MEURICE HOTEL - RESTAURANT - NIGHT MEG No, Emma, I mean, exactly like you. EMMA Well, she sounded awful. And kind of mean. Alice, Meg and Emma, punchy and a little drunk, enjoy wine from enormous glasses as they finish their meals. ALICE (draining her glass) She should be ashamed. Can you imagine having a room here and then not staying in it? An ANXIOUS WAITER races in, refilling Alice's glass. EMMA (PERFECT MIMIC) Darling, I was thinking of ordering this entire menu, and then not eating it! The waiter retreats, joining FIVE others standing at discreet, fearful attention, all careful not to look at Emma whom they've clearly mistaken her for Cordelia. MEG We should just take it. Her room. EMMA And her trip to Monte Carlo! (TO ALICE) That's still France, right? MEG Alice, how fast can you get a binder going on a trip like that? ALICE (LAUGHS) Oh, I'd love to see that. Us in Monte Carlo. MEG What's so funny about that? We got in here. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 28. CONTINUED: EMMA (MIMICKING) Indeed. It is pitiful how low the standards here have fallen. Two waiters step in to clear plates, hearing all. EMMA (CONT'D) (MIMICKING) Remind me to have Daddy buy this hotel so that I can knock it down. Alice and Meg laugh with Emma as the waiters head for the kitchen in panic. WAITER (whispers to other) She is a monster! MEG Emma, you could be her! EMMA (MIMICKING) Darling, Meg. Always making me laugh! (DROPPING IT) Who in their right mind would ever believe that I was-- MANAGER Pardon, Mademoiselle Scott? The three look up at the manager in surprise. ALICE I'm so sorry. Were we being too loud? MANAGER No, no, we are all very happy to see Mademoiselle Scott smile... A WINE STEWARD hustles up to the table with an ice bucket stand and a bottle of Champagne. MANAGER (CONT'D) Please. In apology for our earlier misunderstanding. EMMA Our misunder--? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 29. CONTINUED: (2) MANAGER Your dinners as well. With our compliments... The three women exchange glances as the steward begins to open the bottle and the manager bows, backing away. EMMA Excuse me, Monsieur? MANAGER Oui, Mademoiselle? Emma smiles, broadly, batting her eyelashes as the steward pops the Champagne cork. EMMA (PERFECT BRITISH) I so hate to be a bother, but I seem to have misplaced my room key. INT. LE MEURICE HOTEL - SUITE - NIGHT CLICK! The door swings open into the dark room, framing the three drunk laughing women. Alice fumbles for a switch, hitting the lights, and their laughter cuts abruptly at the sumptuous interior of gleaming marble, gilt and silk. ME G HOLY-- EMMA Scheize. Alice sees but one the thing: The Eiffel tower illuminated on the other side of a bank of French doors. ALICE A view! There's a view. Alice races to push back the window sheers, revealing a staggering panorama of the city, the Seine, and the Eiffel tower in the pouring rain. The entire city of light is reflected in her eyes. EMMA (O.S.) Now this is more like it! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 30. CONTINUED: MEG There's whole other room in here! INT. LE MEURICE HOTEL - SUITE -- BEDROOM -- NIGHT Alice enters, steering around a tower of Louis Vuitton luggage, as Meg pulls a fresh bottle of Champagne from a bucket of ice. ALICE Wait. What are you guys doing? Emma launches herself onto the enormous bed. EMMA This is the room we were supposed to have! ALICE On what planet? Come on. We were only going to take a look! MEG So, we're looking. (pops the Champagne) And we like what we see. ALICE Meg! Meg takes the bottle and crawls up with Emma. EMMA Alice, take a break, would you? We WALKED EIGHTY-POINT-FOUR-SIX-SEVEN- two kilometers... A lot happened today. ALICE BUT-- MEG (pats the bed) Alice, how many do chances do we get? For something like this? Alice considers, looks out the window at the streaming rain. ALICE Okay. But, just until it stops raining. Then we go. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 31. CONTINUED: MEG (makes room for Alice) Agreed. Alice climbs up and together, the three pass the bottle of Champagne as they study the ceiling's ornate plasterwork. MEG (CONT'D) (LAUGHS) I'm sorry, I just keeping thinking of the look on that woman's face! EMMA I'm glad I got pictures! ALICE I did surprise her-- MEG Surprised me! EMMA Really loved that flag, didn't she? ALICE Poor Carl and Deedee... EMMA Do you think that if you sleep in a bed like this every night your dreams are different? Alice rolls to her side and the view of the Eiffel tower. EMMA (CONT'D) Like, are they bigger? You know? Do you dream a more amazing life? Meg kicks off her shoes, lets them drop. MEG Well... We'll never know. Seen from the bed, the light atop the Eiffel tower breaks through the dissipating clouds to swing a searching arc through the night sky... MATCH DISSOLVE The Eiffel tower gleams gold and orange in the morning sun. 0 Monte Carlo Draft 3 - November 4, 2007 32. INT. LE MEURICE HOTEL - BEDROOM - SUITE - MORNING A telephone rings, stirring Alice. It rings again. She reaches for it in her sleep as Emma sits up groggily beside Meg curled around the empty Champagne bottle. ALICE (ANSWERING) Hello? EMMA What time is it? Alice's eyes fly open as she snaps awake. ALICE Oh, yes. Yes... EMMA (SHAKING MEG) Meg, wake up. We're in trouble-- Meg pulls herself up, sees Alice on the phone. MEG Oh, shiii-- ALICE We'll be right down. Merci. She hangs up. EMMA We were only joking! We didn't mean to--! MEG We'll tell them it was a mistake! EMMA Alice? ALICE Cordelia, your car is here. INT. LE MEURICE HOTEL - LOBBY - DAY Alice, Meg and Emma attempt to conceal themselves behind Cordelia's tower of cases as it's wheeled from the elevator by two PORTERS. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 33. CONTINUED: The women scurry for the exit past the desk manager. MANAGER Mademoiselle Scott! ALICE Just keep moving. The three women increase their pace, but the manager catches up to them with an express envelope. MANAGER Mademoiselle Scott, this came for you this morning. The package you were seeking? Emma merely blinks at the offered envelope. MEG Take it. Just take it. EMMA (SNATCHING IT) Thanks again! They break for the door, but the manager follows. MANAGER I'm afraid there may still be some PHOTOGRAPHERS OUTSIDE-- EMMA What? EXT. LE MEURICE HOTEL - DAY As they emerge, the manager and doormen hustle Alice, Emma and Meg towards a waiting car and driver, as paparazzi call and shoot from across the boulevard. ALICE Thank you so much but I think we'll WALK-- MANAGER (LAUGHS) But, you can not walk to the airport. ALICE (STOPS FAST) The airport? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 34. CONTINUED: A beat, as Emma and Meg look to Alice for direction and the frenzied calls of the paparazzi increase. INT. CAR - MOVING - DAY ALICE It's fine. It's fine. We'll just have him drop us off... Alice and Meg look out the back window at the manager who waves them farewell, the doorman shooing photographers. MEG They really do think she's her... RIP! Alice and Meg spin to Emma as she spills the envelope 's contents. EMMA What? I want to know where we're going. ALICE We're going back to our hotel-- Emma holds up an itinerary with a big mischievous grin. EMMA No. We're going to Monte Carlo! ALICE No. We're not. MEG (TAKING ITINERARY) Let me see that-- EMMA Alice, what's "prive?" Is that like an airline? ALICE Emma, for crying out loud. Meg, you want to help me out here? MEG Hold on... I'm reading... EMMA See? Meg wants to go. Don't you, Meg? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 35. CONTINUED: ALICE No, Meg, doesn't. Meg looks up from the itinerary, shrugs. MEG Trip's paid for, whether that girl takes it or not. ALICE Oh! And somehow that magically makes taking it right? EMMA What's the worst that could happen? ALICE I can think of a lot of things-- MEG You're in charge. You want to go back to that hotel, okay by me. A beat while Alice looks between Meg and Emma, trapped. MEG (CONT'D) Totally your call. EMMA (FULL-ON CORDELIA) And, darling, we'll completely understand if you feel we shouldn't go. EXT. AIRPORT - TARMAC - DAY The car drives across the wide stretch of runway on a trajectory for a waiting private jet. INT. PRIVATE JET - IN FLIGHT - DAY The women swivel around in their plush seats at the POP! of a cork as a STEWARD opens a bottle of Champagne. ALICE Okay. We go. We take a look around. We get on a train and come right back... (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 36. CONTINUED: MEG Anything goes wrong, we say it was a language thing, that we didn't UNDERSTAND-- EMMA Now, I like that idea, because it's true! They fall silent as the steward appears with glasses of Champagne, wait for him to retreat. ALICE Go, look, come right back. It's a good plan. Alice, Meg and Emma clink glasses. MONTAGE: EXT. AIRPORT - NICE - DAY The steward helps the women from the plane, where another UNIFORMED MAN waits on the tarmac to escort them further. INT. NICE AIRPORT - DAY Their escort opens a door ahead of them to a roof deck, wind spilling in to the stairway they climb. EXT. NICE AIRPORT - ROOF DECK - DAY They emerge onto the deck, Emma squealing and grabbing Alice when she sees their waiting helicopter. INT./EXT. HELICOPTER - IN FLIGHT - DAY Alice, Meg and Emma delight as the helicopter banks along the coast, the Mediterranean glittering in blue and green below. A craggy ridge falls away and all of MONTE CARLO unfolds in step upon step of coral rooftops, cream and gold. END MONTAGE. EXT. HOTEL DE PARIS - DAY Alice, Emma and Meg step from a limousine, blinking in the bright sunlight to take in the square in front of the hotel, its fountain and the adjacent casino. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 37. CONTINUED: ALICE Okay! What do we want to do first? Check out the palace, or the beach? MEG EMMA Beach! Palace?! ALICE (CONT'D) Let's find a map-- JEAN-PIERRE Mademoiselle Scott! They turn as JEAN-PIERRE MICHAND (late 30's), sophisticated in jeans and a sportscoat but with a warm bohemian air, comes down the steps, an oversized envelope tucked under his arm. EMMA Well, bon jour me. JEAN-PIERRE You made it! I was getting a little frantic--. When I did not hear from you--. So I sent your TRAVEL-- (laughs at himself) But, you are here. (off her blank look) Forgive me. Jean-Pierre. Michand. With the foundation-- He pauses in shaking Emma's hand as his eyes land on Alice with friendly curiosity, a charge. JEAN-PIERRE (CONT'D) Welcome--. I---. I didn't realize you would be bringing-- EMMA Oh, I'm sorry! This is Alice Perry and Meg Kelly. Two of my dearest friends. Visiting from America! ALICE (SHAKING HANDS) Hello. Jean-Pierre has trouble pulling his eyes from Alice as he shakes Meg's hand. JEAN-PIERRE It is a pleasure to meet friends-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 38. CONTINUED: (2) EMMA I'll say. Emma sneakily indicates Jean-Pierre's empty ring finger to Alice and Meg as he consults his wristwatch. EMMA (CONT'D) (WHISPERED ASIDE) No ring. JEAN-PIERRE I'm terribly sorry, but, I am already late for a meeting-- MEG We won't keep you-- JEAN-PIERRE I just wanted to make sure you arrived safely and that I was here to greet you. (AN AFTERTHOUGHT) Oh. And, of course, to deliver your invitations for the week, and the foundation's report-- EMMA Invitations for the week--? JEAN-PIERRE Various events. Leading up to the AUCTION-- (THE WATCH) Again, I am so sorry, but, I am reluctant to keep His Highness waiting. EMMA His Highness? JEAN-PIERRE The Prince. But, we will see each other at the casino for tonight's game. Please, bring your friends-- ALICE You are very generous, and we'd love to, but, I'm afraid Cordelia has other plans this evening-- Jean-Pierre turns, charmed by Alice's perfect French, and alarmed by this news. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 39. CONTINUED: (3) JEAN-PIERRE BUT-- ALICE We're very sorry-- JEAN-PIERRE (MOUNTING ANXIETY) Perhaps we have misunderstood each other. Mademoiselle Scott--. She must be there for tonight's game. The prince. His Highness has asked to be seated across from her-- EMMA What's he saying? Which prince? Jean-Pierre looks imploringly between the three. JEAN-PIERRE Please. It is for the foundation. INT. HOTEL DE PARIS - SUITE - DAY Within a glossy brochure: A collage of "snapshots" shows happy African children grouped outside their new school; raising their hands at their desks in a pristine classroom; finding their country on a glossy globe. ALICE (ANGUISHED) Oh, would you look at these kids? MEG No, I can't. I can't stand it. Emma reads to Alice and Meg from the brochure in the seating area of their luxurious suite, enjoying none of it, nor the incredible balcony view of Monte Carlo's marina and bay. EMMA "With your help The Michand Foundation is able to sow the seeds of education, transforming lives, families, and villages, one child at a time..." She didn't say anything about a school! MEG Schools, with an "s." More than one. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 40 CONTINUED: ALICE (MISERABLE) In Africa. MEG That horrible, irresponsible girl! I've never stolen a thing in my life, now I've taken a trip from school children. ALICE In Africa. Meg hangs her head. EMMA Reykjavik! That takes some nerve! They're counting on her for a charity auction and she doesn't even show up! ALICE Only she did. Emma reaches for a gigantic wrapped fruit basket. EMMA She did? MEG Do not touch that! ALICE You, Emma. If you're Cordelia. They've seen you. You're here. EMMA Well, I can't go to that thing tonight. (A BEAT) I don't have anything to wear. The phone RINGS! and Emma snatches it up before Alice can. EMMA (CONT'D) (PERFECT BRITISH) Hello? Alice gestures for Emma not to say anything, to hang up. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 41. CONTINUED: (2) EMMA (CONT'D) (INTO PHONE) Oh yes, please. Send it up... Um. Yes, all of it. Everything. Thank you, ever so. Merci! She hangs up and holds a beat before turning to Alice. EMMA (CONT'D) My luggage is here. INT. HOTEL DE PARIS - SUITE - DAY Alice and Meg stand in front of the tower of Louis Vuitton trunks and cases while Emma idly thumbs the combination lock of a steel briefcase in her lap. ALICE Okay. But, just for tonight. And, that's it. CLICK! Alice and Meg look to Emma, holding the now open briefcase, eyes wide. EMMA Lucky guess? 0 A necklace of diamonds and enormous yellow stones sparkles like a constellation from within the case's velvet lining. ALICE (CLOSING IT) No jewelry. Emma nods. ALICE (CONT'D) Then it.all goes back. MEG Dry-cleaned. INT. LES CASINO DES MONTE CARLO - NIGHT The gaming hall's towering ornate doors are opened by TWO DOORMEN for Alice, Emma and Meg to make their big entrance in Cordelia's couture chiffon, silk and organza. Heads held high, backs straight, they strike a remarkable tableaux as they pause in unison at the top of the room's raised landing to survey the swirl of roulette wheels and the tony European jet set. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 42. CONTINUED: At first glance they look spectacular, but under closer scrutiny one can read Meg's composed discomfort in wearing a dress that is too tight, nearly spilling her breasts, and the self-consciousness Alice endures in a dress made daringly short by her height. But, this is because we know them; to all other eyes they not only belong here, they own the room. They glance at one another, eyebrows up: "We're here!" EMMA Don't you feel like we've won something already? Jean-Pierre comes to greet them with PRINCE DOMENICO DA SILVANO (30's, movie-star handsome), both in tuxedos, offering a hand to escort Emma down the few steps. JEAN-PIERRE Mademoiselle Scott, you made it! Emma withholds her natural smile, placing just the tips of her fingers in Jean-Pierre's palm with exaggerated hauteur. EMMA Enchante. Jean-Pierre assists Meg and Alice, Meg clutching the top of her dress, Alice anxiously keeping the skirt of hers in place with a hand as she steps down. JEAN-PIERRE And Mademoiselle Margaret Kelly and Mademoiselle Alice Perry-- (FOR ALICE) I am very glad you were able to come this evening. Alice nods, blushes and tries to cover. JEAN-PIERRE (CONT'D) May I present His Highness, Prince Domenico Da Silvano? Prince Da Silvano bows from the waist. DOMENICO MADEMOISELLE SCOTT-- EMMA Please, call me "Cordelia." (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 43. CONTINUED: (2) DOMENICO If you will call me "Domenico." EMMA I shall certainly try. Domenico escorts Emma out onto the casino floor as Jean- Pierre touches Alice's elbow. JEAN-PIERRE Shall we? Alice and Meg allow Jean-Pierre to lead them, following Emma as GAMBLERS break from their games to track these three elegant women gliding smoothly through the room. MEG (aside to Alice) I may as well be topless. ALICE Please. I'm mooning everyone behind us. INT. LES CASINO - PRIVATE GAME ROOM - NIGHT A DEALER unseals a new deck of cards as Domenico pulls out a chair for Emma at the room's enormous game table. EMMA Oh, but, I really wasn't planning on playing this evening. I so much prefer to watch-- Emma looks to Alice and Meg for help as Jean-Pierre leads them to the far side of a low railing to view the game. DOMENICO (A WINK) This I do not believe about you. He turns to the eight other PLAYERS (of various ages and genders, but all rich) clustered at the room's small bar. DOMENICO (CONT'D) Ladies and gentlemen? Shall we begin? The other players make obligatory introductions and take up positions at the table as Jean-Pierre offers Alice and Meg tall upholstered stools to sit. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 44. CONTINUED: Alice moves to sit, but then remembers her skirt, looks to Meg who is unable to even raise a leg in her tight dress. ALICE (TO JEAN-PIERRE) Easier to see if we stand. Jean-Pierre hands them both a glass of Champagne. ALICE (CONT'D) And why aren't you playing? JEAN-PIERRE Ah. I play behind the scenes. Like Robin Hood, I take from those who have more than enough, for those who have nothing but need. (LAUGHS) Also, I do not play because I have no money of my own. Alice smiles, charmed by his candor, but then stops. ALICE They're playing for money? (turns to Meg, flat) IS They're playing for money. Together they turn to see Emma happily arranging the cards she is dealt in her hands. DOMENICO Cordelia, why don't you do us the honor of setting this evening's stakes? Emma glances over to Alice and Meg who look back at her, ashen, and turns to the players who smile expectantly. EMMA Oh. Um. Okay... She takes her handbag into her lap, opens it, looks. EMMA (CONT'D) (A GUESS) Alright. Why don't... Why don't we start at ten? A shocked player sputters into his drink. Emma places a twenty Euro note on the table. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 45. CONTINUED: (2) EMMA (CONT'D) That is if anyone is able to make change. A beat. Jean-Pierre, Domenico and all the other players burst out laughing and Emma smiles, laughing too, but shoots a desperate look to Alice and Meg. DOMENICO Marvelous! He signals an ATTENDANT over as Emma's shoulders relax. DOMENICO (CONT'D) Please bring Mademoiselle Scott a rack of chips. (TO EMMA) Two hundred? EMMA (BIG GULP) Um. Sure. JEAN-PIERRE You would not know it, but she is very funny. MEG A riot. Domenico casts a glossy chip into the pot. DOMENICO Mademoiselle Scott starts us at ten thousand a hand. Alice and Meg freeze, their champagne glasses sliding from their hands, while Emma's eyes grow as large as all the zeroes on Domenico's chip. DOMENICO (CONT'D) You must be feeling very lucky. INT. LES CASINO - PRIVATE GAME ROOM - NIGHT DEALER Mademoiselle Scott? It is your call. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 46. CONTINUED: Emma sits locked in a cool stare-down over the top of her cards with Domenico across from her at the tensed table. Meg downs a glass of Champagne in one gulp, snagging the back of the WAITER's jacket, hauling him back for a refill. The waiter turns to Alice, who pats at her face with a damp napkin, struggling to breathe. MEG (takes bottle from waiter) I should probably keep this. DEALER (PRODDING) Mademoiselle? Emma places her cards face down before her, appears to fold. EMMA Well... She moves her hands to the stacks and stacks of chips beside her, and pushes them to the center of the table. EMMA (CONT'D) 0 I'm all in. The other players gasp and Alice fails to suppress a whimper as she grasps Meg's pouring hand, spilling Champagne, drawing Jean-Pierre's attention. JEAN-PIERRE Are you alright? ALICE Great. I'm just--. Excuse me. Alice slips around the railing and heads for Emma as two players fold in near tears, leaving just Emma, Domenico and a DOWAGER (60's) in the game. ALICE (CONT'D) I'm terribly sorry to interrupt. But, Cordelia, you look a little overheated... Why don't we--? (WHISPERS LOW) .Have you completely lost your mind? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 47. CONTINUED: (2) EMMA (WHISPER BACK) Hey. Don't distract me. I'm in the middle of a hand-- ALICE Emma! That isn't Monopoly money! EMMA Relax. I've got it under control-- ALICE And this isn't the mathletes finals in Kenosha! EMMA Jean-Pierre, would you be a dear and get Alice some water? (TO ALICE) You're the one that got us into this--! ALICE What?! DOMENICO I will see you, Cordelia. Domenico pushes his own mountain of chips to the pot in the center of the table and Alice buries her face in her hands when the dowager folds her cards. EMMA (whisper to Alice) Now, go sit down and try to be cool, would you? Jeeze! Let me handle this. Alice moves back to her stool, tries to smile as she takes the water Jean-Pierre offers. MEG What'd she say? What'd she say? ALICE (SICK) We're going down, Meg. Going down hard. DEALER Mademoiselle. Your Highness. Your 0 cards, please. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 48. CONTINUED: (3) Alice and Meg turn helplessly to the game table. DOMENICO Ladies first. EMMA After you. Please. Domenico can hardly contain his gloating as he reveals his three aces. DOMENICO I am very sorry, Cordelia. A beat, then Emma shrugs. EMMA Well. It is just a game after all. She turns her cards over and fans them on the table felt: A royal flush in the suit of hearts, ace high. EMMA (CONT'D) I do hope there are no hard feelings. The other players cheer as Domenico's smile crashes. Emma shrieks with delight, turning to Alice and Meg who grab each other, barely keeping themselves from pitching over, glasses spilling, as the other players applaud. Emma rakes in the Everest of multi-colored chips with both arms, laughing as she's congratulated. DOWAGER You must play often, Miss Scott. EMMA Oh, a little, online. But, this is so much more fun! INT. HOTEL DE PARIS - LOBBY - NIGHT Domenico and Jean-Pierre, each toting buckets of chips, escort Alice, Emma and Meg to the elevator, all giddy. DOMENICO Not even a last drink in the bar? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 49. CONTINUED: EMMA It's been such a splendid evening, I am reluctant to press my luck any further. MEG Yeah. Good call, Cordelia. DING! The elevator arrives and the doors open as Domenico leans in towards Emma. DOMENICO Then you must promise to dance with me at my party tomorrow. Emma evades Domenico by stepping onto the elevator. EMMA Oh, Delmonico-- DOMENICO "Domenico." EMMA I would not miss it for the world. Meg collects the buckets from Domenico and steps on. MEG Great meeting you, your Highness. Good times. Really. Jean-Pierre places his buckets in Alice's hands, a certain frisson to the simple exchange. JEAN-PIERRE Tomorrow night? EMMA Wait! Before Alice can respond to Jean-Pierre, Emma takes one of the buckets from Alice and hands it back to him. EMMA (CONT'D) You must keep this one. For your foundation. JEAN-PIERRE But, your family has already been SO GENEROUS-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 50. CONTINUED: (2) ALICE She really believes in education. The doors start to close. JEAN-PIERRE Good night, then. DOMENICO And, welcome to Monte Carlo. The doors close, leaving Jean-Pierre and Domenico to gaze fondly where the three women had just been. They both sigh and turn for the bar, when they hear shrieking from the elevator as it rises above them. INT. HOTEL DE PARIS - ELEVATOR - NIGHT Alice, Meg and Emma jump up and down, screaming like girls at a slumber party, chips flying everywhere. MONTAGE: EXT. BEAUTY SALON - DAY Alice, Meg and Emma burst through the salon doors into the street, their hair color richer, eyes brighter, a new lightness to their step; vivid, brilliantly polished versions of their essential selves. Heads turn as they set out together. INT. BOUTIQUE - DAY The wings of a brass-framed three-way mirror spin and spread in a swirling kaleidoscope of shifting reflections: Alice, Meg and Emma work their way through an increasingly spectacular and audacious series of combinations, dresses and gowns, modeling for each other as they are tended to by SHOPGIRLS and SEAMSTRESSES... --Alice twirls in a navy dress with white polka dots. --Meg slaps her own ass with a laugh, admiring herself from the back in a pair of pencil thin sexy black jeans. --Emma glows in a pale lavender strapless satin gown. END MONTAGE: Monte Carlo Draft 3 - November 4, 2007 51. INT. BOUTIQUE - DAY Alice, Meg and Emma watch as a number of their dresses are boxed and a CASHIER writes them up. SHOP GIRL Would you like these put on your account, Mademoiselle Scott? ALICE No. Thank you, we'll be paying CASH-- EMMA But, it would be darling if you could have them sent round our hotel. MEG Wait. You know what, on second thought, I'm not getting these-- She pulls the pair of jeans from her pile of clothes. EMMA But, they looked amazing on you! EXT. OPEN AIR MARKET - DAY MEG Where was I ever going to wear them? Seriously? EMMA You wear them here! Anywhere! Alice, you tell her-- Alice opens her mouth, but stops herself as the three wander the crowded market stalls heaped with fountains of flowers in every color, breads, fresh produce, trinkets and souvenirs. ALICE No. I'm not going to tell you what to do. MEG Thank you. It's silly, anyway. They're just jeans. I want to find something for the kids-- EMMA Oh, Meg! Look! For Finn! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 52. CONTINUED: Emma leaps to one of the stalls, seizing a profusion of plastic jeweled tiaras displayed alongside photographs of Princess Grace. She places a tiara on her head, modeling. EMMA (CONT'D) How perfect is this?! ALICE Even better! Alice holds up a pair of pink satin toe shoes, swinging them from their ribbon laces. INT. SHOE REPAIR SHOP - DAY A SHOP OWNER (60's) slips a pair of freshly polished men's shoes into a paper bag, placing them on the counter in front of Richard, who pulls out his wallet. RICHARD (REMEMBERING) Oh. And the suitcase. The shop owner retrieves Alice's mended suitcase from a nearby shelf, a tag on the zipper. RICHARD (CONT'D) How much do I owe you for that? EXT. STRIP MALL - DAY Richard exits the shoe repair carrying Alice'.s repaired suitcase, headed for his car. GLENN Hey, Richard! Richard glances up to see Glenn crossing the parking lot with Seamus and Finn, pushing a cart piled high with groceries. CUT TO: Richard finishes helping Glenn and the kids transfer grocery bags to the open trunk of Glenn's squad car. GLENN (CONT'D) (CLOSING TRUNK) So, we'll see you at seven then-- RICHARD And that's two with sausage, extra sauce, no onions-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 53. CONTINUED: SEAMUS Thin crust. RICHARD Got it. Richard picks up Alice's suitcase. FINN Are you going to France, too? RICHARD No. I just-- Glenn turns, noticing the suitcase for the first time. GLENN Whoa! Hold on! You're going to surprise Alice--? FINN I love surprises! RICHARD What? No, I--- GLENN Oh, man, I win! Richard blinks as Glenn claps him on the shoulder. GLENN (CONT'D) Meg and I've had this bet going: She thought it would be on Alice's next birthday, but I knew it was going to be this trip to France! RICHARD Glenn, listen-- GLENN Don't worry! I won't blow it for you! I won't call anyone, ruin the SURPRISE-- (PLAYFUL PUNCH) You sly dog! You've probably booked the best suite in Paris. Am I right? Got the ring, the whole show--. This is so you! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 54. CONTINUED: (2) RICHARD (confused, but flattered) So...me? GLENN Sure! That's why Alice loves you. You get how much this trip's meant to her; now, you're just putting the icing on the cake. The big gesture, you know? Not too dominating: Supportive. Loving! (shakes his head) You're the man, Richard. Big props. Glenn pulls Richard into a big happy bear hug. GLENN (CONT'D) Congratulations. RICHARD Glenn. She said, no. EXT. OPEN AIR MARKET - DAY BERNARD ROCHAND (late 30's), an appealing Frenchman in a worn sportscoat, pauses in collecting leeks when he spots Meg on the other side of the open stall. He watches as she surveys the rich array of fresh produce, lifting a tomato to her nose, inhaling with a private smile. Meg bites into the tomato, spurting juice onto her cheek and down her front. She looks up as she attempts to wipe the juice away, stopping when she catches Bernard smiling with amusement. Meg rolls her eyes with self-deprecation and moves on along the line of stalls. Bernard pays for his purchase and follows, finding Meg at another stall where a FRENCHWOMAN tries to communicate how to prepare the fish they both admire. Meg nods, not entirely understanding, but getting enough of it to gesture responses. The woman grabs some newspaper, wrapping the fish, and thrusts it towards Meg with a smile. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 55. CONTINUED: MEG Oh, no. No. I'm sorry. I'd like to. But... The woman is confused, vaguely insulted. MEG (CONT'D) I don't have a kitchen. No place to cook. BERNARD She is only a visitor. Without a kitchen. But, it is a beautiful fish. Maybe next time. Meg turns to find Bernard beside her. BERNARD (CONT'D) I have explained. Meg hesitates uncertainly before this friendly stranger. MEG Well, thank you... She smiles at the woman and starts to walk away, only to find Bernard falling into step with her. BERNARD You are American. Meg glances at Bernard and away, uncomfortable, but curious, drawn by his warmth and the familiar greetings he exchanges with various vendors as they walk. MEG From Wisconsin. Yes. Bernard reaches a handkerchief from his jacket for Meg. BERNARD You cook in Wisconsin? Meg uses the handkerchief to blot the remaining tomato juice. MEG I try. But... We don't have even half of this at home. She points to a tray of miniature lobsters. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 56. CONTINUED: (2) MEG (CONT'D) Like those. I've only seen them in magazines. BERNARD Ah, langoustines. Many ways to PREPARE THESE-- MEG I'd go for a saute, being a Midwestern gal. BERNARD Court-bouillon. MEG (IMPRESSED) Poaching. BERNARD With sea water. Amazing. MEG So, you cook. Bernard dips his head modestly. BERNARD As you say, "I try." (offers his hand) Bernard. Rochand. Meg shakes his hand and returns the handkerchief. MEG Meg. Kelly. Thank you again for YOUR HELP-- BERNARD And, how long are you in Monte Carlo, Meg? Meg's brow furrows slightly and she turns to head back. MEG I need to find my--. . My friends are around here somewhere... BERNARD I will help you find them. We can WALK TOGETHER-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 57. CONTINUED: (3) MEG (LAUGHS) Look. It was nice to meet you-- BERNARD "Bernard." MEG Yeah. But, I'm gonna walk myself. Thanks, though. She slips into the moving crowd, leaving Bernard to watch as she meets Alice and Emma further up the street. He holds a beat, then turns when called to by a vendor. INT. RICHARD'S APARTMENT - DAY Glenn paces as Richard holds the phone at his desk, the Esprit de Corps Tours website on his computer's screen. RICHARD It's been two days and it didn't occur to you to call anyone? EXT. PALAIS DE CHAILLOT - DAY Madame Valery, cellphone to her ear, leads'the few remaining members of her flock down the wide steps, across the Seine from the Eiffel tower. MADAME VALERY She refused to follow my instructions. She sabotaged my tour. Ruined it for everyone! RICHARD Wait. Alice did? Alice Perry? MADAME VALERY She took my flag! CUTTING BETWEEN: RICHARD But, if their luggage is still there, then they're missing-- GLENN Missing? What the--? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 58. CONTINUED: RICHARD How do I get in touch with the police? GLENN Hey, I'm the police! RICHARD Are you the police in France? MADAME VALERY The police? Monsieur. Nothing could keep her from seeing Paris her way. Believe me. She was very determined. RICHARD BUT-- GLENN What's she saying? MADAME VALERY You are the husband, yes? Richard hesitates, looks to Glenn. RICHARD (FIRMLY) Yes. I am the husband. Glenn nods emphatically. INT. VILLA DA SILVANO - NIGHT A cascade of yellow and gold balloons washes over Alice as she dances with Meg and Emma to a Euro-trance-pop beat at the center of the crowded dance floor. Emma screams with delight in a new dress and plastic tiara, batting balloons as Domenico who spins her away. Alice watches with heightened vigilance as Emma dances with her prince and blows a kiss to Alice and Meg. MEG Alice, she's fine... (MARVELING) Look where we are! Can you even remember the last time we danced like this? It's gotta be-Martha Lapland's wedding-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 59. CONTINUED: ALICE Actually, sometimes Richard and I go to Madison's on Saturdays-- MEG (stops dancing, laughs) The gay bar? ALICE (shrugs, matter of fact) They've got the best music. MEG I am so butting in on that. Alice laughs and spins, crashing directly into Jean-Pierre. JEAN-PIERRE And I was looking for you! From the edge of the dance floor, NIKOLAI LUDOVIC (late 30s), squat, bald, completely nondescript but for his white tie and tails, watches Emma ardently. He stops a waiter, taking his tray of Champagne flutes. Emma spins to find Nikolai at her elbow, grinning, holding up this offering, and she takes him for a waiter. EMMA Ooh! Thank you! I'm so thirsty! Nikolai remains planted, holding his tray with a smile, watching with bright eyes as Emma drinks. She lowers her glass and her full attention snags on Nikolai, really registering his presence now as she searches his warm, gentle eyes. EMMA (CONT'D) It's a wonderful party, isn't it? Nikolai nods and offers her another glass of Champagne. Alice, dancing with Jean-Pierre, subtly repositions herself in order to keep an eye on Emma. JEAN-PIERRE Cordelia, she can take care of herself, yes? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 60. CONTINUED: (2) ALICE What? Oh, yeah, of course... Meg dances by herself, having a great time, taking in the room, the music and the people, when a handsome MAN begins to match her moves, insinuates himself. She smiles but shakes her head as she moves away, turning her back to evade him. Another gorgeous MAN sidles up to Meg, joining her solo dance, wiggling his eyebrows invitingly. MEG No, thanks. She moves off only to be met by GIORGIO (40's, sexy, Euro- suave) who smoothly steps in. MEG (CONT'D) NO-- GIORGIO (GRINNING WIDE) Yes! Giorgio! Emma slips away from dancing with Domenico, moving to Nikolai who remains with his tray at the ready,.brightening at her approach, lifting a glass. EMMA Don't you need to, like, circulate? NIKOLAI Ya znal, chto naydu tebya. Emma blushes as though showered in compliments. EMMA Really? PENELOPE (FLAT) Cordelia Winthrop Scott. Emma turns, still smiling, to find PENELOPE PENROSE (late 20s, British), frail and bird-like, but attempting to hold a warrior's stance with her shoulders thrown back. EMMA Yes? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 61. CONTINUED: (3) PENELOPE Do you not know who I am? Emma's smile falters as she glances furtively about. EMMA Um. 'Course I do... Hi. PENELOPE Penelope. Penelope Penrose. Penelope's chin quivers as she reads Emma's blank look. PENELOPE (CONT'D) I spent a year in hospital-- EMMA Hospital? What happened?! PENELOPE You did! You happened! Alice swivels around at the raised voices, spots Penelope facing Emma. ALICE Excuse me! She dodges away from Jean-Pierre, hooking Meg's arm in passing, yanking her away from Giorgio as she heads for Emma. PENELOPE Don't pretend you don't remember! Third year at Le Rosey! You threw my luggage in the pool. Set fire to my mattress. You cut off all my HAIR-- MEG What? That's awful! PENELOPE While I was sleeping EMMA She did that to you? ALICE (CORRECTING) Cordelia! How could you? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 62. CONTINUED: (4) PENELOPE That was just the first night. ALICE Say you're sorry, Cordelia. (WHISPERS) And let's get out of here! EMMA Alice, no--. Wait a minute-- PENELOPE (to Alice and Meg) she turned all my friends against me... They had to send me away... To live with the nuns-- Emma grabs Penelope by the shoulders. EMMA Now, you listen to me, Penelope Penrose. You have no idea how long I've waited for this moment. Penelope flinches, preparing for a beating. EMMA (CONT'D) But, I had no way of finding you after you left us, and...Oh, Penny. Don't you see? Don't you know that I was just jealous? Alice and Meg exchange looks. PENELOPE (SMALL) Jealous? EMMA You were so smart. So clever and BEAUTIFUL-- PENELOPE I was ugly-- EMMA No, Penny. I was ugly. I was a monster. PENELOPE Penny Pignose. That's what you called me-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 63. CONTINUED: (5) EMMA Because, I knew I could never compete! Not with anyone as special as you. PENELOPE You thought I was special? Emma looks at Penelope, nods emphatically. EMMA You want to know what I've waited for all these years, Penelope Penrose? Penelope shakes her head almost imperceptibly. EMMA (CONT'D) To do this. Emma opens her arms wide and pulls Penelope into a hug. She looks at Alice and Meg over Penelope's shoulder, and then closes her eyes with genuine emotion for a beat, pulling back to smile into Penelope's grateful, tear-streaked face. EMMA (CONT'D) Now... Friends? INT. BISTRO - LATE NIGHT DOMENICO (raising a glass) To friends! old and new! Emma seizes Penelope's hand from across the table, placing it in Domenico's as she drunkenly sings the old Girl Scout song. EMMA "Make new friends and keep the old, one is silver and the other's gold!" Alice and Jean-Pierre lean toward each other intimately' across the packed, lively table of PARTY-GOERS. JEAN-PIERRE But, no one really lives here. Monte Carlo. It's like Hong Kong. People merely come and go. People like me. Well, and then, people like yourself. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 64. CONTINUED: Alice nods to a WAITER who arrives to refill her Champagne glass, pouring as Jean-Pierre speaks. ALICE People like me? JEAN-PIERRE People with money. This is why I come. I help assuage their guilt when I remind them that there are children in this world who do not have clean water to drink, while they drink Champagne. ALICE And that works? Jean-Pierre blinks, then bursts out laughing. JEAN-PIERRE I take myself far too seriously. ALICE No. I'm sorry, I didn't mean--. I've seen the pictures of the schools. The work you do is ADMIRABLE-- JEAN-PIERRE And I'm afraid I talk about it because I myself am not that interesting... (a hand on her arm) I'd rather know about you. ALICE (TRAPPED) Oh. Well. You know. I...do what I can, here and there. A little volunteer work... She turns to her Champagne, rolling her eyes at herself. ALICE (CONT'D) Oh, brother. Meg sits further down the length of all the tables laid end to end, beside Giorgio, who has pulled his chair close, draping an arm casually across the back of hers. MEG Okay, wait. You're a man, right? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 65. CONTINUED: (2) Giorgio laughs. MEG (CONT'D) Yeah, I know: I'm funny. But, see if you can answer something for me. Ten years you're married, to the girl you dated in high school. I'm talking the girl you lost your virginity to, the one who gave you two great kids that you're just crazy about. Then one morning, what? You wake up, and out of the blue, it's like, "Oh, hey, honey, I think I'm in love with this other woman..." (PAUSES) His patrol partner. A beat as Giorgio shakes his head sadly. MEG (CONT'D) I thought I was his partner. Giorgio takes Meg hand, more in comfort than come on. GIORGIO You heart feels betrayed. MEG (telling a secret) I feel like I failed. GIORGIO I tell you this: A man...he will always love the mother of his children. Meg blinks, taking this in. GIORGIO (CONT'D) Now you must kiss someone else. MEG (LAUGHS) Oh, I see-- GIORGIO To break the spell. You must! Then you will be free. A plate of beautifully arranged langoustine is placed on the table in front of Meg. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 66. CONTINUED: (3) MEG Oh, I'm sorry, 'I didn't order-- She looks up to find Bernard standing in chef's whites. BERNARD (smiles, nods) Madame Kelly. He heads toward for the kitchen before she can say anything. Emma pours sloppy glasses of Champagne for her companions as though playing a game of tag, spilling wine. EMMA And you're my friend...and you're my friend. . .and you're my-- She turns with the bottle to find Nikolai who has materialized beside her on the long banquette. EMMA (CONT'D) Oh, hey! You were at the party! Do you work here, too? Nikolai cheerfully shakes his head, holds up her purse. EMMA (CONT'D) Oh! Did I forget that? Wow, what a lifesaver! Thanks! NIKOLAI Ti takaya vaskhititel'naya. Emma sets the bottle down to concentrate on Nikolai. EMMA You're not from here, are you? (OVER-ENUNCIATING) I'm Emm--. My name is Cordelia. NIKOLAI (points to himself) Nikolai. EXT. STREET - PRE-DAWN Alice and Jean-Pierre walk along, side by side, their hands nearly touching, among the rest of the restaurant party. Alice looks up, taking in the bowl of pre-dawn sky, and glances over at Jean-Pierre who watches her. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 67. CONTINUED: ALICE The stars are still out. Ahead, Emma breaks away from Penelope and Domenico, leaving the two to walk on together as she comes back toward Alice. EMMA (CONT'D) Where's Meg? Alice looks around and sees Giorgio walking alone among the strolling party guests. ALICE I thought she was right behind us-- INT. BISTRO KITCHEN - PRE-DAWN Bernard takes a tray of dishes from his FATHER (70's, striking resemblance) who enters from the dining room. BERNARD Papa, sit down. Rest. INT. BISTRO - PRE-DAWN Bernard enters with the tray, stopping when he sees Meg examining a menu by the front door of the empty bistro. MEG (SLY SMILE) You do cook. Bernard shrugs, smiling as he comes forward. BERNARD You enjoyed your meal? MEG Adding the fresh orange; nice. Bernards nods, accepting the compliment. MEG (CONT'D) But, a little fennel would've been "wow." BERNARD Next time, you cook. EMMA Meg! What are you doing? Come on! We're going to watch-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 68. CONTINUED: Emma and Alice stop short just outside in the street, pausing as they sense they've interrupted. ALICE We were--. We're going to watch the sunrise. Meg hesitates, turning between her friends and Bernard. BERNARD (SMILES) You should not miss it. EXT. STREET - PRE-DAWN Alice and Emma walk with Meg down the narrow street at the end of which the party guests stroll and Jean-Pierre waits for Alice, with Penelope, Domenico and Nikolai. ALICE The guy from the market? EMMA He is so cute! And a cook--! MEG Chef . EMMA And you're single now! Meg slows to a stop, stands a beat. MEG (QUIETLY) I'm single. I'm single, now. ALICE You know, Julia Child didn't take her first cooking class until she was thirty seven. MEG (SMILES) I told you that. PENELOPE It's coming, Cordelia! The sun! 0 Monte Carlo Draft 3 - November 4, 2007 69. is EXT. PLACE DE CASINO -- DAWN Alice, Emma and Meg, arms linked, round the corner into the square with the rest of the party guests, just as the very edge of the sun crests the horizon of the open sea. Alice turns to Meg and Emma, sharing this moment so far beyond anything they could have dreamed. MEG We'd be getting up now. ALICE If we were home. EMMA But, we're not. PHOTOGRAPHER Cordelia! The spell is broken by a TRIO OF PAPARAZZI who spring to life by the hotel's entrance. PAPARAZZI Cordelia! Cordelia! EMMA Oh, good! I want a picture! Of the three of us! All of us! The paparazzi swarm from the steps towards Emma. EMMA (CONT'D) By the fountain! She runs for the sprays of water, pulling Alice and Meg, and the paparazzi meet them, flashing away. Leaning against the fountain's balustrade, Emma gestures for everyone to join them. EMMA (CONT'D) Penelope! Come on. I want one with everybody! Penelope, Domenico and Jean-Pierre join with other members of the group and Emma lines them all up. EMMA (CONT'D) Okay! Ready? One, two-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 70. CONTINUED: She spots Nikolai observing at a short distance. EMMA (CONT'D) Wait! Wait! Niki! He shakes his head, bashful, but Emma gestures him over, swinging her arms wildly. EMMA (CONT'D) Nikolai, you, too! I need all my friends--Whoops! Her feet zip out from beneath her and she sails backwards over the balustrade, reaching for Alice and Meg, pulling them with her as the camera's flash. SPLASH! EXT. CHARLES DE GAULLE AIRPORT - DAY A 747 airliner touches down on the tarmac. INT. CHARLES DE GAULLE AIRPORT - BAGGAGE CLAIM - DAY Alice's repaired suitcase tumbles off the conveyer belt. RICHARD Excuse me. Pardon me. Richard skirts around a man with a newspaper to retrieve the bag and heads for customs. As Richard exits, the man folds his newspaper to its bold headline: SCOTT MAKES A SPLASH!, and a huge photograph of Emma, Alice and Meg laughing together in the fountain. INT. HOTEL DE PARIS - SUITE - DAY Emma enters from the bedroom in a swimsuit and wrap, to find Alice hanging up the desk phone. EMMA Alice, have you seen my sandals? ALICE Okay, there's a two o'clock and a four o'clock train to-- EMMA Train? Where are you going? Alice looks up and takes in Emma's costume. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 71. CONTINUED: ALICE Where are you going? EMMA I'm going to the beach. With Penelope. Meg enters through the suite's door carrying a bakery bag. MEG Breakfast is here! There's this fantastic bakery around the corner. I've already had three brioche. And I saw the greatest little shop for the kids, but they weren't open YET-- (off Alice's look) What's going on? (TO EMMA) What happened? EMMA I don't know. She's talking about train schedules... Emma trails off as she and Meg and Alice look between each other in confusion, each processing for a beat. ALICE We need to start packing, right? If we're going back to Paris-- EMMA Back to Paris? ALICE That was the plan-- MEG What plan? EMMA We're not staying for the auction? ALICE We were just going to come down, take a look around and-- MEG That was before we knew it was for a charity. Remember the kids? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 72. CONTINUED: (2) EMMA In Africa. ALICE The ones we stole a trip from? The kids who are paying for this room? MEG Alice, what's with you? We'll pay for the room-- EMMA We're rich! ALICE So, I'm the only one worried about the fact that we're lying to everyone we've met? MEG Lying? To who? Jean-Pierre? EMMA You're the one who said we had to go to the casino-- ALICE And now I'm apparently the only who's worried we might get caught. MEG She's in Iceland. ALICE One of her friends is bound to find out, or her family-- MEG What friends? EMMA I've got friends. The doorbell rings and they turn their heads in unison, then look to each other with sudden alarm. A beat. Emma goes to the door, finding Penelope, also dressed for the beach, who holds up the newspaper with it's fountain photo. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 73. CONTINUED: (3) PENELOPE Have you seen? EMMA Oh, my god! We look great! (ushers Penelope in) Alice, look! Alice takes the paper, Meg reading over her shoulder. MEG (LAUGHS) We have got to get that in the yearbook. PENELOPE Yearbook? ALICE Penelope, could you excuse us? PENELOPE Oh. of course. Where--? Alice shows Penelope to the bedroom, closes the door and spins to face Emma and Meg. ALICE (HUSHED PANIC) This is what I'm talking about! This is why we have to go-- EMMA Doesn't it mean we have to stay? MEG Oh, this is so typical. Just because it's not on your map, 'cause you didn't plan it--. We all agree to take this adventure and then you won't jump. ALICE I won't--? Jump? Meg drops into a chair, mumbling an aside to herself. MEG Now I know how Richard must feel. Alice comes to a full stop and gapes at Meg, stung. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 74. CONTINUED: ( 4) ALICE Richard...? MEG (FEEBLE APOLOGY) I'm just saying... ALICE Well, you're sure one to talk. Meg's eyes flick up to Alice. ALICE (CONT'D) You can't even bring yourself to buy a pair of jeans anymore-- EMMA Okay, you know what? Let's just pack. It's not fun anymore. Alice, if you think we should go, then that's what we're gonna do. You're in charge. Meg scoffs, an exasperated exhale. ALICE No way. Not anymore I'm not. You want to go to the beach? Go to the beach. You want to go the market? Go! "Liberte, egalite, fraternite!" EMMA What does that mean? Alice snatches up her purse and heads for the door. ALICE It means everyone should do exactly what they want. MEG Exactly. EMMA Alice, wait! Where are you--? You're not going back to Paris--? ALICE (RIGHTEOUS) Me? No. I'm going to have an adventure. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 75. CONTINUED: (5) She exits, slamming the door behind her. A beat. MEG (off Emma's look) Don't look at me like that. The door opens, and Alice re-enters, striding across the room for the desk, not looking at either Emma or Meg. ALICE I just--. My guide book. She picks up her book and crosses back to the door. EXT. LE PETIT SOMMEIL HOTEL - DAY Richard steps from the hotel with a MANAGER (50's) who pantomimes that he recognizes Alice from the snapshot Richard shows him, but has no idea where she could be. Richard pulls out a map to point at a random spot and the manager gestures up the street, down the street, shrugging: She could be anywhere. EXT. GRIMALDI PALACE - DAY Alice, amid a crowd of tourists, only half watches the changing of the guards outside the palace gates. She snaps herself out of her distraction with a shake of her head and turns to the marked pages in her guide book. CARL Alice? She glances up to find Carl and Deedee from the tour. DEEDEE We thought that was you! ALICE Oh! Carl! Deedee! Alice is surprisingly overcome and impulsively throws her arms around both of them. DEEDEE Well, we're sure surprised to see you, too! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 76. CONTINUED: ALICE But, what are you doing here? How did you--? CARL Well, when we saw how you stood up to that Madame Valery--! If Alice can do that, we thought, what the heck's holdin' us back? This is our honeymoon! DEEDEE I was scared, but then, well, you only live once! And as long as we've got each other-- CARL We've got everything, right? Alice blinks, unaccountably teary eyed. ALICE Yes. That's right. CARL Sometimes you've just gotta follow your heart. Be bold: Let the rest take care of itself. EXT. PARIS - ARC DE TRIOMPHE - DAY Richard stands with his map beneath the arch where all roads come together in a spinning roundabout of bleating car horns. He looks down the length of the Champs Elysees, overwhelmed. The Japanese couple from Notre Dame approach Richard to ask directions and he shrugs helplessly, pressing the map on them, and steps out as a crosswalk signal turns to green. EXT. MONTE CARLO - STREET - DAY Alice embraces Deedee and Carl beside a waiting taxi. CARL Tell the girls we would have loved to see them, but-- DEEDEE Italy calls! And Greece! We're even thinking of hitting Turkey! Imagine! We'll send you postcards. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 77. CONTINUED: 0 Alice puts her friends in the taxi, closing the door as Deedee scrolls the window down. ALICE Enjoy every second of it! DEEDEE You, too, honey! CARL Bon voyage! The car pulls away, Carl and Deedee turning in their seats to wave at Alice through the rear window. Alice waves until they are out of sight and slowly lowers her hand, standing alone in the street. A beat. Alice sighs and pulls out her guide book, unfolding a map as she looks up to gather her bearings. She takes in the quiet street, the view of the ocean, then looks back at the map in her hands. She straightens up, a new look of purpose on her face, and crosses the street to toss her guide book and map in the trash can on the corner, striking out unaided down a narrow twisting street hung with vines and flowers. EXT. MONTE CARLO - STREET - EVENING Alice rounds the corner of one street into the tight intersection of two narrow alleys in the fading twilight. She looks around,.cheeks flushed, hair pasted to her forehead, lost in a maze of dilapidated walled courtyards and apartment blocks; home to the city's service workers. She hesitates, then forges ahead down one street until she sees that it dead ends, and she doubles back. EXT. MONTE CARLO - STREET - EVENING Alice suppresses panic as she walks briskly up a steep alley, high in the hills, trailed now by a small stray DOG. She stops, turns to the dog that also stops then sits. ALICE is Go. Go home. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 78. CONTINUED: She turns and starts forward, the dog following. Alice stops again, turns, and the dog sits. ALICE (CONT'D) Don't follow me. I have no idea where I'm going... The dog cocks its head in comment. ALICE (CONT'D) Okay? Alice turns to climb the street's incline. The dog follows. INT. HOTEL DE PARIS - SUITE - LATE AFTERNOON Penelope, dressed for the evening, gets up from reclining on the bed to join Emma who models a gown before a mirror. The two regard Emma's reflection, cocking their heads in an identical manner at precisely the same time. Penelope draws a necklace in gesture, indicating Emma's bare collar bone. Emma turns, lit by an idea, and pulls the'steel briefcase from its hiding place beneath the bed. INT. BISTRO - EVENING Meg opens the door from the street, stepping inside, wearing the sexy jeans she hadn't bought the day before. Bernards's father makes his way to meet her with menus. EMILE Madame? MEG Just one. He leads her to a table along the wall and holds out a chair. Seated, Meg follows him with her eyes to the kitchen where Bernard works furiously at the stove, tossing the contents of a sauce pan with an expert flick of his wrist. Bernard glances out to the dining room, seeming to sense Meg before knowing he'll find her there. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 79. CONTINUED: 0 Meg matches the broad smile that sweeps Bernard's face. EXT. CAFE - PARIS - EVENING A pair of strolling LOVERS draw Richard's attention as he massages his stockinged foot at a sidewalk table. He watches them stop, kiss, then continue on their way. A WAITER returns with Richard's change on a plate and Richard fits his shoe back on his foot, gathers his things to stand. He stops when he notices the front page of a newspaper folded on a chair at the next table. He quickly unfolds it to the photograph of Alice and Meg with Emma in the fountain, scans down to the caption: Cordelia Scott and friends in Monte Carlo. Hotel de Paris, etc... EXT. MONTE CARLO - STREET - EVENING Alice feeds the little dog a scrap of meat as she eats a kabob, seated on the curb by a street vendor's food cart around which ALGERIAN MEN lounge in plastic lawn chairs. The dog looks at her avidly, hungry for more. Alice holds her kabob stick out for the dog to eat, surrendering her dinner with pleasure. As Alice sips from a bottle of beer, a soccer ball bounces off the curb and rolls to a stop beside her. She looks up as a ragtag BAND OF KIDS call from the dusty lot across the street, asking for their ball. A beat as Alice regards the ball. INT./EXT. YACHT PARTY - EVENING Emma wears Cordelia's elaborate necklace, standing alone, within a throng of PARTY GOERS, all conversing in French. she nods and smiles absently, though she's clearly lost, out of her element, when Giorgio approaches. GIORGIO Where is Meg? I do not see her. EMMA No. I... I don't think she's 0 coming. I'm sorry. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 80. CONTINUED: Emma drifts away to the ship's rail where she turns to survey the party, smiling wistfully at Penelope and Domenico locked in intimate conversation. PHOTOGRAPHER Cordelia! There she is! Cordelia! The trio of paparazzi putter alongside in a small boat, peppering the yacht with their camera flashes. Emma looks out at them, without her usual animation. PHOTOGRAPHER (CONT'D) Smile, Cordelia! Please, smile! Emma waves, but can't seem to manage that smile. NIKOLAI Ty v poryadke? Emma turns to find Nikolai standing beside her in white tie, a piece of cake extended in one hand, a fork in the other. Emma's eyes light up as if a switch has been thrown and the flash of a camera records her huge, dazzling smile. EMMA Niki. He bows slightly, offering the cake. EMMA (CONT'D) You work here too? You never get a night off... He smiles, shaking his head, hands her the cake. NIKOLAI Ya sa-meey shas-li-veey che-lo-vek na zem-le, pa-ta-mu chto u me-nya yest' tee. Emma hangs on every incomprehensible word. NIKOLAI (CONT'D) Vy menya panimayete? EMMA Oh, Niki... I'm so glad you found me. 0 Monte Carlo Draft 3 - November 4, 2007 81. INT. BISTRO - KITCHEN - NIGHT MEG Seamus. He's ten. Built a website for his fourth grade class. Now he's got actual clients. And that's Finn, the prima ballerina. She'll be six in June-- Emile examines photographs of Seamus and Charlotte from Meg's wallet while she refills their glasses at the kitchen table and Bernard works at the stove. EMILE Elle est coquin, oui? MEG Oh, she's no chicken. She's not scared of anything-- BERNARD (LAUGHS) Not a chicken. He says, she looks like a rascal. MEG No idea where she gets that... Meg lifts her glass with a sly smile as Bernard brings plates of food to the table. MEG (CONT'D) But, that's a nice word for it. EXT. MONTE CARLO - DIRT LOT - NIGHT ALICE I'm open! I'm open! Alice sails down the makeshift soccer field as one of the kids passes the ball to her, chased by the others. She dodges and kicks the ball through the goal to score. Her "team" jumps and cheers, as do a collection of spectators who have gathered to watch this tall red headed woman in a summer dress racing around the dusty lot with a band of kids. ALICE (CONT'D) Go! Go! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 82. CONTINUED: Alice races back down the field with her team, the little dog running along and barking from the sidelines. EXT. BISTRO - ALLEY -- NIGHT BERNARD But, she is perfectly safe. MEG Yeah. No. No way. Bernard straddles a beat up moped, motor running, as Meg shakes her head emphatically. BERNARD I can not take you, if you will not get on. MEG What do you want me to tell you? I'm not getting on that thing. Bernard fixes her with a level look, which Meg mimics. BERNARD (AMIABLY) C'est bon. Au revoir. He swings a leg over the moped, revs the engine. MEG Hold on. EXT. MOPED - NIGHT - MOVING Meg hangs on to Bernard as they zip along the beachfront drive and turns her face to the wind with a smile. She surrenders to the ride, the sheer fun of it, laughing. MEG How do you say "faster?" INT. BLUE RIBBON RESTAURANT - NIGHT Bernard and Meg, flush from their ride, enter the kitchen through a back door, to be hailed by a half-dozen CHEFS crowded around a table littered with dishes. IS (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 83. CONTINUED: BERNARD The best chefs of Monte Carlo. They come here to drink and show off. The end of every night. HENRI (60's, a bear in chef's whites) lumbers towards them. HENRI No! No! No! We are only cooks allowed here! BERNARD Ah, but, this is why we've come! I have finally found someone who can teach you how to cook! (INTRODUCING) This is Meg, from America. (TO MEG) And this is Henri, the worst egotist, my mentor. The two men embrace, merrily kissing each other on both cheeks, then Henri pulls Meg under his arm. HENRI (turns to the table) A chef from America! Come to flip hamburgers! INT./EXT. CAR - NIGHT - MOVING Jean-Pierre drives an open silver sports car full of PARTY GOERS down the twisting streets, when he sees the commotion and crowd around the dirt lot. Then he spots Alice running-around. EXT. MONTE CARLO - DIRT LOT - NIGHT Alice sticks like glue to a kid with the ball, maneuvers in, steals the ball, and doubles back in the opposite direction, racing up the field as the crowd laughs and claps. She passes the ball to kid who drives it to the goal, scores. Alice looks up from the game at the tapping of a car horn to see Jean-Pierre honking in celebration as he leans against the car with his GUESTS, enjoying the game. Alice stops to wave, and takes the ball full in the face. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 84. CONTINUED: Jean-Pierre's smile winks out as Alice drops and he races from the car as worried kids and spectators form a circle around Alice's prone body. The little dog licks Alice's face and she opens her eyes. She leaps up as Jean-Pierre crosses the lot. ALICE I'm up! I'm up! Let's go! She sets off down the field with the kids. EXT. YACHT - PRE-DAWN Empty and half-filled glasses, bottles litter every surface along with plates, ashtrays, crumpled napkins. Emma sits on the lower landing deck, legs in the water, shoes in her hand, looking out at the lights. Nikolai moves his legs in the gentle current beside her, tuxedo trousers rolled, while he concentrates on working a napkin into intricate folds. Emma turns to look back at the silent boat. EMMA It doesn't seem fair. Leaving you to clean up all alone. (THINKS) I'll help. But, you've really got to talk to your boss. Nikolai laughs, shaking his head. NIKOLAI Ya ryadom. EMMA It must get kind of lonely sometimes... Not being understood. (PAUSES) I know how that can feel. Nikolai holds up the napkin he's transformed into a crown adorned with flowers and the wire cages from Champagne corks. Emma looks at him, her face soft and vulnerable, open, as Nikolai places the makeshift crown on her head with care. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 85. CONTINUED: NIKOLAI (HEAVILY ACCENTED) My princess. They look at one another for a beat, then simultaneously turn to the sea and the frail sky, awaiting the sun. EMMA (SOFTLY) You get me. Nikolai looks down at his hand on the edge of the deck next to Emma's, and turns it palm up in invitation. Emma places her hand in his. EMMA (CONT'D) You get me. INT. BLUE RIBBON - PRE-DAWN Meg tries to follow the discussions and familiar teasing of the chefs as they pass plates, goading her to taste. She looks over at Bernard, who smiles as he holds his hands up at the scene, his boisterous friends, the food; as though to say "this is good, enjoy." Meg relaxes her shoulders and gives in to the spirit of the table, spears a bite of food and lifts her glass to Bernard. CUT TO: Meg and another chef, locked in a chopping duel, plow though onions at a blinding pace, their knives flashing, creating an escalating staccato on their cutting boards. Meg sweeps her onion from her board to a pan, and slams her knife down in victory as all the chefs erupt with applause. Henri seizes Meg's hand, raising her arm in the air, and presents her with a bottle of wine. Meg turns to Bernard, beaming, thrilled, utterly happy, as the other chefs clap her on the back, shake her hand. INT./EXT. HOTEL DE PARIS - ROOF - PRE-DAWN Jean-Pierre opens the door at the top of the fire stairs, revealing the open sky, turning back to take Alice's hand. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 86. CONTINUED: ALICE (V.O.) What's the most amazing place you've ever been? JEAN-PIERRE (V.0.) Hard to say. There are many. Alice steps out onto the hotel's roof with Jean-Pierre's jacket over her shoulders. ALICE (V.O.) Well, Africa, then. How often do you get to go? He leads her around the maze of skylights to the front of the building that faces the sea and the lightening sky. JEAN-PIERRE (V.0.) Not enough. Mostly I am on planes. To the places where sunlight and parties make people generous. EXT. HOTEL DE PARIS - ROOF - MOMENTS LATER Alice's smile flickers with a vague disappointment as she leans against the hotel's crown beside Jean-Pierre. ALICE That seems a shame... JEAN-PIERRE But, I can think of one place I have never been. It is in my imagination only, so it is very special. He places an arm around Alice as they take in the view. JEAN-PIERRE (CONT'D) It is just a small town, in a vast, open space. Maybe in the middle of America. There are people there like yourself, who are kind. And children who have everything they need. Alice turns to Jean-Pierre as he takes a strand of her hair in his fingers, and they hold a beat, looking at one another. JEAN-PIERRE (CONT'D) In my mind, it is bordered by fields that are green. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 87. CONTINUED: 0 Alice breaks the moment by turning her head to search the far horizon just as the rising sun crests the open sea. EXT. YACHT - DAWN Nikolai shrugs himself out of his formal shirt to stand before Emma in nothing but starfish printed boxer shorts. He lifts his hands: This is me. Here I am. Emma hesitates, then lets her gown fall around her, bare except for her panties, the necklace, and her napkin crown. Nikolai pushes himself off the side of the boat at a run, hiking up his legs into a cannonball. SPLASH! He surfaces and turns back to the boat just as Emma dives in with a SPLASH! She swims to Nikolai, pushing him under in a child's game, and he pops up, spitting water like a fountain. They laughs and Emma loops her arms around him. A beat as they sober. Emma pulls Nikolai close to her, and they kiss. On the landing deck, Emma's gown shimmers in the morning sun with Nikolai's crown and Cordelia's yellow gem and diamond necklace nestled among its satin folds. INT. HOTEL DE PARIS - HALLWAY - DAWN Alice, still wearing Jean-Pierre's jacket, walks down the hall with Jean-Pierre close beside her, neither speaking. She turns to him when they reach the door of her suite. A long beat stretches, full of every possibility. JEAN-PIERRE Come with me. ALICE What? JEAN-PIERRE To Dubai. I leave the day after--. What is today? Friday? I leave tomorrow. You could come too. You wouldn't need to bring anything. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 88. CONTINUED: ALICE But--. Jean-Pierre... (a near confession) You don't know me. JEAN-PIERRE This is why I ask. I would like to know you, Alice. Very much. Alice regards him a beat, then slowly pulls his jacket from her shoulders. ALICE Before this, I'd never even been to France. Jean-Pierre blinks and Alice laughs, as much at herself. ALICE (CONT'D) It's true. Just kept putting it off. Always managed to find an excuse. But, really, it was that I was afraid. That it couldn't ever live up to the France I'd imagined. And if it did... Then I'd never be able to go home. JEAN-PIERRE And, now? Alice gently places Jean-Pierre's jacket in his hands and steps near to kiss him on the lips. ALICE But, thank you. She turns and opens the door with her key as Jean-Pierre smiles ruefully. ALICE (CONT'D) For everything. Alice steps into her room and closes the door. EXT. NICE AIRPORT - DAY Richard exits the plane, walking down a mobile stairway onto the tarmac, carrying Alice's repaired suitcase. 0 Monte Carlo Draft 3 - November 4, 2007 89. INT. NICE AIRPORT - DAY Richard stands at the information counter, conferring with an ATTENDANT in his broken French. RICHARD Excusez-moi...I'm looking for the train. To Monte Carlo. Behind him, Cordelia strides through a set of doors to stop directly at Richard's back as she searches the terminal and hisses into her cellphone. CORDELIA Yes, Daddy, I'm here. No, I do not see a driver. Yes, I am looking! The attendant points over Richard's shoulder to an exit. Richard begins to turn in Cordelia's direction, but the attendant corrects him, pointing the other way. RICHARD Merci. He picks up Alice's suitcase and heads off just as a UNIFORMED DRIVER approaches Cordelia. DRIVER Mademoiselle Scott? CORDELIA Where have you been? The driver leads her away, neither she nor Richard having taken note of the nearby newsstand and its display of today's front page: Emma on the yacht wearing Cordelia's necklace. EXT. HOTEL DE PARIS - DAY Meg zooms the moped around the fountain a last loop, Bernard on the back, before jerking to a stop in front of the hotel. Bernard steadies the moped as Meg climbs off. ME G Well, this is me. Back to the old Grimaldi suite. BERNARD (WITH REGRET) I have to open the restaurant. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 90. CONTINUED: A beat as they face each other, neither knowing how to end the evening, how to say goodbye. MEG Thank your father for me? BERNARD I will, Meg. MEG Thank you. Meg hugs him briefly, awkwardly, then turns for the steps. BERNARD Goodbye, Meg. Meg stops, holds a beat with her back to Bernard. Then she turns and marches to him with purpose, seizing his face in both her hands and kisses him passionately. She releases Bernard, who staggers against the moped, catching himself just before going over, as she turns again for the steps, an enormous smile on her face. IS INT. HOTEL DE PARIS - SUITE - DAY Alice sits on the edge of the bed with the hotel phone, idly looking out at the sparkling bay and anchored boats. ALICE (leaving a message) Well, I wish you were there. Or here. I wish you were here, Richard. I do... Because I keep thinking, no matter what I see, I'm only seeing half of it. Because we're not seeing it together... Meg lets herself in the front door and heads for the bedroom, stopping when she overhears Alice on the phone. ALICE (CONT'D) I'm sorry, Richard. I hope you'll be there when I get home... Because that's all I want. Alice hangs up the phone, so lost in thought she doesn't see Meg standing at the door. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 91. CONTINUED: MEG (SOFTLY) Hey. Alice looks up, smiles to see her friend. ALICE Oh. Hey-- (taking Meg in) Hey! You bought the jeans! They look great--! MEG (tearful, comic) Alice, I am so sorry! For what I said. About you. And Richard. I didn't mean any of it! I love you. I don't know how I would've gotten through the past six months if it weren't for you-- ALICE No. It's okay. You were right-- (bursts into tears) Oh, Meg! I made a huge mistake! MEG Wha--? ALICE Richard asked me to marry him-- MEG Wait. What? When? ALICE I told him we should wait a week! MEG No. You didn't-- ALICE I did! He surprised me! MEG Alice... ALICE I'd imagined him asking me a million times, but then when he did, I just panicked. suddenly all I could think about was the trip. (MORE) (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 92. CONTINUED: (2) ALICE (CONT'D) That I hadn't already been to France. It was like this wave, all the years, and chances I'd had but didn't take, they just crashed down on me: And I hadn't seen anything but the end of Lake Avenue. The only clear thought in my head was, "this guy is so wonderful, how can he marry half a person?" MEG But, Alice. You were going. We were on our way. ALICE I thought he was asking me to make a choice. But, he wasn't. He wasn't doing that at all. It was me. Because I couldn't believe he loved me just for who I was. France or no. (PAUSES) All I had to do was say, "yes." MEG Honey, Richard knows you... It might feel like it's over. But, it's not. ALICE (CRYING) I really ruined it this time... The suite's doorbell rings and they both look up. INT. HOTEL DE PARIS - SUITE - MOMENTS LATER Alice opens the door for Emma who stands up from retrieving the morning paper just outside the door. EMMA (hands off paper) Thanks. I couldn't find--. I musta left my key someplace... (on a cloud) But, what does it matter, really? When I already have everything I'll ever need... Alice exchanges a look with Meg as Emma swans across the suite to tear open on the fruit basket, pluck out an apple, and drape herself across a chaise. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 93. CONTINUED: is EMMA (CONT'D) Moooorning, Meg... (back on track) For the first time in my life, everything makes perfect sense, you know? MEG I'm trying to follow you-- EMMA I'm in love! I am! Oh, you guys, I'm in love with Niki... Nikolai... Nikolai. And, I don't care if he is just a busboy. Or waiter. Whatever he is... Alice unfolds the paper, taking in the image of Emma wearing Cordelia's necklace. EMMA (CONT'D) It's funny if you think about it. I could have had a prince. A real one. But, I wanted my Niki-- (a big bite of apple) Hey. Why are you guys crying? This is good news! ALICE I thought we said no jewelry-- EMMA No--? What jewelry? MEG What? Alice holds up the newspaper. EMMA Ooh, that's a good one! ALICE The necklace, Emma! Emma's face clouds as she distractedly reaches a hand to her bare collar bone, then flicks her eyes up to Alice. ALICE (CONT'D) Emma, where's the necklace--? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 94. CONTINUED: (2) Emma leaps up and races to the window, throwing the doors 0 wide as Alice and Meg dash after her onto the balcony. EMMA The yacht! There! I left it on--! MEG Are you kidding me?! PHOTOGRAPHERS (O.S.) Cordelia! Cordelia! They look directly down to the base of the hotel where the trio of paparazzi call as Cordelia emerges from a limousine. Alice and Meg look at each other, stricken. EMMA Oh, hey. What's she doing here? INT. HOTEL DE PARIS - LOBBY - DAY Cordelia strides across the lobby, passing WORKERS who set up for the auction, and arrives at the front desk. A busy DESK CLERK glances up, brightening happily. DESK CLERK Mademoiselle Scott! Cordelia looks at him with typical, withering disdain. CORDELIA The driver was late. The clerk's smile falters, fades. CORDELIA (CONT'D) Hello? I'm checking in. INT. HOTEL DE PARIS - SUITE - DAY Alice, Emma and Meg race around, frantically grabbing clothes, stuffing them into shopping bags. INT. HOTEL DE PARIS - HALLWAY - DAY DING! The elevator doors open and Cordelia steps off with a BELLHOP toting her bags, as her cell phone rings. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 95. CONTINUED: CORDELIA (ANSWERING) Hello?! INT. HOTEL DE PARIS - SUITE - DAY The three women scramble though the suite, collecting, straightening, smoothing in a blind panic. INT. HOTEL DE PARIS - HALLWAY - DAY The bellhop stops outside the door with Cordelia. CORDELIA Beijing? Oh, I want to come! Will you wait for me? INT. HOTEL DE PARIS SUITE - DAY CLICK! Alice, Meg and Emma freeze in their tracks at the very center of the suite, their heads swinging toward the door when they hear the key inserted from the other side. INT. HOTEL DE PARIS - HALLWAY - DAY The bellhop opens the door, holding it wide for Cordelia who marches in to the room... INT. HOTEL DE PARIS - SUITE - DAY .where everything, impossibly, appears to be in place. CORDELIA I can be there in, say, a day-- (TO BELLHOP) I was meant to have a suite. (INTO PHONE) Of course, they've screwed this up as well--. Who else is going? The bellhop opens the bedroom doors, revealing the tower of Cordelia's luggage, crowned by the reassembled fruit basket. Cordelia, unimpressed, indicates the bags the bellhop holds. CORDELIA (CONT'D) Put those with the others-- (INTO PHONE) Wait, wait! She spins away for the French doors, twisting their handles, and throwing them wide. Monte Carlo Draft 3 - November 4, 2007 96. EXT. HOTEL DE PARIS - DAY Cordelia steps to the railing, completely unaware of Alice, precariously perched atop the adjacent balcony's railing, back pressed against the face of the hotel. CORDELIA (INTO PHONE) Stavros is supposed to be here, isn't he? I don't see his boat! Alice carefully turns to Meg and Emma who look back her with desperate faces from the balcony on the far side of Cordelia, where they balance with their shopping bags. BELLBOY (O.S.) Mademoiselle? CORDELIA (INTO PHONE) Majorca?! Hold on. She does a quick turn, marches inside. INT. HOTEL DE PARIS - SUITE - DAY The bellboy stands expectantly by the front door. CORDELIA Yes? He nods, not quite with his hand out, but waiting. CORDELIA (CONT'D) If you're done, you may go. The bellboy turns but hesitates in catching a quick glimpse of Alice, fleet as a gazelle, as she passes the open doors on the balcony behind Cordelia. CORDELIA (CONT'D) I said, you can go. He bows a retreat, backing out the door. EXT. HOTEL DE PARIS - DAY Alice climbs across to the next balcony where Meg tries the handles of another set of French doors. MEG They're locked! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 97. CONTINUED: They each look about for a route of escape. Emma looks down, on the heads of the unsuspecting paparazzi while Alice scrutinizes the facade above. Alice looks at Meg. MEG (CONT'D) No. Forget it. Alice laces her fingers together, turning to Emma. ALICE Emma, help. MEG ALICE--- ALICE You're first. There's a door on THE ROOF-- EMMA The roof?! EXT. HOTEL DE PARIS - ROOF - DAY Shopping bags swing up over the edge of the roof, landing in profusion, followed by three sets of gripping hands. Alice, Meg and Emma haul each other over the hotel's crown, the view of the ocean and the yachts in the bay behind them. EXT. MOTOR BOAT - AT SEA - DAY A BOAT DRIVER in uniform passes a captain's hat to Nikolai, who places it on his head as they speed towards the marina. EXT. DINGHY - AT SEA - DAY Meg turns to get a gauge on the distant yacht as she and Alice labor with the oars of a fisherman's dinghy. MEG Why'd they have to park so far out, anyway?! ALICE One point five million Euros, Emma! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 98. CONTINUED: EMMA I said I was sorry! You think I would have worn it if I knew how much it cost? Busy fighting, none of them notice as Nikolai's boat passes fifty feet off their side. MEG What am I going to tell my kids?! How am I'm going to explain to Glenn that we're in a French jail? ALICE For the auction, Emma! MEG My kids'll be in college when we get out! They won't even know me. EMMA None of us knew that, Alice-- MEG Trespassing. Burglary. Oh, god. Grand larceny, by trick and DECEPTION-- ALICE For the children--! EMMA In Africa. I know! MEG I'm standing in a stolen boat! EMMA Well, sit down then! Nikolai's wake hits the dinghy, rocking them hard. EXT. MONTE CARLO TRAIN STATION - TRACKS - DAY Richard steps off the train, with today's paper wedged under the arm that carries Alice's suitcase. EXT. YACHT - DAY The dinghy strikes the side of the yacht and the three women scramble to their feet, grasping the side of the boat. Monte Carlo Draft 3 - November 4, 2007 99. EXT. YACHT - DAY EMMA It was right here! MEG Oh, I can't believe this... Meg doubles over, hands on her knees as Emma stands over the empty spot on the landing. ALICE Are you even sure you took it off? EMMA Definite "yes." ALICE Well... Were you this close to the edge? I mean, it could've fallen-- MEG Do not even say it! EMMA 0 You know, I'm getting a little tired of this. Just because I SOMETIMES FORGET-- ALICE Emma, we're not talking about a pair of sunglasses! MEG We don't have time for this! Let's just split up! Alice you go fore, Emma take the aft, and I'll check the cabin. Emma glares at Alice with steely, narrowed eyes. EMMA Alright. Fine. (PAUSES) Which way is aft? INT. HOTEL DE PARIS - LOBBY - DAY The clerk looks up as Nikolai arrives at the front desk. CLERK Yes? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 100. CONTINUED: NIKOLAI Ya khotel by perepisyvat'sya s vami. CLERK Excusez moi, monsieur? INT. YACHT - DAY Alice, Meg and Emma reconvene in the cabin's salon, each coming from a different direction. MEG Nice boat. No necklace. ALICE Where is he, anyway? EMMA He just works here. I don't-- (an idea forming) You don't think he could have taken it, do you? MEG Who knows?! I mean, is there anyone who understands a word he says?! EMMA (STRICKEN) Oh, this could all be my fault! He probably thought he needed it, to finance our new life together. The temptation was just too much for HIM-- ALICE Emma, it's your fault because you wore it in the first place! EMMA He works like fifteen jobs already! You don't know what it's like being around rich people all the time-- MEG Actually, we do. IS Monte Carlo Draft 3 - November 4, 2007 101. INT. HOTEL DE PARIS - LOBBY - DAY Nikolai picks up the hotel phone as he removes Emma's room key from his pocket. NIKOLAI (TO OPERATOR) Pozhalujsta. INT. HOTEL DE PARIS - SUITE - DAY CORDELIA (INTO CELL) Gratitude, Mummy. That's what I'm talking about. It's just so unfair the way Daddy assumes I've nothing better to do than-- The hotel phone rings, interrupting her complaint. CORDELIA (CONT'D) Hold on. She picks up the ringing telephone at the desk. CORDELIA (CONT'D) What is it? What? (LISTENS) I cannot understand you. She hangs up, heads for the fruit basket with her cell. CORDELIA (CONT'D) Mummy, Mummy, I'm just saying I wish someone, anyone, would consider my feelings. Just once. She snatches up an apple from the basket without looking. CORDELIA (CONT'D) You go ask him how much he thinks a simple "thank you" might cost. She hangs up her cell with a sniff and raises the apple, stopping when she sees where Emma has eaten. She recoils, dropping the apple, which rolls across the carpet and hits one of Emma's sandals beneath the desk. Cordelia approaches, looking down to discover the other sandal in the wastebasket, along with Emma's broken plastic tiara, room service dishes, and the newspaper. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 102. CONTINUED: Cordelia pulls the newspaper from the trash, curiosity turning to shock as she takes in the huge torn photograph of Emma wearing her necklace. EXT. DINGHY - AT SEA - DAY The women paddle back towards the Marina. ALICE Well, we're just going to have to talk to her. MEG Oh, yeah, that was the first thing that struck me about her. How reasonable she seemed-- EMMA (seizing on the idea) Yeah, we'll just explain. MEG We should have sailed that yacht right back to Wisconsin-- EMMA IS (SELLING HERSELF) it was an accident. This whole THING-- MEG You think she'd fit in one of those trunks of hers--? ALICE Meg? MEG Just thinking out loud. EMMA You never know. She might understand. INT. HOTEL DE PARIS - SUITE - DAY Cordelia slams the steel briefcase onto the bad, scrabbling at the combination lock. CLICK! She rips the lid open to reveal the empty velvet lining and she SCREAMS! Monte Carlo Draft 3 - November 4, 2007 103. EXT. HOTEL DE PARIS - DAY Richard pays a taxi driver, taking Alice's repaired suitcase, and mounts the steps directly behind Domenico escorting Penelope through the revolving door. INT. HOTEL DE PARIS - LOBBY - DAY Domenico and Penelope head for the ballroom entrance and Richard arrives at the front desk, just as the clerk's phone begins to ring. Richard holds up the newspaper with Emma's photo. RICHARD I need to find this woman-- The clerk puts up a finger as he lifts the receiver. CLERK Une moment, Monsieur. Pardon. Behind Richard, Nikolai crosses from the bank of house phones for the elevator, stopping to pluck a flower from the lobby's arrangement. INT. HOTEL DE PARIS - SUITE - DAY CORDELIA (on hotel phone) Send security! Immediately! This is Cordelia Winthrop Scott. I've been robbed! INT. HOTEL DE PARIS - LOBBY Nikolai steps into the elevator, the doors closing, just as Alice, Emma and Meg throw themselves through the lobby's revolving door. At the desk, the clerk hangs up one phone to pick up another, stalling Richard again with his finger. CLERK Pardon. (INTO PHONE) SECURITE-- The clerk stops, spotting Emma as she, Alice and Meg, sprint past the front desk and Alice wipes out, tripping over her own suitcase on the floor beside Richard. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 104. CONTINUED: ALICE Oh! Richard whips around to see Alice spread-eagled on the marble floor as Meg and Emma slide to a stop. RICHARD Alice? MEG ALICE Richard! Richard--? RICHARD (CONT'D) Alice! EMMA Wow! Richard! Richard drops down to help Alice as she struggles up, dizzily finding her feet to stand. RICHARD Honey, are you alright--? ALICE You got my message. She hugs Richard tightly. RICHARD I had no idea where you were. I looked all over Paris, but, I COULDN'T FIND-- (NOW HEARING) What message? ALICE You went all the way to Paris? RICHARD A week's an awfully long time. MEG Longer in France. CLERK Excusez moi, Mademoiselle Scott? EMMA Hey, Francois! How are you--? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 105. CONTINUED: (2) CLERK (UTTERLY CONFUSED) You--? You still need security? Alice and Meg's heads swing in the clerk's direction. CLERK (CONT'D) You are still robbed? ALICE No! (dials it down) A misunderstanding. We're fine. She's fine. (TO EMMA) You're fine, right? EMMA Super fine. ALICE Richard, we've got to-- (sighs, in love) I can't believe you're here--! MEG But, we've got a little situation-- EMMA (grabbing Alice's arm) It'll just take a minute! We'll have her right back! MEG Don't worry about a thing! RICHARD (holds up newspaper) Like this? ALICE (KISSES RICHARD) I'll explain everything! I promise! They take off for the elevator. EMMA Boy! Does he love you. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 10 6. CONTINUED: (3) ALICE (GLEEFUL) Did you see he fixed my suitcase? EXT. HOTEL DE PARIS - HALLWAY - DAY Nikolai rings the doorbell. CORDELIA (O.S.) Oh, thank god! Cordelia opens the door to Nikolai, who holds out the room key and flower with a smile as her brows come together. NIKOLAI Lechu k tebe na krylyah lyubvi. CORDELIA Security? They look at each other in confusion, Nikolai's smile fading, Cordelia with mounting alarm. She slams the door in his face. At the end of the hall, the elevator doors open for Alice, Emma and Meg, as Nikolai removes the necklace from his pocket and reaches to ring the suite's bell again. EMMA Niki! ALICE The necklace! MEG Don't touch that bell! They race down the hall towards Nikolai, who gapes, perplexed by the sight of Emma. EMMA Oh, Niki! I knew it! I knew it! I believed in you the whole time! INT. HOTEL DE PARIS - SUITE - DAY Cordelia hides behind the drapes with the hotel phone. CORDELIA Yes! Police! This is Cordelia Winthrop Scott. (MORE) (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 107. CONTINUED: CORDELIA (CONT'D) In the Grimaldi Suite at the Hotel de Paris. You must come straight away. I've been robbed! And now some horrible, foreign man--! I believe someone is trying to kill me! INT. HOTEL DE PARIS - HALLWAY - DAY Emma kisses Nikolai as she pushes him onto the elevator. EMMA Wait for me in the lobby, sweetie. Down in half a second-- NIKOLAI Ya tebya lyublyu. EMMA I know. Me, too. The doors close and Emma sprints back down the hall to Alice and Meg at the door. EMMA (CONT'D) Okay! Do it! Alice rings the bell. INT. HOTEL DE PARIS - SUITE - DAY Cordelia approaches the door cautiously and spies through the peep hole at the back of Meg's head. CORDELIA Yes? Who is it? MEG (voice dropped low) Security, Madame. CORDELIA Finally--! She opens the door. A beat where Cordelia focuses on Alice and Meg first, possibly remembering them, then she registers Emma. She blinks, completely nonplussed. ALICE We can explain. Monte Carlo Draft 3 - November 4, 2007 108. INT. HOTEL DE PARIS - LOBBY - DAY The elevator doors open and Nikolai steps off just as the revolving door begins to spin, spitting uniformed POLICE OFFICERS and their CAPTAIN into the lobby. The clerk looks up and hustles around the desk to meet them. CLERK Pardon? Is there a problem--? POLICE CAPTAIN We received a report of an attempted murder in the Grimaldi Suite. Cordelia Scott-- Richard, sitting nearby, looks up at the mention of Cordelia's name, at the same time that Nikolai takes a seat at the far end of the same sofa. CLERK No. No. It is robbery. But, Mademoiselle Scott said it wasn't. Jean-Pierre, checking lists at the ballroom's entrance, notes the commotion and Cordelia's name, joins the group. JEAN-PIERRE Excuse me. What's--? Mademoiselle Scott has been robbed? CLERK No. She said, not. POLICE CAPTAIN She said someone was trying to kill her! We are going up! Richard seems to debate getting involved as the police, the clerk and Jean-Pierre head for the elevators. Looking over, he notices Nikolai, who smiles and nods. INT. HOTEL DE PARIS - SUITE - DAY CORDELIA You can save your "sorrys" for the POLICE-- EMMA The police--? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 109. CONTINUED: CORDELIA You robbed me! ALICE But, the necklace is right here--! CORDELIA You stole from me--! EMMA ONLY BORROWED-- MEG We haven't taken anything-- EMMA And, we dry-cleaned the dresses-- Meg and Alice wince, look daggers at Emma. CORDELIA (ICY DISGUST) You wore my clothes? EMMA Well... For the children. CORDELIA Wha--? What children? MEG In Africa. ALICE (IMPATIENT) This whole thing is for charity. Your necklace is for the auction. CORDELIA Well, there will certainly be no AUCTION NOW-- EMMA But, that's not fair! It's not the CHILDREN'S FAULT-- ALICE Look, you weren't here. Everyone thought she was you-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 110 CONTINUED: (2) CORDELIA (INCREDULOUS LAUGH) Thought she was me? Who could possibly believe--? ALICE They all did. Cordelia looks at Alice a beat as this lands with her. MEG (drives it home) Every one of them. CORDELIA But, look at you! Emma takes a step towards her doppelganger, facing off. EMMA Well, look at you! ALICE EMMA-- CORDELIA (DRIPPING CONTEMPT) Common country cows playing dress up. Pretending to be something you're not. Trying to be something that not one of you could ever hope TO BE-- EMMA You mean miserable? Cordelia blinks. EMMA (CONT'D) Or a petty, spoiled, selfish-- CORDELIA (REELS BACK) You--! EMMA Bitch! Cordelia slaps Emma across the face. Alice and Meg gasp and they all stand a beat in shock. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 111. CONTINUED: (3) Emma raises a hand to cup her cheek as Alice and Meg turn slowly to Cordelia, their faces set like warrior masks. INT. HOTEL DE PARIS - HALLWAY DING! The elevator doors open and the police spill out, followed by the clerk and Jean-Pierre. They hear a SCREAM! and break into a run. INT. HOTEL DE PARIS - SUITE - DAY Alice shoves Cordelia roughly into a chair, thrusting her back down as she tries to struggle up, points at Emma. ALICE You apologize to her right now! CORDELIA Apologize--?! ALICE You know, I feel sorry for you-- MEG I don't. Cordelia scoffs and Alice leans over her, menacing. ALICE Because no matter where you go, no matter where you jet to in this world, you are still going to be you. (points to Emma) And, let me tell you; she is who you want to be! The all freeze when a BANGING erupts at the door. POLICE CAPTAIN (O.S.) Mademoiselle Scott? It is the police! Open up! Alice claps a hand over Cordelia's mouth, looks to Meg. EMMA (mouths the words) The police? 0 Monte Carlo Draft 3 - November 4, 2007 112. INT. HOTEL DE PARIS - HALLWAY - DAY The police captain pounds on the door again, motioning for the clerk to use his pass key. POLICE CAPTAIN Mademoiselle? Open this door! ALICE (O.S.) Coming! Just a moment, please! The captain grabs the key from the clerk and turns the handle, just as Alice coolly opens the door from within. ALICE (CONT'D) Bon jour. INT. HOTEL DE PARIS - SUITE - DAY The police enter, followed by Jean-Pierre and the clerk. ALICE (FEIGNED SURPRISE) Cordelia, it's the police. Emma turns her head from the mirror she faces. EMMA Oh, no! This is going to be so embarrassing. Please tell me you didn't run all the way over here just for me. POLICE CAPTAIN You said there was someone trying to kill you-- CLERK It was a robbery, but, no. JEAN-PIERRE Alice, what's going on? ALICE A terrible misunderstanding. You see, she couldn't find her necklace. JEAN-PIERRE (PANICKED) But, you have it? IS (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 113. CONTINUED: Emma turns, holding the necklace up to her throat. EMMA Yes, but, Jean-Pierre, would you be a dear and help me? I can't seem to manage the clasp. Jean-Pierre senses something amiss, but steps to assist Emma. POLICE CAPTAIN We heard a scream-- ALICE When she found it-- EMMA JUST NOW-- ALICE She was so happy-- EMMA Relieved! I screamed with delight. POLICE CAPTAIN And there is no one that wants to kill you? EMMA (LIGHTLY JOKING) Well, I can't speak to that. POLICE CAPTAIN You said on the phone-- ALICE She said she would die. If she didn't find it-- EMMA The necklace! ALICE Yes! Alice turns her brightest smile to the captain. POLICE CAPTAIN And this is the necklace? For the auction? (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 114. CONTINUED: (2) JEAN-PIERRE (CHECKING) It is. He looks back and forth between Alice and Emma. JEAN-PIERRE (CONT'D) Very lucky. EMMA Extremely! Think of all the schools we'll build! (to charm captain) Do you like it? POLICE CAPTAIN (falling for it) Allow me to escort you, Mademoiselle. As a precaution. Emma, spots one officer poking his way toward the bedroom. EMMA (seizes captain's arm) Oh, but, yes! Would you? What an entrance I'll make! So dramatic! Alice, are you coming, dear? Jean-Pierre takes Alice's elbow as Emma leads the captain and the rest of the group from the suite. ALICE Let me just grab my purse. INT. HOTEL DE PARIS - SUITE - BEDROOM - DAY Alice opens the door as narrowly as possible. ALICE You okay in here? Meg sits on top of Cordelia who is tied to a chair with a scarf, the fruit-basket apple jammed in her mouth. MEG We're great. But, now you can add KIDNAPPING-- ALICE (RE: CORDELIA) Well, don't tell her that. Throw me a purse. Monte Carlo Draft 3 - November 4, 2007 115. INT. HOTEL DE PARIS - LOBBY - DAY DING! Richard and Nikolai both look up as the elevator doors open and Emma emerges led by the police captain. Nikolai leaps up. NIKOLAI Moy angelochek? Richard jumps up when he sees Jean-Pierre escorting an anxious Alice from the rear of the battalion. RICHARD Alice? Alice winces as she sees Richard approaching, at the same time Nikolai rushes to Emma. EMMA Niki, I'm sorry. It's just going to another minute. NIKOLAI Ya sdelayu vsyo, chto smogoo-- EMMA Perfect! That sounds good. Emma is led to the ballroom by the captain as Richard meets Alice and Jean-Pierre in the center of the lobby. ALICE (quick, preemptive) Richard, this is Jean-Pierre, Jean- Pierre this is Richard, my fiance-- RICHARD JEAN-PIERRE (BLINKS) (BLINKS) Fiance? Fiance? Jean-Pierre offers his hand to shake, smiling knowingly. JEAN-PIERRE Ahh... A pleasure to meet you. You've come for the auction--? ALICE Yes! He came all this way! Richard tightens his grip on Jean-Pierre's hand. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 116. CONTINUED: RICHARD Alice? Who is this guy--? Alice breaks Richard's vice grip with a bright smile. ALICE I told you, that's Jean-Pierre! (TO JEAN-PIERRE) He's exhausted! It's such a long trip! Richard flicks his eyes narrowly at Jean-Pierre. JEAN-PIERRE (DEFLECTING) I believe we are ready to start. Shall we go in? Alice loops an arm through Richard's to follow Jean-Pierre, but jerks to a stop when Richard doesn't budge. RICHARD Is there something I need to know? Alice looks at Richard, reading his face, and smiles. ALICE No. There's isn't. She leads Richard through the ballroom entrance only to be stopped by an ATTENDANT. ATTENDANT Pardon, Monsieur, invitation--? ALICE He's with me! As Alice pulls Richard through to the ballroom, Nikolai steps to the reception table behind them, producing an elaborate invitation from inside his jacket. ATTENDANT Oh! Monsieur Ludovic! Welcome! As Nikolai is ushered into the auction with great fanfare, the lobby's revolving doors turn and Bernard enters, carrying Meg's bottle of wine. 0 Monte Carlo Draft 3 - November 4, 2007 117. 0 INT. HOTEL DE PARIS - SUITE - BEDROOM - DAY Meg, holding the apple, sits facing Cordelia, still tied to a chair, the two glaring at each other. CORDELIA You will never get away with this. MY FATHER-- MEG Believe me, nothing would make me happier than having a little talk with your father-- Both their heads swing toward the door when the bell RINGS! Meg jumps to Cordelia, stuffing the apple in her mouth just as she opens it to scream. INT. HOTEL DE PARIS - HALLWAY - DAY Bernard looks up when Meg opens the door a crack. MEG Bernard...? He holds out the bottle of wine. BERNARD We forgot your prize. MEG Oh, I... She glances back into the room behind her, carefully obscuring Bernard's view through the half open door. BERNARD I have come at a bad time? MEG No. No, Bernard, that's not it. INT. HOTEL DE PARIS - SUITE - BEDROOM - DAY Cordelia kicks her legs against the floor, straining against the scarf as she tries to overturn the chair. INT. HOTEL DE PARIS - HALLWAY - DAY MEG I'd invite you in, but-- (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 118. CONTINUED: THUMP! They both hear Cordelia's chair hit the floor inside and Bernard darkens. BERNARD I think--. You are busy. I think now I go-- Meg reaches out to stay him with a hand on his arm. MEG No. Bernard, wait-- CLICK! Meg and Bernard both turn their heads to look down the corridor when Cordelia sticks her head out the bedroom door into the hall. A beat as Cordelia and Meg lock eyes. DING! The elevator doors open at the end of the hall, closer to Cordelia. She looks back at Meg for an instant then bolts as Meg leaps past Bernard into the hall. MEG (CONT'D) Hey! Stop! INT. HOTEL DE PARIS - BALLROOM - DAY Emma models Cordelia's necklace on a stage for over a hundred GUESTS with Domenico fielding bids beside her. DOMENICO The bid is three hundred thousand! Alice stands just off to the side on the floor below, between Richard and Jean-Pierre, with Penelope. RICHARD so, they all think she's this Cordelia Scott because... ALICE It's for a school, Richard-- RICHARD In Africa. NIKOLAI (HEAVILY ACCENTED) Five hundred! (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 119. CONTINUED: All the heads in the room turn with an excited murmur as Nikolai steps to the front of the assembly. DOMENICO Five hundred thousand! ALICE Oh,no... JEAN-PIERRE Yes ! EMMA (TO HERSELF) No. Nikolai smiles up at Emma as ANOTHER GUEST raises a Champagne glass in bidding. DOMENICO Five hundred, five hundred fifty thousand! INT. HOTEL DE PARIS - SERVICE STAIRS - DAY Bernard races to catch up as Meg flies down the stairs. BERNARD But, Meg! Why do we run? Meg stops on a landing, turns. MEG Bernard, you should stop. You really don't need this. I may be going away for a long time-- BERNARD To America? MEG Something like that. Look, this is where we should say "au revoir." Bernard smiles and pulls Meg to him, kisses her. BERNARD But, I must see how this ends! 0 He grabs her hand and they plunge down the stairs together. Monte Carlo Draft 3 - November 4, 2007 120. INT. HOTEL DE PARIS - BALLROOM - DAY NIKOLAI Eight hundred! The crowd applauds happily. EMMA Niki. What are you doing? NIKOLAI Vsyo, chto ya de-la-yu, lish dlya. EMMA Well, don't. Just stop, okay? JEAN-PIERRE (ALARMED) Why is she stopping him? ALICE (MISERABLE) He doesn't have any money. He's just a busboy, but they're in love- JEAN-PIERRE That's Nikolai Ludovic-- ALICE He means no harm-- JEAN-PIERRE Alice. Lithuania? ALICE Yes? JEAN-PIERRE He owns it. Alice blinks. DOMENICO The bid stands at eight hundred THOUSAND EUROS-- EMMA No! No. Ladies and gentlemen, I'm terribly sorry, but, there's.. (TO NIKOLAI) Honey, you can't bid on this, okay? (MORE) (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 12 1. CONTINUED: EMMA (CONT'D) Put your hand down, and I'll be done in a second. Then we can go. JEAN-PIERRE Mon dieu! ALICE Emma! Jean-Pierre reacts to Alice's "Emma!" as she breaks away. RICHARD Alice--! She climbs the stage to Emma before the baffled audience. EMMA Alice, he doesn't understand. It's like a foreign language to him-- ALICE Actually, it's not. Let him bid. EMMA But, he'll get in trouble-- ALICE He's fine. Let's just get this THING DONE-- NIKOLAI One million! EMMA Nikolai! You cannot bid against yourself! DOMENICO One million Euros! EMMA No! Stop! Stop! I'm sorry. I can't... I cannot allow this sweet, wonderful man to buy this necklace, because... (finds the courage) It is not mine to sell. CORDELIA No. It is mine.. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 122. CONTINUED: (2) The crowd gasps, stepping back to reveal Cordelia in the center of the ballroom, backed by all the police, just as Meg .and Bernard enter, skidding short when they see the crowd. MEG Oh, shhhh-- EMMA Merde. Richard, Jean-Pierre, Penelope, and Domenico all swing between the two "Cordelias," as Meg makes her way forward with Bernard. CORDELIA Arrest those women! They are imposters! A wave of comment sweeps the confused crowd. PENELOPE Wait! Penelope steps up onto the platform, shielding Emma and Alice as the police come forward and Meg climbs up. PENELOPE (CONT'D) These are not imposters! These are my friends! CORDELIA Penelope Pignose?! PENELOPE And, you were never anyone's friend. Alice takes in the escalating situation, steps bravely forward to the front of the stage. ALICE It's true! A ripple of exclamation sweeps the dumbfounded crowd. ALICE (CONT'D) We're not who we said we were. We're... We're only high school teachers. From Racine, Wisconsin. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 123. CONTINUED: (3) CORBEL IA (turns to captain) There! You see? ALICE We'd never been anywhere. And we took a trip, that didn't belong to us... Because, well, because you thought we were... important. And that she was Cordelia... Richard smiles at Alice, supporting her with his gaze. ALICE (CONT'D) We wanted to help. MEG (TO BERNARD) We never meant to mislead anyone-- EMMA (TO NIKOLAI) Or hurt anyone-- ALICE We're very sorry. And, we're willing to face the consequences, whatever they are... But... She turns to Meg and Emma as a smile blossoms. ALICE (CONT'D) But, this was our adventure. MEG And it was an excellent one. ALICE We wouldn't change a minute of it. EMMA Not for anything in the world. Richard takes the pulse of the frighteningly still crowd, the, hesitating police, the charged air in the room. RICHARD one million five hundred thousand! The crowd gasps and Alice gapes at Richard. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 124 CONTINUED: (4) RICHARD (CONT'D) Why not go big? PENELOPE One million six hundred thousand! EMMA Penny, you don't have to... PENELOPE Friends. Right? DOMENICO Excellent! We have a bid for one million six hundred thousand! Cordelia whirls to the police captain amidst applause. CORDELIA Why are you just standing there?! Arrest them! POLICE CAPTAIN Arrest them? For what? They seem very nice. 0 DOMENICO One million six hundred thousand! Do I have another bid? CORDELIA They confessed! They're imposters! They stole my necklace! POLICE CAPTAIN That necklace? But, it is here, no? CORDELIA They kidnapped me! POLICE CAPTAIN And yet you are here. I see no problem. Everyone is very happy-- CORDELIA Excuse me, but, I'm not happy! POLICE CAPTAIN Ah, but, this... (GALLIC SHRUG) I can do nothing about. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 125 CONTINUED: (5) NIKOLAI Three million! The crowd erupts, giddy, their applause escalating. DOMENICO Three million Euros! EMMA Nikolai! No... ALICE Emma. It's okay. EMMA How? How can it be okay? ALICE He's rich. JEAN-PIERRE (LEAPING IN) SOLD! To Monsieur Nikolai Ludovic! For three million Euros! The crowd cheers, overwhelming a forgotten Cordelia as it rushes forward to hoist Nikolai up on the stage. At the same time, Alice breaks through the throng to jump down and wrap her arms around Richard. ALICE Richard... RICHARD ALICE-- ALICE Take me home? RICHARD Anywhere you want, Alice. We'll go anywhere you want. They kiss as Meg finds Bernard who shakes his head with a broad smile, holding out the bottle of wine. MEG Oh, good. I could use a drink. BERNARD First prize. To the champion. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 12 6. CONTINUED: (6) Nikolai takes Emma's hands in his up on stage. EMMA (scared, shaky) Niki? What's going on? NIKOLAI Ya das-ta-nu to-be zvyoz-dee. Emma nods, without any real understanding, as he indicates the necklace. NIKOLAI (CONT'D) Is my gift. For you. Emma's eyes slowly come into focus as it all becomes clear-and she FAINTS. EXT. HOTEL DE PARIS - DAY Together, Alice, Meg and Emma offer an envelope fat with Euros to Jean-Pierre. They stand, with Richard, Bernard, Nikolai, Penelope and Domenico, beside a waiting sedan at the base of the hotel's steps where the trio of paparazzi shoot away. ALICE This is for our room. And the trip down. MEG The rest is for the schools. Jean-Pierre hesitates in accepting the envelope, but Alice presses it on him. ALICE Please. JEAN-PIERRE You are all extraordinary women. (TO RICHARD) I wish you much happiness. RICHARD (SHAKING HANDS) Thank you. Meg turns to Bernard, holding up the bottle of wine, as Richard places Alice's suitcase in the trunk with their shopping bags. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 127. CONTINUED: MEG You come to Wisconsin, we'll drink this in my kitchen. BERNARD Yes. They embrace and Meg turns with Alice to Emma who stands arm in arm with Nikolai. ALICE Now, Emma, you're sure about this? EMMA I'll call you both as soon as I know. They may have to get a sub at school for a couple of weeks, but, oh, you guys, I swear it sounded like a proposal! Alice and Meg turn to Nikolai who grins and nods away. NIKOLAI Yes! Yes! 0 EXT. HOTEL DE PARIS - FRONT DRIVE - MOMENTS LATER Jean-Pierre closes the car's door with Alice, Meg and Richard inside, stepping back to join Emma, Nikolai, Bernard, Penelope and Domenico, who watch as the car pulls out. Together, they wave their friends away. Jean-Pierre shakes hands with Nikolai and kisses Emma, tips his head in farewell to Bernard, then enters the hotel with Penelope and Domenico. Emma and Nikolai shake hands with Bernard, then turn and head for the marina, trailed by one of the paparazzi while the other two pause to reload their cameras. As Bernard hops on his moped to zip away, the revolving doors turn and Cordelia steps out, talking on her cellphone, followed by a train of bellhops and luggage. CORDELIA Yes, Daddy! It was a huge success-- She stops suddenly, as if struck, and her expression of perpetual anger melts away as she listens, blinks. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 12 8. CONTINUED: CORDELIA (CONT'D) (DEEPLY MOVED) Thank you? You're, you're welcome. One of the paparazzi raises his camera to take her picture, but another places his hand over the lens. PAPARAZZI That's not her. That's the other one. INT. NICE AIRPORT - TERMINAL GATE - DAY Alice sits between Richard and Meg at the departure gate, each lost in their own thoughts as TRAVELERS pass to and fro. A long beat. A small smile finds its way onto Alice's face and she gently lowers her head to rest it on Richard's shoulder. Richard finds Alice's hand and squeezes it in his own. INT. NICE AIRPORT - JETWAY - DAY Meg walks down the jetway in her skinny jeans, a bounce in her step, shopping bags in one hand, the bottle of wine gripped in the other, as though headed for a party. Behind her, Alice carries her shopping bags and Richard totes Alice's suitcase. ALICE (V.0.) "I used to wander aimlessly,/ Wanton my goal, grievous my plight./Your dear hands led me, guided me." Alice encircles Richard's waist as they walk, and he slings an arm around her shoulder, kisses her hair. FADE OUT. FADE IN: EXT. ZAMBIA, AFRICA - DAY Under a beating sun, Emma, dressed in immaculate white linen, holds hands with Nikolai as a MOB OF LAUGHING CHILDREN and their TEACHERS greet them outside a new Marchand Foundation schoolhouse. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 129. CONTINUED: ALICE (V.0.) "Over the far horizon, night/ Glowed with the pallid hope of dawn./Your eyes' glance was my morning light." A YOUNG GIRL presents a length of brightly woven fabric, draping it over Emma's shoulders as Emma picks the girl up and the other children lead Emma and Nikolai inside. INT. HIGH SCHOOL CLASSROOM - DAY A bulletin board in Meg's classroom is covered in African fabric, photographs and letters, all under a banner that reads: Food Drive for Our Sister School - Zambia. The two students who had cooked their pot holders sort canned goods beneath the board, while Meg cooks, surrounded by the rest of her CLASS. ALICE (V.0.) "No sound - save his own tread upon/The ground - to ease the wanderer's heart./Your voice encouraged me: 'go on!"' 0 A STUDENT carefully scoops spices with a measuring spoon, holding it out for Meg to add to her pan. She ignores the spoon, instead reaching to pinch some spice with her fingers and encourages the student who follows her example. INT. HIGH SCHOOL CLASSROOM - DAY Alice moves freely around the center of the circle of desks her STUDENTS have formed, reciting by memory. ALICE "Yes, my heart - dark, cowed, set apart,/Alone - bewailed its dire distress./Sweet love, with its all- conquering art." The entire classroom hangs on her every word. ALICE (CONT'D) "Joined us as one in joyousness." A beat as she and her class float on the last phrase of Paul Verlaine's poem. (CONTINUED) Monte Carlo Draft 3 - November 4, 2007 13 0. CONTINUED: AMBER 0 (HALTING FRENCH) Mademoiselle Perry, what was it really like? Alice refocuses to smile at Amber and survey all the faces of her students for a beat. ALICE Everyone should go. At least once in their life. (PAUSES) There's a whole world for you to see. FADE OUT. FINISH \ No newline at end of file diff --git a/unformated_scripts/Script_Moon.txt b/unformated_scripts/Script_Moon.txt new file mode 100644 index 0000000000000000000000000000000000000000..a0e40b35547b83fef5922935f4a617971d6ee74b --- /dev/null +++ b/unformated_scripts/Script_Moon.txt @@ -0,0 +1 @@ + MOON Written by Nathan Parker Story by Duncan Jones November, 2007 Helium3 is a gas ejected from the surface of the sun and blown through space by solar winds. It plays an essential role in Cold Fusion, often toted as the solution to humanity's future energy needs. There is one major problem... Helium3 is extremely scarce on Earth. The gas does, however, exist in abundance on the Earth's only natural satellite: The Moon. Should we turn to Cold Fusion in the future, it is conceivable that man will mine the Moon for Helium3 and bring the precious gas back to Earth... 2. IN THE BLACK: We hear something -- a machine -- CHURNING and POUNDING. Constant. Rhythmic. Though the sound is slightly familiar, we're not sure what it is yet. Hold for a few seconds and then CUT TO:1 INT. REC ROOM -- MORNING 1 The sound belongs to a regular old TREADMILL like you see in most gyms across the world. Running on it: SAM BELL, mid thirties, thick beard, handsome, striking blue eyes. Sam's face is flushed and glistening with sweat. He lunges for a towel draped over the treadmill's bar, dabs his face as he runs. We see OUTSIDE THE WINDOW: A gray, powdery landscape stretching beneath a BLACK SKY. CUT TO:2 EXT. MOON -- MORNING 2 Aerial view of the Earth's only natural satellite, the camera roaming about a hundred feet off the surface. Desolation. Serious, uncompromising, desolation. This place makes Antarctica look like Tokyo. And utter silence. Eventually the camera arrives at a moon base, DIVING DOWN towards it -- TITLE CARD: "MINING BASE SELENE. CREW: 1." CUT TO:3 INT. BATHROOM\SHOWER -- MORNING 3 Sam takes a shower, treading in a tight circle beneath the nozzle, eyes closed, hot water blasting his face. 3.4 INT. COMMS ROOM 4 His hair still wet from the shower, Sam sits before a COMMS UNIT, dressed in a "Lunar Industries" boiler suit, a zip up the front, colorful patches sewn into the arms. He begins to record a message. SAM Tess. Hi. It's me. How are you, sweetheart? It's the morning here. In a few minutes Gerty and I will sit down for breakfast, go over the day's itinerary. As Sam continues his message, we are given a TOUR of the mining base. Beginning with:5 INT. MONITORING STATION 5 This is where you want to be if the shit hits the fan. The base's equivalent of HQ. A wall of computers and flickering digital displays. SAM (V.O.) Today begins my 154th week on Selene. I officially have two weeks to go before I climb into that Return Vehicle...6 INT. RETURN VEHICLE 6 A small space craft attached to the base. It is essentially a tiny room with a coffin like, sealed bed in the middle of it: a cryogenic POD with an array of complicated controls surrounding it. SAM (V.O.) And blast home.7 INT. REC ROOM 7 Sam spends most of his time here. It is kitchen and play room combined. We PICK OUT a television set, an armchair, a Ping-Pong table, the treadmill. SAM (V.O.) I never dreamed I'd make it this far. 4. DETAIL: A WOODEN MODEL On a table, we also PICK OUT a LARGE MODEL carved out of BOLSER WOOD. It's a TOWN. Intricately done down to the tiniest details. SAM (V.O.) (CONT'D) There were times, as you know... We go even CLOSER to the model, seeing that there are actual people, actual characters in the little town; actual buildings: a CHURCH, a TOWN HALL, etc. Clearly someone has put a ton of work into this thing. SAM (V.O.) (CONT'D) ...when I thought I was going to crack up.8 INT. GREENHOUSE 8 And the tour of the base continues. Onto a new room. A dark storage area Sam has repurposed to grow a handful of plants. They sit surrounded by darkness, glowing under pools of artificial light. SAM (V.O.) But I think I've come out the other side now.9 INT. INFIRMARY 9 A strange angular room, obviously purposeful, but its design more geared to a computer than a human being. A single bed dominates. SAM (V.O.) In many ways, this place is all about contradictions.10 EXT. LUNAR LANDSCAPE 10 The empty terrain surrounding the mining base, as viewed from the Monitoring Station window. Across the landscape a mountain rises from the morning shadows. SAM (V.O.) It's bleak, it's beautiful. CLOSE UP -- A HAND TOOL Some kind of rake or shovel half buried in the powdery soil, like a child's toy abandoned in a sand box. 5. SAM (V.O.) (CONT'D) It's barren, yet filled with riches.11 EXT. EARTH -- AS SEEN FROM THE MOON 11 From up here it is easy to see why the Earth is sometimes referred to as "the blue marble." A swirl of color. SAM (V.O.) The earth is thousands and thousands of miles away, but sometimes looks so close I feel like I could reach out and snatch it with my hand.12 INT. SLEEPING QUARTERS 12 Sam's bed -- A New York Jets poster on the wall -- a few knickknacks bedside, rock samples in jars, a lucky tambourine Sam got in Mexico some years ago -- a red stress ball -- a photograph by the bed in a frame -- SAM (V.O.) I'm incredibly lonely, yet I'm never alone... We MOVE CLOSER to the PHOTO by the bed. PHOTOGRAPH Of a slightly younger and clean-shaven Sam with his arms wrapped around his wife of four years, TESS BELL. SAM (V.O.) (CONT'D) Because I have you. Tess is a far cry from the stereotypical Astronaut's Wife of the 1960's/70's with the plastic smile and beehive hairdo. Tess is modern, sophisticated, and jaw-droppingly beautiful. She looks like she'd be a hard woman to leave behind. Note: In the photograph Tess is visibly PREGNANT. SAM (V.O.) (CONT'D) And I have Eve. I don't take you guys for granted. You know that now. 6.13 INT. COMMS ROOM 13 Back with Sam at the Comms Unit as he wraps up the message. SAM Please kiss Eve for me. And tell her daddy will only be away a little longer -- seventeen days longer, approximately. I love you both dearly. Bye. And he sends the message. CUT TO:14 INT. CORRIDOR 14 The main corridor connecting the different rooms. We've seen everything there is to see now. The base is small. Confined. Claustrophobic. It is easy to imagine how someone could crack up here. Sam leaves the Comms Room and heads down the corridor.15 INT. REC ROOM 15 A state of the art robot, a GERTY 3000 -- known simply as "GERTY" -- is preparing Sam's breakfast. Gerty is in three sections and moves along a horizontal rail that runs throughout the base. He has a readout screen that perpetually spews data. His hands resemble pincers, but are perfectly nimble. For the purposes of helping run the base and looking after Sam, Gerty is as good as human, if not better. Sam enters. SAM Morning, Gerty. GERTY Morning, Sam. How are you today? SAM Fine. Fine. You? GERTY I'm very well. How's your headache? 7. SAM Much better, thanks, pal. Sam treats Gerty more like a person than a robot. Whether this is down to Gerty's intelligence or Sam's desperation for company isn't clear just yet. Note: Gerty talks like a well-educated older man. His language doesn't have a great deal of inflection (i.e. Monotone) but he is friendly enough. Sam switches a dial on a radio but gets nothing but static - - he sticks in a mini cd and skips the first few tracks. We hear brief clips of talk radio and shuttle through it before he allows it to play on, on some random American station -- an old weather report: VOICE ON RADIO ...it's a hot one on the East Coast, temperatures soaring to a high of ninety three degrees in New York City -- They zip around the tiny kitchen, together preparing Sam's breakfast, working as a team. CUT TO:16 EXT. MOON 16 We take in the whole Moon at once. Gray, colorless, eerie. From this distance the surface resembling Plaster of Paris.17 INT. MONITORING STATION -- DAY 17 Sam sits before Selene's main computer, known as THE OLD MAN. Data flickering off Sam's face. He is making a log entry. A CLOCK is running on the monitor. SAM 8:32 Pacific Time. Lunar Day 1. All Harvesters running smoothly this morning. Readouts are as follows: Matthew, 14.6 miles; Mark 16.8 miles... Sam continues with his entry while we CUT TO: 8.18 INT. STORAGE CUBBY 18 Gerty is selecting food for the up-coming week, stacking ready-meals on a small fork-lift buggy. CUT TO:19 INT. MONITORING STATION 19 A RED LIGHT Pulsing rapidly. The "ping-ping-ping" of an alarm. BOARD Sam stands before the Big Board. The names of the four Harvesters (Matthew, Mark, Luke, John) in a collum. The red light is flashing next to Matthew. Sam presses an INTERCOM BUTTON, dips down, speaks into it. SAM Gerty, we've got a live one on Mark. I'm going out now to rope her in. GERTY'S VOICE Okay, Sam. Sam heads off.20 INT. CHANGING AREA 20 A SPACE SUIT Resembling an unmanned puppet. Sam begins to insinuate his body into the suit.21 INT. DOCK 21 Three Rovers (moon buggies) parked in their separate bays. The Rovers are caked in lunar soil, as though sand blasted. In his space suit Sam bends into one of the Rovers, starts the engine. 9.22 I/E. ROVER/MOON SURFACE 22 Sam drives along, dwarfed by an enormous lunar bolder and the rising slopes of the valley beyond. A toy car in this vast and alien terrain.23 EXT. HARVESTER/MOON SURFACE 23 The second in a fleet of four Harvesters (this one known as Mark) collecting lunar soil. The Harvester resembles a tank and kicks up clouds of dust. Booming, hulking, efficient. Sam catches up in his Rover and accelerates into the back of the Harvester up a couple of ramps. An intricate and dangerous maneuver he executes deftly.24 INT. HARVESTER/BELLY -- CONTINUOUS 24 Sam is in an area of the Harvester -- a kind of hatch -- not dissimilar to a garage and known as THE BELLY. Once safely inside Sam closes the door. He is able to breathe in the Belly without his helmet, which he duly removes. Sam steps up to a wall of computers. A light is flashing to indicate one of the pods is filled with Helium3. Sam does his thing, eventually removing a keg-size pod of Helium3. He hauls it over to the Rover and sticks it in a special slot in the equivalent of the Rover's trunk. A new pod -- an empty -- replaces the pod Sam just removed. Sam puts his helmet back on, returns to the Rover, reverses out of the Harvester carefully.25 I/E. ROVER/MOON SURFACE 25 Sam snakes through the soil on his way back to base, the tracks of the Rover as sharp as if they had been made through talcum powder. The Harvester churns into the distance. CUT TO:26 INT. CORRIDOR -- LATER 26 Sam loads the filled pod into a CARGO CONTAINER. The Cargo Container is about the size of a fridge and can take a maximum of five pods. There are four pods already inside, Sam's new pod taking up the fifth and final slot. 10.27 INT. COMMS ROOM 27 Sam is seated at the Comms Unit recording a message for his superiors back on Earth. SAM Sam Bell reporting to Central. 10:14 Pacific Time. Lunar Day 1. (less formal) Overmeyers, Thompson? It's Sam. How goes it? I've got a full container of Helium3 ready to roll. The purity is pretty good, so assuming your last market prices are still relevant I think you are looking at getting about 3 million dollars per kilo with this load. By the time this message reaches you it should be in transit. (a beat) Otherwise, everything running smoothly. There was a discrepancy between a couple of the N3000 modulators a couple of days ago, but Gerty and I caught it in time, no big deal. Uh...how are things down there? Sam desperately wants to talk but has nothing very important to say. Then he remembers something. SAM (CONT'D) Oh, and I just wanted to thank you for sending out the football feed. Almost felt live! (getting pissed off) Seriously, I don't mean to be an asshole, but surely replacing one satellite cant be that fucking hard! I haven't been able to have a conversation with my wife... My kid can talk now...! Fuck! Sam concentrates, getting a grip on his temper. Two weeks. Two weeks. (beat) Hey. Three years is a long haul. If you guys want to run some psych evals on me when I get back, I'm happy to do it. It ain't Disney World up here. (a beat) That's it. Over and out. 11. Sam reaches forward, sends the message. CUT TO:28 INT. CORRIDOR -- DAY 28 Sam is loading the Cargo Container into the base's MAGLEV LAUNCHER. He works with a sense of routine, far away, preoccupied. All of a sudden Sam STOPS. He has the feeling someone is standing behind him. He slowly turns. A GIRL is standing in the doorway watching him. She is perhaps fifteen or sixteen years old. A yellow dress. Long, wheat-colored hair. Freckles. At once beautiful and haunting. Sam gets the FRIGHT of his life. He FLIES against the wall. WIDEN to reveal Sam and the Girl facing off. Sam POP-EYED and SHAKING. The Girl IMMOBILE, arms at her sides, head tilted ever so slightly to one side. The Cargo Container is sent hurtling through space. A TERRIFIC BLAST. It distracts Sam's attention, breaks his stare... And just like that, the Girl is gone. Sam is just staring at an empty doorway. Nothing there. Sam is baffled. Had to be his imagination. Had to be. After a few seconds he shakes his head dismissively and continues working. CUT TO:29 INT. REC ROOM -- DAY 29 Gerty is cutting Sam's hair. Sam sitting back in a chair, barber shop style, while the robot snip-snip-snips away with a pair of scissors. Sam is gently squeezing a STRESS BALL in his right hand. GERTY Sam, is everything okay? SAM Everything's fine, Gerty. For a moment there is no sound but the snipping scissors, reminiscent of keys snapping on a typewriter. Then: 12. SAM (CONT'D) Why do you ask? GERTY You don't seem like yourself today.Sam frowns, contemplative. For a moment we think he isgoing to tell Gerty about the Girl he saw earlier -- orimagined he saw. But he goes with something different. SAM It's Tess. GERTY Has something happened? SAM No, not exactly.Gerty stops cutting, lowers the scissors. GERTY Sam, what is it? SAM Something doesn't feel right, that's all.A beat. Sam's fingers twitching around the red stress ball,squeezing harder. GERTY Sam, it might help to talk about it.Sam decides to come clean. SAM Tess isn't responding to things. GERTY Tess isn't responding to things? SAM Right. GERTY What kind of things? SAM (a beat) A couple of weeks ago I asked her if she wanted to go on vacation when I get back, and that I was thinking of either Mexico or Hawaii. (MORE) 13. SAM (CONT'D) Tess never said anything about it. Three messages she's sent me since...and she's never once mentioned the vacation. GERTY Im sure she can't wait, Sam. SAM That's not the point. This is someone who lives for vacations and travelling. I thought she'd jump at the chance for us to go away -- with Eve, of course -- we'd take Eve. GERTY Perhaps Tess didn't receive the message? SAM (as if anticipating Gerty's comment) But this isn't the only time it's happened, Gerty. When I asked her how her dad was doing on his new heart medicine she didn't respond to that -- I asked her when Eve was going to start nursery -- nothing. Had her brother got the position at the University? Nothing. Nothing.Sam is really having a go at the stress ball now. GERTY I think her brother did get the position at the University. His name is Christopher, correct? SAM He did? GERTY Yes, I seem to recall he got the position. Professor of Biochemistry, I think. At Syracuse University in New York?Sam is slightly alarmed that Gerty knows this and hedoesn't. SAM How do you know that? 14. GERTY You told me. Some time ago now. Towards the beginning of your time on Selene. When we were starting to get to know each other. (a beat) You were very happy for your brother-in-law. You danced around the Rec Room, if I remember correctly.Sam looks perturbed. For a few seconds he'd eased up on thestress ball. He starts up on it again now. SAM Gerty, have you heard anything new about anyone fixing lunar sat? GERTY No Sam. From what I understand it's fairly low on the companies priority list with the Jupiter mission active. I would imagine it would be very expensive to fix. A pause. Sam still looks troubled. GERTY (CONT'D) Sam, are you ok? SAM They need to sort that out. Seriously. I've only got two weeks left. It's not fair on whoever's up here next. Gerty, you tell them to sort it out. It's not healthy. GERTY I will Sam. Do you want me to finish cutting your hair later? SAM Nah. Come on. Let's finish this.Gerty resumes cutting Sam's hair, and stops again, sensingSam is going to say something more.The scissors freeze. 15. SAM (CONT'D) I've got another one of those headaches. Can you get me something for it? GERTY Of course. Now? SAM No not now, afterwards. The scissors start up again. SAM (CONT'D) Thanks, pal. CUT TO:30 INT. REC ROOM -- LATER 30 Sam with a HAIRCUT and a neatly TRIMMED BEARD is sitting before the Bolser Wood model of the little town. He is arched over working away with an EXACTO BLADE -- SQUINTING -- whittling a figure out of wood. This is difficult and complicated work, and over three years Sam has become highly skilled at it. Sam can carve an actual person out of wood -- actual cheekbones, actual throats, actual hands -- it's fascinating to watch. From another room Sam hears the "ping-ping-ping" of an alarm. CUT TO:31 INT. COMMS ROOM -- CONTINUOUS 31 CLOSE UP -- COMMS UNIT Flashing on the comms unit monitor: "NEW TRANSMISSION." There is a small icon of a telephone. CUT TO:32 INT. REC ROOM -- CONTINUOUS 32 ON SAM He carefully puts down the wooden figure and the exacto blade -- stands and leaves the Rec Room. 16.33 INT. COMMS ROOM 33 Sam sits at the comms unit watching a message from his superiors, OVERMEYERS and THOMPSON, a purposeful looking woman in charge and her earnest second. The two talk RAPIDLY and trade off like a tag team. At times their tone can be almost bizarrely whimsical. Overmeyers and Thompson seem to have known Sam for a while, but even so, there is a practised casualness to the repartee. It's a professional friendliness on Overmeyers part, no more and for Thompson it's merely an eagerness to be involved. OVERMEYERS Delighted to hear about the latest shipment, Sam. THOMPSON According to Albatross 90 it should be landing off the California Coast within the next three days. OVERMEYERS Now in response to your question about the communications equipment, the news is not good. THOMPSON Sam, those solar storms did a lot more damage than initially thought -- OVERMEYERS Fixing the lunar sat is going to take some time. It's a significant operation. THOMPSON And what with the Jupiter Program hemorrhaging money -- Sam curses to himself. OVERMEYERS Lunar doesn't have the budget it once did, Sam, you know that. THOMPSON Even the coffee machine down in the Hub has been broken since I don't know when -- 17. OVERMEYERS We have to go to Genesis 3 just to get a decent cup of coffee, Sam. Genesis 3. That's three buildings over. THOMPSON We're hoping to get the live feed up and running by the Fall. The good news is you'll be home by then, Sam. OVERMEYERS You only have two weeks to go! Congrat-- Sam shuts off the message before Overmeyers can pipe out his last line. Sam sits before the dead screen -- eyes closed -- taking a succession of DEEP BREATHS. CUT TO:34 INT. REC ROOM -- DAY 34 Sam playing Ping-Pong. He has folded up the second half of the table and is using it as a wall. The sound is rapid and rhythmic: ca-cluck ca-cluck ca-cluck. Sam taking his FRUSTRATION out on the little white ball. CUT TO:35 INT. BATHROOM -- DAY 35 Sam stands before the toilet urinating. Rather ironically he is whistling I'm Walking on Sunshine -- focussed ahead at his reflection in the mirror -- angling his face, admiring his haircut, his beard. Then he looks down to flush the toilet and his WHISTLING abruptly STOPS.36 INT. BATHROOM\TOILET 36 It looks like someone just poured a glass of CRANBERRY JUICE into the toilet bowl. Literally. The red urine clouding the water like a squirt of octopus ink. Yeah, Sam just pissed blood. There is a "PING!" and Gerty's voice crackles from the intercom. 18. GERTY'S VOICE Sam, a transmission has arrived from your wife. Sam reaches over and presses the INTERCOM BUTTON. SAM Be right there. And he flushes the toilet. CUT TO:37 INT. COMMS ROOM -- DAY 37 Sam sitting before the monitor. He hits the "PLAY" button, begins watching the message. ON THE MONITOR: Tess is sitting in a living room talking to Sam. Tess has a sweet voice, she sounds grounded, like she's got a head on her shoulders. TESS Hi Sam. It's me. How are you? (a beat) I got your last message, it was really great to hear your voice. I know you've been really lonely up there, but in a lot of ways it's been good for you, I think. I hope you don't mind me saying that. I'm proud of you. (a beat) Hey, someone's got something to say. A WOMAN, possibly a nanny or some form of hired help, swings a LITTLE GIRL into Tess's arms. This is EVE, Sam and Tess's daughter. TESS (CONT'D) Eve, it's daddy. What did you want to say to him? Eve just stares. Tess whispers to her ("Remember what we practiced", etc.) Finally Eve attempts: EVE Asstraut. TESS Who's an astronaut? (encouraging) Go on! 19. EVE Daddy asstraut! Tess laughs. So does Sam. TESS That's right, daddy's an astronaut. Clever girl! Eve fidgets, rubs her nose, distracted. TESS (CONT'D) She's shy. Uh, Cathy, could you...? The Maid steps in, hoists Eve away. Tess waits until they're out of earshot. TESS (CONT'D) It's her birthday next month. I thought we'd get her a play house for the garden. We could even pick it out together. A pause. Tess just stares into the camera. She is hundreds and thousands of miles away, but for a second it feels like she's right there in the Comms Room with Sam. It's intimate. She finally shakes her head, self-conscious, shy. TESS (CONT'D) God, I hate these things. Sam, I love you. I'm thinking of you always. I can't wait to see you, sweetheart. Okay. Bye. And the message ends. ON SAM: smiling, on the brink of tears. CUT TO:38 EXT. THE EARTH -- NIGHT/LATER 38 The Earth at night, illuminated by a glittering spider's web of artificial lighting. From the Moon this is one of the most beautiful sights you'll ever see.39 INT. REC ROOM -- SAME 39 Sam is in improved spirits. He pours himself a glass of juice as Gerty prepares dinner. 20. SAM What's on the menu tonight, Gerty? GERTY Baby back ribs with french fries and spinach. SAM Ribs! Good choice, pal. Fine choice. It might be baby back ribs with french fries and spinach, but it's made from a packet by adding hot water. Nasty. Sam sits down with the packet. Digs in with a fork. SAM (CONT'D) Oh yeah! Compliments to the chef, Gerty, this is delicious! Sam eating ravenously. CUT TO:40 INT. GREENHOUSE -- NIGHT 40 Sam is in the Greenhouse pruning plants with a pair of secateurs. He treads up the aisles slowly, taking time with each of the plants. CLASSICAL MUSIC plays over the sound system, Brahms, Beethoven, Bartok, one of the B's. Sam HUMS along to the music. A man at peace. CUT TO:41 INT. REC ROOM -- NIGHT/LATER 41 Sam is working on his wooden model of the town. Across the room the Ed Sullivan Show is on TV. Ed's guest is a very young Goldie Hawn. Note: Whenever any TV is watched in the film, it is always a show from 1970's America. (Mash, Six Million Dollar Man, Laugh-In, etc.) No explanation is given for this. Sam is half-watching the TV, but his focus is chiefly on the SMALL HOUSE he is carving. And carving beautifully. After a few seconds he stands and snaps off the TV with a remote. He crosses to the kitchen section of the Rec Room to make some tea. The water has just boiled. As Sam is about to pour the boiling water, tea kettle in hand, he glances across the Rec Room and sees: 21. The Girl. She's taken Sam's chair before the model. She is motionless, staring down at the model like she recognizes one of the little figures walking the tiny streets. Sam calmly puts the tea kettle down and begins to move towards the Girl, slowly, cautiously, like he wants to sneak up on her. Sam walks right up to the Girl and reaches out his hand... SAM And then we CUT to Sam standing in the kitchen. Over by the model there is no sign of the Girl. The chair is empty. She's gone. Her sitting there, Sam's walk across the room -- apparently he imagined it all. Sam looks down. The tea kettle is dangling at an angle and BOILING WATER is DRIBBLING onto his left hand. Simultaneously: Sam SNAPS his hand AWAY, Sam SCREAMS. The tea kettle CLATTERS to the floor. Sam HURRIES to the sink and jerks his hand under a stream of cold water. Cursing under his breath the whole time: "Shit, piss, fuck..." CUT TO:42 INT. INFIRMARY -- LATER 42 Sam sits in a chair as Gerty tends to his scolded left hand. It's a nasty burn. SAM I'm going to feel that for a while, aren't I, Gerty? (then) Damn it. Gerty applies a translucent balm to the burn. GERTY Sam, can I ask how it happened? SAM I told you, I saw something on the TV and spilled boiling water on my hand. GERTY You saw something on the TV? 22. SAM (a touch petulant) Yeah, something on the TV distracted me, Gerty, what's wrong with that? A pause. Gerty is wrapping Sam's hand with a bandage. GERTY Sam, you said it was the TV that distracted you, but when I came in the TV wasn't on. Gerty has caught him out. Sam knows it. GERTY (CONT'D) Perhaps you were imagining things? Gerty has hit the nail on the head, in a way that makes Sam feel a little uneasy. Is there something Gerty knows that Sam doesn't? CUT TO:43 INT. THE SLEEPING QUARTERS -- NIGHT 43 Sam asleep in bed.44 SAM'S DREAM 44 Sam making love to Tess. We remain very close to their bodies in bed. The background a blur. No sound. It's all flesh and white sheets. Sensual, delicate, intense. We feel almost intrusive watching.45 INT. SLEEPING QUARTERS -- MORNING 45 Sam wakes up and lunges across the bed to shut off his alarm clock. We notice a WHITE BANDAGE on the hand that he scolded. Afterwards: Sam lies back, watching the ceiling, groggy, reflective, still surfacing from his dream. And then OVER THIS: The sound from the opening of the film, THE TREADMILL, and we CUT TO:46 INT. REC ROOM -- MORNING 46 Sam on his morning run. 23.47 INT. REC ROOM -- MORNING/LATER 47 Gerty is making breakfast. Sam enters, fresh from the shower. SAM Morning, Gerty. GERTY Morning, Sam. How are you today? SAM Fine. Fine. GERTY How's the hand? SAM It's a little sore. Gerty pops the radio on. Just another morning on Selene. CUT TO:48 INT. MONITORING STATION -- MORNING/LATER 48 Sam sitting before The Old Man doing his daily log entry. A CLOCK is running on the monitor. SAM 8:19 Pacific Time. Lunar Day 2. Readouts are as follows: Matthew, 9.8 Miles... Suddenly the monitor BLIPS -- a BLAST of STATIC -- and Sam SEES himself talking on the monitor. It appears to be a previous log entry. SAM (CONT'D) Luke...7.3 miles...wow, better look into Luke... But bizarrely, the Sam talking on the monitor has long hair pulled back into a ponytail -- and no beard -- And then another BLIP -- another BLAST of STATIC -- and the screen turns completely BLACK. A single word begins to flash in the center of the screen: "ERROR." The word flashes three times -- before the screen returns to normal, the CLOCK running again. 24. It all happened so quickly Sam wonders if he didn't just imagine it. After an awkward pause he simply continues the original log entry. SAM (CONT'D) Mark, 11 miles on the button... CLOSE UP -- RED LIGHT Pulsing. Going "ping-ping-ping."49 INT. MONITORING STATION -- LATER/MORNING 49 Sam stands across the room with a mug of coffee, peers up at the Big Board, sees that the alarm belongs to Matthew. He crosses to the INTERCOM, speaks into it. SAM Gerty, looks like we've got a live one out on Matthew. I wondered what was taking him so long, the old fart. I'm heading out in a few minutes, just going to finish my coffee. GERTY'S VOICE Okay, Sam. CUT TO:50 I/E. ROVER/MOON SURFACE -- MORNING 50 Sam at the wheel in his space suit, speeding towards the first of the Harvesters, known as MATTHEW. HARVESTER/MATTHEW As Sam gets closer to the Harvester, he suddenly sees something: The Girl. She is standing maybe a hundred yards away in her yellow dress, resembling a FLAME or a FLOWER in the barren and colorless landscape. She appears to be staring directly at Sam's rover. SAM His face unfolding with panic, alarm, curiosity. An intense, yearning, curiosity. 25. He drives closer. But like in a dream, Sam can't seem to make up any distance between the Rover and the Girl. He CRUSHES the accelerator peddle. For a moment Sam drives right alongside the Harvester, clouds of lunar dust being kicked up, cascading against the side window. But Sam is looking away from the Harvester, focussed on the Girl. ON SAM: He doesn't notice Matthew (The Harvester) suddenly veer RIGHT, slamming into the side of the Rover and causing Sam to lose control. The steering wheel swings left and right as Sam desperately tries to STRAIGHTEN the path of the vehicle, but a split second later the Rover is FLIPPED like a matchbox, and SPUN into the path of the Harvester -- a HIDEOUS SCREECH of MANGLED METAL -- the Rover gobbled up by the front of the Harvester, DEVOURED. The Rover is JAMMED under the Harvester's monstrous AXLE, resembling a crushed beer can in a fist -- and with a BIG, BOOMING GROAN the Harvester slides to a STANDSTILL. WIDE SHOT: Silence. The Harvester stationary. The Rover caught beneath it. No sign of the Girl. CUT TO: BLACK. Silence. Hold it for five seconds and then51 A BLUR 51 Eyelids fluttering, bright light, at first broken up, filtered, as if viewed through a Kaleidoscope. Slowly shapes and impressions begin to form and we know where we are. It's the Infirmary.52 INT. INFIRMARY -- DAY 52 A CLEAN SHAVEN and drugged-up Sam is sitting up in bed, propped with a pillow. Sam doesn't have a scratch on his face, but has clearly been through a terrifying ordeal. Gerty is bedside. 26. SAM Where am I? GERTY Sam, you're in the Infirmary. You had an accident. Sam looks bewildered -- he desperately racks his brain, trying to locate the memory. GERTY (CONT'D) Do you remember what happened? SAM No. (a beat) I don't remember a thing. Sam just stares back at Gerty, not so much as a flicker of recognition. GERTY Do you remember me? SAM Yes, of course I remember you, Gerty. GERTY That's good. That's very good. It's nice to see you awake again. (a beat) I'd like to keep you under observation here in the Infirmary for a few days and run some tests. A pause. Sam taking it all in. Eventually: SAM How long have I been out? GERTY Not long. Sam, go back to sleep. You're still very tired. We can talk later. Sam closes his eyes, sinking deeper into his pillow. CUT TO:53 INT. INFIRMARY -- LATER 53 Sam asleep in bed. Gerty is scanning his head with a small instrument resembling a camcorder. 27. There are READOUTS on a monitor showing blood flow, oxygen levels and glucose metabolism in the tissues of Sam's brain. CUT TO:54 EXT. MOON -- DAY 54 LUKE, one of the Harvesters, crossing the lunar landscape at HALF SPEED.55 INT. INFIRMARY 55 Sam wakes up from an extended nap. He thrusts his fists into his eyes like a child, yawns ferociously. SAM Gerty? No sign of the robot. Sam is feeling well enough to walk. He swings his legs out of bed, begins to plod around the room. He is tentative at first, slow, as if walking is something he is having to learn from scratch. Eventually when he is moving fluidly he goes to the door and pokes his head out into the corridor.56 INT. CORRIDOR -- CONTINUOUS 56 Sam peers around. From another room he can hear the faint drone of VOICES. One of these voices belongs to Gerty. The other voices are deeper, faster, human. SAM Gerty? The voices continue. Intrigued, Sam PRESSES ON down the corridor. ON SAM As he walks up the corridor in the direction of the Comms Room. Sam is close enough now that he can actually hear the conversation. Sam arrives at the door of the Comms Room and peers in. GERTY (0.S) These were extraordinary circumstances, as you know -- 28.57 INT. COMMS ROOM -- CONTINUOUS 57 Gerty is installed at the Comms Unit. Thompson and Overmeyers are on the screen. The moment Gerty sees Sam he shuts off the monitor and the screen fizzes to black, Thompson and Overmeyers vanishing. Strange: Gerty appeared to have a live feed. GERTY Sam, you're out of bed. SAM I wanted to stretch my legs. (then) What was that? GERTY Not talking. No. We've been having some problems with the lunar sat and our live feed seems to be down. I was recording a video message for Central updating them on your progress. (a beat) Sam, you need to stay in bed. You're not ready to walk around yet. Sam nods vaguely, turns around and heads back to the Infirmary slowly. CUT TO:58 INT. INFIRMARY -- LATER 58 Sam watching TV -- The Muppet Show, the "Pigs in Space" sketch -- and eating dinner. He's not laughing.59 INT. INFIRMARY -- LATER 59 Sam hunched over the infirmary's stainless steel wash basin giving himself a shave. He hits the razor on the side of the basin -- tap tap tap -- like a conductor with a baton. CUT TO:60 INT. INFIRMARY -- LATER 60 Sam is seated at a table. Frankly he looks better now than he did before the accident. 29. Perhaps it's the rosy hue of his freshly shaven face. He certainly looks younger. A man revitalized, a man mended. Gerty is giving Sam something very similar to an IQ Test. Sam has just arranged a series of blocks into an L-shaped tower. GERTY Excellent, Sam. SAM How much longer do I have to be in here, Gerty? GERTY Sam, you suffered minor brain damage in the crash. This has resulted in memory loss and slight logic impairment. SAM When can I get back to work? GERTY Central has asked me to slow down the Harvesters to ensure you have time to recuperate and get your strength back -- SAM (dryly, exasperated) Terrific. GERTY The good news is you can return to the sleeping quarters tomorrow. But it will still be a few more days before you can resume anything like a normal work schedule. Sam's face taught with irritation. He isn't happy. Gerty gives him the next puzzle to solve. WE MOVE IN ON SAM'S LEFT HAND as he takes the puzzle, the same hand he scolded in an earlier scene. The BANDAGE is GONE and the BURN appears to have completely HEALED. CUT TO:61 INT. CORRIDOR -- DAY 61 Sam walking down the corridor in the direction of the Sleeping Quarters. He stops at a RED LIGHT on the corridor wall, beneath it the word, "EXIT DOORS." 30. He's locked inside the base. Sam pulls a face, disgruntled, continues down the corridor.62 INT. SLEEPING QUARTERS -- CONTINUOUS 62 Sam takes in the New York Jets poster on the wall and walks over to the bed -- studies his lucky tambourine and the glass jar of lunar rock samples -- like he's trying to reacquaint himself with his own belongings. His eyes arrive on the red stress ball. Sam scoops up the ball and PITCHES it at the wall like he expects the thing to bounce back to him. The stress ball doesn't bounce back, simply hits the wall with a dull THUD and DROPS to the FLOOR. CUT TO:63 EXT. THE MOON -- DAY 63 A desolation special. The blacker than black sky above. None of the ingredients of life. On Earth we have rainforests, and flowers, and birds. We have color. Up here we realize how lucky we are. The base is lit by large halogen comfort lights, alone in the lunar desert. This is a lunar night. CUT TO:64 INT. MONITORING STATION -- MORNING 64 Sam sitting before The Old Man doing a few innocuous tasks, collecting readouts, slurping a cup of coffee. Gerty is within ear shot. Sam sees something that pulls him CLOSER to the monitor. SAM Gerty, do you know about this? Gerty approaches. Sam taps the screen. SAM (CONT'D) Matthew's got no velocity read- out. He's completely still. GERTY (O.S.) He must have stalled. Sam gives Gerty a look. That's not good. 31.65 INT. COMMS ROOM -- LATER 65 Sam is recording a message for Central. SAM There's no way to tell from here if a track's been thrown, or if it's just something jammed in an axle, or what... I can shoot out there, check it out, get some video and maybe save you guys the expense of floating in a whole crew! I know how tight money is right now.... Sam really frustrated now. He feels cooped up, stir crazy, idle. SAM (CONT'D) Just give me the word -- or Gerty the word, tell him to unlock the exit doors -- and I'll go out and get Matthew up and running again. (a beat) That's it. Over and out. Sam sends the message. CUT TO:66 INT. REC ROOM -- MORNING 66 Sam enters the Rec Room, looks around, his eyes settling on the model of the town. Sam sits down in front of the model, staring -- he picks up the HOUSE he was carving earlier -- studies it carefully. CUT TO:67 INT. COMMS ROOM -- DAY 67 Sam and Gerty are seated at the Comms Unit watching a video message from Central. Sam is holding a carved HOUSE, examining it as he listens to the video. The familiar faces of Overmeyers and Thompson on the screen, shoulder to shoulder, the two looking more like vultures right now than lizards. THOMPSON Sam, we appreciate the offer, but you concentrate on feeling better. 32. SAM (muttering, vexed) Oh for Christ's sake... OVERMEYERS We don't want you to take any unnecessary risks. You're too important to us. THOMPSON You're to stay put, understand? OVERMEYERS It's an order. THOMPSON It's an order, Sam. From Lunar. Stay put. OVERMEYERS We're going to send a Rescue Unit to tend to the stalled harvester and get the base back on its feet. SAM (incensed) Why? The message ends. Sam turns to Gerty, irate, the message as good as a kick in the balls. GERTY I'm sorry Sam. Sam stares at Gerty. GERTY (CONT'D) Sam, I am under strict orders not to let you outside. Sam throws the half completed wood carving in his hand at the other end of the room, breaking it. He FLIES to his feet -- growling with frustration -- STORMS out of the room. CUT TO:68 INT. SLEEPING QUARTERS -- MORNING 68 Sam asleep in bed. 33.69 SAM'S TROUBLED DREAM 69 Sam and Tess making love. We remain very close to their bodies in bed. The background a blur. It's the same dream we saw earlier. Something is different though. We drift past Sam and Tess, and under the sheets of the bed. Down between their entwined feet huddles a bearded, wide- eyed Sam, staring directly at us from under the sheets at the end of the bed! CUT TO:70 INT. REC ROOM 70 Sam is quietly eating breakfast, lost in thought. Gerty puttering around in the background. The radio drones away.71 INT. COMMS ROOM 71 Sam is seated at the Comms Unit watching a message from Tess. We assume this is an old message since Tess is heavily PREGNANT. Her slender hands are spread over her prodigious belly as she beams at the camera. TESS He's kicking...or she's kicking. I'm certain he's a boy. I wish you could feel it. (a beat, shifting) I think we made the right choice, Sam. I really do. We need some time apart. We got stuck. That happens in marriages sometimes. It's nothing terrible. (then) Well listen, I love you lots -- and we'll talk soon, okay? Bye Sam. A POP and Tess is gone -- the monitor filled with STATIC. Sam sits staring into space. Tess' message seems to have agitated him. SAM Fuck it. 34. He JUMPS from his chair and HEADS OUT of the Comms Room at pace.72 INT. REC ROOM 72 Sam strides in -- swipes a KNIFE from beside the wooden model -- strides out again.73 INT. CORRIDOR 73 Sam glances left and right -- making sure there's no sign of Gerty -- then begins to PRY open a VENT with the knife. Once the vent is removed he reaches deep inside and YANKS out a bundle of interwoven WIRES -- Sam bends the wires around the BLADE of the knife -- and CUTS. GAS ISSUES from the cut wires. An ALARM sounds. Sam hides the knife away, shouts down the corridor: SAM Gerty! Get over here! Quickly! Gerty comes out of the Monitoring Station and SHUTTLES down the corridor. GERTY What happened? SAM Don't know -- Micro meteorites, maybe? Either way there might be damage to the exterior shell. I'd better go outside and take a look. GERTY There is no damage to the exterior shell. SAM It's not that I don't believe you, Gerty, but the inner skin is springing leaks like an ACME fire hose. Maybe you better let me take a look, just in case, huh? GERTY Sam, I'm not supposed to let you go outside. SAM Then let's keep it between you and me then. Ok? 35. The robot takes an inordinate amount of time to think this through. The syrupy gas distorts the light as it collects at Sam's ankles. Gerty's arms work away as they speedily repair the damage Sam has done. Finally: GERTY Okay, Sam. The "Exit Doors" LIGHT turns from RED to GREEN. For Sam this is like the BLAST of a STARTING PISTOL -- he immediately takes off down the corridor --74 INT. CHANGING AREA 74 Sam finds his space suit is gone, so grabs the spare suit and scrambles into it.75 INT. DOCK 75 Two Rovers parked side by side. One of the parking bays is EMPTY. Sam stands before the empty bay for a moment -- why is one of the Rovers missing? If Sam suspected something was wrong before, he is certain of it now. He climbs into one of the two remaining Rovers.76 I/E. ROVER/MOON SURFACE 76 Sam speeding along in the Rover. He has Matthew's coordinates plugged into his Navigation System and is following a MAP on a small monitor.77 EXT. MOON -- CONTINUOUS 77 Sam heading towards the stalled Harvester. It soon becomes apparent that there is something STUCK under the front of the Harvester's AXLE. A second later it is apparent what that something is: inevitably, it's the MISSING ROVER. Sam slows his Rover down, approaching the scene with CAUTION. He parks a few feet away from the wreck and opens the door of his Rover, stepping outside gingerly. ONE SIXTH GRAVITY is like walking on a trampoline. Sam takes long strides, bobbing over to the front of the Harvester to take a closer look, his boots leaving deep FOOTPRINTS in the lunar soil. 36. THE FRONT OF THE HARVESTER The crashed Rover is exactly as we left it after the accident, mangled, crushed, captured beneath the trundles of the Harvester. Sam peers closer and sees that there is an UNCONSCIOUS MAN in a Lunar Industries space suit trapped inside. Sam can't see the man's face -- he has his back to Sam, his body sprawled across the passenger seat like he's searching for loose change on the floor of the vehicle. With great effort Sam manages to prize the Rover's door open. He reaches inside and begins to pull the man out -- Sam's sheer ADRENALINE giving him the strength of a YETI. Sam DRAGS the unconscious man away from the crashed Rover, his body leaving a big TRACK MARK in the gray soil. Sam takes a second to catch his breath, then leans down and turns the unconscious man onto his back. He BRUSHES DUST from the glass of the man's HELMET, leans down even closer. CLOSE UP -- THE MAN Through his helmet we see a BLOODY and BEARDED SAM. Sam as we remember him. The Sam from the opening twenty minutes of the film. Sam's face as the PANIC, the ALARM, the SHOCK, the REALIZATION hit him like a wrecking ball: this man he has just pulled out of the crashed Rover is himself. WIDE SHOT -- THE STALLED HARVESTER Sam gathers his wits and manages to lift the unconscious Sam up over his shoulder, fireman's lift style, taking him to the parked Rover. CUT TO:78 INT. DOCK -- A FEW MINUTES LATER 78 Sam drives the Rover into the Dock, flies out and removes his space helmet, screaming: SAM Gerty! Gerty! Help! 37. He reaches into the Rover, lifting out the unconscious Sam. He carries him in both arms, staggering across the dock -- back arched, arms beginning to sag -- and into the corridor.79 INT. CORRIDOR 79 Sam promptly collapses and DROPS the unconscious Sam onto the floor. SAM Gerty! Gerty approaches, gliding along his rail. Sam is freaking out big time, exhausted, panic-stricken, bewildered. SAM (CONT'D) I found him outside by the stalled harvester. Who is he? What the fuck is going on? A pause. Gerty literally seems lost for words. SAM (CONT'D) (demanding an answer) Gerty! GERTY We need to get him to the Infirmary. SAM Not until you tell me who he is! GERTY Sam, we need to get him to the Infirmary immediately. Sam SCOOPS the unconscious Sam up off the ground and lifts him towards the INFIRMARY -- staggering -- stumbling -- going: SAM Who is he! Who is he! Sounding like some deranged homeless man. Gerty gliding alongside him. CUT TO:80 INT. INFIRMARY -- DAY 80 Lying in the Infirmary bed, propped on a pillow, is the first Sam, the bearded Sam, who we will now refer to as SAM 1. 38. He has a wicked black eye and a purple bruise on the right side of his face, looks like he was on the losing end of a brawl. He has a DRIP stuck in his arm and a tangle of WIRES attached to his bare chest. A MACHINE is BEEPING away. Gerty hovers over him, redressing the BANDAGE on Sam 1's left hand, the one he scolded a while back.81 INT. INFIRMARY -- LATER 81 Sam 1's eyes pop open, he is awake, staring directly at Gerty. GERTY Hello Sam. (a beat) How are you feeling? SAM 1 Where am I? GERTY The Infirmary. You had an accident out by one of the harvesters. Do you remember? For a second this is playing out like the other Infirmary scene. A case of deja-vu. Sam 1's eyes twitch as he catalogues through his memory. Yes he remembers the crash. He remembers something else, too. SAM 1 I saw someone out there, Gerty. GERTY Who did you see, Sam? Just then Sam 1 notices the other Sam -- the more current, clean-shaven Sam -- who we will now refer to as SAM 2. He is standing against the wall watching Sam 1. SAM 1 I saw a girl. GERTY You saw a girl out by the harvester? How is that possible? Sam 1 continues to stare at Sam 2, hardly believing his eyes. 39. GERTY (CONT'D) Sam, you suffered a slight concussion in the crash and have incurred minor injuries, but all in all the prognosis is good. I'm happy to see you again. As he says this Sam 2 crosses slowly from one side of the room to the other, never taking his eyes off Sam 1. It's like Sam 2 is purposefully keeping his distance, reluctant, afraid even, to approach any closer. Meanwhile Sam 1 is beginning to look spooked. SAM 1 Gerty? GERTY Yes, Sam? SAM 1 Is there someone in the room with us? GERTY Yes. SAM 1 Who is he? But Sam 1 knows exactly who it is. He's seen that face every morning of his life in the bathroom mirror. GERTY Sam, get some sleep. You're very tired. Sam 2 wordlessly walks out of the room. Sam 1's eyes shift to Gerty, the spooked expression yet to leave his face. CUT TO:82 INT. CORRIDOR -- DAY 82 Sam 1 hobbling along, in addition to his facial injuries he injured his knee in the crash and is walking with a slight LIMP. The camera TRACKING behind Sam 1 as he swings along and stops at83 INT. REC ROOM -- CONTINUOUS 83 Sam 1 in the doorway, he peers in. 40. Seated before the TV watching The Newlywed Game, Sam 2. He turns from the TV and shares a LONG LOOK with Sam 1. Finally: SAM 1 Hi. Sam 2 just nods. He turns back to the TV. Sam 1 continues on down the corridor.84 INT. MONITORING STATION 84 Gerty is studying lunar rock samples through a microscope. Sam 1 enters. SAM 1 Gerty, what the hell is going on? Who is that guy in the Rec Room? Where did he come from? Why does he look like me? Sam 1 is perplexed, but not freaking out, not yet anyway. GERTY Sam, you're out of bed. SAM 1 Yes, Gerty, I'm out of bed. Who is the guy in the rec room? GERTY Sam Bell. Sam 1 is officially FREAKING OUT now. SAM 1 Who the fuck is in the rec room, Gerty!? GERTY You are Sam Bell. A long pause. Sam 1 at the point of tears. GERTY (CONT'D) Sam, what is it? It might help to talk about it. SAM 1 I don't understand what's happening, Gerty. I think I may be losing my mind. 41. GERTY We could run some tests. (a beat) I haven't reported anything to central, Sam. They don't know you were recovered alive from the accident. SAM 1 Recovered alive? What do you mean? Why haven't you reported to central? GERTY I'm here to keep you safe, Sam. I want to help you. Are you hungry? Sam 1 merely nods at this, turning and plodding out of the room, seemingly in a DAZE.85 INT. CORRIDOR 85 Sam 1 comes out of the Monitoring Station, passes the Rec Room without looking in.86 INT. SLEEPING QUARTERS -- CONTINUOUS 86 Sam 2 has taken over the room. The same belongings, of course, but there's a different energy. For one thing it's very untidy; looks like the bedroom of an unruly teenager. Sam 1 stands in the doorway, taking it in. Wordlessly Sam 1 begins to tidy the room. He seems almost RELIEVED to be able to lose himself temporarily in this physical activity -- making the bed, folding clothes, etc. CUT TO:87 INT. REC ROOM 87 Sam 2 has stopped watching TV and is now seated at a table playing solitaire. Sam 1 appears in the doorway. Sam 2 looks up. The energy bristling with tension. SAM 1 You're Sam Bell. Sam 2 doesn't answer, goes back to his cards. Sam 1 enters with CAUTION, takes a seat across the room, purposefully keeping his distance. 42. SAM 1 (CONT'D) I'm Sam Bell, too. SAM 2 Yeah.Sam 1 nods. A beat. SAM 1 This is fucked up. SAM 2 Completely.Sam 2 slapping down cards. Sam 1 desperately attempts toput together a coherent thought. SAM 1 Why... What are you?For a second we don't think Sam 2 is going to respond.Then: SAM 2 I'm a clone, Sam. Im a fucking clone. SAM 1 How long have you been here? SAM 2 About a week.A beat. SAM 1 How are you getting on? SAM 2 (repeating the question slowly) How am I getting on? (then) The company ordered Gerty to lock all the exits. I haven't been able to do anything for seven days but sit on my ass. SAM 1 They locked all the exits? What about the harvesters? SAM 2 Slowed them down to half speed, apparently. (MORE) 43. SAM 2 (CONT'D) And then when I finally trick Gerty into letting me outside I find a clone of myself in a crashed rover. How am I getting on? Oh I'm loving it. SAM 1 I'm not a clone. SAM 2 Ok, Sam. You're not a clone. SAM 1 You're the clone. CUT TO:88 INT. GREENHOUSE - LATER 88 The two Sam's are inspecting plants. SAM 2 How long have you been here? SAM 1 Almost three years. SAM 2 Hence the Captain's beard. SAM 1 (with a smile) Right. SAM 2 I didn't know it could get so thick. Does it itch? SAM 1 No, not really. SAM 1 (CONT'D) Listen, I wanted to say thank- you. If it wasn't for you I'd still be out there in the crashed rover. You saved my life. (then) Will you shake my hand? Sam 2 hesitates, eventually shakes Sam 1's hand. Meanwhile Sam 1 is staring at his clone, astonished. SAM 2 (self-conscious) What? 44. SAM 1 You look just like me. It's incredible. SAM 2 Why do I look like you? Why don't you look like me? SAM 1 We look like each other, I guess. This final line intended as a kind of truce. CUT TO:89 INT. REC ROOM -- LATER 89 Sam 1 and Sam 2 are folding the Ping-Pong table down so they can have a real game. PING-PONG The two Sams playing Ping-Pong. It's slightly competitive, but mainly they are just happy to take their minds off their situation for half an hour. SAM 1 Your serve. SAM 2 Score? SAM 1 Two points to eighteen. SAM 2 Fuck! Sam 2 slaps his paddle on his thigh, his temper creeping up on him. He catches Sam's eye. Gets a grip. Sam 1 is a better player than Sam 2. He's been up here longer. He's had more practice.90 INT. REC ROOM -- LATER 90 After the game, the two Sams are sprawled in their seats, sweaty, flushed, energized. They sit before the model of the town. SAM 2 How long did it take you to do this? 45. SAM 1 I don't remember doing all of it. I remember when I did the church and the Salvation Army. And a few of the people. My mind's been acting kind of weird lately, though. SAM 2 It's Fairfield, right? (pointing) There's Town Hall. SAM 1 Uh-huh. You know Fairfield? (also pointing) That's the Baskin&Robbins. And there's Tess and Eve. Do you know Tess?The mention of their wife has stopped the conversation inits tracks. Sam 2 immediately drops into deep melancholy. SAM 2 Yes. I know Tess. SAM 1 You know about Eve, right?It is obvious from Sam 2's expression that he doesn't. SAM 1 (CONT'D) We had a girl. SAM 2 We did? (beat) She thought she was going to have a boy. She was so sure. (then) Eve?Sam 1 nods. SAM 1 She's beautiful. She's really beautiful. SAM 2 How much did she weigh? Isn't that what you're supposed to ask, how much did she weigh? SAM 1 Nine pounds, eleven ounces. 46. Sam 2 doesn't know what to do with the news: on the one hand he is jubilant, on the other he's a clone, the baby technically isn't even his. All of a sudden there is a "PING!" From the Intercom speaker: GERTY'S VOICE Sam, a message has arrived from Central. Sam 1 and Sam 2 share a look, then together SPRING from their chairs. CUT TO:91 INT. COMMS ROOM -- DAY 91 Sam 1 and Sam 2 seated before the Comms Unit. Sam 1 hits the "Play" button. Overmeyers and Thompson appear on the screen. OVERMEYERS Greetings, Sam! THOMPSON How's our Man? Feeling better? OVERMEYERS You getting lots of rest? THOMPSON Yeah, you resting up, Sam? You'd better be you bastard. OVERMEYERS Enjoy it while it lasts! We've got good news. THOMPSON The Jupiter Program had to be put on hiatus, so we've got a few free pairs of hands -- OVERMEYERS We've managed to secure you a Rescue Unit ahead of schedule. THOMPSON Rescue Unit Eliza. A SHOT/STILL PHOTO of Rescue Unit ELIZA. A meaner group of sons-of-bitches you have never seen. These guys make the rescue team from Apocalypse Now look like The New Kids on the Block. 47. OVERMEYERS They've been stationed on Goliath 19 for the last couple of months. THOMPSON (O.S.) Eliza's been in transit for the last day....we expect them to reach you in approximately 14 hours. OVERMEYERS (O.S.) Commence to jump for joy! THOMPSON (O.S.) You'll be back to work in no time.Now back on Overmeyers and Thompson. OVERMEYERS Eliza is bringing you something special, Sam. Compliments of the company. THOMPSON A hooker! OVERMEYERS No not a hooker. What's wrong with you? It's a little something to drink, Sam, that's all, our way of patting you on the back for all that you've been through. THOMPSON In the meantime, keep resting up, and hang in there. OVERMEYERS Yeah you hang in there, Sam. Over and out.And the screen pops to black. A pause.For a moment there is silence, neither of the Sams knowinghow to react -- going by the message Thompson andOvermeyers don't know anything about there being two Samson the base now. SAM 1 They're sending a Rescue Unit? Why? SAM 2 To fix the stalled harvester. They didn't think I was up to it. 48. SAM 1 Then I'm going back. Sam 2 gives Sam 1 a perplexed look. SAM 1 (CONT'D) I've done my three years. That's it for me -- Sam 2 is shaking his head slowly. SAM 1 (CONT'D) What? SAM 2 Is that what you really think? SAM 1 I've got a contract -- SAM 2 You're a fucking clone! You don't have shit! At once Sam 1 and Sam 2 ROCKET to their feet -- right in each others faces, on the BRINK of BLOWS. SAM 1 I'm going home! SAM 2 You're not going anywhere! Sam 1 turns around, heads out of the room. Sam 2 STORMS after him, TALKING the whole time -- SAM 2 (CONT'D) You've been up here too long, man! You've lost the plot! Gerty shuttles along after them.92 INT. CORRIDOR -- CONTINUOUS 92 Sam 1 presses down the corridor, Sam 2 tailing right behind him. SAM 2 What, you think Tess is back home waiting for you? What about the original Sam? SAM 1 I'm the original! I'm Sam fucking Bell! Me! Me! 49. Sam 1, stress ball pumping away in his hand, spots Gety and angrily faces him. SAM 1 (CONT'D) Gerty, am I a clone? Gerty doesn't know which way to look. GERTY Yes, Sam. Sam 1 ducks in the Rec Room, Sam 2 in tow.93 INT. REC ROOM 93 Sam 1 takes his old seat before the model. Sam 2 stands over him. SAM 2 What about the other clones? "Other clones?" Sam 1 just stares back. SAM 2 (CONT'D) Yeah, we might not be the first two to be woken up. (indicating the model) You said that thing had already been started when you got here. Well, who started it? (then) There might be other clones up here right now. Think about it. How did I get here so quickly after your crash? They didn't ship me in from Central, there wasn't time. I must have come from the base. SAM 1 That's ridiculous. Impossible. Why would hey do that? SAM 2 I bet there's some kind of secret room -- SAM 1 (laughing) Secret room? SAM 2 Yeah, secret room, why not? 50. SAM 1 (losing his cool) You're the one who's lost the plot! I've been here for three years. I know every inch of this base. I know how many dust fibres are between those wall panels over there -- why would they do that?! SAM 2 Look. It's a company, right? They have investors, shareholders -- shit like that. What's cheaper? Spending time and money training new personnel or just have a couple of spares here to do the job. If they make it through their contract, great. If they don't, hallelujah! No contract completion fees, no retirement package. Just thaw out the spare, and keep the profits rolling in. It's the far side of the Moon, Sam! The tight fuck's haven't even fixed our communications satellite. SAM 1 Tess would know. SAM 2 Do you really think they give a shit about us? They're laughing all the way to the bank! SAM 1 Tess would know what's going on! She wouldn't let that happen! SAM 2 (exhasperated) There's some area we don't know about. I'm going to find it. Sam 1 shakes his head dismissively, picks up the wooden house, starts whittling. Meanwhile Sam 2 has left the room.94 INT. MONITORING STATION -- QUICK CUTS 94 Sam 2 in the Monitoring Station checking wall panels, reaching his hand inside cubbies and feeling around deep inside, SEARCHING. 51.95 INT. CORRIDOR -- QUICK CUTS 95 Sam 2 moving along the corridor, pressing his ear against panels, tapping with his finger --96 INT. SLEEPING QUARTERS -- QUICK CUTS 96 Sam 2 RAMPAGES through the Sleeping Quarters, pushes the bed aside, lifts the mattress, goes tearing through a closet, ripping clothes from hangers, checks the back panel.97 INT. REC ROOM 97 Sam 2 has come full circle. He shifts the ping pong table, goes through cabinets in the kitchen, feels inside -- Sam 1 half-whittling, half-watching. SAM 1 I told you. SAM 2 Shut-up! Finally Sam 2 arrives before the model. SAM 2 (CONT'D) Get out of the way. SAM 1 Why? SAM 2 I want to check underneath there. SAM 1 You're not moving the model. SAM 2 Get the fuck out of my way! Sam 1 stands, keeps his ground. SAM 1 No. Sam 1 is still holding the knife. Though he's not about to use it, both Sams are aware that it's there. Suddenly Sam 2 LUNGES for the knife; an INTENSE STRUGGLE ensues -- TEETH CLENCHED, sputtering BREATHS -- the two Sams less clones right now than ANIMALS. 52. Sam 2 is able to loosen Sam 1's grip on the knife -- flinging the weapon across the room -- and SWINGS Sam 1 up against the wall. Now Sam 2 turns to face the model. Using BOTH HANDS he lifts the model up HIGH over his HEAD and PUSHES the entire thing UPSIDE DOWN. A massive CRASH. There is nothing there but the bare table. Sam 1 comes up behind Sam 2 with his nose SPEWING BLOOD, wraps both arms around Sam 2's neck. Sam 2 elbows him in the ribs -- a quick, controlled jab -- SPINS around, manages to secure Sam 1 in an arm lock. But suddenly there is no struggle coming from Sam 1: he's stopped fighting. Sam 2 removes him from the headlock -- notices his arm is SMUDGED with Sam 1's BLOOD -- SAM 2 You okay? Sam 1 has remained bent over, like he's cast in stone, blood RAINING from his face and POOLING at his feet thick and fast. Sam 2 just staring, as freaked as he is baffled. SAM 2 (CONT'D) I hardly touched you. Now he tries to help Sam 1. SAM 2 (CONT'D) Let me see. Sam 1 tears away from him. He looks up, his face a MESS of blood -- the WHITES of his eyes unnaturally bright, shouts: SAM 1 Get off me! Sam 1 holds his face with his outstretched hand, as if holding it in place -- STUMBLES from the room -- leaking BLOOD the whole way. A concerned Sam 2 watches him go. CUT TO:98 INT. BATHROOM -- MOMENTS LATER 98 Sam 1 spills in and locks the door. He RAPIDLY turns on the faucet and cups his hand to transfer water up to his face -- this going on for a few seconds. 53. MIRROR Sam 1 stares at his reflection in the mirror, holding a MOUND of TOILET PAPER against his NOSE. The blood flow has subsided Suddenly Sam 1 sees the GIRL in the mirror. It gives him a hell of a FRIGHT. The Girl remains in the mirror looking at Sam 1. A neutral expression, impassive. Sam 1 takes a deep breath, lowers the toilet paper from his nose. SAM 1 Who are you? No answer. SAM 1 (CONT'D) (shouting) Who are you! Sam 1 swings around to confront the Girl...but she's not there, she's vanished. Her reflection has vanished from the mirror also. CUT TO:99 INT. REC ROOM 99 Sam 2 snaps on the TV with the remote, starts watching Laugh-In, turns, sees Sam 1 wander by in the corridor. Sam 2 considers calling out to him, opts against it, gives the TV his full attention.100 INT. MONITORING STATION 100 Gerty is stationed at the Old Man collecting data. Sam 1 enters. GERTY Hello Sam. SAM 1 Hi Gerty. Sam 1 sits. A pause. Gerty turns from the monitor, faces of with an EXHAUSTED and DRAINED Sam 1. GERTY Sam, is everything okay? 54. SAM 1 We had a fight. Me and the other guy, the other Sam. We had a fight, Gerty. He's a maniac. You know what he did? He flipped the entire model over. Do you know how much work I've put into that thing? GERTY 938 hours. SAM 1 938 hours, exactly. (then) Really? 938 hours. GERTY Approximately. SAM 1 (a beat) He scares me, Gerty. GERTY What is it about Sam that scares you? SAM 1 He flies off the handle. I see it now...I see what Tess was talking about. (a beat) I've never told you this, Gerty, but she left me. Tess left me. For six months. She moved back in with her parents. GERTY I know. SAM 1 Oh... (beat) It was the year before I came in here. She gave me a second chance. I promised her I'd change. GERTY You have changed, Sam. SAM 1 Yeah, I guess I have.A beat. 55. SAM 1 (CONT'D) Gerty, since I've been up here I've sent Tess over a hundred video messages. Where did those messages go? Did they ever reach her?A pause. GERTY Sam, I can only account for what occurs on the base. SAM 1 What about the messages she sent to me?A long pause. Finally Gerty repeats: GERTY Sam, I can only account for what occurs on the base. SAM 1 Gerty, am I really a clone? GERTY Sam, when you first arrived at Selene, there was a small crash. You woke up in the infirmary. You suffered minor brain damage and memory loss. I kept you under observation and ran some tests. SAM 1 I remember. GERTY Sam, there was no crash. You were being awakened. (a beat) It is standard procedure for all new clones to be given tests to establish mental stability and general physical health. Genetic abnormalities and minor duplication errors in the DNA can have considerable impact-- SAM 1 And Tess? Eve? GERTY They are memory implants, Sam. I'm very sorry. 56. Sam 1 nods at this. He's broken-hearted. He begins to leave. GERTY (CONT'D) Sam, it's been several hours since your last meal. Can I prepare you something? SAM 1 No thanks, Gerty. Sam 1 exits. CUT TO:101 INT. SLEEPING QUARTERS 101 Sam 1 enters the sleeping quarters -- straightens the bed and lies down. He picks up the picture of the pregnant TESS, stares at it long and hard. CUT TO:102 INT. REC ROOM -- LATER 102 The TV is off. Sam 2 is sitting, arms folded, entrenched in GLOOM. Sam 1 enters and heads for the kitchen, prepares himself a snack. Sam 2 is aware that Sam 1 is there, but keeps his eyes focussed forward, as immobile as a statue. Eventually Sam 1 tentatively comes over. SAM 1 You okay? SAM 2 I'm staring into space. (points to the window) Get it? Sam 1 does get it. He smiles to be polite, sits. SAM 2 (CONT'D) How's the nose? SAM 1 Better. A beat. SAM 2 Listen, I went haywire before. I lost it. I'm sorry. 57. SAM 1 It's okay. SAM 2 No it's not okay. I fucked up Fairfield -- your model -- that's unacceptable. I don't know what's wrong with me. (then) I've got a temper. I need to do something about it. SAM 1 Yes you do.A pause. SAM 2 I've been thinking. That Rescue Unit -- Eliza -- they'll be here in less than fourteen hours. I don't know about you but I'd like to figure out where we stand before they get here. SAM 1 Absolutely. SAM 2 Ostensibly they're coming to deal with the stalled harvester. We both know that isn't true. (then) They're coming to dig your body out of that rover. They think you're in there. SAM 1 Right. SAM 2 What'll their reaction be when they find out you survived the crash? I wasn't supposed to find you. Lunar instructed Gerty to lock me inside the base for Christ's sake.A pause. Sam 1 thinking it over. SAM 2 (CONT'D) And there's something else. Something I haven't told you. (a beat) (MORE) 58. SAM 2 (CONT'D) Right around the time I was awakened...I walked in on Gerty talking to Central. He was having a live conversation. SAM 1 A live conversation? SAM 2 Yeah. SAM 1 That's not possible. SAM 2 No no no, it is possible. It's possible because I saw it, that's my point.Sam 2 feels himself losing his temper a little here. Hereigns himself in. SAM 1 How do you know the conversation was live? SAM 2 It was a back and forth exchange. And I saw Thompson and Overmeyers up on the monitor. I was supposed to be asleep in the Infirmary. The moment I walked into the comms room Gerty terminated the transmission. Now I was a little drugged up, granted, but I didn't imagine it. SAM 1 The communications equipment is damaged -- there was a solar storm -- SAM 2 Tabitha. SAM 1 Tabitha, right. SAM 2 Lunar made it up. Maybe. I don't know. Bottom line is they don't want us to be able to contact Earth. Otherwise why would they have lied to us?A pause. Sam 1 staring forward, concentrating. Sam 2concentrating on Sam 1. 59. SAM 1 How are they blocking the live feed? The base's communications equipment works fine -- SAM 2 Maybe they're not blocking the signal from inside the base. SAM 1 From where then? As if reading each others minds, the two Sams' heads turn to the window -- a slow, perfectly synchronized movement. The lunar landscape, as black and vast as ever. The view almost cruel in its emptiness. It's not giving them any answers, not yet. CUT TO:103 I/E. ROVER ONE/MOON SURFACE -- DAY 103 Sam 1 speeding along in one of the Rovers. He wears his space suit and resembles a cosmic racing driver -- shifts up a gear, the vehicle flirting with peak speed. He flies past one of the Harvesters, speaks through a microphone inside his helmet. SAM 1 Just passing the last of the Harvesters -- looks like John -- All of this against the ROAR of the Rover's engine.104 I/E. ROVER TWO/MOON SURFACE 104 Driving away from base in a different direction, Sam 2. He also wears a space suit. He also guns the engine. He also has a microphone inside his helmet. The two clones are able to talk back and forth with no delay. SAM 2 How long until you're out of the base's range? We INTERCUT between the two Sams in their Rovers. SAM 1 If I maintain this speed...a minute. Ninety seconds tops. SAM 2 You ever been this far out? 60. SAM 1 No, never. ANOTHER ANGLE -- SECOND ROVER Viewed from far away, the Rover's speed less impressive from a distance.105 I/E. ROVER'S ONE AND TWO/MOON SURFACE -- INTERCUT 105 As the Sams continue to drive. SAM 1 You see anything yet? SAM 2 Nothing. You? SAM 1 There isn't shit out here...I feel like I'm about to drive off the end of the world. (then) It would help if I knew what I was looking for. Through the glass of Sam 1's helmet we see his FACE suddenly SHIFT. SAM 1 (CONT'D) Wait a second, wait a second. Sam 1 squints and leans closer towards the windshield, like he's trying to decipher a road sign -- SAM 1 (CONT'D) I see something. SAM 1'S POV About a hundred feet away -- appearing from thin air -- a massive metal pole stretches up into the black sky. SAM 2 What is it? SAM 1 Don't know yet. Sam 1 getting closer. SAM 1 (CONT'D) Looks like some kind of antenna. 61. SAM 2 Antenna? Really? (then) Hang on, looks like there's one on this side too.Sam 2 is indeed approaching something similar.Sam 1 stops his Rover about twenty feet from the Jammer. Heopens the Rover's door and steps out to take a closer look.WIDE SHOT -- SAM 1/ROVERTaking in the Jammer and the adjacent Rover. Sam 1 lopingtowards the Jammer, seemingly in slow motion.The JAMMER is GIGANTIC --An intimidating, stark polestabbed into the lunar landscape, like the worlds biggestcaber. Next to it Sam 1 is tiny, a white dot, asinsignificant as a pin prick.Sam 1 and Sam 2We cut back and forth between the two Sams as they bothinvestigate the separate but identical-looking Jammers. SAM 2 (CONT'D) I can just make out the top. Must be a hundred feet tall at least. It's huge! SAM 1 Whoever built these things meant business. They weren't fucking around.Their voices ENERGIZED -- they are excited to have madethis discovery -- they aren't dealing with the negativesyet. SAM 1 (CONT'D) What do you think? SAM 2 Its not an antennae, dude. Its a jammer. (looking around) No wonder we can't get a live feed. These things must be blocking our signal.Suddenly Sam 1 doubles over. He vomits thick, viscousblood and sick into his helmet. Revolting.The noise is AUDIBLE over the microphone. 62. SAM 2 (CONT'D) You okay? No answer from Sam 1. He COLLAPSES backwards onto the ground. His chest LURCHES like he's been punched at from the inside -- he spins over onto his front -- SAM 2 (CONT'D) Sam? Sam 1 manages to climb to his feet -- heads slowly back to the Rover -- he dips in, closes the door. SAM 2 (CONT'D) Sam, can you hear me? SAM 1 Yeah, I hear you. (then) I'm going to head back to base. I'm not feeling too good. SAM 2 I'll stay out here a little longer. I want to see if there are any more of these things. Sam 1 pulls a U-turn and begins his journey back to base. Sam 2 remains out by his Jammer, investigating further. CUT TO:106 I/E. SAM 1'S ROVER/MOON SURFACE 106 Sam 1 at the wheel. He has pulled his helmet off within the safe pocket of the rovers cabin. He's a grizzly mess of splashed sick and blood all over his face and chest. Sam 1 screams out with confusion, frustration, terror. SAM 1 Fuck! He seizes the steering wheel, shakes it FIERCELY -- beginning to really LOSE IT --107 INT. DOCK 107 Sam 1 drives his Rover into the Dock -- not with his customary precision -- parks at an angle, grazes the wall. The Rover's door JERKS opens and Sam 1 steps out unsteadily, his face visibly PALE through the glass of his helmet. 63. He STAGGERS across the dock -- doesn't even close the Rover's door behind him -- heads into the corridor.108 INT. CORRIDOR 108 Sam 1 goes swerving up the corridor like a drunkard -- BANGING into walls -- he finally reaches the bathroom and ducks in --109 INT. BATHROOM 109 Sam 1 sinks to his knees before the toilet bowl. With great effort he is able to remove his helmet, placing it on the floor next to him. He stares into the toilet. For a moment all is calm. The gentle "ping-ping-ping" of a computer somewhere inside the base. Sam breathing steadily. Spots of sweat on his upper lip. And then he VOMITS. He vomits LOUD, he vomits VIOLENTLY. His whole body THRUSTS forward in the process, taught, tense, like a dog being YANKED on a CHAIN. Sam 1 vomits again. And again. And again. And stops. ANGLE FROM ABOVE -- SAM 1 Sam 1's vomit is DARK RED -- he's thrown up BLOOD -- but that's not all -- we can clearly see two or three TEETH floating in the vomit -- THE MIRROR Sam 1 stands, moves to the mirror, opening his mouth wide to look for the missing teeth -- he uses his thumbs, shows his gums -- revealing: yes, he's lost at least a couple of teeth. He flushes the toilet. CUT TO:110 EXT. MOON -- DAY 110 Sam 2 driving along in his Rover. He comes across another one of these JAMMERS. He drives right up, ducks down, peering up through the windshield -- this new Jammer is as tall as the others, in fact, it is identical in every way. How many of these things are there? 64. Sam 2 circles the Jammer in the Rover, drives on. CUT TO:111 INT. MONITORING STATION 111 Sam 1 enters and sits down at The Old Man. Frantically he starts typing in numbers. An array of Log Entries appear ON THE SCREEN. Sam watches one of them. SAM 1 (on screen) January 12th, Lunar hour 8:32. All Harvesters running smoothly today. Readouts are as follows: Matthew, 12.7 miles; Mark 11.9 miles... These are just his log entries. What's he looking for? Sam 1 starts scrolling BACK through the log entries, like he's REWINDING chapters on a DVD, showing himself at various stages of his time on Selene -- his beard essentially growing in REVERSE as the messages stretch further back -- eventually Sam 1 is clean shaven -- SAM 1 (CONT'D) (on the screen) Luke, 12.9 miles; John, 11.1 miles... Sam 1 keeps typing in numbers. ON THE SCREEN: "RESTRICTED. PASSWORD REQUIRED." No go. He tries to hack his way in, but is having no luck. One of Gerty's long spindly ARMS slides into the room. Sam backs away from the intimidating piece of machinery, but it stops within reach of the computer. Sam 1 watches as the arm reaches forward and taps the password in for him. It leaves the room the way it came in. Sam 1 continues to go further and further back -- and suddenly he POPS up on the screen again -- or is it him? -- this Sam up on the screen has stubble -- no beard -- and looks seriously ILL -- He is barely able to talk -- in fact he's SLURRING -- 65. SAM (on screen) ...John, 15.1 miles...sorry, I'm not feeling too hot today -- I'm going to have to continue this later -- The SEQUENCE becomes a FAST-PACED and NIGHTMARISH MONTAGE -- continuing to BACKTRACK through the log entries -- showing yet more SAMS -- one has a MOUSTACHE -- one has a SHAVED HEAD -- one has grown out his hair and has a PONY TAIL, we've seen this particular Sam before in an earlier scene. But all the Sams have one thing in common: towards the latter end of their log entries they all appear to be in very bad physical shape -- SAM 4 ...I've got blood coming out of my nose... SAM 5 I don't feel too well, Old Man. SAM 6 My hair's falling out...look it. Sam 1 searches even DEEPER into the COMPUTER and uncovers yet more footage. We see the others Sams returning to Earth -- yet they don't seem to go anywhere -- when they blast off the RETURN VEHICLE remains in its bay -- Sam 1 views different Sams blasting back to earth in the return vehicle -- always with the same result -- the return vehicle remaining in its bay, the Sams seemingly VANISHING. In one particularly GRAINY SEQUENCE Sam 1 views Gerty opening the lid to the cryo pod in the return vehicle and beginning to VACUUM what appears to be DUST or DEBRIS -- Sam 1 understands now that the Return Vehicle is not a spacecraft, but some kind of INCINERATOR.112 INT. RETURN VEHICLE 112 Sam 1 heads into the Return Vehicle. Its dominated by the cryo pod, used to hold astronauts in a state of cryogenic sleep on their way back to Earth. Sam 1 pops open the lid and starts frantically searching the chamber for TRACES of the previous Sams, eventually finding particles of DUST in the cracks -- 66. He closes the lid. A video showing a TECHNICIAN in a white lab coat begins to play on a screen aimed at the glass lid of the pod. It's mute, but we can hear a tinny version of the audio coming from the cryo pod. Sam 1 pushes a button on the monitor and we hear the audio properly. TECHNICIAN ...relax and breathe deeply. The cryo pod is designed to put you into a deep sleep for the duration of your three day return journey back to Earth. As you begin to get sleepy, think about the magnificent job you've done, and how proud your family are of what you've accomplished. Relaxing music begins to play. After a moment the music stops. There is a pause. Then an almighty pulse of light from the cryo pod. This is how Sams past have met their end. Nuked to ash like microwave meals in the cryo pod. Sam 1 inspects the controls of the spacecraft to see if it really is a vehicle -- in the process of his search he finds himself down on his knees checking out the wiring. Suddenly Sam 1's attention is on the floor BENEATH HIM. He appears to be kneeling on some kind of PANEL -- like a tablet in the return vehicle's floor -- he presses his ear against the panel -- KNOCKS -- The panel sounds HOLLOW. CUBBY Sam 1 opens a cubby, swipes something similar to a CROW BAR, heads out of the frame -- RETURN VEHICLE Back in the Return Vehicle, Sam 1 stands over the panel in the floor. He uses the CROW BAR to prize the panel open -- this takes an extraordinary effort -- the panel eventually LIFTING like a manhole cover. Sam 1 can't believe his eyes. At the top of the OPEN PANEL, leading down into darkness...there's A LADDER.113 INT. DOCK 113 Sam 2 returns from his tour of the perimeter of the base; pulls up alongside Sam 1's Rover, having to compensate for his clone's poor parking job. 67.114 INT. CORRIDOR 114 Sam 2 exits the Parking Bay and removes his helmet. Down the corridor he sees Sam 1 standing outside the Return Vehicle: facing him, waiting. SAM 2 I saw three more of those jammers. The base is surrounded. I printed out their coordinates -- Sam 2 begins to remove a piece of paper from his pocket, but suddenly stops. He can tell by Sam 1's expression that something has happened. SAM 2 (CONT'D) What? What is it? SAM 1 I found your secret room. CUT TO:115 INT. RETURN VEHICLE 115 Standing over the Open Panel, an anxious Sam 1 and Sam 2 stare down. SAM 2 Who goes first? Sam 1 wordlessly takes the lead, crouching slightly to seize the ladder and twist his body down into the hole. He begins to DESCEND. When he is roughly half way down Sam 2 follows.116 INT. LOWER DECK/CHAMBER -- CONTINUOUS 116 Sam 1 reaches the bottom of the ladder. He's in a dark room, a kind of CHAMBER -- if NASA did crypts, it would look like this. The only light source right now is the coming from the Return Vehicle up above. Sam 2 hops down beside Sam 1, squints into the darkness. SAM 2 Is there a light? Both Sams FUMBLE along opposing walls -- Sam 1 eventually finding a SWITCH, snaps it on. An array of overhead fluorescent bulbs begin to STUTTER and FLASH before ILLUMINATING the chamber completely -- 68.The two Sams can hardly believe their eyes: stretching backmaybe fifty feet are rows and rows of PODS -- like uprightglass coffins -- and standing inside each pod, an as-of-yetUNAWAKENED CLONE. It's like an ENTIRE ARMY of Sam Bells...Spooky as hell.For a few moments Sam 1 and 2 are too stunned to speak.They walk to the end of the chamber and back again, lookingat each clone one at a time -- all the clones are barechested and wear some kind of white cloth to cover theirgenitals, like a diaper.Of course they all look the same, that's why they'reclones, but this piece of scientific wizardry is mind-boggling to Sam 1 and 2 -- they MARVEL at how each of theclones is identical in every way, and down to the minutestof details -- same length of hair, same skin tone, samefingernails -- SAM 2 (CONT'D) Why are there so many of them? SAM 1 The cryo pod in the Return Vehicle is an incinerator.Sam 2 reacts with appropriate shock. SAM 2 What? SAM 1 We don't go home. We're burned to death up there. Then the company wakes up a new one. Every three years. Like clock work. Sam 2 absorbing this. Then: SAM 2 How do you know all this? SAM 1 (beat) I hacked into the Old Man. Actually, Gerty did. I saw footage. You're right, there have been other clones before us. SAM 2 How many? SAM 1 Enough. A pause. 69. SAM 2 If that Rescue Unit finds the two of us awake at the same time, they'll kill us both for sure. Sam 1 doesn't respond, he's in his own world. SAM 2 (CONT'D) What are we going to do? All of a sudden Sam 1 makes a beeline for the ladder, starts heading back up. SAM 2 (CONT'D) Where are you going?117 INT. MONITORING STATION -- MOMENTS LATER 117 Sam 1 is digging in drawers, removes some equipment, some wires; a radio, a small machine called a VIDEO PHONE, referred to as a VP. He is watched by Gerty. GERTY Sam, can I help you with something? SAM 1 Not now, Gerty, okay? Gerty begins to slide out of the room. Sam calls after him. SAM 1 (CONT'D) Gerty? Why did you help me? With the password? Doesn't that go against your programming or something? GERTY Helping you is what I do. Gerty leaves. Sam 1 goes on picking up equipment, shoves it all into a backpack he swiped from a peg. Now Sam 2 appears in the doorway. SAM 2 What's going on? SAM 1 There's something I've got to do. 70. Sam 1 brushes by Sam 2 on his way out.118 INT. DOCK 118 Sam 1 marches up to his Rover, tosses in the backpack and dips inside without his helmet, closes the door and backs out into the black day.119 I/E. SAM 1'S ROVER/MOON SURFACE 119 Sam 1 at the wheel, flooring the Rover -- he looks possessed, determined -- a man on a mission -- WIDE SHOT Sam's Rover approaches one of the many Jammers that we now know circle the perimeter of the base. Sam 1 stops the Rover on the other side of the Jammer. Here, outside the range of the Jammers, he figures he might be able to get a signal through to Earth. ON SAM as he removes his equipment from the backpack and starts to uncoil wires -- inserts a small BATTERY PACK onto the back of the VP, sits the VP on his lap. The VP resembles a Play Station Portable with its small but nonetheless high-quality screen. Sam isn't sure who to contact at first...finally he enters some numbers from memory. The VP shaking in his hands. He is nervous, scared. He disables the video mode on his end, so he is only sending audio. A moment of silence. The VP seems dead. SAM 1 Come on...come on... Then the VP BEEPS -- the monitor BLIPS -- the message seems to have gone through. And suddenly a GIRL appears on the screen. Sam 1 can't believe it. It's the same Girl from his hallucinations. Same wheat-colored hair. Same freckles dotting her cheek bones. Same yellow dress. The moment Sam 1 sees the Girl he thinks -- naturally -- that he's imagining things again. But then she speaks: GIRL Hello? 71.That's never happened before. Sam 1 finally manages torespond: SAM 1 Uh, Bell residence?The conversation has a very slight delay, maybe a second ortwo, and the Girl isn't completely clear on the monitor. Weassume that these minor technical glitches are the same onthe Girl's end.The Girl is sweet, chirpy -- nothing like the haunting,ghost-like figure from Sam 1's hallucinations. GIRL This is the Bell Residence. SAM 1 I'm trying to reach Tess Bell.The girl's expression shifts -- now somewhere betweenmelancholy and curiosity -- GIRL I'm sorry, she passed away some years ago.Sam 1 GASPS. He literally gasps. Like someone just plungeda paring knife into his belly. SAM 1 No...no way.The girl just stares. SAM 1 (CONT'D) Tess Bell? Are you sure? GIRL Uh, yeah, I think so. I'm her daughter. (then) Can I help you?And astonishingly, the news of Tess's death actually takesa back seat as Sam 1 is forced to confront this newrevelation.The girl is EVE BELL. Sam 1 is talking to his DAUGHTER.Sam 1 tilts his head, a smile twitches on his face. SAM 1 Eve?Sam 1 can't believe it. She's beautiful. She's beautiful. 72. EVE BELL Yes?A moment. Eve looking more closely, trying to decipher Sam1's face. Tears glistening in his eyes. SAM 1 (overwhelmed) Hi... Hi. Eve. How old are you now?For a second Eve is embarrassed -- she blushes slightly --but is still pulled in, intrigued. EVE BELL I'm fifteen. (then) Do I know you? SAM 1 How did mom die, sweetheart? EVE BELL Uh...Now Eve is beginning to look spooked. She turns away fromthe screen and calls to someone in another room: EVE BELL (CONT'D) Dad!And then we hear a voice. Sam's voice. SAM'S VOICE (O.S.) What! EVE BELL Dad, there's someone asking about mom... Sam's voice sounds CLOSER, more SUCCINCT, as he comes into the room -- but we don't see him yet -- he sounds, OLDER. SAM'S VOICE Who's asking about mom?Sam 1 hurriedly shuts off the VP.He sits there in the Rover, on the Moon, the middle ofnowhere -- hundreds and thousands of miles from Earth --Sam 1 has never felt more alone than he does right now. 73.120 EXT. ROVER/MOON SURFACE 120 The Rover viewed from outside. We can't hear a thing. Just the endless and unrelenting MOON SILENCE. Inside the Rover we are able to make out Sam 1, quivering at the wheel as he sobs. CUT TO:121 INT. COMMS ROOM 121 CLOSE UP -- THE OLD MAN The "ping-ping-ping" of an alarm. Appearing on The Old Man's monitor: "RESCUE UNIT ELIZA: ARRIVAL TIME, 12 HOURS and 22 MINUTES." CUT TO:122 INT. REC ROOM -- DAY 122 Sam 2 is sitting before the model. He's flipped it back over and returned it to the table top. Now he is attempting to fix some of the demolished pieces. At this moment he's gluing the spire back on the church. Sam 2 hears a sound from the corridor. Moments later Sam 1 appears in the doorway wearing the backpack. Sam 1 is beginning to look alarmingly ILL. His depleting health has been evident throughout the film, but now it seems to have jumped to a new level. He watches Sam 2 for a little while. SAM 1 Want me to help? Sam 2 shifts over to give Sam 1 the adjacent chair. Sam 1 walks over, sits down. Together they work on gluing the church back together. SAM 1 (CONT'D) Remember that crazy drunk guy who used to hang out by the church? SAM 2 Barbara Streisand? 74. SAM 1 (with a smile) He looked like Barbara Streisand. We used to hide his Bible when he passed out. Drove the guy nuts.Sam 2 nods, remembering. A pause. SAM 2 How do you carve these things? SAM 1 Want me to show you?Sam 2 nods. Sam 1 picks up a block of wood, grabs an exactoblade. Demonstrates. SAM 1 (CONT'D) You need to hold the wood away from you. Like this. SAM 2 You're shaking.Sam 2 isn't kidding. Though he is carving the block ofwood, Sam 1 can't keep it steady. SAM 2 (CONT'D) Why are you shaking? SAM 1 Watch what I'm doing. (then) You watching? SAM 2 Yeah. SAM 1 Now you try.Sam 1 hands the wood and exacto blade to Sam 2.Sam 2 attempts to whittle. He smiles, a little embarrassed. SAM 2 I suck. SAM 1 You'll get the hang of it. (a beat) You see, that's a little better already. 75.Suddenly Sam 1 turns around and has a vicious coughing fit.It actually seems to propel Sam 1 out of his chair and uponto his feet. Sam 2 watches with concern. Eventually thecoughing subsides. SAM 2 What's happening to you?Sam 1 averts his gaze. SAM 2 (CONT'D) Listen, I realize I've been less than cooperative. But I want to change that. You and me, we need to work together. And that starts with not keeping secrets from each other. (a beat) Now what's going on?Sam 1 tells the truth. SAM 1 I think I'm dying.Sam 2 stares back at him. SAM 1 (CONT'D) There's blood in everything. My urine. My vomit. I've got a constant headache. Dizzy spells. (a beat) The same thing happened to the other clones. I saw it when I hacked into the Old Man. After three years they all started to get sick. Now it's happening to me. Well, it's been happening for a while now. A couple of weeks. SAM 2 What do you think it is? SAM 1 Maybe we don't live that long. Maybe we start to decompose or something. SAM 2 Jesus.Suddenly Sam 1 closes his eyes -- SWAYS -- looks like he'sgoing to pass out. SAM 2 (CONT'D) Hey hey hey, you okay? 76. Sam 2 stands and moves to Sam 1. Holds him up, checks his temperature. SAM 2 (CONT'D) Why don't you lie down for a while? Take some tranqs. Get some sleep. SAM 1 (grim smile) No tranqs. I don't think I would ever wake up again. Sam 1 manages a nod. Sam 2 hooks his arm around Sam 1's shoulder, helps him from the room.123 INT. SLEEPING QUARTERS 123 Sam 2 deposits Sam 1 onto the bed. He removes Sam 1's backpack, eases a pillow under his head. Sam 1 is instantly asleep. Sam 2 pulls the comforter over him. Sam 2 begins to leave the room, sees Sam 1's backpack on the floor, the VP sticking out of it. Curious, Sam 2 grabs the VP. FLASHING on the VP's SCREEN: "Last Transmission: 15:14pm." CUT TO:124 INT. REC ROOM 124 Sam 2 enters the Rec Room and shuts the door. He moves to one of the tables and sits down, POPS on the VP. ON THE VP MONITOR we begin to re-watch the conversation between Eve Bell and Sam 1. Obviously we are only seeing Eve's face on the screen, but WE HEAR Sam 1's voice in the background. SAM 1 (O.S.) Uh, Bell Residence? EVE This is the Bell residence. SAM 2 (commenting as he watches) No you didn't... SAM 1 (O.S.) I'm trying to reach Tess Bell. 77. EVE I'm sorry, she passed away some years ago. Sam 2 and Sam 1 have exactly the same reaction at the same time. SAM 1 (O.S.) SAM 2 No...no way. No...no way. SAM 1 (O.S.) Tess Bell? Are you sure? EVE Uh, yeah, I think so, I'm her daughter. (then) Can I help you? I'm her daughter. A couple of days ago Sam 2 didn't know he had a daughter, and now he's seeing her as a teenager, a young woman. He is stunned. Sam 2 continues to watch the message but we CUT TO:125 INT. SLEEPING QUARTERS -- DAY 125 Sam 1 fast asleep. Sam 2 watches him from the doorway.126 INT. STORAGE CUBBY 126 Gerty is just continuing with his tasks like nothing is happening. Right now he's STACKING ready-meals and miscellaneous lunar snacks into neat columns. Sam 2 walks up. SAM 2 Gerty, I need to talk to you. GERTY Of course, Sam, how can I help? SAM 2 We found the hidden room. We know about the other clones. A long pause. Then: GERTY I don't know of a hidden room. 78. SAM 2 The hidden room under the Return Vehicle, Gerty. You know what I'm talking about. We found it on our own. Lunar doesn't know anything about it.A beat. GERTY The lower deck is out of bounds to awakened clones -- SAM 2 Ordinarily, Gerty, but what with there being two of us awake at the same time, and what with the situation being unprecedented, the rules have had to change. Do you understand? GERTY I understand the situation is unprecedented. SAM 2 Good. (a beat) Gerty, how long does it take for a clone to wake up? GERTY A clone is awake the moment his pod is opened. But he is not fully conscious for several hours.A beat. SAM 2 Gerty, we need to wake up a new clone. GERTY I am not permitted to do that, Sam. SAM 2 If we don't wake up another clone me and the other Sam will die. We'll die, Gerty. Do you understand? GERTY Yes. 79. SAM 2 Do you want me and the other Sam to die? GERTY That is the last thing I want. SAM 2 Then you have to wake up a new clone. Okay, pal? Sam 2 waits for a response. And waits. CUT TO:127 INT. COMMS ROOM 127 CLOSE UP -- THE OLD MAN The "ping-ping-ping" of an alarm. Appearing on The Old Man's monitor: "RESCUE UNIT ELIZA: ARRIVAL TIME, 6 HOURS and 19 MINUTES." CUT TO:128 INT. SLEEPING QUARTERS 128 Sam 1 fast asleep in bed.129 SAM 1'S DREAM 129 A stretch of green grass dissected by a dirt path. A light breeze. Endless blue sky above. No clouds. No visible sun.130 INT. SLEEPING QUARTERS 130 Back on the sleeping Sam 1. Deep breaths. Eyelids twitching slightly.131 SAM 1'S DREAM -- CONTINUED 131 In the distance, sitting beneath a tree on a blanket, we see TESS BELL. She is removing items from a picnic basket. Sam enters the frame, his back to the camera. He watches his wife for a few moments, maintaining his distance. Tess looks up and sees Sam. She lifts her hand, waves. 80. ON SAM -- IN THE DREAM Sam's expression is blank at first, but then he smiles at Tess, waves back.132 INT. SLEEPING QUARTERS 132 Sam 1's eyes open slowly. He's awake. Was his dream a memory? A premonition? Or was it simply made up? ANOTHER ANGLE -- SAM 1 A BLEARY Sam 1 yawns and stretches his arms over his head. He reaches across the bed and rips a couple of tissues from a box of Kleenex, blows his nose. Afterwards he checks the tissues: a thick RED GOO came out of his nose, the color and consistency of tomato purÈe. Yeah, gross. Sam 1 rolls out of bed, plants his feet on the ground. The base seems eerily quiet. Too quiet. Sam 1 stands and crosses to the door.133 INT. CORRIDOR 133 Sam 1 begins to walk left, down towards the Rec Room and the Monitoring Station, but hesitates -- he turns the other way, towards the Infirmary, heads that way instead.134 INT. INFIRMARY -- CONTINUOUS 134 Lying in one of the Infirmary beds, eyes closed, a NETWORK of WIRES attached to his chest...Sam. We don't know which Sam it is yet. He is clean shaven. He looks like any one of the clones down in the secret chamber; then again he could just as easily be Sam 2. And that's what Sam 1 naturally assumes as he enters the Infirmary and sees him lying there. Sam 1 moves closer, curious, until he is standing right at the edge of the bed. Sam 1 reaches out his hand to wake him up when there is a voice from the doorway behind: SAM 2 Don't touch him. 81. Our suspicions are now confirmed. The Sam in the Infirmary bed is a new clone. We will call him SAM 3. SAM 2 (CONT'D) He's not conscious yet. Gerty and I only woke him up a few hours ago. Sam 1 is not even remotely on the same page. SAM 1 Why? Sam 2 puts his finger to his lips. Then: SAM 2 Come to the Rec Room. Sam 2 turns and leaves. Sam 1 follows slowly, one or two glances at the sleeping clone along the way.135 INT. REC ROOM 135 We cut straight to the Rec Room and the conversation between Sam 1 and Sam 2. SAM 2 When the Rescue Unit arrives they'll expect to find a body in the crashed Rover, right? (a beat) We've got our body. SAM 1 (points towards the Infirmary) That guy? Sam 2 nods. SAM 1 (CONT'D) They'll expect to find a dead body in the crashed Rover. SAM 2 I know. SAM 1 (stunned) You're going to kill him? SAM 2 Someone's got to pull the short straw here, better someone who's unconscious than you or me. 82.Sam 1 simply digesting the gravity of Sam 2's plan. SAM 2 (CONT'D) If we go through with this, I'm going to need your help hauling him out to the crash site. SAM 1 What about us? Eliza arrives, finds you and me as the welcome party -- SAM 2 They're not going to find you and me as the welcome party, they're going to find me. You're going to blast back to Earth before they get here in one of the Helium 3 containers. (a beat) You're going home. Sam 1 wasn't expecting that. SAM 2 (CONT'D) You've done your three years. I can't expect you to stick around. Maybe you can meet Eve in person. A beat. SAM 2 (CONT'D) I saw the message on the VP. Eve is beautiful. She looks like her mom. Sam 1 realizes that Sam 2 knows everything. There are no secrets between them now. They both absorb the impact of knowing Tess is dead. Finally: SAM 1 How do you think she died? SAM 2 I don't know. (then) Jane died of cancer. I mean, it was in the family. Who knows? Or maybe it was an accident? Could have been a million things. SAM 1 I wish I'd been there. 83. SAM 2 Yeah. Me too. The two Sams sitting together, UNITED by their grief. CUT TO:136 EXT. MOON BASE -- DAY 136 Shot of Selene from across the lunar plane. The base looks almost peaceful. No evidence of the DRAMA going on inside.137 INT. CORRIDOR 137 The two Sams are testing out the CARGO CONTAINER to see if their plan is going to work and Sam 1 can actually fit inside. These containers were designed to carry cannisters of Helium 3, not to accommodate human beings. Sam 1 looks in increasingly bad shape. Blanket draped around his shoulders -- gaunt, bobbing, shivering. SAM 2 Go for it. Sam 1 hunches and slowly insinuates himself into the container -- yes, he fits, but it's tight, like really tight -- Sam 1 can anticipate one hell of a stiff neck by the time he steps out onto terra firma. SAM 2 (CONT'D) Comfy? SAM 1 No. Sam 2 chuckles. SAM 2 But you fit. That's good. You fit. With a HEAVE Sam 2 PULLS Sam 1 from the container. CUT TO:138 INT. INFIRMARY -- DAY 138 Gerty is running tests on the unconscious Sam 3. 84. Sam 1 and Sam 2 stand on opposite sides of the room. Both clones seem uneasy. They can't look at each other. They can't look at Sam 3. Their eyes roam every inch of the room just about before finally settling on Gerty. Regardless of Sam 3 being unconscious, are they really going to kill him? CUT TO:139 INT. COMMS ROOM 139 Sam 2 sits at the comms unit recording the message, a smile plastered on his face, as WIDE as it is FAKE. SAM 2 Sam Bell reporting to Central. 19:14 Pacific Time. Lunar Day 14. (a beat) Evening Overmeyers, evening Thompson! According to the Old Man Rescue Unit Eliza will be here in just over three hours. Not a moment too soon! I never thought I'd say this, but I want to get out there, I want to work. I feel like a kid who's been grounded. Looking forward to Eliza straightening everything out and things getting back to normal around here. Well...that's it. I'll let you know how it goes. Over and out, gentlemen. Sam 2 sends the message, his SMILE instantly COLLAPSING. He mutters under his breath: SAM 2 (CONT'D) Bastards.140 INT. SLEEPING QUARTERS -- DAY 140 Sam 1 is sitting on the edge of his bed holding the photograph of the pregnant Tess -- staring with great concentration -- almost penetrative -- like he's trying to will himself into the photograph. We find out what's running through his head, cutting to:141 SAM 1'S DREAM 141 Sam 1 has gone back to his dream -- or his vision -- of Tess sitting on the picnic blanket beneath the tree. 85. Sam and Tess continue to wave to one another. Sam hasn't moved. Tess calls out: TESS Come on! Suddenly we hear a voice. SAM 2 (O.S.) Sam?142 INT. SLEEPING QUARTERS 142 Sam 2 is standing at the door. Sam 1 looks up at him. SAM 2 We need to do it. We need to do it now. He'll be conscious any minute. (a beat) We've been putting it off for long enough. Sam 1 stares back at Sam 2 with defiance. SAM 1 We don't have to do anything. I changed my mind. Sam 2 isn't following. SAM 1 (CONT'D) I'm not going back. (a beat) I'm coughing up blood, I'm as white as a ghost. I look like I belong in a graveyard. I meet Eve now, I'll scare the shit out of her more than anything else. D'you think she'll even come within ten feet of me, the way I look? SAM 2 What are you talking about? She's your daughter, man! She's not going to care what you... SAM 1 (angry) She's not! She's not... my daughter. At least, I'm not her father. Not to her. Sam 2 keeps quiet. 86. SAM 1 (CONT'D) I'll put myself in the Rover, I'll be the body -- it was me to begin with anyway, right? You go back to Earth. You go back. You're healthy. You've got three years ahead of you. You stand a much better chance than I do. The other guy....Gerty can get him up to speed...he can be here to meet Eliza when they arrive.Sam 1 seems to have it all figured out. Although Sam 2should in some ways be relieved by Sam 1's decision, helooks closer to distraught. SAM 2 This is wrong. What are we supposed to do? Sit around here and wait to die? Fuck that! SAM 1 I don't know. (beat) It's what we were designed to do.Both Sams struggle to hold in their emotions; Sam 1 morose,Sam 2 angry. SAM 2 Screw that! I'll go! ...And I'm going to find this asshole, Sam Bell, and ask him why the hell he put us through this shit!Sam 1 looks concerned. Sam 2 reads his mind. SAM 2 (CONT'D) I'll be careful. I'll keep Eve out of it. She wont even know I exist.Sam 1 smiles wearily, watching his old self. SAM 1 You're a good guy, Sam. SAM 2 I might stop shaving; It suits us. (beat) If all our memories are implants, no disrespect, but I think its about time I got some of my own, as well. 87. SAM 1 Yeah. You should travel. I've always wanted to do that. SAM 2 I'd like that. CUT TO:143 I/E. ROVER/MOON SURFACE -- DAY 143 Driving to the crash site. Sam 2 at the wheel, Sam 1 riding shotgun. Both men staring ahead in silence. MATTHEW Where all the trouble really started. Matthew, the stalled Harvester, with the crashed Rover still trapped beneath it. The crash site is beginning to resemble some old underwater shipwreck. The Rover enters the frame, beginning to slow down as it approaches the crash site. Sam 2 rolls the Rover to a standstill about ten feet from the front of the Harvester.144 I/E. ROVER/MOON SURFACE -- MOMENTS LATER 144 Sam 2 keeps the engine running as Sam 1 takes a handful of TRANQUILIZERS one by one, washing down each pill with a swig from a bottle of water. Afterwards: a long pause. The two Sams sitting side by side, staring across the bleak landscape. Neither of them wants to say good-bye particularly. SAM 1 Tess came in for the interview, remember? Sam 2 is nodding away. Of course he remembers. SAM 1 (CONT'D) She was so beautiful. Even if she wasn't the best candidate, I just knew I had to give her the job. I thought she was so sweet. (a beat) And then it was the end of the summer. SAM 2 She was going back to San Francisco. (MORE) 88. SAM 2 (CONT'D) You knew you had to take a chance. So you called her. You were terrified and wrote that whole speech for her answer machine -- (a beat) But I didn't need it because Tess answered the phone. And I could tell in her voice as we talked, she was thinking... "Why has Sam called me?" "The internship's over, why's he called me at home?" And then I asked her if she was going to Adrian Fiddle's barbecue and... Sam 1 has dropped off to sleep. The back and forth exchange is now essentially Sam 2's monologue. SAM 2 (CONT'D) That's when I knew she liked me. Because she didn't want to talk to anyone else! She'd get up, get some potato salad, go to the bathroom, but she'd always come back. And then we kissed. On the steps in front of her apartment building. Sam 2 finally turns and looks at Sam 1. Sam 1's head cocked to one side, eyes closed. Sam 2 lifts the helmet off Sam 1's lap -- carefully lowers the helmet onto Sam 1's head.145 I/E. ROVER/MOON SURFACE 145 Sam 2 LOPES towards the crashed rover holding Sam 1 in both arms like a bride. He places Sam 1 on the ground and PRIZES open the rover door -- he slowly slides Sam 1 inside. Inside the Rover Sam 1 lies with his head jammed awkwardly against the passenger side door. At once he looks peaceful and wretchedly uncomfortable. Sam 2 can barely bring himself to look at Sam 1. With both hands he FORCES the door CLOSED, pivots around and slowly BOBS back to his rover.146 I/E. ROVER/MOON SURFACE -- MOMENTS LATER 146 Sam 2 driving back to base. He has removed his helmet and is brushing tears from his eyes with his glove. CUT TO: 89.147 INT. COMMS ROOM 147 CLOSE UP -- THE OLD MAN The "ping-ping-ping" of an alarm. Appearing on The Old Man's monitor: "RESCUE UNIT ELIZA: ARRIVAL TIME, 1 HOUR and 40 MINUTES." CUT TO:148 INT. INFIRMARY -- LATER 148 Gerty is continuing to run tests on Sam 3. Sam 2 enters. He carries the freighted exhaustion of a man who has just completed a long and difficult journey. SAM 2 How long before he's conscious, Gerty? GERTY The new clone will be conscious within one hour. SAM 2 That's good. That's very good. GERTY Sam? Where is Sam? SAM 2 He's gone home, Gerty. Sam 2 leaves.149 INT. MONITORING STATION -- DAY 149 Sam 2 is loading OXYGEN CANISTERS into the CARGO CONTAINER in preparation for his trip back to Earth. Sam 2 working FAST, a sense of URGENCY. Eliza will be there in a mere 90 minutes! It's coming down to the wire. Gerty glides in as he works. GERTY Sam, this is not going to work. SAM 2 What? Why not? 90. Now Sam 2 loads food into the cargo container -- moon snacks, rations, etc. -- and bottles of water. His final addition is a 5 kilo load of precious Helium3; A good 15 million dollars worth! GERTY If the Rescue Unit examine my memory banks they will discover what has taken place over the last week. As you know I record everything. If they are suspicious, the first thing they will do is search my memory banks, and this would put you in considerable danger. Sam 2 straightens up, giving Gerty his full attention now. This is serious. It could ruin everything. The fact that Gerty has brought it up indicates that the robot's loyalties lie ultimately with Sam. GERTY (CONT'D) I recommend erasing my memory banks. I can reboot myself once you have departed. SAM 2 So that's what we're going to have to do. (beat) Are you ok with that? GERTY I'll require your assistance, Sam. SAM 2 Sure, just let me finish this. Sam 2 continues his work. CUT TO:150 INT. INFIRMARY -- DAY 150 Sam 3 asleep in bed, very close to consciousness. CUT TO:151 I/E. CRASHED ROVER/MOON SURFACE 151 Sam 1 inside the crashed rover, resembling a wild animal pinned in a trap. He's still breathing. 91. SAM 1'S DREAM Once again we see Tess beneath the tree sitting on the blanket. She looks over at Sam, continuing to wave. TESS Come on, Sam! Sam Bell! Come on! Sam begins to walk towards Tess.152 I/E. CRASHED ROVER/MOON SURFACE 152 Back on Sam 1. The glass of his helmet is beginning to MIST with blood. Sam sees a sliver of the sun as he dawns on his side of the moon. He closes his eyes for the last time. CUT TO:153 INT. INFIRMARY -- LATER 153 Sam 2 stands before Gerty. SAM 2 I've set your computer to reboot the second I've blasted off. GERTY Okay, Sam. SAM 2 Thanks for all your help, Gerty. I wish I could say I was going to miss you, buddy, but to be honest, I can't wait to get away from here. GERTY I understand, Sam. I hope life is everything you remember it to be. SAM 2 Thanks. Are you sure you're going to be ok? GERTY Of course. The new Sam and I will be back to our programming as soon as I have finished rebooting. SAM 2 Gerty, I'm not programmed. 92. Gerty doesn't respond. Sam 2 seems troubled. Sam 2 leans forward and activates the Memory Erase button. Gerty's READOUT SCREEN begins to TWITCH and FLASH with RANDOM DATA -- then slowly FADES TO BLACK. The Robot has been officially SHUT DOWN. Gerty just stands there. Completely still. As lifeless as a toy. Sam 2 heads out of the room at top speed.154 EXT. MOON SURFACE 154 Shot of LUKE, the third of the Harvesters, heading across the lunar plane.155 INT. MONITORING STATION 155 Sam 2 pauses at the window...looking for Eliza. The Rescue Unit is so close Sam 2 might actually be able to pick out their spacecraft. And he can! It's tiny, but nevertheless it's there -- a metallic spacecraft, glinting like a jewel -- and heading steadily towards the Moon. There isn't a moment to lose. Sam 2 swings around, heads for the CARGO CONTAINER. We remain inside the Monitoring Station as Sam 2 climbs inside the Cargo Container He readies himself. Says a little prayer and... he cant do it! Cursing at himself and glancing at the time ticking away before Eliza lands, he jumps back out of the CARGO CONTAINER and runs back into the base. CUT TO:156 INT. MONITORING STATION 156 Sam 2 sits down before the Old Man. Eliza's imminent arrival causing increased STRESS and TENSION. Sam 2 takes out the piece of paper on which the COORDINATES of the Jammers are printed out. He starts to frantically type, altering the PATH of the HARVESTERS. 93.157 EXT. MARK 157 Mark trundling along at half-speed. The Harvester suddenly changes direction -- veering sharply to the left and heading up over a steep slope. CUT TO:158 INT. MONITORING STATION 158 Back on Sam 2 as he RAPIDLY types, makes an error, screams: SAM 2 Fuck! Pounds the delete button, continuing to type coordinates into the Old Man -- He's done! He leaps out of his chair and tears off through the base towards the cargo container. CUT TO:159 EXT. WIDE SHOT -- THE MOON 159 As Eliza's spacecraft sets its sights on Selene, we see the Cargo Container ROCKET through the sky in the opposite direction. CUT TO:160 INT. MOON BASE SELENE/QUICK SHOTS 160 For a few moments all is quiet inside the base. The "PING-PING-PING" of the Old Man. The grinding GURGLE of a computer readout. This sequence echoes the tour at the very start of the film, but the base has a decidedly different feel to it now. It's like an abandoned house. CUT TO: 161 INT. COMMS ROOM 161 CLOSE UP -- THE OLD MAN On the monitor: "RESCUE UNIT ELIZA: ARRIVED." 94.162 EXT. ELIZA'S SPACECRAFT/MOON SURFACE 162 A box shaped spacecraft, all menace and angles, slowly DESCENDING towards the lunar surface. CUT TO:163 INT. INFIRMARY -- LATER 163 Gerty sits lifeless. We hear the sounds of pressure doors opening. Unrecognized voices as the landing crew enters the base, calling for Sam. Gerty comes to life. His principal monitor POPS ON and his pincer-like HANDS begin to TWITCH. His READOUT SCREEN streams with DATA. Gerty's head begins to swivel left and right -- as if he's awoken with a stiff neck -- eventually he SEES Sam 3, crosses to him. Just like that, Gerty continues his routine checks of Sam 3 -- studying Sam 3's heartbeat, his brain activity -- the robot literally picking up where he left off. And then Sam 3's eyes open. He is awake. He blinks at Gerty, cloudy, groggy. SAM 3 Where am I? GERTY Sam, you're in the Infirmary. You had an accident. Sam 3 staring ahead, trying to dig up the memory. GERTY (CONT'D) Do you remember what happened? SAM 3 No, Gerty. (a beat) I don't remember a thing. We hear heavy footsteps and voices closer now, just outside the infirmary. CUT TO: 95.164 EXT. MARK/JAMMER/MOON SURFACE 164 A CLOSE UP of MARK as the Harvester churns along and SLAMS into an JAMMER with full force. The Jammer wobbles unsteadily from the IMPACT, before finally TOPPLING over, HAZING the air with lunar dust. CUT TO:165 EXT. CARGO CONTAINER/SPACE 165 The Cargo Container BULLETING through space, fire blasting from its jets like the petals of an exotic flower. CUT TO: 166 INT. CARGO CONTAINER 166 Sam 2 is seriously cramped inside one of the Helium 3 containers, about as comfortable as a pony in a dog kennel, but nonetheless WHOOPING RAUCOUSLY at the sheer velocity of the container -- as well as, and perhaps even more so, the fact that he has successfully escaped the base. He's going home. CUT TO:167 I/E. CRASHED ROVER/MOON SURFACE -- DAY 167 Sam 1 has stopped breathing. The sun shines on his face.168 SAM'S DREAM 168 Sam walks towards Tess. He sits down in front of her on the blanket. A beautiful picnic is spread out before them. Tess has never looked so radiant, so beautiful. Light from the sky pours into her upturned face. TESS What took you so long? Sam just smiles back at her. She hands him a bottle of wine and a corkscrew. CAMERA PANS UPWARD -- not a cloud in sight -- but we are just able to pick out the chalky outline of the MOON, resembling a white thumb print in the blue sky. 96. HOLD THIS shot of the Moon for a few seconds before we FADE TO BLACK. 169 INT. COMMS ROOM 169 On the Comms Unit monitor there is a BLAST of STATIC, followed by a FLASHING MESSAGE: "LIVE FEED AVAILABLE." THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Moonstruck.txt b/unformated_scripts/Script_Moonstruck.txt new file mode 100644 index 0000000000000000000000000000000000000000..8bd6df5af396578e3aa5bc1f75ee84b99a80f4a7 --- /dev/null +++ b/unformated_scripts/Script_Moonstruck.txt @@ -0,0 +1 @@ + "MOONSTRUCK" by John Patrick Shanley Final Draft FADE IN: INT. ZITO'S BREAD STORY - DAY Several dozen loaves of golden Italian bread are standing on end in a shaft of morning sunlight. They are standing on end in bins. In the window, ZITO'S can be read in reverse. We leave the loaves and DRIFT DOWN TO a Progresso Products calendar, which hangs from the wall by a nail. The month is November. Various phone numbers and delivery dates have been penned in in a rough scrawl. Now WE GO TO a white formica counter, scuffed and pocked from long use. On the counter, in a rinsed out olive jar filled with water, are three fat red roses. The TITLE APPEARS IN BLACK SCRIPT AGAINST THE WHITE BACKGROUND. MOONSTRUCK Now WE FAINTLY HEAR THE VOICE of Zito himself, and a low TAPPING SOUND. SOME CREDITS ROLL. ZITO'S VOICE (barely discernable) Three times they cancel the order with me, and three times they come back. Who they kidding? They cheap, cheap, cheap. The other bread they get is no good. They save pennies. Everybody complain and they come back. "Zito, your bread is the best." They're like children stupid in school who cannot learn. The water. It's the water. You buy bread in Hoboken, you get Hoboken water. Hoboken water is dry. Ask anybody who knows. Ask your father. He knows. During Zito's plaintive words, WE LEAVE the roses and MOVE DOWN the counter TO a calculator being tapped very efficiently with the eraser end of pencil. When the results appear, the pencil notes the figure in a threadbare old ledger. NOW WE SEE ZITO He's a middle-aged Italian man with a kind face. But it's early in the day, and he's already been working for hours, so he's a little tired and disgruntled. ZITO You want me to make you some coffee? NOW WE SEE LORETTA FOR THE FIRST TIME She's entering a few final figures in the ledger. LORETTA is Italian, 37. Her hair black, done in a dated style, is flecked with grey. She's dressed in sensible but unfashionable clothes of a dark color. LORETTA What d'you know about coffee? Gimme a loaf of bread. EXT. ZITO'S BREAD STORE - DAY Loretta emerges with her little weathered leather bookkeeping satchel and a loaf of Zito bread in a white paper bag. She moves off briskly. EXT. A.J. CONTI FUNERAL CHAPEL - DAY This is a little Italian funeral parlor. INT. THE "WAKE" ROOM" A generic little room filled with many flowers and wreathes, many folding chairs, a few OLD PEOPLE sitting and, up front, the star of the show, the CORPSE on display in his gold and formica casket. Before the casket is a little kneeler. We discover an OLD LADY there, who crosses herself and rises. She goes and sits by RUBY, another old women. She leans over and says. OLD WOMAN He looks great. RUBY That Al Conti is a genius. INT. OFFICE OF THE FUNERAL PARLOR First WE SEE a name plate on a desk. The plate reads ALFONSO CONTI. We HEAR his VOICE. CONTI'S VOICE I am a genius. The SHOT WIDENS TO INCLUDE the loaf of bread which is half cut up and being buttered. Next to the bread are two steaming mugs of coffee. We HEAR the subdued TAPPING of Loretta's tabulations. LORETTA'S VOICE If you're such an artistic genius, why can't you keep track of your receipts? How am I going to do your income tax? CONTI'S VOICE I am an artistic genius. The SHOT WIDENS and now we can see Al Conti and Loretta sitting at the desk having Zito's buttered bread and mugs of coffee. Loretta's got her calculator going and is entering figures in Al's black, gold-lettered ledger. LORETTA If you're an artistic genius, how come you got butter on your tie? He looks down and sees the stain. He's at a loss. LORETTA Give it here. I'll give you this, Al, you make good coffee. She downs her coffee, accepts the stained tie which Al has taken off, and slams the ledger shut. INT. ROBERT'S DRY CLEANERS - DAY - MORE CREDITS ROLL We are looking at a wall of dry-cleaned clothes bags. They are hanging from an automated grid. As we watch, the wall starts to move off to the left. A gap appears where no clothes are hung. The gap creates visual frame. In the frame is ROBERT. He is operating the grid with a little stick shift. He stops it and takes down a garment. He leaves the frame, heading off to the counter. When he moves away, WE SEE that Loretta is behind him, working her calculator, entering in a ledger. She slams the ledger shut, waves goodbye, and goes. After beat she reappears, produces Conti's tie, says something to Robert, who is out of view, leaves the tie, and INT. BUTCHER SHOP - DAY WE SEE a cleaver whacking an oxtail into section. Now WE SEE Loretta, a few feet away, tabulating on a chopping block that is partially obscured by a row of hanging rabbits, unskinned. INT. A FLORIST SHOP - DAY A long white box is being filled with red roses. We HEAR the FLORIST'S VOICE. FLORIST'S VOICE Red roses. Very romantic. The man who sends these knows what he's doing. Now WE SEE Loretta tabulating and the Florist working on the box of roses. LORETTA The man who sends those spends a lot of money on something that ends up in the garbage can. The Florist gives her a look and then smiles. FLORIST I'm glad everybody ain't like you, Loretta. I'd be outta business. LORETTA Without me, you'd be out of business. I like flowers. She gives him a sudden, brief, blinding smile. It's the first time we've seen her smile. She has gold work around one of her two front teeth. The Florist grunts and hands her a red rose. Camera moves close to Loretta and the rose. END OF CREDITS DISSOLVE TO: EXT. THE GRAND TICINO - AN ITALIAN RESTAURANT - NIGHT A red neon sign hangs in the window. It's a quaint downstairs restaurant in Greenwich Village. A YOUNG COUPLE stop, look at the menu, become more interested in each other, kiss, and decide to go in. INT. THE GRAND TICINO - NIGHT White tablecloths and dark green walls, a tiny bar up by the door. The WAITERS all look a little alike. That's because they're all related. The place is about half full, and bustles along pleasantly. MUSIC A VIOLIN PLAYS a melancholy Neapolitan air. MR. JOHNNY and Loretta sit at a table for two talking quietly. They have their menus and glasses of red wine. Mr. Johnny is Italian, around 42. His wavy salt-and pepper hair is impeccably combed back; but there is so much that it threatens to fall forward someday and engulf his face. He is wearing a pinky ring, a dark suit, a gold watch, and, on his face, a mustache and a look of incredible seriousness. Loretta is Italian, 37. Her black hair, done in a dated style, is flecked with grey. She is wearing a dark blouse, black skirt, and high heels. One of her teeth is framed with gold work. Mr. Johnny is really timid of life, an overgrown boy, who hides these qualities behind a veil of dignity. Loretta is tough and efficient, loyal and watchful; she watches out for Mr. Johnny, and defends him against life. BOBO, an Old World Italian waiter, comes over to take their order. BOBO Are you ready? MR. JOHNNY Hello, Bobo. How are you tonight? BOBO Very good, Mr. Johnny. MR. JOHNNY We will both have the Salad Ticino. BOBO Uh-huh MR. JOHNNY And I'll have the special fish. LORETTA You don't want the fish. MR. JOHNNY No? LORETTA It's the oily fish tonight. Not before the plane ride. MR. JOHNNY Maybe you're right. LORETTA Give him the manicotta, Bobo. Me, too. BOBO Yes, Miss Loretta. LORETTA (to Mr. Johnny) That will give you a base. For your stomach. You eat that oily fish, you go up in the air, halfway to Sicily you'll be green and your hands will be sweating. MR. JOHNNY (smiles) You look after me. They HEAR a distinguished MAN'S VOICE rise out of the babble. They turn and look. The man's name is PERRY. PERRY AND PATRICIA FROM LORETTA'S POV Perry is a university professor. PATRICIA is his girlfriend/student. He's in his 50's. She's about 25 years younger. She's getting her coat on in a huff. PERRY Patricia, please don't go! PATRICIA What do you think I am, a talking dog? PERRY I was just making a point about the way you said... the way you stated your aspirations. PATRICIA You can kiss my aspirations! Professor! She storms out, leaving Perry muttering to himself. PERRY Kiss my aspirations. Oh, very clever. The height of cleverness. Waiter! An abnormally SHY WAITER stops. SHY WAITER Yes? PERRY Could you do away with her dinner, and any evidence of her, and bring me an big glass of vodka? SHY WAITER But absolutely! THE SHY WAITER begins to efficiently clear. MR. JOHNNY AND LORETTA EXCHANGE A GLANCE Mr. Johnny is amused. Bobo serves them their salad. MR. JOHNNY A man who can't control his woman is funny. LORETTA She was too young for him. Mr. Johnny considers this a point well taken. BOBO AND HIS NEPHEW EDDIE STAND NEAR THE KITCHEN Which can be seen through a serving window. They can look out over the restaurant tables. Bobo is melancholy and philosophical. EDDIE is a young waiter. EDDIE What'samatter, Uncle Bobo? BOBO Tonight Mr. Johnny's gonna propose marriage. EDDIE How you know that? BOBO He arranged it with me. When he asks her, then he'll wave to me and I'll bring champagne. Good bachelor customer for twenty years. But who knows? Maybe he'll lose courage. EDDIE Heavy duty stuff. PERRY, FEELING NO PAIN, COLLARS THE SHY WAITER He holds out his empty glass. PERRY Can I get another one of these? SHY WAITER Definitely! Perry takes his arm. PERRY May I presume to ask you a question? SHY WAITER Sure! PERRY Do you have a girlfriend? SHY WAITER I am alone in the world. Perry lets go of his arm. He and the Shy Waiter commiserate a moment. Then, wordlessly, the Shy Waiter goes. PERRY That's very sad. BOBO IS CLEARING THE REMAINS OF MR. JOHNNY'S DINNER. He's already cleared Loretta's. BOBO How's things? LORETTA Fine, Bobo. We'll take the check. MR. JOHNNY No, I want to see the dessert cart. BOBO Very good. Bobo goes. Loretta is surprised. LORETTA You never have dessert. MR. JOHNNY Never is a long time. Mr. Johnny is uneasy. He massages his head. LORETTA What's the matter? MR. JOHNNY My scalp is not getting enough blood sometimes. Loretta looks at him strangely. Bobo rolls up the dessert cart. WE SEE Loretta and Mr. Johnny through the frame of the dessert cart. They turn and look at the desserts. MR. JOHNNY Have Something. LORETTA I shouldn't. MR. JOHNNY Will you marry me? LORETTA What? MR. JOHNNY Will you marry me? LORETTA Bobo, take the cart away. He does. LORETTA (continuing) Are you proposing marriage to me? MR. JOHNNY Yes? LORETTA You know I was married and that my husband died. But what you don't know is I think he and I had Bad Luck. MR. JOHNNY What do you mean? LORETTA We got married at the City Hall and I think it gave bad luck the whole marriage. MR. JOHNNY I don't understand. LORETTA Right from the start we didn't do it right. Could you kneel down? MR. JOHNNY On the floor? LORETTA Yes, on the floor. MR. JOHNNY This is a good suit. LORETTA I helped you buy it. It came with two pairs of pants. It's for luck, Johnny. When you propose marriage to a woman, you should kneel down. MR. JOHNNY Alright. Mr. Johnny slowly gets out of his chair. There's not enough room for him to kneel down. He has to ask two off-duty PRO WRESTLERS who are eating dinner to move their chairs. They do so with bemused expressions. Their names are BOB and MOOK. SHY WAITER BRINGS PERRY A FRESH GLASS OF VODKA ASKS THE SHY WAITER PERRY Is that man praying? MR. JOHNNY ON HIS KNEES ADDRESSES LORETTA JOHNNY So. Will you ma... LORETTA (interrupting) Where's the ring? MR. JOHNNY (at a loss) The ring? BOB AND MOOK ARE WATCHING MR. JOHNNY'S PERFORMANCE They are deadpan mugs. BOB (to Mr. Johnny) A ring. That's right. MOOK I woulda sprung for a ring if it was me. BOBO AND EDDIE STAND NEAR THE KITCHEN WATCHING BOBO She's got him on his knees. He's ruining his suit. LORETTA AND MR. JOHNNY LORETTA You could use your pinky ring. MR. JOHNNY I like this ring. LORETTA You propose to a woman you should offer her a ring of engagement. Mr. Johnny takes off the ring and holds it out to her. MR. JOHNNY Loretta. Loretta Castorini Clark. On my knees. In front of all these people. Will you marry me? She meekly accepts the ring from him and takes his hands. LORETTA Yes, Johnny. Yes, John Anthony Cammareri. I will marry you. I will be your wife. Mr. Johnny slowly stands up, brushes off his knees. The restaurant has fallen utterly silent. Loretta smiles. They embrace. Loretta kisses him quickly. A MIDDLE-AGED WOMAN, SUSAN, IS MAUDLIN FROM THE PROPOSAL Bobo stands very near her table. She is about to applaud the proposal. She brings her hands together. Bobo's hand flashes out and neatly captures her hands before they can part again. The single sound dies abruptly in the silent room. LORETTA AND MR. JOHNNY Mr. Johnny is in control now. He looks around once, regally. MR. JOHNNY Bobo! The check! PERRY AND THE SHY WAITER LOOK AT MR. JOHNNY AND LORETTA PERRY I feel like I have just witnessed a car accident. The Shy Waiter sits down at Perry's table. SHY WAITER When I was twenty-seven years old, in Jersey City, I asked a woman to marry me. She had red hair. She smelled a jasmine. She wore black shoes with pointy white tips. PERRY What happened? SHY WAITER She didn't hear me. She asked me to repeat, so she could understand what I said. But I wouldn't repeat it. Outta shyness. So I'm a bachelor. MR. JOHNNY AND LORETTA He's helping her on with her coat. LORETTA What time is it? MR. JOHNNY Seven-thirty. LORETTA So we'll pick up the car, we'll make the plane in plenty of time. Mr. Johnny puts on his coat. MR. JOHNNY My mother will be happy I'm getting married. Bobo approaches with the bucket of champagne. He's flustered. BOBO I forgot to bring the champagne, Mr. Johnny. MR. JOHNNY I forgot to wave. We'll have it at the wedding. EXT. MIDTOWN TUNNEL - A CREAM COLORED LTD SPEEDING - NIGHT INT. THE CREAM LTD - NIGHT Loretta driving and Mr. Johnny sitting beside her. In the back seat are two suitcases. LORETTA What about the wedding? MR. JOHNNY My mother is dying. When she is dead, I'll come back and we'll be married. LORETTA How near is she to death? MR. JOHNNY A week. Two weeks. No more. LORETTA Then let's set the date. LORETTA How about a month from today? MR. JOHNNY Must it be so definite? Can't we just say that we will be married when I get back? LORETTA Where? At the City Hall? No! I want the whole wedding or we will have Bad Luck. For a whole wedding to be planned, a date must be set. MR. JOHNNY Alright. A month. In a month. LORETTA A month from today? MR. JOHNNY Yeah. LORETTA I'll take care of it, Johnny. I'll take care of the whole thing. All you have to do is show up. INT. A TERMINAL AT KENNEDY INTERNATIONAL AIRPORT - NIGHT CLOSE UP ON TV MONITOR - VIDEO INSERT Dialogue on clip: (Close-up on Ava Gardner & Gregory Peck kissing. Length of clip is 1:25) AVA Oh, you're not going. You're staying. GREGORY No, I'm going. AVA The Shawfish? GREGORY Just across the bay, at the fuel depot. The men wanted to try to get home. I can't explain. AVA Then, I suppose the time has come say it's been nice Dwight Lionel. It's been everything. Oh, Dwight, I'm frightened. GREGORY I know, I am so sorry for so many things. I love you, Moira. I love you. I love you. INT. A TERMINAL AT KENNEDY AIRPORT - NIGHT Many PEOPLE, most of them Italian, are lined up to board the plane. A VOICE can be heard over the P.A. system. VOICE (over P.A. System) International Flight Number Six-ohfour boarding for Rome and Palermo at Gate Twenty-six. MR. JOHNNY AND LORETTA ARE SAYING GOODBYE LORETTA Call me when you get in. MR. JOHNNY I'll call you when I get to Mama's house. LORETTA You've made me very happy, Johnny. He takes a piece of paper from his wallet. MR. JOHNNY There's one thing about this wedding I want you to do. Call this number. It's a business number. Ask for Ronny. Invite him to the wedding. LORETTA Who is he? MR. JOHNNY He's my younger brother. LORETTA You have a brother? MR. JOHNNY We haven't spoken in five years. There was some bad blood. I want you to call him and invite him to the wedding. Will you do it? LORETTA Sure. VOICE This is the last call for International Flight Number Six-ohfour boarding at Gate Twenty-six for Rome and Palermo. MR. JOHNNY I've got to go. He clumsily kisses her. Then he quickly turns and leaves. She waves, but he doesn't look back. EXT AIRPORT RUNWAY - NIGHT Close shot on plane's wheels and under belly as it slowly begins to move. Red lights are flashing. AN OLD ITALIAN CRONE IS LOOKING OUT THE TERMINAL WINDOW In the background we see the accordion like ramp that was loading to the departing aircraft, slowly fold up. Loretta walks up beside her, and looks out the window, too. The crone is dressed in black and has a black scarf on her head. The Crone notices Loretta. CRONE Do you have someone on that plane? LORETTA Yeah. (smiles) My fiancÈ. CRONE I have put a curse on that plane. My sister is on that plane. I have put a curse on that plane that it should explode. Burn on fire and fall into the sea. Fifty years ago she stole a man from me. Today she told me that she didn't even love him. She took him to feel strong with me. Now she goes back to Sicily. I have cursed her that the green Atlantic water should swallow her up. LORETTA I don't believe in curses. CRONE (smiles) Neither do I. The plane takes off. Loretta looks after it anxiously. All her hopes are on that plane. INT. A PARKING GARAGE IN LITTLE ITALY - NIGHT The LTD pulls into the entrance and Loretta gets out. An ATTENDANT appears. ATTENDANT Mr. Johnny's, right? LORETTA Right. The key's in it. ATTENDANT Good night. LORETTA Night. Loretta walks of into the night. EXT. THE SWEETHEART LIQUOR STORE - NIGHT Camera frames the window with a sweetheart in neon. EXT. THE SWEETHEART LIQUOR STORE - NIGHT Loretta walks up the street and enters the store. INT. THE SWEETHEART LIQUOR STORE - NIGHT Loretta walks in. IRV and LOTTE, the middle-aged couple who own and run the place, are having an argument. LOTTE I've seen how you look at her and it isn't right. IRV How do I look at her? (to Loretta) Can I help you? LORETTA A split of Moet. LOTTE (to IRV) Like a wolf. IRV (getting the split) Like a wolf, huh? You never seen a wolf in your life. IRV (to Loretta) That's seven-fifty-seven. Loretta pays and waits for her change. LOTTE I seen a wolf in everybody I ever met and I see a wolf in you. IRV (giving the change) That makes ten. Thanks. Have a nice night. LORETTA You, too. Loretta walks out. IRV You know what I see in you, Lotte? LOTTE What? IRV The girl I married. Lotte, caught off-guard, blushes. EXT. THE CASTORINI HOUSE - NIGHT It's a big, old eccentric, three-story corner house. To one side, it's got a qated arch that leads to an inner courtyard where three cars could park. It's got two cast-iron balconies. About a third of the windows in the house are lit. From within can be HEARD the faint strains of VICKI CARR SINGING and one DOG BARKING. Loretta appears, carrying champagne, approaches the front door, unlocks it, and goes in. INT. THE CASTORINI HOUSE - THE FRONT HALL - NIGHT MUSIC VICKI CARR is SINGING "IT MUST BE HIM." The front hall is typical of big old brownstones. There's a big old oak coat rack with a built-in mirror and an umbrella stand. There are several coats hanging from it. The floor is littered with boots. There's also a side table. On the table is a large cut-glass bowl filled with a couple of pounds of hard candy. Loretta comes in and takes off her coat. A single MAD HOWL is HEARD, followed by a PANDEMONIUM OF BARKING. FIVE DOGS charge into the hall to greet Loretta. They are totally cockeyed, crackpot mutts. Their names are JUDAS, LUCY, LEO FATBOY, AND JONES. LORETTA Hello, boys and girls. Guess what happened to me? The VOICE of the OLD MAN is heard calling out from upstairs. OLD MAN'S VOICE How long must I wait? Quanto tempo devo aspettare? The Five Dogs turn away from Loretta and charge up the stairs toward the voice. Loretta walks toward the living room. INT. THE CASTORINI HOUSE - LIVING ROOM - NIGHT This is the source of the Vicki Carr song, which is just ending. COSMO CASTORINI, Loretta's father is just turning off the old stereo. He is a powerful man, about 65, with a huge shock of white hair and gold wire glasses. He's wearing a big old red silk robe over blue pajamas, and royal blue slippers. The room it filled with lumpy upholstered furniture, once grand, now threadbare; shawls and doilies cover holes in failing fabric. There's a fireplace containing a dying fire. Cosmo's wing chair, with his newspaper on it, is beside a lit fringed lamp. Cosmo sees Loretta as she comes in. COSMO Hi. He sits in his chair and puts his feet up on an old needlepoint ottoman. He starts to read the paper. LORETTA Where's Ma? COSMO Bed. LORETTA You're not sleepy? COSMO I can't sleep anymore. It's too much like death. LORETTA Pop, I got news. Cosmo puts down the paper and takes his feet off the ottoman. COSMO Alright. Let's go in the kitchen. Cosmo gets up and heads for the kitchen. He hums and continues as Loretta opens champagne. INT. THE CASTORINI HOUSE - KITCHEN - NIGHT Loretta and Cosmo sit at the kitchen table. It's a big tin table with a black-and-white design. Loretta has put two old- fashioned champagne glasses on the table, the split of champagne, a bag of sugar cubes, and a bottle of bitters. She pours the champagne, drops a little lump of sugar into each glass, and adds a dash of bitters. She hands one of the drinks to Cosmo. LORETTA Here. (She Toasts) Ti amo. (Translated: I love you.) COSMO Ti amo. LORETTA You look tired. COSMO What's your news? LORETTA I'm getting married. COSMO Again? LORETTA Yeah. COSMO You did this once it didn't work out. LORETTA The guy died. COSMO What killed him? LORETTA He got hit by a bus. COSMO No! Bad luck! Your Ma and I been married fifty-two years an nobody died. You were married, what, two years, and somebody is dead. Don't get married again, Loretta. It don't work out for you. Who's the man? LORETTA Johnny Cammareri. COSMO Him? He's a big baby. Why isn't he here with you telling me? LORETTA He's flying to Sicily. His mother's dying. COSMO More Bad Luck! I don't like his face, Loretta. I don't like his lips. When he smiles I can't see his teeth. When will you do it? LORETTA In a month. COSMO I won't come. LORETTA You've got to come. You've got to give me away. COSMO I didn't give you away the first time. LORETTA And maybe that's why I had the Bad Luck. Maybe if you gave me away, and I got married in a church, in a wedding dress, instead of at the City Hall with strangers standing outside the door, maybe then I wouldn't had the Bad Luck I had. COSMO Maybe. LORETTA I didn't have no wedding cake, no reception or nothing. Johnny got down on his knees and proposed to me at The Grand Ticino. COSMO He did? LORETTA Yeah. COSMO That don't sound like Johnny. Where's the ring? Loretta shows it. Cosmo examines it. LORETTA Here. COSMO It looks stupid. It's a pinky ring. It's a man's ring. LORETTA It's temporary. COSMO Everything is temporary. That don't excuse nothing. LORETTA So you'll come to the wedding, right? COSMO Let's go tell your Mother. She smiles. He doesn't. They rise from the table. THE CASTORINI HOUSE - DARKENED MASTER BEDROOM - NIGHT The door to the hall opens, and the light from without dimly illuminates a massive four-poster bed. Cosmo enters, followed by Loretta. He speaks into the dark a calm and measured summons. COSMO Rose. Rose. Rose. Rose. A lamp is switched on by the bed. By ROSE. Rose is in her 60'S, and is very, very beautiful. Her abundant white tresses frame a face of porcelain delicacy. She's wearing an old and richly beautiful white nightgown. ROSE Who's dead? COSMO Nobody. Loretta is getting married. ROSE Again? Johnny Cammareri. Cosmo goes and sits on the bed. COSMO I don't like him. ROSE You're not gonna marry him, Cosmo. Do you love him, Loretta? LORETTA No. ROSE Good. When you love them they drive you crazy cause they know they can. But you like him? LORETTA Oh yeah. He's a sweet man. I wanna have a big church wedding, Ma. And a reception. ROSE And who's gonna pay for that? LORETTA Pop. COSMO WHAT? Rose starts laughing. LORETTA Father of the bride pays. Cosmo walks out. COSMO I have no money! ROSE You're rich as Roosevelt. You're just cheap, Cosmo. Cosmo shouts from the stairs. COSMO I won't pay for nothing. ROSE He didn't used to be cheap. He thinks if he holds on to his money, he will never die. LORETTA It's his duty as a father to pay for my wedding, Ma ... MUSIC VICKI CARR, SINGING "IT MUST BE HIM", starts playing. Rose looks weary. ROSE Now he's gonna play that damn Vicki Carr record. And then when he comes to bed, he won't touch me. EXT. THE CASTORINI HOUSE - MORNING The first golden rays of sunlight touch the great old house. The front door opens. Close shot of dogs coming into camera as door opens. The OLD MAN comes out. The Old Man, who is Cosmo's father, is 83 years old. He is taking the Five Dogs out for their morning walk. He has their five leashes bundled in one hand. In the other hand, even though it is a cloudless November morning, he open black umbrella. He walks off down the block with the dogs. EXT. A SMALL CITY PARK SURROUNDED BY HURRICANE FENCE - DAY The Old Man and the Five Dogs appear and enter the park. He approaches a park bench where FELIX and LUCY are already sitting. Felix and Lucy are about the same age as the Old Man. They each have a well-behaved DOG. When the Old Man sits down, he lets the Five Dogs go. The Dogs run off, BARKING like mad. FELIX It's wrong to just let them go. OLD MAN (ignoring Felix) Good morning, Lucy. LUCY Good morning. FELIX They run around, they mess up the whole park. OLD MAN What do you want me to do? Pick up after five dogs? I'm eighty-three years old. God in his heaven understands that I cannot pick up after five dogs. FELIX You have too many dogs. The dogs can be HEARD in the distance. It sounds like they're killing each other. OLD MAN (goes back to ignoring Felix) Lucy. There are big things going on in my house. My granddaughter Loretta, the only daughter of my son Cosmo, has engaged herself to be married a second time. LUCY I have heard that Johnny Cammareri got down on his knees in The Grand Ticino and proposed to her. OLD MAN My son does not like this Johnny Cammareri. He says he is a big baby. FELIX You should have one dog. Like Lucy. Like me. I wish I hadda gun. If I hadda gun, I would shoot four of your dogs. The Old Man makes a low, threatening noise. LUCY Don't fight. OLD MAN My granddaughter wants my son to pay for the wedding. But he does not want to pay. LUCY He should pay. OLD MAN I don't know. LUCY He owes her a wedding from the first time when there was none. OLD MAN Maybe. I don't know. He has not asked my advice. If he asks my advice, I don't know what I will say. The SOUND of the DOGS becomes intense again. FELIX I won't have to shoot those dogs. They will kill each other. OLD MAN You think so, huh, Stupid? Those dogs love each other. EXT. THE CASTORINI HOUSE - DAY The gates in the big archway are opened from the inside. It's Cosmo. He's wearing a good but old-fashioned suit, an overcoat, and a homburg. He's pulled his car, a 1965 black Buick, up to the gate. Now that he has the gates open, he gets in the car and drives out to the curb. He gets out and goes back to lock the gates. As he does this, the Old Man approaches the house with the Five dogs and the open umbrella. The Old Man and the Dogs go to the front door of the house. Cosmo goes to the door of his car. The two men, father and son, see each other at the moment they grab their respective door handles. They each raise a hand in greeting; it is the same gesture for both men, an eccentric chopping motion. Then they open their respective doors. The Old Man disappears within the house. Cosmo drives slowly away in his car. INT. THE CASTORINI HOUSE - KITCHEN - DAY A RED-HOT, WELL-SEASONED CAST IRON FRYING PAN Receives a big lump of butter with a hissing gasp of satisfaction. A wooden spoon pushes the sinking lump around until the pan is coated. Two square slices of yellow bread with round holes punched in their middles land in the pan. Two circles of green pepper land next to the bread. A spatula flips over the bread which has become glistening gold on the cooked side. Two eggs are broken and dropped sunnyside into the holes in the bread. The circles of green pepper are pushed around by the spatula, scooped up deftly, and each is made to frame one of the eggs. A WOMAN'S HAND garnishes each bright yellow yolk with a slash of red pimento. The spatula reappears and lifts the results from the pan, and slides them onto two small dark blue plates. Now WE SEE that Loretta is just finishing setting the tin table for two. In the b.g., Rose is turning away from the big, old-fashioned six range gas stove where an old speckled coffee pot is steaming up a sun-drenched window. Rose comes toward the table with the laden blue plates. She's wearing a nice old apron over a blue housedress. She's thoughtful. As Rose comes to the table, Loretta in a blue denim work shirt and pants, goes to the stove and gets the coffee. As Rose puts breakfast on the table, she speaks to Loretta, who's at the stove. ROSE Will you live here? LORETTA No. ROSE Why not? LORETTA Pop don't like Johnny. Loretta returns with the coffeepot to the table, and pours. Then she takes the pot back to the stove. ROSE So we'll sell the house. LORETTA I got married before, you didn't sell. Loretta comes to the table. They sit down to breakfast. ROSE Grandma was still alive. Chiro was still home going to school. Now he's married and gone to Florida. If you and Johnny moved in, had a baby... LORETTA I'm thirty-seven years old. ROSE What's thirty-seven? I had Chiro after I was thirty-seven. It ain't over till it's over. LORETTA Johnny has a big apartment. We'll live there. ROSE And we'll sell the house. LORETTA I'd like to stay, Ma. I love the house. But Pop don't like Johnny. ROSE No. He don't. The WALL PHONE in the kitchen RINGS. Loretta goes and answers it. LORETTA Hello? Yea, this is Loretta Castorini - yeah. Is that you Johnny? INT. A DARKENED BEDROOM IN PALERMO - DAY Mr. Johnny is calling on an old European-style phone. In the b.g. is the sickbed. In the sickbed lies VESTA, Mr. Johnny's mother, her grey hair spread out on a golden pillow. By the bed are THREE MOURNERS, old crones dressed in black. One clutches a missal, the other two clutch rosaries. All three are grieving in a steady low wordless whine. Mr. Johnny speaks into the phone in a confidential manner. There is some long-distance CRACKLE. MR. JOHNNY Ssh, it's me. I'm calling from the deathbed of my mother. LORETTA ON THE PHONE LORETTA How was your plane ride? MR. JOHNNY ON THE PHONE MR. JOHNNY The waitresses were very nice. (glances over at his mother) My mother is slipping away. LORETTA ON THE PHONE VESTA (calling to the Heavens) Quanto tempo devo aspettare? (now she aims more at Johnny) How long must I wait?! MR. JOHNNY I can't talk long. LORETTA Have you told her we're getting married? MR. JOHNNY ON THE PHONE MR. JOHNNY Not yet. I'm waiting till a moment when she's peaceful. We HEAR Loretta's VOICE over his receiver. LORETTA'S VOICE Just don't wait until she's dead. MR. JOHNNY Have you called my brother? LORETTA'S VOICE Not yet. MR. JOHNNY Will you do it today? Call him, make him come to the wedding. Five years is too long for bad blood between brothers. Nothing can replace your family. I see that now. LORETTA ON THE PHONE LORETTA Alright. I'll call him. Today. Listen, Johnny. Call me after you tell your mother. Alright? Alright. And don't stand directly under the sun. You've got your hat, use your hat. Alright. Bye-bye. Loretta hangs up the phone. She thinks. Rose speaks from the table, where she's still sitting. ROSE How's the mother? LORETTA She's dying. But I could still hear her big mouth. ROSE Did he tell her? LORETTA Not yet. That old lady makes him sweat. (to herself) Where's that card? Rose gets up and takes the dishes to the sink, Loretta fishes in her pocket and comes out with the business card Mr. Johnny gave her. She dials the number. ROSE Who Are you calling? INT. CAMMARERI PASTRY SHOP - DAY (INTERCUT W/LORETTA IN KITCHEN) CHRISSY, a woman with a Queens accent, answers. CHRISSY Cammareri's Bake Shop. LORETTA Is Ronny there? CHRISSY Hold on. (yells into intercom) Ronny, the phone! INT. CAMMARERI PASTRY SHOP - OVEN ROOM - DAY (INTERCUT W/LORETTA IN KITCHEN) RONNY Yeah, this is Ronny. LORETTA I'm calling for your brother Johnny. He's getting married and he wants you to come. There's a long pause. Ronny's voice returns, hoarse with emotion. RONNY Why didn't he call himself? LORETTA He's in Palermo. RONNY What's wrong can never be made right. (hangs up phone) LORETTA Let me come and talk to you. Loretta hangs up the phone. She looks at the card again, makes a decision and pockets the card. THE TOWNHOUSE/INT. THE BUICK - DAY As Cosmo drives away. He's in a very good mood. He's WHISTLING. He laughs to himself. CAMMARERI'S PASTRY SHOP - DAY And the street in front of it. Loretta arrives. She's wearing a long, navy-blue cloth coat and a knit hat. She looks up at the sign and at the business card in her hand, and enters the shop. INT. CAMMARERI'S PASTRY SHOP - DAY It's a nice Italian bake shop. Three Italian women, CHRISSY, BARBARA, and MA wait on THREE WOMEN SHOPPERS at the counter. CHRISSY and BARBARA are in their late 20's or early 30's; MA is old, old. Loretta comes in and speaks to CHRISSY. LORETTA Is Ronny Cammareri here? CHRISSY He down at the ovens. What do you want? LORETTA I would like to speak to him. EXT. CAMMARERI'S PASTRY SHOP - DAY Chrissy comes out and Loretta follows. They walk around to an outdoor staircase that descends into the sidewalk. Chrissy shouts down. CHRISSY Hey, RONNY. EXT. AN OLD DOOR AT THE FOOT OF THE STAIRCASE - DAY The door slides open, revealing ROCCO, a baker missing a few teeth. He is surrounded by bread. ROCCO What! CHRISSY'S VOICE Somebody to see Ronny. Rocco slides back the door all the way. Chrissy and Loretta make their way past him. He slides the door three quarters shut behind them. INT. THE BASEMENT OVEN ROOM - DAY There are two coal-fired ovens, one at either end of the room. There is a large wooden table roughly center. And various pieces of baking equipment, dough-mixers, etc., scattered willy-nilly. And everywhere there is bread. PIETRO, a baker, is working at one of the ovens with a long wooden spatula. RONNY is working at the other oven. Actually, he is just staring in the open door at the baking bread and burning coals. He's dressed in black jeans streaked with flour, a white restaurant shirt, white cotton gloves, and around his neck, a red handkerchief. He is black-haired, handsome and intense. ROCCO Ronny! RONNY What! ROCCO Somebody here to see you. Ronny turns and takes in Loretta. RONNY Have you come from my brother? LORETTA Yes. RONNY Why? LORETTA I'm going to marry him. RONNY You are going to marry my brother? LORETTA Yes. Do you want... RONNY I have no life. LORETTA Excuse me. RONNY I have no life. My brother Johnny took my life from me. LORETTA I don't understand. Everything in the oven room has stopped and everyone is watching. RONNY And now he's getting married. He has his, he's getting his. And he wants me to come? What is life? He picks up the wooden spatula and slides it into the oven. LORETTA I didn't come here to upset you. Ronny slides a bunch of loaves out of the oven on the spatula, turns them around, and slides them back in. RONNY They say bread is life. So I bake bread, bread, bread. (He's picking up loaves of bread from one of the boxes on the floor, and casually tossing them across the room.) And the years go by! By! By! And I sweat and shovel this stinking dough in and outta this hot hole in the wall and I should be so happy, huh, sweetheart? You want me to come to the wedding of my brother Johnny?!! Where is my wedding? Chrissy! Over by the wall! Gimme the big knife! CHRISSY No, Ronny! Barbara appears in the doorway and comes down the stairs into the room. RONNY Gimme the big knife! I'm gonna cut my throat! LORETTA Maybe I should come back another time. RONNY No, I want you to see this! I want you to watch me kill myself so you can tell my brother on his wedding day! Chrissy, gimme the big knife! CHRISSY I tell you I won't do it! RONNY (to Loretta) Do you know about me? BARBARA Oh, Mr. Cammareri! RONNY Nothing is anybody's fault, but things happen. (holds up his left hand to Loretta) Look. He pulls off the glove. The hand is made of wood. RONNY It's wood. It's fake. Five years ago I was engaged to be married. Johnny came in here, he ordered bread from me. I put it in the slicer and I talked with him and my hand got caught cause I wasn't paying attention. The slicer chewed off my hand. It's funny 'cause - when my fiancÈ saw that I was maimed, she left me for another man. LORETTA That's the bad blood between you and Johnny? RONNY That's it. LORETTA But that wasn't Johnny's fault. RONNY I don't care! I ain't no freakin monument to justice! I lost my hand, I lost my bride! Johnny has his hand, Johnny has his bride! You come in here and you want me to put away my heartbreak and forget? He goes to the big table, which is floured and covered with bread. He sweeps everything off the tabletop during the next. RONNY Is it just a matter of time till a man opens his eyes and gives up his one dream of happiness? Maybe. Maybe. All I have... Have you come here, Stranger, Bride of my Brother, to take these last few loaves from my table? Alright. Alright. The table is bare. He stares at it blankly. He wanders away, to the back room where the flour sacks are kept. We hear a single sob escape him from that room, and then silence. Everyone in the oven room looks after him. Then Chrissy approaches Loretta. She holds the big knife at her side. CHRISSY This is the most tormented man I have ever known. I am in love with this man. He doesn't know that. I never told him cause he can never love anybody since he lost his hand and his girl. She holds out the knife. CHRISSY Here. Why don't you just kill him? It would be so much more kind than coming here and inviting him to a wedding like he'll never have. Loretta considers Chrissy, decides what she's going to do, and goes to the flour room. INT. OF THE FLOUR ROOM - DAY Many 50 lb. bags of flour are stacked under a bare electric bulb. A rough stone staircase opposite is lit by daylight from above. Ronny, quietly distraught, stands leaning by his forehead against a stack of flour. Loretta approaches him. She feels for him. LORETTA Where you live? He points to the stone staircase. RONNY Upstairs. She touches his shoulder. LORETTA Come on. He follows her up the stairs. EXT. THE STAIRCASE ENTRANCE ON THE STREET Loretta and Ronny emerge. He gestures. They enter the apartment building behind the bakery. INT. THE PEACOCK CAFE ó DAY It's a dark Italian coffee and dessert house. Reproductions of Roman statuary adorn grottos and alcoves. In the back is a glass case displaying various desserts, and behind the case, a big burnished gold cappuccino machine. The place is almost empty. MUSIC An album of "NEAPOLITAN FOLK SONGS" is PLAYING on the cafe's SOUND SYSTEM. The CAMERA TRAVELS along the face of an exposed brick wall, DISCOVERING busts of Romans occasionally, and then IT COMES TO the figure of COSMO. He's sitting at a table which is inset into a nook, so we cannot see who he's with. DARK NOOK IN THE CAFE At a little table away from prying eyes, Cosmo sits with MONA, his girlfriend. Mona is a pretty but overripe Italian woman in her late forties. She's all done up, and she looks at Cosmo with adoration. COSMO And then there is copper, which is the only pipe I use. It costs money. But it costs money because it saves money. MONA And what did they say? COSMO The man understood me. The woman wanted to be cheap, but the man saw that I was right. MONA You have such a head for knowing. You know everything. COSMO I brought you something. He takes out a small velvet box and hands it to her. COSMO It's a present. She opens the box. It's a gold bracelet with a pattern of stars and birds. MONA Oh, Cosmo! COSMO They are little stars and birds. Birds fly to the stars, I guess. EXT. RONNY'S APARTMENT BUILDING - DAY A three-story walk-up above Cammareri's Bakery. INT. RONNY'S APARTMENT - DAY It's a two-bedroom apartment. The decor reflects Ronny's love of the opera. The furniture is overstuffed, fringed in the colors of Italian passion. But it is all a bit faded, the remains of an old flamboyance. The walls are decorated with opera posters; and over the fireplace there is a painting depicting a scene from "La Boheme": Mimi is standing in the snow. Ronny stares at the picture of Mimi in the La Boheme poster. Loretta comes in from the kitchen and sets down a cup of coffee. LORETTA You ready for the coffee? Loretta moves back into the kitchen. Ronny turns and watches as she walks down the hall. RONNY Loretta. What's that smell? LORETTA I'm making you a steak. RONNY You don't have to help me. LORETTA I know that. I do what I want. RONNY I like it well done. LORETTA You'll eat this bloody to feed your blood. INT. RONNY'S APARTMENT -DINING ROOM - DAY CU of Ronny's artificial hand, holding a fork stuck in a steak. With his right he is cutting his steak. He switches hands and eats hungrily. Loretta watches. RONNY This is good. Uhh... LORETTA Loretta. RONNY Where'd Johnny find you? LORETTA He knew my husband who died. RONNY How'd he die? LORETTA Bus hit him. RONNY Fast. LORETTA Instantaneous. RONNY When you get engaged? LORETTA Yesterday. Ronny drops his knife and fork and turns away. Loretta is not surprised and does not move. RONNY Why? LORETTA Why what? RONNY I don't know. LORETTA (smiles) So. Five years ago your hand got cut off and your woman left you for another man. No woman since then? RONNY No. LORETTA Stupid. RONNY When your husband get hit by the bus? LORETTA Seven years ago. RONNY How many men since then? LORETTA Just Johnny. RONNY Stupid yourself. LORETTA No. Unlucky. I have not been lucky. RONNY I don't care about Luck, you understand me? It ain't that. LORETTA What? Do you think you're the only one ever shed a tear? RONNY Why you talking to me? LORETTA You got any whiskey? How 'bout giving me a glass of whiskey? EXT. STREET NEAR BAKERY - DAY SHOT OF COSMO & MONA IN THE BUICK The car has just come to a stop. We see Cosmo & Mona kiss. She exits car. Cosmo glances around with a slightly guilty look and pulls away. LORETTA AND RONNY AT THE TABLE WITH A BOTTLE OF WHISKEY Camera is close on Scotch being poured into two glasses. Loretta picks up her glass and swallows a healthy dose. RONNY She was right to leave me. LORETTA You think so? RONNY Yes. LORETTA You really are stupid, you know that. Loretta pours herself another shot. RONNY You don't know nothing about it. LORETTA I was raised that a girl gets married young. I didn't get married until I was twenty-eight. I met a man. I loved him. I married him. He wanted to have a baby right away. I said no. Then he got hit by a bus. No man. No baby. No nothing! I did not know that man was a gift I could not keep. I didn't know... You tell me a story and you think you know what it means, but I see what the true story is, and you can't. (she pours them both another drink) She didn't leave you! You can't see what you are. I can see everything. You are a wolf! RONNY I'm a wolf? LORETTA The big part of you has no words and it's-a wolf. This woman was a trap for you. She caught you and you could not get away. (She grabs his wooden hand) So you chewed off your foot! That was the price you had to pay to be free. (throws his hand down) Johnny had nothing to do with it. You did what you had to do, between you and you, and I know I'm right, I don't care what you say. And now you're afraid because you found out the big part of you is a wolf that has the courage to bite off its own hand to save itself from the trap of the wrong love. That's why there has been no woman since that wrong woman. You are scared to death what the wolf will do if you make that mistake again! RONNY What are you doing! LORETTA I'm telling you your life! RONNY Stop it! LORETTA No! RONNY Why are you marrying Johnny? He's a fool! LORETTA Because I have no Luck! RONNY (pounding on the table) He made me look the wrong way and I cut off my hand. He could make you look the wrong way and you could cut off your whole head! LORETTA I am looking where I should to become a bride! RONNY A bride without a head! LORETTA A wolf without a foot! Ronny stiff-arms everything off the dining table and grabs Loretta. They kiss passionately. He pulls her up on the table and over the table to him. They are in each other's arms. They are on fire. Loretta pushes him away, gasping for air. LORETTA Wait a minute! Wait a minute! She changes her mind and lunges into another kiss. They stop again after a long moment. They really haven't breathed. They both suck in air and look at each other in wonder and fear and passion. RONNY It's like I'm falling! It's like I'm in the ocean! They kiss again. When they pull apart again, Loretta is crying. LORETTA I have no Luck! He picks her up in his arms. RONNY Son of a bitch! LORETTA Where are you taking me? RONNY To the bed. LORETTA Oh. Oh God. I don't care about anything. I don't care about anything! Take me to the bed. He carries her away, into the bedroom. MUSIC: "O SOAVE FANCIULLA", from "La Boheme." The MUSIC CONTINUES THROUGH THE NEXT SCENE. INT. RONNY'S APARTMENT - BEDROOM Ronny is laying her down in the bed. He is over her. They look into each other's eyes. RONNY I can't believe what is happening. LORETTA Me neither. RONNY I was dead. LORETTA I was dead, too. They kiss. When they part there is a drop of blood on Loretta's lips. RONNY Your blood. LORETTA All my life I have never reached a man. I knew that I would reach my husband, but I took my time and he was dead. Ronny. RONNY Loretta. LORETTA I want to cut you open and crawl inside of you. I want you to swallow me. RONNY I've got you. LORETTA Get all of me. Take everything. RONNY What about Johnny? LORETTA You're mad at him, take it out on me, take your revenge on me! Take everything, leave nothing for him to marry! Hollow me out so there's nothing left but the skin over my bones. Suck me dry! RONNY Alright. Alright. There will be nothing left. Their eyes are boiling with fierce animal tears. They have opened their souls to each other and they are coming together. The MUSIC SWELLS to a terrible triumph. EXT. THE CASTORINI HOUSE - NIGHT Dog whines over exterior. INT. THE CASTORINI HOUSE - AN UPSTAIRS BEDROOM - NIGHT With five beds for dogs. Four of the beds are empty and on the fifth Judas is whining. He looks around at the other beds. Where is everybody? He goes out the bedroom door. THE CASTORINI STAIRCASE - NIGHT Judas is running down the stairs and into the hall. We FOLLOW HIM down the hall. The hall is only dimly lit. He finds the four other dogs. They are crowded at a narrow doorway. From the doorway comes a golden light. INT. THE CASTORINI HOUSE - DINING ROOM - NIGHT THE PLEASED FACE OF COSMO THROUGH A VEIL OF STEAM The CAMERA PULLS BACK. We are in the Castorini dining room. Cosmo sits at the head of the table, a napkin tucked into his shirt. Rose has just laid down a massive platter of steaming baked fish. Already on the table is a platter of pasta, loaves of bread, a big bowl of salad, two bottles of wine, and an appetizer plate of salami and pimento. Seated at the table is COSMO, the Old Man, and RAYMOND and RITA CAPPOMAGGI. Raymond is rotund, moon-faced, bald, somewhere in his fifties. He has a pencil-thin mustache over his small mouth. His wife, Rita, looks very like him, except she has hair on her head and none on her lip. Raymond is Rose's brother. There are two empty places at table, for Rose and Loretta. COSMO Where's Loretta? We're gonna start without her. ONE OF THE ENTRANCE WAYS TO THE DINING ROOM There is an accordion gate across it. Behind the gate, the Five Dogs stare at the people having dinner. ROSE'S VOICE She must be eating out. RAYMOND'S VOICE She don't know what she's missing. ROSE'S VOICE It's not like her not to call. RITA'S VOICE Well, she's got a lot on her mind. THE DINING TABLE - RITA IS LOADING UP HER PLATE RITA I mean, can we talk about it, Rose? Everybody's heard. She's getting married again. COSMO I don't wanna talk about it. RAYMOND Johnny Cammareri. I think it's great and about time. What's she gonna do with the rest of her life she don't get married? COSMO I don't wanna talk about it. The Old Man has piled his plate high with food. Now he stands up, walks over to the Dogs, and puts the plate down in their midst. The Dogs attack the food and each other. The Old Man walks back to the table and sits down. He looks down at the empty place in front of him, a little sad. COSMO My father needs a plate. Rose gets another plate from a sideboard and puts it in front of the Old Man. He immediately, methodically begins to fill his new plate. Rose goes to her place and sits down. RAYMOND Cosmo. Many years ago, when they told me you were marrying my sister, I was happy. When I told Rose I was marrying Rita, she was happy. RITA Marriage is happy news. The Old Man laughs uproariously, subsides, goes back to filling his plate. COSMO Rose, pass the wine. RAYMOND I never seen anybody so in love like Cosmo back then! He'd stand outside the house all day and look in the windows. I never told you this cause it's not really a story. But one time I woke up in the middle of the night cause this bright light was in my face. Like a flashlight. I couldn't think a what it was. I looked out the window, and it was the moon! Big as a house! I never seen the moon so big before or since. I was almost scared, like it was gonna crush the house. And I looked down, and standing there in the street was Cosmo, looking up at the windows. This is the funny part. I got mad at you, Cosmo! I thought you brought this big moon over to my house cause you were so in love and woke me up with it. I was half asleep I guess and didn't know no better. COSMO You were altogether asleep. You were dreaming. RAYMOND No. You were there. Raymond stares at Cosmo, nodding, remembering. There's a lull at the table, the SOUND of SILVERWARE. COSMO I don't wanna talk about it. ROSE (suddenly angry) Well, what do you wanna talk about! COSMO Rita. Pass the wine. ROSE Why you drinking so much? The Old Man gets up with his newly filled plate and heads for the Dogs. ROSE Old Man, if you give another piece of my food to those dogs, I'm gonna kick you till you're dead! The Old Man reverses direction and heads back to his chair. He sits down and starts to eat. EXT. THE CASTORINI HOUSE - NIGHT Over the house is a great big full moon. INT. THE CASTORINI HOUSE - MASTER BEDROOM - NIGHT The lights in the bedroom are still on. Cosmo is in bed, in his pajamas, asleep. Rose comes in her nightgown. She looks at Cosmo. He's snoring lightly. ROSE Cosmo? He doesn't stir. She goes to him and runs her hand through his hair. ROSE You drank too much and now you sleep too hard, and later you'll be up when you should be down. She kisses his cheek. Then she turns out the lights. When the electric lights go out, moonlight floods the room. She goes to the window and looks out through the curtains at the moon. Rose puts her face in her hands and quietly cries. EXT. ROSE'S POV SHOT OF MOON FROM CASTORINI HOUSE - NIGHT RESUME INT. CASTORINI HOUSE - MASTER BEDROOM - NIGHT (Rose crying. INT. RONNY'S APARTMENT - BEDROOM - NIGHT The bedroom is flooded by moonlight. Loretta wakes up, a little alarmed. LORETTA What's that? Ronny wakes up, a little alarmed. RONNY What? LORETTA That light. RONNY I don't know. I think it's the moon. Loretta goes to the window wrapped in a white sheet from the bed. The window is glowing with moonlight. The moonlight strikes her, and she is caught in its spell. LORETTA Oh. Ronny appears behind her, pulling on a robe. They speak in low voices, as if they were in church. RONNY It's so bright. LORETTA I've never seen a moon like that. RONNY It makes you look like an angel. She turns and looks at him. They kiss. They break apart. Ronny looks up at the moon. RONNY Yeah. Looks like a big snowball. EXT. THE CAPPOMAGGI HOUSE NIGHT Shot of the house with the moon overhead. INT. RAYMOND AND RITA CAPPOMAGGI'S BEDROOM - NIGHT There is a big window right by the bed, and in the window is the moon. Raymond and Rita are in their bed, asleep. Raymond wakes up, and sees the moon in the window. He's stunned and excited, but he too speaks in this low voice of respect. RAYMOND Rita. Rita. RITA (waking up) What? What? RAYMOND Look. RITA Oh. RAYMOND It's Cosmo's moon. RITA What are you talking about, Raymond? Cosmo can't own the moon. RAYMOND I mean it's that moon I was talking about at dinner. (looks through the window, down into the street) Is he down there? No. RITA Is who down there? RAYMOND Cosmo. RITA What would he be doing down there? RAYMOND I don't know. RITA You know, in this light, and with that expression on your face, you look about twenty-five years old. Raymond smiles at her meekly. EXT. THE CASTORINI HOUSE - NIGHT Over the house is still the great big full moon. The front door opens and out comes the Old Man with the five Dogs. The Old Man is in a greatcoat and a felt hat, and he's smoking a cigar. He stops on the top step and lets go a huge plume of cigar smoke. Then he starts off with the Dogs down the street. EXT.. EAST RIVER - NIGHT The moon and nothing else. Then a cigar is thrown into it and sends it shimmering. It was the moon reflected in water. Now the CAMERA PULLS BACK and WE SEE the Old Man and the Five Dogs are standing on a ruined pier. The moon gleams up from the Hudson River. The Old Man speaks to the Dogs. OLD MAN Alright now. Howl. Howl. The Dogs do not howl. So the Old Man, by way of demonstration, howls at the moon. He looks to the Dogs to follow suit. They do nothing. He howls at the moon again. The Dogs do nothing. The CAMERA CONTINUES TO PULL BACK until WE CAN SEE the whole pier, with the Old Man and the Dogs on it, and the moon above them. The Old Man, frustrated now, cries out. OLD MAN How long must I wait? Quanto tempo devo aspettare! The Dogs start to HOWL. The Old Man, pleased as the Mad Hatter he is, laughs and laughs. EXT. EAST RIVER - DAY Transition from moon reflecting in the water to dawn. INT. RONNIE'S APARTMENT - BEDROOM - DAY Morning sun floods the room. Close on Loretta, she wakes up. LORETTA Oh my God. RONNY What? Loretta jumps from bed, grabs her clothes to cover herself, and backs into closet. LORETTA What? What have we done? RONNY (perturbed) Take it easy. LORETTA (from closet as she hurriedly gets dressed) This time I was trying to do everything right. RONNY (he grabs a bathrobe, pulls it on, puts it on and moves towards the closet.) Don't just become excited. LORETTA I thought if I stayed away from the City Hall, I won't have that Bad Luck I had again. RONNY You're trying to make me feel guilty. LORETTA I'm marrying your brother! RONNY All right, I'm guilty. I confess! LORETTA You're invited to the wedding! It's in a few weeks. Why didn't you do like him and be with your dying mother in Palermo? RONNY She didn't like me. LORETTA You don't get along with anybody! RONNY What did you do? LORETTA What did I do? RONNY You ruined my life. LORETTA That's impossible! It was ruint when I got here! You ruint my life! RONNY Oh no I didn't! Loretta emerges from the closet, tucking in her blouse. LORETTA Oh yes, oh yes you did! You've got those bad eyes like a gypsy! Why didn't I see it yesterday! Bad Luck! Is that all I'm ever gonna have? Why didn't I just pick up a stone and kill myself years and years ago? I'm gonna marry him! RONNY What? LORETTA Last night never happened, you hear me? I'm gonna marry him anyway and last night never happened, and you and I are gonna take this to our coffins! RONNY I can't do that! LORETTA Why not? RONNY I'm in love with you! Loretta stares at him in alarm, slaps his face, then studies his face to see the effect of the slap. She is dissatisfied and slaps him again. LORETTA Snap out of it! RONNY I can't! LORETTA Alright. Then I must never see you again. The bad blood will have to stay there between you and Johnny for all time. You won't come to the wedding. RONNY I'll come to the wedding. LORETTA I'm telling you you can't. RONNY But he wants me to come! LORETTA But that's cause he don't know! RONNY Alright. I will not come. Provided one thing. LORETTA What? RONNY That you come with me tonight. Once. To the Opera. LORETTA What are you talking about? RONNY I love two things. I love you, and I love the Opera. If I can have the two things that I love together for one night, I will be satisfied to give up the rest of my life. LORETTA Alright. RONNY Alright. Meet me at the Met. LORETTA Alright. Where's the Met? CATHOLIC CHURCH IN LITTLE ITALY - DAY Camera moves from stained glass windows to confessional. Loretta is next in line of THREE SINNERS waiting to go into the confessional. A FORGIVEN WOMAN emerges from the curtained booth and walks off to pay her penance. Loretta goes into the booth. INT. CHURCH - CONFESSIONAL - DAY Loretta kneels. The slide opens and an OLD PRIEST'S FACE can be seen in outline through the screen. LORETTA Bless me, Father, for I have sinned. It's been two months since my last confession. PRIEST What sins have you to confess? LORETTA Twice I took the name of God in vain, once I slept with the brother of my fiancÈ, and once I bounced a check at the liquor store -- but that was really an accident. PRIEST Then it was not a sin. But what was that second thing you said, Loretta? LORETTA I... a... slept with my fiancÈ's brother. PRIEST That's a pretty big sin. LORETTA I know. PRIEST You should think about this. LORETTA I know. PRIEST Alright. This is your penance. Say two rosaries and... be careful, Loretta. Reflect on your life. LORETTA Alright. PRIEST I absolve you in the name of the Father, and of the Son, and of the Holy Spirit, Amen. INT. CHURCH - DAY Loretta comes out of the confessional and enters a pew. She crosses herself. Then she recognizes the back of a woman's head a few pews down. She gets up, walks down the aisle, and kneels down next to her mother, Rose. LORETTA Hi. ROSE (looking up from her prayers) Where you been? LORETTA I don't wanna talk about it. ROSE Just like your father. I lied to him. He thinks you came home last night. LORETTA Thanks. What's the matter with you? ROSE Cosmo's cheating on me. LORETTA What! How do you know? ROSE A wife knows. LORETTA Then you don't know. You're just imagining it. He's too old. Rose starts to reply, but then decides it's not worth the argument. LORETTA I won't be home for dinner. Loretta crosses herself quickly, gets up, and leaves. Rose looks after, and then goes back to her prayer. INT. CAMMARERI'S BAKERY - DAY Feminine hands apply the final decorative touches of blue icing to a wedding cake. Then the hands set the plastic bride and groom on the pinnacle. The CAMERA PULLS BACK. Barbara is viewing her handiwork, a wedding cake on a stainless steel wheeled cart. She's in the back part of the bakery. Barbara is pleased with her creation. We TRAVEL WITH HER as she rolls the cart out to the front of the store where Chrissy is waiting on a huge man named HARVEY. She hands him a tiny box, which he takes meekly. HARVEY See you tomorrow, Chrissy. CHRISSY Okay, Harvey. Harvey lumbers off as Barbara enters the front of the store with the cake on its cart. Barbara calls Chrissy's attention to the cake. BARBARA So what do you think? CHRISSY About what? BARBARA The cake! CHRISSY (without enthusiasm) Where's Ronny? How come he ain't come down? BARBARA How should I know? The PHONE RINGS. Chrissy answers it. CHRISSY Hello, Cammareri's? Hi. Uh-huh. Okay. She hangs up. CHRISSY That was Ronny. He don't feel good. He ain't gonna be down today. Chrissy comes out from behind the counter. She's staring at the cake. BARBARA What, is he still upset? Without warning, Chrissy whacks the little bride and groom off the cake and on to the floor. CHRISSY It's that bitch! Barbara looks at her, shocked. EXT. CAPPOMAGGI'S ITALIAN PROVISIONS - DAY An Italian specialty store in Little Italy. INT. CAPPOMAGGI'S STORE - DAY Provolones and salamis hang from above. To the one side is a deli counter, to the other a series of tables displaying cheeses by the pound, packaged cakes, etc. In the back are a few tables and a kitchen with counter. Up front, behind the deli counter, stands Rita Cappomaggi in a blue apron. Out by the tables, Raymond unpacks some jars of olives. In the back, a TRUCK DRIVER can dimly be seen eating his lunch. RAYMOND (to Rita) I feel great I got no sleep but I feel like Orlando Furioso! RITA (looks around cautiously, then speaks) You were a tiger last night. RAYMOND And you were a lamb. As soft as milk. RITA Shut up. They'll hear you in the back. RAYMOND So what? The pleasure of marriage is you sleep with the woman and then you don't worry about nothing. Hey, how about a date tonight, Rita. Let's eat pasta and roll around. RITA (scandalized) Raymond, Raymond, lower your voice! What's got into you? RAYMOND I don't know! That moon! That crazy moon Cosmo sent over! Loretta walks in. LORETTA Hi. RAYMOND Hey there (sings) ...YOU WITH THE STARS IN YOUR EYES... LORETTA (to Rita) What's the matter with him? RITA You got me. RAYMOND You see that moon last night? LORETTA (suspicious and guilty) What about the moon? RAYMOND Did you see it? LORETTA (she lies, nervous) No. RAYMOND Oh. LORETTA Listen, I gotta go. I'll take the deposit to the bank but I'll do the books tomorrow. I gotta go. RAYMOND You gotta date? RITA What are you talking about, you fool? Her fiancÈ's in Palermo. RAYMOND Oh. Right. LORETTA I got things to do. RITA Sure you do. You got all that wedding stuff. LORETTA Right. RAYMOND Well, that's romantic, too. (SINGS) ...ISN'T IT ROMANTIC... He is walking towards the back now. He shouts to somebody in the kitchen. RAYMOND HEY. Make me a bowl of minestrone. The women are left alone. RITA What's the matter? You look crazy. LORETTA I got a lot on my mind, Aunt Rita. INT. A CHURCH BASEMENT It's been set up for a church bazaar. There are several wheels of fortune, many stuffed animals, coffee urns, cakes, a game of ring toss, etc. AS THE CAMERA inventories the contents of the various stands -- a LITTLE NUN sleeps in one of them -- we HEAR the Old Man's VOICE. OLD MAN'S VOICE I've got a lot on my mind. Things are getting bad in my house. My daughter-in-law is mad at my son because he will not pay for the wedding. A TUB OF APPLES FLOATING IN WATER An old, gnarled hand reaches in and pulls one out, dries it with a towel. The CAMERA PULLS BACK REVEALING that the hand belongs to Lucy, who is standing behind a table with the Old Man and Felix. She hands the apple to the Old Man, who drives a small wooden stake into it with a little wooden hammer. Then the Old Man hands this staked apple to Felix, who dips it into a deep metal pot. It emerges shining with red candy goo. Then Felix sets the candled apple onto a papered tray where a dozen already sit. They repeat this process. But the Old Man, because his thoughts are elsewhere, takes forever to drive the stake into the apple. This frustrates Felix. OLD MAN At dinner, my daughter-in-law threatened to kill me. Things are very bad in my house. FELIX Hurry up. LUCY Don't fight. OLD MAN If I hit the stick too hard, the apple will split. If I am too timid, the apple will fall off the stick. FELIX We're supposed to do fifty apples. We only got twelve done. OLD MAN I don't know what to advise my son. I think he should pay for the wedding, but it is important that he don't look ridiculous. LUCY Don't make yourself sick. OLD MAN Cosmo drank five glasses of wine at dinner. LUCY Talk to him. OLD MAN I will. But I must find the right moment. LUCY Did you see the moon last night? The Old Man's eyes light up. He looks at Lucy. OLD MAN Yes! FELIX (in despair) Hurry up, hurry up. We open in five minutes. INT. CAPPOMAGGI'S STORE - DAY EIGHT NEAT STACKS OF MONEY BEING RUBBERBANDED By a woman's hands. The last stack is topped with a filled out deposit slip. The banded stacks are then stuffed into a night-deposit bag. The CAMERA PULLS BACK a bit to INCLUDE a ledger. A last entry is made, and the ledger is shut. The CAMERA PULLS BACK more, and now WE SEE Loretta reaching for her coat. She puts it on, picks up the deposit bag, and sees Rita. LORETTA Bye, Aunt Rita. RITA Bye, bye, honey. See you tomorrow? LORETTA Yeah, I'll be in. Loretta goes out the door, with Rita looking after, thoughtful. EXT. THE CINDERELLA BEAUTY SHOP - DAY Loretta walks-down the street and comes to the CINDERELLA BEAUTY SHOP, fidgets a moment, looks around to see if anybody's looking, and goes in. WE SEE her through the window talking to MILDRED, who handles appointments. Mildred nods, points, and Loretta goes back into the store. INT. CINDERELLA BEAUTY SHOP - DAY WE DISCOVER an uneasy Loretta sitting in a beauty chair with BONNIE, her hairdresser about to start. Bonnie is a little bored. BONNIE So? You want the usual? LORETTA I want you to get rid of the grey. TRANSFORMATIONAL MUSIC STARTS HERE AND CONTINUES THROUGH THE FOLLOWING SCENES. This music should convey that Loretta is turning from a frumpy pumpkin into a sleek and beautiful coach. Bonnie wakes up upon hearing this startling news and gets very excited. BONNIE I've been wanting to do this for three years! Let me show you some magazines! You've got to get a manicure! And your eyebrows! Sheila! I'm gonna need help! SHEILA, another beautician, joins Bonnie, and they both get very excited and start showing Loretta and each other magazines. They argue merrily about what they should do, leaving Loretta far behind. A MANICURIST joins them, with her stuff and starts soaking Loretta's nails. A MONTAGE FOLLOWS They're plucking her eyebrows. They're cutting and dying her hair. They're painting her nails. EXT. CINDERELLA BEAUTY SHOP-DAY Loretta comes out. Her hair is jet black and done in a much more stylish way. She looks great. She looks around as if she has committed a crime, and walks off quickly EXT. A DOWDY DRESS SHOP - DAY Loretta looks in the windows, is dissatisfied, and walks on. EXT. A BOLD DRESS SHOP - DAY A stylish dress shop called INSINUATION. Loretta looks in the window, is intimidated, and walks on. A moment passes. She reappears. Tentatively, she enters. INT. INSINUATION - DAY Loretta approaches a young woman, MER, who works there. Mer is about thirty, trendily dressed, and French. Mer and Loretta greet and talk. Loretta makes vague gestures trying to convey what she wants, but the truth is she doesn't know what she wants. Mer takes the situation in hand. There follows a MONTAGE of Mer showing Loretta various dresses, some outlandish, some beautiful, some incomprehensible. Loretta tries on several of the dresses in a big triple mirror. Some horrify her, some frighten her because they're so sexy, one bores her. We don't see the dress that she ultimately does buy. EXT. INSINUATION - DUSK Loretta walks out with a big shopping bag. She walks away down the street. WE FOLLOW Loretta away down the street. She comes to a BRIDAL SHOP with a big bride dummy shown off in the window She stops and looks at the bride. She walks close to the window and stares in hard. Then she slowly backs up from the bride. Two NUNS are walking by. Loretta, backing up from the dummy, bumps into the Nuns. She's flustered, makes a brief apology, and hurries away, casting a furtive last glance at the shop window. END OF MUSIC THE TRANSFORMATIONAL MUSIC COMES TO A CLOSE. EXT. THE CASTORINI HOUSE - DUSK Night is falling. Loretta appears and enters the house. INT. THE CASTORINI HOUSE - THE FRONT HALL - NIGHT As Loretta enters she drops her bag and, as she takes off her coat, calls. LORETTA Ma! Grandpa! No? Okay. A SINGLE BARK is HEARD from the top of the stairs. She looks up. A WOODEN ACCORDION GATE SEALS OFF THE TOP OF THE STAIRS Visible behind the gate are a couple of dogs. INT. THE CASTORINI HOUSE - KITCHEN - NIGHT Loretta goes through a door and into the kitchen. She opens the refrigerator and a cabinet, and makes herself a scotch on the rocks. She sips it and starts to HUM in an understated way. She takes her drink and wanders out of the kitchen. LORETTA WALKS INTO THE LIVING ROOM She walks to each lamp in the room and turns it on. There are many table and standing lamps throughout the room. LORETTA IS LIGHTING THE FIRE Which was already built in the fireplace. It catches on nicely. She puts her drink down and gets a big standing antique mirror on rollers from its place against the wall. She wheels it to a central place in the room. Satisfied, she picks up her drink again, leaves the room for a moment, and then returns with her shopping bag. She throws it on a chair. Then she goes to the stereo and looks through the albums. She selects one and puts it on. MUSIC Loretta waltzes around in front of the mirror, flirting with herself in a very serious way. She starts to unbutton her blouse. EXT. THE CASTORINI HOUSE - NIGHT The moon is overhead as music continues to PLAY. The CAMERA SOARS UP CLOSE to the moon, until it completely FILLS THE FRAME with its magic. The moon dissolves into: INT. THE CASTORINI LIVING ROOM - NIGHT CLOSE-UP of LORETTA'S FACE as she puts the final touches on her make-up. Music continues to PLAY. The CAMERA PULLS BACK. WE SEE her full figure. She has changed into her evening dress and put on her heels. She's swaying to the music. The evening dress is sensational. She leans forward and kisses the mirror. WE SEE THE LIPSTICK KISS ON THE MIRROR In the mirror, all around the kiss, is reflected the fire. EXT. EAST RIVER NIGHT The moon is reflected in the water as WE SEE the dock of the night before. We can SEE Jersey lit up across the river. But then something starts to replace Jersey. It's a huge white liner coming down the river now, all of her lights burning, heading back out to sea. FLASHBULBS go off along the deck. We watch the length of the great ship pass as the MUSIC PLAYS END OF MUSIC EXT. LINCOLN CENTER PLAZA - NIGHT LINCOLN CENTER - LORETTA'S POV CROWDS OF PEOPLE in beautiful clothes fill the plaza created by the three great buildings. A glorious fountain filled with lights forms the centerpiece. Behind the fountain, grand and splendidly lit, is the magical Metropolitan Opera House. Two huge Chagalls, one to the right and one to the left, inhabit the face of the building, filling it with marvelous color. LORETTA COMES TO THE FOUNTAIN The fountain is quiet and dark now. Loretta is puzzled. She remembers that it was going. While she looks, it lights up. Then small jets of water begin to appear. Then larger jets. Then with a roar the central shaft of water rises high, higher into the night sky. She follows the column of water with her eyes up into the sky. Right above the crest of the water, like a beanball on a seal's nose, is the moon. FROM OVER LORETTA'S SHOULDER WE SEE THE RUSHING WATER Forming an opaque wall before her. Then the fountain, for its next piece of aquatic choreography, drops away to nothing quite suddenly. And there, facing Loretta, on the opposite side of the fountain, is Ronny. He's looking incredibly handsome and dashing in a tuxedo and topcoat and, of course, gloves. He smiles slightly and raises a hand in greeting. Loretta, caught off guard, smiles brilliantly at him. Then she remembers her situation and starts to put on her usual serious expression. But the fountain has rushed up into the sky again, obscuring her attempt at composure from, Ronny. Ronny COMES INTO VIEW again, walking toward Loretta around the fountain's perimeter. He comes close to her. RONNY Hi. LORETTA Hi. RONNY You look beautiful. Your hair... LORETTA I thought I'd try it. (qrudgingly) You look good. RONNY Thank you. He goes to kiss her. She takes a step back. LORETTA I said I'd go to the opera with you. Nothing else. Ronny immediately relents, gently takes her arm, and they walk off in the direction of the opera house. ONE OF THE CHAGALL'S FROM IMMEDIATELY IN FRONT OF THE MET Ronny and Loretta looking up at it. LORETTA Who painted that? RONNY Marc Chagall. A Russian. LORETTA Kinda gaudy. RONNY He was having some fun. Yeah, well he's dead. (he smiles) Come on, let's go in. Ronny and Loretta join the crowd streaming into the building. INT. THE OPERA HOUSE - NIGHT Ronny and Loretta enter, giving tickets to usher. INT. OPERA HOUSE - COATCHECK - NIGHT Ronny and Loretta checking their coats. Ronny's coat is already off, and he's helping Loretta off with hers. He hands her coat to the CHECKER and pockets the check. Then he turns and sees Loretta in her dress for the first time. He's stunned by her beauty. He's at a loss. He mumbles. RONNY Thank you! LORETTA For what? RONNY I don't know. For your hair. For your beautiful dress. For... you know, I feel like a man again. You know I love the Opera. You know it's been a long time since I've been to the Opera. His eyes are bright with tears. Loretta is touched and starts to put her hand out to him. But she stops herself. LORETTA So. Where are we sitting? RONNY Come on. He takes her arm. They pass under the great chandelier and go into the house. THE OPERA HOUSE - NIGHT THE CAMERA PICKS OUT A SERIES OF COUPLES The first couple is PEGGY and CLIVE, a very distinguished pair of silver-haired lovers dressed magnificently. They are in their seats, delighted to be where they are, holding hands. Next is the CELEBRITY COUPLE. Maybe Jackie O and her son, John. They are seated and people are looking at them. Next is Cosmo and Mona. Cosmo is helping Mona to sit down, something she could probably handle herself. He's wearing good but old-fashioned suit. She is in a dress that makes her look like a big piece of hard candy. Next is Ronny and Loretta. They are sitting in the first row of the First Circle; in other words, very good seats. They are holding their programs. Loretta opens her program. THE OPEN PROGRAM - LORETTA'S POV The opera is LA BOHEME. But then the page fades away into the dark as the house lights go down. WE SEE RONNY AND LORETTA FROM BEHIND Ronny leans his head toward her and whispers. RONNY Here we go. As the lights come up in the orchestra pit. The CONDUCTOR takes his place. The AUDIENCE APPLAUDS. He bows and turns to the orchestra. The OVERTURE begins and PLAYS UNDER NEXT. EXT. THE GRAND TICINO - NIGHT The OVERTURE PLAYS THROUGH this ESTABLISHING SHOT and then FADES AWAY at the start of the NEXT SHOT. WE SEE Rose enter the restaurant. INT. THE GRAND TICINO - NIGHT The dinner crowd is in and most of the tables are occupied. The entranceway door opens and Rose enters. She's got herself up very nice. The host, JIMMY, quickly approaches her. She's very dignified. JIMMY Hello, Mrs. Castorini. Who's coming? ROSE It's just me. I want to eat. JIMMY Okay. JIMMY I got a table for you right now. Jimmy leads her to a table for two against the wall. JIMMY This alright? ROSE Fine. He seats her. JIMMY Enjoy your meal. Jimmy breezes off. There's another table-for-two against the wall to Rose's front. WE SEE a woman's back from Rose's POV, and a pretty head of hair. This woman, whose name is SHEILA, is having an argument with the man across from her. But the man's face is blocked by Sheila's back and head, and the argument is too low to be made out. Bobo approaches Rose's table. BOBO Good evening Mrs. Castorini. You eating alone tonight? ROSE Hello, Bobo. Yes. Let me have a martini, no ice and two olives. BOBO Very good. Bobo heads off for the bar. The couple at the next table catches Rose's attention again, and their argument becomes a little louder. SHEILA'S VOICE I'm trying to explain to you how I feel. Every time I try to explain how I feel, you explain how you feel. I don't think that's really much of a response. UNSEEN MAN'S VOICE Well, its the only response I've got. Bobo reappears with the martini and serves it. BOBO You wanna see a menu? ROSE Not yet. I'll wave. Bobo is gone. Rose is mildly intrigued with the argument at the next table now. She tries to see past Sheila, to see the man, but she can't without making too big a move. The argument goes on. SHEILA'S VOICE I really do hate it though, when you take that tone with me. Like you're above it all and isn't it amusing. MAN'S VOICE But it is, isn't it? SHEILA'S VOICE Not to me! This is my life, no matter how damned comical it may seem to you. I don't need some man standing above the struggle while I roll around in the mud! MAN'S VOICE I think you like the mud and I don't. That's fair, isn't it? If I don't care to... Sheila stands up abruptly and flings a glass of water in the man's face. She pulls her coat off the back of her chair and stalks off. This whole operation took about two seconds. When she stalks off, the face of the man becomes visible to Rose for the first time. It's Perry, the professor in his 50's, who appeared and was treated in a similar way in the earlier scene in this restaurant. His face is covered with beads of water. He pats his face with his napkin and apologizes to CUSTOMERS at neighboring tables. PERRY Sorry about that, folks. She's a very pretty mental patient. The Shy Waiter arrives to assist Perry in drying himself. PERRY Don't mind about me. But could you do me a favor and clear her place and take away all evidence of her, and bring me a big glass of vodka? SHY WAITER Absolutely! The Shy Waiter heads for the bar. For the first time, Perry notices Rose. They are facing each other with no obstacles in the way now. PERRY I'm sorry if we disturbed you. ROSE I'm not disturbed. By you. PERRY My lady friend has a personality disorder. ROSE She was just too young for you. The Shy Waiter serves Perry his drink. PERRY (to the Waiter) Thanks, comrade. SHY WAITER It's nothing! The Shy Waiter goes. PERRY (Rose's comment strikes home) Ouch. Too young! I just got that. You know how to hurt guy. How old are you? ROSE None of your business. He drops his posturing. PERRY Sorry. That was rude. ROSE Will you join me for dinner? PERRY Are you sure? She nods. PERRY Then I'd be delighted. I hate eating alone, and it's amazing how often I end up doing just that. ROSE AND PERRY ARE HALFWAY THROUGH THEIR DINNER ROSE What do you do? PERRY I'm a professor. I teach communications at N.Y.U. ROSE That woman was a student of yours? PERRY Sheila? Yes she was. Is. Was. ROSE There's old saying my mother told me. Would you like to hear it? PERRY Yes. ROSE Don't shit where you eat. PERRY (taken aback, then recovering) I'll remember that. What do you do? ROSE I'm a housewife. PERRY Then why are you eating alone? ROSE I'm not eating alone. Can I ask you a question? PERRY Go ahead. ROSE Why do men chase women? PERRY (considers) Nerves. ROSE I think it's because they fear death. PERRY Maybe. Listen. You wanna know why I chase women? I find women charming. PERRY I teach these classes I've taught for a million years. The spontaneity went out of it for me a long time ago. I started off, I was excited about something and I wanted to share it. Now it's rote, it's the multiplication table. Except sometimes. Sometimes I'm droning along and I look up, and there's this fresh young beautiful face, and it's all new to her and I'm this great guy who's just brilliant and thinks out loud. And when that happens, when I look out among those chairs and look at a young woman's face, and see me there in her eyes, me the way I always wanted to be and maybe once was, then I ask her out on a date. It doesn't last. It can go for a few weeks or a couple of precious months, but then she catches on that I'm just a burnt out old gasbag and that she's as fresh and bright and full of promise as moonlight in a martini. And at that moment, she stands up and throws a glass of water in my face, or some action to that effect. ROSE What you don't know about women is a lot. INT. THE OPERA HOUSE-LOBBY-NIGHT INTERMISSION. THRONGS OF PEOPLE talking, talking, talking. Piled up at the bars to get drinks. INT. OPERA HOUSE - LOBBY/WOMEN'S BATHROOM - NIGHT Outside the women's bathroom, with its huge line waiting to get in. INT. OF THE WOMAN'S BATHROOM Loretta and THREE OTHER WOMEN freshen their makeup before a mirror. The woman next to Loretta leaves and is replaced by Mona. Mona and Loretta stand side by side freshening their makeup. INT. OF THE OPERA HOUSE - LOBBY - NIGHT MANY PEOPLE pressing to the bar to buy drinks. Cosmo and Ronny achieve the bar's perimeter at the same moment, and start to order. INT. OPERA HOUSE - LOBBY - NIGHT A CONCESSIONAIRE selling special glossy LA BOHEME programs. ELSEWHERE IN THE LOBBY DURING INTERMISSION Ronny and Loretta are standing by a column holding drinks. Loretta is looking around. LORETTA They get some turnout for this stuff. RONNY It's the best thing there is. LORETTA I like parts of it, but I don't really get it. IN ANOTHER PART OF THE LOBBY DURING INTERMISSION Cosmo and Mona are sitting on a bench. MONA You haven't once said you like my dress. COSMO I like your dress. (he thinks) It's very bright. He looks around. MONA Why you looking around so much? COSMO I don't know. I got a feeling. MONA I'm wearing your bracelet. He nods, still looking around. CHIMES SOUND THROUGHOUT LOBBY Indicating the end of intermission. The Audience starts to file back into the theatre. EXT. THE GRAND TICINO - NIGHT Rose and Perry emerge from the restaurant. PERRY May I walk with you a ways? ROSE Sure. They set off to the left. EXT. THE CASTORINI HOUSE - NIGHT The door opens, and the Old Man comes out, in his great coat and hat, with the Five dogs. He strikes off to the right. EXT. STREET I - NIGHT Rose and Perry come around a corner and pass a store. They pause and look at the Christmas decorations in the window. They continue walking. EXT. STREET II - NIGHT The Old Man and the Dogs have stopped by a big tree. Which the dogs adore. EXT. STREET I - NIGHT Rose and Perry walking. They exit camera left. EXT. STREET II - NIGHT The Old Man drags the Dogs away from the tree and sets off camera right. EXT. STREET I - NIGHT Rose and Perry walking to the left. EXT . STREET II - NIGHT The Old Man and the Dogs walking to the right. EXT. STREET I - INTERSECTION OUTSIDE LAUNDROMAT - NIGHT Rose and Perry are walking towards camera. Rose stops short, stunned and alarmed by what she sees before them. EXT. STREET II - INTERSECTION OUTSIDE OF LAUNDROMAT - NIGHT The Old Man pulls up the Dogs. Aghast by what he sees before him. EXT. STREET III - INTERSECTION OUTSIDE LAUNDROMAT Perry and Rose face the Old Man and the dogs. In a silent standoff. Perry is puzzled, but has the sense to say nothing. After a long moment, the Old Man silently steers his dogs past them. He walks away down the dark street, silently disappearing into the gloom. Perry and Rose never move, but follow his slow progress until he disappears. PERRY You knew that man? ROSE Yes. INT. OPERA HOUSE - NIGHT THE STAGE - THE OPERA IS IN PROGRESS It's the SCENE in which MIMI is standing in the falling snow. She SINGS to RUDOLPH. It is a beautiful, poignant moment. The snow is falling, falling. Mimi is SINGING her heartbreaking aria of farewell. The lighted tavern window is behind them, glowing with a golden light. WE SEE RONNY'S FACE He's staring intently at the stage with shining eyes. He wants to share this moment with Loretta, but he is timid she will not feel as he does. WE SEE LORETTA'S FACE A single tear trails down her cheek. Otherwise, she is almost succeeding in hiding that the opera is moving her. She notices Ronny's hand creeping towards hers, but makes no move towards it. THE STAGE - MIMI STILL SINGING SADLY IN THE SNOWFALL She and Rudolph join hands. RONNY AND LORETTA grab each other's hand fiercely. At last, they look at each other. She is admitting that she is affected by the opera. He is grateful that she admits it. INT. OPERA HOUSE - AUDIENCE ó NIGHT Audience exits. INT. OPERA HOUSE-LOBBY - NIGHT The lobby overflowing with the AUDIENCE coming out. INT. OPERA HOUSE - COATCHECK - NIGHT Ronny and Loretta at the coatcheck. Loretta dabs her eyes and blows her nose. LORETTA That was just so... awful! RONNY Awful? LORETTA Beautiful. Sad. She died! RONNY (giving the check to the checker) Yeah. LORETTA I couldn't believe it! I didn't think she was going to die. I knew she was sick... Ronny gets the coats and helps her on with hers. RONNY She had TB. Ronny is putting on his coat. LORETTA I know. She was coughing her brains out. And still, she had to sing all the time... Loretta has stopped suddenly, transfixed by the sight before her. Loretta and Ronny are standing face-to-face with Cosmo and Mona. Mona's wearing a coat like a wrapper for hard candy. Cosmo is wearing his coat and has his hat in his hand. Stunned at seeing Loretta, he unconsciously puts his hat on. Then he thinks about it and takes it off again. He looks at Ronny. Then he looks at Mona. LORETTA Pop? Ronny looks at Loretta. He waits to follow her lead. COSMO Wait for me by the doors, Mona. Mona obeys after looking curiously at Loretta. LORETTA Pop? What are you doing here? Cosmo approaches Ronny. COSMO Excuse me. He takes Loretta's arm and steers her a distance away for a confidential exchange. LORETTA Mona? COSMO What'd you do to your hair? LORETTA I got it done. COSMO What are you doing here? LORETTA What are you doing here? COSMO Who is this man? You're engaged! LORETTA You're married. COSMO You're my daughter. I won't have you acting like a tramp! LORETTA You're my father. COSMO Alright. I didn't see you here. LORETTA I don't know whether I saw you or not. Cosmo puts on his hat again. He glares at Ronny. He looks at Loretta, but he's at a total loss. At last, he stalks off. Loretta looks after him, angry and disturbed. COSMO AND MONA GOING OUT THE DOORS FROM LORETTA'S POV LORETTA LOOKING AFTER THEM, STRICKEN Ronny appears at her side, solicitous. RONNY Let's get outta here. I'll buy you a drink. Loretta, still looking after, slowly shakes her head. LORETTA That wasn't my mother. EXT. CASTORINI HOUSE - NIGHT Rose and Perry stand on a sidewalk under a street light dimly shining. About half a block away stands the Castorini house. They regard it. Over the house hangs the moon, cut through now with a sharp grey cloud. Rose and Perry's VOICES can be heard. ROSE'S VOICE That's my house. PERRY'S VOICE You mean the whole house? ROSE'S VOICE Yes. PERRY'S VOICE My God, it's a mansion! ROSE'S VOICE It's a house. PERRY'S VOICE I live in a one-bedroom apartment. What exactly does your husband do? ROSE'S VOICE He's a plumber. PERRY'S VOICE Well. That explains it. The SOUND of the WIND can be heard rising up. NOW WE SEE ROSE AND PERRY CLOSE UP The rising cold wind stirs their hair. They both shiver slightly. PERRY Temperature's dropping. ROSE Yes. PERRY I guess you can't invite me in? ROSE No. PERRY People home. ROSE No. I think the house is empty. I can't invite you in because I'm married and because I know who I am. You're shaking. PERRY I'm a little cold. ROSE You're a little boy and you like to be bad. PERRY We could go to my apartment. You could see how the other half lives. ROSE I'm too old for you. PERRY I'm too old for me. That's my predicament. ROSE Good night. She kisses him on the cheek. PERRY Good night. Can I kiss you on the cheek, too? ROSE Sure. He kisses her on the cheek. PERRY I'm freezing ROSE Good night. She walks away, towards the house. Perry, shivering, looks after. INT. THE BOERUM CAFE - A BROOKLYN BAR - NIGHT Ronny and Loretta sit at the bar. They are just finishing a couple of Old-Fashions. The barman, AL, inspects their drinks. AL Another Old-Fashion? RONNY Loretta? LORETTA No thanks. RONNY (to Al) I think that's it. Al nods and walks off. Ronny leans forward to Loretta. RONNY What do you want to do now? LORETTA I wanna go home. EXT. A COLD AND EMPTY MANHATTAN STREET - NIGHT Ronny and Loretta are walking. Their breath is coming out in long plumes. LORETTA It's really cold. RONNY Yeah. It smells like snow. They walk in silence for a moment, then Loretta speaks. LORETTA My mother guessed that my father was seeing somebody and I told her she was crazy. She looked like a real piece of cheap goods. But who am I to talk? Her eyes are full of tears. RONNY What's the matter? LORETTA How can you ask me that? RONNY You're making me feel guilty again. LORETTA You are guilty. I'm guilty. RONNY Of what? Only God can point the finger, Loretta. LORETTA I know what I know. RONNY And what do you know? You tell me my life? I'll tell you yours. I'm a wolf? You run to the wolf in me, that don't make you no lamb! You're gonna marry my brother? Why you wanna sell your life short? Playing it safe is just about the most dangerous thing a woman like you could do. You waited for the right man the first time, why didn't you wait for the right man again? LORETTA He didn't come! RONNY I'm here! LORETTA You're late! RONNY We're here. EXT. RONNY'S APARTMENT BUILDING - NIGHT She looks. It's Ronny's building. LORETTA This is your place. RONNY That's right. LORETTA This is where we're going! RONNY Yeah. LORETTA The deal was if I came to the Opera with you you'd leave me alone forever. She looks for his response. He makes none. LORETTA I went with you. (pause, nothing) Now I'm gonna marry Johnny and you're gonna leave me alone. (pause, nothing) Right? (nothing) A person can see where they've messed up in their life, and they can change how they do things, and they can change their Luck. Maybe my nature does draw me to you, but I don't haveta go with that. I can take hold of myself and say yes to some things and no to something that's just gonna ruin everything! I can do that. Otherwise, what is this stupid life that God gave us for what? (pause, nothing) Ronny? Are you listening to me? RONNY Yeah. LORETTA I'm really afraid. RONNY Why? LORETTA I'm afraid of who I am. RONNY I was. LORETTA And you're not now? He shakes his head. LORETTA Why not? RONNY I don't know. Everything seems like nothing now against that I want you in my bed. I don't care if I burn in hell. I don't care if you burn in hell. The Past and Future is a joke to me now. I see that they're nothing, I see they ain't here. The only thing that's here is you. And me. I want you to come upstairs. Now. I tried to take everything last night, like you told me, but I couldn't. I couldn't take everything in a hundred years. It's the way we are. We compound each other. LORETTA Let me go home. RONNY No. LORETTA Let me go home. RONNY No. LORETTA I'm freezing to death. RONNY Come upstairs. I don't care why you come. No, that's not what I mean. Loretta, I love you. Not like they told you love is and I didn't know this either. But love don't make things nice, it ruins everything, it breaks your heart, it makes things a mess. We're not here to make things perfect. Snowflakes are perfect. The stars are perfect. Not us. We are here to ruin ourselves and break our hearts and love the wrong people and die! The storybooks are bullshit. Come upstairs with me, baby! Don't try to live your life out to somebody else's idea of sweet happiness. Don't try to live on milk and cookies when what you want is meat! Red meat just like me! It's wolves run with wolves and nothing else! You're a wolf just like me! Come upstairs with me and get in my bed! Come on! Come on! Come on! Loretta follows Ronny into his building. NOW WE SEE THE STREET Just as the door shuts. A moment passes. Lights go on in Ronny's apartment. Out of a doorway on the opposite side of the street steps the figure of a woman. She walks to the middle of the deserted street and looks up at the lighted windows. NOW WE SEE THE WOMAN CLOSE UP -- IT'S CHRISSY FROM THE BAKERY Her heart is about to break. She loves this man. She looks up at the lighted windows, her feelings hanging by one slender, slender thread. MUSIC It's "MIMI'S ARIA"- from the snow scene in LA BOHEME. WE SEE THE STREET WITH THE FIGURE LOOKING At the lighted window above. "MIMI'S ARIA" PLAYS. This tableau reminds us of the scene in the opera where MIMI stands in the snow. The MUSIC PLAYS and the WOMAN SINGS for a long moment. Then, the lights in the apartment go out. Chrissy shudders almost imperceptibly. Her heart has broken. She hangs her head. Then she lifts her head and slowly walks away down the street. EXT. KENNEDY INTERNATIONAL AIRPORT - RUNWAY - NIGHT With a great and abrupt ROAR, a big jet is landing. INT. KENNEDY INTERNATIONAL AIRPORT - TERMINAL - NIGHT PASSENGERS are pouring into the terminal from the plane. Most of them are Italian or Italian-Americans. Suddenly, Mr. Johnny appears out of the shifting crowd, up very CLOSE to the CAMERA. He looks alert, determined, geared up for action. MR. JOHNNY AT THE LUGGAGE CAROUSEL He pulls his two suitcases off the carousel with one quick powerful jerk. EXT. KENNEDY INTERNATIONAL AIRPORT - TERMINAL - NIGHT Mr. Johnny sticks out his hand and a cab immediately rushes to him. INT. OF THE CAB Mr. Johnny leans forward to the DRIVER and says in a very definite, determined way. MR. JOHNNY 19 Cranberry Street. EXT. KENNEDY INTERNATIONAL AIRPORT - NIGHT The cab rushes off into the night. EXT. CASTORINI HOUSE - NIGHT The cab pulling up to the Castorini house. The living room windows are all lit up. VICKI CARR can be made out SINGING "IT MUST BE HIM". Mr. Johnny gets out of the cab, gets his luggage, and heads for the front door. He RINGS THE BELL. The door opens. It's Rose. MUSIC floods out around her. MR. JOHNNY Hello. I'm sorry to call so late... Rose is a little tipsy. ROSE Moving in? MR. JOHNNY I came right from the airport. ROSE Come on in. She holds the door open for him and he goes in past her carrying his suitcases. She closes the door. INT. CASTORINI HOUSE ó THE FRONT HALL - NIGHT MR. JOHNNY Can you wake up Loretta? I need to talk to her. ROSE She's not home yet. Take off your coat and come in the living room. I'll make you a drink. I wanna talk to you. INT. CASTORINI HOUSE - LIVING ROOM ó NIGHT Rose comes in with two scotches on the rocks. He takes one. MR. JOHNNY Thank you. She turns off the stereo, and then sits down across from him. ROSE So. MR. JOHNNY Where is she? ROSE Out. I don't know where. I was waiting up for my husband. MR. JOHNNY It's late. ROSE Yes. There's a pause. Mr. Johnny is uncomfortable with it. MR. JOHNNY Maybe I should go? ROSE What are you doing here? You're supposed to be in Palermo. MR. JOHNNY That's what I came to tell Loretta. There's been a miracle. ROSE A miracle. Well, that's news. MR. JOHNNY My mother's recovered. ROSE You're kidding? MR. JOHNNY The breath had almost totally left her body. She was as white as snow. And then she completely pulled back from death and stood up and put on her clothes and began to cook for everyone in the house. The mourners. And me. And herself! She ate a meal that would choke a pig! ROSE That's incredible. MR. JOHNNY Yes. The front door can be HEARD SLAMMING, out of view, and then Dogs can be HEARD BARKING. Mr. Johnny and Rose look to the entranceway. The Old Man appears there, holding the Five Dogs. ROSE Hello Pop. The Old Man looks at Rose. He is a specter. He stares, and then he makes a long low accusing NOISE. Then he disappears. MR. JOHNNY Who was that? ROSE That was my father-in-law, who has a wrong idea in his head. Listen, Johnny, there's a question I want to ask you. And I want you to tell me the truth if you can. Why do men chase women? MR. JOHNNY Well. There's the Bible story. God took a rib from Adam and made Eve. Maybe men chase women to get the rib back. When God took the rib, he left a hole there, place where there used to be something. and the women have that. Maybe a man isn't complete as a man without a woman. ROSE But why would a man need more than one woman? MR. JOHNNY I don't know. Maybe because he fears death. Rose leaps up, very excited. ROSE That's it! That's the reason! MR. JOHNNY I don't know. ROSE No, that's really it. Thank you for answering my question. The FRONT DOOR SLAMS again. Mr. Johnny and Rose look to the entranceway. Cosmo appears there. COSMO Hi. (taking in Mr. Johnny) Hi. MR. JOHNNY Hello, Mr. Castorini. ROSE Where you been? COSMO I don't know, Rose. I don't know where I've been, and I don't know where I'm going. (to Mr. Johnny) You should have your eyes opened for you, my friend. MR. JOHNNY I have my eyes open. COSMO You do, huh? Stick around. Don't go on any long trips. MR. JOHNNY I don't know what you mean. COSMO I know you don't. That's the point. I'll say no more. MR. JOHNNY You haven't said anything. COSMO And that's how much I'm saying. ROSE Cosmo? COSMO What? ROSE I just want you to know. No matter what you do. You are going to die, just like everybody else. COSMO Thank you, Rose. ROSE You're welcome. COSMO I'm going to bed now. Mr. Johnny stands up. Cosmo walks off, out of view. MR. JOHNNY I'm going. COSMO'S VOICE (from top of stairs) Good! ROSE (to Mr. Johnny) He doesn't like you. Thank you for answering my question. MR. JOHNNY You don't know where Loretta is? ROSE No idea. MR. JOHNNY Then tell her I'll come by in the morning. We need to talk. ROSE Okay, I'll tell her. EXT. THE CASTORINI HOUSE - DAWN We watch the effect of the sun coming up on the house. It begins in darkness, and goes through the many graduations of light very quickly until it's lit by the light of bright morning. THE FRONT DOOR OPENS AND THE OLD MAN AND THE DOGS COME OUT He's got them on their leashes and, over his head, he carries the black umbrella. He walks off toward the park and disappears. EXT. STREET - DAY - LORETTA IS WALKING Along a sidewalk a couple of blocks away. She is a wreck. She's still in her clothes of the night before. She hasn't slept. Her hair's a bit funny. And she's tormented by the complications in her life. And, at the same time, she looks great. She looks like she's been loved up and down. She has a hickey on her neck. Her eyes are dreamy and her walk is slow, utterly careless, and sexual. She's carrying, crunched in her hand, her program from La Boheme. She starts SINGING. We follow her as she SINGS and walks. WE WATCH LORETTA WALKING FROM THE BACK NOW She's still muttering. She comes to a tin can. She kicks lt. She comes to it again. She kicks it again. EXT. THE CASTORINI HOUSE - DAY Loretta appears kicking her can. She abandons the can and enters the house. INT. THE CASTORINI HOUSE - KITCHEN - DAY Rose is at the stove. The kitchen is filled with steam and sunlight. Rose is stirring a pot filled with oatmeal. Another range has the coffeepot heating. Loretta shuffles into the kitchen, goes to the tin table, and sits down. There are red roses on the table. Rose sees Loretta. ROSE What the hell happened to you? LORETTA Well. I don't really know where to start. ROSE Your hair's different. LORETTA Everything's different. ROSE Are you drunk? LORETTA No. Are you drunk? ROSE No. But I have a hangover. LORETTA Where's pop? ROSE Upstairs. Johnny Cammareri showed up last night. Loretta is suddenly electrified. LORETTA What? He's in Sicily! ROSE No more he's not. LORETTA He's with his dying mother! ROSE She recovered. LORETTA WHAT!! She was dying! ROSE It was a miracle. LORETTA A miracle? This is modern times! There ain't supposed to be miracles any more! ROSE I guess it ain't modern times in Sicily. He came right from the airport. He wanted to talk to you. You got a love bite on your neck. He's coming back this morning. With a long low MOAN, Loretta lowers her head to the table. EXT. STREET - DAY Ronny is walking along the same stretch of sidewalk as Loretta just was. He looks like hell, too. His hair is wild and he hasn't slept. He's thrown on an old leather jacket and brown leather gloves. He has a love bite on his neck, too. He starts to SING "O SOAVE FANCIULLA". He SINGS it any old way, occasionally getting a good attack, occasionally just muttering his way through. SINGS as much of it as he remembers, which is a lot. WE WATCH RONNY WALKING FROM THE BACK NOW He's SINGING away, carelessly sauntering along. He passes an ITALIAN COUPLE of middle age. They smile as they recognize what he is singing. They start to SING along with him. They SING till they get to the ceiling of the aria, and to a resting place a little beyond. Then they nod to each other appreciatively and go on their ways, Ronny turning his back to the CAMERA, and they WALKING INTO IT. EXT. THE CASTORINI HOUSE - DAY Ronny appears and approaches the door. HE KNOCKS, waits, and then RINGS THE BELL. Rose answers the door and invites him in. INT. THE CASTORINI HOUSE - KITCHEN Rose walks in with Ronny behind her. There's no one in the kitchen. Rose calls out. ROSE It's not Johnny. Loretta comes out of a closet, where she was hiding. She's very surprised to see Ronny. LORETTA Ronny! RONNY Is Johnny here? LORETTA He's coming. RONNY Good! We can get this out on the table. (to Rose) I'm Ronny, Johnny's brother. (Shakes her hand) ROSE Nice to meet you. You've got a love bite on your neck. Your mother's recovered from death. RONNY Oh. Good. We're not close. I'm not really moved. LORETTA You've gotta get outta here. RONNY No. I'm gonna wait. LORETTA (arguing with Ronny) Ronny, please... ROSE Would anyone like some oatmeal? LORETTA continues arguing. RONNY (ignores Loretta) Yes, I would like some oatmeal. Ronny and Loretta sit down and Rose serves them oatmeal. COSMO WALKS IN dressed for business. He regards the trio, puts on his hat in shock and then takes it off again. ROSE Cosmo, this is Ronny, Johnny's brother. COSMO His brother. Cosmo sits down. Rose puts a bowl of oatmeal in front of him. He absently begins to eat it. A silence reigns. Then he puls down his spoon. COSMO You're Johnny's brother? RONNY Yeah. Cosmo picks up his spoon and they all eat silently once more. The SOUND OF DOGS BARKING comes up and then fades away. THE OLD MAN WALKS IN He looks at the assemblage. The assemblage looks at him. He points at Rose. Then his pointing drifts to Cosmo and his hand opens in a gesture of supplication. OLD MAN I am old. The Old are not wanted. And what they say has no weight. But, my son, I must speak. You should pay for the wedding of your only daughter. You are breaking your house through pride. There. I've said it. COSMO It's okay, Pop. If she gets married, I'll pay for the whole thing. The Old Man lets go a great noise of relief, sits down at the table, and waits. Rose brings him a bowl of oatmeal. He is content now, and eats his oatmeal with great relish. The others eat with a more meaningful silence. Rose puts down her spoon. She looks at the table, but she is speaking to Cosmo. ROSE Have I been a good wife? COSMO Yes. ROSE I want you to stop seeing her. Everyone stops eating. A tremendous silence falls. An old clock goes tick, tick, tick. Suddenly Cosmo smashes his fists to the table and stands. He doesn't look at Rose during this. Then slowly, he sits down. COSMO Okay. ROSE And go to confession. COSMO (still not looking at her) A man... under stands one day... that his life is built on nothing. And that's a bad, crazy day. ROSE Your life is not built on nothing. Ti amo. She puts her hand across the table to him. COSMO Ti amo. He slides his hand out and takes her hand. Slowly, he lifts his eyes. Their eyes meet. It's the first time he's been able to hold her gaze in this whole story. The DOORBELL RINGS. LORETTA It's Johnny. I'll get it. Loretta's tone is fatal. RONNY I'll get it. Rose gets up. ROSE I'll get it. She goes to answer the door. RONNY (goes for the door) No, I'll tell him. LORETTA No, I'll tell him. (to her father) What am I going to tell him? COSMO Tell him the truth, Loretta they find out anyway. Loretta looks at her father. LORETTA I love you Pop. It's a private moment. But who appears at the kitchen door is not Johnny. It's the CAPPOMAGGIS. They have their coats on and they look very serious and concerned and timid. RITA Hi Loretta. LORETTA Hi. RAYMOND Hi, Loretta. LORETTA Hi. Why ain't you at the store? RITA Is there anything you want to tell us, honey? LORETTA You? No. RAYMOND We just come from the bank. LORETTA The bank. OH MY GOD, I FORGOT TO MAKE THE DEPOSIT! RITA (to Raymond) She's got it. RAYMOND I knew she had it. Loretta runs out of the kitchen and reappears with her everyday bag. She takes out the night deposit bag and hands it to Raymond. RITA We didn't know what to think. You were so weird yesterday, and then this morning, we go to the bank and no bag. RAYMOND (a sudden outburst to Loretta) WE NEVER SUSPECTED YOU! Raymond covers his face to hide his emotion. Rita, meanwhile is clearing the oatmeal bowls. ROSE Listen. Who wants coffee? There is a general acknowledgment. Everybody wants coffee. Rose passes out white mugs and begins pouring steaming drafts of coffee. Raymond and Rita are standing. The rest are sitting. RITA So what are we doing? ROSE We're waiting for Johnny Cammareri. Rita nods. A silence. RONNY I'm his brother. TA (taking and shaking his hand) Nice to meet you. I'm Rita Cappomaggi. RAYMOND (taking and taking his hand) I'm Raymond Cappomaggi. I'm Rose's brother. RONNY Nice to meet you. Silence. Then the Old Man erupts. OLD MAN Somebody tell a joke! The DOORBELL RINGS. And RINGS AGAIN. Everyone is frozen for a moment, then Rita mobilizes. RITA I'll get it. She goes. Loretta puts down her coffee and deep breathes, preparing herself. LORETTA I'm getting palpitations! She pushes away her coffee. RAYMOND I thought he was in Palermo. RITA APPEARS WITH MR. JOHNNY IN TOW Rita continues into the room, leaving Mr. Johnny in the doorway. He is in a dark, vested suit. He is a little bewildered by the crowd of people, but succeeds in hiding most of his discomfort. RITA It's Johnny Cammareri. LORETTA Johnny. MR. JOHNNY Loretta... RONNY Johnny... MR. JOHNNY Ronny! Our mother has recovered from death! RONNY Good. MR. JOHNNY Have you come to make peace with me? RONNY Well. Yeah. You may not want to. MR. JOHNNY Of course I want to. LORETTA I don't know. But Johnny, how did your mother recover? She was dying. MR. JOHNNY We should talk alone. LORETTA I can't. I need my family around me now. MR. JOHNNY Well. I told my mother that we were to be married. And she got well. Right away. RONNY I'm sure she did. MR. JOHNNY It was a miracle! LORETTA Johnny, I have something to tell you. MR. JOHNNY I have something to tell you. But I must talk to you alone. LORETTA I have no secrets from my family. MR. JOHNNY Loretta, I can't marry you. LORETTA WHAT? MR. JOHNNY If I marry you my mother will die. The Old Man laughs a loud sudden laugh, and then subsides. LORETTA What the hell are you talking about? We're engaged. RONNY Loretta, what are you talking about? LORETTA I'm talking about a promise. You proposed to me! MR. JOHNNY Because my mother was dying! But now she's not. RONNY You're forty-two years old, Johnny, and Mama is still running your life. MR. JOHNNY And you are a son who doesn't love his mother! LORETTA And you're a big liar! I've got your ring here! MR. JOHNNY I must ask for that back. Loretta struggles and pulls off the ring. LORETTA Here! Take your stupid pinky ring. (she throws it at Johnny) Who needs it? The engagement's off. Mr. Johnny retrieves the ring. MR. JOHNNY In time, you will see that this is the best thing. LORETTA In time, you will drop dead, and I will come to your funeral in a red dress. RONNY Loretta? LORETTA What! RONNY Will you marry me. MR. JOHNNY What? LORETTA Where's the ring? Ronny looks to Mr. Johnny a little sheepishly. RONNY Could I a... borrow that ring. Mr. Johnny, in shock, hands it over to Ronny. RONNY Thanks. He kneels down before Loretta. He presents the ring to her. RONNY Will you marry me, Loretta Castorini Clark? LORETTA Before all these people, yes, I will marry you, Ronny Cammareri! She takes the ring. Ronny and Loretta kiss. ROSE Do you love him, Loretta? LORETTA Yeah, Ma, I love him awful. ROSE Oh God, that's too bad. Ronny and Loretta enter into a long kiss. The Old Man starts to cry. Cosmo leans forward to the Old Man solicitously. COSMO What's the matter, Pop? OLD MAN (Lifts his head and cries out) I'M CONFUSED ! Loretta pushes Ronny away, breaking the kiss. They have both neglected to breathe the whole time they were kissing. They are both gasping for air, especially Loretta. LORETTA Wait a minute! Wait a minute! But then she looks at Ronny, and lunges back to him, diving into another kiss like a mermaid diving into the bluest ocean. MUSIC "O SOAVE FANCIULLA" from "La Boheme," COMES UP and engulfs the lovers, the family, the world. WE SEE the faces of the lovers swirl away into a golden and diamond light, and DISSOLVE INTO: EIGHT FULL CHAMPAGNE GLASSES Glistening in sunlight on the white tabletop. Into each is dropped a lump of sugar. A bottle of recently employed bitters sits nearby with its cap off (like a respectful peasant in aristocratic company. And the roses in the center. Now the CAMERA PULLS BACK. WE SEE the table is surrounded. Cosmo is dropping the last of the sugar cubes in the last glass of champagne. Rose is by him. Rita and Raymond are side by side, as are Ronny and Loretta. The Old Man sits, staring at his son, intent and approving. But where is Mr. Johnny? COSMO Everybody take a glass. Everybody takes a glass. The Old Man takes one and gets up OLD MAN (to Cosmo) Wait. The Old Man takes the glass and walks over to a corner of the kitchen where Mr. Johnny, deeply disturbed and somewhat catatonic, sits on a step-ladder. OLD MAN (continuing; to Mr. Johnny, offering the glass) Here. MR. JOHNNY I don't want it. But the Old Man, wise and merry and tough, presses the glass on Mr. Johnny, who takes it. COSMO, THE HEAD OF THE FAMILY NOW, LIFTS HIS GLASS COSMO To... the family. Right? Ti amo. They all lift their glasses. CLOSE-UP OF ROSE'S FACE ROSE Ti amo. CLOSE-UP OF RAYMOND AND RITA RAYMOND That's right. Rita nods. A CLOSE-UP OF RONNY AND LORETTA DRINKING THEIR CHAMPAGNE And looking into each other's eyes. CLOSE-UP OF THE OLD MAN Who knocks back his drink lustily, and then with a glittering eye looks away from the table. MR. JOHNNY FROM THE OLD MAN'S POV Mr. Johnny sits without moving, holding his glass. A long moment passes. Mr. Johnny is thinking. Then he nods to himself. He lifts his glass and murmurs for no one to hear MR. JOHNNY To family. CLOSE-UP OF THE OLD MAN LOOKING AWAY FROM MR. JOHNNY And he laughs his laugh. This laugh could kill him. The CAMERA PULLS BACK a little. He pounds the table and knocks over the roses. A CLOSE-UP OF THE RED ROSES ON THE WHITE TABLETOP CLOSING BLACK CREDITS ROLL AGAINST THE WHITE BACKGROUND. FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mr Blandings Builds His Dream House.txt b/unformated_scripts/Script_Mr Blandings Builds His Dream House.txt new file mode 100644 index 0000000000000000000000000000000000000000..c64d42b89730a978a19470f06a4ad5e775eeb28f --- /dev/null +++ b/unformated_scripts/Script_Mr Blandings Builds His Dream House.txt @@ -0,0 +1 @@ + "MR. BLANDINGS BUILDS HIS DREAM HOUSE" Written by Melvin Frank and Norman Panama Based on a novel by Eric Hodgins SHOOTING DRAFT THE ISLAND OF MANHATTAN - STOCK FADE IN: A very high airplane view of the entire island. Over this, a Voice, authoritative, impressive. VOICE In any discussion of contemporary America and how its people live, we must inevitably start with -- Manhattan -- New York City, U.S.A! NEW YORK CITY SKYLINE - STOCK VOICE Manhattan -- glistening, modern giant of concrete and steel reaching to the heavens and holding in its arms seven millions! NEW YORK CITY - ANOTHER VIEW - STOCK VOICE Seven millions -- happy beneficiaries of the advantages and comforts this gracious metropolis has to offer... DISSOLVE VOICE (OVER DISSOLVE) Its fine broad streets and boulevards facilitate the New Yorker's carefree, orderly existence. BROADWAY AND FORTY-SECOND STREET - STOCK An enormous traffic jam, horns honking, etc. DISSOLVE VOICE (OVER DISSOLVE) Kindly, courteous public servants ever on hand to offer a word of friendly advice. TRAFFIC COP AND CAB DRIVER yelling at each other. DISSOLVE VOICE (OVER DISSOLVE) A transportation system second to none in speed and comfort! A SUBWAY DURING RUSH HOUR - STOCK DISSOLVE VOICE (OVER DISSOLVE) Modern recreational facilities for its children! A CROWDED LOWER EAST SIDE STREET - STOCK Kids playing ball in truck-laden street. DISSOLVE VOICE (OVER DISSOLVE) For its adults, the peace and privacy of a day in the sun! CONEY ISLAND ON ITS MOST CROWDED DAY - STOCK DISSOLVE VOICE (OVER DISSOLVE) It's delightful changes in climate! A BLINDING, WINDSWEPT NEW YORK BLIZZARD - STOCK DISSOLVE VOICE (OVER DISSOLVE) Its great institutions of learning! Open to all. Free of charge. BUILDING EXCAVATION - DAY Leaning on a railing looking down into the excavation are a group of sidewalk supervisors. The CAMERA MOVES UP to a HEAD CLOSEUP of one of them. It is Bill Cole (Melvyn Douglas), a well-dressed, intelligent, attractive looking young man. BILL I suppose you're wondering what all this has to do with Mr. Blandings and his Dream House? Well, I'll tell you. Jim Blandings is part of the fabric of this town. Born and raised right here, he's as typical a New Yorker as anyone you'll ever meet. At least he was. (confidentially) And if you want to know the real story, I guess I'm your boy. Cole's my name, Bill Cole. I'm Jim's lawyer and quote, best friend, unquote. Jim's one of those bright young men from Yale. Advertising business, lovely wife, two fine kids, makes almost fifteen thousand a year. Want to know why? Just look up there. A BILLBOARD A billboard -- against a white background is a large ham. In large letters across the ham is printed: WHAM! (A WHALE OF A HAM) And below this in quotes: "WHEN YOU'VE GOT THE WHIM, SAY 'WHAM!'" BILL'S VOICE "When you've got the whim, say 'Wham!'"... Jim Blandings wrote that slogan. Seven magic words that shine like a beacon light for the American housewife! (impressive; almost reverently) "When you've got the whim, say 'Wham!'" Jim Blandings' contribution to the American Scene. EXT. A LARGE NEW YORK APARTMENT BUILDING - DAY As CAMERA MOVES UP it and TOWARD a window: BILL'S VOICE For fourteen years Jim and Muriel had been living in their apartment over on East Seventy-fourth Street. It was just another of those wonderful crisp September mornings and the Blandings were still asleep. Just like millions of other people in good old Manhattan -- New York City -- U.S.A. The CAMERA GOES THROUGH the window and INTO: INT. THE BLANDINGS' BEDROOM - DAY Jim (Cary Grant) and Muriel (Myrna Loy) Blandings are asleep in twin beds. The room, not large to begin with, gives us the impression of being cluttered up and overcrowded because the beds, oversized chest of drawers, dressing table and chaise lounge take up an inordinate amount of space. SOUND of an alarm clock going off. Jim awakens, yawns himself into hazy consciousness, gropes about on the night table for the clock; it isn't there. He slips out of bed, and rubbing his eyes, blindly moves toward the dresser. The circuitous path, which he accomplishes with sleepy dexterity, entails going around the chaise lounge, just missing the ominously pointed edge of Muriel's dressing table, deftly stepping over the low dressing table chair and finally reaching the chest of drawers upon which is the clock. He turns off the alarm and yawningly starts back over the same path. We get the feeling that Jim makes this sleepy excursion every waking morning of his life. Back at his bed, Jim sits down, and, yawning loudly, gropes with his feet for his slippers. Before he can find them, however, he begins to doze off and slowly tilts back toward the pillow, pulling the covers over him. In a moment he is sound asleep. Muriel's arm automatically stretches out and shakes Jim into consciousness. As he painfully reawakens and starts to rise, Muriel's arm disappears. We get the impression that this, too, is a regular part of the Blandings' daily routine. Jim locates his slippers, reaches around for his bathrobe, can't find it, stumbles his way over to the closet, opens the door. INT. THE CLOSET This is a fairly good-sized closet but it was never intended to be shared by two people, particularly not Jim and Muriel Blandings. Assuming that they had started out on even terms, it is now obviously Muriel, three-to-one. Her dresses, gowns, slips, seem to obscure his occasional pair of slacks, suit or sports coat. Her shoes neatly line the floor and the shelf above is loaded to the ceiling with her hat boxes, in an orderly but somewhat precarious state of balance. Groping blindly for a robe, Jim feels around and pulls one out. As he slips into the arms, we see it's much too small for him, obviously Muriel's. In disgust he attempts to put it back. Unable to find a hook he finally jams it in between two silk dresses which fall to the floor. As he bends down and gropes for the dresses, he discovers his robe crumpled under them on the floor. He drags the robe out and dons it, leaving the dresses where they fell. With a guilty look at Muriel he closes the closet door and starts out of the bedroom and into the narrow hall. INT. THE HALL A narrow corridor extending the length of the apartment. Off it are doors leading to the bathroom, the childrens' room and the foyer. Jim shuffles down the hall. He stops at the closed bathroom door, listens, hears the shower, knocks. BETSY'S VOICE Okay, dad. JIM Mm. Jim continues down the hall, stops at the closed door of the children's room, knocks. No sound. He opens the door and enters. INT. CHILDREN'S BEDROOM A small room, crowded and cluttered up with the accoutrements of adolescence. Joan, an eleven-year-old is asleep in one of the twin beds. Jim automatically pulls the covers clear off Joan's bed. She awakens, cocks an eye at him. JOAN Okay, dad. JIM Mm. As she sleepily stretches and prepares to rise, Jim exits into the hall. INT. THE HALL CAMERA FOLLOWS Jim through the foyer into the living room, on through the very small combination dining and breakfast nook and into the compact but tiny kitchen. Gussie, the colored cook, greets him heartily. GUSSIE 'Morning, Mr. Blandings! JIM (a feeble attempt at a smile) Mm. Gussie takes a glass of hot water, squeezes in a little lemon, stirs and hands it to Jim who gulps it down, makes a slight face and pats his stomach. Gussie hands Jim a cup of black coffee and he starts back toward the bedroom. INT. THE HALL Gingerly balancing the cup and saucer, Jim approaches the door to the children's room. With split-second timing, he pauses as the door flies open and Joan, in her bathrobe, towel in hand, rushes out and past him down the hall. She disappears into the bathroom. Jim carefully proceeds down the hall and, as he reaches the bathroom, deftly steps to the left as the door bursts open and Betsy flies by on the way back to her bedroom. All this is done with a timing and shifting of hips of which Knute Rockne might have been proud. Jim continues down the hall, enters the bedroom. INT. THE BLANDINGS' BEDROOM Muriel is still asleep as Jim enters, walks over, nudges her. JIM Muriel. MURIEL Mm? JIM Coffee. Muriel awakens, sniffs the fresh coffee, smiles, sits up, takes the cup. MURIEL Thank you, dear. They kiss briefly. Muriel starts to sip the coffee as Jim goes to his chest of drawers. It consists of several rows of small drawers above and large drawers below. Jim ruffles through a couple of small drawers, pulls out a suit of underwear, continues noisily and with some annoyance to look through the other drawers. MURIEL Looking for something, dear? JIM (briefly) My socks. MURIEL Why don't you look in your sock drawer? JIM (with restraint) That's where I found my underwear. MURIEL Oh. (brightly) Well, try your underwear drawer. JIM I'm in my underwear drawer. He reaches in and holds up one of Muriel's silk slips. MURIEL (sipping coffee) Well, they must be somewhere. (attempt at morning cheeriness) Socks just don't get up and walk away by themselves. JIM (strained patience) Muriel, I thought the top two-and-a- half drawers were to be mine! I wish you'd tell Gussie -- MURIEL The closet! That's where they are. We put them in the closet. JIM Socks? In the closet? MURIEL Well, there didn't seem to be any room in the drawers... JIM And there's so much of it in the closet! MURIEL ...so Gussie and I decided that from now on we'll keep them in a basket on the shelf. JIM Well, thanks a lot! He strides angrily to the closet, opens the door, reaches up for the basket and pulls it off the shelf. As he does so, all the hat boxes come tumbling down knocking the basket from his hand, the socks spilling on the floor. About to explode, he looks at Muriel. MURIEL Jim, I do wish you'd make an effort to be a little less clumsy. JIM (barely containing himself) I'll try, dear. Jim looks at her barely containing himself, and then puts the hats back in the boxes, jams them back on the shelf where they toter precariously. With bated breath he gingerly closes the closet door. Pause. Silence. He picks up a pair of socks and walks cautiously toward the hall door. Suddenly there is a rumble and crash from inside the closet. Jim exchanges a look with Muriel, is about to say something, changes his mind, exits into the hall. Muriel looks at the closet, sighs, takes another sip of coffee. INT. THE HALL Jim opens the door of the bathroom. There is a scream. He quickly closes the door, scowling with annoyance. A moment later the door opens and Joan emerges, wrapping her robe around her. JOAN (sharply) Father, just one morning I wish you'd knock! JIM (to her back as she walks away) 'Morning, dear. Joan disappears into her room as Jim enters the bathroom. INT. THE BATHROOM Very small with a stall shower. Jim takes off his bathrobe, yawns, gets on the scale, looks at the dial, shakes his head. He takes a deep breath, draws in his stomach, looks down, scowls, shrugs, gets off, moves to the mirror. He examines the thinness of his hair, the condition of his tongue, etc. Taking his toothbrush he looks down at the tube he is about to use, frowns. WHAT HE SEES - THE TOOTHPASTE TUBE WHAT HE SEES - the toothpaste tube. It has been squeezed in the middle, one of Blandings' pet peeves. CLOSE SHOT - JIM METICULOUSLY SMOOTHES OUT THE TUBE CLOSE SHOT - Jim meticulously smoothes out the tube, rolls up the used portion from the bottom. Then placing a small amount on his brush, he caps the tube, and starts vigorously to brush his teeth. As he does so, he attempts with his free hand, to put the tube back in the medicine cabinet which he opens. CLOSE SHOT - THE MEDICINE CABINET CLOSE SHOT - the medicine cabinet, loaded to the hilt with medical accumulation of fourteen years of family life. CLOSE SHOT - JIM CLOSE SHOT - Jim. As he pushes the tube into the bulging top shelf, a bottle of iodine falls out. Jim makes a desperate one-handed catch, still brushing his teeth. As he pushes the iodine into the second shelf, a small bottle of pills pops out. Jim catches it, pushes it back into the cabinet. A bottle of cough medicine falls out. He catches it, tries to put it back, finds it won't fit. He looks at the bottle, sniffs it, contemplates its value, throws it in the wastebasket. He finishes washing his mouth, admires his teeth, disrobes and steps into the shower, putting on his shower cap. He reacts, scowls, takes off the cap and turns it upside down, a full cup of water falling out. He reaches out for a towel, dries the inside of the cap, carefully puts it back on his now wet hair. Then he turns the water on and at the first warm spray Jim Blandings' life takes a sharp turn for the better. He starts to sing, a robust bathroom baritone version of "Home On The Range." DISSOLVE JIM Jim - He stands in front of the washstand lathering his face. Over scene we hear Muriel's voice from the shower. She is singing a lusty chorus of "Home On The Range." Jim picks up his razor and turns to the mirror. He reacts with annoyance, as he discovers it is covered with steam. With weary resignation he takes a towel and starts to rub off the mirror. As he clears one section another clouds up. By the time he gets it all reasonably clear he finds that his lather needs freshening. He grimly relathers his face only to find that the mirror is again clouded up. As he turns with exasperation toward the shower we see Muriel turn off the water, reach for a towel, start to dry herself. The mirror cleared off, Jim relathers, starts to shave. During this, Muriel, having dried herself and donned her robe, comes into scene. MURIEL (reaching for toothbrush) Excuse... She takes her toothbrush and then opens the cabinet to get the paste. Jim, automatically following the mirror, has to squeeze around in a desperately contorted position as he continues shaving. CLOSE SHOT - MURIEL CLOSE SHOT - Muriel. She takes the tube from the cabinet and, squeezing the tube in the middle, applies the paste to her brush. JIM AND MURIEL Jim and Muriel - Placing the tube on the washstand, Muriel closes the cabinet. Jim, still shaving, moves back to his original position as he follows the mirror. JIM Excuse... Muriel nods, steps back, starts to brush her teeth. They both hum "Home On The Range". Her mouth full, Muriel taps Jim on the shoulder. Without stopping his shaving, Jim moves to one side as Muriel rinses her mouth. She examines her face in the mirror. JIM (impatiently) If you don't mind, dear. As he steps back in front of the mirror, Muriel continues to look at her face in the glass, over his shoulder. She decides she needs a little skin lotion. MURIEL (as she steps in front of him) Sorry. She again opens the cabinet. Jim once more follows the mirror around, nicks his face, gives up, stands glaring arms folded. Muriel takes the lotion from the cabinet. MURIEL Moment, dear. JIM Take your time. I can spare the blood. MURIEL (looks up) Oh... cut yourself? JIM I cut myself every morning. I kind of look forward to it. MURIEL Why don't you get an electric razor? JIM (trying to shave) Don't like them. No close shave. MURIEL Ridiculous! Bill Cole's been using one for years. JIM He doesn't have my beard! MURIEL That's silly. Bill's beard is just as tough and coarse and -- JIM (irritably) I'm not interested in discussing the grain and texture of Bill Cole's hair follicles before I've had my orange juice. MURIEL You don't have to carry on so. I only said, why don't you get an electric razor? JIM Because I prefer the cool, clean sweep of the tempered steel as it glides smoothly -- MURIEL Stop writing advertising copy! Hurry up, dear, you'll be late for breakfast. Muriel exits. Jim sighs, turns back to the mirror and with a few deft strokes finishes shaving. As he reaches for the water faucet, he encounters the tube of toothpaste, squeezed in the middle. Reacting with annoyance, he meticulously smoothes it out and rolls it up from the bottom. He opens the cabinet and gingerly places the tube on the top shelf. The iodine bottle pops out. He grimly catches it, studies his problem, has a solution. With his right hand he starts slowly to close the mirror door. Just before it closes, he slips the bottle into the cabinet with his left hand, quickly slamming the mirror door, trapping the bottle. He reacts masterfully at his triumph, picks up his robe and starts for the door. As he reaches it, there is the SOUND of the cabinet opening and a crash as the bottle obviously hits the washstand. As Jim winces, DISSOLVE INT. THE BLANDINGS' BREAKFAST NOOK - DAY Narrow and small. The four Blandings are at breakfast, Jim and Muriel each reading his section of the morning paper, Betsy pasting a clipping in her notebook, Joan engrossed in a magazine of popular science. As we come in, Gussie, taking off the orange juice, is squeezing by Jim who accordingly and automatically ducks his head as she passes. Jim uncomfortably turns the newspaper to another page, folds it, reacts with pained but controlled exasperation. JIM ...Who did this? INSERT NEWSPAPER, a section of which has been cut out. BACK TO SCENE. BETSY (very matter-of-factly) I did. She holds out her hand to Joan, who, automatically, and without looking up hands her the salt. JIM I have repeatedly told you -- (ducking as Gussie comes back with coffee) -- don't cut up the morning paper until I've had a chance to look at it! BETSY I'm sorry, father. It's necessary research. She hands the salt back to Joan who automatically passes it to Muriel. JIM (with some sarcasm) I suppose this is another of Miss Stellwagon's so-called Progressive Projects? MURIEL (using salt and handing it to Jim) Now dear, there just isn't any point in sending your children to an expensive school if you're going to undermine the teacher's authority in your own dining room. JIM I'm not undermining anything. I happen to be in the advertising business and keeping abreast of the times is important to me. MURIEL And so is your children's education. JIM That's not the point. MURIEL It certainly is. JIM It certainly is not! JOAN (without looking up from her magazine) Bicker, bicker, bicker. JIM You eat your cornflakes! Jim ducks as Gussie passes back on her way to the kitchen. MURIEL (handing Joan toast) Joan, every time your father and I have a lively discussion we aren't necessarily bickering. (to Betsy; solicitously) What is it, dear, another English composition? BETSY (taking toast from Joan) Miss Stellwagon has assigned each of us to take a want ad and write a human interest theme about it. (to Jim; passing toast to him) I found one typical of the disintegration of our present society. JIM (taking toast, not looking up from his paper) I wasn't aware of the fact that our society was disintegrating. BETSY I didn't expect you to be, father. Miss Stellwagon says that middle- class people like us are all too prone to overlook the pressures and tensions which befall the less fortunate members of our community. Jim puts down the paper, turns to Muriel. JIM (with great restraint) Muriel, I know it's asking a lot, but just one morning I would like to sit down and have breakfast without social significance! Picks up his paper. MURIEL Jim, you really might take a little more interest in your children's education. JOAN (without looking up) You can't squeeze blood from a turnip. Jim reacts with painful resignation, folds his arms, puts down the paper, turns slowly to Betsy. JIM All right. All right. I'll listen. BETSY (picking up her scrapbook) It's just twenty-four words. But in simple eloquence it mirrors a minor tragedy of our times. JIM (quietly) Well?... BETSY (reading) "Forced to sell. Farm dwelling, oak grove, apple orchard, trout stream, hay fields, four barns, seclusion, superb view, original beams, paved highway, acreage... (with emotion) Will sacrifice..." Pause. JIM Go on. BETSY (simply) That's all. JIM That's all?! BETSY You don't see it, do you, father? JIM No. Fellow wants to sell a house so he puts an ad in the paper. What did you expect him to do, take it to the United Nations! MURIEL There must be more to it than that. (to Betsy) Isn't there, dear? BETSY Certainly, mother. What some people don't see is the whole sordid picture. A poor, honest farmer, pushed to the wall by hardship, soil erosion, mortgages, everybody gobbling, gobbling, gobbling, until finally, in desperation, he is "forced to sell," and stoops to the crass commercialism of newspaper advertising. JIM (muttering) Oh, indeed... crass commercialism... advertising... JOAN (nose in her magazine) Miss Stellwagon says advertising is a basically parasitic profession. JIM (with extreme control) Oh, she does? JOAN Miss Stellwagon says that advertising makes people who can't afford it buy things they don't want with money they haven't got. JIM (elaborate sarcasm) Perhaps your Miss Stellwagon is right. Perhaps I ought to get out of this "basically parasitic profession," which at the moment is paying for her very fancy tuition, those extra French lessons, her progressive summer camp and for that matter, the very braces on your teeth! MURIEL I wish you wouldn't discuss money in front of the children. JIM Why not, they spend enough of it! JOAN Bicker, bicker, bicker. As Jim gives her a look and buries himself in his paper, the downstairs buzzer rings. Gussie enters, squeezes by Jim who automatically ducks, goes to the phone in b.g. GUSSIE Hello. Who? (calls) Miss Blandings, there's a Mr. Funkhauser wants to see you. MURIEL Funkhauser? (remembers) Oh, Mr. Funkhauser! GUSSIE That's what he says. Muriel looks nervously at Jim who is preoccupied, reading his paper. Then she turns back to Gussie. MURIEL Uh -- better ask him to come up. GUSSIE (into phone) Says to come up. Gussie hangs up, squeezes by Jim, exits into the kitchen. Pause. MURIEL (tentatively) Oh -- uh -- darling, Mr. Funkhauser's here. JIM (looking up) ...Who? MURIEL You remember, Bunny Funkhauser, that clever young interior decorator we met at the Collins' cocktail party? JIM (distastefully) What's he doing here? MURIEL (nervously) Well, I imagine he's brought the -- uh -- estimates. JIM (blankly) ...Estimates? MURIEL (rapidly; to conceal a feeling of guilt) Darling, you know how long we've said we've got to do something about this apartment, and, well, he called last week, and I had him come over, and he's got some simply wonderful ideas! JIM (quietly) There couldn't be two Bunny Funkhausers, could there? MURIEL Why, no, dear. JIM Then this is the same clever young man who's responsible for that zebra- striped monstrosity in the Collins' living room? MURIEL That couch is terribly functional. JIM Phil Collins told me what he paid for all that function! (angrily) If you think I'm going to -- SOUND of doorbell ringing. MURIEL Darling, please! (changing subject) Children, you'll be late to school. Run along and -- The children rise, pick up their school paraphernalia. JOAN Miss Stellwagon says that functionalism in modern furniture -- MURIEL Never mind, dear. She hustles Betsy and Joan toward the foyer as Jim rises. INT. FOYER Gussie has just admitted Mr. Funkhauser. He is a tall, slender, effete-looking, young man. He is loaded down with sketches, samples of wallpaper, bolts of material. Betsy and Joan brush by him on their way out. FUNKHAUSER Good morning. THE GIRLS (with a sharp appraising look) Hi. As they rush out and the door closes, Jim and Muriel enter scene. MURIEL Good morning, Mr. Funkhauser. You remember Mr. Blandings? FUNKHAUSER But of course. He sweeps by them into the living room, taking over completely. INT. LIVING ROOM FUNKHAUSER You'll have to pardon my bursting in at this dreary hour -- (puts a sketch on a chair) -- practically the middle of the night -- (puts wallpaper against mantel) -- but I did so want to catch you in. I've been at it hammer and tongs all week and I'm just a mess -- (drapes bolt of chintz over high-backed chair) -- but then Muriel and I thought we ought to talk it over with you before we take the plunge... Funkhauser looks briefly for a high object over which to display his last bolt of chintz, finds none, settles for Jim's shoulder over which he drapes the cloth, the folds flowing down in front. As Jim reacts: FUNKHAUSER (smoothing out folds on the chintz) After all, it's your home, too, and it should reflect you. You know, Man's Castle, all that sort of thing. Jim looks down at the chintz. JIM (ominously) Muriel! MURIEL (quickly) Jim, just wait till you hear. He's got some wonderful ideas for the foyer. FUNKHAUSER Oh, that's out! All out! Changed the whole thing! I just couldn't live with it! I said to myself, "Bunny, what are the Blandings? How shall we do them?" And the answer was perfectly obvious. Very American, very grass roots, very blueberry pie -- that sort of thing. JIM (dark look at Muriel) Mm. Funkhauser fingers the material of a drape, disdainfully removes his hand. FUNKHAUSER Now first, let's dig into this living room of yours, it's really a dreary. MURIEL (quickly; to Jim) We want this room to be very gay, dear. Something in bright reds, yellows and greens. JIM (appalled) Red, yellow and green?! FUNKHAUSER Oh, come, Mr. Blandings, let's not run away from color. JIM Not running away -- (a lame joke) -- just backing off a little. FUNKHAUSER Uh -- yes. (brightly) Now as I see our room, it's definitely Colonial. You know, cobbler's bench, breakfront, pie cooler, student lamp, hooked rug. But everything in good taste. It must not jump out at you and scream: "Look -- see how antique I am!" JIM Heaven forbid. FUNKHAUSER Of course, these things take imagination. You've simply got to be able to visualize. JIM (politely, removing chintz) If you'll forgive me, Mr. Funkhauser, what I'd like to visualize -- at this dreary hour -- is how much is this all going to cost? FUNKHAUSER Well, really, I hesitate to say. After all -- (indicates) -- by the time this wall is out we may find -- JIM (reacting) This wall is -- what? FUNKHAUSER Out. Source of light is from the east. Obviously if our room is to have any function at all -- JIM You're going to tear out the wall?! MURIEL Dear, it's a wonderful notion. FUNKHAUSER Visualize three feet of leaded panes, the rest -- JIM Can you give me a figure? FUNKHAUSER Well! Costs aren't what they used to be, you know, and -- JIM Just a figure. FUNKHAUSER Materials are impossible, labor has just run wild -- JIM Just an overall figure. FUNKHAUSER Well!... I shouldn't like to be tied down. But I suppose if you must have a figure, I'd say -- mm -- (lightly) -- somewhere in the neighborhood of seven. JIM Mm... Seven. FUNKHAUSER (nodding) Mm. JIM That would be seven... thousand? FUNKHAUSER Mm. Jim looks at Muriel, considers. JIM (soberly) We-ll. That seems fair. (gathering up materials) After all, we're not running away from color -- (picks up wallpaper) -- and we are tearing out walls -- (picks up sketches) Mr. Funkhauser, do you have a card? MURIEL Jim, we haven't even discussed the rest of the house. JIM We will, dear. (leads the whole batch on Funkhauser) FUNKHAUSER (huffy) Well, really, I -- JIM (deftly steering him toward the door) We'll talk it all out and then we'll get in touch with Bunny. CAMERA TRUCKS with them to the door. FUNKHAUSER Well, really, I mean, I was under the impression we'd come to some decision today. JIM I'm sure we will. FUNKHAUSER We-ll! JIM So nice of you to come. (puts Funkhauser's hat on his head) Good day. And Funkhauser is gone. Jim closes the door, turns ominously. MURIEL (apprehensively) Now darling, you -- you just don't go to a man like Funkhauser and ask how much it's going to cost before you even know what he's going to do! JIM No, that would be too logical! Seven thousand dollars! Blueberry pie! I wouldn't put seventy-five cents into this broken-down rat trap! MURIEL (sentimentally) It's our home, Jim. Betsy was practically born in this apartment. JIM That does not make it a national shrine! (vehemently) Seven thousand dollars and not one word about closets. MURIEL Closets! You wouldn't even let him get to the bathroom! JIM I haven't got that kind of money! MURIEL The way you talk, Jim Blandings, you'd think I was some kind of congenital idiot! JIM Sometimes I'm beginning to wonder! MURIEL (furious) You can just get out of here! JIM That's not a bad idea! He angrily jerks open the hall closet door, pulls his hat down from the shelf, several hat boxes, some ski boots and a tennis racket tumbling down on his head. Jim jams his hat onto his head, takes a deep breath and storms out, slamming the door. Muriel walks over to the closet, is about to bend down and pick up a hatbox when all of her pent-up emotions explode. She kicks the hat box into the closet, slams the door, starts to cry. DISSOLVE EXT. RADIO CITY - ESTABLISHING SHOT - (STOCK) DISSOLVE INT. CORRIDOR OUTSIDE OF JIM'S OFFICE - DAY Exiting from the elevator, Jim enters a door marked: DASCOMB AND BANTON ADVERTISING DISSOLVE INT. JIM'S OFFICE - DAY On the wall are various framed copies of Jim's handiwork. Most prominent are advertisements for a meat product called "Wham!" "A Whale of a Ham!" There is ample evidence of the fact that Jim's most successful slogan is: "When you've got the Whim - say 'Wham!'" Jim enters, goes to his desk, sits down, still emotionally upset. He glances at a photograph of Muriel, looks guiltily away, then back. JIM (to photograph) Sorry. His secretary enters. MARY Good morning, Mr. Blandings. JIM (briefly) 'Morning. MARY You wanted to see the color copy from this month's House and Stream. She hands him a magazine. He looks at it perfunctorily, is about to hand it back when his eye is caught by an ad on the back cover. INSERT THE BACK COVER - A COMMUNITY AND EXTOLLING LIFE IN THE COUNTRY INSERT THE BACK COVER - A community and extolling life in the country, sponsored by a group of realtors, local chamber of commerce etc. Over a pastoral scene of lovely little houses checkering a rolling landscape are the words: LIVE IN THE COUNTRY COME TO PEACEFUL CONNECTICUT TRADE CITY SOOT FOR SYLVAN CHARM In smaller type: CHOOSE YOUR OWN COMMUTING TIME HOUSES OLD AND NEW... ACREAGE Over this: MARY'S VOICE Will that be all? JIM - MARY. Jim - Mary. JIM (looking up; blankly) Hm? MARY Will that be all? Without answering he turns back to the ad. The CAMERA COMES IN for a HEAD CLOSEUP as he studies the ad and on the sound track we hear: BETSY'S VOICE "Forced to sell. Farm dwelling, oak grove, apple orchard, trout stream, hay fields, four barns, original beams --" As he looks up thoughtfully: DISSOLVE INT. JIM'S CAR - DAY - (PROCESS) It is a convertible, the top down. Jim is driving through Manhattan. BILL'S VOICE Well, that's the way it all started. The ad was enough to convince Jim -- DISSOLVE INT. THE CAR - DAY - (PROCESS) Jim and Muriel - They are leaving Manhattan, entering the Merritt Parkway. Muriel, wearing an orchid corsage, looks curiously at Jim. His answering gesture says, "Just wait and see." Over this: BILL'S VOICE -- But Muriel was a little tougher. I guess the corsage did it. DISSOLVE INT. THE CAR - DAY Jim, Muriel and Mr. Smith - They are driving through a beautiful Connecticut countryside. Mr. Smith, a local real estate dealer, is of that shrewd Yankee breed which specializes in the understatement, underselling school of salesmanship. BILL'S VOICE There they are, two little fish from New York -- out in the deep deep waters of Connecticut real estate. That's Smith, the real estate salesman. Mighty shrewd cookie in a quiet sort of way. Never thought he'd get a bite this quick. Smith looks speculatively at the Blandings. BILL'S VOICE Now he's sizing up the catch. "Mm. Let's see. Convertible -- orchids -- must be pretty well fixed. Wonder if they're lookers or buyers?" Jim takes a deep breath, looks at Muriel as if to say, "Get that air!" Muriel smiles with approval. Jim pats her hand affectionately. Smith reacts. BILL'S VOICE They're buyers. (confidentially) Yes, sir, Smith, looks like you're finally going to unload the old Hackett place. Now first thing is get 'em a little anxious. Jim slows down the car as they approach a rather picturesque- looking old Connecticut farmhouse. He and Muriel react with approval, look questioningly at Smith. Smith shakes his head, "no," as though to say, "Not nearly good enough for you." BILL'S VOICE Th-a-a-t's right! DISSOLVE INT. THE CAR - DAY Jim, Muriel, Mr. Smith - They pass another house. Jim and Muriel appraise it with interest, look at Smith. BILL'S VOICE Uh-uh, not yet. Smith firmly shakes his head "no." DISSOLVE INT. THE CAR - DAY Jim, Muriel and Mr. Smith - Another house. BILL'S VOICE Take it easy, Smith, give 'em a little more line. Smith shakes his head "no". DISSOLVE INT. THE CAR - DAY Jim, Muriel and Mr. Smith - The car pulls to a stop. BILL'S VOICE Now we're ready to gaff 'em. SMITH (proudly) Well, folks, there she is -- the old Hackett Place. The Blandings look off, react with interest and approval. WHAT THEY SEE -- BURROWED INTO THE UPWARD SLOPE What they see -- Burrowed into the upward slope of the land is the old Hackett farmhouse. If the roof seems to sway a little and the massive stone chimney to tilt a bit and the overall condition of board and beam to be a trifle unsteady, charge it up to age, which will be a hundred and seventy years come next April. However, the overall effect is definitely one of picturesque rustic beauty. In the back are a series of barns and behind them the rolling hills known as Bald Mountain. SMITH'S VOICE Fifty mighty pretty little acres... JIM, MURIEL AND SMITH. JIM, MURIEL AND SMITH MURIEL (involuntarily) It's simply charming! Jim's look cautions against her over-enthusiasm. MURIEL That is, for an old house. JIM (casually) Of course, you understand, Mr. Smith, we're just window shopping, so to speak. Nothing really definite in mind. SMITH Perfectly all right. JIM (studies house; with assumed indifference) Mm. Not a bad-looking place, but it's certainly a lot older than anything we had in mind. SMITH She's no spring chicken -- (sagely) -- but that's just what makes her such a buy. They look at him curiously. Smith's attitude is matter-of- fact, almost without enthusiasm. SMITH This isn't just old timber, or a virgin stand oak grove other side of the trout stream, or a couple of fruit orchards... You're buying a piece of American history. JIM (interested in spite of himself) You don't say! How's that? SMITH First year she was built, General Gates stopped right here to water his horses. JIM (impressed) Oh! Old General Gates -- Civil War. SMITH Revolutionary War. JIM Oh. Oh, that General Gates. Hear that, honey, General Gates! MURIEL (with concern) Wouldn't that make the house over a hundred years old? SMITH (proudly) Hundred and seventy come next April. The Blandings exchange a doubtful look which Smith catches. SMITH Now I'm not trying to sell you anything -- all I'm saying is that one of these days someone with a little vision and imagination's goin' to come along, and just steal this place -- (confidentially) and I mean steal it. The Blandings, as one, turn to the house with renewed interest. This is not lost on Smith. SMITH Mr. Blandings, I know you can look at that house and just about picture what a couple of coats of paint and a little pointing up here and there can do to it. JIM Mm. The CAMERA MOVES TO a HEAD CLOSEUP of Jim as he begins to visualize WHAT HE SEES WHAT HE SEES - The Old Hackett Place suddenly DISSOLVES into the New Blandings' Place -- Jim's version. It is a lovely country house. Massive. Masculine. Jim, in jodhpurs, tweed coat, pipe and accompanied by two large Irish Setters, is proudly surveying his property. He nonchalantly holds a sleek, beautiful shotgun in the most precisely correct position. CLOSE SHOT - JIM'S FACE. CLOSE SHOT - Jim's face. His lips don't move but we hear his voice. JIM'S VOICE Hm. Wonder what he meant by "steal?" THREE SHOT. THREE SHOT. SMITH And I guess I don't have to tell you, Mrs. Blandings, what a woman's touch could do to a place like this. MURIEL Well -- CAMERA MOVES to a HEAD CLOSEUP of Muriel as she starts to visualize. WHAT SHE SEES - THE OLD HACKETT PLACE WHAT SHE SEES - The Old Hackett Place DISSOLVES into a dainty, feminine cottage with criss-cross curtains at the window and a lovely little white rail fence enclosing "her garden." Muriel, in delightful gingham, is in the garden, admiring her latest triumph - the largest rose ever grown in Lansdale County. CLOSE SHOT - MURIEL'S FACE. CLOSE SHOT - Muriel's face. Her face is soft. Her lips don't move but we hear: MURIEL'S VOICE It is a nice old house. It just needs someone to love it, that's all. THREE SHOT THREE SHOT SMITH Yes, sir, you've certainly got to visualize. CAMERA MOVES to a HEAD CLOSEUP of Smith as he, too, begins to visualize. WHAT HE SEES - THE OLD HACKETT PLACE. WHAT HE SEES - The Old Hackett Place. Suddenly SUPERIMPOSED over it in large figures is: $9,000.00 GROUP SHOT - SMITH LOOKS AT HIM AND MURIEL GROUP SHOT - Smith looks at Him and Muriel who are looking at the house with unabashed affection. Jim's arm goes tenderly around Muriel's waist. Smith looks back at the house. WHAT HE SEES - THE OLD HACKETT PLACE. WHAT HE SEES - The Old Hackett Place. The $9,000.00 is quickly replaced by: $11,000.00 GROUP SHOT. GROUP SHOT. SMITH (brightly) Shall we go up and take a look at her? MURIEL (a little too casual) Well -- I -- suppose as long as we're here... JIM (same) I guess it doesn't hurt to take a look. As Smith precedes them up the path toward the house: MURIEL (sotto) It does have possibilities. Do you think we can get it? JIM (sotto) Like taking candy from a baby. MURIEL (same) Now don't lose your head. JIM (same) Shh. Just keep quiet and let me handle this. As they enter the house: JIM Tell me, Smith, what kind of a price is the owner asking for this old place? DISSOLVE EXT. THE OLD HACKETT PLACE - ANOTHER ANGLE - DAY Jim and Muriel precede Smith as they exit from the house. As Jim and Muriel carry on a sotto voce conversation, Smith looks off with some concern in the direction of the road. MURIEL It's wonderful, Jim! That master bedroom with those two closets! JIM Shh! MURIEL Funkhauser could do wonders with this -- JIM (firmly) Funkhauser will have nothing to do with this house! Shh! Smith's face suddenly brightens as a weatherbeaten old car appears, turns up the driveway, stops. HACKETT (calling) Hi, George! SMITH Hi, Eph! (to the Blandings; feigned surprise) What do you know, it's Eph Hackett, owner of the place! JIM (pleased) Well, you don't say. Eph Hackett gets out of the car, saunters over. Hackett is a middle-aged, rural-looking, taciturn New Englander SMITH Eph, this is Mr. and Mrs. Blandings -- from New York City. HACKETT Howdy. THE BLANDINGS How do you do? MURIEL You certainly have a lovely place here, Mr. Hackett. HACKETT (briefly) Ye-ap. JIM (pleasantly) Mr. Hackett, we've just been talking to Smith here about -- uh -- taking the old place off your hands. Hackett exchanges the briefest of looks with Smith who almost imperceptibly shakes his head "no." HACKETT (firmly) Ain't for sale! As the Blandings react with dismay: SMITH (smoothly) Why don't you folks just go out in back and take a look at the orchard? He gives them a wink which says, "Just leave it to me." The Blandings exchange a look, turn and walk off. HACKETT How'm I doin', George? SMITH Nice timin', Eph. Think we got something here. HACKETT They the same people you showed it to in nineteen-thirty-eight? SMITH They were lookers -- this is the real thing. HACKETT If they got five thousand dollars on 'em. don't let 'em get away. SMITH They already offered ten. HACKETT (mildly) Y'don't say... What's my asking price? SMITH Fifteen... HACKETT A mite stiff... SMITH I've got 'em measured. (mellower) They're gonna take the place for -- (turns, looks back at house) eleven thousand. HACKETT Make it eleven thousand five hundred fifty. SMITH Odd kind of figure. HACKETT Might as well take the commission out of them instead of me. As Smith raises a knowing eyebrow: DISSOLVE INT. THE BLANDINGS' BREAKFAST NOOK - DAY Muriel and the two children are having breakfast. Jim enters in high spirits. During this scene we repeat the business of passing, etc. used in the previous breakfast scene. JIM (singing gaily to "Home On The Range") "Home, home in Connecticut With a closet to hang up your petticut..." MURIEL (as he seats himself) ...Jim? JIM (going on, as he places his napkin in his lap) "No hustle or fuss No Fifth Avenue bus --" MURIEL Uh -- Jim? JIM Hm? MURIEL I was just wondering, dear. Ten thousand dollars is such an awful lot to offer -- Jim looks suspiciously at her, at the children, then back at her. MURIEL That is, for two people who don't know anything at all about real estate, or anything... (Jim's look darkens) I mean, don't you think perhaps we should have asked someone's professional advice? JIM Like... say... a lawyer? MURIEL Well, Bill knows about these things and -- JIM Muriel, for once in my life I'm going to make one small decision, on my own, without the legalistic machinations of Mr. Bill Cole. MURIEL It seems very peculiar that when your very best friend happens to be one of the very cleverest young lawyers in New York City -- JIM Muriel, I don't want to hear another word about Bill Cole! (turns to children) Well, did your mother tell you about the house? BETSY Yes. JIM Well? JOAN Miss Stellwagon says the current craze for modernizing old farmhouses is a form of totem worship. JIM (with great restraint) Did it ever occur to you two that there may be some remote, intangible subjects upon which your Miss Irma Stellwagon is not the final authority? JOAN Why don't we buy a Solaxion house? JIM ...You know it's just barely conceivable -- What kind of a house? JOAN Solaxion. It's built on a mast like a tent and it revolves with the sun. JIM Oh, it... revolves... with the sun? JOAN That's right. JIM Who lives next door -- Buck Rogers?! JOAN It's the only practical way to live. When a new model comes out you trade the old one in like a used car. JIM (plaintively) Muriel -- MURIEL Children, you haven't even seen this house yet. BETSY Personally, I'd like a Crane Mobile home. It comes all folded up and all you do is plug it in for electricity and water and -- JIM Now just a minute! (to Muriel) What kind of children are these? (to girls) Do you want to spend the rest of your lives in chromium tents and portable merry-go-rounds? This house was built before our country became a nation. It has dignity. It's -- it's -- Gussie enters with a letter. GUSSIE (handing it to Jim) Special delivery, Mr. Blandings. JIM (with suppressed; excitement) From Smith! As he eagerly opens it and reads, his face falls. JIM Mm. MURIEL Well? JIM (reading) "I have conveyed your offer of ten thousand dollars to Mr. Hackett and am sorry to say he is not interested. However, I feel..." MURIEL Oh, dear. Maybe we should have gone a few dollars higher. JIM (stoutly) He's bluffing. Simple as that. JOAN For ten thousand dollars we could get a Rockford Trailer and a Zamboni Power Unit. It's kitchen, bathroom and air conditioning all rolled up into -- Jim gives her a weary look, turns to Muriel. JIM (firmly) Muriel, I'll let him push me to ten thousand, two hundred, but not a penny more! DISSOLVE JIM'S COST CHART INSERT JIM'S COST CHART - Rising diagonally and bisecting the chart is a line graduated in scale starting at $5000 and running up to around $17,000. Resting on the line at exactly $10,000 is a miniature of the old house. Fluttering across the scene from left to right is a letter from Smith on the stationery of the Lansdale Realty Co. As we see the letter and hear the voice of Smith, miniature figures of Smith and Hackett appear at the lower side of the house. Their shoulders start pushing the house up the graduated scale. Over this: SMITH'S VOICE "Dear Mr. Blandings: While your offer of ten thousand two hundred is still not acceptable to Ephemus Hackett -- " A letter on Danton & Bascomb's stationery flutters across the screen from right to left. A miniature figure of Jim appears above the house, desperately pushing it back. Over this, we hear: JIM'S VOICE "Dear Mr. Smith: You may inform Mr. Hackett that the very highest I could possibly go --" As a succession of letters flutter across the screen, first from left to right and then from right to left, and the house is jockeyed back and forth, they are punctuated with the following lines: SMITH'S VOICE "Dear Friend Blandings --" JIM'S VOICE "My dear Friend Smith --" SMITH'S VOICE "Dear Blandings --!" JIM'S VOICE "Dear Smith - !" Throughout this Smith's voice remains bland and unperturbed while Jim's has the desperate, frenetic quality of a man being slowly pushed to the wall. The Special Effect concludes with the house finally and firmly at rest on the preordained $11,550. As the antagonists on both sides of the house relax, Smith reaches around in front of the house and shakes hands with Jim. It's a deal! About halfway through when the going gets tough, Jim beckons Muriel to help in the losing fight. As they now embrace, Smith and Hackett shake hands in mutual congratulation. DISSOLVE DOOR Door - on it is printed: MR. COLE PRIVATE DISSOLVE INT. BILL COLE'S OFFICE - DAY A successful lawyer's office, the walls crowded with leather- bound books. Jim and Muriel are seated facing the large desk behind which sits Bill Cole. Bill finishes reading a series of papers, the sum total of correspondence between Jim and Mr. Smith. He sets down the papers, leans back thoughtfully. Jim and Muriel look at him with nervous but eager anticipation. JIM (not too sure) What do you think, Bill? Steal, huh? BILL (drily) It certainly is. Jim looks triumphantly at Muriel. BILL Perhaps "steal" is an understatement -- "swindle" might be a little more appropriate. JIM (with pride) Well, it wasn't much, Bill. I just saw a good thing and I -- (take) What do you mean? BILL Every time you get a little tight you weep on my shoulder about the advertising business and how it forces a sensitive soul like yourself to make a living by bamboozling the American public. (picks up Smith's correspondence) I would say that a small part of this victimized group has now redressed the balance. JIM What are you talking about? BILL You! You've been taken to the cleaners and you don't even know your pants are off! MURIEL Dear, I told you. I said we should call Bill -- JIM Never mind, Muriel! (to Bill; challengingly) All right, just what's wrong with this deal? BILL First time around you offered ten thousand dollars for fifty acres, right? JIM What of it? BILL That's two hundred dollars an acre. I know that part of Connecticut and one hundred dollars an acre is standard top-gouge price to city slickers. When the natives sell to each other it's around forty or less. MURIEL Forty dollars an acre! JIM The man's entitled to a fair profit. BILL Not two hundred and eighty-four percent. (indicates papers) And besides, you're not getting fifty acres, you're only getting thirty- five, more or less. JIM Where does it say that? BILL (picks up letter) I refer to a rather obscure post- script on the back of the second letter from Friend Smith. He hands the letter to Muriel. MURIEL (reading) "Incidentally, Mr. Hackett has been a little over-optimistic about the acreage. It will probably survey somewhere in the neighborhood of thirty-five acres, more or less, but I feel sure..." JIM (on the defensive) All right, so it's thirty-five! What's the difference? Do you know how many tennis courts you can get on thirty- five acres? BILL You're not spending eleven thousand five hundred dollars for tennis courts! JIM That's not the point! BILL (very businesslike) That's precisely the point. We're going to write this Hackett a strong letter and tell him he can either kick in with those fifteen acres, reduce the price, or find another sucker. JIM (rising emotion) We'll do no such thing! I'm not going to queer this deal over fifteen broken- down acres! MURIEL (to Bill) We were just going window shopping and so far it's cost us eleven thousand five hundred dollars and they even made us pay the commission! JIM You don't understand business. BILL You mean extortion. As Jim turns on Bill and is about to answer him explosively: MURIEL (thoughtfully) I wonder if we could get another two year lease on the apartment? JIM (heatedly) Now wait a minute! You can't measure everything on a slide rule. This house has certain intangibles. BILL Like what, for instance? JIM Like antique value, for instance! It just so happens that General Gates stopped right there, at that very house, to water his horses. BILL I don't care if General Grant dropped in for a scotch and soda -- you're still getting rocked! JIM That was a different war! MURIEL I think Bill's absolutely right. JIM (struggling to contain himself; quietly) Let me explain something. To both of you. For fifteen years I've been cooped up in a four room cracker box! Just getting shaved in the morning entitles a man to the Congressional Medal for bravery. BILL That doesn't make this a good buy. JIM Bill -- Muriel and I have found what I am not ashamed to call our Dream House. It's like a fine painting. You buy it with your heart, not your head. You don't ask, how much was the canvas, how much was the paint? You look at it and you say, "It's beautiful... I want it," and if it costs a few pennies more you pay it -- and gladly -- because you love it and you can't measure the things you love in dollars and cents! Muriel looks at Jim, impressed, her face softening with compassion. JIM (emotionally spent) Well -- that's how I feel about this place. And when I sign those papers Saturday, I can look the world in the face and say, "It's mine! My house! My home! My thirty-five acres!" MURIEL (coming over; moved, touched) Our house. Our home. Our thirty-five acres... They tenderly kiss. BILL ...more or less... On Jim's reaction: DISSOLVE EXT. LANSDALE COUNTY COURTHOUSE - DAY Comprehensive Shot showing village green of a small, typical, quaint New England town. DISSOLVE INT. RECORDS ROOM LANSDALE COUNTY COURTHOUSE - DAY Old Judge Quarles is reading from the title deed, the proceedings almost over. Jim stands in front of the bench flanked by Muriel and Bill. Mr. Smith and Hackett are the only other people present. As the Judge drones on, Jim and Muriel exchange a smile. Jim squeezes her hand intimately. JUDGE QUARLES (reading) "...thence along said stonewall fence forming the East boundary of said Lansdale Road, N 20∞ 27' E, 21.84 feet to the end of said stonewall fence, thence along a wire fence, N 16∞ 31' W, 78.66 feet to a dead twenty- inch chestnut tree, thence westward to said stonewall fence, to a total of thirty-one and a half acres --" JIM (reacting) What was that? How many acres? Judge Quarles looks up impatiently at the interruption. BILL (precisely) Thirty-one and a half. JIM (to Hackett) I was under the impression your property was thirty-five acres, Mr. Hackett. HACKETT It is... more or less. Bill looks significantly at Jim. SMITH You see, Mr. Blandings, when you signed the purchase agreement it was subject to traced map attached. Surveyed to an even thirty-one and a half acres. Jim turns to Bill for affirmation. Bill soberly nods his head, "yes." JUDGE QUARLES Anything wrong? BILL It's nothing, Your Honor, just a few less tennis courts. Jim gives Bill a sour look as the Judge continues: JUDGE QUARLES (with ministerial resonance) "...to have and to hold to him, the said Grantee, his heirs and assigns to his and their own proper use and benefit forever." During this, and as a shaft of sunlight hits them, a beatific look comes across the faces of Jim and Muriel. For a moment it has become their wedding day. After a momentary pause: JUDGE QUARLES (very businesslike) Subject to a six thousand dollar mortgage held by Ephemus Whittaker Hackett... As the Blandings are startled back to grim reality: DISSOLVE EXT. RURAL COUNTRYSIDE - DAY LONG SHOT - The Blandings' car. The Blandings and Bill Cole driving along. They approach a fork in the road which leads to a very old covered New England bridge. On the bridge is a sign which reads: SHRUNK MILLS 2 Mi. They pause, turn, go through the bridge. INT. THE CAR - (PROCESS) As they drive through the dark interior of the bridge there is an appropriate rattling and rumbling of the ancient timbers. EXT. THE OPPOSITE SIDE OF THE BRIDGE There is another fork in the road. Muriel points to the road to the right. Jim shakes his head, points to the road to the left. Muriel points to the right. Jim emphatically shakes his head, puts the car in gear, drives off on the road to the left. LONG SHOT - THE CAR LONG SHOT - the car. It goes up to the top of a hill, stops, starts up, disappears. DISSOLVE EXT. A ROAD - DAY As the car approaches, the CAMERA discloses it is back at the same covered bridge. The car stops. INT. THE CAR Jim reacts with annoyance, mops his brow. BILL (drily) Congress ought to pass a law. When a man buys a house in Lansdale County there's a prize -- he gets ten percent off if he can find it. EXT. THE BRIDGE Jim backs up and, over Muriel's protestation that they go right, turns the car left. DISSOLVE LONG SHOT - THE CAR LONG SHOT - the car. It drives up an empty road, disappears. DISSOLVE EXT. A ROAD - DAY As the car approaches, the CAMERA reveals it is again back at the old covered bridge. The sign still reads: "SHRUNK MILLS - 2 Mi." INT. THE CAR - DAY Jim and Muriel look at each other with disgust and resignation. JIM What in the world are "Shrunk Mills?" BILL They are probably mills that have shrunk. MURIEL Well, you certainly aren't much of a help. BILL (wearily) Look -- you really want to find that house of yours -- it's no problem. They look at him curiously. BILL Just pretend you're one of General Gates' horses and you're thirsty... Now where would you go for a drink of water? Jim looks at him darkly, drives through the bridge, turns right, as Muriel looks slightly triumphant. DISSOLVE EXT. THE OLD HACKETT PLACE - DAY Jim, Muriel and Bill stand a little distance from the house, looking at it. A vast lilac spreads across it. The Blandings are in quiet rapture, and it is Bill who speaks first. BILL (frank and open) Well, I must admit it's a very beautiful thing. MURIEL (misty) The house and the lilac are just the same age, Bill; if the lilac can live and be so old, so can the house. It just needs someone to love it, that's all. Three shingles slide from the roof. As Jim and Muriel react: BILL It's a good thing there are two of you -- one to love it and one to hold it up. As Jim gives him a look: BILL What'd your engineer say when he checked over the foundation and that roof? JIM Who needs engineers? This isn't a train, you know. BILL I just saw it move. JIM This house has been standing since the second year of the Continental Congress. You take one look at it and shingles start to fall off! As if on cue, a few more shingles slide off the roof, nearly hitting Jim. BILL (solicitously) Look -- let me do you a favor. I've got a client, crackerjack structural engineer, Joe Apollonio; he practically built the George Washington Bridge single-handed. JIM Thanks a lot, but we're not building a bridge. BILL He's the follow who advised the Government not to raise the Normandie -- they didn't listen to him, cost them five million dollars. JIM You have my word, if I were raising the Normandie, I wouldn't make a move without Apollonio. (indicates door) Now would you like to come inside and look around? BILL (a skeptical look at the roof) No thanks, I'll just stay out in the car and listen to "Life Can Be Beautiful." As Jim opens the door and disappears, there is a crash, followed by a series of other crashes. Muriel looks in, turns back to Bill. MURIEL I think you'd better contact Mr. Apollonio. DISSOLVE EXT. THE OLD HACKETT PLACE - DAY Near the front entrance. After a moment, the door opens, and the Blandings and Mr. Apollonio emerge. Jim, limping, is aided and abetted by a cane. Apollonio is a stolid, New York construction man, replete with derby, blue serge suit, and cigar. A short rule sticks out of a back pocket. As they emerge, the Blandings are hopefully enthusiastic; Apollonio is thoughtfully noncommittal. MURIEL It has charm, hasn't it, Mr. Apollonio? APOLLONIO (through his cigar) Uh-huh. JIM Of course, any small changes would have to conform with the character of the countryside. APOLLONIO (through his cigar) Mm-hmm. MURIEL And yet still be functional. Apollonio casually walks over to the corner of the house, kicks an exposed beam. It crumbles, apparently rotted by termites. Two shingles fall off. The Blandings watch him anxiously. APOLLONIO (gazing upward; oblivious) Uh-huh. As he thoughtfully rubs his chin, Jim, followed by Muriel, limps his way over to him. JIM Well, uh, what's your professional opinion? Apollonio looks at the Blandings, at the house, then back at the Blandings. He takes the cigar from his mouth. APOLLONIO Tear it down. JIM (appalled) Tear it down??! APOLLONIO If your chimney was shot and your sills was okay, I'd say go ahead, fix her up. If your sills was shot and your chimney was okay, again I'd say go ahead, fix her up. But your sills are shot and your chimney is shot. During this speech Apollonio picks up a wooden frame, squares it with a pocket square, levels it on a fence, and looks through it at the house. APOLLONIO (beckoning) Take a look at the way she sags. The Blandings step over, look through the frame. WHAT THEY SEE. What they see. Outlined against the frame, the house slants, sagging perceptibly. THREE SHOT AS THE BLANDINGS REACT WITH SOME DISMAY THREE SHOT as the Blandings react with some dismay. APOLLONIO So I say don't throw good money after bad -- tear it down. JIM (coolly) Thanks a lot. APOLLONIO It's okay. He tips his hat, walks out of scene. JIM (bitterly) Bill Cole and his experts! MURIEL (bitterly) Darling, we'll get our own experts. DISSOLVE EXT. THE OLD HACKETT HOUSE - DAY The Blandings have just finished surveying the house with Mr. Simpson, another expert. BILL'S VOICE And so they got their own experts. Mr. Simpson said -- SIMPSON Tear it down. The Blandings look at each other. FAST DISSOLVE EXT. THE OLD HACKETT HOUSE - DAY The Blandings have just finished examining the house with Mr. Murphy, another expert. BILL'S VOICE On the other hand, Mr. Murphy said -- MURPHY I think you'd better tear it down. The Blandings smile feebly. FAST DISSOLVE EXT. THE OLD HACKETT HOUSE - DAY The Blandings and Jones, another expert. BILL'S VOICE And then just to be a wee bit different, Mr. Jones said -- JONES (firmly; deep bass voiced) Tear it down! The Blandings are now considerably shaken. DISSOLVE A SHINGLE. A shingle. It reads in neat, conservative lettering: HENRY L. SIMMS ARCHITECT BILL'S VOICE And that's how our friend, Mr. Simms, came into it. DISSOLVE INT. HENRY L. SIMMS' LIVING ROOM - DAY Jim, Muriel, Simms. The room is in quiet, good taste, a flagstone fireplace, modern steel casement windows, window seats, etc. The walls are crammed with books and photographs of Simms' handiwork. There are a couple of gold medal citations of his work conspicuously spaced around the room. Simms is a tweedy, pipe-smoking, conservative New Englander, a distinguished-looking local architect. He puffs thoughtfully on his pipe as he looks at a photograph of the old Hackett place, an exact duplicate of the shot we saw through the window frame. SIMMS Of course you could fix up that old house. You can fix up any structure that's still standing. The sills and floors couldn't be worse, I grant you, and I guess you'd have to jack up that west corner at least three feet to make it level. Need new chimney. New roof. Complete new plumbing. (sigh) Too bad you didn't buy it ten years ago. Could have fixed it up in jig time then, and it would have made some sense. JIM (nervously nibbling at his nails) Uh-huh... mm-hmmm... uh-huh. SIMMS Fact is, before you're through, it would be less expensive to tear the old place down and build a new one, same size. JIM Mm. New house... (as the notion sinks in, becomes attractive) New house. MURIEL (to Simms, with pleasant incredulity) You mean... for the same money... we could build a brand new house? SIMMS It certainly wouldn't cost any more. JIM (soberly) Hm... New house... He turns and looks thoughtfully at Muriel who raises an interested eyebrow. Then, to Simms: JIM (tentatively) Just... what sort of thing do you have in mind? SIMMS Well, I imagine the type of house you'd want would be something in quiet good taste, two story, frame and brick veneer construction -- modern, but of course fitting in with the architectural traditions of the countryside. JIM Well, I -- What do you think, Muriel? MURIEL I think it sounds fine. SIMMS Perhaps you'd like to see a basic floor plan -- (reaches into file behind him) -- something like this. Simms places the basic floor plan on the desk before him, the Blandings moving around, flanking him. They examine the plan with interest. WHAT THEY SEE -- THE PLAN. What they see -- the plan. A simple master plan of a two story house, the names of the various rooms indicated. As he talks, we see Simms' hand, holding a pencil, point out the various rooms SIMMS First floor. Living room, study, dining room, kitchen, service porch, maid's room -- upstairs three family bedrooms with two adjoining baths. THREE SHOT. THE BLANDINGS PRAISE THE PLAN THREE SHOT. The Blandings praise the plan with the uncompromising expertness of two people who have never seen such a plan before in their lives. MURIEL It's very nice, I'm sure, but -- uh -- well -- doesn't it seem just a little bit conventional? JIM Yes, Simms, if we were going to build a house we want it -- well, you know -- just a little bit different. SIMMS (he's heard all this before) Yes, of course. JIM Now, for instance -- (takes Simms' pencil) THE DRAWING BOARD. THE DRAWING BOARD. Jim's pencil traces as he talks. JIM'S VOICE -- here in the study if we could just push out this wall a little -- and put in a built-in bar we could -- MURIEL'S VOICE Excuse me, dear -- Her hand takes the pencil from his, starts to trace as she talks. Jim's fingers drum with the beginnings of impatience. MURIEL'S VOICE These bedrooms. They do seem rather small. And, of course we'd have to have a little dressing room -- and -- As she draws it in, Jim's hand takes the pencil. Muriel's fingers drum nervously. JIM'S VOICE And closets, Simms, lots of closets. (traces them in) If there's one thing this family needs, it's closets. SIMMS' VOICE (as his hand reaches for the pencil) If I might make a suggestion -- But Muriel's hand reaches the pencil first. MURIEL'S VOICE (as she draws them in) And bathrooms, Mr. Simms. Each bedroom must have at least one bathroom. SIMMS' VOICE But that would be four bathrooms, Mrs. Blandings -- (his hand reaches for the pencil) I think I'd better point out to you -- Jim's hand reaches the pencil before Simms. Now Simms' fingers and Muriel's drum in unison. JIM'S VOICE Just a minute. Do you think -- (tracing) we might manage a little playroom in the basement, nothing tremendous, you know, something like this -- SIMMS' VOICE (as his hand reaches for the pencil; cautiously) Well, it's always possible, but at the moment our fundamental problem -- But Muriel's hand has the pencil. MURIEL'S VOICE (as she traces) And I've always wanted a little sewing room upstairs -- (Jim's and Simms' fingers drum impatiently) You know, a little utility room where I can be alone, and sew, or sulk, or on a rainy afternoon... JIM'S VOICE (as his hand takes pencil) Pardon me, dear. On that playroom, Simms, not too small. You know, plenty of room for ping-pong, darts, nice big poker table... SIMMS' VOICE (as his hand reaches for another pencil) If you don't mind, I -- But Muriel has reached the pencil first. As she and Jim sketch simultaneously and the scene begins to DISSOLVE, we hear: MURIEL'S VOICE ...And off the kitchen, I'd like a little flower sink just to putter around in... JIM'S VOICE ...And a terrace off the study, with an owning and little outdoor fireplace... DISSOLVE THE DRAWING BOARD - THE ORIGINAL PLANS THE DRAWING BOARD - The original plans are lost in a maze of the Blandings' extensions, alterations and additions. THREE SHOT - THE THREE ARE SOMEWHAT EXHAUSTED THREE SHOT - The three are somewhat exhausted, silently looking at the plans. Simms wearily runs his hand through his hair. SIMMS (delicately) We-ll... let's just see what we have here. In the first place -- THE DRAWING BOARD - SIMMS' THE DRAWING BOARD - Simms' pencil indicates as he talks. SIMMS' VOICE -- I'm afraid you've got the upstairs about twice as big as the downstairs. JIM'S VOICE It's all those bathrooms. MURIEL'S VOICE It is not, it's all those closets. THREE SHOT. THREE SHOT. SIMMS By extending this breakfast room you've eliminated the possibility of any stairs going to the second floor. JIM Oh, you can just shove those stairs in anywhere. SIMMS (patiently; almost paternally) And, Mrs. Blandings, on that sewing room, the way you have it now, the chimney stack would come up right through the middle of the room, leaving you with something in the shape of a square doughnut. (tactfully) Which, of course, might be very warm in winter, but otherwise of doubtful utility. MURIEL You could always move the chimney somewhere else, couldn't you? SIMMS We-ll... (rising; resigned to his fate but tactful) Look, I think I know just about what you two have in mind. Why don't I go ahead with some preliminary plans and -- JIM (hearty) You do that, Simms, but remember, we've got to hold it down to ten thousand. SIMMS (candid) That, I can tell you right now, is impossible. Even with a considerable trimming of the things you've indicated, I don't see how we can bring it in for less than twelve or twelve-five. JIM Twelve-five! (looks at Muriel; then) Well, I guess we're not going to quibble about a few pennies one way or the other. MURIEL (can't resist) No, you'll find Mr. Blandings never quibbles about pennies. SIMMS And -- uh -- have you any notions about how you'd like the old place taken down? JIM (a rueful joke) Why don't we just blow on it? SIMMS (wry smile) There's a good local house wrecker. I'll have him contact you. Jim expansively puts his arm around Simms' shoulders. JIM Fine. You just shoot ahead with those plans, and remember, try to keep it down to ten, ten-five. SIMMS (doubtfully) Well -- we'll try. As the Blandings walk to the door: JIM There's one good thing about getting that old relic down. Those original beams and everything -- this time somebody pays us. As they go out the door: DISSOLVE EXT. ROAD NEAR OLD HACKETT HOUSE - DAY - WINTER - (PROCESS MATTE SHOT) Old Hackett house matted to show winter sky, bare trees. In the f.g. bare ground with patches of snow. Eph Hackett is standing with one of the wreckers. In the b.g. we see the frame of the old house, firmly intact, the chimney still standing within it. There are mountains of shingles, splintered boards and other rubbish, piled about. The piles are reasonably neat and sorted. HACKETT Them beams is worth money. You payin' him, or he payin' you? WRECKER He's payin' me. HACKETT How much? WRECKER (hesitating) A thousand. HACKETT A thousand! WRECKER He squawked, but he paid. HACKETT (drily) Hmm. I guess maybe I got a little somethin' comin' too. As he starts out of scene: VOICE Okay, boys, let her go! Tractors attached to chains and cables start to pull. MINIATURE SHOT MINIATURE SHOT - What is left of the house collapses. EXT. HILL OVERLOOKING THE OLD HACKETT PLACE - PROCESS OF MATTE OR MINIATURE SHOT Jim and Muriel are standing there, having watched the demolition. As the dust settles: JIM (sigh) Well, so far it's cost us thirteen thousand, three hundred and twenty- nine dollars and forty-five cents. MURIEL But we've got the nicest vacant lot in the state of Connecticut. They exchange a look of mixed emotions. DISSOLVE SIMMS' NEW PRELIMINARY PLANS INSERT SIMMS' NEW PRELIMINARY PLANS - Fresh and workmanlike, a few small sections crossed out where cuts have been indicated. SIMMS' VOICE (wearily) Something will have to give somewhere, that I know. The CAMERA ANGLE WIDENS to disclose: INT. THE BLANDINGS' LIVING ROOM - NIGHT Jim, Muriel and Simms are going over the preliminary plans. Betsy and Joan are present, Betsy reading the Lansdale Blade and Joan reading a science book. MURIEL It's impossible. I don't see how we can cut another inch. JIM Honey, you heard Simms. As the house stands now it's over fifteen thousand dollars! MURIEL Well, it just doesn't seem possible -- (afterthought) for a house with such small rooms. SIMMS (patiently) Mrs. Blandings, I've already explained. It's not only the size of the rooms so much as it is the number. You see, our primary problem is one of cubage -- JIM That's right, dear, cubage. MURIEL What's that? JIM Oh -- (sorry he got into it) just a figure of speech. MURIEL But what does it mean? JIM (a little irritably) Cubage. It's just the number of cubic feet that -- (lost, lamely) -- go into a cubic foot. Go on, Simms. SIMMS (consulting plans) Now is it absolutely essential for each of your daughters to have her own room with two closets and a separate bath? JIM (a look at the girls; clearing his throat) Yes. You see, er, my daughters are, er, approaching womanhood, and, er -- SIMMS (brief look at the girls) I hadn't realized they were approaching it quite so fast. (to Jim) Perhaps what you need is not so much a house as a series of little bungalows. JIM Hmmm. (examining plans) What about that silly flower sink? We could eliminate that. MURIEL I beg your pardon. JIM Or that sewing room upstairs, that's certainly a waste. MURIEL If we're going to eliminate anything, we'll lose that ridiculous play room in the basement with that great big poker table. JIM Honey, I've got to have some relaxation. MURIEL We've got thirty-one and a half acres. Go out in the back and do a little gardening. JIM Sure, and get poison ivy! SIMMS (with dogged patience) If I may interrupt, I'd like to suggest that none of these are really major eliminations. Now if we could do with one less bathroom on the second floor -- MURIEL I'm sorry. We couldn't possibly. SIMMS Mrs. Blandings, a simple bathroom, eight by ten by eight with grade A fixtures will cost around thirteen hundred dollars. MURIEL I refuse to endanger the health of my children in a house with less than four bathrooms. JIM For thirteen hundred dollars they can live in a house with three bathrooms and rough it! SIMMS Look, perhaps the most practical thing would be -- BETSY Oh, look, we're in the Lansdale paper! (reading) "Historical Society Blasts Vandalism!" JIM Muriel, Simms explained to you. We've just got to cut, cut -- (reacts) What's that? BETSY (reading) "Censure Vote Passed re Destruction of Famed Hackett Edifice." JIM Well, isn't that just too bad! Let me see that. He takes the paper, scans it, suddenly bursts into laughter. MURIEL What's so funny. JIM (laughing) Prutty. Mrs. Bildad Prutty. Get a load of this! (reads) "The semi-monthly meeting of the Lansdale Historical Society was turned into an uproar last night when its president, Mrs. Bildad Prutty" -- How do you like that, Bildad Prutty? -- "reported the total demolition by its New York buyer of the historic old Hackett house." (laughs) Bildad Prutty! Muriel, I've got to send this to the New Yorker! BETSY (drily) Read on, father. JIM (scans paper) "Mrs. Prutty," -- Bildad, that is -- "reminded her audience that several years ago the Society started to raise a fund to purchase and restore the old house to its original condition." (looks up, laughs scornfully) BETSY Read on, father. JIM (back to paper) "The project fell through by being seven hundred dollars short of the sum of twenty-six hundred dollars..." (Jim slows down as the following registers) "...which Ephemus Hackett testified was the lowest reasonable price he could accept as --" The paper drops. JIM (weakly) ...Twenty-six hundred dollars. BETSY And what did we pay, father? JOAN Eleven-five, with the commission. JIM Muriel, isn't it time for those children to be in bed? MURIEL Now girls, I don't want to tell you again. The front doorbell rings. MURIEL Excuse me. As the CAMERA FOLLOWS Muriel to the door, we hear: JIM'S VOICE Twenty-six hundred dollars! SIMMS' VOICE (comfortingly) I wouldn't be too concerned about Mrs. Prutty and her committee. After all, it's your property and if you want to tear it down -- Muriel opens the door, admits an excited Bill Cole. MURIEL (surprised) Why, Bill! BILL (briefly) Hello, Muriel. (he strides past her waving a telegram; to Jim) Well, you've done it again'. Once, just once, why don't you come to me and find out if it's all right, if it's legal, before you go barging off and run yourself smack into another jam! JIM What's eating you? BILL (ignoring him; to Simms) And I must say, Simms, I hold you equally responsible! JIM (alarmed) What? What happened? SIMMS I'm afraid I don't understand. BILL (to Simms; indicating Jim) Did you let this idiot tear down that house? JIM What if he did? What of it? SIMMS (to Bill) Reconstruction was unsound and totally impractical. BILL I quite agree. But you're dealing with a man who doesn't think before he acts, who goes off half-cocked! JIM What is it? What did I do? BILL (ignoring him; to Simms) You're an architect! You must have been aware of the legality involved. JIM What? What legality? BILL (to Simms) You knew there was a mortgage on that house. SIMMS I assumed as much. JIM What happened? What are you talking about? BILL (ignoring him; to Simms) And you know the requirements in regard to a mortgage where there's demolition intended! SIMMS Certainly. But since you were his lawyer, I naturally assumed -- BILL With a man like this you can't assume anything! JIM (loudly) Just one minute! I am entitled to know what I did! This is America! A man's guilty until he's proven innocent -- BETSY It's the other way around, father. JIM You go to bed! MURIEL Girls! JIM Bill, I've had a very trying day. Would you mind telling me in clear, concise English just what crime I've committed -- and why?! BILL (with weary resignation) In clear, concise English, you tore down a house on which another man holds a mortgage without first getting his written permission. JIM Well, I -- I did?! BILL And in such case, the mortgagee can demand the full payment of said mortgage upon demand -- (waves telegram) and Mr. Ephemus Hackett so demands! Six thousand clams! And he wants them now! JIM (appalled) Now?! BILL You've got ten days. Jim gulps. Pause. JOAN For six thousand dollars we could have had a Solaxion house and a Crane Mobile home. JIM Muriel! MURIEL (herding the kids toward the door) Girls, say your good nights and off to bed without another word. BETSY (reluctantly) Good night, Mr. Simms. Uncle Bill. JOAN (protesting) Miss Stellwagon says the problems of the parents should be the problems of the children. MURIEL (shooing them out) You keep that in mind, dear. It'll help prepare you for motherhood. The children exit. An embarrassed pause. SIMMS Perhaps we'd better let the plans go for the time being and -- JIM (weakly) No, Simms, I'll work this out. You go ahead with your final plans and let's see some estimates. MURIEL And we'll just forget about that extra bathroom. SIMMS (preparing to leave) Very well. You'll hear from me as soon as possible. Good night. Good nights are exchanged. Muriel takes Simms out of scene toward the door. CAMERA HOLDS on Bill and Jim. JIM (defeated) Six thousand dollars! Bill looks at Jim with compassion. BILL What'll you do for collateral on your building loan? JIM I don't know, turn in my insurance policies or something. MURIEL (coming into scene) Now, Jim, you can't do that. JIM Why not? MURIEL What if something should happen? You can't leave the children unprotected. JIM (somewhat irritably) I'm not dead yet! And if I die, there's plenty left to take care of them. MURIEL Not if you cash in your policies. As Jim reacts with painful resignation: BILL I'm sure it won't be necessary. I'll see the boys at the bank. Maybe you can put up your insurance as collateral. If necessary, I'll sign a personal note. JIM (wearily) Thanks, Bill. BILL (paternally) And Jim, do me a little favor. The next time you're going to do anything, or say anything, or buy anything, think it over very carefully, and when you're sure you're right -- forget the whole thing. Good night, Muriel. He goes to Muriel and kisses her on the cheek. Jim sees it, is annoyed. MURIEL Good night, Bill. CAMERA FOLLOWS Muriel and Bill to the door. He exits. Muriel comes back into the room. MURIEL What a wonderful friend. JIM (darkly) What's with this kissing all of a sudden? MURIEL What's that? JIM Just because a man is helpful in a business way, it doesn't give him extra-curricular privileges with my wife! MURIEL That's a fine thing to say about a friend of fifteen years! JIM (testy) Well, I don't like it. Every time he goes out of this house, he shakes my hand and he kisses you. MURIEL (sharply) Would you prefer it the other way around?! JIM (irritably) Well, I don't like it, that's all! Why is he always hanging around? Why doesn't he ever get married -- or something? MURIEL (assumed innocence) Because he can't find another girl as sweet and pretty and wholesome as I am. JIM Well -- it -- it doesn't look right. There are limits to friendship and -- Muriel comes over, puts a sympathetic arm around him. MURIEL Darling, let's not be silly about this. It's not Bill, it's the house you're upset about. JIM (sigh) I suppose so. They kiss. JIM Do you think it's worth all this? MURIEL Of course, darling. We're not just building a house -- it's a home. A home for ourselves -- and our children -- and maybe our children's children. JIM (whimsically) It's getting awfully crowded with only three bathrooms. They look at each other, smile and kiss intimately, as we DISSOLVE INT. SIMMS' LIVING ROOM - DAY Jim and Muriel are watching Simms, who has just taken a typewritten sheet from his files. Simms looks at the sheet, turns to them a little apprehensively. SIMMS Well -- here are the estimates. Before you look at them, I think I'd better explain -- JIM Don't bother, Simms. (takes the sheet) I'm getting to be an old hand at this sort of -- Jim is halfway into his chair as his eye catches the first bid. There is a sharp MUSICAL EFFECT as Jim bounces out of his seat. JIM Jumping H. Mahogany --!! The CAMERA GOES IN for a CLOSE SHOT of the column of estimates. As the CAMERA IRISES DOWN ON each sum, there is a dissonant MUSICAL EFFECT. Antonio Doloroso, Builders $32,117.00 Caries & Plumline $30,500.00 Julius Akimbo & Co. $28,575.00 Zach, Tophet & Payne $24,250.00 John Retch & Son $21,000.00 THREE SHOT JIM, MURIEL, AND SIMMS THREE SHOT - Jim, Muriel, and Simms. Muriel has read the column over Jim's shoulder. SIMMS Now obviously these bids are way out of line, that is, all except John Retch and Son at twenty-one thousand. MURIEL (reacting) Twenty-one thousand! SIMMS And with some judicious cutting, I think we can pare that down to eighteen. MURIEL We've only asked for the barest necessities -- SIMMS Frankly, with all the extras you two have -- JIM Never mind. (hands estimates to Simms) If you'll just send us a bill for your services, I'll see that it's taken care of. (takes Muriel's hand and starts for door) Now, if you'll excuse us. MURIEL Where are we going? JIM I am going out to get my head examined! Then, if I don't jump off the Brooklyn Bridge, I'm going to find the owner of our building and sign a twenty-year lease! As they are about to exit, they pause as their eyes are caught by a drawing on an adjacent drawing board. WHAT THEY SEE - A BEAUTIFUL PENCIL AND CHARCOAL DRAWING What they see - a beautiful pencil and charcoal drawing of their completed prospective house. Under it, in neat letters is printed: RESIDENCE OF MR. AND MRS. JAMES H. BLANDINGS JIM, MURIEL, AND SIMMS. Jim, Muriel, and Simms. They look at the drawing, then at each other. Jim's face softens. Muriel looks at him appealingly. JIM (quietly) What's the name of that contractor? DISSOLVE INSERT JIM'S COST CHART. The house rests on the diagonal line at the figure of $13,500. As the miniscule Jim and Muriel watch with apprehension, the small figures of Smith and Hackett are joined by Simms, John W. Retch, and several sub contractors, who put their collective shoulders to the house and push it past the Blandings and up to $31,000.00 DISSOLVE EXCAVATION - LOCATION #2 - EARLY SPRING - DAY A sign on a sawhorse - it reads: JOHN W. RETCH AND SON Over scene is the thunderous dissonance of the various SOUNDS that go into preliminary construction. A steam shovel in action, a bulldozer, the sawing of wood, and intermittently the loud, earth-shaking crash of a well-digger's rig. As the CAMERA PULLS BACK, we see the machines and workmen at their various tasks. The scene has all the rustic peace of the invasion of Hollandia. The ANGLE CHANGES, and we see Jim, Muriel, and Bill drive up the improvised driveway very close to the scene of activity. INT. THE CAR - DAY Jim and Muriel look at their property with unconcealed pride. Bill is interested but would like it better if there were less noise. JIM (shouting over noise) Well, things are certainly humming. BILL (same) What's that? JIM (same) I said, humming. BILL Oh. As they get out of the car, there is an unusually loud crash from the well-digger's rig. BILL (loud) What's going on over there? JIM (same) That's Mr. Tesander. He's digging our well. BILL (same) Well? What happened to the trout stream, with that pure, clear, cold mountain water? JIM (same) I decided against it -- There is a sudden cessation of the steam shovel and complete silence. Jim, unaware of it, continues to shout. JIM The trout stream -- (reacts; quietly) didn't seem practical. MURIEL It wasn't exactly a decision, dear. (to Bill) We discovered the trout stream dries up in August and the rest of the year it's polluted. JIM (defensively; groping) Well, anyway, I'd rather have artesian water. It's healthier. Calcium -- vitamins -- artesian -- BILL (indicating) What's wrong with that steam shovel? They look off. WHAT THEY SEE. A CLUSTER OF WORKMEN WHAT THEY SEE. A cluster of workmen have gathered around Mr. Zucca, the driver of the steam shovel, who is swearing in voluble but undistinguishable Italian. JIM, MURIEL AND BILL. Jim, Muriel and Bill. JIM Better take a look. He starts off for the steam shovel, nimbly jumping over a drainage trench. Muriel starts to follow, pauses, unable to negotiate the trench. MURIEL Jim! Jim turns in time to see Bill pick Muriel up and carry her across the trench. As he sets her down: MURIEL (sarcastic; to Jim) Thank you, dear. Jim frowns, annoyed. They approach the group around the shovel. JIM What's the matter, Mr. Zucca? Something wrong? ZUCCA How do you lika that? Broka my bucket. Two times this week I broka my bucket? JIM What did you do, strike a boulder? ZUCCA (darkly) Atsa no boulder, atsa ledge. JIM (weakly) What does that mean? ZUCCA Meansa we gotta blast! JIM Blast? ZUCCA Blast. Witha dynamite. JIM What do you mean, dynamite? MURIEL (a little annoyed) What do you mean, "What do you mean?" Mr. Zucca just explained. He's going to use dynamite and blast until he gets rid of the rock. ZUCCA Atsa no rock, atsa ledge. BILL What Mr. Blandings means is -- what precisely is a ledge? ZUCCA Ledge. Lika bigga stone, only a- bigger. JIM Like a boulder? ZUCCA No, like ledge. Jim looks at Muriel and Bill. BILL ...Like a ledge. ZUCCA But you don't gotta worry. Only cost twenty-four cents a cubic foot, plussa dynamite an'a fuse. JIM But how far will you have to blast? ZUCCA Harda tell. Might be a lilla baby ledge -- mighta run the whole toppa the mountain. JIM (appalled) At twenty-four cents a foot? Do you realize what that means?! ZUCCA (simply) Meansa we gotta blast. Zucca walks off. JIM (with quiet resignation) Well, anyway, our house will never sink. MURIEL (drily) If it does, we can always get Mr. Apollonio. He raised the Normandie. There is a crash from the well-digging rig. BILL "Come to peaceful Connecticut -- (another crash) Trade city soot for sylvan charm." Another crash. JIM (irritably) How long does that go on? MURIEL I don't know. (to Bill) Three weeks now at four dollars and fifty cents a foot. JIM (asserting his authority) I think I'd better have a little talk with Mr. Tesander. He starts off. Muriel and Bill, curious, follow. EXT. AT THE WELL RIG Tesander, a stolid New England well-digger, the soul of industry and candor, attacks the earth. Jim, followed by Muriel and Bill, walks into scene, stands by, watching him. After a moment: JIM Oh -- Mr. Tesander -- The motor is making too much noise. JIM (louder) Mr. Tesander! Tesander looks up, shuts off his motor. TESANDER Yep? JIM How's it coming? TESANDER (considers a moment; then:) It's comin'. With a nod he turns on his motor, resumes work. Jim exchanges a look with Muriel and Bill. JIM No -- no -- I mean -- But he's drowned out by the motor. JIM (shouts) Mr. Tesander! Tesander patiently stops his motor, looks up. TESANDER Yep? JIM What I meant was -- how far down are you? Tesander looks at his equipment, considers. TESANDER Oh -- 'bout a hundred and ninety feet. JIM Well -- isn't that pretty deep? TESANDER (thinks it over; he's not one for snap judgments; then:) Yep. He's about to turn on his motor, but Jim detains him. JIM Do you think maybe you'd better try another spot? TESANDER Up to you. JIM I mean -- well, have you hit anything yet at all? TESANDER (thinks it over) Hit some limestone yesterday. JIM Is that good? TESANDER That's bad. Jim looks at Bill who shakes his head with mock commiseration. TESANDER And right now it looks like we're coming into some shale. JIM That's bad? TESANDER That's good. JIM Oh... Jim looks at Muriel for comfort which isn't forthcoming. TESANDER 'Course it might turn out to be sandstone. JIM That's bad? Tesander shakes his head, "No." JIM That's good? Tesander shakes his head, "No." TESANDER Can't tell. Might be good. Might be bad. One thing you know -- you got plenty of shale, sandstone and limestone. JIM ...I see. He turns a little helplessly to Muriel and Bill. BILL On a hot day there's nothing like a nice cool limestone shower. MURIEL (sweetly) Mr. Tesander, just for the record, of course, what ever happened to water? TESANDER Oh, it's there, all right. (he smiles, nods, tips his hat to Muriel) Just got to be patient. He turns on his motor, goes back to work. Jim, Muriel and Bill start to move off. BILL If you ask me, this project's getting a little out of hand. JIM (defensively) Nothing's getting out of hand at all. I've made a chart of the whole operation, and -- (indicates Tesander) with a few minor deviations, I know exactly what every penny's going to cost. MURIEL Two pennies. JIM (coolly) And just what does that mean? BILL (drily) Meansa we gotta blast. There is a loud dynamite blast o.s. As a shower of dirt and rocks cascade down and they run for cover: DISSOLVE JIM'S COST CHART INSERT JIM'S COST CHART - Jim stands casually above the house holding the line with one hand. The group pushing from below now consists of Smith, Hackett, Simms, Retch, Tesander, Zucca and assorted sub-contractors and workmen. As the house moves up a thousand dollars, Jim firmly pushes it back. It now rests at $33,500. DISSOLVE INT. JIM'S OFFICE - DAY Jim and Mary. JIM You see, Mary, the average fellow who builds a house doesn't know where he stands from day to day -- but I do things a little differently. With a few minor deviations I know exactly where every penny is going -- There is a knock on the door. It opens and Bill Cole appears, briefcase under his arm. BILL Hi. JIM Bill! Come in, come in. BILL (entering) Just going over the Knapp contracts with old man Dascomb and I -- uh -- (indicates Mary) Can I talk? JIM (a little concerned) Sure. What's up? BILL (obliquely) While I was in there with Dascomb the conversation kind of got around to you and -- uh -- JIM (impatiently) What is it? BILL Well, he didn't say in so many words that ever since you started with that house you haven't turned in a decent piece of copy, but -- JIM But you kind of got the feeling... BILL ...that if I told you, you'd know that he knew that you knew that he knew... that you knew... or something. JIM What's he worrying about? The deadline's three months off. I've always -- The phone rings. Mary answers. MARY Hello? Yes. Just a minute. (hands phone to Jim) Mrs. Blandings calling from Lensdale. JIM Yes, Muriel. What? What's that? Tesander struck water! Say that's wonderful! (to Bill) We've finally got our well. BILL (drily) Congratulations. He extends his hand. Jim absently shakes it, then: JIM (listens at phone) Huh? What's that? (face falls) What do you mean we've got two wells? (listens; then, grimly) I'll be right out. (hangs up, rises) Come on, Bill, we'd better get out to Lansdale. MARY Anything wrong? JIM (soberly, as he slips into his coat) Mary, have you ever seriously considered building a house? MARY Well, no offense, Mr. Blandings, but my boy friend says that anybody who builds a house today is crazy. JIM You stick with that boy, he's got a great future. As he and Bill start for the door: DISSOLVE EXT. THE EXCAVATION AT BALD MOUNTAIN - DAY Muriel, Jim, Bill, Simms and Retch stand at the edge looking down at the excavation which is partially filled with bubbling water. JIM You mean you hit a spring, a bubbling spring right here in our cellar? SIMMS It'll have to be diverted before Retch here can lay his cement. RETCH (dubiously) May take a while. Pumps are over in Jersey. Tesander walks into scene, looks down at the water. TESANDER Tsk, tsk, tsk. JIM (mild sarcasm) Water, Mr. Tesander. TESANDER Yep. JIM At six feet! TESANDER Yep. JIM (indicates) And over there, just thirty-two yards away, you had to go down two hundred and twenty-seven feet to hit the same water. TESANDER Yep. JIM How do you account for that, Mr. Tesander? Tesander considers a moment, rubs his chin, then: TESANDER We-ll, way it seems to me, Mr. Blandings, over here the water's down around six feet and over there it's -- uh -- BILL AND TESANDER -- down around two hundred and twenty- seven feet. Jim exchanges a weary look with Muriel. DISSOLVE SPECIAL EFFECT: MONTAGE SPECIAL EFFECT: It consists of a Montage of the following DISSOLVING SHOTS: (1) The water being pumped out of the excavation. (2) The cement mixer pouring cement into wheelbarrows. (3) The pouring of the cement floor, walls and foundations. (4) Planks, shingles and plumbing equipment begin to arrive and are strewn about the property. (5) The exterior framing of the house begins to go up. (6) The sheathing is put on. (7) The roof is constructed. OVER THIS MONTAGE IS SUPERIMPOSED: Jim's Cost Chart. - With each successive operation, a new workman is added to the already considerable group of people who are pushing the house inexorably upward, this against the frantic efforts of a slowly weakening Jim Blandings. DISSOLVE EXT. THE BLANDINGS' HOUSE - DAY The exterior sheathing is completed and, in the roughest of terms, the project begins to resemble a house. Among the workmen's cars we notice the Blandings' convertible. DISSOLVE INT. THE INCOMPLETE LIVING ROOM - LOCATION #1 - DAY A dozen hammers, saws, trowels, etc. are heard in other parts of the house busily rasping and banging away. Jim and Muriel and Bill appear in the doorway before entering the rough unfinished interior of what will eventually be the living room. BILL What's this, another closet? JIM This happens to be our dining room. MURIEL Not the dining room, dear, the living room. (indicates) There's the fireplace. JIM Then where's the dining room? BILL Maybe it's that little room off the hallway. JIM That's the breakfast nook. MURIEL It's not the breakfast nook, it's the powder room. JIM Oh. BILL Do me a favor -- don't ever invite me here for a meal. Two workmen pass by carrying a few long pieces of lumber. The workmen don't see the Blandings. FIRST WORKMAN I don't figure this Blandings at all. If you gotta build on the windiest hill in Connecticut, why do you have to pick the windiest side of the hill? BILL (to workman) You know these New York millionaires -- they're eccentric. The workmen pass from view. JIM I think I'd like to go outside. BILL (gesture to door) After you, Rockefeller. As they enter the foyer, a carpenter appears. CARPENTER (to Jim) Just the man I want to see. Would you step over here a second? JIM Sure. BILL (indicating) I'll browse around upstairs. As Bill starts up the stairs, Jim and Muriel follow the carpenter. CARPENTER (pointing up) On them second floor lintels between the lally columns, do you want we should rabbet them or not? JIM (lost) The -- second -- floor -- lallys? CARPENTER The second floor lintels, between the lallys. JIM Oh. Oh, the lintels between the lallys? CARPENTER Yeah. From the blueprints you can't tell. You want they should be rabbeted? Jim throws a brief look at Muriel who is regarding him skeptically. JIM Un -- umm. No, I guess not. CARPENTER Okay, you're the doctor. (calls) Hey, fellas, you got any of them rabbeted lintels set, rip 'em out! After the sheerest pause there comes a shriek of nails brutally withdrawn from timber, a loud splintering of wood and then something of the appearance of entrails comes hurtling down end over end landing with a dusty slap at Jim's feet. The carpenter exits. Muriel gives Jim an accusing look. JIM (sheepishly) It sounded less... expensive to say no. There is another loud screech and more "entrails" come hurtling down, narrowly missing them. Muriel yells in the direction from which they came. MURIEL Stop it! Stop it! From upstairs comes a long, shrill whistle. Instantly all sound of activity ceases and a voice is heard. VOICE Okay, fellas, let's quit! JIM (to Muriel) Now look what you've done. As Muriel turns with apprehension, eighteen workmen come trooping down the stairs. JIM (conciliatory) Look, men, Mrs. Blandings didn't mean anything. (the workmen regard him curiously) I mean, there's no point in walking off a job just because... a woman makes a silly little remark. WORKMAN It's Saturday, mister. We quit at twelve o'clock. This ain't a chain gang, you know. As the workmen exit the Blandings look at each other a little sheepishly, start up the stairs. CRANE SHOT - AS THE BLANDINGS GO UP THE STAIRS CRANE SHOT - as the Blandings go up the stairs. MURIEL I'm just sick. From the outside this house looks like a grain elevator, and on the inside everything's miles too small. As they reach the second floor landing, we hear, o.s. a steady but muffled pounding. They stop as they hear the thumping. MURIEL What's that? JIM What's what? MURIEL That noise -- listen. (again the thumping) It's coming from the closet! They rush to the closet, open the heavy oak door. Bill is inside, leaning disgustedly against the wall. JIM What happened? BILL The door blew shut. I got locked in. JIM Impossible. I had this closet built especially for myself. The lock opens from the inside. BILL Maybe for Houdini -- not for me. As Bill starts to step out, Jim detains him. JIM Nothing to it. A child could work it. Look, I'll show you. He steps inside with Bill, firmly closes the door. A moment's pause. The door re-opens. JIM (condescendingly) You see, it just takes a little good old Yankee know-how. MURIEL You know, dear, it's just possible the lock worked for you and not for Bill. JIM Ridiculous. Even you could do it. MURIEL (sarcastic) Thank you. JIM Come on, I'll show you. He ushers Muriel inside and the door closes on the threesome. The CAMERA REMAINS on the closed door. JIM'S VOICE Go ahead, dear, just open it. The knob turns, jiggles a little, but the door remains closed. MURIEL'S VOICE I don't seem to be able to --- JIM'S VOICE Here, let me show you! You just take the knob and turn it clockwise. An efficient clockwise turn of the knob. Pause. An impatient doubletwist of the knob. Pause. A more forceful rattling of the knob, plus a slight kick. A furious rattling, pounding and kicking. The door remains closed. INT. THE CLOSET As Jim turns sheepishly: BILL Nothing like that good old Yankee know-how. Jim turns back to the door, pounds on it, yelling: JIM Hey! Hey! Somebody let us out of here! Silence. Muriel is at the shoulder-high circular frame solid glass window. She looks out. MURIEL Oh, dear. Jim and Bill look out. WHAT THEY SEE - THE LAST OF THE WORKMEN'S CARS WHAT THEY SEE - The last of the workmen's cars driving away. INT. CLOSET BILL (drily) Leave a call for seven o'clock. (afterthought) Monday morning. Jim gives him a look, turns back to the window, sizing up an escape, starts muttering to himself. JIM If I could just get over to that scaffolding... He tests the window frame, finds it solid. JIM (still muttering) Seems a shame but I guess it's the only way... Jim picks up a piece of tar paper. MURIEL What are you going to do? JIM Don't get panicky, I'll get you out of here. (hands tar paper to Bill) Here, hold this over the window. As Bill somewhat skeptically complies, Jim picks up a piece of two-by-four. JIM Stand back, Muriel. Jim raises the plank, takes a stance. JIM (to Bill) Ready? BILL Roger. Jim swings; the window shatters. Almost simultaneously there is a click and the door to the closet swings open. As Jim turns with a sense of accomplishment, his face falls as he and the others see that the erratic door has opened. MURIEL (sweetly) In case of emergency -- break glass. Come on, Bill. As Muriel and Bill precede Jim out of the closet and down the stairs, Jim pauses, speculatively toying with the lock. JIM (muttering) Funny... always worked before. Huh. I wonder... INT. FOYER - STAIRWAY Muriel and Bill walking down the stairs. From upstairs comes a steady sullen pounding from the interior of the closet. Without a word, they stop, look at each other, turn and walk back upstairs. DISSOLVE INT. THE BLANDINGS' BREAKFAST NOOK - DAY Muriel and the children are having breakfast. Jim enters, in fairly high spirits, once again improvising to "Home On The Range." JIM (as he sits down) "Home, home in Connecticut -- Where you have to conform to local traditions, customs, politics and etiquette..." (picks up his morning mail, starts to thumb through it) JOAN Dad, do you suppose I could have a chemistry lab in the basement? JIM (preoccupied with mail) Sure, why not? BETSY I think it's awful. Smelling up the house with those horrible chemicals. MURIEL Never mind, Betsy. (to Jim) Dear, I'm going up to the place this afternoon to see about landscaping. Bill's driving me. JIM (preoccupied) That's nice. (looking up; darkly) What do you mean, Bill's driving you? MURIEL (a little annoyed) Why do you always say, "what do you mean," when you know perfectly well what I mean and what you mean? JIM I mean that every time I turn my back Bill Cole's driving you some place or something. MURIEL He's only being helpful. JIM (annoyed; tears open a letter) I thought he was a lawyer! Why isn't he out suing somebody? JOAN Bicker, bicker, bicker. MURIEL (to Joan) Another word and you don't get your laboratory. BETSY Well, that's something! Jim suddenly explodes, crumpling a letter he has just read. JIM We'll just see about that! MURIEL (concerned) What is it, dear? Ignoring her, he reaches for the phone, starts to dial. MURIEL Jim, what's the matter? JIM (into phone; sharply) Mr. William Cole, please. (pause; then with rising emotion) Hello, Bill? I want you to fight this thing! I know my rights as a citizen! They can't get away with it!... What do you mean, what am I talking about? The letter, of course. From the owner of this building. They want us to move! It's a thirty day notice! (listens a moment) But that's ridiculous. How can I move into a house that isn't even finished?! No windows, no plaster -- or paint, or -- or plumbing! (listens a moment; then with rising emotion) Now you listen to me! I have no intention of moving in thirty days! This is not legal! I'm going to fight this thing! And I don't care if it takes every penny I've got! (listens) Yeah... Yeah... Yeah... All right! (hangs up) MURIEL (expectantly) ...Well? JIM (quietly) We're moving in thirty days. On Muriel's reaction: DISSOLVE EXT. ROAD AND COVERED BRIDGE - DAY Two moving vans are approaching the bridge. Behind them is the Blandings' convertible. In it are Jim, Muriel and the children. Behind it and attached is a trailer. After a pause, over this, we hear: BILL'S VOICE So-came thirty days -- and they moved. MED. CLOSE SHOT - ENTRANCE TO BRIDGE. MED. CLOSE SHOT - Entrance to bridge. As the cavalcade passes through we see in the rear of the trailer, jammed among the household effects, Gussie and a very uncomfortable Mr. Bill Cole. BILL'S VOICE I mean -- we moved. OTHER END OF BRIDGE AND FORK The moving vans precede the convertible, make the wrong turn. Jim stops the convertible at the fork and honks as he impatiently gestures to the drivers to turn in the opposite direction. Over this: BILL'S VOICE (as Jim would say it) That's the wrong road! Any fool knows that! Jim starts his car up leading the way. DISSOLVE EXT. ROAD AT THE HOUSE - DAY The moving vans turn up the new gravel driveway. Jim stops his car and they all look off at the house, react with pleasant surprise. WHAT THEY SEE - LONG SHOT - THE HOUSE IS RAPIDLY NEARING COMPLETION. WHAT THEY SEE - LONG SHOT - The house is rapidly nearing completion. A half dozen men are finishing the exterior painting, planing down doors, etc. In front, a couple of men from the nursery are working on the landscaping. For the first time we, as well as the Blandings, see the property as a clean, bright and very attractive new house. BILL'S VOICE Well, there she is, bright and shining -- and just about complete -- the residence of Mr. and Mrs. James H. Blandings. INT. THE CAR - DAY MOVING SHOT - Jim and Muriel are visibly affected by the sight of their Dream House. They exchange a warm intimate smile. BILL'S VOICE Not bad at that. EXT. THE FRONT OF THE HOUSE - DAY MED. SHOT. The car pulls up, stops. BILL'S VOICE (efficient scoutmaster) All right! -- Everybody out. Everybody piles out of the car. As Jim and Muriel walk toward the house away from us and Bill, Muriel sentimentally reaches out, takes Jim's hand. BILL'S VOICE Guess you can't blame them for feeling just a little bit proud. At the door, Jim stops, indicates that he'd like to carry Muriel across the threshold. BILL'S VOICE (sentimentally) Look -- he wants to carry his wife across the threshold. Romantic, isn't it? JOAN AND BETSY. Joan and Betsy. They look on with distinct adolescent disapproval. BILL'S VOICE Ooops! I guess I meant "corny." GROUP SHOT. OVER MURIEL'S PLAYFUL PROTEST GROUP SHOT. Over Muriel's playful protest, Jim starts to pick her up. BILL'S VOICE Uh-uh. Watch that sacroiliac. Fifteen years since you've done this sort of thing. Jim manages to lift Muriel. BILL'S VOICE Whew! Nice work, Tarzan. Now, let's see if you can make it into the hall. Jim carries Muriel over the threshold and into the foyer. BILL'S VOICE That's right. Go right in. Don't pay any attention to the sign. The CAMERA PANS TO a LOW SHOT of a sign on the floor of the foyer. It reads: WET VARNISH FULL SHOT - FOYER. FULL SHOT - foyer. In the b.g. is a painter, varnishing the floor. He looks up in complete dismay as he sees his newly varnished floor being violated. After a couple of steps, Jim stops, suddenly aware of the painter. The painter rises, throws down his brush, says something caustic. BILL'S VOICE (imitating painter) Don't mind me, buddy, I just got through varnishing that floor. Jim reacts, raises a tentative foot, the sticky varnish practically holding it to the floor. Jim says something. BILL'S VOICE Whose bright idea was this? The painter says something, points at Muriel. Jim looks darkly and accusingly at Muriel whose weak smile is an admission of guilt. BILL'S VOICE She just wanted everything to be nice and shiny on the day they moved in. Jim turns and shouts something to the painter. BILL'S VOICE Stop painting that floor and put some planks down in here, or some thing! The painter shouts back. BILL'S VOICE Okay, mister, but take it easy. The Republicans ain't in yet, you know. Jim reacts, turns and walks back out of the foyer, desperately trying to match his clearly outlined incoming footsteps. Each step is outlined by strands of thick sticky varnish. EXT. THE FRONT DOOR OF THE HOUSE - DAY As Jim appears, still carrying Muriel, Betsy and Joan catch his attention, indicate the front wall of the house which is complete except for the windows. Jim reacts. BILL'S VOICE Oh, fine! A house without windows! We'll just see about that! Abruptly handing Muriel to Bill he starts off. Ahead of him and unnoticed are a layer of newspapers which have been spread out. BILL'S VOICE Look out for those papers! But Jim has stepped on the papers. They stick to his feet. After a few steps he is aware of it, tries to get rid of them. After a few hectic but futile attempts, he disgustedly disappears around a corner of the house, the newspapers flapping behind him. EXT. SIDE OF HOUSE - DAY Jim flaps his way up to a workman who is staring at a pile of window casements. JIM Where's Simms? WORKMAN Around back trying to figure out what to do about them windows. JIM What's the problem? You put windows up. WORKMAN Not these. They don't fit. JIM (angrily; control going) Oh, they don't, don't they? He continues on toward the back of the house, the newspapers flapping beneath him. EXT. REAR OF HOUSE - DAY Simms and Retch. More window frames are neatly stacked against the wall. Simms and Retch react as they see an angry Jim Blandings flap his way into scene, his varnished shoes having picked up additional paper, shavings, shingles, etc. Retch hands Jim a sheaf of papers. RETCH Oh, Mr. Blandings, you'd better look these over. JIM What's this about the windows? SIMMS (calmly) I'm afraid there's a little slip-up. These windows seem to belong to a Mr. Landings in Fishkill, New York. I talked to Mr. Landings this morning. JIM Well, has he got mine? SIMMS No, he seems to have some windows that belong to a Mr. Blandsworth of Peekskill. JIM Where are my windows?! SIMMS As near as we can figure out they've either been sent to a Mr. Benton in Evanston, Illinois, or a Mr. Bamberger of Phoenix, Arizona. Bill wanders into scene, looks over Jim's shoulder. JIM What are we supposed to do -- live the rest of our lives in a house without windows? SIMMS It'll just be a matter of a few days. BILL What's a "Zuz-Zuz Water Soft-N-R"? JIM How should I know? BILL (indicating) You've got one. JIM (reading from bill) "Furnishing and installing one Zuz- Zuz Water Soft-N-R, two hundred and eighty dollars!" (explosively) I will not have any such piece of equipment in my house! SIMMS I'm afraid I authorized that, Mr. Blandings -- to save your boiler and water pipes. JIM From what?! SIMMS Rust. The plumbing man assures us the water from your well is the most corrosive in his entire experience in the trade. BILL Another first! JIM (pursing his lips) Mm. (irritably) Well, if it's necessary, put it in! We're moving in today, you know and -- RETCH It's in. JIM Oh. (a final show of authority; sharply) Then get me the bill for it! BILL (indicating bill) You've got it. JIM All right then. And he stalks off, his papers, shavings, etc. flapping behind him. DISSOLVE EXT. THE HOUSE - LATE AFTERNOON The moving vans are driving away. INT. THE FOYER - LATE AFTERNOON A general flurry of activity; Gussie and several workmen carrying furniture upstairs, unpacking barrels, etc. Muriel, list and samples in hand, is explaining her color scheme to Mr. PeDelford, a polite, cigar-smoking, noncommittal boss painter. In the b.g., casually leaning on the bannister is PeDelford's taciturn and somewhat skeptical-looking assistant. MURIEL Now I want the living room to be a soft green. (PeDelford nods) Not quite as bluish as a robin's egg, but yet not as yellow as daffodil buds. PEDELFORD Mm. MURIEL (handing him a sample) The best sample I could get is a little too yellow, but don't let whoever mixes it go to the other extreme and get it too blue. It should just be sort of a grayish yellow green. PEDELFORD (making a note) Mm-hmm. They turn to the dining room. MURIEL Now the dining room I'd like yellow. Not just yellow, a very gay yellow. PEDELFORD Mm-hmm. MURIEL Something bright and sunshiny. (sudden inspiration) I tell you, Mr. PeDelford, if you'll just send one of your workmen to the A&P for a pound of their best butter and match it exactly, you can't go wrong. PEDELFORD (making a note) Mm. MURIEL This is the paper we're going to use here in the foyer. (hands sample to him) It's flowered but I don't want the ceiling to match any of the colors of the flowers. There are some little dots in the background, and it's these dots I want you to match. Not the little greenish dots near the hollyhock leaf, but the little bluish dot between the rosebud and the delphinium blossom. Is that clear? PeDelford looks carefully at the sample, then: PEDELFORD (making note) Mm-hmm. MURIEL The kitchen's to be white. Not a cold, antiseptic hospital white -- a little warmer but not to suggest any other color but white. PEDELFORD (note) Mm. MURIEL Now for the powder room, I want you to match this thread. (hands him thread) You can see it's practically an apple red. Somewhere between a healthy Winesap and an unripened Jonathan. PEDELFORD (making note) Mm. There is a crash from the kitchen. MURIEL Will you excuse me? Muriel hastily exits toward the kitchen. PeDelford turns to his assistant. PEDELFORD Got it, Charlie? CHARLIE (deadpan; indicating rooms with his thumb) Green, yellow, blue, white, red. PEDELFORD Check. DISSOLVE INT. PANTRY - OFF KITCHEN - DAY Joan is on a stepladder helping Gussie put away some dishes. Remains of two broken plates are on the floor below them. MURIEL Joan, you know father was to take care of the heavy dishes. JOAN He disappeared. I haven't seen him for an hour. Betsy flies into the room waving a railroad timetable. BETSY Where's Uncle Bill? I just checked the timetable -- he's going to miss his train. MURIEL If they've run off somewhere it certainly isn't very -- (suddenly stops, listens) From upstairs comes the SOUND of a steady, methodical thumping of a hand on a solid oak door. MURIEL Heavens! She rushes for the door. QUICK DISSOLVE UPSTAIRS LANDING Muriel opens the closet door revealing Jim and Bill, who have been locked in the closet for the last hour. Each leans against the wall, arms folded, in an attitude of boredom and disgust. Without a word Jim and Bill exit from the closet. The three start down the stairs. JIM (darkly) I thought you were going to take care of it. MURIEL I thought you were. BETSY (from below) You're going to miss your train, Uncle Bill! It leaves Lansdale in twenty-five minutes. BILL Isn't there a later one? BETSY Not till the Commuter's Special tomorrow morning at six-fifteen. JIM You mean seven-fifteen. BETSY No, Dad, six-fifteen. JIM What about the seven-fifteen I'm supposed to take to the office every morning?! BETSY (consulting timetable) There's a little asterisk. The seven- fifteen only runs Saturdays, Sundays and holidays. JIM (taking timetable) Let me see that! (scans table, tightlipped) Muriel! MURIEL Oh, dear, don't tell me I read it wrong. JIM That's fine! For the rest of my life I'm going to have to get up at five o'clock in the morning to catch the six-fifteen, to get to my office by eight, which doesn't even open until nine -- and which I never get to until ten! MURIEL Perhaps if you started earlier you could quit earlier. JIM (sharply) So I could get home earlier to go to bed earlier to get up earlier! BILL Maybe you can have the railroad push the train up to four-fifteen -- then you won't have to go to bed at all! BETSY Uncle Bill, you're going to miss your train! MURIEL Jim, you clean up this mess. I'll drive Bill to the station and pick up some cold cuts for dinner. Betsy and Joan pick up some boxes and walk into the dining room. BETSY You'd better hurry! BILL (indicating upstairs closet) Kind of hate to leave that little place. Just four walls and a couple of mothballs, but to me it'll always be home. JIM (preoccupied with timetable) So long, Bill. Bill and Muriel exit. INT. THE DINING ROOM As Jim drifts in, still preoccupied with timetable: JOAN It's certainly going to be fun this summer when Uncle Bill comes up for his vacation. BETSY We'll get in a lot of doubles. JIM Hmm? (looks up from timetable) What are you talking about? Bill's going to Europe. BETSY No, he's not. I heard him and mother talking. He's going to move his vacation up and take a place in Lansdale. JIM (vaguely annoyed) Uh-huh... Mm-hm. Mm-hm... Uh-huh. (then, covering up) All right, come on, come on. Get busy. DISSOLVE INT. THE BLANDINGS' CAR - (PROCESS) Evening is beginning to fall as Muriel drives Bill into town. MURIEL I'll scout around and find you a place in Lansdale. (quickly) Now, you're not going to change your mind about coming up? BILL Don't worry, I'll be on the job. MURIEL It won't be easy. I promise you a Cook's tour of every lamp maker, rug weaver, and antique shop in Lansdale County. BILL (philosophically) When I married you two I suppose I took you for better or for worse. Muriel smiles warmly, and in a friendly gesture reaches over and pats his hand. MURIEL Good old Uncle Bill. BILL (drily) Good old Uncle Bill. As they exchange an understanding smile: DISSOLVE INT. THE BLANDINGS' LIVING ROOM - NIGHT It is dark outside and getting quite chilly. The children are unpacking a last barrel. They have made a rather unsteady pile of books and boxes, obviously Muriel's personal effects. Jim is in the process of trying to start his first fire in the fireplace. The immediate result is a clouding of the room with smoke. As he backs away, coughing, he bumps into the pile which falls to the floor spilling open a box which contains, among other things, Muriel's diary and a lifetime accumulation of sentimental trinkets. JIM Now look what you've done! Betsy coughs her way to the fireplace, turns the flue handle. The smoke immediately goes up the chimney and the room starts to clear. BETSY Father, the first principle of lighting a fire is to see if the flue is open. A three-year-old child knows that. JIM Next time we want a fire I'll send out for a three-year-old child! (indicates trinkets) Get that stuff cleaned up and go in and help Gussie set the table. It's getting late. The children start gathering up the debris. Joan picks up some trinkets which have spilled from a cardboard box. JOAN Look, Dad, your fraternity pins. JIM (busy cleaning the fireplace) Pins? I only had one. JOAN There are two of them here. JIM All right, all right. Just put them away. JOAN (examining them) Funny, this one says W.C. on the back. W.C.? (brightly) William Cole! It must be Uncle Bill's! JIM Huh? (reaching for it) Let me see that. (examining pin) Hmmmm. Betsy has picked up a small leather-bound book. She whistles. JOAN What's that? BETSY Mother's diary when she was in college. It's slightly torrid. JOAN (coming over) Let's see. JIM (sharply) That's none of your business! BETSY (scanning page) I'd say mother and Uncle Bill were somewhat of an item! JIM (taking book from Betsy) People do not read other people's diaries! It's not a very nice thing to do! (shooting them out) Now go in there and help Gussie with the table. BETSY (indicating debris) What about --? JIM I'll take care of that. Now, shoo, shoo. The children exit. Jim is about to put down the diary when his curiosity gets the better of him. Making sure he's unobserved, he sits down on a box, opens the book, starts to read. As his brows wrinkle with concern: DISSOLVE EXT. THE HOUSE - NIGHT The wind is howling, the trees swaying. The lights are on in the kitchen. CAMERA MOVES UP to the open kitchen window. INT. THE KITCHEN - NIGHT The family, in overcoats, is huddled around the kitchen table finishing dinner. Gussie, in overcoat and muffler, is clearing the dishes away. Jim, a sober look on his face, rises, takes a steaming kettle from the stove. MURIEL Where are you going? JIM To shave. MURIEL Tonight?? JIM While I can still trust myself with a razor. At six o'clock in the morning I'd probably cut my throat. Goodnight. Jim abruptly exits. Muriel looks after him with concern. DISSOLVE INT. THE BLANDINGS' BATHROOM - NIGHT Jim, in his pajamas and overcoat is shaving. After a few moments Muriel, in her nightgown and overcoat, enters the scene. MURIEL Excuse... She takes her toothbrush and opens the cabinet, Jim automatically moving around back of it in their previously established pattern. As Muriel puts the paste on her brush, replaces the tube, shuts the cabinet and starts to brush her teeth, Jim uncomfortably moves back to his original position. MURIEL Excuse... JIM Muriel, do you have to do that now?! MURIEL There's no need to be so irritable just because you have to shave at night. JIM I'm not irritable! MURIEL Well, you're certainly something! You haven't said a civil word all evening. JIM Sometimes a man doesn't feel like talking. MURIEL (solicitously) What is it, dear? Something down at the office? JIM No. MURIEL Have you got the new slogan for "Wham"? JIM It's not due yet! MURIEL Well, it's something. You're certainly upset about something. I can always tell. JIM I'm not upset. (going back to shaving; with studied unconcern) It's just that I don't happen to approve of falsehood and deception. Particularly in my own wife. MURIEL What are you talking about? JIM (same) Oh, nothing. It's just that I distinctly remember your telling me you gave back Bill's fraternity pin fifteen years ago. Muriel looks at him, puzzled. JIM Well, did you or didn't you? MURIEL Did I, or didn't I what? JIM Give it back to him. MURIEL Of course I did. If I said I did, I did. JIM (suddenly Sam Spade) Then perhaps you'd have the goodness to explain how this happened to fall out of your jewel box? He takes the pin out of his pocket and hands it to her. Muriel takes the pin, looks at it sentimentally. Suddenly she looks at Jim and bursts out laughing. JIM What's so funny? MURIEL You! You're jealous! You're standing there with your face full of soap and you're jealous. JIM (angrily) If you were so crazy about the guy, why didn't you marry him?! MURIEL (beginning to be a little angry) Because I wasn't in love with him! JIM (vindictively) That's not what you said in your diary! MURIEL (now really angry) Oh, now you've been reading my diary! JIM (a little guilty) Well -- it happened to fall open and... I... happened to look at it. It... just happened. MURIEL I'll just bet! JIM It's all over the book so why don't you admit it? You were in love with Bill Cole! MURIEL Don't be absurd! Of course I was in love with Bill. In those days I was in love with a new man every week. JIM Then why did you marry me? MURIEL I'm beginning to wonder! (exploding) Maybe it was those big cow eyes of yours or that ridiculous hole in your chin! Maybe I knew that some day you'd bring me out to this thirty- eight thousand dollar icebox with a dried-up trout stream and no windows! Or maybe I just happened to fall in love with you -- but for heaven's sake, don't ask me why! Muriel stalks out of the bathroom. Jim looks after her, thoughtfully starts to dry his face. INT. THE BEDROOM Jim enters. Muriel stands with her back to him angrily winding the clock. Jim noisily clears his throat. No reaction. JIM (tentatively) ...Muriel? No reaction. JIM ...Honey? No reaction. JIM Would it do any good to say I'm sorry? MURIEL I don't know. Jim gently turns her around facing him. JIM Well -- I am. I acted like a schoolboy and I'm sorry. Muriel looks at Jim. Finally she smiles. MURIEL Oh, Jim! She goes into his arms and they kiss intimately. As their lips part: MURIEL (dreamily) Why don't you take the soap out of your ears? JIM (same) Why do I love you so much? Jim again kisses her tenderly, warmly. MURIEL (breathless) Darling, it's awfully late. Jim kisses her again, a little more ardently. MURIEL (same) Maybe you ought to go down and lock the doors. JIM (kissing her ear) What for? The windows are all open anyway. MURIEL (as he starts to kiss her again) Jim, you have to get up at six o'clock. JIM (considers; logic prevails; brief sigh) Yes, I guess so. MURIEL (reluctantly) Goodnight, dear. JIM (same) Goodnight. Each gets into his own bed, still wearing the overcoats. DISSOLVE INSERT JIM'S COST CHART - The house now wavers at $37,000. As Jim and Muriel still try to stem the tide, the group that is pushing the house ever upward includes all of the previous people connected with the house and -- in addition --plumbers, painters, landscape gardeners, etc. Over this, and across the scene flutter more bills, more extras. BILL'S VOICE And so the days sped by -- and the bills -- and the extras -- and as the house approached forty thousand dollars, Jim approached his deadline for the new slogan. It was almost a photo finish. DISSOLVE EXT. RADIO CITY - NIGHT (STOCK) It is raining. The lights are on in the buildings. INT. JIM'S OFFICE - NIGHT Mary is attending to some detail work as the door opens and Jim enters, disturbed. Mary looks at him questioningly. JIM You'd better send out for coffee and sandwiches,... It looks like an all night session. MARY (concerned) What did he say? JIM (wearily, seating himself at desk) Tomorrow morning. MARY (sighs) Well, I guess you'll just have to dream something up -- good or bad. JIM I rather got the impression it had better be good. MARY (raised eyebrow) Oh. He picks up a pencil, nibbles on it thoughtfully. The silence in the room is broken only by the patter of raindrops on the window. It strikes a note in Jim's subconscious. He swivels around in his chair and stares soberly out the window. JIM (ruminatively, almost to himself) Funny how you look forward to the little things. Rain, for instance. Mary looks at him curiously. He turns to her. JIM For a month now, I guess I've been looking forward to the first rainy night at the house. (looks at Muriel's picture) Big blazing fire. Muriel knitting. Me in my new smoking jacket... with my pipe and slippers, reading my paper... (sighs) Oh, well. As he starts to work. DISSOLVE INT. THE BLANDINGS' LIVING ROOM - NIGHT Note: The house is painted and almost completely furnished. A hard rain beats on the windows. There is a blazing fire in the fireplace. Muriel, in a warm bathrobe, sits near it, comfortably knitting. In fact, the scene is exactly the one Jim has just described, except that the man with slippers, pipe and smoking jacket, reading the paper, is Bill Cole. Near the fire, Bill's rain-drenched jacket, shirt and shoes are hanging up to dry. The cozy tranquillity is broken by a sharp RINGING of the front doorbell. MURIEL (with relief) Thank heavens! The children. BILL (rising) Stay put. You look too comfortable. The CAMERA FOLLOWS Bill to the front door. He opens it. A man in raincoat and boots stands there in the pouring, driving rain. The man enters as Bill struggles to get the door shut against the wind. MR. JONES Whew! What a night! I'm Jones, from down the road. Just came over to tell you your kids are all right, Mr. Blandings. BILL Oh, I'm not Mr. Blandings. Cole's the name, Bill Cole. He sees Jones' doubtful look at the smoking jacket, feels an explanation is necessary. BILL Friend of the family. Wet clothes. Just came in out of the rain. Muriel walks into scene. Jones takes in the bathrobe, again looks skeptically at Bill. MURIEL I'm Mrs. Blandings. JONES How do. Mrs. Williams just called. Says your phone's out of order. Wanted me to tell you the water's rising and they've got the bridge roped off. Girls'll spend the night over at her place. MURIEL Thank you. I was beginning to get concerned. Can I make you a cup of tea? JONES No, thanks. Better be gettin' back 'fore I have to swim for it. 'Night, Mrs. Blandings. (to Bill) 'Night, Mr. Bl-- BILL (weak smile) Cole. Bill Cole. Friend of the family. Just came in out of the rain. JONES (uncertainly) Well -- 'Night. MURIEL Goodnight... and thanks so much. The door is opened with a terrific swirl of wind and rain. Jones exits as Muriel and Bill push the door against the wind, finally getting it shut. BILL That's fine. No bridge. How do I get back to Lansdale? MURIEL (simply) You'll just have to spend the night right here. As they start back into the living room: BILL Muriel, really! With your husband in New York and your children away -- think of my reputation. MURIEL (smile) Don't worry, Snow White, you'll be as pure and unsullied in the morning as you were the night before. BILL (with resignation) That's the story of my life. Muriel pokes the dying fire, looks up thoughtfully. MURIEL Poor Jim, he sounded so worried before. I certainly hope he comes up with something. BILL Don't worry about the man who gave the world "When you've got the whim, say Wham!"-- This well will never run dry. SLOW DISSOLVE INT. JIM'S OFFICE - EARLY MORNING The CAMERA COMES IN ON a package of cigarettes. A finger impatiently rips open what is left of the package, discloses that it is empty. The ANGLE WIDENS to reveal a tired, disheveled Jim. Disgusted, he fishes the most likely butt from a tray littered with them. With considerable difficulty he manages to light it, only to burn his nose. Impatiently stamping out the butt he rises, stretches, walks to the window, pulls up the shade. Early morning sunlight floods the room. He turns off a standing lamp, looks thoughtfully out the window, suddenly gets an idea. Turning, he snaps his fingers. Mary, who is asleep on the desk, her head resting on her elbows, raises her head, opens a sleepy eye. JIM (selling; a note of desperation in his voice) "Compare the price, compare the slice, Take our advice -- Buy Wham!" Mary critically shakes her head "no", closes her eye. Jim wearily throws himself down on the couch, absently toys with his already loosened tie. He pulls it up over his nose, throwing the balance over the top of his head. Suddenly he reacts, snaps his fingers. Mary opens a sleepy eye. JIM "If you'd buy better ham. You'd better buy Wham!" MARY It's Boyle Petroleum. "If you'd buy better oil, You'd better buy Boyle." Her eye closes. Jim sinks back with defeat, his hand dropping over the edge of the couch. It encounters a crumpled piece of paper, earlier work. He smoothes the paper, scans it, kind of likes it. He gets up, comes over, snaps fingers. Mary looks up. JIM "This little pig went to market As meek and as mild as a lamb. He smiled in his tracks When they slipped him the axe He knew he'd turn out to be Wham!" A long silent look passes between them. JIM (quietly) "...knew he'd turn out to be Wham!" He suddenly and angrily gathers all his papers, slams them into the wastebasket. JIM (rising panic) It's gone! I've lost my touch! Maybe I never had a touch! Maybe "Whim Say Wham" was an accident! Who knows? I can't think any more! All I've got on my mind is a house with an eighteen thousand dollar mortgage, and bills, and extras, and antiques, and -- and -- (dejected) I don't know... I don't know. Mary looks at him sympathetically, doesn't quite know what to say. As the CAMERA MOVES to a CLOSE SHOT of the emotionally distraught Jim, his eyes go to a large photograph on his desk of Muriel and the children. He picks it up, looks at it with affection. Suddenly he gets an idea. Rising with determination he puts on his coat and starts for the door. MARY (startled) Where are you going? JIM Home, to get some sleep -- and I'd advise you to do the same. MARY But -- but you haven't -- JIM Suppose I haven't! This isn't the only job in town! MARY But -- but -- what'll I tell Mr. Dascomb? JIM (sharply) You just tell him to -- to -- (with finality) You just tell him! He exits. DISSOLVE EXT. THE BLANDINGS' HOME - DAY It is an especially beautiful, sunshiny morning. A rural- looking taxi deposits a weary Jim, who pays the driver. As the cab drives off, Jim looks speculatively at Simms' car, which is parked there, yawns, stretches, opens the door and enters. Under this a slightly sour underscoring of "Home On The Range." INT. BLANDINGS LIVING ROOM - DAY As Jim comes into the foyer, he sees Muriel, in nightgown and robe, talking to Mr. Simms. She holds the rolled-up volume of blueprints that went into building the house. JIM 'Morning, dear. MURIEL (going to him; solicitously) Darling, you must be exhausted. How did it go? JIM Fine. Fine. They kiss. MURIEL (obliquely) Is... everything all right? JIM (unenthusiastic) Everything's fine. (still in embrace; looking up) Hello, Simms, what brings you out with the morning dew? SIMMS Just dropped by to check the blueprints. Some extras came in from Retch this morning and there're a couple of things I thought we ought to go over together. JIM (arms still around Muriel; unconcerned) Really. What are they? SIMMS Well, let's see. (thumbing through sheets) Few little things here, all right, I guess. "Mortising five butts -- a dollar sixty-eight." JIM Let's not quibble about that. A man's entitled to mortise a few butts now and then. SIMMS (next sheet) Extra nails and screws -- three dollars, eighty-nine cents. JIM Petty larceny, but let him get away with it. SIMMS Now there's one here I frankly don't understand. Ah, here we are. (reads) "Changes in closet, twelve hundred and forty-seven dollars." Did you authorize that? JIM Well, we probably told him to -- (reacting) Twelve hundred and what?! SIMMS Forty-seven dollars. Changes in closet. (hands bill to Jim) JIM (explosively) Who does he think we are! (looks at bill; very businesslike) What's this notation: "Refer to Detail Sheet Number one thirty-five?" SIMMS (indicating blueprints) Far as I remember, that would be something in the back of the house. Let's just take a look. As he unrolls the blueprints, Jim looks suspiciously at Muriel. She seems a little nervous. SIMMS Ah, here we are. It isn't a closet at all. It's off the back pantry... Mrs. Blandings' little flower sink. JIM Oh... Mrs. Blandings' little flower sink. SIMMS (to Muriel) You didn't authorize any changes, did you? MURIEL (defensively) Well... they certainly weren't changes. JIM What -- have -- you -- done? MURIEL (speaking rapidly a little confused) I haven't done anything! And what I did was... just nothing at all. JIM What -- have -- you -- done?! MURIEL Well -- (rattling off) All I did was one day I saw four pieces of flagstone left over from the porch that were just going to be thrown away because nobody wanted them and I asked Mr. Retch if he wouldn't just put them down on the floor of the flower sink and poke a little cement between the cracks and give me a nice stone floor where it might be wet with flowers and things. That was absolutely all I did. During the above speech Simms sinks into a chair, puts his head in his hands and closes his eyes, a fact that isn't lost on Jim. JIM That's all you did? MURIEL Absolutely. Just four little pieces of flagstone. SIMMS (to Muriel; wearily) Did you by any chance authorize a drain? MURIEL (verge of tears) Of course I didn't. All I said was I wanted a nice stone floor and Mr. Retch was just as nice as could be and said, "You're the doctor," and that's all anybody ever said to anybody about anything. Jim takes a deep breath, turns to Simms. JIM ...Well? SIMMS (sigh; plunging in) All right, I think I can tell you what happened. First, the carpenters had to rip up the flooring that was already laid. Those planks run under the whole width of the pantry, so Retch had to knock the bottom out of the pantry wall to get at them. JIM AND MURIEL Jim and Muriel - Jim looks at Muriel as though he were premeditating first-degree murder. She averts his gaze. Over this: SIMMS' VOICE Then he had to chop out the tops of the joists under the flower sink space to make room for a cradle. I guess he bought some iron straps and fastened them to a big pan to give him something to hold the cement. What with that added load on the weakened joists, I'll bet he had to put a lally column down there for support, too. MURIEL It was just four little pieces of flagstone, and I only --- JIM Quiet! GROUP SHOT - DURING THE FOLLOWING SPEECH GROUP SHOT - During the following speech we see Bill Cole, in Jim's pajamas and robe come down the stairs and enter the room. Jim and Muriel are not aware of his presence. SIMMS Well, the main soil pipe runs under there on wall brackets, so Retch had to get his plumbing man back to take out a section so he could get that cradle set. I guess that meant he had to change the pitch of the soil pipe from one end of the house to the other. (looks up) 'Morning, Mr. Cole. BILL 'Morning. Hello, Jim. JIM (turning) Hello, Bill. Jim turns away, reacts, suddenly turns back to Bill, taking in the pajamas and robe. A little shocked but unwilling to believe the implication of what he sees, he looks to Muriel for an explanation. MURIEL (lamely) The bridge was roped off and Bill had to stay last night. JIM ...Oh. BILL (cheerily) Slept like a rock. JIM I'm delighted. Jim looks at Bill, then back at Muriel. SIMMS (clearing his throat) And then, of course, there are hot and cold water pipes hooked to the joists right under that pantry. They go up to the wing bathroom on the second floor, and I'll bet my bottom dollar he had to relocate them. THREE SHOT - JIM, MURIEL AND BILL. THREE SHOT - Jim, Muriel and Bill. Jim turns to listen but finds himself looking speculatively at Muriel and Bill. SIMMS' VOICE And I guess the electrician had to rip out about sixty feet of armored cable between the main panel and the junction box by the oil burner, including the two hundred twenty volt cable that goes to the stove. FULL SHOT - GUSSIE APPEARS IN THE DOORWAY FULL SHOT - Gussie appears in the doorway in raincoat, carrying umbrella. GUSSIE 'Morning, everybody. Whew! What a night! JIM Where have you been? GUSSIE Lansdale. Couldn't get back across the bridge. JIM You... weren't here last night? GUSSIE They weren't letting anybody across that bridge, Mr. Blandings. (to Muriel) I passed the girls over at the Williams. They'll be along any minute. As Jim reacts: MURIEL (quickly) Thank you, Gussie. You'd better get breakfast started. As Gussie exits, Muriel turns to Simms. MURIEL Where were we? BILL We were at the two hundred twenty volt cable that goes to the stove. JIM Just a minute. (looks at Bill, then at Muriel) You mean the children weren't here last night either? MURIEL How could they be, dear? The bridge was closed. JIM I just came across it. MURIEL Well, it was closed last night. JIM (pointedly) It's open now! Embarrassed pause. BILL (attempt at breeziness) If you'll all excuse me -- I -- I think I'll just go up and slip into something a little more comfortable. Bill exits. Another pause. Simms, aware of the tension, wants to get out of there. SIMMS (rapidly) Well, that's about the size of it -- Through Simms' speech, Jim looks darkly at Muriel. SIMMS -- except that Retch had to repair the pantry wall and that meant getting a plasterer back. And of course, he couldn't have broken through that wall -- JIM All right, Simms, all right. We'll take care of it. SIMMS (preparing to exit) I'll admit it's a little steep. But I'll try to get Retch to knock a hundred dollars off the bill. If I can't get that, I'll certainly try for seventy-five. JIM Fine. SIMMS If he doesn't go for seventy-five, I'll take a stab at fifty. JIM You do that. SIMMS (at the door) Anyway, I'm almost sure we can get twenty-five. There is no answer. SIMMS (lamely) Well. Good day. He leaves. There is a deadly pause. MURIEL (carefully) Now dear, you're upset, you've got a lot of things on your mind -- JIM (with dangerous calm) Muriel, there's only one thing on my mind -- This house -- and how fast we can get rid of it! MURIEL That's not what you're thinking. JIM Maybe it's not. Maybe I'm thinking I was once a happy man! (the martyr) I didn't have a closet, I didn't have three bathrooms, but I did have my sanity, a few dollars in the bank, two children who loved me and a wife I could trust! MURIEL That's a fine thing to say! JIM I also had a job at Danton and Bascomb, something I don't happen to have at the moment! MURIEL Jim! JIM That's right, I've resigned! We're starting all over again! From scratch! And without this house! MURIEL (near tears) You love this house! JIM I hate it! In the b.g. Mr. Tesander enters, cap in hand, stands there, nervous and embarrassed. MURIEL You don't mean that. JIM Every word of it! Anybody who builds a house today is crazy! The minute you start, they put you on the list. The All-American Sucker list! Everywhere you turn they've got a hand in your pocket. If you take out their hands, they find more pockets! (explosively) It's a conspiracy, I tell you, a conspiracy against every man and woman who want a home of their own! Against every boy and girl who were ever in love! Tesander clears his throat. Jim turns. JIM (sharply) What do you want?! A slight embarrassed pause. Then: TESANDER (shyly) Well, Mr. Blandings, there's a matter of twelve dollars and eighty-six cents. JIM (with a wild gleam) Twelve dollars and eighty-six cents! Why be a piker, Mr. Tesander? (emptying pockets) Take everything I've got! Spread it out among your pals! (advancing toward the bewildered Tesander) Wouldn't Retch like a little something? Maybe Zucca could use my new dinner jacket? It's open house, Mr. Tesander! Help yourself! If this isn't enough I'll come over to your place and do some odd chores. Maybe I can mow your lawn or scratch your back! TESANDER (simply) You don't understand, Mr. Blandings. This twelve dollars and eighty-six cents -- you don't owe me, I owe you. There is a momentary pause. JIM ...W-what was that? TESANDER (taking out money) Found I overcharged you. Almost three feet. He hands the money to Jim, who stares at it blankly. TESANDER Better count it. I think it's all there. Jim looks haplessly at Muriel, sheepish, guilty. MURIEL Thank you very much, Mr. Tesander. TESANDER Well, I guess I'd better be gettin' along. (looking around) Sure got a pretty place here. (at door; pauses; looks back) I'll tell Mr. Zucca about the dinner jacket. Jim and Muriel look at each other a little sheepishly. INT. THE FOYER As Tesander is about to exit, Bill, dressed, starts down the stairs. BILL Oh, Mr. Tesander -- could you give me a lift to town? TESANDER Yep. BILL Be right with you. INT. LIVING ROOM MURIEL (concerned) What did you mean before about losing your job? Will we really have to sell the house? JIM (miserable) I don't know, dear... I don't know. Bill enters. BILL In case anyone's interested, I'm leaving for town. (for Jim's benefit) If you want to count the silverware, I'll wait. JIM (sheepishly) Bill, be patient with me. Maybe one of these days I'll grow up. BILL (to Muriel) What happened to him? MURIEL Twelve dollars and eighty-six cents. BILL Mind if I say something? Jim and Muriel look at him curiously. BILL You know, I've kind of been the voice of doom about this whole project. Every step of the way I was firmly convinced you were getting fleeced, bilked, rooked, flimflammed and generally taken to the cleaners. And maybe you were. Maybe it cost you a whole lot more than you thought it would. Maybe there were times when you wished you'd never started the whole thing. But when I look around and see what you two have here -- I don't know. (pause) Maybe there are some things you should buy with your heart and not with your head. Maybe those are the things that really count... See you around. As Bill turns and leaves, the outer door is heard opening and the kids appear. There is an exchange of "Hi's" as they pass. BETSY 'Morning, everybody! JOAN (surprised) Hi, Dad! How come you're not at the office? JIM (a look at Muriel) I'm on a... kind of a vacation. JOAN You mean you got fired? JIM Well, not exactly, I -- MURIEL We'll discuss it later. Gussie's head appears from the kitchen. GUSSIE (brightly) Come and get it! Breakfast everybody. BETSY Good! I'm starving! What are we having, Gussie? GUSSIE Orange juice, scrambled eggs and you- know-what. JOAN (making a face) Ham? GUSSIE Not ham -- Wham! (cheerily) If you ain't eatin' Wham, you ain't eatin' ham! Gussie's head disappears. CLOSE SHOT - JIM. CLOSE SHOT - Jim. JIM What did she say? He reacts with the sudden exhilaration of Balboa first seeing the Pacific. He snaps his fingers. JIM Darling, give Gussie a ten dollar raise! His eyes light up as he begins to visualize. DISSOLVE INSERT ADVERTISEMENT IN MAGAZINE - It is a picture of Gussie, smiling, holding a platter with an enormous ham. Under it, the simple caption: "IF YOU AIN'T EATIN' WHAM, YOU AIN'T EATIN' HAM!" THE CAMERA ANGLE WIDENS TO DISCLOSE MR. JAMES BLANDINGS THE CAMERA ANGLE WIDENS to disclose Mr. James Blandings reclining in a hammock on the patio of his Dream House. In the b.g. Muriel is working at her garden, Joan and Betsy assisting her. Jim reacts with pride and satisfaction as he sets the magazine down, takes a long drink of lemonade and picks up a book which he has been reading. As the CAMERA COMES IN for an EXTREME CLOSE SHOT of Jim we see the title of the book on the jacket cover. It reads: "MR. BLANDINGS BUILDS HIS DREAM HOUSE" Jim looks up over the top of the book, directly into the camera and winks. JIM (with simple sincerity) Drop in and see us sometime. As the CAMERA PULLS AWAY to a LONG SHOT tableau of the Blandings and their Dream House, we: FADE OUT THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mr Brooks.txt b/unformated_scripts/Script_Mr Brooks.txt new file mode 100644 index 0000000000000000000000000000000000000000..643ab0eaa9c6c104d032497a63fbc32595329390 --- /dev/null +++ b/unformated_scripts/Script_Mr Brooks.txt @@ -0,0 +1 @@ + MR BROOKS Written by Bruce A Evans & Raynold GideonFADE IN:CLOSE on a Polaroid of a dimly lit COUPLE locked in a sexualembrace. We cannot see their faces. MR. BROOKS (V.O.) (tortured) God grant me the Serenity to accept the things I cannot change...Our view travels sensuously down the Woman's naked torso tofind the Man's head buried between her legs. MARSHALL (V.O.) Why do you fight it so hard, Earl? MR. BROOKS (V.O.) Courage to change the things I can... MARSHALL (V.O.) Come on, you've been a good boy for a long time, you deserve a little fun.Our view moves back up to the Woman's breasts. DISSOLVE THROUGH THIS TO:EARL BROOKS' reflection in a mirror. Earl, in his 40's, hason a tuxedo. He's in front of a sink in a Public Bathroom andhe's whispering to his image. MR. BROOKS ... and Wisdom to know the difference.Picking up speed against the hunger in his head: MR. BROOKS (CONT'D) Living one day at a time, Enjoying one moment at a time, Accepting hardship as a pathway to peace...From far away comes the sound of applause.INT. BALLROOM - NIGHTMEN in tuxedos and WOMEN in gowns.Mr. Brooks is seated at one of the front tables with hiswife, EMMA, also 40's. (CONTINUED) 2.CONTINUED:The audience's hands are coming together for what a MAN atthe microphone has just said.Mr. Brooks is smiling but not clapping; and although his lipsdon't move we can hear: MR. BROOKS (V.O.) (even faster now) ... Taking, as He did, this sinful world as it is, not as I would have it. Trusting that He will make all things right if I surrender to His will. That I may be reasonably happy in this life, And supremely happy with Him forever in the next. Amen.The Man at the microphone raises his arms to quiet theAudience. MAN I could go on and on about what a great guy Earl is, how he cuts his toe nails...Everyone laughs. MAN ... how he gives freely of his time and money, but let's get Earl up here to speak for himself. Ladies and Gentlemen, I give you a businessman, a philanthropist, a great friend and the Evanston Chamber of Commerce Man of the Year... Mr. Earl Brooks.Mr. Brooks kisses Emma, stands and after acceptingcongratulations along the way, arrives at the podium. MR. BROOKS Thank you all very much. The first thing I would like to say is... I don't even know how I cut my toe nails.Applause and laughter from the Audience. MR. BROOKS Twenty years ago when I started the Brooks Box Factory I never dreamed I would one day be standing here. 3.EXT. STREET - NIGHTA silver Lexus LS 430 glides past us. EMMA (V.O.) Did you see Sis Wallace's dress?INT. LEXUS — NIGHTMr. Brooks is driving. Emma is in the passenger seat. They'reholding hands. EMMA You could see her nipples. At her age she should keep those things hidden.Mr. Brooks is only listening to his Wife with one ear andunderneath what she is saying we can barely hear: MR. BROOKS (V.O.) God grant me the Serenity to accept... EMMA The only thing that would have made this evening more perfect is if Jane had been here. MR. BROOKS She called. She has mid terms coming up. EMMA She's dropping out, you know. MR. BROOKS We'll see. EMMA Nothing she does is wrong to you, is it?...Mr. Brooks doesn't rise to the bait. EMMA Well she missed a good party...As she continues, we look at Mr. Brooks and Emma's voicefades to a murmur. (CONTINUED) 4.CONTINUED:In the back seat, a Man leans out from behind Mr. Brooks'shead. This is MARSHALL. He's 50 plus.Emma can neither see nor hear him. Marshall exists only inMr. Brooks's mind. MARSHALL Come on, Earl, give yourself a break, you know you want to do this. MR. BROOKS No. MARSHALL You're the fucking 'man of the year', you deserve it. It's not like it's not set up. You already know how to by-pass the alarm, you know how to pick the locks. Tonight's the perfect night. MR. BROOKS (over his shoulder) No, Marshall, I said 'no'! MARSHALL I heard you, Earl, but you don't mean 'no'.Emma feels Mr. Brooks's distance. EMMA What's the matter?Mr. Brooks pulls himself back into the moment. MR. BROOKS Nothing. EMMA You were frowning. MR. BROOKS I was thinking of what I didn't say in the speech. EMMA They laughed, they were touched, I don't think anyone felt left out. (CONTINUED) 5.CONTINUED: (2) MARSHALL (from the back seat) They have their dance class tonight. What if we go by and just look at them. There's no harm in just having a look. MR. BROOKS No means 'no', Marshall. MARSHALL Please... pretty please. MR. BROOKS (to Emma) The food tonight was very good, but I wasn't crazy about the dessert. Would you like to stop somewhere and get something sweet?INT. ICE CREAM PARLOR — NIGHTIn a booth, Mr. Brooks and Emma are sharing a Sundae. Mr.Brooks steals a look at the Arthur Murray dance class that istaking place behind the full-length windows fronting thesecond floor of the Building across the street. EMMA ... Labradors are supposed to be nice, or maybe a rescue mutt... MR. BROOKS The Pound's a pretty sad place; if you want me to, I'll go with you. EMMA There's an Irish Lab I read about, and I think the breeder is...Mr. Brooks turns his attention back to the Dancers and againEmma's voice fades to a murmur.Both Mr. Brooks and Marshall who is seated on the other sideof Emma are focused on one particular COUPLE.The Man and Woman are not great dancers nor are theyespecially attractive, but Mr. Brooks and Marshall arefascinated with them.Marshall leans forward and looking slyly around Emma at Mr.Brooks: (CONTINUED) 6.CONTINUED: MARSHALL I bet your dick's getting hard, isn't it, just imagining what they would look like dead?Savoring the ice-cream, Mr. Brooks nods.EXT. BROOKS HOUSE — NIGHTTwo story modern. Not ostentatious, but the elegance of theline and the grounds say there's big money here.INT. MASTER BEDROOM - NIGHTThrough the door of the DRESSING AREA, Emma can be seentaking off her evening clothes.Hidden by the darkness on the other side of the bed, Mr.Brooks is hunched forward on a chair, his head in his hands.His bow tie is undone, but he's still wearing his Tuxedo. Inobvious torment, he is whispering to himself. MR. BROOKS ... I can't do this, I can't do this, I can't do this, please don't let me do this, God grant me the Serenity to accept the things I cannot change...In the DRESSING AREAEmma is putting on her sleep-wear. Mr. Brooks steps into thedoorway. MR. BROOKS I'm going to stay up a while, maybe go to the studio and play with some glazes. EMMA Okay, I'm going to read. If I'm not awake, wake me when you come back.Mr. Brooks comes forward, puts his arms around Emma and hugsher, then easing back, kisses her. MR. BROOKS I thought you were wonderful tonight. 7.EXT. THE BROOKS HOUSE — NIGHTMr. Brooks exits the back door and starts down a path thatleads away from the house. MR. BROOKS (to himself) Don't do this, don't do this, please don't do this, don't do this, don't do, please don't do this...He passes through a screen of trees and arrives at a smallbeautiful industrial-looking Building.No windows except for a narrow strip on three sides justunder the edge of the roof.Mr. Brooks lets himself in with a key.INT. BUILDING — NIGHTExquisitely unique handmade handglazed bowls, vases, cups,plates are scattered haphazardly on shelves and tables aroundthe room.This is Mr. Brooks's CERAMICS STUDIO.Mr. Brooks turns on the big industrial kiln and sets thetemperature, then in a series of quick cuts changes out ofhis tuxedo into his work clothes which he selects from adozen identical pairs of khaki shirts and pants hanging in acloset.Below the pants and shirts are a dozen pairs of identicalleather work shoes. The windbreaker he puts on is also from adozen identical windbreakers.He takes a set of car keys off a hook next to a door whichopens into a garage. Under the light is an older model non-descript Toyota.EXT. CERAMICS STUDIO — NIGHTThe Toyota backs into an alley and with the garage doorclosing behind it, pulls away.INT. TOYOTA — NIGHTMarshall is up front with Mr. Brooks. (CONTINUED) 8.CONTINUED: MARSHALL Oh Lordy, Earl my boy, I've missed this! We are going to have so much fun! MR. BROOKS This is the last time, Marshall. Understand me?! The very last time!EXT. RESIDENTIAL STREET — NIGHTA mixture of modest houses and apartment buildings. Mr.Brooks's Toyota is parked in the semi-dark cast by a tree.We rise over the car, over the trees, over the houses to theother side of the block and come down to find Mr. Brooksworking the lock on the side door of a small BUNGALOW.He has on surgical gloves.The pick is extracted, the handle turned. The door opens.There's a chain.Mr. Brooks removes a pair of bent rubber tipped forceps froma pocket, inserts it in the chain, pulls the door to, givesthe tool a twist and gently pushes the door inward.The chain has been released.INT. BUNGALOW — NIGHTMr. Brooks quietly closes the door and holding his breathstands very still and listens.There's a faint indistinct sound coming from the recesses ofthe house.Mr. Brooks's feet glide out of the PANTRY. Now comingslightly behind him is another pair of legs encased in darkslacks.Move up; the person in the black slacks is Marshall.In the middle of the KITCHEN, the sound is now recognizable.It's the moans of a Couple fucking. This disturbs Mr. Brooks,he hesitates.Marshall leans in and hisses fiercely in his ear. (CONTINUED) 9.CONTINUED: MARSHALL Don't you dare quit on me, you piece of shit. I want to see what they're doing.Mr. Brooks's spine stiffens and he's going forward again.Entering a HALLWAY, he reaches into his jacket. When his handreappears it's inside a Ziplock bag, his fingers around thebutt of a silenced pistol.He brings the hand and bag to his mouth and tightens theZiplock against his wrist.The two Men arrive at a door that's slightly ajar. Behind itthe sounds of the love-making are becoming more intense.Mr. Brooks nudges the door with his foot. It opens enough forhe and Marshall to see the Couple inside.The Man and Woman from the Arthur Murray dance class arenaked on the bed.As much as Mr. Brooks hates himself for it he loves watching.He can now hear his heart beating in his ears.He begins to breathe in unison with the Couple, but hisexpression is distant almost clinical.When the Couple climaxes, when they come, Mr. Brooks's facegoes blank.On the bed the Woman rolls off her Partner and the two ofthem lie there basking in the afterglow.Behind them Mr. Brooks pushes the door fully open and slipsinto the ROOM. They don't know he's there until he speaks. MR. BROOKS Hello.Both the Man and Woman jump with surprise and look. The Womanscreams and scrabbles at the sheet to cover herself. MAN What the fuck?!Then he sees the gun. MAN Hey, man, don't... (CONTINUED) 10.CONTINUED: (2) MR. BROOKS (to the Woman) Be quiet and sit up.In an attempt to get away, the Woman pushes herself backagainst the wall. She can't take her eyes off Mr. Brooks andshe can't stop screaming.POP! A hole appears above her left eye. The impact of Mr.Brooks's High Velocity .22 slug bounces her head off thewall. The screaming stops.The Man opens his mouth and begins to shake. POP! The bulletthrough his brain makes him instantly dead and he crumplesonto the Girl.Mr. Brooks looks at what he's done. His nostrils flare at thescent of death. Then he moves, he's got work to do. On hisway to the bed, the pistol goes into his pocket. MARSHALL (O.S.) (barks) Whoa, Earl, what the fuck is this?!!Mr. Brooks snaps a look.The curtains of the bedroom window are open; and over half ofthe Apartments in a four story Building on the other side ofan alley can see into this room.Most of their windows are dark. And there's no one lookingout of the windows that are lit. MARSHALL These pigs liked to fuck with the blinds open, you should have known that, Earl. This is a big mistake for you, Earl. MR. BROOKS (going to the window) Almost like I want to get caught, huh, Marshall? MARSHALL Well, don't fucking do that. I don't think either of us would enjoy spending the rest of our lives in jail or a lethal injection. (CONTINUED) 11.CONTINUED: (3) MR. BROOKS Yes, sir.He grabs a side of cloth in either hand and yanks thecurtains closed. CUT TO:CLOSE on a Polaroid of the dance Couple in a sexual pose. Theattitude of the bodies is awkward and very reminiscent of theones in the Polaroid we opened the movie with.INT. CERAMICS STUDIO — NIGHTMr. Brooks is kneeling naked in front of the kiln where hismurder clothes are being reduced to ash.Arranged on the floor are Polaroids of the dance Couple insexual positions. MR. BROOKS Please forgive me... Please forgive me...As we look closer at the Photographs we realize by a smear ofblood here and there and the distortion of the limbs thatthese tableaus were arranged after the Couple was killed.One by one, Mr. Brooks picks up his souvenirs. He lingersover the last image; and from where he's sitting on the edgeof a table: MARSHALL Don't even think about it. You know the rules.Reluctantly Mr. Brooks throws the Polaroids into the fire ofthe kiln. MARSHALL Now go up and make love to your beautiful wife.He leaves. In the kiln, the Polaroids burst into flame.EXT. MURDER HOUSE — AFTERNOONThe sunlight exposes its charm.If it weren't for the Police tape, the UNIFORMED OFFICERS,and the PLAINCLOTHES DETECTIVES, it looks like it would be acool place to live. (CONTINUED) 12.CONTINUED:An OLDER DETECTIVE, an African-American, comes out on theporch and calls to two other DETECTIVES who are drinkingcoffee on the lawn: OLDER DETECTIVE Where the fuck is Atwood?! YOUNG DETECTIVE I called ten minutes ago, they said she was on her way. OLDER DETECTIVE She doesn't get here soon, these bodies won't even be dead anymore?A Uniformed Cop standing guard at the tape: COP You looking for the lady Cop? OLDER DETECTIVE Yeah. COP She's here. She's been sitting in her car right over there for the last half hour. OLDER DETECTIVE Oh, Christ.EXT. ATWOOD'S CAR — AFTERNOONSpecial Detective TRACY ATWOOD, somewhere in her 30's, isbehind the wheel. The door is open.By the expression on her face we might guess that DetectiveAtwood has simply forgotten to get out of the car.On the seat next to her is a copy of the Chicago Tribune. Theheadline of a middle article on the first page reads: THEHANGMAN ESCAPES.Move up to Atwood's face. The Older Detective followed by theYounger Detective approaches. OLDER DETECTIVE You thinking of joining us anytime soon, Atwood?Atwood doesn't look at the Detectives for a long beat andwhen she does her expression is not friendly. (CONTINUED) 13.CONTINUED: DETECTIVE ATWOOD I really hated yesterday, Snyder, and then today came along.As she gets out of the car, the Men notice the bandages onher wrists and falling into step with her on the way to thehouse. SNYDER (OLDER DETECTIVE) What happened to your wrists?Atwood holds up her hands to reveal the extent of thebandages. DETECTIVE ATWOOD I tried to commit suicide.The Young Detective laughs. Atwood whirls on him. DETECTIVE ATWOOD What's so funny? YOUNG DETECTIVE Eh... I... I don't know, I heard it was because you were drunk and got into a fight with a fish tank.Atwood sticks her finger into the Young Detective's chest. DETECTIVE ATWOOD Who are you gonna believe? Me or the fucking fish?! YOUNG DETECTIVE Eh... you. DETECTIVE ATWOOD Good.Atwood turns and leaves the Men. YOUNG DETECTIVE (under his breath) She's nuts! SNYDER And rich.They catch up to Atwood who has squatted down to examine thelock on the front door. (CONTINUED) 14.CONTINUED: (2) SNYDER There are some scratches in the side door cylinder. Other than that no signs of forced entry. The alarm was armed and we even had to cut the security chains to get in. DETECTIVE ATWOOD (straightens up) This guy hasn't been active for over two years...She enters the house.INT. MURDER HOUSE — AFTERNOONFrom the way Atwood looks at her surroundings as she crossesthe Living Room we get the feel that this Woman missesnothing. DETECTIVE ATWOOD ... we think he's either dead or in jail on some other charge. This is probably a copycat.Detective Snyder points her down the Hall toward the Bedroomand follows. SNYDER That's why we called you. You're the God that tells us peons if we have a simple murder here or something we can dump on you. DETECTIVE ATWOOD Bite yourself.Atwood arrives in the doorway of the BEDROOM where themurders took place and stops.The Bodies of the dance Couple are now on the floor. The Manis propped up against the bed in a sitting position. TheWoman has her head in the Man's crotch.Almost like Mr. Brooks, Atwood's nostrils flare, but inAtwood's case it's not the scent of death that arouses herbut it's like she's searching for the scent of her prey.In a glance she memorizes the Room, then steps inside. 15.INT. BEDROOM — AFTERNOONThe Crime Scene TECHNICIANS shift to accommodate Atwood'sinspection. DETECTIVE ATWOOD (indicating the Victims) He always rearranges the bodies, but this is out of character. He has never left them in such a crude position. Usually it's more romantic with their arms around each other, kissing, their mouths open, their tongues touching. SNYDER So we have a copycat? DETECTIVE ATWOOD Where are the thumbprints?Snyder points to a bare space of wall above the bed. Atwoodleans in to look at two bloody 'thumbprints' placed side byside. DETECTIVE ATWOOD One his one hers? SNYDER That's what it looks like. DETECTIVE ATWOOD What's that?There are two holes gouged into the plaster of the wall. SNYDER The bullets went completely through the victims. The killer recovered the slugs.Atwood unfolds and after another look around the room goes tothe window and cracks the curtains.There's the four story Apartment Building across the alley,its windows staring down at her. DETECTIVE ATWOOD Were these open or closed when you got here? (CONTINUED) 16.CONTINUED: SNYDER Closed.Atwood tries the cord, the curtains are stuck. DETECTIVE ATWOOD Hmm...She returns her attention to the murder scene. DETECTIVE ATWOOD It has never been revealed to the public that the Thumbprint Killer retrieves the slugs. SNYDER So this one's yours. DETECTIVE ATWOOD I don't fucking need this.She doubles back and cracks the curtains for another look atthe four story Apartment Building. DETECTIVE ATWOOD Have you checked the tenants of that building? SNYDER Only a few of them are home, they say they didn't see anything. We checked the whole neighborhood, so far nobody saw a thing.Atwood nods and turns back to the bodies. DETECTIVE ATWOOD Leaving them like this, he must have been angry at them for some reason.She reaches down and runs a hand over the carpet. DETECTIVE ATWOOD Where would they keep their vacuum cleaner.A puzzled Snyder follows her out of the room.INT. PANTRY — AFTERNOONAtwood opens a service closet. There's the Vacuum Cleaner. (CONTINUED) 17.CONTINUED: DETECTIVE ATWOOD I'll bet you a hundred bucks, Snyder, there is no bag in that vacuum cleaner. SNYDER I have no idea what you're looking for.Atwood unzips the cover. There is no bag inside. DETECTIVE ATWOOD He vacuumed the house and took the bag. SNYDER Oh, shit. That is scary smart.EXT. ALLEY — AFTERNOONDetective Atwood is standing on an empty capped plasticgallon milk carton looking over the fence into the back yardof the Murder House. Snyder has his hand on her back tosteady her. DETECTIVE ATWOOD Okay.He releases her. She hops down and directs her attention atthe four story Apartment Building. DETECTIVE ATWOOD Our best hope is if someone in there saw something.A MAN comes out from behind the next door fence and stridespurposefully toward them. MAN Detective Tracy Atwood? DETECTIVE ATWOOD Yes. MAN This is for you.She accepts the official looking document being offered. MAN You have been served. (CONTINUED) 18.CONTINUED: DETECTIVE ATWOOD You fucking asshole!! I'm in the middle of a fucking murder investigation!! MAN (backing away) Hey, take it easy lady, I'm just the messenger. DETECTIVE ATWOOD Goddamit!! SNYDER What is it? DETECTIVE ATWOOD My soon to be ex-husband's scumbag lawyer is trying to show me how painful she can make my life if I don't give them what they want. SNYDER This is not the Doctor. DETECTIVE ATWOOD The doctor was a couple years ago. This one is my stupid mistake.INT. CHURCH HALL — DAYAn AA Meeting is getting started. Mr. Brooks is one of theASSEMBLED. The LEADER steps into the semicircle of Men andWomen. LEADER Are there any new members?A WOMAN comes forward. WOMAN Hi, my name is Vaughn and I'm an alcoholic.She rejoins the circle. Mr. Brooks separates himself from theOthers. MR. BROOKS Hi, my name is Earl and I'm an addict.When he rejoins the circle, Marshall is there to greet him. (CONTINUED) 19.CONTINUED: MARSHALL You're such a fucking hypocrite. If you were honest you would step out there and say 'Hi, I'm Earl. I killed two people last night and I really got off on it, but I need your help to be cured.' MR. BROOKS I'm different Marshall, I won't argue that with you. This is the only place that has ever helped me be normal and I've been straight up until last night for the past two years. I'm not going to kill again and I'm not going to quit coming here because it upsets you. MARSHALL Yeah but for the next 29 days you're going to have to step out there and say 'Hi, I'm Earl, I'm an addict.' And everybody will know you fell off the wagon. Don't you feel stupid doing that? MR. BROOKS No. I feel good.EXT. INDUSTRIAL SECTION OF CHICAGO — DAYA Cab arrives at the Front Entrance of the BROOKS BOXFACTORY, a long three story brick Building.A YOUNG WOMAN, 19, is dropped off along with an assortment ofluggage and boxes.INT. BROOKS BOX FACTORY — DAYIt's loud. We follow a thin piece of cardboard as one machinedeals it off the bottom of a stack into the maw of anothermachine.That machine prints one side of the cardboard blue.It is handed off to the third machine which cuts the flaps.The fourth machine folds and glues those flaps and spits thepiece of cardboard out onto a conveyor belt as a box.Wearing safety glasses and ear protectors along with hisbusiness suit, Mr. Brooks picks up the box and hands it toone of three similarly attired MEN, standing nearby. (CONTINUED) 20.CONTINUED: MR. BROOKS This is not the top of the line or the bottom, but for the money we're talking about this is the quality I can provide you.As Mr. Brooks talks the Men pass the box between them. MR. BROOKS Your packaging is the first impression your customers will have of your product... PA SYSTEM Mr. Brooks, your daughter is waiting for you in your office.A surprised Mr. Brooks grabs a quick look at the PA Speaker,then continues. MR. BROOKS ... We'd love to work you with on the design. It's fun to challenge our machines. If you check around, you'll find we're not the cheapest, but we are the best.INT. RECEPTION AREA - BROOKS BOX FACTORY — DAYOn his way through to his office, Mr. Brooks smiles absentlyat a MAN waiting on the couch. The pleasant-looking Man inhis early 30's, nods.Mr. Brooks stops at his SECRETARY's desk. MR. BROOKS Sunday, did Jane call and say she was coming? SUNDAY I would have given you that message, Mr. Brooks. She has boxes and suitcases downstairs. MR. BROOKS Hold my calls.INT. MR. BROOKS' OFFICE — DAY MR. BROOKS (coming in) What are you doing here, Gorgeous? (CONTINUED) 21.CONTINUED:The 19 year old Girl we saw arrive by cab stands up andthrows her arms around Mr. Brooks. JANE I'm sorry, Daddy, please don't be angry with me.Mr. Brooks kisses Jane on the forehead and goes to sit at hisdesk. MR. BROOKS I can guess what you've done, but why don't you tell me and then I'll decide. JANE I dropped out of school. MR. BROOKS Okay. Have you told your mother this? JANE No. I wanted to speak to you first. MR. BROOKS You'll have to tell her, I'm not going to do that for you, and then together the three of us will decide where to go from here. JANE I've thought a lot about this, Dad. College is a waste of time for me. MR. BROOKS I don't know how you know that half way through your Freshman year, but... JANE You didn't go to college, Dad, and you're successful. I want to come and work for you.Sitting on the couch: MARSHALL She's not telling you everything, she's hiding something. (CONTINUED) 22.CONTINUED: (2) MR. BROOKS I know. (to Jane) I'm not hiring right now. JANE Just listen to me. What would happen to the business if, God forbid, something happened to you? Mom would probably have to sell to strangers. I'm willing to start at the bottom, you can treat me as a regular employee, I want to learn everything there is to know about running the box business, and then when the time comes, the business would stay in the family. MR. BROOKS That's sweet, but you're talking about emotion, not business. In fact your mother and I came very close to selling out last year. JANE What?! MR. BROOKS If we had been offered a little more money, and they may come back to us, we will sell. JANE What would you do without...?!There's a knock on the door. MR. BROOKS Yes?Sunday, the secretary, comes in and crossing to Mr. Brooks: SUNDAY I'm sorry, I know you didn't want to be disturbed, the Man in the waiting room insisted I give you this.She hands Mr. Brooks a letter-size envelope. (CONTINUED) 23.CONTINUED: (3) SUNDAY He said you would find what's inside very interesting. MR. BROOKS What is he? A salesman? SUNDAY He won't say. I've never seen him before. I can tell him to go away if you want me to. MR. BROOKS That's okay.She leaves. Slicing the flap of the envelope, Mr. Brookspicks up with Jane. MR. BROOKS Part of spending the four years in college is to...Mr. Brooks can now see the contents of the envelope.Two snapshot-size PHOTOS taken with a high speed digitalcamera. One shows the right side of Mr. Brooks's cheek.He is in no way identifiable, but that blur of flesh appearsto be looking at the dead dance Couple.The second Photo is a clear shot of Mr. Brooks closing thecurtains with the dead dance Couple behind him.Neither Mr. Brooks's voice or his face betray the enormity ofwhat he's looking at. MR. BROOKS ... eh... to give yourself the chance to find out who you are and what you want to do. JANE I'll talk to Mom, but I'm not going back to school. MR. BROOKS Where would you live? JANE To save money I would move back home, but no rules, no curfew, I want to be treated like an adult. (CONTINUED) 24.CONTINUED: (4)Mr. Brooks allows himself a slight smile. MR. BROOKS Would you pay for your food, would you pay rent? JANE No, dad, you're a very wealthy man, you can afford to keep me.Mr. Brooks presses his Intercom. MR. BROOKS Sunday, would you show the gentleman who gave you the envelope to the conference room, and tell him I'll meet him there and... (to Jane) What happened to the BMW? JANE A friend is driving it across country, it'll be here next weekend. MR. BROOKS (to Sunday, through Intercom) And get Jane a cab.He picks up the phone and holds it out to Jane. MR. BROOKS Call your mother. JANE Are you going to give me a job? MR. BROOKS If it were up to me, and I think your mother will agree with this, you should go back to school.INT. HALLWAY - BROOKS BOX FACTORY — DAYMr. Brooks comes around the corner. He's raving at Marshallwho's walking beside him. MR. BROOKS You see all of this?! The factory, the houses, the cars, the money, the respect!!... (CONTINUED) 25.CONTINUED:A different angle in the same hallway shows Mr. Brookswalking away from us. A passing EMPLOYEE crosses him. The Mennod to each other. Marshall is nowhere in sight. MR. BROOKS (V.O.) ... I like them! I don't want to lose them!And then we're back to the original angle and Marshall isagain in the picture. MR. BROOKS ... That's why I didn't want to do the dance Couple! MARSHALL Stop your fucking whining, Earl, you enjoyed doing that Couple just as much as I did, and look on the bright side, he came to us he didn't go to the Cops. If he tries to shake us down we kill him. Period. We make it fun but we kill him. End of story.INT. CONFERENCE ROOM - BROOKS BOX FACTORY — DAYThe Man from the Reception Area is nervously admiring adisplay of Mr. Brooks's ceramic pieces. He turns at the soundof the door opening behind. MR. BROOKS What can I do for you, Mr...? MAN ... Let's say, 'Smith'. MR. BROOKS Okay, Mr. Smith.Mr. Brooks motions him to a seat. MR. SMITH (MAN) (sitting) Before you get the wrong impression, Mr. Brooks, I'm not here to shake you down. (CONTINUED) 26.CONTINUED: MR. BROOKS (holding up the photos) Then these are the only copies of these photos and you have no others. MR. SMITH No. I have other copies and other photos, and if something were to happen to me... MR. BROOKS How did you find me, Mr. Smith? MR. SMITH You're 'Man of the Year', Mr. Brooks. Your picture was in the paper. If it hadn't been, I don't know what I would have done. MR. BROOKS Lucky me. What is it that I can help you with? MR. SMITH I've been watching that Couple for months, they liked to make love with the blinds open. Sometimes I would take pictures, you know, visual aides for later. It was fun, it was a great way to get off; I thought, until I saw you kill them. I have to tell you I have never ever felt a rush like that ever. I know you're the Thumbprint killer, you've done this before. What I want is to go with you the next time you kill someone. And I would like that to be soon.From the end of the table, Marshall cackles a laugh. MARSHALL And you were worried that this was going to be unpleasant. The answer is simple. Just tell him you've decided never to kill again and he'll go away. MR. BROOKS You enjoy watching me suffer, don't you? (CONTINUED) 27.CONTINUED: (2) MARSHALL In a word, yes. MR. BROOKS Where do you think he has the other pictures? MARSHALL He put them in a safety deposit box but I'll bet the box is at the bank where he has his checking account and the key is on his keychain. He really wants to do this, he's not going to go to the cops.Mr. Smith who has grown uneasy under Mr. Brooks's stareswallows: MR. SMITH So do we have a deal? MR. BROOKS From the angle of these pictures... (taps the envelope) ... you live on the third floor of the apartment building across the alley from the Couple's house. MR. SMITH Well... eh. MR. BROOKS Yes or no, Mr. Smith?Mr. Smith nods 'yes'. MR. BROOKS What time do you get home from work? MR. SMITH Six thirty, seven, depending on the traffic. MR. BROOKS You can never come here again, you can never call me. Do you understand that? MR. SMITH Yes. (CONTINUED) 28.CONTINUED: (3) MR. BROOKS Tomorrow night, not tonight, tomorrow night, at eight o'clock, leave your apartment and walk east. I'll pick you up. MR. SMITH If you're thinking of doing anything to me, Mr. Brooks... MR. BROOKS We're both aware of the rules, Mr. Smith, but I feel I must warn you. If it turns out that you enjoy killing, it can become very addictive. It could ruin your life. MR. SMITH I want to do this. MR. BROOKS (looks at Marshall) Have I covered everything? MARSHALL I can't think of anything else.Mr. Brooks stands up and opens the door. MR. BROOKS I'll see you tomorrow night, Mr. Smith.On his way out, Mr. Smith nods. Mr. Brooks closes the door.His chin drops on his chest and he sighs. MR. BROOKS (under his breath) Please God, please help me find a way not to do this.EXT. DOWNTOWN CHICAGO — DAYDetective Atwood comes out of the CROWD on the sidewalk andenters a Highrise.INT. CONFERENCE ROOM - LAW OFFICES — DAYAtwood and her ATTORNEYS, a gray-haired Man in his 60's, andan Asian Woman about the same age as Atwood are on one sideof the table. (CONTINUED) 29.CONTINUED:JESSE, Atwood's soon to be ex-husband, very handsome,slightly younger than Atwood, and SHEILA, his attractivedivorce lawyer, sit across from them. ASIAN ATTORNEY We've talked to our client and we've come up with a number that we feel is more than fair.Atwood is not happy with this. The Attorney slides a sheet ofpaper to Sheila. She turns it over. On it is written:$750,000 -. ASIAN ATTORNEY We can have a check for that amount in your office by 6 o'clock. SHEILA We told you at the beginning what we want and that hasn't changed. GRAY-HAIRED ATTORNEY You know as well as I do, Counselor, if we go to court you're not going to get a million five. SHEILA I don't know. Let's see.She holds up the front page of the Chicago Tribune. "THEHANGMAN ESCAPES" story is circled in red. SHEILA This is the front page of yesterday's paper... (reads) 'Hangman Escapes'... eh... now, here it is... 'after torturing the young women, Thorton Meeks would hang them in public places - church steeples, balconies, Freeway overpasses'... Your client captured Mr. Meeks. This is just one example of the cases my client lived through when he was married to your client. ASIAN ATTORNEY Your client knew Detective Atwood was a homicide detective when he married her. (CONTINUED) 30.CONTINUED: (2) SHEILA But he had no idea of the mental anguish that being in close proximity to her work would cause him. DETECTIVE ATWOOD What about the mental anguish I went through being in close proximity to him. Who's gonna pay me for that? ASIAN ATTORNEY We don't need to get into this, Tracy. DETECTIVE ATWOOD Yes, we do. I was the one who paid for everything while we were married, and now I'm being asked to give him a bonus for spending time with me when I've already paid for it in the first place. JESSE (to Atwood) Tracy, this is not a lot of money for you, and you know how upset I was when Meeks said that he was going to escape and he would come back and kill you. SHEILA We're quite willing to find out what a court would think that mental anguish is worth. DETECTIVE ATWOOD Jesse... Darling?... you know the best thing that could happen to me right now? That you get hit by a truck and die. SHEILA (smiles) That's it! Mr. Vialo and I are leaving. (she and Jesse stand up) You've threatened my client, we're going to ask for a restraining order, and we'll see you in court. (CONTINUED) 31.CONTINUED: (3)The door closes behind them. GRAY-HAIRED ATTORNEY That's going to cost you, Tracy. DETECTIVE ATWOOD (standing up) Fuck it. It felt good.INT. APARTMENT — NIGHTMoonlight seeps around the blinds to reveal Mr. Smith asleepin bed.Beyond the open BEDROOM door down the hall is only darknessuntil the eruption of illumination from a penlightmomentarily outlines the figure of a Man.Then we're looking at what the penlight sees.A keyring. Hands in surgical gloves isolate the - safetydeposit key - and press it into a soft wax block where itleaves its impression. The light goes off.In the BEDROOM at the end of the hallway, Mr. Smith begins tosnore. The Figure coasts silently toward the sound.Mr. Smith's face is sideways on the pillow. The snores and alittle drool burbles out of the corner of his mouth.WHOOMP!! The impact of something landing on the bed bouncesMr. Smith upright and awake. MR. SMITH Ahhh!!! Ahhh!!! Ahhh!!!The beam from the penlight hits him in the face. He raiseshis hands to shield his eyes. MR. BROOKS Don't worry, if I were here to kill you, you would already be dead.The penlight leaves Mr. Smith and Mr. Brooks places itdeliberately under his own chin casting long sinister shadowsup his face. He's sitting on the bed next to Mr. Smith. MR. BROOKS After you left today, I realized our friendship was a little one- sided. (MORE) (CONTINUED) 32.CONTINUED: MR. BROOKS (CONT'D) So when we meet tomorrow night would you be so kind as to bring all of the pictures and the memory card from your camera. That way we can like each other simply for who we are. If you don't show up, I will presume you've gone to the police and I will kill you. Even if I go to jail because of you, someone will find you wherever you are and kill you.The penlight goes off. There's total silence. MR. SMITH (squeaks) Mr. Brooks?...He squints into the black. MR. SMITH Mr. Brooks?...Finally he gathers the courage to extend a shaky hand. Thebedside lamp goes on. The room is empty. Cautiously Mr. Smithswings his legs out of bed and stands up.He forces himself to go to the door and from there curls hisarm around the jamb into the darkness.The HALL light is dazzling.A peek into the BATHROOM shows there is nobody there. Hecontinues on into the LIVING ROOM.His camera equipment is on the table. The tripod is still setup. There is no sign of Mr. Brooks.Mr. Smith eyes the front door. It's closed and the 'securitychain' is in place!!Another quick scan of the room. It sure seems that he'salone.He opens the front door the length of the chain and looks upand down the hallway. It's empty. Slowly he closes the door.Standing in the light of his LIVING ROOM, Mr. Smith is morescared and strangely more excited than he's ever been in hislife. MR. SMITH Wow!... 33.INT. BROOKS HOUSE — NIGHTIn a robe and pajamas, Mr. Brooks comes down the HALLWAYcarrying a glass of milk. The door to his Daughter's ROOM ispartly open. By the nightlight in the plug at the head of thebed he can see she's asleep.INT. BEDROOM — NIGHTMr. Brooks walks to the bed, leans over and kisses hisDaughter on the cheek. MR. BROOKS (quietly) It's nice to have you home.He leaves.EXT. CHICAGO - MORNINGThe early rays of the sun are moving down the tall buildings.EXT. BROOKS HOUSE — MORNINGA garbage truck is picking up the trash.INT. BROOKS HOUSE — MORNINGDressed for work and a smile on his face, Mr. Brooks comesdown the stairs.In the BREAKFAST ROOM, the mood is decidedly different. HisWife and Daughter are leaning against opposite walls staringat the floor. MR. BROOKS What's wrong? EMMA Ask your daughter what the real reason is she dropped out of school. JANE I keep telling you it's not the reason. (CONTINUED) 34.CONTINUED: EMMA You wanted to go to college, you had good grades in High School, your father helped you get into Stanford, we're paying a ton of money, if this is not the reason, then please dear God tell me the reason. MR. BROOKS (picking up an orange juice) Why does your mother think you dropped out of school? JANE I'm pregnant. (to her Mother) And it's not the reason I dropped out. Being pregnant wouldn't stop me from going to school if I wanted to go. MR. BROOKS Who's the father? JANE Some guy I was seeing. EMMA Does he know? JANE Yes, he's a married man and he doesn't want to have anything to do with me. EMMA Oh, Honey, I'm so sorry. JANE I'm going to have an abortion anyway, so there is nothing to get upset about. I wasn't even going to tell you guys.Mr. Brooks looks directly at his Daughter. MR. BROOKS There will be no abortion. (CONTINUED) 35.CONTINUED: (2) JANE Daddy, you are not going to tell me what to do. It's my body and I will do what I want to do with it.Mr. Brooks's eyes find Emma's. Almost imperceptibly sheshakes her head 'no'. MR. BROOKS (to his Daughter) You're right. I'm sorry. I said it wrong. I'm not trying to tell you what to do. I'm trying to say that a grandchild would be a wonderful gift for your mother and me. EMMA Please, Honey, don't have an abortion. JANE Would you really want to have a grandchild, even though I'm not married? MR. BROOKS Yes. The child is what's important. We would love it and cherish it completely and help you raise it. JANE If it means that much to you, I'll think about it.INT. GARAGE - BROOKS HOUSE — MORNINGWalking to the Lexus, Mr. Brooks notices Marshall waiting forhim on the passenger side. MR. BROOKS (smiles) Well, we were right, she was hiding something. MARSHALL (flat) Pregnant's not all of it. She's hiding something bigger. Much bigger. MR. BROOKS You think so? (CONTINUED) 36.CONTINUED: MARSHALL I know so, and so do you.INT. CRIME LAB — AFTERNOONLarge and small Color Photographs pinned to a corkboardcreate a Collage of the dance Couple murder scene.Standing in front of this is CAPTAIN LISTER, a tall slim open-faced Woman in her mid-fifties, and the lead Crime SceneTechnician we saw earlier at the Murder House. TECHNICIAN It's not what's here, it's what's not here that's interesting. There's not a trace of anything foreign. If I didn't know better I'd say these people were killed by a ghost. CAPTAIN LISTER The autopsy found a tiny piece of plastic in the female victim's brain. TECHNICIAN We're checking with the ammunition manufacturers. DETECTIVE ATWOOD (entering the room) That's a dead end, he bags the gun. TECHNICIAN I don't understand. DETECTIVE ATWOOD He ziplocks a one gallon plastic freezer bag to his wrist over the gun. Bang. Bang. A little bit of plastic is carried by the first slug, the ejected shells go into the bag and it limits the powder residue. (to Captain Lister) I hear you were looking for me. CAPTAIN LISTER (to the Technician) Sigy... (CONTINUED) 37.CONTINUED: SIGY (TECHNICIAN) Yeah, okay... (to Atwood) Did you find anything? Did they have enemies, did they owe money, did anybody ever notice someone watching the house? DETECTIVE ATWOOD So far they are Mr. and Miss Normal. SIGY (backing away) If you find anything, call, it might help me.He's gone. CAPTAIN LISTER I received a subpoena from your husband's lawyer for your work records, where you were, date and times for the past two years. DETECTIVE ATWOOD That's blackmail. CAPTAIN LISTER Almost three quarters of your cases are current. I can't let that information go into open court. So until you settle your divorce, I'm going to have to put you on a desk. DETECTIVE ATWOOD That's also blackmail. CAPTAIN LISTER That's one of your big problems, Atwood, you don't know how to ask for help. DETECTIVE ATWOOD Do you know what he did to me? CAPTAIN LISTER You can't grow old as a woman without having at least one lousy man in your life. (CONTINUED) 38.CONTINUED: (2) DETECTIVE ATWOOD I was so stupid. While we were married, while I paid for him to live, the son of a bitch fucked every woman he could get his hands on. He fucked my friends, he even fucked a cousin of mine. Everyone knew but me, and they were laughing at me behind my back. He made me look like an idiot. I was a joke. CAPTAIN LISTER And?... DETECTIVE ATWOOD And what? CAPTAIN LISTER Get over it. DETECTIVE ATWOOD I made him an offer. I'm not going to give him one red cent more. CAPTAIN LISTER I hear what he's asking for, you could take out of pocket change. Do that and go on with your life. DETECTIVE ATWOOD I couldn't live with myself if I did. CAPTAIN LISTER I'll spread your work among the other guys and the FBI will be here on thursday... (motions to the pictures) ... they'll take over this case. DETECTIVE ATWOOD Please, these are my cases. Nobody knows them like me. Don't give them away and don't give the Thumbprint Killer to the FBI. He's killed people in twelve other states, let them fuck up those investigations. This one's mine. (CONTINUED) 39.CONTINUED: (3) CAPTAIN LISTER (opening the door to leave) You heard Meeks escaped? DETECTIVE ATWOOD Yeah. CAPTAIN LISTER Do you want a detail on you in case he comes after you? DETECTIVE ATWOOD I can take care of myself. CAPTAIN LISTER You're a good cop, Tracy, I don't want to lose you, but you have to help me if you want me to help you.INT. HALLWAY — CRIME LAB — AFTERNOONAtwood is waiting for an elevator. It arrives. The doorsopen. The car is empty.INT. ELEVATOR — AFTERNOONAtwood gets in and presses the key for her destination, thenslumps into a corner for the ride. The doors close. Theelevator begins to move.All at once Atwood screams. Her pent-up anger and frustrationrip the air and she goes nuts.She punches the wall of the elevator, kicks it, throwsherself to the other side, bangs her head against that wall,punches it, kicks it, all the while screaming.Then the tears come. The screams stop and she settles uprightagainst the back wall, where she strikes her chest repeatedlywith the flat of her closed hand. DETECTIVE ATWOOD What is wrong with me? What is wrong with me? What is wrong with me?EXT. MURDER HOUSE — NIGHTIt's raining. The yellow Police tape that still circles theyard snaps in the wind. (CONTINUED) 40.CONTINUED:Up the driveway, out of sight of all the other homes, there'sa movement at the side door of the house.A closer inspection reveals that it's Detective Atwood. Fromunder her umbrella she studies her surroundings and as ifshe's speaking to the killer, she speaks to herself. DETECTIVE ATWOOD Did you choose them because of where they lived or how they looked or what jobs they had? Or did you just pick them because at the instant you saw them, you had decided to kill someone? The side door was perfect. No one could see you pick the lock.With a key she lets herself in.EXT. STREET — NIGHTParked against the curb opposite the driveway of the MurderHouse is an old green Pontiac Convertible with the top up.The driver's window is down and from inside a WOMAN, late20's, is watching the house.INT. MURDER HOUSE — NIGHTAtwood stops in the PANTRY almost in the exact spot where Mr.Brooks stopped.The quiet is filled by the rain drumming on the roof. Thewind rattles the windows. DETECTIVE ATWOOD How did you know where they were in the house?She steps into the KITCHEN. On the way across she bumps intoa chair. DETECTIVE ATWOOD It's darker tonight than it was on your night. But still how did you manage not to bump into the furniture? Did you have a little light? That would be too dangerous. I'll bet you were in the house before. (MORE) (CONTINUED) 41.CONTINUED: DETECTIVE ATWOOD (CONT'D) So I should ask the neighbors if they saw a meter reader around the house or a telephone repairman or someone from the gas company.These musings take her through the LIVING ROOM to theentrance of the HALLWAY where she pauses and looks both ways. DETECTIVE ATWOOD Once again, how did you know where they were? Did you check the rooms before you found them? She had his semen in her vagina, they had just made love, did you hear them or was there a light on?She steps into the HALL. DETECTIVE ATWOOD And when did you bag the gun? Because even though I'm sure you're an expert at it, there's still a chance of noise from the plastic.She continues down the HALL to the BEDROOM. DETECTIVE ATWOOD Was the door open or did you have to open it?She opens the door and goes in. DETECTIVE ATWOOD Were they asleep or awake? Was the light on, or did you turn it on? Because I know you, you wouldn't risk a shot in the dark.She turns on the overhead light. DETECTIVE ATWOOD Too bright. What if it wasn't that light that was on, but this one?She turns on a bedside light and goes back to the door andturns off the overhead.If the dance Couple were on the bed and their blood was noton the wall, the room would look exactly the way it did whenMr. Brooks said 'hello'. (CONTINUED) 42.CONTINUED: (2) DETECTIVE ATWOOD That's better... What thrill do you get by killing people? Is it sexual, is it hate, is it power? Do you feel remorse? Probably that part of your brain doesn't exist. Do you have emotions of love or affection or joy? Or have you learned to fake them so you won't stand out in a crowd.She's at the window now, feeling the curtains. DETECTIVE ATWOOD What if these are stuck closed because you yanked them closed? Which means they were open when you came into the room.She separates the fabric and looks out the rain-streakedwindow at the four story building across the alley. There arelights on in almost all the apartment windows. DETECTIVE ATWOOD If Mr. and Miss Normal made love with the curtains open and the lights on, someone in that building noticed them and may have seen you.She allows the fabric to drop back into place and turns tolook at the bed. DETECTIVE ATWOOD Was that what you were angry about?INT. APARTMENT BUILDING — NIGHTMoving slowly across a neutral colored wall. DETECTIVE ATWOOD (O.S.) Thank you for your time.A door is closed. We come to the corner and are looking downa HALLWAY at Atwood coming toward us. We move to her andarrive just as she raises her fist to knock.Before she can, the door opens and she and Mr. Smith who ison his way out of his Apartment are surprised that the otherone is suddenly there. Each one takes a half step back.Phwap! The manila envelope that was wedged under Mr. Smith'sleft arm hits the floor. (CONTINUED) 43.CONTINUED: MR. SMITH Oh! You scared me. DETECTIVE ATWOOD I'm sorry... (bends down and picks up the envelope) ... I was about to knock. I'm Detective Atwood with the Chicago Police. MR. SMITH (accepting the envelope) Thank you.Through the open door, Atwood can see Mr. Smith's camera on atable and the collapsed tripod leaning against the wall. DETECTIVE ATWOOD Are you a photographer... (glances at her list) Mr. Baffert? MR. SMITH No... eh, it's kind of a hobby, I just started. DETECTIVE ATWOOD I don't know if you're aware but there was a murder... MR. SMITH Oh, yes in the house across the alley... DETECTIVE ATWOOD Did you happen to see anything unusual or suspicious that night around that house? Anything at all?Mr. Smith puts on his thinking expression and pauses a littlebit before: MR. SMITH No... I wondered that when I heard what happened, but... no. (looks at his watch) I'm sorry, I'm meeting someone and I don't want to be late.He moves into the Hallway closing the door behind him. (CONTINUED) 44.CONTINUED: (2) DETECTIVE ATWOOD Here's my card, if you hear anything or remember anything. MR. SMITH (taking the card) I wish I could be of more help, but sorry.Watching him walk away amid the crinkle of his raincoat,Detective Atwood, maybe because of her woman's intuition ormaybe because she's a good cop, wonders what is in thatmanila envelope under his arm.The thought is gone almost as soon as it comes and she facesabout to the next door.EXT. STREET — NIGHTHunched against the rain, Mr. Smith is acutely aware of thetraffic. His eyes strain to see the Occupants of each passingcar. He doesn't give a second thought to the older non-descript Toyota parked against the far curb.INT. TOYOTA — NIGHTMr. Brooks is in the driver's seat. Marshall is in the back.They're both tracking the progress of Mr. Smith. MR. BROOKS He looks clean. He looks like he's alone. MARSHALL No, I'm telling you he wants to do this. MR. BROOKS I guess I should turn around and go pick him up. MARSHALL Nah. Just honk. Maybe he'll get killed crossing the street and save us the mess of doing it.EXT. STREET — NIGHTHonk!! Honk!! Mr. Smith looks around. He's not sure thatsound was for him. But when the Toyota honks again andflashes it's lights, Mr. Smith waves and splashes to thecenter of the street. (CONTINUED) 45.CONTINUED:Even though he stops to let it pass, a car sounds its hornand swerves to avoid him. Mr. Smith crosses behind the Toyotaand opens the passenger door.INT. TOYOTA — NIGHTMr. Smith flops into the seat. MR. SMITH Woof! It's really coming down out there. MR. BROOKS They say it'll be sunny tomorrow.Mr. Smith fumbles with the buttons and zipper on hisraincoat. MR. SMITH I never trust those guys, when they say it's going to be clear it always rains and when they say it's going to rain, it's sunny.He comes up with the manila envelope. MR. SMITH Here's what you asked for.Mr. Brooks takes it and hefts it. MR. BROOKS The pictures and the memory card all here? MR. SMITH Yeah. MR. BROOKS You and I both know that not all the pictures are in here and you made a copy of the Memory Card, isn't that so? MR. SMITH But you understand my position.Mr. Brooks favors him with a wolfish smile. (CONTINUED) 46.CONTINUED: MR. BROOKS Yes, I do. But it's my hope that once you get to know me better you'll feel comfortable in giving me all that I've asked for. MR. SMITH That sounds fair. Oh, I almost forgot. I thought you might be interested in this.His hand comes forward with a card. MR. SMITH It's the policewoman who's looking for you.Marshall snaps forward from the back seat. MARSHALL Wow! We've never known anyone who's looking for us before.Mr. Brooks pinches the rectangle of paper away from Mr. Smithfor a closer view. MARSHALL We've got to find out everything there is to know about this woman. MR. BROOKS This is too close, Marshall, too damn close.Mr. Smith interrupts Mr. Brooks's focus on Detective Atwood'scard. MR. SMITH So, what do we do now? What's the plan for the evening?Mr. Brooks slips the envelope under the seat and starts thecar. MR. BROOKS We drive around until we see someone we think we might enjoy killing. MR. SMITH Really? That's it? I thought you might already have someone in mind. (CONTINUED) 47.CONTINUED: (2) MR. BROOKS I don't enjoy this, Mr. Smith. I do it because I'm addicted to it. And before you entered my life I had vowed I would never kill again. So this is your party, you can chose anyone you want and we'll do it together. MR. SMITH Can it be someone I know? MR. BROOKS You never kill someone you know. That's the easiest way to get caught.EXT. STREET — NIGHTThe Toyota enters the traffic.INT. APARTMENT BUILDING — NIGHTAn older WOMAN in a Stewardess uniform is standing in thedoorway of her apartment. Atwood is in front of her in theHALL. STEWARDESS I wasn't in town that night, my roommate was, maybe he saw something. DETECTIVE ATWOOD May I speak to him? STEWARDESS He's on his way to Tokyo now, he's also a Flight Attendant. DETECTIVE ATWOOD Did the victims ever leave the curtains in the bedroom open? STEWARDESS All the time. I don't know if they thought we couldn't see them "fucking" or they didn't care. (CONTINUED) 48.CONTINUED: DETECTIVE ATWOOD Here's my card, could you ask your roommate to call me when he gets back, the people at that number will find me any hour of the day or night. STEWARDESS I won't be here, but I'll leave him a note.EXT. STREET — NIGHTMr. Brooks' Toyota is cruising in the flow of traffic. MR. BROOKS (V.O.) ... maybe I already know how to pick the locks on the house, if I don't...INT. TOYOTA — NIGHT MR. BROOKS ... I buy one of those locks and I practice on it, same with the alarm... some I know how to bypass, some I have to study. MR. SMITH You don't mind me asking these questions? MR. BROOKS No. This is your first time, you're interested. And you should be if you're...A neutral-colored PICKUP swerves out of the next lane intoMr. Brooks' lane. MR. SMITH Jesus Christ!!Mr. Brooks is forced to slam on his brakes to avoid runningup the PICKUP'S tailpipe.HOONKK!!! Mr. Brooks angrily lays on the horn.The brake lights of the PICKUP flash in response causing Mr.Brooks to brake again. (CONTINUED) 49.CONTINUED: MR. SMITH Fuck him!! It was his fault!! What an asshole!! MARSHALL (leans forward) Maybe Mr. Smith would like to kill the driver of the pickup. MR. BROOKS (to Mr. Smith) What about the driver of the pickup? What if we killed him? MR. SMITH Oh, fuck, yes!! I've always wanted to kill someone who fucked with me in traffic.The PICKUP makes a right onto a side street. Mr. Brooksfollows. MR. BROOKS Do you want to kill the driver of the pickup or the owner, they may not be the same. MR. SMITH The driver. MR. BROOKS Okay we'll follow until we get a look at him, or her; would it bother you to kill a woman? MR. SMITH No. An asshole's an asshole.Mr. Brooks begins to slow down. MR. SMITH What are you doing? MR. BROOKS The asshole shouldn't know we've decided to follow him, or her.EXT. FOUR STORY APARTMENT BUILDING - NIGHTDetective Atwood is on her way out the Outer Door when thehair on the back of her neck stands on end. (CONTINUED) 50.CONTINUED:Footsteps can be heard running toward her through the rain.Her hand goes under her jacket and comes out holding a Glock9mm.She sidesteps out of the light into the grayness at the edgeof the doorway.Now she sees the RUNNER. A hood hides the face. She can'ttell if it's a Man or a Woman.Detective Atwood thumbs the Glock's safety to the 'off'position.The Runner passes, white breath coming from an unseen mouth.She waits while the Figure recedes, then with the gun stillin hand she fishes into a pocket for a cell phone and headsin the opposite direction.A finger speedials a number. After a second ring a: MALE VOICE (answers) Yes? DETECTIVE ATWOOD (puts the phone to her ear) It's Tracy. Can you carve out some time for me tonight?... I'll be home in an hour and a half. I'll see you there.The phone is shut, the umbrella unfurled and the darknessswallows her up.EXT. MINI MART — NIGHTThe neutral-colored Pickup is parked in front. The DRIVERgets out.INT. TOYOTA — NIGHTIt has stopped at the curb just beyond the Entrance to theMini-Mart parking lot.Mr. Brooks and Mr. Smith watch the DRIVER come around thefront of another car before entering the store.The light reveals the Driver to be a tall middle-age preppieguy with close cropped dark hair and dark-rimmed glasses. (CONTINUED) 51.CONTINUED: MR. BROOKS Would you recognize him if you saw his driver's license picture? MR. SMITH Yeah. MR. BROOKS I've memorized the license number, you write it down. When you get home go on the Internet and find out everything you can about this guy. MR. SMITH We aren't going to kill him tonight? MR. BROOKS No. We could, but then we wouldn't be in control. We could leave loose ends, and we both know the danger of that. MR. SMITH (squints at the Pickup's license) I got it. MR. BROOKS Look at me.Mr. Smith does. MR. BROOKS Close your eyes. What's the number? MR. SMITH VF... eh...Mr. Smith opens his eyes and grins sheepishly. MR. BROOKS Don't feel bad, I've been doing this a long time... (he points to a holder on the dash) Pen, paper. Write it down. MR. SMITH (copying the number) What was your first time? (CONTINUED) 52.CONTINUED: (2) MR. BROOKS You really don't want to know that much about me, Mr. Smith.INT. INDOOR POOL — NIGHTThe lane lines are in place.Detective Atwood is the only one in the water. Up and downshe goes with a long smooth stroke flipping the turns. She'snot swimming for pleasure, she's working out.The underwater lights cast rippling shadows on the walls andceiling and since they are the only illumination, the roomfeels spooky.Atwood's fingers touch the wall. She raises her head to checkher time, then takes off her goggles.Hanging onto the gutter she tries to catch her breath, lowersherself under the surface, blows a lungful of bubbles, comesup to face LARRY, a Man slightly younger than she is, in abeautiful suit, perched on the edge of the deck looking downat her.He has a dress on a hangar over one shoulder and a pair ofshoes dangling from the fingers of his other hand. DETECTIVE ATWOOD Hi. LARRY Hi. I brought a dress and a pair of shoes. I thought we could leave from here. DETECTIVE ATWOOD Great idea.She lifts herself to him and they kiss.INT. EXCLUSIVE SUPPER CLUB — NIGHTDetective Atwood and Larry are at a balcony table overlookinga well-populated dance floor. The Music is 40's and 50'sperformed by a live BAND. LARRY ... I gave him my driver's license, my student ID, he didn't look anything like me, luckily they never checked. (CONTINUED) 53.CONTINUED: DETECTIVE ATWOOD I did something like that except I was the one who took the test. It wasn't math, a friend of mine was a theology major and needed a second language to get into the Master's program... LARRY She started her career in theology with a lie?! DETECTIVE ATWOOD Isn't that what all theology is based on? LARRY Did you pass the test? DETECTIVE ATWOOD Oh yeah... LARRY Don't tell me she ended up as Mother Teresa or the Pope. DETECTIVE ATWOOD No, she realized very quickly there wasn't enough money in religion for her, the last I heard she'd written a diet book that was very successful. LARRY She stayed in religion.Atwood smiles, her fingers find Larry's and they intertwine.The view floats over the balcony.As it slowly drops, the PEOPLE on the dance floor, Couple byCouple, disappear until there are only three Couples left,one of them is Atwood and Larry. Her head is on his shoulder.It's a slow dance.Larry is very good and wherever he leads, Atwood easilyfollows. The lights begin to dim and we move in.Larry touches his lips to Atwood's neck. She arches back andhe kisses her neck again and again. (CONTINUED) 54.CONTINUED: (2)His lips move up and find hers, and we are now close on thekiss. Gently the lips separate and we slowly retreat.Looking into her eyes, Larry traces her lips with a finger,then replaces that finger with his tongue.His lips brush a cheek, down her neck to where it meets hershoulder, his teeth close softly on the muscle, by now we arefar enough away to realize that Atwood and Larry have noclothes on and we are:INT. HALLWAY - DETECTIVE ATWOOD'S CONDOMINIUM — NIGHTWhat light there is, is coming from a room we can't see.Larry nibbles at Atwood collarbone, kisses a breast, strokeshis hands down her sides. She shivers. He brushes his lipsback and forth across her stomach and then down to where theflesh of her belly meets her pubic hair.She's watching all of this in a mirror on the opposite wall.Then he sinks to his knees and buries his head between herlegs. From low in her throat, Atwood moans. We lose sight ofthe Couple as we move around a corner.INT. BEDROOM — DETECTIVE ATWOOD'S CONDOMINIUM - NIGHTIt's dark. Atwood is propped up against the headboard, thesheet pulled up over her breasts.The door to the BATHROOM opens. Larry dressed in his suit,minus the tie, comes out, kneels on the bed and kisses her. LARRY Thank you, this was wonderful. DETECTIVE ATWOOD For me too. LARRY I'll see you then? DETECTIVE ATWOOD I'd like that. The money is in the usual place. LARRY It's not just the money, Tracy. I like you. (CONTINUED) 55.CONTINUED: DETECTIVE ATWOOD I like you too, Larry. Send me a bill for the dress and the shoes. LARRY I will. Good-night. DETECTIVE ATWOOD Good-night.EXT. MR. BROOKS' CERAMICS STUDIO — NIGHTThe rain is muffled by the trees.Move slowly toward the Building then up the side to peekthrough the narrow window that circles just below the roofline.In the center of the room, the kiln relieves the darknesswith a yellow red glow whose rim touches a slash of whitelight coming from under a door tucked in a corner.INT. CERAMICS STUDIO — NIGHTWe creep through the white light across the floor that'slittered with splashes of paint and smears of clay to theoffice door and peer under it.In front of us are chair casters and two bare feet and legs. MARSHALL (O.S.) I think that was right. Go back. MR. BROOKS (O.S.) We're in. MARSHALL (O.S.) With the taxes we pay, you'd think they could make it more difficult to hack into the Police personnel files.We tip toe under the door.INT. OFFICE - CERAMICS STUDIO — NIGHTIt's crammed with file cabinets. Sketches for pottery piecesare taped to the walls along with photos of Mr. Brooks, Janeand Emma. (CONTINUED) 56.CONTINUED:Mr. Brooks, clad only in a T-shirt and underwear, is sittingin front of a computer. Marshall, dressed as he usually is,is in a chair at his side.They are both staring at the monitor where on one side of thescreen is Detective Atwood's Police ID photo, on the otherside of the screen, Mr. Brooks is scrolling through herpersonnel file. MR. BROOKS .... Huh... her father's Gerald Atwood, why does that ring a bell? MARSHALL Someone you did business with, someone we killed? MR. BROOKS Not someone we killed... MBA... College of William and Mary... she's been a cop for eleven years... Married Doctor Carlson, divorced Dr. Carlson, married Jesse Vialo... restaurateur... separated from Jesse Vialo, sued for support by Jesse Vialo, seeing a shrink because of Jesse Vialo... MARSHALL Excellent fitness report though. MR. BROOKS She caught the Hangman, the guy that escaped the other day... MARSHALL Oooh... She's caught a lot of people... And look here, this isn't the first time she's been hunting for us. MR. BROOKS I wonder what the deal was with her and Jesse Vialo?Mr. Brooks taps a key that minimizes Atwood's file then dragsit to the right hand corner. In the middle of a key stroke ithits him: (CONTINUED) 57.CONTINUED: (2) MR. BROOKS Ahhhh... now I remember. Her father, Gerald Atwood, never did business with him but Emma and I met him a couple times, big political fundraiser. He owns or owned one of the largest insurance groups in the country and a lot of other stuff.Tap, tap, tap. Jesse Vialo's Driver's license comes up. MR. BROOKS Jesse Vialo... Good looking, a little younger than she is. MARSHALL Younger, restaurateur... (snorts) She married him on the rebound from the doctor and I'll bet he married her for her money and her connections. MR. BROOKS The old man being rich doesn't mean she's rich. Maybe he's one of those guys who would rather give it to the Opera than to his kids. MARSHALL Wouldn't she have to declare any outside income and holdings to the Police? MR. BROOKS Hmmm...He restores Atwood's file. Tap, tap, tap, tap. Stop. The Menstudy the screen then look at each other. MR. BROOKS The Opera didn't get much. MARSHALL Why would a woman with her education and worth 60 plus million dollars and probably more to come, want to be a cop? MR. BROOKS I like that about her. (CONTINUED) 58.CONTINUED: (3) MARSHALL You're such a fucking snob, Earl. You like her because she's rich. MR. BROOKS No, I like her because she found something that's hers. It's not the family business. And she's good at it. I'd like Jane to find something that's hers and that she could be good at. MARSHALL That's exactly why Atwood scares the shit out of me. She's a cop who doesn't need the money and she's looking for us. That's one fucking dangerous human being. MR. BROOKS The fact that you're not wrong doesn't make me admire her any less.INT. SUBURBAN STARBUCKS — MORNINGAt a table the Asian Attorney is going over a brief. Thereare two foamy coffees in to-go cups in front of her.Detective Atwood arrives at the table. DETECTIVE ATWOOD Hi...She reaches out, the Women shake hands. ASIAN ATTORNEY Hi. I got you a Latte. DETECTIVE ATWOOD (sitting) Thanks and thanks for meeting me here. ASIAN ATTORNEY We got an injunction to quash the subpoena for your work records yesterday. They've already appealed. DETECTIVE ATWOOD That doesn't help me does it? (CONTINUED) 59.CONTINUED: ASIAN ATTORNEY Your father has a lot of political muscle. DETECTIVE ATWOOD My father does nothing for nothing. ASIAN ATTORNEY I understand. If you're willing to play the game and ride a desk for a year; I think we can settle for one two five, one five. DETECTIVE ATWOOD No desk. ASIAN ATTORNEY Then the only other option is money. Tell me how high you are willing to go. DETECTIVE ATWOOD One five. ASIAN ATTORNEY I can try. If I were on the other side I'd hold out for more. DETECTIVE ATWOOD How much more? ASIAN ATTORNEY Give me a cap and that's how high we'll go. DETECTIVE ATWOOD Try and get a number out of them first. I want to know what ballpark I'm playing in and if it's a lump sum, is it less than something that's paid in installments. ASIAN ATTORNEY I'll call them today.Atwood stands up with her coffee. DETECTIVE ATWOOD I'd like to get this done as soon as possible. (CONTINUED) 60.CONTINUED: (2)The Asian Attorney also stands and gathering her papers andcoffee. ASIAN ATTORNEY Are you working on the Thumbprint Killer this time? DETECTIVE ATWOOD Yeah. ASIAN ATTORNEY That one's creepy to me. The doors are locked, the alarms are armed and the people are dead. It makes you feel like you're not safe anywhere.Atwood nods and opens the front door then follows theAttorney out.EXT. SUBURBAN STARBUCKS — MORNING DETECTIVE ATWOOD Where are you parked? ASIAN ATTORNEY I'm right over there. DETECTIVE ATWOOD I'm down the street. Call me as soon as you have something.She starts to walk away. ASIAN ATTORNEY Oh, Tracy... I almost forgot, your husband says there's a picture of him holding some trophy that you still have. DETECTIVE ATWOOD He took all those pictures. He took everything. ASIAN ATTORNEY He claims it's his favorite picture and you put it up where you store your suitcases. DETECTIVE ATWOOD I'll look. (CONTINUED) 61.CONTINUED: ASIAN ATTORNEY I know it's petty, but you're going through a divorce.EXT. SIDEWALK — MORNINGAtwood strides toward her car. The PEDESTRIAN traffic islight. It's too early for the stores to be open.Up ahead a BROWN VAN is idling at the curb, the sliding sidedoor is open. Atwood can see inside. Empty except for somefurniture blankets.The Person in the Driver's seat turns to look into the back.It's the Woman who was watching Atwood outside the MurderHouse. Her hands are unseen in leather gloves.She looks up and their eyes meet. Two strangers. The contactis instantly broken.Atwood takes a deep breath and smiles. After the rain, theair is brisk and clean. It's good to be alive.SLAM!!! Atwood is body-checked by a Man who springs out ofthe recess of a doorway. His arms wrap around her, she'slifted off her feet and the Man throws himself and her intothe Van.INT. BROWN VAN - MORNINGOooff!! The wind is knocked out of Atwood when she lands leftshoulder first on the furniture blankets, the Man on top ofher.The Man is Thorton Meeks, the Hangman, six feet, a solid twohundred pounds. He's also wearing tight leather gloves.EXT. STREET — MORNINGThe Brown Van accelerates fast away from the curb.INT. BROWN VAN — MORNINGHis body crushing hers, Meeks kisses Atwood's cheek. MEEKS Surprise, surprise, Tracy. I told you I was coming back to get you.He frees his right hand and pulls his gun. (CONTINUED) 62.CONTINUED: MEEKS I already know where I'm gonna hang you. But first I'm gonna watch her... (indicates the Driver) ... have some fun with you, then she's gonna watch me have some fun with you.He kisses her again and puts the gun to Atwood's head. MEEKS Now, don't move.He raises up and straddles her. MEEKS You know the drill, I'm gonna put the cuffs on.With his left hand he fishes a pair of handcuffs from a backpocket and snaps them on Atwood's right wrist. MEEKS Now the left.He rolls Atwood on her back and with the chain of thehandcuff pulls her right arm toward her left.All Meeks' talk has allowed Atwood to catch her breath andsuddenly she jerks her head up into the gun and screams atthe top of her lungs. DETECTIVE ATWOOD SHOOT ME!!!At the same time she pulls hard against the handcuff with herright wrist. A startled Meeks is thrown off balance. The guncomes away from Atwood's head.Her left arm now free, Atwood swings her palm with all of hermight into Meeks' right ear. POP!! His eardrum breaks.Aaaggh!! He instinctually reaches to cover the damaged earwith his gun hand.The Driver doubles around to see what's happening. Fromoutside, HOONNNKK!! The Driver's attention returns to theroad. (CONTINUED) 63.CONTINUED: (2)Atwood swings again. This time she snags the barrel of thegun and using it as a lever bends Meeks' hand back on thewrist.BLAM! The gun goes off. Neither one of them is hit.At the same time Atwood pulls hard on the handcuff that Meeksis holding in his left hand and twists into him. Thisdislodges Meeks and he's off of her.Snarling like animals they fight for the gun.CRACK! Atwood's leverage breaks Meeks' trigger finger. Hisgrip loosens on the weapon. She pulls it out of his hand.A quick push skitters it across the floor. It drops throughthe open side door into the street.Atwood rolls away and reaches for her ankle gun. Now it'sMeeks' turn. A sharp tug on the chain of the handcuff stallsher motion.He flicks his other arm and a switchblade is delivered intohis right hand. Snap!! The blade comes out. Atwood isreaching again for her ankle gun. She sees the flash of metaland flings her head back.Luckily all she receives is a deep gash above her right eye.Blood immediately begins to cascade over her brow.Meeks grins and gives another sharp tug on the handcuff topull Atwood into the range of his knife.With one foot Atwood kicks at him, with the other she pushesoff and propels herself backward to grab a handful of theDriver's hair.Atwood's weight hinges the Driver's head back until she'slooking at the ceiling. Her scream is equal parts pain andsurprise.EXT. STREET — MORNINGThe Brown Van veers into the on-coming traffic. The Driver ofthe car dead ahead swerves. The Van solidly clips the rear ofthat car.INT. BROWN VAN - MORNINGThe sudden deceleration of that impact slingshots Atwood andMeeks forward. She hits the back of the Driver's seat. (CONTINUED) 64.CONTINUED:Meeks has further to go. He loses his hold on the handcuffsand smashes into the passenger seat.Her right hand now free, Atwood scratches for the gun on herhip.EXT. STREET — MORNINGCareening across its lane, the Van sideswipes a parked car.INT. BROWN VAN — MORNINGThat impact rips Atwood's hand out of the Driver's hair andsends her sliding on her knees toward the side door.On her way she unclips her gun and is bringing it out of herholster when Meeks who has managed to hang onto the passengerseat sees this and slams a foot into her chest.Atwood is launched backward out the side door.EXT. STREET — MORNINGIn slow motion Atwood flies through the air while at normalspeed the Van is leaving her behind.SMASH! Butt first, Atwood hammers into the back window of aparked car. The shattering glass breaks her fall.Groggily she rolls out of the indentation. Gun still in handand blood covering one side of her face she slides off thecar to stand in the street.The Van is nowhere in sight.INT. EMERGENCY ROOM — DAYCaptain Lister is watching a DOCTOR sew up the gash onDetective Atwood's forehead. CAPTAIN LISTER We found the van in an underground lot about two miles from where they left you. It was stolen last night.Detective Snyder comes in and hands a packet of photographsto Atwood. SNYDER These are the women we have pictures of who know Meeks. (CONTINUED) 65.CONTINUED: CAPTAIN LISTER Meeks and the Woman, none of the Attendants remember seeing them.As Detective Atwood begins to go through the pictures. DETECTIVE ATWOOD That chiropractor, Alvin Griffin, who sold Meeks his steroids, he might know where he is. CAPTAIN LISTER His phone's been tapped since Meeks escaped. No contact that way so far and he's sure not going to talk to us. DETECTIVE ATWOOD What about a warrant to search his house? Get me in the door and he'll talk to me. CAPTAIN LISTER How's your divorce going? DETECTIVE ATWOOD I took your advice and told my lawyer to settle.Stretching out her arm to return the photos: DETECTIVE ATWOOD None of these is the woman in the van. DOCTOR Whoa... I'm sewing up your head here. DETECTIVE ATWOOD Sorry. CAPTAIN LISTER And your ego can handle that? DETECTIVE ATWOOD It doesn't like any of the other choices. CAPTAIN LISTER Until Meeks is caught, Snyder is with you. (CONTINUED) 66.CONTINUED: (2) DETECTIVE ATWOOD Nothing personal, Snyder. (to Lister) He's not part of our team. CAPTAIN LISTER He's there to protect you. And listen to him, he's been alive longer than you have. SNYDER I didn't volunteer for this, Atwood. CAPTAIN LISTER The Parking Lot has a security camera. We're checking the tape. If Meeks and the Woman left in a car we'll have a license number. You have two days then I want a progress report on your divorce. DETECTIVE ATWOOD I think I have all the pieces on the Thumbprint Killer, I'm just not looking at them the right way. CAPTAIN LISTER Okay, you have three days.She leaves. DETECTIVE ATWOOD (smiles sweetly at Snyder) Every babysitter I ever had loved me.EXT. DRUG STORE PARKING LOT — NIGHTIn the scattering of vehicles Mr. Brooks' Toyota is hidden inplain sight in a row of cars.INT. TOYOTA — NIGHTBehind the wheel, Mr. Brooks is again wearing his Pottery-Throwing clothes. Mr. Smith is in the passenger seat andMarshall is leaning forward from the back.They're all focused to varying degrees on the Entrance to thestore. Mr. Smith raises his watch for a look at the time. (CONTINUED) 67.CONTINUED: MR. SMITH Maybe he went home with someone else. MR. BROOKS Can you still see his pickup?Mr. Smith looks. MR. SMITH Uh huh. MR. BROOKS This is not the kind of guy who leaves his pickup in an unguarded Lot overnight.The silence returns.All three Men idly observe an old green Pontiac convertiblewith a frayed top and paint peeling, come into the Lot andpark two spaces away facing them. We saw this car lastwatching Atwood from outside the Murder House.The headlights go off.The Driver's door opens. The Woman who was with Meeks in theVan steps out and hurries toward the Drug Store.She of course means nothing to Mr. Brooks but in the briefseconds the domelight is on, he catches sight of the Man inthe passenger seat. A memory tickles his brain.He turns to Marshall. MR. BROOKS Where do we know that guy from? MARSHALL You really should pay more attention to what you read, Earl. MR. BROOKS That's what I have you for, Marshall. MARSHALL His picture was on the front page of the paper a couple days ago because he escaped from jail. He's the killer they call the Hangman. (CONTINUED) 68.CONTINUED: (2) MR. BROOKS Ahh... MARSHALL Remember that cop you like, Atwood, who's chasing us, she's the one who put him away. I think his name is Thorton Meeks.Mr. Brooks cocks his head at the vague outline of Meeks. MR. BROOKS Well, well, well... What would life be without surprises?Mr. Smith who, remember, cannot hear or see Marshall,straightens up. MR. SMITH There he is!The Man they are waiting for is coming down the steps of thestore. On the way to his Pickup he takes off a Manager'ssmock. MR. SMITH You know what's weird? I'll bet he has all these plans of what he's going to do tonight and tomorrow and he doesn't know he will already be dead and won't be able to do any of them.Mr. Brooks nods absently. The Drug Store Manager arrives athis truck. MR. BROOKS I don't think I want to kill this guy. MR. SMITH What?! But you promised we would!Marshall smiles. MARSHALL Oh, I love what you're thinking. MR. BROOKS You have no idea what I'm thinking. (CONTINUED) 69.CONTINUED: (3) MARSHALL Oh yes I do, and it's wonderfully twisted. MR. BROOKS (to Mr. Smith) I know I said we would, but I don't think it would be that much fun.Mr. Brooks starts the car and puts it in reverse. MR. SMITH So just like that, you're saying 'no', it's not going to happen. MR. BROOKS Yes. MR. SMITH (purses his lips into a tight line) I see.Mr. Brooks casts his eyes on the license plate of the carMeeks is in. MARSHALL You get the number? MR. BROOKS I got it.EXT. DRUG STORE PARKING LOT — NIGHTMr. Brooks' Toyota leaves.INT. TOYOTA — NIGHTMr. Smith sits stiffly. His expression hasn't changed. MARSHALL Mr. Smith wants you to notice he's pouting. MR. BROOKS Yeah, I know.EXT. STREET — NIGHTThe Toyota is part of the light traffic. 70.EXT. RESIDENTIAL STREET — NIGHTThe Toyota comes into view around a corner and stops next tothe sidewalk.INT. TOYOTA — NIGHT MR. BROOKS I know you're upset, Mr. Smith, and I'm sorry. MR. SMITH Yeah, I am upset. MR. BROOKS Maybe I was a little abrupt back there, but let me explain. Finding someone you think would be fun to kill is a bit like falling in love. You meet a lot of candidates, and you like some of them and they're nice, but they're not right; and then that special one shows up and your heart beats faster and you know that's the one. The man in the pickup did not make my heart beat faster. MR. SMITH Okay, he did not make your heart beat faster. If not him, who? MR. BROOKS I don't know, I think I have someone in mind. MR. SMITH Do you need me to do any work on it? MR. BROOKS No, let's see how it plays out. MR. SMITH You see? That's my problem. That makes me feel like I'm being jerked around, Mr. Brooks. I thought it was happening last night, then it was happening tonight. And now it's "Let's see how it plays out". (MORE) (CONTINUED) 71.CONTINUED: MR. SMITH (CONT'D) I feel like you're planning to back out on our deal and I don't like that feeling at all. MR. BROOKS I promise you, it will happen. MR. SMITH When? That's what I want to know, Mr. Brooks. When? MR. BROOKS Tomorrow night, same time. When you come out of your building, turn right, go to the first street you can go west on, I'll pick you up on that street. MR. SMITH Okay.He gets out and with the door still open, turns back. MR. SMITH I want to do this. But if it drags on too long, I could change my mind. MR. BROOKS Don't you think I want to do this, Mr. Smith? MR. SMITH Maybe you don't anymore.He shuts the door. Marshall and Mr. Brooks watch him walkaway. MARSHALL Even if that guy was charming and funny I still wouldn't like him.EXT. RESIDENTIAL STREET — NIGHTThe Toyota U-turns, makes the corner and is lost from sight.EXT. ALLEY - CERAMICS STUDIO — NIGHTThe garage door opens and Mr. Brooks swings the Toyotainside. 72.INT. GARAGE — CERAMICS STUDIO - NIGHTMr. Brooks steps out of the Toyota onto a sheet of plastic.Two strides away is an industrial vacuum cleaner.INT. TOYOTA — NIGHTMr. Brooks vacuums the passenger seat and dash and floor andeverything around it.INT. GARAGE — CERAMICS STUDIO - NIGHTMr. Brooks removes his shoes and leaves them on the plastic,then slips his feet into paper slippers.With handiwipes he wipes down the outside of the passengerdoor, in fact anything on that side Mr. Smith could havetouched.He opens the door and wipes down the seat and the dash andthe console.Back on the plastic, Mr. Brooks undresses. On top of hisclothes he drops the used handiwipes, the slippers and thevacuum bag.The corners of the plastic sheet are folded up, twistedtogether and Zip-tied to create a nice neat package which Mr.Brooks picks up and takes into the Ceramics Studio.INT. SHOWER - CERAMICS STUDIO — NIGHTMr. Brooks rinses off the lather under the spray.INT. CERAMICS STUDIO — NIGHTThe glow from 3000 degrees Fahrenheit is coming through thewindow of the kiln.INT. OFFICE - CERAMICS STUDIO — NIGHTThe Driver's license, complete with picture, of the Woman whowas with Meeks in the Drug Store parking lot, is up on thecomputer screen.Mr. Brooks, now back in his regular clothes, brings thecursor down to the address. He scores this and drags it intoYahoo Maps 'driving directions'.A route is generated. Mr. Brooks brings the cursor up to'Print' and clicks. (CONTINUED) 73.CONTINUED:CLOSE on his Printer. The map is fed out and settles into thetray.EXT. BROOKS HOUSE — MORNINGAn unmarked Police car stops on the gravel of the Turn-Around. Two Plainclothes DETECTIVES get out and walk to thefront door.The taller One rings the bell and they wait and then the dooris opened by Mr. Brooks.In a flash he takes in the car and the way the Men aredressed and although his face doesn't betray it, he knowswhat they are. MR. BROOKS Hi, what can I do for you?The shorter One holds up a badge. DETECTIVE 1 I'm Detective Smolny with the Chicago Police and this is Detective Carfagno, from Palo Alto, California... CARFAGNO (DETECTIVE 2) (showing his badge) We'd like to speak to Jane Brooks, if that's possible. MR. BROOKS Jane is my daughter, what's this about? CARFAGNO There was a murder at Stanford not long before she left. She may be able to help us. MR. BROOKS Is she a suspect? CARFAGNO Not at this time. We simply would like to ask her some questions. SMOLNY (DETECTIVE 1) Is your daughter here? (CONTINUED) 74.CONTINUED: MR. BROOKS Yes... she is. CARFAGNO The questions won't take long. MR. BROOKS I'm sure you would have no objection if she had an attorney present. SMOLNY That's fine. (reaching into his pocket) Here's my card. We can schedule a time for later today or tomorrow for her to come in to see us.Mr. Brooks looks at the card. MR. BROOKS If you gentlemen can wait, I will call my lawyer right now and see what we can work out. SMOLNY Oh, that's even better. MR. BROOKS (opening the door wider) Would you like some coffee? SMOLNY Thank you.INT. UPSTAIRS HALLWAY — BROOKS HOUSE - MORNINGMarshall is walking alongside a very disturbed Mr. Brooks. MARSHALL We both knew she was hiding something bigger, I certainly didn't think it was this big. MR. BROOKS She's not a suspect, Marshall. She may not have anything to do with it at all.Mr. Brooks opens a door. The room that is revealed is a verywell equipped home GYM. (CONTINUED) 75.CONTINUED:In sweats and wearing a Walkman, Emma is working out on anElliptical machine.Mr. Brooks motions to her that he wants to talk. Emma takesoff the headphones and pauses the machine. MR. BROOKS Did Jane ever tell you that there was a murder at her school? EMMA No. MR. BROOKS Nothing? Not that a friend died or someone she knew died? Or someone in her dorm died? EMMA No. MR. BROOKS There are two Detectives downstairs, one is from Palo Alto, they want to ask her some questions about a murder that occurred shortly before she came home. EMMA Oh, my Gosh! I'm sure if she was close to someone who was murdered, she would have said something. MR. BROOKS I called Roger, he suggested a criminal attorney, they'll be here within the hour. EMMA I'll get dressed.EXT. BROOKS HOUSE — DAYThere are now three cars plus the unmarked Police car in theTurn-Around.INT. BROOKS HOUSE — DAYEveryone is in the LIVING ROOM. (CONTINUED) 76.CONTINUED:Jane is on a couch flanked by her Mother and a LAWYER.Standing behind them is a heavyset LAWYER and a YOUNG LAWYER.We've never seen any of these Men before.Facing this Group from the opposite couch are the twoDetectives. There are two tape recorders on the coffee table.Mr. Brooks is in a chair off to one side watching everything.For him the conversation is merely a burble of voices. Hestudies his daughter while she answers a question.She is unaware of his scrutiny. And finally all he can seeare her lips moving. Even the burble has faded to silence.EXT. BROOKS HOUSE — DAYThe unmarked Police car with the two Detectives pulls away.We move in on the front door. It opens. The Lawyers spillout. Mr. Brooks shakes hands with the lawyer who was sittingon the couch next to Jane. MR. BROOKS Mr. Clifford, it was a pleasure. Thank you for coming on such short notice. HEAVYSET LAWYER There won't be any more dropping by like they did today, they'll call us first. MR. BROOKS Thanks again, Roger. It was a good idea to hear what they wanted to know sooner rather than later. MR. CLIFFORD We'll talk. MR. BROOKS Yup.He waves and re-enters the house.INT. BROOKS HOUSE — DAYMr. Brooks shuts the door and turning, finds himself face toface with Emma and Jane. The Women are both worried.He and his Daughter look at each other. For a brief instanteach one tries to find what they hope to find in the other. (CONTINUED) 77.CONTINUED:Mr. Brooks smiles and folds the Girl into his arms. MR. BROOKS You did good, Kid. Your answers were clear, concise and honest. And when they tried to trip you up, it didn't work. JANE I hope so. I'm not feeling so well. EMMA Should you lie down? JANE I think I'd better.Mr. Brooks kisses his daughter on the top of the head. MR. BROOKS Try and get some sleep.Jane bends her steps toward the stairs. MR. BROOKS (to Emma) I think Roger has a handle on this. He and Mr. Clifford will take care of it.Emma takes her Husband's hand and after squeezing it followsher Daughter. On the stairs Jane stops and looks back. JANE I'm sorry I didn't tell you about it, Daddy. It was horrible but I really didn't know the guy that well. It happened at about the same time I found out I was pregnant, and it just went out of my mind. MR. BROOKS I understand.Jane resumes her journey up the stairs. CUT TO:CLOSE on a water glass being filled from a tap. (CONTINUED) 78.CONTINUED: (2) MR. BROOKS (V.O.) God grant me the Serenity to accept the things I cannot change, Courage to change the things I can, and Wisdom to know the difference...INT. KITCHEN — BROOKS HOUSE - DAYWith a shaky hand, Mr. Brooks raises the glass to his lips. MR. BROOKS God help me. What do I do?Sitting on the island behind him Marshall waits for Mr.Brooks to gulp the glass dry. MARSHALL She did it, didn't she? MR. BROOKS Yeah. It'll take the Cops a week to ten days to put their case together and then they'll come back and arrest her. MARSHALL What are you going to do?Mr. Brooks puts his hands over his eyes and sobs, then wipingaway the tears: MR. BROOKS I've been afraid of this since the day she was born. She has what I have. MARSHALL Yes, she does. But you've always been smart about it. She was stupid. She did it because she got off on it, she did it for fun. Why didn't she think it through? A hatchet! And she left it there!! MR. BROOKS They were pretty graphic, weren't they? MARSHALL That was to shock her into making a mistake. (CONTINUED) 79.CONTINUED: MR. BROOKS What does she think I think? Doesn't she remember what she told me? That the BMW was being driven across country by a friend and now right in front of me, she tells the Cops it was stolen. MARSHALL You've always cleaned up after her, whatever she did, all her life. MR. BROOKS If the BMW has anything incriminating in it, I hope it was stolen or she dropped it at the bottom of a very deep lake. MARSHALL Do you think she knows what kind of trouble she's in? MR. BROOKS I think she thought she had gotten away with it until the Cops showed up. I should have listened to her, it was there. She was telling me. 'I didn't quit school because I was pregnant'. I should have dug deeper. MARSHALL And where would you be but at the exact same place you are now. It is not your fault, Earl. Part of your problem with her is that you always think it is. MR. BROOKS She has what I have, Marshall. So on a very basic level, it is my fault. MARSHALL What are you going to do? MR. BROOKS Maybe the best thing for her would be to let her go to jail. MARSHALL And what about her child? (CONTINUED) 80.CONTINUED: (2) MR. BROOKS Emma and I would raise it. MARSHALL You might be right, Earl, you might be. Because you know if she's not stopped, she's going to do it again. And if she wants to take over the box business, the next victim could be you. MR. BROOKS I don't think she'd go that far.INT. CRIME LAB — DAYA slide of what looks like enlarged grains of sand amonggiant carpet fibers is projected onto a screen.The Lead Crime Lab Technician: SIGY (O.S.) We found traces of this in two places.The slide changes to an overhead schematic showing theinterior of the house where the dance Couple was murdered.Detective Atwood and Detective Snyder are standing with Sigywatching the presentation. Atwood has a bandage covering thestitches over her eye. SIGY (with a laser pointer) Here and here.The red dot indicates an area just outside the Kitchen andjust outside the Bedroom. SIGY We did an analysis and it's made up of feldspar, alumina and kaolin. DETECTIVE ATWOOD What's that? SIGY A high fire stoneware clay. SNYDER Like you make ashtrays and vases from? (CONTINUED) 81.CONTINUED: SIGY This is more plates and teacups. It was slightly wet when whoever it was tracked it into the house and it stuck to the carpet fibers. We're thinking it was the killer. DETECTIVE ATWOOD It could have been tracked in by a friend. SIGY That's the thing, you see, the friend would have had to have been there almost at the same time the killer was. Otherwise the samples would have been dry and the killer would have vacuumed them up. DETECTIVE ATWOOD Is the clay rare, is it difficult to get? SIGY You can buy it almost anywhere. SNYDER That's not much help, Sigy. DETECTIVE ATWOOD And this is the only incongruity you were able to find in the whole house. SIGY We've done everything we know how to do. It sure doesn't break the case wide open, does it?. DETECTIVE ATWOOD No, Sigy, it doesn't. It does give me an excuse to ask someone some new questions.INT. MR. BROOKS' OFFICE — BROOKS BOX FACTORY - DAYMr. Brooks is standing behind his desk staring blankly at thecontents of his briefcase when Sunday, his Secretary, comesin. SUNDAY Yes, Mr. Brooks? (CONTINUED) 82.CONTINUED:Mr. Brooks doesn't immediately answer her, he's lost inthought. MARSHALL (from the couch) Before you open your mouth, be very sure this is the right thing to do. MR. BROOKS I will never be sure.Remember; Sunday can neither see nor hear Marshall. MARSHALL You get pissed at me because I'm always the one arguing to go ahead and do murder. Not this time, Earl. This is your decision. MR. BROOKS I know it's wrong. In my heart I know it's wrong. MARSHALL Then don't do it. Go with Mr. Smith tonight and end that, then let the Police put Jane in jail. Hopefully that will save her and we can happily go on with our tortured lives. MR. BROOKS That's exactly what I want to do. That's exactly what I should do. The thing is, she's my daughter and I love her.Mr. Brooks raises his head and looks at Sunday. MR. BROOKS I'm going home. Cancel everything for the rest of the day. I might be in tomorrow afternoon. I'll let you know about that. SUNDAY I'll take care of it. MR. BROOKS If you need me, need me, call my studio, that's where I'll be. (MORE) (CONTINUED) 83.CONTINUED: (2) MR. BROOKS (CONT'D) I probably won't pick up, just leave a message. SUNDAY I'll try not to bother you.The door closes behind her.INT. CERAMICS STUDIO — DAYWith a hidden lever, Mr. Brooks lowers casters under the kilnand rolls it aside to reveal a Combination Safe imbedded inthe concrete floor.He spins the dial, opens the Safe and extracts four quadruple-pocketed plastic sleeves which he lines up in front ofhimself.Each sleeve contains a Driver's License, two Credit cards andcash.The pictures on the Driver's Licenses are of Mr. Brooks, butyou wouldn't immediately recognize him because of thedisguises.As he's trying to decide which of the four Identities wouldbe best for what he has in mind, Marshall comes forward tolook over his shoulder. MARSHALL The thing that bothers me about this, besides the fact we're not prepared, and a multitude of other things, is what does Mr. Smith do when he's walking west tonight and you don't show up. That little freak could flip out.Mr. Brooks chooses the first sleeve and the third sleeve. Theother two go back into the Safe. MR. BROOKS I'll take care of it on the way to the airport.EXT. FIVE STORY GLASS BUILDING — DAYIt's in an Industrial Park.Mr. Smith exits one of the doors and continues on into theParking Lot to a moderately expensive foreign car sitting ina space identified by a sign which reads: (CONTINUED) 84.CONTINUED:Mr. Baffert.He squeezes the 'disarm' button on his key chain. The carchirps twice and he opens the door. Bending his knees to getin, he stops.There is a section of Newspaper wedged in the steering wheel.When his brain unlocks he straightens up and moving only thetop of his body, makes a quick recon of the surrounding areaand his back seat.Nothing threatening seen, he eases into the seat. Slam! Thedoor is closed and locked.INT. CAR — DAYGingerly, Mr. Smith removes the Newspaper. It folds open. Onthe first page there are words circled in red.As his eyes dart from one to the other we go in close on thewords and hear Mr. Brooks say them as Mr. Smith finds them. MR. BROOKS (V.O.) Not - able - to - meet -Mr. Smith turns the page. MR. BROOKS (V.O.) - tonight - Do - it - same -Turns the page. MR. BROOKS (V.O.) - time - tomorrow -Turns the page. MR. BROOKS - night - Don't - be - stupid -.Mr. Smith refolds the Newspaper and throws it at thepassenger seat. MR. SMITH Fuck you!He inserts the key into the ignition.RAP-RAP!! There's a sudden sharp KNOCK!!, on the Driver'swindow. (CONTINUED) 85.CONTINUED:Mr. Smith levitates off the seat!! Unable to breathe, heturns.Detective Atwood's face lowers into view. DETECTIVE ATWOOD You remember me?All Mr. Smith can do is nod. DETECTIVE ATWOOD Would you step out of the car, please, I want to talk to you.EXT. CAR — DAYAtwood steps back as Mr. Smith gets out. Behind her,Detective Snyder is standing next to the Driver's door of anun-marked Police car which has blocked Mr. Smith in. DETECTIVE ATWOOD So Mr. Baffert, what is that you have to tell me? MR. SMITH What do you mean? I don't have anything to tell you. DETECTIVE ATWOOD Really? Because I was driving around and I got this sudden feeling that you had something to tell me about the murders. MR. SMITH No. Nothing. DETECTIVE ATWOOD That's disappointing. Because when I left you the last time we talked, I felt I had missed a clue that was right in front of me that would solve this whole case. MR. SMITH I don't know why you would feel that. DETECTIVE ATWOOD Didn't you tell me you were an amateur potter, that you made bowls and vases? (CONTINUED) 86.CONTINUED: MR. SMITH No, I said I was an amateur photographer. DETECTIVE ATWOOD Are you positive? Because we found potter's clay on the carpet of the murder house and I was sure you said to me that you worked with clay, that you made pots. MR. SMITH No. I said my hobby was photography, not pottery. DETECTIVE ATWOOD Maybe that was it. The Stewardess upstairs said the victims kept their curtains open when they made love. Could I see some of the pictures you took of that Couple?Mr. Smith can only stare at Detective Atwood. His Adam'sapple moves up and down though he makes no sound. Should heor shouldn't he?Finally he throws his arms up in a shrug but in his half-turnof indecision he happens to spy the Newspaper he tossed atthe passenger seat of his car.Part of it is draped over the console. The red circles aroundthe words on that page jump out at him. MR. BROOKS (V.O.) Don't - be - stupid -.Mr. Smith returns his attention to Detective Atwood. MR. SMITH You are harassing me, Detective Atwood. You know very well I'm not a potter and I don't have any pictures! So my feeling is that your feeling is wrong and that you should move your car and let me go home. DETECTIVE ATWOOD What is your job here? What do you do? (CONTINUED) 87.CONTINUED: (2) MR. SMITH I'm a mechanical engineer. DETECTIVE ATWOOD You have to be pretty smart for that, don't you? MR. SMITH I guess. DETECTIVE ATWOOD Then be smart, Mr. Baffert. You lied to me right there at the end. I'll be watching you. And when you want to tell me the truth, you know how to get in touch with me.She gives him a dazzling smile. DETECTIVE ATWOOD See you later, alligator.Atwood walks back to her car and gets in.INT. UNMARKED POLICE CAR — DAY DETECTIVE ATWOOD (under her breath) Goddamit...As Snyder accelerates away he points to the car's computerscreen. SNYDER Captain Lister got us the search warrant for Meeks' Chiropractor. DETECTIVE ATWOOD Good. (shakes her head 'no', frustrated) Goddamit!, that guy knows something... (meaning Mr. Smith) He almost told me and then something happened. SNYDER You think he did it? DETECTIVE ATWOOD I don't think it's that simple. 88.EXT. PARKING LOT — DAYMr. Smith watches the unmarked police car going away andwipes the sweat out of his hairline.INT. AIRPLANE — DAYWe're following a STEWARDESS down the aisle. She stops at arow and leans over to hand a glass of tomato juice to thePerson in the Window Seat. STEWARDESS Here you are, Sir.Mr. Brooks who now looks like the Man in the picture on thethird Driver's license, accepts the drink. MR. BROOKS Thank you.He takes a sip and resumes his gaze out the window. MR. BROOKS (almost inaudible whisper) God grant me the Serenity to accept the things I cannot change, Courage to change the things I can, and Wisdom to know the difference...The earth that he is looking at below is a long way away.EXT. REDWOOD CITY — LATE AFTERNOONCome off a sign which reads: STANFORD UNIVERSITY - 2 1/2miles to an Alamo rental car traveling south on the El CaminoReal.INT. ALAMO RENTAL CAR — LATE AFTERNOONIn his Pottery-Throwing clothes, Mr. Brooks is behind thewheel.There's an Ace Hardware Store bag sitting upright and open onthe passenger seat. We peek over the edge of the bag.A brand new hatchet with a gleaming blade sits at the bottom.Mr. Brooks adjusts the rearview mirror. Marshall is on thepassenger side of the back seat. MR. BROOKS You're awfully quiet back there. (CONTINUED) 89.CONTINUED:Without any indication he's been addressed, Marshallcontinues to stare stoically ahead.EXT. EL CAMINO REAL - LATE AFTERNOONThe Alamo Rental car carrying Mr. Brooks continues on.INT. HIGH CEILING BUNGALOW — NIGHTIt's dark. There's barely enough ambient light to see that weare close on the knob of the Front Door.From outside we hear the muffled sound of a Black & Deckercordless drill and the knob begins to vibrate. Someone isdrilling the lock.The sound stops. The knob turns. The door opens. A flashlightis shone into our face. UNIFORMED POLICEMAN (O.S.) Mr. Alvin Griffin, this is the Chicago Police.EXT. HIGH CEILING BUNGALOW — NIGHTFrom the protection of the doorjamb, a very young UNIFORMEDPOLICEMAN is the person shining the flashlight into thehouse.He's flanked on either side of the door by Detective Atwoodand Detective Snyder.The Officer's flashlight illuminates a short ENTRYWAY with aHALL immediately off to the left and the LIVING ROOM fadinginto darkness, straight ahead. UNIFORMED POLICEMAN (continues) We have a warrant to search your home and premises. We're coming in.Flashlight in her left hand and the Glock in her right,Detective Atwood is the first one across the threshold.She directs the beam at the wall next to the door; finds thelight switch. Click! Click! Click. DETECTIVE ATWOOD Lights don't work. (CONTINUED) 90.CONTINUED:She continues to the Hall. The darkness is so oppressivethere, it seems that her stream of light must struggle topierce it.The Room at the end is the KITCHEN.With Snyder hanging in the Entryway to protect her back,Atwood eases the hand with the flashlight around the corner.The dishwasher, the sink, the cabinets gleam dully back ather. She steps inside.A debris field of empty pharmaceutical boxes and vials trailsaway from the Refrigerator.Her flashlight sweeps the rest of the Room. Beyond an opencountertop in the DINING AREA, the light blurs past an ovalof white, and then comes back.It's the face of a WOMAN!!Careful of the litter, Atwood moves forward until she can seethat the Woman is sitting in a chair at the far end of thedining table.Her throat has been cut. Her head is being held upright byher hair which is taped to the back of the chair.She has a pen taped between her fingers, but the AppointmentBook in front of her is drenched in blood. DETECTIVE ATWOOD (calls to the darkness in back of her) We have a dead woman in here.A light and footsteps hurry toward her from the LIVING ROOM.Atwood swings her light at them. SNYDER Hey!He squints and turns away. DETECTIVE ATWOOD I thought you were behind me. SNYDER The living room is clean. (CONTINUED) 91.CONTINUED: (2)Atwood swings her light back onto the dead Woman. Thecombined illumination of the flashlights cause the supportjoists twelve feet up to throw eerie shadows onto the openceiling. DETECTIVE ATWOOD Snyder, meet Mona.The Uniformed Policeman comes up beside Atwood. UNIFORMED POLICEMAN I called it in.The smell of blood and the sight of the carnage is too muchfor him. His gorge rises and he gags. DETECTIVE ATWOOD Do that outside.The Officer doesn't have to be told twice. DETECTIVE ATWOOD (to Snyder, re: the body) Meeks did this. SNYDER I thought Meeks hung people.Atwood retraces her steps in the Kitchen. DETECTIVE ATWOOD Meeks is a steroid freak. This Refrigerator was always full of steroids. Mona was Alvin Griffin's niece, receptionist, lover and keeper of the keys.She focuses her flashlight on an open padlock dangling from asteel band that runs around the Refrigerator. With the barrelof the Glock she opens the door.The only edibles inside are a tomato, half a loaf of bread, apackage of hotdogs and some part of a chicken in a KFC box.The rest of the space is vacant. DETECTIVE ATWOOD Well, the steroids are certainly gone. SNYDER You think Meeks has Alvin with him? (CONTINUED) 92.CONTINUED: (3) DETECTIVE ATWOOD Meeks thinks Alvin turned him in.She shuts the Refrigerator. DETECTIVE ATWOOD Let's go see what's in the rest of the house. CUT TO:Atwood and her flashlight pass us. Three feet to her rightand slightly behind is Snyder and his flashlight.The two Detectives are leaving the Living Room and enteringthe HALL toward the bedrooms. The ceiling is low here and itfeels very claustrophobic.Ahead is a Door painted red.But before they get to it, there's a Room on the right.Snyder shines his light in.It's a BATHROOM. The shower curtain is open. Nobody in thetub.The Door ahead is waiting, but there's another Door on theright. Snyder shines his light in.This one is a Treatment Room with a Therapy table and shelvesof oils and unguents.They've come to the red Door. Atwood will open this one.She turns the knob and pushes. The Door is stuck. She andSnyder exchange a look.Snyder shuffles back half a step and flattens himself againstthe wall. He shuts off his flashlight.Atwood takes a deep breath, levers her weight against thedoor and pushes.There's a sudden Snap! Then the door swings freely open. Thebeam of Atwood's flashlight reveals a large room containing abed, a dresser, a...CREEEKKK!!! The sound is coming from up in the rafters.Atwood whips her flashlight in that direction.For an instant the beam catches a piece of a large shapefalling fast right at her. (CONTINUED) 93.CONTINUED: (4)Then it's lost in the darkness and then picked up again inthe reflected light in the Hall. The shape is a naked Man.WHACK!! The Man nails Atwood in the shoulder. BANG! Her gungoes off. She bounces into the wall and onto her ass.Barely slowed the Man continues in an upward arc. His feetand knees slam into the ceiling. Plaster dust rains.The Man swings back, past Snyder. He's lost in the darknessagain. Then he swings back into the light and comes to a stopjust inside the bedroom Door.The Man is hanging from a rope around his neck. He's dead.His Body is festooned with syringes stuck into his bareflesh.In fact two of the needles hold a sheet of paper to the Man'schest. Printed on the paper in big black letters are thewords:HA! HA! HA! HA! DETECTIVE ATWOOD (getting to her feet) Snyder, this is Alvin Griffin.EXT. CHICAGOThe gray of dawn is in the sky.EXT. O'HARE AIRPORT — PRE DAWNMr. Brooks, wearing a disguise that makes him look like thepicture on the Driver's license in the first plastic sleeve,gets into a Taxi.EXT. SUBURBAN STREET - CHICAGO - DAWNThe Cab drops Mr. Brooks off in front of a house. Mr. Brookswatches the Cab drive away and then with his Carry-On bagstarts walking in the opposite direction. He turns a corner.EXT. SECOND SUBURBAN STREET - CHICAGO - DAWNStill on foot, Mr. Brooks arrives at his non-descript Toyota.There are also neighborhood cars parked along the street. Mr.Brooks unlocks his car and throws his Carry-On onto thepassenger seat. 94.EXT. FREEWAY - DAWNMr. Brooks' Toyota speeds up an on-ramp and joins the lighttraffic.INT. TOYOTA - DAWNFrom the back seat Marshall watches Mr. Brooks remove thepieces of his disguise - a wig, a mustache, glasses, and dropthem in the Carry-On. MARSHALL How do you feel? MR. BROOKS Dirty. MARSHALL That's understandable. You've never killed for this reason before. The feeling will go away. MR. BROOKS I don't think so. It's the whole thing, Marshall. If I could find a way to just disappear, where there was absolutely no trace of me; because eventually I will get caught doing this. And it'll be very embarrassing for me and Emma and Jane. So I've been thinking... is there a way that Mr. Smith could kill me and make me disappear. MARSHALL Number one, Mr. Smith is not smart enough to do that. Number two, there is no reason, if you're careful, to believe you will ever get caught. MR. BROOKS I know I will have to plan it for Mr. Smith, but I think that's what I want to do. MARSHALL I'm not particularly fond of that plan, Earl. Remember if you die, I go with you and I like being alive. I like eating, I like fucking, I like killing. (CONTINUED) 95.CONTINUED: MR. BROOKS I have to end it, Marshall. One way or the other. And I think this is the best way. MARSHALL Well fuck you then.EXT. CITY STREET — DAWNLong ago this was a nice area. A banner hangs from an oldDeco building - ROOMS FOR RENT.Mr. Brooks is walking through the Parking Lot beside theBuilding.There, as a first car in a double space is the old greenPontiac convertible. It's blocked in by another car.Mr. Brooks sidles between the cars to check the license plateagainst the one in his memory.It's the car Thorton Meeks was in, outside the Drug Store.Mr. Brooks walks away.INT. CERAMICS STUDIO - DAWNMr. Brooks opens the kiln door and removes three piecesembellished with a beautiful yellow glaze.He sets them on a table then takes his Carry-On bag andplaces it in a ceramic trough which he puts into the kiln.The door is shut.INT. KILN — DAWNFlame erupts from the gas jets.INT. MASTER BEDROOM - BROOKS HOUSE - DAWNThe Bathroom door opens. Mr. Brooks, in his pajamas, turnsout the light and crosses to the bed. Emma looks up as hepulls back the covers and gets in. EMMA You worked all night. MR. BROOKS I had ideas for pots that took too long and the clay kept winning... (he kisses her) I'll be fine. (MORE) (CONTINUED) 96.CONTINUED: MR. BROOKS (CONT'D) And there's a yellow Chinese glaze I'm trying to get right...He lays his head on the pillow and is almost instantlyasleep.INT. DETECTIVE ATWOOD'S CONDOMINIUM - MORNINGReflected in the glass of an open mirrored closet door is atastefully furnished DEN with floor-to-ceiling windows thatlook out at LAKE MICHIGAN from the 20th floor.An empty suitcase falls into this picture and bounces on thecarpet. Behind the mirrored door, Detective Atwood is atop astepstool rummaging through the suitcases on the highestshelf.Throughout the Condo there is an incessant ringing of thephones.Another suitcase goes down and Atwood finds what she'slooking for - a framed color 8 x 10 photo of her husband,Jesse. He's in a business suit and holding some kind oftrophy.The phones stop ringing.Atwood comes down the stepstool, folds it and is carrying itback to where it lives when the phones start ringing again.She picks up a cordless in the Den. DETECTIVE ATWOOD Yes?INT. LAW OFFICES — MORNINGThe Asian Attorney interrupts her sip of coffee. ASIAN ATTORNEY Hi Tracy, this is Nancy Tang. We received a counter offer. Are you sitting down?INT. DEN - DETECTIVE ATWOOD'S CONDOMINIUM — MORNING DETECTIVE ATWOOD Yeah, go ahead... He can't get that, can he?!INTERCUT with Nancy. (CONTINUED) 97.CONTINUED: NANCY (ASIAN ATTORNEY) No, my sense of it is by asking for five, they're hoping you'll settle anywhere between two five and three. DETECTIVE ATWOOD Never. How long can you stall them? NANCY They know you want this done quickly, so they're going to expect a quick counter offer. DETECTIVE ATWOOD I need two days. Wait two days before getting back to them. If they call, tell them it's a big number, I'm thinking about it. NANCY Okay. DETECTIVE ATWOOD And the picture he wanted...She slams the frame of Jesse's photo against the inside of ametal trash can.Nancy winces and then smiles at the sound of shatteringglass.Atwood plucks the photo out of the frame and tears it so thatthe rip can be heard over the phone. DETECTIVE ATWOOD ... tell him I couldn't find it.INT. MASTER BEDROOM - BROOKS HOUSE — MORNINGMr. Brooks is still asleep. Emma, dressed for the day,arrives at his side of the bed. She rubs the back of Mr.Brooks' hand. EMMA Earl... Earl...Mr. Brooks opens his eyes. MR. BROOKS (sleepy, groggy) Huh?... (CONTINUED) 98.CONTINUED: EMMA Roger is on the phone.INT. KITCHEN — BROOKS HOUSE - MORNINGIn his slippers and robe, Mr. Brooks is standing in theDoorway watching Jane who is leaning over the Counter with anopen Newspaper next to a bowl of cereal.He has a chance to take a good long look before she feels hispresence and raises her head. JANE Oh, Hi, Daddy, I thought you'd already be gone. MR. BROOKS Roger called. There was another murder last night near Stanford. JANE Oh... MR. BROOKS Done the same way as the one they talked to you about. Right down to the hatchet being left at the scene.Jane can't quite conceal the tremor of surprise that ripplesthrough her and Mr. Brooks sees it. MR. BROOKS They think they have a serial killer. Obviously you were here last night, so you're in the clear. JANE That's good news, isn't it? I mean even if you're innocent it's good news to know you're not a suspect. MR. BROOKS Oh, yeah. How's the morning sickness? Do you want to ride in with me today? JANE I feel fine, but I don't know how long that will last.Mr. Brooks nods, turns to leave, then turns back. (CONTINUED) 99.CONTINUED: MR. BROOKS Do you love me, Jane? JANE Of course I love you, daddy, you're my father. MR. BROOKS Have you decided whether or not to keep the baby? JANE Not yet. MR. BROOKS (nods) Okay.EXT. MR. SMITH'S CAR — AFTERNOONLooking off the grill as it overtakes another car in theFastlane.Eminem is on the stereo. The car ahead moves out of the way.INT. MR. SMITH'S CAR — AFTERNOONMr. Smith is rapping along to "Cleanin' Out My Closet". Heknows all the words.EXT. FREEWAY — AFTERNOONWith Eminem fading, we fall behind Mr. Smith. One car, twocars. The third car is Detective Atwood's car.INT. DETECTIVE ATWOOD'S CAR — AFTERNOONAtwood is driving. Snyder is in the passenger seat. SNYDER What are we doing? DETECTIVE ATWOOD 'Are we there yet?' , are we there yet?' , you sound like a child. We're playing a hunch. SNYDER We've been following this guy all day, he's boring, and everything we run on him comes up clean. (CONTINUED) 100.CONTINUED: DETECTIVE ATWOOD If it didn't, it wouldn't be called a hunch. SNYDER Meeks' finger-prints were all over the chiropractor, the note, refrigerator, he's the guy we should be looking for. DETECTIVE ATWOOD Look where? Please tell me. Everyone knows who Meeks is and is looking for him. The chiropractor was the last link to his old life that I know of. The only way we'll find him, now, is if someone turns him in or we trip over him at a bus stop. On the other hand, Detective Snyder, no one knows who the Thumbprint Killer is or where he is. However, I have a fucking hunch this guy Baffert does. I have two days to play that hunch. If you feel like you're wasting your time with me, I'd be happy to do it alone.He looks at her and shakes his head. SNYDER I had a fight with my wife this morning; what's your problem? DETECTIVE ATWOOD My husband wants five million dollars.EXT. SUBURBAN STREET — AFTERNOONMr. Smith's car enters the Parking Lot of a Rib Joint.Atwood's car stops across the street.INT. ATWOOD'S CAR — AFTERNOONAtwood and Snyder watch Mr. Smith enter the Restaurant. Theywait in silence. A muted 'tone' announces the arrival of anEmail on their computer. Snyder reads and frowns. DETECTIVE ATWOOD Bad news? (CONTINUED) 101.CONTINUED: SNYDER Lister is pulling you off this case. DETECTIVE ATWOOD Why?! SNYDER Maybe they caught him.She twists the screen around so she can read the message. DETECTIVE ATWOOD No. She would have said that.Snyder points across the street at Mr. Smith coming out ofthe Restaurant carrying a Take-Out bag. SNYDER You want to keep following him?Atwood hesitates. SNYDER Lister only said you were off the case, not me. DETECTIVE ATWOOD (smiles) Good thinking, Tonto.She starts the car. There's the muted 'tone' again. Atwoodlooks at the computer screen. DETECTIVE ATWOOD Shit! She just 86'ed you too.INT. POLICE STATION — AFTERNOONTrailed by Snyder, Detective Atwood arrives at CaptainLister's SECRETARY. DETECTIVE ATWOOD Is she in? SECRETARY She's with someone. DETECTIVE ATWOOD Good. (CONTINUED) 102.CONTINUED:Atwood blows past the Secretary and opens the door toLister's office.INT. CAPTAIN LISTER'S OFFICE — AFTERNOONThere are two MEN in suits on the other side of the desk fromthe Captain. Atwood ignores them and focuses on Lister. DETECTIVE ATWOOD You promised if I settled my divorce I had three days on the Thumbprint Killer. I have the rest of today and tomorrow left. CAPTAIN LISTER Detective Atwood, meet FBI Agents Longnecker and Campbell, they're taking over your investigation. DETECTIVE ATWOOD You promised you would keep them out of it for three days. CAPTAIN LISTER They won't allow me to keep that promise.Atwood glares at her then at the FBI Men. DETECTIVE ATWOOD This is my case, what you're doing is fucked. But since I can't stop you, and she won't, here's a tip. James Baffert, you should stake him out, he knows something. DETECTIVE LONGNECKER We have some other ideas we are looking into. DETECTIVE ATWOOD Then what's the problem? You do that and I'll tail Baffert. DETECTIVE LONGNECKER Thank you for all your good work, Detective. This is our case now.Atwood looks from one Man to the Other. (CONTINUED) 103.CONTINUED: DETECTIVE ATWOOD Good luck. (to Captain Lister) Later I suppose you'll fill me in on what I'm supposed to be doing around here. I'm confused.She leaves. Snyder closes the door behind her.INT. RECEPTION AREA - BROOKS BOX FACTORY - LATE EVENINGIt's deserted with only a small spill of light coming fromMr. Brooks' Office.INSIDEMr. Brooks is at his desk.The lamp at his elbow throws a yellow cone across his face.His head is in his hands, he's been crying.Marshall steps out of the shadows behind him. MARSHALL It's time to go. MR. BROOKS Yeah.He reaches into a bottom drawer and as he takes out anenvelope, Marshall reads the tear-stained hand written letterresting on the blotter. MARSHALL Dear Emma and Jane, my loves, I have a terminal illness and instead of subjecting you to my deterioration, I have decided to disappear. Don't try to find me, I don't want to be found. Please believe that the time I spent with you brought me the greatest joy of my life. Love. Dad.Mr. Brooks picks up the letter and folds it. MARSHALL So you're going to go through with it.Mr. Brooks stuffs the letter in the envelope, seals it andpicks up a pen. (CONTINUED) 104.CONTINUED: MR. BROOKS It's all planned to work out, Marshall.On the envelope he writes: For EMMA and JANE.EXT. STREET — NIGHTOn the sidewalk Mr. Smith is walking toward the on-comingtraffic. The headlights make it difficult to tell one carfrom the other until they pass. That doesn't keep him fromlooking for Mr. Brooks.The houses stop and he's passing a pocket park. In a darkspace between the street lamps, a hand falls on Mr. Smith'sshoulder. He jumps and a scream squeaks out of his throat.It's Mr. Brooks, in his Pottery-Throwing clothes. MR. BROOKS (smiles) Are you ready to rock and roll, Mr. Smith?Mr. Smith swallows hard and nods. Mr. Brooks propels him intothe park.INT. MR. BROOKS' CAR — NIGHTMr. Brooks is driving. Mr. Smith is in the passenger seat.Both are lost in a wary silence. Abruptly from the back seat: MARSHALL I smell gun oil, a gun oil that's different than yours. MR. BROOKS He brought his gun. After he gets what he wants he plans to kill me. MARSHALL Ah... now I get it. You were counting on that, weren't you? MR. BROOKS It has a certain logic. MARSHALL But if your plan is to have him kill you, why do you have to kill someone else first? (CONTINUED) 105.CONTINUED: MR. BROOKS He'll need to see that to get up the courage to kill me.Marshall roars with laughter. MARSHALL Not even you believe that, Earl. It makes it more exciting, doesn't it, to think he's going to kill you after you kill someone else. You're getting your rocks off big time, that's why you're doing it. MR. BROOKS Not true... and if it were, so what? (to Mr. Smith) You're goddamn great, you know. To have the balls to do this. MR. SMITH I'm pretty nervous but that's normal right? MR. BROOKS Perfectly normal.INT. DETECTIVE ATWOOD'S CONDOMINIUM — NIGHTAtwood is propped up in bed reading a Magazine. Her hair ispulled back and her face glistens with Cold Cream.The phone rings. Should she answer it? It rings again, thenagain. Reluctantly she grabs the receiver. DETECTIVE ATWOOD Hello... Oh, yes, yes. (she sits up) Put him through... Hi, this is Detective Atwood speaking, thanks for calling...Yes, your roommate said you were in Tokyo... Anything, if you saw anything at all it might be helpful.INT. FOUR STORY APARTMENT BUILDING — NIGHTA MAN in a Flight Attendant's uniform is standing at thewindow of the Apartment he shares with the Stewardess. (CONTINUED) 106.CONTINUED:A cordless phone to his ear, he is looking down at the Housewhere the dance Couple was murdered. FLIGHT ATTENDANT The weird thing is that they closed their curtains, at first they were open like they always were and they were making love, which they always did, and then when I looked again the curtains were closed, and there were what looked like camera flashes coming from behind the curtains.INTERCUT with Detective Atwood. DETECTIVE ATWOOD Camera flashes? FLIGHT ATTENDANT That's what it looked like. DETECTIVE ATWOOD (almost to herself) That's why he poses them. FLIGHT ATTENDANT I'm sorry? DETECTIVE ATWOOD Nothing. FLIGHT ATTENDANT I wish I could be more helpful, I didn't see the killer or anything like that, but since it was weird I thought I should call. DETECTIVE ATWOOD You've been very helpful. This answers a lot of questions for me. Thank you very much, Mr. Struber.She's about to hang up when Struber speaks again. FLIGHT ATTENDANT The guy you should talk to is the guy on the floor below us... (MORE) (CONTINUED) 107.CONTINUED: (2) FLIGHT ATTENDANT (CONT'D) eh, I can't remember his name, but he told me once that he'd taken some great pictures of that Couple making love, he's the one you should speak to. DETECTIVE ATWOOD Would that be, Mr. Baffert? FLIGHT ATTENDANT Yeah, I think Jim or James... DETECTIVE ATWOOD Thank you very much.Atwood disconnects then quickly dials. DETECTIVE ATWOOD Snyder, meet me at Baffert's apartment with a Search Warrant... Listen to me, this is what you tell the judge.INT. APARTMENT BUILDING — NIGHTComing up the back STAIRS we arrive at a LANDING and make aright. In front of us is Mr. Smith watching Mr. Brooks pickthe deadbolt in the Service door.CLICK!Mr. Brooks straightens up, twists the handle and pushes thedoor inward. It's caught by a chain. He takes the bent rubber-tipped forceps from one pocket, from another he hands Mr.Smith a pair of latex gloves. MR. BROOKS Put these on.INT. APARTMENT — NIGHTIn the middle of the large darkened KITCHEN, Mr. Brookspauses to listen to the sounds of the Apartment.The gun with the silencer is already in his right hand. Bothare encased in a Ziplock bag.Beside him, Mr. Smith is wide eyed with fear andanticipation. His teeth are even chattering. MR. BROOKS Try a couple deep breaths through your nose. (CONTINUED) 108.CONTINUED: MR. SMITH I have to take a crap so bad. MR. BROOKS This won't take long.Mr. Brooks and Mr. Smith come out of the Kitchen. The LIVINGROOM is quite well appointed. There's a fire going in theFireplace.The sound of a T.V. is coming from a ROOM off a HALL upahead. That is where Mr. Brooks and Mr. Smith are headed.They're more than half way across the LIVING ROOM when DING!DONG!, the doorbell rings.Mr. Smith gasps and looks beseechingly at Mr. Brooks. Withoutan ounce of hurry, Mr. Brooks maneuvers him back into theshadows of the KITCHEN.The doorbell rings again.A wet spot appears in Mr. Smith's crotch and runs down hispant leg. Pee drips onto the linoleum.A Man comes out of the Hallway. The Living Room light goeson.The Man is Jesse, Detective Atwood's estranged husband.He opens the Front Door.The Woman who comes in is Sheila, his divorce lawyer.They kiss, tongues. His hands brush over her breasts. Hebegins to unbutton her blouse. The kiss breaks. As hecontinues unbuttoning. SHEILA I called your wife's lawyer. They're thinking about the five million dollars.Jesse opens the blouse and looks at the breasts under thebra. JESSE Realistically how much do you think we can get?Sheila gives him a quick kiss and moves on into the LIVINGROOM where she drops her briefcase on the couch. (CONTINUED) 109.CONTINUED: (2) SHEILA If we go to court, best case, two, if she wants to settle, best case, three, but I would be happy with two seven.Backlit by the Fireplace, Jesse kisses her again.From the KITCHEN, Mr. Brooks and Mr. Smith watch Jesse unzipSheila's slacks and dropping to his knees peel them off herlegs.She steps out of them. He kisses the inside of her thighs,her crotch, then standing up: JESSE I'll be right back.On his way out of the LIVING ROOM: JESSE I think we should hold firm for three.He shuts off the light. In the glow of the Fireplace, Sheilaremoves her jacket. SHEILA Let's not be piggish, two five, two seven, would be a good deal.The T.V. goes silent. Jesse returns with a partially fullglass of Champagne.He hands Sheila a glass from a side table, takes a bottle outof an ice bucket and as he fills her glass: SHEILA (teasing) You've already had half a bottle. JESSE You're late; if we want it, there's more.They clink glasses. SHEILA To us. JESSE To three million dollars. (CONTINUED) 110.CONTINUED: (3) SHEILA (after a sip) We have to do this fast because remember, Marie is meeting us here. JESSE We could ask her to join us. SHEILA Not funny. JESSE (undoing the front of her bra) I wasn't trying to be.She bops him playfully. He bends and slips a nipple into hismouth. Sheila bites her lip and moans.In the KITCHEN, Mr. Smith shifts around for a better view.The floor under him CRREEEKKS!In the LIVING ROOM, both Sheila and Jesse react to the sound. SHEILA Are we alone? JESSE Yeah.Mr. Brooks seems to appear magically out of the darkenedKitchen with his gun raised. He's followed by Mr. Smith.Sheila opens her mouth to scream. MR. BROOKS Don't do that.INT. MR. SMITH'S APARTMENT BUILDING — NIGHTDetective Atwood hurries down the HALL and out of breath,stops in front of Mr. Smith's door. She raps sharply. Waits abare three seconds and raps again. DETECTIVE ATWOOD Mr. Baffert?... Mr. Baffert?The door of the Apartment behind her opens and an OLDER WOMANsticks her head out. OLDER WOMAN He's gone. (CONTINUED) 111.CONTINUED:Atwood shows her badge. DETECTIVE ATWOOD Do you have any idea when he'll be back? OLDER WOMAN He skipped out. I heard him leave this evening and a few minutes later there were Movers here. Musta been behind on the rent. He didn't even say good-bye. DETECTIVE ATWOOD Thank you.As the Old Lady watches, Atwood tries the knob. It'sunlocked. She pushes the door open.The HALLWAY and LIVING ROOM she can see are completely empty.Furniture, T.V., camera equipment, art, gone. OLDER WOMAN I told you.INT. MR. SMITH'S APARTMENT — NIGHTOn her way in, Atwood draws her gun.Keeping close to the walls she audits the KITCHEN. All theCabinet doors are open. Dishes, pots and pans, cutlery, gone.She moves on to the BATHROOM. Soap, shampoo, toilet paper,toothpaste, toothbrushes, towels, washcloths, the contents ofthe Medicine Cabinet, gone.She moves on to the BEDROOM. Bed, night table, lamps, T.V.,computer, gone. Clothes closets, empty of everything.She looks around. Mr. Smith's entire Apartment has beenstripped absolutely clean, except...... there's a crumpled piece of paper in the far corner ofthe Bedroom.Atwood goes over and gets down on one knee. With her fingerspulling at the corners she is able to straighten the paperenough to make out that it's a work order from a Movingcompany. (CONTINUED) 112.CONTINUED:Reading it with the paper pinched between thumb andforefinger of her left hand, Atwood rises. There's thesilhouette of a Man in the doorway behind her. MAN Obviously Baffert's gone...Atwood whirls, gun up. She sees that it's Snyder. DETECTIVE ATWOOD (overlapping) Goddamit, Snyder. Knock. SNYDER I wasn't able to get the search warrant. DETECTIVE ATWOOD We may have gotten lucky. (holding up the paper) This is the Moving Company's work order and... (points)) ... it looks like this is the address where they're taking Baffert's stuff. SNYDER Where were you when you called me? DETECTIVE ATWOOD At home in bed. SNYDER Can you prove that? DETECTIVE ATWOOD I was home in bed, why should I have to prove that? SNYDER Your husband Jesse and his lawyer were killed tonight...Atwood slowly lowers her head and fixes her eyes on the floorin stunned silence. SNYDER It looks like the Thumbprint Killer, I've been ordered to bring you in for questioning. (CONTINUED) 113.CONTINUED: (2) DETECTIVE ATWOOD Why, I didn't want Jesse dead, I loved him, I hated what he was doing to me... SNYDER It's on record you said you'd like him dead and who better to fake a Thumbprint killing than you. DETECTIVE ATWOOD You can't actually believe I would do that. SNYDER If our jobs have taught us anything, Tracy, is that people do strange things. They just want to ask you some questions. DETECTIVE ATWOOD I will be happy to answer any questions after we check out this address.Atwood goes to leave the room. Snyder blocks her way. SNYDER I have to take you in, Tracy. DETECTIVE ATWOOD (waves the paper) This is the answer to the Thumbprint Killer, Snyder, and this is where I'm going and you're not going to stop me. SNYDER Don't make me cuff you, Tracy, because I will if I have to.Atwood smiles winningly. DETECTIVE ATWOOD I believe you would. SNYDER (smiles back) You can count on it. (CONTINUED) 114.CONTINUED: (3)Snyder never sees it coming. WHACK! Atwood's right crossnails him exactly where the jaw meets the neck and down hegoes on his ass. DETECTIVE ATWOOD (standing over him) It would be nice if you could come with me, but if you do and it goes bad, they'll burn your ass. So this never happened.EXT. FREEWAY — NIGHTMr. Brooks' car speeds under an overpass.INT. MR. BROOKS' CAR — NIGHT MR. SMITH That was great! It was fantastic! It was everything I hoped it would be. Thank you. MR. BROOKS You're welcome.In the back seat: MARSHALL Here comes the gun.Without taking his eyes off the road. MR. BROOKS Yup.Mr. Smith slides a pistol from under his jacket and points itat Mr. Brooks. MR. BROOKS (feigns surprise) What are you doing?! MR. SMITH You're smart enough to figure that out, Mr. Brooks. MR. BROOKS Well we're going sixty five miles an hour, Mr. Smith, if you shoot me now, there's a good chance we'll both die. (CONTINUED) 115.CONTINUED: MR. SMITH Not now. Take the next off ramp. MR. BROOKS That wouldn't be very smart of me would it?He accelerates around a truck into the Fastlane. Mr. Smithcan see the Exit coming up, it's quickly left behind. MR. BROOKS (matter of fact) Think about this. You pissed yourself back there, you left your DNA at the scene of a double homicide, and there's nothing to indicate that I was ever there. If the Cops do an analysis of that urine, and they will, you're the Thumbprint Killer. MR. SMITH (smug) No. I still have pictures of you doing the first murder.Mr. Brooks smiles a knowing smile. Beyond him on the otherside of the Divider, cars are zipping by in the oppositedirection. MR. BROOKS Yes. But what were you doing at the second murder?Mr. Smith doesn't have an answer for that. MR. BROOKS Let me help you with a thought. You say I forced you to come along and if I'm not here or more specifically my body is not here to say different, you might have a chance to beat the rap. Now you're probably asking yourself why I would help you. I'm tired, Mr. Smith, I'm tired of killing. But I'm an addict, I can't quit. I've tried. I can't do it on my own. So I'll let you kill me but I want you to do it smart, in a way that I disappear and my family never knows what I was. (CONTINUED) 116.CONTINUED: (2) MR. SMITH How do I do that? MR. BROOKS There's a cemetery I know about. We find an open grave, you shoot me, I fall in the grave, you shovel in just enough earth to cover me, tomorrow a casket is lowered onto me and I've disappeared. It's a good plan. What do you say?... MR. SMITH Why should I trust you? MR. BROOKS You don't have to trust me. You're the man holding the gun, you saw me put mine in the trunk. MR. SMITH I don't know. You really want me to kill you? MR. BROOKS Yes. MR. SMITH Okay... But any sudden moves and you're dead on the spot and I'll make sure your family knows what you are. MR. BROOKS I understand.EXT. OLD DECO BUILDING — NIGHTCome off the banner hanging across the front - ROOMS FORRENT, to find Atwood walking away from her car. DETECTIVE ATWOOD (to herself, regarding the Building) You've come down in the world, Mr. Baffert.INT. LOBBY - OLD DECO BUILDING — NIGHTHigh ceilings, once grand, now blue neon and a cage aroundthe Front Desk to protect the Night Clerk who is nowhere insight. Somewhere a radio is playing salsa music loud. (CONTINUED) 117.CONTINUED:Atwood crosses to the elevator. She pushes the call button.With an arthritic rattle the door opens.INT. ELEVATOR — NIGHTAtwood selects the 5th Floor. Creek!, Clatter!, Clank!, thedoor closes and after a stuttering liftoff the car begins itsascent. The overhead light flickers on and off. Atwood looksup at it.EXT. SIDEWALK — NIGHTMr. Brooks leads Mr. Smith across a street to a pedestriangate set in a high wall.Through the bars of the gate we can see a Cemetery bathed inmoonlight.Mr. Brooks reaches into his pocket. Mr. Smith tightens hisgrip on the gun. MR. SMITH Uh uh, take your hand out real slow.Mr. Brooks does as he's told. A key dangles from his fingers. MR. BROOKS It's locked. You don't want to climb over, do you? MR. SMITH What are you doing with a key to a cemetery? MR. BROOKS I own it. MR. SMITH Why do you own a cemetery?Mr. Brooks unlocks the gate and preceding Mr. Smith, goesinside. MR. BROOKS You always want to invest in things people can't do without. Water and cemeteries are pretty safe.He locks the gate and handing the key to Mr. Smith: (CONTINUED) 118.CONTINUED: MR. BROOKS You'll need this to get out. Now there should be an open grave around here somewhere. Let's see if we can find it.He produces a small flashlight from his pocket and off theygo.INT. OLD DECO BUILDING — NIGHTRepeating their arthritic performance the elevator doorsopen. Atwood steps out into a wide sporadically lit HALLWAY.Peering at the numbers Atwood goes to her Left.In the middle of the Hall behind her a Couple exits a Roomand drifts to the other side of the Hall on their way to theelevator.Atwood re-checks the number on the Moving Company's WorkOrder - 517, she's going the wrong way. She turns around.Now Atwood and the Couple are walking toward each other onopposite sides of the Hall.Atwood steps into an area of light.The reflection off her face catches the attention of the Manwho is wearing a wide brimmed hat. He lifts his head.It's Thorton Meeks. The Woman with him was the Driver of theVan. She's wearing a watchcap.Meeks gently takes his Companion's arm. They stop. Her eyesgo to where he's looking and then back to his. At someunspoken signal they both draw their guns.Intent on finding 517 and Baffert, the Couple hasn'tregistered on Atwood's radar.BANG! TWOCK! A chunk of plaster blows off the wall next toher head. Startled, Atwood winces away. BANG! The Womanfires. The slug explodes the plaster on the other side ofAtwood's head.Now Atwood is turning toward them, gun in hand.Meeks fires. The bullet passes through Atwood's jacket. (CONTINUED) 119.CONTINUED:Instinctively Atwood assumes a classic duelist's poseoffering the smallest target possible. Calmly she squeezesoff her first shot.The plaster explodes from the wall above Meeks' head. TheWoman fires.A hole appears in Atwood's sleeve. Atwood pulls the triggeragain.SMACK! The Woman screams and falls back into Meeks, a bulletin her hip. Atwood's third shot takes the hat off Meeks head.She now realizes who her attackers are. DETECTIVE ATWOOD Meeks?!!Dragging the Woman in the direction of the stairs, BANG!Meeks fires. Maybe it's his broken trigger finger thataffects his aim. The shots miss. BANG! BANG! The Woman fires.Atwood's next two shots miss.Meeks and the Woman arrive at the stairs and before roundingthe corner, BANG! BANG! BANG!, fire at Atwood who is nowmoving deliberately at them.Atwood doesn't try and dodge the bullets or flinch away fromthem and her shots are unhurried.The next one catches the Woman in the side. The one afterthat nails Meeks in the left shoulder. He's spun into theWoman.INT. STAIRS - OLD DECO BUILDING — NIGHTLeaning on each other Meeks and the Woman lurch down the wornmarble steps.INT. HALLWAY — OLD DECO BUILDING - NIGHTAtwood reaches the stairs and cheats a look around thecorner. BANG! BANG! BANG! From the landing below, Meeks andthe Woman fire.Atwood steps out from behind the wall and shoulders square,shoots. Another sidestep. This shot shatters Meeks' knee. Hebellows in pain. (CONTINUED) 120.CONTINUED:Moving to the side again, Atwood shoots. But Meeks' knee hascollapsed and he and the Woman are already tumbling down thenext set of steps. Atwood waits. There's silence, then themurmur of voices. MEEKS (calls out) Atwood? DETECTIVE ATWOOD Yeah. MEEKS Come on down, there's something I want to show you.INT. STAIRS - OLD DECO BUILDING — NIGHTGun at the ready, Atwood edges her way downward. At about thetenth step she is able to lean over and look through thebanisters.Meeks and the Woman are propping themselves up against thewall on the LANDING below. Both of them still have theirguns.The moment Meeks' eyes meet Atwood's, he puts his gun to theWoman heads. BANG!Atwood sucks in her breath.Meeks puts the gun to his temple. BANG!Atwood clasps a hand to her mouth and exhales in raggedgulps.EXT. CEMETERY — NIGHTThe finger of light from Mr. Brooks' handtorch discovers afreshly dug GRAVE. MR. BROOKS There we are. Now if I stand here...He positions himself at one end of the Grave. MR. BROOKS ... and you stand there, not too far away and you shoot me, I should fall straight back into the hole. (CONTINUED) 121.CONTINUED: MR. SMITH You don't think I have the guts to do this do you? MR. BROOKS I'm hoping you do.Mr. Brooks shuts off his light and straightens up. MR. BROOKS Okay, let's get this over with.Mr. Smith raises his gun and points it at Mr. Brooks's head.He hesitates. MR. BROOKS I'll close my eyes.He does. Mr. Smith pulls the trigger.Click!Mr. Smith looks in horror at the malfunctioning gun. Mr.Brooks opens his eyes. Mr. Smith aims the gun again.Click!... Click! MR. BROOKS I'm sorry.As he talks he counters around until Mr. Smith is the onewith his back to the open Grave. MR. BROOKS I really did want you to kill me. But in case at the last minute I changed my mind, I returned to your apartment and bent the firing pin on your gun.He wrenches the shovel out of a mound of waiting earth. Mr.Smith tries to fire the gun at Mr. Brooks again.CLICK!... CLICK! MR. BROOKS In fact I even brought another gun for you so you could finish me if I had decided to go through with it.He opens his jacket and shows Mr. Smith the gun. (CONTINUED) 122.CONTINUED: (2) MR. BROOKS Unfortunately for you, my daughter is pregnant and just before you pulled the trigger, I realized how much I want to see the end to that story. MR. SMITH (dry mouth) If you do anything to me, if you touch one hair on my head, the Police will find the pictures of you killing that Couple. MR. BROOKS The contents of your safety deposit box, Mr. Smith, have vanished.Without warning, Mr. Brooks swings the shovel. The force ofthe blow breaks Mr. Smith's left arm. He howls.The next blow comes almost immediately. It smashes into theleft side of Mr. Smith's head.The screams stop and a misfiring set of neurons causes Mr.Smith to stand up straight and wobbling, look directly at Mr.Brooks.The blood streaming down his face is black in the moonlight.Mr. Brooks takes a step to the side, cocks his wrists andswings again. His full weight is behind this one.The blade of the shovel strikes Mr. Smith in the throat verynearly taking off his head. The flesh that was once Mr. Smithfalls to the ground. MR. BROOKS (looking down at the corpse) Before I was the Thumbprint Killer, Mr. Smith, I killed a lot of people in a lot of different ways.INT. GRAVE — NIGHTLooking up. Mr. Smith's body is rolled over the edge. Itfalls on top of us. 123.EXT. CEMETERY — NIGHTMr. Brooks takes a shovel of dirt from the pile and whistling'By The Light Of The Silvery Moon', begins the task ofcovering Mr. Smith.INT. COFFEE SHOP — MORNINGA Newspaper is lying unfolded on the Counter next to theremnants of a breakfast.The headline reads - NATIONWIDE MANHUNT FOR THUMBPRINT KILLER- Under that headline is a large picture of Mr. Smith aka Mr.Baffert.In the lower right corner is another headline to a story -Murder Suicide For The Hangman -.The reader of the paper is Mr. Brooks. On a stool next tohim, Marshall is also reading. MARSHALL It says here the Thumbprint Killer is a monster... annoys you a little bit that you can't take credit, doesn't it? MR. BROOKS Anyone who is good at what they do, wants recognition. But since I'm not going to do it anymore, I'll let Mr. Smith take the credit. MARSHALL Don't kid yourself, Earl, you're going to kill again. MR. BROOKS No, I'm not. I'll continue the AA meetings and I'll control it.On the other stool next to Mr. Brooks is a WOMAN. Her largepurse hangs open from the back of the stool; the cel phoneclearly visible inside. Mr. Brooks looks at the phone. MR. BROOKS But there is an answer I would like to have. 124.INT. POLICE STATION — MORNINGDetective Atwood is seated in her CUBICLE reading the samefront page Mr. Brooks was reading. A FELLOW OFFICER stops inthe door. OFFICER Good work, Atwood. DETECTIVE ATWOOD Thanks, Tom.He moves on. From off screen: ANOTHER OFFICER You should ask the FBI to kiss your ass and buy you a Cadillac. DETECTIVE ATWOOD I like my ass too much for that.Snyder comes in and holds up the Work Order from the MovingCompany. SNYDER This is bogus. The company doesn't exist in the city, the state, the United States or Canada. DETECTIVE ATWOOD So the whole point of this piece of paper was to give me Meeks. SNYDER That's what it looks like. DETECTIVE ATWOOD Why? Who moved him, where did they move him to, and why did he give me Meeks? SNYDER That's what we get paid to find out.Atwood picks up the Newspaper. DETECTIVE ATWOOD I'm going to go to the bathroom and think about this.She stands. The phone rings. She answers it. (CONTINUED) 125.CONTINUED: DETECTIVE ATWOOD Detective Atwood...EXT. ROOFTOP PARKING LOT — MORNINGLooking out at the city, Mr. Brooks speaks into the cel phonehe stole from the Woman. MR. BROOKS Why are you a cop?INTERCUT with Atwood. DETECTIVE ATWOOD Who is this? MR. BROOKS You're rich, you have a good education, you could have gone into your father's business, instead you went outside all of that and became successful on your own. Why? DETECTIVE ATWOOD You want something from me if you don't tell me who you are I'm going to hang up. MR. BROOKS Did you think your husband's killing was random and I certainly didn't have to give you Meeks. DETECTIVE ATWOOD Mr. Baffert?!Snyder perks up. She points for him to get on the other line. MR. BROOKS What's the answer? DETECTIVE ATWOOD You don't sound like you. MR. BROOKS I have a little cold. Are you going to give me the answer? DETECTIVE ATWOOD Where are you? (CONTINUED) 126.CONTINUED: MR. BROOKS I'll tell you if you can give me the true answer to my question.Detective Atwood weighs her options and decides to go for it. DETECTIVE ATWOOD My father was very disappointed I was born a girl and he let me know that. I've spent my whole life trying to prove him wrong. MR. BROOKS Thank you. DETECTIVE ATWOOD Wait. You promised to tell me where you are. MR. BROOKS Me? I'm on top of a building.Atwood and Snyder hear the click as Mr. Brooks hangs up. DETECTIVE ATWOOD Why would he be interested in that?At the Parking structure, Mr. Brooks holds the phone over theedge and drops it.We follow the phone down, down, down, until it hits thepavement and disintegrates.EXT. BROOKS HOUSE — NIGHTEverything is as it was.INT. KITCHEN - BROOKS HOUSE — NIGHTIt's dark. In his robe and pajamas, Mr. Brooks is standing infront of the open refrigerator gazing blankly at the contentswith a glass of milk in one hand. There's nothing he wants inhere. He closes the door.INT. UPSTAIRS HALLWAY — BROOKS HOUSE - NIGHTCarrying the glass of milk, Mr. Brooks passes Jane's ROOM.The door is ajar. He stops, backs up and looks. HisDaughter's asleep. 127.INT. JANE'S BEDROOM - BROOKS HOUSE — NIGHTMr. Brooks walks to the bed and leans over to give her a kisson the cheek.His lips have just brushed her flesh when she twistsviolently under him and stabs upward with a pair of scissors.The blades are driven deep into his throat. Mr. Brooks jerksback, the milk flies out of his hand. MR. BROOKS Agghhh!!! Agghhh!!!He grabs at the handle of the scissors, but his blood makesthem too slippery. He can't pull them out. EMMA (V.O.) Honey, Earl, Earl...INT. MASTER BEDROOM — BROOKS HOUSE - NIGHTMr. Brooks is tossing in his sleep next to Emma. She has ahold of his arm. EMMA Wake up, wake up...On the pillow Mr. Brooks' eyes fly open. EMMA You were having a nightmare. MR. BROOKS (breathing hard) Oh... I woke you up. EMMA It's okay.She kisses him on the forehead. EMMA (CONT'D) I'm here, go back to sleep, I'm here.Taking his hand, she lies back down. After a moment Mr.Brooks turns over on his side and looks directly at us. Hislips begin to move but we can't hear what he's saying, so wemove in on his face. It's not until it fills our view that wecan hear the words. (CONTINUED) 128.CONTINUED: MR. BROOKS ... that I may be reasonably happy in this life, And supremely happy with Him forever in the next. Amen. .... God grant me the Serenity to accept...FADE TO BLACK THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mr Deeds Goes to Town.txt b/unformated_scripts/Script_Mr Deeds Goes to Town.txt new file mode 100644 index 0000000000000000000000000000000000000000..bf2bee7dfe8f55b06b6a8ca89810e947302361cd --- /dev/null +++ b/unformated_scripts/Script_Mr Deeds Goes to Town.txt @@ -0,0 +1 @@ + MR DEEDS GOES TO TOWN Written by Robert previous hit Riskin based on a story by Clarence Budington Kelland FADE IN EXTERIOR - MONTAGE 1. Quick shots of a car speeding around curves in a mountainous region. The car jumps a bridge, hurtles into space, crashes in a fireball. Followed by newsboys hawking special editions, people on streetcorners buying and reading newspapers with a succession of banner headlines: "MARTIN W. SEMPLE, FINANCIER, DIES IN ITALY," "CIVIC LEADER KILLED IN AUTO ACCIDENT," "DISCLOSURE OF BANKER'S WILL AWAITED" and finally "SEMPLE HEIR AS YET UNKNOWN" DISSOLVE TO: INTERIOR - EDITOR'S OFFICE, DAILY MAIL 2. CLOSE SHOT of Mac, the editor, at his desk, barking into the telephone. MAC Say listen, Corny, who do you think you're talking to? If the Semple attorneys don't know who the heir is, who does? (listens) Aw, come on Corny, I've done you a lot of favors. What do you say - who's getting the Semple dough? CUT TO: INTERIOR - CEDAR'S PRIVATE OFFICE 3. CLOSE SHOT Of Cornelius Cobb - a hardened ex-newspaperman, customarily impatient, grouchy and nervous - victim of the New York tempo. His friends call him "Corny." COBB (on the phone) You're asking the wrong guy, Mac. I'm only a press agent. THE CAMERA PULLS BACK GRADUALLY TO REVEAL a plush law office, leather chairs and shelves of books. Arthur Cedar, attorney, briskly enters scene and seats himself at his desk. Cedar is in the neighborhood of fifty - grey-templed - dignified - sharp. Cobb is using the phone on his desk. Cedar glances at him. CEDAR Newspaperman? COBB (covering mouthpiece - confidentially) Wants to know who the heir is. CEDAR (firmly) Hang up. COBB (returning to the phone) Sorry, Mac, I can't. Yeah, Mac. Sure, but I ain't the attorneyó ? 336 ? CEDAR (more firmly) Hang up. THE CAMERA PULLS BACK FURTHER TO REVEAL another attorney at one end of the desk, reviewing a pile of papers. COBB (continuing) Mr. Cedar is, and I haven't seen him in two days. (hangs up the phone) Listen, Cedar, we've got to do something about the newspapers. CEDAR (barely glancing up) I'm not interested in the newspapers. COBB But it's a great story. Somewhere in this country a guy is walking into twenty million bucks. CEDAR Yes, I know. My first concern is to locate the lucky man. When I do, it's your job to keep the newspapers away from him. COBB (resignedly) It's okay with me as long as my weekly stipend keeps coming in. THE CAMERA PULLS BACK TO A FULL SHOT as two men rush in with a flurry of excitement. One of them is Anderson, an obsequious employee of Cedar's. With him is another lawyer, one of the Cedar brothers. ANDERSON We located him, Mr. Cedar! We found out where he is. CEDAR Good! FIRST BROTHER Yes, John, we got him. ANDERSON Here's the report: Longfellow Deeds, single, 28, lives in Mandrake Falls, Vermont. CEDAR (glancing at the report) Thank heaven. FIRST BROTHER Better wire him right away, John. CEDAR I'll do no such thing. I'm going there myself. You're going with me too, Anderson - and you too, Cobb. ? 337 ? He pushes a button on the intercom. VOICE Yes? CEDAR Make three reservations on the first train out to Mandrake Falls, Vermont. VOICE (skeptically) Where? CEDAR Mandrake Falls. (begins to spell as scene fades) M-A-Nó CUT TO: EXT. A STATION 4. MEDIUM SHOT It is a pleasantly rural scene - with just a handful of local characters scattered about. At one end of the platform - some mail - newspapers - and a few pieces of freight are being loaded. Cedar, Cobb and Anderson stand in front of a welcome sign. The three obviously are out of their element here - obviously "City folks." Over their shoulders. We hear Cobb's voice as he reads: COBB'S VOICE Welcome to Mandrake Falls - Where the scenery enthralls - Where no hardship e'er befalls - Welcome to Mandrake Falls. 5. MEDIUM SHOT Cobb and Cedar exchange glances. COBB That's pretty. CEDAR Are you sure this is the town he lives in? ANDERSON Yes sir, Mr. Cedar. This is the town all right. CEDAR Well, I dropped everything at the office - I hope it's not a wild goose chase. ANDERSON No, sir. We checked it thoroughly. He lives here all right. COBB Ah! I spy a native. Let's ask him. CAMERA MOVES WITH THEM as they cross to a small, one-story old brick building, covered with ivy. This is the ticket and freight office combined. In front of it is a very old man, a stoop- ? 338 ? shouldered rail agent with a face of a million wrinkles - puttering around some packages. CEDAR (as they approach) Good morning. AGENT (glances up) Morning, neighbors. Morning. He picks up a package and disappears into the building. Cedar and Cobb look at each other. COBB That's an excellent start. At least we've broken the ice. The old man returns to his pile of packages. CEDAR I say, my friend, do you know a fellow by the name of Longfellow Deeds? AGENT Deeds? CEDAR Yes. AGENT Yes, sir. Yes, indeedy. Everyone knows Deeds. CEDAR Yes, Ió He again disappears. COBB Must be a game he's playing. The old man shows up again. CEDAR We'd like to get in touch with him. It's very important. AGENT Who's that? CEDAR Deeds! Who do you think I'm talking about? AGENT Oh, yes - Deeds. Fine fellow. Very democratic. You won't have no trouble at all. Talk to anybody. Whereupon the old man carries another package inside. Cobb is properly exasperated now. ? 339 ? CEDAR I guess we'd better try somebody else. COBB No, we won't! The next time that jumping jack comes out, I'll straddle him while you ask him your questions. The old man emerges from the building and looks up at them as if he's never seen them before. AGENT Morning, neighbors. 6. TWO SHOT - COBB AND AGENT (FEATURING COBB) Cobb grabs the old man as he turns to head back into the building. COBB Remember us? We're the fellows who were here a minute ago. AGENT Oh, yes. Yes, indeedy. I never forget a face. He turns again - but Cobb holds him by the arm and sets him down on a small packing case. COBB Listen, Pop, we've come all the way from New York to look up a fellow by the name of Deeds. It's important - very important! AGENT (releasing his arm) You don't have to get rough, neighbor. All you got to do is ask. COBB Then please pretend, for just one fleeting moment, that I'm asking. Where does he reside? AGENT Who? Cobb turns away in disgust. Anderson steps forward. 7. CLOSE SHOT - THE THREE ANDERSON Longfellow Deeds - where does he live? AGENT Oh, that's what you want! Well, why didn't you say so in the first place instead of beating around the bush? Those other fellows don't know what they're talking about. (as he exits scene) Come on, I'll take you there in my car. If they'd only explained to me what they wanted, there would be no trouble. He leaves Cobb and Cedar staring after him killingly. ? 340 ? DISSOLVE TO: INT. LONGFELLOW'S LIVING ROOM 8. MEDIUM SHOT A little old lady, Mrs. Meredith, answers a knock at the door. Cedar, Cobb and Anderson stand there, with the old man at their heels. Mrs. Meredith is a sweet, soft-voiced, timid and fluttery little creature. MRS. MEREDITH Oh, will you come in please, gentlemen? CEDAR Is Mr. Deeds in? MRS. MEREDITH No - he's over to the park arranging for the bazaar, so's to raise money for the fire engine. (to old man) Mal, you shoulda knowed he was in the park. AGENT Knew it all the time. But these men said they wanted to see the house. (mumbling as he exits) Can't read their minds if they don't say what they want. 9. GROUP SHOT Cobb glares after him exasperatedly. Mrs. Meredith turns to Cobb and Cedar. MRS. MEREDITH Come in, please. Come in. Can I get you a cup of tea? CEDAR No, thanks. MRS. MEREDITH Sit down. Sure I couldn't get you a glass of lemonade or something? CEDAR That's very kind of you. Are you related to him? MRS. MEREDITH No, I'm his housekeeper. CEDAR Well, we'd like to find out something about him. What does he do for a living? MRS. MEREDITH He and Jim Mason own the Tallow Works. But that's not where he makes his money. He makes most of it from his poetry. 10. CLOSE SHOT - THE THREE Featuring Cobb. COBB (skeptically) He writes poetry? ? 341 ? MRS. MEREDITH Oh, my goodness, yes. Longfellow's famous. He writes all those things on postcards. You know, for Christmas - and Easter - and birthdays. Sit down, please. She reaches over to a desk and picks one up. MRS. MEREDITH Here's one - he got $25 for this one. 11. CLOSEUP - MRS. MEREDITH As she reads - with feeling: MRS. MEREDITH "When you've nowhere to turn - and you're filled with doubt - Don't stand in midstream, hesitating, For you know that your mother's heart cries out - 'I'm waiting, my boy, I'm waiting.'" (she looks up) Isn't that beautiful? 12. CLOSEUP - COBB His eyes open unbelievingly. MRS. MEREDITH'S VOICE Isn't it a lovely sentiment? COBB (flatly) Yeah. A dog enters, racing toward the door, scratching at it and whining. MRS. MEREDITH (as she heads toward the door) Here he is now. She opens the door and goes out, with the dog racing ahead. COBB (to Cedar - sotto voce) I suggest you break it to him gently. He's liable to keel over from the shock. Mrs. Meredith re-appears. We hear her voice as she comes through the doorway. MRS. MEREDITH They've been waiting a long while. Longfellow Deeds trails behind her. LONGFELLOW Who are they? MRS. MEREDITH I don't know. ? 342 ? CEDAR (standing - formally) Mr. Longfellow Deeds? LONGFELLOW Yes. CEDAR How do you do. LONGFELLOW (shaking hands) How do you do. CEDAR (extending card) I'm John Cedar - of the New York firm of Cedar, Cedar, Cedar and Budington. 13. CLOSE SHOT - GROUP Featuring Cobb. He watches Longfellow who is glancing at the card. LONGFELLOW (reads to himself) Cedar, Cedar, Cedar and Budington. (looks up; smiles) Budington must feel like an awful stranger, hmm? Cobb's eyes pop at the nifty.[1] CEDAR Mr. Cornelius Cobb and Mr. Anderson. They exchange greetings. Longfellow gestures to chairs. LONGFELLOW You gentlemen make yourselves comfortable. COBB AND ANDERSON Thanks. 14. MEDIUM SHOT Longfellow crosses to his tuba near a chair. He takes a mouthpiece out of his pocket. LONGFELLOW New mouthpiece. Been waiting two weeks for this. Kids keep swiping them all the time. They use 'em for bean shooters. (he blows a note) What can I do for you gentlemen? MRS. MEREDITH You gentlemen going to stay for lunch? CEDAR (right to the point; ignoring her) I'd like to ask you a few questions. LONGFELLOW All right. Longfellow looks at them strangely and sits down beside his tuba. ? 343 ? CEDAR Mr. Deeds, are you the son of Dr. Joseph and Mary Deeds? LONGFELLOW Yes. CEDAR Are your parents living? LONGFELLOW Why, no. CEDAR Mr. Deeds, does the name of Martin W. Semple mean anything to you? LONGFELLOW Not much. He's an uncle of mine, I think. I never saw him, but my mother's name was Semple, you know. CEDAR Well, he passed on. He was killed in a motor accident in Italy. LONGFELLOW He was? Gee, that's too bad. If there's anything I can do toó While he speaks, he has been adjusting the tuba between his legs and now sucks on the mouthpiece, preparatory to playing. CEDAR I have good news for you, sir. Mr. Semple left a large fortune when he died. He left it all to you, Mr. Deeds. Deducting the taxes, it amounts to something in the neighborhood of $20,000,000. 15. CLOSEUP - LONGFELLOW His lips are over the mouthpiece of the tuba. His only reaction to the startling news is to lift his eyes in Cedar's direction. 16. GROUP SHOT MRS. MEREDITH How about lunch? Are the gentlemen going to stay - or not? LONGFELLOW Of course they're going to stay. (to the gentlemen) She's got some fresh orange layer cake. You know, with the thick stuff on the top? (to Mrs. Meredith) Sure, they don't want to go to the hotel. Mrs. Meredith leaves. Cobb and Cedar have watched this by-play, open-mouthed, and are now even more astounded to see Longfellow blow into his tuba. ? 344 ? 17. CLOSER SHOT - THE THREE CEDAR (over the noise of the tuba) Perhaps you didn't hear what I said, Mr. Deeds! The whole Semple fortune goes to you! $20,000,000! LONGFELLOW Oh, yes, I heard you all right. $20,000,000. That's quite a lot, isn't it? COBB Oh, it'll do in a pinch. LONGFELLOW (impressed) Yes, indeed. I wonder why he left me all that money? I don't need it. He resumes his 'Oom-pahs.' 18. CLOSE SHOT - CEDAR AND COBB Staring, unbelievingly. DISSOLVE TO: INT. AN ALCOVE 19. FULL SHOT The three men sit around a table, having lunch. By Longfellow's side is, as expected, the tuba. CEDAR Mr. Cobb here is an ex-newspaperman associated with your uncle for many years - as a sort of buffer. LONGFELLOW Buffer? COBB Yeah. A glorified doormat. CEDAR Yes. You see, rich people need someone to keep the crowds away. The world's full of pests. Then there's the newspapers to handle. One must know when to seek publicity - and when to avoid it. During Cedar's speech, Longfellow seems to have been lost in his own thoughts. 20. CLOSE SHOT - LONGFELLOW AND COBB Favoring Longfellow. LONGFELLOW Cedar, Cedar, Cedar and Budington. Funny, I can't think of a rhyme for Budington. COBB Why should you? ? 345 ? LONGFELLOW Well, whenever I run across a funny name, I always like to poke around for a rhyme. Don't you? COBB Nah. LONGFELLOW I've got one for Cobbó 21. CLOSE SHOT - THE GROUP LONGFELLOW "There once was a man named Cobb, Who kept Semple away from the mob. Came the turn of the tide And Semple - he died - And now poor Cobb's out of a job!" COBB Sounds like a two weeks' notice to me. LONGFELLOW Huh? COBB I've gotten the 'sackaroo' in many ways - but never in rhyme. LONGFELLOW Oh, I don't mean that. I'm sure I'm going to need your help. COBB Oh, that's different if it's just poetry. 22. WIDER ANGLE As Mrs. Meredith enters with coffee which she pours. CEDAR Are you a married man, Mr. Deeds? LONGFELLOW Who - me? No. MRS. MEREDITH No, he's too fussy for that. That's what's the matter with him. There are lots of nice girls right here in Mandrake Falls who're dying to be marriedó LONGFELLOW Don't pay any attention to her. MRS. MEREDITH He's got a lot of foolish notions - about saving a lady in distress. LONGFELLOW Now you keep out of this! ? 346 ? CEDAR (diplomatically) Saving a lady in distress, eh? Well, I suppose we all have dreams like that when we are young. (rising) Incidentally, we'd better get started. You'll have to pack. LONGFELLOW What for? CEDAR You're going to New York with us. LONGFELLOW When? COBB This afternoon - at four o'clock. LONGFELLOW I don't think we've got any suitcases. MRS. MEREDITH Well, we could borrow a couple from Mrs. Simpson. You know, she went to Niagara Falls last year. LONGFELLOW I'm kind of nervous. I've never been away from Mandrake Falls in my life. Kind of like to see Grant's Tomb, though. CEDAR (all business) I can understand that. (rises to go) We'll take a walk around town, meet you at the train at four o'clock. (shakes his hand) Congratulations, Mr. Deeds. You're one of the richest men in the country. We'll see you later. (to Mrs. Meredith) Goodbye and thank you. COBB See you later, kid. ANDERSON'S VOICE (as he too exits) Good day, sir. They exit. 23. TWO SHOT - LONGFELLOW AND MRS. MEREDITH LONGFELLOW Hear what he said? You know how much twenty million is? MRS. MEREDITH I don't care how much it is. You sit right there and eat your lunch. You haven't touched a thing. ? 347 ? Longfellow nibbles at some food, staring into space thoughtfully. DISSOLVE TO: EXT. STATION 24. LONG SHOT The whole town is out. The band is playing "He's a Jolly Good Fellow" - the crowd sings. It's a festive occasion. A large, awkwardly painted sign looms over everyone's head. It reads: FAREWELL LONGFELLOW DEEDS THE PRIDE OF MANDRAKE FALLS 25. MEDIUM SHOT - CEDAR AND ANDERSON They peer anxiously around, looking for someone, when Cobb dashes in. COBB (breathlessly) I can't find him. CEDAR You can't? COBB I looked everywhere. I even went to his house. It's locked up. ANDERSON He probably had a change of heart. CEDAR He wasn't very anxious to come in the first place. COBB (looking on) Here comes the train. Cedar glances off. 26. LONG SHOT (STOCK) Of train approaching. 27. CLOSE SHOT - CEDAR AND COBB The band has already begun and is now in the midst of "For He's A Jolly Good Fellow." At this moment, as he looks off, a startled expression comes into Cobb's eyes. He grabs Cedar by the arm - who glances in the direction he points. COBB Look! CEDAR What? COBB That tuba player! ? 348 ? 28. MEDIUM SHOT - THE BAND With Longfellow, in his customary position, blowing on his tuba. CONTINUATION SCENE 27 Cedar and Cobb stare, wide-eyed, as the song is finished. COBB Well, now I've seen everything. DISSOLVE TO: EXT. STATION 29. LONG SHOT In the b.g. is the train with Longfellow standing on the observation platform, clutching his tuba. On either side of him is Cedar and Cobb. In the f.g. the crowd yells its farewell. Several of them stuff baskets of fruit into his hands. The band plays "Auld Lang Syne." 30. CLOSE SHOT Over Longfellow and Cobb's shoulders. As the train begins pulling out. Longfellow smiles wanly and waves. LONGFELLOW Goodbye, Mrs. Meredith! Goodbye, Jim! Bye, Buddy! Goodbye, everybody! (a pause) Gosh, I've got a lot of friends. Cobb looks up into Longfellow's face - affected by the scene. DISSOLVE TO: INT. TRAIN DRAWING ROOM 31. FULL SHOT Longfellow is slumped in his seat, his legs sprawled out, his eyes ceilingward - in deep thought. Cobb sits across from him. Cedar enters, hangs up his coat, hat and cane. COBB (opening a snifter - generously) Have a drink? LONGFELLOW (distractedly) No, thanks. Cobb and Cedar exchange a look. CEDAR Will you have a cigar? LONGFELLOW No, thank you. Cedar sits down. CEDAR (breaking the silence) I wouldn't worry if I were you. Of course, a large fortune like this entails a great responsibility - but you'll have a good deal of help. So don't worry. Leave everything to me. ? 349 ? LONGFELLOW Oh, I wasn't worried about that. CEDAR No? LONGFELLOW I was wondering where they're going to get another tuba player for the band. Cobb has just finished taking a drink and can't help but nearly spit it out. FADE OUT: FADE IN 32. LONG SHOT (STOCK) The 20th Century crossing the Harlem River. DISSOLVE TO: 33. ANOTHER STOCK SHOT Of the 20th Century going under the street level on Park Avenue. DISSOLVE TO: 34. CLOSE SHOT OF OFFICE DOOR Upon which we read: "CEDAR, CEDAR & BUDINGTON - ENTRANCE." CAMERA PULLS BACK to take in Cedar, who opens the door and walks through. INT. GENERAL OFFICE 35. CLOSE TRUCKING SHOT With Cedar as he strides across the room - in business-like fashion. He comes to a door marked "PRIVATE OFFICES." He pushes this door opens and disappears. MAN'S VOICE (as Cedar passes by) Hello, John. Where have you been? CEDAR (as he walks briskly) I've been fishing. In the background is typical office hub-bub. CEDAR (to a secretary as he passes) Good morning, Celia. SECRETARY Good morning, Mr. Cedar. A chorus of "Good Morning, Mr. Cedar!" issues from the clerks. A secretary looks up. INT. PRIVATE OFFICES 36. CLOSE TRUCKING SHOT With Cedar - as he passes through the room - arriving at a door marked "JOHN CEDAR, PRIVATE." He goes through the door. ? 350 ? INT. CEDAR'S PRIVATE OFFICES - ANTEROOM 37. FULL SHOT Cedar breezes in and speaks to a secretary. CEDAR Good morning. Where are they? SECRETARY Waiting for you in the other office. He strides across the room to still another door marked "PRIVATE" and he disappears. DISSOLVE TO: INT. CEDAR'S PRIVATE OFFICE 38. FULL SHOT A group of associates sit around in large leather chairs, as Cedar barges in. CEDAR (beaming) Good morning. Hello, boys. The men come to life. Some rise - others lean forward. Two of them are brothers of Cedar - tall and athletic. The third is a small, frightened-looking man. He is Budington. MEN (ad lib) Hello, John. What happened? Well, what's he like? CEDAR We've got nothing to worry about. He's as naive as a child. BUDINGTON Johnó CEDAR Close that door. (into dictograph) Will you get Mrs. Cedar on the phone, please? FIRST BROTHER Come on, John. What happened? CEDAR (to associates) The smartest thing I ever did was to make that trip. BUDINGTON (anxiously) John, did you get the - uhó ? 351 ? 39. MED. SHOT - GROUP Favoring Cedar. CEDAR (interrupting) No, Budington, I didn't get the Power of Attorney. But don't worry, I will. (beaming to his brothers) I asked him last night what he was going to do with the money, and what do you suppose he said? THE TWO BROTHERS (gathering around him) What? I can't imagine. CEDAR He said he guessed he'd give it away. THE TWO BROTHERS (laughing) Give it away!? The boy must be a nit-wit! Budington hasn't enjoyed the joke - his mind still on their problem. ONE OF THE BROTHERS Well, John, you had the right hunch! BUDINGTON John, if you don't mind my saying so - we can't afford toó CEDAR (irascibly) I know, Budington. We can't afford to have the books investigated right now. You must have said that a thousand times already. BUDINGTON But what if they fall into somebody else's hands, why - uhó CEDAR Well, it hasn't happened yet - has it? BUDINGTON (wailing) But a half million dollars! My goodness, where are we going to getó CEDAR (exploding) Will you stop worrying! It was I who got old man Semple to turn everything over to us, wasn't it? And who got the Power of Attorney from him ! All right, and I'll get it again! (pause - change of tone) I'll take it easy. Those books'll never leave this office. ? 352 ? DISSOLVE TO: INT. AN APARTMENT 40. MEDIUM SHOT George Semple, a ne'er-do-well, prominent for the pouches under his eyes and a perpetual nose-twitch, is sprawled out in a chair reading a newspaper. A nagging wife walks around him. WIFE A yokel! Nothing but a yokel! Your uncle must have been mad to leave all that money to him! You're as closely related to him as he is, and what did you get? She storms around the room. George merely twitches his nose but says nothing. WIFE (slaps the paper George is reading) I say, what did you get? GEORGE Stop yelling. Can I help it if my uncle didn't like me? WIFE I told you to be nice to him. Ten years we've been waiting for that old man to kick off. And then we were going to be on Easy Street. Yeah - on Easy Street! GEORGE Oh, shut up! It's too late now, and you're a nuisance! WIFE That's just what I'm going to be - a nuisance. I'm going to be a nuisance until I get hold of some of that money! DISSOLVE TO: INT. EDITOR'S OFFICE, DAILY MAIL 41. FULL SHOT The editor stands in front of his desk. Four of five reporters in front of him - several photographers. In the b.g., leaning against the wall near the door, apparently indifferent, is Babe Bennett. The editor, Mac, is haranguing them. MAC (as he blows his nose) He's news! Every time he blows his nose, it's news. A corn-fed bohunk like that falling into the Semple fortune is hot copy . . . But it's got to be personal. It's got to have an angle. What does he think about? How does it feel to be a millionaire! Is he going to get married! What does he think of New York! Is he smart? Is he dumb? . . . A million angles! 42. CLOSE SHOT - BABE She has a string in her hand which she keeps flicking, trying to get a knot into it - in the manner of cowboys with a rope. Mac's voice continues over scene: ? 353 ? 43. MEDIUM SHOT Of them all, as Mac continues: MAC He's been here three days, and what have you numbskulls brought in! Any halfwit novice could have done better! REPORTER'S VOICE Yeah, we tried tooó MAC Am I talking too loud? Or annoying anybody? REPORTER You know Corny Cobb. He's keeping him under lock and key. MAC Cobb, Cobb! Never mind about Cobb. Use what little brains you've got! Find out something yourselves, you imbecilic stupes! Now get out of here before I really tell you what I think of you. Come on, get out! They scramble to their feet. One of the reporters mumbles something as he passes Mac on the way to the door. REPORTER (Mumbles.) MAC (alert) What was that? REPORTER (thinking fast - covering up) Huh? I said you had dirty plaster. 44. MED. CLOSE SHOT AT DOOR As Babe is still flicking her string, trying to get a knot. The reporters file past her on their way out. Just as the last one is approaching, she succeeds in doing the trick. 45. MEDIUM SHOT As Mac turns to Babe. MAC You too! Thought I could depend on you, but you're getting as bad as the rest of them. He grabs up a handful of papers and starts out. BABE (flicking the string) Look, I can do it! MAC What's gotten into you, Babe? I remember the time when you'd blast this town wide open before you'd let Cobb get away with a thing like this. ? 354 ? 46. CLOSE TWO SHOT BABE Oh, he's not getting away with anything. MAC (excited) Listen, Babe - get me some stuff on this guy, and you can haveó BABE Can I have a month's vacation? MAC With pay! BABE With pay! MAC Uh-huh. BABE (casually, as she starts away) Leave four columns open on the front page tomorrow. 47. MEDIUM SHOT As Babe crosses to door. MAC Now you're talking, Babe. I'll keep the whole front page open. What are you going to do? BABE (at door) Have lunch. She exits. Mac's face lights up happily. DISSOLVE TO: EXT. RESIDENCE 48. LONG SHOT Of a large, imposing-looking residence. INT. LONGFELLOW'S BEDROOM 49. MEDIUM SHOT Longfellow stands awkwardly between two tailors - who chalk and pin a suit on him. After a few seconds of silence: LONGFELLOW It's the first time I ever had a suit made on purpose. The tailors smile accommodatingly as CAMERA PULLS BACK and we discover that both Cedar and Cobb are present. Cobb is slumped in a chair, and Cedar is carefully putting some papers away in a portfolio. ? 355 ? CEDAR It's merely a suggestion. I don't wish to press the point, Mr. Deeds, but if you'll give me your Power of Attorney we'll take care of everything. It'll save you a lot of petty annoyances. Every shark in town will be trying to sell you something. LONGFELLOW Oh, yes, there've been a lot of them around here already. Strangest kind of people. Salesmen - politicians - moochers - all want something. I haven't had a minute to myself. Haven't seen Grant's Tomb yet. CEDAR Well, you see, your uncle didn't bother with that sort of thing. He left everything to us. He traveled most of the time, and enjoyed himself. You should do the same thing, Mr. Deeds. LONGFELLOW Besides wanting to be my lawyer, you also want to handle my investments too? CEDAR Yes. That is to sayó LONGFELLOW Well, outside of your regular fee, how much extra will it cost? CEDAR (too quickly) Oh - nothing. No extra charge. LONGFELLOW That involves a lot of extra work, doesn't it? CEDAR (generously) Yes, but that's an added service a firm like Cedar, Cedar, Cedar and Budington usually donates. LONGFELLOW Budington. Funny, I can't think of a rhyme for Budington yet. 50. WIDER ANGLE As a butler stands in the doorway. BUTLER The gentlemen from the opera are still waiting in the board room, sir. They're getting a trifle impatient, sir. LONGFELLOW They are? I forgot all about them. (to Cobb) What do you think they want? ? 356 ? CEDAR Well, your uncle was Chairman of the Board of Directors. They probably expect you to carry on. COBB (rising) I'll tell those mugs to keep their shirts on, that you'll be right down. LONGFELLOW Thanks (suddenly) Oh, did you send that telegram to Jim Mason? COBB Jim Mason? Oh, yeah. Yeah. No, I didn't send it. I've got it written out, though. Here it is. (reaches into his pocket and reads) "Arthur's been with the Tallow Works too long. STOP. Don't think we should fire him. Longfellow." LONGFELLOW Fine. Send it right away. I don't want him to fire Arthur. COBB Oh, sure. Sure. We don't want to fire Arthur. LONGFELLOW He was the last baby my father delivered, Arthur was. CEDAR I think you ought to give this matter some thought, Mr. Deeds. LONGFELLOW Huh? CEDAR I mean, about the Power of Attorney. LONGFELLOW Oh, yes. Yes, I will. Cobb has stalled long enough to hear Longfellow's decision before he goes out of the room. LONGFELLOW I'll give it a lot of thought. There was a fellow named Winslow here a little while ago, wanted to handle my affairs for nothing too. It puzzles me why these people all want to work for nothing. It isn't natural. So I guess I'd better think about it some more. 51. MEDIUM SHOT Longfellow, Cedar and the two tailors. TAILOR That's that. ? 357 ? LONGFELLOW You go to an awful lot of work to keep a fellow warm, don't you? TAILOR Yes, sir. A butler enters again. BUTLER A Mr. Hallor to see you sir. CEDAR (quickly) Did you say Hallor? BUTLER Yes, sir. CEDAR Well, don't let him in. LONGFELLOW Why not? Who is he? CEDAR A lawyer representing some woman with a claim against the estate. (to butler) Tell him to see me at my office. LONGFELLOW Well, if he has a claim, we'd better see him. (to butler) Send him in. The butler disappears. CEDAR He's capable of causing you a lot of trouble, Mr. Deeds. LONGFELLOW How can he make any trouble for me? I haven't done anything. The butler reappears, followed by Hallor. The minute he appears, Cedar speaks up belligerently. CEDAR I thought I told you to take up this matter with me, Hallor. 52. MED. CLOSE GROUP SHOT HALLOR I'm a little tired of being pushed around by you, Mr. Cedar - I don't care how important you are. (to Longfellow) Mr. Deeds, I represent Mrs. Semple. ? 358 ? LONGFELLOW (eyebrows raised) Mrs. Semple? HALLOR Yes. Your uncle's common-law wife. She has a legal claim on the estate. CEDAR We'll let the courts decide what her legal position is. HALLOR You wouldn't dare go into court with a case like this - and you know it! He turns to Longfellow, who has listened to them studyingly. HALLOR I leave it to you, Mr. Deeds. Can you conceive of any court not being in sympathy with any woman who gave up the best years of her life for an old man like your uncle? LONGFELLOW What kind of wife did you say she was? HALLOR Common-law wife. On top of that, there's a child. LONGFELLOW A child? My uncle's? HALLOR Yes, sir. LONGFELLOW That's awful. The poor woman should be taken care of immediately. HALLOR (pleased) I'm glad to see you're willing to be reasonable, Mr. Deeds. LONGFELLOW If she was his wife, she should have all the money. That's only fair. I don't want a penny of it. He yanks his trousers off and hands them to the tailor. CEDAR Don't make any rash promisesó As the tailors exit, Cobb returns. COBB You'd better get right down there. That opera mob is about to break into the Mad Song from "Lucia."[2] ? 359 ? LONGFELLOW (to Hallor) Oh, I don't want to keep them waiting any longer. They're important people. (to Cobb) I wish you'd go along with me, Cobb. They're all strangers to me. HALLOR Well, what about it, Mr. Deeds? LONGFELLOW (getting into robe - to Hallor) You'll excuse me, won't you? I'll be right back. He exits with Cobb. INT. CORRIDOR 53. MED. TRUCKING SHOT As Longfellow and Cobb come out and start down corridor. LONGFELLOW Gee, I'm busy. Did the opera people always come here for their meetings? COBB Uh-huh. LONGFELLOW That's funny. Why is that? COBB (wisely) Why do mice go where there's cheese?[3] INT. BOARD ROOM 54. FULL SHOT A group of eight distinguished-looking men sit around a long table, awaiting Longfellow's arrival. At the head of the table is a Mr. Douglas. DOUGLAS From what I'm led to believe, the young man's quite childish. I don't think we'll have any difficulty in getting him to put up the entire amount. After all, it's only a matter of $180,000. CHORUS OF VOICES A drop in the bucket for him. An excellent idea! Why not? . . . DOUGLAS (slyly) You know, gentlemen, we're really very fortunate the young man is so sympathetic toward music. (winking) He plays the tuba in the town band. MAN (who has been watching at door) Here he comes. ? 360 ? DOUGLAS Good. There is a shuffle of preparation. DISSOLVE TO: INT. DIRECTOR'S ROOM 55. SAME SCENE With Longfellow and Cobb present. Longfellow looks around, completely awed. DOUGLAS Now, gentlemen, the first order of business will be the election of a new Chairman of the Board. A MAN (rising) As a sentimental gesture toward the best friend opera ever had, the late Mr. Semple, I think it only fitting that his nephew, Mr. Longfellow Deeds, should be made our next Chairman. I therefore nominate him. A VOICE Second. DOUGLAS All those in favor . . . EVERYBODY Aye. DOUGLAS Carried. (rises) My congratulations, Mr. Deeds. 56. CLOSER SHOT Featuring Longfellow. LONGFELLOW (self-consciously) I'm Chairman? DOUGLAS (humoring a child) Oh Yes, of course - you've just been elected. LONGFELLOW (to Cobb) I'm Chairman. COBB (dryly) Happy voyage. DOUGLAS Right here, Mr. Deeds. ? 361 ? 57. WIDER ANGLE As Longfellow is led to the president's chair. Douglas sits next to him. DOUGLAS Now, the next order of business is the reading of the Secretary's minutes . . . A VOICE Move we dispense with it. ANOTHER VOICE Second. DOUGLAS All in favor? CHORUS OF VOICES Aye! Longfellow looks his surprise. DOUGLAS I think they can be dispensed with. We're ready now for the reading of the Treasurer's report. A VOICE Move we dispense with it. ANOTHER VOICE Second. DOUGLAS All in favor? CHORUS OF VOICES Aye! DOUGLAS Quite right! Now, gentlemen, the next business will beó 58. MED. CLOSE SHOT Featuring Longfellow, as he interrupts: LONGFELLOW Wait a minute. What does the Chairman do? DOUGLAS Why, the Chairman presides at the meetings. LONGFELLOW That's what I thought. If you don't mind, I'm rather interested in the Treasurer's report. I'd like to hear it. There is an uncomfortable shuffle. For a few minutes, no one speaks. From the rear, a tall man rises. ? 362 ? 59. CLOSE SHOT Featuring treasurer. TREASURER The treasurer reports a deficit of $180,000 for the current year. 60. CLOSE SHOT - LONGFELLOW He is stunned. LONGFELLOW A deficit! You mean we've lost that much? 61. WIDER ANGLE To include all at table. DOUGLAS You see, Mr. Deeds, the opera is not conducted for profit. LONGFELLOW It isn't? What is it conducted for? DOUGLAS Why, it's an artistic institutionó LONGFELLOW We own an opera house, don't we? A VOICE We do. LONGFELLOW And we give shows? DOUGLAS We provide opera. LONGFELLOW But you charge. I mean, you sell tickets? VOICE Of course. LONGFELLOW And it doesn't pay? DOUGLAS That's impossible. The opera has never paid. LONGFELLOW (conclusively) Well, then, we must give the wrong kind of shows. Cobb smiles. The directors are stumped. 62. MED. CLOSE SHOT Featuring Douglas and Longfellow. DOUGLAS The wrong kind! There isn't any wrong or right kind. Opera is opera! ? 363 ? LONGFELLOW I guess it is. But I personally wouldn't care to be head of a business that kept losing money. That wouldn't be common sense. Incidentally, where is the $180,000 coming from? DOUGLAS Well, we were rather expecting it to come from you. LONGFELLOW Me?! DOUGLAS Naturally. LONGFELLOW Excuse me, gentlemen, there's nothing natural about that . He is suddenly startled. His ears prick up. 63. SHOT OF DIRECTORS They all stare at Longfellow. Over scene comes the low wailing cry of a siren, which increases in volume as it gets closer to the building. 64. MEDIUM SHOT Longfellow jumps up. LONGFELLOW Hey, a fire engine! He rushes to the window and peers out. The others stare unbelievably. The shriek of the siren finally dies down. Longfellow turns back. LONGFELLOW (admiringly) Gee, that was a pip![4] (as he goes back to his seat) We expect we're going to have one like that in Mandrake Falls pretty soon ñ with a siren, too. There is a pause while he gets seated. LONGFELLOW Now, where were we? 65. MED. CLOSE SHOT AT TABLE DOUGLAS You see, Mr. Deeds, the opera is not conducted like any ordinary business. LONGFELLOW Why not? DOUGLAS Because it just isn't a business, that's all! ? 364 ? LONGFELLOW Well, maybe it isn't to you, but it certainly is a business to me, if I have to make up a loss of $180,000. If it's losing that much money, there must be something wrong. Maybe you charge too much. Maybe you're selling bad merchandise. Maybe lots of things. I don't know. You see, I expect to do a lot of good with that money. And I can't afford to put it into anything that I don't look into. That's my decision for the time being, gentlemen. Goodbye, and thank you for making me Chairman. 66. MED. SHOT - DIFFERENT ANGLE He exits, followed by Cobb, whose eyes shriek his admiration. The directors watch them leave, flabbergasted. Cobb's head reappears in doorway. COBB Gentlemen, you'll find the smelling salts in the medicine chest. He disappears. The Board of Directors stare in dumb stupefaction at the door. WIPE OFF TO: INT. LONGFELLOW'S BEDROOM 67. MED. SHOT As Longfellow enters. Hallor and Cedar rise. LONGFELLOW Sorry to keep you waiting so long. Those opera people are funny. They wanted me to put up $180,000. HALLOR What about it, Mr. Deeds? LONGFELLOW Why, I turned them down, naturally. HALLOR No, I mean - about my client. LONGFELLOW Oh - we'll have to do something about the common wife. Longfellow's valet, Walter, enters and holds up a full dress suit. WALTER Tails tonight, sir? LONGFELLOW What - tails? (turns and sees it) Why, that's a monkey suit![5] Do you want people to laugh at me? I never wore one of those things in my life. WALTER Yes, sir. ? 365 ? The tailors are leaving. TAILOR (shaking hands with Longfellow) Goodbye, and thank you sir. LONGFELLOW Goodbye. (turning to the others) Wants me to wear a monkey suit. Cedar and Hallor smile accommodatingly. Walter hands him a pair of trousers. 68. CLOSER SHOT OF GROUP As Longfellow starts getting into the trousers. HALLOR Of course, we don't want to appear greedy, Mr. Deeds. LONGFELLOW Huh? HALLOR I say we don't want to appear greedy. LONGFELLOW Oh. That. Walter has gotten down on his knees and holds the ends of the pants. LONGFELLOW What do you think you're doing? WALTER Why, I'm assisting you, sir. LONGFELLOW Get up from there. I don't want anybody holding the ends of my pants. Get up from there! WALTER (rising) Yes, sir. LONGFELLOW (to others) Imagine that - holding the ends of my pants! Hallor smiles feebly - his impatience growing. HALLOR Mrs. Semple is entitled by law to one-third of the estate. LONGFELLOW (to Walter) And don't ever get down on your knees again, understand? ? 366 ? WALTER No, sir. LONGFELLOW (to Hallor) Excuse me. What did you say? HALLOR Mrs. Semple is entitled to one-third of the estate. LONGFELLOW One-third? That's about $7,000,000 isn't it? HALLOR (quietly) Well, we didn't expect that much. I'm sure I can get her to settle quietly for one million. CEDAR If there's any talk of settlement, Hallor, take it up with me at the office. HALLOR I'll do no such thingó LONGFELLOW That's right. Don't you go to his office. There's only one place you're going, and that's out the door. Hallor looks up, surprised. HALLOR You're making a mistake, Mr. Deeds. LONGFELLOW Oh no, I'm not. I don't like your face. Besides, there's something fishy about a person who would settle for a million dollars when they can get seven million. I'm surprised that Mr. Cedar, who's supposed to be a smart man, couldn't see through that. HALLOR Now wait a minute, buddyó 69. MED. SHOT Longfellow crosses to bell cord and pulls it. LONGFELLOW There's one nice thing about being rich - you ring a bell and things happen. When the servant comes in, Mr. Hallor, I'm going to ask him to show you to the door. Many people don't know where it is. HALLOR No use in getting tough. That'll get you nowhere, Mr. Deeds. (strongly) You know, we've got letters. ? 367 ? As a butler enters, Longfellow turns to him. LONGFELLOW Will you show Mr. Hallor to the front door? BUTLER Yes, sir. 70. CLOSE SHOT AT DOOR As Hallor gets to it. Longfellow grabs him by the shirt front and half lifts him off the floor. LONGFELLOW And listen, there isn't any wife - there aren't any letters - and I think you're a crook. So you better watch your step. He shoves Hallor violently and he stumbles out of scene. Cobb enters to Longfellow, his hand extended. COBB I can't hold out on you any longer. Lamb bites wolf. (shakes his head) Beautiful. LONGFELLOW Only common sense. 71. MED. SHOT Cedar has been most uncomfortable through the scene, but now suavely assumes an admiring attitude. CEDAR (a forced smile) I can't hold out any longer either, Mr. Deeds. (holds out his hand) Being an attorney for you will be a very simple affair. LONGFELLOW You're not my attorney yet, Mr. Cedar. Not till I find out what's on your mind. Suppose you get the books straightened out quick so I can have a look at them. CEDAR Yes, of course, if you wish. But you must be prepared. This sort of thing will be daily routine. (picks up his hat) If it becomes annoying, you let me know. Goodbye, Mr. Deeds. Goodbye, sir. Longfellow shakes his hand. Cedar exits. Longfellow stares after him disgustedly, wiping his hands with his handkerchief. LONGFELLOW Even his hands are oily. Walter has entered and holds up a coat for Longfellow. ? 368 ? COBB Well, how about tonight? What would you like in the way of entertainment? LONGFELLOW Entertainment? 72. CLOSE TWO SHOT COBB Your uncle had a weakness for dark ones, tall and stately. How would you like yours? Dark or fair, tall or short, fat or thin, tough or tender? LONGFELLOW What're you talking about? COBB Women! Ever heard of 'em? LONGFELLOW Oh. COBB Name your poison and I'll supply it. LONGFELLOW Some other time, Cobb. Some other time. COBB Okay, you're the boss. (as he goes) When your blood begins to boil, yell out. I'll be seeing you! 73. MED. SHOT As Cobb exits. Longfellow turns to Walter, the valet. LONGFELLOW He talks about women as if they were cattle. WALTER Every man to his taste, sir. LONGFELLOW Tell me, Walter, are all those stories I hear about my uncle true? WALTER Well, sir, he sometimes had as many as twenty in the house at the same time. LONGFELLOW Twenty! What did he do with them? WALTER That was something I was never able to find out, sir. WIPE OFF TO: ? 369 ? EXT. CORRIDOR 74. MED. SHOT Longfellow, exiting his bedroom, wearing a coat and hat. He comes to the top of a grand staircase, looks around slyly and sees that no one is watching. He slides down the bannister and touches the statue at the bottom for good luck. He starts for the door. When he gets there he finds his way barred by two husky-looking mugs. He looks up surprised. FIRST BODYGUARD Hey, you going out? LONGFELLOW Why yes. Isn't that all right? 2ND BODYGUARD No. Don't ever want to go out without telling us. LONGFELLOW Who are you? BODYGUARDS We're your bodyguards. LONGFELLOW Oh, yeah. 2ND BODYGUARD Yeah, Mr. Cobb said stick to your tail no matter what. LONGFELLOW That's very nice of Mr. Cobb - but I don't want anybody sticking to my tail no matter what. FIRST BODYGUARD Sorry, mister. Orders is orders. LONGFELLOW Is that so? 2ND BODYGUARD Yes, sir. We gotta get you up in the morning - and we gotta put you to bed at night. FIRST BODYGUARD Only it's all right. No matter what we see - we don't see nuttin', see? LONGFELLOW (smiling) That's going to be fun. 2ND BODYGUARD Some people like it. Longfellow glances around the room thoughtfully, then continues: LONGFELLOW Uh, will you do something for me before we go out? ? 370 ? FIRST BODYGUARD Sure! The first bodyguard eagerly takes out a pistol. The second bodyguard slaps it away. 2ND BODYGUARD (to first bodyguard) Put that away, slug! (to Longfellow) At your service! LONGFELLOW I got a trunk in that room. Will you get it out for me? 2ND BODYGUARD Certainly. FIRST BODYGUARD With pleasure. The two bodyguards accommodatingly enter a closet. The moment they are gone, Longfellow closes the door calmly and turns the key. BODYGUARDS (ad-lib) Hey, hey! We're your bodyguards. You can't do this! Longfellow whistles as he exits. DISSOLVE TO: EXT. FRONT OF HOUSE 75. MED. CLOSE SHOT Longfellow comes out, glances over the horizon. The air is filled with a slight drizzle and he sighs happily. CUT TO: INT. TAXI CAB 76. CLOSE SHOT Babe and two photographers, Bob and Frank, are huddled conspiratorially in the back seat of a taxi cab. BABE (pointing) There he is. Yep, that's him. BOB That's who? BABE Get the cameras ready and follow me. FRANK What are you going to do? BABE Never mind. Follow me and grab whatever you can get. ? 371 ? BOB I suppose it's going to be the same old thing. FRANK I tell you that dame's nuts. BOB Right. CUT TO: EXT. FRONT OF HOUSE 77. MED. CLOSE SHOT Longfellow is exiting front gate. 78. MED. SHOT From his angle. Out of the shadows a girl comes into view and staggers forward. She reaches a tree and clutches it weakly. Then her strength failing, she crumples to the ground. 79. MED. CLOSE SHOT Longfellow's eyes widen in apprehension as he starts forward - CAMERA FOLLOWING HIM. He reaches the girl and bending down, lifts her head. We see it is Babe Bennett. Her eyes are closed, apparently in a dead faint. 80. CLOSE SHOT - LONGFELLOW AND BABE - LOW ANGLE Longfellow studies her face for a moment, then starts to lift her. As he does so, her eyes open and she looks up at him, feigning bewilderment. LONGFELLOW You fainted. BABE (feebly) Oh, did I? I'm sorry . . . She struggles to get to her feet. 81. WIDER ANGLE Longfellow tries to assist her. LONGFELLOW Can I help you? BABE No, thank you. I'll be all right. LONGFELLOW Look, this is my house. I'd like toó BABE Oh, no, really - I'll be all right. LONGFELLOW What happened? BABE Well, I guess I walked too much. I've been looking for a job all day. I found one, too. I start tomorrow. ? 372 ? (backing away) You've been awfully kind. Thank you very much. As she leaves him, Longfellow watches her, full of sympathy. She takes a few steps and, again feigning weakness, falls against the iron fence, clutching it. Longfellow rushes to her assistance. 82. CLOSE TWO SHOT LONGFELLOW (looking around) Hey, taxi! CUT TO: INT. TAXI CAB 83. CLOSE SHOT BOB (to driver) Hey, stupe! Follow that cab they just got into, will you? Hurry up! Step on it! FRANK Come on, come on! BOB Hurry up! DISSOLVE TO: INSERT: AN ELECTRIC SIGN: "TULLIO'S ó EAT WITH THE LITERATI" DISSOLVE TO: INT. TULLIO'S 84. MED. CLOSE SHOT A corner table, surrounded by ferns, at which Longfellow and Babe sit. She's still eating. LONGFELLOW Feel better now? BABE Mmm, it tastes so good. Mr. Deeds, I don't know how I can ever thank you. LONGFELLOW Tell me more about yourself. BABE Well, I guess I've told you almost everything there is to tell. My folks live in a small town near Hartford. I'm down here alone trying to make a living. (hanging her head) Oh, I'm really just a nobody. Longfellow spots a strolling violinist. He furtively beckons the fellow over. The musician leans into them with romantic strains. ? 373 ? BABE (as the musician finishes and strolls away) Oh, that was so lovely. Thank you. LONGFELLOW You were a lady in distress, weren't you? BABE (looks up) What? LONGFELLOW Oh - uh - nothing. 85. WIDER ANGLE As a waiter enters the scene and begins removing dishes. LONGFELLOW Waiter! Has anybody come in yet? WAITER Huh? On, no. Nobody important. LONGFELLOW Be sure and point 'em out to me, won't you? WAITER Uh-huh. LONGFELLOW I'm a writer myself, you know. The waiter throws Longfellow a sidelong glance of complete boredom. WAITER Uh-huh. LONGFELLOW I write poetry. WAITER Uh-huh. He exits. 86. CLOSE TWO SHOT - BABE AND LONGFELLOW BABE You've been having quite an exciting time here, haven't you? All those meetings and business deals and society people - haven't you been having fun? LONGFELLOW No. That is, I didn'tó (pause - while he looks at her) Until I met you. I like talking to you, thoughó (moodily) Imagine my finding you right on my doorstep. ? 374 ? 87. WIDER ANGLE The waiter enters again. WAITER Brookfield just came in. LONGFELLOW Oh, the poet? Where? WAITER Over at that big round table. The one that looks like a poodle. Longfellow stares off scene - his eyes full of worship. LONGFELLOW (to Babe) Look - there's Brookfield, the poet. BABE (looks also) Really? 88. MED. SHOT From their angle, to show people at a table, engaged in conversation. 89. MED. CLOSE SHOT At Longfellow's table. He stares off at them, awed. Babe watches his face. 90. MED. SHOT - AUTHOR'S TABLE A group of five men, drinking - as the waiter enters. WAITER (confidentially - indicating Longfellow) Pardon. Longfellow Deeds, who just inherited the Semple fortune, wants to meet you. BROOKFIELD Oh, yes. I read about him. He writes poetry on postcards. HENABERRY Let's invite him over. Might get a couple of laughs. Getting rather dull around here. MORROW It's always dull here. BROOKFIELD (rising) I'll get him. HENABERRY Good. ? 375 ? DISSOLVE TO: 91. MED. SHOT - ROUND TABLE At which they are all seated now. Babe sits next to Longfellow, who is the center of attraction. Brookfield is just finishing introductions. BROOKFIELD Henaberry, Mr. Morrow, Bill - this is Mr. Deeds and his fiancÈe from Mandrake Falls. THE GROUP (ad-lib) How do! Hello! Nice to meet you! LONGFELLOW Nice of you to ask us to come and sit with you. Back home we never get a chance to meet famous people. BILL (calling waiter) Waiter! A little service here. THE GROUP (ad-lib) Yes! Mr. Deeds is a distinguished poet. A drink for Mr. Deeds! HENABERRY He's a poet. Have a drink. LONGFELLOW No - I don't want it, thank you. HENABERRY Why, you must drink! All poets drink! 92. MED. CLOSE SHOT - THE GROUP BILL Tell us, Mr. Deeds. How do you go about writing your poems? We craftsmen are very interested in one another's methods. HENABERRY Yes. Do you have to wait for an inspiration, or do you just dash it off? LONGFELLOW (self-consciously) Well, I don't know. Ió HENABERRY Mr. Morrow, over there, for instance, just dashes them off. ? 376 ? MORROW Yes. That's what my publishers have been complaining about. They all laugh superficially. 93. CLOSE SHOT GROUP - BABE AND LONGFELLOW Babe glances up at Longfellow, to see if he's aware that he is being laughed at. But he apparently isn't. LONGFELLOW (laughing feebly) Your readers don't complain, Mr. Morrow. MORROW'S VOICE Oh, thanks. Thanks. BROOKFIELD How about you, Mr. Deeds? LONGFELLOW Well, I write mine on order. The people I work for just tell me what they want and then I go to work and write it. BROOKFIELD Amazing! Why, that's true genius! HENABERRY Yes. Have you any peculiar characteristics when you are creating? LONGFELLOW Well, I play the tuba. They all laugh. MORROW I've been playing the harmonica for forty years - didn't do me a bit of good. 94. CLOSE SHOT - GROUP BROOKFIELD You wouldn't have one in your pocket, would you, Mr. Deeds? LONGFELLOW (smiling) What? A tuba? They all laugh. BROOKFIELD No, a postcard - with one of your poems on it. Longfellow is beginning to sense he is being kidded. LONGFELLOW (his face sober) No. ? 377 ? HENABERRY You mean to tell me you don't carry a pocketful around with you? BROOKFIELD Too bad! I was hoping you'd autograph one for me. HENABERRY I was too. BILL Quite right. 95. MED. GROUP SHOT As they keep on. Longfellow has his eyes levelled on each speaker in turn, obviously cognizant of their ill-concealed jibes. HENABERRY Wait a minute, boys. Perhaps Mr. Deeds would recite one for us. THE OTHER'S VOICES (ad-lib) Yes! BROOKFIELD That's a very good idea. Nothing like a poet reciting his own stuff. ONE OF THE OTHERS How about a Mother's Day poem, Mr. Deeds? HENABERRY Exactly! Give us one that wrings the great American heart. THE GROUP (ad-lib) Yes. Babe has been watching Longfellow, interested. Now, when their voices die down - and they wait expectantly - he speaks quietly. LONGFELLOW (deeply hurt) I guess I get the idea. I guess I know why I was invited here. To make fun of me. 96. MED. SHOT - GROUP SEVERAL VOICES (ad-lib) Oh, come now. I wouldn't say that. HENABERRY Look, he's temperamental. ? 378 ? LONGFELLOW (levelling off at him) Yeah, what if I am? What about it? Henaberry's face sobers. LONGFELLOW (simply) It's easy to make fun of somebody if you don't care how much you hurt 'em. (to Brookfield) I think your poems are swell, Mr. Brookfield, but I'm disappointed in you. I know I must look funny to you, but maybe if you went to Mandrake Falls you'd look just as funny to us . Only nobody would laugh at you and make you feel ridiculous - 'cause that wouldn't be good manners. 97. CLOSE SHOT - LONGFELLOW As he rises, continuing: LONGFELLOW I guess maybe it is comical to write poems for postcards, but a lot of people think they're good. Anyway, it's the best I can do. So if you'll excuse me, we'll be leaving. I guess I found out that all famous people - aren't big people . . . 98. MED. SHOT The group watches him silently as he leaves the table accompanied by Babe. For a moment they are nonplussed - then they break into raucous laughter - all but Morrow. 99. CLOSE TRUCKING SHOT With Longfellow and Babe as they take several steps. Then he abruptly stops. LONGFELLOW (turning to them) There's just one thing more. If it weren't for Miss Dawson being here with me, I'd probably bump your heads together. BABE (quickly) Oh, I don't mind. Longfellow stares at her for a moment. LONGFELLOW Then I guess maybe I will. He starts back toward the table. 100. MED. SHOT AT TABLE Protectively, Brookfield and Henaberry rise from their chairs. But they are too late, for Longfellow clips Brookfield on the chin first with his left fist - and with his right catches Henaberry on the jaw. The punches are almost simultaneous. The surprise attack catches the men off-guard and they fall backward. A waiter rushes forward to escort Longfellow and Babe out. ? 379 ? WAITER (calling out) Manager! Morrow, who never budged from his chair, and who has watched Longfellow with great admiration, now rises to catch up to him. MORROW (an outcry) Eureka! INT. FOYER OF TULLIO'S 101. MED. SHOT As Morrow catches up to Longfellow and Babe, who are on their way out. The waiter is shooing people away. WAITER Step aside, step aside! Morrow barges forward. Longfellow and Babe turn. MORROW (obviously groggy with drink) Say fellow, you neglected me - and I feel very put out. (points to his chin) Look, sock it right there, will you? Lay one right on the button,[6] but sock it hard. 102. CLOSE SHOT - THE THREE LONGFELLOW That's all right. I got it off my chest. MORROW The difference between them and me is I know when I've been a skunk. You take me to the nearest news-stand and I'll eat a pack of your postcards raw. Raw! Longfellow and Babe smile. As Morrow continues to speak, he sways drunkenly and would fall over backwards a couple of times in midsentence if the alert Longfellow didn't have a clutch on his collar. MORROW Oh, what a magnificent deflation of smugness. Pal, you've added ten years to my life! A poet with a straight left and a right hook - delicious! Delicious! You're my guest from now on - forever and a day - even unto eternity! LONGFELLOW Thanks, but Miss Dawson and I are going out to see the sights. MORROW Fine, fine. Swell, You just showed me a sight lovely to behold, and I'd like to reciprocate. Listen, you hop aboard my magic carpetó (Longfellow catches him before he falls backward in his enthusiasm) óthanks - and I'll show you sights that you've never seen before. ? 380 ? LONGFELLOW I'd kind of like to see Grant's Tomb - and the Statue of Liberty. 103. CLOSE SHOT - GROUP Favoring Morrow. MORROW Well, you'll not only see those, but before the evening's half through, you'll be leaning against the Leaning Tower of Pisa - you'll mount Mt. Everest. I'll show you the Pyramids and all the little Pyramiddes, leaping from sphinx to sphinx. Pal, how would you like to go on a real, old-fashioned binge? LONGFELLOW (puzzled) Binge? MORROW Yes. I mean the real McCoy. Listen, you play saloon with me, and I'll introduce you to every wit, every nit-wit, and every half-wit in New York. We'll go on a twister that'll make Omar the soused philosopher of Persia[7] look like an anemic on a goat's milk diet. Longfellow saves him - once again - from crashing over. 104. CLOSE SHOT - GROUP Featuring Longfellow. LONGFELLOW (vaguely) That ought to be fun. MORROW Fun? Say, listen, I'll take you on a bender that will live in your memory as a thing of beauty and joy forever. (to someone off) Boy! Boy! My headpiece! He exits from the scene. CAMERA FOLLOWING HIM. MORROW (to the world in general) Oh, Tempora! Oh, Moeraes! Oh, Bacchus![8] He bumps into a woman, who glares at him. WOMAN Oh, you're drunk. MORROW (unmindful) Oh, you're right. 105. CLOSEUP - BABE AND LONGFELLOW LONGFELLOW (to Babe) I guess if we go with him, we'll see things, huh? ? 381 ? She looks up at his face, amazed at his innocence. BABE Yes, I guess we will. FADE OUT: INT. MAC'S OFFICE 106. MED. SHOT Mac is reading the story, eyes sparkling. Babe is sprawled in a chair, doing tricks with a coin. MAC (reads) "'I play the tuba to help me think.' This is one of the many startling statements made by Longfellow Deeds - New York's new Cinderella Man - who went out last night to prove that his uncle, the late M.W. Semple - from whom he inherited $20,000,000 - was a rank amateur in the art of 'standing the town on its cauliflower ear' . . . "[9] He looks up. MAC Cinderella Man! That's sensational, Babe! Sensational! BABE It took some high-powered acting, believe me. MAC Did it? BABE I was the world's sweetest ingenue. MAC Is he really that big a sap? 107. CLOSE SHOT - THE TWO Favoring Babe. BABE He's the original. There are no carbon copies of that one. MAC Cinderella Man! Babe, you stuck a tag on that hick that'll stick to him the rest of his life. Can you imagine Cobb's face when he reads this? BABE If we could sell tickets, we'd make a fortune. She covers the coin with palm of other hand, and the coin disappears. But Mac is too excited to pay any attention. MAC How'd you get the picture? ? 382 ? BABE Had the boys follow us. MAC Marvelous! (reads again) "At two o'clock this morning, Mr. Deeds tied up traffic while he fed a bagful of doughnuts to a horse. When asked why he was doing it, he replied: 'I just wanted to see how many doughnuts this horse would eat before he'd ask for a cup of coffee.'" (laughs) Beautiful! What happened after that? BABE I don't know. I had to duck to get the story out. He was so far along he never even missed me. MAC When're you going to see him again? BABE Tonight, maybe. (looks at her watch) I'll phone him at noon. (explaining) Oh, my lunch hour. I'm a stenographer, you know. Mary Dawson. 108. MED. SHOT - THE TWO Favoring Mac. MAC (laughing) You're a genius, Babe - a genius! BABE I even moved into Mabel Dawson's apartment - in case old snoopy Cobb might start looking around. MAC (all excited) Good! Good! Stay there. Don't show your face down here. I'll tell everybody you're on your vacation. They'll never know where the stories are coming from. Stick close to him, Babe - you can get an exclusive story out of him every day for a month. We'll have the other papers crazy. (starts for her) Babe, I could kiss you! 109. WIDER ANGLE BABE (sidestepping) Oh, no. No. Our deal was for a month's vacation - with pay. MAC Sure. ? 383 ? BABE With pay! She is out the door. MAC (yelling after her) You'll get it, Babe. You'll get it. DISSOLVE TO: INT. LONGFELLOW'S BEDROOM 110. CLOSE SHOT Walter leans over the bed violently, shaking Longfellow, who is lost in drunken sleep. WALTER Mr. Deeds - Mr. Deeds, sir - you really must get up. It's late! LONGFELLOW (without budging - without opening his eyes) You're Walter, aren't you? WALTER Yes, sir. LONGFELLOW I just wanted to make sure. 111. CLOSE SHOT - WALTER He smiles. WALTER If you'll permit me to say so, sir, you were out on quite a bender last night, sir. 112. CLOSE SHOT - LONGFELLOW Longfellow opens one eye - and then the other, blinking. As consciousness returns to him, he glances around the room as if to get his bearings. LONGFELLOW Bender? You're wrong, Walter. We started out to a binge but we never got to it. 113. MED. CLOSE SHOT - THE TWO Walter offers him a drink on a tray. WALTER (humoring him) Yes, sir. LONGFELLOW What's that? WALTER A Prairie Oyster, sir.[10] LONGFELLOW (slow to comprehend anything) Prairie? Oysters? ? 384 ? WALTER Yes, sir. It makes the head feel smaller. Longfellow takes it and downs it in one swig. LONGFELLOW (his face finally reacting) Oh. Oh! (remembering) Has Miss Dawson called yet? WALTER Miss Dawson, sir? No, sir. No Miss Dawson has called, sir. LONGFELLOW She was a lady in distress. She wouldn't let me help her. Got a lot of pride. I like that. WALTER Oh, I do too, sir. LONGFELLOW I'd better call her up and apologize. I don't remember taking her home last night. WALTER I'd venture to say, sir, you don't remember much of anything that happened last night, sir. 114. CLOSE SHOT - THE TWO Favoring Longfellow. LONGFELLOW What do you mean? I remember everything! Hand me my pants - I wrote her phone number on a piece of paper. WALTER You have no pants, sir. Longfellow looks up slowly. Walter goes on: WALTER You came home last night - without them. LONGFELLOW (after a double take) I did what! WALTER As a matter of fact, you came home without any clothes. You were in your - uh - shorts. Yes, sir. LONGFELLOW Oh, don't be silly, Walter. I couldn't walk around in the streets without any clothes. I'd be arrested. WALTER That's what the two policemÈn said, sir. ? 385 ? LONGFELLOW What two policemen? WALTER The ones who brought you home, sir. They said you and another gentleman kept walking up and down the streets, shouting: "Back to nature! Clothes are a blight on civilization! Back to nature!" Longfellow watches his face, fascinated. Slowly it is all coming back to him. LONGFELLOW Listen, Walter, if a man named Morrow calls up, tell him I'm not in. He may be a great author, but I think he's crazy. The man's crazy, Walter. 115. REVERSE ANGLE Favoring Walter. WALTER Yes, sir. By the way, did youó Longfellow slowly swings out of bed into a sitting position. Walter kneels to put on Longfellow's slippers. Longfellow balks, points, silently reminding Walter that he has broken his promise not to kneel down in front of him. LONGFELLOW (pointing) Please! WALTER But how'll I put on the slipper, sir? Longfellow's expression begs no disagreement. Walter stands, fumbling with the shoes from a stooped posture. WALTER (continuing) Yes, sir. I beg pardon, sir, but did you ever find what you were looking for, sir? LONGFELLOW Looking for? WALTER You kept searching me last night, sir. Going through my pockets. You said you were looking for a rhyme for Budington. LONGFELLOW (flatly) Better bring me some coffee, Walter. WALTER Very good, sir. (remembering) Oh, I beg pardon. A telegram came for you, sir. (he hands the telegram to Longfellow) I'll get you some black coffee, sir. ? 386 ? 116. MEDIUM SHOT Following Walter's exit. Longfellow quickly opens the telegram. His face clouds. At this moment, Cobb comes bursting into the room - a newspaper in his hand. COBB (wildly) Did you see all this stuff in the papers? LONGFELLOW (holding out telegram) Arthur wants to quit! COBB Arthur! Who's Arthur? LONGFELLOW He's the shipping clerk at the Tallow Works. Wants a $2 raise - or he'll quit. COBB (he goes crazy) What do I care about Arthur! Did you see this stuff in the paper? How'd it get in there? What'd you do last night? Who were you talking to? He flings the paper on the bed. Longfellow glances at it, and his face clouds. COBB (while Longfellow reads) And what'd you do to those bodyguards? They quit this morning. Said you locked them up. LONGFELLOW Oh, they insisted on following me. 117. TWO SHOT COBB (wildly) What do you think bodyguards are for? LONGFELLOW (glances up) What do they mean by this - "Cinderella Man!" COBB Are those stories true? 118. CLOSE SHOT - LONGFELLOW AND COBB Longfellow has his eyes glued on the paper. LONGFELLOW I don't remember. "Cinderella Man!" What do they mean by that? COBB They'd call you anything if you gave them half a chance. They've got you down as a sap. ? 387 ? LONGFELLOW (calmly) I think I'll go down and punch this editor on the nose. COBB (quickly) No, you don't! Get this clear: Socking people is no solution for anything. 119. TWO SHOT LONGFELLOW Sometimes it's the only solution. COBB Not editors. Take my word for it. Not editors! LONGFELLOW If they're going to poke fun at me, I'm going toó COBB (bends over, earnestly) Listen. Listen, Longfellow. You've got brains, kid. You'll get along swell if you'll only curb your homicidal instincts - and keep your trap shut. Don't talk to anybody! These newshounds are out gunning for you. LONGFELLOW (referring to paper) But what about this "Cinderella Man"? COBB That's my job. I'll take care of that. I'll keep that stuff out of the papers - if you'll help me. But I can't do anything if you go around talking to people. Will you promise me to be careful from now on? LONGFELLOW Yes, I guess I'll have to. COBB (mopping his brow) Thank you. (as he goes) If you feel the building rock, it'll be me blasting into this editor. 120. MED. SHOT He exits. During the scene Walter has entered with a tray, which he has adjusted on Longfellow's knee. LONGFELLOW Cobb's right. I mustn't talk to anybody. BUTLER (entering) Miss Dawson on the phone, sir. ? 388 ? LONGFELLOW (alertly) Who? Miss Dawson? BUTLER Yes, sir. LONGFELLOW Fine. I'll talk to her. Give me the phone, quick. She's the only one I'm going to talk to from now on. As the butler scurries around for the phone, DISSOLVE TO: EXT. TOP OF FIFTH AVENUE BUS - NIGHT - (PROCESS) 121. CLOSE SHOT - BABE AND LONGFELLOW Longfellow looks around, absorbed. Babe watches him. LONGFELLOW It's awfully nice of you to show me around like this. BABE I enjoy it. LONGFELLOW The Aquarium was swell. If I lived in New York, I'd go there every day. I'll bet you do. BABE Well, I'd like to - but I have a job to think of. EXT. STREET 122. MED. CLOSE SHOT - A TAXI Directly behind the bus. A man's head is stuck out of taxi window. We recognize it as one of the photographers, Bob. BOB (to driver) Hey, flap-ears![11] You better keep following that bus! DRIVER'S VOICE Keep your shirt on! INT. THE TAXI - PROCESS 123. CLOSE SHOT - BOB AND FRANK Two photographers, with their equipment. They keep their eyes glued on the bus in front. They return to their seats. BOB It don't look as though we're gonna get any pictures tonight. FRANK Babe ought to get him drunk again. ? 389 ? EXT. TOP OF BUS 124. CLOSE SHOT - BABE AND LONGFELLOW BABE Got any newsó (catches herself) I mean, has anything exciting been happening lately? LONGFELLOW Sure. I met you. BABE (laughs) Oh. What's happening about the opera? LONGFELLOW Oh, that - well, we had another meeting. I told them I'd go on being Chairman ifó (explaining) I'm Chairman, you know. BABE Yes, I know. LONGFELLOW I told 'em I'd play along with them if they lowered their prices - and cut down expenses - and broadcast. BABE What did they say? LONGFELLOW Gosh, you look pretty tonight. BABE What did they say? LONGFELLOW Huh? Oh. They said I was crazy. Said I wanted to run it like a grocery store. BABE What are they going to do? LONGFELLOW (leans over close to her) Do you always wear your hair like that? 125. WIDER SHOT At this point, two girls pass by, chattering. One girl has a paper open. FIRST GIRL Isn't it a scream - "Cinderella Man!" The dope! 2ND GIRL I'd like to get my hooks into that guy. ? 390 ? FIRST GIRL Don't worry. Somebody's probably taking him for plenty. They are gone. Longfellow glares after them. Babe is afraid to look up. LONGFELLOW (quietly) If they were men, I'd knock their heads together. Babe is silent. Longfellow watches her for a moment. 126. CLOSE SHOT - THE TWO Favoring Longfellow. LONGFELLOW Have you seen the papers? BABE Uh-huh. LONGFELLOW That's what I like about you. You think about a man's feelings. I'd like to go down to that newspaper and punch the fellow in the nose that's writing that stuffó 127. MED. CLOSE SHOT - THE TWO She looks up, startled. LONGFELLOW ó"Cinderella Man!" I guess pretty soon everybody will be calling me "Cinderella Man." Babe has had an uncomfortable time of it - and quickly changes the subject. BABE Would you like to walk the rest of the way? It's so nice out. LONGFELLOW Yes. BABE Yeah, let's. She jumps up from her seat, and Longfellow follows. INT. THE TAXI 128. MED. CLOSE SHOT Favoring the taxi driver. DRIVER Hey, wise guys. He's getting off. This sets off a mad scramble. BOB AND FRANK (ad-lib) Hey, come on! ? 391 ? Pull over to the curb! DISSOLVE TO: EXT. RIVERSIDE DRIVE - GRANT'S TOMB 129. MED. CLOSE SHOT - LONGFELLOW AND BABE He stands across the street from Grant's Tomb, looking solemn. His eyes moist. She is unaware of his emotion. BABE Come on, don't you want to see it? INT. THE TAXI 130. MED. SHOT - BOB AND FRANK FRANK Feast your eyes. Grant's Tomb! BOB Is that it? (to driver) Hey, beetle-puss! The Tomb! 131. MED. CLOSE SHOT - LONGFELLOW AND BABE As they approach the monument. BABE There you are. Grant's Tomb. I hope you're not disappointed. LONGFELLOW (throatily) It's wonderful. BABE To most people, it's an awful letdown. LONGFELLOW (in awe) Huh? BABE I say, to most people it's a washout. LONGFELLOW That depends on what they see. BABE (looks up at him) Now, what do you see? 132. CLOSEUP - LONGFELLOW LONGFELLOW Me? Oh, I see a small Ohio farm boy becoming a great soldier. I see thousands of marching men. I see General Lee with a broken heart, surrendering, and I can see the beginning of a new nation, like Abraham Lincoln said. And I can see that Ohio boy being inaugurated as Presidentó (dreamily) Things like that can only happen in a country like America. ? 392 ? 133. CLOSEUP - BABE To intercut with above speech. During his recital, she watches his face, fascinated. Her impulse is to laugh, but she finds that she can't. LONGFELLOW (overcome - he almost chokes on his final words) Excuse me! FADE OUT: INT. PRIVATE OFFICES 134. MED. CLOSE SHOT A switchboard operator fielding calls. SWITCHBOARD OPERATOR Sorry, Mr. Hopper. Mr. Cedar won't answer his phone. Sorry. OFFICE CLERK (passing by) Say, what's going on in the boss's office? SWITCHBOARD OPERATOR Search me. The three 'Cs' and little 'B' have been in there for over an hour. INT. CEDAR'S PRIVATE OFFICE 135. FULL SHOT Cedar paces the floor. His brothers look worried. Budington is enthroned at Cedar's desk. BUDINGTON I don't want to be critical, John, but here it isó CEDAR (pouncing on him) Yes, I know. A week's gone by and we haven't got the Power of Attorney yet! BUDINGTON Yes, but you saidó CEDAR (walking way from him) I don't care what I said. I can't strangle him, can I! FIRST BROTHER It's ridiculous for us to have to worry about a boy like that. (crosses to desk) Look at these articles about him! "Cinderella Man!" Why, he's carrying on like an idiot. BUDINGTON Exactly what I was saying to my wife when thisó FIRST BROTHER Who cares what you were saying to your wife? ? 393 ? There is a moment's awkward silence. The silence is broken by the buzzing of the dictograph. Cedar crosses to it and snaps the button. 136. CLOSE SHOT AT DESK As secretary's voice comes over dictograph: CEDAR Yes? SECRETARY'S VOICE Mr. and Mrs. Semple are still waiting. CEDAR (irritated) I can't help it. Let them wait! He snaps the dictograph off. 137. MED. SHOT GROUP FIRST BROTHER Those people have been in to see me every day this week. 2ND BROTHER Who are they ? CEDAR (dismissing it) Relatives of old man Semple. FIRST BROTHER They keep insisting they should have some nuisance value. CEDAR Nuisance value? FIRST BROTHER They say if it hadn't been for Deeds, they'd have gotten all the money. CEDAR (suddenly) Nuisance value. (thinks a minutes - crosses to door) Maybe they have! Maybe they have! Maybe they have! (opens door) Mr. and Mrs. Semple, please. How do you do? The others all stand around - as the Semples enter. MRS. SEMPLE We've been trying toó 138. MED. CLOSE SHOT - CEDAR AND THE SEMPLES CEDAR (smoothly cutting her off) I'm so sorry to have kept you waiting. How are you, sir? I don't know what my secretary could ? 394 ? have been thinking to keep you waiting this long. (to one of his brothers) Will you bring the chairs? Quickly. Will you have a cigar, Mr. Semple? MR. SEMPLE Thanks. Semple takes the cigar - rather flabbergasted at all the sudden attention showered upon him. DISSOLVE TO: EXT. ROOF OF TALL BUILDING - NIGHT 139. MED. SHOT - LONGFELLOW AND BABE From over their shoulders, looking down on the lights and teeming activity of Times Square. BABE There's Times Square. LONGFELLOW You can almost spit on it, can't you? BABE Why don't you try? He does try. The wind blows it back on him. She laughs, takes out a handkerchief and wipes it off his coat. BABE (as she wipes) Oh! It's breezy up here. He doesn't say anything right away. BABE You're worried about those articles they're writing about you, aren't you? LONGFELLOW I'm not worrying any more. I suppose they'll go on writing them till they get tired. You don't believe all that stuff, do you? A guilty look spreads over Babe's face. BABE Oh, they just do it to sell the newspapers, you know. LONGFELLOW Yeah, I guess so. What puzzles me is why people seem to get so much pleasure out of hurting each other. Why don't they try liking each other once in a while? An awkward pause. BABE Shall we go? ? 395 ? DISSOLVE TO: EXT. CENTRAL PARK - NIGHT 140. MED. TRUCKING SHOT As Babe and Longfellow walk. BABE (spotting a park bench) Here's a nice place. LONGFELLOW Yeah. Anyway, there aren't any photographers around. EXT. PARK - BEHIND SOME BUSHES 141. MEDIUM SHOT Bob and Frank, sneaking around in the bushes. 142. CLOSE SHOT - LONGFELLOW AND BABE BABE You know, you said something to me when you first met me that I've thought about a great deal. LONGFELLOW What's that? BABE You said I was a lady in distress. LONGFELLOW Oh, tható BABE What did you mean by that? LONGFELLOW Nothingó There is a pause. LONGFELLOW Have you got a - are you - uh - engaged or anything? 143. CLOSEUP - BABE The corners of her mouth go up in sympathetic amusement. BABE No. Are you? LONGFELLOW'S VOICE No. BABE You don't go out with girls very much, do you? LONGFELLOW'S VOICE I haven't. BABE Why not? ? 396 ? 144. CLOSE SHOT - THE TWO Favoring Longfellow. LONGFELLOW Oh, I don't know. BABE You must have met a lot of swell society girls since you've been here. Don't you like them? LONGFELLOW I haven't met anybody here that I like, particularly. They all seem to have the St. Vitus Dance.[12] (awkwardly) Except you, of course. (a pause) People here are funny. They work so hard at living - they forget how to live (thoughtfully; leans back) Last night, after I left you, I was walking along and looking at the tall buildings and I got to thinking about what Thoreau said. They created a lot of grand palaces here - but they forgot to create the noblemen to put in them. 145. REVERSE ANGLE Favoring Babe. She stares at him curiously. LONGFELLOW I'd rather have Mandrake Falls. BABE I'm from a small town too, you know. LONGFELLOW (interested) Really? BABE Probably as small as Mandrake Falls. LONGFELLOW (finding a kindred soul) Gosh! What do you know about that! Babe leans her head back in a reminiscent mood. We get a feeling that, for the moment, she has forgotten she is Babe Bennett, out on a story. BABE Ah, it's a beautiful little town, too. A row of poplar trees right along Main Street. Always smelled as if it just had a bath. 146. MED. CLOSE SHOT - THE TWO Longfellow watches her face intently. BABE I've often thought about going back. ? 397 ? LONGFELLOW You have? BABE Oh, yes. I used to have a lot of fun there when I was a little girl. I used to love to go fishing with my father. That's funny. He was a lot like you, my father was. Talked like you, too. Sometimes he'd let me hold the line while he smoked - and we'd just sit there for hours. And after awhile, for no reason, I'd go over and kiss him and sit in his lap. He never said very much but once I remember him saying: "No matter what happens, honey, don't complain." LONGFELLOW He sounds like a person worth while knowing. There is a pause while Longfellow watches her, and she is lost in thought. BABE (continuing) He played in the town band, too. LONGFELLOW He did? I play the tubaó BABE Yeah, I know. LONGFELLOW What did he play? BABE The drums. He taught me to play some. LONGFELLOW He did? BABE Yes. I can do "Swanee River." Would you like to hear me? LONGFELLOW (enthusiastically) Sure! 147. MEDIUM SHOT She picks up a couple of branches. With the two sticks she drums on the bench seat - and sings "Swanee River." When she is finished, though clearly delighted, he shows her a long face of mock-disappointment. BABE Oh, I suppose you could do better. LONGFELLOW Sure. I can sing "Humoresque." ? 398 ? BABE "Humoresque"? I'll bet you don't even know how it goes. LONGFELLOW Sure. Look! You sing it over again, and I'll do "Humoresque" with you. BABE It had better be good. She starts again, and he sings "Humoresque" in counterpoint to her drumming. CUT TO: EXT. PARK - BEHIND SOME BUSHES 148. CLOSE SHOT - BOB AND FRANK They wait with their camera. When they hear the singing, they look up, and then at each other in surprise. BOB I wonder if they'd want to make it a quartet. FRANK Shhh! 149. MEDIUM SHOT Longfellow and Babe. They are having a grand time with their singing. A policeman saunters into the scene and stands watching them for a few seconds, without their being conscious of his presence. He smiles, shakes his head and passes on out of scene. Over the shot we hear the low moan of a siren in the distance. 150. CLOSE SHOT - THE TWO They reach the climax of their song - and laugh joyously. At this moment, the shrieking of the siren is nearer and louder. Longfellow looks up quickly. Excited, he jumps up and runs toward street. Babe looks up, surprised. LONGFELLOW (as he runs off) Fire engine! Fire engine! I want to see how they do it. Wait for me, will you? 151. CLOSE SHOT - BOB AND FRANK BEHIND BUSHES Frank grabs the camera. FRANK Looks like the evening is not going to be wasted! 152. MEDIUM SHOT They dash by the policeman, who looks up, startled. 153. LONG SHOT As the fire engine slows down - and people are beginning to gather. We see Longfellow running toward the truck and hopping aboard. 154. MED. SHOT AT FIRE TRUCK As Longfellow jumps on. ? 399 ? FRANK Hello - what do you want? LONGFELLOW (short salute) Captain Deeds - fire volunteer - Mandrake Falls. FIREMAN (amused) Hi, Cap! Boys, meet the Captain! 155. LONG SHOT - REVERSE ANGLE Bob and Frank running with their cameras toward Longfellow. DISSOLVE TO: INT. LIVING ROOM OF MABEL DAWSON'S STUDIO 156. CLOSEUP Of typewriter carriage. It contains a paper upon which the following is typed: "CINDERELLA MAN FIRE-EATING DEMON" "Longfellow Deeds, 'The Cinderella Man,' last night threw a 'defy' into the teeth of the New York Fire Department, that when it comes to extinguishing conflagrations - they had better look to their laurelsó" CAMERA PULLS BACK and we find Babe, staring at the sheet of paper in front of her. Her eyes have a distant look. 157. FULL SHOT Several feet away from her Mabel Dawson stands in front of an easel, working silently on a painting. She dabs at it and turning, pauses a moment to watch Babe, who at the moment rests her forehead on the typewriter carriage. MABEL (softly) What's the matter, hon? BABE (quickly) Nothing. Babe is too much absorbed to hear this. Getting no response, Mabel turns and studies her for a few seconds. MABEL What's up, Babe? Something's eating you. BABE No. It's nothing. MABEL My unfailing instinct tells me something's gone wrong with the stew. BABE (murmuring) Don't be ridiculous. ? 400 ? She again resumes her typing. Mabel crosses to her and looks over her shoulder. MABEL You haven't gotten very far, have you? That's where you were an hour ago. Come on, let's knock off and go down to Joe's. The gang's waiting for us. BABE (jumping up) I can't write it, Mabel! I don't know what's the matter with me. Babe lights a cigarette. Mabel studies her. MABEL (quietly) Uh-huh. I think I can tell you. The phone bell rings. Mabel picks it up. 158. CLOSE SHOT AT PHONE MABEL (into phone) Hello . . . (listens) Yes, she's here. Who wants her? (listens) Who? (listens) Oh, yes. Yes, just a moment. (her hand over the mouthpiece) It's him - whatcha-ma-call-him - the "Cinderella Man." The "Cinderella Man"! Babe grabs the phone. BABE Hello. INT. LONGFELLOW'S BEDROOM 159. CLOSE SHOT - LONGFELLOW Who lies dressed in bed, phone in hand. LONGFELLOW (into phone) Couldn't sleep. Kinda wanted to talk to you. Do you mind? INT. MABEL'S LIVING ROOM 160. CLOSE SHOT - BABE AT PHONE BABE (sincerely) No - not at all. I couldn't sleep either. INT. LONGFELLOW'S BEDROOM 161. CLOSE SHOT - LONGFELLOW At phone. ? 401 ? LONGFELLOW I wanted to thank you again for going out with me. (listens) Huh? Well, I don't know what I'd do without you. You've made up for all the fakes that I've met. CONTINUATION SCENE 160 BABE Well, that's very nice. Thank you. CONTINUATION SCENE 161 LONGFELLOW You know what I've been doing since I got home? Been working on a poem. (listens) It's about you. (listens) Sometimes it's kinda hard for me to say things - so I write 'em. CONTINUATION SCENE 160 BABE (touched) I'd like to read it some time. She listens for a moment, apparently moved by his sweetness. CONTINUATION SCENE 161 LONGFELLOW Maybe I'll have it finished next time I see you. (listens) Will I see you soon? (listens) Gosh, that's swell, Mary. (listens) Good night. He hangs up, and lies back - enthralled. CONTINUATION SCENE 160 BABE Good night. INT. APT. LIVING ROOM 162. MED. CLOSE SHOT - AT PHONE BABE Mabel, that guy's either the dumbest, the stupidest, the most imbecilic idiot in the world - or he's the grandest thing alive. I can't make him out. 163. MED. CLOSE SHOT - THE TWO MABEL (knowingly) Uh-huh. ? 402 ? BABE I'm crucifying him. MABEL People have been crucified before. BABE Why? Why do we have to do it? MABEL You started out to be a successful newspaper woman, didn't you? BABE Yeah, then what? MABEL (shrugging) Search me. Ask the Gypsies. BABE Here's a guy that's wholesome and fresh. To us he looks like a freak. You know what he told me tonight? He said when he gets married he wants to carry his bride over the threshold in his arms. MABEL The guy's balmy. BABE Is he? Yeah, I thought so, too. I tried to laugh, but I couldn't. It stuck in my throat. MABEL Aw, cut it out, will you? You'll get me thinking about Charlie again. BABE He's got goodness, Mabel. Do you know what that is? MABEL Huh? BABE No - of course you don't. We've forgotten. We're too busy being smart-alecks. (sits at her typewriter) Too busy in a crazy competition for nothing. FADE OUT: FADE IN SERIES OF INSERTS: "Cinderella Man Fire-Eating Demonó Punches Photographer." DISSOLVE TO: "Cinderella Man to Reform Operaó ? 403 ? Must be put on paying basis - or else - says post-card poet." DISSOLVE TO: "Madame Pomponi, Famous Opera Singer, To Launch Deeds on Social Career" DISSOLVE TO: INT. LONGFELLOW'S BEDROOM 164. MEDIUM SHOT Longfellow is in bed in his pajamas, playing the tuba. Walter enters. WALTER I beg pardon, sir. I beg pardon, sir. Longfellow stops, looking daggers at him. WALTER Madame Pomponi is on the telephone, sir. LONGFELLOW Who? WALTER Madame Pomponi. She says everything is all set for the reception. LONGFELLOW What do you mean by coming in here when I'm playing? WALTER But she's on the telephoneó LONGFELLOW Get out. (pointing) The evil finger's on you. Get out! Walter hurries out. Longfellow jumps up and chases him down the grand staircase. Longfellow stops at the top of the stairs, struck by an idea. INT. GRAND STAIRCASE 165. WIDE ANGLE Showing Walter at the bottom of the stairs and Longfellow at the top. LONGFELLOW Stop! Walter halts. Longfellow gives a shout from the top of the stairs. There is a discernible echo. LONGFELLOW Hey, did you hear that? WALTER What, sir? ? 404 ? Longfellow gives another shout. There is another echo. He tries it again - louder. Another echo. It is all very satisfactory. WALTER (pleased) Why, that's an echo, sir! LONGFELLOW You try it. WALTER (timidly) Me, sir? LONGFELLOW (an order) Yeah. Walter gives a bird-like hoot. There is an echo. LONGFELLOW (firmly) Louder. Walter gives a louder hoot. And louder. Each time, an echo. A butler in a bathrobe emerges to see what all the hullabaloo is about. Longfellow spots him. LONGFELLOW (to butler) You try it. BUTLER Me, sir? But the butler clearly relishes the opportunity. He gives a little high-pitched squeak. LONGFELLOW Louder! The butler tries it again - much better. Another man-servant has emerged. Longfellow points to him. LONGFELLOW You try it! The man-servant tries it - very raspy, another tone altogether. LONGFELLOW (waving like a conductor) All together! A symphony of hoots, shrieks, barks and echoes. LONGFELLOW Again! The household staff do it again. ? 405 ? LONGFELLOW (surveying the scene - then, dramatically) Let that be a lesson to you. With that, Longfellow spins on his heel and returns to his bedroom. There is a pause. The butler takes command of the other two. BUTLER (gesturing imperiously) Go back to your room, both of you! Walter and the man-servant hasten to exit. The butler waits until nobody is looking, then gives one, final hoot. He murmurs to himself with satisfaction as he exits. DISSOLVE TO: EXT. LONGFELLOW'S HOME - NIGHT 166. LONG SHOT Limousines arriving - from which guests emerge - in full evening dress. INT. DRAWING ROOM - NIGHT 167. MED. SHOT AT DOOR Madame Pomponi greets a group of guests. Ad-lib chatter is heard. From inside music emanates. AD-LIB CHATTER Oh, hello darling. So good of you to come. Sweet of you to ask me. Where is he? I'm just dying to see the "Cinderella Man." CAMERA MOVES SWIFTLY among groups of people picking out vignettes of conversation. Longfellow is the hot topic. A husband and a wife whispering: A HUSBAND Shh! - he may hear you. A WIFE Even if he heard you, he wouldn't understand. A man and a woman gossiping: A MAN I hear he still believes in Santa Claus. A WOMAN Will he be Santa Claus? That's what I want to know. Another man holding forth to two elegantly-dressed women: ANOTHER MAN Have you all got your slippers ready for the "Cinderella Man"? ? 406 ? WOMEN (ad-lib) Yes, I have. Everybody laughs. FIRST WOMAN With $20,000,000, he doesn't have to have looks! 2ND WOMAN He won't have it long with that Pomponi woman hanging around him. Two women in evening dress twittering like birds: FIRST WOMAN (to other woman) My dear, I hear he can't think unless he plays his tuba! DISSOLVE TO: INT. MABEL'S BEDROOM 168. FULL SHOT Babe is listlessly packing her few things in a small handbag. She slowly and meticulously folds a silken undergarment, wrapping it in tissue. Her eyes have a distant look. Mabel watches her, concerned. There is a long pause before either of them speaks. MABEL (breaking the silence) You're a fool, Babe. BABE I just couldn't stand seeing him again. MABEL Running away is no solution. 169. MED. CLOSE SHOT - THE TWO Babe is unresponsive. MABEL (after a pause) What'll I tell him if he calls up? BABE Tell him I had to leave suddenly. I got a job in China - some place. MABEL You're acting like a school girl. BABE (suddenly - tensely) What else can I do? Keeping this up is no good. He's bound to find out sometime. (softly) At least I can save him that . They are suddenly startled by the boisterous entrance of Bob and Frank, whose voices are heard as they barge in. ? 407 ? 170. MEDIUM SHOT Babe, not wishing to explain to them, hides her bag - and follows Mabel to greet them in the living room. INT. LIVING ROOM 171. MED. FULL SHOT The boys cross to a table and drop their cameras. BOB AND FRANK Say, where is everybody? Come on, Babe - the artillery's ready. Mabel enters. Babe stands in doorway. MABEL (by way of greeting) It's those two sore spots again. BOB You shoulda been down to the office today, Babe. FRANK Yeah. Mac threw Cobb out again. BOB Boy, was he burning. FRANK (reaching for a bottle) Just one little drink - and then we're ready to shoot. MABEL (grabbing it away) Just a minute. No, you don't. BABE We're not going out tonight. BOB Thought you had a date with him. 172. CLOSE SHOT - BABE BABE It's off. He's having a party at his house. 173. MED. CLOSE SHOT Frank, Bob and Mabel. FRANK Say, what's the matter with her now ! MABEL You wouldn't know if I drew you a diagram. Now, run along and peddle your little tin-types. BOB What is this? Throwing us out of here's getting to be a regular habit. There is a knock on the door. They all look up. ? 408 ? 174. CLOSE SHOT AT DOOR As Mabel opens the door slightly. We see Longfellow. Mabel's eyes open in surprise. LONGFELLOW Is Mary Dawson here? I'm Longfellow Deeds. 175. CLOSE SHOT - BOB AND FRANK They stand - stupefied. 176. CLOSE SHOT - MABEL She waves her hand back of her, for them to hide. MABEL (loud - for the boys) Oh! Oh, yes, of course. Longfellow Deeds. Come in. Step in, please. 177. CLOSE SHOT - BOB AND FRANK They duck behind the sofa, CAMERA PANNING WITH THEM. 178. FULL SHOT Longfellow enters. Mabel closes the door behind him, watching him speculatively. Longfellow turns to Mabel. LONGFELLOW You're Mabel - her sister - aren't you? MABEL (flustered) Huh? Oh, yes - yes, of course. Her sister. Yes, I've been her sister for a long time. LONGFELLOW Is she home? MABEL Yeah. What? LONGFELLOW Is Mary home? They look at each other stupidly - smiling feebly. 179. CLOSE SHOT ON TABLE Featuring the camera. A hand comes in from behind the sofa and yanks the camera out of sight. 180. MEDIUM SHOT Mabel and Longfellow still standing, looking at each other. MABEL Oh, Mary? Yes, of course. Well, I don't know whether she's home or not. I'll see. As she turns, Babe appears in doorway. MABEL Why there she is! Of course she's home. (feebly) Stupid of me . . . ? 409 ? BABE Hello. LONGFELLOW Hello, Mary. I waited in the park for you over an hour. I thought maybe you'd forgotten. 181. MED. CLOSE SHOT - LONGFELLOW AND BABE Mabel in b.g. BABE I didn't think you could come with the party and everything. LONGFELLOW Oh, I wouldn't let them stop me from seeing you. So I threw them out! BABE You threw them out! 182. CLOSER SHOT MABEL You meanó (gesturing with hands) óby the neck or something? LONGFELLOW Sure. They got on my nerves, so I threw 'em out. Mabel raises her eyebrows. LONGFELLOW I guess that'll be in the papers tomorrow. It will give 'em something else to laugh at. 183. CLOSEUP - BABE Her face clouds - miserably. LONGFELLOW'S VOICE (lightly) I don't mind though. I had a lot of fun doing it. BABE (quickly) Would you like to go for a walk? 184. MED. CLOSE SHOT LONGFELLOW Yes, if it isn't too late. BABE (going to bedroom) I'll get my hat. She disappears, leaving Mabel and Longfellow again staring at each other, self-consciously. Mabel smiles, ill-at-ease. ? 410 ? LONGFELLOW Nice day out - er, nice night - wasn't it? - isn't it? MABEL (tremulously) Yes, lovely. We've had a lot of nice weather lately. LONGFELLOW (after a pause) It would be a nice night to go for a walk, don't you think? MABEL Oh yes, I think it'd be a swell night to go for a walk. A nice long one. 185. CLOSE SHOT - BEHIND SOFA Bob and Frank, holding their breaths. 186. MEDIUM SHOT Babe comes out of bedroom. BABE Ready? LONGFELLOW Gosh, she looks better every time I see her. BABE (vaguely) Thank you. She crosses to the door. LONGFELLOW (to Mabel) Goodnight. Don't worry. I won't keep her out late. MABEL Thank you so much. Good night. They exit. Mabel sighs relievedly. The boys jump from their crouching positions. FRANK (wobbling forward) Ow! My foot's asleep! BOB (grabbing camera) Come on - let's go! Frank grabs his camera and both bolt toward the door. Mabel gets there one step ahead of them, and blocks their path. MABEL No, you don't. Just a minute. No more photographs. ? 411 ? DISSOLVE TO: EXT. FRONT OF BABE'S HOME 187. CLOSE TRUCKING SHOT As they walk slowly down the front steps. LONGFELLOW The reason why I wanted to take a walk, Mary, is 'cause I wanted to talk to you. BABE Let's just walk, okay? LONGFELLOW All right. 188. CLOSE TRUCKING SHOT As they walk along a foggy street, on their faces. LONGFELLOW Mary, I'm going home. BABE Are you? When? LONGFELLOW In a day or so, I think. BABE I don't blame you. 189. CLOSE TWO SHOT Continuing on them, as they slowly walk around the block. LONGFELLOW A man ought to know where he fits in. I just don't fit in around here. I once had an idea I could do something with the money, but they kept me so busy here, I haven't had time to figure it out. I guess I'll wait till I get back home. There is a long pause. Both lost in their own thoughts. LONGFELLOW Do you mind if I talk to you, Mary? You don't have to pay any attention to me. BABE No, I don't mind. LONGFELLOW All my life, I've wanted somebody to talk to. Back in Mandrake Falls, I always used to talk to a girl. BABE A girl? LONGFELLOW Oh, an imaginary one. I used to hike a lot through the woods and I'd always take this girl ? 412 ? with me so I could talk to her. I'd show her my pet trees and things. Sounds kind of silly but we had a lot of fun doing it. (smiling) She was beautiful. (then moodily) I haven't married 'cause I've been kinda waiting. You know, my mother and father were a great couple. I thought I might have the same kind of luck. I've always hoped that some day that imaginary girl would turn out to be real. They have arrived back at the front steps of Babe's home. LONGFELLOW Well, here we are again. BABE Yes, here we are again. (after a pause) Good night. LONGFELLOW (then, quickly - his voice faltering) Mary - I - excuse meó 190. CLOSE TWO SHOT Favoring Babe. She cuts him off, her voice shaking. BABE Goodbye, darling. Don't let anybody hurt you again - ever. They can't anyway. You're much too real. You go back to Mandrake Falls. That's where you belong - goodbye! 191. WIDER ANGLE She runs up the steps. LONGFELLOW Maryó She stops and turns. He walks up close to her. 192. CLOSER SHOT - THE TWO LONGFELLOW You know the poem I told you about? It's finished. His hand goes to his breast pocket - and then slowly is withdrawn - without bringing out the poem. LONGFELLOW Would you like to read it? It's to you. BABE (scarcely audible) Yes, of course. He now takes the poem out. The paper is folded. He hands it to her and she slowly unfolds it. Just as she is about to read Longfellow lays a hand on her arm. ? 413 ? LONGFELLOW (a little frightened) You don't have to say anything, Mary. You can tell me tomorrow what you think. She looks into his eyes, but does not respond. Then she holds the paper up and begins reading. Longfellow watches her anxiously. 193. CLOSEUP - BABE Reading softly: BABE "I tramped the earth with hopeless beat - Searching in vain for a glimpse of you. Then heaven thrust you at my very feet, A lovely angel - too lovely to woo." The last words come with difficulty. Babe's eyes are slowly welling up. 194. CLOSE SHOT - THE TWO Babe continues reading: BABE "My dream has been answered, but my life's just as bleak, I'm handcuffed and speechless in your presence divine - For my heart longs to cry out, if it only would speak, 'I love you, my angel - be mine, be mine.' " Her voice is choked when she finishes. She does not look up until she refolds the paper. He stands close to her, waiting expectantly. Finally, she glances up. Her cheeks are moist, and her face clouded. Impulsively, she throws her arms around his neck, kissing him. BABE Oh, darling! Longfellow's arms encircle her and for a few moments they remain in an emotional embrace. LONGFELLOW (huskily) You don't have to say anything now. I'll wait till tomorrow - till I hear from you. 195. CLOSEUP - BABE Her eyes are beset with fears. She loves him - but knows how hopeless it all is. She slowly starts freeing herself from his embrace. 196. MED. CLOSE SHOT - THE TWO As Babe, weeping softly, frees herself from his embrace. Longfellow gives a yelp of joy and leaps down the steps. He trips over a garbage pail and bumps into passersby, making a racket as he zigzags down the street and out of scene. ? 414 ? A VOICE (shouting) Hey, what's the big idea? FADE OUT: FADE IN INT. NEWSPAPER OFFICE - DAY 197. CLOSE SHOT - MAC Behind his desk. MAC Stop it, Babe! Stop it! What do you mean, you're quitting! You might as well tell me I'm quitting. As he speaks, CAMERA DRAWS BACK to reveal Babe near a window, peering out moodily. Mac crosses over to her side. MAC What's bothering you, huh? BABE (after a pause) Last night he proposed to me. MAC Proposed to you! You mean he asked you to marry him? BABE Yes. MAC (alert) Why, Babe - that's terrific! (sees it in print) "Cinderella Man Woos Mystery Girl! Who is the Mysterious Girl Tható" BABE Print one line of that, and I'll blow your place up! 198. MED. CLOSE SHOT - THE TWO MAC Sorry, Babe. Sorry. It would have made a swell story. I just got carried away. That's too bad. So he proposed to you, huh? (intrigued) What a twist! You set out to nail him - and heó BABE (bitterly) Yeah. Funny twist, isn't it? MAC (suddenly) Say, you haven't gone and fallen for that mug, have you? ? 415 ? Babe's silence is eloquent. MAC Well, I'll beó He places an arm tenderly around her shoulder. MAC That's tough, Babe. Babe smiles wryly. MAC (interested) What're you going to do? BABE (walking away) I'm going to tell him the truth. MAC Tell him you're Babe Bennett? Tell him you've been making a stooge out of him? BABE I'm having lunch with him today. He expects an answer. It's going to be pretty. MAC You're crazy! You can't do that! 199. MED. CLOSE SHOT - THE TWO Over their shoulders, from behind, as Mac comforts her. BABE He'll probably kick me right down the stairs. I only hope he does. MAC I'll put you on another job. You need never see him again, eh? BABE That's the rub. MAC Oh, as bad as that, huh? BABE (far-away) Telling him is the long shot - I'm going to take it. He watches her sympathetically. Babe sighs resignedly. BABE (looking around) Well, it was fun while it lasted, Mac. I'll clean out my desk. She leaves him. Mac is deeply moved by her problem. ? 416 ? DISSOLVE TO: INT. GRAND STAIRCASE 200. WIDE SHOT As Longfellow, in a buoyant mood, emerges from his room and slides down the bannister of the grand staircase. INT. INTIMATE DINING ROOM 201. MEDIUM SHOT Table is set for two. Two butlers putter around. Longfellow enters full of expectant enthusiasm. He is in his shirt sleeves. He hovers over them, checking their preparations. LONGFELLOW How's it going? Okay? BUTLER Yes, quite all right. Thank you, sir. LONGFELLOW (picking up a salt shaker and examining it) Gold, eh? BUTLER (as he continues his puttering) Yes, sir. LONGFELLOW Fourteen carat? BUTLER Yes, sir. LONGFELLOW Is that the best you've got? BUTLER Oh, yes sir. LONGFELLOW (seizing on another detail) Those flowers are too high. Won't be able to see her. (lifts a bowl of flowers off) Get a smaller bowl, will you? BUTLER (repeating his command as he hands the bowl to the other butler) A smaller bowl of flowers. 2ND BUTLER (exiting with flowers) Yes, sir. A smaller bowl of flowers. LONGFELLOW (to butler) Did you get that stuff I was telling you about? BUTLER Stuff, sir? ? 417 ? LONGFELLOW That goo. That stuff that tastes like soap. BUTLER Oh, yes, sir. Here it is, sir. The pate de fois gras, sir. LONGFELLOW Yeah, that's fine. Have a lot of it because she likes it. BUTLER Yes, sir. The other butler returns with a small bowl of flowers which he places in the center of the table. LONGFELLOW Now you got the idea. Fine. He sits in one of the chairs and leans forward in an imaginary conversation with Babe - his lips move but we hear nothing. LONGFELLOW (motions to butler) Sit over there, will you? BUTLER Me sir? LONGFELLOW Yes. The butler sits. LONGFELLOW Yes. You're too tall. Slink lower, will you? The butler does it. LONGFELLOW More. Now forward. They are practically nose to nose over the flowers. BUTLER (seriously) How is this, sir? LONGFELLOW (rising) Perfect! Perfect! BUTLER I wish you luck, sir. LONGFELLOW Thank you. Now don't touch a thing. Leave everything as it is. He hurries toward his bedroom. ? 418 ? DISSOLVE TO: INT. BEDROOM 202. FULL SHOT Longfellow enters. LONGFELLOW (yelling) Walter! Walter! Walter, where are you? Walter enters, panic-stricken. WALTER Yes, sir. What is it, sir? Anything happened3 203. MED. CLOSE SHOT LONGFELLOW Anything happened? I've got to get dressed! I can't meet her like this! WALTER But she isn't due for an hour, sir. LONGFELLOW An hour? What's an hour! You know how time flies, Walter. My tie? Get it. WALTER Yes, sir. Very good, sir. Here it is right here, sir. There, sir. While putting it on, he sings "Humoresque" loudly and gaily. 204. MEDIUM SHOT At this moment, Cobb bursts in - his face grim: COBB Just as I suspected, wise guy! I don't mind you making a sap out of yourself - but you made one out of me, too. LONGFELLOW (to Walter - merrily) Will you tell the gentleman I'm not in? COBB Mary Dawson, huh? Mary Dawson, my eye. That dame took you for a sleigh ride that New York will laugh about for years. She's the slickest, two-timing, double-crossingó At the mention of the name, Longfellow turns for the first time. 205. CLOSEUP - LONGFELLOW His face goes livid, as Cobb's voice continues: LONGFELLOW (between clenched teeth) What are you talking about? ? 419 ? 206. MEDIUM SHOT Longfellow has started out toward him. In two long strides, Longfellow has grabbed Cobb by the shirt-front, ready to strangle him. COBB All right. Go ahead. Sock away, and then try to laugh this off. With his free hand, he reaches into his coat pocket. He unrolls a newspaper. Longfellow shifts his glance over to the photograph in the newspaper Cobb holds up, and slowly his grip on Cobb relaxes. He takes the newspaper. 207. CLOSEUP - LONGFELLOW As he looks at the picture. INSERT: PICTURE OF BABE BENNETT Under which is the following: "Louise (Babe) Bennett - wins Pulitzer Prize for reportorial job on Macklyn love triange." BACK TO SCENE Longfellow stares long and unbelievingly at the picture. 208. MED. CLOSE SHOT - COBB AND LONGFELLOW COBB (adjusting his clothes) She's the star reporter on The Mail. Every time you opened your kisser, you gave her another story. She's the dame who slapped that monicker on you - "Cinderella Man." You've been making love to a double dose of cyanide! LONGFELLOW (an outcry) Shut up! Longfellow, stunned, crosses to the bed - CAMERA PANNING WITH HIM. He slumps down and continues staring at picture. 209. MEDIUM SHOT Cobb crosses to phone and picks up receiver. CUT TO: INT. NEWSPAPER OUTER OFFICE 210. MED. CLOSE SHOT Babe is at her desk. She has just finished rummaging through her desk. Many articles are on top. Mac is by her side. Babe flicks the pages of a small loose-leaf book, and hands it to Mac. BABE This is for you , Mac. The names of all the headwaiters in town. You can always buy a bit of choice scandal from them at reasonable prices. MAC Aw, listen Babe, I can't let you quit now. You're not going through with this thing, are you? ? 420 ? Babe shakes her head with finality, as the phone bell rings. MAC (picking up receiver) I've seen 'em get in a rut like you before - but they always come back. (into phone) Hello . . . Yes. Just a minute. He holds the receiver out to her. MAC It's for you. In a couple weeks you'll get the itch so bad, you'll be working for nothing. BABE (into phone) Hello . . . INT. LONGFELLOW'S BEDROOM 211. MEDIUM SHOT Cobb is at the phone. COBB Babe Bennett? Just a minute. He listens and hands phone to Longfellow. LONGFELLOW (into phone) Hello, Mary? INT. NEWSPAPER OUTER OFFICE 212. CLOSE SHOT - BABE BABE (at phone) Oh, hello darling. Her face goes dead as she realizes she is speaking to Longfellow. INT. LONGFELLOW'S BEDROOM 213. CLOSE SHOT - LONGFELLOW LONGFELLOW (at phone; strained) Is it you who's been writing those articles about me? INT. NEWSPAPER OUTER OFFICE 214. CLOSE SHOT - BABE At phone. BABE Why - uh - I was just leaving - I'll be up there in a minuteó (listens) Look - uh, yes, I did - but I was just coming up to explainó The words die in her throat. She looks dully at the receiver. ? 421 ? INT. LONGFELLOW'S BEDROOM 215. CLOSEUP - LONGFELLOW BABE'S VOICE (coming over phone) Oh listen, darling, wait a minute! Please! Listenó He hangs up. His face is a dead mask, every illusion shattered. Slowly, a wry smile appears on his face and, rising, he wanders around the room in deep abstraction. Cobb and Walter watch him sympathetically. Longfellow is silent a long time. 216. MEDIUM SHOT As a butler enters. BUTLER I beg pardon, sir. Shall I serve the wine with the squab, sir? Longfellow doesn't hear him. BUTLER (tries again) I beg pardon, sir. 217. CLOSEUP - COBB His face softens. COBB If I knew you were going to take it so hard, I woulda kept my mouth shut. Sorry. 218. MEDIUM SHOT As finally Longfellow speaks, without turning. LONGFELLOW (quietly) Pack my things, Walter. I'm going home. WALTER Yes, sir. He immediately busies himself. DISSOLVE TO: INT. CORRIDOR 219. WIDE SHOT Longfellow emerges from his bedroom, walking briskly toward the staircase, immediately followed by Cobb and Walter. Walter is loaded down with suitcases. Longfellow is wearing coat and hat. COBB (trying to keep up with Longfellow) You shouldn't be running away like this. What's going to happen to the Estate? LONGFELLOW They can have the Estate. ? 422 ? As they approach the staircase, a commotion is heard from stairs. Cobb hurries ahead to see what is going on. INT. GRAND FOYER 220. MEDIUM SHOT Two butlers are struggling with a wild-eyed man of middle age. They shout in unison. BUTLERS (simultaneously) FARMER You can't come up here! Let me go! I wanna see him! He's not home, I tell you! I wanna see that guy! We'll send for the police! Let me go! They continue to struggle as Cobb reaches them. COBB What's going on here? The man yanks himself free. FARMER There he is! I just wanted to get a look at him. He sees Longfellow over Cobb's shoulder. FARMER There you are! I just wanted to see what kind of a man you were! He struggles to thrust Cobb aside. 221. FULL SHOT Favoring Longfellow, who has reached the bottom of the staircase and watches the man warily. FARMER (wildly) I just wanted to see what a man looks like that can spend thousands of dollars on a party - while people around him are hungry! The "Cinderella Man," huh? Did you ever stop to think how many families could have been fed on the money you pay out to get on the front pages? Cobb forcibly restrains the man. COBB Come on! Take him out of here! FARMER Let me go! LONGFELLOW (an order) Let him alone. FARMER Let me alone! (threateningly) If you know what's good for you - you'll let me get this off my chest! ? 423 ? (to Longfellow) How did you feel feeding doughnuts to a horse? Get a kick out of it, huh? Got a big laugh? (sarcastically) Did you ever think of feeding doughnuts to human beings! No! Longfellow stares at him. WALTER (quietly) Shall I call the police, sir? LONGFELLOW No! (to man) What do you want!! FARMER Yeah - that's all that's worrying you. What do I want? A chance to feed a wife and kids! I'm a farmer. A job! That's what I want! LONGFELLOW A farmer, eh! You're a moocher, that's what you are! I wouldn't believe you or anybody else on a stack of bibles! You're a moocher like all the rest of them around here, so get out of here! FARMER Sure - everybody's a moocher to you. A mongrel dog eating out of a garbage pail is a moocher to you! COBB (starting to push him towards the door) This won't do you any goodó The man shoves him away, suddenly whips out a gun and levels it at him. FARMER Stay where you are, young feller. Get over there. Cobb backs away and the man points the gun at Longfellow, who remains staring at him, immobilely. FARMER (tensely) You're about to get some more publicity, Mr. Deeds! You're about to get on the front page again! See how you're going to like it this time! (voice rises) See what good your money's going to do when you're six feet under ground. You never thought of that, did you? No! All you ever thought of was pinching pennies - you money-grabbing hick! You never gave a thought to all of those starving peopleó ? 424 ? (his voice wavers) óstanding in the bread linesó (huskily) ónot knowing where their next meal was coming from! Not able to feed their wife and kids. (voice breaks) Not able toó He can't go on. A sob escapes. He reaches up and brushes away a tear with a rough hand. It seems to bring him to his senses. He glances down and seeing the gun in his hand - stares at it in surprise. He realizes what he was about to do. FARMER (scarcely audible) Oh! 222. MED. SHOT - THE GROUP The man slumps into a chair and the gun drops to the floor. Cobb bends quickly and picks it up. Longfellow never moves. FARMER (dead voice - staring into space) I'm glad I didn't hurt nobody. Excuse me. He turns his head slowly and peers at them with non-seeing eyes, then suddenly he hides his face in his hands and sobs. FARMER (muffled) Crazy. You get all kinds of crazy ideas. Longfellow watches him pityingly. FARMER Sorry. I didn't know what I was doing. The rest of it seems to come out of him effortfully - his voice breaking. FARMER Losing your farm after twenty years' work - seeing your kids go hungry - a game little wife saying "Everything's going to be all right." (stridently) Standing there in the bread lines. It killed me to take a handout. (pathetically) I ain't used to it. (resigned) Go ahead and do what you want with me, mister. (scarcely audible) I guess I'm at the end of my rope. He sobs openly. While he was speaking, Longfellow was peering into the man's face intently. As the man finishes DISSOLVE TO: EXT. INTIMATE DINING ROOM 223. CLOSE SHOT At the table that was all set for Babe. The man sits, eating. He seriously bends over his food. Longfellow sits opposite him - his eyes glued on the man, absorbed in profound thought. ? 425 ? MAN (tentatively) Can I take some of this home with me? Longfellow nods. DISSOLVE TO: INSERT: NEWSPAPER HEADLINES "LONGFELLOW DEEDS TO GIVE FORTUNE AWAY Huge farming district to be divided into ten acre farms - fully equipped - at a cost of eighteen million dollars." WIPE OFF TO: INSERT: SECOND NEWSPAPER HEADLINE "DEEDS' PLAN STARTLES FINANCIAL WORLD" WIPE OFF TO: INSERT: THIRD NEWSPAPER HEADLINE "STAFF OF WORKERS INVESTIGATE APPLICANTS" WIPE OFF TO: INSERT: FOURTH NEWSPAPER HEADLINE "THOUSANDS OF UNEMPLOYED STORM DEEDS HOME FOR FARM DONATIONS" WIPE OFF TO: EXT. LONGFELLOW DEEDS' HOME 224. LONG SHOT A mob of shouting men and women clamor at the gates, being jostled around by the police. INT. LONGFELLOW'S DRAWING ROOM 225. FULL SHOT It has been transformed into an office. Longfellow sits at one end of the room. Clerks are at several desks. On one side and leading out into the hall, is a long line of men waiting to be interviewed. VOICE Go on. Step lively. 226. MED. SHOT At Longfellow's desk. He has a two days' growth of beard and looks worn. Next to him is a clerk. In front of him is an applicant. LONGFELLOW (as the camera moves in on him) Are you married? APPLICANT Yes, sir. LONGFELLOW Any children? ? 426 ? APPLICANT No, no children. LONGFELLOW All right, Mr. Dodsworth. I think you'll qualify. (he hands him a form) Take this to that desk over there for further instructions. APPLICANT (gratefully - exiting) Thank you very much. LONGFELLOW Next, please. A man steps forward and stands in front of his desk. 227. MED. CLOSE SHOT AT DESK Longfellow, clerk and applicant. LONGFELLOW (to clerk) How many does that make? CLERK You've okayed 819. LONGFELLOW (wearily) Is that all? CLERK That's all. LONGFELLOW It's going awfully slow. We need 1100 more. (phone rings) Hello . . . oh, yes. Yes. The water development seems okay - but I don't like the road layout yet. Come up tonight about ten and bring the maps. Right. He hangs up. 228. WIDER ANGLE As the farmer in previous sequence approaches. FARMER Here's the order for the plows. We got a good price on them. LONGFELLOW That's fine. Thanks. I'll look 'em over later. FARMER Oh, Mr. Deedsó Longfellow looks up. Farmer goes on: ? 427 ? FARMER ómy wife wanted me to tell you sheó (hesitates) óshe prays for you every night. LONGFELLOW (embarrassed) Well, thanks, I - uhó (to applicant in front of him) How do you do? What is your name? RANKIN George Rankin, sir. While Longfellow writesó 229. CLOSE SHOT AT A DESK Cobb is on the phone. COBB (into phone) No! No! We're not buying any bulls. What's that? Listen, fellow, bull's what I've been selling all my life! He slams down the receiver. INT. CEDAR'S OFFICE 230. MEDIUM SHOT Cedar behind his desk. In front of him is Henry Semple and his nagging wife. Cedar shoves a paper in front of Semple. CEDAR We have very little time. He's ordered me to turn everything over to him immediately. We have to work fast before he disposes of every penny. WIFE See! I told you something could be done. I knew it all the time. Sign it, dear. SEMPLE (hesitating) We may get into trouble. WIFE Oh, don't be so squeamish. CEDAR There are millions involved. After all, you have your legal rights. You're his only living relatives. 231. CLOSE SHOT AT DESK As Semple picks up the paper. SEMPLE What's it say? WIFE That's your agreement with Mr. Cedar, if we win. ? 428 ? CEDAR You see, my end is going to be rather expensive. I have a lot of important people to take care of. I have the legal machinery all set and ready to go. I've been working on nothing else for the last week. You say the word, and we'll stop this yokel dead in his tracks. WIFE Sign it! SEMPLE Oh, all right. With the perturbed expression still on his face, Semple reaches over to sign the document. Simultaneously, Cedar flicks a button on his dictagraph. CEDAR (into dictagraph) Charlie, we're off! Papers all set? VOICE All set. CEDAR Okay, then. Go to it. (afterthought) And, Charlieó VOICE Yeah? CEDAR Find out who wrote those newspaper articles and subpoena them right away. VOICE Okay. DISSOLVE TO: INT. LONGFELLOW'S DRAWING ROOM 232. MEDIUM SHOT A large, raw-boned Swede stands before Longfellow. LONGFELLOW What is your name? SVENSON Christian Svenson. LONGFELLOW Farmer? SVENSON Yes, ma'am. LONGFELLOW Where is your farm? SVENSON South Dakota north. ? 429 ? LONGFELLOW South Dakota - north? SVENSON South Dakota - but on the top. LONGFELLOW Oh. Oh! 233. WIDER ANGLE Cobb enters, very businesslike. COBB What about your knocking off for lunch? LONGFELLOW Not hungry. I want to get through this work in a hurry, and then I want to go home. What price did you get on those trucks? COBB Come on, come on. What are you trying to do, kid? Keel over? You haven't been out of this house in two weeks. LONGFELLOW (tired) Well, maybe I will have a sandwich. (to Swede) Do you mind waiting a few minutes? SVENSON (undoing paper package) Oh, sure, sure. If you like to have a sandwich, I can give you one, please. He brings out two huge sandwiches, and hands one to Longfellow. LONGFELLOW (smiling) Thanks. Thank you. Never mind, Cobb. He takes it, and he and the Swede silently eat. Longfellow looks up. LONGFELLOW Good. The Swede smiles. Longfellow nibbles his sandwich, then glances around the room. His gaze rests on: 234. LONG SHOT Of the long line of applicants waiting for an audience. 235. MEDIUM SHOT LONGFELLOW (calls to Cobb) Cobb! Get lunch for the rest of them. ? 430 ? COBB (entering) What? There must be 2000 of them out there. LONGFELLOW Well, that doesn't make 'em any less hungry. COBB Okay, Santa Claus. 2000 lunches. He exits. Longfellow glances over at the line, smiling. 236. FULL SHOT In front of the line there is a slight scuffle, as a man is being pushed forward by some others. He mumbles a protest, tries to get back into position, but the men push him forward again. GROUP (ad-lib) Go on, say something. Say something! 237. CLOSEUP - LONGFELLOW He looks up inquiringly. 238. MED. CLOSE SHOT - MEN IN LINE The man finally is resigned, and stands shifting, ill-at-ease, his head hanging bashfully. MAN Mr. Deeds, the boys here wanted me to say a little something. They just wanted me to say tható (clears his throat) Well, they wanted me to say tható (quickly gets it out) We think you're swell - and that's no baloney. MAN'S VOICE Say something more! 239. CLOSE SHOT - LONGFELLOW He smiles self-consciously. 240. MED. CLOSE SHOT OF MEN The spokesman apparently has not finished yet. Directly behind the line, three officious-looking men have made their appearance and wait for him to conclude. MAN Give me a chance, fellas. We're all down and out - but when a fellow like you comes along, kinda gives us a little hope - and they just wanted me to sayó It's as far as he gets - as the three strangers break their way through the line and approach Longfellow's desk. ONE OF THE SHERIFFS (ad-lib) Break it up. 241. MED. SHOT AT DESK FIRST DEPUTY SHERIFF (pointing to Longfellow) That's him. ? 431 ? 2ND DEPUTY SHERIFF Are you Longfellow Deeds? LONGFELLOW (looks up) Yes? FIRST DEPUTY SHERIFF Sheriff's office. (shows paper) We've got a warrant to take you into custody. LONGFELLOW (without moving) A what? FIRST DEPUTY SHERIFF A warrant for your arrest. You'll have to come along with us. Cobb enters. COBB What's up? What do you mugs want? FIRST DEPUTY SHERIFF I don't know nothing, buddy. All I know is the Sheriff gives me an insanity warrant to execute. COBB Insanity! Who's says he's insane? They all turn to Charlie, who comes forward. CHARLIE The complainant is a relative of the late Martin Semple. The charges are that Mr. Deeds is insane and incapable of handling the Estate. COBB Oh, somebody got panic-stricken about his giving his dough away, eh? (to sheriff) Where do you think you're going to take him? FIRST DEPUTY SHERIFF To the County Hospital. CHARLIE Of course, that's only temporary. A hearing will follow immediately. 242. CLOSEUP - LONGFELLOW As he speaks quietly. LONGFELLOW That's fine. Just because I want to give this money to people who need it, they think I'm crazy. (cynically) That's marvelous. That makes everything complete. ? 432 ? 243. WIDER ANGLE To include group. FIRST DEPUTY SHERIFF Let's get going! COBB Wait a minute! Not so fast. We're going to get a lawyer. I'll call Cedar. LONGFELLOW (thoroughly disillusioned) No, don't bother. CHARLIE As a matter of fact, I'm from Mr. Cedar's office. He represents the complainant. COBB Oh. Longfellow glances up at him and smiles bitterly. FIRST DEPUTY SHERIFF Well, let's go. We're wasting a lot of time. He goes to one side of Longfellow, and his partner to the other. They take Longfellow by the arms. He glances down casually and, suddenly, violently pushes the deputies away from him. They are thrown backward; their eyes widen in surprise. LONGFELLOW (calmly rising) All right, I'll go. But get your hands off me! 244. MEDIUM SHOT Longfellow starts to walk forward, accompanied by Cobb - and the two deputies and Charlie fall in behind them. THE SHERIFFS (ad-lib) Make way! Make way! 245. CLOSE SHOTS OF CLERKS To be intercut with above scene. They stare, petrified, and mumble to each other. 246. MEDIUM SHOT Of the farmers and other applicants. The line has fallen out and they stand in a bunch, staring pathetically and hopelessly at the departing group. 247. CLOSEUP OF THE FARMER Who stands in f.g. of bunch. What is taking place has slowly penetrated his befuddled brain. The disappointment he feared is here. His body imperceptibly sags, his eyes dim - all hope having gone out of them. FADE OUT: FADE IN INSERT: SIGN reading: "COUNTY HOSPITAL" ? 433 ? DISSOLVE THRU TO: INT. CORRIDOR OF HOSPITAL 248. MEDIUM SHOT A guard sits at a desk near a door, talking on the telephone. GUARD (on phone) Yes, most everybody in town has been here to see him. Yes, sir. I won't. Goodbyeó Babe rounds the corner quickly, heading for the door. The guard hurriedly hangs up and stands to block her. GUARD Sorry, ladyó (recognizes her) Oh, it's you again. BABE Oh, please! I've got to see him. GUARD Now listen, sister, for the fourteenth and last time he don't want to see nobody. BABE (pleading) Will you just give him my name? GUARD (confidentially) Listen, toots, just between us, there ain't a thing in the world the matter with that guy till I mention your name, then he goes haywire! Babe winces under the blow. INT. HOSPITAL ROOM 249. MEDIUM SHOT Longfellow is seated by the far wall, peering moodily out the window. Cobb paces about. Suddenly, he wheels on Longfellow. COBB What are you going to do - just sit back and let them railroad you? It's as pretty a frameup as ever hit this rotten town! If you'd just let me get you a lawyer! Longfellow pays no attention to him. 250. MED. CLOSE SHOT As Cobb continues. COBB (raises his voice) You can't walk into that courtroom without being ready to protect yourself in the clinches. Cedar's too smart. With the array of talent he's got lined up against you - you're cooked! ? 434 ? Longfellow is still unresponsive. Cobb thinks a moment, watching him studiously; then pleading tenderly: COBB Listen, pal - I know just how you feel. A blonde in Syracuse put me through the same paces. I came out with a sour puss - but full of fight. Come on, you don't want to lay down now. Longfellow is still unresponsive. COBB Do you realize what's happening? They're trying to prove that you're nuts! If they win the case, they'll shove you in the bughouse. The moment they accuse you of it, they have you half licked. You've got to fight! Longfellow disregards him and Cobb sighs, resignedly. INT. CORRIDOR OUTSIDE DOOR 251. MED. CLOSE SHOT The guard is reading his paper. Babe is still waiting, pacing. GUARD Go on, sit down, won't you? 252. MED. CLOSE SHOT AT DOOR As Cobb comes out. The guard gets up to check the door is locked. GUARD So long, Mr. Cobb. Cobb, in a troubled frame of mind, doesn't respond and starts down corridor - CAMERA TRUCKS WITH HIM. Babe catches up with him. BABE Corny! Cobb doesn't stop. Babe grabs his arm: BABE Corny! Cobb stops. 253. CLOSE TWO SHOT Cobb glares at Babe belligerently. BABE I've got to see him! I've got to talk to him! COBB Haven't you done enough damage already? BABE (ignoring his attack) Somebody's got to help him! He hasn't got a chance against Cedar. Look, I've been all over town talking to everybody. I've got Mac all lined up - and the paper's behind him. And I can get him Livingston, too. With a lawyer like Livingston, he's got a fighting chance. ? 435 ? COBB (coldly) You're wasting your time. He doesn't want any lawyers. He's sunk so low, he doesn't want help from anybody. (bitterly) You can take a bow for that. (huskily) As swell a guy as ever hit this town, and you crucified him! For a couple of stinking headlines! You've done your bit - now stay out of his way! He exits abruptly, leaving Babe staring despairingly at his disappearing back, his brutal diatribe ringing harshly in her ears. FADE OUT: FADE IN INSERT: NEWSPAPER HEADLINES "DEEDS SANITY HEARING TODAY! Semple Heir Charged With Incompetency! 'Should Be Confined To An Institution,' Declares Cedar. "Longfellow Deeds Refuses Counsel; Remains Incommunicado." "Farmers Aroused At Efforts to Balk Their Benefactor." "Police Surround Courthouse In Anticipation Of Outbreak." DISSOLVE TO: EXT. COURTHOUSE 254. LONG SHOT Of an unruly mob - being jostled by the police. INT. CORRIDOR OF COURTHOUSE 255. LONG SHOT The corridor is jammed with curious public endeavoring to gain entrance. Perspiring police fight to keep them back. INT. COURTROOM 256. FULL SHOT It is practically full. The few empty seats are being quickly filled. People stumble over each other to find a seat. The judge is not yet at his bench. There is a general chatter of excitement and anticipation. 257. MED. SHOT - FRONT OF COURTROOM Among the spectators Babe sits beside Mac. She stares, expression-less. Mac glances at her sympathetically. 258. MED. SHOT Featuring the farmer who broke into Longfellow's house. Near him is the Swede we saw - and others. ? 436 ? 259. SHOT INSIDE RAILING Cedar and his assistants arrange their papers. Two dignified gentlemen, psychiatrists, await action, arms folded. Near them is Henry Semple, the complainant, his nose twitching nervously. By his side is his wife, sparkling expectantly. 260. SHOT AT LONG TABLE At which sit a dozen newspaper reporters. 261. MED. CLOSE SHOT From a side door Longfellow enters, accompanied by his guard. Immediately the place is astir. As he advances to a chair in front of a tableó 262. MED. FULL SHOT - COURTROOM Necks crane for a glimpse. Whispered conversations take place. 263. CLOSE SHOT - HENRY SEMPLE He looks guilty, nose twitching more violently than ever. SEMPLE (to Cedar) Here he is! 264. CLOSE SHOT - BABE AND MAC Babe sits up, her eyes riveted on Longfellow. Impulsively she starts to rise, but Mac puts a restraining hand on her. 265. MED. CLOSE SHOT Longfellow turns neither to left nor right. He is slumped low in his chair, staring solemnly into space. Cobb breaks into scene and sits down beside him. COBB (full of excitement) Cedar just sent for me. Wants to make a settlement. Here's your chance to get out of the whole mess. What do you say? He gets no response from Longfellow. There is a stir in the courtroom. 266. MED. LONG SHOT The bailiff calls out as the Judge proceeds to his bench. BAILIFF Quiet, please! The Supreme Court of the State of New York, County of New York, is now in session, the Honorable John May, Judge, presiding. Be seated. 267. MED. CLOSE SHOT To include Judge and Longfellow. JUDGE The court wishes to warn those present that it will tolerate no disturbances. (to Longfellow) Regarding the sanity hearing of Longfellow Deeds, are you represented by counsel, Mr. Deeds? ? 437 ? Almost imperceptibly, Longfellow shakes his head no. The Judge looks troubled. There is a stir in the courtroom. JUDGE I understand that you have no counsel, Mr. Deeds. In fact, that you have no intention of defending any of these charges. Now, if you wish to change your mind, the hearing can be postponed. Getting no response from Longfellow, the Judge shrugs his shoulders. JUDGE Proceed. DISSOLVE TO: INT. COURTROOM 268. MEDIUM SHOT Cedar is on his feet. CEDAR (addressing the court) óand in the interests of my client, the only other living relative of the late Martin W. Semple, we cannot permit a fortune so huge to be dissipated by a person whose incompetency and abnormality we shall prove beyond any reasonable doubt. 269. PANNING SHOT OF SPECTATORS CEDAR'S VOICE I have before me a series of articles written by a newspaper woman who was an eye-witness to his conduct ever since he came to New York. CAMERA STOPS on Babe and Mac. Cedar's voice goes on: CEDAR She tells how, in the midst of a normal conversation, he would suddenly begin playing his tuba. She tells of his attacks upon several of our eminent writers - for no apparent reason. In fact, there are many instances not recorded in these articles in which Mr. Deeds satisfied an unnatural desire to smash people up without provocation. 270. MED. SHOT - FRONT OF COURTROOM CEDAR I, myself, unable to keep pace with his mental quirks, and constantly fearful of assault, turned down an opportunity to represent him as his attorney. This newspaper woman, whom we have subpoenaed to testify, tells how he tied up traffic for an hour feeding doughnuts to a poor horse. And by his own statement, waiting for that horse to ask for a cup of coffee. ? 438 ? There is laughter in the courtroom - which quickly subsides when the Judge pounds his gavel. CEDAR We have photographs to substantiate this little episode, and other photographs showing Mr. Deeds jumping upon a fire engine. This scarcely sounds like the action of a man in whom the disposition of twenty million dollars may safely be entrusted. This writer of these articles - a woman whose intelligence and integrity in the newspaper world is unquestioned - held him in such contempt that she quite aptly named him "The Cinderella Man." 271. CLOSEUP - LONGFELLOW CEDAR'S VOICE We have witnesses here from Mandrake Falls, his own home town, who will tell of his conduct throughout his lifetime, proving that his derangement is neither recent nor a temporary one. Longfellow's interest is only slightly aroused. He lifts his eyes in a casual glance around him. 272. MED. CLOSE SHOT Featuring Cedar. CEDAR We have others who will tell of his unusual behavior when he invited the great leaders of the musical world to his home, and then proceeded to forcibly eject them. Only recently when he was in the County Hospital for observation, he not only refused to be examined by these gentlemen, the state psychiatrists, but he actually made a violent attack upon them. 273. CLOSE SHOT - THE JUDGE As Cedar continues talking, CAMERA PULLS BACK to WIDER SHOT. CEDAR In these times, with the country incapacitated by economic ailments, and endangered with an undercurrent of social unrest, the promulgation of such a weird, fantastic and impractical plan as contemplated by the defendant, is capable of fomenting a disturbance from which the country may not soon recover. It is our duty to stop it! Our government is fully aware of its difficulties and can pull itself out of its economic rut without the assistance of Mr. Deeds, or any other crackpot. 274. MED. PANNING SHOT Of farmers, the Swede and others. CEDAR'S VOICE His attempted action must therefore be attributed to a diseased mind afflicted with hallucinations of grandeur, and obsessed with an insane desire to become a public benefactor. ? 439 ? 275. CLOSE SHOT AT FRONT OF COURTROOM Featuring Cedar. CEDAR (suddenly) Your Honor, at this time, we would like to call our first witness: Miss Louise - Babe - Bennett. 276. FULL SHOT There is a mild stir, and all wait expectantly for Babe to appear. CLERK Miss Bennett, please. Babe, eyes on Longfellow, slowly walks to the stand. 277. CLOSEUP - LONGFELLOW He has his face averted and doesn't look at her. 278. MEDIUM SHOT Babe continues to rivet her eyes on Longfellow, as she is sworn in. CLERK Raise your right hand, please. She does so. CLERK Do you solemnly swear the testimony you may give before this court to be the truth, the whole truth and nothing but the truth, so help you God? BABE I do. CLERK State your right name, please. BABE Louise Bennett. CLERK Take the stand. 279. MED. CLOSE SHOT AT WITNESS STAND As Cedar steps up to question Babe. Judge in f.g. CEDAR Miss Bennett, are you employed by the Morning Mail? There is no answer. Babe continues to stare off at Longfellow, hoping he will look up. Cedar speaks to her again: CEDAR I must ask you to direct your attention to me. But Babe's attention remains focused on Longfellow. BABE (appealing to Judge) Your Honor, this is ridiculous! ? 440 ? JUDGE Please answer the questions. BABE (wildly) The whole hearing's ridiculous! That man's no more insane than you are. The suddenness of her outbreak is startling. The Judge pounds his gavel. 280. WIDER ANGLE - FRONT OF COURTROOM The Judge pounding his gavel. JUDGE Miss Bennett please! CEDAR This is outrageous! BABE (rising to stand) It's obviously a frameup! They're trying to railroad this man for the money they can get out of him! CEDAR Your Honor! The Judge pounds his gavel throughout her speech. JUDGE (highly) Young lady, another outburst like that and I shall hold you in contempt! We're not interested in your opinion of the merits of this case. You're here to testify. Sit down and answer the questions. Proceed. Cedar beams victoriously. CEDAR Thank you, Your Honor. Are you employed by the Morning Mail? BABE (sharply) No! Cedar's eyes widen in surprise. There is a light stir. CEDAR (threateningly) You are under oath, Miss Bennett. I ask you again - are you employed by the Morning Mail? BABE (irritably) No! I resigned last week! 281. CLOSE SHOT - LONGFELLOW As Cedar proceeds without interruption. ? 441 ? CEDAR'S VOICE Well, prior to that time - were you employed by the Morning Mail? BABE'S VOICE (laconically) Yes. 282. CLOSE SHOT AT WITNESS STAND - BABE AND CEDAR CEDAR Were you given an assignment to follow the activities of Longfellow Deeds? BABE Yes. CEDAR Did you subsequently write a series of articles about him? BABE Yes! CEDAR (holding them up) Are these the articles? BABE Yes! CEDAR Were you present when all these things took place? BABE Yes! CEDAR Are they true! BABE NO!! CEDAR But they did take place? BABE They're colored! Just to make him look silly! CEDAR And you saw them happen? BABE Yes, but Ió CEDAR (preemptorily) That's all, Miss Bennett. BABE (half shrieking) It isn't all! I'd like to explainó ? 442 ? CEDAR (brusquely) That's all, Miss Bennett. That's all. 283. MEDIUM SHOT A bailiff takes Babe by the arm. BAILIFF Come on, miss - come on! CEDAR (simultaneously, to Judge) Your Honor, I'd like to submit these articles as evidence. Babe struggles away from the bailiff. BABE (frantically) Let go of me! (steps up to Judge; wildly) What kind of hearing is this? What are you trying to do - persecute the man? He's not defending himself. Somebody's got to do it! Throughout her tirade, the Judge has been angrily pounding his gavel. JUDGE Miss Bennett, please! 284. CLOSER SHOT Featuring Babe and Judge. BABE I've got a right to be heard! I've attended dozens of cases like this. They're usually conducted without any formality at all. Anybody can be heard! My opinion is as good as these quack psychiatrists. I know him better than they do. JUDGE Miss Bennett, if you have quite finished, I should like to inform you that one more utterance from you and I shall place you under arrest. (leans back) I'm willing to hear anything anyone has to say - but I insist on it being done in an orderly fashion. When you have learned to show some respect for this court, you may return. (dismissing her) Until then, you'd better go back to your seat and calm down. BAILIFF This way, miss. 285. WIDER ANGLE As Babe is led away, there is another courtroom stir. BAILIFF'S VOICE Order in the court! ? 443 ? When Babe is out of sight, the Judge turns to Longfellow. JUDGE Mr. Deeds, have you anything to say in defense of these articles? 286. CLOSE SHOT - LONGFELLOW AND COBB Longfellow shakes his head. Cobb glances to him helplessly. 287. CLOSE SHOT - JUDGE He shrugs. JUDGE Mr. Deeds? (again no reply) Mark these Exhibit A for the plaintiff. CLERK Yes, Your Honor. JUDGE Proceed. 288. CLOSE SHOT - BABE As she sits down beside Mac - who places an affectionate arm around her shoulders. DISSOLVE TO: 289. MED. SHOT - FRONT OF COURTROOM Two old ladies are being led to the witness stand. Their eyelids flutter excitedly as they go. 290. CLOSE SHOT - LONGFELLOW He looks up, sees the old ladies and smiles at them friendily. 291. MED. CLOSE SHOT AT JUDGE'S BENCH Against the drone of the clerk, who swears witnesses in: CEDAR The Falkner sisters are rather timid, Your Honor, and wish to be together. If the court pleases, I will only have one of them testify. JUDGE (impatiently) Yes! Yes! Let's get on with it. Cedar turns to them. 292. MED. CLOSE SHOT AT WITNESS STAND As Cedar addresses one of the old ladies. CEDAR What is your name, please? JANE Jane Falkner. This is my sister, Amy. AMY (agreeing) Yes - Amy. ? 444 ? CEDAR I'll direct my questions to you, Miss Jane. You can answer for both. Do you know the defendant, Mr. Longfellow Deeds? The two old ladies look at each other, then in the direction in which Cedar points. JANE Oh yes, yes - of course we know him. CEDAR (a little nervously) How long have you known him? Jane turns to her sister, and they whisper to each other. JANE (turns to Cedar) Since he was born. AMY Yes. Elsie Taggart was the midwife. JANE He was a seven-months baby. CEDAR Thank you, that's fine. Do you see him very often? The two old ladies have their whispered conference again. JANE Most every day. AMY Sometimes twice. JUDGE (irascibly) Must we have the echo? CEDAR Suppose you just answer, Miss Jane. Now, will you tell the Court what everybody at home thinks of Longfellow Deeds? The two old ladies consult each other once more. JANE They think he's pixilated. AMY Oh yes, pixilated. JUDGE (leaning forward) He's what? CEDAR (concerned) What was that you said he was? ? 445 ? JANE Pixilated. AMY Uh-huh. CEDAR (patiently) Now, that's a rather strange word to use, Miss Jane. Can you tell the court exactly what it means? While the two ladies go into a huddle: 293. CLOSE SHOT - PSYCHIATRISTS As one of them speaks up. PSYCHIATRIST Perhaps I can explain, Your Honor. The word pixilated is an early American expression - derived from the word 'pixies,' meaning elves. They would say, 'The pixies had got him,' as we nowadays would say a man is 'balmy.' 294. MEDIUM SHOT The Judge nods his understanding. The Falkner sisters nod in pleasant agreement. Cedar sighs victoriously. CEDAR Is that correct? JANE Uh-huh. AMY Uh-huh. JUDGE Now tell me, why does everyone think he's - uh - pixilated? Does he do peculiar things? 295. MED. SHOT TOWARD WITNESS STAND JANE (after conferring with Amy) He walks in the rain, without his hat, and talks to himself. AMY Sometimes he whistles. JANE And sings. CEDAR Anything else? JANE Recently he gave Chuck Dillon a thumping. AMY Blacked his eye. ? 446 ? CEDAR And why? JANE For no reason, I guess. He always does it. We always run into the house when we see him coming. AMY Never can tell what he's going to do. JANE He sure is pixilated. AMY Oh, yes - he's pixilated all right. CEDAR Thank you, ladies. That's all. Cedar beams. The old ladies leave to resume their seats. DISSOLVE TO: 296. CLOSE SHOT IN WITNESS STAND A policeman in uniform. POLICEMAN They kept hollering: "Back to Nature! Back to Nature!" I thought they looked harmless enough so I took them home. I never thought he was cracked. WIPE OFF TO: 297. CLOSE SHOT IN WITNESS STAND The waiter at "Tullio's." WAITER I'm a waiter. He kept pressing me to point out the celebrities, and so help me Hannah I'm coming out of the kitchen a coupla minutes later and there he is moppin' up the floors with them. I never figured he was a guy looking for trouble. WIPE OFF TO: 298. CLOSE SHOT IN WITNESS STAND Mme. Pomponi. MME. POMPONI (expostulating) He threw us out bodily! But bodily! WIPE OFF TO: 299. MED. CLOSE SHOT IN WITNESS STAND Of one of the bodyguards on witness stand. BODYGUARD We was hired as his bodyguard, see? Well, the first crack out of the box, he throws us in a room and locks the door, see? Now, if a thing like that gets around in our profession, we'd get the bird - see? So I says to my partner, "Let's quit this guy, he's nuts!" ? 447 ? WIPE OFF TO: 300. CLOSE SHOT IN WITNESS STAND A Cockney cabman. CABMAN I'm very fond of Clara, sir. She's a nice 'orse. And when this bloke 'ere started feedin' 'er doughnuts, I yelled down to him, "Mind what you're doin' down there! Mind what you're doing'!" Of course I wouldn't mind, sir, but Clara won't eat nothin' but doughnuts, now. WIPE OFF TO: 301. WIDE SHOT[13] Of one of the photographers (Bob) and enlarged photographs of Longfellow's antics. BAILIFF'S VOICE Come to order. CEDAR Your Honor, I wish to call your attention to these exhibits. Mr. Davis, do you recognize these reproductions? BOB Sure, they're good enlargements. Where'd you have them made? CEDAR Did you make the originals of them? BOB Sure. I took the originals. Taking pictures is my business. I photograph a lot of nuts. WIPE OFF TO: As Cedar speaks. CEDAR And now, Your Honor, if the court pleases, I shall call upon Dr. Emil Von Holler, if he will be good enough to give us his opinion. Dr. Von Holler, as you know, is the eminent Austrian psychiatrist - probably the greatest authority on the subject in the world. At present he is in this country on a lecture tour, and has graciously volunteered his services. Dr. Von Holler? While he is still speaking, VOICE OF BAILIFF Dr. Von Holler! ? 448 ? DISSOLVE TO: 302. WIDER ANGLE As the clerk finishes swearing Dr. Von Holler in. CLERK Do you solemnly swear the testimony you are about to give in the cause now pending before this court shall be the truth, the whole truth and nothing but the truth, so help you God? State your right name, please. VON HOLLER (a slight Austrian accent) Emil Von Holler. CLERK Take the stand. 303. MED. CLOSE SHOT AT WITNESS STAND On Von Holler and Cedar. CEDAR Now Dr. Von Holler, will you kindly tell the court what your opinion is on this case? VON HOLLER This is purely a case of manic depression. In cases of this kind, patients sometimes go on for years before being detected. He turns to one of the psychiatrists, sitting with the Judge. VON HOLLER You remember, Dr. Fosdick, in my last book there are some very fine examples. DR. FOSDICK (nodding) Uh-huh. VON HOLLER Especially, the one of the young nobleman, you remember? DR. FOSDICK Oh, yes. Yes, of course Dr. Von Holler. Very interesting. VON HOLLER It reminds me very much of this one. Nicht wahr? DR. FOSDICK Ja. VON HOLLER It takes so long to detect themó (to Judge) óbecause their mood changes so often and so quickly. Now, Your Honor, may I show you? May I use the chart? ? 449 ? JUDGE By all means. He moves to a blackboard. There are chalk marks on it. A straight line runs diagonally across the center. Other lines run zig-zag over and below this center line. VON HOLLER (indicating chart) Below here, they are extremely depressed, melancholy, impossible to live with, and often become violent. (running a line up) From this mood the manic depressive might gradually change until they reach this state. (he reaches the center line) Here is lucidity. Here they are perfectly normal. As normal as you or Ió (smiling) óassuming, of course, that we are normal. (he starts up with chalk) Then, the mood changes again untiló (chalk reaches top) óthey reach this state, a state of highest exaltation. Here everything is fine. Here the world is beautiful. Here they are so elated - how do you express it? (quickly, as it comes to him) óthey would give you the shirt off their backs! CEDAR Dr. Von Holler, how would you say that applied to Mr. Deeds's case? VON HOLLER The symptoms are obvious. (points to top line) When he was here, on top of the wave, he felt nothing but kindliness and warmth toward his fellow-men. He wanted them around him. So he decided he would give a big reception. But in the meantime, his mood has changed. (chalk goes down) He is now at the bottom of the wave - depressed - melancholy. So, when his guests arrive, he throws them out. They are now his imaginary enemies. 304. CLOSE SHOT - LONGFELLOW As Von Holler's voice continues: VON HOLLER'S VOICE Other instances of high elation are when he plays his tuba, when he writes his poetry, when he chases fire engines in his desire to help humanity. This is contrasted with his present mood, which is so low that even the instinct for self-preservation is lacking. 305. MED. SHOT FRONT OF COURTROOM Von Holler still continues: VON HOLLER Oh, the man is verrukt. Your Honor, this is decidedly a case of a manic depressive. ? 450 ? CEDAR Thank you, Dr. Von Holler. Dr. Von Holler returns to his seat. CEDAR Your Honor, we rest. 306. FULL SHOT - COURTROOM There is a shifting of bodies, and a renewed interest, as they wait for the next move. The Judge and his own two experts go into an inaudible huddle. 307. CLOSE SHOT - COBB AND LONGFELLOW Longfellow is slumped in his seat, head down. COBB Come on, what're you going to do? Let them get away with it? They got you cooked. Longfellow does not budge. There is an expectant stir in the courtroom among the spectators and rows of reporters. 308. MED. CLOSE SHOT - THE JUDGE AND HIS EXHIBITS Judge comes out of his huddle and glances at Longfellow. JUDGE (leaning forward) Mr. Deeds, before the court arrives at a decision, isn't there anything you wish to say? 309. CLOSE SHOT - LONGFELLOW AND COBB Longfellow shakes his head slightly. COBB (whispering) Come on - don't be a sap! CONTINUATION SCENE 308 The Judge watches him a few moments, hesitatingly, and then turns to his experts. 310. MED. SHOT - NEWSPAPER REPORTERS A REPORTER He's sunk. 311. CLOSE SHOT - CEDAR AND HIS CLIENTS, ASSISTANTS ETC. They smirk confidently. 312. CLOSE SHOT - BABE AND MAC She stares, panic-stricken. 313. MED. SHOT Of the Swede, the farmer, and others. Their faces show their resentment. 314. MED. SHOT FRONT OF COURTROOM JUDGE (to the two experts) You both concur? ? 451 ? EXPERTS (ad-lib) Oh, positively. The Judge emerges from his consultation with his experts and addresses Longfellow. JUDGE Mr. Deeds, in view of the extensive testimony and your continued silence and upon recommendation of the doctors, the Court considers it advisable for your own safety that you be committed to an institution as prescribed by law. You need medical attention, Mr. Deeds. (shrugs) Perhaps in a little whileó Suddenly the air is rent with the shrill voice of Babe. BABE No! No! No! Wait a minute! All are startled and look up. Babe runs right to the Judge. BABE You can't do it! You've got to make him talk. CEDAR'S VOICE Your Honor, I object! She turns directly to Longfellow - leaning over close to him. 315. CLOSE SHOT - BABE AND LONGFELLOW BABE (pleading softly) Oh, darling, please. I know everything I've done. I know how horrible I've been. No matter what happens, if you never see me again, do this for me. JUDGE'S VOICE Miss Bennett, please! BABE (frantically) You said I could speak! You said I could have my say if I were rational. I'm rational. Please, let me take the witness chair. 316. WIDER ANGLE BABE He must be made to defend himself before you arrive at a decision. JUDGE Very well. Take the stand. Babe goes up to the witness stand and sits down. BABE Oh, thank you! ? 452 ? CEDAR (shouting) Your Honor, what she is saying has no bearing on the case. I object. JUDGE Let her speak. BABE I know why he won't defend himself! That has a bearing on the case, hasn't it? He's been hurt! He's been hurt by everybody's he met since he came here, principally by me. He's been the victim of every conniving crook in town. The newspapers pounced on him - made him a target for their feeble humor. 317. CLOSE SHOT - BABE BABE I was smarter than the rest of them! I got closer to him so I could laugh louder. Why shouldn't he keep quiet? Every time he said anything it was twisted around to sound imbecilic. 318. CLOSEUP - BABE As she continues. BABE He can thank me for it! I handed the gang a grand laugh. This is a fitting climax to my sense of humor. 319. WIDER ANGLE As Cedar protests. CEDAR But Your Honor - this is preposterous! The Judge waves him down with a dismissing gesture of his hand. BABE Certainly I wrote those articles. I was going to get a raise - and a month's vacation! But I stopped writing them when I found out what he was all about! When I realized how real he was. 320. CLOSE SHOT - LONGFELLOW As Babe's voice continues: BABE'S VOICE He could never fit in with our distorted viewpoint because he's honest and sincere - and good. If that man is crazy, Your Honor, the rest of us belong in straight-jackets. 321. MED. SHOT Cedar jumps up. CEDAR Your Honor, this is absurd. The woman's obviously in love with him. ? 453 ? BABE What's that got to do with it? CEDAR (shouting) Well, you are in love with him, aren't you? BABE (shouting back) What's that got to do with it? CEDAR (louder) You are , aren't you? BABE (just as loud) Yes!!! 322. CLOSEUP - LONGFELLOW To be intercut during her speech. At first he merely glances up at her speculatively. Finally, he begins to show some interest. 323. MED. SHOT FRONT OF COURTROOM Cedar turns to the Judge. CEDAR Your Honor, her testimony is of no value. Why shouldn't she defend him? It's a tribute to American womanhood - the instinct to protect the weak. I'm not saying that nobody likes the boy. I cherish a fond affection for him myself. But that doesn't mean to sayó In the middle of his speech, Mac - the editor - appears at his elbow. MAC When the windbag here gets through, Your Honor, I'd like to verify what Miss Bennett said. I'm her editor. When she quit her job, she told me what a swell fellow this man was. And anything Babe Bennett says is okay with me. JUDGE If you have anything to say, you will take the stand. MAC I've already said it, Your Honor. I just thought I'd like to get my two cents in. As he starts to go, CAMERA PANNING WITH HIM, he passes Longfellow. He nudges him. MAC Don't be a sucker, pal. Stand up and speak your piece. He disappears to his seat. COBB Your Honor, I've got a couple of cents I'd like to put inó ? 454 ? JUDGE Sit down! COBB I've been with this man ever since he came to New Yorkó 324. MED. SHOT Shooting toward the Judge. He pounds his gavel, interrupting Cobb. JUDGE Sit down! There will be no further interruptions. Almost simultaneously with the Judge's speech, the farmer, somewhere in the audience, rises to his feet. FARMER How about us, Mr. Deeds! 325. MED. SHOT Shooting toward audience. As the farmer finishes, a dozen others are on their feet. CROWD (ad-lib) Yes! What about us, Mr. Deeds! You're not going to leave us out in the cold! They're trying to frame you, Mr. Deeds! The turmoil is general, with bailiffs running to quiet them. The Judge pounding his gavel, incensed. BAILIFF'S VOICE Order! Order! JUDGE (when quiet reigns) In the interest of Mr. Deeds, I have tolerated a great deal of informality. But if there is one more outburst, I shall have the courtroom cleared. LONGFELLOW Your Honoró JUDGE (surprised) Yes? LONGFELLOW I'd like to get in my two cents' worth. JUDGE Take the stand! There is a general stir of excitement - and whispering. 326. CLOSE SHOT - BABE Her eyes sparkle happily. ? 455 ? 327. CLOSE SHOT - CEDAR AND CLIENTS The clients look up at Cedar, concerned. Cedar comforts them with a confident grimace. 328. MED. SHOT To include Longfellow, Judge, and others around them. Longfellow hesitates. JUDGE Proceed. LONGFELLOW Well, I don't know where to begin. There's been so many things said about me that Ió 329. CLOSE SHOT AT WITNESS STAND Longfellow continues: LONGFELLOW About my playing the tuba. Seems like a lot of fuss has been made about that. If a man's crazy just 'cause he plays the tuba, then somebody better look into it, 'cause there are a lot of tuba players running around loose. Of course, I don't see any harm in it. I play mine whenever I want to concentrate. That may sound funny to some people - but everybody does something silly when they're thinking. For instance, the Judge here is an O-filler . . . 330. WIDER ANGLE Front of courtroom. JUDGE A what? LONGFELLOW An O-filler. You fill in all the spaces in the O's, with your pencil. (points to desk) I was watching you. The Judge looks down at a paper in front of him. INSERT: OF A PRINTED DOCUMENT Of some sort. All the O's and P's and R's have the white spaces pencilled in. 331. CLOSEUP - JUDGE As he looks up from the document. He is a trifle self-conscious. Laughter comes from the courtroom. LONGFELLOW'S VOICE That may make you look a little crazy, Your Honor, just sitting around filling in O's - but I don't see anything wrong 'cause that helps you to think. Other people are doodlers. JUDGE Doodlers? ? 456 ? 332. MED. SHOT - FRONT OF COURTROOM LONGFELLOW That's a name we made up back home for people who make foolish designs on paper when they're thinking. It's called doodling. Almost everybody's a doodler. Did you ever see a scratch pad in a telephone booth? People draw the most idiotic pictures when they're thinking. Dr. Von Holler, here, could probably think up a long name for it, because he doodles all the time. Dr. Von Holler, who is in the middle of some doodling, flinches. A roar of laughter comes from the spectators. Longfellow reaches over to where Dr. Von Holler sits and picks up a piece of paper. LONGFELLOW (to Dr. Von Holler) Thank you. (returning to the stand) This is a piece of paper he was scribbling on. (scrutinizes it) I can't figure it out. One minute it looks like a chimpanzee - and the next minute it looks like a picture of Mr. Cedar. (hands it to him) You look at it, Judge. The Judge, with a serious mien, takes the paper. INSERT: OF PAPER It is a doodle face. BACK TO SCENE: Dr. Von Holler is somewhat uncomfortable. LONGFELLOW Exhibit A - for the defense. (after a pause) Looks kind of stupid, doesn't it, Your Honor? But I guess that's all right if Dr. Von Holler has to doodle to help him think. That's his business. Everybody does something different. Some people areó (demonstrates) ear-pullers - some are nail-bitersó (pointing) That Mr. Semple over there is a nose-twitcher. 333. CLOSE SHOT - SEMPLE AND HIS WIFE He looks up, startled, his nose twitching more violently than ever. The courtroom rocks with laughter. His wife, in her nervousness, pulls at her fingers. LONGFELLOW'S VOICE And the lady next to him is a knuckle-cracker. Mrs. Semple quickly drops her hands in her lap, as the courtroom again fills with laughter. ? 457 ? 334. CLOSE SHOT - COBB He swings a key-ring around his forefinger. Suddenly he realizes Longfellow might get to him, and he hastily palms the keys and shoves them in his pocket. 335. MED. CLOSE SHOT - NEWSPAPER REPORTERS One is leaning forward, listening intently - biting the end of his pencil. The one next to him nudges him and silently points to the pencil in his mouth. The reporter gets the idea and, smiling sheepishly, yanks it out of his mouth. 336. MED. CLOSE SHOT - FRONT OF COURTROOM LONGFELLOW So you see, everybody does silly things to help them think. (in conclusion) Well, I play the tuba. 337. CLOSE SHOT - MAC As he bursts forth. MAC Nice work, toots! The crowd echoes him with shouts and laughter. 338. CLOSE SHOT - JUDGE He glares off scene at Mac, reprimandingly. 339. CLOSE SHOT - BABE She is amused at the embarassment Longfellow has caused them all. 340. CLOSE SHOT - CEDAR AND HIS CLIENTS They squirm uncomfortably. 341. MED. CLOSE SHOT AT WITNESS STAND Longfellow in chair - Judge at bench, b.g. JUDGE Mr. Deeds, do you recall forcibly ejecting people from your home? LONGFELLOW Oh, yes. Yes. About my throwing those people out of my house. Mrs. Pomponi told the truth. I did throw them out because I didn't want the party in the first place. I didn't invite anybody. Mrs. Pomponi did all that. They just came to see what kind of a freak the "Cinderella Man" was. I don't know how people like that are supposed to act, Your Honor, but if that Pomponi woman is an example, I'll stick to simple folks. She just came in, talked my ear off, and took charge of everything. If I were a friend of hers, I'd have her examined. 342. MED. SHOT OF COURTROOM Featuring Longfellow. Cedar, who cannot stand it any longer, jumps to his feet. ? 458 ? CEDAR Your Honor, this is becoming farcical. I demand that Mr. Deeds dispense with side remarks and confine himself to facts! Let him explain his wanderings around the streets in underclothes, his feeding doughnuts to horses! JUDGE'S VOICE Proceed. LONGFELLOW Mr. Cedar's right. Those things do look kind of bad, don't they? But to tell the truth, Your Honor, I don't remember them. I guess they happened, all right, because I don't think a policeman would lie about a thing like that, but I was drunk. It was the first time I was ever drunk in my life. It's probably happened to you, some time. I mean, when you were younger, of course. The Judge clears his throat in embarrassment. Several women giggle. The Judge sternly pounds his gavel. 343. CLOSE SHOT - LONGFELLOW LONGFELLOW It's likely to happen to anybody. Just the other morning I read in the paper about Mr. Cedar's own son - about how he got drunk and insisted on driving a taxi-cab, while the driver sat inside. Isn't that so, Mr. Cedar? Isn't that so , Mr. Cedar? 344. MED. SHOT OF COURTROOM All eyes have turned to Cedar. 345. CLOSE SHOT - CEDAR His eyes are beginning to blaze angrily. CEDAR Your Honor, I object. JUDGE Proceed. 346. MEDIUM SHOT LONGFELLOW Now about the Falkner sisters. That's kind of funny. I mean about Mr. Cedar going all the way to Mandrake Falls to bring them here. Do you mind if I talk to them? JUDGE Not at all. Longfellow turns. Everybody stretches to get a better look at them. LONGFELLOW Jane, who owns the house you live in? ? 459 ? 347. CLOSE SHOT - THE SISTERS The girls consult with each other. JANE Why, you own it, Longfellow. AMY Yes, you own it. LONGFELLOW'S VOICE Do you pay any rent? JANE (after conferring with Amy) No, we don't pay any rent. AMY Good heavens, no! We never pay rent. 348. WIDER ANGLE As Longfellow continues questioning: LONGFELLOW Are you happy there? JANE Oh, yes. AMY Yes, indeed. LONGFELLOW Now, Jane, a little while ago you said I was pixilated. Do you still think so? JANE (after the usual conference) Why, you've always been pixilated, Longfellow. AMY Always. LONGFELLOW (smiling) That's fine. I guess maybe I am. (seriously) Now tell me something, Jane. Who else in Mandrake Falls is pixilated? Jane turns to her sister and this time they go into a prolonged huddle. It is apparently a difficult thing to figure out. Finally they come out of it. JANE Why, everybody in Mandrake Falls in pixilated - except us. AMY Uh-huh. 349. MED. SHOT OF SPECTATORS There is an outburst of laughter which the Judge quickly quells with his gavel. ? 460 ? 350. MED. SHOT - DIFFERENT ANGLE LONGFELLOW Now, just one more question. Do you see the Judge here? He's a nice man, isn't he? JANE & AMY Uh-huh. LONGFELLOW Do you think he's pixilated? JANE (quickly) Oh, yes. AMY Yes, indeedy. There is more laughter. More pounding of the judiciary gavel. 351. CLOSE SHOT - CEDAR He feels his case slowly crumbling. 352. CLOSE SHOT - BABE She can scarcely conceal her elation. 353. MED. SHOT - FRONT OF COURTROOM JUDGE Mr. Deeds, you haven't yet touched upon a most important thing. This rather fantastic idea of yours to want to give away your entire fortune. It is, to say the least, most uncommon. LONGFELLOW Oh yes, I was getting to that, Your Honor. CAMERA MOVES TO CLOSER SHOT, featuring Longfellow and Judge, as former continues: LONGFELLOW Suppose you were living in a small town and getting along fine, and suddenly somebody dropped $20,000,000 in your lap. Supposing you discovered that all that money was messing up your life, was bringing a lot of vultures around your neck, and making you lose faith in everybody. You'd be a little worried, wouldn't you? You'd feel that you had a hot potato in your hand, and you'd want to drop it. I guess Dr. Von Holler would say you were riding onó (points to chart) óthose bottom waves, 'cause you wanted to drop something that was burning your fingers. 354. MEDIUM SHOT Cedar springs to his feet. CEDAR (shouting) If this man is permitted to carry out his plan, repercussions will be felt that will rock the foundations of our entire governmental system! ? 461 ? The Judge has pounded him into silence. JUDGE Please, Mr. Cedar! (to Longfellow) Proceed. 355. MED. CLOSE SHOT AT WITNESS STAND LONGFELLOW Personally, I don't know what Mr. Cedar's raving about. From what I can see, no matter what system of government we have, there will always be leaders and always be followers. 356. MED. CLOSE SHOT Farmers in audience, as Longfellow's voice continues: LONGFELLOW'S VOICE It's like the road out in front of my house. It's on a steep hill. Every day I watch the cars climbing up. Some go lickety-split up that hill on highó 357. FULL SHOT LONGFELLOW ósome have to shift into second - and some sputter and shake and slip back to the bottom again. Same cars - same gasoline - yet some make it and some don't. And I say the fellows who can make the hill on high should stop once in a while and help those who can't. 358. MEDIUM SHOT LONGFELLOW (making his point) That's all I'm trying to do with this money. Help the fellows who can't make the hill on high. 359. CLOSE SHOT - LONGFELLOW LONGFELLOW (hotly) What does Mr. Cedar expect me to do with it? Give it to him - and a lot of other people who don't need it? (rising; sarcastically) If you don't mind, Your Honor, I'll ride on those top waves for a minute. (calls out) Hey, all you fellows out there! All those who applied for a farm, stand up! 360. REVERSE ANGLE Showing most of the audience struggling to their feet. ? 462 ? 361. MED. CLOSE SHOT - WITNESS CHAIR LONGFELLOW See all those fellows? They're the ones I'm trying to help. They need it! (pointing) Mr. Cedar and that Mr. Semple don't need anything. They've got plenty! It's like I'm out in a big boat and I see one fellow in a rowboat who's tired of rowing and wants a free ride - and another fellow who's drowning. Who would you expect me to rescue? Mr. Cedar, who just got tired of rowing and wants a free ride? Or those men out there who are drowning? Any ten-year-old child will give you the answer to that. (to farmers etc. in courtroom) All right, fellows. Thank you. Sit down. 362. MEDIUM SHOT - FRONT OF COURTROOM LONGFELLOW Now, my plan is very simple. I was going to give each family ten acres - a horse, a cow and some seed. And if they work the farm for three years, it's theirs. Now, if that's crazy, maybe I ought to be sent to an institution. But I don't think it is. And what's more, Mr. Cedar doesn't either. (vehemently) Just before the hearing started, he offered to call the whole thing off if I made a settlement with him. So you see, he wouldn't think I was crazy if he got paid off. 363. CLOSE SHOT - CEDAR He jumps to his feet, highly incensed. CEDAR It's a lie! JUDGE Mr. Cedar! CEDAR Mr. Deeds is drawing on his warped imagination! 364. CLOSE SHOT - LONGFELLOW As he listens to Cedar, watching him antagonistically. CEDAR'S VOICE I've never heard anything so colossally stupid in my life! Longfellow's eyes narrow resentfully. 365. WIDER ANGLE To include Longfellow, Cedar and Judge. CEDAR It's an insult to our intelligence to sit here and listen to his childish ravings. ? 463 ? Throughout his speech the Judge has been pounding his gavel. Longfellow has his eyes levelled off on Cedar. JUDGE (when quiet reigns) You will please permit Mr. Deeds to finish. CEDAR But Your Honoró JUDGE Mr. Cedar! Cedar, grumblingly, remains standing. Judge asks Longfellow: JUDGE Anything else, Mr. Deeds? LONGFELLOW (eyes still on Cedar) No. (changes his mind; turns to Judge) Yes. There's just one more thing I'd like to get off my chest before I finish. JUDGE Proceed. LONGFELLOW Thank you, Your Honor. He rises to his feet, takes one step forward, and clouts Cedar flush on the jaw. As Cedar falls into the arms of an associate, pandemonium breaks loose. BAILIFF'S VOICE Order! Order! Order in the court! 366. FULL SHOT OF COURTROOM The Judge pounds his gavel. There are cries of approval from the spectators. In the midst of the commotionó DISSOLVE TO: INT. COURTROOM 367. MED. PANNING SHOT Showing spectators, waiting breathlessly for a decision. All eyes are on the Judge. 368. CLOSE SHOT AT BENCH The Judge holds a whispered conversation with his experts. 369. CLOSE SHOT - BABE She is apprehensive. 370. CLOSE SHOT - LONGFELLOW He glances furtively at Babe, off scene. 371. MED. SHOT OF FARMERS Leaning forward. Their entire future hangs in the balance. 372. MED. CLOSE SHOT AT BENCH The Judge comes out of the huddle; his face is very stern. ? 464 ? BAILIFF'S VOICE Remain seated and come to order. The Court is again in session. JUDGE Before the Court announces its decision, I want to warn all who are here that the police have orders to arrest anyone creating a disturbance. 373. QUICK FLASHES Of Babe - Cobb - Longfellow - Mac - the farmers. 374. INSERT: CLOSE SHOT - JUDGE The Judge's preface augurs ill. 375. CLOSEUP - CEDAR His mouth curls up in a contented grimace. 376. FULL SHOT - COURTROOM All eyes are upon the Judge, who clears his throat. JUDGE (serious mien) Mr. Deeds, there has been a great deal of damaging testimony against you. Your behavior, to say the least, has been most strange. An audible gasp is heard from audience. Judge goes on: JUDGE But in the opinion of the Court, you are not only sane, but you are the sanest man that ever walked into this courtroom. Case dismissed! The shout that greets this is tumultuous. The Judge smiles warmly, and clasps Longfellow's hand. Immediately, Longfellow is surrounded by a crowd of people who come running down the aisles. 377. CLOSE SHOT - CEDAR AND GROUP They sit, stunned, disappointed. Mrs. Semple turns to her husband and slaps him. MRS. SEMPLE You nose-twitcher! Budington rises to confront Cedar. BUDINGTON Oh, I knew it! I knew it! You, youó Cedar disgustedly pushes him in the face, aside. 378. CLOSE SHOT - BABE She smiles ecstatically, too excited to move. Suddenly she rises. 379. MEDIUM SHOT As Babe tries to get to Longfellow, but finds herself on the fringe of a jubilant crowd in the center of which is Longfellow. She tries to break through, but finds it impossible. Desperately, she jumps on a chair and tries frantically to get a glimpse of him. At that moment, several farmers have lifted Longfellow on their shoulders. 380. FULL SHOT - COURTROOM As jubilantly, Longfellow is carried out on the shoulders of the excited crowd. ? 465 ? 381. MEDIUM CLOSE SHOT As Babe frantically tries to reach Longfellow, but is jostled aside. The parade envelops her. 382. LONG SHOT FROM REAR The shouting mob is heading for the door at end of courtroom. Everyone crowds forward. 383. CLOSE SHOT IN REAR Babe is left helplessly out. DISSOLVE TO: 384. FULL SHOT OF COURTROOM Empty - except for the Falkner sisters, still whispering to each other, and Babe, sitting helpless and forlorn. 385. CLOSE SHOT - BABE Her eyes are filled. Dismally she starts forward. We hear a rising commotion from the outside, at this moment. 386. WIDER ANGLE Longfellow running toward camera with the mob, shouting, back of him. He reaches courtroom, slams the doors shut behind him. Babe, attracted by the noise, looks up. He runs toward her, and swoops her up in his arms. 387. CLOSE SHOT - JANE & AMY JANE He's still pixilated. AMY He sure is. 388. CLOSE SHOT - BABE AND LONGFELLOW She kisses him over and over again. He looks around and over his shoulder at the mob, a little dazed. Finally, he notices her effort, and gives her one passionately back. All that is heard is the cheering of the crowd outside and the Columbia music. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mrs. Brown.txt b/unformated_scripts/Script_Mrs. Brown.txt new file mode 100644 index 0000000000000000000000000000000000000000..e84dfd0552a071591c4f3defbc86b448fc67511d --- /dev/null +++ b/unformated_scripts/Script_Mrs. Brown.txt @@ -0,0 +1 @@ +MRS BROWN BY JEREMY BROCK EXT. THE GROUNDS OF WINDSOR CASTLE, FOREST - NIGHT Begin on black. The sound of rain driving into trees. Something wipes frame and we are suddenly hurtling through a forest on the shoulders of a wild-eyed, kilted JOHN BROWN. Drenched hair streaming, head swivelling left and right, as he searches the lightening-dark. A crack to his left. He spins round, raises his pistol, smacks past saplings and plunges on. EXT. THE GROUNDS OF WINDSOR CASTLE, FOREST - NIGHT Close-up on BROWN as he bangs against a tree and heaves for air. A face in its fifties, mad-fierce eyes, handsome, bruised lips, liverish. He goes on searching the dark. Stops. Listens through the rain. A beat. Thinking he hears a faint thump in the distance, he swings round and races on. EXT. THE GROUNDS OF WINDSOR CASTLE, FOREST - NIGHT BROWN tears through the trees, pistol raised at full arm's length, breath coming harder and harder. But even now there's a ghost grace, a born hunter's grace. He leaps fallen branches, swerves through turns in the path, eyes forward, never stumbling once. EXT. THE GROUNDS OF WINDSOR CASTLE, FOREST - NIGHT BROWN bursts into a clearing, breaks to the centre and stops. With his pistol raised, he turns one full slow circle. His eyes take in every swerve and kick of the wildly swaying trees. There's a crack and a branch snaps behind him. He spins round, bellows deep from his heart: BROWN God save the Queen!! And fires. Nothing happens. The trees go on swaying, the storm goes on screaming and BROWN just stands there, staring into empty space. A pause. Slowly, he starts to frown as the fact begins to dawn on him that he is alone. He stares at the thrashing trees, waving their mocking arms at him. His hand lets the pistol drop to his side. He feels the rain drench down his face. And now, for the first time, we see that his socks have fallen to his ankles and his knees are cut to shreds. He shifts a foot. His dress-shoes are covered in mud. He goes on staring into the dark. Nothing. Just the wind and rain. Gradually, we pull back, higher and higher. As we do, we hear the quiet cultivated voice: FADE TO BLACK. CAPTION: "1864" FADE IN: PONSONBY (V.O.) I have sent for a Mr. John BROWN from Balmoral. Her majesty has mentioned him, on one or two occasions, as being a most devoted outdoor servant to Prince Albert during his last days there... John BROWN is now just a tiny figure dwarfed by the storm. CUT TO: INT. OSBORNE HOUSE, QUEEN VICTORIA'S DRESSING ROOM - DAY The screen is black. As the camera pulls back, we discover that we are looking at a black night-gown. Queen VICTORIA is sitting at her dressing table, while an elderly HAIRDRESSER, also in black, works at her hair. PONSONBY (V.O.) ... The depths of the Queen's sorrow remain impenetrable. She has now restricted herself to a regime of such ferocious introspection that we are all at our wits' end... INT. OSBORNE HOUSE, PRINCE ALBERT'S DRESSING ROOM - DAY A bust of the Prince Consort is draped in black. His desk is laid out as if for work. A VALET is brushing one of his suits before laying it carefully on the bed. PONSONBY (V.O.) ... The Household continues, at her instruction, to observe the rituals now so familiar to her, in a vain attempt to render vivid that which can never be revived... Close-up on a small table as a shaving brush is placed carefully beside a dish of freshly poured water. INT. OSBORNE HOUSE, QUEEN VICTORIA'S DRESSING ROOM - DAY The hairdresser is pulling VICTORIA's hair back into the widow's cape. For the first time, we see her face. It is set in a mask of severity. PONSONBY (V.O.) ... It will not surprise you to hear that she continues steadfast in her refusal to accept any public engagements, however trivial... INT. OSBORNE HOUSE, QUEEN VICTORIA'S BEDCHAMBER - DAY A bronze cast of Prince Albert's hand hangs above the Royal bed. His sleeping-gown is laid out on one side. A somberly dressed middle-aged man stands by the bed: DOCTOR JENNER, the Queen's physician. He is placing potions and medicaments in a row on the bedside table. Behind him, TWO MAIDSERVANTS are busy stripping and remaking the bed while another raises the window to air the room. PONSONBY (V.O.) ... Family and staff expend all their efforts endeavouring to draw her out of this state of unfettered morbidity, but to no avail. Indeed, Doctor Jenner will not undertake to vouchsafe her sanity, unless some remedy is found... INT. OSBORNE HOUSE, QUEEN VICTORIA'S DRESSING ROOM - DAY VICTORIA is turning slowly around as a young ASSISTANT DRESSER completes the fastening on her black crepe dress. PONSONBY (V.O.) ... We must hope, therefore, that this Mr Brown will appeal to the Queen's sentimental, though deeply-held, view that all Highlanders are good for the health. If she can at least be persuaded to take the air, the prospect of further recovery may seem less remote... The assistant dresser pulls too tightly on her dress. VICTORIA winces slightly. ASSISTANT DRESSER (terrified) Sorry, ma'am. EXT. THE SEA FRONT, ISLE OF WIGHT - DAY We glide slowly past the coastline as a caption reads: "ISLE OF WIGHT. 1864." A DRIVER stands against the sea front with a horse and cart bearing the Royal coat of arms. John BROWN leads his pony along the dockside, towards the waiting driver. He is in his late thirties, fit, handsome and dressed in tartan kilt and short jacket. PONSONBY (V.O.) ... He is arriving by boat this afternoon, by which time it is hoped Her Majesty will be in a fit state to consider riding out... INT. OSBORNE HOUSE, PRIVATE SECRETARY'S ROOM - DAY SIR HENRY PONSONBY, the Queen's Private Secretary, is sitting at his writing desk, completing a letter. PONSONBY (V.O.) ... As to that decision, along with all others, we remain, as ever, prisoners of the Queen's grief. (beat) Ever your devoted husband, Henry. He folds the letter and slips it into an envelope. He is a middle-aged man in a dark mourning suit; tall, Saturnine and with a civil servant's stoop. As he looks up, we see a white-stockinged FOOTMAN standing to attention by the door. PONSONBY hands the letter to him. PONSONBY (CONT'D) Windsor. CUT TO: CAPTION: "OSBORNE HOUSE, ISLE OF WIGHT" INT. OSBORNE HOUSE, CORRIDOR AND QUEEN'S DINING ROOM - DAY A series of windows are being slammed open by white stockinged FOOTMEN as members of the ROYAL FAMILY and UPPER HOUSEHOLD hurry by in silence, all dressed in mourning and rushing to make the luncheon hour. INT. OSBORNE HOUSE, QUEEN'S DRAWING ROOM - DAY Queen VICTORIA heads down the empty corridor with two ladies-in-waiting, LADY ELY and LADY CHURCHILL, hurrying along a pace behind. INT. OSBORNE HOUSE, QUEEN'S DINING ROOM - DAY Members of the Royal family and upper household hurry into the icy dining room and take their designated places at the luncheon table. Everybody is dressed in mourning and nobody speaks. Wind whistles through the open windows. Silence. Among the diners we catch our first glimpse of BERTIE, the Prince of Wales. He is in his mid-twenties, plump, stiff dressed and balding. He stands next to his young wife, PRINCESS ALEXANDRA, who fiddles nervously with her shawl, trying to keep warm. As BERTIE smooths down his thinning hair, DOCTOR JENNER bustles into the dining room, stands himself next to PONSONBY and proceeds to conduct a hurried conversation with the Prince of Wales, entirely in whispers. JENNER Congratulations, Your Royal Highness! BERTIE Thank you, Doctor. JENNER A boy, I hear. Excellent, excellent. BERTIE Yes. (beat) Albert Victor. Eddie for short. What do you think? PONSONBY A fine choice, sir. JENNER Excellent! EXT. DOCKSIDE, ISLE OF WIGHT - DAY JOHN BROWN leads his pony gently up the ramp and into the carrier bearing the Royal coat of arms. The DRIVER leans in. DRIVER Are you riding up front? BROWN looks straight at this man, quiet and reserved. BROWN I'll stay with the pony, thank you. She's all the way from Deeside and she's not sure she likes you yet. The DRIVER shrugs and slams the doors on them. INT. OSBORNE HOUSE, CORRIDOR AND QUEEN'S DINING ROOM - DAY VICTORIA reaches the dining room door and takes a deep breath. LADY ELY and LADY CHURCHILL stop a pace behind. VICTORIA How many? LADY ELY is slightly taken aback. LADY ELY The Royal Family and senior members of the household, ma'am. VICTORIA Just them? LADY ELY Yes, ma'am. VICTORIA closes her eyes, then steels herself and steps through the door. INT. OSBORNE HOUSE, QUEEN'S DINING ROOM - DAY Everyone stiffens as VICTORIA walks in. Acknowledging the other diners with a quick nod, the Queen takes her place. She flaps open her napkin and, bang on cue, everyone else sits and does the same. The meal is served immediately by waiting SERVANTS, who plonk the food down without ceremony. It's a very ordinary meal of meat and vegetables. VICTORIA starts eating heartily, straight away. Everyone does the same. Only the clink of cutlery and the same eerie silence. EXT. OSBORNE HOUSE, THE GROUNDS - DAY The Royal horse-carrier rattles into the grounds and on down the driveway past the beautiful, manicured lawns stretching away towards the ornate twin towers of Osborne House. A few outdoor servants watch its progress curiously. INT. OSBORNE HOUSE, QUEEN'S DINING ROOM - DAY The silence continues as VICTORIA finishes her plain pudding. Immediately, servants appear at every place and whip away the pudding bowls whether their owners have finished or not. Nobody thinks this odd; it is part of the routine. DOCTOR JENNER clears his throat. JENNER We're expecting Brown this afternoon, ma'am. VICTORIA Whom? A beat. VICTORIA takes a sip of water, dabs her mouth with her napkin and rises. Everyone else rises too. Suddenly, the Queen turns to Bertie's nervous wife, PRINCESS ALEXANDRA, and proclaims abruptly: VICTORIA (CONT'D) That's a very pretty shawl you are wearing, Alex. Silk suits you well. (beat) But you are not eating enough. One must not let vanity overrule one's appetite. PRINCESS ALEXANDRA Yes, ma'am. VICTORIA nods earnestly. Lost to the effect her words have had, she marches out again. Behind her, she leaves PRINCESS ALEXANDRA feeling humiliated and crestfallen in front of all the others. BERTIE takes her hand and squeezes tight, trying awkwardly to console. EXT. OSBORNE HOUSE - DAY The horse-carrier pulls up outside the servant's entrance and the DRIVER opens the doors. JOHN BROWN pulls out a watch from his waistcoat and checks the time. His eyes narrow critically. BROWN I was due at a quarter past one. (beat) You're late. INT. OSBORNE HOUSE, CORRIDOR - DAY A few minutes later, JOHN BROWN strides down the long corridor with PONSONBY at his side. Their journey takes them down an endless series of corridors, past servants and householders hurrying about their duties. The presence of the dead Albert is felt all around in the black-wreathed portraits and busts that crop up along the way. BROWN and PONSONBY could not be more contrasted. PONSONBY (in low tones) Her Majesty's routine at Osborne House is not as you will remember it. The Household remains in full mourning and no-one is permitted to raise their voice under any circumstances whatsoever. As for the Queen's routine, she breakfasts at nine thirty, lunches at two,takes tea at five thirty and dinner at eight forty five. No one is allowed to leave the building while the Queen is at home. On the rare occasions when she is out, you may ask permission to leave, but only with my consent. You're to be ready to walk the pony at any time after ten o'clock. You'll clean her outdoor things and do any odd jobs as and when she requires. BROWN How will I know? PONSONBY (surprised to be interrupted) I'm sorry? BROWN How will I know what she requires? PONSONBY You'll be sent a message. BROWN Who'll bring it to me? PONSONBY Her Highness' Equerry. BROWN I need a man who knows where I am. PONSONBY I'm sure it won't be difficult to find you. BROWN That's not good enough. A beat. PONSONBY Then we'll have to see what can be arranged. BROWN Aye, do. PONSONBY stiffens. A beat. PONSONBY There is to be no communication with other members of the household on matters concerning the court except through myself or one of the Equerries. No plans must be altered unless you are given prior authority by myself or a senior member of the household. BROWN I came down at the Queen's request. I'll take my orders from her. PONSONBY In matters concerning the Household, I act on her behalf. BROWN takes the measure of him. BROWN Do you? PONSONBY Yes. (beat) I do. BROWN glances up the corridor. BROWN So, is passing wind out of the question or do I need permission for that? PONSONBY refuses to acknowledge what he has heard. They reach the door of the Royal Chamber and he concludes the interview. PONSONBY As I am sure you remember from Balmoral, you do not talk while in Her Majesty's presence unless Her Majesty addresses you directly. BROWN refuses to answer, so PONSONBY knocks. After a moment, the door is opened by LADY ELY who ushers them in. INT. OSBORNE HOUSE, QUEEN'S SITTING ROOM - DAY BROWN walks stiffly into the room and stops. PONSONBY waits by the door. PONSONBY (O.S.) Mr Brown, ma'am. VICTORIA is bent over the desk, working at one of her numerous red boxes. She scribbles furiously at a letter, underlining and accenting words as she goes. Finally, LADY ELY steps up to her side and whispers something in her ear. She carries on working. BROWN has time to survey the room. Dominating everything are the same black-wreathed busts and portraits of Prince Albert glimpsed in the corridor. Finally, VICTORIA nods and LADY ELY beckons BROWN forward. He steps up in front of the desk and waits. VICTORIA looks up and BROWN bows deeply. Silence. She stares at him for a long moment without apparently registering who he is. He towers over her, in bright tartan, while she sits hunched in her seat, all in black and knotted with tension. Finally, she finds her voice. She sounds nervous and edgy. VICTORIA Mr Brown. BROWN Ma'am. VICTORIA You are here safely. BROWN Aye, ma'am. VICTORIA You are well? BROWN I am. VICTORIA And the pony? BROWN She's well, too. VICTORIA blinks at the sight of him. His presence is bringing him back. A beat. VICTORIA Your family sent cards. It was much appreciated. BROWN I'm glad of it. In an effort to control her emotions, VICTORIA now sounds the same severe note as at lunch. But BROWN, unlike others, seems unaffected. VICTORIA My husband was always very complimentary in speaking of you. He would have approved, I am sure, of my calling on you in this way. (beat) I trust it does not inconvenience you too much. BROWN I've no family, ma'am, apart from my brothers and sisters. VICTORIA Yes. (beat) You have a brother in service here, do you not? (furrowing her brow) I forget his name. BROWN Archie. VICTORIA Yes. (beat) That will be company for you. BROWN Yes, ma'am. Silence. VICTORIA starts to tire. She takes a sip of water and spills a little on herself. Flustered, she searches for a hanky but cannot find one. LADY ELY hurries up with one of her own and the Queen dabs it off. BROWN watches all of this with genuine concern. When VICTORIA finally looks up, he stares at her in deep sympathy. BROWN (CONT'D) Honest to God, I never thought to see you in such a state. You must miss him dreadfully. VICTORIA stares back in stunned silence. PONSONBY coughs involuntarily. LADY ELY freezes. A beat. VICTORIA You do not - he ... get him out. (beat) Get him out. Get him out! Suddenly, BROWN finds himself tugged backwards out of the room. LADY ELY rushes up to assist as VICTORIA shouts herself into a fit of uncontrolled sobbing. INT. OSBORNE HOUSE, BROWN'S QUARTERS - DAY Some minutes later, BROWN is angrily unpacking a trunk. His humiliation expresses itself in the extraordinary ferocity with which he slams down every object. His younger brother, ARCHIE, sits on the bed. He's in his early thirties, bright, sharp and dressed in the same distinctive kilt and tweed. ARCHIE (telling it fast) So the day they arrive, she greets the Sultan and his family with barely a word and then retires to her chamber. The Sultan, not used to State Occasions without a head of State, is standing in the lobby waiting for someone to tell him what to do. But the court is under strict instructions not to talk in the corridors so nobody speaks to him, not a living soul, for the whole afternoon. So now it's dinner and everyone's standing round the table -- still not a word -- waiting for Her Majesty to arrive. One hour goes by, two, the Sultan's getting a wee bit peckish to say the least. So finally, his wee laddy breaks for the cold meats and stuffs a slice in his mouth. Well, the uproar when she heard. You'd have thought someone had stolen the crown jewels. BROWN stares back, still pissed off. BROWN So? ARCHIE So, there are rules. Things you do and things you don't do. BROWN I was just telling the woman how I feel, for God's sake. ARCHIE You don't tell Her Majesty how you feel. BROWN I speak as I find, Archie. ARCHIE Not down south you don't. BROWN slams a drawer shut. ARCHIE lets it go and watches his brother. A beat. ARCHIE (CONT'D) So what did Ponsonby do when she started shouting? BROWN I think he nearly ruptured his truss. A beat, then both men burst out laughing. INT. OSBORNE HOUSE, SERVANT'S HALL - DAY The clatter of voices and banging doors as under servants hurry about with plates, knives and forks, laying the Upper Servant's huge table for dinner. ARCHIE leads BROWN through this rush of activity. BROWN How much? ARCHIE Seventy a year. BROWN Not bad, not bad. ARCHIE How about yourself? BROWN Sixty. ARCHIE (grinning) That's pretty good for a ghillie. BROWN smiles dryly. They pour themselves a drink from the table. BROWN Prince Leopold? Is he the one who bleeds all day? So what does his valet do? Wash his poultices for him? ARCHIE It's better than shovelling horse shit. BROWN If you were looking for promotion, you should have picked one of the healthier ones. ARCHIE She's hardly a full hamper herself. BROWN (beat) It's only grief makes her like she is. ARCHIE Three years, John. Is that not a bit long to be grieving? BROWN She loved him. ARCHIE Come on, man. There's love and there's ... BROWN What? ARCHIE You know what I mean. BROWN I'm not sure I do, Archie. ARCHIE There's love and there's behaving like you do because there's nobody to tell you not to. Hold on BROWN. He lets it go and moves on. Across the hall, he spots the pretty ASSISTANT DRESSER watching them. BROWN Which one of us is she flirting with? ARCHIE The good-looking one. BROWN Aye? Then she's obviously not got enough to do. ARCHIE You work the system right, you could ask her yourself. Just be thankful you're not working for Household. The Queen never lets them out of her sight. But wee spats like us can slip through the net, easy. A beat. BROWN stares straight at him. BROWN I'm no wee spat, ARCHIE. INT. OSBORNE HOUSE, UPPER CORRIDOR - MORNING The next day, VICTORIA and her ladies are hurrying down a corridor on her way into the dining room. VICTORIA suddenly stops and stares out of the windows. Her entourage are several steps past her before they realize what's happened and scurry back to take up their positions behind. Now we see what has caught her attention. BROWN is standing in the courtyard below, by his pony. She watches him for a moment, then without reacting, walks on. EXT. OSBORNE HOUSE - AFTERNOON Some hours later. It is now raining. A gaggle of ROYAL GRANDCHILDREN hurry out of a carriage from their afternoon recreational while their NANNIES frantically try to keep them dry under the umbrellas. John BROWN stands tall and erect on the gravel while they rush around him, laughing and giggling. INT. OSBORNE HOUSE, UPPER CORRIDOR - EVENING Rain on the window. VICTORIA is walking in the opposite direction down the corridor with her entourage. She stops at the same place as before. VICTORIA (as if she had not seem him earlier) Who is that? Lady Ely peers through the rain. LADY ELY It's Mr Brown, ma'am. VICTORIA What is he doing there? LADY ELY He appears to be ... standing by his horse. VICTORIA I made no request to go out riding today. (beat) How long has he been there? LADY ELY I don't know, ma'am. (nervously) He was observed earlier, I believe. At this moment, PONSONBY comes down the corridor. VICTORIA Sir Henry, Mr Brown is standing in the courtyard. I have no wish to go riding. PONSONBY I'm very sorry, ma'am. I can't imagine -- he was certainly given no instructions. VICTORIA Please make sure it does not happen again. PONSONBY Of course, at once. VICTORIA takes one last look and walks away. INT. OSBORNE HOUSE, PRIVATE SECRETARY'S CHAMBERS - NIGHT Half an hour later, PONSONBY stands at his desk facing BROWN. PONSONBY What on earth did you think you were doing? BROWN stares straight back. BROWN Awaiting my orders. PONSONBY You do not report for duty unless the Queen requests it. You know that very well. BROWN I didn't come all this way to sit on my arse. PONSONBY You will await your orders like everyone else. Unless you prefer a repeat of yesterday's little excitement. BROWN No. PONSONBY I beg your pardon? INT. OSBORNE HOUSE, UPPER CORRIDOR - DAY The next day. From a high window, we see PONSONBY scuttling madly across the courtyard towards the figure of JOHN BROWN, who is standing exactly as he was the day before. VICTORIA watches impassively. EXT. OSBORNE HOUSE, COURTYARD - DAY PONSONBY stands close to BROWN, shouting in his face. PONSONBY I thought I made myself perfectly clear. You do not leave your room until Her Majesty requests it. BROWN (eyes straight ahead, shouting back) Well, you tell Her Majesty from me, if her husband was here now, he'd have had her out of that house and getting some air in her. What the hell's the point in me being here otherwise?! From the window above, VICTORIA takes in his words. A beat. PONSONBY collects himself. PONSONBY Go inside at once. BROWN Is that the Queen's request? PONSONBY Yes, it most certainly is! BROWN turns, grabs the lead rein and leads his horse back to the stables. INT. OSBORNE HOUSE, STABLES - DAY A few minutes later, BROWN is in the process of stabling his horse. Suddenly he turns. VICTORIA is standing at the far end of the stable with her entourage. VICTORIA Mr Brown. BROWN Yes, ma'am. VICTORIA You have been told repeatedly not to stand in the courtyard unless requested to do so. BROWN Yes, ma'am. VICTORIA Then why do you persist in doing it? BROWN Because I think Her Majesty is wrong. If ever there was a poor soul who needed fresh air, it is her. A beat. VICTORIA The Queen will ride out if and when she chooses. BROWN And I intend to be there when she's ready. Silence. The two of them stare at each other. EXT. OSBORNE HOUSE, THE GROUNDS - DAY The next day, high and wide over the stunningly manicured landscape. Long lawns, wind-cropped copses and in the distance, the glittering sea. EXT. OSBORNE HOUSE, THE GROUNDS - DAY VICTORIA sits side-saddle on a horse. BROWN leads her in silence. EXT. CLIFFTOP - DAY VICTORIA looks up. VICTORIA Prince Albert was going to build a bench here. He thought it one of the best views in Osborne. BROWN It's a fine spot, ma'am. VICTORIA He thought so, yes. She stares ahead. VICTORIA (CONT'D) In everything I do and everything I say, I try to think, as much as possible, what he would do, or say, if he were here now. My Private Secretary wishes me to return to public duties-- She stops abruptly, but BROWN cuts in. BROWN If Prince Albert were here today, he'd tell him a thing or two. VICTORIA Sir Henry is not alone. They all wish it. (beat) The same people who refused to grant my husband the title of King because he was deemed of insufficient rank-- She stops again, cutting quickly back to small-talk. VICTORIA (CONT'D) It is a fine spot for a bench, is it not? BROWN Aye, ma'am. VICTORIA Yes. A pause. VICTORIA (CONT'D) I have some letters in the saddle bag. I wish to read them. BROWN walks up to her side, opens the saddle bag and hands her a bundle of letters held together with ribbon. VICTORIA (CONT'D) I cannot read them like that. BROWN undoes the ribbon and tries again. VICTORIA cuts in. VICTORIA (CONT'D) You will hand them to me as I require. BROWN takes off the top letter and hands it to her. INT. OSBORNE HOUSE, UPPER SERVANT'S TABLE - NIGHT The clatter and crush of the Upper Servant's table as UPPER SERVANTS sit themselves down to dinner while UNDER SERVANTS prepare to serve soup. ARCHIE comes in and sits himself somewhere in the middle next to an empty seat. A moment later, BROWN strides in. But instead of sitting at the place beside his brother, he goes straight to the head of the table and plonks himself down. Slowly, the clatter dies away as the whole room stops and stares at him in silence. BROWN fixes them with a look. An elderly butler steps into the room and stares in amazement at BROWN. A smooth young man, BERTIE'S VALET, hurries up to intercede. BERTIE'S VALET Mr. Carter, the Head Butler, sits there. BROWN Not now he doesn't. This is my place. BERTIE'S VALET By whose authority? BROWN My own. A little frisson of oh-my-gawdness. BERTIE'S VALET stares icily at him. BERTIE'S VALET The order of seating at the Upper Servant's table is arranged personally by the Queen herself. BROWN That's a tautology lad. (unable to stop himself seriously explaining it) If you say the Queen arranges something, you've no need to say she's done it personally. That's understood. But as far as BERTIE'S VALET is concerned, it isn't. He stares down in mute fury, then snaps his fingers at one of the under servants, who rushes over. There is a hurried exchange of whispers before the under servant rushes out. Unperturbed, BROWN brings out his flask and pours himself a substantial draft of whiskey. He turns to the pretty assistant dresser, sitting to his right. BROWN (CONT'D) Are you dresser to Her Majesty? She blinks nervously at him. ASSISTANT DRESSER Assistant, sir, yes. BROWN tucks into his soup. Everyone watches and waits. BROWN What's your name? ASSISTANT DRESSER Mary Taylor, sir. BROWN Have I seen you up in Balmoral, Mary? ASSISTANT DRESSER I hope to go up next year. BROWN You wouldn't happen to know what the Queen's reading for recreation, would you, Mary? The assistant dresser thinks for a moment. ASSISTANT DRESSER Lord Tennyson, sir? BROWN nods. All conversation stops as the under servant bursts back in. She halts at the door, looking blankly from Bertie's valet to the elderly butler. A beat. The old man stiffens and makes his way to the middle of the table. BROWN looks up from his soup. BROWN Am I the only one eating? With a clatter of spoons, everyone obediently eats. INT. OSBORNE HOUSE, DRAWING ROOM - DAY A few days later. A morning "drawing room." Standing round the unlit fireplace are DOCTOR JENNER, LADY ELY, LADY CHURCHILL, the two LADIES IN WAITING and PRINCESS ALEXANDRA. All are dressed against the icy wind that whistles through the open window where VICTORIA sits knitting busily while BERTIE stands beside her, coat buttoned up to the collar. PONSONBY has stationed himself opposite, beside a desk piled high with red dispatch boxes. He runs through the daily itinerary. PONSONBY Lord Clarendon arrives, by invitation, at eleven o'clock, followed at twelve by a picnic in the grounds to celebrate Princess Alice's birthday. Dispatches, as usual, at two. (finishes, then coughs) The Chancellor writes to say that, by happy coincidence, he will be in Cowes for the weekend. He asks if Your Majesty might grant him an audience. VICTORIA Why? PONSONBY He thought, perhaps, Your Majesty might wish to be informed of the latest developments in government. VICTORIA No. I shall be out walking. A beat. BERTIE watches closely now. PONSONBY coughs again, nervous. PONSONBY Then perhaps Your Majesty might consider it opportune if the Prince of Wales were to meet him on your behalf? VICTORIA stiffens. She speaks without turning. VICTORIA On no account. PONSONBY gives up. Politely, but firmly, BERTIE takes up the reins. BERTIE Mama, I really do think it's time we made ourselves a little more ... available. VICTORIA carries on knitting. BERTIE (CONT'D) I think we must accept our position in the country is not entirely unrelated to the continued absence of the Monarchy from public life. (silence) I thought perhaps we might consider a small gesture of some kind? VICTORIA looks up sharply. VICTORIA Gesture? BERTIE I thought, a dinner for our ambassadors perhaps? VICTORIA (cutting in firmly) No dinners, Bertie. (beat) Why are you dressed for outdoors? BERTIE It's so infernally cold in here. VICTORIA Cold is good-- (calling across) Is that not so, Dr. Jenner?! JENNER I'm sorry, ma'am? VICTORIA Cold is good! JENNER Excellent, ma'am, excellent. (trying his hand) But perhaps if her Majesty were to consider accompanying her new-found physical vigor with the benefits of mental activity... VICTORIA (becoming very agitated) Why am I being lectured in this way?! JENNER Forgive me, Your Majesty. In no way did I wish to suggest-- VICTORIA (cutting across him) I will not tolerate anybody lecturing me about the responsibility of the monarchy.... BERTIE Mother.... VICTORIA ... Least of all my son. It was his irresponsibility that drove my husband to his grave. An appalled silence. With great dignity, BERTIE absorbs the shock of the insult and quietly steers the conversation in another direction. BERTIE If it is inconvenient to Her Majesty, then perhaps she might consider allowing the Prince of Wales to host-- VICTORIA I do believe they send so many boxes to taunt me. Doctor Jenner writes to them to say that my nerves are in an extremely fragile state and yet they continue to hound me with box after box after box after box after box! Silence. VICTORIA has crossed to the window and stares out at the view. Having recovered her composure, she turns to address them all. VICTORIA (CONT'D) I wish to take the Princesses for a swim. For a moment, nobody believes what they have heard. She continues. VICTORIA (CONT'D) The turns I have been taking in the grounds have proved most beneficial to me, and Brown thinks that salt water will do me good. Bertie stares at her in silence while PONSONBY and DOCTOR JENNER exchange a worried look. EXT. PRIVATE BEACH, ISLE OF WIGHT - DAY The doors of the Royal bathing-machine swing open and Queen VICTORIA, in a voluminous swim-dress, sails out like a duck into the freezing sea. As she does so, the doors of the other machines open and Princess Helena and Princess Louise follow her in. Dignity does not allow them to shout out, but their expressions of constipated agony are a picture. VICTORIA begins swimming around in a vigorous little circle. VICTORIA Don't potter, children. Swim. Hold for a moment on the princesses' miserable faces. EXT. OSBORNE HOUSE - DAY Half an hour later, PONSONBY, DOCTOR JENNER, LADY ELY and two FOOTMEN watch as BROWN helps VICTORIA up some steps and onto her horse. He glances at the stiff line of householders and mutters curtly to himself. BROWN You could buy that lot for garden ornaments and still see change from ten guineas. The household do not hear this, but QUEEN VICTORIA has overheard and tries to suppress a smile. As she settles into the saddle, her foot comes loose. BROWN fastens it into the stirrups. BROWN (CONT'D) Lift your foot, woman. Everyone hears this. VICTORIA obeys. Taking the reins, he then walks the QUEEN out of the courtyard. As they vanish from site, we hear... DISRAELI (O.S.) This nation is fortunate in so much as it is not governed by force... FADE TO BLACK. CAPTION: "1866" FADE IN: INT. THE HOUSES OF PARLIAMENT - DAY The speech continues as we follow the progress of a Tomahawk cartoon doing the rounds of the Tory back benches from knee to knee. It is entitled, "Where is Britannia?" and shows an empty throne draped with the Royal cloak. DISRAELI (O.S.) ... but by a chain of traditions that have been cherished from generation to generation, because in them -- in our traditions -- are embodied all the laws which have enabled us to create the greatest empire of modern times... During the above, the cartoon reaches the front benches and lands on the knees of the young, earnest STANLEY. As he frowns at the picture in front of him, DISRAELI winds up. DISRAELI (CONT'D) ... but, even though we have amassed great capital and even though we have established an industry with no parallel in the world, yet all these mighty creations are as nothing compared to the invisible customs that shape our lives. To those honorable gentlemen of the opposition who seek to destroy the essential elements of this country, I say let them remember: England cannot begin again. During this peroration, we see DISRAELI for the first time. He is handsome, obviously Jewish and wire thin, like Dickens on Slimfast. He dresses almost dandyishly but speaks with startling vigor; a combination of brilliance and cheek that is his key. To cheers from his back benchers, he sits. As he looks up, he catches the eye of his opposite on the Liberal benches. GLADSTONE is different in almost every respect; dour, dogged, heavy-set and tall. They stare levelly for a second, then DISRAELI flashes a brilliant smile. STANLEY plops the cartoon on his lap. STANLEY Have you seen this? INT. THE HOUSES OF PARLIAMENT, LOBBY CORRIDOR - DAY A few minutes later, DISRAELI and STANLEY are strolling down the busy lobby corridor. Throughout their talk, Tory back-benchers bustle up to pat their hero on the back and offer their congratulations. STANLEY Should we take it seriously? DISRAELI The cartoon or Her Majesty's absenteeism? STANLEY Well, both. DISRAELI The question is, do we need her? STANLEY Surely, you're not suggesting we dispense-- DISRAELI My dear Stanley, a Prime Minister with only a handful of friends must respect public opinion. The pass GLADSTONE in a huddle of cohorts. DISRAELI (CONT'D) Gossip counts. Lord Aberdeen was right. This country is not governed by wisdom but by talk. (beat) Granted, it wouldn't take much to winkle the old girl out of mourning, but if public opinion is against her, then it doesn't do to appear too close. STANLEY So? DISRAELI We'll see which way the wind blows. DISRAELI sweeps through a prattle of back-benchers. EXT. PUBLIC BEACH, ISLE OF WIGHT - DAY BROWN and ARCHIE crash into the water. It is freezing. BROWN braces himself against the icy shallows by bellowing Burns at the sea. BROWN My heart's in the Highlands, my heart is not here! My heart's in the Highlands a-chasing the deer! Chasing the wild deer and following the roe! My heart's in the Highlands wherever I go! ARCHIE is so creased up with laughing, he almost drowns. EXT. PUBLIC BEACH, ISLE OF WIGHT - DAY A few minutes later, BROWN and ARCHIE hurry back up the cold beach to rub themselves dry. BROWN is very energized. BROWN One box of biscuits, one box of drop tablets, one box of pralines, sixteen chocolate sponges. It's the same order every week, but does anybody bother to check it? Now she has to travel all the way to Balmoral without the few luxuries she actually enjoys. ARCHIE So? Someone'll send it on ahead. BROWN Aye, but will they? ARCHIE John, it's not your problem what she eats. BROWN The woman's surrounded by fools! (beat) She has to be packed and ready to leave by seven thirty tomorrow morning. Knowing that lot, they'll still be dressing her at eight. BROWN takes a nip of whiskey and offers some to his brother. ARCHIE She's got an army of people to get her up and out. BROWN But I'm the only one she trusts. ARCHIE stares at him. A beat. ARCHIE She'll blow hot and cold on you, John, she always does. You want to be careful. BROWN I'm on ninety pounds a year plus seventy pounds for a pile of tartan I'd be wearing anyway. That's as much as a Page of the Back Stairs gets and that job's only for toffs. (raising his hip flask triumphantly at the sea) I'm Her Majesty's Highland Servant! Indoors and Out. There's no stopping me now. EXT. BALMORAL CASTLE - NIGHT A few days later. The clatter of carriage and horse as the ROYAL PARTY thunders through gathering dark toward Balmoral Castle. CAPTION: "BALMORAL" EXT. BALMORAL CASTLE - TWILIGHT A mass of torches encircle the ROYAL PARTY as kilted GHILLIES and STAFF swarm round the carriage, opening doors and clambering off boxes while a regiment of PIPERS play them in. Amid this swarm of activity, we glimpse BROWN opening the door to a smiling VICTORIA as she climbs down, followed by PRINCESS HELENA and PRINCESS LOUISE. Emerging from another carriage come BERTIE and PRINCESS ALEXANDRA, staring grim faced at the castle. HENRY PONSONBY and DOCTOR JENNER alight from their carriage as PONSONBY slips on his gloves and pinches his nose at the pain of remembrance. PONSONBY Oh God, not the pipes! EXT. LOCHNAGER - DAY The next day. High over the vast, bleak mountains of Lochnager and Loch Muick. VICTORIA and BROWN are riding fast towards the top. Reaching the summit, VICTORIA points excitedly at the far horizon. VICTORIA What are those? BROWN What? VICTORIA Those, over there, there. BROWN (horse chestnut trees...) Craobhan-geanmchno-fhiadhaich. VICTORIA (beat) Craobhan-geanmchno... (bursts out laughing) How can I possibly say that with a straight face?! BROWN lets it go and they ride on. VICTORIA (CONT'D) I am thinking of publishing my "Highland Journals." BROWN Are they worth reading? VICTORIA (beat) I am told so. BROWN Who by? VICTORIA Sir Henry Ponsonby tells me they are charming. BROWN What does he know about the Highlands? VICTORIA He has been attending at Balmoral for many years. BROWN That doesn't make him an expert. VICTORIA His remarks were directed at the quality of the writing, not its subject. BROWN I don't groom a horse to have it admired by others, I groom it because it needs grooming. VICTORIA (curtly) I do not do it for others. But Ponsonby thinks they are good. BROWN Just say what you have to say, woman. What other people think shouldn't matter to you. VICTORIA (snapping) Of course I shall say what I have to say. I always do. The stare at each other until BROWN kicks his horse on. BROWN Aye, well, if all you want is a good opinion then he'd be sure to oblige you. VICTORIA (riding alongside) What Mr Ponsonby was appreciating was their literary merit, a skill not intimately associated with the knowledge of grooming. (beat) Literary appreciation does not begin and end with Tennyson. BROWN lowers his head. VICTORIA (CONT'D) (in a softer tone) I mention you in them. BROWN says nothing. VICTORIA (CONT'D) In particular, the occasion when Albert was alive; the Royal Carriage overturned during a storm and you demonstrated such loyal service in returning the Queen and the Princesses safely to Balmoral. Taking a sprig of heather from her brooch, VICTORIA holds it out to him. A beat. VICTORIA (CONT'D) For friendship. INT. BALMORAL CASTLE - DAY A few days later, PONSONBY, DOCTOR JENNER and BROWN stand at the chamber-desk, talking over the Queen's itinerary. BROWN (briskly) She'll be away on Friday between eight o'clock and six in the evening to visit the Grants in Glasalt. If she's to make the journey there and back in the day she's to have no distractions the night before. She'll take a light supper alone in her private drawing room and retire early. PONSONBY She'll need to sign dispatches before she retires. BROWN That can wait till the weekend. PONSONBY There are important papers from -- BROWN It can wait. Anything else? JENNER Are you sure Her Majesty is up to such a long journey? She has only just recovered from a severe head cold. BROWN If I thought she wasn't up to it, I wouldn't let her go, would I? BROWN snaps together his papers and walks out, leaving PONSONBY and DOCTOR JENNER standing lamely at the table. EXT. BALMORAL CASTLE - DAY The next morning. The ROYAL FAMILY are picnicking in the grounds. VICTORIA walks along a path accompanied on one side by BROWN, on the other by BERTIE. BERTIE is in mid-plea. BERTIE Surely it is for the gentlemen to decide when to stop... VICTORIA It is a disgusting habit, Bertie. It should be discouraged. BERTIE Yes, but isn't midnight a little excessive? VICTORIA It is quite late enough. BERTIE But mama, the room was built expressly for that purpose. It has been a smoking-room by tradition ever since father -- VICTORIA (cutting in angrily) Brown's responsibilities are onerous enough already. He has far too much to do without having to stay up all night waiting for you to go to bed. The smoking-room will be closed and the lights put out at twelve o'clock. BERTIE Mama... VICTORIA And that is my last word on the matter. BERTIE Well, I'm sorry, but I really do think it's too much that the gentlemen of the house should be dictated to by a servant. BROWN It's the Queen's decision. BERTIE I beg your pardon? (to VICTORIA) Mama...? Before Bertie can continue, BROWN steps right into his face. BROWN I think you should go now. (beat) You've tired your mother enough. BERTIE stares back, too stunned to speak. He glances at his mother, but VICTORIA looks off into the distance as if she has not heard. BERTIE turns and storms away. INT. ESTATE COTTAGE, BALMORAL - DAY JOHN BROWN is standing in the doorway of a small cottage watching, with amused detachment, as a middle-aged couple, MR and MRS GRANT, race about their tiny living room, trying desperately to make it presentable for the Queen's sudden visit. They fling open the windows, slosh water on the fire, tidy up their two grubby BOYS, plump up the cushions, dump knitting under the sofa and try to smarten themselves up, all in the space of a few seconds. BROWN There's really no need for this. MRS GRANT I'll not have her seeing it like it is! (beat) I know she means well, but I wish she'd warn us she was coming. BROWN She thinks if she warned you, you'd go pouring water on the fire and stuffing the knitting under the sofa. MR GRANT Aye, well, you can't stop a wife being house-proud. MRS GRANT surveys the room critically. MRS GRANT All right. (beat) Show her in. EXT. ESTATE COTTAGE, BALMORAL - DAY VICTORIA sits on a horse and trap. BROWN steps out and helps her down. BROWN They're ready now. VICTORIA I hope they didn't go to any trouble, John. BROWN Ah, well... INT. ESTATE COTTAGE, BALMORAL - DAY VICTORIA steps in to be greeted by all four GRANTS in one military row, smoke still steaming off the fire. BROWN stands behind her, barely able to contain himself. But for VICTORIA, it is all she's ever known and so she takes it as perfectly normal. VICTORIA Mr Grant. How good it is to see you. MR GRANT (bowing deeply) Your Majesty. VICTORIA Mrs Grant. How is your knee? Has the pain eased a little? MRS GRANT (bobbing in terror) Oh not so bad, ma'am. VICTORIA Good. Oh and here are Douglas and John. Haven't you grown? MRS GRANT (still bobbing away) Growing all the time, ma'am. MR GRANT remembers himself and gestures VICTORIA towards a chair. MR GRANT Will you sit, ma'am? From his place by the wall, BROWN notices how easily she smiles as she is led to the chair. She points to a picture on the wall and her good humour is infectious. VICTORIA I know that! That's Cairn Lochan. We picnicked there once, did we not, John? INT. A SOCIETY PARTY, LONDON - DAY A few days later, a party of ARISTOCRATS, MINISTERS, DIPLOMATS, ESCORTS, BUSINESSMAN and WHORES. Into this brouhaha come DISRAELI, his elderly wife MARY ANNE and the young STANLEY. It is all eyes and nods here. Everyone knows everyone. DISRAELI Ah, the greasy pole. MARY ANNE Don't be facetious, dear. Remember your position. DISRAELI It's my position I'm thinking of. Across the room, STANLEY spots BERTIE amid a crowd of acolytes. STANLEY I see the Prince of Wales is here. DISRAELI I hope he got his mother's permission. STANLEY smiles faintly. DISRAELI homes in on a punter and raises his hand, already working the room. DISRAELI (CONT'D) Lord Salisbury! INT. A SOCIETY PARTY, LONDON - DAY The society party is hotting up. STANLEY is deep in conversation with three SOCIETY LADIES. SOCIETY LADY 1 (ridiculously pleased with herself) Why is the Queen penny-wise and pound foolish? Because she looks after the Browns and lets the sovereigns take care of themselves! A peal of naughty laughter. Unseen, DISRAELI steps up. DISRAELI And in your opinion? Is she foolish? The SOCIETY LADY stares blankly back. SOCIETY LADY 1 Well I ... well, I mean to say, it's hardly right, is it? DISRAELI What? SOCIETY LADY 1 Well, the Queen and -- (appalled whisper) Mr Brown. DISRAELI stares at her steadily, already thinking ahead. DISRAELI La superstition met le monde entier en flammes. SOCIETY LADY 2 (thick as shit) I beg your pardon? DISRAELI (changing tack) Has anybody seen this ... Mr Brown? STANLEY He is her personal servant, I believe. SOCIETY LADY 1 (knowingly) Follows her wherever she goes. DISRAELI He would hardly make a very good personal assistant if he did not. INT. ESTATE COTTAGE, BALMORAL - DAY BROWN stands by a wall, smiling to himself at the sight of QUEEN VICTORIA struggling to help lay the table while MRS GRANT nervously prattles on. MRS GRANT ... it's not my best china. I mean, it is my best china now, but the family set got stolen last summer. VICTORIA Oh, I'm so sorry ... MRS GRANT Of course it was no-one on the Estate. More likely one of the lads from Braemar. Or further even. (beat) I'll fetch the salt. MRS GRANT scurries away. VICTORIA immediately holds up the spoons to BROWN with a questioning look -- above or beside the plate? He nods her to the top and she quickly carries on. INT. A SOCIETY PARTY, LONDON - DAY DISRAELI and MARY ANNE stand with BERTIE and his ACOLYTES. BERTIE Mr Disraeli. Ma'am. DISRAELI Your Royal Highness. What a pleasure to see you here. BERTIE Have you met Mr Lyle? He's in sugar...? DISRAELI I don't think I've had that pleasure. DISRAELI shakes hands with the fat sugar tycoon who wobbles with drink. MARY ANNE engages him in conversation while BERTIE turns DISRAELI aside. BERTIE No doubt you've heard the rumors. DISRAELI I take no account of gossip, Your Highness. BERTIE My concern is for the reputation of the Monarchy. DISRAELI Of course. BERTIE I fear the influence he has on her. The man's word is not to be credited. He is an arriviste of the very lowest water. (beat) She's having a bust cast of him. In Nero Marquino marble. DISRAELI I see. BERTIE I would talk to her myself, but she won't listen to me. She must be persuaded, by someone she respects, to abandon this ridiculous favoritism before a situation develops. DISRAELI A situation? BERTIE I don't imagine you frequent the Republican Clubs. But the fact that neither you nor I are members should not blind us to the significance of their existence. (beat) The Tory Party has always been our party. DISRAELI I'm flattered you think so. BERTIE I tell you, if we don't stick together on this, you could find yourself First President's Opposition. (murdering it) Du Royaum Uni. DISRAELI Quite. A beat. BERTIE I don't think we can overstate the seriousness of this. DISRAELI nods and BERTIE walks swiftly back to his party. The moment he's gone, STANLEY steps up to DISRAELI's side. STANLEY What did he want? DISRAELI To know when he'll be king. INT. ESTATE COTTAGE, BALMORAL - DAY VICTORIA, BROWN and the GRANTS are eating around a large table. Like a wife watching her husband, VICTORIA beams proudly at BROWN as he tells a story. BROWN ... so Grant here and myself are riding over Lochnagar and the rain's pouring down in sheets and all we're thinking about is getting home for a drink, when through the gloom Grant spots a couple of poachers. He gives me a shout and we chase them down towards the loch until Grant has your men up against the stacks and he's shouting and cursing at them, "Why are you poaching on Royal land?!" And one of the little fellas looks up at him and says, "coz we've come up in the world." For a split second, both the GRANTS look petrified, then BROWN and VICTORIA explode into laughter and the GRANTS relax. Suddenly the GRANTS are helpless with laughter too. Beginning with VICTORIA's glass, BROWN pours out liberal quantities of whiskey all round. EXT. BALMORAL CASTLE - DUSK Later that night, the courtyard is packed with a gaggle of worried HOUSEHOLDERS holding lamps. Through the light, BROWN and VICTORIA clatter into the courtyard on the horse and trap. DOCTOR JENNER breaks through the crowd in a state of high excitement. JENNER Your Majesty! Thank goodness you're safe! I'll have a bath prepared immediately. I recommend Macdonald's African Embrocation -- BROWN (cutting in) Ah, pipe down, man. The woman's fine. VICTORIA We stayed a little longer than expected with Mr and Mrs Grant. It was most agreeable. PONSONBY We were expecting you to return by six. VICTORIA And now I am back. BROWN cannot resist one more little dig. BROWN We took a nip of whiskey. VICTORIA To keep out the cold. BROWN Aye. VICTORIA smiles and BROWN lifts her off the trap. Before walking in she turns and, in front of everyone, says... VICTORIA Thank you, John. BROWN bows and the QUEEN walks on. As she straightens up, he finds PONSONBY and DOCTOR JENNER staring back at him in utter disbelief at what she has just said. He turns and leads the horse back to the stables. JENNER (under his breath) She's drunk. PONSONBY doesn't answer. He is watching BROWN very closely. JENNER (CONT'D) A distinct flushing around the cheeks. She was drunk, I tell you. PONSONBY No, she wasn't. Silence. JENNER turns to look at PONSONBY. JENNER Surely not ... PONSONBY's face is set hard. PONSONBY Don't even think about it. INT. BALMORAL CASTLE, BALLROOM - NIGHT A crush of kilted GHILLIES as we slam into the height of the annual Ghillie's Ball. The whole court is reeling through the dance; all of them beholding the extraordinary spectacle of QUEEN VICTORIA and JOHN BROWN dancing together in the middle of the hall. PONSONBY and JENNER stand by the wall, watching. Close-up on PONSONBY'S face as JENNER mutters darkly. JENNER Pandora's Box ... With a slam of feet the reel ends, the GHILLIES roar and BROWN and VICTORIA stand smiling at each other in silence. A King and his Queen. INT. BALMORAL CASTLE, BALLROOM - NIGHT Later that night. We find BROWN, slouched on the ground, dead-drunk and snoring loudly. EXT. LOCHNAGER - DAY A few days later, four JOURNALISTS are scrabbling up a stony path, armed with telescopes. EXT. LOCHNAGER - DAY A large ROYAL PARTY is making its way smoothly and quietly up the mountain. BROWN is on horseback, leading VICTORIA on a dapple-grey. EXT. LOCHNAGER - DAY The JOURNALISTS rattle up the hill. EXT. LOCHNAGER - DAY BROWN and VICTORIA start pulling ahead of the main party. EXT. LOCHNAGER - DAY The JOURNALISTS scramble up to some gorse bushes, dump themselves down and start setting up the telescopes. EXT. LOCHNAGER - DAY BROWN and VICTORIA near the summit when BROWN suddenly stops. He stiffens and turns to face the wind, as if catching a scent. VICTORIA frowns. VICTORIA What is it, John? (beat) John? BROWN I heard something. BROWN's eyes fix on some distant gorse bushes. BROWN (CONT'D) I won't be long. He dismounts and races off. EXT. LOCHNAGER - DAY The JOURNALISTS are peering through their telescopes. JOURNALIST 1 Where did he get to? I've lost him? Below them, BROWN races across the riverbank and undergrowth, unseen. JOURNALIST 2 I don't know if there's much worth writing about. JOURNALIST 1 Hard to tell. BROWN rears up above them and stops. BROWN This close enough for you? Go on! On your way! You filthy scavengers! The JOURNALISTS scramble to their feet and start legging it down the hill, while BROWN roars furiously, hurling their bags after them. BROWN (CONT'D) You leave her alone, do you hear?! The JOURNALISTS vanish below the hillside. INT. BALMORAL CASTLE, UPPER SERVANT'S TABLE - NIGHT That night. BROWN is standing at the head of the table, yelling at the UPPER SERVANTS, irrespective of ARCHIE or anyone. BROWN If I catch the miserable by-blow who told those men where she'd be, then I'll hang his balls to dry on Jock Wemyss, so I will!! ARCHIE glances up at BERTIE'S VALET. He is staring down at the table, teeth gritted, fists clenched. BROWN rounds on them all again. BROWN (CONT'D) What happens to John Brown is his business, but the Queen's security will never be compromised! BERTIE'S VALET We -- BROWN You'll talk when I'm finished! BERTIE'S VALET stares at him in astonishment. BROWN turns back to the table. BROWN (CONT'D) That kind of disloyalty will not be tolerated in this house, is that clear? (beat, yelling) I said, is that clear?! There is a general mutter of assent. BROWN turns and storms out as ARCHIE gets up to follow. INT. BALMORAL CASTLE, HENRY PONSONBY'S ROOMS - DAY A few days later, PONSONBY is sitting at his desk, hands to his hips, listening quietly as DOCTOR JENNER reads from his copy of Punch. JENNER "Court Circular, Balmoral." (beat) "On Tuesday, Mr John Brown enjoyed a display of sheep-dipping by local farmers. On Wednesday, he attended a seance where he was pleased to listen to a recital of Auld Lang Syne by Mr Robert Burns himself ..." INT. BALMORAL CASTLE, LOWER CORRIDOR - DAY BROWN crashes through a door holding a copy of the same journal. JENNER (O.S.) "... On Thursday, Mr John Brown walked on the slopes, accompanied by family and friend ..." INT. BALMORAL CASTLE, CORRIDOR - DAY BROWN storms up to PONSONBY's door. JENNER (O.S.) Mr Brown retired early. INT. BALMORAL CASTLE, HENRY PONSONBY'S ROOMS - DAY BROWN bursts in on PONSONBY and JENNER, slamming down his copy of Punch on the desk. He is furious but controlled. BROWN If I find out that you had anything to do with this, I will have you sacked. PONSONBY I believe that decision rests with Her Majesty. BROWN Don't think I can't persuade her. PONSONBY I don't doubt that the Queen was highly amused. She has always had a very healthy sense of humor. BROWN This is a slur on her good name. PONSONBY In as much as the article is about yourself, I think you must now accept that the public has a right to its interest in you. BROWN Nobody has any rights over me. PONSONBY We are all of us subject to forces beyond our control, Mr Brown, even you. BROWN stares at him in silence. A beat. BROWN You'll regret saying that. FADE TO BLACK. CAPTION: "1867" FADE IN: INT. THE HOUSES OF PARLIAMENT - DAY Chaos. The Tories are losing the vote as both sides of the house stand and shout at each other while the SPEAKER rises in his chair. SPEAKER (O.S.) Order! Order! ORDER! A buzzing silence settles as the house sits for the vote. The COUNTERS approach the chair. SPEAKER (CONT'D) Result of the vote to the first reading of the Bill to Disestablish the Irish Church. A murmur of excitement from the LIBERALS. SPEAKER (CONT'D) Order! A beat. COUNTER Ayes to the right, three hundred and thirty, noes to the left, two hundred and sixty-five... By the time he reaches "sixty-five" his voice is drowned in cheers from the Liberal benches. DISRAELI and the rest of the front bench sit in stony silence. Somewhere on the Liberal back benches, a wild-eyed maverick, DILKE, rises to his feet shouting: DILKE Mr Speaker, I table a motion in furtherance of the Bill to Disestablish the Monarchy! A roar from the irate TORIES and chaos reigns again. SPEAKER Order! Order!! ORDER!!! INT. THE HOUSES OF PARLIAMENT, LOBBY CORRIDOR - NIGHT An hour later the house is empty except for a few straggling MPs hurrying home. An exhausted DISRAELI stands in the corridor with STANLEY. DISRAELI We're going to lose. STANLEY You can't know that for sure. DISRAELI Gladstone's got his party facing the same way for the first time in years. We need help. (long beat) Where is the old girl? STANLEY Who? DISRAELI Mrs Brown. STANLEY It's questionable whether there's any advantage to be had from that direction. She's never been less popular. DISRAELI In the press, perhaps. (holding up Punch) But she's sold more copies of her Highland Journal in three months than Punch will ever sell in a year. Time to wheel her out. STANLEY She's refusing to leave Balmoral. DISRAELI What's her excuse this time? STANLEY The Princess Louisa is too ill to move. Frankly, the Queen's rather upset at the recent spate of bad publicity. (beat) You're smiling. DISRAELI I was trying to imagine "rather upset." The elderly prelate, DEAN WELLSELLY, hurries in through the lobby doors. DISRAELI puts on a welcoming smile. DEAN WELLSELLY Forgive me, gentlemen. I'm late. DISRAELI Not at all, Dean. Good of you to spare the time. DEAN WELLSELLY I came as quickly as I could. DISRAELI You've seen the latest cartoon in Punch, I take it? DEAN WELLSELLY (completely lost) I beg your pardon? DISRAELI opens the copy of Punch and hands it to Dean Wellselly. The Dean clears his throat and starts to read. DISRAELI (as Wellselly reads) One of our madder brethren in the house was calling for disestablishment of the monarchy. Dean Wellselly looks up from the article, horrified. DEAN WELLSELLY Good Lord. STANLEY (playing the soft glove) I'm sure it won't come to that. DISRAELI (the hard glove) No. But it has now become a matter for our consciences. (beat) I was just telling Stanley how vital it is that the nation should feel the visible influence of the Sovereign. As a reminder that Parliament, indeed my own ministry, depends on the will of the Queen. DEAN WELLSELLY nods his head gravely. Over his shoulder, STANLEY is gaping at DISRAELI's silky distortion of the party political maneuver into a moral imperative. DEAN WELLSELLY I couldn't agree with you more, but I am only Dean of Windsor. I don't understand what ... DISRAELI interrupts. DISRAELI We hear from Balmoral that Mr Brown is interesting Her Majesty in some of the forms of worship associated with ... low-church Presbyterian. Silence. DEAN WELLSELLY'S face is a picture of unrestrained horror. Low-church. Presbyterian. DEAN WELLSELLY What can we do? DISRAELI Oh, several things. INT. BALMORAL CASTLE, QUEEN'S DRAWING ROOM - DAY Some days later. Queen VICTORIA sits at her desk while Henry PONSONBY stands in front of her, holding a copy of The Times. VICTORIA Read it. PONSONBY Again? VICTORIA Read it! PONSONBY coughs once and begins again. PONSONBY "The Times wishes to join the rest of Her Majesty's loyal subjects in expressing its deep joy at the news that the Queen is soon to come out of her mourning." VICTORIA glowers at him. VICTORIA Who told them that? PONSONBY I have no idea. VICTORIA Why not? PONSONBY I -- forgive me, ma'am, I am no wiser than yourself. Suddenly, VICTORIA's temper goes and she shouts at him. VICTORIA No-one should think themselves wiser than me! (beat) It is not for any of the Queen's subjects to presume to tell Her Majesty when and where She should come out of mourning. It is the Queen's sorrow that keeps her secluded! It is Her overwhelming amount of work and responsibility, work which She feels will soon wear her out entirely! PONSONBY Your Majesty -- VICTORIA (cutting right through him) Is it not enough that She is uncheered and unguided that she should also have to suffer these malicious rumors?! (a pause, more quietly) I am not a fool. (beat) I know there are those in the establishment too afraid to attack me and so they attack my dearest friends. Sometimes -- I feel that Brown is all I have left of Albert. (beat) And now they attack Brown too. She looks up, eyes blazing. VICTORIA (CONT'D) I will not give him up to them. INT. BALMORAL CASTLE, ROOM ADJOINING DRAWING ROOM - DAY BROWN is guarding the door to the drawing room while the balding BERTIE muscles up, eye ball to eye ball. BERTIE I wish to see my mother. BROWN She's busy. BERTIE Convey her a message. BROWN She's away to Windsor tomorrow. Talk to her there. BERTIE Tell her the Prince of Wales wishes to speak with her urgently about matters concerning the press. BROWN Are you deaf as well as stupid? A split-second. BERTIE gapes at him. BERTIE What did you say? BROWN I said, are you deaf as well as stupid? BERTIE Do you know who you address, sir? BROWN Whom you address. BERTIE The future King! A beat. BROWN Well, everyone's entitled to their opinion. BERTIE Out of my way! Foolishly, BERTIE tries to barge his way past. Suddenly BROWN loses it completely. He grabs the Prince of Wales by the shoulders and pins him back, shouting right into his face. BROWN LEAVE US ALONE, WHY DON'T YOU!! For a split-second, BROWN's eyes flicker as he senses he has gone too far. A look of pure venom in BERTIE'S face, then ... EXT. WINDSOR CASTLE, QUADRANGLE - NIGHT Weeks later. In a roar of hooves and wheels, the Royal Carriage sweeps into the huge quadrangle. JOHN BROWN stands rigid on the box, glowering at all the world. CAPTION: "WINDSOR" INT. WINDSOR CASTLE, SERVANT'S CORRIDOR - NIGHT A pair of doors open out onto a torchlit driveway as a mass of SERVANTS rush in and out, ferrying bags an trunks. BROWN marches in, still charged-up from the strain of the journey's watchfulness. He spots an UNDER-PORTER snatching a break. BROWN You! What's your business here?! UNDER-PORTER (jumping to) Under-porter, sir. BROWN Well, don't stand where you shouldn't! The UNDER-PORTER scrambles up the stairs. A few SERVANTS exchange looks. BROWN seems more determined than ever to exert his control. EXT. WINDSOR CASTLE, STABLES - NIGHT That night. Carrying an old storm lamp high over his head, BROWN walks towards the stables. EXT. THE GROUNDS OF WINDSOR CASTLE - DAY The next day. BROWN is on horseback, riding with VICTORIA through the grounds. He is still jumpy, eyes flicking left and right, searching for intruders. They are being followed at a distance by two EQUERRIES on horseback. VICTORIA frowns peevishly. VICTORIA Must they always follow us? BROWN I ordered it. It's for your own safety. VICTORIA Dear me, you'll be telling me to watch what I eat next. BROWN doesn't react. A beat. VICTORIA (CONT'D) Am I not safe enough with you, John? BROWN Aye. (looking away) But there are Fenians reported on the mainland. VICTORIA (tutting irritably) The threat from the Irish is greatly exaggerated, I'm sure. BROWN (snapping back) I'll decide when it's exaggerated. BROWN chucks his horse on, bringing a firm halt to the conversation. A beat. He pulls up suddenly, staring at the shadows in the copse. VICTORIA Is anything the matter, John? (beat) John? He stares for along moment and then lets it go. BROWN Nothing's the matter. INT. WINDSOR CASTLE, STABLES - NIGHT BROWN marches down the line of horse boxes. A stable-lad, BARNEY, is feeding the horses. He looks twitchy. BROWN Hey, Barney. BARNEY Mr Brown, sir -- BROWN It's cold out there tonight, Barney. Reaching his pony, BROWN stops and smiles. The animal lifts its face to him and he softly strokes his muzzle. BROWN (CONT'D) Yeah, there's a good girl. (to Barney) Have you had a look at this hoof? She was limping badly. I think there might be a stone in it. BARNEY Yeah, yeah, I did. BROWN Good man. And is she all right? BARNEY Yeah. BROWN Good. She's a good girl. Aren't you? Yeah, she's a lovely girl. And you know the Queen's riding tomorrow? BARNEY Yeah. BROWN (beat) Are you all right, Barney? BARNEY twitches again and BROWN realizes too late. The split-second he turns, he sees THREE MEN. BROWN (CONT'D) Oh, aye... The MEN pile onto him and he collapses under their weight. As he falls, BROWN manages to yank himself round, bang up a fist and fling the others off him. But the FIRST MAN is up again, twisting an arm round his neck and tugging him back. The others grapple his arms down, but BROWN is incredibly strong. Even now, grunting and scrabbling, he makes them fight to force him back. BARNEY stands transfixed in horror. Dumping BROWN against the wall, the men step back and start kicking the shit out of him. BROWN curls into a ball, jaw locked, hands over his head. Not a sound. Finally, they back off, panting hard. The FIRST MAN pulls out a bottle of whiskey, yanks back BROWN's head and forces whiskey down his throat. It spills over his face and dribbles down his neck. INT. WINDSOR CASTLE, QUEEN'S SITTING ROOM - DAY The next day. VICTORIA is standing at the windows. The door opens and LADY ELY walks in. VICTORIA Well? LADY ELY Mr Brown is unable to attend today. VICTORIA Why? LADY ELY I believe he is unwell, ma'am. VICTORIA Unwell? LADY ELY I understand he was in a fight. VICTORIA Has he been hurt? LADY ELY I believe not, ma'am. I understand -- he'd had rather too much to drink. VICTORIA walks away and steps behind her desk. VICTORIA You may go. LADY ELY bows and walks out. VICTORIA stares at the desk a moment, then picks up her pen and tries to work. She cannot. INT. WINDSOR CASTLE, BROWN'S QUARTERS - DAY BROWN sits on the edge of the bed in only his undergarments. His face, arms, legs and fingers are livid with bruises, but he sits there, stiff-backed and gritting his teeth, while ARCHIE crouches in front of him, tending to his wounds. BROWN And she sent no word down? ARCHIE They said you were drunk. (beat) Why don't you tell her the truth? BROWN She'll think it's her fault for keeping me. ARCHIE completes one of the dressings when BROWN suddenly reaches back and starts trying to put on his shirt. ARCHIE What are you doing?! BROWN I'm getting dressed. ARCHIE You've got three broken ribs, man! BROWN I've got my duties to attend to. ARCHIE Don't be an idiot! You're in no fit state to go anywhere. BROWN She'll be worried about me. ARCHIE She'll get over it. BROWN I can't let her down now, Archie. ARCHIE And when was the last time she put herself out for you? Look, John, whatever she says to you now, in the end you're still a servant. BROWN Oh, I'm much more than that. ARCHIE Aye, she may say that to you, but the woman can say what she wants. BROWN You watch your tongue. ARCHIE Come on, man, I'm telling you what you already know. BROWN You know nothing about her! ARCHIE When are you gonna see it, John? She doesn't give a damn about you. BROWN lunges for the bedside drawer and pulls out a card showing a coy picture of a pretty woman. He holds it up, eyes blazing. BROWN From the Queen! He reads out the inscription. BROWN (CONT'D) My lips may give a message better of Christmas love than e'en this letter. (beat) To my best friend, J.B. from his best friend, V.R. (he thrusts it in his brother's face) Best friend! ARCHIE Aye. BROWN She means it. ARCHIE stares at him. ARCHIE She'll drop you. When she's done with you, she'll drop you. BROWN Get out. (beat) Out! ARCHIE steps back but BROWN roars at him. BROWN (CONT'D) OUT!! ARCHIE steps outside and BROWN is left alone. INT. WINDSOR CASTLE, QUEEN'S SITTING ROOM - DAY The next day. VICTORIA sits at her desk. PONSONBY hands her letters to sign. PONSONBY ... to be followed by a visit from Lady Bridport. She is keen to secure a place for her niece as Maid of Honor. VICTORIA signs the last letter and sits back. VICTORIA I am tired. PONSONBY coughs. PONSONBY There is one other matter. VICTORIA What is it? PONSONBY I have a letter, ma'am. VICTORIA From whom? PONSONBY From Princess Helena and other members of your family. VICTORIA (stiffening defensively) My family is quite capable of communicating with the Queen in person. PONSONBY does not reply. Finally, VICTORIA is obliged to ask. VICTORIA (CONT'D) What do they want? PONSONBY They are demanding the dismissal of John Brown on grounds of drunkeness. VICTORIA stares through the window, expressionless. INT. WINDSOR CASTLE, CHAPEL - DAY VICTORIA walks through the ornate chapel, nervously fingering her handkerchief. Waiting for her, smiling softly, is the Dean of Windsor, DEAN WELLSELLY. DEAN WELLSELLY You wished to see me, ma'am? She holds his eyes for a moment, then nods. INT. WINDSOR CASTLE, CHAPEL - DAY A few minutes later, VICTORIA and DEAN WELLSELLY are seated in a corner of the chapel, talking softly. She cannot bring herself to look at him and so does not notice how carefully he is watching her throughout the interview. This is incredibly hard for her to say, but she struggles to be as honest as possible. VICTORIA My husband tried always to make me think more subtly. Of course he taught me so much and I can never repay my debt to him, or the love I feel, even now. But, in truth, I think I am someone who can only feel things while they are alive to me. For that reason, I know I do not have a subtle mind. I know that. But I work hard and I try to do my duty. (she hesitates; she is struggling now) However, I have noticed of late that my feelings of grief are not so strong and -- that I find myself leaning more upon the comfort of living friends. (beat) Friends close to me now. She stops herself. She is crying. DEAN WELLSELLY watches her a moment, then speaks close, choosing his words carefully. DEAN WELLSELLY Your Majesty, a settled resignation is more lasting proof of affection than active grief. If the good Lord sees fit to bring one into contact with congenial fellow beings, one should not analyze one's reaction too deeply. To allow oneself to be comforted by someone else need not imply any disloyalty to the memory of the loved one. Silence. VICTORIA stares into the long, dark chapel. Gradually, as she takes in the tone of his remarks, her disappointment turns to anger. INT. WINDSOR CASTLE, QUEEN'S SITTING ROOM - DAY The next day, VICTORIA stands at the far window and her back to the room. Lined up against the wall are BERTIE and his siblings. VICTORIA Sir Henry. PONSONBY steps forward. PONSONBY Ma'am? VICTORIA Please tell the Princess, and other signatories to this letter, that the Queen will not be dictated to, or made to alter, in any way, what she has found to answer for her comfort. (beat) Do I make myself clear? PONSONBY Ma'am. A beat. VICTORIA You may go. They all file out. EXT. THE GROUNDS OF WINDSOR CASTLE - DAY A few days later. BROWN and VICTORIA are riding on horseback. Although better than he was, BROWN'S face is still badly bruised. They turn a corner banked by trees. BROWN is watching the QUEEN closely. She stops. VICTORIA I would like to get down. Without a word, BROWN dismounts and helps her off her horse. VICTORIA (CONT'D) John? BROWN Yes, ma'am? VICTORIA I was told you were in a fight. BROWN Yes, ma'am. VICTORIA Has someone seen to those bruises? BROWN Yes, ma'am. A beat. BROWN (CONT'D) Ma'am? VICTORIA Yes? BROWN Having considered my position here at court, I have come to the conclusion that it is in the best interest of Your Majesty that I should resign. VICTORIA I do not accept. A beat. BROWN I had foreseen that you would not. But Your Majesty should understand -- that my mind will not be changed in this. I leave for Deeside -- VICTORIA (cutting in) The Queen forbids it. (beat) I cannot allow it because I cannot live without you. Without you, I cannot find the strength to be who I must be. Please. She takes his hand to her mouth and kisses it gently, then looks at him, utterly helpless. VICTORIA (CONT'D) Promise me you won't let them send me back. A long silence. BROWN holds her hand tight. BROWN I promise. FADE TO BLACK. CAPTION: "1868" FADE IN: EXT. LOWLANDS - DAY A few weeks later. A tiny horse-drawn carriage creeps across a huge Highland landscape. DISRAELI (V.O.) Yesterday, Gladstone talked for three hours on the Irish Church Bill ... I am as guilty as the rest of underestimating his reforming zeal. Tory days may be numbered, but I fancy there yet remains one last hope of deliverance. Wheresoever the blame lies, we must now close ranks and defend Mrs Brown's England. As for my interminable journey to the land of Calvin, oatcakes and sulphur ... EXT. BALMORAL CASTLE - DAY DISRAELI hurries through the pouring rain. DISRAELI (O.S.) ... no Prime Minister made greater sacrifice than attempting to run the country six hundred miles north of civilization. Reaching the castle, he hurries inside and the great doors bang behind him. INT. BALMORAL CASTLE, QUEEN'S DRAWING ROOM - DAY The next day. QUEEN VICTORIA is playing the piano like she walks, with great vim and vigor. The tune is some quaint Scottish ballad which she belts out in her clear strong voice, almost drowning out PRINCE ARTHUR, PRINCE LOUISE and PRINCE LEOPOLD who are meant to be accompanying her. They stand in a nervous semi-circle, fumbling their harmonies. Ignoring them completely, VICTORIA bobs up her head with a quizzical smile to make sure she is being appreciated. DISRAELI and the rest of the HOUSEHOLD stand a few yards off, smiling rigidly. DISRAELI, the consummate politician to his inch-high insteps, out-smiles the lot of them. This man is in raptures of delight. And the more liquid his smiles, the happier he makes VICTORIA. He beams, she belts, until her children are drowned out completely. And then, with characteristic suddenness, VICTORIA stops playing and launches into one of her tirades. The HOUSEHOLD wobbles in shock like children on a switch-back, but DISRAELI glides smoothly from delight to sober concern. VICTORIA How dare the Irish break with the Anglicans? If Albert were alive today he would never allow the Crown to give up Church patronage. No, the Irish must be told, very firmly, to stay exactly where they are. It is the thin edge of the wedge, Mr Disraeli. Next, you will be telling me that the Crown no longer governs this nation. A beat. A nervous silence in the Household. DISRAELI Your Majesty remains at the very epicenter of governance. As for your people, look no further than the sales of your Highland Journals to see in what affection the nation holds their Queen. (beat) You sell even more copies than Mr Dickens. VICTORIA But I lack your prose, Mr Disraeli. VICTORIA gives him a tiny smile. DISRAELI acknowledges it, then steers the conversation back. DISRAELI Of course I understand your concern. You miss your people. (a pause) And they miss you. VICTORIA registers a slight flicker of defensiveness at the implied criticism. VICTORIA Then they may read about me. DISRAELI Indeed, and for that they are eternally grateful. VICTORIA Is that not enough? DISRAELI In so many ways ... and yet it is your presence they crave. A figurehead. VICTORIA has the measure of him. VICTORIA I never thought to be bullied by you, Mr Disraeli. You, I thought, understood a widow's grief. DISRAELI Forgive me, ma'am, I cannot speak for the nation, only for myself. As Prime Minister I confess I miss your presence, but that is only an expression of my own selfish desires and I should not burden you with it. The Household waits. Has he clawed himself back? VICTORIA acknowledges his apology. Her voice drops and she talks directly to DISRAELI, straight from the heart. VICTORIA I stay here because I am happy. (beat) Is that such a terrible crime? DISRAELI No, ma'am. At this moment the far door opens and BROWN walks in. BROWN Time for your walk. Without a word, VICTORIA rises from her chair and starts following him out. As they pass DISRAELI, she stops. VICTORIA This is my good John Brown. DISRAELI (taking him in) Yes. VICTORIA I have asked him to show you a little of Highland life while you are with us at Balmoral. BROWN measures DISRAELI suspiciously. BROWN What brings you here? DISRAELI A man can refuse only so many invitations from his Queen. It was remiss of me not to come earlier. VICTORIA smiles. BROWN stares. BROWN What do you know about the Highlands? DISRAELI I am a blank sheet. BROWN Do you hunt? DISRAELI Occasionally. BROWN Dare say you can be taught. DISRAELI To shoot perhaps, but not to kill. BROWN If you hunt, you kill. DISRAELI counters effortlessly. DISRAELI Well then, I'll do my best. EXT. HIGHLANDS, GLEN GELDER - DAY Staying close to the ground we develop through a series of shots showing the other highlands -- sheet rain against heather and gorse, rivulets of water slashing through mud, crude pathways sliding in wind and all ball-breakingly cold. Coming up the hill, we begin to make out a hunting party. The sound first. Like a small army, crashing their way up the winding path. GHILLIES urging on their horses and dogs, guns and equipment jangling off pony-hacks an then the tall figure of JOHN BROWN striding out in front. Making no concession to anyone, he force-marches them up the hill, eyes on the hunt ahead. Behind them trot the men on horseback -- DISRAELI, PONSONBY, BERTIE and other GENTLEMEN, each led by GHILLIES and ATTENDANTS, among them ARCHIE. Suddenly, BROWN stops and raises a hand. The party halts. He listens for a second. Satisfied that he has found his quarry, he brings his hand down and the party of gentlemen dismount as quietly as they can. As he waits, BROWN winces slightly from the pain in his side. He pulls a flask of whiskey from his sporran and drinks. All the time, DISRAELI keeps his eyes on BROWN. EXT. HIGHLANDS, GLEN GELDER - DAY The stalking. Everyone is now fanned out along the hillside, a ghillie to each gentleman, slowly and silently moving up the hill. DISRAELI stalks with BROWN, panting hard to keep up, eyes on his man, trying to make no sound. Suddenly, BROWN stops. Very slowly he rises. DISRAELI rides alongside and sees ... A huge stag staring majestically across the hillside. Keeping his movements smooth and slow, BROWN brings up his rifle, cocks it and offers DISRAELI the kill. With a deferential gesture of the hands, DISRAELI declines. BROWN stares at him a split-second, raises the rifle to his shoulder and fires. EXT. HIGHLANDS, GLEN GELDER - DAY The kill. A rapid montage of guns firing, as we cut to ... INT. BALMORAL CASTLE - DAY BROWN sweeps in from the hunt, DISRAELI dripping at his side. BROWN (demonstrating with his rifle) Always remember, you keep it tight to your shoulder, you absorb the kick. Aim for the head. Then imagine it's Gladstone. DISRAELI (smiling) Quite. BROWN pulls out his flask and offers some to DISRAELI, who declines. He watches BROWN take a long swig. INT. BALMORAL CASTLE, UPPER SERVANT'S TABLE - NIGHT That night. BROWN is standing at his place, drinking steadily. He has a sheet of paper and a pen and is ticking off a list. Lined up in front of him, trying desperately not to laugh, are five or six UPPER SERVANTS including the pretty ASSISTANT DRESSER and BERTIE'S VALET. They each step up, one at a time, to make their report. BROWN (ticking as he goes) ... Back doors, West Wing. UPPER SERVANT 1 Checked and locked, sir. BROWN Side doors, East Wing. ASSISTANT DRESSER Checked and locked, sir. BROWN Louder, girl! ASSISTANT DRESSER (creasing up) Checked and locked, sir. BROWN Kitchen and lower house. BERTIE'S VALET Checked and locked, sir. BROWN Back and upper corridors. UPPER SERVANT 2 Checked and locked, sir. BROWN Front door. (beat) Checked and locked. Folding up the paper, BROWN downs his glass of whiskey and sits. On his nod, dinner is served by UNDER SERVANTS amid a clatter of cutlery and chat. ARCHIE looks across at his brother but BROWN is hunched over his plate, pecking at his food. Someone titters and ARCHIE looks up. BERTIE'S VALET coughs. BROWN slowly lifts his head. His eyes have the slightly unfocused look of too much drink. It is clear to ARCHIE that he is about to be sent-up. BERTIE'S VALET (with a smug smile) Did you see any Irish assassins today, Mr Brown? Brown doesn't react. BERTIE'S VALET (CONT'D) We heard the dogs were Fenian sympathizers. Brown drinks. BERTIE'S VALET (CONT'D) Or was it the stag ...? Everyone bursts out laughing. Brown slams down his glass. BROWN There's not a soul here cares about that wee woman's safety except me! She'd die in a ditch if I wasn't there to look out for her -- He stops. ARCHIE has come across to his brother's chair and pulls gently on his arm. BROWN stares at the SERVANTS. Everyone is about to burst out laughing. Keeping his dignity, he pushes back his chair and lets ARCHIE lead him away. As BROWN reaches the double doors, the laughter hits him in the back like a wave. ARCHIE holds him steady. INT. BALMORAL CASTLE, BROWN'S QUARTERS - NIGHT BROWN is lying on a grubby bed. ARCHIE is looking around the untidy room. For the first time, he notices a thick manuscript on the table. BROWN follows his eyes. ARCHIE What's this? BROWN It's a diary. ARCHIE Be careful who sees it. BROWN What do you take me for? ARCHIE turns back to BROWN. ARCHIE You should have someone look after you. BROWN I'm all right. I just need to rest up a wee bit. (feeling everything spin) The room ... You don't have to stay. BROWN shuts his eyes and starts to drift. ARCHIE watches over him. ARCHIE The place is a mess. BROWN I can't move to tidy. ARCHIE It's what the maids are for. BROWN I'm not having some prattler going through my things. A beat. ARCHIE Won't you give yourself a rest, John? She's other people to look out for her. BROWN She needs me, Archie. She canna do without me, she said it to my face. (his hands come up to cover his eyes) How can I stop now? INT. BALMORAL CASTLE, SERVANT'S CORRIDOR - DAY Dawn the next morning. BROWN is scrambling into his jacket as he hurries down the stairs. EXT. BALMORAL CASTLE - DAY BROWN crashes out of a side-door -- just fully dressed -- to be met by the smiling figure of DISRAELI. He is got up in smart walking boots, plus-fours and a tweed jacket. BROWN You sent for me. DISRAELI I've been called back to London. My last day. I thought I might take a walk on Lochnagar. BROWN stares straight back. EXT. LOCHNAGER - DAY An hour later, BROWN leads DISRAELI up the hill. BROWN has his head down, on with the job. DISRAELI slows to a halt. DISRAELI Princes and Lords are but the breath of kings, An honest man's the noblest work of God. (beat) You must miss such magnificent views. BROWN I don't think about it. They reach the top and continue along the high ground. DISRAELI glances at BROWN and notices the limp. DISRAELI Forgive me, I've called you out and you should have been resting. BROWN I'm fine. DISRAELI You're injured. BROWN It's nothing. DISRAELI Still, someone must attend you. Your wife should not have let you out. BROWN I'm not married. DISRAELI (deadpan) Oh. BROWN This is the top. DISRAELI admires the view for a moment, then continues. DISRAELI I confess, I sometimes feel as if I am not married myself, I see my wife so little. But I'm forgetting the rewards. He looks across. BROWN keeps staring ahead. DISRAELI (CONT'D) The look on their faces when one walks into the room. Still gives one a ridiculous thrill. BROWN I wouldn't know. DISRAELI Surely -- BROWN (interrupts) What I do, I do for my Queen. DISRAELI Was there never ambition? BROWN (beat) Maybe, once. DISRAELI Then I envy yo. BROWN Why? DISRAELI To have achieved one's ambition, or to have reconciled oneself to its limits, is a lifetime's work. BROWN I do what I do. DISRAELI For Her Majesty. BROWN Aye. DISRAELI But yourself? (beat) What about John Brown? BROWN I said. (beat) I serve the Queen. DISRAELI No other aspiration? BROWN stares for a long moment. Finally he speaks. BROWN To see her safe. DISRAELI steps a little closer. DISRAELI You will not be unaware of the threat now posed by Republicanism. BROWN Why do you think I keep her here? DISRAELI Ah, but therein lies the paradox. It is her very isolation that encourages the malcontents. The longer she is away, the stronger they become; and who, honestly, can promise security against that? However many doors you lock, someone will always get in. Even here. BROWN watches him, eyes alert. BROWN So...? DISRAELI The truth is, the Queen would be safer doing her duty and returning south to her public. John Bull loves her and John Bull is her best defense. BROWN Her mind is set. She won't change now. DISRAELI She trusts you, John. DISRAELI is right on his shoulder now, like his own voice. BROWN They don't see it. DISRAELI See what? BROWN The threat. (beat) I tell them, but they don't see it. DISRAELI They aren't as watchful as you. BROWN Too busy looking after themselves. DISRAELI The greasy pole. BROWN No loyalty. DISRAELI No love. Silence. For a moment BROWN seems unaware that someone else has said that. BROWN I promised to protect her from people like you. DISRAELI For once in my life, I am not the issue. BROWN She'll never understand it. DISRAELI In time, she will. BROWN She'll think I betrayed her. DISRAELI But others will know that you acted for the greater good. BROWN stares off into the distance. EXT. LOCH MUICK - DAY The next day. BROWN is rowing VICTORIA across the loch. The EQUERRIES wait on the shore. VICTORIA trails her hand in the water, frowning at the surface. BROWN concentrates on the oars, slipping them carefully through the water. VICTORIA I received a letter today from Mr Disraeli. Parliament is calling for my return to public duties. (beat) Why won't they let us be? BROWN does not answer. VICTORIA (CONT'D) He insists that the country expects me to preside over the opening of the new session. I refuse to offer sustenance to enable his weakening grip. Besides, you know how much I should hate it. It frightens me. She notices that BROWN has said nothing. VICTORIA (CONT'D) John? BROWN does not look at her. Finally: BROWN We can't always have what we wish. VICTORIA stares at him. INT. BALMORAL CASTLE, QUEEN'S DRAWING ROOM - DAY Later that day. VICTORIA and BROWN are in the middle of a blazing row in front of the entire Household, including PONSONBY, JENNER and LADY ELY. VICTORIA Duty?! You talk about duty?! BROWN If duty and safety are served by the same end then, aye, I do. VICTORIA I cannot believe you are saying this? You, who I have relied on all this time -- BROWN (cutting in) Have I ever let you down before--? VICTORIA (as if he had not spoken) -- You stand there and tell me it is my duty ... after all you promised me! BROWN I'm breaking no promises! VICTORIA You are forcing me to do the very thing you know I fear most! BROWN For god's sake, woman, I'm just trying to keep you safe! VICTORIA I will not hear any more about my safety!! You made me a promise and now you have broken it! BROWN rounds on her, deeply wounded. BROWN -- When I took you out riding, come rain or shine, because I knew it was right for you, when I kept the bairns off your back so you could have a bit of peace, when I saw you safe from home to home and you didn't even know I was there...! All I've ever thought about is you! VICTORIA Then why send me back to them?! BROWN Because I have to! (pause Will you no listen to me, woman? Face turned from him, VICTORIA replies in a brittle voice. VICTORIA Do not presume to talk to your Queen in that manner. A long silence. BROWN watches her, but she will not look at him again. Finally, she walks very slowly across the room. She turns in the doorway, her voice faltering slightly. VICTORIA (CONT'D) Doctor Jenner, I feel unwell. I shall retire to my chamber. Please attend me presently. As the door slams, we ... FADE TO BLACK. CAPTION: "NOVEMBER" FADE IN: INT. BALMORAL CASTLE, DINING ROOM - DAY A few weeks later. Close on a door as it opens. The ROYAL FAMILY are eating lunch with members of the UPPER HOUSEHOLD. VICTORIA walks in with LADY ELY. A great scraping of chairs as everyone drops their forks and stands. Clearly, they were not expecting her. In silence, VICTORIA steps up and takes her place at the head of the table. At last, PONSONBY leans forward deferentially. PONSONBY May I say, how glad I am to see Your Majesty so much recovered. VICTORIA nods, then turns and looks about at the others. PRINCESS ALEXANDRA is seated at the far end of the table. VICTORIA frowns. VICTORIA Where is my son? PRINCESS ALEXANDRA Prince Albert is at Windsor, ma'am. VICTORIA Why is he not here? PRINCESS ALEXANDRA He is sick, ma'am. VICTORIA Then why are you not with him? PRINCESS ALEXANDRA You ordered all members of the Royal Family to attend you at Balmoral. VICTORIA What is the matter with him? PRINCESS ALEXANDRA He has typhoid fever, ma'am. VICTORIA stares blankly at DOCTOR JENNER. VICTORIA No. You are mistaken. Prince Albert, my husband, had typhoid fever. I asked what was wrong with my son. JENNER The same, your Majesty. VICTORIA stops. She stares down the length of the table. A long pause. VICTORIA Why was I not informed? JENNER I did not consider it wise, in the circumstances, to tax your nerves. VICTORIA How ill is he? No answer. VICTORIA (CONT'D) (to Alexandra) Alex? VICTORIA (CONT'D) He is not well, ma'am. A beat. VICTORIA (CONT'D) I must go to him. Suddenly, VICTORIA stands. Chairs bang back as everyone leaps to their feet. VICTORIA (CONT'D) We must leave at once. Abruptly, VICTORIA turns for the door and the room erupts into activity. INT. BALMORAL CASTLE, CORRIDOR - DAY BROWN stands in the corridor, a little nonplussed by the servants and Householders hurrying about in every direction. EXT. BALMORAL CASTLE - DAY Half an hour later, BROWN races up to the Queen's carriage amid a swarm of servants, ladies' maids and Householders rushing to be ready in time. Suddenly the huge castle doors open and VICTORIA bustles out with her entourage in tow. BROWN -- only just in time - yanks open the door for VICTORIA to step past him and take her place. She ignores him completely. BROWN slams the doors. As he looks up, he sees his brother ARCHIE staring at him from across the courtyard. For a second the two brothers hold each other's gaze. It's obvious that ARCHIE has noticed the Queen's indifference. BROWN turns away and mounts the box as the carriage races away under him. INT. WINDSOR CASTLE, PRINCE'S BEDCHAMBER - DAY Some days later. A tableau. QUEEN VICTORIA sits at the foot of the bed, a matriarch surrounded by her ROYAL FAMILY. They watch DOCTOR JENNER bend to examine the ghostly figure of BERTIE. He listens for a pulse. Finally, he looks up. JENNER Better. VICTORIA lets out a deep breath. She takes hold of PRINCESS ALEXANDRA'S hand. VICTORIA Should the good Lord see fit to spare my son, I will order a mass to be celebrated at St. George's. The people must share with their Queen, her prayers and hopes for their future King. INT. WINDSOR CASTLE, CORRIDOR OUTSIDE BEDCHAMBER - DAY A few minutes later, BROWN stands in the corridor when the door bursts open and VICTORIA marches straight past him with PONSONBY at her side. PONSONBY (aside to BROWN) The Queen will be riding to St. George's on the fifth. BROWN (launching straight in) I recommend Her Majesty uses the covered carriage with a full Horse Guard. In the event of any disturbance I will ensure -- VICTORIA (cutting in) I will ride to St. George's in an open carriage. It is time the Queen was seen by her public. VICTORIA turns and disappears down the corridor, followed by PONSONBY. We linger on BROWN'S humiliation, closer and closer until ... EXT. WINDSOR CASTLE, ST. GEORGE'S - DAY Some weeks later. A series of angles on BROWN as he walks amid the mass of onlookers pressing against a cordon of guards surrounding the cathedral. All the time, his eyes flick left and right, searching the faces in front of him for potential assassins. Over his intense watchfulness we hear ... DEAN WELLSELLY (O.S.) ... praise and magnify thy glorious name for that thou has raised thy servant Albert Edward, Prince of Wales from the bed of sickness. We pray thee to perfect the recovery of thy servant and to crown him day by day with more abundant blessings both for body and soul, through Jesus Christ our Lord ... The CONGREGATION mutters a vast ... CONGREGATION (O.S.) Amen. EXT. WINDSOR CASTLE, ST. GEORGE'S - DAY VICTORIA and other members of the ROYAL FAMILY walk down the steps towards the cheering crowd. As DEAN WELLSELLY and BROWN follow, BROWN sees ARTHUR O'CONNER break from the onlookers, pulling out a gun. BROWN yells out: BROWN NO!! He races toward O'CONNER and hits him flying, bangs him to the ground and twists the gun out of his hand. As they fall we hear laughter and: BERTIE (O.S.) So there he is, Arthur O'Conner... INT. WINDSOR CASTLE, DINING HALL - NIGHT It's a few days later and BERTIE is entertaining a private dinner party. They include QUEEN VICTORIA, PRINCESS ALEXANDRA, PRINCESS LOUISE and HENRY PONSONBY. BROWN is in attendance. He stands off to one side, near the door. BERTIE (bristling with confidence) ... all seven stone of the man, paddling madly towards us through a sea of Horse Guards, waving something that looks vaguely like a pen. I thought he must be one of the mother's ardent readership in search of the Royal indenture... More chortling. VICTORIA watches her son, smiling proudly. BROWN looks straight ahead. BERTIE (CONT'D) I believe I saw him first and then alerted Brown. I'm not convinced that he wasn't taking a snooze on top of the box. Anyway, we had our man pinned down and I must say, Brown acquitted himself admirably. Of course the gun was a fake, but all the same, it was well done. No-one registers BROWN. But while VICTORIA does not look at him, she is acutely aware of his presence. VICTORIA I intend Brown to be rewarded with a special medal cast in gold. It will be called The Devoted Service Medal. The guests applaud politely. BERTIE clinks his glass for attention and raises it high. BERTIE A toast. Victoria Regina! The others raise their glasses in unison. EVERYONE Victoria Regina! VICTORIA smiles. BROWN remains alone by the door. DISRAELI (O.S.) The people of England have expressed in a manner which cannot be mistaken, that they will uphold the ancient monarchy of England ... INT. CRYSTAL PALACE - DAY DISRAELI is delivering his come-back speech at a banquet of Tory delegates. DISRAELI ... If the first great object of the Tory Party is to maintain the institutions of the country, the second is, in my opinion, to maintain the Empire of England ... the hereditary, the traditionary policy of the Tory Party. Go to your homes, teach them these truths, which will soon be imprinted on the conscience of the land ... FADE TO BLACK. CAPTION: "1883" FADE IN: INT. WINDSOR CASTLE, BROWN'S QUARTERS - NIGHT The sound of rain driven hard against a window. We creep slowly down the corridor until we are back with the fifty year-old BROWN. With his whiskey for company, he is sitting at his desk, writing in the diary. The diary-manuscript is now falling apart with wear, but there remain a few blank pages. Slowly, he fills them in. BROWN (V.O.) We should not live in expectation of contentment. Fifteen years of vigilance will not guarantee peace of mind. Yesterday, intruders were again reported in the South Wing. I believe my prompt arrival may have averted any crisis, but it was a timely reminder. It is a great comfort to me that my efforts in securing the Queen's safety over the years have not been in vain. Certainly Her Majesty sends me no word that she's dissatisfied. And I feel sure that if she were unhappy she would have found the occasion to speak to me in person, as she has so often done in the past. A knock at the door. BROWN (CONT'D) What is it? We hear a young PAGE, breathless from running. PAGE North woods, sir. BROWN grabs his gun and rushes out. EXT. WINDSOR CASTLE, QUADRANGLE - NIGHT BROWN appears at the door and strides into the storm. He walks quickly across the wide quadrangle, rain soaking his hair and clothes. Two GUARDS watch BROWN as he races out into the storm. A coin flips through the air to be caught by an outstretched hand. The second GUARD grins. EXT. THE GROUNDS OF WINDSOR CASTLE - NIGHT BROWN races across the open ground towards the forest. EXT. THE GROUNDS OF WINDSOR CASTLE, FOREST - NIGHT And now we are back with the opening sequence. Truncated, severe, and shot from a slightly different angle. The driving rain, BROWN hurtling through the trees, the crack to his left, he spins and plunges on. EXT. THE GROUNDS OF WINDSOR CASTLE, FOREST - NIGHT Close-up on BROWN as he bangs against a tree, heaving for air. He searches the dark, stops, listens and races on. EXT. THE GROUNDS OF WINDSOR CASTLE, FOREST - NIGHT BROWN tears through the trees, pistol raised at full arm's length. EXT. THE GROUNDS OF WINDSOR CASTLE, FOREST - NIGHT He bursts into a clearing, breaks to the centre and stops. Pistol raised, he turns a circle, eyes on the wildly swaying trees. A branch snaps behind him. He spins round, bellows deep from his heart: BROWN God save the Queen!! And fires. INT. WINDSOR CASTLE, CORRIDOR - NIGHT A few days later. VICTORIA is moving swiftly down a long corridor with LADY ELY. They arrive at a door. VICTORIA stands facing it. VICTORIA (quietly) How long has he been this sick? LADY ELY A few days, ma'am. VICTORIA Why was I not told earlier? LADY ELY doesn't answer. VICTORIA knows anyway. She nods. LADY ELY knocks. The door is opened by a young UNDER SERVANT who gawps at the sight of Her Majesty standing here in the servant's quarters. VICTORIA walks in. INT. WINDSOR CASTLE, BROWN'S QUARTERS - NIGHT The room has been cleared of bottles, but the thinness of the life here shocks her deeply. The cheap furniture, the anonymous prints, the bed and, finally, the sight of BROWN. He is lying in bed, barely conscious. After a moment, he opens his eyes and stares at her. She steps forward, smiling nervously. Her voice is the old voice, between friends. VICTORIA You should never have gone out in such foul weather. BROWN Someone has to look after you. (pause) It could've been someone. It was before. VICTORIA Yes. Yes it was. He cannot speak. It's difficult for her too, but she speaks for him. VICTORIA (CONT'D) My Ministers are as impertinent as ever. Dispatches are now so numerous, they come in a trunk. Sometimes I do believe they will never stop. Endless letters... Her voice falters. A pause VICTORIA (CONT'D) I know I have not always been the loyal friend you deserved, John. And yet here I am now, even now, feeling desperate at the thought of losing you. She starts to cry. BROWN Don't be silly, woman. His old, familiar gruffness makes her smile and she pulls herself together. Seeing a bowl of water on the side table, she steps across. Carefully folding a cloth in four, she rinses it in the water and gently wipes his face. Leaning closer, she is about to touch his face when BROWN gestures protectively. BROWN (CONT'D) Not too near. INT. WINDSOR CASTLE, CORRIDOR - DAY A week later. PONSONBY and JENNER stand at the window overlooking the grounds. JENNER Erysipelas. PONSONBY Not too protracted, I hope. JENNER (shakes his head) A few days... (beat) When he heard, the Prince of Wales threw the bust from the window of the Royal Gallery. It took four hours to gather the fragments. A beat. PONSONBY The Queen wishes to publish an account of him. JENNER Dear oh dear. PONSONBY We think she can be dissuaded. (beat) Have you had a glance at the diary? JENNER Yes. PONSONBY Quite. (beat) I think I'd best take it back. JENNER Of course. He brings out BROWN'S tatty diary-manuscript and hands it over to PONSONBY. The two men move away from the window, to go their separate ways. Daily business beckons. JENNER (CONT'D) Where did you find it by the way? PONSONBY Some young page was boasting about having seen it. (beat) Lucky. JENNER nods. JENNER Well, no rest for the wicked, Henry. PONSONBY No, indeed. The two men head off in opposite directions down the corridor. \ No newline at end of file diff --git a/unformated_scripts/Script_Mud.txt b/unformated_scripts/Script_Mud.txt new file mode 100644 index 0000000000000000000000000000000000000000..a40c4361093e442bc33ad164827d82a6a905e9e3 --- /dev/null +++ b/unformated_scripts/Script_Mud.txt @@ -0,0 +1 @@ + MUD Written by Jeff Nichols Shooting Script September 16, 2011 1 INT. ELLIS' ROOM - PREDAWN 1 ELLIS(14) sits fully-clothed on top of his made bed. He is a wiry young man with a few blonde hairs on his upper lip struggling desperately to be a mustache. His room, cluttered with junk, is dark, quiet and tiny. A backpack and an oversized Walkie-Talkie sit next to him. The silence is cut by a SQUAWK from the Walkie. Ellis quickly grabs it. ELLIS I'm comin' out now. He crams the Walkie into his backpack and slings it over his shoulder. On his feet, he slides open a window at the foot of his bed. He's out in one motion. 2 EXT. HOUSEBOAT - PREDAWN 2 Ellis skirts alongside the exterior wall of his room on a two- foot-wide section of decking. He lives on a HOUSEBOAT anchored just off the bank of the Arkansas River. The "boat" is really the combination of a double wide trailer and a vinyl-sided shack fused together atop large flotilla. Ellis scurries to the mobile home section of the boat. He slips past a barbecue grill and settles underneath a lighted window. VOICES come from inside. Slowly, Ellis gets on his toes to peer through the window. 3 INT. ELLIS' KITCHEN - CONTINUOUS 3 MARY LEE(41) takes a jug of milk out of the refrigerator. SENIOR(52) sits at a small table reading a newspaper. The mobile home kitchenette is no larger than Ellis' room. MARY LEE I just want to have a conversation. I just want to talk about it. Mary Lee sits down across from Senior, who doesn't look up from his paper. Her eyes narrow and she extends a finger toward him. MARY LEE (CONT'D) If you don't look up from that goddamn paper... She stops before completing the thought. After a moment, Senior lowers his paper. He stares across the table at his wife. He looks at her with true disdain. 2. His eyes trace down her face and robe before finally settling on his cup of coffee. He picks up the cup, takes a sip, and sets it back on the table. He raises the paper up. Mary Lee's eyes soften. She bites the inside of her cheek to keep from crying. Her eyes move to the kitchen window. 4 EXT. ELLIS' HOUSEBOAT - CONTINUOUS 4 Ellis quickly ducks and mouths the word "shit." He slips under the window toward a metal carport that covers a boat, fish cleaning station, and industrial ice machine. The entire houseboat is anchored to the shore by two thick ropes tied to opposite ends of the flotilla. The ropes extend upward into the tops of enormous pine trees. Ellis sprints across a simple, wood-planked bridge to shore. His houseboat is one of several in a row along the riverbank. 5 EXT. ELLIS' RIVERBANK - CONTINUOUS 5 Ellis scurries into the treeline and arrives at a dirt path. Waiting for him there is NECKBONE(14), a scrawny kid with slicked back blonde hair wearing a FUGAZI T-shirt. He sits atop a smallish dirt bike. Ellis hops on the back. NECKBONE What the shit man? ELLIS Suck it. Drive. The bike spits up mud as they peel out down the trail. 6 EXT. RIVERBANK - PREDAWN 6 From a distance, the single headlight of the dirt bike snakes up and down, in and out of trees along the riverbank. ON THE BIKE, The sound of the engine rips through fog and trees illuminated by the straining headlight. 7 EXT. RIVERBANK - DAWN 7 The boys emerge from behind a sand covered hill. Now on foot, they are silhouetted against a light blue, morning sky. NECKBONE How old is she? ELLIS A Junior. 3. At a collection of trees growing out of the water, the boys move branches away from a tarp covered boat. NECKBONE She's got nice titties. You talk to her? ELLIS Nah. NECKBONE You're gonna have to talk to her. ELLIS I know. NECKBONE Remind me when we get back to my house, Galen's got a book on that. Neckbone takes a spot up front in the small, flat-bottom boat. Ellis, a foot on the bank and one in the boat, launches them out into the water. 8 EXT. RIVER - MORNING 8 A chunk of Neckbone's greased back hair bobs in the wind as they cruise down river. Ellis steers a small 15 horsepower motor. An orange sun is coming up now. Neckbone's eyes lock on what's in front of them. Ellis kills the motor. Neckbone stands up, a serious look on his face. NECKBONE Shit. Ellis raises up behind him. He takes a deep breath, nods. NECKBONE (CONT'D) Your dad'd kill us he knew we went out there. ELLIS I'm not worried about my dad killin' us. THE MISSISSIPPI RIVER sprawls out in front of them. It's enormous. Their boat drifts at the mouth of the Arkansas, a small river by comparison. The Mississippi is a swirling mess of brown water and yellow foam six football fields wide. NECKBONE What if it sinks? 4. ELLIS It ain't gonna sink. We gotta move if we're gonna make it back. Set your watch. We'll need a good fifteen minutes. Neckbone sets an alarm on his fat plastic wristwatch. They take their seats. Ellis cranks the motor. The small boat slowly chugs out onto the massive river. 9 EXT. MISSISSIPPI RIVER - MORNING 9 The boat lurches through the murky, rushing water. Neckbone has both hands firmly planted on the boat's edges. Ellis tries to handle the motor which has little impact against this current. The tail end of the boat swings to the right. Ellis flinches and grabs an edge to steady himself. The front of the boat bobs toward an ISLAND in the middle of the river. Neck turns to Ellis and points. NECKBONE THERE IT IS! 10 EXT. ISLAND SHORE - DAY 10 The boys splash down in ankle deep water. They take hold of the front of the boat and drag it onto the muddy shore. Neckbone jogs to a tree line in the center of the island. Ellis snatches up his backpack and follows. 11 EXT. ISLAND WOODS - CONTINUOUS 11 The island, only 60 some yards in diameter, is separated by a clump of tall trees that form a wooded area in its center. The trees make it so you can't see from one side of the island to the other. NECKBONE Galen thinks it's been here awhile. Thinks the last flood did it. Ellis follows as Neckbone winds through the trees. They stop at a deep creek that cuts across the island. Neckbone looks to his right, then his left. Sees what he's looking for. NECKBONE (CONT'D) It's down there. A fallen tree trunk that straddles the creek. Ellis starts across. 5. NECKBONE (CONT'D) Hold it. Neckbone picks a large stone up off the ground. NECKBONE (CONT'D) Look. Eight feet below the tree trunk, a nest of water moccasins curl around in the creek. Neckbone drops the stone on top of them. The snakes fan out. NECKBONE (CONT'D) Little shits. Their mud-caked high-tops stomp across the trunk. 12 EXT. ISLAND WOODS - DAY 12 The boys stop near the base of a large tree and stare up. Ellis cranes his neck back. Awestruck. NECKBONE So there it is. ELLIS Yeah, there it is. A 26 Foot Long BOAT sits nestled in the tree limbs above. 13 EXT. BOAT IN TREE - MOMENTS LATER 13 The boys scale up the tree from low lying branches. Ellis, hands on the edge of the boat, gets a leg over the side and pulls himself onto the deck. He reaches down and helps to drag Neckbone on board. They get to their feet, steadying themselves on the wooden deck. It's solid. They take in their new vantage point. ELLIS It came down from up there. Ellis points to higher limbs that have long been broken off. Neckbone walks to the back of the boat and hangs his head over. He finds a gaping hole of gutted wood. NECKBONE Motor broke off. Ellis isn't concerned with the motor. His eyes are locked on a covered cabin at the front of the boat. ELLIS Who else knows about this? 6. NECKBONE Just me and Galen. ELLIS What's he think? NECKBONE He don't care about it. ELLIS Good. Ellis walks to the cabin. He pushes a vinyl door open. ELLIS (CONT'D) 'Cause this boat's ours. Ellis has to duck down to go inside. Neckbone follows. 14 INT. BOAT CABIN - CONTINUOUS 14 Ellis, stooping over, makes his way into the tiny cabin room. Yellow floral curtains, stained with age, cover a row of windows that wrap around the top of the cabin. These provide an odd glow in an otherwise dark, wood paneled space. There is a bench with rotted out cushions to the left. To the right, a mold-covered sink and mirror. Neckbone peers over Ellis' shoulder at the front of the cabin room. A small booth sits to the right across from a miniature toilet partially shielded by an open door. NECKBONE It's got its own shitbox Neckbone slides back a portion of floral curtain and light streams in. He starts opening small closets and drawers. Ellis plops down on the rotted bench cushions. ELLIS This is perfect. NECKBONE Ho-Lee-Shit. Neckbone stares in an open drawer. He removes a stack of Playboys from the 1980's. Ellis smiles at him. He leans back and props his foot against the sink cabinet across from him. This is home. Neckbone opens the first Playboy. It disintegrates. NECKBONE (CONT'D) Aw shit. 7. As he scrambles to gather the fallen pages, Ellis notices a dried BOOT PRINT next to his foot. He lowers his shoe from the cabinet leaving a smaller, muddy print of his own. He leans in to examine the larger print. The impression of a CROSS has been left in the heel. NECKBONE (CONT'D) Her tits are so small. Ellis reaches out and traces his finger in the groove of the cross marking. His eyes narrow as he re-surveys the cabin. On the table across from the toilet, he notices several empty cans of Beanie Weenie. In the booth, he sees a grocery bag. Ellis slowly raises up and goes over to it. ELLIS Neck. NECKBONE Look at that beave. You gotta see this. Ellis reaches out for the plastic bag. His fingers pull back the edges to reveal its contents: one can of unopened Beanie Weenie and half a loaf of BREAD. ELLIS Neck. Ellis reaches for the bread and gives it a squeeze. It's FRESH. Ellis freezes. NECKBONE What? ELLIS Someone's here. NECKBONE What? Ellis holds the loaf of bread up to Neckbone. ELLIS Someone's livin' here. Neckbone sees the grocery bag. His eyes widen. The boys are stone frozen. They listen for other sounds. Silence. BEEP! BEEP! BEEP! Both boys flinch at the sharp sounds. Neckbone's hand flies to cover the alarm on his wristwatch. 8. NECKBONE Shit. ELLIS We gotta go. I can't be late. 15 EXT. BASE OF BOAT TREE - MOMENTS LATER 15 They drop out of the tree and hit the ground running. 16 EXT. ISLAND WOODS/CREEK - MOMENTS LATER 16 The boys' feet rush across the tree trunk bridging the creek. 17 EXT. ISLAND SHORE - MOMENTS LATER 17 They launch out of the treeline and sprint to their boat. Neckbone grabs the side and starts pushing the boat to the water. Ellis slings his backpack in and joins him. Suddenly, Ellis straightens up, leaving Neckbone to struggle. NECKBONE What are you doing? Ellis stares at a muddy boot print, cross in the heel, stamped in the center of their boat. He looks back to the treeline, then down the shore. He looks to his feet. The boys' shoe prints make chaotic patterns in the mud. Larger boot prints lead off down the shoreline. NECKBONE (CONT'D) What is it? ELLIS (POINTING) I saw that same boot print up in the tree. It has a cross in the heel. Somebody's been in our boat. NECKBONE Shit. Let's go. Ellis begins following the boot prints around the shoreline. NECKBONE (CONT'D) We gotta go if you wanna make it back. (NO RESPONSE) Your dad's gonna kick our ass. It'll take twice as long goin' up river. ELLIS Hold it. 9. Ellis stops and points ahead of them. ELLIS (CONT'D) Up there. They stop. Neckbone takes the lead, walking up to the last boot print. They appear to vanish. NECKBONE Where the hell'd he go? ELLIS I don't know. Neckbone turns and freezes. A MAN has appeared in the distance behind Ellis. He stands between the boys and their boat. Ellis notices the look on Neckbone's face and turns. He flinches at the sight of the Man. MUD(38) stands near the boys' boat holding a pink, child's fishing pole with cartoon characters on it. He stares back at them and casts his fishing line into the water. NECKBONE Shit. You know that guy? ELLIS I've never seen him before. NECKBONE Shit. Mud, not taking his eyes off the boys, slowly reels in his line. His hair is a wild mop that leads to two weeks of growth on his face. With a cigarette clinched, he cracks a smile revealing a MISSING CANINE. He holds a hand in the air as if to wave. NECKBONE (CONT'D) Shit. Neckbone slowly raises his hand up to wave back. Mud wears jeans and cowboy boots. His filthy button-up shirt looks like it hasn't left his body in years. He breaks his stare with the boys. Continuing to reel in his line, he walks over to them. MUD What you say? The boys don't respond. Mud walks past them and casts again. 10. MUD (CONT'D) Helluva thing. ELLIS What's that? Mud takes the cigarette from his mouth. A tattoo of a snake's head covers the top of his right hand. Two large cotton blossoms spill out of its jaws. MUD Boat in the trees. It's a helluva thing. Mud continues walking down the shoreline, reeling in his bait. The boys follow, tentatively. ELLIS You talkin' 'bout our boat? MUD I'm talkin' about my boat. NECKBONE We found it. MUD You found it with me livin' in it. Possession is nine tenths of the law. NECKBONE So? MUD Don't tell me you boys are from Mississippi? ELLIS No. They watch as he grabs the bait at the end of his line and spits on it. Then, tucking the pole under his arm, he ties a lock of his hair into a knot. He finishes this process with another cast. ELLIS (CONT'D) You got crosses in your heels. MUD Nails. Shaped liked crosses. ELLIS What for? 11. MUD Ward off evil spirits. A man I called an Indian but was Meskin said they were Seven-league boots worn by the seventh son of a seventh son. Told me it'd turn me into a werewolf but that's a lie. I don't know nothin' about that. Ellis, confused, won't take his eyes off the man. MUD (CONT'D) They just good luck, but so far they ain't been workin' too well. (missing tooth smile) What's your name? Mud seems easy to smile, which softens his otherwise coarse look. His words spill from the mouth rapidly, without much thought for punctuation. Neckbone, emboldened by these facts, steps forward to answer. NECKBONE I'm Neckbone, he's Ellis, and mister you may be stone ass crazy but I know you're not the owner of that boat, not for nine tenths of nothin'. MUD Neckbone? That's a real handle son. Where ya'll from? NECKBONE What do you care where we're from? ELLIS DeWitt. Neckbone looks at Ellis, frustrated by his friend. MUD Arkansas boys. Ya'll had me worried for a second. Mud, pleased by this news, tucks the fishing pole under his arm and holds out a hand to shake. Ellis stares at the hand, unsure. He takes it reluctantly. ELLIS We s'posed to know you? MUD I doubt it. I grew up `round here, but I've been gone awhile. 12. ELLIS Where around here? MUD Different places. Spent a lot of time back up near the White. ELLIS You know Shelly's Oxbow? Neckbone can't believe his friend is offering this up. NECKBONE Ellis. We gotta go. MUD I know it. Guy named Tom Blankenship used to live back in there. ELLIS He still does. His boat's cross from mine. Mud smiles. MUD Ain't that somethin'. In one motion, Mud flicks his cigarette away and grabs a pack out of his shirt pocket. MUD (CONT'D) I like you two. You remind me of me. And seeing how you boys are from Arkansas and we know some people and sounds like we all from the same place I'd say we can make a deal here about somethin'. ELLIS A deal for what? MUD Food. Food for a boat. NECKBONE This guy's a bum Ellis. Come on. Mud's smile vanishes. Neckbone begins to walk off but begrudgingly stops when Ellis starts back in. ELLIS Why don't you go get your own food? 13. MUD I would if I could, but I told somebody I'd meet `em here. So I'm stuck for now and what I got's runnin' low. Neckbone walks back and pulls Ellis by the arm. NECKBONE He's a bum Ellis, let's go. Mud lays a serious look down on Neckbone. MUD I'm no bum. I got money. You can call me a hobo `cause a hobo'll work for his living and you can call me homeless `cause that's true for now, but if you call me a bum again I'll have to teach you somethin' about respect that your daddy never did. Neckbone's confidence recedes. Ellis stands his ground. ELLIS When they show up, you'll leave? Mud begins fishing again. MUD Yeah. ELLIS And when you leave, that boat's ours? MUD Yeah. Ellis studies Mud's face, clothes, tattoos. He's thinking about it. Mud pauses from fishing to make eye contact. MUD (CONT'D) I'm in a tight spot. I just need a little help. ELLIS We gotta go. With that, Ellis turns to leave. The boys walk briskly back to their boat. Ellis looks over his shoulder to see Mud making another cast with his fishing pole. 18 EXT. MISSISSIPPI RIVER - MOMENTS LATER 18 Ellis motors them away from the island. 14. ELLIS You get his name?! NECKBONE No! Ellis looks back. Mud has disappeared. 19 EXT. ELLIS' HOUSEBOAT - DAY 19 Senior heaves an enormous, white cooler into the bed of his weathered pick-up truck. The truck is parked at an angle on a concrete boat ramp next to their houseboat. The bed of the truck is jam-packed with six of the big, white coolers. The SOUND of a dirt bike rattles through the trees. Senior looks up, wiping his brow with a handkerchief. Ellis leaps out of the treeline and runs to the pick-up. His hands hit his knees, out of breath. ELLIS I'm sorry. SENIOR Where you been? ELLIS Neck and I got caught up helpin' Galen. SENIOR You're s'posed to be helpin' me. I had to load this myself. ELLIS I know, I'm sorry. SENIOR Just get in the back. Can't be later than we are. ELLIS Yessir. Senior flips up the tailgate. Ellis hops up the wheel well and into the bed of the truck. He steadies himself on one of the coolers as his father pulls away. EXT. DEWITT/MONTAGE - DAY SERIES OF IMAGES: 15. 20 -Ellis looks around as he rides in the bed of the pick-up 20 truck. He's propped up on a cooler against the back window. The truck works its way down a two-lane highway. A20 -Driving, they pass a marina junkyard filled with old boats A20 and sailing paraphernalia. B20 -Downtown Dewitt. A gas station. A Clinic. Rows of red B20 brick buildings, some abandoned, a small furniture store. C20 -Parked, Ellis fills a grocery sack up with Ziplock bags fullC20 of white fish and ice out of the coolers. -He hops out of the truck and runs the sack of fish to the front door of a house. An elderly black man waits there. 21 EXT. SONIC DRIVE-IN - DAY 21 Ellis sits in the bed of the truck eating a chili dog. Senior is up front wolfing down a cheeseburger. A GROUP of TEENAGERS are gathered around a CLUSTER of parked cars in the corner of the lot. They meander between the vehicles, smoking, gossiping, passing around a bottle of Boone's Farm. Ellis watches them. MAY PEARL(16) appears in the middle of the Group laughing with her GIRLFRIENDS. She's pretty and physically more mature looking than Ellis. He watches as a SKINNY KID takes his ballcap off and puts it on May Pearl's head. She sniffs the cap, gags and tosses it back at him. Her friends laugh. SENIOR Let's go son. Ellis crumples the wrapper to his finished hotdog and jumps down from the bed of the truck. 22 I/E. SENIOR'S TRUCK/TWO-LANE ROAD - MOVING - DAY 22 Ellis rides up front with his father. Senior is a reserved man, older than Ellis' mother by several years. He's got thinning hair under the cap that only leaves his head when he sleeps. He reaches into his shirt pocket and fishes out a fold of cash. He slips out a five dollar bill and hands it to Ellis. ELLIS It's s'posed to be ten. 16. SENIOR It's ten you do your share. I loaded this mornin'. That makes it five. Ellis begrudgingly stuffs the five in his jeans. ELLIS You drop me at Neck's? Senior checks his pants pockets, feels around under his seat. SENIOR Hadn't you seen enougha him today? ELLIS Said he had something for me. SENIOR You see anymore Ding Dongs over there? Ellis checks under his seat and pulls out a half-empty box of Ding Dongs. Hands one over to his father who rips the package with his teeth. ELLIS What'd Momma wanna talk to you about? SENIOR What? ELLIS This mornin', what'd she wanna talk with you about? SENIOR You spy on me in my own house? ELLIS I wasn't spyin', just heard ya'll. SENIOR That's your mother's business. Senior makes this his answer, eats the Ding Dong. 23 EXT. NECKBONE'S TRAILER - DAY 23 Neckbone sits on the front steps of his trailer reading a comic book. The muffled sound of the Beach Boys' "Help Me Rhonda" plays off a record inside. Senior's truck pulls away as Ellis walks up the entrance to the trailer park. 17. ELLIS I came by for that book. NECKBONE What book? ELLIS You said Galen had a book might help me out. NECKBONE Aw, yeah. We gotta give it a minute. You hear that music? ELLIS Yeah. NECKBONE That means he's doin' it. That's his doin' it song. Ellis takes a seat next to Neckbone. They listen to the song, slightly craning their necks to pick up on any other sounds. There are none. ELLIS You know who it is? NECKBONE Whoever's drivin' that white Dodge. Neckbone motions to a beat up Dodge Shadow in the yard. ELLIS You tell Galen 'bout this morning? NECKBONE Nah. You tell anybody? ELLIS No. NECKBONE That guy was crazy. ELLIS Maybe. I don't know. I think he just needed some help. NECKBONE Well he can swim his ass off that island and get some. ELLIS I think I'm gonna go back, take him some food. 18. NECKBONE Why? Suddenly, the music from inside stops. Footsteps approaching and the trailer door flies open, almost hitting the boys. A GIRL(28) bursts out down the steps, straight to her car. She wears tight jean-shorts and is buttoning a white shirt. She stops and turns back to the boys. GIRL You're Neckbone right? NECKBONE Yeah. GIRL You look like a good enough kid. A word of advice, don't grow up to be like your shit heel uncle. The boys can't take their eyes off her cleavage revealed under her half-buttoned shirt. A necklace with three misshapen pearls hangs from her neck. GIRL (CONT'D) Hey! She snaps the boys' attention up to her eyes. GIRL (CONT'D) You hear me? You treat a woman like a princess. Got it?! NECKBONE Yeah. The trailer door opens and GALEN(36) emerges. He's a big, lumbering guy wearing a full-body wet suit pulled halfway down. A faded mermaid tattooed in the middle of his chest. GALEN Come on baby. GIRL I'M A GODDAMN PRINCESS!!! The Girl yanks off the necklace and hurls it at Galen. He brushes fingers through his thick mustache. GALEN That's uncalled for. He walks out to her. She heads for the Dodge Shadow. 19. GALEN (CONT'D) (TRAILING OFF) A lot of people are comfortable with that kind of thing in the bedroom. Some people aren't. We know that about you now... Ellis sees one of the misshapen pearls at his feet. He picks it up and holds it to the sun. NECKBONE Pearls. Galen finds 'em in some of the mussel shells. Most of 'em ain't worth dick, but he likes to make necklaces for the girls. Come on, let's get that book. Neckbone walks into the trailer. Ellis stands up and retrieves the other two pearls out of the dirt. He crams them in his pocket and follows Neckbone inside. 24 INT. NECKBONE'S TRAILER - CONTINUOUS 24 The trailer is decorated in the filth of a true bachelor pad. Neckbone makes his way to a bedroom. He tosses clothes and trash around to get to what he's looking for. A cardboard box. He pulls the box onto the bed and sifts through. NECKBONE I don't want you goin' back out there by yourself. That river's scary enough with two people, and I don't trust that guy. (FINDS SOMETHING) Here it is. He takes out a hardback book. The slip reads, "The Confident Confidant, communicating with the opposite sex." NECKBONE (CONT'D) Galen said this really turned things around for him. ELLIS Thanks. Ellis flips delicately through the manual. 25 EXT. NECKBONE'S TRAILER - CONTINUOUS 25 Galen watches as the Girl's Dodge Shadow pulls away. The boys step out of the trailer. NECKBONE You really going back out there? 20. ELLIS I think it's the right thing to do. NECKBONE Well...I'll be over in the mornin' then. Galen, his thumbs tucked under his armpits, walks back to the trailer. He passes the boys and notices the self-help book in Ellis' hands. GALEN (WITHOUT STOPPING) That's a good book. Be sure you do the worksheets in the back. Let's get some dinner Neck. Galen's gone inside. NECKBONE I'll call 'fore I come. ELLIS All right. Neckbone follows his uncle into the trailer. Ellis flips through his new book as he heads out of the trailer park. 26 EXT. ELLIS' HOUSEBOAT - NIGHT 26 By the time Ellis makes it to his houseboat, the sun has disappeared behind the horizon. He crosses the make-shift plank and enters through a screen door by the carport. 27 INT. ELLIS' HOUSEBOAT - DEN - NIGHT - CONTINUOUS 27 Mary Lee flinches when she sees Ellis come through the door. Her face is flushed. Senior stands toe to toe with her. They stare at Ellis, who has paused in the doorway. He doesn't say anything, just looks curiously at his parents. Senior storms past Ellis and is out the door. Ellis steps further into the den. Mary Lee tries to straighten herself, patting down her hair and dabbing at her eyes with the back of her hand. ELLIS You okay momma? MARY LEE Yes. 21. She walks into the kitchen keeping Ellis at her back. She turns on the sink and begins scrubbing at a dish. MARY LEE (CONT'D) Do you need me to fix you somethin'? Have you eaten? ELLIS I'm all right. Mary Lee shuts off the water and lets the dish rest in the sink. She turns to Ellis. MARY LEE I'm gonna turn in. ELLIS Okay momma. Mary Lee slips past him and enters her bedroom. The door closes and Ellis is left alone in the den. It's quiet. He waits, looking at the door his mother just closed. Ellis walks into the kitchen and eases open a cabinet door. Checking over his shoulder, he zips his backpack open and fills it with CANNED FOOD. 28 EXT. TOM BLANKENSHIP'S HOUSEBOAT - DAY 28 Hands pump the stock of a high-powered pellet gun. TOM BLANKENSHIP(67), white hair cut high and tight wearing a short-sleeve button up, takes careful aim with the pellet gun. Tom sits in a lawn chair atop the roof of his houseboat. He squeezes his left eye shut. A snake's head pokes out of the water about 15 yards off his boat. The head makes for a target no bigger than a thumb. Tom's left eye snaps open and he fires. The pellet rips through the snake's head. Its body floats to the surface. Tom takes account of his shot as he pumps the air rifle. He scans the water for more targets. 29 EXT. ELLIS' HOUSEBOAT - CONTINUOUS 29 Ellis watches Tom Blankenship from across the bayou. Tom's boat sits directly opposite Ellis', separated by 30 yards of muddy brown water. Ellis leans against a post under the carport. His backpack resting at his feet, he holds the Walkie-Talkie in his hand. Senior works behind him washing utensils in the outdoor sink. 22. ELLIS What do you know about Tom Blankenship? SENIOR What? Senior doesn't turn around from his work at the sink. ELLIS Mr. Blankenship, what do you know about him? SENIOR Why? ELLIS I don't know. He looks lonely over there. SENIOR Some people move to this river to work on it, and some move here to be left alone. Senior makes his way to the ice machine and begins scooping ice into a large white cooler. Mary Lee emerges from the houseboat dressed for work, a secretarial job. Senior stops what he's doing to watch her. She walks over to Ellis. MARY LEE Let's sit down for dinner tonight okay? Will you make it home by seven? ELLIS Yes ma'am. She walks off the boat without a glance in Senior's direction. He trails her with his eyes before going back to digging in the ice. A29 Ellis looks back at Tom. The Walkie SQUAWKS out several A29 loud BEEPS. Ellis crams it in his backpack and runs off the boat. ELLIS (CONT'D) Bye Dad. Senior holds a hand up but never looks up from his work. 23. 30 EXT. ISLAND SHORE - DAY 30 Water laps at the shore of the island. Ellis and Neckbone drag their boat onto the muddy bank. NECKBONE Where you think he's at? ELLIS I guess we should try the boat. They head for the treeline. 31 EXT. BASE OF BOAT TREE - DAY 31 The boys emerge from the woods, their attention focused up to the boat hovering in the tree some twenty feet above them. Ellis notices the remnants of a fire on the ground. A log pushed up next to it for a seat. Ellis kicks at the ash. ELLIS Looks like he made camp. NECKBONE (looking up to the boat) You think he's up there? MUD (O.S.) I didn't know if ya'll'd come back. The boys spin around. They survey the woods but no one's there. Their eyes drift up to find Mud sitting in a tree, his legs dangle off a branch. ELLIS What're you doin'? Mud bounds down, stepping from limb to trunk to the ground. It's an agile move. MUD I try to never sleep in the same place twice. What you got there? Mud motions with his head to the backpack in Ellis' hand. Ellis holds it out to him. ELLIS I brought you some food. Mud looks at the backpack, but doesn't move. ELLIS (CONT'D) Go on. 24. Mud takes the backpack and walks over to the ashes of his campfire. He squats with his back to the boys and unzips the bag. Hunkered down, Mud's shirttail rides up over the lip of his jeans revealing a PISTOL at his backside. Ellis sees this and motions to Neckbone. The boys stand their ground, cautious. MUD I owe you boys. Keeping the bag in hand, Mud takes a seat on the stump behind him. He pulls out a selection of canned food; pumpkin pie filling, evaporated milk, green beans. He grabs the beans. MUD (CONT'D) I was gonna try runnin' a trot line today. See how far that'd get me. Mud removes a good-sized folding knife from his pocket and makes short order of the can lid. He tips the can up letting the beans fall into his mouth. Juice flows down his cheeks. MUD (CONT'D) (A MOUTHFUL) I'd been rationin' what I had...green bean never tasted so good. The can is quickly emptied, juice running down Mud's chin. He straightens his back, choking down the final swallow. He sees the boys staring at him and catches himself. MUD (CONT'D) I appreciate it. ELLIS Yeah. NECKBONE What you got that pistol for? Mud wipes off his chin, realizing the boys have been studying him. He closes the knife and tucks it in his pocket. MUD For protection. Mud gets up, heads for a duffel bag tucked under a nearby tree. The boys pivot, keeping Mud in front of them. Mud notices. MUD (CONT'D) Ya'll don't have to be afraid of me. I have two ways to protect myself out here. This shirt, and this pistol. (MORE) 25. MUD (CONT'D) There are fierce powers at work in the world boys. Good, evil, poor luck, best luck. Men have to take advantage where they can. Mud removes a spool of fishing line and a small plastic tackle box. He scoops up the duffel bag and heads into the woods. MUD (CONT'D) Ya'll comin'? 32 Neckbone looks to Ellis, who walks after Mud into the 32 trees. ELLIS Who's this guy you're waitin' on? MUD I'm not waitin' for a guy. I'm waitin' on my girlfriend. Juniper. NECKBONE Is she hot? MUD She's beautiful. NECKBONE (COUGHING) Bullshit. MUD Best lookin' girl I've ever seen. Hands down. Blonde hair. Long legs. She's like a dream you don't want to wake up from. She's got birds tattooed on her hands, here. Mud stops, points to the area on the top of his right hand, between his thumb and pointer finger. MUD (CONT'D) Nightingales. Good luck birds. NECKBONE That a good luck snake? MUD No it is not. NECKBONE I hate snakes. MUD That's because God made them for us to fear. (MORE) 26. MUD (CONT'D) It's a thing we knew to be afraid of before we even got into this world. 33 They emerge from the woods onto the downstream coast of 33 the island. It looks different than the other shoreline. A large swath of red clay angles sharply into the water. MUD (CONT'D) Cherokee would wrap snake skin around their pregnant women's bellies. Induce labor, scare the child out. Here. He fetches a length of rope out of the duffel bag and tosses it to Neckbone. MUD (CONT'D) Set that `round your bed at night. Snake won't cross braided rope. NECKBONE Thanks. (nods to Mud's tattoo) So what's that for then? Mud walks to a tree branch that has grown out over the bank, nearly resting in the water. He sets a trot line from it. MUD A reminder. Don't get bit. I was 10, swimmin' `bout a mile up from here. Me and Juniper. Sonofabitch swam right up under me, bit me just below the armpit. June got me out, got me to a clinic. Doctor said I shoulda been dead in twenty minutes. Took us an hour just to get back to town. NECKBONE What'd they do? MUD Gave me antivenom. For a cotton mouth. See here. Mud shows the tattoo on top of his right hand. He points out the two cotton blossoms bulging from the snake's mouth. MUD (CONT'D) Problem with antivenom is they can only give it to you once. It's made from horse blood. Your body would reject it a second time. The cure ends up being more dangerous than the poison. 27. ELLIS What happens if you get bit again? MUD I die, or just sweat it out. Neckbone, not buying it, looks at Ellis and taps his watch. ELLIS We gotta go help Neck's uncle. MUD All right. ELLIS You never said your name. MUD Mud. You can call me Mud. ELLIS Mud? MUD M-U-D. Neckbone tosses the braided rope back. It lands at his feet. NECKBONE Here you go, Mud. I think you need that worse than I do. MUD (SMILING) I'll be all right. The boys disappear back into the trees. 34 INT. GARY'S ELECTRIC SHOP - DAY 34 A switch clicks "ON". BLINDING LIGHT emits from two FLOOD LAMPS encased in plastic shells. The switch clicks "OFF" and the lights dim to the dull orange glow of their filaments. GALEN They look bright enough. The owner of the shop, an ELECTRICIAN(62), holds up a metal bar with the lamps affixed by bolts at either end. ELECTRICIAN Should be. I rigged DC power up through marine batteries. Makes it portable. Gave you a rigging bar to set on your shoulder. 28. GALEN So you really think these'll work under water? ELECTRICIAN In theory. 35 EXT. GARY'S ELECTRIC/PIGGLY WIGGLY PARKING LOT - CONTINUOUS 35 Ellis and Neckbone sit on the tailgate of Galen's truck. The Gary's Electric sign hangs behind them. Neckbone focuses on a carburetor in his hand. Ellis stares across the street at the Piggly Wiggly parking lot where the roving GROUP of TEENAGERS have collected for the afternoon. The Teenagers are up to their typical gossip and minor offenses. Ellis has zeroed in on May Pearl again. NECKBONE You start datin' I bet her dad'll give you a free pick-up truck. ELLIS I don't care about that. Ellis watches as the same Skinny Kid from before tries to flirt with her. She's not having it. He pops her bra strap before landing the final straw, a smack on her ass. She turns and swats at him. Seeing this, Ellis is on his feet and crossing the street. NECKBONE What's goin' on? Ellis doesn't turn back. Neckbone reluctantly sets the carburetor down and follows. 36 EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS 36 MAY PEARL Stop it! She shoves the Skinny Kid, but he continues laughing. ELLIS (O.S.) Hey. Ellis taps the Kid on the shoulder. As he turns, Ellis PUNCHES him in the face. The Kid, completely taken off guard, stumbles and trips to the ground. Some older, tougher looking GUYS see this and begin laughing at him. 29. OLDER KID Holy shit Pryor, get off your ass. Pryor collects himself and gets off the ground. Ego bruised, he walks off mumbling. The Older Kids keep riding him. May Pearl sizes up Ellis. MAY PEARL You didn't have to do that. ELLIS He was messin' with you. MAY PEARL Do I know you? ELLIS I'm Ellis. That's Neck. Neckbone waves by wagging a finger in the air. ELLIS (CONT'D) We went to Junior High with you, before you went to High School. MAY PEARL How old are you? ELLIS Fourteen. MAY PEARL Fourteen? You know you just punched a Senior? ELLIS So? MAY PEARL You think you're pretty tough. Ellis shrugs, not wanting to deny it. MAY PEARL (CONT'D) I'm May Pearl. ELLIS I know. MAY PEARL What else do you know? ELLIS Nothin'. She smiles. 30. Something catches Neckbone's attention. He cranes his neck forward to get a better look. NECKBONE Son of a bitch...Ellis? Ellis breaks away from his conversation with May Pearl. ELLIS What? NECKBONE Look. Neckbone nods to a cheap motel called the EXECUTIVE INN located on the opposite side of the Piggly Wiggly parking lot. JUNIPER(35), a truly beautiful woman squeezed into tight jeans and a low cut top, makes her way from the motel parking lot to the Piggly Wiggly. She passes in front of the cluster of Teenagers. All of the boys have taken note. Some cat calls from the crowd. Juniper, without facing the Teenagers, gives them the finger. NECKBONE (CONT'D) You ever seen that girl before? ELLIS No. Did you see her hands? MAY PEARL Hello? Ellis catches himself and turns back to May Pearl. ELLIS Sorry. We know a guy we think might know that girl. MAY PEARL Oh. A GIRLFRIEND(17) of May Pearl's calls out to her. GIRLFRIEND May Pearl! Let's go! MAY PEARL Okay! ELLIS I guess I'll see you. 30A. MAY PEARL If you can find my phone number, you should call it. 31. ELLIS I can find it. May Pearl walks over to her friend. Ellis watches her go, but then remembers Juniper. He turns to Neckbone. ELLIS (CONT'D) Where'd she go? NECKBONE Into the Piggly Wiggly. She came from the motel. ELLIS I'm gonna go see if it's her. NECKBONE I gotta go check on Galen. We'll pick you up out front. Ellis heads for the Piggly Wiggly. Neckbone calls after him. NECKBONE (CONT'D) What'd she say? ELLIS Wants me to call her. NECKBONE Shit. 37 INT. PIGGLY WIGGLY - DAY 37 Ellis walks past the grocery aisles looking for the girl. He spots her by the potato chips. He tucks behind a display of stacked cans and watches. Juniper reaches for a bag of chips, birds tattooed on her hand. Ellis smiles. It's her, and she really is beautiful. She turns down the aisle, coming right for him. He pretends to peruse the canned food and notices that it's a big display of Beanie Weenie. He grabs two handfuls as she passes. Ellis takes the cans to an open register. As a CASHIER scans and bags his items, he cranes his neck looking for her. She's disappeared into another section of the store. Ellis pays in crumpled cash. A horn HONKS. He sees Galen's truck idling out front. He grabs the bag and runs out. 38 EXT. GALEN'S TRUCK/PIGGLY WIGGLY PARKING LOT - CONTINUOUS 38 Neckbone waits at the open passenger door. NECKBONE Was it her? 32. ELLIS It's her. I saw the tattoos. He wasn't lyin'. NECKBONE (LOOKING BACK) No he wasn't. 39 EXT. ELLIS' HOUSEBOAT - NIGHT 39 By the time Ellis makes it back home, the sun has gone from the sky. He crosses the makeshift plank to board his house. SENIOR (O.S.) Home for dinner? Ellis is startled by his father's voice. Senior sits in a lawn chair under the eaves of the carport. He's hidden in shadow, save for a red glow from the tip of his cigarette. ELLIS What you hidin' for? SENIOR I ain't hidin'. He notices Senior tip back a pint of liquor and set it at his feet. Ellis opens the screen door leading inside. SENIOR (CONT'D) Come over here. Ellis lets the door fall shut and skulks over to a beam that supports the carport. He leans into it. SENIOR (CONT'D) You know I love you? ELLIS Yessir. I know. SENIOR I work you hard 'cause life is work. You know that? ELLIS Yessir. SENIOR Your Mamma's been talkin' 'bout movin' in town. ELLIS What's that mean? 33. SENIOR She seems set on it. Wants to separate. She may ask me for a divorce. This hits Ellis like a ton of bricks. He rights himself. ELLIS What's that mean for me? SENIOR It means enjoy the river son. Enjoy it while you live on it, 'cause this way a life isn't long for this world. Game and fish's 'bout made certain of that. ELLIS But you and me can still live out here. Game and fish can't take your boat. Not while you're still in it. SENIOR The houseboat's in your mother's name. Her daddy give it to her not me. If she wants to leave it, Game and Fish has ever' right to take this boat apart board by board. ELLIS But that ain't right. You work outta here. We got the ice machine, the traps. What are we supposed to do? SENIOR Like I said, this is your mother's business. ELLIS I ain't no townie. I ain't livin' like that. Senior takes a slow pull off the bottle. Ellis' mind races. SENIOR I've let you down. A man should be in charge of his own affairs, but I haven't worked it like that. ELLIS But ya'll are married. Ya'll are s'posed to love each other. SENIOR I don't know about that anymore. 34. Ellis is speechless. After a moment, he turns to go inside. SENIOR (CONT'D) Ellis? He stops and turns back to his father. Senior tries to express a sentiment he doesn't have the words for. Ellis continues inside. 40 INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS 40 Mary Lee sits hunched at the made dinner table. She runs her finger around the rim of a half empty glass of iced tea. It's a full spread with fried chicken, mashed potatoes, and a salad. The table is set for two. She's been waiting. Ellis lets the front door slam shut behind him. She sits up. MARY LEE You're late. Ellis doesn't speak, he doesn't look at her. He enters his room and shuts the door. He's heard the news and she knows it. Mary Lee's face drops. 41 INT. ELLIS' ROOM - CONTINUOUS 41 Ellis slings his backpack down, pacing the small room. He stops and leans his forehead against the door. The sound of his Mother clearing the table seeps through. He kicks the door, cracking its shitty composite wood. His face flushed and his breathing heavy, he slides to a seat. On the verge of hyperventilating, he stares out the dark bedroom window trying to get control of his breathing. Ellis looks at his backpack. It has spilled open revealing a can of Beanie Weenie. Ellis studies the can. He looks back to the window. His breathing settles. Quickly, he scoops up the backpack and heads out the window. 42 EXT. MISSISSIPPI RIVER - NIGHT 42 It's pitch black. The only light comes from the moon's reflection off the surface of the water. Ellis, eyes wide, navigates the small boat through choppy black water. 35. 43 EXT. ISLAND SHORE - NIGHT 43 Ellis struggles to pull the boat onto shore. Leaving it half in the water, Ellis looks around. No sign of Mud. He sizes up the dark woods. He removes a flashlight from his backpack and shines it down the shorelines. Still nothing. Ellis follows the beam of light into the woods. 44 EXT. ISLAND WOODS - NIGHT 44 Ellis stands at the creek that cuts through the island. He can make out a campfire glowing through trees in the distance. A RUSTLING behind him. He swings the light around. Nothing but trees. Ellis takes a deep breath. Finding the log to cross, he shines his light down into the creek. The nest of snakes show their backs. 45 EXT. BASE OF BOAT TREE - NIGHT 45 A campfire burns at the base of the tree. The firelight illuminates the belly of the boat that rests 20 feet above. Ellis, his flashlight off, crouches behind a tree and watches the campsite. There is no one there. He looks into the black forest behind him, thinks of going back. A twig snaps in the distance and he's back on guard. Ellis nervously scans the woods before finally stepping into the light of the campfire. The SOUND of a gun's hammer drawing back CLICKS behind him. Ellis freezes. Mud emerges from the trees, a .45 extended toward Ellis' back. MUD Ellis? Ellis, still frozen, slowly turns to him. Mud huffs out a laugh and drops the pistol to his side. MUD (CONT'D) What're you doin' out here? Ellis slowly raises the backpack in his hand. ELLIS I got you some Beanie Weenie. Mud tucks the pistol into his jeans and accepts the backpack. 36. MUD I appreciate that, but I didn't expect you out here at night. Mud takes a seat on the log and transfers the cans into his own duffel bag. He holds up a can of the Beanie Weenie. MUD (CONT'D) Look at that. You really know how to do somebody right. I didn't wanna say anything before, but it's hard to make a meal out of pumpkin pie filling. ELLIS That's all my mom had. MUD I'm not complainin'. ELLIS Can I get one of those? MUD They're yours to begin with. Ellis sits as Mud hands him a can. They eat. ELLIS I missed my dinner. MUD That's good right? ELLIS (MOUTH FULL) You been out here too long. Mud laughs. Finishing the can, he takes a half-smoked cigarette from his shirt pocket. He pulls a twig from the fire for a light. ELLIS (CONT'D) The girl you're waitin' on, she's your girlfriend? MUD Juniper. Yeah. ELLIS How'd you meet her? MUD We grew up together. ELLIS Do you love her? 37. MUD I do. The first time I saw her was on this river. Just up from here. She saved my life. ELLIS From the snake bite. MUD That's right. I was younger than you are now, but when I came to in the hospital and she was there, it was like the world split open, came back together new. Everything changed. I knew from then on I'd do anything for her. ELLIS Why aren't ya'll married? MUD I've asked. Several times. Marriage just doesn't work for some people. Ellis thinks on this. ELLIS My dad says my parents may be gettin' a divorce. MUD I'm sorry to hear that. ELLIS If it happens, and my mom moves us off the river, they say the government can come take our boat away. MUD Who says that? ELLIS Everybody. They passed a law so you can't sell your boat. Can't rent it. If the owner leaves, they got you. Game and Fish want `em off the river. MUD I've never been one to trust the government on matters of personal property, but if your parents love each other, there's always a chance. (MORE) 38. MUD (CONT'D) People just sometimes forget why they fell in love in the first place. Ellis watches Mud toke the cigarette nub. He's really getting all he can from it. ELLIS I saw Juniper today. MUD What? ELLIS I didn't talk to her, but she had the birds tattooed on her hand like you said. You were right. She's pretty. Mud stands, surprised by the news. He walks to the other side of the fire so his back is to the boy. MUD Where'd you see her? ELLIS At the Piggly Wiggly. I think she's stayin' at a motel by there. The Executive Inn. Mud looks at Ellis through the fire. He takes a drag and smiles at the boy. The hole from his missing tooth shows. MUD That's good news. Real good news. Mud paces, slowly. He's thinking. ELLIS Does she know you're out here? MUD No. We picked another place to meet. Couple days from now. Mud walks back to the log and sits. ELLIS You wanna go tonight? I can give you a ride up river. Mud looks at Ellis, nodding. MUD Tomorrow. I'll go tomorrow. 39. ELLIS You need me to come get you? MUD Naw. I can manage. Hell I got out here didn't I? Ellis smiles. They sit in silence. Ellis stares up at the boat hanging over them, its peeling hull lit by the firelight. Mud pinches the ash from the end of his cigarette, places the stub back in his shirt pocket. Noticing Ellis, Mud tilts his head back to take in the boat. MUD (CONT'D) It's a helluva thing. Mud pauses, his mind working on something. MUD (CONT'D) Helluva thing. The two sit by the campfire staring up at the suspended boat. 46 INT. ELLIS' ROOM - MORNING 46 Mary Lee knocks on her way into the bedroom. MARY LEE Time to get up. She begins picking clothes off the floor. Ellis, in bed, raises up on his elbows. He's tired from a late night. ELLIS It's Saturday. MARY LEE I'm going to Wal-Mart. I need you to come with me. ELLIS (MOANING) Mom. MARY LEE Come on. She pulls the covers off of him. 47 I/E. MARY LEE'S CAR/INTERSTATE - DAY 47 The two ride in an awkward silence. 40. Ellis stares at the farmland passing by outside as Mary Lee steers the compact Toyota down a four-lane interstate. MARY LEE Ellis I know what your father told you last night. That's not what I wanted. I wanted to sit you down and talk about it. ELLIS What do you wanna talk about? You want to leave and that means they can tear up our house. MARY LEE I've spent my whole life on that boat. I don't think it's too much to ask for your... Mary Lee is interrupted by a line of traffic backed up in front of her. She slows to a stop. MARY LEE (CONT'D) Oh no. I hope no one's hurt. There are flashing police lights up ahead. Ellis tries to see what's going on but can't make anything out past the line of cars. They inch forward. MARY LEE (CONT'D) I'm just saying there are two sides to this. I haven't made up my mind about anything because I want you to be involved in my decision, but I need a change Ellis. I deserve one. As they approach the flashing lights, they see three State Trooper vehicles parked to funnel traffic down to one lane. The STATE TROOPERS stop each car, checking the trunks. MARY LEE (CONT'D) I think they're searching people. A Trooper signals Mary Lee to pull up to a stop. Two other Troopers approach her vehicle. The first begins looking in her back windows as the second leans down to speak to her. She lowers her window. TROOPER Can you open the trunk please ma'am? MARY LEE Of course. 41. Mary Lee pulls the lever by her knee, and the second Trooper walks around the back of the car. TROOPER Have you picked up or seen any hitchhikers today ma'am? MARY LEE No sir. The Trooper produces a flier with a color photo on it. TROOPER Have you seen this man? MARY LEE No sir. The Trooper leans over and holds the paper out to Ellis. TROOPER Son, have you seen this man? Ellis looks at the photo. It's of Mud. He looks exactly the same as he did last night, down to the shirt. In the photo, Mud's smiling, revealing his missing tooth. ELLIS No. TROOPER We've had reports that he's in this area. If you see him, call 9-1-1 immediately. MARY LEE We will officer. The Trooper pulls his head from the window. ELLIS What'd he do?! The Trooper bends back down and looks at Ellis. ELLIS (CONT'D) (MORE CALM) What'd he do? TROOPER Move along please. Mary Lee pulls forward and speeds back up on the interstate. MARY LEE My lord. (rolls up her window) (MORE) 42. MARY LEE (CONT'D) How would you feel about moving into town with me? (NO ANSWER) Please don't tell your father this, but I've been looking at a couple of places. I know it would be a big adjustment for you, but it might end up being something you like. You know living on the river isn't exactly everyone's idea of the good life. Ellis? He looks at her. MARY LEE (CONT'D) Are you even listening to me? 48 INT. ELLIS' ROOM - DAY 48 Ellis busts through the door, grabs his backpack and is gone. 49 EXT. HOUSEBOAT - CONTINUOUS 49 Ellis is off the houseboat and running up the bank. He heads down the dirt path, grabbing the Walkie Talkie out of his backpack. ELLIS (into the Walkie) Neck! Neck, pick up! 50 EXT. RIVERBANK - DAY 50 Ellis removes branches and readies the flat bottom boat to launch. The sound of Neckbone's bike arrives before he does. Neckbone crests the sand covered slope. He dismounts and starts to chain the bike up to a tree trunk. NECKBONE So what's the big deal? ELLIS My mom and I were headed to Wal- Mart on 165. There was a roadblock with state troopers. They searched our car and showed us a picture of Mud. They're lookin' for him. NECKBONE I knew it! I told you that crazy sonofabitch was trouble. Did they say what he did? ELLIS No. 43. NECKBONE So'd you tell `em where he is? ELLIS No. That's why I called you. We gotta warn him. NECKBONE What? ELLIS He's goin' to get Juniper today. I went out there last night and told him where we saw her. He needs to know people are lookin' for him. NECKBONE You think he doesn't know that already? Jesus Ellis, why do you think he's on that island? You don't even know what he's wanted for. Ellis climbs in the boat and Neckbone yanks his shoulder. NECKBONE (CONT'D) Ellis! I'm serious. We don't know who this guy is. ELLIS He loves her Neck. He told me. NECKBONE I don't give a shit who he loves. Ellis starts the motor and waits for his friend. ELLIS He's not dangerous. Reluctantly, Neckbone throws his leg into the boat. NECKBONE It sounds like a shitload of state troopers think different. 51 EXT. BASE OF BOAT TREE - DAY 51 Ellis and Neckbone emerge from the woods at Mud's campsite. They scan nearby tree limbs. NECKBONE No tellin' where the hell he's been sleepin'. ELLIS He may already be gone. 44. MUD (O.S.) Hey! The boys look straight up. Mud leans over the edge of the boat above them. MUD (CONT'D) Up here! Mud drops them a rope with knots tied in it. Ellis starts inching his way up. Neckbone begrudgingly follows. 52 EXT. BOAT IN TREE - CONTINUOUS 52 Ellis pulls himself over the edge of the boat. He finds Mud sitting in the swivel chair behind the steering wheel. He writes in an open spiral notebook with a black Sharpie. ELLIS What are you doin'? MUD I'm gonna have to go back on our deal for the boat. I don't feel good about it, but I don't see any other way outta what I'm into. Neckbone makes his way on board. Mud has pulled a panel off the steering column. Exposed wires dangle. ELLIS So you know about the state troopers? He looks up from his notebook. MUD What state troopers? NECKBONE The ones spreadin' your picture all over the place. Stoppin' cars on 165 searchin' for your ass. Mud factors this in and then goes back to writing. MUD I didn't know about that, but it doesn't surprise me. There plenty of folks lookin' for me right now. ELLIS Why? MUD I shot a man. Killed him. 45. Mud stands and walks to the back of the boat. The boys' eyes follow him cautiously. Mud lifts a hatch at the back that would typically house the batteries and engine wiring. There's nothing left but a hole into the trees. He makes a note. MUD (CONT'D) I'm sorry I didn't tell ya'll sooner, but I was hopin' to be gone before anything came of it. Didn't want you involved. Mud turns to really face them for the first time. MUD (CONT'D) Ya'll have been real good to me. You're the only friends I got out here. If the state troopers have 165 blocked, they'll have others blocked too. I won't get anywhere in a car. I want to try takin' this boat down, see if we can get it in the water. Ellis and Neckbone stand their ground. They don't say anything. Mud walks back to the steering column. He drops to his knees and fiddles with the wires. MUD (CONT'D) With a boat like this I can make it to the gulf in two days. I could get anywhere from there. But I'd need a boat at least this big to make it on open water. It's got no title, no owner, nobody lookin' for it. It's my best shot. NECKBONE Who'd you kill? MUD It was a bad piece of business. Ya'll don't need to hear about it. ELLIS I need to hear about it. Mud sits up. He looks at Ellis, deciding how much to tell. MUD Juniper made a mistake. She hooked up with a guy. He was no good. His name was Hutchins. Family owns a chain of restaurants down in Texas. 46. ELLIS Where were you? MUD I was around, but me and Juniper were on the outs. She met this Hutchins, he sold her on some lies. Got her pregnant. That's when he started showin' who he really was. He dropped June down a flight of stairs after whoopin' her half to death. She lost the baby. He made it so the doctors think she can't have children anymore. There're things you can get away with in this world and things you can't. I tracked him down at a motel just outside of San Antonio. He was there with another woman. That's where it happened. Mud's done with his story. He goes back to the wiring. MUD (CONT'D) I understand if you can't help me anymore, but I need this boat. And I need to get it in the water fast. After a moment, he sits up and wipes sweat from his forehead. MUD (CONT'D) I've made a list. Things we'll need. What do ya'll think? Ellis takes time to consider everything. He looks at Neckbone, who has a disgruntled look on his face. ELLIS You did it for her? To protect her? MUD Yeah. Ellis nods. Mud looks over at Neckbone, who still has the disgruntled look on his face. MUD (CONT'D) What do you think? NECKBONE I think you want us to run around, stickin' our necks out, gettin' everything you need, just so you can take our boat. 47. MUD That's about it. Mud removes a cigarette butt and sparks it with a lighter. NECKBONE What do we get out of it? MUD What do you want? Neckbone looks to Ellis, judging his bargaining position. NECKBONE What about that pistol? Mud eyes the boy, pulling on the nub of cigarette. MUD I only got two things out here worth anything. This shirt... Mud pulls the pistol from the back of his jeans. Neckbone tenses, but relaxes when Mud splays it out on an open palm. MUD (CONT'D) And this pistol. I can't give you the shirt `cause I need it for protection, but if you help me get this boat in the water, the pistol's yours. Neckbone squinches his face in thought, sizing up this trade. NECKBONE What kind is it? MUD A forty five. NECKBONE I guess we could work a deal like that. Neckbone steps forward to grab the pistol, but Mud puts it back in his jeans. MUD We get this thing floatin' first. Neckbone looks over at Ellis, who shrugs. NECKBONE All right then. 48. Mud smiles, flashing his missing tooth. He spits in his palm and holds it out to Neckbone. Neckbone, not sure about taking the spit hand, reluctantly shakes. Mud rips a page from the notebook and hands it to Ellis. MUD Ya'll scrounge what you can off this list, but if we're gonna get this done right we'll need more help. Can you fetch Tom for me? ELLIS Tom Blankenship? Mud has smoked down to the filter. He crushes the butt into his palm and puts it back in his shirt pocket. MUD I was hopin' to let that old assassin stay put, but we'll need him to get things ya'll can't. Can you find him? ELLIS I know where he lives, but I've never spoke to him. MUD Just tell him my name. He'll know you're serious. Ellis folds the list up. He and Neckbone start down the rope as Mud goes back to the wiring. MUD (CONT'D) Boys? (THEY PAUSE) Thanks. Ellis nods. NECKBONE Don't lose my pistol. They continue down the rope. Mud continues his work. 53 EXT. SHELLY'S OXBOW - DAY 53 Ellis steers to the southern mouth of Shelly's Oxbow, the bend in the river that holds he and Tom Blankenship's houseboats, among others. He grounds the boat just shy of entering the Oxbow and steps over Neckbone to hop onto the bank. 49. ELLIS You comin'? NECKBONE I'll watch the boat. Ellis scans the woods that populate the patch of land wedged between the river and this short tributary. NECKBONE (CONT'D) Ellis? ELLIS What? NECKBONE Be careful. Galen always said that old man's crazy. Neckbone keeps his seat as Ellis darts into the woods 54 EXT. TOM'S WOODS - DAY 54 Ellis prowls around the small pine trees and bushes. He pauses, seeing the entrance to Tom Blankenship's boat. Something moves on the houseboat. Ellis hunkers down behind a bush. He sees Tom wrapping cable onto a metal spool. Ellis is nervous. He checks over his shoulder, nothing but woods. When he looks back to the boat, Tom is gone. In a crouch, Ellis moves closer. Taking a deep breath, Ellis steps out from the cover of the pine trees and heads up a walkway that leads onboard. TOM (O.S.) Why you huntin' me? Ellis flinches. He turns to find Tom Blankenship standing at the edge of the boat. TOM (CONT'D) You deaf boy? I said why're you huntin' me? ELLIS I ain't huntin you. TOM What's your business here? ELLIS I came to find you. I got a message for you. 50. TOM You're Senior's boy. ELLIS Yessir. TOM What you got to say he can't tell me himself? Tom, rusty on pleasantries, brushes past Ellis as he heads inside the boat. ELLIS It ain't from him. Ellis, not wanting to follow further, shouts from the planks. ELLIS (CONT'D) MUD SENT ME! There is a silence. Then footsteps. Tom reappears. TOM Mud sent you. ELLIS Yessir. TOM What do you know about it? ELLIS He asked me to come get you. Tom straightens his back. He looks into the woods, searching for something he may have missed. TOM Your daddy know this? ELLIS No sir. Mud needs your help. Tom's mind churns on a series of facts unknown to the boy. TOM Where is he? 55 EXT. RIVER - DAY 55 Neckbone bounces in the boat as it shifts in the choppy Mississippi water. His eyes are locked on the back of Tom's head. Tom rides stone faced in the front. Neckbone turns back to Ellis and raises his eyebrows as if to ask, "What's going on?". Ellis shrugs. 51. 56 EXT. ISLAND SHORE - DAY 56 Ellis runs the boat on shore. Tom splashes into the ankle deep water and helps the boys drag it onto the bank. Ellis takes the lead, walking ahead and scanning the treeline. Mud steps out, just past the shadow of the woods. Ellis turns to Tom and points. ELLIS There he is. Tom spits onto the muddy bank and makes his way toward Mud. Ellis and Neckbone stay by the boat and watch. BY THE TREELINE, Mud watches Tom approaching. He corrects his posture and feebly attempts to smooth some wrinkles from his shirt. Tom stops in front of him, his eyes pinched in the sun. TOM Mud. MUD Sir. They stare at each other for a long moment. Neither one flinching. BY THE BOAT, At this distance, the boys can't hear what is being said, but they try and size up the situation through body language. NECKBONE You think that's his dad? ELLIS I don't know. BY THE TREELINE, TOM Where is she? MUD In town. Got here yesterday. Tom lowers his head. Frustrated. TOM Why you out here like this? BY THE BOAT, 52. The boys see Mud take a seat on a nearby stump. He's explaining something. Tom listens, standing over him. NECKBONE They don't look like family. Ellis watches Mud as he gestures and speaks. He seems different. Younger. Mud stops talking. Tom scratches a hand through his white crew cut. He begins pointing a finger at Mud. His face is flushed and the sound of his voice carries to the boys, though still unintelligible. NECKBONE (CONT'D) He's really givin' it to him. AT THE TREELINE, Mud's head hangs as Tom shouts at him. TOM You've spent your whole life followin' that girl! She's run you halfway cross the country and back, and for what? For this, left out on an island beggin' for help. A murderer. A thief. MUD I ain't no thief. TOM What would you call it then? Don't even mention draggin' those boys into this. Do you have any idea what you're doin'? Waits for a response, but Mud gives none. TOM (CONT'D) I'm ashamed of you. Mud looks up at him. TOM (CONT'D) Don't expect help from me. There's none to be given. AT THE BOAT, They see Tom turn his back on Mud and head toward the boat. Mud doesn't protest; he doesn't move. Tom brushes past Ellis. 53. TOM (CONT'D) I'm ready. Tom shoves the boat back into the water. Neckbone helps him. Ellis looks back at Mud, who still hasn't moved from his stump. He goes to him. Tom sees this and stops pushing. TOM (CONT'D) (TO HIMSELF) Dammit. AT THE TREELINE, Ellis stops a good six feet back from where Mud sits. ELLIS You all right? Mud raises his head. MUD Looks like we're on our own. He stands and takes a folded piece of paper from his shirt. MUD (CONT'D) I didn't want you bein' the one to do this, but I can't see a way around it. I need to get this letter to Juniper. Could you take it to her for me? ELLIS Yeah. MUD You have to be careful. You can't just walk up and knock on her door, you hear me? You have to watch yourself. ELLIS I can handle it. Ellis steps forward and Mud hands over the note. Ellis takes it and walks back to the others. AT THE BOAT, Tom stares at Ellis as he climbs on board. Tom looks back at Mud, who is watching him. He gives the boat a final shove before pulling himself in. They motor away. Tom doesn't look back. 54. 57 EXT. RIVER/SHELLY'S OXBOW - MOVING - DAY 57 NECKBONE You Mud's daddy? TOM Mud didn't have no daddy. No mother I ever knew of. He was livin' in the woods when I met him. Younger than you are now. Tom doesn't offer anymore. Neckbone thinks on his answer. Ellis kills the engine near the mouth of Shelly's Oxbow. Tom jumps down into the knee deep river and wades onto shore. He turns back to the boys. TOM (CONT'D) Ya'll need to watch yourselves. Don't go gettin' into something you don't have any business in. Mud's into something you don't want any part of. I suggest you forget about him. Ellis and Neckbone don't respond. Tom, with a final admonishing look, disappears into the woods. Ellis cranks the motor and points the boat up river. 58 EXT. RIVER - MOVING - MOMENTS LATER 58 Edges of the notebook paper flap in the wind. Neckbone reads Mud's letter to Juniper. Ellis reaches the bank where they stash their boat. He shuts off the motor and let's them drift. Neckbone folds the letter back up and turns to face Ellis. ELLIS What do you think? NECKBONE He loves her. You can tell that much. You gonna take it to her? ELLIS I told him I would. Neckbone thinks about this seriously, shakes his head. NECKBONE I don't know. Could be a lot of trouble. 55. ELLIS You still got that trailer you made for your bike? 59 EXT. DEWITT STREET - LATE AFTERNOON 59 Neckbone rides with Ellis on the back of his dirt bike. Cars and Trucks HONK and zip by them. Their speed is topped out at about 15 miles per hour. Mostly a result of the small 3X4 metal trailer they are towing behind the bike. One of Senior's white fish coolers sits in the trailer. 60 EXT. EXECUTIVE INN/PARKING LOT - LATE AFTERNOON 60 Parked in the far corner of the lot, Ellis sits on top of the white cooler eyeing the Executive Inn. Neckbone straddles the dirt bike. A handful of cars are parked at the motel; an old Honda, a pick-up, and a BLACK LINCOLN. ELLIS I say we start at the top, work our way down. NECKBONE All right. They each grab an end of the cooler and carry it across the lot toward a flight of stairs. 61 ON THE SECOND FLOOR, 61 The boys set the cooler down in front of the first room on the corner. Ellis checks over his shoulder, nothing strange. Ellis knocks. They wait. No answer. They pick the cooler up and walk to the next door. Knock. After a moment, a BLACK MAN in his late sixties opens the door wearing boxers and an undershirt. BLACK MAN What you want? ELLIS We're sellin' fish. You wanna buy some? BLACK MAN Fish? He looks at the two boys like they are insane. BLACK MAN (CONT'D) I don't want no damn fish. 56. He slams the door. They drag the cooler to the next door. As Ellis holds up his fist to knock, they hear a woman shouting a few doors down. JUNIPER (O.S.) STOP IT! STOP! Ellis heads for the room. Neckbone drags the cooler after him. Ellis reaches the motel room door, which has been left ajar. He places his hand on it and lets it fall open. 62 INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS 62 CARVER (O.S.) KEEP LYIN'! KEEP LYIN' AND I'LL CRACK YOUR NOSE OPEN! The door opens to CARVER(47), a tall, slender man in a dark Western cut suit, standing over Juniper. She's crumpled up in a ball at the end of the bed. Carver swats open-handed at her head. Grabs the top of her hair. CARVER (CONT'D) You hear me bitch? Tell me another lie. Ellis rushes Carver with his shoulder as if he were breaking down a door. Carver is knocked off balance. He trips over the edge of the bed and crashes into the motel room wall. Carver, slightly stunned, gets to his feet and in two broad steps lands a man-sized punch across Ellis' face. It's hard. Ellis melts. He grabs the boy up by the scruff of his shirt. CARVER (CONT'D) Who are you!? Who the hell are you!? Did he send you!? Carver removes a piece of paper from his pocket. It's a photo copied picture of Mud, different than the State Trooper's. Carver crams the photo in the boy's face. CARVER (CONT'D) You know this man!? Look at him! Do you know him!? Blood trickles from a cut under Ellis' eye. He stutters under the shaking force of Carver's hands. ELLIS I don't...I... NECKBONE (O.S.) FISH!!! IT'S FISH!!! 57. Neckbone is yelling at the top of his lungs, almost in a girl's pitch. Carver turns to him. The cooler is open behind them and Neckbone holds up two Ziplock bags of fish. NECKBONE (CONT'D) We're just selling fish! Carver sizes things up. It takes a moment, but he settles. He snorts out a laugh and drops Ellis on the ground. Carver turns his attention back to Juniper, who is huddled up in the corner of the motel. Carver walks over to her. Opening a good-sized knife, he gets down in her face and holds the blade uncomfortably close to her cheek. CARVER I know you know where he is. And I swear to God I'll cut through every one a you to find him. She flinches. Standing, Carver folds up his knife. CARVER (CONT'D) We know you came here for him, and we know he's too stupid to leave you behind. So when he pops his head out of whatever shithole he's staying in, I'll be there. You tell him that. Carver turns, stepping over Ellis on his way out. CARVER (CONT'D) And you need to mind your business boy. Neckbone moves from the doorway to let him pass. Carver is gone. Neckbone shuts the door and fastens the security latch. He kneels down to check on his friend. NECKBONE You all right? ELLIS Yeah. NECKBONE He popped your eye. Ellis holds the back of his hand up to his eye which has begun to swell. The cut trickles blood over his cheekbone. Juniper moves to the sink. Ellis sits up, staring at her back. 58. She opens an ice bucket and wraps a handful of cubes in a towel. She turns and walks over to them, her eyes cast down. She kneels in front of Ellis, making eye contact for the first time. She touches his chin, gently pivoting it to see the wound. Her eyes are glassy. JUNIPER Thank you. He stares back at her. He can't take his eyes off her. She holds the iced towel to his cheek. He doesn't even flinch. JUNIPER (CONT'D) I'm so sorry. Tears form and run down her cheeks. JUNIPER (CONT'D) Here. She takes his hand and places it against the towel. She gets to her feet and pulls a pocket book from a bag in the corner. JUNIPER (CONT'D) How much is your fish? I'll buy the cooler full. Ellis motions Neckbone to the cooler. Neckbone goes over and crams his hand into the ice. He removes a Ziplock bag containing the note that Mud sent. Neckbone hands it to Ellis. Taking the note, he sets his ice down and walks over to Juniper. ELLIS Mud sent us to give this to you. Juniper is stunned. She looks at the bag, then at the boys. JUNIPER You've met Mud? Ellis nods. Neckbone speaks up from the back. NECKBONE Yeah we met him. Juniper takes the bag. She removes the letter and takes a seat on the edge of the bed to read it. Ellis watches her eyes move along the paper. She smiles, which makes Ellis smile. After a moment, she folds it up. JUNIPER He tells me to hold tight. 59. NECKBONE Yeah, we read it. Juniper raises her eyebrows at Neckbone. JUNIPER Well do you know how long `hold tight' is? ELLIS I think it's a couple days. He wants to get a boat for ya'll. JUNIPER God. Juniper shakes her head and goes to the sink. She pulls a lighter from her jeans pocket and torches Mud's note. JUNIPER (CONT'D) Tell him I'll wait. Running water over the ashes, she turns back to them. JUNIPER (CONT'D) But I don't want ya'll involved. Tell him what I said and make that it. I don't want you gettin' in any trouble. ELLIS We won't. JUNIPER What do you call that? She motions to his swelling eye. Ellis shrugs. ELLIS We'll be all right. Keep your door locked. We'll be in touch. Ellis heads to the door as Neckbone gathers up the cooler. JUNIPER Wait. Ellis turns back. JUNIPER (CONT'D) What's your name? ELLIS I'm Ellis. That's Neckbone. 60. Juniper walks up to Ellis and puts her hands on his shoulders. She has to bend slightly to do it, but she kisses him just above his swollen eye. JUNIPER Thank you Ellis. Ellis stares at her, infatuated. NECKBONE We gotta go. Ellis turns and grabs one end of the cooler. Neckbone slaps back the security latch and opens the door with his free hand. They walk out. 63 EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS - DUSK 63 Ellis, his foot on the door, looks back at Juniper. ELLIS Lock the door. She smiles. The door slams shut. The room number, 212, stares Ellis in the face. He takes a deep breath. NECKBONE Let's go hard on. He and Ellis wrangle the cooler down the steps. The sun set while they were inside. A blue hue hangs over everything. 64 I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - CONTINUOUS 64 Carver takes a drag off a cigarette from behind the steering wheel of his black Lincoln town car, conscious to blow any smoke out the open driver's window. His car, wedged between two others in the Piggly Wiggly parking lot, is pointed toward the Executive Inn. He watches as Ellis and Neckbone load the cooler onto Neckbone's bike. 65 INT. ELLIS' HOUSEBOAT - NIGHT 65 Ellis enters his houseboat. It's quiet. He sees a note on the counter next to a can of soup. It reads, "I've gone to a movie. Warm up some soup for dinner. Love, Mom". Ellis picks up the can, not thrilled. He goes to the fridge and grabs a sack of peas from the freezer. Holding the peas against his eye he takes a seat at the counter and flips through a phone book. He finds what he needs and dials a corded phone. He waits. 61. ELLIS Hello? Is May Pearl there?...This is Ellis...Hey, it's Ellis. Hey... What?...In the phone book... from his car commercials...I think they're all right...Tomorrow? Yeah, I can meet you... Okay. Bye. Ellis hangs up the phone. With the peas pressed firmly against his face, he smirks. CUT TO: 66 SERIES OF IMAGES: 66 -Neckbone's sneaker busts through a rotten plank of wood. -Inside a decrepit wooden shack, Ellis gives Neckbone a look like he's a dumbass as they proceed to take the shack apart board by board. Ellis now has a full-on BLACK EYE. A66 -Neckbone stands lookout under the carport section of Ellis' A66 houseboat. The coast clear, he gives Ellis a nod. Ellis pops open a metal locker and removes a small chainsaw and container of gas. He loads these into an empty fish cooler. B66 -Tom, sitting atop his houseboat with his pellet gun, watchesB66 as the two boys sneak the tools away. He's displeased. C66 -At Neckbone's mobile home park, Ellis heaves loops of thick C66 rope onto their mini dirt bike trailer. Neckbone stands nearby laughing with the rope's OWNER, a lanky guy with brown teeth and a Tasmanian Devil tattoo on his neck. AC66 -Ellis hoists Neckbone up by the foot allowing him to AC66 unscrew a road sign. D66 -A mop soaked in black tar slops across the flat roof of the D66 furniture store in downtown Dewitt. Neckbone and Ellis stand in the store's parking lot yelling up to the ROOFERS. -They get one's attention, and Neckbone points to a dried pile of leftover tar that has been dumped at the back of the building. The ROOFER swats a hand at the boys. They proceed to load the dried hunk onto the small trailer. E66 -From a distance, Neckbone and Ellis stand on a sailboat in E66 the middle of a fenced-in marine junkyard. Surrounded by old boat parts, the boys begin shuttling several large metal pulleys off the sailboat. 67 EXT. ISLAND SHORE - DAY 67 Mud smiles, showing his missing tooth, as he looks over the load of items the boys have stacked in their boat. Neckbone tosses a loop of rope to him. 61A. NECKBONE We've got more, but no motor. 62. MUD This'll work for now. You get her my note? ELLIS Yeah. Ellis turns and Mud sees his black eye for the first time. MUD Where'd you get that from? ELLIS We came up on Juniper's room. A guy was in there beatin' up on her. Mud's face turns dark. NECKBONE Ellis rushed him. Got smacked for it. MUD What'd he look like? ELLIS I don't know. Tall. Looked like a cowboy. MUD Dark hair? ELLIS Yeah. MUD DAMMIT! Mud slings the rope to the ground and kicks it. His face is flushed. It's the first time the boys have seen him angry. MUD (CONT'D) GOD DAMMIT! The boys back up. Mud takes a deep breath, tries to cool down. It takes a moment, then something occurs to him. He eyes Ellis with a look of genuine gratitude. MUD (CONT'D) Thanks for lookin' after her. Ellis nods. Mud picks up the rope. MUD (CONT'D) His name's Carver. Brother of the man I shot. If he's here, then more are comin'. 63. NECKBONE More what? Mud gathers the supplies and heads to the treeline. The boys, with their hands full, follow him. MUD Bounty hunters. Carver's rotten, but his daddy's the one to be scared of. He'll spend all the money he has to see me dead. If it was up to me I'd put the whole family down same as the other. Not a decent man between `em. Mud stops and turns to lay a serious look on them. MUD (CONT'D) Ya'll listen to me now. If you see that old man, don't get near him. He's the triple six real deal scratch you hear me? Mud waits for nods from them both. MUD (CONT'D) All right. 68 EXT. MISSISSIPPI RIVER/ISLAND - CONTINUOUS 68 Galen drifts in his own boat out on the Mississippi River. He stares at something in the distance. A68 FROM ACROSS THE RIVER, A68 He sees Neckbone and Ellis on the island walking with Mud. Galen, a concerned look on his face, keeps one hand on his motor and the other on a bulging net of mussel shells. His HELPER, a salty looking man in his fifties, sits at the front of the boat sipping Budweiser from the can. HELPER What you waitin' for? GALEN Shut up. After a moment, Galen cranks the motor and speeds away. 69 EXT. BOAT IN TREE - DAY - LATER 69 Mud stands with Ellis and Neckbone on the deck of the boat. He holds a pulley in one hand and a length of rope in the other. He stares up into the trees. 64. MUD Ellis, can you climb up that trunk and get these hung? ELLIS Yeah. MUD Take a foot of line and tie `em off with a bowline knot. You know it? ELLIS I'm not stupid. Ellis takes the pulley and scales the trunk without hesitation. Mud tosses his pocket knife to Neckbone. MUD Neck, start cuttin' line. Three fifteen foot sections. Count a foot long as your arm. Mud begins threading the pulleys with rope. As Neckbone cuts rope, he sees the pistol stuck in the back of Mud's pants. NECKBONE What's so special `bout that shirt you'd lose your pistol for it? MUD It's got a wolf's eye sewn in the sleeve. More protection than a bullet ever gave. Tom swears by it. NECKBONE He said he wasn't your daddy. MUD Tom's the closest thing I ever knew to a father. NECKBONE I never met my parents. MUD It's hard not knowin' the ones you came from. NECKBONE My uncle Galen tells me things about `em. He's the one that takes care of me. MUD Tom did that for me. 65. Ellis drops down to the deck and grabs another pulley. ELLIS What'd you mean when you called Tom an assassin? MUD Tom's had lives you'd never know about. Grew up up North. Went to Yale. For a long time he was a paid killer for the C.I.A. Lived in Cuba in `63. He's probably killed more people than you've met. (TO NECKBONE) Hand me that line. Neckbone tosses him an end of rope, looks to Ellis. Ellis gives a shrug before heading back up the trunk. 70 EXT. BASE OF BOAT TREE - DAY - LATER 70 Mud hangs off the tree fifteen feet up by a piece of rope tied around his waist. A series of ropes and pulleys crisscross from the boat to the trees. Neckbone and Ellis stand on the ground staring up at him. Mud holds a chainsaw and seems to be hesitating. NECKBONE Well if you're gonna do it do it! Mud takes a deep breath and yanks the cord. Angled on one of the main branches holding up the boat, Mud begins cutting. Ellis and Neckbone step further and further back as they watch the chainsaw work through the thick limb. Suddenly, the chainsaw stops. A deep CRACKING sound. The huge branch SNAPS, tumbling off lower limbs before crashing to the ground. Mud holds onto the trunk for dear life. The branch now rests on the ground, SILENCE. The ropes and pulleys hang taught, squeaking from the weight of the boat. Mud slowly lifts his head up. He smiles at what he sees. The rigging has held. MUD One down! Neckbone and Ellis watch as Mud scampers around the trunk to the next branch. The chainsaw cranks back on. NECKBONE This shit is crazy. 66. 71 I/E. MARY LEE'S CAR/PIGGLY WIGGLY PARKING LOT - LATE 71 AFTERNOON Ellis looks out the car window at HIGH SCHOOL KIDS that have gathered in the Piggly Wiggly parking lot. His hair is slicked to one side, and he's wearing a collared shirt. MARY LEE You look nice. ELLIS Thanks. MARY LEE What time are you gonna be home? Ellis shrugs. She looks at him as the car radio rambles. MARY LEE (CONT'D) No later than eleven? Ellis nods. ELLIS You make up your mind? MARY LEE About moving in town? ELLIS About leavin' dad. Mary Lee thinks about how to answer, shuts off the radio. MARY LEE You can't make other people change Ellis. If I'm unhappy then I'll have to be the one to change something. Ellis chews on the inside of his cheek and watches her avoid eye contact. He shoulders his way out of the car. Mary Lee takes a moment before driving off. As Mary Lee pulls away, Ellis takes in the scene. 72 EXT. EXECUTIVE INN - LATE AFTERNOON - ELLIS POV 72 He looks up at Juniper's motel room and sees her leaning on the railing smoking a cigarette. She doesn't see him. 73 EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON - CONTINUOUS 73 He pauses, noticing a MAN to his left who ALSO stares up at Juniper. The man, early thirties with a thick mustache, is JAMES. He leans against the grill of a black Lincoln. 67. Carver appears from inside the Piggly Wiggly. He holds a cup of coffee and is closely trailed by a fat little man, NELSON(56). They're all dressed in a similar fashion, a cross between rural farmers and rodeo stars. As Carver approaches the Lincoln, he scolds James for leaning on the grill. Carver rubs the hood with his coat sleeve and gives orders to the men. MAY PEARL (O.S.) Ellis! Ellis turns to see May Pearl hopping down from a Ford Bronco. She leans on the door and waves Ellis into the back. MAY PEARL (CONT'D) Come on! Ellis takes another look at Carver and his men before running over to the Bronco. 74 EXT. FIELD/BONFIRE - NIGHT 74 A bonfire rages in the middle of an open field. A FEW DOZEN KIDS mingle between vehicles and the fire. Drinking, yelling, music blasting from car speakers. Ellis stands by himself next to the blaze with his hands in his pockets. May Pearl has vanished. Pryor, the skinny kid Ellis punched to get this date, wanders past. He makes eye contact. Ellis stares him down. Pryor glares back but then just skulks over to another group. MAY PEARL (O.S.) Try this. A Styrofoam Sonic Cup is thrust into Ellis' hand. He turns to find May Pearl standing next to him. MAY PEARL (CONT'D) Come on. She leads Ellis behind one of the trucks parked nearby. May Pearl climbs onto the tailgate, a red glow across her face. No one else is around. Ellis hesitates. MAY PEARL (CONT'D) You wanna sit down? Ellis takes a seat next to her. She looks at him, smiling, and gestures to his black eye. MAY PEARL (CONT'D) You must really like to fight? 68. ELLIS Not really. Ellis takes a sip from the Sonic cup. His face puckers. MAY PEARL But you're not scared if you have to. ELLIS I guess. You got a lot of friends. MAY PEARL They're all right. I don't know all of `em. ELLIS I bet you're pretty popular. MAY PEARL Why do you say that? ELLIS I don't know. `Cause you're nice to people. MAY PEARL How do you know that? ELLIS You're nice to me. MAY PEARL But I like you. Ellis digs into his jeans pocket. ELLIS I got this for you. He removes a bracelet made from the pearls he collected off Galen's porch. May Pearl takes it, begins putting it on. MAY PEARL A bracelet? ELLIS Neckbone's uncle caught the pearls. I thought with your name and everything... MAY PEARL Thank you. She leans over, hugging him with a kiss on the cheek. She stays close. 69. ELLIS You wanna be my girlfriend? She smiles, then kisses him. 75 EXT. ELLIS' AND TOM'S HOUSEBOATS - MORNING 75 Morning fog sits on top of the water around Ellis' houseboat. Ellis steps outside and makes his way to the ice machine. A loud WHISTLE comes from across the oxbow. Ellis walks to the edge of the garage. A75 He sees Tom Blankenship seated on the roof of his houseboat. A75 He motions Ellis over. Ellis watches him, unsure of what to do. Another WHISTLE. Tom motions to him again. Ellis looks back at the house. No sign of his parents. He shoots a glance back at Tom. 76 EXT. TOM BLANKENSHIP'S HOUSEBOAT - MOMENTS LATER 76 Ellis bumps his father's boat against the side of Tom's houseboat. He steps up onto the deck and ties off. Tom, down from the roof, stands by his front door. TOM You want some coffee? Tom disappears inside. ELLIS I don't drink coffee. Ellis waits for a moment, but realizes this is Tom's way of inviting him inside. He enters. 77 INT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS 77 This houseboat, although similar in size, is different than Ellis'. It's an actual wood shack that has been constructed atop a barge. Ellis looks at photos, books and memorabilia that cram the walls and shelves. It feels homey. Tom, his back to the boy, stands in the kitchen area pouring a cup of coffee. TOM You been seein' Mud? ELLIS No. 70. A collection of framed photos on a desk catches Ellis' attention. A young Tom with a pretty dark skinned girl. They seem happy. Another photo, late 60's, of Tom standing alone in a suit. He holds a LONG SUITCASE. Tom enters holding two cups of coffee. TOM You don't have to lie to me boy. He hands Ellis a cup of coffee with a cartoon image of a dog on it. It reads, "I'm a real bitch in the morning!" Tom sits in a LazyBoy that he gently rocks in. TOM (CONT'D) I've seen you runnin' around. Takin' things. He all right? ELLIS He's okay. TOM He get that boat down? Ellis nods. There is an awkward moment. ELLIS He called you an assassin. Tom snorts out a laugh, sips his coffee. ELLIS (CONT'D) Is it true? TOM How long have you known Mud? ELLIS Few days. TOM Well that's long enough to know he's full of shit. ELLIS So it's not true. TOM I was a sharpshooter in the army. In Mud's world, that makes me an assassin. Not exactly true, right? ELLIS Yeah I guess. Tom notices the boy's disappointment. 71. TOM You think he's a bad ass don't you? ELLIS I don't know. TOM You know why he's stuck out on that island? ELLIS Yeah. (HESITATES) He shot somebody. TOM He tell you why he shot that man? ELLIS Because he hurt Juniper. TOM Right. The real reason Mud's in the trouble he's got is because of her. He's been in love with that girl since he was your age. They used to run all around here and it was the same back then. He'd follow that girl wherever she led him. Problem is she don't care about nobody but herself. I've told him as much. She'd bed down with the meanest snake she could find, then when things went bad she'd go runnin' to Mud. Mud would take her back, then go find whatever unlucky sonofabitch last put a hand on her and beat `em `til they knew to never touch her again. And this time I guess he thought a beating wasn't good enough. Had to shoot that fella. I don't know for sure, but I'd put money on Juniper knowin' he'd do it. And I have a suspicion she might of even told him to. Either way, those two are set for failure. Only chance Mud has is to cut her loose. Cause I'll tell you what, Mud's no bad ass. He's runnin' scared. Ellis can't look Tom in the eye, he's offended by the old man's remarks. Ellis sets the coffee cup on the desk. ELLIS I gotta go. Ellis heads for the door, but stops short. 72. ELLIS (CONT'D) You're wrong about Juniper. They love each other and they're gonna make it. If you weren't a wore out old man you'd know it was true. Tom eyes the boy, taking a sip from his cup. He nods a goodbye to Ellis who is already out the door. 78 EXT. ISLAND/BASE OF BOAT TREE - DAY 78 Ellis stomps out of the trees and is struck by the new position of the boat. It hangs three feet off the ground; SUSPENDED in dry dock. A clear-cut path of trees leads off toward the island's southern shore. Beside the boat, remnants of a giant fire smolder. Ellis surveys the MOUND OF ASH. MUD (O.S.) What you say Ellis? Ellis turns to find Mud standing on the deck of the boat holding a fistful of wires. He jumps down. ELLIS I got more stuff. MUD You find a motor? ELLIS Not yet. (points to the ash) What's that? MUD I made a bonfire. Mud enters the woods. Ellis follows. ELLIS Why? MUD Bonfire's an all purpose cure all for bad luck. I don't know where this boat's been or what kind of person had it before me. For all I know it could have some serious bad business left on it. We got too much ridin' on this thing to leave to chance. Where's Neckbone? ELLIS Helpin' his uncle with a dive. 73. 79 EXT. ISLAND SHORE - MOMENTS LATER 79 Mud and Ellis exit the treeline heading to Ellis' boat. ELLIS Tom called me over to his place this mornin'. MUD What he say? ELLIS He was runnin' down Juniper. Ellis looks for a response, but Mud just jumps up into the boat and starts throwing pieces of wood on shore. ELLIS (CONT'D) I told him he was a wore out old man. Told him he couldn't know how much you loved Juniper. MUD You don't know his story. ELLIS I don't care. MUD You should. Tom loved a woman more than most men could in two lifetimes. They had a good life started together. Mud hops down and scoops a load of wood into his arms. MUD (CONT'D) She was pregnant with a little boy, but the birth got the better of `em. They didn't make it. Tom's been alone ever since. Lone wolf. Mud has begun walking back to the treeline. Ellis stays. ELLIS I gotta go help my dad. Mud turns back but doesn't stop moving. MUD Thanks for the wood Ellis. Ellis watches him go, thinking on what he said. 74. 80 EXT. UNDERWATER - RIVER - DAY 80 Fully suited in diving gear, Galen toils in the murky brown water at the bottom of the river. His gear consists of a typical wet-suit, wet-socks but no gloves. His metal helmet is not typical. It's welded from half a hot water heater that's been fitted with barbell weights. A hose connected to the top runs to the surface. Galen ties off a netted sack and yanks on its line. 81 EXT. RIVER - CONTINUOUS 81 A small air compressor chugs as Neckbone stands in the middle of Galen's boat pulling in the heavy rope. At the end, the net bulging with mussel shells appears. He manages to roll the heavy load into the boat before moving over to a crank handle that feeds another line. After several cranks, Galen's steel helmet breaches the surface. He places his hands on the edge of the boat as Neckbone removes the barbell weights. The weight removed, Neckbone takes off the helmet. Galen pulls himself into the boat, out of breath. GALEN This shit never gets easy. NECKBONE That's a good haul. GALEN I've had worse. Galen reclines as Neckbone kills the air compressor and begins organizing the gear. He watches his little nephew. GALEN (CONT'D) You doin' all right? NECKBONE Yeah. GALEN You don't need to tell me anything? NECKBONE Tell you what? GALEN I know I'm just your uncle, not much of a parent. But you can tell me things if you need to. 75. NECKBONE I can tell you this helmet smells like my duck butter. 82 EXT. ELDERLY WOMAN'S HOUSE - DAY 82 Ellis holds a wrought iron door open with his backside as an ELDERLY WOMAN takes the paper bag of fish from his hands. Ellis walks back to the truck. Senior watches him, looking at the black eye. 83 I/E. SENIOR'S TRUCK/CATFISH PARLOUR - MOVING - DAY 83 Ellis rides up front with Senior. Windows down, no radio. SENIOR Where'd you get that black eye? ELLIS A kid in town. He got his too. SENIOR What you fightin' for? ELLIS `Bout a girl. SENIOR What girl? ELLIS My girlfriend. SENIOR You got a girlfriend? ELLIS Yes sir. SENIOR When'd that happen? ELLIS Other day. Senior pats his shirt pocket and finds a smoke. Lights it. SENIOR You seen your mother today? ELLIS No. SENIOR You not talkin' to me? 76. ELLIS I'm talkin'. I'm talkin' to both of you. That's all ya'll want to do is talk. SENIOR Well, that's your mother. Would rather tongue lash a problem than step up and handle it. You'll see one day. Women are tough. They'll set you up for things. You can't trust love, Ellis. If you're not careful, it'll run out on you. You just gotta pick a woman and roll the dice. Hope you don't wake up in fifteen years hatin' each other. Ellis keeps staring out the window as they pull into the parking lot of the Catfish Parlour Restaurant. 84 EXT. THE CATFISH PARLOUR/THE PINES MOTEL - LATE AFTERNOON- 84 CONTINUOUS Senior climbs out of the truck and enters the restaurant. Ellis pops open the tailgate and reaches for a cooler. The Catfish Parlour is one business in a strip center row. There is nothing else around save for farmland and a motel across the road. Ellis notices Carver's black LINCOLN parked in the motel lot. He walks away from the truck to get a better look. Ellis scans the FOUR OTHER VEHICLES in the lot. All Texas plates. A maroon Cadillac sails past and turns into the motel. Ellis recedes to the rear of his truck. He watches as KING(76), a fireplug of a man, emerges from the Cadillac. Cramped from a long drive, he stretches and eyes the sign for the Pines Motel. A motel room door opens and Carver walks out. He's smiling and calls out to King. They hug as a green PICK-UP pulls up. MILLER, a slick dressed man in black boots, climbs out. SENIOR (O.S.) Ellis! Let's go! Ellis snaps around to find Senior leaning out the restaurant door. Ellis yanks the cooler down and drags it inside. He looks back over his shoulder for a final glance at the men. AT THE MOTEL, CARVER Daddy this is Miller. He's one of ours. 77. KING (SHAKING) How do you do? Appreciate your help. MILLER Yes sir. CARVER We'll be in in a minute. Miller nods and enters the motel room. King turns to Carver. KING Catch me up. CARVER They work in shifts. Two outside her motel, the others either out searching or sleepin' here. I met with the county sheriff but he wasn't much help. Said they'd handle their own business, but I got two of their people on payroll and a person on the inside at the state police. KING Good. Doin' good. Who all's here? CARVER All but two now. Nelson and James are watchin' her place. I called the rest in. KING Okay. Let's meet the men. Carver leads his father to the motel room. 85 INT. PINES MOTEL ROOM - LATE AFTERNOON - CONTINUOUS 85 Carver holds the door open as King steps inside. A door to his left connects another room which is empty. An episode of the Smurfs plays on the television. There's a MAN on each of the queen beds. Another THREE playing cards at a small table by the window. MILLER stands in the corner smoking. Empty Budweiser cans litter the room. King, unimpressed by the scene, looks at his son. Carver quickly moves in front of the television and turns it off. He stares down the men on the beds. 78. CARVER Get up. (to the others) Ya'll pay attention. The men get up from the beds and the others put down their cards. Everyone slowly gathers into an audience. CARVER (CONT'D) This is my father, King. He runs the show. Carver recedes as King steps forward. He speaks like a high school football coach. KING Men. I wanna thank you for the work you're doin'. It's important work, and I want you to know what it means to me personally. I'm grateful for it. No man should have to bury his son. It's not natural, and it's a pain I hope none of you ever have to endure. King removes a photocopied picture of Mud from his pocket. He unfolds it, stares at it, then raises it to the men. KING (CONT'D) This man did that to me. He took my youngest boy. And now, you're gonna help me get him. King stares at the men, keeping the photo held high. KING (CONT'D) Now gather `round. Come on now, in a circle. I want ya'll to join hands. They do it reluctantly. KING (CONT'D) Everybody take a knee. They do. King joins them on his knee and grabs Carver and another Man's hands. KING (CONT'D) Bow your heads. I need you to help me pray for the death of the man that killed my son. They all bow their heads. 79. A85 EXT. NECKBONE'S TRAILER - MORNING A85 A tarp is thrown back from a rusting boat trailer. Ellis and Neckbone stand by the trailer looking less than thrilled. It's covered in junk and debris. NECKBONE You touch her breast? ELLIS A little. NECKBONE That's great man. ELLIS Thanks. Ellis walks up and knocks a stack of bricks off the trailer. ELLIS (CONT'D) We could take it apart. Bring it out piece by piece. NECKBONE It's welded. We'd just tear it up. What if we float it out? ELLIS With what? NECKBONE Come on. Neckbone walks to the trailer. Ellis follows. B85 INT. NECKBONE'S TRAILER - CONTINUOUS B85 The boys open the front door and are met by a BLINDING LIGHT. NECKBONE Jesus! They squint and shield their eyes. The light shuts off as quickly as it came on. Galen stands in front of them wearing his wet suit. The bar with the flood lights attached sits across his shoulders. The boys rub their eyeballs, seeing spots. Galen shuffles over to the couch holding a marine battery connected to the lights. He labors to take a seat. GALEN What do you think? 79A. NECKBONE That's real good Galen. (TO ELLIS) Gimme a minute. Neckbone, still blinking, goes back to his room. Ellis notices Galen staring at him. Galen pats the couch. GALEN Come `ere Ellis. Ellis takes a seat on the other end of the couch. Galen pats the spot next to him. Ellis scoots over, uncomfortable. GALEN (CONT'D) (POINTING UP) You see that ceiling fan? ELLIS Yeah. GALEN I found it in the river. Works great. Best ceiling fan I've ever owned. This river brings a lotta trash down it. Some a that trash is worth a lotta money, some of it's not. You gotta know what's worth keepin' and what's worth lettin' go. You know the difference? ELLIS I think so. GALEN Neck looks up to you. Don't get my nephew into anything you can't get him out of. Galen forces a stare with Ellis, who nods. Neckbone enters as Galen begins to remove his light rig. GALEN (CONT'D) Help Me Rhonda's just about a guy needing to get a piece to get over a girl that put one over on him. So you get your heart broke, don't walk around with a shit look on your face. Get back in there. Get your tip wet. You hear me? ELLIS What? GALEN You know what I'm sayin'. 79B. Ellis doesn't. Galen moves to an electric guitar leaning by a small amp in the corner. GALEN (CONT'D) Ya'll wanna hang out? Alan's comin' over. We're gonna pump it up. NECKBONE We got stuff to do. GALEN Whatever. The boys exit as Galen turns on the amp. C85 EXT. NECKBONE'S TRAILER - CONTINUOUS C85 Galen pumps it up inside as Neckbone and Ellis walk to the boat trailer. Neckbone pulls a handful of long zip ties from his back pocket. NECKBONE What were ya'll talkin' about? ELLIS I don't know. 86 EXT. ISLAND NORTHERN SHORE - DAY 86 Mud's knife slices through a plastic zip tie. MUD King. That's what they call him. A BOAT TRAILER rests atop FOUR, 55-GALLON BRIGHT YELLOW BARRELS affixed with plastic zip ties. The make-shift raft is half on shore with the back still floating in the water. The boys watch as Mud walks around the trailer cutting off the zip ties. The barrels kick out from underneath the trailer as this happens. MUD (CONT'D) He's their father. You didn't go near him did you? ELLIS No. MUD Good. That left-handed sonofabitch is the devil himself. If he's here, then it's time. We need to get Juniper out here. 79C. ELLIS We still need a motor. NECKBONE There's a motor in the scrap yard might work. MUD I need one that runs. Mud moves to the front of the boat trailer and begins dragging it fully onto the bank. It's heavy. NECKBONE I can get it runnin'. Tell him Ellis. ELLIS It's true. He built his own dirt bike. MUD All right then. Give it a shot. ELLIS I don't know. That motor's worth somethin'. It's not like this other junk. 80. NECKBONE It's been there for months. Nobody's even gonna know it's gone. Ellis hesitates. He looks to Mud. MUD We do need a motor. Ellis thinks on it as Mud takes a deep breath and grabs the trailer again. 87 EXT. PIGGLY WIGGLY PARKING LOT - DAY 87 The supermarket is busy. Ellis stands at a pay phone out front as Neckbone kicks a vending machine nearby. Ellis looks at Juniper's motel. He scans the Piggly Wiggly parking lot and spots Carver's black Lincoln. Ellis picks up the phone and deposits some change. He dials. ELLIS I wanna talk to room 212. 88 I/E. JUNIPER'S MOTEL ROOM/PIGGLY WIGGLY - CONTINUOUS 88 Juniper watches TV (o.s) at the foot of the bed. The phone rings. She snaps up, hits mute and grabs it. JUNIPER Hello? INTERCUT WITH ELLIS, ELLIS Juniper? JUNIPER Ellis? ELLIS It's me. JUNIPER Thank god. I've been goin' crazy in this room. Is Mud okay? ELLIS Yeah. It's time to take you out to him. JUNIPER Now? ELLIS Tomorrow. We'll come get you. 81. JUNIPER What's goin' on? ELLIS He's got a plan for ya'll to get away. Be ready tomorrow at five. Neckbone'll be waitin' at the back of the motel with a dirt bike. JUNIPER They're watching my room. ELLIS I'll take care of that. Just be ready at five. JUNIPER Wait. Just wait. I don't know about alla this. I don't even know what he thinks we're gonna do. Where are we even gonna go? This is Mud. This is what Mud does. Ellis hears her crying through the phone. ELLIS It's okay. He's got the boat. We helped him fix it up. It's a good plan. Just be ready. JUNIPER Why are you even doing this? ELLIS What do you mean? JUNIPER Why are you helping us? ELLIS Cause ya'll love each other. Juniper searches for a comment. Ellis, looking out over the parking lot, sees May Pearl getting out of a car with her MOTHER and SISTER. ELLIS (CONT'D) I'll see you tomorrow. JUNIPER Wait. Dial Tone. Juniper holds the phone, worried. 82. 89 EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS 89 Ellis turns and watches May Pearl push a cart in the parking lot with her family. Neckbone bangs at the Coke machine. NECKBONE How'd it go? ELLIS We're good. 90 I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - DAY 90 Carver sits behind the wheel of his Lincoln. The man with the mustache, James, sits in the passenger seat next to him. Carver notices Ellis and Neckbone standing in front of the Piggly Wiggly. He climbs out. AT THE VENDING MACHINES, NECKBONE Gimme a quarter. This shit took mine. Ellis watches May Pearl entering the grocery store. He calls out with a wave. ELLIS MAY PEARL! Without stopping, May Pearl, along with her Sister and Mother, all turn. May Pearl sees him, but doesn't wave back. She continues inside. Ellis looks confused, then embarrassed. Neckbone notices. NECKBONE It's all right man. She's with her family. Come on. I wanna get that motor before dark. They head to the dirt bike. CARVER (O.S.) Hey there! Ellis turns to see Carver approaching. CARVER (CONT'D) You remember me don't you? Ellis nods. Carver notes the healing bruise on Ellis' face. CARVER (CONT'D) I'm sure sorry about that. Ya'll caught me at a real bad time. 83. Ellis climbs on the bike. Carver walks over to them. CARVER (CONT'D) Hold on now. One second. I don't want ya'll thinkin' I'm a bad guy. Ya'll were just trying to do a job, and I got in your way. Carver removes a roll of twenties and peels off two. CARVER (CONT'D) Let's just say I bought that whole batch of fish ya'll were sellin'. Would forty cover it? NECKBONE That'd bout do it. ELLIS We don't want your money. Carver steps in close to the boys. CARVER I bet ya'll really get around this town. Probably know every hole and ditch. Have ya'll come across the man whose picture I showed you? ELLIS No. Carver removes a flier with Mud's picture and holds it out. CARVER You sure about that? Take a look with your good eye. ELLIS I'm sure. CARVER What about that girl in the motel? The pretty one. Ya'll talk to her some more? ELLIS No. Carver smiles. He tucks the flier and the forty dollars into Ellis' hand. CARVER There's a number on there. Ya'll let me know if you do. 84. Neckbone cranks the engine and backs the bike up with his feet. They pull away. Moving, Ellis looks back to see Carver watching them. 91 EXT. CRAWFORD'S JUNKYARD - DUSK 91 Neckbone pulls back a loose section of chain-link fence surrounding the marine junkyard. Ellis crouches through. INSIDE THE JUNKYARD, Ellis and Neckbone creep through piles of starboard and boat parts. They stop at a party barge with only one pontoon. At its rear hangs a big rusted motor, 200 horsepower. Neckbone quickly disassembles its attachment. The motor pops loose leaving the boys to strain against its heavy weight. They ease it to the ground. NECKBONE Jesus that's heavy. The boys get on either side of the motor and begin half- dragging it back to the fence line. ACROSS THE YARD, A LITTLE GIRL(10) dangles her feet off a loading platform and bites at an ice cream sandwich. She watches Neckbone and Ellis from a distance. 92 EXT. ELLIS' HOUSEBOAT - NIGHT 92 Ellis walks onto the houseboat as the sound of Neckbone's bike fades in the trees. He stops, noticing a PAPER BAG sitting on the water's edge of the boat. He goes over to it. He opens the sack and takes a quick inventory. A loaf of bread, potted meats, a bottle of Jack Daniels, a roll of cash, and an Arkansas boat tag. Ellis looks around, no one. He looks over to Tom's boat. It's dark. Ellis scoops up the sack and heads inside. 93 EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON 93 The digital wristwatch changes from "4:59" to "5:00". Neckbone sits on his bike parked near the vending machines at the Piggly Wiggly. Ellis, on the payphone, scans the parking lot. No sign of Carver's Lincoln. No other Bounty Hunters. NECKBONE Where are those bastards? 85. ELLIS I don't know. (HANGS UP) She's not answerin'. NECKBONE What do you wanna do? ELLIS Take your bike around the side. I'll check her room. We'll just have to hope no one sees us. Neckbone cranks the bike and speeds toward the motel. Ellis looks to the motel, then the parking lot. 94 EXT. EXECUTIVE INN - MOMENTS LATER 94 ON THE SECOND FLOOR, Ellis cautiously heads up the stairs. He eyes the parking lot at the Piggly Wiggly but still sees no sign of Carver's men. He moves quickly toward Juniper's door. Checking over his shoulder, he knocks. No answer. He knocks again. Nothing. He peeks through the window. No lights. No movement. 95 BY THE DIRT BIKE, 95 Neckbone gets off his bike and slips to the corner of the building. As he peeks his head out, Ellis nearly knocks him over on his way downstairs. They both flinch. NECKBONE Shit. Was she there? ELLIS Nothin'. Ellis notices the front office ELLIS (CONT'D) Come on. 96 INT. EXECUTIVE INN/FRONT OFFICE - CONTINUOUS 96 The MOTEL CLERK(29) doesn't look up from his issue of Lowrider as Ellis and Neckbone enter. ELLIS Scuse me, sir? MOTEL CLERK Yeah. 86. ELLIS We're lookin' for the girl in room 212. You seen her? MOTEL CLERK I've seen her. ELLIS You see her today. MOTEL CLERK Yeah, she came down askin' for directions to the nearest bar. I told her to head out to a place on 61. Ellis digests this. They turn to leave. MOTEL CLERK (CONT'D) Wait a second, are ya'll the little bastards tryin' to sell fish to the guests? They're already out the door. 97 EXT. ROADSIDE BAR - DUSK 97 Ellis and Neckbone pull into the gravel lot in front of a roadside bar. The cinder block building sits by itself just off the highway. Cars and motorcycles fill the lot. NECKBONE You think this is it? ELLIS It's gotta be. 98 INT. ROADSIDE BAR - CONTINUOUS 98 The small bar is loud and crowded. Shoulder to shoulder PATRONS bump against one another as MUSIC blares. Neckbone and Ellis press through the crowd searching for Juniper. They are a good foot shorter than anyone else. Ellis notices a man at the bar. It's Miller, the bounty hunter from King's motel. He's staring at something across the room. Ellis follows his line of sight. The crowd weaves in front of him, but then he sees her. Juniper leans against a pool table at the far end of the bar. A GUY(32) whispers in her ear and kisses her neck. She throws her head back, laughing. Ellis watches in disbelief. Nearby, the BARTENDER(46) fills a customer's shot glass. The two underage kids catch his attention. 87. Ellis' face is frozen, locked on Juniper. Neckbone places a hand on his shoulder. Juniper's eyes drift toward the boys. She makes eye contact with Ellis, and her smile vanishes. The Guy keeps whispering in her ear. Juniper straightens her back slightly. Ellis can't take his eyes off her. Juniper stares back at him, but doesn't make a move. After a moment, Juniper's eyes fall to the floor. She turns her head back to the Guy. The crowd fills back in and the image is out of Ellis' reach. BARTENDER (O.S.) What the hell are ya'll doin'?! The Bartender swoops in, grabbing them both by the backs of their necks and shoving them toward the door. Ellis strains against the thick hand. He tries to get another look at Juniper, but it's too crowded. 99 EXT. ROADSIDE BAR - DUSK - CONTINUOUS 99 The Bartender flings Ellis and Neckbone into the parking lot. Neckbone slides on the loose gravel. BARTENDER Ya'll stay outta here! Ellis just stands staring at the front door. The Bartender makes a swatting motion toward them. BARTENDER (CONT'D) I SAID GET OUTTA HERE!!! Neckbone gathers his friend and leads him away. NECKBONE Thanks a lot asshole! (TO ELLIS) Come on man. They head over to Neckbone's dirt bike. He pulls out the key and climbs on. Ellis hesitates. NECKBONE (CONT'D) I'll take you home. ELLIS We're gonna have to tell Mud. Neckbone drops his head, nods reluctantly. 88. 100 EXT. ISLAND SHORE - NIGHT 100 The boys struggle to pull the heavy motor out of their boat. It hits the shoreline with a thud. They lean over it, sucking air. ELLIS Just leave it. Mud'll have to help get it. NECKBONE What're you gonna tell him? ELLIS I'll just tell him the truth. 101 EXT. ISLAND/SOUTHERN SHORE - NIGHT 101 Mud stands at the back of the boat, which now rests on the boat trailer near the water. His face is clean shaven and his hair is wetted back. His shirt, still filthy, is tucked into his pants. He whistles and works by the light of a small fire nearby. Ellis steps out from behind a tree. He's holding the grocery sack that was left on his houseboat. ELLIS MUD! Mud, hearing the voice, quickly puts down his tools and turns to the woods. He smooths his clothes down. MUD What you say there?! Ellis appears out of the dark, followed by Neckbone. Mud's eyes search the treeline for Juniper. MUD (CONT'D) What you say Ellis? Ellis can't look him in the eye. ELLIS We got that motor. MUD Is Juniper okay? ELLIS Yeah. MUD Where is she? 89. ELLIS She didn't meet up with us. MUD What happened? Was it Carver? ELLIS It wasn't Carver. Mud straightens up, prepares for the news. MUD What's goin' on Ellis? ELLIS She was supposed to meet us on the side of the motel. She never showed up. We went asking for her. The motel clerk told us she went to a bar out on 61. MUD What? ELLIS We tracked her down. She was there with another guy. (HESITATES) They were together. Mud's face drops. He walks to the fire and shakes a cooking pot resting in the coals. The pot bubbles with roof tar. MUD She probably thought Carver was on to her. ELLIS She knew the plan Mud. She just didn't show up. MUD What was she doin' with the other guy? Ellis hesitates, not wanting to say. Mud pushes. MUD (CONT'D) What were they doin' Ellis? ELLIS They were playin' pool. Drinkin'. He was close up on her. They were laughin'. He kissed her on the neck. Mud nods. 90. MUD And that's how it is. He takes the pot of roofing tar over to the boat and begins pasting some of the newly replaced boards with a flat stick. ELLIS What do you want us to do? MUD Just go home Ellis. Ellis looks at Neckbone, then sets the grocery sack on the ground. ELLIS Tom left this for you. They slowly retreat into the woods and disappear. Mud turns back to the campfire and shoves the pot into the ashes. His eyes, soft and red, reflect the flame. 102 EXT. MISSISSIPPI RIVER - NIGHT 102 Ellis and Neckbone motor away from the island in the flat bottom boat. They look back at the shore. ELLIS You think it's all right to leave him alone?! NECKBONE I doubt it! Neckbone sees Ellis' concern. NECKBONE (CONT'D) I'll sleep over at your house tonight! We can check on him first thing tomorrow! Ellis nods. As they head further up river, the island grows smaller, silhouetted by the moonlight. 103 INT. ELLIS' ROOM - MORNING 103 Neckbone snores, sprawled out on top of a sleeping bag on the floor. Ellis sits up in bed with something on his mind. He gets up and steps gingerly over Neckbone to exit the room. 104 INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS 104 The house is silent. Ellis slips into the kitchen and picks up the phone receiver mounted on the cabinet. 91. He pulls the cord out to stand with his face in the corner. He dials, waits, and speaks softly into the receiver. ELLIS Hello? Is May Pearl there...This is Ellis...I called yesterday, you give her my message?...My name is Ellis. I'm her boyfriend...Oh, she's asleep...I said she's asleep? The front door flies open. Senior storms headlong toward Ellis. He shouts. SENIOR MARY LEE! Ellis turns as Senior yanks the phone by the cord. It snaps out of Ellis' hand and smashes apart on the floor. Ellis flinches at the sight of his father flying at him. SENIOR (CONT'D) What the hell have you been doing? WHAT HAVE YOU BEEN DOIN'?!! Senior grabs Ellis by the arms and shoves him against the den wall. Mary Lee comes running from her room. MARY LEE SENIOR! SENIOR DAMMIT! She slaps at her husband's arms and back. He swats her away. SENIOR You tell her. You tell her what you've been up to. ELLIS I don't know what you're sayin'. MARY LEE Take your hands off him Senior! Senior keeps Ellis pinned to the wall with his left hand. He opens up and addresses Mary Lee with his right. SENIOR J.J. Crawford said a boat motor went missin' from his stock yard. Said his daughter saw this one and his friend haulin' it off. This makes Mary Lee pause. SENIOR (CONT'D) Now you tell me right now, did you steal that motor? 92. ELLIS We didn't steal it. SENIOR Lie to me again. ELLIS We thought it was junk. We didn't think it was worth anything. MARY LEE Ellis? A cool anger rushes over Senior's face. He releases Ellis and takes a step back. SENIOR You tell me I raised a thief? ELLIS I'm not a thief. SENIOR You take property that's not yours. Property that belongs to another man. That junk is his livelihood. I'm ashamed of you. Ellis drops his head. His face flushed. MARY LEE Senior. SENIOR (to Mary Lee) Shut your mouth. You think you can take things and not have him see it? Neither one of you has any respect for a man's livelihood. A life that puts clothes on your back and food in your stomach. MARY LEE Don't you blame this on me. One doesn't have a thing to do with the other and you know it. SENIOR Don't tell me what I know. If you can steal a man's life out from under him in front of your son and think he won't take a lesson from it than you're even dumber than you look. ELLIS Stop it dad. 93. Senior volleys a finger at Ellis. SENIOR She's raisin' you a snake like herself, and you can curl up with her `fore I give a damn. You just remember this when you watch them rip this house apart board by board. You Hear Me! Mary Lee slaps Senior hard. He turns to her, saying nothing. MARY LEE You're a man who's never had the strength to support his own life. I never asked you for a thing, and I've never took a thing from you that I couldn't provide for on my own. If they do tear my home apart the only joy I'll have in my heart is knowin' that they'll be tearing you out of my life for good. She wipes her eyes and turns her attention to Ellis. MARY LEE (CONT'D) Ellis. You'll return that motor from where you found it and you'll apologize in person to the man you took it from. I won't hear about anything like this again. Mary Lee walks to the front door. She collects her purse and keys and exits quietly. Senior and Ellis stand in silence, which feels even more uncomfortable than the shouting. Ellis finally speaks. ELLIS I can't take that motor back. But I'll pay him for it. I'll pay him what he wants for it. Senior, stoic, pivots his body away from the boy. SENIOR I don't care what you do Ellis. Senior retreats to the bedroom. Ellis is left alone in the wake. He looks to his room. The door opens slightly and Neckbone takes a step out. Neckbone doesn't say anything. He just bites at his lip, sympathy for his friend. 94. 105 EXT. ISLAND SHORE LANDING - DAY 105 Charred hunks of driftwood smolder in a ruined pile on the sand. They constitute the remains of a large bonfire. Neckbone and Ellis stare at the ash. NECKBONE What the hell's all this? ELLIS It's a bonfire. NECKBONE I guess he didn't care about bein' seen. Ellis kicks at one of the burned logs. He bends down and finds the bottle of Jack Daniels, smashed. ELLIS He had something else on his mind. Come on. Ellis leads Neckbone into the treeline. 106 EXT. ISLAND WOODS/CREEK - DAY 106 Mud's yellow shirt hangs, partially ripped, from a tree branch. Ellis pulls it off the limb. Concerned, they head deeper into the woods, over the fallen tree trunk that bridges the creek. 107 EXT. ISLAND WOODS AND SOUTHERN SHORE - DAY 107 The boys watch Mud through the trees at a distance. He's crouched on the deck of the boat fiddling with wiring. Mud, giving no sign he sees the boys, yells out to them. MUD What are ya'll hidin' for? Mud drops the wiring and scales down to the bank. They emerge from the woods. Ellis carries the yellow shirt. ELLIS We found your shirt. Ellis tosses it to him. Mud tosses it back. MUD Keep it. I don't need it anymore. Mud goes to the motor at the rear to tinker with more wires. 95. ELLIS We saw what's left of your bonfire. (NO RESPONSE) Somebody could've seen you. MUD I guess. ELLIS You do some drinkin' last night? MUD I did a lot of drinkin' last night. Mud stops and walks over to address the boys. His face is pale and his manner is curt. MUD (CONT'D) Neck I'm gonna need you here to get the motor runnin'. Ellis I need you to do something else for me. Mud removes a folded note from his back pocket. MUD (CONT'D) I need you to take this to Juniper. ELLIS Okay Mud. Ellis takes the letter. Mud goes back to the boat motor. He motions to Neckbone to join him. MUD Let's go. ELLIS You still takin' Juniper? MUD I had a dream last night. I saw Juniper laying in a field with another man. They were making love. I walked out into the field. Walked toward `em. I was so angry the tips of my ears were burnin'. That's how I knew I was gonna kill this man. But when I got up close enough, I saw that the man she was with had tattoos on his back, just like mine. I moved in closer and the guy turns his head back toward me. Hair for hair, dead truth, the guy she was with was me. Mud ducks back under the motor. Ellis looks at Neckbone, worried. 96. MUD (CONT'D) I'll finish the boat, but I'd be surprised if I live long enough to sail on it. A vision of yourself is a sure sign of death. Neck can you grab me a socket wrench? Neckbone and Ellis walk to the toolbox sitting nearby. They crouch by it, speaking quietly. NECKBONE You be all right? ELLIS Yeah. What about you? NECKBONE He'll be okay. ELLIS Can I borrow your bike? Neckbone fishes the key out of his pocket. Hesitates. NECKBONE Don't tump it. Ellis nods. Neckbone walks over to Mud with the toolbox. Letter in hand, Ellis gives a final look toward Mud's labor and walks back into the woods. On his way, he stops to hang Mud's shirt on a tree branch. 108 EXT. MISSISSIPPI RIVER - DAY 108 Ellis rides in the flat bottom boat alone. He stares at the letter in his hand. 109 EXT. PIGGLY WIGGLY - DAY 109 Ellis sits on the dirt bike. He scans the parking lot. No black Lincoln. His eyes stop on a green pick-up. Miller, sits inside. Ellis looks around and finds a pay phone nearby. He gets off the bike and walks toward it. Ellis removes the flier Carver gave him. He dials a phone number copied at the bottom. ELLIS (into the phone) Hello. I saw the guy you're lookin' for...Yeah, he's crazy lookin'. Saw him at the Wal-mart outside of Gillet. He was buyin' some beanie weenie...'bout five minutes ago. 97. Ellis hangs up the phone. He walks back over to the bike, climbs on and waits. After a moment, he watches as Miller's green pick-up pulls out of the Piggly Wiggly parking lot and races away. Ellis cranks the bike. 110 EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS 110 Ellis, at a slight crouch, keeps his eyes on the Piggly Wiggly parking lot. The green pick-up is nowhere in sight. At Juniper's door, he knocks twice, softly. The door swings opens. Juniper stands there, holding a lit cigarette. JUNIPER I was wonderin' when I'd see you. Ellis checks over his shoulder and walks inside 111 INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS 111 The bed is unmade and the room is a bit of a mess. Ellis keeps his head down. Juniper closes the door and takes a seat on the edge of the bed. She grabs the remote control and mutes the television. JUNIPER I'm sorry about last night. I didn't plan on... Before she can finish Ellis has fished the letter out of his pocket and holds it out to her. ELLIS I'm supposed to give this to you. Juniper takes the letter. JUNIPER Okay. Ellis goes to the door. He pulls the bedroom curtain back slightly to check the parking lot. The coast is clear. JUNIPER (CONT'D) Did you read it? ELLIS No. I gotta go. JUNIPER Ellis? He turns to her. 98. JUNIPER (CONT'D) I'm sorry. ELLIS All you had to do was be there. JUNIPER I couldn't. ELLIS Then why'd you even come here? JUNIPER I came here to leave with him. I really did. But now...now I guess I just came to say goodbye. His eyes fall to the floor. JUNIPER (CONT'D) You don't know us Ellis. We've been headin' this way for a long time. ELLIS I know he'd do anything for you. She puts her cigarette out in a Coke can on the floor. JUNIPER You really believe that? Ellis nods. Juniper speaks to him gently, almost smiling. It's a look of resignation. JUNIPER (CONT'D) Mud's a born liar. That's what makes him so likable. He makes people feel good about themselves. He's a romantic. I don't think he means to hurt people. But when people get close to him, that's what happens. Ellis watches her as she goes to the sink and wets the end of a towel. She dabs her eyes at the mirror. JUNIPER (CONT'D) I do love him Ellis. But I can't spend the rest of my life runnin' with him. I may not know what kind of life I want, but I know that's not it. Her back to him, Ellis watches as she unfolds the letter and begins reading. He angles himself to see her face in the mirror. He watches her eyes scanning the words. No emotion. 99. She finishes, folds the letter back up, then turns to him. JUNIPER (CONT'D) Tell him I understand. ELLIS What's it say? JUNIPER It says it's over. Tell him I've packed my things. Tell him I've gone. She takes a deep breath and smiles at him. JUNIPER (CONT'D) Bye Ellis. Ellis turns and walks out. 112 EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS 112 Ellis, dejected, no longer bothers to look over his shoulder. He walks to the staircase but stops there. Feeling the need to say something more, he goes back to her room. He puts his knuckle flat on the door but hesitates. He leans over and looks through the window. The sliver in the curtain gives him a glimpse. Juniper is curled up on the end of the bed. She is sobbing. Ellis watches longer than he should before pulling his head away from the window. Ellis heads back downstairs. 113 EXT. INTERSECTION/SONIC DRIVE-IN - DAY 113 Ellis, riding the dirtbike, looks to his left into the Sonic Drive-In parking lot. The high school kids have gathered there again. He notices a rust colored Ford coup. The driver, an older kid named KYLE(18), sits beside May Pearl laughing. Ellis steers into traffic and crosses the street. He pulls onto a patch of grass at the edge of the Sonic parking lot. In one motion, Ellis tumps the bike on its side and makes a b- line for the coup. INSIDE THE CAR, Kyle's hand is on May Pearl's knee. 100. KYLE So what'd she say? MAY PEARL She said she didn't like him that much. I told her I thought he was all right. Ellis appears with his elbows in the driver's side window. He sticks his head so far in the door that Kyle has to lean back in his seat to make room. May Pearl is surprised. Kyle snorts out a laugh. ELLIS You get my phone calls? MAY PEARL What? ELLIS I've been callin' you. (motions with his head) Who's this guy? KYLE Get your head outta my car kid. Ellis takes his right elbow and quickly knocks Kyle in the mouth. It splits his upper lip. Kyle grabs his face. KYLE (CONT'D) Shit! MAY PEARL Ellis! ELLIS I called you twice yesterday. Your sister didn't tell you? Kyle slings the door open knocking Ellis to the pavement. From the ground, Ellis can see that Kyle is big and considerably tougher than the skinny kid he punched before. Kyle's friends from other cars take notice and begin to converge on them. Ellis makes a move for Kyle's legs but is kicked back to the pavement. Kyle straddles him on the ground and punches him. Another punch to Ellis' face. May Pearl is out of the car and yelling. MAY PEARL Kyle! Stop it Kyle! 101. May Pearl pulls Kyle by the collar. By his own will, he raises off of Ellis, keeping an eye on him. A streak of blood stretches from Ellis' nose to his ear. He gets to his feet, dazed. Ellis wipes at his nose and sees May Pearl shove Kyle. Kyle smiles and turns to his friends, who laugh. The CROWD that has collected consists of older high school guys and girls. Ellis steps toward May Pearl and is met with a shove too. MAY PEARL (CONT'D) What the hell are you doin' here Ellis?! ELLIS What? MAY PEARL You can't just run up and punch people I'm with! ELLIS I'm sorry, I just wanted to know why you hadn't called me back. I... MAY PEARL Why would I call you back Ellis? ELLIS Because you're my girlfriend. The crowd is watching. MAY PEARL I'm not your girlfriend! We went on one date. One! ELLIS We kissed. MAY PEARL That doesn't matter! ELLIS Yeah but... MAY PEARL But what Ellis?! What did you expect?! ELLIS I love you. 102. MAY PEARL You're fourteen! ELLIS Don't. Wait. We can make this work. We can figure it out. I love you. MAY PEARL What? Ellis is losing it. His eyes are red. He looks at the crowd of kids. There are smiles and some snickering. May Pearl is speechless. She just stares at him. Ellis turns and walks back to the dirt bike. May Pearl's girlfriends gather around her. She shakes her head, dumbstruck. Ellis lifts the bike off the ground. He looks back at May Pearl who appears to be shrugging off the whole affair in front of her friends. Ellis speeds off. 114 EXT. ELLIS' HOUSEBOAT/RIVERBANK - DAY 114 A fire snaps and pops on the riverbank next to Ellis' houseboat. Ellis drags a piece of particle board from a trash pile nearby. He drops the board onto the fire and stands back to watch the blaze. Neckbone's bike leans on a tree behind him. Senior's truck rattles to a stop in the gravel just down the bank. He jumps out of the cab exasperated by the fire his son has started by their home. SENIOR What the hell are you doin'?! Ellis says nothing. He doesn't move. Senior, continuing to yell, runs and drags a hose up from the houseboat. SENIOR (CONT'D) Ellis dammit! What the hell's wrong with you?! The fire hisses as Senior turns the hose on it. SENIOR (CONT'D) Ellis? Look at me. Ellis finally looks up at his father. A phone RINGS from inside the houseboat. Senior holds the hose in front of him. SENIOR (CONT'D) Take it. Put this damn thing out. 103. Ellis takes the hose as Senior stomps on board to catch the phone. Ellis drops the hose. Senior's voice, speaking into the telephone, faintly carries outside. He's yelling. Ellis turns his head to listen. SENIOR (O.S.) (CONT'D) I don't give a shit! Fine! I don't care what you do! I'm done with it! Ellis moves around the fire so he can see the houseboat through the flames. He hears the phone SLAM down. Senior appears at the back door. He stares at Ellis through the fire. Ellis moves to the side but realizes Senior isn't staring at him. He's staring at the fire. Senior disappears back into the house. There is a commotion. Ellis watches as Senior bursts out of the house holding an armful of woman's clothes. Senior walks up to the bonfire and begins tossing clothes on top piece by piece. ELLIS What are you doing? Ellis watches as dresses and blouses begin to shrivel up in the flames. ELLIS (CONT'D) Stop it! That's mom's stuff! STOP IT! Ellis shoves at Senior. He easily counters the boy with his arm and continues tossing the clothes into the fire. Ellis is screaming and crying. ELLIS (CONT'D) STOP IT! STOP! Ellis tries yanking the remaining clothes out of his father's hands but Senior shakes him off. Ellis stumbles. He watches with tears as Senior tosses all of the clothes on. Senior watches his wife's clothes burn. Ellis backs away to the bike. He climbs on, cranks the engine and speeds off. 115 EXT. ISLAND SHORE - DAY 115 Ellis grounds the flat-bottom on shore and jumps out. 116 EXT. ISLAND WOODS/CREEK - DAY 116 Ellis thrashes through the woods. His muddy feet stomp across the fallen tree trunk that bridges the creek. 104. 117 EXT. ISLAND/SOUTHERN SHORE - DAY 117 The boat rests on its trailer on the edge of the bank. Mud stands on board looking down at the motor. Neckbone, tools in hand, has his head buried in the motor. NECKBONE Try it now. Mud turns a switch. No result. MUD Nothin'. NECKBONE Sonofabitch. Ellis emerges from the treeline. Mud sees him and hops down from the boat. He walks up to him. MUD What'd she... Ellis punches Mud with as much force as he can muster. It's barely enough to turn Mud's face, but it stuns him. ELLIS You're a liar. Makin' two kids run around doin' work you're too scared to do yourself. Makin' me tell her it's over `cause you're too scared to do it yourself. Mud steps back and gives the boy his space. Neckbone has made his way over and watches from behind Mud. ELLIS (CONT'D) You said you loved her and you lied. You gave up on her and she gave up on you just like everybody else. I trusted you. Bonfires and crosses. Wolf's eye bullshit. Mud tries to approach him but the boy explodes, shoving him. ELLIS (CONT'D) EVERYTHING YOU'VE TOLD ME WAS A LIE! You never cared about her. You never cared about us. Not like you said. Not enough to matter. You used us. MUD Come on Ellis. Mud holds a hand out to him. Ellis slaps it away. 105. ELLIS You made me a thief! Ellis walks back into the woods. Mud exhales and turns back to Neckbone. NECKBONE Let me talk to him. 118 EXT. ISLAND WOODS/CREEK - DAY 118 Ellis walks through the woods. Neckbone follows. NECKBONE Ellis! Ellis, stop for a second! Neckbone watches as Ellis reaches the tree trunk that bridges the creek. Ellis steps onto the log, but his muddy shoes miss a step. He SLIPS. Neckbone sees Ellis disappear down into the creek bed. NECKBONE (CONT'D) ELLIS! Neckbone rushes over. He cranes his neck out to peer over the edge, a solid eight foot drop into the creek. Ellis floats face up in the shallow water. He's unconscious. A wound on his head from a nearby rock. The nest of WATER MOCCASINS has been disturbed; SNAKES WRITHE AROUND ELLIS' BODY. Neckbone's eyes widen. He darts back toward the shore. 119 EXT. ISLAND/SOUTHERN SHORE - DAY 119 Mud stands at the rear of the boat massaging his jaw. NECKBONE (O.S.) MUD! MUD! Mud hears the yelling. Neckbone explodes from the trees. NECKBONE (CONT'D) MUD! ELLIS FELL! HE FELL IN THE CREEK! Mud rushes forward. NECKBONE (CONT'D) HE FELL INTO SNAKES! THE SNAKES! Mud stops. 106. NECKBONE (CONT'D) MUD PLEASE! Mud looks around. His shirt hangs from a tree limb nearby. He snags it and darts into the woods. 120 EXT. ISLAND WOODS/CREEK - DAY 120 Mud streaks through the woods as he gets his other arm through the shirt sleeve. He reaches the creek. Without hesitating, Mud leaps down into the water, scoops Ellis into his arms and scales up the opposite side of the creek bed. Mud sprints for the north side of the island. Neckbone chases after them. 121 EXT. NORTHERN SHORE AND RIVER - DAY 121 Mud cradles Ellis in his arms as he rushes to the flat-bottom boat. He sets Ellis gently inside. Neckbone on his heels. Mud shoves the boat into the water and hops in. Neckbone wades out and crawls up the side of the boat. MUD Get the motor started. Neckbone cranks the motor. As they move up river, Mud searches Ellis' body. He looks at his neck, his arms, he pulls up his shirt. NECKBONE IS HE OKAY?! Is he bit?! Mud notices Ellis' jeans leg riding up. He pulls the jeans back. A BITE in the middle of his calf. It's a bluish bruise with two distinct red dots. The skin around the bite has already begun to swell. MUD Shit. He rips the jeans up to the thigh. Mud tears a section of cloth from the bottom of his own shirt and creates a tourniquet just below Ellis' knee. MUD (CONT'D) What time is it? Mud pulls a black Sharpie out of his pocket. Neckbone doesn't answer, just stares. MUD (CONT'D) WHAT TIME IS IT?! 107. Neckbone checks his watch. NECKBONE It's four eighteen! Mud draws a line on Ellis' leg just above the swollen bite. He writes, "418". MUD Yell out every 10 minutes! Mud elevates Ellis' leg then gently cups his head. He dabs the gash on Ellis' forehead. NECKBONE Is he gonna be okay?! MUD We just need to get him to a clinic! Is there still one in town?! NECKBONE Yeah! MUD It's the closest?! NECKBONE Yeah! MUD I'm gonna need your bike! NECKBONE Are you bit?! Mud shakes his head. MUD No. He holds Ellis as they move steadily up river. 122 EXT. RIVERBANK - DAY 122 The flat bottom boat approaches the riverbank. Neckbone points to the sandy ridge and yells up to Mud. NECKBONE My bike should be just over that ridge! Mud looks at Ellis' leg. The swelling has crept up his thigh. Black lines with numbers mark its progress: "428, 438, 448". Ellis' face has taken on a blue tint. 108. The boat hasn't reached the shore, but Mud takes Ellis in his arms and jumps into the water. He wades onto the bank. 123 AT THE BIKE, 123 Mud straddles it, turning Ellis' body so they are face to face. He cranks the bike and speeds away. Neckbone makes it to the top of the ridge in time to see Mud disappear into the trees. 124 EXT. TWO-LANE HIGHWAY - DAY 124 Mud speeds the dirt bike down the two-lane highway. He's far too big for the bike and it's even trickier balancing Ellis. Coming up on a slow moving pick-up overloaded with junk, Mud veers into the opposing lane. ONCOMING TRAFFIC. Mud darts back to his lane in time to miss a semi. 125 EXT. CLINIC - DAY 125 A MALE NURSE(36) wheels an ELDERLY MAN through the sliding double front doors of a small clinic. Mud appears around the corner. The bike speeding toward the entrance. In a fluid motion, Mud takes Ellis in his arms and lifts his leg over the bike. The bike tilts and slides across the pavement, smacking solidly into the curb. Mud has managed to stay on his feet with the boy in his arms and rushes through the automatic front doors. 126 INT. CLINIC - CONTINUOUS 126 The reception area has a DOZEN PATIENTS sitting in it. A check-in desk to the left. Mud holds Ellis out in his arms. MUD I NEED HELP HERE! A FEMALE NURSE rushes out of the check-in area. FEMALE NURSE Just stay calm. What's going on? MUD He's been snake bit. ANOTHER NURSE rushes off calling for a doctor. The room becomes more frenzied. Patients talking. Nurses shouting. 109. MUD (CONT'D) He's snake bit. A cotton mouth. On his calf. Just under an hour. As quickly as Mud gets this out, a GROUP of NURSES rush out of a door at the end of the room pushing a gurney. They take Ellis from Mud's arm, place him on the gurney, and speed him into the back of the clinic. The commotion gone, the reception area feels oddly still. Mud takes a deep breath. He looks to his right. Patients stare at him. He's beyond disheveled. He's crazy looking. Mud turns to his left. The Male Nurse stares at him. For the first time, Mud realizes he's out in the open. MALE NURSE Sir? Mud slowly backs up. MALE NURSE (CONT'D) Sir? We're gonna need some information? Mud backs out of the automatic doors. The entire room stares at him. 127 EXT. CLINIC - CONTINUOUS 127 Mud is outside. The glass doors close. He nervously checks over his shoulders. He spots a bank of trees just down from the clinic. He heads for them. The front doors slide open and the Male Nurse walks out. MALE NURSE Sir?! Mud hops into the bank of trees and disappears. 128 INT. CLINIC - CONTINUOUS 128 The Patients in the reception area settle back into their seats and discuss the commotion. The Male Nurse enters and walks behind the check-in window. IN THE WINDOW, The Male Nurse fingers through a pile of papers. 110. He removes one of the fliers that Carver and his men have been showing. The Nurse studies the photo, looking back at the front doors. He picks up the phone and dials the number at the bottom. 129 INT. PINES MOTEL - CONTINUOUS 129 In the adjoining room, the phone rings. King steps through the doorway, takes a seat on the bed, and answers. KING Hello...Yes...Yessir we are...Uh huh. King takes a pen from his shirt pocket and scribbles on a pad on the nightstand. KING (CONT'D) Now where'd you say you were?...Okay...He's gone. Okay...But you say he left the boy?...And your name sir? 130 EXT. EXECUTIVE INN - EVENING 130 The sun has been down for awhile. Juniper leans on the railing outside her room taking long drags from a cigarette. She sees Miller's green pick-up parked below. Suddenly the headlights pop on and the truck pulls away. She watches, curious, as it speeds out of sight. A train whistle blows in the distance but is overtaken by a semi rumbling down the street. She watches the semi pass revealing the DAY/NITE Gas Station's parking lot. A130 MUD STANDS IN THE CORNER OF THE LOT. Half lit by a sodium A130 lamp, he stares up at her. Juniper raises up. Even in the dim light she knows it's him. She doesn't move. Mud holds up a hand, waves. Juniper slowly waves back. She tries to smile at him, but she's about to cry and it's hard to muster. Mud smiles. After a long moment, he turns his back and disappears in the shadows at the side of the gas station. Juniper watches after him. 131 EXT. BLACK BAYOU - NIGHT 131 The night sky is dark purple. An unnatural color. 111. Ellis is on his back. Eyes closed. His head jostles at the SOUND of THUMPING. More THUMPING. It sounds like the hood of a car denting in. His eyes open. He stares up at an absurdly full moon. It's so bright it totally silhouettes the tree branches overhead. The THUMPING continues. Ellis puts his hands on the edge of the flat-bottom boat he's floating in and pulls himself up. He leans over the side to see what's causing the noise. The water is jet black. The entire bayou pulsates. Ellis' eyes grow wide as the THUMPING reveals itself. THE BAYOU IS FILLED TO THE BRIM WITH SNAKES. The moonlight illuminates their shiny black backs as they twist and churn in what seems like one giant ball of snakes. Ellis lies back in the boat bringing his arms close to his chest. He flinches at each THUMP. His eyes squeeze shut. 132 INT. ELLIS' ROOM - NIGHT 132 His eyes open. Ellis bolts up in bed covered in a cold sweat. Mary Lee places a palm on his chest. MARY LEE It's okay. You're okay. Just set back. Mary Lee guides Ellis back down on the pillow. Senior stands with his arm on her shoulder. They look down at their son. ELLIS Where am I? MARY LEE You're home. We got you home. Ellis takes a second to get his bearings. His mother lifts a glass of Sprite up to his mouth. He takes a sip. SENIOR You had us scared son. Senior steps forward and kisses Ellis on the forehead. Staying close to his face. SENIOR (CONT'D) (WHISPERS) I'm so glad you're okay. MARY LEE The doctors gave you some medicine. You had a snake bite. 112. ELLIS How'd I get to the doctor? MARY LEE A man brought you in. No one knew him. Ellis tries to sit up in bed, but his mother stops him. MARY LEE (CONT'D) It's okay. You just need to rest up now. We can talk all about it later. Do you need anything? Are you hungry? ELLIS No. Senior gently pats her shoulders. SENIOR Come on. Let's let him rest. Mary Lee touches Senior's hand on her shoulder. She stands. MARY LEE I'll be back in to check on you but just try and sleep if you can. ELLIS Okay. Senior leads Mary Lee to the door. ELLIS (CONT'D) Mom? Dad? They turn back. ELLIS (CONT'D) I love ya'll. MARY LEE We love you too Ellis. They exit the room. Ellis rests his head back on the pillow and takes a deep breath. 133 EXT. ISLAND/SOUTHERN SHORE - NIGHT 133 Mud and Neckbone shove against the back of the boat trailer. The wheels of the trailer rock at the edge of the bank's incline. Sheets of metal roofing taken from the shack Ellis and Neckbone dismantled line a runway into the water. 113. MUD (STRAINING) Almost there. The wheels finally turn over. The trailer rolls down the bank and splashes into the water. The boat shimmies. Mud and Neckbone follow the trailer into knee deep water and shove on the boat. A final push jettisons it into the river. They step back as the boat drifts out. A rope tied to its back becomes taught as it stretches from a tree on shore. MUD (CONT'D) The sun does shine on a dog's ass some days. NECKBONE It ain't sunk yet. Mud smiles. He holds out his hand, which Neckbone slaps. NECKBONE (CONT'D) I wish Ellis could see it. MUD I know. Mud walks back on shore and collects his duffel bag. MUD (CONT'D) I owe you your end of the deal. Mud removes the pistol from the back of his jeans. Neckbone's eyes light up. Mud hands it over and Neckbone immediately notices a hole where the clip is missing. NECKBONE Where the bullets? MUD The deal was for the gun, not the bullets. NECKBONE Shit. Neckbone begrudgingly crams the pistol into the back of his pants. MUD I got one last favor to ask you. Neckbone sucks his teeth. 114. 134 EXT. ELLIS' HOUSEBOAT - NIGHT 134 Water gently laps at the side of Ellis' houseboat. The bayou is quiet. From the darkness, Neckbone and Mud appear in the flat-bottom boat. They paddle with their hands. Approaching in silence. 135 INT. ELLIS' ROOM - NIGHT 135 Ellis stares at the ceiling, unable to sleep. A TAP comes from the window. Ellis sits up in bed. Mud pokes his head in. He whispers. MUD Ellis? ELLIS Mud? MUD Yeah. Mud pulls his body through the window. It's tight but he manages to make it look somewhat graceful. Mud takes a quick survey of the dark room. Ellis begins to get out of bed. MUD (CONT'D) No, don't get up. Mud motions him back down and pulls the chair from the desk over to the bed. They speak in hushed voices. ELLIS How'd you get here? MUD Neck brought me. 136 EXT. ELLIS' HOUSEBOAT - CONTINUOUS 136 Neckbone sits in the flat-bottom tied off at the corner. FROM THE TREELINE ON SHORE, All EIGHT of the Bounty Hunters sit hunkered in the trees. Carver squats next to a stump. He loads shotgun shells into a 12 gauge pump and motions for the others to fan out along the bank. 137 INT. ELLIS' ROOM - CONTINUOUS 137 MUD We got the boat in the water. ELLIS You did? 115. MUD Just now. Smooth sailin' from here on out. ELLIS Good. MUD Wish you coulda seen it. ELLIS Me too. MUD Didn't feel right leavin' town without sayin' goodbye. There is an awkward moment. ELLIS I'm sorry `bout what I said. MUD No. No. You were right to be mad. You were right about a lot of things. I'm the one that's sorry. I shoulda never gotten ya'll into all this. I just didn't see any other way around it. But I couldn't leave without you knowin' I never lied about being your friend. I never lied about that. ELLIS I know. MUD I don't traffic in the truth too often. But I did love her. I do love her. ELLIS She loves you too. She said it. This fact still strikes Mud. He nods. MUD I just made mistakes. We both did. This is a hard life to keep up with. You can't blame her for gettin' tired of tryin'. ELLIS My dad says you can't count on women lovin' you. He says you can't trust it. 116. MUD That's not true. Don't judge your life on all of our mistakes. You'll make plenty mistakes of your own, no need takin' on everybody else's. You're a good man Ellis. If you find a girl half as good, you'll be all right. ELLIS You're a good man too Mud. Mud smiles. MUD No. I'm not. But maybe from here on out I can be... A SHOTGUN BLAST rips a fist-sized hole in the flimsy interior wall. Mud, as if by reflex, yanks Ellis from the sheets and shoves him under the bed. BOOM. BOOM. Bits of sheetrock fall like snow flakes as more holes blast through the bedroom wall. Mud flinches with each shot. He covers his own head with one hand and the boy with the other. ELLIS Mud?! MUD Stay put! JUST STAY UNDER THERE! The SOUND of shotgun shells being slipped into the chamber. Mud gets to a crouch. Through the holes in the wall, Mud makes out Nelson, the fat bounty hunter, reloading his gun. 138 IN THE DEN, 138 Nelson finishes reloading. The riddled bedroom wall hangs in front of him. A door opens behind him. He swivels around. Senior, in a robe, rushes from his bedroom with a pistol leveled. He's met with a shotgun blast just above his head. Pellets nick his face. Senior hits the ground and elbows his way back inside his bedroom door. SENIOR ELLIS! ELLIS! Senior screams, his voice cracking. 139 IN ELLIS' ROOM, 139 117. SENIOR (O.S.) (CONT'D) (muffled through the wall) ELLIS! MUD (WHISPERING) Don't move Ellis. Just stay put. They just want me. Through the holes Mud sees Nelson approaching Ellis' bedroom. He runs for the window at the foot of the bed. Another shotgun BLAST throws open the door as Mud leaps out. 140 EXT. ELLIS' HOUSEBOAT - CONTINUOUS 140 Mud crashes headfirst onto the edge of the houseboat grasping for anything to keep from sliding off. His hand catches a metal deck cleat. It bends under his weight but holds. Mud gets to his feet and is met by the tip of a rifle. Miller, the man from the cafe, stands poised to fire. Mud's hand slips to the back of his pants for his pistol. NOTHING. He looks to the flat-bottom tied at the far edge of the boat. No sign of Neckbone. Miller's finger curls around the trigger. SUDDENLY, a BULLET snicks through Miller's neck. Mud flinches. Miller's hand comes up to his neck but can't hold the blood running from it. He topples into the water. 141 EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS 141 Tom Blankenship sits in the folding chair on the roof of his houseboat. He shucks an empty shell from a HIGH-POWERED RIFLE complete with scope. The long suitcase from the photo in Tom's house sits open at his feet. It has compartments for the disassembled rifle. Tom quickly raises to a new firing position. He squints an eye, searching for another target. A141 From this vantage point, Ellis' houseboat is clearly visible; A141 partially lit by the two flood lights. FOUR other BOUNTY HUNTERS swarm the boat. 142 INT. ELLIS' ROOM - CONTINUOUS 142 Still under the bed, Ellis tries to hold his breath as Nelson's boots step into the room. They pause for a moment, before sluggishly struggling through the bedroom window. 143 EXT. ELLIS' HOUSEBOAT - CONTINUOUS 143 Mud rushes to untie the flat-bottom. 118. A BULLET splinters the corner of the dock sending shards of wood into Mud's hand. He sees TWO more GUNMEN skirting toward him on the deck of the houseboat. Mud takes cover against the wall and finds the muzzle of Nelson's gun teetering out Ellis' window. He grabs the muzzle and yanks the shotgun free. Nelson, stuck in the window, looks up in time to take a rifle butt in the face. He falls back into the room unconscious. NECKBONE (O.S.) MUD! 144 ON THE RIVERBANK, 144 James, the man with the mustache, holds Neckbone in a headlock trying to cover his mouth. Carver stands with his shotgun leveled and fires at Mud. 145 ON THE BOAT, 145 Mud ducks as Carver's shot takes out a chunk of siding. The SOUND of boots rush up the side of the boat. Mud, gun in hand, jumps back through Ellis' window. 146 ON THE RIVERBANK, 146 Carver turns to Neckbone. CARVER Let him go. James unhands the boy. Neckbone sprints into the woods. CARVER (CONT'D) Come on. They move toward the houseboat. 147 INT. ELLIS' ROOM/HOUSEBOAT - CONTINUOUS 147 Mud gets to his feet, stepping over an unconscious Nelson on his way to the bedroom door. MUD You still down there bud? ELLIS Yeah. MUD Stay put. Mud pops out of the bedroom into the den. 119. 148 IN SENIOR'S BEDROOM, 148 Mary Lee, curled under the bed, frantically dials the phone. Senior, propped against the closed door, uses his undershirt to dab the pellet wounds around his neck. Hearing footsteps, he cracks the door open. He sees Mud standing in the den. Senior cocks his pistol 149 IN THE DEN, 149 The front door is KICKED open. Mud dives behind a Lazy Boy as a Bounty Hunter fires through the doorway. The back of the Lazy Boy explodes in fluff and fabric. Mud raises up to return fire, forcing the Man back out the door. Mud crouches back behind the Lazy Boy. Unbeknownst to him, another MAN appears outside two sliding glass doors. The Man raises his rifle at Mud. One of Tom's bullets rips through the Man's chest and shatters the glass door. Mud flinches. Another Hunter steps into the now broken door frame. Mud FIRES the shotgun, blowing the man into the patio grill. A149 Mud can see Tom's houseboat silhouetted across the A149 bayou. A muzzle FLASH sparks from the top of Tom's boat. This makes Mud smile. 150 The Front Door kicks open again and more pellets shatter 150 through the den. Mud raises to return fire. ONE SHOT, TWO, the third is a dead CLICK. He drops back behind the chair, out of shells. 151 EXT. ELLIS' HOUSEBOAT - CONTINUOUS 151 Carver steps across the plank onto the houseboat followed by James. Carver motions him around back toward Ellis' window. CARVER Flush him out this way. Carver walks to the covered carport. 152 INT. ELLIS' HOUSEBOAT - CONTINUOUS 152 IN THE DEN, The Hunters at the front door continue taking pot shots at the furniture. Mud flinches at each new round fired. 153 IN ELLIS' ROOM, 153 120. Ellis cautiously slides out from under his bed and crouches next to the bedroom door. He peeks through a crack. He sees Mud pinned behind the Lazy Boy. They make eye contact. Mud's eyes move to something behind Ellis. Ellis turns to see James passing by his bedroom window. 154 EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS 154 Tom scans Ellis' boat through the scope on his rifle. He sees Carver creeping around the carport. He pans right to find James taking a position near the patio doors. Tom pauses, seeing Ellis appear at the corner of the boat just behind James. 155 INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS 155 The firing from the front door has stopped. Mud takes a deep breath, sets the empty shotgun on the ground, then rushes out the sliding glass doors as the men out front reload. 156 EXT. ELLIS' HOUSEBOAT/TOM'S HOUSEBOAT - CONTINUOUS 156 Mud makes it outside, his back to James' leveled rifle. ELLIS MUD! James and Mud both turn at the sound of Ellis' voice. One of Tom's bullets drops James dead. Carver appears at the carport end of the boat. He raises his shotgun toward Mud. A156 ON TOM, A156 He snaps the bolt open and closed, but it jams. He jerks at the lever, looking up he sees Carver taking aim. 157 ON MUD, 157 Mud takes a running leap off the side of the boat. Carver FIRES. Mud is struck in the back by the shotgun blast. The force of the shot spins him in the air. He crashes into the water. Ellis screams. ELLIS (CONT'D) MUD! Carver approaches the edge of the boat. He stares down into the swirling dark water. No sign of Mud. 121. A157 ON TOM, A157 Tom slaps open the bolt and yanks the spent cartridge out with his fingers. It BURNS. TOM DAMMIT! ON CARVER, He pumps the shotgun and fires into the murky water. The pellets pepper the surface. Still no sign of Mud. Carver pumps the shotgun a final time, but before he can get another shot off Tom's bullet rips open Carver's chest sending him sprawling through the broken patio doors. ON TOM, He exhales, shucks the bolt once more. His eyes scan the dark water. 158 ON THE HOUSEBOAT, 158 Ellis runs to the edge of the boat. ELLIS MUD! MUD! Senior exits the houseboat, pistol pointed. He sees Ellis and runs to him. SENIOR ELLIS! Senior grabs the boy, keeping his pistol up. Ellis drops to his knees and Senior crouches with him, holding him tight in his arms. Ellis cries. SENIOR (CONT'D) It's okay. It's okay. The two sit alone on the edge of the houseboat. The river seems especially quiet now. 159 I/E. ELLIS' HOUSEBOAT/RIVERBANK - PREDAWN 159 The sky shows faint signs of morning, a few streaks of light. ON THE RIVERBANK, The blue, red, and white lights from police cruisers and ambulances bounce up into the trees. A frenzy of Police activity swarms from the aftermath left on Ellis' houseboat. Men in wetsuits prepare a dive. Blanket covered bodies are wheeled off on gurneys. 122. Two of the Bounty Hunters, unharmed, sit locked in the back of a state trooper vehicle. 160 ON THE HOUSEBOAT, 160 Ellis, Senior and Mary Lee sit huddled together under the carport. They watch the emergency workers stream past. Senior wraps his arms around them. Ellis looks across the bayou to Tom's boat. Police flashlights bob and weave throughout. No sign of Tom. 161 INSIDE ELLIS' HOUSEBOAT, 161 A LOCAL OFFICER strings caution tape across the broken patio doors. TWO STATE TROOPERS hover over Carver's body. The Troopers step away and the Local Officer cranes toward the body. He studies Carver's face. Stepping aside, the Officer takes a cell phone from his pocket and dials. He turns his back away from the Troopers. 162 INT. PINES MOTEL ROOM - NIGHT 162 The phone rings in the Pines Motel. King enters from the adjoining room and takes a seat on the bed. He answers. KING Hello...You're speaking to him... King listens. His face taut. KING (CONT'D) He's dead? (a long pause) Okay. King hangs up the phone. He sits at the edge of the bed, overwhelmed by the news. 163 EXT. RIVER - NIGHT 163 It's dark on the river. Moonlight barely shows the ripples in the slow moving current. MUSIC from a country station slips out across the surface of the water. Galen's jambox sits next to a small lantern in his flat- bottom boat. His Helper snores, fully reclined, with an empty can of Budweiser resting on his gut. His feet are propped next to a tiny bell rigged to a line that disappears into the water. The bell RINGS. 164 EXT. UNDERWATER - RIVER - NIGHT 164 The river bed swirls inside two, distinct spots of light. 123. Galen, using his new diving lights, scoops a final mussel shell into the net before tying it off. He tugs at the line. It's pitch black save for the shafts of light projected from Galen's shoulders. He tilts the lights toward the surface. The line leading up to the bottom of the boat dances in and out of the high beams. Then... MUD'S BODY FLOATS BY OVERHEAD. Only his backside is visible. A cloud of blood trails from the holes there. FADE TO BLACK. 165 EXT. ELLIS' HOUSEBOAT - DAY 165 A WORKER cinches a thick strap across the deck of Ellis' houseboat. 166 ON THE RIVERBANK, 166 Ellis watches as WORKERS affix straps from his houseboat to a crane resting in the bed of a large truck on the bank. The SOUND of Neckbone's dirt bike rattles through the trees. He appears behind Ellis and parks. NECKBONE Hey. ELLIS You got your bike back. NECKBONE Mud dinged the shit out of it. Neckbone takes a seat next to Ellis. They watch the workers. NECKBONE (CONT'D) They're really doin' it. ELLIS It's the law. NECKBONE It's bullshit. They ever find Tom? The boys focus on Tom Blankenship's boat across the bayou. It sits vacant, covered in police tape. ELLIS No. He's gone. NECKBONE Your dad not here? 124. ELLIS Said he couldn't watch it. He's pickin' me up in a minute. Got deliveries today. They sit in silence as the Workers exit off the houseboat. NECKBONE Heard on the news. They still hadn't found Mud's body. Ellis nods. NECKBONE (CONT'D) You think he's dead? ELLIS I don't know. I hope not. The crane begins lifting up the houseboat. The metal wires tighten and the entire structure creaks. A sucking sound as the flotilla separate from the water. The boat hangs, suspended in the air. A HORN HONKS behind the boys. Ellis turns to see Senior's truck. ELLIS (CONT'D) I gotta go. Come by the apartment. Help me set my room up. NECKBONE All right. Neckbone watches Ellis climb into the bed of the pick-up and take his spot on the coolers. The sound of twisting metal shifts his attention back to the houseboat being swung over a flatbed semi. 167 I/E. SENIOR'S TRUCK/RIVERBANK - CONTINUOUS 167 IN THE CAB, Senior glances at the houseboat being set on the flatbed. He puts the truck in reverse and pulls away. Not looking back. 168 EXT. SENIOR'S TRUCK/IMAGES OF DEWITT - DAY 168 Ellis rides in the back of the truck on top of the coolers. He watches the town pass by. A168 The marina junkyard. The Sonic. Downtown. A168 125. B168 EXT. FLEA MARKET - DAY B168 Ellis and his father unload a cooler at the back of a tented flea market. A WOMAN comes out to greet them. 169 I/E. SENIOR'S TRUCK/NEW APARTMENTS - DAY 169 Senior's truck pulls into the parking lot of a newly finished apartment complex. The two-story buildings are modest. The truck idles out front. INSIDE THE CAB, Ellis grabs the door handle. He turns to Senior. ELLIS I'll see you next week? SENIOR Yeah. Ellis begins to get out but stops when Senior speaks. SENIOR (CONT'D) Ellis? You mind your mother okay? This is a big change for her. She needs your support. ELLIS Yessir. SENIOR All right. I love you. ELLIS Love you too. Ellis climbs out. He watches as Senior pulls away. He stands alone in front of the apartments, studying the surroundings. A busy road out front. A gas station and collection of stores. A lot of people and commotion. A compact car pulls into a parking spot one building down. Ellis watches as three COLLEGE AGE GIRLS climb out dressed in running shorts and t-shirts. Two are heavy set, the other is petite. They joke and laugh. One sees Ellis and waves. Ellis nods to her. He tracks them as they walk inside. Ellis smirks. 170 EXT. MISSISSIPPI RIVER - DAY 170 The river rushes past. A large motor churns the water. 126. Tom stands steering Mud's salvaged boat down river. He cranes his neck, seeing something up ahead. Tom kills the motor. Looking out over the bow, he's pleased by what he sees. His eyes glint, almost a smile. He walks to the small cabin and enters. 171 INSIDE THE CABIN, 171 Mud rests flat on his stomach on the cushioned bench. Shirtless, gauze bandages wrap around his chest and back. He's sleeping. Tom walks in and kneels next to him. Touches his shoulder. Mud's eyes open. TOM Come on son. You need to see this. Mud, groggy, raises up. Tom helps him to his feet, putting an arm over his shoulders. Tom practically carries Mud outside. 172 ON DECK, 172 Tom and Mud slowly maneuver out the door and take a place near the front of the boat. Mud pulls his head up. Looks out ahead. The sight in front of him grabs his attention. He perks up. A tributary from the Mississippi river opens up into a vast stretch of ocean. Mud smiles, showing the missing tooth. Tom and Mud stand on deck as their boat drifts slowly into the open waters of the Gulf of Mexico. The End. \ No newline at end of file diff --git a/unformated_scripts/Script_Mulan.txt b/unformated_scripts/Script_Mulan.txt new file mode 100644 index 0000000000000000000000000000000000000000..d8b0bdf18747731047700359476728ed0c3cd4fe --- /dev/null +++ b/unformated_scripts/Script_Mulan.txt @@ -0,0 +1 @@ +Disney's MulanCompiled by Barry Adams during theater showings in 1998Last updated: August 18, 1998Mulan is the property and copyright of the Walt Disney Company, Inc. Thescript on this page was compiled while watching Mulan in the theater duringthe summer of 1998 when the film originally aired. Abuse of this page couldresult in its removal from this site.[Chinese guard is seen walking on The Great Wall. Shan-Yu's falcon swoopsdown and hits the guard on the head knocking his helmet off. The falcon landson top of a flag pole in front of a full moon and lets out a large cry. Onegrappling hook comes over The Great Wall. The guard walks over to the edgeand sees many grappling hooks coming towards him]Guard [yelling]: We're under attack! Light the signal![Guard runs to the tower and up the ladder as Hun Bald Man #1 and Hun LongHair Man appear trying to stop him. Hun Bald Man #1 breaks the ladder withhis sword just as Guard reaches the top. The guard picks up the torch tolight the fire and sees Shan-Yu jump over the edge of the tower and looks athim across from the caldron. The guard throws the torch into the caldronlighting a large fire. Shan-Yu watches as each tower lights their caldronsone by one]Guard [sternly]: Now all of China knows you're here.Shan-Yu [taking the flag and holding it over the fire]: Perfect.[Cut to the palace. The large doors to the central chamber open as General Liwalks in flanked on his left and right by soldiers and approaches the Emperor. He bows, then looks up]General Li: Your Majesty, the Huns have crossed our Northern border.Chi Fu: Impossible! No one can get through The Great Wall. [The Emperormotions for Chi Fu's silence]General Li: Shun-Yu is leading them. We'll set up defenses around yourpalace immediately.Emperor [forcefully]: No! Send your troops to protect my people. Chi Fu, Chi Fu: Yes, your highness.Emperor: Deliver conscription notices throughout all the provinces. Call upreserves and as many new recruits as possible.General Li: Forgive me your Majesty, but I believe my troops can stop him.Emperor: I wont take any chances, General. A single grain of rice can tipthe scale. One man may be the difference between victory and defeat.[Cut to Mulan using her chopsticks to single out a grain of rice on top of themound of rice]Mulan: Quiet and demure...graceful...polite...[picking up some rice with herchopsticks and eating a mouthful] delicate...refined...poised... [She setsdown her chopsticks and writes down a final word on her right arm] punctual.[A cock crows] Aiya. [Calling out] Little brother. Little brother. Lit-ahhh, there you are. Who's the smartest doggie in the world? Come on smartboy, can you help me with my chores today?[Mulan ties a sack of grain around Little Brother's waist. She ties a stickonto Little brother so that end of it is in front of Little Brother's face. She ties the bone on the end of the stick just out of reach. Little Brotherbegins to run after the bone which he cannot reach. Mulan opens the door forLittle Brother and he runs into the door frame, then out the open door. Little brother runs by the chickens and Khan - the family horse][Cut to Mulan's Father, Fa Zhou, kneeling and praying before the Fa family'sancestors]Fa Zhou: Honorable ancestors, please help Mulan impress the matchmaker today. Little Brother [running into the temple and around Fa Zhou scattering grainaround the floor]: Bark, bark, bark, bark, bark.[The chickens follow Little Brother into the temple and begin to feed on thegrain]Fa Zhou: Please, PLEASE, help her.[Mulan steps up to the temple seeing Little Brother on his hind legs trying toget the bone. Mulan bends the stick down so that Little brother can reach thebone. Little brother gnaws on the bone happily. Mulan continues toward thetemple]Mulan [calling out]: Father I brought your--whoop! [Fa Zhou bumps into Mulan. The cup falls to the ground and Fa Zhou catches the teapot with the handle ofhis cane]Fa Zhou: Mulan--Mulan: I brought a spare. [Mulan pulls out a cup from underneath the back ofher dress and begins to pour the tea] Fa Zhou: Mulan--Mulan [hurried]: Remember, the doctor said three cups of tea in the morning--Fa Zhou: Mulan--Mulan: And three at night. Fa Zhou: Mulan, you should already be in town. We're counting on you to up--Mulan: --uphold the family honor. Don't worry father. I wont let you down. [Mulan covers over the writing on her arm with here sleeve] Wish me luck. [Mulan hurries down the stairs]Fa Zhou [calling out]: Hurry! [to himself] I'm going to...pray some more.[Fa Zhou turns and walks back into the temple][Cut to the town with Fa Li looking worried]Bath Lady [poking out of her building]: Fa Li, is your daughter here yet? The matchmaker is not a patient woman. [She goes back into the building]Fa Li: Of all days to be late. I should have prayed to the ancestors forluck.Grandma Fa [walking in with a Cri-Kee in a cage]: How lucky can they be,they're dead. Besides, I've got all the luck we'll need. [Speaking toCri-Kee] This is your chance to prove yourself. [Cri-Kee chirps approvingly. Grandma Fa covers her eyes steps into a busy street]Fa Li [excitedly]: Grandma No![The traffic barely misses Grandma Fa as she crosses the busy street. But twohorse and carriage collide causing a big accident. She arrives at the otherside of the street, uncovers here eyes and looks at Cri-Kee]Grandma Fa: Yep, this cricket's a lucky one. [Cri-Kee falls over out offright]Fa Li [sighing in relief]: Hai.[Mulan arrives on Khan jumping over the recent accident in the street andjumps off with hay stuck in her hair]Mulan: I'm here. [Seeing a stern look from her mother] What? But Mama I hadto--Fa Li: None of your 'xcuses. Now let's get you cleaned up. [They walktogether into the preparation area][Song: Honor to us all]Bath Lady: [all the while Bath Lady undresses Mulan and pushes her into theBath]This is what you give me to work with?Well, honey, I've seen worse.We're gonna turn this sow's earInto a silk purse. [Bath Lady moves the silk partition aside showing Mulan inthe bath] Mulan [spoken]: It's freezing.Fa Li [spoken]: It would have been warm if you were here on time. Bath Lady [washing Mulan's hair]:We'll have youWashed and driedPrimped and polished till you glow with prideTrust my recipe for instant brideYou'll bring honor to us allFa Li [grabbing a sponge and Mulan's right arm to start cleaning her. Shenotices the writing] [spoken]: Mulan, what's this?Mulan [Drawing her arm back and batting her eyelashes] [spoken]: Ahh, notes,in case I forget something?Grandma Fa [spoken]: Here, hold this [hands the cricket to Fa Li]. We'llneed more luck than I thought. [Mulan looks on with an air of disappointment][Cut to the hair dressers]Hair Dresser 1 [Brushing and combing Mulan's hair much to Mulan's chagrin]:Wait and seeWhen we're throughHair Dresser 2:Boys will gladly go to war for youHair Dresser 1:With good fortune Hair Dresser 2 [Finalizing the hairdo to look exactly like hers]:And a great hairdoBoth:You'll bring honor to us allFa Li and others: [Mulan following her Mother passes a xiangqi game andpauses to make an impressive move. Mulan has a smug look on her face when FaLi comes back and drags Mulan away]A girl can bring her familyGreat honor in one wayBy striking a good matchAnd this could be the dayDresser 1 [Dresser 1, Dresser 2, and Fa Li dress Mulan]:Men want girls with good tasteDresser 2:CalmFa Li:ObedientDresser 1:Who work fast-pacedFa Li:With good breedingDresser 2 [Pulling the dress tight around her waist]:And a tiny waist Mulan [expressing her waist being squeezed tight] [spoken]: huh.All Three:You'll bring honor to us all Chorus: [Mulan follows Fa Li and sees boy stealing a doll from a girl. Mulangrabs the doll from the boy and returns it to its owner]We all must serve our EmperorWho guards us from the HunsA man by bearing armsA girl by bearing sons Make-up Lady/Fa Li: [Putting on Mulan's face, powder, lipstick and eye liner][in a 3 person round] When we're through you can't failLike a lotus blossom soft and paleHow could any fellow say "No sale"You'll bring honor to us all[Make-Up Lady holds a mirror so Mulan can see her reflection. Not lookingpleased, Mulan takes her single, short bang and brings it down in front of herforehead and smiles]Fa Li [spoken. Fa Li places a hair comb in Mulan's hair]: There, you'reready.Grandma Fa [spoken]: Not yet! An apple for serenity [putting an apple inMulan's mouth]...A pendant for balance [places a yin-yang pendant under hersash] [sings]Beads of jade for beauty [putting beads around Mulan's neck]You must proudly show it [Grandma Fa raises her chin high with her hand]Now add a cricket just for luck [putting the cage with Cri-Kee under Mulan'ssash in the back. Cri-Kee doesn't look pleased]And even you can't blow itMulan: [Walking to catch up with the other maidens]AncestorsHear my pleaHelp me not to make a fool of meAnd to not uproot my fam'ly treeKeep my father standing tallMaidens and Mulan: [Mulan taking the parasol from Fal Li and running to fallin line with the other 4 maidens]Scarier than the undertakerWe are meeting our matchmakerAll Townspeople:DestinyGuard our girlsAnd our future as it fast unfurlsPlease look kindly on these cultured pearlsEach a perfect porcelain dollMaiden #1: Please bring honor to usMaiden #2: Please bring honor to usMaiden #3: Please bring honor to usMaiden #4: Please bring honor to usMulan and Maidens: Please bring honor to us all! [All Girls and Mulan arrive before the Matchmaker crouched down behind theirparasols. End of song]Matchmaker [looking at her clipboard]: Fa MulanMulan [Jumping up and raising her hand]: Present.Matchmaker: Speaking without permission.Mulan: Oops. Grandma Fa [to Fa Li]: Who spit in her bean curd?[Mulan walks into the Matchmaker's building with the Matchmaker followingbehind and closing the door]Matchmaker [looking over Mulan]: Huh, Hmm, too skinny. [Cri-Kee escapes fromhis cage. Mulan struggles to catch him] Hmph, not good for bearing sons. [Mulan puts Cri-Kee in her mouth when Matchmaker turns around to face her]Recite the final admonition.Mulan [nodding and smiling]: Mmm-Hmm. [Takes out fan and covers her mouth asshe spits out Cri-Kee] PtuMatchmaker: Well...Mulan [with dignity]: Fulfill your duties calmly and re...f--[looking at herarm with smeared writing] spectfully. Reflect before you snack [surprised,Mulan looks at her arm again] act. [now rapidly] This shall bring you honorand glory. [Fanning herself rapidly and sighing in relief] Huh.Matchmaker [snatches the fan and looks at it on both sides looking for notesnot finding any. Mulan smiles big when Matchmaker looks at her. Matchmakergrabs Mulan's right arm pulling her along while smearing the writing andleaving some ink on her hand] Hmmm, this way. Now, pour the tea [Pushing ateapot towards Mulan]. To please your future in-laws you must demonstrate asense of dignity [Matchmaker smears ink around her mouth. Mulan staring atMatchmaker pours some tea onto the table then notices her mistake and poursthe tea into the cup] and refinement. You must also be poised. [Mulannotices Cri-kee in the tea-cup as Matchmaker takes the cup]Mulan [quiet and timid]: Um, pardon me.Matchmaker: And silent! [Matchmaker sniffs the tea]Mulan [reaching and grabbing the teacup]: Could I just take that back...onemoment.[They struggle for the teacup and it turns over on Matchmaker and Cri-keejumps down matchmaker's dress]Matchmaker: Why you clumsy--[Matchmaker feels Cri-Kee in her dress and dancesaround] Wooo, woooo, wooooooo, [Matchmaker knocks over her pot of coals, andsits down on the coals. Matchmaker jumps around screaming] Ahhhhhhhhhhh [Mulan grabs her fan and briskly fans the charred area on Matchmaker's behindcausing it to flame up. Mulan looks surprised about her mistake][Cut to outside Matchmakers building showing Grandma Fa with much noise comingfrom Matchmaker's building]Grandma Fa [to Fa Li]: I think it's going well, don't you?Matchmaker [running out of the building screaming]: Put it out! Put it out! Put it out! [Mulan takes the teapot, throws the tea on Matchmaker and puts outthe fire. She bows, hands the teapot back to Matchmaker and covers her faceas she walks toward Fa Li and Grandma Fa] [with anger] You are a disgrace! [Matchmaker throws the teapot down smashing it to pieces] You may look like abride, but you will never bring your family honor![The townsfolk who have gathered whisper and walk away][Cut to Mulan walking through the gate with her home leading khan. She lookssorrowful. Fa Zhou sees his daughter and smiles. Mulan sees her father'ssmile. She covers her face with Khan's head and leads him to the watertrough][Song: Reflection]Mulan: Look at me [looking at her reflection in the water trough]I will never pass for a perfect bride [taking off her earrings and beads of jade]Or a perfect daughter [Mulan watches Fa Li relating what happened at theMatchmaker's to Fa Zhou]Can it beI'm not meant to play this part? [Mulan releases Cri-Kee back to the wild]Now I seeThat if I were to trulyTo be myself [Mulan hops along the bridge railing]I would break my family's heartWho is that girl I see [Mulan looks into the pond and sees her ownreflection]Staring straightBack at me? [Mulan puts her hand on the Great Stone Dragon and looks towardthe temple]Why is my reflection someone I don't know? [Cri-Kee rowing across the pond on a lily pad]Somehow I cannot hide [Mulan walking into the family temple]Who I am [Cri-Kee watches Mulan in the temple seeing multiple reflections ofherself in the ancestors' stones]Though I've tried [Mulan bows to the ancestors]When will my reflection showWho I am inside? [Mulan finishes wiping off her make-up seeing her reflectionin the stones]When will my reflection showWho I am inside? [Mulan gets up and heads out the temple][End of song. Mulan sits on a bench under the blossom tree. Fa Zhouapproaches her, clearing his throat. Mulan sees him approaching and turns herhead away. Fa Zhou sits down beside Mulan]Fa Zhou: My, my, what beautiful blossoms we have this year [looking up intothe blossom tree]. But look, this one's late. But, I'll bet that when itblooms, it will be the most beautiful of all. [Mulan and Fa Zhou sharesmiles. Drums start pounding announcing the arrival of Chi Fu and two guardson horseback]Mulan: What is it?[Fa Zhou gets up and walks to the entrance of their house with Mulanfollowing]Fa Li: Mulan, stay inside.[Grandma Fa clears her throat catching Mulan's attention and motions inside. Mulan spies the railing near the wall and climbs up to watch over the roof]Chi Fu: Citizens I bring you a proclamation from the Imperial City: theHuns have invaded China! Townspeople [expressing surprise]: No!Chi Fu: By order of the Emperor, one man from every family must serve in theImperial Army. The Xiao family [a family member steps up, bows to the guardand takes the conscription notice from the guard]. The Yi family.Yi's Son [holding his old father back]: I will serve the Emperor in myfather's place.Chi Fu: The Fa Family.Mulan: No.[Fa Zhou gives his cane to Fa Li and walks toward Chi Fu. Fa Zhou bows beforethe horsemen]Fa Zhou [standing proud]: I am ready to serve the Emperor. [Fa Zhou reachesfor the conscription notice]Mulan [running outside to keep her father from taking the conscriptionnotice]: Father, you can't go.Fa Zhou [turning to see his daughter]: Mulan!Mulan: Please sir, my father has already fought bravely--Chi Fu: Silence! You would do well to teach your daughter to hold her tonguein a man's presence.Fa Zhou [looking away from Mulan]: Mulan, you dishonor me.[Grandma Fa guides Mulan back away]Chi Fu [handing Fa Zhou the conscription notice]: Report tomorrow at the WuShu camp.Fa Zhou: Yes, sir. [Fa Zhou walks back into the homestead refusing to takehis cane from Fa Li]Chi Fu [fading out as we follow Fa Zhou]: The Chu family. The Wen family. The Chang family. The...[Cut to Fa Zhou in his armory at night. Fa Zhou takes out his sword andpractices his stances. Whan he balances on his right leg, his leg injury actsup and he falls. Unbeknownst to her father, Mulan watches in horror. Shebreathes heavily][Cut to dinner. The Fa Zhou, Grandma Fa, Fa Li, and Mulan eat in silence. Thunder can be heard and lightning can be seen through the opaque window. Mulan pours the tea for her family. She slams her teacup down on the tableand stands up]Mulan: You shouldn't have to go.Fa Li: Mulan!Mulan: There are plenty of young men to fight for China.Fa Zhou: It is an honor to protect my country and my family.Mulan [angrily]: So you'll die for honor!Fa Zhou [standing up and angered]: I will DIE doing what's right.Mulan [starts to speak but is cut off]: But if you--Fa Zhou: I know my place, it is time you learned yours.[Mulan looking like she's about to cry, turn away from Fa Zhou and runsoutside into the rain storm and cries][Cut to Mulan sitting at the base of the Great Stone Dragon in the rain. Mulan looks down to see her reflection in the puddle caused by the rain. Shewatches her parents in the bedroom. Fa Li turns away from Fa Zhou and walksout of site. Fa Zhou blows out the light. Mulan gets up and walks to the FaFamily Temple. Mulan's image reflects off the stone tablets as she lightsincense and places it in the hanging encense holder. She bows and prays toher ancestors. Getting up, Mulan hurries down the steps. Cri-Kee sees her andhops down from above and follows her. Mulan goes to her parent's bedroom andtakes the conscription notice replacing it with the hair comb her mother gaveto her. She pauses to give her parents a loving, sorrowful look and hurriesout. Cut to Mulan in the armory. She opens the cabinet with the armor. Using her father's sword, she cuts her hair short and ties it up above herhead. She finishes putting on the armor and ties it in the front. She takesthe sword and places it in the scabbard to her left. Cut to Mulan in thestable doorway. Khan rears back in fright at the sight of Mulan. Mulan goesforward and comforts Khan letting him know her identity. Mulan walks Khan outof the stable, Cri-Kee watches from the ground as she passes by. Mulan takesone sorrowful glance back at her parents bedroom and rides Khan through thegate and off to camp.][Cut to the face of a statue in the Fa Family Temple. The eyes glow. Cut toGrandma Fa. She wakes up with a start rising in bed. Cut to Grandma Fawalking into Fa Li and Fa Zhou's bedroom, both are in bed]Grandma Fa: Mulan is gone.Fa Zhou [waking up]: What? It can't be. [Fa Zhou looks at his night standand notices the hair comb in place of his conscription notice. He checks thecabinet and sees his armor is gone. He hurries outside] [calling out] Mulan! [He stumbles while walking because of his leg injury] No.Fa Li [kneeling down beside the fallen Fa Zhou]: You must go after her. Shecould be killed!Fa Zhou [sadly]: If I reveal her, she will be. [Fa Zhou embraces Fa Li]Grandma Fa: Ancestors, hear our prayer: Watch over Mulan.[Cut to the Fa Family Temple. A wind blows out the incense at the base of thecenter stone. The center stone begins to glow as First Ancestor comes tolife]First Ancestor [motioning to a bronze dragon]: Mushu, awaken![Mushu comes to life and falls to the ground flat on his back all beingobscured by smoke]Mushu [rising from the smoke arms stretched out]: I live! So tell me whatmortal needs my protection Great Ancestor. You just say the word and I'mthere.First Ancestor [agitated]: Mushu!Mushu: Hey, let me say something. Anybody who is foolish enough to threatenour family, vengeance will be MINE. Hrrrrr.First Ancestor [sternly to silence Mushu]: Mushu! These are the familyguardians [motioning towards the stone statues on pedestals near the ceiling]. They...Mushu [dejectedly]: Protect the family.First Ancestor [pointing to the empty pedestal]: And you, oh demoted one.Mushu: I...ring the gong.First Ancestor: That's right, now, wake up the ancestors.Mushu: One family reunion coming right up. [ringing the gong] Okay people,people look alive, lets go! C'mon get up. Let's move it, rise and shine. You're way past the beauty sleep thing now trust me!Ancestor 1: I knew it, I knew it. That Mulan was a trouble maker from thestart.Ancestor 3: Don't look at me, she gets it from your side of the family.Ancestor 2: She's just trying to help her father.Ancestor 4 [appearing out of thin air]: But, if she is discovered, Fa Zhouwill be forever shamed. Dishonor will come to the family. Traditional valueswill disintegrate.Ancestor 5: Not to mention they'll lose the farm.Ancestor 1: My children never caused such trouble. They all becameacupuncturists.Ancestor 3: Well, We can't all be acupuncturists.Ancestor 6: No, your great granddaughter had to be cross-dresser![All ancestors argue at once, except First Ancestor]Ancestor 7: Let a guardian bring her back. Ancestor 8 [grabbing Mushu and bringing him next to a guardian]: Yeah, awakenthe most cunning.Ancestor 4 [taking Mushu and holding him next to the stone rabbit guardian]: No, the swiftest.Ancestor 9 [grabbing Mushu and holding him next to the stone monkey guardian]: No, send the wisest.First Ancestor: Silence! We must send the most powerful of all [Motioning tothe Great Stone Dragon as it is seen through the window]Mushu [climbs up the empty guardian post laughing]: Ho, ho, heh, heh. Okay,okay, I get the drift, I'll go. [All Ancestors give a quick look of surpriseand laugh uncontrollably] You all don't think I can do it. Watch this here. [Mushu produces a small flame from his mouth] Ah, ha, Jump back, I'm prettyhot huh. Don't make me have to singe nobody to prove no point.First Ancestor [grabbing Mushu and pulling away from the post]: You had yourchance to protect the Fa family.Ancestor 6: Your mis-guidance led Fa Deng to disaster.Fa Deng [with his decapitated head on his lap]: Yeah, thanks a lot.Mushu: And your point is?First Ancestor: The point is we will be sending a real dragon to retrieveMulan.Mushu: What? But I'm a real dragon.First Ancestor [grabbing Mushu and pulling him away from the guardian post asMushu fights to hold on]: You are not worthy of this spot. Now, awaken theGreat Stone Dragon. [First Ancestor throws Mushu out of the temple]Mushu [looking back into the temple]: So you'll get back to me on the jobthing.[An ancestor throws Mushu's gong and hits Mushu in the face]Mushu [walking with a slouch and banging the gong on the ground]: Just onechance is that too much to ask? I mean, it's not like it'll kill ya.Mushu [rings the gong and looks at the Great Stone Dragon]: Yo rocky, wakeup! You gotta go fetch Mulan. [pauses as nothing happens. Mushu walks overto the side of the statue] C'mon boy, go get her, go on, [throws the gongstick off the screen and whistles] Come on. [Angrily while climbing up theGreat Stone Dragon] Grrr, Grrrr. [speaking in his ear and banging the earwith the gong] Hello, helloooooo. [curtly] Hello [bangs the gong extra hardagainst the ear causing it to break off]. Uh oh. [The Great Stone Dragoncrumbles to the ground, head intact minus the ear]. [knocks on the dragon'shead] Uh, Stoney, Stooooneeey. Oh man, they're gonna kill me!First Ancestor [calling out through the temple window]: Great Stone Dragon,have you awaken? Mushu [holding the head of the Great Stone Dragon up to that First Ancestorcan only see it's head and Mushu's body]: Uhhh, Yes, I just woke up. And Iam the Great Stone Dragon, good morning [Mushu waves]. I will go forth andfetch Mulan. Did, did I mention that I was the Great Stone Dragon?First Ancestor: Go, The fate of the Fa Family rests in your claws.Mushu: Don't even worry about it, I will not lose face. [Mushu falls downthe hill under the weight of the Great Stone Dragon's head and lands on thedragon's pedestal with the head falling on top of him]Mushu [muffled]: Ow, my elbow. Aw, aw, I know I twisted something. [Throwing the head off him] That's just great. Now what? I'm doomed! Andall 'cause miss man decides to take her little drag show on the road.[Cri-Kee enters stage right]Cri-Kee: Chirp, Chirp.Mushu: Go get her? What's the matter with you? After this great stoneHumpty Dumpty mess, I'd have to bring her home with a medal to get back in thetemple. Wait a minute, that's it! I make Mulan a war hero, then they'll bebegging me to come back to work. That's the master plan. Oh, you've gone anddone it now. [Mushu runs off stage right]Cri-Kee [hopping along side of Mushu]: Chirp. Chirp Chirp Chirp.Mushu [pushing Cri-Kee away]: Hey, what makes you think you're coming?Cri-Kee: Chirp, Chirp. Mushu: You're lucky? Ho, ho, heh. Do I look like a sucker to you?Cri-Kee: Chirp. Chirp.Mushu: Whach' you mean loser? How 'bout I pop one of your antenna's off andthrow it across the yard. Then who's a loser, me or you?[Interlude][Cut to Shan-Yu leading his army at a charge on horseback through a forest. He stops and motions stage right. Hun Archer, Hun Strong Guy, Hun Long-HairGuy dismount and walk into the forest. They throw down two Imperial scoutsbefore the rest of the army]Hun Long-Hair Guy: Imperial scouts. [Shan Yu dismounts and walks towards the scouts]Scout #1: Shan-Yu.[He crouches down in front of them]Shan-Yu [adjusting Scout #1's collar]: Nice work, gentlemen. You found theHun army. [motioning to the soldiers on horseback. The Hun army laughs]Scout #2: The Emperor will stop you.Shan-Yu [grabs Scout #2 by the shirt collar and lifts him up to his face]: Stop me? He invited me. By building his wall, he challenged my strength. Well I'm here to play his game [Shan-Yu throws Scout #2 to the ground andpoints his sword at Scout #1 as he gets up and runs] [calling out to thescouts] Go! Tell your emperor to send his strongest armies. [Quietly] I'mready. [The Imperial Scouts run off towards the palace]Shan-Yu [scratching his chin]: How many men does it take to deliver amessage.Archer Guy [drawing back his bow]: One.[End Interlude][Cut to Mulan on a hill outside of the camp. Khan is sitting watching]Mulan: Okay, okay, how 'bout this? Ahem, [in her manly voice] excuse me,where do I sign in? Hah, I see you have a sword. I have one too. They'revery manly and tough [Mulan bites her lip as she mishandles pulling the swordout of the scabbard and it falls to the ground. Khan rolls on his back inlaughter. Mulan throws her shoe and hits Khan in the head with it quietingKhan]. I'm working on it. Who am I fooling? It's going to take a miracle toget me into the army.[Mushu appears as a giant shadow being cast on a rock with flames on eitherside. Mushu's real appearance remains out of sight]Mushu [in a Southern Baptist Preacher's voice]: Did I hear someone ask for amiracle!? Let me hear you say aye!Mulan [Running and hiding behind a rock]: Ahhhhhh.Mushu: That's close enough.Mulan [from behind a rock]: Ghost.Mushu: Get ready Mulan your serpentine salvation is at hand. For I havebeen sent by your ancestors-- [notices Cri-Kee making a hand shadow of adragon on the rock and stamps him down with his foot] to guide you throughyour masquerade. [bending down to Cri-Kee] C'mon, you're gonna stay you'regonna work. [returning to Mulan] Heed my word, 'cause if the army finds outthat you are a girl, the penalty is death. [big flames shoot up from therocks]Mulan: Who are you?Mushu: Who am I? Who am I? I am the guardian of lost souls. [Mulan smilesbig in anticipation of seeing her guardian] I am the powerful, thepleasurable, the indestructible [coming out from the rocks to show his realsize] Mushu! Oh hah, hah, pretty hot, huh? [Khan stomps on Mushu. Mulanpushes Khan back]Mulan: Ah, my ancestors sent a little lizard to help me?Mushu: Hey, dragon, dragon, not lizard. I don't do that tongue thing [flipsout his tongue to show Mulan what he means].Mulan: You're uh...Mushu: Intimidating? Awe inspiring?Mulan [making a hand gesture to denote his smallness of size]: Tiny.Mushu [with a look of disappointment]: Of course. I'm travel size for yourconvenience. If I was my real size, your cow here [patting Khan on the nose]would die of fright. [Khan tries to bite Mushu] [pointing to the groundspeaking to Khan] Down Bessy. My powers are beyond your mortal imagination. For instance, [leaning in and looking at Mulan's chest] my eyes can seestraight through your armor. [Mulan cover her bust with her left arm andslaps Mushu with the right] Ow. [angrily] All right, that's it! Dishonor! Dishonor on your whole family. [aside to Cri-Kee] Make a note of this[Cri-Kee grabs a leaf and a pen and starts writing]. [Loudly with gusto]Dishonor on you. Dishonor on your cow. Dis-Mulan [pleadingly while covering Mushu's mouth]: Stop! I'm sorry, I'm sorry[kneeling down in front of Mushu]. I'm just nervous. I've never done thisbefore.Mushu: Then you're gonna have to trust me. And don't you slap me no more, weclear on that? [Mulan nods emphatically]. All right. Okey dokey, let's getthis show on the road. Cri-Kee, get the bags [Mushu starts walking to thecamp]. [to Khan] Let's move it heifer.[Cut to Mulan at the camp's entrance]Mushu [hiding in Mulan's armor poking his head out from her back]: Okay thisis it, time to show 'em your man walk. Shoulders back, chest high, feetapart, head up [Mushu pulls Mulan's head back] ...and strut 2, 3, break itdown, 2, 3 and work it, [Mulan walks into the camp drawing the attention themen who see her. Mulan walks into a tent and sees a man picking his nose andanother man picking out dirt from between his toes with chopsticks] Beautifulisn't it?Mulan [making a face of disgust and continuing to walk]: They're disgusting.Mushu: No, they're men. And you're going to have to act just like them, sopay attention.[Mulan stops and watches Yao, Ling, Chien-Po and Tattoo Soldier]Tattoo Soldier [showing the dragon tattoo on his chest and belly]: Look, thistattoo will protect me from harm.[Yao thinks for a moment, then punches Tattoo Soldier in the stomach causingLing to laugh. Mulan watches in utter amazement. Yao kisses his hand]Ling [laughing]: I hope you can get your money back.Mulan: I don't think I can do this.Mushu: It's all attitude. Be tough like this guy here [looking at Yao].[Mulan looks at Yao as he hocks up a loogie and spits]Yao [noticing Mulan watching him]: What are you looking at?Mushu: Punch him, it's how men say 'hello.'[Mulan looks at her fist, then punches Yao from behind on the shoulder. Theforce causes Yao to run into Chien-Po]Chien-Po: Oh Yao, you made a friend.Mushu: Good, Now slap him on the behind, they like that.[Mulan slaps Yao on the behind]Yao: Wu hoo hooooo. [grabbing Mulan buy the collar] I'm going to hit you sohard it'll make your ancestors dizzy.Chien-Po [Holding and picking up Yao]: Yao, relax and chant with me. Yaaaaaaa Moouuuu Ahhhhhh Doooou Fuuuu Daaaaa. Yao: Ya Mi Ah To Fu Da.Chien-Po: Feel better? Yao [relaxed]: Yeah. [Chien-Po places Yao back on the ground] [to Mulanwhile walking away] Aaaaa, you ain't worth my time chicken boy.Mushu [loudly]: Chicken boy!? Say that to my face ya limp noodle![Yao grabs Mulan by the collar cocking back his arm to punch. Mulan ducks asYao hits Ling standing behind her]Yao: Oh, sorry Ling. Hey![Yao grabs Mulan's foot as she starts to crawl away. Ling kicks Yao on the butt causing him to land on Chien-Po's stomach. Ling Jumpattacks Mulan, but she ducks and he lands on Yao on top of Chien-Po]Ling: You're dead. [They fight on top of Chien-Po. Mulan runs away. Ling notices Mulan and then points toward her] Oh, there he goes.[Mulan runs into a tent and stops. Yao, Ling, and Chien-Po (in that order) run through the tent. Yao stops short as he is about to run into asoldier in a line for food. He looks behind him with concerned eyes as Ling stops in time. Chien-Po bumps into Ling causing the entire lineof soldiers to fall forward and knock over the pot of congee and the cook behind it. The men look to the back of the line and spy Mulan whohas emerged from the tent. They angrily start walking towards her. Mulan has a look of horror on her face as if trouble is about to brew]Mulan: Hey guys. [Chi Fu watches and then walks into the tent. General Li and Li Shang are in the tent.]General Li [motioning with his pointer to a map of the region]: The Huns have struck here, here and here. I will take the main troops up tothe Tung Shao Pass and stop Shan-Yu before he destroys this village.Chi Fu: Excellent strategy, Sir. I do love surprises, Ha ha, ha, ha.General Li: You will stay here and train the new recruits. When Chi Fu believes you're ready, you will join us...Captain. [General Li handsa sword to Shang]Shang: Captain?Chi Fu: Oh, this is an enormous responsibility, General. Uh, perhaps a soldier with more experience--General Li: Number one in his class, extensive knowledge of training techniques, [leaning back smugly stroking his chin] an impressivemilitary lineage. I believe Li Shang will do an excellent job.Shang [excitedly]: Oh, I will. I wont let you down. This is, I mean, I...[somberly] yes sir.General Li [gets up and starts walking out of the tent]: Very good then. We'll toast China's victory at the Imperial City. [to Chi Fu] I'llexpect a full report in three weeks.Chi Fu [to Shang]: And I wont leave anything out. [exits through the tent]Shang [while tying his sword to his uniform]: Captain Li Shang, Hmmm, leader of China's finest troops. No, the greatest troops of all time. Heh, heh, heh, heh. [Shang walks out of the tent to see the recruits fighting. He stands stage left of Chi Fu and General Li. Injured Recruitsees the General and salutes him as he falls to the ground. General Li steps over Injured Recruit and mounts his horse]Chi Fu: Most impressive.General Li: Good luck Captain. [The general and his mounted troops leave the camp]Shang [quietly, to himself]: Good luck, Father. [Shang looks at his troops and sighs]Chi Fu [smirking, with board and brush in hand]: Day one.Shang [shouting]: Soldiers!All Recruits [backing away revealing Mulan and pointing at her. Mulan is crouching in the fetal position on the ground]: He started it![Shang approaches Mulan and looks down over her. Mulan looks up, sees Shang over top of her and gets up quickly dusting herself off]Shang [to Mulan]: I don't need anyone causing trouble in my camp!Mulan: Sorry, [in her man voice] Uhh, I mean, sorry you had to see that. [with her fist she taps Shang on the shoulder] You know how it iswhen you get those, uh [pounding her chest] manly urges and you just have to kill something [slapping her hand], fix things, uh, cookoutdoors.Shang: What's your name?Mulan [stumbling]: Ahh, I, uhhh, I, uh--Chi Fu [stepping into Mulan's face]: Your commanding officer just asked you a question.Mulan: Uhh, I've got a name. Huh. And it's a boys name too.Mushu [from the back of Mulan]: Ling, How 'bout Ling?Mulan [to Mushu motioning with her head to Ling]: His name's Ling.Shang: I didn't ask for his name. I asked for yours.Mushu: Try, uh, ahh, Chu!Mulan: Ah Chu.Shang: Ah Chu?Mushu: Gesundheit. He He, I kill myself.Mulan [whispering over her shoulder]: Mushu.Shang: Mushu?Mulan: No.Shang: Then what is it!Mushu: Ping! Ping was my best friend growing up!Mulan: It's Ping.Shang: Ping.Mushu: Of course Ping DID steal my gir-[Mulan reaches back and grabs holds Mushu's mouth together]Mulan: Yes, my name is Ping.Shang: Let me see your conscription notice. [Takes the notice from Mulan] Fa Zhou, *the* Fa Zhou?Chi Fu: I didn't know Fa Zhou had a son.Mulan: Um, he...doesn't talk about me much. [Mulan tries to hawk up a loogie and spit but the saliva just runs from her mouth. Therecruits laugh]Chi Fu: I can see why, the boy's an absolute lunatic.Shang [to the recruits]: Okay gentlemen, thanks to your new friend Ping, you'll spend tonight picking up every single grain of rice. Andtomorrow, the real work begins.[All recruits growl at Mulan]Mushu [Popping out the front of Mulan's armor]: You know, we have to work on your people skills.[Cut to Mulan sleeping in her tent. Mushu winds up Cri-Kee's wings. Cri-Kee rings like an alarm clock]Mushu: All right, rise and shine sleeping beauty. [Mulan rises and blinks] C'mon [rapping on Mulan's head with each syllable] hup, hup,hup. [Mulan groans, lies back down and pulls the covers over her head. Mushu pulls the covers off Mulan entirely] Get your clothes on. Get ready. Got breakfast for ya. [Mushu jumps onto Mulan's knee with a bowl of porridge] Look, you get porridge, and it's happy to seeyou. [Mushu shows her the bowl with two eggs and bacon looking like a smiley face. Cri-Kee pops up out from the bowl of porridge] Hey,get outta there, you gonna make people sick! [Mushu uses chopsticks to push Cri-Kee out of the porridge]Mulan: Am I late?Mushu [while feeding Mulan]: No time to talk. Now remember, it's your first day of training so listen to your teacher and no fighting. Playnice with the other kids, unless of course one of the other kids wanna fight, then you have to kick the other kid's butt.Mulan [with her mouth full of food]: But I don't wanna kick the other kid's butt.Mushu: Don't talk with your mouth full. Now let's see your war face [Mulan looks at him with wide eyes and chipmunk cheeks full of food]. I think my bunny slippers just ran for cover. C'mon scare me, girl! Mulan [swallows the food]: Rrrrrrr!Mushu [rolling back into the half eaten bowl of porridge]: Oh, that's my tough looking warrior. That's what I'm talking about. Now get outthere and make me proud. [Mushu ties up Mulan's hair][Khan whinnies and pokes his head into the tent]Mushu: What do you mean the troops just left? Mulan [acting surprised]: They what!? [Mulan hurriedly puts on her clothes and jumps out of the tent going off to join the other recruits] Mushu [running out from the tent calling after Mulan]: Wait, you forgot your sword. My little baby off to destroy people [sniffle].[Cut to the troops muddling around near Shang's tent]Chi Fu [enters stage left]: Order people, order!Recruit #2: I'd like a pan fried noodle.Chien-Po: Oh, oh, sweet and pungent shrimp [Ling and others begin to laugh]Recruit #3: Moo goo gai panChi Fu: That's not funny.[Mulan comes running up to the group]Ling [noticing Mulan's arrival]: Looks like our new friend slept in this morning. [Mulan stops between Ling and Yao] [to Ping] Hellooo Ping,Are you hungry?Yao: Yeah, 'cause I owe you a knuckle sandwich. [grabs Mulan by the shirt collar drawing back his other arm. Mulan hides her face withher hands. Ling looks away, closes his eyes, and puts his fingers in his ears so that he wont hear anything]All Soldiers [in agreement with Yao]: Yeah.Shang [loudly]: Soldiers! [The soldiers line up quicky. Shang takes off his shirt and grabs a bow and quiver of arrows. Mulan is dulyimpressed by Shang's physique] You will assemble swiftly and silently every morning. [Shang walks down the line of soldiers] Anyone whoacts otherwise will answer to me.Yao: Ooooo, tough guy.Shang [turning around with knocked arrow pointing towards Yao]: Yao. [All recruits take a step back leaving Yao one step forward. ShangPoints arrow skyward and shoots it into the top of a high pole] Thank you for volunteering. Retrieve the arrow.Yao [bows to Shang]: I'll get that arrow pretty boy. And I'll do it with my shirt on. [Yao prepares to leap onto that pole]Shang: One moment, you seem to be missing something. [Chi Fu brings out two large bronze disks. Shang takes out one disk and holds ithigh speaking to all the troops] This represents discipline [Shang hands the weight to Yao and the weight falls to the ground taking Yao'sarm with it] and this represents strength [Shang hands the other weight to Yao making him fall to the ground. The troops laugh whileMulan looks concerned]. You need both to reach the arrow.[Yao climbs up the pole then slips down under the weight. Ling, Chien-Po, and Mulan each take their turn and fall down. Mulan rubs herbehind as she walks away in front of Shang]Shang: We've got a long way to go.[Song I'll Make a Man Out of You][Shang throws staffs to the soldiers. Yao intercepts Mulan's staff and trips her with it]Shang:Let's get down to business--to defeat the Huns.[Shang throws up two clay pots and breaks them apart with his staff. The troops are highly impressed]Recruits [putting their staffs out at arms length, spoken]: HuaShang:Did they send me daughters when I asked for sons? [Ling puts a cricket down Mulan's back causing her to flail erratically]You're the saddest bunch I ever met [Most soldiers fall as Mulan moves uncontrollably]But you can bet before we're through [Shang does a somersault in the air landing near Mulan. He takes a pole in the stomach. Shang stops Mulan andtakes her staff. He grabs her by the collar]Mister, I'll make a man out of you [Shang steps on a lever throwing up 3 targets which he hits with 3 arrows from one bow]Tranquil as a forest[The recruits try and fail. Mulan gets ready to fire when Mushu sticks a target on her arrow before she shoots. Mulan looks at Mushu's inshock and pauses. Shang looks disdainfully at Mulan as she cracks a huge smile]But on fire within[Shang balances a bucket of water on his head holding a staff. The recruits fire stones at him which Shang deflect with the staff]Once you find your centerYou are sure to win[Mulan wobbles with the bucket of water on her head. As the recruits throw stones at her the bucket tips over onto her head]You're a spineless, pale,pathetic lot And you haven't got a clue [Shang throws his hand down into a river and retrieves a fish. Mulan throws her hand down into the river and retrieve's Yao's foot. Mushucomes out of the water with a fish in hand to give to Mulan]Somehow I'll make a manout of you!Chien-Po [running through a field of fire arrows]:I'm never gonna catch my breathYao [following Chien-Po, falls and gets hit in the butt with an arrow]:Say good-bye to those who knew meLing [Banging his head on a stone slab]:Boy I was a fool in school for cutting gym[Shang practices martial arts with Mulan. With a punch to the face he knocks her back into a tree]Mushu [from the tree acts as a boxing coach]:This guy's got 'em scared to deathMulan [Mushu pushes Mulan back out into the ring]:Hope he doesn't see right through meChien-Po [stops as he's hopping across poles protruding from water causing Shang and the recruits to pile into him]:Now I really wish that I knew how to swim!Shang and Chorus: [Cannon fire misses the target in the middle of an open field. Ling kicks the support structure out from Mulan's cannon and it begins to fall.Mulan quickly grabs the cannon and it fires high and back towards the camp landing and exploding Chi Fu's tent](Be a man)We must be swift as the coursing river(Be a man)With all the force of a great typhoon(Be a man)With all the strength of a raging fire[Picture of Shang looking over the camp from the hill not looking pleased]Mysterious as the dark side of the moon Shang [his troops laden with poles on their shoulders carrying bags of grain - one on each side. They march up a mountain]:Time is racing toward us till the Huns arrive [Chi Fu points Shang's eyes back to a struggling Mulan who falls to the ground. Cri-Kee and Mushu try to pick her up but hide when Shangcomes up to her. Shang picks up her pole with grain, puts it on top of his and returns to the troops. Mulan looks rejected]Heed my every order and you might survive[Shang hand the reigns of Khan to Mulan]You're unsuited for the rage of warSo pack up, go home, you're throughHow could I make a manout of you?Shang and Chorus [Mulan takes the weights and tries to climb the pole again]:(Be a man)We must be swift as the coursing river[Mulan ties the weights together behind the pole and uses the cloth to help her shimmy up the pole](Be a man)With all the force of a great typhoon[As the sun begins to rise the recruits come out of their tents to cheer on Mulan](Be a man)With all the strength of a raging fire[As Shang comes out of his tent, the arrow he shot up onto the pole comes down to his feet. He looks up and sees Mulan sitting on top ofthe pole]Mysterious as the dark side of the moon[order of events during the last repeat of the chorus:Troops hit all targets with arrows correctly.Mulan racing in front of Shang and the recruits with the pole and weights on her shoulders.Mulan kicking Shang in the face with a round house. Shang looking pleased.Chien-Po doing acrobatics on the poles as the troops follow.Staffs being thrown to troops, Yao hands Mulan hers. Yao running through arrows.Yao grabs Mulan's staff and hands it to her.Troop staff practice #1. (Hya)Ling breaking the blockTroop staff Practice #2. (Hya)Mulan holding up fish.Troop staff practice #3.Cannon fire hitting the Hun Target.Troop staff practice #4 - jumping in the air (Hya)](Be a man) We must be swift as the coursing river(Be a man)With all the force of a great typhoon(Be a man)With all the strength of a raging fireMysterious as the dark side of the moon[End Song][Interlude][Cut to Shan Yu sitting on top of a tree. He cuts off the very top with his sword. His falcon swoops buy and drops a doll. Shan-Yu takesthe doll, sniffs it, looks surprised, and drops down to the ground]Shan-Yu [tossing the doll to Hun Strong Man]: What do you see?Hun Strong Man [feeling the doll]: Black pine, from the high mountains. [Long Hair Hun Man takes the doll from Hun Strong Man. BaldHun Man #1 takes a hair as it passes by him]Bald Hun Man #1: White horse hair. Imperial stallions. Long Hair Hun Man [sniffing the doll]: Sulfur, from cannons.Shan-Yu: This doll came from a village in the Tung Shao Pass, where the Imperial Army's waiting for us.Hun Archer: We can avoid them easily.Shan-Yu [shaking his head]: No, the quickest way to the Emperor is through that pass. Besides, the little girl will be missing her doll. Weshould return it to her.[End Interlude][Cut to Mulan by the lake with Mushu, Khan, and Cri-Kee]Mushu: Hey, oh, ah, no, this is not a good idea. What if somebody sees you?Mulan [from behind the reeds]: Just because I look like a man doesn't mean I have to smell like one. Mushu [holding a towel covering his eyes with his ears]: So a couple of guys don't rinse out their socks, picky, picky, picky. Well myself Ikinda like that corn chip's smell.Mulan [running by Mushu and jumps into the lake splashing water on Mushu]: Ahhhhhhh.Mushu: Okay, all right, all right, that's enough. Now, c'mon, get out before you get all pruny and stuff [holding out a towel towards Mulankeeping his eyes covered].Mulan: Mushu, if you're so worried, go stand watch.Mushu: Yeah, yeah, [walking in a womanly fashion speaking in woman's voice] stand watch Mushu while I blow our secret with my stupidgirly habits. [back to normal] Humph, hygiene.Cri-Kee [alarmed, tugging on Mushu's whiskers]: Chirp, Chirp.Yao: Me first! Me first! Me First! [Yao, Ling and Chien-Po run by Mushu smacking him in the face with colored boxers]Mushu [gasps]: Ah. We're doomed! There a couple of things I know they're bound to notice![Yao and Ling jump into the water. Chien-Po dips in his toe to check temperature then jumps in causing a large wave. Yao and Ling ridethe wave towards Mulan. Mulan sees them and hides her face behind a lily pad]Yao [calling]: Hey, Ping.[Mulan peeks over the lily pad and spreads it on the water covering her chest]Mulan [speaking nervously and unnaturally in a manly voice]: Oh hi guys, I didn't know you were *here*. [Yao, Ling and Chien-Po share"this boy is strange" looks] I was just washing, so now I'm clean and I'm gonna go. Bye, bye. [Mulan hides behind a rock keeping her frontfacing the rock]Ling [from behind Mulan]: Come back here. I know we were jerks to you before so lets start over. [extending his hand to shake hands withMulan] Hi, I'm Ling!Mulan [covering her chest with her left arm, she turns and shakes his hand with an outstretched right arm, smiling]: Heh, heh. [Mulan turnsand wades away from Ling and runs into Chien-Po]Chien-Po [taking a lily pad off his head]: And I'm Chien-Po.Mulan [waving slightly and smiling]: Hello Chien-Po.[Yao stands on top of a rock looking down at the others. Mulan looks down into the water and hides her eyes with her free hand]Yao: And I am Yao, king of the rock. And there's nothin' you girls can do about it.Ling [taking a fighting stance]: Oh, yeah? Well, I think Ping [elbowing Mulan] and I could take you.Mulan [wading away]: I really don't want to take him anywhere.Ling [following Mulan]: Ping, we have to fight!Mulan: No we don't. [unnaturally] We could just close our eyes and swim around.Ling: C'mon don't be such a g--Ouch! Something bit me.Mushu [popping out of the water between Mulan and Ling]: What a nasty flavor.Ling [with fear and gusto]: Snake! Chien-Po [while all three of them climb up the rock and on each other]: Snake, snake.[Mulan whistles for Khan and wades back to shore. Khan comes close enough to shore and Mulan hides behind Khan as she wraps a towelaround her body][Cut to Yao, Ling and Chien-Po calmed down sitting on the rock]Ling: Some king of the rock! [Yao pushes him off the rock][Cut to Mulan with towel wrapped around her]Mulan: Boy, that was close.Mushu [brushing his teeth]: No, that was vile! You owe me big!Mulan: I never want to see a naked man again. [the rest of the troops run by naked and jump into the lake]Mushu: Hey, don't look at me. I ain't biting any more butts.[Cut to Mulan outside Chi Fu's Tent having dressed fully. Chi Fu and Shang are talking from inside]Chi Fu [fading in]: You think your troops are ready to fight? Hah! They would not last a minute against the Huns. Shang: They completed their training.Chi Fu: Those *boys* are no more fit to be soldiers than you are to be Captain. Once the general reads my report, your troops will neversee battle.Mushu [from outside the tent]: Oh no you don't. I've worked to hard to get Mulan into this war. [to Cri-Kee] This guy's messing with myplan.Shang [grabbing onto the front of Chi Fu's clip board]: We're not finished.Chi Fu [pulling the board away]: Be careful, Captain. The General may be your father, but I am the Emperor's council. And, oh, by theway, huh, I got that job on my own. [opens the entrance to the tent for Shang] You're dismissed.[Shang storms out of the tent and starts to walk by Mulan]Mulan [in a manly voice]: Hey, I'll hold him and you punch, heh, heh... [Shang walks by without reacting] or not. [calling out to Shang] For what it's worth, I think you're a great captain. [Shang pauses to glance back, then continues forward]Mushu [looking at Mulan's fixed gaze on Shang]: I saw that!Mulan [innocently]: What?Mushu [teasing]: You like him don't you?Mulan: No, I--Mushu: Yeah right, Yeah sure. Look, [pointing to Mulan's tent] go to your tent. [Mulan walks away with a look of delight. Mushu talks toCri-Kee] I think it's time we took this war into our own hands [rubbing hands together].[Mushu and Cri-Kee wait outside Chi Fu's Tent. Chi Fu emerges with carrying a scrub brush and wrapped in a towel and with bigshowering slippers on his feet. He whistles as he walks off. Mushu and Cri-Kee enter his tent. Cri-Kee uses his legs to write up a letter. Hefinishes and Mushu takes the paper]Mushu: Okay, okay, let me see what you've got. From General Li, dear son, we're waiting for the huns at the pass and it would mean a lotif you'd come and back us up. [sarcastically] That's great except you forgot, "and since we're all out of potpourri, maybe you wouldn'tmind bringing up some." Hellooooo, this is the army! Make it sound more urgent, please! You know what I'm talkin' about? [Cri-Kee startswriting the note again] That's better, much better. [taking the note] Okay, Let's go.[Cut to Khan drinking water from the trough. Mushu is on his back]Mushu: Khan-ie baby, hey, we need a ride. [Khan squirts Mushu off his back with water from his mouth][Cut to Chi Fu walking out of the lake wrapped in a towel, sounds of laughter can be heart from the troops]Chi Fu [muttering]: Insubordinate ruffians. [then calling to the troops] You men owe me a new pair of slippers. And I do not squeal like agirl. [a panda bear chomps down on the slipper Chi Fu is holding] Aaaaaahhhhhh!Mushu [sitting on top of the panda bear behind a dummy of a soldier using sticks to gesticulate with the dummy's arms to push the notetowards Chi Fu. Cri-Kee works the mouth]: Urgent news from the general! [Chi Fu looks over the panda] What's the matter, you've neverseen a 'black and white' before?Chi Fu: Who are you?Mushu: Excuse me! I think the question is: who are you? We're in a war man! There's no time for stupid questions. I should have yourhat for that, [the panda starts walking forward] snatch it right off of your head [swiping with an arm at Chi Fu's hat. Mushu turns the upperhalf of the dummy around after the panda passes Chi Fu. Chi Fu begins reading the message]. But I'm feeling gracious today, so carry onbefore I report you. [the panda walks up a tree taking Mushu and Cri-Kee with him out of sight]Chi Fu [looking around for Mushu but not finding him, then runs into Shang's tent]: Captain. Urgent news from the General. We're neededat the front.Mushu [from up in the tree]: Pack your bags Cri-Kee, we're movin' out. [Cri-Kee high fives Mushu][Song: A Girl Worth Fighting For]Army Chorus [troops walking up hill]:For a long time we've been marching off to battleYao [close-up of Yao, then a shot of 2 cows]: In a thundering herd we feel a lot like cattleCow [spoken]: MooArmy Chorus [showing troops marching]:Like the pounding beat our aching feet aren't easy to ignoreLing [catching up to Yao and Chien-Po]:Hey, think of instead,A girl worth fighting for [Yao, Ling and Chien-Po look upwards dreamily]Mulan [spoken from behind]: Huh?Ling [grabbing Mulan and drawing her close while pulling out a centerfold]:That's what I said, a girl worth fighting for [Mulan runs away seeing the centerfold][artistry section where the images are drawn like painted people. Ling is seen looking at a woman and then kissing her]I want her paler than the moon with eyes that shine like starsYao [lifting and lowering a woman over his head then opening his chest to show a gaping wound that we can see the woman through]:My girl will marvel at my strength, adore my battle scarsChien-Po [Chien-Po and a woman circle around then land on the edge of a large bowl of rice as a cow, pig and chicken fall beside them]:I couldn't care less what she'll wear or what she looks likeIt all depends on what she cooks like:Beef, pork, chicken... [end painted people section, the last image fades into statues that the troops just passed]All Three:Mmm...Yao [looking at Mulan while crossing the river with swords over their heads. Mulan looks disgusted and hurries forward]:Bet the local girls thought you were quite the charmerLing [with armor full of water to make him look muscular]:And I'll bet the ladies love a man in armor [the water leaks out making Ling look like his normal self]Army Chorus [Mushu whistles to ladies working in the rice field from out of the carriage holding cannons. Cri-Kee looks shocked. Theladies look and giggle at Mulan who hides her face]:You can guess what we have missed the most since we went off to warWhat do we want?A girl worth fighting for!Yao [Mulan walks away from Yao and into Chien-Po]:My girl will think I have no faultsChien-Po:That I'm a major findMulan [Caught between Yao, Ling, and Chien-Po who all look up dreamily waiting for her ideal woman. She is forced to speak (sing)]:[spoken] Uh, [singing] How about a girl who's got a brain, [Yao starts to look unimpressed]Who always speaks her mind? [Mulan shrugs her shoulders]Ling, Yao and Chien-Po [disdainfully, looking disappointed and disgusted]: Nah!Ling [grabbing Mulan's shoulder and leaning on her, she takes his hand off and shakes her head disapprovingly. Ling leans against thecarriage of cannons]:My manly ways and turns of phrase are sure to thrill herYao [hitting Khan so that the carriage runs out from under Ling. Ling looks upset then falls in the mud]:He thinks he's such a lady-killer!Chi Fu:I've a girl back home who's unlike any other.Yao [aside to Mulan]:Yeah, the only girl who'd love him is his mother! [Mulan smiles]Army Men [lining up locking arms across each others shoulders with Mulan in the middle to her discontent]:But when we come home in victory they'll line up at the door!Ling [sitting on top of Chien-Po]:What do we want?Army Chorus:A girl worth fighting for!Ling:Wish that I hadArmy Chorus [Mulan breaks away and walks in the opposite direction of the army]:A girl worth fighting for!(whistle) [Mulan sees Ling, Yao, and Chien-Po with snowballs about to pelt her so she turns around] A girl worth fighting--[All have stunned looks on their faces][End Song][Cut to ruins of a burned out village. The soldiers walk through the singed gate and look around at the few planks that remain from thebuildings]Shang [from mounted horse]: Search for survivors.[Cut to Mulan walking around the burned-out village. She finds a the doll that Shan-Yu was holding and looks up sorrowfully. Shangcomes to her side]Shang: I don't understand. My father should have been here.Chi Fu [calling out from the top of a hill overlooking a valley]: Captain! [Chi Fu points down to the valley where the remains of General Li's army can be seen. Flags poking up out of the snow, armor lying facedown, broken cannon carts. Ling, Yao, Mulan, and a soldier have the look of horror on their faces as they look into the valley. Chien-Powalks up from the valley carrying a helmet]Chien-po [handing the helmet to Shang]: ...the General.[Shang takes the helmet and walks to the edge of the hill. He draws his sword and stabs it into the snow upright. He kneels down andplaces the helmet on top of the sword. Mulan approaches him from behind]Mulan [softly]: I'm sorry.[Shang gets up, turns around and puts his hand on Mulan's shoulder and he walks by. Shang walks to the center of the troops. He grabs hishorse by the saddle, takes one quick look of grief then mounts his horse]Shang: The Huns are moving quickly. We'll make better time to the Imperial City through the Tung Shao Pass. We're the only hope for theEmperor now. Move out![Mulan looks at the sword, takes out the doll she found and places the doll at the base of the sword. She turns around and joins the rest ofthe troops marching on][Cut to Mulan standing next to Khan saddled to the cart with cannons. A cannon blast shoots out of the cart and explodes in the air. Thetroops look surprised. Mulan glances back with a scowl into the hole in the canopy of the cart to see Mushu with a sorrowful face. Mushupoints at Cri-Kee. Shang charges up to Mulan on his horse, Chi Fu right behind]Shang [angrily]: What happened?!Mulan [stumbling]: Uhhh--Shang: You just gave away our position. Now we're--[an arrow hits Shang in the shoulder as he falls to the ground. Shang pulls out thearrow] [calling out] Get out of range!![The troops hurriedly run away as many arrows start falling all around them. Mulan pulls Khan by the reins to hurry him up. Fire arrowsstart hitting the cart with cannons attached to Khan. The cart begins to blaze with fire]Shang: Save the cannons![The troops form a human chain and start taking the cannons out of the burning cart one by one while Mulan steadies Khan to keep himfrom bolting. Chien-Po grabs many and hauls them on his own. The troops grab]as many cannons as they safely can and Mulan cuts Khanfree from the cart. She mounts Khan and charges away from the fire. The cart explodes sending Mulan flying off Khan losing her helmetand sword which land near her. Mushu and Cri-Kee, sent flying by the blast, scream and land near Mulan.Mushu: Oh sure, save the horse.[Mulan grabs Mushu with her right hand and grabs the sword with her left and runs to the troops position. Cri-Kee and Khan follow. Yao,Ling, Chien-Po and other recruits set up cannons against rocks. They dodge a set of arrows that fall around them]Shang: Fire![They launch a volley at the mountain where the archers are stationed. As the cannon fire explodes, Shan-Yu's army hides]Shang: Fire![Mulan, Ling and Chien-Po launch a second volley at the mountain where the archers are stationed. No more arrows can be seen comingfrom the mountain position]Shang: Hold the last cannon. [Yao poised to light his cannon, pauses. Shan-Yu and his troops appear at the top of the mountain] Prepareto fight. If we die, we die with honor.[Shan-Yu raises his sword high above his head and charges down the mountain at Shang's position. His falcon flies off his shoulder onShan-Yu's war cry The Hun army follows]Shang: Yao, aim the cannon at Shan-Yu.[The line of Shang's troops with Mulan at the end draw their swords. Mulan looks down at her sword and sees the reflection of a large snowembankment hanging to the side of a cliff. She rushes forward]Yao [being pushed aside by Mulan as she grabs the cannon]: Hey. Shang: Ping, come back. Ping![Mulan charges forward towards the oncoming horde of the Hun army being led by Shan-Yu and his falcon. Mushu looks over her at theoncoming horde with worry in his eyes]Shang [starting to run after her waving his arms]: Stop![Mulan plants the cannon and aims it for the cliff with the snow overhang]Mushu [seeing Shan-Yu riding closer to their position]: All right, you might want to light that right about now. Quickly! Quickly![Mulan takes out the flint and tries to light the fuse. Shan-Yu's falcon swoops buy knocking Mulan down scattering the flint rock]Yao [speaking to Ling and Chien-Po]: C'mon, we've gotta help. [they charge towards Mulan's position][Mulan searches for the flint in the snow in vain. She sees Mushu, grabs him and stretches him causing him to light the fuse. Mushu landson the cannon and the cannon fires off just above the charging Shan-Yu]Mushu [tailing off as he rides the cannon toward the snow embankment]: You missed him! How could you miss? He was three feet infront of you![The cannon lodges in the snow and explodes causing the beginning of a large avalanche. Mulan looks up with an evil grin on her face andShan-Yu watches in horror as many of his troops begin to be swallowed up by the snow]Shan-Yu [recollecting himself and focusing in on Mulan]: Yrrrrrrraah. [Shan-Yu swipes at Mulan with his sword hitting her in the right side. Mulan falls back grabbing her right side. Shan-Yu's horse stumbles. Mulan uses this break to bolt away from the avalanche. Shan-Yu gains his composure and starts to gallop away from the avalanche on hishorse. Shang looks with shock as hee sees the avalanche coming toward him. Mulan grabs Shang as she passes by him, turning himaround and helping him run away from the avalanche]Yao, Chien-Po and Ling [running towards the oncoming avalanche]: Yeeahhhhhh! [they stop. noticing the oncoming avalanche they turnaround and run back to where they came from] Waaaaaaaaaa![Khan jumps away from the troops position and starts to run towards Mulan passing Ling, Yao and Chien-Po. The avalanche swallows upShan-Yu and his horse. Khan arrives at Mulan's position just ahead of the avalanche. Mulan jumps onto Khan and reaches for Shang. Shegrabs his hand, then the avalanche rushes forth breaking their grip, turning Khan around facing the oncoming avalanche of snow][Cut to Ling, Yao and Chien-Po standing behind a rock. They see the snow approaching close and run to larger shelter where the rest ofShang's army is positioned just as the avalance reaches their posision][Cut to Mushu riding down the snow on a shield]Mushu [calling out]: Mulan! Mulan! [seeing hair sticking up from the snow] Mulan? [Mushu picks up the Hun by the hair]Hun Soldier: Arrrrr.Mushu [pushing the hun soldier back under the snow]: Nope. Mulan! [Mushu picks up Cri-Kee out of the snow] Man, you are one luckybug.[Cut to Mulan riding Khan above the snow into the teeth of the avalanche. Khan and Mulan are swept under by the snow and reemergequickly. She looks back and sees Shang passed out riding the wave of snow]Mulan [calling loudly]: Shang, Shang! [Mulan turns around and rides to Shang's position. She picks him up and places him on Khan. Sheturns Khan around again to be riding upstream][Cut to Chien-Po with Ling standing on him and Yao standing on top of Ling]Chien-Po: Do you see them?Yao [extatically]: Yes! [Yao shoots an arrow with a rope attached] Perfect! Now I'll pull them to safe--[Yao grasps at air as the ropecompletely passed through his hands]--ty.[Cut to Mulan and Shang on Khan with Mushu and Cri-Kee riding up to her on his shield]Mushu [riding on the shield up to Mulan, Khan and Shang speaking loudly, above the noise of the avalanche]: Hey Mulan, I found a luckycricket.Mulan [speaking loudly]: We need help! [Yao's arrow lands near by Mulan and she picks it up and starts to tie the rope to Khan]Mushu [Getting off the shield and carrying Cri-Kee with him]: Ooo, nice, very nice, you can sit by me. [Mushu sees that they're about to fallover the cliff. He and Cri-Kee look frightened] Ahhhhh! We're gonna die! We're gonna die! I know we're gonna die! No way we cansurvive this! Death is coming! [Mulan knocks the arrow and shoots it toward Yao]Yao [crying]: I let them slip through my fingers. [Mulan's arrow lands in Yao's hands. He grabs on and is pulled toward the cliff, the soldiersgrab onto Yao and hold him steady near the cliff edge with the rope taught over the cliff]Yao: Pull[Chien-Po prays as he calmly walks up to the group of soldiers. He lifts them all up and pulls backward hauling Mulan, Shang, Khan, Mushuand Cri-Kee to safety]Mushu: I knew we could to it. You da man. [Mulan looks pleased] Well sorta. [Mulan grimaces][The soldiers help them up to the cliff]Ling: Step back guys, give 'em some air.Shang [catching his breath]: Ping, you are the craziest man I've ever met. And for that I owe you my life. From now on, you have my trust.[Mulan smiles big]Ling: Let's hear it for Ping! The bravest of us all.Yao [lifting his arm high]: You're king of the mountain!Chien-Po [jumping up and down]: Yes, yes, yes!Mulan [beginning to stand up]: Ahhh, [she clutches her right side]Shang: Ping, what's wrong? [Mulan removes her hand slightly to show the blood on her hand and seeping through the armour] [loudly] He's wounded, get help! [Ping starts to pass out. The images of Shang, Yao, Ling, and Chien-Po begin to fade as she loses consciousness] Ping, hold on. Hold on.[Cut to outside of the medic tent. Mulan and Medic are inside. Shang stands by the entrance. Yao, Ling and Chien-Po look quiteconcerned. Ling drums his fingers on his knees. The medic comes out from the tent and whispers to Shang. Shang looks astonished andgoes into the tent. Mulan is lying down. She opens her eyes, sees Shang and smiles at the sight of him. She sits up allowing the blanket tofall to her waist revealing her form fitting bandages on her chest. She sees Shang's surprised look and realizes her feminine form isnoticeable]Mulan [gasping as she covers up]: Huh, I can explain.Chi Fu [stepping into the tent]: Huh? So it's true.Mulan [calling after Shang as he steps out of the tent]: Shang![Cut to outside the tent. Chi Fu hauls out Mulan by the arm. Mulan uses her other hand to hold the blanket]Chi Fu: I knew there was something wrong with you. [Chi Fu takes off Mulan's hair tie and throws her to the ground] A woman.[Ling, Yao and Chien-Po are shocked]Chi Fu [to the troops]: Trecherous snake.Mulan [on the ground kneeling and hunched over, speaking to Shang]: My name is Mulan. I did it to save my father.Chi Fu [to the troops]: High treason!Mulan: I didn't mean for it to go this far.Chi Fu [getting in Mulan's face and speaking to her while she whinces]: Ultimate dishonor.Mulan: It was the only way. Please believe me.Chi Fu [to Shang]: Hmph, Captain?[Shang walks over to Khan and takes the sword out of the scabbard attached to Khan. Khan rears back]Chi Fu [to the soldier by Khan]: Restrain him.[Shang walks toward Mulan with sword in hand]Yao, Ling and Chien-Po [rushing toward Mulan]: Noooooo!Chi Fu [putting his hand to stop Ling, Yao, and Chien-Po from proceeding further]: You know the law.[Shang stands over Mulan. Mulan looks at Shang then bows her head in anticipation. Shang lifts the sword high above his head and throwsit down in front of Mulan]Shang: A life for a life. My debt is repaid. [turns and walks towards the Imperial City] Move out!Chi Fu [coming up to Shang's face]: But you can't just...Shang [getting in Chi Fu's face]: I said, "Move out!"[The troops walk off toward the Imperial City leaving Mulan behind with Khan, Cri-Kee, and Mushu. Mulan is sitting, shivering. Khan takeshis blanket and wraps it around Mulan with his mouth and sits behind her. Cri-Kee lights a fire with twigs. When he doesn't get warm, hemoves under the blanket wrapped around Mulan. Mushu walks toward Mulan carrying a stick]Mushu: I was this close, this close to impressing the ancestors, getting the top shelf, an entourage. Man, all my fine work, ffft. [Mushu picksup a dumpling with his stick, slumps down in front of the fire Cri-Kee made and begins to cook the dumpling over the fire] [glancing up] Hi.Mulan [look of sadness]: I should never have left home.Mushu: Eh, come on, you wanted to save your father's life. Who knew you'd end up shaming him, disgracing your ancestors, and losing allyour friends. You know, you just gotta, you gotta learn to let these things go [looking as if he's about to cry].Mulan: Maybe I didn't go for my father. Maybe what I really wanted was to prove I could do things right. So when I looked in the mirror[picking up her helmet and looking at her reflection in her helmet] I'd see someone worthwhile. But I was wrong. I see nothing. [throws thehelmet down and a tear runs down her cheek]Mushu [picking up the helmet and spitting on it]: Well that's because this just needs a little spit, that's all. Let me shine this up for ya [wipingthe spit to clean the helmet and holding it up to Mulan]. I can see you, look at you, you look so pretty. [seeing Mulan is not cheered up byhis actions, he shows sorrow on his face] The truth is we're both frauds. Your ancestors never sent me, they don't even like me. I mean,you risked your life to help people you love. I risked your life to help myself. At least you had good intentions [Mulan smiles].Cri-Kee [jumping on top of the helmet beginning to bawl]: Chirp, Chirp, Chirp. Bawl, Bawl.Mushu: What!? What do you mean you're not lucky? You lied to me? [Cri-Kee nods] [to Khan] And what are you? A sheep?Mulan [sadly]: I'll have to face my father sooner or later. Let's go home.Mushu: Yeah, this ain't gonna be pretty. But, don't you worry, 'kay? Things'll work out. We started this thing together and that's how we'llfinish. [Mushu hugs Mulan. Mulan smiles] I promise.[Cut to Shan-Yu's falcon flying over the avalanche site. Shan-Yu's hand pops out of the snow. He gets up and glances around]Shan-Yu [screaming]: Rrrrrrraaaaaaaaahhh![Hun Archer, Long-Hair Hun Man, Hun Strong Guy, Hun Bald Man #1, and Hun Bald Man #2 each pop out of the snow and joinShan-Yu. They set off towards the Imperial City]Mulan [seeing them from behind, gasps]: Huh. [Mulan runs, grabs her sword, mounts Khan, and heads out following the Huns to theImperial City]Mushu: Home is that way! [points to the opposite direction Mulan is heading]Mulan: I have to do something.Mushu: Did you see those Huns!? They popped out of the snow, like daisies!Mulan: Are we in this together or not?Cri-Kee [emphatically]: Chirp, Chirp.Mushu: Well, let's go kick some Huny buns! [Jumps onto Khan and utters fighting words as they ride off to the Imperial City] Wu Hu HaGa, Wu Hu Ha Ga[Cut to the victory parade in the Imperial City. Fireworks go off, kites are flying. The drummers march by, followed by the flutist, followedby the acrobats. The Parade Leader follows, then Shang and his men, followed by lion dancers]Parade Leader: Make way for the heros of China.[Shang leads the men on horseback, all have sorrowful looks on their faces. Mulan rides up through the crowd and stops. She looks aroundand sees Shang in the parade]Mulan [calling out]: Shang! [riding next to him]Shang [surprised]: Mulan?Mulan: The Huns are alive, they're in the city.Shang: You don't belong here Mulan, go home.Mulan [with a scowl rides khan to the other side of Shang]: Shang, I saw them in the mountains. You have to believe me.Shang: Why should I?Mulan [riding ahead to block Shang's horse]: Why else would I come back? You said you'd trust Ping. Why is Mulan any different?[Shang turns his horse and rides around Mulan and goes forward]Mulan [to Yao, Chien-Po and Ling]: Keep your eyes open. I know they're here. Hya.[Mulan rides off and stops near the entrance to the palace, she dismounts Khan and runs into the palace yard]Mushu: Now where are you going?Mulan [calling over her shoulder]: To find someone who will believe me. [Mulan runs into the palace yard] [Cut to the parade procession stopping in front of the Emperor on the steps of the palace. Chi Fu stands next to Shang and gives himShan-Yu's sword. The Lion dancers stop behind Shang. A palace man strikes a large gong and the people fall silent]Emperor: My children, heaven smiles down upon the Middle Kingdom. China will sleep safely tonight thanks to our brave warriors.[The crowd cheers][Cut to Mulan at the fringe of the crowd]Mulan [approaching Man #1 laying her hand on his shoulder]: Sir, the Emperor's in danger! [Man #1 rips his shoulder away from Mulan'stouch and moves away] [agitated] But the Huns are here! [Mulan walks up to Man #2] Please, you have to help me. [Man #2 walksaway from Mulan] [turning to Mushu who is standing near her in the yard] No one will listen!Mushu: Huh? Oh, I'm sorry, did you say something?Mulan [irritatedly]: Mushu!Mushu: Hey, you're a girl again, remember?[Cut to Shang holding the sword before the Emperor]Shang [kneeling down giving the sword to the Emperor]: Your Majesty, I present to you the sword of Shan-Yu.Emperor: I know what this means to you, Captain Li. Your father would have been very proud.[Shan-Yu's falcon swoops down and takes the sword as Shang is giving it to the Emperor. The falcon rises above the roof and drops thesword to Shan-Yu who was sitting next to the gargoyles in the shadows blending in. He rises out of the shadows to catch the sword so thatall the people can see his face. The masses of people gasp at the sight of Shan-Yu. Shang begins to draw his sword. All 5 of Shan-Yu'smen jump out from behind the dragon knocking down Shang and grab the Emperor knocking off his hat. Hun Bald Man #1 and #2 carrythe Emperor into the Palace. Long-Haired Hun Man and Hun Strong Guy close the palace doors as Hun archer knocks his arrow retreatinginto the Palace to threaten would be rescue attempts]Shang [getting up and running toward the closing doors]: No.Yao [beckoning to the other soldiers]: C'mon.[Shang reaches the palace doors just as they close with all the Huns inside]Shan-Yu [laughs evily]: Ha, Ha, Ha, Ha, Ha, Ha.[Shang and his soldiers pick up a big stone statue and use it as a battering ram. They are unsuccessful at opening the door. Mulan seeswhat's going on and arrives at the steps]Mulan [to herself]: They'll never reach the Emperor in time. [She looks at the columns and runs near to the Shang and his soldiers. Shewhistles loudly catching the soldiers' attention] Hey guys, I've got an idea. [Mulan runs around the palace to the right towards the columns][Song: I'll Make a Man Out of You (reprise) plays in the background during the next action sequence](Be a man) We must be swift as the coursing river(Be a man)With all the force of a great typhoon(Be a man)With all the strength of a raging fireMysterious as the dark side of the moon[Yao, Ping and Chien-Po look at one another then drop the statue and follow Mulan. Shang looks astonished. Around the corner Yao, Lingand Chien-Po begin to take off their armor and dress as women. Once the transformation is complete, they take out their sashes andprepare to shimmy up the columns. Shang arrives and taps Mulan on the shoulder. He takes off his cape and wraps it around the columnto signify that he's coming along. They shimmy up the poles together][End song][Cut to Hun Bald Man #1 and #2 arriving with the Emperor and a high balcony within the palace. Shan-Yu drops down from the roof]Shan-Yu: Boo. [Shan-Yu steps into the balcony next to the Emperor] [to Hun Bald Man #1 and #2] Guard the door [they walk off downthe stairs that lead to the balcony]. [pacing around the Emperor] Your walls and armies have fallen, and now it's your turn. Bow to me.[Cut to the entrance to the stairwell that leads to the balcony. Hun Bald Man #1 and #2 come down the stairs and close the door, joiningHun Archer Man, Hun Strong Man and Hun Long-Hair Man. Mulan and company are around the corner]Mulan [whispering]: Okay, any questions?Yao [whispering]: Does this dress make me look fat? [Mulan slaps him] Ow.[Mulan, Yao, Ling and Chien-Po walk out smiling, giggling and trying to act lady-like including holding fans and waving fans]Hun Archer: Who's there?Hun Bald Man #2 [putting down Hun Bald Man #1's sword]: Concubines.Hun Bald Man #1: Ugly concubines.Ling [waving daintily, speaking to Yao]: Oh he's so cute.[Hun Bald Man #2 smiles and waves back. Hun Bald Man #1 elbows Hun Bald Man #2. A bitten apple falls out from beneath Ling'sdress. He pulls the dress out and turns so as not to expose the loss of figure]Shang [from around the corner putting his head down into his hand]: Aww.[Shan-Yu's Falcon sees Shang and starts to squawk. Mushu from above singes off all his feathers with his fire breathing]Mushu [to Cri-Kee sitting above him]: Now that's what I call Mongolian Barbeque. [Cri-Kee rolls on his back in laughter. The stunnedfalcon doesn't do anything][Hun Bald Man #2 picks up the apple and offers it back to Ling. Ling, Yao, and Chien-Po pull out the fruit they were using to simulate awoman's chest. Chien-Po takes his watermelons and smashes them on the heads of Hun Bald Man #1 and #2. He then smashes their twoheads together and they fall to the ground. Ling pushes the apple into Hun Long-Hair man's mouth and kicks him in the stomach causingHun Long-Hair Man to stoop over on the ground. Ling uses his head to crack Hun Long-Hair Man's back. Hun Strong Guy lunges his fistat Yao and misses, he misses with the other. Yao grabs the outstretched arm and flips him over onto his head. Mulan kicks away HunArcher Man's bow and knocked arrow, avoids his strike by turning her back to Hun Archer. She follows with a left elbow to the stomachfollowed by a left upper cut knocking Hun Archer to the ground. She sits on his back and uses the bow to pull his head back]Mulan [calling out]: Shang, GO![Shang runs out from behind the corner, charges through the door and runs up the stairs][Cut to Shan-Yu and the Emperor on the balcony]Shan-Yu: I tire of your arrogance old man. [yelling and putting his sword at the emperor'sthroat] Bow to me!Emperor: No matter how the wind howls, the mountain cannot bow to it.Shan-Yu: Then you will kneel in pieces. [Shan-Yu draws back his sword to strike the Emperor][Shang runs up in time to block the striking blow of Shan-Yu with his sword. Shang swipes withhis sword. Shan-Yu grabs Shang's arm and throws him towards the edge. Shang grabs onto a columnand he flies over the edge and uses the momentum to swing back and kick Shan-Yu. Shan-Yu fallsto the ground, Shang on top of him. Shang punches Shan-Yu. Shan-Yu grabs Shang and rolls overforcing Shang to be on his back underneath him. Shang uses his knee to hit Shan-Yu from behindas he uses his hand to hit him in the head. Shang forces Shan-Yu onto his back and grabs his armpulling it behind Shan-Yu's back. Mulan, Chien-Po, Yao and Ling enter the balcony from thestairs]Mulan: Chien-Po, get the Emperor.Chien-Po [standing in front of the Emperor and bowing]: Sorry, your Majesty. [Chien-Po lifts up the Emperor and runs over to Mulan who is by a rope attached to a column inthe balcony. Chien-Po uses his sash as a pulley and rides down the rope to the ground. Shan Yuwatches the Emperor leave]Shan-Yu: No! [Shan-Yu uses his free arm to elbow Shang in the face. Shan-Yu gets up and head-butts Shang andthrows him to the ground. Shang lies limp. Mulan watches Shang fall then she looks over theedge at Ling and Yao now on the ground. Chien-Po runs off the screen out of sight]Yao [motioning her to follow]: Come on![Mulan looks down at Shang with a worried look. Shan-Yu begins to approach Mulan and the rope. Mulan looks at the approaching Shan-Yu and then down to spy his sword. Thinking quickly, Mulan grabsShan-Yu's sword and cuts the taught rope. Shan-Yu reaches the edge and grabs for the falling rope unsuccessfully as Mulan leaves thesword embedded in the column and runs to Shang's position. The crowd cheers]Shan-Yu: No! [He looks down at the crowd and realizes he cannot find the Emperor among thethrong of people] Yrraaaaahhhh![Shan-Yu turns and looks back and sees Mulan looking concerned, holding up Shang. Shan-Yu pullsout his sword lodged in the column and heads toward them. As Shang sees Shan-Yu approaching, heputs his arm in front of Mulan to ask her to leave and takes out his knife. Mulan slides away. Shan-Yu comes up to Shang, knocks away his knife, slaps him in the face, and grabs Shang by theshirt collar]Shan-Yu [in Shang's face]: You, you took away my victory.[Mulan's shoe hits Shan-Yu in the head and bounces back to her feet. Shan-Yu turns toward Mulan]Mulan: No! I did! [Mulan pulls her hair back to look like she did when she was a soldier]Shan-Yu [looking at Mulan]: The soldier from the mountains.[Shan-Yu drops Shang and starts after Mulan as she puts on her shoe and runs down the stairs andthrough the doors to the balcony. She closes the door with the latch falling in place rightbehind her. She leans against the doors. Shan-Yu punches a hole in one door with his fist. Mulan runs away from the doors down the corridor. Mushu riding Shan-Yu's falcon like a horsecatches up with Mulan]Mushu: So what's the plan?Mulan: Ummmm.Mushu: You don't have a plan?!Mulan: Hey, I'm making this up as I...[looks out a window and spies the firework tower] go. Mushu--Mushu: I'm way ahead of you sister. C'mon Cri-Kee. [Mushu and Cri-Kee jump onto a kite and usethe wings to soar over toward the fireworks tower][Cut to Shan-Yu. Shan-Yu breaks through the doors and catches up to Mulan swinging his swordwildly knocking down a support column with every swipe. Mulan runs and ducks his every blow. Mulan climbs up a column to get out of Shan-Yu's reach. Shan-Yu slices the base of the columncausing it to fall and break through the outer wall. Mulan screams as the beam falls and comesto a stop. Mulan gets up on the beam and jumps up to catch onto the awning. She looks off toher right and spies Mushu arriving at the fireworks tower][Zoom in on the fireworks tower. Mushu lands near Barry Cook and Tony Bancroft (the fireworklighters) on the edge of the tower] Mushu: Citizens, I need firepower.Barry Cook: Who are you?Mushu [Mushu (using the wings from the kite) and Cri-Kee with wings spread like batman]: You'reworst nightmare.[Barry Cook and Tony Bancroft jump off the tower and plunge toward the ground][Cut to Mulan. She pulls herself onto the roof and climbs up to the crest]Man in Crowd #1: On the roof.Man in Crowd #2: Look![Mulan lines up where she is standing with the fireworks tower across the way. Shan-Yu breaksthrough the roof behind Mulan surprising her. Mulan backs away and searches for something on herperson to help her against Shan-Yu. She finds a her fan, takes it out, and opens it]Shan-Yu: It looks like you're out of ideas.[Shan-Yu lunges with his sword. Mulan dodges to her right and lets the sword go right throughthe fan. She closes the fan back up on the sword and twists the fan with both hands so thatShan-Yu loses his grip. The sword flies toward Mulan and she catches it by the handle slippingoff the fan with her sword movement]Mulan: Not quite. [calling out] Ready, Mushu?Mushu [behind Shan-Yu tied to a large rocket firework]: I am ready, baby. [He blows fire onto astick and hands the stick to Cri-Kee who's standing on the firework] Light me! [Cri-Kee lightsthe fuse][Shan-Yu approaches Mulan. Using the sword as a lever, Mulan lunges at Shan-Yu kicking him inthe face then sweep kicks him and he falls to the ground. Mulan picks the sword back up andstabs it into Shan-Yu's cape. The rocket on Mushu ignites and hurls him toward Shan-Yu. Mulanlies flat down on the left side of the roof. Shan-Yu sees the approaching rocket and tries torun, but the sword has him pinned to the spot. The rocket hits Shan-Yu square in the bellypropelling him toward the firework tower. Mushu grabbed onto the sword as he went by letting therocket do the work. Cri-Kee hangs on to Mushu's tail. Mulan jumps back up to the crest of theroof and runs away from the fireworks tower grabbing Mushu and Cri-Kee off the sword]Mulan [while running]: Get off the roof, get off the roof, get off the roof.[The rocket rides Shan-Yu into the fireworks tower causing masses of explosions and fireworks tofly everywhere. Mulan jumps near the edge of the roof. Propelled by the explosion, she grabsonto a lantern that is hanging on a taught rope and starts to slide down. She looks down andreleases her grip so that she lands on the back of Shang causing the two of them to fall to theground. Shan-Yu's sword follows and lands on the ground near by]Mushu [landing and flying backwards on his butt a couple of times pointing at the fireworks]: Ahha ha ha ha. [Mushu's catches Cri-Kee with antenna on fire as Cri-Kee falls toward him] [toCri-Kee] You are a lucky bug. [Mushu pinches out the fire on Cri-Kee's antenna]Chi Fu [walking down the stairs in a tattered outfit and slightly burned]: That was a deliberateattempt on my life. Where is she? Now she's done it. What a mess. [Shang and troops pushMulan behind them to protect her] [to Shang] Stand aside, that creature's not worth protecting.Shang [in Chi Fu's face]: She's a hero.Chi Fu: 'Tis a woman. She will never be worth anything.Shang [grabbing Chi Fu by the shirt collar]: Listen, you pompous--Emperor [walking down the steps]: That is enough!Shang: Your Majesty, I can explain.[The Emperor motions for Shang to stand aside. Shang and his men part giving the Emperor a clearpath to Mulan. Mulan steps forward and bows before the Emperor. Chi Fu with a sinister lookwaits to write down the words of the Emperor]Emperor: I've heard a great deal about you, Fa Mulan. You stole your father's armor, ran awayfrom home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese army,destroyed my palace, AND...you have saved us all. [the Emperor bows to Mulan][Chi Fu looks at the Emperor actions astonishingly then immediately falls prostrate before Mulan. Shang, Yao, Ling, and Chien-Po follow suit. Mulan looks up then turns around hardly believingwhat she sees as the entire Chinese population within the palace grounds fall prostrate on theground in a wave like pattern, bowing to her. Khan bows with Mushu and Cri-Kee on his back]Mushu: My little baby's all grown up and savin' China. [to Cri-Kee] You have a tissue?Emperor: Chi Fu,Chi Fu: Your Excellency?Emperor: See to it that this woman is made a member of my council.Chi Fu [muttering to himself]: A member of your coun...[realizing what the Emperor has said]what? [stutters] But there are no council positions open, your Majesty.Emperor [to Mulan]: Very well then, you can have his job [pointing out Chi Fu].Chi Fu [wobbling to and fro]: What?...My...[faints]Mulan [smiles big then turns to the Emperor and bows]: With all due respect, your Excellency. Ihave been away from home long enough.Emperor [taking off his pendant]: Then take this, so your family will know what you have donefor me. And this [handing her the sword of Shan-Yu] so the world will know what you have donefor China.[Mulan takes the gifts and hugs the Emperor]Yao: Is she allowed to do that? [Shang, Ling, and Chien-Po shrug][Mulan walks away from the Emperor and is embraced by Yao and Ling. Chien-Po comes up and liftsall three of them off the ground in a big bear hug. Chien-Po lets them all back to the groundagain. Mulan walks toward Shang and stops in front of him. As Shang begins to speak Mulanstarts to smile anticipating something good]Shang: Um...[Mulan grins] You... [Mulan smiles] You fight good.Mulan [smile turning into disappointment]: Oh, thank you. [Mulan walks toward Khan]Shang: [turning toward Mulan and grunts with disappointment in himself]: Hmm.[Mulan mounts Khan]Mulan: Khan, let's go home.[Khan jumps down the steps and gallops on the flat parts of the stair case back down to groundlevel. The crowd cheers al the while. The Emperor approaches Shang and clears his throat]Emperor [to Shang]: The flower that blooms in adversity is the most rare and beautiful of all.Shang [dumbfounded]: Sir?Emperor: You don't meet a girl like that ev'ry dynasty. [The emperor puts on his hat and walksback up the steps to his palace][Cut to Mulan's home, her father is sitting beneath the blossom tree. A blossom falls and landson his leg. Mulan appears at the threshold and moves toward her father. Fa Zhou sees herapproaching and starts to stand]Fa Zhou: Mulan. [Mulan quickly moves in front of her father and kneels causing him to sit back down]Mulan: Father, I brought you the sword of Shan-Yu [hands the sword to Fa Zhou] and the crest ofthe Emperor [hands the crest to Fa Zhou]. [with head bowed] They're gifts to honor the FaFamily.[Fa Zhou takes the gifts and throws them down to the ground beside him to the surprise of Mulan. He bends down and holds her arms outstretched]Fa Zhou: The greatest gift and honor, is having you for a daughter. [Fa Zhou wipes away Mulan'stear then hugs Mulan] I've missed you so.Mulan: I've missed you too Baba.[Fa li and Grandma Fa watch from the doorway]Fa Li [sighing]: AhhhhhGrandma Fa: Great, she brings home a sword. If you ask me she should have brought home ama--[leaving her mouth open when she sees Shang]Shang [just arriving]: Excuse me, does Fa Mulan live here?[Grandma Fa's mouth stays open as she and Fa Li point toward Mulan's position. Shang walkstoward Mulan and Fa Zhou]Grandma Fa: Woo, sign me up for the next war.[Shang approaches seeing Fa Zhou]Shang [bows before Fa Zhou and speaks confidently]: Honorable Fa Zhou I--Mulan [Mulan steps up. Shang sees her and speaks insecurely] Uh...Uh...You forgot your helmet. Ah but well, actuallyit's your helmet, isn't it?...[handing the helmet toward Fa Zhou] I mean...[Fa Zhou motions with his head for Mulan to take over. Mulan holds the helmet Shang offers]Mulan: Would you like to stay for dinner?Grandma Fa [speaking from stage right]: Would you like to stay forever? [Mulan shakes her head with asmile at Grandma Fa's statement]Shang [reassuredly to Mulan]: Dinner would be great.[Cut to First Ancestor grinning happily looking at the scene through the temple window. He watches Mulan hand the helmet back to FaZhou. Mushu climbs up to the window sill by First Ancestor's his head]Mushu [tugging on First Ancestor's ear]: C'mon, who did a good job? C'mon, tell me who did agood job.First Ancestor [hesitantly]: Oh, all right. You can be a guardian again.Mushu: Yeeeeeahhhhhhh. [Mushu runs to his post and Cri-Kee bangs the gong awakening all theancestors]Mushu: Take it Cri-Kee.[Song: True to Your Heart -- No characters sing in the song][Ancestor 1 does a dance from Pulp Fiction while Ancestor 3 does the Hand Jive]Ancestor 3 [spoken to Ancestor 1]: She get's it from my side of the family.Mushu [spoken while swinging on a chain]: Call out for egg rolls!First Ancestor [disgusted]: Guardians.[Mushu lands on the steps outside the temple. Mulan walks up to him and rests besides him on thesteps]Mulan: Thanks, Mushu [kisses Mushu on the forehead].Little Brother: Bark, bark, bark, bark, bark, bark, bark [Little brother runs up the steps and into the temple with the bag of grain tied to him. Thechickens follow him in]First Ancestor [annoyed]: Mushu![Roll Credits][The End] \ No newline at end of file diff --git a/unformated_scripts/Script_Mulholland Drive.txt b/unformated_scripts/Script_Mulholland Drive.txt new file mode 100644 index 0000000000000000000000000000000000000000..ed8d20edc12f4890f54408c1a6b7abb38f58ebe1 --- /dev/null +++ b/unformated_scripts/Script_Mulholland Drive.txt @@ -0,0 +1 @@ +M U L H O L L A N D D R I V E 1/5/1999 M U L H 0 L L A N D D R I V E EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES Darkness. Distant sounds of freeway traffic. Then the closersound of a car - its headlights illumine an oleander bush andthe limbs of an Eucalyptus tree. Then the headlights turn - astreet sign is suddenly brightly lit. The words on the signread... "Mulholland Drive." The car moves under the sign asit turns and the words fall once again into darkness. CUT TO: EXT. NIGHT - MULHOLLAND DRIVE Gliding we follow the car - an older black Cadillac limousine- as it winds its way up Mulholland Drive through thedarkness of the Hollywood Hills. There is no one else on theroad. As we drift closer to the car... CUT TO: INT. BLACK CADILLAC LIMOUSINE - NIGHT Two men in dark suits are sitting in the front seat. Abeautiful, younger, dark-haired woman sits in back. She sitsclose up against the door and stares out into the darkness.She seems to be thinking about something. Suddenly she turnsand looks ahead. The car is slowing and moving off to theside of the road. DARK-HAIRED WOMAN What are you doing? You don't stop here ... The car stops - half on, half off the road at a dark, blindcurve. Both men turn to the woman. DRIVER Get out of the car. CUT TO: EXT. FURTHER UP MULHOLLAND DRIVE - NIGHT Two cars - a convertible and a late model sedan are dragracing toward the blind curve blocking the view of theCadillac limousine. The cars are filled with crazedteenagers. Two girls are standing up through the sunroof ofthe sedan screaming as their hair is whipped straight back. The cars are travelling so fast that they seem to almostfloat as they fly with psychotic speed down both lanes ofMulholland Drive. CUT TO: INT. EXT. - CADILLAC LIMOUSINE The driver, still in his seat, has a pistol with a silencerattached pointing at the woman. The other man is getting outof the car. The woman is clutching the seat and the doorhandle as if trying to anchor herself. She is visibly afraid.The man who got out of the car tries the woman's door, but itis locked. He smiles as he reaches in through the front doorand unlocks her door. He opens her door. As he reaches forher, the woman's face becomes flooded with light. Her eyesdart to the front windshield. The driver, flooded with light,turns just as the late model sedan slams into the Cadillaclimousine. There is an explosion of metal and glass amidstthunderous tearing sounds as the two cars become one indeath. The convertible screams past with hardly a notice.The driver of the limousine dies instantly as his body isjettisoned through the windshield. The other man is torn asthe cars screech over him. The woman is brutally thrown intothe back of the front seats as a cloud of dust and flyingrocks engulfs her. The disastrous moving sculpture of the twocars wants to climb up the hill, then stops and slides backtoward the road The Cadillac tips onto its side. Then all issilent. A fire erupts in the sedan and as the dust clears wesee the woman appear, then crawl out of the Cadillac to theroad. Her face is vacant. There is a bleeding cut just aboveher forehead. She stands for a moment clutching her purse -lost , then begins to walk as if in a trance acrossMulholland down through the bushes and into darkness. DISSOLVE TO: EXT. HOLLYWOOD HILLS - LATER - NIGHT The woman slides down a hill through tangles of hostiledesert plants. Sirens can be heard in the distance. Shecrosses through some trees and is suddenly confronted by acoyote which snarls and leaps at her. She screams and strikesout with her purse in self defense. The coyote backs away -snarling. The woman then loses control and runs at the coyoteand it races off. She falls to the ground. We can hear thethunder of her heartbeat as the sirens grow louder. She getsup and stumbles through the trees. When she clears them sheis standing overlooking all of Los Angeles glowing downbelow. She clumsily starts down toward it. DISSOLVE TO: HOLLYWOOD STREETS - LATER - NIGHT The woman slides down a dusty hill and finds herself atFranklin Avenue. A car races by and its headlights flare onher face. Her expression shows fear and panic. She doesn'tknow where she is or where to go. She runs frantically acrossthe street. She moves quickly to a sidewalk which takes herinto a residential area. DISSOLVE TO: EXT. HOLLYWOOD STREETS - LATER - NIGHT The woman crosses Sunset Boulevard. Coming up Sunset in thedistance is a police car with its sirens and lights going.She hurries into the darkness of another residential area. Acar turns onto the street and comes toward her. Sheinstinctively moves behind a tree until it passes. DISSOLVE TO: EXT. HOLLYWOOD STREETS - LATER - NIGHT As if being hunted in a foreign land the woman movesdesperately down another residential street. A drunken coupleround the corner up ahead and start up the sidewalk towardher. She runs off the sidewalk and into the bushes in frontof an apartment building. The couple passes by withoutnoticing her. Feeling safe in these bushes her exhaustionovertakes her and she lays her head down to sleep. DISSOLVE TO: EXT. MULHOLLAND DRIVE - NIGHT Police, paramedics surround the wreckage. Two detectives,HARRY MCKNIGHT and NEAL DOMGAARD (both mid 40's to 50), stareat the remains of the two cars glowing white hot under thecrime scene lights. A coroner's van pulls out just after anambulance. The ambulance's siren begins to wail as it speedsoff. The coroner's van cruises slowly. Detective HarryMcKnight and Detective Neal Domgaard continue staring. Theydo not look at each other. They are each motionless for along moment. DETECTIVE HARRY MCKNIGHT You feel it? DETECTIVE NEAL DOMGAARD Yeah. They continue to stare. DETECTIVE NEAL DOMGAARD Sammy thinks the Caddy had stopped along the shoulder ... man up the road said he saw two cars drag racin'...then you got that blind corner. DETECTIVE HARRY MCKNIGHT Two men... two guns in the Caddy. DETECTIVE NEAL DOMGAARD The boys found this on the floor in back of the Caddy. Neal holds up a plastic bag holding a pearl earring. DETECTIVE HARRY MCKNIGHT Yeah, they showed me DETECTIVE NEAL DOMGAARD Could be unrelated. DETECTIVE HARRY MCKNIGHT Could be...any of those dead kids wearin' pearl earrings? DETECTIVE NEAL DOMGAARD No. Could be someone's missin' maybe. DETECTIVE HARRY MCKNIGHT That's what I'm thinkin'. Detective Harry McKnight turns and crosses Mulholland. Hiseyes move over each blade of grass at the shoulder - eachdesert bush just beyond. He slowly raises his gaze to theshining lights of Hollywood laying far below like a galaxy.He looks out and wonders. CUT TO: EXT. HOLLYWOOD STREETS - EARLY DAWN The clang of a metal gate wakes the woman. It is just gettinglight and she sees an older red-headed woman carrying asuitcase to the curb where a cab stands waiting with itstrunk open. The cab driver appears with two suitcases whichhe sets down next to the car. The red-headed woman and thecab driver both go back through the iron gate. The woman inthe bushes pulls herself to the gate where she can peer intothe courtyard of this apartment building. She sees the red-headed woman and the cab driver go into an apartment and comeback out with more luggage. They leave the apartment door open. When the red-headed womanand the cab driver reach the cab they both begin loading thebags into the trunk and backseat. Their backs are to thewoman in the bushes who takes this opportunity to go quicklyinto the courtyard and through the open apartment door. CUT TO: INT. APARTMENT - EARLY DAWN The woman comes into a living room where a single trunkremains. She goes further into the apartment and crouchesdown in a back corner of the kitchen. She listens asfootsteps come across the courtyard. She hears the red-headedwoman and the cab driver get the trunk. She hears them set itdown once they have it in the courtyard. She hears the stepsof the red-headed woman come back inside the apartment. Shehears the footsteps go all around the apartment and then shehears the footsteps come toward the kitchen. Remainingfrozen, the dark-haired woman's eyes look up as the red-headed woman walks right past her, grabs a set of keys offthe kitchen counter, then leaves the apartment. The woman canhear the door being locked. She lets go, slides to thekitchen floor, and passes out. CUT TO: INT. DENNY'S RESTAURANT , HOLLYWOOD - MORNING Two well-dressed men HERB and DAN (mid 30's) are sitting at atable drinking coffee. Herb has finished eating hisbreakfast, but Dan hasn't touched his bacon and eggs - heappears too nervous to eat. A blonde waitress with anameplate saying "DIANE" lays the check on their tablesmiles, then walks off. HERB Why did you want to go to breakfast if you're not hungry? DAN I just wanted to come here. HERB To Denny's? I wasn't going to say anything, but why Denny's? DAN This Denny's. HERB Okay. Why this Denny's? DAN It's kind of embarrassing but, HERB Go ahead. DAN I had a dream about this place. HERB Oh boy. DAN You see what I mean... HERB Okay, so you had a dream about this place. Tell me. DAN Well ... it's the second one I've had, but they were both the same......they start out that I'm in here but it's not day or night. It's kinda half night, but it looks just like this except for the light, but I'm scared like I can't tell ya. Of all people you're standing right over there by that counter. You're in both dreams and you're scared. I get even more frightened when I see how afraid you are and then I realize what it is - there's a man...in back of this place. He's the one ... he's the one that's doing it. I can see him through the wall. I can see his face and I hope I never see that face ever outside a dream. Herb stares at Dan to see if he will continue. Dan looksaround nervously, then stares at his uneaten food. DAN (cont'd) That's it. HERB So, you came to see if he's out there? DAN To get rid of this god-awful feeling. HERB Right then. Herb gets up, picks up the bill and goes to the cashier topay. Dan just sits. As Herb is paying the bill he looks over at Dan just as Danis turning to look at him. From Dan's point of view Herb isstanding in exactly the same spot as he stood in the dream.Herb gets a strange feeling, turns back and finishes up withthe cashier. He motions for Dan to follow him. Dan risesreluctantly and he and Herb make their way outside. CUT TO: EXT. DENNY'S Now Herb waits for Dan to lead the way. DAN Around here. Dan takes Herb across the front of Denny's to a narrowsidewalk that leads down the side toward the back. They begin walking down the narrow sidewalk - past apayphone. Dan begins to sweat the nearer he gets to the rearcorner of the building. Red bricks glide by slowly. CLOSER ON DAN Beads of sweat cover his face. He finds it difficult tobreathe. Herb is just behind him unable to see the fearovertaking his friend, but Herb can feel something himself. The red bricks moving by now are coming to an end - thecorner is coming closer - the corner is now very close. Suddenly a man - a face ... a face dark and bum-like- movesquickly out from behind the corner and stops - freezes -staring into Dan's eyes. Dan lurches back. All his breath is suddenly gone. He fallsback into Herb who tries to catch him as he's falling. Danhits the ground unable to breathe - his eyes wide withhorror. Herb looks up - the man is gone. He looks down to Dan. HERB Dan! ... Dan! You all right? ... Dan! He kneels down and studies his friend. He feels for a pulsein the neck. He listens for breathing. His friend is dead. HERB (cont'd) My God! DISSOLVE TO: EXT. LAX AIRPORT - DAY The airport sits in blinding sunlight and veiled with smog.A big jet lands. CUT TO: INT. LAX AIRPORT A blonde girl walking with an old woman approaches us. As theblonde's face fills the screen we move with her and stay withher as she goes. Her face is bright and her eyes move hereand there taking in everything. She can hardly believe she'sin Los Angeles - the City of Dreams. She and the old womanpass under a sign which reads "WELCOME TO LOS ANGELES."The girl smiles and looks around excited by every detail. CUT TO: EXT. LAX AIRPORT The girl and the old lady exit the terminal with their bags.An older gentleman has joined the old lady. They stop at thetaxicab stand. The old lady takes the blonde girl's hand. OLD LADY It's time to say goodbye, Betty. It's been so nice travelling with you. BETTY Thank you, Irene. I was so excited and nervous. It was sure great to have you to talk to. IRENE Now, remember I'll be watching for you on the big screen. BETTY (smiling) Okay Irene. Won't that be the day. IRENE The best of luck to you, Betty. Take care of yourself and be careful. BETTY Okay I will. Thanks again. Betty and Irene give each other a hug. The old gentleman nodsto Betty and takes Irene off. Betty smiles after them.Suddenly someone is grabbing her bags. She turns abruptly tofind she is next in line and her cab is waiting. She turnsonce more and waves at Irene as her bags are loaded into thetrunk of the cab. CAB DRIVER Where to? BETTY (smiling excitedly) 1612 Havenhurst. CAB DRIVER Got it! They get into the cab and close their doors. The cab pullsaway. CUT TO: EXT. STREETS - LOS ANGELES - DAY Betty goes from the right side of the cab to the left side ofthe cab looking at every building, tree and sign. Each streetsign seems to be magical to her and she says the names toherself as they pass by. She sees La Tijera, La Cienega,Venice Boulevard, Pico Boulevard, Olympic Boulevard, WilshireBoulevard, etc., etc. until they reach Fountain and turnright. Betty's heart is pounding when she sees Havenhurstand the cab turns left. In the middle of the block on theright the cab pulls over and stops. Betty sees her newhome ... an ancient, gorgeous courtyard apartment building,built during the golden age of cinema. CUT TO: EXT. 1612 HAVENHURST The cab driver puts Betty's bags down on the sidewalk next toher. She can barely stop looking at the building long enoughto pay the cab driver who then goes off and drives away.Betty picks up her bags and enters, as if in a dream, throughan ornate iron gate to a courtyard with a beautiful workingfountain at its center. A sign on a door to her right readsManager and she rings the bell. An older, once very beautiful, woman wearing heavy make-upand smoking a cigarette in a silver holder opens the door.An unbelievable raspy voice comes out through the dark screenof the still closed screen door. MANAGER Hi there...ten bucks says you're Betty. BETTY I am, Mrs. Lanois. It is Mrs. Lanois isn't it? MRS. LANOIS In all my living glory, baby. BETTY Pleased to meet you. MRS. LANOIS You can call me Coco ... everybody does. Stay there, I'll get the key. BETTY Okay, Coco. Coco returns with the key and opens the screen door inhalinga huge drag off her cigarette. She starts off into thecourtyard and Betty picks up her bags and follows. As Cocospeaks smoke comes out of her with every word. COCO I guess it was your grandfather, was it ... he called me to check in, said you were on your way and for you to call when you get in. Nice man... farmer I hear. BETTY Yes, he is. He raises corn. COCO Damn lot of corn raised in Hollywood these days too. BETTY Well, I ... COCO You don't have to tell me. It's written all over that pretty face of yours.. You came here to be an actress. I just hope you'll remember there's never been a great poem called "tits and ass." BETTY I... COCO You probably don't remember her, but Louise Bonner lives right over there in number 29. When she isn't drunk she runs a damn good acting class. BETTY Have many famous actors and actresses lived here? I was meaning to ask you that. COCO Honey, all the great ones came through here at one time or another. A haunting music begins to swell. COCO (cont'd) People say in the springtime when the wind blows the smell of the jasmine you can still feel the presence of everyone of them. BETTY I guess I've come to quite a place. COCO Sweetheart, you don't know the half of it. The music fades. Coco looks down suddenly. On the cobblestone courtyard infront of her she sees a fresh product of waste from a dog.She angrily turns up to an apartment on the second level. COCO (cont'd) (yelling up) WILKINS! ... (no answer) ... THAT DOG CRAPS ONCE MORE OUT HERE AND I'LL BAKE HIS BUTT FOR BREAKFAST!! Coco turns back to Betty. COCO (cont'd) You don't have pets do you? BETTY No, I don't. COCO That's good. They're allowed, but I don't like 'em...for obvious reasons. One man used to live here that had a prize fighting kangaroo. You wouldn't believe what that kangaroo did to this courtyard ... let's see your Aunt's apartment ... it's a good one. BETTY I can hardly wait, Coco. CUT TO: INT. APARTMENT - BEDROOM The dirty and torn black cocktail dress of the dark-hairedwoman along with her shoes, purse and undergarments are in apile in the bedroom. We drift off them toward the bathroomwhere the dark-haired woman can be seen showering throughrippled glass. There's the sound of a door opening. We see amovement through the glass and the shower goes off instantly.We can hear the dark-haired woman's frightened breathing asshe waits frozen listening. CUT TO: INT. APARTMENT LIVING ROOM Betty enters, thrilled with what she sees. The apartment isfilled with movie memorabilia, deco furniture, oriental rugs,brass floor lamps and a massive tiled fireplace. She sets herbags down and stares. BETTY It's unbelievable! COCO I told ya. BETTY Wow! COCO Now I guess you and your Aunt have an understanding. So here's the key and you need anything, just give a holler. (Coco hands Betty the key) Everybody in this building's pretty much okay with me or they wouldn't be here. If you want, later I'll introduce you around. No hard feelings if you don't, and don't forget the rooftop garden. It's just up the stairs we passed. It's open to all the tenants. You can see the Hollywood sign from there. BETTY Oh Coco thank you. Thank you so much. COCO You got it! See you later honey. Coco leaves and closes the door behind her. Betty begins toexplore the apartment.- After walking a circle in the livingroom she passes through the kitchen. She moves down ahallway looking at paintings and posters. She goes into thebedroom. She smiles when she sees the bed which has a hugeornately carved head and foot board. She notices the soileddress on the floor and she frowns as she looks closer. Shestands back up, shrugs and goes into the bathroom which hasall the original thirties fixtures damndest floor to ceilingtiles. As she goes toward the sink she smiles to herself inthe mirror above it. Suddenly something catches her eye andshe opens the shower stall. There before her is the naked,beautiful dark-haired woman. BETTY Oh my! She quickly closes the shower door. BETTY (cont'd) I'm sorry. My Aunt ... Ruth didn't tell me someone was going to be here. I'm so sorry. DARK-HAIRED WOMAN That's okay. BETTY I'm Ruth's niece. My name's Betty. I'm sure she told you I was coming. There's a silence. DARK-HAIRED WOMAN There was an accident. I came here. BETTY I understand. I saw the dress. I...I'm sorry. Are you all right? There is another silence. BETTY (cont'd) What happened? DARK-HAIRED WOMAN A car ... a car accident. BETTY Are you okay? DARK-HAIRED WOMAN I think so. I was just taking a shower. BETTY Oh my god. I'm sorry. I'll let you get back to that. I'm going to get unpacked. Betty goes to the bathroom door and is closing it when shestops and looks back in. BETTY (cont'd) What's your name? We see a close-up of the dark-haired woman. We see her eyeswiden with a kind of fear. She's frantically thinking -searching her mind for an answer. BETTY (cont'd) I'm sorry. I'll get out of here and we can talk later. CUT TO: INT. APARTMENT BEDROOM Betty is unpacking in the bedroom and putting her belongingsin the closet and the dresser drawers. Many of her Aunt'sthings are still there. CUT TO: INT. APARTMENT BATHROOM The dark-haired woman is looking at herself in the mirror.She turns and begins looking around the bathroom at shampoos,cosmetics, until her eyes fall on a poster of "Gilda"starring Rita Hayworth. CUT TO: INT. APARTMENT BEDROOM The bathroom door opens and the dark-haired woman comes outwrapped in a towel. She's drying her hair with another. Sheand Betty stare at one another. DARK-HAIRED WOMAN My name is Rita. BETTY Hi...do you work with my Aunt? RITA No ..........I. BETTY I...I mean......I...it's none of my business. RITA She has pretty red hair... she is very kind I think. BETTY She sure is. She's letting me stay here while she's working on a movie that's being made in Canada, but I guess you know that. I couldn't afford a place like this in a million years. Unless of course I'm discovered and become a movie star. Of course, I'd rather be known as a great actress than a movie star, but sometimes people end up being both and that is, I guess you'd say, sort of why I came here. I'm sorry, I'm just so excited to be here..I mean I just came here from Iowa and now I'm in this dream place. You can imagine how I feel. RITA I think I've been hurt. BETTY Oh... Betty goes to Rita. BETTY (cont'd) Sit down... Betty sits Rita on the bed. She leans down and looks at herhead and face. BETTY (cont'd) Where were you hurt? Rita motions to her head above her forehead. Betty looksthrough her hair and finds her wound which has stoppedbleeding but is surrounded by a very large blue blackbruising. BETTY (cont'd) We should get a doctor. RITA No. BETTY But, this could be serious. RITA No...I need to sleep. BETTY If you have a concussion you shouldn't sleep. RITA It will be okay if I sleep. I need to lie down and sleep. BETTY All right, but...I'm going to check on you. Rita lies down and is instantly asleep. Betty leans over herand listens to her breathing. She gets a blanket and drapesit over the beautiful sleeping Rita, then leaves the room. CUT TO: EXT. - DOWNTOWN LOS ANGELES - LOW RENT OFFICE BUILDING - DAY The street level of the office building is filthy and housesstores selling racks of cheap toys. Up above we see officewindows and a big sign saying "Office Space For Rent" alongwith a telephone number to call. We drift in toward one ofthe windows on the sixth floor. CUT TO:INT. OFFICE ON SIXTH FLOOR Two men are in the room, JOE and ED. Joe leans up against arack of filing cabinets. He is in his late twenties. Helooks like a run down, heavy metal rocker - wears a bluedenim shirt open, T-shirt underneath, black denim jeans andmotorcycle boots. His black belt has silver studs. He'ssmoking a cigarette and is laughing at something the man atthe desk has said. His laugh is easy and his grin isinfectious. The man at the desk, Ed, wears a clean, crisp black suit,like a business man's but unlike a business man his blondehair is long enough to go over his shoulders. JOE So man, that's unheard of ... an accident like that ... who coulda foreseen that. ED Unreal ... so, you're looking good. Whatcha doin' these days? JOE Well, not much Ed. Just doin' some stuff for this guy. ED Making ends meet, huh. JOE Hardly. ED Yeah, look at my digs ... times are tough. JOE Oh, things aren't so bad. Gee, I hope you're not goin' to get in any trouble. ED It was just a thing. The story made you laugh. JOE Yeah, that's a funny story. Looking like he's rubbing the small of his back Joe movesover to Ed at his desk. Joe looks down to the surface of thedesk - to a small worn black book. JOE (cont'd) So, there it is ... Ed's famous black book. ED Yeah, the history of the world in phone numbers. Joe's hand still at the small of his back moves into viewholding a silenced pistol and in one swift move reaches outand fires a hole through Ed's temple - blowing Ed's brainsout across the desk, carpet and wall. Ed's head bangs downon the desk, then is still save the leaking of blood from thewounds. Joe flips his finished cigarette out the open windowbehind Ed's desk, wipes the gun clean with a handkerchief andplaces the cleaned gun in Ed's right hand. He places Ed'sright forefinger gently onto the trigger. As he puts thefinger on the trigger he presses a little too hard and thegun goes off. The bullet shoots out and penetrates the cheapwall at the far end of Ed's office. Joe hears a muffledscream. JOE (cont'd) (disgusted with himself) Oh...man! With a sense of "just more stuff I got to do" Joe movesslowly and begrudgingly out of Ed's office, checks thecorridor and goes toward the screaming which still persists.He opens up the office door next to Ed's and finds a heavyset woman screaming bloody murder as she is grabbing herbuttock and lower back. He sighs and walks over to her andcups his hand tightly around her mouth to squelch thescreaming. Wide-eyed, she tries to fight him off and hebegins dragging her out of her office. Joe's foot catches ona computer cable clumsily taped across the floor and he fallsbackwards bringing the heavy woman down with a bone-crushingblow on top of him. The woman begins beating his face withher meaty fists. Joe snaps her head back, instantly stillingher violent activity. He wrestles the stunned heavyweightback to her feet and out her door. He pushes and pulls herinto Ed's office. Just before they enter, Joe notices a manwith a vacuum cleaner watching him from the far end of thecorridor. He stops and calls to the man. JOE (cont'd) Hey man. She's hurt bad. Get down here and use the phone. Help me out. You gotta call the hospital. The man hesitates...not sure if this jives with what he'sseeing. JOE (cont'd) I mean it! Get down here quick! She's hurt and I can't do everything myself, man. Joe pushes the woman inside Ed's office, throws a glance backdown the corridor and sees the man is on his way to him,pushing his industrial vacuum and trailing a 200 ft. longthick black cord as he goes. Joe goes in to Ed's officewith the woman. He throws her down on the floor in linebetween Ed's desk and the bullet hole in the wall. Shestarts screaming immediately and struggles to get up. Joegrabs the pistol from Ed's dead hand and lifts it to fire,but the woman has turned around and is almost standing. JOE (cont'd) No, no, no. You gotta be turned around. He goes to her, slaps her hard in the face and spins heraround. Before she can turn again Joe races back to placehimself in the proper line at Ed's desk and quickly fires twosilenced shots into the back of her head. The man with thevacuum enters. His eyes begin to widen in reaction to thescene. Just then Joe fires a bullet into the man's chest.The man inadvertently flicks on the vacuum cleaner as hishands rush up to the wound. As the vacuum cleaner whines Joerushes to the man before the man falls back out into thecorridor. He pulls him into the room - the man moaning andclutching his chest, starting to collapse. Joe releases himand the man goes down. The vacuum cleaner seems to bescreeching now in the threshold. Joe fires the last bulletinto the heavy duty vacuum cleaner. The bullet shorts outthe internal wiring of the vacuum. That in turn blows thebuilding's circuit breaker and all the lights go out. JOE (cont'd) (disgusted with himself) Oh ... man! Now he hears voices - voices moving into the corridor. VOICES What the hell .... what happened? What's this cord doing here? It's the vacuum. It's the vacuum what did it. Joe cleans the pistol once again and places it back inEddie's hand - Eddie's finger on the trigger. Joe picks upthe black book - turns and makes his escape by going out theoffice window and quickly descending the rusty fire escape. CUT TO: INT. CONFERENCE ROOM - CENTURY CITY BUILDING - DAY We see three men sitting at a conference table RAYMOND(RAY)HOTT -president of production, wearing a crisp bluesuit,VINCENT DARBY -senior vice-president, wearing a crispgreen suit and ROBERT SMITH -talent manager, wearing a crispbrown suit. Ray and Mr. Darby sit at the head of the tableand Robert Smith sits along the side. A younger man -ADAMKESHER enters and sits down, with an arrogant nonchalance,next to Robert Smith. Adam is dressed in a frumpy oldfashioned plaid shirt, worn jacket, dark blue cotton slacks,and a pair of old brown wing tips. As he sits he is holdingand twirling a vintage "7-iron" golf club. ADAM So what's the problem? RAY There is no problem. ADAM So why did you idiots bring me here? ... I'm in the middle of making a picture. Silence for a moment. A man enters through a rear door andwhispers something to Mr. Darby and shows him something on apiece of paper. Mr. Darby studies the piece of paper. MR. DARBY (to man who entered) What was it last time? The man who entered points to something on the paper. MR. DARBY (cont'd) Okay, let's try the next one. The man nods and leaves. RAY He isn't gonna like it. MR. DARBY We'll see. ADAM Hello ... who're we talkin' about here? Robert Smith shuffles nervously in his chair next to Adam. ROBERT SMITH You see Adam... there are some suggestions which are to be brought forward ... and I know you said you would entertain suggestions and that's all anybody here is asking you to do. ADAM What're you talking about? ROBERT SMITH An open mind ... You're in the process of re-casting your lead actress and I'm... (looks around) We're asking you to keep an open mind. CUT TO: EXT. CENTURY CITY - DAY Before us is a huge modern office building of glass andsteel. Two men in dark suits have exited a large limousineand are walking up into the building. We drift up the facade,higher and higher moving in toward the top of the building. DISSOLVE TO: INT. OFFICE BUILDING - DAY The men exit an elevator and move through a lobby where aplaque beneath an enormous bronze sculpture reads "RyanEntertainment". Gliding we travel behind the two men down awide, carpeted hallway with blonde wood and glass on eachside. They enter through two large blonde wooden doors to theconference room. CUT TO: INT. CONFERENCE ROOM - DAY The men in dark suits go in as if they owned the place. Ray,Mr. Darby and Robert Smith stand immediately. Adam remainsseated. Mr. Darby is the only one near enough to attempt ahand shake, but when he offers his hand it is not taken. Themen in dark suits sit down without wasting a movement andwithout acknowledging anyone. One of the men in a dark suitopens a briefcase. Ray has been trying to makeintroductions. RAY Ah... the Castigliane brothers. Let me introduce you around ... please ... sit down. (after they've already seated themselves) ... this is Mr. Darby whom you know and this is the director Adam Kesher and his manager Robert Smith The Castigliane brothers do not acknowledge any of this,however, during the introductions the one with the briefcaseremoves a photo of a girl and sets it in front of Ray. RAY (cont'd) Ah... she's very pretty. We see the photo of the girl - of a nice looking blonde -someone we've never seen before. Adam looks like he doesn'tknow what's going on and he's getting upset about notknowing. His manager, Robert Smith, is beginning to see themakings of a confrontation - he's starting to panic. MR. DARBY (referring to Castigliane brothers) May I offer you gentlemen anything? LUIGI CASTIGLIANE Espresso. VINCENZO CASTIGLIANE Nothing. ADAM Uh what's the photo for? MR. DARBY (picking up phone and speaking) One espresso ... no, that's it. (sets phone down - addresses Castigliane brothers) I think you're going to enjoy your espresso this time... I've been doing quite a bit of research knowing how hard you are to please... this one comes highly recommended. ADAM What's the photo for? RAY (to Adam) A recommendation... a recommendation to you Adam. VINCENZO CASTIGLIANE Not a recommendation. LUIGI CASTIGLIANE This is the girl. ADAM What girl? For what? What is this Ray? Ray, still standing with a forced smile, turns to theCastigliane brothers. RAY We'd be happy to put her in the pile for considerations ... you'd be pleased to know there's quite a lot of interest in this role. ADAM Interest?! There's six of the top actresses that want this thing. LUIGI CASTIGLIANE This is the girl. ADAM Ray...you better take care of this. ROBERT SMITH Hold on ... hold on, Adam. ADAM Hold on!!!!!!!! There's no way, there's no way!!! Luigi Castigliane's espresso is brought in by the man who hadbeen in earlier. The man sets the espresso down in front ofLuigi and takes a step back. The room becomes silent -watching the Espresso Man and Luigi. Without looking up Luigispeaks softly. LUIGI CASTIGLIANE Napkin. ESPRESSO MAN (leading forward to hear) Pardon? LUIGI CASTIGLIANE Napkin. ESPRESSO MAN Of course. Excuse me. The Espresso Man leaves the room. Luigi looks at theespresso. Vincenzo stares at Adam. Adam is doing his best to stare down Vincenzo. The Espressoman returns with a cloth napkin and lays it down next to theespresso. ESPRESSO MAN (cont'd) Will that be all, Sir? Luigi doesn't answer and after a moment of standing verystill waiting, the Espresso Man turns and leaves the room. Adam is stared down by Vincenzo and averts his eyes to theespresso cup. He looks around at Ray and Mr. Darby - seeingthem stare at the espresso cup. Vincenzo keeps staring at Adam. Luigi picks up the napkin and holds it in his left hand.With his right hand he lifts the espresso cup and places itabove the napkin. He brings the cup and napkin to his mouth.He takes a sip of espresso. A small fleeting expression formson Luigi's impassive face as if for one millisecond he isgoing to vomit. His mouth opens and he allows the espressoto fall and dribble onto the napkin. He pushes any remainingespresso in his mouth out with his tongue. He holds it inthat position for a moment. LUIGI CASTIGLIANE Is shit! Luigi Castigliane stands up. RAY I'm sorry. That was a highly recommended... MR. DARBY That's considered one of the finest espressos in the world , Sir. Luigi just stands there. A small thread on his left suitjacket pocket catches his attention and he smooths it backinto the fabric. Vincenzo closes his briefcase, takes out ahankerchief and cleans his nose - then stands, placing thehandkerchief back in his pocket. ADAM Wait a minute!! What's going on here? Vincenzo just stares toward Adam as if he's not even there. ADAM There's no way that girl is in my movie! Silence. LUIGI CASTIGLIANE That is the girl. The Castigliane brothers begin to leave. Adam stands uptrembling with anger. ADAM Hey!!!!! That girl is not in my film!!! VINCENZO CASTIGLIANE It is no longer your film. Adam turns white and stands very still as this sinks in. TheCastigliane brothers leave. As the big blonde wood doorsclose behind them Adam starts to boil. ADAM (screaming) You'd better fix this, Ray!!! RAY I'll speak to someone. ADAM (turning to his manager) And you'd better speak to someone too ... or find yourself another client!! This smells like a set-up to me! (back to Ray) And by the way, Ray, I don't know who these guys are kidding, but every foot of film I've shot is in a vault at the lab that only I can access. No one's getting that film!! ROBERT SMITH This is a catastrophe... (turning toward Ray) you told me they might insist on a girl, that's all. ADAM Why didn't you tell me, Robert? That's what I mean ... you set me up! I woulda never come here. (standing) I'm leaving. I'm a director you don't want to lose ... you guys better fix this!! Adam storms out of the room. RAY (standing) Well...I didn't know that was going to happen. CUT TO: EXTERIOR - OFFICE BUILDING - CENTURY CITY - DAY Adam exits the building carrying his 7-iron. An attendanttakes his valet parking ticket. While Adam, still fuming,waits for his car he notices the big limo standing off to oneside. He stares at the car and the huge limo driver leaningup against the front driver's side door. Adam's car arrives - a late model Porsche. Before Adam getsinto his car he addresses the attendant. ADAM Did the Castigliane brothers get out of that limo? ATTENDANT They two guys in dark suits? Adam nods and walks over to the limo. The limo driver eyeshim and his 7-iron suspiciously. ADAM Castigliane brothers? LIMO DRIVER Beat it! ADAM O.K. Adam raises his 7-iron and smashes out the limo's windshield.He whacks two big dents in the hood, then smashes out aheadlight. The limo driver starts towards him. Adam laughs,runs to his car and takes off. CUT TO: INT. AUNT RUTH'S APARTMENT - LATER DAY Betty is stretched out on the big leather couch in the livingroom. A half eaten sandwich and chips are on a plate on thecoffee table next to her. She is talking on the phone. BETTY No Grandpa, you wouldn't believe it. It's more beautiful than I ever dreamed ... no she left me a lot of food. The refrigerator's full ... Aunt Ruthie said she'd call me when she got settled... it was real smooth. I sat next to a lady who gave up her first class seat to a boy with a broken leg. She was so nice to me. She invited me to her house sometime. It's in Bel Air which is a place where people have a lot of money... I will. Everybody's telling me to be careful, but I sure love it here Grandpa. Thank you for helping me get here ... yeah, it's long distance. I love you. Say hello to Grams. Give her a big kiss for me. Okay, I love you Grandpa ... bye. Betty hangs up the phone, takes a big bite of her sandwichand lays flat out on the couch, chewing and smiling up at theceiling. She suddenly remembers Rita and her promise to lookin on her. She gets off the couch and goes into the bedroom. CUT TO: INT. BEDROOM - DAY Rita is still asleep when she enters. She leans down andfinds Rita breathing normally. She feels her forehead.Satisfied that all is well, Betty quietly leaves the bedroom. CUT TO: INT. - EXT. APARTMENT - DAY Betty rinses her dishes in the kitchen sink and pours herselfa cup of coffee. She takes the coffee outside to thecourtyard - to a white metal table just outside her doorway.She sits down and stretches in the warm afternoon sun.Across the way she can hear a blues saxophonist practicing inone of the apartments. She drinks her coffee and listens tothe music. Some birds fly by overhead. She takes another sip of coffee.The blues music which was mellow and slow is now building intempo and volume. The phone inside rings. Betty takes hercoffee back into the living room, shutting the door behindher. She crosses to the leather couch and picks up thephone. BETTY (cont'd) Hello ... Aunt Ruth!! I can't tell you how happy I am. Your place is so fantastic! Yes ... Coco...what a character. I really like her... that's too bad...waiting in an airport must not be too fun. What's a mosquito plane? ... Oh I get it. How long does that take from Montreal? ... Well, you'll sleep good tonight ... Hudson Bay sounds beautiful ...oh well, I hope you packed your coat. (laughs). You mean the audition...Wally Brown... she didn't mention it but he'll fax the dialogue to Coco? Suddenly I'm so nervous ... okay Aunt Ruth... I'll try. I'll study those lines until I know them inside out. Yes, either right here on this fabulous leather couch or I'll take them with a coffee in the courtyard like a regular movie star. (laughs). Oh! I got a real shock to find your friend Rita here. She was in the shower and I opened the door ... Rita ... what do you mean? She was in an accident ... your friend Rita. No, Coco unlocked the door. No, she didn't see her. She's sleeping. No... she's very nice. I'm sure there's some explanation, Aunt Ruth... I don't think we have to do that. Please don't worry. I'll take care of it. No, I'll let you know. Where can I ... okay I'll get it from Coco. No, please don't worry... thank you so much for letting me stay here. You've made me so happy... thank you, thank you. Please don't worry... Aunt Ruth we don't need the police. I'll call you when you get to Hudson Bay. Please... please ... Goodbye Aunt Ruth. Betty slowly and quietly hangs up the phone. She sits for amoment listening. Silently she stands and moves toward thebedroom. As she approaches the bedroom door she stops atsomething she sees. Rita is sitting on the edge of the bedcrying quietly. Betty goes into the bedroom. Rita looks upat her with desperation. BETTY (cont'd) You're awake... I think I misunderstood you. I thought you knew my Aunt and that's why you were here. I just talked to my Aunt on the phone and she wants me to call the police. Rita starts crying harder, bows down, covering her face withher hands. BETTY (cont'd) Rita? RITA (crying harder) I'm... sorry. I ...Betty's heart softens. BETTY What is it Rita? RITA (still sobbing) I'm...I'm... oh no... I thought when I woke up... I thought sleep would do it ... Betty kneels down in front of her. BETTY What's wrong? RITA (crying) I don't know who I am. BETTY What do you mean? You're Rita. RITA (crying) I'm not. I don't know what my name is. I don't know who I am!! Betty looks down at the purse next to Rita's dress. She picksit up and hands it to Rita. BETTY This is your purse. Your name must be in your purse. Rita takes the purse with sudden trepidation. She hesitates.Something is worrying her. She looks at Betty for help. BETTY (cont'd) You want to know don't you? RITA I ... yes, but ... I ... BETTY Open it! Rita slowly unzips the purse. The pressure of its contentsforce the mouth of the purse to widen as the zipper opens andthen there is suddenly revealed what will later be known tobe $125,000.00 cash in hundred dollar bills. Both Rita and Betty almost stop breathing. They look at eachother, then back to the money. Rita takes the massive wad of bills out of the purse and setsit on the bed. She reaches back inside and comes up with theonly other remaining item in the purse ... A BLUE KEY. Bettysees Rita's expression change to a kind of horror.(note: This blue key is made of very fine heavy metal anddoes not look like a door key.) CUT TO: INTERIOR - OFFICE BUILDING - DAY Ray crosses a carpeted closed area. He mounts a flight ofstairs. At the top of the stairs there's a plain blonde wooddoor. Ray punches in a code on a security panel next to it.The door opens automatically. Ray passes through and goesdown a narrow hall. At the end of the hall there is a smallelevator. Again Ray punches in a code. The elevator opens andRay goes in. The elevator door closes, but the elevator doesnot move. Ray waits. Finally, a woman's voice comes through aspeaker. WOMAN'S VOICE Who is it please? RAY Raymond Harris ... 20743. The elevator begins to move up. When it stops, the door opensand Ray walks into a windowless reception area where abeautiful Italian woman sits behind a large, blonde, modern,built-in desk. RECEPTIONIST (very quietly) You may go right in, Ray. Ray crosses to a blonde wood double door and waits. Thereceptionist pushes a button behind her desk - chimes soundas the double doors open to an enormous office with nowindows. Heavy rich brown curtains line the walls. Ray enters and the doors close behind him. Ray takes a fewsteps forward, then stops. There is a solid glass wall thatwe now notice running the width of the office. Cut into theglass wall is a small speaker microphone apparatus. Beyondthe glass off in the center of the room is a man sitting in avery plain, blonde, wood, modern, yet not motorized,wheelchair. The man is paralyzed except for his right handand head. His head appears small in relation to the size ofhis body. His suit is immaculate and one of the finest we'veever seen. His manservant stands in the shadows behind him. RAY Good afternoon Mr. Roque. (pronounced Rowk). Mr. Roque stares at Ray silently. RAY (cont'd) Do you want him replaced? Mr. Roque continues to stare. RAY I know they said... MR. ROQUE Then? RAY Then... I guess it's so .... alright, but that means we should ... MR. ROQUE Yes? RAY Shut everything down ... Is that something that...do you want us to shut everything down? Silence. Ray doesn't know what to do. He struggles tointerpret Mr. Roque's silence. He waits. Mr. Roque doesnothing but stare. RAY (cont'd) Then we'll shut everything down. Silence. Ray turns. The doors open as he approaches them and heleaves the room. The doors close. CUT TO: EXTERIOR - OFFICE BUILDING - CENTURY CITY Vincenzo and Luigi are staring silently and withoutexpression at the broken windshield of the limousine. Thelimousine driver suddenly starts signaling to a car enteringthe driveway to the building. He turns to the Castiglianebrothers. LIMO DRIVER The other car is here sirs. Please allow me. The limo driver opens the rear door of the new limo, thenhurries around and opens the other rear door. The new drivergets out of the car. LIMO DRIVER (cont'd) Here's the key to the car. Take it straight to the garage. They're waiting for you. The limo driver closes both back doors after the Castiglianebrothers are seated within. He then gets in himself andmaneuvers the big limo out into traffic. CUT TO: PINK'S CHILI DOGS - DAY Two guys, JOE ( the guy who killed Ed in the sixth flooroffice) and BILLY another unkept, rocker type delivery manare standing waiting for their chili dogs with a girl, LANEY,who could be very good looking but she seems to be in poorhealth. Her hair is long and stringy. She's wearing atight, short sleeve blue sweater, black jeans and boots. BILLY Yeah, sure. Look what happened to them. JOE No, no, no, I told you. They're fine. They're all real happy. BILLY My next delivery is up that way, so I'll be getting down to it real soon. JOE You're so easy. BILLY Gotta keep an eye on her, that's all. JOE Yeah, what for? BILLY Keep her from gettin' in trouble, that's all. The chili dogs arrive and they pay for them. BILLY (cont'd) Can we eat in the van? JOE What's the matter now? BILLY Nothing... I don't like being out in the open like this. JOE It must be just so pathetic being you. Sure Billy, grab your dog we'll eat in the van. The three make their way to the van. Joe looks over atLaney. JOE (cont'd) You sure you don't want anything? LANEY (hesitantly) Not here...no thanks. JOE Not a coke or anything? LANEY No ... thanks though... I'll take a cigarette if you have one. JOE Sure, reach in my shirt pocket there. As Laney is getting her cigarette and lighting it.. JOE (cont'd) Any new girls on the street these days? LANEY (taking her first big drag) No. I haven't seen any. JOE A brunette? ... maybe beat up? LANEY No... JOE You'll keep your eyes open for me won't you baby? LANEY Sure. Joe spanks her butt as she gets in the van. JOE You bet you will. CUT TO: INT. MR. ROQUE'S OFFICE - DAY Mr. Roque, in his wheelchair is still in the center of thehuge softly lit, windowless office. His manservant standingsilently behind him. The small built-in wheelchair phonerings. Mr. Roque pushes a button on a small intricate remotedevice he holds in his right hand. A slender streamlinedmicrophone rises from the arm of the chair. MR. ROQUE Yes? He listens through a high-tech earplant which we now see. MR. ROQUE (cont'd) Thank you. He pushes two buttons, one after another on the remotedevice. We hear a small click, a dial tone, a number beingdialed, and a phone ringing. CUT TO: INT. DARK ELEGANT ROOM - SOMEWHERE - SIMULTANEOUS We see the back of a man's head and just over his shoulder wesee the top of the phone which is ringing. The man picks upthe phone and brings the receiver to his ear. THE MAN Hello. CUT TO: INT. MR. ROQUE'S OFFICE - SIMULTANEOUS MR. ROQUE She's still missing. We hear a small click and the line goes dead. Mr. Roquepushes a button and the microphone descends back into thechair. CUT TO: INT. DARK ELEGANT ROOM - SOMEWHERE Again we see the back of the man's head. He's dialing a newnumber. -He brings the receiver to his ear. We hear a phoneringing - we hear a click- the phone being answered. CUT TO: INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS We see only a black rotary wall phone and a portion of agreasy filthy kitchen - The receiver has already been liftedoff the phone and we see only the cord extending to someoneoff screen. HAIRY-ARMED MAN (off screen) Talk to me... CUT TO: INT. DARK ELEGANT ROOM - SOMEWHERE Again we see only the back of the man's head. THE MAN Same. CUT TO: INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS A man's hairy-arm enters frame and the receiver is placedback on the phone, then immediately picked back up and withthe receiver held in the hand the hairy man dials a newnumber. Part way through the dialing... CUT TO: INT. A BLUE TABLE - SOMEWHERE - SIMULTANEOUS The surface of this table is high gloss ultra smoothmaterial. A very modern phone sits on this table and beginsto ring softly. A hand enters frame - a woman's hand. Theskin is pale white, almost translucent. The fingers are longand seem slightly too large. At the ends of the fingers andthumb are stretched tapered high gloss red fingernails whichslightly curve downward. The forefinger of the hand pressesa button on the phone. A small tone sounds - followed by avery modern sounding coded signal. FADE OUT: INT. - AUNT RUTH'S APARTMENT - day We pull back from Rita's face until we see that Betty andRita are sitting on the leather couch about four feet apartstaring at the floor. They just sit this way for awhile. BETTY Well... what do you think about then? I mean... well what do you think about? RITA What do you mean? BETTY Well ... if you don't remember anything, I mean what goes through your mind then if you don't remember anything? RITA Nothing. I do remember the car crash... I told you... I remember the glass ... I think about that sometimes ... I remember walking here, sort of. Now I remember this place and you. That's about it. BETTY How do you remember how to talk? RITA I don't know. BETTY You don't remember anything else? RITA No (she covers her eyes with her hands) There is something...something there I can't tell... I can't describe it. (struggling to figure it out - to express it) There are things there.... but I'm... here. Betty thinks about what Rita has said. Somehow it seems tomake sense to her. BETTY The money. You don't know where it came from? RITA Unh, unh. BETTY When you think about them... the money... the key ... does it make you remember anything? Silence. RITA The money... I don't know about the money... the key... it makes me feel ... afraid. CUT TO: BEVERLY HILLS CITY STREETS - DAY A car - a late model generic sedan is moving toward us. Twomen dressed in suits and wearing dark glasses are drivingslowly. As they go each man is scanning sidewalks,buildings, passing cars as if hunting for someone. They passby us and as we turn we leave them and pick-up Adam drivingin the opposite direction in the other lane. We stay withAdam. Adam drives his Porsche up a palm lined street. ADAM Office... The voice activated phone connects the line to Adam's office.A secretary answers. SECRETARY Adam Kesher's office. ADAM It's me. Where's Cynthia? SECRETARY She's on the set. I'll connect you Mr. Kesher. Another ringing sound, then a voice. VOICE Stage One. SECRETARY Paul, I have Mr. Kesher for Cynthia. PAUL Right baby, all Hell's broke loose down here. I'll try to find her. Adam listens to dead silence for a moment or two then Cynthiaspeaks. CYNTHIA Adam, where are you? ADAM What's going on, Cynthia? CYNTHIA They've closed the set. They sent everybody home. ADAM What did you say? CYNTHIA They fired everyone. ADAM Who fired everyone? CYNTHIA (starting to cry) Ray did ... and then they closed the set.... everybody's gone. You'd better get down here Adam! ADAM No. CYNTHIA You've got to talk to Ray you've got to fix this. ADAM I'm going home. CYNTHIA Home! Meet me at the office. We've got to do something ... you've got to do something Adam! ADAM I'm going home Cynthia. CYNTHIA Adam, this isn't like you. Please come to the office. There must be something we can do. ADAM I'm going home. I'll call you later. CUT TO: EXT. - 1612 HAVENHURST - DAY ESTABLISH CUT TO: INT . AUNT RUTH'S APARTMENT - DAY The girls are still sitting on the leather couch as before,but now silently off in their own worlds. After a moment... BETTY I wonder where you were going. Betty's question hangs in the air. Slowly we move close toRita who is on the verge of remembering something. Suddenly - RITA Mulholland Drive. BETTY Mulholland Drive? RITA That's where I was going... Mulholland Drive. BETTY Maybe that's where the accident was. There must be a police report. We could call. RITA No.... I don't... BETTY We could call anonymously from a pay phone... just to see if there was an accident. Rita sits worrying. BETTY (cont'd) Come on. It'll be just like in the movies. We'll pretend to be someone else. I want to walk around anyway. I'm in Hollywood and I haven't even seen any of it. Come on Rita. Do you feel up to it? RITA Okay... but just...just to see. BETTY Just to see if there was an accident on Mulholland Drive. RITA (tentatively) Okay. BETTY Come on... let's find you something to wear. CUT TO: AUNT RUTH'S BEDROOM - DAY Betty laughs as she holds one of Ruth's dresses in front ofRita. BETTY It's terrible ... My Aunt dresses like Miss Marple. (off a blank stare from Rita ) She's kind of a frumpy woman detective in British movies. Rita laughs along with Betty. Betty goes back in the closet. BETTY (cont'd) Here's something okay. She brings out a pair of khaki pants. BETTY (cont'd) Try these on. You can wear one of my T- shirts with it and it won't look bad with those sandals. CUT TO: EXT. ADAM'S HOUSE - BEL AIR Adam pulls into his driveway, but is blocked from enteringthe garage by a poolman's truck. He gets out of the car andlooks at the truck - sees the insignia on the door which is ablue square with the word "Gene" above and the word "Clean"below. Adam hears steps behind him and turns. A JAPANESEGARDENER is coming toward him smiling and bowing. JAPANESE GARDENER Ah, Mister ... you remember me. I am Taka. your gardener. For long time I not see you. I pleased to see you. Taka reaches out his hand and Adam shakes it. ADAM Hello Taka. It's 'cause I'm never home in the day time. It's good to see you again. The garden looks great. Taka bows, smiling and nodding, and goes back to work. Adamheads toward the front door of his house. CUT TO: INT. - ADAM'S HOUSE - DAY Adam enters, puts his 7-iron in his golf bag just inside thedoor, then looks around. He can see the pool through a wallof plate glass windows, but there is no one visible poolside. ADAM (calling out) Lorraine... (then louder) Lorraine ... you home? He hears a noise, something falling. He walks in thedirection of the noise. It leads him to his bedroom. Hisexpression darkens as he approaches the closed door. Hehears voices as he throws the door open. LORRAINE and the poolman GENE are in bed. LORRAINE Now, you've done it! GENE Just forget you ever saw it. It's better that way. LORRAINE What the hell are you even doing here? Adam stands stunned for a moment. Then finds himself walkingover to the dresser and opening the top drawer. He removes alarge case. LORRAINE (cont'd) What are you doing? Adam starts walking out of the bedroom with the case. LORRAINE (cont'd) THAT'S MY JEWELRY!!! Adam leaves the bedroom and starts through the house. Hegoes into the kitchen and looks around - numb but trying tothink. CUT TO: INT. ADAM AND LORRAINE'S BEDROOM - DAY Lorraine is getting dressed as fast as she can. LORRAINE That bastard! GENE He's probably upset Lorraine. CUT TO: INT. ADAM'S KITCHEN - DAY Adam leaves the kitchen and goes out into the garage. Heturns on the light and looks around. He spots some paintcans on a shelf and grabs one and goes back into the kitchen.He can hear Lorraine calling his name. She seems to becoming closer. He sets the jewelry case and the paint can onthe floor, kneels down and opens the paint can with his carkey. Just as Lorraine enters the kitchen, he opens thejewelry box and empties the 3/4 full gallon can of Hot Pinkpaint into her jewelry case. LORRAINE WHAT.. ARE ... YOU ... DOING!!!??? He puts his hands into the paint and jewels and smushes themabout. Lorraine rushes toward him. LORRAINE (cont'd) STOP IT!!! Lorraine grabs hold of him. Starts pulling his hair,slapping his face. She tears his jacket. Adam stands all atonce and with his wet Hot Pink hands he pushes Lorraine andslams her into the kitchen counter just as Gene the poolmanenters. Gene grabs ahold of Adam, cocks back and slams hishuge suntanned fist into Adam's face. GENE That's not a way to treat your wife, buddy. I don't care what she's done. Adam gets up off the floor bleeding from the nose and triesto hit Gene. Gene blocks his punch and slams Adam again,knocking him down to the kitchen floor where he lands andspills the jewelry case. Adam, now covered with paint, ispicked up by Gene and thrown out toward the front door. LORRAINE Throw him out! Lorraine opens the front door while Gene picks Adam up, moveshim across the carpet and heaves him out onto the front lawn.Lorraine slams the door behind him. Adam picks himself up, severely dazed and bleeding prettybadly, he heads for his car. Taka stops gardening and smiles and bows at Adam as he getsinto his car. Adam drives away - pink paint and red blood all over. CUT TO: INT. AUNT RUTH'S BEDROOM - DAY Rita is now dressed to go out and is studying herself in amirror. She turns and her gaze falls to her purse. Shepicks it up and looks questioningly at Betty. BETTY (cont'd) No ... you shouldn't take that. Let's hide it. They look around the room... There's a hatbox in the closetabove the clothes rack. Betty brings it down, takes out thehat, and Rita puts the purse inside. Betty puts the hat overthe purse in the hatbox and puts in back in the closet.Betty puts out her hand. Rita looks at it for a moment,smiles, and they shake. CUT TO: EXT. APARTMENT COURTYARD - DAY All dressed now Betty and Rita leave Aunt Ruth's apartmentand walk across the courtyard past Coco's apartment and outthrough the iron gates. No one is about. CUT TO: EXT. HOLLYWOOD RESIDENTIAL STREET - DAY Betty and Rita walk along. Birds are chirping in the treeswhich line both sides of the street. Betty is smiling andonce again looking around at everything. Her good mood andexcitement about life lifts Rita's spirits. Coming toward them on the sidewalk are two people - a middle-aged woman and a young boy around 10 years old. The boy isvery thin and something is wrong with him as he is walkingawkwardly on crutches. As the two groups pass each other onthe sidewalk Betty is struck deeply by the boy's brilliant,luminous blue eyes which are at once innocent and filled withwisdom. After they pass each other Betty turns back and sees the boyand the woman enter 1612 Havenhurst. Betty and Rita continueup the street. CUT TO: EXT. SUNSET BOULEVARD - DAY The girls walk along the busy boulevard, past guitar shops,video stores. Betty is looking for a payphone. Rita's eyesdart back and forth nervously. She's beginning to feelfrightened. CUT TO: PAYPHONE ON RED BRICK WALL - DAY We see the red brick building. It is Denny's. Betty andRita are walking to the payphone. Betty digs out some changefrom her purse. She picks up the receiver, drops in aquarter and dials the "0" for Operator. An Operator answers. BETTY Hollywood Police Department please. OPERATOR Is this an emergency? BETTY No, no, I just want the number. OPERATOR Hold for the number. Betty gets the number for the Hollywood Police Station, re-deposits the quarter and dials. VOICE Hollywood Police Department BETTY I'm inquiring about an accident that happened last night on Mulholland Drive. VOICE Hold please. I'll connect you to traffic. Betty holds. SERGEANT BAXTER Traffic. Sergeant Baxter speaking. BETTY Hi. I'm inquiring ...well, I heard a sound last night that sounded like a car crash and I want to know if there was an accident on Mulholland Drive. SERGEANT BAXTER Yes, there was. BETTY Can you tell me what happened? SERGEANT BAXTER No. I can't. BETTY Was anyone hurt? SERGEANT BAXTER May I have your name please? Betty hangs up. She turns to Rita smiling like a girl who'sdone something bad and gotten away with it. BETTY There was an accident. He wouldn't tell me anything else, but that was your accident Rita. I just know it was. Maybe there's something about it in the papers. Come on I'll buy you a cup of coffee and we can see. Betty and Rita enter Denny's. CUT TO: INT.- DENNY'S - DAY Rita and Betty are seated next to the table where Dan andHerb sat earlier in the day. They both have a cup of coffeein front of them. Betty has a newspaper open and she isscanning the last pages. BETTY (cont'd) Maybe it happened so late it's not going to be in today's paper. RITA There's nothing? BETTY Not that I can see. The same waitress - Diane, comes up to the girl's table andfreshens up their coffee. Betty looks up and smiles, seesDiane's nameplate. BETTY (cont'd) Thank you ... Diane. Rita shoots a look from Betty to Diane to the nameplate. CUT TO: close-up nameplate The word "DIANE" is huge from Rita's POV. CUT TO: Back to scene Diane finishes pouring Rita's cup and smiles at Betty. DIANE You're welcome. Will that be all? You want your check? BETTY Just the coffee. Rita, you want something? RITA (still staring at the nameplate - thinking) No. Just the coffee. BETTY We'll take our check. Diane searches through her many checks to find Betty andRita's. The manager of Denny's, standing with a woman in a bluedress, calls Diane's name. Diane turns and looks to themanager and the woman. A fleeting fear goes through hereyes. She surreptitiously reaches in her pocket and takesout a Mont Blanc fountain pen which she puts under Betty'scheck as she places it on their table. She does this veryquickly but Betty notices this and Diane notices Bettynoticing. Diane walks quickly over to the manager and thewoman in the blue dress. Betty turns and watches a heatedconversation that she can't hear, but she sees the woman inthe blue dress searching her purse and shrugging and thenleaving. The manager says something to Diane and Diane turns herpockets inside out and pats herself down in front of themanager showing him her innocence. He waves her off and shegoes behind the counter to retrieve an order of food. Bettystops watching and turns her attention to Rita, who is tenseand lost in a thought. BETTY (cont'd) What is it Rita? RITA (without moving a muscle) Shhhh. At that moment Diane the waitress reappears at their table.Diane looks Betty in the eye and while looking at Betty herleft hand slides the Mont Blanc out from under the check andback into her pocket. DIANE Thank you. Come in again. Betty holds her gaze. BETTY You're welcome. We will. Relieved Diane leaves and goes about her business. Bettylooks over at Rita waiting for her to tell her something.Rita slowly turns and focuses on Betty. RITA I remember something... I remember something! CUT TO: EXT. - HAVENHURST - DAY Betty and Rita are walking back to the apartment. We seethem from a distance. They are talking and gesturing in anexcited and animated way. Just after they enter through theiron gates of 1612 Havenhurst and are out of sight we noticea car moving slowly up Havenhurst toward us. We notice twomen in the front seat who seem to be looking around forsomething. CUT TO: INT. - AUNT RUTH'S APARTMENT - DAY The door slams shut. Rita grabs Betty's shoulders. RITA Diane Selwyn. Maybe it's my name. CUT TO: AUNT RUTH'S APARTMENT - MOMENTS LATER Betty and Rita are sitting next to each other on the leathercouch. Betty is rifling through the phone book. She findsthe listings for Selwyn. Her finger drifts down and finds D.Selwyn followed by an address and phone number. It is theonly Selwyn with a D. first name. She hands the phone toRita. BETTY Strange to be calling yourself. RITA Maybe it's not me. BETTY Call the number. Betty reads the number off and Rita pushes the correspondingbuttons. Each tone seems to be louder than the last. Theringing seems deafening. There's a click and the phone isanswered - by a machine. A woman's voice is heard - loudly. WOMAN'S VOICE (coming from answering machine) Hi ... this is me. Leave me a message. Betty now has her ear pressed up against the phone also -straining to hear everything. The machine starts recording.Betty hangs up the phone immediately. RITA It's not my voice ... but I know her. BETTY Maybe the voice isn't Diane Selwyn. Maybe that's your roommate or if it is Diane Selwyn she can tell you who you are. RITA Maybe...maybe ... maybe. CUT TO: EXT. - ADAM'S HOUSE - AFTERNOON Taka is bowing and smiling and nodding to someone we don'tsee. TAKA'S POV - A man, KENNY, in a sharp black suit is walkingdown the driveway past Gene the Poolman's truck to the frontdoor of Adam's house. Parked at the street is a big limowith Vincenzo and Luigi Castigliane sitting in the back. Kenny knocks on Adam's front door. Lorraine answers.Lorraine's hands are covered with pink paint. Pink paint ison her face and clothes. KENNY Adam Kesher...he... LORRAINE Yeah, right ... get lost! She slams the door, but Kenny's foot stops it and pushes itback with a force that shakes the wall as the door slams openonce again. Kenny enters the house. KENNY This is Adam Kesher's house. Where... LORRAINE Like hell it is! Get out ... NOW!!! Gene comes out of the kitchen fast, his hands covered withpink paint. GENE I guess you don't understand English. She asked to leave. Here's the door. Gene grabs hold of Kenny and starts to push him out the door.Kenny rabbit punches Gene in the nose with lightning speed -his fist like a sledgehammer. Gene goes down. Lorraineshrieks and leaps on Kenny. Her long fingernails going forhis eyes. Kenny slaps Lorraine hard. The shriek stopsinstantly and she falls out cold on the carpet. Gene is backup and going for Kenny. Kenny gets three punches in on Gene'shead before Gene hits the ground unconscious. Kenny rubs somepink paint off his hands and tries to get a pink stain offhis jacket. He begins walking around the house calling outfor Adam. He sees nothing and hears nothing. He goes back tothe front door and sees Adam's golf clubs sitting there.Kenny begins snapping the shaft of each club. As he snapseach club we see Lorraine and Gene remain out cold on thefloor. And in the kitchen we see that the tap is on and the sinkwater is now overflowing from the sink and jewelry box -spilling out onto the kitchen floor. Finishing his work withthe vintage golf clubs - Kenny leaves. CUT TO: EXT. - ADAM'S HOUSE - AFTERNOON Kenny jumps into the front seat of the limo. Vincenzo andLuigi nod to the driver and they take off. Taka hoes some weeds beneath a Jacaranda. CUT TO: L.A. AERIAL SHOT HIGH ANGLE - NIGHT Night descends on Los Angeles. Millions of lights down belowtwinkle like stars. CUT TO: EXT. 1612 HAVENHURST - NIGHT We see the courtyard at night. Some of the apartment windowshave dim, warm lights. Most all is in darkness. The onlysound is the water flowing in the fountain with muted distanttraffic. Far away a siren wails softly. CUT TO: INT. AUNT RUTH'S APARTMENT - NIGHT Betty and Rita are on their hands and knees around the coffeetable. A map of L.A. is unfolded and Betty is running herfinger along a street. Her finger stops. BETTY It's right about here on Sierra Bonita. That's not too far away. CUT TO: EXT. COURTYARD - SIMULTANEOUS An older, beautiful woman - drunk, is walking slowly -strangely toward the door of Aunt Ruth's apartment. CUT TO: INT. AUNT RUTH'S APARTMENT - NIGHT - SIMULTANEOUS BETTY What's wrong with that? RITA I'm not sure about this. BETTY I know you're afraid of something. We'll be careful. Tomorrow we'll go over there and we'll find out. CUT TO: EXT. 1612 HAVENHURST COURTYARD - NIGHT The woman moves up to the door we see her face. Her eyes havethe eerie look of one possessed. She knocks mechanically onthe door. CUT TO:INT. AUNT RUTH'S APARTMENT Betty and Rita both turn with alarm. Betty gets up, staresat the door, then at Rita. Rita waits, not knowing what todo. BETTY It'll be okay. Betty opens the door. Betty finds the face of the actress,LOUISE BONNER, staring questioningly at her. BETTY (cont'd) Yes? May I help you? LOUISE Where is Ruth? BETTY Ruth's gone on a film. I'm her niece Betty. Who are you? LOUISE Someone is in trouble. Who are you? Why are you in Ruth's apartment? BETTY I'm her niece. She's letting me stay here. My name is Betty. LOUISE No it isn't. That's not it. That's not what she said. Something bad's happening. Where's Ruth? BETTY I'm sorry, but I don't know who you are and I'm... COCO Louise... what're are you doing Louise? Louise turns and sees Coco approaching across the courtyard. LOUISE Where have you been Coco? God, I've been trying to find you all afternoon since 3:00 o'clock. That one is in my room and she won't leave. I want you to get her out. I want you to get her out now. Coco comes up and grabs hold of Louise. She turns over toBetty. COCO This is Louise Bonner. I'm sure she meant well. (looking over to Louise) This is Betty, Ruth's niece. In fact and fortunately I was just coming to see Betty. Betty's a young actress and I'm delivering faxed pages of a scene for her audition tomorrow. Here they are honey. Now come along Louise and I'll take you home. (back to Betty) Sorry about this. Sometimes it happens. LOUISE No, she said it was someone else in trouble. COCO Stop it, Louise. Let's get you home ... goodnight Betty. Coco takes Louise back through the darkness of the courtyard.Betty closes the door and turns. BETTY Whoa! She catches Rita's look. Rita is staring at her, horrified. CUT TO: EXT. BEVERLY HILLS HOTEL - NIGHT Establish INT. BEVERLY HILLS HOTEL - CORRIDOR OUTSIDE ROOM 214 A Hotel Manager is walking toward the door of room 214. Heknocks softly on the door. The door opens and Adam Kesher isstanding there - still beaten looking with remnants of pinkpaint. ADAM Yes...what is it? HOTEL MANAGER I'm sorry Mr. Kesher, but there seems to be some problem concerning your credit card. ADAM ... What?? HOTEL MANAGER The fact is Mr. Kesher a representative of your bank called us. ADAM How... how'd they know I was here? HOTEL MANAGER I don't know. All we do is take an impression of the credit card and until you check out it just sits in our files. ADAM So, what did they say? HOTEL MANAGER Well, Sir, I'm afraid they said you're overdrawn at your bank and your line of credit has been cancelled. ADAM Unbelievable. Look... here. (Adam taking out his wallet.) I don't know what's going on. That's so much baloney. I've got enough cash for one night, okay? HOTEL MANAGER That's fine, Mr. Kesher. You can pay cash when you check out. I'm sorry. it was my duty to inform you. ADAM Fine. I'll check out in the morning. HOTEL MANAGER Have a good evening, Mr. Kesher. The Hotel Manager turns to leave and Adam closes the door. CUT TO: INT. ROOM 214 - NIGHT Adam crosses the room to the phone and dials a number. Thephone is answered. ADAM Someone's shut off my money! CYNTHIA I know. Where are you Adam? ADAM What do you mean "you know"? CYNTHIA Someone called me. When they couldn't get you they told me you were as good as broke. I didn't believe then, so I made some calls. ADAM And? CYNTHIA You're broke! ADAM But I'm not broke. CYNTHIA I know, but you're broke. Where are you? ADAM Beverly Hills Hotel. I've got enough cash in my pocket for one night. CYNTHIA Do you know somebody called the The Cowboy? ADAM The Cowboy?? CYNTHIA Yeah, the Cowboy. This guy, the Cowboy, wants to see you. Jason said he thought it would be a good idea. ADAM Oh, Jason thought it would be a good idea for me to meet the Cowboy. Should I wear my ten gallon hat and my six shooters? CYNTHIA Something tells me this guy is connected with what's happening, Adam, and I think you should do it and I think you should do it right away. ADAM Cynthia...what's going on? CYNTHIA It's been a very strange day. ADAM And getting stranger. Where do I meet this Cowboy? I mean do I have to ride out to the range? CYNTHIA Sort of, funny boy. If I tell him the meeting's on you're to go to the top of Beachwood Canyon. There's a corral up there where he'll be. ADAM You gotta be kidding? CYNTHIA Will you meet with him? ADAM Yeah, sure. It is that kind of a day. When? CYNTHIA I'll call him, then call you back...If you want you could stay at my place. ADAM Cynthia... that would not be a good idea. CYNTHIA I'm just offering a place to stay. ADAM I understand, Cynthia and thank you for the offer. I'll find a place. Now go ahead and give the Cowboy a yodel and get back to me. CYNTHIA Okay, but you don't know what you're missing. ADAM Git along little dowgie and call me back. Adam hangs up and seems to sag, cupping his forehead and eyeswith his hand. CUT TO: EXT. BEACHWOOD CANYON - NIGHT Adam, in his Porsche, makes his way up the canyon. INT. PORSCHE Adam feeling like a fool drives up the dark, winding canyonroad. As he nears the top of the canyon the residential areagives way to desert brush. The road winds steeply up to adark dead end where an old barn and stable sit. Adam parks ina little dirt lot and walk up past the barn to the corral.His eyes grow accustomed to the dark and he.looks about. Noone is around. There's only a light wind and a few twinklingstars in the sky above. Suddenly some bare bulbs hanging fromthe corral gate flare up. Adam hears a noise in thebrightness and turns. There walking toward him into the lightis the Cowboy - dressed in clean blue denim jeans, well-oiledunscuffed, beautifully engraved cowboy boots, a redembroidered ivory buttoned cowboy shirt complete with stringtie. Atop the Cowboy's head is a 10 X white Stetson. TheCowboy is smiling warmly as he approaches. He stops in frontof Adam and begins to speak with a true, slow Western drawl. COWBOY Howdy! ADAM Howdy to you. COWBOY Beautiful night. ADAM Yeah. COWBOY Sure want to thank ya for drivin' all the way up to see me from that Beverly Hills Hotel. ADAM No problem. What's on your mind? COWBOY Well now, here's a man who wants to get right to it. Kinda anxious to get to it are ya? ADAM Whatever. COWBOY A man's attitude ... a man's attitude goes some ways toward how a man's life will be. Is that somethin' you agree with? ADAM Sure. COWBOY Now... did you answer cause you thought that's what I wanted to hear or did you think about what I said and answer cause you truly believe that to be right? ADAM I agree with what you said...truly. COWBOY What did I say? ADAM That a man's attitude determines to a large extent how his life will be. COWBOY So since you agree I guess you could be a person who does not care about the good life. ADAM How's that? COWBOY Well, just stop for a little second and think about it. Will ya do that for me? ADAM Okay, I'm thinking. COWBOY No. You're too busy being a smart aleck to be thinkin'. Now I want ya to think and quit bein' such a smart aleck. Can ya do that for me? ADAM Look ... where's this going? What do you want me to do? COWBOY There's sometimes a buggy. How many drivers does a buggy have? ADAM One. COWBOY So let's just say I'm drivin' this buggy and you fix your attitude and you can ride along with me. ADAM Okay. COWBOY Now I know a few things. I know you have had a rough day. You're probably thinkin' I don't know the half of it, but in actual fact I know every part of it. The business of gittin' thrown off your movie, the heartache of seeing your wife with another man... losin' access to that precious film vault... Adam suddenly looks stunned, unsure. COWBOY (cont'd) ... realizin' you don't have hardly a nickel to your name and then add on to that the sickenin' feeling some men are gonna catch you and hurt you bad for bustin' their vehicle. Some days are like that. They are rough, but what will tomorrow bring? Will it be better than today? The same ... or worse? A lot of that is up to us individually. Up to us and our attitude. When the Castigliane brothers said "This is no longer your film," they meant it, but they didn't mean you were not going to direct it. I want you to go back to work tomorrow. You were re-casting the lead actress anyway ... audition many girls for the part. When you see the girl that was shown to you earlier today, you will say " This is the girl." The rest of the cast can stay- that is up to you, but that lead girl is not up to you. Now, you will see me one more time if you do good. You will see me two more times if you do bad. Good night. The Cowboy turns and walks until he is engulfed in darkness.Through the darkness Adam hears the sound of a car dooropening and closing, then another opening and closing andthen the sound of the car driving away. Adam walks up in thedirection the Cowboy took, but he sees no sign of a car norany dust nor any road. He goes back down past the barn andstables to his car. There standing by his Porsche is theCowboy. COWBOY (cont'd) You thinkin' this'll work out, cause I was thinkin' it just might. ADAM It will work out. COWBOY Good then, but, just in case, that bank's gonna stay closed a bit longer. You understand that? ADAM I understand. COWBOY You're an understandin' fella. ADAM So, this is the last time I see you then unless I do bad? COWBOY No, this one doesn't count. It's part of the original one. So then ... until we meet again. ADAM Okay. Adam gets in his car and drives off leaving the Cowboysmiling behind him. CUT TO: EXT. HOLLYWOOD - MORNING We see the rays of the rising sun falling on the huge lettersof the HOLLYWOOD SIGN and the hills surrounding it. CUT TO: INT. AUNT RUTH'S APARTMENT. - MORNING We see Rita's face as we hear Betty off screen. BETTY "You're still here?" RITA "I came back. I thought that's what you wanted." We see Betty. BETTY (angrily) "Nobody wants you here!" Moving back we realize that the girls are acting out Betty'saudition scene. Rita is reading her lines. RITA "Really?" BETTY "My parents are right upstairs! They think you've left..." RITA "So... surprise"... BETTY "I can call them... I can call my dad... " RITA "But you won't..." BETTY "You're playing a dangerous game here. If you're trying to blackmail me... it's not going to work." RITA "You know what I want...it's not that difficult." BETTY (furious) "Get out! Get out before I call my dad ... he trusts you ... your his best friend. This will be the end of everything... " RITA "What about you? What will your dad think about you?" BETTY "Stop! Just Stop! That's what you said from the beginning. If I tell what happened... they'll arrest you and put you in jail, so get out of here before..." RITA "Before what?" Betty pulls a table knife out from behind her back. BETTY "Before I kill you." RITA "Then they'd put you in jail." Betty mimes with moving fingers tears flowing from her eyes. BETTY Cry, cry, cry, and then I say with big emotion, "I hate you... I hate us both!" Betty drops the kitchen knife and both girls start laughing. BETTY (cont'd) Such a lame scene. RITA But you are really good. Betty mimes tapping a cigarette in a cigarette holder alaDietrich. BETTY Thank you dahling! CUT TO: INT. COCO'S APARTMENT - DAY On the move Coco is just bringing her cigarette in its holderup to her painted red lips. The phone is ringing and she'scrossing the room to answer it. COCO (into phone) Hello ... Ruthie... How's the great up north? ... Oh, I'm sorry to hear it ... what? Well, I haven't seen her if she's in there. Now, Ruthie there's nothing to worry about. I saw Betty last night and she was just fine. Yes, and I gave them to her. She's a real nice kid, Ruthie. Now stop worrying, will ya. I'll go over and have a look around. I will. I've got the production office number. I'll find you. Now keep your socks on up there and take lots of "C." Goodbye honey. Coco puts down the receiver with a long sigh. CUT TO: INT. AUNT RUTH'S APARTMENT - DAY Betty and Rita are sitting on the leather couch having somecoffee. The front door to the apartment is open and sunlightis pouring in through the screen door. Betty looks at herwatch. BETTY Oh, no wonder I'm starving. I'm going to fix a sandwich. You want one? RITA I'm all right. BETTY You've got to eat something. You're just nervous about going over to see if you're Diane Selwyn. Rita just looks at her. Betty starts for the kitchen. BETTY (cont'd) Suit yourself. I'll share mine with you if you change your mind. Betty goes into the kitchen. Suddenly there's a knock on thescreen door and Coco peers in, seeing Rita on the couch.Rita looks up ... panicked. COCO Hi! Who are you? RITA Uh...Betty!? Betty comes out from the kitchen and sees the situation. COCO Can I see you outside a minute Betty? Betty walks past Rita, pats her on the shoulder and goesoutside to see Coco who has moved away to wait. CUT TO: EXT. COURTYARD 1612 HAVENHURST - DAY The screen door slams. Coco and Betty face each other close,out of earshot of Rita. COCO Your Aunt called me. BETTY I was afraid of that. COCO She wants to know who's staying in her apartment. BETTY (slowly, deliberately) It's just for a night or two, until she finds her own place. I tried to explain that to Aunt Ruth, but the connection was bad and her plane was leaving and she got it all mixed up. I kept telling her it was my friend and she kept saying she didn't know any Ritas ... COCO Sweetie, look at me straight. Betty lifts her eyes to Coco's. Direct, clear. BETTY Coco...she's very nice. We went to school together. COCO So I guess your Grandpa and Grandma know her. BETTY Not really. I met her in junior college and she was from this other town. Coco looks hard into Betty's innocent face. BETTY (cont'd) You can call my grandparents ... I'm sure they'd tell you that I don't lie and I sure wouldn't allow a stranger to invade my Aunt Ruth's apartment. COCO Honey... I was married to a director for thirty years. He had an uncanny ability to read people. Maybe some of it rubbed off on me or maybe I had it all along ... you're a good kid... What you're telling me is a load of horse - pucky but it comes from a good place. I'll trust you to sort this out. Now I'm not going against Ruth. She's got enough to worry about up there in Canada. If she asks- I'm going to say everything is okay, and you make sure it is. (Coco places her hand on Betty's shoulder and squeezes it) If you need any help you know where to find me. Betty puts her hand on Coco's shoulder and gives her asqueeze. BETTY You're really something Coco...thank you. COCO Don't make me out to be a sucker. Louise Bonner says there's trouble in there. You remember last night. Sometimes she's wrong, but if there is trouble - get rid of it. Coco turns and walks away. Betty studies her and thinksabout what she said before turning and going back inside. CUT TO: INT. AUNT RUTH'S APARTMENT - SAME Betty enters through the screen door. Rita studies her. RITA Is everything all right? Is it bad for you that I'm here? BETTY (slightly forcing a broad smile) Everything is A-okay, but I've gotta get that sandwich! On her way to the kitchen she checks her watch. BETTY (cont'd) And I've got an audition in one hour. CUT TO: INT. HOLLYWOOD POLICE STATION - DAY Detective Neal Domgaard throws two wallets down on the deskin front of Detective Harry McKnight. Harry pauses in themiddle of a large bite of grilled cheese sandwich with baconand tomato. He looks down and studies the wallets. DETECTIVE HARRY MCKNIGHT (biting in and chewing) Nice wallets. DETECTIVE NEAL DOMGAARD Handstitched Italian. Filled with phony credit cards ... off the two guys in the Caddy. DETECTIVE HARRY MCKNIGHT The one of 'em still alive? DETECTIVE NEAL DOMGAARD Yeah... just .... Dr. Scott's got 'im. You remember Dr.Scott. DETECTIVE HARRY MCKNIGHT Oh yeah. DETECTIVE NEAL DOMGAARD Well he said... you know in his way... you know what I mean? Besides the guy gettin' rolled up under the kids car which busted him up pretty bad, there was this little knife-like torn piece of metal, you know, off the car body, rolled out and slid up through this guy's neck and just kinda slit his aorta, you know, but they didn't find it right away, so the guy's losin' a lot of blood, you know, to the brain - all this time cause it was just like this thin little puncture wound on the surface of his neck that kinda sealed itself, he said, while inside the aorta is bleedin' pretty steady all that time. So, Dr. Scott's laughin' you know like he does 'cause he knows we want to talk to this guy. He's laughin' you know and shakin'... Son of a bitch couldn't stop laughin'... It was kinda contagious 'cause pretty soon we were all laughin'...the nurse was laughin'. You know how he is. DETECTIVE HARRY MCKNIGHT Find out who they are? DETECTIVE NEAL DOMGAARD Nope, not yet. Their fingerprints don't match up anywhere. DETECTIVE HARRY MCKNIGHT (another big bite - chewing) Interesting. DETECTIVE NEAL DOMGAARD Yeah ... and they both use the same address. DETECTIVE HARRY MCKNIGHT Where at? DETECTIVE NEAL DOMGAARD Palmdale. DETECTIVE HARRY MCKNIGHT Damn, that's a long drive. CUT TO: EXT. - COURTYARD 1612 HAVENHURST - DAY Betty is coming out of Aunt Ruth's apartment. She callsback in to Rita. BETTY I hope I'm back in a couple of hours. Don't drink all the coke. (we hear laughter from inside and Rita call out.) RITA Good luck! BETTY When I get back I'll have the cab waiting, so be ready to go. RITA Okay. Betty closes the door and heads across the courtyard. Sheknocks on Coco's door and in a moment Coco answers. BETTY Sorry to trouble you, Coco. COCO It's all right gorgeous. Something wrong? BETTY No, no. I'm on my way to my audition. Before I go I wanted to ask you if you could remember the man's name ... Aunt Ruthie's friend who helped put this together. It completely went out of my mind. COCO His name's Wally Brown .... great guy. Been in the business since forever. BETTY Thanks Coco. It'd be so embarrassing COCO Naw! He wouldn't have cared. Just give him a good performance and he'll be happy and I've got a feeling you'll do just that. BETTY Thanks Coco. I'll let you know. COCO Get going. You don't want to be late. BETTY Right. See ya. COCO Good luck, honey! Betty takes off through the iron gates and Coco smiles as shewatches her go. CUT TO: INT. CAB - DAY Betty is wide-eyed and filled with awe at something she isseeing. CUT TO: EXT. - PARAMOUNT STUDIOS - MAIN ENTRANCE GATE - DAY The cab pulls up to the gate. Betty pays the driver and getsout. She-stands for a moment staring at a dream. She walks through the gate and as she goes is stopped by aPARAMOUNT GUARD. PARAMOUNT GUARD And where do we think we're going, Miss? Betty stops and turns. BETTY To my audition. PARAMOUNT GUARD And who are we auditioning for today? BETTY Wally Brown. PARAMOUNT GUARD And do we know which of the fifty-seven buildings Wally Brown is in? BETTY (smiling) No, we don't. PARAMOUNT GUARD Well, now we've got to figure that out first don't we? BETTY Yes, Sir. PARAMOUNT GUARD Mr.Wallace Brown is in the Executive Building on the second floor. We want to go in and turn right at the first street. Then we want to walk three blocks down past Stage 17 to the white Executive Building. Once we're on the second floor the receptionist will take us from there. Now do we have name? BETTY Betty Elms. PARAMOUNT GUARD Let's see if we have a pass for Betty Elms ... and we do. Here we go. And good luck Miss. Elms. BETTY Thank you... thank you very much. CUT TO: INT. EXECUTIVE BUILDING - SECOND FLOOR - DAY Betty finishes climbing some stairs and crosses to thereceptionist. She hands over her pass. The receptionistlooks at it, hands it back to Betty and points down the hallto her left. RECEPTIONIST Number 43, on the left. BETTY Thank you. Betty walks down the long corridor past several offices. Thedoor to office 43 is open when she arrives and she enters alarge sitting room with a receptionist at a desk off to oneside. RECEPTIONIST May I help you? BETTY My name is Betty Elms. I'm here to audition for... Mr. Brown RECEPTIONIST Good. Perfect timing. Have a seat and I'll get Mr. Brown. The receptionist stands, walks to a door, knocks twice, thenenters. She closes the door behind her and Betty is alone in thesitting room. She sits on a couch and looks at the oldmovie posters covering all four walls. In a moment the same door opens again and an elderly,distinguished looking gentleman WALLY BROWN comes outsmiling. Betty stands up immediately. WALLY Betty Elms? BETTY Yes. WALLY I'm Wally Brown. Your Aunt is a very dear friend of mine so it's particularly nice to meet you. BETTY Very pleased to meet you. WALLY Come in. I'd like you to meet everyone. As they walk into Wally's office... WALLY (cont'd) I took the liberty of inviting an extra person to see your audition. She saw your resume picture and was very interested in meeting you. Inside Wally's office several people rise out of chairs whenWally enters with Betty. WALLY (cont'd) Betty Elms this is Jack Taft, my assistant, Jimmy Katz who we've already cast for the part of "Chuck". He'll be doing the scene with you. This is Julie Chadwick and Bob Brooker, the director, and our surprise guest is Sarah James. We couldn't afford her to cast our picture, but as casting agents go she's the best. SARAH JAMES Why thank you, Wally. Hello Betty. She and Betty shake hands. BETTY Pleased to meet you. SARAH JAMES This is Nicki, my assistant. Nicki, a very stylish, thin girl with black cat-eyed glassesnods coolly to Betty. WALLY And this is Martha, Martha Johnson, who you met out front. Betty nervously smiles to the room. BETTY Hi. WALLY Well. Shall we get to it? Would you like a water or a coffee before we begin? Betty's hands are beginning to sweat. BETTY No, no, I'm fine. WALLY Well then, take a seat everyone. Betty why don't you join Jimmy and we'll play the scene. Is there anything you'd like to say Bob... something to Betty before they begin? Betty stops on her way across to Jimmy and looks to Bob thedirector. BOB No ... it's not a contest, see, the two of them with themselves, so don't play it for real until it gets real. Betty doesn't know what to say. She catches Sarah'sassistant, Nicki, rolling her eyes. BETTY Okay. Betty continues walking toward Jimmy who opens his arms toher as she approaches. He's old enough to be her father. JIMMY Just tell me where it hurts, baby. BETTY What? JIMMY I want to play this one close, Bob. Like it was with that girl, what's her name, with the black hair. That felt good. Whaddya think? Betty looks from Jimmy to Bob. BOB That'd be good, Jimmy. Just don't rush that line again. I told you... the line where you say, "Before what?" JIMMY I was playin' off 'em. They say, "They'll arrest you"... and stuff like that.. "put you in jail"... they say it like that. They all say it the same way, so I react like that. Jimmy turns to Betty. JIMMY (cont'd) Look ... what's your name? BETTY Betty. JIMMY Yeah ... Betty. You don't rush it. I don't rush it. We play it close, just like in the movies. Jimmy reaches out and puts his arm around Betty and bringsher in against his pot belly. JIMMY (cont'd) Dad's best friend goes to work. Jimmy smiles as he brings Betty a little closer. She istrying to concentrate through the nervousness and Jimmy'sbreath. There is a silence as Jimmy looks her in the eyes.Everyone in the room is looking Betty in the eyes. WALLY Bob? BOB And ... ACTION! Betty and Jimmy start the scene. It is very difficult forBetty as Jimmy has her in an absurd clench now. BETTY You're still here? JIMMY I came back. I thought that's what you wanted. Jimmy plays this with a big lecherous smile. He gives thelast part of the line across her cheek up to her ear. BETTY Nobody wants you here. Betty uses the anger of this line to push herself away fromJimmy. Jimmy reaches out and grabs her wrist. JIMMY Really? Betty pulls her hand away and stands her ground. BETTY My parents are right upstairs! They think you've left. Jimmy smiles broadly and moves again toward Betty. JIMMY So ... surprise! Betty pushes him back. BETTY I can call them... I can call my dad. JIMMY But you won't. He grabs Betty by the wrist again and pulls her in to him.He puts his hand on her waist and it accidently slips andkeeps going down her hips. He jerks his hand back. Bettylooks down and sees Jimmy's hand hovering above her thigh.Betty takes her hand and gently presses down on Jimmy's hand.She slowly looks up with the most seductive smile. Jimmylets his hand rest more firmly on her thigh, and squeezes herthigh as he sees her smile. With his other hand Jimmy gentlypulls her closer. Something has started coming over Bettyand she catches the drift of this scene in a different way.She's surprising herself. BETTY (almost a hot whisper) You're playing a dangerous game here. if you're trying to blackmail me... it's not going to work. Jimmy now surprises himself. He becomes almost tender andgenuinely worked up from the heat coming off Betty. JIMMY You know what I want...it's not that difficult. Where the scene should turn to anger from Betty it can't nowand Betty plays it as she feels it. She stays in very closeto Jimmy - looking him right in the eyes. BETTY (whispering desperately - slowly) Get out... Get out before I call my dad. He trusts you... you're his best friend. (her arms go around him) This will be the end of everything. Jimmy gets lost. He doesn't know where he is anymore. Hecan only see Betty's eyes. JIMMY What about you? What will your dad think about you? Betty still playing it in a dreamy whisper... lost in heat. BETTY Stop... just stop! That's what you said from the beginning. If I tell what happened... they'll arrest you and put you in jail, so get out of here before... JIMMY (caught by her transfixing, sultry eyes, and almost breathless ... he finds himself taking an extra long pause) Before what? As scripted Betty pretends to pull the knife from behind herback, but wraps the knife around behind Jimmy and pulls himinto a kiss. BETTY (as she kisses him - whispers) Before I kill you. Jimmy panics and pushes Betty away with his hands on hershoulders as if forcing himself to come out of a trance. Hefinally is able to say his line. JIMMY Then they'd put you in jail. As scripted Betty is supposed to cry now and it is very easyfor her to do this because she's ashamed at how the sex ofthe scene took her over. Tears begin running down hercheeks. She backs away. BETTY I hate you... I hate us both! She pretends to drop the knife. The scene ends. Everyone in the room has become mesmerized by Betty, but theysoon drift back to reality and begin applauding theperformance. Sarah turns to Nicki. SARAH JAMES I'm going to take her over there. NICKI Big time! WALLY (to everyone) Wow! Betty wipes her eyes and turns smiling - still shocked atherself. BETTY Well, there it was. JIMMY There it was it was! Baby, you got a way! WALLY Bob? BOB Very good. Really. I mean it was forced maybe but still humanistic. Yeah, very good, really. WALLY Well, thank you Betty, and I mean that. That was very impressive. You've done your Aunt proud and I'm going to tell her the first chance I get. We'll speak again soon I'm sure, and thank you so much for coming in. BETTY Well, thank you. Betty doesn't quite know what to do. She moves to the centerof the room and just stands. Remnants of the scene stillstaying with her. Sarah stands and Nicki stands just after. SARAH JAMES Thank you, Wally. I'm sure you all have a lot to talk about. We'll walk Betty out. WALLY Well, yes indeed. Our pleasure, Sarah, and don't you be a stranger. We'd love to see you around here again real soon. SARAH JAMES Well come along, Betty. Sarah takes Betty's hand and they go to the door. Betty turnsback once more and smiles. BETTY Thank you again, Mr. Brown. It was nice meeting all of you. Everyone nods and waves and Betty is taken out by Sarah andNicki. CUT TO: INT.- CORRIDOR EXECUTIVE BUILDING - DAY The three of them walk down the corridor. SARAH JAMES Oh God, that was awful! Betty's head spins to Sarah. A look of shock and let down onher face. SARAH JAMES (cont'd) Oh, not you Betty. You were stellar and I mean that, but poor Wally. He'll never get that picture made. Wally's days were up twenty -years ago. NICKI (sickening little laugh) How about that Jimmy Katz? SARAH JAMES Oh god! Jimmy Katz never had a day. Jimmy Katz never had a minute. Poor Wally. Betty finds herself getting a little upset. BETTY They seem very nice to me, and Wally... Mr. Brown is a very close friend of my Aunt's, so. . . SARAH JAMES Settle down, Betty. Don't get me wrong. I love Wally. I ought to. I was married to him for ten years. Betty does another shocked head turn. SARAH JAMES (cont'd) And I love actors, all actors, Jimmy Katz included. We just get a little catty sometimes. Now we want to take you across the way and introduce you to a director who's a head above the rest. He's got a project that you would kill! At the word 'kill' Betty turns to her once again with aquestioning look. SARAH JAMES (cont'd) ... Knock it right out of the park. CUT TO: INT. - RECORDING STUDIO - DAYWe see what looks like a recording studio right out of the1960's. We're looking through a plate of glass. A blondegirl is standing at a vintage microphone. Behind her arethree back-up male vocalists dressed in three tone, shiny60's suits. We hear strings soar up and the blonde girlbegins to sing SIXTEEN REASONS by Connie Stevens. The malevocalists backing her up flawlessly.We move back and realize we are on a movie set inside a soundstage. A screen test is being shot of the girl and as wecontinue moving back we see the director Adam Keshersurrounded by his crew. Behind them there are many peoplestanding, eating, watching, working. The stage is full andbustling. The song plays loudly over. Sarah and Nicki bringBetty into this scene through a giant stage door. A guardmimes for them to be quiet as they approach the set. Thesong continues to play over.As Sarah leads Betty up close Adam turns and his eyes fall onthe beautiful face of Betty Elms. Sensing something Bettyturns and sees Adam. They each seem to feel the thrill ofthe thunderbolt, but each embarrassed to stare longer thanthey already have turn back and watch the girl finish thesong. ADAM (calling out through an electronic megaphone) Cut it! He gets out of his chair and walks into the set - up to theblonde girl. He shakes her hand. ADAM (cont'd) Thank you very much, Carol. It was really great of you to come in. I know how busy you are. CAROL Oh, man, are you kidding? I love this script! Where do I sign? ADAM Look... I love you, but there's no way they're gonna let me cast this thing until I've seen everyone. I'll let you know as soon as I can. CAROL I know you will ... cause my manager's gonna bug you day and night ... me too. ADAM It'll be my pleasure. Now, get out of here. CAROL Oh, you're just so cruel... don't forget me. I'm the girl that's going to play this part. ADAM (lightly pinching her cheek) See ya later. Adam turns and goes back out of the set onto the stage floor.He looks around. He sees Betty being introduced by Sarah tosome of the studio executives. He goes over to his AssistantDirector and looks down at the man's notepad. ADAM (cont'd) Who's next, Hank? HANK Camilla Rhodes. Adam wonders - worries. ADAM Is she ready? HANK All ready. ADAM Bring her out. Hank speaks into his walkie-talkie headset. The sound of hisvoice can be heard in several locations throughout the stage. HANK (through walkie-talkie) Camilla Rhodes next! Adam looks up - a beautiful blonde steps into the set infront of the microphone. IT IS THE GIRL! The back-upsingers step in behind her. Adam nods to Hank. HANK (cont'd) Turn over! The cameraman calls out, "Speed". ADAM (through megaphone) Playback! Countdown before the music begins. ADAM (cont'd) ACTION! The strings soar up and Camilla Rhodes begins to sing. On the set Betty hears the song again and turns and watches.Once again her eyes find Adam as his eyes are finding hers.This time Adam turns away. He watches Camilla for a moment.She is passable, but not spectacular. Adam reaches out andpulls Hank over to him. HANK Yeah? Adam pauses. ADAM Get Jason over here. Hank gets on his walkie-talkie. HANK Cindy ... Adam wants to see Jason. Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,a tall sixty year old silver-haired man, comes through thecrowd and stops at Adam's side. He looks down at Adam, butAdam continues watching Camilla Rhodes. Jason follows Adam'sgaze and he watches Camilla sing then turns back to Adam.Adam slowly looks up right into Jason's eyes - wondering howmuch Jason knows, but Jason's face doesn't give away a thing. JASON Did you want to tell me something, Adam? ADAM This is the girl! At that moment Ray, having overheard, comes to Jason's side.He smiles at Adam. RAY Excellent choice, Adam. Adam is sick with himself. Across the room Betty panics when she looks at her watch. BETTY Oh ... oh...I have to be somewhere. I promised a friend. She quickly shakes Sarah's and Nicki's hands saying, "I'msorry, I'm sorry" and runs off like Cinderella. Adam turns and sees her running off out of his world. Chris Isaak's song "Except The New Girl" segues in overConnie Stevens and plays as Adam, Sarah and Nicki watch Bettydisappear out the sound stage door. CUT TO: EXT. 1612 HAVENHURST - STREET - DAY Chris Isaak song "Except The New Girl" continues. An idling cab sits waiting with back door open. CUT TO: COURTYARD - 1612 HAVENHURST DAY Chris Isaak song segues to the sounds of a blues saxophone. Betty and Rita come out of Aunt Ruth's apartment. Betty islaughing, pulling on Rita. BETTY C'mom. There's nothing to be afraid of. Across the courtyard CORNELL DUMONT, a strikingly handsomeyoung black musician, is on his balcony playing thesaxophone. He stops playing when he sees the girls. Hestands and looks as if recognizing someone. CORNELL DUMONT Hey! Betty and Rita stop and look up, shielding their eyes fromthe sun. CORNELL DUMONT (cont'd) Hey, how's Sol? BETTY Sol? CORNELL DUMONT No ... not you... (to Rita) I'm sorry... I forget your name. RITA (almost inaudible) Rita. CORNELL DUMONT Yeah. Well, I haven't seen Sol lately. Tell him to come by the club. Rita nods ... biting her lip. Cornell smiles and picks up hissax. BETTY And what's your name? CORNELL DUMONT (big smile) Cornell Dumont. He begins to blow some sweet jazz that flows smooth as syrup. BETTY (whispering) Ask him who Sol is ... Rita hurriedly starts for the gate. BETTY (cont'd) Maybe he could help... Betty follows Rita through the gate to the waiting cab. Theyget in and the cab pulls away. CUT TO: INT. CAB - DAY Betty reaches and gently grabs Rita's shoulder. She speaksfirmly but quietly so the cab driver won't hear. BETTY Why didn't you ask him? Sol knows you! RITA (whispering back) But I don't know, Sol. I never heard of Sol. I'd just get in trouble. That's why we shouldn't go see about Diane Selwyn... it's better not to get in trouble. BETTY You're not going to get in trouble. You're going to find out who you are. Finding out who you are gets you out of trouble. Rita thinks about this silently then begins to worry anddoubt all over again. DISSOLVE TO: INT. CAB - LATER Betty holds the slip of paper with the address in her hand.She turns back and forth watching the buildings on both sidesof the street. BETTY It should be around here... Rita watches out of the window pensively as the cab moves upSierra Bonita. They near a modern apartment compound ofbungalows and duplexes almost hidden in the trees andvegetation. A smooth stucco wall surrounds the complex. BETTY (cont'd) (points) That's it ... 2590. (nudging Rita) Does it look familiar? Rita shakes her head..no. Rita is looking at a black carparked down the street facing 2590. She discerns two mensitting in the front. RITA Don't stop! BETTY What is it? What do you see?! RITA (quietly - frantic) Those men in front, in the car. BETTY Do you know them?! RITA No... but... BETTY (to driver) Keep going. Go around to the back. CUT TO: EXT. SIERRA BONITA APARTMENT - BACK ALLEY - DAY Betty gets Rita out of the cab and pays the driver, who thendrives away. The girls go through a rear gate and enter thecomplex walking along a curving concrete walk. This leadsthem to an intersection where a registry is printed on arough hewn wooden plaque. They scan the list. BETTY Selwyn ... number 12. They both look around the various doors near them. Bettyspots a sign which says, behind an arrow, bungalows #10through #20. BETTY (cont'd) It's this way. They set off down another sidewalk toward Bungalow #12. Asthey near it and actually can see it just ahead they pass achainlink service gate to the alley. Standing in the alley isa man in a dark suit wearing sunglasses. Both girls dive for the bushes. The man in the black suit turns reacting to the noise andmotion. Both girls are trying to catch their breath and stayas still and quiet as possible. BETTY (cont'd) (panting whisper) Now, you've got me scared. Peering through the bushes they see the man still looking intheir direction. Suddenly he turns and smiles at somethingto his left. He hurries off, but soon returns carrying two heavysuitcases, followed by an older woman in a yellow dress.Both Betty and Rita crawl further forward. They see the limoand realize that the man they were afraid of is an ordinarylimousine driver just going about his work. The girls standup, relieved and a little embarrassed. BETTY (cont'd) See, I told you there was nothing to be afraid of! They go up to Bungalow #12 and stand for a moment facing thefront door. RITA Oh no ... don't. Betty doesn't listen to Rita. She knocks strongly on thedoor. They stand waiting. There's no answer so Betty knocksagain harder. They wait. RITA (cont'd) No one's ... Suddenly the door opens. An attractive MIDDLE-AGED WOMANstands before them. MIDDLE-AGED WOMAN Yes? BETTY Diane? MIDDLE-AGED WOMAN Number 17. BETTY But it said #12. MIDDLE-AGED WOMAN I switched apartments with her. She's in #17. Just walk down that way. It's just to the right. The woman seems to be looking now at Rita. MIDDLE-AGED WOMAN (cont'd) It's kind of hidden by the foliage. Betty and Rita start to leave. MIDDLE-AGED WOMAN (cont'd) She hasn't been around for a few days ... BETTY Well ... we'll leave her a note. MIDDLE-AGED WOMAN (starting toward them) I'll go with you. She's still got some of my stuff. The phone rings from inside her bungalow. MIDDLE-AGED WOMAN (cont'd) (turning back) Oh ... go ahead. I've got to get that. The woman hurries back inside and closes the door. Betty andRita quickly move up the walkway toward Bungalow #17. BETTY I guess you're not Diane. Rita, still fighting her fear doesn't answer. They reach Bungalow #17. It's set back beneath tall bushesand an old Eucalyptus tree. The front door is in deep shadow.Without even looking at Rita Betty knocks quickly. There's noanswer. She knocks again. BETTY (cont'd) Still not home I guess. The girls drift off to the side of the bungalow. Betty triesto see in the windows. She tries a window and to her surpriseit opens. RITA I don't think... BETTY (looking around for anyone watching) C'mon help me in. I'll open the front door. RITA No. Betty jumps up and catches her knees on the siding, her headthrough the open window. BETTY PUSH!!! Rita reluctantly pushes and Betty is in. As she closes thewindow ... BETTY (cont'd) Meet you at the door. Rita walks around to the front door and gets there just asBetty opens it. Betty has her hand over her mouth and nose. BETTY (cont'd) I don't know if you want to come in here or not. There's some kind of horrible smell like... something... Rita is compelled to go in and as the door clicks shut shereacts to the smell. CUT TO: INT. - BUNGALOW #17 - DAY Betty begins to go through the bungalow and Rita follows.All the blinds are closed and the curtains drawn. They moveslowly, looking around at everything as they go. Betty looksto Rita to see if any of this is something she remembers.Rita looks as though she's walking in a trance. Through thehalf light they move deeper into the bungalow to a corridor. CUT TO: EXT. SIERRA BONITA APARTMENTS - BUNGALOW #12 - DAY The Middle-Aged Woman is just shutting the door to herbungalow. She walks quickly in the direction of Bungalow#17. CUT TO: INT. - BUNGALOW #17 - DAY Betty and Rita are moving down the corridor. They pass asmall room and look in at a couch, wardrobe and make-uptable. They move on down the corridor to a door which isalmost closed. Betty touches the door and it seems to swingopen on its own. They enter the room and stop cold. A screamstarts to build inside Rita. Before them is a dead womanlying on a bed. Great chunks of mattress are standing uprighthaving been ripped and torn by shotgun blasts. A dried sea ofblood surrounds the bloated, gray body of the woman. Thescream comes out of Rita as a force propelling her to lookcloser. Betty lunges after Rita, her eyes also not able toleave the sight. She covers Rita's mouth with her hand andbrings her close. The scream is stifled by Betty's hand. In the silence that follows, knocking can be heard. Bettyfreezes and keeps Rita quiet with her hand still placed overher mouth, but she can't stop Rita's violent shaking nor thehorror in her eyes. CUT TO: EXT. BUNGALOW #17 - DAY The Middle-Aged Woman backs away from the front door, lookingaround at bungalow #17. She's not sure if she has heardsomething or not. She wonders, then turns and goes back toher bungalow. Just as she has disappeared the door to Bungalow #17 fliesopen and Rita, followed closely behind by Betty, runs with alook of horror directly toward us until her tortured facefills the screen. Sounds, churning music. CUT TO: INT. AUNT RUTH'S APARTMENT - BATHROOM - DAY Sounds, music churning continues. Great sobs, almost hysterical, wrack Rita's body as she bendsover the sink, scissoring into her long, dark hair with afrenzy. There is a loud sound of the scissors cutting deepthrough many strands of hair. Betty's is rushing to her -her hands reach tenderly, but firmly for Rita's hand holdingthe scissors. She keeps her from cutting and moves closer,whispering in Rita's ear. Rita can't stop crying, but letsBetty hold her. Music changes ... BETTY Rita... I know what you're doing. RITA (through uncontrollable sobs) What ... I..HAVE... to do. BETTY I know what you have to do, but let me do it. Rita turns and looks up at Betty, her eyes red with crying.Betty pulls her up facing her. Rita lets Betty take thescissors. They look into each other's eyes. Betty gentlystrokes Rita's cheek, wiping away some tears. BETTY (cont'd) Let me do it. DISSOLVE TO: INT. AUNT RUTH'S APARTMENT - LATER - DAY Panning slowly across we see on the bathroom counter variousopen bottles, used Q-tips, towels, combs, a brush, a bowl,and lots of long strands of cut black hair. We continuemoving up to an empty mirror and eerie music builds. Thereflection of the new Rita moves into the mirror. She hasshort, beautiful blonde hair, blonde eyebrows and no make-up.Betty's reflection comes in beside Rita's. They stare at thenew Rita in the mirror. BETTY (quietly with assurance) You look like someone else. CUT TO: EXT. COURTYARD 1612 HAVENHURST - LATE EVENING - ALMOSTDARK We move off the door of Aunt Ruth's apartment and craneslowly up to the apartment above hers - WILKINS - the onewith the wayward dog. We move closer to Wilkins' apartmentand as we move in we hear a phone ringing. DISSOLVE TO: INT. WILKINS' APARTMENT - A MOMENT LATER Wilkins still in his pajamas, bathrobe and slippers frommorning slouches in an enormous stuffed chair and matchingottoman, surrounded by piles of papers and coffee cups. HisJack Russell Terrier wakes and stands at the sound of thephone ringing on a side table next to Wilkins. Wilkins comesout of a deep thought and picks up the receiver as he runshis hand through strange, matted tufts of dirty blonde hair. WILKINS Hello. Adam. How's it going? No, it's okay. Yeah, I'm working, but... they wanted this script a week ago. What? What's wrong with your house? The poolman? Sure, you can have the couch. No, it's no problem..it's just I gotta ... I gotta work. Any chance you could bring some food. No, I got plenty of money - I just haven't gone out for awhile. Groovy man! WILKINS (cont'd) Murphy and I'll be glad to see you. No, no, no, he's got plenty of food. CUT TO: INT. AUNT RUTH'S APARTMENT - BEDROOM - NIGHT Rita has just taken the hatbox from the closet shelf and issetting it on the bed. BETTY What are you doing? Betty is sitting on the bed opposite. Rita opens the hatboxand removes her purse. She opens the purse and takes out themoney. She sits down on the bed and while staring at themoney she thinks of what to say. RITA You've been so good to me ... now we know why ... why I was so afraid. We know what kind of trouble I'm in. I shouldn't... ask you... I only have this to offer. I'll give you this if I can stay here for awhile. I don't know what else to do. Betty moves across the bed to the side of Rita. She puts herarm around Rita and holds her. BETTY Rita... I want you to stay here and you don't have to give me that money. RITA But I want to. BETTY No. We shouldn't touch that money. We don't know about that money. That might be dangerous money. You have to start all over again. You look like a brand new person and you can be a brand new person... whoever you want to be. RITA It sounds kind of nice ... being somebody brand new. BETTY Hey, let's introduce the brand new you to Hollywood. We haven't seen the roof garden yet. CUT TO: EXT. COURTYARD - NIGHT The girls come out the front door ... Betty leading and pullinga much happier Rita along with her. They half run across thecourtyard to stone steps under an Ivy covered eave. CUT TO: EXT. ROOF GARDEN - NIGHT The girls race up the stone steps toward us. Soon their wind-blown, smiling faces fill the screen as they look out. Therebefore them are the lights of Hollywood with silhouettedpalms, slow-moving theater kleig lights, and floating aboveit all the giant sign in the hills reading HOLLYWOOD. BETTY Here I am Hollywood! My name's Betty. A pause. BETTY (cont'd) (to Rita) Say it! RITA Here I am Hollywood! My name is ... Rita. They look out, maybe waiting for an answer blowing in theSanta Ana wind. CUT TO: INT. AUNT RUTH'S APARTMENT - NIGHT - A MOMENT LATER We move in to the pile of money next to Rita's purse. Pastthat we move down inside Rita's purse. We see the Blue Keyand move closer to it until it fills the screen. CUT TO: EXT. DENNY'S RESTAURANT - HOLLYWOOD - NIGHT We drift along the red bricks past the payphone, along thewall until we come to the corner. Slowly we round the cornerand move to a dark alley. There amongst the dumpsters andtrash cans is the dark silhouette of a figure. We move closerto the figure. It is the bum and the bum sits. We movecloser and the bum's face fills the screen. It's face isblack with fungus. It's eyes turn and they seem to be red. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mumford.txt b/unformated_scripts/Script_Mumford.txt new file mode 100644 index 0000000000000000000000000000000000000000..ebd9c86556035ea5c24be48aaeb8b3162732b65c --- /dev/null +++ b/unformated_scripts/Script_Mumford.txt @@ -0,0 +1 @@ + "MUMFORD" Screenplay by Lawrence Kasdan SHOOTING DRAFT EXT. MAIN STREET, SMALL TOWN - DAY A freight truck of late 1950's vintage pulls to the side of the road in a small rural town. A handsome, well-built man gets out of the passenger side and thanks the Driver. THE NEWCOMER carries his coat over his shoulder and a beat-up suitcase; he's got a jut jaw and a modified pompadour, his shirtsleeves are rolled all the way up past his biceps. He wipes his brow against the sweltering heat and looks around. [Until noted below, this section of the movie is in BLACK & WHITE.] FOLLETT (V.O.) I get outta the truck in this two- bit town. I got no money and no prospects. What I need right now is a stiff drink, a cold shower, and a hot broad. I'll take 'em in any order they come... EXT. BOARDING HOUSE - DAY Old three story gothic house in ill-repair beyond a peeling picket fence and a scruffy yard. The sign says -- ROOMS TO RENT. The Newcomer goes in the gate. FOLLETT (V.O.) ...Oh yeah, one other thing I need -- an angle. He squints through the dirty screen door but sees nothing, then knocks and turns away to survey the neighborhood. FOLLETT (V.O.) I was thinking -- if it weren't for bad luck, I wouldn't have any luck at all... LANDLADY (O.S.) Can I help you? The Newcomer turns toward the door. Standing there, holding the screen open, is the LANDLADY. She's a knockout in a cheap, small-town way: a cotton dress that buttons down the front and clings with sweat to her generous curves. FOLLETT (V.O.) Either my luck had just changed, or Fate just bought me another round of trouble. INT. BOARDING HOUSE - DAY The Newcomer's POV of the Landlady as she leads him up the narrow, gloomy stairs from the second floor to the third story / attic. She has a Monroe-like sway to her walk. We can barely HEAR her DISTANT, ECHOEY DIALOGUE: LANDLADY ...not very fancy... house needs repairs... We haven't had a man around here for so long... FOLLETT (V.O.) She kept yammerin' the whole time, but her hips were doing all the talking... The Landlady reaches the tiny landing at the top of the stairs and opens a door to a squalid room with a bed, bureau and tiny window. The Newcomer has to squeeze by her voluptuous body to get inside and look around. It doesn't take long. His gaze returns to the Landlady who is leaning against the door, chest thrust forward. He focusses on her fingers, toying with the button at her sweat-shiny cleavage. FOLLETT (V.O.) It couldn't 'a been any clearer what the set-up was. The next move was up to me... The Newcomer takes a step in the Landlady's direction -- MUMFORD (V.O.) Don't tell me! INT. MUMFORD'S OFFICE - (PRESENT) DAY CLOSE-UP of MUMFORD wincing. MUMFORD (softer) -- That's all the time we have. Sorry... (indicates his watch) ...next time. We see Mumford's office: the office of a Psychologist, a therapist with a doctorate. It's modest, comfortable, neat, with a calm, relaxed ambience. [The movie is now in COLOR.] His patient, HENRY FOLLETT, looks nothing like The Newcomer in the soft-core fantasy he's been narrating. Instead, he's a mild-looking pharmacist with glasses and a receding hairline. Only the voice is the same; it's as studly as his fantasy alter-ego. Follett has been lying on a couch, but now has twisted with some irritation to look at Mumford. FOLLETT I have eighteen more minutes! MUMFORD I don't want to hear any more today. FOLLETT Why not? MUMFORD Mr. Follett, do you trust me or don't you? FOLLETT Well, I don't know... I only been seeing you -- MUMFORD Without trust, there's no point to any of this. You might as well not come. FOLLETT Now hold on, I didn't say I didn't want to come -- MUMFORD Good, then go. INT. LILY'S CAF…- DAY Lunch crowd. Mumford can be seen out the big front window, crossing from the two-story building that houses his office on the main drag of this small town which, oddly enough, is also called Mumford. He comes inside and goes to the counter to pick up some take-out. The Proprietor is a woman around forty named LILY, who talks to him as she works. LILY You're early... it's not ready. What happened? MUMFORD My patient had to leave early. LILY Who was that? She comes over to the register with an order. Mumford is am[...] her, likes her a lot. MUMFORD Does the phrase "nosy" have any meaning to you, Lily? LILY I think it's like... inquisitive. MUMFORD It was Henry Follett. LILY (reacts) Man, you see him a lot. And it's very wrong to reveal it. Next you'll be saying what his problem is. MUMFORD What do you want to know? LILY You're terrible. I'm never telling you anything. A Patron passes on the way out. PATRON Hey, Doc... how's it going? MUMFORD Fine, Vincent... how's yourself? LILY How long you been in this town? MUMFORD Oh, I don't know... LILY Four months, two and a half weeks -- that's how long. (Mumford gives her a look) And you've already got more patients than those other two shrinks combined. MUMFORD Lily, I don't think even you could know that -- Lily sees something out the window. LILY Look at that guy... Mumford turns to look out the window. A young man of about 30, in jeans and a Hawaiian shirt, is skateboarding down the street at high speed, weaving in and out amongst the cars. He zips past the front of the restaurant. LILY You know who that is, don't you? (Mumford does not) You really don't? That's Skip Skipperton, man. He gets himself hit by a truck, this whole town shuts down. MUMFORD Oh, so that's him? The Panda Man. LILY hands over Mumford's bagged order, rings it up. Back on track: LILY So, what makes you so popular? What's your secret? MUMFORD (takes his bag to go) You like me. How come? LILY Not sure. Let me think about it. Mumford is smiling as he goes out. Another Patron, LIONEL DILLARD, a lawyer, brings his check to Lily, watching Mumford cross the street. Lily can't stand this guy. LIONEL That's the new psychiatrist? LILY Psychologist. He's not medical. LIONEL Probably thinks he's pretty smart. Lily gives him a look as she takes his money. INT. MUMFORD'S OFFICE - DAY An overweight, teenage girl named NESSA WATKINS is on Mumford's couch. She fidgets as she talks and can't decide whether to lie down (so she's looking away from him) or sit up and face him. She plays with an unlit cigarette and keeps taking out a lighter, then stuffing it back in her big, sloppy handbag. NESSA ...so he already had the tattoo that said, "Naomi Forever"... and now they're broken up, see, and he has to have it removed. But while the scar is still healing, or whatever you call it when you have a tattoo removed, he meets Chandra. And it's serious, immediate love. So in no time, he's gone from the most gorgeous model in the world to the most gorgeous actress in North America. MUMFORD What do you mean, "in no time"? NESSA In maybe three or four issues. MUMFORD Weekly or monthly? NESSA Monthly! God, how shallow do you think Brad is? Why do I waste my time telling you this stuff? MUMFORD Why do you think you tell me, Nessa? NESSA Don't do that thing... (Mumford: what?) ...that shrink thing. MUMFORD It's a big part of the show. She jams the cigarette in her mouth and flames the lighter, but is afraid to actually break his rules. NESSA You really need to let people smoke in here, you know. It's perverse. What are they paying you to see me? Mumford indicates "nothing". NESSA The school board doesn't pay you? What kind of deal is that? MUMFORD It's called pro bono. NESSA Pro boner? (he waits her out) Pro bono, huh? For whose good, supposedly? MUMFORD It's my bit for the community. NESSA Fuck the community. (he won't go for it) There was this article my friends and I read. It was "25 Signs He's Great in Bed". It was very fascinating. MUMFORD Where was this? NESSA Where?... The New York Times. The first one was -- "he handles produce well." Which we already knew! (an expression she uses) The point is, you have a lot of the signs. MUMFORD You been spying on me in the supermarket, Nessa? NESSA Have women found you attractive? Mumford laughs. NESSA I knew you wouldn't answer. I've been thinking about what you said last time. How me trying to lose weight -- and constantly not -- is like a lot of people with addictions. How maybe I can't lose the weight, ever... (quietly) Which we already knew... MUMFORD That's not quite what I said -- NESSA It's a really weird thing for a shrink to say... and then you said maybe people'd be happier if they'd accept that some things don't change -- that it'd be some kind of a relief or something... Mumford waits. NESSA Well, I guess I'm just a dumb bitch, but how depressing is that moment -- the moment when you give up? EXT. HIKING TRAIL, MOUNTAIN FOREST - MAGIC The last rays of sun are fighting their way through the trees as Mumford comes up the trail he clearly knows very well. EXT. BIG ROCK LOOKOUT POINT - MAGIC Mumford climbs out on the Big Rock, settles himself on the edge and takes a long drink from a water bottle. WHAT HE SEES: far below at the foot of these hills, lights just twinkling on, is the town of Mumford. He stares at it for several long moments. Then he takes a small headlamp from his pack and fits the straps over his head (it looks like a miner's light). He twists the light on to test it and turns his head to watch the beam move about. WE CUT BACK WIDE. After a beat, Mumford settles back and turns off the light. INT. SCATTERGOOD'S TAVERN - NIGHT The place is quietly busy with the regulars. Mumford has a favorite spot at the far end of the bar. Right now he's sitting alone, reading the remnants of a newspaper. SKIP SKIPPERTON, the man on the skateboard, comes in. Everyone in the bar is surprised to see Skip in here. Several patrons greet him as he makes his way deeper inside, looking around. He's uncomfortable. He seems relieved when he spots Mumford and heads back there. Mumford doesn't notice Skip waiting for his attention. SKIP Hi. Mumford looks up, smiles. Skip offers his hand. SKIP You're Doc Mumford. (Mumford nods) Skip Skipperton. MUMFORD How are you? SKIP Fine. Okay. Pretty good. I've been hoping we'd meet. I've heard a lot about you. Mumford waits, friendly. Skip runs out of gas, gets uneasy, glances around. SKIP Do you think we could...? Can I buy you a drink? CUT TO: [...] LATER. IN A BOOTH near the back. They've been at it a while, but nothing is clear to Mumford, yet. Skip keeps his voice down; he doesn't want anyone else in the bar to hear him. SKIP ..."Find the need and fill it" my dad used to say -- I guess a lot of dads say that -- but I did and it just took off. MUMFORD No kidding... Panda. Where'd that come from? SKIP Panda? I've always liked giant pandas... I've been to China and seen them in the wild. That's the kind of thing I can do if I want... now. I can do pretty much anything I want to do these days. Skip stares into his beer for a moment, as though the thought depresses him. He catches himself and snaps back -- SKIP So now we make 23% of the modems in the market, which is pretty good. Skip glances around, leans in, confidential. SKIP When I was growing up here, the town was about dead. The timber business was played out... Panda changed all that. Now, just about everybody in town either works for the company or depends on it somehow. Which is kinda the problem... Mumford waits, watches. Skip gets uncomfortable. SKIP Would you like another beer? MUMFORD Nah... scotch. SKIP (brightens, like a kid) Far out. Single malt? (gets up) Can I pick it? Skip heads off to the bar. Mumford looks around. Everybody is watching. DISSOLVE TO: LATER. The bar crowd has thinned. Both Mumford and Skip have had a few. In fact, Mumford is now carefully pouring them each another drink from a bottle of Glensomething on the table. MUMFORD You want me... to be... your friend. Skip beams. Mumford leans forward in the same confidential way Skip did before; he indicates that Skip should lean in too. Mumford is almost whispering -- MUMFORD But that's not what's really going on... (Skip is excited) ...What's really going on is... you have some problems and you want some therapy, but you feel it could be very bad for Panda Modem stock if word got out that you were having head problems. Skip confirms that's it. MUMFORD Can I ask you a personal question? SKIP Of course! That's exactly what I want. MUMFORD Have you thought about getting a wife? Skip makes a face and gesture to indicate a large "YES!", but also total frustration and failure. SKIP When Panda started to happen, I was dating women from New York, San Francisco, L.A. They came out of the woodwork. Models, actresses, venture capitalists... These were not the kind of girls who were interested in me before I hit it... And you know what I discovered? I discovered these girls did not love me for myself. The majority of them didn't even like me. But a lot of them would've gladly become Mrs. Skipperton for a while. Can you imagine that -- marrying someone just because they've got money? Mumford considers that. SKIP I gotta pee. (he gets up, a little wobbly) Can I ask you something? This town is called Mumford... Been that way since... 18... 18-0... 18-0... (finally remembers) ...thirteen! Right? (Mumford: if you say so) Now here's the question -- Your name is Mumford, too. MUMFORD Is that the question? SKIP You moved here from back East and your name is the same as this town. Is that right? (Mumford shrugs) Far out. Skip takes a few steps toward the men's room, then comes back and leans down toward Mumford. SKIP I hope you don't think I want you to do this for free. Just because we're gonna play it like we're friends, doesn't mean I won't pay you like a doctor. MUMFORD I understand. SKIP I have a lot of money. Do you know how much money I've got? MUMFORD Don't tell me, 'cause I'm not going to tell you what I've got. SKIP I've got three big ones. MUMFORD I'm impressed. I couldn't make three million dollars if I lived three lifetimes. SKIP No, no... I have three billion dollars. Skip stumbles off to take a leak. Mumford takes a moment to digest that. It's difficult. INT. MUMFORD'S OFFICE - DAY Mumford is listening to Lionel, the arrogant lawyer who asked about him in the restaurant. Lionel is lying on the couch, talking with enormous energy; he has a serious superiority complex. Mumford can't stand him and the session seems to be lasting an eternity. LIONEL ...so I'm watching Brokaw and they've got some astronomer, this little limey know-it-all, and he's telling how, with this Himball telescope, they've discovered there are maybe 400 million more galaxies than they thought there were. And I guess that's supposed to make me feel small? I'm supposed to feel insignificant? Is that the point? Because I can tell you it didn't. Mumfords eyes dart to look at -- THE CLOCK on the bookshelf: 2:23 MUMFORD Lionel, since this is our first session together, maybe -- Lionel is twisting his neck around painfully to look back at Mumford. MUMFORD -- you can sit up and look at me if you'd like -- (Lionel waves that off and looks away) -- maybe it would be helpful if you told me a little about what brought you here. LIONEL Kind of impatient for a big-time headshrinker, aren't you? How 'bout you let me explain it my own way... As Lionel goes on, Mumford's eyes again dart toward -- THE CLOCK: still 2:23! Hold on it. Finally, it moves. Mumford's eyes dart toward his desk -- A deadly-looking letter opener in the shape of Excalibur stands GLINTING LIGHT in a marble rendition of Arthur's stone. LIONEL ...and in the dream, it's always the same, I wake up in my room from when I was I kid in Ohio, and I realize this is the day of the big exam at school... Mumford's head rocks slowly back for a moment as if he's going to drift off. He snaps back to life and stares hard at the top of Lionel's head, where there is a bald spot starting to take hold. The sound of LIONEL'S VOICE begins to echo -- LIONEL ...which is no problem for me, because I remembered it was coming and I've attended every class, so I'm totally prepared. Then I see myself running down the hall at school... MUMFORD'S GLANCE FLASHPANS from Lionel's bald spot to the gleaming letter opener. Mumford closes his eyes. We CUT TO: INT. HIGH SCHOOL HALLWAY - DAY A boy, unmistakably the Young Lionel, runs down the deserted hallway toward a bright doorway. [LIONEL'S DREAM has a BLUE TINT.] LIONEL (V.O.) ...but it's not really my school -- and this is very interesting -- it's the school from the next district -- MUMFORD (V.O.) -- Go on! INT. HIGH SCHOOL CLASSROOM - DAY Young Lionel comes breathlessly in the classroom door and stares alarmed. LIONEL (V.O.) And even though I arrive a little bit early, everybody's already there. But the surprising part is -- WHAT YOUNG LIONEL SEES: Everyone in the class, including the Teacher in the front, is naked. The Teacher holds out an exam toward Young Lionel. LIONEL (V.O.) -- I'm the only one who's prepared! CUT TO: INT. WAITING ROOM, MUMFORD'S OFFICE - DAY ALTHEA BROCKETT, a woman in her forties, sits on the couch reading a mail order catalogue for home furnishings. There are several other catalogues sticking out of her jammed, woven carry-all. The door to Mumford's inner office opens with some force. Mumford stands looking back across his office at Lionel, who is getting up from the couch in some confusion. LIONEL -- you crazy? You can't do this! MUMFORD Sure I can, Lionel. LIONEL I'm a criminal lawyer -- you think I like my clients? I can't stand most of them! But I don't kick them out... MUMFORD See that sign -- We retain the right to refuse service to anyone. I'm not going to charge you for this session, but I don't want to see you back here. Lionel looks around, but there is no such sign. He does spot Althea watching the show from the couch. LIONEL Don't you at least have a back door I can use? MUMFORD Come out this way. There's no shame in getting a little therapy... is there, Althea? Althea stands up, smiling. She thinks Mumford is the bee's knees. ALTHEA Not at all. It takes guts, Lionel. Lionel steams by them in a black mood. LIONEL Maybe some of us don't need this crap! MUMFORD And it's the Hubble Telescope, not the Himball Telescope. Lionel bangs out the front door. Mumford motions Althea inside -- MUMFORD Jeez... what an asshole. Althea heads inside, giggling wildly. She can't get enough of this guy. INT. MUMFORD'S OFFICE -DAY Althea is sobbing. Mumford hands her a new Kleenex from the box next to the couch. She wads it with her current one and tries to stop crying. Mumford settles back in his chair, patient. ALTHEA What do they want from me? (more sobbing) What have I done that's so wrong? (pulling it together) They act as though they don't have their own peculiar things... They do! Believe me. Everybody's got something... (looks at Mumford) Even you probably have things. MUMFORD Me more than most. ALTHEA Why are they ganging up against me? MUMFORD I'm not sure. But I think they're worried about you. ALTHEA It's the kids, you know, not Jeremy. He had nothing to do with this -- except pay, of course. He's always willing to pay. He's extremely generous. (a long beat) I'm so humiliated that my own children would threaten me. MUMFORD How did they threaten you? ALTHEA They said if I didn't get help, they wouldn't deal with me any more. (a beseeching look) What do you think about that? MUMFORD Good kids. Althea stares at him a long moment. She knows he's right. Tears well up in her eyes and roll down her cheeks. She grabs another Kleenex. In the midst of the torrent she tries to talk, but it's undecipherable: ALTHEA Mmmmfffstttubll abbittmm. MUMFORD Hmm? Althea uses three new tissues to dry up her face. ALTHEA I said... you must come out to the house for dinner on Thursday. MUMFORD Really? You think so? ALTHEA Yes. Jeremy will be home for the weekend. And you can meet the kids. Mumford considers, then nods his assent. EXT. MUMFORD'S STREET - MAGIC Mumford hurries up the sidewalk carrying two grocery bags. He's late. The modest houses are close together on this pretty street, which rises out of the main business district, seen beyond Mumford. EXT. THE DUPLEX HOUSE - MAGIC Mumford comes to the house where he lives. He heads down the driveway toward the stairs that lead up to his apartment. The front yard is completely fenced. Lily, the owner of the restaurant, is almost visible in there working among the greenery of a lush garden. Her friendly dog, AINGE, sees Mumford, leaps easily over the fence and does a circle around Mumford, who has no free hand to pet him. MUMFORD How ya doin', Ainge? Evenin', Lily. LILY Doc. (doesn't look up) Ainge... The dog leaps gracefully back into the yard. Mumford hurries up the stairs. INT. MUMFORD'S APARTMENT - MAGIC Mumford comes in and puts the bags down on the kitchen counter. He goes directly to the table by his main chair and picks up the TV remote. He switches it on and changes the channel. The opening segment of UNSOLVED MYSTERIES is just beginning. It previews the stories on that evening's episode -- disappearances and unclosed cases -- with Robert Stack hosting. CLOSE ON MUMFORD'S FACE as he watches. Only when the whole show has been previewed does he seem to relax. He leaves the show on as he goes into the kitchen and begins unloading the bags. INT. COOK'S HARDWARE STORE - DAY Mumford is comparing different stepladders. MR. COOK, the sixty-ish proprietor, has been watching from a distance, but now -- COOK Dr. Mumford. MUMFORD (doesn't really know him) Mr. Cook. COOK Could you come with me please? Mystified, Mumford follows Cook through the door into the back. BACK OF THE STORE. Cook motions for Mumford to take the seat of honor in the work area, but Mumford prefers to stand. Cook has a little trouble figuring how to start. Finally -- COOK I know I shoulda come to your office. I was gonna, actually, but then when you walked in here today... MUMFORD Uh-huh. COOK It's my daughter Sofie... she's gotta problem. MUMFORD What's that? COOK We're not sure. She's been to all kinds of doctors in the city and they've said different things. Some of 'em are callin' it -- (wants to get this right) -- Epstein-Barr virus, and the rest are callin' it... Chronic Fatigue Symptom... MUMFORD Syndrome... Chronic Fatigue Syndrome. COOK That's it -- syndrome. So you know all about it? MUMFORD No... a little. There's a lot of debate about it. COOK Yeah, I got that. Some people think it's all in their heads. (more intense) It's been so bad she's had to move back here to Mumford and live with us. And I'm not sure that's the best thing, either... MUMFORD Why's that? COOK Oh... a lot of things. Several different factors. Will you see her, Doctor Mumford? MUMFORD Sure. Why don't you bring her up to my office at 3 tomorrow afternoon. Cook nods, but looks worried. COOK I'm not sure she'll come. She's in a mood. Do you ever go to somebody's house? MUMFORD Generally that doesn't work out so well. It sends the wrong message to people who need to make a change. Cook is quick to agree; he doesn't want to make waves. But he's worried. EXT. MAIN STREET - DAY Mumford is walking up the busy sidewalk carrying his new 5- foot stepladder hooked on his shoulder. Folks greet him. Suddenly Lionel appears in front of Mumford, who stops. MUMFORD Hello, Lionel. LIONEL You've got to have the right ladder for the job. You don't know what you're doing, you can get yourself in trouble. MUMFORD You're right, as usual. See you. Mumford continues up the street. We STAY WITH Lionel, who watches Mumford with a sour look, then turns to enter a small medical building. INT. DR. DELBANCO'S OFFICE - DAY DR. ERNEST DELBANCO, a middle-aged psychiatrist with longish, vanity hair, and PHYLLIS SHEELER, a psychologist in her thirties, sit on the doctor's comfortable furniture, listening. The remains of their take-out lunch is on the coffee table. They seem a little impatient with their as-yet- unseen visitor -- LIONEL (O.S.) ...completely inappropriate and highly unprofessional. Now I don't want to presume to tell you how to run your businesses -- SHEELER -- practices. Lionel is sitting across the room, making an ardent case -- LIONEL -- Whatever. Six months ago, you two were the only games in town. The value of your... (mocking) ..."practices" could be seriously undermined by this bozo. A town this size has only so many headcases to go around. DELBANCO What exactly would you have us do, Lionel? LIONEL Protect your turf! Check this guy out. I smell a rat, I tell you. Delbanco and Sheeler exchange a look; they find Lionel distasteful. SHEELER Mr. Dillard, I'm sure Dr. Delbanco shares my gratitude for your concern. But I also know he'd agree that you misunderstand the nature of our calling to mental health. We're not in some... widget business, trying to crush our competition. LIONEL What the hell's a widget? INT. HALLWAY OUTSIDE DR. DELBANCO'S OFFICE - DAY Lionel comes out of the office, miffed, and goes down the stairs. A moment later, the door opens slightly and Delbanco peeks out to make sure Lionel is gone. He closes the door on us. INT. DR. DELBANCO'S OFFICE - DAY Delbanco stands at the door looking across the room at Sheeler. DELBANCO What an asshole! SHEELER (agrees) Ernest, what do you think? DELBANCO I think he's got a point. So does she. EXT. BASEBALL DIAMOND - DAY Idyllic. The beautifully manicured field is surrounded by lush woods. Standing about forty feet apart, Mumford and Skip are alone on the field throwing a baseball back and forth. For quite a while the only sounds are the birds, the wind, and the regular SLAP of ball into glove. Finally -- SKIP This is great! SLAP... SLAP. SKIP This is exactly what I wanted. SLAP... SLAP. MUMFORD Skip, you must have lots of people you can throw a ball with. SKIP You'd be surprised. Most guys have kids or wives or girlfriends. They're busy. It's not as easy as you think. MUMFORD Skip, you're the head of the whole deal here. Are they busier than you? SKIP Well, you know... that's the thing. Like I said, just about everybody in town works for me. And it's just not the same asking someone to throw a ball when they work for you. It's like an order or something... And no one -- no one -- asks me. Mumford considers. SLAP... SLAP... SLAP. MUMFORD So, would you say we're out here... let me think how to put this... Is your problem really that you're... lonely? SKIP Don't you like this? MUMFORD Hell yes, I like it. What's better than this? Most guys would kill just to have someone do this with them whenever they like. SKIP Okay then. (SLAP... SLAP) Have you got a lot of friends? MUMFORD ("nope") Lily and I talk a bit. You know Lily, runs the coffee shop? SKIP No... I've seen her. Good-looking woman. MUMFORD (agrees) She's probably ten years older than you. SKIP (SLAP... SLAP) Good-looking woman. MUMFORD Lives downstairs from me. She's got a great dog named for Danny Ainge. SKIP (sparks to that) Really? I'm the only person I know that likes Danny Ainge, outside of Celtic fans. Maybe Phoenix. MUMFORD Well, there's Lily. SKIP Did you know that Danny Ainge was drafted by the Blue Jays? Do you know what kind of athlete you have to be to play in the NBA and in the bigs? MUMFORD Amazing. SKIP Unbelievable... (SLAP... SLAP) ...And Lily named her dog after him? Far out. MUMFORD What kind of person do you have to be to do this? Mumford gestures off in the one direction we have not yet seen. SKIP What? MUMFORD This -- CUT TO: REVERSE ANGLE: The baseball diamond is sitting in the vast, lush grounds behind the PANDA MODEM WORLD HEADQUARTERS, a brand new, distinctively original, high-tech office park. Wherever there is an opportunity for tasteful signage, it is in the motif of a Giant Panda -- sweet white face, black eyes and ears, round body. Skip is suddenly self-conscious, embarrassed. SKIP I would've traded any of it to have made the Mumford High varsity. Mumford takes that in. SLAP... SLAP. SKIP So I guess Henry Follett is a patient of yours. He's my pharmacist. MUMFORD Yeah. (SLAP... SLAP) Guy's got some serious sex fantasies. Skip is a little surprised to hear this from Mumford, but he just throws the ball. MUMFORD Pretty good, too. Lots of detail. Nothing hard core. Old-fashioned ones, from back when people cared about atmosphere and character. SKIP Uh-huh. MUMFORD Problem is, his fantasy life's a lot better than his real one. Nothing can live up to it. His wife got sick of it and left him. Took his kids with her. SKIP I wondered what happened to her... Skip is fascinated, but a little uncomfortable. Mumford seems oblivious, unusually talkative -- MUMFORD Of course, it's not that simple. There's something powerful going on there. We've got a lot of work to do. (announcer voice) It's hit to the warning track! For the first time, Mumford throws the ball way high, like a long fly ball. Skip, delighted as a dog, takes off running and just barely catches it on the run. He pegs it back to Mumford. MUMFORD In these fantasies, Henry Follett is played by a handsome guy with biceps. Can you imagine that? Where your self-esteem has to be? (throws him the ball) Man, I'd just like to move the guy to the point where he gets to appear in his own fantasies. INT. MUMFORD'S OFFICE - DAY Silence. Nessa sits staring at Mumford defiantly, an unlit cigarette in her mouth. Mumford looks at the clock -- 3:00 -- and stands up, session over. Nessa quickly lights her cigarette with the lighter concealed in her hand and stands up too. She exhales a huge cloud of smoke and walks quickly to the back door of the office, which Mumford has opened for her, and goes out. Mumford waves half-heartedly at the cloud of smoke as he walks to the door to the waiting room and opens it. MUMFORD'S POV: As the door swings open, the first figure we see is Mr. Cook; he twists around at the sound of the door. He acknowledges Mumford and then sighs as he steps aside to reveal, sitting exhausted in a chair, his daughter -- SOFIE -- a young woman whose actual appearance is somewhat disguised at present by her wan, ashen visage. She regards Mumford with some resignation. Her father helps her out of the chair. Sofie keeps her eyes on Mumford. CLOSE ON Mumford, watching her. INT. MUMFORD'S OFFICE - DAY LATER. Mr. Cook is gone. Sofie is sitting up on the couch, facing Mumford. She looks like she might pass out at any moment, but her voice is stronger than you'd expect. MUMFORD Feel free to lie down. Most people do. SOFIE I'd better not, I'll fall right to sleep. I think it's too soon for me to be sleeping with you. A joke. Mumford smiles. MUMFORD What can you tell me about this? SOFIE Oh, lord. It's almost too exhausting to tell you... (tiny smile, to herself) ...about my exhaustion. I didn't really want to come. I'm not hopeful right now. But I couldn't take the look on my dad's face. He's a truly kind person, which is pretty extraordinary if you knew the story. He's the opposite of me, I guess -- all stamina and resolve. It's taken all her energy to say this and she sinks down a bit into the couch. MUMFORD When did you start to feel this way? SOFIE About six months ago, I guess it is now. God, it seems like years. What a bore! I'm embarrassed by it. Before this happened -- when I'd hear people talk about this kind of thing -- I thought it was a bunch of bullshit. She sees something in his face and suddenly laughs -- it's a weak but magical sound. MUMFORD What? SOFIE You think that now! You think it's a bunch of hooey, don't you? MUMFORD (unconvincing) No. SOFIE I saw it. I saw it in your eyes. Mumford is knocked off balance -- she's right. She saw him clearly. SOFIE That's okay. Maybe it is. My mother always says -- "Everything that's wrong with you is in your head." I suppose that's true. MUMFORD Back when this started, was there anything unusual happening in your life? A change of job, of living situation... a loss of some kind? SOFIE No... but it started one year to the day after my divorce became final. That's not too suspicious, is it?... But it wasn't like I was feeling bad about the divorce. Just the opposite. MUMFORD Hmm. SOFIE Hmm? Is that a professional opinion? MUMFORD Hmm, as in -- that's interesting. Sometimes, with enough clues, it's possible to figure these things out. SOFIE Even if you don't think it's real? MUMFORD I don't know what's real and what isn't. That's never been my strong suit. But if you're tired all the time and you've had to give up the life you were having and come back home when you didn't want to... that's worth trying to fix. Maybe I can help you do that. SOFIE What would you do? MUMFORD We... we would try several things. But I need to see you a lot. SOFIE I don't know. I barely made it today. MUMFORD I'll come to you. We'll try a little walking. Sofie suddenly looks defeated. MUMFORD We'll take it slow. You'll never feel you can't handle it. SOFIE I don't think I can afford it. I don't want my dad paying. MUMFORD We'll work it out. Sofie gives him a long look. SOFIE You have the best answer for everything. (Mumford shrugs) You seem so... hopeful. Are you always this sunny? MUMFORD No one ever thought so. You must bring it out. SOFIE Is it contagious? 'Cause everyone agrees my immune system's way down. MUMFORD Maybe you'll catch it. SOFIE Can I ask you something? (Mumford: of course) Didn't you tell my dad you didn't think it was a good idea to come to the patient? (he admits it) So what changed? Mumford just smiles. He doesn't want to tell her the truth -- everything. EXT. BROCKETT HOUSE - MAGIC A taxi drops Mumford in front of the Brockett's large and beautiful house, which sits on an isolated lot on the outskirts of town. INT. HALLWAY TO BACK VERANDA, BROCKETT HOUSE - MAGIC Althea leads Mumford toward the back of the lavishly appointed house. The weird thing, what gets in the way of the decor, is the cardboard boxes of all sizes which are stacked everywhere. Many are unopened, but the rest are spilling their styrofoam-nugget and bubble-wrap guts to reveal some hint of their contents: a huge variety of catalogue-ordered housewares, clothing, linens, gadgets, and knickknacks. If it can be ordered from an upscale catalogue (and everything can), it is here. Althea sounds very nervous, cheery. ALTHEA -- sorry everything's in such an uproar. Lots of big occasions coming up, and of course Christmas is only eight months away -- (giggles uncontrollably) -- I don't know what's keeping Jeremy. You know he stays in the city three nights a week -- I guess I explained that... (Mumford nods) ...I know Katie's here, but I'm not so sure about Martin... I'm making dinner myself tonight, so I'll have to leave you, I'm afraid... EXT. REAR VERANDA, BROCKETT HOUSE - MAGIC They come out onto the wide porch, which commands a spectacular view of the surrounding countryside. There's an elaborate bar cart out here, which Althea points Mumford toward. ALTHEA I'm awful I know, but will you please help yourself. I just got a new copper sauciere from Williams-Sonoma and I'm afraid it'll be the death of us all if I don't get back in there... She disappears inside with a bang of the screen door. Mumford gets a drink for himself, taking in the view. He sees something out there. MUMFORD'S POV: Way in the distance, coming out of the woods and down toward the house is a teenage boy. KATIE (O.S.) You're the doctor, aren't you? Mumford turns to see that Althea's thirteen year old daughter KATIE has silently appeared. Her jeans and little tee-shirt are meant to be sexy; it seems sad on her. Mumford nods. MUMFORD You must be Katie. People call me Doc. KATIE (motioning urgently) C'mere. Quick... c'mon! Mumford follows as she disappears around the corner of the porch. INT. SIDE HALL, BROCKETT HOUSE - MAGIC Mumford follows Katie into a gloomy hall from a side entrance. Here too, the walls are lined with boxes. She tiptoes to one of two facing doors and waits for him. When he has joined her, she motions him back a foot for safety, then carefully opens the door to a large walk-in closet. Katie's caution becomes understandable: the space is packed so fully and chaotically with catalogue item cartons that it might come tumbling out the door with one careless move. Katie closes the door, then pirouettes to the opposing door, which she swings open freely -- REVEALING: what was once a study is now completely filled with hundreds of cartons, in an infinite variety of shapes and sizes. Mumford is taken aback. Katie points at packages and speaks in a hypnotic WHISPER -- KATIE Cuddledown... Linen & Lace... Scully & Scully... Smith & Hawken... Plow & Hearth... Museum of Modern Art... Smithsonian Museum... J. Crew... Wolferman's... Hold Everything... Nieman Marcus... Coldwater Creek... Garnett Hill... Norm Thompson... Victoria's Secret... Sharper Image... Hammacher Schlemmer... EXT. REAR VERANDA, BROCKETT HOUSE - MAGIC Just as Mumford and Katie come back around the corner, MARTIN, Althea's sixteen year old son, crosses the yard and comes up onto the porch. He's wearing an old black leather jacket with a lot of zippers, dirty jeans and black Converse All- Stars that are coming apart. In his hand, casually but properly held, is a .22 caliber rifle. He looks Mumford over. MARTIN Is this him? KATIE (nods) I showed him. MARTIN (to Mumford) Do you get it now? This is no joke. Mumford takes them both in and nods. He understands. Suddenly, their manner changes, for the worse. What they can see that Mumford cannot is JEREMY BROCKETT, Althea's husband, who has come to the back screen door, with the bustle of a late arrival. JEREMY Hey, kids. Oh, hi. Seeing Mumford, Jeremy steps out onto the porch to shake his hand. Jeremy is quite handsome and a fantastic dresser; his Armani outfit cost $4200 all in. His tone: hearty and strained -- JEREMY You must be Dr. Mumford of Mumford. Jeremy Brockett. MUMFORD Doc. Nice to meet you. JEREMY Sorry I'm late... traffic was a motherfucker. Have another drink, I'll be back in five. Jeremy goes inside. Martin and Katie exchange a look with each other, then to Mumford. Martin goes inside. DISSOLVE TO: EXT. REAR VERANDA, BROCKETT HOUSE - NIGHT LATER. Dinner is over. Jeremy comes out onto the veranda carrying two Cuban cigars. His casual outfit is as stylish and pricey as his work outfit. He joins Mumford and Althea, who immediately gets up. ALTHEA I'll be back. She goes inside. The men each have a snifter of cognac. Jeremy makes a ceremony of cutting the cigars -- JEREMY I think you'll like this. Know much about Cuban cigars? MUMFORD Nope. Jeremy puts the cigars down, pulls a joint out of his cashmere pullover and fires it up. After exhaling a huge cloud of smoke, he offers the joint to Mumford, who declines. JEREMY Makes the whole thing that much better. Jeremy takes another hit on the joint and puts it down. He gives a cigar and his gold lighter to Mumford, who begins to light up -- JEREMY Just hold the flame a little bit below the end... that's it... now just turn it slowly as you draw... Mumford does as he's told. Jeremy lights his own cigar. JEREMY Are you a man who likes to treat himself right? MUMFORD I've had my moments. JEREMY I am. And I'm not ashamed of it. Nobody ever said on their death bed -- "I treated myself too well." MUMFORD I thought it was -- Nobody ever said, "I should have spent more time at the office." JEREMY Fill in the blank. I don't mind the office. The point is, you only go 'round once. Like the Zens say -- Be here now. MUMFORD What do you do? JEREMY Althea hasn't told you? MUMFORD (no) We've been talking about her, mostly. JEREMY Well, in '85 four of us left our firms and formed an investment banking venture. We've got twenty-three people working there now. MUMFORD You've done well. The marijuana is kicking in now -- Jeremy gets a self- satisfied, condescending look on his face that no straight mind would dare. His response includes their lavish immediate surroundings-- JEREMY We've done... very well. You know anything about addiction, Doc? MUMFORD A little. JEREMY Well, I'm addicted to winning. I say when you're in the red zone, you gotta score. (watches Mumford smoke) So what do you think? MUMFORD Tastes good. JEREMY No... I mean about Althea. About her... (makes a face) ...behavior. Do you think you can fix her up? MUMFORD What do you think's wrong with her? JEREMY She's gone weird is what's wrong with her. Out of control. Probably from living out here in Mayberry. Jeremy blows cigar smoke into his snifter, then takes a mouthful of cognac, savoring the sensations. Mumford watches, fascinated by this guy. JEREMY You're the doctor, what do you think? MUMFORD She seems very unhappy. Jeremy gives him a look, as if to say "duh." JEREMY I think we all knew that, professor. The question... the real -- (drawn out, stoned) -- quest-tio-nee... is... why? Mumford looks at him a long time. EXT. ROAD INTO MUMFORD - NIGHT Jeremy Brockett's Mercedes 500 SL whips around a curve. INT. BROCKETT'S MERCEDES - NIGHT Martin is driving Mumford back to town. MARTIN But you know how to drive? MUMFORD Sure. MARTIN Got a license? (yes) But no car? MUMFORD Don't need it. MARTIN I just got my license two weeks ago. MUMFORD You're good. MARTIN I been drivin' since I was twelve. MUMFORD That would explain it. MARTIN Can you help Mom? MUMFORD I'm trying. MARTIN (intense) Got to. They drive in silence for a bit. Then -- MARTIN Nessa Watkins... She comes to you, doesn't she? You're treating her, right? Mumford gives him a surprised look, then acknowledges it. MARTIN What's wrong with her? MUMFORD Is she a friend of yours? MARTIN No... sort of. Man, she could be cool, but all she does is get wrecked and do all the guys. She's blowin' them in the parking lot. Mumford knew that. MARTIN A person's got to hate themselves to act like that. Mumford regards Martin with respect, then turns to look out front. After a few moments -- MARTIN Have you ever met a bigger shithead than my stepfather? EXT. THE DUPLEX HOUSE - NIGHT Lily is walking Ainge as the Mercedes pulls up and Mumford gets out. Ainge runs happily around the car and puts his paws up on the driver's door to greet Martin; we HEAR the clicking SCRATCH of his nails on the surface. Martin rubs the dog's head. LILY Ainge! MARTIN That's okay. Jeremy won't mind. Good dog. LILY Ainge! The dog obediently leaves Martin and runs back to Lily. Mumford waves as Martin pulls away. LILY (to Ainge) Do we run into the street? No, I didn't think so. (looks after Martin) Nice car. How's that place? MUMFORD It's a pretty piece of land. They walk up the block with the dog. LILY And the Brocketts? MUMFORD Horror show. What'd you do tonight? LILY It was insane here, man. 'Hadda call in the National Guard. (he nods) Then I did my laundry... watched 20/20. MUMFORD ...And? LILY Shocking. Did you know the government is wasteful? (Mumford reacts) You heard it here first. Oh, and being a supermodel... it's no walk in the park. MUMFORD Why do you watch? LILY No gentleman caller, Doc. (they turn back) Not that I care. I've had it with men. They're so fascinated by their own crap. Took me four years to get the last one out. Almost turned me into a dyke... These days my idea of a hot date is a long shower by myself before bed. Now that feels good. And you don't have to do all that... listening. Mumford laughs. LILY Oops... sorry. I guess that's the story of your life. INT. MUMFORD'S OFFICE - DAY TIGHT ON COMPUTER SCREEN. A health information "library" website has been called up on Mumford's office computer. Right now it's beginning to spew information about "CHRONIC FATIGUE SYNDROME" -- Definitions, Signs and Symptoms, Diagnostic Measures, etc. Mumford is hunched over the computer, reading avidly. His printer is churning out hard copies. EXT. FRONT PORCH, COOK HOUSE - DAY Mumford comes out the front door and holds it open for Sofie. He offers his arm and she takes it tentatively. SOFIE I'm not making any promises. MUMFORD We'll turn back anytime you want. SOFIE (seeing something) Oh boy... this should be interesting. Mumford looks out toward the street. A woman in her fifties is turning into the front walk. She stares at them, unsmiling, as the two parties converge. She is MRS. COOK. SOFIE Hello, Mother. I want you to meet Dr. Mumford. MRS. COOK Mumford... like the town? MUMFORD (offering his hand) Yes. It's nice to meet you, Mrs. Cook. She finally takes his hand, but it's not friendly. MRS. COOK What's happening here? SOFIE We're going for a walk. MRS. COOK Do you think that's a good idea? SOFIE Dr. Mumford does, yes. I've put myself completely in his hands. For today, anyway. MRS. COOK What kind of doctor are you? MUMFORD Ph.D., psychologist. MRS. COOK Oh... not a real doctor. MUMFORD That's right, the fake kind. Mrs. Cook is not amused. Sofie pulls on Mumford. SOFIE We'd better go or I'm liable to bail on the whole thing. Mrs. Cook steps aside as they move up the walk. EXT. SIDEWALK, NEAR THE COOK HOUSE - DAY Mumford and Sofie, foreground, walk slowly up the block. In the background, Mrs. Cook watches for awhile before going inside. SOFIE Mom's such a cutie. MUMFORD People usually have to get to know me before they hate me. SOFIE She's not in a bad mood. She's like that all the time. (a beat) It doesn't bother me anymore. It's my dad and my brother I worry about. MUMFORD Maybe... but you're the one whose ass is dragging. SOFIE (laughs) Is that the technical description of what I've got? MUMFORD Is she against you getting help? SOFIE We don't discuss it. MUMFORD Something's bothering her. SOFIE Oh, we've all disappointed her. Me, especially, but Dad, of course. She thinks my brother's all right, but she didn't expect much. It's what happens when you "marry beneath yourself"... Sofie suddenly seems to be fading. MUMFORD Please... forgive me. SOFIE What? MUMFORD Negative thinking makes everything more difficult. If you're going to have enough strength to do this, we have to talk only about positive things. All right? She looks at him, unsure if he's serious. It seems so corny. But she agrees. MUMFORD Okay then... Are you positive your mother's a bitch? (she laughs, surprised) Just kidding. SOFIE You've got a funny idea of funny. MUMFORD (seems worried) I've offended you! SOFIE No. MUMFORD Really? What would it take? She laughs again; surprised again. He's got her off balance makes a "rim shot" sound. SOFIE Is this the treatment? MUMFORD Sorry... I'm done. SOFIE 'Cause I'll tell you, none of the others have tried this approach. They've come to the corner. He gestures to ask -- "shall we cross?" She considers for quite a while, gauging her strength, then, still on his arm, steps off the curb -- SOFIE (absurdly unconvincing) Hey, 'Just do it!' THEY CROSS OUT OF FRAME as we HEAR: MUMFORD (O.S.) I want you to tell me all your symptoms. EXT. PATH BY RIVER - DAY ANOTHER DAY. They're dressed differently. Sofie seems more vigorous. SOFIE I'm embarrassed. The list is so long. MUMFORD Be specific. SOFIE Well... I'm tired all the time, obviously. I always feel like taking a nap. But when I try to sleep, I have trouble. (Mumford nods) My muscles ache. And my joints. I feel like an old person, or like I did back when I used to work out too hard... What else?... INT. MUMFORD'S OFFICE - DAY CLOSE ON COMPUTER SCREEN. Under the list of Signs and Symptoms: "Sore throat." MUMFORD (V.O.) Sore throat? SOFIE (V.O.) Uh-huh. ON THE SCREEN: "Low grade fever... Painful lymph glands... Irritability..." MUMFORD (V.O.) Low grade fever? EXT. PATH BY RIVER - DAY Sofie nods. MUMFORD Painful lymph glands? (yes) Forget fulness... irritability... depression? SOFIE Yes, yes, and definitely yes. Also... I get confused. MUMFORD Yeah, most people have that. It's confusing here. SOFIE Where? MUMFORD Life. EXT. HIGH SCHOOL ATHLETIC FIELD - DAY ANOTHER DAY. Mumford is leading Sofie through the lightest set of calisthenics ever devised. Now they're doing waist bends and arm waving. Even so, it's taking everything Sofie's got. SOFIE I don't know if I mentioned the headaches. MUMFORD Did you get headaches before this? (Sofie: yes) But you get more now? Or more severe? SOFIE No, not really. They're about the same. My marriage was one long headache. MUMFORD So the headaches may not even be a part of this? She considers that, reluctantly agrees. MUMFORD I can give myself a headache instantly. SOFIE Is that like a party trick? MUMFORD All I have to do is have two conflicting thoughts at the same time... Like I'll think -- 'Taking these walks is going to help Sofie get better.' But then I'll also think -- 'Mumford, you just enjoy taking these walks and you're kidding yourself about the benefits.' Sofie's not sure how to take that. She looks away. MUMFORD There... I've given myself a real whopper. SOFIE You actually address yourself by name in your thoughts? (Mumford laughs) So you really think having two opposing ideas in your head does some kind of damage? MUMFORD Sometimes, yeah... pulling in two different directions at once. It makes tiny little tears in our fabric. SOFIE Well then, my life has been some kind of huge rip. INT. BOARDING HOUSE (IN HENRY FOLLETT'S FANTASY) - DAY The handsome Newcomer of Follett's fantasy comes down the steps from the attic wearing a sleeveless undershirt, towel thrown over his shoulder. He goes into the bathroom off the second floor hall and begins to wash up. [Again, Follett's fantasy world is in BLACK & WHITE.] FOLLETT (V.O.) The town was a rube's heaven, but I found work my first day out down at Old Man Sutter's gas station and diner. I knew his stacked young wife was going to be a problem, but, hey, life is full of problems. Back at the boarding house, I was washing up when I heard a load of yellin' and -- IN THE BATHROOM MIRROR, the Newcomer's POV: a nubile teenager, 17 going on 35, in a tight cheerleader's outfit, comes up the stairs and stops at the top to turn and yell back down at her mother. Her dialogue distant and echoey: LANDLADY'S DAUGHTER ...get off my case! You don't like any of my friends... FOLLETT (V.O.) ...I got my first look at the landlady's daughter. The LANDLADY'S DAUGHTER looks up and sees the Newcomer watching her through the half-open bathroom door. She gives him a petulant, white-hot look, then turns on her heel and goes into her room at that end of the hall. She bangs her door behind her, but it bounces open again about a foot. The Newcomer, still watching in the bathroom mirror, now has a view of the bureau mirror in the Landlady's Daughter's room. In there, seemingly oblivious, the girl quickly strips off the top of her outfit, revealing a '50's-era white bra. FOLLETT (V.O.) Lucky for me, she was plenty upset but not too careful. Suddenly, in mirror reflection of mirror, the Landlady's Daughter meets the Newcomer's smoldering stare and her lip begins to curl. FOLLETT (V.O.) Or maybe it wasn't an accident at all -- MUMFORD (V.O.) Mr. Follett. FOLLETT (V.O.) -- 'cause in that instant I saw the beginning of a vixen's smile and I knew -- MUMFORD (V.O.) Henry! Mysteriously, the door to the girl's bedroom slams shut, cutting off the Newcomer's view. He looks with surprise into his mirror -- it suddenly shatters. INT. MUMFORD'S OFFICE - DAY Follett sits up abruptly on the couch and twists toward Mumford, agitated. FOLLETT What? MUMFORD Stop now. FOLLETT Why? I'm paying for this. MUMFORD Not for this. Not me, you're not. FOLLETT (challenging) You find it distasteful, don't you? MUMFORD It doesn't matter how I feel about it. It's how you feel about it that matters. FOLLETT I enjoy it. Does that make me some kind of pervert? Just because a man has a rich imaginative life -- MUMFORD You didn't come to me because you have a rich imagination. FOLLETT No? MUMFORD You came because it's taking over. You're in its grip. FOLLETT I never said that. Mumford's tone suddenly picks up a touch of steel. MUMFORD Where's your wife, Henry? Follett flinches, settles back down onto the couch, sulking. MUMFORD Where's your wife, Henry? FOLLETT Go to hell. MUMFORD (softer) I didn't hear you. Follett mutters something to himself, then is silent until -- FOLLETT We got divorced. (petulant) I had to get rid of her. She couldn't satisfy me. MUMFORD (shouts, Follett jumps) What?! Follett seems to shrink in size. They've been here before and he doesn't like it. FOLLETT (softly) I was... never satisfied. MUMFORD (normal again) Now we're back on track. Again, Follett says something under his breath. MUMFORD What's that? FOLLETT (long beat) You are so mean. EXT. HIKING TRAIL - MAGIC Mumford strides up the trail on his late day excursion. He comes around a bend and is surprised to find Skip waiting for him, looking serious. MUMFORD Hey, Skip. SKIP Doc. I know we're not supposed to get together till Wednesday... MUMFORD That's all right. What's on your mind? Mumford indicates that Skip should walk with him up the trail. SKIP How many sessions have we had now, Doc? (Mumford tries to remember) Six. And it's been good... like we were two buddies hanging out. Just shootin' the shit. MUMFORD Yep. They walk in silence for a while. SKIP This is really hard. Everything I want to say is hard... EXT. BIG ROCK LOOKOUT POINT - MAGIC Mumford and Skip come out of the trees, climb onto the big rock, and settle down. The sun is falling over the town of Mumford. SKIP ...We're like friends, almost... who trust each other. He checks Mumford's reaction. Mumford nods, offers Skip water, who turns it down. Mumford takes a swig. SKIP I want to tell you something, Doc, but before I do, I need to ask you a question... Because, for me to tell you this thing -- well, I haven't told anybody about this. It's the biggest secret I've got. MUMFORD Sometimes it's best to keep a few things just for ourselves. SKIP You're a shrink, Doc. Aren't I supposed to be able to tell you everything? MUMFORD It's just a thought. Skip, even more unsure now, looks away, at the town below. SKIP That really relates to the thing I want to ask you... I've noticed that sometimes, not a lot, but sometimes, when we're hanging out, throwin' the ball... or that time we went bowling... sometimes you'll like -- (gets it out fast --) -- tell me things about your other patients. Mumford lets that hang a few moments, then acknowledges it silently. Now Skip is even more nervous. SKIP Hey, maybe that's all right! I don't know all that much about psychology or therapy or... ethics, so maybe there's something I missed... or something... MUMFORD You're concerned that maybe I can't be trusted with a secret. SKIP I trust you. Definitely. No question. But, yeah, I'm a little concerned. I mean, you're not supposed to tell anyone about your patients' problems... are you? Mumford looks at Skip for a long moment. MUMFORD That is correct, Skip. I'm going to have to take a long look at that. The conversation seems to end there. Skip's not sure where to go next. Finally -- SKIP Yeah, well... what I was gonna tell you -- MUMFORD -- Skip. Knowing what you do about me -- SKIP Doc, I trust you! You've listened to me better than anybody... maybe ever. (leans in, intense) And this secret I've got, I can't stand it anymore. I don't know if I'm some kind of -- Skip looks around at the darkening woods, though clearly there's no one around. SKIP -- I don't know if I'm a pervert or what. It's taken me this long to get where I can come out and say it... I can't back away now. I can't spend another day not knowing if I'm nuts. Skip closes his eyes for a second and gathers himself. SKIP All right, I'm just gonna tell you, as simple and direct as I can. (one last spasm of doubt) And you understand that this is a big secret? Just between us? (Mumford does) Okay. You know I've got this gift for certain kinds of... machines. MUMFORD You are Panda, monarch of modems. SKIP That's right. And you also know that even though I make 23% of the modems in the world... I cannot make one simple connection with any woman who could truly love me. MUMFORD Okay... let's say that, for now. SKIP It's true, believe me. So... do you know what I've been doing, all alone, in my workshop, for almost two years?... Mr. Find-the-Need-and-Fill- It. How I spend my every solitary hour? Mumford shakes his head, "no." SKIP Guess. (Mumford demurs) Go ahead, guess! MUMFORD (if he must) Jerking off? SKIP No!... Although that's a good guess. No, what I've been working on, what the world really needs and no one has been able to create -- (leans in, whispering) -- a virtually life-like, humanoid, gender-specific, anatomically functional... sexual surrogate slash companion. Mumford tries to put that all together. Finally -- MUMFORD Slash what? SKIP Sexual surrogate... slash... companion. MUMFORD A doll? SKIP No, Doc, not a doll. I am Panda. I'm talking about much, much more than a doll. The world has never seen what I'm talking about... except maybe in the movies. Mumford considers that a long time, watching as the sun finally sinks below the horizon. He looks back at Skip. MUMFORD How's it coming? SKIP You don't think I'm insane? MUMFORD ("no") And that's your secret? (Skip: "yes") You meant -- like a trade secret? SKIP No, Doc, a private secret! It's perverted, it's pitiful. What am I -- Dr. Frankenstein? Aren't you repulsed? MUMFORD Sounds like kind of a good idea. SKIP (nonplussed) Really? MUMFORD Definitely. It's getting dark fast now. Mumford reaches into his bag and takes out the headlamp we saw earlier. He fits the straps carefully over his head. MUMFORD Skip, that's not much of a secret. SKIP (hurt) It's not? MUMFORD Oh, it's okay. It's just not something to be ashamed of. Maybe you don't want people knowing -- and believe me, it's safe with me -- but on the scale of dirty little secrets, I'd give it, say... a two. Mumford twists the headlamp and the light shines out in the dusk. Mumford turns the beam directly at Skip. MUMFORD You want to know a secret? I'll tell you a secret. Since it's just between us and all... Skip, hanging on every word now, agrees emphatically. MUMFORD The secret, Skip, is this -- I am not now, nor have I ever been... a psychologist. At first, Skip thinks he's misunderstood Mumford. But in the huge silence that ensues, he replays it and knows he's heard right. Mumford looks around, adjusts his headlamp, and gets up. MUMFORD We'd better get going. Just follow my light. And, Skip, watch your step. EXT. MUMFORD'S PORCH, THE DUPLEX HOUSE - NIGHT This porch is directly above Lily's porch. Mumford and Skip sit nursing beers. There's a cooler on the floor. Mumford's legs are propped up on the porch railing SKIP Who else knows? MUMFORD Just you. SKIP It's time you did some talkin', Dr. Mum -- Wait a minute. That is your name, isn't it? Mumford takes a drink of beer. SKIP Damn! What is your name? MUMFORD Doesn't matter. You can call me Doc. SKIP It matters to me. Mumford gestures: "sorry, no can do." SKIP I've told you a lot of private stuff. MUMFORD I can tell you anything else. SKIP What about everything? How did this happen? Mumford looks at Skip, considering. He takes a long pull from his beer, then looks at the frosty bottle. MUMFORD Did you know that every species of mammal has found some way to drug, inebriate, or anestnetize itself? Even if it's just banging its head against a rock. Seems to be some natural urge... to get away for a while. (one more look at Skip) I've had it for as long as I can remember. The first place I wanted out of was home... AS MUMFORD TALKS we SEE IMAGES FROM HIS PAST, all FROM MUMFORD'S POV. We do not see him in the scenes. Instead, everyone else in the scene RELATES TO THE CAMERA AS MUMFORD, even if they're just ignoring him. EXT. MUMFORD'S CHILDHOOD HOME, BALD KNOB, WEST VIRGINIA - MAGIC MOVING FAST (MUMFORD'S CHILDHOOD POV) toward the back door of a rundown, little house in a poor mining community. We reach the back door and bang inside -- INT. MUMFORD'S CHILDHOOD HOME - MAGIC The cramped interior is grimy and depressing. MUMFORD'S MOTHER worse for wear, has just put a glass of liquor on the sink and returned her attention to the smoking stovetop. She glances briefly at Mumford and greets him pleasantly, clearly drunk. Suddenly, her attention shifts and we -- PAN TO THE FRONT DOOR which is opened roughly by MUMFORD'S FATHER, a coal miner whose face still shows the grime of his work. But it's his scary scowl that impresses. His eyes take in his wife (and her drink) but he says nothing. He barely gives Mumford a glance as he drops his lunch pail on the table and disappears into another room. MUMFORD (V.O.) I thought I had the best parents in Bald Knob, West Virginia... till I was seven years old and got a look at some others. They weren't bad folks... AT THE DINNER TABLE. Across the table, MUMFORD'S OLDER SISTER eats with her head down. On the right, Mumford's Mother is picking at her food. Mumford's POV shifts to his Father, who is yelling something at his wife. MUMFORD (V.O.) ...but they were real unhappy about being who they were... Now, his Father looks suddenly at Mumford; his hand shoots out to slap Mumford's face, and the IMAGE GOES BLACK, then immediately FADES UP AGAIN on -- INT. HIGH SCHOOL CLASSROOM, WEST VIRGINIA - DAY TIGHT ON A TEST PAPER being laid on an old-fashioned student desk. Scrawled in red pencil at the top: "A -- Outstanding!" TILT UP to the old classroom, full of kids getting their tests back. ACROSS THE AISLE, looking at camera with disgust, is a sixteen year old boy, MUMFORD'S CLASSMATE. MUMFORD (V.O.) It made no sense that school came easy for me... I didn't do much work, and there was a proud tradition in my family of being really dumb. My friends didn't like it much. It made them distrust me... EXT. FOOTBALL FIELD - NIGHT FROM INSIDE A HELMET: the brutal chaos of crashing bodies in a Friday night high school football game. Mumford is violently hit. Our view is smashed so deep into the muddy turf that again the IMAGE GOES BLACK, then quickly FADES UP AGAIN on -- INT./EXT. LOVER'S LANE, WOODS - NIGHT TIGHT ON A CAN OF "IRON CITY" BEER in MUMFORD'S POV as he puts it on the roof of a green Nash Rambler and ducks into the back seat. In the shadows is a teen-age girl, MUMFORD'S DATE. As Mumford moves toward her, she flames a Bic lighter and gleefully lights a fat joint; her blouse is unbuttoned and gaping. MUMFORD (V.O.) On the other hand, it made some of my classmates like me better... I don't know what it was in me, maybe some genes from my mom, maybe some discomfort with myself, but early on I was drawn to any substance that made me numb... EXT. HIGH SCHOOL FOOTBALL FIELD - DAY Graduation Ceremonies. MUMFORD'S POV moving across a platform toward the diploma being proffered by the PRINCIPAL. PAN TO Mumford's Parents, dressed up and proud, in the audience. MUMFORD (V.O.) When I got a scholarship to go out of state to college, I was the first one in my extended family who'd gone beyond high school. At graduation, my folks looked like a normal, happy couple, which I guess they were about 10% of the time... out in public. INT. UNIVERSITY DORMITORY HALLWAY - DAY TIGHT ON A DORM ROOM DOOR as it is pushed open. MUMFORD'S NEW ROOMMATE, a crazed, middle-class doper, has his stuff spread around and is settled in the midst of the chaos. He looks up at the arriving Mumford with a maniacal, stoned smile. MUMFORD (V.O.) My roommate was from a planet I had never heard of called Scarsdale, where everything was the opposite of West Virginia... INT. COLLEGE APARTMENT - NIGHT TIGHT ON A BONG filling with white smoke. We FOLLOW IT UP THE TUBE to a PRETTY COED, who inhales deeply, then blows a seductive cloud directly at Mumford. The room is full of partying students. MUMFORD (V.O.) All the other kids, in fact, seemed to know things I didn't. They were friendly enough, but in four years, I never got over feeling that I had sneaked in... and was about to be exposed as the hillbilly and imposter I actually was. INT. BEDROOM, STUDENT APARTMENT - NIGHT Funky decor, red scarf over the lamp creating a sexy glow. MUMFORD'S POV moves toward an undulating shape hidden by a sheet on the bed. He reaches out and lifts the edge to REVEAL the Pretty Coed, now naked, giggling, her extended hand offering a tab of acid right up to camera. MUMFORD (V.O.) The thing that always made those feelings go away was... fun. Fun was drugs, fun was sex, fun was aggressively doing nothing. The only problem I had with degenerate, self- destructive behavior was... I couldn't get enough of it. INT. UNIVERSITY CLASSROOM - DAY A PROFESSOR approaches camera and lays a fresh examination on the desk in front of Mumford. The problem is -- Mumford is so doped up the classroom is swimming and the examination paper keeps changing shape. MUMFORD (V.O.) All that fun eventually had an impact on the work I was doing. I figured, what the hell, it was only college, after all. I'd straighten up when I went out in the real world... INT. OFFICE BUILDING CORRIDOR - NIGHT TIGHT ON SEVERAL AMPHETAMINE CAPSULES being dumped into Mumford's palm over a water fountain. They disappear toward camera as we dip down toward the stream of water. MUMFORD (V.O.) I didn't want to jump into my career right out of college. And since I had no career, that turned out to be not much of a problem... MUMFORD'S POV lifts from the fountain and turns to the endless, deserted corridor of the huge building. We begin TRACKING DOWN the hall, checking out the various doorways. A Cleaning Crew appears far up ahead. MUMFORD (V.O.) I had a series of challenging jobs over the next few years... EXT. ALLEY - DAY We PAN from the back of a garbage truck to a mess of garbage containers, and MOVE TOWARD THEM. INT. GAS STATION - NIGHT TIGHT ON TWO LINES of cocaine. We DIP TOWARD THEM, then UP AGAIN and they're gone. PAN to REVEAL we're in a closet off the brightly-lit office of an all-night gas station. A PATRON is waiting impatiently out by the pumps. EXT. SECOND FLOOR PORCH, THE DUPLEX HOUSE - NIGHT BACK TO PRESENT. Skip watches Mumford intently. MUMFORD ...pizza delivery, pipe fitting, pest control... lots of jobs that started with the letter "p". For some reason, I kept losing these jobs. (takes a swig of beer) The only mind-altering substance I never had a problem with was alcohol. I never got drunk. I didn't like the feeling. But really, when you're as fucked up as I was... big deal. Mumford stands up and stretches, then sits on the railing facing Skip. MUMFORD Eventually, doing all these different jobs, I noticed something. For some reason, probably because I was too stoned to talk, everywhere I went -- INT./EXT. SERIES OF SHOTS-- TALKING HEADS We see various CO-WORKERS from Mumford's jobs. The environments are radically different, but the activity is always the same -- the Co-Worker in question is pouring his heart out to camera. MUMFORD (V.O.) -- people would talk to me, tell me everything... their stories, their problems, their innermost thoughts. Sometimes they'd pretend they needed advice, but mostly people just wanted someone to listen. INT. CRAWLSPACE UNDER HOUSE - DAY MUMFORD'S MOVING POV as he crawls into the darkness, an insecticide sprayer ahead of him. He pushes at a cinderblock -- MUMFORD (V.O.) Anyway, one day I was spraying for termites when I had a vision -- The cinderblock tips over and a swarm of scary-looking spiders comes rushing out toward camera. MUMFORD (V.O.) -- it was time to put my college degree to work and get a job with a desk. SMASH CUT TO: INT. GOVERNMENT OFFICES - DAY FROM BEHIND A DESK in the middle of a huge sea of desks. MUMFORD (V.O.) I took the civil service exam and found myself working at the Internal Revenue Service, District 14, Central Administrative Office. I started off as a general records clerk... SERIES OF SHOTS: computer records scrolling rapidly, paper files being pulled, documents being routed. MUMFORD (V.O.) I guess the standards weren't too high there, because my superiors got excited and pushed me to take the advancement tests... INT. YMCA GYM - NIGHT An intense basketball game. The ball zips from behind camera (Mumford) to an older guy, MUMFORD'S SUPERVISOR, under the basket; he lays it in easily, then comes over to high-five. MUMFORD (V.O.) One guy in particular thought I should be a Revenue Officer. There was more money to be made as your classification went up. Which had a lot of appeal to me... INT. KITCHEN TABLE, MUMFORD'S CITY APARTMENT (PAST) - NIGHT A COCAINE MILL is loaded with white chunks and screwed shut in MUMFORD'S POV; the steady grinding begins. Spread across the messy kitchen table is the regular user's paraphernalia. MUMFORD (V.O.) ...since, even though I was certain I could stop anytime I wanted, I had developed a real affection for cocaine. It was my favorite hobby I had ever had. INT. INTERNAL REVENUE SERVICE OFFICES - DAY MUMFORD'S POV SHIFTS around the office. First, he's looking at an irate TAXPAYER yelling across a desk at a REVENUE OFFICER, who remains unruffled -- MUMFORD (V.O.) But I sure didn't want to be a Revenue Officer, where you were face to face abusing -- and getting abused -- all day long... His POV PANS with a couple of intense COLLECTION AGENTS who pass behind the first scene on their way out of the offices. MUMFORD (V.O.) ...And being a Collection Agent was definitely not in my genetic make- up... His POV STOPS, letting the Collection Agents go, on another fellow, with the disreputable, cocksure demeanor of a private dick, who is lolling near the water cooler, watching the altercation with amusement. He is GREGORY, an IRS INVESTIGATOR. MUMFORD (V.O.) But there was one job that looked like it might be fun -- Investigator. SKIP (V.O.) Are you telling me your last job before becoming a psychologist was -- EXT. SECOND FLOOR PORCH, THE DUPLEX HOUSE - NIGHT BACK TO PRESENT. Skip is leaning intensely toward Mumford. SKIP -- an investigator for the Internal Revenue Service? MUMFORD Everybody has a story, Skip. SKIP Sounds like you have several. MUMFORD What it felt like was... a series of separate, unconnected lives -- hillbilly kid, wrecked college boy, garbage man, civil service guy... (Yul Brynner accent) ...et cetera... et cetera. Every time I'd leave a life, it felt good. Whatever problems I was having were suddenly gone. I had no friends and I didn't talk to my family. The only constant, stabilizing force in my life was... drugs. SKIP An IRS investigator with a drug problem? MUMFORD It wasn't the best situation. SKIP Did you carry a gun? MUMFORD Didn't need one. We didn't even need a warrant for most of the shit we did. Man, the IRS... we could go in your bank account, your credit cards... hell, we used to go into doctors' files and get all the juicy details. Nobody wants to argue with the IRS. EXT. ALLEY, REAR OF DRY CLEANING FACILITY - MAGIC MOVING POV as Mumford follows GREGORY down the gloomy alley to a corner where they can spy at the scene beyond. MUMFORD (V.O.) I got teamed with one of the top guys, a fanatic named Gregory. He always got his man, whether they deserved it or not. He was a "closer" and everybody admired that... WHAT THEY SEE: The DRY CLEANING BOSS, a Middle-Eastern fellow, is standing at the back door of his place paying his Asian employees in cash as they leave. MUMFORD (V.O.) He'd make the case and the Collection guys would come in and clean up. Our specialty was... sleazy skulking... Gregory turns to look at camera (Mumford) with a devilish grin. MUMFORD (V.O.) We were a good team. I was a dope addict and Gregory was insane. INT. GREGORY'S HOUSE, CITY STREET - NIGHT MUMFORD'S POV as he supports a drunken Gregory as they stagger down the sidewalk to a row house. Holding Gregory up on the other side, is CANDY, Gregory's pretty wife. They wrangle Gregory up the front steps. Gregory stumbles inside and Mumford retreats down the steps, his eyes still on the front door. Candy appears there and stares down at Mumford, who stops where he is. MUMFORD (V.O.) Of course, him being insane didn't make it all right that I fell in love with his wife. SKIP (V.O.) Holy shit! EXT. SECOND FLOOR PORCH, THE DUPLEX HOUSE - NIGHT Mumford settles back in his chair as Skip shakes his head, astounded. MUMFORD (announcer-like) "Get to know your therapist." SKIP You were messed up, man. MUMFORD (dry) But look at me now... SKIP Hey, you've done good. Look at yourself... you've cleaned up, you've got a career -- Skip stops, remembers the truth, realizes. Mumford smiles. SKIP At least you pulled yourself out... MUMFORD Things got a lot worse. SKIP You and Candy...? INT. BEDROOM, MUMFORD'S CITY APARTMENT - DAY MUMFORD'S POV from his bed. Candy finishes dressing across the room. She looks at camera, her face full of the pain of leaving. EXT. FIRESCAPE/ROOF, BUILDING IN CITY - DAY MOVING POV as Mumford follows Gregory up the ladder and onto the roof of this old building in a rundown industrial neighborhood. MUMFORD (V.O.) The way the District Managers got ahead and won their bonuses was by generating maximum payments. That meant the revenue officers had to use all their "collection tools" -- seizures, liens, levies -- even if a more reasonable compromise could have been worked out. The best way to reduce resistance from the taxpayers was to build a convincing case -- whether there'd actually been a violation or not... Mumford follows Gregory, crawling, to the edge of the roof and looks down on a building one block over. It is a small furniture factory. Employees are eating their lunches on the loading dock. MUMFORD (V.O.) That's where we came in. Our DM was a particular sonuvabitch, and he knew just how to get Gregory crazy. INT. ETHNIC RESTAURANT - NIGHT MUMFORD'S POV takes in his ATTRACTIVE DATE next to him, then PANS TO Candy and Gregory across the table. Everybody's laughing. Candy flashes Mumford a momentary special look. MUMFORD'S POV guiltily PANS TO Gregory. Did he see it? MUMFORD (V.O.) So several things were working on Gregory when we started building a case against a furniture maker named Edmond Worrell... EXT. PARKING LOT, FURNITURE FACTORY - MAGIC BINOCULAR VIEW of EDMOND WORRELL and MRS. WORRELL as they get in a Cadillac at the end of a workday. MUMFORD (V.O.) ...and his family. INT. BUSINESS OFFICE, WORRELL FURNITURE FACTORY - NIGHT Lit by powerful flashlights, Gregory and Mumford attack the files of the company, both in cabinets and on computer. MUMFORD (V.O.) Gregory was acting more and more irrational. We started doing things that were over the line even for the IRS. When I look back on it now, I'm sure Gregory must have known about Candy and me. On our team, I had become... INT. MEN'S ROOM, WORRELL FURNITURE FACTORY - NIGHT EXTREME CLOSE-UP A LINE OF COCAINE on the top of a toilet tank as it is sucked out of sight. MUMFORD (V.O.) ...the responsible one. INT. BEDROOM, MUMFORD'S CITY APARTMENT - DAY MUMFORD'S POV IS A BLURRY SHAPE until Candy moves up and away, her face sweaty and aroused, torso naked. She's on top of Mumford. INT. GOVERNMENT CAR - DAY Mumford's POV slides into the passenger seat. Gregory is already sitting in the driver's seat. He stares at Mumford a long time. INT. CORRIDOR, SHABBY OFFICE BUILDING - DAY Mumford is following Gregory and REVENUE OFFICER MCLURE down the hall. They reach a door with the painted sign: "SAMUEL GORBECK, C.P.A." MUMFORD (V.O.) Sometimes when a case didn't work out right, Gregory and this Revenue Officer named McLure would put the squeeze on the subject's accountant... As they start to enter, SOFT CUT TO: INT. GORBECK'S INNER OFFICE - DAY GORBECK listens, intimidated by McLure, who sits on the accountant's desk, and Gregory, who is moving around the office -- snooping. MUMFORD (V.O.) There aren't many accountants who don't have something to worry about with the Service... INT. IRS OFFICES - DAY Edmond Worrell, his wife, his adult SON and DAUGHTER, WORRELL'S LAWYER, and, finally, the accountant Gorbeck are ushered toward a conference room by McLure, Gregory and some other IRS types. Gorbeck sneaks a nervous look at Mumford. Gregory, who now appears slightly mad, motions for Mumford to join them. MUMFORD (V.O.) The parties met repeatedly over a period of months. The IRS offered to settle for a sizable but, they said, fair amount. Worrell said he'd done nothing wrong and threatened to fight it all the way to Washington. He seemed pretty strong. I was secretly pulling for him. McLure and the District Manager stepped up the pressure. EXT. PARKING LOT, WORRELL FURNITURE FACTORY - DAY MOVING POV OUT THE WINDSHIELD of Gregory's government car as it comes speeding into the parking lot. There are two flashing Squad Cars and an Ambulance at the entrance. As Gregory's car hits a speedbump, the IMAGE BEGINS TO SLOW DOWN -- MUMFORD (V.O.) What none of us down at the Service knew was that Edmond Worrell had a story too... Worrell's was that he'd been fighting chronic depression for thirty years. Under the heat of the investigation, he fell off his medication. One Tuesday morning, he went down to the factory early, wrote his family a letter, then used the 9mm automatic they kept there to kill himself... The DM dropped the case that day and started proceedings to get rid of Gregory... The IMAGE HAS SLOWED TO A STILL. It now DISSOLVES TO: EXT. GREGORY'S HOUSE, CITY STREET - NIGHT Mumford's POV as he comes up the steps. The front door opens before he gets there. Candy, her face bruised, her eyes red, comes into view, she has a suitcase in hand. MUMFORD (V.O.) Gregory went home drunk, beat up Candy and went out to drink some more. Candy told me she didn't want to see me again. She hated us both and she was leaving us both... It made perfect sense to me. I felt the same way... INT. BEDROOM, MUMFORD'S CITY APARTMENT - NIGHT Mumford is frantically, futilely looking for an imagined drug stash. He's ransacked the place and is now throwing the clothes out of a drawer. INT. BATHROOM, MUMFORD'S CITY APARTMENT - NIGHT Mumford looks desperately through the pill bottles and detritus in his squalid medicine cabinet. MUMFORD (V.O.) ...In fact, I was jealous of Candy. I wanted to leave too, just like her... get as far away from -- Giving up, Mumford slams the medicine cabinet shut and FOR THE FIRST TIME SINCE HIS STORY BEGAN, WE SEE MUMFORD in his previous incarnation. And this is probably as bad as he ever looked. He stares at his image in the mirror. MUMFORD (V.O.) -- me... as possible. EXT. SECOND FLOOR PORCH, THE DUPLEX HOUSE - NIGHT Skip is staring at Mumford. Empty beer bottles are lined up on the porch railing. SKIP And so you did... Mumford nods. SKIP And the drugs? MUMFORD Harder than I thought. Took me three tries. But I was highly motivated -- figured there was no point in leaving me and taking that along. After two bomb-outs, I found a place in the desert... INT. DESERT DRUG REHAB CENTER - SUNRISE A venetian blind is raised, revealing sunrise over a desert landscape. MUMFORD (V.O.) The joint wasn't fancy -- it was run by an order of monks -- but it worked. When I got out of there, I was just about broke... EXT. SECOND FLOOR PORCH, THE DUPLEX HOUSE - NIGHT Mumford gets up from his chair and moves toward his door. MUMFORD ...which seemed perfect for starting something new. Be back. Mumford goes inside. Skip sits listening to the night. From downstairs, in Lily's apartment, he HEARS A SHOWER GO ON. Mumford comes back out. SKIP Somebody's taking a shower down there. MUMFORD That'd be Lily. SKIP I wish I could live in the shower. I'd take five a day if I had the time. I went to this spa in Germany, a sanitarium practically, up on this mountain. And the great thing -- they just kept you wet all day. MUMFORD Who'd you go with? (Skip: "alone") That's not good. SKIP How'd you do it? (Mumford is confused) The new you. MUMFORD You know how easy it is. A kid can manage it if he wants a fake I.D. You can do practically the whole deal at your local Kinko's. The only variable is how much pride you take in the product. SKIP I know it starts with a birth certificate... MUMFORD All new people start with that... INT. ANONYMOUS WORK ROOM - DAY ON A COMPUTER SCREEN an elaborate graphics program is creating the filigreed border of a birth certificate that already bears the official-looking designs of "Green County, State of West Virginia". MUMFORD (V.O.) With desktop publishing, you don't have to deal with printers, supply houses, or pesky government agencies. Eventually you do have to get your hands on a typewriter. Ever seen one of those, Skip? As the border is completed, we PUSH IN and DISSOLVE THROUGH TO: SURFACE OF A DESK, with an electric Smith-Corona typewriter (late '50's vintage). EXTREME CLOSE-UP of the keys hammering out individual letters and numbers: date, hospital, attending physician. SKIP (V.O.) (playing along) Is that like a mimeograph?... What about the name? EXT. SECOND FLOOR PORCH, THE DUPLEX HOUSE - NIGHT Mumford looks at Skip. MUMFORD What about it? SKIP "Mumford"... I mean, why pick the name of the town you were going to? MUMFORD Oh. You got it backwards. I already had the name when I started looking for somewhere to settle. When I saw this town on a map, I thought maybe it was a sign. See... INT. ANONYMOUS WORK ROOM - DAY The typewriter is just pounding out: MICHAEL OLIVER MUM-F-O- R-D. MUMFORD (V.O.) ...Mickey Mumford was in Miss Rice's kindergarten class with me. He was killed with his parents in a wreck on their way back from a Steelers game. He was only six years old, which is a real plus, so there's a birth certificate if anyone checks -- but not much else. They died in Pennsylvania, so there's no death certificate in West Virginia... that's also good. ON A KITCHEN TABLE, the new birth certificate, now filled out for Michael Mumford, is carefully lifted from a shallow bowl of light tea (the tea bags are nearby). The paper has taken on an aged, sepia look. CUT TO: A STACK OF BOOKS. The ones on top are lifted away. The bottom book is opened to reveal the birth certificate. It has been folded in an official way. Now Mumford unfolds it, then refolds it differently -- with its smudges and creases, it's starting to look old. SKIP (V.O.) And a birth certificate is enough? MUMFORD (V.O.) Everything flows from that, and what doesn't... can be easily purchased. SERIES OF SHOTS of Mumford's DOCUMENTATION PILING UP. A post office box is emptied, official-looking correspondence is opened, the bounty is laid out for perusal: Social Security card, driver's license, college and graduate school diplomas, license and accreditation to operate as a therapist. MUMFORD (V.O.) Of course, my IRS training made it easier. Once you've done that, there's not much data you can't access and use any way you want. EXT. SECOND FLOOR PORCH, THE DUPLEX HOUSE - NIGHT MUMFORD In a free society, you are who you say you are. (smiling) People should remember that before they go around knocking this country. (he gets up) Skip, all this beer's got me sleepy. Skip looks upset. SKIP But you studied psychology, right? You did the training and just never got the degree? MUMFORD No... no training. SKIP (hopeful) Psych major? MUMFORD English Lit. SKIP Jeez, man. But you're good at it! MUMFORD I understand what it's like to want to leave a problem behind. That's all most people are looking to do. (shrugs) Mainly, I listen. He heads inside. SKIP Where ya going? I've got a million questions. MUMFORD See you Thursday... regular time. Mumford goes inside. Skip nods, head spinning. EXT. NEIGHBORHOOD STREET - SUNRISE Mumford and Sofie are delivering newspapers in lovely first light. Mumford has a canvas sack full of newspapers around his neck. At each house, he consults the list in his hand, then hands Sofie a rolled-up paper, which she throws -- with varying success -- toward the front doors. The activity is tiring for her, but she's committed. SOFIE ...so we get on this incredible steam engine train that runs up into the mountains... (she tosses a paper, grunting) ...and this trip is everything it's cracked up to be... an open car, great views, the mountain air blowing through. We're sitting there, married for six years, and he says how he likes it better when I put my hair back... Mumford hands her another paper, which she heaves with all her limited strength, missing the front porch badly. Mumford, who can't get enough of watching her, doesn't notice at first. SOFIE That wasn't so good. Mumford snaps out of it. He goes up on the lawn and flips the paper deftly onto the porch. As they continue -- MUMFORD You're doing great. SOFIE I don't know if I'm going to make it the whole way. MUMFORD It doesn't matter. Go on. SOFIE Oh... this makes me sound irrational, which is probably right, but there was something about him saying this -- it was maybe the millionth time he'd told me about some preference of his. Well, I was so... tired of it. (memories) Seems like my whole life someone's been telling me... I'm just not getting it right. Can we rest for a second? She leans against the iron handrail on some front steps, breathing hard. SOFIE You're purposely making me talk while we do this... (Mumford nods) ...because you think this is good for me... (nods again) ...and you're a sadistic bastard... MUMFORD Yes. SOFIE ...who thinks there's nothing really wrong with me. MUMFORD Oh, there's something wrong with you, all right. Especially after hearing that dream of yours, about the Roto-Rooter. She laughs. They're playing with each other. SOFIE That was really bad, wasn't it? MUMFORD Disgusting. SOFIE And I'll bet you can interpret the whole thing MUMFORD It's pretty obvious to a trained professional. Sofie starts walking again, taking another newspaper from his sack. He points to the next house. SOFIE I hate those dreams where everything means something. Sofie heaves the paper squarely onto the porch. She turns to him with pride, but when she sees the way he looks at her, she glances away, uncomfortable. MUMFORD Is that when you split up? SOFIE No, that'd be a good story, but that was just the beginning of the end. We went on for another year or so. Mumford hands her another paper and indicates the next house. SOFIE So whose route is this? MUMFORD Brady Peck's. Fourteen years old. Lives next door. SOFIE And he's where? MUMFORD In the capitol for Boy's Nation. Five days. Why? SOFIE (heaves another paper) I'm thinking a gal could make a good living doing this. How hard could it be squeezing out some fourteen year old? MUMFORD You like it? SOFIE It's all right. MUMFORD Then you can expect me at 5:30 tomorrow morning. SOFIE And this is legitimate therapy? MUMFORD Therapy? Hell no, I just don't want to do it alone. INT. MUMFORD'S OFFICE - DAY TIGHT ON RAPID SERIES OF IMAGES on slick, glossy magazine pages: each change of image is punctuated by the AMPLIFIED SNAP of the page being turned, like a gunshot. We're SO CLOSE to the images we can't tell when the magazines change -- from Glamour to Vogue to Us to Mademoiselle to W to Vanity Fair. And it doesn't matter. Whether the images are ads or fashion spreads or celebrity candids, the look is the same -- jaded, hip, disinterested, apathetic, either impossibly buff or anorexic, but always severely beautiful. The PAGE TURNING starts at a fevered pitch and becomes even more intense. Finally -- MUMFORD (V.O.) What is it, Nessa? The IMAGES CONTINUE. NESSA (V.O.) Isn't she amazing? That is such a wicked look. MUMFORD (V.O.) What do you want me to see? NESSA (V.O.) Just chill for a second. Look at this guy, it appears he's actually dead... but gorgeous. Mumford is sitting next to Nessa on the couch. At their feet is a mess of magazines. Nessa discards one and immediately starts flipping through a new one beneath it. She is very agitated. Mumford stands up, walks over and sits in his chair. NESSA What are you doing? We're not done. I just need to find the thing... MUMFORD If you don't want to have a session today, it's okay. NESSA I want to have the session. I thought it would be cool if I could show you some of the things that interest me. But I guess you're not into it... which we already knew. MUMFORD What happened today? NESSA What are you talking about? MUMFORD Was it something that happened at school? NESSA (petulant) These appointments were not my idea, remember. MUMFORD True. Should we stop them? A look of panic crosses Nessa's face, but she instantly hides it, busily taking out cigarette and lighter, which she doesn't use. Instead, she lies down on the couch, balancing the closed magazine on her chest. NESSA I don't think you know what you're talking about. MUMFORD Uh-huh. NESSA This shrink school you went to... did you hear about it on an infomercial? Mumford waits. Nessa refers to the magazine beneath her chin. NESSA I want to live in the world these people are in. No one ever says anything in there, have you noticed? So they're very cool. Like they're all really deep. It's when people start talking that everything goes to shit. Nessa suddenly seems on the edge of tears, but beats it back. NESSA There's this kid at school... Martin Brockett. He has some gigantic idea of himself that no one else shares. You wouldn't believe the crap he lays on me... Who appointed him my spiritual leader? If he has everything so figured out how come his best friend is a .22 rifle? And why's he spend all his time chasing after me? Probably thinks I'm gonna give him a hummer... MUMFORD Do you think that's what he wants? NESSA (after a beat) No. I don't know what he wants. But I know I don't like being watched. Nobody's ever paid any attention to what I did, and I liked it just fine. Where does he get off telling me I disrespect myself? (a beat) Fuck him. Look in a mirror, bozo. EXT. LILY'S CAF…, MAIN STREET - DAY Mumford crosses the street from his office. A huge bus with "APPLEJACK TOURS" on the sides, is disgorging its passengers, a large group of elderly JAPANESE WOMEN, all of whom file neatly into Lily's CafÈ. Lily stands on the sidewalk outside greeting them merrily. MUMFORD What's the deal? Lily continues her welcomes, but points out a hand-lettered sign in her front window -- "Closed for Lunch. See you tomorrow." LILY They come through a few times each year. (greeting one cheerily) Hello, Mrs. Saito, good to see you again! (back to Mumford) It's a tour. MUMFORD Where am I supposed to eat? LILY You're on your own today, honey. Mumford's attention is suddenly drawn to something across the street. He glances thoughtfully at Lily for a moment, then back out there. WHAT HE SEES: Skip is once again zipping down the street on his skateboard in the midst of traffic. He has not noticed Mumford. MUMFORD (O.S.) Hey, Skip! Skip looks over, then immediately changes course toward them, barely checking the surrounding traffic. He is extraordinarily skillful. When he gets to the curb, he pulls a snazzy board- flipping maneuver to dismount and come up on the sidewalk. Some of the Japanese matrons react with delight. SKIP Doc. Skip notices the tour members filing by, but is immediately distracted by the presence of Lily, who's a little excited to meet the local celebrity. MUMFORD Lily, I want you to meet Skip. Skip, Lily. LILY It's a pleasure to meet you. SKIP (flustered) Yeah... me you, too... I was at your house... LILY Oh? SKIP Upstairs, with Doc... Yeah, it's very nice... I heard your shower. Skip can't believe what he just said. Neither can the other two, actually. Mumford can't stop himself from laughing, but he cuts it off fast. Lily blushes, but Skip's agitation has charmed her. Something's happening here. LILY I've seen you going by on your board, but I didn't realize -- you're so young... to be so... SKIP What? MUMFORD ...so rich? LILY (gives him a look) ...so accomplished. SKIP I may be young, but Doc can tell you, I'm very immature. He's making a joke and it represents quite a recovery. They're all relieved. Then there's an awkward silence. Skip watches the last of the tour enter the restaurant. SKIP So, is this like a Japanese restaurant? LILY I'd better get in there. SKIP That's a lot of people all at once. LILY It's okay. They pre-order. There's a choice of three entrees. SKIP What are they? Lily gives him a careful look: Is he really interested? There's something about him... LILY Meat loaf, turkey quesadillas, or salad nicoise. SKIP Salad nicoise? I love salad nicoise. LILY (giggling) You do? SKIP Yeah. LILY Well, come on in. She motions him in and starts to follow. Mumford makes a "what about me?" sound. Lily, grinning, just points to the sign and leaves Mumford standing on the sidewalk. DELBANCO (O.S.) Dr. Mumford. Mumford turns to find Dr. Delbanco and Phyllis Sheeler, the shrinks Lionel had conferred with, standing nearby. It takes a moment for Mumford to remember Delbanco. Finally, shaking hands -- MUMFORD Dr. Delbanco. It's nice to see you again. DELBANCO I don't think you know Dr. Sheeler. She's the other therapist here in town. MUMFORD (shaking her hand) Of course... I've heard great things about you. SHEELER Thank you. DELBANCO You never got back to me. (Mumford doesn't understand) ...I called to say we'd like to take you out for a meal?... Kind of a professional welcome. Mumford makes a show of remembering. MUMFORD Forgive me, please. What a gracious thought. We must do that. SHEELER When? MUMFORD Why don't I call you when I've got my calendar in front of me? DELBANCO What are you doing for lunch? MUMFORD Right now? The other two nod in unison. Mumford considers, trapped. INT. THE LANTERN AND THE LAMB RESTAURANT - DAY The town's upscale dining spot. Mumford, Delbanco and Sheeler are in a red leather booth. Sheeler listens with rapt, admiring attention as Delbanco speaks -- DELBANCO ...annihilation anxieties engendered by bad experiences with a depriving mother... but no one can escape the fear of death. It is, as Henry James put it, "the worm at the core." Try as we may to forget or ignore our mortality, James said -- (theatrically) -- "the skull will grin in at the banquet." Mumford nods appreciatively. (He really is an extraordinary listener.) Delbanco catches his own vanity in Sheeler's adoring gaze and becomes self-conscious -- DELBANCO I've run on. Forgive me. We're here to talk about you. MUMFORD Are we? SHEELER (covering) What Ernest means, I think, is we're very interested in other methodology... different kinds of training. We're great believers in learning from each other. I've learned so much from Ern -- Dr. Delbanco... DELBANCO ...And I from Phyllis. SHEELER (back to a previous thread) So... the University of Kentucky. Who runs the program down there? MUMFORD My mentor was an amazing teacher named Benton Mandlebaum. Died quite tragically in the collapse of a gazebo. DELBANCO I think I've heard of him... a disciple of Rothberg, wasn't he? Mumford's response, and all that follow, is calm and pleasant. MUMFORD It's possible. I don't know about that. SHEELER I suppose your extended training was at an institution in that area? MUMFORD Lots of institutions. My graduate advisor believed we should experience as many environments as possible -- prisons, clinics, half-way houses. For a while I was chief therapist in a shopping mall. Had a little spot next to the yogurt place. DELBANCO Interesting approach. What was his name? MUMFORD Dorothy Fowler. Fantastic woman. She passed last year in a train wreck. Damned Amtrak. Delbanco and Sheeler exchange a look. Sheeler adopts a "casual" tone -- SHEELER I trained in the east, myself -- Cornell -- and I don't care what anyone says, there really are regional differences. I found the state certification exams out here quite harrowing... Did you? MUMFORD Oh, yeah, very tough. But I guess that's good... to keep out the quacks. SHEELER Which examiner did you have? I probably know him. MUMFORD Wallace Franklin... from Greensburg. A dark look comes over Sheeler's face for a moment. SHEELER That was a terrible thing. MUMFORD (agrees) I don't even know why hang-gliding is considered a legitimate sport. DELBANCO (back on track) We're interested in any new therapies. How would you characterize your approach? MUMFORD My approach? SHEELER Yes... your particular approach. MUMFORD I don't have one really. Most of the time I'm faking it. See, I think there's not much that can be done about most problems... they're too complicated, too deep-rooted by the time I hear about them. The most I can do, usually, is look and listen real closely, try to catch some glimpse of the secret life everybody's got. If I can get a sense of that, well then, maybe... just maybe, I can help them out a little. Mumford sits back, considering the couple across the table. His gaze is so crystalline that, after a moment, they become uncomfortable and steal a glance at each other. Finally -- DELBANCO I see. INT. MUMFORD'S OFFICE - DAY CLOSE ON Althea Brockett. ALTHEA -- The argument had nothing to do with it. MUMFORD (O.S.) I understand. I just want to know what the argument was about. ALTHEA (hates to say) I had ordered some books. "The 100 Greatest Books Ever Written." MUMFORD (O.S.) Uh-huh. What are they? ALTHEA Oh, all the great writers -- Shakespeare, Charles Dickens, Moby Dick... those people. Each is bound in genuine premium leather with 22 carat gold accents. It's a magnificent set -- and only $33.50 per volume. Right away you get Great Expectations for just $6.99. MUMFORD (O.S.) One hundred books? ALTHEA It's irrelevant. It had nothing to do with what happened. MUMFORD (O.S.) What happened? Althea is sitting on the couch facing Mumford. She has a bulky knit cardigan sweater hugged tightly around her -- the only sign that she's not completely calm. ALTHEA We argued on Sunday. He went to work on Monday and stayed in the city during the week, like always. But on Thursday, when he normally comes home, he didn't. Didn't call either. Not till Saturday afternoon. MUMFORD You must have been concerned. ALTHEA It's happened before. (a beat) I'm shocked by how little I'm feeling. I can't understand it. (a real question --) I'll probably have a complete depressoid collapse soon, won't I? MUMFORD Doubtful. What did he say? ALTHEA He said he wasn't coming back. He said it wasn't working for him any more. That it hadn't "worked for him" for quite a while... You know what I regret the most? I'm sorry I let him make the kids take his name. He was an acquirer. (off Mumford's look) He liked to acquire things. Mumford looks away. Althea realizes what he's thinking. ALTHEA You think that has something to do with my problem? Ordering all those things?... It hadn't occurred to Mumford, but it's an interesting thought. ALTHEA ...Like I was on some kind of campaign to out-acquire him... (excited now, playing it out) ...If I was just an acquisition to him, and he lost interest once he had me -- She stops, shakes her head. ALTHEA That can't be it. It's too simple. And besides, I still like it. This morning I ordered a marble turtle cheese board from The Horchow Collection. (an odd look) Can I tell you something just awful? You know how people who are just assholes will sometimes look at a woman who's got problems and say, "What she needs is a good shtupping!"? Mumford nods. ALTHEA Well, there may be something to that. Jeremy didn't keep up his end -- Oh, what difference does it make? (suddenly) Why do I feel elated? Am I in denial? You know what it feels like?... She glances at her watch, then starts talking fast -- ALTHEA I know my time's up, but I've got to get this out while I've got hold of it -- MUMFORD Take your time. ALTHEA (no slowing down) -- When I was in high school, the thing I wanted most, when I was stuck in class, the thing I was always desperately in pursuit of -- was a hall pass. That's all I wanted. I loved moving freely around the school while everybody else was trapped in there... And that's how I feel right now... Like I have some giant, all- day hall pass. She is beaming, but suddenly becomes self-conscious. She stands up abruptly, flushed. ALTHEA My god, did it just get hot in here or what? She takes off the bulky sweater and bends to pick up her purse. She is wearing a simple cotton dress that buttons up the front and hugs her body. WE SEE for the first time what all her other outfits have hidden: Althea has a terrific, voluptuous figure. ALTHEA See you next time. I'll probably be a basket case by then. She heads toward the door to the waiting room. Mumford indicates the back door. MUMFORD You can go out there if you like... ALTHEA (quoting Mumford) "There's no shame in getting a little therapy", right, Doc? She opens the door to the waiting room, startling Henry Follett, who jumps up from a chair out there, magazine still in hand. INT. WAITING ROOM, MUMFORD'S OFFICE - DAY Follett is embarrassed to be discovered here. But that's secondary to the impact Althea's current appearance -- sexy body framed in the doorway -- is having on him. She's been a customer in his store, but he's seeing her now as if for the first time. All his libidinous buttons are being pushed. Althea breezes by, oblivious to his reaction. ALTHEA Hello, Mr. Follett. Have a good session. Bye, Doc. She goes out. MUMFORD Henry... But Follett continues to stare in the direction Althea has gone. INT. LOBBY ATRIUM, PANDA MODEM WORLD HEADQUARTERS - DAY Mumford is being escorted across the spectacular atrium by a PANDA SECURITY AIDE. Her informal uniform, and all the other details in the building, carry out the Panda design motif. As they head down the main corridor -- SKIP (O.S.) Hey, Doc! Mumford looks that way. In the distance, Skip is descending from an upper level on his skateboard via a unique system of ramps designed for that purpose alone. None of the hustling Panda Employees in the area take any particular notice of the sight. Skip meets Mumford and his escort at the bottom of the ramp with a spectacular stop. SKIP Thanks, Jennifer, I'll take him from here. The Security Aide retreats as Skip (riding slowly alongside) leads Mumford into a side corridor. INT. BOWELS OF THE BUILDING, PANDA MODEM HEADQUARTERS - DAY SERIES OF SHOTS. Skip and Mumford move through a maze of hallways with progressively less foot traffic. SKIP I've never brought anyone down here before. MUMFORD I'm honored. SKIP Doc, there's something about what you told me the other night I can't get out of my head. It's driving me batty -- (Mumford nods, waits) Why me? How did you know you could trust me? MUMFORD You're completely reliable. Skip is pleased. They approach a heavy steel door, the entrance to Skip's Workshop. A VERY OLD SECURITY AIDE sits at the end of the intersecting hallway, watching this area. Skip shouts down there -- SKIP It's just me, Dino! The old man nods, barely awake. MUMFORD Skip, I've got a problem and I need some advice. SKIP You want my advice? Far out! Skip puts his hand in a scanning device in the wall. Some lights blink and the heavy metal door pops open a few inches. Skip has to put all his weight into opening the door. He hesitates, suddenly concerned -- SKIP I hope nothing you're about to see will shake your faith in me. Mumford reassures him with a look. Skip pushes the door open far enough for them to enter, then pulls it closed behind them. INT. SKIP'S WORKSHOP - DAY Mumford and Skip enter the large, windowless workspace. What at first appears chaotic is, in fact, carefully organized. Many different disciplines interface here: THE BODY SECTION: The first thing one notices -- some incredibly life-like, anatomically correct, sculpture/mannequins -- both male and female. You half expect them to breathe. From there, a full wall of forms descends from store mannequins and skeletons all the way down to a huge variety of inflatable sex dolls. THE CYBER SECTION: A dizzying array of computers and screens, some showing wire-form outlines of body parts in repeated motion. Above them, on a huge corkboard, hundreds of computer generated renderings of skin, eyes, limbs, sexual organs. THE BODY PARTS SECTION: Medical models of teeth, eyes, lips, limbs. Hundreds of porn store samples: plastic dildos, rubber vaginas, sucking machines and sundry genitalia. THE FORM-CASTING SHOP: All the machinery you need to make rubber and acrylic forms of anything that can be computer designed. All these weird objects are set upon shiny, spotless, high- tech work surfaces. Skip watches Mumford move about in awe, picking up the odd item. SKIP Pretty creepy, huh? Are you totally disgusted? MUMFORD ("no") Skip, you're a visionary. That can be a burden. SKIP This doesn't seem a little... perverse? MUMFORD There are a lot of lonely people in the world. Somebody's gonna figure this out someday. SKIP It's not going to be me. I'm giving it up. MUMFORD Really? SKIP It's all your fault. In the last 48 hours, I've completely lost interest. MUMFORD What'd I do? Skip looks at Mumford, a wide grin on his face. SKIP Lily. MUMFORD Lily... (gets it) ...Skip, that's great! You and Lily. SKIP Oh, she doesn't know about it yet. Right now, of the two of us, I'm the only one in love. But I'm very stoked. Skip settles in front of the Body Parts section, framed by an array of limbs and sex toys. There's an assembled pelvic section with upper legs lying in the clutter behind him. SKIP Doc, how I can be of help to you? Skip leans back against the table and accidentally hits a button. The pelvic section begins to hump, slowly and sensually, in place. It's amazingly life-like, but it makes a mechanical WHIRRING SOUND. Skip fumbles to turn it off. SKIP Sorry... MUMFORD Wow. Skip gets the pelvis switched off and turns back to Mumford. SKIP I'm here for you, Doc. MUMFORD Skip, you know that it's improper -- completely unethical -- for a licensed psychologist to carry on a romantic relationship with one of his patients? SKIP I guess that makes sense. MUMFORD Yes, yes it does... Mumford sinks into silence. He begins to wander the room. SKIP You've fallen in love with one of your patients? Mumford nods. Skip is desperate to say something useful. Suddenly, he has an alarming thought. SKIP Doc!... It's not me, is it? MUMFORD What? Mumford understands and can't stop a laugh. MUMFORD No, Skip, it's not you. But I like you a lot. Skip is relieved. He has another thought and brightens. SKIP Doc, what about this? You're not really a licensed psychologist! Mumford turns to meet Skip's gaze. Skip realizes the ramifications of what he's just said. SKIP Hmm. I guess that doesn't help... I see where you're going here. It's a mess. MUMFORD Yep. INT. DR. DELBANCO'S OFFICE - DAY Lionel is here with Delbanco and Sheeler. This time, Delbanco is behind his desk, Sheeler across the room on the sofa. LIONEL Don't you find it incredibly convenient that everyone who could possibly corroborate his story has recently died some exotic death? DELBANCO They're neither all recent nor exotic. SHEELER But they're certainly dead. And yes, personally, I find it a bit odd. DELBANCO It could happen. What about his state certification exams? The records seem to be in order. Lionel's derisive snort is so obnoxious, it's hard to bear. LIONEL What's easier than hacking your way into a state computer and inserting some numbers? For all you know he never even took the exams! SHEELER That's true. DELBANCO I don't know that it's all that easy... LIONEL Doctor, correct me if I'm wrong, but it sounds to me like you've gone for this guy's story hook, line and bull- twaddle. SHEELER You do seem much more disposed toward him than I understand, Ernest. Did I miss something? DELBANCO (sharply) Oh, for god's sake, Phyllis -- we have no reason to doubt the man! Are we listening to Lionel now? Sheeler jumps, so shocked is she by his outburst, and so humiliated for Lionel to witness it. Fighting tears and trying to maintain her dignity, she gathers up her things and walks to the door. Delbanco, immediately contrite, stands up. DELBANCO Phyllis, I'm sorry. I didn't mean to shout... SHEELER No, Dr. Delbanco, it is I who am sorry. Sorry to have wasted your time with such... She breaks into tears and rushes out of the office. Delbanco is left facing Lionel, who gives him exactly the look the doctor least wants to see. INT. LILY'S CAF… - DAY Mumford is eating his lunch at the counter. He watches Lily busily working the midday rush. She sees him grinning at her, but doesn't say anything for a while. Finally, blushing -- LILY Stop it! He's a kid. I'm old enough to be his... older sister. Mumford smiles, eats. INT. ENTRY HALL, COOK HOUSE - NIGHT Mr. Cook opens the front door to Mumford. COOK Dr. Mumford. Please, come in. Mumford comes in, reluctantly. MUMFORD Hello, Mr. Cook. I was wondering if Sofie was around? COOK Were you supposed to have a session? MUMFORD No. It's sort of spur of the moment. INT. LIVING ROOM, COOK HOUSE - NIGHT Mumford follows Mr. Cook into the room. Mrs. Cook and Sofie's thirtyish brother, BEN, are in there, watching television. Mrs. Cook keeps knitting; Ben stands to shake Mumford's hand, muting the TV with a remote. COOK Look who's here. Have you met Sofie's moth-- MRS. COOK -- We've met. COOK And our son, Ben... BEN (vigorously shakes hands) This is a real honor, Doctor. Have a seat, will ya? Mumford continues to stand. MUMFORD Well, actually, I can't really... Do you think I could see Sofie? BEN I insist! I've been wanting to meet you. Mumford sits. MRS. COOK (icy) Sofie's not here. Mumford's surprised. Mr. Cook speaks with some pleasure. COOK Her friend from the city came and took her out to dinner. First time in a long time she's been willing. MUMFORD A friend? BEN We owe that to you. She's perked up a lot since you started treating her. Mrs. Cook gives Ben a condescending look and keeps knitting. MRS. COOK What'd you want? MUMFORD There's something I think we need to talk about. MRS. COOK What? MR. COOK Elizabeth... MRS. COOK I think we have a right. BEN We certainly do not. MRS. COOK Keep it zipped, Ben. Ben gives Mumford an exasperated look, but doesn't argue. MR. COOK Is there something we need to know, Dr. Mumford? Mumford is conflicted, not sure what to share with them. MUMFORD Well... yes, I guess I should tell you. I don't think I'm going to be able to treat Sofie anymore. Mr. Cook and Ben exchange an alarmed glance. Mrs. Cook actually cheers up. MRS. COOK Finally, some common sense... MUMFORD What do you mean? MRS. COOK I think you know what I mean. MUMFORD No, I really don't. MRS. COOK I think you do. MUMFORD Why don't you tell me? MRS. COOK (very calm) Why don't you go to hell? It's all a bunch of nonsense and you know it. MR. COOK Elizabeth, I'm tellin' you, stop this... MRS. COOK (dismissive) You're telling me? That's rich... MUMFORD (standing up) I'd better go. BEN Why can't you see Sofie? I know the treatment's working. Mumford looks from Ben to Mr. Cook, who nods his agreement. MUMFORD Well... you see, the problem is -- MRS. COOK -- the problem is you're a big fake. You haven't got a clue what's wrong with that girl. Mumford looks at Mrs. Cook and can't stifle a laugh. MUMFORD Wow. You're something. MRS. COOK Take a hike, Dr. Quack! MR. COOK (ignoring her now) What is the problem, Doctor? Mumford can't take his eyes off Mrs. Cook, even as he speaks to Mr. Cook. MUMFORD Problem? I guess there is no problem... Uh, this friend of Sofie's, where'd he take her? BEN It's she -- Roxy. Used to work with her. I think they went over to The Lantern. MUMFORD (delighted) Oh, Roxy! Excellent. Roxy. Mrs. Cook looks at him sharply. She's heard what the other two have not. EXT. SIDE STREET/ALLEY - DAY Mumford carries a large Fed-Ex box down a side street and into an alley. As he passes a secluded space created by two adjacent buildings, something catches his eye. MUMFORD'S MOVING POV: A young couple is embracing and talking intimately. As they separate, we can see that it is Nessa and Martin Brockett. Martin sees Mumford, but makes no sign. Nessa twists to see what Martin's looking at just as the view is interrupted by a wall. Mumford walks on, mulling what he's seen. EXT. BACK DOOR, FOLLETT'S PHARMACY - DAY There is a locked security screen at the alley entrance to the back room of the pharmacy, but the door inside is open. When a YOUNG PHARMACIST appears in there, Mumford raps on the metal screen. INT. HENRY FOLLETT'S OFFICE - DAY Follett's private space is above and at the back of his drugstore. When you sit at his desk and in front of it, as Follett and Mumford are doing now, you can see down into the store through a floor-to-ceiling, one-way mirror. The Fed-Ex box sits on the desk between the two men, unopened. FOLLETT What is it? MUMFORD It's a thought I had. FOLLETT Should I open it now? Mumford seems hesitant, but nods. Follett takes out an Exacto knife and makes the first incision, but as he's about to go on, Mumford suddenly reaches out and stops him. MUMFORD Let me just say something here... I have no idea if this is going to help. FOLLETT What exactly is it supposed to do? MUMFORD You remember when I asked you about pornography -- FOLLETT -- I find it degrading. Maximum gynecology and minimum turn-on -- MUMFORD -- and you told me that. Still, there's some kind of imagery that's haunting you and, I think, getting in your way -- FOLLETT -- Which I don't necessarily agree. MUMFORD But you did come to me. Follett reacts. It's true, even if he keeps forgetting. MUMFORD My guess is these images were burned into your brain when you were young. Maybe if we could nail down the exact fantasies that are haunting you -- maybe you could get past them... Anyway, I thought we could try an experiment. FOLLETT (indicating the box) And the experiment is in here? Mumford nods, but suddenly looks depressed, distracted. MUMFORD You know what? I think this was a dumb idea... He starts to take hold of the box. MUMFORD ...I just heard myself talking and I realize I'm completely unqualified to be doing this. Let's forget the whole thing. Follett grabs the box back. FOLLETT Whoa, whoa, what are you doing? I want to know what's in here. MUMFORD (pulling on the box) There's absolutely no reason to think this is going to have any impact on you. I'm embarrassed to have -- Follett stands up and grabs the box, taking sole possession. Loud -- FOLLETT Hey! I agree with you that you don't know what you're talking about. That's what I've been saying all along. And I can guarantee you that looking at the Lost Ark or whatever you got in here is not going to mean diddly to me... (quieting down) ...but if you think I'm going to let you walk out of here without seeing what's in this box, you don't know much about Henry A. Follett. Mumford gives up. Follett gestures to ask whether it's safe to put the box on the desk; Mumford reassures him. Now, with much more anticipation and ceremony than before, Follett carefully cuts open the package. THE CONTENTS OF THE BOX is revealed as Follett opens the flaps. There is an inner, brown paper wrapping upon which has been set a low-rent catalogue: "METROPOLITAN COLLECTIBLES -- Periodicals, Erotica, Adult Nostalgia." Follett lifts away the wrapping -- There are perhaps a dozen men's magazines of the late fifties and early sixties: Nugget, Adam, The Adam Reader, Swank, Dude. Plus several cartoon collections: Sex to Sexty, Stag Humor. Plus trashy adult novels of the era, with provocative illustrations on the covers: Night Call Nurse, The Neighbors Have No Curtains, Secretarial Sluts, etc. Finally, two video tapes, both of Russ Meyer films: MUDHONEY and COMMON-LAW CABIN. We stay CLOSE ON the contents of the box as Follett's hands shuffle through it, rapidly flipping through the pages. Very soft-core by today's standards, the common thread is clear: voluptuous, heavy-breathing sirens in tight clothes (and out of them) tempting muscular, he-man drifters or libidinous businessmen. A world of lusty secretaries, siren babysitters, and frustrated, neglected wives. In other words, exactly the erotic ambience of Follett's fantasies. SLOW TILT UP TO FOLLETT'S FACE. He is transported, mesmerized, galvanized. In fact, at this moment, as the MUSIC SWELLS, a tear is rolling down his cheek. He dare not take his eyes from this Holy Grail to look up at Mumford. The only thing that could wreck his mood now, is -- YOUNG PHARMACIST (O.S.) Mr. Follett -- Follett jumps, startled from his revery. As the Young Pharmacist steps tentatively into the office, Follett jams everything back into the box as best he can and tries to cover it. FOLLETT What?! What the hell is so important I can't have five minutes --? The Young Pharmacist is cowed and doesn't advance into the room. YOUNG PHARMACIST It's her, sir. You told me to get you when she came to pick up her prescription. It takes Follett a moment to understand, but when he does, his whole manner changes. He dismisses the Young Pharmacist with a nod, then gives a quick, self-conscious glance to Mumford. FOLLETT Uh, sorry, I'm going to have to... (indicates box) ...I really appreciate what you're trying to... uh, I can't thank you enough for... MUMFORD My pleasure. Follett heads for the door, pausing briefly at a mirror to check his appearance, pushing at his hair with his palm. FOLLETT I'll see you on... whatever... He hurries out. Mumford stands up to leave, but first looks down through the one-way mirror. WHAT HE SEES: Follett hurries up behind the prescription counter, where Althea Brockett is waiting; once again she looks quite sexy. Follett brings her prescription up and begins playfully flirting. Althea is responsive. Follett motions Althea down the aisle, where it's more private. He comes out from behind the counter, ostensibly to show Althea something on the prescription bottle. Althea leans back against some shelves in the same posture as the Landlady in Follett's first fantasy. Mumford reacts, bemused. EXT. HIKING TRAIL - DAY Mumford and Sofie make their way slowly up the trail. Despite her labored breathing, it's clear Sofie has made enormous progress since we first saw her. SOFIE When I was in high school we used to come up here and make out. I liked to sit on the rock and watch the sun go down. MUMFORD That's what I like. SOFIE Which thing? MUMFORD Either one. SOFIE Why'd you come to the house the other night? MUMFORD I thought I had something to tell you. But it turned out I didn't. SOFIE My brother said you were about to fire me. MUMFORD That's one way to put it. SOFIE I bet I know what changed your mind... (Mumford looks at her) ...My mother. She was so horrible, you decided you couldn't desert me. MUMFORD I thought only action movies had villains like that. Sofie gestures ahead. SOFIE That's the cut-off, isn't it? (Mumford nods) I know why you were going to quit seeing me. Mumford slows at this. Sofie heads off the trail into the woods. EXT. BIG ROCK LOOKOUT POINT - DAY Sofie appears first, but she waits for Mumford before she steps tentatively onto the rock. Mumford takes firm hold of her and leads her to a spot where she can securely settle herself. SOFIE You feel like a fake, an imposter... Mumford looks up, sharply. SOFIE ...as if maybe you don't know what you're doing. She puts a hand on his arm. SOFIE Everybody feels that way sometimes... like we're not who we're supposed to be. But I have to tell you, Dr. Mumford -- He winces at her formality. SOFIE -- you've been a tremendous help to me. MUMFORD Yeah? SOFIE I can't tell you how much I admire you. You have a wonderful way with people. And you're very insightful. I feel like you've seen me clearly... I never used to admit what a horrible person my mother was. You've made that possible for me. MUMFORD That's... good? SOFIE Yes! And my ex-husband -- he never accepted me for who I was, just like Mother. The things you've said have helped me understand what a dick he is. MUMFORD I don't know if -- SOFIE You're shockingly honest, that's what makes you great. I've never had a man treat me this way. With you, I feel really... listened to. (gives him a look) Can I tell you something? It's a little embarrassing, but I feel very unguarded with you. MUMFORD Of course. SOFIE Thanks to this therapy, I now know what I'm looking for. I need to find a man like you. (laughs) Not one who's treating me, of course. (full of resolve) And I'm going to do it, dammit! You've given me the confidence. Mumford is in agony. MUMFORD Sofie... that makes me very happy. INT. MUMFORD'S OFFICE - DAY Nessa's on the couch, playing with her usual unlit cigarette. There's an uncharacteristic lightness to her. NESSA ...I mean, Doc, the dude is seriously deluded. I said that to him, I said, "If you think I'm gonna do all that shit for you, man, you are seriously deluded." MUMFORD What'd he say? NESSA (can't hide her pleasure) He said -- "Which we already knew!" Mumford laughs, delighted. MUMFORD What did he want you to do? NESSA First off, he tells me to stop smoking cigarettes. I told him abso-fuckin'- lutely no. As you can see -- She holds up the cigarette as though it were her middle finger, flipping the bird. NESSA Then he says stop smoking dope. No again. So then he says he doesn't want me getting together with any other guys... Mumford doesn't have to see her face to know how much pleasure this gives her, despite her hard-ass cover. NESSA ...What balls on this guy? What're we... (too geeky for her) ...going steady? Jesus. MUMFORD No again? NESSA (long pause) I said I'd consider it. Nobody owns me. And the last thing was insane. I don't know what's wrong with him... No magazines. MUMFORD Really? NESSA I don't know if I can quit. We're gonna try it together, like, you know, AA or something. And I made him give up his .22. No more sneaking around the hills with his fucking nut gun like some loony tune. MUMFORD He agreed? NESSA (yes) He's pitiful, Doc, a goddam puppy. I don't know how much longer I can put up with it. I already got two arms and legs, I don't need another appendage. She takes a look at her watch and immediately lights her cigarette as she stands up -- NESSA Oops... gotta go! She heads toward the waiting room. Mumford gestures to indicate the back door. She waves him off. He shakes his head -- no one wants to use the back anymore. Nessa opens the door to the waiting room. Martin Brockett is sitting there. He makes a gesture to Nessa to underline the fact that he is not reading any of the many magazines lying around, then stands up. She goes into his arms like maybe she's the puppy. He beams and looks at Mumford. MARTIN Hiya, Doc. MUMFORD Martin. MARTIN (pulling Nessa tighter) Did you straighten her out? Nessa give him an affectionate punch in the side, then blows smoke in his face. MUMFORD How are you? MARTIN Insane! Didn't ja hear? My family got five hundred times better. (turning Nessa) Let's go, Vanessa. Nessa gives Mumford an embarrassed, "ain't he corny?" look, but as they go out the door, she's never looked happier. GILROY (O.S.) Doctor Mumford? Mumford is startled to find a man in a suit, GILROY, rising from the chair behind the door. He's got a briefcase and a document in his hand. MUMFORD I didn't see you there. Can I help you? GILROY My name's Gilroy. I'm from the State Certification Board. He proffers the document in his hand, but Mumford doesn't take it. GILROY It's all right, it won't bite you. Under civil code 1294.67b you are entitled to be notified that your status and certification are being reviewed. This is the notice. MUMFORD (takes the paper) Do you want to come in? GILROY (already leaving) No thanks. Plenty of time for that when we're a little further along. MUMFORD Mr. Gilroy -- Gilroy stops, outside door already open. MUMFORD What brought this on? GILROY I'm not at liberty to say. Sometimes it's just routine, sometimes there's been a complaint. We'll be in touch. He goes out. Mumford considers the paper in his hands, thoughts elsewhere. INT. MUMFORD'S APARTMENT - NIGHT CLOSE ON A PACKING CARTON half full of books. PULLING BACK and FLOATING OVER other boxes, half-packed with Mumford's personal belongings -- he doesn't have a lot. On the bed, an open suitcase with a few clothes thrown in. We're STILL MOVING across the room and out onto the porch, to REVEAL Mumford in his chair, nursing a beer, looking up at the starry sky. Mumford HEARS THE SHOWER GO ON downstairs at Lily's. Then the MURMUR AND GIGGLE of a wet couple. SKIP (O.S.) Far out! Mumford smiles. He gets up and goes inside, closing the door behind him so as not to violate their privacy. He goes to the suitcase, takes out some clothes and begins putting them back in the dresser. Right now, he's not going anywhere. INT. MUMFORD'S OFFICE - DAY EXTREME CLOSE-UP of Ernest Delbanco. We can't tell where he is at first. As he speaks, we PULL BACK to REVEAL him lying on Mumford's couch -- a patient. DELBANCO ...and when you said at lunch about everybody having "a secret life", something just snapped inside me. I knew I could no longer continue my relationship with Dr. Sheeler. It was tearing me up inside. And I know Phyllis wasn't getting what she needed from it. What had started as a genuine respect, I think, for each other's professional abilities, and became, over time, a personal attraction had somehow... migrated into a rather torrid sexual relationship... Across the room, Mumford sits, chin in hand, displaying no reaction. DELBANCO ...I won't go into that today. Though, if we should continue these sessions, as I certainly hope we will, there are some aspects of that I would like to look at. God knows, I've listened to enough people giving me the juicy -- (catches himself) ...At any rate, I just wanted to acknowledge the catalyzing effect your comment had on me. I just hope that it doesn't come roiling back upon you like some dreadful undertow. MUMFORD How do you mean? This next is painful for Delbanco. DELBANCO Well... you see, when I broke it off with Phyllis, she was naturally upset and she became more determined than ever to pursue certain -- how to put it -- doubts she's been harboring... MUMFORD What kind of doubts? DELBANCO About you... your background and your qualifications. I'm afraid Phyllis somehow got you mixed up in her fury with me, and actually took the whole issue to the state board. Mumford digests this. MUMFORD I see. DELBANCO And please, for whatever small way I may have encouraged this, accept my apologies. (brightens) There is good news, though. MUMFORD What's that? DELBANCO Phyllis has decided to leave town and pursue her practice in the city. Which leaves you the only psychologist in town. MUMFORD Dr. Sheeler is leaving Mumford? I'm sorry to hear that. DELBANCO As you can imagine, my own feelings about this are mixed... Unlike, I must say, those of my wife. Mumford's head snaps up. He had no idea Delbanco was married. EXT. GAS STATION, SMALL TOWN (IN HENRY FOLLETT'S FANTASY) - DAY We (CAMERA) are being pummelled by three SMALL TOWN TOUGHS behind Old Man Sutter's gas station/diner in the Follett's fantasy town. [In BLACK & WHITE.] Beyond them, Old Man Sutter's stacked YOUNG WIFE watches in horror from the backdoor of the building. We DO NOT SEE The Newcomer yet. FOLLETT (V.O.) Old Man Sutter's young bride had got me in hot water all right, and now I was bein' dealt the beating of my life. If there'd just been two of those bastards it would have been a little closer... One of the Toughs winds up and delivers the coup de grace. CUT TO BLACK, then FADE UP ON: INT. ATTIC ROOM, BOARDING HOUSE - DAY STILL IN SUBJECTIVE CAMERA as the concerned Landlady, cleavage foremost, stands away from us, having patted the unseen Newcomer's face with a washcloth. Beyond her, near the half- open door, stands her Cheerleader Daughter, worriedly chewing on her thumb. FOLLETT (V.O.) The Landlady was good at quite a few things, but doctoring wasn't one of them... CUT TO REVERSE and see the hero, who this time is actually played by Henry Follett, appearing in his own fantasy for the first time. He's lying in bed, his face bruised in the manner of a fifties movie. FOLLETT (V.O.) ...Lucky for me, one of the other boarders, the broad who lived downstairs in the front room... BACK AT THE DOOR, the Cheerleader hears someone coming and steps aside to make way for -- Althea Brockett, dressed now in a nurse's uniform so tight the buttons are straining. FOLLETT (V.O.) ...was a nurse... As the Landlady and the Cheerleader retreat out the door, Althea the Nurse sways forward toward the bed bearing bandages and a bowl of steaming water, a lascivious look of concern on her face. FOLLETT (V.O.) ...and she had ways to make you feel better they didn't teach in nursing school. Althea the Nurse places a bandage over Follett's eyes, BLACKING OUT THE SCENE. INT. MUMFORD'S OFFICE - (PRESENT) DAY Mumford sits beaming at Henry Follett on the couch. Mumford's glance takes in the clock and he stands up, signalling the end of the session. Follett snaps out of his revery and gets up. MUMFORD I'm very happy for you, Henry. Mumford, surprisingly, takes Follett's hand and shakes it vigorously. MUMFORD I feel like we're making real progress here. FOLLETT Me too, Doc. And I can't tell you what that package meant to me -- Mumford stops him with a "don't mention it" gesture. Follett accepts and goes out the back door. Mumford is pleased someone still wants to use that door. Mumford returns to his desk and begins reading some papers when he HEARS the entry door to the waiting room. Not expecting anyone, he checks the clock, then goes to his office door and opens it. Sofie is standing there, very agitated, just about to knock. She peers past him to see if he's alone. SOFIE I need to talk to you... Doctor. Can I come in? MUMFORD Of course. Sofie sits on the couch. Mumford sits in his chair, facing her. Her voice is as strained as her manner. SOFIE We haven't met in this office since that first time. This is how a real professional and his client are supposed to see each other. Mumford waits. SOFIE It might've been more appropriate if we had followed a traditional approach to the doctor-patient relationship. MUMFORD Is something wrong, Sofie? SOFIE Yes, something's very wrong, Dr. Mumford. MUMFORD You're upset. SOFIE How intuitive! That must take years of training right there. Maybe you can guess what has upset me. Mumford considers a long moment, several scenarios racing through his mind. Finally, carefully -- MUMFORD Is it something you've heard about me? SOFIE No, it is not something I've heard about you! It is someth-- (stops suddenly) Why? Is there something I should have heard about you? MUMFORD Why don't you tell me what's on your mind? Sofie suddenly finds it difficult to look into his eyes, she looks around frenetically for a moment. Then, indicating the couch -- SOFIE May I? Mumford gestures "of course." Sofie swings her legs up and lies on the couch so they can no longer see each other's face. (It's the most vigorous movement she's yet shown us.) This seems to help Sofie a bit. SOFIE All right... I'm going to come right out and say this, because that's what your shrink is for, right, so you can tell him what's bothering you? MUMFORD Um-huh. SOFIE (tone still rough) First of all, I have been feeling much better lately. I don't know if the syndrome is over -- if it's just run its course or something -- but I feel a hundred per cent better than when I first came to you. MUMFORD I'm glad. SOFIE Given that, I'm obviously not going to be judging things in the most realistic way. MUMFORD I don't follow you. SOFIE (sharply) I'm saying that since I'm doing so much better -- which I attribute to you -- I'm liable to misinterpret some of my feelings. MUMFORD (tentative) Okay... SOFIE The point is this -- I am not a blank page. I did not just fall off the turnip truck. Do you know what I mean? MUMFORD I think so. SOFIE I know a little about psychology. I took three different courses in college. It's true, none of them were above the two hundred level, but I took them... And there was one concept I remember very well. MUMFORD What was that? SOFIE Transference! MUMFORD Transference. SOFIE Yes, and that is what I have got right now. I have taken my feelings of gratitude... and relief... and transferred them onto... you. I have taken all those warm, grateful emotions and confused them with feelings for you... So that now I am under the delusion... (a deep breath) ...that I am in love with you. Mumford appears frozen in his chair. There is a heavy silence in the room. Sofie does not look back there. SOFIE Hello? MUMFORD Hello. SOFIE I think you can understand why I have some serious questions about your methods. I mean, obviously it becomes much more likely that I'm going to have confusion about this when your idea of treatment is to go walking in the woods and up to make- outs-ville and do all these highly romantic activities -- Suddenly, Sofie's voice cracks. She is starting to cry, but refuses to acknowledge it. SOFIE -- We had a paper route together, for godssake! Do you understand how I might be a little resentful? Knowing that this so-called "love" I'm feeling is totally bogus, and just a pathetic case of... transference? Mumford doesn't know what to say. He's on the rack. Finally -- MUMFORD Yes. Silence. Then Sofie gets up, wiping at tears with the back of her bare hand. Mumford jumps up to offer her a tissue, but she ignores it. She will not meet his gaze. SOFIE Maybe you ought to think about how you're going to fix this. And when you do... (suddenly losing her will) ...please get back to me. Sofie turns to go out through the waiting room, but after a step, she stops, pirouettes and goes out the back. EXT. THE DUPLEX HOUSE - MAGIC Mumford comes up the street, lost in thought, and turns into the driveway toward his stairs. Ainge leaps over the front yard fence. Mumford pets the dog distractedly, still moving. MUMFORD Hey, Ainge. Lily rises up suddenly from where she's been working in the garden. LILY Doc... MUMFORD (keeps walking) Lily. LILY Doc. Mumford reluctantly stops. Lily comes up to the fence. LILY I don't want you to be mad at Skip... MUMFORD He told you. LILY (yes) Skip and I wouldn't have got together if it weren't for you. That's a big deal. MUMFORD (dismisses it) You would have met in some shower eventually... LILY I want to give you something. Will you let me? MUMFORD Thanks, Lily, I don't need anything. LILY Yes, you do, you damn well do. MUMFORD (can't fight) Okay. LILY Here it is, some advice -- do the hard thing. MUMFORD That's it? That's what you're giving me? LILY Clean up the mess. No matter what it takes. Mumford leans down to pet Ainge. MUMFORD What it might take is... doing time. LILY Too bad. That's tough, I mean it. I'm not unsympathetic. But Skip says you're in love. Mumford straightens, looks at Lily and acknowledges it. LILY Then it's worth it. Mumford looks at Lily a long moment, then leans over the fence and kisses her on the forehead. Ainge jumps back over to her side. MUMFORD I'll tell her tonight. Mumford turns and continues toward his stairs. INT. MUMFORD'S APARTMENT - MAGIC Mumford comes in, drops his coat, gets a carton of orange juice out of the fridge and drinks directly from it. Distracted, he picks up the remote from the kitchen counter and switches on the TV, then opens his freezer and stares inside. UNSOLVED MYSTERIES comes on. The opening segment previews a story about a couple who claim to have had a visitation from Gianni Versace, then one about a yacht that went down near Venezuela. ROBERT STACK, in his characteristic fragmented delivery, intones the preview for the last story, accompanied by appropriate footage: ROBERT STACK ...A drug rehabilitation center in the lonely southwestern desert... run by reclusive monks... becomes the point of departure in a mysterious vanishing... A CLOSE-UP of an IRS identification card featuring a picture of a younger Mumford, badly photographed in suit and tie. His name is not visible. ROBERT STACK ...as an intrepid government investigator disappears -- without a trace. In the kitchen, Mumford spins to look. DISSOLVE TO: LATER IN THE PROGRAM. Documentary shots of IRS Headquarters, etc., are INTERCUT with hokey-looking re-enactments from Mumford's life -- with a YOUNG ACTOR who looks vaguely like Mumford playing him. IN MUMFORD'S APARTMENT the telephone is RINGING. Clearly, it's not the first time. Mumford, watching the show intently, lifts the headset an inch from the cradle and then hangs up. When it immediately RINGS AGAIN, Mumford takes it off the hook, cuts off the call, and buries the headset under a sofa cushion. ON THE SHOW: scenes of tax investigation -- in the show's version the IRS guys have drawn guns and are storming houses -- are interspersed with scenes of sordid drug-taking. ROBERT STACK ...despite brilliant promise as a fearless investigator... found himself on a downward spiral of drug abuse and dissolution... MUMFORD'S SISTER, the real thing, a plain, middle-aged West Virginia woman, appears in a "dramatic", badly-lit interview. (As with all the interviewees, she is identified by a supered title.) MUMFORD'S SISTER ...we didn't talk much after our folks died, but I know he felt his life had taken a wrong turn... A snapshot of some IRS-era party, happy revelers posing for a flash. Camera PUSHES IN on Mumford, smiling and high, his neck encircled by Gregory's arm. Candy is on the other side of Gregory. A shot of the Pennsylvania Turnpike as a State Police Cruiser zips by. ROBERT STACK His former undercover partner at the IRS... is now a trooper with the Pennsylvania State Police... GREGORY, in State Police uniform, with a sadistic glint in his eye, is interviewed by the roadside, cars whipping by. GREGORY The guy was obsessed... didn't always know where to draw the line... but I would have trusted him with my wife -- er, my life -- (looks off camera, laughing) -- What'd I say? Both, actually... (gets serious again) ...I can't say I was surprised, though, when he disappeared. Ragged telephoto shots of the Drug Rehab Center in the desert, low, innocuous adobe buildings. ROBERT STACK Who was this enigma... a courageous public servant or a debauched addict?... Either way, his last known stop was here... isolated in the Arizona desert... taken in by an order of devoted monks... IN AN ARIZONA TOWN, a monk with a clerical collar, BROTHER TIMOTHY, is loading groceries into the back of a pick-up. He's being ambush interviewed. He's polite, but not cooperative. BROTHER TIMOTHY We don't talk about the people who've been our guests... but I can tell you this about our order -- we believe everybody has the right to start over... everybody deserves a second chance. Shots of wind-swept desert, cactus, and dust-blown highway. ROBERT STACK And perhaps... that is exactly the chance the now-sober pilgrim took... on a blustery November day... walking away from the rehab center... never to be heard from again... MUMFORD'S SISTER AGAIN: MUMFORD'S SISTER I'd like to know if he's alive. If he is, I just hope he's happy and his new life is... (not sure how to put it) ...well, I hope he's found what he was looking for... Mumford, in his apartment, watches with real emotion. His sister's face DISSOLVES into a new snapshot of Mumford, dressed in an Orkin Exterminator uniform, as the MUSIC on the show comes up. A 1-800 telephone number appears across the bottom of the frame. ROBERT STACK If you have any information about this man or know anything about his whereabouts, contact the Sheriff's Department in Cochise County, Arizona, or call this number... EXT. SECOND FLOOR PORCH, THE DUPLEX HOUSE - NIGHT Mumford comes out to the rail and looks off over the town of Mumford. WHAT HE SEES (or imagines he sees): all across the nightscape, one window in every house is glowing blue with flickering TV light. EXT. COOK HOUSE - NIGHT MOVING IN on the porch steps. Mumford runs into the shot. In fact, he's run the whole way from his place and he's out of breath. He takes the porch steps three at a time, rings the doorbell, and waits. Mrs. Cook peeks out, then opens the front door, an especially sour look on her face. She speaks through the screen door. MRS. COOK Well, look who's here... MUMFORD Good evening, Mrs. Cook. MRS. COOK Just who is here, can you tell me? MUMFORD Could I see Sofie, please? MRS. COOK No, you can not. I wouldn't know who to say is calling. SOFIE (O.S.) Mother... Mrs. Cook glances inside at the as-yet-unseen Sofie, then hisses at Mumford -- MRS. COOK I could see right through you from the start, you imposter. I know what you're after. I knew it then and I know it now! Sofie appears behind her mother. SOFIE Mother... MUMFORD What do you think I'm after, Mrs. Cook? MRS. COOK Sofie. It's so obvious... you're after my daughter. MUMFORD Well, I gotta say, Mrs. Cook, you're right about that. Both Sofie and Mrs. Cook are set back for a moment. Mrs. Cook recovers fastest -- MRS. COOK It'll never happen! You're in big trouble, mister. SOFIE (scary strong) Mother... go away! Mr. Cook suddenly appears, takes Mrs. Cook by the arm and makes her vanish. Sofie and Mumford are left alone. She looks at him through the screen. MUMFORD I guess you saw the show...? SOFIE Which show was that? MUMFORD Sofie... SOFIE Part of it. We were watching "ER" until someone called. MUMFORD You probably got the idea. Sofie comes outside. She doesn't get too close or look at him as she walks to the other end of the porch. SOFIE Do you know what a betrayal this is?... Mumford knows. SOFIE ...How violated I feel? MUMFORD You're not the only one... Sofie turns sharply to look at him, ready to blow up. SOFIE You feel violated? MUMFORD Not me... all my other my patients. I smelled tar and feathers on the way over here. SOFIE You deserve it. Mumford agrees. He watches her closely. SOFIE I should be irate. Mumford immediately perks up. Sofie tries to correct -- SOFIE I am irate! MUMFORD (grabbing at the thread) But... SOFIE But nothing... I'm mad as hell. This is a terrible thing you've done. MUMFORD I know it! Please believe me, I know that... Mumford steps closer to her. MUMFORD But, there is one... mitigating factor I want you to consider before you write me off. SOFIE What? MUMFORD Will you think about it? SOFIE I don't know. Depends. I'm in a bad mood. MUMFORD I love you. More than I've ever loved anyone or anything in my life. She looks into his eyes. SOFIE Oh. MUMFORD I want to spend the rest of my life with you... but I'm not sure you feel the same way. She regards him for several moments, her mind racing. SOFIE I sort of do... Mumford feels joy. Now, finally, he takes her in his arms. SOFIE ...but first, you have to tell me something... MUMFORD Anything... just ask. SOFIE What is your name? As Mumford breaks into a huge grin, CUT TO: INT. COURTROOM, MUMFORD COUNTY COURTHOUSE - DAY Mumford is at the defense table. Lionel is his lawyer. Sofie, Mr. Cook and Ben sit right behind the rail. JUDGE OTTO (O.S.) The defendant will rise. Mumford and Lionel stand up. JUDGE OTTO (O.S.) Sit down, Lionel. Lionel sits down, squelched again. We see JUDGE OTTO for the first time, a tough guy in his sixties. JUDGE OTTO Clarence Norman White, do you understand how serious are the crimes with which you have been charged? MUMFORD I do. JUDGE OTTO Do you realize how insidious it is to invade the most private thoughts and secret lives of unsuspecting people?... WE SEE there's a pretty big turnout for this hearing. Prominent among the onlookers: Lily and Skip, sitting together; Nessa and Martin, holding hands; Dr. Delbanco and MRS. DELBANCO. Gilroy, from the State Certification Board, sits with the PROSECUTOR. JUDGE OTTO ...People who have come to you with the faith that you know what you're doing... and that you are who you say you are? MUMFORD Yes, your honor. JUDGE OTTO It means absolutely nothing to me that so many of your patients have come forward with praise for you and your therapeutic skills. You understand that? MUMFORD Yes. Follett is sitting in one of the back rows, apparently alone. But now he looks down the row. Althea is sitting down at the end in a stylish suit, completely appropriate, but a size too small. She gives Follett a sidelong glance, then crosses her legs provocatively. Whatever fantasy they're currently enacting is working really well for both of them. JUDGE OTTO Mr. White, I am frustrated that the criminal code in this state allows a maximum sentence of only six months and a maximum fine of only $2000. MUMFORD I'm sorry, your honor. JUDGE OTTO What? MUMFORD I'm sorry you're frustrated. JUDGE OTTO Are you disrespecting this court, Mr. White? MUMFORD No, sir. I was empathizing. Sorry. JUDGE OTTO Maybe you can empathize with this -- Maximum fine. Three months in jail, three months house arrest. Sentence to begin immediately at the Orchard Valley Correctional Facility. Case closed. This court is adjourned. The judge slams down his gavel, stands up and stalks out. A DEPUTY moves in to take custody of Mumford. Lionel stands up and leans in -- LIONEL It's a country club. Don't worry about it. MUMFORD Thanks for your help, Lionel. Mumford turns to face the Cooks. Mr. Cook and Ben shake his hand like he's just won something. Lionel addresses them all with his usual self-satisfaction -- LIONEL I'll have him out in half the time. WE PUSH IN on Mumford and Sofie, who embrace. SOFIE You got off easy. MUMFORD Will you wait for me? SOFIE We're only talking about six weeks. MUMFORD Will you be here? SOFIE Of course... I haven't got the energy to get out of town that fast. They kiss. The Deputy takes Mumford's arm, and we -- CUT TO: INT. STATE CORRECTIONAL SEDAN - DAY Mumford is alone in the backseat, handcuffed to a metal restraint. A lone COUNTY CORRECTIONAL OFFICER is up front, driving. There's a heavy security screen divider between front and back. CORRECTIONAL OFFICER Better make yourself comfortable. We got a three hour drive here. MUMFORD I'm fine. CORRECTIONAL OFFICER You're the shrink, aren't you? MUMFORD No, not really. CORRECTIONAL OFFICER But you do therapy? MUMFORD Not any more. They ride along in silence. At peace, Mumford watches the town go by. Finally -- CORRECTIONAL OFFICER I'll tell you, Doc, the wife and I, we got a little bit of a problem. Would you mind if I just ran it by you? The Correctional Officer watches Mumford in the rear view mirror, waiting hopefully. Mumford ponders the question a long time, then gives a "what the hell" shrug. MUMFORD Go ahead. EXT. MAIN STREET, EDGE OF TOWN - DAY The State Correctional Sedan heads out of the business district toward the highway, leaving the town of Mumford behind. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mummy, The.txt b/unformated_scripts/Script_Mummy, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..d6d26144d557a339f16b648c607421759036d00a --- /dev/null +++ b/unformated_scripts/Script_Mummy, The.txt @@ -0,0 +1 @@ + "THE MUMMY" by Stephen Sommers The UNIVERSAL PICTURES globe spins. Then comes to a stop on the African continent. A golden papyrus MAP of ANCIENT EGYPT rises up. WE PUSH IN on it, towards a CITY along the Nile, it's name written in hierarchic. WE KEEP PUSHING IN until the golden map turns to golden sand and we find ourselves DESCENDING on this ancient Egyptian city. Only it's not ancient. SUPERIMPOSED across the SCREEN are the WORDS. THEBES - 2,134 B.C Accompanied by a NARRATOR with a very thick Egyptian accent: NARRATOR Thebes. City of the Living. Crown jewel of Pharaoh Seti the First. The CAMERA sets-down in an open plaza. An Arabian horse-drawn CHARIOT comes barreling right at us, driven by PHARAOH SETI; an aristocratic, virile old man. The chariot WIPES FRAME. INT. ANCK-SU-NAMUN'S BALCONY WINDOW - PALACE - DUSK Glaring out over the city at the setting sun is a handsome, muscular MAN with intense, evil eyes. This is IMHOTEP. NARRATOR Home of Imhotep, High Priest of Osiris, Keeper of the Dead. A gorgeous, olive-skinned goddess enters the outer foyer. It takes us a moment to realize that the skin-tight dress she's wearing isn't a dress at all, but rather her entire naked body has been PAINTED in the ancient Egyptian manner She's a stunning sight to behold. This is ANCK-SU-NAMUN. NARRATOR Birthplace of Anck-su-namun. Pharaoh's Mistress. No other man was allowed to touch her. She makes her way through the ornate statuary. The CAMERA comes to a stop on a CRACKED STONE FACE. A BEAT. And then it's eyes suddenly POP OPEN. It's really a strange looking TATTOOED MAN. Several more of these hideous, bald MEN stand nearby. They are the PRIESTS of Osiris. Imhotep's guys. Their eyes watch Anck-su-namun vanish through the bedroom curtains. Anck-su-namun embraces Imhotep, they kiss passionately, feverishly. Imhotep's hands roam over her perfect body, smearing the paint. The Narrator's VOICE fills with lust: NARRATOR But for our love, we were willing to risk life itself. And we realize that the Narrator is actually Imhotep himself on the other-side of the curtains, the bald Priests rush over and close the doors. But just as they do, the doors suddenly BURST OPEN. Pharaoh angrily strides in, looks at the Priests. The following DIALOGUE is in ANCIENT EGYPTIAN, -- SUBTITLED. PHARAOH What are you doing here? The Priests back away, scared shitless, obviously his arrival was unexpected. Pharaoh strides for the curtains. Throws them back. Anck-su-namun stands alone. Gives him a sexy smile. Pharaoh sees the smeared body paint. Points his finger. PHARAOH WHO HAS TOUCHED YOU?! From behind him, his sword is ripped out of its scabbard. Pharaoh spins around. It's Imhotep. Pharaoh is shocked. PHARAOH Imhotep?... My priest. Behind him, Anck-su-namun lifts a dagger and plunges it into his back. Pharaoh SCREAMS. Imhotep raises Pharaoh's sword. The hideous bald Priests SLAM the doors and bolt them tight. Through the curtains, they see the SHADOWS of Anck-su-namun and Imhotep stab away at Pharaoh. Suddenly, the doors are RAMMED from the other side, --WHAM! Imhotep and Anck-su-namun turn and look. --WHAM! The doors are RAMMED again. The two lovers share desperate looks. --WHAM! The bald Priests run up and grab Imhotep and try and pull him towards the balcony. PRIESTS Pharaoh's bodyguards! Imhotep tries to break free, but Anck-su-namun rips Pharaoh's sword out of his hand and pushes him towards the balcony. ANCK-SU-NAMUN You must go. Save yourself. Only you can resurrect me. Imhotep's face fills with despair. The DOORS EXPLODE OPEN. MEN with BLUE-TINTED SKIN and strange PUZZLE-TATTOOS over their bodies stride in, armed to the teeth. These are the MUMIA. The Priests hustle Imhotep out onto the dark balcony just as the Mumia rip through the curtains. Anck-su-namun points at Pharaoh and hisses -- ANCK-SU-NAMUN My body is no longer his temple! She PLUNGES the sword into her own heart. Out on the balcony, Imhotep's mouth opens into a horrible silent scream... NARRATOR/IMHOTEP For murdering Pharaoh, Anck-su-namun's body was to be cursed. And it was I, the High Priest, whose duty it was to curse it. EXT. SAND DUNES - NIGHT Imhotep leads-a TORCH-LIT procession across the dunes. Anck- su-namun's mummy is carried by NUBIAN SLAVES. They put her down in the sand along with FIVE JEWEL ENCRUSTED JARS. IMHOTEP Her body was mummified, her vital organs removed and placed in sacred canopic jars. Imhotep, filled with dread, reads from a OBOOKO made out of pure GOLD. THIS IS THE BOOK OF THE LIVING. IMHOTEP The Book of The Living contained sacred incantations that would send the evil dead on a journey into the dark underworld. Strange LIGHT suddenly FLASHES across the faces of the slaves and the EGYPTIAN SOLDIERS. Suddenly, everyone's fear-filled eyes all rise, as if watching Anck-su-namun's body rising. Then one last HUGE FLASH, accompanied by a BLAST OF WIND, and it's over. Anck-su-namun's body now lies twisted on the ground. Imhotep's Priests place the body into a stone sarcophagus. The Nubian slaves lower it into a hole and bury it with sand. Imhotep then signals to the Soldiers, who throw their spears at the Nubians. Killing them. IMHOTEP The slaves were killed... Imhotep's knife-wielding Priests attack the now unarmed Soldiers, hacking at them in the flickering darkness as Imhotep and the Mumia solemnly watches. IMHOTEP ...and the soldiers who killed them were also slain, so that no unholy person should ever know the exact location of the burial site. The Mumia walk off across the sand and then, one by one, the Priests stop their frenzied stabbing and stare off at the vanishing Mumia. As the last Mumia disappears over a distant dune, Imhotep nods, and the Priests leap onto Anck-su-namun's grave and begin digging it back up with their hands. EXT. SAHARA DESERT - NIGHT CHARIOTS race out into the moonlit desert. Imhotep leads the way. A "hearse" carries Anck-su-namun's mummy. THE MAP OF ANCIENT EGYPT FADES UP. The chariots race across the map. IMHOTEP But there was another book, The Book Of The Dead, which was never to be opened, never to be read, for it contained the incantations that could bring a dead body back to life a most unholy thing. The chariots arrive at a place marked on the map in hieratic. They race up the stone ramp and in through the city gates. SUPERIMPOSED across the SCREEN are the WORDS: HAMUNAPTRA - City of the Dead IMHOTEP It was hidden at Hamunaptra, City of the Dead, inside the statue of Anubis, so that no such sacrilege might ever disgrace Egypt. EXT. HAMUNAPTRA - ANUBIS SITE - NIGHT Imhotep pulls an ORNATE CHEST out of a SECRET COMPARTMENT inside the giant STATUE OF ANUBIS. He opens the chest and lifts out THE BOOK OF THE DEAD, made of black stone. IMHOTEP But for my love of Anck-su-namun I was willing to defy the gods. INT. UNDERGROUND NECROPOLIS - NIGHT Big hairy RATS scurry through the mausoleums and over the headstones of this very large, scary, UNDERGROUND CEMETERY. A DETRITUS MOAT surrounds the cemetery, -- muck made out of filthy water and human remains. Skulls bob in the goop. The Priests have gathered in a circle. Their hooded, lifeless eyes seem dead to this world. Their bald heads rock back and forth as they CHANT, a quiet eerie HUM. Heinous creatures. In the middle of the circle is a strange, twisted ALTAR. Imhotep has unwrapped Anck-su-namun's gorgeous, lifeless body and placed her five sacred canopic jars around her. IMHOTEP Anck-su-namun's vital organs were still fresh, so a human sacrifice would not need be made. As Imhotep begins to read from The Book of The Dead, a large SWIRLING HOLE starts to open in the detritus bog. Several Priests look over at it, frightened, then quickly look back down and resume CHANTING. A strange MIST wafts up out of the swirling hole and over to the jars, it passes through them and into Anck-su-namun's body. One of the jars SHUDDERS, the heart inside begins to BEAT. The CHANTING PRIESTS, SWIRLING HOLE, WAFTING MIST, BEATING HEART and IMHOTEP'S READINGS are reaching a crescendo. Anck-su-namun's EYES suddenly FLY OPEN. IMHOTEP Anck-su-namun soul had come back from the dead! Now all that was needed, was to return her organs to their rightful place within her body. Imhotep lifts a sacrificial knife above Anck-su-namun's breast, about to plunge it down. The CHANTING, SWIRLING and BEATING heart CLIMAX. And that's when the Mumia BURST IN and storm through the startled Priests. The HEAD MUMIA SMASHES the jar with the beating heart. The MIST instantly sucks back out of Anck-su-namun's body and IMPLODES back into the swirling hole. Anck-su-namun's eyes close. Dying once again. Imhotep SCREAMS in rage. The Mumia grab him and his Priests. IMHOTEP My Priests were condemned to be mummified alive. INT. EMBALMING CHAMBER (NECROPOLIS RE-VAMP) - NIGHT Inside a TORCH-LIT CHAMBER, Imhotep is held by Anubis-headed EMBALMERS. He cringes at the flickering, impressionistic glimpses of his Priests being embalmed and mummified alive. The horrid-looking Embalmers, using knives, needles and thread, calmly perform their ghastly surgery on the SCREAMING Priests, who are going insane from the procedure. A red hot POKER is pulled out of a pit of burning coals. A Priest's head is wedged between two strong boards. His eyes widen in terror as an Embalmer moves to insert the red hot poker up his nose. But just before he does, WE QUICKLY CUT TO IMHOTEP'S FACE, horrified, as OFF CAMERA, the Priest SCREAMS. WE GO WIDE on the chamber. All twenty-one of Imhotep's Priests squirm inside their wrappings. Imhotep is forced to his knees. His arms are held back. His mouth is pried open. IMHOTEP As for me, I was condemned to endure the HOM-DAI. The worst of all ancient curses. One so horrible, it had never before been bestowed. Using a pair of tongs, an Embalmer slowly pulls Imhotep's TONGUE out of his mouth, then places a very sharp knife on top of it. WE GO TIGHT on IMHOTEP'S EYES as his tongue is apparently cut out. The Embalmer flings Imhotep's tongue onto the floor. The Mumia's dogs attack and quickly eat it. Imhotep is WRAPPED ALIVE. Only his mouth, nostrils and fearfilled eyes are left free of the slimy bandages. Detritus muck boils inside a black cauldron. Embalmers scoop out the fetid muck and apply it to Imhotep's wrappings as he squirms. He's then laid in a wooden COFFIN inside a stone SARCOPHAGUS. An Embalmer with a BUCKET steps up and looks into the coffin. Imhotep's wild eyes stare back. The Embalmer empties the bucket over Imhotep's chest: dozens of SCARABS, disgusting dung beetles. They scurry across Imhotep's SCREAMING face. Some vanish into his tongue-less mouth and up his nostrils. IMHOTEP By eating the sacred scarabs, I would be cursed to stay alive forever. And by eating me, they were cursed just the same. The lid to the coffin is SLAMMED SHUT. Then, using a strange four-sided KEY, the Head Mumia locks the coffin lid tight. The heavy sarcophagus lid is shoved into place and with a loud WHOOSH seals itself airtight. Once again, the Head Mumia uses the strange key, locking the sarcophagus lid tight. IMHOTEP I was to remain sealed inside my sarcophagus, the undead for all of eternity. The blue-skinned, strangely tattooed man carefully collapses the sides of the key, -- turning it into a little puzzle BOX. IMHOTEP They would never allow me to be released. For I would arise a walking disease, a plague upon mankind, an unholy flesh-eater, with the strength of ages, power over the sands, and the glory of invincibility. Imhotep's sarcophagus is dropped into a DETRITUS PIT. The disgusting muck SPLASHES up, drools down it-s sides, and then is mysteriously sucked into It's seams, vanishing clean. IMHOTEP And if I could raise my beloved Anck- su-namun from her place in hell, together, we would be an unstoppable infection upon this world. The Apocalypse. The End. Imhotep's horrifying tongue-less SCREAMS can be heard coming from inside his sarcophagus as grave diggers shovel dirt onto it. THE MAIN TITLE IS SUPERIMPOSED ON THE SCREAM: THE MUMMY The heavily armed Mumia stand guard around Imhotep's grave. Looking down on the burial site is the huge statue of ANUBIS, the jackal-headed god of death. It stares at us. Then begins to DECAY before our very eyes, aging 4,159 years in only seconds. And then we find ourselves and the decrepit, half- buried statue of Anubis out in the middle of the desert. EXT. SAHARA - HAMANAPTRA RUINS (1925) - DAY Imhotep's horrifying SCREAMS become the SCREAMS of a TUAREG HORSEMAN. Racing across the desert with two thousand of his warrior brethren. Armed to the teeth. SUPERIMPOSED across the SCREEN are the WORDS: THE SAHARA - 1925 A mile across the scorching desert TWO HUNDRED FRENCH FOREIGN LEGIONNAIRES scurry through the ruins, preparing for the onslaught. OUR HERO is up on the wall. His Kepi sits at a jaunty angle. Dashing and handsome. This is RICK O'CONNELL. He looks out at the massive SCREAMING horde galloping at him. O'CONNELL I knew this was gonna be a lousy day. A doughy little Frenchman joins him as he makes his way across the top of the wall. This is BENI. BENI Personally, I would like to surrender. Why can we not just surrender? O'CONNELL Shut-up and gimme your bandolier. Beni pulls off his cartridge belt. Hands it to O'Connell. BENI Then let's run away. Right now. While we can still make it. O'Connell throws it on, crisscrossing his own bandolier. O'CONNELL Now gimme your revolver, you'll never use it anyway. Beni pulls out his pistol and chucks it to O'Connell. BENI Then let's play dead, huh? Nobody ever does that anymore. O'Connell slides it into his belt, next to his own revolver O'CONNELL Now go find me a big stick. BENI In the desert? What for? O'Connell turns and goes nose-to-nose with him. O'CONNELL So I can tie it to your back, you appear to be without a spine. The horde of warriors THUNDERS forward. Now a half mile out. Scimitars RATTLING. O'Connell and Beni run through the ruins. O'CONNELL How'd a guy like you end up in the Legion anyways? BENI I got caught robbing a synagogue. Lots of good stuff in them holy places; churches, temples, mosques, and who's guarding them? O'CONNELL Altar boys? BENI Exactly! I speak seven languages, including Hebrew, so my specialty was synagogues. How about you? Kill somebody? Beni trips and accidentally tackles O'Connell to the ground. O'Connell gives him a nasty look. O'CONNELL No, but I'm considering it. They get up and run out the gate and down the stone ramp BENI What then? Robbery? Extortion? Kidnapping! O'CONNELL None of the above, thank you. BENI Then what the hell are you doing here!? They both skid to a stop at the front line as they see the horde of warriors. The SOUND of CHARGING HORSES is deafening. O'Connell gives Beni a big cheesy smile. O'CONNELL I was just looking for a good time. And that's when the cowardly Legionnaire Colonel suddenly panics, cuts and runs. O'Connell instantly stiffens. O'CONNELL Oh shit. Steady! Gives the men around him courage. But onward comes the horde Hoofs pounding the sand. Several more Legionnaires take off. O'CONNELL STEADY! (to himself) What the hell am I sayin'? The Tuaregs let loose with those horrifying oooo-loo-loog SCREAMS. More Legionnaires haul-ass. Beni is one of them. O'CONNELL STEADY!! (to himself) What the hell am I doin'? The Tuaregs set their rifles and take aim. O'Connell steels himself, cocks and locks. The cartridge in his mouth suddenly snaps, he spits it into the sand. Another BEAT. And then -- O'CONNELL FIRE! The Legionnaires on the ground FIRE. The rifles report with a CRASH. The BLAST blows dozens of Tuaregs clean off their mounts. The prone Legionnaires quickly begin to reload. O'CONNELL FIRE! The kneeling Legionnaires FIRE. More Tuaregs bite the sand. The remaining warriors OPEN FIRE. THUNDER and SMOKE rip the hot air. A third of the Legionnaires are killed instantly. O'CONNELL FIRE! The remaining standing Legionnaires FIRE. Tuaregs spin off their mounts. Crash to the sand. And then the entire Tuareg force plows into the ruins and through the Legionnaires. O'Connell grabs the barrel of his rifle and starts CLUBBING riders off their steeds, fighting like a man possessed. Beni on the other hand, is bellycrawling across the sand, whimpering in full retreat as Legionnaires fall dead all around him. He crawls through the front gate. O'Connell throws his rifle down and goes for his guns. He cross-draws, gun in each hand, starts blowing riders off their mounts. Beni crawls faster, and then he spots an open TEMPLE DOORWAY amongst the rocks. He gets up and sprints for the door as the last of the Legionnaires are shot off their feet behind him. O'Connell's guns go empty. O'CONNELL Son-of-a-bitch. He turns and runs like hell, right through the front gate. Four Tuareg warriors on massive Arabians haul-ass after him. O'Connell hurdles a stone column, hits the ground running. He spots Beni inside the Temple doorway, trying to close the heavy sandstone door. O'CONNELL Hey! Beni! Wait up! Beni has no intention of waiting up, he pushes harder. O'CONNELL What are ya doing?! Wait up! O'Connell runs faster. Beni pushes harder. The four Horsemen LEAP the big column and CHARGE after him. HOOFS POUNDING. O'CONNELL Don't you close that door! DON'T YOU CLOSE THAT DOOR! Beni closes the door just as O'Connell reaches it. O'Connell SLAMS his body into the door. It doesn't budge. O'CONNELL I'm gonna get you for this! He turns and bolts off around the rocks. Running for his life, weaving through the ruins. The Arabians getting closer and closer. The POUNDING hoofs getting LOUDER and LOUDER. O'Connell finally spins around and faces his attackers. The four massive horses crash to a stop in front of him. The vicious Tuaregs raise their rifles to finish him off. O'Connell just stands there, exhausted and beaten, then he slowly lifts his right hand and gives them the bird. And that's when the horses go ape-shit. All four of them REAR UP. Two of the Riders are THROWN to the ground. The horses SCREECH and BELLOW and SNORT in fear, then buck like fury and haul-ass away as if the devil himself had scared them. The thrown Riders get up and race off after their mounts. O'Connell just stands there, stunned, then he lifts his right hand and checks out his middle finger. And then he feels the evil himself, and turns around. -- The shattered, decrepit statue of Anubis stares back at him. Suddenly, the sand begins to shift under O'Connell's feet. He starts to back away, keeping his eyes on the transforming sand, it looks like huge snakes are wiggling and writhing beneath it, forming lines and shapes, -- drawing a picture. O'Connell quickly turns and runs off through the ruins. The sand stops moving, and we can now see that, drawn in the sand, is a picture of IMHOTEP'S SCREAMING FACE. EXT. RIDGE - DAY Up on a ridge, A GROUP OF RIDERS watch O'Connell stumble clear of the decrepit city. O'Connell feels their presence and looks up. Very different from the Tuaregs, they have BLUE TINTED SKIN and faces covered in strange PUZZLE-TATTOOS. The Mumia. Still watching Imhotep's grave after all this time. The MUMIA LEADER is a huge, fierce Man in black robes, with dual scimitars across his waist. His face is both handsome and horrible, blue and tattooed. Meet ARDETH RAY. His dark eyes watch O'Connell stagger off into the open desert... EXT. CAIRO - DAY Cairo, a city so old the stars have actually changed their positions in the sky since it's birth. A city teeming with every form of life. A strange, mysterious, wonderful city. WE SUPERIMPOSE it's name across the SCREEN: CAIRO INT. CAIRO MUSEUM OF ANTIQUITIES - DAY Deep in the bowels of the museum lie the STACKS. Rows upon rows of towering bookshelves. Filled with literature on the Antiquities. Standing at the top of a tall ladder between two of these rows and leaning against one of the bookshelves, is a rather uninteresting British GIRL: eye-glasses, hair-in- a-bun, long boring dress, your typical prudish nightmare. This is EVELYN CARNARVON. We're going to fall in love with her. Evelyn pulls a book out from a stack under her arm, blows the dust off it, then places it on a shelf with other books whose titles all begin with the letter "O". Then she grabs another book out from under her arm and reads the title. EVELYN Tuthmosis?... Now how did you get up here? Carefully, so as not to lose her balance, she looks over her shoulder to the bookshelf behind her, where all the titles begin with the letter "T". Then she looks down. It's a long way to the bottom. Evelyn gently sets the other books down on the top shelf, then turns and gingerly starts to reach across the aisle with the Tuthmosis book. It's a little too far, so she stretches, reaching, holding the top of the ladder with her fingertips, she's almost got it, closer now closer. And that's when the ladder pulls away from the shelf. Evelyn YELPS, flings the Tuthmosis book and grabs the top of the ladder, which stands straight up. Evelyn holds her breath, swaying precariously, a long BEAT, and then she loses her balance, the ladder swings around and Evelyn starts stiltwalking down the aisle. EVELYN OHEIUGM!! AHHHHHH! The ladder crosses the aisle, does an about face and heads back the way it came. Evelyn clings to the top, struggling for balance. The ladder teeters out into the main aisle and picks up speed. Evelyn SCREAMS as it does a 180, spins into another aisle and finally crashes to a stop at the top of a bookshelf. Evelyn holds her breath, then SIGHS HEAVILY. And that's when the bookshelf falls away from her and CRASHES into the next bookshelf. Evelyn slides down the ladder and plops to the floor. She looks up just as the domino effect kicks-in: each bookshelf crashing into the next. And onward it goes. Bookshelf after bookshelf. Thousands of volumes flinging off shelves and scattering across the floor. It finally ends as the last shelf CRASHES into a wall. Evelyn's eyes are closed. She opens one eye. Looks left. Then right. Then opens the other eye and stares at the huge mess. EVELYN Oops. The Egyptian CURATOR storms in. CURATOR Look at this! Sons of the Messiah! Give me frogs, flies, locusts, anything but this! Compared to you, the other plagues were a joy! Evelyn quickly gets up and starts gathering books. EVELYN I'm sorry, it was an accident. CURATOR When Ramesses destroyed Syria, it was an accident. You are a catastrophe! Why do I put up with you? Evelyn turns to him, trying to contain herself. EVELYN You put up with me, because I can read and write ancient Egyptian, decipher hieroglyphs and hieratic, and I'm the only person within a thousand miles who knows how to properly code and catalogue this library. CURATOR Who needs smart women? I put up with you because your mother and father were our finest patrons, Allah rest their souls. Now straighten up this mess! The Curator storms out. Evelyn just stands there, steaming. And then she hears a NOISE and quickly turns around. A BEAT. EVELYN Hello? Quiet. Eerie. And then she hears it again, like feet, slowly shuffling across the floor, coming from a nearby gallery. EVELYN Abdul? Mohammed? Bob? Evelyn walks through the stacks and enters -- INT. THE RAMESSEUM Filled with treasures and plunder from the Middle Kingdom. It's very dark and quiet in here, the only LIGHT is from FLICKERING TORCHES at either end of the spooky gallery. The NOISE again! From the far side of the room. Feet, slowly shuffling, plodding across the floor. Evelyn grabs a torch. Looks around, at a statue of Anubis, another of Horus, they stare down at Evelyn, who is starting to get scared now. She walks down the aisle. Past a closed sarcophagus. Past cases of ancient artifacts. Past another sarcophagus, -- only this one is OPEN! Evelyn freezes, swallows hard, nervously looks around to see who could have opened it. Then she slowly leans forward with the torch, and peers inside. -- A hideous rotted MUMMY sits up and SCREECHES at her! Evelyn SCREAMS, drops the torch and backs away, scared out of her wits. And then, coming from inside the sarcophagus, she hears a Man LAUGHING. Her eyes narrow as a foppish cad crawls out from behind the Mummy, laughing his ass off, half drunk. EVELYN You...! YOU...! JONATHAN Drunkard? Fool? Rat-bastard? Please call me something original. Meet JONATHAN CARNARVON. As he crawls out of the sarcophagus, Evelyn pulls a cigarette out of the mummy's mouth. EVELYN Have you no respect for the dead? JONATHAN Right now, I only wish to join them. He grins drunkenly. Evelyn punches him hard in the chest. EVELYN Well I wish you'd do it sooner rather than later, before you ruin my career the way you've ruined yours. JONATHAN My dear, sweet, baby sister, I'll have you know, that at this moment my career is on a high note. He BELCHES, then falls back and sits on the edge of a tomb. EVELYN High note? Ha! For five years you've been scrounging around Egypt, and what have you to show for it? Nothing. Jonathan excitedly starts scrounging around in his jacket. JONATHAN Oh yes I do! I have something right here! EVELYN Oh no, not another worthless trinket, Jonathan, if I bring one more piece of junk to the Curator to try and sell for you. Jonathan pulls out a small, ancient BOX; the collapsed KEY to Imhotep's sarcophagus and coffin. Evelyn is instantly curious, she grabs the box out of his hand. EVELYN Where did you get this? Jonathan knows her weaknesses, gives her a mischievous smile. JONATHAN On a dig, down in Thebes. Evelyn rolls the box around in her hands, mumbling to herself as she translates the hieratics and hieroglyphs covering it. Jonathan licks his lips in anticipation. JONATHAN My whole life I've never found anything, Evy. Tell me I've found something. Evelyn's fingers play with the various little slats on the box, shifting them this way and that way, it's like a puzzle box. Then suddenly, it UNFOLDS ITSELF, almost-mechanically, turning itself into the KEY. Sitting inside the open key/box is a folded piece of GOLDEN PAPYRUS. An ANCIENT MAP. EVELYN Jonathan? JONATHAN Yes? EVELYN I think you found something. INT. CURATOR'S OFFICE - DAY The Curator sits at his desk, staring through a jeweler's eyepiece at the key/box. Evelyn hovers behind him, excited. EVELYN See the cartouche there, it's the official royal seal of Seti the First, I'm sure of it. CURATOR Perhaps. Jonathan leans in from across the desk. JONATHAN Two questions. Who the hell is Seti the First? And was he rich? EVELYN He was the last Pharaoh of the Old Kingdom, said to be the wealthiest Pharaoh of them all. JONATHAN Alright, good, that's good. I like this fellow, like him very much. The Curator picks up the MAP. It's actually the exact same map that we established in the opening scenes of the movie. EVELYN I've already dated it, this map is almost four thousand years old. And the hieratics over here... (Inhales deeply) It's Hamunaptra. The Curator freezes, suddenly very nervous, then he recovers. CURATOR My dear girl, don't be ridiculous, we are scholars, not treasure hunters. Hamunaptra is a myth. JONATHAN Are we talking about the Hamunaptra? EVELYN Yes. The City of The Dead. Where the early Pharaohs were said to have hidden the wealth of Egypt. JONATHAN Right, right, in a big underground treasure chamber. Everybody knows the story. The entire necropolis was rigged to sink into the sand. On Pharaoh's command, a flick of the switch! And the whole place could disappear beneath the dunes. EVELYN All we know is that the city mysteriously vanished around 2,134 B.C. The Curator holds the map closer to the burning CANDLE-LAMP. CURATOR As the Americans would say: it's all fairy tales and hokum. The map 'accidentally,' CATCHES ON FIRE. The Curator throws it to the floor. Jonathan drops to his knees and quickly puts it out. Lifts it up. The left third of the map is now missing. JONATHAN You burned it! You burned off the part with the lost city! CURATOR It's for the best, I'm sure. Many men have wasted their lives in the foolish pursuit of Hamunaptra, no one has ever found it, most have never returned. JONATHAN (devastated) You killed my map. CURATOR I'm sure it was a fake, anyway, I'm surprised at you, Miss Carnarvon, to be so fooled. The Curator reaches for the key/box. Evelyn quickly snatches it off the desk and gives him a very angry, suspicious look. EXT. CAIRO PRISON - GALLOWS COURTYARD - DAY Cairo prison. One of the worst hell holes on earth. Every low-life form of scumbag can be found here. The WARDEN, a first rate scumbag himself, escorts Evelyn and Jonathan across the gallows courtyard. Evelyn whispers to Jonathan. EVELYN You told me you found it on a dig down in Thebes! JONATHAN I was mistaken. EVELYN You lied to me! JONATHAN I lie to everybody, what makes you so special? EVELYN I'm your sister. JONATHAN That just makes you more gullible. EVELYN You stole it from a drunk at the local Casbah?! JONATHAN Picked his pocket, actually. EXT. VISITOR'S PEN - DAY The Warden ushers Evelyn and Jonathan into the holding pen. EVELYN And what is he in prison for? WARDEN I did not know, so when I heard you were coming, I asked him that myself. EVELYN And what did he say? WARDEN He said... he was just looking for a good time. The interior cell door BURSTS OPEN. O'Connell is in chains, dragged by FOUR GUARDS, they shove him up to the cell bars. From the looks of it, he's been here awhile; his face is half hidden by long hair, a scraggly beard and many new bruises. Evelyn looks at him, disgusted by his appearance. EVELYN But he's just a filthy criminal? JONATHAN (cringing) Way to go, Evy. O'Connell gives Evelyn the once over, then looks at Jonathan. O'CONNELL So who's the broad? EVELYN Broad?! JONATHAN She's my sister, actually. O'CONNELL Yeah? Well,... I'm sure she's not a total loss. Evelyn is stunned and furious. The Warden heads out the door. WARDEN I'll be back in a moment. O'CONNELL (sarcastic) I tremble with anticipation. A Guard CLUBS O'Connell across the head, O'Connell's face bounces off the metal bars. He shows no pain, but just looks back and gives the Guard a nasty look. Evelyn steps closer. EVELYN We uh,... found... your puzzle box, and we've come to ask you about it. O'CONNELL No. EVELYN No? O'CONNELL No... You came to ask me about Hamunaptra. Evelyn and Jonathan quickly look around, hoping the guards didn't hear him. They step closer. Evelyn plays coy. EVELYN How do you know the box pertains to Hamunaptra? O'CONNELL Because that's where I found it. I was there. Evelyn is dumbstruck. But Jonathan looks suspicious JONATHAN How do we know that's not a load of pig swallow? O'Connell looks closer at Jonathan, a glint of recognition. O'CONNELL Hey,... don't I know you? JONATHAN Um, well, you see... O'Connell's FIST comes flying through the bars, hits Jonathan square in the jaw, DECKS HIM. He hits the floor. Out cold. A Guard CLUBS O'Connell. His head bounces off the bars again. He shows no pain, but gives the Guard another nasty look. Evelyn looks down at her brother, then back at O'Connell. EVELYN You were actually at Hamunaptra? O'CONNELL I just decked your brother EVELYN Yes, well... (shrugs) I know my brother. O'Connell almost smiles. There's a bit of spark to this girl. O'CONNELL Yeah, I was there. EVELYN You swear? O'CONNELL Every damn day. EVELYN No, I mean -- O'CONNELL -- I know what you mean. I was there, alright. Seti's place. The City Of The Dead. EVELYN What did you find? What did you see? O'CONNELL I found sand. I saw death. The warden enters. Evelyn quickly leans closer to O'Connell. EVELYN Could you tell me how to get there? The exact location? O'CONNELL Want to know? Evelyn leans in even closer. EVELYN Yes. O'CONNELL Really want to know? She leans her face right up to the bars, nervous and excited EVELYN Yes. O'Connell steps forward and KISSES her full on the lips. O'CONNELL Then get me the hell outta here. Evelyn is stunned. A Guard CLUBS him, his face bounces off the bars again, but before he can react the Guards GRAB him, YANKS him away from the bars and DRAG him out of the room. EVELYN Where are they taking him? WARDEN To be hanged. Evelyn is shocked. The warden shows-off his green teeth. WARDEN Apparently, he had a very good time. EXT. GALLOWS COURTYARD - DAY Hundreds of filthy PRISONERS stare down onto the gallows as the hangman's noose is draped over O'Connell's head and cinched tight around his neck. Evelyn follows the warden onto a balcony above the gallows. The prisoners all go dead quiet at the sight of her; like jackals staring at fresh meat. WARDEN No women allowed. EVELYN I am an English woman. This seems to confuse the Warden, he shrugs and sits down. O'Connell looks up as Evelyn plops down beside the Warden. EVELYN I will give you one hundred pounds to spare his life. WARDEN I would pay one hundred pounds just to see him hang. EVELYN Two hundred pounds. WARDEN Proceed! EVELYN Three hundred pounds! O'Connell can hear every word, he looks hopeful. Other than Evelyn, you could hear a pin drop. The HANGMAN turns to him. HANGMAN Any last requests, pig? O'CONNELL Yeah, I'd like ya to let me go. The Hangman grabs the lever to the trapdoor. EVELYN FIVE HUNDRED POUNDS! The Warden sets his greasy, lecherous hand on Evelyn's leg. WARDEN And what else? Evelyn is revolted, she quickly shoves his hand away. Insulted, the Warden angrily turns and gestures to the Hangman, who pulls the lever. The trapdoor DROPS AWAY. EVELYN NOOO! O'Connell DROPS through the hole. The rope pays out. Then JERKS TAUGHT. O'Connell's body SNAPS at the end of the rope. But he's still alive, because -- WARDEN His neck did not break! Good! Now we watch him strangle to death. The prisoners go ape-shit, SCREAMING and SHOUTING in anger. The GUARDS look around, nervous. O'Connell struggles at the end of the rope, gagging. Evelyn is horrified, she quickly turns to the warden, leans forward and whispers in his ear. EVELYN He knows the location to Hamunaptra. The warden spins around and faces her. WARDEN You lie. EVELYN I would never! At the end of the rope, O'Connell is choking and gagging and turning several shades of red. The Warden stares at Evelyn. WARDEN Are you saying this filthy godless son of a pig knows where to find The City Of The Dead? Truly? EVELYN Yes and if you cut him down, we will give you ten percent. WARDEN Fifty percent. EVELYN Twenty. WARDEN Forty. Evelyn hesitates, bites her lip. O'Connell's eyes bulge as he looks up at her, he can't believe this girl. O'CONNELL Give... give him... give him GLAAAA-- ! EVELYN Twenty-five percent, and not one single farthing more. The warden flashes a big green smile, then YELLS in Arabic. A scimitar SLASHES the air. The rope is CUT. O'Connell CRASHES to the ground. Half dead. Rolls over. GAGGING. All of the prisoners BURST INTO CHEERS. O'Connell looks up at Evelyn. She smiles broadly and waves down at him. CURATOR'S OFFICE - NIGHT CANDLE LIGHT FLICKERS across the Curator's face. CURATOR She must die. Standing in the shadows across from his desk are THREE MUMIA: blue tinted skin, hideous facial tattoos, -- the works. One of the Mumia has a rusty metal HOOK for a hand. He shrugs. HOOK She is like all the others. She will die in the desert. CURATOR No! She has seen too much. She knows too much. The Curator leans across his desk, fear in his eyes. CURATOR Not only does she have a map, but she has the key. Spooks the hell out of the Mumia guys. HOOK The key!? She has the lost key!? CURATOR Yes. No one has ever had so much, been so close. We must stop her, or it will be the end of us all. HOOK Then we will kill her, we will kill her and all those with her. CURATOR And burn the map and retrieve the key. HOOK It will be done. But what of the American expedition? They leave tomorrow as well. CURATOR Forget the bumbling Americans, they will be like all the others. Without the map to guide them, how can they possibly find Hamunaptra? EXT. GIZA PORT - DAY SMASH CUT TO: our old traitorous friend BENI. BENI It is three days down the Nile, then two days by camel, sahibs. WE CRANE BACK: to reveal Beni standing on the bow of a PASSENGER BARGE. Surrounded by DANIELS, HENDERSON and BURNS. DANIELS For all the money we're paying you, something better god-damned well be under that sand. WE KEEP CRANING BACK: as Henderson slaps Daniels on the back. HENDERSON "Hamunaptra," Daniels, that's all ya gotta keep sayin, to yourself, "Hamunaptra." Now we see all of GIZA PORT: Team of explorers swarm the docks. Across the Nile, the PYRAMIDS spike the sky. Evelyn and Jonathan walk along the boardwalk besieged by HAWKERS selling everything from toy tombs to King Tut action figures. EVELYN Do you really think he'll show up? JONATHAN Undoubtedly, I know the breed, he may be a cowboy, but his word is his word. EVELYN Personally, I think he's filthy, rude and a complete scoundrel. I don't like him one bit. O'CONNELL (O.S.) Anyone I know? They both turn. O'Connell walks up; shaved, showered, spit and polished, with a new haircut and clothes. He looks more dashing and handsome than ever. Evelyn is suitably impressed. EVELYN Oh... um,... hello. Jonathan grabs O'Connell's arm and shakes his hand. JONATHAN Smashing day for the start of an adventure, eh, O'Connell? O'Connell quickly checks his pockets. O'CONNELL Yeah, sure, smashing. He finds his wallet and relaxes. DIRECTLY ABOVE HIM: on the bow of the barge, Burns wipes his bifocals and turns to Beni. BURNS You're sure Hamunaptra is out there? BENI Along with the scorched bones of my entire garrison, sahib. And that's when Beni spots O'Connell. Beni shakes his head, as if seeing a mirage, then starts backing away from the men. BENI A thousand pardons, my good sahibs but there is much work to be done. Beni quickly scurries off, vanishing down into the hold. BACK DOWN WITH: Evelyn, recovering, she clears her throat. EVELYN Mister O'Connell, can you look me in the eye, and guarantee me this is not some sort of flimflam? Because if it is, I'm warning you -- O'Connell steps up close to Evelyn, invading her space looks her straight in the eye. Evelyn doesn't back away. O'CONNELL All I can tell you, miss, is that my Colonel found that map in an ancient fortress, and the whole damn garrison believed in it so much, that without orders, we marched halfway across Libya and into Egypt to find that city. Like I told ya, all I saw was sand. Everybody else was wiped out by Tuareg warriors. I'll take your bags. O'Connell takes her bags and heads up the gangplank and onto the same passenger barge that Beni and the Americans are on. Evelyn's eyes follow him, a bit wistfully. Jonathan sees it. JONATHAN Yes, yes, you're right, filthy, rude, a complete scoundrel, nothing to like there at all. Evelyn gives him a look. Jonathan just grins. And that's when the warden suddenly brushes past, tipping his raggedy hat. WARDEN A bright good morning to all. EVELYN What are you doing here? WARDEN I have come to protect my investment, thank you very much. And up the plank he goes. Evelyn and Jonathan share a look. WE GO WIDE AGAIN: as the barge pulls out and heads down the Nile. WE TILT UP: to the SUN, which then DISSOLVES into -- EXT. RIVER NILE - NIGHT The MOON, shining down on the desert. The THREE VICIOUS MUMIA quietly glide a narrow skiff out onto the river. The one with the hook sits in the middle of the skiff, the other two row, heading for the PASSENGER BARGE coming their way. EXT. THE BAR AT THE BOW - NIGHT Jonathan and the three Americans are playing poker. O'Connell comes out a door carrying a GUNNY-SACK. JONATHAN Sit down, O'Connell, sit down, we could use another good player. O'CONNELL I only gamble with my life, never my money. DANIELS Never? What if I were to wager five hundred dollars says we get to Hamunaptra before you? O'Connell returns Daniel's cocky look. O'CONNELL Yer on. Burns slips on his dirty bifocals. BURNS What makes you so confident, sir? O'CONNELL What makes you? Henderson spits a wad of chew into a spittoon. HENDERSON We got us a man who's actually been there. O'Connell's poker face drops, perplexed. Same with Jonathan. JONATHAN I say, what a coincidence, why -- O'Connell 'accidentally' hits him in the ribs with the gunnysack, shutting him up. Jonathan quickly covers. JONATHAN -- whose deal is it? Is it my deal? I thought I just dealt? EXT. BARGE - NIGHT Evelyn sits on a table, staring out over the passing river. The gunny-sack DROPS onto the table, startling her. O'CONNELL Sorry, didn't mean to scare ya. EVELYN The only thing that scares me, Mister O'Connell, are your manners. O'CONNELL Still angry that I kissed ya, huh? EVELYN If you call that a kiss. O'Connell reaches into the gunny-sack and starts pulling out revolvers, pistols, hunting knives, a massive elephant gun, and a half dozen carefully wrapped sticks of dynamite. EVELYN Did I miss something? Are we going into battle? O'CONNELL The last time I was at that place everybody I was with died. This takes the smile off Evelyn's face. O'Connell starts dismantling and cleaning the guns. O'CONNELL There's something out there, you know, something under that sand. EVELYN Yes, I'm hoping to find a certain artifact, a book, actually, my brother thinks there's treasure. What do you think is out there? O'Connell looks into Evelyn's eyes. O'CONNELL Evil. The Tuaregs and the Bedouin believe that Hamunaptra is cursed, they call it, "the doorway to hell." EVELYN Ahmar is Ossirion. "Passageway to the underworld", actually. She gives him a know-it-all grin. EVELYN I don't believe in fairy tales and hokum, Mister O'Connell, but I do believe that one of the most famous books in history is buried out there, The Book Of The Living. It's what first interested me in Egypt as a child. It's why I came here, sort of a life's pursuit. O'CONNELL And the fact that they say it's made out of pure gold, makes no nevermind to you, right? Evelyn is surprised by his knowledge. EVELYN You know your history. O'CONNELL I know my treasure. Evelyn gets up to go, then she hesitates, nervous, she turns back to O'Connell, and as matter-of-fact as possible says: EVELYN By the way,... why did you kiss me? O'Connell, cleaning his guns, just shrugs his shoulders. O'CONNELL I was about to be hanged, seemed like a good idea at the time. Evelyn's eyes widen, furious, she turns and storms off. O'Connell looks up, watching her leave, a bit perplexed. O'CONNELL What?... Wha'd I say? Then he hears someone SNICKERING under the table. He quickly reaches down, grabs that someone and lifts him up. It's Beni. BENI My very good friend! What a surprise. O'CONNELL Why if it ain't my little buddy, Beni. I oughta kill you. O'Connell sticks a knife under Beni's throat. Beni swallows hard, then tries to weasel his way out with a big grin. BENI You never were any good with the ladies, O'Connell. O'CONNELL So you're the one leading the Americans, I shoulda figured. So what's the scam? You get 'em out in the middle of the desert then leave 'em to rot? BENI Unfortunately no, these Americans are smart, they pay me only half now, half when I get them back to Cairo, so I must go all the way. O'Connell pulls the knife away. Beni relaxes, rubs his neck. BENI You never believed in Hamunaptra, O'Connell. Why are you going back? The devil himself lives out there. They look as they hear Evelyn YELP. A single CAMEL in the HORSE PADDOCK takes another bite at her. She YELPS again and backs away. O'Connell grins as Evelyn flees down the deck. O'CONNELL The girl saved my life, figured it was the least I could do, keep her out of trouble. BENI You always did have more balls than brains. O'Connell's eyes narrow at the insult, he looks back at Beni. O'CONNELL Let's make us even, shall we? BENI Even? O'Connell grabs him and chucks him over the side of the barge. Beni SPLASHES into the river. O'Connell takes his gunny-sack and starts walking off down the deck. BENI (O.S.) O'Connell! I am going to kill you for this! O'CONNELL Sounds familiar. And that's when he spots THREE SETS OF WET FOOTPRINTS, coming up over the railing from the river and heading down the deck. O'Connell quickly looks around, immediately on the alert. INT. EVELYN'S CABIN - NIGHT Evelyn, wearing a nightgown, stands in front of a mirror. She gives her head a good shake, letting her hair fall loose over her bare shoulders. Then she turns around, RIGHT THERE IS ONE OF THE HIDEOUS MUMIA! It's Hook. He slams his hand over her mouth and lifts up his hook, ready to strike. HOOK Where is the map? Evelyn's terrified eyes glance down. Hook looks over, sees the map lying next to a flickering candle on a nearby table. HOOK And the key? Where is the key? Evelyn's eyes look confused. She shakes her head. Hook grins. HOOK Then I'll find it myself. He cocks his hook, about to kill her. And that's when the door is KICKED OPEN. O'Connell BURSTS IN, gun in each hand. Hook spins Evelyn around and holds her out in front of him. O'Connell looks at her. O'CONNELL Friend of yours? Evelyn's eyes widen. And that's when the candle on the table FLICKERS. Everything happens at once, READ FAST: O'Connell spins around just as a window BURSTS OPEN. A Mumia leans in. FIRES A GUN. Woodchips BLAST OFF the wall next to O'Connell's head. He returns FIRE. Kills the Mumia. The Mumia falls back. FIRING BLINDLY. A LANTERN in the room is BLASTED. Kerosene SPLASHES across the wall. BURSTS INTO FLAMES. Evelyn grabs the candle on the table and JAMS IT back over her shoulder, right into Hook's EYE. He SCREECHES in pain and lets her go. O'Connell grabs her and YANKS her out of the FLAMING ROOM. HALLWAY - NIGHT O'Connell pulls Evelyn down the hall, she tries to jerk free. EVELYN The map! We need the map! He shoves her up against a wall. O'CONNELL Relax! I'm the map! (taps his forehead) It's all up here. EVELYN Oh that's comforting. O'Connell gives her a look, then pulls her forward. O'CONNELL C'mon, there's still one more of those guys around here somewhere. EVELYN'S FLAMING ROOM - NIGHT Hot melted wax covers Hook's face as he holds his sore eye and struggles to the door. Then he notices the key/box on the floor. He bends over to pick it up. And that's when the door is KICKED OPEN again, it hits him in the ass and knocks him into the fire. Jonathan leans in. Sees nothing but flames. JONATHAN EVY!! Then he sees the key/box on the floor and picks it up. A HAND suddenly snatches the key/box away from him. JONATHAN Hey that's mine -- It's Hook. His backside is now ON FIRE. He lifts his pistol. Jonathan quickly backpedals out the door as Hook OPENS FIRE. EXT. CAMEL PADDOCK - NIGHT O'Connell and Evelyn race out onto the deck near the horse paddock. People are SCREAMING and SHOUTING, lots of panic. BLAM! A chunk of the wall is BLOWN OFF next to Evelyn's head. O'Connell pivots and FIRES BACK. It's the last Mumia, on the other side of the paddock. He and O'Connell exchange GUNFIRE. Another LANTERN BURSTS INTO FLAMES. O'Connell SHOOTS OFF the paddock lock. The horses go nuts. O'Connell FIRES over their heads. They CHARGE FORWARD and CRASH through the door. The Mumia SCREAMS as the horses STAMPEDE over him. FLAMES sweep up the walls and race across the roof. Half the barge is now ON FIRE. O'Connell throws the gunny-sack over his shoulder. O'CONNELL Can you swim? EVELYN Well of course I can swim, if the occasion calls for it. O'CONNELL Trust me. He picks her up and throws her over the side. O'CONNELL The occasion calls for it. Evelyn SPLASHES into the water. O'Connell dives in after her. EXT. BARGE BOW - NIGHT Jonathan runs out onto the bow, sees the three Americans, guns in every hand, fanning their pistols, SHOOTING everything in sight. Jonathan just shakes his head. JONATHAN Americans. Hook suddenly stumbles up behind him, -- now a FLAMING TORCH. Jonathan turns around, Hook grabs him by the throat with his FLAMING ARM and pins him to the cabin wall. Jonathan's eyes widen as he sees a hook rising up inside the FLAMES about to strike him. The Americans pivot and OPEN FIRE. Blows Hook over the railing. Jonathan turns to the Americans and smiles. JONATHAN I say! Good show! Then he points his thumb at himself JONATHAN And did I panic? He lifts up his other hand, -- he has the key/box back. JONATHAN I think not. And that's when the horses STAMPEDE onto the bow. Jonathan dives over one side, the three Americans dive over the other. NILE RIVERBANK - NIGHT O'Connell, Evelyn, Jonathan and the Warden wade out of the water. Evelyn's nightgown clings tight to her body as she wrings it out. She looks good. O'Connell notices. Everybody else, including the horses, is getting out on the far shore O'Connell spots Beni running up to the Americans. BENI Hey O'Connell! Looks to me like I got all the horses! O'CONNELL Hey Beni! Looks to me like your on the wrong side of the river! Beni looks up at the stars, then angrily KICKS the sand CURSING. The FLAMING barge drifts off, slowly sinking... BEDOUIN TRADING POST - DAY O'Connell barters in ARABIC with a CAMEL TRADER at a trading post. Jonathan forks over some cash. The Trader hands them the reins of four ugly old camels. JONATHAN I can't believe the price of these fleabags. O'CONNELL We coulda had 'em for free, all we had to do was give 'em your sister. JONATHAN Yes, awfully tempting, wasn't it? O'CONNELL Awfully. And that's when Evelyn steps out of a trading tent. She's changed into a gorgeous, tightly fitted, Bedouin dress. O'CONNELL Then again... SAHARA DESERT SAND DUNES - DAY O'Connell, Evelyn, Jonathan and the warden are on camels in the middle of the frying pan; the endless, sunbaked Sahara. JONATHAN Never did like camels. Filthy buggers. They smell, they bite, they spit. Disgusting. The warden savagely attacks a chicken wing with his vile green teeth. Flies buzz around his head. He sucks at his gums, then spits out some gristle. O'Connell watches him. O'CONNELL Yeah, disgusting. Evelyn is having the time of her life on top of her camel. EVELYN Well I think they're cute. WE DO SEVERAL TIME DISSOLVES: showing the majesty of the desert, and our heroes getting deeper and deeper into it. FRYING PAN - NIGHT The MOON shines down an four lone camel rider's trekking across the vast wasteland. Jonathan is sound asleep, his head bobbing comically to the rhythm of his camel. On the camel next to him, the Warden SNORES LOUDLY. Up in front of them, Evelyn slowly starts to slide off her saddle. O'Connell reaches over and stops her, then gently pushes her back up onto her saddle, never waking her. For a long moment, his eyes watch Evelyn, and then he looks up at a distant ridge -- -- where Ardeth Ray and a group of MUMIA RIDERS are pacing them. EXT. GIANT SAND DUNE - ENDLESS HORIZON - DAY The dawning sun hasn't yet crested the distant horizon as Jonathan and the Warden ride alongside a giant sand dune. JONATHAN And you snore! WARDEN I do not snore! JONATHAN All night you snored! WARDEN I have never snored! Up in front of them, O'Connell looks at Evelyn. O'CONNELL We're almost there. EVELYN Are you sure? O'Connell looks down at the ground. O'CONNELL Pretty sure. The others look down and see DOZENS OF SKELETONS sticking out of the ground. Bleached and eaten away. Some of the skeletons look like they're trying to crawl up out of the desert floor. JONATHAN What in bloody hell is this? The Warden shivers in fear. WARDEN Other seekers of Hamunaptra. The American Expedition rides out from behind the far end of the dune. The Americans are accompanied by TWO DOZEN NATIVE DIGGERS and an Arab EGYPTOLOGIST. Beni rides lead on a camel, the rest ride horses. BENI Good morning, my friend! O'Connell just nods. The two parties come to a stop a hundred feet apart. O'Connell turns and stares out across the endless horizon. Beni does likewise. The Americans look puzzled. DANIELS Well, what the hell we doin'? BENI Patience, my good sahib, patience. Henderson looks over at O'Connell. HENDERSON First one to the city, O'Connell! Five hundred! Cash bucks! O'Connell and Beni just stare out at the flat nothingness. Evelyn and Jonathan share a look. And then, the SUN starts to rise in the distance, breaking the flat horizon. O'CONNELL Get ready. Evelyn can feel the suspense and the majesty of the moment. EVELYN For what? O'CONNELL We're about to be shown the way. Far off to the right, a HUGE SHAPE begins to rise with the sun. A VOLCANO. O'Connell and Beni watch it, expressionless. Daniels, Henderson and Burns share a look, and then -- DANIELS/HENDERSON/BURNS HEYA! The Americans take off. Racing towards the rising volcano. DANIELS SEE YA THERE, O'CONNELL! Evelyn and Jonathan give O'Connell anxious, sarcastic looks. JONATHAN Ah, begging your pardon, but shouldn't we be going? EVELYN After all, you rode us night and day to win that bet. O'Connell doesn't say a word, staring hard. Beni watches the Americans and spits into the sand. BENI Fools. And then suddenly, the volcano SHIFTS ACROSS THE HORIZON. Passing across the sun as it goes. It's a MIRAGE. The Americans crash their horses to a stop and race the other way, after the volcano. Evelyn and Jonathan smile, amazed. The volcano SHIFTS AGAIN, floating across the watery horizon. The Americans crash to a stop again and chase after the volcano. All three of them confused and CURSING. O'Connell and Beni just stare, waiting. The volcano SHIFTS AGAIN. And the Americans crash to a stop again. Burns is THROWN from his horse. Henderson angrily rips his hat off and chucks it to the ground. Daniels just curses as they give up the chase. The volcano comes to a stop on the far left of the horizon. The Americans are on the far right. Nothing moves. A BEAT. And then O'Connell grins. So does Beni. They share a look. And then SWAT their camels and RACE AWAY. Everybody else hauls-ass after them. O'Connell and Beni are neck-and-neck. And then Evelyn comes galloping up, hair flying in the wind. Beni takes out his camel whip and starts WHIPPING O'Connell. Trying to knock him off his camel. once. CRACK! Twice. CRACK! But on the third try O'Connell grabs the whip and JERKS Beni off his camel. Beni SLAMS to the ground and TUMBLES. Evelyn and O'Connell race across the desert. Evelyn has never felt so alive. She LAUGHS. O'Connell grins; he likes this girl. Beni stumbles to his feet, then quickly dances out of the way as Jonathan and all the other riders stampede past him. Evelyn beats O'Connell to the stone ramp, racing hard. O'CONNELL Evelyn! Slow down! Evelyn ignores him as she races up the ramp towards the gate. O'CONNELL SLOW DOWN, EVELYN! SLOW DOWN! THERE'S A REALLY BIG -- INT. HAMUNAPTRA - DAY Evelyn goes ass-over-teacups through the air and crash lands in a sand dune. She sits up, stunned, sandy hair in her eyes. O'Connell stops at the edge of the ramp next to her camel. O'CONNELL Never mind. The Americans ride up and look in wonder at the ruins inside the volcano. O'Connell gives them a big, shit-eating grin. O'CONNELL You boys owe me five hundred dollars. EXT. HAMUNAPTRA - DAY Under the guidance of the Egyptologist, the Diggers are busy hauling rock and dirt out of the Temple doorway. The three Americans are playing poker. Beni smokes a hookah and swats flies. Dozens of stray CAMELS roam the decrepit city; dusty backpacks and old saddlebags still slung over their humps. DANIELS Where'd all these camels come from? BENI They belong to the dead. They will wait years for their masters to return before leaving. EXT. OUR HEROES DIG - DAY O'Connell, Evelyn, Jonathan and the Warden are working next to a narrow CREVICE, which weaves it's way through the ruins. O'Connell ties a rope around a pillar and throws the rest of the coils into the crevice, about to rappel down. Jonathan bends over to have a look, his ass hits something, he YELPS and backs away. It's the decrepit FACE OF ANUBIS. JONATHAN That thing gives me the creeps. O'CONNELL Be nice. That thing saved my life. Evelyn is positioning ancient MIRRORS along the crevice. EVELYN That "thing" gets me excited. O'CONNELL (sarcastic) The things that get you excited. EVELYN According to Bembridge Scholars, inside the statue of Anubis was a secret compartment, perhaps containing The Book Of The Living. O'CONNELL What are those mirrors for? EVELYN Ancient Egyptian trick. You'll see. O'Connell shrugs, then rappels down into the crevice. INT. EMBALMER'S CHAMBER - DAY O'Connell waves a TORCH as Jonathan, Evelyn and the warden drop down next to him. Evelyn peers into the spooky darkness. EVELYN Do you realize, we are standing inside a room that no one has entered in over four thousand years. WARDEN Who cares? I don't see no treasure. O'CONNELL You're welcome to my share of the spider webs. JONATHAN And it stinks to high heaven in here. Evelyn just rolls her eyes. EVELYN Cretins. Jonathan sniffs the foul air, then he looks at the warden and realizes where the smell is coming from. He stops sniffing. Evelyn brushes COBWEBS away from a METAL DISK on the wall, then repositions it on it's pedestal, aiming it at a RAY OF LIGHT shining in from the outer mirrors. -- THE RAY OF LIGHT HITS THE DISK AND QUICKLY SHOOTS AROUND THE ROOM FROM ONE DISK TO ANOTHER UNTIL THE WHOLE CHAMBER IS LIT UP. LIGHT RAYS SHOOT OFF DOWN THE PASSAGEWAYS. It's the embalmer's chamber. O'CONNELL That is a neat trick. EVELYN Oh my god, It's a preparation room. O'CONNELL Preparation for what? EVELYN For entering the afterlife. O'Connell quickly draws his gun. Jonathan gently nudges him. JONATHAN Mummies, my good son, this is where they made the mummies. Evelyn heads down a narrow passageway. The others follow. INT. LABYRINTH - DAY O'Connell, Evelyn and Jonathan crouch as they make their way through a narrow, COBWEB INFESTED LABYRINTH. The short, squat warden can stand straight up. Then they hear something and freeze. It sounds like somebody is clawing inside the walls. They share looks. Then slowly move forward. Getting darker and darker as they go. The strange sound getting louder and louder. And then it stops. Evelyn holds her breath. Jonathan licks his lips. O'Connell cocks his pistol. The warden FARTS. O'Connell, Jonathan and Evelyn glare at him. ANUBIS' CHAMBER - DAY They slowly creep out of the labyrinth and up to the foot of an enormous half-buried statue. The lower half of Anubis. Then they hear the sound again, coming closer now, from the other side of the statue. And closer. O'Connell pulls Evelyn behind him. And closer. O'Connell raises his gun. And CLOSER! O'Connell LEAPS OUT. -- THREE HORRIBLE SWEATY FACES LUNGE AT HIM. O'Connell REACTS. But doesn't pull the trigger because it's just the Americans, their guns are up, cocked and aimed. HENDERSON Ya scared the bejeezus out of us, O'Connell. O'CONNELL Likewise. But nobody lowers their guns. Daniels grins, the tough one. DANIELS This here is our statue,... friend. O'CONNELL Don't see your name on it,... pal. And that's when Beni, five Diggers and the Egyptologist step out of the shadows, -- all holding guns aimed at O'Connell. BENI Ten to one, O'Connell, your odds are no-so-good. O'CONNELL I've had worse. Jonathan clenches a tiny derringer. JONATHAN Yes, me too. O'Connell gives him a sideways glance. Beni cocks his gun, grinning, he wants it to happen. The tension thickens. Then Evelyn gently takes O'Connell's gun hand and pulls it down. EVELYN Let's be nice, children, if we're going to play together, we must learn to share. Evelyn pulls O'Connell away. Jonathan and the Warden follow. Beni and the Americans slowly lower their guns, laughing. The Egyptologist excitedly begins translating the hieroglyphs. INT. IMHOTEP'S CHAMBER - DAY O'Connell and Jonathan are using sledge-hammers against the ceiling. Evelyn is gently chipping away with a tiny chisel. EVELYN According to my calculations, we should be right under the statue. We'll come up right between his legs. (she blushes and laughs) Oh my. JONATHAN And when those dirty Yanks go to sleep -- (looks at O'Connell) No offense. O'CONNELL None taken. JONATHAN We'll sneak up and steal that book right out from under them. O'CONNELL And you're sure you can find the secret compartment? EVELYN Yes, if their Egyptologist hasn't already found it. Jonathan looks around. JONATHAN I say, what's our smelly little friend got himself up to? INT. SCARAB CHAMBER - DAY The Warden crawls into a DARK CHAMBER and LIGHTS A TORCH. A mural wall comes alive. Embedded into it are dozens of black amethyst SCARABS; glittering images of the sacred beetles. Awestruck, the Warden pulls out a pocket knife and starts prying away at one of the precious bugs. INT. ANUBIS' CHAMBER - DAY Beni and the Americans hover around the Egyptologist, who's found the SECRET COMPARTMENT inside Anubis. The Egyptologist brushes sand away from the seam. Henderson steps forward and grabs the seam, -- the Egyptologist quickly stops him. EGYPTOLOGIST Seti was no fool. Henderson sees the intense look in the Egyptologist's eyes HENDERSON Yeah, sure... He looks back at the native Diggers. HENDERSON We'll let him open it. The Egyptologist nods, then YELLS IN EGYPTIAN at the Diggers. The Diggers hesitate, filled with fear. Daniels pulls out his gun, aims it at three of the Diggers. The three Diggers hesitantly step forward with crowbars and stick them into the seams. The other Diggers back away, scared shitless. Beni and the Americans exchange looks, and then they back away as well. INT. IMHOTEP'S CHAMBER - DAY Three Heroes are still digging into the ceiling O'CONNELL Lemme get this straight, they stuck a sharp, red hot poker up your nose, cut your brain into small pieces, then ripped it all out through your nostrils? JONATHAN OWCH! That's really got to hurt. EVELYN It's called mummification. You're dead when they do this JONATHAN Still... O'CONNELL Yeah, that'd bring you back to life. EVELYN You two are worse than a couple of schoolboys. And that's when a huge chunk of the roof suddenly GIVES OUT. O'Connell GRABS Evelyn and JERKS her clear. Jonathan DIVES for the far wall. A MASSIVE STONE CASEMENT DROPS OUT OF THE CEILING AND CRASHES to the floor. DUST FLIES. Fills the room. INT. ANUBIS' CHAMBER Having heard the crash, Beni and the Americans have their guns pointed at the floor. The Egyptologist could care less, he looks at the Diggers, gripping their crowbars, and YELLS -- EGYPTOLOGIST FENI! The three Diggers PULL HARD. The ancient seams start to give, The Egyptologist YELLS again. The Diggers PULL HARDER. The compartment starts to loosen. Again he YELLS. The Diggers give one final pull and -- -- AN INTENSE BURST OF LIQUID SPRAYS OUT OF THE SEAM. HITS THE THREE DIGGERS. MELTS THEIR SKIN CLEAN OFF. They SCREAM. Dying horribly. HALF SKELETAL by the time they hit the ground... INT. IMHOTEP'S CHAMBER - DAY The dust is starting to clear. O'Connell, Evelyn and Jonathan slowly get up and step over to the massive stone casement. We immediately recognize it as IMHOTEP'S SARCOPHAGUS. EVELYN Oh my god,... it looks like, it looks like a sarcophagus. O'CONNELL Why would they bury somebody in the ceiling? EVELYN They didn't, they buried him at the foot of Anubis. He was either someone of great importance. Or he did something very naughty. INT. SCARAB CHAMBER - DAY The warden drops an amethyst-scarab into his pouch, then greedily starts prying away at another. It rips off, he drops it into his pouch, -- only he misses, and this scarab quietly falls to the sandy floor without the Warden noticing. CLOSE ON: the scarab on the floor. It begins to TRANSFORM. The amethyst starts to glow. Something inside starts to WIGGLE; as if the amethyst were some sort of strange cocoon. Then it splits open and a real live hideous SCARAB BEETLE scurries out. It races over to the warden's shoe, quickly burrows into the leather and vanishes inside. The Warden's eyes FLY OPEN. He starts to SCREAM, drops his knife and frantically starts clawing away at his pant leg, higher and higher until he rips open his shirt revealing a large, hideous LUMP, BURROWING UNDER HIS SKIN. IT BURROWS IT'S WAY UP HIS FAT BELLY AND ACROSS HIS HAIRY CHEST. The Warden claws and scratches at it, trying to stop it. The lump BURROWS UP HIS NECK. The Warden starts GAGGING and COUGHING. And then the scarab-lump VANISHES INTO HIS HEAD. INT. IMHOTEP'S CHAMBER - DAY Our Heroes clear the dirt off the top of the sarcophagus, revealing a single, ominous hieroglyph. Evelyn stares at it Jonathan impatiently strums his fingers across the lid. JONATHAN Well?... Who is it? Evelyn stares at the hieroglyph, confused and concerned. EVELYN 'He that shall not be named.' O'Connell dusts off the huge LOCK O'CONNELL There's some sort of lock here. You say these thing's are made of granite with a steel interior? EVELYN Quarried granite with a cobalt lining. JONATHAN Whoever's in here, sure wasn't getting out. O'CONNELL No kiddin', without a key, it'll take us a month to crack this thing, EVELYN A key! That's it! That's what he was talking about. O'CONNELL Who was talking about what? Evelyn starts rummaging through the pack on Jonathan's back. EVELYN The man on the barge. The one with the hook, he was looking for a key. Evelyn pulls out the key/box. Jonathan tries to take it back. JONATHAN Hey that's mine! Evelyn slaps his hand and quickly unfolds the box, -- it's now shaped exactly like the LOCK'S KEYHOLE. Evelyn smiles. And that's when they hear the Warden's SCREAMS echoing through the labyrinth. All three of them turn and take-off running. INT. LABYRINTH - DAY The Warden is SCREAMING and dancing insanely around the labyrinth, totally freaked from the extreme pain in his head. O'Connell, Evelyn and Jonathan run up just as the Warden starts RIPPING his own hair out of his head. O'Connell and Jonathan grab at the Warden's hands, but he's far too crazed, he shoves them aside, runs full bore down the length of the labyrinth and SLAMS his head straight into a rock wall. The Warden drops to the ground. Dead as lead. Eyes wide open. O'Connell, Evelyn and Jonathan just stand there staring, breathing hard, wide-eyed themselves... EXT. BASE CAMP - NIGHT Evelyn and Jonathan are nuzzled up to a campfire. EVELYN What do you suppose killed him? JONATHAN Did you ever see him eat? O'Connell comes up over some rocks. O'CONNELL Seems the Americans had a little misadventure of their own today, three of their diggers were killed. EVELYN How? O'CONNELL Salt acid. Pressurized salt acid. Some sort of ancient booby-trap. JONATHAN Maybe this place really is cursed. A GUST OF WIND blows through the camp. The campfire FLICKERS O'Connell and Jonathan share a nervous look. Evelyn laughs. EVELYN You two! O'CONNELL You don't believe in curses, huh? EVELYN No. I believe if I can see it and I can touch it, then it's real. That's what I believe. O'Connell cocks his rifle, KA-CHANK! Gives her a big grin. O'CONNELL I believe in being prepared. Jonathan opens the Warden's POUCH, the one that held the scarabs. He reaches in, starts scrounging around. WE SLOWLY PUSH IN. Waiting for the attack. THE MUSIC BUILDS. And then, -- Jonathan SCREAMS in pain and RIPS his hand back out of the pouch. O'Connell and Evelyn both jump. O'CONNELL/EVELYN WHAT?! WHAT IS IT?! Jonathan sucks his finger, then reaches back into the pouch and pulls out a LIQUOR BOTTLE, the top has been chipped off. JONATHAN Seagrams! Jonathan smiles at the bottle, then turns the pouch inside out and shakes it, nothing but SAND is inside it. JONATHAN Well, he may have been a stinky fellow,... but he had good taste. Jonathan takes a swig. O'Connell and Evelyn laugh, guiltily And then O'Connell suddenly kneels down and sticks his ear to the sand. Evelyn and Jonathan watch him. A BEAT. And then a BARAGE OF GUNFIRE IS HEARD coming from the American camp. O'Connell jumps up and throws the elephant gun to Evelyn. O'CONNELL Stay here! He takes off running through the ruins. Evelyn immediately gets up and runs after him. Jonathan grabs a gun, holds the bottle of Seagrams; tight and dashes after her. JONATHAN Evy! Excuse me! But didn't the man just say -- ! EXT. AMERICAN CAMP - NIGHT The American camp is under siege. Two dozen MUMIA RIDERS gallop through. FIRING RIFLES. Several Diggers are killed as they run. The Americans leap out of their tents FIRING. Kill multiple Riders. Daniels is shot, spins and falls, keeps SHOOTING. Henderson and Burns run to his aid, BLASTING AWAY. O'Connell races through the ruins and SLAMS right into Beni, who is obviously trying to high-tail-it out of there. O'CONNELL Goin' somewhere? BENI Just looking for you, O'Connell! I wanted to be with my friend! O'Connell drags him back towards the American camp. O'CONNELL C'mon, friend. BENI (struggling) Why do you like to fight so much? O'CONNELL 'Cause I look good doin, it. Ardeth Ray gallops through the camp, cutting Diggers down with his scimitar. O'Connell runs up on top of some rocks, LEAPS OUT and TACKLES him off his horse. The two men SLAM to the ground. O'Connell spins up onto one knee and FIRES, point blank. Blows the scimitar out of Ardeth Ray's hand. O'Connell is about to shoot again when a horse rides up between them. A scimitar swoops down, almost takes O'Connell's head off, misses him by an inch. O'Connell leaps up and blows the Rider off his mount. The horse BOLTS. -- But Ardeth Ray is gone. Evelyn hides behind some rocks, watching the scene, suddenly, she hears something coming up behind her and spins around. A vicious tattooed Mumia Rider races at her. Evelyn quickly backpedals over the rocks, terrified. The Mumia Rider raises his scimitar, about to strike. Evelyn SCREAMS, trips over a rock and FIRES the elephant gun, -- BLAM! Blows the Rider off his mount and CATAPULTS him twenty feet back into some ruins. At the same time, the kick blows Evelyn off her feet and over a ridge. She FLAILS through the air and lands in a sand dune. Jonathan and some Diggers are holding their own near the temple door. Four Riders come CHARGING right at them. Jonathan takes a swig off the Seagrams. JONATHAN Let 'em have it, boys! Jonathan and the Diggers OPEN FIRE. When the smoke clears, the Riders are either dead or gone. Jonathan grins. JONATHAN I say, bloody good show. And then several more Mumia leap off the temple and land behind them. Jonathan and the remaining Diggers spin around and suddenly find themselves in hand-to-hand combat. O'Connell is quickly loading his pistol. He hears something THUNDERING UP behind him. He spins around just as Ardeth Ray on a horse swings his scimitar. O'Connell instinctively raises his hands to protect his face, the scimitar STRIKES! Hits his gun, -- CHING! O'Connell's gun flips away. Disarmed, O'Connell dives and rolls and suddenly comes up with a stick of dynamite in his hand. He shoves the fuse into a fire. It IGNITES. He faces Ardeth Ray, towering above him. The two men lock eyes. The fuse continues to burn down. Ardeth Ray points his scimitar at O'Connell's head. ARDETH RAY LEAVE THIS PLACE!... LEAVE THIS PLACE OR DIE! Ardeth Ray GALLOPS OFF. The remaining Mumia Riders race after him, vanishing into the night. O'Connell watches them leave, then turns to the burning fuse,... and blows it out. Evelyn staggers up, looking very shaken. O'Connell gently takes her and holds her close. O'CONNELL You alright? Evelyn looks up into his strong eyes. It's the first time he's shown genuine concern for her. And she likes it. He's also holding her a little too close. And she likes that too. EVELYN Yes,... fine,... thank you. Beni crawls out from under some pillars as Henderson and Burns help Daniels to his feet. DANIELS See! That proves it! Old Seti's fortune's gotta be under this sand! HENDERSON For them to protect it like this, you just know there's got to be treasure down there. O'Connell looks up into the surrounding ridges, unsatisfied. O'CONNELL These men are a desert people. They value water, not gold. Evelyn looks at O'Connell, suddenly very worried. EVELYN Where's Jonathan? EXT. BASE CAMP - NIGHT Jonathan falls into FRAME. Hits the ground. Eyes wide open. Mouth agape. Clearly dead. A BEAT. And then his eyes close and his mouth widens into a goofy smile. Shit-faced drunk. O'Connell and Evelyn laugh, both half-in-the-bag themselves, the bottle of Seagrams is almost gone. O'Connell offers the bottle to Evelyn, she waves it away, slurring badly -- EVELYN Unlike my brother, sir, I know when to say no. O'Connell polishes off the bottle and chucks it away. O'CONNELL Unlike your brother, Miss, you I don't get. You're a whole new brew. EVELYN I know, you're wondering, what's a place like me doing in a girl like this? O'CONNELL Something like that. EVELYN Egypt is in my blood. My father was a famous explorer, he loved Egypt so much that he married an Egyptian. My mother! Who was quite an adventurer herself O'CONNELL Okay, I get your father, I get your mother and I get your brother, but what are you doing here? Evelyn is insulted, she staggers to her feet. EVELYN I may not be an explorer, or an adventurer, or a treasure hunter, or a gunfighter! Mister O'Connell But I'm proud of what I am. O'CONNELL And what is that? Evelyn plops back down beside him, really drunk, she grins and proudly lifts her head high. EVELYN ...I am a librarian! She leans in, very close to his face, looks him in the eyes, EVELYN I'm going to kiss you, Mister O'Connell. O'CONNELL No you're not. EVELYN I'm not? O'CONNELL Not unless you call me Rick. EVELYN Why would I do that? O'CONNELL Because that's my name. She gives him a goofy smile. He leans forward and KISSES HER. Evelyn's eyes slowly close. And then she passes out, slumping into his arms. O'Connell looks down at her, and just smiles. INT. IMHOTEP'S CHAMBER - DAY Evelyn's HAND slips the KEY into the sarcophagus, lock and turns it. A series of STRANGE MECHANICAL-LIKE SOUNDS are heard, and then the sarcophagus unlocks with a GIANT HISS. O'Connell, Evelyn and Jonathan all look very, very hungover. They start to slide the heavy lid off the sarcophagus. PUSHING, SHOVING and GROANING, the lid budging, inch by inch. EVELYN I can't believe I allowed the two of you to get me drunk. JONATHAN Don't blame me, I don't even remember being there. EVELYN Well neither do I, thank you. O'Connell gives her a hurt look. O'CONNELL You don't? Evelyn gives O'Connell a nervous look. EVELYN No... Why?... Should I? O'CONNELL Gee, yeah, you told me it was the best time you ever had. O'Connell gives her a big cheesy smile. Evelyn's face drops, appalled and embarrassed. And that's when the lid FALLS OFF and LOUDLY CRASHES to the ground. All three of them instantly grab their sore heads and MOAN. INT. ANUBIS' CHAMBER - DAY Several fear-filled, sweaty-faced Diggers reach into the secret compartment. Henderson and Burns hold guns on them. Daniels has his arm in a sling. The Diggers slowly pull out the ORNATE CHEST. They set the chest down on the sandy floor. Beni watches as the Egyptologist translates the hieratics. EGYPTOLOGIST There is a curse upon this chest. DANIELS Curse my ass. HENDERSON Yeah, who cares. The Egyptologist gives them the evil-eye EGYPTOLOGIST In these hallowed grounds, that which was set forth in ancient times, is as strong today, as it was then. HENDERSON Yeah, yeah, okay, what's it -- The Egyptologist slowly and carefully reads the inscription: EGYPTOLOGIST "Death will come on swift wings to whomever opens this chest". A GUST OF WIND blows through the chamber. TORCHES FLICKER All the Diggers suddenly turn tail and run off SCREAMING. The Americans look at each other, suddenly very nervous. EGYPTOLOGIST It says, there is one, the undead, who if brought back to life, is bound by sacred law to consummate this curse. HENDERSON Yeah, well, let's just make sure we don't bring anybody back from the dead then, huh? The three Americans laugh. EGYPTOLOGIST He will kill all who open this chest,... and assimilate their organs and fluids. DANIELS Assimilate their organs and fluids? Ya mean eat 'em? EGYPTOLOGIST And in so doing he will regenerate. And no longer be the undead, but a plague upon this earth. The WIND WHISTLES. Torches FLICKER. VERY SPOOKY. Beni and the Egyptologist share a fear-filled look. Henderson just shrugs. HENDERSON Ah hell, let's open it anyways. INT. IMHOTEP'S CHAMBER - DAY WHAM! Imhotep's wooden coffin is DROPPED to the ground next to his stone sarcophagus. Evelyn is very excited. EVELYN Oh my god, I've dreamed about this ever since I was a little girl. O'CONNELL You dream about dead guys? Evelyn just gives him a look, then starts brushing dirt and cobwebs off the top of the coffin. Then she freezes. EVELYN Look, all the sacred spells have been chiseled off. The hieratics and hieroglyphs that protect the deceased on his journey into the afterlife, they've been removed. This man was cursed,... doomed. O'Connell and Jonathan are too excited to care. O'CONNELL Tough break. JONATHAN Yes, I'm all tears, now let's see who's inside, shall we? Evelyn can't believe these guys. Jonathan inserts the key/box into the coffin's lock. Turns it. The lid cracks open with a HISS. They all react to the FOUL STENCH. Then O'Connell grabs the lid. It's stuck. He pulls with all his might. Jonathan helps him. It starts to give way. Slowly. Slowly. Slooooowly. And then it suddenly POPS OPEN and THE MOST HIDEOUS, MAGGOT INFESTED, ROTTEN CORPSE IMAGINABLE JUMPS UP! O'CONNELL/EVELYN/JONATHAN AHHHHH!!! They all jump back. Scared to death. Imhotep is now the 'Elephant Man' of corpses; twisted and deformed. The years have not been kind. He slumps back into his coffin. INT. ANUBIS' CHAMBER - DAY Henderson and Daniels start to pry at the lid of the wooden chest. Beni and the Egyptologist watch. In the background, Beni starts backing away, filled with fear, sweating buckets. BENI The curse,... beware the curse! Beni turns and bolts from the chamber. Daniels spits. DANIELS Stupid superstitious bastard. And that's when the seal breaks, -- A BLACK VAPOR BLASTS OUT OF THE CHEST. Everybody vanishes into the strange cloud. INT. IMHOTEP'S CHAMBER - DAY O'Connell, Evelyn and Jonathan slowly creep forward and carefully look back inside Imhotep's coffin, creeped-out. O'CONNELL Is he supposed to look like that? EVELYN No. I've never seen a mummy look like this. He's, he's still... JONATHAN Juicy? EVELYN Yes. He's more than four thousand years old and still decomposing. O'CONNELL And look at this. O'Connell points at the inside of the COFFIN LID, where there are FINGERNAIL SCRATCHES and DRIED BLOOD all over the inside. EVELYN Oh my god, he was buried alive. This sends a chill through everyone. Evelyn leans in closer. EVELYN And he left a message. WE PUSH IN on a grouping of hieratics WRITTEN IN BLOOD. EVELYN It says: 'Death is only the beginning.' Jonathan shivers. O'Connell looks around. O'CONNELL Where's my gun? JONATHAN What are you going to do? Shoot him? O'CONNELL If he decides to wake up, hell yes! INT. ANUBIS' CHAMBER - DAY The vapor is settling. The Americans have their guns aimed at the chest. The Egyptologist slowly steps up, reaches inside, and lifts out a heavy burlap bag. Everyone's eyes widen in excitement as he sticks his hand into the bag and slowly pulls out the black BOOK OF THE DEAD, the same book Imhotep used in his attempt to bring Anck-su-namun back to life. EGYPTOLOGIST I have heard told of this book, but I never truly believed it existed. This, good gentlemen, is a most priceless treasure. Henderson kicks the sandy floor in anger. HENDERSON I wouldn't trade ya for a brass spittoon! DANIELS Yeah! It's supposed to be made outta pure gold! Daniels kicks the chest. It breaks open, unfolding to reveal a lower compartment. Inside, are Anck-su-namun's FIVE JEWEL ENCRUSTED CANOPIC JARS (one is shattered and without jewels) EXT. BASE CAMP - NIGHT The two camps have now joined together. O'Connell and Beni are roasting chunks of hairy meat over a fire. Jonathan wrinkles his nose, disgusted by the smell. JONATHAN What is this stuff? It smells like our late friend, the Warden. O'Connell and Beni both grin. Jonathan looks horrified. JONATHAN You did not!?... We're not!? O'CONNELL Rat gizzards. They smell bad and taste worse, but that's the best the desert has to offer. The gloating Americans sit down, fondling their jeweled jars. HENDERSON Say O'Connell, whadaya think these honey's'll fetch back home? BURNS We hear you gentlemen found yerselves a nice gooey mummy. Congratulations. DANIELS Ya know if ya dry him out, you can sell him for firewood. The Americans laugh. Evelyn walks up, sits down and drops a pile of big dusty BUG SKELETONS onto the ground. EVELYN Scarabs, flesh eaters, I found them inside our friend's coffin. They can stay alive for years living off the flesh of a corpse, or in this case... She shrugs, then looks at the roasting meat EVELYN Famished. O'Connell and Jonathan stare at the bug skeletons, disgusted. O'CONNELL Are you saying somebody threw these things in with our guy, and they slowly ate him alive? EVELYN Very slowly. JONATHAN He certainly was not a popular fellow when they planted him. O'CONNELL Must of got a little too frisky with the Pharaoh's daughter. EVELYN According to my readings, our friend suffered the HOM-DAI, the worst of all ancient Egyptian curses, one reserved for only the most evil blasphemers. In all of my research, I've never read of this curse actually having been performed. O'CONNELL That bad huh? EVELYN Yes, they never used it because they feared it so. It's written, that if a victim of the HOM-DAI should ever arise, he would bring with him the ten plagues of Egypt. O'CONNELL The ten plagues?... You mean all ten plagues. BENI Like what that Moses guy did to that Pharaoh guy? EVELYN That's one way of putting it. JONATHAN Let's see, there was frogs, flies, locusts... BURNS Hail and fire. HENDERSON The sun turning black. DANIELS Water turning to blood. JONATHAN And my personal favorite: people covered in boils and sores. All the men share nervous looks, really spooked. Evelyn just laughs at them, then pulls a meat stick out of the fire. EVELYN Fried gizzard anyone? EXT. CAMP - LATER THAT NIGHT Having just freshened up for bed, Evelyn exits the temple and steps past the sleeping Diggers. She spots the Egyptologist, his jeweled canopic jar snug under one arm, the Book Of The Dead laying loose under the other. Evelyn stares at the Book, nervously biting her lip, then she sneaks over, carefully steals it, and quickly tip-toes away. Lying on some blankets by the campfire, O'Connell rolls over and sees Evelyn, sitting wide-eyed, staring at the Book. O'CONNELL You sure you outta be playin, around with that? EVELYN It's just a book, no harm ever came from a book. Evelyn opens the cover. THE FIRE FLICKERS. She and O'Connell share a nervous look, then Evelyn shrugs and starts reading. EVELYN Ahm kum Ra. Ahm kum Dei. Evelyn continues READING THE BOOK ALOUD IN ANCIENT EGYPTIAN. INT. IMHOTEP'S CHAMBER - NIGHT Evelyn's VOICE is OVERLAID as WE START WIDE on Imhotep's chamber and SLOWLY PUSH IN on his sarcophagus. WE PUSH IN over the lip of the coffin, then closer and closer towards Imhotep's rotten, twisted head, until his putrid face fills FRAME, -- and then suddenly his crusty eyelids Pop OPEN! Revealing EMPTY SOCKETS. -- BIG SCARY MUSIC STING. EXT. BASE CAMP - NIGHT The Egyptologist sits bolt upright. Quickly looks around, sees Evelyn reading the Book. He gets up and runs for her. EGYPTOLOGIST NO! NOOOO! YOU MUST NOT! He skids to a stop as a strange, piercing WHINE is heard, coming from out in the desert. O'Connell and the others all leap to their feet. The Americans run out of their tents. The SOUND gets LOUDER and CLOSER. And then from out of the darkness a HUGE WALL OF LOCUSTS SWIRLS into camp and envelops everyone. O'Connell grabs Evelyn, and with Jonathan at their side they race for the crevice, trying to fend off the horrid vermin as they go. Beni and the Americans run for the temple. The Egyptologist is covered in locusts. He stares at The Book Of The Dead, looking haunted. EGYPTOLOGIST What have we done? The campfire is SUCKED UP INTO THE AIR INT. LABYRINTH CORRIDOR - NIGHT O'Connell, Evelyn and Jonathan race down the labyrinth, slapping at themselves and picking locusts out of their hair JONATHAN Did you see that!? Grasshoppers! Billions of grasshoppers! O'CONNELL That's one of the plagues, right? The grasshopper plague! EVELYN This is not a plague. It's generational. Every so many years the locusts of Egypt have a population explosion and they all take flight. Evelyn steps forward, something SQUISHES. O'Connell lowers his TORCH, -- the entire floor is FILLED WITH SLIMY FROGS. O'CONNELL Okay,... and what about frogs? INT. LABYRINTH PASSAGEWAY - NIGHT The Americans, Beni and the Diggers race into a passageway. Burns is knocked down, his bifocals skitter across the ground, they get CRUSHED in the stampede. Burns staggers to his feet, squinting. BLURRY FIGURES vanish into the darkness, BURNS Daniels! Henderson! INT. LABYRINTH CORRIDOR - NIGHT The ground under O'Connell, Evelyn and Jonathan starts to SHAKE. Then suddenly, right in front of them, -- HUNDREDS OF CHITTERING SCARAB BEETLES BOIL UP OUT OF THE SAND. Start scurrying towards them. Evelyn SCREAMS. Jonathan SCREAMS. Even O'Connell almost screams. They turn around and haul ass. INT. PASSAGEWAY - NIGHT Burns staggers down a passageway, squinting, his hands out in front of him, groping, trying not to bump into anything. Then ten feet in front of him, a dark, blurry FIGURE steps out. BURNS Daniels?... is that you? Burns half-blindly staggers forward. The Figure doesn't move. BURNS Henderson? Burns TRIPS, stumbles forward, towards the Figure, his hands reach out and SINK INTO IMHOTEP'S PUTRID CHEST CAVITY. Burns jumps like a scalded cat, pulls his hands out and looks at them, -- HIS HANDS ARE COVERED IN MOLTEN FLESH ROT. He starts to SCREAM. A SKELETAL HAND clamps over his mouth. LABYRINTH STAIRCASE - NIGHT O'Connell, Evelyn and Jonathan race up the staircase, just ahead of the mass of SCURRYING, CHITTERING SCARABS. O'Connell leaps out onto a pedestal. Jonathan jumps up next to him. Evelyn jumps up into a grotto on the other side of the narrow stairway. The horrible herd of vicious scarabs scurries between them, their ear-piercing CHITTERS send shivers up Evelyn's spine. She leans back. THE WALL MOVES. Evelyn falls backwards through an opening. O'Connell and Jonathan watch the scarabs vanish up the staircase. Then they look across the way. Evelyn is gone. JONATHAN EVY!? SCARAB CHAMBER - NIGHT Evelyn sits up, shakes the sand out of her hair, fearfully looks around. It's almost PITCH BLACK. She gets up and feels her way along the dark walls. She rounds a corner. A shaft of MOONLIGHT filters in through a crack in the ceiling. A MAN stands in the middle of the room. Evelyn walks towards him. EVELYN Oh thank goodness, you're one of the Americans, aren't you? Just as she reaches him he turns around. It's Burns. BOTH OF HIS EYES ARE MISSING. He stares at her with vacant sockets. Evelyn SCREAMS in horror and backs away, hyperventilating, she bumps into something. She SCREAMS again and spins around It's Imhotep. With two fresh EYEBALLS in his sockets. Evelyn SCREAMS again and backs away into a wall. Her hair is down, her face is dirty and sweaty, her blouse is ripped, her dress is torn, she's never looked sexier. Imhotep SQUINTS. IMHOTEP Anck-su-namun? LABYRINTH STAIRCASE - NIGHT O'Connell is feeling his way around inside the grotto O'CONNELL Damn-it! Must be a trap door around here or somethin'. And then they heat MEN SCREAMING, and suddenly, Henderson, Daniels and one of the Diggers come running down the stairs. HENDERSON RUN, YOU SONS-A-BITCHES! RUUUUN! O'Connell and Jonathan join them as they hear the herd of CHITTERING scarabs coming their way. The Digger suddenly trips and falls. O'Connell slows down, about to go back and help him. But it's too late. The Digger SCREAMS in horror as the herd of scarabs run over him, eating straight through him, leaving behind the Digger's half eaten skeleton. Daniels Henderson and Jonathan react in horror. O'Connell's already running, races right past them. The others turn and haul ass. SCARAB CHAMBER - NIGHT Imhotep steps forward, -- the sand around him seems to MAGNETIZE, swirling and dancing around his flaking skeletal legs. Evelyn starts backing away, horrified, looks at Burns EVELYN Help me,... please,... help me. Burns opens his mouth, but can only GURGLE and MOAN because HIS TONGUE IS MISSING. Imhotep grabs him, throws him to the ground and sets his skeletal foot on Burns' chest, like a big game hunter standing on his kill. Imhotep then parts his fetid lips, -- A FRESH TONGUE FLAPS BETWEEN HIS ROTTED TEETH. IMHOTEP Kadeesh pharos Anck-su-namun! Evelyn shivers in fear. Suddenly, O'Connell comes flying around the corner and runs right up to her. O'CONNELL Would you quit playin, around! Let's get outta here already! O'Connell sees the look in her eyes and turns around, -- at the sight of Imhotep, O'Connell jumps back in fright. O'CONNELL WHOA! O'Connell and Evelyn start backing away down the wall. Imhotep glides sideways with them, like a tiger cornering his prey, the sand around him SWIRLS and DANCES. Burns starts to crawl away, whimpering as he goes. Imhotep suddenly stops and UNHINGES his skeletal jaw, his skinless mouth stretches to an inhuman size, and he lets out a horrific, primordial SHRIEK. IMHOTEP ANCK-SU-NAMUUUUUN!!!! Evelyn SCREAMS. O'Connell shudders, then, embarrassed by his fear, he opens his own mouth and ROARS right back at him -- O'CONNELL Ahhhhhhhh!! Then BLASTS him with the elephant gun, --BLAM! Through the SMOKE AND FLAMMAGE we see Imhotep blown off his feet, his ribcage half torn away. O'Connell grabs Evelyn and runs. EXT. CREVICE - NIGHT SAND and WIND whip through the ruins as O'Connell and Evelyn stumble up out of the crevice and COME FACE-TO-FACE WITH TEN ARMED MUMIA. The Mumia quickly raise their guns. O'Connell and Evelyn quickly raise their hands. Jonathan, Henderson, Daniels and the Egyptologist are already on their knees, hands over their heads. Ardeth Ray steps forward. ARDETH RAY I told you to leave or die, you refused, and now you may have killed us all. For you have unleashed the creature that we have feared for more than four thousand years. O'CONNELL Relax, I got him. ARDETH RAY No mortal weapons can kill this creature. He is not of this world. O'CONNELL Are we talkin, about the same creature? The walking corpse? Really big mouth? Really bad breath? INT. ANUBIS' CHAMBER - NIGHT Beni slowly backs up around Anubis, eyes wide, gun up. He turns around, -- IMHOTEP IS RIGHT THERE! Beni SCREAMS, backs away and OPENS FIRE. Six GUNSHOTS perforate Imhotep, but have no effect except to SPLATTER molten flesh rot onto the back wall. Beni retreats into a corner, scared shitless. Imhotep moves forward, his one hand trying to stop the molten mummy guts from oozing out of the large shotgun hole in his side. Beni drops his gun and grabs at the CHAINS around his neck, RELIGIOUS SYMBOLS AND ICONS dangle from each chain. Beni holds the first one up: A CHRISTIAN CRUCIFIX. He quickly makes the sign of-the cross and blesses himself in English: BENI May the good Lord protect and watch over me as a shepherd watches over his flock. And may Satan in all his forms be vanquished forever. It has no effect on Imhotep, who continues forward. Beni quickly grabs at the other symbols and icons, holding them out towards Imhotep, one after the other, trying to slow his progress: an Islamic Sword and Crescent Moon necklace; a Hindu Brahma medallion; a small Buddhist Bodhisattva statue. All while blessing himself in Arabic, Hindi, Chinese and Latin. Nothing works. Imhotep's skeletal hand reaches for Beni's throat. Tears run down Beni's cheeks he's so freaked. And that's when he holds up THE STAR OF DAVID and blesses himself in HEBREW. Imhotep stops in his tracks. His hand lowers. His grotesque new eyeballs stare at Beni. IMHOTEP (subtitled) The language of the slaves. Looks at him quizzically. Imhotep takes a step back. IMHOTEP (in Hebrew -- subtitled) I may have use for you. And the rewards will be great. Imhotep reaches into his tattered robe, and then holds out his fetid hand, filled with squirming MAGGOTS. Beni cringes, about to throw up, but then the maggots part, -- revealing a tiny pile of little JEWELS. Beni's eyes widen. Imhotep raises his other hand, it holds Anck-su-namun's BROKEN CANOPIC JAR. IMHOTEP Where are the other sacred jars? EXT. CREVICE - NIGHT Several Mumia drag Burns up, he stares out with vacant sockets. Daniels and Henderson are especially horrified. DANIELS You bastards! HENDERSON What did you do to him!? ARDETH RAY We saved him! Saved him before the creature could finish his work. Now leave, all of you, quickly, before he finishes you all. JONATHAN You're not going to kill us? Evelyn ELBOWS Jonathan in the ribs. ARDETH RAY We must now hunt him down, and try and find a way to kill him, before he consumes the earth. Allah be with us. Ardeth Ray and the Mumia start heading down into the crevice. O'Connell yells at them, trying to convince himself. O'CONNELL I told ya, I already got him! Ardeth Ray stops and looks back, deadly serious. ARDETH RAY Know this, the creature will be coming for you. He must consummate the curse. And until he does, he will never eat, he will never sleep, and he will never stop. Ardeth Ray turns and jumps down into the crevice, EXT. RUINS - NIGHT O'Connell and Jonathan boost Evelyn up onto a camel. Daniels and Henderson throw Burns up onto another. The Egyptologist, still clutching The Book Of The Dead, gets up on yet another. They all head off into the dark, windblown desert... And then in the extreme foreground, A SKELETAL HAND SUDDENLY PUNCHES UP OUT OF THE SAND, ACCOMPANIED BY THE MOST HORRIFIC, PRIMORDIAL SHRIEK IMAGINABLE -- IMHOTEP ANCK-SU-NAMUUUUUN!!!! EXT. BRITISH FORT - CAIRO - DAY A British flag flies over BRITISH SOLDIERS manning the front gate. Our tired, disheveled Heroes saunter up on their dusty camels. The Soldiers check their papers, then let them enter. INT. EVELYN'S QUARTERS - DAY A steamer trunk is slammed to the floor and thrown open. O'Connell chucks a load of DRESSES into the trunk. O'CONNELL I thought you didn't believe in this stuff!? O'Connell heads for the closet. Evelyn UNPACKS the dresses EVELYN Having an encounter with a four thousand year old walking-talking corpse tends to convert one. O'CONNELL Forget it, we're out the door down the hall and gone. EVELYN No, we are not. O'Connell throws a handful of her underthings into the trunk. O'CONNELL Oh yes we are. O'Connell continues to PACK Evelyn's clothes as she continues to UNPACK them: EVELYN No we are not. We woke him up, and we must try and stop him. O'CONNELL We?! What we?! You didn't read that book. I told you not to play around with that thing. EVELYN Alright then, Me, I,... I read the book, I woke him up and I intend to stop him. O'Connell angrily stretches a bra between his hands. O'CONNELL How!? You heard the man, no mortal weapons can kill this guy. Evelyn grabs the bra and throws it into a drawer. EVELYN Then we'll have to find some immortal ones. O'CONNELL There goes that belief again. Not me, I am outta here! O'Connell stuffs a pile of Evelyn's shoes into the trunk. Evelyn KICKS the lid shut, slamming it on his fingers. O'Connell YELPS and angrily storms around the room sucking his fingers as Evelyn follows him. EVELYN According to that Book, once this creature has been reborn, his curse will spread, and as he grows in strength, so will his curse grow, infecting the people until the whole of the earth is destroyed. O'CONNELL Yeah? So? Is that my problem? EVELYN (incredulous) It's everybody's problem! O'CONNELL Look lady, I appreciate you saving my life and all, but when I signed on, I agreed to take you out there and bring you back, and I did, now were even, end of job, end of story, contract terminated. EVELYN That's what I am to you? A contract? O'CONNELL You can either tag along with me, or you can stay here and play around with Mister Maggot. EVELYN I'm staying. O'CONNELL FINE. O'Connell storms out and SLAMS the door. A BEAT. Then the door opens and O'Connell's hand reaches back in and throws a handful of frilly panties to the floor. SLAM goes the door. EXT. BRITISH FORT COMPOUND - DAY O'Connell angrily strides through the compound. He sees Beni coming up the path with a MAN dressed in hooded robes, his face covered by an ornate death mask. Imhotep disguised. O'CONNELL Beni ya little stinkweed, where did you slink off to? BENI You left me! You left me in the desert to rot. O'CONNELL Oh yeah,... sorry bout that. (gestures to Imhotep) So who's this guy? BENI This is Prince Imhotep, High Priest of Osiris. O'CONNELL Oh, hey, how ya doin'? O'Connell sticks out his hand, -- Imhotep instantly recoils O'Connell gives him the once-over. Beni quickly covers. BENI The Prince does not like to be touched by other humans. A Silly eastern superstition, I'm afraid. O'CONNELL Yeah, well, we all got our little problems today don't we? BENI He has come to help Mister Burns. Somehow I feel responsible. O'CONNELL Don't gimme that, you never had any scruples. BENI Do you know where I can steal some? O'Connell fake-punches him. Beni flinches. O'Connell gives Imhotep a look as he strides off. O'CONNELL See ya around, Padre. Imhotep's grotesque new eyes glare out from behind the mask. INT. CASBAH - DAY The proverbial den-of-iniquity. Hard men, hard women and hard liquor. Lots of deals going down. An OLDER GUY with a walrus mustache is drunk and talking to some tough customers. He wears British WWI fighter pilot gear. Meet WINSTON HAVLOCK. WINSTON I'm the last of the Royal Force still stationed here, you know? All the other laddies died in the air and were buried in the sand. The tough customers shove him away. Winston staggers over to O'Connell and Jonathan at the bar, not missing a beat. WINSTON Ever since the end of the Great War, there hasn't been a single challenge worthy of a man like me. O'CONNELL I've heard it before, Winston. O'Connell shoves him away. Winston staggers back to Jonathan. WINSTON I just wish I would've chucked it with the other laddies, gone down in a flame of glory, instead of sitting around here, rotting from boredom and booze! Jonathan shoves him towards another group of unlucky sods Henderson and Daniels sidle up to the bar next to them. Burns, now tongue-less, talks with a severe impediment. BURNS The drawer there, spectacles. (tries to laugh) As you see, I won't be needing them. Imhotep opens the drawer and pulls out some bifocals. He puts the bifocals on over his death mask, -- and grins broadly, his rotted teeth showing through the mouth hole. BENI Mister Burns, Prince Imhotep thanks you for your spectacles, -- and for your eyes,... and for your tongue. The expression on Burns' face starts to change, very puzzled. BENI But I am afraid more is needed, the Prince says he must finish the job, consummate the curse which you and your friends have brought down upon yourselves. A look of pure fear registers on Burns, face. Beni quickly backs away and runs out of the room. Imhotep picks up the sacred canopic jar, then removes the death mask, revealing his hideous, shattered CORPSE-SKULL. INT. CASBAH - DAY Three shot glasses clink together. O'Connell, Jonathan and Henderson slug 'em down, -- all three of them instantly SPIT OUT the liquid. Half the bar SPITS OUT their drinks as well. HENDERSON Sweet Jesus! That tasted just like,... like... O'CONNELL Blood. They all look at each other, even more nervous. JONATHAN "And the rivers and waters of Egypt went red and were as blood." A look passes over O'Connell's face, a realization. O'CONNELL He's here. He suddenly jumps away from the bar and runs for the door. JONATHAN Who's here!? O'CONNELL The guy! The Priest! THE MUMMY! EXT. BRITISH FORT COMPOUND - DAY LIGHTNING FLASHES as O'Connell races across the compound, knocking several Soldiers out of his way, panic stricken. O'CONNELL Evelyn!! EVELYYYYNN!!! EXT. BRITISH FORT COURTYARD - DAY Evelyn calmly steps into a courtyard carrying a handful of books. A BLAST OF THUNDER AND LIGHTNING scares her. She drops half the books. Then a HAND GRABS HER! She jumps again and drops the rest of the books. It's O'Connell, breathing hard. O'CONNELL We got problems. And that's when a barrage of HAIL AND FIRE slams into the courtyard. O'Connell and Evelyn jump back. A water fountain bursts into STEAM. A wooden trellis catches FIRE. O'Connell and Evelyn run under the eaves as SOLDIERS, SERVANTS and CAMELS run in every direction, trying to avoid the maelstrom. O'CONNELL He's here! I saw him! That thing is here! EVELYN The creature!? Are you sure!? O'Connell gives her an incredulous look and gestures at the HAIL and FIRE. O'CONNELL Pretty sure! The HAIL and FIRE come to a stop. Everything goes dead quiet. O'Connell and Evelyn freeze. And then a BLOOD CURDLING SCREAM is heard coming from the living quarters directly above them. O'Connell and Evelyn race up the stairs. INT. BURNS' QUARTERS - DAY O'Connell and Evelyn race into the room, past the Servant who is running out SCREAMING. They skid to a stop as they spot Burns, or what's left of him, lying dead on the floor, -- HIS BODY IS SHRIVELED TO HALF IT'S SIZE. Drained of all organs and liquids. O'Connell and Evelyn are shocked. Then they hear a LOUD MOAN and notice Imhotep standing on the far side of the room. O'Connell draws his gun. Imhotep is REGENERATING: A thick skin FORMS over powerful new musculature. His tendons RIPPLE. His bones BULGE and REFORM. His mouth opens to an inhuman size as he MOANS and CRIES OUT, in severe pain. And then it's over. And he looks like an incredibly muscular, corpse-like vision from hell. The 'Terminator' Mummy. O'Connell and Evelyn are stunned. O'CONNELL We are in serious trouble. Imhotep starts to move towards them, staring at Evelyn. O'CONNELL Back off, creep. Imhotep keeps coming. O'Connell OPENS FIRE. BLASTING Imhotep Bullets RIP through his body. Imhotep doesn't seem to mind. Jonathan, Henderson and Daniels run into the room. They're all stunned at the sight of Imhotep. O'Connell steps forward, throws a RIGHT HOOK, punches Imhotep in the face, -- HIS FIST GOES THROUGH IMHOTEP'S SKULL AND GETS STUCK DEEP INSIDE HIS HEAD. O'Connell stares at it, shocked, then quickly YANKS his fist back out. The area of Imhotep's face that came into contact with O'Connell's fist quickly DEGENERATES and DECAYS, right down to the bone, as if O'Connell's hand instantly infected it. Imhotep angrily turns, grabs O'Connell, and with no effort, THROWS him across the room and into Jonathan and the others knocking them down. Imhotep looks at his hand, the one that just grabbed O'Connell, -- IT STARTS TO SHRIVEL and DECAY. He quickly turns to Evelyn. Evelyn backs away into a wall, terrorized. Imhotep steps up to her. IMHOTEP You saved me from the undead. For this, I shall make you immortal. He leans in, about to kiss her with his decayed face. And that's when a WHITE CAT jumps onto the piano, HISSING. Imhotep SHRIEKS. The balcony doors BLOW OPEN. Imhotep spins into a BLAST OF WIND AND SAND and SWIRLS out the doors. Gone. O'Connell, Evelyn, Jonathan and Daniels stand transfixed. Henderson kneels next to Burns, shriveled body, horrified. HENDERSON The curse. The curse. INT. MUSEUM OF ANTIQUITIES - DAY O'Connell, Jonathan, Henderson and Daniels follow Evelyn across the Ramesseum. EVELYN There's only one person I know who can possibly give us some answers. They round a corner and come upon the Curator, -- who is talking with Ardeth Ray. Everybody stops. EVERYBODY YOU! O'Connell and the American's quickly draw their guns. Ardeth Ray just scowls. The Curator nods his head. CURATOR Miss Carnavon. Gentlemen. EVELYN What is he doing here? CURATOR Do you truly wish to know? Or would you prefer to just shoot us? Everybody tenses, guns up. Then O'Connell uncocks his .38. O'CONNELL I just saw my fist vanish into some guy's head. He slides his gun back into his shoulder-holster. O'CONNELL I'm willin, to go on a little faith, here. CURATOR You will not believe it. O'CONNELL Try me. INT. RAMESSEUM - MOMENTS LATER Everyone is assembled around the tomb display of Seti The First. We recognize his chariot and sword. The Curator sits on Seti's throne. CURATOR We are part of an ancient secret society, the cult-of-the-Mumia, and we have a sacred mission, passed down through thirty-nine generations. For over four thousand years we have guarded The City Of The Dead. we are sworn at manhood to do any and all in our power to stop the High Priest Imhotep from being reborn into this world. ARDETH RAY And because of you, we have failed. EVELYN (appalled) And you think this justifies killing innocent people!? CURATOR To have stopped this creature? Yes! O'CONNELL Okay, let's cut to the chase. He's afraid of cats, what's that about? CURATOR According to the ancients, cat's are the guardians at the gates of the underworld. Imhotep will fear them until he is fully regenerated, and then he will fear nothing. Daniels is totally wigged-out, he looks at O'Connell. DANIELS Right! And ya know how he gets fully regenerated?! By killing everybody who opened that chest and sucking us dry! That's how! CURATOR Yes, the creature must first try and regenerate, and then he will attempt to resurrect the one he has loved for more than four thousand years. EVELYN Anck-su-namun. The Curator and Ardeth Ray look at Evelyn, thunderstruck. EVELYN In the necropolis, when I saw him, - alive,... walking, he called me Anck- su-namun. And then in Mister Burns' quarters he tried to kiss me. CURATOR It is because it was you who read from the Book. He has chosen you to be the human sacrifice needed to regenerate the body of Anck-su-namun. Jonathan scratches his ear with the barrel of his pistol. JONATHAN This is not good. Not good at all. Ardeth Ray has been staring out a wall of windows. ARDETH RAY Tonight is the full moon. The moon of Osiris. It will begin tonight. Everyone follows Ardeth Ray's eyes, through the windows we can see the SUN, -- which is now going into a FULL ECLIPSE. JONATHAN "...and he stretched forth his hands towards the heavens, and there was darkness throughout the land of Egypt." EXT. BRITISH FORT - WINDOW - DAY FOR NIGHT O'Connell looks out a window at the British Soldiers manning the walls. Above and beyond them, -- is the BLACK SUN. EXT. EVELYN'S FOYER - DAY FOR NIGHT Evelyn and Jonathan are pacing the foyer EVELYN We must stop him from regenerating. She turns to Daniels and Henderson. EVELYN Who opened that chest? HENDERSON Well, there was me and Daniels here and then poor Burns of course, oh yeah, and that Egyptologist fella. O'Connell turns from the window. O'CONNELL What about my buddy, Beni? DANIELS Naw, he scrammed outta there, EVELYN We must find the Egyptologist and bring him back here to the safety of the fort, before the creature can get to him. O'Connell looks at Evelyn, Daniels and Henderson. O'CONNELL Okay,... Evelyn, you wait here, you two come with me. All three of them pounce on him at once -- HENDERSON The hell with that! I'm not goin' nowhere! We're safe here. DANIELS Yeah, I'm not leavin, this fort for nothin'. EVELYN Who put you in charge? You can't just leave me behind like some old suitcase. I'm the one responsible for this mess and I intend to be the one to clean it up. O'Connell just shakes his head and SIGHS. Totally put-upon. Then he takes Evelyn, shoves her into the bedroom, slams the door and locks it with a skeleton key. From inside her room we can hear Evelyn POUNDING on the door and YELLING. O'Connell throws the skeleton key to Daniels. O'CONNELL Keep an eye on her. If you leave her door, I'll rip your spleen out. C'mon, Jonathan. Jonathan swallows hard and points to himself. JONATHAN Me? CAIRO ALLEYWAYS - BAZAAR - DAY FOR NIGHT The Egyptologist stumbles through the dark alleys, looking haunted. He clutches the Book of The Dead in one hand and his SACRED CANOPIC JAR in the other. Imhotep is stalking him. A STREET VENDOR turns and sees Imhotep's horribly decayed face. He reacts and scurries away. Imhotep lifts his robe, covers his face, and moves in on the Egyptologist, who is heading into the bazaar. WE PAN UP TO -- THE EGYPTOLOGIST'S OFFICE - DAY FOR NIGHT Beni is RANSACKING the joint, pulling out drawers and files and throwing them on the floor. He finds a silver pocket watch, shakes it, then throws it into his pocket, then he starts tipping over bookcases and clearing shelves. O'CONNELL (O.S.) Well, well, well. Beni spins around. O'Connell and Jonathan stand in the door. O'CONNELL Lemme guess, spring cleaning? Beni turns and runs for an open window. O'Connell grabs a chair, FLINGS IT into his path. Beni TRIPS and CRASHES into a wall. O'Connell strides over, grabs him and lifts him up the wall. Beni's feet dangle off the floor. O'CONNELL Where's your new friend? BENI What friend? You're my only friend. O'Connell quickly slides his knife up under Beni's chin. O'CONNELL Then you got no excuse for living. What the hell you doin, being buddies with this creep, Beni? What's in it for you? BENI It is better to be the right hand of the Devil,... than in his path. As long as I serve him, I am immune. O'CONNELL Immune from what? BENI You shall see. O'CONNELL What are you looking for? Lie, and I'll slit your throat. O'Connell shoves the knife deeper into Beni's skin. BENI The book! The black book they found at Hamunaptra! Imhotep wants it back. Said to me it would be worth it's weight in diamonds. O'CONNELL What does he want the book for? BENI (shrugs) Something about bringing his dead girly-friend back to life. He needs the book... (looks at Jonathan) And your sister. O'Connell looks at Jonathan. Beni seizes the moment and KNEES O'Connell in the balls. O'Connell doubles over and collapses. Beni leaps out the window. Jonathan cringes. JONATHAN That looked rather painful. O'CONNELL (wincing) Ya know, ever since I met you, my luck has been for crap. JONATHAN Yes, I know, I do that to people. And that's when they hear a BLOOD CURDLING SCREAM coming from down in the bazaar. O'Connell and Jonathan scramble to the window and look out -- EXT. BAZAAR - DAY FOR NIGHT Down in the bazaar, people are SCREAMING and quickly backing away from the SHRIVELED CORPSE OF THE EGYPTOLOGIST. A partially decayed HAND reaches down and takes the sacred canopic jar out of the Egyptologist's shriveled hand. It's Imhotep, having regenerated even further. He looks up and catches eyes with O'Connell. Imhotep grins, then UNHINGES; his jaw, his mouth stretches to an inhuman size, and then a huge SWARM OF FLIES comes out of his mouth and races straight up at O'Connell and Jonathan. They both SLAM the shutters. The flies SLAM into the closed window and immediately spread throughout the bazaar. Sending people SCREAMING and running. EGYPTOLOGIST'S OFFICE - DAY FOR NIGHT O'Connell and Jonathan look at each other, panicked. O'CONNELL Damn-it! That's two down and only two to go. JONATHAN And then he'll be coming after Evy. They turn and race out of the office. BRITISH FORT - WINDOW --NIGHT Daniels stares out a window, watching the British Guards at the front gate. More Soldiers march the encircling parapet. SOLDIER Ten o'clock! All is well! The lights and MUSIC from the Casbah come up from below INT. EVELYN'S FOYER - NIGHT Daniels turns from the window. Henderson sits in a chair next to Evelyn's door, chain smoking. Both look wired with fear. DANIELS The hell with this. I'm goin, downstairs to get me a drink. You want somethin'? HENDERSON Yeah, get me a glass of bourbon, a shot of bourbon and a bourbon chaser. Daniels nods and heads out. Henderson just sits there, alone, smoking. He reaches into his jacket pocket, pulls out his SACRED CANOPIC JAR and fondles it. A BREEZE suddenly comes in through the open window. The curtains flutter. Henderson gets up and goes over to shut it. He looks out the window. The CAMERA races over the compound, into the window and HITS Henderson square in the FACE just as he's about to scream. Henderson is lifted into the air by a mass of SWIRLING SAND. His body TWISTS and TURNS and slowly SHRIVELS as the life is SUCKED out of him. Then he COLLAPSES to the floor. On the wall above him, the SHADOW of the SWIRLING SAND condenses, forming a SHADOW of a human body. The SHADOW CONVULSES as the body REGENERATES. And then it's over. Imhotep steps into view. He's regenerated even further and looks almost normal now, his face no longer decayed. He steps over Henderson's shriveled body and up to Evelyn's door, rattles the knob. It's locked. Imhotep grins. EVELYN'S ROOM - NIGHT Evelyn is asleep in her bed as SAND begins streaming in through the keyhole, pouring onto the floor, forming a large mound. Evelyn starts to toss and turn. WE PAN BACK OVER TO THE DOOR: The mound of sand is gone and in it's place is Imhotep. INT. FOYER - NIGHT O'Connell and Jonathan race into the foyer and skid to a stop as they see Henderson's shriveled body on the floor. O'Connell runs up to Evelyn's door and rattles the knob, still locked. He bends down and looks in through the KEYHOLE. EVELYN'S ROOM - NIGHT Imhotep leans down towards Evelyn, about to kiss her as she sleeps. The door starts to CRASH and BANG from O'Connell. Imhotep ignores it. And KISSES Evelyn. His lips and mouth instantly start to DEGENERATE and DECAY. Right down to the bone. The door BURSTS OPEN. Evelyn wakes up. Sees Imhotep's rotted mouth kissing her. She SCREAMS and shoves him away. Imhotep's putrid mouth grimaces in sadness. O'CONNELL Get your hands off my girl, pal. Imhotep's sadness turns to anger as he spins around and faces O'Connell. Imhotep licks his fetid lips. O'Connell smirks. O'CONNELL Nice lips. Imhotep starts to move for O'Connell. O'CONNELL I figured you might be here, so I brought a friend. He throws the white cat at Imhotep. Imhotep instinctively catches it. He SHRIEKS, drops the cat and stumbles back towards the window, -- which suddenly BLOWS OPEN. Imhotep spins like a dervish and BURSTS INTO A WHIRLWIND OF SAND. Everybody covers their eyes. The Imhotep/sand-devil EXPLODES out the window and vanishes over the compound. Jonathan aims his gun at the window, his hand shaking badly. O'Connell hugs Evelyn as she wipes her mouth in disgust. Daniels walks in, looks at Henderson's shriveled body on the floor... and drops the martini glasses. INT. 1923 CONVERTIBLE DUSSENBERG - NIGHT Jonathan races his big convertible through the streets, HONKING constantly. Evelyn sits between him and O'Connell, looking scared and nervous, then she gives O'Connell a look. EVELYN You called me your girl? O'CONNELL What?... Oh yeah, that was just um, you know, figure a speech. EVELYN I think you were jealous O'CONNELL Jealous? You kiddin' me? Did you see that guy's face? Daniels leans forward from the back seat, filled with fear, DANIELS Shut-up! JUST SHUT-UP! We gotta do somethin'! we gotta do somethin, NOW! Before it's too late! They race into the driveway of the museum of Antiquities. EXT. CAIRO BAZAAR - NIGHT A FULL MOON now shines down on the bazaar, still bustling with activity. Suddenly, a BREEZE kicks-in. GREEN MIST begins to SWIRL down the street and through the stalls. The people begin to CHOKE and COUGH and RETCH, as if being hit by a severe sickness -- it's already too late. Imhotep strolls through the sickened mob, his face half rotted off, his deformed mouth grinning happily. Beni is at his side, looking very nervous. And then, one-by-one, the people silently begin to follow Imhotep, their skin now covered in disgustingly hideous BOILS AND SORES. INT. MUSEUM OF ANTIQUITIES - NIGHT O'Connell., Jonathan, Daniels, the Curator and Ardeth Ray follow Evelyn as she strides through the museum. EVELYN Last month I came across an inscription that mentioned The Book Of The Dead. DANIELS That book we found at Hamunaptra? EVELYN Yes. I dismissed it, because it talked about bringing people back from the dead. A notion I was unwilling to believe. O'CONNELL Believe it, sister. That's what brought our buddy back to life. JONATHAN And now he's going to use it to bring his girlfriend back ARDETH RAY And if he succeeds, the two of them together will bring about the apocalypse. The Curator joins Evelyn at her side as she heads up the stairs, everyone else in hot pursuit. THE CURATOR The plagues we have seen so far, are merely Imhotep flexing his muscles. Only at the moment of Anck-su-namun's resurrection will he be truly invincible. They reach the display cases. Evelyn quickly opens them. EVELYN I'm thinking that if the black Book Of The Dead can bring people back to life -- CURATOR -- then perhaps, the golden Book Of The Living can return them to the underworld. EVELYN Exactly -- O'CONNELL So your sayin', if we find the book made outta gold -- CURATOR -- And read the sacred incantations contained inside it. O'CONNELL You think it'll send this guy back to hell? CURATOR Correct, And that's when -- LOUD CHANTING is heard coming from outside. They all rush over to the upper windows and look down -- OUTSIDE: A large, CRAZED MOB covered in hideous boils and sores comes CHANTING up the driveway: 'Anck-su-namun! Anck-su-namun!' ARDETH RAY It has begun. The beginning of the end. EVELYN Not quite yet it hasn't. C'mon. Evelyn dashes back to the display cases. Everyone follows. EXT. MUSEUM - NIGHT The crazed mob CRASHES into the huge front doors, which are locked. They pound furiously, throwing themselves at it while CHANTING CONSTANTLY. Imhotep solemnly comes up the driveway. INT. MUSEUM OF ANTIQUITIES - UPPER BALCONY - NIGHT The BANGING on the doors can be heard as Evelyn and the Curator quickly sort through broken pieces of stone tablets. The others watch. Evelyn pulls out a large piece. EVELYN Got it! O'CONNELL Got what? The BANGING gets LOUDER. Multiple windows SHATTER. Evelyn talks while quickly translating the tablet: EVELYN Since the black Book of The Dead was found inside the statue of Anubis, then according to this, the golden Book of The Living should be inside... Evelyn finds the translation in the tablet and smiles. O'CONNELL What? JONATHAN What? DANIELS WHAT!? EVELYN The golden Book Of The Living, is inside the statue of Horus. CURATOR Which would be located not far to the east of the Anubis statue. O'CONNELL Don't tell me we gotta go back out there? CURATOR If we want to kill the creature, yes. TWO HIDEOUS BOIL & SORE-COVERED MEN charge out of a doorway, SCREAMING. O'Connell and Ardeth Ray grab them and chuck them over the railing. The men fly through the air and CRASH into the lower display cases. The front doors suddenly BURST OPEN, The crazed mob pours into the museum. our heroes haul ass across the balcony and down the staircase. EXT. MUSEUM OF ANTIQUITY - NIGHT Jonathan sneaks out of some bushes and quickly heads for his convertible. Suddenly, a splinter group of the diseased mob comes around the side of the museum. Jonathan instantly bugs his eyes out, starts drooling, and begins CHANTING -- JONATHAN Anck-su-namun! Anck-su-namun! The crazed group runs past him and heads into the front doors of the museum. Jonathan leaps into the convertible, fires it up and 180's it back over to the bushes. O'Connell, Evelyn, Daniels, Ardeth Ray and the Curator jump inside the car. Beni steps out of the museum and sees them. BENI Imhotep! IMHOTEP! Imhotep looks out of the museum from the shattered upper windows just as the convertible PEELS OUT. O'Connell points a finger at Beni as they race past him. O'CONNELL You're gonna get yours, pal! Imhotep UNHINGES his jaw, his mouth stretches to an inhuman size, he lets out one of his horrific, primordial SHRIEKS. His disease-ridden disciples immediately begin pouring out of the front doors of the museum and chasing after the car. EXT. BAZAAR - NIGHT The convertible hauls ass down the narrow bazaar street. Crazies start jumping out of stalls and LEAPING onto the car. O'Connell and the others fight them off, throwing them overboard. More people JUMP on. Jonathan SWERVES the car, CRASHES through some stalls, knocking them off, but not before they manage to open the back door and YANK Daniels out. He TUMBLES across the pavement. Gets up SHOOTING. Backs into a corner, FIRING his pistol into the hideous rabble, killing several, keeping them at bay. His gun goes empty, CLICK! CLICK! CLICK! But the mob stays back, looking at him like rabid vultures. Daniels eyes them, filled with fear. The mob parts like the red sea as Imhotep walks through them and up to Daniels. Daniels whimpers in fear, tears pour down his cheeks. Then he gets an idea, reaches into his pocket, and pulls out his jewel encrusted SACRED CANOPIC JAR. He holds it out for Imhotep. Imhotep takes it and grins. Through his tears, Daniels grins back, hopeful that he'll be spared. WE CUT WIDE: Somewhere in the middle of the crazed, diseased mob, we hear Daniels give out A BLOOD CURDLING SCREAM... INT./EXT. CONVERTIBLE - STREETS - NIGHT The convertible slowly motors down the narrow alleys. WE DOLLY across the hood of the car from Jonathan to Evelyn to O'Connell. Ardeth Ray and the Curator are still in the back. All of them staring out the front windshield. Freaked-out. Then suddenly one of the hideous ghouls CRASHES through the windshield! Everybody SCREAMS. Jonathan hits the gas, loses control, the car SLAMS into a wall. O'Connell grabs Evelyn. O'CONNELL C'mon! C'mon! Let's go! Let's go! They all leap out of the car. But the angry, festering mob quickly surrounds them. O'Connell quickly reaches into his gunny-sack, pulls out a stick of dynamite, then reaches into his pocket and pulls out a match. He looks around for a way to light it, then reaches over and strikes it across Ardeth Ray's stubbly face. Ardeth Ray YELPS. O'Connell holds the lit match near the fuse. The crazed, CHANTING mob gives O'Connell a wide berth, staring at him and the others with insane, bloodshot eyes. And then Imhotep steps through, -- having fully regenerated, he now looks as young and handsome and muscular as he did the day he was buried alive. Evelyn stares at him. EVELYN He's gorgeous. O'Connell gives her a look, the match burns his fingers. He YELPS and throws it down, grabs another match and strikes it across Ardeth Ray's face again. Ardeth Ray YELPS and gives O'Connell a look to kill. The Curator shakes his head. THE CURATOR He has consummated the curse, now all he need do is raise Anck-su-namun from the dead, then it will be the end of us, and the beginning for them. Imhotep moves forward, heading right for them. O'Connell LIGHTS THE FUSE. Imhotep steps up to O'Connell and stops, watching the fuse burn down. it's a game of chicken. The tension mounts. The LIT FUSE is about to vanish inside the stick of dynamite, blowing it up, -- when Evelyn leans forward and blows it out. O'Connell exhales, but keeps his eyes on Imhotep, who extends his hand to Evelyn. IMHOTEP Koontash dai na. Beni steps through the swarming mass, translating. BENI Take his hand and he will spare the others. Evelyn hesitates, looks around at the huge, bloodthirsty crowd surrounding them, holding axes, picks and scimitars, waiting to pounce, then she looks at Imhotep, confident, powerful, invincible. Then she looks at O'Connell. EVELYN Any bright ideas? O'Connell talks through angry, grit teeth. O'CONNELL Sorry, fresh out. Evelyn looks back at Imhotep, then starts to reach out to take his hand. Both O'Connell and Jonathan move to stop her, -- but Ardeth Ray grabs them both and holds them tight. O'CONNELL Don't do it, Evelyn. EVELYN I have no choice. Evelyn's trembling hand touches Imhotep's: His hand closes around hers. Nothing happens. Imhotep smiles. IMHOTEP Keetah mi pharos, aja nilo, isirlan. BENI Come with me my princess. It is time to make you mine, forever. Evelyn gives Beni a nasty look, correcting him -- EVELYN All eternity, idiot. Then she looks at O'Connell and puts on her best face. EVELYN You better think of something, because if he turns me into a mummy, you're the first one I'm coming after. O'Connell almost smiles. O'CONNELL Got guts, lady. EVELYN Yes, I know, and I'd like to keep them. Imhotep suddenly notices something. He reaches forward and -- RIPS THE KEY/BOX OUT OF JONATHAN'S UPPER JACKET POCKET. JONATHAN Hey that's mine -- ! Ardeth Ray holds Jonathan back. Imhotep pulls Evelyn away. O'Connell can't take it anymore, he tries to break free of Ardeth Ray's grip. O'CONNELL Evelyn! The huge, powerful man holds him tight. ARDETH RAY Be calm. There is still time. We can stop him yet. The crowd parts for Imhotep and Evelyn. And then Imhotep stops and looks back at O'Connell. IMHOTEP Pared oos. Evelyn SCREAMS. EVELYN NOOO!! Beni smiles. BENI Kill them. Imhotep pulls her away. O'Connell breaks free of Ardeth Ray's grip and stumbles forward. O'CONNELL EVELYN! But the rabid vultures are already moving in for the kill. O'Connell quickly bends down, pulls open a CISTERN/MANHOLE COVER and shoves Jonathan down inside it, then jumps in after him. The Curator pushes Ardeth Ray towards the cistern hole. CURATOR Go! Find a way! Kill the creature! The Curator turns and throws himself at the mob as Ardeth Ray crawls down into the hole. The mob tears the Curator apart. INT. CATACOMBS - NIGHT O'Connell, Jonathan and Ardeth Ray slosh their way down the watery catacomb, crazies pouring in behind them. Up ahead, a LIGHT suddenly shines in from another cistern hole, and then more of the infected crowd drop down, SCREECHING like rats. O'Connell jags right, pushing Jonathan and Ardeth Ray ahead of him, he strikes a match off the wall, lights the nubby fuse on a stick of dynamite, throws it, and runs like hell. FIRE BLAST incinerates a bunch of crazies. STREET - ALLEY - NIGHT The EXPLOSION blows a cistern cover fifty feet into the air, followed by a mass of FLAMMAGE... EXT. ALLEY - NIGHT A sewer grate is kicked out of a wall. O'Connell, Jonathan and Ardeth Ray climb out of the hole and into AN ALLEY. O'CONNELL We gotta get her back. JONATHAN I'm with you, old man. No one touches my sister like that and gets away with it. O'Connell looks at Ardeth Ray. O'CONNELL You know where he's taking her? ARDETH RAY Yes. To Hamunaptra. To perform the ritual. Jonathan looks worried. JONATHAN And what ritual would that be? ARDETH RAY The ritual to bring the body of Anck- su-namun back to life. JONATHAN And how does one do that? ARDETH RAY By reading the Book Of The Dead. JONATHAN Oh yes, of course. ARDETH RAY And then killing your sister. JONATHAN Excuse me? Ardeth Ray looks at O'Connell. ARDETH RAY Imhotep is now able to cross the desert with great haste. Jonathan taps him in the shoulder. JONATHAN Begging your pardon, but I wasn't quite clear on that last part. Ardeth Ray ignores him. ARDETH RAY If he arrives before us, it will be too late. JONATHAN Did you say 'kill' my sister? O'Connell smiles. O'CONNELL I know how to beat him to it. And on that WE SMASH CUT TO -- THE ERFOUD DUNES - DAWN Jonathan's bashed-in convertible steams it's way up to a set of semi-abandoned Quonset huts. A single WWI BIPLANE with R.A.F. INSIGNIAS sits in the sand beside them. A SIGN READS: HIS MAJESTY'S ROYAL AIR CORP EXT. QUONSET HUT - DUNES - MINUTES LATER O'Connell, Jonathan and Ardeth Ray stand before Winston Havlock, the massive dunes of Erfoud as our background. WINSTON So what's your little problem got to do with His Majesty's Royal Air Corp? O'CONNELL Not a god-damned thing. Winston looks intrigued. WINSTON Is it dangerous? O'CONNELL You probably won't live through it. This really interests him. WINSTON By Jove, do you really think so? JONATHAN Everybody else we've bumped into has died, why not you? Winston nods his head, he's hooked. WINSTON So what's the challenge then? O'CONNELL To save the damsel in distress, kill the bad guy and steal his treasure. A slow grin spreads across Winston's face, then he gives them a snappy salute. WINSTON Winston Havlock at your service, sir! SAHARA - DAY Way off across the desert, a large SAND-DEVIL races over the dunes. The SANDY WHIRLWIND comes to a stop and starts to dissipate. Evelyn and Beni are suddenly ejected out of it, they land in a dune. The SWIRLING SAND CONDENSES AND FORMS INTO IMHOTEP. He looks up into the sky, listening carefully. Evelyn shakes the sand out of her hair and looks at Beni. EVELYN What just happened? BENI All I remember is him turning into a blast of sand,... and then I remember nothing. Then they hear a plane in the sky and look up. INT. BIPLANE - DAY The WIND whips at Winston in the cockpit. O'Connell sits in the gunner's compartment. Jonathan is strapped spread-eagle across the left wing, Ardeth Ray is tied tight to the right. Both men are scared out of their wits and SCREAMING in fear. EXT. SAHARA - DAY Imhotep's jaw UNHINGES, his mouth opens to an inhuman size, he lets fly with another one of his horrible SHRIEKS. -- And a massive WALL OF SAND rises up out of the desert BIPLANE - DAY O'Connell watches the desert below him come alive and rise up towards the plane. Winston looks over the side and sees what's coming. He laughs, throws the throttle, and puts the plane into a dive. WINSTON Hang on, men! WE GO WIDE AS: The sandstorm chases the diving, twisting biplane. Getting closer and closer, about to engulf it. O'Connell looks back into the blinding sand and sees a GIANT FACE forming inside the sandstorm. It's Imhotep. Grinning. O'Connell grabs the Lewis machine-gun, cocks the bracket and FIRES, blasting away at Imhotep's giant face inside the sandstorm. Imhotep's face begins to laugh, then his jaw unhinges, his mouth opens wide, and he ENGULFS the plane. Winston blindly fights for control, elated. WINSTON We're going down! The biplane SPINS inside the BLOWING SAND. Engines ROARING. Wind HOWLING. Jonathan and Ardeth Ray SCREAMING. Winston Havlock LAUGHING. WINSTON Here I come, laddies! O'Connell braces himself for impact, SAHARA - DAY Evelyn leaps to her feet and runs over to Imhotep. EVELYN Stop it! You'll kill them! Imhotep grabs her, pulls her close, her beautiful eyes stare into his shockingly intense ones. Then he kisses her, hard. Evelyn's eyes widen, stunned and mesmerized, then she pushes herself away and falls back into the sand. Imhotep laughs. EXT. BIPLANE - DUNES - DAY The biplane SMASHES over a dune, ROLLS OVER and CRASHES upside- down into another dune. The SAND SWIRLS as O'Connell falls out of the gunner's compartment. The left wing is jammed into the dune, Jonathan hangs upside down. JONATHAN Excuse me... A little help would be useful... IF IT'S NOT TOO MUCH TROUBLE!! O'Connell goes to help Jonathan. Ardeth Ray stumbles over to the gunner's compartment and tears the Lewis gun off it's mount. He throws the machine-gun over one shoulder, a cartridge belt over the other and staggers away. O'Connell and Jonathan look into the cockpit. Winston Havlock is dead. A smile on his face. The plane suddenly starts to move, the sand sinks under their feet, they quickly high-tail-it away. O'Connell, Jonathan and Ardeth Ray make it to some rocks and look back. The biplane, with Winston Havlock inside, slides away over a dune. O'Connell gives it a salute. The plane vanishes over the dune and into the SWIRLING SAND... HAMUNAPTRA - DAY O'Connell, Jonathan and Ardeth Ray come down a ravine in the volcano and look out over the ruins of Hamunaptra. O'CONNELL Okay, now what the hell does this Horus guy look like? JONATHAN He's a big fellow with pointy ears and a face like a falcon. O'CONNELL Got it. HAMUNAPTRA STAIRWAY - DAY Carrying TORCHES, O'Connell, Jonathan and Ardeth Ray make their way down a long, winding, narrow staircase. Heading into the bowels of the necropolis. A passageway to hell. NECROPOLIS - DAY Evelyn follows Imhotep into the underground cemetery. She stops at the sight of all the big hairy rats scurrying through the mausoleums and over the gravestones. Beni shoves his rifle into her back and pushes her forward. BENI Keep moving. Evelyn gives him a look. EVELYN You know, nasty little fellows such as yourself, always get their comeuppance. Beni suddenly looks worried. BENI Yeah? EVELYN Oh yes, always. Beni looks even more worried, he nervously starts chewing on his lip. All three of them walk over the bridge crossing the disgusting DETRITUS MOAT. Evelyn looks down at it, horrified. INT. PASSAGEWAY - DAY O'Connell and Ardeth Ray are busy digging out a collapsed doorway. Jonathan notices an AMETHYST SCARAB on the far wall. JONATHAN I say, look at that. He walks over and tries to jiggle it free. It comes loose in his hand. He looks at the scarab in his palm. It starts to glow. And then something inside it starts to WIGGLE. JONATHAN Say, gents! You should come have a look at this. The wiggling continues; a long, agonizing BEAT, and then the scarab breaks out of it's cocoon and instantly BURROWS into Jonathan's palm. Jonathan starts to freak out and SCREAM. O'Connell runs up and rips the arm off Jonathan's shirt. The scarab is now BURROWING UP JONATHAN'S ARM. O'Connell whips out his butterfly-knife, snaps it open and grabs Jonathan's arm. Jonathan's eyes widen in terror as the knife passes in front of his face. Jonathan SCREAMS LOUDER, obviously being cut open. O'Connell's hand flicks something away. The scarab hits the floor and immediately starts scurrying back towards Jonathan, wanting to finish the job. O'Connell pulls out his gun and blows it away, -- BLAM! INT. CEMETERY - DAY The GUNSHOT echoes into the cemetery as Imhotep, Evelyn and Beni step-up to the strange ALTAR, where four thousand years ago Imhotep tried to bring Anck-su-namun back to life. Imhotep scowls at the sound and angrily reaches into a CANOPIC JAR. He pulls out the crusted remains of Anck-su-namun's heart, crushes it to dust in his hand and starts reading from The Book Of The Dead. Then he BLOWS the dust against a mausoleum wall, -- THE WALL STARTS TO COME ALIVE. Evelyn and Beni stare at the wall, both of them wide-eyed. TWO FORMS emerge from the mausoleum's wall. Horrific-looking mummified CORPSES. Two of Imhotep's long dead Priests. They bow to Imhotep, then turn and move off down a passageway. INT. PASSAGEWAY - DAY O'Connell helps Ardeth Ray mend Jonathan's wound. O'CONNELL From now on, don't touch anything. Not a damn thing. Keep your hands off the furniture, got it? Jonathan swallows hard and nods vigorously. INT. CEMETERY - DAY Imhotep prepares the altar while speaking in HEBREW. Beni holds his gun on her, translating: BENI Prince Imhotep wants your heart. Evelyn blushes, feeling complimented by the handsome prince. EVELYN Tell him, I'm truly flattered... but that it's already taken. Imhotep continues SPEAKING while laying the four jewel encrusted canopic jars next to the shattered one. BENI He wants your heart and your brain, your liver, your kidneys... Evelyn's eyes widen. BENI ...and how do you say? Those slimy things, in your stomach? EVELYN Intestines. BENI Yeah! Them. Evelyn can't believe it, she furiously turns to Imhotep. EVELYN You only want me for my organs?! Imhotep looks at her and grins, then BACKHANDS her -- WAP! Evelyn goes down for the count. Imhotep stares at her, cold, malevolent, then he turns and walks off into the mausoleums. Beni nervously glances around, then quickly scurries away. TREASURE CHAMBER - DAY O'Connell squeezes through a small crevice in a wall and drops to the floor of a dark chamber. He picks up his gunnysack and scans the darkness. Something GLITTERS. Jonathan and Ardeth Ray crawl in behind him. O'Connell notices a SHAFT OF LIGHT, high above him, shooting through a small hole in the ceiling and stopping against a wall next to one of those mirror disks. O'Connell aims his gun. FIRES. The bullet STRIKES the disk's pedestal, spinning the mirror into the shaft of light, -- And WHAM! THE SHAFT OF LIGHT HITS THE DISK AND QUICKLY BOUNCES AROUND THE ROOM FROM ONE DISK TO ANOTHER UNTIL THE WHOLE CHAMBER IS LIT UP. It's an enormous TREASURE CHAMBER. Filled to overflowing. Everything sparkles and shines. The wealth of Egypt. O'Connell, Jonathan and Ardeth Ray are speechless. That's when the two mummified Priest-mummies walk in. O'CONNELL Who the hell are these guys? ARDETH RAY Priests. Imhotep's priests. O'Connell pulls the elephant gun out of his gunny-sack. O'CONNELL I never killed a priest before. ARDETH RAY They are evil, cursed, they matter not. O'CONNELL Well, okay then. O'Connell FIRES the elephant gun. SMOKE and FLAME shoot out. BLASTS one of the mummies. Blows it's upper torso clean off. O'Connell pumps the gun, the huge spent cartridge flips through the air. He FIRES again. BLASTS the other mummy, blows this one's torso clean off as well. The smoke clears. The two sets of LEGS keep walking forward, unaffected by the loss of their upper torsos. O'Connell can't believe it. O'CONNELL Oh come on, gimme a break here. And then the disemboweled upper torsos start to move, turning over and crawling towards our heroes, who start to back away. INT. CEMETERY - DAY Imhotep turns from the altar as he hears more GUNSHOTS echoing out of the passageways. He angrily reaches into another of Anck-su-namun's canopic jars, pulls out her crusty liver and crushes it to dust, then quickly starts reading a passage from the Book and BLOWS the dust down a passageway. IMHOTEP (ancient Egyptian -- subtitled) Kill them! Kill them all! And bring me the Book Of The Living! INT. TREASURE CHAMBER - DAY A dusty BREEZE blows into the chamber as O'Connell, Jonathan and Ardeth Ray back away from the mummy pieces. The floor where they were just standing suddenly STARTS TO MOVE. Two more mummies slowly dig their way up out of the floor. More mummies start coming out of the walls and crawling out of the piles of gold. All the mummies head for our heroes. O'Connell lifts the elephant gun. Ardeth Ray stops him. ARDETH RAY My turn. Ardeth Ray OPENS UP with the Lewis gun. BLASTING the shit out of the mummies. They keep on coming. Even more now. O'Connell OPENS FIRE with the elephant gun, pumping and FIRING as all three of the men back away and haul ass. The mummies and mummy pieces follow them into the passageway. Then Beni creeps into the chamber. He stares in wonder at all the treasure. Then falls backwards into a pile of jewels and rolls about. INT. CEMETERY - DAY Evelyn wakes up, lying chained to the top of the altar. She blinks, then turns her head, -- and looks right into the ROTTED FACE of Anck-su-namun's corpse. Evelyn SCREAMS. INT. LABYRINTH PASSAGEWAYS - DAY The elephant gun FIRES, blasting FLAME and SMOKE right into the LENS. O'Connell, Jonathan and Ardeth Ray race down a passageway, a dozen mummies striding after them. O'CONNELL This whole place is comin, alive! The men race around a corner. More mummies. They race around another corner. More mummies. Onward they come. Methodical. Relentless. Boxing in our heroes. O'Connell and Ardeth Ray FIRING as they go. Ardeth Ray goes empty. ARDETH RAY I'm out. He throws the machine-gun down and they all race into -- HORUS' CHAMBER - DAY -- A small chamber. The lower half of the giant statue of HORUS stands in the middle of the chamber. JONATHAN There he is! They run up to the base of the statue, JONATHAN Hello Horus old boy. O'Connell looks back at the mummies coming down the passageway. He reaches into his gunny-sack and pulls out a stick of dynamite. Ardeth Ray taps him on the shoulder. ARDETH RAY Allow me. O'Connell hands him the dynamite and a match, then turns to look at the statue. Ardeth Ray reaches forward and strikes the match off O'Connell's stubbly face. O'Connell YELPS. Ardeth Ray lights the dynamite and throws it down the passageway. They all hit the deck. The dynamite EXPLODES. Ripping apart the creatures, causing a CAVE-IN and sealing the passageway with rock and dirt. Now there's only one way out, -- another dark, creepy passageway. INT. CEMETERY Chained tight to the top of the altar, Evelyn hopelessly struggles to free herself. She stops as Priest mummies start surrounding the altar. Evelyn is horrified as the hideous mummies kneel down and begin to CHANT, -- which now sounds even more horrific due to the lack of tongues, jaws and mouths in the room. Imhotep steps up carrying the black Book Of The Dead. His hand reaches out and lovingly caresses Anck-su-namun's decayed cheek. INT. HORUS' CHAMBER - DAY O'Connell and Jonathan are digging away at the seams of the secret compartment, it starts to give. And that's when Ardeth Ray spots another group of rotting mummies coming down the dark passageway, heading right for them. O'Connell looks up. O'CONNELL These guys just don't quit. Ardeth Ray grabs the elephant gun and a handful of shells and runs off towards the mummies. ARDETH RAY Keep digging! O'Connell and Jonathan redouble their efforts, pulling harder on the seam. The compartment starts to loosen. About to give. The last time this happened, salt acid sprayed out, remember? Our heroes keep tugging. The tension mounts... And that's when a SKELETAL HAND BURSTS UP OUT OF THE GROUND and grabs O'Connell's ankle. Several more moldy hands BURST up out of the ground. O'Connell and Jonathan struggle with the mummies as they crawl up out of the dirt floor. One of the mummies violently shoves O'Connell away. Another grabs Jonathan by the throat and starts to strangle him. A third mummy grabs at the secret compartment and pulls hard. AN INTENSE BURST OF ACID SPRAYS OUT OF THE SEAM AND HITS ALL THREE OF THE MUMMIES. The one strangling Jonathan gets it in the back and drops him. All three mummies melt horribly. INT. CEMETERY Imhotep begins to read from The Book Of The Dead. A large SWIRLING HOLE starts to open in the detritus bog. Evelyn's eyes widen in amazement and horror. INT. HORUS' CHAMBER - DAY Ardeth Ray BLASTS AWAY at the oncoming mummies. over at the base of the statue, O'Connell and Jonathan pull an ornate chest out of the secret compartment. O'Connell rips off the lid, reaches inside and pulls out a heavy burlap bag. He and Jonathan exchange nervous, excited looks. Then he reaches into the bag and slowly pulls out the SOLID GOLD Book Of The Living -- GOLDEN LIGHT reflects off their faces as they stare at it in wonder. The elephant gun goes empty. Ardeth Ray takes it by the barrel and wades into the remaining mummies swinging. ARDETH RAY Save the girl! Kill the creature! The mummies quickly overwhelm and start to tear him apart. O'Connell lights the last stick of dynamite and throws it against the far wall. He and Jonathan hit the deck. O'CONNELL That's the last one, we better get lucky. The wall BLOWS. Debris COLLAPSES, -- but now here's a hole for them to get out. O'Connell and Jonathan race out through the hole just as the remaining mummies enter the chamber. EXT. HAMUNAPTRA RUINS - DAY Outside, Beni staggers across the sand with a saddlebag filled with treasure. He throws it over the rear of a camel. Starts to climb up. Hesitates. Looks back at the temple door. Licks his lips. And then his greed gets the better of him and he quickly climbs down and scurries back towards the door. INT. CEMETERY - DAY Imhotep READS from the Book. The rotten Priest-mummies rock back and forth, CHANTING. Evelyn struggles. Then suddenly, the strange MIST wafts up out of the swirling hole and over to the sacred jars, it passes through them and into Evelyn. Evelyn JERKS as though she's been electrified. The MIST passes through her and into Anck-su-namun's body. The CHANTING PRIESTS, SWIRLING HOLE, WAFTING MIST and IMHOTEP'S READINGS reach a crescendo. Anck-su-namun's crusty EYELIDS suddenly POP OPEN. Evelyn stares at her in disbelief. Anck-su-namun's rotted head turns and looks at Evelyn with empty sockets. Evelyn freaks out and struggles wildly, then she notices Imhotep holding the ancient sacrificial knife. IMHOTEP With your death, my love and I will be invincible! He raises it up over Evelyn's chest, about to plunge it down. Evelyn's eyes widen in horror. And that's when O'Connell and Jonathan BURST IN. Imhotep spins around and faces them. Jonathan beams as he holds up the golden Book Of The Living. JONATHAN I found it, Evy! I found it EVELYN Shut-up and get me off of here! O'Connell grabs an ancient sword out of a statue's hand, jumps up onto a gravestone and leaps out over the Priests. The Priest-mummies stop chanting. The MIST vanishes. Imhotep steps forward. O'Connell STRIKES the sacrificial knife out of his hand. Imhotep BELLOWS a command. The Priests stand up, swords and knives in hand, they ATTACK O'Connell. EVERYTHING HAPPENS AT ONCE, READ FASTER: EVELYN Open the book, Jonathan! Open the book! That's the only way to kill him! O'Connell RACKS and CHOPS at the attacking Priest-mummies, fighting his way to Evelyn. The skeletal creatures wildly SWING their swords, trying to STAB O'Connell. Jonathan fumbles with the book, struggling to open it, -- he can't. JONATHAN I can't open it! It's locked or something! O'Connell CUTS two of the mummies in half, then swings his sword down at Evelyn, -- CLANG! One chain breaks free. Jonathan spots a series of SOLID GOLD, FOUR-SIDED LOCKS along the binder. It hits him like lightning -- JONATHAN We need the key! Imhotep grins, then grabs the KEY/BOX hanging from a chain around his neck, rips it off and shoves it into his pocket He picks up the sacrificial sword and heads for Jonathan. JONATHAN What do I do, Evy!? What do I do!? EVELYN Read the inscription on the cover! O'Connell swings his sword down again, -- CLANG! Evelyn now has one hand and one leg free. More mummies attack O'Connell force him back. Jonathan quickly starts translating the cover inscription, but his ancient Egyptian is clearly awful. JONATHAN Keetash-something, naraba-something. Jonathan starts to backpedal through the cemetery, clutching the golden book; wide-eyed, as Imhotep moves in on him. JONATHAN Ebarra im hatu Kashka ummmmm -- ? Jonathan trips and falls on his ass. Imhotep CHARGES FORWARD. O'Connell SLASHES another chain. Only one more left holding Evelyn. Jonathan sits up and quickly looks back at the cover. JONATHAN Rasheem Aaaaa ANUBIS! Imhotep raises the sacrificial sword, about to kill Jonathan. And that's when the giant statue of Anubis suddenly CRASHES through the wall -- shades of Ray Harryhausen. Only better. The god of Deaths, horrible, decrepit STONE FACE stares angrily down. Jonathan stares back. JONATHAN Oh boy. O'Connell DECAPITATES a mummy and looks up at Anubis. O'CONNELL This just keeps gettin, better and better. Imhotep leaves Jonathan and heads for the giant statue. O'Connell leaps over and with one last swing of the sword, frees Evelyn from her chains. More Priest-mummies attack, forcing him away. Evelyn jumps off the altar and starts to head for O'Connell, -- a SKELETAL HAND grabs her! Spins her around. It's Anck-su-namun's rotted corpse. Evelyn reacts. Imhotep looks up at Anubis, points to O'Connell, and in ANCIENT EGYPTIAN commands him to attack. Anubis moves for O'Connell, STOMPING over mausoleums and through the detritus moat on his way. O'Connell quickly backs away. O'CONNELL Do something, Jonathan! Kill it! JONATHAN You have got to be joking? Evelyn is backing away from Anck-su-namun. EVELYN Finish the inscription, idiot! JONATHAN Oh. Anck-su-namun ATTACKS Evelyn. Evelyn fends her off as best she can. Jonathan quickly looks back at the hieroglyphs on the book cover, fumbling badly under the pressure -- JONATHAN Ummm, Hootash im... Hootash im now what is this last symbol here? EVELYN What's it look like!? Anck-su-namun grabs Evelyn by the throat. The statue of Anubis corners O'Connell, reaches down and GRABS him with it's MASSIVE TALONS. O'Connell HACKS away at it. Jonathan stares at the inscription, slightly oblivious. JONATHAN It's an Anck symbol, with two little squiggly lines above it, and a bird, a stork! on either side. Evelyn is being STRANGLED by Anck-su-namun. EVELYN Ah! Ah! Ahmenophus! JONATHAN Yes,... I see. The talons lift O'Connell up and start to CRUSH him. JONATHAN Hootash im Ahmenophus! The giant statue of Anubis instantly freezes in it's tracks and PETRIFIES. It's off balance. Starts to fall. O'Connell slides free of it's talons. Evelyn SHOVES Anck-su-namun away, Anck-su-namun looks up and opens her fetid mouth to scream just as Anubis CRASHES DOWN on top of her, SMASHING HER to powder and DRIVING her into the ground. Imhotep SHRIEKS in rage and horror, then turns and angrily heads for Jonathan. Jonathan, sitting on his ass, quickly backpedals on his hands and heels. O'Connell leaps to his feet, sword in hand and runs for Imhotep. Imhotep grabs Jonathan, lifts him up, rips the golden Book Of The Living out of his hand and pins him to a wall. O'Connell runs up and swings his sword at Imhotep, -- WAP! SLICES Imhotep's right arm off. It drops to the ground, still clutching The Book Of The Living. Imhotep drops Jonathan and spins around, facing O'Connell. O'Connell grins. O'CONNELL Okay pal, let's see how tough you are without your right arm. Imhotep grabs O'Connell with his left arm and THROWS him half way across the cemetery. O'Connell SLAMS into a gravestone, bounces off and crashes to the ground. He shakes it off. O'CONNELL Alright,... so he's left handed. Imhotep is already striding towards him. Jonathan lifts up his hand, -- HE HAS THE KEY/BOX BACK! He smiles at Evelyn. JONATHAN I got it! Evelyn runs for Jonathan. O'Connell SWINGS his sword and CLEAVES a big chunk of molten flesh rot out of Imhotep's stomach. On the outside, Imhotep looks human, but on the inside he is still a rotten old mummy. Imhotep BACKHANDS O'Connell. Knocks him twenty feet back. O'Connell staggers to his feet. Imhotep is right there. CLUBS him hard with his left arm. O'Connell spins through the air, SLAMS into the side of a mausoleum. Imhotep approaches, rage in his eyes. O'Connell gets up, quickly pivots and HACKS into Imhotep's head. Imhotep grins and PUNCHES O'Connell in the face. O'Connell is thrown back, pulling his sword with him. He bounces hard off the mausoleum. Lands on his feet. Totally beat-to-shit. Knees buckling. He can barely stand. Jonathan lifts up the heavy gold book, -- Imhotep's severed hand still clings to it. Jonathan cringes in disgust. Evelyn yanks it off, throws it away, then start furiously working the key into the series of locks, unlocking each of them. Imhotep strides forward. O'Connell backs into the mausoleum, swings the sword, Imhotep tries to catch it, -- it CLEAVES through his palm and deeply imbeds itself into his forearm. No matter, Imhotep rips the sword away from O'Connell and casually flings it away. The golden Book Of The Living opens with a HISS. Jonathan holds it tight as Evelyn quickly turns the heavy gold pages looking for something. O'Connell turns to run, but Imhotep grabs him by the throat and lifts him off his feet. O'Connell hangs there, a dazed mess. Imhotep grins, says something in ANCIENT EGYPTIAN, then starts to strangle O'Connell. O'Connell chokes. About to die. Evelyn turns and faces Imhotep and reads an inscription: EVELYN Kadeesh mal! Kadeesh mal! Pared oos! PARED OOS!! Imhotep pivots and looks at Evelyn, a look of sheer terror on his face. Then he looks over at the detritus bog. Which starts to BUBBLE and SHIFT. The SWIRLING HOLE begins to open. And then suddenly THE SPIRITS OF THE EGYPTIAN GODS waft out of the black bog and SWIRL around the Priest-mummies. The mummies all collapse and turn to dust. And then the spirits attack Imhotep. Lifting him and O'Connell up into the air. Imhotep lets go of O'Connell, who falls to the ground. Evelyn and Jonathan fearfully stumble away from the spirits, Jonathan trips and falls and accidentally throws The Book of The Living into the detritus bog. Evelyn watches as the golden book sinks into the black putrescence. Jonathan looks like he's about to cry. Ten feet off the ground, the spirits SWIRL around Imhotep's body, TWISTING IT and TURNING IT and slowly SHRIVELING IT. Accompanied by the same strange FLASHING LIGHT we saw at the beginning of the movie when Anck-su-namun was cursed. One last HUGE FLASH, accompanied by a BLAST OF WIND, and Imhotep is spit out and thrown to the floor. He staggers to his feet, he looks perfectly normal. His body is completely intact. O'Connell swings his sword. Imhotep jerks back. The sword scrapes Imhotep's chest, -- a swath of blood appears across Imhotep's chest where the sword hit him. Imhotep touches the blood on his chest, amazed and horrified. He's mortal. O'Connell runs Imhotep through with the sword and shoves him backwards. Imhotep stumbles back and falls into the detritus bog. The sword still in his stomach. Evelyn and Jonathan run up next to O'Connell. They watch as Imhotep gently sinks into the fetid swamp, slowly dying. And then, just before his head goes under, Imhotep looks up at them, grins broadly, and says something in ANCIENT EGYPTIAN. Evelyn translates: EVELYN Death is only the beginning. Imhotep's grinning face vanishes under the black bile. STAFF CHAMBER - DAY Beni staggers across a chamber, straining under the weight of another saddlebag filled with treasure. He spots a large, ornate STAFF sticking out of a wall. He throws the saddlebag over the staff and collapses against the wall. Exhausted. A BEAT. And then the weight of the treasure PULLS THE STAFF DOWN. Which starts a massive AURAL CHAIN-REACTION. Beni-backs away from the wall, wide-eyed, filled with fear. ALL THE WALLS START TO SINK INTO THE GROUND. Driven by tons of pouring sand. Beni turns and hauls ass out of the chamber. CEMETERY - DAY O'Connell, Evelyn and Jonathan look around as all the walls start to DESCEND. O'Connell grabs Evelyn's hand. O'CONNELL C'mon! He pulls her forward and all three of them race past sinking pillars. They duck as they run into a descending doorway. INT. PASSAGEWAY - DAY Beni scampers down a passageway, the ceiling getting lower and lower until he has to crouch. And then he has to stick the TORCH between his teeth and crawl on his hands and knees. INT. TREASURE CHAMBER - DAY O'Connell, Evelyn and Jonathan crouch-run into the treasure chamber. Evelyn skids to a stop. Looks in wonder at all the treasure. SAND rains down on them. O'Connell grabs her again and quickly pulls her through the mounds of treasure towards a SINKING DOORWAY on the far side of the room. The SOUND of the sinking walls is deafening. Beni crouch-runs into the treasure chamber. O'Connell, Evelyn and Jonathan race past him. He joins them as they run up a staircase. Heading for a DESCENDING DOORWAY, which is already half gone, it's now only four feet high -- now three feet high -- now two feet. Jonathan dives through the narrow gap. Then O'Connell dives through, he spins around. Evelyn dives, but gets stuck in the middle, about to get cut in half. O'Connell grabs her arm and YANKS her through in the nick of time. Beni reaches through the narrowing gap with his hand -- BENI O'CONNELL!! O'Connell grabs it, but it's too late. Beni yanks his hand back just as the top of the door CRASHES to the floor. Sealing him in. Beni quickly crawls back down the stairs as the ceiling SLAMS down behind him. He stands up and looks around with his diminishing torch. All the doorways FINISH CLOSING. There's no way out. He's trapped. And then he hears something, and turns around. Over in the corner, a scarab-beetle stares at him, CHITTERING. Beni waves his flickering torch at the scarab and backs away. BENI Go away. He stands in the middle of the treasure chamber as dozens upon dozens of scarabs boil up out of the floor around him. Beni is absolutely terrified. The scarabs start to move in. And that's when Beni's torch goes out. PITCH BLACK. A BEAT. And then we hear Beni start SCREAMING in horror and pain. And the scarabs CHITTERING hungrily. EXT. HAMUNAPTRA - DAY The temple COLLAPSES as O'Connell, Evelyn, Jonathan and a pack of stray camels race through the ruins. A SINKING CREVICE DROPS OUT right behind them. Chasing them out through the front gates. The whole place RUMBLES ominously. They make it down the ramp as more ruins CRASH DOWN behind them. A MASSIVE CLOUD OF SAND AND DUST billows out over the wall and into the air. our heroes and all the stray camels race out into the desert... SLOW DISSOLVE TO: EXT. PLATEAU - DAY O'Connell, Evelyn and Jonathan stand in the middle of the plateau, surrounded by stray camels. They stare off at the sandy, dusty, volcano as it continues to RUMBLE-ominously. JONATHAN Well,... I guess we go home empty handed. O'Connell looks at Evelyn. O'CONNELL Wouldn't say that. Evelyn returns the look, A BEAT, and then she wraps-her arms around his neck and kisses him. O'Connell returns it. Jonathan just rolls his eyes, snorts in disgust and climbs up onto a camel. When the kiss is over, O'Connell and Evelyn share a smile, then O'Connell leaps up into the saddle, reaches down, grabs Evelyn's hand and pulls her up behind him. Evelyn wraps her arms around his waist. O'Connell and Jonathan slap the reins. O'CONNELL/JONATHAN TUK-TUK-TUK!! The camels start to move out. WE PAN DOWN: to the saddlebag behind Evelyn, hidden under the closed back flap, -- we can see that it's filled with Beni's stolen TREASURE. O'Connell, Evelyn and Jonathan ride off into the SUNSET. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Music of the Heart.txt b/unformated_scripts/Script_Music of the Heart.txt new file mode 100644 index 0000000000000000000000000000000000000000..a6174a978f783263056e226e8ad27b2915298372 --- /dev/null +++ b/unformated_scripts/Script_Music of the Heart.txt @@ -0,0 +1 @@ + MUSIC OF THE HEART Written by Pamela Gray SHOOTING DRAFT January 25, 1999 FADE IN: CREDITS OVER PHOTOS IN AN ALBUM The photos include a sepia-tone portrait of an Italian immigrant family... a b&w snapshot of ROBERTA, a nine-year- old girl playing violin in front of a refrigerator (1950)... ...Roberta and her dashing Italian father, hand-carving a wooden music stand... a b&w snapshot of Roberta in a communion dress... Roberta at 15, playing violin in front of the same refrigerator, eyes on the music stand... ...a color photo of two cute blonde little boys building a sandcastle on a beach... a color photo of a groom in a white naval uniform and his pretty bride, (Roberta at 25), her hand over his as they cut their wedding cake with a sword... ...a color photo of Roberta and her husband Greek dancing with another couple at an outdoor taverna. Roberta's husband and the other man's sexy wife are exchanging a slight smile... HOLD ON THIS LAST PHOTO as we now see the ALBUM open on the floor of a bedroom, as if it's been tossed. We are: INT. GUASPARI HOUSEHOLD, ROME, N. Y. - BEDROOM - DAY (1988) WOMAN'S VOICE (O.S.) Wake up, Roberta! We hear the sound of KNOCKING as the CAMERA PANS a small, darkened guest room. A few streaks of daylight filter through Venetian blinds. WOMAN'S VOICE (O.S.) Come on, Bert -- get out of bed! The CAMERA finds a WOMAN lying face down on a twin bed, thick wavy hair sprawled across her shoulders. WOMAN'S VOICE (O.S.) Please, Bert -- you need to get out of that bed. The KNOCKING continues, and she puts the pillow over the top of her head. END CREDITS INT. GUASPARI BEDROOM - DAY The WOMAN -- ROBERTA GUASPARI-DEMETRAS (38) -- retrieves the photo album from the floor, looks at a photo and removes it. She's a beautiful woman with large, expressive eyes, but right now she looks like hell. She stares at the photo -- it's the two couples dancing. A quick glimpse of hurt on her face, then her jaw tightens and she rips the picture in half. There's muffled talking outside the door, and then two young boys' voices. BOY'S VOICE (O.S.) Can you come out now, Mommy? Please? She puts the half with her and her husband on the dresser, then tears the woman off the other half and rips her into pieces. BOY #2 (O.S.) Mommy, Nick broke my crayon! BOY #1 (O.S.) Well, Lexi hit me and he almost broke... he almost broke my ear! O.S. arguing "I DID NOT!" "YES YOU DID!" "LIAR!" etc. As if that one action siphoned all her energy, Roberta returns to bed, gets into fetal position, and stares at a point beyond the wall, ignoring the O.S. voices. WOMAN'S VOICE (O.S.) Hear that? Your boys need you. EXT. GUASPARI HOUSE - DOORWAY - DAY ASSUNTA GUASPARI (58), Roberta's slender, tired Italian- American mother, stands in the doorway of a well-tended working-class home, addressing a young NAVAL OFFICER who holds a lengthy delivery inventory. It's a gray day with ominous storm clouds. Late 70's CARS are parked on the street. ASSUNTA But I have no room for this! OFFICER I'm sorry, M'am. We have orders to deliver these. Assunta looks beyond the man, dismayed. HER POV Large wooden CRATES cover her front lawn, and TWO MOVERS plant down another. They hurry back to the TRUCK, grabbing the next crate too quickly this time. It slips from their hands, CRASHES to the ground and splinters open. Several VIOLIN CASES spill out. The crate looks like it holds a whole lot more. BACK TO SCENE Instantly a second-story window is flung open, and Roberta sticks her head out, a hundred times more energized than we've seen her so far. ROBERTA Watch it, you idiots! Be careful with those! The men scramble to pick them up. Assunta looks at all the violins, then up at Roberta. ASSUNTA Why so many? Roberta disappears inside and slams the window shut. INT. GUASPARI LIVING ROOM - DAY The living room is filled with boxes shipped from Greece, labelled by the U.S. NAVY. And on the floor, in the middle of the boxes, are FIFTY VIOLIN CASES of various sizes, also with Greek and U.S. NAVY labels. NICK (7) and LEXI (5) climb over the boxes as if they were giant blocks. NICK (calling) Mommy, which box has our toys? INT. GUASPARI HALLWAY - CONTINUOUS ROBERTA'S on the phone, yelling at someone. She's still in the same ratty nightgown. ROBERTA Look, I know he's there, so quit lying to me!... Then check under Lana Holden -- Mrs. Lana Holden... Fine. Just tell Lieutenant Demetras that his wife called and -- ASSUNTA grabs the phone from her hand and hangs it up. ROBERTA Ma! ASSUNTA No. I want you to listen to me. You can't keep doing this to yourself -- or to the boys. They need their mother now. You're a beautiful, talented woman and you have your whole life ahead of you. ROBERTA If I'm so beautiful and talented, why did Charles leave me? ASSUNTA Because Charles is a big jerk. (beat) Now get dressed. She exits, leaving Roberta to mull over her words. INT. GUASPARI KITCHEN - DAY Coffee is brewing and homemade cinnamon rolls are cooling on a rack. We recognize the kitchen from the home movie footage. As Assunta clears the boys' breakfast dishes from the table, Roberta enters. She's dressed, but hasn't put on makeup or done much with her hair. It's a start. ROBERTA You really think Charles is a jerk? ASSUNTA From the day you married him. ROBERTA Why didn't you say something? ASSUNTA Since when do you listen to me? Roberta half-smiles, pours herself some coffee, then sits down at the table. ROBERTA (sighs, then) What am I gonna do? ASSUNTA First, you eat breakfast. Second, you go out and get a job -- any job. Your boys, god-bless-em, are good eaters -- but I can't afford it. ROBERTA Mama, he's gonna get tired of her -- you'll see. Assunta's face shows she's doubtful about this. ASSUNTA Well in the meantime, get a job. INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY Roberta is behind the counter, meticulously wrapping a present with ribbons, bows and stickers. At one point she even unties a ribbon and redoes it because it's not perfect. She looks pretty, but she's dressed conservatively, like a navy housewife. There's only one other clerk wrapping gifts and a long line of impatient customers. A male SUPERVISOR appears behind Roberta. SUPERVISOR Just wrap. You're not Picasso. He exits, and Roberta quickly tries to finish her task. MALE VOICE (O.S.) Picasso would probably put the bows on the back of the box. Roberta looks up to find BRIAN TURNER (40), a handsome, sexy guy with longish hair and a beat-up leather jacket. ROBERTA Brian Turner? BRIAN Hello, Roberta. ROBERTA I thought you moved away. BRIAN I did. I'm in town for my Mom's birthday. He holds out his hand. Roberta misunderstands the gesture and tries to shake his hand. BRIAN No -- that's her gift. ROBERTA (embarrassed) Oh! Sorry. Roberta hands him the gift she's been wrapping. BRIAN It looks very pretty. ROBERTA Thank you. (beat) I heard you had a book published. I didn't read it but... BRIAN That's O.K. My parents didn't read it either. It looks good on their coffee table, though. Roberta smiles. BRIAN So what are you doing here? I thought you'd be in Carnegie Hall by now. HOLD ON ROBERTA as she takes this in. INT. COFFEE SHOP - ROME, N.Y. - DAY Roberta sits opposite Brian. Her lunch is untouched. ROBERTA My college professors said it was too late -- I hadn't had enough training to be a concert violinist. So I got a teaching degree instead. BRIAN I'll bet you're a great teacher. ROBERTA I think I am. It's just that... (sighs) See, every time I'd get started somewhere, Charles would be transferred... then I had my kids and took time off to raise them... and then when I decided to teach again, no one would hire me 'cause you can't count on a navy wife to stick around. I finally decided I'd start my own program -- Charles gave me the money and I bought fifty violins from this little Greek shop -- got started at a private school and then... BRIAN Your husband ran off with your best friend. A beat. ROBERTA She wasn't my "best" friend. She was a friend. (beat) Charles is the last person you'd think would cheat on me -- he never broke a rule... (a few beats) I wake up one night -- it's like one in the morning -- and he's not in bed. I go outside and our neighbor -- this old Greek guy -- is sitting out there, smoking a cigar, so I ask if he's seen my husband. "He's taking a walk with the other officer's wife," he says. "He takes a walk every night with the other officer's wife." A beat as she gets lost in the memory. She takes a bite of a french fry. ROBERTA God, these are cold. BRIAN So you're just gonna wrap presents and wait for him to come back? ROBERTA You sound like my mother. BRIAN That's not very sexy. ROBERTA Are you trying to be sexy or be my friend? BRIAN A little of both. Roberta smiles, blushing a bit. Brian looks at her, getting an idea. BRIAN You know, I know this really cool lady who runs this elementary school -- I wrote a piece on her. It's a public school, but it's alternative -- she might be able to create some kind of gig for you. Let me give her a call. ROBERTA Great! BRIAN (takes his last bite of sandwich) If she hires you, though, you have to be willing to relocate. ROBERTA Where is it? EXT. SPANISH HARLEM, NEW YORK CITY - TRAVELLING SHOT - DAY A SALSA SONG PLAYS OVER as we see stores with Spanish names and signs; Black and Latino elementary school children walking home from school; some burned-out buildings; Black and Latino teens playing basketball on a cement court; Spanish graffiti on walls; elderly women buying fruit at a produce stand. PULL BACK TO REVEAL this is the POV of Roberta from the back seat of a cab. The SALSA SONG plays on the cab's radio. Roberta looks scared shitless. Suddenly, two YOUNG MEN flash down the middle of the street, dart IN FRONT of the cab and the driver SLAMS on the brakes, jerking Roberta forward. TAXI DRIVER Welcome to East Harlem. EXT. CENTRAL PARK EAST ELEMENTARY SCHOOL (CPE 1) - EAST HARLEM - ESTABLISHING - DAY INT. JANET WILLIAMS' OFFICE - DAY JANET WILLIAMS, a Black woman (40's) with a kind face, sits behind her desk and looks at Roberta's resume. A sign on her desk indicates that she's the DIRECTOR. Also on the desk is a FRAMED PICTURE of Janet, her husband, daughter (14), and son (12). Roberta sits nervously in the chair opposite her. JANET (looking at resume) Aside from half a term in a private school -- in Greece -- and a year teaching chorus in Hawaii -- ten years ago -- it doesn't look like you've had any other teaching experience. ROBERTA Well, not traditional teaching experience. I've been doing private lessons... Janet looks for this on the resume. ROBERTA It's not on there... I taught my sons. Janet smiles politely. JANET I'd like to help you, Mrs. Demetras. Brian spoke highly of you and I told him I'd consider starting a violin class... But without the proper qualifications, and without any experience in an inner city school... Roberta nods, defeated. JANET I'm very sorry. INT. CPE 1 - HALLWAY - DAY Roberta stands outside Janet's office, dejectedly watching the children noisily running through the hall. INT. AREA OUTSIDE JANET WILLIAMS' OFFICE - THE NEXT DAY Roberta knocks on Janet's door. JANET (O.S.) Yes? As Roberta opens the door, we see that Nick and Lexi are with her. All three have violins. INSIDE, Janet's in conversation with DENNIS RAUSCH (38), an uptight man with a tie that doesn't match his suit jacket. He's showing Janet a large scheduling chart. ROBERTA I'm sorry to interrupt, but I wanted you to meet my sons -- Nick, Lexi... They enter. INT. JANET'S OFFICE - CONTINUOUS Janet smiles at the boys, but clearly thinks Roberta's a little off. Roberta holds her hand out to Dennis. ROBERTA Roberta Guaspari-Demetras. Dennis shakes her hand, regarding her warily. JANET This is Dennis Rausch, our music teacher and program coordinator. (beat) Mrs. Demetras, didn't I make things clear yesterday? ROBERTA If I could just show you something -- it'll only take a minute. Before Janet can answer, Roberta and the kids quickly take out their violins and get into position. Janet and Dennis exchange a look. DENNIS Are we having a talent show? I should have brought my tap shoes. Roberta ignores the jab, then nods to the boys. The three of them begin an incredibly impressive violin trio, playing an ETUDE in three-part harmony. For the first measures, Janet's still annoyed by the intrusion, but she's quickly won over. Dennis watches impassively. Roberta and the boys finish their piece; Janet applauds and Dennis joins in to be polite. The three take bows. A beat. LEXI Will you hire her now? Janet laughs, then gestures for them to sit. JANET How long have you boys been playing? NICK Since I was three. LEXI (contemplates, then) Maybe since I was three and a half. JANET Your mom must be a good teacher. NICK (shrugs) She's O.K. Roberta gives Nick a look, but Janet smiles. JANET (to Roberta) If you could teach our students to play like that, I'd be thrilled, but -- ROBERTA I can. Any child can learn the violin. DENNIS Assuming they had the discipline. ROBERTA I'll teach them to have discipline. JANET A lot of our parents are struggling to feed their kids and pay the rent -- they don't have time to help them learn violin. ROBERTA They don't have to. If they can help, great -- but these kids will be committed. They'll practice on their own, they'll help each other in the classroom -- Dennis laughs. Roberta looks at him, a bit miffed. DENNIS (with an edge) I think I know these students, Miss Demetras. Their attention span doesn't go past do-re-mi. Maybe on a good day, I can get them to "fa." ROBERTA You're underestimating them. They can play as well as any other kids. DENNIS That I'd like to see. ROBERTA You will. A beat. Janet observes the tension, then turns to Roberta. JANET (to Roberta) For now I'll put you down as a sub, but I have to warn you -- even if it works out, the Board may not let me create a permanent position for you. ROBERTA That's O.K. I'll worry about that later. (with a grateful look) Thank you. We see relief -- and fear -- in Roberta's face. DENNIS (to Janet) Well, I've already planned out the whole term, and I can tell you right now, there's no room for this! Besides, where you gonna find money for violins? ROBERTA You need violins? INT. MUSIC ROOM - DAY In a noisy music room with bad acoustics, Roberta tries to take control of fifty kids, third through fifth-graders, who are in a state of manic excitement over the FIFTY VIOLIN CASES on the floor. ROBERTA (gently) Please do not open the cases, O.K.? They ignore her. ROBERTA Look, can everyone just settle down and listen to me -- please? ANGLE - Three girls open their cases. ROBERTA (starting to lose it) Keep them closed! Please. ANGLE - Two boys open their cases. ROBERTA (to the boys) Did you hear what I just said? ANGLE - Three kids are using the violin cases as pretend machine guns -- and shooting each other. ROBERTA Put those down, please! ANGLE - A boy and a girl are having a "sword fight" with their bows. ROBERTA (to the fencers) Don't do that! Put the bows back in the cases -- right now! There's the SOUND of violin strings being plucked. ROBERTA Who's plucking? Roberta wheels around to find a girl plucking her violin like a banjo, and doing a little dance. This is LUCY, a skinny Puerto Rican girl in perpetual motion. ROBERTA What have I been saying? Put that away! Back in the case! Roberta takes a breath. The kids settle down a bit. ROBERTA O.K. Thank you. That's much better. (takes another breath) I'll be dividing you into five classes, but for today -- ANGLE - A boy plays "bongos" on his violin case. ROBERTA O.K. -- that's it! You! Stand up! The bongo player stands. ROBERTA You will be the first student who will NOT be in my violin class. Out! The child looks stunned. ROBERTA I said OUT! With a sheepish expression, he exits. The room is finally quiet -- and Roberta's amazed that something worked. She puffs up a little bit, enjoying the feeling of control. ROBERTA Who else would like to be kicked out of my class? The students stare at her, afraid of her now. DE SEAN, a small but tough Black boy, raises his hand. ROBERTA Are you raising your hand because you want to be kicked out? DE SEAN Yeah. ROBERTA Why? DE SEAN I don't wanna learn no stupid violin. It's for wimps. ROBERTA Who told you that? DE SEAN I just know. ROBERTA What's your name? BOY De Sean. ROBERTA Well, De Sean -- you haven't given me a good enough reason, so you're staying. She looks around the room. ROBERTA Anyone else? Silence. INT. MUSIC ROOM - LATER In front of the class, Roberta helps NAEEM, a graceful Black boy, hold the violin. He has a serious expression and a scar on his left cheek. Roberta controls the bow and fingerboard, but it appears that the boy is playing music. He smiles. NAEEM Hey, I play pretty good. Roberta laughs. ROBERTA (to Naeem) See how easy it is? (to the class) Maybe in the spring, we could have a big concert for your families and for the whole school. (to the boy) What's your name? NAEEM Naeem. Roberta writes in a notebook and we see that she's measuring for violin sizes. ROBERTA (to class) If you listen to me and do exactly what I say, you're gonna sound beautiful at the concert and you're gonna be so proud of yourselves. (to Naeem) Good, Naeem. Your hand's staying soft. (to the class) But if you don't listen to me, you'll sound so bad that your own parents will feel sick when they hear you. They might even throw up. ON THE KIDS, not used to a teacher speaking like that. INT. BRIAN'S APARTMENT - LIVING ROOM - NIGHT A funky apartment on the Upper West Side. Nick and Lexi are both asleep in sleeping bags on top of a futon on the floor, their suitcases nearby. Brian tiptoes past them, carrying two glasses of champagne. He knocks on his office door. ROBERTA (O.S.) Come in. INT. BRIAN'S APARTMENT - OFFICE - CONTINUOUS Roberta's in a bathrobe and nightgown, some rollers in her hair. She's tidying up her suitcase, etc., next to an old couch that's been made up as a bed. Leftist political books line a shelf above Brian's desk, including copies of his own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN TURNER. His desk is covered with files and books pertaining to MIGRANT WORKERS. Brian enters. ROBERTA (referring to champagne) What's this? BRIAN It's a toast. (giving her a glass, holding his up) To Roberta, who's made it through her first week. They clink glasses and drink. ROBERTA I don't know, Brian. I'm hanging on by a thread there. Out of fifty kids, maybe six are listening to me. BRIAN Look at the progress. Didn't you say no one was listening to you on Monday? Roberta laughs. ROBERTA I really appreciate all you've done for us. And I promise -- this weekend I'll start looking for a place. BRIAN There's no rush. ROBERTA No, we've put you out enough. You're supposed to be writing, not babysitting for us. (crosses to his desk, flips through his Vietnam book) I've started your book. It's very powerful. BRIAN Thank you. Brian comes up behind her and starts to kiss her neck. Roberta's scared -- so she keeps talking, as if it's not really happening. ROBERTA So what made you choose migrant workers for your next book? I mean, how do you know what to write about? BRIAN (kissing her neck) I follow my gut, pay attention to what I'm being drawn to... Roberta's aroused, in spite of herself. She turns around and faces him. ROBERTA What are you doing? BRIAN I've been waiting to do that since Mr. Baines' orchestra class. ROBERTA You didn't even notice me! BRIAN Sure I did. You used to ignore me and it drove me wild. ROBERTA You had at least five different girlfriends. BRIAN It didn't mean I had the one I wanted. He gives her a flirtatious smile, then takes out one of her rollers. BRIAN You're not a navy wife anymore... He moves to takes out another roller and Roberta stops him. ROBERTA Yes I am... legally. BRIAN And is it a navy requirement that you dress like it's the 1950's? ROBERTA I do not! BRIAN (goading her) Who did you vote for in the last election? ROBERTA What does that have to do with anything? BRIAN Tell me. ROBERTA (hesitates, then) I don't know. Charles filled out my absentee ballot. BRIAN Oh my God -- it's even worse than I thought! (touching her hair) Is this the same Roberta who got the orchestra to strike until they gave us new uniforms? She laughs wistfully, then looks a little sad. ROBERTA That Roberta's not around anymore. He pulls her towards him by the belt to her robe. BRIAN I don't believe that. They kiss and it heats up quickly. Roberta pulls back. ROBERTA I shouldn't. BRIAN Because? ROBERTA The boys -- BRIAN They're sleeping. ROBERTA I know, but... I'm still married. BRIAN And what's your husband doing right now? A few beats, and she moves towards him. INT. BRIAN'S BEDROOM - DAY Sun streams into the room as Roberta awakens in Brian's bed, a look of afterglow on her face. She suddenly remembers where she is, and quickly looks at the clock. ROBERTA Oh shit -- the boys. BRIAN (O.S.) They're still sleeping. She turns, relieved, until she sees that Brian's packing a suitcase. ROBERTA Where are you going? BRIAN Texas. He dashes out. Roberta sits up, rattled by this news. INT. BRIAN'S OFFICE - DAY Brian excitedly gathers papers and files scattered around his electric typewriter. ROBERTA (O.S.) What's in Texas? He turns to see Roberta in the doorway. BRIAN Farm workers. I just got the call -- it came through -- my research grant! It came through! Isn't that great? ROBERTA Today? He places items into a carry-on bag, packing at a rapid clip. In contrast, Roberta seems to be moving in slow motion. BRIAN I've got a few families lined up there, some in California -- ROBERTA How long will you be gone? BRIAN Two, three months. ROBERTA What? INT. BRIAN'S BATHROOM - DAY Brian throws toiletries into a plastic bag. Roberta enters. ROBERTA I thought... I just thought you were gonna be around. And then last night -- He stops what he's doing and looks at her. BRIAN Whoa. Roberta -- last night was great but did you think I was gonna marry you in the morning? ROBERTA No! Of course not. We see in her face that part of her did think that. ROBERTA It's just that... we just got here and we're barely... I don't even know where to buy groceries. Brian softens as he sees how vulnerable she is. He takes her in his arms. BRIAN You're gonna be fine. You have a job, a place to stay, your kids have a school to go to -- and there's a D'Agostino's around the corner. She attempts a smile. ROBERTA Congratulations. He kisses her forehead, then exits. HOLD ON ROBERTA, looking hurt and frightened. INT. MUSIC ROOM - DAY Roberta rosins her bow, standing in front of ten kids -- third through fifth-grade -- who sit on the floor next to their violin cases. The kids are Black and Latino, with a couple of white faces. They're all talking and ignoring Roberta except for NAEEM and GUADALUPE, a petite Mexican girl with a long dark braid. [NOTE: We'll see other violin students from time to time, but this is the class we'll follow for Roberta's first year] ROBERTA And what am I doing now? NAEEM/GUADALUPE Rosining the bow. ROBERTA Good. And what am I doing when I turn this little screw? (raising her voice) Everyone stop talking. Right now! The kids quiet down. Only Naeem raises his hand. ROBERTA Naeem? NAEEM Tightening the horse hair. ROBERTA (touches the heel of the bow) And what do we call this? Again, only Naeem raises his hand. Roberta sees him but turns to DE SEAN, who's talking to his neighbor. ROBERTA De Sean? DE SEAN Yeah? ROBERTA What do we call this? DE SEAN I don't know. ROBERTA Why not? DE SEAN I wasn't here. ROBERTA Yes you were but you weren't paying attention! Do you want people to think you're stupid? This makes De Sean blush -- and it pisses him off. ROBERTA All right, Naeem -- tell them. NAEEM It's called the frog. Some kids giggle and joke about this. Roberta points to the scroll of the violin. ROBERTA Anyone remember what this is? LUCY, the fidgety girl, snaps her fingers. ROBERTA Lucy! Do you like people snapping their fingers when you're talking? LUCY Yeah! The kids laugh. Roberta doesn't. She points to the scroll. ROBERTA What is this called? LUCY The jeri curl? Roberta laughs, even though she's trying to be tough. INT. DENNIS' MUSIC CLASSROOM - DAY Dennis's twenty students play recorder in rows of attached theatre-style seats. Dennis sits at his desk, a METRONOME ticking, and apathetically leads them in scales, using a red pen as a baton. He keeps one eye on a stack of quizzes that he's marking, stopping to circle mistakes with the pen. DENNIS C-C-C-C, D-D-D-D, E-E-E-E... ANGLE - Roberta stands in the hallway at the open door, dismayed by Dennis' uninspired teaching. She enters and crosses to Dennis, speaking quietly to him. ROBERTA Excuse me -- sorry to interrupt -- The students immediately start to chatter. DENNIS No talking! He looks back at Roberta, annoyed by her intrusion. ROBERTA I'm supposed to take kids out of Miss Cooper's classroom for my ten o'clock class -- there's nobody there. DENNIS Miss Cooper's students have phys ed on Tuesdays. ROBERTA But you scheduled them for violin. DENNIS You must have read the schedule wrong. ROBERTA (trying to remain polite) I don't think so. DENNIS Well, I can't solve this problem for you right now. (nods to his class) I'm trying to teach. ROBERTA So am I. She exits. INT. BRIAN'S BEDROOM - NIGHT Lexi and Nick are in Brian's bed. Roberta's tucking in Lexi; he holds a toy truck with Greek writing on it. LEXI Can I bring a puppy for show and tell tomorrow? ROBERTA Honey, we don't have a puppy. NICK Daddy said we could get one when we moved back to America. Roberta looks at Nick, then turns back to Lexi. ROBERTA How about your truck? I'll bet you're the only one in school with a truck from Greece. NICK When's Daddy coming back? Roberta turns to Nick and tucks him in. ROBERTA Well, he's still on his tour, so we'll just have to see but... It shouldn't be too much longer. LEXI Is he gonna live with us and Brian? ROBERTA No, honey. We're just staying at Brian's house for a little while. She turns back to Nick who looks worried. She kisses him. ROBERTA Good night, sweetie. She kisses Lexi, then reaches to turn off the lamp. NICK No! Leave it on. Roberta nods, smiles at her sons, and exits. INT. MUSIC ROOM - DAY Nine children stand, violins under their right arms, bows hanging down from their right hands, and try to position their feet as Roberta addresses them. ROBERTA Now take the right foot and put it on a tile. Good. Now with the other foot take a tiny step forward and put it on a line. Try to make a box with your feet -- She walks over to BENJAMIN, a white boy with glasses, and corrects his feet. She sees Lucy dancing in place. ROBERTA Lucy! Would you like to leave the class right now? Lucy nods, giggling. Roberta walks down the row of students. ROBERTA You should feel very strong -- so strong and balanced that if I wanted to knock you over I couldn't. She crosses to TANISHA, a sweet-natured Black girl with her hair in tiny braids, and gently pushes her belly. ROBERTA You see? If you're standing strong, I can't even push you. Roberta turns to De Sean, who's talking to JAMES, a pudgy Black/Puerto Rican boy. ROBERTA De Sean! James! Quiet! (as she crosses to another student) Does anyone know where Naeem is? TANISHA I saw him this morning but he's not here. ROBERTA Yes, I know he's not here -- that's why I'm asking. She gently pushes Guadalupe's belly. The girl stumbles back. ROBERTA See how I pushed you? It means your feet aren't centered. Guadalupe tries to correct her feet. Roberta bends down to help and sees that the little girl wears LEG BRACES under her pants. Roberta stands and gestures to one of the boys. ROBERTA Can you bring over a chair? (to Guadalupe) It's probably better for you to sit. The boy brings the chair. Guadalupe sits, embarrassed. EXT. SCHOOL YARD - DAY Roberta walks through a school yard filled with kids and parents picking them up. She sees Naeem and crosses to him. ROBERTA Where were you today, Naeem? NAEEM I can't be in violin class anymore. ROBERTA Why not? NAEEM My mother won't let me. ROBERTA What? NAEEM'S MOTHER, MRS. ADISA, steps INTO FRAME. She's an attractive Black woman in a dress and head scarf made of African fabric. MRS. ADISA My son's got more important things to do than learn dead white men's music. ROBERTA They're gonna learn "Twinkle Twinkle Little Star"! MRS. ADISA How many Black classical composers can you name? How many Black classical violinists do you know? ROBERTA That doesn't mean it's the way it should be. Naeem's learning to play music -- and that makes him feel good about himself. Why should it matter who wrote it? NAEEM Please, Mom? Can't I be in the class? Mrs. Adisa puts a protective arm around her son, then addresses Roberta. MRS. ADISA Look. I've seen this before. You white women come up here and think you can rescue our poor inner city children who never asked to be rescued in the first place. No thank you. She walks off with Naeem. He glances back at Roberta, then turns away quickly. Roberta watches after them. INT. BRIAN'S LIVING ROOM - NIGHT Roberta attempts to read Brian's book, To Hell and Back: Interviews with Vietnam Vets, but she's distracted. She glances at her purse, then back to the book. She puts the book down and dials the phone. ROBERTA Brian Turner's room, please. While she waits, she looks at Brian's picture on the book jacket. There's no answer and she hangs up. She starts to straighten the already clean room, then gets her purse, takes out her wallet, and opens it to the plastic covered pictures. INSERT - PICTURES Charles in uniform; a studio shot of the boys when they were 3 and 1; the whole family posed on the terrace of their home in Greece, a view of the ocean behind them. BACK TO ROBERTA She's really depressed herself now. INT. CLASSROOM - DAY ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her fifth-graders a globe. She doesn't turn as Roberta enters and crosses to her. In the b.g. we see ROBERTA'S STUDENTS waiting in THE HALL. ALICE And which ocean is this? Kids simultaneously yell out "ATLANTIC" and "PACIFIC." ROBERTA Excuse me... I'm here for the violin students. ALICE (icy) You're late. ROBERTA Just a couple of minutes -- I'm sorry. ALICE They're having a lesson now. ROBERTA But this is when they have violin class! ALICE That's not my problem. Roberta's reluctant to argue in front of the kids; she exits. EXT. SCHOOL YARD - DAY Lots of noise and chaos as kids run wild during lunch recess. Janet rushes through the throngs while Roberta tries to keep up. ROBERTA I thought all the teachers agreed to this. JANET In theory. (to a student) Adam! I want you in my office right after lunch, you understand? ADAM What'd I do? JANET Think about it! (to Roberta) Whenever you pull kids out, it's a disruption, plus it's extra work for the teacher 'cause they have to fill the kids in on what they missed. Some teachers resent it. ROBERTA Well, can't you talk to them? Janet stops walking and pulls a box cutter out of her pocket. JANET I took this off a second-grader this morning. I'll help you Roberta -- but I can't hold your hand here. Janet starts to walk away, then turns. JANET A word of advice? When you're picking up your students, go to Alice's classroom first. Roberta stands there as Janet walks on ahead. INT. MUSIC ROOM - DAY The nine children hold their violins in position as Roberta addresses them. ROBERTA So pretend you're driving a car and I'm the policeman and I say STOP! Thumb up, fingers straight up, flat palm. Now you be policemen, but turn your hand and make it say stop to yourself. ON THE CHILDREN, attempting this. She walks around and helps. DE SEAN (to himself) You're under arrest. Some kids crack up and start joking and chatting. ROBERTA Knock it off, De Sean! (to all) If you kids can't take this seriously, I don't want you here. I'm teaching you a difficult instrument because I respect you and have faith that you can learn it. But none of that matters if you don't have respect for yourself. Some of the children think about what she's saying. A couple, uncomfortable with the intensity, hold back giggles. ROBERTA Now turn your wrist so it's flat against the fingerboard, and that's how you'll set up your hand... Roberta sees Guadalupe struggling. ROBERTA Guadalupe! You've got the violin in the wrong hand! How did that happen? Embarrassed, Guadalupe corrects her position. INT. BRIAN'S KITCHEN - NIGHT At the small kitchen table, Nick does homework and Lexi puts stickers in a sticker book. Roberta's cooking dinner; she grabs a potholder and checks on a bubbling lasagna in the oven. The PHONE RINGS and she answers it. ROBERTA Hello? CHARLES (O.S.) Hello, Bobbi. Her face falls as she hears the voice. She holds onto the counter to steady herself. ROBERTA Where are you? CHARLES (O.S.) (calm, detached) I'm back in the States. I'm at my parents. Roberta closes the oven and gathers her courage. ROBERTA Are you still with her? A beat. CHARLES (O.S.) No. We watch Roberta's body collapse into a sense of overwhelming relief. FOLLOW HER as she steps into THE HALLWAY, then stretches the phone into: INT. BRIAN'S BATHROOM - CONTINUOUS She half-closes the door, leans against the sink and starts to cry. ROBERTA (through tears) We've missed you so much, Charles. The boys... they can't wait for you to come home... I know we'll have a lot to work out and it won't be easy right away, but we're gonna get through this, you know? We're a family and we belong together and -- CHARLES (O.S.) (more emotive than before) Bobbi -- stop, O.K.? Just stop. Roberta looks as if she's been slapped. A beat. CHARLES (O.S.) I want a divorce. ROBERTA What? Silence. ROBERTA But you said... you and Lana... you said it was over. CHARLES (O.S.) It is. (beat) It's over between us too, Bobbi. HOLD ON ROBERTA, devastated. ANGLE on NICK, watching her through the door. INT. BRIAN'S HOTEL ROOM, TEXAS - NIGHT Brian's on the phone with Roberta. He's in a t-shirt and sweats, and his papers are scattered on the bed. ROBERTA (O.S.) He wouldn't even talk about it! No explanations, no discussion... INTERCUT Roberta in Brian's living room. She's extremely agitated and her eyes are puffy from crying. BRIAN I can't believe you were still holding out hope. The guy hasn't called you or the kids in three months -- I thought you'd moved on. ROBERTA I never said that. BRIAN No? Maybe not with words. This embarrasses her, then pisses her off. ROBERTA You know what? I shouldn't have called you. This was a mistake. BRIAN No, no -- I'm sorry. Look, I know it hurts, but you're gonna get through this, Roberta -- you will. ROBERTA I'm moving back to my Mom's. BRIAN What? You're gonna quit teaching in the middle of the term? ROBERTA I don't fit in there -- I'm not making any progress with the kids... BRIAN What are you gonna tell Janet -- your husband left you and nothing else matters? ROBERTA I don't know yet. INT. BRIAN'S LIVING ROOM - NIGHT Roberta lies awake on the futon, heartbroken. INT. BRIAN'S BEDROOM - NIGHT Roberta stands and watches Nick and Lexi sleep. She lies down beside them and closes her eyes. INT. SCHOOL HALLWAY - DAY Roberta walks through crowds of kids towards Janet who's in the middle of confronting a boy student. Janet holds a FIFTY- DOLLAR BILL. Roberta hangs back and waits for a chance to speak. BOY My mother gave it to me. JANET Why would she give you fifty dollars? BOY To buy breakfast. Janet gives him a stern look. JANET Do you know how hard your mother works? Do you think it's right for you steal from her? BOY I didn't! JANET Well let's go call her right now and ask her. As Janet turns to walk off, Roberta crosses to her. ROBERTA I need to speak to you. It's important. JANET It'll have to wait. (to the boy) Come on. In my office. Roberta watches as Janet dashes off with the boy in tow. INT. MUSIC ROOM - DAY Guadalupe sits on a chair in the empty room, struggling to set up her violin. Roberta enters, surprised to see her. ROBERTA Guadalupe? What are you doing here? GUADALUPE I can't get the stop sign. ROBERTA Honey, your teacher's probably looking for you. Guadalupe sighs, then hands Roberta the violin. GUADALUPE I can't come anymore. It's too hard. ROBERTA The violin is hard for everyone. GUADALUPE But everyone else is better than me. I'll always be slow. Roberta looks at her sadly and puts the violin in its case. ROBERTA Did you ever hear of Itzhak Perlman? GUADALUPE No. ROBERTA He's one of the greatest violinists in the world, and he has problems with his legs too. He walks with two canes -- but he still makes the most beautiful music. GUADALUPE And he sits down when he plays? ROBERTA He has to. Guadalupe takes this in. GUADALUPE He was your student? Roberta laughs. ROBERTA No. But if he was, I'd tell him the same thing I'm telling you. You shouldn't quit something just because it's hard. GUADALUPE But I can't stand strong. ROBERTA Standing strong doesn't only mean using your legs. You can stand strong on the inside too. (beat) Know what I mean? Guadalupe nods. Roberta holds out the violin case. Guadalupe lunges forward and hugs her around the waist. Roberta awkwardly accepts the hug, startled and touched by it, and strokes the girl's hair. Guadalupe lets go, takes the violin and exits. HOLD ON ROBERTA as she absorbs what just happened. JANET pokes her head into the room. JANET You wanted to speak to me? ROBERTA Oh. Umm -- that's O.K. It's taken care of. Janet looks at her curiously, then exits. INT. EMPTY APARTMENT - EAST HARLEM - DAY Roberta walks around an empty, rundown apartment, her expression somber. Crayon markings on the walls, cigarette burns on the floors, a filthy bathroom and kitchen. An older Puerto Rican woman stands back as Roberta inspects the place. Roberta wipes grease off one of the windows. LANDLADY Is just for you and your boys? ROBERTA Yes. LANDLADY No husband? No boyfriend? A beat. ROBERTA No. EXT. SCHOOL YARD - LUNCH RECESS - DAY Roberta enters the yard from inside the school. It's filled with kids playing, including Nick and Lexi. She waves to them and Lexi runs up to her, carrying a piece of artwork. LEXI Look what I made you, Mommy! He gives her a tempera PAINTING of a man's face, the background decorated with glued-on macaroni. It says DADDY. ROBERTA (covering her discomfort) That is so beautiful! He runs off. Roberta exhales, sits down alone on a bench and takes out her lunch. She smiles at ALICE CROWLEY and another TEACHER but they cross to another bench. ISABEL VASQUEZ (25) approaches, a lively Puerto Rican woman with a strong New York accent. ISABEL Whatsa matter -- you got cooties? ROBERTA Apparently. ISABEL I'll take my chances. (extends a hand) Isabel Vasquez. Second grade. ROBERTA Roberta Demetras. I'm the -- ISABEL Violin teacher. I know. She sits down beside Roberta, takes out her lunch. ROBERTA Is it my imagination, or does everyone hate me? ISABEL It's hard to fit in when you're doing a special program. People figure you're not gonna be here very long, so why make the effort? (beat) It may take a while for folks to warm up, but nobody hates you. ROBERTA (sotto) What about Alice Crowley? ISABEL (sotto) A) she thinks the violin's a waste of time... and B) -- she's a bitch. Roberta laughs. ROBERTA And then there's Dennis. ISABEL The Music Man. You've had the bodacity to threaten his private little empire -- not to mention the fact that you messed up his sacred scheduling chart. ROBERTA How come you're being nice to me? ISABEL Ulterior motives. I want my daughter in your class next year. Roberta smiles. ROBERTA If I'm here next year. ISABEL You will be. INT. ROBERTA'S NEW APARTMENT - LIVING ROOM - NIGHT LEXI'S PAINTING is on the wall, along with a crayon drawing of himself, Roberta, and Nick in front of a house. ANGLE - ROBERTA looks out the window. She's gotten some used furniture, cleaned the place, and it's less depressing. ROBERTA'S POV OUT THE WINDOW On the street below, three prostitutes stand at the corner. Two men sit on a stoop, smoking a joint, and in a parked car, three men seem to be making a drug deal. One of the buildings on the street is burned out, missing a front door. BACK TO SCENE Nick, in his pajamas, enters and crosses to his mother. She smiles at him and they both look out the window. NICK In Greece, we could see the ocean. Remember? ROBERTA I remember. And the fishing boats... NICK And the octopuses. Roberta smiles and puts her arm around him. NICK Is Daddy coming here soon? Roberta tenses up. ROBERTA Well, that's something I've been wanting to talk to you about. Daddy's not gonna live with us anymore. You and Lexi will have special times when you stay with him, like at Christmas. A beat. NICK Can you tell the birthday story? Roberta looks at him, concerned that he's not responding to her news. ROBERTA Don't you want to talk about what I told you? NICK I want to hear the birthday story. A beat as she contemplates whether to push or not, then: ROBERTA It was the day of Grandpa's birthday, and I was sad because he had died a few months back. NICK But you knew I'd be born that day. ROBERTA So I packed a bag and got all ready -- NICK And Daddy laughed. ROBERTA I said, "It's my father's birthday, and the baby's gonna be born today." NICK He didn't believe you. But I was born. The same day as Grandpa. ROBERTA It was a happy day. NICK Was Daddy happy too? She looks at him, taken aback by the question. ROBERTA Of course he was. NICK Then why is he leaving me? Roberta, overcome with emotion, can barely answer. ROBERTA He's not leaving you, Nick. He loves you and Lexi very much. NICK Then why can't he live here? ROBERTA (struggling) It's very hard to explain... Sometimes things happen between grown-ups... and they just can't be together. The CAMERA moves behind them as they continue to look out the window, and we see Nick move away from his mother. INT. MUSIC ROOM - DAY The kids play "Twinkle Twinkle Little Star" and they sound awful. Roberta looks disgusted as she leads them. ROBERTA Slow bows! Slow bows! Don't squeeze! Stop! Everybody stop! (to De Sean) How much did you practice this week? DE SEAN My asthma -- it was very bad and I had to go to the hospital. ROBERTA Again? You told me you went to the hospital last week. DE SEAN Oh yeah. Maybe it was last week. Roberta rolls her eyes, then turns to Lucy. ROBERTA Lucy -- you sounded the worst of all. Have you practiced? LUCY No. ROBERTA Why not? You can't be in this class if you don't practice! LUCY My grandma got mugged. A beat. ROBERTA Oh. I'm sorry. Is she O.K.? LUCY She died. Roberta stands there, sobered. ROBERTA I'm really sorry, Lucy. (tries to get her bearings) Just do the best you can. EXT. SCHOOL YARD - DAY A group of kids stand together with their violins and chat. Roberta exits the building and they greet her. She waves back, but she's clearly still upset by her interaction with Lucy. She sees Naeem and his mother and approaches them. NAEEM Hi, Roberta. ROBERTA Hi, Naeem. Can I talk to your mom for a minute? Naeem nods and moves off. ROBERTA Look, I didn't come up here to rescue anybody. I'm a single mother and I needed a job. And I know you think you're protecting your son, but you're not. I mean, what if Arthur Ashe's mother had stopped him from playing tennis because it's a "white man's game"? (beat) The important thing is that when Naeem plays music, his whole face lights up. You should see him. Mrs. Adisa takes this in. Roberta exits. Mrs. Adisa looks for Naeem and sees him watching the violin students, longing to be among them. She watches her son with compassion. EXT. OUTDOOR MARKET - DAY Roberta and the boys shop in a colorful outdoor produce market in their neighborhood. The boys suddenly rush over to A MAN sitting on the ground with mixed-breed PUPPIES in a cardboard box. The boys pet them excitedly. Roberta watches her sons; they're happier than she's seen them in ages. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT A brown puppy is jumping all over Nick and Lexi who laugh delightedly. Roberta is putting down newspapers. ROBERTA We all have to take turns cleaning up, O.K.? The boys are oblivious to her -- they're in heaven. ROBERTA (to herself) Yeah, right. INT. MUSIC ROOM - DAY Roberta's SCREAMING at the kids as they play "Twinkle Twinkle Little Star." ROBERTA First finger on the E! Three -- two -- one -- open! (to a white girl with pigtails) Wrong string, Becky! We've done this fourteen times! And look at your nails! You're supposed to cut them for violin class! O.K, everybody stop! It sounds horrible! I can't believe how bad it sounds! They stop playing. Tanisha raises her hand. ROBERTA Is this an important question, Tanisha? Tanisha nods. TANISHA Do you have two of those skirts? ROBERTA What? TANISHA You wore a skirt just like it on Monday. Some of the kids crack up. ROBERTA You know, Tanisha -- I don't think that's such an important question. (to class) O.K. Let's try -- The door opens and Naeem enters with Mrs. Adisa. Roberta crosses to them. MRS. ADISA Naeem and I were wondering if he could still be in the class. A beat. ROBERTA I'd love that. (to Naeem) You'll have a lot of catching up to do. You think you can work that hard? NAEEM Yeah, I can. ROBERTA Maybe we can also arrange some private lessons at my house. MRS. ADISA I wouldn't have the money for that. ROBERTA That's O.K. (to Naeem) Why don't you go grab one of my spare violins? Naeem happily runs to the extra violins at the front of the room; Mrs. Adisa nods to Roberta with a look of gratitude, then exits. Roberta crosses back to the front of the room. ROBERTA (to class) Let's try it again. They begin again, and we see Naeem take out a violin and join in. As they play, Roberta's ears perk up at something she's hearing. She crosses to Lucy. ROBERTA What are you playing? LUCY Twinkle. ROBERTA (to class) Everyone stop! (to Lucy) Let me hear. Lucy hesitates, thinking she's in trouble. She plays a jazz variation of the song. Roberta smiles. ROBERTA Did someone teach you that? LUCY No. I made it up. ROBERTA That's really great, Lucy. I'm proud of you. Lucy beams. ROBERTA (to class) All of you -- try it. The class plays Lucy's jazz variation and Naeem happily joins in. INT. JANET WILLIAMS' OFFICE - DAY Roberta sits opposite Janet and MRS. LAMB, a white woman in her 30's. MRS. LAMB You're shouting at them. All the time. ROBERTA Not all the time. But if they don't listen -- MRS. LAMB Didn't you tell them that they were making their parents sick? Janet raises her eyebrows at this. ROBERTA That wasn't exactly what I said -- MRS. LAMB I'm raising Becky in a supportive atmosphere. I don't send her to school to be abused. ROBERTA I'm just trying to discipline them. If they're gonna learn an instrument, they need to take it seriously -- JANET I think what Mrs. Lamb is trying to say, Roberta, is that you're a little too harsh. I'm sure you might be able to soften some of your comments to the children? She gives Roberta a long hard look. Roberta nods. INT. MUSIC ROOM - DAY Roberta listens to the students play "Go Tell Aunt Rhody" -- badly. They finish and stare at her, afraid of her response. ROBERTA Well, that was... that was pretty good... that wasn't too bad... They look at her in disbelief, then look at each other. DE SEAN It wasn't? I thought we stunk. ROBERTA I wouldn't put it that way... You all just need to practice a bit more. (to James) James, have you practiced this week? The boy nervously shakes his head no. ROBERTA Can you please try a little harder for next week? James nods. The kids are baffled by her politeness. ROBERTA Good. Just do the best you can. DE SEAN Why you acting like that? ROBERTA Like what? DE SEAN Nice. ROBERTA Don't you want a nice teacher? DE SEAN I already got nice teachers. You added some variety. LUCY Yeah. We like you better the way you used to be. ROBERTA Oh. (to Becky) What about you, Becky? BECKY Yeah. This is even worse. You're acting weird now. A beat. ROBERTA Well, then -- I take it back. You all stunk. The kids laugh. ROBERTA But don't tell your parents I said so! The kids laugh again. INT. KENNEDY AIRPORT - DEPARTURE GATE - DAY Christmas MUZAK plays in the b.g. as Roberta kisses and hugs Lexi and Nick goodbye. A FLIGHT ATTENDANT stands nearby. LEXI Can't you come with us? Please? ROBERTA Honey, I told you. This is Daddy's special time with you. Lexi looks upset; Nick is stoic. Roberta hugs them one last time. The FLIGHT ATTENDANT steps forward. FLIGHT ATTENDANT I'll take good care of them. The FLIGHT ATTENDANT escorts them into the jet way. Roberta holds back tears as they get further away from her. At the last moment, Lexi turns and waves; Nick does not. Roberta waves, tears starting to fall, and the boys disappear from sight. She observes all the families travelling together, and feels like the loneliest person in the airport. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Roberta enters her apartment, back from the airport, and double-locks the door behind her. You can see on her face that she's dreading the emptiness. She crosses to a small Christmas tree, obviously decorated by her and the boys, and plugs in the tiny blinking lights. It's not exactly Rockefeller Center. She turns on the T.V., playing IT'S A WONDERFUL LIFE. She crosses to the kitchen, then returns with a carton of eggnog, a glass, and a bottle of rum. She sits down on the couch, pours herself some eggnog, adds rum, adds more rum, goes back into the kitchen, returns with nutmeg, sprinkles some on top, then drinks. She sighs, glancing miserably at the tree and the T.V. Pathetic. She couldn't look any less festive if she tried. There's a KNOCK on the DOOR. Roberta gets up and warily approaches the door. ROBERTA Who is it? BRIAN (O.S.) Santa Claus. She looks through the peephole, then quickly unlocks the door and opens it, revealing BRIAN, giving her a big smile. He looks sexy as hell (even with a silly lit-up Santa Claus pin on his leather jacket), and he holds a long-stemmed red rose in one hand, and a Christmas present in the other. BRIAN I'm back. Roberta's thrilled and relieved to see him. She embraces him, and they kiss passionately. INT. BROWNSTONE - DAY (TIME CUT - TWO MONTHS LATER) CLOSE ON plaster walls being knocked down with sledgehammers. REVEAL Brian, Roberta, and a couple of workmen knocking down the walls in an old brownstone. EXT. BROWNSTONE - EAST HARLEM - THE SAME DAY A mild winter day. Roberta, covered with plaster dust and overheated from working, leans against a car and drinks a beer. The three-story brick building has some graffiti on it and is badly in need of a paint job; there are a few broken windows, and the front stairs need repairing. WORKMEN file in and out. We can see from the STREET SIGNS that we're on 118th STREET, a few houses off FIRST AVENUE. Brian (also dust-covered), Nick and Lexi toss around a football. LAWRENCE (6), a Black boy who lives next door, joins them. Brian crosses to Roberta, sweaty and out of breath. He takes a swig of her beer. ROBERTA O.K., enough goofing off -- back to work. BRIAN You trying to kill me? She laughs and they kiss. ASSUNTA comes up the street with a bag of take-out food. She casts a dubious glance at the lovers. ASSUNTA I was the only person in the whole coffee shop not speaking Spanish. Roberta rolls her eyes. O.S. a car BACKFIRES. ASSUNTA You hear that? Gunshots! How you gonna live here by yourself? (calling) Boys, come eat! ROBERTA I work in this neighborhood, Mama. I want to live here. The boys approach and Assunta hands them sandwiches. Lawrence hangs back. Assunta calls to him. ASSUNTA What's your name? LAWRENCE Lawrence. ASSUNTA You hungry, Lawrence? Lawrence nods and she hands him a sandwich. Roberta smiles at her mother's gesture. The kids move off to Lawrence's front steps and Assunta gives Roberta and Brian sandwiches. ASSUNTA (to Brian) Why did you let her buy this house? BRIAN Hey, your daughter does what she wants -- or haven't you noticed? ASSUNTA I've noticed. INT. ROBERTA'S APARTMENT - KITCHEN - DAY Robert washes dishes and Assunta dries. The leftovers from an Italian dinner are on the counter. ASSUNTA I still don't understand the rush. ROBERTA Having my own place will make me feel like I'm really starting my life again. ASSUNTA But if you invested your divorce settlement, you could buy something nice someday. It's bad enough that you've been renting in this neighborhood, but to lock yourself into a mortgage -- ROBERTA (snapping) Mama, please. Just stop! Assunta backs off. Roberta feels guilty and moves to her. ROBERTA Don't worry, O.K.? Besides, if things keep going well, I'm sure eventually Brian will move in with us. A few beats. ASSUNTA How much do you know about this man? ROBERTA Brian's a good person, he's helped me a lot, he's great with the boys -- since he got back to town, it's been really sweet. ASSUNTA (with an attitude) And how long has he been back? ROBERTA Two months. ASSUNTA That's not very long. Don't make the same mistake twice, Bert. You barely knew Charles when you married him. ROBERTA (defensive) I don't get it -- you're ragging on me about buying the house -- I would think you'd want Brian to live with me. ASSUNTA Not if he's the wrong person. Roberta locks her jaw, not wanting to believe that she's right. INT. MUSIC ROOM - DAY The kids play "Allegro," Roberta leading them. ROBERTA Get ready, now -- we're coming up to the fermata... They reach a certain note, then pause. ROBERTA Hold... Hold... Don't anybody move. Now at the Spring Concert, the audience is gonna be dying for that next note -- but we'll make them wait. As a matter of fact, I think I'll go grab a cup of coffee. She starts for the door and the kids moan and groan: "Come on, Roberta!" "Roberta, get back here!" She smiles. ROBERTA Well, O.K. But you have to promise you'll all start together. She nods. They begin again -- all at different times. DE SEAN Man. We'll never get that right. ROBERTA That's not a very nice thing to say about your classmates. (to class) How many people think they can get it right by the concert? All the kids raise their hands. De Sean looks around, embarrassed, then raises his too. Roberta smiles. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Brian and Roberta finish making love on the futon. They lie in each other's arms, still breathing heavily. ROBERTA I love you. Brian makes a sound that's either panting or laughing. ROBERTA Did you just laugh? BRIAN I'm sorry. It's just... Roberta looks at him, offended. ROBERTA What? BRIAN Why do people feel like the minute something's going great, they gotta name it? (beat) Once you name something, you snuff the life out of it. She disentangles from him. ROBERTA Jesus, Brian. Do you still get away with that crap? It's not the Sixties anymore. BRIAN Well, maybe if you'd actually gone through the Sixties, you'd know what I'm talking about. ROBERTA Fine! We won't name it, we won't talk about it, we'll act like we have no feelings for each other whatsoever! She angrily turns on her side with her back to him. Brian regrets hurting her and moves to her, kissing her shoulder. BRIAN I'm sorry. I'm being an asshole. (sweetly teasing) You can say you love me if you want. ROBERTA Forget it. I changed my mind. He laughs and coaxes her to kiss him -- a temporary truce. INT. BROWNSTONE - DAY ERNIE (70's), a rickety Black man in work boots, looks baffled by a tangled mess of wires protruding from a wall. Roberta approaches. ROBERTA How's it coming, Ernie? ERNIE Well, if I could just remember what I did here yesterday, I'd be moving a whole lot faster. (beat) You look real pretty today, honey. Brian overhears, rolls his eyes and pulls her aside. BRIAN You're crazy. Why did you hire him? ROBERTA He needed a job. Besides, he's wired all of East Harlem. BRIAN When? Fifty years ago? Brian sighs and walks off into another room. Two MEN carry in large panels of sheetrock with old WALLPAPER on it. ROBERTA Why is there wallpaper on it? MAN #1 That's how it comes. They lean the panels against a wall. Roberta turns to Ernie. ERNIE Yep, that's how it comes now. The guys quickly exit. Brian re-enters and sees the panels. BRIAN What the hell is this? ROBERTA Sheetrock. BRIAN You've gotta be kidding. Those ex- cons you hired ripped this off -- and you too! Roberta feels stupid but doesn't want to show it. ROBERTA Look -- this house is taking every penny of my settlement. I can't afford fancy union workers! BRIAN (throwing up his hands) Fine. Do it your way. He stomps off. ANOTHER ANGLE - Nick watches them fight and looks distressed. EXT. SCHOOL YARD - DAY Lots of screaming and commotion as the kids crowd around a fight in progress. As we move through the crowd we see that NICK's in a fight with another boy; Nick's nose is bleeding and he has the boy in a headlock. TWO TEACHERS run over to break it up. INT. AREA OUTSIDE JANET'S OFFICE - DAY Nick sits outside, holding an ice pack to his bloody nose. INT. JANET'S OFFICE - DAY Roberta stands opposite Janet. JANET I'm giving him a two-day suspension -- but next time he'll be expelled. ROBERTA There won't be a next time -- I promise. JANET Have you noticed your son lately? He's tied up in knots and he needs help. ROBERTA Janet, kids fight. You're making too much of this. JANET He was choking the kid. (beat) Nick's in trouble, Roberta. You need to deal with it. Roberta takes this in, upset. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Roberta plays "Go Tell Aunt Rhody" with Guadalupe, De Sean, Naeem, Benjamin, and two kids from the other classes. Lexi plays along with them. Nick enters from the kitchen, eating a cookie, ignoring the students. He turns on the T.V. ROBERTA (to students) Keep playing, guys. Roberta crosses to Nick and shuts off the T.V. ROBERTA You can watch when we're done. NICK It's my house! They don't live here -- I do! ROBERTA (sotto) Nick honey -- the kids are real nervous about the Spring concert. You could probably give them some pointers. NICK I don't feel like it. He reaches for the T.V. dial and she stops him. ROBERTA I said no. She crosses back to her students; Nick turns on the T.V. EXT. CENTRAL PARK - DAY Brian, Nick and Lexi laugh as they play frisbee alongside a DUCK POND. Roberta watches, relieved to see Nick enjoying himself. BRIAN Good catch Nick! Nick throws it back to Brian and it lands in the WATER. BRIAN (mock sternly) Uh-oh. You know what that means? He stalks towards Nick menacingly, picks him up and pretends he's going to throw him into the water. Nick laughs hysterically. NICK (through laughter) Don't! Don't throw me in! BRIAN Whatsa matter? Afraid of a little water? The ducks aren't afraid! Are you a chicken or a duck? NICK Don't! Don't throw me! BRIAN Looks like you got yourself a chicken, Roberta! NICK I'm not a chicken! BRIAN Well then you must be a duck! He pretends again to throw Nick in, then puts him down. Lexi holds out his arms to Brian. LEXI Throw me in the water, Brian! Do it to me! Brian swoops him up and Lexi starts laughing. Roberta laughs along, happy to see the affection between Brian and her sons. EXT. CENTRAL PARK - A LITTLE LATER Brian and Roberta speak as they stroll; the boys run ahead of them, dragging sticks along the pavement. In the b.g. we see HARLEM STREETS bordering the park. ROBERTA You seem to be the only one who can get Nick to laugh these days. BRIAN He misses his dad. I'm just a surrogate. ROBERTA No -- I think Nick really likes you. (taking his arm) You know... we're all hoping you'll move into the new house with us. BRIAN Whoa. Can we just slow down here a minute? It's too much like getting married. ROBERTA What's so bad about that? BRIAN That kind of commitment just isn't realistic. I mean, how can we know that you and I will even be able to stand each other in five years? ROBERTA Well, we don't. But if two people care about each other, they take a chance. BRIAN And look what happened to you and Charles. ROBERTA I'm not talking about Charles. I'm talking about us. BRIAN Look, Roberta. Marriage is based on a belief that one person can completely meet another person's needs. I just don't buy that. This is making her nervous. She looks at him, afraid of what he might be saying. ROBERTA (carefully) What are you saying? If there's some need you have that I don't meet, you'd go and get it "met" by someone else? He heaves a sigh of frustration, not wanting to answer the question. BRIAN I'm saying that it's the 80's and it's a fantasy to think of marriage lasting these days. One out of two marriages ends in divorce! ROBERTA You didn't answer my question. (beat) If I don't meet all your needs, and we're in a committed relationship -- forget marriage for a minute; I'm just talking about a relationship -- would you go to someone else? A beat. BRIAN In theory, yes. ROBERTA In theory. Roberta looks very disheartened. Brian feels badly. BRIAN Roberta, we've got something good right now -- that's the important thing. Let's just keep it that way, O.K.? He pulls her to him, kissing her neck, but she pulls away from him. ON NICK, observing with an anxious expression. INT. ROBERTA'S APARTMENT - NIGHT NICK (O.S.) (whining) Why can't he? Roberta looks distressed by her talk with Brian as she and the boys enter, back from the park. ROBERTA He just can't, O.K.? Brian's at his house tonight, and we're at ours. NICK Well then I wanna go to his house. ROBERTA Enough, Nick. Now why don't you and your brother practice while I make dinner. NICK I don't feel like practicing. ROBERTA Well do it anyway. NICK I wanna go to Brian's! ROBERTA Stop whining, and get your violin. Nick stomps off to get his violin. Lexi follows. Roberta puts down her bag and takes off her coat. While Lexi sets up his violin, Nick opens his violin case, takes out the violin and angrily starts playing, loudly and roughly. ROBERTA What the hell are you doing? NICK The problem with you is you're mean to everybody and then they don't want to be with you! ROBERTA I've heard just about enough from you, young man. Now set your violin up properly and start practicing. Nick THROWS the violin against the floor. Roberta's speechless. NICK I hate the violin! ROBERTA You pick that violin up right now and don't you ever ever -- Nick picks up the violin and THROWS the violin down even harder, then YELLS at Roberta before she can even respond. NICK It's all your fault! You made Daddy leave and you're gonna make Brian leave too! You're gonna be all alone and I'll have to take care of you! Roberta is stunned. The anger drains out of her as she suddenly sees what this is all about. ROBERTA Nick -- you don't have to take care of me. NICK Then who's going to? ROBERTA I'll take care of myself -- and I'll take care of you and Lexi. I promise. NICK You didn't try hard enough. You made Daddy leave us. This hits her in the solar plexus. Her hurt and vulnerability start to pour out. ROBERTA That's not true. I begged him not to leave, but he didn't listen. NICK Why not? Roberta hesitates, but knows she has to tell them the truth. She addresses both boys. ROBERTA Your father met someone he liked more than Mommy, and then -- NICK Who? Roberta swallows, shocked to hear him ask this. She can hardly answer him. ROBERTA Lana. Remember our friends Lana and Tom? NICK Is he gonna marry her now? ROBERTA No, but he's not coming back... to me. Nick and Lexi look very upset, not only from hearing the finality in her words, but from seeing their mother's pain. Roberta moves closer to them. ROBERTA I'll take care of you, Nick. You too, Lexi. I promise. I'm not going anywhere. We're still a family. Nick starts crying. Roberta takes him in her arms. Lexi starts to cry and Roberta holds him too. ROBERTA (softly, to both) I promise. INT. BROWNSTONE - DAY Ernie's radio plays a BLUES SONG. The BRICK WORKERS radio plays SPANISH MUSIC, and the PAINTERS' radio plays a RAP SONG. Roberta stands in the middle, about to lose her mind. HER POV - Ernie sits on a stool facing his wiring. He's fast asleep. ANOTHER ANGLE - The brick workers build a crooked fireplace. BACK TO SCENE Roberta sighs heavily, then crosses to the painters. ROBERTA What color is this? PAINTER White. ROBERTA I told you Eggshell. PAINTER Eggshells are white. Brian watches this interaction as he sands a door. BRIAN You're an idiot! I told you -- you can't be your own contractor. ROBERTA You're right. I'm an idiot. She crosses to Ernie and shakes him. ROBERTA Wake up, Ernie. He looks at her groggily. ROBERTA You're fired. She crosses to the brick workers. ROBERTA You're fired. She crosses to the painters. ROBERTA You're fired. Brian smiles at her, impressed. BRIAN That's more like it. ROBERTA You're fired too. Brian laughs. ROBERTA No, Brian. I mean it. I need to be with a man who can make a commitment to me. I need that, and my sons need that. (beat) So can you? BRIAN (hesitates, then) Roberta -- His tone and expression tell her the words are not forthcoming. ROBERTA Get out. He looks at her, shocked by her toughness, but knows he can't give her what she wants. He exits. Roberta stands in the middle of the room, a determined look on her face. INT. SCHOOL AUDITORIUM - NIGHT ROBERTA Stands in the aisle, leading the students and playing violin. ON STAGE The fifty fifth-grade students play the "Twinkle" variations. Their playing is impeccable and they look terrific. As the CAMERA PANS the audience, we recognize: MRS. ADISA, tears in her eyes as she watches Naeem; MRS. LAMB and her husband, watching Becky in amazement; ISABEL and her daughter sitting with ASSUNTA, NICK and LEXI; JANET, impressed as hell; and DENNIS, seething with jealousy. As the kids start the jazz variation of "Twinkle," a WOMAN elbows her husband: WOMAN That's the one Lucy wrote! The CAMERA returns to the children and captures their own pride in their playing, including LUCY, who smiles as she hears her song played by fifty. THE CONCERT - TIME DISSOLVE The students are now playing "Allegro," and they reach the fermata. They hold their positions in silence and the audience watches in anticipation. Roberta cues them and they play the next note in perfect unison. An involuntary smile lights on DE SEAN's face. They finish the song, the audience applauds, and Roberta turns to face them. She lights up when she sees how thrilled Janet looks, and Janet in turn raises her hands higher as she applauds Roberta. DISSOLVE TO: EXT. CPE 1 - DAY - ESTABLISHING - TIME CUT (1998) The side of the building now has an impressive mural: an urban landscape with three super heroes -- Puerto Rican, Black, and white -- rising up out of the street. It reads ONLY THE STRONG SHALL SURVIVE. INT. CLASSROOM - DAY Roberta stands in front of a classroom of twenty cute first- graders -- mostly Black and Latino, a few white -- sitting on the floor, chatting excitedly. Even though Roberta's ten years older, she seems more youthful; her wavy hair is loose over her shoulders, her clothing's casual and artistic. Beside her is Janet, her hair flecked with gray, and Dennis, who looks pretty much the same. The classroom teacher is ISABEL, a little older, a little tougher. ISABEL C'mon everybody, settle down -- Janet wants to talk to you. JANET Today's a very special day because we're starting the tenth year of the East Harlem Violin Program. This is a wonderful opportunity for you, so I want you to talk to your parents about whether you'd like to try this. ISABEL My daughter took violin with Roberta when she was your age, and now she's in high school and she still talks about how much she loved it. DENNIS Janet and I started this program because we knew how much you kids could benefit from it. CUTAWAY to Roberta and Janet exchanging glances over Dennis taking credit for the program. DENNIS You should know, however, that the violin is a difficult instrument. JUSTIN, a Black boy with attitude, raises his hand. He always wears a puffy red, yellow and green crocheted beret. Isabel nods to him. JUSTIN Who's that lady in the back? ANGLE - DOROTHEA (Doro-taya) VAN HAUFTEN (40's), an elegant, beautiful woman, smartly dressed, takes photographs from the back of the room. JANET That's Dorothea Van Hauften -- JUSTIN Say what? What kinda name is that? ISABEL Justin -- sshh! JANET -- and she's taking pictures of Roberta's classes for a magazine article about music education. JUSTIN I wanna be in the magazine! ISABEL First things first, Justin. Roberta's gonna explain to you about the "lottery." Roberta steps forward. RAMON OLIVAS (7), a small, adorable Puerto Rican boy with a crew cut, watches her with adoration. ROBERTA I used to just teach fifty kids at this school. But now I teach a hundred and fifty kids at three East Harlem schools and there's so many children who want to take violin classes that we have to have a lottery. VANESSA raises her hand, a white girl whose clothes and accessories are always adorned with cats. VANESSA Can I be in the class? ISABEL Roberta's explaining that. Just listen. ROBERTA After your parents sign your permission slips, I'm gonna put them in a sack, and I'll pick fifty names from each school. ANGLE - Ramon listens intently with his fingers crossed. ROBERTA So everyone bring in your slips by Friday, and I'll come back and tell you who's in violin class. ISABEL Remember, she's just picking names from a hat. It doesn't mean that anyone's better than anyone else. RAMON raises his hand. RAMON (to Roberta) I really really hope that I get in the class. Roberta looks at him, struck by his sweetness. ROBERTA I hope so too. EXT. 118TH STREET - STREET SIGN - ESTABLISHING - DAY EXT. ROBERTA'S BROWNSTONE - DAY The brownstone looks a lot better than when we last saw it. Graffiti's been removed, the stairs have been repaired, the windows have security bars, and there are flowers blooming in pots in front of the building. Roberta steps INTO FRAME, walking Allegra, now a 10-year-old dog. INT. BROWNSTONE - DAY The house is transformed: the first floor is one long open room with oak floors, a living room in front with a beautiful fireplace and a grand piano, and a country kitchen in the rear, complete with pots hanging over a large butcher block. NICK (17) practices cello and LEXI (15) practices piano; they play Haydn's "Trio #13." Now handsome young men, their blonde hair has darkened to brown. Nick is huskier; Lexi has a slighter build. Both are passionate, talented musicians. On the couch, RACHEL (12), a mature, beautiful Black girl, rosins her bow. RACHEL How come you guys don't play the violin? LEXI Well, picture her being your teacher and your mother. Rachel cracks up but stifles her laughter as Roberta enters from outside with Allegra. ROBERTA Hi Rachel. Be right with you. As Roberta removes Allegra's leash, Rachel and Lexi share a conspiratorial look. In the b.g., Nick packs up his cello. ROBERTA (to Nick) You're gonna practice upstairs? NICK No. I'm done. ROBERTA Already? You've barely practiced. NICK What -- are you timing me with a stop watch? Why don't you pick on Lexi for a change? LEXI 'Cause I'm perfect. Nick jostles him and heads upstairs. Lexi gets up from the piano. LEXI (to Rachel) Have a good lesson. He crosses to a sharp-looking bike parked behind the front door and addresses Roberta. LEXI I'll be back in a couple of hours. ROBERTA Be careful. Lexi mouths "be careful" along with her. EXT. RIVER EAST PARK - DUSK Lexi plays basketball with a group of Black and Latino guys. Despite his small stature, he's a great athlete, and an accepted part of the group. The game ends. He and his buddy Lawrence (now 16), both all sweaty, cross to a water fountain. As Lexi takes a drink -- MALE VOICE (O.S.) Can I try your bike? Lexi wipes his mouth and looks up at HENRY (18), a tall, intimidating Black teenager who towers over him. Lawrence watches tensely. LEXI I'm gonna be leaving pretty soon. HENRY Just wanna take it for a spin. LAWRENCE C'mon, Henry -- he don't want to loan you his bike. HENRY I didn't hear him say that. (to Lexi) Is that true? Did you say that? Lexi looks at him, knowing there's only one right answer. INT. LIVING ROOM - DAY Roberta and Rachel play Bach's "Minuet One" together on the violin. The girl has obvious talent. ROBERTA Vibrato... don't wiggle your wrist. Rachel stops, frustrated. RACHEL Dang! I can't get that right. ROBERTA You almost have it. RACHEL Almost isn't good enough. ROBERTA Did I turn you into such a perfectionist? RACHEL No. I came that way. ROBERTA (smiles, then) Just as long as you get it right for your Julliard audition. RACHEL What? ROBERTA I've recommended you for a gifted kids scholarship. Rachel looks at her in wide-eyed gratitude. ANGLE - Lexi enters the front door, a glum look on his face. ROBERTA Where's the bike? INT. HONDA/EXT. EAST HARLEM STREETS - NIGHT Roberta drives with Nick in the front, Lexi and Lawrence in the back. They're in a dangerous looking part of East Harlem. LEXI Mom, please. Don't do this to me! NICK C'mon, Mom -- why don't you let me handle this? ROBERTA Are we getting closer, Lawrence? LAWRENCE It's the next block up. LEXI (to Roberta) You don't have to do this. I'll pay you back. ROBERTA How? It took me six months to save up for it. NICK I'll help him, O.K.? We'll both pay you back. LEXI Or we'll ask Dad -- he'll help us out. ROBERTA Yeah, right. LAWRENCE O.K., slow down. It's the second one on the right. Roberta slows the car down next to a HOUSING PROJECT. EXT. HOUSING PROJECT - NIGHT Not a place you'd want to go into, even in the day time. PULL BACK TO REVEAL this is their POV from INSIDE THE CAR. The boys look frightened, but Roberta's on a mission. NICK C'mon Mom, let's get out of here. ROBERTA Lock the doors. And she exits. The boys watch as she heads for the building, then Lexi shakes his head and covers his face. LEXI I'm dead. She's gonna get me killed. Nick jumps out of the car and heads after her. NICK I'm coming with you! ROBERTA No. Get back in the car and stay with the boys. Nick hesitates and heads back. Roberta presses on. Lawrence opens the window and calls to her. LAWRENCE Don't take the stairs! INT. TENEMENT BUILDING - LOBBY - NIGHT CLOSE ON THE ELEVATOR DOOR with a handwritten SIGN that reads OUT OF ORDER. WIDER - Roberta stands in front of the elevator, staring tensely at the sign. She takes a deep breath, then heads for the staircase. INT. TENEMENT BUILDING - STAIRWELL - NIGHT Roberta climbs the dimly-lit stairs of a dilapidated, scary building. O.S. a BABY CRIES, a couple of TV's BLARE. INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS At the top of the stairs, Roberta turns down the hall, passing a door riddled with bullet holes. She finds the apartment and knocks. No response. She knocks again. OLD WOMAN (O.S.) Yeah? ROBERTA I'm a school teacher. Henry has taken my son's bicycle and I want it back. A beat, then the door cracks open, an OLD WOMAN visible through the chain lock. OLD WOMAN Henry's not here. ROBERTA Well you tell Henry that if he returns the bike, I won't have to notify the police -- or his school principal. Although since I am a teacher, it would be very easy for me to do that. A couple of beats. OLD WOMAN He's not home. He doesn't get home till late. ROBERTA How late? OLD WOMAN Not till after ten. ROBERTA I'll be on the steps of CPE 1 at 11 P.M. I'll be waiting for him. The door closes. Roberta exhales. Did she just do that? EXT. CPE 1 - NIGHT Roberta, Nick, Lexi and Lawrence sit on the front steps of the school. The street is deserted. LEXI You're crazy. He's not gonna show. Roberta sits confidently. NICK You think he actually cares that you're a teacher? You think he even goes to school? LEXI C'mon, Mom -- let's just go. ROBERTA It's only five after eleven. Nick and Lexi roll their eyes and exchange a look: she's nuts. Suddenly, there's the SOUND of a bicycle. Nick, Lexi and Lawrence look towards the sound, incredulous. Lexi stands. Henry rides up on the bike and dismounts. Lexi looks directly at him as he takes the bike from him. HENRY I was just borrowing it. He glances at Roberta, then walks off. INT. CPE 1 - CLASSROOM - DAY Roberta stands in front of Isabel's class and calls out names, handing the selected children acceptance letters. The kids are charged up; "My heart is pounding!" "Please pick me!" ROBERTA Shandra Wilson. A pretty Black girl with braids and tons of barrettes jumps up and down, then runs up for her letter. The kids SQUEAL and CHEER for each student called. Shandra hugs her best friend MYESHA, a chubby Black girl who also holds a letter. ROBERTA Justin Brady. JUSTIN raises his fists in triumph. ANGLE - RAMON anxiously waits to see if his name will be called. JUSTIN sits down next to him, waves his letter in Ramon's face, taunting him. ROBERTA Vanessa Klein. Vanessa takes her letter and smiles. She puts it into her cat-shaped backpack. ROBERTA O.K. One more name... Ramon crosses his fingers and holds his breath. ROBERTA Leonard Hood. RAMON looks crushed. JUSTIN taunts him some more. LEONARD, a scrawny white boy takes his letter, scared by it. He starts to cry. LEONARD It's too hard! I don't wanna do it! ISABEL Don't you even wanna try, Leonard? LEONARD (through tears) I don't want to! Isabel looks at Roberta. ROBERTA Well, O.K. then. I'll pick someone else. (she picks a name) Ramon Olivas. Ramon's face lights up. EXT. SCHOOL YARD - DAY As Roberta walks through the yard, she sees kids excitedly showing acceptance letters to their moms. SHANDRA and MYESHA hold hands as they run to Shandra's mom, BEVERLY WILSON, pushing a stroller. She looks at the letter and hugs Shandra. ANGLE - RAMON reads his letter to his mother, CONCEPCION (45), whose eyes tell you that she's lived through a lot. She speaks with a Puerto Rican accent. RAMON This is to inform you that your child, Ramon Olivas, has been chosen by lottery to be in the violin program. CONCEPCION You happy? Ramon spins round and round with the letter in his hand. CONCEPCION I think you're happy. EXT. RIVER EAST ELEMENTARY SCHOOL - DAY Roberta illegally parks her old Honda, rushes out of the car, grabs her book bags and three violins, pulls a parking ticket from her pocket and puts it on the windshield. WOMAN'S VOICE (O.S.) (German accent) Does that really work? Roberta turns. It's DOROTHEA, the PHOTOGRAPHER we saw in the classroom. ROBERTA No. But I keep trying. And maybe someday the school will give me a parking space! She rushes towards the school and Dorothea follows her. DOROTHEA Wait -- She hands Roberta a thin box. Roberta puts down her violins, glances inside it and forgets about being late. INSERT -- Terrific black and white shots of Roberta's advanced classes playing violin. ROBERTA (O.S.) God, these are great. BACK TO SCENE DOROTHEA Those copies are for you. ROBERTA Thank you. Can I... pay for you them? DOROTHEA Don't be silly. Besides -- you'll need your money for parking tickets. They smile at each other. DOROTHEA What you're doing for these children is wonderful. My husband's a violinist -- he was quite impressed when I told him about you. ROBERTA What's his name? DOROTHEA Arnold Steinhardt. ROBERTA Of the Guarneri String Quartet? Dorothea nods, and hands Roberta a card. DOROTHEA Stay in touch. Let us know when the kids have a concert. RACHEL, heading for school, calls out to Roberta. RACHEL Don't be late for violin class! I hear the teacher's really mean. Roberta smiles, slips the card in her pocket, nods to Dorothea and follows Rachel. INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY Roberta's advanced class plays "Can-Can." Rachel's one of the eight sixth-graders. Roberta plays along, crossing to AMANDA, a white girl in a country-western outfit. ROBERTA Amanda, what did I tell you about wearing cowboy boots to violin class? They're too slippery! She crosses to a pudgy Black/Puerto Rican boy with glasses. ROBERTA Relax your two, Simon... She glances at STEPHANIE, a white girl with red hair, next to KENNY, a Black boy with an earnest expression. ROBERTA Your stop sign has to be up, Kenny! Stephanie, it doesn't look like you ever had a lesson with me! CARLOS (13) hurries in, a handsome Black boy in a baseball jacket that says "LOS LEONES." He looks 15. ROBERTA Where's your violin, Carlos? CARLOS It's coming. He nervously looks down the hall. ROBERTA What, is it walking here by itself? A Black third-grade girl rushes into the room and hands Carlos his violin, then runs off. Roberta crosses to Carlos as he quickly readies the violin. ROBERTA Your buddies giving you a hard time? CARLOS Look, it's just not cool. You wouldn't understand. ROBERTA Hey, you want your sister to carry your violin, that's fine. But is she practicing for you too? Because lately, that's how it sounds. CARLOS I've been busy! I've been -- ROBERTA I'm not interested! Just get here on time, and commit to this class or I don't want you in here, you understand? He nods sullenly. ROBERTA You're a good violinist, Carlos -- and it's definitely not "cool" to waste your own talent. Carlos takes this in as Roberta crosses to another student. EXT. RAMON'S APARTMENT - EAST HARLEM - ESTABLISHING - NIGHT It's upstairs from a grocery store on a busy street. INT. RAMON'S APARTMENT - LIVING ROOM - NIGHT Ramon sits on the floor, upset, half-heartedly building with Legos, while his parents argue in the KITCHEN. His father MANUELO is a stocky, muscular man. INTERCUT between the two areas. This is a modest, well-kept apartment. Off the kitchen, religious candles burn on a shelf above a washing machine. MANUELO Why didn't you show it to me? CONCEPCION It just needed one parent's signature. MANUELO (with some Spanish) Well, I'm his parent and I don't give permission! He should be playing baseball, not the violin! CONCEPCION It makes him happy. ON RAMON, looking far from happy at the moment. EXT. RIVER EAST SCHOOL - DAY Rachel steps off a city bus, carrying her violin. She passes two sixth-grade boys and a girl. BOY #1 (loudly) Ooh, check out little Miss Violinhead. GIRL She carry that violin with her all the time 'cause she think she special. Rachel turns to them. RACHEL I am special. She proudly continues on, then sees Roberta walking towards the school and catches up to her. RACHEL (nonchalant) So I heard from Julliard. Roberta stops and looks at her. ROBERTA And? RACHEL They said yes! Roberta gives her a big hug. INT. CPE 1 - MUSIC ROOM - DAY ON THE BEGINNER'S CLASS, including Ramon, as they play "Lightly Row." Roberta walks around, making corrections as she addresses the students. She doesn't see Justin poking Ramon with his bow; Ramon swats the bow away and glares at his nemesis. Roberta moves some of Shandra's braids away from the violin. ROBERTA So when you take the violins home, tape your music to the wall directly in front of your nose so you can play with perfect posture. Your parents are gonna be so excited to hear you play! INT. RAMON'S HOUSE - LIVING ROOM - NIGHT SCREECHING comes from Ramon's room as he practices "Lightly Row." His brothers, PEDRO (18) and ERNESTO (17), cringe as they try to watch T.V. Ernesto gives up and puts on his Walkman; Pedro's ready to break the violin. Concepcion listens patiently as she folds laundry, but even she winces. PEDRO (yelling) Ramon! How many cats you killing in there? INTERCUT RAMON - He plays with pride, eyes on the music taped to the wall. INT. CPE 1 - MUSIC ROOM - DAY (A FEW MONTHS LATER) ON RAMON, his improved playing showing that time has passed. WIDER - the beginner's class plays "Lightly Row." JUSTIN is struggling more than the other students. Roberta plays along with the class, eyeing each student. ROBERTA More bow! To the frog! Myesha, your stop sign line should be touching. Don't let it wiggle! You're on the wrong string, Justin! And look at your feet! Vanessa enters the front door without her violin. ROBERTA Where's your violin? VANESSA I forgot. ROBERTA Goodbye! And you may be dropped. Vanessa pouts and exits. Roberta moves to ROSARIO, a Puerto Rican girl. ROBERTA Look at those nails, Rosario! She pulls a clipper from her pocket and swiftly clips them. MYESHA nervously glances at her own nails. ROBERTA I see you over there, Myesha. She moves to Ramon and corrects his bowing position. ROBERTA (to Ramon) You're doing much better. As Roberta walks on to the next student, Justin purposely knocks over Ramon's music stand. RAMON Drop dead, Justin! JUSTIN It was a accident! RAMON Was not! ROBERTA Ramon, I don't like that kind of talk. Justin, pick up his stand, now! Our spring concert is in three weeks and you might not be in it. Is that what you want? EXT. CPE 1 - DAY As Roberta heads for her car, she sees Vanessa being helped into a car by her FATHER, his suit wrinkled and tie loosened. There's SNOW on the ground. ROBERTA Mr. Klein? I'm gonna have to drop Vanessa from the class if she keeps forgetting her violin. MR. KLEIN (sotto) She's going back and forth between houses. My wife and I split up. ROBERTA (softening) Oh. I'm sorry. Roberta leans into the car window. ROBERTA Vanessa, maybe you could write down for your Mom and Dad which days are violin days. VANESSA (almost in tears) The tape doesn't stick. ROBERTA What? VANESSA I taped the music to the wall at my Mom's house and then I took it to my Dad's house and it doesn't stick anymore. Mr. Klein's eyes tear up and he quickly wipes them. ROBERTA Well you know what? That's an easy problem to solve. She looks through her book bag, takes out a piece of music and gives it to her. ROBERTA Now you have two, O.K.? One for each house. Vanessa nods, clutching the piece of music. Roberta and Mr. Klein exchange a look. She touches his arm, then walks off. INT. RAMON'S HOUSE - NIGHT Ramon, holding his bow and violin, crosses to his father who's watching a baseball game on T.V. RAMON You wanna hear my new song, Papa? MANUELO (in Spanish) Not right now. Ramon exits, hurt. Concepcion watches from the side, and crosses to her husband. CONCEPCION We made mistakes with Pedro and Ernesto and we can't fix them now, but Ramon -- he works so hard. The violin makes him want to be good at everything. He shows no response, and she exits. Manuelo ponders what she said. EXT. CPE 1 ELEMENTARY SCHOOL - DAY (MORNING) Roberta approaches the school on a winter morning. She smiles as she sees Vanessa get out of her MOTHER'S car with her violin. Roberta nears the front door and finds Isabel and some teachers huddled in conversation. A few students are crying. ROBERTA (to Isabel) What happened? INT. MUSIC ROOM - DAY The beginners sit on the floor and rosin their bows. A few chat, but it's quieter than usual, except for RAMON who is "blessing" kids with his violin bow. RAMON You go to heaven... You go to hell... You go to hell... heaven... Roberta enters slowly. She looks very shaken up. She takes note of what Ramon is doing, and overhears Toussaint and Shandra in mid-conversation. TOUSSAINT My grandpa died and my uncle, so that makes six. SHANDRA I know more than that. At least seven people... maybe even nine. Roberta gently tells Ramon to sit, and then she sits down on a child-sized chair in front of them. ROBERTA (quietly) I know that you've all heard the bad news about Justin. MYESHA I didn't hear. TOUSSAINT There was a drive-by shooting by his house and he got shot on accident and he died. Myesha takes this in, looking sad. ROBERTA Does anyone want to talk about it? RAMON (angry) I think we should just play violin. Roberta watches him. INT. RAMON'S HOUSE - LIVING ROOM/KITCHEN AREA - DAY Concepcion cooks chicken and Pedro sets the table, whistling along to Ramon's O.S. violin playing "We Shall Overcome." There's a KNOCK on the door. Concepcion answers it, revealing Roberta. CONCEPCION Roberta! Come in. Roberta enters. ROBERTA I came by to check on Ramon. CONCEPCION (confused) Why? ROBERTA Didn't he tell you what happened at school? Concepcion shakes her head no. INT. RAMON'S ROOM - DAY Ramon is still playing violin as Concepcion and Roberta enter. When he sees Roberta he straightens up even more. CONCEPCION Roberta wants to talk to you, O.K.? He nods. Concepcion touches his head, then exits. RAMON Did that sound O.K.? ROBERTA Yeah, it did. Ramon smiles, pleased with himself. ROBERTA I've been thinking about Justin. Remember how mad I got the last time I saw him? RAMON Yeah. You got very strict with him. ROBERTA It wasn't always so easy to be nice to him, you know? Ramon looks away from her, upset. RAMON You think Justin's in heaven or hell? ROBERTA Heaven. Ramon runs his fingers along his bow. RAMON I told him to drop dead. Roberta touches Ramon's back. ROBERTA Justin didn't die because of what you said. I promise. RAMON How do you know? ROBERTA I don't think you're that powerful, do you? I mean, if you had such powers, just imagine what kind of violin player you'd be by now! RAMON Yeah. I'd be better than you! They laugh together, then Ramon looks sad again. ROBERTA It's O.K. to cry, you know. RAMON Not for a man. ROBERTA My boys still cry and they're big, strong young men now. (beat) I bet Justin's daddy cried. Ramon's eyes get teary. Roberta quietly leaves the room. EXT. ROBERTA'S BROWNSTONE - ESTABLISHING - DAY (SPRING) INT. ROBERTA'S BROWNSTONE - LIVING ROOM - DAY Roberta brings in the mail, looking curiously at a manila envelope with a return address from the NY REVIEW OF BOOKS. She opens it, looks inside, then pours out a batch of other letters onto the table. They're addressed to BOX HOLDER 127. She opens one, reads it, then rushes to an INTERCOM. ROBERTA Nick, Lexi! Get down here right now! INT. ROBERTA'S BROWNSTONE - MOMENTS LATER NICK We were just trying to help! Nick and Lexi stand by the table, opposite Roberta -- with the incriminating pile of letters between them. ROBERTA This is humiliating! NICK Mom, no one knows it's you! I mean, you don't even have to read them if you don't want to. (glances at pile) Although obviously, a lot of guys are interested in dating you. ROBERTA No. A lot of guys are interested in dating you and Lexi. (beat) What did you say about me, anyway? They thought she'd never ask. NICK "Beautiful musician, late 40's, tired of playing solo -- LEXI -- seeks a healthy, stable, attractive man who's not afraid of a duet with a strong, independent woman. NICK My violin playing will feed your soul... LEXI ...And my lasagna will be music to your palate." They beam with pride. Roberta looks at them, mortified. ROBERTA Oh, my God. LEXI Did you catch all the music metaphors? ROBERTA Don't you think it's a little weird that you're trying to get your mother a date? NICK Don't you think it's a little weird that you're not even interested in dating? ROBERTA Boys, look. Number one -- even if I wanted to date, I don't have time. And number two -- I've got my teaching, I've got you guys -- that's all I need. The boys nod, disappointed, and she exits. They look at each other with glum expressions. LEXI (to Nick) I really thought she'd like the music metaphors. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT Roberta lies on the couch, reading the personal ad letters. She tosses one aside, then opens another. INSERT The letter is designed like a newspaper with a headline that reads: JOURNALISM PROFESSOR DAN PAXTON ANSWERS PERSONAL AD; HOPES RUN HIGH BEAUTIFUL MUSICIAN WILL CALL FOR A DATE! BACK TO SCENE Roberta can't help but be charmed. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT Roberta, Nick and Lexi play Haydn's "Trio #13" together on their respective instruments. We sense that this is a special family ritual. They play throughout their conversation: ROBERTA I think you're flat, Nick. NICK I'm not flat. ROBERTA The B sounded flat. NICK Just play the violin, Mom. I'll take care of the cello. They play for a few beats. LEXI You nervous, Mom? ROBERTA No. I'm fine. The DOORBELL rings and Roberta jumps up, bolting into the bathroom down the hall. Lexi and Nick exchange a smile, then Lexi crosses to the door and opens it. INT. DOORWAY - CONTINUOUS Standing in the doorway is a man in casual college professor attire. He's nice-looking, but no Prince Charming. He shakes Lexi's hand and smiles warmly. DAN Hi. I'm Dan Paxton. Lexi shows him in. INT. ROBERTA'S BATHROOM - CONTINUOUS IN THE MIRROR - Roberta takes a last look at herself, wondering if he'll find her attractive. She touches her hair, adjusts her dress, then takes a deep breath as she builds up her courage. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - CONTINUOUS Roberta enters the living room where Dan is chatting with Nick and Lexi. Dan sees her and is instantly smitten. DAN (shaking her hand) Wow. An honest woman. ROBERTA Honest? DAN Your ad. When you said you were beautiful, you were telling the truth. She smiles, blushing, and avoids eye contact with her sons who are trying really hard not to laugh. As she and Dan start to exit: NICK Make sure you're home by midnight, young lady. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT CLOSE ON CLOCK It reads 12:30. WIDER - Nick and Lexi play a video game on the TV screen. O.S., there's the SOUND OF A CAR. They race to the window. LEXI Ten bucks he tries to kiss her. NICK That's a no-brainer. Of course he'll try. The real question is whether she'll let him. LEXI O.K. -- ten bucks she lets him. NICK You're on. They stare out the window intently. INT. DAN'S CAR - NIGHT Dan pulls his car up in front of Roberta's house. Beside him, Roberta holds a program from a Lincoln Center concert. Roberta's tense, but Dan seems relaxed and centered in his attraction to her. DAN I had a lot of fun tonight. ROBERTA Yeah, I did too. DAN I have a confession -- I've never answered an ad before. I did it on a dare. ROBERTA Well, I have a confession -- my boys placed the ad behind my back. They both laugh, then smile at each other. An awkward beat: will he or won't he? Dan leans in to kiss her, and Roberta turns away, uncertain. ROBERTA Look, Dan -- I went along with this 'cause it's been a while. Quite a while... And I had a very nice time... but I'm not sure if I'm ready to get involved with anyone right now. A beat. Roberta feels badly about rejecting him. DAN (deadpan) Does this mean I don't get any lasagna? Roberta cracks up. Dan smiles at her. INT. ROBERTA'S BROWNSTONE - NIGHT Roberta enters. The boys are back to their video game, covering that they've been spying on her. ROBERTA Why are you guys still up? NICK (all innocence) Why? Is it late? ROBERTA Good try, Nick. LEXI So how was it? ROBERTA Well... he's nice. NICK "Nice"? As in "let's just be friends" nice? ROBERTA I don't know yet. We'll see. Nick looks disappointed. NICK There's still a lot more letters. ROBERTA Good night, Nick. She starts heading upstairs. LEXI Hey, Mom -- can you loan me ten dollars? INT. CPE 1 - MUSIC ROOM - DAY THE BLACKBOARD reads: SPRING CONCERT IN 10 DAYS! PRACTICE PRACTICE PRACTICE! Roberta rushes in, frazzled, not noticing at first that the beginners are very quiet -- and that most don't have violins. ROBERTA Guys, I'm so sorry -- I got stuck over at CPE 2... She puts her stuff down, then looks at the kids. ROBERTA What's going on? Where are all your violins? RAMON We heard you got fired. ROBERTA What?! EXT. HALLWAY - DAY Janet and Dennis talk outside Janet's office. Roberta storms over to them. Janet looks at her, alarmed. ROBERTA Is it true? JANET Why don't you come in my office? ROBERTA It's true? You're firing me? JANET It's not me, Roberta. The Board of Ed. cut the budget, the District had to comply, and as of the end of this term, the violin program has been... excessed. Roberta takes this in, momentarily speechless. In the b.g., the beginners slip into the hall to watch. ROBERTA Excessed. (beat) They specifically said that my violin program has to go. JANET They've slashed the budget -- music and art programs got hit the worst. ROBERTA What about Dennis' classes? DENNIS I'm tenured, Roberta. Roberta looks at him, then back to Janet. ROBERTA When was this decided? JANET Things happened very quickly... I wanted to tell you myself -- ROBERTA (reeling) I just... I can't even believe this is happening! DENNIS Why not? You're a sub. Your position has never been permanent. JANET Shut up, Dennis! You're not helping! (softly, to Roberta) Come into my office, please. They leave Dennis standing there, looking as if he's had his face slapped. INT. JANET WILLIAMS' OFFICE - CONTINUOUS ROBERTA There's gotta be a way to fight this! JANET Fight it with what? I don't have any other extra programs to give them instead. ROBERTA Oh, I see. So after ten years, after fourteen hundred children have learned to play the violin, this is just an "extra program." JANET You know I don't feel that way and you know damn well I've been standing by you all these years! You think I haven't noticed what you've done for these kids? ROBERTA Then do something! JANET (points to her phone) I've been on this phone for the past three days trying to "do something" -- the District office can't even stand the sound of my voice. Believe me, there are some people around here I'd much rather get rid of. But as far as the Board's concerned, violin classes are not a priority. Roberta's fury starts to give way to grief. She looks terribly wounded. Janet looks at her helplessly. JANET I don't have the power here, Roberta. I'm so sorry. A beat, and Roberta exits. EXT. SCHOOL YARD - DAY Roberta's dazed and in pain as she walks through the crowds of children, oblivious to kids calling her name and waving. INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) Nick and Lexi enter the darkened house, chatting as Nick wheels in the bike and Lexi bounces a basketball. They turn on a light to reveal ROBERTA sitting at the kitchen table with a glass of wine, her face ashen. NICK What happened? EXT. STREETS - DAY (LATE AFTERNOON) Roberta, Nick and Lexi walk Allegra in their neighborhood. Roberta looks worn out. ROBERTA I'm a good teacher. I've worked so hard to give these kids something to be proud of. Lexi moves to comfort her. LEXI I'm so sorry, Mom. I can't believe they did this to you. ROBERTA It's like when my father got killed. For twenty years, he followed every safety rule the factory had, and then someone else flips the wrong switch... (she chokes up) It's not fair. You do everything right and then... NICK It's the wrong analogy. You couldn't do anything about Grandpa's death. It was irreversible. This isn't. ROBERTA Tell that to the Board of Education. NICK Let me ask you something. Why did you risk your life for a bicycle? Roberta and Lexi look at Nick, baffled as to the relevance of the question. ROBERTA I did not risk my life. NICK Of course you did! That building? Threatening Henry? And for what -- two hundred dollars? ROBERTA No. Not for that. LEXI Then why? ROBERTA When someone steals something that belongs to my kids, I'm not gonna sit back and let that happen! A beat as she realizes what she's just said. The boys look at her and the three of them stop walking. ROBERTA Guys -- you need to think about this. If I try to fight this -- with no salary coming in -- I could lose the house, screw up your college plans... It would be a lot safer to just go out tomorrow and get a job in a private school. LEXI Yeah, but is that where you really want to be? INT. ROBERTA'S HOUSE - LIVING ROOM - NIGHT Roberta frantically searches through her purse, then crosses to a hall closet and quickly checks the pockets of her coats and jackets. She feels inside a jacket pocket, then finds it: DOROTHEA'S BUSINESS CARD. EXT. COLUMBIA UNIVERSITY - ESTABLISHING - DAY INT. COLUMBIA UNIVERSITY - DEPT. OF JOURNALISM - DAY FOLLOW DAN PAXTON as he walks down the hall towards his office and sees a strange silver object on the floor in front of his office door. He picks it up. INSERT -- A foil-covered plate with a note on top: DO YOU KNOW ANYONE AT THE NEW YORK TIMES? BACK TO SCENE Dan lifts up the foil to reveal a large piece of LASAGNA. INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT SEVENTY-FIVE KIDS play "We Shall Overcome" and it's incredibly moving. Nick's on cello, Lexi plays piano. ROBERTA proudly leads the children. At the side of the stage, we see DOROTHEA photographing the concert. THE CAMERA PANS THE AUDIENCE of teary-eyed parents, many of them with CAM CORDERS. We FIND Ramon's family. Manuelo is riverted by his son's playing, and he starts to cry. Concepcion knows this without looking. She takes his hand. ANGLE - JANET stands along the side and her eyes start to fill with tears. She tries to stay composed, then discreetly exits the auditorium. The song ends and the audience APPLAUDS, rising from their seats, including ASSUNTA (now 65), next to ISABEL and DAN. Someone remains seated: a REPORTER (40's), sitting beside Dan and taking notes. The STUDENTS bow, then point to Roberta who bows and takes the stage. She gestures for people to sit. A beginner student brings her flowers. Roberta kisses her, then approaches the mike. ROBERTA (to the audience) The beautiful concert that you just heard could be the last concert of the East Harlem Violin Program. The Board of Education and the District Superintendent don't think that music is important for our children. But they're wrong -- and they're in for a fight. The parents stand and applaud. We see the REPORTER writing quickly. Dorothea snaps more pictures. Roberta extends an arm towards the kids, directing the applause at them. Ramon gives her a thumbs up. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT ROBERTA is vacuuming the living room while Assunta dusts. Extra chairs are set up in the living room in preparation for a meeting. The doorbell RINGS. ROBERTA Someone's early. FOLLOW ASSUNTA to the DOOR. She opens it, revealing JANET, who's carrying two bags of groceries. Assunta's demeanor instantly cools when she sees her. In the b.g. Roberta sees Janet and turns off the vacuum cleaner. JANET Hello, Assunta. How are you? ASSUNTA I'd be a lot better if my daughter had a job next year. ROBERTA Ma! JANET (to Assunta) I would too. Janet briskly walks into THE LIVING ROOM, puts the grocery bags down on a table, and begins to take things out of them. Roberta watches her, mystified. JANET (to Roberta) Sorry I'm early, but I figured we'd need time to set up. Roberta watches Janet for a beat, then addresses Assunta. ROBERTA Mama, why don't you take Allegra out for a walk? Assunta hesitates for a beat, then gets the dog and exits. Janet continues unpacking the bags as if there's nothing unusual about her being there. Cheeses, crackers, bread, salads, fruit, paper plates, napkins, etc. She sees Roberta's confused expression. JANET You are having a meeting here tonight, right? Parents and teachers? ROBERTA Well, yes, but ... JANET Take it from me. If you want to get parents to help you with something, you have to feed them. She holds up two wedges of cheese. JANET You have a cutting board for these? Roberta crosses into the kitchen and returns with a cutting board and a knife. JANET (as she continues to unpack) And if you think parents are bad, teachers are even worse, no offense. If you don't feed them, you never get anything extra out of them. That's why I got this. She pulls out an Entenmann's blackout cake. JANET Entenmann's gets them every time. Roberta continues to stare in amazement at Janet. JANET What? Don't tell me you expected me to bring something homemade. ROBERTA (as she takes the cake from her) Well, no... I -- JANET Good. Because take it from me -- my own family begs me to stay out of the kitchen. ROBERTA What I didn't expect was for you to be here. JANET Why not? We've gotta figure out a way to fight this. (as she arranges crackers on a plate) After ten years, Roberta, I can't imagine walking through those hallways and not hearing that off-key, screechy, scratchy, nails-on-the- blackboard violin music. Roberta smiles. Janet holds up a baguette. JANET What do you think? Cut it into slices now, or leave it whole? ROBERTA Let's cut it now. It'll be less messy. Janet hands her the bread. A beat as the two women exchange a private smile, then return to their respective tasks. INT. ROBERTA'S BROWNSTONE - NIGHT There's a crowd of PARENTS assembled in Roberta's front room, talking at once, yelling out ideas, including CONCEPCION, BEVERLY WILSON (Shandra's mom), MR. ADAMS (Black) and MRS. ADAMS (Puerto Rican), the parents of James (from Roberta's first year) and Simon. DOROTHEA, JANET, ISABEL are also there; ASSUNTA is keeping tabs on the refreshments. ISABEL Don't they realize how much this program helps the kids? MR. ADAMS Simon's our third child to study with Roberta. James is pre-med, April's valedictorian -- now that says something! MR. KLEIN I think we should inundate the Board and the District with letters. JANET You're wasting your time. The Board and the District are not gonna pay for this program, no matter how many letters they get. Disappointed grumblings. ISABEL What if we raise the money ourselves? JANET I can't see how they'd object to that. A beat as people take this in. CONCEPCION Well once that newspaper article comes out, that should help bring in money. BEVERLY Yeah, but what if it doesn't? For all we know, it's gonna be buried on the back page. Besides, who says anyone's gonna give a damn about our kids? DOROTHEA (to Roberta) What if you do a benefit concert? We can raise a batch of money from ticket sales, and then the concert itself could be great publicity. There's word of mouth... you could get reviewed... ROBERTA It better be a good concert! Some people laugh but we see the anxiety on Roberta's face. ROBERTA We have to offer something more than me and the kids. (to Dorothea) Do you think maybe your husband would perform with us? DOROTHEA (slyly) I'm sure I could persuade him with a little pillow talk. And maybe he can get another violinist too -- Itzhak Perlman, perhaps. This gets people's attention. ROBERTA That would be fantastic. DOROTHEA We could rent a place like the 92nd Street Y -- it's perfect for this. It seats about nine hundred people and if we charge between fifty and a hundred a ticket -- ISABEL (to Roberta) We could probably raise enough to reinstate your program for a year. JANET Sounds like a plan. ROBERTA (half to herself) It better be a good concert. The DOORBELL RINGS and Roberta crosses to get it. DAN enters, holding copies of the NY POST, the DAILY NEWS, and a couple of other papers. Each paper has been opened to a specific page. DAN Take your pick. Roberta grabs the top one -- the POST -- opened to page 5. INSERT The page has a photo of Roberta at the Spring Concert, and a large article headlined A VIOLIN TEACHER FIGHTS BACK. INT. MUSIC ROOM - DAY Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta tries futilely to get the beginners to pay attention to her. ROBERTA Kids, listen to me -- it's really important that you don't look at the camera and you try to act as natural as possible. Dennis storms in. DENNIS Who authorized this? ROBERTA Janet. DENNIS Well Janet's not here today and I want these people out of here. The kids quiet down and watch them argue. A CAMERA GUY starts shooting the argument and Dennis sees him. DENNIS Turn that off, you hear me? ROBERTA Why are you doing this? We're not bothering anyone. DENNIS You're disrupting school and I want them out of here -- now. ROBERTA You still don't get it, do you? I don't care if you hate me, Dennis -- that's your business. But think about the students for once. Every time you interfere, you're not hurting me -- you're hurting them. She points to the kids. They're silent, waiting to see if Roberta got through to him. A beat. DENNIS Get these people out of here or I'm calling the police. ROBERTA Go right ahead, call them. That'll look real good on the eleven o'clock news. A beat and he exits. Roberta takes a deep breath, then turns back to the kids who are watching her, impressed. RAMON I don't hear no sirens. INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT ON THE TV is the news segment: ROBERTA speaks to an unseen interviewer. ROBERTA I'm from a blue collar family, and if it weren't for the lessons I got in public school, I never would have learned the violin. It CUTS TO Roberta's beginners speaking to the interviewer. INTERVIEWER (O.S.) How does it make you feel to lose your violin program? SHANDRA It makes us sad! RAMON Yeah, like we're never gonna have no more violin lessons -- VANESSA And it's bad because... because we love violin class. WIDER - REVEAL Roberta, Lexi and Nick watching the TV. INT. ARNOLD STEINHARDT AND DOROTHEA'S APARTMENT - NIGHT ON TV - THE SAME NEWS SEGMENT, ANOTHER SOUND BITE ROBERTA Yes, I've gotten offers from two private schools, but this is where I want to be. DOROTHEA (O.S.) Arnold, these kids need help. WIDER - REVEAL a comfortable Upper East Side apartment and DOROTHEA watching T.V. while ARNOLD practices violin. There's FRAMED PHOTOGRAPHY on the walls, signed by Dorothea. ARNOLD Didn't we send them a donation? DOROTHEA They need something bigger. And you can't just write a check -- you have to get involved. ARNOLD Involved how? The look on her face tells him it's more than he bargained for. ARNOLD Uh-oh. INT. SERIES OF SHOTS - DAY 1. Arnold Steinhardt speaks on the phone. His Roladex is open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely waits to hear if Itzhak Perlman will say yes. 2. Parents, Roberta, Nick and Lexi hang "FIDDLEFEST CONCERT" posters around their neighborhood, announcing a concert at THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams and Carlos' mom and dad -- stuff envelopes with INVITATIONS to "FIDDLEFEST" and accompanying LETTERS and TICKET ORDER FORMS. Roberta and Dorothea open envelopes with filled-out TICKET ORDER FORMS and CHECKS. They stack the checks in a pile, address return envelopes and place FIDDLEFEST TICKETS inside them. INT. MUSIC ROOM - DAY Thirty-three excited kids from Roberta's different classes chat, tune their violins, rosin their bows. The students include Carlos, Stephanie, Amanda, Kenny, Rachel, Simon, Ramon, Vanessa, and Shandra. Roberta enters the room, full of energy, and addresses them as she heads to the front. ROBERTA Listen up, everyone! Quiet down! The students give her their attention. ROBERTA You are my very best beginner and advanced violin students and I've chosen you to play in Fiddlefest because I trust that you can handle the pressure. It's gonna be a lot of work -- a lot. Right now, we've sold some tickets, but I'm not gonna be back here in the fall if the audience storms out of their seats, demanding a refund! She nods to Rachel who starts handing out sheets of music. ROBERTA Rachel's gonna be my lieutenant and I expect you to listen to her. Ramon looks through his music sheets. RAMON Bach's "Minuet One"? ROBERTA People are gonna be paying good money for this concert -- we're not just gonna play "Twinkle." (handing out papers) I'm passing out a contract that you and your parents need to sign. The kids read the contracts. Carlos' eyes widen. CARLOS Every Saturday and Sunday? ROBERTA Plus night time rehearsals during the week. There's only six weeks till the concert, so classes in school won't be enough. The kids look sobered by this. ROBERTA Come to think of it, we'll probably also need to meet before school. Lots of grumbling: "Say what?" "No way!" "Before school?" I'ma be sleepwalking!" ROBERTA You've heard of Navy Seal Training? Well, this is gonna be Roberta String Training. ANOTHER ANGLE - Two young men and two young women walk in, carrying violins. We realize from the scar that one is NAEEM (20), now a strikingly handsome man, over six feet tall. With him is DE SEAN (19), a short guy with dreadlocks, looking more like a rapper than a violinist. GUADALUPE (19), walking with a cane, is now a beautiful young woman, her long braid pinned up. The fourth is a reserved Puerto Rican woman (20). ROBERTA Oh my god! Naeem! De Sean! (hugs them) Guadalupe! She hugs her, then looks closely at the other woman. ROBERTA Lucy? Is that you? The woman snaps her fingers and smiles. Roberta laughs and embraces her, then turns to the students. ROBERTA Kids, these are four of my very first violin students and I've asked them to play in the concert with us. (to the alumni) I was just telling them how hard they're gonna have to work. DE SEAN (to class) Take it from me -- this lady don't lie. Y'all are gonna work your butts off. INT. RAMON'S HOUSE - NIGHT Ramon's father carefully reads the violin contract while Ramon and Concepcion anxiously watch. He stops to look up a word in the English-Spanish dictionary beside him. Ramon and his mom are squirming. Manuelo nods as he finishes reading, then SIGNS the contract. Ramon breaks into a smile, throws his little arms around his Papa and kisses him. EXT. RIVER EAST - DAY School's letting out; Carlos' sister exits, carrying Carlos' violin. A few beats later, Carlos quickly exits, checking his watch. He sees his LOS LEONES teammates standing in a group, and tries to bypass them without being noticed, but they spot him. TEAMMATE #1 Hey Carlos! Where ya goin'? We got a game, remember? CARLOS Yeah, I know, but... I can't make it. TEAMMATE #1 What you talkin' about? CARLOS I just can't make it. TEAMMATE #2 You got a date with the violin teacher? A beat. CARLOS Yeah. I do. He dashes off, a barrage of Spanish and English curses behind him, and crosses to his sister, waiting for him DOWN THE STREET. He takes the violin from her and carries it himself. INT. CPE MUSIC ROOM - DAY The Fiddlefest kids, including Carlos, Vanessa, Shandra, Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and Guadalupe practice Bach's "Minuet One," Roberta leading them and giving direction. They're playing badly. Rachel plays as well, but walks around the room making corrections. It's early morning, and the kids look half- asleep. ROBERTA Frog! Frog! I need more accents on the down beat! More bow! More! They play a few more bars and still sound pretty bad. ROBERTA Stop! Stop! (they do so) You sound horrible! Isn't anyone practicing? CARLOS How can we practice? We're rehearsing all the time. Some kids laugh, including Stephanie. ROBERTA (to Stephanie) You think this is funny, Stephanie? (to all of them) You think the four hundred people who've bought tickets so far will think it's funny too? You think Itzhak Perlman will think it's funny that he's donating his time and you're all gonna stink? Vanessa yawns and Roberta sees her. Uh-oh. ROBERTA Am I boring you, Vanessa? VANESSA No. It's 7:30 in the morning. I'm just tired. ROBERTA There's no time to be tired. (to all, getting her violin in position) Let's try it again. INT. ARNOLD AND DOROTHEA'S APARTMENT - DAY Dorothea opens the door for Roberta who just charges in, agitated, without even saying hello. We sense that Dorothea too, is troubled by something. ROBERTA I must have been crazy to agree to this. They're never gonna be ready. And you should hear the Bach Double! A disaster. So the good news is tickets are selling like hot cakes, but the bad news is that the kids sound like shit. DOROTHEA There's more bad news... We've lost the Y. Roberta looks at her, aghast. ROBERTA What?! DOROTHEA They had a flood -- a water heater burst... The concert hall was damaged and they've cancelled all events. ROBERTA Until when? DOROTHEA "Until further notice." ROBERTA This can't happen! We've sold tickets! We've done publicity! The concert's in three weeks! DOROTHEA I've been on the phone all morning calling other theaters. Nothing's available. They both sink into the couch, completely undone by this. ROBERTA Just keep looking. INT. ROBERTA'S BROWNSTONE - NIGHT The Fiddlefest kids are crammed into Roberta's house, (including De Sean, Guadalupe, Ramon, Vanessa, Shandra, Carlos, Thomas, Stephanie, Amanda, Kenny, and Simon), rehearsing "Orange Blossom Special." They play badly. Rachel helps Roberta correct students. ROBERTA Stop! Someone's playing the wrong notes! And you shouldn't need your music anymore! Except for the Bach Double, everything has to be memorized by next rehearsal! The kids look at each other, daunted. ROBERTA And you sound like you're sleepwalking. Your heart's not even in it. VANESSA Maybe 'cause we don't have a place for the concert. Roberta looks at her, and then notices the despondent looks on many of the kids' faces. ROBERTA Well, you're right. This might all be for nothing. So we can either keep on rehearsing in case we find a place -- or we can just... give up. DE SEAN Am I hearing right? Did you use the words "give up"? (to the students) Let's take a vote. How many of you want to give up? No one raises a hand. Roberta takes this in. GUADALUPE See? You taught us well. INT. ROBERTA'S BROWNSTONE - KITCHEN - DAY It's early morning. Lexi cooks breakfast while Nick and Roberta look at scribbled-on, marked-up lists. ROBERTA What about in the Bronx? NICK There's nothing. (beat) Why don't you just do it in one of the schools? It'll be a lot smaller but -- ROBERTA We won't make enough money. LEXI What about postponing it? ROBERTA Itzhak and Arnold are booked all summer. They all look depressed. Lexi places an equally depressing- looking stack of pancakes on the table. There's a BANGING on the door, startling everyone. DOROTHEA (O.S.) It's Dorothea. Nick opens the door and Dorothea rushes in, out of breath, talking a mile a minute. DOROTHEA I have good news -- really good news. Arnold got a call from his friend Wally Scheur who heard about us losing the Y and wanted to see how he could help -- and then Wally had this brilliant idea and called his friend Isaac Stern and it's all arranged! We have a new place for Fiddlefest! ROBERTA Where? DOROTHEA Carnegie Hall. Dorothea grins from ear to ear, Nick and Lexi whoop and holler, and all wait for Roberta to jump up and down for joy -- but she looks stricken. ROBERTA (panicked) Carnegie Hall? INT. CARNEGIE HALL - DAY CLOSE ON THE CEILING OF CARNEGIE HALL, revolving slowly. PULL BACK TO REVEAL THIS IS ROBERTA'S POV She stands on the empty stage, gazing at the ceiling as she slowly turns around. She's holding her violin case. She looks at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA SEATS. Her footsteps echo as she walks towards the front of the stage, then stops. CLOSE ON ROBERTA We can see her imagining the audience on the night of the concert. She can't believe her eyes. A beat, and she looks around to make sure she's alone. She takes out her violin, takes a deep breath as she looks out towards her "audience," then starts to play the second violin part of the Bach Double Concerto. Suddenly, there's the SOUND of a stage door opening. Roberta stops. MALE VOICE (O.S.) Incredible sound in this room, no? Roberta turns to see ISAAC STERN approaching her. She's completely flustered. ROBERTA Oh my god -- Isaac Stern. ISAAC STERN You must be Roberta. ROBERTA Thank you so much for helping us. ISAAC STERN (looking out at the hall) Would you believe in 1960, they tried to tear this place down? They wanted to replace it with a bright red skyscraper -- we called it "the red terror." ROBERTA You're kidding. ISAAC STERN We had to fight like hell, but with a lot of help, we saved Carnegie Hall. Roberta takes this in, relating it to her own struggle. ISAAC STERN If it's all right with you, I'd like to play in your concert. Maybe bring a couple of friends... ROBERTA Yes, of course! That would be great! Isaac nods, then touches her shoulder. ISAAC STERN Don't give up. EXT. SIDEWALK CAFE, UPPER WEST SIDE - DAY Roberta pours nervous energy into her cappuccino, adding cinnamon, chocolate, and sugar, stirring loudly. Dan sits across from her, observing. ROBERTA I just don't see how I'm gonna do this. It's huge. It's gigantic! It's Carnegie Hall! And listen to this: now Isaac Stern wants to play with us -- Diane Monroe, Michael Tree -- there's other people calling -- DAN That's fantastic! ROBERTA Fantastic? I'll never get the kids up to speed in time, I'll never get myself up to speed. I'm gonna be playing side by side with the world's greatest violinists. DAN And "the world's greatest violinists" are playing side by side with you because they want to help you win this fight. He offers her a forkful of some decadent-looking chocolate cake, but she shakes her head. ROBERTA Yes, but... you don't understand. Maybe there's a good reason why I never made it as a violinist -- maybe I just can't cut it. I keep blaming it on not having enough early training, but if I were talented, if I had a gift -- DAN But you do have a gift. You're gonna put thirty East Harlem kids on stage at Carnegie Hall not because they're prodigies, but because you got them to stick with something that's hard as hell and to strive for excellence -- which, by the way, I certainly wasn't striving for when I was their age. Not to mention the other ten years' worth of students whose lives were changed because of you. That's your talent, Roberta. She takes this in, looks at him gratefully and puts her hand over his. He strokes her hand. ROBERTA I'm scared. DAN I know. (beat) And by the way, I happen to think you're a pretty good violinist too. ROBERTA You've barely heard me play. DAN I've heard enough to know you're gonna do just fine. Roberta looks at him with trepidation. Dan takes another forkful of his cake. DAN Besides, no one's gonna be paying attention to your playing anyway. Roberta laughs. Dan smiles, glad he got her to lighten up. EXT. CPE 1 - DAY (EARLY MORNING) The Fiddlefest kids (including Ramon, Shandra, Vanessa, De Sean, Naeem, Guadalupe, Lucy, Simon, Stephanie, Amanda and Kenny -- but RACHEL is absent) stand outside the locked school gate, waiting for Roberta. Some of the kids have their violins out of the cases, tuning them. CARLOS Teacher's late. I think she should be dropped, don't you? Kids laugh. RAMON Yeah. I don't think we should let her play in Fiddlefest! A few kids start playing "CAN-CAN." It catches on, and more of them join in. PASSERSBY stop to listen, and some drop change into the open cases. RAMON and a couple of other kids grin at this. CARLOS steps in front of the kids as he plays, and begins an uncanny imitation of Roberta: CARLOS More bow! To the frog! You sound terrible! I can't believe how terrible you sound! The kids crack up, but a few spot ROBERTA heading quickly up the street. Carlos is oblivious to this -- and no one signals him that Roberta's watching. CARLOS You're gonna make everyone in Carnegie Hall sick to their stomachs! That's right, they're gonna pay a thousand dollars a ticket and you're gonna make them throw up on their gowns and tuxedos! Carlos senses a presence and turns to see Roberta. A tense beat as he awaits her reaction. ROBERTA (in all seriousness) If you're gonna imitate me, do it right. (corrects his posture) Shoulders back. Violin higher. Check your feet. There. (beat) G'head, Carlos. Continue. Carlos freezes. CARLOS No, that's O.K. You can take it from here. Roberta nods, and addresses the kids as she unlocks the gate. ROBERTA He's right, by the way. You do sound terrible, and you are gonna make everyone in Carnegie Hall sick to their stomachs. The kids start filing in. Rachel comes up the street and catches up to Roberta. RACHEL I need to talk to you. Roberta sees how distressed Rachel looks. ROBERTA (to kids) I'll be right in. Start on Minuet One. (to Rachel) What's wrong? RACHEL We're moving away. ROBERTA What? Where are you moving? RACHEL (looking downward) It's a secret... My father... he's been hurting my mom... We have to leave. ROBERTA (gently) Has he been hurting you too? Rachel shakes her head no, then starts to cry a little. RACHEL I'm sorry about Julliard... and the concert. She hands Roberta her violin. ROBERTA Keep it. Take it with you. RACHEL No... I don't want to play anymore. ROBERTA What?! You can't give up violin, Rachel -- it's a part of you. A very important part. Rachel looks anguished. Roberta moves closer and touches her arm. ROBERTA Please honey. Just take it. RACHEL I don't want to. Roberta looks at her, pained, then hugs her. Rachel quickly kisses Roberta goodbye and exits. Roberta watches her. INT. CPE 1 - MUSIC ROOM - A LITTLE LATER Roberta leads De Sean, Naeem, Guadalupe, Lucy, Stephanie, Thomas, Carlos, Erica and Nicholas in the Bach Double Concerto. The other kids watch. Roberta's on the edge of hysteria. She signals the players to stop. ROBERTA No, no, no! Accent the up bow after the slurred notes and then it'll get you off of those slurred notes! You Double Concerto kids need to be working harder! This is the grand finale of the concert! You're each gonna be sharing a music stand with one of the world's greatest violinists! The kids say "the world's greatest violinists" along with her -- they've obviously been hearing this a lot. Roberta glares at them. ROBERTA I think we should forget the Bach Double. (to the other kids) And you guys are never gonna get Minuet One. I think we should drop that too. VANESSA No! We can do it, Roberta! CARLOS And we'll get the Bach Double. We will. She stops, takes a breath. NAEEM It's gonna be O.K., Roberta. ROBERTA (vulnerable) You think? All the kids nod. A few beats. ROBERTA O.K... (not believing it) It's gonna be O.K. She crosses to take a look at her music, and the kids exchange looks that say, "Oh shit. What did we just promise?" REHEARSAL MONTAGE - SERIES OF SHOTS - DAY 1. Carlos practices violin against the fence around River East School. In the b. g., his buddies make fun of him. 2. Shandra practices in a school stairwell, ignoring a boy who pulls one of her braids as he passes by. 3. Stephanie practices at a bus stop, her eyes closed, then looks up and realizes she's just missed her bus. 4. Ramon practices in his living room, his father watching attentively, then helping him lift the violin higher. 5. Vanessa practices in a crowded school hallway, frustrated as kids keep bumping into her. 6. Roberta, in her nightgown, practices in front of her refrigerator in the middle of the night. INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) Pandemonium. Nick and Lexi, both in tuxes, are doing several tasks at once while Roberta, in a simple black velvet dress and stockinged feet, tries to put on her makeup but keeps poking her head out of the bathroom, giving orders. Allegra BARKS outside the back door. ROBERTA Nick -- did you feed Allegra? NICK (fixing Lexi's tie) Yes, Mom. ROBERTA Lexi, can you make sure the charts are still in my bag? LEXI I already checked, Mom. ROBERTA (O.S.) Check again, please. And look for my repair kit too. ASSUNTA descends the staircase, dressed in a formal dress. She holds a small jewelry box and heads for the bathroom. ASSUNTA Bert, which earrings you want? Roberta sticks her head out and picks the earrings. Assunta enters the small bathroom to work on her own makeup. ROBERTA Nick? Get two more violins. NICK You've already got two -- how many emergencies can there be? A beat. ROBERTA Get three more. And make sure a couple of them are half-size. Nick rolls his eyes and runs upstairs while Lexi organizes things by the door: Nick's cello, Roberta's papers, extra violins. Roberta rushes out of the bathroom, adjusting the earrings. She starts compulsively straightening the house. ROBERTA Lexi -- can you call about the car again? LEXI Mom, they're not gonna forget to send a car! Nick comes running down the stairs with the violins and stares in disbelief at Roberta fluffing a couch pillow. NICK What are you doing? ROBERTA Just straightening a little. NICK You're insane, you know that? (grabs the pillow) Finish getting dressed! He throws the pillow onto the couch. Roberta heads upstairs. INT. CARLOS' ROOM - DAY IN THE MIRROR - Carlos adjusts his tuxedo. We see the reflection of his baseball bat, glove and trophies in the room behind him. INT. GUADALUPE'S ROOM - DAY Guadalupe's mom pins up her braid, then steps back to look at her daughter, radiant in a floral gown. Her mom starts to cry. INT. SHANDRA'S ROOM - DAY Beverly puts rhinestone-studded barrettes in Shandra's hair. INT. RAMON'S ROOM - DAY ON RAMON - He's in a sharp black suit and looks very dapper. WIDER - Manuelo and Concepcion stand back to admire him, then Manuelo straightens Ramon's tie, brimming with pride over his son. INT. ROBERTA'S BROWNSTONE - FRONT ROOM - DAY ROBERTA (O.S.) SHIT! Nick and Assunta look towards the stairs. Roberta comes running down. ROBERTA Can you believe this? She turns around, revealing a RIP on the back of the dress, next to the zipper. The DOORBELL RINGS. ROBERTA It can't be time! Is it time? ASSUNTA I'll sew it in the car. EXT. ROBERTA'S BROWNSTONE - DAY Roberta, Assunta and the boys step outside, amazed to see a STRETCH LIMOUSINE double-parked in front, a CHAUFFEUR waiting. LEXI See? I told you they'd send a car. Roberta's open-mouthed. She leads her entourage towards the limo. THE NEIGHBORS come out of their houses to watch. Some lean out windows, gawking. Ad libs... "Who's that?" "It's the Violin Lady!" LAWRENCE, dressed in a tux, gives Lexi a high sign. The chauffeur helps Roberta and Assunta into the limo while Nick and Lexi start to load the instruments into the trunk. INT. LIMOUSINE - CONTINUOUS Roberta sits down beside Assunta and turns around so Assunta can mend the tear in her dress. Assunta partially unzips the dress and starts stitching it from the inside. ROBERTA Thank you, Mama. ASSUNTA Don't worry about it. You rip -- I sew. ROBERTA Not just for that. (beat) Thank you for getting me out of bed. Assunta stitches, remembering, and smiles. ASSUNTA Don't thank me -- thank Charles. ROBERTA Charles?! ASSUNTA If that jerk hadn't of left you, none of this would've happened. Roberta contemplates this. A beat. ROBERTA Thank you, Charles. Her last stitch finished, Assunta rips the needle from the thread. EXT. CARNEGIE HALL - ESTABLISHING - DUSK INT. CARNEGIE HALL - BACK STAGE - NIGHT The kids and their parents are practically boiling over with excitement. Last minute kisses, violin tunings, and clothing adjustments take place throughout the room. The boys are in suits or tuxes, the girls in velvet or flowered dresses, some with bows in their hair, some with their hair up in buns. Roberta tries to take a head count, Dorothea confers with a stage manager, Assunta fixes a boy's tie, and Janet helps one girl with her hair, stopping in the middle to button the back of another girl's dress. ROBERTA Where's Vanessa? Has anyone seen Vanessa? Janet looks at her, concerned. JANET I'll call her house. ANGLE - Roberta sees MRS. ADISA enter the room with Naeem. The two women walk towards each other and embrace. As they start to chat, Roberta suddenly sees someone and excuses herself: BRIAN is walking towards her, wearing a tux. They smile at each other, but Roberta's clearly a bit shaken to see him. They're not quite sure how to greet each other -- he takes her hand, and then kisses her on the cheek. BRIAN Congratulations. ROBERTA Thank you... BRIAN I knew you'd get here sooner or later. I'm glad I'm here to see it. A beat. ROBERTA I am too. INT. CARNEGIE HALL - BACKSTAGE WINGS AREA - NIGHT Guadalupe shyly approaches Itzhak Perlman, her mother behind her, silently encouraging her. GUADALUPE Excuse me, Mr. Perlman? He turns around. GUADALUPE (extends a hand) I'm Guadalupe. I've wanted to meet you for a long time. He smiles at her and they shake hands. ITZHAK PERLMAN A pleasure to meet you, Guadalupe. As Guadalupe introduces him to her mother, CARLOS approaches. CARLOS You nervous, Mr. Perlman? ITZHAK PERLMAN Should I be? CARLOS Us kids are gonna be great -- I don't know about you guys. How much did you practice? Itzhak Perlman laughs. INT. CARNEGIE HALL - BACK STAGE - NIGHT Roberta talks to Janet with a worried expression. ROBERTA You called Vanessa's father and mother? JANET No answer at either. A Carnegie Hall staff person in a suit enters. STAFF PERSON Half hour call! It's now half hour call! So pace yourself accordingly. Don't get more than thirty minutes worth of nervous! The room electrifies with nerves. VANESSA rushes into the room with her father. She's out of breath, her stocking has a big run in it, and she's in tears. VANESSA They stole the car! MR. KLEIN With the violin. ROBERTA Oh my God. (calling) Nick, Lexi -- NICK Done. The boys rush over to the extra violins and look to find the right size. VANESSA (crying) And then when we were getting a taxi, I fell down. Roberta comforts her and Janet moves in. JANET C'mon honey -- let's get you cleaned up. ANGLE - DAN enters with a bouquet of long-stemmed red roses. He's in a tux and looks very handsome. He crosses to Roberta, hands her the flowers, and they hug. DAN You're glowing. ROBERTA It's terror. INT. CARNEGIE HALL - NIGHT The hall is filling to capacity as people take their seats, the room buzzing with voices. INT. CARNEGIE HALL - BACKSTAGE - NIGHT The CARNEGIE HALL staff person enters. STAFF PERSON FIVE MINUTE CALL. WE NOW HAVE FIVE MINUTES. The tension in the room shoots sky high. INT. CARNEGIE HALL - STAGE - PODIUM - NIGHT Janet stands onstage and addresses the audience. JANET When I became the principal of Central Park East Elementary, I envisioned a school where children could fulfill their highest potential, despite the challenges of poverty and racism. Ten years ago, Roberta Guaspari walked into my office because she needed a job, and because she had a vision that any child could learn the violin. We put our dreams together and created the East Harlem Violin Program which has helped more than a thousand students expand their vision of what's possible in their lives. When a program like this is cut, our children's future is compromised. I want to thank you for your support. Enjoy the concert. INT. CARNEGIE HALL - BACKSTAGE - NIGHT In the b.g. we hear the audience APPLAUDING Janet. Roberta holds up her hands to quiet down the anxious students. ROBERTA Everyone -- attention please! They become quiet. ROBERTA I want you all to take a second just to breathe, O.K.? Deep breath. The kids breathe. ROBERTA I would like you all to play with your heart, all right? Play like I know you can play. You'll be wonderful. Watch me, don't look out in the audience -- you don't need to be afraid. It's gonna be really wonderful. So play -- play from here. She pats her heart. INT. CARNEGIE HALL - BACKSTAGE CORRIDOR - NIGHT The kids head out towards the stage, the APPLAUSE getting louder as they get closer. INT. CARNEGIE HALL - STAGE - NIGHT CRANE SHOT of the children on stage, in their positions. REVERSE SHOT - FOUR FILLED BALCONIES BACK TO THE STAGE Some of the kids look awestruck by the audience; one subtly waves hi to her family. Roberta walks out to APPLAUSE. She bows to the audience, turns to the kids, signals them with a slight nod and the BACH MINUET ONE begins. We've heard it in all phases, and now it is flawless. PAN the STUDENTS watching her: VANESSA, wearing a corsage; SIMON in his red bow tie; SHANDRA in black velvet with pearls; NAEEM standing proud and tall, DE SEAN in dreadlocks and a tux; RAMON playing from his heart... INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, chatting and listening to the kids. INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER The students finish MINUET ONE. There's an exquisite moment of silence, then APPLAUSE. INT. CARNEGIE HALL - THE STAGE - LATER Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL with the kids. He improvises, surprising them as his violin makes the sound of a TRAIN moving through a tunnel. RAMON smiles, awed by this -- but he remains calm and professional. INT. CARNEGIE HALL - BACK STAGE CORRIDOR - LATER As the guest violinists head for the stage, we hear their names over a mike, mixed with APPLAUSE: MALE VOICE (V.O.) Isaac Stern, Itzhak Perlman, Arnold Steinhardt, Diane Monroe, Michael Tree, Mark O'Connor and Karen Briggs. INT. CARNEGIE HALL - STAGE - MOMENTS LATER CRANE SHOT of the six guest violinists on stage for the Grand Finale, each one sharing a music stand with a student. Roberta nods, and they begin THE BACH DOUBLE CONCERTO. She turns to face the audience as she joins them. MOVE IN AND PAN the performers and students: NAAEM shares a stand with ARNOLD STEINHARDT; ISAAC STERN stands and plays with GUADALUPE, sitting beside him; ITZHAK PERLMAN sits and plays next to CARLOS, standing beside him; MICHAEL TREE plays beside DE SEAN; DIANE MONROE plays beside LUCY; KAREN BRIGGS plays beside THOMAS, and MARK O'CONNOR plays beside STEPHANIE. NICK plays cello; LEXI plays the piano behind them; and, playing with her own solo music stand, ROBERTA. Their expressions are serious and passionate, broken by occasional smiles lighting on faces: Isaac Stern... Lucy... Carlos... Itzhak Perlman... Diane Monroe... De Sean. The song finishes and the APPLAUSE begins. The OTHER FIDDLEFEST PLAYERS come out from back stage, RAMON in front, and join the rest. More applause. The CAMERA PULLS BACK TO INCLUDE the audience facing the stage, then REVERSES to show the audience standing in the orchestra and balconies. We see the students' PARENTS; JANET, ISABEL and their families; ASSUNTA, LAWRENCE and DOROTHEA; DAN; CONCEPCION, MANUELO and their sons; BRIAN; and DENNIS -- even he can't stop himself from applauding. BACK AGAIN to the stage where the students and guest violinists bow... and MOVE IN CLOSER on ROBERTA in her moment of triumph. INT. CARNEGIE HALL - STAGE - PODIUM - MOMENTS LATER Roberta addresses the audience. Her voice is strong but softer around the edges; she is a woman in a state of grace. ROBERTA We're all here tonight because we have a bigger mission: to take the magical spirit of tonight's concert with us out into the world, and to fight for music and art to be a part of every child's education. Thank you. The APPLAUSE is DEAFENING, then slowly diminishes as we: DISSOLVE TO: INT. CPE 1 - MUSIC CLASSROOM - DAY Roberta addresses ten first-graders sitting in a circle on the floor. She points to the horsehair on her bow. ROBERTA And this? What's this? BOY The frog hair? Roberta and the kids laugh. ROBERTA Did you ever see a frog with hair? The boy smiles and shakes his head. A FEW KIDS It's horsehair! ROBERTA That's right. (to the boy) But you're right, there is a frog. Can you show me where it is? One girl raises her hand with urgency. GIRL Ooh! I know! ROBERTA Sssh -- let him answer. The boy points to the frog of the bow and Roberta smiles. And as she continues her lesson, her voice recedes and we: FADE OUT: THE END CRAWL: Roberta Guaspari lives in East Harlem with her daughter Sofia, whom she adopted from El Salvador. Nick is a professional cellist in a graduate music program, and Alexi has been accepted to medical school. Roberta teaches violin to approximately 150 students a year in three East Harlem elementary schools. The East Harlem Violin Program, however, is still not funded by the New York City Board of Education. The money raised from Fiddlefest supported Roberta's violin program for three years. Roberta and Opus 118 continue their fundraising efforts to keep the program alive. \ No newline at end of file diff --git a/unformated_scripts/Script_Mute Witness.txt b/unformated_scripts/Script_Mute Witness.txt new file mode 100644 index 0000000000000000000000000000000000000000..87fa377ec8076cd4e0063966b0ea21a2ecb31938 --- /dev/null +++ b/unformated_scripts/Script_Mute Witness.txt @@ -0,0 +1 @@ + MUTE WITNESS (1994) Screenplay by Anthony Waller CREDITS (First part) White letters on black screen. We hear the sound of a radio with a lot of statics. Apparently, someone is scanning the channels. After we've heard different channels, the scanning stops on a channel with jazz music. With a loud sound, the credits stop, the black screen moves away to the right and is replaced by : FILM SET - BEDROOM - INTERIOR DAY (it is actually day-time, but the scene in the film being shot is supposed to take place during the night. So all the artificial lights make us believe it is night-time) We still hear the sound of the radio. We are on a film set, even though we don't know it yet. The way it is filmed makes us believe we are in a real bedroom. A bedroom, seen through a window. Nice, clean, elegantly furnished and very well lit. Large bed. On the other side of the room from the window, a young woman is seated in front of desk facing the wall. The young woman stands up, with a paper document in her hand. She is wearing thick hoses, large slippers and a man's white shirt, which hangs down to the middle of her thighs. She walks out of the bedroom, to the next room. The window opens, and the camera, which acts as the eyes of the intruder, looks around the room. VOICE ON THE RADIO We interrupt this program to bring you a special news bulletin. The camera moves to the next room : FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film) A dining-room with a large mantlepiece. In the center of the room, a round dining table with four chairs around it. The table is set, ready for dinner. VOICE ON THE RADIO Ernest Strohbecker and two accomplices escaped from a maximum-security ward in Bellevue Hospital last night... The camera (and consequently the eyes of the intruder) keeps on looking around the room and then focus on the radio set sitting on a small table.Close shot on the radio. The volume of the radio goes up. VOICE ON THE RADIO ... after brutally stabbing two nurses and a custodian to death. Strohbecker is extremely dangerous, brutal and unpredict... The radio is suddenly switched off. The camera moves upward to show us the corridor and the open door of the bathroom in the corridor. THE YOUNG WOMAN (Voice over) Harry ? FILM SET - BATHROOM - INTERIOR DAY (NIGHT in the film) Close shot on the mirror, in front of which the young woman is standing. She looks a bit surprised by the sudden silence of the radio, but very soon goes back to her make-up.FILM SET - CORRIDOR - INTERIOR DAY (NIGHT in the film)The camera (and consequently the eyes of the intruder) moves alongthe corridor, toward the door of the bathroom. It stops veryshortly to look at the young woman, still taking care of her make-up, and moves away to look at the open door on the other side ofthe corridor.FILM SET - KITCHEN - INTERIOR DAY (NIGHT in the film)A kitchen. There is no light and the room is very dark. Close shoton the row of knives hanging on the wall. A man's hand takes oneof the knives.FILM SET - BATHROOM - INTERIOR DAY (NIGHT in the film)The young woman opens a small closet, temporarily hiding her faceto the camera. She takes a lipstick and start doing her lips.Close-up shot on the woman's lips, with the lipstick moving aroundthem.Back to the mirror, showing the reflection of the young woman. Sheopens the small closet. In the mirror, which covers the door ofthe closet, we see a man approaching slowly, with a knife in hishand.Close-up shot on the woman's lips.FILM SET - CORRIDOR - INTERIOR DAY (NIGHT in the film)High-angle shot of the corridor, seen from the ceiling.The woman comes out of the bathroom. She sees something, stops andwalks slightly backward. THE YOUNG WOMAN Harry ?She walks to an half-open door and closes the door. THE YOUNG WOMAN Harry ?When she closes the door, a corpse, who was hidden by the half-open door, falls, face down, on the floor. The woman screams.The corpse on the floor. It is a man with blood on his face. Thewoman bends down on the man and shakes him. THE YOUNG WOMAN Harry !She turns him around to look at his face. We see the white shadowof a man coming out of a room.FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)A white telephone in the foreground. The girl runs toward thetelephone. She dials on the phone. We see the mysterious man inthe background, slowly walking into the room, coming from thecorridor. The girl has the telephone handset on her ear, butapparently, she gets no tone. She frenetically taps on thetelephone hook to make it work. Then she sees the cut wire on thephone and picks it up. The man is coming closer to her. He has ablack mask on his face, and a white apron covered with blood.The woman sees the man. She drops the phone and walks back untilshe reaches the wall. She moves out of the room to :FILM SET - BEDROOM - INTERIOR DAY (NIGHT in the film)The woman walks back until she reaches the bed. The man, coveredwith blood, has his knife raised above his head. The woman fallsbackward on the bed. The man raises his knife above the woman'sbody. The woman screams. The man stabs repeatedly the woman withhis knife, and then moves away from the bed.FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)The man enters the room and takes the mask away from his face.FILM SET - BEDROOM - INTERIOR DAY (NIGHT in the film)Apparently, the woman is not dead and she walks to the desk.FILM SET - DINING ROOM - INTERIOR DAY (NIGHT in the film)The man crosses the room.The bedroom can be seen through the large open door between thetwo rooms. The woman tries to steady herself by holding on thedesk, but she falls down on the floor, and the desk with her.The man sits himself on a table, and searches the breast pocket ofhis shirt for a cigarette.The woman crawls on the floor toward the dining room. She isholding her stabbed stomach.The man rolls a cigarette.The woman stands up, holding on bookshelves set on the wallbetween the two rooms.The man licks the paper of his cigarette.The woman still holds on the bookshelves.The man has put the cigarette in his mouth. A hand moves into theshot, holding a lit match to his cigarette.The woman falls on the floor, with the bookshelves falling on topof her.The two men, the one who stabbed the girl and Arkadi, the one wholit the other man's cigarette, they both look at the woman andlaugh.The woman crawls out from underneath the bookshelves. She standsup, holding on the table.Back to the two men. A hand comes into the shot, holding a metalflask to Arkadi. He doesn't take it and the camera moves on theright to a third man sitting near the two other ones. He drinksfrom the flask.The camera moves to the right of the shot, and the title of thefilm appears in white letters on a dark screen. The camera keepson moving from one face to another, apparently the faces of themembers of the film crew. And on those faces, we see :CREDITS (Part Two)In the background, we hear the noises of the girl who keeps onfalling down and breaking the furniture.Close up on a dial. A needle is moving on the dial, on which,besides numbers, is written ´Groove Depthª and ´Batteriesª.The woman falls down. Since she was holding on the tablecloth, thetablecloth comes away with her, and everything that was on thetable falls down on the floor.Arkadi and the ´murdererª are laughing.Close shot on the face of the sound engineer, with the earphoneson his ears.By now, we've started to understand that what we have seen up tillnow is not real, but is part of the shooting of a film, a strange,a bit gory film, but still a film.The sound engineer shushes the two laughing man down, and looksdown at his tape recorder.Close shot of the tape recorder.The camera moves to the right, and shows a female hand writing ona clipboard, then moves up and shows a large stopwatch hangingfrom a cord around the neck of the writing girl. The camera keepson moving up to show the face of the writing girl. She is KarenHughes, the assistant director and girlfriend of the director. Shelooks at what is going on around the set and squints her eyes,apparently not liking it.The camera moves to the right and shows the face of Billy Hughes,Karen's sister and FX make-up artist.Back to the actress playing the part of the stabbed woman. Sheholds the corner of a chest of drawer, and makes everything on topof that piece of furniture fall on the floor, including severalbottles of alcohol.Back to Karen and Billy. Billy represses a laughter behind herhand.Close shot on Lyosha, a young assistant camera operator, lookingat Billy and smiling. Then close shot on Billy's face.The actress holds the drapes of the nearest window. She falls downon the floor tearing the drapes and breaking the curtain-rod offthe wall.Karen and Billy are both laughing silently.The actress gets slowly out from under the torn drapes.Lyosha looks at the actress, and then at Billy.Billy looks at the actress, and then at Lyosha.Close up shot on Lyosha's face, smiling.Billy walks behind Karen's back to the other side of Karen. Karenlooks at her, and then looks in the direction into which Billy islooking.Lyosha keeps on smiling.Karen whispers in Billy's ear. KAREN (whispering) He has the hots for you.Billy answers in sign language. We understand that Billy cannotspeak, but she isn't deaf. BILLY (in sign language) For me ? No.The actress, half-covered with the drape, drags the curtain-rodbehind her.Billy is smiling and Karen is looking at the scene with her mouthhalf open.Close shot on a smiling bearded film crew member. The camera thenmoves to the right, to an open ring binder, with a hand followingwhatever is written on the document. The camera keeps on panningon the right, showing part of instruments and people's hands,while we hear some whining noises coming from the actress.END OF CREDITSThe camera stops on a close shot on Andy Clarke's face. Andy isthe film director.The actress looks like a ghost with the drape covering her. Sheslowly falls down on the floor, among the mess she has created bybreaking and dropping every prop in sight.Andy looks thunderstruck by what he sees on the set.Close up shot on the camera. A button just switched off, showingthat there is no more film inside the camera.Andy looks at the camera and sighs. ANDY Cut. Brilliant.He puts his hands on his eyes.The actress, still lying on the floor under the drape, raises thedrape to look at Andy. ANDY (yelling) Natasha !He stands up.Both Andy and Natasha, the interpreter, walks toward the stilllying actress and squats around her. ANDY Okay, I think we have a little communication gap here.Natasha translates in Russian what Andy just said. ANDY When I said ´moreª...Natasha translates. ANDY ...I didn't mean trash the fucking set.Natasha translates. ANDY This is not Chekhov. You're not the star. You're just another victim.Natasha translates.The actress tries to understand what Andy tells her throughNatasha. ANDY You get stabbed. You die.Natasha translates ANDY I want to see the pain.Natasha translates. ANDY I want to see the blood spurting.Natasha translates. Andy turns around to Billy and Karen standingamong the film crew members. ANDY (voice over) Billy, where was the blood ? I want to see her bleed to death.Billy answers in sign language. ANDY (to Billy) Okay ? (to the actress) Okay ?The actress, still lying on the floor under the drape, nods herhead. ANDY (voice over) Let's do it again, folks !A man yells some orders in Russian. Billy walks to the actorplaying the murderer, sitting on a prop. She checks his blooddevice. She takes the knife and plugs a tube coming from the man'sshirt on the knife's handle. She explains, by signs, how the knifeworks, and he nods. Billy fixes something inside his shirt and hereacts when Billy touches his stomach. THE ACTOR Oh !He smiles. Billy squeezes a small bag full of fake blood. She hasjust taken that bag from the inside of the man's shirt. The actorkeeps on smiling and Billy doesn't seem to like the man's smile.She puts the bag back inside the actor's shirt. Then Billy signsher sister for her to come. Karen joins Billy, who explains to theactor what he has to do, and Karen translates Billy's signlanguage. KAREN You make the blood flow by squeezing the bag with your elbow. Okay ? THE ACTOR Sure. KAREN We're gonna be here till Christmas, right ? (turning around and calling) Natasha !Natasha joins the group. NATASHA Yes. KAREN Tell him you make the blood flow by squeezing the bag with your elbow.She mimes the squeezing movement while speaking. Natashatranslates in Russian. Karen nods her head. The actor says a fewwords in Russian, nodding his head. KAREN Okay.Billy looks at Natasha. NATASHA (voice over) Tell her that he will get it right next time. KAREN Mmmm... She heard you. You all keep forgetting she can hear you perfectly well.Billy smiles. NATASHA (voice over) Oh, I'm sorry. BILLY (in sign language) It's okay.The actor laughs.Lyosha, who actually is the assistant operator, is behind thecamera, near the camera operator. Andy sits down on his chair. ANDY Okay, from the top.His Russian assistant, standing near the camera, with an open ringbinder in his hands, says a few words in Russian. We hear an angryvoice in the background. THE VOICE Stop. Stop. Stop!On the dining room part of the set, where the young Russianactress broke everything in sight, two men are trying to fix thebroken furniture. Another one, a tall man with a beard, talks veryangrily in Russian.Andy, still seated on his chair, looks at his Russian assistant. ANDY What's the holdup ?The angry bearded man speaks angrily in Russian.Andy looks and listens at him and then turns toward his Russianassistant, trying to speak, but is cut off twice by the angryvoice of the man.The bearded Russian man walks away. Then he comes back and showshis wristwatch, saying a few more angry words in Russian.Andy looks up at his Russian assistant. ANDY What is he saying ? THE RUSSIAN ASSISTANT He says he's awfully sorry, but he needs at least a day to redress the set. ANDY (yelling) A day ? THE RUSSIAN ASSISTANT Yeah.Andy stands up and slaps his thighs, looking very nervous. ANDY Okay, well, let's just do the close-up of the corpse now, and that'll wrap it for today.The Russian assistant says a few words in Russian. Andy makes asign to the camera operator for him to come closer to him. Theoperator joins Andy. ANDY All right. Okay. So, what I want to do is zoom in, do a slow zoom into the puddle of blood...On another part of the set, behind the dining room, Billy kneelsdown in front of a big ancient-looking wooden trunk.On the lid of the trunk is written, in white large capitalletters : ´KEEP OUT ! BILLY'S BOXª. Billy opens the trunk. Inside,on the inside part of the lid, various props, and in the trunkitself, a big square plastic bottle and, in a plastic box, plentyof smaller bottles.Behind Billy, who is still kneeling in front of the trunk, we seeLyosha walking around. He looks at Billy, who feels she is beinglooked at. She turns around and looks at Lyosha. Natasha walkstoward Billy. NATASHA Billy.Natasha kneels down to be at Billy's level. NATASHA Madame Olga wants some sugar in her blood again.Billy laughs. BILLY (in sign language) Thank you.Billy stands up and starts pulling the big heavy square plasticbottle out of the trunk. Lyosha comes to help Billy pull thebottle out of the trunk. They both slowly put the bottle down onthe floor. Billy looks up at Lyosha, who is smiling to her. Thenhe walks away. Billy, kneeling on the floor, opens the bottle.Karen walks in from behind the trunk. She leans on the open lid ofthe trunk. KAREN So, he's kind of cute.Billy is pouring a bag of sugar in the bottle. KAREN Three months in Moscow, cold winter nights...Billy smiles. KAREN Just a thought.Billy makes several language signs. KAREN Billy, that's what Mom would say.Billy looks at her sister.Another part of the set, near the entrance of the set. Thebuilding janitor, wearing a more or less official cap, just walkedin. Karen sees the janitor and waves at him. Billy looks in thejanitor's direction. KAREN Hi.Billy waves at the janitor, who waves back at the girls. Then heyells something in Russian. Billy and Karen look at each other.They seem to understand what he says. Billy shows two finger tohim. The janitor says something in Russian and walks away.The dining-room set. The young Russian actress is sitting on thefloor among the debris she has created and she is putting lipstickon her lips, looking at her face in a small pocket mirror. Billywalks in with a small plastic case in her hands. She sits on thefloor next to the actress and puts the box down beside her. Shetakes the lipstick and the mirror away from the actress' hands,and puts them down on the floor. Then she gives her a little pieceof white cotton to wipe the lipstick out of her lips. The actresstakes it and starts wiping her lips. Then Billy takes some make-upto put it on the actress' face. A male hand puts a light meterclose to the actress' face.A strong light starts playing on Billy's face, and we hear aRussian voice who seems to come from a loudspeaker.The upper part of the film set. Three big spotlights on a rack. Anelectrician is playing with one of them.Billy puts her hand above her eyes to try to locate who is sendingthat strong light on her face.The electrician says a few words in Russian.The actress looks up to see who is talking.Closer shot on the electrician sitting on the spotlight rack. Heis Arkadi, the man who was sitting next to the actor playing themurderer, and who offered him a light for his cigarette. He speaksin Russian with a queer smile on his face.Natasha squats down near Billy and the actress, to speak to Billy. NATASHA He says use more white like a real dead body.Billy covers her eyes and looks up at the spotlight rack.Arkadi smiles and winks to Billy.Billy closes her plastic case.The actress eats a piece of cake. She lies down on the floor. ANDY (voice over) Okay, Boris, get everyone ready.Billy, using a pair of tweezers, puts something, which looks likea cherry, out of a small bottle and into the actress' mouth. A VOICE OVER WITH A RUSSIAN ACCENT Out of frame, Billy.Billy stands up and walks away.The camera, and the group of people around it. Andy is sitting onhis director's chair, and Karen is kneeling on the other side ofthe camera, writing on a clipboard. A clapperboard girl walks infront of the camera, says a few words in Russian, claps herclapperboard and walks away. We hear a loud noise, and most of thespotlights are suddenly switched off. Andy looks up at thespotlight racks. ANDY What... what is going on now ?Billy, standing in the half-dark set with her plastic case infront of her, looks up around her as more spotlights are switchedoff with loud noises.Alex, who must be the assistant producer, walks toward Andy,tapping his wristwatch. ALEX Andy. Sorry, it's six o'clock. ANDY One shot, one more shot ! ALEX We have no time.Billy opens her arms in a gesture of despair.All the people around Andy start leaving the set. ANDY One shot ! I can't believe this.CINEMA STUDIO - PARKING LOT - EXTERIOR EVENINGNight is coming. The sky is grey. In the background, a group ofpeople is coming out of a building.Andy and Billy are crossing the parking lot. Cars are drivingaround them : the film crew members are leaving the studio. Andywaves his hand at one of them.Andy and Billy come to a white car parked near a red car. Karen iswalking on the other side of the white car. She opens the driver'sdoor. Billy is standing near the red car, and looking forsomething in her purse. She can't find it and looks disappointed.She taps on the roof of her car.Karen was ready to get inside her car, but, when she hears Billy'stapping, she looks up. Billy explains something in sign language.Andy doesn't understand and turns towards Karen KAREN She needs to go get Strohbecker's face.Andy claps his hands. ANDY Ohh ! Right ! His dummy falls off the balcony on Monday. KAREN We'll wait for you here.Billy starts walking away. Andy turns toward Karen. ANDY Karen, she's got her own car.Billy explains something in sign language. KAREN Okay. Okay. Don't forget tonight.She opens the door of her car. Andy turns around to face Billy. ANDY Yeah, yeah, yeah! Fiesta ! I'm making my famous chili con Clarke.Near Andy's car, Alex, the assistant producer we just saw on theset, is opening the door of his car. ANDY Alex !... what do you say ? You coming ?Alex has already opened the door of his car. ALEX Sorry. I have tickets for the Bolshoi Ballet tonight.Andy sneers. ANDY Well, try and stay awake.Andy opens the door, gets inside the car and closes the door.CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR EVENINGClose up shot on a green hideous mask held with both hands byBilly.Around Biily, all the props used for the film she is working on,or other films. Billy puts the green mask down. She looks aroundfor something. She throws away various masks she doesn't need.Billy is kneeling near a large box used as a table. On the boxsomething is written in large capital Russian letters. AroundBilly, a lot of props are scattered around. Apparently, Billycan't find what she is looking for, and sits back on her heels indespair. She hears a loud noise. She sits up when she hears thenoise. She tries to figure out what that noise means. She standsup and runs toward a window.The sky is darker. The night is coming soon. Billy looks throughthe window.On the parking lot, seen trough the bars of the window, thejanitor is crossing the yard with his dog.Billy opens the window and turns around, looking for something tohit the metal bars of the window. She takes a spear from a suit ofarmor. Then she bangs on the bars of the window with the longhandle of the spear.On the parking lot, seen through the bars of the window, thejanitor keeps on walking around with his dog, apparently nothearing the noise made by Billy. Then he closes the main door ofthe studio parking lot.Billy drops the spear on the floor and runs away from the window.CINEMA STUDIO - CORRIDOR - INTERIOR NIGHTA large corridor. A door opens and Billy rushes out. She opens adoor at the end of the corridor and runs out.CINEMA STUDIO - FILM SET - INTERIOR NIGHTThe gallery around the top of the set. A door opens and Billy runsalong the gallery.At ground level, we see Billy coming down the stairs leading tothe gallery. Billy runs across the film set, which seems not tohave been used recently.Billy reaches a heavy metal door and tries to open it... withoutany success. She kicks it.CINEMA STUDIO - ANOTHER ROOM - INTERIOR NIGHTThe parking lot seen trough the heavy metal bars of a door. It isdarker than before and completely empty. Close-up shot on an bigpadlock and a thick chain set across the bars of the door.KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHTWe hear very loud rock music.Close shot on the gas stove. Ground meat is cooking in a fryingpan. Chopped onions are being poured into another frying pan froma wooden cutting board.Andy is spraying some spices on the meat. He is wearing an aprontied around his waist. He tastes his ´cuisineª from a spoon. He isbobbing up an down in rhythm with the music. Andy makes the roundspice rack spin around very fast and picks up a jar from the rack.Then he pours spices from two different jars with both hands, inrhythm with the music, miming a drummer beating his drums with hissticks. Then he pours tomato sauce from a can into a saucepan. Hethrows the empty can away. ANDY Yeah !He takes another spice jar. But the lid of the jar comes off, andall the spices fall down into the meat. He puts the empty jardown. ANDY Damn !He takes the lid off the meat. We hear the phone ringing. Andylowers the volume of the music from the radio set hanging on thewall. The phone is still ringing. ANDY Honey ! Honey, can you get that ?Andy takes the meat frying pan out of the stove to pour the meatinto the onions frying pan.KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHTThe kitchen seen from the dark living room. There is no doorbetween kitchen and living room, just a wide open arch. The phoneis still ringing. Andy turns around. ANDY Honey ! KAREN (voice over) I'm in the shower !Andy puts the frying pan back on the stove and runs in the living-room. He picks up the phone from a table. ANDY Hello ?... Hello ?CINEMA STUDIO - A ROOM - INTERIOR NIGHTClose dark shot of Billy with the telephone handset to her ear.She taps on the microphone of the handset. The telephone set is ona small shelf fixed on the wall.KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHTEven if the volume of the radio has been lowered, it is still loudenough for Andy not to be able to hear Billy's tapping. A hissingsound, coming from the kitchen, makes him turn around.KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHTOn the stove, a big stew pot is hissing, and water is leakingbetween the lid and the pot.KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHTAndy takes the telephone set and runs toward the kitchen. But thecord is a bit too short and is stretched tight just when hereaches the kitchen. He drops the telephone set on the floor. ANDY Hello ?He tries to reach the stove control panel while still holding thetelephone handset to his ear.KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHTAndy's hand is trying to reach the control panel of the stove.CINEMA STUDIO - A ROOM - INTERIOR NIGHTBilly is still tapping on the microphone of the telephone. ANDY (voice over from the telephone) Hello ?KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHTAndy puts the telephone back on its hook on the set on the floorof the kitchen.CINEMA STUDIO - A ROOM - INTERIOR NIGHTWe hear the disconnection tone of the telephone. Billy puts isback on its hook on the small shelf on the wall. She leans on theshelf, feeling dispirited.MOSCOW - AERIAL SHOT - EXTERIOR NIGHTAerial shot of Moscow, with all the cars driving on the mainhighways. The camera pans to the right and reaches an high brickbuilding near the river.Fade in to :KAREN AND ANDY'S APARTMENT - KITCHEN - INTERIOR NIGHTAndy is setting some food on a plate on the small table. The musicis off. We hear the waiting tone of the telephone. KAREN (voice over) Didn't it even cross your mind ?KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHTKaren is seated at the table, holding the telephone handset to herear. We still hear the waiting tone. The telephone set is besideher on the table, where three candles are burning in threecandlesticks. KAREN It could've been Billy. ANDY (voice over from the kitchen) I was thinking about dinner.Full shot of the room, with Karen seated at the table, and Andy inthe kitchen in the background, still fixing dinner. ANDY I'm still thinking about dinner. KAREN She's not there either. Shit.She shuts the telephone by pressing on the hook, still keeping thehandset to her ear. We ear the long tone of the telephone. KAREN Okay. Ohh !She dials another number.CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHTThere are no light, and the room is completely dark. We hardly seea huge bear and a bat. The camera pans on the right, tiltingslightly down. The camera comes to Billy, seated behind a desk anddialing on a telephone set. She puts the handset to her ear, butonly gets a busy tone. She puts the phone down on its hook.Documents are scattered on the desk. A draught makes one of thedocuments fly away. Billy looks surprised by what just happened.Some more papers fly away. She looks on her right at a door withfrosted small window panes, which closes shut by itself.On the top of the door, a small bell is ringing.Billy looks at the door and stands upCINEMA STUDIO - CORRIDOR - INTERIOR NIGHTA long dark corridor. A door opens on the right, ringing the smallbell. It's the door of Billy's workshop. Billy walks out of theroom. In the dark, we only see the dark outline of her figure. Shestops, not sure about where she is going to go next. Eventually,she starts walking slowly. She stops again when she hears voicesspeaking in Russian. Then she starts walking again.A metal door with a notice hanging from the handle. Zoom on thenotice, on which something is written in Russian. Actually, it isan elevator door.CINEMA STUDIO - ELEVATOR - INTERIOR NIGHTBilly peeks from behind the elevator door to look at what is goingon down below.High angle shot of the elevator shaft. We hear voices speaking inRussian and we see some light at the bottom of the shaft, wherethe cabin is.Billy is still peeking into the elevator shaft. A draught iswaving her hair. She moves away.CINEMA STUDIO - CORRIDOR - INTERIOR NIGHTBilly closes the door of the elevator. She walks toward thestaircase, and starts walking downstairs. Through the open door ofthe staircase, we see her stopping, because she just heard a faintsound of a telephone ringing.KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHTKaren is still seated behind the table and listening to atelephone which keeps on ringing without any answer. Andy walksslowly toward the table, coming from the kitchen. Karen looks verynervous. Suddenly we hear a clicking noise in the telephone. KAREN Hello, Billy !Karen looks up at Andy. KAREN Thank God. She's there. Are you all right ? ANDY Ask her about the mask.Karen shushes Andy with her hand. KAREN You want to tap something through ?CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHTBilly is holding the telephone next to her ear. She taps on themicrophone with her finger.KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHTKaren has the telephone handset squeezed between her head and hershoulder. KAREN Wait. Wait. Wait.Andy turns around because he just heard a hissing noise in thekitchen. He runs toward the stove. ANDY Oh, man ! KAREN (voice over) A...O... ANDY Oh, man !In the kitchen, Andy tries to save his cooking. KAREN ...L ?Andy puts his frying pan down into a large white plastic can fullof water, where it starts hissing. ANDY Man ! Oh, man ! KAREN Was it L ? The second letter, was it L ?Karen shushes Andy with her hand. ANDY Shit !Andy is getting his frying pan out of the plastic can. KAREN A-L-L ?While Karen is trying to understand her sister's message, Andy isbanging the frying pan on the side of the can, to get rid ofeverything that was inside it. KAREN O...kay !She smiles.In the kitchen, Andy looks at his empty frying pan. ANDY We're eating out tonight. KAREN Okay. So are you coming over now ?CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHTBilly keeps on tapping on the microphone. KAREN (voice over on the telephone) Do you have the mask ?Billy taps again.KAREN AND ANDY'S APARTMENT - LIVING ROOM - INTERIOR NIGHT KAREN Well, don't worry. Just get over here. ANDY You hungry ? KAREN Bye.Andy throws the frying pan in the can of water, where it hissesagain. Karen looks at Andy, puts the telephone down and makes aface.CINEMA STUDIO - STAIRCASE - INTERIOR NIGHTBilly is running downstairs.CINEMA STUDIO - A FILM SET - INTERIOR NIGHTThe entrance of a film set. We hear some giggles. The door opens,Billy enters and closes the door behind her.In the background, spotlights are switched on above a scenery :apparently, someone is shooting a film. Billy walks noiselesslyacross the empty part of the set. As Billy comes closer to the litpart of the set, we hear strange noises that sound like a womanhaving an orgasm.With Billy in the background, we see a camera with an operatorbehind it.On a bed, two actors are having sex. The female, a blonde woman,is naked, the male has his pants down to his ankles and is wearinga T-shirt and a white mask.Billy looks slightly embarrassed by what she sees.Close shot on the face of the camera operator, looking into theviewfinder of his camera. He is Lyosha, the young man who wascourting Billy.The blonde naked woman is moaning. She is a slightly plump womanwith hair too blonde to be true. She could be in her forties.Billy, still looking slightly embarrassed, is also smiling.The woman is faking a very strong orgasm. LYOSHA (voice over) Stop ! Stop ! Stop !The woman instantly stops faking her orgasm and gets up from thebed. Lyosha talks in Russian to the woman, who is still lying onthe bed. Her ´loverª, lying on the woman, is answering Lyosha inRussian.Lyosha looks back into his viewfinder.We hear the woman, moaning again. Billy walks around the set.Close shot on the face of the ´loverª. He is wearing the maskBilly has been looking for. In the background behind the man, wesee Billy, looking from behind an open window in the scenery.Lyosha looks up from his viewfinder, then back again into it.The woman's ´loverª slaps her gently on the face, but keeps onhaving sex with her. The man slaps her again but much harder thistime. She screams.Billy looks surprised by what she sees.The man holds the woman down on the bed with both hands. He slapsher very hard several times and then hits her with his fist.Billy closes her eyes, disgusted by what she sees. We hear thewoman being hit and screaming.The woman seems very surprised by what is happening to her. Theman keeps on hitting her. She tries to cover her face from theblows she is getting repeatedly.Lyosha smiles, looking very happy with what is happening on theset.The woman tries to get the man away from her. She grabs his maskand throws it away. Underneath the mask, the man has another blackvery close-fitting fabric mask hiding his face, which could be ablack stocking. He grabs both her hands with one of his hands, andholds them above her head. Then he takes a black strong ribbonfrom under the bed and ties her hands with it. The woman is nowvery frightened and tries to get free. The man slaps her veryhard.Close shot on a pillow being lifted by the hand of the man. Underthe pillow, there is a long very sharp knife.Billy can't believe what she sees.The man takes the knife and slowly lifts the knife above his head.Billy looks more and more frightened. She has tears in her eyes.She is crying silently with her fist in her mouth.The man start stabbing the woman. Her blood is splashing on thewall and the man's T-shirt. The woman is covered with her ownblood.Billy starts walking away from the window and across the set.The woman doesn't seem to move anymore, but the man is stillstabbing her.Billy walks backward across the set and she bumps into a hatstandwhich falls down. Everything that was in the open purse hanging onthe hatstand - hairbrush, keys, lighter, make-up things, etc. -falls on the floor. A plastic diskette-case skids on the floor andslips under a big wooden wardrobe.Lyosha, alerted by the noise, stands up from his camera.Billy is kneeling on the floor near the fallen hatstand.Lyosha goes back to his camera.Billy, kneeling on the floor, puts everything back into the purse.Then she stands up, puts the hatstand back on its legs and walksaway from it. She hides behind the large wooden wardrobe. Lyoshawalks slowly toward the place where Billy is hiding. Billy walksaway and Lyosha stops near the hatstand.CINEMA STUDIO - CORRIDOR - INTERIOR NIGHTThe long dark corridor. In the foreground on the left, thestaircase, the only part of the set where there is light(apparently coming from the windows and the street lights). Billyis running upstairs. She enters the corridor, where she startsrunning, just when Lyosha appears in the staircase, running afterBilly. When he reaches the landing, Lyosha switches on the lightsin the corridor. Just before Lyosha enters the corridor, in thebackground, we see Billy hiding in a nook, a small partition, inthe corridor.Lyosha looks for her. Billy seems suddenly interested by somethingup on the wall across from her. It is a sign for an emergencyexit. Billy looks in the direction the sign is pointing at. It isthe emergency exit.Lyosha is coming toward Billy's hiding. He stops to listen for ameaningful noise. He opens a door to look into a room. Billy peeksfrom behind her hiding nook. She runs toward the emergency exit,which is located toward the end of the long corridor.The open door, and just behind it, Lyosha looking into the room.He switches the light off, just as Billy reaches the emergencyexit. He walks out of the room, and closes slowly the door behindhim. He looks at the far end of the corridor. LYOSHA Hey !He walks a couple of steps and stops. He turns around and says afew words in Russian.Billy is hiding behind a big red vending machine at the far end ofthe corridor. Lyosha looks around him and Billy looks at theemergency exit.Close shot on the handle of the emergency door. Then the camerapans on the left and stops on the red emergency box, with the doorkey inside. Near the key, is posted a long notice in Russian.Lyosha walks slowly toward Billy. He tries to open a door, but itis locked. We hear him talking in Russian.Billy is still hidden behind the red vending machine. LYOSHA Hello ?Lyosha keeps on walking slowly toward Billy. LYOSHA Is anyone there ?Lyosha is looking at the far end of the corridor. He crossestoward a door. LYOSHA I can explain.He opens the door and walks inside the room.Billy peeks cautiously from behind the machine, and sees the opendoor. She runs toward the emergency exit. She breaks the glasswith her hand and grabs the key. LYOSHA (voice over) Ho ?Billy runs back toward the vending machine, behind which she hidesagain.Lyosha walks out of the room, leaving the door open, and looks atthe far end of the corridor.Billy is still hidden behind the vending machine. Lyosha is comingtoward her. Billy moves slowly along the wall, keeping her back asclose as possible of the wall. She opens a door and enters a darkroom. She closes the door behind her.Lyosha reaches the vending machine, and starts running toward theemergency exit. He stops near the emergency box with its brokenglass. He looks inside the emergency box. His finger comes out ofthe box, with the tip covered with Billy's blood. He tries to openthe emergency door, which is locked.CINEMA STUDIO - STORE ROOM - INTERIOR NIGHTA dark store room, with large windows. The door opens and Lyoshawalks in. He runs to the window. He looks outside, but seeingnothing significant, he turns around and walks a couple of stepsinside the room. He stops and looks around. He starts walkingagain across the room. Suddenly something catches his eye.Close shot on the bottom of a long drape. There is a thin spacebetween the bottom of the drape and the floor. And on this thinspace, the tip of a shoe is showing. Lyosha walks slowly towardthe drape. He pulls the drape open with a very quick movement.Several racks of shoes were actually hidden by the drape.CINEMA STUDIO - BILLY'S WORKSHOP - INTERIOR NIGHTA door opens in the back of the room and Billy walks in the room.There is some light coming from the door. Billy walks to the maindoor of the room and opens it. She raises her arm and grabs thebell at the top of the door to silence it. She walks out of theroom.CINEMA STUDIO - CORRIDOR - INTERIOR NIGHTThe long corridor. The lights are still on. Billy walks out of herworkshop and closes the door. She starts running along thecorridor toward the emergency exit. She suddenly stops, when shehears a door opening. She runs back toward the staircase and hidesnear the entrance of the staircase. In the background, we seeLyosha coming out of a room. The camera pans toward the staircaseand Billy. A door opens on the floor below, and the large shadowof a man is projected on the wall of the staircase. Billy runs onthe other side of the landing, while the man starts climbing thestairs. He is Arkadi, the electrician working on Andy's film, andthe one who was playing with a spotlight on Billy's face. He isbare-chested, which makes us believe he was the poor actress'murderer. He reaches the landing and stops.Billy is still hiding in a dark corner. She sees Arkadi coming onthe landing. ARKADI Lyosha !Lyosha is coming to meet Arkadi. They speak in Russian.Billy looks at the two men, then she moves silently away fromthem. She reaches the door of the elevator, which is supposed tobe out of order, and opens it. She puts the key of the emergencyexit door in her mouth, and start climbing down the elevator shaftemergency ladder.CINEMA STUDIO - ELEVATOR - INTERIOR NIGHTBilly climbs down the emergency ladder, trying not to miss thesteps.Her face is now on the level of the bottom of the door of theelevator. There is a small gap between the bottom of the door andthe floor, which enables Billy to peek at what is going on in thecorridor.A shoe appears in the gap between the door and the floor.Close shot on the small window at the top of the elevator door.Arkadi's face appears in the window. He looks around inside theelevator shaft.Billy is not in front of the gap anymore, but hiding in the dark.She puts the key in front of the gap.Arkadi tries to open the door of the elevator. But it is locked.The blood on his hand proves that Arkadi was actually the pooractress' murderer. Through the small window, he looks around inthe shaft.Billy tries not to be seen through the gap.Arkadi still looks around in the shaft. He turns his head to talkin Russian to Lyosha.Billy has got the key back between her teeth. We hear the two mentalking in Russian.Arkadi's face moves away from the window. Some lights are switchedoff, making the window slightly darker.Billy moves away from the wall of the shaft and falls. She catchesthe elevator cables.Close shot on Billy's face. She is holding the cables. She makes aface because of the pain. She doesn't have the key in her mouthanymore.Close shot on a concrete ledge somewhere along the shaft. Theemergency door key drops on it, then moves away from it.Billy is trying to climb back up to the door.We see the elevator cabin at the bottom the shaft, and Billy inthe foreground, trying to climb back up. There is some light inthe cabin. We hear some strange noise in the shaft. Billy looksdown at where the noise is coming from.Close shot on the key, seen through the chicken wire roof of thecabin, and resting on the floor of the cabin.Billy, still holding the cables, starts going slowly down. Shemisses a step but holds on the cables. She keeps on going down theshaft. She eventually reaches the roof of the cabin. We hearmuffled voices talking in Russian.Billy sits down on the roof of the cabin to rest a little. Throughthe chicken wire that covers the roof of the cabin, she sees thekey on the floor of the cabin. She tries to open a panel in thechicken wire. It is stuck but she eventually succeeds in openingit. She moves the panel on its hinges and rests it against thewall. We still hear the muffled voices talking in Russian. Billystarts climbing down in the opening in the chicken wire.Billy drops down on the floor of the cabin. The front door of thecabin is wide open showing the well lit store room in front of thecabin. But the cabin is not completely at the same level as theroom : it is slightly higher. We hear banging noises in thebackground.Billy looks at the room and is suddenly frightened by something.She stands up and looks up at the roof of the cabin. She climbsback toward the roof. We see Lyosha in the room, walking towardthe elevator.Lyosha is coming closer, carrying a large plastic trash bag on hisshoulder. When he reaches the elevator, he takes the bag down fromhis shoulder, and drops it in the gap between the bottom of thecabin and the floor of the room. The plastic bag drops down to thebottom of the shaft.Billy, lying on the roof of the cabin, is looking through thechicken wire.Arkadi is walking toward the elevator, carrying a bag on hisshoulder, and pulling another one on the floor.Close shot on the key, which was not actually on the floor of thecabin, but on the floor of the room, just outside the cabin. Theplastic bag, pushed by Arkadi under the cabin, pushes the key inthe gap.Lyosha and Arkadi are standing just outside the cabin. Lyosha ispushing another bag in the gap. The two men then walk away fromthe cabin.Billy climbs down from the roof of he cabin and stands up on thecabin floor. Seeing Lyosha, she squats down, but Lyosha walksaway.Billy climbs out of the cabin. Then she enters the gap and startsclimbing down the shaft, using the emergency ladder.The bottom of the shaft is full of plastic bags and variousdebris. Billy reaches the bottom and steps on the bags. She kneelsdown and starts searching for her key. Suddenly, we hear a veryloud noise. Billy, startled by the noise, stands up.Lyosha is looking through the gap at the bottom of the shaft. Heturns around and talks in Russian to Arkadi. LYOSHA Arkadi !Billy is hiding among the plastic bags.Lyosha is still calling Arkadi. LYOSHA Arkadi !He talks to him in Russian.Arkadi comes near Lyosha with a powerful flashlight, and, with it,he looks into the bottom of the shaft. The light from theflashlight is playing on the bags.Close shot of Billy's face, hidden among the bags. The light movesnear Billy's face, then moves to a transparent bag, near Billy,with a head inside. Billy looks up at the bag. She screamsnoiselessly. Suddenly she turns around, because she has seensomething else.Close shot of the emergency door key, lying among the debris,brightly lit by Arkadi's flashlight.Arkadi walks away from the elevator, followed by Lyosha. Beforeleaving, they close the outside door of the elevator. After thedoor has been closed shut, the elevator shaft becomes completelydark.Billy slowly comes out of the bags. She takes the key. Then sheslowly stands up, puts the key in the pocket of her sleevelessjacket and starts climbing the emergency ladder along the wall ofthe shaft. She climbs just a few step to reach the first door, thebasement door.Close shot of the small window on the door of the elevator, seenfrom outside the shaft. Billy's face appears in the window. Thebasement is completely dark.Billy tries to open the door, but it is locked. She bangs on itwith her hand. Then she shakes it violently. She looks up, on theverge of tears. She sighs. Then she hears some steps.Arkadi is coming carrying a powerful lamp.Billy looks very frightened. The light from the lamp plays on herface.Billy moves away from the door.CINEMA STUDIO - BASEMENT - INTERIOR NIGHTArkadi stops near the locked door of the elevator, puts his lampdown on the floor, and takes a key out of his pocket.CINEMA STUDIO - ELEVATOR - INTERIOR NIGHTBilly climbs on the emergency ladder in the shaftCINEMA STUDIO - BASEMENT - INTERIOR NIGHTArkadi opens the door of the elevator.CINEMA STUDIO - ELEVATOR - INTERIOR NIGHTBilly looks very frightened.CINEMA STUDIO - BASEMENT - INTERIOR NIGHTArkadi is kneeling down by the lamp. He starts to stand up. He iscarrying a plastic bag which he has taken away from inside theelevator shaft. He walks away, leaving the door open.CINEMA STUDIO - ELEVATOR - INTERIOR NIGHTBilly climbs down the shaft.CINEMA STUDIO - BASEMENT - INTERIOR NIGHTArkadi walks away in the basement. Billy slowly comes out of theelevator door and runs away in the opposite direction from Arkadi.She hides behind a pillar, because she sees Arkadi's lamp in thebackground. Arkadi is coming back, and Billy moves around thepillar to be hidden from Arkadi's eyes. Arkadi stops near theelevator. He opens the elevator's door.Billy runs away. She trips on something and makes a little noise.She stops.Arkadi, coming out of the elevator, looks in Billy's direction.Billy opens a door and walks out.Arkadi slowly walks away from the elevator door.The door closes smoothly behind Billy.CINEMA STUDIO - STAIRCASE - INTERIOR NIGHTBilly is walking rapidly upstairs.CINEMA STUDIO - FILM SET - INTERIOR NIGHTThe door of the set opens and Billy walks in. She walks slowlythrough the set, looking around her. Suddenly, the big spotlightsare switched on one by one.In the electricians' control cabin, we see Lyosha switching thelights on. More spotlights are switched on.Billy is running around on the set, trying to avoid the lights.She reaches the scenery and jumps out of one of the scenerywindows.A searchlight, controlled by Lyosha. The searchlight is followingBilly.Billy tries to avoid the searchlight. She runs away toward theexit of the set. She meets Arkadi coming back on the set, but shekeeps on running. ARKADI Billy !Billy starts climbing a ladder, but before climbing, she pushes aheavy piece of furniture to block the bottom of the ladder. Thepiece of furniture falling down makes other props fall down.Arkadi starts moving the props out of his way. He reaches thebottom the ladder. ARKADI Wait. I explain.He starts climbing the ladder, turning his head around to yell : ARKADI Lyosha !In the electricians' control cabin, hearing his name, Lyosha looksoutside the cabin. ARKADI (voice over) Lyosha !He says a few words in Russian.A gallery near the ceiling of the set. Billy is running along thegallery.Lyosha runs out of the electricians' control cabin and on thegallery.Billy runs down a few steps and outside the room. From the otherside of the gallery, Lyosha comes running after her.CINEMA STUDIO - STAIRCASE - INTERIOR NIGHTLyosha runs downstairs.CINEMA STUDIO - CORRIDOR - INTERIOR NIGHTThe long dark corridor, with the staircase in the foreground.Lyosha runs in the corridor from the staircase, but beforeentering the corridor, he switches the lights on. With the lightson, we can see Billy running away to the far end of the corridor.Lyosha runs after her.Zoom on the emergency door, coming closer to us.Billy is running toward the door.Billy puts the key in the keyhole. She opens the emergency doorand shuts it behind her.Lyosha runs toward the door. He pushes it open.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTThe other side of the door, opening on a small gallery leading tothe emergency ladders set along the exterior wall of the building.The door is been violently pushed open by Lyosha. With Lyosha'sviolent push, Billy falls backward, above the balcony of thegallery and down on the yard below.Billy falls on her back on a huge pile of used film metal boxes.Lyosha bends over the balcony and looks down at Billy.Billy is lying among the boxes and moves her head.A blurred dark picture with lights dancing around. It is whatBilly's eyes are seeing when she tries to focus after her fall.She sees the blurred picture of Lyosha running down the emergencyladder along the wall of the building. KAREN (voice over) Hello!The corner of the building. A shadow is moving hidden by thebuilding. KAREN (voice over) Hello ?Lyosha is bending over Billy. When he hears Karen's voice, helooks up. KAREN (voice over) Is anybody there ?Karen appears at the corner of the building, looking around. LYOSHA Come here, quickly !Karen runs toward them. KAREN Oh, my God, Billy. LYOSHA Quickly !Karen runs toward Billy, still lying on the film boxes in theforeground. She bends over her. KAREN What did happen ? LYOSHA I don't know.Lyosha looks up at the gallery where Billy fell from. LYOSHA She slipped and fall bad. Poor Billy.Karen yells in Andy's direction. KAREN Andy, she's at the back ! LYOSHA Get the doctor, quickly. KAREN You go. I'll stay here with her.Billy is trying to say something to her sister. KAREN Let go of her. LYOSHA No, I must hold her. She must not move.Lyosha's hand is restraining Billy's arm. LYOSHA Danger she'll never walk again if she move.Billy is moving nervously, trying to get her arm free to talk toher sister. LYOSHA Go ! KAREN Yeah, okay.Billy tries to move her hand away from Lyosha and bangs on a filmbox. KAREN (yelling in voice over) Andy !She bends over Billy. KAREN Billy !... Billy, you mustn't move... You may become paralyzed. It's dangerous... Don't worry. I'll be right back... I promise.Karen starts moving away from Billy KAREN Andy !Billy moves nervously, raises from the film boxes and looksdesperately at Karen.Karen just saw Billy's last expression and seems worried.Billy is trying to articulate some words.Karen runs back toward Billy. She reaches the pile of film boxesand bend over Billy. She looks at Lyosha.Andy is walking toward them. ANDY What's going on ?Karen turns toward Andy. KAREN Andy, go with the janitor...Lyosha seems worried. KAREN (voice over) ...and fetch an ambulance !Andy joined the janitor with his dog. KAREN (voice over) Billy's had an accident. ANDY What ?Lyosha says something in Russian to the janitor. KAREN (voice over) Don't just stand there !Karen looks at Andy. KAREN Do it now !The dog barks. Andy turns toward the janitor ANDY Ambulance !The janitor answers in Russian. The dog keeps on barking. Andypushes the janitor toward his office. ANDY Come on !They both walk away.Karen bends over Billy. KAREN It's all right, sweetie.Billy is still moving restlessly. KAREN I'm here now and an ambulance is on its way.Karen pushes Lyosha's hand away. KAREN Let go of her. She's trying to say something.Lyosha stands up. Billy talks to Karen with her hand. KAREN Police ?Billy keeps on signing. KAREN Murder ?She looks up at Lyosha.Lyosha shrugs his shoulders and makes a face that means he doesn'tknow what Billy is talking about. KAREN Andy ! Andy !CINEMA STUDIO - FILM SET - INTERIOR NIGHTThis the set where the poor actress was brutally murdered.Billy is seated between Karen and Andy. She has a disoriented lookon her face, and a blanket is wrapped around her shoulders. Karenis tenderly stroking Billy's shoulder. We hear some laughing andpeople talking in Russian.Lyosha and Arkadi are talking to an uniformed Russian policeman,who seems to be in charge of the inquiry. Consequently, he willbe, from now on, mentioned as ´First PolicemanªThe other policeman (who shall be mentioned as ´Second Policemanª)is kneeling down, looking at something on the floor, and thejanitor is standing in a corner with his dog on a leash.Lyosha, Arkadi and the first policeman are still talking together.They slowly walk toward the rest of the group. The secondpoliceman, who was still kneeling down, stands up.Billy is listening to Lyosha, apparently trying to lip-read andunderstand what he says. Lyosha turns toward her. LYOSHA Excuse me. It's true. We just fake murder. If we really want to murder...The two uniformed policemen are listening to Lyosha. LYOSHA (voice over) ...why make film of it ?Lyosha and Arkadi both laugh. LYOSHA We're not stupid, really.The janitor is trying to follow the conversation. We hear apoliceman talking in Russian.Arkadi answers in Russian.Arkadi must have said something funny, because the policemen arelaughing.Lyosha and Arkadi look at Billy. ARKADI No, no. Sorry.Billy doesn't look at Arkadi, but Karen does. ARKADI (voice over) We understand how she feel. She think she see...Back to Lyosha and Arkadi ARKADI ...a real murder and panic.Billy taps on Karen's arm. Karen looks up at Arkadi.The first policeman looks at the paper he is holding in his hand. FIRST POLICEMAN Where did you see the murder from ?Billy stands up and, pointing her finger, shows where she wasduring the murder.The two policemen both turn around to look at the place Billy isshowing. The second policeman moves away and the first one looksat his paper. FIRST POLICEMAN And it was this man ?He points at Arkadi.Billy, seated again, points at Arkadi.Lyosha looks at Arkadi.The first policeman resumes the reading of his paper. FIRST POLICEMAN But you say here : ´He wore a stocking pulled over his head.ªBilly looks very angry and keeps on pointing at Arkadi. FIRST POLICEMAN ´And then they chased me through the building and try to kill me as well.ªArkadi yells something in Russian. Lyosha also says something inRussian, but with a quieter voice. ANDY Guys ! Guys ! English, please.Arkadi stops yelling. Lyosha speaks to him. Arkadi pushes himaway. ARKADI We make test for you.The first policeman looks at Arkadi, and then at Billy. ARKADI For your film. We try make blood much big.Andy looks at Arkadi and then at Billy.Close shot on Billy, enabling us to read her words on her lips. BILLY (in sign language) He's lying ! LYOSHA (voice over) Sorry, Billy.Billy looks at Lyosha LYOSHA We not tell you. Keep secret not to hurt your feelings. ANDY I would've let you done tests.Karen slaps Andy. KAREN (whispering) Andy.Karen tries to tell silently to Andy to shut up. ANDY What I mean is... What I mean is... Let's see their film. I'll know if it's real.Billy nods her head, approving what Andy just said. FIRST POLICEMAN (voice over) You're right.The first policeman looks at the two men, and speaks in Russian tothem.Arkadi and Lyosha both look slightly embarrassed. Lyosha startswalking away.Karen looks, with a worried eye, to the departing Lyosha. KAREN Wait. Stop !Karen runs after Lyosha. KAREN He could expose the film.The first policeman takes Lyosha's arm and talks to him inRussian. FIRST POLICEMAN Let her do it. Please. KAREN Okay.Karen starts working on the hermetic bag used as a portable darkroom. Karen puts her arms inside the bag. KAREN This lets you unload the film without needing a darkroom. FIRST POLICEMAN I see.Close shot on Arkadi's face. He looks very menacing.Andy starts taking his jacket off. ANDY (whispering) God, it's hot in here.In the background, Arkadi is bending down on something we don'tsee. He looks up at Karen. KAREN (voice over) If he had exposed the film to the light, he could have destroyed all the evidence.Billy looks at Arkadi, still busy doing something that we don'tsee. KAREN (voice over) Actually, I haven't done this since film school.Arkadi stands up from whatever he was doing. KAREN (voice over) Right. It's safe in the can now.Arkadi walks around the group. KAREN (voice over) Here. Take it to the lab immediately...Close shot on Arkadi walking away. KAREN (voice over) ...for developing.Billy, who understands something wrong is going on with Arkadi,stamps her feet.Karen gives the film to the first policeman. KAREN It's okay... It's okay.Arkadi is walking slowly with something that looks like a knife inhis hand. We hear Billy clapping her hands. Andy turns around tolook at Billy.Billy points to Arkadi and tries to explain something in signlanguage.Karen looks at Billy. KAREN Murder weapon ? Where ?Arkadi grabs Andy and pushes him against the wall.Karen screams.Arkadi stabs Andy in the stomach with his knife. Andy screams. Hehas blood on his cheek. Arkadi keeps on stabbing Andy.The first policeman takes his gun out of his belt.Both policemen grab Arkadi from behind. They pull him away fromAndy. They have both drown their guns.Karen rushes toward Andy, whose shirt is covered with blood.Karadi, still restrained by the two policemen, is yelling inRussian. LYOSHA (voice over) Stop. Stop. Stop!Arkadi drops his knife, and it remains attached to his wrist by aplastic tube. Actually, it was a fake prop knife.Andy stutters, trying to explain something to Karen. ANDY I'm... KAREN What ? ANDY I'm fine. I'm fine. I'm fine. KAREN You... ANDY Oh, my God!Karadi shows the knife to the policemen. He makes the retractableblade work, to prove it is harmless.Billy walks to her trunk and notices that the padlock on the lidhas been broken. She opens the trunk. She takes the fake blood canout of the trunk : it is almost empty.The policemen taste the fake blood. FIRST POLICEMAN Tastes sweet. ANDY It's for the actors. They put the stuff in their mouths.Billy stamps her foot. They all turn toward her. She explainssomething in sign language. FIRST POLICEMAN What she say ? KAREN That it's her knife. They broke into her box and used all the blood. FIRST POLICEMAN So now she say it was a trick.Billy keeps on talking in sign language. Karen translates. KAREN It happened so fast she couldn't see the knife clearly. FIRST POLICEMAN But everything else she saw tonight was clear ? Huh ?Billy keeps on talking in sign language. Karen translates. KAREN The body in the elevator shaft. She saw that.Billy points to the elevator door.CINEMA STUDIO - BASEMENT - INTERIOR NIGHTThey are all walking in the basements toward the elevator. Severalof them are carrying torches. Billy is still wrapped in theblanket.They reach the elevator and Arkadi opens the door. The firstpoliceman points his torch in the bottom of the elevator shaft.The dog barks. The janitor tries to calm it down. There are manyplastic trash bags scattered in the bottom of the shaft. The firstpoliceman talks in Russian to the second one. Apparently, he askshim to go down to the bottom of the shaft and look at the bags.The second policeman doesn't look very happy to do it.But he does go down in the shaft, and starts looking into thebags. He even pours the content of the first one out of the bag.But there are only trashes in the bag.Arkadi and Lyosha look at each other.The second policeman finds a bloody sheet in a bag.Lyosha talks to him in Russian. And the first policeman apparentlytells him to do what Lyosha just askedReluctantly, he second policeman tastes the blood on the sheet. Hesmiles and says a word in Russian.The first policeman repeats that word to Lyosha KAREN What ? ANDY What ? What ? FIRST POLICEMAN Sweet. It is fake blood. ANDY It's fake blood. KAREN They could have soaked the sheets in fake blood afterwards. FIRST POLICEMAN But... where is the body ? Huh ?The second policeman keeps looking through the trash bags.The first policeman shows the paper, he is still holding, toBilly. FIRST POLICEMAN Here you say, "A head cut off."The second policeman has just emptied another bag. He makes a signmeaning ´Nothing significantª and talks in Russian.Arkadi answers something that makes Lyosha and the two policemenlaugh.Billy says something in sign language. KAREN Oh ! Wait. Wait. Ah ! She says... Well, there were more bags in there before.The first policeman seems a bit fed up with Billy. ARKADI No, she's right. I will show you.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTThey are all coming out of the basement on a ramp that reaches theyard and the parking lot around the building. Arkadi is leadingthem. ARKADI From lift shaft we take the rubbish here. Fast. Easy.The janitor says something in Russian. They have reached the largeplastic trash containers where all the trashes from the studio aredropped off, waiting for the garbage collectors to take them away.The second policeman raises the lid of a container, while thefirst policeman looks inside. Arkadi takes a bag out of anothercontainer and drops it on the ground. The second policeman looksinside the bag with his flashlight. There seems to be a headinside the bag. The policeman pours the content of the bag on theground. Actually the head was just a mask ! ANDY Hey, we need that.He picks up the mask from the rubbish. He wipes it with his hand.The first policeman gives his card to both Billy and Karen. FIRST POLICEMAN Sorry, I can do nothing for you now. But I will call you after I see the film. Okay ? Sorry.He walks away. The second policeman shakes hands with Arkadi andLyosha and goes away with his chief.Billy rests her head on Karen's shoulder.Lyosha looks at her, shrugs and smiles.ANDY'S CAR - INTERIOR NIGHTClose up shot on Billy's face, seated in the back of the car. Shelooks very sad and disappointed.Andy is driving, with Karen seated next to him. ANDY Well, I've never been more embarrassed in my entire life. KAREN I don't get it. I mean, Billy's a pro. She'd know the difference between a real murder and a gag. ANDY Please, has she even seen a real murder ? KAREN That's my point. If what she saw tonight was real, then she has seen the difference, right ? ANDY Oh, come on, honey. We all bought the guy cutting me up tonight. Even I believed it. KAREN Because you're a wuss.She laughs. ANDY I'm gonna let that slide.Karen looks at Billy. ANDY No offense, Billy, but I'd like to re-shoot the stuff today using that guy's knife. KAREN It was her knife. God !A very short flash-back sequence of the murder of the actress. ANDY Whatever. It looked good.Another very short flash-back. We understand those short flash-backs come from Billy's mind reliving what she saw a couple ofhours before.Karen, looking at Billy, seems to understand what's going oninside her sister's head, because she says to Andy : KAREN Shut up.More short flash-backs of the murder, and a close-up shot onBilly's face. She seems very disturbed.CINEMA STUDIO - BASEMENT - INTERIOR NIGHTThe janitor is patrolling the basement with his dog. He iscarrying an electric torch.He checks a heavy metal door, which is closed.While he is checking the door, the dog runs away.The janitor looks around him. JANITOR Buka !He is apparently calling his dog, but he gets no answer. He startslooking around.He reaches the door of the incinerator. We hear the noise of theincinerator, and we see its light on the janitor's face. Thejanitor seems surprises that the incinerator is working so late inthe night. We hear the dog whining. JANITOR Buka ?The janitor enters the incinerator room. He walks slowly arounduntil he reaches the incinerator. The incinerator door is slightlyopen. He looks inside.Close shot of the inside of the incinerator. Among the flames, ahuman skull is burning.The janitor walks backward with a terrified look on his face. Hetrips on something and falls down.Close shot on the fallen flashlight rolling around. In the light,we see a pair of boots, belonging to a still unknown man, standingon the floor.Still lying on the floor, the janitor discovers his dog lying nextto him, and starts patting it. The dog's fur is covered withblood. JANITOR Buka.Arkadi walks toward the janitor. JANITOR Buka. Buka.Arkadi raises something we don't clearly see (a knife ?) above hishead and hit the janitor, still lying on the floor.A RESTAURANT - INTERIOR NIGHTClose up shot of a knife hitting a beefsteak. The directors's ideawas, of course, to give us the impression that it was Arkadi'sknife hitting the poor janitor !Larger shot of the steak being cut into the plate. We hear somesoft music.Karen and Andy are seated, side by side, at a table in arestaurant, with Billy sitting on the other side of the table.Andy, with his shirt still covered with fake blood, is eating withan evident good appetite. Billy doesn't seem to be very hungry.Andy gives his plate to Billy. ANDY Please, Billy, take some of mine. You'll feel better.Billy explain silently that she is not hungry. Andy takes hisplate back. ANDY Okay.Andy pours a lot of ketchup on his steak.Billy says something in sign language. Karen looks at her, whileAndy drinks his wine. Billy keeps on ´talkingª. ANDY Could you pass me the salt, please ?Karen gives the salt to Andy. KAREN You could at least make the effort.Andy stops eating, looks at Billy drinking water and then atKaren. ANDY Listen... I'm sorry. All I can think about now is the movie, but as soon as we get back, I promise, I'll learn.He starts eating his steak again. KAREN How often have I heard that ? ANDY Come on. I can understand some of what she's saying. KAREN What ?Andy puts his fork and knife down. ANDY Okay, how about this ?Andy makes a sign. ANDY Means ´makeupª, right ?Billy smiles and nods her head ´Noª. KAREN Wrong. It means somebody's look, the expression on their face. ANDY That was close. KAREN What Billy said she'll never forget the look on the girl's face tonight from the moment she knew she was gonna die. She said the pain and the terror was real. You can't act that.Billy looks at Andy and Karen with a worried face. Andy seemssuddenly a bit worried too.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTThe chimney of the studio seen from the parking lot in a low-angleshot. A lot of black smoke is coming out of it, certainly from theincinerator.Lyosha is smoking on the ramp leading to the basement, and he,like the chimney, exhales a lot of smoke, but white one !The door of the basement opens and Arkadi walks out. There seemsto be a lot of smoke in the basement too. He coughs. Lyosha throwshim a pack of cigarettes, which he catches. He spits, takes acigarette out of the pack and lights it.Two cars are coming toward them. The fist one is a large blacklimousine.Lyosha picks up a small plastic bag.The cars stop near the ramp. Arkadi and Lyosha walk toward them. Aman gets out of the front passenger door of the second car. He isWartschuk, the Big Boss' first assistant. He closes the door andwalks toward Lyosha and Arkadi. Lyosha gives him the plastic bag.The man says a few words in Russian and nods toward the limousine.He walks away, but Lyosha doesn't move.A man is sitting in the back of the limousine, his face hidden inthe dark. He is called ´The Reaperª and he is the famous ´BigBossª of the whole criminal organization, and consequently ofArkadi and Lyosha. THE REAPER Come closer, Mr. Hausmann. I won't bite.Lyosha starts walking slowly toward the car. THE REAPER (voice over) Did it go smoothly ? LYOSHA About the money... THE REAPER Did it go smoothly ? LYOSHA Yes, of course. No problem.The Reaper bends slightly, so his face appears in the light. THE REAPER Did it go smoothly, Mr. Hausmann ? LYOSHA We did our job. The condition was... THE REAPER The condition was that everything would go smoothly. LYOSHA Yes. Yes, and we have your diskette. THE REAPER And who informed the police ? LYOSHA American girl say something, but nobody believe her. THE REAPER As long as there are witnesses, there's no money. LYOSHA You mean ?... THE REAPER I think we understand each other, Mr. Hausmann.The Reaper winds his car window up. Then he sits back in his seat.Lyosha and Arkadi look at the two cars driving away.Lyosha gives a folded paper to Arkadi, who unfolds it.Close up shot on the paper. It shows Billy's address and telephonenumber.A STREET IN MOSCOW - EXTERIOR NIGHTLow-angle shot on the buildings around the street. Then the cameratilts down to street level. Andy's car drives toward us and stops.Billy opens the back door and walks out of the car. Karen opensthe driver's door and walks out. Both sisters close their doors.Billy starts walking toward her building and Karen follows her. KAREN No, honestly, you can come back to our place, and we'll set up the couch if you want.Andy has remained in the car.Billy answers her sister in sign language. KAREN You're not on one of your ´I'll show her how independent I amª kicks, are you ?Andy has got out of the car and is watching the two sister,leaning on the roof of the car. ANDY Honey, you coming or what ?Billy waves to Andy and enters her building. Karen looks at hersister and then turns toward Andy. KAREN Andy, don't you care about her ?Andy looks offended by Karen's words. ANDY I don't care ? I don't care ? Fine, fine. I'm calling the American Embassy tonight, okay ?Billy has stopped near her building door and is looking at Karenand Andy's verbal fight. KAREN It's the weekend. They're closed. ANDY Not for us. My dad gave me the duty officer's direct number before we left, just in case. So say goodbye.He waves to Billy, who waves back to him. She blows a kiss to hersister, who blows one back, and enters her building.POLICE HEADQUARTERS - CORRIDOR - INTERIOR NIGHTA long corridor. In the foreground, the two uniformed policemen,who took care of Billy's case, are sitting on a wooden bench. Thesecond policeman is asleep. The first policeman stands up when hesees a group of three people, a woman in white coat (like a nurse)and two men in suit and tie, coming toward them. The firstpoliceman wakes up the second policeman, who stands up.One of the men is Mr. Larsen, a high-rank police officer, theother one is Mr Lovett, the US ambassador's secretary.The woman in white shows the two policemen to Larsen, then walksaway. Larsen takes his hat off. LARSEN Mr. Lovett, these are the two officers who answered the complaint.He shakes hands with the two policemen. LOVETT Good evening, gentlemen.Lovett shakes hands with the two policemen. FIRST POLICEMAN Good evening. LARSEN Please speak English to the ambassador's secretary. My chief asked me to meet Mr. Lovett here. If this witness is correct about what she saw tonight, she may help my own investigation. LOVETT Your English is quite good, Mr. Larsen. LARSEN Thank you. My mother was a translator. LOVETT In the university ? LARSEN No. KGB.After Larsen's answer, there is a slight embarrassed silencebetween the two men. Fortunately for them, a door opens and a manin white coat walks out of a room, carrying a film box under hisarm. He talks to Larsen in Russian, and shows him the room wherethey have to go. Larsen shows the room to Lovett. LARSEN Please.They all follow the technician.POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHTThe door of the projection room opens and Lovett enters, followedby Larsen. LARSEN We've been tracking gangsters in Moscow running an international pornography and prostitution racket.The two policemen enters behind them. Larsen shows a seat toLovett. The projection room looks like a small cinema theatre,with rows of red seats. LARSEN Sit down, please. We have information they have made snuff films here and sold them all over the world.Lovett sits down. Larsen takes his coat off and sits down next toLovett. The two policemen sit on the row behind the two men. LOVETT Snuff film... Is that what I think it is ? LARSEN Victims believe they are making a sex film, but they are murdered in front of the camera.Larsen turn toward the two policemen. LARSEN What is the name of the witness ? What is it ?He snaps his fingers. FIRST POLICEMAN Billy Hughes, sir. LARSEN Billy Hughes. Yes. She claims to have seen one being made.POLICE HEADQUARTERS - PROJECTION CABIN - INTERIOR NIGHTThe technician is setting the film reel on the projector. We canhear the voices from the room coming through the loudspeaker ofthe cabin. LARSEN (voice over from the loudspeaker) The victims are illegal immigrants exploited as prostitutes by a gang headed by one man.The technician is feeding the film into the projector.POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHT LARSEN He is brutal, ruthless. They call him The Reaper.Larsen is making nervous movements with his hands. LARSEN I'm surprised his men gave up the film so easily. If it is what I think it is, our witness, Billy Hughes, is in great danger.The sequence ends with a close shot on Larsen's worried face.BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHTClose up shot on the gas flames of the water heater.Billy is getting ready to take a bath. She is just wearing a bathtowel wrapped around her body. With her hand, she tests thetemperature of the bath water. She pours some bubble-bath from abig bottle into the water. We hear the telephone ringing. Billyturns her head toward the living-roomBILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTThe apartment is a bit ancient-looking. It doesn't ´look likeªBilly. One can tell it is only a rented apartment for a shortperiod. Various clothes are scattered around the room.Billy walks from the bathroom along the corridor to the living-room. The telephone keeps on ringing.The telephone and the special answering machine are set on a smalltable. Billy picks up the telephone handset and puts it on themachine. Then she sits down on a chair and puts a pair of earphoneon her ears. Finally, she presses a button on the machine.Close up shot on the screen of the machine. It looks a bit like acomputer screen. The machine offers the choice between differentsentences : ´Helloª ´Hello this is Billy Hughes speakingª ´I am using a digital voice computerª ´Please have patience and I will answerª ´My address is apartment 923 - 126 Kievsky Prospektª ´My telephone number is 9205910ª etc.Billy chooses the second choice, using a ball-mat. Then she bringsthe arrow on an icon to start the machine. DIGITAL VOICE Hello, this is Billy Hughes speaking.Momentarily, the scene is seen through a binocular, which makes usrealize that Billy is been spied by someone.Billy, apparently getting no answer but a deep breathing noise,chooses the first choice. DIGITAL VOICE Hello.A shot on the large bay window makes us guess where the spy ishiding : somewhere across the street. DIGITAL VOICE Hello, this is Billy Hughes speaking.Billy keeps on trying to get an answer. DIGITAL VOICE Hello.But she gets only a disconnection tone. She takes the earphone outof her ears, and puts them on the table. She looks at the window.Shot on the window, with a zoom on another window across thestreet. Behind that window, we see the figure of a man looking atBilly with binoculars.Billy seen through the ´neighbor'sª binoculars. She walks to thewindow and pull the drapes to hide the window.The ´spyª sees the drapes being pulled through his binoculars.POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHTThe same men are still in the projection room. The first policemanhas taken his cap off. And Larsen is now seated in a seat behindLovett. FIRST POLICEMAN Have you seen a... how do you say... snuff film before ? LARSEN I saw a woman tied to a tree kept alive while her arms and legs were cut off. It's hard to talk about it, or even think about it. And it makes you sick to watch it. You never forget the look in the victim's eyes. The sheer panic and horror when they realize they're about to die.Lovett looks very disturbed by what Larsen just told him. Thetechnician knocks on the window between his cabin and the room.Larsen and Lovett turn around, and Larsen makes a sign to tell thetechnician to start the film. Then he takes a cigarette from thepack he left on his former seat. The room becomes dark and theprojection starts. The four men watch the film which has no sound.On the screen of the projection room, we see the sequence when theyoung actress, pretending she is dying very slowly, breaks thewhole set.Lovett and Larsen turn their head toward the cabin.POLICE HEADQUARTERS - PROJECTION CABIN - INTERIOR NIGHTThe technician is also watching the film through the windowbetween the two rooms. When he sees Larsen looking at him, heshrugs to tell him that he is not responsible for what is shown onthe screen.POLICE HEADQUARTERS - PROJECTION ROOM - INTERIOR NIGHTLarsen and Lovett turn back to watch the screen.On the screen, the sequence when the young actress is pulling thetablecloth away from the table, and also everything that was onthe table.The two policemen are smiling because they find what they see onthe screen quite funny.Lovett and Larsen do not smile, because they are disappointed.Now, on the screen, the actress is pulling the drapes down fromthe windows.KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHTKaren, wearing her night-gown, is seated on the edge of the bed.We hear Andy talking into the telephone. ANDY (voice over) Yes, sir... No, sir.Andy is walking up and down in the next room, carrying thetelephone set in his hand and with the handset on his ear. ANDY Right... Right... Right, sir. Right, sir. Thank you, Mr. Ambassador. So, I really appreciate the call. I'll give Dad your best. Right.He puts the phone down back on its hook.Karen has a worried look on her face. KAREN Well ? ANDY I told you. There's nothing to worry about. He says the film's the biggest piece of shit he's ever seen.Andy is smiling, but Karen still has a worried look on her face.BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHTHigh-angle shot of the room, seen from the ceiling. Billy is lyingin her bathtub, surrounded by foam and bubbles. Her eyes areclosed. She slowly puts her head underwater, and leaves just herface above water.One of the faucet is leaking and water is dropping from it.One of the glass panes is broken and fixed with adhesive tape andnewspaper.He eyes closed, Billy has her daydreams flashbacks again. She seesthe actress' blood spurting on the wall of the scenery. She seesher being stabbed. She sees herself running away from Lyosha inthe long dark corridor.Suddenly, she feels drops of blood on her face. And, opening hereyes, she sees the bloody actress behind the broken glass pane.She quickly sits up in her bath. She looks at the window, which isempty. She hears the phone ringing. She stands up in her bath andtakes her bath towel to dry herself.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly opens the bathroom door and walks out and along thecorridor, while drying her hair. She has put a bathrobe on.She puts the telephone handset on the answering machine. She putsher earphones on and select an answer. DIGITAL VOICE Hello, this is Billy Hughes speaking.KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHTKaren is sitting on the bed, with the telephone handset to herear. Andy is lying next to her, asleep. KAREN Hi, Billy. It's Karen. I hope you weren't sleeping. I just wanted to check and see if you're okay.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly smiles, hearing her sister's voice. She start typing on thekeyboard of the answering machine. The she sends the text to thedigital voice translating system. DIGITAL VOICE I am fine. No need to worry. Did you call earlier ?KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHTKaren is still seated on her bed. KAREN No, I got straight through. You sure you're okay ?BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly starts typing again.Close up shot on the machine screen. We can read what she istyping. DIGITAL VOICE Sure. Had bath. All fine. Now I go to bed. You too.KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT KAREN I just wanted to tell you : they saw the film, and it's not the real thing.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly is listening to her sister. KAREN (voice over from the telephone) That's good. Right ?The doorbell rings. Billy turns her head toward the door.KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHT KAREN Did I hear something there ?BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly starts typing her answer. DIGITAL VOICE Doorbell. Wait. I'll see who.She puts her earphones down, and stands up. We can still hearfaintly Karen's voice coming from the earphones. KAREN (voice over from the telephone) What ? Ah ! It's almost one o'clock. I wouldn't get that, Billy... (louder) Billy ?Billy is looking through the peephole on the door.KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHTKaren is looking worried. KAREN Billy ? You be careful, now. Check who it is first.Karen's louder voice has awaken Andy, who sits up.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly is still looking through the peephole.BILLY'S APARTMENT - LANDING OUTSIDE THE FRONT DOOR - INTERIORNIGHTThe landing, just outside Billy's apartment front door, is darkand empty.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly, still looking in the peephole, moves her head from right toleft, trying to see further on the landing. She slowly moves awayfrom the door to a small table by the door.Close up shot on the table, and a business card lying on it. It isthe first policeman's card. It says : ´Police Inspector VladimirPekar - Precinct 22ª and underneath an address and a telephonenumber.Billy is still standing near the door. She puts the safety chainon. And then she slowly opens the door. Arkadi appears behind thedoor. Billy tries to shut the door, but he puts his foot betweenthe door and the wall. ARKADI Please. I want to talk.Desperately, Billy tries to push the door shut.Close up on the earphones on the machine keyboard. KAREN (voice over from the telephone) Billy ?KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHTKaren seems very excited. KAREN Billy, are you still there ? ANDY Would you leave her alone ?He lies back in the bed. KAREN I heard a noise, Andy. Something's happened. I swear.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly is trying to push the door shut. Arkadi has a big wire-cutter in his hand. He brings the cutter near the chain. Billytakes an umbrella from the stand near the door, and, with it,tries to prevent Arkadi from cutting the chain. Arkadi cuts thetip of the umbrella off. With her slippered foot, Billy kicksArkadi's foot still jamming the door, but it doesn't move it off.Then she takes the heavy metal umbrella stand and hits Arkadi'sfoot with it. Arkadi removes his foot from the door. Billy can -at last - slam the door shut. She leans on it, panting.KAREN AND ANDY'S APARTMENT - BEDROOM - INTERIOR NIGHTKaren is now very frightened. She yells in the phone. KAREN Billy !She puts the phone down and stands up from the bed. KAREN Okay, that's it. I'm going there.Andy sits up on the bed. ANDY What ?BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly is still leaning on the door, panting. We hear the noise ofan electric machine. Billy's eyes widen with horror. She rushes tothe telephone, and starts typing frenetically. DIGITAL VOICE Karen, help. Call police. Emergency.Close up shot on the door lock. We can guess that Arkadi is tryingto open the door with a power tool.Billy puts her earphone on. She hears the disconnection tone. Shepresses the disconnection switch on her own telephone.Close up shot on the door lock. One of the screws holding the lockpops off and falls on the floor.Billy is listening to a Russian-speaking female voice in herearphones. She types on her keyboard. THE VOICE ON THE PHONE Hello ?... Hello ?She sends her message. DIGITAL VOICE Police, emergency.A few word in Russian and then, more distinctly : THE VOICE ON THE PHONE Police ?Billy types ´Yesª. DIGITAL VOICE Yes.Getting a Russian answer, she types ´Daª DIGITAL VOICE Da.Billy chooses a pre-recorded message, and sends it. DIGITAL VOICE Hello, my name is Billy Hughes. My address is apartment 923...Close up on the lock : another screw just pops off. The telephoneoperator keeps on speaking in Russian, apparently not listening toBilly's message. We hear the power tool working again on the lock. DIGITAL VOICE ... 126 Kievsky prospekt...Billy takes her earphones off and rushes out of the room. DIGITAL VOICE Telephone 9-2-0-9-5-9-1-0...BILLY'S APARTMENT - KITCHEN - INTERIOR NIGHTBilly enters her dark kitchen. She takes a big knife from thetable, and rushes out of the kitchen.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly rushes in the room, with the knife in her hand. Theanswering machine keeps on speaking. DIGITAL VOICE Billy Hughes speaking.Close up shot on the lower screws of the lock. They're vibratingunder Arkadi's tool. DIGITAL VOICE This is a digital voice computer.Close up on the answering machine screen. Billy select anothermessage. She puts her earphones on. DIGITAL VOICE Please have patience and I will answer.Apparently, the telephone company found an English-speakingoperator. TELEPHONE OPERATOR Hello ? You English ?Billy works frenetically on her answering machine. DIGITAL VOICE My name is Billy Hughes. TELEPHONE OPERATOR Yes ? What do you want, please ?Close up on the screen. Billy is typing a message. TELEPHONE OPERATOR Hello ? DIGITAL VOICE Help. Intruder.But apparently, the operator doesn't speak such a good English TELEPHONE OPERATOR I no understand. Sorry.The operator speaks in Russian, certainly to another operator.Billy types another message. DIGITAL VOICE Bad man want to kill me. TELEPHONE OPERATOR Bad man ? I get man who speak English, yes ?Close up on the lock : another screw pops off.Billy takes her earphones off and rushes to the light switch. Sheputs all the lights of the room at their maximum lightingcapacity.BILLY'S APARTMENT - LIVING ROOM WINDOW - EXTERIOR NIGHTWe see Billy's living room window from the outside. Billy ispulling the drapes wide open. Then she starts waving her arms toattract the attention of the peeping-Tom and his binoculars.Reverse angle shot on the window where the peeping-Tom wasstanding when he was watching Billy. There is light coming throughthe window and someone is moving in the room behind the curtains,but the peeping-Tom doesn't seem interested by Billy at themoment.Back to Billy's window. She unties her bathrobe and shows herbreasts.The peeping-Tom is still moving in the room behind the curtains,but he doesn't come to the window.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly is standing in front of the window, with her bathrobe wideopen, revealing her naked body to whomever wants to watch it !Close up on the lock. Another screw is vibrating and pops off. Wesee the drill bit coming through the hole it just made.Billy hears a male voice coming from her earphones. MALE TELEPHONE OPERATOR Hello ? Hello ?Billy picks up the earphones and put them on her ears. TELEPHONE OPERATOR I speak English.The door burst open and Arkadi walks into the room. Billy picks upher big kitchen knife and points it to Arkadi. MALE TELEPHONE OPERATOR Are you okay ?Arkadi presses the light switch to dim the lights in the room.Close up shot on the earphones. MALE TELEPHONE OPERATOR If you just give your address, we send somebody immediately.Arkadi is walking slowly inside the room. Billy is walkingbackward away from him, but still pointing her knife at him. MALE TELEPHONE OPERATOR Hello ?Arkadi tears the telephone cord off the telephone handset. Hetries to get near Billy, but she is still pointing her knife athim. He pulls the drapes back on the window.Walking backward, Billy has reached the wall, in which she bumps.She takes a white statuette on a chest of drawers and throws it atArkadi.Arkadi bends down and avoid the statuette, which crashes on thewall behind him. He takes his own knife out of his pocket, aswitchblade knife.Billy pushes the chest of drawers toward Arkadi. It crashes on thefloor, but Arkadi avoids it. Billy is still pointing her knife atArkadi, when we hears some bumping noise.APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHTIn the bedroom just underneath Billy's apartment, a Russian coupleis trying to get some sleep, which, with all the noise in Billy'sapartment, is not very easy.The woman is still in the bed, but the man is standing up on thefloor, holding a broom with both hands, and hitting the ceilingwith the handle of the broom. Both members of the couple swear inRussian.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly, who has understood the situation very well, is hitting thefloor with a stick.APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHTThe man hears the noise made by Billy, and answer by hitting theceiling with his broom.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly is waving her knife around her, to prevent Arakadi fromcoming closer to her. She throws the knife at him. Arkadi bendshis head and the knife hits the piano.Close up of the piano keyboard, with the knife stuck between twokeys.Billy rushes out of the room, closing the door behind her.BILLY'S APARTMENT - KITCHEN - INTERIOR NIGHTBilly rushes into the kitchen. She takes various knives hangingfrom the wall and throws them at Arkadi, as he tries to enter thekitchen. One knife gets stuck into a painting on the other side ofthe corridor. Arkadi almost catches Billy, but she jumps through asort of window set between the kitchen and the living-room.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTBilly stands up after her jump through the window, and she slamsthe door of the corridor in Arkadi's face. This door being a sortof French window, with plenty of small glass panes on it, Arkadicrashes through the door, scattering pieces of glass all over thefloor. He falls on the floor. Billy slips on a piece of glass andalso falls on the floor. Arkadi tries to catch her by the ankles.She kicks him in the face. He grabs her ankles back. Billy grabs abig white vase from the floor, she sits up and crashes the vase onArkadi's head. Arkadi lets her go, and she rushes to the frontdoor, but, as she reaches the door, Lyosha comes in. She rushes tothe corridor. Arkadi, still a bit groggy, looks at Lyosha withblinking eyes.BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHTSame high-angle shot, as before, of the bathroom seen from theceiling.Billy enters the bathroom, and locks the door behind her.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTArkadi stands up slowly and walks into the corridor.BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHTArkadi tries to crash the door open. Billy looks around for apossible escape.She opens the door of the small cabinet above the sink, and takeseverything out of itBILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHTClose up shot on the bathroom door. Arkadi has put his knifeinside the lock of the bathroom door to open it.BILLY'S APARTMENT - BATHROOM - INTERIOR NIGHTClose up shot on the door. We see the handle of the lock spinningslowly.Billy, still looking in the cabinet, sees the handle spinning. Sherushes to the door and spins the handle back into the lockposition. A knife blade comes through the door a few inches fromBilly's face. Billy goes back to the cabinet and starts searchingit again. Eventually she seems to have found what she was lookingfor : a small disposable razor.The door is shaking under Arkadi's blows. Eventually his handbreaks through the door and tries to find the handle of the door.Billy picks up the toilet brush (the handle of which is a DonaldDuck), and hits Arkadi's hand with it. But the door starts fallingdown under Arkadi's blows. Billy looks through the hole Arkadi hasmade in the door with his hand.Through the hole, we can see Arkadi going to the end of thecorridor, and running back full speed to smash the door.At the last moment, when Arkadi is going to hit the door, Billyopens it. Arkadi can't stop himself, he crosses the bathroom andfalls into the full bathtub. Billy hits him on the head with theDonald Duck toilet brush. Then Billy takes the hair-drier, switchit on, and throws it in the bathtub. Arkadi is instantly coveredwith blue sparks. Then he falls back into the bathtub where heremains motionless. Billy grabs a bunch of clothes and rushes outof the bathroom.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTLyosha is looking through Billy's documents scattered on the desk.When Billy comes rushing through the room, he grabs her. She triesto fight him but he locks both of her arms behind her back. Hebrings her to the desk, and slams her face on the desk. He puts aknife very close to her face. LYOSHA Where's the diskette ?He puts a piece of paper and a pen in front of her face. He freesher right hand for her to be able to write. LYOSHA Where is the diskette ?Billy takes the pen and starts writing.Close up shot on the paper. Billy writes : ´What diskette ?ª LYOSHA I know you have !Lyosha raises Billy's bathrobe above her waist, revealing Billynaked bottom underneath.Billy looks very frightened, afraid of what Lyosha can do to adefenseless naked girl. She takes the pen very firmly in her handand brings it violently to Lyosha's leg.Close up shot of the pen hitting Lyosha's leg.Lyosha screams. He raises his knife to bring it down on Billy.Billy is waiting for the worse to happen. She hears the noise ofsomething - or someone - falling violently on the floor. Andsuddenly, she realizes she is free. She raises from the table andsees Larsen holding Arkadi's big wire-cutter in his hands. He justhit Lyosha with it. Larsen throws the wire-cutter on the floor andbends on Billy. LARSEN My name is Alexander Larsen. I'm a policeman. Take your clothes. We must get out of here.Larsen goes to the window and peeks through the drapes. LARSEN You must hurry.Billy rushes to her clothes she had dropped on the floor whenLyosha grabbed her. She sits down on the floor and starts puttingher socks on. LARSEN I explain everything in the car.He is still peeking through the drapes. LARSEN In the car. No time now.He gathers the rest of Billy's clothes, takes her hand to makesher stand up, and drags her outside the apartment.BILLY'S LANDING - INTERIOR NIGHTThey come out of the apartment and start running along thecorridor on Billy's landing. They reach the staircase. Billy dropsa piece of clothing and picks it up. Larsen opens the door of theelevator, and pushes Billy inside. He closes the door.BILLY'S BUILDING - ELEVATOR - INTERIOR NIGHTLarsen is ready to press the number ´1ª on the control panel, butthe button number ´1ª lights up by itself before Larsen pressesit. LARSEN They are coming.Billy starts putting her panties on. LARSEN We are in great danger.He looks down at Billy, who is still putting her panties on. Hetakes the rest of Billy's clothes in his hands, and presses thebutton number ´3ª.THIRD FLOOR LANDING - INTERIOR NIGHTThe elevator stops and Larsen opens the door. Billy walks out ofthe elevator, and follows Larsen down the staircase.SECOND FLOOR LANDING - INTERIOR NIGHTLarsen and Billy are coming from the third floor and start goingdownstairs toward the first landing. The elevator is going up withtwo people inside. They look very much like Andy and Karen.STREET IN FRONT OF BILLY'S BUILDING - EXTERIOR NIGHTLarsen and Billy are coming out of the building. LARSEN Quick.Larsen's car is parked just in front of the building. Larsen opensthe passenger's door for Billy, who climbs inside the car. Then hewalks around the car, open the driver's door and climbs inside. Hestarts the engine.A big black limousine, with two men inside, starts and followsLarsen's car, which has just started. The driver is Wartschuk,whom we have seen before with The Reaper, and who is The Reaper'sfirst assistant.LARSEN'S CAR - INTERIOR NIGHTLarsen gives a quick look in the rear-view mirror.We see the headlights of the other car through the back window ofthe car.Billy resumes her dressing. When she puts her white sweater on,without a bra, her breasts are showing. Larsen gives a quickglance toward her, and then turns his head away. Billy looks backat him, smiles and kisses him on the cheek. LARSEN It's not over yet.Billy puts her jacket on. Larsen looks in the back-view mirror.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTKaren and Andy enter the apartment and stop when they see the messaround them. We realize that it was really them and not somegangsters going up in the elevator. KAREN My... ANDY Oh, my God, it's trashed !Karen rushes through the room. Andy remains on the doorstep. KAREN Billy, where are you ? ANDY I'll call the police !BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHTKaren is running through the corridor.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTAndy picks up the telephone handset without noticing that the cordhas been cut.BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHTKaren is checking all the rooms to find her sister KAREN Billy ! Oh, Billy. Oh, my God !BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTAndy is still trying to get a dialing tone ANDY How do you work this thing ? Oh, there it is.Behind Andy, the front door is closing slowly, revealing Lyoshastanding behind it. He has the big wire-cutter in his hand, and isready to hit Andy with it. Andy looks at the cut cord, but doesn'trealize the telephone can't work with a cut cord.BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHTKaren enters the bathroomBILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTWe hear Karen screaming. Andy puts the telephone down on the tableand rushes across the roomBILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHTKaren is coming out of the bathroom, screaming.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTAndy walks toward the corridor, but Karen meets him at the door. KAREN Someone's dead in the ba...She doesn't finish her sentence, because she has just seen Lyoshabehind Andy. She grabs Andy and moves him out of the way ofLyosha's wire-cutter. The wire-cutter smashes what is left of thedoor of the corridor.BILLY'S APARTMENT - CORRIDOR - INTERIOR NIGHTAndy and Karen run and enter a room, presumably Billy's bedroom,and slam the door behind them. KAREN God ! Oh, my God !Lyosha looks at the door, and doesn't even bother to smash it. Heslowly walks back to the living room. We hear Karen and Andy'svoices in the room. KAREN (voice over) Get the door ! Get a chair ! Get the chair ! ANDY (voice over) What chair ? KAREN (voice over) The chair ! Out of the way ! Move ! Put it over there! ANDY (voice over) Move! Get the wardrobe over !Lyosha enters the living-room through what remains of the door. KAREN (voice over) Andy, quick ! Push it !APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHTThe man, seated on his bed, stares at the ceiling, through whichwe can hear Andy and Karen yelling. His wife has put the sheetover her head to try not to hear the noise. The man stands up andthrows one of his slippers to the ceiling. Then he sits back,while his wife stares at him. ANDY (voice over) I'm pushing ! Get out of the way ! KAREN (voice over) What are you doing ? ANDY (voice over) I can't. Oh, my God !BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTLyosha sits down in an armchair and takes a pack of cigarettes outof his pocket. But he doesn't take a cigarette. He gives a quicklook at the front door, and closes his eyes, ready to fall asleep.The front door bursts open, and two uniformed policemen enters theroom, guns in hand. Lyosha looks at them without moving from hischair, with a sort of look of indifference in his eyes. He showsthem the corridor, where we can still hear Andy and Karen yellingin the bedroom. From Lyosha's attitude, we can guess that thosepolicemen are not real ones, but fake ones. KAREN (voice over) I can't. I can't ! You hold the door ! ANDY (voice over) Get out of the way !The two fake policemen cross the room. KAREN (voice over) Come here! Andy! Come here! ANDY (voice over) Don't yell at me! I'm trying to get the goddamn wardrobe near the fucking door! KAREN (voice over) Oh, my God!Lyosha doesn't even look at them. He just smiles. Before goingthrough the smashed door into the corridor, one of the policemannods to his ´colleagueª, who takes his gun from his holster, aims,and sends a bullet through Lyosha's head, whose blood splattersthe wall. The gun is equipped with a silencer, and doesn't makemuch noise. Then the policeman goes through the smashed door tojoin his colleague.LARSEN'S CAR - INTERIOR NIGHTWhile driving, Larsen talks to Billy. LARSEN The girl you saw murdered tonight...Billy nods in approval. LARSEN ...her boyfriend stole a diskette full of information. Money, names, connections, everything. He blackmailed The Reaper. Very dangerous. And now he thinks that you have the diskette.Billy mouth a word we can easily understand. BILLY Me ? LARSEN You have it ?... Huh ?Billy is trying to think about the lost diskette.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTAndy and Karen are kneeling on the floor, with their hands joinedbehind their heads. One of the fake policeman is searching theroom, throwing everything off the shelves on the floor, while theother one is aiming his gun at Andy and Karen. He is leaning onthe piano, and he throws all the objects, which are on top of thepiano, on the floor. He raises briefly the piano lid, and thenstarts looking behind the picture hanging on the wall. ANDY We don't have any diskettes.The policeman picks up a diskette he had thrown on the floor andlooks at it. ANDY Not that one. That's my script.Karen hits Andy with her elbow. The policeman puts the disketteinto a small white plastic bag he is carrying around. He putsanother diskette in the bag. The other policeman is speaking inRussian in a walkie-talkie.THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHTWartschuk is answering the fake policeman on his own walkie-talkie. Next to him, his passenger is screwing a silencer on hisgun.A STREET IN MOSCOW - EXTERIOR NIGHTThe street is empty at this time of the night, but for the twocars following each other.LARSEN'S CAR - INTERIOR NIGHT LARSEN The girl had it when she went into the studio. Then she was murdered, and it was gone. Where is it ? Think. You were the only person there.Close up shot on Billy's face trying to think about the mysteriousdiskette. She has a short flashback of Arkadi taking the knife tomurder the actress. Then another one of the naked actress lying onthe bed. Then another one of the blood splattering the wall. Thenanother one of Arkadi stabbing the girl. LARSEN Think.Another short flashback of Billy going away from the set. Thenanother one of Billy bumping into the hatstand. Then another oneof the girl's purse contents scattered on the floor. Then anotherone of the diskette skidding on the floor and hiding under thelarge wooden wardrobe.Billy grabs Larsen's shoulder. LARSEN Write. Write it.Billy takes a notepad and starts writing on it. But she isinterrupted by a Russian voice coming from somewhere in the car.Larsen opens the glove compartment and takes a walkie-talkie outof it. He talks in Russian in the talkie.Billy looks at the pair of handcuffs in the glove compartment.Larsen puts the talkie back in the compartment. LARSEN Write it.They drive along a police station, but Larsen doesn't stop. Billylooks a bit worried all of sudden. LARSEN Quick, write.Billy shows the police station to Larsen. Then she writes ´Policeªon the notepad. LARSEN Police ? Yes. Yes, but only with the diskette.She writes ´Why ?ª on the notepad. LARSEN You know, I work undercover. The Reaper thinks I work for him. Trust me. Trust me.She grabs the steering-wheel to force Larsen to park the car.THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHTThrough the car windshield, we see Larsen's car zigzagging on thestreet. The two passenger talks in RussianLARSEN'S CAR - INTERIOR NIGHTBilly is trying to force Larsen to stop the car. LARSEN Crazy !THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHTThrough the windshield, we see Larsen's car stopping near thesidewalk. The two men talk nervously in Russian.LARSEN'S CAR - INTERIOR NIGHTBilly hits Larsen violently on his private parts. Larsen moans.Billy takes the handcuffs out of the glove compartment and tiesLarsen's hand on the steering-wheel.THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHTThe two men look at Larsen's parked car. They see the passengerdoor being opened.LARSEN'S CAR - INTERIOR NIGHTBilly opens the door and gets out of the car. LARSEN They'll kill you !Billy shows him the handcuffs key. Then she slams the door. Larsenmoves his hand nervously, but, of course, can't get it out of thehandcuff.A STREET IN MOSCOW - EXTERIOR NIGHTBilly is running away from Larsen's car toward the other car.LARSEN'S CAR - INTERIOR NIGHTLarsen looks into the glove compartment and takes the talkie outof it. He speaks in Russian into the talkie.THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHTWartschuk answers Larsen in Russian.LARSEN'S CAR - INTERIOR NIGHTLarsen is yelling in the talkie, very excited.A STREET IN MOSCOW - EXTERIOR NIGHTBilly is walking in the street and she suddenly stops. She sees aray of light on the sidewalk.THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHTThrough the windshield, we see Billy who has stopped on thesidewalk. She starts crossing the street, and the camera moves toa nook between two building, near the car, and where a man ishiding. Actually, he is Wartschuk's passenger.LARSEN'S CAR - INTERIOR NIGHTLarsen puts his gearshift into reverse and starts drivingbackward.A STREET IN MOSCOW - EXTERIOR NIGHTBilly is walking in the middle of the street, and Larsen's car iscoming toward her. Billy starts running. Larsen's car turns aroundto face Billy and starts again, driving forward.The man, who was hiding between the two buildings, comes out ofhis hiding nook and runs toward Larsen's car. Larsen stops andstarts driving backward again.LARSEN'S CAR - INTERIOR NIGHTLarsen is driving, looking in the rear windshield. He stopssuddenly.A STREET IN MOSCOW - EXTERIOR NIGHTThe man walks in front of Larsen's car.LARSEN'S CAR - INTERIOR NIGHTClose up shot on Larsen's feet. He steps on the accelerator.A STREET IN MOSCOW - EXTERIOR NIGHTThe man falls on the hood of Larsen's car, where he remains lyingon his stomach.LARSEN'S CAR - INTERIOR NIGHTThe man lying on the hood seen through the windshield of the car.He yells at Larsen.Close up on Larsen's feet. He steps on the brake.A STREET IN MOSCOW - EXTERIOR NIGHTThe man falls from the hood and rolls on the street.LARSEN'S CAR - INTERIOR NIGHTClose up on the gear shift. Larsen changes gear and looks throughthe rear windshield.A STREET IN MOSCOW - EXTERIOR NIGHTThe man stands up and starts running after Larsen's car, drivingbackward again. The car reaches Billy, standing on the sidewalk.The big black car, which was following Larsen, starts and turnsaround.LARSEN'S CAR - INTERIOR NIGHTLarsen looks at Billy. LARSEN Get in !A STREET IN MOSCOW - EXTERIOR NIGHTThe man is running toward Larsen's car.Billy looks at him, and hesitates on her next move. But shedecides to climb in Larsen's car.The big black car is coming toward them. LARSEN Get in!LARSEN'S CAR - INTERIOR NIGHTBilly climbs into the back of the car and closes the door.A STREET IN MOSCOW - EXTERIOR NIGHTThe man reaches Larsen's car just as it drives away. The manremains on the sidewalk with a mean look on his face. The blacklimousine stops near him and he climbs inside.LARSEN'S CAR - INTERIOR NIGHTBilly looks through the rear windshield at the car following them.Larsen has a hard time driving with his hand tied on the steeringwheel. LARSEN Please, give me the keys.Billy nods her head ´Noª. Larsen gives her the notepad. LARSEN Write. Where is the diskette ?Billy looks at the following car. LARSEN We cannot escape in this car. Write. Write.Billy starts writing. Then she shows the note pad to Larsen, whoreads it. LARSEN Studio. Where in the studio ?Billy makes a ´Noª with her finger.A STREET IN MOSCOW - EXTERIOR NIGHTLarsen's car makes a left turn into another street.THE CAR FOLLOWING LARSEN'S CAR - INTERIOR NIGHTThrough the windshield, we see Larsen's car turning into theadjacent street. Wartschuk speaks in his talkie. WARTSCHUK Delta three.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTOne of the fake policeman picks up his talkie from the table WARTSCHUK (voice over from the talkie) Delta three.The policeman answers ´Daª, then listen to Wartschuk speaking inRussian. He says ´Daª again and a few more words. Karen and Andylook at him, with a worried look on their face. Wartschuk answershim. Apparently, Andy understood a few words, because he says : ANDY What ?The policeman drops the talkie on the table and talks to hiscolleague. ANDY What ?The other policeman walks near Andy and Karen, raising his gun. ANDY This is all a big misunderstanding and... Excuse me, but this is...The first policeman takes Andy's hands and cuffs them behind hisback. ANDY You don't have to arrest us. Why is he arresting me ? This is ridiculous. I'm an American citizen. Do you understand what I'm saying ? Now, I'm a director.Karen turns her head and looks at the dead Lyosha. ANDY You know, I'm directing a movie here in Moscow. I'm bringing a lot of money in this place.The policemen don't seem to take any notice of what Andy issaying. One is still cuffing his hands while the other one isholding his gun. ANDY And my father, okay, he knows a lot of big people, and... Listen.The policeman raises Andy to his feet and moves him away fromKaren. ANDY You want money ? Is that what you want ?The policeman has seated Andy on an armchair. He bends him downand puts the barrel of his gun on Andy's neck. ANDY I don't understand what is going on here. We don't have a diskette ! FAKE POLICEMAN # 1 You have one more chance to tell me where is diskette.Since the policemen are not looking at her, Karen moves slowly onthe floor. ANDY The diskette. You know, I mean, this is ridiculous. We don't have a diskette. That's what I'm saying.The policeman clicks his gun in a ´ready to shootª position.Karen grabs the carpet with both hands and pulls it violently.The small telephone table falls on the floor, but also thepoliceman who was ready to kill Andy. In his fall, he pulls thetrigger of his gun, which shoot a bullet at the other policeman,who falls dead on the floor.Andy tries to get off the armchair, but just falls down with it.Karen picks up the telephone handset, with its cut cord hangingfrom it. She rushes to the first policeman, and starts hitting himon the head with the handset. Andy stands up. ANDY Karen, get the key ! Get the key ! Unlock me !APARTMENT BELOW BILLY'S - BEDROOM - INTERIOR NIGHTThe couple was eventually asleep, but with what is happening nowin Billy's apartment, they wake up. The man switches the light on.We hear Andy yelling. ANDY (voice over) Find the key !The man swears in Russian and puts his night robe on. ANDY (voice over) He's not gonna move, is he ? Okay, okay.BILLY'S APARTMENT - LIVING-ROOM - INTERIOR NIGHTKaren is unlocking Andy's handcuffs. When it's done, Andy massageshis hands and puts his jacket back on. Karen drops the handcuffson a table. ANDY Right. Let's get out of here.Close shot on the talkie lying on the floor. WARTSCHUK (voice over from the talkie) Delta three. Delta three.Andy and Karen look at the talkie. KAREN Answer it. ANDY Why ? KAREN They may say something about Billy. WARTSCHUK (voice over from the talkie) Delta three.Karen picks up the talkie and gives it to Andy. ANDY (with an exaggerated deep voice) Da.Of course, he gets an answer in Russian. ANDY Da.He gets another Russian answer, but the word ´studioª is clearlyunderstandable. ANDY Da.Karen takes the talkie out of his hands and throws it. KAREN I got something about studio. Come on.The policeman, who had been knocked out by Karen, is slowly wakingup. Karen sees him and yells. KAREN Look out !Karen picks up a gun and points it at the policeman. Andy grabs awooden armchair and crashes it on the policeman's back. Thearmchairs breaks apart. The policeman falls down, unconscious.The door opens and the next floor neighbor walks in. He yellssomething in Russian. Karen turns toward him, with the gun stillpointed in front of her. The man look at the mess, the deadbodies... and the gun. He raises his arms above his head. Andythrows away the pieces of armchair he still had in his hands.Karen puts the gun behind her back. ANDY Mmm... It's not what you think. What do you say ?... How do you ?... In Russian, what ?...Karen says a couple of words in Russian. Andy turns toward her. ANDY What ? What does that mean ? KAREN Hel... ANDY Hello ? We need help !The man starts talking rapidly in Russian. ANDY I'm a director, and I'm making a movie here. This is not a movie.The man hasn't stopped talking. Actually, he and Andy have beentalking together. Now he yells something in Russian. Andy turnstoward Karen. ANDY Put the gun away. You look like a hit man. He thinks we're gonna kill him !Andy took the gun from Karen and now he is waving it at the man. KAREN We're not gonna kill you ! ANDY This is not even ours ! KAREN The policemen wanted to kill us !The man turns around and runs out of the apartment, yelling inRussian. KAREN We gotta get out of here. ANDY Well, I think we should call the cops. KAREN Are you crazy ? ANDY Well, we can explain this. KAREN Explain ? You are crazy. Come on. Here.She has a gun in her hand and she gives him another gun. She runsout of the apartment. Andy takes the handcuffs from the table. ANDY I'll take these too.He follows Karen out of the apartment.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTClose shot on the entrance of the studio, where a plate sayssomething in Russian and underneath : ´Central Film Studioª.Larsen's car enters the studio. It stops near the building.We see Billy and Larsen through the windshield. Larsen shows hishandcuff to Billy. LARSEN And now ?Billy tries to get out of the car, but she can't open the backdoor. LARSEN Child locks.Billy gets the key out of her pocket and gives it to Larsen, whounlocks the handcuff.He gets out of the car and closes the door. He goes around the carto open Billy's door. As he is doing it, he sees car headlightscoming his way. LARSEN Don't look now, but our friends are still here.They both runs toward the building. He opens a big metal door andthey enter the building.CINEMA STUDIO - FILM SET - INTERIOR NIGHTThis is the unused set, where Billy went, at the beginning of thestory, when she found herself locked in. It has metal doorsopening directly on the parking lot.Billy pulls the big bolt that locks the door from the inside. ThenLarsen puts a padlock on the bolt. LARSEN I will block the other entrances.They both walk away.MOSCOW - A STREET NEAR RED SQUARE - EXTERIOR NIGHTKaren's car is driving full speed toward The Red Square. When shetakes a turn, the tires are screeching on the macadam and the carzigzags a little.KAREN'S CAR - INTERIOR NIGHT.Through the windshield, we see a small roadblock with lights onit. It is not permitted to cross Red Square during the night. ANDY What... what are you doing ? That... that's Red Square.MOSCOW - RED SQUARE - EXTERIOR NIGHTThe car rushes toward the roadblock.KAREN'S CAR - INTERIOR NIGHT.When he sees the roadblock coming toward him, Andy slides downunder the dashboard. ANDY Oh, perfect.MOSCOW - RED SQUARE - EXTERIOR NIGHTWithout even slowing down, Karen's car smashes through theroadblock. The debris are flying around. And the car keeps ondriving full speed toward Red Square.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTWartschuk and his passenger are walking on the empty yard, guns inhand. Voices are coming from their walkie-talkie. Several cars areentering the parking lot behind them. The cars stop in front ofthe building. Men carrying machine guns are coming out of thecars.Wartschuk directs the whole operation with his walkie-talkie.A man tries to open the big metal door, but it's locked. He yellssomething in Russian to Wartschuk, who answers him and points atsomething. Apparently, he tells him to go around the building,because the man starts running away.Just outside the parking lot, Karen's car is coming to a stop nearthe entrance. We hear the Russian voices in the parking lot. Karenand Andy get out of the car. Karen walks to the entrance of theparking lot and peeks inside. Andy joins her, trying to make hisgun work. ANDY This damn gun, I can't work the safety.Karen shushes him down. They both peek inside, and they aresurprised to see such a number of big black cars. ANDY Holy shit !Wartschuk is giving orders through his walkie-talkie. A man with amachine-gun walks away from him.Back to Karen and Andy, still standing outside the entrance. KAREN Around the back.They run across the entrance. The men, all looking toward thebuilding, don't see them.Wartschuk is still giving orders. All the men with machine-gunsare scattering around the building. Someone is calling Wartschukthrough his talkie. Wartschuk smiles. He walks away from his men.On the other side of the studio compound, Karen and Andy areentering the place by climbing over the wall. Karen is already inthe place and she is helping Andy to join her. For the moment, heis sitting on top of the wall and he throws the two guns to her.Then he goes down himself. Karen holds his legs. KAREN Okay. Jump, Andy. I got you. ANDY What ? KAREN I got you. I got you.Andy falls down heavily on the ground.On a balcony on a near building, a man is watching the yard with aflashlight. This is the balcony which Billy fell from.Andy and Karen are crossing the yard, trying to be as discrete aspossible.Wartschuk is climbing rapidly up an emergency ladder to meet theman with the flashlight.Karen and Andy, lying low, are coming slowly toward the building.Wartschuk has reached the balcony where the man is watching theyard. They whisper in Russian. Then Wartschuk goes inside,actually through that same emergency door through which Billytried earlier to escape. The watcher closes the door behind him.Andy and Karen are still crawling slowly toward the building.On the balcony, the man is smoking a cigarette.CINEMA STUDIO - FILM SET - INTERIOR NIGHTThis is the set where the poor actress was murdered.Larsen is trying to use a telephone on the wall. LARSEN It's no use. All lines are cut.Billy is watching Larsen. Behind her, we see Wartschuk peekingthrough the half-open door. LARSEN Where is it ?Billy shows him the ancient-looking wardrobe under which thediskette is hidden. He bends down. Then he raises and takes apiece of wood from a rack. He slides the piece of wood under thewardrobe.Wartschuk enters silently on the set.Larsen gets the diskette out of its hiding place. Billy picks itup. Behind her, Wartschuk has got his gun out. Billy stands upwith the diskette in her hand. She smiles. Wartschuk grabs herfrom the back. She throws the diskette. Larsen catches it. LARSEN You helped us a lot, Billy. Thank you.Larsen puts discreetly the diskette in Wartschuk's pocket. WARTSCHUK The Reaper wants to meet the woman who has kept him up all night and witnessed a live snuff.He gives his gun to Larsen. WARTSCHUK He wants you to do it. LARSEN You know why we call him The Reaper ? You see his face, you die.Billy spits in Larsen's face. Then she yells silently, becauseWartschuk is squeezing her a little tighter. Larsen wipes the spitfrom his face. Larsen raises his gun, holding it by the barrel.Billy looks very frightened, because she knows that Larsen isgoing to knock her out. But the butt of the gun lands violently...on Wartschuk's head, who screams and falls heavily on the floor.Billy looks from Larsen to the falling man, not understandingclearly what happened.CINEMA STUDIO - PARKING LOT - EXTERIORAndy is hiding behind a trash can. He looks up at the watcher onthe balcony. He finally comes out of his hiding place, but bumpsinto a beer can lying on the ground. The watcher says something inRussian and points his flashlight toward Andy. ANDY Nice night, isn't it ?Karen is slowly going around the pile of empty film boxes on whichBilly fell earlier. ANDY I'm just taking a piss. Right, you know, just...The watcher walks slowly down the ladder. Karen reaches theladder, climbs on something we don't see, and catches thewatcher's foot through the steps of the ladder. The man falls androlls all the way down the ladder. He is unconscious and Andy tieshis wrist to the ladder with the handcuff. Karen joins him. Andyseems very happy about the successful operation.The Reaper's black limousine is entering the parking lot.Karen, who has started to go up the steps of the ladder, looks atthe limousine. KAREN Who the hell is that ? ANDY Well, whoever it is, they're coming here.They reach the balcony and enter the building.The Reaper's car is driving toward the building, with all the men,equipped with machine guns, watching his arrival.CINEMA STUDIO - CORRIDOR - INTERIOR NIGHTKaren and Andy are running along the long corridor. Andy is stilltrying to work out the safety of his gun. ANDY I can't work the safety. KAREN Andy, come on. ANDY Yeah, yeah, I'm coming.He falls down, dropping all the bullets on the floor. KAREN Hurry !Andy picks up his bullets, stands up and runs after Karen.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTThe Reaper's car is still surrounded by all the guards in arms.We see only the shadow of The Reaper inside his car. THE REAPER Where is she, Larsen ?We guess he is talking into a walkie-talkie.CINEMA STUDIO - FILM SET - INTERIOR NIGHTThis is the unused film set, with large metal doors opening on theparking lotKaren enters the gallery above the room, followed by Andy. Shebends down, and makes him bend down. THE REAPER (voice over from the talkie) Larsen, are you reading me ? KAREN (whispering) Somebody's coming. ANDY (whispering) I'm waiting.Down below, on the set itself, Billy is walking, with Larsenbehind her, pointing a gun in her back. LARSEN (answering The Reaper) I'm bringing her out now.On the gallery, Andy is still trying to work his gun. KAREN Shoot him. Shoot him, Andy. ANDY Okay.Andy shoots, misses Larsen, and hits a statue.Larsen and Billy try to hide from the shooter.Andy shoots again and misses again. KAREN Be careful of Billy ! God.Karen runs along the gallery, while Andy shoots and misses again.And once again. Then he realizes that the gun is empty and hedrops it on the floor of the gallery. He runs after Karen.Down below, Larsen brings Billy near the big metal door opening onthe outside. He unlocks the padlock that he had put earlier on thebolt of the door.Karen rushes toward them. KAREN (yelling) Billy !Larsen pulls the bolt open. Billy is very surprised to see hersister. Larsen points his gun at her and yells something inRussian.Karen stops running, but Billy makes large signs to her, signs shedoesn't seem to understand. Karen hides, and then comes out. LARSEN Stay where you are !Karen throws a piece of metal at Larsen. The piece of metal hitshis hand and he drops his gun. KAREN (yelling) Run, Billy. Run ! Run !Billy opens the big metal door. Andy runs in to join Karen. Larsenpicks up his gun, and points it at Billy. LARSEN Stand back !But Billy is already out of the building. KAREN (yelling) Not out there !Andy grabs Karen and pulls her out of Larsen's gun.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTBilly runs out of the building. An army of men, armed withmachine-guns, is waiting for her. The cars' drivers all switchedtheir headlights on high beams. With all that light in front ofher, Billy doesn't see anymore where she is going and stopsrunning.The Reaper, still in his car, bends down to look at her. He takeshis walkie-talkie. THE REAPER Kill her, Larsen.Larsen walks out of the building, and we hear the end on TheReaper's sentence coming from his own walkie-talkie.CINEMA STUDIO - FILM SET - INTERIOR NIGHTKaren and Andy rush to the window, to look at what is happening onthe parking lot.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTBilly looks at the men in front of her with a frightened face. Sheturns around to look at Larsen pointing his gun at her. Then sheturns back to the men in front of her, and especially The Reaper,looking at her from his car. Behind her, Larsen aims his gun ather.CINEMA STUDIO - FILM SET - INTERIOR NIGHTKaren and Andy are still looking through the window. KAREN (yelling) No !CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTLarsen closes one eye before shooting. He shoots seven times. Wesee the bullets going through Billy's body from the back, andcoming out through the front, making red bloody spots on her whitesweater. Billy falls down on her stomach, and remains motionlesson the ground with her arms spread apart.CINEMA STUDIO - FILM SET - INTERIOR NIGHTKaren, still standing behind the window, can't believe what shejust saw.Through the window, we see Billy's body lying on the ground, withall the big black cars surrounding her.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTThrough the half-open door, Larsen shows The Reaper the diskettehe has found on the set.The Reaper smiles. The big metal door closes as Larsen goes backinside.All the men go back inside their cars. The engines start. And thecars start driving out, The Reaper's car being the first one togo.Billy is still lying motionless on the ground, her blood flowingslowly on the tarmac.CINEMA STUDIO - FILM SET - INTERIOR NIGHTKaren is in Andy's arms, crying.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTThe last cars are leaving the parking lot.CINEMA STUDIO - FILM SET - INTERIOR NIGHTAndy, with Karen crying on his laps, looks at Larsen coming backin and closing the door. LARSEN Now please, let me explain. Please ? KAREN (yelling) Explain ?She rushes out of Andy's arms and bumps violently into Larsen. ANDY Karen !They both fall on the floor, and Larsen's gun flies away from hishand. Karen hits Larsen very hard with both her fists. Andy picksup the gun and points it at Larsen. Larsen pushes Karen away fromhim. Karen takes the legs of a statue and hits Larsen with it.Then she grabs Larsen by the ears and throws him on the metaldoor. She turns toward Andy. KAREN Kill him.Karen opens the door and walks out.CINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTBilly, still lying on the ground, opens one eye and smiles.Karen runs out of the building and rushes toward her sister, whostands up when she sees her. Karen stops and looks at her. Karensits up and raises her sweatshirt.Underneath, she is equipped with the special effect system sheuses to pretend people are being shot. Little bags, full of fakeblood, explode one by one, tearing the piece of clothing in frontof them, and pouring the blood through the fabric. For thespectator, it does looks like bullet going through a body andblood spurting out.Karen rushes to Billy and hugs her. KAREN You genius !CINEMA STUDIO - FILM SET - INTERIOR NIGHTLarsen is still kneeling on the floor. Andy is pointing the gun athim, trying to look mean, which is a bit hard for him. ANDY You thought we were tourists, huh ? Guess again, pal.Larsen is slowly getting up. ANDY Don't move. Don't move! I'm talking to you !He shoots the gun to the ceiling. ANDY I'm warning you. Don't move or I'm gonna shoot you ! Okay !He shoots at Larsen, who doesn't react and walks closer to him. Heshoots twice more, walking backward. He bumps into a prop andfalls down on his back... next to Wartschuk, all tied up and witha large piece of tape across his mouth. Wartschuk moans, Andyscreams and gets quickly up. He rushes out of the building whileLarsen is trying to get over what just happened to himCINEMA STUDIO - PARKING LOT - EXTERIOR NIGHTAndy rushes out of the building and sees Karen cleaning Billy'sface. ANDY Billy ! Billy ! Billy ! KAREN She's okay. She's fine. ANDY She's fine ? She's okay ?Billy mouth the words ´I'm fineª and shows him the special effectdevice on her stomach. Larsen comes behind her and takes her bythe shoulder, saying a few words in Russian. Billy says somethingin sign language to Karen. KAREN A cop ? ANDY A cop ? KAREN Oh, my God, I'm sorry. ANDY Sorry. LARSEN Forget it. Your sister was brilliant.Karen pats Larsen's shoulder. KAREN Next time, hit back.Larsen throws a remote control into Andy's hands. ANDY Oh !... this is the remote. I get it.They all laugh. Larsen pats Andy's shoulder. LARSEN Big cowboy.Billy starts talking in sign language to Larsen. He turns towardKaren. LARSEN What ? KAREN That was an invitation to dinner sometime. LARSEN How you say ?... It would be a pleasure.Billy mouthes the word ´Pleasureª and then makes the sign for it,which is rubbing you stomach. Larsen makes the same sign. Then hestops and seems to think about something. LARSEN I still don't understand. KAREN What ? LARSEN I don't understand why The Reaper didn't take the diskette off me. KAREN Who ?The sound of a shot, and a blood bag explodes under Billy'ssweater. Karen screams. Since she was just in front of Billy, herface is covered with fake blood. Andy looks at them, the remotecontrol in his hand. ANDY Whoops !... Shit. I'm sorry.They all look at him. Larsen smiles. LARSEN Big cowboy.A little later.Andy drives his car near the entrance of the building. Billy walkstoward the car, looking at Wartschuk, his mouth still gagged,being forced by Larsen to go inside his car. He moansincomprehensible words, and seems not to want to get inside thecar.Andy waves to Larsen. ANDY Ciao !...Andy opens the back door of his own car to let Billy inside. Butshe doesn't climb in, still surprised by Wartschuk's attitude.Finally, Larsen succeeds in putting his prisoner in the back ofhis car, where another prisoner, also gagged, is already waiting(certainly the man that Andy had handcuffed earlier on theemergency ladder).Before climbing into the driver's seat, Larsen waves to Billy. LARSEN Billy, tomorrow !He makes the ´pleasureª sign. Billy waves back to him. LARSEN Tomorrow !Billy looks at Wartschuk inside the car. She seems worried. ANDY What's the matter ?Billy makes several signs. Andy doesn't understand, but he looksat Larsen. Larsen smiles back to him. LARSEN Big cowboy.Karen is already seated in the car, and doesn't understand thereason for the delay. KAREN Guys, could we get out of here, please ?Close shot on Wartschuk's face, who is trying to tell themsomething.Andy eventually understand what Billy is trying to tell him. It isthe word he learned earlier in the restaurant. ANDY The expression ?Billy nods ´Yesª. Larsen smiles to her and starts his car. Billyslams violently on the roof of Andy's car. She seems frightened bysomething. She yells silently. ANDY The car ?Billy keeps on yelling silently and moving her arms. Andy isbeginning to understand what she means. ANDY The car...Wartschuk looks more and more frightened.Andy want to rush to Larsen's car, but Billy holds him back. ANDY (yelling) Get out of the car ! Get out of the car !Watching Billy and Andy, Larsen has suddenly a worried look on hisface. He is beginning to understand that something is wrong. Hegets out of his car, walks a few steps, and then his car explodesand he falls on the ground.Andy, Billy and Karen, who is now out of her car, they all look atthe car burning and at the motionless Larsen lying on the ground.Billy looks very sad.But, slowly, Larsen begins to move. He sits up and looks at Billy.Billy is crying and smiling at the same time. We get to understandshe must be in love with Larsen.CREDITSWhite letters on a black screen. \ No newline at end of file diff --git a/unformated_scripts/Script_My Best Friend's Wedding.txt b/unformated_scripts/Script_My Best Friend's Wedding.txt new file mode 100644 index 0000000000000000000000000000000000000000..17b74fdefd0e40fa371a8d0353a66f58e8627b38 --- /dev/null +++ b/unformated_scripts/Script_My Best Friend's Wedding.txt @@ -0,0 +1 @@ + M Y B E S T F R I E N D ' S W E D D I N G by Ronald Bass First Draft Screenplay -------------------------------------------------------------- INT. BOULEY RESTAURANT, NEW YORK - NIGHT Dim lighting, crowd buzz, a long line of the rich, the celebrated, the congenitally impatient. Everyone in this queue holds a reservation at least an hour overdue. Tourists can't even make the line. PAN ahead to... ... the burnished dining room, the tables of power, the elegant service. Covertly, many eyes are drawn to the one table receiving by far the most lavish service of all. Captains hover, presenting delicacies, pouring wines, murmuring obsequiously to a guest whose person they screen from our view. We can see, however... ... the honored guest's companion. Ignored, bemused, across the table. This is DIGGER DOWNES, 36, darkly attractive. Kind eyes, an intellectual's mouth, Saville Row's most unobtrusive and conservative chalk-stripe suit. He is gay, but you wouldn't guess it. Loyal and wise and generous, and you might. He watches with a quiet twinkle, as the Captains now step back, revealing to us... ... their most unlikely icon. JULIANNE POTTER, almost 28, wears her favorite bulky sweater over a bunch of other stuff she pulled together in fifteen seconds. She is unkempt, quick, volatile, scattered, and beneath it all, perhaps because of it all, an original beauty. Dark liquid eyes, a cynical mouth, slender expressive fingers, which point to... CAPTAIN A variation on our squid ink risotto. Trace of Moselle, to sweeten the stock. She doesn't like that idea at all. Shoots him a sharp look of doubt that makes him smile. Murmur... CAPTAIN Don't kill us on this one, it's a long shot. Places the moist lump of black rice before her. She takes a surprisingly small amount, rolls it over her tongue. Makes dead flat eye contact with Digger. And nods, it's actually quite nice. The Captain breathes with relief. She turns her dark eyes to him. The tone says they're pals... JULIANNE I'm writing it up as inventive and confident. Which it is. Off the record, I'll need an extra boat of the ink. Or a salt shaker. CAPTAIN I'll toss a coin. As the Captain splits, Digger looks around at the other tables, which makes many pairs of eyes awkwardly glace away. DIGGER Is it ever embarrassing, having your bum kissed in public? JULIANNE If your ass isn't chapped, you are not a good-writer of note. She glances at her two remaining waiters, who shamelessly fawn nearby. JULIANNE Is it sad to be an editor, and bask only in reflected insincerity? DIGGER I've adjusted, and thanks for asking. She leans forward, as if sharing something conspiratorial. JULIANNE See the pull of a book like Twenty Chefs, is not who I put in. It's who I leave out. DIGGER Which is everyone you couldn't get in. JULIANNE Plus some guys whose food I don't like. Pushes the risotte across to him. He lifts a fork. DIGGER This fellow from Newsday ever call? She shrugs. Pulls a cellular out of a large, jumbled bag. JULIANNE I'll buzz my machine. Inventive and confident, yeh? She dials. He tastes. DIGGER Needs salt. JULIANNE Is Newsday a real interview, or just some cute guy you're setting me up w... DIGGER ... I don't send you men, anymore. You don't know what to do with them. She's punching in her code. JULIANNE Sometimes I do. Like for two months. DIGGER ... weeks. Over the phone, we hear her answering machine... MAN'S VOICE (V.O., soft) Hey. It's Michael. And her face changes. Warms. Just to hear the guileless voice. MICHAEL (V.O.) God, it must be, what, months, huh? I can't wait to talk to you. I'm in Chicago at the Ritz Carlton... She looks impressed and surprised. Fancy place for this guy. MICHAEL (V.O.) Call me four in the morning, whatever, we gotta talk. As she hangs up. She still has that look in her eye. Digger has never seen that, and he likes it very much. DIGGER Who called? The man of the moment? She smiles. A sweet, natural smile that makes us like her, too. The Bohemian sophisticate has vanished. JULIANNE No, no, the opposite. That's my best friend, Michael O'Neal. He sounds desperate to talk. DIGGER The wandering sportswriter. He pushes the risotto back her way. DIGGER I didn't know you two had a past. Her gaze sharpens. Hmmn? DIGGER The look in your eye. She blushes. Shakes her head, no way. JULIANNE Sophomore year at Yale we had this one hot month. And, you know me, I got restless... He knows her. She got restless. JULIANNE So I get up the nerve to break his heart. I tell him there's this dreamy exchange student from Pakistan who wants to, you know... He knows. JULIANNE And he gets this... look. He says, "I knew I couldn't hold your interest", which, of course, makes me feel like the shallow bitch I've always been... He nods, yeah. JULIANNE Then he says, "But what makes me want to cry. Is I'm losing the best friend I ever had." Hears the feeling. In her voice. JULIANNE And when he said it, I knew. I felt the same. Silence now. She covers with a smile. JULIANNE So I cried. For maybe the third time in my life. And I kissed him. And we've been best friends ever since. Ever since. Fingers turning her wine glass... JULIANNE Nine years, we've seen each other through everything. Losing jobs, losing parents, losing lovers... travelled all over, we've had the best times. The best times of my life, maybe. Just drinking and talking. Even over a phone. DIGGER Kindred spirits. JULIANNE No, he's nothing like me. He's like you. Only straight. No offense taken. JULIANNE He's the salt of the earth. Kind and loyal and generous. The one constant thing in my life, is he'll always be there. DIGGER He's still in love with you. That stops her. She has to say... JULIANNE Maybe. But it never gets in the way. Something she probably hasn't confessed out loud before. Digger understands. DIGGER Well, he has a true friend in you. He wants her to know he sees that. DIGGER Whenever George tells someone how steadfast I am, he always makes me sound boring. JULIANNE Solid and genuine is not boring. Michael can be completely insane... A young waiter arrives. Sets a boat of black squid ink beside her plate. JULIANNE There was this one night in Tucson, like six years ago... we got amazingly drunk, I mean, Keith Richards time... The kid tops off her glass of meursault. Looking at her. JULIANNE God, I haven't thought of this in so long... The waiter hanging now. Openly listening. JULIANNE I can even believe we did this... Digger sees the guy listening, gestures to her with his eyes. So she looks up. JULIANNE Could you give us a minute? The kid stunned, speechless. People lose jobs for a lot less. JULIANNE You won't miss much, I promise there was no sex. He reddens and disappears. DIGGER I've lost interest. JULIANNE He takes a razor from his dinky little dopp kit, cuts his fingertip, takes my hand, does the same to me... She places the tips of her index fingers together. DIGGER Blood oath. JULIANNE He says, "Swear. When we're both 28, if we've never been married... we marry each other!" And laughs again. Can you believe that? But Digger isn't smiling. She wonders why. Begins to spoon black squid ink onto her risotto. JULIANNE See, he figured that would be a sign from God, or someone of comparable authority, that we'd misunderstood our destinies. He still has this real serious look. She's still spooning ink. JULIANNE We never talked about it again. I don't know what made me think of... DIGGER (quietly) I do. And everything. Stops. She lifts her spoon, mesmerized by the gravity of his tone. DIGGER You'll be 28 in three weeks. How old is he? Holy. Fucking. Shit. It hits her like a ton of lead bricks. She shovels some swampy risotto into her mouth, without looking. JULIANNE You think... DIGGER Desperate. To talk. She shovels in more drippy black goop. It is really disgusting. JULIANNE He's not proposing marriage, there's no way I'm buying one word of th... DIGGER Then why are you compulsively eating? If you're not hysterical? More goes in. Her lips and mouth completely black. Like a circus clown. JULIANNE He can't do that to me! DIGGER We're about to find out. Ink is now dribbling out of the black hole of her mouth and down her face. She absently dabs a napkin, keeping some of it from reaching her sweater. JULIANNE When I turn him down... She realizes the full weight of the truth. JULIANNE We'll never be the same. DIGGER I have a suggestion... JULIANNE I'll have to kill myself before I call him. Staring in each other's eyes. DIGGER (sadly) That was it. INT. JULIANNE'S BATHROOM - LATE NIGHT Julianne furiously scrubs her blackened tongue with a toothbrush. Gray foam pours from her mouth, spattering the oversized basketball jersey she wears as a nightshirt. In the mirror, her troubled eyes dwell on Michael, flick to the cordless phone standing ominously on the closed toilet lid. She spits, sticks her tongue way out. Incredibly black. Great. Depressed, terrified, and disfigured for life. She snatches up the hated phone, and wanders aimlessly into... ... her bedroom. West Village view. Defiantly jumbled, aggres- sively eclectic. Traces of wonderful taste mixed with I-like-it- you-got-a-problem-with-that? She stumbles around, rehearsing... JULIANNE This is awkward timing, Michael, I just joined this convent, and they never give your deposit ba... Stops. Full-length mirror. She straightens her hair, to look her best. JULIANNE Michael, I'm married. Not enough. JULIANNE ... and I have two weeks to live. Changes tone... JULIANNE Michael, I'm trying to be gay, don't confuse me. She turns to continue pacing, and walks straight INTO a dresser. Stuns her, momentarily. Enough, already! She punches up the number, primping absently in the mirror. When it connects... JULIANNE I was calling Michael O'Neal, but seeing it's so late, I could just leave a mes... No such luck. Cut off. Waits. And then... JULIANNE (soft) Good evening, sir. You've been enrolled in the Obscene Call Of The Month Club, and th... MICHAEL (V.O.) Hey! God, it's so good to hear your voice. She forgets herself. Because it's good to hear his, too. MICHAEL (V.O.) I've been calling for days! JULIANNE Yeh, well my old machine kept eating messages. I tried constructively ignoring it in hopes of improvement, but finally... MICHAEL (V.O., urgent) Look, I have to ask you something. She swallows. MICHAEL (V.O.) Something so incredibly important, that if you turn me down, I don't know what I'll d... JULIANNE (bright) I just have to tell you this one thing first, okay? I mean this will hand you the biggest laugh of your adult life... Silence. Come on girl, suck it up. JULIANNE I was thinking about you, and I remembered this unbelievably insane night we spent together in Tucson, like a thousand years ago? More silence. Really quiet. JULIANNE I mean, there's no way you could possibly remember the... MICHAEL (V.O., soft) Are you kidding? Stops her. Like a brick wall. The sweetness in his voice. MICHAEL (V.O.) I think about that night all the time. She's going to have a heart attack. MICHAEL (V.O.) But it's not why I called. She blinks. It's not. And just as a tsunami of relief begins to sweep away... MICHAEL (V.O.) I called because I met someone. And her smiles breaks off. Like a spine snapping. Because there is something in his voice. JULIANNE Well, that's great. You haven't really had anybody since Dingbat Jennylee... MICHAEL (V.O.) You don't understand. I've never felt this way about anybody! Never. She sits down, hard. Right on the floor. MICHAEL (V.O.) And she's all wrong for me! JULIANNE Well, somet... MICHAEL (V.O.) I mean she's a junior at Chicago University, she's twenty years old! Like when I first met you. Like when. Julianne's mouth is suddenly dry. MICHAEL (V.O.) And her dad is like this billionaire who owns the White Sox and some cable empire, and you know how I've always been miserably awkward around those kinda stuffed suits... She's finally making her mouth work... JULIANNE Well, sure. MICHAEL (V.O.) But they're so down to earth, such wonderful people... JULIANNE You've met her parents. MICHAEL (V.O., quiet) Well. Sure. Wow. MICHAEL (V.O.) See. We're getting married. This Sunday. There's a knife in her heart. She can scarcely breathe. JULIANNE Michael, it's Wednesday night, you can't possibly be getting married on Su... MICHAEL (V.O.) Actually, it all starts tomorrow. It's one of those four-day weddings, with all the traditional events, and ten million people flying in from Madagascar such. JULIANNE (incredibly lame) Aren't you... working this weekend? I mean, is that responsible? MICHAEL (V.O.) Well, the Sox are at home. SI's letting me do a profile on the Big Hurt. That's Frank... JULIANNE (barely audible) ... Thomas, yeh. She's staring at herself in the mirror. MICHAEL (V.O.) Jules. I'm scared. A straw to lunge at. JULIANNE Well, maybe we should talk ab... MICHAEL (V.O.) I need you. So heartfelt. A lifetime of emotion welling in her eyes. MICHAEL (V.O.) If you can't come. And hold my hand. I'll never get through this. Oh. MICHAEL (V.O.) Please come, please. JULIANNE W... MICHAEL (V.O.) I can't wait for you to meet her! HOLD ON Julianne. Staring in the mirror. Like watching the end of her life. INT. BEDROOM - LATER The closet, the armoire, all the drawers are wide open. Two huge suitcases open on the bed, into which Julianne is flinging clothes, as she fumbles to smoke and dial at the same time. Over the phone, now... DIGGER (V.O., machine) You've reached Digger and George. Brevity will be appreciated. BEEP. JULIANNE (in a rage) IT'S ME AGAIN, WHY AREN'T YOU GUYS UP HAVING SAFE SEX?? SNATCHES up a tiny, clingy, sexy dress. Pouts at it. JULIANNE OR, IN THE ALTERNATIVE, WHY AREN'T YOU INTERRUPTING IT TO ANSWER THE PHONE?? She holds the dress against her body. It's hot. JULIANNE YOU, YOU, YOU! IT'S ALL ABOUT YOU, ISN'T IT?? She clicks OFF. Checks the dress in the mirror. Raises the short skirt a little higher. INT. DIGGER'S CHEROKEE, JFK AIRPORT - EARLY MORNING Digger driving the open-air Cherokee up the ramp to United Airlines departures. Julianne, wind-whipped, trying to light a fresh cigarette from the butt of the last one. He glances over. Hates to see this... DIGGER You can't get lung cancer and die in four days. Go to Plan B. She sucks deep. Really deep. JULIANNE You have no appropriate sense of emergency. My best friend is ruining his life. DIGGER No, he's ruining yours. JULIANNE Same difference. If you love someone, it's your duty to save them from themselves. DIGGER You have a real philosophy of life. JULIANNE It's called the Law of Love, asshole. She is tight enough to snap. And at the edge of tears. Staring out at the skycaps, clinging to her cigarette, as he eases to the curb. DIGGER (gently) Why don't we have a drink? You could catch a later fl... JULIANNE I'm a busy girl. I've got four days to break up a wedding, and steal the bride's fella. She finally looks at him. He doesn't say anything. JULIANNE He's adored me for nine goddamn years. DIGGER I can see why. JULIANNE She knows him maybe five seconds, plus she has billions of dollars, plus she's perfect, so don't go feeling sorry for Miss Pre-Teen Illinois! He's not. So her voice softens. Which shows the hurt. JULIANNE And don't go feeling sorry for me, you don't know me that well. We're only friends. DIGGER (softly) I stand corrected. Tears now. Stand in her eyes. JULIANNE I'm making a big mistake, huh? DIGGER (shrugs) Maybe you'll learn something. He wraps his hand over hers. She looks down at it. JULIANNE I'm gonna bring him back, man. Against all odds, y'know. Cos if I don't... She wraps her fingers around his. JULIANNE ... I gotta live with it forever. Looks in his eyes. JULIANNE And at my wedding. I'll be the only bride with her own best man. And she kisses his cheek. Jumps out of his car. Before she cries. Yanks her bags from the back. Brave smile. They trade small salutes. And then she's gone. INT. O'HARA AIRPORT, CHICAGO - MORNING The jetway disgorging passengers into the swarming ant colony called O'Hare. Julianne lugging multiple carry-ons, trying to pull fly-away strands of hair into place, nervous as a schoolgirl, looking all around, and... ... there he is. MICHAEL is tall and square-shouldered, a boyish grin, an unruly shock of hair. He looks gorgeous, sweet, and just dangerous enough to be irresistible. Worthwhile stakes. His face lights to see her, and she... ... RUNS to his arms, shedding bags along the way, slamming off heedless civilians, to be... ... SWEPT OFF the earth in strong arms, spun around, laughing like crazy, their cheeks tight together. When he sets her down... ... he kisses her nose. His arms are still around her. MICHAEL (murmurs) Can you believe it? Can you believe I'm actually gonna do this? JULIANNE (lost in his eyes) Not hardly. He beams. Turns. She follows his gaze, and... ... there she is. KIMBERLY WALLACE is 20, small and slender, but it is a body to die for. The face is striking, not at all perky and vapid, but lovely and interesting. Worst of all, intelligent. She walks toward them purposefully, her eyes locked to the woman in her fiancee's arms. At the last moment, Michael releases Julianne and Kimmy... ... THROWS her arms around the startled visitor. HOLDS her tight, with such genuine warmth that Julianne can only, slowly, hug back. As Michael beams. KIMMY This just makes everything so perfect. Her arms stay around the slightly dazed Julianne. The younger girl leans close, confides... KIMMY All I've heard, from the day I met Michael, is Julianne this, and Julianne that... JULIANNE Well, we're... KIMMY I think the best part of marrying this guy is finding you. Pale gray eyes. Alive with joy and intimacy. KIMMY I've never had a sister. INT. KIMMY'S CONVERTIBLE - DAY Kimmy TEARING down the throughway in her Mercedes 500 SL, a dashing, confident driver. Julianne riding shotgun, hair flying, a total wreck, in the open convertible. Michael is happily crouched on the little platform behind their seats, hugging his knees. The roar of the wind makes it impossible for him to hear them. KIMMY My heart's in my throat, here. Right off, I have to ask this monstrous favor... JULIANNE You need a few dollars. Kim glances over. At eighty miles an hour. A bittersweet look. KIMMY Dry. Just like he said. Her eyes at once admiring and regretful. JULIANNE Excuse me? KIMMY I can be quick. I can even be funny. Shakes her head. An endearing youngster. KIMMY But I can't be dry. JULIANNE Can you watch the road? KIMMY See. Dry. It's in the delivery. She looks back to the highway. KIMMY This is a very presumptuous and burdensome fav... JULIANNE ... you want a menage on your wedding night. KIMMY (straight back) No, that wouldn't be burdensome. Julianne studying the delicate, angular profile. Hard not to like this kid. KIMMY My classmate Angelique shattered her pelvis line dancing in Abeline on Spring Break. Looks over. The sweetest smile. KIMMY Be my maid of honor. Julianne just blinks. KIMMY You can't believe what it'd cost to bring in a temp. JULIANNE Uh. How about promoting a bridesmaid? Someone you know for at least forty-five minutes. We CUT OFF a huge SEMI who BLASTS his horn. Kimmy fearless, oblivious, and analytical... KIMMY The bridesmaids are my only two female relatives under forty. Identical twin debutantes from Nashville, who are basically vengeful sluts. With amazing bodies! JULIANNE Which was the disqualifying factor? KIMMY The twin part. I like to remain impartial in my contempt. Sees the off-ramp, and SLICES across FOUR LANES of speeding bullets in a heart-stopping nanosecond. This kid could drive for Penske. Julianne has to pound her chest to get her heart started. Looks back to see if Michael fell out... ... he is absurdly wind-blown. Gives her a beautiful grinning thumbs-up. Loves this stuff. KIMMY This means I have four days to make you my new best friend... Brings Julianne's eyes back... KIMMY And since I already know everything about you. Including intimate facts I'm mortified to have heard, but too envious to forget. It's time for you to learn about me... Easing off the freeway. She meets Julianne's glance... KIMMY Force yourself. To get personal. JULIANNE (smiles) Sounds like a plan. INT. DRESS SHOP, NORTH MICHIGAN AVENUE - MORNING The place is stunning. High-ceiling, soft light, large rococo mirrors, Louis Quatorze sofas and chairs. Michael wanders rest- lessly, fish out of water among designer displays and stylish female patrons. Takes a look at his watch. INT. DRESSING ROOM - MORNING A period sitting room, ringed with mirrors along its tapestried walls. Kimmy sits on a Louis Treize loveseat next to a stack of costly gowns. Watching with an expertise beyond her years, as... ... Julianne stands on a platform. A seamstress fitting her into a sleek pale daffodil-colored gown. There are pins everywhere, as the seamstress struggles toward a perfect fit. Continuously looking to Kim for approval. KIMMY If you'd rather the lilac... Julianne shakes her head. This one is beautiful. JULIANNE I thought bridesmaids had to wear the same dress. KIMMY Not you. You won't be comfortable unless you're distinctive. Julianne glances over. JULIANNE What else did he tell you... KIMMY ... you hate weddings, you never go. Oh. Well, yeah. KIMMY You're not up for anything conventional, or popularly assumed to be female priorities. Including marriage. Or romance. Or even... And she stops. Not wanting to offend. JULIANNE (quietly) ... not even love. The look holds. The seamstress keeps working, as if she's deaf. JULIANNE That's why Michael and I were the wrong fit. Right from the start. KIMMY He said that, too. She stands up. Walks to the platform. Smooths her hand over the fabric down Julianne's back, along her hips. Communicating to the seamstress with her irritated expression. KIMMY Well, I thought I was like you. And proud to be. Until I met rumpled, smelly old Michael... Pins start to come out. Kimmy points, these, too! KIMMY And then I found I was just a sentimental schmuck. Like all those flighty nitwits I'd always pitied. She leans forward. So they can look at each other. KIMMY Funny world, huh? Julianne swallows. It is that. JULIANNE I need a smoke. And before anyone can breathe, she steps OFF the platform RIPPING the living shit out of the gown, right down the side. The seam- stress' eyes FLASH OPEN in abject horror. Julianne, a deer in headlights, looks quickly around at the evidence of her screw-up in six different mirrors. Kimberly just steps to her, fingers the tear... KIMMY It's mostly the seam. Let's get this to Carlos. And UNZIPS Julianne down the back. In her rush to step out, Julianne STUMBLES, but her arms are pinned by the pulled-down dress and she just... ... TOPPLES like a felled oak, THUDDING on her face, the gown RIPPING some more, the seamstress SCREAMING like an idiot. Then. Silence. Julianne looking up helplessly, a trussed hog, bound in her dress. KIMMY (firm) Just. Don't. Move. Like you talk to a three-year-old. Deftly, Kimmy pulls the dress free, leaving Julianne in her underwear. Signals to the seamstress, let's go. JULIANNE Don't you have to be somewh... KIMMY ... just my bridal shower. And Michael has to meet our dads and the groomsmen at Comiskey for a one-thirty game. Opens the door... KIMMY Other than that... Closed SOLID. Gone. INT. DRESSING ROOM - LATER Julianne sits on the loveseat in her bra and panties, lighting one cigarette from the butt of another. Suddenly, she hears... ... an ARGUMENT outside the door. Strains to listen. It does sound like Michael and Kim. We can't make out the words. She jumps up, dashes for the door, STUBBING her toe on the platform, SHIT!, falls heavily AGAINST the door with a THUD that makes her wince, and... ... the argument stops. Damn. She opens the door a crack. Sees nothing. Opens it wider to reveal... ... a teenaged BOY looking right at her. He sends a true shit- eating grin and she SLAMS the door hard enough to RATTLE walls. She PACES furiously, helplessly, arms around her half-naked self, until... ... soft knock. The door opens a crack, and her daffodil gown comes through it. JULIANNE Come in, and shut the... Stops. Because it's Michael who has entered. With the dress. JULIANNE ... door. So he does. She flushes and SNATCHES up her own clothes, which were characteristically tangled in a heap, and tries desperately to untangle them enough to cover herself. He is amazed and amused by her embarrassment. MICHAEL (laughing) Should I turn around, or someth... JULIANNE Michael, I'm in my underwear! She's TEARING at her clothes, only making more of a mess. MICHAEL We've seen each other a lot more naked than this. She seems ready to rip her clothes apart, so he gently takes them from her hands. She tries to stand unselfconsciously as he easily untangles them. MICHAEL I mean, we were skinny-dipping in Greece, just as pals, less than two years ago. She GRABS the clothes and covers the front of herself. Looking at him with a mix of emotions she couldn't begin to sort out. JULIANNE Things are different now. He looks in her eyes. And nods, a little sadly. Guess they are. MICHAEL (softly) Well. I leave with two thoughts in my mind. He walks to the door. Puts his hand on the latch. Looks back... MICHAEL (even softer) You're still a very pretty girl. The look holds. And holds. There is such feeling on both sides, she doesn't know what to make of it. She swallows. JULIANNE What's the sec... MICHAEL Mirrors. And he's gone. She looks around at six different VIEWS of her uncovered backside. Hmm. INT. HOTEL UNDERGROUND GARAGE - DAY The parking valets wait by their stand as the convertible pulls up. These girls must be late for something, the way they're jumping out of the car. JULIANNE ... luckiest guy in the Northern Fucking Hemisphere, is all I'm s... KIMMY What? Because I'm a little understand... JULIANNE ... most sentimental schmucks I pity want a honeymoon after their wedding. Just to top it off. The valet gives Kimmy her ticket. KIMMY I can't expect the NBA to hold up the playoffs... They're walking fast toward the garage elevators... KIMMY I'm excited Sports Illustrated gave him this kind of shot, he's only there a ye... JULIANNE So your honeymoon is exactly where? Well... KIMMY It depends. If San Antonio sweeps Sacramento, we could start there. Or Phoenix. Or depending on Indiana- Clevel... JULIANNE ... garden sports, all. Little swing of maybe fifty degrees Fahrenheit, represents a packing challenge, but there's fine food and cocktails at a choice of Embassy Suit... At the elevator. Kimmy SLAMS the button. KIMMY It's his career, I'm supportive. Look, I've been everywhere, I've seen the world, I've laid on a beach. I want to be with the man I love. That's what makes it a honeymoon. End of story. Okay? JULIANNE I'm just saying he's lucky. An empty elevator arrives. They get in. JULIANNE Takes one woman in a billion to put up with his array of shit. The guy is a one-man festival of idiosync... Kimmy SLAMS the penthouse button. Looks at her calmly. Go on. JULIANNE Well. You've been introduced to the symphonic range of... KIMMY ... his snoring, yeah. He says it's worse than ever. That snaffle one...? Julianne imitates an incredibly annoying high-pitched SNARL. Three times. Kimmy nods. KIMMY Well now it has this sorta phlegm rattle behind it... Stopped at the lobby. A family of four gets in. Oblivious, Kimmy DEMONSTRATES the phlegm rattle. Really gets into it. As the family watches, Julianne tries her own version. Like that? No. More like this. The family is looking at each other. KIMMY Guess what? Earplugs work. Oh. JULIANNE How about... KIMMY ... cigars in bed? I broke him on that. But the bathroom's a swamp, he wears Reeboks to dinner, tells the same, admittedly funny, jokes three hundred times... Sucks in a breath... KIMMY ... loves action movies, subscribes to Playboy for godsake, reads over my shoulder, can't keep track of the checks he writes... Ninth floor. The family gets out. The door closes. KIMMY He sucks soup through his front teeth. JULIANNE A trademark move, don't touch it. KIMMY But he sure can kiss. JULIANNE It's been awhile. I'll take your word. KIMMY After two weeks of cataloguing all his faults, I made a command decision that changed my life. She SLAMS the EMERGENCY STOP button. We JOLT to a halt. KIMMY I threw the list away. Shakes her head. KIMMY He's not a balance sheet, so many wonderful qualities, so many faults. He's Michael. From her heart. KIMMY And loving him means loving all of this. JULIANNE Do you get nervous in small confined spaces? KIMMY So it's sweet of you to be protective... JULIANNE Let me rephrase that... KIMMY But nothing ever could, ever did, give me a moment's pause about this marriage... JULIANNE Do you get hysterical in small confined spa... KIMMY ... except one. Julianne's face. Stops. JULIANNE Oh, yeah? Kimmy nods. Confides... KIMMY You. A stopper. KIMMY You'll always be there. In his mind. The perfect creature he loved for all those y... JULIANNE Well, perfection can get wearing after whi... KIMMY I'm not joking. I had to face up to all my competitive drives, and believe me, I've got 'em. JULIANNE No. KIMMY And the answer was so simple. JULIANNE I was gonna predict that. KIMMY You win. Julianne blinks. Excuse me? KIMMY You're enshrined in his heart and memory. Unassailable. Which works out great. JULIANNE I've missed a step. KIMMY He has you on a pedestal. And me in his arms. Oh. Julianne smiles. LUNGES for the EMERGENCY button, YANKING it so hard it comes OFF in her hand. A terrifying BUZZER ensures. JULIANNE Jesus, we're trapped! KIMMY Ju... JULIANNE No, this happened to me once, almost, it was excruciating! Begins BANGING random buttons, out of control. Kimmy watching this. Julianne looks WILDLY up... JULIANNE There's a panel up there, you could boost me... RIPPING off her platform shoes. JULIANNE You know how little air is in these things? I've seen statistics! Once you're trapped between floors... Kimmy taps her. Points to the lighted panel. It says PH, they've reached the Penthouse. JULIANNE God! Then the door is jammed! Takes a heavy platform and begins BANGING the metal door with all her strength, sending resounding BOOMS throughout the area, as Kimmy reaches and... ... presses DOOR OPEN. The metal doors part, opening directly onto the banquet room, just as a mighty blow comes down, and the platform FLIES from Julianne's hand straight BETWEEN... ... two identical stunning YOUNG WOMEN, serving as twin hostesses for the shower. A beat of mutually-stupefied looks, and we hear the shoe CRASH somewhere, to a small spattering of SHRIEKS. MANDY Mah Gawd, it's the bride, and the woman she'll nevah live up to! KIMMY (mutters to Julianne) That would be us. SAMMY Did she say th' wrong thang agin? It is so in character! AMANDA and SAMANTHA NEWHOUSE, 19-year-old twins. True Southern belles, with the faces of angels and bodies made for hot oil wrestling. Mandy's hair is dyed ash blonde, Sammy's is amber. Otherwise, the experience is similar. JULIANNE (thrusts out her hand) I'm Julianne Potter, and... SAMMY ... we'd be the vengeful sluts. We came in complementary colors. MANDY Have you sized up the groomsmen, Jules? As M. of H., you get first fuck. Don't pick the short, hairy, rich one. JULIANNE ... unless he has a hump. The girls cast identical blank looks at Kimberly. KIMMY (to the sluts) Dry. I told you. WOMAN'S VOICE (V.O.) Is this Michael's Julianne? All eyes turn to an elegant woman of barely 40. She has her daughter's hair and eyes and slender form. But the bearing rules half an empire. Fonda would envy. ISABELLE I'm Isabelle Wallace, and my handsome new son scarcely did you justice, girl. She takes both of Julianne's hands, and our heroine is sort of magically charmed. As if touched by Glinda the Good Witch of the North. ISABELLE Now, my husband says to scoot you over to the ballpark, so you can hang with Michael. But first, you have to meet a lot of really old women. Looking warmly in her eyes... ISABELLE That is, if you've absorbed enough profanity. Flicks a glance at the twins. Leads Julianne off... MANDY (O.S., pouting) We sayed one fuck. INT. TAXI, SOUTH SIDE - DAY Cab crawling toward COMISKEY PARK through stifling traffic. Julianne oblivious, cellular to her ear... JULIANNE Desperate measures! Do you hear me? Digger, are you the... SQUAWK. Static. Then... JULIANNE I don't know, hit men, whoopee cushions, saltpeter, something! The girl is impossibly impregnable. Even I want her to get the guy!! Listens. JULIANNE Tell him the what? The truth...?? She shakes her head. What a guy. JULIANNE That desperate. May I never get. INT. LUXURY BOX, COMISKEY PARK - AFTERNOON Game in progress. Watched by Michael, three groomsmen his age, two middle-aged men, and one bodyguard. Suddenly, a dull THUMPING at the door. It keeps up. They finally all look over. The bodyguard gets the door, revealing... JULIANNE Which of you gents ordered two beers? One single tray. Holding fourteen beers. Balancing on one hand. Michael JUMPS UP, terrified at the impending mayhem this sight suggests... MICHAEL Wow! Lemme give you a ha... JULIANNE (sweetly) Michael. You'll unwittingly imply that I'm clumsy. He stops in his tracks. The guys whistle. MICHAEL Think of that. And as well as I know you. She goes first to the bodyguard. BODYGUARD Sorry, ma'am, I'm on duty. JULIANNE (lovely smile) It's Miss. And thanks. That leaves two for me. Heads down the row... MICHAEL Julianne Potter, this is Hank and Gerry from SI, and you know Daniel... She's nodding, flawlessly plucking two beers each from perimeter of the tray, keeping the rest perfectly balanced in the center. Michael is flat dumbstruck. Next, a tall patrician gentleman with rolled-up sleeves on his hand-stitched silk shirt... MICHAEL Oh. This is my father-in-law, Walter. Once again, she gracefully plucks two beers for the distinguished father-in-law... MICHAEL How are you doing this? You're on drugs. Sets them down. The man has a smile wonderful in its ease. Murmurs... WALTER If he gives you grief, I'll have him skillfully beaten, where the wounds won't show. JULIANNE I guess getting him whacked would be politically out of the question. WALTER Under the circumstances. Charmed to know you, Jules. JULIANNE Nice meeting you, too, Walt. A nod between equals. She moves on... MICHAEL And, this guy, you know... She sure does, and effortlessly balancing her one-hand load, she dips to kiss a porky, balding guy with big-time shoulders. Straight on the lips. JULIANNE Papa Joe. They go way back. He is uncomfortable at this rich man's wedding, even as gracious as everyone has been. His watering eyes twinkle at her, and the voice has a trace of Boston... JOE You gonna be my boy's best man? Despite SHOUTS from the others... JULIANNE Best everything, Joe. But I'm going to dance with you. MICHAEL Dance? You don't dance! You learn to dance?? Her innocent smile. JULIANNE Moves. You've never seen. BIG reaction from the guys, as she heads toward Michael with the last of the beers, not looking down at the FIELDER'S MITT which lies right in her path, and as his lips part to scream a warning, she skips... ... neatly AROUND it. He's in shock. MICHAEL You're an impostor! What have you done with my best friend? As he takes away the remaining beers... MICHAEL And how was the hot dog? Hot dog? His eyes fix on her left breast. HUGE mustard stain. She can't believe it. MICHAEL Cheap and unnecessary. We were looking anyway. EXT. LUXURY BOX ROOF - DAY Michael and Julianne sit with their beers on the edge of the luxury box roof. The game, the stadium, spread out beneath them. Yet they are alone in the world. She dangles her legs, and we can hear her kicking the glass below. JULIANNE I just admire your maturity, that's all. I mean, there are people who would find that kind of perfection boring. Day after day, year after year... MICHAEL ... see, that's what I thought at first. How can you like someone that perfect? No potential for long-range livability. Drinking their beers. Side by side. Both stare only at the game. MICHAEL Luckily. The closer I watched, the more the fault came into focus. Each imperfection its own adorable slice of vulnerability. JULIANNE Such as. MICHAEL She's too genuine. JULIANNE Hate that. MICHAEL How can you trust someone you can never mistrust? JULIANNE What's next? Keep sipping. Never look at each other. MICHAEL No matter how many times I leave the toilet seat up, she forgets and puts it down. JULIANNE Endearingly absent-minded. MICHAEL My very point. Here's another one... Shakes his head. This one really gets him. MICHAEL Every day. She makes the bed. JULIANNE Quite the little eccentric. MICHAEL At first, I thought it was a gag, but she's always done it! This is not the ammunition Julianne was hoping for. JULIANNE Is there a coup de grace in here, somewh... MICHAEL She admires. Tommy Lasorda. JULIANNE Waiter! Check, please! MICHAEL She finds him "personable." JULIANNE Can that kind of defect be passed on genetically? She looks over now. And Michael is looking back. Smiling the most wonderful smile. Her reaction shows that she thinks it's for her, until... MICHAEL Then again. She has a few good traits. Hating herself for asking, but seeing no way out... JULIANNE Gimme like, eight and nine off the top ten list... MICHAEL First girl I ever knew. Who lets me give her a bath. The look in his eyes. She can hardly bear it. MICHAEL And when I hug her, even in public. I don't have to let go right away. She lets me hold her as long as I want. He seems so deeply in love. MICHAEL Nice kid, don't you think? A beat. A slow nod. A quiet... JULIANNE Looks like, from here. INT. SOUTH SIDE CLUB - NIGHT A slender black woman sings a SOARING Gospel number, backed by three ladies who could each solo in any church choir. It is mesmerizing, stirring, transcendent. The unseen audience CLAPPING FIERCELY in rhythm, SHOUTING support. SLOW PAN now... ... every face is black. We aren't in church at all, but a venerable blue club. One of those places you'd swear everybody's played, from Robert Johnson to Bessie Smith and back again. As the song ends, there is APPLAUSE, some RAPPING on tables with their knuckles or their drunks. We keep PANNING to a far corner. Three faces. Julianne leans across her beer to Kimmy... JULIANNE How'd you find this pl... Kim shaking her head. Looks admiringly to Michael... KIMMY Lived here my whole life, never heard of it. Until our first date. She reaches slender fingers. Traces one back along his hair. KIMMY He finds all these spots, everywhere he goes, it's a mystical gift. MICHAEL (shy) Jesus, one d-back from the Bears knows a place... KIMMY It's not just clubs. This guy always knows the best everything. The best guitar store, the best beef ribs, the best Horowitz record, was he always like the... JULIANNE ... always. The best dim sum, the best camping stuff... KIMMY Stop, we're embarrassing h... JULIANNE ... best valley in New Zealand, best... women's shoes... MICHAEL I tried those on. When you weren't looking. Now he's grinning at Julianne. And she likes that a lot. JULIANNE Where was that, Florence, huh? MICHAEL Firenze. Together in the memory. As Kimmy watches. JULIANNE The Vespa? Me hanging on behind in the rain all night? MICHAEL Till the gas ran out. And, the first sniff of left-out... KIMMY I love Florence. Julianne's eyes flicker. Could this be a teensy opening? Keeps her eyes, her easy smile, and her killer instincts trained on Michael. JULIANNE Take her there. He nods, okay. JULIANNE I mean, now. She's perky, she deserves a honeymoon. He draws a breath... JULIANNE I heard. If San Antone sweeps Sacramento. What is this shit? You gotta get off the road by September anyway, when does Fall Quarter start? And the happy couple look at each other. They are awkward. Julianne's heart soar like eagle. KIMMY Uh. I'm not coming back. For senior year. Could this be. The Mother Lode? JULIANNE Don't architects find a degree, sort of... an asset? The couple still staring in each other's eyes. KIMMY Well, the school will be here. Architecture will still be around. Right now... MICHAEL I travel every week. College ball, motor sports, training camps... KIMMY The most important thing. Is being together. And she smiles. Beautifully. KIMMY I'm just a baby. I've got all... the time... in the world. EXT. CLUB - NIGHT Michael putting Kim in the back of a cab. As Julianne watches. MICHAEL Because I could come... KIMMY To the twins' soiree? So they can paw you and drool...? JULIANNE (calls out, helpful) They're gonna drool anyway! Kim smiles. He kisses her, tenderly, through the open window. She waves past him at Julianne. KIMMY (to both) Enjoy each other. And drives off. As he watches after, Julianne comes up behind him. Slips her hand up onto his shoulder muscle. Starts giving a little massage. JULIANNE Should I whistle down a cab? MICHAEL Hey, cabs are expensive. I'm cheap, remember? Turns his head, to see her. She's still rubbing his shoulder. JULIANNE Sometimes. About the dumbest things. Share a smile. As always, it covers a lot of years. MICHAEL The El's right down the street. Unless you're afraid of the neighborhood. She looks around. It is an issue. But she remembers... JULIANNE No. I'm always safe with you. She means that. He takes her by the hand. They begin walking... JULIANNE Pretty amazing girl, you've got. Make that kind of sacrifice. MICHAEL What, leaving school... JULIANNE ... all of it. She's leaving her family, her friends, everything she knows. She's putting her career on hold, and she seems a pretty ambitious, driven, kind of pers... MICHAEL (quietly) In her way. JULIANNE All to follow you in this dumb job, where you travel 52 weeks a year to College Station, Texas, and such. It's not a job for a grown man, Michael, Peter Pan never married. He's let go of her hand now. Looking down at the pavement before him, fists in his jacket pockets. JULIANNE (softly) I don't think she's naturally the... submissive type. Aren't you afraid she's gonna choke on this stand-by-your-man shit after awhi... MICHAEL (real quiet) No. Hit a nerve. This is promising. JULIANNE I mean Walter owns the Sox, cable sports... most girls in her spot would be angling to get Daddy to offer you some juicy gig right here in t... MICHAEL She would never. Never. Even think of that. Paydirt. Julianne's Geiger Counter is going berserk. JULIANNE I guess you're right. That would be deceitful... manipulative... controlling... emascula... MICHAEL I got the point. He looks over at her. No smile on his face. An edge we haven't seen. She shrugs... JULIANNE Still. All's fair in love and w... MICHAEL That would be a girl. I don't even know. They've reached the stairs to the El. A rickety train RATTLES above them. As they start up, she slips her arm around his waist... JULIANNE (murmurs) Forgive me, okay? I was talkin' crazy. He slides his arm around her shoulder. Pals. They climb out of frame. INT. HOTEL BATHROOM - LATE NIGHT CLOSE on a shallow pool of water in a bathroom sink. Green powder pouring in, a hand SWIRLING it around, until... JULIANNE (O.S.) It's Albanian, I think. Or Mongolian. Or Canadian. One of those. I bought it downstairs... ... it becomes truly disgusting lumpy green mud. JULIANNE (O.S.) I figure, what the hell. Can it make me look worse? Follow the hand up as it SLATHERS the shit across her face in great green dripping gobs. She's juggling the wall phone, trying to keep it mudless, as she assures Digger... JULIANNE Dig, of course. Of course, of course, of course, of course I have a plan. Certainment! More green slime. The Julianne we know disappears. JULIANNE How? I ask myself, what would Lucy Ricardo do in this situa... Desecrates three hotel towels, wiping her hand. JULIANNE Well, one worked, once. THROWS them in the bathtub. Fastidiousness a short suit. JULIANNE Ricky wouldn't let her in the show. Reaches for her toothbrush, absently. All her attention is on the conversation and the hideous green face in the mirror. JULIANNE I recall it differently, but we digress. Without looking, picks up a tube of hotel shampoo... JULIANNE So in the version, you're Ethel, with better fashion instincts. Squeezes it all over the toothbrush. JULIANNE This puts you in charge of Plan B, the unprincipled and insanely dangerous back-up plan... Lifts it toward her mouth, liquid shampoo dripping from the bristles. JULIANNE In case simple lying doesn't work. At the last second. She stops. We don't know why, because she's still never looked at the brush. JULIANNE Question. What happens if you brush your teeth with shampoo? Turns on the tap. Tries to scrub the toothbrush clean, and DROPS the phone into the green swamp, which SPATTERS all over her front. Euucch. She's stymied, agitated, circling the sink, leaning down to it... JULIANNE HOLD ON. I'M COMING IN FOR YOU! She sets the toothbrush down in her toiletries kit. Decides to YANK on the phone's cord, and the receiver SPRINGS out, BOPPING her in the face. She's so filthy at this point, she just wipes it clean on her nightshirt. Tells Digger... JULIANNE You okay? This is one of those problem phones. Lifts the toothbrush and tube of paste from her kit. JULIANNE Right. Your role. You know guys from Sports Illustrated, yes? I mean, you can walk right in there... Squeezes on the paste, lifts the brush to her mouth... JULIANNE You could get access to letterhead, for example. JAMS it in her mouth, brushing as... JULIANNE (mouthful) ... or even, maybe, their fax. Stops. The funniest look on her face. Down to the toothpaste tube... Which says BEN GAY. Oh. INT. TIFFANY'S - MORNING Julianne and Kimmy cruise the stately display cases. Everywhere, the Tiffany logo, the silent, watchful staff in morning coats. As they browse, Julianne takes a blueberry Danish from a paper sack, and begins to eat. The staff notices. So does Kim. JULIANNE It's an homage thing. Hmm? JULIANNE Awkward girls grow up on Audrey Hepburn movies. You wouldn't understand. Kimmy doesn't. But wipes a blue glob from Julianne's face. KIMMY Anyway, I think you're wrong. Wrong? KIMMY What you were saying before. Before? KIMMY About Michael's job. JULIANNE Oh, that. I forgot I even said th... KIMMY I just think you're wrong, is all. JULIANNE Probably am. Forget I brought it up. Points to some jade pins. Kimmy wrinkles her nose. KIMMY I mean, he loves his job. JULIANNE Bad games, bad towns, bad pay, bad flights, bad hotels, real bad food. Homeless, rootless, lonely, maybe your copy gets into one issue out of four... Smiles. JULIANNE What's not to love? None of this is lost on Kimmy. She's wondered the same. KIMMY But he always says... JULIANNE ... whatever is manly and independent. Kim nods slowly. Way ahead of her. JULIANNE Why would he trade that for running, say, a big piece of the PR at a powerful, complex, challenging conglomerate like your dad's? Kim stares back. A strange look. KIMMY That's just the sort of thing my father and I discussed. Julianne just blinks. Amazed. JULIANNE I'm not stupid. Say, how about this? Pointing to tiny golden scissors in the novelty case. Kim so absorbed by the main topic, she has to force herself to focus on... KIMMY For the twins? What in the world is th... JULIANNE Gold nose hair clippers. Points to the tiny hand-lettered sign. Indeed. Kimmy shrugs, not quite it. KIMMY So you don't think Michael's as happy with his job as... Julianne points to a matched pair of large... KIMMY Gold dog collars? They don't have dogs. JULIANNE Hello. Kim nods, oh. But can't keep her mind off... KIMMY You think he'd accept? Hmm? KIMMY Michael. A job like that. Oh, well... JULIANNE By any yardstick that involves sanity, it would be the greatest thing that ever happened to him. Present company excepted. Kimmy nodding slowly. Her yearing achingly apparent. JULIANNE On the other hand, he's proud. Last thing a man wants to admit, is being trapped in a dispiriting dead-end job that can never support a family. A very sweet smile. JULIANNE Throw a man a life preserver. He'll say, "Thanks, anyway, I'd rather drown." Kim nods again. Right. They are so bonded at this moment. KIMMY So... one almost has to... JULIANNE Exactly. KIMMY Exactly what? JULIANNE What you said. Make it appear that he's doing you the favor. Kimmy bites her lip. Her eyes go down. Self-conscious to admit... JULIANNE I couldn't really... do that. After, you know... Her voice trails off. JULIANNE (kind, but wise) ... lying. All the time. That brings the gray eyes up. Julianne bats her dark ones... JULIANNE Oh, darling, my pitiful desires and ambitions are dirt beneath the manly boots of your priorities! Kimmy has to smile small. A self-awe gal. JULIANNE (pouring it on) Two hundred seedy motels a year? Dinners out of vending machines? Waiting for you in vermin-infested corridors of dark crotch-rot locker rooms? This stuff makes me hot!! KIMMY The very words I've used. Julianne 'thinks it over.' Kimmy waits for guidance. JULIANNE We make Dad your co-conspirator. Michael does a favor for Walter. Simple. JULIANNE Walter's reorganizing his public relations, needs a brilliant guy who's close to him, who he can completely trust. Kimmy nodding. Hope overriding reason. JULIANNE So you beg. Michael, please do this for Daddy, please, please, please, blah, blah, blah... it's only for six months... it would mean so much to me to help him out... Turns up her palms. Viola! KIMMY He'll see right through it. JULIANNE Only. If he wants to. They share a smile. JULIANNE In six months, he'll be happy, settled, successful... KIMMY He won't get mad, huh? MR. MOONEY (O.S.) May I be of any help, whatsoever? Mr. Mooney is the most gracious Brit salesperson ever to offer kindness, intelligence and thoughtfulness to a customer. He is large, sixty, with disappearing hair, watering eyes, and a manner that makes you think of immediately hiring a butler. JULIANNE Bridesmaid gifts for two, well, assertive, outspoken, Tennessee debutantes. KIMMY (still focused) He won't be mad? JULIANNE (to Mooney) Nothing here seems to quite capture their distinctive personalities. MR. MOONEY Something customized, perhaps? We can fashion most any item from gold. Ah. Julianne nodding. Reflecting. MR. MOONEY An object that might represent what is closest. To their heart. KIMMY (under her breath) Don't even think dildo. Julianne digs through her jumbled bag... JULIANNE Could you do this... Tossing an object on the counter... JULIANNE In 24 carat? It is a MASTERCARD. A gold one. KIMMY (softly) Bingo. They smile at each other. More bonded than ever. KIMMY You don't think he'll be mad. A beat. Can Julianne even make herself do this? JULIANNE Your call. You can live a lie. In a fabulous selection of Red Roof Inns. Or you can make one desperate stab at hap... KIMMY I just don't want to freak him out. What do you think? Julianne stares into the soft gray eyes. It's now or never. The smile of a dear sister... JULIANNE How mad could he get? INT. FASHION RESTAURANT - LUNCH HOUR Julianne enters with a really nervous Kimberly in tow. Approaches the maitre d'. We CLOSE to hear... MAITRE D' Oh, Mr. Wallace and his guests have retired to the humidor. Points to an escalator, leading to the mezzanine. Behind a glass wall, what looks like a British men's club. Thirty guys and a billion cigars. As Julianne starts toward it... MAITRE D' Oh. Mademoiselle. She turns back. Loves this shit. MAITRE D' It's unofficial, of course. But, traditionally, the humidor is for gentlemen, only... JULIANNE Great. I've got this girlfriend at the Justice Department? With all this time on her hands? Her look is every bit as hard as his. He gestures to the escalator. She takes Kimmy's hand, and up they go. We can see Walter in a big leather chair, enjoying a major stogie. Kimmy licks her lips. They enter. Every head turns. A nice range of reactions, from offended to attracted and points in between. JULIANNE (murmurs) Piece of cake. I'll hang, and think happy thoughts... Kimmy nods. Heads over toward her father. Julianne walks, confidently, even provocatively, to the wall lined with bins of cigars. Every eye in the place is on her butt. She runs her fingers over a few contenders. Plucks one out, examines it, puts it back. Walks a little farther. Selects another, big and black. Rolls it expertly in her fingers. Sniffs along its length. A guy comes over. Could be 40, successful, a broker's pin-stripe. Nearly as attractive as he thinks he is. GUY Know what you're looking for, little lady? Little lady, huh? She glances at his coven of buddies, who pretend not to notice. Then, straight to the guy's blue eyes. JULIANNE Yeah. Do you? GUY I asked first. Ah. Wit. She holds up her cigar... JULIANNE I like 'em long and hard. Kind of... big around. Runs it under her nose. JULIANNE Smell is important, I'm a believer in that. Takes a match from a cut crystal bowl. JULIANNE But you never know what you've got. Till you run your tongue over it. And she does. Moistening the full length of the cigar. The boys are laughing openly. She STRIKES the match. As she lights up... GUY I meant. What you're looking for in a man. She glances at his wedding ring. Then, straight into his eyes. JULIANNE Actually, I'm partial to married gentlemen. The way she says that. The guy swallows. We can see some of the air has been sucked from the room. GUY Why is that? JULIANNE It's so much time. When I phone the wives. Explosive LAUGHTER from the peanut gallery. As she jams the big Clemente Churchill into her mouth, she sees Kimmy waving her over from across the room. Without even looking at the guy she's just put away... ... she crosses the room, Walter stands politely, looking very dapper, very powerful, and focusing on her with considerable interest. He waits until she sits on the edge of a costly leather hassock. WALTER (simply) Your idea? She can't read this guy. Maybe that's how he built an empire. She nods, yeah. WALTER You're a woman of insight. He sits on the arm of his chair. Close enough to speak quietly. WALTER My wife and I love this marriage, and deplore its circumstances. He puffs his cigar. Julianne puffs her. Kimmy looks on, a kid watching the grown-ups... WALTER As you guessed, my daughter is unhappy about giving up her life. And, in my opinion, cowardly in avoiding the necessary confrontation. Then he stops. As if reading Julianne's eyes. WALTER Mike has a world of ability. I'd do anything to have him in my company. One more puff. WALTER Except ask him. Julianne is a little stunned. Kimmy looks helpless. WALTER He'd resent it. And me. And, most important, Kim. No smile on his lips. Straight talk. WALTER He's a great kid, but he's still a kid. Instead of recognizing that his resistance comes from insecurity, he'd turn it to anger. To protect himself... Spreads his hands... WALTER ... from realizing that he's ignoring my daughter's needs, despite how very much he loves her. He looks to his daughter now. WALTER They both have some growing up to do. But they're good people, they're starting with love. They've got time. JULIANNE (softly) I think you're making a mistake, sir. His eyes come back to her. A little sharply. WALTER And that interests me. How someone who knows him so well could be so wrong. A formidable guy. She meets his gaze. JULIANNE See, I love him, too, as much as anyone here. And for a whole lot longer. From her heart. JULIANNE I think I know best what would make him happy. INT. TOILET STALL - DAY Julianne, fully dressed, sits on the closed lid of a toilet seat. The stall is tiny enough to arouse claustrophobia in an astronaut. Her cellular phone pressed to her ear, she is listening angrily, smoking ferociously, every call in her body running at red-line. JULIANNE Okay, okay, okay, okay, I hear you, all right? She closes her eyes. JULIANNE It is stupid, dishonest, desperate beyond belief, and can't possibly ever work. It can only end in humiliation and disgrace. Now can I say two words? Deep drag on the cigarette. For strength. JULIANNE Do it! Do it! Do it! Do it! Do it! Do it! She's striped her gears. COUGHS horribly. JULIANNE All right, twelve words. INT. PUBLIC RESTROOM - DAY Julianne exits the stall. To face three BLACK TEENAGE GIRLS. Just staring at her. TEENAGER (supportive) You do it, girl. Julianne nods to the kids. They nod back. Damn straight. She exits the restroom, into... ... glaring sunlight. We are in the middle of the BROOKFIELD ZOO. And sitting on a bench, eating popcorn from a bag... MICHAEL Wow. What was going on in there? She shudders. JULIANNE Some crazy person. EXT. ZOO - DAY Michael and Julianne walking together. He's eating his popcorn. She carries a cardboard container with nachos, a gooey fudge waffle cone, and a large drink. MICHAEL You're not eating. JULIANNE I never eat when I'm serene. MICHAEL You never eat when you're despondent. JULIANNE I switched that around when you weren't looking. She swirls a single nacho chip in cheese. But her heart isn't in it. MICHAEL Last zoo we were in was... Beijing, yeah? Sure. The rhinos were fucking. JULIANNE Boy, those were the days. And when she looks over. His eyes are waiting. MICHAEL (softly) Yeah, they were. They're passing the hippo pen. But they don't notice. JULIANNE That was nice. The way you said that. So was that. He's feeling restless, something. Doesn't know quite what to say. MICHAEL It's weird being the groom. All these things Kimmy has to take care of... JULIANNE You need a baby-sitter. That's what I'm here for. He holds her eyes. Then looks down. Awkward. And the way he's doing it begins to excite her. JULIANNE Say it. He looks up, neither one of them noticing that as they walk, she is about to... ... CRASH into a chest-high metal stand that displays animal facts. We have followed him as she is WIPED from frame. His face from shock... to amusement. MICHAEL Now, there's my girl. ... to tenderness. PAN back to see her wearing everything from her cardboard container. Nachos, fudge sauce, Diet Coke, the works. It is really awful. Kids, bystanders, laughing cruelly. Her eyes fill with tears, and she tries bravely to smile against it... JULIANNE See, I can only do it with beer. He takes out his handkerchief. And with that and his hands, gently scoops the worst of the mess off her. The fact that he's touching her breasts and her body is something they pretend not to notice. She laughs softly, and a few tears fall, even though she doesn't know why. Such an odd, raw, confusing moment. To the world looking on, they are lovers. MICHAEL (murmurs) See, better already. And he kisses her face. Not quite her lips. But only an inch away. We can feel her heart pounding. He strips off his shirt, only a tank top underneath. MICHAEL We'll go back to the bathroom, you'll put this on... Okay? She sniffles, okay. Swallows. JULIANNE Bet you're glad I'm here to take care of you. He puts his arm around her. MICHAEL Bet I am. Holds her close, as they start toward the restroom... MICHAEL Hope that crazy person's not still there. We're on their backs... JULIANNE (O.S.) She doesn't scare me. EXT. BEACH CLUB, LAKE MICHIGAN - SUNSET Julianne in T-shirt and shorts, rushes onto the deck of a sprawling beach club. Clutching her bag, she quickly surveys the scene... ... the entire beach has been taken over by the wedding party. Young folks, old folks, little kids, maybe 200 people. We SCAN with her to find a crowd around... ... a three-on-three volleyball game. Kimmy and two groomsmen on one side, facing Michael and the Tennessee debs. The twins wear spectacular bikinis and are surprisingly athletic, as well as predictably uninhabited. As the next point begins, Kimmy serves... ... Sammy in back makes a nice dig, lobbing to Mandy who sets for Michael's vicious SPIKE straight THROUGH his best man's hapless defense. The crowd cheers Michael, and as he turns, Mandy gives him a savage... ... CHEST BUMP of congratulation, that any NFL linebacker would be proud of. It puts the surprised Michael straight on his butt. Laughter, applause. The twins pull him up and Sammy gives him a hot kiss on his ear that makes the crowd react. Kim plays good sport. Julianne watches Michael's body for a beat, then... ... dashes off. Down the beach, several barbecue grills have been set up. Manned by beach club staff and family alike. Michael's pop, Joe, is dispensing beers from a keg. Kim's mom, Isabelle, is coordinating the beans, potato salad and corn-on-the-cob table. Julianne races across the sand to... ... a huge smoky grill where Walter is basting baby back ribs, clearly enjoying himself. Julianne runs up to him, says something into his ear. He looks at her. Then turns his station over to a club steward, and follows Julianne down toward the lakeside. CLOSE now. As they stroll together, she's a little breathless. He's watching her profile, curious, silent. At the water's edge... JULIANNE (whispers) Is anybody watching? WALTER I hope so. This is all too mysterious to waste on just me. She reaches into her big bag. Pulls out a single folded sheet of paper. JULIANNE I picked up Michael's messages for him, at our hotel. I stole one... His face darkens. The easy smile fades. He holds up his palms... WALTER Julianne, reading my son-in-law's mail, is not something... JULIANNE Sir, this is important! Haven't you ever in your life cut one corner, to make something important turn out right? His smile returns. Just a little. WALTER Matter of fact, that's how I got married. The look holds. She thrusts the paper out. He still doesn't take it. JULIANNE It's a fax from Sports Illustrated from Ben Isaacson, Michael's boss. WALTER (quickly) I know Ben. She opens the paper. JULIANNE "Mike. We still have no answer to our E-mail of Wednesday. Which option do you select? I don't mean to rush you, but Personnel needs to tie up the loose ends." He takes the paper. We see it now. Looks authentic. JULIANNE I think he's been fired. WALTER It doesn't say th... JULIANNE He's said some things over the past few weeks. Look, this is why I came up with the idea of you offering him a job. He looks up. He's listening. Closely. JULIANNE And why I couldn't say anything before in front of Kim. She bites her lip. Seems so earnest. JULIANNE I just think of how... desperate he must be feeling. He's marrying a rich man's daughter, and he's about to become destitute. You know the kind of job market he'll be facing? He does. WALTER And you think he's kept this to himself. JULIANNE He's too proud to beg for help. And if you wait till this comes out, your offer will be like charity. Completely humiliating. He's staring at her. But his mind is working behind his eyes. JULIANNE If you do it now, it's like he's helping you. He can accept with dignity. He taps the paper with the back of his knuckles. WALTER This fax could mean... any number of things... She nods. She knows that. WALTER (softly) Maybe. I should call Ben. JULIANNE Then it could all come out, sooner or later. Nobody should be in on this. Just you and me. Or, more correctly, I. She takes the paper back. JULIANNE What if, what if I could find that E-mail? The long straight look. Maybe he's hooked. JULIANNE I never noticed. Kimmy has your eyes. INT. LOBBY, RITZ CARLTON HOTEL - TWILIGHT Tall, gangly, young DESK CLERK. Lank hair, pimples. He looks up, beams to see... JULIANNE Hello, again. She's flirting her ass off. JULIANNE You still haven't straightened that tie. And she reaches across the desk with her lovely, slender hands. Does it for him. Her fingers brush his chest on the way back. We can assume a woody. JULIANNE You know, my friend, the one whose message I picked up... ? He does. His eyes flick toward his stately female SUPERVISOR, helping another guest across the way. JULIANNE Well, he's still with the wedding party. And he asked me to get something he needs real badly from his room... ? The boy swallows hard. JULIANNE He's in 1526. If you could just let me ha... BOY See that woman? Not only does Julianne see her. The woman is looking back, while she's talking to her customer. Not a pleasant look. BOY She said, if I ever pull a stunt like that again... JULIANNE You'll lose your job... BOY ... tear my pecker off. Is what she said. INT. HOTEL CORRIDOR - TWILIGHT An elevator OPENS, revealing Julianne, carrying a gym bag. She looks down the long hallway, sees a maid's cart. Heads the other way, briskly, to... ... a small ALCOVE. Opens the gym bag, pulling out a bath towel. Begins to yank her top up OVER her head... ANGLE... the young MAID now pushing her cart down the hall, wheels SQUEAKING, and from nowhere... ... Julianne DARTS into her path, barely covered by the towel held tight across her, she is grinning, blushing. JULIANNE Help me! The maid can only blink. JULIANNE I locked myself out, 1526, please hurry!! And looks frantically up the hall, mortified that any moment a stranger could happen upon her predicament. Her eyes dart back to the maid. PLEASE. The maid just stares. Stares. JULIANNE Uno-cinco-does-ses. Oh. INT. MICHAEL'S ROOM - TWILIGHT Julianne alone in his room, looking around frantically. No worries about this guy making his bed every day, stuff, clothes, strewn everywhere, the bathroom looks like a cherry bomb just detonated. She's tramping through a bachelor's debris, wearing only her towel, looking, looking... There it is. The corner of his LAPTOP sticking out from beneath a discarded bedspread. She SNATCHES it up, OPENS it, sets it on the cluttered desk, and... ... stops. There are wallet-sized SNAPSHOTS of Kimmy. Some alone. Some as a little girl. Some with Michael. And next to them... ... the plastic fold-out wallet inset. That he has not yet quite rearranged. So she picks it up. Leafs through, until she finds what she was praying would be there... ... Julianne grinning. Michael's arm around her. On the deck of a boat. They have drinks in their hands. Happiness in their eyes. And she stares at it. Jesus, God, how long has he carried this around? She flips through further, all the rest have her in them. Maybe half a dozen. Her heart is throbbing. Her eyes are damp. Back to the one on the boat. She slips it from the plastic window. Holds it. Then, gently... ... puts it back where it belongs. PUNCHES up the goddamn laptop. This is it, girl! Do or die. JULIANNE (murmurs) You wouldn't change your password, would you? You never change anything. Those words make her bite her lip. Damn, I'm becoming a senti- mental slob. TYPES in... JULIANNE (murmurs) Shoeless... Joe. Yes! We're in! Punching keys. Letters flying across the screen. Okay, we're ready. Types... JULIANNE (reads as she types) Mike. I hate this downsizing shit as much as you do. But I know this can't become as a complete surprise... INT. BEACH CLUB CARD ROOM - EVENING Through the window, the wedding party barbecue has extended into night. Lanterns, music, lots more food, lots more drinks. In the distance, on the sand, Michael is slowdancing with Kimmy. Some- where nearby, the soft CLICKING of keys. We PULL BACK to see... ... a small clubby room. Books, leather, polished woods. Only two people here. Walter, looking on stony-faced, as a determined Julianne grimly "struggles" to "find" what she's looking for in Michael's laptop. And then... ... she stops typing. Looks at the text on the screen. Her eyes sharpen as she "reads" what Walter can't see. It's an Oscar performance for our desperate girl. She turns the screen around... WALTER (reads) Mike. I hate this downsizing... He reads. Reads. Reads. All the air comes out of him. WALTER (softly) And Kimmy doesn't know. She shakes her head. Nope. No way. WALTER (signs) I'll tell her I've reconsidered. She nods, gravely. Right. He looks in her eyes. WALTER You're a smart girl, Jules. She forces up a fleeting smile of gratitude. But Walter isn't smiling at all. WALTER Wish my daughter. Bad your guts. INT. CHARLES TROTTER'S BAR - NIGHT The hot saloon in Chinatown. Upscale, downscale, jammed, Michael and Kimmy at a small table in a far corner. CLOSE on them... MICHAEL Sure you're okay? She looks really scared. Turns her drink in her hand. Looking down at it. MICHAEL It's not just a gag, huh? KIMMY No, it's, uh... a real big favor. He takes her hand, tenderly. MICHAEL I wish you'd just... come out with it. I mean why are we waiting for Jules? She smiles up at him. The best she can. KIMMY Moral support. She loves him so much, and she is sick with worry. KIMMY What's good of having a big sister, if she... Stops. Gestures with her eyes. Because her big sister has just entered... ... looking fabulous. Julianne wears a long sleek sarong, slightly see-through. Her hair is bound up with silver pins. As she moves through the room toward us, we can see that, for once, her make-up is flawless, understated. When she arrives at the table... ... Michael is beaming, admiringly. He stands up. MICHAEL (softly) Wow and wow. You have a date, after this? JULIANNE Never can tell. He holds her chair. She exchanges an intimate smile with the anxious Kim. MICHAEL You make me think of that song, we used to... And he starts humming. The song is, "The Way You Look Tonight." MICHAEL (singing) Someday. When I'm awfully low... They sit. He looks from Julianne to his bride. MICHAEL Okay, kid. You're on. Kim's eyes flick to Julianne, who nods, supportively. The kid takes a breath. KIMMY It's really my father. Who needs the favor. His face sort of comes to a stop. Nothing she can read, yet. He nods, yeah...? KIMMY He's... he's reorganizing some of the divisions of the company... His eyes flick to Julianne. She looks down. MICHAEL (quiet) He never mentioned that. Neither did y... KIMMY (blurting) ... and public relations is a big problem area for him. She can see it now. In his eyes. She just can't tell how bad. KIMMY He needs someone incredible, someone really close, who he can trust... MICHAEL Like family, huh? So quiet. So cold. She is terrified. KIMMY It would only be, maybe, six months? Or three or four? It would mean so much to him... MICHAEL To him. She swallows. Straightens her spine. KIMMY And to m... MICHAEL (sharp, to Julianne) ... and you knew about this. Real quiet. Against the noise of this place. JULIANNE I think you ought to listen to her, Michael. This is her life, too. Just the thing. To bring that anger near the surface. He turns to Kim... MICHAEL Well, which is it? A demand. Sharp. Accusing. She doesn't like that... MICHAEL You gonna tell me Daddy thought this one up? All of a sudden, I'm the only jerk alive who can help him deal with the press? She's trapped. Angry, scared. A deer in headlights. MICHAEL Why don't you start being honest for one fucking sec... JULIANNE Michael!! KIMMY (near tears) I am honest! Silence. KIMMY All of a sudden, I'm supposed to drop out of school, forget my family, forget my career, forget all the plans I had for my life... MICHAEL Well, forgive me for screwing up your plans! He can't even believe he's hearing this. MICHAEL I'm sure glad I'm hearing all this now, before it's too late! KIMMY What is that sup... MICHAEL And what am I supposed to do with my life, huh? I am 28 years old! I work in a low-paying, low-status, zero-respect job which, unfortunately, I happen to fucking love. How inconvenient. Shrugs. MICHAEL No problem. A little bullshit about Daddy's "needs," and presto, I'm a lap dog in high society. JULIANNE (softly) Michael, it sounds like a wonderful opportun... MICHAEL (whips around) Does it, really? How come you never took some sell-out establishment job? You had plenty of chances! Glares in her eyes. MICHAEL I'll tell you why. Because that isn't you. And it isn't me, either! We're the same person! Back to Kim... MICHAEL What a sweet little picture. Mommy and Daddy aren't losing a daughter, they're gaining a eunuch! KIMMY Well, if that's the way you f... MICHAEL Damn straight, it's how I feel! What's their wedding gift, a little gold collar that says "Mikey-poo"? Or do I have to change my name to "Binky"? She's crying now. Real tears on her face. MICHAEL Great! Tears! The big equalizer. You wait till two days before the wedding to drop this on me, and I'm just supposed to roll over and drool! She is sobbing now. She can't help herself. Which makes him totally crazy. He jumps up. MICHAEL Fine. I'm an insensitive, chauvinist asshole, and you're well rid of m... KIMMY MICHAEL!! A wrenching cry from her heart. It stops him cold. And before Julianne's astonished eyes, Kimmy reaches out a trembling hand... KIMMY Michael, you are so... Choking back the sobs. KIMMY ... so right. And I am so very wrong. Michael blinks. Julianne blinks. For different reasons. KIMMY We can't go down two roads. And still be together. Her fingers stretch, beckoning. JULIANNE Uh, Kimmy...? KIMMY (ignores her) We settled this. And I reneged. That wasn't fair. Please, please, take my hand. KIMMY You have to forgive me, and forget this ever happened... People are watching, staring. These two see only each other. KIMMY ... or I'll die. A frozen, forever moment. He steps to her... ... LIFTS her up in his arms. Into the deepest, most heartfelt KISS. And as she clings to him, people begins to APPLAUD, and whistle, and laugh. Julianne. In her pretty dress. Closes her eyes. INT.JULIANNE'S HOTEL ROOM - NIGHT Julianne in her nightshirt, her back to us, sobbing into her cellular as she paces the room... JULIANNE ... see that's what I never counted on! I never heard of a brilliant moron before! We CLOSE as she WHIPS around, startling us with her grotesque day- glo PURPLE face mask. The green was better. JULIANNE I mean, the little twerp GROVELED!! Losing it. We know the drill. JULIANNE SHE IS SO WRONG FOR HIM! Clutching the phone. JULIANNE Michael and I are the same person! Self-absorbed and imperfect and vaguely loveable! We deserve each other! Tears are flowing. Which, over this mask, is not a pretty sight. JULIANNE I'm out of hope, I'm out of sneaky ideas, I'm at the end of my rapidly-fraying hysterical little rope! Help m... She TRIPS over an open suitcase, and DISAPPEARS from frame. The THUD is slightly alarming. JULIANNE (O.S.) God, I hate this hotel. HOLD. On nothing is particular. JULIANNE (O.S.) And I hate talking to your machine! INT. JULIANNE'S ROOM - EARLY MORNING REAR VIEW of Julianne asleep on the floor, sunlight streaming in. A soft knocking on a door, somewhere nearby. She barely stirs. The knock becomes a strong RAPPING, and she fights for conscious- ness. Her back still to us, she... ... rises, STUMBLES to the door, which is now pulsing with an insistent POUNDING, and THROWS it OPEN, as we SNAP to... REVERSE ANGLE... CLOSE on Julianne's face, still encased in a now- decomposing PURPLE MASK, her eyes SPRINGING wide, she SCREAMS in shock, and we SNAP BACK to... ORIGINAL ANGLE... Digger, watching impassively at the high-strung SHRIEK. In the silence that follows... DIGGER You stole my line. He touches his face, and she realizes! JULIANNE Oh, shit! Starts CLAWING at the overripe mask, but he grabs her wrists. DIGGER Chill. We don't want your face coming off with it. JULIANNE Chill? Since when do you say ch... DIGGER When I'm talking to children. She looks in his eyes. Realizing at last. JULIANNE You flew all the way h... DIGGER I noticed. I'm on the noon back. We have this thing with George's family in the Hamptons. JULIANNE (soft) You're butting in. He still holds her wrists. She brings one of his hands to her lips. Kisses his knuckles. JULIANNE (softer) I really resent this. INT. BATHROOM - MORNING Julianne seated at the sink, staring into the mirror, as Digger gently applies soup, cloth and water to easing away the mask. A paleontologist restoring a Bronze Age artifact. By the side of the half-filled sink, rests her plugged-in curling iron. JULIANNE What I mean, when I say annoyingly perfect, is that there is nothing annoying about her perfection. It is vulnerable and endearing. And that is annoying as shit. DIGGER You like her. JULIANNE If I didn't have to hate her, I'd adore her. She looks up at him and WINCES, as the movement makes him scrape her face. He's sorry. JULIANNE Last night, she was crying, these big, real tears, when she thought she'd lost him. It was like there was a knife in her heart... Looking in his eyes. Needs him to hear. JULIANNE ... and I put it there. I hated myself, I grieved for her, I couldn't enjoy one second of it! And then, when it didn't work... Can you believe this? JULIANNE I was devastated. DIGGER (softly) Go figure you. JULIANNE Because I realized. When I see him say "I do," that knife will be in my heart. And it will be there every... She holds his wrists now. To stop him. To plead for understanding. Forgiveness. JULIANNE ... every time I think of him, forever, which could be a lot. She almost choked on that last part. So she composes herself. JULIANNE You watch a guy caress his girlfriend's butt. You see an Old Spice commercial. Sentimental moments are everywhere, when you're in the right frame of mind. She swallows hard. Fights for a grip on her determination. JULIANNE There are 18,250 nights in the next 50 years... DIGGER You've been working on this, huh? JULIANNE ... and having "done the right thing" will only really be comforting, oh, maybe, five, six times. She sets her jaw. JULIANNE This is my whole life's happiness. I have to be ruthless. DIGGER (quietly) And you believe that. JULIANNE (unconvincing) Sure. His eyes are gentle and merciless at once. No way she gets off this hook. JULIANNE He was in love with me every day for nine years. I can make him happier than she can. DIGGER It's not his happiness you're feeling guilty about... JULIANNE (proudly) I don't know the meaning of the word guilt! DIGGER Impressive. JULIANNE I am breaking her heart in the short run, but doing her a gigantic favor! She would be miserable tagging along after this insensitive doofus! DIGGER The man you love. JULIANNE Beyond reason. The feminist warrior will rise up in this kid, and she'll be standing over his sleeping form with a butcher knife, selecting from a short list of body parts! DIGGER Someday she'll thank you. JULIANNE Let's not get carried away. And the defenses drain from her clay-ravaged features. The real Julianne is glimpsed. JULIANNE I'd settle for. Someday, I'll forgive myself. For...? JULIANNE For doing this terrible thing. Her eyes tear up. JULIANNE Which, by the way, I can't figure out how to do. As the tears fall, he wipes at them, discovering... DIGGER Jesus. You're supposed to take your make-up off before you apply the m... JULIANNE I KNOW THAT! I WAS DISTRACTED BY GRIEF! Oh. JULIANNE Guess what I brushed my teeth with last night? He thinks about this. Following her eyes to the toiletries kit, he browses for a moment... DIGGER Zit cream? JULIANNE I wish. DIGGER Neosporin? JULIANNE Try less appropriate. DIGGER Ben Gay. JULIANNE That was Thursday. He stops on that note. DIGGER Elmer's Glue? JULIANNE DON'T BE RIDICULOUS, WE'RE HAVING A SERIOUS CONVERSATION! She's hysterical. DIGGER I give. JULIANNE I can't even say it. Now. He's curious. JULIANNE A hint. The first word is "Preparation." Then comes a letter of the alphabet, perilously close to G. She reaches to test her curling iron, BURNS her finger, SHIT! KNOCKING the appliance into the half-filled sink. She LUNGES for it, and a terrified Digger GRASPS her arm... DIGGER Considering the circumstances, I'm not wholly against suicide... Huh? DIGGER Just not by electrocution in front of me! Oh. DIGGER I've got this noon flight. He reaches to pull the plug from the wall, and now she LUNGES to grab his arm, slipping, her face falling forward, stopping an inch above the sink. JULIANNE How do you know you can touch that plug? Are you a licensed contractor? DIGGER What do you suggest? She looks from the plug down the cord, to the submerged curling iron. And back. JULIANNE Maybe they just seal off this room. They have others. He's staring at her. Sweet, but intense. DIGGER I didn't mean about that. Oh. Again. JULIANNE If I hear the words "tell the truth," or any paraphrase thereof, I dive into the sink and pull you with me. Looking at her. Looking at her. DIGGER Let's go meet Michael. I'll wait downstairs. INT. ARMANI - MORNING Julianne has cleaned up pretty good. She sits with Digger on a fashion-fabric sofa. They are side-by-side, studying something with equal concentration. And slight concern. DIGGER I suppose it's too late to start over. JULIANNE It's too late to start over. PULL BACK to reveal Michael in his wedding tux, submitting to a final fitting from a stylish fitter. MICHAEL You guys are heartless, my bride picked this out. JULIANNE Like I said, dazzling. DIGGER Is she going to dress you every day? Michael smiles over. Digger smiles back. They live each other. MICHAEL Yeah, it's in the contract. DIGGER (softly) Well, then, I'll take it up with her. Michael motions, okay, c'mon over. Digger rises, goes to Michael, the fitter steps back as Digger shows him... DIGGER The cut here, here... this line... Fingers lightly traveling over the lapel, the side-stitching, the cloth straight down the spine... DIGGER ... trouser width, this is all classic. Which means safe, something I'd wear. MICHAEL I should look different. DIGGER You should look like you dressed yourself. Yes? Michael's grin is back. Playful and friendly. MICHAEL And I'm supposed to respect your fashion tips, because you're what, a New Yorker? DIGGER (quiet smile) Something like that. Julianne loves that the boy are getting on. MICHAEL (means this) Long trip. Pretty nice of you to come. DIGGER Well, I'm close to her. I wanted to meet the one that got away. Said so naturally. That embarrasses Michael, who looks down, his smile suddenly awkward. DIGGER What? MICHAEL I'm just glad someone finally put this thing in its proper perspective. Steals a glance at Julianne. She rolls her eyes. What a goofball, my outrageous friend. MICHAEL (to Digger) Stay, huh? DIGGER I honestly wish I could... MICHAEL I'll call George's parents. Tell them I need a best man who actually looks after me. Julianne comes over. JULIANNE (softly) They'd say that's my job. She runs her hands over his jacket, smoothing it everywhere. With tenderness that approaches transparency. Glances back at Digger... JULIANNE I'll take it home from here. Pinches Michael's ear. Looks in his eyes. DIGGER Two words. JULIANNE Major. Dish. DIGGER Manicure... She looks down. Michael's nails are unclipped, with layers of impacted dirt. She touches his fingertips, a little more softly than she may have intended. DIGGER Fly. Everyone looks down. She ZIPS Michael up. MICHAEL (to Digger) You don't miss much. DIGGER Part of being a New Yorker. INT. HAIR SALON - MORNING Cutting edge salon. Loud, PULSING MUSIC. Digger and Michael in adjacent chairs, heads back, each smoking impressive cigars as their hair is styled. Digger's stylist is a hot trashy female. Michael's is a tall, flamboyant male in a day-glo vest. Each man has one hand soaking, the other being worked on by a manicurist, so Julianne goes from one to the other, removing their cigars so they can exhale. A seraglio feel to the way she does this. Now she's arguing with Michael's stork-like stylist. We can't hear over the music, but she keeps tugging on Michael's hair, pretty passionate about her point of view. Suddenly, she GRABS the scissors to do it herself, and Michael... ... BOLTS out of the chair. WHOA! EXT. O'HARA AIRPORT - DAY Skycaps, guests of impatient travelers, a bus offloading forty Japanese tourists. A taxi cuts off a van to reach the curb. Out jumps... Michael. Opening the door for Digger and Julianne. Digger says something, Michael gives him a strong HUG. Julianne raises one finger to Michael, back in a second. Leads Digger off by the hand. CLOSE on them now. Alone in the throng. JULIANNE Bye, handsome. Digger just stares at her. Those maddening judgemental eyes. JULIANNE You're going to say it, aren't you? DIGGER Tell him you love him. With all your heart. JULIANNE I'm taking my next book to Viking. DIGGER Tell him you've loved him for nine years, but you were afraid to realize it. JULIANNE I'm moving this book to Viking. DIGGER Tell him you're afraid of love. Afraid of needing. JULIANNE Needing. DIGGER To belong to someone. He touches her hair. DIGGER We all do, beautiful. I'm sorry about that. Staring in her eyes. Even Julianne has run out of words. DIGGER Tell him you know this is the worst, dumbest, cruelest moment to do this to him. But there it is, and he has to choose. JULIANNE And what will he do? Digger isn't smiling. His voice low, beneath the crowd... DIGGER He'll choose Kim. You'll stand by her at her wedding. You'll kiss him good-bye. And you'll go home. He holds up one finger. Almost touching her nose. DIGGER This is what you've come to do. Now do it. Wow. She looks frightened and moved, all at the same time. She kisses him on the lips. And walks away. He watches her go through the crowd. Take Michael's hand. Lead him back toward the taxi. EXT. SKYLINE CRUISE BOAT - DAY The skyline of Chicago moves past us. Slowly. The NBC Tower, Cityfront Center... MICHAEL (O.S.) Big weddings are so strange. JULIANNE (O.S.) You keep saying that. Up ahead, the Wrigley Building draws closer... MICHAEL (O.S.) Kim has all this stuff to do, I hardly see her. JULIANNE (O.S.) Well, you've got the rest of your lives. REVERSE ANGLE... they lean on the rail of a cruise boat, easing down the Chicago River. Wind-blown. Close together. JULIANNE Getting your bed made. Every day. They smile at each other. Seem so comfortable together. JULIANNE You miss her, huh? MICHAEL No. I've got you. She nods. That you have. Staring in her eyes... MICHAEL Don't you throw up on boat? JULIANNE If you like. And she LURCHES over the railing, emitting a BARRAGE of incredibly disgusting sounds, her feet FLAILING in mid-air. He laughs, as he pulls her back down to the deck. Of course, it was all a joke. He brushes back her hair. Sighs. Stares. MICHAEL I've been thinking a lot the last couple days. About us, actually. JULIANNE (casual) Have you. He has. JULIANNE Well. There's a lot of memories to choose from... MICHAEL It's more than that. That tightens her throat pretty good. When she tries to speak, out comes a dry CROAK that makes him laugh again. Softer, this time. MICHAEL I mean, it's embarrassing to say it this way, but... He stops. Her eyes WIDEN in a burlesque of anticipation. So he smiles. She knows how to put him at ease. MICHAEL You've sort of been... y'know, the woman in my life. JULIANNE (straight back) You've been the man in mine. Passing under the Michigan Avenue Bridge. No one knows quite what to say. MICHAEL And I was thinking this could be our last time. Alone. Together. You know? JULIANNE Except for the hot affairs we'll have twice a year. MICHAEL Except for that. She's smiling so easily. Who would guess her stomach is double- knotted. MICHAEL I can hardly wait for your wedding. JULIANNE Me either. She watches his surprise. MICHAEL Boy, I never thought I'd hear you say that. Can I come? She holds herself together. Real soft with... JULIANNE I couldn't have it without you. He's glad to hear that. And then... MICHAEL It's normal to have... second thoughts, huh? To be scared. Is this a change of direction? Or is it the direction she's been praying for. JULIANNE I wouldn't know. I never had that many first thoughts. MICHAEL I mean, you commit to a wedding. And then it seems like... this... momentum, you know? You forget you... chose it. She nods. Understands. MICHAEL You and I. I mean, in all our relationships with other people... We didn't use the word "love" a lot, did we? We didn't. MICHAEL Kimmy says. When you love someone. You say it, you say it out loud. Right now. Or the moment... Long beat. MICHAEL ... passes you by, yeah. She's a smart girl. Off in distance, the Centennial Fountain SHOOTS an eight-foot JET of water across the river. For Michael and Julianne it goes unnoticed. MICHAEL We don't have a song. Hmm? MICHAEL Kimmy and I. We don't have a song. Is that a bad sign? All Julianne can do is shrug. Then... MICHAEL (sings, softly) Someday, when I'm awfully low... And the world is cold... She doesn't want to cry. So she puts all the strength she has into fighting it back. MICHAEL (sings) I will feel a glow just Thinking of you... And the way you look. Tonight. He stops. Smiles that sweet, boyish smile. MICHAEL Dance card filled? JULIANNE I'll check. I have it on powerbook, these days. He holds up his arms. And she moves into them. He begins to dance with her, turning so slowly. And, yes, people are watching. MICHAEL (sings in her ear) With each word, your tenderness grows, Tearing my fears apart... She holds him closer. Bites her lip. MICHAEL (sings) And that laugh That wrinkles your nose, Touches my foolish heart. He stops. He looks at her. She's still in his arms. MICHAEL Where did we first hear th... JULIANNE (straight back) The night we met. Right to his eyes... JULIANNE The night we fell in love. He doesn't know what to do with that. MICHAEL So we heard it... like, right that... that first... JULIANNE We danced to it. Just like this. Just like this. A long beat. And he has to say... MICHAEL I won't lose you, will I? Her eyes close. Then open. Utterly lost in his. JULIANNE No. Because I won't let you. INT. WALLACE ENTERPRISES - DAY Julianne in crisp chalk-stripe trousers and a buttoned-up dress shirt. Her coat slung over her shoulder, she wanders through the Saturday-deserted office space. Desks, cubicles, monitors, silent. A row of executive offices standing empty, waiting for the custodian. Turning a corner, we hear... ... life, at the end of the hallway. A grand conference room with a glass wall. Walter, in shirtsleeves, running a strategy meeting for five. DEIDRE, his personal secretary, clicking every word into her laptop at warp speed. Walter sees Julianne through the glass. A comic take of pleased surprise. He comes out to greet her... WALTER I thought Michael was picking me up. JULIANNE I told him, get the important stuff, Kim's ring. I'll collect the inconsequentials. Meaning, you. They smile at each other. Then... WALTER Kim said, when he turned down the job, there was no friction. Julianne thinks back. JULIANNE Friction. No. He smiles at her line reading. But his mind is always probing. WALTER I haven't caused... a problem, have I? JULIANNE Nobody has. So far. Her bright grin. His eyes linger on it. WALTER Well, you're a little early... JULIANNE I need to make some calls. Could I use... your office? INT. WALTER'S OFFICE - DAY Julianne enters the spacious corner office, high above the city. Closes the door, quietly, behind her. So anxious, she is practically hyperventilating. She goes, slowly to the vacant cherrywood desk. Its computer and monitor standing silent. She is stalking it, like a deadly animal. And then. She is there. Talking to herself, her own desperate support network... JULIANNE (softly) You can do this. Sacred, filled with doubt and conflict. Her hands clutch at each other. Then, one flicks out. And the computer goes ON. The screen GLOWS. Waits for her. Her mouth is sand, her stomach water. She pulls the paper from her pocket... ... looks at it. Looks to the monitor. And begins. To type... JULIANNE (mumbling to herself) E-mail address. To Ben Isaacson, Senior Editor, Sports Illustrated, from... Walter Wallace. And stops. Her heart is thumping. JULIANNE See, you can do it. It's easy. Doesn't look easy. Licks her lips. JULIANNE You do it fast, it's over. Like it never happened. She sits. And recites as she types... JULIANNE Ben. I need a favor. Here we go. This is it. Types... JULIANNE My daughter's every happiness. And my wife's. And, least of all, my own, are in your hands. Nods, okay. Breathing hard. Types... JULIANNE Knowing you value our friendship, and the... cooperative relationship between our companies... I am hopeful of your help. Touch, that. Thinks. It has to be. Types... JULIANNE I have offered Mike O'Neal, my new son-in-law, a great opportunity in my company. This would also enable my daughter to settle in Chicago, near us, and pursue her dreams and plans. Almost there. Almost. Types... JULIANNE To his own detriment, as well as ours, Michael will not accept our offer. While he works for you. She stands up. Stares at the screen. Walks away. Walks back. Still standing, types... JULIANNE My daughter joins me in this plea for your cooperation and discretion. Is there a SOUND? Outside the door. She HOVERS over the ESCAPE key. Waits. Waits. Silence. Types... JULIANNE With gratitude. For your understanding. Walter. She hits a KEY. The screen goes BLANK. The computer asks... DO YOU WISH TO SEND? She tells the computer... JULIANNE Are you crazy? Get him fired? Types NO. The computer asks HOLD FOR LATER? And she types YES. JULIANNE Just till tonight when I bring him back. To look for... She glances to her huge bag. Rummages through, pulling out a manila folder. Lays it by the blank computer. Fans out a few pages in a natural, disorderly way. Takes a step back... And stares. Struck to her gut. But when she has done. INT. CONFERENCE ROOM - DAY Walter alone with Deidre now, signing a stack of documents, as she efficiently places one after another before him. When he glances up, he sees Julianne wandering the halls. Stands, tells his secretary... WALTER (going through stack) Off to rehearsal. Send out this, and this, not this, this, and... that's it. Slips on his coat. Oh... and by the way... WALTER I'm holding four or five E-mails I wrote over lunch... On his way through the door... WALTER Send 'em out. INT. CHAPEL, UNIVERSITY OF CHICAGO - DAY Julianne and Walter enter the rear of a striking Gothic CHAPEL, pastel light slanting in through stained glass windows. We now see the full effect of her outfit, a man's-style chalk stripe SUIT, tailored to fit her body, set off by a bold silk tie. Solid dynamite. She hangs back, while Walter proceeds down the vaulted nave toward... ... Michael, Kimmy, Isabelle and Joe, who stand casually joking by the altar. Scattered around are assorted groomsmen, ushers, an obvious flowergirl. Coming toward us, up the aisle... ... the MINISTER, early 40s, lean and quite attractive. Mandy is HANGING on his arm, pressing her body against him as they walk, murmuring urgent murmurs close to his ear. He's a really good sport, and really uncomfortable. Sammy is walking backwards, right in front of them, DROPS her bag, and BENDS to retrieve it, as if oblivious to major cleavage on immediate display. Julianne is so lost in her own anxiety, she doesn't even notice, until... MANDY Reverend Dyer, this is Kimberly's somewhat butch maid of honor... SAMMY ... Mr. Julianne Potter, prominent New York drag queen. Today, the girls' voices are charmingly musically Southern, with none of the extreme accents we heard at the shower. The minister extends his hand... MINISTER Billy Dyer, Julianne. And I love the suit. She shakes his hand, smiles graciously, but her eyes flick to Michael, now approaching up the aisle. The girls lead the minister away. Michael arrives. Looks her up and down. MICHAEL (softly) Takes me back. JULIANNE Well. She smiles. One that glows a little. JULIANNE You sang the song. Least I could do was wear the outfit. He nods. MICHAEL Except now you're better- looking. Oh, yeah? Yes, ma'am. As she loses herself in his eyes... MICHAEL I got the ring. He pulls the box from his pocket. Somewhere, an ORGAN sounds. And as he is about to hand her the box... MANDY/SAMMY (sing) Swi-i-ng low-ow-ow... Wee-ee-eet Char-i-ot... Such exquisite two-part harmony, Michael stops to watch. MANDY/SAMMY (sing) Comin', to car-ryyy Me ho-o-o-me... It is amazing. Soulful vengeful sluts. He is enthralled. Julianne simply impatient. She wants his attention. JULIANNE No accents today. MICHAEL Yeah, Kim told me they were giving you their Dueling Scarlet's act. Actually, they're sophomores at Juilliard. She takes the box from his hand. Opens it, as the singing CONTINUES throughout. The ring is delicate hammered gold. One of a kind. MICHAEL Will she like it? JULIANNE (whisper) Yes. She's staring at the ring. KIMMY (O.S.) My groom-person! Your family needs you! His master's voice. He gives Julianne a smile. And goes. She's left with the box. Gazes at the ring. Lifts it out. MANDY/SAMMY (O.S., singing) Well, I look over yon-der, And what did I see-ee-ee? Slips it on her left hand. Ring finger. MANDY/SAMMY (O.S., singing) Comin too car-ryyy. Me ho-o-ome... Touches it. Turns it on her finger. So many emotions. MANDY/SAMMY (O.S., singing) It was a hand. Of a-a-angels. Coming' for me-e-ee... Tries to pull it off. MANDY/SAMMY (O.S., singing) Comin' for to carry me home. It won't come. Not even close. INT. CRAB HOUSE - NIGHT CLOSE on a bowl filled with squares of butter. HEAR the butt of conversation from a rowdy, friendly joint. Julianne's right hand REACHES to the bowl, fingers trace the rim innocently, then... ... SLIDE the bowl into Julianne's lap beneath the table. Her right hand MASSAGES all the butter into a gooey revolving mess. We can pick out familiar voices now, family in distance, the twins closer. As, hidden from view, Julianne brings... ... her left hand from her pocket. Yep. The ring is still there. The finger already red and swollen from pacicky efforts to pull it off. And as APPLAUSE surrounds us, Julianne... PLUNGES her ring finger into the morass of grease, frantically TEARING at the ring, butter SPLURGING on her pants, everywhere, as we PULL BACK to see... ... the long table covered with butcher paper, the family at the far end, the twins down here with us, a mug of beer for each place, as team of waiters with heaping platters of CRABS, which they... ... FLING across the butcher paper, as APPLAUSE continues from everyone but Julianne, who still struggles secretly. As the waiters set huge wooden MALLETS in front of each guest, Joe O'Neal rises, POUNDS the table with his mallet for attention. JOE Like to welcome ever'body to our little rehearsal supper... He COUGHS, unaccustomed to public speaking. Walter and Isabelle clap and call out support. So Joe lifts his mallet... JOE Okay, everyone stand up! And everyone does. With one exception. Trapped. She JAMS her left hand in her coat pocket, SMEARS her right palm sort of clean on the underside of the table, GRABS her mallet and JUMPS UP. JOE To the bride, uh, goes the honor... of cracking the first crab! Everyone applauses by banging their mallets. Joe RAISES his high. Everybody imitates. KIMMY But first, a toast! And everybody SNATCHES up their beers with their left hands, as Julianne DROPS her mallet with a HORRIFIC CRASH, grabbing her beer, looking up to... JULIANNE (on the spot) I'm right-handed. A hugely embarrassing half-second. Bailed out by... KIMMY To our host, my cuddly Papa Joe. All turns. KIMMY Who taught me to play "Blue Hawaii." On my nose. With a look at Julianne, Kim sets down her mallet gently, and performs a nasal HUM of the tropical standard, strikingly her nostril repeatedly for vibrato. It is charming, and everybody watches. INT. HOTEL BALLROOM - LATER CLOSE on an actual, living, if geriatric, LION. He blinks from his cage, bored as hell. HEAR the surrounding noise, chatter, LOUD Sinatra music, of a very large party. PULL BACK to see... ... and overdecorated BALLROOM, in dim and dramatic lighting, dripping with the trappings of ANCIENT ROME. The mingling guests are the neatly one hundred females of the wedding party, most of them older women. They are served by wandering well-built ATHLETES in Roman togas or gladiator costumes. PAN TO... ... Julianne, still in her suit, hiding by a table piled with a carload of grapes. Her left hand still buried in her pocket. The eyes of a hunted animal. From nowhere... MANDY/SAMMY (O.S.) Boo!!! She JUMPS a foot, both hands FLYING UP, left one awkwardly slamming back into its pocket. The girls have snuck up behind her. They have changed into hot gowns that are really only wide ribbons wrapped around their bodies. MANDY I know why you're scared of our party. It's too hip. Sinatra singing "Stranger In The Night." Hugely-muscled, half-naked black and white studs, serving enchanted blue-haired ladies. SAMMY Kimberly wanted to tickle the grandmas, so we figured, give 'em a cheap thrill. Walter supplied the decorative touches... SAMMY (points out the jokes) Nose tackle from the Bears... power forward from the Bulls... defenseman from the Black Hawks... my personal favorite, the designated hitter... MANDY ... I'm partial to the tight end. SAMMY This is USDA Prime, largely available, beef. With no notice- able competition, present company excepted... Now they stare at her. With identical, really odd, smiles. SAMMY And yet here you are. All celibate and reclusive. MANDY With those big, dark, haunted eyes. As if you were harborin' some... unspeakably... guilty... secret. Oh. JULIANNE Well, I'm worried about something. Something. Their expressions are deliciously, identically expectant. JULIANNE Oh. I left this really important file in Walter's office. I have to send my editor some... Some... JULIANNE ... figures. On territorial sales. To close my book deal. Uh-huh... JULIANNE So Kim gave me the key. And Michael's on his way, to drive me down to Wal... SAMMY Oh. We thought it was the ring. Julianne blinks. Ring...? MANDY The one you better get the fuck off your third finger left hand. Ah. That ring. JULIANNE Well. See. That was a... reflex to see if it would... MANDY (helpful) ... look good on Kimberly. JULIANNE Right. And then it didn't want to come off. Exactly. SAMMY Maybe it's happy there. MANDY Oh the way out of the crab house? We asked Michael if we could see the ring? SAMMY He said you told him. It'd be safer with you. MANDY An so it is. Julianne for once is speechless. To our amazement, the girls wear identical smiles of kindness and support. MANDY Shut up, sugar, he's on his way. Let's get to work. INT. HOTEL KITCHEN - NIGHT Huge gleaming chaotic kitchen. Cooks, waiters, working at top speed. The three women RACE in, look around frantically, half the guys stop to ogle the twins. CUT TO... ANGLES... and industrial-sized jar of peanut butter. Julianne's hand PLUNGES in, halfway to the rolled-up sleeve at her elbow. SMOOCHES it around, real good. PULL BACK to reveal... ... she is surrounded by the twins and six guys, all SHOUTING conflicting instructions. Julianne FLINGS off the excess SLOP. Tugs for all she's worth... EIGHT PEOPLE TWIST IT! TWIST IT! Nada. It won't budge. A sous chef WIPES her hand with a towel, a janitor CRASHES a tool kit onto the counter. THROWS it open, pulls out... ... a spray can of WD-40. Instantly, her hand is BLACK. The guy TUGS. No movement. He can't believe it. JANITOR It's mental, lady, you ain't trying! Sammy is rummaging through her handbag, pulling out... SAMMY There is nothing so tight, this can't help it... ... a tube of jelly. The letter K-Y. Julianne just gives her a look. Mandy pushes through with a butcher's CLEAVER... MANDY I saw this on Hard Copy. People cut off body parts and the hospital sew 'em back o... The look has turned toward her. JULIANNE (cold) I saw the show. MANDY ... well, maybe it works on fingers, too. FLOWER GIRL (O.S.) Aunt Mandy...? Everybody turns. The little girl in the doorway. Southern accent... FLOWER GIRL Mr. Michael's here. Everything gets real quiet. Mandy takes charge. She rolls down Julianne's left sleeve, RIPS the hem out of the cuff, so that it flaps down over her hand, covering the ring. Sammy wipes the black stuff from Julianne's fingers. MANDY Don't worry, baby. You could pick your nose with that finger and Michael would never notice. He's a man. The twins lead her off. We're on their backs for... MANDY (O.S.) Personally, I think Mr. Michael's marrying the wrong girl. SAMMY (O.S.) You're much more his type. EXT. DOWNTOWN STREET - NIGHT VIEW through a heavy glass door of the empty, dimly-lit lobby. PULL BACK to see Julianne, just as she... ... KICKS the shit out of the glass! Almost breaks her foot. JULIANNE I can't believe this! PULL BACK farther to see Michael still trying keys from a large key ring in the heavy lock. Sign over the door says WALLACE ENTERPRISES. Traffic hustles by, oblivious to her suffering. MICHAEL It's no big deal, she just gave you the wrong keys that's s... JULIANNE ISN'T THERE A GUARD? A JANITOR? A FUCKING CLEANING WOMAN? I'LL TAKE A BURGLAR! SOMEBODY'S GOTTA BE IN TH... And she SLAMS her whole BODY against the glass, making it rattle ominously. JULIANNE WHERE'S A BRICK? FIND ME A GODDAMN BRICK!! She looks around wildly, hysterical. MICHAEL What is the big deal about getting this file tonight? A good question. She needs a good answer. JULIANNE I promised Digger I'd E-mail him those figures. From his face, that wasn't it. JULIANNE They are very important figures. Apparently. He's just staring at her. JULIANNE I'm up against a deadline. MICHAEL Me, too. I'm getting married tomorrow. JULIANNE That's my point!! Now. He really doesn't get it. JULIANNE I mean, tomorrow... we'll all be busy with more important things. So... So? JULIANNE ... tonight's my last chance. He sighs. MICHAEL I forgot how cute you look. When you get impossible. JULIANNE It's just... up there... right in front of Walter's... y'know, computer. If memory serves. Helpless. JULIANNE We could use... his computer, to... just E-mail those suckers right ou... MICHAEL Tomorrow is Sunday. Nobody's doing business. Crack of dawn, Monday, Walter'll take you up there... Her eyes fill with tears. He is mystified. Smiles tenderly. MICHAEL (softly) Give it up, kid. Touches her hair. MICHAEL You can't win 'em all. And slowly, he takes her hand. Leads her way. She takes one backward glance at the locked door. Her last dream dies. INT. LOBBY, RITZ CARLTON - NIGHT Michael and a disconsolate Julianne board the elevator. He presses 15, she pushes 11. Michael carries a handful of messages slips and an envelope. As the car starts up, she folds her arms across her chest, at the edge of tears. He doesn't know what to do. MICHAEL (gently) Listen up, huh? Even if you blow this deal, how big could it be? JULIANNE (voice nearly cracking) You're right. Easy come, easy go. He's really concerned, can't bear to see her so upset. MICHAEL (softly) Jules? She won't look at him. She wants to die. The bell RINGS, the doors open to her floor. She just walks out. And he follows. They stand now, she with her arms crossed, lip trembling. She can't believe how close she is to losing it. MICHAEL This thing means that much to y... JULIANNE It means a lot. He nods. Okay. MICHAEL I'll call the house, Walter's probably not even asleep... Her mouth drops. She can't believe this. MICHAEL I'll drive you out there, we'll get the key, we'll go back to the office... She THROWS her arms around his, HUGGING him so hard, so close. He laughs, she is so weird. She pulls back, beaming, glowing. MICHAEL Come on, we'll call from your room. She claps his hand. As they head down the hall... MICHAEL If I fall asleep on the altar tomorrow... He's trying to flip through the message slips in his free hand... MICHAEL ... you better be there to... funny, these are all from Ben. She's at her door, turning the key. He looks at the envelope. MICHAEL The fax is from Ben, too. Man, it's my wedding, and my boss can't leave me alone... JULIANNE (entering her room) ... maybe it's congratulations. He follows her in, opening the envelope. Stops. Reads. And his face suddenly... freezes. To stone. JULIANNE (turning to him) Michael? What ha... MICHAEL (reading) Mike. I can't believe I'm doing this to you on the night before your wedding. But I think you need and deserve to know... And he looks up to her. MICHAEL ... what you're marrying into. He hands it toward her. She takes it, hesitantly, and he walks past. Toward the phone. JULIANNE (reading) I received the following E-mail this afternoon... "Ben, I need a favor. My daughter's every happiness... " Her eyes BUG OUT of her head. Holy shit! We can hear him DIALING the phone. She keeps reading, it's all there. How did this happen? MICHAEL (O.S.) Isabelle? I need to talk to Kim... JULIANNE (reading) "Mike, the funny thing is, he's offering you a gig you'd be stupid to turn down..." MICHAEL (O.S.) I'm just tired. Please put her on? Thanks. JULIANNE (reading) "Maybe you should take the job. And dump the girl." And when she turns... MICHAEL Jules. Could you give me a minute? He looks more sick than angry. As if the heart has just been cut out of him. She doesn't know what to say or do, so she just stands, staring dumbly. MICHAEL Please? She nods, stumbles out of her room, closing the door behind her. Now she's in the empty corridor, clutching her big jumbled bag, sinking down to sit on the carpet, her back against the door. She doesn't look elated. She seems frightened, distraught, and most of all, confused. Because she can't understand why. She digs absently through her bag. Cigarettes. Box of matches. She lights up. Draws deeply. Somehow, she seems near tears, and laughs bitterly at that. Shakes her head at how fucked-up she finds herself. Squeaking wheels approach, but she is too lost to hear them. BELLMAN Miss, are you locked out, or something? She looks up. A small, wiry man of nearly 60, in a slightly faded but neatly-kept uniform. On his cart, a ton of bags. JULIANNE No, I just stepped out, because... it's a non-smoking room. And inhales deeply. Leans back against the door, to look up at him more comfortably. BELLMAN (politely) Well, it's non-smoking floor, too. Maybe you could go to the... JULIANNE (seriously) Why don't you have me arrested? That wasn't sarcastic. He doesn't know what to say. JULIANNE I mean that. Arrested, convicted, put in solitary. Another puff. JULIANNE See, I'm a dangerous, criminal person. I do bad things to honest people. This, see, this smoking? Tip of the iceberg. Waves her hand. JULIANNE Make a citizen's arrest, I won't struggle. It'll be like getting Al Capone on tax evasion. Now she seems angry. But not at him. Her eyes fill with tears. BELLMAN Can I... Can I help you, miss? She squints at his nameplate. JULIANNE Do you smoke, Richard? BELLMAN Yes, ma'am, I do, but it's... JULIANNE ... a non-smoking floor, yeah. Well, you know what? And she takes the cigarette from her lips. Turns it around, holds it out to him. Go ahead. He doesn't move. Please! And so... ... he reaches down, takes the cigarette from her hand. Staring in her eyes, he takes a deep drag. Savors an expert nostril-inhale of his exhaled smoke. Hands the cigarette back to her... BELLMAN My grandmother always said, "This, too, shall pass." She swallows. Wipes at her eyes. Finds a smile. JULIANNE Thanks, Richard. If you weren't on duty, I'd buy you a drink. He just nods. She waves. He waves back, pushes his cart down the hall. As she watches him go, the door behind her suddenly OPENS, and she... ... FALLS through it, flat on her back at Michael's feet. Staring up at him, seeing that he looks as bad as she feels, she takes raw, deep drag. JULIANNE What happened? MICHAEL (softly) It's over. And crouches down. Close beside her. The cigarette drops from her hand, unnoticed on the carpet. So he lifts it, crushes it on the heel of his shoe. MICHAEL I want you to quit this shit, it'll kill you. She just nods, obediently. Okay, I will. MICHAEL She denied it. Said I was crazy and paranoid. JULIANNE A bad combination. He tries to smile. It's really hard. MICHAEL There's this big brunch tomorrow morning? At her place. He lets the air out. Slow. So he won't cry. MICHAEL She said "How can I call everything off, what do I tell everybody?" Shakes his head. Can you imagine that? JULIANNE Michael... MICHAEL No, it's for the best, it really is. We were so wrong for each other. JULIANNE Maybe tomorrow, you'll feel dif... MICHAEL The job thing would have broken us up, eventually, anyway. She couldn't have lived with it. I know that now. Julianne nods. Maybe that part is right. Maybe it would have ended anyway. Maybe she can pretend she's not a monster. MICHAEL And she's right, I'm crazy to fall for someone. I hardly knew. Looks deep in her eyes. He's so glad she's there. MICHAEL Hey. You still got that ring? She holds up her left hand, the flapping sleeve falls away. The ring is on a finger that is swollen and raw. JULIANNE I tried it on. But it won't come off. He smiles at that. A sad smile of friendship. Then takes her finger gently... ... into his mouth. It is something like a kiss. And when he removes her moistened finger... ... he pulls the ring OFF. Nothing to it. She blinks. JULIANNE It's mental, you know. He doesn't understand that. JULIANNE Should we take a walk? Or maybe some food sent up, or something... MICHAEL I just want to be alone. Is that okay? She nods, sure. He kisses her cheek. Stands up. MICHAEL Maybe I'll go back to New York. Hang with you for awhile, huh? Ben'll understand. She nods again. Whatever you say. He steps into the open doorway... MICHAEL Or we'll go somewhere. If you have the time. JULIANNE If San Antonio sweeps Sacramento... They smiles at each other. For real. JULIANNE I've never been to Texas. Imagine that. The look holds. Just above a whisper... MICHAEL Thanks for coming to my wedding. And then he's gone. IN.JULIANNE'S BATHROOM - LATE NIGHT Julianne brushing out her hair in the bathroom mirror, eyeing her image with evident dissatisfaction, as she listens to the receiver RINGING. DIGGER (V.O. MACHINE) Digger and George are with family in the Hamptons until Monday morning. Brevity is even more in order than usual. BEEP. JULIANNE Hey, handsome. Brevity this... Her eyes find the pack of cigarettes. Next to her toiletries kit. JULIANNE (softly) I won. Her fingers touch the pack. As if an object of significance. Takes it up. JULIANNE Amazing, huh? I didn't do things quite your way. But... I got it down. Cradling the phone against her shoulder, she carefully tears the top of the pack completely open. JULIANNE And forty years and nine grand- children later, when I sit with Michael on some rustic porch, slogging through our sweet swamp of nostalgic memories... Reaches the pack toward the toilet. JULIANNE No one is going to sweet the details... Turns it upside down, emptying a dozen cigarettes into the john. JULIANNE Of one weekend in Chicago. Drops the lid with a CLATTER. Hits the FLUSH. JULIANNE Talk about celebration... She lifts a tube from her toiletries kit. Stares at it, real close. JULIANNE I'm gonna brush my teeth with actual toothpaste. Turns it over, reads all the writing. Yep. JULIANNE I guess I'm too exhausted to feel the elation I so richly undeserve... Squeezes some paste onto her brush. Carefully. JULIANNE So I'm gonna hold calls at the desk... while I get my... Start brushing. JULIANNE (around, her mouthful) God, it is toothpaste, they should sell this stuff commercially! Anyway, a girl does need her... Squints at her image. Laughs, spewing a little foam. JULIANNE ... well, we're a bit past worrying about beauty sleep. Let's just settle for not frightening small animals. She SPITS. Tells Digger's machine... JULIANNE Anyway, I couldn't have done it without you. Even though I did, if you follow that. Wipes her mouth. Stares off. The eyes a little dreamy. JULIANNE Three words: Happily. Ever. Well, you know. SMASH CUT TO: INT. BEDROOM - MORNING Julianne sprawled all over the bed, mouth open like a carp, sleeping mask against the daylight. A sudden RAPPING at the door, and she... ... sits BOLT UPRIGHT. Utterly disoriented, until she pulls off the mask. Stumbles out of bed, walking toward the firm KNOCKING, when... ... it stops. A message slip SLIDES beneath her door. She lifts it, barely conscious. This wakes her up. In one. JULIANNE (to the slip) You're going where? EXT. WALLACE ESTATE - DAY Julianne climbs from her taxi. Only slightly in awe, she sets off past the reflecting pool, which fronts a mansion of graceful stone and timber. It's a hike today, because the circular drives is clogged deep with Bentleys, Mercedes, and waiting limos, vying for space with a score of delivery vehicles of all kinds, maintenance trucks, catering and florist and food vans. INT. GREAT ROOM - DAY Julianne escorted into an enormous room, where brunch is in progress for more than a hundred. She looks from the vaulted ceilings, to the frescoed walls, the inlaid floors, the massive pipe organ above the stone staircase, the oil portraits of Scottish ancestors and their favorite dogs. Isabelle has risen from the main table, and comes to her. All smiles. Julianne is in the Twilight Zone. What are these people laughing about? Do they still think there's a wedding? ISABELLE Jules. We're so glad you slept in. Takes her arm graciously. This woman would make Anne Bancroft look coarse. As they walk... ISABELLE Now, you have a choice. The idea is bride and groom shouldn't see each other on the magic day... Julianne looking all around. Magic day it seems to be. Where the bell is a bride or a groom? ISABELLE So Michael stays put in the garden. Kimmy stays in here... Pointing. THERE she is, obscured by a cluster of the appropriately fawning. She has the same hunted eyes and false, slightly manic smile Julianne wore yesterday. This, at least, makes sense. ISABELLE (O.S.) ... and the guests go back and forth. Where will you start? CLOSE on Julianne. Watching the brave, frightened bride. JULIANNE She looks tense. ISABELLE (O.S., calmly) Nerves. I would never have guessed. EXT. ROSE GARDEN - DAAY A steward leads Julianne to the edge of an expansive rose garden, altogether elegant and comfortable with its long white picnic tables, where nearly a hundred guests casually dine, served by rolling carts. There, at the head table, Michael staring at us. He looks like a poor attempt to cover a hard night. She locks onto his eyes. What the hell is going on? He looks helpless, miserable. She gestures with her head, follow me. Stalks off. EXT. SCULPTURE GARDEN - DAY Bronze abstract pieces, some quite large, face a huge set of children's swings, regulation playground size. Julianne sits in one, moving slightly back and forth. Trying to hold on to her temper and her sanity. In the distance, trucks are winding their way to and from the pond, where crews are setting up tents, lights, heaters for tonight. The circus has come to town. When she looks back... Michael approaches. Before he can draw a breath... JULIANNE I had the craziest dream last night? Walter and Kimmy had asked your boss to... MICHAEL Look, I came down here to face everybody. I didn't want to slink away like some coward... JULIANNE But the Scotch salmon was so fucking good, you decided to stay for brunch! MICHAEL She hasn't told anybody, what am I supposed to do? JULIANNE Get married, apparently. She comes OFF the swing, PUSHES him back two feet. JULIANNE What the hell are you thinking of, the goddamn wedding is SIX O'CLOCK!! He swallows hard. Trapped. MICHAEL This is her family and her fault. JULIANNE And your point? MICHAEL (ten years old) Well. How come she didn't... JULIANNE BECAUSE SHE'S AS CHICKENSHIT AS YOU ARE, YOU MORONS ARE MADE FOR EACH OTHER. He just blinks. MICHAEL Hey. This is a serious matter. Thank you. She POKES his chest, punctuating... JULIANNE I'll be right back. INT. KITCHEN - DAY A modern take on the Medieval castle kitchen, towering ceilings, dark wood, copper pots hanging, a series of walk-in coolers and freezers. The place is a madhouse of activity, as prep cooks slice, chop, sort, every kind of food imaginable, and delivery teams bring more. The girls walk through. Alone together in the eye of the hurricane. Kim choked with excess sentiment... KIMMY Look at all this beautiful food, so lovingly prepared... JULIANNE They'll eat it anyway, you ever been to a walk? Kimmy's lip trembles. This is not how she thought of her wedding. The din is so horrific, Kimmy leads them into a walk-in meat locker. Even here, two BUTCHERS are dressing Eastern-fresh corn- fed carcasses. JULIANNE You guys want to give us a minute? The men blink at each other. JULIANNE We'd like to be alone with our pork. On that basis. They leave. Kimmy sits on a stack of packaged frozen fowl parts. Stares up with big, sweet, wet eyes. KIMMY How's he doing? Julianne cannot believe this. JULIANNE Who? The jerk who's running your life? KIMMY This must be... very, very, hard on him. JULIANNE What with the psychosis and all, yeah. Leans in. Listen... JULIANNE When are you gonna come clean with your folks? KIMMY Don't you see... JULIANNE If you're waiting for "Do you take this man?", that's considered poor form. KIMMY ... that this is all my fault? Stops Julianne cold. Your fault. KIMMY Whatever delusions I drove him to, there is truth at the heart of it. I want him to work for my father. I want to stay in school. I want a life of my own! Harder and harder for Julianne to push. Her mouth is dry. JULIANNE Yeah, well, lots of couples are imcompat... KIMMY I love him. Fragile and strong at once. A plea. KIMMY Tell him it's my fault and that I love him. A long beat. JULIANNE I'll be right back. EXT. TENNIS COURT - DAY The court has become a giant holding pen for tonight's BALLOONS. There are maybe a billion in assorted colors already blowing in all directions, under clear plastic sheeting which has ben spread across the top of the court's chain-link fence. Michael stands outside the court, clutching the chain link like a prisoner, as Julianne comes through the gate. From somewhere, we hear high, squeaky, alien voice-like SOUNDS. Incongruous against... MICHAEL How is she? Julianne absorbs this. As the bizarre SOUNDS continue, she WHIRLS around... JULIANNE KNOCK IT OFF!!! We now see three STONER COLLEGE GUYS, who have been filling the endless array of balloons from helium tanks at center court. Clearly, they've been inhaling their working materials. STONER KID (Minnie Mouse) YES, SIR! A Nazi salute. When she turns back... MICHAEL I asked you... JULIANNE She admits it's her fault. He absorbs that. And then... MICHAEL Do you think she still loves me? We watch the struggle inside her. Her voice drops... JULIANNE Sure, she does. She's crazy about you. Now tears stand in both their eyes. The stoners are doing their Alvin and the Chipmuks impersonation festival in the B.G., singing in castrato harmony. But our two don't notice. MICHAEL I keep asking, how can I explain what happened? And I keep getting that same answer all night long. Which is... MICHAEL I can't. And it doesn't matter. I drove her to it, because I want things my way. And even if she did something tricky and unfair... she was blinded by love, okay? Julianne swallows. For obvious reasons. JULIANNE Does that make it right... MICHAEL Love doesn't have to be right. It just has to be love. The stoner are now helium-crooning "Bridge Over Troubled Waters." Actually, they're getting better. MICHAEL She's giving up half her life for me, and I'm bitching because it hurts her. STONERS (singing) Sail on silver girl Sail on by... MICHAEL She's a saint! And I'm a worthless ingrate! STONERS (singing) Your time has come to shine, All your dreams are on their way... MICHAEL Tell her. I'll marry her at six o'clock, if she'll still have me. The stoners blend on the high note. It's pretty moving. JULIANNE I'll be right back. INT. ORGAN LOFT - DAY PAN along a gigantic serpentine stack of wedding presents. Nearly twelve feet high, the pile curves along the balcony, high above the diners in the Great Room, extending al the way to... ... an organ loft. Alone, above the noise of the party, Julianne and Kimmy have just reached the top of the staircase. Trapped between ten tons of lavish gifts and the keyboard of the mammoth organ. Dwarfed by their surroundings, Kimmy draws the hardest breath of her life... KIMMY (whispers) So. What did he say? Julianne's eyes move over the young girl's face. JULIANNE He said. Marry me. Kimmy YELPS in her ecstasy, FLINGING herself against Julianne, and they go DOWN full length across the organ's pedals, BLASTING the room with a MONSTER CHORD of china-rattling volume and horrifying disharmony. As grown men and women SCREAM in spontaneous terror below, Kimmy begins to... ... LAUGH. And KISS and hug her new sister. And holds her tight. EXT. WILLOW POND - DAY Julianne and Michael walk the gravel path beside a breathtaking POND, ringed with WILLOWS that dig heavy branches to the water's surface. He is relieved, reflective. Head down, he never notices that she is... ... dangerously freaked. Too petrified even to hyperventilate, we're lucky she's breathing at all. We watch her life unraveling before her glassy eyes. MICHAEL (never looks up) Thank God you were here. JULIANNE (mumbles to herself) Oh, yeah. MICHAEL I was so confused, so conflicted, so... unstable. JULIANNE Well, it happens. They pass an expanse of lawn which has become the event parking area. Family vehicles, delivery trucks, service vans. Everything that couldn't fit on the circular front driveway. MICHAEL I might have thrown away... Searching for the right words. JULIANNE ... your one chance for true happiness? MICHAEL ... yeah, that. JULIANNE You never want to do that, see, that's always a... costly turnover. As they say in the sport biz. There's a vague Stepford Wife quality to her voice. He hears that now, and looks at her. Maybe he can't tell she's frightened. But he can tell she's something. MICHAEL (softly) Are you okay? She stops walking. She can't look at him, so she looks around. Across the lawn crews are moving equipment into the brightly- colored tents, unfolding and setting up stacks of tables and chairs, raising the poles between which all those balloons will be strung. At the center of it all... .... a huge topiary White Sox batter, just completing a murderous swing. He's maybe fifteen feet tall. She points to it... JULIANNE The Big Hurt, huh? MICHAEL Nellie Fox. Walter likes the past. And he likes the little guys. So Julianne nods. Because she does too. Squints up at Michael. JULIANNE Got a minute? He nods, you bet. Worried for her. What is this? She looks in another direction, and we now see that we have nearly reached... ... a stage that's been set up for the band. Chairs, music stands, sound equipment. A gleaming dance floor, already in place over the lawn. Next to it, a shimmering white GAZEBO. Like the centerpiece of a wedding cake. JULIANNE Why is the dance floor by the gazebo? She takes his hand. They walk toward it. MICHAEL Kimmy's idea. She thought it would be such a romantic place. For our wedding dance. Looking down at her. MICHAEL What's up? JULIANNE Shhh. Up the white steps now. Together. The gazebo floor has been covered with hardwood. The perfect place. For a wedding dance. And Julianne... ... turns, suddenly. He almost runs into her. She is staring up at him, so strangely, their bodies only inches apart. He is caught, transfixed by the intensity in her eyes. JULIANNE I have to say this quick, okay, or I'll have this massive coronary and you'll never have to hear it. Which you need to. Does that make any sense at all? The coronary part does. We can feel her heart beating from here. MICHAEL Jules, what's wrong... JULIANNE This is the dumbest thing I will ever do. So dumb, in fact, that I can't. I don't think. And then, she does. She puts her hands flat on his chest. Looks in his eyes. JULIANNE Michael, I love you. A heartbeat passes. JULIANNE I've loved you for nine years, but I was too arrogant and scared to realize it. Now I'm just scared. He stares at her, dumbstruck. She moves even closer. JULIANNE I know this comes at an inopportune time, but I have to ask this one really gigantic favor, okay? Holds her breath. And... JULIANNE Choose me. Marry me. Let me make you happy. And in a half beat of excruciating silence... JULIANNE I know. It sounds like three favors. His eyes are loving. They care for her. She swallows, lost in them. JULIANNE But when you think about it... Slides her arms around his neck, and raises her mouth... ... to his. The most beautiful kiss she will ever offer. All of her heart is in this, and as his hands touch her body... ... a SCREAM rips the world to pieces. They whirl to see... ... KIMMY, halfway up the path. Her hands across her mouth, as if to stem the horror that pours forth as she SHRIEKS from her soul, and... ... runs. Back Down the path. Michael BOLTING after her, SHOUTING her name. A frozen moment, and... ... Julianne TAKES OFF after him. All three running, SCREAMING their various emotions at the top of their lungs, as workmen stop to watch from neighboring countries. Kimmy, staring from halfway there, has an insurmountable lead. LEAPS into her convertible and PEELS OUT, just TEARING up the gravel as she ROCKETS out of sight. No way to catch her. Still... ... Michael is racing for the cars. Julianne, sprinting her guts out, losing ground with every stride. Michael JUMPS into a Cherokee... JULIANNE MICHAEL, DON'T, YOU'LL NEVER CATCH HER!! He GRINDS the gears. She keeps RUNNING. His engine FIRES. JULIANNE SHE HAS TOO BIG A LEAD AND SHE DRIVES LIKE A RABID ANIMAL!!! He BLASTS OFF. She keeps going. Gasping for air, clutching her side, she's dying here. Slams into a florist's truck, looks inside, shit! Next, a butcher's van, looks inside, Jesus! JULIANNE (to the world at large) DOESN'T ANYBODY LEAVE KEYS ANYMORE? WHATEVER HAPPENED TO TRUST?? Up ahead, Michael has STALLED the Cherokee. She still has a chance, DASHES to the next van. BORNSTEIN EXTERMINATION, a handsome rendering of a rat above the TOXIC MATERIALS warning FLINGS the door open. Stumbles in. Keys! JULIANNE (O.S.) THANK GOD, A SAMARITAN!! Michael SPEEDS away. She KICKS the ratmobile in gear. LURCHES off. INT. RATMOBILE, DOWNTOWN CHICAGO - DAY Julianne tearing through traffic, desperately struggling to keep Michael's Cherokee in view, while she shrieks into her cellular... JULIANNE IT IS NOT GOING WELL! Down the block, Michael WHIPS around a corner. We follow suit to see his destination dead ahead. Union Station. The DISPATCHER RADIO intrudes... DISPATCHER (O.S.) Uh, Unit Four Baker Charlie, how we cookin' on that Skokiie infestation? Now she's steering the car, tearing at the radio controls, and screaming into the phone cradled on her shoulder... JULIANNE THIS IS WHAT COMES OF TELLING THE TRUTH! FIELD MAN (O.S.) Copy, dispatcher... JULIANNE OR EVEN PART OF IT! FIELD MAN (O.S.) Uh, what happens if you got that methyl-ethyl shit on your hands? Michael RIPS into the train station's parking lot. We SWERVE around a taxi, CUT OFF Harley, CAREEN into the lot... JULIANNE GETTING WHAT YOU DESERVE IS NOT FAIR! DISPATCHER (O.S.) Uh, you got maybe thirty seconds before you're sterile. For God's sake don't touch yourself, or anything. Up ahead, Michael is OUT of his jeep and running. JULIANNE AND I HATE TALKING TO YOUR MACHINE! She SLAMS on the brakes, THROWING herself against the wheel. YOUNGER FIELD MAN (O.S.) Uh, this is One Monkey Zebra. It wasn't bees in the gal's wall, it was cats! She TEARS the door open. SCRAMBLE OUT... YOUNGER FIELD MAN (O.S.) She says gas 'em, anyway, she'll pay cash. Uh... how do I pay this? WITH Julianne now, RACING through the lot, Michael vanishes INTO the Station, she PLUNGES in after him, BOUNCING off bystanders, apologizing, lunging on, gasping for breath, past exhaustion, threatening clumsily through the crowd like a staggering drunk, catching a lucky glimpse as he heads... ... DOWN a staircase to the TRACKS. My God, what's he doing? A second wind, fueled by panic, and she BOLTS after him, DANCING down the steep staircase somehow without killing herself, reaching the concourse to see him, running for... ... Track 29, a train already RUMBLING, ready to pull out, she SPRINTS after him. JULIANNE MICHAEL!! He DISAPPEARS behind the train, she FALLS, skids, springs up, pushes through gaping onlookers, almost there, the train PULLS AWAY... JULIANNE NNNOOOO!!! But he's just standing there. His back to us. Watching it go. Her body nearly collapses with relief. She pushes herself on, but her legs aren't working right in their maxed-out fatigue, and she lopes and staggers until she comes up behind him. He's still lost in thought, staring after the train. She tries to speak, but there's no breath. So she puts her hands on her knees and just GASPS for air like a dog. Wheezing, panting, trying once more to speak, but she can't yet, and then he casually turns and... ... JUMPS out of his skin! A heart attack seeing her. JULIANNE (croaks) Don't speak! He just blinks at this sweaty, ripped-up, maniacal figure. MICHAEL Uh. I saw that moving... JULIANNE DON'T SPEAK! FLINGING both her hands across his mouth. A frozen beat. He nods, okay. Cautiously, she takes her hands away. At least she has made him smile, in spite of everything. At least she's done that. JULIANNE I have to make a confession. Another confession. Besides that I love you. This is even worse. This. He's waiting to hear. JULIANNE The E-mail? You thought Walter sent your boss? I wrote that. You. WHAT?! Synapse overload. MICHAEL You're not saying you actually... you're saying that y... JULIANNE (stricken with remorse) ... wrote it, yeah. I'm the bad guy. MICHAEL ARE YOU CRAZY? She nods her head wildly, hair flopping. MICHAEL ARE YOU ABSOLUTELY INSANE?? Bigger nodding. MICHAEL ARE YOU ON DRUGS??? Shakes her head, like a two-year-old. MICHAEL (pacing in circles) I mean, do you realize what you've... well, of course you realize, that's why you're confessing, I mean... I mean... how could you do that? JULIANNE I didn't know it would get sent. I just wanted you to... get mad at Kimmy... and... And watching. As this begins to sink in. JULIANNE I've done nothing but slimy, underhanded, despicable, not even terribly imaginative, things. Ever since I got here. Trying to... Staring in his eyes. Eyes she can't read at this point. JULIANNE ... to win you. To win you back. Tears in her own eyes now. Big ones. JULIANNE And I was blinded by love. Like you said. Shaking her head... JULIANNE But that doesn't excuse any part of it. I am pond scum. No... JULIANNE Actually. Lower. I am the fungus that feeds on pond scum. Lower. The layer of mucous that cruds up the fung... MICHAEL Lower. JULIANNE (agreeing) Lower. MICHAEL The pus that infects the mucous that cruds up the fungus. And to her amazement. The trace of a smile... MICHAEL (softly) On the other hand, thank you. She blinks at that. Which squeezes out a tear. MICHAEL For loving me that much, that way. He shrugs. Just above a whisper... MICHEL It's pretty flattering. JULIANNE Except it makes me fungus. MICHAEL Well, that part I knew. She's never loved him more. JULIANNE So you have to marry Kim. Because she will actually make you happy. I, in contrast, am a shallow, neurotic psychopath, with relatively little to offer. Okay? JULIANNE Kim. Nod your head. Do as you're told. He nods his head, still smiling. Her tears are running now. Maybe she doesn't notice. JULIANNE Just promise you'll never tell me who you would have chosen. If I hadn't confessed. She chokes back a sob. JULIANNE Cos if you would have chosen me. Then I threw away a perfectly good life. Just to be a decent person. Which is a questionable trade-off. Right? He nods, slowly. Because he's supposed to. JULIANNE And if you would have chosen some 20-year-old punk over me. I'd have to kill myself. Ah. His smile keeps getting smaller. More loving. More wonderful. MICHAEL (whispers) I'll take it to my grave. Good. She looks around. JULIANNE I'm so glad you didn't jump on that train, before... MICHAEL I came here, looking for her. For her. The words leave a silence. JULIANNE Why would she come here... MICHAEL This is where I proposed. Stares deep in her eyes. She needs to hear this. MICHAEL I had to cover a game in Milwaukee. She saw me off. And when the train started to leave... I jumped up on the step, I help the handle, and without... He grins. Has to admit... MICHAEL ... without a thought in my head. I shouted, "Marry me." I did. Now her eyes tear up again. And she doesn't know why. MICHAEL And she gasped, and covered her mouth, and the train was pulling out, and suddenly she screamed YES! Just once. And blew me a kiss. What a girl. MICHAEL I never forgot that. JULIANNE It's two weeks. MICHAEL Almost three. JULIANNE That is so romantic. Which makes him reach and touch her hair. MICHAEL I just wonder if you know why. Do you? MICHAEL It's because romance isn't mystery, and tricks, and doubts, and halting, unspoken longings. That's not the real romance. Tears in his eyes now. First time. MICHAEL The real romance is saying yes. Does she know that now? He looks at his watch. MICHAEL (sighs) Woulda been a nice wedding. Oh. That. JULIANNE (urgently) You can't believe you've lost her! Sooner or later, you'll find her, and you'll look in each other's eyes, and you'll see all that love... JULIANNE Course, if it's later rather than sooner, I'd hate to be you at six o'clock. (beat) You've got a lot of explaining to... MICHAEL I'm just thinking of how she's hurting. Lost. Alone. Like her life is over. JULIANNE That's little egotistical. He glares at her. JULIANNE But, undoubtedly accurate. She claps her hands, galvanized by the emergency. JULIANNE Okay, we'll split up. You go to every romantic place you guys have, I'll go... someplace brilliant, and the first one who... MICHAEL If you find her... Strange tone. A gentle warning. MICHAEL The kiss. May be hard. For you to explain. (beat) Because the only fear she really has, is... JULIANNE ... me, yeah. And she likes Tommy Lasorda. Case closed. Looks at her own watch. Shit! MICHAEL But if you do get to her first... She looks up. MICHAEL There is something you are authorized to say. EXT. TAXI STAND - DAY Julianne sits on the fender of this guy's taxi. The driver smokes, paces, while she waits for a connection on her cellular. Then... MANDY (V.O.) Wallace egregious residence, Mandy speaking. JULIANNE It's Jules, you guys haven't had a call from, say, Kimberly, have you? MANDY (V.O.) Oh, she's slipped out, the little monkey. Prob'ly with Michael, doin' the nasty. A shallow laugh... MANDY (V.O.) Or crying in her nachos, down at Comskey Park. Julianne's face SNAPS to alert. JULIANNE Ex-cuse me? MANDY (V.O.) I had this crank call? From some guy who thinks he saw her? I said, what would a bride be doin', on her wedding... JULIANNE You are so right. What a nerve on that guy! Bring my dress to church, huh? Signals the driver, let's GO! JULIANNE I want to pick up a little something for the ceremony. INT. LUXURY BOX, COMISKEY PARK - AFTERNOON Game in progress. Julianne and the bodyguard stand in the doorway of the deserted skybox. Everyone Walter knows is going to a wedding. The box is empty except for one cardboard container of nachos, extra cheese, sitting alone before a pulled-back chair. BODYGUARD She wouldn't confide in me, so I called the house. He sighs. Feels terrible about all this. BODYGUARD Luckily, I got her cousin. Julianne nods. Yeah, big break, there. JULIANNE Going to the john, she said? BODYGUARD Could be there awhile. INT. WOMEN'S RESTROOM - AFTERNOON Julianne BURSTS into the enormous chaotic restroom. Looks around wildly, no sign of Kim. JULIANNE YO! IMMIGRATION! Everybody stops. Pays attention. JULIANNE I GOT A WARRANT FOR MS. KIMBERLY WALLACE! Silence. From the long line of stalls... KIMMY (O.S., sobbing) In here, you bitch! Now everybody's really interested. Julianne ignores them, strides to the stall. KNOCKS, like it's a door. No answer. JULIANNE Let me in, baby, or I'll rip this damn thing off its non- code-compliant hinges... WOMAN (O.S.) GET THE FUCK OUTTA MY FACE OR I'M GONNA MESS YOUR SHIT UP!! Some scattered APPLAUSE. From down the line... KIMMY (O.S., still sobbing) Over here, nitwit! Oh. Scattered laughter. Julianne moves down the line. Stares at the door. We hear the soft, muted crying from within. Slowly, Julianne... ... drops to her knees. Bends her head low. PEERS under the door. What she sees, prompts a sad warning... JULIANNE Incoming. And she crawls UNDER the door, on her belly. We go WITH her to see... ... Kim fully dressed, perched on the closed toilet lid, her knees drawn up, her arms around them. JULIANNE Pitiful. And pulls herself up to her knees. Kimmy tries to glare, but it just isn't in her. KIMMY Haven't you done enough? The world gets real quiet. An entire bathroom is listening. Julianne cocks her head to one side. JULIANNE In one minute. You are going to feel so foolish. KIMMY WHY DON'T YOU JUST DRIVE A STAKE THROUGH MY HEART? JULIANNE Have you ever heard of. Irony? Irony? Kimmy sniffles. JULIANNE I threw my arms around your husband. And kissed him with all my heart. Because I was so happy. For you. Nitwit. And leans close. As Kimmy flinches. JULIANNE (whispers) He's going to take... (big grin) The job! A stunned pole-axed moment. And Kimmy's eyes SPRING open. You mean...? JULIANNE (beaming) With your dad, yeah. Can you guess why? Bitch? Everything inside Kimmy BURSTS free in a torrent of tears... KIMMY HE LOVES ME!! And DISSOLVES, sobbing, into Julianne's arms. A beat, for Julianne to reflect, and then she strokes her tenderly. JULIANNE Well, of course, he loves you. Kisses the top of Kimmy's head. JULIANNE (very soft) Hell, even I love you. Kimmy holds her tight. From her heart... JULIANNE I never want to go through this again. KIMMY That's entirely understandable. ANGLES... outside the stall. Julianne's feet sticking out under the door. KIMMY (O.S.) Shit! THE TIME! The two BURST out of the stall, hand-in-hand, at a desperate DEAD RUN past us. HEAR them EXPLODE out the door, and... ... five stalls OPEN. Women exit, crying. EXT. UNIVERSITY CHAPEL - TWILIGHT A taxi pulls up in front of an ivy-covered CHAPEL, fronted by nearly a hundred souls, milling about in attitude ranging from overstimulated curiosity to clinical hyperanxiety. Our girls JUMP out of the cab, and half the crowd starts running toward us, twins in the lead... SAMMY Whatever hap... JULIANNE (cutting this short) We were bonding, we lost track, we're officially sorry, now let's put it behind us. Kim WAVES at her mom by the chapel entrance. And takes Julianne's hand for support. JULIANNE Believe me, we got a bride who's worth waiting for, yes? Everybody nods. JULIANNE Out of our way. EXT. DRESSING ROOM - TWILIGHT White. Pure blinding white. Across FRAME floats more white, this gauzy and ethereal. It settles, its roots planting deeply in the bride's hair. TILTS UP to... ... the face of the woman who placed it there. Julianne's eyes, appraising this bride we cannot see. And so softly... JULIANNE Don't worry, sugar. Don't worry. JULIANNE When he looks at you, it will be as if... The words stronger. Because there is no smile. JULIANNE ... he's never seen a woman before. PAN DOWN the white until we are... CLOSE on the bride's perfect slippers. HOLD. And... INT. CHAPEL - EVENING Begins to slowly PAN BACK UP the length of an exquisite gown. We can tell from the organ, the nearby thrum of expectant voices, that we are nearing the moment. We reach... ... Kimmy's hand. Firmly clasping Walter's. Keep PANNING, the bodice, the lace, her throat, and finally, we are CLOSE on... ... the face of the bride. Now we understand the word radiant. We also understand scared senseless. Our perfect, unflappable Kimmy is in a trance of emotional overload where bliss and panic seamlessly blend. The organ's noddling stops. Kimmy's eyes alerted, like a small animal bearing a predator approach her thicket. Suddenly, the CHORD. The Wedding March from Wagner's Lohengrin. Here. Comes. The bride. And we SNAP TO... FULL ANGLE... Kim and Walter. This is it. WALTER (whispers) Left foot. REVERSE ANGLE... Kim's POV, the chapel, every pew packed, every neck craning this way, the white satin carpet down the endless aisle to where... Michael waits. Also in a zone of pseudo-consciousness. From which he attempts a smile. Not comforting. Kim's POV WHIP PAN the groomsmen, the twins, LOCKING FOCUS on Julianne, standing strong and beautiful, a glow of her own in the daffodil dress. She sends her little sister a WINK across the trackless miles of aisle. You can do this, kid. So... ... Kimmy does. On her father's arm, she walks the gauntlet of the world's intrusive admiration. One step at a time. The most beautiful she will ever be. She is dazzling the crowd and managing to not throw up at the same time. And she's there. At his side. She glances back to her maid of honor, just to make sure she's not working without a net. So Julianne... ... CROSSES her eyes. Which lets the kid smile and finally take a breath. Have a little fun, huh? Kim nods, got it, turns to... The Minister. Who stands before them with a calming presence. Thank God someone has done this before. The crowd has hushed. The Minister's eyes are only for two. His words are for all... MINISTER Michael and Kimmy wrote these words. She asked me to confide, mostly Michael. A ripple of laughter. Gentle and fine. They are setting in. MINISTER So he gets to say them. A surprise. A pleasant one. The crowd adjust in its seats. As Michael begins... MICHAEL Why do people get married anymore? And on these words. We SNAP to Julianne. Share her interest in the bluntness, the simplicity, the unorthodoxy of this beginning. MICHAEL (O.S.) Why not live together amicably, with no sense of obligation beyond the moment? Her eyes. She's listening. MICHAEL (O.S.) As long as the sex is good. As long as no one more interesting has wandered into view. As long as the thousand conflicts of two individual wills remain comfortably compromised. PANNING now. Other faces. Isabelle. Proud to the bone. MICHAEL (O.S.) And when one feels the urge to move on, to explore the new. No guilt, no disgrace, no promise broken. Walter. His eyes damp. Against our expectation. MICHAEL (O.S.) No agony of having dishonored a time. When our hearts. And the world were different. Joe nods, as he hears... MICHAEL (O.S.) Marriage is a lot to put up with. Julianne once more. No breath. Rapt. MICHAEL (O.S.) The answer must be. That there is some need basic to the human heart. That embracing... the obligation of commitment... fulfills. Her eyes have clouded. As if Michael is talking to her. MICHAEL (O.S.) Some need to belong to one another in a way which rages against the notion... that all is impermanent. Against the notion of mortality. And suddenly, ALL the feeling rises in her throat. MICHAEL (O.S.) Our love is bigger. And longer. Than life itself. And the tears come. They come freely, unhidden, unnoticed. As if they were needed. Michael now. Looking at his bride. MICHAEL That's what we want. And marriage. Is what we do about it. Kimmy smiles at him. With love bigger than life itself. MICHAEL We are fools in this. Thank God Almighty. He is done. There is a silence. MINISTER Boy, that was good! People LAUGH. The Minister holds up a sheet of paper. For the crowd to see. Mostly paragraphs crossed out in red ink. MINISTER Michael and Kim also edited what they want me to say... More laughter. MINISTER The idea was, we're only marrying once. We have to remember it forever. Let's keep to the good stuff. (squints at the sheet) You may kiss the bride. Bigger LAUGHTER. The Minister waves this off, his little joke. Turns to the best man, pantomimes the ring. As the hammered gold circle is handed to Michael, Julianne absently scratches her still- swollen finger. Mandy taps Julianne on the arm, and produces... ... a matching ring. Take it! Gives it to her. So Julianne steps forward. Places the second ring into Kimmy's waiting hand. Their eyes meet, and hold throughout... MINISTER (O.S.) If anyone here can show just cause why this man and woman should not be married, speak now. Or forever hold your peace. Julianne CLEARS her throat. Kimmy's heart flutters. In the silence... Julianne's wonderful smile. Just kidding. Michael reaches for Kim's hand, turns her gently to him. Places his ring on her finger. Holds her hands. MICHAEL Kimberly. I promise to love. And respect and comfort you. To hear your voice and your heart. Until we are parted by death. She swallows. Smiles a fleeting, beautiful smile. Fumbles slightly, putting the ring on his finger. KIMMY Michael. I promise to love and respect and comfort you. To hear your voice and your heart. Until we are parted by death. Staring in each other's eyes. A moment so fragile, the Minister waits an extra beat. MINISTER For the record, you each agree to marry the other? KIMMY (quickly) I do! MICHAEL (smiling) I do. The Minister joins their right hands. MINISTER We haven't said much about God this evening, I know. But He is here. And He is happy. To bless His wonderful children. CLOSE now on Julianne. For the inevitable moment. MINISTER (O.S.) In that Michael and Kimberly have given themselves to each other by solemn vows, and the exchanging of rings... Unnoticed by the world. Her eyes are close. MINISTER (O.S.) I pronounce them husband and wife. Those whom God has joined together, let no one put asunder. The eyes open. Wet, brave, ready for... MINISTER (O.S.) Now. Kiss the bride. Julianne watching. As Michael does. EXT. WALLACE POND - NIGHT This is what all the preparation was for. Tables, lights, balloons, the guests dancing on the hardwood floor, at the base of the gazebo. The bride and groom among them, relaxed and happy. Two who are one. PAN TO... ... the stage, the band playing. Julianne conferring with the twins and the band leader, clear that she's giving the instructions. Then, she takes her glass of champagne to the microphone... ... KLUNKS it, for silence. The band stops. The dancers follow. All eyes are comfortably turned to the maid of honor. She looks to the couple. Just below her. Then, to the crowd... JULIANNE I'm a writer, too, not as good as Michael. But I do steal from quality. She raises her glass. Everyone at the table does the same. JULIANNE This is to my best friend. On the occasion of his wedding. Shouts of support, a few whistles. Silence. She tells Michael... JULIANNE If I have truly come to know your bride as my new sister. This is in her heart... She has to stop. Swallows. Because she will not let herself cry. JULIANNE "Understand. I'll slip quietly away from the noisy crowd when I see the pale stars rising, blooming, over the oaks." Deep breath. Looks in his eyes. JULIANNE "I'll pursue solitary pathways through the pale twilit meadows, with only this one dream: You come too." A hush. SHARP applause. From four hundred hands. But not from his. He is too moved. Too understanding of what he has heard. JULIANNE I don't have a wedding gift. But this is on loan. Until you two find your song... And with that the band begins. The opening phrases of a song we have come to know. Michael seems overwhelmed. Julianne nods toward the gazebo... ... Michael takes his bride's hand, leads her up the stairs, into his arms, as the twins step to the microphone, and guests begin to applaud an unscheduled wedding dance... MANDY/SAMMY (singing) Someday, when I'm awfully low, And the world is cold, I will feel a glow just thinking of you, And the way you look tonight. Soft two-part harmony. As perfect as the words. MANDY/SAMMY (singing) You're lovely. With your smile so warm, And your cheeks so soft, There is nothing for me but to love you, Just the way you look tonight. Julianne can cry now. Because she's tied with half the place. MANDY/SAMMY (singing) With each word, your tenderness grows, Tearing my fears apart... And the laugh that wrinkles your nose, Touches my foolish heart. Julianne begins to sing. Unheard. Unseen. Even by the man she's singing to... JULIANNE/MANDY/SAMMY (singing) You're lovely, please don't ever change, Keep that breathless charm, Darling, please arrange it, cos I love you... Just the way you look tonight. The band keeps playing. The dance goes on. Two people lost in each other. The way it's supposed to be. INT. GREAT ROOM - LATE NIGHT Bedlam. Julianne caught in the middle of the throng. A young couple, dressed for travel, appear at the top of the staircase. The SHOUT are deafening. The bride has her bouquet... ... she spots Julianne far below. THROWS it her way, Julianne reflexively GOES FOR IT... ... not a fucking chance. The twins nearly TRAMPLE her in the stampede, Mandy WRESTING the prize from Sammy's grasp. Everyone CHEERS, and then the couple is... ... FLYING down the stairs, RACING through the crowd with a protective phalanx of groomsmen bodyguards, heading for the door, for freedom... ... Julianne, trapped in the crush, loses sight of the couple, struggles against the flow, suddenly panicked by the certainty that she will never see him before... And then, he's THERE. He has Julianne in his arms. Holding her so tight. An embrace so wonderful, so terrible, she could go mad from the confusion alone. Against the din, he murmurs in her ear... MICHAEL Wherever I go. However far... She sobs. Holds him. Deep, deep breath. JULIANNE You win a few, you lose a few. Some get rained out. And to her surprise... DIGGER (V.O., very softly) You have a good time? To her greater surprise. There are a few tears left, after all. JULIANNE I did what I came to do. DIGGER (V.O., even softer) Good girl. She just can't speak now. So she doesn't. DIGGER (V.O.) I was thinking. Maybe you might visit us for awhile. We've got the room made up. This fucking guy. God, she loves him. JULIANNE I'll think about it. I'm okay. DIGGER (V.O.) Oh, you're more than okay. Just above a whisper... JULIANNE You, too. And with the last of her strength... JULIANNE If the sun comes up, I'll see you tomorrow, huh? A chuckle. At the other end. DIGGER (V.O.) I'll play those odds. You have sweet dreams. We hear the CLICK. She turns her back on the stars. Shoulders straight. Chin up. She walks from frame. FADE TO BLACK. HOLD END CREDITS. -------------------------------------------------------------- \ No newline at end of file diff --git a/unformated_scripts/Script_My Girl.txt b/unformated_scripts/Script_My Girl.txt new file mode 100644 index 0000000000000000000000000000000000000000..c4c169931149b865286876a6e7b53cd91e9119a8 --- /dev/null +++ b/unformated_scripts/Script_My Girl.txt @@ -0,0 +1 @@ + MY GIRL Written by Laurice Elehwany Setting: MADISON, PENNSYLVANIA 1972 CLOSE UP OF VADA VADA (to camera) I was born jaundiced. Once I sat on a toilet seat at a Truck stop and caught hemorrhoids. And i've learned to live with this chicken Bone that's been lodged in my throat for the past three years, so I knew Dad would be devastated when he learned of my latest affliction. (to Harry) Dad, I don't wanna upset you, but my left breast is developing at a significantly faster rate than my right. It can only mean one thing. Cancer. I'm dying. HARRY (ignoring Vada) O.K. Sweetie, hand me the mayonnaise out of the fridge. FRONT OF SULTENFUSS' HOUSE Vada closes front door and goes down the steps to a group of boys VADA All right, who's in raise your hand. All the boys raise their hands except Thomas J BOY Are you coming or not Thomas J? THOMAS J I don't think so. VADA I knew he wouldn't come. THOMAS J I can't, I have to go home. BOY#2 Yeah, to play with his DOLLS. VADA Leave him alone! Come on, let's go. Group of boys enters house lead by Vada Once inside, the group is suddenly stopped VADA (to boy#2) Hey, you didn't pay me! BOY#2 How do I know you were gonna show us one? VADA You're such a baby. BOY#2 All right, here. Boy reaches inside his pocket, gets money out and gives it to Vada VADA All right, follow me and don't say a word. They walk towards two large doors, stop, and Vada turns around You ready? They enter the coffin display room, and move over to the coffin in the middle of the room You sure you wanna see it, or is someone gonna go yellow belly? BOY#3 I'm not chicken! VADA Okay. Lean forward. A tense moment as the coffin lid is flung open by Vada and the boys gasp as they look inside GIRL#1 It's empty! BOY#2 You're so weird! BOY I want my money back! VADA I was afraid of this. They begin to move into another part of the house BOY#2 Of what?? VADA Well, sometimes when we get 'em, they're not completely dead, you know, like when they cut a chickens head off and it still runs around crazy. BOY#3 You're full of shit. VADA I bet she's roaming around this house somewhere. They open the door into the living room, where Grammoo is in her rocking chair There she is, in the rocking chair. Pause, then Grammoo begins to rock the chair gently. The boys all gasp and then all exit very quickly VADA Hi Grammoo. Vada seats herself upon Grammoo's lap HARRY (in distance, from downstairs) Vada would you bring down my cigarettes? Vada gets up and begins to leave VADA Seeya later. (kisses Grammoo on forehead) BASEMENT, HARRY & ARTHUR WORKING ON MR. LAYTON HARRY Did I tell you, he was my woodshop teacher. ARTHUR You took woodshop? HARRY Yeah, I made a tie rack. ARTHUR I made a tie rack. Vada comes down the stairs and stops just before the corner that would allow her to see the corpse of Mr. Layton VADA Ahem. HARRY Vada, just put 'em on the stool. Vada places the packet on a stool VADA Daddy guess what I beat Thomas J in monopoly yesterday. HARRY (completely ignoring Vada's comment) Ya, that rack holds six ties. ARTHUR I still have mine. Vada recognizes Arthur's voice VADA Arthur!! ARTHUR Vada!! VADA I beat Thomas J in monopoly yesterday. ARTHUR Good for you baby. VADA Once you put the hotels on board walk and Park Place he puts a shoe in your way. ARTHUR I like to buy off all the railroads. Harry is slightly annoyed at Vada distracting them HARRY Vada, we're trying to work here. CAMPER PULLS UP OUTSIDE SULTENFUSS HOUSE BASEMENT VADA Cruella deville stole all the puppies, she was gonna make a fur out of 'em! HARRY (to Arthur) Hand me the canula. Vada begins to sing doo-wah-diddy-diddy, Arthur joins in HARRY (annoyed) VADA! VADA Dad? HARRY I'm embalming my high school teacher, don't sing. (beat) All right Arthur, just a slide of the needle..... (fades out as Vada climbs stairs) Vada climbs stairs and stops to read patient note, CAUSE OF DEATH - CANCER OF PROSTATE HARRY (to corpse) One nice model C-501 bronze stainless eternal journey, yeah, you look like a champion. OUTSIDE SULTENFUSS' HOUSE DAY, STRANGE WOMAN GETS OUT OF CAMPER, WALKS UP TO DOOR AND RINGS BELL, VADA ANSWERS STRANGER Is Mr. Harry Sultenfuss in? VADA Sure, come on in. Vada and strange woman make their way to a desk in the foyer, and sit down So, have you had the unfortunate experience of recently losing a loved one? STRANGER (puzzled look) Could I see your Dad, just for a second? Vada runs across to call downstairs VADA DAD, SOMEBODY'S HERE!! Vada runs back to the desk He's downstairs working on Mr. Layton. Prostate Cancer. Once it hits your prostate, you're a goner. STRANGER Oh. Harry enters HARRY How may I... Help you? STRANGER I'm Shelly devoto. We spoke, the other day regarding the make up artist job. HARRY Oh yes. SHELLY It's still available I hope? HARRY I think it's still available. SHELLY I'm a licensed cosmetologist, I worked for two years, at the "Dino Raphael" Salon, all my customers cried when I told them I was leaving. HARRY Uhh, Miss devoto... SHELLY I have a wonderful disposition, I put people right at ease. HARRY Uhh, Miss devoto, these people are already at ease. This is not a Beauty Parlor, it's a Funeral Parlor. SHELLY They're dead? HARRY Yes they are. SHELLY Stiffs?? HARRY (for want of a better word) Deceased. SHELLY The add just said "Makeup Artist" Doorbell rings HARRY Ahh, excuse me a second will you? (opens door) Hi George, this is a twelve-fifty-eight, I didn't want the burnished handles. (door closes off scene) Vada looks out the window at Shelly's camper VADA Is that your camper? SHELLY Yes it is. VADA That's really cool. Grammoo walks past in a fixed stare SHELLY (to Grammoo) Hello. Grammoo keeps walking as if she hadn't heard VADA She's shy. SHELLY Oh. Harry is standing at the door directing the men with the coffin HARRY Just put it back in the display room fellers. MEN Okay Harry. The men move off, Vada walks over to Harry VADA Daddy, how come that coffin's so small? HARRY They come in all sizes honey, just like shoes. VADA Is it for a child? Harry hesitates HARRY Of course not. VADA Then who's it for? Small pause while Harry thinks of a reply HARRY Short people, very short people. Shelly walks over to Harry SHELLY Excuse me, what about the job? HARRY Pardon? SHELLY I need the job. HARRY Oh, You still want it? Even though uhh... SHELLY Ohh, oh sure it's no big deal, you see all my former clients will eventually die, and all your clients used to be alive, so they have something in common. HARRY You'd be doing hair and makeup and answering the phone. SHELLY Okay Mr. Sultenfuss, you got a deal. HARRY Great, you can start right away. Call me Harry. Now, umm, is this what you'd normally wear for work? Don't get me wrong, I like it, very much, but the.... SHELLY I promise i'll take good care of these people, they deserve it, they're dead, all they've got left is their looks. Harry and Vada exchange weird looks OUTSIDE SHOPPING MALL-AREA DAY Vada and Thomas J are riding their bikes through town THOMAS J Hey look at this, no feet! VADA Oh wow, a real evil canieval. Vada and Thomas J ride up through a garage PSYCHO MECHANIC WHAT THE HELL ARE YOU DOING IN MY GARAGE, GET OUTTA HERE!!! Vada and Thomas J arrive outside the entrance to the Doctors surgery, Vada enters and climbs stairs, she passes a small boy in a wheelchair in the corridor, Vada enters room INSIDE DOCTOR WELTY'S WAITING ROOM NURSE RANDALL Hi Vada, what's wrong today? VADA I'm very sick. NURSE RANDALL Okay, take a seat, i'll check if the doctor can see you. She picks up phone and whispers something inaudible to the doctor NURSE RANDALL Okay, he'll see you, why don't you go in? Vada opens door to doctors surgery and enters OVER DR WELTY'S SHOULDER, CLOSE UP OF VADA HAVING HER EAR EXAMINED VADA Well, what is it? I can handle it. DR WELTY You are perfectly healthy. VADA That can't be, I have all the classic symptoms. DR WELTY Sweetheart, did they bring Mr. Layton to your house today? VADA Yes. DR WELTY Vada you've gotta stop this, there's absolutely nothing wrong with you! Vada gets up in a mood, puts hat on, and walks to the door, stopping and says with condescending intonation... VADA I'll just have to get a second opinion. OUTSIDE DOCTORS SURGERY DAY Vada emerges from the building and gets on her bike THOMAS J So, what'd he say was wrong with you? Vada is turning and beginning to ride away VADA The whole medical profession is a crack. Thomas J is trying to catch up THOMAS J Hey wait up for me! BIKE RIDE DOWN MAIN STREET IN TOWN VADA & THOMAS J ARE SINGING Vada slows down, stops and looks at a person on a ladder painting a house VADA Hey look! Thomas J stops also THOMAS J At what? VADA That's Mr. Bixler, let's go talk to him. THOMAS J I don't wanna talk to a teacher, it's summer! VADA Hi Mr. Bixler! Mr. Bixler turns around and sees Vada and Thomas J MR. BIXLER Mademoiselle Sultenfuss and the amazing Dr. J! How's the summer treating you? VADA It's okay. Mr. Bixler, I finished all the books for summer reading. MR. BIXLER Really? Already? The summer's just begun. VADA Yes, and now I'm reading War & Peace for fun. MR. BIXLER No wonder you're my prize pupil. What about you Thomas J? THOMAS J I haven't started yet. MR. BIXLER Better get on his case Vada. Mr. Bixler gets down off his ladder VADA Mr. Bixler, how come you're painting this old house? MR. BIXLER Well I just bought it, now I'm fixing it up. VADA This is one big house for one single person. MR. BIXLER Well, you never can tell... (Vada gets worried look on her face) I might get a pet. (Vada's expression relaxes, she smiles) VADA How are you gonna get the money for this old house if you're not working? MR. BIXLER Well I'm gonna teach creative writing this summer, so, I'm doing some work. VADA How much does it cost? MR. BIXLER Thirty five dollars. VADA What do you get for that? MR. BIXLER Me, two hours a week, talking about poetry. This an interrogation Vada? VADA No. Well, guess i'll go home and finish off War & Peace. MR. BIXLER It's summer! You're kids! Go play! Vada and Thomas J ride off down street SIDE ON SHOT OF VADA AND THOMAS J RIDING DOWN STREET, CAMERA IS MOVING WITH THEM THOMAS J Wanna go to Gray's orchard and pick some peaches? VADA No, I'm going home. THOMAS J Why? It's not dinner time yet. VADA Dinner time?? You're like a dog! You just go home to eat. Vada accelerates leaving Thomas J in her tracks Don't pee on the hydrant!! VADA'S BEDROOM Vada puts a record on to play. (song is "Wedding Bell Blues") She then opens a drawer and picks up a class photograph, with Mr. Bixler enhaloed in a heart shape. Music begins to play and Vada sings along the first few bars whilst looking at the photo longingly SULTENFUSS' DINING ROOM TABLE NIGHT, VADA IS LYING ON THE FLOOR SPRAWLED OUT, HARRY AND PHIL ARE HAVING A CONVERSATION, AND GRAMMOO IS SITTING STARING INTO SPACE, SHELLY ENTERS SHELLY Excuse me Harry, I finished Mr. Layton's hair. He kinda looked...... (she sees Vada lying down sprawled out on the floor) Harry, what's wrong with her?? HARRY Oh, she's just pretending. Vada, get up here and eat your broccoli! Shelly moves over and crouches down next to Vada VADA (very sick sounding voice) I think it's my prostate. All of a sudden, Grammoo begins to sing GRAMMOO I got rhythm, I got music, I got my man who could ask for anything more? I got daisies, in green pastures, I got my man, who could ask for anything more? As this is being sung, Shelly slowly looks up with a VERY weird expression, this is too much for her OUTSIDE FRONT OF HOUSE, VADA AND THOMAS J SITTING ON STEPS DAY Shelly exits house and closes door behind her, and then crouches down beside Vada and Thomas J SHELLY Who's winning? VADA I am. As Vada and Thomas J continue to play, three Vada-aged girls come up to the end of the Sultenfuss' driveway GIRL#1 Look, there's Vada and her little BOYFRIEND (very mocking voice) VADA He is not my boyfriend! GIRL#2 I bet she kissed him on the lips! VADA Do you think I kissed that ugly old thing? THOMAS J Yeah anyway. GIRL#2 Come on let's go. GIRL#1 & GIRL#2 Judy's father owns the movie theater and we get to see all the movies WE want for free. JUDY Maybe you can come some time. GUY#2 Eeeuww, don't invite HER, she'll have to bring her boyfriend. The two girls begin to walk off, Judy follows slowly looking guilty and embarrassed by her friends GIRL#2 (together) Vada and Thomas, sitting in a tree, K-I-S-S- I-N-G, first comes love, then comes marriage, then comes Thomas J in a baby carriage. Judy wanders off screen, looking sorry for Vada SHELLY You know Vada, you shouldn't let those girls upset you. VADA I'm not upset. I will never play with those girls. I only surround myself with people who I find intellectually stimulating. Thomas J looks at Shelly and smiles, he is proud to be the friend of such an intelligent girl SHELLY (to Vada) Want a piece of chocolate? Vada shakes her head SHELLY Thomas J? THOMAS J I'm allergic to it. SHELLY To chocolate? VADA He's allergic to everything. SHELLY Chocolate? VADA & THOMAS J TO EVERYTHING. Shelly notices a ring that Vada is wearing on her right index finger SHELLY Ooh, that's a pretty ring you're wearing. VADA It's a mood ring, it tells what mood I'm in. THOMAS J It doesn't work, it always stays black. (NOTE ring is BLACK) VADA It's only black when you're around 'cause you put me in a bad mood. SHELLY Maybe black means you're happy? VADA I don't think so. (pause) Shelly, how can I get thirty five dollars? THOMAS J She's crazy, she wants to go to school over the summer. VADA It's not a real school, it's a writing class, I wanna be a writer. THOMAS J She only wants to do it because her sweetie pie's the teacher. Vada is annoyed that Shelly now knows her little secret and pushes Thomas J VADA Shut your big fat mouth! SHELLY I think you'd make a fine writer, did you ask your Dad? VADA He won't give it to me. SHELLY Well you don't know that. Ask him. SULTENFUSS' LIVING ROOM, GRAMMOO AND HARRY WATCHING TV, VADA ENTERS Vada passes Grammoo and Harry who are watching a TV show, she then seats herself next to Harry VADA Daddy, can I have thirty five dollars? HARRY That's a lot of money for a little girl. VADA It's for school, for summer writing class. HARRY (engrossed with TV show) Any more soda left? Vada pours Harry another soda VADA Shelly thinks I'd be a good writer. HARRY Last month you wanted to play the violin. Then you wanted to be a ventriloquist. Harry keeps his gaze fixed the entire time upon the TV screen VADA Dad? HARRY (referring to TV) I love this guy! (he laughs) VADA Dad?? HARRY What? VADA The money? HARRY Ahh, maybe next summer. VADA'S THOUGHTS He forgot about the time I wanted to be a magician, I was really great at making myself disappear. FOYER OF SULTENFUSS' HOUSE, VADA BOUNCING BASKET-BALL, ARTHUR ENTERS VADA Wanna play? ARTHUR No, I gotta go to the cemetery, keep your head up. Don't look at the ball, look at me. Arthur grabs ball and begins to dribble it properly as a demonstration See. You were looking at the ball. All right? Keep your head up. Gimme some skin, They both give each other five i.e. Slap each others hands, Arthur exits. Vada continues bouncing the ball, which accidentally veers off and goes down the stairs into the basement SCARY MUSIC Vada goes very slowly down the stairs, and peeks round the corner, she is clearly very scared of the basement and the corpses contained in it, she then rushes down and grabs the ball. As she turns around, Shelly, who is upstairs walking through the house and sees the door ajar, slams it shut unaware that Vada is down there. Vada runs up the stairs and tries to open the door, she can't, drops the ball and starts to yell out for help and bang on the it. Shelly hears the noise and comes to the door. Vada, overcome with fear, sits on a step, covers her ears and begins to sing doo-wah-diddy- diddy. Shelly yanks the door open and sees Vada crouched on the step SHELLY Vada? VADA?? What happened?? VADA (extremely frightened and timid) My ball, I lost my ball. SHELLY (picking Vada up onto her feet) Come on sweetie. The two exit the scene SHELLY PUTTING MAKEUP ON DEAD LADY, BASEMENT OF SULTENFUSS' HOUSE SHELLY Excuse me Harry? HARRY Uh huh? SHELLY Could you take a look at Mrs. Porter? HARRY Yeah. Harry gets up from his desk, moves over to Mrs. Porter and observes Shelly's work, he looks unimpressed Didn't I give you a picture of what she looked like? SHELLY Yeah, (searches pockets, eventually pulling out a photo) Harry compares photo with Mrs. Porter's face SHELLY You don't like it? HARRY This was the Reverend Porter's wife, you have her looking like a two dollar hooker. SHELLY (a little offended) I think she looks nice! Her lips are very thin so I used the gloss to give them a more sensual quality, and her eyes just needed a little definition, and her hair, I'm sorry, nobody wears this hairdo anymore in 1972. HARRY She did. This photo was taken a month ago at the church food drive. SHELLY I just wanted to get past this "old school Marm" image. HARRY That wasn't an image. She WAS an old school Marm. (beat) Fix it. Harry begins to leave SHELLY Harry? (Harry stops and turns around) I was just wondering, if there is anything wrong with Vada. HARRY What do you mean?? SHELLY Well the other night at dinner... HARRY Oh that, she just likes to play. SHELLY I don't think so, I think she's confused about death. HARRY She was raised in a funeral home, she knows a thing or two about it. SHELLY Harry, I really think she..... HARRY (annoyed) She's a perfectly happy eleven year old girl, look, don't give me any advice about my daughter, okay? OUTSIDE FRONT OF HOUSE, VADA AND THOMAS J ARE TURNING A SKIPPING ROPE AND PHIL IS JUMPING IN IT PUFFING AWAY, VADA & THOMAS J ARE SAYING A RHYME THAT GOES WITH SKIPPING GAMES, SHELLY PULLS UP IN HER CAMPER VADA There's Shelly! Vada and Thomas J stop turning the rope leaving Phil standing there exhausted, and run over to Shelly's camper, Shelly gets out SHELLY Hi. VADA Can we look around in your camper? SHELLY Sure. I'll give you the royal tour. Vada and Thomas J rush inside the camper (surprised at Vada and Thomas J's eagerness to get inside) Woah! Gosh! Thomas J seats himself at the drivers seat and makes "vroom vroom" noises, Vada sits at the table, selects a book from a small bookshelf on the side, and begins to read it THOMAS J Wow, this is the coolest thing, like you really eat and sleep here? SHELLY Uh huh. THOMAS J I'm gonna drive us to Liverpool. SHELLY Liverpool? VADA Big Ringo fan. SHELLY Ohh, right. Would you like a soda? VADA I would. SHELLY Thomas? THOMAS J Yes please. Thomas uproots himself and sits opposite Vada at the table THOMAS J What are you reading? Vada makes a gesture at Thomas J with her finger up to her lips implying that he should be quiet Shelly notices Vada reading the book SHELLY Oh! You shouldn't be looking at that, it's a little too old for you. She takes the book away from her VADA Did you read ALL these books? SHELLY Uh huh. VADA What are they about? SHELLY Mostly love, and romance. THOMAS J Eeeeuuuww, gross. SHELLY They're just fun to read. Shelly hands the soda around Here, cheers. Everybody takes a mouthful of drink VADA Are you married? SHELLY No, I'm divorced. VADA Daddy said it's bad when people get divorced. SHELLY Well, sometimes married people just find out they can't live with each other. THOMAS J Mine aren't divorced. Thomas J gets up and reaches for the cookie jar Shelly, can I have a cookie? SHELLY With bottle of soda in mouth Hmmmph gurgle gurgle... Thomas pulls out a few bank notes of largish denomination THOMAS J Hey, where are all the cookies?? Vada sees the money and the expression on her face shows she has an idea SHELLY Well, I guess you found my secret hiding place. THOMAS J What are you saving for? SHELLY Nothing in particular, just putting it away for a rainy day. Cuckoo clock goes "Cuckoo." Lunch time, 12 o'clock THOMAS J I'm supposed to be home at noon for lunch, thanks Shelly. Thomas J leaves SHELLY Bye. Well Miss Vada, what d'you say we head back? VADA Can I use your bathroom first? SHELLY Sure. VADA You don't have to wait, daddy'll be mad if you're late. SHELLY Okay. Shelly exits and Vada enters toilet with a VERY guilty look on her face SUMMER WRITING CLASS, FOCUS ON MR. BIXLER MR. BIXLER The great way, is not difficult for those with no preferences, with the absence of both love and hate, everything becomes clear and undisguised. That was written by a Chinese Philosopher in the year 600. Now why would I choose to bring that up in a creative writing class? Because, the absence of judgment helps us to appreciate reality. In other words, I want you to listen to your classmates writing, with a clear and open heart, okay? So who's gonna go first? GUY I got one. He gets up I sang a song for you to hear, I painted a picture for you to see, I picked a rose for you to smell, I planted grass for you to touch, But you did not hear my song, You did not see my picture, You did not smell my rose and YOU did not touch my grass. Woman Maybe she was outta town? GUY#2 That's not funny, his poem is about futility, we toil in unrewarded obscurity. MR. BIXLER Now, I hear judgment, let's not forget the part about the open heart... The door at the back of the room opens and Vada enters holding a writing pad and pen looking nervous Vada, is there, something I can do for you? VADA (very nervous) I paid the money. MR. BIXLER For this class? VADA Uh huh, I wanna be a writer. MR. BIXLER Vada, this is an adult writing class. JUSTIN Hey, I think it's real beautiful. She want's to be a writer. MR. BIXLER Vada, you sure you wanna do this? Vada nods her head MR. BIXLER Welcome to the class, go find a seat. The class applauds Okay ahh, who's next? RONDA I experienced something with my boyfriend the other day, and I wrote a few words down. MR. BIXLER The floor's yours Ronda. RONDA He covers me like a blanket, from the cold, dark night, As I look into his eyes, I know it's right, To touch, To feel, I know he's real, Flesh all a mush, Flesh ALL a mush, I can't fight it, There's no point, I wake up in Lighter joint. Several looks glance around the room. Vada raises her hand MR. BIXLER Uhhh, va, uhh, Vada. VADA I wrote a poem too. MR. BIXLER Please. VADA Loads of ice-cream by Vada Sultenfuss I like ice-cream a whole lot, It tastes good when days are hot, On a cone or in a dish, This would be my only wish, Vanilla, chocolate or rocky road, Even with pie a la mode. That's all I got so far. JUSTIN I hear that Vada, Flesh all a Mush or Rocky Road, it's about desire. MR. BIXLER Vada that's... It's very sweet, and it rhymes and that's also good but, you're not expressing to me what's in your soul. I want you to show me how you see the world, your fears, your desires, your innermost secrets. VADA'S THOUGHTS My fears and secrets. I'm afraid I killed my mother. OUTSIDE SULTENFUSS' HOUSE, THEN INSIDE ON SHELLY AT DESK, TUBA IS BEING PLAYED IN THE BACKGROUND Shelly gets up smiling when she hears the music and proceeds to the living room Shelly pokes her head in the door to see Harry playing a tune to Grammoo on his tuba HARRY (sung, to Grammoo) Can not do without, Harry's wild about me. SHELLY Excuse me Harry, I'm sorry, I just wanna let you know that the flowers were delivered. And the room's all set up. HARRY Thanks, listen I wanna apologize for the other day downstairs, about Vada, I was a little harsh. SHELLY I shouldn't stick my nose in other people's business. It's just that I like Vada, very much. HARRY After my wife died, Grammoo moved in here to help take care of Vada. They were very close, but lately as her mind's been wandering more and more, Vada's been acting kinda crazy. I'm sure she'll snap out of it though. SHELLY I'm sure she will. VADA AND THOMAS J AT THEIR FAVORITE SPOT, EDGE OF LAKE WITH VERY LARGE BEAUTIFUL WEEPING WILLOW JUST UP THE BANK A LITTLE FROM A SMALL PIER WHERE TWO FISHING POLES ARE SET UP, ONE HELD BY VADA AND THE OTHER BY A HOLDER AS THOMAS J HANGS UPSIDE DOWN FROM THE TREE THOMAS J Nothing's biting today. VADA Maybe they had a big breakfast. THOMAS J (hanging from tree) I'm gonna be an acrobat when I grow up. VADA Big deal, I can do that too. (Thomas J's reel begins to click) Thomas J, you got something! THOMAS J Oh no! (he jumps down from the tree) UUH. VADA Hurry! THOMAS J I'm trying. VADA Reel it in. (Thomas J reels the fish in) He's only tiny, throw him back. THOMAS J I don't like touching fish, how do you pull the hook out without touching it? Thomas J puts his foot on the fish and pulls VADA You're hurting him, don't kill him!! The hook is out of the fish's mouth and sitting on the pier Vada then removes the hook from the fish's mouth {minor error in film} and in the process pricks herself VADA Ouch! Darn hook! Vada puts the fish back VADA I'm bleeding, did he get away? Go look. Thomas J looks and sees the fish, dead, floating on top of the water THOMAS J Yeah he got away. Come on let's go. VADA Hey, we can become blood brothers. THOMAS J Naah, I don't wanna. VADA You could pick that scab on your arm. THOMAS J It's a mosquito bite. VADA It'll bleed. THOMAS J If I do it, can we go? VADA Uh huh. THOMAS J Okay, OW! Thomas J picks the scab on his arm which begins to bleed VADA Okay, rub them together. They rub their cuts together VADA Now we're blood brothers for life. HARRY IS TYPING UP A DEATH NOTICE IN HIS STUDY, SHELLY ENTERS SHELLY Hi. HARRY Oh Hi, what can I do for you? SHELLY Nothing, I was just wondering what you were doing. HARRY Oh, I'm just typing up a funeral notice, you know when someone dies people want it in the paper usually, it's a service we provide for the family. SHELLY Oh right, right, (she picks up the newspaper). Bader Lorenzo Died June 22 1972 Devoted husband to Nicolette. Cherished father of Babritzio and Heidi, In lieu of flowers, please send donations to the holy names society. HARRY I wrote that. SHELLY No kidding? Harry gives Shelly a matter-of-fact look SHELLY Oh it's good, "In lieu of" I love that word lieu. HARRY I prefer it to "instead", it has more dignity. SHELLY In lieu... "instead".... No contest. HARRY It's no big deal. SHELLY You have to learn how to take a complement. (Shelly turns the newspaper over) Movies, movies, ahhhh, "Love Story" at the drive in, I cried my eyes out, did you see it? HARRY I haven't been to the movies in AGES. SHELLY I love going to movies, especially at the drive in. I don't think there's anything more romantic than going to the drive in. (subtle HINT) I'll let you get back to work. Shelly begins to exit with a look of failure on her face HARRY I do enjoy playing bingo, if you'd like to join me for a game tomorrow night at church you're welcome to. SHELLY (considers for a moment) Okay. Harry resumes typing VADA IS RUNNING THROUGH FOYER AND BEGINS TO PASS BATHROOM WHERE SHELLY IS PUTTING ON MAKEUP SHELLY Hi Vada. VADA Are you going out somewhere? SHELLY No. VADA So how come you're putting lipstick on? SHELLY A girl's always gotta look her best. VADA I think lipstick looks fake, no-ones lips are that color. SHELLY Have you ever tried any? VADA No. SHELLY Come here, sit down. Vada enters bathroom and sits down on the closed toilet seat, Shelly brings up a stool and sits down in front of Vada. Vada gets some lipstick put on her SHELLY Now, first we blot. Vada blots her lips on some tissue SHELLY Take a look. I think it looks real nice on you. Vada looks in Shelly's mirror VADA Shelly, do you think I'm pretty? SHELLY Yes, Vada I think you're very pretty. You've got these great big sparkling eyes, the cutest little nose, an amazing mouth. VADA The boys at school don't think I am. SHELLY They'll come around. Close your eyes, I wanna bring out the gorgeous color in them. The first rule in applying eye makeup, is you can never wear enough blue eye shadow. VADA Do you like putting makeup on people? SHELLY Uh huh, i've been trying to get out to Hollywood for years to do makeup for all the stars, I haven't gotten there yet. (she finishes her work) All right, open your eyes. Vada opens her eyes and looks in the mirror VADA Shelly, I would definitely hold off on that Hollywood thing. VADA EXITS HOUSE THROUGH FRONT DOOR, RAUNCHY MUSIC IS PLAYING AND SHE DOES A GROOVY WALK TO THE STEPS WHERE THOMAS J AWAITS HER, SHE LIES DOWN LENGTH WAYS ACROSS THE STEP AND LOOKS AT HIM THOMAS J Your lip bleeding? VADA No. THOMAS J What's wrong with your eyes? VADA A girl can never wear enough eye shadow. THOMAS J Where's your bike? VADA Oh, in the garage. Walk me over. The two enter the garage, where a large black hearse is parked VADA It's only a garage, come on. Vada notices that one of her streamers on her bike is gone VADA Hey, one of my streamers is gone! It probably fell off in here. Thomas J walks over to a model of a head THOMAS J Hey look at this! VADA That was Grammoo's. It's a phrenology chart, they used to study the bumps in your head to see if you had a good personality or not. Come here, i'll diagnose your head. THOMAS J No, I don't wanna. VADA Come on, it's fun. Vada examines Thomas J's head and then compares it with the chart VADA Hmmmm, interesting. THOMAS J What? VADA You have no personality. THOMAS J Hey, where does it say that? VADA Never mind. Thomas J knocks the lid off a small box and reveals a photo THOMAS J Is that your Dad? VADA Yes. THOMAS J Who's that with your Dad? VADA It's my mother. THOMAS J Do you remember her? VADA No. Grammoo said she's in heaven. THOMAS J What do you think it's like? VADA What? THOMAS J Heaven. VADA I think, everybody gets their own white horse, and all they do is ride and eat marshmallows all day, and everybody's best friends with everybody else, when you play sports, there's no teams, so nobody gets picked last. THOMAS J But, what if you're afraid to ride horses? VADA It doesn't matter, 'cause they're not regular horses, they got wings, and it's no big deal if you fall, you just land in cloud. THOMAS J That doesn't sound so bad, come on, we'll never find that streamer. As they leave, Vada turns back and grabs the photo, then returns to Thomas J HARRY'S BEDROOM, HARRY IS DRESSING AND GETTING READY FOR HIS DATE WITH SHELLY The tune "Moonglow" is playing on the radio PHIL Well well well, what's going on in here? HARRY Nothing, I'm dressing. PHIL Oh, you're dressing, uh huh, Harry Harry Harry Harry, don't you know it's not nice to lie to your big brother? Phil then proceeds to give Harry a noogie HARRY HEY! WATCH THE HAIR!! THIS SHIRT GIVES!!! ALL RIGHT!!!! Phil stops I'm going out with Shelly. PHIL Oh yes, oh that's great. HARRY I'm very nervous. PHIL Why? HARRY The last date I had was twenty years ago. PHIL That's true. Harry Harry sit down, let me fill you in on today's women, since the last time you dated, something happened, "The Sexual Revolution", now before that, you used to have to hold a door open for a woman, pull her chair out, pick up the check, no more no more, you wanna know what else is missing? BRAS! HARRY Oh come on. PHIL Harry, I'm serious, trust me Harry this woman's lifting us in, you gotta treat her like every Tom Dick and Harry. HARRY Are you sure about all this? PHIL Did you not tell Vada I'm a womanizer huh? HARRY Oh, I'm running late. Shelly'll be here any minute. PHIL Oh she's picking you up, good you're on the right track. HARRY No, she's just driving over here, then we're taking my car. How do I look? PHIL Like a Sultenfuss. Go get 'em. Harry runs down the stairs and passes Vada on the way HARRY Goodnight Vada. VADA Dad, why are you dressed up to go to bingo? HARRY Ahh, I just wanna look nice. VADA You never cared before. HARRY Well Shelly's coming over, we're gonna go together. VADA Why? HARRY She likes to play bingo. VADA Can I go too? HARRY Naah, I think you'd better stay here and keep Grammoo company. Harry leaves and then Vada makes a decision, she goes out the door OUTSIDE THE SENNET'S HOUSE, VADA IS CREEPING ALONG NIGHT Vada approaches the Sennet's house and signals through the window for Thomas J to come outside, which he does THOMAS J Vada? Vada?? Where are you?? Vada springs up from her hiding place VADA Here. THOMAS J Don't DO that!! VADA Sorry. THOMAS J What do you want? My mom will skin me alive if she finds I'm out here. VADA Let's go to the church, they're playing bingo tonight. THOMAS J I told you i'll get in trouble. VADA Pacifist! THOMAS J I am not. VADA Bed wetter! THOMAS J I stopped that! AT THE CHURCH, FOCUS ON THE BINGO ANNOUNCER WHO IS CALLING OUT THE NUMBERS HARRY Don't worry, there's a strategy to bingo. For instance, on a given night anybody can win, but I play the odds, when choosing bingo cards, I use a range of theories from the laws of probability to avoiding duplicate number systems. This way you get much more activity. SHELLY (hopeful) Does it make it easier to win? HARRY No. Just, more activity. Harry then pulls a seat out and sits down in it, cutting Shelly off, who has to pull her own seat out and sit down HARRY (as he sits down, to the person next to him) Hi Carl. OUTSIDE THE CHURCH NIGHT Vada and Thomas J are walking up to the church THOMAS J They're not gonna let us in Vada, we're kids. VADA We're not gonna bet, we're just gonna watch. THOMAS J Watch bingo? I don't even like to play bingo. VADA Duck! Vada and Thomas J are ducking behind a counter on one side of the church, Harry and Shelly are quite clearly visible on the other side of the room SHELLY (in the distance, as a number is announced) Oh great! THOMAS J Hey there's your Dad and Shelly. VADA Ssshhhhh, I don't want them to see me. SHELLY (in the distance again, as another number is announced) Aarrggh. CLOSE UP OF HARRY AND SHELLY As Shelly looks around the bingo table, she notices that everyone around her is chronologically advantaged in a big way SHELLY I just had a terrible thought Harry. HARRY What's that? SHELLY I'm gonna be putting makeup on some of these people very soon. HARRY Why d'you think these seats were empty. OUTSIDE THOMAS J Can we go yet? VADA Go??? THOMAS J You know I'm not allowed outside my myself after dark. CLOSE UP AGAIN SHELLY Oh, I'm just not lucky Harry. HARRY Look, it's not always luck, I mean, depending upon the placement of the numbers, a guy with 10 cards could win just as easily as a guy with 100. SHELLY Kinda like men. HARRY Oh, how do you mean? SHELLY You can be in a room with 100 men, and not like any of them, or you can be in a room with just one man, and he's exactly the one you want. Harry and Shelly are about to kiss each other, Vada sees this and doesn't look too happy about it VADA (in semi-deep fake voice) BINGO! BINGO ANNOUNCER We have a winner. Will the winner please raise their hand? CARL There was no bingo, it came from outside. VERNON How could someone outside get a bingo? CARL Someone outside didn't get a bingo, someone outside yelled bingo you moron! VERNON Who are you calling a mowon? (false teeth) VERNON'S WIFE Put a lid on it Vernon! CARL Put a lid on it?? If you weren't 200 years old, I'd kick your wrinkled ARSE!! The two old men then have a fight, Harry attempts to break it up HARRY Hey fellers fellers, it's just a bingo game. Meanwhile, Shelly has found it all rather amusing OUTSIDE VADA We can go now. Vada and Thomas J run off down the street VADA'S BEDROOM NIGHT, VADA IS LYING ON HER BED THINKING As she hears Harry's car approaching, she goes to her window and looks out it through the venetian blinds OUTSIDE STOPPED CAR Harry gets out of his side, comes round to the other side and then hesitates before deciding to follow his brothers advice and let Shelly get out herself, which she does, eventually SHELLY I had a good time tonight. HARRY I haven't had a bingo partner in ages. They walk up to Shelly's camper SHELLY Would you like to come in and see my house? Just for a minute. HARRY Okay, sure. They enter, Vada continues to watch them from her room INSIDE CAMPER, HARRY AND SHELLY ENTER SHELLY Home sweet home. HARRY It's nice. SHELLY I did it myself. I read a magazine article about how to maximize small spaces. HARRY Well it certainly looks bigger that it seems. SHELLY You can look in the bathroom if you want. People are always curious about that, like what happens when you flush. Harry moved toward the back of the camper and looks in the bathroom, and then flushes the toilet HARRY Yeah. SHELLY Are you mad at me? HARRY No, why? SHELLY I don't know, tonight you just seemed a little cool, not opening car doors and... HARRY Oh, that was Phil, trying to give me advice on dating 70's women. Look I'm so out of touch, I haven't dated women in ages, not since my wife died. SHELLY What happened to her? HARRY Ahh, complications during child birth, she died two days after Vada was born. SHELLY Did she ever see Vada? HARRY I brought the baby into the room a couple of times, she opened her eyes, yeah, yeah I think she saw Vada. It was..... Harry looks at the item that he picked up and was fiddling with to calm his nerves Did I ruin this? SHELLY Dance with me? HARRY Here? SHELLY This is where we are. HARRY Is there enough room? Shelly moves an object from the floor, which creates more room HARRY I haven't danced in..... SHELLY In ages, I know, me neither. They begin a slow dance HARRY Rock? SHELLY See, you're not that out of touch. (they dance) You're good. HARRY At Widdman High I was considered a pretty hot date, I did a killer frugue. Shelly smells Harry's neck SHELLY What are you wearing? HARRY Old Spice, Phil says it's a timeless classic. They continue to dance SHELLY Do you want to? HARRY Want to what? SHELLY Kiss me. HARRY Yes. SHELLY Good. They then have a long kiss SHELLY Good at kissing, and dancing, I'm very optimistic. They then kiss again, this time interrupted by the clock cuckooing HARRY I ahh, better go. SHELLY It's only eight o'clock. HARRY Goodnight Shelly. SHELLY Goodnight. Harry exits the camper followed by Shelly who stands at the door OUTSIDE CAMPER NIGHT, HARRY HAS JUST GOT OUT OF SHELLY'S CAMPER SHELLY Well, I guess it's official we had a date, maybe we can play bingo again sometime. HARRY I'm tired of bingo, maybe we should try that drive in of yours. SHELLY Goodnight. Harry waves VADA'S ROOM Vada finishes watching, and goes to bed SUMMER WRITING CLASS DAY MR. BIXLER Before the class started, Ronda and Justin wanted to lead the class in a group meditation. WOMAN Ooooh that's really cool. JUSTIN Okay what we're gonna do is, send our vibes out into the group. Justin turns on some kind of tape deck which begins to play weird music RONDA Everybody hold hands, and close your eyes. Relax your muscles and take deep breaths. JUSTIN Now, try to feel what the other person is feeling, without speaking any words, send out your vibe, and receive the vibes around you at the same time. Can you feel it? RONDA Okay, open your eyes. What did everybody feel? GUY I felt Mrs. Hunsaker's strength. OTHER GUY I can feel that Ronda is one with the Earth, she's so cosmically in tune. RONDA So right on, that's exactly what I sent out, and I felt like, you were full of inner peace and harmony. MR. BIXLER Vada, what did you feel. VADA I felt Justin's hangnail. JUSTIN No Vada, that's not what we're looking for, a hangnail is insignificant. What's in my soul, feel my aura. VADA I don't think I'm allowed to. JUSTIN I tell you what, let's try it again, hold hands. VADA'S THOUGHTS Grammoo once had a hangnail on her big toe. It got infected and traveled to her vocal chords, it ruined her singing voice, I don't think Grammoo thought it was insignificant. VADA'S ROOM, VADA LYING ON BED THINKING Vada gets out of bed and goes down corridor to see Grammoo, she seats herself cross legged next to Grammoo on her bed and takes her hands in an attempt to do some spiritual healing SUPERMARKET DAY, VADA AND HARRY ARE SHOPPING HARRY Lettuce, watch out for the rust when you get lettuce. Suddenly Shelly appears behind them and calls out SHELLY Hey, I thought I recognized you two, hi Vada. VADA Hi. HARRY I'm just picking some things up for the barbecue. SHELLY Yeah, me too, mind if I tag along? HARRY Not at all. Lot of potatoes! SHELLY It's for Shelly's famous potato salad. HARRY I'm looking forward to that. Vada, who is pushing the shopping trolley behind Harry and Shelly, obviously does not like the idea of Harry & Shelly, and she rams her cart into Harry HARRY HEY, OUCH, damn it!! Vada, watch what you're doing. VADA Sorry. SHELLY You know this is gonna be my first 4th of July picnic in a long time. HARRY Really? VADA (picking up large can of prunes) Dad, didn't you say you needed prunes REAL bad? HARRY Ahh, Vada, just put anything you want in the cart, anything at all. (to Shelly) I don't know what's gotten into her today. Vada begins to throw cans of every description from the shelf into the shopping trolley at regular intervals, not giving a stuff what they contain VADA'S THOUGHTS I used to like to play with my Ken and Barbie dolls, Ken was my favorite. Then one Christmas I got them a camper, and all they wanted to do was hang out in it by themselves. So I wasn't too upset when they took that wrong turn and went over a cliff. CLOSE UP OF AMERICAN FLAG DAY, HARRY - PLAYING TUBA, SHELLY, PHIL & VADA SINGING "STAR SPANGLED BANNER" AND GRAMMOO STANDING NEXT TO THEM WATCHING MUSTANG PULLS UP NEXT TO SHELLY'S CAMPER, IT STOPS AND TWO MEN GET OUT HARRY COOKING MEAT PATTIES ON BARBECUE, WHICH ARE BEGINNING TO LOOK CHARRED, PHIL IS STANDING NEXT TO HIM PHIL Harry Harry Harry Harry Harry, I told you to use fewer briquettes and now look what you've done. You've cremated them. HARRY That's what I do. Do you wanna do it?? PHIL No, no no.... HARRY Look if you think you know how, why don't you pre-measure the briquettes in little packages, put out a product, support me for a while! Phil exits scene, Shelly comes up behind Harry SHELLY How's it going chef? HARRY Okay. Vada is seen turning her head to look at Harry and Shelly, she doesn't like Harry and Shelly standing so close together, she decides to make her move and pushes in between Harry and Shelly VADA Are they ready yet? HARRY No, sweetie, not yet. Shelly begins to brush Vada's hair with her fingers, which Vada does not like and she shakes her head to get Shelly off VADA When? HARRY Soon honey, soon. Shelly again tries to fix up Vada's hair (which there doesn't appear to be anything wrong with) And Vada shakes her off again VADA When?? HARRY In a minute, look it's hot, sweetie you'll burn your nose, look out. Vada backs off, followed by Shelly THE TWO MEN THAT GOT OUT OF THE CAR ARE PROCEEDING UP THE SULTENFUSS' DRIVEWAY FOCUS ON PHIL, HARRY, VADA, SHELLY AND GRAMMOO AT THE TABLE OUTSIDE, SHELLY SAYS A SEMI-GRACE SHELLY Rub a dub dub, thanks for the grub, yay God. HARRY I'll second that. VADA Hey Shelly, like seafood? SHELLY Uh huh, why? VADA See food! Vada opens her mouth and displays half chewed BBQ cuisine to Shelly SHELLY (laughing) That's attractive. Shelly's glance moves to behind Grammoo on the other side of the table and beyond, where the two men are standing looking around SHELLY (under her breath) Oh shit! Excuse me... Shelly gets up and moves off to talk to the men, Vada and Phil turn so they can see what is going on, Harry can already see, Grammoo just sits staring into space MAN Hey Shelly, who lives here? (pointing at hearse) The Addams Family? SHELLY Danny, what are you doing here? DANNY What am I doing here????? What am I doing here? SHELLY (to other man in background) Hi Ralph. Oh Danny, how'd you find me here? DANNY You told everybody where you were going, I'm here for the motor home. Scene shifts to Vada, Phil and Harry for a moment PHIL These two people do not have a good relationship. SHELLY (in background) No! _I_ bought it, _I_ paid for it... Scene shifts back to close up of Shelly and Danny arguing SHELLY I've been living in it for over a year, the camper is mine. DANNY Excuse me, MUTUAL ASSET, that's what the lawyer said, it's supposed to be "OUR MUTUAL ASSET", not "Shelly's recreational vehicle". Gimme the keys. SHELLY Keep your voice down! DANNY What? SHELLY The boss is watching us... DANNY (sarcastic) I'm impressed. SHELLY God I guess i'll have to introduce you now. DANNY Yeah, all right... Shelly and Danny walk over to the table where the rest of the family are seated, Ralph follows close behind SHELLY (Talking to Danny, pointing at the people respectively) This is Harry, Phil, Grammoo and Vada Sultenfuss... DANNY Vada Sultenfuss?? Tough break. VADA (matter-of-fact) I like my name. SHELLY (to the Sultenfuss') This is Danny and Ralph, they own the Dino Raphael salon in Detroit. (pointing at Danny) We used to be married. VADA (extremely hopeful, to Danny) Are you here to take Shelly back? Danny shakes his head at Vada, then Harry gets up and walks round the table HARRY Uhh, it's nice to meet ya. Uhh, we got burgers and hot dogs here if you'd care to join us? DANNY Can't stay, I'm just here because my wife..... Shelly quickly interjects SHELLY Ex...ex, ex... DANNY My __EX__ wife seems to have ripped off my camper. HARRY Shelly? SHELLY Honestly Harry, he got the mustang, I promise..... DANNY I don't think so, I got a copy of the property settlement right here. Danny pulls out a piece of paper Ahh Shit, this is my lease...... Damn it, I keep forgetting things, I'm getting senile. HARRY Danny? DANNY WHAT? HARRY Okay, I know you've suffered a terrible loss, and there's really nothing anyone can do to comfort you, but I urge you to focus on the times you had with the camper, the trips you took, the sights you saw, those days are gone now, but they'll live on in your heart forever. DANNY (to Shelly) This guy bonking you? SHELLY (disgusted) Danny that's a real _bonehead_ thing to say! HARRY (to Danny) Look, you're not gonna take Shelly's camper. DANNY Oh.. Oh.. Oh no?? Oh? HARRY It's her home! It's where she lives!! DANNY Oh really, okay fine look, go cook, (to Shelly) Gimme the goddam keys. Danny tries to grab the keys from Shelly SHELLY Stop it! That hurts!! Harry is now VERY annoyed HARRY Danny..... As Harry says "Danny" for a second time he plants his fist in Danny's stomach with force, winding him and shutting him up FOCUS ON VADA AND PHIL'S FACES, WHICH ARE STARTLED FULL SCENE, SHELLY IS GAPING, DANNY IS BENT OVER WITH RALPH HOLDING HIM UP, VADA AND PHIL WATCHING CLOSELY AND GRAMMOO STARING INTO SPACE RALPH What'd you do that for?? HARRY Who are you? RALPH I'm his brother. HARRY Oh then you'll probably be visiting us here quite often. RALPH WHY?? HARRY Because if he ever tries to take Shelly's camper again, I'm gonna bury him in my front yard. Ralph looks rather disturbed by this FOCUS ON VADA AND PHIL, VADA STILL GAPING PHIL (quiet voice, to Vada) Your father is a savage. Vada looks up at Phil, Phil looks back and nods ROAD IN FRONT OF SULTENFUSS' HOUSE, DANNY AND RALPH IN CAR, SHELLY LEANING OVER WITH HER HEAD IN WINDOW NIGHT SHELLY Bye Ralph. The car with Danny and Ralph in it pulls away and Shelly waves SHELLY (to Harry) Well, you were pretty great! HARRY Is it really your camper? Shelly makes gesture with her right hand suggesting "sort of" Suddenly a sky rocket screams up in the sky and then explodes, Harry and Shelly look up and watch the fireworks SHELLY Can we see it from the back yard? HARRY You can get the general idea... They move off to the back yard... HARRY Yep, there they are... They always look the same every year... SHELLY Pointing upwards Look... HARRY Did you ahh, love him? SHELLY I would never marry anybody I didn't love. VADA AND PHIL SITTING ON SEAT-SWING WATCHING FIREWORKS VADA He must like Shelly, I never saw him hit anyone in his life. PHIL He likes her. VADA Does he love her? PHIL Probably. VADA Do you like her? PHIL Yes I do, and I think she's very good for your father. VADA Why? PHIL After your mother died, he was sad all the time, but before that, he was pretty funny. VADA Really? PHIL Now when I see him with Shelly, sometimes he seems like the old Harry. VADA My Dad was funny? PHIL Well he wasn't one of the Marx brothers, but he made me laugh. VADA'S THOUGHTS My Uncle fought in the Korean war, he had a steel plate put in his head, Daddy said he didn't come back the same, one night, he picked up a radio station from Oklahoma in his teeth, it was really neat. DR WELTY'S SURGERY, LOOKING AT VADA WHO HAS HER MOUTH OPEN WITH A TONGUE HOLDING STICK DOWN HER THROAT VADA Aaaaaaaaaahhhhh. VADA (with stick in mouth) Carnnk yu sheeee ik?? Dr. Welty removes stick from Vada's mouth VADA Can't you see it? DR WELTY No. VADA It's there. DR WELTY Vada there is no chicken bone stuck in your throat. Vada looks at the Dr.'s certificates up on the wall VADA Dr. Welty, are you sure those are yours? WAITING ROOM, NURSE RANDALL IS DEMONSTRATING A SYRINGE TO THOMAS J, HOW TO USE IT AS A WATER GUN NURSE RANDALL So you fill it with water like this, and what have you got? A water gun. THOMAS J Cool, can I get one for Vada? NURSE RANDALL Oh yes, yes. She gets another one out of her drawer Thomas, let me ask you a question. Does Vada ever tell you why she comes down here so much? THOMAS J Cause she's dying. NURSE RANDALL Do you think she is? THOMAS J No. NURSE RANDALL Why do you think she says that? THOMAS J Cause she gets scared of all those dead people in her house, and you know that saying, If you can't beat 'em, join 'em, well if she's one of them, she won't be as scared. NURSE RANDALL You know what I think? I think Vada's very lucky to have a friend like you. Nurse Randall hands Thomas J another syringe THOMAS J She's my best friend. The door to the doctor's surgery opens and Vada exits NURSE RANDALL Miss Vada, how are you feeling? VADA As good as can be expected. CORRIDOR OUTSIDE DOCTORS WAITING ROOM THOMAS J Hey Vada, guess what we got? VADA What? Thomas J begins to run, and as he passes Vada he squirts his syringe at Vada THOMAS J THIS!! (squirt) VADA HEY YOU!!!! (squirt) I'm gonna get you!!! (squirt) I'll get you!!!! Vada at this point is unarmed, and she chases Thomas J down the stairs FOREST DAY, VADA AND THOMAS J ARE RUNNING THROUGH IT FIRING THEIR WATER GUNS AT EACH OTHER AND YELLING AT EACH OTHER, HAVING FUN Suddenly Thomas J stops in his tracks THOMAS J Woah!! VADA What? THOMAS J Pointing There's a beehive right there! VADA So? THOMAS J Stand back. Thomas J stands a pace back behind a branch on the tree and begins to squirt the beehive VADA Are you crazy, you'll get stung!! THOMAS J You're right, let's knock it down. VADA What do you want it for anyway? THOMAS J For their meat. The two start throwing rocks at the hive, which gets damaged and eventually falls to the ground THOMAS J Got it! VADA My mood ring! It fell off! I gotta find it! They begin to search for Vada's mood ring Suddenly bees begin to swarm, luckily Thomas J notices in time THOMAS J They're alive!! Run for your life!!! Vada just stands there looking, Thomas J comes back and grabs her arm, this wakes her up and they begin to run THOMAS J Run faster they're after us!! VADA I am running faster!! THOMAS J Hurry!!! They have run to the spot with the weeping willow and the pier, they run out on to the pier VADA Jump in the water!! THOMAS J But I have my clothes on! VADA Do it! UNDER WATER VIEW OF THEM BOTH, HOLDING THEIR BREATH INSIDE VIEW OF FRONT DOOR TO SULTENFUSS' HOUSE, VADA ENTERS DRENCHED HARRY (in the distance, from upstairs) Vada is that you? VADA Yes.. HARRY Hey guess what? We're going to the carnival tonight, be ready to go in 10 minutes. Vada likes this news, she hurries up the stairs HARRY Shelly's coming with us. Vada is now not so happy CARNIVAL NIGHT, FERRIS WHEEL IS SPINNING, MANY PEOPLE ARE SCREAMING IN A TYPICAL CARNIVAL MANNER, SLOW ZOOM ON HARRY, SHELLY AND VADA SHELLY So Vada, what's your favorite ride? VADA I like the freak show. HARRY I know, I know, let's go on the "sit on the bench and rest" ride. SHELLY I don't think that that roller coaster agreed with your bad stomach. You know Vada you have to watch what you eat here, I remember one time I went to a carnival with my cousins David and Frank, and they both ate hot dogs, and the next day they came down with nephritis. VADA Nephritis? It's a kidney disease, you don't get it from hot dogs. SHELLY Well, I'm no doctor. All I know is, the next day they had really high fevers, and their faces got very fat. They baffled medical science, they were in a magazine. Vada and Harry give Shelly a "yeah RIGHT" look SHELLY They were!! "Popular Mechanics", no "Popular Science". I don't know, popular. HARRY, SHELLY AND VADA ARE STANDING AT A STALL WHERE OBJECT IS TO GET A BALL IN FISH BOWL SHELLY Oh look they're trying to hit that poor thing. HARRY Watch you don't knock out a fish. SHELLY Perfect. HARRY I don't know which ball's mine. Vada gets a ball in a bowl VADA I won, I won!!! SHELLY Oh great!! ATTENDANT Hooray, we have a winner, (picks up fish in plastic bag) There you go little girl. (gives fish to Vada) See how easy it is folks! Shelly inspects fish, holding it along with Vada SHELLY Oh Vada, that's a gorgeous goldfish. Vada notices something on Shelly's hand VADA Where'd you get that ring? All of a sudden Shelly looks up with a guilty look VADA (extremely hopeful) Did you win it? Harry and Shelly exchange looks, Harry smiles, followed by Shelly SHELLY Vada we have something to tell you. Harry? Harry sits down on table and looks at Vada in a matter-of- fact way HARRY Vada we have some good news, Shelly and I are getting married. Vada's expression begins to change from hopeful, to horror, but then she drops her fish VADA Oh my fish!!! Vada quickly bends over to pick up the fish HARRY We're having the wedding sometime near the end of the summer. VADA Not acknowledging Harry's comment You'll be okay little fish. SHELLY Vada? Would you like us to get you another goldfish? VADA (angry) NO!, He's fine. (less angry, talking to fish) Fish are very resilient animals you know. Don't worry, I won't get another fish. Shelly and Harry exchange worried looks, Vada doesn't seem to have understood ANNOUNCER THE BUMPER CARS!! THE BUMPER CARS!! FOR JUST 50 CENTS A HALF DOLLAR, FIVE DIMES, 10 NICKELS, WE HAVE A RIDE THAT'S GUARANTEED TO REARRANGE ALL OF YOUR INTERNAL ORGANS. SHELLY Oh bumper cars, oh you can't go to a carnival and not ride the bumper cars. HARRY I fall asleep at the wheel. VADA (malicious grin) I'll ride on the bumper cars with you! SHELLY Oh great Vada, come on... They run off leaving Harry to carry the teddy bear and the fish SHELLY (to the attendant) Uhh, two. (to Vada) I got the blue one!! Vada runs in past Shelly and seats herself in a car VADA NO! SHELLY Yes!! Shelly gets in the blue one SHELLY (pointing at Vada) I am gonna get you. Vada straps herself in, Shelly turns around and gives Vada the thumbs up, Vada looks VERY intent on brutally murdering something now, and she returns the thumbs up, as she does so, music begins to play and the power is turned on, the song is "Bad Moon Rising" HARRY Vada, keep your hands on the wheel!! Vada rushes straight at Shelly and rams into her at top speed, so that Shelly's car is spun around a little, Shelly screams, this is all in good fun, at the moment. Then Vada rams her again, and again, and again, and again, and eventually, Shelly does not look too pleased, she can't escape Vada HARRY Careful Vada, careful. HARRY Shelly LOOK OUT! WWHHAAMMM Shelly and Vada pull up along side each other, Vada gives Shelly a satisfied but still spiteful grin VADA IS RIDING HER BIKE ALONG HER STREET TOWARDS THE CAMERA, SHE STOPS AND DISMOUNTS OUTSIDE THOMAS J'S HOUSE Vada rings the Sennett's doorbell, and Mrs Sennett answers MRS. SENNETT Hi Vada. VADA Hi, can Thomas J come out? MRS. SENNETT Sure, come in. Thomas J is coming down the stairs THOMAS J Hi Vada. VADA Hi, wanna ride bikes? THOMAS J Sure. MRS. SENNETT Ohh, did you make your bed? THOMAS J Yes. MRS. SENNETT You're sure? THOMAS J It's made. MRS. SENNETT Come here, you've got a milk mustache. Mrs. Sennett wipes Thomas J's lip THOMAS J Come on, let's go. VADA Bye Mrs. Sennett. THOMAS J Bye Ma. MRS. SENNETT Have fun kids. The two exit the house OUTSIDE FRONT OF SENNETT'S HOUSE, VADA AND THOMAS J ARE WALKING DOWN THE STAIRS VADA I'm running away. THOMAS J Where you running to? They get on their bikes and begin to ride off VADA California, I'm going to Hollywood to live with the Brady Bunch. THOMAS J I wanna live with them too. VADA No, you can't, they have enough kids, you'll have to live with the Partridge Family. THOMAS J Really? SOMEWHERE ON A PATHWAY IN A LIGHT FOREST, VADA AND THOMAS J ARE RIDING THEIR BIKES Thomas J stops and then does Vada THOMAS J That's it. Thomas J goes and sits down on the river bank, Vada follows with an annoyed look VADA Get up!? THOMAS J I'm tired of running away. Besides, we past this place two times already. We're not getting nowhere. Vada sits down next to Thomas J THOMAS J Why are you running away? VADA My Dad gave Shelly a ring. THOMAS J Wow, was it a decoder ring? VADA You're such a retard, it was an engagement ring. THOMAS J They're getting married? Vada nods her head THOMAS J So now you'll have a mother. VADA I don't like her. THOMAS J I do, she's real funny. VADA He likes her better than me. A TREE DUSK, THOMAS J AND VADA ARE UP THE TOP OF IT THOMAS J I'm hungry, I can't last any longer. VADA Then go home, baby. THOMAS J I have to anyway, my mom will be worried. VADA Leave then, some friend you are. THOMAS J You can come to my house for dinner? VADA No, I'm hiding out. THOMAS J Okay, seeya. Thomas J climbs down from tree, and leaves DISSOLVE INTO NEXT SCENE VADA STILL IN TREE NIGHT, SHE LOOKS AROUND AND THEN DECIDES TO GET DOWN Vada jumps down, and we can now see that the tree was on the Sultenfuss' front lawn INSIDE VIEW OF FRONT DOOR, VADA ENTERS AND CLOSES IT As soon as Vada has entered, she waits for someone to come running and ask her if she's all right, where she's been, they were so worried etc., Nothing happens, all she can hear is the noise that the TV is making. So she opens the door again and slams it. Still nothing. She decides to give up, and go find Harry, she walks to the living room where the TV is on, Harry and Grammoo are asleep in their chairs Vada begins to ascend the stairs, depressed VADA'S THOUGHTS In social studies we learned some people stole the Limburg baby right out of his house, I think i'll sleep with my window OPEN tonight. OUTSIDE SULTENFUSS' HOUSE, A LOUD HIGH PITCHED SCREAM IS HEARD VIEW OF CORRIDOR LEADING TO BATHROOM VADA OH MY GOD!!! Vada bursts out of the bathroom and screams down the stairs VADA DADDY!! Daddy daddy!!!! Daddy!!??!?! Vada runs into a room where Shelly is VADA Daddy??!?!?! SHELLY Vada, Vada, what's the matter? VADA Where's Daddy? SHELLY Well he just left, what's wrong? VADA I'm hemorrhaging. SHELLY What do you mean you're hemorrhaging? VADA (very weak, scared voice) I don't want, I don't need your help.... Vada tries to run away, but Shelly stops her SHELLY Vada, did this happen in the bathroom? Vada nods her head SHELLY How old are you? VADA I'm eleven and a half. SHELLY It's okay, come on upstairs, we have to have a little talk. They exit VADA'S BEDROOM, VADA AND SHELLY SITTING ON BED VADA My Mommy and Daddy did THAT? SHELLY It's actually a very beautiful thing, and look there wouldn't have been a Vada. VADA I think it should be outlawed. SHELLY Believe me, some day, you'll feel differently. Door bell is heard ringing VADA Oh, that's probably Thomas J, I don't wanna see him. It's not fair. Nothing happens to boys. OUTSIDE FRONT DOOR OF SULTENFUSS' HOUSE, VADA OPENS DOOR THOMAS J Hi Vada, can you come out? VADA I dunno.. THOMAS J Please, it's real hot, maybe we can go swimming? Vada is angered by this, she comes storming out VADA NO! Vada pushed Thomas J hard enough to make him fall over, she is angry Get outta here!! And don't come back for five to seven days!!! Vada runs inside and slams the door, leaving poor Thomas J sitting on the porch looking startled FUNERAL ROOM OF SULTENFUSS' HOUSE, PIPE ORGAN IS BEING PLAYED, MANY PEOPLE ARE SEATED AND THERE IS AN OPEN COFFIN UP THE FRONT LIVING ROOM, VADA IS READING A BOOK, AND WATCHING GRAMMOO TO BE SURE THAT SHE DOESN'T WANDER OFF, VADA PUTS THE BOOK DOWN VADA Grammoo, I'm going to the bathroom, i'll be right back. She then gives Grammoo a little kiss, and makes her way out of the living room to the bathroom, closing the door behind her, as she goes to enter the bathroom she hears giggling coming from the next room, so she goes to investigate. Harry and Shelly are kissing and giggling. As she is watching this, Grammoo gets up, enters the funeral room and makes her way to the front, when she gets there, she picks up a rose, takes a look at the dead man, and begins to sing into the rose as if it were a microphone GRAMMOO It's quarter to three, there's no-one in the place, just you and me. As this is being sung, Vada hears and turns around with an OH SHIT look on her face, Harry and Shelly also hear it and make off for the funeral room, Vada quickly retreats into the room where Harry and Shelly were, closing the door behind her So santa-macho, I got a little story you oughtta know, we're comin' my friend, to the end of a brief episode, so make it one for my baby and one more for the road. HARRY I'm so sorry, it's all right ma, I'm very very sorry. ROOM IN SULTENFUSS' HOUSE, HARRY BURSTS IN, CLEARLY HE IS VERY ANGRY HARRY Grabs Vada by the shoulders Now what were you thinking, huh? HUH???? It's your responsibility to watch her!! Do you have any idea how upset those people are in there???! Vada breaks free from Harry's grip, and walks briskly out of the room. Shelly looks back at Harry expectantly WEEPING WILLOW TREE DOWN AT THE LAKES EDGE, VADA AND THOMAS J ARE SITTING UNDER IT RESTING QUIETLY VADA Why do you think people want to get married? THOMAS J Well when you get older, you just have to. VADA I'm gonna marry Mr. Bixler. THOMAS J You can't marry a teacher, it's against the law. VADA It is not. THOMAS J Yes it is, cause then he'll give you all A's and it won't be fair. VADA Not true. VADA (nervously, uncertain) Have you ever kissed anyone? THOMAS J Like they do on TV? VADA Uh huh. THOMAS J No. VADA Maybe we should, just to see what's the big deal. THOMAS J But, I don't know how. VADA Here, practice on your arm like this. Vada brings her forearm up to her mouth and starts to kiss it, Thomas J follows THOMAS J Like this? VADA Uh huh. (they kiss their arms for a while) Okay, enough practice. VADA Close your eyes. THOMAS J But then I won't be able to see anything. Vada raises her fist VADA Just do it. THOMAS J Okay, okay. VADA Okay on the count of three. CAMERA SWITCHES ANGLES TO GIVE A CLEAR SIDE ON OF THOMAS J VADA One. VADA Two. VADA Two and a half. VADA Three. Vada leans forward and kisses Thomas J on the lips, they both look surprised, Vada then sits back against the tree, long pause VADA Say something it's too quiet. THOMAS J Umm, Ummmmm VADA (agitated) Just, hurry. Thomas J stands up and begins to say something along the lines of... THOMAS J On political agents to the flag of the United States of America, Vada stands up and joins in THOMAS J & VADA And to the republic for which it stands, one nation, under God, individual, with liberty and justice for all. When they finish, they both still look a little uncomfortable ROAD DAY, VADA AND THOMAS J ARE WHEELING THEIR BIKES BACK DOWN IT VADA You better not tell anyone. THOMAS J You better not either. VADA Well, let's spit on it. THOMAS J Okay. Both of them raise their hands to their mouths and spit on them, they then shake hands and when finished wipe them off on their trousers VADA Seeya tomorrow. THOMAS J Okay, seeya. (Vada starts off down the road) Vada? VADA What? THOMAS J Would you think of me? VADA For what? THOMAS J Well if you don't get to marry Mr. Bixler. Vada smiles, and gets on her bike VADA I guess. As Vada rides off, Thomas J smiles BACK IN THE WOODS WHERE VADA AND THOMAS J HAD FOUND THE BEEHIVE Thomas J comes across the beehive, inspects it and then kicks it, he waits and then once he is adamant that there is no danger, he begins to search for Vada's mood ring, he searches, and as he does so, bees begin to swarm, he finds the mood ring, and by the time he notices that there are bees everywhere, it is too late.. THOMAS J (as he finds the mood ring) Yes! THOMAS J (reacting to the bees) Ow, ahh, NO!, Get away!!! We see Thomas J's glasses fall off onto the ground OUTSIDE FRONT DOOR, SULTENFUSS' HOUSE, POLICEMAN PRESSES DOORBELL, HARRY ANSWERS A policeman enters, takes his hat off and explains what has happened to Thomas J to Harry, who becomes clearly very distressed VADA'S ROOM, VADA IS FEEDING FISH, HARRY ENTERS HARRY Hi Vada. VADA Hi. HARRY What are you doing. VADA Feeding my fish. HARRY Is that the fish you won at the carnival? VADA Yes. HARRY He's getting big. (sad pause) Vada, come here and sit down for a minute. Vada sits down next to her Dad HARRY Vada, something happened to Thomas J last night, he stepped on a beehive. VADA (beginning to look worried) I told him not to tease those bees. Did he get stung? Harry nods VADA Maybe I should go over and yell at him. HARRY No sweetheart, you can't. VADA (looking very worried) Why not? HARRY He was allergic to bees. VADA (extremely worried) He's okay isn't he? HARRY (shakes head, near tears) There were just too many of 'em. When Vada hears this, her eyes begin to flood with tears and the expression on her face changes movingly, it looks as though she just lost the most special and important part of her life. And she has VADA RUNNING UP STAIRS INTO DOCTORS OFFICE VADA Dr. Welty!!!? Dr. Welty?? DR WELTY Vada, what's wrong sweetheart? VADA I can't breathe, I'm suffocating. DR WELTY Oh, wait relax now, let me look, let me look, come up here and we'll have a look. Dr. Welty lifts Vada up onto bed VADA It hurts, it hurts so bad, make it stop. DR WELTY What Hurts Vada? VADA The bee stings! I can't breathe! OUTSIDE SULTENFUSS' HOUSE, HARRY AND ARTHUR ARE BRINGING THOMAS J IN ON A STRETCHER INSIDE, CORRIDOR OUTSIDE VADA'S ROOM, SHELLY IS CLIMBING STAIRS CARRYING A TRAY OF FOOD, SHE STOPS OUTSIDE VADA'S ROOM SHELLY Knocks Vada? View shifts to inside Vada's bedroom, where she is curled up in a little ball on her bed I'm leaving some food for you by the door, in case you get hungry. Vada remains where she is, the doorbell rings DOWNSTAIRS, SHELLY OPENS DOOR TO REVEAL JUDY SHELLY Hi. JUDY Hi, is Vada home? SHELLY Yes she is, but she's very upset, so she's not seeing anyone. JUDY Oh, I'm Judy, I go to school with her, I wanted to tell her I'm sorry about Thomas J. SHELLY Well maybe she'll feel better in a couple of days. JUDY Will you tell her I came by? SHELLY Sure. JUDY Thank you. Bye. SHELLY Bye. Shelly closes the door PEOPLE ARE ENTERING THE FUNERAL ROOM REV Hi Harry. HARRY Ahh, Reverand Miles. REV The Sennetts want to thank you for taking care of things so quickly. THE FUNERAL ROOM IS FILLING UP, WITH THOMAS J AT THE FRONT IN A COFFIN CORRIDOR OUTSIDE VADA'S ROOM, SHELLY STOPS OUTSIDE IT SHELLY (knocks) Vada? I see you took your tray in, Vada is looking out her blinds at all the black cars and people dressed in black entering her house Maybe you should come down for the funeral, sometimes it helps. Vada? HARRY'S STUDY, HARRY IS LOOKING AT A PIECE OF PAPER, SHELLY ENTERS SHELLY She won't come out. It's been a whole day. You have to do something Harry. HARRY The funeral's starting. Shelly is now very emotional SHELLY Open your eyes, she's eleven years old! Her only friend in the world is dead. HARRY I know that, but what do you want from me? SHELLY Stop hiding Harry, you run Harry. When I first came here, the idea of working with dead people, didn't exactly thrill me, but when I saw a family lived here, I thought, "if I'm living without a family, at least I can work with one, and maybe once in a while i'll be invited in for supper." HARRY Yeah, and when those suppers are disrupted because there's a car crash, or there's a fire, or a little boy steps on a beehive. SHELLY I'm not asking you to stop feeling for those people. But life isn't just death Harry, don't ignore the living, especially your daughter. Arthur enters ARTHUR Excuse me Harry, Shelly, the minister's about to begin. HARRY Thank you Arthur. Shelly exits FUNERAL ROOM, MINISTER IS WALKING UP THE FRONT MINISTER We are here to honor Thomas James Sennett. He was born, May 7 1961, in Madison, Pennsylvania, and he was survived by his loving parents, Charles and Susan Sennett...... (fades as camera changes) CAMERA IS ON VADA, WHO IS SLOWLY MAKING HER WAY OUT OF HER ROOM The minister is heard to say this in the background MINISTER The family has asked me to say a few words before we proceed. No words that I could say, would begin to describe the loss and grieving, one word that keeps ringing in my ear is Why?. Why would God choose to take this little boy from us? I can't give you an answer to that question, but I can tell you that God has chosen Thomas J for some very special reason, we must find solace in knowing that Thomas J is now in Gods care. In that face, there is no sorrow such as.... The ministers words fade into the very moving music CAMERA IS ON VADA SLOWLY DESCENDING THE STAIRS AND LOOKING INTO THE FUNERAL ROOM, THE MUSIC, SCENE AND ACTIONS OF CHARACTERS IS GETTING TO THE POINT OF MAKING THE VIEWER CRY Vada stops and sits on a step where she can look through and see Thomas J lying in his coffin, she begins to cry BACK IN FUNERAL ROOM, VADA ENTERS AT THE BACK AND BEGINS TO SLOWLY MAKE HER WAY UP TO THE FRONT MINISTER ....disciples began to chastise them, and Jesus said "Let the children come to me, do not hinder them, for the Kingdom of God belongs to such as these. (the minister notices Vada coming around the front of the room) He laid his hands on their heads before he left that place, let us pray in silence. Vada has made it right up to the coffin, which she leans over and crying, says the following VADA Wanna go tree climbing Thomas J? CAMERA DOES A CLOSE UP OF THOMAS J'S BEE STING COVERED FACE CAMERA GOES BACK TO PREVIOUS SHOT INCORPORATING VADA AS WELL VADA His face hurts, and where is his glasses? He can't see without his glasses! Put his glasses on! (Harry and Shelly are rapidly approaching Vada, Shelly takes hold of her and tries to pull her away) Put on his glasses! He was gonna be an acrobat. HARRY He's gone sweetheart. He's gone! VADA Get away, get away!! Vada breaks away from Harry's grip and runs out of the room, followed closely by Harry and Shelly OUTSIDE THE HOUSE, VADA IS RUNNING DOWN THE STEPS, FOLLOWED CLOSELY BY HARRY HARRY Vada wait! Vada! Vada!! Harry stops running after Vada as she sprints off down the road Vada arrives at Mr. Bixler's house MR. BIXLER Vada! I was just on my way to your house. Are you all right? I'm so sorry about Thomas J. Vada covers her ears and begins to sing "doo-wah-diddy- diddy" MR. BIXLER Okay, okay we don't have to talk about him, Vada, Vada we don't have to talk about him, it's okay. We won't talk about him all right? VADA (crying) Justin and Ronda say that I should tell people what I feel. MR. BIXLER (nods) Come here, sit down over here. The two of them sit down on Mr. Bixler's porch Vada is clearly in a lot of pain and she wants it to stop VADA Mr. Bixler, (emotional pause) I love you. MR. BIXLER Oh, Vada... VADA I love you like my Dad loves Shelly. I wanna live here. MR. BIXLER Pause as he takes all this in I think your Dad would miss you. VADA No he wouldn't, I can't go home. A woman appears at Mr. Bixler's front door SUZANNE I'll be ready in a second, I just can't seem to find my other earring.... MR. BIXLER Suzanne, this is Vada. SUZANNE (comes over to Vada and crouches) Vada, hi, I'm really sorry. MR. BIXLER Could you just give us a minute? SUZANNE Yeah. Suzanne goes back inside VADA Who's that? MR. BIXLER That's Suzanne. (pause) She and I are gonna be married this Fall. As soon as Vada hears this, she reacts, shaking her head and backing off VADA No.... MR. BIXLER I...I was gonna bring her to class next week. I wanted to hear your poem. Oh Vada, please honey I cared for him too, Vada please! Vada, Vada sweetheart don't..... VADA Get away from me! Vada runs off down the road WEEPING WILLOW, VADA AND THOMAS J'S FAVORITE SPOT, VADA IS UP HIGH IN THE TREE Vada is climbing around in the tree, clearly trying to get somewhere of significance VADA'S THOUGHTS Why do you think people wanna get married? THOMAS J'S VOICE When you get old, you just have to. Vada pulls out her photo of her mother THOMAS J'S VOICE Who's that with your Dad? VADA'S THOUGHTS It's my mother. THOMAS J'S VOICE I'm gonna be an acrobat when I grow up. (pause) Vada, would you think of me? Well if you don't get to marry Mr. Bixler. VADA'S THOUGHTS Now we're blood brothers for life. Vada gets out to the end of a branch, and makes a daring jump to another, had she fallen she would be dead OUTSIDE SULTENFUSS' HOUSE, POLICEMAN CLIMBS STEPS AND RINGS DOORBELL, SHELLY ANSWERS POLICEMAN Shelly I'm sorry but we haven't found her yet. SHELLY It's dark, she can't be alone in the dark. POLICEMAN We'll keep looking. SHELLY We, no, we've been looking since this morning, her teacher called, and he said that she went there first..... POLICEMAN I know, I know you told us. SHELLY But I.... Shelly is cut off as the door opens and in walks a very shaken Vada SHELLY Vada. Are you okay? (Vada nods) Oh God. Shelly embraces Vada VADA'S ROOM, SHELLY AND VADA ARE SITTING ON VADA'S BED, SHELLY IS BRUSHING VADA'S HAIR VADA I should have told Thomas J that he was my best friend. SHELLY I'm sure he knew. Shelly puts a nightie on Vada VADA Shelly, I stole some money from your cookie jar, to pay for the writing class. Shelly ponders this for a moment SHELLY It's okay sweetheart. VADA I'll pay it back, besides, I don't think i'll ever go to class again. SHELLY I'll tell you what, you dedicate your first book to me, and we'll forget about the whole thing. VADA I will I promise. SHELLY Okay, get in to bed. Vada gets into bed and extends her arms to Shelly, they hug each other, Vada has finally accepted Shelly SHELLY Goodnight. VADA Goodnight. Shelly exits and turns off the lights DOWNSTAIRS, HARRY ENTERS SHELLY (sitting on stairs) She's in. BACK IN VADA'S ROOM Harry enters, walks over and kisses Vada, then turns around and begins to exit VADA Did I kill my mother? HARRY What?? VADA The bees killed Thomas J, and I killed my mother. HARRY No, no. Harry pulls up a chair and sits down next to Vada HARRY No sweetie that wasn't your fault, things like that aren't anybody's fault, it just happened. Vada pulls out the photo of Harry and Vada's Mom from under her pillow VADA I found this. HARRY I forgot about that picture, where did you find it? VADA In the garage. HARRY Ahh, that little Chevy was your mothers favorite car. VADA What was my mama like? HARRY She was pretty, and kind, she had your eyes. Oh boy did she love to laugh. Sometimes when you laugh, you sound just like her. VADA Really? HARRY Uh huh. You know what your mother did when she found out she was gonna have you? She came home and painted this whole room pink. She was so sure she was gonna have a little girl. VADA Do you miss her? HARRY Yes, I did, very much for a long time, and even now, I get a little sad when I think of a pretty flower or a sunset that your mother would have liked. VADA I think every time I see a climbing tree i'll think of Thomas J. HARRY That's good, memories are good sweetheart. Vada, I'm sorry; I was trying to keep it from you, I just couldn't. You're a good girl, and I want you to be happy; don't be an old grump like me. (Vada puts the photo back under her pillow, Harry gets up and kisses her) Seeya in the morning. Harry begins to leave room VADA Daddy, it's not so bad to be like you. A CAFE IN TOWN, HARRY IS EATING, MRS. SENNETT COMES AND KNOCKS ON THE WINDOW Harry makes his way out of the cafe to talk to Mrs. Sennett HARRY Mrs. Sennett, how are you doing? MRS. SENNETT Some days I think i'll be okay, others, well I have to force myself even to get out of bed, I know it's crazy, but sometimes I think he's just away at summer camp. How's Vada? HARRY Oh she's doing much better. Ahh she's just inside. (walks over to entrance) VADA! Vada, who is inside talking to someone, hears and comes outside VADA Mrs. Sennett. (she runs and gives her a hug) MRS. SENNETT Vada. I've been wanting to come over to see you, (she reaches inside her purse and gets out something, it is Vada's mood ring) Thomas J had this on him, I thought you might like to have it. Vada slides the ring onto her finger, the ring is BLUE You were such a good friend to him, I hope you'll still come by and visit me. VADA I will, I promise. Mrs. Sennett looks at Harry as if to say good-bye, and then walks off slowly VADA Mrs. Sennett. (she stops and turns around to look at Vada) Thomas J will be all right, my mother will take care of him. MRS. SENNETT Thank you Vada. She then turns and walks off SUMMER WRITING CLASS, FOCUS ON MR. BIXLER MR. BIXLER (reading from book) Encased in talent, like a uniform, the rank of every poet, is well known. They can amaze us like a thunderstorm, or die so young, or live for years alone. My advice to you on our last class, be a thunderstorm. JUSTIN What exactly do you mean by that? MR. BIXLER I mean, be dangerous (Vada enters the back of the room) And unpredictable. And make a lot of noise. Mr. Bixler sees Vada MR. BIXLER Vada. As Vada is noticed, she goes around getting hugged by everyone JUSTIN Hey, we missed you man! Gimme a hug! Vada gives Justin a hug, she then proceeds towards Mr. Bixler MR. BIXLER I was hoping you'd stop by today. Vada and Mr. Bixler hug each other VADA I can't stay, I just came to read my poem. MR. BIXLER We'd love to hear it. VADA Weeping willow with your tears running down, Why do you always weep and frown, Is it because he left you one day, Is it because he could not stay, On your branches he would swing, Do you long for the happiness that they would bring, He found shelter in your shade, He thought his laughter would never fade, Weeping willow stop your tears, There is something to calm your fears, You think death as if you forever part, But I know he'll always be in your heart. There is a long pause as it sinks in, everybody remains silent, then just before the scene changes, the Temptations song "My Girl" begins to play OUTSIDE THE SCHOOL, VADA COMES OUT THE DOOR AND DOWN THE STEPS WHERE JUDY AWAITS HER VADA Hi Judy. JUDY Hi Vada. VADA'S THOUGHTS Things are a little better these days; I finally swallowed that chicken bone, Judy and I are gonna be in the same home room and the republican party just re-nominated Mr. Nixon. Vada and Judy ride off down the road on their bikes, the camera angle rises and the credits begin to roll as the song My Girl plays THE END \ No newline at end of file diff --git a/unformated_scripts/Script_My Mother Dreams the Satan's Disciples in New York.txt b/unformated_scripts/Script_My Mother Dreams the Satan's Disciples in New York.txt new file mode 100644 index 0000000000000000000000000000000000000000..28f5b239a3a230b2c831b151834a361ccf6609c0 --- /dev/null +++ b/unformated_scripts/Script_My Mother Dreams the Satan's Disciples in New York.txt @@ -0,0 +1 @@ +"MY MOTHER DREAMS THE SATAN'S DISCIPLES IN NEW YORK" FADE IN: EXT. SOUTH DAKOTAN FARM - DAY A lone farmhouse sits isolated against a prairie backdrop, silhouetted by a marbled dawn sky. INT. FARMHOUSE - DAY MARIAN PETERSON, a gray-haired woman in her late sixties, meticulously packs a suitcase. She picks up a small, framed PHOTO from a chest-of-drawers and holds it up to her. INSERT - PHOTO It's a picture of a man about Marian's age. He has a sweet natured smile on his face. Marian looks at it longingly, then packs it carefully in her suitcase between some sweaters and closes it up. EXT. FARMHOUSE - DAY A paint-chipped truck rounds the corner on a dirt road leading into the farm. Marian, waiting on the porch, ready to go, rises and waves. A FEW MOMENTS LATER - Marian's son, STEVE, dressed in jeans and flannel shirt, loads his mother's single piece of luggage into the bed of the truck, climbs back into the cab, where his mother is sitting, and drives off. DISSOLVE TO: EXT. THE SKY - DAY A JETLINER descending in the hot, cerulean sky. DISSOLVE TO: EXT. KENNEDY INTERNATIONAL - AFTERNOON Marian, looking a little forlorn and out of sorts, stands out by the taxi area with her suitcase on a tote, looking around for a cab, unsure what to do. CURBSIDE - A FEW MINUTES LATER MISCHA, a somewhat dissolute-looking Russian cabbie in his thirties, roughhouses Marian's single piece of luggage into the dirty, cluttered trunk of his cab. INT. TAXI - DAY Marian is sitting in the back of the cab as Mischa opens the driver's side door and slams it shut, rattling Marian's nerves. MISCHA (brusquely) Where to? MARIAN Are you sure you got my bag in? MISCHA What do you think? I left it on the curb? MARIAN I'm sorry, I'm a little nervous. It's my first time in New York. Just a minute. Marian fumbles with a piece of paper she's rooted out of her purse. Mischa, annoyed, slams the shift lever into Drive and lurches off. Marian leans forward into the rectangular opening of the Plexiglas partition. MARIAN I want to go to 526 East 5TH. That's in the East Village. My daughter said it would cost thirty dollars. In the REAR-VIEW MIRROR we glimpse Mischa giving Marian a sly look. CUT TO: EXT. LOCATION - DAY The TAXI passes on a turnpike, streaming with vehicles, headed toward Manhattan. DRIVE-BY TRANSITION. INT. TAXI - DAY Hurtling along. Marian cranes her head through the partition and attempts to strike up a conversation with the surly cabbie. MARIAN I came to New York to visit my youngest daughter. MISCHA And where is she? MARIAN She would have come to the airport to meet me - she wanted to - but ... but, she just started a new job and, well, I guess no one drives here. MISCHA So, you come here all by yourself? MARIAN Uh, yes. My husband passed away recently ... MISCHA ... Oh ... MARIAN ... And the children thought I should take a trip. MISCHA Yeah. MARIAN I'm from South Dakota. Where are you from? MISCHA Moscow. MARIAN Ohhh. Do you know the East Village? MISCHA Oh, yeah ... yeah ... it's a hellhole. MARIAN (disconcerted) You mean it's dangerous? MISCHA Nah, not dangerous. Not that dangerous. (beat) Not during the day. Mischa chuckles as Marian sits back in the cab. ANGLE ON MARIAN - looking out the window, her face clouded with consternation. EXT. BRIDGE - DAY Cars pouring into Manhattan over one of the many bridges spanning the East River. CUT TO: EXT. EAST 5TH STREET AND 2ND AVENUE - DAY The cab brakes to a halt, bringing Marian INTO THE FRAME, her face strickened with fear. Marian climbs out of the cab as Mischa, in the background, opens the trunk to retrieve her bag. Marian, taking in the foreign surroundings, seems confused about something. MARIAN Pardon me, Mischa. Is this 526 East 5TH Street? Mischa closes the trunk and approaches Marian with her one piece of luggage on a tote. MISCHA No, no. Sorry, I can't drive you to door. There's a roadblock on Avenue B ... (he gestures down the street) right there ... MARIAN'S AND MISCHA'S P.O.V. - At the far end of the block, we SEE a movable, blue NYPD roadblock. BACK - The two of them, Marian looking puzzled. MISCHA This is one-way street. You go down the block to the middle. MARIAN (pointing uncertainly) This way? MISCHA Yeah. Not far. You will be fine. (beat) It's still day. He chuckles to himself, but Marian doesn't get the joke. MARIAN I see. How much? MISCHA Forty-five all total. MARIAN Forty-five? I thought it was only supposed to be thirty? MISCHA Thirty is base price. Tolls, tax, tip ... it all adds up. Marian unsnaps her wallet and grudgingly hands the disreputable cabbie two twenties and a five. Mischa takes the money and starts away. Halfway back to his cab, he turns around and calls out to Marian, who stands frozen on the dilapidated street. MISCHA Hey, lady. (Marian turns) Hold purse like this. Mischa hugs an imaginary purse close to his side. Marian apes his advice in all seriousness. MISCHA (nodding approval) Good luck. Mischa climbs back into his cab and peels off. NEW ANGLE - HIGH DOWN WIDE of Marian standing forlornly at the end of the street, a Dayton's shopping bag in one hand, her luggage strapped to the tote in the other. TITLE IS SUPERIMPOSED: MY MOTHER DREAMS THE SATAN'S DISCIPLES IN NEW YORK CUT TO: EXT. EAST 5TH STREET - DAY - A FEW MINUTES LATER Marian pulling her luggage apprehensively down the street. She passes THE SQUATTERS, a motley group of homeless teenagers, pierced, tattooed, wild hairdos and even wilder attire. SQUATTER #1 Hey, lady, can you help us out with some change today? Marian, shocked by their circumstances, rolls her luggage past them, smiling faintly. SQUATTER #2 Come on. Every little bit helps. A little food, you know? MARIAN Maybe some other time. SQUATTER #1 Thanks a lot anyway. Marian continues on. She's distracted by ... A WOMAN in her thirties, who looks like she hasn't slept in a week, bent over the railing of a second-story fire escape balcony, in the throes of a veritable rage. WOMAN IN A RAGE You forgot your fucking plant, you fucking asshole! Marian stares up at her, even more disconcerted than ever. The enraged woman continues her tirade at an unseen old boyfriend below. WOMAN IN A RAGE And there's a lot of other shit in there you forgot. Just wait there, I'm going to go fucking get it for you, all right? No, just wait there! Do you want me to go get it for you? Well, why don't I just do that, huh? I'm going to do that right now! Marian looks away and, intrepid Midwesterner that she is, pushes on. A MAN, dressed strangely, stands surreally in the middle of the street, blowing huge clouds of cigarette smoke. A GAY COUPLE parade past, laughing hysterically. NEW ANGLE - AT THE END OF THE STREET - A PACK of unmufflered, chrome-coruscating HARLEYS round the corner in a ear-shattering approach. MARIAN - stops dead in her tracks and stares in heartstopping terror. ACROSS THE STREET - The BIKERS, wearing their club's colors embroidered on blue jeans, and leather, vests, back their motorcycles in a uniform row against the curb, kill their engines, park them at an angle on their kickstands, and dismount. They high-five a biker known as the DISCIPLE PROSPECT, a small, mean-looking man with a red bandana tied taut over his head, and then disappear into the windowless clubhouse, passing through a large, forbidding, black door with the skeleton of Death riding a motorcycle painted on it. The Disciple Prospect tosses the butt of a cigarette into a rusted steel drum and flames erupt. MARIAN - in horror, cannot pry her eyes away from them. NEW ANGLE - An upstairs window on a six-story, red-brick co-op building. PAULA, Marian's daughter, a pretty woman with short dark hair, is leaning out the window, waving. PAULA Mom! Hi! I'll be right down. EXT. THE FRONT SECURITY DOOR - A FEW MOMENTS LATER Paula emerges to greet her mother. Marian glances one last time across the street and exchanges oblique looks with the Disciple Prospect, now parked on a stool next to the burning drum. He seems to home in on her. INT. CO-OP - TWILIGHT - A FEW MOMENTS LATER A nice, one-bedroom co-op, tastefully furnished. Paula is unpacking Marian's things. Marian stands in the middle of the apartment, feeling relaxed, if still a bit shaken, for the first time since she arrived. PAULA So, what do you think? MARIAN Well, once you're inside, it's nice. PAULA You don't like where I live? Marian walks over to the window and peers out. MARIAN Well, when I walked up the block, I ... well, my word! PAULA That's New York. It looks rundown, but it's safe during the day. You'll get used to it. Marian returns her gaze to the view out the window. EXT. STREET - TWILIGHT - MARIAN'S P.O.V. - Out the window. Two BIKERS stand with their arms crisscrossed against their leather-vested chests, framing the burning drum on the sidewalk, guarding the phalanx of Harleys. CUT TO: INT. CO-OP - NIGHT - LATER Paula and Marian are sitting at the dining table. They're studying one of those plastic laminated maps of New York that you can buy everywhere. Paula is attempting to acquaint her mother with Manhattan's complex public transportation system. PAULA You take the M-15 bus all the way to ... 79TH Street. And then you take the crosstown bus to 5TH Avenue, and the Metropolitan Museum of Art is right there. You can't miss it. Marian removes her glasses and fixes her gaze on her daughter. MARIAN I wanted to ask you something. Those motorcycles across the street ...? PAULA Uh-huh? MARIAN ... What are they all doing there? PAULA That's the Satan's Disciples' New York headquarters. MARIAN (alarmed) The motorcycle gang? Don't they deal drugs and rape young girls? PAULA I've never had any problem with them. People say it's the safest block in the East Village. (lays a reassuring hand on her mother's arm) I just hope their motorcycles don't keep you up at night. CUT TO: INT. CO-OP - NIGHT CRANE UP to Marian lying wide awake on a convertible sofa next to the street window. We (Marian!) hear VOICES, MOTORCYCLES REVVING, POLICE SIRENS, followed by what sounds like GUNFIRE, tires SCREECHING, a cacophony of sounds typical of summer nights in the East Village. We go UP and OVER Marian toward the window as imaginary voices flood in and become intelligible. RANDOM VOICES (O.S.) Did that shipment of heroin come in? That old lady see them? We can kill her if we have to. RAUCOUS LAUGHTER erupts. EXT. STREET - NIGHT - MONTAGE A Kenneth Anger Scorpio Rising-like MONTAGE: A black-booted foot kick-starts a Harley. A gleaming chrome exhaust pipe vibrates and spits smoke. A black-gloved hand revs a handle-bar accelerator. A helmet is pulled down over a Hun-like face. Flames roar in the steel drum as though a signpost in Hell. One of the DISCIPLES, bare-chested, long-haired, sweating, swings a baseball bat and calls out to Marian in a singsong voice: BIKER Oh, Marian ... Another half-naked BIKER, arms tattooed up and down, has Marian's suitcase open and is scattering her belongings out into the street. He finds the framed photo of her deceased husband and tosses it to the pavement. He raises his head slowly with a sneer and looks up at ... MARIAN - standing in the window in her nightgown, a hand covering her mouth, looking down in utter terror on the fire-lit tableaux of her nightmare. THE BIKER ON THE STREET - starts stomping on the photo with the heel of his boot, shattering the glass. Then he removes the photo from the frame and slowly drops it into the roaring conflagration in the oil drum. The other dawdling Disciples guffaw loudly. SLAM CUT TO: INT. CO-OP - NIGHT Marian wakes with a start, consciousness giving way to a sigh of relief. FADE TO: EXT. CO-OP BUILDING - DAY ESTABLISHING SHOT of Paula's red-brick co-op, splashed with sunlight and framed by a bright blue sky. INT. CO-OP - DAY It's quiet in the co-op. Marian is dusting the bookshelves and humming to herself. Behind a shelf of books she discovers a PHOTO ENVELOPE with some snapshots in them. Curious, she has a look-see. SNAPSHOTS - flipping through Marian's hands. They chronicle Paula and a BOYFRIEND on a recent vacation to a Caribbean island. Marian is amused by them ... until she comes to one showing Paula with her bathing suit top off, arms raised giddily in the air. MARIAN - gasps, then blushes and quickly replaces the pictures. INT. CO-OP - DAY - LATER Marian is at the window, peering through the furling curtains. EXT. STREET - DAY - MARIAN'S P.O.V. - Looking down on the Satan's Disciples' clubhouse. Two BIKERS and their GIRLFRIENDS swagger out of the clubhouse, don their helmets, mount their bikes, kick-start them to life and roar off down the street. MARIAN - draws away from the window. She picks up her "Streetwise Manhattan" laminated map, puts her glasses on, looks at it, debating whether to tackle the streets of New York or not. A FEW MINUTES LATER - Marian, determined now to get out of the co-op, pulls her purse over her shoulder and grips it like the cabbie instructed. Then she moves to the front door, opens it, and steps warily out into the hallway. She freezes when she HEARS THUNDERING FOOTSTEPS. INT. HALLWAY - DAY Marian cowers against the half-open door as a young MAN, wearing faded jeans, black cowboy boots, and leather vest over a naked torso, comes charging down the stairs pulled by a frothing, pent-up BULLDOG on a leash. As he passes, Marian retreats quickly back into her unit, closes the door, and locks the locks from inside. CUT TO: INT. CO-OP - NIGHT Paula is hanging up her coat and setting down her briefcase, an incredulous expression on her face, looking at ... Marian, sitting in a chair by the window, leafing through a magazine. PAULA (mildly rebuking) You didn't leave the house all day? Marian shrugs. CUT TO: EXT. NEW YORK - DUSK Manhattan skyscrapers framed against a twilit sky. INT. RESTAURANT/BAR - NIGHT Marian and Paula are sitting at the bar. They each have a glass of white wine in front of them. Paula is looking at some PHOTOS of the farm that Marian has brought along. MARIAN Would you look at those strawberries. They made the best jam. (passes Paula the photos) Here are some more pictures of the farm. Crops were unbelievable this year. Paula continues to browse through the snaps. MARIAN Plenty of rain. Your dad would have been happy with that. Marian removes a pill from a small vial she's rummaged out of her purse and slips it discreetly into her mouth. MARIAN I just can't seem to focus on anything these days. PAULA (turning to her mother) That's why it's good you came to visit me. MARIAN (washing her pill down with some wine) How are you doing sweetheart? PAULA I'm good. MARIAN Dating anyone? PAULA No, I'm working too much, I don't have time. MARIAN What about the fellow in those pictures? PAULA What pictures? MARIAN You know ... (raises both hands in the air) ... whoops! PAULA (blushing) Mother! MARIAN Well, they were right out in plain view. PAULA Behind the books. MARIAN But I was dusting. PAULA (reluctantly explaining) I was seeing Aaron and there were some ... complications. MARIAN He seemed quite taken with you. PAULA I don't want to talk about it. MARIAN (hurt) You know, you never tell me anything. PAULA That's not true. (lays a placating hand on her mother's arm) Besides, I don't want you dusting. I want you to see New York. CUT TO: EXT. EAST 5TH STREET - NIGHT Marian and Paula, arm-in-arm, walk down the block back to her building. A MOTORCYCLE rounds the corner, slows to a crawl, and one of the Satan's Disciples stares over at the two of them as if casing them out. Paula won't look at him, but Marian can't avert her gaze. DISSOLVE TO: INT. CO-OP - NIGHT Marian lying awake in bed, the ENGINES of the Disciples' Harleys deafening ... DISSOLVE TO: EXT. SATAN'S DISCIPLES' CLUBHOUSE - NIGHT DOLLY ACROSS a line of idling Harleys, the bikers, one at a time in succession, switching their single-beam headlights on. PAN ACROSS the FACES of the Disciples, mounted on their cycles, dark helmets, faded blue jeans jackets embroidered with elaborate stitching of their club's insignia, cigarettes dangling from their hirsute mouths, baleful-looking countenances, revving their engines loudly, tauntingly. NEW ANGLE - From across the street, Marian, appearing like an apparition in her nightgown, surreally walks toward them, a beseeching look on her face. MARIAN Excuse me. Could you please turn your motorcycles off? They're so loud, I can't sleep. GO TO SLOW MOTION as the BIKERS, some ten in number, slowly approach the frail-looking Marian. Gently, they pick her up off the ground and raise her aloft. Then, like some moving human bier, they carry her through the forbidding black door into their clubhouse. INT. CLUBHOUSE - NIGHT We follow Marian down a dark corridor leading into the bowels of the clubhouse. DISSOLVE TO: INT. DREAM CORRIDOR - NIGHT At the end of another corridor, a MAN stands, silhouetted against an explosion of blue light. As we near the ghostly figure, we REALIZE it's Marian's deceased husband. There's a GUN SHOT. SLAM CUT TO: INT. CO-OP - NIGHT Marian wakes with a start, clutching a hand to her breast. INT. KITCHEN - A FEW MOMENTS LATER Marian shakes a Valium out of a vial, puts it into her mouth, swallows it with a drink of orange juice. FADE TO: INT. PAULA'S CO-OP - THE NEXT DAY Marian, not wanting to be a disappointment to her daughter, damn her fears, gathers her purse up and starts out the door. INT. HALLWAY - DAY Marian is again prevented from an easy exit when a young, hip looking COUPLE come bounding down the stairs. As she stands at her open door to let them pass, they completely ignore her as if she didn't exist. EXT. EAST 5TH STREET - DAY - A FEW MOMENTS LATER Seen from Marian's perspective across the street, the front of the Satan's Disciples headquarters is quiet. There are only a couple Harleys parked out front. Marian, relieved that there are no bikers out, hurries off in the direction of First Avenue, determined to see the sights of the city. DISSOLVE TO: EXT. NEW YORK CITY - DAY - MONTAGE A giddy, almost dreamlike, MONTAGE of Marian touring New York. She's SUPERIMPOSED over famous landmarks, as if she were standing stationery and the city were in a diorama rotating all around her. The Empire State Building; Circle Cruise Line; eating a hot dog from a street vendor; shopping at Macy's. Marian beams as she is magically whisked along, walking on air. DISSOLVE TO: EXT. EAST 5TH STREET - DAY Marian comes INTO THE FRAME around the corner. She has a spring in her step and a broad smile emblazoning her face. But her sanguine mood is quickly shattered when she HEARS shouting. She freezes in her tracks. ACROSS THE STREET - THE SATAN'S DISCIPLES HEADQUARTERS - The Disciple Prospect and another Biker are roughing up a teenage KID, wrestling him into submission. DISCIPLE PROSPECT You're just chilling, huh? Not on this block, do you understand? MARIAN - at the security door of Paula's building. She rummages anxiously through her purse, but she can't find her keys! MARIAN Oh, no. Marian glances across the street, her face tensed with fear. ACROSS THE STREET - The Bikers continue to roughhouse the Kid. The Disciple Prospect brandishes a plastic bag under his nose. DISCIPLE PROSPECT What's this, huh? KID I ain't got shit on me. DISCIPLE PROSPECT What is that? You're chilling, man? Well, then maybe we need to warm things up for you, man. How many times do we got to tell you? You don't listen and you don't learn and that's the problem. That is the problem. MARIAN - turns away from the escalating violence across the street and punches one of the buttons on the intercom. A WOMAN'S VOICE crackles over it. WOMAN'S VOICE (O.S.) Hello? MARIAN My daughter lives here and I'm her mother and I've lost my keys. There's no answer. MARIAN Hello? Hello? Marian returns her frightened gaze to the altercation across the street. ACROSS THE STREET - MARIAN'S P.O.V. Two more DISCIPLES emerge from the clubhouse. One of them squirts lighter fluid on the fire burning in the steel drum and the flames explode. Then KID is dragged over toward the fire. The Disciple Prospect drags him dangerously close to the flames. DISCIPLE Roast him! KID (screaming) All right all right all right. MARIAN - petrified, as if she'd stepped into a re-enactment of a passage out of Revelations, walks briskly down to the middle of the block toward a pay phone. DISCIPLES CLUBHOUSE - The Disciples kick the drug-dealing Teenager a couple more times, then set him free, laughing as he flees down the block in mortal fear. PAY PHONE - Marian drops the appropriate coins in the coin slot and dials a number from memory. MARIAN (quavery voice) Yes, is Paula there? ... Could you leave her a message, please? Tell her it's urgent. (gathers herself) Her mother has lost her keys and is stranded on the street with the Satan's Disciples ... When she comes back, would you tell her to come home as quickly as she can? ... Thank you. Marian hangs up the phone and turns, quails in terror. NEW ANGLE - The Disciple Prospect is towering over her, staring down at her with a scowl on his face. MARIAN Oh, please, don't hurt me. DISCIPLE PROSPECT I just need to use the phone, lady. MARIAN Oh, let me get out of your way then. DISCIPLE PROSPECT What happened? Did you lose your keys? MARIAN (withdrawing anxiously) Have a nice day. WIDE SHOT - Marian walks quickly ACROSS THE FRAME. As she EXITS RIGHT, the Disciple Prospect ENTERS LEFT and trails after her. EXT. PAULA'S BUILDING - DAY - A FEW MOMENTS LATER Marian is at the front entrance, uncertain what to do. She quailss when the Disciple Prospect approaches. Without a word, he reaches his arm over her and presses a buzzer to one of the units. WOMAN'S VOICE (O.S.) Hello. DISCIPLE PROSPECT Washing machine repairman. The DOOR BUZZES almost at once, and the Disciple Prospect pushes it in and holds it open until Marian is safely inside. He looks at her a little annoyed. Marian is absolutely nonplussed. CUT TO: INT. CO-OP HALLWAY - LATER THAT DAY Paula comes running up the stairs. She stops when she SEES: MARIAN - sitting on the floor, propped against the door to their unit. Paula shakes her head reprovingly at her mother who just shrugs, chagrined. INT. CO-OP - BATHROOM - NIGHT - LATER Paula is in the bathroom. She has her mother's vial of Valium in her hand. PAULA Maybe you should lay low tomorrow. I'm going to see if I can get off early and maybe we can take the ferry cruise. Okay? LIVING ROOM - Marian is standing at the window looking down on the street. EXT. STREET - NIGHT - MARIAN'S P.O.V. The Disciples are backing their bikes against the curb, parking them, and filing into the clubhouse. BATHROOM - Paula dispenses the remaining pills into the palm of her hand. PAULA (to herself) Three left. LIVING ROOM - Marian looking apprehensively down at the Disciples' headquarters, stupefied. Paula emerges from the bathroom in the background. Marian doesn't turn to acknowledge her. She continues to stare transfixed at the bikes and the fire-burning oil drum. PAULA (softer) Okay? Does that sound like a plan? Marian doesn't answer. Paula stands some distance from her distracted mother, a worried expression featured on her face. FADE TO: INT. CO-OP - DAY Looking through the security eyepiece, a FISH-EYE LENS SHOT of an attractive, but distraught woman in her twenties, puffing a cigarette, eyes red and swollen from crying. MARIAN Who is it? MARIKA It's Marika. Is Paula there? MARIAN She's at work. I'm her mother. MARIKA Oh. I thought today was Saturday. Marian, seemingly reassured, opens the door for her. She sees Marika, realizes she's upset about something, and feels immediately compassionate toward her. MARIKA I'm sorry. I had a wretched night. MARIAN Oh. You need a cappuccino. And she lets Marika in. INT. CO-OP - DAY - A FEW MINUTES LATER They're sitting at the dining table, having coffee. Marian is listening sympathetically to Marika's tale of woe. MARIKA And there was this number on my phone bill that I didn't recognize. Calls made at three and four in the morning. So, I called the number ... and a woman answered. And I ... I hung up. (leans forward) So, then I followed him. Just like in the movies. And I found out that he has a wife and a little girl living in Brooklyn. We had been going together for almost a year. MARIAN (shaking her head in disgust) Men ... they're all the same. (beat) Our pastor in Sioux Falls was caught with his wife's sister. MARIKA (brightening) Really? MARIAN Oh, it was such a big scandal. MARIKA What happened? MARIAN Poor man had to leave town. (Marika laughs) And I hear that other women came forward. This makes Marika laugh even harder. Marian's story seems to have assuaged her own grief in some parallel way. MARIAN You know, you ought to come out to South Dakota some time and meet my son, Steve. He's single. MARIKA What does he do? MARIAN He's an organic farmer. MARIKA (chuckling) Oh. Well, that would be a ... change. (smiles warmly) Thank you, Mrs. Peterson. You have a very reassuring voice. The Disciple's MOTORCYCLES GROWL OFF SCREEN, interrupting their tête-à-tête. Marian and Marika both rise simultaneously from the table and amble over to the window together. MARIKA I wish they wouldn't come and go in packs, then they wouldn't be so loud. They reach the window. EXT. STREET - DAY - MARIAN'S AND MARIKA'S P.O.V. The Disciples dismounting from their bikes below, shutting down their engines and removing their helmets. INT. CO-OP - DAY At the window, Marian and Marika standing side by side. MARIAN I wonder what they do in there? Don't they frighten you? They all look so ... MARIKA ... Manly? Marian does a double-take and throws a backward glance at Marika. MARIKA You know, probably none of them had a mother like you. Marian and Marika smile at each other. CUT TO: EXT. EAST 5TH STREET - DAY Marian's FOOT STEPS OFF THE CURB. WIDER ANGLE - Marian crosses the street headed in the direction of the Satan's Disciples headquarters. The Disciple Prospect is sitting alone, guarding the line of parked Harleys. He's wearing dark aviator shades and his trademark red bandana tied over his head. Marian steps bravely right up to him. MARIAN Excuse me, sir. (the Disciple Prospect looks up, poker-faced) I just wanted to thank you for helping me get into my building yesterday. DISCIPLE PROSPECT Yeah, sure, no problem, you're welcome. MARIAN My daughter lives across the street from you people and she tells me that you keep this area safe. Is that true? DISCIPLE PROSPECT We like to think so, yeah. MARIAN And you don't deal drugs? The Disciple Prospect removes his sunglasses and looks at her mock reprovingly. DISCIPLE PROSPECT Who told you we deal drugs? MARIAN I'm just concerned about my daughter. DISCIPLE PROSPECT You don't have to worry. She's going to be fine. We're law-abiding citizens just like you. MARIAN What about yesterday? Kicking that poor boy? DISCIPLE PROSPECT (mildly annoyed) That poor boy's a crack dealer from Alphabet City. We do not allow his kind on this block. Marian seems to accept the explanation. She glances up. THE CLUBHOUSE DOOR - The black, forbidding door leading into the clubhouse with its painting of Death on a stylized Harley, gripping lightning bolts for handlebars. DISCIPLE PROSPECT - looking at Marian looking up at the door. DISCIPLE PROSPECT Is there something else I can do for you? MARIAN Well, I'd love to see inside your club. DISCIPLE PROSPECT (taken aback) You want to come inside? MARIAN Well, if you're not holding a meeting or anything. EXT. CLUBHOUSE ENTRANCE - DAY - A FEW MOMENTS LATER The Disciple Prospect emerges from the club with the HEAD DISCIPLE, a gentle giant of a man with a long, flowing wispy beard and an old man's paunch. They're muttering about something. DISCIPLE PROSPECT Her daughter lives across the street and she was wondering ... HEAD DISCIPLE What? DISCIPLE PROSPECT She's curious ... The Head Disciple glances over at Marian standing curbside, expectantly awaiting approval. He sees that she's ingenuous. HEAD DISCIPLE What the hell ... (calling out to Marian) Come on in. Marian, smiling, comes forward. HEAD DISCIPLE (pointing to the steps leading up to the door) You watch your step here. And the three disappear inside. INT. SATAN'S DISCIPLES' CLUBHOUSE - DAY The hallway leading into the clubhouse is dark and gloomy. ROCK MUSIC assails them as they make their passage into the main room. CLUBHOUSE MAIN ROOM - They reach the main room where about ten or so DISCIPLES are lounging about. One has his nose in a book, The Road Less Traveled. Another reads the Wall Street Journal. Two others are seated at a card table, playing a game of poker. Still another is sprawled on a couch, smoking a cigarette. The walls are festooned with biker posters. The place is a bit of a mess, but innocuous. The Head Disciple stands in the center of the room and addresses his clan. HEAD DISCIPLE Hey, guys. This here is, uh ... He turns to Marian, realizing he doesn't know her name. MARIAN (meekly) Marian. HEAD DISCIPLE (booming voice) Marian! A CHORUS OF VOICES Hi, Marian. Hey, Marian. Yo, Marian. Marian blushes at their warm response to her unexpected appearance. HEAD DISCIPLE (explaining her visit) Marian's daughter lives across the street and she was a little worried about her. DISCIPLE #1 Swear to God, lady, she's not here. Laughter erupts. Marian smiles. DISCIPLE #2 Hey, is she cute? DISCIPLE #3 Does she like motorcycles? DISCIPLE #4 Can she cook? Amiable laughter fills the room. Marian laughs with them. She glances all around her, fascinated by this dungeon she had dreamed and fantasized about since she first arrived in New York. MARIAN You know, this isn't so bad. It looks like our kids' rooms when they were growing up. INSERT SHOTS - of overflowing ashtrays, crushed beer cans, fast food wrappers balled up and strewn on tables. BACK - to Marian, her brow knitted thoughtfully in a schoolmarmish expression. MARIAN Could use some cleaning. INSERT SHOTS - of several of the Disciples' FACES, turning to her in SLOW MOTION with mock baleful looks of disapprobation. THERE'S A BEAT, then ... CUT TO: INT. CLUBHOUSE - DAY - MONTAGE A MONTAGE, with abbreviated SCENES DISSOLVING one into another of Marian supervising a thorough, top-to-bottom cleaning of the clubhouse: One Disciple sprays Easy-Off in a blackened oven. Another empties ashtrays. Yet Another vacuums. Still others pick up wrappers from under the couch, while Marian wags a reproving finger at them. One Disciple tosses the contents of an ashtray under the couch while Marian isn't looking. DISSOLVE TO: INT. CLUBHOUSE - DAY - MONTAGE CONTINUING - LATER Marian in the kitchen, wearing the cut-off blue jeans insignia jacket of the Satan's Disciples, their colors emblazoned on the back. She pops the top on a can of beer and pours some of it into a huge pot of chili she's stirring over a stove, while the Disciples sit patiently in the background at a bar awaiting the food. Marian tries a sip of the beer and some of the Disciples smile approvingly. A FEW MOMENTS LATER - Marian ladles chili into all of their bowls in a series of JUMP CUTS. DISSOLVE TO: INT. CLUBHOUSE - DAY - STILL LATER All the Disciples are huddled around Marian in the middle of the clubhouse, as if she were the mother hen, arms folded across their chests, smiles creasing their faces, sated. MARIAN Well, I'd better be going. It was nice meeting all of you. DISCIPLE #1 Thanks, Marian. CHORUS OF OTHER DISCIPLES Thanks, Marian. DISCIPLE #2 The food was outstanding. Marian starts off. HEAD DISCIPLE You know, if we can do anything for you, Marian, you just let us know. MARIAN (turns, considers for a moment) Well, there is one thing. (beat, mildly scolding) At night, your motorcycles are so darn loud, I'm not getting much sleep. Now, I'm going home in a few days, so ... could I ask you to keep them quiet? Some of the Disciples exchange petulant looks, rolling their eyes at the request. HEAD DISCIPLE (mollifying) Well, we'll, uh, see what we can do, Marian. All the Disciples break into laughter. MARIAN Thank you. CUT TO: EXT. BUILDING - DAY A narrow, stand-alone ten-story isosceles-shaped office building, on an island of land in downtown Manhattan. ESTABLISHING SHOT. INT. OFFICE - DAY Paula, with her mother in tow, knocks on an open office door. PAULA Hello. NEW ANGLE - DON PALMER, an avuncular-looking man in his mid-forties rises from his desk. MR. PALMER Come in. Paula and Marian enter the office and halt mid-room across from his desk. PAULA Don, this is my mother. (turns to Marian) Mom, this is my boss, Don Palmer. MARIAN (enthusiastically) Oh, it's so nice to meet you. MR. PALMER We're very glad to have your daughter working for us. MARIAN (blurting out) I met the Satan's Disciples today. MR. PALMER (chuckling nervously) Really? PAULA Mother, I ... MARIAN (waving her daughter off) My daughter lives right across the street from the Satan's Disciples' clubhouse, and I was so worried about her ... so, I went over and introduced myself. And they were the nicest people. Paula and Mr. Palmer exchange disquieting glances. MR. PALMER (playing along) Well, that's a very unusual New York experience. MARIAN I had a wonderful time. Paula is in a mild state of shock hearing her mother's fantastical anecdote. CUT TO: INT. CO-OP - NIGHT Paula is sitting at the dining table with a plate piled with roast chicken, potatoes, and broccoli in front of her. She has a worried look etched on her face. Marian is in the kitchen in the background, feeling light and happy, a singsong quality to her voice. She brings a plate of food for herself to the table. MARIAN And they were so friendly those young men. Though I do think they should shave their beards and ... and get some nicer clothes. Marian sits down at the table and takes a sip of her wine, picks up her utensils and gets ready to dig in. She turns to Paula who isn't touching her food, her head in her hands. Marian, seemingly oblivious of her daughter's feelings, prattles on. MARIAN What do you say ... we take a subway uptown and see a play tonight? Marian finally notices that Paula isn't listening. MARIAN What's wrong? PAULA Mom ... I mean, it's amusing to imagine such a thing, but ... how many of those pills have you been taking? MARIAN (stung, taken aback) Oh, that has nothing to do with it. PAULA No, no, it's my fault. I've been pushing you too hard to do things on your own. Marian retreats into herself, sips her wine - as if she, herself, now wonders if she's lost her mind - and her buoyant mood deflates almost at once. PAULA The, um, other night, I got up to get a glass of water and you were standing by the window talking to daddy. I called out to you, but you didn't answer. You remember? Marian doesn't remember, and her daughter's words pierce her. She's afraid to object. PAULA New York is a ... it's a strange place in the summertime. The noise, the warm air, it's ... easy to imagine things. Paula lays a reassuring hand on Marian's arm, talks to her condescendingly, as if she were a child. PAULA Now, you know you didn't go into the clubhouse, did you? Marian doesn't bother to argue, fearing anything she might say would compromise her. PAULA (CONT'D) It's okay. Dad's dying put a lot of stress on you. But you're going to be all right. We're all going to be all right. Where did you get this vivid imagination, huh? Paula grips Marian's arm a little tighter and shakes it gently as if snapping her back to reality. Marian returns her a tight-lipped smile. FADE OUT. INT. CO-OP - NIGHT Marian, lying supine on the convertible sofa bed by the open window, snoring peacefully. EXT. EAST 5TH STREET - NIGHT On the sidewalk, the Disciple Prospect sits next to the fire breathing oil drum, standing sentry over the Harleys. One of the Disciples comes out of the clubhouse and they high five. The Disciple mounts his Harley and is about to kick start it to life, when the Disciple Prospect rises from his stool. DISCIPLE PROSPECT Yo, man! The Disciple about to start his bike, turns. The Disciple Prospect raises two fingers to his lips in a kind of warning, then gestures up to Paula's co-op where Marian is sleeping. The Disciple, remembering the new rule, nods assent with a slightly annoyed expression. Then, he puts his Harley into neutral, dismounts, and starts slowly walking it down the quiet, ill-lit street. INT. CO-OP - NIGHT The room is cast in soft ambient light from the street. Paula comes into the living room and lies down next to her mother on the sofa bed and rouses her awake. Marian swims leadenly back to consciousness. PAULA Mom, I need to talk to you. MARIAN (still drowsy) If it's about the bikers, dear, I don't want to talk about it. PAULA No, I had a dream about daddy. Do you think I'll ever meet anyone like him? MARIAN Oh, I hope so, dear. PAULA You know that guy in the pictures you saw? MARIAN Aaron? PAULA Yeah ... turned out to be a real jerk. MARIAN I'm sorry. Marian pats her daughter on the arm. Paula pricks up her ears for a minute. PAULA It's unusually quiet tonight, isn't it? MARIAN Mm hmm. FADE TO: EXT. CENTRAL PARK - DAY A lovely, sun-drenched day. Shadows dapple a promenade along one of the park's many ponds. Paula and Marian walk arm-in arm. PAULA I think you should consider coming out and staying with me longer. MARIAN Oh, I don't want to be in the way. You've got your career and everything. PAULA You wouldn't be in the way. I like having you around. MARIAN Dear, I was thinking. Why don't we go to Paris next year? I've never been. Your father, God bless him, wasn't much for traveling. PAULA I'd love to. They walk off into the golden light. CUT TO: INT. CO-OP - DAY Marian is finishing up her packing. Paula comes from the kitchen, bearing a gift for her mother to take home with her. PAULA Here you go. (Marian accepts the gift) I think you should talk to Dr. Byrne when you get back about how much Valium he's prescribing. Okay? MARIAN At my age, I'm going to take any pill that makes me feel better. PAULA Mother! MARIAN I can make my own decisions. Paula extends her arms and embraces her mother. PAULA I love you, Mom. (turns to leave) I have to run. You remembered to call the limousine service, right? MARIAN Mm hmm. PAULA (pulling on her backpack) Well, bye. And have a safe trip ... and ... Paris in the spring! MARIAN (pensive) Goodbye, sweetheart. Paula blows her mother a kiss and Marian throws her daughter a little wave. CUT TO: EXT. EAST 5TH STREET - DAY Marian steps down the stairs of her daughter's building. A smile breaks out on her face when she SEES: A MOTORCADE - of idling Harleys in the middle of the street, waiting for her. MARIAN - turns to the Head Disciple, materializing behind her, carrying her luggage. He gestures with his head toward the motorcycles. THE MIDDLE OF THE STREET - The Disciple Prospect takes Marian's luggage from the Head Disciple and hauls it over to one of the waiting Harleys and straps it on to the carrying rack. Then, he helps Marian onto the back of the Harley she's going to be riding to the airport. Gently, he places a helmet - festooned with decals of fire-breathing reptiles - over her head and affixes the chin-strap. DISCIPLE PROSPECT All right? Marian nods and beams at the same time. The other Harleys form a circle around Marian's motorcycle. The Disciple Prospect gives them a signal and they start off, one by one, forming a V-shaped procession. Marian, completely comfortable on her motorcycle, her arms around her Disciple escort, her fever dream now manifest. CRANE UP as the procession heads down East 5TH. WHITE OUT - CREDITS \ No newline at end of file diff --git a/unformated_scripts/Script_My Week with Marilyn.txt b/unformated_scripts/Script_My Week with Marilyn.txt new file mode 100644 index 0000000000000000000000000000000000000000..e1976dcf98de7cd3fb7cb1d8902c5499b5c6ddad --- /dev/null +++ b/unformated_scripts/Script_My Week with Marilyn.txt @@ -0,0 +1 @@ + MY WEEK WITH MARILYN Written by Adrian Hodges 1 EXT. TILBURY DOCKS. DAY. 1 Over a DARK SCREEN we see the caption: "This is a fairy story, an episode out of time and space, which nevertheless was real" - Colin Clark. Then, FADE UP ON: Newsreel footage of SIR LAURENCE OLIVIER AND VIVIEN LEIGH arriving back at Tilbury Docks to be greeted by an excited crowd of fans. As they progress down the gangplank and stop to sign autographs we HEAR an excited commentary OVER: COMMENTATOR "Returning to England are Britain's acting royalty Sir Laurence Olivier and Lady Olivier, better known as stunning Gone With The Wind star Vivien Leigh. Sir Laurence has added a new string to his bow with the announcement that he is to direct and star in a screen version of Terence Rattigan's stage play The Sleeping Prince with none other than Hollywood siren Marilyn Monroe. When the world's greatest actor romances the most famous woman alive, we can be sure that sparks will fly. Now, now Lady Olivier, don't worry - any romance is strictly for the camera!" As OLIVIER and VIVIEN smile for the photographers, we - CUT TO: 2 EXT. SALTWOOD CASTLE. DAY. 2 It is 1956. Saltwood Castle, the family home of the Clark family, looms over the landscape, framed by the setting sun. It is majestic, an Englishman's dream of a home, complete with turrets and even a moat. There is a feeling of timeless beauty and stability about the scene, something profoundly English. We are a very long way from Hollywood. CUT TO: 3 EXT. SALTWOOD CASTLE. GARDEN. DAY. 3 COLIN CLARK, 23, hurries across the lawn carrying a bag, he is casually dressed, boyish and handsome. He heads towards a beautiful, ramshackle building and through the ancient oak doors. MY WEEK WITH MARILYN 2. 3A INT. SALTWOOD CASTLE. LIBRARY STAIRS. DAY. 3A COLIN bounds up the stairs into the Library. 3B INT. SALTWOOD CASTLE. LIBRARY. DAY. 3B As COLIN enters, he sees SIR KENNETH CLARK, standing in front of a painting on an easel by the Italian Baroque painter, Annibale Carracci. He has two STUDENTS with him, a man and a woman in their early 20s, and is in mid-description of the painting. KENNETH ... and this is one of Carracci's earlier works and one is able to see the emergence of his now famous Baroque style, which is clearly rooted in the tradition of high renaissance and antiquity... COLIN pauses briefly and hurries towards them. Throughout the scene there is a sense of his urgency and desire to go. The whole thing should be played at breakneck pace. KENNETH beams affectionately. KENNETH Colin! Come in. Have you met James and Anna? Two very brilliant pupils. He has the avuncular air of a benign academic, affable and a little eccentric. COLIN smiles hurriedly at the students, no time to waste. COLIN I'm leaving for London now, Pa. KENNETH Ah, yes. Well, bon chance, dear boy... He puts a friendly arm around COLIN's shoulder and starts to walk him back to the door. KENNETH I can always get you a research position at the V&A when you've grown up a bit and got this film idea out of your system... COLIN's smiles but before he can reply JANE CLARK whirls into the room, a ball of energy, talking nineteen to the dozen. JANE Kenneth, you might have told Cook we were another two for dinner. What is everyone supposed to eat? Cabbage soup? Oh, Colin, darling, there you are... MY WEEK WITH MARILYN 2A. She looks wonderful in a good quality but elderly dress, eccentrically combined with gardening attire, her mind on a dozen things at once. COLIN I'm off now, Mama. JANE Off? COLIN My job interview, remember..? But she is already continuing her journey. COLIN smiles hurriedly at KENNETH, who gives him an affectionate wave as COLIN dashes after his mother. She leaves the Library. CUT TO: 3C INT. SALTWOOD CASTLE. GARDEN. DAY. 3C JANE strides across the lawn with COLIN rushing to catch up. JANE Can't you stay for dinner? There's nothing to eat but I'm sure the conversation will be charming. COLIN I don't want to be late in the morning. As COLIN hurries after JANE he is nearly run down by an elderly GARDENER with a lawn mower, and has to take lightning evasive action. JANE doesn't notice. JANE I'm sure they won't mind. You'll be a famous film director in no time. I know your father's put in a word. COLIN I wish he hadn't done that. I can manage on my own. She stops so abruptly he nearly slams into her. JANE looks around the garden with a frown. JANE I have to watch Jenkins like a hawk. One more of his murderous prunings and we'll lose the tea roses for ever. And she's off again, with COLIN still following. He can't help smiling at the madness of it all. CUT TO: MY WEEK WITH MARILYN 2B. 4 EXT. SALTWOOD CASTLE. DRIVEWAY. DAY. 4 The sun is setting, casting a golden glow over the castle. COLIN and JANE emerge from the front door, COLIN pauses in the driveway and dumps his bag in the back of his old but racy MG Sports car. Only now does JANE really turn her attention fully to him for the first time. JANE Now go and have a lovely time, darling. We're always here when you're ready to talk your future. COLIN wants to protest but before he can get the words out JANE sees a YOUNG GARDENER walking at the side of the house with a wheel barrow. Her face lights up. JANE Mullins! Be an angel - find Cook and ask her how many pork chops we need for tonight. Then bring the car round. I must get to the village before the shop shuts... She dashes away after the GARDENER, turning back as an afterthought to blow a kiss at COLIN as she goes. COLIN smiles, then pauses for a moment to look at the house. We can sense both his affection for it but more pressingly his need to get away. He gets in, puts the car in gear and the Bristol pulls out of the drive and across the moat. In the last rays of the sun, the countryside looks magical, but Colin only has eyes for the road ahead. MY WEEK WITH MARILYN 3. 5 EXT. LONDON STREETS MONTAGE. EVENING 5 CUT TO CREDITS OVER A MONTAGE OF SCENES OF LONDON IN THE 1950s FROM COLIN'S POINT OF VIEW. AS HE MAKES HIS WAY INTO THE CITY WE SEE THE STATUE OF EROS AGAINST THE LIGHTS OF PICCADILLY CIRCUS, CROWDS MILLING AROUND TRAFALGAR SQUARE, YOUNG PEOPLE SPILLING OUT OF CLUBS AND COFFEE BARS IN SOHO, UNTIL, WE FADE TO: 6 EXT. PICCADILLY STREETS. DAY. 6 A sharp contrast with the hazy beauty of the countryside. It is early morning in the heart of London's West End. The streets hum with activity as OFFICE WORKERS in hats and raincoats stream from the tube stations. COLIN pushes his way through the early morning crowds in Piccadilly. This is his patch; he is very much at home here, negotiating the busy streets with ease. As he passes by the upmarket Burlington Arcade a TAILOR pauses in measuring a suit for a client to give him a familiar wave. COLIN waves back. CUT TO: 7 EXT. 144 PICCADILLY. LONDON. DAY. 7 Checking his watch he runs the last few yards then stops outside the imposing facade of 144 Piccadilly. A plaque outside the door announces: LAURENCE OLIVIER PRODUCTIONS. Colin fingers his carefully knotted tie to make sure everything is correctly in place, then goes to the door and rings the bell. CUT TO: MY WEEK WITH MARILYN 4. 8 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 8 The reception area is luxurious - deep pile carpets and plush sofas. VANESSA, the beautiful secretary, sits behind her imposing desk, gazing doubtfully at COLIN. VANESSA You're not in Mr. Perceval's diary. COLIN Larry told me to come. She pauses dubiously, then reaches for her telephone. We hear a man answer in an office down the hall, his voice carrying irritably. PERCEVAL (OFF) Yes? VANESSA I have a Mr. Colin Clark here. He says Sir Laurence sent him. She stresses the proper name in disapproval of Colin's familiarity. PERCEVAL (OFF) Oh, God... not another one of Vivien's pretty boys. VANESSA looks at COLIN with amusement. His smile falters as he feels himself coming down to earth with a bump. CUT TO: 9 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 9 HUGH PERCEVAL (40s) is Laurence Olivier's production executive. He is tall and gloomy, with black-rimmed spectacles and thinning dark hair. He looks at COLIN grimly as he stuffs his pipe with tobacco. PERCEVAL Well, what do you want? COLIN A job on your Marilyn Monroe film. MY WEEK WITH MARILYN 5. PERCEVAL Oh really, what as? COLIN I want to work on the production side. He smiles with as much charm as he can muster. PERCEVAL isn't impressed. PERCEVAL There are no jobs yet. We don't start shooting for eight weeks. COLIN May I wait? PERCEVAL What? COLIN Until there's a job. PERCEVAL For eight weeks? COLIN Something might come up. PERCEVAL is distracted as the telephone rings. PERCEVAL Terry? Larry wondered how the script was coming... CUT TO: 10 INT. 144 PICCADILLY. RECEPTION AREA. DAY. (MONTAGE) 10 COLIN troops back to the sofa. VANESSA gives him a cool glance. COLIN looks at the clock. It has just gone 10.30. MY WEEK WITH MARILYN 6. We see the day pass as COLIN sits on the sofa - the clock ticking slowly on the wall, VANESSA busy at her desk, COLIN looking up hopefully from time to time, only to be disappointed. CUT TO: 11 INT. 144 PICCADILLY. RECEPTION AREA. DAY. (MONTAGE) 11 It is now nearly 6 o'clock. COLIN sits exactly as he was. PERCEVAL shares a look with VANESSA as he comes out of his office. He gazes drily at Colin. PERCEVAL There are no jobs. COLIN I'll come back tomorrow morning. Just in case. PERCEVAL It's a free country. He sounds as though he rather regrets it. 11A EXT. 144 PICCADILLY. LONDON. DAY. (MONTAGE) 11A COLIN arrives early, ready for another day. 12 INT. 144 PICCADILLY. RECEPTION AREA. DAY. (MONTAGE) 12 COLIN is back in his place at 8.30 sharp the next morning. PERCEVAL gives him a grim stare as he goes through to his office. VANESSA glances up from her typewriter. He meets her eye optimistically but she ignores him. 13 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 13 The clock ticks around with agonising slowness to 11.00. VANESSA finally gives Colin a pitying look. VANESSA Are you going to sit there all day? COLIN If I have to. VANESSA You're very determined. COLIN I'd do anything to be in the film business. VANESSA Anything? MY WEEK WITH MARILYN 7. She smiles cheekily. He grins back, sensing an opportunity. VANESSA You can start by making me a cup of tea. White, two sugars. CUT TO: 14 OMITTED 14 MY WEEK WITH MARILYN 8. 15 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 15 Close on the clock as it ticks around monotonously to 12.30. VANESSA puts on her gloves and collects her bag. She gives COLIN a sly look. VANESSA You can answer the telephone while I'm at lunch, if you like. She winks. COLIN grins. The phone rings. He picks it up. COLIN Laurence Olivier Productions... CALLER (ON PHONE) Is Sir Laurence there? COLIN He's at Notley until the end of the week. Can I take a message? CALLER (ON PHONE) I'll call back. No sooner has COLIN hung up than PERCEVAL appears. He stares at COLIN. COLIN Vanessa asked me to... PERCEVAL Oh, did she? Why didn't you put that call through? COLIN There didn't seem any need to bother you. But if you want me to transfer every single one... PERCEVAL looks at him grudgingly. PERCEVAL Use your judgement. He hesitates and looks back. PERCEVAL (CONT'D) I need a number for Noel Coward. It won't be in the book, so you'll have to track him down. COLIN realises this is a test. He thinks quickly. CUT TO: MY WEEK WITH MARILYN 8A. 16 INT. SALTWOOD CASTLE. HALL. DAY. 16 The phone rings in the beautiful central hall. JANE CLARK picks up the phone. MY WEEK WITH MARILYN 9. COLIN (ON PHONE) Hello, Mama. JANE Colin, darling! How are you getting on? CUT BACK TO: 17 144 PICCADILLY. RECEPTION AREA. DAY. 17 COLIN glances towards Perceval's office and talks quickly. COLIN (ON PHONE) This is urgent. I need Noel Coward's London number. My life depends on it. JANE How exciting. Let me see... it's Sloane 2965. Ask him if he's coming to Saltwood for the bank holiday. COLIN I will. Mama, you're an angel. CUT TO: 18 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 18 PERCEVAL looks up as COLIN puts the number on his desk. PERCEVAL That was quick. COLIN I had a bit of luck. PERCEVAL looks at him shrewdly. PERCEVAL Am I supposed to be impressed? Did Mummy and Daddy help? Don't think they can do the job for you. The only way you'll get on in this business is through bloody hard work. COLIN Yes, sir. COLIN leaves. CUT TO: MY WEEK WITH MARILYN 9A. 19 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 19 A new morning. COLIN perches restlessly on the sofa. Despite his modest triumph he is back where he started. The seconds pass in dull silence. He is beginning to think his campaign will fail. But then, in a heartbeat, everything changes. He looks up in surprise as the door bursts open and SIR LAURENCE OLIVIER strides in with his wife VIVIEN LEIGH on his arm. MY WEEK WITH MARILYN 10. At the age of 49 SIR LAURENCE OLIVIER is at the peak of his fame. He is handsome and charismatic, and VIVIEN is scarcely less extraordinary. The Gone With The Wind star remains classically lovely, flirtatious and captivating. Individually they are charismatic enough, but together they are electrifying, seeming to charge the air around them with the power of their personalities, galvanising anyone who comes into contact with them. VANESSA leaps to her feet and PERCEVAL hurries to greet them as COLIN stands up uncertainly. OLIVIER is all amiable bluster and bonhomie. OLIVIER Do you know, Hughie, it is simply impossible to get Marilyn Monroe on the telephone? The darling girl spends the entire day asleep. But great beauty has its way... He laughs, but then notices VIVIEN's less than enthusiastic response. Seeking refuge in some distraction he notices COLIN hovering by the sofa. OLIVIER (CONT'D) Hello, boy... remind me? He smiles vaguely and glances at VIVIEN for help. VIVIEN You remember Colin, darling. You met him at the Clarks' party. OLIVIER (NO IDEA) Of course. What are you doing here? COLIN You said there might be a job on your film. OLIVIER has no recollection of this and fumbles in his pockets to cover his confusion, bringing out a packet of cigarettes and offering them to COLIN with breezy charm. OLIVIER Have a cigarette. Keep the pack. He turns quickly to PERCEVAL. MY WEEK WITH MARILYN 11. OLIVIER (CONT'D) There won't be any film unless Miss Monroe gets her splendid posterior out of bed. PERCEVAL The House Committee are threatening to withhold Miller's passport. They say he's a communist. No Arthur, no Marilyn. OLIVIER I'll have a word with the American ambassador. I'm taking him to see Vivien in South Sea Bubble on Thursday... now, tell me, Hughie, are Terry's rewrites in? He puts an arm around PERCEVAL's shoulders and they disappear together into Perceval's office. VIVIEN lingers behind, smiling radiantly at COLIN who looks dumbly at the packet of cigarettes in his hand. He now sees they are called "Oliviers". VIVIEN wrinkles her nose in amusement. VIVIEN They named them after Larry. The first actor since Du Maurier to have his own brand and they pay him an absolute fortune. (Pause) I'm afraid they're rather ghastly. She cups Colin's cheeks with her hands and studies him in mock awe. VIVIEN (CONT'D) Isn't he gorgeous, Vanessa? VANESSA I suppose he's all right. VIVIEN's eyes sparkle. OLIVIER emerges from the office with a handful of script pages and VIVIEN looks at him slyly, getting her own back for his tactless over-praise of Marilyn's charms as she strokes COLIN's cheek. MY WEEK WITH MARILYN 12. VIVIEN (TO COLIN) Let's elope together and have the most glorious affair. (Arch) Oh, but then, who'd look after my poor Larry? Olivier glances over with a faint look of exasperation. VIVIEN winks at COLIN and takes her husband's arm. VIVIEN (CONT'D) Now, darling, you must do something for Colin. You absolutely promised. OLIVIER looks hunted. There is no way out. He glances back at PERCEVAL as he comes in. OLIVIER Let's try to find him something to do, Hughie. COLIN grins in triumph. VIVIEN smiles at him. VIVIEN You will take care of my precious Larrykins, won't you? She flirtatiously offers up her cheek for COLIN to kiss. COLIN's smile falters as he sees PERCEVAL looking at him grimly. 20 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 20 COLIN stands eagerly at PERCEVAL's desk. PERCEVAL looks at him, more than usually brusque. PERCEVAL Arthur Jacobs, Miss Monroe's publicist is flying in tomorrow. He wants to see the house she'll be staying in. Find something suitable. 20 ALT INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. ALT 20 COLIN knocks and walks into Perceval's office, carrying a tray with tea and a plate of biscuits. The blinds are closed and a 16mm projector is running; silent images play on a fold- up screen in the corner of the room. Framed in the light of the projector are PERCEVAL and the film's lighting cameraman JACK CARDIFF. They take no notice of Colin. He looks up at the screen. The two men are watching make-up, hair and wardrobe tests for the film. MARILYN MONROE in character as Elsie Marina. MY WEEK WITH MARILYN 12A. The film shows Marilyn looking sweet and pretty, chatting silently to someone just off camera, mugging playfully in costume, larking about with her hair - and then, when she wants to, turning on her full film star wattage and looking wonderful, every inch the beautiful icon. It is an intimate glimpse of her at work. Colin watches, fascinated, completely forgetting why he's there, still holding the tray - PERCEVAL (TO CARDIFF) Larry says he particularly likes this dress. She looks radiant. CARDIFF Exactly - we need to tone her down a bit. PERCEVAL How the hell do you tone down Marilyn Monroe?! COLIN laughs. He immediately regrets it. Both men turn to look at him. PERCEVAL turns off the projector and gazes at him stonily. PERCEVAL Marilyn Monroe's publicist is flying in tomorrow. He wants to see the house she'll be staying in. Find something suitable. COLIN nods eagerly, anxious to get out. He is already at the door when PERCEVAL barks at him again. PERCEVAL And leave the bloody tea. COLIN had forgotten the tray. He blushes furiously, puts it down and hurries out. 21 EXT. COUNTRY ROAD. DAY. 21 COLIN has a map spread out on the bonnet of his Bristol sports car. He finds Pinewood Studios then draws a ring around its circumference. He taps his pencil thoughtfully as he lights a cigarette - one of the branded pack that Olivier gave him. He inhales deeply, thinking, then grimaces in distaste, quickly stubbing it out under his foot. CUT TO: MY WEEK WITH MARILYN 13. 22 EXT. TIBBS FARM. DRIVE. DAY. 22 COLIN pulls into the drive of Tibbs Farm, a charming English cottage. CUT TO: 23 EXT. TIBBS FARM. DAY. 23 COTES-PREEDY, the owner, clearly has a very high opinion of Tibbs Farm. Aloof and snobbish, he stands by the front door, looking down his nose at COLIN. COTES-PREEDY Out of the question. I can't have a lot of awful film people tramping through the house in dirty boots. COLIN We'd pay a hundred pounds per week for 18 weeks. COTES-PREEDY My wife would never agree. COLIN That's a pity. I'll have to tell Miss Monroe to look elsewhere, then. COTES-PREEDY double takes. COTES-PREEDY Marilyn Monroe? COLIN (NODS) She's making a film with Sir Laurence Olivier. The Sleeping Prince. From the play by Terence Rattigan. COTES-PREEDY I saw it in the West End a couple of years ago. Vivien Leigh was marvellous. COLIN It's Marilyn Monroe in the film. COTES-PREEDY smiles transparently. MY WEEK WITH MARILYN 14. COTES-PREEDY (After a second) I suppose I'd have to be introduced..? CUT TO: 24 DELETED 24 25 EXT. 144 PICCADILLY. LONDON. DAY. 25 ARTHUR JACOBS, Marilyn's publicist, is a close-cropped, pugnacious figure in his mid-forties. He waits impatiently outside Olivier's office, a stack of newspapers under his arm. COLIN comes hurrying up, smiling brightly. COLIN Good morning, Mr. Jacobs. I hope you had a pleasant flight. JACOBS Where's the fucking car? CUT TO: 26 EXT. COUNTRY LANE. DAY. 26 JACOBS sits in the passenger seat of Colin's Bristol sports car reading his stack of newspapers. After a moment he grunts in disgust. JACOBS Jeez, do you Brits actually read this stuff? He winds down his window and simply throws the whole lot out into the lane. The pages billow out in a great cloud behind the speeding car, landing in the pretty hedgerows and on neat front lawns. COLIN gapes in astonishment. Welcome to Hollywood. CUT TO: 27 EXT. TIBBS FARM. DAY. 27 JACOBS slouches out of the house, magnificently unimpressed. COTES-PREEDY follows him proudly with COLIN at his side. JACOBS takes a long, unimpressed look at the property. JACOBS What is this place? A brothel? COTES-PREEDY's face falls. MY WEEK WITH MARILYN 14A. COTES-PREEDY It's one of the best houses in the area. JACOBS Jesus. And I thought you Brits had taste. MY WEEK WITH MARILYN 15. He glances at COLIN. JACOBS (CONT'D) Is this the best you can do? COLIN It's very near Pinewood. JACOBS All right. We'll take it. (Pause) But ditch the wallpaper. It's given me a migraine. CUT TO: 28 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 28 JACOBS slaps down a copy of the Evening Standard on the desk. The front page carries a picture of Tibbs Farm with the caption: "Exclusive - Marilyn's Luxury Home In England". He jabs a finger at it angrily. OLIVIER News travels fast. JACOBS That house was perfect for Marilyn. PERCEVAL We can't use it now. COLIN Yes we can. I knew Cotes-Preedy wouldn't be able to keep this quiet. They stare to him in surprise. He looks at them boldly. COLIN When you asked me to find a house for Miss Monroe I took the precaution of finding two. The other one, Parkside, is much better and the owner is very discreet. PERCEVAL But now we have two expensive houses when we only wanted one. COLIN I thought someone else on the production might want it. PERCEVAL Oh, did you? There is a dangerous moment when things could go either way. COLIN has gambled everything in a bid to impress them. MY WEEK WITH MARILYN 16. He waits in tense silence, staring at their puzzled expressions. But then JACOBS shrugs. JACOBS I guess Milton could use it. It's near the studio, near Marilyn. OLIVIER looks at COLIN, then bursts out laughing. OLIVIER What are we paying you, boy? He glances at COLIN with amusement. COLIN Nothing... OLIVIER (LAUGHING) See to it, Hughie! PERCEVAL sighs grimly. CUT TO: 29 EXT. PINEWOOD STUDIOS. DAY. 29 Pinewood studios is the glamorous heart of the British film industry. COLIN drives up to the gate and smiles at the SECURITY MAN. COLIN Colin Clark. Sir Laurence Olivier Productions. CUT TO: 30 EXT/INT. PINEWOOD STUDIOS. DAY. 30 ACTORS in full costume walk past, TECHNICIANS move lights and cameras, EXTRAS are herded to their scenes by harried ASSISTANT DIRECTORS. COLIN takes it all in with wondering eyes. To him the studio is a magical place. CUT TO: 31 INT. PINEWOOD STUDIOS. DRESSING ROOMS. DAY. 31 The dressing rooms are little more than empty shells. JACOBS looks around. OLIVIER and PERCEVAL are with him, while COLIN waits attentively. PERCEVAL The set decorators will have it all sorted out in no time. MY WEEK WITH MARILYN 16A. JACOBS Marilyn hates red. And blue. (Pause) And green. PERCEVAL What about white? JACOBS I'd have to clear it with her. OLIVIER glances mischievously at Colin. MY WEEK WITH MARILYN 17. OLIVIER Beige, then. Beige is rarely controversial. JACOBS considers this, unaware that Olivier is teasing him. JACOBS I guess that's okay. She's never said nothing about beige. Paula will need the room next door. COLIN Paula? JACOBS Strasberg. Marilyn's acting coach. OLIVIER looks at him darkly. JACOBS shrugs. JACOBS (CONT'D) She's nuts about the Method. OLIVIER Stanislavski and the Method are perfectly fine in the rehearsal room but they don't belong on a film set. Time is too tight. I'm sure Marilyn understands. He turns and walks away. JACOBS frowns uncertainly. JACOBS Who the hell is this Commie Stan Slavski? CUT TO: 32 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 32 COLIN stands in the Production Office. DAVID ORTON (30s) the First Assistant Director, a thin, fair-haired man regards him with obvious irritation. ORTON I don't know why Hugh Perceval sent you here. There's nothing I can do for you. COLIN Why not? ORTON Are you in the union? COLIN No... MY WEEK WITH MARILYN 18. ORTON Then you can't have a job on the film. COLIN How do I get in the union? ORTON By getting a job on the film. COLIN But you just said I couldn't have a job on the film unless I was in the union. ORTON Exactly. It's called a closed shop. COLIN looks at him helplessly. ORTON relents a little. ORTON (CONT'D) I suppose I might be able to sort something out. The Union owes me a few favours. We haven't got a third yet. COLIN A third? ORTON Third Assistant Director. (Pause) You do know what the job is? COLIN Assisting the director? ORTON Christ, no! That's the last thing you do. Lesson One. The third's job is to do whatever the fuck I tell him. ORTON walks to the door, then looks back. ORTON (CONT'D) (SHOUTS) What are you waiting for? COLIN scrambles to follow him out. CUT TO: 33 INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 33 As ORTON and COLIN pass the wardrobe department COLIN notices a pretty WARDROBE GIRL (LUCY) putting costumes on the racks. She has dark hair and laughing eyes and is a year or so younger than him. ORTON follows his gaze. MY WEEK WITH MARILYN 18A. ORTON Colin! COLIN jumps as ORTON glowers at him. ORTON (CONT'D) Lesson Two. You don't shit on your own doorstep. Got it? MY WEEK WITH MARILYN 19. COLIN Got it. But he sneaks a look back at LUCY as he goes. 33A EXT. PINEWOOD STUDIOS. DAY. 33A ORTON and COLIN hurry through Pinewood. ORTON Where are you staying? COLIN My father's place in the Albany. ORTON You can forget that. Lesson Three. The Third always stays nearby, not in some bloody palace in London. (Pause) Book a room at the Dog And Duck down the road. It's a bit rough but you'll get used to it. He grins, enjoying himself. ORTON (CONT'D) Now make yourself useful. Marilyn needs a bodyguard. Sort something out. CUT TO: 34 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 34 PERCEVAL sits with COLIN and ROGER SMITH. SMITH is a dignified figure in his mid-fifties. His erect bearing speaks of a lifetime in the police. PERCEVAL I'm sure you understand the sensitive nature of the job, Superintendant? ROGER No need for the title. I'm retired from the force. (Pause) Something about looking after a cinema actress? PERCEVAL Not just any actress. Marilyn Monroe. He gets no reaction from the stolid ex-policeman. ROGER I've never had much time for the pictures. MY WEEK WITH MARILYN 20. PERCEVAL Excellent. (Pause) For the next four months you never leave her side, day or night. There will be crowds. ROGER That doesn't bother me. PERCEVAL pauses awkwardly. PERCEVAL Her behaviour is reputedly a little... erratic. ROGER She drinks? PERCEVAL Amongst other things. ROGER Pills? PERCEVAL leaves a tactful pause. PERCEVAL It would be useful if you could keep us informed of her... domestic situation. ROGER You want me to spy on her? Perceval and Roger understand each other perfectly. PERCEVAL Just the odd early warning if you know she's going to be late on set. That kind of thing. Smith takes this in his stride; he seems wholly immune to the glamour of the movies. CUT TO: 35 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 35 JACOBS chases after OLIVIER trying to get his attention. OLIVIER is busy studying preliminary sketches of costumes and set. JACOBS You need to speak to the Coca-Cola people, Larry. They're crazy to be involved with Marilyn. PERCEVAL and COLIN meet them coming the other way. MY WEEK WITH MARILYN 20A. PERCEVAL Good news. The House Committee have decided Miller isn't a communist after all. MY WEEK WITH MARILYN 21. JACOBS Of course he is. All those pain in the ass New York intellectuals are reds. OLIVIER rolls his eyes behind JACOBS back. COLIN grins. PERCEVAL It means Marilyn will be flying in next week on schedule. JACOBS She'll have to be met. OLIVIER Naturally, Vivien and I will be there to greet her. But let's keep it low key, shall we? JACOBS Don't worry. I've got it all under control. CUT TO: 36 INT. LONDON AIRPORT. HALL. DAY. 36 Bedlam! The customs areas is besieged by shouting, pushing JOURNALISTS as the POLICE fight to keep control. In the middle of the chaos COLIN stands with ROGER SMITH watching OLIVIER and VIVIEN addressing the gathered press. OLIVIER It is a deep happiness to me to be translating Terence Rattigan's magnificent play to the screen... A voice suddenly rings out from the back of the previously attentive crowd. REPORTER The plane's landed! As one, the entire crowd turns away from Olivier and rushes towards the plane. Suddenly abandoned, OLIVIER and VIVIEN look momentarily startled before VIVIEN glances at him with a half-smile. VIVIEN It seems we're not top of the bill anymore, darling. CUT TO: 37 EXT. LONDON AIRPORT. PLANE/TARMAC. DAY. 37 MARILYN MONROE walks down the steps of a TWA jet on a rainy London day. She clutches a bouquet of flowers and wears DARK GLASSES; MY WEEK WITH MARILYN 21A. her raincoat is slung loosely over her shoulders. Her new husband ARTHUR MILLER walks a step or two behind her, wearing a light summer jacket. MY WEEK WITH MARILYN 22. 38 EXT. LONDON AIRPORT. TARMAC. DAY. 38 MARILYN and MILLER walks across the tarmac towards the terminal and the crowd of PRESS waiting for them. REPORTER There she is! Marilyn! The REPORTERS surge forward. COLIN follows their collective gaze. She looks exactly as she should. The radiant smile, the platinum blonde hair, the sexy wiggle. The most famous film star in the world, so much herself it is almost unreal. Walking through the crowd MARILYN smiles easily, whereas MILLER looks stern and a little dazed by the sudden flurry of attention. Flashbulbs pop as the POLICE struggle to contain the crowd. MARILYN puts her arm around MILLER, who grins blankly. The flashbulbs burst in front of them, a solid wall of dazzling light. REPORTER (CONT'D) Marilyn! Over here, Marilyn! REPORTER 2 Marilyn, this way..! ARTHUR JACOBS observes the chaotic scenes with obvious relish, grinning towards ROGER and COLIN. JACOBS Beautiful. You're looking at tomorrow's front page, boys. ROGER looks at COLIN. ROGER We have to get them to the hall. COLIN barges his way through the scrum behind ROGER and briefly finds himself directly in front of MARILYN. For a moment he is transfixed by her beauty and charisma but she doesn't even see him as she follows the commanding ROGER obediently, tugging Miller along behind her, leaving Colin in her wake. CUT TO: 39 DELETED 39 40 INT. LONDON AIRPORT. HALL. DAY. 40 MARILYN sits with MILLER at her side, flanked by OLIVIER and VIVIEN. MARILYN wears a large pair of sunglasses. PHOTOGRAPHERS jam their flashbulbs into her face. ROGER hovers protectively with COLIN. OLIVIER smiles as he addresses the crowd. MY WEEK WITH MARILYN 22A. OLIVIER It's my genuine pleasure to introduce a woman who needs no introduction. (MORE) MY WEEK WITH MARILYN 23. OLIVIER (CONT'D) A great actress on her first trip to London whom I have no doubt... REPORTER How do you like being married, Marilyn? MARILYN I like it a lot. REPORTER Is this third time lucky? MARILYN You bet it is. Arthur's the greatest man I ever met. OLIVIER smiles tolerantly, mildly put out at this. MARILYN takes off her sunglasses and blinks. She takes MILLER's arm and looks at him adoringly. He bites down savagely on his unlit pipe. REPORTER Marilyn, are you planning to see the sights? MARILYN I'd love to see the little fellow with the bow and arrow in Piccadilly Circus. There is a appreciative laughter from reporters. REPORTER 2 Is it true you want to be a classical actor now? MARILYN I want to be the best actress I can be. REPORTER 2 There's a rumour you're going to be in The Brothers Karamazov on Broadway. MARILYN I'm considering it. REPORTER 3 (SHOUTS) Which of them will you be playing? The agenda is clear - Marilyn is the dumb blonde and should act accordingly. But she takes it in her stride, smiling sweetly. MARILYN I'll be playing Grushenka. MY WEEK WITH MARILYN 24. REPORTER 3 Can you spell that? MARILYN Sure. Can you? There is laughter at the reporter's expense. REPORTER So would you say you're an intellectual now? MARILYN My husband is. She looks adoringly at Miller, who smiles vaguely. REPORTER 2 What's your definition of an intellectual, Marilyn? MARILYN I guess you could look it up in a dictionary. This time the laughter is emphatically on MARILYN's side. One of the reporters turns to VIVIEN. REPORTER Vivien, you created the part of Elsie Marina on stage. Do you have any advice for Marilyn? VIVIEN I am sure if Miss Monroe needs any advice she'll get it from her director. I hear he's terribly good. The reporters laugh with her and OLIVIER smiles graciously. But as she smiles at him we detect just a flicker of jealous hurt in her eyes. OLIVIER intervenes quickly to continue his prepared speech of welcome. OLIVIER In The Sleeping Prince we have discovered the perfect vehicle for Miss Monroe's luminous and justly celebrated talent... He stops as a REPORTER shouts over him. JACOBS Marilyn, is it true you wear nothing in bed except Chanel No 5? MARILYN As I'm in England let's say I sleep in nothing but Yardley's Lavender. MY WEEK WITH MARILYN 25. The press laugh in delight. On the edge of the crowd COLIN watches her, amused and impressed. CUT TO: 41 EXT. PARKSIDE HOUSE. GATES. DAY 41 A convoy of cars pass through the throng of JOURNALISTS waiting at the gate. Marilyn's "secret" hideaway is no longer much of a secret. The classical old house is elegant and luxurious. 42 EXT. PARKSIDE HOUSE. FRONT DOOR. DAY. 42 Outside the front door MARILYN, MILLER, OLIVIER and VIVIEN have their picture taken by the official PHOTOGRAPHER. ROGER watches unobtrusively. VIVIEN Are all your press conferences like that, darling? MARILYN Well, that was quieter than some. Vivien smiles at the wry joke. ARTHUR JACOBS watches the proceedings with an eagle eye. JACOBS Okay, let's get a snap of the newlyweds. Smile, Arthur. It's not a firing squad. As the group breaks up, MILTON GREENE, handsome and dark- haired, now approaches OLIVIER and COLIN. MILTON This is some place you found. He glances at the house. Olivier smiles generously. OLIVIER You have my new assistant Colin to thank for that. (Pause, he shepherds COLIN over) This is Milton Greene. You must be very nice to him. He owns half of Marilyn Monroe Productions. MILTON Forty nine per cent, Larry. GREENE (34) offers them a tired smile. OLIVIER produces one of his branded packets and offers a cigarette to Milton. MY WEEK WITH MARILYN 25A. OLIVIER Have a cigarette. MILTON I don't smoke. If he notices the "Olivier" name he doesn't show it. OLIVIER looks mildly put out. MY WEEK WITH MARILYN 26. OLIVIER Milton - Marilyn and rehearsals. Let's talk. MILTON Sure. And the studio wants a new title. OLIVIER escorts Milton away. MILLER and MARILYN are now being photographed on their own. ROGER moves over to JACOBS and murmurs discreetly in his ear. JACOBS nods and moves in to end the session. JACOBS The boys at the gate are getting restless. MILLER Let's give them two minutes and then we're done. ROGER waves to the POLICEMEN, who open the gates. The PRESS come pouring in like a mob of revolutionaries storming the Bastille. CUT TO: 43 EXT. PARKSIDE HOUSE. FRONT DOOR. DAY. 43 COLIN notices Marilyn grip Miller's hand tightly as the flashbulbs pop all around her. A moment later he is surprised to find VIVIEN at his elbow. VIVIEN Marvellous, isn't she? I suppose you're quite smitten. COLIN looks at her shrewdly, sensing he is being tested. COLIN She's all right. A bit common. VIVIEN (LAUGHS) Larry fell desperately in love with her in New York. He's determined to seduce her. COLIN But she's only been married three weeks. VIVIEN Oh, Colin, I thought you were a man of the world. She gives him an arch smile and leans in intimately. MY WEEK WITH MARILYN 27. VIVIEN (CONT'D) (cont'd) Of course, Larry would never leave me. (Pause) But, if anything were to happen, you would let me know, wouldn't you? COLIN I'm sure he loves you very much. There is a flash of sudden anger in her expression. VIVIEN Oh, don't be such a boy! COLIN looks shaken and she touches his hand in contrition. VIVIEN (CONT'D) At least you still adore me, don't you? COLIN Of course. Everyone does. There is a wintry bleakness in her face for a second. VIVIEN I'm 43, darling. No one will love me for much longer. Not even you. He goes to protest but she stills him with a finger to his lips, her smile quickly restored. CUT TO: 44 EXT. DOG AND DUCK PUB. DAY. 44 The Dog and Duck is a rundown pub in an out of the way lane near the studios. It is a rough, local place utterly devoid of glamour or comfort. COLIN stands outside, staring at it grimly, his bag in his hand. CUT TO: 44A INT. DOG & DUCK PUB. DAY 44A A few hard-core LOCALS stand nursing their pints at the bar. One is idly throwing darts. The wallpaper is faded yellow with cigarette smoke, stale sandwiches curl in a display case. COLIN looks around, his heart sinking. BARRY, the landlord looks him up and down, disparagingly. COLIN Colin Clark. I booked a room. BARRY takes a dusty ledger from beneath the bar, spins it around for COLIN to sign. BARRY What brings you up this way? MY WEEK WITH MARILYN 27A. COLIN can't help looking a little pleased with himself. COLIN I'm here working on a film. The LOCALS look up from their pints, unimpressed. BARRY What film's that? COLIN It's called `The Sleeping Prince'. The darts player, ANDY, doesn't turn. His aim remains steady. ANDY Sounds lousy. BARRY Ignore, Andy - not a film fan - are you, Andy? ANDY doesn't look away from his game. ANDY Can't be bothered. COLIN tries to impress. COLIN Marilyn Monroe's in it. I'll be working with her. BARRY Oh, will you now? The regulars grin unkindly into their pints. ANDY doesn't look away from his game, as he offers laconically: ANDY The Queen and Prince Philip popped in for a pint earlier. Pity, you just missed them. There are supportive snorts of derision from the LOCALS. COLIN takes it on the chin. BARRY hands him a key. BARRY The room's three quid a week, first week in advance. You're in number two. COLIN takes the key and his bag, just as BARRY adds, with perfect deadpan timing: BARRY (CONT'D) You'll be sharing with Grace Kelly. The LOCALS laugh into their beer. COLIN smiles gamely. MY WEEK WITH MARILYN 27B. 45 INT. DOG AND DUCK PUB. COLIN'S ROOM. DAY. 45 COLIN stands aghast. He is staying in a grim little room above the noisy saloon bar. The wallpaper is peeling, the furniture is ancient and the whole place reeks of damp. Dirty net curtains flutter in the window. He puts his bag on the bed and sits down. The mattress sags pitifully. He looks down and finds a stained and yellowing chamber pot under the bed. He slides it back with a look of revulsion. CUT TO: MY WEEK WITH MARILYN 28. 46 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 46 The principal cast of The Sleeping Prince, as it was still known at the time, assemble on the sound stage amongst the half-finished set. They chat and smoke, their scripts in their hands. OLIVIER stands in their midst, very much first amongst equals. One chair sits conspicuously unoccupied. DAME SYBIL THORNDIKE (74), severe-looking but kindly, very much the grand dame of the gathering, smiles cheerfully. RICHARD WATTIS leans over to her with a cheerful grin. WATTIS What a wonderful adventure, Dame Sybil. SYBIL THORNDIKE Such a lark! I long to see her. COLIN stands by the door. OLIVIER looks at his watch and shoots him a questioning glance. CUT TO: 47 INT. PINEWOOD STUDIOS. CORRIDOR/DRESSING ROOM. DAY. 47 COLIN hurries along the corridor and stops outside Marilyn's dressing room. He knocks on it politely. COLIN Miss Monroe? The door opens sharply and a small, bohemian looking woman in her 50s stands staring at him. This is PAULA STRASBERG. COLIN (CONT'D) Sir Laurence sends his compliments. He's ready for the READTHROUGH He glances beyond PAULA to where MARILYN sits by the mirror, her reflection framed in the lights. She wears little or no make-up. PAULA looks at him sharply. PAULA But Marilyn is not ready. She's preparing. MARILYN glances up at COLIN in the mirror and smiles with unexpected simplicity. MARILYN Excuse the horrible face. She finds her dark glasses on the dresser and puts them on. CUT TO: MY WEEK WITH MARILYN 29. 48 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 48 COLIN leads MARILYN and PAULA to the rehearsal room. He sneaks a glance at her. She has a vulnerable, lost expression. COLIN can't help staring at her until he notices PAULA looking at him and quickly glances away. CUT TO: 49 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 49 The cast are all seated around the large table as COLIN leads MARILYN and PAULA onto the stage. Marilyn keeps her dark glasses on throughout. OLIVIER rises to greet her. OLIVIER Marilyn, here you are, everyone is so excited to meet you... He gestures to the company. OLIVIER (CONT'D) Let us begin. Do sit down, please... SYBIL THORNDIKE looks sweetly at MARILYN from across the table and indicates the empty one at her side. SYBIL THORNDIKE How lovely you are. Here, I kept a place for you. PAULA bursts forward, steering Marilyn away instead to an empty seat on the other side of the rectangle of tables. She looks at RICHARD WATTIS, the actor occupying the seat next to the empty one. PAULA I have to be next to Marilyn! The startled WATTIS gets up graciously and troops all the way around the table to the seat next to SYBIL THORNDIKE. SYBIL THORNDIKE (TO MARILYN) Don't worry, dear, we won't bite. PAULA looks at her in truculent apology. PAULA She likes me by her side. SYBIL THORNDIKE What a good idea! I wish we could all bring a friend. One does get so terribly nervous. It's just like the first day at school, isn't it? MY WEEK WITH MARILYN 30. She smiles kindly at MARILYN who smiles back tentatively from behind her dark glasses. He smiles with considerable charm as he makes his opening speech of welcome. OLIVIER Welcome dear Marilyn, to our little fraternity. (Pause, looks around) We may seem a little strange and quaint to you at first, but I hope that in time you may come to find your method in our madness. Pleased with his over-contrived rhetorical flourish, he gives Paula a pointed look. She glowers back, obscurely sensing that she has been insulted in some way. MARILYN also looks up in confusion at Olivier's well intentioned but clumsy joke. Oblivious to her reaction, he opens his script with a sentimental flourish. OLIVIER (CONT'D) So. My very noble and approv'd good masters, let us now embark on our great voyage of discovery together. (Pause) With boldness and (we pray) good fortune, may we strive to create a work of art that, led by your good graces, will be cherished as long as motion pictures may be remembered. He is momentarily close to tears. WATTIS rolls his eyes discreetly, earning a grin from the actor PAUL HARDWICK. There is a rustle of pages and a few coughs, a mood of eager nervousness in the air as they all prepare for the reading. CUT TO: 50 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 50 Page 10. PAULA turns the pages of MARILYN's script for her, as though helping a child to read. OLIVIER is in full flow, employing a heavy Mittel European accent. MY WEEK WITH MARILYN 31. OLIVIER (AS REGENT) "Were you surprised to get my invitation?" MARILYN stares at him for a beat then reads haltingly. MARILYN (AS ELSIE) "I'll say I was surprised. I was so surprised I couldn't hardly think you meant me." OLIVIER (AS REGENT) "oh but of course I meant you. I had your name most carefully marked down on my programme. In matters of this kind I assure you I am most methodical. Who did you think I meant if not you?" MARILYN drops out of character with a sweet, nervous smile. MARILYN Gee, Mister Sir, I could listen to your accent all day. There are private grins amongst the actors. OLIVIER smiles kindly. OLIVIER You are amongst friends, my darling angel. Just plain Larry will suffice. (Pause) When you're ready..? Flustered, MARILYN looks at her script. MARILYN (AS ELSIE) "Well, Maisie Springfield... OLIVIER (AS REGENT) "Oh, no, no, no not Maisie Springfield, she's quite what I would call old hat... PAULA leans across, mounting a whispered running commentary in Marilyn's ear as OLIVIER speaks. PAULA Remember why you're in the embassy, Marilyn. What does the Grand Duke want from Elsie? She thought there were going to be a lot of people here and it's just her. OLIVIER waits patiently. OLIVIER It's your line, Marilyn. MY WEEK WITH MARILYN 31A. MARILYN Oh, let's see... "Oh, and am I what you'd call new hat?" MY WEEK WITH MARILYN 32. OLIVIER tries to continue but is yet again brought up short by PAULA's passionate whispering. PAULA Locate the experience, Marilyn. Look for the memory that helps you. Remember when you went to that party at Chaplin's house and you were the only guest? How did that make you feel? This time OLIVIER stares at PAULA. OLIVIER It is only a readthrough, Paula. PAULA Marilyn has to begin finding the character. OLIVIER The character is on the page. PAULA The words, maybe. Not the character. RICHARD WATTIS whispers to PAUL HARDWICK. WATTIS She's half cut! DAME SYBIL THORNDIKE frowns with regal disapproval and smiles warmly at MARILYN. SYBIL THORNDIKE Aren't we going to have fun? 51 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 51 The readthrough over, OLIVIER rails quietly at MILTON while COLIN clears up the tea cups and plates used by the actors. OLIVIER We can't have two fucking directors! MILTON Marilyn wants Paula. OLIVIER Why? She's got me! MILTON Paula is costing us two and half thousand bucks a week. We might as well use her. (Pause) Listen Larry, accept Marilyn on her own terms and you'll be okay. (MORE) MY WEEK WITH MARILYN 32A. MILTON (CONT'D) Try to change her and she'll drive you crazy. Trust me. MY WEEK WITH MARILYN 33. OLIVIER stalks away. COLIN takes a chance and follows him. OLIVIER Dear Christ, what have I got myself into? CUT TO: 52 INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 52 COLIN follows LUCY the WARDROBE GIRL down a rack of clothes. He is charming, glib and persistent. COLIN Come out with me tonight. LUCY I'm working. COLIN Tomorrow night, then. LUCY I'm washing my hair. COLIN Your hair's lovely. She stops to look at him, attracted but cautious. LUCY Look, I have two rules. One, never touch the talent... COLIN Everyone has a lot of rules around here. LUCY ... and two, never go out with thirds. COLIN Why not? LUCY Because they're all randy little buggers who just want some fun during shooting. COLIN I'm not like that. She looks at him sceptically. COLIN (CONT'D) Really. MY WEEK WITH MARILYN 34. LUCY (SIGHS) I'm free on Saturday. ORTON (OFF) Colin! COLIN ducks into a rack of clothes, making a face at Lucy. She can't help smiling back. CUT TO: 53 EXT. PINEWOOD STUDIOS. GATE. DAY. 53 First light over Pinewood Studios. Although it is August it is chilly so early in the morning. COLIN stands by the gate wearing only his thin summer jacket. He blows on his hands to keep warm. A black car appears. The window winds down and DAME SYBIL THORNDIKE pops her head out. SYBIL THORNDIKE How kind of you to meet us. Dear me, you do look cold. COLIN They're ready for you in make-up Dame Sybil. SYBIL THORNDIKE How exciting! Don't you love the first day of a new production? COLIN I don't know, Dame Sybil. I've never had one before. DAME SYBIL gazes at him with wistful sadness. SYBIL THORNDIKE Oh, to be young again! She blows him a kiss and the car rolls in through the gate. Almost immediately OLIVIER's chauffeur driven Bentley appears. OLIVIER Marilyn here yet? COLIN Not yet. CUT TO: 54 EXT. PINEWOOD STUDIOS. GATE. DAY. 54 COLIN looks anxiously down the empty road. DAVID ORTON strides towards him angrily. MY WEEK WITH MARILYN 35. ORTON What the fuck's going on? I thought you had a contact in her house. COLIN I do... ORTON Well bloody use him, then. CUT TO: 55 EXT. PARKSIDE HOUSE. FRONT DOOR. DAY. 55 ROGER greets COLIN on the doorstep with a grin. ROGER She hasn't come down yet. Neither has Miller. They're playing trains. COLIN stares at him blankly. CUT TO: 56 INT. PARKSIDE HOUSE. DRAWING ROOM/PRODUCTION 56 OFFICE. DAY. COLIN, ROGER and MILTON sit in silence, studiously avoiding each other's eyes. Somewhere upstairs bed springs creek under the pressure of enthusiastic love-making. The phone rings. MILTON nods to COLIN to pick it up. COLIN is glad of the distraction. We hear ORTON's irate tones on the end of the line. ORTON (ON PHONE) Well? What's happening? COLIN glances upstairs as he tries to think what to say. COLIN She's... getting into character. CUT TO: 57 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 57 Dame Sybil stands alone. 58 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 58 RICHARD WATTIS, ROSAMUND GREENWOOD (MAUD) and TWO FOOTMAN in full costume, sweating under the hot lights. MY WEEK WITH MARILYN 36. OLIVIER prowls the set smoking impatiently. COLIN is at his side with DAVID ORTON. OLIVIER She's kept Dame Sybil Thorndike waiting in full costume for two hours. It's simply not fair. The door finally opens and MARILYN emerges, with PAULA on one side and MILTON on the other. In her figure-hugging shimmering white sheath of a dress she is ravishingly beautiful. Her hair is like a halo of light around her head. No one can take their eyes off her. Slowly, all work on the set stops. MARILYN walks to the set, acutely aware of the scrutiny of the crew. She smiles nervously, then suddenly hesitates, feeling the weight of everyone's attention. Anxiety flits across her face. She whispers something to PAULA and bolts back towards her dressing room. OLIVIER stares after her in shock. OLIVIER (CONT'D) What's wrong? PAULA She wasn't happy with her make- up. OLIVIER loosens his collar irritably and glances at ORTON. OLIVIER Right, Mr. Orton you wanted me to check the back projection. Please join us, Mr. Cardiff. He stalks away, followed by Cardiff and Orton. CUT TO: 59 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 59 COLIN sees SYBIL THORNDIKE standing on set. She beams at him cheerfully. SYBIL THORNDIKE Isn't she pretty though? COLIN Would you like to sit down, Dame Sybil? SYBIL THORNDIKE How kind of you, Colin. Yes, why don't we all sit down? Colin sees her chair by the camera and goes innocently to fetch it. But as he picks it up he is confronted by a stern looking crew member in overalls. MY WEEK WITH MARILYN 37. TREVOR Are you a member of NATTKE? COLIN What? TREVOR That chair is a prop. Props are NATTKE. If ACT members are going to do NATTKE jobs, I'm calling my men out. Every eye is suddenly on Colin. Taking his shock for stubbornness TREVOR turns to the set and bellows. TREVOR (CONT'D) Strike meeting! Half the crew immediately down tools. COLIN looks on in horror. SYBIL THORNDIKE frowns in reproach. SYBIL THORNDIKE I'm sure we're all good union members here. There's no need to fall out over something so trivial. TREVOR It might be trivial to you, Dame Sybil, but it's my livelihood. He's not in the union. (Pause, to Colin) Put the chair down. COLIN stares at him, frozen. TREVOR (CONT'D) Put the chair down now! COLIN drops it as though it was on fire. It clatters to the stage. SYBIL THORNDIKE bears down on TREVOR majestically. SYBIL THORNDIKE I rather think you've made your point. Solidarity is the important thing here. When unions fall out, it's only management that benefits. TREVOR pauses, not at all sure about this, but then shrugs magnanimously. TREVOR (TO COLIN) If I see you doing a NATTKE job again I'll close this set down quicker than you can blink. He turns to one of his men. TREVOR (CONT'D) Dave, Dame Sybil needs a chair. MY WEEK WITH MARILYN 37A. DAVE picks up the same chair, moves it approximately six inches and places it behind SYBIL THORNDIKE, who finally sits down, her sunny good humour instantly restored. SYBIL THORNDIKE I was on the picket lines in 1926, you know. (MORE) MY WEEK WITH MARILYN 38. SYBIL THORNDIKE (cont'd) Now that was a strike. We were all Bolsheviks then! She smiles nostalgically as ORTON appears to hustle COLIN away, muttering furiously. ORTON Didn't they teach you anything at Eton? Now fuck off and see if you can get me a bacon sandwich without starting World War III. CUT TO: 60 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 60 MARILYN is at last on set and ready to shoot. SYBIL THORNDIKE, as the Queen Dowager, waits behind a door. OLIVIER is in front of the camera with MARILYN, who flutters her hands nervously in an odd calming gesture. PAULA mutters a last few words in her ear, reading her lines to her from her small brown notebook. COLIN watches intently. A bell rings and the red light goes on. The camera operator, DENYS, rolls the camera. DENYS Camera running. ORTON Very quiet, everyone... DENYS Speed. The CLAPPER LOADER clicks the clapperboard. CLAPPERBOY Twenty two, take one. ORTON Action! OLIVIER (AS REGENT) "Now, before you meet my mother- in-law I must warn you she is a little vague and can be very deaf... on occasions." SYBIL THORNDIKE sweeps through the door right on cue, with MAUD, her lady-in-waiting, following. She is effortlessly in command of her lines. SYBIL THORNDIKE (AS QUEEN DOWAGER) "My dear, such boredom! The decorations hideous, and the music... catastrophe! Our friend, the ex-King of Moravia drove me home. (MORE) MY WEEK WITH MARILYN 39. SYBIL THORNDIKE (AS QUEEN DOWAGER) (CONT'D) He is now called the Duke of Strelitz, he cannot of course go to the Abbey tomorrow, but he is most anxious you should invite him to the room you have taken in the Ritz for Nicky. Maud? ROSAMUND GREENWOOD (AS MAUD) "Yes, Ma'am..." SYBIL THORNDIKE (AS QUEEN DOWAGER) "Oh there you are my dear, I did not see you, give me a glass of that champagne I see over there. Olga Bosnia..." OLIVIER (AS REGENT) "Might I present Miss Elsie Marina?" SYBIL THORNDIKE (AS QUEEN DOWAGER) "Oh yes, my dear, of course I remember you well." They all look at MARILYN... and nothing happens. MARILYN Gee. I forgot my line. I'm sorry. OLIVIER Cut. SYBIL THORNDIKE smiles cheerfully. SYBIL THORNDIKE It's so easily done, isn't it? I'm sure I went wrong somewhere there too. Shall we have another go, Larry? CUT TO: 61 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 61 The clapperboard snaps. Take Five. SYBIL THORNDIKE (AS QUEEN DOWAGER) "Oh yes, my dear, of course I remember you well." MARILYN (AS ELSIE) (HALTING) "Oh, I'm quite sure you don't, your royal..., oh, I mean, your, uh, Imperial... your uh... serene majesty." It is not clear whether Marilyn's hesitance is acted or not but the others press on gamely. MY WEEK WITH MARILYN 40. SYBIL THORNDIKE (AS QUEEN DOWAGER) "What does she say?" OLIVIER (AS REGENT) "She says she is deeply flattered and compliments you on your wonderful memory." MARILYN jumps in, shouting her line over the top of him. MARILYN (AS ELSIE) "I'm in The Coconut Girl at The Avenue." There is a pause. SYBIL THORNDIKE hesitates. SYBIL THORNDIKE Didn't I have a line somewhere there, dear? OLIVIER Cut. CUT TO: 62 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 62 The clapperboard snaps shut again. Take twelve. ORTON Action! SYBIL THORNDIKE (AS QUEEN DOWAGER) "Thank you, my dear. (Pause) Sweetly pretty. She should use more mascara. When one is young one should use a lot of mascara, and when one is old one should use much more. What do you do, my dear?" MARILYN (AS ELSIE) "I'm in The Coconut Girl at The Avenue". SYBIL THORNDIKE (AS QUEEN DOWAGER) (TO OLIVIER) "Dear?" OLIVIER (AS REGENT) "She says she is an actress." MARILYN looks at him, hesitant but just about in character. OLIVIER glances at ORTON who nods. OLIVIER (CONT'D) Cut it there. ORTON Check the gate. MY WEEK WITH MARILYN 41. FOCUS PULLER (After a second) Gate's good. OLIVIER Print. There is a near-audible sigh of relief around the set. SYBIL THORNDIKE smiles. SYBIL THORNDIKE That was perfect, Marilyn. You're Elsie to the life! MARILYN smiles awkwardly, not really believing her but SYBIL carries on with complete conviction. SYBIL THORNDIKE (cont'd) Perhaps we could practise our lines together later? You'd be doing me such a kindness. At my great age it's just so hard to make them stick! Why don't you come for tea tomorrow? In fact Sybil is word perfect every time, and everyone knows it. But it is a kind and tactful gesture. MARILYN's face lights up. MARILYN Can I? 62A INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 62A OLIVIER looks at COLIN in dismay. OLIVIER She's impossible. I should have cast Vivien. COLIN If anyone can make her great, it's you. You're a genius. OLIVIER Oh, yes. The world's greatest living actor, so they say. OLIVIER looks at him, wanting to be reassured. He fumbles for a cigarette with shaking fingers and COLIN hurries to light it. He smiles wryly. OLIVIER (CONT'D) Let's hope I'm as brilliant as you think I am. (Pause) Now be a good boy and keep an eye on her. CUT TO: MY WEEK WITH MARILYN 42. 63 INT. PINEWOOD. DRESSING ROOMS/CORRIDOR. DAY. 63 MARILYN and PAULA are heading for the dressing room. MARILYN looks tired and disconnected. COLIN is just behind them on another errand. He can't help overhearing Paula's insistent, honeyed tones as she responds to Marilyn's uncertainty. MARILYN I just can't figure this movie out. PAULA You were wonderful. You are the most gifted actress I have ever known. You were superb, Marilyn. You were divine. MARILYN He was angry with me, I could tell. PAULA You were great. You are a great, great actress. All my life I have prayed for a great actress I could help and guide. She stops abruptly and gets down on her knees in the corridor in front of Marilyn. COLIN stops awkwardly, his path blocked. PAULA (CONT'D) Like this. I prayed to God on my knees. And he has given me you. You are that great actress, Marilyn. MARILYN Come on, Paula, get up. PAULA Not until you admit you were great. MARILYN smiles, her mood slowly lightening. MARILYN Oh, okay. I guess I was. COLIN glances at her, seeing his chance to help. COLIN You really were very good, Miss Monroe. MARILYN smiles vaguely. PAULA gives him a fierce look - COLIN moves past quickly. CUT TO: MY WEEK WITH MARILYN 43. 64 INT. CAFE DE PARIS. LONDON. NIGHT. 64 The mood in the Club is cosmopolitan, lively but elegant. Rows of small tables are arranged around the stage, a few young couples are dancing to a jazz trio playing an exuberant, upbeat number. The music comes to an end and the couples return to their tables, COLIN and LUCY among them. There is champagne on the table, COLIN pours them both a glass. LUCY Are you sure you can afford all this? COLIN Oh, it's all right. LUCY It must be costing a week's wages. COLIN It's worth it. LUCY can't help being charmed. LUCY You're not the average third, are you? Most of them would be happy with a swift half and a grope in the pub car park. COLIN I'm not living off my parents, if that's what you mean. I want to make my own way, no matter what. LUCY By making eyes at Vivien Leigh? COLIN Who told you that? LUCY Word gets around. COLIN Vivien's a friend of my father's. LUCY So there's nothing in it? You and Vivien? He smiles mysteriously and leans in to kiss her. She avoids him coolly. LUCY (CONT'D) I'm not that easy. The WAITER approaches with a bill on a silver salver and offers him a pen. MY WEEK WITH MARILYN 43A. WAITER You'll be signing on your father's account, sir? COLIN blushes violently. COLIN Certainly not. I settle my own bills. The WAITER nods discreetly and leaves. LUCY looks at COLIN with a teasing smile. COLIN I was always going to pay, you know. LUCY Of course you were. He looks at her, but there is no hint of mockery in her smile and he is grateful. LUCY Do you think Marilyn is beautiful? COLIN Not compared to you. LUCY laughs, COLIN looks hurt. LUCY You don't have to try so hard to be charming. You're nice enough as it is. Well, you could be. MY WEEK WITH MARILYN 44. She touches his hand and takes a drag from his cigarette as he refills her glass. LUCY (CONT'D) You know Marilyn's really still in love with Joe DiMaggio? COLIN So they say. LUCY She married Miller on the rebound. The papers are calling them "The Hourglass and the Egghead". COLIN Which one is which? She bursts out laughing. Her eyes sparkle and she looks captivating in the glistening lights. He goes to kiss her and this time she doesn't stop him. CUT TO: 65 EXT. LUCY'S HOUSE. SUBURBS. NIGHT. 65 Colin's Bristol is drawn up in a quiet suburban road lined with pleasant semi-detached houses. Lucy's house has a neat patch of front lawn, a stolid family car in the drive and net curtains in the windows. It is very little different from any of its neighbours. CUT TO: 65A INT. LUCY'S HOUSE. PARLOUR. NIGHT. 65A COLIN and LUCY are kissing in the small "best" parlour at the front of the house. It is spotlessly neat and clean. COLIN touches Lucy's breasts and then opens the buttons of her blouse. She puts her hand on his, stopping him. MY WEEK WITH MARILYN 45. LUCY Wait a while, crocodile. COLIN I really do like you, Lucy. She looks at him shrewdly. LUCY Maybe. She hears heavy footsteps in the bedroom above. LUCY (CONT'D) That's my dad. She gives Colin a swift peck on the cheek as she tidies herself. A moment later the door opens and Lucy's father, MR. ARMSTRONG comes in, wearing his dressing gown over pyjamas. He glances at COLIN with a suspicious smile as he looks at his daughter. MR. ARMSTRONG Time to be thinking about bed, darling. Early start tomorrow. LUCY Sorry, Daddy. We were just going over tomorrow's schedule. COLIN and LUCY share a small, private smile. He takes his cue and stands up. COLIN Yes, I should be off. Colin Clark. Pleased to meet you, Mr. Armstrong. He offers the surprised MR. ARMSTRONG a confident handshake. COLIN (CONT'D) This is a very nice house you've got. MR. ARMSTRONG Do you know this part of the world? COLIN (THROWN) Umm... not really. My family are more country people. Lost for words they stare at each other for another moment before MR. ARMSTRONG smiles vaguely then goes. LUCY follows him with a smile at COLIN. He grins and whispers. COLIN (CONT'D) Next Saturday? She nods. He follows her out into the hall. CUT TO: MY WEEK WITH MARILYN 46. 65B EXT. LUCY'S HOUSE. SUBURBS. NIGHT. 65B As he walks down the path, COLIN pauses. He looks around at the uniform semi-detached houses all around him. He is uncomfortable here, so far from the glamorous world of his parents or Pinewood studios. He has a strong sense that he and Lucy are from very different worlds, and walks to his car with an uneasy sense of relief to be getting away. CUT TO: 66 EXT. PINEWOOD STUDIOS. GATE. DAY. 66 COLIN is back on the early morning watch. A black car draws up and SYBIL THORNDIKE leans out. SYBIL THORNDIKE Colin, dear, I thought you looked cold so I bought you this. She hands him a bright red woollen scarf. COLIN is touched. COLIN Thank you, Dame Sybil. SYBIL THORNDIKE Film sets and rehearsal rooms are the coldest places on earth. He smiles as her car drives away. He wraps the scarf around his neck and looks up and down the road again. CUT TO: 67 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 67 The crew stand around in sullen discontent. OLIVIER paces back and forth with MILTON at his side. OLIVIER She should be on time, like everyone else. MILTON She is a star. OLIVIER I'm a fucking star! He looks around in frustration. OLIVIER (CONT'D) If we nip this behaviour in the bud perhaps it won't be repeated. MILTON This is Marilyn you're talking about. MY WEEK WITH MARILYN 47. OLIVIER scowls at COLIN, who gives him a cigarette. MARILYN finally emerges with PAULA at her elbow. OLIVIER advances on her, his anger simmering. OLIVIER Marilyn, darling you are an angel, and I kiss the hem of your garment, but why can't you get here on time for the love of fuck? MARILYN Oh... you have that word in England too? She looks at him in surprise. She looks sedated, not quite there. PAULA leaps protectively to her defence. PAULA Marilyn has to prepare properly. She has to find in herself all that lies under the surface. Acting isn't just a case of putting on a costume or some ludicrous false nose. OLIVIER gives her a freezing look then takes Marilyn's hand, leading her forward like a child. OLIVIER You must apologise to Dame Sybil. MARILYN reddens with humiliation as he takes her arm. CUT TO: 68 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 68 OLIVIER propels MARILYN towards SYBIL THORNDIKE. MARILYN reddens with humiliation. MARILYN I'm sorry... SYBIL THORNDIKE (Cutting her off) My dear, you mustn't concern yourself. A great actress like you has many other things on her mind. A radiant smile spreads slowly across Marilyn's face as the older woman's words sink in. MARILYN You think I'm a great actress? MY WEEK WITH MARILYN 48. SYBIL THORNDIKE None of the rest of us truly know how to act for the camera. But you do. It is a rare gift. She looks sharply at OLIVIER. SYBIL THORNDIKE (cont'd) This poor girl hasn't had your years of experience. She is in a strange country, acting a strange part. Now, are you helping or bullying? OLIVIER looks aghast at being so roundly rebuked. COLIN looks on, startled. CUT TO: 69 INT. PINEWOOD STUDIOS. VIEWING THEATRE. DAY. 69 OLIVIER, MILTON, PERCEVAL, ORTON and the editor JACK HARRIS watch rushes. COLIN lurks about unnoticed at the back. They watch one of OLIVIER's speeches (from the " The Coconut Girl" sequence we saw filming in Scenes 61 and 62). He is dry and clipped, every take precise and professional. It is an effective but theatrical performance. MARILYN sneaks in with ARTHUR MILLER. They sit in the back row watching her performance from the same scene. She fluffs take after take, gets her words wrong and pauses, looking dazed. COLIN notices her clutching MILLER's hand tightly. But finally a good take comes up. She is charming and natural and her performance suddenly makes OLIVIER's look stiff and clumsy. MILLER smiles in relief and reassurance. MILLER That one's pretty damn good. You knocked it out of the park. MARILYN glows at his praise. MILTON When Marilyn gets it right you just don't want to look at anyone else. OLIVIER frowns. For all his greatness as an actor he will never be a film star like the maddeningly instinctive Marilyn. And the injustice of it is like a stab through his heart. At the back COLIN only has eyes for the screen. He watches MARILYN's image, enthralled. Until now he has taken Marilyn entirely at Olivier's valuation, but as he watches her on screen he begins to see things differently. MY WEEK WITH MARILYN 49. He sneaks a look at her in real life. She is holding MILLER's hand tightly, looking tense and vulnerable as one disastrous take follows another. CUT TO: 70 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 70 COLIN comes out of the viewing theatre behind OLIVIER and MILTON. OLIVIER We've only been shooting for four days and we're already two weeks behind. COLIN can't resist blurting out a comment. COLIN Why not only show her the good takes? Then she might feel better about herself. He looks self-conscious as they both turn to stare at him. MILTON The kid's right. She could use the confidence. OLIVIER I believe it's traditional for the producer of the film to watch rushes. Besides, she's an experienced actress. She should learn from her mistakes. COLIN They just upset her. OLIVIER Not half as much as they upset me. CUT TO: 71 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 71 COLIN hurries across the stage, carrying a fresh carton of "Oliviers". ORTON stops him. ORTON I'll do that. You go and find Marilyn's script. She thinks she left it in her dressing room. CUT TO: MY WEEK WITH MARILYN 50. 72 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING ROOM. 72 DAY. COLIN bursts into the dressing room without knocking. Clothes are strewn carelessly all over the floor. There are pill bottles, full and empty, on every surface, along with empty bottles of champagne and bunches of flowers. COLIN rummages around on the table, moving piles of scripts and books. No luck. He walks casually through the half-open door into the inner chamber. And stops dead in his tracks. MARILYN stands by a chair, a towel wrapped around her head. She is completely naked. She looks at him in astonishment. He stares back, equally astounded. He sees her script, heavily covered in handwritten notes, lying on the table next to an open bottle of champagne and a bottle of pills. COLIN Your script... MARILYN I found it. Calmly she takes the towel from her hair and wraps it around herself. She smiles quizzically. MARILYN (CONT'D) You can go now, Colin. He hesitates a beat, surprised that she knows his name, before he fumbles for the door. CUT TO: 73 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING 73 ROOM/CORRIDOR. DAY. COLIN slams the door, aghast. CUT TO: 74 INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 74 COLIN and LUCY are buried in the clothes racks kissing passionately. They surface for air. COLIN David wants to know if you're ready for the extras in the ballroom scene. MY WEEK WITH MARILYN 51. LUCY Tell him he can start sending them up. Women first. They kiss again. He pulls away. LUCY (CONT'D) I'm looking forward to Saturday. He looks at her uncertainly. LUCY (CONT'D) Our date? COLIN (AWKWARD) I forgot. I can't do Saturday. Marilyn wants to go shopping. LUCY Since when do you work for her? COLIN Larry asked me to help out. She smiles sardonically, teasing him, but a little hurt. LUCY Well, of course you must do what Larry says. COLIN Next Friday instead? She shrugs in agreement. COLIN (CONT'D) I'll pick you up. Eight o'clock. He smiles, a little too glibly, and hurries away. LUCY gazes after him. He doesn't look back. CUT TO: 75 INT. LONDON. MARILYN'S CAR. DAY. 75 COLIN sits in the front with ROGER driving. MARILYN, ARTHUR MILLER and MILTON GREENE sit in the back. CUT TO: 76 EXT. LONDON. BOND STREET. DAY. 76 It is very quiet in the normally busy West End. Shops have begun shutting after lunch and the city is rapidly emptying. SHOPPERS wander past, taking little notice of MARILYN who has her hair covered in a scarf and wears dark glasses. MILLER walks at her side, holding her hand. She glances at MILTON with an awkward laugh. MY WEEK WITH MARILYN 52. MARILYN Gee, it's quiet. COLIN It's Saturday. Early closing. But they're expecting us. She stops to window shop. MILTON lowers his voice to COLIN. MILTON No one's recognised her. COLIN At least she can shop in peace. MILTON Marilyn's a star. Stars don't even pee alone. He looks around anxiously. But then a PASSER-BY suddenly narrows his eyes and takes a second look. His face lights up and he shouts - PASSER-BY It's Marilyn Monroe! MARILYN gives him a radiant smile and within seconds is surrounded by a crowd of SHOPPERS alerted by the fuss. A feverish excitement grows out of nothing as people come running to look, pushing and shoving to see. MARILYN is quickly hemmed in by the heaving mob. To begin with she enjoys it, smiling and posing happily for the cameras that appear out of nowhere. But as the crowd press towards something in the mood of the gathering changes; it becomes wild and over-excited mood as people scream Marilyn's name and shove bits of paper to sign in her face. A WOMAN is pushed to the ground and MARILYN is forced back against the shop window. COLIN sees a flicker of panic on her face. ROGER My God, she'll be torn apart... MILLER Get her out of here. COLIN and ROGER hurl themselves into the crowd doing what they can to keep the excited fans at bay. They manage to force a path to the car, drag the door open and bundle MARILYN and MILLER into the back. MARILYN is pinned against the door and COLIN has to put his arm around her shoulders as he helps her in. He hurls himself into the front, with Milton running alongside the moving car to dive in beside Marilyn. People run alongside, hammering wildly on the windows in violent hysteria. MILTON does his best to put a cheerful gloss on the chaos. MY WEEK WITH MARILYN 53. MILTON Jeez, Marilyn, they really fucking love you. As COLIN looks in the rear-view mirror he sees MILLER shaking his head in dazed horror as MARILYN slumps half-collapsed into the seat beside him. MILLER Madness. Someone's going to get hurt. COLIN shifts his gaze to her in the mirror and his eyes meet Marilyn's. He sees - or imagines - a terrible sadness before she quickly replaces her dark glasses. CUT TO: 77 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 77 COLIN stands silently by the camera, watching MARILYN and RICHARD WATTIS, in character as Elsie Marina and Northbrook, open the doors of the Grand Duke's drawing room. MARILYN (AS ELSIE) "Well we're still the first ones, aren't we? Gee, this is all right, isn't it? OLIVIER looks out from behind the camera, patient and charming. OLIVIER Cut. The line is "Gee, this is all right too, isn't it". It's a tiny word, my darling, but it matters. Let's go straight away. MARILYN smiles vaguely. HAIR and MAKE-UP rush to do last minute checks. DENYS Camera running. SOUNDMAN Speed. DENYS Mark it. The clapperboard clatters down. Take two. WATTIS and MARILYN come in again on their cue. MARILYN (AS ELSIE) "Well we're still the first ones, aren't we? Gee, this is all right, isn't it?" MY WEEK WITH MARILYN 54. OLIVIER Cut. Nearly there, but Terry did work so very hard on this and we must try to get it right for him. Straight away, please. Take three. MARILYN (AS ELSIE) "Well, we're still the first ones, aren't we? Gee, this is... all right, isn't it?" By now there is a panic-stricken edge to her voice. OLIVIER Cut. MARILYN Can't we just drop it? OLIVIER The point is that you have already admired the downstairs hall in an earlier scene. Now you are admiring this room as well. MARILYN Oh, sure. (Pause, she looks stricken) Paula! OLIVIER looks startled. PAULA comes scurrying across. MARILYN appeals to her, turning away from OLIVIER. MARILYN (CONT'D) I don't get it. He's such a strange man. I think she'd figure out he only invited her to sleep with her. PAULA (TO OLIVIER) The reason Marilyn can't remember the line is because she doesn't believe the situation her character is in. OLIVIER takes out all his pent-up frustration on PAULA. OLIVIER Then she should pretend to believe it. PAULA bristles at this insult to her husband's work. PAULA Pretend? We're talking about the difference between the truth and artificial crap. MY WEEK WITH MARILYN 54A. OLIVIER We're in absolute agreement, Paula. Acting is all about sincerity. And if you can fake that, you're off to the races. PAULA only stares at him in disgust. Thoroughly alarmed, MILTON intervenes. MY WEEK WITH MARILYN 55. MILTON Maybe we should try for another take. PAULA Marilyn needs time to give a great performance. You should give her as long as it takes. Chaplin took eight months to make a movie. OLIVIER Eight months of this? I'd rather kill myself. Throughout all this MARILYN herself looks lost. COLIN watches her as she feels the crew's irritable collective gaze. Flustered, she flutters her hands in a calming gesture, then goes to the side of the set to lean on a bar put there for her to rest on (her costume is too tight to allow her to sit down). PAULA accompanies her. MARILYN looks up at her in anguish. MARILYN I can't do this. I can't. PAULA looks at her adamantly. PAULA You can do it. You can't fail. You will have more pain, you will suffer more but you will create. All you need is time. MARILYN looks at her, desperately wanting to believe it. PAULA (CONT'D) Remember, Marilyn, a tree is never just a tree. What kind of tree is Elsie? An elm tree? A birch tree? OLIVIER (Under his breath to COLIN) God knows, but I'm a weeping fucking willow. PAULA (TO MARILYN) Think about the things you like, instead of him. Frank Sinatra. Coca Cola. Be specific. The character comes alive if you know what you're doing. MARILYN listens intently, a frown flitting across her face. She goes back to her mark. The whole crew is on tenterhooks. Camera running, speed, mark it... Action! Take four. MY WEEK WITH MARILYN 56. MARILYN (AS ELSIE) "Well we're still the first ones, aren't we? Gee, this is all right, isn't it?" OLIVIER Cut. A look of near-panic creeps into Marilyn's eyes at her inability to remember the line. CUT TO: 78 DELETED 78 79 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 79 The clapperboard snaps one final time. Take twenty three. MARILYN's smile is a grimace of terror. COLIN can hardly bear to look. Everyone holds their breath. MARILYN (AS ELSIE) "Well we're still the first ones, aren't we? (Pause) Gee, this is all right too, isn't it?" There is a stunned moment. WATTIS gapes and MARILYN looks around uncertainly. Did she say it? OLIVIER gestures frantically from behind the camera that she should carry on. She hesitates... ... there is an agonising beat... ... and then she panics and bolts for the side of the set. MARILYN (CONT'D) Paula! OLIVIER Cut. What's the matter now? He takes her arm and whisks her away to the side of the set, lowering his voice, trying to conceal his exasperation with a honeyed tone. OLIVIER (CONT'D) Forgive me, Marilyn. This is my failure, not yours. Tell me how I can help you. MARILYN I don't know who Elsie is. I can't act her if I don't know who she is! MY WEEK WITH MARILYN 57. OLIVIER Elsie is all in the script MARILYN I can't find her. She's not there. OLIVIER But you have her precisely, you know her inside out. I'm in awe of your gift. We all are. MARILYN She's not real. OLIVIER Why not simply rely on your natural talents? MARILYN Are you saying I don't need to act? OLIVIER is bewildered by her inability to appreciate her own natural talent - as he sees it. He looks at her in genuine anguish. OLIVIER Marilyn, you are the most attractive woman in the world. I'm simply suggesting you be yourself. MARILYN (SHOUTS) I don't want to be myself! (Pause) I want to be an actress playing a character. OLIVIER (Trying to be helpful) All you have to do, dear Marilyn, is be sexy. Isn't that what you do? MARILYN flinches as though slapped. Tension ripples through the set. COLIN watches in dismay. MARILYN I want Lee. OLIVIER You've already got Paula, for heaven's sake. I'm the director. Speak to me. PAULA I am only Lee's representative. OLIVIER It's five in the morning in New York. MY WEEK WITH MARILYN 57A. MARILYN I WANT LEE! MY WEEK WITH MARILYN 58. Her furious scream brings all activity to a halt. She storms off the set with PAULA following. The atmosphere is awful. 80 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 80 DAY. OLIVIER sits brooding savagely in front of his make-up mirror with MILTON GREENE. COLIN unobtrusively fetches whisky and cigarettes for them both as OLIVIER abruptly booms out to himself. OLIVIER "O, now, for ever Farewell the tranquil mind/Farewell content/ Farewell the plumed troop and the big wars/That make ambition virtue O, farewell/Farewell..." (Pause, exasperated) Paula's not an actress. She not a director, not a teacher. Her only talent is buttering up Marilyn. MILTON It would be worse if she wasn't around. OLIVIER You know what would make Marilyn Monroe a real actor? A season in rep. They wouldn't stand for this kind of nonsense at the Hippodrome in Eastbourne. MILTON You have to be patient with her. OLIVIER Trying to teach Marilyn how to act is like teaching Urdu to a badger. MILTON gives him a look but says nothing. Instead he picks up his bag and opens it. It is stuffed with bottles of pills. He takes one of them, checks the label and puts it in his pocket. MILTON I better go see her. She'll need something to help her calm down. COLIN holds the door for him as he goes out. OLIVIER (After a second) Pills to sleep, pills to wake up. Pills to calm her down, pills to give her energy. No wonder she's permanently ten feet underwater. MY WEEK WITH MARILYN 59. COLIN looks at him tentatively. COLIN Maybe she's scared. OLIVIER We're all scared. It's part of being an actor. COLIN But you have the training to deal with it. OLIVIER turns from the mirror to survey him. OLIVIER I wouldn't buy the little girl lost act if I were you. Though heaven knows it's tempting. He sighs wistfully. OLIVIER (CONT'D) And I think Marilyn knows exactly what she's doing. COLIN isn't so sure but wisely holds his tongue. OLIVIER (CONT'D) You better get over to Parkside and make sure the poor girl's all right. (Pause) And Colin? Don't forget who you work for. CUT TO: 81 EXT. PARKSIDE HOUSE. DRIVE. NIGHT. 81 COLIN draws up outside Marilyn's house. The place is dark and quiet. CUT TO: 82 INT. PARKSIDE HOUSE. DRAWING ROOM NIGHT. 82 ROGER takes two bottles of beer from the well stocked drinks cabinet and hands one to COLIN, putting a coaster for him on the coffee table. COLIN looks around the opulent drawing room. COLIN Are you sure they won't mind? ROGER Help yourself. They can spare it. (Pause) Marilyn's okay. She's taken some pills and gone to bed. He frowns darkly. MY WEEK WITH MARILYN 60. ROGER (CONT'D) They like to keep her doped up. It makes her easier to control. COLIN You mean Miller? ROGER (Shakes his head) The others. They're terrified their cash cow will slip away. He smiles grimly and raises his beer bottle. ROGER (CONT'D) Cheers! CUT TO: 83 INT. PARKSIDE HOUSE. DRAWING ROOM. NIGHT. 83 COLIN wakes abruptly from a doze as his empty bottle of beer rolls to the floor. ROGER is fast asleep. COLIN glances at the clock. It is nearly midnight. CUT TO: 84 INT. PARKSIDE HOUSE. UPSTAIRS HALL. NIGHT. 84 COLIN, a little drunk, creeps out of the toilet. The narrow strip of light from the door disappears, leaving the hall in darkness. COLIN inches forward uncertainly. He stops, waiting for his eyes to adjust. The house is totally silent. Then, just as he is about to move, he hears something. Breathing, very close by. Faint but unmistakable. Shallow breaths, like sighs. COLIN is paralysed. A beat, then - A door is flung open along the hall and light floods into the corridor. MARILYN is sitting on the carpet leaning against the wall only a few feet away from Colin. She is wrapped in a pink bed-cover and stares directly at him, her expression blank and sedated. By her side is an open spiral bound notebook, its pages closely crammed with handwriting. MILLER (OFF) Marilyn. Come back to bed. It's not what you think. MY WEEK WITH MARILYN 61. She stares at COLIN. It is not even clear she knows he is there. COLIN gazes back at her, paralysed. MILLER's voice comes again, flat and tired. MILLER (CONT'D) (OFF) It's just a few ideas. Writer's stuff. (Pause) Bring back my book and let's get some sleep. Finally MARILYN stirs and closes the notebook. Holding it to her breast and clutching the cover around her shoulders she gets up and goes into the bedroom, closing the door. As the light snaps off COLIN breathes for the first time in what feels like minutes. CUT TO: 85 EXT. PINEWOOD STUDIOS. GATE. DAY. 85 COLIN, muffled in his scarf, looks up as Marilyn's car cruises to a halt at the gate. COLIN Good morning, Miss Monroe. She is hunched in the back, her hair in a scarf, her face protected by her large sunglasses with PAULA by her side. She doesn't look up. CUT TO: 86 INT. PINEWOOD STUDIOS. SOUNDSTAGE. DAY. 86 OLIVIER, DAVID ORTON and COLIN huddle around the camera. JEREMY SPENSER and TECHNICIANS stand around, bored and listless. MILTON appears. They speak in low, urgent tones. OLIVIER It's nearly lunch time. MILTON She isn't feeling the part. OLIVIER It's a light comedy. How much feeling can it possibly require? MILTON Give her a few minutes... OLIVIER She can't hide in her bloody dressing room all day. MILTON Oh, yes she can. MY WEEK WITH MARILYN 62. OLIVIER looks at him angrily. He is close to the end of his tether. OLIVIER (TO COLIN) Go and find out what the hell's going on. 87 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING ROOM. 87 DAY. COLIN knocks softly on the dressing room door. PAULA appears, opening it no more than a crack. She looks out suspiciously, sees it is Colin and turns back into the room. PAULA It's Colin. COLIN waits a moment then PAULA opens the door wider. PAULA (CONT'D) (cont'd) Come in. Marilyn wants to see you. COLIN stares at her in surprise. CUT TO: 88 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING ROOM. 88 DAY. COLIN comes in. The dressing room is in semi-darkness. PAULA settles down in the corner. MARILYN lies on a sofa, wearing a bathrobe, her face in shadow. Pill bottles are scattered across the dresser at her elbow. There is a long pause. She sighs softly. MARILYN How old are you? COLIN 24. (Pause) Nearly MARILYN You remind us of the young king in the movie. Kind of honest and innocent. COLIN (WOUNDED) I'm not innocent. She turns her head and her beautiful face comes fully into the light. MARILYN What's your job on this picture? MY WEEK WITH MARILYN 62A. COLIN I'm the third assistant director. Just a gopher really. Go for this, go for that... MARILYN You're Larry's assistant too. He shrugs awkwardly. MARILYN (CONT'D) What were you doing in my house last night? Did he send you? MY WEEK WITH MARILYN 63. COLIN hesitates. It seems pointless to deny it. COLIN He was worried about you. MARILYN Are you spying on me? COLIN No! Of course not. Why would anyone spy on you? She sighs, and looks away. COLIN (CONT'D) Are you all right, Miss Monroe? He waits hesitantly, but she seems to have drifted off. But then, suddenly, she turns back to him, her eyes huge. MARILYN Colin? Whose side are you on? COLIN stares at her. She looks utterly beautiful and vulnerable in the shadowy light. There is only one answer anyone could give. COLIN Yours, Miss Monroe. She rewards him with a brilliant smile, her whole face lighting up. MARILYN Call me Marilyn. He is suddenly overwhelmed by a rush of sympathy. She looks so lost and vulnerable. Perhaps he means it. Perhaps he is on her side now. CUT TO: 89 EXT. PINEWOOD STUDIOS. DAY. 89 As COLIN walks down through the studio he meets RICHARD WATTIS with PAUL HARDWICK, on their way to wardrobe. WATTIS winks at him. WATTIS Marilyn's got a new boyfriend. Larry will get jealous. HARDWICK You can say that again. He gives a camp laugh. COLIN tries to shrug it off with a lightness he doesn't feel. COLIN Nothing happened. MY WEEK WITH MARILYN 63A. WATTIS You were in there for ten minutes at least. Plenty of time for a kiss and a cuddle. MY WEEK WITH MARILYN 64. COLIN Paula was with us the whole time. WATTIS The mind boggles, dear. COLIN smiles but his expression freezes as he looks up to see LUCY nearby. She has heard every word of the exchange. CUT TO: 90 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 90 MARILYN is finally back on the set, filming a solo dance routine. Released from the need to remember any words she takes refuge in the physical activity, undulating sexily in her tight white dress in a performance which is gawky, mildly silly and charming all at the same time. The dance is deliberately a little amateurish. Elsie Marina isn't meant to be any sort of superstar. But she radiates joy and innocence and sheer happiness in the dance, and MARILYN captures all this perfectly. Within the scene the actor JEREMY SPENSER, playing Nicky, watches from the doorway. Everyone watches silently from behind the camera. No one can look away, least of all COLIN. It feels like one purely joyful moment in the agony the film has become, and Marilyn is radiant. Even OLIVIER has a reluctant half-smile on his face as he watches. CUT TO: 91 INT. PINEWOOD STUDIOS. SOUND STAGE. NIGHT. 91 The stage is empty except for OLIVIER and MILLER. They sit in a pool of light in the cavernous room. COLIN pours whisky for them and then steps back into the shadows. Both men ignore him. He is too unimportant to worry about. MILLER leans forward, holding his pipe but not smoking it. MILLER I dreamed last night I could hear singing. And then I realised it wasn't a dream. There was a male voice choir serenading Marilyn under our window. At two in the morning. It's a circus. A freak show. OLIVIER smiles but MILLER looks dazed. MILLER (CONT'D) I'm going back to New York for a few days. I need to see my kids. I need a break. MY WEEK WITH MARILYN 65. OLIVIER That won't help Marilyn. MILLER (After a moment) I can't help her. (Pause) You know what she loves to do most? Sleep. It's what she lives for. Sleep is her demon. He pauses for a second. MILLER (CONT'D) I've disappointed her. OLIVIER looks at him. MILLER shakes his head. MILLER (CONT'D) She thought I could smash all her insecurities with one magical stroke. That I could make her a new person. He pauses for a second, weighing every word carefully. MILLER (CONT'D) She wants me to protect her but I can't. I can't even protect myself. (Pause) She read some notes I made. They were nothing. Just a few ideas. OLIVIER About her? He looks up and nods slowly. MILLER She took them the wrong way. He leaves a long, uneasy pause. OLIVIER But you do love her? Your new bride and all that? MILLER plays with his whisky. MILLER I can't work. I can't think. (Pause) She's devouring me. Forgotten in the shadows, COLIN listens attentively to every word. CUT TO: MY WEEK WITH MARILYN 66. 92 EXT. PINEWOOD STUDIOS. GATE. DAY. 92 Early morning. COLIN sees Olivier's black Bentley cruising towards the gate. VIVIEN LEIGH sits in the back seat. VIVIEN Hello, Colin darling. You look like Horatio defending the bridge. Are you going to let me in? CUT TO: 93 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 93 VIVIEN is doing what amounts to a royal tour. She greets everyone, from the lowest chippie to the Heads of Department with the same flirtatious grace. OLIVIER walks at her elbow. The crew crowd around her. She is easy and relaxed, relishing every second of their attention. VIVIEN I hope Larry isn't making you all work too hard. I know what a dreadful slave driver he can be. She sees ORTON and takes his hands. VIVIEN (CONT'D) David, he would be lost without you. ORTON Just doing my job. Tough as he is, he melts visibly. She moves on to JACK CARDIFF, the lighting cameraman, looking at him in mock misery. VIVIEN I'm getting old, Jack. I need you to work your miracles on me. CARDIFF You're more beautiful every year, Vivien. She laughs and turns to COLIN, looking at him severely. VIVIEN Now, you are looking after Larry like I told you? COLIN I'm doing my best... VIVIEN glances away to see MARILYN standing nearby, awkward and excluded. She has come straight from make-up and wears only a towelling robe, slippers and curlers in her hair. MY WEEK WITH MARILYN 67. Compared to VIVIEN she looks frumpish. VIVIEN glides towards her, hands extended. VIVIEN Darling Marilyn! She kisses her on both cheeks and holds her hands. VIVIEN (CONT'D) Larry tells me you are quite, quite superb. I'm wild with jealousy. MARILYN Oh, but everyone says you were a wonderful Elsie on stage. VIVIEN But I'm too old to play her in the film. Larry was quite brutal about that. You see, the truth is all that matters to him. That's why we all admire him so very much. She glances at OLIVIER with a fluttering laugh. He smiles back with a haunted look in his eyes. VIVIEN (CONT'D) Now, I must let you work. I only came to wish you good luck! Goodbye, everyone! The crew press around her. MARILYN watches, feeling more than ever the odd one out. COLIN watches her from the edge of the crowd. She cuts a lonely, vulnerable figure. He is totally preoccupied with her, so much so that when VIVIEN comes up behind him he turns guiltily as though caught out. VIVIEN stares at him. All her exuberance has vanished and she looks suddenly tired and older. It as though the facade of a beautiful building is beginning to crack. She gazes at him with bitter disappointment. VIVIEN (CONT'D) Oh, Colin. Not you too. He wants to protest but VIVIEN is already turning away. CUT TO: 94 INT. PINEWOOD STUDIOS. VIEWING THEATRE/PROJECTION 94 BOOTH. DAY. COLIN pushes open the door to the projection booth. The screen is lit up with the rushes of the scene in The Prince And The Showgirl where a startlingly beautiful MARILYN, in gorgeous close-up, eats caviar and drinks champagne in a toast to the American President. MY WEEK WITH MARILYN 68. OLIVIER and VIVIEN stand in the shadows of the projector beam. COLIN freezes in the doorway to the projection booth holding a pile of film cans. VIVIEN is crying abjectly. VIVIEN I didn't think she would be so beautiful. She... shines on that screen. OLIVIER You shouldn't upset yourself. You are ten times the actress she will ever be. VIVIEN If you could see yourself. The way you watch her... OLIVIER There's never been anything between Marilyn and me. She laughs hysterically. VIVIEN Only because she didn't want you. OLIVIER You're imagining things. VIVIEN Do you think I'm a fool? You didn't think the little tart could resist the great Laurence Olivier. She looks at him venomously, a dangerous, unbalanced hatred seething in her expression. VIVIEN (CONT'D) (cont'd) But she saw through you, didn't she darling? Take away the actor and what's left of the man? You can't even play the husband properly without a script. (slaps him hard across the face. ) I hope she makes your life hell! OLIVIER Vivien..! She storms out. After a beat, COLIN tentatively enters. OLIVIER looks at COLIN in muted apology. MY WEEK WITH MARILYN 69. OLIVIER (CONT'D) She hasn't been well. There was a baby... she... we... lost it... COLIN looks down awkwardly. OLIVIER sighs. OLIVIER (CONT'D) (After a pause) Do you have a cigarette, Colin? COLIN hurries to offer him one of his "Oliviers". OLIVIER grimaces wryly. OLIVIER (CONT'D) Not one of those awful things. COLIN finds a woodbine in his other pocket and gives it to OLIVIER, who lights it with a shaking hand. He inhales deeply. OLIVIER (CONT'D) Vivien's right... I did think I would fall shatteringly in love with Marilyn. What a joke. He looks at COLIN, his feelings raw and exposed. OLIVIER (CONT'D) Remember, boy, when it comes to women you are never too old for humiliation. CUT TO: 95 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 95 The set is dressed and the crew are waiting but once again there is no sign of Marilyn. The actors, RICHARD WATTIS and PAUL HARDWICK amongst them, sit apathetically in full costume, while ORTON stands with his arms folded. Technicians chat or sit idly. As COLIN watches, OLIVIER looks across at MILTON who shrugs hopelessly. CUT TO: 96 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING 96 ROOM/PARKSIDE. DAY. COLIN pours whisky for OLIVIER. MILTON comes in. MILTON Marilyn won't shoot today. She's gone back to Parkside. She's upset about Arthur leaving England. OLIVIER He's only going to visit his children. MY WEEK WITH MARILYN 70. MILTON You don't leave Marilyn alone. She can't handle it. She thinks everyone's going to abandon her. The phone rings. OLIVIER picks with a sudden burst of optimism. OLIVIER Perhaps she's come back. (Into the phone) Yes? ROGER (OFF) Sir Laurence? It's Roger. OLIVIER Oh, Roger. What's up? ROGER (OFF) Is Colin there, Sir? He frowns and looks at COLIN in bewilderment. OLIVIER Yes, he's here. (Pause) It's for you. Puzzled, COLIN takes the phone as OLIVIER stares at him. COLIN Roger? CUT TO PARKSIDE, where, to Colin's astonishment MARILYN comes on the line (Roger is not in shot). MARILYN (ON PHONE) Colin, why don't you drop by here on your way home? CUT BACK TO PINEWOOD - MILTON recognises Marilyn's voice instantly. MILTON What the heck? OLIVIER Why is Marilyn on the phone to my third fucking assistant? COLIN looks around helplessly. COLIN Yes, I'm sure I can do that. CUT TO PARKSIDE. MARILYN smiles. MY WEEK WITH MARILYN 70A. MARILYN (ON PHONE) Good. Don't tell anyone though. She hangs up. CUT TO PINEWOOD: COLIN replaces the phone in its cradle. MILTON and OLIVIER stare at him. OLIVIER Well? What did she want? COLIN She wants to see me. MY WEEK WITH MARILYN 71. He shrugs awkwardly. MILTON looks at OLIVIER in panic. MILTON He shouldn't be talking to her. He's just a kid. Supposing he says something? (Pause) Why the hell didn't she call me? His angry - and jealous - frustration is in stark contrast to OLIVIER, who looks at COLIN with a new interest, wondering if there is anything in this odd situation that can work to his advantage. He smiles calmly. OLIVIER I'm sure Colin knows what he's doing. Don't you, Colin? There is a warning as well as approval in his tone. CUT TO: 97 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 97 ROGER leads COLIN into the formal drawing room. ROGER Miss Monroe said for you to wait. She won't be long. He looks at COLIN dubiously as he goes out. COLIN is nervous and not quite sure what to do with himself. He looks at the drinks in their decanters on the sideboard and is suddenly desperate for some Dutch courage. He finds the brandy and picks it up - MARILYN (OFF) Help yourself to a drink. COLIN wheels in surprise. MARILYN stands in the doorway, casually but beautifully dressed in silk trousers and a pale cream shirt. COLIN looks guiltily at the brandy. COLIN I was just... checking you've got everything you need. She walks to the sideboard, standing only a few inches away from him. He can't take his eyes from hers. He drops his gaze, only to find himself staring at her breasts. He looks up again sharply but not before she notices. She takes the decanter from his hand. MARILYN Here, let me. She pours some brandy into a glass and gives it to him. MARILYN (CONT'D) Are you frightened of me, Colin? MY WEEK WITH MARILYN 72. COLIN No. MARILYN Good. Because I like you. Colin doesn't know what to say. MARILYN gazes at him. MARILYN (CONT'D) I want you to help me. Will you do that? She looks at him, her eyes wide. COLIN feels himself sinking into her gaze. COLIN I'm only the third. Just a messenger, really. MARILYN But you know what's going on. You can see both sides of the situation. He shrugs in helpless agreement. MARILYN (CONT'D) I want you to be honest. Tell me everything. She indicates a chair and COLIN perches on it awkwardly. MARILYN (CONT'D) Relax. I thought you weren't scared of me. (Pause) Are you hungry? I'll have them send in a tray. I'm starved. He doesn't know how to reply and Marilyn misreads his silence. Her eyes widen in dismay. MARILYN (CONT'D) Oh, gee, I'm sorry. Am I interrupting something? Maybe you have a Mrs. Colin waiting for you at home? COLIN There's no Mrs. Colin. MARILYN So we can talk as long as we like? He nods uncertainly. She frowns. MARILYN (CONT'D) Why is Sir Olivier so mean? He talks to me as if he's slumming. MY WEEK WITH MARILYN 73. COLIN hesitates then decides to throw caution to the wind. COLIN I'll tell you what's wrong. It's agony for him because he's a great actor who wants to be a film star, and agony for you because you're a film star who wants to be a great actress. And this film won't help either of you. He stops, breathless, knowing he has gone to far. She stares at him, wide-eyed with surprise. Horribly self- conscious he takes a too large swig of his brandy, reddens and coughs. She laughs. MARILYN Are you sure you can handle that? You don't look old enough to drink. COLIN I'm 23, Miss Monroe. MARILYN It's Marilyn. (Pause) I'm 30. I guess that makes me an old lady to you. COLIN Seven years is nothing. She smiles then sits opposite him. MARILYN Do you know I've been married three times already? How did that happen? COLIN You were just looking for the right man. MARILYN They always look right at the start. She smiles wistfully. Her presence is overwhelming. The silence stretches for a second, pregnant with strange possibilities. Suddenly the phone rings, making him jump. Automatically he picks it up. COLIN Hello? CUT TO: MY WEEK WITH MARILYN 74. 98 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 98 MILTON sits at his desk. He leans forward anxiously at the sound of Colin's voice. MILTON Colin? Is everything okay? What did she want? CUT BACK TO: 99 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 99 COLIN looks at MARILYN and hesitates. COLIN Everything's fine. Miss Monroe just had... some large packages she needed handling... He looks at MARILYN's voluptuous figure. MARILYN looks back innocently and mouths the word "packages". She giggles. He turns crimson with the effort of trying to suppress his own laughter but MARILYN isn't helping. She teasingly makes shapes in the air of just how large the packages might be. He covers the phone, agonised, before they both collapse in irrepressible laughter. COLIN finally pulls himself together. COLIN (CONT'D) Hello? Milton? There is a long silence at the other end of the line. CUT TO: 100 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 100 MILTON turns pale. When he speaks again his anger is just barely under control. MILTON Let me speak to her, Colin. CUT BACK TO: 101 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 101 COLIN offers the phone to MARILYN but she shakes her head. COLIN She's tied up right now. This only sets MARILYN off again. She howls with laughter and COLIN can't help joining her. CUT TO: MY WEEK WITH MARILYN 75. 102 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 102 MILTON stares at the phone in disbelief. MILTON What's going on? Colin! (Shouts) Let me talk to her, damn it! CUT BACK TO: 103 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 103 COLIN looks at MARILYN but she shakes her head between giggles. He turns back to the phone, barely able to get the words out between snorts of laughter. COLIN I'm sorry, Milton. I have to go. He hangs up quickly. They both laugh helplessly. MARILYN smiles. MARILYN Let's walk in the garden. See if we can find any more reporters in the bushes. She giggles. COLIN's heart contracts as she casually takes his arm. 104 EXT. PARKSIDE HOUSE. GARDEN. DAY/DUSK. 104 There is a golden glow on the horizon as the sun sinks. MARILYN, a cardigan around her shoulders, walks along the path. COLIN is at her side, acutely aware of her physical closeness. MARILYN I didn't know it was so pretty out here. COLIN You should get out more. See the sights. MARILYN I am the sights. She giggles again, her mood lighter. MARILYN (CONT'D) Look at us. We're just like Elsie and the young King. What would Sir Laurence say if he could see us now? COLIN I don't think he'd mind. MY WEEK WITH MARILYN 76. MARILYN grows reflective. She takes COLIN's arm in a friendly way as they walk. MARILYN I wanted to be an artist. To grow as an actor. I was so proud to be working with the great Olivier. (Pause) Now he thinks I'm the enemy. She looks at him innocently. COLIN hesitates. COLIN He doesn't understand your kind of actor. He's hated the method ever since Vivien worked with Elia Kazan. It's all too new and strange. You're the future, and it frightens him. MARILYN Every time I walk into the studio I feel this sense of doom come over me. He looks at me like he's smelling a pile of rotten fish. And the crew hate me. Paula is the only person I can trust. (Pause) Except for you now, maybe. She looks at him, her eyes huge. COLIN feels his senses swim as he stares into them... ... and then ROGER suddenly appears on the steps. ROGER Phone call for you, Miss Monroe. It's Mr. Miller. MARILYN goes back up the path towards the house, glancing back briefly at Colin. MARILYN Goodbye, Colin. Thanks for telling me the truth. COLIN stares after her. It is a second before he realises that ROGER is gazing at him sternly. ROGER You'll be leaving now, I expect. CUT TO: 105 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 105 DAY. The next morning. COLIN walks in as OLIVIER is talking to MILTON. MY WEEK WITH MARILYN 76A. OLIVIER I don't care if he fucks her sideways. Perhaps it'll calm her down. (Pause) Oh, hello, boy. He smiles cheerfully. MY WEEK WITH MARILYN 77. OLIVIER (CONT'D) I hear you spent last night with Marilyn. COLIN I didn't spend the night with her. We just had a chat. MILTON I heard them chuckling. OLIVIER offers COLIN a lewdly suggestive grin. OLIVIER Perhaps if Colin is very diplomatic Marilyn is more likely to behave herself. COLIN She just wants a chum, that's all. MILTON A chum? Jesus Christ, what is this, Goodbye Mr. Chips? Grow up, kid. He barges out of the room, slamming the door behind him. OLIVIER checks the effect of his Grand Duke in the mirror and sighs abruptly. OLIVIER I thought working with Marilyn would make me feel young again. But I look dead in the rushes. Dead behind the eyes. He gazes at himself thoughtfully. OLIVIER (CONT'D) Perhaps I'm angry with her because in my heart I know my own career is in a terrible rut. I wanted to renew myself through her but all I see reflected in that magnificent face is my own inadequacy. He leans back. OLIVIER (CONT'D) You know, I admire Marilyn. I really do. Despite her behaviour. She has taken everything Hollywood can throw at her and triumphed. COLIN waits, uncertain why OLIVIER is confiding in him. MY WEEK WITH MARILYN 78. OLIVIER (CONT'D) An actress has to be pretty tough to get even a tenth as far as she has. He glances up at COLIN in the mirror, shrewd and sympathetic. OLIVIER (CONT'D) But be careful, boy. She doesn't need to be rescued. Not really. CUT TO: 106 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 106 Gossip is always fast to travel but on a film it goes at the speed of light. As COLIN arrives on the set he is greeted with wolf whistles and jeers by RICHARD WATTIS, PAUL HARDWICK and the crew. SOUNDMAN What was Marilyn like then, Col? HARDWICK Going over her lines with her, were you? SOUNDMAN Will she be in today or is she too tired? It is all good-natured stuff but COLIN feels strangely protective, not so much on his own behalf as Marilyn's. COLIN She was just being friendly. WATTIS I'll bet. There are hoots of laughter. COLIN retreats to a corner only to find RICHARD WATTIS pursuing him. WATTIS (CONT'D) Ever heard of the Venus Fly Trap? There you are, Colin the innocent little fly buzzing about happily, when suddenly a heavenly scent attracts you and - Snap! COLIN Oh, fuck off, Dickie. You've never slept with a woman in your life. MY WEEK WITH MARILYN 79. WATTIS I know a Femme Fatale when I see one, love. 107 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 107 A brief hiatus in filming. COLIN looks on uneasily as MARILYN, resting against her lean-to, has her costume attended to by LUCY. ORTON Three minutes, ladies and gents. Three minutes. It has just dawned on COLIN that he has missed his date with LUCY. Before he can react he is jerked violently behind the scenery and pushed up against the wall by an angry MILTON. MILTON Arthur Miller called me. He's not happy with you. COLIN He doesn't even know who I am. MILTON Marilyn must have said something. COLIN Maybe she was trying to make him jealous... ORTON turns around frowning furiously at the voices behind the set. MILTON pushes COLIN off the set ahead of him. 108 EXT. STUDIO. DAY. 108 MILTON turns bitterly on Colin as soon as they are outside the studio door. MILTON Listen, kid, I've known Marilyn for seven years. I fell in love with her, just like you've done. COLIN is about to protest but MILTON ignores him. MILTON (CONT'D) We had ten days together and that was it. She picked me up, she put me down. That's what she does. She breaks hearts. She'll break yours. My advice to you is to quit before you get burned. COLIN I don't need your advice. And I'm not in love with her. MY WEEK WITH MARILYN 80. MILTON Okay, have it your way. (Pause) You don't see Marilyn again, you don't even talk to her. She is completely off-limits to you. Got it? CUT TO: 109 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 109 COLIN hurries along the corridor, looking for LUCY, who he sees pushing a rack of clothes. He stops awkwardly. She gazes at him meaningfully, hurt and puzzled. LUCY I waited for you on Friday. COLIN Oh, God... I'm sorry... I forgot... I've just been so busy. LUCY (SHARP) So I hear. COLIN (SHRUGS) You know how crews gossip. There's nothing in it. LUCY Of course there isn't. Marilyn Monroe fancying you? Come on. COLIN is put out. Up to now he has never fully confronted the possibility of Marilyn wanting him, but he doesn't like the idea being dismissed so lightly. Lucy sees it and her eyes widen in surprise and hurt. Before she can respond MARILYN herself coming towards them in her gown, her hair up in towel, surrounded by PAULA and her MAKE-UP people. She offers him a dazzling smile. MARILYN Hi, Colin. COLIN smiles, self-conscious. MARILYN stops and frowns, looking at Lucy. MARILYN (CONT'D) Hey, are you guys dating? That's what I heard. She looks at him expectantly and suddenly his growing fantasy that she might actually be interested in him kicks in hard. He shrugs casually. MY WEEK WITH MARILYN 81. COLIN Of course not. You know how crews like to gossip. His voice trails off lamely as he realises he is repeating what he has just said to Lucy. MARILYN smiles. MARILYN Too bad. You look cute together. She walks off with her retinue. There is a long pause. COLIN looks up to see LUCY staring at him in dismay. There are sudden tears in her eyes, which she wipes away angrily. LUCY I thought you were different. COLIN Lucy, I really like you. We've had such fun... LUCY And now it's time to set your sights a little higher. I get it. (Pause) Who do you think you are, Cary Grant? She shoves the rack of clothes back towards the wardrobe department. Part of him knows he should go after her, but in the end he just stays where he is. He can't help feeling an unworthy sense of relief. CUT TO: 110 INT. DOG AND DUCK PUB. COLIN'S BEDROOM. NIGHT. 110 COLIN crosses to the mean little bed on its iron frame and collapses on it gratefully. The noise of the rowdy pub floats up through the floorboards. He covers his ears with his hands then folds the pillow over his head in a desperate attempt to block it out. CUT TO: 111 EXT. PINEWOOD STUDIOS. DAY. 111 The studio is quiet at the weekend. COLIN walks along, snatching a moment for a cigarette. As he reaches the doors to the editing suites a battered old Wolsey draws up beside him. ROGER SMITH is at the wheel. ROGER Get in. COLIN looks at him in confusion. The studio doors open and MILTON emerges. He glances darkly at COLIN and ROGER. MILTON Any problem, Roger? MY WEEK WITH MARILYN 82. ROGER Just dropped by to take Colin out to lunch. COLIN looks surprised. MILTON notices. COLIN stubs out his cigarette and hurries to the passenger door. MILTON You're not taking him to Marilyn? That would drop us all in a whole ocean of shit. ROGER Oh, no, sir. MILTON sees a bulky blanket on the back seat. MILTON What do you have in there? ROGER Just a picnic. We've been looking forward to it, haven't we, Colin? COLIN looks at him, bemused. He gets in quickly. MILTON frowns but shrugs and walks off with a wave. MILTON Okay, well, have a nice time boys. Inside the car COLIN looks at ROGER. COLIN Is she okay? In the same moment MARILYN herself erupts from under the blanket in the back. MARILYN SURPRISE! COLIN Oh, Jesus - She laughs, looking wonderfully naughty. MARILYN Roger and I decided to take you out for an adventure. Didn't we Roger? ROGER (PAINED) Indeed we did. COLIN Oh, God. If Milton sees me with you... I'll be sacked... He tries to scramble out but MARILYN hauls him back gleefully. MY WEEK WITH MARILYN 83. MARILYN No one can sack you, Colin. (Pause) Except me, of course. She pats the seat next to her. MARILYN (CONT'D) I don't like being on my own in the back. Before COLIN can respond he sees the curious MILTON running back, having spotted MARILYN in the back. MILTON What the hell? He peers into the back window. MARILYN screams and buries herself back under the blanket. COLIN scrambles to get over into the back seat while ROGER stamps on the accelerator and the car roars off. MILTON (CONT'D) (SHOUTS) Colin! Get back here, you little bastard! You're fired! Do you hear me? Fired! COLIN winces. ROGER looks at him sympathetically. MARILYN emerges from under the blanket, tousled and laughing. MARILYN Do you think he saw me? COLIN can't help laughing. He finally tumbles into the back seat with MARILYN as the car speeds away. She scoots up to make room for him. MARILYN (CONT'D) Snuggle up. This is fun. She threads her arm through his. He gazes down at their hands meshed together. ROGER's disapproval registers in the faintest flicker of his eyes. In the background the defeated and frustrated MILTON watches the car speed away. CUT TO: 112 DELETED 112 113 EXT. WINDSOR GREAT PARK. DAY. 113 COLIN and MARILYN walk barefoot in the grass of Windsor Great Park while ROGER leans on the bonnet of the parked Wolsey, holding shoes, socks, and sandals. MY WEEK WITH MARILYN 84. There is no one else around. The wind sighs and the grass is pleasantly warm underfoot. MARILYN turns her face up to the sun. MARILYN This is how I ought to feel every day. COLIN smiles. Impulsively MARILYN hugs him. MARILYN (CONT'D) Let's run away together. He turns ashen. MARILYN (CONT'D) (LAUGHS) Just kidding. She looks around happily. COLIN smiles at her. COLIN We have today, anyway. One day to do whatever we like. We can go back to real life tomorrow. MARILYN Only one day? COLIN Well, maybe the weekend. MARILYN Or a week? He grins. She takes his hand, walking contentedly at his side. MARILYN (CONT'D) What shall we do? COLIN We could go to Windsor Castle, if you like. MARILYN's face breaks into a smile of pure delight. CUT TO: 114 EXT. WINDSOR CASTLE. GRAND DRIVE. DAY. 114 The car makes its stately progress down the magnificent drive towards the castle. CUT TO: MY WEEK WITH MARILYN 85. 115 EXT. ROGER'S CAR. WINDSOR CASTLE. DAY. 115 ROGER has parked up by the sentry post at the entrance to the castle. There are two uniformed POLICEMEN on duty. ROGER nods to the policemen, who instantly recognise one of their own. ROGER Detective Chief Superintendant Smith. I'm escorting this lady and gentleman for the day. They'd like to look around the castle. As the policemen see MARILYN their eyes widen. POLICEMAN Christ, is that..? He stares in disbelief. ROGER smiles. ROGER Well, it's not Diana bloody Dors, is it? POLICEMAN (After a second) Does she know anyone here, sir? We need to write down a contact name in the book. ROGER looks stumped at this. He turns to Marilyn. ROGER You don't know Her Majesty, by any chance? MARILYN We met at a movie premiere. She said my dress was pretty. POLICEMAN I'm not sure that quite... COLIN (INTERRUPTING) My Godfather works here. He's the Royal librarian, Sir Owen Morshead. The POLICEMAN looks sceptically at Colin's casual clothes. POLICEMAN Name? COLIN Clark. Colin Clark. The POLICEMAN retreats into his box. We hear him talking on the telephone. ROGER looks at COLIN. He shrugs sheepishly. MY WEEK WITH MARILYN 86. COLIN (CONT'D) My father knows everybody. A moment later the policeman returns, looking surprised. POLICEMAN He says to go straight up the hill, sir. You'll be met at the door. CUT TO: 115A INT. WINDSOR CASTLE. CORRIDORS. DAY. 115A COLIN and MARILYN are led by a FOOTMAN down the long corridor. MARILYN looks awed by the ancient suits of armour standing regally along the way. COLIN watches her, enjoying her reaction. CUT TO: 115B INT. WINDSOR CASTLE. GOLDEN CORRIDOR. DAY. 115B COLIN and MARILYN are led into another corridor, this one with a beautiful gold-leaf ceiling decoration. MARILYN looks up, enchanted. CUT TO: 116 INT. WINDSOR CASTLE. ROYAL LIBRARY. DAY. 116 The library is a series of magnificent rooms lined from floor to ceiling with books and prints. Every surface is covered with important documents - the place is a shrine to antique learning and culture. SIR OWEN MORSHEAD (63), the Queen's librarian, is a pleasantly eccentric figure with a sly wit. He greets COLIN with a friendly, distracted air. MORSHEAD Colin, my boy! Come in, come in. Forgive the dust. He smiles at MARILYN, showing no sign whatever of recognising her. MORSHEAD (CONT'D) You are pretty, my dear. I'm sure you and Colin have so much in common. MARILYN looks around in awe. MARILYN Gee, I'd love to read all these books some time. MY WEEK WITH MARILYN 87. MORSHEAD Luckily one doesn't really have to. A lot of them just have pictures in. He finds a portfolio on the table and opens it. MORSHEAD (CONT'D) These are by an artist called Holbein. MARILYN smiles at a portrait of a young woman. MARILYN She's beautiful. MORSHEAD She was the daughter of one of the King's courtiers, nearly 400 years ago. MARILYN I hope I look that good when I'm 400. MORSHEAD laughs. He takes down another folder of drawings. MORSHEAD And these are all by Leonardo Da Vinci. MARILYN I've heard of him! Didn't he paint that lady with the funny smile? She looks at him, wide-eyed, playing up to her image as the dizzy blonde. In fact she knows exactly who Da Vinci is, and MORSHEAD is tactful enough to acknowledge it gracefully. MORSHEAD The Mona Lisa. MARILYN Do you have that one here too? MORSHEAD Alas, that one got away. He closes the portfolio and takes MARILYN's arm briskly. MORSHEAD (CONT'D) Now, let's go to the Queen's apartments. She's not here at the moment, but she will be sorry to have missed you. MARILYN looks at him, wide-eyed. MARILYN Really? MY WEEK WITH MARILYN 88. MORSHEAD Oh, yes. Why, she was only saying to me the other day, "what must it be like to be the most famous woman on earth"? He shares a sly smile with COLIN. He knows exactly who Marilyn is and is enjoying every second of her company. He leads her out, with COLIN trailing in their wake. MORSHEAD (CONT'D) Some of the rooms are very opulent but I think there's something you might like better than all that. CUT TO: 117 DELETED 117 118 INT. WINDSOR CASTLE. DOLLS' ROOM. DAY. 118 OPEN on a massive dolls' house. Everything imaginable is inside - beds, chairs, baths, basins, even small rugs and chandeliers, all perfectly to scale. MARILYN kneels in front of it, gazing from room to room with childlike joy. It is so big she can lean inside and see the detail in every room. She cries out with joy. MARILYN Look, Colin. COLIN kneels at her side. MARILYN (CONT'D) I sure never had a dolls' house like this when I was a kid. She sees a perfect doll family inside, husband, wife and two children. She points at them, her eyes shining. MARILYN (CONT'D) This is me, that's you, and these are our kids. She smiles wistfully and puts her hand on his arm. MARILYN (CONT'D) Our daughter's so pretty. All little girls should be told how pretty they are. They should grow up knowing how much their mother loves them. Her eyes fill with sadness for a moment. MARILYN (CONT'D) We look like such a happy family, don't we? MY WEEK WITH MARILYN 89. She turns to him. They are only inches away from each other. COLIN's heart lurches. MORSHEAD coughs discreetly. MORSHEAD You mustn't let me keep you. I'm sure you're longing to be on your way. CUT TO: 119 EXT. WINDSOR CASTLE. COURT YARD. DAY. 119 COLIN and MARILYN emerge. A small crowd of POLICEMEN, SERVANTS and CASTLE WORKERS has gathered. There are cheers as they see her. COLIN looks nervously at MARILYN but she smiles and winks at him, mocking herself gently. MARILYN Shall I be "her"? She jumps up onto a step and strikes a pose - hip out, shoulders back, bosom thrust forward, the classic Marilyn "look". The delighted crowd bursts into cheers. COLIN stands proudly nearby, content to watch Marilyn being a star, basking in the certain knowledge that she will be leaving with him. One of the spectators turns to him. SPECTATOR Are you somebody, mate? COLIN (SMILES) I'm no one. COLIN stares at MARILYN. She catches his eye and smiles, just for him. He feels like he's tumbling into the abyss, but no longer cares. EXT. ETON COLLEGE. DAY. Roger's car pulls up outside Eton College. CUT TO: 120 EXT. ETON COLLEGE. COURTYARD. DAY. 120 COLIN and an astonished MARILYN walk through the school buildings with ROGER a discreet distance behind them. MARILYN This isn't a school, it's a palace! COLIN smiles. COLIN Eton is 500 years old. It was founded by King Henry VI. MY WEEK WITH MARILYN 89A. MARILYN It's like walking through history. COLIN Take that room up there. They stop as COLIN points up at a window. MY WEEK WITH MARILYN 90. COLIN That's where the boys were sent if they didn't work hard enough. Where we were whipped. MARILYN looks at him in shock. MARILYN Whipped? COLIN Beaten. She looks appalled. MARILYN I'd never send my kids away. (pause) How long were you here? COLIN Five years. But I was sent to boarding school when I was eight. MARILYN Why? COLIN That's what we do in my family. She smiles at this, looking at him shrewdly. MARILYN It seems to me that you've had most things pretty easy. COLIN In one way, yes. But when you're brought up in a house of over- achievers, it's hard to make your own mark. She looks at him, sympathetic but pushing a little harder. MARILYN So how are you going to do it? COLIN Maybe it will be in films, but if not, there are so many possibilities out there. MARILYN Sounds pretty good to me. She smiles warmly, liking him a lot more for his openness. We sense their relationship has moved quietly to a different and deeper level. But before either of them can say anything a SCHOOLBOY turns the corner in his Eton uniform. MY WEEK WITH MARILYN 90A. He looks up at MARILYN, his mouth hanging open in shock. Then he simply turns and runs, shouting at the top of his voice. SCHOOLBOY Marilyn! It's Marilyn Monroe! CUT TO: 121 EXT. ETON COLLEGE. COURTYARD. DAY. 121 MARILYN and COLIN are swamped in a joyous mass of Eton students. MARILYN smiles, waves, pouts, even kisses one boy on the cheek. Cheering BOYS hang out of every window. MARILYN blows kisses to them all. ROGER has to plunge into the crowd to rescue her. COLIN follows after them with difficulty. MARILYN pauses, jumping on a bench to wave goodbye and blow more kisses to the boys. MARILYN Work hard, boys! I don't want anyone whipping you! A gawky young teenager near the front shouts out cheekily. BOY You can whip me anytime, Marilyn! MARILYN laughs in delight. There are cheers as COLIN escorts her away. CUT TO: 122 EXT. THAMES RIVERBANK. DAY. 122 ROGER leans back against the car, smoking calmly. CUT TO: 123 EXT. THAMES RIVERBANK. DAY. 123 After the riotous excitement of the Eton schoolyard the peace and quiet of the river. MARILYN rushes along the sandy bank. The water glitters magically. MARILYN Hurry up, slow poke. COLIN But we haven't got any... He stops in mid-sentence as he sees MARILYN unbuttoning her blouse and throwing it off carelessly. MY WEEK WITH MARILYN 91. He tears his eyes away from her as she casually strips her clothes off. He hurries to find a bush to get changed behind. As he ducks down behind it he hears a splash and MARILYN's cry of shock as she hits the water. MARILYN Oh my gosh! It's freezing! CUT TO: 124 EXT. THAMES. DAY. 124 MARILYN swims in the water, humming softly to herself. COLIN wades in, wincing at the cold. She laughs. MARILYN This is great. COLIN What if a boat goes past? We could be arrested. MARILYN Don't worry. Roger will fix it. Oh, darn it... She holds her head and he looks at her with concern. COLIN What's wrong? MARILYN I have something in my eye. He swims across to her, very aware of her naked body under the water. She holds her head up to him. COLIN I can't see anything. MARILYN Get closer. She tips her head back. He looks deep into her eyes - and suddenly she grabs him and kisses him on the lips. Before he can respond she laughs playfully and swims away. MARILYN (CONT'D) That's the first time I've kissed anyone younger than me. There's a lot of older guys in Hollywood. She swims happily, totally relaxed. COLIN is much more self- conscious, keeping one nervous eye open for pleasure boats. Finally she swims back into the shallows and wades to the shore. She glances back, catching Colin looking. He glances away, embarrassed. MY WEEK WITH MARILYN 92. MARILYN (CONT'D) Don't be shy, Colin. It's nothing you haven't seen before. COLIN wades awkwardly to the shore, trying to conceal his erection with his cupped hands. MARILYN giggles. MARILYN (CONT'D) Oh, Colin! And you an old Etonian! He grins. She reaches for her blouse and stands shivering as she tries to dry herself. COLIN goes to take her in his arms. COLIN Let me warm you up. She snuggles into him gratefully, her teeth chattering. He rubs her naked back briskly, her thin blouse the only barrier between their bodies. Slowly his embrace becomes more sensual, his hands slowing, stroking rather than rubbing, his face buried in her hair, his arms pulling her CLOSER - MARILYN Don't spoil it. She looks at him, her expression knowing but sweet. MARILYN (CONT'D) I want this to be the perfect date. He tries to kiss her but she ducks her head away gently, her expression wistful. MARILYN (CONT'D) I haven't had a real date since I was 13 years old. She suddenly looks much younger, her smile a poignant echo of a lost childhood. He steps back politely, allowing her to put on her blouse. As she buttons it, she gazes at him, then impulsively leans forward to kiss him chastely on the lips. The kiss is as sweet and innocent as any 13 year old might wish. The kiss lasts for a few seconds, their lips touching gently, the river shimmering magically in the sunshine behind them. When they finally break apart she rewards him with a radiant smile. MARILYN (CONT'D) That was nice. I don't get kissed much. She looks wistful for a second but quickly brightens. MY WEEK WITH MARILYN 93. MARILYN (CONT'D) Okay, what do we do now? COLIN looks at her, knowing it is time to return to the real world but reluctant to face it. There is a discreet cough and ROGER appears. ROGER Time to go home, I think, Miss Monroe. She smiles, a little sadly, then gets up, walking past him as she puts on the rest of her clothes. ROGER averts his eyes respectfully and waits for COLIN. The two men look at each other for a second. ROGER (CONT'D) Be careful not to get in too deep, son. COLIN knows he isn't talking about the river. CUT TO: 125 INT. ROGER'S CAR. DAY. 125 MARILYN and COLIN sit in silence in the back of the car. Her exuberance has vanished and there is a distant look in her eye. COLIN wants to say something but can't think of the right words. He puts his hand on hers and she squeezes it, but then pulls away. CUT TO: 126 INT/EXT. PARKSIDE HOUSE. ROGER'S CAR. DAY. 126 A seething MILTON is waiting on the steps as ROGER parks the car. COLIN looks at him nervously. MARILYN looks at him then gets out, glancing at Milton indifferently. MARILYN Hi Milton. She smiles sweetly. MARILYN (CONT'D) Next time I come on set, you better make sure Colin is there. He looks at her in shock then bitterly at COLIN. MARILYN (CONT'D) (TO ROGER) Take him home. MY WEEK WITH MARILYN 94. She waves briefly to Colin, nothing more than a flutter of her fingers. COLIN watches her all the way up the steps until she disappears inside. CUT TO: 127 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 127 The crew are ready, the cast stand around in full costume, OLIVIER paces the set - and there is no sign of Marilyn. OLIVIER turns to COLIN. OLIVIER You spent the day with her. What frame of mind was she in? COLIN She was fine. OLIVIER (HUGE SELF-CONTROL) Well, find out what's going on. There's a good chap. Perhaps we can persuade her on this splendid day to do the work she's paying herself to do. He stalks off. COLIN sees WATTIS grinning at him. COLIN Don't start, Dicky. WATTIS You won't get any sympathy from me, dear. Frankly I wouldn't care if Marilyn dropped dead tomorrow. COLIN She's trying her best. WATTIS She's Marilyn Monroe. This is her life. Pills, booze, sex, more pills. (Pause) God, it must be wonderful! COLIN doesn't laugh. WATTIS looks at him sympathetically. WATTIS (CONT'D) Oh, dear. Little Colin's in love. CUT TO: 128 EXT. PARKSIDE HOUSE. DRIVE. DAY. 128 MILTON is waiting for COLIN at the door. MILTON Marilyn's not well. MY WEEK WITH MARILYN 95. COLIN But she was wonderful yesterday. MILTON looks at him for a long moment, masking his hostility in barbed politeness. MILTON I don't know what you did to her, kid, but she got nervous. I had to give her some pills to calm her down. COLIN She doesn't need pills! She just needs someone to care for her. MILTON Someone like you? COLIN reddens. MILTON shakes his head patronisingly. COLIN I told you, I'm not in love with her! MILTON You kissed her. COLIN She said that? MILTON Spare me the bullshit. I know everything. COLIN stares at him, feeling hopelessly out of his depth. MILTON (CONT'D) You messed her up, kid. Confused her. He comes very close, his tone fierce but wounded. MILTON (CONT'D) I've got every penny I ever made tied up in Marilyn. She owes me. If it wasn't for me she'd still be on contracts that make slave wages look good. I gave her back her freedom, and now Miller's turning her against me. That's what you get for trying to help Marilyn Monroe. He goes back to the house, pausing at the door, speaking more in sorrow than anger. MY WEEK WITH MARILYN 96. MILTON (CONT'D) If you want to play with the grown-ups, Colin, start learning the rules. CUT TO: 129 INT. PUB. COLIN'S BEDROOM. NIGHT. 129 A gentle summer breeze lifts the net curtains. COLIN is fast asleep. There's a sharp rap at the door. ROGER (OFF) Colin! (Pause) Colin! COLIN opens his eyes, his mind drugged with sleep. COLIN Roger? What's the matter? ROGER (OFF) It's Marilyn. A cold dread clutches at COLIN's stomach. He stumbles out of bed and opens the door. ROGER stands in the doorway COLIN Is she dead? ROGER She's asking for you. She's sick. I think she might be in a coma. COLIN How can she be asking for me if she's in a coma? ROGER Just bloody get dressed! CUT TO: 130 EXT. PARKSIDE HOUSE. DRIVE. NIGHT. 130 ROGER and COLIN drive up. MILTON, waits on the steps. He looks resentfully at COLIN but doesn't say anything. CUT TO: 131 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 131 PAULA STRASBERG paces frantically outside Marilyn's bedroom door as ROGER, MILTON and COLIN hurry up the stairs. MY WEEK WITH MARILYN 97. PAULA She hasn't made a sound for over an hour. ROGER We should break down the door. COLIN How many pills did she take? MILTON Oh, Jesus, who knows? I wasn't counting. COLIN knocks gently. COLIN Marilyn? There is no reply. CUT TO: 132 EXT. PARKSIDE HOUSE. GARDEN. NIGHT. 132 ROGER and COLIN carry a ladder across the moonlit gravel and prop it up against the wall. ROGER That's her window. He points with his torch. The window is open. COLIN shins up the ladder while ROGER holds it. COLIN I'll open the door once I'm inside. CUT TO: 133 INT. PARKSIDE. MARILYN'S BEDROOM. NIGHT. 133 COLIN tumbles in through the window with a clattering thump. COLIN Marilyn? A shaft of moonlight reveals MARILYN lying naked across the bed, her body partly covered by the sheet. Half empty pill and champagne bottles are scattered all over her dresser; there is also an old photograph in a silver frame of her mother Gladys. COLIN (CONT'D) Marilyn? For a second he fears the worst, but then suddenly she groans and sits up, looking at him blearily. MY WEEK WITH MARILYN 98. MARILYN Oh hi, Colin. COLIN Are you okay? Everyone was worried about you. MARILYN Phooey. She pats the sheets at her side and settles down sleepily on the pillow. MARILYN (CONT'D) Get in. She is instantly back asleep. COLIN fumbles his way to the door. He searches for the key on the side table and quickly finds it. He goes to unlock the door, but then pauses, looking back at Marilyn. He puts the key back and bends down to whisper at the keyhole. COLIN It's me. She's fine but I'm going to keep an eye on her. I'll sleep on the sofa. MILTON (OFF) Come on, Colin, open up. COLIN (After a second) I can't find the key. (Pause) You can all go to bed now. PAULA (OFF) Colin, open this door! She needs me... COLIN goes back to the bed and gazes at the sleeping Marilyn, his expression suffused with a tenderness we have never seen in him before. He pulls up the sheet so that it covers her nakedness, then tentatively lies down to rest his head on the pillow. CUT TO: 134 INT. PARKSIDE. MARILYN'S BEDROOM. NIGHT. 134 COLIN wakes with a jolt as the light snaps on, blinding him. MARILYN Colin? What are you doing here? MARILYN sits up, the sheet clutched to her chest, her expression panicky and disoriented. COLIN hurls himself off the bed. MY WEEK WITH MARILYN 99. COLIN I came in through the window... He realises this doesn't sound reassuring. COLIN (CONT'D) Milton thought you were sick. She stares at him in puzzlement then breaks into a dazed smile. MARILYN The window? Is there a balcony, like in Romeo And Juliet? How romantic. (Pause) But I'm not sick. What makes them think that? She reaches instinctively for the pill container on her bedside table. COLIN Please don't take any more pills. She frowns, clutching the pill bottle in one hand. He reaches out and prises it gently from her grasp. As he puts it back on the side he glances at the framed photograph. COLIN (CONT'D) (cont'd) Who's that? MARILYN My mom. Her expression softens as she looks at the picture. MARILYN (CONT'D) They took her to the Sanatorium when I was a kid. I grew up in other people's homes, mostly. Alongside her mother's photo is another framed picture, this time of Abraham Lincoln. COLIN frowns. COLIN Abraham Lincoln? MARILYN I don't know who my father is so it might as well be him. Why not? I can pick any father I want. She smiles, then looks at Colin wistfully. MARILYN (CONT'D) Do you have a home, Colin? A real one? COLIN Yes, I do. MY WEEK WITH MARILYN 100. MARILYN And a mother and father who still live together? COLIN Yes. MARILYN And do they love you? COLIN I'm sure they do. He nods. She smiles sadly. MARILYN You're lucky. Her eyes fill with tears. She looks up at him anxiously. MARILYN (CONT'D) Do you love me, Colin? He stares at her. She looks lovely but desperately vulnerable. COLIN Yes. She reaches for the pills and pours three or four into her palm. COLIN gently takes her hand and takes two of them away. She smiles, not objecting as he settles her back gently on the pillow. COLIN (CONT'D) But you and I come from different worlds. You're like some Greek Goddess to me... MARILYN I'm not Greek. She smiles, teasing him. He smiles back. She takes his hand, looking at him in appeal. MARILYN (CONT'D) I don't want to be a Goddess. I just want to be loved like an ordinary girl. COLIN Mr. Miller loves you. She stares at him, her face going blank with misery. MARILYN I found his notebook. It said I'd let him down. MY WEEK WITH MARILYN 101. COLIN Writers scribble all kinds of things. It doesn't mean anything. She looks at him, her eyes full of pain. MARILYN He wanted me to find it. It said he should never have married me. That I was unpredictable and a woman-child, flighty and self- centred. He's left me, Colin. Why do the people I love always leave me? She looks so wretched, so completely baffled, that COLIN responds with sudden passion. COLIN I'll never leave you. She smiles and embraces him gratefully. She sighs. MARILYN All people ever see is Marilyn Monroe. As soon as they realise I'm not her, they run. He lies down next to her, taking her awkwardly in his arms. She sighs sleepily. MARILYN (CONT'D) Boy, there's a lot of men in this business. And they all think you've got to sleep with them. She looks across at him, their faces inches apart. MARILYN (CONT'D) You're not like that. That's why I like you. COLIN stares back at her guiltily. She smiles. MARILYN (CONT'D) You should date that Wardrobe lady. She's pretty. COLIN I don't want to. (Pause) I love you, Marilyn. She stares at him and tears gather in her eyes again. They stare intently at each other, their mood fragile, touched with both sensuality and a longing for something less tangible. MARILYN leans forward and kisses him gently. The embrace grows in passion and they kiss properly, hungrily. He kisses her eyes and her face and she sighs happily. He wants her more than he has wanted anything before. MY WEEK WITH MARILYN 102. And then he stops. The fantasy he has been pursuing for weeks is within his grasp but he knows that whatever it does for him it will only damage her further. He pulls away from her gently. Her eyes flicker open lazily. MARILYN What's the matter? Don't you want to make love? COLIN Maybe we should just be friends. MARILYN Okay. Friends. She wraps herself around him, curling up so their bodies cradle each other like spoons in a cutlery draw. As she buries her head in his neck he feels her breasts against his back. She curls against him. MARILYN (CONT'D) This is nice. Like spoons. I used to do this with Johnny. COLIN Who's Johnny? MARILYN Johnny Hyde. My agent, back in the old days. He was thin, like you... Her voice is blurred and drifting with sleep. With her body warm against him COLIN's resolve nearly snaps but he is clear eyed now and determined. COLIN Marilyn? She mutters softly in reply. COLIN (CONT'D) Do one thing for me? Come into the studio on time tomorrow and show everybody what you can do. Show Larry you're a great actress. MARILYN (BLURRED) Okay. He smiles and turns out the light. CUT TO: MY WEEK WITH MARILYN 103. 135 INT. PARKSIDE. MARILYN'S BEDROOM/BATHROOM. DAY. 135 First light streams in through the curtains. COLIN wakes to hear Marilyn singing cheerfully. He gets up and sees her through the open door of the bathroom sitting in the bath, her back towards him. She is practicing the gentle waltz tune she is to sing in the film. MARILYN "I found a dream and lay in your arms the whole night through... I'm yours no matter what others may say or do... She has never sounded so happy or carefree. COLIN smiles. CUT TO: 136 EXT. PINEWOOD STUDIOS. GATE. DAY. 136 COLIN races up the road and arrives panting at the gate a few seconds before OLIVIER's car swings into the entrance. The great man leans out of the back window. OLIVIER Morning, boy. (Pause) Christ, you look rough. He looks at him thoughtfully, then shrugs. OLIVIER (CONT'D) Let me know when Marilyn arrives. If she ever does. COLIN Oh, I'm pretty sure she'll be in this morning. OLIVIER gives COLIN an odd look. CUT TO: 137 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 137 MARILYN, OLIVIER and WATTIS act a scene together; a drunken Elsie Marina is being seduced by the Grand Duke, and Northbrook bursts in to interrupt them as a VALET plays the violin in the doorway behind him. WATTIS (AS NORTHBROOK) "Your Grand Ducal Highness.." OLIVIER (AS REGENT) "This is intolerable"! WATTIS (AS NORTHBROOK) "With the deepest respect, sir, my message was so important I had no choice but to intrude". MY WEEK WITH MARILYN 104. OLIVIER (AS REGENT) "Revolution?" WATTIS (AS NORTHBROOK) "No, sir, Miss Marina's aunt has been in a motor accident. The hospital is calling for her most urgently." MARILYN (AS ELSIE) "What? (Giggles drunkenly) Oh, go away, you silly man." WATTIS (AS NORTHBROOK) "Miss Marina, your aunt... you realise how serious her condition is?" MARILYN (AS ELSIE) "Well, it's her own fault. She has no right being out at this time of night. She's 93!" MARILYN is utterly adorable. The crew, COLIN, amongst them, can't take their eyes off her. OLIVIER glances at ORTON behind the camera. They have a good take and they know it. ORTON Cut it there! MARILYN is as happy as we have ever seen her. She seeks out COLIN amongst the crowd and beams at him. Half the crew, including OLIVIER, notice the look. COLIN blushes self- consciously but we can feel his pride. CUT TO: 138 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 138 NIGHT. OLIVIER takes off his make-up. COLIN stands behind him with the end of day bottle of whisky. OLIVIER is in buoyant mood. It has been a good day. OLIVIER Whatever it was you did to her, boy, keep doing it. OLIVIER grins slyly and COLIN doesn't bother to protest. The phone rings. OLIVIER picks it up. OLIVIER (CONT'D) Hello? His face falls as he listens to the voice at the other end of the line. CUT TO: MY WEEK WITH MARILYN 105. 139 INT. PARKSIDE HOUSE. HALL. NIGHT. 139 COLIN paces nervously up and down the hall. PAULA appears. She looks at him for a long, unnerving moment then speaks with sudden ferocity. PAULA From the first moment all I have felt is Olivier's loathing and contempt. He thinks I'm unnecessary. Me, her drama coach, surrogate mother, nursemaid. On call 24 hours a day to help her act, dole out pills, bolster her ego, keep her sober enough to work. (Pause) Me. Unnecessary. (Pause) No me, no Marilyn. He is taken aback by her passion. She smiles bitterly then walks on. COLIN hesitates. She looks back briefly. PAULA (CONT'D) You can come up now. CUT TO: 140 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 140 MARILYN lies in bed with MILTON possessively at her side. COLIN comes in with PAULA. MARILYN looks at him dully, her eyes clouded and unfocused. A half empty pill bottle stands on the side. COLIN sits down next to her and she takes his hand, ignoring the surprised look on Milton's face. MARILYN You think I can act, don't you, Colin? COLIN Of course I do. You were wonderful today. PAULA looks at MILTON, then moves between them busily. PAULA Marilyn's tired now. MARILYN I want him to stay with me. MILTON What would Arthur say if he knew Colin was here? A flicker of terror crosses MARILYN's face. COLIN turns on them angrily. COLIN You heard what she said. She wants me here. MY WEEK WITH MARILYN 106. MILTON looks at him grimly but finally surrenders the field. Paula is more reluctant to give in. She sits on the bed, stroking Marilyn's hand. PAULA You have no idea of your position in the world, Marilyn. You are the greatest actress there's ever been. Not just actress. The greatest woman of this or any time. I love you like a daughter. COLIN is surprised to see tears in her eyes. PAULA (CONT'D) It's hard now, but believe me you will survive this and go on to better things. Your life is ahead of you. You're young, just beginning. Paula's love and sincerity are obvious. She means it. COLIN watches her in silence. MARILYN squeezes her hand and PAULA gets up with a heavy sigh, bitterly reluctant to leave. Finally she drags herself out, leaving them alone. As the door closes MARILYN curls herself up in the bed. MARILYN I'm so tired of feeling scared. Life is so shitty. I hate it. It hurts too much. COLIN looks at her, his heart breaking at her anguish. COLIN I'm here now. I'll look after you. She gives him a wry look, teasing but thoughtful. MARILYN Good old Colin. Looking after me, looking after Larry, looking after Vivien. Always putting everyone before yourself. There is an edge to this. He gazes at her, shaken, but she smiles and touches his face gently. He gets on the bed, fully clothed, to fold her in his arms. CUT TO: MY WEEK WITH MARILYN 107. 141 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 141 COLIN wakes with a start as he realises that MARILYN is screaming in pain. MARILYN It hurts! It hurts, Colin! She is doubled up, clutching her stomach, sweating and frightened. COLIN sees a dark red stain on the sheets. MARILYN (CONT'D) The baby. I can't lose the baby. COLIN looks at her aghast. MARILYN (CONT'D) It's a surprise. For Arthur. Don't tell anyone. Promise me. He hurls himself off the bed and runs to the door. CUT TO: 142 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM/BATHROOM. 142 NIGHT. MILTON and COLIN wait by the bathroom in Marilyn's suite. ROGER hurries in. ROGER The doctor's coming. COLIN turns the handle but the bathroom door is locked. COLIN Marilyn, unlock the door. MARILYN (OFF) Don't let anyone in. COLIN I won't. MILTON gives him a sharp look but he no longer cares about anything except Marilyn. There is a shuffling sound and the door is unlocked. At the same moment PAULA comes rushing in, hair awry, gown flapping, a wild look in her eye. PAULA Marilyn! Marilyn, my baby, what has Colin done to you? COLIN I haven't done anything. She's just... got a stomach ache. He reddens with embarrassment. ROGER coughs. MY WEEK WITH MARILYN 108. ROGER I think he means her monthlies. PAULA What will Arthur say if she dies? COLIN She's not dying, for Christ's sake. The HOUSEKEEPER now appears at the door with an elderly man at her side. He nods briskly. CONNELL I'm Dr. Connell. Is the patient in there? PAULA Please save her... it's Marilyn Monroe. You can't let her die. CONNELL calmly extracts himself from her grasp. CONNELL Perhaps you'd all like to give us a little privacy? As COLIN shepherds the others out MILTON turns on him bitterly. MILTON Happy now, kid? CUT TO: 143 INT. PARKSIDE HOUSE. HALL. NIGHT. 143 DR. CONNELL stands in the hall outside the bedroom writing out a prescription and smoking a cigarette. He tears the prescription off the pad and looks up. CONNELL Who's in charge here? MILTON, PAULA, ROGER and COLIN all step forward as one. CONNELL gives them a wry look and shrugs. CONNELL (CONT'D) I've given Mrs. Miller an injection and the bleeding has stopped. She needs to stay in bed tomorrow but after that she'll be fine. I suggest someone stays with her. PAULA leans forward and almost snatches the prescription from his hand. PAULA She'll be safe with me. MY WEEK WITH MARILYN 109. She looks bitterly at Colin. CUT TO: 144 EXT. PARKSIDE HOUSE. NIGHT. 144 COLIN walks CONNELL to his car, their feet crunching on the gravel. CONNELL Well, goodnight then. COLIN holds the door open as he gets in. COLIN Was she really pregnant? CONNELL I think that's a private matter between Mr and Mrs. Miller. He looks at COLIN with cool disapproval, then closes the door and drives off. COLIN stands watching, shivering in his shirtsleeves. CUT TO: 145 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 145 COLIN creeps into the room and sits on the bed. MARILYN is awake. She gazes at him, hazy but lucid. MARILYN We have to say goodbye now, Colin. Arthur's on his way back. When this film is over I'm going to settle down and be a good wife to him. I'm going to learn to make Matzo ball soup as good as his dad's. She smiles wistfully at the fantasy. MARILYN (CONT'D) We have to forget this ever happened. COLIN I don't want to forget. He struggles then suddenly bursts out passionately. COLIN (CONT'D) Let me protect you from all this... She smiles sadly. MY WEEK WITH MARILYN 110. MARILYN What do you want to do? Marry me? COLIN Why not? You could come and live at my parents place. You'd love it. It's a castle, like in a fairy tale. We wouldn't even have to live together. You could have your own suite of rooms... He is close to tears, suddenly looking very young. She looks at him with a sad, sweet smile. He shakes his head stubbornly, taking her hand in passionate appeal. COLIN (CONT'D) You could quit. Forget Marilyn Monroe, forget Hollywood. Let it all go. MARILYN This is what I've worked for my whole life. I couldn't just give it all up. COLIN Why not, when it drives you crazy? Her eyes widen in surprise. A flicker of nervous insecurity dulls her expression. MARILYN You think I'm crazy? COLIN I didn't mean that. I just meant you could be happy. MARILYN I am happy. I got everything I ever dreamed about. She smiles tentatively, but he sees a terrible fear in her eyes. He looks down, realising with a cruel stab of pain that Olivier was right. There is no way back. She doesn't want to be rescued. He finally looks up, smiling despite the tears in his eyes. COLIN Of course you're happy. (Pause) You're a star. The biggest star in the world. She smiles, reassured. He drags himself off the bed and goes to the door, pausing for a second as he looks back. COLIN (CONT'D) You're right, Marilyn. We have to forget all this. (MORE) MY WEEK WITH MARILYN 111- 112. COLIN (CONT'D) From now on I'm nobody. Just the third. You don't even know I exist. We'll never look at each other again. She giggles with some of her old playfulness. MARILYN Well, maybe just a wink. Once in a while. He smiles, looks at her just once more, and then goes out. As the door closes we see Marilyn's smile fade to be replaced by a bleak, frightened expression. CUT TO: 146 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 146 DAY. OLIVIER sits in front of his make-up mirror in his Grand Ducal uniform, smoothing down his hair with pomade. COLIN knocks and comes in. COLIN They're ready for you on set, Sir Laurence. OLIVIER Marilyn? COLIN She's just arrived. OLIVIER Only an hour late. Not bad by her standards. He smiles, then stands up, straightening his uniform. OLIVIER (CONT'D) Maybe we will finish this bloody film after all. CUT TO: 147 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 147 The crew are ready. The actors are on set. OLIVIER stands by the camera. COLIN is half-hidden in the shadows. There is a flurry of activity and MARILYN emerges, with PAULA on one side and MILTON on the other. She looks exactly as Marilyn should. With her white dress shimmering in the lights and her platinum blonde hair glowing, she has the air of a Goddess. She sweeps past only inches away from Colin but ignores him. He can't help feeling a stiletto sharp pang of regret. MY WEEK WITH MARILYN 111- 112A. MARILYN turns to the assembled crew. A silence settles. She smiles around, blinking in the lights. She looks for comfort or support among the technicians but sees only blank faces or sullen hostility. She smiles nervously. MARILYN (CONT'D) I hope you will all forgive me. It wasn't altogether my fault. I have been ill. She smiles up at their uneasy expressions, struggling to understand herself and their expectations of her. MARILYN (CONT'D) I'd like you to remember I tried. This oddly moving and open confession is received in silence. No one quite knows how to react to her lacerating honesty. Perhaps they think it is just another performance. MY WEEK WITH MARILYN 113. 147A INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 147A OLIVIER, in character, lies back on a sofa, with MARILYN on top of him, singing the waltz that Colin first heard after his night with her. MARILYN looks kittenish and irresistible as she sings only a few inches from OLIVIER's face. MARILYN (AS ELSIE) "..I found a dream and lay in your arms the whole night through, I'm yours no matter what others may say or do. Be light of heart and fancy free, that's the way to start, there will be nothing to lose till you lose your heart.." She sings with touching delicacy, nailing it perfectly. There is pin drop silence on the set as the crew watch. COLIN is amongst them. It is a moment of almost unbearable poignancy for him. He suddenly realises that SYBIL THORNDIKE has crept up silently behind him to watch the scene. As he turns to her she smiles with infinite wisdom and compassion, murmuring softly so that only he can hear. SYBIL THORNDIKE First love is such sweet despair, Colin. She touches his cheek gently and smiles, perhaps lost in a long ago memory of her own, before retreating quietly into the darkness at the back of the set. 148 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 148 Inch by laborious inch The Sleeping Prince moves towards the finish line. We see a montage of scenes being filmed - - HARDWICK enters as Major Domo through the main door of the oval room, carrying a silver tray bearing shaving equipment... - WATTIS and JEREMY SPENSER crossing the drawing room to the Grand Duke's bedroom... - WATTIS crosses the drawing room and knocks on a door... The process is hardly any easier but somehow the work is done, until we come to the final shot in the sequence - ORTON Very quiet, studio! Going for a take. The big overhead lights switch on with a series of heavy clunks. DENYS Camera running! Speed! MY WEEK WITH MARILYN 113A. ORTON ACTION! MARILYN looks up, in character as Elsie, her eyes glowing. OLIVIER (AS REGENT) "My dear..." MARILYN (AS ELSIE) "I've got a solemn word of warning for you." OLIVIER (AS REGENT) "What's that, my beloved?" MARILYN (AS ELSIE) "You know what's going to happen? I'm going to fall in love with you, because I always, always do." CLOSE on MARILYN as she smiles, her face radiating joy and vitality. And then, in the split second before ORTON calls `cut', MARILYN turns her head just a fraction and winks at Colin. He grins. OLIVIER looks up from the sofa, notices and smiles indulgently. ORTON Cut! Okay boys and girls, that's a wrap! There is a smattering of applause from the crew. MARILYN leaves the stage. 148A INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 148A MARILYN walks away from us, down the long corridor, alone. 149 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 149 The crew shake hands and clap each other on the back like a group of hardened war veterans. ORTON offers COLIN a grudging nod - `well done'. MILTON now comes forward, calling out above the hubbub. MILTON If you'd all like to step this way, you'll find something I think you'll like. MILTON indicates a trestle table at one end of the studio, loaded with gaily wrapped parcels. He ushers the crew over. MILTON (CONT'D) A parting gift to each of you from Marilyn. Men on the left, ladies on the right. MY WEEK WITH MARILYN 113B. At first there is a buzz of excitement but then something odd happens. One of the crew simply picks up his present without looking at it and drops it in the large bin standing against the wall. There is a moment, then a WOMAN does the same with hers. Suddenly there is a rush for the bin as almost everyone dumps their present. The bin is soon overflowing. MILTON stares at the scene, then simply shrugs and walks out. ARTHUR JACOBS, utterly indifferent to the hostile undercurrent, grins and waves cheerfully. JACOBS It's been a lot of fun, kids. See you at the Academy Awards. He goes out, grabbing a discarded bottle of booze from the dustbin as he goes. COLIN watches all this in shocked silence. He looks at the label on his own small parcel, which reads simply "To Colin, with thanks, Marilyn". MY WEEK WITH MARILYN 114. 150 OMITTED 150 150A INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 150A The wardrobe department is empty except for LUCY, who cradles her own gift from Marilyn. COLIN comes in, looking nervous. They look at each other awkwardly. COLIN Aren't you going to throw yours away? LUCY Of course not. It's from Marilyn Monroe. He smiles. She shrugs and turns to leave. MY WEEK WITH MARILYN 115. COLIN (After a second) Lucy? She turns back to look at him. COLIN (CONT'D) I was wondering if you're doing anything this Saturday. LUCY I'm washing my hair. He nods, accepting this as no more than he deserves. She goes but then stops to look back at him. LUCY (CONT'D) Did she break your heart? COLIN (After a second) A little. LUCY Good. It needed breaking. There is no malice in her response, just an awareness that he is older and wiser now, and perhaps a better man for the experience. He nods, accepting the rebuke. LUCY (CONT'D) (After a second) I might be free on Wednesday. COLIN smiles. She goes out. He looks down at Marilyn's present in his hands. CUT TO: 151 INT. PINEWOOD STUDIOS. HALL. DAY. 151 COLIN walks down the hall. He notices the red light is on outside the viewing theatre. As he goes towards it he sees ROGER coming the other way on his way out of the studio, his job done. The two men smile; an acknowledgment of everything they've been through together. ROGER offers him a friendly salute and then goes on his way. 152 INT. PINEWOOD STUDIOS. VIEWING THEATRE. DAY. 152 OLIVIER sits on his own, watching an edited version of the "The Coconut Girl" sequence (Scenes 61 and 62). COLIN comes in. OLIVIER glances at him. OLIVIER "You do look, my son, in a moved sort/As if you were dismay'd: be cheerful, sir./Our revels now are ended. (MORE) MY WEEK WITH MARILYN 116. OLIVIER (CONT'D) These our actors,/As I foretold you, were all spirits and/Are melted into air, into thin air... COLIN Prospero. OLIVIER (SMILES) We are such stuff/As dreams are made on, and our little life/Is rounded with a sleep..." COLIN sits down next to the great man. They watch in silence as another sequence is projected for them. The sequence shows MARILYN improvising in the champagne and caviar scene. She serves herself food and drink before collapsing, drunk. The endless retakes and fluffs gone, what remains is a gifted comic performance by a luminous beauty. OLIVIER (CONT'D) (After a second) She's quite wonderful. No training, no craft, no guile, just pure instinct. Astonishing. He seems almost lost in awe. COLIN gazes at him in surprise. COLIN You should tell her that. OLIVIER Oh, I will. But she won't believe me. That's probably what makes her great. It's certainly what makes her so profoundly unhappy. He smiles wryly. OLIVIER (CONT'D) I tried my best to change her, but she remains brilliant despite me. (Pause) Directing a movie has to be just about the best job ever invented, but Marilyn has cured me of ever wanting to do it again. He signals to the projection box and the film stops as the lights come up. OLIVIER (CONT'D) And now I'm going back to the theatre. John Osborne is writing a piece for me. COLIN I thought you hated all that Royal Court stuff. MY WEEK WITH MARILYN 117. OLIVIER (SMILES) Miller made me see things differently. (Pause) You have to find new worlds to conquer, if you want to be the best. And believe me, most of the time, I really am the best. He goes to the door and pauses. OLIVIER (CONT'D) You've done a good job, boy. (Pause) Welcome to the circus. He goes out. COLIN looks back up at the projection box. COLIN Run it again, please. The lights go down. MARILYN's face appears on the screen, laughing and happy. It is another sequence, the one where Marilyn does her sweet, uninhibited little dance (Scene 90), a performance both sexy and yet touchingly innocent. HOLD on COLIN for a long moment, gazing at her image in the darkness, then - 152A INT. DOG AND DUCK PUB. DAY 152A The circus is leaving. The film is shutting down. Not knowing his next job COLIN sits, suitcase next to his chair, wearing the 'Marilyn' experience on his face and in his soul. Head down, sipping a pint. He could be a regular here. BARRY behind the bar, flitting around - the dart players and regulars at play. And then, as if a gust of wind invaded, BARRY looks up and freezes. The DART PLAYER, sensing something, turns to look up as well. The regulars are frozen in mid-action. COLIN is missing it all. 100% of his attention is given to his woe and his pint. MARILYN Buy a girl a drink? COLIN doesn't turn. He recognizes the voice and smiles. COLIN Can I get another one of those please, Barry? BARRY for once is silent, pours a pint. The regulars try not to stare. MARILYN I didn't want to leave without saying goodbye. MY WEEK WITH MARILYN 117A. MARILYN hands COLIN a package. MARILYN (CONT'D) The first time you saw this, all I had on was the radio. Colin opens the package. It's her copy of the script. On the first page she has written a message scrawled in ink: TO THE MOST CHARMING THIRD ASSISTANT DIRECTOR IN THE WORLD MARILYN (CONT'D) Don't forget me. COLIN As if I could. MARILYN Everyone else on the picture wishes they could. COLIN Everyone else doesn't understand. She smiles, touched. MARILYN Be a gentleman and walk me to my car? 152B EXT. DOG & DUCK PUB. DAY 152B The ever faithful Roger stands by the idling car. COLIN opens the car door for MARILYN. MARILYN beckons him closer. She kisses him gently. He smiles and says lightly: COLIN What's that for? MARILYN That's for being on my side; and remember, when you see me wink, that's for you. ROGER walks around the car and looks over at COLIN. ROGER (glancing at COLIN) Looking a couple of inches taller than when I first saw you. ROGER nods at COLIN (a silent salute suggesting job well done.) He gets into the car and we stay on COLIN as he watches it pull away. BARRY comes to the doorway of the pub. BARRY Was that really Marilyn Monroe? MY WEEK WITH MARILYN 117B. COLIN No - just a good friend of mine. BARRY walks back into the pub, leaving COLIN alone, staring at the vanishing car. And then the sun swallows it as it drives into the English countryside. FADE TO: 153 EXT. WARDOUR STREET. LONDON. DAY. 153 COLIN walks along chatting to friends. Dressed in a neat dark suit he looks older and more confident. There is little sign left of the callow young man who paced up and down the pavement outside Sir Laurence Olivier's office. We see the caption: SIX YEARS LATER. 154 INT. COLIN'S OFFICE. WARDOUR STREET. DAY. 154 COLIN walks into a small office. Film cans are piled up all over the floor and books and papers spill off the shelves. A SECRETARY sits typing at her desk. COLIN goes to his own desk, glances at his diary, then looks up. COLIN Any messages? THE SECRETARY pushes a piece of paper at him. SECRETARY It's probably just someone having a joke. COLIN looks down at the message. There is a Los Angeles phone number and then the name - Marilyn Monroe. COLIN (After a moment) Did she say anything? MY WEEK WITH MARILYN 118. SECRETARY She just asked you to call. (Pause) It is a joke, isn't it? COLIN stares down at the paper. COLIN Probably. (Pause) Book a call as soon as you can. Los Angeles, California. Brentwood 1890. CUT TO: 155 INT. COLIN'S OFFICE. WARDOUR STREET. NIGHT. 155 It is late. COLIN stares at the number on the scrap of paper. The phone rings. He picks it up eagerly. OPERATOR Your call to Los Angeles. We hear the crackle of the international line. He waits anxiously as the ringing continues. CUT TO: 155A EXT. LOS ANGELES. MARILYN'S HOUSE. LIVING ROOM. DAY. 155A ESTABLISH the luxurious exterior of Marilyn's comfortable Brentwood house. CUT TO: 156 INT. LOS ANGELES. MARILYN'S HOUSE. LIVING ROOM. 156 DAY. The room is large and tasteful - white sofas and cushions and deep rugs. Picture windows look out onto the Hollywood hills. A white phone rings on the table. It rings continuously, insistently. It carries on ringing. No one comes. HOLD on the jangling phone. Each time it rings we think Marilyn might appear, but she never does. It carries on ringing, unanswered, in the empty room. As the picture fades we hear like a ghostly lament the sweet echo of Marilyn's voice singing the Sleeping Prince Waltz. MY WEEK WITH MARILYN 119. MARILYN (VO) "I found a dream and lay in your arms the whole night through, I'm yours no matter what others may say or do. Be light of heart and fancy free, that's the way to start, there will be nothing to lose till you lose your heart..." The fragile voice hangs in the air for a second, then slowly drifts away to nothing. 157 INT. COLIN'S OFFICE. WARDOUR STREET. NIGHT. 157 COLIN sits with the phone to his ear. The sound of Marilyn singing the Sleeping Prince Waltz dies away and we realise has been revisiting it in his memory. He waits as long as he can but it is obvious no one is going to answer. In the end he puts the receiver back in its cradle in resignation. His gaze drifts up to a shelf stacked with film cans. He stands up and looks through them, blowing dust away; they have been here for a long time, ignored. He finds the one he is looking for - it says simply MM on the can. He takes the short reel of film and threads it through a Movieola in the corner of the room. He turns it on and bends to look. The screen bursts into life with an image of MARILYN at her most vital and captivating. It is a copy of some rushes from The Prince And The Showgirl, perhaps given to Colin by Olivier, or perhaps "borrowed" as a souvenir and long since forgotten. We see MARILYN dancing happily, exaggerating off camera, looking playful and sexy. She is radiant and full of life. After a moment she turns and looks off camera - perhaps to where Colin himself would have been standing - and winks happily. Blown up to the full size of the screen it is utterly sweet and charming. There is something so completely natural about the gesture COLIN feels he has been swept back seven years in time and MARILYN is standing in front of him again, in the flesh. It moves and delights him; perhaps he has never even really seen this clip before. At any rate he hasn't thought about it for years. It is MARILYN as he will always remember her, relaxed, affectionate and vital, a part of her, however tiny, forever his. She smiles, laughs at something, giggles in delight (without sound). She says something to an unseen crew member, then looks back, smiling at the camera. MY WEEK WITH MARILYN 120. Her face fills the screen. Beautiful, timeless - Happy. HOLD on the image for as long as we dare, then - FADE TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Mystery Men.txt b/unformated_scripts/Script_Mystery Men.txt new file mode 100644 index 0000000000000000000000000000000000000000..6b0587dea41ca89da7209db5e808d6edd4ca9dca --- /dev/null +++ b/unformated_scripts/Script_Mystery Men.txt @@ -0,0 +1 @@ +THE MYSTERY MENBy Neil CuthbertBased on the Dark Horse comic created by Bob BurdenRevised June 6, 1997THEME AND CREDITS...FADE IN:EXT. ERIE HOSPITAL FOR THE CRIMINALLY INSANE - DAYCAMERA MOVES THROUGH a tangled jungle of razor wire, finally COMING INTO VIEW of a foreboding, fortress-like old institution, surrounded by towers and gun turrets. Screaming and horrible laughter is heard from within...CLOSE ON a sign that reads "Erie Hospital for the Criminally Insane" ... This is where the worst killers and psychos go.INT. CONFERENCE ROOM - CONTINUOUSTHE CAMERA PANS THE EXPRESSIONLESS FACES of the REVIEW BOARD as CASANOVA FRANKENSTEIN sits across from them. Dressed in an immaculately tailored prison smock (with "Casanova" exquisitely embroidered above the pocket), he sits contritely as DOCTOR EMMET BIERCE, the hospital's fatherly Chief of Psychiatry, presents his case. BIERCE No one can deny the horrendous nature of Mr. Frankenstein's crimes, but in the twenty years he has been with us, I have never seen a patient turn his energies to more productive use.CASANOVA, the picture of remorse and repentance. BIERCE Just look at his accomplishments... three volumes of poetry, two rock operas, a sculpture garden, four romance novels... and who can forget his touching portrayal of Billy Bigelow in our all-psychotic production of "Carousel"...ON SEVERAL OF THE BOARD getting misty eyed at the memory of that brilliant performance... BIERCE Directed by our own Doctor Anabel Leek.ON DOCTOR ANABEL LEEK, the hospital's icily beautiful, ultra cool, top shrink.A moment later Casanova addresses them... His manner is charming, sincere, his voice soft, filled with emotion. He is a master of seduction. CASANOVA Twenty years ago I was a lost soul. Loveless... (with a son-like glance at Doctor Bierce) Fatherless... (chokes on the word) A... psycho! (breaks down sobbing) Oh! How could I have done it? The murder... the mayhem... all of those lovely young girls! (weeping, a brilliant performance) I'm sorry! I'm SO SO SORRY!Doctor Bierce wipes the tears from his eyes. Reactions from the board, moved, as Casanova weeps convulsively. Doctor Leek shows no reaction. CASANOVA (pulls himself together) But my deeds have been done, and my youth is gone, and we can only go forward in this cruel world... and if I have learned anything from my wretched life it is that... When you walk through a storm, keep your head held high... (singing) And don't be afraid of the dark...Tears plop dawn the cheeks of the review board as the FULLY ORCHESTRATED STRAINS OF "WHEN YOU WALK THROUGH A STORM" SWELL...SERIES OF SHOTS - AS THE MUSIC CONTINUESA hand stamps Casanova's file "CURED"... Casanova shakes hands and embraces the tearful members of the review board, finishing with a paternal hug from Doctor Bierce.In his cell a guard delivers Casanova his favorite old disco suit (that's been waiting far him for twenty years).Casanova, dressed in the suit, walks down the central aisle of the lock-up... A moment later he steps out of the massive gates of the hospital, and takes his first deep breath of freedom... while in an office window high above Bierce and the members of the review board stand watching, very proud...But suddenly THE MUSIC CHANGES TO SEVENTIES DISCO as a black Ferrari drives up, and Doctor Leek, now dressed very sexily, gets out... As the review board watches in stunned silence, Casanova and Anabel perform a nifty little disco twirl, finishing with a very lewd kiss...Bierce, watching, realizes he's been duped... as Casanova, grinning up at him, puts a long gold chain (his favorite weapon) around his neck... Bierce, horrified, picks up the telephone... as Casanova and Anabel get in the car.INT. THE CAR - A MOMENT LATERCasanova and Anabel drive off. The massive old hospital is seen through the rear window behind them, as Casanova calmly looks at his watch...CLOSE ON HIS WATCH -as the second hand just swings toward the twelve. It is exactly twelve noon...BACK ON CASANOVA - CASANOVA (almost wistfully) Boom.And the hospital EXPLODES in a HUGE FIREBALL that completely consumes it. CASANOVA Those gas leaks can be murder.EXT. THE ROAD - DAYThe Ferrari drives past and the CAMERA HOLDS ON a sign that reads "We1come to Champion City, home of Captain Amazing". The city itself, a crumbling rust belt metropolis (ala Detroit) can be seen stretched out along the shore of Lake Champion off in the distance...INSIDE THE CAR - CONTINUOUS - ON CASANOVA CASANOVA I'm home.BACK ON THE ROAD - CONTINUOUSThe Ferrari drives under a much larger billboard that looms over the road, showing a picture of Captain Amazing himself, a square jawed classic superhero, staring fiercely into the camera. The caption reads "Crime. Don't even think about it."EXT. TRAIN YARDS OF CHAMPION CITY - NIGHTLetters read "Six months later"...as the CAMERA EXPLORES the desolate muddy terrain of the train yards, CRUISING past piles of tires and abandoned train cars...CAMERA PICKS UP a battered van as it drives through the yard, then pulls up beside an old boxcar. The back of the van is thrown open, a ramp is thrown down, and THE RED EYES, a gang of vicious small time thieves (all of whom wear sunglasses with red lenses) start unloading their night's haul... RED EYE 1 drives a golf cart, with clubs, down the ramp. RED EYE 1 Golf anyone?Several more Red Eyes emerge carrying a sawn off bike rack with bikes still attached, a barber pole, a Virgin Mary lawn statue, and a top of the line baby stroller... while their leader, BIG RED, stands in the door to the boxcar, watching approvingly. RED EYE 2 Not a bad night's work. BIG RED Who said crime don't pay?The Red Eyes laugh... as Red Eye 3 takes the cover off the baby stroller and sees... that there's a BABY still in it. RED EYE 3 Hey, Boss, we got a stowaway.The crooks gather around the baby, a jolly little kid who just laughs at them. RED EYE 4 (about to slug him) Who you laughin' at, punk? RED EYE 2 He's just a tyke. Lighten up. RED EYE 5 He's kinda cute. RED EYE 3 If you like drool. RED EYE 2 Hey, why don't we sell him back to his parents? For a million bucks!The others think that's a great idea, but Big Red doesn't. BIG RED And what if he rats on us?The others hadn't thought of that. RED EYE 3 So what should we do with him? BIG RED Stick a brick in his Pampers and dump him in the lake.The others think that's a good idea and look around for a brick. RED EYE 3 Come on, kid, you're goin' for a swim.But suddenly there is another presence... A man in a blue turban and cape with the initials "BR" on his chest has appeared... He is THE BLUE RAJA. RAJA Not so fast, gentlemen--and I use the term loosely... Unhand that youngster...Another man steps into the light. He wears a construction helmet and mask. There is an "S" on his chest, and he carries an old shovel. He is THE SHOVELER. SHOVELER Or you're mulch.He brandishes his shovel for effect. The Red Eyes look at these two, highly amused. BIG RED What are you guys supposed to be... superheroes?A third man steps out. His costume is less dramatic than the others. He wears only an old leather jacket and a faded, torn shirt with flames on it, but the fierce look on his face and the atrociousness of his haircut make it very clear that he is the craziest and most dangerous of the three. He is MISTER FURIOUS. FURIOUS We ARE superheroes! BIG RED Really? Did you mother make those costumes?The crooks howl with laughter. BIG RED This is our territory. Beat it. FURIOUS Over YOUR dead body.Big Red turns to the others and shakes with pretended fear. BIG RED 0ooooo, he's scary.The Red Eyes laugh, but suddenly, a small silver projectile whizzes through the air and implants itself in Big Red's backside. He howls with pain, pulls it out and examines it... It's a silver dessert fork. BIG RED A fork!The Raja holds up his hands, each of which hold a spread of silver forks. RAJA And there's plenty more where that came from.Big Red gives a shrill whistle, and a dozen more Red Eyes step out of an old caboose... including MIKEY, a four hundred pound behemoth. He is eating a container of Ben and Jerry's like it was an ice cream cone, taking huge bites out of it, container and all.RAJA AND SHOVELER, reacting... Gulp. This was more than they'd bargained for. But Furious just growls; he's game. BIG RED GET 'EM!The Red Eyes attack... Mister Furious goes into a furious face; his hair stands out straight and he rushes right into the oncoming crooks...A Red Eye takes a swing at the Shoveler--but he simply puts up his shovel and lets the crook slug the shovel's pan. The crook yelps with pain and shakes his battered hand... as the Raja fends off crooks, poking them with salad forks... and the baby sits in his stroller, watching and laughing, really enjoying the show. (There's no real martial artistry or teamwork here; this is a classic back alley brouhaha.)But there's too many of then... The Raja goes down under swinging fists... and so does the Shoveler...Furious holds his own, taking out crooks with powerful lefts and rights--until Mikey runs him down like a truck, falling right on top of him and crushing him under his massive weight. RED EYES Crush him, Mikey!... Mash him!... Mush him! FURIOUS (barely audible under all that meat) Is that all you got? RED EYES He wants more!... Squish him!... Finish him off! FURIOUS (faintly) Your mother!Mikey, sweating, bears down... but suddenly, a calm, very authoritative voice is heard. VOICE (0.S.) Is there a problem?Everything suddenly stops, as the Red Eyes look up and see... CAPTAIN AMAZING standing on tap of the boxcar, hands on hips, framed in the light at the moon, his biceps bulging, his state of the art physique sculpted body armor gleaming in the moonlight, his cape wafting heroically in the wind. He is superhero perfection incarnate.ON THE RED EYES as their viciousness turns instantly to panic... RED EYES IT'S CAPTAIN AMAZING!Big Red and a couple others try to run for it, but Amazing leaps ca-like off the boxcar and is on them in a flash. As the baby claps his hands in delight, and our three heroes watch in beat-up awe, Amazing deftly takes out the crooks with expert punches and effortlessly delivered elbows and kicks. He is the consumate superhero, and he doesn't even break a sweat.The remaining Red Eyes drop to their knees and throw up their hands in surrender. RED EYES We give!... We're sorry!... We had terrible childhoods! (Etc.)Police cars and a TV truck come screeching into the train yard... and the scene is suddenly flooded vith light and swarming with cops and reporters...Our three heroes try to approach Captain Amazing (who still looks fresh as a daisy). RAJA Nice work, Captain.But Amazing just walks past them, ignoring them completely, as if they didn't even exist. He goes to greet DAWN WONG (Champion City's answer to Connie Chung). AMAZING (turning on the old superhero charm) Hi. Dawn. DAWN (putty in his hands, pudding in his bowl) Looks like you've done it again, Captain. AMAZING It's what I do.Our heroes just watch, feeling ignored, humiliated. Furious growls. Suddenly, TWO COPS are accosting them. COP 1 Okay, show's over. Move it. On your way. RAJA Wait a minute, Officers. You don't understand-- we're superheroes, and we just busted up this gang. COP 1 Really? Let me guess-you're Towel Head and he's... (meaning the Shoveler) Captain Pooper Scooper!The cops crack up. Furious growls at them. The cops yank out their nightsticks. COP 1 Hey! Move it! COP 2 Get a life! COP 1 And leave crime fighting to the real thing!Shoveler and Raja pull Furious away before he gets into real trouble... The cops watch as our three heroes disappear into the night. COP 1 Wannabes. COP 2 Pathetic.EXT. THE LAKESIDE DINER - NIGHT - ESTABLISHINGAn inner city greasy spoon.INT. THE DINER - CONTINUOUS - CLOSE ON A TV SCREENon which Captain Amazing, the laughing baby in his arms, is being interviewed by Dawn Wong. He's playing the cutsy photo op for all its worth, gootchy-gooing the kid, etc. Dawn is creaming.Our three heroes sit at a booth in the back of the diner, watching the tube... RAJA (nursing a sore jaw) He doesn't miss a trick, does he? FURIOUS What a jerk--and like nobody knows who he really is! SHOVELER Oh don't start that again-- FURIOUS LOOK!Furious picks up the newspaper on which there is a photo of a good looking guy in a tux at a benefit... The headline reads "Lance Hunt Hosts Benefit." He holds the picture up next to the television, so the faces of Lance Hunt and Captain Amazing are side by side. It is obviously the same guy. FURIOUS He's Lance Hunt! Just take off the glasses-- and it's him! RAJA There's a vague similarity. FURIOUS A vague similarity? IT'S THE SAME GUY! SHOVELER (downing some aspirin) 0h, who gives a damn who he is? I can't take this anymore. Night after night we're on the streets, busting our humps--and for what? RAJA We take the licks and he gets the chicks. SHOVELER How long do you have to chase a dream before you realize it's not gonna happen? FURIOUS We need a break, that's all! Nobody'd ever heard of him until he busted Casanova Frankenstein! RAJA But look at him... and look at us. SHOVELER The camera loves him.A depressed silence. Furious turns his attention to the napkin dispenser. FURIOUS (furious) Why do they always fill stuff these things so full you can't pull 'em out without ripping 'em! (rips one out) RAJA I lost another fork tonight. She's getting suspicious, I know it. FURIOUS So why don't you just tell her! RAJA I can't. FURIOUS Why not? RAJA (upset) Because I can't! Okay? She wouldn't understand! SHOVELER Leave him alone. She's his mother, not yours. FURIOUS We had an off night, that's all. SHOVELER So when are we gonna have an on night?A WAITRESS is standing at the table. WAITRESS Hi.They look at her, taken aback. She's very pretty. RAJA You're... new. WAITRESS It's my first night. My name's Monica.CLOSE ON FURIOUS, smitten by her, but almost afraid to look at her. Under all that rage, he's in fact shy. MONICA You guys going to a costume party? RAJA We're superheroes. MONICA Really? Like Captain Amazing?Furious growls. MONICA Are you famous? RAJA Not yet. MONICA So you're like... struggling superheroes? RAJA We prefer to think of ourselves as unsung... I am the Blue Raja, Master of Silverware... (does a very impressive little flipping thing with his place setting) MONICA Wow. RAJA And these are my associatiates, the Shoveler. SHOVELER Hi. RAJA And Mister Furious... His anger is his power. MONICA (intrigued by Furious) Really? RAJA Usually a superpower is a magical endowment or a great skill. In his case, it's entirely emotional. MONICA So what can I get you? RAJA Burgers all around. (meaning himself) Medium. (meaning the Shoveler) Rare. (meaning Furious} Raw.A moment later as Monica walks away, Furious can't help butwatch her. The Raja replaces the diner's dinnerware with the good stuff from his coat. RAJA She likes you. SHOVELER Definitely. RAJA Ask her out. FURIOUS Nah. RAJA Roy, when was the last time you had an actual date? FURIOUS (getting very pissed off) What does it matter? Women just want to control you--and talk about their feelings. They want to know why you're angry all the time--and what can they can do to help--so you tell them there's nothing--nothing--just leave me alone--but they bug you and they bug you and they bug you--until you just can't stand it anymore!--so you finally open up--you pop like a blister--and it all comes spewing out--all your emotions--your feelings--your fears--all of it! (after a beat) And then they dump you. RAJA So you're chicken? FURIOUS (fiercely) Who's chicken? (gets up)Monica stands at the counter placing her order. Furious approaches her, leans against the counter. For a moment he just stands there, fuming, unable to think of anything to say. She isn't sure what to make of this. FURIOUS Doesn't it piss you off the way the when you really want to talk to somebody you can't think of anything to say! MONICA I guess... Are you always so angry? FURIOUS Only when I'm awake... You busy after work?She shrugs. FURIOUS Want to go out and get drunk?She's visibly turned off by that. FURIOUS Or talk? MONICA Not tonight. (picks up an order and walks away)EXT. OUTSIDE THE DINER - LATERFurious, the Raja, and the Shoveler step out. RAJA Maybe you should try a more romantic approach. FURIOUS (gets on his old Harley) Like what? Cutting off my own ear? RAJA Or flowers. FURIOUS See ya tomorrow.Furious kicks his engine started and speeds off into the night as the Shoveler opens the door of his battered Ford Esquire station wagon, and the Raja gets into his ancient Datsun.EXT. RESIDENTIAL STREET - NIGHTThe Shoveler pulls into the driveway of his very modest house. The front yard looks like a battle zone. Bikes and kids' junk are everywhere.LIVING ROOM - A MOMENT LATERas big a disaster area as the front yard. His kids, EDDIE JR. (15), LENORE (12), BUTCH (10), TRACY (7), and ROLAND (5) are all sprawled in front of the television. The Shoveler enters, and his kids don't even bother to look up from the tube. SHOVELER Hey, when are you guys gonna clean this place up? TRACY When you're on TV. EDDIE JR. Right--like that will ever happen. LENORE Save any babies lately?ON THE SHOVELER, silent, hurt. TRACY Faster than a speeding turtle-- BUTCH More powerful than a deodorant-- EDDIE JR. Able to eat twelve donuts in a single sitting-- LENORE Look, snoring in his chair-- EDDIE JR. Sitting on the john-- ALL It's... Supergut!The kids all laugh (in that derisive way that kids do so well) as the Shoveler dejectedly walks into the kitchen.INT. KITCHEN - A MOMENT LATERThe Shoveler enters, dejected. His wife, Lucille, is doing the dishes. She looks up, sees him. LUCILLE (feels for him) Rough night, Eddie?He nods.EXT. THE RAJA'S HOUSE - NIGHT - ESTABLISHINGThe Raja's Datsun is parked in front of a neat as a pin little Victorian house.INT. THE DINING ROOM - NIGHTThe room is dark. Someone is sneaking around. A drawer is quietly opened, and we hear the gentle clink of silver. Suddenly, the light goes on and we see the Blue Raja, now dressed in a sport shirt and slacks, with his hand in the drawer. His MOTHER, in her nightclothes, stands by the door where she has just switched on the light. MOTHER Jeffrey! RAJA Oh hi, Mom. MOTHER What are you doing in the silver drawer? RAJA Looking for... the TV Guide.She just looks at him, very suspicious. MOTHER It's on the television. RAJA Of course. I'm such a fool... Thanks, Mummy. Go to bed.He kisses her and goes into the next room. CAMERA HOLDS ON MOM; she doesn't trust him.EXT. HILLTOP - NIGHT - ANGLE ONA billboard overlooking the city. Captain Amazing is posed wearing a pair of bright blue Nikes. The caption reads. "It's a nice world. Sonebody's got to save it... The Nike Supershoe. It's Amazing."Furious sits on his Harley, taking long hauls from a pint bottle of cheap bourbon and gazing up at the sign. FURIOUS Amazing? What's so amazing about him? I'd be amazing, too, if I'd inherited two hundred million bucks... or two bucks... or two cents... (hurls the empty bottle, smashing it against the sign) Who am I kidding? Dreams don't come true.A moment of despondency, and then he hears a strange sound overhead and looks up...HIS POV -as something suddenly flies across the star filled night sky above him...It is Captain Amazing, wearing a high tech rocket pack on his back... FURIOUS Where's he going? (kicks his Harley started)SERIES OF SHOTS - WITH MUSICas Furious, following Captain Amazing, rides roughshod down the steep hill, skidding onto a road and then speeding through a residential area...He cuts onto some railroad tracks, hops his bike up on a rail, and rides smoothly along it, following Amazing... He turns off the tracks, rides roughly through some woods, then emerges from the trees and sees..A foreboding looking old mansion... Captain Amazing lands on the highest part of its roof... Furious pulls up, gazes at the front gates of the mansion...HIS POV -Letters across the iron gates read... "Frankenstein".EXT. ON THE ROOF - CONTINUOUSCaptain Amazing abandons his jet pack and moves across the old slate roof like Spiderman, leaping nimbly from gable to gable and walking along a high ridge like a tight rope walker. Finally he approaches a skylight, looks down and sees...A huge old library with an iron catwalk running around it. Casanova Frankenstein sits in a club chair by a roaring tire. Anabel perches on the arm of his chair. In the other chair sits a once good looking, now paunchy guy, with a meticulously coiffed haircut. He is TONY POMPADOUR, head of the infamous Disco Boys.0N CAPTAIN AMAZING AMAZING (just as he suspected) Uh-huh.He sees that the skylight is open, and quietly lets himself in...INT. THE LIBRARY - CONTINUOUSCasanova and Tony P savor glasses of brandy and puff on big cigars. CASANOVA I hope you enjoy these cigars. I had to kill a dozen Cubans to get them. TONY P Ummm. CASANOVA Have you considered my offer? TONY P You know, Mr. F, me and the boys always loved workin' for you. You had such style: the clothes, the dancin', the elegant way you'd snuff a babe. You were the King...Casanova accepts this graciously. TONY P But times have changed, and you been in that bug house a long tine. I can see you still got the style, but I dunno for sure you still got the edge. CASANOVA I got it. TONY P What about Captain Amazing? AMAZING (O.S.) Good question.Casanova and Tony P look up and see Captain Amazing, posed noncalantly on the iron catwalk, gazing down at them. Tony P jumps out of his chair, scared. But Casanova just smiles at his ancient rival, cool as a cucumber. CASANOVA I knew you'd cone. I left that skylight open for you. AMAZING I know you did. CASANOVA I knew you'd know. AMAZING I know you knew I'd know. CASANOVA But did you know I knew you'd know I'd know? AMAZING Of course.Tony P makes a move for his pistol, but Captain Amazing instantly whips out his pistol, getting the drop on him. AMAZING I'd hate to waste a good bullet on a piece of scum like you, Tony.Tony freezes. AMAZING The jig is up, Casanova. I've spent six months watching you, and know exactly what you're up to. CASANOVA Really? AMAZING I know that you're recruiting your old henchmen...Nervous reaction from Tony P. AMAZING I know who your girlfriend really is...Icy reaction from Anabel. AMAZING And I know the terrible revenge that you plan to inflict on this city. CASANOVA I guess you know just about everything, don't you, Lance? AMAZING Um-hmm. CASANOVA Except for one little thing. AMAZING (supremely confident) And what's that? CASANOVA That I've hot wired the city's entire power supply through that catwalk. AMAZING What--?Casanova suddenly throws a secret breaker switch, and the ugly hum of a million volts instantly fills the room...EXT. OUTSIDE THE HOUSE - CONTINUOUS - ON FURIOUSstill watching... as all the lights in the house go out, except for a frightening orange glow in an upper room...Off in the distance Furious sees... the lights of the entire city flicker and then black out... A moment later the mansion, and the city's lights return to normal... as Furious watches, not sure what to make of this.EXT. STREET CONSTRUCTION SITE - DAYTraffic is snarled. Horns are blasting. Tempers are frayed.CLOSE ON A HAMMERING JACKHAMMER... CAMERA WIDENS TO REVEAL that it is being operated by the Shoveler, dressed in work clothes. Wiped out from the night before, the vibrations of the hamer are lulling him off to sleep... He nods out... as his BOSS whacks him on the arm. BOSS YO! CAPTAIN SOMINEX! Get your shut-eye at home, or you'll be a full time superhero!EXT. THE RAJA'S HOUSE - DAY - ESTABLISHINGINT. THE RAJA'S ROOM - CONTINUOUSThe Raja lies sprawled on his bed, depressed, still in his pee jays, as he watches... an ANTHONY ROBBINS infomercial ON THE TV. ANTHONY It's all within your power. The only thing that's in your way is YOU! RAJA Easy for you to say.EXT. SALLY'S AUTO DEMOLITION - DAY - ESTABLISHINGAn auto junkyard and demotion yard.EXT. THE YARD - DAYA giant press mashes an old car... while nearby Mister Furious does the job by hand, demolishing an old Grand Prix with an iron bar. He does it as easily as a normal guy would tear apart a corrugated box, ripping off the doors, then tearing off the bumpers and the hood and tossing the pieces onto a big pile... His big boned, red faced boss SALLY is calling out to him. SALLY Hey, Roy!EXT. THE BACK OF THE YARD - A MINUTE LATERIn a weedy overgrown far corner of the junkyard Sally and Furious stand looking a big old hunk of a military vehicle. It is a Herkimer Battle Jitney, a heavily armored, windowless, soundproof, personnel carrier (designed by the Pentagon in the fifties to take congressmen on battlefield fact finding tours). Overgrown with weeds, home to an extended family of pigeons, its fighting days (if it ever had any) are over. SALLY How many times I gotta tell you about this? FURIOUS Sally, that's a Herkimer Battle Jitney! They don't make 'em like that anymore. It's a classic! SALLY It's a hunk of junk. I want the iron. Do it!She walks away. Furious growls. He picks up his iron bar and is about to wedge it under the front bumper of the Herkimer...HIS POV -But the big old headlights and the sad old grill seem to be looking at hint, imploring him for one last chance...And he just can't do it. He throws away his iron bar and climbs inside the cab of the Herkimer...IN THE CAB - CONTINUOUSFurious sits behind the wheel and tenderly touches its beat-up old dashboard, then turns on the radio, which, miraculously still works. He tunes in a local station, puts his feet up on the dash. RADIO ANNOUNCER ...and continues to deny any knowledge of the incident... In local news, millionaire Lance Hunt has apparently disappeared...ON FURIOUS, taking immediate notice. RADIO ANNOUNCER Members at his household told police that the playboy philanthropist failed to return home last night after "going out for a walk". Police say they have no reason yet to suspect foul play, but a search is under way...INT. THE DINER - NIGHTFurious, the Shoveler, and the Raja all sit at their booth. FURIOUS I saw him go in--and he didn't come out! RAJA But we don't know for sure it's the same guy.Furious groans. SHOVELER Hey, look.ON THE TV -Casanova is being interviewed by DON STOUFFER, the local Mike Wallace. CASANOVA Well, Don, I've done some terrible things in my life, but now I'm cured, and I just want to give back something to my old home town... That's why I'm using what's left of my fortune to build...CLOSE ON A MODEL of a huge concrete bunker-like institutional structure (i.e. the Getty) CASANOVA (O.S.) The Frankenstein Center for the Arts. DON You've changed, haven't you? CASANOVA Oh yes.BACK ON FURIOUS, RAJA, and SHOVELER - FURIOUS No he hasn't.EXT. FRANKENSTEIN MANSION - NIGHT - ANGLE ONthe wall of the estate... as our heroes' three heads rise up over it... and survey the grounds. FURIOUS (about to climb over) Let's go. RAJA (in a whisper, holding him back) Wait!... Look!THEIR POV -A group of men are hanging around the door to the house, smoking, chatting, and laughing. A CLOSER ANGLE REVEALS that they are all dressed in the height (or depths) of seventies disco fashion. One of them is showing off some steps.Our heroes fall back behind the safety of the wall and confer. RAJA This is bad. SHOVELER Who are they? RAJA The Disco Boys. FURIOUS The who? RAJA The most vicious gang of thugs this city ever produced. Twenty years ago they were Casanova's personal bodyguard. But after he was busted they crawled into the woodwork. FURIOUS Well they've crawled back out. SHOVELER We may be getting in over our heads here. RAJA This looks like a job for Superman-- SHOVELER Or Batman-- RAJA Or both. FURIOUS Don't you guys get it? If Captain Amazing is still in there, we can rescue him--and get on TV! (goes right over the wall)They share an exasperated look, then scramble over the wall after him.INT. CASANOVA'S BEDROOM - CONTINUOUSCasanova and Dr. Anabel Leek are preparing for bed. Anabel sits in front of a huge mirror, brushing her long hair as Casanova moves up behind her and puts his hands around her throat, massaging, squeezing, just barely resisting the temptation to strangle her. (She loves it). CASANOVA Everything's going exactly as we planned. ANABEL (puts the sharp point of her comb handle under his chin) Not quite. You haven't announced our engagement yet. CASANOVA It must have slipped my mind. ANABEL Your mind is so slippery. CASANOVA Don't worry, Pootchkie. My womanizing days are over. You're my Lady Macbeth, my Imelda... my Nicole. (pulls her into his arms) We're such an incredible team. Who could possibly stop us? (kisses her)CUT RIGHT TO:EXT. THE LAWN - CONTINUOUS - ON OUR THREE HEROESas they crunch their way non too stealthily across the backyard. RAJA Don't crunch the leaves. SHOVELER Sorry. RAJA Be a Mohican. (bumps into a lawn chair) FURIOUS Wait. (They all stop.) I hear something.They all listen; there is a low rushing sound... It is the sound of water rushing through pipes. Suddenly, the lawn sprinklers all pop up... and our heroes get drenched. They duck off the lawn, behind the cover of a large tree. RAJA I'm soaked. (sneezes) Oh great. FURIOUS Shhh. SHOVELER Be a Mohican. RAJA Shut up.Furious sees a pair of French doors, off a small patio. One of the doors is slightiy open. FURIOUS Come on.They start sneaking toward it, but as they cross the patio... they trip the automatic security lighting, and suddenly find themselves bathed in light. RAJA Uh-oh.As our heroes look around as a dozen Disco Boys, armed with pipes, chains, brass knuckles, step into the light and encircle them... The French doors open and Tony P steps out. RAJA Oh I'm sorry. We must have the wrong house. TONY P You sure do.The Disco Boys attack. The Raja is instantly clubbed down. The Shoveler deflects only a blow or two with his shovel before he goes down, too... These guys are not the Red Eyes.Only Furious holds his own. He grabs a pipe away from one of them and swings fiercely, keeping the others off. Suddenly, the Disco Boys pull back. Furious doesn't know why, until he turns and sees...Casanova, standing right behind him, smiling. CASANOVA Hi there.With a cat-like move Casanova slashes his gold chain viciously--and repeatedly--across Furious' face. Furious, stunned with pain, lunges at Casanova, who neatly steps aside, then catches him with a fast combination of spinning disco kicks. Finally he lassos the chain around Furious' neck, and pulls it tight, strangling him.ON THE DISCO BOYS, watching, snapping their fingers with admiration...Casanova releases Furious, who slumps to the ground. Casanova steps away, and the Disco Boys gather around Furious and kick him viciously... as Casanova and Tony P watch, amused, chuckling. CASANOVA Superheroes. TONY P Should I kill them? CASANOVA (completely disdainful) Why bother?EXT. JUST OUTSIDE THE MANSION - A MOMENT LATERThe Disco Boys drag our heroes through the gate and throw them like bags of garbage into the street... where thay lie in a moaning, agonized, semi-conscious heap.INT. THE DINER - LATER - CLOSE ONFurious, rubbing his neck; a thin red mark runs around it. The three of them are sitting at their usual table, in very bad shape, moaning and groaning... Monica approaches. She's made them ice packs and cold compresses. MONICA Here you go. (sits with them, applies a compress to the Raja's head) RAJA Ow. MONICA Maybe you guys ought to forget this Superhero stuff and join Kiwanis or something.A FUSSY CUSTOMER is calling out from another table. FUSSY CUSTORER Miss!She moves off. RAJA Maybe she's right. FURIOUS (still furious) Are you serious? This is the break we've been waiting for! SHOVELER What are you talking about? FURIOUS What have the famous superheroes got that we don't? RAJA Agents? FURIOUS Archenemies! Casanova isn't just a criminal-- he's a supervillain. Stopping him could be our ticket to fame, fortune--and babes! SHOVELER And it would be the right thing to do. FURIOUS (dismissively) Yeah yeah--and that, too. RAJA But there's only three of us, and he's got the entire brotherhood of evil at his disposal. FURIOUS Then maybe it's time for us to form our own brotherhood... (more) FURIOUS (Cont'd) a brotherhood of righteous, crime fighting, skull cracking, Disco Boy bashing, warriors of the night! SHOVELER I'm liking this. FURIOUS I say we send out the word--and summon all of the unsung superheroes we know! RAJA (after a moment) Yeah, but... who do we know?They take a long moment to ponder this. FURIOUS Well... there's the Spleen.Shoveler and Raja make disgusted noises. RAJA Do we have to? SHOVELER I got this cousin. He's a real doofus, but he claims he can become invisible. FURIOUS Have you ever seen him? SHOVELER How could I see him if he's invisible? FURIOUS Good point. RAJA And there's the Sphinx. SHOVELER The who? RAJA He's a legendary masked Mexican crime fighting superwrestler and master of the machete. FURIOUS Sounds good. RAJA No one's sure that he actually exists, but they say he can be contacted by leaving a message on a crumpled up napkin at the Tacky Taco down by the bus station. SHOVELER Get outta here.EXT. TACKY TACO - DAY - ESTABLISHINGA funky Mexican restaurant by the bus station.INT. THE RESTAURANT - CONTINUOUSOur heroes, in normal clothing, have just finished a taco lunch. Furious is writing a mssage on a napkin with a ballpoint pen. FURIOUS You sure that's how you spell it? SHOVELER Yeah.CLOSE ON THE NOTE -which reads "Spinks, we need you."They crumple up the napkin and leave the restaurant... A moment later a shy looking MEXICAN MAN busses their tray... but in A CLOSE ANGLE we see him secretly pocket the napkin.EXT. HOUSE - DAY - ESTABLISHINGA little brick house.INT. INVISIBLE BOY'S ROOM - DAYA teenage boy's room, decorated to the max with models and posters of the great superheroes: Batman, Spiderman, Captain Amazing, etc. INVISIBLE BOY, about fifteen, is being interviewed by the Raja, Mister Furious, and the Shoveler. FURIOUS So, let me get this straight. You have the power to become invisible. INVISIBLE BOY Yes. RAJA But... only when no one is looking. INVISIBLE BOY Yes. FURIOUS If someone looks at you, you immediately become visible again. INVISIBLE BOY Yes. RAJA So you're only invisible... to yourself? INVISIBLE BOY No. OUR HEROES (hopefully) No? INVISIBLE BOY If I look at myseif, I become visible. RAJA So you're only invisible, when abuolutely no one is looking at you? INVISIBLE BOY Yes. FURIOUS So how do you know that you've ever been invisible? INVISIBLE BOY I just know.Our heroes are less than impressed. FURIOUS Look, kid, we've got a lot of heroes to interview-- INVISIBLE BOY (desperate) I know I haven't got it entirely worked out yet, but I've always dreamed of becoming a superhero... Weren't you guys ever a kid? Didn't you ever need someone to just give you a chance?ON OUR HEROES, looking around the room... and softening up.INT. THE DINER - NIGHTOur heroes sit at their usual table along with Invisible Boy and a weird looking guy in a greasy, stained yellow superhero outfit. Across his chest in falling off stick on letters it reads "THE SPLEEN", and that's exactly who he is. Furious, the Raja, and Shoveler sit as far away from him as possible. He is a totally noxious, hyperactive person... and he is thrilled to be there. SPLEEN Boy I can't tell you how thrilled I was when you guys called--You gonna eat that pickle? (sucks it in) I've always dreamed of being a member of the a real superhero team--and to have friends--real friends--I mean guys I could live with--sleep with--die with--eat with...He puts the mustard dispenser to his lips and squeezes it straight into his mouth. SPLEEN I love mustard.Furious, Raja, and the Shoveler react; they can't believe they've actually invited this guy to join their group. INVISIBLE BOY So what exactly is your superpower? SPLEEN Well, when I was a kid I grew up on Love Canal- -remember that?--and my brothers and I used to go swimming in it--make Kool-Aid out of it-- stuff like that. Anyway my brothers all died, but I lived, and I grew all these like weird organs that have never been seen in humans before. So now I can do things like this!He leans over the table and lets just a little tiny drop of spittle dribble onto the table...CLOSE ON THE TABLE -as the spittle burns a hole in the Formica. SPLEEN Cool, huh?The Spleen inadvertently gives the tiniest little burp, and our three heroes duck out of the way or under the table. FURIOUS, RAJA, & SHOVELER Watch it!... Look out!... Whoa!The people in the next booth give a cry of revulsion, put their hands to their mouths, and immediately leave. SPLEEN Sorry, sorry. SHOVELER Hey, why don't you just put a cork in it? SPLEEN I tried that once. The cork melted.THE SAME - AFTER DINNEROur heroes mull their situation over coffee. Monica freshens their cups. The Spleen squirts mustard in his coffee. SHOVELER There's just not enough of us. FURIOUS But we know they're out there. Hundreds--maybe thousands of lonely, unknown superheroes, who desperately need a cause... RAJA And a social life. SHOVELER Yeah, but how do we get to them? SPLEEN Obscene phone calls?They ignore that suggestion. MONICA Why don't you throw a barbecue? (moves off to another table)ON OUR HEROES, realizing that's it.INT. INVISIBLE BOY'S ROOM - NIGHT - WITH MUSICInvisible Boy sits at the desk in his room, writing immaculate little notes on small file cards. (He's made a whole pile of them.)CLOSE ON THE NOTE -which reads "Got superpowers? Want to fight evil? Then JOIN US and let's PARTY HEARTY! Beer! Burgers! Babes!"SERIES OF SHOTS - MUSIC CONTINUESas our heroes post these notes all over the city, in places where lonely superheroes night find them...The Raja posts a note on the door of a comic book store...The Shoveler posts a note on the bulletin board at a bowling alley...Mr. Furious tapes the note to the cracked glass of a vandalized phone booth...At an abandoned drive-in movie theater... Invisible Boy walks through the empty lot, taping a note to each of the old speaker posts...A White Castle hamburger joint... Inside the pay toilet Spleen is scratching something on the wall with a nail. He stops and admires his handiwork, and we see that he has engraved the entire message on the wall...END MUSIC.EXT. SHOVELER'S BACKYARD - DAYA small, typical working class backyard. A round, aluminum above ground pool. A Weber grill with burgers on it. Unopened packages of hamburger rolls. An old Vic Damon record plays on a boom box. The Spleen floats around on a rubber raft in the pool. SPLEEN Come on in! The water's great!In fact, the water is turning a yellowish green... The rest of our heroes sit around on cheap folding chairs. No superheroes have shown up. The Shoveler, at the grill, serves burgers to his kids, who stand in line waiting for them. BUTCH (heavy on the sarcasm) Great picnic, Dad. EDDIE JR. Big turnout. ROLAND Are these guys real superheroes? LENORE They think so.The kids scoff... A moment later they head back to the house with their burgers. ROLAND But where's Captain Amazing? EDDIE JR. He wouldn't be caught dead here.They go into the house. No one says anything. The Shoveler just stares at the burgers on the grill. Vic Damon sings. Furious chugs his beer; he's working himself into a really morose mood.ON THE SPLEEN, munching on a chlorine tablet. SPLEEN Hey, these pool mints are delicious!Raja looks at his watch. RAJA Maybe there was traffic. FURIOUS Who are we kidding? No one's gonna show. We're living in a fantasy! INVISIBLE BOY Come on, guys--we're fighting against evil. FURIOUS Good or evil, what's the difference? SHOVELER There's a big difference. FURIOUS I used to believe that. Now I'm not so sure. RAJA Roy, remember, it is all within your power. The only thing that's in your way... is you. FURIOUS Oh shut up.Suddenly, there is a knock at the gate. Everyone immediately perks up. INVISIBLE BOY They're here!A moment later they open the gate and see... HALF A DOZEN BURLY GUYS wearing various superhero outfits. THEIR LEADER Hey, man, is this the superhero wingding? RAJA This is it. Come on in! SUPERHEROES All right! Party! (Etc.)At first glance these guys seem promising... but their outfits are decidedly improvised: weird goggles and sunglasses, shower curtain capes, baseball caps with beer cans on them. Their leader holds a squeegee with a long handle... Furious is suspicious. RAJA I am the Blue Raja, Master of Silverware. THEIR LEADER I am Squeegee Man, and these are my compadres, the Invincible Dudes!The Invincible Dudes spot the keg. INVINCIBLE DUDES Whoa! Brews! Party! (Etc.)They go immediately to the keg and start filling beer cups and guzzling them down. The Raja tries to hand out some forms. RAJA Would you mind filling out these forms; names, addresses, description of superpowers, that sort of thing. INVINCIBLE DUDES Sure, dude. No problem. (Etc.) (but they just toss the forms away)ON FURIOUS, watching, starting to get pissed off. INVINCIBLE DUDE 1 Hey, man, like where are the babes? INVINCIBLE DUDE 2 It said on the card there'd be babes! RAJA Actually we lied about the babes, but there's plenty of burgers. INVINCIBLE DUDES That's false advertising!... We came all the way from South Champion, man! We coulda gone plinking!... We coulda gone bunqee jumping! SQUEEGEE MAN No babes. No peace. INVISIBLE DUDES (chanting) No babes--no peace! No babes--no peace! No babes--no peace! SQUEEGEE MAN Let's trash the place! INVINCIBLE DUDES Yeah!Furious, fed up, confronts Squeegee Man. FURIOUS If you're a superhero, what's your power? SQUEEGEE MAN I am Squeegee Man. (holding it out threateningly) Touch my squeegee... and you die.The Invincible Dudes are cracking up. FURIOUS Can you fly? SQUEEGEE MAN No. FURIOUS Wanna bet?EXT. JUST OUTSIDE THE YARD - CONTINUOUSas Squeegee Man comes flying--and screaming--over the fence, landing none too gracefully in the front yard.A beat and his squeegee come flying out after him. Another beat and the Invincible Dudes come running out the gate in a panic. INVINCIBLE DUDES Let's get out of here!... That dude's crazy!They take off down the street, running right past a woman, carrying a bowling ball bag and dressed in a faded, threadbare old rayon superhero costume with a decidedly fifties flavor. She is THE BOWLER.EXT. SHOVELER'S BACKYARD - A MOMENT LATEROur heroes sit around the patio, dejected, miserable. BOWLER (O.S.) Who died?They look up, see her standing there, and aren't quite sure what to make of her. RAJA Who are you? BOWLER I'm the Bowler. SHOVELER The Bowler? I remember him from when I was a kid. He was killed years ago. BOWLER I'm his daughter.Our heroes share a look. SHOVELER Look, honey, being a superhero... it's a guy thing. BOWLER Really?She takes her bowling ball and spins it on the tip of her finger (like a Harlem Globetrotter). For a long moment she just looks at them, smiling.ON THE OTHERS watching, almost mesmerized by the spinning ball...Suddenly, she gives an ear splitting battle cry and starts swinging the ball around her in wide ferocious arcs, like a cannibal with a war club--or a twirler on meth, going so fast she almost becomes a blur...Then, just as suddenly, she stops, aims and rolls her ball... It shoots straight through Invisible Boy's legs...ON A NEATLY PLACED COLLECTION OF PLASTER LAWN DWARVES -as the ball smashes into then, pulverizing them... It goes into a reverse spin, passes through Invisible Boy's legs again, and returns to the Bowler who is holding its bag open for it... The ball rolls in. BOWLER Good ball.ON OUR HEROES, left absolutely speechless. BOWLER If it could zip up its own bag, then you'd be impressed, right?She turns and walks out. Our heroes share an amazed look, then run after her...JUST OUTSIDE THE GATE - ON THE BOWLERwalking away... as Furious catches up with her. FURIOUS Hey... Can I buy you a beer? BOWLER I thought you'd never ask.She takes his arm and they all start to walk back into the Shoveler's backyard... but the CAMERA PANS ACROSS THE STREET to the dark place between two houses, where a MAN WEARING A STRANGE STEEL MASK with a frightening, impassively powerful expression stands in the deep shadows, watching them in motionless, predatory silence. We do not know who he is, and we cannot tell if he is good or evil.BACK AT THE BARBECUE - A LITTLE LATER - CLOSE ONA FADED OLD SNAPSHOT of the original "The Bowler" holding a little girl in his arms. BOWLER (O.S.) He was more than just a superhero... He was my father...The others, touched by this, have gathered around the Bowler, who is holding the old snapshot in her hand. BOWLER And then one day, he didn't come home. The police said it was an accident. But cargo containers don't just fall on people. He was murdered... After that I fell apart. I dropped out of school, became a mud wrestler, married and divorced a jerk. When my mother died I hit bottom... but then, when I was cleaning out her attic, I found my father's old bowling bag and costume, almost like he'd left them there for me... and I knew what I had to do. SHOVELER So who killed him? BOWLER The Disco Boys. FURIOUS You know something? Those guys are really starting TO PISS ME OFF! SHOVELER But there's still only six of us. FURIOUS SO WHAT? BOWLER That's two more than the Fantastic Four. FURIOUS Half a Dirty Dozen! SPLEEN Twice the Three Stooges! INVISIBLE BOY And only one short of the Magnificent Seven. RAJA And you can't count Horst Buckholtz anyway. BOWLER He was cute though. RAJA But they all had one thing we haven't got. SPLEEN Girlfriends? RAJA A name. All the great superhero teams have got a fabulous name.They all think about it for a moment. You can almost smell their brains overheating. BOWLER How about... the Savage Six? RAJA The Inscrutable Six? SPLEEN The Six Pistols? SHOVELER The Exterminators! INVISIBLE BOY The Obliterators! RAJA The Eradicators! BOWLER The Emasculators! SPLEEN Wait--I got it!... The Spleen Team.He gets beaned by a couple of empty soda cans. FURIOUS To hell with a name. Let's get to work.MUSIC UP as Furious stands and starts out. The others stand and follow him... as our heroes form up for their first HEROIC GROUP SHOT.EXT. CITY STREET - NIGHTMUSIC CONTINUES as A LITTLE OLD LADY crosses the street, when suddenly she looks up and sees a pair of headlights coming on fast. An immaculately maintained seventies limo is heading straight for her.INSIDE THE LIMO - CONTINUOUSDisco Boys sit in the front. Casanova, Anabel, and Tony P sit in the back, dressed for a night on the town...There is a thud as the limo hits the old lady, and everyone in the car explodes into laughter. TONY P Little old lady. That's a hundred points!INSIDE/OUTSIDE THE LIMO - A FEW MINUTES LATERas the limo drives past a billboard with an ad for "MILK" with a milk mustached Captain Amazing looking at the camera... TONY P He knows your every move.Tony P imitates a massive electrical convulsion, and the villains crack up.But as they pass the billboard, a pair of headlights illuminate in its shadows, and the Shoveler's Ford Esquire pulls out and follows.INSIDE THE ESQUIRE - CONTINUOUSThe Shoveler is driving. Mister Furious sits in the front seat next to him, and our other heroes are packed into the back. FURIOUS Let's say hello.INSIDE/OUTSIDE THE TWO CARS - CONTINUOUSAs the limo stops at a traffic light... and the Esquire pulls up alongside it. For a moment good and evil stare each other down. TONY P Not these guys again!The Disco Boys howl with laughter. CASANOVA Nice car.The D Boys laugh. Furious stares at Casanova, and Casanova stares right back at him, as cool as a snake. FURIOUS What did you do with Captain Amazing? CASANOVA Captain who? TONY P (spots the Bowler) Hey, in the backseat, who are you supposed to be, the Bowler? BOWLER I'm his daughter. TONY P His daughter? Well guess what, sweetheart? I'm the one who squished your Daddy. And he squished real good!The villains laugh, and Mister Furious EXPLODES INTO RAGE. He swings open his car door, mashing it into the limo and leaving a big dent. TONY P HEY! FURIOUS 'SCUSE ME!He starts punching the limo like it's a punching bag--putting big dents in it. TONY Waste him!Tony and the boys all reach into their coats for their pistols--but as they yank them out, the Spleen sticks his head out of the station wagon, puts his face right up to the open window of the limo and lets loose with a TREMENDOUS BELCH...As the villains choke and gag in the noxious fumes, Mister Furious goes on a DEMOLITION RAMPAGE, working his way around the limo, punching big dents with his fists, breaking the windows with his head, flattening the tires by kicking them, knocking off the rear view mirror with the back of his hand...Then he leaps up on top of the limo...While inside the villains gasp for air as big dents are stomped into the roof above them...ANGLE THROUGH THE WINDSHEILD as Furious leaps down onto the hood, and gazes in at them. FURIOUS Shall I check your oil?He plunges his hand through the metal of the hood, pulls out the car's dip stick, and checks it. FURIOUS Looks fine.He tosses the dip stick away, then leaps off JUST AS Tony P gets off a shot, EXPLODING the windshield of the limo.Furious lands safely on the hood of the station wagon. As the Shoveler throws the Esquire into gear, Furious shouts... FURIOUS NICE CAR!And our heroes streak off into the night... Casanova and the others stagger out of the demolished limo, sucking in the clean air. CASANOVA (impressed by Furious) That boy's got talent. TONY P And I'm gonna nip it in the bud.ANGLE ON A DARKENED ALLEY -where the man in the strange steel mask can be seen... watching.EXT. A BAR - LATER THAT NIGHT - ESTABLISHINGA very typical, nondescript neighborhood place...INSIDE THE BAR - CONTINUOUSOur heroes stand at the bar, celebrating their first victory. SHOVELER To us! RAJA Whatever our name is.They toast and drink.THE SAME - LATERThe Spleen is passed out at a table, snoring. Shoveler and Invisible Boy sit next to him. SHOVELER Even his snores smell bad.Raja and Bowler sit at the bar, deep in it. BOWLER But she's your mother. You gotta tell her. RAJA I can't.ON SHOVELER AND INVISIBLE BOY INVISIBLE BOY Dad thinks all this superhero stuff is a stupid waste of time. SHOVELER But he plays golf, right? INVISIBLE BOY Yeah.BACK ON RAJA AND BOWLER - RAJA I'm her only son, and she always had such high hopes for me. Medicine. Law. BOWLER But you're a superhero. RAJA The cape. The turban. She wouldn't understand. BOWLER I know... My girlfriends all dumped me after I put on the mask. They thought I'd lost it. RAJA But in fact... you'd found it.They clink their glasses and drink.BACK ON SHOVELER AND INVISIBLE BOY - SHOVELER This is your dream... and you can't ever give it up.The Spleen makes weird noises in his sleep. INVISIBLE BOY I wonder what he dreams about? SHOVELER We don't want to know.Mr. Furious sits alone in the corner, brooding, lost in his own angry thoughts..OUTSIDE THE BAR - CONTINUOUSA black van drives slowly past the bar.INSIDE THE VAN - CONTINUOUSThe van is packed with Disco Boys. Tony P sits in the front seat. TONY P There.HIS POV -He has spotted the Ford Esquire parked in the lot.BACK IN THE BAR - A LITTLE LATERON THE BOWLER AND RAJA - BOWLER It's late. I'm headin' home. RAJA Me, too. BOWLER (to Invisible Boy) Come on, Junior, it's a school night.JUST OUTSIDE - A MONENT LATERAs our heroes, carrying the Spleen, leave. FURIOUS Anybody up for a little White Castle?But suddenly the world is a whirling sass of chains and clubs as they are bushwhacked by the Disco Boys...EXT. AN ALLEY - A LITTLE LATER - CLOSE ON FURIOUSas he comes to with a qroan and sees... the Bowler and Invisible Boy tied up and gagged, with the Raja, Shoveler, and the Spleen trussed up right next to them. Furious looks up, sees Tony P standing over him. TONY P Hi, cutie.Furious struggles, but he has been secured with some very heavy tire chains. Tony P takes out a large caliber revolver, flips it open to make sure it's loaded. TONY P Six losers. Six bullets. Perfect... Got any last words, Angry Boy? FURIOUS Disco sucks. TONY P Disco sucks. Very good. You know what I'm gonna do, Angry Boy, since you're so colorful? I'm gonna save you for last.He turns and points the pistol right at Invisible Boy's head. Furious struggles against his chains--to no avail. TONY P Sweet dreams, punk.Invisible Boy closes his eyes... Tony P cocks the pistol... But suddenly, there is the ring of steel--a broad blade sweeps through the air, and Tony P's pistol is sliced neatly in half. TONY P (holding half a pistol) HOLY...The man is the strange steel mask is standing there, the drawn machete still in his hand. MAN IN MASK Buenos naches. TONY P Get him!The Disco Boys rush the newcomer, but he slices through their baseball bats with his machete, and sends them reeling and crashing into each other with expert forearm blows, whacks with the flat of his blade, and head butts with his mask.Furious struggles to break free and join the fight, but the chains are too strong... and the stranger doesn't need any help.Tony P flicks open a big switchblade and lunges at the stranger, who sidesteps him like a matador and swings his machete at him. Tony P turns, about to charge again. MAN IN MASK (Mexican accent) Would you like me to trim the sides? TONY P What?Tony P feels the top of his head, and realizes that the blow from the machete has neatly sliced off the top his disco-do, leaving only stubble on the top of his head. TONY P (freaking out) LET'S GET OUTTA HERE!Tony and the Disco Boys run for it...Furious and the others study their masked savior, who stands before them, machete in hand. FURIOUS You're the Sphinx. SPHINX And you are a fool.He raises his machete above Furious' head... and then slices clean through the chains.EXT. AUTO DEMOLITION YARD - LATER THAT NIGHTOur heroes have gathered around a scrap wood fire in a steel drum. They sit on the ground and on old car seats, feeling like schmucks as the Sphinx chews theu out, his mask looking very friqhtening and magical in the flickering light. SPHINX You call yourselves superheroes? A rooster fights more intelligently than you! You have shown yourself to your enemy and revealed your powers to him--and what have you accouplished for this? You have destroyed his car. Brilliant! If you want to survive you must fight like a wolf pack--not like a six pack!Furious sulks, but the others get the point. SPHINX The wolf is cunning. He knows that stealth is his greatest weapon, and he always fights as a team... (more) SPHINX (Cont'd) (at Furious) Not like some drunken Tejano on Saturday night.Furious grunts. SPHINX Casanova Frankenstein is a a master of evil. You will need more than shovels and dessert forks to stop him... What else have you got?They are silent. FURIOUS (angrily) So what else has Superman got? SHOVELER He's got the fact that he's Superman! BOWLER Bullets bounce off him!Furious sulks again, feeling that the others are turning against him. RAJA Firepower costs money. INVISIBLE BOY Anybody got any?A silence. SHOVELER We didn't think this through very well. BOWLER (after a moment) My father had this friend... He was an inventor...EXT. DOC HELLER'S FARMHOUSE - DAYOur heroes stand looking at an old farubouse. The place is an absolute wreck. It hasn't been painted in twenty-five years. Windows are boarded up. Half the shingles are gone. There's visible fire damage around the kitchen window. SHOVELER Are you sure he's still lives here? RAJA Are you sure he's still alive? BOWLER He was the last time I saw him. SHOVELER When was that? BOWLER I was eight.She is about to knock, but the door is suddenly yanked open, and an eighty year old guy is standing there. He's got a wild head of white hair (that looks like a living explosion), and he wears a stained old lab coat with stickum mtssages to himself stuck to it, non-matching slippers, and a pair of thick glasses with frames that have been composited of half a dozen different old pairs all taped and welded together into a fantastic concoction. He is DOC HELLER. HELLER Yes! BOWLER Doctor Heller? HELLER (doesn't recognize her) Yes! BOWLER It's me... Elizabeth. HELLER Elizabeth! Little Elizabeth! Why you're so... middle aged! BOWLER Thanks. HELLER How's your dad? BOWLER He's dead. HELLER Oh that's right--they squished him... Heck of a guy.Furious throws a look at the Shoveler and Raja. This guy's out of it. They're wasting their time. BOWLER Doc, these are my friends. We're superheroes, and we need your help. HELLER Well, I give to the United Way, and I feel that sort of covers-- SPHINX Doctor, we need your weapons. HELLER (ecstatic) My weapons? You need my weapons?EXT. BEHIND THE HOUSE - A MINUTE LATER - MOVING ANGLEas Doctor Heller leads them all briskly across his overgrown yard toward... the barn. HELLER The military establishment has never understood me. They won't return my phone calls, much less field test anything. But I knew that someday I'd get my chance, and now... here you are! (pulls open the barn door)INT. THE BARN - CONTINUOUSAs our heroes step into Heller's laboratory/arsenal. A stack of small aluminum cans lines one wall. There are weird lookinq sprayers, tubes, and strange homemade toy-like devices... but there isn't a firearm in sight. RAJA But, Doc... where's the machine guns? SHOVELER The bazookas? INVISIBLE BOY The lasers? HELLER You don't need that junk! You see, for thousands of years mankind has been immolating, disemboweling, and exploding itself. Why? Because we have this built-in screwed up need to go to war! (more) HELLER (Cont'd) So as a young man I thought, why nat have the fun and excitement of war, without all that unnecessary bloodshed. That's why I have devoted my life to developing an arsenal of highly sophisticated non-lethal military weapons. (points to a hand held tube) Air cannons... Blame throwers... Feet seeking missiles... And perhaps my ultimate invention... (picks up one of the small cans) The canned tornado.Furious groans, and the others share a look. This guy's really a nut. HELLER Now here's a beauty! (picks up a purple and orange sprayer that looks like a suped up water gun) I call it the Shrinker! I developed it after years of studying the worst dry cleaners I could find. It instantly shrinks fabrics to half their size. Anyone caught in its spray is immediately immobilized by their own clothing! FURIOUS Let's get out of here.Furious turns and goes out, and the others start to follow. But the Bowler picks up a canned tornado.OUTSIDE THE BARN - CONTINUOUSas Furious walks away, the Bowler steps out of the barn. BOWLER Hey, Mister Bad Mood.Furious stops, turns back. BOWLER (pulls the ring on the can) Catch.She tosses the can to him. He catches it--just as a small angry tornado FUNNELS out of the can. It catches Furious and lifts him high in the air... then dissipates to nothing...A beat later Furious lands on the ground with a painful thump.ON THE OTHERS, amazed.Furious gets to his feet, unhurt, but really pissed off. He starts back toward the barn, violently kicking the empty can. The others get out of his way, as, muttering angrily to himself, he goes back into the barn...And emerges a moment later, toting the air cannon. HELLER He's got the air cannon!The others think he's going to use it on them and scatter for cover. but Furious steps out into the yard, looking for a suitable target... He sees an old abandoned outhouse, puts the air cannon to his shoulder, aims, and fires...There is a loud WHOOOOMPH of compressed air, and the huge recoil of the cannon instantly flings Furious back against the wall of the barn. But the big rush of air hits the shed dead center... and BLOWS IT TO PIECES, leaving only the old seat.Furious gets up, dusts himself off, and moves to Doc Heller. FURIOUS Doc, you're a genius! (hugs him) HELLER I know. FURIOUS (turns to the others) Okay! We got the firepower! I say we throw it into the car, drive over to Casanova's house, and kick some ass! SPHINX No.The others ignore Furious and listen to the Sphinx. SPHINX We are not yet ready. Now we must learn to fight together... as one thing.The others nod in agreemnt... while Furious fumes.MONTAGE WITH MUSIC - TRAINING AT THE FARMCLOSE ON DOC HELLER aiming his air cannon... CAMERA PULLS BACK TO REVEAL our heroes (minus Furious) standing in a pack right behind him, holding him down. HE fires, and the recoil jolts them all violently, but it doesn't knock them over...as half a dozen scarecrows are blown to pieces... Our heroes chieer and shake their fists... while Mr. Furious sits alone on the sidelines, drinking bourbon, and feeling very alienated.VARIOUS SHOTS as our heroes learn to fight as a team... crawling across the grass together....charginq in a line... hurling canned tornadoes... while Furious sits it out, brooding, drinking, and getting very jealous of the Sphinx.Shoveler, Bowler, and the Sphinx stand shoulder to shoulder, as Invisible Boy, Spleen, Raja, and the Doc throw small stones at them... They deflect the pebbles with shovel, bowling ball, and machete... Theyre having fun. They're becoming a team...EXT. OUTSIDE THE BARN - EVENINGFurious drinks alone, while the rest of our heroes sit around an old picnic table, feasting on sodas and pizza (like a football team after a great practice.) Raja explains the history of the situation to the Sphinx. RAJA Twenty years ago all the major hoodlums of this city were united into one great brotherhood of evil, and Casanova was their king. SHOVELER Crime was rampant. It wasn't safe to stay in your home. BOWLER Much less go outside. SHOVELER Then Captain Amazing appeared. RAJA He busted Casanova and sent the crooks packing. SHOVELER And this has been a pretty nice place to live ever since. FURIOUS (pissed off) But now Casanova's back! And we're gonna sit around here all night eating pizza and telling stories! Hey, lets toast some marshmellows! SPHINX The wise snake coils before he strikes. FURIOUS (lunges at the Sphinx) And a skunk stinks!Furious and the Sphinx square off, their faces only inches apart. SPHINX You drink too much. FURIOUS When are you going to take off that mask? SPHINX (pointedly) When I am sure I am among friends. RAJA Roy-- FURIOUS (snapping at him) Go dance with your mother, Jeffrey!ON THE RAJA, hurt. SPHINX Your rage is a very great power, but it blinds you to your heart. FURIOUS My heart died a long time ago. SPHINX It is not dead. It is hiding. FURIOUS Blow it out your bean hole, Pancho!... And to hell with the rest of you!... Look at you. Bunch of rejects. I didn't need you before-- and I don't need you now! (jumps on to his motorcycle) The great ones RIDE ALONE! (kicks the engine started) Adios, muchachos! (and he rides off across the field)ON THE OTHERS, watching him... BOWLER Has he always been like this?EXT. COUNTRY ROAD - CONTINUOUS - CLOSE ON FURIOUSthe wind whipping against his face, as he rides his Harley at about a hundred miles an hour... The languorous sound of an OLD DEAN MARTIN SONG is heard as we...FADE INTO:MENORY SEQUENCE - DAY - CLOSE ON FURIOUSas a little boy, sitting in the backseat of the family car. It is thirty years ago, and Mister Furious is a sweet, very shy, well behaved, perfectly normal three year old. His MOTHER and FATHER sit in the front. Dean Martin is playing on the car radio. Little Furious looks out the window and sees the Mohave Desert going by. A sign reads "Las Vegas, 120 miles". MOTHER (to husband) Oh this place looks great.An old sign reads "BAR" as the family car pulls into the parking lot of a single adobe building out in the middle of nowhere. They park. MOTHER Now honey, you just wait in the car. Mommy and Daddy will be right beck.They get out, lock the car and head for the bar, leaving the windows up. Little Furious watches them go, never suspecting that his entire life is about to change. He sits quietly in the backseat and plays with the little superhero figurines that he's brought with him. LITTLE FURIOUS Pow! Bang! Wham!INSIDE THE BAR - CONTINUOUSas the parents enter. A very Western motif. An old Gene Autrey song is playing on the juke. The air conditioning is on. They're the only customers in the place. MOTHER It's nice and cool in here. FATHER (as they sit at the bar) Barkeep, a couple of cold ones.CUT BACK AND FORTH BETWEEN CAR AND BAR -ANGLE ON THE MIDDAY SON - blazing down on the car...as Little Furious still plays with his superheroes, but the interior is starting to bake, and the sweat begins to pour ofr him. He looks out at the bar. gettinq worried. He tries the windows, but they're automatic and won't open...Back in the bar his parents down shots of bourbon with their beers, as the BARTENDER finishes telling them a joke. BARTENDER And here's a banana for your monkey.Mom and Dad have a good laugh. BARTENDER Couple more? FATHER You bet.ANGLE FROM OUTSIDE TUE CAR as Little Furious, sweat and tears pouring out of him, his hair wet and sticking out (and starting to take on that familiar look), pounds on the window. LITTLE FURIOUS Mommy! Daddy! Mommy! Daddy!as back in the bar his parents, now very drunk, down more beers and chasers as they play a spirited game of pinball.ANGLE ON THE MOHAVE SUN - beating down mercilesslybarely able to breath, Little Furious flops back onto the seat, his face a mask of heat and terror... But suddenly, a change begins to take place in him, as some primordial defense mechanism kicks in... and his fear begins to give way to rage... His teeth bare.CLOSE ON HIS HANDS -as they CRUSH the superhero figurines in their grasp...While back in the bar his drunken parents dance a slow two step to Hank Williams "Your Cheatin' Heart"...EXT. TBE PARKING LOT - NIGHT - HANK WILLIAMS CONTINUESas the big desert moon shines down on the family car, still parked there.INSIDE THE BAR - CONTINUOUSThe parents are asleep in a booth. Furious' mother wakes up, looks around groggily, and in a moment of horror suddenly remembers... MOTHER OH MY GOD!THE PARKING LOT - A BEAT LATERas she runs toward the car, hysterical. MOTHER Oh my God! Oh my God! Oh my God!She unlocks the door, throws it open, and sees something that makes her pull back in horror... Little Furious sits in the backseat. His hair sticks out wildly, his face has become that now familiar mask of prisordial rage. Another OLD DEAN MARTIN SONG is heard as we...FADE INTO:INT. THE DINER - NIGHT - CLOSE ON FURIOUSsitting alone in the booth, a look of profound pain and lonliness on his face; he is still that little boy. The Dean Martin song is playing on the juke. MONICA (0.S.) Hi.He looks up and sees Monica. FURIOUS Hi. MONICA Alone tonight? FURIOUS Every night.She smiles.EXT. THE FRANKENSTEIN MANSION - CONTINUOUSArmed Disco Boys guard the front entrance...While on the hillside above Invisible Boy (looking through binoculars) and the Spleen lie together on their bellies in the weeds, keeping the mansion under surveillance. SPLEEN (in a whisper) Adolescence was the worst--The other kids made fun of me, so I'd spit on them and they'd scatter--I've never had a girlfriend--unless you count that night with my cousin--She recovered fully though--We exchange cards every Christmas--Well, I send her one, and she sends it back... (spritzes somathing into his mouth, then offers it to Invisible Boy) Bug repellent?Suddenly, the gates of the mansion open and several sedans... followed by a truck, drive out...POV THROUGH BINOCULARS -Casanova and Anabel sit in the front of the truck. INVISIBLE BOY (0.S.) Where are they going?Invisible Boy hesitates for just a momnt, then gets up and runs down the hill. SPLEEN (runs after him) Kid!As the small convoy drives past, Invisible Boy slips out from behind some trees, runs after the truck, jumps up and sits on its rear bumper. The Spleen comes running after him, and Invisible Boy reaches out, grabs his hand and pulls him up alongside him. Invisible Boy tries the rear gate. It's open. The two of them pull it up just a foot, squirm inside, then pull it closed behind them.INSIDE THE TRUCK - CONTINUOUSInvisible Boy flashes the light of his key chain flashlight around the inside of the truck. There is nothing in it, except for a large pile of packing blankets.EXT. WATERFRONT AREA - NIGHTas the convoy drives through Champion City's seedy waterfront area and out onto a long pier.INT. THE DINER - NIGHT - CLOSE ON THE TVDawn Wong and Don Stouffer report the night's news. DAWN ...still no sign of millionaire Lance Hunt, and now, in an unrelated story, another one of Champion City's leading citizens has apparently disappeared. Captain Amazing has not been seen or heard from in a week. Authorities believe that the hard working superhero may just be taking a well deserved rest. DON Cancun perhaps? DAWN Sounds good to me, Don.Mr. Furious sits in the booth drinking coffee as Monica serves him his burger and fries. FURIOUS (floundering) Monica... I was wondering if--uh-maybe we--I mean you and I--could-uh--you know--get a--I mean have a... MONICA Date? FURIOUS Yeah. MONICA I get off work in fifteen minutes. Walk me home? FURIOUS Sure. MONICA That was easy. (goes back to work)ON FURIOUS, feeling a whole lot better.JUST OUTSIDE THE DINER - CONTINUOUS - UNKNOWN POVfrom across the street. Furious' head is clearly visible in the brightly illuminated window of the diner.A Disco Boy stands in the shadows, gazing at the diner; he recognizes Furious.EXT. WATERFRONT - NIGHTThe convoy has pulled up alongside a rusty old freighter, docked at the pier.Casanova's men throw the gate of the truck open, and the CAMERA MOVES IN. No one is there, but we notice... two large lumps under the packing blankets.Casanova holds Anabel in his arms as they watch a large wooden crate being lowered from the deck of the freighter. CASANOVA Honey, our ship's come in.Casanova's cellular phone rings.OUTSIDE THE DINER - CONTINUOUSThe Disco Boy is on his phone. His pistol is drawn, and he's got it aimed right at Furious' head. DISCO BOY Just give me the word.BACK TO THE PIER - CONTINUOUS - ON CASANOVA CASANOVA (gets an idea) Wait. I'll be right there. (hangs up, starts off) ANABEL (peeved) Where are you going? CASANOVA Head hunting.A minute later Casanova and two or three Disco Boys drive off in one of the sedans... as the crate is loaded onto the truck, and the gate is pulled closed... and locked.INSIDE THE TRUCK - A MOMENT LATERThe engine starts up, and the truck starts to move, as Invisible Soy and the Spleen poke their heads out from under the packing blankets... They approach the crate and Invisible Boy shines his flashlight on it. The crate is secured with rivets and thick metal bands; there's no way they're going to be able to get inside it, but in the light of the flashlight they see...Faded red lettering, in Russian, and the distinctive old hammer and sickle of the former Soviet Union.EXT. DIMLY LIT STREET - NIGHTFurious walks Monica home. MONICA I admire you. FURIOUS Why? MONICA Being a superhero, wanting to save the world. It's so... unselfish. FURIOUS It is? MONICA Most people just want to make money or be famous or something. But you risk everything, just to help people. FURIOUS (after a moment) I wouldn't mind being famous. MONICA Who wouldn't?In the shadows behind them... Casanova follows, stalking them, as silent as a vampire. MONICA I've never been able to figure out what to do with my life, which is why I guess I'm still a waitress. FURIOUS Nothing wrong with being a waitress. MONICA What's your real name? FURIOUS Roy. MONICA Have you always lived here?He nods. MONICA Me too... I love this stupid old town. It's noisy. It's smelly. It's falling apart. FURIOUS It's home. MONICA Yeah.CASANOVA'S POVMonica, smiling, looking lovely.CLOSE 0N CASANOVA; he wants her...BACK ON FURIOUS AND MONICA - MONICA I've thought of leaving, going to Chicago or New York, but... FURIOUS What have they got that we ain't got? MONICA Champion's going to bounce back, and I want to be here when it does. FURIOUS Me, too. MONICA You don't seem very angry right now.He shrugs. And they kiss, very tenderly. MONICA You know what? Underneath all that anger I think there's just a little boy who wants everyone to love him. FURIOUS I just want to be a superhero. MONICA That's what I mean... 'Night, Roy.She turns and climbs the stairs of an old apartmnt building and goes inside, as Furious watches, feeling emotions hees not used to. He really likes her. He starts walking back down the street, past a man sitting on the stoop. The man looks up. It's Casanova Frankenstein. CASANOVA Going my way?Furious is caught completely by surprise--he takes a stand, ready to fight. CASANOVA Take it easy--take it easy. I just want to have a little chat... That was quite a number you did on my car. You've got a lot of violence in you... and I like that in a guy.Furious, silent. CASANOVA You know what the difference is between good and evil, Roy?Furious reacts to the fact that Casanova knows his real name. CASANOVA Evil is more fun. When you want something, you just take it, and if somebody gets in your way, you kill them... You seem like a very frustrated guy, Roy. Unhappy. Unfulfilled. What is it that you've always wanted, always desired? Because whatever it is, I can give it to you... Fame? (snaps his fingers) Easy. Fortune? Even easier. Women? (laughs) The easiest of all.CLOSE ON FURIOUS as, out of the corner of his eye, he catches movement in the alley across the street... he knows what it is. CASANOVA I'll let you in on a little secret, Roy. In two days this entire city will belong to me, and there's not a damn thing your little pals can do about it. It's the perfect time to switch teams... So what do you say? FURIOUS (quietly) You're nuts. CASANOVA (flairs) They always call the great ones nuts. FURIOUS And the nuts always call themselves great. CASANOVA (his psychosis showing) Are you with me... or against me? FURIOUS Against. CASANOVA Too bad. PLUG HIM!Gunfire rings out from the alley as the Disco Bays step out, their pistols blazing. But Furious has anticipated them. He leaps right at Casanova, pins his arms in a bear hug and holds him in the line of fire. CASANOVA WAIT!The Disco BQys stop firing... Furious drags Casanova back into an empty lot, using him as a shield. FURIOUS (to Casanova) Thanks for reminding me which team I'm on. CASANOVA You're dead. FURIOUS So are you!Furious releases Casanova, then runs for it and leaps over the wooden wall at the end of the lot... as the Disco Boys open fire again, and their bullets punch holes through the wall...Furious runs down a back street and escapes into the night.EXT. THE FRANKENSTEIN CENTER - CONTINUOUSThe convoy drives up the hill toward an ominous looking structure (that we recognize from the model on the TV interview with Casanova earlier.) A high central tower rises up out of the half completed bulwarks of featureless concrete. It looks both totally modern and completely ancient, but a profound sense of evil connects both themes beautifully.ANGLE ON a plaque that reads... "Frankenstein Center for the Performing and Non-performing Arts".The gates of the center open, and the convoy passes through.INSIDE THE TRUCK - A NONENT LATERInvisible Boy and the Spleen stand listening, waiting, as they feel the truck pull to a stop...A moment later the gate is pulled opened... Anabel is there with several thuggy looking SECURITY GUARDS. ANABEL Be careful with my baby.There are two lumps under the packing blankets again.EXT. LOADING DOCK - A FEW MINUTES LATERThe crate is being carried away by a forklift... A beat, and then Invisible Boy and the Spleen slip out of the empty truck...And run down the road back toward the gates... which are still open. They're just about to pass safely through them, when a PAIR OF ARMED SECURITY GUARDS, step in their path, their guns pointed at thern. GUARD 1 Freeze! GUARD 2 Hands up!They freeze, their hands held high. GUARD 2 What are you two doing here?Our heroes are mute. GUARD 1 Not talking, eh? That can be fixed. Turn around, start walking up the hill-- GUARD 2 And no funny business.Invisible Boy and the Spleen turn, hands in the air, and start up the hill, the guards right behind them. SPLEEN (after a moment, to Invisible Boy, in a whisper) Pinch 'em.Invisible Boy pinches his nostrils--and the Spleen lets out with a horrendous fart. The guards gag and choke violently in the fumes as our heroes turn and run for it... escaping out the gates.INT. DOC KELLER'S LABORATORY/BARN - A LITTLE LATERInvisible Boy and Spleen report to the others. INVISIBLE BOY Whatever was in that crate... is from Russia.The others consider this, then hear a familiar voice. FURIOUS (0.S.) Is there room in the pack for one more wolf?They look up and see that Furious has just returned... The Sphinx moves to him. For a moment they stand face to face... FURIOUS I was wrong... I need my friends.Sphinx takes off his mask, revealing that he is the busboy from the Tacky Taco. SPHINX Amigo.They embrace.A few mimutes later. The others are gathered around Furious, listening to his story. FURIOUS Casanova said that in two days the entire city would belong to him... and there wasn't a thing that we could do about it. BOWLER What did he mean? FURIOUS I dunno.Through the window the moon is seen rising over the hillside, the Frankenstein Center silhouetted ominously against it. Raja, Shoveler, and Furious gaze at it. SHOVELER Maybe it's time we checked that place out. RAJA But how do we get in? FURIOUS (after a moment, sounding very Sphinx-like) We just become like the wolf... who wears the sheep's clothing.MONTAGE WITH MUSIC - THE NEXT DAYCLASSIC DISCO ("Stayin' Alive" if we can get the rights)Furious, Raja, and Shoveler (in street clothes) walk down the street together and step into the doorway of... the Salvation Army Thrift Shop...Later. CLOSE ON three pairs of legs, wearing polyester pants and vintage shoes (ala the classic shot from "Saturday Night Fever")... CAMERA WIDENS TO REVEAL our three heroes, dressed in full blown seventies attire (with vintage sunglasses), doing their best Travolta strut down the street...MUSIC CONTINUES as our heroes strut their way through the gates of the art center, right past the security guards...OUTSIDE THE CENTER - DAYThey climb the long stairs toward the center, which looms above them... then pass through the big wooden doors and into...INT. MAIN HALL - A MOMENT LATEREND MUSIC as our heroes move through a vast, but empty main hall... A small army of heavily armed security guards marches about. RAJA So where's the art? FURIOUS He hasn't stolen it yet. SHOVELER This place is built like a fortress. FURIOUS Because thats what it is.They hear a WILD BURST OF DRUNKEN LAUGHTER echoing through the hall. RAJA What's that? FURIOUS (following the sound) Come on.They approach a doorway. The noise is coming from within.INT. BANQUET IIALL - A MOMENT LATERas our heroes step inside and see... A big luncheon is in progress. Casanova, Anabel, and Tony P sit at the head table. The room is lined with banquet tables, which are filled with VICIOUS LOOKING CHARACTERS, drunk, eating, laughing, and giving the waitresses a very rough tim.. RAJA (stunned) Oh my God... Every crook in the city is here.ON A GROUP OF VICIOUS LOOKING BALD BIKER TYPES... RAJA (O.S.) The Bone Heads from the South Side...ON THREE INSIPIDLY EVIL LOOKING GUYS in hip suits... RAJA (O.S.) The Bland Boys from Downtown...ON A DARK HAIRED WHITE GUY dressed as a rapper... RAJA (O.S.) Italian Ice...ON A GUY with a frightening assortment of metal things piercing his face... RAJA (O.S.) The Stapler...ON TWO THUGS DRESSED AS ELVIS... RAJA (0.S.) The Elvis Brothers.A more degenerate group of criminals never sat down to lunch. Furious recognizes one of the waitresses... It's Monica.Casanova's got his eye on her, too, and he remembers her from the night before on the street with Furious.ON ANABEL, noticing his interest.Our heroes see Monica walking straight toward them. They turn away, lean against a wail, trying to be totally inconspicuous...But as she passes them, not noticing them... Casanova approaches her. CASANOVA Excuse me.She stops, turns to him, while our heroes listen in, only a few feet away... CASANOVA (reading her name tag) Monica... Beautiful name. It suits you.CLOSE ON FURIOUS, getting jealous. CASANOVA I hope you won't take this the wrong way, but I couldn't help but notice... that you're a dead ringer for Veronica Lake in "The Blue Dahlia". MONICA Really?Furious growls. Raja gives him an elbow. CASANOVA Are you an actress? MONICA Just a waitress. CASANOVA You underestimate yourself.Mister Furious is fuming. The strands of his perfectly coiffed disco-do start to stand straight up. CASANOVA You know I'm writing a play--it's just a little Broadway thing, but thure's a part in it that I think you'd be perfect for. MONICA Really? CASANOVA I'd love to hear you read it. Could you stick around after the luncheon? MONICA Sure--I guess. CASANOVA Terrific.She turns and walks into the kitchen.CLOSE ON CASANOVA, watching her; his intentions are sinister... He turns and sees... our heroes, hanging by the wall. CASANOVA What are you three doing here? This is invited guests only. Out.Our heroes skulk out.JUST OUTSIDE THE BANQUET HALL - CONTINUOUSas our heroes step out and breathe a sigh of relief. RAJA That was too close. SHOVELER But we gotta find out what's going on in there. FURIOUS Hey.Furious has spotted... a large covered dessert table, waiting to be wheeled into the hall.BACK IN THE BANQUET HALL - A FEW MINUTES LATERas the dessert table is wheeled in... and in a CLOSER ANGLE, under the table cloth, we see three pairs of disco shoes creeping along...A few minutes later, Monica steps up to the dessert table... Suddenly, she is yanked under.UNDER THE TABLE - CONTINUOUSMonica struggles, tries to cry out, but a hand is clamped firmly over her mouth. FURIOUS It's me.She calms down, and he takes his hand off her mouth. MONICA What are you guys doing here? RAJA & SHOVELER Shhhh!The waitresses leave; the big doors to the dining room are swung closed, and the cigars are lit. The meeting has begun. Casanova takes the podium. CASANOVA Thank you all for coming. I hope you enjoy the cigars. I had to kill a dozen Cubans to get them.Tony P chuckles loudly, but the joke goes over like a lead balloon with the rest of the crowd. CASANOVA Twenty years ago, this town was yours! AND I WAS YOUR KING!ON THE HOODS, listening, bored, puffing on their cigars; this is a sad old story. CASANOVA (tragically) But they called me a psycho, and they put me away. For twenty years I rotted in my cell, painting watercolors, writing haikus--just waiting for the day I could take my revenge. Well, brothers, that day has come!ON OUR HEROES under the table, listening. Monica begins to realize what's going on.BACK TO CASANOVA - CASANOVA They thought I was crazy? Well the joke's on them--because tonight at precisely midnight--on the twentieth anniversary of my tragic arrest-- every man, woman, and child in this city is going to turn into a RAVING PSYCSOTIC! Mothers will murder their tots! Old ladies will strangle their cats! Children will bump off their babysitters!The guests think Casanova's completely lost it. Italian Ice speaks up. ITALIAN ICE You're outta your mind! CASANOVA I beg your pardon? ITALIAN ICE Nobody could drive a whole city crazy. CASANOVA Tell you what, Ice. I'll mke you a friendly little wager. It I can't do it... you can blow my brains out. If I can, I'll blow out yours.Now the hoods' interest has been perked. ITALIAN ICE Done. CASANOVA (to Anabel, with a smile) Honey, give the boys a taste.Anabel puts on a pair of heavy duty sound deadening ear protectors, then presses a button on a small remote control device.ANGLE ON A SPEAKER, placed above the podium... as the air is suddenly filled with a weird, stridulating, HORRIFIC NOISE (somewhere between the sound of a fire siren and a hornet trapped in your ear) and everyone in the room (except Anabel) goes COMPLETELY BERSERK...CAMERA PANS the tables as the guests laugh dementedly, punching, gouging, strangling, and stabbing each other...Under the serving table our heroes go crazy...Casanova, in a state of psychotic ecstasy, whips out his pistol and empties it into Italian Ice... who drops to the floor, dead.Anabel presses the button again; the sound winds down and stops, and everything returns to normal. The entire event lasted only a few seconds, but the guests are dazzled. CROOKS That was great!... What the hell was that?... How did you do that?Casanova throws Anabel a kiss. CASANOVA Tonight, at midnight, that sound will be amplified across this entire city. Murder and mayhem will reign supreme! And Champion City will be ours again! This will be our castle! And I will be our king! And there's no one to stop us!Suddenly, a familiar voice is heard. AMAZING (O.S.) Not so fast, Casanova!A pair of curtains suddenly part... and Captain Amazing (looking a bit singed) is standing there in classic superhero pose.CAMERA PANS the crooks, as their criminal ecstasy turns instantly to terror. They yank out their pistols, dive for cover under the table, throw up their hands in surrender, etc... But Casanova just grins. CASANOVA Don't worry, fellas... (moves to Captain Amazing, and puts his arm chummily around him) I killed him... and I've had him stuffed.Casaova reaches behind Captain Amazing's back and pulls a string (like the ones they used to have on those old talking dolls). AMAZING (in a canned voice) Isn't my butt cute in these tights? (pulls again) Blue is my color. (pulls again) Oh, my abs are killing me!The crooks are beside themselves with laughter.ON OUR HEROES, under the table, stunned.ON THE ELVIS BROTHERS - ELVIS BROTHER I The King is back! ELVIS BROTHER 2 Long live the King!The crooks fire their pistols exuberantly into the air, as disco music fills the air and Casanova dances, basking in their adoration...And our heroes slip out from under the table and make good their escape...INT. DOC HELLER'S BARN/LAB - LATEROur heroes and Monica pow-wow, sobered by what they have seen. MONICA What could have made such a horrible noise? HELLER (after a moment, gravely) He's got the Psychostridulator. ALL The what? HELLER Ten years ago the Kremlin's top secret Psychiatric Warfare Division developed a prototype for a weapon that emitted a fluctuating alternative frequency noise that produced a violent psychotic reaction in any mammal within hearing distance. But when the old Soviet Union fell the stridulator and its brilliant inventor, Doctor Kopov, disappeared. SHOVELER This Kopov, what happened to him? HELLER Not him... her.They react to that piece of news, and then the Bowler opens up the newspaper. BOWLER Did she look like that?CLOSE ON A PHOTO of Anabel and Casanova, announcing their wedding engagement. HELLER Yes.Silence; this is bad. SPLEEN (hopefully) Maybe it won't work. FURIOUS It works. HELLER A village in Siberia was wiped out when a cleaning woman switched it on by mistake.Another grim silence, as they realize how desperate the situation is. For the first time, they're really scared. MONICA We've got to warn the city. SHOVELER How? RAJA No one will believe us. BOWLER They'll think we're just a bunch of weirdoes.CAMERA CUTS BETWEEN THEM as they look at each other--their frightened faces, their sad, faded costuznes. Even the Sphinx looks scared. FURIOUS (after a moment, grimly) We know what we gotta do.They look at him. RAJA We're outnumbered twenty to one. SHOVELER It's suicide. FURIOUS Maybe. But this isn't about living or dying. It's about good versus evil, and we're good, whether we like it or not... Maybe we look a little funny...ON THE SPLEEN... FURIOUS And smell a little funny. We're not bulletproof and we can't fly. But we're superheroes--and that means doing what's right- -even when it's impossible... This is our city- -these are our friends, our famlies--and if we don't save them, nobody will! So I say we take a ride up that hill, blast our way in there, destroy that Psycho-whatchamabob-- and teach those deviants a lesson they'll never forget! SPHINX Now you're talking. BOWLER Sounds good to me. RAJA Let's do it. SHOVELER And we'll take a bunch of 'em with us!They're all with him. Monica steps forward. MONICA I just want you guys to know--I may not be a superhero, but I'm with you--and I want to help! ALL Oh that's great... Thanks, Monica... (Etc.) BOWLER We could really use some coffee-- SHOVELER And some sandwiches-- SPLEEN With mustard! MONICA (her feelings a little hurt) Sure.A few minutes later, Monica serves sandwiches and coffee as our heroes plan... RAJA But that place is huge and we don't know where this psycho thing is-- BOWLER Or even what it looks like. HELLER And he must have it well hidden. FURIOUS We'll just have to get lucky.ON MONICA as she gets an idea. A moment later she slips a canned tornado into her purse... as the others put their arms around each other in a group huddle\embrace. FURIOUS Go do what you gotta do. We'll meet back here at sunset... Do or die. ALL Do or die. SPHINX Victoria o morte.HEROIC MUSIC as...EXT. AUTO DEMOLITION YARD - DAY - CLOSE ANGLE ONTHE FRONT GRILL of the Herkimer Battle Jitney... as Mister Furious hooks it up to the "Sally's Auto Demolition" tow truck... A moment later he drives the tow truck, towing the off the lot, as Sally steps out of her office, pissed off... SALLY HEY!EXT. HELLER'S FARM - DAYON THE SPHINX, standing as immobile and silent as a statue... as a falling leaf slowly flutters down in front of him... In a flash, his machete slices through the air, and the leaf continues fluttering down, but in two pieces...INT. LABORATORY/BARN - DAYDoc Heller fine tunes his Shrinker spray... as the Bowler sits quietly in the hayloft, studying the old dog eared photo of her father and herself as a little girl...INT. INVISIBLE BOY'S ROOM - DAYInvisible Boy stands in front of his mirror, eyes closed, concentrating for all he's worth, trying to become invisible... He suddenly pops opens his eyes and looks at himuself in the mirror... but he's still completely visible. He flops onto his bed in frustration.INT. THE DINER - DAYCLOSE ON A TABLE full of food... Eggplant Parmesan, broccoli, chili... CAKERA PULLS BACK TO REVEAL the Spleen sitting alone in the booth, stuffing his face, gassing up for battle.INT. THE SHOVELER'S HOUSE - DAYThe Shoveler, standing in his bedroom, has just put on his freshly laundered suit. CAMERA OPENS WIDE TO REVEAL Lucille, his wife, standing there, holding his just polished shovel. He takes it from her, then takes her in his arms. SHOVELER Baby, if I don't make it... find yourself... a normal guy. LUCILLE I don't want a normal guy.And they kiss.A few minutes later... In the living room the Shoveler's kids lie sprawled in front of the television. The Shoveler, in battle array, steps into the room. Be wants to say something to them, but the kids don't even take their eyes off the TV look at him... He turns and walks out in silence.END MUSIC...INT. THE RAJA'S DINING ROOM - DAYThe shades are drawn. The Raja, in full costume, quietly loads silverware into the secret pockets of his cape. Suddenly, the light switches on... It's his mother. She's caught him red handed. MOTHER Jeffrey, YOU THIEF! RAJA Mother... it's not what you think! MOTHER And why are you wearing that silly costume? RAJA (painfully) Because... I'M A SUPERHERO!ON HIS MOTHER, shocked. RAJA Oh, Mother, I'm sorry. I know how much you wanted me to be a doctor or a lawyer with a family--but it's just not who I am! MOTHER But... the silverware? RAJA I use it... to fight evil. MOTHER (after a moment) Jeffrey... this is wonderful. RAJA (stunned) It is? MOTHER I always knew that you were special. RAJA You did? MOTHER Ever since you were a little boy... (gets an idea, excited) Come with me.INT. UPSTAIRS HALLWAY - A MOMENT LATERShe pulls down the stairway to the attic...INT. THE ATTIC - A MOMENT LATERShe switches on the light and leads the Raja to a far corner... where she moves a couple of old hat boxes, REVEALING an ancient leather bound box with the word "Excalibur" engraved in gold on the top. MOTHER This is for you.The Raja opens the box and registers astonisha~nt as he sees...A FABULOUS VICTORIAN SILVER SET packed with formidable looking servers, cake knives, ice cream forks. MOTHER Your Great Great Grandmother's wedding silver.The Raja lifts up and handles a large heavily engraved pie server. RAJA Bitchin'.EXT. OUTSIDE HELLER'S BARN/LAB - EVENING - CLOSE ONMister Furious, wrench in hand, covered with grease and oil, cussing to himself as he works under the hood of the Herkimer. FURIOUS Try it again!Invisible Boy, sitting behind the wheel, tries the ignition of the Herkimer, and the old engine grinds as it turns over, but doesn't catch. FURIOUS Come on, baby... Come on, baby... I SAID COME ON!Mister Furious SLUGS the engine with his fist, and it sputters and backfires into life... shaking, rattling, leaking, exploding, but running... Furious kisses the Herkimer... as the Bowler calls out to him from the barn. BOWLER Mon Capitan, it's for you. (tosses him the phone) FURIOUS Hello?EXT. UNKNOWN LOCATION - EVENING - CLOSE ON MONICA MONICA (on a phone, speaking very softly) It's me.BACK TO FURIOUS - CONTINUOUS FURIOUS Monica, where are you?BACK TO MONICA - WIDER ANGLEREVEALING that she is on a pay phone just outside the art center. She's wearing make-up and a sexy little dress; she looks she's dressed for a date. Disco Boys and security guards go about their business all around her. MONICA At the Frankenstein Center.CUT BACK AND FORTH BETWEEN THEM - FURIOUS Are you nuts? Get out of there! MONICA I'm going inside. FURIOUS What are you talking about? MONICA Listen, Casanova may be a supervillain, but he's got a weakness, and I'm it. Maybe--just maybe--I can trick him into showing me the location of the whatchamathing. FURIOUS He's a psycho! He'll kill you! MONICA Just shut up and listen. Hold off the attack as long as you can. If I can discover the location I'll call you-- FURIOUS And what if you get killed? MONICA Then at least I will have died trying, right?Furious silent, taken aback by her courage. MONICA Roy... We might never see each other again, so I'd better tell you now... I think you're wonderful. FURIOUS (caught completely off guard) What? MONICA Bye. (and she hangs up) FURIOUS Monica!INT. LOBBY OF THE FRANKENSTEIN CENTER - CONTINUOUSas Monica approaches a GUARD standing by the main door. MONICA Could you tell Mr. Frankenstein that Monica is here? GUARD Sure, doll.BACK TO THE BARN - CONTINUOUSFurious stands by the Herkimer, phone still in hand. He seems speechless, dazed. Something inside him has changed. BOWLER (worried about him) Hey... you okay? FURIOUS Sure.BACK TO THE FRANKENSTEIN CENTER - A FEW MINUTES LATERCasanova steps out and sees... Monica, looking very sexy. MONICA Hi. CASANOVA I thought you'd chickened out on me. MONICA Just wanted to... powder my nose.His eyes roam all over her; he knows she's up to something, but she looks yummy, and this is just the sort of cat and mouse game he loves. MONICA How 'bout giving me "the tour"? CASANOVA Why not?EXT. COURTYARD - A FEW MINUTES LATERas Casanova leads Monica across an open courtyard toward... the sheer walls of the imposing central tower. CASANOVA Big, isn't it?He leads her to a massive archway, the only apparent entrance to the tower. But just as she is about to pass through, Monica looks up and sees something that makes her pull back with fear...HER POV -A very sinister looking SECURITY EYE gazes down at her from the top of the archway. CASANOVA Don't worry. It's not activated.They pass through and into...INT. ROOM IN THE BASE OF TOWER - CONTINUOUSwhich is filled with IMMENSE BRONZE SCULPTURES of voluptuous, scantily clad females in various poses of bondage. Monica reacts; these things are scary. MONICA Who's the artist? CASANOVA Me.EXT. THE BARN/LAB - NIGHTThe Bowler, Spleen, Invisible Boy, and Doc Heller load up the Herkimer with Heller's weaponry...as Mister Furious lies sprawled on the hillside... breathing in the night air, contemplating a dandelion gone to seed, and listening to the sounds of the night. The Raja, Shoveler, and Sphinx, stand nearby, watching, trying to figure out what's wrong with him. A whippoorwill is heard singing. FURIOUS Listen. He's lonely... and he doesn't care who knows it.Raja and Shoveler share a bewildered look. The bird sings again. FURIOUS We're all the same really. Our songs, our dreams, our seeds are all just a brave attempt to live forever. (blows the dandelion seeds into the wind) SPHINX He is in love. His anger is gone. RAJA Oh no. SHOVELER Great timing! FURIOUS Has Monica called?INT. TOP OF THE FRANKENSTEIN TOWER - CONTINUOUSCasanova leads Monica into... a palatial room, filled with priceless objects d'art, all of which reflect Casanova's dark psyche. A Munch painting. Mayan idols. Weird German furniture. A huge glass chandelier hovers over the room. A massive bronze sculpture of a wolf (done in the same style as the other sculptures) is perched in the balcony. It seems to be howling out over the city which is seen in a spectacular view, spread out alonq the lakeshore below. CASANOVA This is where I come to... be alone.He turns down the lights and quietly closes and locks the big door to the room.CLOSE ON MONICA, sensing her danger. MONICA Oh, look at that view.She moves out onto the balcony... as Casanova slips the gold chain from around his neck and follows her.INT. BARN/LAB - CONTINUOUSOur heroes have gathered around Furious, who sits in a chair, getting the third degree. HELLER Snap out of it! BOWLER Get on to yourself! SHOVELER (shouting right in his face) GET MAD! FURIOUS But I just don't feel it. RAJA He's turned into a completely normal person! FURIOUS Normal. What's normal? Does normal exist? And if it did, how would we know it?The Shoveler slugs him, sending him sprawling. FURIOUS You know, Eddie, that was really uncalled for.EXT. BALCONY ON FRANKENSTEIN TOWER - ON MONICAgazing out onto the city, as she senses Casanova slinking up behind her. MONICA I'm chilly.She turns, elegantly avoiding him, and moving back inside.BACK TO THE BARN/LAB - CONTINUOUSSpleen holds up Furious' favorite sunglasses. SPLEEN Look! Your favorite sunglasses! (snaps them in two) BOWLER Your Roy Rogers coffee mug! (hurls it against the wall) SHOVELER Your Spiderman Pez dispenser! (breaks the head off it) FURIOUS Okay, you win. I'm pissed off. I'm seriously peeved.The others groan with frustration.BACK AT THE FRANKENSTEIN TOWER - CONTINUOUSMonica moves nervously around the room as Casanova sprawls languorously on the bed, toying with his gold chain. CASANOVA Come here. MONICA I'm not that kind of girl. CASANOVA Then why are you here? MONICA Curiosity. CASANOVA (with a smile) Remember the cat.Suddenly, he hears high heels in the hall. A key is put in the lock--Casanova leaps off the bed, grabs Monica and roughly shoves her into the closet. He leaps back onto the bed, just as the door opens, and Anabel, dressed in a lab coat (and wearing high heels) enters. Casanova is completely relaxed, nonchalant. ANABEL What are you doing all alone in the dark? CASANOVA Fantasizing... about you.She crosses the room to the wolf sculpture. CASANOVA I thought you were done? ANABEL One last tweak.She opens a secret panel on its back, REVEALNG a FLASHING HIGH TECH INTERIOR... and Monica, watching from the closet, realizes that she has found the Psychostridulator.BACK TO THE BARN/LAB - CONTINUOUS - CLOSE ONa boom box... A CD jacket tells us that "Kenny G." is playing... RAJA If this doesn't do it, nothing will!ON FURIOUS, a pair of headphones on his head. The music is so loud that we can hear it even though it's being played only through the headphones.ON THE OTHERS, gathered around him, waiting to see if this will work. And then Furious begins to respond... as his face turns into a contorted grimace. BOWLER It's working!Furious groans and writhes... The others are thrilled; they've done it! FURIOUS This music is just SO BEAUTIFUL!He starts to weep. The others give a collective groan of defeat.BACK AT THE FRANKENSTEIN TOWER - COHTINUOUSas Anabel works on the Psychostridulator, Monica looks at a clock... which reads almost eleven. Time is running out.BACK TO THE BARN/LAB - CLOSE ON SHOVELER'S WRISTWATCHwhich also reads eleven.0N SHOVELER AND RAJA - SHOVELER It's time. RAJA With or without him, we gotta go!BACK TO THE FRANKENSTEIN TOWER -as Anabel closes up the wolf... and starts to leave. ANABEL Our guests are waiting. CASANOVA I'll be down in a jiffy.She goes out. Casanova listens as the sound of high heels fades away, then he goes to the closet and lets Monica out. MONICA I'd better go. CASANOVA You're a spy. MONICA (offguard) What? CASANOVA I saw him walk you home. MONICA Who? CASANOVA Roy.She makes a sudden try for the door, but he blocks her way, a cold look in his eye that makes her step back in fear. CASANOVA Don't be afraid... I never hit a lady...He lets the gold chain drop loose in his hand, then starts coming for her, a sadistic grin on his face. This is the real Casanova.Monica pulls back, then reaches into her purse and takes out A CANNED TORNADO, which she holds out threateningly. MONICA Stay away! CASANOVA Or you'll what? CAN ME?He laughs dementedly as Monica pops open the can and A SWIRLING FUNNEL OF AIR SHOOTS OUT OF IT and ENGULFS Casanova, throwing him across the room... Monica grabs the handset of a cordless phone and runs out the door.ON CASANOVA, pulling himself together. CASANOVA That bitch!INT. CORRIDOR JUST OUTSIDE - CONTINUOUSas Monica runs for it, dialing the phone on the fly...INT. TEE BARN/LAB - CONTINUOUS - ON THE PUONEringing... but no one is there...EXT. THE BARN/LAB - CONTINUOUSOur heroes are climbing into the Herkimar, whose noisy idling engine obliterates the ringing of the phone. FURIOUS But she still might call! SHOVELER Are you coming or not? FURIOUS I'll drive. SHOVELER Not a chance!He shoves him in the back, closing the heavy steel door behind him.BACK TO THE FRANKENSTEIN TOWER - CONTINUOUS - ON MONICAhiding behind a large planter... listening to the phone ringing on the other end. MONICA Come on, guys... Pick up... Suddenly, we hear Casanova's voice on the line. CASANOVA'S VOICE What's the matter...BACK IN THE TOWER ROOM - CONTINUOUSCasanova is listening in on another phone. CASANOVA Nobody home?BACK TO M0NICA - CONTINUOUSas she moves quickly down the hall.INSIDE THE HERKIMER - CONTINUOUSThe Shoveler is at the wheel. The Raja sits in the passenger seat. The others are in the back. SHOVELER Here we go!He forces the stick into gear and the Herkimer lurches forward. SHOVELER We've got lift off! RAJA May the forks be with us!EXT. DOC HELLER'S HOUSE - CONTINUOUSas the Herkimer--backfiring, smoking, clanging--rumbles down the driveway into action.BACK IN THE HERKINER - CONTINUOUSShoveler tries to put the car in second gear, but it won't go. He yanks and pulls and struggles, until the stick comes off in his hand. RAJA First is good.INT. CORRIDOR IN FRANKENSTEIN TOWER - CONTINUOUSCasanova instructs three security guards. CASANOVA I want her alive. GUARDS Yes, Mr. Frankenstein.CAMERA PANS UP the top of a staircase... where Monica is crouched, listening.EXT. STREETS OF CHAMPION CITY - NIGHTVARIOUS SHOTS as the Herkimer rumbles and smokes down Champion's main street (in first gear) and the citizens step out of houses and bars to watch this bizarre sight.ON A LITTLE BOY AND HIS FATHER - LITTLE BOY Daddy, what is that thing? FATHER I don't know, son.A couple of GRIZZLED CHARACTERS stand in front of a bar. DRUNK A Herkimer? Those yuppies will drive anything.INSIDE THE HERKIMER - CONTINUOUSON FURIOUS AND THE OTHERS in the back. SPHINX Amigo, we need you. INVISIBLE BOY Just GET MAD!Furious closes his eyes and tries, but it's hopeless.INT. V.I.P. LOUNGE IN FRANKENSTEIN TOWER - CONTINUOUSA sumptuous, hotel-like lounge. Anabel is holding court with all of top crooks from the luncheon, charrning the pants off them... Casanova slithers up behind her. CASANOVA Fellas, this is woman without whom I would have gone sane. (kisses her neck)EXT. FRONT GATE OF THE FRANKENSTEIN CENTER - CONTINUOUSA pair of security guards (the same two who got gassed by the Spleen) are on duty, when they see... a strange looking vehicle chugging up the hill straight for them. GUARD 1 What the hell is that? GUARD 2 Looks like... a Ford Dumpster.They have a good laugh at it, then hold up their hands for it to stop... But the Herkimer just rolls past them, hitting the iron gates and snapping them open as if they were made of match sticks. GUARDS HEY!They open fire.INSIDE THE HERKIMER - CONTINUOUSBullets are heard pinging off the Herk as THROUGH THE WINDSHIELD just ahead we see the long stairway heading up to the front door of the art center. SHOVELER Hang on!EXT. ON THE STAIRS - CONTINUOUSSeveral more guards open fire, as the Herkimer hits the stairs and starts bouncing up them...BACK AT THE LOUNGE - ON CASANOVAchecking his watch. CASANOVA It's showtime.But then they all hear... the sound of gunfire. TONY P What's that?BACK ON THE STAIRS - CONTINUOUSas the Herkimer chugs and bounces... toward the entrance of the center.INSIDE THE HERKIMER - CONTINUOUSOur heroes get bounced all over the place.INT. JUST INSIDE THE CENTER - CONTINUOUSas guards close and bolt the big wooden doors to the art center.ON A GUARD wearing a headset. GUARD Mr. Frankenstein, we're being attacked.INT. SECURITY DESK - CONTINUOUSCasanova sits at a security console. Anabel, Tony P, and the top crooks stand behind him, listening. CASANOVA By whom? VOICE OF GUARD We don't know!BACK ON THE STAIRS - CONTINUOUSas the Herkimer climbs to the top, then rams into the doors with a thud. But the doors hold.BACK ON THE VILLAINS - TONY P They'll never get through those doors.BACK AT THE FRONT DOOR - CONTINUOUSBut the plucky little Herkimer digs in its rear wheels and pushes against the doors like the Little Engine That Could...INSIDE THE HERKIMER - CONTINUOUSas our heroes encourage the Herk. SHOVELER Come on, baby! BOWLER Do it, big boy!ON ITS WHEELS, grinding, chewing up the concrete... JUST INSIDE THE CENTER - CONTINUOUSas the Herkimer comes crunching through the big wooden doors of the center, scattering the guards.BACK INSIDE THE HERKIMER - CONTINUOUSour heroes cheer, pat the Herk. SHOVELER Atta, girl! BOWLER Atta, boy!BACK TO CASANOVA -watching on a security monitor VOICE OF GUARD Mr. Frankenstein, they're in! CASANOVA Well kill them.BACK IN THE HALL - CONTINUOUSThe Herkimer drives into the main hall of the center as a small army of security guards swarms in, guns blazing.BACK AT THE SECURITY DESK - CONTINUOUSCasanova and the crooks watch the security monitor...INSIDE THE HERKIMER - CONTINUOUSThe bullets sound like hailstones bouncing off the armor of the Herk as our heroes grimly prepare themselves for battle...The Sphinxs puts on his mask... the Bowler unzips her bag...Doc Heller cocks his air cannon... Spleen and Invisible Boy load a bag with canned tornadoes... While Mister Furious watches anxiously.The Shoveler drives intently, bullets splattering like bugs on the windshield. SHOVELER Where am I going? RAJA (pointing to an archway on the other side of the hall) Through there! SHOVELER Right.But suddenly something under the hood blows up; the engine gives a long groan, and the Herkimer rolls to a dead stop...INSIDE/OUTSIDE THE HERIKINER - CONTINUOUSRight in the middle, in the most exposed position of the main hall. More guards arrive and open fire... An armored golf cart with a fifty caliber machine gun mounted on it comes speeding into the hall, blasting the Herk...Inside, the sound of the big bullets is deafening as Shoveler tries to restart the engine. SHOVELER No good! She's dead!ON CASANOVA AND THE CROOKS, watching the monitor and laughing as bullets pulverize the Herk. TONY P Spam in a can!The crooks laugh.Butsuddenly, the Herkimer's door is thrown open, revealing our heroes--holding down Doc Heller, his air cannon at the ready. He fires--there is a WHOOMPH of air--and the mounted gun and a dozen guards are sent tumbling...SECURITY DESK - CONTINUOUS - ON CASANOVA AND THE OTHERSwatching, sobered.BACK IN THE MAIN HALL - CONTINUOUSas our heroes come charging out of the Herkimer, using their various skills to blow through the surprised guards. Mr. Furious comes out last, not quite sure what to do with himself.But suddenly, a withering barrage of machine gun fire is being laid down on them by three guards firing tommy guns from a balcony overlooking the floor. Bullets splatter all around them--and several unlucky guards are hit--but our heroes dive for cover. The Raja tries to get off a fork, but the firing is too intense. Our heroes are pinned down.ON MR. FURIOUS as he sees... the bag of canned tornadoes. He's got no superpowers, and he's scared to death, but he grabs a canned tornado. FURIOUS Cover me! SHOVELER With what?Bullets dancing all around him, Furious runs a desperate (but impressive) zig-zag pattern across the floor... He performs a wild somersault, comes up on his feet, pops open the can, and executes a perfect jump shot, lobbing it right into the balcony. The tornado funnels out, and the guards are sent flying.ON CASANOVA AND THE TOP CROOKS watching... ELVIS BROTHER 1 Who are those guys?CLOSE ON CASANOVA, who knows who they are.WHILE BACK IN THE HALL our heroes rally around a shaken Mr. Furious. RAJA Not bad for a normal guy! SPHINX Amigos! ALL Do or die!EXT. COURTYARD - A MOMENT LATER - ANGLE ONthe security eye watching...as the panicking security guards retreat under it into the main tower.BACK TO CASANOVA -as he types something into the security computer...ON THE SCREEN a computerized image of the eye appears. Casanova highlights the word "Activate" and then presses "Enter".BACK TO THE COURTYARD - ON THE EYEas it comes to glowing, sinister life...A hapless guard retreats under the arch--the Eye instantly focuses on him, and he is hit by a dozen nasty looking laser beams... that SIZZLE HIM...A moment later our heroes arrive at the arch. Furious is about to run through, but Doc Heller holds him back. HELLER Wait! Look!He points to... a man shaped pile of charcoal, all that remains of the unfortunate guard. HELLER Laser eye... and it's a humdinger. RAJA No problem.The Raja takes out a butter knife, aims, and hurls it straight at the eye, but laser beams intercept the knife and instantly melt it into... a formless blob of silver.BACK TO CASANOVA AND THE TOP CROOKS - TONY P We'll take care of these clowns. ELVIS BROTHER 2 Piece a cake. BONE HEAD LEADER No sweat.CORRIDOR - A MOMENT LATERas Tony P, the top crooks, and the Disco Boys march en masse TOWARD THE CAMAERA... They are an ugly, formidable looking bunch.EXT. COURTYARD - CONTINUOUSOur heroes are blocked by the eye. SHOVELER Doc, there's got to be a way.But the Doc is stymied... Suddenly they hear a woman's voice calling down to them. MONICA'S VOICE It's up here! It's up here! FURIOUS (looks up) Monica!EXT. TOP OF THE FRANKENSTEIN TOWER - CONTINUOUSMonica leans over the edge of the balcony, the wolf sculpture looming over her, shouting down at them. MONICA ROY! THE PSYCHO THING IS--!But strong hands suddenly grab her. It's Casanova.BACK TO FURIOUS - CONTINUOUSas high above he hears Monica scream.BACK TO THE BALCONY - CONTINUOUSCasanova, hand held tightly across Monica's mouth, shouts down tauntingly to Furious. CASANOVA Thanks, Roy! She's just my type. You can have her back... when I'm done!BACK T0 FURIOUS - CONTINUOUSas he hears Casanova's evil laugh and Monica's scream. He is desperate to find a way up, but the wall is completely sheer. He feels helpless-frantic, near tears...FLASH TO the terrified little boy trapped in the back of his p8arents' car, crying, pounding on the windows...And then... Mr. Furious' hands clench into fists--his hair stands up--and his face turns into a mask of primordial rage. His button has finally been pressed. Be's MAD! He reaches up as high as he can...CLOSE ON HIS HAND -as his fingers literally dig into the concrete of the wall... and he pulls himself up.BACK AT THE TOP 0F THE TOWER - CONTINUOUSCasanova throws Monica onto the bed, puts his hands on her throat and strangles her as she thrashes helplessly against his immense strength.BACK TO FURIOUS -Fifty feet up and climbing. He pulls himself up, one hand, then another, digging in his fingernails, catchng his toes on whatever tiny cracks he can find... as the others gaze up at him. HELLER He'll never make it. BOWLER Think positive.Meanwhile, Invisible Boy stands staring at the security eye, a look of fierce determination on his face. This is his moment. INVISIBLE BOY (to himself) I can do it.He takes a deep breath, closes his eyes, and concentrates...ON FURIOUS as the fingers of one hand lose their grip and a toehold gives way... For a desperate moment, Furious is dangling off the wall by the tips of the fingers of one hand. Only his incredible rage keeps his fingertips taut.Suddenly, there is a flash of silver, and a large cake fork embeds in the concrete not far from his head. Furious grabs hold of it, and throws a grateful look down to the Raja...Who salaams up at him...As Invisible Boy, eyes closed in concentration, walks very slowly, hands at his sides, in an almost Egyptian pose... toward the eye... which stares down mercilessly, waiting for its next victim...we notice that Invisible Boy has become... just slightly transparent.AT THE TOP OF THE TOWER - CONTINUOUS - ON CASANOVAa look of pleasure on his face as he strangles Monica. Her resistance fades. Her hands fall away. She is pale, beautiful, almost gone, a picture of exquisite death. CASANOVA (admiring her) Some girls just know how to die.Suddenly, we hear someone cursing Casanova in Russian. He turns and sees... Anabel standing there, pistol in hand. ANABEL You two timing psychotic bastard. CASANOVA Darling, you've got the wrong idea. ANABEL (aiming at his heart) Do I? CASANOVA I was only strangling her... I've killed hundreds of women. It doesn't mean a thing. (moving toward her, turning on that old Frankenstein Charm) Pootchkie, you're over-reacting. This is our night. It's what we've lied for... cheated for... murdered for. She's just a plaything, a trifle... You're the only woman who's ever meant anything to me. I adore you. I worship you. I want to make you my bride.She succumbs to his charms, and he gently takes the pistol out of her hand. CASANOVA There's just one thing... (with a psychotic smile) I don't need you anymore.A look of terror comes across her face as she sees the murder in his eyes. CASANOVA Don't worry, Darling. I never hit a lady.EXT. ON THE WALL - A MOMENT LATER - ON FURIOUSstill climbing as he hears a scream, looks up... and sees Anabel go plummeting past him.ON OUR HEROES down below. BOWLER Heads up!CAMERA HOLDS ON OUR HEROES, wincing as Anabel hits with an ugly thud.Suddenly they hear Invisible Boy calling to them. INVISIBLE BOY Guys, I did it! I did it! I'm invisible!They all turn and see... Invisible Boy, totally visible, but standing on the other side of the arch. INVISIBLE BOY Can you see me? ALL Yes! INVISIBLE BOY Nuts. SHOVELER Kid, turn that thing off!Invisible Boy turns and sees... a computer screen built into the wall (with the same image of the eye on it that was on Casanova's computer), but he doesn't have a clue how to turn it off. Suddenly, he hears running feet, turns and sees...The top crooks and the Disco Boys rushing towards him through the giant sculptures. He gets an idea... and stands right in front of the computer screen. INVISIBLE BOY HEY! CREEPS!He makes a face at them--and a dozen guns are instantly fired at him. He jumps clear behind a pillar--as the bullets smash into the wall... one of them demolishing the computer screen.CLOSE ON THE EYE -as it goes dead.ON INVISIBLE BOY, hiding behind the pillar... realizing he's been shot in the shoulder.BACK ON OUR HEROES - SHOVELER This is it! DO OR DIE!The villains form a line, bristling with pistols... as our heroes, led by Sphinx, Shoveler, and Bowler come running through the arch. The threesome go shoulder to shoulder (with our other heroes right behind them) as the villains open fire, laying down a deadly fusillade...ON SHOVELER, BOWLER, AND SPHINX, standing together, deflecting their bullets with shovel, bowling ball, and machete... (as they practiced with pebbles at the farm)... with the Raja right behind them, hurling silverware...ON THE VILLAINS, rapid firing... but their own bullets ricochet back into them, dropping them... They start to fall back.BACK TO THE TOP OF THE TOWER - CONTINUOUSCasanova is about to finish Monica. CASANOVA And the light goes out... FURIOUS (0.S.) Frankenstein!Casanova turns and sees... Furious, standing on the balcony. CASANOVA Roy... What took you so long?Furious starts at Casanova, who aims Anabel's pistol at him. Furious hesitates. CASANOVA Let me guess... Bullets don't hurt you. FURIOUS They hurt... BUT THEY DON'T STOP ME!Furious lunges at Casanova--who gets off a shot before Furious grabs the gun out of his hand. Casanova ducks clear. Furious tosses the pistol away... then realizes he's bleeding from a shoulder wound. CASANOVA Smarts, doesn't it?... Shall we dance?He turns on his stereo and the sound of DISCO MUSIC fills the air...INTERCUT BETWEEN THE TWO FIGHTS - CONTINUOUSDownstairs, the villains have regrouped. TONY P Let's rush 'em!They charge en mass at our heroes... who are waiting for them... pinching their noses closed, the Spleen bent over at their forefront...While Casanova dances around Furious like a cat... Furious, fighting the pain of his bullet wound, lunges at him, and Casanova neatly sidesteps him...The crooks and Disco Boys fall back, gasping, choking in the noxious fumes...As Casanova attacks...Advancing shoulder to shoulder, fighting as a team, our heroes wield machete, fork, shovel, bowling ball, and canned tornado... forcing the villains back...Casanova comes at Furious relentlessly, kicking and spinning... and Furious gets the worst of it.Suddenly, a squad of Disco Boys comes charging at our heroes from the flank... but Doc Heller turns to face them, shrinker spray held Rambo-style on his hip. He lets them have it, blasting them with a DENSE BLUE SPRAY...When the spray clears, the D Boys lie squirming on the floor, prisoners in their now child sized disco suits... DISCO BOYS Help!... Get me out of this! (Etc.)Upstairs, Casanova pummels Furious...While, downstairs, the Shoveler dispatches the Elvis Brothers with some nifty shovel work... But suddenly, the Bland Boys, pistols blazing, are advancing on him, forcing him back against the base of a sculpture. But the Raja suddenly leaps up onto the sculpture. RAJA (0.S.) Gentlemen!The Bland Boys look up and see... the Raja, both hands filled with silverware... which he HURLS...A beat later the Bland Boys, bristling with forks and grapefruit spoons, run screaming through the sculptures... as Tony P, pistol in hand, skulks out from behind a sculpture and spots... the Bowler.Upstairs, Furious goes flying against a wall... CASANOVA Roy, you're making this too easy.As Tony P takes a careful bead on the Bowler. TONY P Say hello to Daddy for me!He opens fire, but she goes instantly into her ball svinging frenzy... He fires, missing--she's too fast to keep a bead on... Finally, his gun clicks empty. She turns and faces him. BOWLER (grimly) Daddy says hello.She HURLS the ball at him--like a fiery softball pitch.BALL'S POV -going straight for Tony P's SCREAMING head...ON THE BOWLER, watching--as Tony's scream is cut short by a gruesose thud.Back upstairs Casanova cornmes at Furious again... but Furious ducks the kick, pops back up and smashes Casanova with his good arm... sending him flying across the room... Casanova recovers. CASANOVA Let's change the tune.He reaches into his pocket and takes out the remote device (that Anabel used at the luncheon). He presses a button...ON THE WOLF SCULPTURE as the jaws open, its eyes glow red... and the dreadful sound of the Psychostridulator grinds up and FILLS THE NIGHT AIR LIKE A SIREN.Downstairs, the foul noise fills the room and our heroes and the villains all go into a full blown psychotic episode... The villains start shooting and stabbing each other.SERIES OF SHOTS - AROUND THE CITY - CONTINUOUSOn Main Street cars slam into each other. Pedestrians start screaming and fightinq... A man and his dog snarl and snap at each other...The Customers at the Lakeside Diner go insane, hurling plates and food...At the Shoveler's house the kids turn psycho in front of the television...ANGLE ON A TYPICAL SUBURBAN NEIGHBORHOOD -as the sounds of screaming and smashing dishes and furniture can be heard coming from all the houses...LONG ANGLE OF CHAMPION CITY -as a din of collective insanity rises up from the city...BACK TO THE TOP OF THE TOWER - CONTINUOUS - ON CASANOVAin full psychotic ecstasy... CASANOVA WHAT A RUSH! (tosses the remote off the balcony)ON MONICA, still motionless on the bed...Casanova and Furious collide in the center of the room and grapple in a contest of psychotically enhanced superhuman strength... Casanova gets his hands around Furious's throat and crushes it... Furious drops to his knees, and Casanova thinks he's got him. But Furious, grimacing with rage, looks him right in the eye. FURIOUS (raspy voiced) Is... that... all you got?Furious grabs Casanova's wrists... and crushes them. Casanova howls with pain, loses his grip. Furious slugs him, again and again... then he grabs Casanova by the belt, swings him around, and HURLS him into the air...Casanova CRASHES into the huge crystal chandelier--there is an explosion of crystal and glass. Furious averts his eyes as cut glass rains down all around him... then he looks up and sees...Casanova's gold chain has hooked onto a fixture of the chandelier. Casanova kicks and flails... as he is hanged by the neck on his own gold chain...Furious moves to the wolf sculpture. Be PLUNGES HIS HAND through its bronze casing, and RIPS OUT the heart of the Psychostridulator, a flashing football sized device that gives off an unamplifjed, but higher pitched and more irritating sound...Furious HURLS the device hard against the floor, and it smashes into a thousand pieces...CLOSE ON ONE OF THE PIECES -In insect sized device that gives off an even higher pitched, even more disorienting sound. This is the very nerve center of the Psychostridulator...Furious lifts his foot and crushes it hard under his heel...SILENCE...Furious drops to his knees, wounded, exhausted... He looks up... at Casanova, who dangles lifelessly off the chandelier... FURIOUS Nice dancing with you.SERIES OF SHOTS - VARIOUS LOCATIONS - CONTINUOUSas our other heroes return to their senses amidst the vanquished crooks... the traumatized reunants of whom run for it. Things also return to normal...On the street...At the Lakeside Diner...And at the Shoveler's house...BACK TO THE TOP OF THE TOWER - CONTINUOUSFurious moves to the bed, where Monica lies motionless and pale... FURIOUS Monica...He touches her face, her eyes open, and she looks at him. MONICA You're beautiful when you're angry.He takes her tenderly in his arm... as the Raja, the Shoveler and the others rush into the room and see... Furious and Monica embracing.EXT. OUTSIDE THE FRANKENSTEIN CENTER - A LITTLE LATERPolice cars and news vans arrive... as our heroes, battered, wounded, but victorious walk proudly down the long stairs...Furious and Monica hold each other up. Wounded Invisible Boy has his arm around the Spleen... while policemen and news people run up the stairs past them into the center, ignoring them as always...But this time our heroes could care less. They are superheroes, and they don't give a damn who knows it.INT. THE RAJA'S HOUSE - NIGHTas the Raja opens the door and enters... RAJA Mama!She is there, waiting up for him. RAJA I'm home.They embrace.INT. SHOVELER'S DOUSE - NIGHT - CLOSE ON A TV SCREENDon Stouffer is reporting. DON Few details have emerged...ON THE SHOVELER'S KIDS, on the couch, still rattled by their psychotic episode, glued to the TV - DON (0.S.) ...but the Dawn Patrol got this exclusive interview vith two of the suspects.ON THE TV -Dawn Wong interviews the battered, handcuffed Elvis Brothers as they are led away... ELVIS BROTHER I I don't know who those guys were--but I never want to see 'em again. ELVIS BROTHER 2 Especially that big dude with the shovel... ELVIS BROTHER 1 (near tears) He was the worst!ON THE KIDS' COLLECTIVE REACTION as they realize who it was... and then they hear the front door open...In the front hall the Shoveler enters wearily; his shoulder hurts, his back is killing him... as his kids come running to him. KIDS Dad!... Dad!... You okay?... You hurt? SHOVELER (shocked by this welcome) I'm okay--I'm all right. EDDIE JR. Lean on me, Dad. LENORE I'll hold your shovel, Dad.They lead him back into the living room, and give him the prime spot on the couch. BUTCH You want a soda, Dad? SHOVELER (stunned) Okay.He runs to get it as Eddie Jr. slides a footstool under his feet and Tracy puts a pillow behind his back. Roland, the little one, cuddles up next to him, puts his arm around him. ROLAND Nice work. Dad. SHOVELER Thanks, Roland. ROLAND You really are a superhero, aren't you?The Shoveler nods. A few minutes later... The Shoveler sits on the couch, feet up, soda in hand. The television is off. His kids all huddled around him, hanging on his every word. SHOVELER And that's when the engine blew up. KIDS Whoa... BUTCH What did you do? SHOVELER Well...ON LUCILLE as she comes in and sees... her husband surrounded by his kids, a happy man at last.EXT. LAKESIDE DINER - THE NEXT NIGHT - ESTABLISHINGINT. THE DINER - CONTINUOUS - ON THE SPLEENsitting between the Bowler and a bandaged Invisible Boy. The Bowler has her arm chummily around the Spleen's shoulder. The Spleen finally has real friends. Doc Heller discusses the art of fork throwing with the Raja as the Shoveler listens in. The Sphinx sits at the end of the table, silent. DOC HELLER So you're never actually conscious of range or trajectory? RAJA Heck no. I just chuck 'em.Monica (in her waitress outfit) sits close to a bandaged Mister Furious.ON THE TV -Dawn Wong reports. DAWN It's been twenty-four hours since the deadly psycho-sonic attack and bloody shoot-out that left Casanova Frankenstein and dozen of the city's top hoodlums dead... But tonight the question remains... Who were these heroic mystery men who saved our city?...ON OUR HEROES - BOWLER Could have been anybody.They laugh. RAJA Wait a minute... That's it. That's our name. We're... the Mystery Men.They all like it, except for the Bowler. BOWLER Hey, do I look like a Man? SHOVELER Well we can't call ourselves the Mystery People. SPLEEN (singing, ala "Macho Man") Mystery, Mystery Man... I want to be a Mystery Man... SHOVELER & RAJA Shut up. BOWLER Eat your mustard. FURIOUS It doesn't matter what we call ourselves. We know who we are. RAJA Yes, Obie-wan. INVISIBLE BOY Hey... he's gone.The others see... that the Sphinx's chair is empty. Raja spots a crumpled napkin on the table, opens it up, and reads. RAJA "Until you need me again... Adios."A silence... Reactions from our heroes as they realize that the Sphinx is gone... SHOVELER I miss him already.Suddenly, somewhere in the night, a burst of gunfire and screams are heard. THE FINAL MUSIC BEGINS... FURIOUS Amigos, duty calls.The Mystery Men wolf their burgers, then stand and start for the street...As Monica watches them leave, a PATRON asks her: PATRON Miss... who are those guys? MONICA (after a moment) I don't know.JUST OUTSIDE THE DINER - A MOMENT LATERHEROIC GROUP SHOT as the Mystery Men merch down the middle of street, toward the sound of the gunfire... and into the night.THEME AND CREDITS...THE END diff --git a/unformated_scripts/Script_Nashville.txt b/unformated_scripts/Script_Nashville.txt new file mode 100644 index 0000000000000000000000000000000000000000..51a9eefc6d17f7b5041f89bab84ebe070e01010e --- /dev/null +++ b/unformated_scripts/Script_Nashville.txt @@ -0,0 +1 @@ +NASHVILLE original screenplay by Joan Tewksbury June 8, 1974 INTRODUCTION ORDER AIRPORT STUDIO HIGHWAY 1. TRICYCLE MAN 2. MR. GREEN 3. NORMAN 4. CONNIE WHITE (Photo) 5. SUELEEN 6. DELBERT 7. WADE 8. HAVEN 9. BUD 10. PEARL 11. OPAL 12. LINNEA 13. BARBARA JEAN (Name on Plane) 14. BILL 15. MARY 16. TRIPIETTE 17. L.A. JOAN 18. TOM 19 GLENN 20. BARNETT 21. KENNY 22. TOMMY BROWN 23. ALBUQUERQUE 24. STAR HIGHWAY LINEUP 1. TRICYCLE MAN 2. MR. GREEN & L.A. JOAN 3. NORMAN - BILL & MARY 4. BARBARA JEAN & BARNETT (Ambulance) 5. HAVEN & BUD & PEARL 6. SUELEEN & WADE 7. TOM & STEWARDII 8. DELBERT & TRIPLETTE 9. GLENN (Bus - Connie White Poster) 10. TOMMY BROWN 11. OPAL & LINNEA 12. KENNY 13. STAR & ALBUQUREQUE FADE IN:A TITLE SEQUENCE Still photos of twenty-four principal actors.1 CLOSE SHOT - SIGN Nashville Airport.2 EXT. NASHVILLE AIRPORT - DAY TRICYCLE MAN drives into parking lot and parks next to GREEN'S old Chevy. TRICYCLE MAM: locks his machine and walks toward coffee shop. GREEN gets out of his car, locks it, starts in the same direction. NORMAN parks the limo, goes into main building.3 INT. AIRPORT - DAY NORMAN is attracted to large “CONNIE WHITE” display.4 INT. COFFEE SHOP - DAY At the entrance is another "CONNIE WHITE" display and from the jukebox we hear one of her songs. The waitress, SUELEEN, drops a fork, then gets another from an overflowing sink and hands it to her customer, TRICYCLE MAN. There are several people at the counter with him, including GREEN, who has just walked in. Another man enters, DELBERT REESE. SUELEEN waits on all of them. A small black man comes out of the kitchen, carrying a tray full or dishes. This is WADE. WADE (to SUELEEN) You want a ride into town? SUELEEN You bet. REESE looks up, checking out SUELEEN, then WADE, then the TRICYCLE MAN, then his breast pocket to see it his wallet and checkbook are still there, then he buries himself in his newspaper. SUELEEN Got me an audition tonight. WADE Well, you just remember, if you can't kick front, kick back, 'cause at least you're kicking... Ten minutes, okay? She nods and talks to the TRICYCLE MAN. REESE keeps sneaking looks at her. SUELEEN I've just been waiting for the right spot to sing in... I'm so nervous... She laughs and starts to rinse the dishes in the sink. SUELEEN I'm good, though. There ain't but one Sueleen Gay -- I don't mean to be conceited, but really it's true. I've been taking special coaching lessons from Zeke Willard -- he's just wonderful. Teaches you how to phrase; that's really important. And breathing. Well, you know all about that. Anyway, I wrote this song. She looks down and then begins to half whisper, sing, and half do all of the gestures for a song she has written as she wipes some glasses. The jukebox continues to play CONNIE WHITE, and every time someone walks by, Sueleen stops. She finally gets through the song and discovers REESE has been watching, too. She looks away from him to the TRICYCLE MAN, who smiles. Be has finished his meal. SUELEEN Oh, listen, I really do go on. Here's your check. Sure has been nice talking to you. As she removes her apron, a HAVEN HAMILTON song comes on the jukebox, "Keep on a goin'." The TRICYCLE MAN leaves. CUT TO:5 INT. CONTROL BOOTH - NASHVILLE STUDIO - DAY We hear the last chorus or "Keep on a goin'" as sung by HAVEN, who is recording. He is always dressed in white. In the booth are BUD and LADY PEARL. Also present are two engineers and a producer. HAVEN is accompanied by a long haired piano player with a white sweater. HAVEN is not too happy with him. 6 ANOTHER ANGLE OPAL enters the booth, carrying a too-large English tape recorder. HAVEN Stops singing, mad at OPAL'S interruption and the piano player. Through the glass we see him pantomiming instructions for her to leave. As she does, HAVEN starts over.7 INT. HALLWAY - DAY OPAL wanders to the next studio. BUD follows, apologizing. BUD Sorry. He sees a tape recorder and gets upset. She looks at him. BUD He's my father. OPAL Haven Hamilton is your father? Can you arrange an interview?8 INT. SECOND RECORDING BOOTH - DAY They have entered a different control tooth. In the recording portion, LINNEA and an all-black, male CHOIR sings a gospel song. OPAL asks BUD who this group is.9 INT. FIRST CONTROL BOOTH - DAY BUD returns. HAVEN has just exploded at the piano player and starts to leave, yelling at the producer. HAVEN Who the hell is playing piano? Get that hippie out of here... He's got a tin ear. I asked for Pig, dammit. I'm moving on 'cause I gotta get to the airport. When you get my backups straight, then we'll talk about cutting this tune here. He heads for the hallway.10 INT. HALLWAY - DAY It is jammed with black singers from the CHOIR. HAVEN hates being crushed and moves through the congestion like a white knight. OPAL moves near. OPAL Excuse me, sir. I'm here putting together a film. I would like to ask some questions. She has to fumble with the bulky tape machine and transformer. HAVEN Foreigner? OPAL I'm from BBC television. HAVEN Where the hell is that? HAVEN nod a politely and leaves the crowded hallway with BUD and PEARL. He spots LINNEA. HAVEN Linnea. LINNEA How you doing, Haven? HAVEN oh, fine. Couldn't be better.11 ANGLE T0WARD OUTSIDE They all say goodbye and HAVEN'S group gets into a new white jeep CUT TO:12 EXT. AIRPORT - DAY Barbara Jean's plane taxis to a halt.13 INT. COFFEE SHOP - DAY REESE leaves a tip and exits the coffee shop to greet the plane. Page Missing14A CONTINUED: TOM spots stews and goes to them TOM You ladies got room for a spare? STEW Sure.14B NEW ANGLE L.A. JOAN is left in the dust. L.A. JOAN 'Bye... nice talking to you. GREEN sees his niece and walks over. GREEN Joan? She turns. L.A. JOAN Did you see who that was? GREEN Glad to see you. Ester'll be glad, too. L.A. JOAN He is just wonderful. GREEN I'1l get your bag. CUT TO:15 EXT. LANDING AREA - AIRPORT - DAY GLENN has just deposited a postcard in a mailbox and approaches a gathering cluster of people. NORMAN and TRICYCLE MAN are nearby. Everybody is waiting for BARBARA JEAN to appear. GLENN steps close to NORMAN. GLENN Am I late? NORMAN Late! Oh, Jesus! He runs off.16 ANOTHER ANGLE As NORMAN runs toward passenger loading, we see HAVEN'S jeep arrive with HAVEN, BUD and PEARL. It parks and all climb out. REESE and TRIPLETTE approach the 'Barbara Jean' plane. BARNETT is already on the runway, making arrangements. HAVEN'S group all shake hands. HAVEN Delbert, how are you? REESE I'm fine. This here is John Triplette. Triplette, like you to meet the Honorary Mayor, Haven Hamilton. HAVEN Good to meet you. (turns to BUD) Bud, have them move the horses. TRIPLETTE Pleasure REESE Where is she? HAVEN Still inside the plane posing for pictures and signing autographs. She's got a new album cut again. She'll be down in a minute. But she'll be late for the Opera if she doesn't hurry. Bud, get the plane on the walkie-talkie. BUD fumbles on his walkie-talkie telephone, but can't seem to get anything. BUD They don't seem to be answering. The ambulance boys are here, though. Barnett always expects them to get there like a shot. That thing only goes a hundred fall bore with the sirens going. HAVEN Thank you, Bud. BUD nods like he has been complimented.17 ANGLE TOWARD PLANE A wave of noise begins from the fans. The band and majorettes and horses and ropers go into a rendition of one of her hit tunes as BARBARA JEAN appears. Everyone is breaking their neck to see, especially GLENN. HAVEN and REESE give her the first round of applause, then go back to talking. TRIPLETTE has never been exposed to anything quite like this before and stands a little in awe of the situation. When the twirling and tricking and music stop, BARBARA JEAN descends the stairs. HAVEN Bud, tell them to move the horses. Promised this strip would be spic and span. He smiles and winks. REESE Listen, we'll go get the car and come back. This'l1 be going on for a while. HAVEN You bet. She's probably talking to somebody about their sick child. You know how she is. They wave goodbye and head in the direction of the loading zone. Behind them, the horse people disperse and get into their cars and horse trailers, preparing to return to Nashville.18 ANOTHER ANGLE BARNETT comes over to REESE, TRIPLETTE, HAVEN, BUD and PEARL while BARBARA JEAN continues to greet fans.19 EXT. AIRPORT NEAR PARKING LOT - DAY While the BARBARA JEAN arrival takes place on the runway NORMAN finds BILL and MARY. NORMAN speaks softly and out of breath, trying to pretend he's on time. NORMAN Hi. BILL slaps him on the back and engulfs him. BILL Hi, Norman. NORMAN looks relieved. BILL and MARY have been arguing. NORMAN Sure is nice to see you all again. I never thought I'd see you again after the last time. BILL Oh, Norman, you worry too much. MARY takes NORMAN'S hand. MARY Norman, how are you? She kisses him and he blushes. BILL and MARY are glad to talk to someone else. NORMAN Fine. Just fine. As they walk to the limo, we see a car with loudspeakers on top of it and clearly written door signs that read: "Replacement Party" in red, white and blue. REESE and TILIPLETTE are walking toward it, shaking hands with several people. NORMAN Sure have missed you all, though. Oh, where's Tom? Isn't he with you? BILL Don't worry about old Tom.20 ANOTHER ANGLE TOM and the stews walk to a VW with a sun roof. Nearby REESE and TRIPLETTE get into their Cadillac, behind it the Replacement Party car. Coming from the loudspeakers a tape- recorded VOICE: VOICE Have you thought about your future and what America needs to examine... Behind the Replacement Party car is an airport bus with "Connie White" posters on the side. GLENN is one or the passengers. He cranes his neck to continue watching the runway and BARBARA JEAN.21 EXT. PARKING LOT NORMAN'S limo, with BILL and MARY, follows traffic as the TRICYCLE MAN fires up his machine. WADE'S car with SUELEEN also joins the procession.22 ANGLE TOWARD RUNWAY The orange ambulance has moved into the area near the plane and there seems to be a great deal at activity. REESE and TRIPLETTE'S car stops, and they rush out and run into HAVEN, who is shouting for people to get the hell out of the way.23 NEW ANGLE Two ambulance ATTENDANTS cut through the crowd. HAVEN, TRIPLETTE and REESE rush near. BARNETT is on his knees over BARBARA JEAN, who has collapsed. The ATTENDANTS lean over her with ammonia. They test her reflexes, etc.. ATTENDANT How long was she out? BARNETT Not too long. But she keeps passing out. She comes to and looks at them all. BARBARA JEAN (oblivious) Just give your manna that vitamin E. Makes a world of difference. HAVEN Here she is again. She resists the ammonia, looks around and passes out again. ATTENDANT Okay, let's get her to the wagon. A stretcher is brought in and she is placed under oxygen. BARNETT climbs into the ambulance with BARBARA JEAN, slamming the door on DELBERT and TRIPLETTE. HAVEN stands there, yelling at people. DELBERT and TRIPLETTE rush back to their car as the ambulance speeds off, siren wailing. CUT TO:24 EXT. FREEVAY TO NASHVILLE - DAY25 TRICYCLE MAN leads the procession.26 INT. GREEN'S CAR GREEN Eater's been asking for you. L.A. JOAN is trying to find a station she likes on her transistor radio. L.A. JOAN Uh huh. GREEN She's been in the hospital two weeks yesterday. L.A. JOAN can't find anything she likes. L.A. JOAN You know anything about the stations here? GREEN (hasn't heard) It's hard to say. Doctors thought she'd come home a week ago. All it was was appendix. L.A. JOAN All they got is advertisements. Just like L.A. GREEN Did an exploratory and according to them, she needed an overhaul. He chuckles at his prepared joke. L.A. JOAN Well, I could use one, especially if I'm pregnant. GREEN What did you say? L.A. JOAN I said, maybe I'll change my name again. GREEN I see... Well, those doctors are real miracle workers. L.A. JOAN But not unless Nashville really inspires me. GREEN Maybe you can look after me a little. L.A. JOAN That Tom sure is cute. CUT TO:27 AMBULANCE speeding by each vehicle. BARBARA JEAN and BARNETT are alone.28 REPLACEMENT CAR being very piggish in its driving habits.29 INT. HAVEN'S JEEP PEARL We had these two city boys come in last week. One or them said his Ford truck had cut off his foot. The other one said that wasn't true. Then the first said he looked just like Eddie Black when he said that... HAVEN Bud, would you be sure to get the oil changed? BUD Ya... where do you want me to take it? PEARL Do you remember Eddie Black? He had those blue eyes. HAVEN Where you always take it. There's nothing special about this time. PEARL And they started pounding on each other. But the one without the foot was strongest. HAVEN Bud, you're going to have to show up at the hospital tar me I gotta get back to that session. BUD Okay. Anything you want me to say? HAVEN Say I had to get back to the session. ~ God -- All school did for you, you can put in a thimble. PEARL The cops came through and broke it up. I finally just had to call Chet and say, 'Chet, get over here. There are two old bays here breaking up the furniture...' CUT TO:30 INT. WADE'S CAR-TRUCK SUELEEN in doing some vocal exercising. WADE listens for awhile. WADE Is that what you're going to sing? She laughs. SUELEEN No -- That's exercises. My coach says you have to do exercise because the vocal chords are muscle and need to be stretched. Every time you stretch them, the middle part sets stronger. That's the place where I sing. WADE You think I got any kind of a voice? He breaks into a scale. SUELEEN You sure do it loud. WADE Is that good? SUELEEN It's not bad. WADE You think I should take lessons? SUELEEN If you're serious. Being serious is real important. WADE You serious? SUELEEN Wade -- I've been working toward this audition for years. WADE Well, honey, I sure hope it comes your way then. SUELEEN You think it will? WADE Sure thing. CUT TO:31 INT. STEWS' CAR STEW #1 I just knew that was you when you got on. TOM You did, huh? STEW #1 Ya - I even recognized them. STEW #2 How long have you been together? TOM (laughing) Too long. STEW #3 Is your rather really an actor? TOM (laughing) All his life. STEW #3 Really? TOM Me, too. They all laugh. STEW #4 has been driving over-cautiously because of the cargo. TOM leans over and kisses her ear. TOM You having any fun? She shrieks and practically drives off the road. They all laugh. TOM That's the most important thing -- to have -- fun STEW #2 How long are you going to be here? TOM Long enough to have fun. They laugh. CUT TO:32 INT. CADILLAC TRIPLETTE What do you think of him? REESE Hal? Well, Hal and I have been friends for a long time. TRIPLETTE You go to school together? REESE No, we never did that TRIPLETTE Oh -- REESE We're connected by a relative. One time, one of his aunts married one of my uncles. That was a long time ago, though. How'd you come to work for him? TRIPLETTE Well, I really think he's got a chance. REESE You do? TRIPLETTE Oh yea -- There has never been a better time for something new. REESE He ain't really new. TRIPLETTE He is to a lot of people. REESE He was a good Judge, but that was a long time ago. TRIPLETTE You know, I'll bet you he makes it with a majority. REESE Where are you from? TRIPLETTE Southern California. REESE You always live there? TRIPLETTE Spent time in Arizona. Why? REESE Well, I admire your optimism, and I just wondered if it was regional. You ever see any movie stars? TRIPLETTE I know a couple. REESE No kidding -- Wait till I tell Linnea. Who? TRIPLETTE Ah... Peter Finch. REESE Who? TRIPLETTE Peter Finch -- he's English. REESE I never heard of him. Name somebody else. TRIPLETTE Ryan O'Neal. REESE You really do? ~ God -- How come you know them? TRIPLETTE Oh, you meet them at parties and stuff. REESE I'll be damned. Boy, if you could get Ryan to say something about Hal Phillip Walker, wouldn't that be something? TRIPLETTE Well -- maybe. Let's see what happens here. REESE I'll be dammed. CUT TO:33 AIRPORT BUS GLENN is at the window. "Connie White" ads are present.34 MOBILE HOME Part of normal traffic. It belongs to TOMMY BROWN, who lounges with four very black associates, playing serious poker.35 INT. LINNEA'S CAR Joining the procession from an auxiliary route. With her is OPAL, who interviews LINNEA. OPAL Have your children been deaf since birth? LINNEA Yes -- yes, they have. It was a real shock at first, especially since my daddy's a preacher, but Delbert and I have been blessed by their being here. OPAL When did you start singing? LINNEA When I was little, in church. OPAL Isn't it unusual for you to be working with a black choir? LINNEA Yes, it is -- OPAL Well, can you tell me why? LINNEA It just is. OPAL (not getting the answer she wants) How long have you been with them? LINNEA About three years. OPAL And before? LINNEA Just my church and my boys. We all had to go to school and learn hand talking. I just thank the Lord they can see. OPAL Do you ever do any writing? LINNEA No, I don't. OPAL Are you a close friend of Haven's? LINNEA No, mostly his wife's. She's in Paris, France, right now. My husband Delbert is real friendly with him. Delbert's in law. Does work for him. OPAL Do you like him? LINNEA He's a member of our congregation. CUT TO:36 KENNY'S NASH KENNY is caught up in the crowd entering Nashville.37 EXT. STAR'S PICKUP TRUCK STAR You got the money? ALBUQUERQUE Right here. STAR Well, don't lose it. Last time I gave you twenty-five dollars, you lost it. ALBUQUERQUE Well, that just happened that time. STAR Well, it better not happen again. ALBUQUERQUE turns and looks out the window. They ride in resentful silence. STAR You lost twenty-five dollars once before that, too, near Christmas time -- I remember that real well now. December 9th, to be exact. ALBUQUERQUE You got a real good memory, Star. STAR I remember when I just saw you. Skinny Winnifred. Jesus, you were skinny. ALBUQUERQUE (ignoring him) What do you have to buy? STAR Feed, mostly. Thought we'd get something for the kids. ALBUQUERQUE Okay by me - I'd sure like to see that Opryland. STAR What? ALBUQUERQUE Grand Old Opera -- STAR I hate that music. ALBUQUERQUE I know that, Star. CUT TO:38 EXT. FREEWAY Near a bridge, a huge diesel truck almost collides with the Replacement car, which has just made a greedy move. To avoid collision, the diesel jackknifes, blocking all traffic behind it, except for one narrow lane.39 INT. LIMO MARY sits erect. NORMAN Oh, my God! BILL climbs out. BILL Norman, just sit there and don't puke. He runs toward the truck. At this point, the TRICYCLE MAN appears through all the cars.40 ANGLE AT BRIDGE The TRICYCLE MAN works his way through traffic. STAR has climbed from his truck and goes to help. ALBUQUESQUE takes advantage and runs off.41 ANGLE NEAR KENNY'S CAR It overheats and explodes. KENNY gets out, carrying his violin case and starts to walk. ALBUQUERQUE spots him and steps near. ALBUQUERQUE Hey, mind if I walk with ya? She looks at his violin case. ALBUQUERQUE You a musician? KENNY No. ALBUQUERQUE Do you have people in Nashville? KENNY No -- Just coming to Nashville, that's all.42 INT. AMBULANCE BARNETT is in a rage. The ATTENDANTS administer oxygen to BARBARA JEAN BARNETT I don't care. I pay you people twenty-five bucks an hour and keep you working steady. Now either go on or turn around. But move.43 EXT. HIGHWAY The ambulance passes all the vehicles, including the horse rigs. As he passes NORMAN'S limo: MARY Don't worry, Norman. There's no blood. Nobody's hurt. She climbs out of the car and moves to the freeway rail and yells for some workmen below to call the police.44 ANGLE AT DIESEL The driver is hurt badly. TRICYCLE MAN and STAR are there. STAR looks up, relieved an ambulance is coming. His face drops as the ambulance speeds past and toward the city.45 ANGLE FURTHER BACK IN TRAFFIC ALBUQUERQUE is walking with KENNY. She sees STAR returning to his truck. She ducks into the ivy. ALBUQUERQUE Hurt my foot... STAR approaches his truck, sees ALBUQUERQUE is gone and spots KSNNY. STAR Have you seen a woman about so high? KENNY No. STAR She had on high heels? KENNY No. STAR Need a ride? KENNY nods "yes" and climbs in the pickup.46 ANGLE AT BRIDGE People are helping the injured driver. TRICYCLE MAN climbs on his machine and leaves, heading toward Nashville. CUT TO:47 INT. BAPTIST HOSPITAL - AFTERNOON BARBARA JEAN is in bed. A DOCTOR is there, along with a crowd of publicity people and well-wishers, including: TRIPLETTE, REESE, BUD. BARNETT hovers over BARBARA JEAN. The atmosphere is stifling. DOCTOR Barbara, I'd like to talk to you and Barnett alone. BARNETT Anything you say. He turns to the visitors. BARNETT Doctor says you'll have to go on out now There are tones of disappointment, most of them are very involved in their own conversations. TRIPLETTE walks toward the bed, but can't really get close enough. He finally captures BARNETT as the people start to leave. TRIPLETTE Excuse me, Barnett, how's she doing? BARNETT turns and studies him for a moment as though he remembers who he is. He doesn't. TRIPLETTE I'm sorry. I feel as if I know you. I'm John Triplette... a friend of Del Reese... I was at the airport. I just wanted to introduce myself. I'm a great fan of hers. If there's anything you need, just give me a call. I'm at the Sheraton South. BARNETT She's going to rest now. TRIPLETTE Okay, I just wanted to see if I could help out at all. The crowd is almost out of the room now. We see GLENN there as he steps into the hallway. BARNETT I appreciate your concern, but she has to rest, so you can go on home. TRIPLETTE Oh, sure. He stands there too long. BARNETT What do you really want? TRIPLETTE Not a thing, Barnett, really. I need a little information. But, ah, it can wait. BARNETT You bet. TRIPLETTE Okay. Thanks. BARNETT says "you bet" again and closes the door after TRIPLETTE. BARNETT returns to the bed with BARBARA JEAN and the DOCTOR. DOCTOR Well, it's exhaustion, pure and simple, and you're going to have to take a rest or you're going to be in big trouble. BARNETT She has to be at the opera tomorrow night and then she can go home. DOCTOR She's not going anywhere, Barnett. This is precisely what I'm talking about. She is collapsing. She cannot go on without a rest or she will have to stop altogether for a long time. BARBARA JEAN Well, I have to go: It's too late to be replaced, and, besides, I just can't do that. Those people get disappointed. They've come in from all over, you know, and this Miss Foxy who's been writing to me for years is going to be there from Michigan. DOCTOR You cannot leave this bed until I say so. The two of you have to understand that. Barnett, you've got to stop this dovetailing and give her some rest. You don't need to make that much more money. BARNETT It's not the money. The friends and neighbors love her and they want to see her. We got a debt to the public. DOCTOR Well, they are not going to see her tomorrow night, and I suggest you get on the phone and make the necessary arrangements. CUT TO:48 INT. HOSPITAL CORRIDOR A few of the people still remain, among them GLENN, who has just finished another postcard. Near BARBARA JEANS' hospital room in MRS. GREEN'S. GREEN is visiting her now and LA. JOAN waits in the hall, smoking a cigarette. BUD is talking with a few people. L.A. JOAN brings out a new cigarette and asks GLENN for a 1ight. He doesn't have one, so she moves to BUD. She scares him, but he lights her fresh cigarette anyway. She asks him for a ride, and they leave together as GREEN comes out. GREEN begins to look for L.A. JOAN. CUT TO:49 EXT. DEMON'S DEN - NIGHT TRICYCLE MAN parks in front. He enters.50 INT. DEMON'S DEN - NIGHT SUELEEN is auditioning. The TRICYCLE MAN goes to the bar and listens. He is one of the few people who do. SUELEEN directs her performance to him. Also at the bar is TOM, being interviewed by OPAL. TOM We just got a gold record. OPAL Do they have a show to give it to you? TOM No Hell, some secretary in New York just hands it to you. Only this one kept dropping it out of the box. OPAL Did it break? TOM Dent it a little. Boy -- just she couldn1t even find it. She had a hamburger on her desk that looked three weeks old. OPAL How long have you been together? TOM Probably a little too long. OPAL Do you study at all? TOM Depends on what I'm studying. STAR is down at the end, drinking alone and looking for ALBUQUERQUE. The phone rings and the MANAGER answers it. INTERCUT WITH: 51 INT. LINNEA'S HOUSE - NIGHT Establish the REESES' relationship with their children. DELBERT speaks to TRIPLETTE MANAGER When do you need her? DELBERT Monday night. MANAGER You want her to sing, too? Sueleen has finished her song and eavesdrops blatantly. SUELEEN I can do benefits MANAGER (into phone) How much? DELBERT Twenty dollars for her and ten for you. The MANAGER keeps looking at SUELEEN MANAGZR Well, do you want a blonde? DELBERT How does she look? MANAGER You know... blonde. DELBERT Okay, I'll get you your money. Both hang up the telephones.52 INT. DEMON'S DEN The MANAGER carefully looks at SUELEEM. MANAGER I can only give you fifty a week here and ten bucks for the benefit. SUELEEN Money's no object. She kisses his cheek. He hates it. He writes on a piece of paper. MANAGER You go here Monday night and be there at eight sharp and look flashy you know what I mean? She nods "yes" and takes the paper. MANAGER Are you sure you know what you're doing? SUELEEN Hundreds of times. MANAGER Well, there's a couple of girls in Printers Alley if you got any questions. I know I've seen that G- string stuff for sale someplace around. SUELEEN Don't you worry about Sueleen Gay. She isn't convincing. MANAGER That's for sure. At the airport - that's where it was. At the airport, there in one of those gift shops... Anyway, you better take a break. SUELEEN Thanks. You are just a wonderful person.53 ANOTHER ANGLE ALBUQUERQUE enters. STAR sees her and chases her outside. 54 EXT. DEMON'S DEN STAR hits the pavement, but there is no sign or ALBUQUERQUE. He stands there as BUD and L.A. JOAN enter.55 INT. DEMON'S DEN - NIGHT BUD and L.A. JOAN go to the bar as SUELEEN sings another song. TOM has moved away from OPAL to the telephone.56 INT. LINNEA'S HOUSE - NIGHT DELBERT, TRIPLETTE, LINNEA and the kids are eating. The phone rings. LINNEA answers it. INTERCUT: LINNEA Hello. TOM Linnea? LINNEA Yes. Who's this? TOM I'm here. LINNEA Who is this? TOM Tom. You remember? LINNEA (concealing her laughter) I'm not sure. Where? TOM Remember, about a month ago, your church choir cut a record? LINNEA Yes. TOM Well, I met you that afternoon in the control room and we... LINNEA Oh, Tom, of course. What are you doing in Nashville? T0M Cutting a record. Pauses. TOM I'd really like to see you. LINNEA Or course. You should come over to the house. The boys would love to meet you. TOM (laughs) That's not quite what I had in mind. She tries not to hear what he's saying. LINNEA Well...How have you been? TOM Well, they removed my heart last week, but I'm doing fine except my nose fell off. Looks a little funny. She laughs. TOM Look, I find you attractive and I want to see you, so I'll call you when I get to my place. He hangs up the phone. LINNEA looks at the dinner table and DELBERT and the kids.57 INT. DEMON'S DEN - NIGHT TOM moves back to the bar and OPAL. L.A. JOAN has found the TRICYCLE MAN more interesting than BUD and slides close to him. BUD takes the opportunity to sneak out. CUT TO:58 INT. NASHVILLE LOUNGE - NIGHT NORMAN is on stage doing his routine, a series of imitations and jokes, with help from Bluegrass pickers, who introduce him to the audience. BILL and MARY are in the audience, watching NORMAN. At another table sit BARNETT, TOMMY BROWN, PEARL, HAVEN negotiating a deal and watching NORMAN as a potential warm-up act. They think he stinks59 ANOTHER ANGLE KENNY enters with his violin case and sits. Near the back WADE is drunk, leaning against the wall. ALBUQUERQUE enters from the back door. She hangs around the kitchen, stealing food. WADE notices her and starts to talk to her. WADE Hey, what are you doing? ALBUQUERQUE pretends she's fixing her purse. ALBUQUERQUE Just fixing this strap here WADE I know what you're doing. I've done it too long not to know. But if you're going to hunt down food, get enough so you won't have to do it again right away. Peanut butter's good. Man can last a long time on peanut butter. ALBURQUERQUE can't find any, so she grabs whatever she can that will fit into her purse.60 ANOTHER ANGLE NORMAN caters his material to TOMMY BROWN, hoping to get the Job. WADE (quite drunk and yelling) Tommy Brown, you are the whitest nigger I have ever seen. TOMMY turns in his chair and looks at WADE. BARNETT leans into TOMMY. BARNETT Let's go -- TOMMY I don't think Norman's done yet. BARNETT We've heard enough. Come on. WADE Hell, you're whiter than that old boy up there. TOMMY and BARNETT leave. WADE Where the hell are you going, Oreo cookie? The Bluegrass players pick up the tempo by playing music. KENNY tries to calm WADE down, but WADE belts him. NORMAN sings the National Anthem. PEARL gets mad and tosses WADE out the back door. ALBUQUERQUE goes after WADE to soothe him. BILL, MARY and NORMAN leave together out the front. ALBUQUERQUE watches from the alley.61 EXT. NASHVILLE LOUNGE - NIGHT MARY mothers NORMAN. BILL, MARY and NORMAN enter the limo, leaving KENNY behind. STAR drives up. He recognizes KENNY from the freeway STAR Hey, there - You seen my Winifred? KENNY No. STAR You got a place to stay? KENNY No. Probably stay at a motel tonight. STAR (looking at violin case) You in music? KENNY No. STAR Get in. KENNY climbs in. CUT TO:62 EXT. BAPTIST HOSPITAL - NIGHT TRICYCLE MAN drives L.A. JOAN to the hospital. She climbs off his machine. L.A. JOAN I hope he's still here. I don't know where he lives. GREEN comes out of the hospital and walks over. He is hurt GREEN You should have stayed. Ester's been wanting to see you. They walk off to GREEN'S car. TRICYCLE MAN drives oft. 63 EXT. HOSPITAL - NIGHT GLENN is in the middle of the rose garden gathering a bouquet of flowers. When he finishes, he enters the building.64 INT. HOSPITAL - NIGHT GLENN walks past the desk, holding the bouquet so no one will see it. He enters the elevator. PAGE MISSING71 INT. GAS STATION BATHROOM - MORNING in the most despicable kind of condition. ALBUQUERQUE wades through the waste, uses the John, then discovers it won't flush. She goes to wash her hands but there is only a trickle. She takes some Kleenex from her purse and dries her face and hands, exiting the bathroom with the key still in the door. CUT TO:72 INT. BARBARA JEAN'S HOSPITAL ROOM - MORNING GLENN eases out of the chair where he has been sitting all night. He has been writing a letter and puts it near the glass of flowers. He looks at BARBARA JEAN for the last time, puts the chair back, and leaves, bumping into an entering NURSE. NURSE Who are you? GLENN is too scared to say anything and takes off down the hall. The NURSE checks BARBARA JEAN and lets it go at that. CUT TO:73 INT. TOM'S MOTEL ROOM - MORNING TOM is in bed with OPAL. He gets up and goes to the window. We see the TRICYCLE MAN'S machine parked outside. OPAL Come on back to bed. TOM Yeah, you bet. You're really terrific. You know what I mean? OPAL Come on. TOM Just a minute. He goes to his Jacket and pulls out a phone number, then starts to dial. REESE (V.0.) Hello. TOM Hiya. Listen, is Linnea there? There is a long pause. LINNEA (V.0.) Hello. TOM Hi. Another long pause. TOM Listen, 1'm sorry I didn't call a little sooner. I sorta got tied up. Listen... OPAL is getting dressed and gathering her things. LINNEA (V.O.) Who is thin? TOM Who is this? It's Tom. LINNEA (V.0.) I don't know who you are. TOM What do you mean? You said you wanted to see me. OPAL is almost ready to leave. She sees the tricycle parked outside. LINNEA has hung up on TOM and he dials again. TOM What the hell is going on? REESE (V.0.) What is this? TOM I would like to talk to... REESE (V.O.) You call again and I'm calling the police. The phone is hung up in TOM'S ear. TOM studies the phone number for an instant, then tosses it in the ashtray. OPAL has left and perhaps we even HEAR the ROAR of the tricycle. CUT TO:74 EXT. ROOMING HOUSE - MORNING KENNY stands on the front porch or one of the many rooming houses near Music Row. GREEN opens the front door. He is with his dog. We HEAR L.A. JOAN SINGING from another room. GREEN Yes, air. KENNY Yes, sir. GREEN Can I help you? KENNY Yes, sir. I need a room GREEN I think we can do that. Come in.75 INT. GREEN HOUSE - MORNING KENNY follows GREEN down the hall. GREEN Green's the name. They shake hands. KENNY Kenneth Fraser. Glad to meet you... L.A. JOAN'S VOICE gets louder. GREEN My wire's been in the hospital so things might be a little dusty, but the sheets are clean and the bath's down the hall. (looks at Kenny's violin case) You're in music, I guess, aren't you? 'Cause my niece sings most of the day. That won't bother you, will it? KENNY starts to answer. GREEN I didn't think it would. She's calling herself L.A. Joan this- week. Last week it was Dakota. Guess if you have to change your name a state's as good as anything. KENNY She sure sings nice. GREEN My wife and I think so, but we're family. Your family's always good or bad depending on how you look at your family. What do you do, pick or sing? KENNY Oh... a little of both. Just thought I'd look around at Nashville for a while. GREEN doesn't hear him. L.A. JOAN wanders in and out, catching KENNY'S eye. GREEN When you run out or money, 'cause you will here, you can go sing at Bishop's Pub. They let you pass the hat. All these kids do that. Most every place doesn't want to bother with you. KENNY I'm not really a musician. GREEN smiles. GREEN Well, don't be shy. I got the address here. Anytime you need it. Room's twenty-five dollar! a week and you can have breakfast with me if you like. KENNY Suits me. He hands over the money. KENNY Listen, do you know anything about cars? GREEN A little. What do you need?76 ANOTHER ANGLE As KENNY starts to explain, L.A. JOAN appears. GREEN (to Joan) Get ready. We're going to the hospital. JOAN eyes KENNY and moans that she doesn't want to go. GREEN gets firm. GREEN we're going. CUT TO:77 INT. VARSITY RECORDING STUDIO - DAY We are inside a recording studio LOOKING INTO the glass booth. There is an ENGINEER in the booth. ENGINEER You'll have to stand closer to the mike. ALBUQUERQUS stands with some papers. ENGINEER You've only got time for one more take, unless you've got another twenty-five dollar!. she shakes her head, "No" and moves closer to the mike. ALBUQUERQUE Oh, don't you worry. You sure done your best. It'll be fine. I just know it. ENGINEER Okay, you're on. She smiles at the backup trio: bass violin, piano, violin. ALBUQUERQUE Hi... This here is Albuquerque speaking. You don't know me yet but ya will after I sing you this song that I've wrote called... We HEAR the intro and she begins. After the song finishes, the trio ends and the red light goes out. The PLAYBACK BLARES. ENGINEER Okay, come in the booth. You'll have to wait for the disc. CUT TO:78 EXT. BAPTIST HOSPITAL STAR drives past, looking for ALBUQUERQUE as GREEN'S car parks and he and JOAN enter the hospital.79 INT. HOSPITAL - DAY GLENN is there writing yet another post card. GREEN and JOAN enter. JOAN eyes GLENN. GREEN talks to the NURSE. He carries flowers. NURSE HI. Look at those flowers. Did you grow those. GREEN Ester and me did; My niece picked then. She's just here from California. NURSE That's good, I've never seen anything so healthy. He hands one to her. NURSE You sit there for a moment and let me see if she's sleeping. GREEN goes over and joins GLENN and JOAN in the waiting area.80 ANOTHER ANGLE JOAN is coaxing GLENN into going to the Opera. GREEN (to Glenn) Excuse me. Are you in music? GLENN No. GREEN Well, neither am I. But my niece is. CUT TO:81 BARBARA JEAN'S ROOM - DAY BARNETT enters with a basket of fruit. BARNETT Wake up. You'll sleep the day away. BARBARA JEAN rolls over and opens her eyes. She sees GLENN'S flowers and the note that says, "When I die I want you to come along and be an angel with me." BARNETT I called Connie and she said not to worry, She'll fill in for you. BARBARA JEAN I see. She gets out of bed and goes to the bathroom.82 INT. BATHROOM - DAY BARBARA JEAN suddenly starts to cry loudly. She covers the SOUND by FLUSHING the TOILET. When that cycle fades, she FLUSHES again. CUT TO:83 EXT. KING OF THE ROAD - AFTERNOON NORMAN drives up and enters.84 INT. KING OF THE ROAD - AFTERNOON NORMAN picks up the house phone, then sees MARY. NORMAN Sorry I'm late. MARY You're not. NORMAN Where's Bill? MARY Sleeping. NORMAN Where are you going? MARY Out. She exits without stopping. CUT TO:85 EXT. HAVEN'S HOUSE - AFTERNOON OPAL is driven up to the house by the TRICYCLE MAN. 86 INT. HAVEN'S HOUSE - AFTERNOON BUD gives OPAL a tour of the house. She carries her big recorder. BUD He got killed at a turkey shoot. OPAL Your brother? BUD Yes. I was in my Sophomore year at Harvard. OPAL Harvard? BUD Business School so I can run Haven's business. OPAL What is a turkey shoot. BUD You go out in the woods and shoot targets -- Whoever shoots the most wins a live turkey OPAL How in the world did he get shot? BUD Some guy was drunk and hit him. Accident. Haven almost killed him. DELBERT enters after having had a meeting with HAVEN in another room. REESE Sorry to bother you, Bud. BUD Yes, sir. Like you to meet Opal. They nod. REESE Need to have you check these out before he goes on that Walker benefit. BUD Sure thing. Put them here... I'll take them. REESE Thanks... I'll... go say hello to your mom. BUD She's in Paris. REESE Oh... Well... Have you heard from Barnett? BUD Not yet. REESE Let me know when you do, all right? REESE starts for another room. BUD You bet. REESE I'll just be in here. He catches OPAL'S eye and doesn't leave. OPAL Do you know Barbara Jean? BUD Sure do. Good friend of Haven's. OPAL Haven's not going to talk to me. BUD Sure he will. REESE looks at OPAL. CUT TO:87 INT. TOM'S MOTEL ROOM - NIGHT We SEE TOM and MARY make love. Not a word is spoken. CUT TO:88 EXT. OPERA-LAND - NIGHT TRICYCLE MAN arrives. So do REESE and OPAL. She records everything he says, more for him than her. He talks about being counsel for all the Western stars and WALKER, too -89 INT. OPERA-LAND - NIGHT L.A. JOAN and GLENN are in the audience. KENNY sits near them. STAR is present also.90 INT. OPERA - BACKSTAGE - NIGHT ALBUQUERQUE sneaks in as the guards check TRIPLETTE'S ID. TOMMY BROWN is backstage, next to perform. An ANNOUNCER introduces the acts.91 NEW ANGLE - TOWARD AUDIENCE ALBUQUERQUE looks to see who is present.92 ANGLE BACKSTAGE CONNIE WHITE and her entourage are gathered. HAVEN, BUD and PEARL talk. OPAL and REESE arrive. As TOMMY BROWN performs, TRIPLETTE makes the rounds. OPAL comes near. They are handed pieces of anniversary cake. OPAL Hi. TRIPLETTE Hello. OPAL I'm Opal. TRIPLETTE Oh yes, I'm John Triplette. OPAL I'm gathering information about the characteristics of music people. I just finished a documentary on Gandi. He looks puzzled. OPAL The architect His buildings are drippy. You know, like sand and castles. Then I got this assignment. They want to start in two weeks. TRIPLETTE Why? OPAL Why? TRIPLETTE What? OPAL What? Oh. A film. At this point, HAVEN walks up. BARNETT Where'd you get the cake? They are taken quite off guard. TRIPLETTE Someone gave it... Here, you want this... I'll... HAVEN No. Somebody walks by and asks HAVEN how the PRESIDENT is. HAVEN A little worried. Fine, though. TRIPLETTE clears his throat and turns his back to HAVEN and continues to talk to OPAL. HAVEN walks off. ANNOUNCER'S VOICE Ladies and gentlemen, Haven Hamilton.93 NEW ANGLE HAVEN grabs the mike and bursts into one of his more famous songs, then overlaps it with another. At the finish, he accepts applause and begins to speak about BARBARA JEAN. HAVEN We want to send special wishes to Barbara Jean who is in the Baptist Hospital. She collapsed yesterday morning at the plane christening. Send your prayers and letters to Baptist Hospital, Nashville, Tennessee. Barnett said she wept because she couldn't be here with you friends and neighbors. But your faith in the great Almighty will bring her back here just to be what you want her to be... And her good friend, Connie White, has given up some time with her own mother, who is sick with a kidney disorder, to fill in and send her warmth to you wonderful friends and neighbors so you won't be too disappointed after this message from teeth-sticken, good, gooey clusters.94 ANGLE TOWARD GLENN GLENN politely leaves when CONNIE WHITE is announced. The TRICYCLE MAN takes his seat, next to L.A. JOAN. CUT TO:95 INT. OPERA - ANGLE BACKSTAGE - NIGHT ALBUQUERQUE talks to two POLICEMEN. ALBUQUERQUE I know it's here somewhere. I had it when I walked in, but you weren't here. My name's Albuquerque, and I'm here cutting a record. My people said it would be all right. POLICEMAN Sorry, miss. No pass, no entrance. Your people should have given you a pass. ALBUQUERQUE They did. I know I'll find it here. We HEAR HAVEN'S VOICE from the stage.96 NEW ANGLE CONNIE WHITE passes ALBUQUERQUE and the POLICEMEN on her way to the bathroom. ALBUQUERQUE rushes up. ALBUQUERQUE Sister Connie... Connie. Hi, I saw you out there. I just think you're so beautiful. What do you think? I can't find my pass. I'm here cutting a record, you know, and these policemen here... The POLICEMEN standing right behind her. They all know she is lying. CONNIE I'm so glad you come for a little while, and thank you. ALBUQUERQUE I could just sit where I was. I wasn't bothering anybody. That guy asking everybody questions made more noise than I ever did. You saw me there. You signed this program. A MAN walks into the group. MAN Miss Connie, you're next. CONNIE smiles and squeezes ALBUQUERQUE'S hand. CONNIE Oh, honey, I gotta go. Thanks for coming. You read what I wrote you now. ALBUQUERQUE I did. You said, 'your friend, Connie.' CONNIE has disappeared and the POLICE start to usher out ALBUQUERQUE. She tries to see and hear as:97 INT. OPERA - STAGE AREA - NIGHT Connie White starts to sing. She does a few of her tunes. CUT TO:98 EXT. OPERA - NIGHT TRICYCLE MAN is the first to leave. He's with L.A. JOAN. After they drive away, there is an exodus.99 INT. OPERA - NIGHT After everyone else has gone, KENNY sits alone in the audience. INTERCUT WITH SEQUENCE IN OPERA:100 INT. SUELEEN'S MOTEL APARTMENT - NIGHT SUELEEN is in her mirror applying a whole face based upon the stars of the forties. She is listening to the OPERA ON the RADIO and eating pork and beans and tuna from cans. Her room is tilled with photographs of herself and Catholic symbols. She goes to the closet and selects a gown. She is preparing an outfit and face for the benefit. CUT TO:101 INT. BAPTIST HOSPITAL - BAAHARA JEAN'S ROOM We HEAR the tail end of CONNIE WHITE'S SONG on the radio. BARNETT is intently listening. BARBARA JEAN Would you turn that off He continues to listen until the end. BARBARA JEAN Barnett, please - BARNETT What's wrong honey. BARBARA JEAN I don't want to listen to her sing - BARNETT Don't feel that way, honey. BARBARA JEAN Then why are you listening to her - BARNETT Well, I have to go thank her for filling in and it's nice to know the tune she sang. BARBARA JEAN You have to what? BARNETT Go to the King Of the Road and thank her. BARBARA JEAN gets up out of bed. BARBARA JEAN Well here, why don't you take her some of these flowers while you're at it. She begins pulling flowers from various vases. BARBARA JEAN Maybe you'd like to work out something with her, too... Split us up... Her on the road and me in town or in the hospital -- (she wails) Barnett! She sits down on the floor at the foot of the bed and begins to cry. BARNETT backs off. If she was hoping for understanding, she is not about to receive it. BARNETT What the hell is wrong with you? Huh? He bends down and looks at her with the eyes of a race horse owner whose investment Just collapsed in the stretch. BARNETT Wait a minute. You're not going nutsey on me, are you? Huh...? You're not going to have one of those nervous breakdowns or anything, are you? Afraid she has gone too far, BARBARA JEAN stops crying and tries to make everything all right. But she is still choking in her own panic of being left. BARBARA JEAN A... No... No, I'm just... I'm really fine... I just. (she gets up) don't want you to think I'm giving up or anything like that... BARNETT looks at her as if from now on he will suspect her of secretly being crazy. He begins to pick up the flowers from the floor. BARNETT I'll just take these on over to her. Show her your appreciation. BARBARA JEAN crawls numbly back into her bed, nodding affirmatively. BARBARA JEAN Sure... you go on and do that. She begins to shiver. BARNETT looks at her, but he makes no attempt to come any closer. BARBARA JEAN (very small) Barnett? He leans in and pats her arm gingerly. BARNETT I'll tell her thank you, for you. BARBARA JEAN nods affirmatively, still shivering. BARBARA JEAN (please hold me voice) Barnett? BARNETT What? She senses he can't go any further. BARBARA JEAN Bye, bye. He looks at her again and leaves. BARNETT Bye. bye. He is not out the door before the tears begin again and she turns into her pillow so he won't hear her.102 INT. HOSPITAL CORRIDOR GREEN has come from his wife's room. He sees BARNETT walk down the hall. After a moment's deliberation, GREEN enters BARBARA JEAN'S room.103 INT. BARBARA JEAN'S ROOM We SEE GREEN come in the door. BARBARA JEAN is sti1l trying to control herself, but is not having much luck with it. BARBARA JEAN (to the pillow) I just get so afraid sometimes. Then I get more afraid. : Just want you to hold me. MR. GREEN can't bear what she's saying. He hesitates for a minute and then figures what the hell. GREEN Hello. She freezes, thinking BARNETT has come back and she will be discounted as totally insane. GREEN Am I disturbing you? BARBARA JEAN I'm really all right, Barnett. Don't you worry really... I just don't want you to leave me that's all. She turns and screams at GREEN. BARBARA JEAN Oh, my God. She scares GREEN, too, but he recovers better. GREEN Oh, honey, I didn't mean to scare you. BARBARA JEAN How did you come in here? GREEN Well, my wife, Ester's down the hall. I saw Barnett leaving and I was just talking to Ester about your being here. She loves you so much, I just had to come down and say hello. We've been following you since you were a girl. Well, I just scared you to death. I didn't mean to do that. She listens to him. The words somehow comfort her and she begins to laugh. BARBARA JEAN Well, I guess you caught me at a weak moment. GREEN You'll have to speak up. Realizing he can't hear too well makes her feel a little more secure. BARBARA JEAN (louder) I said, I've been real tired. GREEN Eater says she doesn't see how you do it. BARBARA JEAN (loudly) What's wrong with her. GREEN Oh just about everything, I guess. Those doctors started on an overhaul and don't want to quit. They keep taking things out. She's going to come home an egg shell. Tough, though.. She's tough. BARBARA JEAN What did you say your name was? GREEN Green. BARBARA JEAN Well, Mr. Green, you tell those doctors to stop that whittling and get her some Vitamin E. Have her take that three times a day, along with some good meals. If I could cook for her, she'd be well in a minute. A NURSE enters. NURSE Well, Mr. Green. GREEN Hi, Sherry. NURSE How'd you get in here. BARBARA JEAN It's fine. We were just talking about Vitamin S. GREEN I'll go on. Ester'1l be very glad. BARBARA JEAN You remember what I said about the Vitamins. She watches as he leaves, sorry to see him go. CUT TO:104 INT. LINNEA'S HOUSE - NIGHT LINNEA is getting ready for bed. She wishes TOM would call. The PHONE RINGS. LINNEA Hello. WOMAN'S VOICE Linnea? LINNEA (disappointed) Yes. WOMAN'S VOICE You sound different. Is that really you? LINNEA It's me. What is it? WOMAN'S VOICE Can you make a rehearsal in the morning...? Courtland wants to... LINNEA What time? WOMAN'S VOICE Eight-thirty in the chapel. LINNEA I'll be there. She hangs up and sighs. CUT TO:105 INT. KING OF THE ROAD LOUNGE - NIGHT NORMAN and BILL are there. An ENTERTAINER is singing the CONNIE WHITE song that CONNIE is doing at the Opera. BILL is eager to know where MARY is. NORMAN Maybe she's at the Opera. BILL Why the hell would she be there? NORMAN shrugs.106 NEW ANGLE BILL You know goddamn well where she is. BARNETT, with the flowers, enters and sits in the lounge. 107 ANOTHER ANGLE It is getting crowded by people returning from the Opera. OPAL is on one of the house phones, talking to Paris. We can also HEAR the HOUSE PHONE OPERATOR behind the switchboard desk. OPAL speaks in a combination of English and French. She isn't saying much in one language and she might just be talking to the OPERATOR, but is sounds impressive.108 NEW ANGLE CONNIE WHITE and her group step into the lobby. The MC in the lounge, spots her and coaxes her into taking the stage and singing one of her hits. When she finishes, BARNETT walks up and thanks her, handing her the flowers. Meanwhile, HAVEN, who is there with BUD and PEARL, tells TRIPLETTE that CONNIE and BARBARA JEAN will replace each other, but never appear on the same bill. After BARNETT exits, CONNIE leaves with HAVEN, BUD, PEARL and TRIPLETTE. OPAL is still on the phone, now speaking in Ita1ian.109 NEW ANGLE As CONNIE and group step out of the lounge, MARY enters. BILL and NORMAN see her. BILL reacts. END OF TUESDAY. CUT TO:110 VARIOUS SHOTS - MORNING CHURCH BELLS RINGING.111 EXT. STREETS - MORNING TRICYCLE MAN drives past the different churches. 112 EXT. BAPTIST CHURCH - MORNING DELBERT enters with his two kids. ALBUQUERQUE watches.113 INT. BAPTIST CHURCH - MORNING DELBERT sits. HAVEN and BUD are among those in attendance. CUT TO:114 EXT. BLACK CHURCH - MORNING TRICYCLE MAN drives by as TOMMY BROWN enters.115 INT. BLACK CHURCH - MORNING TOMMY sits. LINNEA sings in the all-black choir. OPAL is there with her tape recorder doing research.116 INT. CATHOLIC CHURCH - MORNING We SEE the TRICYCLE MAN outside. Present inside are SUELEEN, STAR, PEARL and WADE.117 INT. BAPTIST HOSPITAL - MORNING A small chapel service for patients and families. FEATURED are BARBARA JEAN, BARNETT, GREEN and GLENN. CUT TO:118 INT. KING OF THE ROAD MOTEL ROOM - MORNING BILL and MARY are having a violent fight, broken dishes and all. BILL throws something else. BILL Bastard MARY Stop it! She spins him around, but he tosses her onto the bed. He calls her all kinds of things. The PHONE RINGS. BILL wants it to be TOM, so he can yell at him, too. BILL Tom! TRIPLETTE'S VOICE No, ah, Bill? BILL What? TRIPLETTE'S VOICE I'm with ABC-TV. Like to come up and talk to you for a minute if I could. BILL starts to laugh. TRIPLETTE starts to laugh. BILL stops BILL Sure. He hangs up the phone and goes to the mirror, yelling at MARY. Momentarily, there is a KNOCK on the door.119 NEW ANGLE BILL walks to the door and opens it on TRIPLETTE'S sincere smile and extended hand. TRIPLETTE Hi. I'm John Triplette. BILL Hi. Come on in. Mary! TRIPLETTE enters the room and starts to take it in. MARY comes from the bathroom, her face swollen. BILL and MARY act as if nothing has happened. TRIPLETTE Hello. John Triplette. MARY Hello. TRIPLETTE Glad to meet you. BILL You want anything? A drink? TRIPLETTE Oh, no, listen, I don't want to take up too much of your time. BILL Don't you worry. We're just having a quiet Sunday at home. TRIPLETTE laughs nervously. TRIPLETTE Well, I'm here putting together a show. It's a benefit really. BILL Whose? TRIPLETTE Hal Phillip Walker. MARY Oh, no. TRIPLETTE He's pretty well known down here. BILL He's pretty well known all over. TRIPLETTE laughs again. BILL and MARY will be tough to convince. TRIPLETTE I was wondering if you'd like to be in it. It's going to be televised and... BILL lights a cigarette and takes a shot of tequilla out of the bottle on the floor. BILL What's he running for? TRIPLETTE President. MARY (horrified) President? BILL When is it? TRIPLETTE Wednesday at the park. We've got a lot of names coming in... MARY For him? TRIPLETTE Yes. MARY smiles. MARY Well, we can't. We're registered Democrats. BILL ignores her. BILL National television? TRIPLETTE ABC. BILL How much? TRIPLETTE Minimum. MARY looks at BILL. MARY We can't support him We're registered Democrats. BILL begins the fight again. BILL It's an appearance. It has nothing to do with support. I don't even like him. MARY Bill, he's a crazy man. TRIPLETTE moves in fast. TRIPLETTE Well, he- expressed a particular wish to have you on. They stop and look at him suspiciously. MARY What for? TRIPLETTE You're real favorites of his. They seem to change viewpoints in a moment. MARY You're kidding. BILL How come? TRIPLETTE settles in like they were old friends. TRIPLETTE First you have to understand how much he admires you. MARY and BILL get caught up in the sincerity. TRIPLETTE You sing for people and that's what he's about. He wants to help people. Especially now, you know. BILL bypasses all the talk about WALKER. BILL Where'd he ever see us? TRIPLETTE (bluffing) D.C. BILL D.C.? Tammany Hall? He came there? TRIPLETTE Sure thing. MARY What National TV...? TRIPLETTE You're doing some recording here, aren't you? MARY An album. TRIPLETTE Might be good for you. BILL takes another shot of tequilla. BILL We'll sing. TRIPLETTE shakes his hand. TRIPLETTE You don't know how pleased he'll be. MARY (can't believe it) What! BILL ignores her. BILL Okay. TRIPLETTE Okay. They shake. CUT TO:120 INT. TOM'S MOTEL ROOM - DAY TOM is having a serious attack of too much of everything. He takes a handful of vitamins, some aspirin and follows it with a couple of uppers. Then he looks for LINNEA'S phone number. There is a KNOCK on the door. TOM Come on in. NORMAN enters and they shake. TOM How's your stomach? NORMAN Pretty good. Sure was surprised to hear from you. You talk to Bill? TOM Not yet. Listen, Norman, I want... NORMAN They're looking all over for you. Do you have a copy of the album. TOM hands over a copy of their last album. NORMAN You know Bill is really mad at you. TOM Oh? NORMAN I mean... TOM Mary? TOM looks NORMAN down. NORMAN cheerfully changes the subject. NORMAN You know, I've got my own act now. I'm going on tour. TOM has found the phone number and dials. TOM Good...121 INT. LINNEA'S HOUSE - DAY The PHONE RINGS but no one answers.122 INT. TOM'S ROOM - DAY NORMAN Listen, Tom, I have a tour to drive. CUT TO:123 INT. KENNY'S ROOM - DAY We HEAR JOAN singing from her room. GREEN'S dog is on the bed. KENNY finds a dime, then steps into the hallway.124 INT. HALLWAY KENNY calls his MOTHER collect in Indiana. After the rundown with the operator, they finally speak. KENNY Mom? MOTHER (V.0.) I've been so worried, dear. where are you? KENNY Nashville. MOTHER (V.0.) Oh... Well. KENNY The car broke down. MOTHER (V.0.) Oh, well, I knew that before you- even left. I told you, 'Kenny, that old Nash won't make it down the road.' But you had to go. KENNY Well, I got to Nashville. That's pretty far. MOTHER (V.0.) Next you'll be sick. KENNY I feel really good. MOTHER (V.0.) How are you going to pay when you get sick? KENNY I'm in a rooming house with Mr. Green. MOTHER (V.0.) Green? Not Owen Green. Owen Green embezzled money from your grandfather KENNY I don't know his first name. MOTHER (V.0.) Bet the sheets are grey. KENNY No. No, they're white. He's got a nice dog. MOTHER (V.0.) Worst time at year for dogs is when they get fungus. KENNY Fungus? MOTHER (V.0.) He doesn1t have fungus, does he? KENNY I don't think so. MOTHER (V.0.) Well, you'll get it, skin as sensitive as yours. KENNY How do you know if they do? He looks suspiciously at the dog in his room. MOTHER (V.0.) Weather's been awful. All those bombs dropping. It changes our weather. Sure not like the good old days. KENNY (still looking at the dog) Does their hair fall out? MOTHER (V.0.) Your hair fell out? Just like your father. Weak hair. KENNY signals the dog to get off the bed. He's getting worried. L.A. JOAN will have wandered in and out during this phone call. KENNY Listen. Maybe I should go... MOTHER (V.0.) I've been a Little dyspeptic. KENNY I want to get the dog off my bed. MOTHER (V.0.) But, I'll take some of that Nyquil... you know it puts you right to sleep no matter what's wrong, you go right off... KENNY is really impatient to get the dog oft his bed. KENNY Okay. I'll be talking to you. MOTHER (V.0.) Keep warm, dear. Let me hear from you. KENNY Bye. MOTHER (V.0.) Bye.125 NEW ANGLE KENNY hangs up the receiver and starts for his room and the dog. L.A. JOAN comes from her room and interrupts. She asks him where he's going. KENNY I have to try to get my car running. L.A. JOAN I'll go with you. KENNY Well, okay... CUT TO:126 EXT. BAPTIST CHURCH - DAY LINNEA has come to join DELBERT and the kids. They enter an ante room where coffee and snacks are served.127 INT. ANTE ROOM - DAY ALBUQUERQUE is eating everything in sight. LINNEA approaches. LINNEA This your first time? ALBUQUERQUE'S mouth is full and she nods, "yes." LINNEA You're from out of town? ALBUQUERQUE Yes. I'm cutting a record. LINNEA We have a Bible study meeting tonight if you'd like to come. ALBUQUERQUE Is there food? LINNEA No. ALBUQUERQUE Well, I just wondered 'cause being from out or town I wouldn't be able to make anything. LINNEA No, those are socials you're thinking of... Saturday's usually. The MINISTER is nearby. MINISTER This is your first time, isn't it? ALBUQUERQUE Yes sir. I'm from Tallahassee. MINISTER I see. ALBUQUERQUE And I want you to know I round Jesus today, right here. MINISTER Bless you. I hope we see you again, then. He walks to the next person. ALBUQUERQUE passes LINNEA and DELBERT and goes to the street. CUT TO:128 INT. LIMO - afternoon NORMAN is giving TRIPLETTE a tour. NORMAN Now in the cemetery Roy already has his stone, it's a fiddle... right as you drive in you can see it in front there. TRIPLETTE Oh? NORMAN Lot of them do. Fans start chipping at them, though.... Johnny cash has a $100,000 fence around his house. Well, the fans are stealing the rocks right out of it. Haven Hamilton has a $700,000 fence. It has spikes.129 NEW ANGLE They pass a house with a red pickup truck in the driveway. NORMAN That house over there is where I live. The one with the red truck. My aunt drives the school bus. 600 kids a day. TRIPLETTE cranes to look as a car with "Just Married" and "We've only just begun" painted on it drives by them. Norman looks at it, too. NORMAN Some black folks wanted to paint this car once. I didn't let them. They also wanted me to kiss the bride. I declined. 130 NEW ANGLE He makes another turn on to a street that looks like a series of parks strung together. He slows down. NORMAN In the city of Nashville, there are a total of hundred and twenty millionaires some of them inhabit these beautiful home sites to make Nashville known as the Athens of the South. Here on the right you see the home of Haven Hamilton's mother. He built it for her after his Daddy passed away three years ago of lung cancer. Haven contributes time and money to the cancer foundation, now. You can see some of his records handing there in the living room. TRIPLETTE struggles to see. NORMAN pulls up a little further and stops. NORMAN Look, now you can see it. Sure enough you can. NORMAN He got that one in 1962. Song called 'Smokey Heart.'131 ANOTHER SECTION 0F ROAD - DAY The limo passes OPAL and continues down the road.132 INT. STAR'S TRUCK - INTERSTATE 40 - AFTERNOON We SEE OPAL hitching a ride. He starts past, but she yells, forcing him to stop.133 NEW ANGLE OPAL opens the door and gets in. OPAL You weren't really going to drive off? STAR just looks at her. She smiles back. OPAL My name's Opal. What's yours? STAR drives off. OPAL You going to Nashville? He grunts. OPAL Good. I came out here to meet some underground singer. They say she only writes in those trees over there. There is a long pause. STAR doesn't respond, so OPAL continues. OPAL She never came. I'm trying to gather some information about the characteristics of music people for English television. I started in San Francisco. Some friends were making an anti-war film about 'Nam, you know, and I just love marine movies. It is really the consummate art form, all those parts of the puzzle to make the whole. All that energy being collective, you know what I mean? She removes same of her clothes because or the heat OPAL I've been all over the United States now except for Maine and Vermont. STAR looks at her body and changes lanes. OPAL What did you say your name was? STAR Star. OPAL Star - oh! that's a fantastic name. Almost as good as Opal. I changed my name in Taos. This man that was really into low budget movies said my eyes were opalistic. She reaches over and turns on the RADIO. He reaches over and turns it off. OPAL I'm going to make the consummate documentary as soon as I finish gathering information. You know it's so nice not to feel oppressed in a society that is male oriented. STAR Are you in music? OPAL No, I told you that.134 EXT. HIGHWAY/STAR'S TRUCK The truck accelerates. OPAL (0.S.) Just living and then after that making the total documentary that will encompass everything. We SEE them pass KENNY'S Nash. KEMNY and L.A. JOAN are there.135 ANGLE AT NASH All the door handles have been stolen from the car. So has the radio and the steering wheel. There is a raw egg and a note that says, "ha-ha." KENNY is dumbfounded. KENNY What the hell? He opens the trunk. There are several political posters and politically motivated materials for WALKER. JOAN What's this? KENNY Replacement party. JOAN Who's that? KENNY A guy named Walker. Amazing person. He's developed a huge following. JOAN How do you know? KENNY Well I've been following him around Just listening to him --He says he can really win -- I bet he can too - - JOAN You must really like him. KENNY Well, he's really amazing. JOAN I haven't gotten into politics yet. I'm still into music --except for you. You're into politics. KENNY looks at her for a minute.136 ANGLE ON HIGHWAY - SUNSET The TRICYCLE MAN passes by the car. END OF SUNDAY. CUT TO:137 TNT. GREEN'S BOARDING HOUSE - MORNING KENNY is on the hall phone. Outside we HEAR the tricycle. KENNY has a stack of dimes and in calling wrecking yard people, MAN (V.0.) Wrecks. KENNY Ah, hello. My name is Kenneth Fraser... And I'm here from Terre Haute, Indiana. Ah, listen ... somebody stole my handles. MAN (V.0.) We don't mess with accessories. KENNY Oh, well, thanks. Ah, oh, maybe you know where... The MAN has hung up. KENNY draws a line through his name and dials again.138 INT. L.A. JOAN'S ROOM - DAY During KENNY'S calls, JOAN is dressing in a hurry.139 HALLWAY MAN (V.0.) Parts. KENNY Do you carry door handles? MAN (V.0.) What kind? KENNY Nash. MAN (V.0.) What year? KENNY Sixty-three. Suddenly there is another person's VOICE on the line. OPERATOR (V.O.) Excuse me. I have an emergency phone call for 228-5128 from the Nashville Baptist hospital. MAN (V.0.) What? KENNY Sure. Ill take it. I'll call back on the handles. The MAN hangs up. Nothing else happens. KENNY Hey, when do they come on? OPERATOR (V.0.) You have to hang up. KENNY Oh. KENNY He does and the PHONE RINGS. Hello? DOCTOR (V.0.) I'm sorry to break in, but is Mr. Green there? KENNY No, but I can give him a message. DOCTOR (V.0.) I see... Well, his wife just died. KENNY Oh my God! DOCTOR (V.0.) We're very sorry. Thanks. As he hangs up, JOAN appears with her transistor. She is quite in a hurry. KENNY I thought you were at the hospital with your uncle! She ignores him. KENNY Listen, your Aunt Ester just died. I'm... sorry... Listen, I really Feel bad now about last night...We had no... JOAN I'm in a hurry, gonna see this great group record at Woodland. KENNY I mean, Mr. Green was so nice to me. He took me in and... JOAN I don't really know what you're talking about. And she is gone. KENNY (still dazed) I've got to get a hold of Mr. Green. CUT TO:140 INT. WOODLAND STUDIOS -- STUDIO A - DAY TOM is singing alone. L.A. JOAN enters the studio and begins talking to one of the engineers. when TOM finishes she enters the booth. JOAN Hope you don't mind me coming. I just love your music.141 INT. HALLWAY NORMAN, BILL and MARY enter the studio.142 INT. STUDIO A The studio door is burst open on TOM who is singing. BILL is forced to stand still. TOM doesn't look up until he in finished. TOM Howdy. BILL Where the hell have you been? TOM and MARY bounce a look, her face is a little discolored. TOM You guys been having any fun? He gets up and starts out the door. BILL is very anxious. BILL Where are you going? TOM To the bathroom. He goes through the swinging door. BILL Hat! 143 INT. HALLWAY TOM is on the phone. MARY makes her way toward his back. There is no answer to his call, so he hangs up and faces her. MARY Hi. Long pause. TOM You look terrific. Another pause. BILL sticks his head out from the studio room. BILL Hey! TOM It's the den mother. MARY walks pant TOM into the studio room. TOM holds up a finger to indicate he'll be a minute and walks toward the bathroom. MARY reaches BILL. BILL Come on, dammit. They want to check levels. L.A. JOAN goes and waits outside the bathroom. When TOM comes out they exit together.144 INT. STUDIO A MARY is at her mike with her instrument. The engineer asks for a level so BILL and MARY sing their hit song. When they finish, BILL Where is he! CUT TO:145 INT. BAPTIST HOSPITAL - BARBARA JEAN'S ROOM - DAY BARBARA JEAN is sitting at the foot of the bed. A NURSE in there talking to BARNETT. NURSE The doctor is out of town. BARNETT I know that and don't you worry, I'm going to get her right into bed. NURSE She must rest. BARNETT I have this release form signed by the floor doctor. The PHONE RINGS. BARNETT Yes. TRIPLETTE (V.0.) Barnett, John Triplette. How's she doing? BARNETT She's fine. TRIPLETTE Well, I just thought I'd call. BARNETT Well, you did and she's fine. Thanks. He hangs up. The NURSE is reading the forms. BARBARA JEAN is going through the flowers... She finds GLENN'S and reads the note. NURSE Well, I don't know. BARNETT I have a nurse waiting for her in the bus. BARBARA JEAN Who brought these? NURSE I don't remember seeing those. BARNETT Somebody brought them. Come on, honey, let's go. She puts them on the gurney with the others. BARBARA JEAN Well, thank you all so much. You tell the other ladies thank you. NURSE Well all right. As they start out, DELBERT enters. REESE How is she? BARNETT A little slow, but she'll be fine. REESE Have you talked to Triplette? BARNETT Who the hell is he? REESE He's lining up talent for Hal Phillip Walker. BARNETT Who the hell is he? REESE He's going to run for president. BARNETT Third party? REESE He has that sign with the tree. BARNETT What does he want? REESE Barbara Jean. BARNETT What! REESE That's what he wants. BARNETT You know better than that. REESE It's on National television, Barnett. BARNETT I don't care. She's always been neutral in politics and that's not going to change. There is a pause. BARNETT and REESE have been talking away from BARBARA JEAN. REESE Well, how about the shopping center? BARNETT Yes. She's pretty rested up. REESE Okay, then we'll see you there. BARNETT Okay. REESE leaves. BARNETT returns to BARBARA JEAN and the NURSE. BARNETT Okay, come on, honey. How are you feeling?146 INT. Hospital RECEPTION ROOM - DAY BARNETT and BARBARA JEAN come from the elevator. GLENN is there writing. He sees her, As BARRETT and BARBARA JEAN leave, GREEN arrives with flowers for his wife. He sees BARBRA JEAN and hands her a flower. GREEN You going today? BARBARA JEAN (loudly) Thank you-- Yes, I am. GREEN I'll tell Ester, she'll be thrilled I saw you again. BARBARA JEAN (loudly) You get her those Vitamin E right away. GREEN (shows her the bottle) I got them right here. BARBARA JEAN feels BARNETT'S impatience to go. BARBARA JEAN Well, Bye, Bye now. We have to go. GREEN Bye, Bye. She goes on out the door as he walks to the desk.146A NEW ANGLE GREEN Where have you got her hidden today? He hands the NURSE a flower. She looks up in disbelief. NURSE Mr. Green? GREEN Yes, ma'am. How are you today? NURSE Didn't you get?... How are you? GREEN I'm fine. Can I go up? NURSE Let me see if I can get the doctor hold on one second. She makes several phone calls and can't locate anyone. She sighs and hangs up. GREEN You want me to wait? NURSE No. Mr. Green, I don't know how to tell you this -- your wire passed away -- I thought they'd called you at home. GREEN has and hasn't heard. GREEN What? NURSE (louder) Your wire Ester - she passed away. He is stunned. NURSE If you'll wait Just a minute I'll get everything from the business office.146B ANOTHER ANGLE He wanders to the waiting area. GLENN has been looking out the window at BARBARA JEAN getting into the bus. He comes back and begins to talk to GREEN so caught up in her he doesn't register GREEN'S grief. GLENN (loudly) My mamma used to know her... They lived next door to each other... she said she was always nursing the sick animals. GREEN looks at him and nods. He's still got the vitamins in his hand. GLENN I really learned all about her from my Momma -- She's been saving this scrap book about her since she got to be famous. GREEN nods. GLENN The one thing she said to me when I joined was "When you're doing your travels you be sure you see Barbara Jean. You don't have to say anything about me but you be sure you see her." So that's what I've been doing. Now I'm going to hitch a ride so I can see her in Memphis. GREEN nods. GLENN You give my test to your wife1 GREEN nods and puts the vitamins in his pocket as the NURSE calls from the desk. NURSE Mr. Green, the doctor is on his way and the business office has your bill ready. CUT TO:147 INT. LINNEA'S HOUSE - AFTERNOON The PHONE RINGS SEVERAL TIMES before LINNEA answers it. LINNEA Hello.148 INT. PHONE BOOTH INTERCUT: TOM Wow! LINNEA What? TOM Who is this, right? I called you last night. LINNEA Oh. TOM I've got a gig tonight. LINNEA Oh? TOM End of Church Street. Next to a grocery store. LINNEA Doesn't it have a name? TOM I can't remember. In out/out in, something like that. Around eight.149 INT. LINNEA'S HOUSE Again she is left with a dead receiver. 150 INT. PHONE BOOTH TOM exits. Behind him is Percy Warner Park and the Parthenon. L.A. JOAN is with TOM. CUT TO:151 INT. HALL - NIGHT SUELEEN works her way through a crowd of men trying to get into the banquet hall. There is a sign that says "Benefit Banquet." SUELEEN finally makes it through the crowd and enters the room.152 INT. BANQUET EALL - MIGHT She walks past the tables and steps on the stage. She checks the curtain to find that there is no backstage. She enters the kitchen.153 INT. KITCHEN - NIGHT SUELEEN almost trips over REESE and TRIPLETTE and another man who are talking. SUELEEN Hi, I'm Sueleen Gay. TRIPLETTE I'm John Triplette. Excuse me. I got all caught up in looking at you. You'll be fine. SUELEEN Oh, why thank you. TRIPLETTE May I see your costume? She removes her coat and exposes a costume that looks like a picture of a frosty glass or gin and tonic on a hot day. TIRIPLETTE stares blatantly and REESE can hardly keep his hands off her. SUELEEN starts into her routine as a matter of survival. SUELEEN You like it? Listen, where is the pianist? I need to go over this with him. She hands over a stack of music. SUELEEN You all didn't say what you wanted to hear. TRIPLETTE smiles. SUELEEN Someday I'm gonna be a star like Barbara Jean. TRIPLETTE puts his arm around her and walks off.154 NEW ANGLE TRIPLETTE Sueleen, you're prettier and probably sing better. Besides, she is unusually sick. And tonight you have the opportunity to work in front of some grateful gentlemen. They continue to walk past the many places. TRIPLETTE Have you ever done this before? She shakes her head, "no" quite caught up in air. TRIPLETTE Well, it's not too hard. You'll sing whatever it is you want to sing. They'll applaud like crazy 'cause I can tell them that you're really something and then the piano and drum will give you a little fanfare and you can sing and take off your clothes or not sing. It really doesn't make much difference, really. But since you've never done this before, singing might help. They are near three enormous beef legs waiting to go into the oven. TRIPLETTE Now this is to raise funds for someone who can help people who are less fortunate than yourself. The more you take off, you see, more money we can raise. SUELEEN (like a robot) I see. TRIPLETTE I know that you are an artist and I am sure you are very religious. She nods "yes." TRIPLETTE Well, this is for people who have a kind of religious belief in the way they live. 155 NEW ANGLE The waiters come in to serve the salad and the rolls and the chef starts to carve the meat. We FOLLOW one of the waiters into the banquet hall.156 INT. BANQUET HALL - NIGHT It is almost full. The pianist and the drummer are on the non- stage. At the far end of the roam, we SEE someone enter from the street, go to the sign and read it.157 NEW ANGLE - DOORWAY AND CORRIDOR It is ALBUQUERQUE reading "banquet." The door to the room closes and she goes down another corridor and disappears.158 INT. BANQUET ROOM - LATER THAT NIGHT The men have finished their dinner and SUELEEN finishes her song. The applause is thunderous. SUELEEN looks to the kitchen door.159 ANGLE AT KITCHEN DOOR TRIPLETTE is applauding like crazy. REESE in beside him.160 ANGLE AT SUELEEN She blows kisses then runs to TRIPLETTE. SUELEEN Don't you think they'd just love another song instead? TRIPLETTE Now, Sueleen, you know that's not what we talked about right here in this very room. It's too late. The ANNOUNCER speaks. ANNOUNCER We're ready to striiippppp... for cash, gentlemen. The time has come to dig deep. Our little Sueleen in going to dig deep for you. There are a few chortles. Suddenly she freezes. TRIPLETTE holds her and kisses her hair. Page missing165 NEW ANGLE TRIPLETTE encases her in her coat. TRIPLETTE yells something about bringing her clothes as the audience goes crazy.166 NEW ANGLE ALBUQUERQUE is totally fascinated and delighted, applauding to the point of almost giving herself away. She picks up SUELEEN'S clothes. CUT TO:167 INT. CAR - NEAR DEMOW'S DEN - NIGHT REESE drives SUSLEEN home. He is drunk. He double-parks. REESE Here we are, Sueleen. She looks out the window and nods. He gets out and opens the door as LADY PEARL walks past them on her way to the lounge. STAR drives up behind REESE'S double-parked ear and has to move around it. SUELEEN starts for her room, but REESE follows very close. Finally, he turns her around. REESE Sueleen... Sueleen Gay. His look says what he wants. She is terrified. SUELEEN Oh, no. She starts to walk quickly, but he grabs her arm. REESE Wait a minute! I want to look at you. C'mon. SUELEEN Oh, please, Oh, God. He pushes her against one or the storefronts. REESE C'mon! I Just wanna look... He squeezes her arm and she screams.167 CONTINUED: REESE Good. I wanna look really good. You know what I mean? Do you? Huh? She is about to pass out from terror, when all or a sudden he eases of.168 NEW ANGLE The TRICYCLE MAN stands and watches a few feet away. SUELEEN'S terror now is divided between the two men. REESE can't handle the way the TRICYCLE MAN looks at all. REESE Oh. He releases SUELEEN, turns and runs up the street. She slides down and hugs herself. The TRICYCLE MAN doesn't move. SUELEEN It'll be okay... It'll be okay... I know it'll be fine... After a while, she pulls herself up and starts up the stairs to her room. The TRICYCLE MAN watches until she is gone, then walks across the street. ((THE FOLLOWING IS INTERCUT WITH BANQUET) 169 INT. EXIT INN - NIGHT TOM enters with L.A. JOAN. The place in crowded. WADE sits at a table with LINNEA. She hasn't seen TOM. WADE I was in prison for twenty-eight years. LINNEA Oh. WADE Premeditated murder. LINNEA Oh. WADE Just got out. Had me thirteen lawyers. Missed the electric chair twice. .. Been out three months. Are you heavy? LINNEA I'm not sure... WADE I'm forty-six. Do you like to go up or down? LINNEA What? WADE High? Do you ever get high? A walk on the wild side. Ever do dust? Before TOM can sit down he is called on stage by the MC. Also present are BILL, MARY and NORMAN, talking about NORMAN'S act and OPAL, who interviews them. LINNEA sees TOM. WADE All I need is fifteen minutes a night. LINNEA Fifteen minutes? WADE Sleep. That's all I need. Don't want to waste no time sleeping. You married? LINNEA What...? 0h, yes. WADE Not me. Ain't never loved anybody. Ain't never been married. Won't either.170 ANGLE TOWARD STAGE TOM stands at the mike. TOM Good evening. Thanks. I used to be part of a group. You remember? Everybody laughs. TON Well, they're here, Bill and Mary. We're cutting a record here. So far, they've done all the work. It's an accident they're here. I've been hiding from them for days now, right? Everybody laughs. BILL You bet your sweet ass. Everyone laughs.171 ANGLE - LINNEA AND WADE She in lost in the sound of his voice. WADE You know who that is? LINNEA Yea. WADE I see.172 ANGLE - STAGE WADE TOM calls BILL and MARY to the stage. The three of them burst into: "Since You've Gone." When they finish, BILL and MARY sit down again. TOM I'd like to sing a new song for you. I threw away a good one I wrote yesterday. maybe it was the day before -- anyway.. Let's go here, 'I'm Easy.'173 NEW ANGLE TOM seems to know where LINNEA is sitting and directs the song to her. After he finishes, he gives the guitar back to its owner and Joins L.-A. JOAN to walk out.174 NEW ANGLE WADE starts in again. WADE Love, that's a word that's been overused. I'll say I sure like you. Maybe... LINNEA is wiping her eyes with a hanky. A large group of people starts out the door, among them TOM and L.A. JOAN. TOM steers himself and JOAN to LINNEA'S table. BILL and MARY catch him there. All the while he is talking to them, he writes a note and places it in LINNEA'S lap. OPAL walks past TOM. They look at each other. BILL Listen, we're suppose to sing on TV day after tomorrow. At the park... TOM National? BILL Yes. Percy Warner Park'. MARY Where are you staying? TOM Is that for that Walker guy? BILL Yes, but we're just singing. MARY Sue was trying to get hold of you. TOM Come on. He's a crook. BILL What crook? WADE I'm a Roman Catholic. You're Baptist, I bet. Catholic means universal, everything, know what I mean? She nods again. She can't make out the writing with out her glasses and she doesn't want to put them now. WADE I'm a scholar of the Bible as well and we're all going to answer to God. Have you read the book of Revelations? She nods 'yes.' WADE You ever read the 'Apocalypse Unsealed?' She is too curious. She takes out her glasses and looks through them lorgnette style as WADE continues to talk. TOM I'm not coming anywhere near that place. He's a rotten guy. MARY That's not true. TOM He's a politician. BILL He saw us at Tammany Hall. TOM The Hell he did. Look, I'll see you in the morning. MARY Really? TOM You bet. Nine, right? But count me out of that other thing.175 NEW ANGLE TOM takes L.A. JOAN and leaves. LINNEA panics, BILL burns, OPAL and MARY watch after TOM, NORMAN keeps silent. WADE My mother. died in '72. They told me after. They said they couldn't find me before, so they told us after. LINNEA What? WADE They said go see the chaplain. LINNEA I'm sorry but I have to go. She gets up quickly and leaves. Everybody is gone, too. WADE (to self) I'm a hundred years old and when I'm two hundred, I'll die. CUT TO:176 EXT. EXIT INN - As LINNEA hurries off, we SEE STAR sitting in his pickup truck, watching and waiting for ALBUQUERQUE. END OF MONDAY. CUT TO:177 EXT. HIGHWAY - AT KENNY'S CAFE - MORNING The TRICYCLE MAN is helping KENNY fix the car, changing tires, etc. KENNY is under the hood. When he comes out, KENNY tells the TRICYCLE MAN how grateful he is and that he wouldn't know what to do if he hadn't shown up. The TRICYCLE MAN just finishes the job. CUT TO:178 EXT SHOPPING CENTER PARKING LOT - DAY A platform has been erected in the center of the parking lot. BARBARA JEAN'S bus is parked nearby. There is a large crowd, and several people gathered around the platform. GLENN is among them so is TRIPLETTE, REESE and OPAL. Radio station personnel and musicians prepare for the show. Finally, the bus door opens and BARNETT leads BARBARA JEAN to the platform. The musicians start and she sings. The sound comes from many huge speakers and people come from stores and shops to hear. BARBARA JEAN segues from one song to another.179 NEW ANGLE BARNETT stands to the side, talking to various people TRIPLETTE pulls his sleeve. BARNETT Well, for heaven's sake. You're just about everywhere, aren't you? THIPLETTE I came out to see how you all were doing. BARNETT I think I should tell you I know why you're here. The answer is no ... we don't get involved in politics. TRIPLETTE (laughs good- naturedly) Well, that's not entirely true, Barnett. At least not according to Haven. BARNETT Haven? Hell,' we've been playing poker together since we were fourteen. TRIPLETTE I guess that's why he thought you right want to help out. BARNETT He knows better. TRIPLETTE Well, it's probably because it would help him. BARNETT How is that? TRIPLETTE Everybody likes to be as good as their word. BARNETT Whose word? TRIPLETTE His Word. BARNETT His word? Are you telling me Haven promised you something? TRIPLETTE That's pretty close. He's going to be on the bill. Why not put Barbara Jean on with him? TRIPLETTE'S last sentence is caught in silence as BARBARA JEAN has stopped singing in the middle of a phrase.180 NEW ANGLE She holds the mike and looks at Barnett. BARBARA JEAN Barnett.. She faints. There in a moment of confusion, then GLENN is on the stage protectively as the musicians clear the people out181 NEW ANGLE BARNETT vaults through the crowd pushing TRIPLETTE aside. BARNETT Get her feet up. He pulls himself on the stage. She is coming to and sees GLENN'S face looking at her and rubbing her hands. BARNETT Okay, honey. He carries her to the bus. TRIPLETTE is forced to watch from a distance.182 INT. BUS - DAY BARBARA JEAN has come to and she and BARNETT are alone in the back of the bus. He studies her carefully for a minute and then decides she'll be all right. BARBARA JEAN Oh, Barnett, I'm so sorry. BARNETT Honey, it's okay... How do you feel now? BARBARA JEAN All those people... She fights back the tears. BARNETT Don't worry, I'll take care or it BARBARA JEAN You're so good. He blows her a kiss and steps from the bus.183 EXT. BUS - DAY BARNETT sends the nurses inside. GLENN has pushed to front of the crowd. BARHETT grabs a hand mike. BARNETT She's fine now, folks. Just too soon after the hospital, I guess. (he pauses) She won't be able to continue and she's in the bus crying her eyes out, because she doesn't want to disappoint the people who love her the most. There is a group groan. BARNETT looks for some under-standing but there is none. There are several catcalls and GLENN, who in near BARNETT, becomes so enraged, he tries to find the caller. There is almost a fight, but TRIPLETTE intervenes. He glances to GLENN. TRIPLETTE Come on, come on. You don't want to waste your energy on that fool.184 NEW ANGLE Catcalls continue from other parts of the audience. TRIPLETTE shouts against GLENN, who has turned his intensity to the crowd GLENN She's frail. You never saw anybody so frail. I've seen her breathe hard just standing still, dammit. You're selfish. Worst selfish I've ever heard. What if she died? Would you like that? You'd probably say she faked it so they could make money. Well, you're just dumb.185 NEW ANGLE TRIPLETTE We could invite them to the park. BARNETT What? TRIPLETTE They can come to the concert in the park. BARNETT I said 'no!' BARNETT studies the angry crowd then TRIPLETTE, who is holding back GLENN against them. The crowd is even more angry BARNETT (to crowd) We're very Sorry... Please... If you'll listen. (he makes the decision) You can see her tomorrow at Percy Warner Park... GLENN has disengaged from TRIPLETTE'S hold and pushed his way to the back. BARNETT Triplette, I want to talk to you. Moves closer. BARNETT I got trapped and you know it, so let's have some rules. TRIPLETTE Absolutely. Listen, Barnett, I understand your position. BARNETT No, you don't, so don't say you do. Bunch of damn liars. What do you get out or this? TRIPLETTE Nothing; Barnett. It's my job. BARNETT Your job, huh. He removes a pen and paper and writes down the following as he speaks. BARNETT She will not appear on the stage or support that Walker guy and you can't have any of his signs up while she sings. She'll be on first and out of the park before he shows up. There will be no pictures, no questions, no answers or tying her name up with his now or in the future to come. Any money she makes will go to the President of the United States. He calls over his secretary and makes TRIPLETTE sign the statement. Then the secretary signs. BARNETT We'll see you tomorrow. I'll send her three songs over this afternoon. She'll be done about ten minutes after she starts and Walker better not show up till she's through. Now, get out of here. TRIPLETTE extends his hand expecting friendship. BARRETT ignores it. As TRIPLETTE leaves, a MAN who has been after BARNETT'S attention steps up. BARNETT turns to his secretary. MAN Barnett? BARNETT (sharply) What? MAN Well, Barnett, I have this terrific song I've been working on. It would be a natural for Barbara Jean. Like you to take a look at it. BARNETT looks at him suspiciously. BARNETT I'm very busy right now. (to secretary) Get me Haven. MAN It'll just take a minute. Here, I'll even hold it for you. BABNETT sighs and skims over the paper. Song stealing is the same as horse stealing to BARNETT. He becomes enraged. BARNETT I don't know where you got this, but something tells me you stole it and I hate thieves. The MAN takes the paper back and tries to walk away from him -- BARNETT yells after him. BARNETT Aren't you an engineer...? I know you -- Don't you work at one of those cut a record places...? Twenty-five bucks a shot, isn't it? Usually their last twenty-five... The MAN backs up and BARNETT follows him. They have entered the crowd. The MAB starts to run. BARNETT runs after him. When the MAN gets into the car. BARNETT picks up a rock, throws it and hits the windshield with it. The car MISFIRES but finally starts.. As the MAN drives off, BARNETT stands watching until he's out of sight. CUT TO: ((THE FOLLOWING Is INTERCUT WITH THE SHOPPING CENTER)186 EXT. FAIRGROUND - DAY We SEE a fairground, then a roller rink, and a wrestling ring, and finally a small portable stage in the center of a circular track. The grandstands are partially ruled and stock cars roar from another part or the field; Around the stage -we SEE a sign that says, "Talent Show Tonight" and we see the contestants and the MC, and NORMAN doing a routine with an accordion player. After NORMAN finishes, the NC takes the mike. MC Thank you, Mr. Berguan. And now we bring you, 'Albuquerque.'187 NEW ANGLE ALBUQUERQUE walks to the mike. ALBUQUERQUE Hello, everybody. My name is Albuquerque. There are-a few nasty remarks. ALBUQUERQUE I'm going to sing a wonderful tune. She starts to sing, "You're an Old Smoothie," and as she does the stock cars leave the pit and drive to the entrance of the track. ALEBUQUERQUE, disturbed at first, sings louder. The cars are waiting for the talent show to set off the track.188 NEW ANGLE Albuquerque starts to take off her clothes. The MC hasn't noticed, but the grandstand has. People shout, "Take it off..." ALBUQUERQUE loves it. Before ALBUQUERQUE can remove the last two garments, the MC rushes over and grabs the mike. MC We'd 1ike~to announce the winner of tonight's contest. Albuquerque, How about some applause for a darling little lady ALBUQUERQUE Oh, I'm not through. MC That's all, folks. The stands are calling to have her take it all off and her fellow contestants are furious. RAVEN, BUD and PEARL are there and they discuss her act. MC Here is the twenty dollars first prize money and a seat in the grandstands and now let's turn the show over to Al Allen in the race stand. He shuts oft the mike.189 NEW ANGLE - TRACK The stock cars start around the track and stop in front or the race announcer. AL Congratulations to Albuquerque and welcome, everyone, to the Memorial Race for Billy Apple, who died a week ago in a wreck at this very track, and we want you to know his last words were, 'Are the other fellows all right?' A wave of applause and we SEE the talent show make its way across the rack. The platform is already torn down and the MC is helping ALBUQUERQUE dress. As she passes the drivers, they cheer and she blows them a kiss and loses her first garment as she does. More cheers.190 NEW ANGLE The cars are dented. On the side of one car it says, "Haven Hamilton," and now we see him, BUD and PEARL in the stands. On the side of another car it says, "Connie White." AL Want you all to save a dime every day and next Saturday we'll take up a collection and give it all to Billy Apple's wife. Share. Their four kids will sure miss their daddy. Want to announce Bob Trilltree is out of the hospital now. Hope you'll be back with us soon. All right, would you stand, please? The people stand to a scratchy record of the National Anthem. A '74 Pontiac circles the track with a man holding a medium-sized American flag which flaps as the convertible drive.. At the end of the song the Pontiac drives off the track. AL This is for Billy Apple. Okay, ladies and gentlemen, let's pick ourselves a winner.191 NEW ANGLE The drivers get into their cars and start up. The track man waves a flag which starts them around the track in pairs. We notice the TRICYCLE MAN, who has been there all the time. The race starts and the SOUND is deafening. ALBUQUERQUE is thrilled to death. Suddenly, STAR sneaks up on her as she whistles with her fingers in her mouth. STAR Winifred. ALBUQUERQUE Hi! Star. STAR Winifred, the kids want you home and so do I. ALBUQUERQUE I won first prize. STAR Come on. She has no choice but to follow him out. Several people compliment her as she leaves the grandstand. She buys a bag of peanuts on the way out.192 INT. TOM'S MOTEL ROOM CUT TO: There is some lovemaking going on in Tom's bed. TOM You're really terrific, you know what I mean --LINNEA rolls over and faces him. LINNEA I have to go. TOM Wrong. LINNEA I have to go. He sighs. TOM I know. She makes a more to leave. TOM Stay. LINNEA I can't. TOM Car pool? She laughs and eases out of the bed. TOM When did you think it would happen? LINNEA I'm not sure. TOM I knew when I first met you. LINNEA Oh. She starts to go into the bathroom. TOM How old are you? LINNEA Older. TOM Thirty? LINNEA Well... TOM I'm twenty-eight LINNEA Oh. TOM Older than thirty? She nods. TOM Terrific! Who was that black guy? A friend of yours? LINNEA That's unkind. TOM Come on, you ever been attracted to a black guy? She looks at him close, then goes into the bathroom and shuts the door.193 INT. MOTEL BATHROOM - AFTERNOON We HEAR TOM making a phone call. LINNEA grabs a towel and wraps it around her head and throws back the shower curtain, only to find a huge black cockroach in the tub. TOM laughs as she shuts the curtain in horror, then she proceeds to take a sponge bath. She leaves the bathroom quickly.194 INT. MOTEL ROOM - AFTERNOON TOM is still on the phone. LINNEA dresses, but can't find her slip. She finishes and heads for the door. TOM (into phone) Just a minute. He steps to LINNEA and puts his arms around her. TOM I'll talk to you tomorrow. LINNEA That's what you said before. TOM I know. Goodbye. He kisses her and walks back to the bed. As she gets to the door, she is hit with something, It is her slip. TOM Maybe you better keep that. He smiles and she walks out the door.195 EXT. TOM'S MOTEL ROOM - AFTERNOON Outside, LINNEA hangs the slip on the doorknob and leaves. CUT TO:196 INT. GREEN'S BEDROOM - NIGHT GREEN is in bed. KENNY takes away a tray of cookies and hot chocolate. You okay? GREEN Sure... you're a fine boy, Ken, you really are. KENNY Okay... you get to sleep. I'll see you in the morning. Good night. GREEN Good night, KENNY turns out the light and calls the dog. GREEN settles into his pillow. END OF TUESDAY. CUT TO:197 EXT. CEMETERY - MORNING A small, empty last rite for MRS. GREEN. KENNY and GREEN are at the grave. In the distance, the TRICYCLE MAN watches. GREEN I guess she's not coming... CUT TO:198 EXT. PATHENON - MORNING Preparation for the big televised rally. CUT TO:199 EXT. PERCY WARNER PARK - DAY Outside the Parthenon, KENNY, with his violin case, waits for some food at the barbecue. ALBUQUERQUE'S who has fled STAR again, waits near him. BARNETT is talking to REESE.200 ANOTHER ANGLE TRIPLETTE is at the stairs. GLENN is trying to get past a guard and finally TRIPLETTE recognizing him from the shopping center, helps him in. They enter the stair area, near all the TV cables and equipment.201 NEW ANGLE They approach BARBARA JEAN, who is talking to musicians. BILL and MARY are there with NORMAN, and LINNEA is singing on stage with the black choir. TOMMY now steps up to talk to BARBARA JEAN.202 NEW ANGLE GLENN is lost in BARBARA JEAN'S magic. She smiles at him, but in talking to HAVEN, BUD and PEARL and looking for BARNETT. TRIPLETTE walks by GLENN. GLENN Listen, could you give her this for me? TRIPLETTE takes a note from GLENN. TRIPLETTE Sure thing. GLENN Thanks. TRIPLETTE TRIPLETTE hands her the note as BARRETT angrily steps up. Someone calls "places." BARNETT They screwed up. You go on after the choir. TOMMY BROWN joins LINNEA and the choir on stage. We SEE TOM wandering and avoiding BILL, but catching MARY'S eye. OPAL is near as is LA JOAN. BARBARA JEAN reads GLENN'S note: "If I die tomorrow, I lived today."203 NEW ANGLE The applause builds. ANNOUNCER Ladies and gentlemen, Miss Barbara Jean... The audience is swept away.204 NEW ANGLE In the audience we see KENNY and the TRICYCLE MAN and WADE. SUELEEN is there, too.205 ANOTHER ANGLE -- STAGE AREA As BARBARA JEAN sings, GLENN stands next to BARNETT. She finishes the song and looks in GLENN'S direction.206 ANGLE - BARBARA JEAN She is leaning on a stool. BARBARA JEAN I want to thank you for all your good wishes. You are so important to Barnett and me. Now I want to sing a special song for all our soldier boys. The orchestra starts. She calls for HAVEN to come out. The applause swells and, they start a song together.207 EXT. FRONT OF PARK - DAY A long black limo is parked near two ambulances, the attendants sitting on the ambulance fenders and joking.208 ANGLE - STAGE BARBARA JEAN and HAVEN have finished the soldier song. The choir comes out to back her now. The audience picks up the song they sing. After the song everyone claps loudly, and a large bouquet of flowers gets handed up to BARBARA JEAN. They hug as someone begins to unfurl a "HAL PHILIP WALKER" banner behind them. Photographers crowd in. Suddenly there is a sharp jolt in HAVEN'S body and BARBARA JEAN is down. There is brief confusion, but the choir continues to sing and everyone thinks BARBARA JEAN has fainted again.209 NEW ANGLE The confusion mounts as both HAVEN and BARBARA JEAN are down and there are flowers lying all over the place HAVEN Barnett! My God, Barnett I'm shot! TRIPLETTE runs up the stairs and the choir continues. BARNETT yells for them to stop. He and BARNETT are over BARRARA JEAN, while guards and BUD attend to HAVEN. TRIPLETTE She's... oh, my God... there's blood here... (taking mike) Ladies and gentlemen, I don't know what to say.210 ANGLE - AUDIENCE There is a VOICE among the noise that shouts: I could have got that Walker bastard before. I've been closer, closer than this, but my Nash broke down and somebody kept stealing my things. I wanted to get him the day before, then Mr. Green's wire died, so this was the right time. I love the President of the United States. I love him. Guards grab the speaker, KENNY, in an instant. He shoots a policeman's foot by accident. Men swallow him up. Someone yells, "sing."211 ANGLE - STAGE The choir has no direction to go in. ALRUQUERQUE suddenly is with microphone.. She starts to do "It Don't Worry Me." The rest of the singers join in.212 EXT. PERCY WALKER PARK - DAY BARNETT leads the stretcher to one or the ambulances. He doesn't allow HAVEN to enter. BARNETT Have your friend Triplette take you to the hospital. A man walks up from the limo. It is WALKER. TRIPLETTE is near. WALKER What'd she do, faint again? I'm getting tired of waiting in the car. TRIPLETTE turns and belts him. CUT TO:213 INT. AMBULANCE - DAY As it speeds to the hospital. BARNETT is calm. He knows none of it matters anyway.214 EXT. STREETS - DAY The TRICYCLE MAN follows the ambulance, then heads off onto the highway to Memphis. We SEE STAR'S truck going toward the Parthenon.215 EXT. PARTHENON We SEE STAR'S truck arrive and park. He gets out, as the music and chaos swell. END CREDITS FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Natural Born Killers.txt b/unformated_scripts/Script_Natural Born Killers.txt new file mode 100644 index 0000000000000000000000000000000000000000..8aebe771f38a2ac9644a48738b174a375cf3f915 --- /dev/null +++ b/unformated_scripts/Script_Natural Born Killers.txt @@ -0,0 +1 @@ +"NATURAL BORN KILLERS" WRITTEN BY QUENTIN TARANTINO INT. COFFEE SHOP - DAY A coffee shop somewhere in New Mexico. MICKEY KNOX, his back turned to us, is sitting at the counter finishing his meal. We hear the PING...BANG...of a pinball machine being played OFF SCREEN. MABEL, a waitress, comes over and fills Mickey's coffee cup. MICKEY What kind of pies do you have? MABEL Apple, pecan, cherry, and key lime. MICKEY Which do you recommend? MABEL The key lime is great, but it's an acquired taste. MICKEY I haven't had a key lime pie in ten years. MABEL When ya had it, did ya like it? MICKEY No, but that don't mean much. I was a completely different person ten years ago. Let's give key lime a day in court. And a large glass of milk. Mabel turns to her right. MABEL (to someone O.S.) Should I make that two pieces? CAMERA PULLS BACK and we see for the first time MALLORY KNOX, Mickey's wife, sitting on a counter stool next to him. Her back is to the camera as well. MALLORY Nada, Rosey. MABEL (annoyed) My name's not Rosey. (points at name tag) It's Mabel. Mabel exits FRAME. MALLORY Whatever. Mallory hops from the stool, walks over and grabs the JAR next to the cash register, then dumping out the coins on the counter, she selects a quarter. MABEL Hey, what the hell do you think you're doin'? Mallory saunters past the COWBOY playing pinball. As his eyes follow Mallory, he loses his ball. She walks to the jukebox in the back, inserts the quarter, selects a song, punches the buttons, a needle lands on a record, and a good God almighty rockabilly tune cuts through the coffee shop. Mabel brings Mickey his pie and milk. MABEL (to Mickey) She ought not be doing that. That's for Jerry's kids, not rock 'n roll. CAMERA moves around to a CU of Mickey. This is the first time we see him. As he takes a bite of green pie: MICKEY I can't take her anywhere. Mallory starts doing a slow seductive fandango around the coffee shop. She's really cooking and smoking. Pinball Cowboy and Mabel are starting to wonder just who the hell these people are. Mickey isn't paying much attention. He's too busy enjoying his pie and milk. EXT. COFFEE SHOP - DAY A dirty pickup truck, sporting a Confederate flag decal, pulls up to the coffee shop. SONNY, OTIS, and EARL, three tough-looking rednecks, pile out. Steam rises from beneath the pickup's hood. EARL Goddamn this sumbitch is runnin' hot. Y'all go inside. I'm gonna check 'er out. INT. COFFEE SHOP - DAY The LOUDNESS of the Rockabilly song slaps Sonny and Otis in their faces as they walk inside the door. The sexy sight of Mallory doing the ubang stomp stops them in their tracks. SONNY Good God almighty. What the hell is that? OTIS That's a bitch outta hell, son. Otis and Sonny exchange looks. SONNY Take a run at 'er, kiddo. Otis heads toward Mallory. Sonny moves over to the counter next to Mickey. SONNY Miller, Mabel. MABEL Comin' up. Otis stands in front of Mallory, trying to copy what she's doing. Her eyes are closed at the moment, so she doesn't see him. Mabel sets the Miller down in front of Sonny. Sonny takes a swig, enjoying the floor show. SONNY (to Mickey) That's some sweet piece of meat, ain't it? Mickey turns from his pie and looks at Sonny. His expression betrays nothing. MICKEY Her name's Mallory. The needle lifts off the record. The song ends. Mallory opens her eyes and sees Otis. OTIS Hells Bells! Don't stop now sugar. I'm just getting warmed up. Otis gives her his best shit-eating grin before turning to Sonny. Sonny gurgles out a laugh. SONNY Hey, I think she's sweet on you. Otis turns to Mallory as she PUNCHES him hard in the face spinning him around. Sonny spews his mouthful of Highlife. Mallory grabs the back of Otis' head and SMASHES it down on the table, cracking the linoleum. Otis buckles, dropping to his knees. Sonny jumps off the counter stool, but Mickey's hand clutches hold of his shoulder. Sonny spins around toward Mickey, loaded for bear, and points his finger at him, threateningly. Before any threat can be made, Mickey whips a large buck knife out from its sheath, and in a flash, SLICES off Sonny's finger. Sonny's finger drops on his boot. He grabs his aching hand. Blood flows from the wound. MICKEY Just because my woman's mopping up the floor with your buddy is no reason for you to join in. Mickey makes five lightning quick SLASHING SWINGS. The buck knife slips back into its sheath. At first, there seems to be no difference with Sonny. Finally, blood flows from the slices made in his face and chest. Sonny collapses. The SHORT-ORDER COOK charges out of the kitchen at Mickey, wielding a meat cleaver and screaming. Mickey whips out a .45 automatic from a shoulder holster inside his jacket and FIRES. BULLET'S POV: Heading fast toward Short-Order Cook's face. It HITS. Short-Order Cook puts his hands to his face and falls to the ground, screaming. Mickey spots Earl, who's standing outside the plate glass window. Earl's watched the whole shebang. Earl mouths 'Fuck!' He turns and runs for it. Mickey hurls the knife through the plate glass window, which SHATTERS. The knife PLUNGES deep into Earls back. He hits the ground dead. Mickey turns to Mallory. She's sitting on op of Otis, SLAMMING his head repeatedly on the floor. MICKEY Honey. Mallory looks up at Mickey. She gets off Otis and moves to Mickey's side. Mickey trains his .45 on Pinball Cowboy, who's shaking in his cowboy boots. Mickey aims at Mabel, who's clutching the coffee pot, crying. MICKEY (to Mallory) Pick one. Mallory does eanie, meanie, minie, moe, pointing back and forth from Mabel to Pinball Cowboy. MALLORY Eanie, meanie, minie, moe, catch a nigger by the tow. If he hollers, let him go. Eanie, meanie, minie, moe. My mom told me to pick the best one and you are it. She ends, pointing at Mabel. Mabel's crying. She screams. MABEL NO! Mickey FIRES the .45. The bullet CHINKS through the coffee pot Mabel's holding and explodes, THUNKING her in the chest. She hits the floor dead. Mickey and Mallory join hands and walk over to the Pinball Cowboy who stands in a pool of his own urine. MALLORY When you tell people what went on here, tell 'em Mickey and Mallory Knox did this. Understand? Pinball Cowboy nods yes. The two killers plant a big wet kiss on each other's mouths. Then, holding hands, Mickey and Mallory walk out of the cafe. CREDIT SEQUENCE: INT. COUPE DE VILLE - MOVING - DAY Mickey and Mallory in a flashy '68 Cadillac Coupe De Ville. Duane Eddy's 'REBEL ROUSER' blares on the soundtrack. The B.G. is an outrageous PROCESS SHOT. The titles splash over this image 50's style. When this sequence is over, we CUT TO BLACK. END CREDIT SEQUENCE Over black screen, we hear: CAPTAIN SQUERI Send Scagnetti in here. INT. POLICE STATION (SQUERI'S OFFICE) - DAY CAMERA is position in the middle of the office. The door is in the middle of the frame. JACK SCAGNETTI flings the door open and steps inside Squeri's office. Squeri's never seen. SCAGNETTI You wanted to see me, Capt'n? CAPTAIN SQUERI (O.S.) Scagnetti, go up to interrogation room C. Dewight McClusky, chairman of the prison board, is waiting to meet you. You're gonna deliver two prisoners from the county jail to Nystrom Insane Asylum in Bakersfield. SCAGNETTI This is bullshit. I'm a detective. You want an errand boy, call Jerry Lewis. Scagnetti spins around and leaves the room, SLAMMING the door shut behind him. Captain Squeri shouts after him. CAPTAIN SQUERI (O.S.) Jack! INT. POLICE STATION CORRIDOR - DAY Police Detective Scagnetti walks rapidly down the hallway, wearing an old, wrinkly, black suit jacket. PEOPLE walk by in the F.G. and B.G. Scagnetti slips an already tied tie over his head. INT. INTERROGATION ROOM C - DAY DEWIGHT MCCLUSKY, a man in his fifties, wearing a business suit, stands in the F.G. reading a book with his back to the door. In the B.G., Scagnetti enters the room. SCAGNETTI Jack Scagnetti. You wanted to see me? McClusky turns toward Scagnetti. MCCLUSKY Congratulations on the Curtis Fox case, Scagnetti. You put an end to a nightmare. The ladies of this city can get to sleep again, and they have you to thank. SCAGNETTI Thank you, sir. MCCLUSKY Dewight McClusky of the California Prison Board. Take a seat please. Scagnetti lowers into a chair in front of the interrogation table. MCCLUSKY (referring to book) This is damn good reading. I'm surprised Hollywood hasn't found you. This would make a better movie than that 'Serpico' shit. McClusky puts the book down, we see the title: 'CURTIS FOX: The Capture and Death of a Serial Killer'. Author: Jack Scagnetti. McClusky sits on the edge of the table, facing Scagnetti. He lifts a file off the table, then tosses it in Scagnetti's lap. MCCLUSKY I think you'll find that good reading as well. Mickey and Mallory's file. You familiar with them? Scagnetti opens it. It's the files, reports, and photographs of Mickey and Mallory Knox. Scagnetti's face lights up. SCAGNETTI Who isn't? MCCLUSKY You been followin' the news coverage? SCAGNETTI They've been separated since their incarceration in a couple of penitentiaries--- MCCLUSKY Susanville, Soledade. SCAGNETTI They've killed a shitload of inmates and guards--- MCCLUSKY Five inmates, eight guards and one psychiatrist all in one year's time... Very good. You do keep up with the headlines. Scagnetti nods. MCCLUSKY Look, our situation in a nutshell is, no prison wants 'em, no prison will take 'em. I'm even talkin' hellholes, where the warden's as hard as a bar of iron. No one wants those fuckin' assholes behind their walls, dealin' with 'em day in, day out. SCAGNETTI I can appreciate that. MCCLUSKY So can we. So the solution to our little problem is we had them deemed crazy. And we're shippin' 'em to Nystrom Asylum for the criminally insane. SCAGNETTI Lobotomy Bay? MCCLUSKY You've heard of it? SCAGNETTI So, how do I fit into this scheme? MCCLUSKY The public loves you Jack...You don't mind if I call you Jack, do you? SCAGNETTI By all means. MCCLUSKY You're a celebrated cop. Twenty-six years on the force, a best-seller out on paperback... McClusky grabs Scagnetti's book and reads from the back cover. MCCLUSKY A modern day Pat Garret. A hell bent lawman with a deadly axe to grind with maniacs. McClusky lowers the book. MCCLUSKY You're a breathing icon of justice and that's why you were chosen to deliver Mr. and Mrs. Knox. We, the prison board we, knows that once you get them on the road if anything should happen, an escape attempt, an accident, fire, anything...Jack 'Supercop' Scagnetti would be there to look out for his public's best interests. SCAGNETTI I see. MCCLUSKY You write the script Jack, call it, 'Showdown in Mojave: The extermination of Mickey and Mallory', whatever... Have we found our man? Hold on Scagnetti. CUT TO: INT. COUNTY JAIL - CELL BLOCK CORRIDOR - DAY SCAGNETTI'S POV: McClusky stands next to a big iron door. He BANGS on it with is fist. We stay on Scagnetti's POV through this scene. MCCLUSKY Pete, open it up! I'm comin' through with a visitor! A BUZZER SOUNDS McClusky opens the door and we follow him down the corridor. As soon as the door opens, we can hear a female voice singing the song 'Long Time Woman'. McClusky turns to Scagnetti as they walk. MCCLUSKY Well, Jack, I'll tell ya, in all my years with the penal institution, and I'll tell ya that's no small number, Mickey and Mallory Knox are without a doubt the most twisted, depraved group of fucks it's ever been my displeasure to lay my eyes on. I mean, those two rat shits are a walkin' reminder of just how fucked up our system really is. The song 'Long Time Woman' is getting louder as they proceed. SCAGNETTI (O.S.) Who's the song bird? MCCLUSKY Mickey's better half herself. Mallory Knox. This little lady drowned her father in a fish tank. INSERT: INT. A LIVING ROOM - NIGHT CU of a home aquarium with fish swimming around. Suddenly Mallory's FATHER'S head is shoved into the tank. BACK TO: PRISON CORRIDOR MCCLUSKY While the two together burned her mother alive in her bed. INSERT: INT. A BEDROOM - NIGHT MEDIUM CU of Mallory's MOTHER lying asleep in bed, mouth open. What looks like a gas nozzle appears at the top of the FRAME, pouring gasoline all over her face. She coughs and gags. CAMERA PANS up and we see Mickey holding a gas can. CU of Mallory with a lit match by her face. She tosses it in front of her. We hear the SOUNDS of Mallory's mother igniting. BACK TO: PRISON CORRIDOR Still SCAGNETTI'S POV: SCAGNETTI (O.S.) Why? McClusky's still walking ahead of us. MCCLUSKY Because they wouldn't give them their blessing for marriage. SCAGNETTI (O.S.) Ain't love grand. McClusky laughs. MCCLUSKY Ain't love grand. That's a good one. Still SCAGNETTI'S POV: We look down from McClusky to Mallory's file in our hands. It contains her picture and lists her color of hair, color of eyes, height, weight, race, etc. Beneath that is a column which reads: PSYCHIATRIC REMARKS. As we read the remarks, we hear a DOCTOR'S VOICE read aloud. FEMALE PSYCHIATRIST (V.O.) When pressed about the reason for the murders...patient became hostile... INSERT: INT. A PSYCHIATRIST'S OFFICE - DAY Looking trashy, wild, and animalistic, Mallory's a sex machine dressed in a prison gown. She sits in a chair, looking directly at the CAMERA. MALLORY I don't owe you an explanation! I don't owe you shit! I'm not here for your entertainment. If I don't tell you what you wanna hear, what are you gonna do? Throw me in jail? I'm already there, you stupid pigfucker. You gonna give me some more time? I've already got life. What else you got to threaten me with? Death? I'd like to see you fuckin' try. I haven't met one motherfucker here who's shown me shit! BACK TO DEATH ROW CORRIDOR: Still on SCAGNETTI'S POV: We look up from the fill and see McClusky's leaning against a cell door. We hear somebody signing 'Long Time Woman' inside the cell. We move to McClusky, who looking into the CAMERA, gestures toward the cell. MCCLUSKY Here she is...you know her, you love her, you can't live without her...Mallory Knox. We PAN from McClusky to the inside of the cell where we see Mallory, her back to us, singing and dancing. INT. PRISON (MALLORY KNOX'S CELL) - DAY CU of Mallory's face singing 'Long Time Woman'. MALLORY (singing) 99 years is a long, long time. Look at me, I will never be free, I'm a long time woman... MCCLUSKY (O.S.) Hey, Knox! Somebody out here wants to meet you. Mallory just keeps on truckin'. MALLORY (singing) Been workin' on the road now. Been workin' by the sea. Been workin' in the cane fields. and I wanna be free... MALLORY'S POV: We stare at McClusky and Scagnetti for a second. Then, like a bull, we charge/DOLLY straight at them. Mallory screams O.S. We SMASH headfirst into the bars. Mallory's POV flings up, looking at the ceiling, then falls backward. MEDIUM TIGHT SHOT of floor, Mallory falls into FRAME, out cold. CU on Scagnetti through the cell bars. SCAGNETTI Jesus Christ! CAMERA PANS over to CU on McClusky. MCCLUSKY Don't worry about it. She does that all the time. BACK TO: Mallory on the floor, still unconscious with blood trickling down her scalp. MCCLUSKY (O.S.) Follow me. INT. PRISON (LONG CORRIDOR) - DAY CAMERA is at the end of a long corridor. McClusky and Scagnetti approach from the other end. Scagnetti's studying the files. PHIL WURLITZER comes up behind the two men. WURLITZER You duckin' me Dewight? MCCLUSKY Hey, Phil, how the hell are ya? WURLITZER (to Scagnetti) This son of a bitch is chairman of the prison board, but it's like pullin' teeth to get him down to a prison. MCCLUSKY The only reason I'm here now is to set him straight, and I'm on the next flight out. (to Scagnetti) Jack, this is the superintendent of the jail. Phil Wurlitzer. He's the man who's got the power of the pen here. Wurlitzer shakes hands with Scagnetti. WURLITZER Pleased to meet ya, Jack. I read your book. I'm impressed. Good work on Curtis Fox. SCAGNETTI Thanks. MCCLUSKY From now on, you'll be dealin' with Phil. He can answer all the questions you got about the arrangements. I'm gonna be bidding you good luck and adieu in about twenty minutes. My flight back to Sacramento leaves LAX in a hour. WURLITZER And I want you to know, we'll all cry a river when you're gone. They all laugh. SCAGNETTI What's the travelling arrangements? WURLITZER Well, Mickey and Mallory can't be together. So, we'll put you on one of our prison busses and you'll take Mallory first, then you'll come back for Mickey. SCAGNETTI And where do you keep Mickey? WURLITZER We got his stinkin' ass in the deepest, darkest cell in the whole place. But it just so happens that right now he's got a special visitor. SCAGNETTI Who? WURLITZER Wayne Gayle. SCAGNETTI (surprised) Wayne Gayle! INT. JAIL - VISITING AREA - DAY WAYNE GAYLE, a young, energetic, commando journalist a'la Geraldo Rivera is sitting on the visitor side of the county jail visiting area. Wayne is alone and the visiting area is empty. Apparently some arrangement was made for the visit. Wayne has a miniature tape recorder in his hand and is testing it. WAYNE (into recorder) Testing one...two...three... testing...one...three...over, over, over, Mickey Knox meeting. Wayne shuts off the recorder, rewinds and plays it back. It works beautifully. He hits the record button and conceals the recorder in his sport coat jacket. The door opens on the prisoner side and Mickey Knox is lead into the room by two SHERIFF'S DEPUTIES. Mickey's wearing the country jail blue jump-suit. He has a thick and wide leather belt around his waist with a metal ring built into each side. Long sturdy chains with handcuffs on each end are wrapped across his body and through the rings, binding his arms to his sides. His hands and feet are double cuffed. The Deputies both have their guns drawn, ready to blow Mickey in half at the slightest provocation. For a man wrapped and bound in chains, Mickey seems strangely in control of his environment. Even restrained as he is by the symbols of society (the chains, jail, guards, guns, jump-suit), he remains a dangerous, intimidating, and fascinating figure. Wayne takes in the image of Mickey. WAYNE (to himself) Showtime. Mickey's roughly shoved into his seat on the prisoner's side of the glass. The Deputies move to their place, off to the side by the wall. WAYNE Hello Mickey. We've never been introduced, but I'm Wayne Gayle. I don't know if you've ever heard of me or remember me. I was one of the reporters outside the courthouse during your trial--- MICKEY Everybody knows who you are. You're famous. Wayne pauses and retorts. WAYNE I could say the same thing about you. (smiles) I want to thank you very much for seeing me... Mickey is silent. WAYNE I have a television show. It's very popular. Every week we do a profile on a different serial killer. You don't mind if I call you a serial killer, do you? Mickey shakes his head no. WAYNE The episode we did on Mickey and Mallory was one of our most popular ones. MICKEY Did you ever do one on Wayne Gacy? WAYNE Yes. MICKEY Whose ratings were higher? WAYNE Yours. MICKEY How 'bout Ted Bundy? Ever do one on him? WAYNE Yes. Yours got the larger Nielson share. MICKEY Good...yuppie piece of shit. WAYNE What I'd like to do--- MICKEY How 'bout Manson? WAYNE Manson beat you. MICKEY Yeah, it's pretty hard to beat the king. WAYNE We've been waiting to do a follow up episode on you for a long time. And that time has definitely come. (pause) I feel it's apparent to anyone who's hip to what's going on that the prison board has thrown the constitution straight out the fuckin' window. You and Mallory may be killers, but you're not insane. You belong in a prison, not in an asylum. The prison board is blatantly railroading you into a hospital for the sole purpose of turning you into vegetables. Now some people are saying, 'So what?' I am not one of those people. If we avert our eyes while they do this to you, we give them permission to do it again whenever they see fit. Today they wipe clean your mind because they feel your actions are dangerous, tomorrow they wipe clean my mind because they feel what I say is dangerous. Where does it all stop? No response from Mickey. WAYNE My problem Mickey, is that you don't exactly inspire empathy. I'm all alone on this. I need your help. I want what the prison board is doing to be the focus of our follow up episode. Now I have interviews with chairman of the prison board Dewight McClusky about this issue. And I'm tellin' ya, Mickey, he looks bad. The two psychologists they used for their psychiatric kangaroo court won't talk to us, which always looks bad. I have an interview with both the judge of your trial, Bert Steinsma, and the psychologist and author, Emil Reinghold, both of which discount the notion that you're insane. You put that all together, and what the state is doing becomes obvious. But the network isn't satisfied. They feel the show needs another element. It needs you. In order to put the show on the air, I need to get an interview with you. You haven't talked to the press since your trial. Now, a few days before you get transferred to an asylum, you grant an interview on television with Wayne Gayle. We're talkin' a media event here. Every son of a bitch out the with a TV set's gonna tune in to see that. We'll make their motives so blatant, we'll shame 'em into dropping the whole thing. At least for a little while, the publicity would keep them from just giving you and Mallory lobotomies. Well, whatta ya say? MICKEY Have you talked to Mallory about this? WAYNE She won't even see me, Mickey. Now you're not supposed to know anything about what's going on with her, but I'm gonna tell ya somethin'. Since you two've been sentenced, Mallory hasn't spoken one word. MICKEY She doesn't talk? WAYNE Not to anybody. She sings. MICKEY She sings? What does she sing? WAYNE Songs. 'He's A Rebel', 'Leader Of The Pack', 'Town Without Pity', that Dusty Springfield song 'I Only Want To Be With You'. That's what I hear anyway. Her behaviour was the main thing the doctors' report used against you. So even if she would see me, which she won't, I couldn't put her on camera anyway. If I ask her, 'Mallory, are you insane?' And she starts singing 'Dead Skunk In The Middle Of The Road', that blows our whole case. Mickey cracks a smile. The guards come over to take him away. DEPUTY SHERIFF (O.S.) Time, motherfucker! They grab Mickey, and jerk him from the chair. Wayne stands. WAYNE Wait a minute, Mickey, I need an answer. Mickey doesn't respond. He just leaves with the guards. WAYNE (yells after him) Just think about it. But don't think too long. INT. MICKEY'S CELL - DAY MEDIUM CU of Mickey curled up by his bed, writing Mallory a letter. MICKEY (V.O.) Dearest Mallory. My cell is so cold. At night I get the chills. I pretend you're lying next to me, holding me from behind with your leg draped over mine and your arms wrapped tightly around me. I lie in my cell... DISSOLVE TO: WIDE SHOT in cell behind Mickey. We slowly DOLLY back. MICKEY (V.O.) ...and imagine kissing you. Not making love, just kissing for hours and hours on end. I remember everything about our time. I remember every joke you ever told. CU of the letter being written over the WIDE SHOT. MICKEY (V.O.) I remember every secret you ever shared. Shared or revealed? I think shared is proper. I remember every single time you laughed. ECU of Mickey, mouthing the words as he writes, we can hear Mallory's laugh - a distant haunting echo. MICKEY I remember every meal we ever ate. I remember your cooking. I especially remember your casseroles. I remember watching David Letterman. We hear the echo of television laughter. MICKEY I remember driving fast...faster, man, fast behind the wheel of the Coupe de Ville. The sound of the Coupe de Ville swells until we... CUT TO: EXT. COUPE DE VILLE - NIGHT CAMERA sits on the hood looking down at Mickey and Mallory, driving fast -- SLOW MOTION. A hurricane of wind whips through their hair. Mallory laughs wildly as she wraps her arms around Mickey and kisses. MICKEY (V.O.) You, baby, by my side. Your bare feet up on the dash, singing along with the radio 'Needles And Pins', 'He's A Rebel', 'You're My World', 'Ring Of Fire', 'Love Grows Where My Rosemary Goes', 'Groove Me'... DISSOLVE TO: EXT. COUPE DE VILLE - NIGHT Coupe de Ville parked on the road side. Mickey is in the drivers seat with his feet on the dash watching Mallory dance on the hood of the car. MICKEY (V.O.) And your dancing, my God, your dancing. I lie on my bed and go over every day, every minute of our happiness. Every day take a day of our time and go through it hour by hour. I don't jump ahead either. I take it as it comes, and I live that day again. That way when I get to our first kiss... DISSOLVE TO: INT. A BEDROOM - NIGHT The screen erupts with fire. Mickey and Mallory's faces appear in the flame kissing passionately. MICKEY (V.O.) The killing of your parents, our wedding...They're not just memories. I feel that joy again... DISSOLVE TO: INT. RESTAURANT - DAY MEDIUM CU of Wayne holding a piece of paper in front of his face and reading from it out loud. We hear Wayne's VOICE over Mallory's singing before the last scene DISSOLVES. WAYNE (reading out loud) 'After taking a few days to reflect on your offer, I've come to the conclusion that you are one hundred percent correct. A national TV interview would be very advantageous to both Mallory and I. The only obstacle is they're shipping me out to the funny farm in four days. However, that is your problem and not mine. I feel confident you'll manage. Here's to us making television history. Sincerely, Mickey Knox.' Wayne drops the letter down from in front of his face. WAYNE Am I a God or what? We now see the restaurant adorned with the standard Denny's decorum. Wayne's team is gathered in a booth that surrounds the remains of a greasy meal. In response to his last remark, they all pretend they are praying to him. The team consists of SCOTT, the cameraman, who wears wild t-shirts (presently a t-shirt with the movie 'She Devils On Wheels' splashed on the front); ROGER, the soundman, who wears wild Hawaiian shirts and Bermuda shorts; and UNRULY JULIE, Wayne's assistant, a young lady who wears Bermuda shorts, a baseball jersey, and a dark sports coat no matter how hot the weather is at any time. Roger's never seen without his recorder, Scott's never without his camera, and Unruly Julie always has her giant notebook. These dishevelled film types are all in their twenties and are a marked contrast to Wayne's stylish yuppie demeanour. Unruly Julie pops the cork on a champagne bottle. The guys hold out coffee mugs, while Julie fills. Julie, however drinks straight from the bottle. NOTE: This scene is to be played at a rapid fire 'His Girl Friday' pace. WAYNE Drink up! This is a celebration. This is the day we received word we were gonna make television history. We're gonna have the first sit down, in depth interview with the most charismatic serial killer ever, one day before he's being shipped to a mental hospital for the rest of his life. This is one of those golden moments that happens maybe only four times in a lucky journalist's career. This is Wallace with Noriega, this is Elton John confessing his bi-sexuality to the Rolling Stone, this is the tearful reporting of the Hindenberg disaster, this is Truffaut setting the record straight on Hitchcock, this is a Robert Capa photo, this is Woodward and Bernstien meeting Deep Throat in an underground parking lot, this is John Reid reporting 'The Ten Days That Shook The World', this is the hippies' bloody palms at Kent State, the Maysles brothers at Altamont, this is the Nixon/Frost interviews... ROGER This is Raymond Burr witnessing the destruction of Tokyo by Godzilla. Everybody laughs. SCOTT What's the schedule, mein fuehre? As Wayne talks, Unruly Julie writes furiously in her notebook. She never speaks, just writes. WAYNE We got tonight and tomorrow to get our shit together. The day after that they're shippin' Mallory. That's when we do the Mickey Knox interview, 'cause the next day he goes. SCOTT Would the network really not run it without the interview? WAYNE Are you kidding? The last thing they expected was Mickey Knox to get up close and personal. They wanted a follow up episode and would've taken anything I had given them. I'm not gonna tell Mickey Knox that. I'm gonna make him think his grey matter depends on it. When I told Woody and the brass about this coup, they practically shit a brick. I'm talkin' an adobe brick. They want to expand the show to a hour, and they want it on immediately. ROGER How immediate is immediately? WAYNE Next week's episode. Wayne's team all spit out mouthfuls of champagne. ROGER We don't got enough footage for a hour follow up. SCOTT (pointing at Roger) What he said. WAYNE Rape and pillage the first episode, just change the order a bit. Those sons of bitches out there ain't gonna know the difference. All that shit is just filler for the interview anyway. We film a new intro. Show some old footage from the first episode so the get a brief history of Mickey and Mallory. We introduce a new angle... what the prison board is up to. We see some of that new shit, then the rest of the show is the interview. Now what's so fuckin' hard about that? Oh, Julie make a note: I need Woody to get me thirty seconds of the 'Live at Five' broadcast to promote next weeks show. We'll do a feed right from the jail while we're wrapping up with Mickey. Unruly Julie scribbles in her notebook. Wayne snaps at Scott. WAYNE You too Scott, Betacam and a remote, keep it simple. Scott closes his eyes in concentration, and repeats Wayne. SCOTT Betacam with remote and two-way comm link. Got it. (opens eyes) How about the interview...What camera do you want to use? Wayne closes his eyes. WAYNE I see...high contrast sixteen millimetre black and white, and I mean black and white, where the black's black and the white's white. This is for posterity, so fuck video. Film! Film! Film! Wayne pounds on the table. CU of Unruly Julie writing in her notebook: 'Film...film...film!' WAYNE So Unruly Julie's comin' with me and planning the interview. (points at Roger & Scott) You two go down to the editing bay, take the old footage and the new footage, put it together, and see what we got. Get it into shape so when we finish the interview, we can just stick it in. SCOTT When do you want the assembly? WAYNE Tomorrow. CUT TO: TITLE CARD: 'TOMORROW' CUT TO: INT. TV STATION CORRIDOR - DAY CAMERA leads Wayne, who's talking to Unruly Julie. As they march quickly through the halls Julie writes furiously in her notebook. WAYNE At that point I'll ask him if he believes in God. If he says yes, I'll ask him what he thinks God would make of his actions. And is he worried about burning in hell? If he says no, I'll say, 'Well, Mickey, what do you believe in?' And hopefully he'll say something like a live round of ammo, the expression on the face of a man he just split up the middle, Mallory's eyes, sex, drugs, and rock 'n roll. He's bound to say something provocative. Wayne and Unruly Julie enter the video editing room. Scott and Roger are sitting at the editing bay. Everybody is wearing, and looks like they slept in, the same clothes as the night before, except Wayne, who's in another sweater and looks alert and snappy. WAYNE Okay, boys, let's have it. SCOTT Well, basically, what we did was put part of the old show on first... ROGER But we changed the order around so it wasn't super obvious... SCOTT Then we added the new shit to the tail... ROGER So we film the interview, and we can just slap it on at the end. Wayne and Unruly Julie grab chairs and sit. WAYNE Okay, let's see it. CU of video monitor screen. We see a show rewinding. ROGER (O.S.) Now we got to film a new intro for the follow up episode. But we put the intro for the first episode at the beginning temporarily so you can see it with some scope. WAYNE (V.O.) I hear ya. Play. CU of Roger's hand pressing a play button. CUT TO: Static. Then the opening slate for 'AMERICAN MANIACS' fills the SCREEN. BEGIN: HIGHWAY - DAY EXT. HIGHWAY - DAY WAYNE GAYLE is standing in the middle of an empty highway. The CAMERA looks up from the ground. With a WIDE ANGLE lens, he looks practically mythic. Wayne speaks into the camera. WAYNE Hello. Welcome to 'American Maniacs'. I'm your host Wayne Gayle. And this is Highway 58. Wayne walks toward the CAMERA. We DOLLY back. WAYNE To some the fastest distance between point A and point B. To others a beautiful stretch to the American landscape. But to Mickey and Mallory Knox, it was a candy land of murder and mayhem. While we hear Wayne's narration, we see a MONTAGE of home 8mm movie footage. These are films of Mickey and Mallory living a normal life. HOME MOVIE - Mickey shaking hands with the JUDGE who married them. Mallory stands happily by Mickey's side. HOME MOVIE - Mallory hamming up the sex angle, as she poses by Bob's Big Boy. HOME MOVIE - Mallory sitting on Mickey's lap at home. HOME MOVIE - CU of Mallory asleep in bed. Mickey (holding camera) tickles her under her chin. Mallory slaps herself in the face with a handful of shaving cream. HOME MOVIE - Mickey and Mallory posing with Santa Claus. HOME MOVIE - Mickey being surprised in the toilet. WAYNE (V.O.) After living a very routine, drab, nothing out-of-the-ordinary-ever- happens kind of life, the sweethearts shocked the entire nation with a cross-country crime and murder spree that lasted only three weeks, but left--- PHOTO: BLACK & WHITE PHOTOS of bloody victims -- MEN and WOMEN. PHOTO: BLACK & WHITE PHOTOS of a bloodstained police chalk outline. WAYNE (V.O.) ---forty-eight known bodies in its wake. Including--- HOME MOVE FOOTAGE of Mallory and her PARENTS during happier times. All three are smiling. Mallory's in the middle with her arms around them. Mallory's father is eating a chicken drumstick. Mallory takes a bite out of it while he's holding it. WAYNE (V.O.) ---Mallory's very own parents. PHOTO: COLOR POSTCARD of Los Angeles. WAYNE (V.O.) They started their crime wave in Los Angeles. Wayne Gayle stands in front of a Circle K convenience store. He speaks to us. WAYNE And they were finally apprehended here at this Circle K in St. Paul, Minnesota. CUT TO: EXT. CIRCLE K - DAY This sequence is filmed in 16MM COLOR, cinema verite a'la 'COPS.' The CAMERA runs behind three blue windbreaker clad COPS, as they run up to the Circle K, shouting obscenities. In front of the store three windbreaker cops have Mickey on the ground, beating him with nightsticks. One COP lies on the ground near them, holding his hands over his face, screaming. To the left Mallory is slugging it out with a windbreaker COP, matching each other blow for blow. Meanwhile, the three cops we ran with reach the action and join in. CUT TO: MONTAGE NEWSPAPER-- Newspaper or magazine COLOR AD for a 7/11 store. NEWSPAPER-- Newspaper or magazine COLOR AD for a gas station. WAYNE (V.O.) They started off robbing 7/11 type stores and gas stations and later graduated to banks and the big time. EXT. SUBURBAN STREET - DAY Wayne Gayle walks down the street. The CAMERA walks with him. He speaks into the camera. WAYNE Mickey and Mallory's idea of an armed robbery was a little different than most. It was an assault, actually. EXT. 7/11 STORE - DAY Wayne interviews BISHOP, a young blonde kid with a 'Flock of Sea Gulls' haircut. Bishop's name appears on the SCREEN. BISHOP Well. I knew that Mickey and Mallory kill everybody when they're through, except for one clerk. There were a couple of people in the store then, and I was working with Stevo. And I like Stevo, you know? But I was thinking, what could I do to make them pick me to be the clerk that gets to live? INT. 7/11 STORE - DAY This scene is shot through the STORE'S BLACK & WHITE VIDEO SURVEILLANCE CAMERA. The date and time of day are burned into the edges of the frame. Mickey and Mallory charge into a 7/11 store, cocking their shotguns and shouting things. Mickey SHOOTS a CUSTOMER who lies on the ground screaming. Mallory BLASTS a FEMALE CUSTOMER who lies on the ground screaming. Mickey points his shotgun at Bishop the store clerk and screams: MICKEY Money! Money! Money! Fast! Fast! Faster! Faster! Faster than that! Bishop stuffs money in a bag as Mallory guards the door, shotgun ready. STEVO, the other store clerk, walks in from the back room carrying boxes and wearing a walkman. Mickey and Mallory spin around and shoot him. As all this mayhem happens before our disbelieving eyes, Wayne's narration happens over it. WAYNE (V.O.) They'd storm in with shotguns, and kill every customer in the place right off the bat. CUT TO: Smiling PHOTOS of other VICTIMS. We CUT from each photo to the next photo after shotgun FIRE. EXT. BLEACHERS - DAY Wayne Gayle sitting on football bleachers. He stares into the CAMERA for a few beats. Then, after his dramatic silence, he talks. WAYNE Sick, isn't it? (mournful pause) After killing numerous people, the would always leave one clerk alive. One clerk...to give them the money, and tell the tale of--- PHOTO: BLACK & WHITE snapshot of Mickey and Mallory standing next to each other, guns in hand, smiling for the camera. WAYNE (V.O.) Mickey and Mallory. PHOTO: Police Academy BLACK & WHITE snapshot of OFFICER GERALD NASH. WAYNE (V.O.) Patrolman Gerald Nash was just one of the twelve peace officers that Mickey and Mallory murdered during their reign of terror. PHOTO: BLACK & WHITE photo of Gerald Nash and his partner DALE WRIGLEY, dressed in their uniforms, arms around each other. WAYNE (V.O.) Gerald and his partner Dale Wrigley were parked at... PHOTO: BLACK & WHITE snapshot of donut shop. WAYNE (V.O.) ...this donut shop, Alfie's Donuts. When--- Interview with Dale Wrigley. Dale's name appears below him on the SCREEN. DALE This '68 Cadillac Coupe De Ville pulled up about three spaces away. Gerald came walking out with our coffee and--- (begins to tear up) my bear claw. When the driver of the car asked him something, Gerald started giving him what looked like street directions. When he finished, the driver waved him 'thanks,' brought up a shotgun and--- PHOTO: BLACK & WHITE of donut shop. WIDER PHOTO: Alfie's donut and parking lot. On this photo, a white grease pencil circles where Gerald was shot. We hear a SHOTGUN BLAST and a SCREAM over this. PHOTO: BLACK & WHITE of Mickey and Mallory. We hear LAUGHTER and a car PEELING OUT over this. EXT. BLEACHERS - DAY Wayne talks to us. WAYNE Apparently bored with banditry and murder, the two outlaws proved what renaissance psychopaths they really are. To break up the monotony in between bank jobs, or what have you, they started butchering whole households at random. CUT TO: MONTAGE of newspaper front page stories and headlines of family households butchered by the Knoxs. INT. WAYNE'S STUDIO - DAY Wayne, dressed in a pink shirt and suspenders, talks to us in front of a blue screen that has 'WAYNE GAYLE'S AMERICAN MANIACS' logo behind him. WAYNE Unfortunately, the story didn't end with their capture. It just became more surreal. Their subsequent trial turned into a sick circus... CUT TO: EXT. COURTHOUSE - DAY The CAMERA captures the crowd in front of the courthouse. They're a very mixed lot. WAYNE (V.O.) ...As spectators, reporters, law students, tourists, gawkers, the interested, the curious, the devoted, and the demented were drawn to the Los Angeles county courthouse like moths to a flame. INT. WAYNE'S STUDIO - DAY Wayne talks to us. WAYNE The Mickey and Mallory Knox murder trial was so event filled it made the crime spree that took place before pale by comparison. The first point was the decision of Mickey's to act as his own council. Now this in itself is not unheard of, for instance, Ted Bundy acted as his own council as well. What was unexpected was how well Mickey's performance would be. INT. JUDGE'S DEN - DAY Wayne interviews JUDGE BURT STEINSMA in his den at home. WAYNE (V.O.) We spoke with Burt Steinsma, who was the presiding judge during the Knox trial. JUDGE STEINSMA Mickey was surprisingly effective. When I was told I was to be the judge of this trial and then I was told Mickey Knox would be handling his own defence, I got a headache that lasted five days. But at first I breathed a sigh of relief. Mickey showed up very prepared, and proved to be an excellent amateur lawyer. INT. WANDA BISBING'S OFFICE - DAY Interview with state prosecutor WANDA BISBING, an attractive woman in her forties. WAYNE (V.O.) However, this opinion isn't shared by the state's prosecutor on this case, Wanda Bisbing. Wayne's with Bisbing. WAYNE Judge Steinsma said that Mickey showed up very prepared and proved to be an excellent amateur attorney. BISBING Oh, that's rich. Well, considering that Mickey Knox turn his court into a mockery and personally made him look like a fool, I'd say that's very benevolent of Judge Steinsma. As far as Mickey being an excellent amateur lawyer, maybe I'm old fashioned, but when I went to law school, we were taught the object was to win the case, which I did. INT. WAYNE'S STUDIO - DAY Wayne talks to us. WAYNE The nation caught fire to Mickey and Mallory fever, Mickey and Mallory mania, if you will, as the merits to Mickey's talent as a defence attorney became apparent. Law students from all ends of the country converged on Los Angeles as legal history took a new course. But that was only the lemon next to the pie. And that pie is you, the American people. That pie is the way the strangely charismatic, and make no mistake, they are charismatic, Mickey and Mallory have captured the public's interest, fear, and in some cases, admiration. CUT TO: EXT. COURTHOUSE STEPS - DAY Wayne interviews three long-haired guys: CHUCK, STEVE, and JEFF. WAYNE What do you think of Mickey and Mallory? CHUCK Hot. JEFF Hot. STEVE Totally hot. CHUCK Mickey and Mallory's the best thing to happen to mass murder since Manson. STEVE Forty-eight people known. They're way cooler than Manson. CUT TO: Wayne interviewing MORGAN and PAGE, two young girls. WAYNE What do you think of Mickey and Mallory? MORGAN Well, he's just...I dunno... charismatic. PAGE They're so romantic. CUT TO: Wayne interviewing an INTENSE COP. INTENSE COP I'm here to watch the judge give those two shit asses (BLEEP) the stiffest sentence the law allows. I want to see their faces when the state says 'they are the worst scum sucking, degenerate, douche bag, filthy, I don't know what's ever shit (BLEEP) out. (referring to crowd behind him) And these assholes (BLEEP) are making heroes outta sickos. You wanna know who a hero is? You wanna know? I'll tell ya who a Goddamn hero is. Mike Griffin. Mike fuckin' (BLEEP) Griffin is who these misguided assholes (BLEEP) should be revering. You know why Mike Jerome Griffin is a hero? I'll tell ya why. Because he was killed in the line of duty. Do you want to know how he died? WAYNE Yes. INTENSE COP I'll tell you. Mike Jerome Griffin was killed in the line of duty by those two anti-heroes. CUT TO: Wayne interviewing RUSSELL VOSSLER, Harvard law student. WAYNE Tell me, Mr. Vossler, how many days of the trial have you attended? RUSSELL Ahhh yesss, I've been fortunate enough to attend two days. Law history in the making. I've been a participant. WAYNE And you being a Harvard law student, what is your opinion of Mickey Knox's performance? RUSSELL Ahhh, Mickey's pistolero savvy in the courtroom trial rivals, dare I say conquers that of master Melvin Belli. He's like a magnificent loose cannon, firing point blank in the prosecutor's face. It is my anticipation--- BACK TO: The long-haired guys, Chuck, Jeff & Steve as Wayne speaks. WAYNE You're talking about a man and a woman who killed innocent people. STEVE Don't get us wrong... CHUCK We respect human life an' all. JEFF It's a tragedy. STEVE But...if I was a serial killer, which I'm not, but if I was, I'd be like Mickey. CUT TO: Wayne talking with MARVIN, a black man. MARVIN They're like that crazy mother in the first Dirty Harry movie. Member that crazy ass mother? They're like him. Mickey and Mallory be doin' some cold-blooded shit. When I hear about some of the shit they be doin' on TV, I say 'Damn, that's fucked (BLEEP) up.' BACK TO: The two young girls, Morgan & Page as Wayne speaks. PAGE (laughing and blushing) We sit in the courtroom all day and try to catch Mickey's eye. CUT TO: INT. GOLD'S GYM - DAY Wayne's sitting in the gym. Behind him MUSCLE MEN are working out. Their GRUNTING sounds fill the background. Wayne looks up and just OFF CAMERA to the people he's interviewing. WAYNE What do you think of Mickey and Mallory? ECU on SIMON and NORMAN HUN, two brothers/bodybuilders, in a head SHOT. SIMON I admire them. NORMAN I do, too. WAYNE (confused) But how can you say that? SIMON They're mesmerising. NORMAN Hypnotizing. SIMON Have you seen 'Pumping Iron?' WAYNE Yes. NORMAN Then you've seen the scene where Arnold Schwartzenegger is talking to Lou Ferigno. WAYNE Yes. SIMON Through the power of the simple word--- NORMAN And a snake-eye glare. SIMON ---and a snake-eye glare, Arnold was able to totally psyche out any confidence Ferigno had. NORMAN He squashed him mentally before physically defeating him. SIMON He had the edge. The mind's edge. NORMAN Mickey and Mallory have that edge. SIMON Only on a much grander scale. NORMAN They've hypnotized the nation. SIMON Schwartzenegger was the king of the edge before they came along. The CU of the brothers ZOOMS back. WAYNE You say this and yet...you two are both victims of Mickey and Mallory. SHOT has zoomed back to reveal that both Simon and Norman are in wheelchairs (their legs maimed or gone). SIMON Yes. NORMAN Yes. WAYNE How can you say that you 'admire' them? NORMAN It's like this, Wayne. Two people are standing in a dark room waiting for the other to attack. These two people can't see each other, yet they know they're there. Now, they can either stand in the dark room forever waiting until they die of boredom, or one of them can make the first move. WAYNE Why can't they just shake hands and be friends? NORMAN They can't because neither knows if the other is a deranged senseless killer like the Knoxs. So, you may as well make the first move. WAYNE And they made the first move? NORMAN Unfortunately, yes. SIMON But you see, that's okay, Wayne. WAYNE Why? SIMON They passed the 'edge' along to us. WAYNE How so? SIMON By taking away our legs. Now we have to fight harder to get ahead than anyone else you'll find in this gym. Probably the whole city. They gave us the fighting spirit. Before this happened I was content. Now I'm pissed off. Now I'm half a man and I've got to work like the devil to get whole again. WAYNE But you'll never be whole again. SIMON Never is a very long time, Wayne. A word only the weak use. I'm not a sore loser. Even if I don't have a leg to stand on, I'm going to get up and fight this world until I'm on top again. NORMAN That's the Mickey and Mallory way. SIMON That's the way of the world. NORMAN They're shocking the world into remembering the primal law. SIMON Survival of the fittest. WAYNE One last question. Usually Mickey and Mallory kill all of their victims. Why did they let you two survive? The brothers pause, then turn to Wayne. NORMAN They had us tied down during one of their house raids, you've seen the headlines, and they were taking a chainsaw to our legs before they were gonna kill us. SIMON Just for fun, I guess. NORMAN And then Mallory stops Mickey and says, 'Hey, these are the Brothers Hun.' SIMON Mickey stops sawin' on my leg and says, 'Oh my God, I'm your biggest fan!' NORMAN Apparently, they've seen all our films. SIMON They were especially influenced by 'Conquering Huns of Neptune.' NORMAN So, Mallory calls 911 and they took off. SIMON They actually apologized. INT. WAYNE'S STUDIO - DAY Wayne talks. WAYNE The couple proved so popular that a motion picture glamorizing their exploits was made... CUT TO: A POSTER for the Mickey and Mallory movie called 'Thrill Killers' is shown. It has a drawing of the Movie Mickey and Movie Mallory in a romantic pose a'la 'Gone With The Wind,' both with guns in their hands. Around them are smaller drawings of cars, people shooting, people fighting, explosions, etc. The adlines are: 'RIPPED FROM TODAY'S HEADLINES --THE TRUE STORY OF MICKEY AND MALLORY.' 'THE COUPLE THAT LIVED FOR LOVE AND LOVED TO KILL.' The poster lists the credits: 'Starring Jessie Alexander Warwick and Buffy St.McQueen.' 'Written and Directed by Neil Pope.' WAYNE (V.O.) The Movie 'Thrill Killers' proved to be a tremendous box office success, making stars out of the before then unknown--- CUT TO: STILLS of Movie Mickey and Movie Mallory holding weapons, posing together, creating mayhem. WAYNE (V.O.) ---actors Jessie Alexander Warwick and Buffy St.McQueen. CUT TO: MOVIE TRAILER FOR 'THRILL KILLERS': SHOT Movie Mickey dressed in a fastfood uniform. ANNOUNCER (V.O.) Meet Mickey Knox! MOVIE MICKEY I'm gettin' off this minimum wage train. Break my back for you and throw away my youth for nothing. when I'm thirty, have a big wall drop down in front of me called the future. Realize I've been doin' time in a burger flippin' jail. He rips off his uniform. MOVIE MICKEY Listen to me Jimmy-dick, I want cash, lots of it, cars, fast cars! And I want it now! Not later, now! I wanna wail, baby, wail! SHOT of Movie Mallory on her hands and knees crawling toward CAMERA. ANNOUNCER (V.O.) And his lovely wife Mallory. MOVIE MALLORY I need ya, Mickey. I gotta have ya. I'm no good for no one else. when I'm with you, I burn, baby. Burn like blue flame. SHOT of Movie Mickey and Movie Mallory driving fast and laughing their heads off. ANNOUNCER (V.O.) Together they're the Thrill Killers. The true story of the couple that shocked the world... SHOT of the Movie Knoxs FIRING guns. ANNOUNCER (V.O.) ...with a bloodlust of violence... SHOT of Movie Mickey and Movie Mallory kissing. ANNOUNCER (V.O.) ...and unbridled passion. SHOT of Movie Mallory with a knife to a COP'S throat. Movie Mickey holds a shotgun. MOVIE COP When society catches up with you, I'd hate to be in your boots. MOVIE MICKEY Let me telly ya about society and its boots. It uses those boots for steppin' on people like me and her! CUT TO: INT. EDITING ROOM - DAY Wayne enters an editing room where filmmaker NEIL POPE is working at a movieola. WAYNE (V.O.) We talked with Neil Pope, writer and director of 'Thrill Killers' for his take on the Mickey and Mallory phenomena. Pope stops the movieola, turns toward the CAMERA, and greets Wayne M.O.S. CUT INTO INTERVIEW: NEIL POPE It is my belief that Mickey and Mallory Knox are a cultural phenomena that could only exist in our sexually repressed society. A flower that could only bloom amidst a grotesque fast food culture. A what I tried to do with 'Thrill Killers' was trace the root of the problem all the way down the vine to the original bad seed. Yet amidst the violence and murder and carnage, you've got the structure of a Wagnerian love story. EXT. ALLEY - DAY In a back alley, the conclusion of 'Thrill Killers' plays out. The sound of SIRENS and CHOPPERS are nearing. Movie Mickey, shotgun in hand, runs down the alley stopping at a dumpster, where the wounded and bloody Movie Mallory sits propped up against a brick wall. On the bottom of the SCREEN, the subtitle appears: SCENE FROM 'THRILL KILLERS' (1990). MOVIE MALLORY Mickey, honey, listen to me. Movie Mallory holds out her hand for him to take it. He does. MOVIE MALLORY I can't go. I'm too fucked up. MOVIE MICKEY I'm not saying it's not gonna hurt, but-- MOVIE MALLORY I can't run with you, Mickey! I really want to. If I could, I would, but I can't. I gotta stay here. But you can still get out of here. MOVIE MICKEY No fuckin' way! No fuckin' way! MOVIE MALLORY If they stay, they'll catch you, and they don't have to catch you--- MOVIE MICKEY No fuckin' way! MOVIE MALLORY Mickey, you're wasting time! MOVIE MICKEY I don't give a damn if a million United States marines, all whistling the halls of Montezuma, are gonna come marchin' down this alley any second. There ain't not fuckin' way in hell I'm leaving you. And that's that! Movie Mallory grabs his hand with both of hers. She's crying. The SIREN and CHOPPER sounds are getting closer. MOVIE MALLORY Mickey, my love, if you leave me, they'll catch me and take me to the hospital. If you stay, you'll make 'em kill you. Then it'd be like I killed you. I could bear anything, but I couldn't bear that. So please, please, for me, my handsome husband, run for your life. The SIRENS and CHOPPERS draw closer. MOVIE MICKEY I can't do it. You're my wife, you're my partner. A fella doesn't run when his partner can't run with him. Mallory, my angel, if I could of left ya, I'd of left ya a long time ago. They kiss. MOVIE MALLORY Well, hell, if you won't leave, give me a gun so I can go out shooting. Movie Mickey hands her his .44 Magnum from his belt. MOVIE MICKEY Sit tight. I'm gonna make it a little tougher for 'em. Movie Mickey runs to the end of the alley, peers around the corner at the arriving COPS. MOVIE MICKEY (to himself) Time to get naked and boogie. Movie Mallory is out of movie Mickey's view. She cocks the .44, then places the barrel under her chin. MOVIE MALLORY Mickey! Movie Mickey's busy. He doesn't turn around. MOVIE MICKEY Yeah baby. MOVIE MALLORY You made every day like kindergarten. Movie Mallory pulls the trigger. BANG! DOLLY down the alley to a CU on Mickey as he spins around. Movie Mallory literally blew her head clean off. Her headless body, gun in hand, remains upright in her sitting position. Movie Mickey runs toward her, screaming her name in SLOW MOTION. MOVIE MICKEY Mallory! CUT TO: BACK TO: THE POPE INTERVIEW WAYNE (O.S.) Why did you kill Mallory? Both of them are still alive. NEIL POPE It was dramatic license, no doubt. But I felt an operatic love story needed an operatic ending. The two of them kill for each other. They offer the death of their victims to each other like other lovers offer flowers or bon bons. So what more natural, what more organic, what more poetic than Mallory offering her death to Mickey? It's where it's been leading since day one. We worked it in the movie by using a what if they escaped situation. I think it works beautifully. You'd be surprised. People come up to me at the end of the movie in tears. EXT. PARKING LOT - DAY Actor JESSIE ALEXANDER WARWICK sits on his motorcycle and talks to the CAMERA. He's dressed in a Levi's jacket, jeans, a bandanna is wrapped around his head, and as he talks he bogarts a smoke. His name appears at the bottom of the SCREEN. JESSIE One thing about Mickey for sure, he's definitely a man who has his moments. It was wild playin' him. It was one of those get-it-out-of-your-system performances. INT. BUFFY ST. MCQUEEN'S HOME - DAY This interview is SHOT in Buffy's house a'la Barbara Walters. BUFFY sits on the couch in her living room with a cat in her lap. From time to time, she sips from a coffee cup. Her name appears at the bottom of the SCREEN. BUFFY I didn't play Mallory, the murderer. I didn't play her as a butcher. I played her as a woman in love, who also happens to murder people. I didn't want her to be at arm's length from the audience or myself. If you play her as this wild maniac, the audience never has to deal with her. If you see a decapitation in a movie, you just say 'Oh wow, a neat special effect.' Because you can't relate to a decapitation. It doesn't mean anything to anybody because it's not personal. Decapitations don't fall into most people's realm of life experiences. But if you show somebody in a movie getting a paper cut, the whole audience squirms. Because everybody can relate to a paper cut. WAYNE (O.S.) Did you meet the real Mallory Knox? BUFFY I tried to, but she wouldn't see me. But I read some letters she wrote to Mickey before the murder spree. They helped me out a lot. EXT. PARKING LOT - DAY Jessie talks to CAMERA. WAYNE (O.S) You met Mickey Knox, didn't you? JESSIE Yeah, I visited him when he was up in Susanville. He's a little cerebral for my taste, but all in all, we got along. INT. OFFICE - DAY Wayne, sitting in a chair in front of a desk, interviews DR. REINGHOLD, who sits behind the desk. WAYNE (V.O.) To get a psychiatric view on the strange attraction Mickey and Mallory seems to have, we talked with Doctor Emil Reinghold, noted psychologist and author. Wayne begins his interview. WAYNE Can you shed some light, Doctor Reinghold, on why the public has taken a pair of sociopaths so close to their bosom? DR. REINGHOLD Well, for one, the media has done a tremendous job of turning the husband and wife mass murderers into celebrities. But it's the country's youth who have turned the couple into the ultimate anti-heroes. Basically, the very thing that makes them most lethal is the exact same thing that captures the public's hearts and minds -- Mickey and Mallory's operatic devotion to each other. In a world where people can't seem to make the simplest relationships work and the slightest emotional commitment is considered devastating, Mick and Mallory have a do-or-die romance of a Shakespearean magnitude. To the country's youth, 75 percent of which are coming from broken homes, that's appealing. They have an 'us against the world' posture which always appeals to youth. And they've taken that posture seventeen steps beyond. It's not 'us against the world,' it's 'we're gonna kill the world.' They're exciting. I read their file and I find myself turning the page like it was a paperback. Why do disillusioned youths get into Mickey and Mallory? Why do disillusioned housewives read romance novels? Why are you filming this special? Because you know as well as I do, you say 'tonight at nine Charles Manson speaks,' everybody's going to tune in to hear what he says. Mickey and Mallory have shocked a country numb with violence. They've created a world where only two exist and anybody who inadvertently enters that world is murdered. EXT. COURTHOUSE - DAY SHOTS of the crowd. WAYNE (V.O.) This attitude from the young towards their ultimate anti-heroes is nation wide. And spreading. TWO LONDON TEENS BOY and GIRL, dressed like the Knox's. TITLE CARD: 'LONDON' LONDON BOY You take all the great figures from the States...Elvis, Jack Keroac, Bukowski, James Dean, Jim Morrison, Angela Davis, Jack Nicholson, Jim Thompson, Martin Scorcese...add a bloody pale of nitro and you got Mickey and Mallory. They're like rebels without a cause, except they have a cause. Only nobody knows what it is. LONDON GIRL (screaming) Their cause is each utter! TWO JAPANESE TEENS a BOY and GIRL, dressed like the Knox's. They speak in Japanese, which is translated in English. TITLE CARD: 'JAPAN' As Japanese boy and girl speak, we hear: TRANSLATOR (V.O.) Keep the faith, Mickey and Mallory, keep the faith. TWO FRENCH TEENS a BOY and GIRL, dressed like the Knox's. They speak in French, and we hear the translation in English. TITLE CARD: 'FRANCE' TRANSLATOR (V.O.) Mickey and Mallory have a love that's L.A.M.F. FRENCH BOY (in English) They are super cool! INT. WAYNE'S STUDIO - DAY WAYNE And as to almost give this whole misplaced admiration scenario a cherry on the top, the rock band Redd Kross entered the charts last week at number 13 with their song 'Natural Born Killers, The Saga of Mickey and Mallory.' CUT TO: A CLIP from the Redd Kross video of 'Natural Born Killers.' BACK TO: WAYNE'S STUDIO WAYNE The third wicked twist to this story is Grace Mulberry. CUT TO: FRONT PAGE NEWSPAPER - Headline reads: 'MICKEY AND MALLORY KILL SIX TEENS DURING SLUMBER PARTY!' In smaller bold face under it: 'One Teen Escapes Killer's Clutches.' On the front page is a PHOTO of the teen who escaped. It's seventeen year old GRACE MULBERRY. CAMERA moves in CU of the photo. WAYNE (V.O.) Of the six teens murdered that night, seventeen year old Grace Mulberry was the lucky one left to tell the tale. And this haunted young lady summoned up the courage to take the stand, tell what she saw that horrible night, and then allow herself to be cross-examined by the man who killed her brother and girlfriends. EXT. COURTHOUSE - DAY All kinds of PEOPLE are gathered around. It's a real media event. Grace's sedan pulls up to the courthouse. The many spectators and reporters surround the car. Grace, HER FATHER, and BISBING emerge from the sedan, and start walking up the courthouse steps. Microphones and cameras are thrust at her as REPORTERS ask questions. Grace is afraid to face the crowd. Her head darts in the direction of each question, but she doesn't answer. She remains silent and scared. FEMALE ORIENTAL REPORTER Miss Mulberry! How does it feel to be the only survivor of Mickey and Mallory's reign of terror? FAT MALE REPORTER Miss Mulberry! Has the experience marked you? Some scruffy TRANSIENT sticks his head in Grace's face. TRANSIENT Did ya watch your brother get stabbed up? WAYNE How do you feel about Mickey cross- examining you? Grace, her father, and Bisbing shove their way through the crowd. After Grace and her entourage enter the courthouse, we hear the cry of: VOICE (O.S.) Mickey and Mallory! CAMERA whips toward the bottom of the steps as the car carrying Mickey and Mallory pulls up. The reporters race down the steps they just raced up. The Mickey and Mallory fans go apeshit. Mickey and Mallory, handcuffed, are being led up the steps by SHERIFF'S DEPUTIES. Wayne Gayle and other reporters film them and shoot out questions. Microphones are thrust into their faces. WAYNE Mickey, how do you feel about cross- examining Grace Mulberry? MICKEY I'm keen with anticipation. FEMALE ORIENTAL REPORTER What do you think of this turn out, Mallory? MALLORY I ain't never had so much fun. A CUTE REPORTER, a Tawny Little type, steps forward. CUTE REPORTER Do you have any regrets? MALLORY Not a one. MICKEY Yeah, I always regretted we never got around to looking up my old history teacher, Miss Bainbridge. Now there's a big bad bitch not good for herself or nobody. BLACK REPORTER What's your favorite pastime? MICKEY You mean aside from what I'm being tried for? Mallory playfully elbows Mickey in his ribs. MICKEY Oh, I'd say watching TV. All the reporters in unison: REPORTERS What's your favorite show? MICKEY 'Have Gun Will Travel.' CUTE REPORTER Do you have anything to say to your fans? MICKEY (looking in CAMERA) You ain't seen nothin' yet. CUT TO: EXT. COURTHOUSE - DAY Wayne by himself standing on the courthouse steps. WAYNE (to CAMERA) No, apparently we had not seen everything. Grace Mulberry gave her tearful testimony. Then it became Mickey Knox's turn for cross- examination. CUT TO: COURT SKETCHES: An artist SKETCH of Mickey cross-examining Grace on the stand. BISBING (V.O.) Grace was terrified of Mickey. You have to understand most of their victims were normal people with normal lives that nothing out of the ordinary ever happens to. COURT SKETCH of Mickey looking like the devil himself. BISBING (V.O.) Then out of the blue, they're dealing with the devil incarnate. It was extremely difficult for us to find survivors who would take the stand and testify when they knew Mickey would be cross-examining them. COURT SKETCH of terrified Grace. CAMERA closes in Grace's face. BISBING (V.O.) Grace was every bit as terrified, every bit as haunted. But she felt her brother Tim and her five girlfriends were counting on her. CUT TO: INT. COURTROOM - DAY COURT SKETCH - CU of Grace staring intently. CAMERA widens to include Bisbing standing before the bench as Mickey sits with Mallory at the defence table. Judge Steinsma looks down at Grace. The distinct sounds of a court in session can be heard in the B.G. The color of the scene FADES to Black & White as the CAMERA cranes up to reveal the COURT ARTIST drawing while court is in session. OFF SCREEN: Bisbing is wrapping up her examination of Grace who is at the witness stand. Judge Steinsma resides at his bench. CAMERA dollies into a MED. OVERHEAD TWO-SHOT of Mickey and Mallory who are sketching on a pad of paper. CAMERA reveals the drawing of a man stabbing a woman. Mickey is doing the actual drawing, but every once and a while Mallory takes to pencil and adds some touches, as Grace finishes her tearful testimony. BISBING (O.S.) No further questions, your honor. Emotional pause, the silence. JUDGE STEINSMA (O.S.) Would you care to cross examine the witness, Mr. Knox? Mickey scratches out the drawing. Still holding the pencil he stands and leaves frame. MICKEY (O.S) As a matter of fact, your honor, I would. NOTE: The following scene is to be played with EXTREME CLOSE UPS. Not once is the courtroom seen in detail. However courtroom sound can be heard vividly in the B.G. CU of Mallory, who grins at Mickey like a Cheshire cat. CU of Grace's eyes as they look downward. CU of Judge Steinsma as he shuffles paper on his bench. CU of Mickey's feet crossing the court floor. CU of Bisbing as her eyes follow Mickey across the court. Mickey enters the frame, with a pencil pressed to his lips in though. Mickey is looking straight into the CAMERA. Mickey's POV of Grace sitting on the witness stand, staring into her lap. ECU of Grace's finger rolling a large, male-style, High School class ring around her palm. CU of Mickey glancing to the ring. Mickey smiles. Mickey's POV of Grace as she pulls from a reserve of strength. Clenching the ring tight in her fist, her eyes come up and lock hatefully on Mickey. CU Mickey as he walks forward towards Grace. MICKEY That's one helluva story, Miss Mulberry. CU of Grace. GRACE Yes it is. At this point Mickey begins to pace from right to left, but always remaining in CU. MICKEY Grace...I hope you don't mind if I call you Grace... BACK TO: Grace as we DOLLY from a MED CU into a ECU. MICKEY Grace. I'd like to talk to you about your late brother Tim, if you feel up to it. CONTINUE DOLLY: Once locked onto her eyes, her head drops forward and we... CUT TO: INT. GRACE'S HOME - NIGHT ECU of Grace's eyes as her head is pulled back into frame. Her eyes are wide with fear. The CAMERA pulls back to reveal a gag in her mouth and a knife pressed against her throat. She's back at the night of the murder. Mickey's wearing a black leather jacket over a white t-shirt, which is covered with blood. Blood is smeared on his face, and he's holding a knife pressed to his lips, also covered with blood. But he's walking and talking with the same manner and poise as in the courtroom. MICKEY Grace...I hope you don't mind if I call you Grace... TWO SHOT revealing that Grace is bound and gagged with Mallory right behind her, holding the knife and cracking gum. MALLORY Naw, she don't mind. MICKEY Grace. I'd like to talk to you about your murdered brother Tim, if you feel up to it. CUT TO: INT. COURTROOM - DAY CU of Grace in a daze. MICKEY (O.S.) Did you get along? Mickey waits for an answer that doesn't come. MICKEY Miss Mulberry? Back to Grace. GRACE More or less. MICKEY More or less... BACK TO: Mickey. MICKEY What do you mean by that? BACK TO: Grace. GRACE Well, he's my older brother. When we were growing up, there were times we could of very well done without each other. But when it counted, we were close. CU of Bisbing listening. Grace is doing better than she thought. CAMERA PANS from shadows to find Mickey, the pan continues through his line. MICKEY I'd like to talk about Tim's martial arts abilities. How long had he been studying? PAN CONTINUES back into the shadows, then 180 degrees to find Grace. GRACE He started when he was in the seventh grade, so that would make it nine years. PAN CONTINUES back into shadows, then... DISSOLVE TO: INT. MARTIAL ARTS SCHOOL - DAY CAMERA PANS from darkness into a well lit martial arts class room in full session. TIM MULBERRY and expert martial artist is competing against a lesser opponent while their master looks on. CAMERA PANS back into shadows, then... DISSOLVE TO: INT. COURTROOM - DAY CAMERA PANS from darkness and locks on a CU of Mickey. MICKEY When you study the martial arts, they give out belts that come in different colors to signify what level you're at in your training. Am I correct on that point? GRACE Yes you are. MICKEY What was the color of Tim's belt? GRACE The style of fighting that Tim studied didn't believe in belts. MICKEY Is that a fact? Well then, Grace, could you tell us what form of martial arts it was that Tim was schooled in? GRACE Tim studied several styles, but his favorite was Jeet Kune Do. MICKEY Jeet Kune Do...Now I did some research on that form of fighting, and I found out that Jeet Kune Do was a style developed by Bruce Lee. Did you know that? GRACE Yes, I did. That's why Tim studied it. Because it was Bruce Lee's fighting style. CU of COURT CLERK'S HANDS typing in SLOW MOTION. MICKEY Now, while I freely admit total ignorance on the subject, I have heard of Bruce Lee. And I was under the impression that Bruce Lee was one of the, if not the greatest fighter in the history of martial arts. GRACE That's what Tim said. MICKEY So, I think it would be safe to say that anybody who studied the fighting style that Bruce Lee, arguably the greatest martial artist of all times, developed for nine years, that would be a fella who could defend himself. Would you describe Tim that way, Grace? GRACE Yes, I would. Mickey points at Grace with the pencil in his hand. MICKEY Point of fact, weren't Tim's hands registered as lethal weapons? GRACE Yes, they were. CU of Mickey's hand holding the pencil. MICKEY That means his hands are considered a weapon like a gun or a knife. Am I correct on that point? GRACE Yes, you are. CU of Mallory cracking a slight smile. MICKEY Yet, in your testimony just now, you described that Tim... CAMERA moves into a tight CU of Grace. Her eyes widen. MICKEY (O.S.) ...kicked me four times in the head. CUT TO: INT. GRACE'S HOME - NIGHT INSERT: The night of the Murder. Tim cuts loose and hammers Mickey with four punishing kicks to the head. CUT TO: INT. COURTROOM - DAY CU of Mickey. MICKEY And his trained martial artists kicks had little to no effect. CUT TO: INT. GRACE'S HOME - NIGHT CAMERA is LOW ANGLE as Tim backs up after his attack. We notice the High School Ring he wears on his right fist as he steps into a fighting stance, ready for Mickey to drop. Mickey, however, spits out a stream of blood, and smiles at him. CUT TO: INT. COURTROOM - DAY CU of Mickey. MICKEY Then, after shrugging off four blows to the head like I was Superman, I lifted Tim-nine-years-of-Jeet-Kune-Do-Mulberry off the ground and threw him across the room. Mickey, with arms raised over his head, pantomimes throwing Tim's body. CUT TO: INT. GRACE'S HOME - NIGHT WIDE SHOT as Tim flies into FRAME, CRASHING into the living room wall. CUT TO: INT. COURTROOM - DAY We quickly PAN down a number of items with white evidence tags on them. We stop at Mickey's Buck Knife. Mickey's hand comes into FRAME and picks up the knife. MICKEY Then I took... CU of Mickey as he brings the knife into FRAME. MICKEY ...this knife and proceeded to tear him limb from limb. And this man, whose hands are lethal weapons--- CU of Bisbing as she stands. BISBING Objection, defence is intimidating the witness with the murder weapon. JUDGE STEINSMA (O.S.) Sustained. Mr. Knox, put the knife down. Mickey is locked on Grace. MICKEY (cont'd) --had little to no defence. GRACE (yelling) I don't know how you did it, but you did it! JUDGE STEINSMA Mr. Knox! The knife! Mickey glances to the judge, then slowly places the knife back on the table. MICKEY How do you think a human being could possibly be capable of doing something like that? Mickey locks eyes with eyes. GRACE (yelling) I don't know! Mickey is on top of her. MICKEY Now...I don't believe that Grace. I think you have a definite opinion on how I was able to do those things you described. Now, I'm going to ask you again. And I want you to remember you are under oath. Grace collects herself. MICKEY (O.S.) In your opinion, Miss Mulberry, how was I able to murder you brother Tim Mulberry in the manner you described. The Judge looks down at Grace. Grace looks back into her open palm. CU of the ring. BACK TO: Mickey bearing down on her, waiting for an answer. BACK TO: Grace as we slowly DOLLY closer she looks up at Mickey timidly. GRACE (softly) You're not human. Mickey smiles. GRACE I thought about it a lot. And the only thing I could figure is that you're not human. Bisbing hides her disappointment by looking down. Mickey straightens up as Grace continues. GRACE You're a vampire, or the devil, or a monster, or cyborg, or something like that. But you're not human. Grace breaks down. Putting her hands to her head to stop the pain. CU of Mickey smiling down at her. CU Mallory smiling proudly at Mickey. CU Judge Steinsma betraying no emotion looks down at Grace. CU of Grace sobbing, she tries to collect herself by clutching the ring tighter. Mickey rolls his pencil in his hand the CAMERA tilts up as he leans into a CU. MICKEY (softly) Thank you. Grace, there is one other thing... GRACE (softly into her lap) What... Mickey smiles. MICKEY You're right. Grace tearfully looks up and meets Mickey's demonic glare as he plunges his pencil deep into her chest. Grace's eyes go wide as Mickey's vicious attack continues. CAMERA whips to CU of Bisbing jumping up screaming as pandemonium breaks out behind her in SLOW MOTION. CU pencil puncturing Grace's blood soaked chest in SLOW MOTION. CU Judge Steinsma slams his gavel while directing the Sheriff Deputies in SLOW MOTION. CU of the Sheriff Deputies are running to Mickey in SLOW MOTION. ECU of Grace a tear rolls out of her widen eye in SLOW MOTION. CU of Mickey. His attack is unending in SLOW MOTION. MED Grace goes limp. As the Sheriff Deputies reach Mickey from all sides the pencil breaks off inside Grace in SLOW MOTION. CU the bloody eraser end of the pencil in Mickey's hand in SLOW MOTION. SIDE ANGLE as Grace's head falls back into a CU. Her mouth plops open and as her eyelids close, they pinch out a tear that rolls down her cheek in SLOW MOTION. CU of Mickey's torso as the Sheriff Deputies wrestle him away from Grace. Mickey still has the bloody end of the pencil. CU of Grace's hand dropping into frame and as her fist opens, the ring falls in SLOW MOTION. CU of the ring hitting the floor and rolling out of frame. DOLLY along side the rolling ring on the floor until it hits a shoe and stops. ECU of Mickey's eyes looking down at his feet. ECU of Mickey dropping the bloody pencil stub. CAMERA follows it in SLOW MOTION. CU of bloody pencil stub hitting the floor next to the ring in SLOW MOTION. CU of Mickey looking over to Mallory. CU of Mallory surrounded by Sheriff Deputies. She smiles at Mickey. MALLORY Show off. Mickey smiles and glances toward Judge. MICKEY No further questions your honor. Mickey turns forward still wrestling the Deputies. Mickey's POV of a Sheriff Deputy stepping in front of him with a riot club. DEPUTY #1 Light's out Prick. Deputy swings the club. CUT TO BLACK: EXT. COURTHOUSE REAR - DAY Mickey, dressed in county blues, is led out of the courtroom by sheriffs deputies. He's cuffed hand and leg. Reporters throw out questions, photographers shoot photos, Mickey is somewhere else, no mugging to the crowd this time. WAYNE (V.O.) After the deadly brewhaha in the courtroom, the judge, honorable Burt Steinsma, passed down a sentence that was to make legal history. INT. JUDGE'S DEN - DAY Interview with Judge Steinsma in his den at home. M.O.S. SHOT of Wayne and Judge talking. WAYNE (V.O.) We spoke with retired Judge Steinsma at his home in Baltimore, Maryland. The interview: WAYNE Was there any vengeance on your part with your unique sentence? JUDGE STEINSMA Yes, unquestionably. After they did what they did in my court, and judge worth his robe will tell you the same thing. It couldn't help but affect my decision. That's why they have judges. We're supposed to be fair to a fault, but when it's showtime, we have to make a decision. That's why we don't just input all the facts into a computer for the appropriate punishment. I couldn't give them the death penalty. See, California hops back and forth on that issue. Mickey and Mallory went to court when it was out of favor, which is actually good because it leaves more room for imagination. Anybody can give somebody the chair. When you have someone who deserves to die and you can't kill them, you have to be creative. And if the bastards had let it stand, it would of been the perfect sentence. It hit 'em right where they lived. Far more punishing than the death sentence. WAYNE Would you please describe for our viewers what your sentence was? JUDGE STEINSMA Well, in a rogue's gallery of killers, Mickey and Mallory are very unique. I've seen a lot of killers in my day and they're a very cold lot. They have no more feelings about taking a person's life than squashing a tiny bug. It's all the same to them. Well, Mickey and Mallory were that 'kill 'em to watch their expression change' attitude personified. Except with each other. And, since they lived only for each other, I wanted to attack that, at its very root. So, in a nutshell, my sentence was double life for each without any possibility for parole. That would be fairly standard in their case. The twist I added was that the husband and wife would have no contact or correspondence with each other for the rest of their lives. And they would never receive any word or information about the other. So, basically once the cell door slams shut, Mickey and Mallory will completely disappear from each other's life. They'll never know when the other dies. But alas, the best laid plans of mice and men... CUT TO: EXT. COURTHOUSE REAR - DAY Mallory in tears, hysterically actually, is cuffed hand to foot, and being dragged by sheriff's deputies into the prison bus. Reporters throw out questions, photographers shoot photos, TV news people capture the moment on video. The bus pulls out onto the street. CUT TO: PHOTO: Mickey in prison uniform being led by guards. PHOTO: Shot though bars of Mallory in her cell. Her back is to the camera. WAYNE (V.O.) The sentence was never to reach that point. Because after only a year, Mickey and Mallory created so much mayhem that it was decided... INSERT: FRONT PAGE NEWSPAPER: 'MICKEY AND MALLORY TO BE TRANSFERRED TO ASYLUM.' WAYNE (V.O.) ...that they were mentally ill and needed to be transferred to a state mental hospital. CAMERA move into the picture of Mickey and Mallory on the front page of the newspaper. CUT TO: PHOTO: of Dewight McClusky. WAYNE (V.O.) We talked with Dewight McClusky, chairman of the California State Prison Board, about this curious turn of events in the Mickey and Mallory case. INT. MCCLUSKY'S OFFICE - DAY Wayne's interviewing McClusky. WAYNE Why are Mickey and Mallory being moved to an asylum? And who made the decision? MCCLUSKY The prison board made the decision. A board of which I belong. We're the who. The why is simple. Mickey and Mallory are mentally ill and need to be under a doctor's care, where hopefully they'll receive the help they need. WAYNE Mickey and Mallory were deemed competent in a mental examination before their trial. I'm confused. What's changed? MCCLUSKY Well, since that time, they've killed one person during their trail. And since their incarceration, they've killed one psychologist along with several guards and inmates. WAYNE When they were found competent before, they had already killed fifty people. Other than the fact they're a disciplinary problem, which frankly shouldn't surprise anyone, I still don't see where this situation is any different then it was before. So, I ask you again, Mr. McClusky, what's changed? MCCLUSKY What's changed, Mr. Gayle, is our minds. We felt they were competent a year ago. A year has passed, sir, a year where they were under close observation, day in and day out, and their behaviour has led us to believe we were wrong. WAYNE Who is we? MCCLUSKY The prison board and the doctors who examined them. WAYNE Were any of the doctors who made the first evaluation on the Knoxs mental state asked to re-examine them? MCCLUSKY Using the same doctors is not common practice. WAYNE I take it by your answer it was a whole new team? MCCLUSKY Now that you bring it up, yes. They were different men. I hadn't really thought that much about it. Since many psychiatric opinions are, by a rule, sought out for this kind of situation. What do you think normally happens? The Knoxs are assigned a family psychologist that takes care of them throughout the rest of their lives? The state doesn't work like that. PHOTO: of DR. ALBERT RODRIGUEZ. WAYNE (V.O.) The two psychiatric opinions the board sought were those of Albert Rodriguez... PHOTO: of DR. FELIX VARGUS. WAYNE (V.O.) ...and Dr. Felix Vargus. Both of the good doctors, for whatever reason, refused to be interviewed. INT. DR. REINGHOLD'S OFFICE - DAY Back with Dr. Reinghold. He's laughing. DR. REINGHOLD It's a funny situation actually. If anyone besides Mickey and Mallory give a damn, what the prison board is doing would be considered an outrage. The prison board is basically saying, 'We can't handle these guys.' They've moved 'em around twice since their sentence started. They were a handful everywhere they went. Now the prisons they're at now want them outta there. But no other prison's gonna be stupid enough to take 'em. So the prison board is left scratching their heads wondering what they're gonna do. Well, what they decided to do was to set up a kangaroo medical court that found them crazy. Then they get them transferred to Nystrom Medical Asylum or Lobotomy Bay as it's referred to in the psychiatric circle. Put 'em on a strict dope and electro shock diet, and Mickey and Mallory cease to be a problem to anybody except the orderlies who clean out the bedpans, which if you want to see them get theirs, that's all well and good. But there's something being said here. Forget the immorality for a second. Forget the corruption and the skulduggery involved. What the board is saying is 'we give up.' Mickey and Mallory ran amuck in polite society. They were put in an alternative society and they ran amuck there, too. All the powers that be, can't deal with these two kids. And whatever can't be assimilated has to be terminated. WAYNE So, in your opinion Mickey and Mallory are not insane? DR. REINGHOLD Insane, no. Psychotic, yes. A menace to living creatures, yes. But to suggest that they're insane gives the impression that they don't know right from wrong. Mickey and Mallory know the difference between right and wrong. They just don't give a damn. FREEZE FRAME on Dr. Reinghold. INT. EDITING BAY - DAY Wayne's just finished viewing the show. He puts his hands on Scott and Roger's shoulders. WAYNE Good work, my brothers. Fan-fuckin'- tastic! I think that interview stuff's too long, we can lose some of that. Keep the girls, keep the long hairs, keep the Hun brothers, keep the black guy, keep the movie shit, and keep the cop at the donut shop. Lose the rest. And cut the interview with the prison board fellow before that. Cut it after I ask, 'I take it by your answer it was a whole new team.' Don't even let him answer. Fuck him. Then cut to me talking about the two chicken shit psychiatrists and straight in Dr. Reinghold laughing. SCOTT Okay. Wayne puts his arm around Unruly Julie. WAYNE Children, we have a show. (to Scott & Roger) You two get some long well overdue sleep. 'Cause tomorrow, bright and early, county jail and then journey's end...Mickey Knox. CUT TO: TITLE CARD: 'TOMORROW--BRIGHT AND EARLY.' INT. MICKEY'S CELL - DAY Mickey's pacing back and forth in his cell, trying out different jokes. MICKEY There's this Italian guy, a French guy, and a Polish guy. And they're all talkin' about how they fuck their wives--- JUMP CUT: MICKEY ...You know, I'm gonna just rip off your dress and squeeze your titties. Then Little Red Riding Hood whips out her .357, sticks it in the Big Bad Wolf's face and says, 'No you're not. You're gonna eat me...just like the story says.' JUMP CUT: MICKEY (with a lisp) ...Fairy boat! I knew things were good in here, but I didn't know we had our own Navy. JUMP CUT: MICKEY ...So this guy wants to take little Johnny's sister to the drive-in. But the mother says, 'Only if you take little Johnny along---' JUMP CUT: MICKEY ...And the Polish guy says, 'That's nothing. When I get through with my Hanna, I get up, wipe my dick on the curtain, and she hits the roof!' JUMP CUT: Mickey's pretending he's calming down a hysterical audience. MICKEY No...please...thank you...you're too kind...no...please... INT. NEWS VAN - MOVING - DAY Through Scott's CAMERA, we're filming this in BLACK AND WHITE - 16mm. NOTE: Everytime we're viewing through Scott's CAMERA, we are filming handheld in 16mm BLACK AND WHITE. Until otherwise specified, the SHOTS stay in Scott's CAMERA. Scott's filming the back of the newsvan. Roger's sitting in the back eating donuts as is Wayne. Unruly Julie's up front driving. WAYNE (with mouthful of donut) How's it working, Scotty? SCOTT (O.S.) Perfecto! Roger's picking through a box of donuts. Scott PANS over to him, then slowly ZOOMS in on him. ROGER Where the fuck's the chocolate cream filled? Did anyone get my chocolate cream filled? If you did, it's mine. CU of Roger, looking into CAMERA. ROGER I pointed at a chocolate cream filled. You saw me do it, didn't you? Wayne starts talking. We PAN from Roger to a CU of Wayne. WAYNE You were there. Did you see him put it in a box? We PAN back to a CU of Roger. ROGER At the time, I was too busy explaining to Scott the finer points of film. We ZOOM back to a WIDE SHOT. SCOTT (O.S.) Yeah, right. You know what he said? He said, Indiana Jones And The Temple Of Doom is Spielberg's best film. Wayne starts laughing. We hear Scott laugh too. WAYNE (to Roger) You can't be serious? ROGER (preoccupied) I'm as serious about that as I am about going back to the donut store, and dipping that stupid Mexican's head into the batter for forgetting my chocolate cream filled. Gimme that other box. WAYNE Huh uh. This dozen is for Mickey. ROGER That dumbass probably put my chocolate cream filled in there by mistake. WAYNE Roger, no. ROGER What's the big deal? Take out my chocolate cream filled, put one of these roasted coconut--- WAYNE Roger, do you understand what the word 'no' means? It's important we establish a rapport. Something as simple as a dozen donuts can mean the world to somebody who hasn't had a donut in a year. ROGER So you're giving a man who butchers whole families, little babies included, my chocolate cream filled? Unruly Julie HONKS the horn. Wayne gets up and looks out the windshield. WAYNE Okay, guys, we're here. L.A. County Jail. Julie, just park in the front. ROGER Wayne--- WAYNE Roger, I'm starting to get pissed. Just drop this fuckin' donut shit, and gather your gear. The van stops. Wayne slides open the panel door, and steps out. EXT. LOS ANGELES COUNTY JAIL - DAY BACK TO: COLOR 35mm. Wayne hops out of the van and is approached by Superintendent Phil Wurlitzer who's followed by two DEPUTY SHERIFFS. WAYNE (aside to Scott) Here's the welcome wagon. Wurlitzer reaches them and shakes Wayne's hand. WURLITZER Hello, Mr. Gayle. I'm Phil Wurlitzer. We talked on the phone. It's a pleasure to meet you. WAYNE Same here. Let me introduce my crew. Scott...Roger...and Unruly Julie ...this is...I'm sorry. What's your title again? WURLITZER I'm the superintendent here at L.A. County Jail. Me and my deputies are who you'll be working with while you're here. WAYNE That sounds great. Look, I don't want any of this to intimidate you. This is not going to be a big deal. This is going to be very easy. (to his crew) I need to talk with Mr. Wurlitzer. You guys get your equipment ready, power up the van and confirm a transmission code for the remote. Julie come with me. Julie tosses the keys to Roger and shadows Wayne as he speaks confidentially to Wurlitzer. WAYNE The main thing I need is a big room, shut off from the population, so we can get some privacy...with a few electrical outlets. INT. SUPPLY ROOM - DAY Wayne and his crew have set up in the food supply room off from the cafeteria. Being big, roomy, and unpopulated, it's perfect for an interview. There's eight L.A. County DEPUTY SHERIFFS around the room along with Wurlitzer. Roger's setting up his sound equipment while Unruly Julie is checking her notebook. Wurlitzer and a few Deputies talk among themselves. CAMERA moves from person to person without cutting. WURLITZER (to two Deputies) This is just for an interview, I was on the set of 'Dukes of Hazzard' once. It was a much bigger deal than this. They had a crew of maybe seventy-five people. CAMERA moves to Wayne and Scott. WAYNE We're gonna be talking over here. But I want enough freedom so if I wanna get up and move around, we can. Wayne grabs Scott and walks him to the left. WAYNE Take him and walk him over this way. (pretending Scott's Mickey) So, Mickey, killing Mallory's parents, what the hell was that all about? (pauses--to Scott) Then maybe take him to the window. He walks Scott to the window. WAYNE (pretending Scott's Mickey) So, Mickey, if you were let outta jail today, what's the first thing you'd do? (pause--to Scott) Little shit like that. I don't wanna have to feel I gotta stay in the chairs. We're after a cinema verite, anything can happen, truth twenty-four times a second kindda feel. End of single SHOT. Wurlitzer's talking with Deputies. WURLITZER And when it's lunch time, they don't just go to McDonalds. They got cooks there servin' great food. Swedish meatballs... Wayne walks over to Wurlitzer and Deputies. WURLITZER How's everything coming, Mr. Gayle? WAYNE Everything's coming along just fine. Phil, I wanted to know if I could have a small word with you. WURLITZER By all means. Wayne puts his hand on Wurlitzer's shoulder. They walk around the room. WAYNE You met the kids I have working for me? Great bunch, aren't they? WURLITZER Oh yes, indeed. Top flight. WAYNE Scott, genius cameraman, Roger, magician with sound. Unruly Julie, I could sooner do without my arm than Unruly Julie. WURLITZER Is that her real name? WAYNE Just a little nickname. Yep, they're my kids and they're all I need. After working together these past coupla years, we're like well-oiled machinery. No, more like a Formula race car. No, scratch that one, too. What we're really like is a Swiss watch. Small, intricate, compact...it shouldn't work as well as it does, but it does. Because of the craftsmanship, the expertise, and the artist's loving hand. Wayne gives Wurlitzer a moment to digest this. WURLITZER I see. WAYNE Now, Phil, I don't know if you've ever been on a set before--- WURLITZER (proudly) Ya know, I was. WAYNE (acting surprised) Really? WURLITZER I was on the 'Dukes of Hazzard' set about eight years ago. WAYNE (still acting surprised) Well...small world. Well, then, you know firsthand how Hollywood does things. Lights all over the place, generators, a hundred and fifty crew members--- WURLITZER Oh, that 'Dukes of Hazzard' show, there was probably ninety-five people there, maybe more. WAYNE See what I mean? It's a funny business, isn't it? WURLITZER It sure is. WAYNE They got a asshole over here. (pointing to his left) A asshole sitting down reading a magazine over there. (points to his right) A asshole perched up there. (points straight up) Assholes everywhere. Hey, maybe if we were doin' that kiss, kiss, bang, bang stuff we'd need all those assholes, too. What we're about is intimacy. We're about two people having a conversation. Say I was interviewing you. All I want you to worry about is what I ask you. I want a trust to develop. If you're thinking about all this... (indicates the hustle and bustle of a set) ...you're not going to relax, a trust won't develop, we'll be talking a each other instead of to each other, there will be no chance for intimacy. Wayne gives Wurlitzer a chance to take this in. WAYNE That's why my crew is only three...an invisible three. (switching gears) Which brings me to what I wanted to talk to you about. I have to get Mickey Knox to relax...Mickey Knox to share what he's never shared before... Mickey Knox to open doors which 'till today have been closed. Well, how can we expect him to do that when we got Los Angeles County Sheriffs up the walls. Suddenly, things get short between the two men. WURLITZER (snorts) Well, just what the hell do you expect me to do? WAYNE Lose 'em. WURLITZER Mr. Gayle, do you have the slightest idea how dangerous Knox is? WAYNE Mr. Wurlitzer, I assure you, I am very familiar with Mickey Knox's career. They're out and out angry. WURLITZER Since he and his wife have been in custody, they've killed--- WAYNE Don't recite the fact to me. I'm sure I know 'em better than you do. WURLITZER Well, let me let you in on one more fact you obviously don't know. If I were to take my men away, Mickey Knox would snap your neck like a twig. WAYNE One...I can take care of myself. I grew up in a tough neighbourhood, and I've handled some pretty rough customers in my day. Mickey Knox doesn't scare me. Two...I'm a journalist, and I'm prepared to take that risk. Three...it ain't gonna happen. Believe me when I tell you, it is in Mickey Knox's own best interest to play this game according to Hoyle. (pause) Wait a minute. We've gotten into a advisory relationship here, which is not what I want. (pause) But seriously, Phil, look at this. Wayne scans the room, counting the deputy sheriffs. WAYNE (counting) We got one...two...three...four ...five...six...seven...eight. I mean Jesus Christ, Phil, that's too much. Let's lose some of these guys. WURLITZER Wayne, if it was anybody else--- WAYNE Phil, I'm just scared he's gonna clam up on me with all these sheriffs all over the place. They hate him. He hates them. What kinda intimacy am I gonna create with all this hate in the air. Even you and I feel it. WURLITZER What are we talking about? WAYNE Two guys? WURLITZER Okay. I'll take two guys off. WAYNE No, no, no, no, no, no, I mean only two guys. WURLITZER I can't do that. Five guys. WAYNE Three. WURLITZER I'll cut it in half. Four guys, but that's it. INT. MICKEY'S CELL - DAY Mickey lays on his bed with his hands behind his head. CAMERA DOLLIES BACK to include the bars of Mickey's cell door in the F.G. as two DEPUTY SHERIFFS enter FRAME and slide it open. The deputies each carry shotguns and a shit load of chains and shackles. DEPUTY #1 On your feet! Turn your face to the wall. Mickey gets up. MICKEY Now what you're supposed to say is: 'Five minutes, Mr. Knox.' OFF SCREEN the cell door slams closed. CUT TO: INT. MALLORY'S CELL - DAY CU of Mallory asleep in her bunk. The echo of Mickey's cell door makes her up with a jolt. SCAGNETTI (O.S.) Rise and shine, Mallory! Mallory springs out of bed, and into a fighting stance. CAMERA WHIP PANS to Scagnetti, inside her cell, flanked by two deputies with shotguns. The deputies are BINGHAM and WASHINGTON. SCAGNETTI Beautiful day for a drive, isn't it? CUT TO: INT. JAIL CORRIDOR - DAY CU of Mallory's bare feet walking in front of Bingham and Washington's shiny black shoes. The SOUND of Mallory's bare feet slapping the concrete floor, along with the clip-clop-clip-clop of the deputies' shoes, reverberates throughout the scene. Mallory walks slightly ahead of the two shotgun wielding deputies, when Scagnetti slips in beside her. He lights up a cigarette with his Zippo, and talks a long drag. SCAGNETTI It's a long trip to Bakersfield. Long and hot. Ever been to Bakersfield? Mallory looks straight ahead. SCAGNETTI See, I've been there twice. And I'm not lookin' forward to goin' back. But I'm in and out. You, on the other hand, sweetheart, are gonna spend the rest of your life there. Now that's what I call cruel and inhuman punishment. Mallory shows no emotion, just keeps on walking. SCAGNETTI Course you're not gonna give a shit. 'Cause when the good doctor's get through givin' you the zap... (he puts his finger next to his temple, pantomimes being electrocuted) ...You won't know where the hell you are. They'll just put you on a window sill, and water you every other day. Mallory lets out a big yawn. INT. SUPPLY ROOM - DAY Wayne stands at the window speaking to Scott, Roger and Unruly Julie. One the other side of the room Wurlitzer and his entourage of deputies are yucking it up, and occasionally bursting into laughter. WAYNE (to his crew) And when he gets here, its no dick'n around time. Make him up, clip a mike on him, then leave him alone. I don't want you talking to him. I don't want you getting in his face. I want you hiding behind your gear. You are invisible. CAMERA PANS to the door as two deputies lead Mickey into the supply room. Mickey is shackled head to toe, it's a wonder how he can still walk. WAYNE (to his crew) Okay, break. Wayne's team disburses. WURLITZER Okay, boys, lets start undoing him. Two deputies hold shotguns to Mickey's head, while two others start unlocking the chains. As they do, Mickey looks at Wayne. Wayne approaches Mickey. MICKEY (to Wayne) Okay now, before we get started here, there's a few things we have to get clear about. WAYNE All right, Mickey. MICKEY Let's discuss it when I'm unbound. CAMERA holds on Mickey standing still as the two deputies remove the chains. INT. HOLDING CELL - DAY CAMERA is inside a holding cell fixed on the cell door. The cell door is unlocked, then opened. The two deputies bring Mallory inside. Scagnetti wanders in, trailing behind. Bingham pumps his shotgun slide and places the barrel next to Mallory's head. Washington unlocks the cuffs around Mallory's wrists. Mallory's silent. Scagnetti leans up against the wall, smoking his cigarette. BINGHAM Turn around and face the wall! Mallory does. Bingham and Washington move to the door. SCAGNETTI Wait outside for a second, fellas. BINGHAM We're not supposed--- SCAGNETTI Don't worry about it. Bingham and Washington move outside. Scagnetti takes out his gun and tosses it to Washington. Before they can protest, Scagnetti closes the door. Mallory stands in the middle of the cell, motionless, her back to him. Scagnetti walks up behind her. Mallory doesn't move. SCAGNETTI Want a smoke? Mallory's steel eyes glare at Scagnetti. SCAGNETTI C'mon, I already lit one for you. I know you smoke. Mallory doesn't respond. Scagnetti takes the cigarette from his mouth and puts it between Mallory's lips. Hold on C.U. of Mallory. SCAGNETTI I was reading the file on you. You know what it said during your trial, whenever they put you on the stand, no matter what they asked, your answer was always the same...'I love Mickey.' It also says that when they gave you a polygraph, 'I love Mickey' was the only thing you said that registered as the truth. Scagnetti appears at the side of frame next to Mallory. SCAGNETTI Who are you supposed to be? Squeaky Fromme? Is that it? Is Mickey your Charles Manson? Is Mickey Jesus? Is that the attraction? Or does he just got a big dick? Scagnetti changes to Mallory's other ear. SCAGNETTI That's it, isn't it? Mickey's got a big donkey dick. Scagnetti presses closer. SCAGNETTI Can you remember the last time you fucked? Huh? What I want you to do is close your eyes and remember... remember the last time ol' Mickey gave you the high hard one. Are ya thinkin' about it? Good. Remember it. Don't ever forget it cause it ain't never gonna happen again. Cause when they get through with all that electroshock shit they got lined up for you two, Mick's dick ain't gonna be worth shit. Mallory spits the lit cigarette unto Scagnetti's face. Scagnetti spins her around and slaps her. SCAGNETTI Look. You're gonna sit here for a couple hours while I finish up the arrangements. The reason they picked me to be your chaperone is they know I won't hesitate to put a bullet in you. Scagnetti has Mallory clutched tightly by her shoulders. SCAGNETTI So, during our journey, if any wild hairs spring up on your ass, you'd better slap a muzzle on 'em! Fuck with me, bitch, even a little bit, you're gonna get accidentally shot! Comprehende? Mallory looks at him for a moment, then gives his a massive HEAD BUTT. As we hear the CRACKING of his nose, Scagnetti lets out a horrible scream. EXT. HOLDING CELL - DAY Bingham and Washington fumble with the keys to open the cell door. INT. HOLDING CELL - DAY Bingham and Washington burst through the door to find Scagnetti face down on the ground. Mallory's standing, her foot pressed against the middle of Scagnetti's back, pulling his arms behind him trying to break his back. His body is bending like a branch, and he's screaming. The two deputies proceed to BEAT the shit out of her with their shotguns. Scagnetti rolls around in the B.G., holding his bloody nose, screaming. SCAGNETTI She broke my fucking nose! That bitch broke my nose! Washington comes over to him and helps him up. SCAGNETTI (blood down his face) She broke my nose. WASHINGTON I'll fix it. He grabs Scagnetti's nose, then SNAPS it back into place. Scagnetti lets out another horrible scream, and hops up and down from the pain. When the rush of pain passes, Scagnetti brings his hands down from his face, looking over at Mallory. Bingham has Mallory in the corner of the cell with the shotgun barrel placed in her mouth. CU on Scagnetti. He's a hand grenade with the pin pulled. SCAGNETTI Hold her, boys. Scagnetti walks to the corner where Mallory is. The shotgun barrel's out of her mouth. Bingham and Washington stand on either side of her, holding her in place. Scagnetti grabs a can of mace from Washington's belt, and brings it up to Mallory's face. Mallory and Scagnetti trade looks. Scagnetti gives her an intense blast of mace right in the face, eyes, and all over her body. Mallory crumples to the floor, screaming in agony. TWO SHOT of Bingham and Washington looking down at Mallory on the ground. We can hear Scagnetti still spraying her. They can't look at this anymore. Mallory wiggles on the floor as Scagnetti continues spraying her all over her body. CU of Scagnetti's bloody face smiling. We hear the SOUND of the can of mace running empty. It spurts to a stop. Scagnetti rises up to the two deputies. He hands the empty can back to Washington. SCAGNETTI I want this filled before we leave. The three men walk out of the holding cell, closing and locking the door behind them. We can still hear Mallory's screams of excruciating pain. INT. SUPPLY ROOM - DAY Mickey's sitting in a chair eating a donut. Roger's attaching a microphone to his shirt. Unruly Julie's applying make-up to Mickey's face. MICKEY (to Unruly Julie) How come you never talk? ROGER She was born without a tongue. MICKEY (repulsed) Oh my God! (to Unruly Julie) Sorry. Unruly Julie shrugs her shoulders like 'what are you gonna do' and continues applying make-up. Wayne and Wurlitzer talk. WAYNE So we got a deal. Four deputies--- WURLITZER And me. WAYNE Why don't we make it three deputies and you? WURLITZER Why don't I have Mickey thrown back into his cell and we can forget the whole thing? WAYNE Chill out, Phill. Four deputies and you, I can live with that. We're about ready to go here, so let's get rid of these other assholes. WURLITZER Don't call my men assholes. WAYNE I didn't mean they were assholes. I mean if they're leaving, get 'em outta here. Wayne leaves Wurlitzer and goes over to Scott, who's setting up a light stand. WAYNE Okay, Scotty, we're stuck with four of these assholes. Now I want to create the illusion that this is just Mickey and I chewin' the fat all by ourselves. So make sure you don't film these assholes. I don't want to see 'em on film ever. Oh, and 'Live at Five' slated our spot as human interest which means we'll go live at just after five-thirty. Wayne exits to reveal Mickey in B.G. Wurlitzer's speaking with his four deputies. WURLITZER This asshole's tryin' to tell me what I'm gonna do in my jail. Fuck him! This nanderfuck doesn't know what he's dealin' with here, but we do. And if shit happens, he ain't gonna be responsible, we are. So keep your shotguns out, your fingers on the triggers, and be ready to fire at a moment's notice. BACK TO: Mickey alone in FRAME, sitting in a chair and eating a donut. He takes a big bite. ROGER Say something. MICKEY (mouthful of donut) What? ROGER Anything. Mickey swallows the bite of donut, pauses, then recites a poem. MICKEY (talking in rhyme) I stand amid the roar Of a surf tormented shore, As I hold within my hand Grains of the golden sand-- How few! yet how they creep Through my fingers to the deep, While I weep--while I weep! O God! can I not save One from the pitiless wave? Is all that we see or seem But a dream within a dream? Mickey bites into the donut. MICKEY (mouthful of donut) How was that? Roger joins him in FRAME and adjusts the mike. ROGER Ah...fine. Let me make an adjustment here, and we'll be ready to rock 'n roll. Oh...uh, the dumbass at the donut place put a chocolate cream filled I asked for in your box. MICKEY There's a chocolate cream filled in there? ROGER Yeah. Ya see, I ordered that special. MICKEY Tough titty, it's mine now. ROGER Look, I'll trade you. Wayne enters frame. WAYNE Roger, enough with the fucking donuts! What did I tell you. Stop bothering Mickey, and get behind your nagra. ROGER (to himself) Fine. Roger, what the hell are you doing? You're bothering the serial killer. Roger exits FRAME. Wayne grabs a chair and sets it in front of Mickey. WAYNE Sorry about that. MICKEY Don't worry about it. WAYNE We're about ready to go here. Are you ready? MICKEY Let's do it. Wayne smiles and exits FRAME. WAYNE (O.S.) Okay people! Let's start to settle down here. CUT TO: INT. SUPPLY ROOM - DAY 16mm - BLACK & WHITE SCENE is now SHOT through Scott's CAMERA which holds a ECU of Mickey's eye. CAMERA focuses then pulls out to include his whole face. WAYNE (O.S.) Are you comfortable? Mickey looks to Wayne OFF SCREEN and nods. WAYNE (O.S.) Roger? ROGER (O.S.) Rockin'! WAYNE (O.S.) Scotty? SCOTT (O.S.) Rollin'...and speed! WAYNE (O.S.) Slate it. CAMERA SLATE reading 'KNOX INTERVIEW -- ROLL #1' is thrust into view and clapped. The CAMERA ZOOMS out to include Wayne in the FRAME. WAYNE So, Mickey, tell us what you do for fun. MICKEY Aside from the obvious? Mickey breaks out laughing. WAYNE (not amused) Yes. Aside from the obvious. Mickey's laughing slowly runs its course. MICKEY Okay, let me see now. What do I do for fun? (to people O.S.) Does anybody got a smoke? You guys are drivin' me crazy with your cigarettes. (to camera) Sorry out there in TV land. I'm just sittin' here lookin'' at these deputies smokin' up a storm, and it's really doin' it to me. A deputy comes into FRAME, hands Mickey a cigarette, then lights it. Deputy exits FRAME. MICKEY Much obliged. What do I do for fun? Do you want to know what I do for fun or what I did for fun? WAYNE What? Oh, aaahhh, what you did for fun for starters. MICKEY What I did for fun for starters. (thinking) Well, something I used to do...always was a lot of fun... (pause) No, scratch that. Let me think of something else. In fact, why don't we come back to that question. Ask me something else. WAYNE Do you miss Mallory? MICKEY Of course, I miss Mallory. She's my wife. I haven't seen her in a long time. What a stupid question. WAYNE Then was it worth it? MICKEY Was what worth it? WAYNE Was massacring all those people worth being separated from your wife for the rest of your life? Mickey takes a drag from his cigarette. MICKEY Do you think up these questions or the girl with no tongue? WAYNE No, Mickey, I can't let you get away with that shit. Answer the question. Was it worth it? You haven't seen, heard, or smelled Mallory in a year. Was it worth it? MICKEY Was an instant of purity worth a lifetime lie? Yeah, it was. WAYNE Excuse me, did you say an instant of purity? What was the instant of purity? The bodies you left behind on your bloody trail? MICKEY That's only part of it. I mean, it's a big, big, big part. But it's only the chorus, it's not the whole song. WAYNE (passionately) Please explain to me, Mickey, where's the purity that you couldn't live without in five year old Danny Millhouse's blown off head? Where's the purity in forty-eight people who are no longer on this planet because they met you and Mallory? What's so fucking pure about that? CAMERA ZOOMS in on Mickey's face. Mickey looks at Wayne, takes a slow drag off his cigarette. MICKEY Where the purity comes into play--- The image on the SCREEN starts to flutter, and then jams. WHITE LEADER fills the SCREEN. SCOTT (V.O.) Camera jam! I'm sorry Wayne. God. WAYNE (V.O.) Fucking dammit! Mickey hold onto that thought. Reload, quick! INT. HOLDING CELL - DAY We're back to COLOR 35mm. WHITE LEADER FADES to reveal the wall of the holding cell. CAMERA pans onto Mallory on the floor, splashing water on her face from the holding cell toilet. The pain has started to subside. All wet, she lies down on the ground and sings: MALLORY (singing) Love is a hurtin' thang, and it leaves a fiery sting. SCOTT (V.O.) Okay. Okay, we're up again. WAYNE (V.O.) Roll it. Save the slate. CUT TO: INT. SUPPLY ROOM - DAY 16MM - BLACK & WHITE We're looking through Scott's CAMERA again on a new roll of film. WAYNE You just said an instant of purity was preferrable to a lifetime lie. I don't understand. What's so pure about forty-eight dead bodies? MICKEY You'll never understand. Me and you, Wayne, we're not even the same species. I used to be you...then I evolved. From where you're standing, you're a man. From where I'm standing, you're a ape. I'm here...I'm right here... and you...you're somewhere else, man. You say why? I say why not? WAYNE Tell me about the purity. MICKEY (laughing) It's not that easy, Wayne. Donuts and a smoke only get you so far. You're gonna have to do your job. WAYNE (laughs) Okay...okay...I'll buy that. We'll move on and come back later. MICKEY I'm sure we will. WAYNE Describe Mallory. MICKEY Describe Mallory? Okay. She's pretty, she's got blonde hair, two eyes, two feet, two hands, ten fingers... WAYNE Don't play dumb with me, Mickey. You know what I mean. Describe Mallory. (points at his head) What's up here? (points at his heart) What's in here? MICKEY That's indescribable. WAYNE Well, riddle me this, Batman. How do you feel about the fact that you're never gonna see Mallory again? MICKEY (smiles) Says who? WAYNE Says the United States of America. MICKEY (laughs) When have they ever been right? The crew laughs (O.S.) MICKEY Hey, just like Soupy Sales. INT. JAIL CORRIDOR - DAY Scagnetti walks down the hallway leading to the supply room. His face is a patchwork of medical tape, to set his broken nose. Bloody cotton protrudes from each nostril. INT. SUPPLY ROOM - DAY Scagnetti walks into the supply room. Mickey is explaining to Wayne 'Why he's killed all those people.' Scagnetti can't believe what he's seeing. The entire room is in rapture. MICKEY ...one night I was asleep, and a noise wakes me up. I thought, 'Oh shit, somebody's broken in.' I didn't own a gun, so I go into the living room with a fucking umbrella. Okay, it turned out to be nothing. God made the noise. Who knows? SCAGNETTI (whispers) How's it goin'? WURLITZER (whispers) Shhhh! I wanna hear this. Wurlitzer sees Scagnetti's bandaged face. WURLITZER What the hell happened to you? SCAGNETTI You should see the other bitch. What time you got? WURLITZER Two-thirty. Shhh... CAMERA leaves them and travels the room, studying the faces of the deputies, Unruly Julie, Roger, and Wayne as they listen to Mickey's story. MICKEY But I came to the direction I need a gun. Do, the next day I started off early for work, and I'm gonna stop by a gun shop and pick up a little home protection. I walked into the place and had never seen so many guns in all my life. So, I'm lookin' around, the this really nice sales guy comes up to me. His name was Warren. I'll never forget his name. He was really nice. Anyway, Warren showed me all these different models of guns. Magnums, automatics, pistols, Walters. And I ask to see a shotgun. He brings me a Mossberg pump action shotgun. As soon as I held that baby in my hands, I knew what I was gonna do. It felt so good. It felt like it was a part of me. They had a mirror in the store. I looked at myself holding it, and looked so fuckin' good, I immediately bought it. Bought a bunch of boxes of ammo. Turned my car around, drove to Mallory's house, we took care of Mallory's parents, packed up the car, and we were off. DISSOLVE TO: SAME SCENE: SHOT through Scott's CAMERA: MEDIUM CU on Mickey. MICKEY Everybody thought I'd gone crazy. The cops, my mom, everybody. But you see, they all missed the point of the story. I wasn't crazy. But when I was holding the shotgun, it all became clear. I realized for the first time my one true calling in life. I'm a natural born killer. WAYNE Okay, let's cut it. BACK TO: COLOR 35mm WAYNE (to Scott) Did ya get that? Unruly Julie hands Wayne a notebook. He starts flipping pages. SCOTT It's gonna be beautiful. WAYNE Super cool. (to Mickey) This is great stuff. How ya doin'? MICKEY I could go for a Coke. WAYNE (yelling) Could I get a Coke for Mickey? WURLITZER I'm not running out and getting that piece of shit a Coke. WAYNE Fine. (to Unruly Julie) Julie, why don't you make a food run? (to the room) What's around here? DEPUTY SHERIFF There's an In and Out Burgers about a block away on Olive. It's walking distance. WAYNE Okay, Julie, take everybody's order. I'll have a double double with cheese, french fries, and a large Coke. Unruly Julie writes down Wayne's order in her notebook, then goes from person to person collecting their orders. Scagnetti and Wurlitzer talk to each other. WURLITZER Are you all set? SCAGNETTI Yeah. Bus is all gassed up and ready to roll. WURLITZER I assigned you Bingham and Washington to go along. In B.G., Unruly Julie takes Scott's and Roger's orders. SCAGNETTI Yeah, we met. They're good men. WURLITZER They're real Goddamn good. They'll be there for when ya need 'em. Where are they? SCAGNETTI Waitin' in the lounge. WURLITZER How 'bout Mallory? SCAGNETTI Coolin' her jets in a holding cell. Unruly Julie walks up to the two men to take their order. In the B.G., we hear the wall phone BUZZ. SCAGNETTI Nothing for me. I'm leavin'. WURLITZER Me, neither. I don't eat meat. Unruly Julie walks away. A deputy yells for Wurlitzer. DEPUTY SHERIFF Capt'n! WURLITZER Yeah? The deputy holds the receiver of the wall phone in his hand. DEPUTY SHERIFF They need you. Emergency! Wurlitzer rushes to the phone, grabs the receiver. WURLITZER (into phone) Talk to me. (pause) Where? (pause) For the love of Pete...okay...okay ...okay. Mobilize the men. I'm on my way. CAMERA PANS away from Wurlitzer to the extremely curious eavesdroppers. CAMERA glides by all of them: Scagnetti, Wayne, Scott, Roger, Unruly Julie, and finally ends up on Mickey. CAMERA holds on Mickey as he contemplates Wurlitzer's conversation. OFF SCREEN the phone receiver being SLAMMED down. WURLITZER (O.S.) I'll be a son of a bitch. There's a riot going on in the laundry room. DEPUTY SHERIFF (O.S.) Is it serious? WURLITZER (O.S.) It sure as hell is. They got guns, hostages, and explosives. The room reacts. WURLITZER (O.S.) Jack, could you stay up here for a while? SCAGNETTI (O.S.) Yeah, sure. WURLITZER (O.S.) I'm taking one of these men. Yates, come with me. WAYNE (O.S.) Could we go with you and film it? WURLITZER (O.S.) Stay up here and finish your interview, I've got to see what the hell's going on down there before I can take responsibility for you to film there. We hear Wurlitzer and Deputy Yates walk out. Unruly Julie walks into FRAME next to Mickey. She has her notebook. MICKEY I'll have a four by four. That's four patty burgers. Now they don't have that on the menu, but if you order a four by four, they'll know what you're talking about. A large Coke and two orders of fries. When she finishes writing down Mickey's order, Julie walks off silently. CAMERA follows Julie out the door and into... INT. JAIL CORRIDOR - DAY CAMERA DOLLIES with Julie as she walks down the corridor. As DEPUTIES with shotguns and riot gear speed down the hall, the CAMERA passes Julie and speeds down the corridor, following the DEPUTIES into BLACKNESS. INT. LAUNDRY ROOM - DAY CAMERA PANS from blackness to WIDE ANGLE of a dark jail wall masques with shadows of prison bars. The surreal echoing sounds of a riot swell until... A SHADOW of a PRISON GUARD stumbles into frame, followed by a MOB of other SHADOWS carrying NIGHTSTICKS and BARS. The Mob catches the Prison Guard and beat him mercilessly before moving on. CAMERA TILTS down to a CU of a thin stream of BLOOD crawling across the floor. FADE TO BLACK: INT. SUPPLY ROOM - DAY SHOT through Scott's CAMERA: FOCUSING on Mickey, who's standing in a MEDIUM SHOT. MICKEY You guys wanna hear a joke I heard? WAYNE (O.S.) Sure. MICKEY Now, I'm no comedian, but it's pretty funny. It's a Little Johnny joke. Now in the joke, Little Johnny can't talk. And Little Johnny's teenage sister asks her mother if she can go out on a date. As Mickey tells this joke, he moves around the room. Scott's CAMERA follows. MICKEY The mother asks, 'Where's he taking you?' The sister says, 'The drive-in movie.' The mother tells her she can only go if she takes Little Johnny with her. She says okay. They go to the drive-in, they come back. The mother gets Little Johnny and says, 'Okay, what happened? Where did ya go?' Mickey, as Little Johnny, draws a square in the air, and acts like he's driving. MICKEY Mother says, 'The drive-in movie. What did they do?' Mickey, as Little Johnny, acts like he's kissing. MICKEY 'They kissed. What else?' Mickey, as Little Johnny, starts squeezing imaginary breasts. MICKEY 'He felt her up? What else?' Mickey, as Little Johnny, acts like he's undressing. MICKEY (dumbfounded) 'They took off their clothes? What else?' Mickey, as Little Johnny, vigorously acts as if he's having sex. MICKEY 'They did it? What were you doing?' Mickey, as Little Johnny, vigorously acts as if he's jacking off. Everyone in the room breaks up. Wayne, the boys, the deputies, even Scagnetti cracks a smile. As Mickey was telling the joke, he stopped in front of Deputy #4 during the punchline. While everybody's laughing, Mickey SLAMS his elbow in Deputy #4's face. Mickey grabs hold of the shotgun, rips it from Deputy #4's grasp, then BASHES him in the face three times with the butt. Deputy #4 drops, ugly and unconscious. Scott's CAMERA goes wild. BACK TO: COLOR 35mm. The other deputies react. Mickey pumps the shotgun slide and shoots, hitting Deputy #5 in the chest, BLOWING him off his feet. He lands on his back with a THUD. Deputy #3 raises his shotgun. Mickey drops to a crouching position and FIRES, BLASTING Deputy #3 in the groin. Deputy #3 crumples into the wall, FIRING his gun -- SLOW MOTION. The stray bullet THUNKS Scott right in the chest, BLOWING him out of FRAME. Deputy #3 drops to the floor, FIRING his shotgun straight up -- SLOW MOTION. CU of ceiling being BLASTED. Chunks of plaster and rock rain down on Sheriff #3. Scagnetti has whipped out his gun and is bringing it up to fire -- SLOW MOTION. Mickey, still crouched down, spins around toward Scagnetti -- SLOW MOTION. Scagnetti has his gun aimed at Mickey. Squatting, Mickey has the shotgun trained on Scagnetti. They're positioned across from each other on opposite sides of the room. Nobody fires. We DOLLY past the faces of both Wayne and Roger, who are flat on the ground, scared to death. CU on Scagnetti's face. CU on Mickey's face. CU on Scagnetti's finger putting pressure on the trigger, then CAMERA moves up to a CU profile of his face. OVERHEAD SHOT of Mickey. CAMERA moves down in front of him into a CU on his face. MICKEY Looks like we got a Mexican standoff. SCAGNETTI Slide the shotgun over here, put your hands behind your head, put your forehead on the floor. MICKEY Or what? You'll wound me? I can blow you in half and you know it. SCAGNETTI I've never wounded anything in my life. I got you locked right between the eyes. Mickey rises. MICKEY If you don't drop that toy, I'm blowin' you in half on three. So, if you got me locked, take the shot. One... DOLLY in on Scagnetti's gun in F.G., past the gun, to his face. CU of barrel of shotgun. MICKEY (O.S.) Two... DOLLY continues closing in on Scagnetti's face. Wayne watches, wide eyed. ECU on Mickey's face. MICKEY Three! MEDIUM SHOT on Scagnetti. SCAGNETTI Hold it! Don't shoot! He CLICKS the hammer back into place on his gun, then points the gun up. MICKEY Open the chamber. Empty the shells. Scagnetti does. The shells fall out. The shells fall on the floor at Scagnetti's feet -- SLOW MOTION. MICKEY Toss it. Scagnetti does. MICKEY Now put your hands behind your head. Scagnetti does. Mickey, holding the shotgun, walks up to Scagnetti. They stand, facing each other. MICKEY Did you ever see 'Eldorado?' SCAGNETTI What? Mickey CLOUTS him across the face with the shotgun. Scagnetti hits the ground. Blood coughs from his broken nose. Mickey looks at Wayne and Roger on the ground. MICKEY You guys stay on your bellies. ROGER Yes, sir. Mickey bends over Scagnetti and takes hold of his right hand. MICKEY I am the most dangerous man in the world. Mickey SNAPS the trigger finger on Scagnetti's right hand. Scagnetti screams. Mickey's still bent over Scagnetti. MICKEY (points at Scagnetti) You're the law. (points at himself) I'm the law breaker. Scagnetti's not going to give Mickey and more trouble. Mickey stands straight, looks toward Wayne and Roger. MICKEY Donut, get your camera. See if it's broke. WAYNE Let me check on Scott. He's hurt bad. MICKEY Scott's dead. And unless you wanna play follow the leader, shut up and do as you're told. Roger's checking the camera. He turns on the motor. It sounds like a lawn mower. MICKEY How is it? ROGER Not good. MICKEY Do you have a back up. ROGER It's video. MICKEY Even better. Wayne call your station, tell 'em we're going live a little early today. Make it happen! CUT TO BLACK: INT. JAIL LAUNDRY ROOM - DAY Wurlitzer steps into the BLACK FRAME. This SCENE becomes a TRAVELLING CU that never leaves Wurlitzer. Although we'll only see Wurlitzer, we can make out activity in the edges of the FRAME and we can vividly hear the SOUNDS of chaos around us. WURLITZER I want two men stationed in that tier, and I want men with rifles all along the walkway. PITNEY (O.S.) Capt'n! Wurlitzer walks over to a table and looks down. PITNEY (O.S.) Here's the layout of the laundry room. WURLITZER Where do the air ducts lead? PITNEY (O.S.) Here. SMITHY (O.S.) Problem is they'll hear somebody approaching that way. PITNEY (O.S.) We turned off the power when they took over the room. WURLITZER We turn it back on. The machines go back on supplying us with the cover noise we need. Smithy, do it. SMITHY (O.S.) Right away, Capt'n. CAMERA follows Wurlitzer as he heads another direction. WURLITZER Jonesy, are the sharpshooters in place? JONESY (O.S.) Yes. WURLITZER You sure? JONESY (O.S.) I think-- WURLITZER Never say you think when you know, or you know when you think. Wurlitzer snatches a walkie talkie. WURLITZER (into walkie talkie) Bergman, you in place? BERGMAN (O.S.) (from walkie talkie) Sure am, Capt'n. Nothin' clean yet. WURLITZER (into walkie talkie) Pass this to your team...the second they get a lock on a blue, they're to take the shot. Do you understand? BERGMAN (O.S.) (from walkie talkie) That's a big ten-four, Capt'n. Wurlitzer looks to his right. WURLITZER What do you think, Pitney? How much Explosives do you think that they really have in there? PITNEY (O.S.) It's hard to say Capt'n. WURLITZER Take a wild stab! PITNEY (O.S.) I'll say enough to destroy this wing. WURLITZER The entire wing? PITNEY (O.S.) That's my opinion. WURLITZER Jesus... CUT TO: SCREEN FILLS WITH STATIC. INSERT TITLE CARD: 'SPECIAL REPORT' TV ANNOUNCER (V.O.) We interrupt this program to bring you a Special Report. INT. NEWS ROOM - DAY Title Card recedes in FRAME to expose an active news room in the B.G. News Anchor TONY CHAVEZ is lowering himself behind a desk while adjusting his earphone. CHAVEZ Good afternoon, I'm Tony Chavez and this is a KKTV Special Report. At this moment we are receiving preliminary reports of a hostage-- (fingering earphone) I...I'm sorry. I'm being told that we're now taking you live to L.A. County Jail where Wayne Gayle is standing by. CUT TO: INT. SUPPLY ROOM - DAY VIDEO FOOTAGE: NOTE: The video footage is all handheld and harshly lit, until otherwise specified. Wayne, stands alone in FRAME, moments from when we last saw him. WAYNE This is Wayne Gayle reporting live from the Los Angeles County Jail, where you can tell from the bloody carnage behind me that the final chapter in the book called Mickey and Mallory has not yet been written. Mickey enters the FRAME with shotgun in hand, pushing Wayne out. MICKEY Thank you, Wayne, but our little movie just underwent a title change. It's now called 'The Escape of Mickey and Mallory.' Starring me, you, Mallory, and special guest accomplice, Jack- fucked-up-fingers-Scagnetti. (into CAMERA) Okay, Donut, move in for a close up. I want this for prosperity. CAMERA ZOOMS into a CU of Scagnetti. MICKEY (O.S.) Okay, buddy boy, where ya keepin' Mallory? I know she's still here, and I know you know where. So, start talking or my first work as a director will be your death scene. SCAGNETTI (slightly out of it) She's in the holding cell, on this floor. MICKEY (O.S.) You're taking us to that holding cell now. (into CAMERA) All right, Cut! The CAMERA shuts off. SCREEN fills with STATIC. CUT TO: INT. NEWS ROOM - DAY Tony Chavez speaks into CAMERA. CHAVEZ Ladies and gentlemen, in case you have just tuned in, it appears that a hostage situation involving Mickey Knox is developing presently at the Los Angeles County Jail. We have seen that he is armed and apparently there has been some loss of life. We will try to re-establish contact with Wayne Gayle and bring you more on this late breaking story. Please stay tuned. INSERT TITLE CARD: 'SPECIAL REPORT' TV ANNOUNCER (V.O.) This has been a KKTV Special Report. CUT TO: INT. SUPPLY ROOM - DAY BACK TO: COLOR 35mm WIDE SHOT of Mickey, holding his shotgun. He walks over and grabs the shotgun from dead Deputy #5. Deputy #5 won't let go of the gun from his dead man's grip. Mickey finally yanks it loose. He extracts all the shells from the gun, picks them off the floor, and puts them in his pocket. Mickey picks up Scagnetti's gun, inserts the loose bullets and slips it into his pants. MICKEY Okay, Jack, this is what we're doing. Stand behind me, put your back against mine and extend your arms behind you. Scagnetti rises, insecurely. He presses his back against Mickey's. MICKEY Now if I feel your back move away from mine, you're gonna be ripped apart. Got it? Scagnetti's back to back with Mickey. His arms flank Mickey. SCAGNETTI Yeah. MICKEY Okay, Wayne, step forward. Wayne enters FRAME. Mickey extends the shotgun. MICKEY Keep comin'. Put your solar plexus against the barrel. Wayne does. MICKEY Grab his arms. Wayne does and Mickey quickly binds their arms together with gaffer's tape, forming a two man ring around him. MICKEY Either one of you two move, it's gonna be shotgun city. You understand? WAYNE & SCAGNETTI Yes. Mickey tucks the tape roll into his shirt. MICKEY You ready, Donut? ROGER Ready. MICKEY Wagons, hooaaa! The hostage train starts moving. Wayne's walking backwards with the shotgun barrel pressed against his midsection. Scagnetti's walking back to back with Mickey and his own pistol pressed to his neck. Roger follows with the camera. INT. HOLDING CELL - DAY Mallory's sitting Indian style, singing Girl Scout songs to herself, and doing the hand motions. MALLORY (singing) Whataleeatcha, whataleeatcha dodaleedo, dodaleedo. Whataleeatcha, whataleeatcha dodaleedo, dodaleedo. Simplest thing there isn't much to it. All ya gotta do is dodaleedo it. I like the rest, but the best part I like is Whataleeatcha, whataleeatcha dodaleedo, dodaleedo, do quack, quack. The cell door opens and the hostage train of Wayne, Mickey, Scagnetti, Roger and the camera, and two DEPUTIES they picked up along the way enters the room. The hostages are all wrapped with tape. CU on Mallory. She can't believe her eyes. MICKEY (to Mallory) Honey, I'm home. Mallory runs into Mickey's arms, passionately kissing. This kiss has been a year coming. Now they're doing something everybody told them they would never do again. For this moment they are the only two people on earth. We're enraptured, too. CAMERA does a 360 around the loving couple. MALLORY (in between kisses) It's taken you so long to come to me. CUT TO: INT. JAIL LAUNDRY ROOM - DAY A sheet of paper flashes through FRAME. BAILEY (O.S.) Here's the list of the rioters. CAMERA TILTS to Wurlitzer reading, then looking up. WURLITZER Wait a minute, Bailey. Where's the list of the hostages? BAILEY (O.S.) I'm working on it Capt'n. WURLITZER Keep on it, son. Wurlitzer reads the list to himself as he paces. WURLITZER (reading the names) Alvarado, Issacs, Julian, Martinez, Newendyke, Olvera, Pool, Ramos, Schmidt, Spivey, Walsh, Westerguard... Wurlitzer drops into a chair, exhausted. He rubs his face with his hands. NAPALATONI (O.S.) Capt'n. Wurlitzer looks up, then looks back down. WURLITZER What is it Napalatoni? NAPALATONI (O.S.) Mickey Knox is loose. Wurlitzer looks up. WURLITZER What do you mean he's loose? NAPALATONI (O.S.) He's armed, he's killed three deputies and one of Wayne Gayle's guys. At the moment, he's hold up with Mallory Knox in her holding cell with Wayne Gayle, another TV guy, that cop fella, and two other deputies as hostages. And Capt'n, they have one of them news cameras goin' live to KKTV. They won't stop playin' it. What do you want us to do? Wurlitzer holds a frozen look, as if a fuse has blown and his mind has shut down. If he were to open his mouth now nothing would come out. He just sits. CUT TO: INT. HOLDING CELL - DAY The hostages have been cut free from each other and sit against the wall. Roger cradles the Betacam in his lap, rocking slowly as if in a trance, while Scagnetti feebly splints his broken fingers with the tape that hangs from his wrists. Wayne is standing, alert and ready for action. As for the two deputies, HOSTAGE DEPUTY #1 sits in anger, tight-lipped and stoic. The other, DEPUTY DUNCAN HOMOLKA is panicked and jumpy, one may never see a more nervous man. Mickey and Mallory stand over them with their weapons drawn. MICKEY Okay, we're going out that door, and we're gonna march down the hall and right out of the building. (to Wayne) Donut said something about a news van. WAYNE Yeah, we have a van. MICKEY Where's it parked? WAYNE Out front. MICKEY Let me have the keys. Wayne points to Roger. Roger digs through his pocket and tosses the keys to Mickey. WAYNE Mickey, can I talk to you alone? MICKEY No. WAYNE This is crazy. You can't escape like this. MICKEY Probably not, but we're gonna give it the old college try. WAYNE We'll all be killed. MALLORY Exciting, isn't it? Duncan begins to cry. MICKEY Now, when we get out there, you do what we say or it's curtains. If we say move, you move. If we say left, you move left. If we say right, you move right. If we say mole, you dig a hole. Got it? MALLORY Are we in a big hurry? MICKEY You got something you want to do? MALLORY Yeah. MICKEY By all means, knock yourself out. MALLORY Thanks. Roll 'em, Donut. Roger snaps up and hoists the camera to his shoulder. VIDEO FOOTAGE: Shot through Roger's CAMERA: IMAGE FOCUSES on Mallory as she points to Scagnetti sitting on the floor. MALLORY You! Stand up! Scagnetti gulps, then rises knowing that he has fucked with the wrong woman. Mallory walks up to him with pistol in hand. MALLORY You probably thought it was pretty funny, didn't ya? She raises Scagnetti's pistol, aiming it at its former owner. Scagnetti flinches and squirms. MALLORY Can you remember the last time you fucked with me? Close your eyes and remember...Are ya thinking about it? Good. Mallory fires three shots into Scagnetti's chest. Roger's CAMERA jumps, then follows the body to the floor. Roger HOLDS on Scagnetti slumped on the floor. DUNCAN (O.S.) Oh God! Oh God! Ohhhh... MICKEY We're sending out a hostage. Don't touch him! OFF SCREEN the door is kicked open. Roger's CAMERA whips around to witness Mickey and Mallory jumping into the corridor, BLASTING with their guns while using the hostages for shields. Roger's CAMERA moves out of the cell and... INT. JAIL CORRIDOR (OUTSIDE THE HOLDING CELL) - DAY There are even more DEPUTY SHERIFFS in the corridor. CROSS FIRE whistles by as Roger dodges to catch up with the caravan. The footage is very similar to Vietnam footage. It's shaky, real, harsh, and it captures the pandemonium of battle. The soundtrack is a mixture of yelling, crying, laughing, and gunfire. HOSTAGE DEPUTY #1 is SHOT, and discarded by Mickey. The wild caravan runs down the hallway, FIRING behind them. Mickey's HIT, but keeps on running and FIRING. Mallory sees this and screams. MALLORY Mickey! MICKEY Don't stop! Roger's CAMERA runs along with them. ROGER (O.S.) Man, oh, man...this is better than Vietnam! More DEPUTIES appear at the end of the hallway. Mickey and Mallory get back to back with each other, using DUNCAN as a shield in front of them and Wayne behind them. Mickey FIRES from the front, Mallory FIRES from the rear. DUNCAN Please don't kill me! Don't kill me... CAMERA WHIP PANS to catch a Deputy hopping around the corner. The SCREEN FLASHES WHITE with a BLAST. Roger's HIT, and the CAMERA goes haywire, reeling out of control, the THUNKING to the ground. Roger screams O.S. CAMERA lies on the floor, video still transmitting. Roger rolls into FRAME screaming. MICKEY (O.S.) Get the camera! Get the fucking camera! BACK TO: COLOR 35mm. As Mickey FIRES cover for her, Mallory swipes the camera from Roger's side. The Knox's start running again, still holding Wayne and last hostage. Deputies are lying on the ground, wounded and screaming, or dead and silent. MICKEY (to Mallory) This way. INT. STAIRWELL - DAY The caravan bursts into the stairwell. Mickey turns to Duncan the remaining hostage deputy. MICKEY (to Duncan) Where does this lead? Duncan is hyper-ventilating. Mickey pushes him against to wall. MICKEY Where!?! DUNCAN Th-- the ground floor. MALLORY Is that the front door? Duncan nods frantically. MICKEY Let's go. Mickey grabs Duncan and the caravan starts running down the stairs. They go down a few flights. As they run down one last flight, they find Wurlitzer and a team of DEPUTIES waiting for them on the ground floor. The deputies raise their guns. Mallory grabs hold of Wayne, and gets behind him with one hand pressing the barrel of her gun against his temple and her other are wrapped around his neck, holding him close to her. MALLORY Back off or I'll blast him! Back off or I'll blast him! Back off or I'll blast him! None of the deputies lower their guns, but they appear less likely to start shooting. Wayne screams. WAYNE Don't shoot. I beg you, don't shoot! Please, please, please... Wayne continues begging. Wurlitzer steps forward. WURLITZER Now Mickey, Mallory, just let me say--- MALLORY Shut up! Don't talk, I don't wanna hear it! WURLITZER You have to know--- MALLORY I said shut up... Mallory quickly lowers her gun from Wayne's head and SHOOTS him in the thigh. She whips the gun back up to his head. Wayne's screaming in pain. The deputies jump back. MALLORY ...and I mean shut up! There's a bit of a silent standoff. Tears are streaming down Duncan's face as the caravan slowly retreats back up the stairs to the next flight. The deputies hold their present position. CUT TO: INT. PRISON STAIRWELL - DAY The caravan goes up one flight, then stops. Mickey and Mallory let their two hostages sit down. Duncan is out and out hysterical, urine stains the front of his uniform. Mickey's pacing. MICKEY Think...think...think... Mallory leans up against the wall, holding her side with her hand. Blood trickles out between the fingers. We see now she's been shot. Over Duncan's impassioned clamour they can hear Wurlitzer yelling from below. WURLITZER (O.S.) Give up! There's no other way out! Mickey sits down, utterly exhausted. Mallory sits down next to. him. She winces in pain. He puts his arm around her. MALLORY Look, lover boy, we're not getting outta here. So I say the hell with going back to our cells. Let's do a Butch Cassidy and the Sundance Kid. Run down these stairs shootin', go out in a hail of bullets, but take as many of those motherfuckers with us as possible. Suddenly, Mickey's exhaustion lifts. He has a plan. MICKEY We'll do that when all else fails. Mickey stands. MALLORY Hasn't it? MICKEY We still got a few tricks up our sleeves. Mickey confronts the two hostages. He points at Duncan. MICKEY You married? DUNCAN Oh, I don't wanna die... MICKEY Are you married? Do you have kids? Duncan nods pathetically. MICKEY Good. People, we're goin' all the way to the front door. Now, the only way we're gonna get there is if they don't want to kill you two more than they want to kill us. INSERT: SHOTS of deputies with guns in their hands, just itching to kill Mickey and Mallory. We hear Mickey's voice over this SHOT. MICKEY (V.O.) Right now I find that highly unlikely. So, let's help 'em out, shall we? BACK TO PRISON STAIRWELL: Mickey is squatting in front of Wayne. MICKEY Now, say I tell those guys down there if they shoot or make a move, I'm killin' Wayne Gayle. And they shoot or make a move anyway. Now say by some freak accident, you didn't die, you live though it. What would you do? Mickey pulls the roll of GAFFER'S TAPE from his shirt and starts tearing strips of tape and sticking them to the wall. WAYNE What would I do? Me and my network would sue the entire Los Angeles County Sheriffs Department for flagrantly disregarding my safety. I'd go straight to my buddy, the mayor, and make sure everyone of those son of a bitches down there ends up on the unemployment line. In fact, I'd sue every man down there personally. I would make it my life's ambition to bring the LA County Jail to its knees. I would do expose after expose on the brutality, and the conditions, and the inhumanity that exists here. Mickey tosses the tape roll to Mallory and gestures to Duncan. Mallory winks at Mickey. Mickey smiles and begins wrapping tape around the barrel of his shotgun. MICKEY That's what I thought. You tell them that. When we go down those stairs, I want you to scream what you just told me. 'My name is Wayne Gayle! I am the star of American Maniacs watched every week by'-- how many people? WAYNE On average forty million. MICKEY 'Every week by forty million people. I am a respected journalist.' Have you won any awards? WAYNE Are you kidding? The Golden Globe, The Edward R. Murrow award... MICKEY 'Respected journalist'-- On your knees... Wayne kneels in front of Mickey. While Mickey speaks he props his shotgun under Wayne's chin and wraps the tape from the barrel around his neck. MICKEY (continues) ...'Winner of the Golden Globe and the Edward R. Murrow award among others.' Tell 'em the name of your personal lawyer, his firm, his address, and phone number. Tell 'em about the mayor and the unemployment lines. You getting the idea? WAYNE Yes. Mickey stands with Wayne as he tapes his trigger hand to the stock of the shotgun. MICKEY Say it. Scream it. All the way out the front door and into your van. And if you stop screaming, I swear to God I'll blow your head off. WAYNE Got it. Mickey grabs the camera, and lifts it to his shoulder before shouting to Duncan. MICKEY You! What's your name? Duncan can't answer, Mallory has gagged him with his tape. Mallory grabs Duncan by the collar and lifts him off the floor before reading his name badge. MALLORY Duncan...Homolka? CUT TO: INT. PRISON STAIRWELL (GROUND FLOOR) - DAY Wurlitzer and the deputies are deciding their next move when they hear: MICKEY (O.S.) Start. Wayne and Duncan come into view with the Knoxs behind them. The deputies quickly raise their guns, but soon realize if they take out either Mickey of Mallory that Wayne or Duncan would die. Mallory's right hand is taped to the trigger and stock of the shotgun that's wrapped firmly to Duncan's neck. The pistol in her left hand is trained on Wurlitzer. Mickey's left hand masters the shotgun leash on Wayne, while he monitors the Deputies with the CAMERA on his right shoulder. NOTE: The following scene will intercut between VIDEO FOOTAGE and COLOR 35mm. Wayne starts belting out his speech as Mickey focus the CAMERA on Wurlitzer. Duncan simply cries and begs for his life to be spared. WAYNE (yelling) My name is Wayne Gayle! I am the star of 'American Maniacs', watched by forty million people every week! I am a respected journalist, winners of the Golden Globe, the Edward R. Murrows Award among others! If anybody puts me in danger, my network will sue The Los Angeles County Sheriffs Department. My estate will sue every officer personally who fires. The network's law firm is Rowlands, Davis and Sinclair... Mickey knew what he was doing. This has an effect on the deputies. MALLORY (yelling) Make a path! The wall of deputies starts moving backward. The Knoxs and their hostages start moving forward with Wayne yelling all the way. The deputies keep their guns trained on the caravan, but they keep giving ground, until they reach the doors of the front lobby and they begin to part like the Red Sea. Wurlitzer stands his ground. WURLITZER How far do you think your gonna get? MICKEY Right out the front door. WURLITZER That'll never happen. MICKEY It is happening. The caravan marches forth. Wayne and Duncan keep shouting their speeches. Nobody dares to move on them, but the deputies keep their weapons ready. Wayne stops his speech to take a breath. MALLORY Don't stop! Wayne starts up again. The deputies are completely frustrated. Mickey and Wurlitzer are nose to nose. WURLITZER (to Mickey) I will personally hunt you down, blow the head off your fucking-whore-wife, and plant your sick ass in the ground all by myself. MICKEY (calmly) Another day perhaps, but not today. Mickey leaves FRAME. CUT TO: EXT. COUNTY JAIL - DAY The doors swing wide in SLOW MOTION as the caravan of Mickey, Mallory, Wayne and Duncan take their first step into the open air. A crescent of deputies frame the group in the B.G. while Wurlitzer stands, defeated, just behind Mickey. FREEZE FRAME on WIDE ANGLE. Image DISSOLVES to BLACK & WHITE before BURNING into WHITE LEADER. EXT. WOODS - DAY The WHITE LEADER is disrupted by a fogged image in BLACK & WHITE. The image settles into a ECU of Wayne. He's being filmed by a 16mm CAMERA that he is presently balancing on a fence post. This entire SCENE is played out cinema verite. The SOUND is not in sync as Wayne steps back into a MED SHOT. He looks directly into the CAMERA. WAYNE This is Wayne Gayle. I'm wounded and my crew, Roger and Scott, are dead. This may be out of sync 'cause we are shooting with a wild camera and a standard recorder we found in the van. Mickey Knox's plan worked. We walked out the front door, into my news van and made our getaway. When we were followed by patrol cars, Mallory Knox killed Deputy Sheriff Duncan Homolka and tossed his body out of the back. Mickey told authorities over my police band that I would surely be next if they didn't give up the pursuit. They took Mickey at his word and called off the pursuit. Why helicopters weren't employed, I don't know. My only thought is it all happened too fast for arrangements to be made. We've just pulled off to the side of the road to do this interview. Tensions run high-- Mickey screams O.S. MICKEY (O.S.) We ain't got all fuckin' day! WAYNE Without any further ado, Mickey and Mallory... Wayne steps forward and picks up the CAMERA and while conducting his interview, the CAMERA remains hand held. CAMERA focuses on Mallory sitting on a stump, while Mickey paces in and out of FRAME in the B.G. WAYNE Mallory, what did you think of Mickey's plan? Did you think it would work? MALLORY It wasn't 'till we got on the ground floor that I totally realized they weren't gonna shoot unless we shot first. When we got out of the stairwell, I remember thinking, 'Oh my God. This might work.' But Mickey knew it would work all along. There wasn't any doubt in his mind. It's not like there was and he just didn't show it. He knew it would work. WAYNE (O.S.) What did you think then? MALLORY I wondered how long it would be before we'd get to be alone together. And I wondered if I could wait that long. WAYNE (O.S.) Did you have anything to do with the riot in the laundry room? MALLORY Haven't you been listening to a fuckin' word I said? ...Oh, I'm sorry. Can I say fuckin'? I can't, can I? WAYNE (O.S.) Try to keep it to a minimum. MALLORY We had nothing to do with that riot. That riot was just -- whatchmacallit -- Mickey can be heard faintly in the B.G. MICKEY Divine intervention. MALLORY What he said. We didn't know jack shit about and riot. It just happened. It was kismet. We didn't even know those people. How are we supposed to organize a riot when we've been in fuckin' isolation for the past year? Just bleep out the fucks and jack shits. (laughs) I mean, it's not like we care. If they wanna say we masterminded the whole thing, let 'em. It won't exactly keep us up at night. But you said you wanted the truth, and the truth is we were just lucky. Mickey's snapping his fingers in the B.G. MICKEY C'mon, c'mon, let's hurry this up. WAYNE (O.S.) So, what now? MALLORY Well, now me and Mickey are gonna take it easy. Just enjoy each other's company, stop and smell the roses, notice the color purple, stuff like that. WAYNE (O.S.) How do you intend to disappear? you're probably the most famous couple in America. MALLORY Well, back in slave times they had a thing called the underground railroad. And we got a whole fan club out there just waiting to be conductors. (to the camera) So, you kids out there, keep the faith. Cause Mickey and Mallory will be comin' to your town real soon. MICKEY Okay, that's enough. End of interview. We gotta move. Mickey approaches Wayne. CAMERA goes a little haywire as Wayne lowers it from his eye. WAYNE (O.S.) Okay, just let me swing around and film myself asking the questions. And then I'll do my little wrap up. Mickey takes the CAMERA from Wayne, and while he speaks, he balances it on a fence post. MICKEY Oh, we're gonna do a little wrap up, all right. But it won't be you starin' in the camera, looking dumb, and acting stupid. Instead, you're gonna be starin' down the barrels of our shotguns and we're gonna be pullin' the triggers. Wayne forces a chuckle. Mickey steps away from the CAMERA and into a THREE SHOT. The NEWS VAN is parked in the B.G. WAYNE That's a joke right? Mickey pumps the slide of his shotgun. Mallory grabs her shotgun from off the ground. WAYNE Just wait one fucking minute. MICKEY I said I'd give you a interview. Now unless I'm mistaken, we just did a interview. (to Mallory) We did an interview, didn't we? MALLORY Looked like an interview to me. MICKEY I said we'd give you an interview. I never said we wouldn't kill you. WAYNE Wait! I don't know, but I kinda felt during this...this whole escape that a kind of bond-- Wayne is shaking. WAYNE (continues) ...developed between the three of us. We're kindda in this together, don't ya think? MICKEY No. Not really. WAYNE Don't touch those triggers! Please. I think I've already proven that a live Wayne Gayle is much more better that a dead...Way-- Gayle. I was your passport out of jail, not Duncan Homolka. But me! I'll be your passport outta--- MICKEY Just save your breath, Wayne. We hate you. If anybody in the fuckin' world deserves to die, it's you. Wayne is grasping for anything. WAYNE Wait! You can't kill me. Mickey and Mallory always leave somebody alive to tell the tale. MICKEY We are. (points to camera) Your camera. Mickey turns to Mallory. MICKEY (John Wayne voice) Let's make a little music, Colorada. WAYNE NO!!! The two interview subjects start PUMPING rounds into Wayne, who's body dances like a puppet before collapsing to the ground. Mickey and Mallory kiss each other passionately, then climbing into the news van, they drive away. Wayne's body lay peacefully in FRAME until the CAMERA eventually runs out of film. CUT TO BLACK: A FILM DIRECTED BY RAND VOSSLER A Noja Production. \ No newline at end of file diff --git a/unformated_scripts/Script_Never Been Kissed.txt b/unformated_scripts/Script_Never Been Kissed.txt new file mode 100644 index 0000000000000000000000000000000000000000..ed0b2e5befc0fca6401c6aef92903656a026fa82 --- /dev/null +++ b/unformated_scripts/Script_Never Been Kissed.txt @@ -0,0 +1,4859 @@ + + +NEVER BEEN KISSED + +Revised Draft by Jenny Bicks + +Based on the Original Screenplay by + +Abby Kohn & Marc Silverstein + +6/26/98 revision + +CLOSE UP ON A GIRL'S FACE + +It's Josie Geller, 25, cute, blonde and scared out of her wits. We hear the chanting of a crowd. + +CROWD +Josie! Josie! Josie! + +JOSIE (V.O.) +You know in some movies how they have a dream sequence only they don't tell you it's a dream? + +Pull out to reveal Josie on pitcher's mound of a-- + +EXTERIOR. A BASEBALL STADIUM -- NIGHT + +It's packed. Reporters line the field. All eyes are on Josie. + +JOSIE (V.O.) +This is so not a dream. + +The stadium clock sets at 5:00. The crowd goes crazy. Josie takes a deep, nervous breath and smiles, "Oh God." + +INTERIOR. ELECTRONICS STORE -- CONTINUOUS + +Multiple images of Josie play across rows of TV sets. A crowd has gathered. + +JOSIE (V.O.) +It wasn't supposed to be like this. I was just trying to do my job. And then things happened. Well, life happened. And now I'm here. + +EXTERIOR. BASEBALL STADIUM -- CONTINUOUS + +The clock starts to tick down. The crowd yells again. + +JOSIE (V.O.) +Trust me. I am not the kind of girl who does things like this. I mean, two months ago you couldn't have picked me out of a crowd... + +INTERIOR. CHICAGO SUN TIMES BULLPEN -- DAY + +Packed with office workers. Bustling with activity. The camera searches the crowd. + +JOSIE (V.O.) +Told you. I'm over there. + +The camera swings to Josie entering. Rhoda, a young copy assistant, tails her, pen and paper in hand. + +RHODA +Theater-- + +JOSIE +Standard American calls for "er". Standard British is "re". So go for "er", unless you're a pompous American, then go for British. + +Josie keeps negotiating the maze, leaving Rhoda in her wake. + +RHODA +No. Theater. Last night. We were supposed to go, remember? + +Josie stops at a desk where Merkin Burns, officious office assistant, is talking on the phone. He picks his nose with abandon as he talks, ignoring Josie. + +MERKIN +(into phone) +No way. No way. No way. Ech, hold on. +(to Josie) +What. + +JOSIE +Messages? + +Merkin removes his finger from his nose and uses it to pick up a pink message. He holds it out to Josie. Disgusted, she takes it by one corner. + +MERKIN +(into phone) +Seriously? No way. No way-- + +Josie's still standing there. + +MERKIN +What + +JOSIE +Merkin, do you think we could get some more yellow highlighters? I checked the box and we're-- + +Merkin swivels his chair 180 degrees so his back is to Josie and continues with his phone call. + +MERKIN +(back into phone) +Okay, I'm back, so-- + +Josie sighs, walks to her door. It's marked with a lopsided nameplate: Josie Geller, Copy Editor. She adjusts the plate so it's perfectly straight. + +INTERIOR. JOSIE'S OFFICE -- CONTINUOUS + +Josie enters, reads the messsage still gingerly held in two fingers, and drops it into the trash can. She hangs her coat squarely on the back of her door, takes five pencils from her pencil pot, one by one sharpens them in her pencil sharpener, and then lays them out neatly in a row. She smiles, satisfied, ready for another day. + +Anita Brandt, late 20's, pretty in a semi-unprofessional way, bursts in, smiling. + +ANITA +Guess who I did it with last night... + +JOSIE +(duh) +Roger in Op/Ed. + +ANITA +Who told! + +JOSIE +You did. Yesterday you said, and I quote, "I have a date with Roger from Op/Ed tonight and I'm going to do it with him." + +ANITA +Well, that doesn't mean it was going to happen for sure. + +Josie just stares at her. + +ANITA +Once it didn't happen for sure. + +Gus Strauss, late 30's, would probably clean up well, enters. He tosses some copy onto Josie's desk. + +GUS +Computer's down. Septuplets story. I need it back by five. Hopefully the copy's not a mess. + +JOSIE +(emphasizing) +It is hoped that it's not a mess. "Hopefully" is an adverb. It means "with hope". You have it defining the copy, and I'm pretty sure the copy doesn't have feelings. + +Gus and Anita just stare at Josie. + +JOSIE +Well, excuse me for caring about words. + +GUS +(to Anita) +So. You and Roger in Op/Ed. + +ANITA +Oh, man! Who told? + +GUS +Roger in Op/Ed. Don't make me send you another memo about my policy on inter-office dating. + +JOSIE +Intra office. And they're not dating. They're having sex. + +ANITA +And what is your policy? That if you're not getting any, no one can? + +Anita flounces off. + +GUS +How many times have I fired her? + +JOSIE +Five-- Six-- + +GUS +(shrugging, giving up) +Eh. + +Gus turns to exit. + +JOSIE +Hey Gus--did you see the story idea I left on your desk? + +GUS +Yeah--the blind foster home mother. It was good. I got Cahoon on it. + +JOSIE +(disappointed) +Oh. Cahoon. Yeah, he's--good. + +GUS +Geller, we've been over this. You're a great copy editor. Maybe my best copy editor. You're not a reporter. + +JOSIE +You've done five of my ideas. + +GUS +You know what separates us office flunkies from the reporters? + +JOSIE +They don't have to be in the office Christmas show? + +GUS +A flack jacket. + +JOSIE +(not getting it) +A--flack jacket. + +GUS +Every Tom, Dick, and Harry thinks he can write. But a journalist gets in there, right where the bombs are. He's aggressive. Grabs the bull by the balls. + +JOSIE +You don't think I can grab bulls' balls? + +GUS +Geller, you don't want a reporter's life. They're very--messy. You're all about order. Control. And getting me my copy by five. + +JOSIE +Hey--I can be out of control. + +Gus smiles. On his way out he re-adjusts Josie's nameplate so it hangs at an angle. Tormented, Josie waits a beat. She can't take it, and runs to the door and straightens it. + +GUS +(over his shoulder) +Copy by five. + +INTERIOR. SUN TIMES LUNCHROOM -- DAY + +Actually, a pretty depressing kitchenette area. Anita and Josie eat lunch--Anita eats Chinese out of a container, Josie has three baggies of perfectly cut food in front of her. + +JOSIE +Be honest. Do you think I'm aggressive? + +Anita ponders a moment. + +ANITA +Okay. Remember when they took your office chair in for repairs and forgot to return it? + +JOSIE +Yeah. + +ANITA +You stood for like a month. + +Cynthia, an affable African-American woman in her 40's, enters and puts three microwave meals in the microwave. + +JOSIE +Just because I'm not out of control doesn't mean I can't write. + +CYNTHIA +Josie, you listen to me. If you feel you're a writer--(touching her chest) + +Here, deep inside, don't let anyone tell you you're not. Look at me. Every day I come to this paper and I pour my heart and soul into what I do. I feel it, passionately, to the core of my being. + +JOSIE +You write obituaries. + +CYNTHIA +Hey, if you can make a busted aorta sound good--honey, that's art. + +The microwave dings off. Cynthia fishes the three Lean Cuisines out. Anita and Josie share a look. + +ANITA +Cynthia, aren't they only diatetic if you eat them one at a time? + +CYNTHIA +I eat 'em one at a time. + +ANITA +(to Josie) +Y'know, maybe Gus has a point. It wouldn't kill you to relax and have some fun. Roger's got a friend, Marshall in editing? The one with the lazy eye? Maybe we could double date. + +JOSIE +Forget it. + +ANITA +I swear to God, Jos. When is the last time you went on a real live date? + +JOSIE +I'm concentrating on my career right now. + +ANITA +Do you own any colored underwear? Stripes? Anything?! + +JOSIE +(embarrassed) +Anita! + +ANITA +Look. You're way under 30, you're cute, some guys find white Carter's underwear sexy— +(beat) +If you talk to his nose, you don't even notice the eye. + +Josie laughs in spite of herself. + +JOSIE +The right guy is out there. I'm just not going to kiss a whole bunch of losers to get to him. + +ANITA +Yeah, but sometimes kissing the losers can be a fun diversion. + +JOSIE +When I finally get kissed, I'll know. + +Anita and Cynthia trade looks. + +ANITA +Okay. If you've never kissed a guy, we got bigger problems than the underwear. + +JOSIE +I've kissed guys. I've just never kissed a guy. Felt that thing-- + +CYNTHIA +"That thing"? Is that what you kids are calling it these days? + +JOSIE +That thing. That moment. You kiss someone and it's like the world around you gets all hazy and the only thing in focus is you and this other person and you know that one person is the person you're meant to be kissing for the rest of your life. And for that one moment you've been given this amazing gift and you want to laugh and cry at the same time because you're so lucky you found it, and so scared that it will all go away. + +Anita and Cynthia take this in. + +CYNTHIA +Damn, girl. You are a writer. + +INTERIOR. TIKI POST -- DAY + +Basically a Mailbox Etc. store, but dressed in a Tahitian theme. Cardboard hula dancers hold Fedex envelopes. + +Rob Geller, 23, good-looking, wears a smock with "Tiki Post" emblazoned across it over a Hawaiian shirt. He stands watch at the cash register. + +Monty Maylik, 50, proud owner, rearranges a display. The place is empty. + +ROB +Hey Monty--you think we'll get any business today? + +MONTY +(of course) +I'm handing out a free lei to every customer! What do you think? + +ROB +I think maybe people are scared off by the tiki torches. + +MONTY +Change is scary. Robbie, let me tell you a little something about the mail business. I've been in it over thirty years. And in those thirty years, the only thing that's changed is the Elvis stamp and some gun laws. People are bored! They wanna shake things up! + +ROB +I thought people just wanted their mail delivered on time. + +Josie walks into the store, triggering Hawaiian music. Monty puts a lei over her head. + +MONTY +Aloha! Welcome! + +ROB +Relax, Monty. It's just my sister. + +Monty takes the lei off her neck. Josie hands Rob an envelope. Rob rifles through the cash inside. + +ROB +Thanks, Jos. I'll pay you back. Bambi thanks you, too. + +Rob indicates a beat-up wreck of a yellow car parked outside. + +JOSIE +That is so--weird that you name your car. + +ROB +No it's not. Guys name their penises. + +JOSIE +Okaaaay....(then) + +That car's going to bankrupt you. + +ROB +She just needs a new windshield wiper. + +JOSIE +Because I bought the windshield last week. I'm a hubcap away from owning more of Bambi than you do. + +Rob hands the money back. + +ROB +Y'know what? Take it. I don't want it. + +Josie hands it back. + +JOSIE +Rob, take the money, okay? It's no big deal. + +ROB +No, it is. It's just one more thing to add to your "things that make you a better person than me" list. + +JOSIE +Better person than I. + +ROB +See! + +JOSIE +I know this woman. She works in admissions at Lakeshore Community? She might be able to get you in for the Fall semester. Maybe she could get you the baseball scholarship, and I could help and-- + +ROB +I'm not going to college, Jos. And I'm not playing anymore baseball. This is my life. + +JOSIE +(whispering) +This--this is a luau that sells packing material! + +ROB +Someday this luau is going to be all mine! + +JOSIE +How can you just give up like that? You had a real shot at playing college ball and you let one case of mono stop everything. Don't you want more? To move out of Mom and Dad's? Pay your own bills? + +ROB +Oh yay! And then I could be as happy as you! + +JOSIE +For your information, I am very happy. Deliriously happy. I lead a very happy life! + +She exits. The music starts up again. + +MONTY +Come again! + +INTERIOR. JOSIE'S APARTMENT -- NIGHT + +We pan around the neatest and quietest walk-up you've ever seen. Lots of books on shelves. + +We find Josie sitting at her small table putting the finishing touches on a needlepoint pillow. She turns it over and we see it says: "LOVE". She holds up the final product to a terrarium, lookup up at her two turtles. + +JOSIE +There. What d'you think, guys? Where should it go? + +Josie looks around the living room. + +JOSIE +Hmm. +(She pretends to listen to the turtles.) +What's that? Bedroom? Great idea! + +She walks into the bedroom with the pillow. + +INTERIOR. JOSIE'S BEDROOM -- CONTINUOUS + +A perfectly arranged Laura Ashley bedroom. We pan over to the bed. It is completely covered in needlepoint pillows. Josie places the latest one on top of the others and smiles. + +JOSIE +Perfect. + +INTERIOR. A CONFERENCE ROOM - SAME + +It's packed with the NEWSPAPER STAFF. Hyram Rigfort, 65, white-haired, dignified owner of the paper presides. Anita and Josie sit next to each other. Next to Anita sits Roger from Op/Ed, a good-looking guy in his 30's. + +RIGFORT +Let me start out by saying that I was very impressed by the investigative piece Dutton did on pesticides in our supermarkets. + +An older man, Dutton, smiles proudly. + +RIGFORT +But since the Trib did a better piece on the same subject, you're fired. + +Dutton's face falls. Everyone looks horrified. + +RIGFORT +You heard me. Out. Out. + +Dutton shuffles out. Josie takes a big bite of donut. + +RIGFORT +So. Happy March everybody! + +ALL +(by rote) +Happy March Mr. Rigfort. + +RIGFORT +To celebrate, I've decided it's time for another undercover feature! + +Everyone looks underwhelmed. + +RIGFORT +You all know that some of my best inspiration comes from personal experience. Who knew that my botched foray into hair plugs would lead to last month's award-winning expose -- "hair today, gone tomorrow"? Hat's off to you, Bruns. + +We pan over to Bruns, a reporter whose hair is missing in odd-looking clumps. He nods sadly. + +RIGFORT +Or should I say "hat's on"! And what about when my wife had that affair with Gil, her ski instructor and Howard went undercover as an expert slalom skier. + +Howard smiled wanly. Both his arms are in casts. Camera pans the room as Rigfort continues, picking out different reporters. + +RIGFORT +So last night I'm sitting around the dinner table with my family. The wife, the two nannies, the boys, and we're eating chicken with this peanut sauce. + +Camera stops at a Chef Boyardee look-alike. + +GUS +Undercover chef. I like it. + +RIGFORT +Hang on, Gus. So, we're eating this peanut sauce and suddenly the younger kid starts choking. + +Camera stops at a Nurse Ratchet look-alike. + +ANITA +(sotto to Josie) +I'm smelling undercover ER nurse. + +RIGFORT +Turns out he's allergic to peanuts. And I think -- holy shit. I don't even know my own kids. I mean, who knows if they're even mine? And it got me thinking. How much do we know about kids today? What are they thinking? How many of them are allergic to peanuts? Boom. It hit me -- "My Semester In High School." + +Camera stops at a bald guy, the jerks over one seat to Josie. + +RIGFORT +(to Josie) +You. What's your name. + +JOSIE +Josie. Josie Geller. + +RIGFORT +You enroll on Friday. + +General crowd hubub. Josie's in shock. + +JOSIE +Oh. But--I'm not a reporter yet... + +RIGFORT +And none of these geezers could pass for a day under 40. Have fun. + +And Rigfort exits. + +INTERIOR. JOSIE'S OFFICE - MINUTES LATER + +Josie is so excited she can hardly speak to Anita. + +JOSIE +It's finally happening, Anita! I'm going to write! + +Anita looks concerned. + +JOSIE +My own undercover feature - "Written by Josie Geller". + +ANITA +Jos - Maybe you should turn it down. + +A beat. Josie's face falls. + +JOSIE +You don't think I can do it. + +ANITA +No - It's just a lot of pressure for your first piece, that's all. I mean, it's not a half-page article, it's a major undercover piece, Jos. Look what Rigfort did to Dutton - and that guy's his cousin! + +Gus enters. + +GUS +Don't worry, I'll straighten all this out. + +JOSIE +But I don't want it straightened out. + +GUS +Geller, this is way out of your league. + +Josie takes in Anita and Gus. + +JOSIE +Okay, just so I'm clear here -- neither of you think I can do this. + +ANITA +Jos, that's not what we're -- + +JOSIE +Anita, when you wanted to seduce the guy in the mailroom and you didn't think you could learn Spanish fast enough, who quizzed you on your verbs? + +Anita looks down, chastened. + +ANITA +Senorita Josie. + +JOSIE +And Gus - when you picked up knitting, who showed you how to hold the needles? + +GUS +(sotto) +You did. + +ANITA +(to Gus) +You knit? + +JOSIE +So, this is my chance. + +A beat. + +GUS +I'm not holding your job for you, Geller. + +Josie jumps up and down and hugs Gus, who is clearly uncomfortable. + +GUS +Don't make me send you the memo on hugging in the workplace. + +Josie smiles. Gus exits. + +ANITA +I do believe in you, Jos. Anything you need, I'll help you out. + +Josie sits, motions to the brown paper bag. + +JOSIE +You can start by handing me that bag. + +Anita does. Josie sticks it over her face, flips her head between her knees and starts hyperventilating again. + +Close up on Rob, wearing his Tiki Post outfit. He shakes his head. + +ROB +No. Uh, uh. + +Pull out to reveal him standing with Josie on the sidewalk in front of - + +EXTERIOR. TIKI POST - DAY + +Josie's shiny Buick is parked right behind Bambi at the curb. + +JOSIE +It's just for a couple of months. + +ROB +You can't just "borrow" my car for a couple of months! That's like ten years in Bambi life! + +JOSIE +I'll give you my Buick Le Sabre. + +Rob rolls his eyes and enters the store. + +JOSIE +You can name it whatever you want. + +INTERIOR. TIKI POST - CONTINUOUS + +Josie follows Rob into the store. He turns. + +ROB +Wow. This must be big. + +JOSIE +I got an assignment from the paper. I'm going undercover. Back to high school. + +Rob starts laughing uncontrollably. + +JOSIE +What!? + +ROB +Do you remember high school? + +JOSIE +It was a long time ago - + +ROB +Don't you remember what they called you? + +Slowly Josie's face falls. She looks very far away. + +ROB +Josie - + +INTERIOR. A HIGH SCHOOL CAFETERIA - DAY (FLASHBACK) + +It's packed with kids. Everyone stares off-screen at chants - + +ALL +Josie Grossie. Josie Grossie. Josie Grossie. + +INTERIOR. TIKI POST - SAME + +Josie looks stricken. + +JOSIE +Josie Grossie. + +ROB +I know. I came up with it. +(beat) +You look nauseous. + +JOSIE +Nauseated. I look nauseated. Oh God. + +She puts her hand over her mouth, races for the bathroom. + +INTERIOR. TIKI POST BATHROOM - MINUTES LATER + +Josie has just gotten violently ill. She rises off her knees, grabs some toilet paper to wipe her mouth. She looks down at her feet. + +INTERIOR. HIGH SCHOOL CORRIDOR - DAY (FLASHBACK) + +We close up on brown leather oxfords and widen to reveal teenage JOSIE + +braces, heavy glasses, in all her nerdom, slowly walking down the corridor with a huge backpack on her back. + +A boy sneaks up behind her, holds open the top of her backpack while another boy pours a half drunk Sprite into her backback. + +Kids smile and snicker as Josie continues down the hallway. She spots, Billy Prince, ultmate high school heartthrob, and approaches him nervously. + +JOSIE +Hey, Billy Prince, I noticed you weren't in math today, and I have the notes in case you want - + +Midway through Josie's speech, we hear the odd sound of liquid hitting linoleum. Josie follow Billy's gaze down to between her feet where a pool of Sprite has gathered. Billy starts to laugh. Kids around him join in. As the laughter echoes around her we DISSOLVE BACK TO: + +INTERIOR. TIKI POST BATHROOM - SAME (PRESENT DAY) + +Josie stares into the mirror. Staring back is teenage Josie. + +JOSIE +This is a very bad idea. + +INTERIOR. THE MALL - TEEN CLOTHING STORE - DAY + +Anita and Josie cruise through a teen clothing store, carrying large bags from a stationery store. Josie picks up a platform sneaker and just stares at it. + +ANITA +So, you were a geek. Big deal. + +JOSIE +Anita, remember espadrilles? + +ANITA +Please. That doesn't make you a nerd. Everyone wore those shoes. + +JOSIE +The girls threw them at me in the locker room. + +ANITA +Okay. That's bad. + +JOSIE +At the end of the yeat the person who got the most direct his to my head got to toss me into the pool. + +ANITA +Mama mia. +(then) +Just because you were a nerd once doesn't mean it's going to happen again. That's why you have me for fashion consultation. + +Anita pulls a slip skirt off a rack and holds it up. + +ANITA +Now this is cute. + +JOSIE +That is lingerie. + +ANITA +So I was thinking about what you were saying - y'know, about really being kissed? I think Roger could be the one. + +JOSIE +What'd you feel when you kissed him? + +ANITA +Bridgework? + +JOSIE +Very romantic. + +Josie pulls out a plain button-down cardigan. + +JOSIE +How about this? + +ANITA +I am not letting you out of the house in that, young lady. + +Anita grabs an awful white maribou jacket and matching earrings and holds them up. + +ANITA +Cuuuute! + +JOSIE +'Nita, this is about reporting, not accessorizing. + +ANITA +And we're going to have to do something about your hair. + +JOSIE +Anita! + +ANITA +Jos, please try and have some fun here, okay? How many of us get to go back to high school? You're gonna have a blast! + +SMASH CUT TO: CLOSE UP - AN ALARM CLOCK + +on a bedside table. Surrounded by make-up, boxes of hair color, a stack of index cards, ripped magazine pages of teen looks, issues of Teen Beat and YM. The clock slips to 7:00. NPR starts playing. A hand reaches over, hits the radio off. SOUND EFFECTS: A school bell. As the bell continues to ring, we widen to: + +INTERIOR. JOSIE'S BEDROOM - MORNING + +Josie sits up in bed, covers pulled up to her chin in terror. + +EXTERIOR. A CHICAGO STREET - MORNING + +MUSIC UP: "Morning Train". Crowds of commuters stream down the sidewalk and onto the stairs leading up to the El. + +A big yellow car jerks into frame, backfires noisily. It's Josie at the wheel of Bambi. She jerks out of frame. + +EXTERIOR. SOUTH GLEN SOUTH HIGH SCHOOOL - MORNING + +A suburban campus anchored by a main building. Cars pull into the parking lot for the beginning of the day. Kids greet each other, converge on the front doors of the school. General mayhem. + +Bambi pulls in. She jerks into a spot, backfiring once more for effect. The entire scene stops. Kids freeze, look at Josie. A beat, and they they continue on their way. + +INTERIOR. BAMBI - CONTINUOUS + +Josie takes a few deep breaths. + +JOSIE +Okay, I can do this. Piece of cake. I can do this. + +EXTERIOR. PARKING LOT - CONTINUOUS + +Josie steps out of the car wearing the maribou jacket, earrings, and white jeans. She shuts the door behing her, starts walking. She has unknowingly shut her jacket in the door and as she walks, a piece of maribou rips, trailing behind her like a tail. + +JOSIE +Yeah, okay. Feeling good... + +INTERIOR. SCHOOL LOBBY - SAME + +Josie merges with the throngs of kids and is literally pushed into the lobby. She stares around, overwhelmed. "Go Rams!" banners share space with signs that read: "63 DAYS TIL PROM!" She inches her way along the wall until she is stopped by a guard who grabs her arm. + +GUARD +Hey--where are you going? + +JOSIE +Oh, I'm a student. Most definitely a student. In high school. Here. I am going to class. With my fellow students. +(greeting random kids) +Hi. Hi there. + +The guard stares at her a beat and then motions behind them, to three huge metal detectors that the kids are filtering through. Josie smiles, "whoops," walks back. + +GUARD +(under his breath) +Freak. + +INTERIOR. SCHOOL LOBBY - MINUTES LATER + +Josie's stuff lays out on the post-detector table - cell phone, laptop, mini tape recorder, electronic organizer, pager, being scrutinized by the guard. Josie's sure she's been found out. Camera widens. Down from Josie, we see other kids' belongings spread out. They have the identical high-tech equipment. The guard picks up Josie's nail file, examines it - + +GUARD +Weapon. + +And throws it in the trash. + +INTERIOR. HIGH SCHOOL HALLWAY - MORNING + +Josie stares at her class card and eyes the classrooms, totally lost. She approaches a boy in a flannel shirt and loose jeans. + +JOSIE +Hi--um, I'm looking for Room 204, Ms. Knox? + +As soon as the boy starts to talk, we notice something in his mouth - a tongue pierce. Josie does too. We zoom in on that shiny little metal ball. Josie is fixated. So fixated that we stop hearing the boy's voice. All we see is the mouth - and that ball - moving. The mouth closes. He's done. Josie's face is contorted in imagined pain. + +JOSIE +Ow. +(catching herself) +I mean, wow. Wow. Great directions. Clear. Concise. + +And Josie takes off, totally embarrassed. + +BOY +(under his breath) +Freak. + +INTERIOR. HIGH SCHOOL HALLWAY - MORNING + +Josie walks up to Room 204. Opening the door, she's met by a sea of faces. + +Ms. Knox, mid-forties, distracted but bubbly, sits in the front of the class. + +MS. KNOX +Hi - hello. Wilkommen. Entre. + +Josie walks in. Kids whisper and snicker. + +JOSIE +Sorry I'm late. + +MS. KNOX +Yes, well, I'm sorry I forgot to take my hot flash medication this morning. Josie, right? Please sit. Mi casa es su casa. + +Josie makes her way to the desk, trailing maribou. The class titters. She sits in front of two girls, Kirsten and Kristen, beautiful and intimidating. + +KIRSTEN +That is so sad -- + +KRISTEN +I know, like five chickens had to die just so she could look that stupid. + +MS. KNOX +Josie, in my classroom, tardiness is unacceptable -- + +JOSIE +I'm really sorry -- + +Ms. Knox pulls a ridiculously huge sombrero out from under her desk. The class laughs in recognition. + +MS. KNOX +Not as sorry as I am. + +Ms. Knox puts the sombrero on a less-than-thrilled Josie. + +MS. KNOX +Ole! Ten minutes in this hat, you'll never be late again. So, let's hear something about you. Stand up. Stand up. + +Josie does. The sombrero drops over her eyes. She adjusts it so she can read her notecards. CLOSE UP on the notecard --it's filled with precise script under a heading: MY PAST. She scans it, then flips the cards face-down on the desk. Confidently she begins -- + +JOSIE +My name is Josie. I'm a high school student. I came from -- + +Just then the classroom door opens. We see from Josie's perspective a blinding light, Josie squints. From the light emerges a shadowy vision of Billy Prince. + +JOSIE +Billy? + +Josie blinks, REVEAL not Billy, but a beautiful guy, Guy. He stands very close to her. + +JOSIE +(catching herself) +Bali. +(another beat) +I'm from Billy-Bali. It's a suburb of Bali proper. + +Guy pushes past her, tosses a wooden hall pass to Ms. Knox, and moves to his seat. + +MS. KNOX +Bali. Fascinating! What did your family do there? + +Josie looks around in panic, sees a student in a South Glen South windbreaker with huge ram on the back. + +JOSIE +We were--sheep--farmers. We raised sheep. In Billy-Bali. + +Josie realizes the trouble she's gotten herself into. + +JOSIE +Oh my God. +(caught) +Oh my God--do I miss Billy-Bali. +(beat) +It had--a really great...aquarium. + +She sits. Defeated. + +INTERIOR. HIGH SCHOOL HALLWAY - LATER + +Josie rushes down the hall, still toting her enormous bag. A huge banner - SOUTH GLEN, OUR NATION'S BEST PROM - hangs prominently. She talks covertly into a hand-held tape recorder. + +JOSIE +Note to self--Research Bali. Kill Anita for picking out this outfit. Find and destroy sombrero. + +INTERIOR. CLASSROOM - SAME + +Josie and her enormous bookbag enter. She takes a seat toward the back of the room. + +Kristen, Kirsten and GIBBY, another beauty, enter and head to the back of the room. + +Kirsten and Gibby stand over Josie, staring at her. + +KIRSTEN +We sit here. + +JOSIE +Oh. Sorry--I didn't know these were assigned. + +GIBBY: +They're not. + +Josie quickly gathers her things and moves one row forward, next to two empty seats. TWO STONERS shuffle over to Josie. + +STONER 1 +Sorry. We sit here. + +JOSIE +(indicating two empty seats) +Couldn't you two--sit there? + +STONER 2 +Right. Except there are three of us-- + +The Stoners eye each other, then the two seats. A look of horror comes over Stoner 1. + +STONER 1(cont'd) +Dude--we left Jed at the 7-11! +(beat) +Again! + +Josie picks up her stuff, moves to the last empty seat in the room-in the front row, surrounded by "Denominators" who all wear orange Denominator sweatshirts. + +Sitting next to Josie is ALDYS, a Denominator--intense, wise, with a whole bunch of math medals on her sweatshirt. She smiles at Josie. + +Josie smiles back and looks up as MR. COULSON enters the room. He's a ruggedly handsome twenty-something Yale grad. + +He grabs a notebook out of his bag, goes around to sit on the front of his desk, sipping coffee from a Styrofoam cup. + +SAM +Hi, everyone. +(Spots Josie) +I don t think we've met. I'm Sam Coulson- although for some reason the school has this thing about not letting you guys call me Sam. + +JOSIE +(shyly) +I'm Josie. Geller. I think the school would probably be pretty comfortable with you calling, me that. Josie. + +Sam smiles. + +SAM +Josie since you're new--I love to drink my coffee during class, and since I allow myself to do this, I allow everyone to bring beverages to class as well. +(a beat) +welcome to Shakespeare's "As You Like It." +(beat) +Okay. How many of you actually read the assignment last night? + +About five hands go up. + +SAM (cont’d) +Not bad. Now how many of you spent more than thirty minutes eating salty snack foods? + +Twenty hands. Sam laughs. + +SAM (cont’d) +Man. If I could just get you guys to read while you eat. + +Sam opens his book. Aldys notices Josie has no book. She moves next to her. + +ALDYS +Here. We can share. + +They share a smile. + +SAM +'As You Like It" is an example of a Shakespearean-- + +Sam turns to the blackboard and starts writing. We CU on his butt, hardly discernable in his loose 501 jeans, all the girls swoon. + +SAM (cont’d) +Pastoral Comedy. Anyone know what that means? + +An enthusiastic, if slightly dim girl, SERA, waves her hand. + +SERA +Oh oh oh! That's what they do to milk! + +SAM +That's pasteurize, Sera. But close. Same letter-- +(tapping three fingers on his arm a la charades) +--three syllables-- + +SERA +Parakeet?! + +ALDYS: +(sotto to Josie) +There's a minute of my life I'll never get back. + +Josie smiles at this. + +SAM +Okay, anyone else--- + +Josie can't contain herself. + +JOSIE +Pastoral means set in the country. Originally seen in the Eclogues of Virgil. It's from the Latin pascere. To graze. + +Student bleets like a sheep O.S. Sam just stares at her, smiling. Finally, he walks over and shakes her hand. + +SAM +Did I mention to the class that I love our new student? + +Josie beams. + +GIBBY +Did I mention that the class also loves our new kiss ass? + +Josie's smile quickly fades. + +SAM +Gibby, that's not exactly the kind of participation I'm looking for. + +Gibby looks right at Josie. + +GIBBY +(totally insincere) +Ooops. Sorry. + +Josie just sits there, face burning. + +INTERIOR. HIGH SCHOOL HALLWAY - LATER + +Josie approaches her locker. She can't get to it because a COUPLE is busy making out against it. + +A GIRL'S VOICE comes over the loudspeaker. She's completely ignored. + +GIRL'S VOICE +Hi. This is Sydney, Student Body President! Okay, first. Bad news-The' district didn't allocate enough funds, so as of this afternoon, there will be no music department. Now, about Prom-- + +The entire hallway FREEZES. The couple breaks their clinch and looks up. SILENCE. Josie is amazed. + +SYDNEY’S VOICE +Voting on Prom theme has been completed. And the theme is-- + +CU on expectant FACES. + +SYDNEY’S VOICE (cont'd) +The Millennium! + +PANDEMONIUM. Kids cheer, gasp. One GIRL faints. + +The crowd surges again. Josie, caught in the flow, doesn't notice a locker door flinging open. She smashes her face right into it. Everyone, including Guy, turns and laughs. Even some Denominators. + +CUT TO + +CU: A CAFETERIA TRAY + +Moves down the food line. It's piled with unidentifiable foods and three glasses of fluorescent red punch. Hands pull the tray out of the frame. INTO FRAME comes another tray, this one bearing a perfectly arranged place setting with three celery sticks on a plate. WIDEN TO REVEAL: + +INTERIOR. CAFETERIA - DAY + +Josie, pulling the perfect tray down the cafeteria line. She reaches some awful-looking Cole slaw in a big vat. A CAFETERIA GUY in a plastic cap hovers above it. + +JOSIE +(to cafeteria guy) +Excuse me. What's in the Cole slaw? + +The cafeteria guy hauls an industrial-size plastic tub onto the, counter and turns it-so Josie can read the label: "KOLE SLAW FOOD." Josie wrinkles her nose. She moves on to the cash register. + +CASHIER +That'll be twelve ninety-five. + +JOSIE +(stunned) +Oh my gosh. Wow. That's... pricey. + +CASHIER +That's real meat in the ham sandwich. + +Josie turns to a GIRL in line behind her. + +JOSIE +Boy--that's a lot of bread for that bread! + +The Girl rolls her eyes, reaches past Josie to grab a mustard bottle. Josie turns with her tray toward the room. + +CUT TO + +INTERIOR. CAFETERIA - DAY (FLASHBACK) 4 KIDS stare at CAMERA and chant: + +ALL +Josie Grossie--Josie Grossie--Josie Grossie. + +ANGLE BACK ON JOSIE. She's seventeen. Standing with her tray, paralyzed. The CAMERA SPINS, showing us her back. There, tattooed in squeeze-bottle mustard, is "GROSSIE." A boy stands behind her victoriously holding the mustard bottle. + +CUT BACK TO + +INTERIOR. CAFETERIA - SAME (PRESENT DAY) + +Josie shakes off the vision and stares out at the crowded cafeteria. She sees Kirsten, Kristen and Gibby, steels herself, and decides to approach. + +Kirsten is eating a bran muffin. + +KRISTEN +Kirsten, that bran muffin has like 75 fat grams. + +KIRSTEN +Nah uh. + +GIBBY +Yeah, I read this thing that one bran muffin can be like two bran muffins sometimes. + +Kirsten pushes the muffin away. + +KIRSTEN +God. Food is so confusing. + +JOSIE +(to Kirsten) +Hi Kristen. + +KIRSTEN +It's Kirsten. + +Josie plops herself down with these girls, and takes a spiral pad out of her big knapsack. In the process, she manages to spill her chocolate milk all over her white jeans. + +JOSIE +That'll teach me to wear white after Labor Day. + +GIBBY +Umm- I don't think you're supposed to wear white jeans after 1983. + +They all laugh. Josie fakes a laugh, too. + +JOSIE +Right, right. + +Josie picks up her notepad and her pen. + +JOSIE +So - tell me about yourselves. + +They all just stare at Josie in disgust. Guy approaches their table. + +GUY +I'm Guy. + +Guy looks at Josie. He's beautiful. She's flustered. + +JOSIE +Yes you are. A guy. Guy. Quite a guy. Oh my. Look at that--I rhymed. +(beat) +Yikes. +(beat) +Bikes! + +GUY +(very serious) +Are you in special ed? + +Josie stands up, grabs her bag and her chocolate milk- + +JOSIE +Bye. Guy. Others. + +She leaves the Cafeteria, passing a-couple of Denominators. + +JOSIE +(to herself) +Aaaah! How old am I? + +DENOMINATOR #1 +Approximately six thousand three hundred and fifty days old- subject to adjustment for month of birth. + +This is very funny Denominator humor- to the Denominators. Josie leaves the Cafeteria. + +EXTERIOR. SCHOOL GROUNDS - CONTINUOUS + +Josie runs out an exit door and right into a SECURITY GUARD + +GUARD +You got a pass? + +INTERIOR. GYM - LATER + +A banner above reads "PRESIDENTIAL FITNESS TESTING THIS WEEK." FIFTEEN SENIOR GIRLS, including Josie, in matching green and yellow polyester gym clothes do sprints up and-down the basketball court. Josie looks like she's about to die. Ms. Brown yells as she passes. + +MS. BROWN +move it Geller! Move it! Move it! + +Josie stops, grabs the woman by the shoulders. + +JOSIE +Must--have--water-- + +MS. BROWN +What do I look like, your waitress? Now you're gonna complete these sprints, cause if you don't you fail. And if you fail gym, you're NEVER GETTING INTO COLLEGE! + +JOSIE +Oh--my--God--you guys are—still telling that lie--? + +MS. BROWN +That's it Geller--drop and give me twenty! + +Josie drops to the gym floor. + +INTERIOR. HIGH SCHOOL HALLWAY - LATER + +It's - finally- the end of the day. Josie makes her way down the hall, clutching her pad of paper, getting pushed and shoved by kids as they storm outside. A huge banner hangs overhead reading: "SIGN UP FOR SENIOR NIGHT!" + +She tries to smile at some kids, but they all ignore her. + +She makes it to the main entrance to the school, where we see, as she shoves her pad of paper into her bag, it is completely blank. + +EXTERIOR. PARKING LOT - SAME + +Kids fill the parking lot. Josie walks, talking on her cell phone. + +JOSIE +(into phone) +Rhoda, make sure Gus gets-the whole message, okay? Yeah--bye-- + +Josie arrives where she parked Bambi. The space is empty. She still holds the phone to her ear-- + +JOSIE +Wait a second-- +(into phone) +No, not you--bye-- + +Josie shuts the phone, looks around...retraces her steps ... Bambi is gone. + +Josie walks around the lot, getting visibly upset. + +In the corner of the lot, we see a group of Denominators removing a BIG METAL CHAIN from around a group of tightly packed cars. + +ALDYS (O.S.) +They do it to all the new kids. + +Josie finds Aldys standing next to her. + +JOSIE +Who's of they? + +Aldys motions up to a second floor window. Guy and his Group look down on them, laughing. + +ALDYS +Guy Perkins and his amazing Lemmings. They push your car out of its space, hide it, then watch while you look for it. We've taken to chaining ours together for safety. I'm Aldys. + +JOSIE +I'm Josie. Aldys is an interesting name. + +ALDYS +When it's not yours. My mom was going through her Harlequin Romance phase. + +JOSIE +Try being named after a guitar-playing pussycat. + +Aldys doesn't get it. + +JOSIE (cont'd) +Never mind. +(beat) +That is so awful that they hide your cars. + +ALDYS +I guess. Although, what is truly awful is that with the combined intellectual effort of every kid in that room right now- + +She points up to the biology room- + +ALDYS +They still would not know the difference between a synecdoche and a hyperbole. + +Josie laughs. + +JOSIE +I know. It's pathetic. + +Aldys stares Josie down. + +JOSIE +What? + +ALDYS +Well, do you? + +JOSIE +Synecdoche uses a part to represent a whole- as in " head of cattle", whereas a hyperbole is simple exaggeration like "I could eat a horse." + +ALDYS +Nice. + +They stop and look around. + +JOSIE +How long will they watch us for? + +ALDYS +Until Guy tells them to go. Once they watched me for like two hours. I found my car the next day in the T.J. Maxx parking lot. + +JOSIE +Why do they listen to Guy? + +ALDYS: +(duh) +Because he's Guy Perkins. +(then) +Listen, you want to walk to Na-Na's and get something to eat? + +JOSIE +Yeah. Let's do that. + +They start to walk out of the parking lot. Josie is visibly thrilled - having finally found a friend. + +INTERIOR. NA-NA'S - LATER + +Josie and Aldys share a huge plate of chili fries. + +ALDYS +Yeah - isn't it amazing that those guys are our same age? I mean, they just seem so much younger, you know. + +JOSIE +Oh I know. + +A WAITER delivers two huge chocolate shakes. + +ALDYS +I'm going to be so happy to get to college. I hear at Northwestern they don't make fun of you for knowing the element table. + +JOSIE +Hey--I went to Northwestern! +(a beat) +Once. To use the bathroom. + +OUT THE WINDOW, Josie sees her Buick with Rob at the wheel stopped at a red light. Detailed on to the side in big white script is: + +"THE TIKI POST". Josie's eyes widen. The light changes. Rob pulls away. + +JOSIE (cont'd) +(So angry) +Oh. My. God. +(a beat) +You'll really like Northwestern. + +They both slurp down their shakes. + +JOSIE +So what are your hopes, your dreams, what do you want to be? + +ALDYS +Professor of medieval literature. Novelist. Weekend flautist. + +Aldys takes another slurp of her shake. WE HEAR a muffled cell phone RINGING. + +ALDYS (cont'd) +I think your knapsack is ringing. + +Josie takes the cell phone out of her knapsack and answers it. + +JOSIE +Hello? + +WE INTERCUT WITH: + +INTERIOR. GUS'S OFFICE - SAME + +Gus speaks into his phone, knitting frantically. + +GUS +Geller, I got your message. What the hell kind of story are you pitching?! + +Josie smiles awkwardly at Aldys, covering the phone. + +JOSIE +It's my dad. He worries. +(into phone) +Hi, Dad. I miss you too. + +GUS +You're a sick puppy, Geller. + +Josie indicates to Aldys she'll be right back and walks to the back of the restaurant by the pay phones. + +JOSIE +(into the phone) +It's an expose on cafeteria food. + +GUS +And you're leading with the terrible truth about cole slaw?! + +JOSIE +Well, the bulk of it will be about the pimento loaf-- + +GUS +Geller...you wanna be a reporter? Take a look at what sells! Sex scandals. Bribery. People jumping off buildings. So unless a kid just killed himself because he was being paid to have sex with the school mascot in a big vat of this cole slaw, you got nothing! + +Gus slams down his phone. + +JOSIE +(into a dead phone) +You didn't taste the pimento loaf. + +She looks back to the table where Aldys is dividing the check. + +EXTERIOR. TRACK - HIGH SCHOOL - DUSK + +In the middle of the track is Josie's car. The MARCHING BAND clumsily practices their formations around it. Josie and Aldys arrive at the car and Aldys pops the hood. + +ALDYS +They love to disconnect the battery, too. + +She looks under the hood, reconnects the battery. Slams the hood down. + +ALDYS (cont'd) +Just so you know, I think they recalled these cars in 1974. + +JOSIE +Thanks. + +ALDYS +Sure. No problem. + +Aldys heads to the lot for her car, and then turns around. + +ALDYS +Hey, Josie, how are you at Calculus? + +JOSIE +Petty good. + +ALDYS +How would you like to join The Denominators? The Math Team could really use a new brain. We lost our best logarithm guy last year. + +JOSIE +College? + +ALDYS +NASA. +(beat) +Plus we have these really fun pizza study groups, and we go to-these all county meets. And, I mean, not that you need it, and without sounding too much like the Godfather, I think we could offer you a certain amount of protection", if you know what I mean. We all kind of stick together and watch out for each other. + +Josie smiles. MUSIC UP: SCHOOL HOUSE ROCK'S "Magic Three" + +AS WE BEGIN MONTAGE: + +INTERIOR. HIGH SCHOOL HALLWAY - DAY + +Josie and Denominators walk down the hallway in unison, past Guy's Group, open their lockers in order a la "RESERVOIR DOGS", take out paper, pencils, calculators. + +INTERIOR. - HIGH SCHOOL HALLWAY - DAY + +Josie and Aldys, both wearing big orange Denominator sweatshirts, are behind a table manning a bake sale. + +A banner behind them says: n = 3.14578697786978 Pie = $.75 + +No one is stopping to buy anything. Josie points to the left, Aldys looks, and Josie stuffs a whole brownie in her mouth. They laugh uncontrollably as Josie starts to choke and cough up most of the brownie. + +We pan down a row of nervous looking Denominator faces as they watch Josie, sitting head to head against a DIGIT, an opposing Math-a-lon competitor. They both work furiously on a problem. A judge sits between them. A makeshift scoreboard hanging off the desk shows the score is tied. + +Josie bangs the bell on the desk and hands the judge her card. He looks it over, and gives her team five points. They win. + +The Denominators erupt into cheers. They're jumping all over Josie, going crazy. As we go wider we see the gym is entirely empty, except for a handful of Denominators going crazy on one side, and a janitor sweeping up on the other. + +INTERIOR. MALL BOOK STORE - DAY + +Smiling at each other, Josie and Aldys clutch books excitedly and stand in line. WE WIDEN to reveal they're in line with NERDY ADULTS also clutching their books. At the head of the line is a blow-up poster for The New Elements Of Grammar. An OLD MAN signs books for his fans. + +INTERIOR. JOSIE'S APARTMENT - NIGHT + +It's late. Josie is typing on her laptop, referencing notes from her notebook. Schoolbooks and homework are spread around her. + +END MONTAGE. + +INTERIOR. CLASSROOM - DAY + +Sam is perched on the desk. The usual players in their usual seats. Aldys is standing and reading from her book. + +ALDYS: +(reading) +"All the world's a stage and all the men and women merely players." + +SAM +Anyone have any idea what Shakespeare meant by that? + +No one answers. + +SAM (cont’d) +Anyone? Sera ... Megan ... exchange student who doesn't speak English? + +We CU on the students, ending on an Asian boy who smiles wildly at Sam and waves. Sam smiles, and waves back. + +SAM (cont’d) +It's about disguise, playing a part. It's the theme of "As You Like It." Can anyone tell me where we see that? + +ALDYS +Well, Rosalind disguises herself as a man and escapes into the forest. + +SAM +Right. And it's when she's in costume that she can finally express her love for Orlando. See, Shakespeare's making the point here that when we're disguised, we feel freer. We can do things we wouldn't do in ordinary life. + +CU on Josie's face. She's clearly uncomfortable. Sam walks up to a huge football player, BRETT. + +SAM (cont’d) +Brett when you go out on the football field in your uniform, what happens? + +BRETT +We win? + +SAM +You hit people. You yell. You touch other guys' butts. + +The class giggles. Brett looks horrified. + +SAM +But it's okay, because you're in uniform. Disguise changes the rules +(beat) +I had these Spiderman pyjamas. I thought when I wore them, that I had super powers. One night I tried to walk up the side of the garage. + +SERA +Did you make it? + +SAM +To the Emergency Room. Yeah. + +Josie smiles at this, a little smitten. + +SAM (cont’d) +Josie, why don't you read from Act 5, Scene 2, Rosalind's speech-- + +Josie stands up, starts reading-- + +JOSIE +"No sooner had they met but they looked; no sooner looked but they loved; no sooner loved but they sighed..." + +Josie's voice begins to fade away- + +INTERIOR. CLASSROOM - DAY (FLASHEACK) + +ANGLE BACK to Josie, now seventeen and mortified, nervously standing in class and reading a poem. Billy Prince sits to the side--she glances at him throughout the poem, it's clearly about him. + +JOSIE +Does he notice me? Does he hear my heart screaming his name-- sometimes it's so loud I think the Gods can hear my pain. His voice is so mellifluous, oh to get just one small kiss. + +The CLASS laughs at her except for Billy, who smiles at her, looking slightly touched. + +INTERIOR. HIGH SCHOOL LIBRARY - DAY (FLASHBACK) + +Seventeen-year-old Josie is surrounded by an elaborate, color-coded index card system for her research paper. + +Her friend, SHEILA, over-weight and pimply, comes running across the library at breakneck speed. She sits down next to Josie, visibly excited and pushes her index cards aside. + +SHEILA +O.K., what have you wanted for like ever but you didn't think it would -ever happen? + +Josie looks at her for a moment, mulling it over. + +JOSIE +That they'd start an Olympic team for grammar - like diagramming sentences and verb declensions and stuff. And I'm scouted for the team- just as an alternate, of course- because I'm so young. But then there's talk of me in the '96 games- + +SHEILA. +No-, better. Something better + +Josie smiles. + +JOSIE +I'm the most popular girl in school, and Billy Prince is taking me to prom. + +Josie laughs at the absurdity. She looks at Sheila. Sheila is dead serious. + +SHEILA +Yes. + +JOSIE +What? + +SHEILA +Billy Prince is asking you to prom. + +JOSIE +Why? + +SHEILA +I don't know. + +JOSIE +(beat) +The poem! I knew he liked the poem! +(all sinking in) +Billy Prince is asking me to the prom. + +SHEILA +That's what I'm saying. + +The two girls look at each other. Big smiles erupt into screams, as they jump up and down, hugging each other. + +SFX - The BELL RINGS. + +INTERIOR. SAM'S CLASSROOM (PRESENT) + +- SAME + +It's the end of class. Students pack their bags. + +SAM: +(calling out) +O.K. - just a reminder. Your paper is due in one week. + +INTERIOR. HIGH SCHOOL HALLWAY - SAME + +Aldys and Josie head out of class and down the hallway towards their lockers. Josie stops in front of hers where the Makeout Couple continues their clinch, blocking her locker. Josie pauses frustrated as Sydney's Voice comes over the loudspeaker. + +SYDNEY (O.S.) +Hey guys! Bad news--Chem wing is closed. The Hazardous Materials Crew is on the way. Now, about prom. + +The entire hallway STOPS to listen. The makeout Couple stop making out. + +SYDNEY (O.S.) +Please join a committee--because we are going to KICK NORTHGLEN'S BUTT and make millennium the best prom EVER! + +The hallway erupts in CHEERS. Josie makes a move to go for her locker. The Makeout Couple are faster. They're back in their clinch, blocking Josie again. + +CU ON GUY + +walking with his group. + +GUY +Rufus! Prom is gonna be Rufus. + +KRISTEN +Rufus? + +GUY +Yeah. I made it up. Start using it. + +ANGLE BACK ON JOSIE AND ALDYS. + +JOSIE +What is with this school and prom? + +ALDYS +Southglen South competes every year for best prom, and usually they win. We Denominators don't even go to prom. -But to everyone else it's huge. + +JOSIE +Aldys, don't miss your prom--it only happens once. + +ALDYS +This one has been so hyped. We're tied for most wins with Northglen North. This year's winner will determine the winner of the century. The theme is everything. So whatever Southglen picks has to be totally unique-- + +INTERIOR. NORTHGLEN NORTH HIGH SCHOOL - DAY KIDS all stare at a loudspeaker. + +KID'S VOICE: (O.S.) +And this year's prom theme is--the millennium! + +The Northglen kids go crazy. + +INTERIOR. SOUTHGLEN HIGH SCHOOL HALLWAY - SAME + +Josie reaches for her knapsack, and realizes she left it in English. + +JOSIE +I left my bag in English. I'll see you later. + +Josie dashes down the hallway. + +INTERIOR. CLASSROOM - SAME + +Sam still sits at his desk. He reads a book. Josie enters. + +SAM +Whoa. Deja Vu. + +JOSIE +Sorry. Forgetful. + +Josie picks up her bookbag. She notices the book Sam's reading-- + +JOSIE (cont'd) +(excited) +Dorothy Parker-- + +SAM +You like her? + +JOSIE +I love the way she writes. + +SAM +Not the happiest of souls. +(reading out of book) +"Art is a form of catharsis, and love is a permanent flop." + +JOSIE +But I think she wanted to be happy, that's why she wrote. I mean, she was still writing about love, right? + +SAM +True. I guess she hadn't completely given up hope. +(then) +Are you sure you're seventeen? + +JOSIE +Sure, why? + +SAM +Because seventeen-year-olds do not like writers from the '30's. They don't even like people in their 30's. + +JOSIE +Well, I'm definitely seventeen and +(off clock) +now definitely late-- + +And she smiles and runs out. + +INTERIOR. ALDYS' CAR - NIGHT + +Aldys drives, Josie has shotgun and TYKE, Aldys' nine-year-old sister, is in back. They all hold double-scooped cones and they all sing FREE TO BE YOU AND ME at full voice. + +TYKE +See, aren't you guys glad you took a break from that Denominator stuff. I mean, you shouldn't be spending your Saturday night studying the whole time. + +ALDYS +we should be spending it thinking of how we can better serve your baby-sitting needs? + +TYKE + +They pull up at a red light, next to an abandoned drive-in. Josie peers in, and sees a BIG GROUP OF KIDS, standing around a bonfire drinking beers, talking, a few making out. She opens her window, sticks her head out, and tries to get a better look. + +JOSIE +What's that? + +ALDYS +That's the old drive-in. They call it "The Court". Now it's just a continuous party for Guy's group. + +ANGLE ON: Gibby and Kristen talking by a car. + +ALDYS: (cont'd) +Sometimes I wonder what they talk about. + +JOSIE +Yeah, I know. + +ALDYS +I mean, what if they just stupid to hide the fact that they're actually brainiacs with super powers and they're plotting to take over the world and make my life hell until I die? + +ANGLE ON: THE COOL GIRLS. + +GIBBY +No. It's lather, rinse, repeat. + +ANGLE BACK ON: ALDYS AND JOSIE + +Suddenly, Guy pokes his head in, startling everyone. + +GUY +Wow, if it isn't Alpo. Coming out to sniff some hydrants? + +Josie is frozen, but not Aldys. + +ALDYS +Oh, Guy, you on a little break from having an original thought? Ooops, I forgot, that's all the time. + +Tyke gets it, and laughs. Guy doesn't get it at all. + +GUY +You guys aren't seriously trying to hang out at The Court? + +ALDYS +oooh, cheap wine coolers and a fire in a trashcan. Where do I sign up? + +GUY +And stay away from prom. + +ALDYS +Last I checked--this was still a free country. + +TYKE +(singing) +There's a land that I see, where the children are free- + +Guy's right in Aldys' face, leaning over Josie. Aldys starts to drive away. Guy keeps his head in the window while he runs alongside the car. + +GUY +Look, geek, why don't you just go home and play with your calculator. Figure out how many lifetimes it will take you to get cool. + +Guy stops running, and the car continues down the street. + +INTERIOR. CAR – CONTINUOUS + +Aldys seems a little shaken, Tyke continues singing. + +JOSIE +Have you ever wanted to go to The Court? + +ALDYS +Are you kidding, Josie? It's lame. All they do is stand around and get drunk. It's lame. + +JOSIE +It is? + +ALDYS +Yes, it's lame. + +JOSIE +Yeah, it sounds lame. Why would we want to go there, and stand around? + +ALDYS +Exactly. + +INTERIOR. GUS'S OFFICE - DAY + +CLOSE ON a newspaper headline: "THE COURT - SITE FOR PARTIES, DRUGS AND WEEKEND ARRESTS" - as Gus throws the newspaper down on his desk. + +Josie sits across the desk from him. She reads the headline, looking very surprised. + +GUS +Josie, I am appalled. + +Josie picks up the paper, and starts reading intently. + +JOSIE +Jeez, so am I. I had no idea that these kids- let's see- turn to A14- + +She tries to turn to A14, but Gus grabs the paper out of her hands in a rage. + +GUS +(trying to keep his cool) +No, I am appalled that I have a reporter in there, undercover, for almost three weeks now- I had to read about this in the Tribune. + +JOSIE +Oh. Right. + +Gus angrily tries to fold the paper back 'up. He's having a hard time. Josie tries to help, but he yanks it away. Gus reads aloud from the newspaper. + +GUS +Responding officers found minors, marijuana, and cheap wine coolers when they responded to a call to break up a party at what Southglen High Schoolers have come to call "The Court." Seventeen-year-old Kristen Rey says, "Yeah, everyone who's anyone is at The Court on Saturday night." + +JOSIE +(disbelieving) +Kristen got a quote? + +Gus looks up at Josie. + +JOSIE (cont'd) +Yes, urm, she's right. I have learned it is a very popular place for the young people to go. + +GUS +Have you been there? + +JOSIE +Uhh, no. + +GUS +Have you been to any parties? + +JOSIE +Well, how would you define to parties"? Because we ordered a deli platter at this one Denominator drill session-- + +Gus looks like he may combust. He opens the newspaper, finds what he's looking for, and shoves it in Josie's face. It is a picture of all of the popular kids at Southglen- Kristen, Kirsten, Gibby, Guy- they are all posing for the picture at The Court, smiling and holding beers. + +GUS +This is where the stories are. You are going to become friends with these people. You are going to party with them. You are going to hang out with them on weekends. When they go to prom, you are going to be in their same damn limo! + +JOSIE +Gus I, the popular kids and I, we just don't- I mean, I don't think I can do this. + +He points to the picture in the paper of the Popular Kids. + +GUS +Do you even know these kids? + +JOSIE +(trying) +They hid my car-- + +Gus leans in very close. + +GUS +Get to know them. Very well. Your job and my job depends on it. + +JOSIE +(very small) +Depend on it. No s. Your subject is plural. + +GUS +OUT! + +Josie grabs her knapsack and does. + +INTERIOR. ANITA'S CUBICLE - CONTINUOUS + +Josie runs through the bullpen, past Anita's cubicle. ROGER from op/ed enters. He and Anita smile flirtatiously. + +ANITA +Hi Roger from op/ed-- + +ROGER +Hi Anita from classifieds. We still on for tonight? + +ANITA +of course-- + +And he leans in and kisses her. She pulls away, confused. A beat. Anita kisses him again. Nothing. + +ANITA (cont’d) +(can't believe she's saying it--) +Y'know what? No, I don't think we are on. I think I have to stay home. +(liking how it sounds) +Yeah. I'm staying home! I don't know what I'll do there, but I'm gonna do it. Alone! + +Roger walks off. + +ROGER +(under) +Freak. + +EXTERIOR. JOSIE'S PARENTS' HOUSE - NIGHT + +Rob opens the door still dressed in his Tiki Post outfit. He takes one look at Josie and knows that things are not good. + +JOSIE +Are mom and dad here? + +ROB +No. They're at the Franklin Hint Expo at the Skokie Holiday Inn. + +JOSIE +Good. + +She shoves her way into the house. Rob follows. + +INTERIOR. DEN - CONTINUOUS + +Josie storms into the den, and plants herself on the sofa. She sees that Rob has been watching baseball on T.V., and she turns it off. + +JOSIE +I can't do it. I thought I could. I can't. I give up--I'm never going to be a reporter. + +Rob sits next to her on the couch. He looks up at the T.V.-, which is now off. + +ROB +Did you catch the score? + +Josie gives him a look of death. + +ROB +No, I mean, no big whoop. + +JOSIE +I can't do this. + +She pulls the article out of her purse, and shoves it at Rob. He sees the picture of all the popular kids at The Court. + +ROB +These girls are high schoolers? Damn, we've got some underage hotties on our hands, here! + +JOSIE +Gus insists that I become friends with these kids. The popular kids. It's impossible. + +ROB +Why is that impossible? + +Josie's eyes get teary. + +JOSIE +Rob, you don't know how it was for me back in high school. No one ever threw juice boxes at you in the hallway. You never dreamed about being popular- you already were. All I wanted was to be accepted, and they just fucking tortured me. I can't do all that again. I can't go back to Southglen South. + +ROB +Oh my God! You're at Southglen South? They have a killer baseball team. + +JOSIE +Rob. Please focus. + +He puts his arm around her. + +ROB +Jos, you've been to college, you're successful, you wash your hair now-- you're not Josie Grossie anymore. + +JOSIE +Don't you realize how much I wanted to be you in high school? Just for one minute to feel what it was like to be popular? + +ROB +Come on! It's not that hard. All you need is one person. Once the right person thinks you're cool, you're in. Everyone else will be too scared to question it. + +JOSIE +Is that true? + +ROB +Little known fact. + +Josie takes this in. + +ROB (cont'd) +Look, don't you wanna show them - Gus, Billy Prince, yourself--that you're not freaked out by the cool kids anymore? That you can go in there, be friends with them, and get your story? + +JOSIE +Yes, desperately. + +ROB +Plus, if you quit you're no better than me. + +JOSIE +Better than I... + +ROB +That's the spirit! + +EXTERIOR. HIGH SCHOOL PARKING LOT - NEXT MORNING + +Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her. + +GEORGE, thirty-something African-American, the epitome of cool, waves Josie over to an open van side door. Josie looks confused and scurries to the van. + +JOSIE +(sotto) +George! What are you doing here? + +GEORGE +Just get in the van, Josie. + +INTERIOR. GEORGE'S VAN - MOMENTS LATER + +High-tech surveillance wonderland meets seventies living room. Tape players and monitors share space with shag carpeting and a mini-fridge. Barry White PLAYS on a TAPE. George starts to wrap wire around Josie's waist. He pins a kid's plastic "captain's wings" onto her collar. + +JOSIE +What is this? + +GEORGE +Hidden camera. + +JOSIE +Wings? + +GEORGE +We used it for our expose on overweight flight attendants--"Is That Why They Never Give You a Second Bag of Nuts?" + +JOSIE +I'm not doing this until I speak with Gus. + +GUS (O.S) +(through speaker) +Geller, stop being a pain in the ass. + +Josie looks all around. + +JOSIE +Gus? + +GUS (O.S.) +No, it's the Great and Powerful Oz. Now listen--you're in over your head. This is how it's gonna work. I review the tapes, I find your story. + +JOSIE +What if I say no? + +GUS (O.S.) +I bet Good Housekeeping would go gaga over the cole slaw piece. + +Off Josie's look of concern... + +EXTERIOR. SCHOOL - MINUTES LATER + +A crush of kids flood up the stairs to the front door of the school. We see Kirsten, Kristen and Gibby walking three abreast ahead of Josie up the stairs. The Crowd parts around them. Josie heads towards them. + +JOSIE +Hey! Kirsten, Kristen, Gibby-- What's up girlfriends? + +The three girls pause and turn just as Josie, caught up in the moment, doesn't see a stray backpack on the stairs in front of her. Josie trips and-- + +JOSIE-CAM POV: + +The CAMERA FACE-PLANTS into the pavement. + +INTERIOR. GEORGE'S VAN - SAME + +George watches the monitor, winces. + +JOSIE-CAM POV: + +The CAMERA still faces the pavement. + +JOSIE (O.S.) +(small) +I'm okay. + +INTERIOR. COULSOM'S CLASSROOM - LATER + +Josie is standing, reading from her paper. Sam is rapt. + +JOSIE +And so it is Rosalind, in disguise, who is best able to see through the disguises of others. To say to Phebe, "Mistress, know thy self," to look at love from every angle, and to realize, finally, that she is in love with Orlando-- + +The BELL RINGS. Class is over. Josie puts her stuff away and starts to follow the Cool Girls out. + +JOSIE +Hey guys, wait up-- + +The Girls keep moving. Sam stops Josie. + +SAM +Hey, Josie, hold on. +(then) +You've been hiding something from me. + +JOSIE +Oh I don't think so. + +SAM +Your writing. It's amazing, Josie. You're really talented. And far less depressing than Dorothy Parker. + +JOSIE +Thank you. + +SAM +So what are you thinking for college? + +JOSIE +College. Haven't really thought about it. + +SAM +That's crazy. I'll get you some applications. + +JOSIE +Oh no no no no no. See, my family, we don't go to college. +(beat) +We just go right into sheep herding. + +SAM +Josie you owe it to yourself to go. For your writing. You're a natural. + +JOSIE +Thanks. Wow. That's--really nice to hear. + +SAM +Josie, you're different. When you speak in class, I can tell--You actually feel the words-- +(touching heart) +in here. They're alive. Like-Eurdora Welty talked about the word it moon"? How for her it was like a Concord grape. "That Grandpa took off his vine and gave to me to suck out of its skin--" + +SAM/JOSIE +It --and swallow whole." + +They both take a breath in. Look away from each other. + +INTERIOR. GEORGE'S VAN – SAME + +George watches the monitor. + +GEORGE +Uh oh. + +INTERIOR. GUS'S OFFICE - AFTERNOON + +Anita sits on Gus's desk, watches the last scene on Gus's TV, engrossed. Gus walks in and stops the tape. + +GUS +Showtime's over! Move-it! Back to work! + +Anita climbs off his desk. + +ANITA +Gus, have you ever been in love? + +GUS +Leave. + +ANITA +Oh give it up, Gus. I'm just making conversation. + +GUS +Love. Who knows what that is? Now circulation, deadlines, those I understand. + +ANITA +You should go out every now and then, Gus; with some new ties the girls would be all over you. + +Gus stares down at his tie. But he's smiling--a little. + +GUS +Go away. I have enough work here to last me all night. + +ANITA +Listen, I don't have any plans--you want some help? + +GUS +No Roger from op/ed? + +ANITA +Nope. + +They share a smile. + +INTERIOR. HIGH SCHOOL HALLWAY – DAY + +Josie walks toward her locker, the Make out Couple is at it again. Josie's fed up. She taps the Boy on his shoulder. + +JOSIE +Excuse me. Hi. Do you guys have some kind of schedule I could work around? + +He ignores Josie and goes back to his Girlfriend. + +Aldys, in her Denominator sweatshirt decorated with pins, approaches Josie. + +ALDYS +Hey, where's your sweatshirt? + +JOSIE +I – uhh, must have forgotten- + +ALDYS +No biggie. I have an extra in my locker. I'll get it for you. + +She starts to leave. + +ALDYS +Oh – I almost forgot – I'll see you tonight at Big Cup. 7:30, right? + +Josie looks confused. + +ALDYS +Remember, that poet that we liked – the reading he's doing at Big Cup? I got us tickets. + +JOSIE +Right. 7:30. + +ALDYS +I'm late for lab. + +Aldys takes off. Josie looks down the hall, where Guy, Kristen and the others are all looking at a flyer pasted to the wall. + +GUY +That is gonna be such a sweet show. I am so there. + +Guy looks at Tommy and Jason, who f follow his lead. + +TOMMY +Oh, yeah, man, I'll drive. + +JASON +It's gonna be Rufalicious. + +GUY +(beat) +You're using it wrong. + +They head off, en masse. Josie goes and looks at the flyer: "JIMMY CLIFF TONIGHT AT DELLOSER HALL". Josie smiles. + +EXTERIOR. CLUB/DELLOSER HALL - NIGHT + +Marquee reads "Jimmy Cliff." A crowd has gathered by the door. Josie gets out of cab, and walks towards the club. + +INTERIOR. CLUB/DELLOSER HALL - NIGHT + +Josie enters the small, smoky club. She wears what she considers to be her "hip concert outfit," an outfit that completely clashes with the Rasta wear of the other concert goers. -She reaches the BOUNCER. + +BOUNCER +You Drinking? + +Josie notices the two Stoners from school standing behind her in line. + +JOSIE +I am not 21. I am only seventeen and I still attend high school. + +The bouncer stamps her hand. She looks down at her hand. + +WE CU ON her hand, reading DELLOSER. + +She enters as the two Stoners approach the Bouncer. + +BOUNCER +Two of you? + +A beat as the Stoners look at each other, realizing... + +STONER 1 +(to Stoner 2) +Oh, Dude-- + +And they run out of the club. + +INTERIOR. CLUB/DELLOSER HALL - SAME + +JIIAMY CLIFF is playing. The crowd sits at tables, grooving. Josie approaches the bar. A guy turns around--it's Sam. + +SAM +Josie--out on a school night. + +A woman, LARA, emerges from the crowd. And puts her arm around SAM. An awkward beat. + +LARA +Hi. + +JOSIE +Hi. + +SAM +Oh, right, sorry. Lara--Josie. Josie--Lara. +(to Lara) +Josie's a student of mine. +(to Josie) +Lara's my-date. + +LARA +Nice to meet you. + +Another awkward pause. + +LARA +C'mon, c'mon, let's go dance. + +The crowd roars over Cliff's next song as Lara drags San off into the crowd. Sam looks back briefly at Josie as we lose him into the crowd. + +ANGLE ON JOSIE + +She sees Guy's group sitting at a table and approaches an empty seat. They immediately scoot around so that the seat is taken. Undeterred, Josie sees a seat at the next table and sits down in it. She looks up to see that she is at a table of huge RASTAFARIANS. They all wear big Rasta hats and even bigger hair and are smoking a joint the size of Cuba. She smiles awkwardly. + +JOSIE (cont'd) +Hi. Is it okay if I sit here? + +RASTA #1 +Oh, ya mon. We accept all peoples. We are all about da' love. + +Josie and the Rasta's start to groove to the music. Josie looks over at Guy's table, sees they are toking off a small joint and passing it around. + +INTERIOR. GEORGE'S VAN - CONTINOUS + +George and his DATE, a Pam Grier look-alike, sit close on the couch, grooving to the CONCERT PLAYING on the monitor and through the various speakers. CU on the monitor. + +JOSIE-CAM POV: + +The joint the size of Cuba is passed into frame. Josie's hand takes it. Catching sight of this, George and his Date exchange concerned looks. + +SMASH CUT TO: + +INTERIOR. CLUB/DELLOSER HALL - LATER + +Josie is high beyond belief, wearing a big Rasta hat and loudly laughing her ass off as the Rastas just stare. She can hardly keep herself in her chair. + +JOSIE +Get it?! Get it?! He was a firecracker! + +She lifts up Rasta 1's dreadlocks to get his ear. + +JOSIE (cont'd) +(yelling) +A firecracker! + +And she cracks up again. + +RASTA #1 +(to Rasta #2) +I don't love her. + +Rastas share looks ill around. Then Josie hears the first strains of "The Harder They Come"-- + +JOSIE (cont'd) +Oh my God! This music rules! + +And Josie proceeds to get up and take over the place--she's dancing on the table, getting up with the band and playing the bongos, all with absolutely no rhythm or style. But with a lot of whooping. The club is agog. + +ANGLE ON: Lara and Sam. They both look aghast. + +LARA +She's a student of yours? + +SAM +(in explanation) +She's from Bali. + +And as Josie continues to dance on stage, making a total fool of herself, Jimmy Cliff turns to CAMERA. + +JIMMY: +Freak. + +INTERIOR. JOSIE'S APARTMENT - LATER + +Josie is on the phone, and is in the process of finishing an entire pie. + +JOSIE +I'm telling you, Rob! I think I did it! I'm totally in! I was soo cool tonight! You'd be so-- +(staring at fork) +You know what's a weird word? Fork. +(then) +Wait! Wait! Did I tell you about my new friends? I made friends with a whole table of Rastafarians! Not one, a whole table! +(noting empty pie plate, suddenly serious) +Oh. My. God. Someone ate my entire pie. + +DISSOLVE TO: + +INTERIOR. JOSIE'S APARTMENT - NEXT MORNING + +Josie is asleep where we left her, her head on her hand, empty pie plate nearby. + +She wakes, picks her head up. Looks down at her hand, the DELLOSER stamp is faint. CLOSE UP ON her forehead. There in block letters backwards is "LOSER". + +She looks up at the clock, which reads: 8:30. She's late. Very late. She grabs her book bag and her keys, and races out. + +INTERIOR. HIGH SCHOOL HALLWAY - MORNING + +Josie strides confidently down the hallway, LOSER prominently on her forehead. She sees Guy and his Group. + +JOSIE +Hi Guy. Guys. Guy's Guys. + +They stare, then snicker. + +GUY +Hi loser. + +The group laughs and joins in, saying "Hey Loser." Josie's face registers confusion. + +JOSIE-CAM POV: + +We move slowly down the packed hallway, the camera shifting nervously amidst a sea of laughing kids. The LAUGHTER starts to ECHO. + +Josie starts to walk quickly, then run, through the gauntlet of' laughing and pointing kids. + +INTERIOR. GEORGE'S VAN - CONTINUOUS + +WE HEAR THE LAUGHING, the JOSIE CAM JERKS frantically from KID to KID. + +GEORGE +This can not be good-- + +INTERIOR. HIGH SCHOOL HALLWAY - CONTINUOUS + +JOSIE CAM P.O.V. WE HEAR Josie BREATHING HEAVILY as she runs past KIDS who all stare or LAUGH. She makes it to the Girls Room, pushes open the door. + +INTERIOR. GIRLS' BATHROOM - CONTINUOUS + +Josie goes to the sink, splashes water on her face. + +INTERIOR. GEORGE'S VAN CONTINOUS + +George watches the monitor, HANDS splash water. A HAND grabs a paper towel. George can now see Josie reflected in the bathroom mirror. He sees the "LOSER" stamp on her forehead. + +GEORGE +Oh man. Look up, girl. C'mon, Look up-- + +INTERIOR. GIRLS' BATHROOM - CONTINUOUS + +Josie wipes her mouth. Throws the towel away. Goes to exit-- + +INTERIOR. GEORGE'S VAN - CONTINUOUS + +George is now apoplectic. + +GEORGE +LOOK IN THE MIRROR! + +INTERIOR. BATHROOM - CONTINUOUS + +Josie pauses, goes back to the mirror. She looks up. Sees the stamp. Her hand goes to her mouth in horror. She runs into a stall. + +JOSIE CAM P.O.V.: WE FACE the toilet. + +INTERIOR. GEORGE'S VAN - CONTINUOUS + +George looks at the monitor in amazement. + +INTERIOR. GUS'S OFFICE - DAY + +A Group is watching Gus's TV, including Bruns +(the hair plug man) +and Howard + +(arm casts). They are slack-jawed in shock. WE HEAR O.S. the SOUNDS of Josie VOMITING. Gus shakes his head sadly. + +GUS +It's like the All-Humiliation Network. + +They all nod in agreement. + +INTERIOR. GIRLS' BATHROOM - MINUTES LATER + +Josie is in the fetal position on the floor of a stall. + +INTERIOR. DEN - NIGHT (FLASHBACK) + +The den of Josie's parents' home. Josie is decked out. She's wearing a pretty hideous metallic pink dress, matching gloves, bag, shoes. She's shining her braces, using the T.V. screen as a mirror. The PHONE RINGS. Josie grabs it. + +JOSIE +(into phone) +Hey, Billy. I'm ready. Sure, I can just wait for you on the front porch. See you in a -uhh- jiffer. + +She hangs up. Sixteen year old Rob, very cute and buff, enters. His pretty GIRLFRIEND is on his arm. + +GIRLFRIEND +(mouthing to Rob) +Jiffer? + +Rob just shrugs. + +EXTERIOR. JOSIE'S FRONT PORCH NIGHT (FLASHBACK) + +Josie, in all her prom splendor, waits out on the front porch for her date. + +She sees a LONG, BLACK LIMO turn the corner, headed for the house. She's hopping up and down with excitement. She checks her reflection in her compact, and then watches the limo approach. + +The sunroof of the limo opens and Billy Prince, the Adonis of the suburbs, stands up, sticking out of the sunroof. He waves. Josie smiles and waves back. + +Then, another figure joins Billy's. It's a GORGEOUS BLONDE in a slinky dress. She's standing up, sticking out of the sunroof as well. Josie looks a bit confused, but still tries to smile. Then, she sees them holding things. LITTLE THINGS. LITTLE WHITE THINGS. + +Before Josie realizes what's going on, her metallic ensemble is covered in dripping, oozing eggs. One whacks her right in her trifocals. + +BILLY +(shouting) +Hey, write a poem about this! + +Billy and his date lob a few more eggs, and their limo roars off. Josie stands on the porch, alone. She's got egg in her hair, on her face, all over her dress- everywhere. She starts to cry. Softly at first, moving into big, loud, wet sobs. She sits down on the porch, her head in her hands, and just keeps crying. + +DISSOLVE BACK TO + +INTERIOR. HIGH SCHOOL HALLWAY - (PRESENT) - DAY + +Homeroom has just gotten out, and the halls are packed with kids. Josie is running full speed, trying to negotiate around lots of kids, in her frantic-race for the door. Kids still point and stare. + +She bangs into some freshmen, gets whacked by a book bag, slides some banners that kids are painting - but she won't slow down. + +Just as she's almost at the doors to the school, the BIG WOODEN DOOR to the front office opens. Josie can't stop. A figure emerges, but before Josie can even see who it is, she slams into it and goes down. She bangs her head on the hard linoleum floor. + +INTERIOR. HIGH SCHOOL HALLWAY - (PRESENT) - DAY + +Homeroom has just gotten out, and the halls are packed with kids. Josie is running full speed, trying to negotiate around lots of kids, in her frantic-race for the door. Kids still point and stare. + +She bangs into some freshmen, gets whacked by a book bag, slides some banners that kids are painting - but she won't slow down. + +Just as she's almost at the doors to the school, the BIG WOODEN DOOR to the front office opens. Josie can't stop. A figure emerges, but before Josie can even see who it is, she slams into it and goes down. She bangs her head on the hard linoleum floor. + +DISSOLVE + +JOSIE-CAM POV: + +We see two KIDS looking down into the camera. + +JASON +Hey--you okay? + +Camera nods "yes" slowly. Tommy and Jason come into frame. + +TOMMY +Wow. You took a pretty big fall. + +JASON +Yeah. Like every loser should. And they move out of frame, laughing. + +JOSIE +As every loser should. + +VOICE +Are you O.K.? Josie, are you O.K.? + +Rob comes into frame. + +INTERIOR. HIGH SCHOOL HALLWAY - CONTINUOUS + +Rob is bent over Josie. She rubs her eyes. + +JOSIE +I've been in a horrible accident. This is a coma-induced nightmare. + +ROB +No. Josie, this is real. + +She looks up. + +JOSIE +Oh my God! That's worse! +(beat) +What are you doing here?! + +Rob leans in and whispers to Josie. + +ROB +I just registered. + +Rob whips out his fake ID and shows it to her. + +ROB (cont'd) +(proudly) +Manufactured at the Tiki Post. + +Rob helps Josie up. + +JOSIE +Are you crazy?! You can't do this. + +ROB +This is it Jos! This is my ninth inning! The game isn't over--I just thought it was! I get on the Southglen baseball team, the right scout sees me-- I'm into the minors-it's game time! + +JOSIE +You're twenty-three years old! + +ROB +With the reading comprehension of a fifteen year old! Plus, I'm popular... You want to be popular... I can recognize a cry for help when I see one. + +JOSIE +Hear one. +(then) +Rob, this is so like you. You know, you can't just come in here and be popular in just one day. + +SMASH CUT TO: + +INTERIOR. CAFETERIA - LATER + +Josie emerges from the cafeteria line with her tray. A LOUD CHANT comes from one of the tables. + +CROWD +ROB, ROB, ROB + +She turns to see Rob in the middle of a hot dog eating contest with a HUGE WRESTLER. Rob downs his last one, raises his hands in victory. The CROWD goes WILD. Rob sits down at Guy's table. + +JOSIE +Oh my god. + +ANGLE ON GUY'S TABLE + +GUY +Dude, you rock! + +He high-fives Rob. A pretty girl, TRACY approached Rob. + +TRACY +Hi. I'm Tracy and I'm sixteen and I'm a gymnast and I don't have a boyfriend... + +ROB +(looks skyward, mouths) +Thank you. +(Then , to Tracy) +I'm Rob. + +TRACY +Duh. + +ANGLE BACK ON JOSIE + +Aldys approaches. + +ALDYS +Hey – where were you last night? I was worried. + +Josie can't take her eyes off Rob sitting at Guy's table. Aldys notices Josie's distraction. + +JOSIE +What? + +ALDYS +Last night. 7:30. Big Cup. I kept calling you, but I only got your machine. I don't even know your parents line and I was really worried. + +JOSIE +Oh. I forgot. + +Aldys is really hurt. + +ALDYS +Well, maybe you should forget about sitting with us too. + +Josie just stands there all alone. + +EXTERIOR. TRACK - LATER + +Girls P.E. is over. The girls head back to the locker room. Josie lags behind the group, and then wanders over to the baseball diamond, where she hears a bunch of hoots and hollers. + +EXTERIOR. BASEBALL DIAMOND - SAME + +The team is practicing. Rob has just hit a home run with three men on. EVERYONE CHEERS him on as he runs the bases. + +As he comes into home, he is met with congrats, high fives. Everyone loves him. + +Josie watches the whole scene, seething with jealousy. + +INTERIOR. GIRLS' LOCKER ROOM - LATER + +Josie, post-shower, is wrapped in a towel and carrying her sweaty gym clothes. A group of GIRLS walk by her, giggling as they exit. She approaches her locker and finds it ajar and completely empty. She looks from the empty locker down to the sweaty clothes in her hand. A realization sweeps over her face. + +INTERIOR. HIGH SCHOOL HALLWAY - LATER + +Josie shuffles down the hall, still wearing her cheesy green and yellow gym clothes. She is clearly beaten. She looks down the hall, stunned. + +It is ridiculous Rob is being followed by a posse, everyone knows his name. Girls tug on his shirt, guys slap him on the back or high-five him. + +JASON +Hey, Rob. + +TOMMY +Robster, what's up? + +BRETT +The Rob man. My man Rob. + +GIBBY +Hey, Robbie. + +KRISTEN +Hi there Robbie Rob. + +Josie sees Guy approach Rob, and shake his hand. + +GUY +Hey Robo- how's it going? + +ROB +Nice pants, man. They are rufus. + +Guy smiles. Josie looks like she's going to hurl. She looks down the hall the other way- where a huge banner hangs that reads: + +"IMPEACH SYDNEY ANAKOWSKI. ELECT ROB STUDENT BODY PRESIDENT. + +TRACY +Hey Rob, see you at the carnival later? + +STONER 1 +It's Robilicious! + +Josie looks on the wall next to her- and sees a list: + +"FINAL CAST LIST FOR HAMLET. HAMLET . . . ROB." + +JOSIE +Oh, please. + +Josie has seen enough, and walks on. + +EXTERIOR. CARNIVAL GROUNDS - NIGHT + +Establishing shot of a smallish carnival, Ferris wheel, midway, tea cups ride. Near the entrance reads a banner: "SOUTHGLEN HIGH SENIOR NIGHT". + +EXTERIOR. CARNIVAL MIDWAY - SAME + +Aldys and the Denominators stand in front of a booth that displays a large glass jar of jellybeans. Calculators and paper out, they're engrossed in find the answer. + +Josie walks by alone. The Denominators don't notice her. + +EXTERIOR. THE FERRIS WHEEL - SAME + +WE PAN DOWN the line of KIDS waiting to ride the Ferris wheel. In front are Tommy, Jason, Gibby and Kirsten. + +KIRSTEN +This has been so much fun! We've been first in line for every ride! + +TOMMY +That's cuz we cut every line. + +WE PAN DOWN to the end of the line, where we find Josie, standing alone. She's trying her best to keep her game face on. The CARNY opens the gate, the Kids pile onto the ride, two by two. Josie reaches an empty car--the last one--and gets in. The Carny holds the safety bar open. + +CARNY +Where's your partner? + +JOSIE +I don't--I don't have one-- + +CARNY +(yelling loudly) +I GOT A LONELY RIDE IN BUCKET SEVEN! +(to Crowd) +SINGLE! + +JOSIE +Do you have to yell like that? + +Sam, standing by a vendor, looks over and notices Josie's predicament. + +TOMMY (O.S.) +Of course it's Loser that's holding up the ride! + +Sam walks up to the Josie's bucket. + +SAM +This seat taken? + +JOSIE +(relieved) +Thank you. + +He gets in. The ride JERKS into motion. + +SAM +(nervous) +Whoa. + +They start a slow ascent. Sam seems ill at ease. + +JOSIE +Are you--scared? + +SAM +I'm gonna tell you something here, and I hope it doesn't undermine my position as an authority figure. I'm a little afraid of heights. + +JOSIE +You're afraid of the Ferris wheel. + +SAM +Actually, it's more the plunging head first into the crowd part that gets me. + +JOSIE +Oh right. The Spiderman incident. + +SAM +(touched) +You remember that story? + +JOSIE +Of course. I remember everything from your class. + +They smile at each other. The smile is interrupted by a HEAVY SWAYING of their bucket, caused by Tommy ROCKING in the bucket ahead. Sam looks a little green. + +SAM +Yoooooow. + +JOSIE +Don't look down! + +They're facing the ground at this point. + +SAM +Out of my control. +(yelling to Tommy) +TOMMY! CUT IT OUT! ENOUGH! + +Tommy stops. Sam turns to Josie. + +SAM (cont'd) +(defensive) +I said that as a chaperone. + +They start to ascend again. Sam relaxes. + +SAM (cont’d) +Okay This is okay. Smooth. +(then) +Can I ask you something? Do you think I tell too many stories in class? + +JOSIE +That's what makes you interesting. +(beat, recovering) +As a teacher. + +SAM +God, I would love to think I'm an interesting teacher. I mean, I had maybe one or two teachers in high school who had any passion at all. + +JOSIE +You do. Seem to. Have passion. In the classroom. + +SAM +You have to say that. You're my student. + +JOSIE +I don't have to say that. + +They look into each other's eyes just as Tommy RATTLES his bucket ruthlessly. + +TOMMY (O.S.) +IF THE BUCKET'S A-ROCKIN', DON'T COME-A KNOCKIN'. + +Josie and Sam laugh uncomfortably. + +SAM +Boys. + +JOSIE +I know. + +SAM +I'd like to tell you that we all grow out of it, but that's a lie. Some of us will always be rattling cages. + +JOSIE +Why do you do that? + +SAM +I don't know. And you know what's scary--when you get older it just gets more confusing. I've spent the last ten years with women who are basically all wrong for me. +(beat) +You know what, I shouldn't be talking about this stuff with you. + +JOSIE +That's okay. It's nice to have someone to talk to-- + +The bucket is rocked again by Tommy--Sam grips the safety bar. + +SAM +(as he rocks) +Same here. + +They stop rocking but they're still stuck at the top. + +SAM (cont’d) +All I can tell you is that when you're my age, the guys will be lined up around the block for you. + +They share a smile. + +JOSIE +(suddenly shy) +You have to say that. You're my teacher. + +SAM +I shouldn't say that, because I'm your teacher. + +They look at each other, their smiles fading into realization. Suddenly, the car jerks, and they start to move down. Josie and Sam are pulled out of their reverie. They smile awkwardly at each other and laugh a small laugh. + +WIDE SHOT of the Ferris wheel as Josie and Sam descend. + +SAM (V.O.) +Thanks, Josie. This wasn't as bad as I thought. + +JOSIE (V.O.) +When are you going to open your eyes? + +SAM (V.O.) +I'm thinking when I'm home. + +EXTERIOR. BASEBALL DUGOUT - DAY + +Rob sits with a bunch of BASEBALL PLAYERS. MATZ and PACKER, the studs of the team, come into the dugout and join them. + +PACKER: Hey Rob, thanks for showing me that new grip. It totally changed my swing. + +ROB +No problem, man. + +They do one of those elaborate, fraternity-like handshakes. Out of the corner of his eye, Rob sees Josie walking alone across the field. He gets an idea. + +ROB +Hey, you guys know that girl, Josie Geller? + +MATZ +You mean "Loser"? + +ROB +No, dude, Josie. We used to go out and she dumped me. But we're still good friends. And she is… amazing, if you know what I mean. + +The guys are all stunned. + +INTERIOR. BIOLOGY CLASSROOM - DAY + +Gibby stands staring at a skeleton with Rob and the Cool Girls. + +GIBBY +All right--that's it. Just water and Ex-Lax till prom. + +ROB +Hey--Josie's Dad invented that stuff. Josie's like the heiress to the Ex- Lax fortune. + +KIRSTEN +(impressed) +Shut up. + +ROB +Yeah. She's loaded. She spends all her vacations on the family yacht in the south of France. + +They react. + +EXTERIOR. TRACK - DAY + +Rob stands behind the bleachers with Tommy, Jason, and Guy. + +TOMMY +No way. + +JASON +She used to date the drummer for The Big Bad Voodoo Daddys? + +GUY +No way. I always wanted to be a drummer. + +ROB +Yeah well, she left him for the drummer from "Sister Hazel." Y'know the song "All for You?" + +GUY +That was about Josie? +(impressed) +Rufus… + +INTERIOR. CAFETERIA - DAY + +Josie turns with her tray after paying. Aldys sees her. + +ALDYS +Hey, Josie--I'm really sorry I snapped at you. Do you wanna-- + +Josie sees Rob waving her over to "the table" where Kristen, Gibby and the gang sit. + +JOSIE +Oh, Aldys, y'know, I have to-- + +And Josie walks over to Guy's table, leaving Aldys staring after her. Josie sits down at the table. Everyone stares at her. + +GIBBY +Hey Josie. It's Josie, right? + +KRISTEN +Can I just say--I totally love Ex-Lax. + +JOSIE +(confused) +Okay, that's good to know-- + +TOMMY +I can't believe you dated Big Bad Voodoo Daddy. + +Josie shoots a look at Rob. + +ROB +Hey, I told you--Josie doesn't like to talk about that. + +KIRSTEN +Yeah, Tommy, that's totally gochay. + +GIBBY +I think it's pronounced gauche. + +JOSIE +Yeah it's French. There's no accent aigue, so the e is soft. + +A silent beat. Josie thinks she may have blown it. + +GIBBY +Duh, of course you would know that. From being on your yacht in the south of France. + +They all smile at her. Josie soaks in her newfound popularity. + +INTERIOR. SCIENCE CLASSROOM - DAY + +On the walls are SAFE SEX posters. On the front desk, pamphlets on sexually transmitted diseases share space with plastic biology cross-section models of male and female reproductive organs. + +Sam stands in front of his English class, impatiently looking at his watch. Josie looks up from her desk, sees Anita waving wildly from the other side of the glass door. Josie's eyes widen, she starts to make "get out of here" movements. Sam notices Josie and follows her gaze to Anita. He opens the door, speaks sotto to Anita. + +SAM +Hi. You're here for the sex talk? + +ANITA +(happily taken aback) +Well. I like a man who gets to the point. + +SAM +You're Pam? + +ANITA +(frisky) +If you say so. + +Sam turns to the class. + +SAM +Welcome juniors and seniors, this is Pam Kitterman. She's our district health counselor. She's here to lead our sex discussion. + +He ushers a surprised Anita to the front of the room. Josie reacts. + +ANITA +I am? Oh, I am. Hi. Okay. Sex. Yes, well, sex. What's to say really, y'know? You like a guy, you do it. Sometimes he calls. Sometimes he doesn't. + +Anita leans into Josie, talks sotto. + +ANITA (cont’d) +(whispering) +Hi! + +JOSIE +(also whispering) +What are you doing here?! + +ANITA +I had a lunch break so I thought I'd come by and see you. Your teacher is a fox! +(then normal voice to Josie). Why don't we discuss that after class. But the burning is totally normal. +(looking at watch) +Oh look. Class is over already. + +SAM +I thought this was a 45-minute seminar. + +ANITA +Right. Right. + +Anita walks back to the front of the classroom. + +ANITA (cont’d) +Okay, sex. Let's see. Sex is really fun. +(off Josie's look) +When you're old enough. Which none of you are, trust me I should know cuz when you lose it to some guy named Junior with really bad breath in the back of a van at a Guns and Roses concert you're gonna wish you listened to your Mom when she said, y'know, no one's gonna want to buy the whole friggin ice cream truck when you're handing out the popsicles for free. + +There's a deafening silence. The kids are amazed. + +ANITA (cont’d) +Okay. Any questions? + +INTERIOR. SCIENCE CLASSROON - LATER + +The Kids all have bananas and condoms. They are in various stages of putting the condom over the banana. Anita walks among them, clearly more comfortable with her role now. + +ANITA +Okay. I know it's hard. + +Titters from the group. + +ANITA (cont’d) +Difficult. But safe sex is really important. I try to practice it every day. + +Josie reacts. + +ANGLE ON KIRSTEN & KRISTEN. Their condoms are snugly on their bananas. They stare at Josie. + +KRISTEN +wait, rewind. Do you really think she hooked-up with our Rob? They're so--different. + +GIBBY +Sometimes opposites attract. + +KIRSTEN +Yeah. Look at Bert and Ernie. + +WE ANGLE ON ANITA. She's walking authoritatively up the aisle towards the front. + +ANITA +So just..imagine the bananas are the real thing. + +She takes a rather large banana off a desk and looks at it. She snorts. + +ANITA (cont’d) +In a land called "every man's fantasy". + +She looks up, sees the real MISS KITTERMAN + +(we can tell from the model of a uterus she carries), standing outside the door and waving. Without missing a beat, Anita pulls down a shade on the door and locks it. + +ANGLE ON: JOSIE AND TRACY still struggling with condoms. + +TRACY +God, I can't do this. + +JOSIE +Maybe because we're not supposed to be having sex with bananas. + +TRACY +You know what, though? I feel like I'm really ready to do it. To have sex for the first time. + +JOSIE +Wow. That's big. I mean sex is a really big deal. You shouldn't do it until you know you've found the right person. + +ANGLE ON SAM, listening. Josie is oblivious. + +JOSIE (cont'd) +You know, Adele penguins pick one mate. They spend their whole life looking for that one other penguin and when they find it, they know. That's the penguin they stay with for the rest of their lives. + +TRACY +But I'm not a penguin. + +SAM +It's an analogy. + +A surprised Josie looks up to see Sam next to her. She lets her condom go. And it flies off her banana into his face. Josie turns to Tracy. + +JOSIE +Excuse me. I have to go die now. + +The class is interrupted by Sydney over the loudspeaker: + +SYDNEY (O.S.) +(over speaker) +Hey guys--Sydney again! Don't forget--No going into the library cuz of that little asbestos problem. And about prom— + +Everyone freezes. Dead silence. + +SYDNEY (cont'd) +Really bad news. We just got the word from intelligence-- Northglen High is doing the Millennium too! + +Complete chaos. SCREAMING terror. A GIRL faints. Sera squeezes her banana so hard it oozes out of its skin. Other KIDS are beating their bananas against desktops. Brett, the football player, absentmindedly peels his banana and begins eating it. + +SAM +All right guys, let's calm down. Calm down. +(no response) +Sit! + +They all do, including Anita. + +SAM (cont’d) +Now look. Let's focus. Prom theme. We need a new idea. + +ANITA +OH! How about "Under the Sea?" + +She's met with a round of "boos". Anita reacts. + +ANITA (cont’d) +Well excuse me. + +SAM +What about the "Roaring Twenties"… or "The 80's"? + +The Class lets out a GIANT GROAN on that one. + +GIBBY +What do you think we are? Amateurs? + +GUY +Josie. + +SERA +That's not a theme. + +GUY +No, Josie will have the answer. + +A long beat. Expectant faces all turn to Josie. She looks at Tracy. + +JOSIE +How about--' +(coming to her) +meant for each other--Famous couples throughout history? + +Another beat as the Class considers. + +GUY +(smiles and nods) +Yeah. That's it. + +The Class suddenly CONCURS. + +CLASS +Yeah. /That's it. /Rufus. + +Josie soaks in all the approval like a sponge. + +JOSIE +Thanks. Thank you. + +Josie looks from Sam and Anita's smiling faces to find Guy smiling at her. + +CLOSE UP ON A BANNER reading: "MILLENNIUM". It comes down, replaced by one that reads: "MEANT FOR EACH OTHER... WIDEN TO REVEAL: + +INTERIOR. HIGH SCHOOL HALLWAY - DAY + +Josie and the Cool Girls walk under the banner, laughing. We PAN UP to their lapels and see that they are all wearing replicas of Josie-'s geeky airplane pin. They pass Aldys, Josie is oblivious. + +INTERIOR. MALL - DAY + +Josie and the Girls walk four abreast, like a pack of proud lions. Kids part to let them through. + +INTERIOR. SUN TIMES BULLPEN - DAY + +WORKERS look at their watches, run into Gus's office. + +INTERIOR. GYM PROM PREP AREA - LATER + +Sam and Josie have fun painting a backdrop of the sunset. + +INTERIOR. GUS'S OFFICE - SAME + +Workers stand around Gus's TV, riveted by Josie and Sam. + +INTERIOR. DEPARTMENT STORE - COSMETIC COUNTER - SAME + +Josie and the Girls try on lipstick, laughing and fooling around. + +INTERIOR. MUSIC ROOM - DAY + +Josie and Sam pick out CDs from a DJ's case. Josie picks one out and puts it in the "yes" pile. Sam picks it up, wrinkles his nose, puts it back. When he looks away, Josie sneaks it back. + +INTERIOR. TEEN CLOTHING STORE - SAME + +Josie's hiding behind a rack of clothes, talking on her cell phone. + +JOSIE +(into phone) +I'm telling you Gus. It's a great story. They keep the tags on, then return the clothes after they've worn them. +(beat) +Gus?--Gus? + +Kirsten discovers Josie behind the rack. Josie quickly pulls a cardigan off a rack, feigning interest in it. The Girls all do the same. + +INTERIOR. HALL CONCOURSE - SAME + +Josie and the Girls, wearing matching cardigans, walk past Aldys and another Denominator on their way to the escalator. Josie and Aldys lock eyes and Josie smiles but Aldys turns her back to her. + +ALDYS +(to Denominator) +Look, there goes another Lemming. + +WE ANGLE ON the escalator as Josie and the Girls rise single file out of- FRAME. + +EXTERIOR. BASEBALL STANDS - DAY + +Josie sits with her new friends, emulating them by sunning in a bikini top and shorts while they watch the game. + +GIBBY +Josie, you have totally transitioned. + +JOSIE +Transitioned? + +GIBBY +You crossed over. + +KRISTEN +Into our group. + +KIRSTEN +It's really hard to do. Some kids try for all of-high school and never make it. + +GIBBY +Wannabes. Kirsten transitioned last year. + +KRISTEN +Her dad sold a car to Leonardo Di Caprio's uncle and before he picked it up, her dad let us all sit in it and take pictures. + +GIBBY: +(to Josie) +Wait. Do you know any gay guys? + +JOSIE +Why? + +KIRSTEN +We'd love to transition a gay guy into the group. + +KRISTEN +We're very evolved. + +ON THE FIELD + +A BALL sails fast and hard. It looks like it's going to be a base hit, into left Field, but the shortstop leaps up and grabs it. That shortstop is Rob. The Team cheers. Coach Romano heads out of the dugout towards Rob. + +IN THE STANDS + +Josie and the Gang leap up and cheer. Josie almost loses her top, but catches it, just as Guy comes around the side of the stands and notices Josie. + +EXTERIOR. BASEBALL DIAMOND - CONTINUOUS + +Coach Romano approaches Rob. Slaps him on the back. + +COACH ROMANO +Great playing, Rob. You might be just what Southglen South needs to get to Nationals. + +ROB +I'm playing in the championship game? + +COACH ROMANO +Playing? You're starting shortstop. And I don't mean to put more pressure on you but there are going to be some pro scouts there. + +ROB +Oh man! + +Rob grabs Coach Romano in a bear hug. The Coach is uncomfortable. Rob moves towards the dugout and the Coach happily slaps him on the ass. + +EXTERIOR. BASEBALL STANDS - SAME + +Josie and the Girls are leaving. Guy catches up to them and taps Josie on the shoulder. + +GUY +So--you going to the party at Rob's? + +Josie's taken aback. The Girls notice Guy's interest. + +JOSIE +Rob's? + +GUY +Yeah, you gonna be there? + +Josie stumbles on a step Guy immediately reaches out to steady her. She melts. She can't even speak, so she just nods. + +GUY +Good. I'll see you tonight. + +Guy walks off. + +GIBBY +He is totally crunching on you. + +JOSIE +(confused) +Do I want to be crunched? + +GIBBY +By Guy? + +GIBBY/KRISTEN/KIRSTEN +Oh yeah. + +INTERIOR. SUN TIMES ELEVATOR - DAY + +CAMERA PANS the faces of some dull-looking workers. It stops on Josie, who stands out in her teen garb and huge knapsack. A star struck female WORKER turns to her. + +WORKER +I really loved you in the sex-ed scene. + +Josie reacts. + +INTERIOR. BULLPEN - CONTINOUS + +Josie spills out the elevator and races through the bullpen with Rhoda in pursuit. + +RHODA +Splendiferous-- + +Josie stops, turns back to her. + +JOSIE +Totally. + +Josie keeps going. A confused Rhoda stares after her. She passes Merkin's desk. He is still on the phone. + +MERKIN +(into phone) +No way ... Yeah? ... No way. + +Josie reaches over, grabs the phone out of his hand and hangs up without missing a beat. She continues on as Merkin stares after her. Josie reaches the conference room door. An older WOMAN runs out crying. + +INTERIOR. CONFERENCE ROOM - CONTINUOUS + +Rigfort presides over a staff meeting. CLOSE UP on stunned office WORKERS' faces. + +RIGFORT +Alrighty then--next on the agenda-sack races at the company picnic-yes or no? + +Josie sneaks in. She pushes past workers to get to a chair, big backpack whacking them as she goes. + +JOSIE +Hi. Sorry I'm late. +(pushing past chairs) +Sorry. Excuse me-- + +Josie takes the chair next to Anita's. Anita looks her up and down. + +ANITA +(sotto) +I love that jacket. + +RIGFORT +Miss Geller, what's the status on your story? + +JOSIE +Oh it's great. Totally Rufus. + +Gus and Anita look at each other, both mouthing "Rufus?" + +JOSIE (cont'd) +I have, um-- + +Josie dumps out her backpack on the table. Teen items spill out-notebooks, CDs, barrettes, a hacky sac, a Frisbee, glitter nail polish. She rifles through it all-- + +JOSIE (cont'd) +--notes here somewhere-(picking up paper) + +There's my math homework! + +RIGFORT +Geller, I don't need your notes. I need your story. Though I speak for everyone when I say I've seen the tapes. Compelling stuff. + +All the workers nod in agreement. + +RIGFORT (cont'd) +But I want a story in two weeks. I'm saving the "Life and Style" cover for you. You're gonna make one hell of a reporter. Oh, and if you don't, you and Gus are fired. + +Josie and Gus react. + +RIGFORT (cont'd) +Now, onto the next order of business. Marketing department-yes or no? + +EXTERIOR. JOSIE'S PARENTS' HOUSE – NIGHT + +Beer cans and kids litter the lawn. Josie pulls into the driveway. + +INTERIOR. JOSIE'S PARENTS HOUSE – SAME + +Josie makes her way through the THRONGS OF KIDS. It's a big high school "rager" lots of big blue keg cups, drunk girls, etc. The cool Girls are present and socializing. Josie finally makes her way to the kitchen. + +INTERIOR. KITCHEN - SAME + +Rob is mixing margaritas, wearing a big sombrero. Tracy sits on the counter, gazing lovingly at Rob's every move. + +JOSIE +Hey Rob, what's going on? + +TRACY +I'm Rob's prom date. + +Josie glares at Rob. + +JOSIE +Really? +(pulling Rob aside) +Rob-, that girl is sixteen. + +ROB +And a gymnast! + +JOSIE + +She's sixteen years old, Rob. That's totally and completely illegal. + +Josie feels an arm around her shoulder. It's Guy. + +GUY +Hey there. + +JOSIE +Hey. There. + +Guy takes Josie's hand. + +GUY +Come here. I want to ask you something. + +Rob watches them leaving the kitchen. + +ROB +(to Josie, calling after) +See you around the cellblock, Mrs. Robinson. + +Josie turns around and gives him a death look. Tracy turns to Rob. + +TRACY +Rob, what do you want to be when you grow up? + +ROB +Well, a ball player. + +TRACY +No, I know. But, what if you don't make it? 'I mean, you don t Want to be working at a mail place the rest of your life. It's okay for an after school job, but, come on, "hi, I'm Rob and I run the Tiki Post"?! Totally lame. + +Tracy starts to giggle. Rob does not. + +INTERIOR. UPSTAIRS HALLWAY - CONTINUOUS + +Guy and Josie stand in front of Josie's old room. A bicycle license plate that says-"JOSIE" is nailed to the door. She stands in front of it. + +JOSIE +Maybe we should go in a different room? + +GUY +I already checked. There are some pretty serious couples in there. + +Guy reaches for the doorknob. + +INTERIOR. JOSIE'S OLD BEDROOM - CONTINUOUS + +They go in. Josie sees her spelling bee trophies- with her name. She turns them around, trying to appear nonchalant. As Guy enters, he eyes the trophies, the stuffed animals, the many sets of encyclopedias. + +GUY +Wow, Rob's sister must be such a loser. + +Josie manages a weak smile. Guy sits on the bed. + +GUY +Come here, sit down. + +She sits on the bed, and then sees a picture of her and her family on the bedside table. She dives across the bed to overturn it. + +GUY +I'm sure you've probably heard that I want to ask you, but I'd like to know if you'd go to prom with me. I know we didn't hit it off right at the beginning but- + +JOSIE +Yes. I'll go. Yes. + +Guy leans in as if to kiss her and whispers... + +GUY +Rufus. +(then pulling away) +But I don't even know where you live. + +JOSIE +You know what? Why don't you just pick me up here? We could all share a limo. + +GUY +Cool. I'll catch you later. + +Guy leaves. Josie is ecstatic and flops back on her bed. Stuffed animals fall all around her. + +INTERIOR. HIGH SCHOOL HALLWAY - DAY + +Josie and Rob walk confidently through the hallway. Kids greet and high five them both. + +JASON +Hey Jos. Hey Robster. + +BRETT +Looking good guys. + +TOMMY +Hey Jos. Rob, rufus kegger. + +Rob and Josie turn the corner. + +JOSIE +Rob, this is unbelievable. I mean-- + +Josie shoves through the double doors leading into the gym. + +INTERIOR. GYM - CONTINUOUS + +The place is a flurry of activity, a staging area for prom. Various committees are set up at tables throughout the room. + +Josie and Rob enter. + +JOSIE +--I spent my whole life wanting to fit in, and now-- + +Gibby and Kirsten run up to Josie. + +GIBBY +Hey Josie- who did Archie date Betty or Veronica? + +JOSIE +Betty. + +Gibby turns to Kirsten. + +GIBBY +Told you. + +And they move off. Rob spots Tracy and moves off to her. + +SAM (O.S.) +I always liked Betty better. + +Josie turns, sees Sam. + +JOSIE +You did? + +And they begin to walk through the prom prop area, and it begins to appear like a romantic date--they pass flowers, he picks one out, they pass a bistro table, a backdrop of a sunset follows them for awhile, etc. + +SAM +Oh yeah. Betty was so spunky and fun. Veronica may have had great legs, but she was too moody. Very high maintenance. + +Josie laughs. + +ANGLE ON: A TABLE where Kristen and Tommy are selling prom tickets. Aldys is standing in front of them. + +ALDYS +You can't not sell me a ticket to prom. + +TOMMY +Listen, Alpo--we can do whatever we want. + +ALDYS +Oh, I get it. It's that pesky making change part that's confusing you guys. Here. I'll make it easy. +(holding up money) +Money- +(drops money, takes ticket) +Ticket. + +Aldys takes her ticket, walks off. Tommy and Kristen turn to each other and start whispering conspiratorially. + +ANGLE BACK ON: JOSIE AND SAM + +Sera runs up to Josie. + +SERA +Josie, were Tweedle Dee and Tweedle Dum a couple? + +Josie and Sam share a look. + +JOSIE +Well, in a strict sense, probably not. But for prom--sure. + +SERA +Thanks! + +Sera turns off. + +SAM +You're really doing a great job here, Josie. I like your "can do" attitude. + +JOSIE +(shyly) +Thanks. +(beat) +They weren't related to Humpty Dumpty, were they? Tweedle Dum and Tweedle Dee? + +SAM +Maybe distant cousins. They did have that egg shape in common. + +JOSIE +But Humpty Dumpty was alone. + +SAM +That's sad, isn't it? He had to sit on that wall all by himself. He deserved to have somebody. + +JOSIE +That's really what we all need, right? Someone to sit up on the wall with us-- + +SAM +Yeah. To watch the world go by.-- + +JOSIE +To put us back together again when we fall. + +They share a meaningful glance and a smile. + +SAM +Our penguin, right? + +JOSIE +Do you think you'll find her? + +SAM +Yeah, actually I do. + +They are lost in each other. They lean closer, as if they may kiss, then Sam breaks the moment. + +SAM +Oh my God! I almost forgot--I got you a meeting with the admissions guy from Dartmouth! + +JOSIE +What! But--I wasn't even going to go to college-- + +SAM +No, I know, but I pulled some strings, got him to look at your writing, and he agreed to meet you. + +JOSIE +Oh--yikes! + +SAM +I told him +(teasing) +--if I'm wrong about this girl, you can take away my teaching certificate! + +JOSIE +Wow. You believe in me that much-- + +SAM +Of course I do. Josie, you owe it to yourself--to your writing, to go to college. You're a great writer. You just have to find your story. + +As they share a meaningful look, WE FREEZE FRAME. + +INTERIOR. GUS'S OFFICE - LATER + +Gus and Josie sit in front of his TV. The image of Sam and Josie is frozen on the screen. + +GUS +That's your story! + +JOSIE +You're crazy. I can't--I can't-no. No. + +GUS +It's got it all--sex, intrigue, immorality in the education system-- + +JOSIE +He's my teacher! + +GUS +And that's the best part. +(bannering with his hands) +"Teacher-Student Relations: How close is too close?" We're gonna blow the lid off it! + +JOSIE +There is no lid! Nothing's going on between Sam and me. Coulson. Mr. Sam Coulson and me. + +GUS +Not yet. Every person in this office comes in here and watches you guys! It's like the goddamn Young and the Restless! Rigfort's salivating over it. + +JOSIE +You already pitched this to Rigfort?! + +Gus leans in, now all business. + +GUS +Josie, this isn't a joke. You heard Rigfort. It's both of our asses on the line. This is your story. + +INTERIOR. JOSIE'S APARTMENT - BEDROOM - NIGHT + +Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera/flight wings pin tentatively. + +INTERIOR. DEN - NIGHT + +Rob, in boxers, a dress shirt, and socks is filling flasks with vodka. Josie comes in the door wearing a lovely Elizabethan gown. She looks absolutely beautiful. + +ROB +Wow, Josie- you look really- + +JOSIE +(hopeful) +Rufus? + +ROB +Yes. Exactly. Major Rufus. + +JOSIE +Thanks. And what are - + +ROB +Duh. Tom Cruise. "Risky Business". + +He puts on his black wayfarer sunglasses, and does the famous slide into the living room. Josie laughs. + +JOSIE +Rob--thanks. For everything. This is really happening. I never thought-- + +ROB +I know. + +Rob smiles and exits. + +Josie nervously checks her reflection in the T.V. - just like she did eight years ago. She takes a deep breath, and goes out. + +EXTERIOR. FRONT PORCH - SAME + +Josie comes out on the porch, and sees the limo rounding the corner, just like eight years before. The sunroof opens. And Guy stands up - holding something. + +Josie panics - and starts to take cover - but then sees he's holding a dozen white roses. And holding them out to her. + +GUY +Come on beautiful - what are you waiting for? + +Josie, smiling, runs down the driveway to the limo. + +EXTERIOR. COUNTRY CLUB - NIGHT + +Prom night. And it really is magical. Twinkling lights dot the trees, MUSIC wafts out from the club. A neon sign that says "Meant For Each Other" blinks above the building.- COUPLES make their way inside. We see MORK a MINDY, ANTONY a CLEOPATRA and Sera dressed as a RABBIT. Annoyed, she turns back to her lagging date, Brett, dressed as a TORTOISE. + +SERA +Hello! If you don't hurry up we're gonna miss the whole thing! + +Gibby, Kirsten, and Kristen exit limos with their DATES. They all wear the same straight blonde wig, and look at each other in horror. + +GIBBY +Oh-my-God. You totally ripped off my Malibu Barbie idea. + +KRISTEN +Uh uh. I'm Disco Barbie. + +Kirsten's wearing a short, tight miniskirt. + +KIRSTEN +And I'm Evening Gown Barbie. + +GIBBY +Right. That's not an evening gown. + +KIRSTEN +It is on Barbie. + +Josie and Guy approach, dressed in Elizabethan costume. They look great. + +KRISTEN +Josie, you look Rufus. + +KIRSTEN +Who are you guys? + +GIBBY +Don't tell me…you're Medieval Barbie. + +JOSIE +Rosalind and Orlando. +(nothing) +From "As You Like It"? +(more blank stares) +Shakespeare? + +It's like talking to a sack of hammers. Guy interjects. + +GUY +Look! I get to have a sword! + +And they all ooh and ahh. + +INTERIOR. COUNTRY CLUB – CONTINOUS + +WE FOLLOW Josie and the group into the prom. The place looks amazing. Lights, ice sculptures, champagne fountains. WE PAN DOWN the buffet. + +A BOY dressed as a jar of PEANUT BUTTER and his date, JELLY, are getting food. Peanut Butter turns away from the buffet and bumps into a GIRL dressed as a CHOCOLATE BAR. + +PEANUT BUTTER +oh, sorry. + +There's a magical beat as they smile at each other. + +CHOCOLATE BAR +That's okay-- + +Jelly looks on, chagrined. + +We reach two OLDER GENTLEMEN in tuxes who carry clipboards and wear big buttons that read: NATIONAL PROM JUDGE. They contemplate the ice sculpture. + +JUDGE #1 +It's deft and unique without being derivative. + +JUDGE #2 +(looking off) +Hey! Pigs in blankets! + +And he runs off. + +INTERIOR. COUNTRY CLUB - LATER THAT NIGHT + +Josie sits with the COOL GROUP at a table. Kristen is making odd faces. + +JOSIE +Kristen, what are you doing? + +KRISTEN +I'm practicing my surprised face for when we get named to prom court. + +JOSEPH and a very pregnant MARY approach their table and try to sit down. + +KIRSTEN +Sorry. There's no room at this table. + +Joseph and Mary amble off. Guy turns to Josie. + +GUY +You having fun? + +JOSIE +(meaning it) +Oh yeah. The best. Josie takes in the spectacle around her. + +INTERIOR. GEORGE'S VAN - CONTINUOUS + +Candles are lit. George's Date sits on the couch. The monitor is on showing the JOSIE CAM POV. + +He flips the switch, the lights dim and a small disco ball starts moving slowly. George settles in next to his Date. + +INTERIOR. GUS'S OFFICE - CONTINUOUS + +The entire office is crammed into Gus's office. Anita sits up front, spellbound, watching the JOSIE CAM. Gus stands in back. Okay, he's a little interested too. + +ANITA +This is the most beautiful prom I have ever been to. + +Cynthia runs in with a bowl of popcorn. + +CYNTHIA +Did I miss the crowning? + +MERKIN +No, but I'm closing the pool in five minutes. + +Merkin holds out a bowl of cash. + +MERKIN (cont'd) +Josie's odds are 3 to 1. 2 to 1 for Prom court. And even odds the kid sticks himself with the sword by the end of the night. + +INTERIOR. COUNTRY CLUB - CONTINUOUS + +WE PAN ACROSS the dance floor where we see POPEYE & OLIVE OYL, SONNY & CHER, the BLUES BROTHERS. + +WE HOLD on ROBIN dancing with BATGIRL. BATMAN approached and taps Robin's shoulder-- + +BATMAN +May I have this dance- + +And Batgirl steps aside--Robin and Batman dance happily away. + +ANGLE ON ROB trying to slow dance with Tracy + +(dressed like REBECCA De MORNAY), but she is so-drunk she's having trouble balancing. + +TRACY +Are you having fun? + +ROB +Yeah. Definitely. + +He tries to stand her up on her own. + +TRACY +Good. Gibby gave me champagne. + +ROB +Maybe we should sit. + +He helps her to a chair next to the dance floor. They both sit. Next to them, a ravenous MISS PIGGY eats with her date KERMIT looking on. She picks up an hors d'oeuvre and stares at it horrified. + +MISS PIGGY +Oh my God! Is this a pig in a blanket?! + +Tracy looks at Rob, and gets serious. + +TRACY +Rob, I've - I've thought about it a lot. And I think- I mean, I know. You're the one. My penguin. + +Rob looks at her. She's young. She's beautiful. She's tipsy. She's trying to put her legs behind her head. + +ROB +Wow - I- + +TRACY +Rob, I mean it. I want you to be my first. Me and you. Once the floor stops spinning, let's have sex. + +He looks around. It's high school prom. A skinny kid is getting beat up in a corner. Other kids are sneaking smokes. He can't do this. + +ROB +I'm gonna get you some water. And then, I think we should get back out on that dance floor and boogie. + +Rob gets up, kisses Tracy on the top of her head, and heads for the refreshment table. Tracy, her leg still around her head falls backwards into Kermit's lap. Kermit looks down, surprised and interested. Miss Piggy notices, gives him a big "Harumph", tosses her hair, and leaves. + +ANGLE BACK ON: THE COOL TABLE. + +Gibby is staring O.S. in horror. + +GIBBY +You guys--what is the one thing that could ruin my senior prom? + +KRISTEN +That you would trip on your Barbie heels and I'd get named prom queen? +(beat) +Did I say that out loud? + +WE FOLLOW Kristen's stare to the prom entrance where Aldys and the Denominators enter in pairs, one behind the other, attached together with rope, to form a human ladder. They cross the dance floor, interrupting everything with their unwieldy, tied-together conga line. They approach the Cool Table. + +GIBBY +So what are you supposed to be? Other than freaks? + +ALDYS +We're DNA. A double helix. But I guess you'd know that if you'd actually passed bio. + +Kristen reaches out and touches the rope binding Denominator #1 to Aldys. Denominator #1 slaps her hand away. + +DENOMINATOR #1 +Please don't touch the hydrogen. It's rented. + +Kristen reacts. + +INTERIOR. COUNTRY CLUB - ON THE STAGE – LATER + +Sam takes the stage, with a card in his hand. + +SAM +Well, the moment has arrived. + +He looks at the card. + +SAM +Our 1999 prom court - the princesses are - Miss Kristen Rey, Miss Kirsten Leosis and Miss Gibby Zarefsky. And the princes are Mr. Thomas Salamey, Mr. Jason Way, and Mr. Rob - + +Sam looks at the card, and then looks around. Nobody can help him. + +SAM +Mr. Rob ... Mr. Rob! + +The crowd cheers. Gibby, Kirsten, and Kristen all jump in preplanned delight. Rob seems genuinely surprised. Jason carries Tommy up to the stage piggyback. The girls make their way to the stage, and put on their "PROM COURT" sashes. Sam looks to the card again. + +SAM +Next up - Southglen's Prom King… + +Guy is already halfway to the stage- + +SAM +Guy Perkins! + +The crowd goes wild. Guy reaches the stage and takes his crown and scepter. + +SAM +And - this year's prom queen - + +Sam looks at the card, then at Josie. Josie is standing; eyes open, staring at the podium... + +INTERIOR. GUS'S OFFICE - CONTINUOUS + +The Crowd is rapt, waiting for the announcement. Anita has her eyes squeezed shut, praying for the win... + +INTERIOR. COUNTRY CLUB - ANGLE ON SAM. + +SAM +Ladies and gentlemen – Josie Geller! + +The Crowd CHEERS like crazy, Josie smiles. + +INTERIOR. GUS'S OFFICE - CONTINUOUS + +The Crowd goes crazy, hugging each other and jumping up and down. + +ANITA +Yes! You go girl! Yes! Yes! + +Anita gives Gus a big hug. Gus is completely taken aback. Merkin dolefully hands out money. + +INTERIOR. COUNTRY CLUB - CONTINUOUS- + +Josie is hugged and congratulated as she makes her way, elated, to the stage. Sam places the Queen's tiara on her head and hands her a bouquet of flowers. They lock eyes for a moment. + +SAM +And now - as it is custom - the king and queen will have their first dance. + +ON THE DANCE FLOOR: + +Guy and Josie begin to dance. From Josie's P.O.V., it's in SLOW MOTION, the world glittering and wonderful around her. + +GUY +Hey--what are you thinking about? + +JOSIE +Shakespeare. How he described a night like this--"Look how the floor of heaven is thick inlaid with patines of bright gold". +(beat) +What about you? What are you thinking about? + +GUY +(taking a beat, happily) +My sword. + +It's like a switch has been flicked on in Josie's brain. + +JOSIE +Oh. + +GUY +Josie, you rock my world. You're like the most amazing girl I've ever dated. You're so smart and fun and crazy! You rock my world. + +JOSIE +You said that already. + +INTERIOR. COUNTRY CLUB - BUFFET - MINUTES LATER + +Josie stands by the buffet in her tiara, turns and comes face to face with Sam. They're both taken aback by the other's beauty. + +SAM +Josie--you make a really beautiful prom queen. + +JOSIE +Thanks. So do you. + +They both laugh, embarrassed, at Josie's flub. + +SAM +I always feel like such a goofball in these penguin suits. Like I'm at my own wedding or something. + +An awkward beat. + +SAM (cont'd) +You wanna-- + +He gestures towards the dance floor. Josie smiles. + +JOSIE +Yeah, okay-- + +And they walk off onto the dance floor. + +ANGLE ON: THE SIDE OF THE DANCE FLOOR. + +Guy approaches Aldys. + +GUY +Hey, listen--it's prom. How about we let all the old shit go. Would you like to dance? + +Aldys can't help it. She smiles, a little flattered. + +GUY (cont'd) +If it's okay with the rest of the double helix. + +Aldys smiles and unhooks herself from the group. And starts to dance with Guy. + +ANGLE ON: JOSIE AND SAM as they continue to dance. + +SAM +Proms always make me sad. They're so final. Graduation. Everyone's scattering, moving on. + +JOSIE +Well, are you here with anybody? + +SAM +No, I'm alone. + +JOSIE +It's weird because "prom" is actually from the word "promenade". And you can't really promenade alone, can you? + +Sam smiles at this. + +SAM +You're amazing, Josie Geller. + +ANGLE ON: GUY AND ALDYS as they dance, WE SEE the Cool Girls and Jason standing to the side of the dance floor laughing Gibby reaches into her purse and pulls out a CAN OF ALPO. She hands it to Jason who pulls a CAN OPENER out of his pocket, opens the lid. He hands it to Kirsten who take the lid off. She hands the can to Kristen, who hands the can to Tommy. + +SAM +So--have you thought anymore about Dartmouth? + +JOSIE +Yeah, I have. + +CLOSE UP on Josie's HAND as she subtlety removes her hidden camera pin and drops it to the ground. + +JOSIE (cont'd) +There's something I have to tell you-- + +Her foot comes down on top of it. + +INTERIOR. GEORGE'S VAN - CONTINUOUS + +George is making out with his Date when the monitor suddenly FRITZES OFF. George looks up. + +GEORGE +What the--?! + +George stands and hits the side of the monitor. + +INTERIOR. GUS'S OFFICE - CONTINUOUS + +Gus's monitor flicks to static. The Crowd lets out a horrified GASP. + +CYNTHIA +Tell him what?! Tell him what?! + +INTERIOR. COUNTRY CLUB - DANCE FLOOR - CONTINUOUS + +Sam looks deep into Josie's eyes. + +SAM +There's something I have to tell you, too-- + +Josie's eyes shift from Sam to over his shoulder. She spots Aldys, who smiles at her. Josie's eyes travel up to the can of DOG FOOD. + +FLASH: TEENAGE JOSIE + +on the porch, facing Billy and his Date. + +FLASH: TEENAGE JOSIE + +with egg dripping all over her. + +BACK TO PRESENT. + +JOSIE +NOOOOOOO! + +SLOW MOTION as Josie lunges for Aldys and pulls her to floor as Tommy, off-balance, dumps the dog food all down Guy's front. The Crowd stops dead, staring. The can, now empty, rolls slowly off the dance floor, the metal rolling noise ECHOING in the silence. + +GUY +(to Josie) +What is your problem?! + +GIBBY +I knew it. You are a loser. + +KRISTEN +You ruined the whole thing! + +KIRSTEN +You so do not deserve to be prom queen. + +Everyone is still staring. It's dead quiet. + +JOSIE +Let me tell you something. + +It is still silent. Josie takes a deep breath, and looks around the room. + +JOSIE (cont'd) +I don't care about being the prom queen. I am twenty five years old. + +Looks of confusion and teenage disgust. Rob is pissed. Sam looks shocked. + +JOSIE (cont'd) +I'm here as an undercover reporter for the Sun Times for God's sake and I've been beating my brains out trying to impress you. + +She tears off her crown, and chucks it. She's on a roll. + +JOSIE (cont'd) +I want to tell you something. You people- Guy, Gibby, the rest of you who have been keeping the geeks down through the ages. You will spend your lives trying to figure out ways to keep others down, because it makes you feel more important. And you will miss out on so much. +(indicating Aldys) +Why her, huh? What did she ever do to you? Let me tell you something about this girl. She is unbelievable. I was new here, and she befriended me- no questions asked. But you people, you were my friends only after my brother, Rob... + +She points out Rob in the crowd. He's mortified. + +JOSIE (cont'd) +posed as a student and told you to like me. But y'know--l have to thank you. I got to go to an amazing prom. I got to be prom queen. I got to be cool. It felt good. +(beat) +But not as good as being myself. +(turns to crowd) +And to all of you-- there's a big world out there. Bigger than prom. Bigger than high school. When you get there, it won't matter if you were prom queen or the quarterback or the biggest nerd in school. What matters is that you don't regret who you were, who you are-What if Steven Spielberg had quit the audio/visual club because it wasn't "cool"? What if Rosie O'Donnell had stopped cracking jokes because someone told her they were stupid? What if Michael Jordan never went back to basketball after he got cut from his high school team?. +(a beat) +In this room right now, there could be a future Nobel Prize winner, a Supreme Court Justice, an amazing Mom. Find out who you are and don't be afraid of it. +(a beat) +And if you'll all excuse me, I have some business to take care of. + +Reaction shots' all around. Kids start clapping, hollering, whooping. The MUSIC STARTS UP again. They all go back to dancing The Denominators lead their own conga line. + +ANGLE ON: JOSIE + +She looks around for Sam but he is gone. She runs out, brushing past the Judges. + +ANGLE ON: JUDGES + +Judge #2 dabs his eyes. + +JUDGE #1 +This prom had it all. Laughter, tears, an amazing climax. + +Judge #2, still overcome, just raises his "two thumbs up." + +EXTERIOR. COUNTRY CLUB PARKING LOT - MOMENTS LATER + +Josie exits the club, looking for Sam. George runs up to her. + +GEORGE +Hey--I lost the feed! What happened with Coulson? Gus is going crazy! + +Out of the shadows emerges Sam. The look on his face says he just heard everything. + +JOSIE +So--surprise! + +He shakes his head in disbelief and walks off. Josie chases after him. He turns back to her. + +SAM +"Surprise!" you were doing a story on me?! + +JOSIE +No, surprise, I thought you'd be-- + +SAM +What? Happy? Why? Because it turns out all along that I was allowed to be attracted to you? + +JOSIE +(touched) +You were attracted to me? + +SAM +Goddamnit, Josie! Drop the act. Do you have any idea what I went through every night because of you?! I was attracted to a 17 year old! When I wasn't taking cold showers, I was trying to figure out what the hell I was going to do when I couldn't teach anymore! I thought I was the one being unethical. + +JOSIE +Wait, I was going to tell you-- + +SAM +You set me up. For a story. +(beat) +You know what's crazy? I was actually considering waiting for you. + +JOSIE +But now you don't have to-- + +SAM +Now I don't want to! I bought all of your penguin crap. I thought I found her--the right one! And the problem was she was too young! No - the problem was--she didn't even exist! + +JOSIE +I did exist. I do exist. I'm the same person! + +SAM +The person I cared about wouldn't have done this. Everything out of your mouth has been a complete lie. I don't know you at all. For all I know you could hate Dorothy Parker. + +JOSIE +I don't! Look, you could get to know me, again. + +Sam turns and starts to walk away. + +JOSIE (cont'd) +Please. Please don't walk away. + +SAM +I just can't look at you the same way. + +Sam gets into his car and drives off. Josie is devastated. + +INTERIOR. JOSIE'S APARTMENT BUILDING - HALLWAY - LATER + +Josie, still in the prom dress, rounds the corner of her apartment hallway and sees Rob, still in his Risky Business get-up, slumped in front of the door. + +ROB +Josie, finally. I just wanted to come over and make sure you're okay. + +JOSIE +Really? + +He gets up. He's not happy. + +ROB +No- not really, Josie. NOT REALLY. How could you do that to me? I helped you. I got you everything you wanted. And how do you repay me- you blow everything TWO DAYS before pro scouts come to see me play. Once they had seen me really play- they wouldn't have given a shit about my age. + +JOSIE +I wasn't even thinking about- + +ROB +No, you weren't. Don't you realize the only time I was really happy in the last five years was when I was playing ball with those guys? + +JOSIE +I- + +ROB +No, shut up, Josie. Just shut up. + +He storms off. + +INTERIOR. JOSIE'S BEDROOM - LATER THAT NIGHT + +Josie lies amidst the needlepoint pillows, still in her prom costume. She stares blankly at the ceiling. + +INTERIOR. GUS'S OFFICE - DAY + +Gus slaps a newspaper down on his desk. + +CLOSE ON - the front page of the paper, and not just any newspaper - THE CHICAGO TRIBUNE - the Sun Times' rival. + +There is a PHOTO of Josie from Prom with the headline that reads: "REPORTER REVEALED AT LOCAL HIGH SCHOOL". + +Josie picks it up, and starts reading. + +GUS +Your story was Rigfort's baby. We were scooped! We've got nothing. Zippo. You totally and completely screwed both of us. + +JOSIE +Maybe I could talk to Rigfort, you know, tell him the whole story. + +GUS +I'll tell you a story. It's about this shy copy editor who makes a mockery of herself and her boss when she completely botches her first assignment as a reporter. + +Josie stands. Slams down the paper. + +JOSIE +We are not screwed. Yes, I made a mistake. But we will have a story. +(beat) +You will have an amazing story. + +Josie exits. + +INTERIOR. SUN TIMES BULLPEN - CONTINUOUS + +Josie walks out of Gus's office, continues, determined, towards the elevators. Anita falls into step with her. + +ANITA +Josie! Josie, how'd it go? Did he ream you? + +JOSIE +Yeah, but I'm okay. I've got some work to do. + +ANITA +You need my help? + +JOSIE +No, thanks--I'm doing this on my own. + +Josie walks past Merkin's desk. She holds out her hand to Merkin. + +JOSIE (cont'd) +Merkin. Highlighter. + +Merkin slaps a highlighter into her hand, she continues on. Anita watches her go. + +EXTERIOR. SOUTHGLEN HIGH SCHOOL - DAY + +Josie, looking quite the professional in stylish pantsuit and briefcase, bounds up the steps, two at a time. + +INTERIOR. HIGH SCHOOL HALLWAY - SAME + +Josie walks down the hall, purposefully - she is on a mission. Groups of kids stop and stare at her, but this time, Josie doesn't even notice. + +As Josie rounds a corner, she comes face to face with Guy, who is at his locker. He looks at her. She smiles. And now it is Guy that is nervous. He drops a pile of papers, tries awkwardly to gather them. Josie looks at him - and for the first time we see it register on her face - this guy is just a seventeen- year-old kid. + +GUY +Uh, hey, umm--Ms. Geller. This is totally embarrassing but my mom, she's all worried about me getting a job after graduation. She wanted me to ask you about like, an internship for me, at the Sun Times? + +Josie smiles big. + +JOSIE +I'll do what I can. And tell your mom not to worry - you'll do O.K. + +Josie continues down the hall. + +INTERIOR. LOCKER ROOM - SAME + +The guys' locker room. A bunch of GUYS are getting dressed after P. E. + +JOSIE (O.S.) +WOMAN COMING THROUGH! COVER UP WHAT YOU DON'T WANT SEEN! + +And with that Josie comes walking into the locker room, completely unruffled, and storms over to Coach Romano's office, just as he is leaving it. + +JOSIE +Hi, Coach Romano, my name is Josie Geller, from the Chicago Sun Times Listen, you know the local sports guy for the Sun Times, Jim Lakin? + +COACH +Sure, every coach in the area tries to get Jim to cover his team. + +Josie puts her arm around the coach, and leads him back into his own office. + +JOSIE +Well, what would you say if I told you that I could guarantee that Jim and every other reporter in the area would be at the game? + +COACH +I'd say you can have whatever the hell you want. + +Josie smiles, together they enter his office and close the door. + +INTERIOR. JOSIE'S APARTMENT - DAY + +Josie sits at her disk, typing on her laptop, engrossed. + +JOSIE (V.O.) +Someone once told me that to write well you have to write what you know. This is what I know. I am twenty five years old. I have never really kissed a guy. A geek to the core, most of my childhood years were spent doing extra homework I requested from the teacher. + +INTERIOR. GUS' OFFICE - DAY + +Gus comes in, snaps on the light, sits at his desk, and opens his newspaper. He pulls out, the "Life and Style" section. + +And there it is. Front page - "NEVER BEEN KISSED BY JOSIE GELLER." There are three pictures next to the article. One is Josie at age 17, one is her recent prom picture, and one is her as a normal, 25 yr. old adult. + +JOSIE (V.O.) +High school was more of the same. Then, at seventeen, it seemed as if my luck was about to change. The cutest guy in school asked me to senior prom - but it turned out he invited me as a cruel joke. I have never fully recovered. + +INTERIOR. SUN TIMES LUHCHROOH - DAY + +Anita and Cynthia read the article, in the staff lunch room, over a shared bag of microwave popcorn. They are astounded- + +JOSIE (V.O.) +Yes, it is embarrassing to share this with the world. But it would be hard to explain what I learned, and how I learned it, without sharing this humiliating history. + +EXTERIOR. A HOUSE - MORNING + +The Sun Times lies on the front mat. The door opens; we see a pair of bare feet. A hand reaches down to grab the paper. WE PAN UP to reveal Sam in all his depressed glory--sweats, unshaven, bleary eyed. + +JOSIE (V.O.) +I received an assignment, my first as a reporter, to enroll in high school as a student, to gain some insight into kids today. Understandably, returning to high school was my worst nightmare. + +Sam shuts the door. + +EXTERIOR. SOUTHGLEN HIGH SCHOOL - DAY + +Kids stream into school. + +JOSIE (V.O.) +What I found? + +INTERIOR. MRS. KNOX'S CIASSROOM - DAY + +Mrs. Knox, wearing the sombrero, teaches her class. + +JOSIE (V.O.) +There's still that one teacher, who marches to her own drummer- + +And in the back row, Kirsten, Kristen and Gibby are laughing an talking-- + +JOSIE (V.O.) +Those girls are still there. The ones that, even as you grow up, will still be the most beautiful girls that you've ever seen close up. + +EXTERIOR. BASEBALL DIAMOND - DAY + +The BASEBALL TEAM as they practice- + +JOSIE (V.O.) +The athletes - and the immense sense of fraternity and loyalty that they share- + +INTERIOR. SCIENCE LAB - DAY + +Aldys and the Denominators- making smores over a bunson burner getting into a melted chocolate and marshmallow fight- and laughing hysterically- + +JOSIE (V.O.) +The smart kids. Who everyone else always knew as the brains. But who I just knew as my soulmates, my teachers, my friends. + +EXTERIOR. PARKING LOT - DAY + +Guy, Tommy and Jason, as they get out Guy's car, in the parking lot- + +JOSIE (V.O.) +And there's still that one guy, the one who is so perfect in every way, from the muscles in his shoulders- + +EXTERIOR. HIGH SCHOOL - DAY + +We focus in on Guy, as he takes the front steps two at a time- + +JOSIE (V.O.) +- to the way he, in his own way, struggles to uphold tradition. Southglen would not have been the same without him. High school would not be the same without him. I would not have been the same without him. + +INTERIOR. HIGH SCHOOL HALLWAY - DAY + +Guy, his buddies, Kirsten, Kristen and Gibby, sign yearbooks, hang out by the lockers- + +JOSIE (V.O.) +All of these things made me miserable at seventeen. But at twenty five I finally see that this - all of this- is just the way it should be. It is all part of this thing- high school. A time in our lives that we can never truly repeat. A time that shapes us. A time that makes us who we are, for years to come. + +EXTERIOR. NEWSSTAND - DAY + +HANDS grab Chicago Sun Times at the newsstand- + +JOSIE (V.O.) +High school- going through it the first time- helped make me who I am. But going there a second time made me see that who I am is O.K. I always wanted to be "in", but seven years later, when they finally opened the door, I somehow gained the confidence to stay outside, firmly, happily. + +EXTERIOR. "EL" TRAIN PLATFORM - DAY + +About 75% of the people have their Life and Style sections opened, reading Josie's piece. + +JOSIE (V.O.) +This is not the article I was sent in to write. This is the article I needed to write. I lived a lifetime of regret after my first high school experience, and now, after my second, my regrets are down to one. + +INTERIOR. SAM'S KITCHEN - MORNING + +The kitchen of a depressed guy--empty pizza boxes next to a dying plant. Sam pours milk into a bowl of Lucky Charms while he reads the Sports Section of the paper. + +JOSIE (V.O.) +A certain teacher was trampled in my path to self-discovery, and though this article may serve as a step, it in no way makes up for what I did to him. + +He's not paying attention and the milk overflows the bowl, soaking the table. + +JOSIE (V.O.) (cont'd) +To this man, you know who you are, I am so sorry. + +He takes the wet paper, using it like a sponge, he sops up the remaining milk, and throws the paper into an open trash can. He leaves the kitchen. WE HOLD ON the empty room. + +JOSIE (V.O.) (cont'd) +And, I would like to add one more thing - I think I am in love with you. + +EXTERIOR. BASEBALL, STADIUM PARKING LOT – NIGHT + +Cars begin to fill the parking lot in a steady stream. + +JOSIE (V.O.) +And so I propose this - as an ending to this article, and, perhaps, as an ending to this portion of my life. I, Josie Geller, will be at the State Championship baseball game – where my friends the Southglen Rams are playing for the title. + +EXTERIOR. BASEBALL FIELD - NIGHT + +The Southglen Rams baseball team minus Rob, are on the field, warming up. + +JOSIE (V.O.) +I will stand on the pitcher's mound for the five minutes prior to the first pitch. If this man accepts my apology, I ask him to come to kiss me, in front of everyone, for my first real kiss. + +We find a nervous looking Josie standing in the dugout. + +JOSIE (cont'd) +Five minutes may seem like a short time, but trust me, when you've been waiting twenty-five years, it's usually the last five minutes that kill you. + +CU: THE PICTURE TAKEN OF JOSIE AND SAM AT THE PROM. + +JOSIE (V.O.) +I went back to high school and discovered I was a loser, again. + +WIDEN TO REVEAL the picture on the fridge in-- + +INTERIOR. SAM'S KITCHEN - EVENING + +Sam enters, still in sweats, carrying a book. He opens the fridge, grabs a beer, shuts it, is confronted by Josie's picture. He takes it down, looks at it. + +JOSIE (V.O.) (cont'd) +And then I discovered it wasn't so bad. I wasn't so bad. So, now that I'm ready to start living the rest of my life, it would be magical if I could live the rest of it with him. + +Sam lets the photo slowly drop from his hand into the trash. + +JOSIE (V.O.) (cont'd) +Because inside everyone is a loser afraid to be loved, and out there is the one person who can kiss us and make it all better. + +WE FOLLOW Sam's stare down into the trash and see the photo lying on top and to the side of Josie's article--the photos from the article are clearly visible. + +ANGLE ON HOT DOGS, POPCORN CHANGING HANDS being sold by the truckload at the stadium. The crowds are over capacity. Way over. People fill the parking lot, they cover every other inch of school grounds, as well. They stand on the roofs of nearby buildings, they sit on top of their cars. It looks like most of Chicago is either already there, or on their way. + +Some WOMEN hold signs for Josie, others hold and wave her article. + +Josie sticks her head out of the dugout, and looks out at the fans. TV REPORTERS are everywhere, including several on the field. She looks like she may faint. She ducks back in. + +INTERIOR. DUGOUT - SAME + +The team is dressed, ready, excited. Anita and Aldys stand next to Josie. Josie looks up at the crowd, amazed. + +JOSIE +Wow. It's packed. + +ANITA +It's great! They're behind you. They feel like they know you. + +ALDYS +It's romantic, what you're doing, and they want to be a part of it. + +JOSIE +Well I'm so glad that you guys are. + +Josie then starts to hyperventilate. She puts her head between her ankles. Anita and Aldys both grab the brown paper bag and hand it to Josie. She hyperventilates into it. Coach Romano approaches. Josie puts the bag down. + +COACH +Sweet Jesus, Geller - I had no idea there'd be all these TV crews here. This thing's gonna be on every station in the country. + +Josie immediately begins hyperventilating into the bag again. + +COACH +You more than kept your end of the bargain. Now go out there and get 'em. + +Josie gets up and he slaps her on the ass. She hugs Aldys. Then Anita gives Josie a big hug, and won't let go. Josie has to pull Anita pulls back. Josie struggles to get out of the hug- Anita won't let her. Finally, they are both laughing. + +Josie walks out of the dugout, and onto the field. + +EXTERIOR. PITCHER'S MOUND - SAME + +She walks, alone, out to the pitcher's mound, clutching a microphone. The crowd goes berserk. She stands until they quiet. + +JOSIE +Could I have five minutes on the clock, please? + +The scoreboard clock reads 5:00. Josie stands, alone. + +EXTERIOR. BOX SEATS – SAME + +The staff from the Sun Times sits in box seats up front. Rigfort joins them, carrying a huge load of hot dogs. + +RIGFORT +I got weiners. Hot weiners. + +Rigfort sits next to Gus. Behind them sit Bruns, his hair finally growing in and Howard, now down to just a sling. + +RIGFORT +I love this. Sun Times readers, out here, making a personal connection to one of our reporters. This is amazing, isn't it? Weiner? + +Gus takes a weiner. + +GUS +Yeah, it is. + +RIGFORT +(studying his weiner) +Wait a minute... + +Rigfort pulls something small and shiny out of the bun. + +RIGFORT (cont'd) +There's a bolt in my weiner. + +Then he turns back to Howard and smiles. + +RIGFORT (cont'd) +Hey Howard, what are you doing for the next month? + +Howard's face falls. + +EXTERIOR. PITCHER'S MOUND - SAME + +Josie still stands there. The clock is down to 2:30. She looks over to the dugout. + +EXTERIOR. BLEACHERS - SAME + +The Denominators talking and laughing. Behind them, sit the Marching Band + +EXTERIOR. PITCHER'S MOUND – SAME + +Josie forces-a stoic smile. 1:00 is on the clock. + +EXTERIOR. BLEACHERS - SAME + +The cool crowd. Guy, Kirsten and the gang. They are trying start the wave, but its not working. + +EXTERIOR. PITCHER'S MOUND - SAME + +The clock reads: 20. + +EXTERIOR. BOX SEATS - SAME + +The Sun Times box. Anita clutches Gus's hand for dear life has her eyes squeezed tight. The crowd keeps chanting. + +EXTERIOR. BLEACHERS - SAME + +Everyone - including all the Denominators are on their feet, chanting. Aldys cheers the loudest. + +EXTERIOR. STANDS - SAME + +The women are on their feet, chanting. + +EXTERIOR. BLEACHERS - SAME + +Guy and the Gang are on their feet. + +EXTERIOR. PITCHER'S MOUND - SAME + +Josie stands, clutching the mic. The clock reads: 10. + +CROWD +TEN - NINE - EIGHT - SEVEN - SIX - + +Josie stands there, head still held high. + +CROWD +FIVE - FOUR - THREE - TWO - + +Josie steals a look to the dugout. No one is coming out the door. + +CROWD +ONE!! + +Josie makes one more desperate look around. No one is running toward her. + +CLOSE UP on Josie, completely crestfallen. She drops the microphone. It reverbs in the silent stadium. + +WE PAN ACROSS the Crowd, all defeated. And then... + +A commotion in the stands. Sam bursts through the crowd. He runs toward the mound. The Crowd is on their feet. + +It feels like a lifetime before he reaches Josie, grabs her, pulls her close to him. + +SAM +I told you you could write, Josie Geller. + +JOSIE +I finally found my story. + +And they kiss passionately. The most amazing, most waited-for kiss in the history of man. A kiss that will last forever. + +INTERIOR. DUGOUT - SAME + +Rob is in his baseball uniform, cheering up a storm. Across his chest is emblazoned: "ASSISTANT COACH". + +EXTERIOR. BOX SEATS - SAME + +Anita is so thrilled, she reaches over and plants a big one on Gus. She is surprised. So is he. They like it. + +EXTERIOR. BLEACHERS - SAME + +The Denominators and Aldys cheer their brains out. + +EXTERIOR. BLEACHERS - SAME + +Guy, Kirsten, etc. have finally succeeded in starting the wave. + +EXTERIOR. PITCHER'S MOUND - SAME + +MUSIC UP: The Beach Boys "And Then I Kissed Her" as Josie and Sam continue to kiss as the CAMERA PULLS UP, taking in the kiss, the Crowd, the stadium... CAMERA SPINS UP as FIREWORKS go off above the stadium... And we watch as the stadium becomes a speck against the glittering backdrop of Chicago. + +FADE OUT. + +The End diff --git a/unformated_scripts/Script_Neverending Story, The.txt b/unformated_scripts/Script_Neverending Story, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..493f7327140540d03b108912780c18cc5253ac96 --- /dev/null +++ b/unformated_scripts/Script_Neverending Story, The.txt @@ -0,0 +1,1858 @@ +This Script was transcribed by AranMax at The Neverending Story Page. + + +THE NEVERENDING STORY +  +Based on the book by Michael Ende +Screenplay by Wolfgang Peterson +1984 +  +FADE IN: +  +Limahl’s “The Neverending Story” plays as the +CREDITS PLAY OVER a dazzling display of some +great clouded storm. THE NOTHING. Great masses of +clouds swirl and churn and collide on the screen. +            As the FINAL CREDITS play we… +  +CUT TO: Bastian’s bedroom +  +Our story begins as our young friend awakes from a dream. Bastian quickly sits up as if awakening from a nightmare. He looks at a picture of his mom with a sigh and then he picks up the book beside him and marks his spot. +  +CUT TO: Kitchen. +  +Bastians father is working on some sort of concoction in the kitchen blender, while Bastian sits at the dining table straining to open jelly for his toast. They exchange a good morning between each other, but they are relatively quiet. +  +Father: +Morning Bastian +  +Bastian: +Morning Dad +  +Bastian continues to struggle with the jar until his hand hurts. His father turns to him and gives him a hand. He seems to easily open the jar. As Bastians father returns to his task of the morning drink concoction Bastian breaks the silence. +  +Bastian: +I had another dream Dad, about Mom. +  +His father pauses at the blender, but doesn't look +at him and then he continues creating his +drink. +  +Father: +I understand son, but we have to get on with things, right? (Bastian looks dejected at this answer.) Bastian we each have responsibilities. We can't let Mom's death be an excuse +for not getting the old job done, right ? +  +Bastian half-heartedly smears butter on his toast. His father approaches the table and sits down. Time for a father to son talk. +  +Father: +Son, I think it's time you and I had a little talk. +I got a call from your math teacher yesterday. +She says you were drawing horses in your math book. +  +Bastian: +Unicorns. They were unicorns.(mimics a unicorn) +  +Father: +What ? +  +Bastian: +Nothing…. +  +Father: +            She also says that you haven't been turning your homework +      in on time. And I'm very disappointed you didn't even try out for +          the swim-team. +  +        ( Pause ) +  +      As for those riding lessons you've been wanting       +                         you say you love horses yet you seem to be afraid to get on a real +                         one. Now, Bastian, you're old enough to get your head out of the +                            clouds and start keeping both feet on the ground. Alright ? +  +                                                      (he takes a sip of drink.) +  +Bastian: +Ok. +  +Father: +Stop daydreaming and start facing your problems. +                 Ok ? (ruffles Bastians hair) +  +Bastian: +Ok (he says with a half hearted smile) +  +Father: +                                            Ok. Right I think we've had a nice little talk we should have more. (he gulps down his drink and gets up to leave.) Have a nice day and don't be late to school again. +  +Bastian: +(Bastian turns to him) But yesterday I wasn't… +  +END SCENE +  +FADE IN: City street +  +Out on the street 3 bullies are laughing. As Bastian walks out, they stop. +  +Bully 1: +Hey look it's the weirdo. +  +Bully 2: +Hey weirdo, got any cash for us today ? +  +Bastian turns and runs. +  +Bully 1: +Hey follow! That's it weirdo. You can't get away +              you jerk ! You're dead chicken! +  +They yell chasing after him. They chase him down an alley where they corner him and catch him. +  +Bully 3: +Where's you're money man ? +  +Bastian: +I don't have any! +  +Bully 1: +     No money? Momma's little boy is holding out +    on us. You ain't got any money on ya, you go +in the garbage can +  +All three bullies shove Bastian into a nearby dumpster. +  +Bully 3: +Maybe chicken can lay an egg in there. (They laugh as they return to the street.) +  +  +Bastian comes out of the dumpster and enters the street brushing garbage off himself. The bullies see him and stand up straight. +  +Bully 1: +                               Hey man, who said you could get out of the garbage ? +Get back in there. +  +(They smile at each other and start towards him.) +  +Bastian: +Oh no not again. No not again! (He starts running) +  +Bully 2: +Where do you think you're going wimp? (They chase after him, He ducks into a bookstore and the boys run by. ) +  +NEXT SCENE: Coreander’s Book store +  +Bastian watches from inside the store as the +three bullies go running by. He sighs felling relief, +but is suddenly startled by a ruff bulldog voice +from somewhere in the store. +  +Coreander: +Get outta here. I don't like kids. +  +Bastian walks toward the area he heard to +voice from, and finds an old man siting in +a chair reading. He turns and looks at him. +  +Coreander: +You still here boy? Didn't you hear what I said? +  +Bastian: +Um, I was.. (he stutters motioning to the door.) +  +Coreander: +You're hiding aren't you? +  +Bastian: +No I was just... (he stutters more) +  +Coreander: +The video arcade is down the street . Here we just sell small rectangular objects that are called books. Require a little effort on your part and make no b..b..b..beeps. On your way please +  +  +Bastian: +I KNOW books. I have 186 of them at home! +  +Coreander: +Bah. Comic books. +  +Bastian: +No. I've read Treasure Island, Last of the Mohicans, Wizard of Oz, Lord of the Rings, 20,000 Leagues Under the Sea, Tarzan… +  +Coreander: +Whoa whoa whoa. Who are you running away from? (he says with new interest.) +  +Bastian: +Just some kids from school. +  +Coreander: +Why ? +  +Bastian: +They wanna throw me in the garbage. +  +Coreander: +Why don't you give them a good punch in the nose, eh? +  +Bastian: +Oh, I dunno.(he looks down at his shoes) +  +  +The man turns away from him again. Bastian looks at the book he has. His interest has been aroused. +  +Bastian: +What's that book about? +  +Coreander: +Oh, this is something special. +  +Bastian: +(Bastian moves in closer.) Well, what is it ? +  +Coreander: +Look. You're books are safe. While you're reading them you get to become Tarzan or Robinson Crusoe. +  +Bastian: +But that's what I like about them. +  +Coreander: +Yes, but afterwards you get to be a little boy again. +  +Bastian: +What do you mean? +  +Coreander: +Listen (he motions for him to come nearer.) +  +Coreander: +Have you ever been Captain Nemo, trapped inside your submarine while the giant squid was attacking you ? +  +Bastian: +Yes. +  +Coreander: +Weren't you afraid you couldn't escape ? +  +Bastian: +But it's only a story. +  +Coreander: +That's what I'm talking about. The ones you read are safe. +  +Bastian: +And that one isn't ? +  +Coreander: +Don't worry about it. +  +Bastian: +But, but you just said it was.... (the phone rings and Coreander puts the book under a newspaper to try and hide it.) +  +Coreander: +Forget about it. This book is not for you. (he gets up and gets the phone.) +  + Bastian watches him. As he talks on the phone Bastian uncovers the book. The title on the book reads, The Neverending Story. above these words is a symbol on the cover. The symbol is two snakes intertwined with each other and biting each other's tail. As the old man hangs up the phone, Bastian grabs the book and runs out. The old man smiles to himself and looks down at his desk proud to have finally gotten rid of the annoying child. +  +ANGLE: Coreanders desk +  +On his desk in place of the book is a note pad barely legible writing on it, it reads: +  +" Don't worry, I'll return your book." +  +END SCENE +  +NEXT SCENE: Bastians school. +  +With the book under his shirt Bastian runs through the hall of his school. He stops outside his classroom, then cautiously looks through the small slit of a window in the classroom door. What he sees is his class already started on a very important math test. +  +Bastian: +The Math test, oh no. +  +CUT TO: school attic +  +Bastian runs up the stairs leading to the  school's attic, finds the key and goes inside. There are all sorts of old scholastic objects in the attic. He finds a stack of old gym mats and pulls one out. He sits down and pulls out the book, then he begins reading. +  +ANGLE- Bastian- CLOSE UP: +  +Bastian: +It was midnight in the Howling forest. The wind whistled through the tops of the ancient trees. Suddenly, something enormous crashed and rumbled through the eerie woods. +  +FADE OUT TO: Fantasia +  +WIDE SHOT: View of small camp. +  + We see a snail look up and there's a small man beside him. There is a Nighthob and his sleeping bat nearby. Suddenly the calm of the camp is interrupted by a great rumbling similar to an earthquake. +  +Nighthob: +What's that ?  (the ground shakes.) +  +ANGLE: Rockbiter +  +A huge tricycle comes to a stop in front of them. It is made entirely from stone, as is the giant riding it. The Rockbiter speaks to them in a deep, friendly voice. +  +Rockbiter: + Excuse me, would it be alright if I joined you this evening? +  +Tiny: +                      Uh huh. +. +  +Rockbiter: + You see I've been traveling all day. +  +(he climbs off his tricycle.He rolls it backward and then sits down. The ground beneath him shakes. He sniffs the air and then says, as if he has discovered a secret of theirs) +  + Ah hah ! Now I see why you picked this camp. " +  +He picks up a large rock and sniffs it. +  +Rockbiter: + A delicious looking limestone rock. Nice bouquet, must be a real vintage here. +  +Nighthob: + Yes, you're right. Those delicious rocks are the reason we camped here alright. +  +Then he runs over to the little man. +  +Nighthob: +           Psst. is he a nutcase? +  +Tiny: +                         No, he's a Rockbiter. +  +Nighthob: +     Oh a Rockbiter. A Rockbiter!? +  +  +The Rockbiter starts eating the limestone he is holding. Pieces fall all over the place. One piece falls on the snail. +  +Rockbiter: +Ooops, sorry. +  +Then he burps. +  +Oh, pardon me ! +  +  +Nighthob: + Pardoned. +  +Rockbiter: +Mmm. That was limestone, with a dash of quartz. Very tasty. Where I come from in the north we used to have exquisite gourmet rocks, only now...now they're all gone. +  +Nighthob: +      Huh, I know how it happened. +  +  +The Rockbiter makes a boyscouts honor sign. +  +Rockbiter: +I swear it wasn't me. +  +Nighthob: +Hah ! Heck no. +  +Tiny: +I think I know what it was, tell us more. +  +Rockbiter: +Near my home there used to be a beautiful lake, but then it was gone. +  +Tiny: + Did the lake dry up? +  +  +  +  +Rockbiter: +No, it just wasn't there anymore. Nothing was there anymore. Not even a dried up lake. +  +  +Tiny: + A hole ? +  +Rockbiter: + No, a hole would be something. Nah, it was nothing. And it got bigger and bigger. First there was no lake anymore and then finally, no rocks. +  +Nighthob: + Hah! If he keeps stuffing his face like that, soon there won't be any rocks left here either! +  + (Nighthob complains to the little man. As he starts to walk away, the little man grabs him.) +  +Tiny: +Nighthob, this could be serious! +  +Rockbiter, what you have told us is also occurring where I live in the west ! A strange sort of Nothing is destroying everything. +  +Nighthob: +Yes, we Nighthobs live in the south. And it's there too. +. +Rockbiter: +So, so it's not just in our part of Fantasia? +  +Nighthob: + Maybe, it's already everywhere... +  +(Nighthob hisses looking around suspiciously smelling the air.) +  +Maybe our whole land is in danger. What can we do? +  +Rockbiter: + My people are sending me to the Ivory Tower, to the Empress for help +  +Nighthob and Tiny: + We are.. +  +Tiny: + We are on the same mission. After all, if the Empress can't save us, who could? +  +Nighthob: + Then why are we all just standing around here instead of taking off for the Ivory Tower? +  +Tiny: + Right, what are we waiting for ? +  +  +The little man climbs on his snail while the Nighthob tries to wake up his bat. +Nighthob: +Hey wake up! We can't just hang around here. Prepare for take off! Stupid bat! +  +Rockbiter: + We, we can't wait for a snail. Can I carry you? +  +Tiny: + Don't worry, it's a racing snail. +  +  +Rockbiter: +Oh, but we can't even wait for a racing snail. +  +The little man goes peddling off on the snail. Nighthob finally wakes up his bat and climbs on as +  +Rockbiter: +         It really is a racing snail. +  +Nighthob: +And nobody gives a hoot about me and my stupid bat. +  +CLOSE UP: Rockbiter +Rockbiter: +Maybe I'll take a few of these yummy gourmet rocks, eh.. for the road. +  +  +  +As he bends down to pick some up, he stands straight up again and realizes he hears the nothing coming. +                                                                        Rockbiter: + Oh no. The nothing! +  +CUT TO: A golden sunset +  +View of the sky and Nighthob on his bat. +  +Nighthob: + Look there it is. The heart of Fantasia. +            +View of Rockbiter and little man. They stop as they see the Ivory Tower. +  +Rockbiter: + I never knew it was that beautiful. Oh. +  +EXT. VIEW-Ivory Tower +  +Wide angled view of the nearing Ivory Tower. It shimmers in its only light as the sun sets behind it. +  +Nighthob: + Stay awake. I told you to stay awake. +  +We span the whole length of this Ivory Tower. It is said to be as big as a city. We pass over the base of the tower, then it’s mid section, and finally we near the very top of the structure. It is very intricate here. We begin to zoom in on the Magnolia pavilion. The very tip of the Ivory Tower, the place that the Empress lives. +  +  +Nighthob: +     The home of the Empress. She's our only hope. +  +FADE OUT: +  +INT. VIEW- Ivory Tower- The Empresses court +  +The door to the Empress's room opens into the courtyard. Lots of creatures from Fantasia await help from the Empress. The Empress's head servant comes out of her room and speaks to them all. +  +Carion: + Friends, I know why you are all here. The nothing is destroying our world. I also know that you have come to beseech the Empress for help. But I, I have terrible news. The Empress herself has become deathly ill. There seems to be a mysterious link between her illness and the nothing. She is dying. So she cannot save us... +  +There is much commotion among the creatures gathered there, but he continues. +  +             But there just might be one chance. The plains people who + hunt the purple buffalo have among them a great warrior and +he alone has a chance to fight the nothing and save us. He is +our only hope. His name is Atreyu. +  +CUT TO: School attic- Bastian +  +View of Bastian. He looks up from the +book and grabs his school bag. He looks +at the Indians on the front. +  +Bastian: + Atreyu.. +  +Bastian: +The Empress had already sent for the great warrior. When he finally                          appeared on the terrace of the Ivory Tower, he carried with him the hopes of all            Fantasia." +  +View of a young Indian boy walking up the stairs to the old man. +  +Bastian: + A little boy +  +Close up of Atreyu as the old man speaks to him. +  +Carion: +I'm sorry, but this is not the time nor place for children. +I must ask you to leave. +  +Atreyu: + If you don't want me here, +you shouldn't have sent for me. +  +Carion: + It was not you we sent for. We wanted Atreyu. +  +Atreyu: + I am Atreyu. +  +Carion +Not Atreyu the child, Atreyu the warrior. +  +Atreyu: + I am the only Atreyu with the plains people, but I'll be happy to go +back to hunting the purple buffalo.  +  +Carion: +       No wait ! +  +Atreyu pauses as the old man continues.. +  + Come back please. +  +Atreyu walks back up the stairs. The old man looks at him more urgently now. +  +Carion: + If you truly are the Atreyu we sent for, you +                                                         would be willing to go on a quest? +  +Atreyu: + Yes of course, what kind of a quest? +  +Carion: + To find a cure for the Empress .....and to save our world. +No one can give you any advice except this, you must go +alone and you must leave all your weapons behind. +It will be very dangerous. +  +Atreyu: + Is there any chance of success? +  +Carion: + I do not know, but if you fail the Empress will surely die +and our whole world will be destroyed. +  +Atreyu's eyes grow large and he closes them +and hangs his head down. Then he opens +them back up and looks at the old man +determinedly. He takes off his bow and +quiver of arrows. +  +Atreyu: + When do I begin ?  +  +Carion: + Now and you must hurry Atreyu, +the nothing grows stronger everyday. +  +  +He motions him to come nearer. +Carion: + Take this. (He holds up a necklace that has the same +symbol as the front of the book. He fastens it on Atreyu.) +  +" The Auryn" Could be heard whispered +throughout the court filled with creatures. +  +Carion: + He who wears the Auryn speaks for the Empress. +It will guide and protect you. +  +END SCENE: view of Atreyu and his horse galloping away from the ivory tower. –Fade out +  +FADE IN: Dark cave +  +View of a dark cave and we hear +  +Bastian: + At the same time, elsewhere in Fantasia, a creature +of darkness also began his quest. +  +We see two evil eyes open abruptly followed by a horrid howl in the cave and then a wolf as black as night runs out. +  +CUT TO: Atreyu & Artax +  +View of Atreyu and Artax near a stream. +  +            Atreyu is sleeping and we hear +  +Bastian: +They had been traveling aimlessly for almost a week, +but they could not find a cure for the Empress. Neither +Atreyu or his horse, Artax, had the vaguest suspicion +that the creature of darkness, the G'mork, was already +tracking them down. +  +Artax crosses the small stream and wakes up Atreyu by nuzzling him. +  +Atreyu: + Wha ? What is it Artax. Is it time to go already +  + Oh, I know what you want. It's time to eat, +huh? Good idea. +  +Bastian: + No, it's a great idea! +  +Bastian looks up from the book with a smile +and grabbs his lunch from his back pack +and begins to devour it. +  +  +VIEW of Bastian holding half the sandwich. He looks at it. +  +Bastian: +No, not too much. We still have a long way to go. +  +VIEW of Atreyu and Artax traveling again. +  +G'mork arrives were they had been and catches +their scent, and takes off following their trail. +  +CUT TO: Swamps of Sadness +Bastian: +        Atreyu and Artax had searched the Silver Mountains, +the Desert of Shattered Hopes, and the Crystal Towers +without success. And so, there was only one chance left. +To find Morla, the ancient one, the wisest being in +Fantasia who’s home was the Shell Mountain +somewhere in the deadly Swamps of Sadness. +  +Atreyu jumps off Artax and pulls him along through the swamp. +  +Bastian: + Everyone knew that whoever let the sadness +overtake him would sink into the swamp. +  +  +Atreyu pulls his horse along saying reassuring things the whole time. +  +Atreyu: + That's it. You’re doing fine Artax. +  +Suddenly Artax stops and Atreyu pulls on the reigns. Artax doesn't budge +  +Atreyu: +Come on Artax, what's the matter? What's wrong? Come on boy! +  +I understand, it's too difficult for you. (He tries pulling him in a +different direction and steps into a puddle up to his waist. +Suddenly he notices that Artax is sinking) +  +Atreyu: +Artax you're sinking! Come on turn around, you have to! +Now ! Come on! Artax ! +  +He goes closer to him and hugs him. +Atreyu: + Fight against the sadness Artax. Artax, please. +You're letting the sadness of the swamps get to you. +You have to try, you have to care. For me, I'm your +friend, I love you. +  +(Artax doesn't move and Atreyu +slaps the puddle sending water flying toward the +horse. He yells at him again.) +  +Artax, you're sinking! Come on, turn around, you have to, now! +Come on! Artax! Fight against the sadness, Artax. Artax, please, +you're letting the sadness of the swamps get to you. You have +to try. You have to care, for me, you're my friend, and I love you. +Artax! Stupid horse! You've gotta move or you'll die! Move, please! +I won't give up! Don't quit! Artax! Please! +  +(then he pleads with him.) +  +Move please. I won't give up! Jump quick! Artax please! +  +FADE OUT: +  +  +FADE IN: +  +SPLIT VIEW: of Atreyu sitting on a log crying as he looks at the spot where Artax had once been, and of Bastian looking up from the book. Both have tears streaming down their face, Bastian blows his nose on his handkerchief. Bastian turns the page. +  +VIEW: of Atreyu walking through the swamps crying. He stops suddenly and we see a mountain. +  +  +                                                     Atreyu: +The Shell Mountain. +  +VIEW: of Bastian as he looks up from the book. +  +                                                                Bastian: +      Morla the ancient one. +  +WIDE VIEW: +Atreyu climbs up the muddy mountain and calls for Morla several times. The mountain      starts moving and he grabs a tree branch. The branch breaks and he slides down the mountain, hurting his shoulder. He lands in the swamp ground below and turns and crawls away to a tree nearby that faces the mountain. He climbs it and sees a giant turtle head coming out of the mountain. Bastian screams and Atreyu and Morla look around. +  +Bastian sits up SURPRISED. +Bastian: +But that's impossible, they couldn't have heard me. +  +Atreyu: +Are you Morla, the ancient one? +  +Morla: +Not that it matters but yes. +  +Atreyu: +Please help me Morla. Do you recognize this? +  +            Morla: +Well, we haven't seen the Auryn in a long time. +  +Atreyu: +We ? (he looks around) Is there someone else here too? +  +Morla: +We haven't spoken to anyone else for thousands of years, +so we started talking to ourselves. +  +(she sneezes and blows Atreyu out of the tree.) +  +Atreyu: +Morla, I bring terrible news. Did you know that + the Empress is very ill? +  +            Morla: +Not that it matters, but yes. Actually we don't care. +  +            Atreyu: +If I don't save her, she'll die! There's a terrible nothing +sweeping over the land. Don't you care about that? ! +  +            Morla: +We don't even care whether on not we care. +  +            Atreyu: +Do you have a cold? +  +Morla: +No, we're allergic to youth. +  +Atreyu: +You know how I can help the Empress don't you? +  +Morla: +Not that it matters, but yes. +  +          Atreyu: +If you don't tell me and the nothing keeps coming, +you'll die to! Both of you! +            +Morla: +Die ? That at least would be something. +  +She starts to sneeze again, but doesn't so Atreyu relaxes his grip +on the tree. Unknowing that she can sneeze at any moment. +  +            Atreyu: +Please tell me. You said you knew the answer. +            +She sneezes and blows him out of the tree. She becomes agitated. +  +            Morla: +We're tired of sneezing, go away. Nothing matters. +  +            Atreyu: +(He climbs back up the tree) +  +That's not true. +If it didn't really matter to you then you'd tell me. +  +            Morla: +        Hah hah, clever boy. +  +Atreyu: +        Tell me please ! +  +            Morla: +We don't know, but you can ask the Southern Oracle. +  +Atreyu: +       How can I get there? +  +            Morla: +You can't . It's ten thousand miles away. +  +            Atreyu: +        But that's so far. +  +            Morla: +      That's right. Forget it. Good night. +  +  +CUT TO: School hallway +  +The school bell rings and Bastian sits up with a start. The school day +Has ended and everyone is leaving. Bastian walks out as the lights turn off. +The attic is spooky, it is dark and stormy. Bastian grabs his +stuff and runs out of the attic, but then comes back, shaking his head. +  +            Bastian: +                 No. Atreyu wouldn't quit now. +  +He starts back towards the mat, but lightning followed by a loud clap of thunder +Startles Bastian prompting him to leap backwards. A wolf head from an old school festival falls down in front of him and he screams in terror. +  +CUT TO: Swamps +  +View of Atreyu stumbling, exhausted through the swamp. He falls several +times and has to stop for rest. His shoulder really hurts him. Atreyu stumbles +into a puddle up to his neck and we see the wolf running after him. As Atreyu +starts to faint he looks up and sees a dragon coming towards him from high in + the sky. The wolf reaches him right as the dragon picks him up. The wolf +howls in anger as he misses the boy. +  +END SCENE: +  +FADE IN: Attic- Bastian +  +Bastian flops down on his back and sighs. Relieved that Atreyu +escaped the G’mork and the swamps, but what was that creature +that saved him? Bastian sits back up and starts reading again. +  +            Bastian: +After days and nights of unconsciousness, Atreyu slowly +opened his eyes and found himself in strange surroundings. +He was clean and his wounds were dressed. +  +VIEW: - Atreyu waking up. His is asleep behind the arm of +the dog-like dragon. He lifts it's arm so he can get away. +The dragon opens one eye, then closes it. +  +            Atreyu: +Shew. +  +            Falkor: +The dragon wakes up as Atreyu runs away. +Leaving so soon, hmm? +  +            Atreyu: +Uh, I was just going..... I have to ...... +I was trying to ... (he stutters.) +  +            Falkor: +            Sneak away? +  +Atreyu: +Yea..... I mean no. No! +  +            Falkor: +I like children. +  +            Atreyu: +For breakfast? +  +            Falkor: +Never ! I'm a luck dragon. My name is Falkor. +  +            Atreyu: +And my name is.. +  +            Falkor: +Atreyu. And you're on a quest. +  +            Atreyu: +How'd you know that? +  +            Falkor: +You were unconscious and you talked in your sleep. +  +Atreyu: +Wha? +  +            Falkor: +(Falkor starts straining to reach his ear, but his leg is to short.) +Could you get round and scratch behind my right ear? +  +            Falkor: +I can never quite reach it. +  +            Atreyu: +(Atreyu starts scratching a spot.) Here? +  +            Falkor: +Oh yea. Huh huh huh, oh. That's so good. Thank you. +  +            Falkor: +So little fella, you're on you're way to the Southern Oracle? +  +            Atreyu: +Yes, but it's hopeless. It's too far away! +  +            Falkor: +Oh, I wouldn't necessarily say that. +  +            Atreyu: +Do you know how to get there? +  +            Falkor: +Why sure, it's right around the corner. +  +            Atreyu: +How'd all this happen?! +  +  +            +Falkor: +With luck ! +  +            Atreyu: +You've already brought me the entire Ten thousand miles? +  +            Falkor: +No, only nine thousand eight hundred and ninety one, +as the dragon flies. +  +            Atreyu: +You're amazing! +  +            Falkor: +                      Having a luck dragon with you is the only way to go on a +                     Quest. Things will work out fine Atreyu. Never give up hope and +                 Good luck will find you. +  +            Atreyu: +It's good to have a friend again. +  +            Falkor: +You have more than one. Look. +  +(motioning behind Atreyu.) +  +  +Atreyu goes to a small entrance and bends down to look in. +A tiny old man sits writing in a book and an old lady comes +in humming a tune. She throws some worms into a pot and +stops to eat one. Atreyu closes his eyes disgusted. +Atreyu smile as they start fighting. +            Engywook: +Get out of my light wench. You're disturbing my scientific work. +  +            Urgl: +You and your scientific work. What the boy needs now is one of my potions. +  +            Engywook: +The boy will need my scientific advice much more. +  +            Urgl: +Yes, yes, but not until he's well. Get back to your own place. +I'm always finding you in my place! +  +            Engywook: +I'm going. +  +Atreyu clears his throat to get their attention +  +            Engywook: +He's well! Now it's my turn with him. +  +  +            Urgl: +Oh no you don't! I decide when he's well. +It's your turn when I say it's your turn. +  +VIEW -She gets a cup full of the mixture in the pot and comes to stand in front of him. +  +Urgl: +Well, little man, still in pain ? +  +He puts a hand on his shoulder as he speaks to her. Testing the bandage. +  +            Atreyu: +         Um, a little, but it's all right. +  +            Urgl: +I like that. The patient telling the doctor it's all right. +It has to hurt if it's to heal. +  +(She stops and sniffs the cup then holds it out to him.) +  +Here. Drink that. +  +       (He takes it from her and starts drinking.) +  +            Urgl: +Good, huh? That's my batwing broth. There's eye of newt +in there, tree mold, old lizard brains, scales from a +rancid sea serpent. +  +Atreyu looks at the cup like he's sick. The old man stands and speaks to him. +  +            Engywook: +Just where did you and your dragon come from? +What are you onto? Anything of interest to the +scientific community? +  +            Atreyu: +My name's Atreyu. I came here to find the Southern Oracle. +  +            Engywook: +Oh, you've come to the right place my boy. +  +            Urgl: +           Here we go again. +  +            Engywook: +I am somewhat of an expert on the Southern Oracle. +  +            Urgl: +        It's my scientific specialty. +       (she mocks Engywook) +  +            Engywook: +            It's my scientific specialty. +  +            +              Urgl: +Why don't you sit down and be quiet for once ?! +  +            Engywook: +You keep quiet wench. +  +            Urgl: +Oh ! +  +            Engywook: +It's now my turn. +  +            Engywook: + My name is Engywook. Uh, she's Urgl. Ever heard of me? +  +            Atreyu: +I don't think so. +  +            Engywook: +You don't move in scientific circles. +  +  +Atreyu smiled apologetically and shook his head no. +  +            Engywook: +I am the expert on the Southern Oracle. +Oh you've come to the right place my boy. +  +            Urgl: +There's no fool like an old fool. +  +            Engywook: +Wait. Stay here. To the observatory. he says stopping her. +To the winch ,wench ! +  +CUT TO: +View of Urgl turning a handle of a large machine that pulls a +Basket carrying Engywook to the top of a high ledge on one +of the surrounding rocks. Atreyu follows him on the ground. +            +  +Engywook: +Come on lazy bones, can't you go any faster ? +  +I've been studying the mystery of the Southern Oracle for +years, someday I'll publish my book : A Century of Studying +The Southern Oracle by Professor Engywook, volume one +The Early Years. +  +Atreyu: +Have you ever been to the Southern Oracle ? +  +            Engywook: +Well, what do you think? I work scientifically. +  +As Atreyu pulls himself up on the ledge he sees 2 great sphinx-like statues. +The man looks into a improvised sort of telescope and then tells Atreyu to do the same. +  +            Atreyu: +Is that the Southern Oracle ? +  +            Engywook: +Well, no. It's the first of the 2 gates you must pass through +before you reach the Southern Oracle and get me the final +information for my book. Of course, most people never get +that far. +  +Atreyu: +Why? +  +            Engywook: +The sphinx's eyes stay closed until someone who does +not feel his own worth tries to pass by. Ah ! +Here comes one that looks fancy. +  +VIEW of a man in fancy armor approaching the gate. +  +            Engywook: +Let's see what he really thinks of himself +  +(Atreyu watches through the telescope. +The man starts to hesitate.) +  +Go on scaredy cat. Oh, go on! +  +            Engywook: +Oh, it's my turn, let me see. +  +(Atreyu ignores him.) +  +I'm the scientist. +  +            Atreyu: +He's going on. I think he's gonna make it. +  +            Engywook: +                                    The sphinx's eyes, are they open are shut? Let me see ! +  +            Atreyu: +They're shut. +  +(he looks back and forth between them.) +  +No wait ! The eyes are open ! +  +Ray’s of pure light shoot out of the sphinx's eyes and zap the man. Atreyu looks up, shocked at the sight he had seen. +            Engywook: +Oh no! Did he make it ? Did he? +            +Atreyu: +(Atreyu shakes his head.) No. +            Engywook: +Fancy armor doesn't help much. The sphinxes can see +straight into your heart. Listen boy, next time let me see +what happens ! It's my telescope. +  +            Atreyu: +(Atreyu sets his jaw determinedly.) I'm gonna try it. +            +Atreyu starts climbing down as Engywook calls after him +  +            Engywook: +No ! Don't go yet. I haven't told you about the next gate. +It's even worse than this one. Atreyu ! Atreyu ! +  +Atreyu continues on and approaches the gate. As he walks up the eyes stay closed. +  +            Engywook: +He'll never make it. He'll never make it. +  +Atreyu does fine until he sees the fallen man, who is just a charred skeleton. He panics and starts looking back and forth between the 2 sphinxes. +  +            Engywook: +(The old man cries out.) +Don't start to doubt yourself now ,be confident ! +  +            Bastian: +(Bastian cries out ) +Be confident , be confident. +  +The eyes open and Bastian cries out. +            Bastian: +Run Atreyu run ! +  +            Engywook: +Run Atreyu ! +  +Atreyu looks straight ahead and Bastian calls out. +  +            Bastian: +Run now! +  +Atreyu runs through the gate and just barely makes it. He turns and looks back, then sighs. +  +Engywook is so happy he jumps in the basket and falls out when he gets back to where Falkor and Urgl are. +            Engywook: +He made it ,he made it ! +            +View: Urgl is giving Falkor a shot. +            Urgl: +You could do with a dose of juicy vitamins too. +  +            Engywook: +He made it, Atreyu, he made it through the sphinx gate. +I always said he could do it. +            Urgl: + Oh good ! But that's no reason for you to go falling out of the Basket again? +  +Engywook: +Oh hogwash! +  +            Falkor: +I knew he would be safe. +  +            Engywook: +Nonsense ! You don't understand anything! +The worst one is coming up. +Next is the Magic Mirror gate. +Atreyu has to face his true self. +  +            Falkor: +So what ? That won't be too hard for him. +  +            Engywook: +Oh ! That's what everyone thinks. But kind people +find that they are cruel, brave men discover that +they are really cowards. Confronted with their true +selves most men run away screaming ! +VIEW: +of Atreyu in a blizzard. He approaches the Mirror gate and looks into it. + After a while, he sees Bastian reading the story. Bastian looks up then +throws the book across the room. +            Bastian: +No. This is going too far. +  +(He pauses and looks at the book.) +  +What if they really do know about me in Fantasia? +  +(He picks the book back up.) +  +  +VIEW: +of Atreyu. He sticks his hand through the Mirror and then pulls it back out. +Then he walks through the gate. +            Bastian: +(Bastian lights a candle) +The Southern Oracle? +  +Atreyu approaches another two sphinxes. As he approaches they start speaking to him. +  +            Oracle: +                 Do not be afraid. We will not harm you. +                    We have been waiting for you a long time Atreyu. +  +(they speak in unison.) +  +            Atreyu: +Are you the Southern Oracle? +  +  +            Oracle: +Yes, we are. +  +            Atreyu: +Then you must know what can save Fantasia ! +  +            Oracle: +Yes we do. +  +            Atreyu: +Well, what is it ? I have to know. +  +            Oracle: +The Empress needs.... a new name. +  +            Atreyu: +A new name. Is that all ? But that's easy ! +I can give her any name she wants. +  +            Oracle: +No one from Fantasia can do it, only a human child. +  +            Atreyu: +A human child ? Where can I find one? +  +            Oracle: +They can only be reached beyond the boundaries +of Fantasia. You must hurry Atreyu. We do not +know how much longer we can withstand the nothing. +  +(The sphinxes start crumbling. Atreyu runs away calling for Falkor.) +  +VIEW - Falkor with Atreyu on his back. They are flying over Fantasia. +  +            Atreyu: +Hurry Falkor, the nothing's everywhere. +  +            Falkor: +Don't worry. We'll reach the boundaries of Fantasia. +  +            Atreyu: +Do you know where they are ? +  +            Falkor: +I have no idea. +  +            Atreyu: +Then how are we supposed to find them? +  +            Falkor: +With luck. +  +            Atreyu: +Faster Falkor, faster. +  +  +                                                                Falkor: +All right ! Hang on tight! +VIEW- +Falkor carrying Atreyu over many different lands of Fantasia. +A beautiful display of landscapes play over the screen then we +  +CUT TO- Attic window – CLOSE UP of Bastian. +  +  +            Bastian: +What a shame they don't ask me. My mother, +she had such a wonderful name. +  +He closes the window and goes back to reading the book. +  +On and on they flew until they reached the +Sea of Possibilities where they could go no further. +  +VIEW of Falkor and Atreyu. The sky is gray and is incredibly windy. +Great storm clouds can be seen all around churning and expanding. +It is the Nothing, the force destroying fantasia, and Falkor and Atreyu +Have ended up right in the center of part of it. +  +            Falkor: +Look Atreyu, the nothing. +  +Falkor is tossed around in all directions, Atreyu tries to hold on as best as he can. The wind blows wilder and wilder until finally it tosses Falkor onto his back, and knocks his passenger into the air. Atreyu falls, but Falkor cannot get to him before he disappears into the chaos below. +  +CUT TO- Attic +  +The window bursts open and Bastian climbs up and closes it. Against a torrent of rain and wind. Finally he gets the window closed and he looks down at the book, he is soaked, and a bit winded at his experience. Then he remembers the story hero. +  +                                                             Bastian:                                                            + Atreyu ! +FADE TO- +View of Atreyu on a lying on a beach. Atreyu wakes with a start, +and discovers that the Auryn is gone. He stands up and looks at + the sky, searching frantically for his friend Falkor, but Falkor is +not there. +  +            Atreyu: +Falkor !Falkor !Where are you? Falkor ! +  +Somewhere in the heavens Falkor is searching for Atreyu. +  +            Falkor: +View of Falkor calling for Atreyu." Atreyu ! Atreyu ! +            +Atreyu: +Falkor ! +  +Atreyu reluctantly gives up on calling Falkor. He turns his eyes +to the beach, he finds a trail of foot prints in the sand, but they were not his, +but that of a large beast. Atreyu follows them and Finds himself following a +path to a city that has seen better days.On his way he stopps to rest leaning +against the remains of what seems like a stone wall, but he soon finds that it +was not a wall at all, but a Rockbiter. The giant looks down at atreyu and holds + out his hands. +  +            Rockbiter: +They look like big, good, strong hands. Don't they? +  +       (Atreyu looks down saddened.) +            +         I always thought that's what they were. My little friends. +      The little man with his racing snail, the Nighthob, even +    the stupid bat. I couldn't hold on to them. The nothing +pulled them right out of my hands. I failed. +  +Atreyu looks down, feeling terrible. +            Atreyu: +No you didn't fail. I'm the one who was chosen to stop the nothing. +But I lost the Auryn, I can't find my luck dragon, so I won't be able +to get past the boundaries of Fantasia. +  +            Rockbiter: +Listen, the nothing will be here any minute. +I will just sit here and let it take me away too. +They look like big, good, strong hands. Don't they? +  +Rockbiter starts crying as Atreyu shakes his head yes and fights his own tears. +He continues along the trail again, and finds himself in a different part of the city. +Ahead of him is a larce mostly intact building, Atreyu dodges falling rocks and +enters an opening. +  +On the walls are paintings of everything that's happened during his Quest. +The Empress giving the Auryn to Carion, Carion giving the Auryn to Atreyu, + Atreyu trying to save Artax in the Swamps of Sadness, Morla, and Falkor, +and more. +  +As Atreyu turns a corner he sees a painting of a wolf, then he turns another + corner and sees the wolf hiding in a smaller opening. It growls wildly at Atreyu +as he approaches +  +            +G’mork: +If you come any closer I will rip you to shreds. +  +Atreyu squats down where he's at and looks at the wolf. +  +            Atreyu: +Who are you? +  +            G’mork: +I am G'mork. And you, whoever you are, +can have the honor of being my last victim. +  +            Atreyu: +I will not die easily. I am a warrior. +  +            G’mork: +(G'mork laughs.) Brave warrior, then fight the nothing. +  +            Atreyu: +But I can't ! I can't get beyond the boundaries of Fantasia. +  +G'mork laughs and Atreyu grows angry. +            Atreyu: +What's so funny about that ? +  +            G’mork: +Fantasia has no boundaries. +  +A storm grows closer to the city, slowly shaking it to pieces… + Rocks fall here and there. +            Atreyu: +That's not true. You're lying. +  +            G’mork: +Foolish boy. Don't you know anything about Fantasia? +It's the world of human fantasy. Every part ,every +creature of it, is a piece of the dreams and hopes of mankind. +Therefor, it has no boundaries. +  +There's a crash and more rocks fall. +            +Atreyu: +But why is Fantasia dying then ? +  +            G’mork: +Because people have begun to loose their hopes +and forget their dreams. So the nothing grows stronger. +  +            Atreyu: +What is the nothing ?! +  +            G’mork: +It's the emptiness that's left. It's like a despair, +destroying this world. And I have been trying to help it. +  +  +            Atreyu: +But why ? +  +            G’mork: +Because people who have no hopes are easy to control. +And whoever has control has the power. +  +A large crash shakes the ground. Atreyu loses his balance for a moment, +but quickly regains it and turns back to the wolf. He gives him a cold look +then asks him, +            Atreyu: +Who are you really ? +  +            G’mork: +I am the servant of the power behind the nothing. +I was sent to kill the only one who could have +stopped the nothing. I lost him in the Swamps of +Sadness. His name was Atreyu. +  +The ground shakes and Atreyu falls over backward. He grabs a long, sharp +piece of broken stone and stands up. He then yells at G'mork. +  +            Atreyu: +If we're about to die anyway, I'd rather die fighting. +Come for me G'mork ! I am Atreyu! +  +G'mork growls and jumps at him. Atreyu plunges the sharp rock into the beasts +heart, killing the G’mork. As Atreyu pulls himself from the carcass of the G’mork, + Atreyu finds that the beast managed to inflict a wound on Atreyu. He stands and + winces at the deep gash across his chest. Another crash echoes through the +ruins as Atreyu makes his way out of the ruins. +  +CUT TO- Ocean –Falkor under water +  +Falkor dived deep into the Sea following a slight ray of light from beneath the +waves. As he swims deeper and deeper more and more bubbles form around +his body, finally he reaches a coral reef, and finds that the ray of light was +coming from the lost necklace. Falkor opens his mouth, and plucks the Auryn + from the coral with his teeth. +  +Driven by a will much like his own he headed straight for the abandoned city. +Below him he could barely make out the form of Atryeu leaving a collapsing +building. +  +Atreyu comes out of an opening and latches onto a tree as the Nothing consumes +more and more the surrounding land. Atreyu calls out for Falkor and this time Falkor +calls back. +  +                                                                        Falkor: +     Atreyu, hang on! +  +Atreyu holds tight to the tree as strong winds threaten to rip him from the branches. +Almost as he was losing his grip Falkor plucked him out of the tree, and headed for + safer skies. But that was all there was left, below them the Nothing enveloped the remaining pieces of land. Fantasia was gone. +  +                                                                        Bastian: +                               That was the end of Fantasia. Only a few fragments remained +    of this once rich and beautiful world had been left by the nothing. +  +VIEW – +Falkor flies through a belt of fragments still remaining after the Nothing. +The sky is  graveyard of left over pieces of Fantasia. Atreyu wakes from +his exhaustion and looks around with a heavy heart. +  +            Atreyu: +Good old Falkor, can you see anything ? Anything at all ? +  +            Falkor: +No, all the land is gone. +  +            Atreyu: +I know, and all because I failed. +  +            Falkor: +You tried. +  +            Atreyu: +Do you suppose the Ivory Tower is still standing? +  +            Falkor: +Let's hope so, Atreyu. Let's hope so. +  +Atreyu looks down at the amulet dangling from his neck, and gets an idea + that might just help them. +  +            Atreyu: +Let the Auryn guide you. +  +(He clutches the medallion with his hands ) +  +If the Ivory Tower still stands take us there. +CLOSE UP- +  +VIEW- +The Auryn starts glowing and the fragments move, behind them standing + in all its glory is the ivory tower. +  +            Atreyu: +Falkor ! The Ivory Tower ! +  +They approach the tower. And it appears to have been spared by the Nothing. +We span over all its beautiful features before we come to rest at the court +before the Empress’s chamber. +  +VIEW-  Bastian. He leans forward and whispers +  +                                                                            Bastian: +The Empress +  +  +  +VIEW- +Atreyu walks up the stairs that lead to the Empress's room. The chamber +door begins to open. He pauses and looks back at Falkor. +  +            Falkor: +Go on. +  +He enters the room and the door closes behind him. Before him was the Childlike Empress in person. She sits silently on her bed, her gaze never leaves Atreyu. +  +            Childlike Empress: +                                                        Atreyu, why do you look so sad? +  +He takes off the Auryn and hands it to her. She looks at it, and then him +for an explanation. +  +            Atreyu: +                                                            I have failed you Empress. +  +            Childlike Empress: +                                                  No, you haven't. You've brought him with you. +  +            Atreyu: +   Who ? +  +            Childlike Empress: +                                            The Earthling child. The one who can save us all. +  +            Atreyu: +               You knew about the Earthling child ?! +  +            Childlike Empress: +                        Of course. I knew everything. +  +            Atreyu: +(Atreyu grows angry with her) +  +My horse died, I nearly drowned, and I just + barely got away from the nothing. For what ?! +To find out what you already knew ?! +  +            Childlike Empress: +                                           It was the only way to get in touch with an Earthling. +  +            Atreyu: +                                                  But I didn't get in touch with an Earthling ! +  +                 Childlike Empress: +                                                                           Yes, you did. +  +Bastian sits up slowly as we hear what she's saying. +  +            Childlike Empress: +                                    He has suffered with you. He went through everything you went +                                     through. And now, he has come here with you. He's very close. +                                                       Listening to every word that we say. +            +Atreyu looks around, as does she. +  +                                                                        Bastian: +                                                                        What ?! +  +Two fragments of Fantasia collide and explode shaking the Tower Violently. +            +             Atreyu: + Where is he ? If he's so close, why doesn't he arrive ?! +  +            Childlike Empress: +                                                He doesn't realize that he's already a part +                                                            of the Neverending Story. +  +            Atreyu: +                                                    The Neverending Story, what's that ? +  +            Childlike Empress: +                                                Just as he is sharing all your adventures, other's +are sharing his. They were with him when he hid +from the boys in the bookstore. +  +            Bastian: +    But that's impossible! +  +            Childlike Empress: + They were with him when he took the book with the +Auryn symbol on the cover, in which he's reading his +own story right now. +  +                          Bastian: +I can't believe it, they can't be talking about me. +  +The Ivory Tower cracks. Atreyu turns around to +see where it cracked, then he turns back to the +Empress. +  +            Atreyu: +What will happen if he doesn't appear?! +  +            Childlike Empress: +                                                Then our world will disappear, and so will I. +  +            Atreyu: +          How can he let that happen ?! +  +            Childlike Empress: +                                            He doesn't understand that he's the one who has the +                                            power to stop it. He simply can't imagine that one little +              boy could be that important. +  +            Bastian: +                                                                         Is it really me ? +  +  +            Atreyu: +                                                  Maybe he doesn't know what he has to do ! +  +            Childlike Empress: +                                                                  What do I have to do ?! +  +            Childlike Empress: +                                                He has to give me a new name. He's already +                                                          chosen it, he just has to call it out. +  +            Bastian: +                                                        It's only a story, it's not real. It's only a story. +  +The Ivory Tower shakes and cracks some more. Atreyu falls over backward +and is knocked unconscious. +  +                                                            Bastian: +                                                              Atreyu ! NO! +  +            Childlike Empress: +                                                                        Atreyu ! +  +EXT. VIEW- +the courtyard is being taken away by the Nothing. Because of Bastians new +found disbelief the Nothing has grown stronger and is now attacking the last remaining part of Fantasia. +  +            Childlike Empress: +  Bastian, why don't you do what you dream, Bastian ? +  +            Bastian: +                                           But I can't ! I have to keep my feet on the ground! +  +            Childlike Empress: +                                                Call my name ! Bastian, please ! Save us ! +  +            +            Bastian: +                                            All right, I'll do it. I'll save you. I will do what I dream! +  +He climbs up to the window and opens it. He leans out into the storm and calls out the name he had chosen for her. +  +            Bastian: +                                                                          MOONCHILD! +  +NEXT SCENE- +Darkness, pure and black as night. We hear Bastian speak. +  +            Bastian: +                                                                    Why is it so dark? +  +            Empress Moonchild: +        In the beginning it is always dark. +  +  +A small light appears and starts growing until the two childs faces are + illuminated. It is coming from an object in Moonchild's hand. Bastian looks at it. +  +            Bastian: +                                                                        What is that ? +  +            Empress Moonchild: +                                         One grain of sand. It is all that remains of my vast empire. +  +            Bastian: +                                                           Fantasia has totally disappeared ? +  +            Empress Moonchild: +                                                                                  Yes. +  +            Bastian: +                                                          Then everything has been in vain. +  +            Empress Moonchild: +                                                    No, it hasn't. Fantasia can arise in you . +                                                       In your dreams and wishes Bastian. +  +            Bastian: +                                                                                 How ? +  +            Empress Moonchild: +                                                                         Open your hand. +  +She puts the grain into his hand and he looks at it. +  +            Empress Moonchild: +        What are you going to wish for ? +  +            Bastian: +                                                                             I don't know. +  +            Empress Moonchild: +                                                       Then there will be no Fantasia any more. +  +            Bastian: +                                                                   How many wishes do I get? +  +            Empress Moonchild: +                                            As many as you want. And the more wishes you make, +                                                     the more magnificent Fantasia will become. +  +            Bastian: +                                                                               Really ? +  +            Empress Moonchild: +                                                                                 Try it. +                        +                                                                                Bastian: +                                                                    Then my first wish is... +  +Moonchild follows his gaze and smiles. +  +CUT TO- Bastian riding Falkor +  +            Below them Fantasia has been reborn. Everything appears as before. +  +            Bastian: +                                                          Falkor, it's even more beautiful +                                                                          than I thought. +  +            Falkor: +                                                                               Like it ? +  +            Bastian: +                                                                     Falkor, it's wonderful ! +  +                                                                   (Bastian looks around.) +  +                                                            Falkor, it's like the nothing never was. +  +They fly over Rockbiter, the Nighthob, and the little man. Bastian waves +to them and Rockbiter waves back. They change their direction and suddenly below them is a great endless field, the Great Plains. Bastian looks down and sees a familiar face from his imagination, only now its real. +  +            Bastian: +                                                                     Atreyu ! Artax ! +  +             Atreyu looks up, laughs, and waves as he and Artax are headed for home. +  +            Falkor: +                                                        What would you like to wish for next? +  +Bastian leans over and whispers in his ear. Falkor laughs. +  +CUT TO- +View of the three bullies talking out on the street where they had chased Bastian the day before. They look up at the sky as Falkor and Bastian appear and start chasing them. They scream… +  +            Bully: +                                                                            A monster ! +  +            Bastian: +                                                  Yea ! Look there they are ! Get 'em Falkor. +                                                         Let's see how you like it chickens! +  +            Bully: +                                                                            Down here ! +  +(one of them cries pointing to the alley. They start to rest, but Falkor chases +them down there too. They start running again.) +  +            Bastian: +                                                                     We're gonna get you guys ! +  +They run down the alley and jump into the dumpster as Falkor flies by them, laughing. They peer out of the dumpster and then duck back in. +  +VIEW- of buildings and the sky. We hear a voice, a narrator. +  +            Narrator: +     Bastian made many other wishes and had many other amazing +           adventures before finally returning to the ordinary world. +                                          But that's another story. +  +  +END CREDITS +  + + +This Script was Created by AranMax +
 +
 diff --git a/unformated_scripts/Script_New York Minute.txt b/unformated_scripts/Script_New York Minute.txt new file mode 100644 index 0000000000000000000000000000000000000000..189b97371f1df00d1c9f9b52467109141bcda04a --- /dev/null +++ b/unformated_scripts/Script_New York Minute.txt @@ -0,0 +1 @@ +NEW YORK MINUTE by Emily Fox revisions by Mark Steilen REVISED SECOND DRAFT February 27, 2003FADE IN:EXT. SUBURBAN STREET - DAWNCLOSE ON the anxious, sweating, frightened face of DREWMacLEOD, 17, running to save her life. Think DustinHoffman in Marathon Man -- someone, something -- is afterher but UNSEEN.She glances fearfully behind at her mysterious pursuer,her BREATHING becoming more labored.Cutting through a deserted park, she leaps a bench.Above her, the thin morning sun has only begun to lightenthe leaves.Around the corner, she's back on a sidewalk lined withbeautiful homes, all quiet at dawn, the only noise herracing FOOTSTEPS and quickening BREATHS.DREW'S POV - HER OWN FRONT DOORand safety loom half a block down. She pours on theeffort, hurdles a hedge, jumps the stairs and makes thedoor, rips it open, bolts inside and SLAMS it shut.ANGLE ON THE SHRUBwhere, with the CAMERA AT GROUND LEVEL, a GOLDENRETRIEVER PUPPY, unable to leap the hedge, PLOWS INTO ITHEADFIRST and disappears. YELP!INT. MacLEOD HOUSE - FOYER - CONTINUOUS ACTIONDrew, wheezing from the exertion, pulls an ASTHMA INHALERfrom her pocket, takes a hit, then peeks out the windowin the front door and sees...DREW'S POVThe puppy squeezes through the hedge, wiggling its bum toextricate itself. A SIX-YEAR-OLD GIRL picks it up, hugsit close: SIX-YEAR-OLD GIRL Where are you going, Jelly Bean? CUT TO: 2.INT. MacLEOD HOUSE - PARKER'S ROOM - MORNINGCLOSE ON A JAPANESE EXECUTIVE (with a CLOCK in his belly)which suddenly begins SCREAMING IN JAPANESE, ITS JAWWAGGING.From under piles of clothes and sheets, PARKER MacLEOD,17, Drew's twin sister, opens one eye, shuts OFF theshrieking ALARM CLOCK.With a SIGH, she throws her feet over the edge of thebed. Her room is a train wreck. Grabbing a MatchBox 20T-shirt from the pile on the bed, she gives it a sniff.Good enough. Pulling it on, she pauses, looks a bitconcerned down at her navel.A recent belly-button piercing looks a little red. Shetouches it. Ouch. When a RINGING is heard, she beginstossing clothes, blankets, shoes, trying to unearth thesource.She pulls her BLACKBERRY from under the covers:THOREAU 786: MADE CRITICAL ERROR LAST P.M.Parker snickers, types her return from...NOTATWIN: CONFESSTHOREAU 786: DROPPED TRIPLE DEPTH CHARGE AFTER DINNER.NOTATWIN: THAT MUCH CAFFEINE IS ILLEGAL IN UTAH.THOREAU 786: THEN BOUGHT 'NO MONEY DOWN' REAL ESTATECOURSE AROUND 3:00 A.M.This makes her smile.NOTATWIN: A CAREER MAN. I LIKE THAT. CUT TO:INT. MacLEOD HOUSE - BATHROOM - MORNINGDrew stands before the mirror, perfecting perfection. Ina tasteful suit, hair just so, she opens the drawer...... which is hyper-organized, everything in a littlelabeled nook. She pulls out tweezers and we see beneathwhere it says, "tweezers."She leans into the mirror very close, spots a strayeyebrow hair, plucks it. Pulling back, she raises herother eyebrow. Huh. Now they're not even. (CONTINUED) 3.CONTINUED:She leans in again and plucks one from the other eyebrow.Uh-oh. This is like when your mom cuts your hair andkeeps cutting to get it even until you're shaved. Shereaches for the other side... but suddenly catchesherself and stops. Deep breath. Let's not get toopsychotic.She dunks the tweezers in the alcohol jar, then replacesthem.Checking her teeth, she spots a stuck bit. Grabbing herWATER PICK she begins cleaning her teeth. PARKER (O.S.) Morning.Startled, Drew shoots herself in the eye with the waterpick. Parker's ENTERED from her side. Drew shuts offthe water pick, dries her face. PARKER Why the young executive look? DREW I have my interview at NYU today.Parker, sleepy, stretches, unaware she's exposing her newbelly ring. DREW No way Mom knows about that.Self-consciously, Parker drops her arms, pulls her shirtdown. PARKER And she never will. At least until after I'm married. DREW Didn't it hurt? PARKER Like hell.Drew shivers. DREW Piercings are so... unhygienic.A little BEEP BEEP from her preset WATCH ALARM goes off. (CONTINUED) 4.CONTINUED: DREW Breakfast.Drew turns on her heel and EXITS. When Parker sets herBlackberry down we get our first glimpse of...... HER SIDE OF THE BATHROOM which resembles a post-apocalyptic toiletry landscape. There's a very clearline of demarcation on the counter like the demilitarizedzone separating the Koreas.Parker reaches among the rubble for her toothbrush butnotices another message on her Blackberry:THOREAU 786: KNOW WHAT TODAY IS?NOTATWIN: ANOTHER DAY IN HELL?THOREAU 786: TWO WEEKS SINCE OUR FIRST CHAT.NOTATWIN: OUR ANNIVERSARY. HOW SWEET.THOREAU 786: SINCE IT'S A SPECIAL OCCASION, MY REALNAME'S WARREN COLLIER. IF YOU'RE EVER IN THE CITY, I'DLOVE TO MEET. GOTTA GO.Accompanying the text, a PICTURE Warren has sent finishesdownloading -- eighteenish, the shaggy chic, Calvin Kleinmodel-type. PARKER (suddenly wide-awake) Hellooo, Warren.Distracted, Parker drops her toothbrush, which bouncesoff the counter and PLOPS into the toilet.ON THE TOILET BOWL -- there it is, slowly sinking.Parker is stone-faced. She looks to her sister's side ofthe counter where a fresh brush sits in the floweredholder. She's considering... she's reaching... then...nah.Instead, she squeezes the tube straight into her mouth,brushes with a finger and spits.INT. MacLEOD HOUSE - KITCHEN - MORNINGDrew's seated, napkin on lap, eating granola and studyingher open DAYBOOK. (CONTINUED) 5.CONTINUED:DR. QUINN MacLEOD, dressed professionally and obviouslytogether even at this hour, pours coffee for herself andher husband, PROFESSOR CHARLEY MacLEOD, who ENTERS stillin his ratty old bathrobe and outrageous bed-head.As a matter of routine, Quinn holds out his cup and hetakes it, kisses her and sits down to the paper. DREW Morning, Dad. CHARLEY Morning, baby. DREW How's the book coming? CHARLEY (sigh) Well, sweety, my writing process is a lot like a giant hydroelectric dam. For a long time I just let the great ideas build up and build up until the sheer weight of them spills over and the words just come pouring out. DREW Still stuck, huh? CHARLEY Not a word.Parker ENTERS with her Blackberry in hand, smooches herpop, then takes a sat.Parker's clearly a chip off her Dad's block. Both pourmilk first into their bowl, then Charley drops in SuperSugar Crisp while Parker pours in Count Chocula. Bothhit 'em with a couple of spoons of extra sugar.Mom takes a seat, too, primly eating a piece of dry wheattoast that she slices in half first. Like Mom, likeDrew.Drew spots the BLACKBERRY JPEG of Warren before Parkercan turn it over. DREW Another one for the trophy room, huh? (CONTINUED) 6.CONTINUED: PARKER Boys can be fun. You should try one some time. QUINN (to Drew) You ready for your interview? DREW (funny you should ask) I've prepared a color-coded itinerary based on dividing the day into fifteen minute increments alternating blue/red, double- checked the train schedule, confirmed with the Weather Channel and rehearsed a couple of alternate scenarios last night, you know, just to account for all the possible glitches. PARKER We'll take that as a yes. CHARLEY I'm proud of you for sticking to your plan all these years, sweety. PARKER I still don't understand why you want to finish college in two years? What's the big hurry? DREW I want to hit the ground running. All those football games and the partying and the whole dating scene. It just seems like a lot of wasted time that could be spent more productively. QUINN The Accelerated program would look great on your med school application. PARKER Football games I get. But partying? A waste of time?Parker looks to her dad. He shrugs. (CONTINUED) 7.CONTINUED: CHARLEY To each her own. QUINN Well, Drew. I have a surprise.Everybody stops what they're doing for a BEAT. QUINN I took the day off. (excitedly) I'm going into the City with you. DREW (panicked) What -- ?!Drew CHOKES on her granola and a little milk trickles outher nose. QUINN Isn't that great! We can do some shopping, have lunch, real girl stuff. Won't that be fun? PARKER If you want to have fun, I'm the one who should go, not Mother Teresa over there.Drew is still choking -- pretty badly. PARKER Let me know if you want me to do the Heimlich. It'd be cool to have you owe me your life.WHOOSH! The granola goes down and she sucks air. QUINN You okay? DREW (still clearing) No... I mean, it's... impossible. I've got every minute accounted for right up to the interview. Blue and red! It won't work. QUINN I just thought... you know... I've been working and we haven't had a chance to spend much time together... (CONTINUED) 8.CONTINUED:Quinn, the normally thick-skinned M.D., is tearing up. QUINN ... and both my babies are going away to college next Fall.She takes her plate and goes to the sink and Parkerfollows her, putting an arm around her shoulder. PARKER Don't be sad, Mom. Just think, when Drew leaves for school, you won't be losing a daughter, you'll be losing an anal-retentive social misfit who will be voted most likely to die a virgin.Drew throws an arm around Quinn's other shoulder. DREW I'm sorry, Mom. It's really sweet of you. But don't worry. Parker will be living here with you forever since no college on earth will ever take her. QUINN Stop it, you two.Mom blows her nose. PARKER It's not fair you guys get to go into the City and I don't. CHARLEY Don't you have a chem test, young lady? PARKER Chemistry? Please. Name one time you ever used chemistry in your life. CHARLEY (beat) Good point. QUINN (adamant) I use chemistry every day. (CONTINUED) 9.CONTINUED: PARKER You're a doctor, Mom. I'm not going to be a doctor. I can't even say the word 'orifice,' let alone put a finger up one.The BEEP BEEP of Drew's alarm WATCH signals time to go.Drew is trying to cover up, but she's reeling from thenews that her mother's going to accompany her. DREW (worried) Time to go.INT. DREW'S ROOM - MORNINGDrew's room looks like a four-star hotel suite. Almosttrembling with tension, she ENTERS and immediately sitsdown at her desk with her DAYPLANNER, turning to thepresent DATE:CLOSE ON THE PAGE, WHERE EVERY FIFTEEN MINUTES IS COLOR-CODED AND ACCOUNTED FOR RIGHT UP TO...2:07 -- PROFESSOR QUE SPAULDING, CHAIR, NEW YORKUNIVERSITY ACCELERATED STUDIES PROGRAM, ADMINISTRATIONBUILDING, SUITE 101. QUINN (O.S.) Come on, honey! Let's tear up Manhattan!With a shiver, Drew closes the book, looks up into themirror, takes a squirt off her inhaler to calm herselfand tries some self-reassurance. DREW You're smart. You're resourceful. You'll find a way to make it work.She tries to sell herself on this by smiling, butsomething in the smile suggests SHE'S SCREWED.Collecting her Dayplanner, purse, interview file and cellphone, she drops them into her matching Coach shoulder bag.EXT. DRIVEWAY - MacLEOD HOUSE - MORNINGQuinn hops in her Saab.ANGLE ON the doorway, where Drew pauses, takes a deepbreath to brace herself, then walks like a condemnedprisoner to her mother's car and climbs in. 10.INT. QUINN'S SAAB - CONTINUOUS ACTIONRING! Quinn's CELL PHONE goes off. Quinn looks annoyed,checks the incoming number. Drew closes her eyes andprays. QUINN (to phone) Doctor MacLeod... (beat; winking at Drew) I'm sorry, but my itinerary is booked solid today. Call Dr. Wessels. He's covering for me. (beat) He did? (beat) Are you sure it's the baby's head? (beat) All right. I'm coming.Frustrated, Mom hangs up and with a look of profounddisappointment, turns to Drew. QUINN I'm sorry, hon. It's a Blue Light special in Maternity. Every bed's full and some poor woman is about to give birth in the gift shop. I have to go in.Drew musters her best sad, sad face for her mom. DREW Ah, darn it, Mom. That's a shame. It's like fate is conspiring against us. QUINN I know. DREW You absolutely, positively have to promise me we'll do it another time. QUINN I promise. I better hurry. Have Parker drop you at the train station on her way to school, will you?Quinn gives her daughter a smile and a kiss. (CONTINUED) 11.CONTINUED: QUINN Kill 'em in that interview. DREW (beat) Mom, you know, I might not get in. QUINN Are you kidding me? You're Drew MacLeod. Nobody's smarter, nobody works harder and nobody, and I mean nobody, is ever more prepared.Drew smiles, hugs her mom and jumps out, waving as hermom backs down the drive and disappears down the street.With the weight of the world suddenly lifted from hershoulders, Drew looks to the sky and mouths, "thank you."This is when Parker comes hauling down the driveway inher Honda Accord. Drew signals her to stop, so of courseher sister IGNORES HER and jets into the street. DREW Hey! Stop!Drew takes off running after the car! DREW PARKER!!EXT. PHILADELPHIA TRAIN STATION - MORNINGCommuters all jump from their cars and into the station.INT. THE GIRLS' HONDA - MORNINGParker pulls up to the curb at the station. Drewcollects her bag. PARKER Good luck with your interview.Drew pauses, holding the door open. DREW You know, Parker. Chemistry is important. When you think about it, everything's made of chemicals. (CONTINUED) 12.CONTINUED: PARKER Oh, I'm interested in chemistry. Just not the kind with all the numbers and stinky test tubes.Drew shuts the door and hustles off into the trainstation. Parker SIGHS, looks to the BLACKBERRY on theseat next to her. PARKER Ah, chemistry.INT. FIRST TRAIN CAR - MORNINGDrew finds a seat. She neatly folds her jacket and setsit next to her.She pulls out a lumbar support pillow and tucks it behindher -- just right. Next, she takes out a tiny inflatablelap desk, blows it up and sets it across her lap. A pengoes in the little holder. Coffee from her Thermos.After laying out her interview materials, she turns toher reflection in the window. DREW (low; rehearsing) Professor Spaulding. Good afternoon. I'm Drew MacLeod.An EXECUTIVE takes the aisle seat next to her, and aftera sideways glance at Drew's portable office, opens hisWall Street Journal as the train begins to pull away.EVERY COMMUTER is quietly reading the paper or staringoff into their own world, wondering why their life haslead them to this sad moment when...... they're all distracted by an AWFUL, AWFUL VOICEsinging Sheryl Crow's "Soak Up the Sun." It's Parker,wearing her headphones and looking for a seat in the fulltrain car.Drew stares at her, dumbfounded. DREW What do you think you're doing? PARKER (too loud; with headphones on) Looking for a seat. (CONTINUED) 13.CONTINUED: DREW This can't be happening. Wait, I know. This is one of those Ground Hog Day dreams, isn't it?Drew pinches herself too hard. DREW Ow! (to Parker) I'm awake now. You're supposed to disappear. PARKER (still too loud) You know, I just got this itch. DREW Then scratch it and get back to school. PARKER I couldn't concentrate anyway. I'm too... distracted today. DREW You're permanently distracted. It's called Attention Deficit Disorder. (spotting her Blackberry) Is this about that chat room guy? It is, isn't it?A look from the Exec reminds Parker of her headphones andshe pulls them off. PARKER No! It's about spontaneity, which you obviously wouldn't know anything about. DREW I swear to God, Parker, you go through boyfriends like Junior Mints. It's pathetic. PARKER Pathetic? You want to talk about pathetic?! At least I don't count getting accidentally felt up in dodge ball as my first date! (MORE) (CONTINUED) 14.CONTINUED: PARKER (CONT'D) You're going to be eighteen and you've never even HAD a boyfriend!The EXECUTIVE furrows his brow at Drew -- never? DREW Is this any of your business?He goes back to his paper. DREW This is ridiculous. I don't have time for this today. Fine. Don't graduate from high school. Make a mess of your life over some complete stranger. I don't care. But leave me out. I have something important I need to accomplish today, so please go away. EXECUTIVE (to Parker) Would you like this seat so you two can fight? DREW/PARKER No thank you.Drew's ALARM WATCH BEEPS. DREW I have to mentally preview my day now. I can't talk anymore.Parker turns to go, then remembers something. PARKER Uh, Drew? Do you have any money? I don't have enough for a ticket.Drew just rolls her eyes and turns her back on hersister.The Executive peers over his spectacles at Parker withthe old paternal reprimand look. PARKER Please. Like you never ditched school. CUT TO: 15.INT. SECOND TRAIN CAR - MORNINGParker's got her headphones back on and is SINGING UncleCracker's "Follow Me," torturing everyone in her car. PARKER 'You don't know how you met me...'But when she spots the CONDUCTOR ENTERING the front ofthe car, she abruptly stops, slips down in he seat andslides past the COMMUTER LADY next to her into the aisle. PARKER Excuse me.Parker heads the opposite direction from the ticket-taking Conductor and out the back of the train car.INT. THE TRAIN - WOMEN'S ROOM - CONTINUOUS ACTIONParker stands by the door, waiting, listening to hear ifthe coast is clear.Sounds good. She cracks the door, steps out on tiptoes,closes the door and THERE'S THE CONDUCTOR. He smiles. CONDUCTOR Ticket, please. PARKER Why don't I save the b.s. story and just ask you to cut me a break this one time because I know you've got a big heart and you remember what it was like when you were young and... and... (off the Conductor's look) ... randy?EXT. TRENTON STATION PLATFORM - MORNINGParker's on the platform. The Conductor climbs back onthe train into the FIRST CAR. PARKER (calling after) I guess you were never young and randy!This is when she sees Drew sitting in the train window,smiling and giving her a little victory wave. 16.INT. FIRST TRAIN CAR - MORNINGThe Conductor heads up the aisle -- does a double-takewhen he sees Drew. CONDUCTOR Very funny. DREW Excuse me? CONDUCTOR Let's go.He takes her by the arm. DREW What are you doing?Drew scrambles to grab her bag, jacket, the littleinflatable lap desk falling to the floor. CONDUCTOR I tried to be nice about it, but if you want the police involved, this is the way to do it. DREW Police? I didn't do anything. CONDUCTOR No ticket, no train ride. DREW (realizing) No! That's not me! That was my twin sister you threw off! CONDUCTOR Young lady, in thirty years I have heard every possible line but that's the lamest ever. DREW (pointing) She's right there!ANGLE ON THE PLATFORMNo Parker.He hauls Drew down the aisle but as they EXIT THE CAR,SHE BUMPS HEAD-ON INTO BIKE MESSENGER/PRE-MED/MOUNTAINCLIMBER/MALE MODEL GUY -- they really do CRACK FOREHEADS,OUCH! (CONTINUED) 17.CONTINUED:IS DREW SEEING STARS? OR IS IT THE MAGIC OF THIS INSTANTIN TIME WITH DREAM GUY?BOTH OF THEM SHAKE OFF THE WOOZIES. He smiles: DREAM GUY You okay? DREW I'm... ouch. CONDUCTOR She's fine, considering she should be in jail.As the Conductor escorts her down the stairs, she andDream Guy share a last look before she's...... left on the platform just as the train's pulling out.Still no sign of Parker and Drew doesn't have all herwits about her. DREW This can't be happening! I have a... a... little paper thingy. What are they called? Ticket! I have a ticket! It's right...She drops her bag, contents spilling willy-nilly. On herhands and knees, she frantically searches for her ticketin the mess.The Conductor, however, is already on the train stop asit pulls away. He just waves, victorious.Parker steps back out onto the platform and the Conductorspots her. He looks from one sister to the other --oops, mistake. But it's too late. Sheepishly, he climbsinside and the train is gone. DREW (to the gods) AARRGGH! PARRR... KERRR!Parker steps up from behind her. PARKER You get kicked off, too? Why didn't you just buy a ticket?Parker stoops to help collect a couple of things butDrew, mad at hell, swats her hand away. (CONTINUED) 18.CONTINUED: DREW Don't. PARKER What happened to your head? DREW Oh, just a minor concussion I sustained while the Conductor was throwing me off the train because he thought I was you sneaking back on the train! PARKER Sorry. DREW I'll bet.Drew throws her bag over her shoulder and heads for theticket counter. The WELT on her forehead is gonna be adoozey. PARKER (calling after) I am! Where are you going? DREW To see when the next train leaves. PARKER I already --But Drew's inside the stationhouse. PARKER -- did. They said something about a delay.Parker follows into the stationhouse.INT. TRENTON TRAIN STATION - CONTINUOUS ACTIONPacked with frustrated COMMUTERS. Drew's standing in along line at the ticket counter, steaming, turning a coldshoulder on...... Parker, who walks right through to the street side. 19.EXT. TRENTON TRAIN STATION - STREET SIDE - CONTINUOUSACTIONParker steps outside where it's just as crowded. Shescopes the situation, which isn't good -- strandedCOMMUTERS jostle for the few remaining TAXIS.TWO EXECUTIVES get into a shoving match.To the left, a couple of BLACK LINCOLN TOWN CARS --standard car service rigs -- sit IDLING, each with aDRIVER next to it, holding up his sign with his client'sname scratched on it.An EXECUTIVE (#2) passes her, finger in the air,signaling the FIRST DRIVER who holds a sign that read:"Wilcox." EXECUTIVE #2 That's me.With no further ado, the driver opens the back door forhim, the Exec climbs in, the driver hustles around to hisside and in an instant, the car leaves the chaos behind.Parker raises an eyebrow. Hm.The second driver (BENNIE) with a head like a cinderblock and no neck, is talking on his cell phone andholding up a sign, "SCARPELLI."Parker shoots a finger into the air. This barely getshis attention but he nods, nonchalantly. Parker signalsagain -- one minute -- then turns back inside.INT. TRENTON TRAIN STATIONDrew has reached the counter, where a bitter TRAIN CLERKwho wishes he'd paid attention in school is tired ofangry commuters. DREW That can't be. I have to be there before two! TRAIN CLERK Well, maybe if you flap your arms real fast you can fly there, because you won't get there on a train. DREW (about to explode) What did you just say? (CONTINUED) 20.CONTINUED:Parker arrives in the nick of time, pulling her by the arm. PARKER Come on. Hurry. I got us a ride. DREW Let go of my arm.But Parker drags her away. Drew shoots a look back atthe Clerk, who sticks out his tongue at her.EXT. TRENTON TRAIN STATION - CONTINUOUS ACTIONParker pulls Drew toward the Town Car. DREW What's this? PARKER A car service. DREW Car service? You couldn't have called for a...But Bennie opens the door for Parker like he's done it athousand times. BENNIE Morning, miss. PARKER Good morning. Thank you. My sister's coming, too.Drew KNOWS SOME SKETCHY SHIT IS GOING DOWN buy she's onlygot this instant to consider. She glances at theSTRANDED MOB descending on a lone approaching CAB,engulfing it. PARKER You want to make that interview, or not?Drew lets herself be pulled inside. Bennie shuts thedoor and waddles around to his side.INT. TOWN CAR - MORNINGParker tries to play cool -- Drew's rigid -- angry andafraid. Bennie checks his invoice. (CONTINUED) 21.CONTINUED: BENNIE So you're headed to the Teamster's Hall on Second Street? PARKER (chewing a lip) You know, Mister...She checks his Chauffeur's License up front: BenjaminLoyola. PARKER ... Loyola. BENNIE Bennie. PARKER Mr. Bennie? We have a slight change of itinerary. We need to go into Manhattan. 57th and 5th will be fine.Bennie doesn't seem perturbed a bit. BENNIE It's pre-paid. No skin off my nose. DREW (whispering throughout) Pre-paid? What's 57th and 5th? PARKER (whispering throughout) Barneys. DREW Not Barneys. PARKER We've got five hours. Relax.He FIRES UP the LINCOLN and off they go.Drew now has a pretty clear inclination as to what'sgoing on. She leans into her sister and WHISPERS. DREW This was supposed to be someone else's car, wasn't it? (CONTINUED) 22.CONTINUED: PARKER So?Just then, Bennie tosses the sign, which he'd stashed onthe dash, onto the seat next to him, face up so Drew canread: DREW 'Scarpelli'? We're supposed to be Italian? PARKER Northern Italian. DREW This is so... wrong. PARKER What? You need to get to that interview. We now have a ride. We will pay for the ride. End of big deal.This is when Bennie's CELL PHONE RINGS and he answers it. BENNIE Yeah? (beat) No. The city. (beat) What'a you talkin' about?Bennie glances into the REARVIEW MIRROR, smiling at thegirls... BENNIE I already got 'em.... but his smile TURNS DOWN AT THE CORNERS as helistens. The girls exchange doubtful looks. It getsworse. BENNIE They're right here in the car. (to girls) 'Scuse me.Bennie RAISES THE PRIVACY GLASS but doesn't realize he'sleft the intercom button on so they can still hear hishalf of the conversation.The girls are PETRIFIED. (CONTINUED) 23.CONTINUED: PARKER (low to Drew) Not good. DREW (swallowing) What's happening? BENNIE (to phone) Don't you think that's a little severe? I mean, they didn't see nothin' yet. They can't hear nothin'.YES THEY CAN and they're now scared as hell. BENNIE You're the boss. (beat) Take it easy. I'll fix it. (beat) No, I don't have a shovel. Not today. It'll be a big mess. Besides, I just had this suit cleaned.The girls want OUT OF THIS CAR! BENNIE I'll take 'em to the wharf, what difference does it make?Drew yanks out her inhaler and sucks on it. DREW (whispered terror) Parker, I think maybe we should get out.Parker sees the LIGHT AHEAD TURN RED. PARKER I agree. How about... NOW!Just as Bennie brakes for the light, Parker throws herdoor open and pulls Drew into the street!An ONCOMING BUICK LOCKS UP its BRAKES as they dash forthe sidewalk. BENNIE (O.S.) Hey?! Where you goin'?! 24.EXT. JERSEY SIDEWALK - MORNINGThey hit the sidewalk and without breaking stride, racearound the first corner, looking back over theirshoulder. PARKER He's stuck at the light!VRROOOM! Here comes the Lincoln storming around thecorner. DREW He has no respect for traffic laws!They run into the first ALLEY and hunker down by aGARBAGE CAN. The Lincoln flies past. They dash backout, the same way they came.SCREECH! Bennie LOCKS UP the WHEELS!They round the same corner going the opposite way andParker pulls them into the first door...INT. MINI-MART - MORNING... where they crouch down the magazine rack. Among themagazines is DOG FANCY with a picture of a ChineseCrested Hairless on the cover and the headline: "EMPERORDEFENDS CROWN."Parker peers over the top and out the window.PARKER'S POV -- slowly, the Lincoln cruises the street,Bennie scanning the neighborhood for them. DREW Is he gone? I can't believe this. What did you get us into? PARKER We lost him. Wow. That was a rush. DREW A rush? Are you out of your mind? BUM (O.S.) Hey. Give me a quarter, will ya?Spooked, they both turn to find a scraggly HOMELESS GUYwith a Slushee in his hand. They stand. Parker reachesin her pocket. (CONTINUED) 25.CONTINUED: MINI-MART CLERK Get outta here, Uncle Jerry! PARKER (to Homeless Guy) I don't have any change, but here.Parker starts to find the Homeless Guy a dollar but Drewreaches over to stop her... DREW Parker, you're only feeding the poor man's disease. Buy him a healthy snack.... just as the Homeless Guy reaches for the dollar andthe SLUSHEE IS KNOCKED FROM HIS HAND.We watch in SLOW MOTION AS THE SLUSHEE TAKES FLIGHT, THECAP FALLING OFF AND THE STICKY, CHERRY RED MESS FANNINGOUT UNTIL...... BACK TO FAST MOTION -- SPLAT! IT CATCHES DREW FULL-FACED, DRENCHING HER.The Homeless Guy snags the dollar. HOMELESS GUY I gotta go.And he EXITS. Parker SNIFFS. PARKER Ew. That stinks. That's not just Slushee.The MINI-MART CLERK approaches them, shaking his head. MINI-MART CLERK It's Mad Dog. Look at that mess. It's gonna smell up the store all day.Drew appears STUNNED, unable to form words so Parkerspeaks for her. PARKER May we use your bathroom please?The cherry syrup and cheap wine concoction drips downDrew's blank face. MINI-MART CLERK Gas station at the end of the block. Have a nice day. 26.INT. BURT'S PUMP 'N' GO - MORNINGBURT, who has no teeth, hands over the restroom key tothe girls. The key is attached to a full-sized STEERINGWHEEL. Burt SNIFFS, wrinkling his nose. BURT You know, it's not my place to say, but you young girls got your whole lives ahead of you. You shouldn't be drinkin' at this hour of the day. PARKER That's what I keep telling her. BURT 'Round the side.EXT. BURT'S PUMP 'N' GO - MORNINGThe girls practically have to drag the key around to therestroom on the side.Parker puts the key in and slowly... slowly...CREAKING... opens the GATES OF HELLON THE GIRLS -- WHO STARE IN HORROR INTO THE ABYSS FOR ABEAT, THEN: GIRLS AHHHHHHH!!!! CUT TO:INT. BUS - MORNINGSitting side by side. A YOUNG MOTHER sits in front ofthem with her NINE-MONTH-OLD BABY who's standing on theseat facing the girls.Drew's BUMP on her forehead is large and inflamed, herhair a stringy, ratty mess of booze and red-dye numberfour and glucose. She is in a REALLY BAD MOOD, onlystaring straight ahead.Parker's playing peek-a-boo with the baby and trying tolighten up her sister's mood. PARKER Everything's going to be fine. (to baby) Peek-a-boo! (MORE) (CONTINUED) 27.CONTINUED: PARKER (CONT'D) (to Drew) We're practically there. We'll get you cleaned up, you'll get into the program and... (to baby) Peek-a-boo! (to Drew) ... we'll both look back on this and laugh our butts off.BLECCH! The BABY PUKES all over Drew. She lookssideways at her sister. DREW I will never, ever, forgive you.EXT. TIMES SQUARE - MORNINGThe bus pulls over then pulls away, leaving the girls onthe sidewalk. PARKER See? New York. We made it. DREW I could be arrested for vagrancy looking like this. PARKER Listen. I've got an idea. DREW No. No ideas. I'm going straight to that interview and wait, without moving or speaking, especially to you, for four hours. PARKER (ignoring her) Come on! We're going to the Plaza! We can be Eloise! We'll get a nice room, you can take a shower and I'll swap clothes with you! Simple as that! DREW Do you have the slightest clue what that would cost? (CONTINUED) 28.CONTINUED: PARKER So? You've got the emergency credit card Mom gave you, right?Drew's suddenly looking at her EMPTY HANDS. PARKER What's wrong? DREW (dawning realization) Oh. My. God. PARKER Where's your, uh, stuff? DREW (near coma) I left it in his car. PARKER Oh. DREW He knows where I live. He's going to hunt me down and kill me. PARKER Come on, Drew. I don't think even the Mafia kills people just for scamming a ride. Quit being paranoid. (beat) So, we don't do the Plaza. I've got...Parker digs in her pockets. PARKER Six dollars and thirty-two cents. DREW That won't get me hosed down at a car wash. PARKER What are we thinking? You've got your secret-safety twenty! DREW (beat) My secret-safety twenty. Of course. But it's only for emergencies. (CONTINUED) 29.CONTINUED:Parker looks her sister right in the eye. DREW Yeah.Drew takes off her shoe, lifts the inner sole and pullsout a twenty, then realizes: DREW Hey, how'd you know about my secret-safety twenty? PARKER That's not important now. But let's just say that it's a good thing for you I think those shoes are so ugly I never borrowed them. (pointing) Hey, how about there?Parker points to hotel where the dilapidated sign reads:THE RITZY PLAZA -- HOURLY RATES, HOT TUBS. DREW No. I want to get clean, not contract hepatitis. PARKER (sotto voce) Twenty-six dollars and thirty-six cents. DREW We touch nothing.Parker leads them inside.INT. THE RITZY PLAZAThis looks like a good place to get your throat cutfighting over a dime's worth of crack.There's no real lobby, just a small area to stand at the"desk" which is behind iron bars. Behind the iron bars arabbit-eared TV with a busted-in tube houses a deadhouseplant. An old easy chair leaks stuffing. PARKER (swallowing) Hello? Anybody? (CONTINUED) 30.CONTINUED:Above, a BABY SCREECHES. Something BREAKS. Then aDISEMBODIED VOICE SPEAKS to them. DESK CLERK (O.S.) Keep your pants on. What'dya want?The girls look behind them, nobody. Behind the bars?Still nobody. What the hell? DESK CLERK (O.S.) I don't got all day. PARKER (uh...) We need a room... with a shower. Just for an hour.There's the sound of something SCRAPING across the floorand then the MIDGET HOTEL CLERK appears behind thecounter. Now he's standing on a STOOL and we don't knowwhat he was doing behind the counter. DESK CLERK Sixty bucks. PARKER (getting oriented) Hi. DESK CLERK You want the room or not? DREW Sixty dollars an hour for this -- PARKER (interrupting; covering) -- really nice place. How much for half an hour. DESK CLERK Maybe if you two were in school you could figure out that half a sixty is thirty. PARKER We've only got twenty-five. (CONTINUED) 31.CONTINUED: DESK CLERK You think because I'm short you can just charm me into making some deal, is that it? PARKER No, not at all. DREW It's all we have. Twenty-six dollars and thirty-six cents. DESK CLERK Are you the one that stinks so bad? DREW (insulted) I had a little accident, okay? DESK CLERK All right, all right, don't get your underwear in a bunch. As a public service, just 'cause you stink so bad, you can have it for twenty-five.He retrieves a key and holds it up just out of reachbetween the bars. DESK CLERK Ten-dollar deposit on key. DREW What part of 'That is all the money we have' didn't make sense to you? PARKER Sir, that's every last cent we have in the world. I swear to you, we aren't planning to steal your key. DESK CLERK I give you some special deal, the next thing you know, you two are telling everybody, hey, this midget was a real sap. We gave him some sob story and the little guy just busted up into crocodile tears and handed over the key. (CONTINUED) 32.CONTINUED: PARKER I promise we won't tell anyone. Will we, Drew? DREW Not a word. Girl Scout's honor.He grudgingly holds out the key for Parker, who takes itand hands it to Drew while she gets the money out.ON DREW -- sensing something, she looks down at her feetwhere a HUGE RAT is licking the sweet stuff off hershoes.There's a rather LONG BEAT while this horror sinks in,then: DREW AHHHHHH!!!!Key in hand, Drew makes a beeline out the door. PARKER Drew?! DREW?!Parker follows her. DESK CLERK Come back with my key!The Desk Clerk jumps off his stool, opens his cage andfollows them into the street.EXT. STREET OUTSIDE HOTEL - DAYPanicked, Drew sprints down the sidewalk with Parker andthe Desk Clerk in tow.Laying the hammer down, the Desk Clerk blasts past Parker-- he's a midget, but he's got wheels. PARKER Drew! STOP! CUT TO:INT. MATERNITY WARD - MORNINGA WOMAN is giving birth. Her husband holds her hand.Quinn and a nurse are at her feet. (CONTINUED) 33.CONTINUED: QUINN Mrs. Greenspan? You're going to have to help. I need you to push.But they don't have her attention which is riveted on...... A TV TUNED TO "THE TODAY SHOW" WHERE WHACK! THE DESKCLERK DROPS DREW LIKE A SAPP-SACKING GANNON, THROWINGTHEM BOTH INTO THE LINE OF AUDIENCE MEMBERS, WHO THENTOPPLE LIKE DOMINOES. MRS. GREENSPAN Did you see that? MR. GREENSPAN Honey? The baby? Please? CUT TO:EXT. "TODAY SHOW" SIDEWALK - MORNING"TODAY SHOW" SECURITY GUARDS and NYPD descend on thecrowd. NYPD OFFICER All right. Who's the wise guy?Parker pulls Drew out of the pile-up and grabs the key,tossing it away from them, sending the Desk Clerkscrambling after it.The two girls HIGH TAIL IT around the corner. Winded,they stop. PARKER Man, that little guy could really motor. Why'd you bolt? DREW There was a rat, Parker. A rat the size of a Doberman eating my foot. PARKER That was all our money. DREW Our money? OUR MONEY?! PARKER Key down, you're going to have an attack. (CONTINUED) 34.CONTINUED:Drew's sucking on her inhaler but is so irate she spitsout the words. DREW Parker, it was not 'our' money and this is not 'our' day in New York. What it is, is quite possibly the most important day of my life. I've resigned myself to the fact that you don't give a crap about what you do with yours, but if you could find it in your heart, your tiny, cold steel heart, to respect what this means to me, I would appreciate it.But Parker's not listening. She's staring intently...... ACROSS THE STREET where several TOWN CARS are parked,the DRIVERS chatting next to a HOT DOG/PRETZEL CART.Among them is Bennie, sipping coffee. Parker spots himand freezes. DREW You're not even listening. That's typical. Look, we're splitting up. Give me back my secret safety money. PARKER (still looking past Drew) You know how I told you not to be paranoid? DREW Paranoid? PARKER What I meant was, it isn't paranoia if someone really is chasing you.Parker tries to subtly indicate with her eyes that Drewshould look across the street. DREW What's wrong with your eyes? PARKER (whispering) It's him. (CONTINUED) 35.CONTINUED:Drew finally turns and she, too, freezes. PARKER Quiet. Don't run. He'll see us.Not wanting to draw his attention, the Girls shuffle offquickly down the street.ON Bennie -- squinting across at them. Can he make themout in the crowd? He nods to ANOTHER DRIVER, tosses hiscoffee cup and climbs in behind the wheel. DREW HE SAW US!The girls break into a run. DREW How'd he find us? PARKER Maybe it's just coincidence! DREW Or maybe WE TOLD HIM WHERE WE WERE GOING!!She points up at the street sign -- 57th and 5th. Oops. PARKER Come on!Parker leads her into traffic, HORNS BLARING, as theyweave their way across. On the far side, a HORSECARRIAGE pulls away from the curb and at the last minute,Parker spots a fresh pile of...... HORSE SHIT, which she manages to leap. Drew,however, ISN'T GOING TO MAKE IT OVER. She closes hereyes. PARKER Jump!Drew stumbles, wrong-foots the takeoff but somehowmanages to get across it to the curb. For just a BEAT,we see her surprised face. Hm. I did it.Then they see Bennie crossing in traffic, huffing andpuffing after them and not seeing the pile, which he hitsin full stride, slips on, and PLOPS INTO on his ass.This gives the girls the opening they need and they ditchinside some revolving doors. 36.INT. THE PLAZA - GIRLS' POV - DAYIN THE STREET, Bennie's getting up, brushing the crapoff. When a CAB HONKS at him, he gives it an Italiansalute and slaps the hood, but when he reaches the curbit's clear: He's lost the girls.DREW AND PARKER DREW I don't want to do this anymore. I want to be done. No more rats, no more mob hit men. PARKER Well, Cinderella, your wish has come true. (gesturing) Voila, La Plaza, mademoiselle. DREW So? Hello? No dinero? PARKER Yeah. I've got what I'd like to call a 'creative solution' to that. DREW No. I'm calling Mom. PARKER What good will that do? DREW (beat) I'll have her... uh... PARKER Have her what? Hi, Mom? Could you leave that baby halfway outta there and drive into the city? DREW Dad, then. PARKER Dad, hey. Drew. Complete loser. Couldn't get to an interview by myself, need full bail out. Yeah. I'm the one who was going to change the world, I just couldn't get across town. (CONTINUED) 37.CONTINUED: DREW Damn it, Parker, my itinerary is shot to hell! Blue, red --Her WATCH ALARM BEEPS. DREW I don't even know what that means! I'm running out of time. (noticing) Is that guy looking at me?Parker starts to look. DREW Don't look. PARKER When you ask a question like that, the person is going to look.Drew drags her behind a palm. Sure enough, across thelobby, a guy dressed as PLAINCLOTHES HOTEL SECURITY(MORTY SESTERO) now pretends he wasn't keeping an eye onthem. DREW I think he was. PARKER Drew, we haven't done anything. DREW Yeah, but I'm standing in the lobby of the Plaza looking like a deranged street person who might attack at any moment. In fact, I might attack at any moment.The ELEVATOR behind them opens. PARKER Let's go.The girls slip into the elevator. When it closes,Morty's watching.INT. HALLWAY - THE PLAZA - DAYThe girls climb out of the elevator and sneak to the endof the hall where Parker stops and peers back around thecorner. (CONTINUED) 38.CONTINUED: DREW (whispering) What are we doing? And why am I whispering? PARKER We're getting you a shower. Blake Greer pulled this at the Sheraton after the prom. DREW Great. Now we're emulating Blake Greer, voted most likely to commit a felony before having to shave. PARKER We're not going to steal anything. We're just going to sneak in, use a little soap and water and get out. DREW Oh, we're not going to steal anything. Super. Just a little 'breaking and entering.' PARKER We're not going to break anything. (beat) We are going to enter, however. DREW No. No. No. PARKER Shhh... here comes somebody.DOWN THE HALL a door swings open and MR. AND MRS. LOBIANCHO, wealthy Bostonians, EXIT their suite.ANOTHER ANGLEREVEALS -- at the opposite end of the hallway, Parker andDrew aren't the only ones watching. A PAINTER with onelazy eye, ROGER, pauses with his roller and carefullypeeks around the corner. MRS. LO BIANCHO It's the New York Kennel Club, Emile, not the New York Knickerbockers. Please call the caterer and cancel the beer. (CONTINUED) 39.CONTINUED:The ELEVATOR OPENS for them and they step in. ParkerRUNS LIKE HELL for the door of their suite... it's justabout to close when she SLIDES LIKE PETE ROSE INTO FIRST,just getting a hand on it.She lies there on the floor, holding the door andWHISPERS LOUDLY to Drew. PARKER Hurry up! DREW No! PARKER (beat) I didn't want to have to do this, but... look in the mirror behind you.ON DREW -- bracing herself, she turns slowly. CUT TO:INT. LO BIANCHOS' SUITE - DAYPractically sewn to Parker, Drew follows her into thesuite, both nervous, tiptoeing. PARKER (tentatively) Housekeeping? CUT TO:INT. THE PLAZA - HALLWAYAt the end of the hallway, the PAINTER watches the suitedoor close. Hm. What are those girls doing?INT. LO BIANCHOS' SUITEIt's lavish, yaddada yaddada. DREW I can't do this. PARKER Drew, you're not a criminal. You just smell like one. This way. (CONTINUED) 40.CONTINUED:Parker leads her to the big double doors of the masterbedroom and slowly OPENS them.There, on the bed, is THE EMPEROR, defending champion ofthe New York Kennel Club Dog Show. A CHINESE CRESTEDHAIRLESS with his little crown sticking straight up, hemay be the most absurd-looking dog in history. He simplyeyes them. He might even be smiling. DREW Oh, no. Oh my god. A... a... (puzzled) What the hell is it? PARKER A dog? DREW I'm itching already. See? Are my arms red?Drew backs away -- she's about to break for the door. PARKER Key down. I'll take him in the living room and keep a lookout. You just get in that shower.Parker approaches The Emperor. PARKER (baby talk) Hi, little guy. You don't look so tough, huh? You don't look much like a dog, actually. More like Woody Woodpecker.Happy to give the company, The Emperor practically jumpsinto Parker's arms. PARKER You're cute, aren't you, in a freakazoidal kinda way.She takes him into the living room and moves to the door. PARKER Was your daddy a rat? Is that it? Well, I still like you.Parker, holding The Emperor, opens the door a crack tokeep a lookout. 41.PARKER'S POVThe hallway's empty.But The Emperor, feeling frisky, leaps from her arms intothe hallway, then turns TO face her. Come on. Let'splay!BACK TO SCENE PARKER Come back here, little ratdog. Come to Mommy Parker.Parker pulls off a shoe and sticks it in the doorway tokeep it from closing, then, hesitantly, trying not tospook him into running away from her, she steps into thehallway.INT. HALLWAY - THE PLAZABut sure enough, just as she gets close, he turns anddashes down the hallway. PARKER Bad ratdog!She chases him down the hallway and then around thecorner where they have to dodge cans of paints, a ladder,until finally The Emperor slides on some plasticsheeting, careens into a can of mauve paint and isCOVERED.Arms reach down, pick him up and Parker looks up to seethe Painter (ROGER) with the now-mauve Emperor in hisarms. PARKER (breathless) Wow. Thank you. ROGER Thank you. Bye bye. No.He turns and RUNS for the stairwell door markedEXIT. Parker, completely baffled, finally calls afterhim: PARKER That's not your dog! Hey! 42.ANGLE ON THE ELEVATORS AROUND THE CORNERas they open and the HOUSE SECURITY GUY (Morty) stepsout, looking both ways and spotting one thing awry...... a shoe holding open the door to the Lo Bianchos'suite. CUT TO:INT. LO BIANCHOS' SUITE - MASTER BATH - DAYDrew finishes struggling out of the last of her stickyclothes and gets ONE FOOT IN THE SHOWER WHEN SHE HEARS: HOUSE SECURITY GUY (O.S.) Hello? Mrs. Lo Biancho? House security!POOR NAKED DREW FREEZES. THE WORLD STOPS SPINNING ON ITSAXIS. Panicking, she grabs the shower curtain, pullingit off its hanger and covering herself.INT. LO BIANCHOS' SUITE - LIVING ROOM - DAYThe SECURITY GUY snoops toward the bedroom doors. Justas he reaches for the handle, the door swings open,SHADOCK, clocking him and dropping him.Wrapped in the shower curtain, Drew races across theliving room. Just as she reaches the hallway, Parker'sthere, also at a dead run and they don't even breakstride.INT. THE PLAZA - HALLWAY DREW (panicked) There's a man in there! PARKER Somebody took the dog!They reach the end of the hallway and are TRAPPED.Only one out. Parker HUFFS OPEN the window to the fireescape and they climb out...EXT. PLAZA ALLEY FIRE ESCAPE/ALLEY - DAY... and scurry down the stairs only to find that THELADDER DOESN'T REACH. (CONTINUED) 43.CONTINUED:Parker hangs and then drops onto the top of a DUMPSTERwith one side of the lid still closed, then jumps to thealley. PARKER Hurry up!But DREW'S FROZEN WITH FEAR and to complicate matters,she's struggling to keep the curtain wrapped aroundherself. DREW I'll, uh, go around. PARKER Are you out of your mind?! It's only a little ways! JUMP!INT. THE PLAZA - HALLWAYRubbing his sore head, Morty the Security Guy lumbersdown the hallway.BEHIND HIM Mr. and Mrs. Lo Biancho get out of theelevator: MRS. LO BIANCHO (peeved) When competing in a dog show, best to bring one's dog along, yes? MR. LO BIANCHO I thought you had him, dear. MRS. LO BIANCHO (holding up her hands) See? Empty.But now they both notice the DOOR to their suite is wideopen. MRS. LO BIANCHO Oh, dear God!The elderly couple do their version of a panicked runinside. MRS. LO BIANCHO (O.S.) (screeching) AHHHH!! MY BABY! SOMEONE'S KIDNAPPED MY BABY! (CONTINUED) 44.CONTINUED:ON MORTY -- making an abrupt halt. Baby?! He turnsaround and lopes back to the suite. MORTY Mrs. Lo Biancho? I'm Mort Sestero, hotel security. MRS. LO BIANCHO Please! Please help! MORTY Someone took your baby? MR. LO BIANCHO The Emperor is missing. MORTY (somewhat relieved) The Emperor is a dog, right? MRS. LO BIANCHO Not 'a' dog, no. THE NEW YORK KENNEL CLUB CHAMPION AND WHY AREN'T YOU TRYING TO FIND HIM!Morty pulls his RADIO as he backs out the door and headsdown the hall. MORTY (to radio) This is Remote One to base, Remote One to base. Code 12, I repeat, Code 12. ANOTHER SECURITY GUY (V.O.) You goin' to lunch already, Morty? MORTY (impatient) Code 12 isn't lunch, Bruce! Didn't you read your manual? ANOTHER SECURITY GUY (V.O.) (beat) I will. MONTY Call NYPD. We have a dognapping. ANOTHER SECURITY GUY (V.O.) A what? (CONTINUED) 45.CONTINUED: MORTY Just call the damn police and patch me through. The Emperor's been kidnapped. ANOTHER SECURITY GUY (V.O.) Holy cripes, why didn't you say it was political?! MORTY Political? THE EMPEROR IS A DOG, MORON! ANOTHER SECURITY GUY (V.O.) You want me to call NYPD about a dog? MORTY (decrying his fate) I am going to kill you, then fire you, Bruce. Got it? Kill, fire. That order. CUT TO:EXT. ALLEY BEHIND THE PLAZA - DAYDrew's still FROZEN on the fire escape. DREW I can't do it! PARKER Yes you can!ANGLE ON THE END OF THE ALLEYwhere Roger appears with The Emperor. Surprised to seethe girls, he backpedals, worried he'll be seen, butthey're too wrapped up in their own getaway and hequietly makes his way to his VAN (painted on the back andsides: "Michelangelo's Painting: A Masterpiece everytime". DREW No I can't! PARKER Have fun in prison. Under 'Summer Internships' on your college application, you can write 'license plate manufacturing.' (CONTINUED) 46.CONTINUED:Roger's VAN SQUEALS AWAY, drawing Parker's attention.She glimpses him in his side mirror as he disappearsaround the corner into traffic.Shutting her eyes, Drew drops onto the closed lid of thedumpster. DREW (astonished) I did it.Oops, the curtain starts to slip. When she reaches forit she loses her balance and suddenly -- FWONK --nosedives into the dumpster. The curtain floats INTO THEALLEY at Parker's feet. DREW (O.S.) OW! PARKER Get out of there! DREW (O.S.) (beat) Give me... my... curtain.Parker tosses the curtain in and Drew climbs out. Theyhurry off down the alley.IN THE SECOND STORY FIRE ESCAPE WINDOW -- Morty appears. MORTY Stop! Bring back that dog!MORTY'S POV -- The girls near the end of the alley. Asmall dog could easily be concealed under that showercurtain.ON THE GIRLS -- running full-tilt, Drew turns to Parker. DREW He thinks we have the dog! PARKER A painter took it! DREW A pain --WHAM! -- Drew's CLOTHESLINED at the intersection by aBIKE MESSENGER who, in a valiant attempt to avoid her,brakes so hard he flies off the handlebars and landsRIGHT ON TOP OF HER. (CONTINUED) 47.CONTINUED:It's DREAM GUY from the train and for a confused BEATthey look into each other's familiar faces where we readrecognition, love, unstated chemistry, then: DREAM GUY You know, one of us is gonna get hurt if we keep doing this.O.S. SIRENS signal that the police are now involved. PARKER Hey, complete stranger! Get off my sister!Parker yanks Drew from underneath Dream Guy. DREW I'm, uh, late for this place, thing, where I'm supposed to be. College. Interview! DREAM GUY Where at?But Parker's got her by the arm and she can only callback over her shoulder... DREW NYU!... before disappearing into the CROWD on the sidewalk. DREAM GUY (too late) Me, too!AROUND THE CORNER comes Morty who, without time to react,trips headfirst over Bike Messenger Guy.EXT. SIDEWALK IN FRONT OF PLAZA - DAYThe girls weave through the PEDESTRIANS but spot a COPCAR SCREECHING to a halt in front of them and quicklytake a left into...EXT. THE OTHER ALLEY ADJACENT THE PLAZA - DAYWhere to now? Thinking fast, Parker pulls on a door --locked -- the next door SWINGS OPEN as if by divineprovidence and two HIGH FASHION MODELS step past them outwhile the girls step inside. 48.INT. RUNWAY SHOW - BACKSTAGE - DAYChaos. MODELS, DRESSERS, SYCOPHANTS, "I ONLY DATEMODELS" GUYS and the famous couture fashion designer,BOBO, are mid-show and friggin' frantic. BOBO (French accent) Where are they?! No more breaks! Do you hear me! We have a show to do, you nitwits! Models! BAH! You have hollow gourds for heads! The kind they make those Mexican rattles out of! SHOWRUNNER (always at his elbow) Maracas. BOBO Maracas! Maracas that take coffee breaks when I am paying them a FORTUNE!Bobo spots the girls coming through the back door andphysically grabs them both, pushing them at theShowrunner. BOBO Hair! Makeup! (Parker) Daywear! (Drew) Clubbing! Vite!This is when he gets a load of Drew's matted hair,running makeup and shower curtain and does a double-take.Hm. Does he like it? BOBO (confess) Is that Helmut Lang? (recovering himself) Go!The Showrunner shoves Drew one way, Parker the other --Drew looks at her -- what the hell? Parker CLEARLYMOUTHS: HAIR! MAKEUP! CLOTHES! and TEAMS OF DRESSERSvirtually surround them.INSIDE THE MOB OF DRESSERS SURROUNDING DREW the HAIRSTYLIST raises his brush and scissors, but PAUSES.The rest of the team stops, watching him make hisdecision. He shrugs. (CONTINUED) 49.CONTINUED: HAIRSTYLIST Perfection.He excuses himself and the others begin shoving her intocouture. CUT TO:DRESSING TEAM - A MOMENT LATERAnd the DRESSING TEAM surrounding Parker parts, revealingher in a very un-Parker-like, super-chic business suit.She catches a glimpse of herself in the mirror and rollsher eyes. Boring.The DREW TEAM parts and we are stunned to see they'vechosen to drape her in a show-stopping couture FREAK SHOWOUTFIT that is some sort of marriage between dominatrixand nun, complete with a habit and black leather bikini.ON PARKER who spots Drew and is, for the first time inthe movie, speechless. DREW Why does this not surprise me?THE NEXT MUSIC CUE COMES UP and the SHOWRUNNER grabsDrew... DREW Excuse me, but I'm supposed to be going to my college interview. SHOWRUNNER That's rich. A model going to college. What next? Talking monkeys?... and pushes her through the curtains and...INT. RUNWAY - DAYFLASH go a hundred CAMERAS! Blinded, Drew stumblesforward on a nine-inch spiked heels down the catwalk.ON THE AUDIENCE -- ALSO SPEECHLESS.This is when Drew catches sight of herself on a TVMONITOR at the end of the walk. (CONTINUED) 50.CONTINUED:Her first instinct is to RUN, but suddenly THE AUDIENCEHAS DECIDED -- IT'S A SMASH! THEY APPLAUD MADLY! BRAVO!BRAVO!Drew recovers herself a bit. Wow. They're clapping forme?INT. RUNWAY SHOW - BACKSTAGEParker's watching through the curtains when she spotsMorty leading two NYPD DETECTIVES (WILLIAMSON AND HOGAN)through the back door. Uh-oh.The Showrunner's holding her arm, waiting to throw heronstage but when Morty turns in her direction, Parkertakes the initiative and...INT. RUNWAY... jumps onstage, vamping it down the catwalk like shewas born to it.Drew's still at the end of the runway, basking in theAPPLAUSE and attempting to negotiate a precarious turn inher SCARY SPIKED HEELS when Parker approaches her and...... throws a hand on her hip, thrusts it out -- sexyexecutive! and leans into her sister: PARKER (whispering) The hotel guy's here.The juxtaposition of the TWO POLAR OPPOSITE OUTFITSdraped over twins suddenly throws the audience intoPAROXYSMS OF APPRECIATION for the inspiration of theartist and they call him out! Bobo! BOBO! AUTEUR!BRAVA!Here comes a smiling Bobo, through the curtains, blowingkisses and heading for the girls. PARKER (louder) And the police.Bobo presses himself between the girls, taking theirhands and beginning his bows, but the girls spot Mortypeeking from backstage, and they TAKE OFF, leaping offthe front of the stage into the audience like punksjumping into the mosh pit. (CONTINUED) 51.CONTINUED:The ADORING CROWD holds them up and they CROWD SURFtoward the rear of the room. DREW Everybody washed their hands, right?ANGLE ON MORTYSpotting the commotion, he and the two cops race down thecatwalk. Realizing he'll never get through the crowd,he, too, leaps off the stage to surf toward them but...THE CROWD ABRUPTLY PARTS and he does a complete FACEPLANT. HOGAN I guess that explains why he's a security guard.ANGLE ON THE GIRLSwho bust out the back doors of the large room andunwittingly...INT. THE PLAZA - LOBBY - CONTINUOUS ACTION... right back into The Plaza lobby. DREW (realizing) Perfect. PARKER Is this what they call 'returning to the scene of the crime'?Unfortunately for them, to get to the front door theyhave to pass by...... the PLAZA MANAGER and the other HOUSE SECURITY AGENT,BRUCE (butch haircut, bad suit), consoling Mrs. LoBiancho.When MORTY and the COPS come through the doors behindthem, however, there's no choice.The girls try to look as inconspicuous as possibleheading for the revolving doors but they overhear: (CONTINUED) 52.CONTINUED: PLAZA MANAGER I assure you, Mr. and Mrs. Lo Biancho, The Plaza will do everything in its power to see that The Emperor is safely returned and that the criminals are brought to justice. MRS. LO BIANCHO Justice?! I want them executed! Tortured first, slowly, and then beheaded! PLAZA MANAGER The Plaza's policy is of course to serve you in any capacity we can.Morty spots the girls across the lobby just as they reachthe revolving doors. MORTY (calling) Bruce! 10-80 at the wagon wheel!Bruce looks over to Morty like he's speaking Slavic, butMorty's furiously pointing and Bruce sees...THE GIRLS break for the revolving doors. Parker getsthere first, plunges in so fast that a MAN ENTERING istossed headlong into the lobby.Drew tries to time the quickly-spinning door but one ofthe very high SPIKED HEELS catches, throwing her forwardand sandwiching her in the revolving door. DREW (no breath) Park...OUTSIDE -- Parker sees Drew caught in the door as Bruce,Morty and the cops close in. Quickly, Parker pushes thedoor back, releasing Drew, who jumps in and swings out.EXT. THE PLAZA - CONTINUOUS ACTIONThen, Parker HEAVES THE DOOR WITH ALL HER MIGHT, spinningit so fast the security guys and cops can't jump in.INT. LOBBY OF THE PLAZA - CONTINUOUS ACTIONThe four men all stand there, watching the spinning door. (CONTINUED) 53.CONTINUED: MORTY Damn it!Then, just to their right, an ELDERLY WOMAN walks throughthe regular door just adjacent the revolving doors. Allfour share a sheepish look -- uh, maybe we should havethought of that -- then BOLT outside.EXT. THE PLAZA - CONTINUOUS ACTIONThe police and security look left, right, across thestreet. BRUCE Where'd they go? HOGAN They couldn't have gone very far. We'll split up. (pointing) You go that way! You take Fifth! Come on, get on your horse!Morty and Bruce take the cop's order and race off inseparate directions. Neither Hogan nor his partnermoves. WILLIAMSON Coffee? HOGAN Sure.Williamson and Hogan step over to a hot dog cart set upnext to a NEWSPAPER STAND. WILLIAMSON (to hot dog vendor) Two black. HOGAN Where do you think those two went? WILLIAMSON Beats me. They didn't have any stupid dog with them from what I could see. HOGAN Might have stashed it. (CONTINUED) 54.CONTINUED: WILLIAMSON Maybe they ate it.The cops giggle at this. WILLIAMSON The rent-a-cop said the mutt's worth like 50 G's. That makes it grand theft, my friend. Five to ten.ANGLE ON THE NEWS STANDwhere a BLIND CASHIER (SPEEDY) smiles at the twopolicemen. HOGAN (to blind cashier) Hey, Speedy. You didn't see a couple of blondes run past here, did you? SPEEDY Yep. Couldn't miss 'em. Real criminal types. Looked like they were headed to Mexico. HOGAN That's where they all go.ANOTHER ANGLEREVEALS Drew and Parker, crouched down behind the counterright next to Speedy. WILLIAMSON See you around. SPEEDY Not if I see you first.The cops head back to The Plaza. HOGAN I say we put Abbott and Costello on the ransom watch. I don't want to be stuck in the same room all day with Leona Helmsley's nasty stepsister. (CONTINUED) 55.CONTINUED:With the Detectives gone, Speedy turns up his nose andwaves the air, fanning away a bad smell. SPEEDY Whew. You know, it's not some old wives' tale about blind people having an acute sense of smell. DREW Sorry. SPEEDY So? What did you do with that dog? DREW We didn't steal it, I swear. PARKER A painter did. SPEEDY You girls best give yourselves up and tell 'em the story. DREW (torn) He's right, Parker. PARKER Of course he's right. We're going to march in there and give ourselves up right this minute. They will, of course, take us down to the precinct, call Mom and Dad, we'll give our statement, they'll grill us under hot lights for a few hours, force us to confess with some tricky good cop/bad cop routine and the next thing you know we're doing five to ten in Attica.Drew checks her watch. DREW So we'll turn ourselves in right after the interview. SPEEDY May I make one suggestion? (CONTINUED) 56.CONTINUED: PARKER Sure. SPEEDY Hit the showers before you do anything else.A BEEP BEEP indicates Parker's BLACKBERRY is receiving amessage. DREW We're facing felony charges, Parker. Maybe you can do your on- line flirting later. Better yet, he can see you during visitor's hours.Parker reads the incoming MESSAGE from...THOREAU 786: HOW'D CHEM TEST GO? PARKER (beat; epiphany) Oh my God. Warren works in the city. DREW Warren? WARREN?! So you lied, right to my face. No, Drew, this isn't about the chat room guy. Nah!But Parker's typing furiously even as Drew rants on --she has to lean around Speedy's legs. A GUY buying anewspaper peers down at the strange sight. SPEEDY (to guy) Take your daughters to work day.The guy pays for his paper, leaves.NOTATWIN: WARREN. MY REAL NAME'S PARKER MACLEOD. MYSISTER AND I NEED A FAVOR. DREW Are you listening to me?! Give me that stupid thing!Drew reaches for the Blackberry. (CONTINUED) 57.CONTINUED: PARKER Knock it off, Drew! This guy might be able to help. He lives here. DREW Parker, you have completely lost your mind if you can be thinking about boys at a time like this!THOREAU 786: PARKER. THANKS FOR SHARING. ANYTHING YOUNEED.NOTATWIN: BIT OF A JAM IN THE CITY. MOB, POLICE ANDHOTEL SECURITY ON OUR TAIL. COULD USE A HIDEOUT.THOREAU 786: LOL! ADVENTUROUS TYPE. MEET ME AT WORK?I'M AT THE U.N. PARKER (to Drew) The United Nations? DREW You can't possibly know somebody who works at the United Nations. Maybe he meant United Sub Sandwiches. Or United Skate Rats Store.NOTATWIN: UNITED NATIONS?THOREAU 786: JUST A DAY JOB. JOIN THE 11:00 TOUR.SOON.Parker pockets the Blackberry. PARKER So. We're going to the United Nations to use the restroom. DREW How convenient. You arrange a little date while your sister's future hangs in the balance. PARKER Look, he said he'd help and it's only a couple blocks away. You got a better idea?Speedy opens the rear door of the newsstand. (CONTINUED) 58.CONTINUED: SPEEDY (how's he know?) Coast's clear. PARKER Thank you, Mr. Speedy. SPEEDY You're quite welcome. Good luck in that interview.Drew SIGHS, then reluctantly follows Parker out. CUT TO:INT. MacLEOD HOUSE - CHARLEY'S STUDYHead thrown back, mouth wide open, still in his bathrobe,Charley sleeps in the chair directly in front of hislaptop. The SCREENSAVER, an animated version of JackNicholson in THE SHINING, just keeps typing "All work andno play..."When the PHONE RINGS it nearly knocks him out of hischair. He hunts it down through the MAELSTROM on hisdesk. CHARLEY (to phone) Wal-Mart? (beat) Hey, Marvin. You bet. Typing away.He glances at the screensaver, the same words pouringout. CHARLEY (suddenly concerned) Today? (beat) Gee, I'm on a real roll, Marv. The juices overfloweth, if you get my meaning. Don't want to plug the juices when they're overflowing, right? (whoa) How much? (beat) Hm. I guess I could carve out some time. (CONTINUED) 59.CONTINUED:Charley smells his armpit. Ripe. He'll need a quickshower. CHARLEY Got it. See you in the City.Charley hangs up, punches a key on his computer. Thescreensaver disappears and up pops a BLANK PAGE. At thetop: CHAPTER ONE. Nothing else. CUT TO:INT. CHARLEY'S '77 FORD PICKUP - DAYCharley's driving, eating a sandwich and dialing his CELLPHONE at the same time, veering dangerously andobliviously across the center stripe. The oncoming CARcareens out of his way in a blaze of HORN. CHARLEY (to phone) Hello, beautiful Doctor Lady. How goes your day? (beat; huh?) Right next to the magazine rack? What did they name it, Newsweek? (beat) I'm going into the City to meet some big shot publisher. Maybe I'll swing by NYU afterwards and see if I can give Drew a ride home. You talk to her today? (beat) She's probably having too much fun to call. I'll ring her up. Bye bye.He hangs up and of course veers into the other laneagain, correcting wildly before resuming his merry way. CUT TO:INT. MADISON SQUARE GARDEN - LO BIANCHOS' PRIVATE BOXFar below, Garden employees set up for the dog show.Inside, the Lo Bianchos' luxury box is likewise beingprepared. In one corner, Bruce and Morty are fumblingwith the unfamiliar electronic tracing gear, readying forthe ransom call.Mrs. Lo Biancho turns up her nose at the buffet table. (CONTINUED) 60.CONTINUED: MRS. LO BIANCHO (to Caterer) What are those? CATERER Rumaki, ma'am. MRS. LO BIANCHO Rumaki! Yech! You might as well wrap dog turds in bacon. Take them away.A SOCIETY FRIEND of Mrs. Lo Biancho, BABS, arrives to payher respects, shuffling her feet across and leaning in totrade air kisses. BABS Andrea, Andrea. How dreadful! I shudder to think how the poor Emperor may be suffering. MRS. LO BIANCHO Dear Babs. I'm at wit's end.When she turns on Morty and Bruce, they both jump alittle. MRS. LO BIANCHO (putting on a show) You! Tell the thieves I'll pay anything they want! Anything! BABS Of course. What price on a loved one? MRS. LO BIANCHO Precisely! BABS I've got to run. That stupid groomer used a commercial conditioner on Coco and she looks like trailer trash.Babs nabs one of the rumaki on her way out. As soon asBabs is gone, Mrs. Lo Biancho looms over Morty and Bruce. MRS. LO BIANCHO I'll give them ten grand, tops, but only if the dog's back before show time. (CONTINUED) 61.CONTINUED:A troubled Bruce isn't having much luck operating thetrace machine. BRUCE (aside to Morty; whispered) Do you know how to turn this on? CUT TO:EXT. SIDEWALK IN NEW YORK - DAYThe girls try to be as inconspicuous as possible walkingcross-town in couture, Drew with only one shoe and in abad mood. PARKER We're going to make it, Drew. You'll see. There's still plenty of time. You'll get cleaned up, we can trade clothes... this is a nice suit, huh? Right? DREW (abrupt) Yes. PARKER You're going to get accepted, then we can explain the misunderstanding about the dog to the police and everything will be okay. DREW Maybe after the police forgive us for sneaking into someone else's hotel room, we can ask them to please keep the mob hit man from whacking us and dropping us into the marina so he doesn't get his suit dirty. PARKER First things first. DREW Parker, I know you're trying to cheer me up, but I have to be honest. This is all your fault. (CONTINUED) 62.CONTINUED: PARKER (beat) My fault? MY FAULT?! I didn't mean for any of this to happen! DREW Yeah, right! Like you didn't mean to ask Bernie Lipscomb to the prom! PARKER What's that supposed to mean? DREW I'll bet that was just another accident of yours that happened to screw up my life! PARKER Bernie Lipscomb? (dawning) You...?Drew didn't want to admit that -- it just slipped outunder pressure. PARKER You liked Bernie, too? DREW You know I did! PARKER No I didn't. I haven't seen you talk to a guy since we were in kindergarten and we thought Jerry Wester was a girl. DREW You asked Bernie just to snake him from me! PARKER I did not! (beat) Wow, the really spooky thing is, that would mean we liked the same guy.A block away, the United Nations building standsmajestically against the sky. (CONTINUED) 63.CONTINUED:Directly in front of them, however, a POLICE CAR isstopped at the light with two uniformed POLICEMEN inside.The girls spot the Police and stop.The Police look up at the girls through their windshield.INT. POLICE CAR - DAYTheir on-board FAX is spitting out an APB PHOTO. ThePOLICEMAN on the passenger side pulls it off and holds itup.ON THE PHOTO -- IT'S DREW STUCK IN THE REVOLVING DOOR OFTHE PLAZA WITH PARKER PULLING HER THROUGH. POLICEMAN Isn't that those two right there?He shows the PHOTO to his PARTNER who's driving. POLICEMAN #2 I'll be damned.But when they look up:POLICEMAN'S POV-- the girls are gone. They don't take much notice of aHORSE-DRAWN CARRIAGE passing them with the DRIVER upfront and TWO TOURISTS kissing in the back.BACK TO SCENE POLICEMAN Where the hell did they go?As the carriage clops past, however, the Policemen don'tnotice the Girls -- both clinging to the back. POLICEMAN #2 (into radio) 605 to Base. We spotted the dognapping suspects, corner of 1st and 49th. POLICE OPERATOR (V.O.) (from radio) Copy that, 605. CUT TO: 64.INT. DETECTIVES' CAR - DAYHogan and Williamson are eating sandwiches but they'vepaused to listen: POLICE OPERATOR (V.O.) (from radio) Car 91, 605 reports suspects spotted at 1st and 49th.Hogan picks up the radio while Williamson FIRES UP theCAR. HOGAN (to radio) 605, do you still have visual? POLICEMAN #2 (V.O.) Negative. But they can't be far. They're on foot. WILLIAMSON (to Hogan) That's over by the U.N. HOGAN (to radio) See if you can pick them up. We're on our way.Zoom! Williamson blasts crosstown. CUT TO:EXT. U.N. PLAZA - DAYThe Horse Carriage passes the usual groups of PROTESTORSand TOURISTS outside on the U.N. Plaza and...... the Girls jump off and move into the crowd, headedfor the ENTRANCE where there's a LINE at the door.DOWN THE BLOCK the Detectives' unmarked car appears andparks at the curb.Williamson and Hogan climb out, scanning the crowd. WILLIAMSON (pointing) There they are.DETECTIVES' POV-- just a glimpse as they ENTER the building. 65.BACK TO SCENE HOGAN What in the world could they be doing here?INT. ENTRANCE TO U.N. - CONTINUOUS ACTIONThe Girls pass through the metal detector and move towarda small group of TOURISTS waiting by the sign that reads:NEXT TOUR 11:00. DREW (re: Warren) Do you see him?Parker consults the JPEG PIC on her Blackberry, thenscans the group. PARKER No.At the head of the group, the U.N. TOUR GUARD, geeky in aClark Kent way and nice enough looking but definitely nota male model, leans into a petite BRUNETTE and her LITTLESISTER. TOUR GUIDE (conspiratorially) I can't tell you how much I've looked forward to this.The Brunette looks at him like he's a serial killer. BRUNETTE (in Russian) Momma?Her fierce-looking BABUSHKA MOM gets in the Tour Guide'sface. TOUR GUIDE Sorry. My mistake.This is when Drew notices Williamson and Hogan ENTERINGand approaching a U.N. SECURITY GUIDE, flashing theirbadges. DREW Oh, shit. What now? PARKER (out loud) Warren? Does anyone know Warren Collier? (CONTINUED) 66.CONTINUED:The Tour Guide, WARREN COLLIER, looks over at them. WARREN Parker?Warren moves back to Drew and Parker. PARKER Gee, Warren. Isn't that strange? I didn't recognize you from your picture. WARREN Yeah, I, uh... DREW (urgently) We don't have time for this now. PARKER Do you have an office or someplace private we could go? WARREN I just have to do this tour and...But Williamson and Hogan, led by the U.N. Security Guy,ENTER the lobby.Drew grabs Warren by the arm and turns him. DREW We'll get back to that. WARREN What's going on?Parker looks Warren right in the eye. This is a test. PARKER It's important. WARREN (beat) Okay. Let me get somebody to cover for me.Warren leads them into a small adjoining office...INT. TOUR GUIDE OFFICE - CONTINUOUS ACTION - DAY... where another TOUR GUIDE is taking a break. (CONTINUED) 67.CONTINUED: WARREN Hey, Angie, take the 11:00 for me, will you? ANGIE (TOUR GUIDE) No way. Judge Judy's on.Drew grabs Angie by the collar, lifts her up. DREW Angie? Take the 11:00. ANGIE (to Warren) You owe me, Warren.Angie heads out to take the tour. Parker turns onWarren. PARKER Are you a lying sack, or what? WARREN What was I supposed to do? I liked you. If I'd sent a real picture, would you have met me? PARKER That's not the point. WARREN That means no. At least this way I got to see you before you blow me off. DREW No one is blowing you off, Warren. As a matter of fact, we're very happy to see you, aren't we, Parker? PARKER I guess. DREW And we're grateful for your help. PARKER This is my sister, Drew. WARREN Not-a-twin, huh? (CONTINUED) 68.CONTINUED: PARKER That's a joke. WARREN Yeah, well. I guess everybody would like the world to see them a little bit differently than they are. DREW (quickly interjecting) Super. Now that that's all settled, is there a restroom I can get to without going out there? WARREN What's wrong with going out there? PARKER Police, for one thing. WARREN Police? I thought you guys were joking. PARKER It's the kind of joke that will be a lot funnier a few years from now. WARREN Well that door's the only way out. There's a restroom at the end of the main hall.Parker opens the office door, peeking out. DREW They there? PARKER I don't see 'em.ANGLE ON WILLIAMSON AND HOGANwho Parker can't see because her line of sight is blockedby the office door.BACK TO DREW AND WARREN DREW They must be searching the building. (CONTINUED) 69.CONTINUED: WARREN What'd you guys do, anyway? Mug a couple supermodels? DREW Let's go.With Warren leading the way, they EXIT the office.INT. U.N. LOBBY - CONTINUOUS ACTION - DAYThe three make their way across the vast lobby, butbefore they reach the main hall... HOGAN (O.S.) (spotting them) Hey! You two! Stop! WARREN This way!Almost instinctively, they go COMPLETELY SEPARATE WAYS,Warren and Parker breaking left, Drew right.Drew makes a mad dash down a hallway, makes a turn,another turn, working her way deeper into the labyrinth.Even while running frantically, she tries to smilepolitely at everyone she passes until she spots a WOMEN'Sroom and quickly ditches inside.INT. U.N. - WOMEN'S ROOM - CONTINUOUS ACTIONShe hurriedly crosses, enters a stall, locks the door andputs her feet up. She tries to catch her breath.GROANS OF PAIN ECHO from the stall next to her.Somebody's in BAD SHAPE. Another HEART-RENDING GROANcan't be ignored. DREW (to person in stall) Are you okay? CANADIAN REPRESENTATIVE (near fatally nauseous) Ohhh... I'm so sick. The mussels at lunch. You have to help me. (CONTINUED) 70.CONTINUED: DREW I'm kind of in my own private hell right now. CANADIAN REPRESENTATIVE What's your name? DREW Drew. CANADIAN REPRESENTATIVE Drew... it's vitally important.A FILE FOLDER comes skidding from under the stall. CANADIAN REPRESENTATIVE Please. You have to take this to Canada. DREW Uh, Canada? It's sort of far away. CANADIAN REPRESENTATIVE (struggling) In the Assembly. Give the file to Mr. Wakefield, the Canadian representative. (GROANNN!!) Please. I can't... get up. DREW You want me to take this to the Canadian Representative to the United Nations? CANADIAN REPRESENTATIVE Hurry! This is a crisis!What can she possibly do? DREW (confused but...) Okay.Drew EXITS the stall and goes to the door. DREW Where's the Assembly? CANADIAN REPRESENTATIVE To the left. Run!Drew peeks out the door. It looks clear. Out she goes. CUT TO: 71.INT. HALLWAY OUTSIDE MAILROOMOn the run, Warren and Parker ditch through a door markedMAILROOM. A BEAT LATER, Hogan appears from around thecorner.INT. MAILROOM - CONTINUOUS ACTIONVacant and quiet. The DOOR OPENS SLOWLY and HoganENTERS. It's a small room with a few canvas mail sackspiled in a corner and a wall of mail-sorting cubbies.An in-house MONITOR mutely broadcasts the now emptyASSEMBLY ROOM.Nothing here, Hogan closes the door. IN A BEAT, one ofthe mail sacks wriggles and Warren sticks his head up. WARREN He's gone.Parker pops up from the same sack. Face to face, there'san awkward moment of attraction between them. WARREN (no better idea) You have nice breath. PARKER Thank you. (beat) Maybe we should get out of this sack. CUT TO:INT. U.N. ASSEMBLY - DAYDrew peeks in through the door, reading the COUNTRYIDENTIFICATIONS on the desks... Bangkok, Borneo,Bulgaria... Canada.The REPRESENTATIVES are in the middle of a heated DEBATEthat we hear being translated (and we see in subtitles). CHINESE REP (Chinese; subtitles) Impossible! This would be globally destabilizing! BULGARIAN REP (pointing angry finger) Hah! Posturing and rhetoric! (CONTINUED) 72.CONTINUED:The CANADIAN REPRESENTATIVE is sitting gingerly in hischair, shifting uncomfortably. He looks pale, shaky.Drew commits herself and rushes down the stairs to hisdesk with the file. DREW (whispering) Sir?He puts a hand to his stomach -- he's struggling. CANADIAN REPRESENTATIVE #2 (ugh; groan) Yes... DREW Oh, no. You didn't have the mussels at lunch, too, did you?Even as she holds out the file, he races past her,puckering his bum.She watches him waddle up the stairs BUT AS HE EXITS, HEPASSES WILLIAMSON AND THE U.N. SECURITY GUY IN THEDOORWAY.Drew sees them. Uh, oh. The only thing she can do tomake herself inconspicuous is to drop into the CanadianRep's chair and turn her back on them like she's one ofthe Assembly members. She sits up, shuffles the filesaround.Glancing furtively to either side, she sees that everyoneelse is wearing the TRANSLATION EARPHONE. She puts oneon.ANGLE ON THE DETECTIVEWilliamson's gaze comes to rest on...... THE BACK OF DREW'S HEAD. Hm. That looks familiar.This is when the CHINESE REP stands, furious, and pointsan accusatory finger at Drew! CHINESE REP This crisis falls at the feet of one nation and one nation only! CANADA!ALL EYES TURN TO DREW. (CONTINUED) 73.CONTINUED: CHINESE REP How do you defend such a position! The world is waiting to hear!These are fighting words. The Assembly grows SILENT.Drew wishes she could BEAM HERSELF somewhere off planet.She gulps air. Glances left, right.BUT SHE KNOWS THE DETECTIVE'S EYES ARE ON THE BACK OF HERHEAD AND SO SHE CLEARS HER THROAT AND: DREW Well, I'm not certain...This furrows some brows. DREW (recovering) ... that I NEED to defend our position!Ah, yes, some knowing nods.ON THE NORTH KOREAN REPRESENTATIVE leaning over to conferwith the NORWEGIAN REPRESENTATIVE: NORTH KOREA (subtitles) Is she new? NORWAY Beats me. NORTH KOREA She's hot. NORWAY Weird hairdo.BACK ON DREW CHINESE REP That is absurd! DREW Absurd?!Uhhh... where now? She notices the FILE the Rep in thebathroom gave her and holds it up, shaking it foremphasis. (CONTINUED) 74.CONTINUED: DREW (dramatic emphasis) Not so absurd, since I have the documents right here in my possession!This draws a CHORUS OF MURMURS throughout the hall. TheChinese Rep suddenly looks terribly worried and pauses toconfer with his ASSOCIATE. CUT TO:INT. U.N. - MAILROOMParker's peeking through the door, checking the hallway. PARKER How are we going to find Drew? WARREN Something tells me that won't be too tough.Warren points to the MONITOR. Parker's jaw drops. Hersister is addressing the entire U.N. Assembly. CUT TO:INT. U.N. ASSEMBLY - DAYDrew glances Williamson EXITING. DREW And besides, who said absurd is necessarily bad? Sometimes absurd is good! For instance, absurd can be sort of... funny! In conclusion, I propose that all of you should talk amongst yourselves. (quickly) Thank you.Like Cinderella at Midnight, she turns and races up thestairs as the Assembly is in complete turmoil -- KOFIANAN BANGS his gavel. KOFI ANAN Canada has proposed further debate. U.S. REP The United States of America seconds the motion! 75.INT. LOBBY OF THE U.N. ASSEMBLY - CONTINUOUS ACTIONDrew busts through the doors just as Warren and Parkercome running with the Detectives chasing them. The threeof them make for the front door but a TOUR GROUP comprisedof a hundred young JAPANESE GIRLS blocks their EXIT.Warren thinks fast and YELLS IN JAPANESE. WARREN Jin zshe miya BRAD PITT!SCREAMING LIKE BANSHEES, the Japanese Girls all pouroutside, Warren and the Girls following.EXT. U.N. PLAZA - DAYOnce outside, he YELLS AGAIN. WARREN Dingo cashito, BRAD PITT ezukai!The JAPANESE GIRLS turn around and STORM BACK THROUGH THEDOORS, blocking Williamson and Hogan's EXIT.The three of them run for the line of taxis. PARKER You speak Japanese? WARREN I may not look like an underwear model, but I'm smarter than a hundred of them put together.Warren grabs a Taxi door. WARREN Come on! PARKER We don't have any money! WARREN I'm smart AND rich!Williamson and Hogan have fought their way out throughthe little Japanese Girls.Realizing they won't reach Parker and Drew in time, theyhead for their own unmarked cruiser which is parked justahead of...Bennie's TOWN CAR. He's holding the door for a cigar-chewing CLIENT but watching the Girls climb into the cabup ahead. 76.INT. TAXI - CONTINUOUS ACTIONThey jump into the back seat, Warren in the middle.Parker leans urgently into the DRIVER: PARKER Follow that... uh... DREW They're following US, Parker! PARKER Oh, yeah. JUST GO!The TAXI pulls away from the curb.INT. DETECTIVE'S CAR - CONTINUOUS ACTIONWilliamson FIRES UP the CRUISER. WILLIAMSON Maybe we should give them a little leash and see what they do with it. HOGAN Fine. But we're gonna have to stop for lunch pretty soon, 'cause I'm getting heartburn.They pull into traffic, following the Cab.In a BEAT, Bennie's Town Car follows, too.INT. TAXI - CONTINUOUS ACTIONParker leans across Warren to Drew. PARKER Excuse me, what were you doing? DREW Someone was sick in the bathroom and they asked me to -- hold on, I don't owe you any explanation. PARKER You're the one all 'I gotta get to this interview or I'm gonna have a nervous breakdown' and yet you have time to address the United Nations? (CONTINUED) 77.CONTINUED: WARREN You know, technically, you have to have security clearance to enter the Assembly. PARKER Not now, Warren. DREW You have a lot of nerve, Parker. It was you that got me tossed off the train! You had to give the bum that dollar! You get the suit, I get the leather bikini! WARREN (under) Which isn't so bad. DREW And you got Bernie Lipscomb while I got Scrabble with Mom and Dad! WARREN Who's Bernie Lipscomb? PARKER I told you, I didn't know you liked him! It was no big deal! DREW It was to me! PARKER How could I know? You never tell me anything! DREW There's a good reason for that! PARKER What's that supposed to mean? DREW You know very well what it means, Ms. Big Mouth! PARKER Big mouth?! Ooh, I hope you miss that stupid interview! (CONTINUED) 78.CONTINUED: DREW Oh yeah? Well, the joke's on you, because there isn't any interview!Oops. This just slipped out in anger. Parker's brainhas to adjust, then: PARKER What? DREW (beat) No interview. I screwed up. PARKER You screwed up what? DREW Scheduling the interview. You deaf? PARKER You're Drew. Drew doesn't screw ANYTHING up, let alone scheduling. You're the Iron Chef of scheduling. DREW I missed the deadline. PARKER How? DREW After they made the first cut from the preliminary application, we were supposed to send in a form to secure our interview time and I filled it out and had everything ready to go in the mailbox and then...Drew is near tears. PARKER And then what? Earthquake? Tsunami? Nuclear winter? DREW I forgot. PARKER Forgot? (CONTINUED) 79.CONTINUED: DREW Yes. I just forgot. When I found it in my bag a week later, I'd missed the deadline. PARKER So today? All this? What are you doing? DREW (humiliated) I... I was going to try to meet Professor Spaulding and... PARKER You were just going to jump him? WARREN Sort of a guerilla interview? You know, I'm a big Michael Moore fan...A look from Parker quiets Warren. Drew's choked up. Shejust nods, yes. DREW I called and the secretary said there were no exceptions to the deadline so I was going to try to see him when he finished the other interviews. I knew it was hopeless, but... I was so... embarrassed.Drew wipes her tears, then: DREW Oh, to hell with it.She opens the door and jumps out! PARKER Drew?! Drew, get back in this taxi!Parker starts to open her door on the TRAFFIC SIDE! HONKHONK! It's nearly SHEARED OFF by a passing truck and shecloses it just in time. WARREN She's pretty upset. (CONTINUED) 80.CONTINUED: PARKER Gee, you really are a genius.As the taxi bogs down in traffic, Drew disappears aroundthe corner up ahead. PARKER Talk about spontaneous.EXT. BLOCK NORTH OF THE GARDEN - CONTINUOUS ACTIONTears running, Drew's walking too quickly for the onestupid shoe. She nearly turns her ankle. DREW Darn it! DARN IT DARN IT DARN IT!This is when she sees, parked just down the block...ROGER'S VAN with "Michelangelo's Painting" across theback door. DREW That's... that's the painter.Drew quickly steps into the shadow of a doorway to keepout of sight and watch the van.A BLOCK BEHIND THE TAXI --INT. DETECTIVE'S CAR - SAME TIMEWilliamson and Hogan have the same problem with thetraffic and can't see clearly what's going on up ahead. WILLIAMSON Did one of them just get out? HOGAN I think so. Maybe she's going for the dog. WILLIAMSON Maybe that's what they want us to think. HOGAN So we stay with the taxi? (CONTINUED) 81.CONTINUED: WILLIAMSON Unless you want to hoof it after the other one. HOGAN We stay with the taxi.INT. ROGER'S VAN - CONTINUOUS ACTIONRoger dials a cell phone while The Emperor stands on thepassenger seat with his front paws on the dash. As faras we can tell, he's having a great time being kidnappedand doesn't mind being mauve. ROGER Get in the back, will ya?The Emperor ignores him, happily watching the streets ofNew York go by. ROGER Stupid dog.But his CALL has gone through. He imitates a GIRL'SVOICE. ROGER (as GIRL) Hello? CUT TO:INT. LO BIANCHOS' BOX (MADISON SQUARE GARDEN) -CONTINUOUS ACTIONMrs. Lo Biancho calmly answers her cell phone. MRS. LO BIANCHO Yes?Morty and Bruce have their tracing gear rigged to herphone but have to keep following her around the box. ROGER (Girl Voice throughout) If you want to see your dog alive again, listen closely. I want a hundred thousand dollars transferred into this numbered Swiss account -- (CONTINUED) 82.CONTINUED: MRS. LO BIANCHO (interrupting) -- I'll give you ten grand but only if he's in Madison Square Garden in...She looks to her husband, who consults his watch and thenholds up ONE FINGER. MRS. LO BIANCHO One hour. Take it or leave it.Bruce SIGNALS her -- keep him on the line! MRS. LO BIANCHO You have one minute to decide.She hangs up. Bruce and Morty SIGH.INT. ROGER'S VAN - CONTINUOUS ACTIONRoger looks at the phone. It wasn't supposed to go likethat. He looks at The Emperor. ROGER Well, Mr. Fancy Pants. You can wipe that stupid smile off your face. I don't think they love you as much as you think they do.He glances at his watch. He believes Mrs. Lo Biancho andis PANICKING.INT. TAXI - CONTINUOUS ACTIONParker and Warren are scanning the sidewalk ahead forDrew. PARKER Where'd she go? WARREN I think she took a right up there. PARKER (to Driver) Follow my sister. TAXI DRIVER I thought we were the ones being followed. (CONTINUED) 83.CONTINUED: PARKER Stay flexible, will you please?They turn right.INT. ROGER'S VANHe hits redial. Mrs. Lo Biancho answers. MRS. LO BIANCHO (V.O.) Yesss? ROGER Okay. Here's how we make the -- MRS. LO BIANCHO (V.O.) (interrupting again) -- First of all, you forgot to disguise your voice. ROGER (to himself) Damn it! MRS. LO BIANCHO (V.O.) Secondly, my husband will meet you in ten minutes on the corner of 43rd and Broadway. He'll have the money. Bring the dog. ROGER But that's ridiculous! You'll just bring the police! No way! Consider him Kung Pau! MRS. LO BIANCHO Fine. ROGER Don't hang up! MRS. LO BIANCHO The police, it appears, have other priorities, like humans or something. And I assure you, the Hotel Security... people... will not interfere. In any case, little man, we just want the dog back before showtime, do you understand? (CONTINUED) 84.CONTINUED: ROGER (beat) Okay. MRS. LO BIANCHO Ciao.She hangs up. Roger does, too. ROGER (to The Emperor) No wonder you look so happy. As far as you're concerned, you've escaped from the Wicked Witch of the West.EXT. BLOCK NORTH OF THE GARDENDrew watches as Roger climbs out, looks up and down thestreet, then moves around to the passenger side, grabsThe Emperor and drops him into a gym bag.AT THE END OF THE BLOCK -- SPECTATORS for the New YorkKennel Club Dog Show have begun filing into the Garden.Ever wary, Roger carries The Emperor under one arm. TheEmperor pokes his nose out. Roger pushes it back in.The dog pokes it back out. ROGER (to Emperor) Knock it off.Whoosh! From behind, DREW GRABS THE EMPEROR and takesoff running. ROGER Hey! Give me that dog!Holding The Emperor at arm's length, Drew makes a run forit with Roger after her.ON DREW -- LOOKING RIGHT INTO THE SMILING MAUVE FACE OFTHE EMPEROR. DREW I just want you to know that I'm allergic to you AND cynophobic!She and Roger race right past...... Mr. Lo Biancho, holding out the Saks bag of money. (CONTINUED) 85.CONTINUED: MR. LO BIANCHO Excuse me? DREW I can't stop! I have to return this dog! ROGER I'll be right back!Puzzled, Mr. Lo Biancho falls in line behind Roger,keeping up pretty well for an old dude with a gut.ANGLE ON THE END OF THE BLOCKWHERE PARKER'S TAXI APPEARS.INT. TAXI - WARREN'S POV THROUGH WINDSHIELD -CONTINUOUS ACTIONDREW'S RUNNING RIGHT AT THEM DOWN THE SIDEWALK WITH THEEMPEROR! WARREN Uh, isn't that your sister? PARKER It can't be. She's terrified of dogs.INT. DETECTIVE'S CAR - DAYThey round the corner behind Parker and Warren. HOGAN I'm telling you, I got a hunch these girls don't have anything to do with this dog.Drew blows past them, holding The Emperor. TheDetectives exchange glances -- nice hunch -- and theyLEAP OUT OF THE CAR TO JOIN THE CHASE.INT. BENNIE'S TOWN CAR - DAYJust as he turns the corner, the PARADE PASSES HIM. Whatthe hell? 86.EXT. BLOCK NORTH OF THE GARDEN - CONTINUOUS ACTIONThe Emperor's having the time of his life. He licksDrew's face joyfully as she weaves through the growingcrowd.DREW'S DOG-SLOBBERED POVREVEALS A UNIFORMED POLICEMAN doing security at theDELIVERY ENTRANCE to the Garden, where SHOW PARTICIPANTS,wheeling their DOG KENNELS, are being checked in by twoSHOW OFFICIALS.BACK TO SCENEDrew draws a bead on THE POLICEMAN, determined to reachhim and hand over The Emperor: DREW Officer?! Officer?!But SHOW OFFICIAL #3 appears from inside, taps thePoliceman on the shoulder -- they need him inside. Heturns and goes through the door just as...... Drew reaches the loading dock and hustles up thestairs. DREW Officer?!She sprints past the other SHOW OFFICIALS checking inCONTESTANTS. SHOW OFFICIAL #1 Miss! You can't go in without credentials!INT. BACKSTAGE (MADISON SQUARE GARDEN DOG SHOW) -CONTINUOUS ACTIONDrew has entered HER OWN PERSONAL CIRCLE OF HELL -- DOGSOF EVERY SHAPE AND SIZE SURROUND HER. DREW (to no one/everyone) Where's the Policeman?A GROOMER combing a HOUND DOG points toward the CURTAINSon the far side of the room and she blasts off thatdirection. (CONTINUED) 87.CONTINUED:CLOSE ON THE HOUND DOG -- lifting his big nose in theair, he sniffs mightily and then...BAYING LIKE HE'S COON HUNTING UNDER A KENTUCKY MOON, theHound Dog leaps off his table, heads after Drew.EXT. LOADING DOCK (MADISON SQUARE GARDEN) - CONTINUOUSACTIONCHAOS.The TWO SHOW OFFICIALS, sporting nifty sweaters andmanicures, are prepared to sacrifice their lives to blockthe door. In addition to the PARTICIPANTS trying to getinside, they're holding off Roger, Mr. Lo Biancho,Williamson and Hogan. SHOW OFFICIAL #1 (quite disturbed) No entry without official credentials! MR. LO BIANCHO I'm Emile Lo Biancho! I demand to be let in! WILLIAMSON NYPD! Move aside!At the mention of POLICE, Roger's EYES GO WIDE. Heslinks down, losing himself in the crowd and sidles off. SHOW OFFICIAL #1 (chin set) I'll have to see identification, officers. (to Mr. Lo Biancho) I'm so sorry, Mr. Lo Biancho. Go right in.AT THE CORNER, Parker and Warren keep their distance, notwanting to be seen by the Detectives. WARREN You think she made it? PARKER She's faster than she looks. CUT TO: 88.INT. MADISON SQUARE GARDEN - CONTINUOUS ACTIONShe is -- but now she's not running to catch a policeman,but to try to keep from being over-taken by...... A GIANT PACK OF PEDIGREED POOCHES WHO CHASE DREWACROSS THE SHOW FLOOR.INT. MADISON SQUARE GARDEN - LO BIANCHOS' BOXThe ROAR of the CROWD and the BARKING of the PACKdraw the attention of everyone in the Lo Bianchos'box. MORTY Isn't that The Emperor, ma'am? MRS. LO BIANCHO Good God. He's mauve.INT. MADISON SQUARE GARDENDrew makes it across the floor and out the other sideinto a tunnel...INT. MADISON SQUARE GARDEN - CONCESSION AREA... appearing in the concession area.ANGLE ON A SHIH-TZUas it breaks off, jumps onto a concession stand andbegins looting it.Drew makes for the EXIT past the TICKET TAKERS who leapout of the way and just as she reaches the door andpushes it open...EXT. MADISON SQUARE GARDEN - FRONT ENTRANCE -CONTINUOUS ACTIONTHEY CATCH UP TO HER IN A SWARM, KNOCKING HER ONTO THESIDEWALK OUTSIDE WHERE SHE DISAPPEARS UNDERNEATH AMOUNTAIN OF DOGS!Williamson, Hogan, Morty, Bruce, Mr. and Mrs. Lo Bianchoand quite a few SPECTATORS pour out the doors. 89.ANGLE DOWN ON DREWSTILL HUGGING THE EMPEROR IN THE MIDDLE OF THE PACK, ALLOF WHOM GLEEFULLY LICK HER FACE! DREW Please! I'll get hives! (resigned) Oh, go ahead.DREW'S POVThe Detectives appear above her.BACK TO SCENEShe holds up The Emperor. DREW I, uh, just wanted to return him.As the other OWNERS and HANDLERS gather their dogs,Williamson hands The Emperor off to Mrs. Lo Biancho whileHogan handcuffs Drew. MRS. LO BIANCHO Flog her! Step aside and I'll whip her myself! MR. LO BIANCHO (dead calm) Didn't you say it was a man who called, Dear? MRS. LO BIANCHO So she had an accomplice! We'll beat the information out of the little wench! (handing him The Emperor) Get him cleaned up, Emile.Williamson and Hogan move Drew toward their car. DREW I didn't take her dog, I swear. WILLIAMSON We'll sort it out. (CONTINUED) 90.CONTINUED: DREW But I have this interview. I mean, it's not really an interview. I'd never lie to the police... (it's over) ... never mind.Just as they push her head down into the car, sheglimpses a vaguely familiar face among the myriad GAWKERS-- it's the Bike Messenger. For just an instant theylock eyes before the car pulls away.DOWN THE STREETParker and Warren round the corner at a run, only in timeto watch the Detective's car leave with Drew in the backwindow. WARREN What now? PARKER We have to go to the jail and tell them what happened. WARREN What on earth did happen? PARKER Poor Drew. She wanted to get into that program more than anything in the world.With a SIGH, they turn to go and BUMP -- knock intoBennie, who's staring coldly down at Parker. BENNIE You goin' somewhere?She's paralyzed with fear. WARREN (gulp) Hello, sir. PARKER Oh my God! Please don't kill me! WARREN Kill? (CONTINUED) 91.CONTINUED: PARKER We don't know anything at all! We didn't see anything or hear anything and I'll swear to that in a court of law!Bennie appears unmoved. Parker closes her eyes, tryingto meet death with dignity. PARKER Just not in the face. BENNIE What's the big idea? You two a couple a nutbags or somethin'?She opens one eye. PARKER Nut bags? No. I mean, yes. Is there a right answer to that? See, my sister had this interview which turned out not to be an interview, really and I sort of messed things up because I wanted to meet him.Indicating Warren. WARREN Really? You came into town just for me? Wow. PARKER Not now, Warren. (back to Bennie) Drew was going to be late even though technically she wasn't going to be late since there wasn't an interview and that's when we got in your car. I promise we meant to pay. It was a true emergency. BENNIE I meant, why you runnin' when I'm trying to give you your bag back?Bennie hands Parker Drew's daybag. Parker takes it,still trying to comprehend. PARKER You were just...? (CONTINUED) 92.CONTINUED: BENNIE I found your mom's number in the book. She said you needed it pretty badly for that big interview. Listen, I gotta go. It's my mother-in-law's birthday and I gotta plant some stupid rose bush and then take her out to dinner at the Pier. See ya around.Bennie waddles over to his Town Car and climbs in. PARKER (beat; calling after) Thank you? WARREN Well, he certainly is a good Samaritan.Parker looks at the daybag. WARREN You guys lead a pretty interesting life, don't you?But now Parker's mind is elsewhere. She pulls out Drew'sdaybook, opens it. WARREN We going to the jail, or what? I've never been to a jail before. PARKER What time is it? CUT TO:INT. JAIL BOOKING ROOM - DAYFLASH! A MUGS HOT is taken of Drew, looking asbedraggled, beaten and defeated as humanly possible. CUT TO:DREWstaring at her INK-STAINED FINGERS as Hogan finishesfingerprinting her other hand. (CONTINUED) 93.CONTINUED:He hands her a towel to wipe them off. We know thatdirty hands would drive the old Drew crazy. This Drewmerely tosses the towel into the garbage. Who gives acrap? CUT TO:INT. HOLDING CELL - DAYDrew sits among other FEMALE CRIMINALS, staring zombie-like.An INMATE with freaky frazzled red hair and a whacked outlook in her eye sidles over to Drew. RED (INMATE) I love your outfit. DREW Thank you. RED Is it Bobo? DREW (how in the world would this woman know?) Yes, as a matter-of-fact, it is. RED He's a genius.OFF Drew's look of complete spiritual resignation we -- CUT TO:EXT. NYU - DAYWarren and Parker leap from a cab and hustle acrosscampus. In only a few strides, Parker's dusting him. PARKER Try to keep up, Warren! WARREN (calling after her) Hey! I'm an intellectual! I never claimed to be athletic! (MORE) (CONTINUED) 94.CONTINUED: WARREN (CONT'D) As a matter of fact, I was excused from P.E. because of an ascended testicle! (realizing) Too much information, right? CUT TO:INT. HOLDING CELL - DAYRed points at Drew's one shoe. RED Do you mind? I'm a fanatic for Jimmy Choo. DREW It's all yours.She hands the high heel to Red, who enthusiasticallypulls it on and models it. HOGAN (O.S.) MacLeod?Hogan ENTERS, opens the cell door. HOGAN You're free to go. DREW No thanks. I'll just stay here with the girls. HOGAN An eyewitness says he saw who took the dog. Didn't realize the guy was stealing it until he saw us grab you.Hogan takes her by the arm in a fatherly way and leadsher out.INT. JAIL LOBBY - DAYHogan leads her into the lobby where Bike Messenger Guyis waiting. He stands up when he sees Drew. Herdissonance is even more confounded now. (CONTINUED) 95.CONTINUED: HOGAN There's your alibi. DREW I don't even know him. HOGAN That's what he said. Go home. Get cleaned up, a good night's sleep. None of this will seem so bad in the morning.Hogan leaves them alone. Bike Guy steps over. BIKE GUY You okay?As an answer, Drew merely points to herself -- look atme? Now answer for yourself. BIKE GUY I'm Jim Wessler. DREW Thanks, Jim. How'd you know? JIM (BIKE GUY) Who could forget that face?Reminded, Drew puts a hand to her face. DREW Huh. No hives.Suddenly, realizing just how awful she must look, Drewbecomes self-conscious. DREW Well... bye.She walks past him out the door. JIM Wait. Where are you going?EXT. NYPD STATION HOUSE - DAYJim catches up to her. DREW Thanks for getting me out of jail but I have to go home now because my entire life is ruined. (CONTINUED) 96.CONTINUED: JIM Bad day, huh? DREW You turn understatement into an art. JIM Can you just tell me your name? Please? DREW (sigh) I'm Drew MacLeod. The girl who won't be going to the NYU Accelerated Program. JIM Why not?Drew looks at her watch. DREW Because short of flying, there's no way to get from here to NYU in five minutes. JIM Sure there is. CUT TO:EXT. NYU ADMINISTRATION BUILDINGParker's on the stairs with Drew's DAYBOOK open, staringinto it like someone who has a final exam in two minutesbut forgot to show up for the semester.Warren's looking over her shoulder. WARREN Wow. And I thought I was anal. PARKER This is no good. I don't do too well with the whole rehearsal thing. I'm more of a 'wing it' person.Parker checks herself in her reflection in the glass.Working herself into Drew form, she puts her hair into aconservative bun and then tries straightening her posture. (CONTINUED) 97.CONTINUED: PARKER (all business) How's this look? Drewish? WARREN You know, I've always had a thing for librarians. PARKER Warren, honesty is fine. But you could edit a little, you know? WARREN Got it. PARKER Wish me luck. WARREN Good luck, Drew. CUT TO:INT. NYU ADMINISTRATION BUILDING - CLOSE ON A HANDabout to knock on a door that reads "Professor QueSpaulding, PhD" when the door suddenly opens and the lastINTERVIEWEE steps out in a suit and tie, confidenceoozing.Parker nods primly as he passes, then steps inside.INT. OUTER OFFICE - CONTINUOUS ACTION - DAYA SECRETARY sits at her computer. She looks over herglasses at Parker. SECRETARY May I help you? PARKER I'm here to see Professor Spaulding. SECRETARY You don't have an appointment. PARKER (beat) Um, no. However... (CONTINUED) 98.CONTINUED:This is when the inner office door swings open and thePROFESSOR himself, coat over one arm, briefcase in theother, steps out.Parker positions herself directly in front of him,cutting off his EXIT. PARKER Professor Spaulding? PROFESSOR SPAULDING Yes? PARKER May I have a moment of your time? PROFESSOR SPAULDING I'm sorry, but I have a plane to catch.He tries to make a move. Parker blocks him. PARKER I know. But this is very important. PROFESSOR SPAULDING What is this about? PARKER Life and death, if you must know.The Professor hesitates for just an instant, givingParker her opening. She grabs his hand, giving it avigorous, Young Republican shake. PARKER I'm Drew MacLeod. PROFESSOR SPAULDING Ms. MacLeod, I hope this is interesting. PARKER Trust me.EXT. NYU CAMPUS - DAYSTUDENTS leisurely make their way between classes. JIM (O.S.) Yo! Coming through! (CONTINUED) 99.CONTINUED:The Students dive out of the way as Jim comes barrelingacross campus with Drew clinging for life to hishandlebars.Just outside the Administration Building, Jim hits thebrakes and Drew FLIES OFF THE HANDLEBARS and like thepuppy in the opening, disappears into a shrub. JIM You okay?The old Drew is back. She scrambles out of theshrub... DREW Fine.... and up the stairs -- then stops, turns. DREW Wait right there. (beat) I mean, I don't want to be bossy. You don't have to stay right there, if you don't want to. JIM I'll be right here. DREW Great.She launches herself into the building.INT. PROFESSOR SPAULDING'S OFFICE - DAYParker sits genteelly forward in her chair, legs crossedjust so at the ankles, hands folded in her lap. PARKER (primly) I promise you, though my missing the deadline seems to suggest otherwise, my studies would never suffer on account of my being unorganized. This was, and I think anyone who knows me would vouch for this, a complete anomaly. (MORE) (CONTINUED) 100.CONTINUED: PARKER (CONT'D) I was so thrown when my sister asked Bernard to the dance that I simply failed to post the schedule request and seeing it already checked off on my to-do list, I over-looked it until after the deadline had passed. PROFESSOR SPAULDING Ms. MacLeod, I recall your application being one of the strongest we received. Not seeing your name on the interview list surprised me. I assumed, of course, that you'd changed your mind. PARKER No. Not at all. This program is my number one priority. PROFESSOR SPAULDING Yes, well, I'm sure you can appreciate that with so many applicants for so few spaces there must be rules to govern the selection process.A FUSS from the OUTER OFFICE interrupts them and suddenlythe door bursts open and Drew BURSTS IN: DREW Professor Spaulding? I can't apologize enough for barging in like this.The Professor is not only thrown by the interruption, butby Drew's particularly bizarre, barefoot look. PROFESSOR SPAULDING No. Please. It looks like I'm taking the red-eye now anyway.Drew shuts the door and then is startled when she gets aface full of Parker, already there. DREW Parker? PARKER (worried wink) Hi, Parker. (CONTINUED) 101.CONTINUED: DREW What are you doing? PARKER (don't blow it) Oh, the Professor and I have had a wonderful talk about how important this program is to me and how it was my sister, Drew, who screwed things up. PROFESSOR SPAULDING I'm having a little trouble following this. DREW You were... being me? PROFESSOR SPAULDING (to Drew) Would you like to sit down?Seeing her plan to help Drew go awry, poor Parker's liptrembles. PARKER When I saw them take you to jail... PROFESSOR SPAULDING Jail? PARKER ... I didn't think you'd make it. I knew I wouldn't be any good at it, but I figured at least there was a chance. DREW (beat) That's... sweet. PARKER You're not mad? DREW No. PARKER I'm so sorry for today. (CONTINUED) 102.CONTINUED: DREW It's okay. But let's talk about it later. PROFESSOR SPAULDING Please. Go right ahead. PARKER Thank you. DREW Parker, consider, just for a moment, whether this is the appropriate time and place. PARKER Okay, I considered. What I want to say is, I didn't purposefully set out to ruin your day, but that doesn't mean I'm not a little... jealous. DREW Jealous? PARKER I'm not like you. I don't have your intensity, your focus, your... PROFESSOR SPAULDING Fashion sense? PARKER I just mean, maybe, even if I don't intend to, maybe that jealousy, you know, gets in the way sometimes. DREW You mean subliminally you're undermining me? PARKER I don't know if I'd get that technical about it. But yeah. DREW Well, thank you for saying that. PARKER You're welcome. (beat) Aren't you going to confess now? (CONTINUED) 103.CONTINUED: DREW Confess what? PROFESSOR SPAULDING There's got to be something. Like how you lost your shoes? PARKER How you're secretly jealous of me? DREW Why would I be jealous of you? PARKER Oh, let me see. Because I don't have a stick up my butt? Because I know how to have fun? Because I'm spontaneous and creative and men are all my love slaves?Drew stops, ponders this deeply. DREW Nope.Then she smiles, only a teensy bit. DREW Well, maybe about the love slaves.This is the first moment in a long time when the sistersshare a smile. Drew turns to the Professor. DREW Professor, I'm Drew MacLeod. PROFESSOR SPAULDING Are you certain? DREW I wanted more than anything in the world to be a part of your program. I still do. But I failed. I didn't follow the rules. And honestly, before today, I didn't know how I was going to live with that. How to live with failure. I'm not good at it. I haven't done it much. But today I realized that I've lived in fear of it too long. (MORE) (CONTINUED) 104.CONTINUED: DREW (CONT'D) I hope my application was a strong one and I came here today to ask your indulgence and to place my name back into consideration. If you won't, I'll understand. Better yet, I'll get over it. Maybe I shouldn't be in such a hurry after all. Maybe it would be best for me to just take this...Drew takes her DAYBOOK from Parker and drops it in thewastebasket. DREW ... and lighten up.Parker looks horrified at the sight of Drew's daybook inthe trash and fishes it out. DREW Thanks for your time. Sorry if you missed your plane.He shakes her hand. PROFESSOR SPAULDING It was worth it, I assure you. Now, could you clear up one thing for me? DREW/PARKER Sure. PROFESSOR SPAULDING What's this about jail? CUT TO:EXT. NYU ADMINISTRATION BUILDINGWarren and Jim sit waiting when the Girls come out,smiling.Drew turns to Parker. DREW Thanks.The sisters hug, but we GO... (CONTINUED) 105.CONTINUED:CLOSE ON PARKER -- EYES WIDE. PARKER Sis? DREW Yeah? PARKER Gotta go.Parker grabs Warren by the hand and blasts around thecorner just as...Charley MacLeod pulls up in his truck and parks half on,half off the curb.He leans over, waving to Drew. CHARLEY Hi, baby!Drew goes over to the truck. CHARLEY I was in the city. I tried to call you. Thought you might want a ride home. DREW Sure. CHARLEY (what?) Is that a new outfit? DREW Yeah. Hey, one minute, 'kay? CHARLEY Sure.Drew goes back to Jim. DREW Thanks. JIM You're welcome. DREW I, uh... (CONTINUED) 106.CONTINUED: JIM You want to maybe... get together? DREW First I want to take a shower. For about a week.Drew leans over and kisses him on the cheek. Then shereaches into her bag and pulls out a card. DREW Call me, okay? JIM You have a card? Aren't you in high school?She smiles, shrugs and climbs in her dad's truck. Theypull away, leaving Jim waving. When they're out ofsight, Parker and Warren come back around the corner ofthe building. PARKER Oh, man. I'm doomed. I'll never get home before them. WARREN Sure you will.Warren pulls out a CELL PHONE, hits speed dial. WARREN Dad? Hey. I need a favor.INT. HELICOPTER - DAYPassing over the City, Warren and Parker are strapped in,headphones on, and have to talk above the DIN. PARKER Warren, something tells me you're spoiled! WARREN Yes! But in a good way! DISSOLVE TO:INT. GIRLS' BATHROOM - EVENINGBoth girls are putting on makeup, getting ready to goout. Everything appears the same as before, Drew's sideneat and clean, Parker's a wreck. (CONTINUED) 107.CONTINUED: QUINN (sternly) Girls?Quinn steps in, grimfaced. QUINN How naive do you think I am?The Girls share a look. Busted. PARKER We, uh, don't think you're naive, Mom. DREW No. Honestly, it was all an accident.Quinn holds out her hand revealing a BELLY RING. QUINN I know what this is.There's almost a palpable sense of relief between thegirls. They BOTH LOOK DOWN and pull up their shirts --Parker's not the only one who has her naval pierced --Drew does, too. QUINN Parker, I'm disappointed you'd do something like this without consulting me, but Drew? What got into you? Do you know how unhygienic those places are? DREW It was... spontaneous. QUINN Yeah. Obviously. Oh, by the way...She holds out her other hand, which has an envelope. QUINN This came in the mail.They stare at the envelope -- NYU ADMISSIONS DEPARTMENT. PARKER So? Open it.There's a HONK. (CONTINUED) 108.CONTINUED: CHARLEY (O.S.) The guys are here!Parker and Quinn stare at Drew. PARKER Come on! DREW It doesn't really matter one way or the other. Maybe I shouldn't be in such a hurry. Why don't we go out and have some fun. Besides, if this isn't good news, I don't want it to ruin our night.Parker and Quinn simply continue to stare. CUT TO:INT. MacLEOD LIVING ROOM - EVENINGCharley's laying on the couch with some chips on hisstomach watching the game.Jim and Warren are watching, too. CHARLEY So, how'd you two meet the girls?Jim and Warren share a look. This is a story best leftuntold. JIM/WARREN (simultaneously) A dance/A class. CHARLEY Dance class, huh? Stupid me. I figured it had to be that day in New York when Parker blew off her chem test and Drew was in jail.Charley smiles. He's not as out of it as he appears.Suddenly, all three women SCREAM JOYFULLY O.S. CHARLEY (offering) Chips? FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Newsies.txt b/unformated_scripts/Script_Newsies.txt new file mode 100644 index 0000000000000000000000000000000000000000..3d380c1ff8fa4f7423fc582fe03426c82586f4f8 --- /dev/null +++ b/unformated_scripts/Script_Newsies.txt @@ -0,0 +1 @@ + REVISIONS: 1st Blue 3/11/91 2nd Pink 3/28/91 3rd Yellow 4/08/91 4th Green 4/10/91 5th Goldenrod 4/12/91 6th Buff 4/12/91 (PM) 7th Salmon 4/18/91 8th Cherry 4/19/91 9th Tan 4/22/91 10th Grey 4/25/91 11th Ivory 4/26/91 12th Blue (2) 5/1/91 13th Pink (2) 5/8/91 14th Yellow (2) 5/10/91 15th Green (2) 5/15/91 NEWSIES A Musical Feature Film Written byBob Tzudiker and Noni White Rewrites byDavid Fallon and Tom Rickman Original Song Score byAlan Menken and Jack Feldman Property of: WALT DISNEY PICTURES 500 South Buena Vista St. Burbank, CA 91505 (818) 560-1000 Tom Rickman FIRST DRAFT - REVISED May 15, 1991 4/8/91 YELLOW * NEWSIES FADE IN:1 INT. THE NEW YORK WORLD - PRESS ROOM - MORNING 1 The huge printing PRESSES POUND out the morning edition, setting a rhythm that carries us through the scene as the newspapers are printed, collated, folded, and spit out onto a rapidly-growing stack. Pressmen bundle the papers and toss them into carts. See the masthead: "THE NEW YORK WORLD, JULY 10, 1899." Two men push hard a cart loaded with papers to get it rolling down an iron ramp -- then have to run to keep up with it as it careens toward --2 INT. THE WORLD - CIRCULATION ROOM - MORNING (SAME TIME) 2 Broad-necked workmen grab the carts and begin unloading them -- stacks of paper grow as the POUNDING RHYTHM BUILDS and we GO TO --3 INT. NEWSIE LODGING HOUSE - SAME TIME 3 A man's feet move up some stairs (in rhythm) -- they belong to KLOPPMAN, 70s, who enters --4 INT. NEWSIE LODGING HOUSE - DORMITORY - SAME TIME 4 A large room filled with boys sleeping in hammocks, including JACK KELLY, snapping his fingers in his sleep. On the wall by his head, the commanding visage of Teddy Roosevelt grins down from a rotogravure photo. Kloppman wakes the boys, intoning his morning ritual: KLOPPMAN Ink's wet, the presses are rolling, the papers are stacking -- rise and shine, make a dime, no news without the Newsies -- etc. Jack jumps out of his bunk and shakes the BOY below. JACK Wake up, Crutchy -- The World is waitin'. (CONTINUED) 4/8/91 YELLOW 2. *4 CONTINUED: 4 CRUTCHY (yawning) Tell Mr. Pulitzer my yacht was lost at sea. Jack laughs and tosses him his crutch. The dorm is now alive with waking boys -- yawning, stretching, pulling on pants, hitching up suspenders as they sing -- SONG: "CARRYIN' THE BANNER" (Approx. 7 minutes, 15 seconds) RACETRACK THAT'S MY CIGAR... SNIPESHOOTER YOU'LL STEAL ANUDDER. The boys begin to wake, KID BLINK yawning, stretching, HEY BUMMERS, WE GOT WORK TO DO complaining as they hit the floor: pants pulled SPECS on, suspenders hitched SINCE WHEN DID YOU BECOME up, boots laced tight. MY MUDDER? CRUTCHY AH, STOP YOUR BAWLIN' ALL WHO AST YOU! MUSH, cross-eyed and skinny with big ears and lisp, play- fully pushes the NEWSIE so he falls on his hammock. NEWSIE Hey, whattaya?5 INT. WASHROOM - MINUTES LATER 5 Younger boys pump water for older boys, then trade off. Teeth brushing, sponge baths with cold water -- the older boys shave. Jack smears his face with shaving cream as Mush pulls up a box next to him. MUSH How'd you sleep, Jack? JACK On me back, Mush. (CONTINUED) 4/8/91 YELLOW 3.5 CONTINUED: 5 MUSH (thinks that's hilarious) You hear that, you hear what he said? I ast how'd he sleep -- CRUTCHY Jack, this look like I'm fakin' it? He hobbles towards Jack on one crutch. JACK Who says you're fakin' it? CRUTCHY The streets are fulla fakes these days -- it's hurtin' the rep of genuine articles like myself. I gotta find me a new sellin' spot, where they ain't used to seein' me. Jack smiles; Mush taps Crutchy on the arm... sings. MUSH TRY BOTTLE ALLEY OR THE HARBOR RACETRACK TRY CENTRAL PARK IT'S GUARANTEED JACK TRY ANY BANKER, BUM OR BARBER Jack rinses his face, takes SKITTERY * special care adjusting his THEY ALMOST ALL KNOWS HOW TO red bandana. READ KID BLINK I SMELL MONEY CRUTCHY YOU SMELL FOUL MUSH MET THIS GIRL LAST NIGHT * CRUTCHY MOVE YOUR ELBOW (CONTINUED) 4/8/91 YELLOW 4. *5 CONTINUED: (2) 5 RACETRACK PASS THE TOWEL SKITTERY FOR A BUCK I MIGHT CHORUS AIN'T IT A FINE LIFE CARRYING THE BANNER THROUGH IT ALL6 INT. LODGING HOUSE - FRONT DESK - LATER 6 Jack and the Newsies coming CHORUS down the stairs, greeting A MIGHTY FINE LIFE Kloppman and moving out the CARRYING THE BANNER door -- TOUGH 'N' TALL EVERY MORNING WE GO WHERE WE WISHES WE'S FREE AS FISHES SURE BEATS WASHING DISHES WHAT A FINE LIFE7 EXT. NEWSIE LODGING HOUSE - SAME TIME 7 Jack stands next to Crutchy CHORUS and Mush as the boys file CARRYING THE BANNER out. HOME-FREE ALL JACK (looks at the morning) What's your leg say, Crutch? Feel like rain? CRUTCHY (feels his leg; shakes his head) No rain -- partly cloudy, clearin' towards evenin'. (as Jack laughs) Who ya sellin' wit, Jack? JACK Ain't decided yet. Jack spots a passing wagon and helps Crutchy on board -- he and Mush jump on for the ride and they all move off --8 OMITTED 8 4/8/91 YELLOW 5.9 EXT. DAVID'S APARTMENT - MORNING 9 * DAVID JACOBS, 15, hurries down the street as his brother, LES, 8, dawdles after him. DAVID Les, hurry up, willya? Why do I gotta be saddled with you? LES Why do I gotta be saddled with you? DAVID Come on -- They'll run out of papers!10 EXT. NEIGHBORHOOD STREET - MORNING 10 KID BLINK, 16, one eye covered by a patch, moves past a fruit stand with three of his boys. He's about to swipe a banana when the shadow of a cop on horseback looms over him. Blink smiles up at the COP. KID BLINK 'Mornin', Officer. OFFICER (COP) I'm keepin' my eye on you, Blink. KID BLINK And I'll keep my eye on you, too, sir. OFFICER Get moving! Blink and the boys race into an alley --11 EXT. ANOTHER STREET - POLICY SHOP - SAME TIME 11 * A boy's hand shoots some dice -- it belongs to RACETRACK * HIGGINS, an Italian beanpole, who's gambling with THREE OTHER BOYS. RACETRACK AIN'T THEY AS PRETTY AS A PITCH'A (CONTINUED))O( 4/25/91 GREY 6.11 CONTINUED: 11 SNODDY Race picks up his THAT MAKES IT TEN GAMES OUT winnings and admires OF TEN the pile of change in his hand. RACETRACK A PLEASURE DOING BUSINESS WICH'YA WHO WANTS TO TRY THEIR LUCK AGAIN? BOOTS I'm wiped out -- my mother'll murder me -- if I had one. The wagon passes -- Jack, Mush and Crutchy get out. RACETRACK Jack -- whattaya know, whattaya say. Got a hot tip on a nag in the fourth at Sheepshead -- sure * t'ing! * JACK Your last sure t'ing's still * runnin', Racetrack. * MUSH (the world's best audience) Ya hear that? Race says sure t'ing * and Jack says -- ya hear what he * said, ya hear it, he said -- * BOOTS/CRUTCHY * (together) * We heard it! *12 EXT. ANOTHER STREET - SAME TIME 12 David still hurrying -- Les slows to hop on a hopscotch game chalked on the sidewalk. David grabs his hand and pulls him on --12A EXT. NEIGHBORHOOD STREET - SAME TIME 12A Kid Blink and his boys come out of an alley, joining Jack and the others. KID BLINK Say, Cowboy -- I hear Medda's breakin' in a new act at the vaudeville tonight -- ya interested? (CONTINUED) 4/8/91 YELLOW 7. *12A CONTINUED: 12A JACK Stupid question. CRUTCHY Stupid question. KID BLINK That an echo? Or is the Crip followin' ya again? CRUTCHY (swinging his crutch) Yeah? How'd you like it if a crip cracked your head? JACK Better choke it, Blink -- 'fore you need another patch. KID BLINK Hey, who ya sellin' wit, Jack? CRUTCHY Not wit you! JACK Nothing personal, Blink, but... JACK IT TAKES A SMILE AS SWEET AS BUTTER CRUTCHY THE KIND THAT LADIES CAN'T As Jack sings, the boys RESIST listen carefully. They all respect his opinion. RACETRACK IT TAKES AN ORPHAN WITH A STUTTER JACK WHO AIN'T AFRAID TO USE HIS... KID BLINK ... FIST13 EXT. BARREL ALLEY - SAME TIME 13 Jack and the others ALL BOYS round a corner SUMMER STINKS AND WINTER'S singing as they move WAITIN' through an alley filled WELCOME TO NEW YAWK with barrels. 4/8/91 YELLOW 8.14 EXT. OFF NEWSIE SQUARE - SAME TIME 14 They enter the square ALL singing. BOY, AIN'T NATURE FASCINATIN' WHEN YOUSE GOTTA WALK (ROUNDS) * They move towards a STILL IT'S A FINE LIFE breakfast wagon run by CARRYIN' THE BANNER three NUNS. WITH ME CHUMS A MIGHTY FINE LIFE BLOWIN' EVERY NICKEL AS IT COMES At the breakfast wagon, CRUTCHY the boys line up for I'M NO SNOOZER coffee -- Blink tries to SITTIN' MAKES ME ANTSY butt in front of Jack, I LIKES LIVIN' CHANCEY who spins him back to Race, who spins him further back ALL as Crutchy and Mush jump HARLEM TO DELANCEY in and Blink ends up WHAT A FINE LIFE last. BOOTS ARBUS, 15, CARRYING THE BANNER black, joins the line. THROUGH THE SLUMS -- * ONE NUN ladles coffee from NUNS a large pot into the boys' BLESSED CHILDREN cups; the OTHER NUN hands THOUGH YOU WANDER LOST them each a roll. AND DEPRAVED JESUS LOVES YOU YOU SHALL BE SAVED BOOTS How 'bout savin' me another roll -- okay, sister? GUTTERSNIPE * (shoves him) Hey! Save some for the rest of us! The Nun smiles and gives them both one. SEARCHING MOTHER is singing as she looks for her lost son in the crowd around the wagon. Jack and the others sing in counter- point as she passes by. (CONTINUED))J( 4/22/91 TAN 9.14 CONTINUED: 14 MOTHER RACETRACK PATRICK, JUST GIMME HALF A CUP DARLING... KID BLINK SOMETHING TO WAKE ME UP MUSH SINCE YOU LEFT ME I GOTTA FIND AN ANGLE CRUTCHY I AM UNDONE I GOTTA SELL MORE PAPES ALL MOTHER PAPERS IS ALL I GOT LOVES YOU WISH I COULD CATCH A BREEZE SURE HOPE THE HEADLINE'S HOT GOD ALL I CAN CATCH IS FLEAS SAVE GOD HELP ME IF IT'S NOT MY SON SOMEBODY HELP ME PL --15 EXT. NEWSIE SQUARE - SAME TIME 15 PULL BACK to reveal ALL entire square as Jack and IF I HATE THE HEADLINE the gang leave the wagon, I'LL MAKE UP A HEADLINE cross the square and head AND I'LL SAY ANYTHING I HAFTA for the gates of The World 'CAUSE AT TWO FOR A PENNY Building, keeping their IF I TAKE TOO MANY eyes on the huge blackboards WEASEL JUST MAKES ME EAT 'EM over the street. AFTA Newsies of all ages and sizes appear from every conceiv- able space and line up outside the gates, waiting for them to open, anxiously praying for a good headline to be chalked on the boards overhead...16 EXT. NEWSPAPER ROW - SAME TIME 16 Two men climb ladders to the blackboards above the street and start to write out headlines in chalk: "TROLLEY STRIKE DRAGS ON FOR THIRD WEEK."17 EXT. ALLEY/OFF NEWSIE SQUARE - SAME TIME 17 * A GROUP of NEWSIES follow through an alley that leads * them to the square, where they see the men chalking up * headlines. (CONTINUED))J( 4/22/91 TAN 10.17 CONTINUED: 17 NEWSIE GROUP #1 NEWSIE GROUP #2 LOOK! THEY'RE PUTTING WHAT'S IT SAY? UP THE HEADLINE YOU CALL THAT A HEADLINE? THAT WON'T PLAY I GET BETTER STORIES SO WHERE'S FROM THE COPPER ON THE YOUR SPOT? BEAT18 EXT. NEWSIE SQUARE - SAME TIME 18 * A GROUP OF NEWSIES cross the street and split up around * the statue as they walk into the square -- * NEWSIE GROUP #1 NEWSIE GROUP #2 I WAS GONNA START WITH GOD IT'S HOT! TWENTY BUT A DOZEN'LL BE PLENTY WILL YA TELL ME HOW'S A GUY GONNA HOW'M I GONNA MAKE ENDS MAKE ENDS MEET? MEET?19 EXT. NEWSIE SQUARE AND WORLD BUILDING - SAME TIME 19 Jack and the gang join ALL Newsies as they WE NEED A GOOD ASSASSINATION converge outside The World gates, singing and yelling WE NEED AN EARTHQUAKE OR A at the men on the chalkboard. WAR One newsie yells out: SNIPESHOOTER HOW 'BOUT A CROOKED POLITICIAN? Mush jumps all over him: ALL HEY, STUPID, THAT AIN'T NEWS NO MORE! The Newsies sing at each other: ALL UPTOWN TO GRAND CENTRAL STATION DOWN TO CITY HALL WE IMPROVES OUR CIRCULATION WALKIN' 'TIL WE FALL The Newsies line up outside the gate, singing: JACK'S GROUP NEWSIE GROUP #1 SO WE'LL BE OUT THERE DID YOU HEAR ABOUT THE HEADLINE? (MORE) (MORE) (CONTINUED) 4/8/91 YELLOW 11. *19 CONTINUED: 19 JACK'S GROUP (CONT'D) NEWSIE GROUP #1 (CONT'D) THEY CALL THAT A HEADLINE? CARRYING THE BANNER MAN THE IDIOT WHAT WROTE IT TO MAN MUST BE WORKIN' FOR THE SUN WE'LL BE OUT THERE DID YOU HEAR ABOUT THE FIRE SOAKIN' EVERY SUCKER THAT WE CAN NEWSIE GROUP #2 HEARD IT KILLED OL' MAN MCGUIRE NEWSIE GROUP #1 HEARD THE TOLL WAS EVEN HIGHER NEWSIE GROUP #2 WHY DO I MISS ALL THE FUN? NEWSIE GROUP #1 SEE THE HEADLINE HITCHED IT ON A TROLLEY NEWSIE GROUP #2 NEWSIES ON A MISSION MEET'CHA FORTY-FOURTH AND SECOND... NEWSIE GROUP #1 KILL THE COMPETITION LITTLE ITALY'S A SECRET NEWSIE GROUP #2 SELL THE NEXT EDITION BLEEKER'S FURTHER THAN I RECKONED NEWSIE GROUP #1 WHILE WE'RE OUT THERE BY THE COURTHOUSE NEWSIE GROUP #2 NEAR THE STABLES NEWSIE GROUP #1 ON THE CORNER CARRYIN' THE BANNER IS SOMEONE BECKONED AND I... THE... ANGLE - NEAR GATES Suddenly the music becomes a quiet pulse as the DELANCEY BROTHERS -- OSCAR and MORRIS, two muscle-bound goons -- push with deliberate aggression past Jack and the boys. Tension, silence, then -- RACETRACK (sniffs the air) Dear me. What is dat unpleasant aroma? I fear de sewer has backed up during de night. (CONTINUED) 4/8/91 YELLOW 12. *19 CONTINUED: (2) 19 BOOTS Too rotten to be the sewer. It must be -- CRUTCHY -- the Delancey brothers! For revenge, Oscar jerks Snipeshooter out of line and propels him to the rear. OSCAR Inna back, ya ugly little shrimp! Oscar and Morris glare at the crowd, daring anyone to do anything about it. Jack calmly walks Snipe back to his place in line, then faces the Delanceys who try to stare him down. The air is electric. Nearby -- RACETRACK Five to one, I say Cowboy skunks 'em -- who's bettin', who's bettin' -- The Newsies shake their heads. Nearby the staring contest continues until -- JACK You shouldn't be callin' people ugly little shrimps. Oscar. Unless you're referrin; to the family resemblance in your brother here. The brothers glower, look at each other, then back at Jack, who grins at them. JACK That's right. It's an insult. And so's this -- Jack deftly reaches out both hands and flips the derbys off both their heads. The brothers scramble for them and the chase is on.19A EXT. NEWSIE SQUARE - DAY (SAME TIME) 19A DANCE BREAK... The Delanceys chase Jack throughout the square, entertaining the Newsies... a morning tradition. The Newsies sing in counterpoint, underscoring the chase. JACK'S GROUP NEWSIE GROUP IT'S A FINE LIFE LOOK! THEY'RE PUTTING UP THE HEADLINE (CONTINUED) 4/8/91 YELLOW 13.19A CONTINUED: 19A CARRYIN' THE BANNER YOU CALL THAT A HEADLINE? THROUGH IT ALL * A MIGHTY FINE LIFE I GET BETTER STORIES FROM THE COPPER ON THE BEAT CARRYIN' THE BANNER I WAS GONNA START WITH TWENTY TOUGH 'N' TALL BUT A DOZEN'LL BE PLENTY WILL YOU TELL ME HOW'M I EVER GONNA MAKE ENDS MEET? NEWSIE GROUP #1 * SEE THE HEADLINE? HITCHED IT ON A TROLLEY. NEWSIE GROUP #2 * NEWSIES ON A MISSION MEET'CHA FORTY-FOURTH AND SECOND... NEWSIE GROUP #1 * KILL THE COMPETITION! LITTLE ITALY'S A SECRET. NEWSIE GROUP #2 * SELL THE NEXT EDITION BLEEKER'S FURTHER THAN I RECKONED NEWSIE GROUP #1 * WHILE WE'RE OUT THERE BY THE COURTHOUSE... NEWSIE GROUP #2 * CARRYIN' THE BANNER IS NEAR THE STABLES... THE... NEWSIE GROUP #1 * ON THE CORNER... SOMEONE BECKONED AND I... ANGLE - HORACE GREELY STATUE - DAVID AND LES are just arriving, hurrying towards the gates on a collision course with -- Jack who comes barrelling around the statue and runs smack into David. For a moment, everything stops -- Jack catches his breath, David looks at him in outrage. DAVID Watch it, willya? What do you think you're doing! JACK (breathing hard) Runnin'. (CONTINUED) 4/8/91 YELLOW 14.19A CONTINUED: (2) 19A He speeds on -- just as the Delanceys come thundering around the statue, bowling David to the pavement. Les looks at Jack as if he's watching Robin Hood and Br'er Rabbit rolled into one. ANGLE - NEAR GATES - JACK keeps running, keeping just out of the Delanceys' grasp -- but then he trips and they've got him. Morris lifts him high into the air to smash him onto the cobblestones. The crowd stops breathing -- but then --19B EXT. WORLD BUILDING GATE - DAY 19B Jack grabs the bars and like a monkey jerks free of the bully's grasp. The kids howl, loving the show as Jack avoids the brothers moving from bar to bar like Tarzan. * JACK'S GROUP NEWSIE GROUP * IT'S A FINE LIFE GO GET HIM, COWBOY! CARRYIN' THE BANNER YOU GOT HIM NOW, BOY! * IT'S A FINE LIFE GO GET HIM, COWBOY! * CARRYIN' THE BANNER YOU GOT HIM NOW, BOY! NEWSIE GROUP * GO! * The NUMBER ENDS (APPROXIMATE TIME: 7:15) and the moment is broken when a BELL inside the World Building RINGS OUT. * MUSH * Comin' down de chute! The Delancey brothers, reluctantly, give up the chase, and back towards the entrance to the World gates. MORRIS We ain't finished with you yet, Kelly. The gatekeeper unlocks and swings open the huge gates. * Jack hangs on. BOOTS Ride 'em, cowboy! Newsies yell out Jack's name as he rides the gates 'til the last possible moment, then leaps into the back of a wagon. Jack takes a bow as the boys cheer, moving into line. Les watches Jack, his new hero, as David pulls him along. 4/8/91 YELLOW 15.20 EXT. CIRCULATION OFFICE - LOADING DOCK - SAME TIME 20 Newsies jostle for position at the window -- David shoving and jostling like the rest. He manages to elbow in near the front. Les, hanging back, has his eyes on -- -- Jack sauntering coolly to his natural place at the head of the line, flanked by Boots and Mush. He leans on the counter and grins at the rodent-faced man inside the window: WEASEL, 40. JACK Ya miss me, Weasel? WEASEL You know my name -- it's Weisel. Mister Weisel to you. How many? JACK Don't rush me -- I'm perusin' * the mercandice... Mr. Weasel. * The Newsies love it as Jack deliberately takes a paper, turns and scans. Seeing Les staring at him, Jack winks. Les smiles back, fascinated. Jack turns back to Weasel with a fifty-cent piece. JACK The usual. Weasel grabs for the coin -- Jack flips it out of his * grasp and onto the counter. The Newsies whoop. WEASEL Hundred for the wiseguy -- next! * Oscar slams the papers down and Jack gives them a quick * flip-count -- eyes closed -- as he moves away. Behind * him, Race and the others get their papers. * * JACK scans the newspaper for a catchy headline; Race, Crutchy, the others wander up, doing the same. A commotion O.S. and they look up to see -- -- at the window, Weasel is in David's face. * WEASEL Ya got ya papes -- move outta here. * DAVID I paid for twenty -- you only gave * me nineteen! (CONTINUED) 4/8/91 YELLOW 16.20 CONTINUED: 20 WEASEL (loving it) You callin' me a liar, kid...? David's sweating, aware that all eyes are on him. * DAVID I want that other paper. The Delanceys start for David when suddenly Jack steps * up, slams his hand on David's papers, closes his eyes * and does a flip-count. The expert. * JACK Nineteen, Weasel. An honest mistake -- on account of Oscar * can't count to twenty with his * shoes on. * Weasel glowers -- but wants to get back to business. He backhands Morris who looks surprised. WEASEL Next! JACK Hold it. Race -- spot me two-bits. Race flips him a coin. Jack slaps it on the counter. JACK Another fifty for my friend here. DAVID I don't want another fifty -- ! JACK (moving away) Sure you do. Every newsie wants more papes. David, puzzled, grabs the papers and he and Les run after Jack --21 EXT. NEWSIE SQUARE - JUST OUTSIDE GATES 21 Jack moves on as David and Les hurry after him. The gang trails along, watching, amused. DAVID These papers are yours, I don't * take charity from nobody! I don't * even know who you are -- (CONTINUED) 4/8/91 YELLOW 17.21 CONTINUED: 21 LES Cowboy! They call him Cowboy! Jack turns, grins at Les. JACK That and a lotta other things -- including Jack Kelly, which is what my mudder called me. What do they call you, kid? LES (thrilled) Les. This is David, he's my brother. He's older. JACK (barely glances at David) No kiddin'. How old are you, Les? LES Near ten. JACK No good. Anybody asks, you're seven. (as Les is appalled) Younger sells more papes, Les -- and if we're gonna be partners -- DAVID Hold it! Who said anything about partners -- ? JACK You owe me two bits, right? Okay, so I consider it an investment. We sell together, split 70-30, plus you get the benefit of observin' me -- no charge. CRUTCHY (to David) You're gettin' the chance of a lifetime here -- you learn from Jack, you learn from the best. DAVID If he's the best, then why does he need us? (CONTINUED) 4/8/91 YELLOW 18.21 CONTINUED: (2) 21 JACK I don't need you, pal. But I ain't * got a cute little brother to front * for me. And Les here... * (smiles down at Les who smiles back up angelically) ... With this kid's puss and my God-given talent, we can easy move a thousand papers a week. Whattaya say? Deal? David is incredulous, but Les is pleading. David sighs. DAVID Gotta split fifty-fifty. JACK Sixty-forty. Or I forget the whole t'ing. David reluctantly offers his hand. Jack spits in his palm and shakes. Les whoops and they move off, Jack already being the mentor -- JACK The name of the game is volume, Dave. You only took twenty papes -- why? DAVID Bad headline...? JACK First t'ing you gotta learn -- headlines don't sell papes, newsies sell papes. We're what holds this town together -- without newsies, nobody knows nuttin'! They move away from Newsie Square as above them, the GOLDEN DOME OF THE WORLD BUILDING glistens in the morning sun.22 INT. WORLD BUILDING - PULITZER'S OFFICE - DAY 22 A very large magnifying glass in in the hands of someone O.S. -- it moves across the front page of today's World as we hear the headline being read by -- PULITZER (O.S.) (reading sarcastically) 'Trolley Strike Drags On for Third Week' -- this so-called headline drags on for infinity! (CONTINUED) 4/8/91 YELLOW 19. *22 CONTINUED: 22 A hand smashes the paper onto an ornate desk beyond which cower three harried employees of The World, including SEITZ, 45, the hard-bitten business manager. BUNSEN, the editor, and JONATHAN, an accountant. SEITZ The news is slow, Chief, the Trolley Strike's all we got -- PULITZER (O.S.) It's all Mr. William Randolph Hearst has, too -- see how he covers the strike! The magnifying glass swings to a copy of the New York Journal with a large black headline: "NUDE CORPSE ON RAILS -- NOT CONNECTED TO TROLLEY STRIKE." The CAMERA COMES AROUND to reveal JOSEPH PULITZER, himself, a thundering presence in smoked-glasses and a beard, wielding the magnifying glass like a gavel of judgment. PULITZER Hearst is killing us in the circulation war -- and you give me headlines that would put a whirling dervish to sleep! BUNSEN (nervous editor) We'll get a new headline writer, Mr. Pulitzer. PULITZER Steal Hearst's man -- offer him double what Hearst pays. SEITZ That's how he stole him from us. (sighs) Chief, you spend as much as you make fighting Hearst. That's why the paper's losing money -- PULITZER I created the World to be the best and I'll spend whatever it takes to -- (stops) What is that deafening noise? It's the Newsies far below, barely audible to the others. SEITZ Just the Newsies, Chief, I'll -- (CONTINUED) 4/8/91 YELLOW 20.22 CONTINUED: (2) 22 PULITZER Never mind -- where was I? * SEITZ Creating the World, Chief. * PULITZER This paper's losing money because there's too much fat, inefficiency -- not because I'm fighting to * make us number one! Well, we're going to cut costs, maximize profits -- and still beat the socks off Hearst -- (beat) I want to know how by tonight.23 EXT. LOWER EAST SIDE STREET - DAY 23 UNDERSCORED: Jack leads David and Les through an open- air market crowded with carts and people -- all the sights and sounds and smells of the melting pot. JACK Some newsies got corners, see -- same spot, same customers. Me, * I like to keep moving, enjoy the life of the big city. I spot an opportunity, I sell a pape. That's the advantage of being an independent businessman, instead * of workin' for wages. * David sees TWO LOVERS kissing on the steps of a building -- he tries his luck. DAVID Paper, mister? Without breaking the kiss, the man kicks out at David who jumps away. Shaking his head, Jack whispers something to Les, who rushes over to the Lovers, still kissing. LES (earsplitting shout) Extry -- 'Runaway Carriage Crushes Cop!' The Lovers spring apart -- the man looks like he's going to throttle Les, but -- (CONTINUED) 4/12/91 (PM) BUFF 21. *23 CONTINUED: 23 WOMAN (LOVER) (cooing) Oh, honey... look at that sweet little lamb... David, watching with Jack, can't believe this. Les comes running back waving a coin -- LES He gimme a dime! He said I should go far away and keep the change! Jack takes the dime; Les's face falls. He flips it back. JACK You're a natural, kid. You remind me of me -- and I can't say greater than that.24 OMITTED 2425 EXT. SIDEWALK - BARE-KNUCKLED BOXERS - DAY 25 duke it out as sidewalk spectators watch. The boys work the crowd, each in his own style -- DAVID (the rookie) Extra, 'Trolley strike drags on!' JACK (the master) Nextry, nextry -- 'Ellis Island in flames -- big con-fla-gration!' DAVID What -- ? Where's that story -- ? JACK (making sales) Page nine -- thank you, sir. Nextry, 'Thousands flee in panic -- ' DAVID (on page nine) 'Trash fire near immigration building frightens seagulls -- ?' JACK 'Terrified flight from flaming inferno!' Thank you, much obliged -- (CONTINUED))J( 4/22/91 TAN 22. *25 CONTINUED: (A1) 25 David is incredulous -- then sees Les by the boxers moving up to a spectator, assuming a pathetic look. LES Buy me last pape, mista...? He coughs, Camille-like. Makes the sale. Down the sidewalk Jack nods approvingly; David is disgusted. DAVID Our father taught us not to lie. JACK Mine taught me not to starve. So we both got an education. DAVID You just make things up -- like those headlines. JACK I don't do nothin' the guys who write this stuff don't do. It ain't lyin' -- it's just improvin' the truth a little. Les comes running back, wiping his mouth, with a quarter. LES The guy gave me a quarter! Quick, gimme some more last papers! DAVID (grabs him) Hold it -- I smell beer! LES The guy bet me I wouldn't drink some -- that's how I made the quarter! JACK Hey, no drinkin' on the job -- it's bad for business. What if somebody called a cop or somethin'? Les' eyes go wide as he sees -- behind Jack -- a burly Irish cop (MacSWAIN) hurrying up with a cadaverous vul- ture of a man, SNYDER, who's pointing straight at them -- (CONTINUED) 4/8/91 YELLOW 23. *25 CONTINUED: 25 SYNDER There he is, officer -- do your duty! Jack spins, sees the man -- JACK Beat it -- the bulls! He races off. David, confused, races after him, Les looks very worried as he runs with David -- LES Just for one little sip of beer -- ? Snyder and MacSwain in pursuit as Jack leads them into --26 EXT. BLINDMAN'S ALLEY - CONTINUOUS ACTION 26 The boys pound down the alley, Snyder and MacSwain round the corner behind them, Snyder shouting -- SNYDER You, Sullivan! Stop, I say! You hear me, Sullivan? DAVID Who's Sullivan -- ? JACK Mistaken identity -- all micks look alike to these birds! LES (still worried) One sip! I didn't even swallow it! Jack leads them into the doorway of --A26A INT. TENEMENT BUILDING - CONTINUOUS ACTION A26A They clatter up flights of stairs -- Snyder and MacSwain clattering up below them, shouting -- SNYDER You young miscreant! Wait'll I get you back to the Refuge! DAVID The Refuge -- ? (CONTINUED) 4/8/91 YELLOW 24. *A26A CONTINUED: A26A JACK Sleeper! He leaps over a Sleeping Man on the stairwell; so do David and Les as they run out onto --B26A EXT. TENEMENT ROOFS - CONTINUOUS ACTION B26A More sleepers; people living in makeshift shelters. Jack runs to a plank stretched between two buildings. DAVID I'm not crossing that! Anyway, I don't think they're chasing us -- Jack scoops up Les -- who's loving it -- and carries him across the plank. JACK No? What're they doin' then? DAVID I think they're chasing you! Snyder and MacSwain huff out onto the roof. David, still uncertain, looks back at them -- the runs across the plank. Jack calmly topples the plank to the street as the pursuers reach it, gasping for breath -- he gives Snyder a little salute, then moves on to a rooftop exit --26A EXT. ANOTHER STREET (NEAR THEATER) - SECONDS LATER 26A The boys run out of a doorway onto the street; Jack stops, looks around carefully, as if expecting Snyder to come bounding out of the sky. David is bursting with suspicion -- starts to say something, but Jack shushes him, leads them quickly, furtively into --26B EXT. ALLEY BEHIND THEATER (IRVING HALL) - DAY 26B Jack runs to a side door and opens it, waving David and Les inside. He follows, giving a quick look around before he closes the door.26C INT. THEATER - BACKSTAGE 26C MUSIC lilting somewhere -- for a moment we don't know we're in a theater, as the boys huddle against a wall, catching their breath. (CONTINUED))R( 5/8/91 - PINK (2) 25.26C CONTINUED: 26C DAVID I want some answers -- Why was he chasing you? What's the Refuge? JACK The Refuge is this jail for kids. That guy, Snyder, he's the warden. LES You were in jail...? Why? JACK I was starvin'. I stole some food. DAVID (suspicious) Right, food. He called you 'Sullivan' -- JACK (bridling) Yeah, food. My name's Kelly, Jack Kelly, like I told you. Think I'm lyin'? DAVID You have a way of 'improving the truth.' Why was he chasing you? JACK Because I escaped. LES (awestruck) Oh, boy. How? JACK This big shot gimme a ride out in his carriage. DAVID (sarcastic) Bet it was the mayor, right? JACK Nah. Teddy Roosevelt. Ever heard of him? David starts to reply when he sees something behind Jack * that makes his mouth drop open. At the top of a short * flight of stairs, a vision is frowning down at them, * speaking in a theatrical Swedish accent. * (CONTINUED))R( 5/8/91 - PINK (2) 26. *26C CONTINUED: (2) 26C MEDDA (accent) What is the meaning of this? No one is allowed backstage -- you will leave at once! Out, out, out, out -- She descends the stairs grandly, shooing them away like pigeons. Jack turns to her and grins. JACK You wouldn't kick me out without a kiss goodbye, wouldya, Medda? Surprised, she gasps in delight -- throwing her arms around Jack. David can't believe it. Medda's accent quickly disappears. MEDDA Kelly, where've you been, kid? I miss you up in the balcony -- you know I sing all my songs to you. JACK This is David and Les. And this is the greatest star of the vaudeville stage today, Miss Medda Larkson, the Swedish Meadowlark. MEDDA (accent) Welcome! JACK Medda also owns the joint. MEDDA (no accent; to David) Don't ever own a theater, kid. Don't even think about it. DAVID (awed) I won't. I promise. MEDDA (seeing Les) What have we here -- ? Aren't you the cutest little fella that ever was -- yes, you are -- (CONTINUED))R( 5/8/91 - PINK (2) 26A.26C CONTINUED: (A3) 26C LES (into his act) Buy my last pape, lady? A Camille-cough. Medda looks at him critically. MEDDA This kid is good. Speaking as one professional to another, I'd say you got a future. JACK Okay if we hang here awhile, Medda? 'Til a little problem outside goes away? MEDDA As long as you like -- now the lark must warble. Hey, you -- (flags down a passing candy butcher) -- give my guests whatever they want. (CONTINUED))P( 5/1/91 BLUE (2) 27. *26C CONTINUED: (3) 26C She winks at the dazzled boys and hits the stage, singing: MEDDA (singing) 'MY LOVEY-DOVEY BABY'... etc. David and Jack can't take their eyes off her; Les can't take his eyes off the candy butcher's tray...27 OMITTED 27thru thru33 3334 EXT. NEIGHBORHOOD STREET - NIGHT 34 Les is looking green from all the candy as he follows Jack and David, balancing on trolley tracks. In the distance, the FAINT sound of SHOUTING/SINGING. DAVID It's late, my folks'll be worried ... What about yours? JACK They're out west lookin' for a place for us to live -- (takes something from his pocket) -- like this. It's the cover of a dime novel with a blue-perfect sky over a perfect yellow desert; a large red sun shines down on a perfect adobe. JACK That's Sante Fe -- out in New Mexico? Soon's Pop finds us the right ranch, they're sendin' for me. LES (sleepily) Then you'll be a real cowboy... Jack nods quietly. David looks at Jack, not believing a word of what he's saying; seeing how much he wants it to be true... The SINGING grows LOUDER, the haunting refrain of "Seize The Day," as the boys continue -- 4/8/91 YELLOW 28. *35 EXT. ANOTHER STREET (AROUND CORNER) - NIGHT 35 Down the street, a trolley is in flames, surrounded by a mob of shouting men. David looks at it nervously. DAVID Why don't we divvy up at my place...? You can meet my folks... The mob is chasing two men towards them, screaming -- MOB Scabs! Soak the scabs! Etc. A conductor with a bloody head and terrified face runs past them -- but conductor two is caught, tackled, beaten -- David pulls Les away -- DAVID Jack -- let's get outta here -- ! The boys move away, Jack looking back at the beating. JACK Maybe tomorrow we get a decent headline.36 OMITTED 3637 INT. DAVID'S APARTMENT - NIGHT 37 The boys enter, Jack carrying the sleeping Les. ESTHER, 38, is setting the table. ESTHER (seeing Les) My God...! What happened? DAVID He's just sleeping, Momma -- She quickly takes him from Jack. MAYER, 43, is relieved but angry to see his sons -- his right arm is bandaged. MAYER We've been waiting dinner -- where've you been? David says nothing; crosses to the table and dumps the day's receipts on it, looks up at his father proudly. MAYER You made all this selling papers...? (CONTINUED) 4/8/91 YELLOW 29. *37 CONTINUED: 37 DAVID Half of it's Jack's -- he's our selling partner. And our friend. This is my parents. Jack nods awkwardly, starts to say something when SARAH, 16, enters from another room with an armload of lace piecework. She's beautiful -- Jack becomes instantly tongue-tied. DAVID That's Sarah. My sister. She smiles -- Jack still can't find his tongue. Mayer, seeing his awkwardness, steps in -- MAYER Esther -- maybe David's partner would like to stay for dinner. Add some more water to the soup. ESTHER (mortified) Mayer...! Mayer laughs, joined by Sarah and David -- and finally Esther herself as she waters the soup. Jack stands drinking in the family's warmth.38 INT. APARTMENT - LATER 38 Les mumbles in his sleep on a board stretched between two chairs. Jack, eating heartily, his eloquence regained, holds forth at the dinner table. JACK What I saw today, I gotta say your boys are born Newsies, Mr. Jacobs. With my experience and their hard work -- just a little more, thanks -- (third bowl of soup) -- I figure we can peddle a thousand a week and not break a sweat. MAYER That many...? JACK More when the headline's good. SARAH What makes a headline good? (CONTINUED) 4/8/91 YELLOW 30. *38 CONTINUED: 38 JACK Catchy words -- like, uh, 'corpse' or 'maniac,' or, let's see, 'love nest' or 'nude' -- Sarah and David giggle; Esther looks shocked. JACK (embarrassed) 'Scuse the language there, uh, maybe I'm talkin' too much... MAYER (laughing) You talk fine, Jack -- Sarah, get that cake your mother's been hiding in the cabinet! ESTHER That's for your birthday tomorrow! MAYER I've had enough birthdays! This is a celebration! David leaps up to fetch silver; Sarah gets a luscious chocolate cake from a cabinet -- DAVID It's only the beginning -- the longer I work, the more I'll make -- MAYER You work only until I go back to the factory! Then you go back to school, like you promised. All activity stops, an awkward silence. Mayer looks at his bandaged hand. MAYER It will heal... they'll give me back my job... I'll make them... Jack sees how worried the family is. No one seems able to speak, then -- LES (in his sleep) 'Gimme all ya got, baby...' The family is shocked -- except for Jack and David, who sputter into laughter. The celebration is restored -- Jack digs into an enormous slab of cake, looking around at the smiling faces, for the moment feeling he belongs...)P( 5/1/91 BLUE (2) 31.39 EXT. OUTSIDE APARTMENT - FIRE ESCAPE - LATER 39 Jack and David talk; the family visible inside. JACK How'd your pop get hurt? DAVID The factory. An accident. (bitterly) He's no good to them anymore so they just fired him. He's got no union to protect him. Inside, Esther is singing a lullaby to Les; Mayer calls out to David. MAYER David? Time to come in now. Jack looks in at the warm family tableau: the lullaby, Sarah reading to Mayer. David, going in, sees his friend's expression. DAVID Why don't you stay here tonight...? JACK I got my own place... but thanks. * Your family's real nice, Dave. * (beat) * Like mine. * David nods, climbs in the window. * DAVID See you tomorrow. Carryin' the banner. JACK (smiles) Carryin' the banner. Jack watches as David rejoins the family inside, the warmth, the casual intimacy. He moves off, singing: SONG: "SANTE FE": 3:06 JACK SO THAT'S WHAT THEY CALL A FAMILY MOTHER, DAUGHTER; FATHER, SON GUESS THAT EVERYTHING YOU HEARD ABOUT IS TRUE (MORE) (CONTINUED) 4/8/91 YELLOW 32.39 CONTINUED: 39 JACK (CONT'D) SO YOU AIN'T GOT ANY FAMILY WELL WHO SAID YOU NEEDED ONE AIN'T YOU GLAD NOBODY'S WAITING Jack starts down UP FOR YOU? the fire escape to the alley below. WHEN I DREAM ON MY OWN I'M ALONE, BUT I AIN'T LONELY FOR A DREAMER NIGHT'S THE ONLY TIME OF DAY WHEN THE CITY'S FINALLY SLEEPIN' ALL MY THOUGHTS BEGIN TO STRAY AND I'M ON THE TRAIN THAT'S BOUND FOR SANTA FE...40 EXT. DAVID'S BUILDING - ALLEY - NIGHT 40 JACK AND I'M FREE LIKE THE WIND Still singing, LIKE I'M GONNA LIVE FOREVER Jack drops off the fire IT'S A FEELING TIME escape into the alley; CAN NEVER TAKE AWAY moves to the sidewalk ALL I NEED'S A FEW MORE DOLLARS and walks off. AND I'M OUTTA HERE TO STAY DREAMS COME TRUE YES, THEY DO IN SANTA FE41 EXT. NEIGHBORHOOD STREETS - SAME TIME 41 Jack walks the streets, JACK past people cooling WHERE DOES IT SAY in the night air, YOU GOTTA LIVE AND DIE HERE? outside their hot WHERE DOES IT SAY tenements. A GUY CAN'T CATCH A BREAK? WHY SHOULD YOU ONLY TAKE WHAT YOU'RE GIVEN? WHY SHOULD YOU SPEND YOUR WHOLE LIFE LIVIN' TRAPPED WHERE THERE AIN'T NO FUT'CHA EVEN AT 17 BREAKIN' YOUR BACK FOR SOMEONE ELSE'S SAKE IF THE LIFE DOESN'T SEEM TO SUIT YA (MORE) (CONTINUED) 4/19/91 CHERRY 33.41 CONTINUED: 41 JACK (CONT'D) HOW 'BOUT A CHANGE OF SCENE FAR FROM THE LOUSY HEADLINES AND THE DEADLINES IN BETWEEN SANTA FE ARE YOU THERE DO YOU SWEAR YOU WON'T FORGET ME? IF I FOUND YOU WOULD YOU LET ME COME AND STAY? I AIN'T GETTING ANY YOUNGER AND BEFORE MY DYING DAY I WANT SPACE NOT JUST AIR LET 'EM LAUGH IN MY FACE I DON'T CARE SAVE A PLACE I'LL BE THERE... SO THAT'S WHAT THEY CALL A Jack sees two cops FAMILY coming and instinc- AIN'T YA GLAD YOU AIN'T THAT tively hides in the WAY? shadows, finishing AIN'T YA GLAD YOU GOT A DREAM the song in the dark. CALLED SANTA FE...?42 EXT. NEWSIES LODGING HOUSE - SAME NIGHT 42 Jack approaches the entrance as Racetrack comes down the sidewalk. JACK How'd it go at the track, Race? RACETRACK That hot tip I told you about? Nobody told the horse. They smile and continue into --43 INT. LODGING HOUSE - LOBBY - CONTINUOUS ACTION 43 Jack and Race pay Kloppman for the night. KLOPPMAN You missed your supper, boys. RACETRACK Then we didn't miss much, did we? * (CONTINUED) 4/8/91 YELLOW 34. *43 CONTINUED: 43 JACK I ate, Mr. Kloppman, I... (sounds strange to say it) ... I was dinin' with a family. Race and Kloppman exchange looks as Jack moves on --44 OMITTED 4444A INT. LODGING HOUSE - WASHROOM - CONTINUOUS ACTION 44A Jack enters the empty room and walks past a row of wash basins to the last one. He reaches beneath it, dislodges a brick and removes a small box. In the box is a tin Prince Albert Tobacco can -- Jack puts today's take inside it. Then he removes -- -- a photograph: faded, dog-eared. Against a Coney Island western backdrop, fake cactus, fake fence, a smiling man and woman beam down at a small boy in a cowboy hat -- it's Jack, about Les's age, with his parents. Jack sits hunched under the basin, alone, staring at it...44B OMITTED 44B45 INT. PULITZER'S OFFICE - NIGHT 45 Pulitzer in his shirt-sleeves glowers impatiently as a prim 1899-vintage numbers cruncher -- JONATHAN -- deliv- ers the bottom line with charts, graphs, etc. Seitz lounges, yawning. JONATHAN Actual income, as well as projected income, against actual operating costs, as well as projected operating costs, produce a reduced marginality of profit which in turn -- PULITZER Seitz! What in blazes is he talking about? SEITZ Says you need to make more money, Chief. (CONTINUED) 4/8/91 YELLOW 35. *45 CONTINUED: 45 PULITZER Of course I need to make more money! But how do I make more money, you bloodless blot? JONATHAN (unflappable) I have several proposals. The first is to increase the paper's price -- PULITZER Then Hearst undersells me and I'm in the poorhouse. Brilliant. JONATHAN Not the customer price -- the price to the distribution apparatus. Exasperated, Pulitzer looks to Seitz for a translation. SEITZ You mean the Newsies...? Charge the Newsies more for their papers? Bad idea, Chief. JONATHAN Very well. My next proposal -- salary cuts, particularly those at the very top -- PULITZER Wait. What do the Newsies pay now -- fifty cents per hundred papers? If you raised it to sixty cents -- JONATHAN A mere tenth of a cent per paper -- PULITZER -- then that, multiplied by forty thousand papers a day, seven days a week -- well, it would pay some of the bills around here. SEITZ Chief, if you do this, every Newsie we got will head straight for Hearst. (CONTINUED))P( 5/1/91 BLUE (2) 36.45 CONTINUED: (2) 45 PULITZER Not necessarily. As newspapermen, Hearst and I would cut each other's throats to get the best of the other. But as businessmen -- and gentlemen -- we often agree on ways to keep down certain operating costs. If I know Willie Hearst, he's going to wish he thought of this himself. SEITZ What about the other papers -- ? PULITZER If we do it, they'll all do it. It's only a tenth of a cent -- nobody gets hurt! It's good for the Newsies -- an incentive, make 'em work harder, sell more papers! Now get me Hearst on that contraption. Seitz sighs and reaches for the phone.46 EXT. NEWSIE SQUARE - MORNING 46 Jack bounces into the square, still basking in the glow of last night. He looks up to the chalkboard and sees the headline: "BLOODY BEATINGS IN TROLLEY STRIKE!" He grins, gives the high-sign -- a very salable headline. He moves on to --46A EXT. LOADING DOCK/CIRCULATION WINDOW - MORNING 46A Something's wrong -- angry shouts, arms waving. Puzzled, Jack shoves through the angry Newsies to -- KID BLINK They jacked up the price! Ten cents a hunnerd -- I can eat two * days on ten cents! * SKITTERY * This'll bust me -- I'm barely * makin' a livin' now -- * BOOTSY * I'll be back sleepin' on * the streets -- * (CONTINUED))P( 5/1/91 BLUE (2) 37. *46A CONTINUED: 46A MUSH It don't make no sense! All the money Pulitzer makes, why would he gouge us? Jack sees Weasel behind his window, grinning. JACK Awright, pipe down! Don't you see it's a gag? Just Weasel bein' a weasel. Joke's over, Wease. Gimme a hunnerd. He plops fifty cents on the counter. Weasel's grin gets weaselier as he slides it back. WEASEL Hunnerd'll cost ya sixty, Cowboy. JACK I ain't payin' no sixty -- WEASEL Then move outta the way -- JACK You bet -- I move right over to the Journal. RACETRACK It's the same at the Journal -- we checked -- it's the same everywhere! JACK Why the jack-up, Weasel? WEASEL Why not? It's a nice day. Why don't you ast Mr. Pulitzer? He whacks the bell with his cudgel; the Delanceys stir threateningly. WEASEL If you ain't buyin' papes, clear out! World employees only on this sida the gates. JACK It stinks here anyway -- let's go! He leads the angry Newsies out of the courtyard into --47 OMITTED 47)P( 5/1/91 BLUE (2) 38.48 EXT. NEWSIE SQUARE - CONTINUOUS ACTION 48 The angry boys crowd around Jack. KID BLINK They can't do that to us -- RACETRACK They can do what they want -- it's their stinkin' paper -- BOOTS Ain't we got no rights -- ? CRUTCHY Sure -- we got the right to take it in the t'roat! RACETRACK It's a rigged deck -- why waste time kiddin' ourselves? They set the price, we gotta pay it -- MUSH We got no choice! So let's get our lousy papes while they still got some -- JACK Nobody's goin' anywhere -- they ain't gonna get away with this! EVERYBODY What can we do -- (etc.) LES Stop crowding him! Let him think! They back off, become quiet -- every eye on Jack as he thinks. And thinks again. And again. Finally -- RACETRACK (tentatively) Jack...? Ya still thinkin'... ? * Jack looks at him, then the others: his jaw set. JACK One thing for sure. If we don't sell papes, then nobody sells papes. Nobody comes through those gates 'til they put the price back where it was. (CONTINUED))P( 5/1/91 BLUE (2) 39. *48 CONTINUED: 48 DAVID You mean like a strike...? JACK Yeah, a strike -- good idea, Dave. DAVID (alarmed) No, I didn't mean -- we can't strike, we're not a union -- JACK We go on strike, we're a union, right? Keep it comin', Dave -- Jack's moving across the square, everyone following, cheering, a momentum building. David moves with him -- DAVID (pleading) There's not enough of us -- maybe if we got every Newsie in New York -- JACK Yeah, we organize -- we get all the New York Newsies to join us! This is great, Dave, keep talkin' -- DAVID It's no joke! You saw what happened to those trolley workers -- JACK Another great idea! Any Newsie don't join with us, we soak 'im -- just like the trolley workers! DAVID Nooo! Stop and think, willya? You can't just rush everybody into this! The gang is cheering every word; Jack stops at the base of the Greeley statue, holds up his hands for quiet. JACK Dave's right again! We gotta think this through! Old man Pulitzer and Hearst and all them other rich geezers, they run this city. Do we really think a buncha streetrats like us would have a chance against people like them? (MORE) (CONTINUED))P( 5/1/91 BLUE (2) 40. *48 CONTINUED: (2) 48 JACK (CONT'D) The choice has gotta be yours -- are we gonna just take what they give us? Or do we strike? The Newsies are silent, faltering, suddenly uncertain. Then a small figure steps forward and raises his fist: LES Strike! The boys explode -- a beat begins to build -- BOOTS Keep talkin', Jack -- tell us what to do -- Jack looks desperately at David: what do I say now? DAVID Uh... uh... Pulitzer and Hearst have to respect our rights -- JACK Pulitzer and Hearst have to respect the workin' boys of New York! (to David) Keep it comin' -- what else. DAVID Uh... they can't treat us like we don't exist... SONG: "THE WORLD WILL KNOW" APPROXIMATE TIME: 3:30. JACK PULITZER AND HEARST THEY THINK WE'RE NOTHING ARE WE NOTHING? NEWSIE NO! DAVID If we stick together like the trolley workers, they can't break us up. JACK PULITZER AND HEARST THEY THINK THEY GOT US DO THEY GOT US? NEWSIES NO! (CONTINUED) 4/8/91 YELLOW 41.48 CONTINUED: (4) 48 DAVID It's like a union. The Newsboy's Union. Are we really a union...? JACK EVEN THOUGH WE AIN'T GOT HATS OR BADGES WE'RE A UNION JUST BY SAYING SO... AND THE WORLD WILL KNOW BOOTS What's to stop someone else from sellin' our papes? JACK We talk to 'em. RACETRACK Some of 'em don't hear so good. JACK Then we soak 'em. DAVID No! JACK WHAT'S IT GONNA TAKE TO STOP THE WAGONS? ARE WE READY? NEWSIES YEAH! DAVID No! We can't beat up kids in the street! It'll destroy what we're trying to do! JACK WHAT'S IT GONNA TAKE Jack's not listening now. TO STOP THE SCABBERS? CAN WE DO IT? NEWSIES YEAH! JACK WE'LL DO WHAT WE GOTTA DO UNTIL WE BREAK THE WILL OF MIGHTY BILL AND JOE (CONTINUED) 4/8/91 YELLOW 42.48 CONTINUED: (5) 48 ALL * AND THE WORLD WILL KNOW AND THE JOURNAL TOO * MR. HEARST AND PULITZER * HAVE WE GOT NEWS FOR YOU NOW THE WORLD WILL HEAR WHAT WE'VE GOT TO SAY WE BEEN HAWKIN' HEADLINES BUT WE'RE MAKIN' 'EM TODAY AND OUR RANKS WILL GROW Crutchy hobbles forward, raising his crutch. CRUTCHY AND WE'LL KICK THEIR REAR ALL * AND THE WORLD WILL KNOW THAT WE'VE BEEN... Jack jumps down from the statue. JACK ... HERE! * He jumps onto the back of a wagon. JACK WHEN THE CIRCULATION BELL Two wagonloads of nervous STARTS RINGING Newsies come through the WILL WE HEAR IT? gate. Some leap off and join the strikers -- most NEWSIES stay on the wagon. NO! JACK WHAT IF THE DELANCEYS COME OUT SWINGING WILL WE HEAR IT? NEWSIES NO! JACK WHEN YA GOT A HUNDRED VOICES SINGING, WHO CAN HEAR A LOUSY WHISTLE BLOW? EVERYBODY AND THE WORLD WILL KNOW Race, Mush and Kid Blink ALL * leap onto the wagon with THAT THIS AIN'T NO GAME baskets of rotten fruit. THAT WE GOT A TON OF ROTTEN singing as a trio. FRUIT AND PERFECT AIM. (MORE) (CONTINUED) 4/8/91 YELLOW 43. *48 CONTINUED: (6) 48 ALL (CONT'D) Jack steps forward. SO THEY GAVE THEIR WORD Boots angrily throws a piece of rotten fruit toward The World Building. BUT IT AIN'T WORTH BEANS NOW THEY'RE GONNA SEE WHAT STOP THE PRESSES REALLY MEANS AND THE DAY HAS COME AND THE TIME IS NOW AND THE FEAR IS GONE Boots, apprehensive, looks up at Jack in the wagon. BOOTS AND OUR NAME IS MUD ALL AND THE STRIKE IS ON BOOTS AND I CAN'T STAND BLOOD ALL AND THE WORLD WILL... JACK Jack and the others jump PULITZER MAY OWN THE down from the wagon and with WORLD BUT HE DON'T OWN US! David and Les following, move across the square. ALL PULITZER MAY OWN THE WORLD BUT HE DON'T OWN US! JACK PULITZER MAY CRACK THE WHIP BUT HE WON'T WHIP US! The Newsies answer back. ALL PULITZER MAY CRACK THE WHIP BUT HE WON'T WHIP US! Crossing the square, as ALL they move towards the gates, AND THE WORLD WILL KNOW singing up to Pulitzer's AND THE WORLD WILL LEARN office in the dome at the AND THE WORLD WILL WONDER top of The World Building. HOW WE MADE THE TABLES TURN (CONTINUED))P( 5/1/91 BLUE (2) 44.48 CONTINUED: (7) 48 ALL AND THE WORLD WILL SEE The Delanceys close the THAT WE HAD TO CHOOSE gates as Weasel glares out THAT THE THINGS WE DO TODAY from the dock. WILL BE TOMORROW'S NEWS ALL AND THE OLD WILL FALL The Newsies interlock arms AND THE YOUNG STAND TALL forming a chain of AND THE TIME IS NOW resistance and solidarity. AND THE WINDS WILL BLOW AND OUR RANKS WILL GROW AND GROW AND GROW AND SO THE WORLD WILL FEEL THE FIRE AND FIN'LLY KNOW! Jack, excited by his power, is in full charge now. JACK We gotta get word out to all the * Newsies in New York! I gotta have * some... whattaya call 'em -- DAVID Ambassadors. JACK Right! You guys gotta be embastards and tell 'em we're on strike! KID BLINK I'll take Harlem! RACETRACK I got mid-town! CRUTCHY The Bronx! MUSH I'll get da Bowery! JACK Bumlet, Specs, Skittery take Queens; Pie Eater and Snotty, the East side -- Snipeshooter, go with 'em; okay, who wants Brooklyn? Spot Conlon's territory? Suddenly they all look like they've got something else to do. JACK Whatsamatter? Scared of Brooklyn? (CONTINUED))O( 4/25/91 GREY 45. *48 CONTINUED: (8) 48 BOOTS We ain't scared of Brooklyn. But Spot Conlon makes us a little nervous. JACK Well, he don't make me nervous. You and me, Boots, we take Brooklyn. Dave can keep us company. Okay, Dave? David looks up; Jack grins, challenging him. David comes right back at him. DAVID Sure. Right after you take our demands to Pulitzer. JACK (grin fades) Me? (looks up at the dome) To Pulitzer? DAVID (his turn to grin) You're the leader. Jack looks at the huge doors of the World Building, steeling himself. He starts for them, then has a thought -- beckons to Les, who runs to join him, thrilled. JACK Maybe the kid'll soften him up a little. Shouting encouragement, the Newsies clear a path as Jack and Les march up to the big doors. Jack pounds on them and there's a hush as everyone waits, watching -- including a handsome, well-dressed man in his thirties, BRYAN DENTON. The huge doors swing open like the mouth of a whale and Jack and Les disappear inside. The Newsies cheer. Denton moves next to David. DENTON What's going on? DAVID They're going in to present our demands to Pulitzer. DENTON What demands? (CONTINUED))O( 4/25/91 GREY 46. *48 CONTINUED: (9) 48 DAVID The Newsies' demands. We're on strike. Denton looks around, a little amazed. He takes out a notebook. DENTON I'm Denton, New York Sun. What's your name? DAVID (suspicious) David... DENTON David. As in David and Goliath? (off at doors) You really think old man Pulitzer's going to listen to your demands? DAVID He has to. At that instant, the big doors swing open and Jack and Les are spat out like two seeds. JACK (yelling back) So's your ol' lady! Tell Pulitzer he needs an appointment with me! The doors slam shut; Denton scribbles, intrigued.49 INT. NEWSPAPERMAN'S RESTAURANT - DAY 49 Jack, David and Les devour a tray of sandwiches as Denton takes notes. Newsmen at other tables glance over curiously as Jack holds forth. JACK (a mouthful) -- So this snooty mug is sayin', 'You cawn't see Mr. Pulitzer, no one sees Mr. Pulitzer' -- real hoity-toity, you know the type -- LES (also a mouthful) Real hoity-toity -- (CONTINUED))O( 4/25/91 GREY 47. *49 CONTINUED: 49 JACK -- So I says, 'I ain't in the habit of transactin' business with no office boy -- tell him Jack Kelly is here to see him now.' LES That's when they threw us out. DENTON Doesn't it scare you going up against the most powerful man in New York? JACK (bravado) Yeah, lookit me, I'm tremblin'. Denton smiles, closes his notebook. Gets up, handing David a card. DENTON Keep me informed -- I want to know everything that happens. DAVID Are we really an important story...? DENTON What's important? A year ago I covered the war in Cuba -- charging up San Juan Hill with Colonel Teddy Roosevelt. A very important story. Now it doesn't seem so important -- except Teddy's our governor and probably on his way to the White House. Is the Newsies' strike important? It all depends on you. JACK (stopping him) My name really gonna be in the papers? DENTON Any objections? JACK Not as long as you get it right -- Kelly, Jack Kelly. And, Denton? No pictures. Denton smiles and shrugs. David suspects Jack's thinking of Snyder.)P( 5/1/91 BLUE (2) 47A. *50 EXT. BROOKLYN BRIDGE (MATTE SHOT - BROOKLYN SIDE) - DAWN 50 Jack, David, Boots are walking as we WIDEN OUT to reveal the magnificent bridge against a dawn sky. They all seem a little nervous. DAVID I've never been to Brooklyn -- have you guys? BOOTS Spent a month there one night. DAVID This Spot Conlon... is he really as bad as they say...? Jack and Boots look at each other and laugh; they keep laughing as they walk along -- DAVID I say something funny? Come on, tell me -- he bad or not? What's the joke? Tell me, willya? (Etc.) We KEEP WIDENING as the figures get smaller and Jack and Boots keep laughing and David keeps asking about Spot... 4/8/91 YELLOW 48. *51 OMITTED 51thru thru54 5455 EXT. BROOKLYN WATERFRONT - DAY 55 On a rotted and collapsing pier is a battered sign: "BROOKLYN EXCURSIONS - CLOSED." Hunched under the pier is a tough kid playing a harmonica, his eyes fixed on -- -- Jack, Boots, David as they cautiously approach through the no-man's land of mud and junk. Boys appear like hostile Indians -- behind them, to the side of them, in front of them -- silently escorting them under the pier. David looks very nervous as they are halted, and the harmonica plays a signal, then stops abruptly. From behind some rotting timbers steps a freckled gnome. He looks them up and down, then grins. He is SPOT CONLON. SPOT If it ain't Jack be nimble, Jack be quick. Jack meets his challenging grin with one of his own. JACK You're movin' up in the world, Spot -- got a ocean view and everything. Spot and Jack exchange "heh-hehs." David's getting more nervous. SPOT So I'm hearin' things from little birdies in Harlem and Queens and all over. They're chirpin' in my ear: 'Jackie-boy's Newsies are playin' like they're goin' on strike -- ' DAVID (blurting) We're not playing -- we are on strike -- it's -- Spot's eyes click like switchblades in David's direction -- so do his henchmen's. SPOT What's this, Jackie boy? Some kind of walkin' mouth? (CONTINUED) 4/8/91 YELLOW 49. *55 CONTINUED: 55 JACK (unintimidated) It's a mouth with a brain -- and if you got half-a-one you'll listen. Tell 'im, Davey. David looks at Jack wide-eyed: "Me?" Scared to death, he starts -- as Spot's henchmen begin circling him like jackals. DAVID Uh... we started the strike but... we can't do it alone, so... we've been talkin' to Newsies all over the city... SPOT So they told me. And what did they tell you? David looks nervously at the circling henchmen. DAVID That... they're all waiting to see what Spot Conlon does. That you're the key... (as Spot puffs himself up; David sees an opening) That Spot Conlon is the most respected and... famous... newsie in New York... and probably everywhere else... Spot signals the henchmen to stop circling; waits for more, lapping it up. DAVID And... if Spot Conlon joins the strike, they'll join and we'll be unstoppable so you gotta join and ... well... you gotta... He trails off. Spot nods, turns to Jack. SPOT You're right. Brains. (hardens) But I got brains, too -- and more than half-a-one. How do I know you punks won't run the first time some goon comes atcha with a club? How do I know you're in it to win? (CONTINUED) 4/8/91 YELLOW 50. *55 CONTINUED: (2) 55 JACK 'Cause I'm tellin' you. SPOT Not good enough, Jackie-boy. You gotta show me. He turns and walks away. David and Boots exhale in relief -- but Jack suddenly grabs a rope hanging from the wharf and swings in front of Spot. JACK Maybe you lost your guts, Spotty- boy -- (as Spot freezes) -- or maybe you traded 'em to some chicken for that beak of yours. (in Spot's face) Maybe you gotta show me you ain't afraid to join the strike. Murder's in the air: David and Boots are paralyzed; the henchmen are ready to explode. Spot's eyes are locked on Jack's for an excruciating moment -- then Spot grins. SPOT Nice try, pal. But that's just what I'm talkin' about. (serious) Show me this strike ain't just some kids do-or-dare, then we'll talk.56 OMITTED 56thru thru58 5859 EXT. NEWSIE SQUARE - AFTERNOON (SAME DAY) 59 With a bucket of red paint, Crutchy paints a portrait of Pulitzer on an old bedsheet. Around him, Newsies roll hoops, play marbles, tag, leap-frog, etc. Looks like more of a holiday than a strike. Jack, David, Boots return from Brooklyn. RACETRACK So where's Spot Conlon? Jack looks disgustedly at the activity. (CONTINUED))O( 4/25/91 GREY 51.59 CONTINUED: 59 JACK He was concerned about us bein' serious -- you imagine that? Some Newsies gather around, concerned. KID BLINK Without Spot and the others, there ain't enough of us... MUSH Maybe we're movin' too soon, maybe we ain't ready -- SKITTERY Definitely should put this off a coupla days, definitely -- PIE EATER Hey, Jack -- you ready? I'm ready! He's swinging a picket sign. JACK At least somebody's got the right idea. PIE EATER Who else is ready for stick-ball? He tears the sign off the stick and swings it like a bat. JACK Who we kiddin' here. Spot was right. Just a game to these guys... CRUTCHY Hey, Jack -- get a loada this! He's waving the bedsheet with the scowling devil-mask of "Joe P" painted on it. Jack smiles as Crutchy parades with the banner, the other Newsies begin to notice. Across the square, Denton lounges with his notebook, * studying the Newsies as if he, too, were concerned about * how serious they are. * David watches Crutchy parading with the bedsheet; other * Newsies put aside their marbles, hoops, etc., and watch. * Sensing a moment, David moves among them, beginning to * sing: (CONTINUED) 4/8/91 YELLOW 52.59 CONTINUED: (2) 59 SONG: "SEIZE THE DAY" DAVID OPEN THE GATES AND SEIZE THE DAY As David sings, DON'T BE AFRAID AND DON'T DELAY the others join in. NOTHING CAN BREAK US They stand waiting, NO ONE CAN MAKE US arms interlocked, as GIVE OUR RIGHTS AWAY the gates begin to ARISE AND SEIZE THE DAY * open... DAVID NOW IS THE TIME GROUP TO SEIZE THE DAY NOW IS THE TIME TO SEIZE THE DAY DAVID SEND OUT THE CALL GROUP AND JOIN THE FRAY SEND OUT THE CALL AND JOIN THE FRAY DAVID WRONGS WILL BE RIGHTED IF WE'RE UNITED ALL LET US SEIZE THE DAY DAVID FRIENDS OF THE FRIENDLESS SEIZE THE DAY GROUP FRIENDS OF THE FRIENDLESS SEIZE THE DAY DAVID RAISE UP THE TORCH AND LIGHT THE WAY GROUP RAISE UP THE TORCH AND LIGHT THE WAY ALL * PROUD AND DEFIANT WE'LL SLAY THE GIANT LET US SEIZE THE DAY NEIGHBOR TO NEIGHBOR FATHER TO SON ONE FOR ALL AND ALL FOR ONE NEWSIE GROUP #1 * OPEN THE GATES AND SEIZE THE DAY NEWSIE GROUP #2 * OPEN THE GATES AND SEIZE THE DAY (CONTINUED) 4/8/91 YELLOW 53.59 CONTINUED: (3) 59 NEWSIE GROUP #1 * DON'T BE AFRAID AND DON'T DELAY NEWSIE GROUP #2 * DON'T BE AFRAID AND DON'T DELAY NEWSIE GROUP #1 * NOTHING CAN BREAK US NO ONE CAN MAKE US GIVE OUR RIGHTS AWAY ALL * NEIGHBOR TO NEIGHBOR FATHER TO SON ONE FOR ALL AND ALL FOR ONE59A EXT. NEWSIE SQUARE/GATES - DAY 59A MUSIC CONTINUES as the gates swing open and wagons loaded with papers, followed by the nervous non-striking Newsies, are revealed. Weasel and the Delanceys carry * clubs... * -- Jack signals and Boots, Race and the boys loose a volley of rotten fruit -- With a shrill cry, the Newsies * rush into the courtyard and leap onto the wagons -- * Denton watches nearby, writing it all down. David moves among the ranks of terrified non-striking Newsies, exhorting them -- DAVID Throw down your papers! Join the strike! (Etc.) Many of them do -- ripping up their papers, shouting -- -- The Delanceys slog through a storm of rotten fruit; cornering some Newsies by the wagons. They're raising their clubs when -- -- Paint begins to dribble onto their heads -- they look up and the whole bucket is dumped in their faces by Crutchy. They lunge for him, dripping -- he ducks away, poking at them with his crutch -- -- Jack and the others toss bundle after bundle of papers from the wagons -- they're torn to shreds, tossed in the air -- a blizzard of newsprint and then: SHRILL POLICE WHISTLES -- (CONTINUED))O( 4/25/91 GREY 54. *59A CONTINUED: 59A JACK Cheezit -- the bulls! The Newsies scatter through the snowstorm of paper as three mounted policemen gallop into the square -- Crutchy, hobbling as fast as he can, falls -- a large hand snatches him up -- Morris, grinning through the paint. But no one notices as -- The Newsies leap, cheering in triumph, through the drift- ing shreds of paper, as they vanish in all directions --59B INT. PULITZER'S OFFICE - MORNING 59B He stands at the window with Seitz. Weasel hovers nearby, awestruck in the presence of Pulitzer. SEITZ I don't think they're just going to go away, Chief. WEASEL Just give me the means, Mr. Pulitzer. I'll take care of them for you. Pulitzer turns his godlike gaze on Weasel, who seems to shrink slightly. Pulitzer studies him a moment. PULITZER (to Seitz) Give him whatever 'means' he requires, I want this nuisance over and done with. He looks back down at the square, where Crutchy's crude portrait of him, lying crumpled on the pavement, stares back at him.60 OMITTED 60thru thru63 6364 EXT. HOUSE OF REFUGE - NIGHT 64 A dark cheerless building looming over an empty street. INTO FRAME step Jack and David, Jack with a rope. JACK The House of Refuge... my home- sweet-home... (CONTINUED))O( 4/25/91 GREY 54A.64 CONTINUED: (A1) 64 He crouch-runs across the street David following nervously. DAVID How can you be sure they sent Crutchy here? (CONTINUED) GREEN 4/10/91 55. *64 CONTINUED: 64 JACK How can I be sure the Delanceys stink -- 'cause that's how things work. An orphan gets arrested, Snyder gets him sent here to be 'rehabilitated' -- (lassos a chimneypot on the roof) -- the more kids in the Refuge, the more money the city sends to take care of 'em, and the more Snyder can steal. (starts climbing) He's here alright. David, looking around nervously, starts climbing after him.64A EXT. HOUSE OF REFUGE - ROOF - NIGHT 64A Jack and David creep along above some large barred windows. Jack loops the rope around his waist, swings over the edge --65 EXT./INT. HOUSE OF REFUGE/BUNKROOM - NIGHT 65 David watches from the roof as Jack taps on a window. An inmate, TENPIN, 9, looks up and grins. TENPIN Cowboy! Ya miss the joint? JACK Whattayasay, Tenpin. You got a new guy, Crutchy -- TENPIN The gimp? I'll get him for ya. Jack takes a railroad spike from his belt and begins prying at the bars, talking conversationally up to David who's terrified someone's going to hear them. JACK That's Tenpin -- s'posed to get out last Christmas but Snyder keeps tackin' more time on his sentence -- DAVID (shushing frantically) Be quiet -- they'll hear you --! (CONTINUED) GREEN 4/10/91 56. *65 CONTINUED: 65 Crutchy appears, grinning at Jack dangling on the rope. CRUTCHY Hey, whattaya hangin' around here for? That Dave up there? Hiya, Dave! David pleads for silence. Jack pries at the bars. JACK Go get your hat, Crutch -- kiss Snyder good-bye. CRUTCHY (evasively) Yeah... hey, shoulda seen me in court today -- old Judge Movealong Monahan hisself! Took him two minutes to move me along to Snyder for 'my own good.' JACK Later, Crutchy -- get your stuff. Crutchy stops Jack's hand prying at the bars. CRUTCHY Listen, Jack... truth is, I ain't walkin' so good. Oscar and Morris kinda worked me over a little... JACK They hurt you...? Don't worry, we'll carry you -- CRUTCHY (vehemantly) I don't want nobody carryin' me -- never! Jack looks up: Crutchy's eyes flash with pride. Then he smiles, softens. CRUTCHY It ain't so bad here. Get three squares, sorta, and there's some swell fellas... (up to David) They still talk about how Jack rode outta here on that coach! (CONTINUED) GREEN 4/10/91 57. *65 CONTINUED: 65 DAVID (sighs; resigned) Teddy Roosevelt's. Right? CRUTCHY You already heard the story. DAVID You mean it's true --? Crutchy hears something and quickly shushes them: Jack disappears from the window; Crutchy slumps into a bunk and pretends to sleep -- just as Snyder comes into the room. Utter silence -- -- except for Snyder's FOOTSTEPS as he walks slowly down the aisle between the bunks. He stops at the window, his back to it. Crutchy sneaks open his eyes to see -- -- Jack, behind Snyder, swinging past the window, arms stretched in a balletic arabesque -- -- Crutchy struggles not to laugh; Tenpin and some others see what's going on. They all fight laughter as -- -- Jack swings back and forth behind Snyder, striking difference poses as he passes the window: the breast stroke, running on air, a bird with flapping wings... -- From the roof, David looks down in disbelief: then smiles -- nothing Jack does would surprise him any more. -- Snyder glares suspiciously at the boys, sensing something is going on. Behind him, Jack floats past as an angel -- Snyder wheels around, looks -- -- but the window is empty. Puzzled, he walks out of the room. The instant he's gone, the boys explode in stifled laughter. We MOVE IN ON Crutchy as he laughs until the tears come...65A EXT. NEARBY STREET - NIGHT (LATER) 65A Jack and David move down the deserted street. JACK Crutchy won't last in there... I seen stronger guys than him not make it. (CONTINUED))P( 5/1/91 BLUE (2) 58. *65A CONTINUED: 65A DAVID Did you really escape in Teddy Roosevelt's coach? JACK Not in it. On it. DAVID What was he doing at the Refuge? JACK Runnin' for governor. Showin' his concern, like all pols during elections. DAVID Teddy's not like other politicians. He's the biggest hero in the country. JACK Anyway, he's there. I see his fancy coach waitin' for 'im, so I sneaks on top of it. Teddy gets in and he's wavin' goodbye, and all the guys are wavin' goodbye, and Snyder's wavin' -- 'Good-byeeee, Colonel Roosevelt!' So just as we're goin' out the gate, I stands up and -- (waves) 'Good-byeee, Warden Snyder!' It was in the papes and everything. DAVID (laughs; then) He's governor now. I don't understand how he could see that place and not do anything -- JACK He only seen what Snyder wanted him to -- good food, everything the city pays for that Snyder usually steals. DAVID I'll bet if he just knew -- I mean, he's a hero -- JACK Last year he was a hero. This year he's a politician.)P( 5/1/91 BLUE (2) 58A.66 OMITTED 66thru thru69 6970 EXT. WORLD COURTYARD - EARLY MORNING 70 Weasel moves down a line of frightened young scab newsies clutching their papers. He stops in front of -- -- a burly THUG, 20s, and behind him two dozen more, all clutching newspapers. WEASEL Okay, 'newsies' -- you check the funny papers this morning? The Thugs unfold their paper -- inside are clubs, chains, brass knuckles, saps. In the distance, we hear MUSIC BEGIN: the marching pulse of the strike anthem... (CONTINUED) GREEN 4/10/91 59.70 CONTINUED: 70 THUG #1 Before we bust faces, we want our * money. Weasel puts money in their hands as they file past. The * MUSIC is BUILDING and -- *71 EXT. NEWSIE SQUARE - MORNING 71 SONG: SEIZE THE DAY explodes into full energy as Jack and David lead the Newsies across the square towards the gates. THE NEWSIES OPEN THE GATES AND SEIZE THE DAY DON'T BE AFRAID AND DON'T DELAY NOTHING CAN BREAK US NO ONE CAN MAKE US GIVE OUR RIGHTS AWAY ARISE AND SEIZE THE DAY! As the Newsies converge on the gates --72 EXT. GATES - MORNING 72 The gates swing open and the young scab newsies file nervously out -- cannon fodder -- as our Newsies line up and wait for them. David leads a chant -- DAVID Join us! Join us! etc. Some of the scabs decide fast -- they throw down their papers and run to the Newsies where they're welcomed with cheers and handshakes -- but then -- JACK (sees something) Look out -- ! A WAGON is ROARING out of the gates full-speed -- barrel- * ling towards the line of Newsies -- * -- the Newsies scatter -- the line breaks as the WAGON ROARS through, and right behind it is -- -- the army of Thugs, charging through the gates with clubs and chains waving -- (CONTINUED) GREEN 4/10/91 60. *72 CONTINUED: 72 -- dozens of scattered battles break out as the Newsies fight back as best they can -- Denton watches at the edge of the square -- nearby him are six POLICEMEN, also watching, doing nothing. DENTON Why don't you stop this -- ? COP (POLICEMAN) (looks at him coldly) You better move along, mister... Denton turns, picks up something -- a large camera and tripod. He moves off quickly -- -- scattered skirmishes all over the square -- clubs swing, fists flail -- the Thugs move the Newsies back, trying to box them in -- -- Weasel and the Delanceys, backed up by other Thugs, are forcing Jack, David, Race, Mush, Boots and Blink into a tight circle. The boys fight back as best they can, dodging the brutal clubs and saps. As the circle tightens, Weasel's eyes are gleaming with gloat -- WEASEL Strike's over, boys. Something seems to sting him in the neck -- he slaps at it as if at a mosquito. Then other Thugs begin slapping -- all over the square, Thugs are slapping and looking around in puzzlement -- then -- -- the BELL CLANGS as it's hit by a good-sized stone. Jack looks up as David points excitedly to the roofs where -- -- It's Brooklyn to the rescue: Spot Conlon's gang is pelting the Thugs with volleys from their slingshots -- and Spot himself is swinging through the air on a chain hoist into the square. He grins as Jack runs up -- SPOT So, ya showed me! Now I'll show you what Brooklyn can do --! The Thugs retreat from the merciless slingshots -- Jack rallies his Newsies and leads a screaming charge as the Thugs hurry behind the gates, closing them. Jack and Spot spit in their palms, shake hands as -- (CONTINUED) GREEN 4/10/91 61/62.72 CONTINUED: (2) 72 * MUSICAL REPRISE: "SEIZE THE DAY" begins again; jubilant, victorious -- SKITTERY NOW IS THE TIME TO Jack leaps on a loose horse, pulls David up ALL and they lead an impromptu SEIZE THE DAY victory parade. RACETRACK The police fade away; SEND OUT THE CALL AND Spectators who have watched it all begin to ALL applaud. Many throw SEIZE THE DAY coins, bills, or show other signs of support... BUMLETS WRONGS WILL BE RIGHTED ALL SEIZE THE DAY PIE EATER WHEN WE'RE UNITED ALL SEIZE THE DAY SEIZE THE DAY SEIZE THE DAY SEIZE THE DAY SEIZE THE DAY SEIZE THE DAY SEIZE THE DAY SEIZE THE DAY73 OMITTED 7374 EXT. ROOFTOP OVERLOOKING SQUARE -- DAY 74 Denton flashes a photo as MUSIC ENDS and we see --75 INT. SUN - PRESS ROOM - DAY 75 The front page of The Sun SPINS OFF the press -- a big headline: "THE CHILDREN'S CRUSADE" and a large picture of the Newsies, with Jack very prominent. We hear EXCITED CHEERING as we GO TO --76 INT. NEWSPAPERMEN'S RESTAURANT - DAY 76 A boisterous and happy celebration as dozens of Newsies snatch copies of The Sun from Denton as he passes them out -- (CONTINUED))P( 5/1/91 BLUE (2) 62A.76 CONTINUED: 76 -- Waiters bring trays of sasparilla and cold cuts -- everybody talks at once -- * RACETRACK Lookit this -- just lookit this, willya -- ? SPOT Where's me pitch'a? Where's me pitch'a? BOOTS All them words -- are they all about us -- ? MUSH Lookit Jack -- he looks like a general or sumpin'! SPOT Where's me name? Where's it say me name? DAVID Listen! Listen up, everybody -- ! (reads) 'Like a small but rising storm, the infant newsboys' union continues to gather force -- ' Loud cheers. MUSH Hey, ya write sweet, Denton -- real sweet. Denton smiles; Jack is in the center, trying to keep cool. DAVID (reading) 'Their leader is a child of the New York streets with a red bandana and a golden tongue, Jack Kelly -- ' JACK Where's it say that...? SPOT Stop t'inkin' about yaself and let 'im read! (CONTINUED))P( 5/1/91 BLUE (2) 63.76 CONTINUED: 76 DAVID (reading) 'The latest clash demonstrates that the publishers might do well to reconsider their strategy of just waiting out the strike -- ' (to Denton) * That's their plan? To just wait us out? (CONTINUED) GREEN 4/10/91 64.76 CONTINUED: (2) 76 DENTON You're kids. They think you'll get tired, or bored, or maybe just too hungry. And with my colleagues on the other dailies not allowed to cover you -- He looks pointedly at a group of reporters leaving the restaurant, shame-facedly averting their eyes. DENTON -- They can just ignore you until you go away. JACK We ain't goin' away. We'll never go away. DAVID That's what we gotta show 'em -- we gotta do somethin' they can't ignore, somethin' big -- JACK We'll do it up big, all right -- We'll show 'em we ain't tired, or * bored, and the hungrier we get, the more we fight -- (as Denton starts writing) We'll have a rally -- every Newsie * in New York -- and we're gonna send * a message: there's a lot of us and we ain't goin' away -- we'll keep fightin' until doomsday if it means gettin' what's ours! His eloquence is spellbinding; the Newsies are silent, looking at him with new respect. Then, from somewhere, there is a smattering of APPLAUSE. They look to see -- -- At the door, the group of reporters applauding -- guilty applause maybe, but still applause. One of them takes a dollar and puts it in the box marked NEWSIES STRIKE FUND -- another follows suit, then another, and another... Jack and the Newsies watch -- then Jack begins to applaud the reporters. The Newsies join in, clapping, whistling, as the reporters hurry out, feeling a little better about themselves.)R( 5/8/91 - PINK (2) 65.77 INT. HOUSE OF REFUGE - SNYDER'S OFFICE - DAY 77 SNYDER pops a messy eclair in his mouth -- from a large platter of them -- as he glances at the New York Sun. Crutchy, with a featherduster, is eyeing the eclairs when he sees the picture in the Sun. CRUTCHY That's Jack -- ! Hey, he looks just like hisself! Snyder looks at the picture: instant recognition. SNYDER You know this boy...? CRUTCHY Him? Nah. SNYDER (smarmy smile) You have a famous friend, this 'Jack.'... Do you know where he lives...? CRUTCHY I never seen the guy, honest. (hits his head with his palm) This brain of mine, always makin' mistakes. Got a mind of its own. He hobbles out quickly. Snyder looks at him, eyes narrowing.78 OMITTED 78thru thru90 9090A INT. IRVING HALL - WINGS - DAY 90A A juggler struggles on stage. Medda, waiting to go on, checks her makeup as Jack and David talk to her. MEDDA Darlings, I love you -- I wish * you luck on your rally, I am behind * you one hundred percent. But I'm not running a union hall here -- this is a theater, a temple of art. And well-known money pit. JACK We got money, Medda. Some, anyway. (CONTINUED))R( 5/8/91 - PINK (2) 66. *90A CONTINUED: 90A David sees him take money out of the Prince Albert can. DAVID We'll take a collection at the door. We'll pay whatever you ask. MEDDA It's not the money. I depend on the papers. They write good things about me, the customers flock here like sheep. They give me the pan, I'm the one who gets sheared. DAVID You're afraid of them, too... JACK Medda's gotta look out for herself same as anybody. We'll find another place. DAVID How can they make a whole city afraid? We're the ones putting our necks on the line -- all we need is for somebody to have the guts to stand up and show them we're not alone! MEDDA They have the power to destroy people... DAVID They can't destroy you if you fight them -- only if you let them own you! MEDDA (softly) You are so young... She looks back out at the stage; Jack pulls David away. Then -- MEDDA Got to be on Monday night. I'm dark on Monday nights. Jack looks at her, smiles. He tries to put his money in her hand: she refuses it. (CONTINUED))R( 5/8/91 - PINK (2) 66A.90A CONTINUED: (2) 90A JACK Take it, Medda. Please...? * (as she does, * reluctantly) * Thanks. * MEDDA Don't thank me. Thank Mr. Wisenheimer Guilt-maker of 1899 there. She winks at David and moves off to the stage. Stricken * to the core, David watches her begin to sing. *)O( 4/25/91 GREY 67. *91 INT. NEWSIES' LODGING HOUSE - NIGHT 91 Mush painstakingly charcoals "NEWSIES RALLY -- IRVING HALL" on a piece of cardboard. Newsies are scattered in the lobby making handbills, signs, posters. Kloppman comes in and stops short, seeing a dark figure at his counter, going through his register. KLOPPMAN Can I help you? The figure turns -- Snyder smiles his smarmy smile. SNYDER Do you have a 'Jack Kelly' registered here? I wish to see him. The boys look up, alert. Kloppman dislikes Snyder on sight. KLOPPMAN 'Jack Kelly...?' Any of you boys know a 'Jack Kelly'? SNIPESHOOTER Unusual name for these parts. SKITTERY I knew a Jack somebody once. Prob'ly not the same guy. RACETRACK You mean Jack Kelly -- ? Behind Snyder, they see Jack bouncing in the front door. Racetrack tries to signal him -- RACETRACK -- He was here but he put an egg in his shoe and beat it. Jack sees Snyder -- but instead of running back out the door, he can't resist mocking him behind his back. The Newsies snicker; Kloppman is dying. SNYDER I have reason to believe he's an escaped prisoner. Possibly dangerous. KLOPPMAN Oh, dear me... dangerous? My files are in the rear -- this way, please. (CONTINUED))O( 4/25/91 GREY 68. *91 CONTINUED: 91 He tries to move Snyder away, silently imploring Jack to go -- but Jack takes his time, picks up a leaflet, elabo- rately approves it, pockets it and strolls out, blowing good night kisses. The Newsies crack up -- Snyder wheels around suspiciously. Racetrack thrusts a leaflet in his face. RACETRACK (palm extended) Give to the Newsies strike fund, mista? Snyder tries to look around the leaflet -- then it catches his eye: "RALLY AGAINST PULITZER." He takes it thoughtfully, making a connection. Smiling dangerously, he digs out a penny and drops it in the surprised Racetrack's hand.92 OMITTED 92& &93 9394 EXT. DAVID'S BUILDING - FIRE ESCAPE - EARLY MORNING 94 The orange glow of a sunrise is reflected in the window. Sarah appears inside, in a modest nightgown. She opens the window and breathes in the morning air. Then she sees Jack hunched against the wall on the fire escape, shivering. SARAH (startled) Did you sleep there? Why didn't you wake us up? JACK Didn't wanna disturb nobody... anyway, it's like the Waldorf out here... great view, cool air -- She glances back in the apartment. SARAH Go up on the roof. She pops back inside. He shrugs, climbs onto --95 EXT. ROOF - MORNING 95 Jack stretches, shadow-boxes: something crackles in his pocket -- the rally leaflet. (CONTINUED))O( 4/25/91 GREY 69. *95 CONTINUED: 95 He's looking at it thoughtfully as Sarah climbs up behind him in a shawl, with a bundle. She sees the leaflet. SARAH It's all getting so big. The family's very worried about the boys. And you, too. JACK Your mom and pop are worried about me...? SARAH (shyly) The whole family... She unfolds the bundle to reveal a breakfast of bread and milk. He digs in hungrily. SARAH David says you're moving away when the strike's over. To Santa Fe. I've never been out of the city. JACK (chewing) You'd like it out there -- they got this big yellow desert and the air's real blue, see, from the sky, and the sun, it's bigger out there. SARAH (smiles) It's the same sun as here. JACK No. No, it ain't... (beat) Not that I been there or nothin'. SARAH Guess your parents wrote you about it. Bet you can't wait to see them again. JACK (looks away) Sure... big family reunion. Soon's I get the dough for train fare. SARAH David said you spent all your money to rent the theater. (CONTINUED))O( 4/25/91 GREY 69A. *95 CONTINUED: (2) 95 JACK Sounds like you and Dave don't do nothin' but talk about me. SARAH We do not. JACK Not that I blame you -- me bein' such an interestin' guy and all -- SARAH (smiles) Are you...? They're smiling, their faces close; for an instant, a kiss seems inevitable. But suddenly a gust of wind catches the leaflet and sails it off the rooftop. Jack lunges for it -- knocking over the milk, squashing the bread with his elbow. He looks up at her sheepishly. JACK What'd I tell ya -- interestin', right? Sarah giggles. The leaflet gyrates in the wind as we GO TO --96 INT. PULITZER'S OFFICE - DAY 96 Another leaflet reading "RALLY AGAINST PULITZER" (the one Snyder took at Kloppman's) is in Pulitzer's hands as he listens to MAYOR VAN WYCK, very nervous. Nearby is POLICE CHIEF DEVERY. MAYOR (sweating) Of course the city is very concerned that this, uh, event doesn't get out of hand, but... Chief? CHIEF We can't just charge in and break it up, Mr. Pulitzer -- we got no legal cause. Pulitzer looks as if he knows something they don't. (CONTINUED) PINK 3/28/91 70.96 CONTINUED: 96 PULITZER Would the fact that this rally is organized by an escaped criminal be cause enough, Mayor? MAYOR An escaped criminal...? PULITZER A fugitive from one of your prisons, Mayor -- a convicted thief who's been at large for some time under the alias of 'Jack Kelly.' His real name is...? Snyder slinks out of a corner, humble in such august company. SNYDER Sullivan, Your Honor -- Francis Sullivan. I would have caught him before now but -- PULITZER You know Warden Snyder, don't you, Mayor? I believe you appointed him. The Mayor nods ruefully; not one of his best appoint- ments. MAYOR If this boy is a fugitive, then the chief can quietly arrest him and -- PULITZER Not quietly -- I want an example made. I want this rabble he's roused to see what happens to those who dare to -- well, they should see justice in action. MAYOR Arrest him at the rally? But... PULITZER By the way, Mayor, I'm having a few friends for cards that night -- newspaper friends, Willie Hearst, Gordon Bennett. Perhaps you'll join us -- we can talk about the coming election. (CONTINUED) 4/19/91 CHERRY 71. *96 CONTINUED: (2) 96 MAYOR (too eager) I'd be honored... thank you. Pulitzer dismisses them and they start out, Snyder oozing backwards, the Mayor now all business with Chief Devery. MAYOR Chief, when you arrest this Kelly, you'd better go in force -- in case some of his misguided friends should start any trouble. As they go, Pulitzer picks up his magnifying glass and examines the leaflet. We CUT AWAY as he stares through the glass so he seems to be looking at --97 OMITTED 97& &98 9899 EXT. IRVING HALL - BOOTS' EXCITED FACE - NIGHT 99 Boots FILLS the SCREEN as he shouts -- BOOTS Extry, extry -- Newsies take Noo Yawk! Swarms of excited Newsies engulf Boots as he pretends to hawk the imaginary headline. They cascade toward the entrance where Jack and David shake hands, slap backs as they flow past. Kloppman goes past, then Denton. Sarah and Les are nearby. JACK Hey, Denton -- sit down front! You're the guest of honor! DENTON (shakes his head) I'm working press tonight. (looks around) The only working press. As usual. DAVID As long as you keep writing about us, they're gonna know we exist.99A INT. THEATER 99A Boys swarm into the seats, filling the theater -- down front, the pit band plays a spirited tune. 4/19/91 CHERRY 72.100 OMITTED 100101 INT. PULITZER'S MANSION - NIGHT (SUDDEN SILENCE) 101 * as a butler passes cigars in a silver humidor to five men in formal clothes around a table as Pulitzer breaks the seal on a deck of cards. The Mayor is next to him. The room is cavernous, austere. PULITZER You know the boys, Mayor -- Mr. Bennett of The Tribune, Mr. Taylor of The Times, of course you know Mr. Hearst -- and this is a new member of our little group, Mr. Gammon, who just came back from Europe... GAMMON, a portly fop in muttonchops, shakes the Mayor's hand. PULITZER * Mr. Gammon owns The New York Sun. * They all light cigars as Pulitzer begins to deal.102 OMITTED 102103 INT. IRVING HALL - NIGHT 103 The place is packed. The band plays and a thundering * cheer goes up as Jack, David, and Spot Conlon leap on the stage. Jack raises his hand and the noise subsides, the band stops. Everybody looks at Jack -- expectant silence. He lets it build for a moment, then -- JACK Carryin' the banner! AUDIENCE (a roar) Carryin' the banner! The noise threatens to blow the roof off the theater as we see --104 OMITTED 104& &105 105 4/19/91 CHERRY 73. *105A EXT. NEARBY STREET - NIGHT 105A A column of mounted police clip-clop down the cobble- stones. The CHEERING from the theater, blocks away, is FAINT in the night air...106 INT. IRVING HALL - NIGHT 106 The noise subsides and Jack speaks. JACK We come a long way but we ain't there yet -- and maybe it's only gonna get tougher from now on! That means we get tougher too -- (as a huge roar goes up) -- it also means we get smarter! That's why we're gonna listen to my pal David and stop soakin' the scabs -- SEVERAL IN CROWD No! They asked for it -- etc. RACETRACK Whatta we s'pose to do -- kiss 'em? JACK I personally wouldn't go that far, Race. SPOT (jumping up) Any scab I see, I soak 'em -- period! DAVID That's just what they want you to do -- so they can say we're just thugs -- SPOT I don't care what they say -- some of us ain't made to just take it! I say anybody hurts us, we hurts them worst! Who's with me? A large faction roars in agreement; arguments break out as -- BY ENTRANCE DOORS Sarah stands next to Denton and Kloppman. Behind them, the door cracks and in slides Snyder. Kloppman sees him and whispers urgently to Denton, who starts moving after him. (CONTINUED))T( 5/15/91 GREEN (2) 74.106 CONTINUED: 106 BACK TO SCENE Loud voices, fists starting to fly, chaos -- JACK That's right -- start fightin' each other! Prove what the big shots say is true -- we're street rats with no brains and no respect for nothin' -- includin' ourselves! (as they quieten) Here's how it is: we don't stick together, we're nothin'. We don't trust each other, we're nothin'. We don't act together, we're nothin' -- and we might as well go back to the streets where we belong. What's it gonna be? (looks at Spot) Whattaya say, Spot? SPOT I say -- He looks out at the crowd; the expectant faces, waiting, afraid it's all going to fall apart. Then back at Jack. SPOT I say... what you say... I say! Spits in his palm and they shake. A huge roar goes up and the boys thrust their hands up in triumph -- but the applause isn't for them but for the curtain rising behind them revealing the dazzling vision of Medda, who walks smiling downstage and begins -- * (CONTINUED))S( 5/10/91 YELLOW (2) 75. *106 CONTINUED: (2) 106 MEDDA (sings) HIGH TIMES, HARD TIMES SOMETIMES THE LIVIN' IS SWEET AND SOMETIMES THERE'S NOTHIN' TO EAT BUT I ALWAYS LANDS ON MY FEET SO WHEN THERE'S DRY TIMES I WAIT FOR HIGH TIMES AND THEN I PUTS ON MY BEST AND I STICKS OUT MY CHEST AND I'M OFF TO THE RACES AGAIN MEDDA Hiya, Newsies -- what's new? They roar; Racetrack's on his feet -- RACETRACK Hey, Medda, anytime you're off to the races, remember -- I got all the winners! MEDDA You're all winners here tonight, Racetrack. Just being with you makes me feel kinda extra extra. MUSH ("fainting") I'm dead, I'm in Heaven -- somebody gimme a harp! MEDDA But you never know what life will bring. Over the years, I've developed quite an outlook -- KID BLINK Oooo, lookout for that outlook! MEDDA And all kinds of people are always asking my advice, well, for instance -- (CONTINUES -- SONG) (CONTINUED))S( 5/10/91 YELLOW (2) A75A. *106 CONTINUED: (3) 106 MEDDA (sings) MY GOOD FRIEND THE MAYOR, HE CALLS ME TODAY SAYS ALL THE VOTERS IS TURNING AWAY 'HELP ME,' HE CRIES, 'OR THEY'LL GIVE ME THE AX!' I SAYS, 'YOUR HONOR, YOUSE GOT TO RELAX.' EVERYBODY! ALL HIGH TIMES, HARD TIMES SOMETIMES THE LIVIN' IS SWEET AND SOMETIMES THERE'S NOTHIN' TO EAT BUT I ALWAYS LANDS ON MY FEET SO WHEN THERE'S DRY TIMES I WAIT FOR HIGH TIMES AND THEN I PUTS ON MY BEST AND I STICKS OUT MY CHEST AND I'M OFF TO THE RACES AGAIN Medda moves through the crowd: MEDDA You boys sing as sweet as songbirds. MUSH Lookit me, I'm a bird, I'm flyin', I'm flyin' -- KID BLINK It's a beautiful, Medda, I tellya, I never heard such beautiful! BOOTS (offering a blue marble) My prettiest one, Medda -- it's like your eyes. MEDDA (moved; kisses him) Thank you, Boots. Would you keep it for me? For luck? Boots beams happily as she moves to -- (CONTINUED))S( 5/10/91 YELLOW (2) 75A/75B. *106 CONTINUED: (4) 106 RACETRACK Medda, whattayasay -- you and me, Saratoga. We catch the races, maybe a nightclub -- (off her expression) I'm dreamin', huh? It's some other guy -- right? MEDDA I'm afraid so, Race... She turns to a little boy and sings -- MEDDA (sings) SO YOUR OLD LADY DON'T LOVE YOU NO MORE SO YOU'RE AFRAID THERE'S A WOLF AT YOUR DOOR SO YOU GOT STREET RATS WHAT SCREAMS IN YOUR EAR The boys boo and hiss. MEDDA YOU WIN SOME, YOU LOSE SOME, MY DEAR ALL IT'S HIGH TIMES, HARD TIMES SOMETIMES THE LIVIN' IS SWEET AND SOMETIMES THERE'S NOTHIN' TO EAT BUT I ALWAYS LANDS ON MY FEET SO WHEN THERE'S DRY TIMES I WAIT FOR HIGH TIMES AND THEN I PUTS ON MY BEST AND I STICKS OUT MY CHEST AND I'M OFF TO THE RACES AGAIN I PUTS ON MY BEST AND I STICKS OUT MY CHEST AND I'M OFF TO THE RACES AGAIN! Medda and dance girls start it but the boys quickly join in -- belting out the lyrics with one great swelling voice, together, celebrating --)S( 5/10/91 YELLOW (2) A75C.107 EXT. IRVING HALL - NIGHT 107 The happy song roars inside the theater as the mounted police begin to form a half-circle around the entrance. A paddy wagon clops up and some foot police dismount, among them Officer MacSwain whom we met before.108 OMITTED 108thru thru111 111 4/8/91 YELLOW 75C.111A EXT. IRVING HALL/STAGE ENTRANCE - NIGHT 111A Weasel, the Delanceys, roll up in two wagons, each filled with club bearing goons. 4/19/91 CHERRY 76.112 INT. IRVING HALL - NIGHT 112 The SONG fills the hall as Jack, happy and proud, sees Sarah smiling at him, reaches out his hand and pulls her on stage. David is watching this when someone signals him -- Denton, who points his finger at -- Snyder edging closer to Jack, checking the time on his pocket watch. He has something in his hand -- a tin police whistle. He puts it to his lips and is about to blow it when Denton moves up behind him and -- DENTON Aren't you Warden Snyder? Snyder nearly swallows the whistle -- DENTON I'm Denton of The Sun. I've heard about your work with young people. I wonder if you'd agree to an interview? Snyder blinks at him, glances at his watch, then lowers his police whistle, smiling modestly. ON STAGE David tries to move to Jack to warn him but Race and the others have formed a chorus line and drag him into it. David shouts over the song -- DAVID Jack -- you've gotta get out of here! Snyder! (as Jack cups his ear) Snyder! Jack can't hear over the song but Snyder does -- DENTON (interviewing) Is it Snyder as in 'snide'? Furious, Snyder blows the police whistle for all he's worth. Instantly police burst in from every door -- all converging on Jack. Immediately he leaps off the stage into the arms of several boys below -- then fights his way out the front door --113 OMITTED 113 4/19/91 CHERRY 77.114 EXT. IRVING HALL/FRONT - NIGHT 114 Jack rushes out and slides to a stop -- -- the mounted police form a half-circle cutting him off -- and from behind them, Weasel, the Delanceys, and the Thugs move through the horses towards him. Jack has no choice -- he turns and races back into --114A INT. THEATER 114A Jack darts past the cops back down the aisle where -- Snyder is waiting for him at the foot of the stage, crouched like a football player. As he starts to pounce on Jack -- (CONTINUED) PINK 3/28/91 78.114A CONTINUED: 114A -- David flies off the stage onto his back -- Snyder stumbles around as David hangs on in a wild piggyback ride. A cop pulls him off and hurls him to the floor -- -- Sarah screams, seeing what's happened to David -- Les, sobbing, kicks furiously at the cop's leg. Sarah pulls her little brother away as -- -- Weasel and his thugs burst in the doors, clubs swinging. The Newsies scatter, try to escape -- but at each exit door more cops are moving in -- -- Denton, horrified, shouts at the cops to stop -- a thug cracks him on the head and he staggers, bloodied... -- Spot, Race, Boots dart into the wings and start working the pull ropes -- -- Cops converge on Jack at the foot of the stage, backing away, he leaps on stage desperately looking around when he hears behind him -- WEASEL Show's over, Cowboy. He turns to see Weasel and the Delanceys grinning at him, clubs in their hands. They start toward him and suddenly disappear -- straight down the trap door that's suddenly opened beneath their feet. Jack sees Spot at a lever in the wings -- RACETRACK Curtain goin' up, Jack -- ! Race and Boots jerk the ropes of the fire curtain and Jack leaps for it as it starts to rise -- BOOTS Try to reach the skylight -- ! Cops leap for Jack's legs as he rises above them heading up into the flies. He hangs on, thrusts one fist into the air and shouts -- JACK Carryin' the banner! In the theater, the battered Newsies cheer, heartened. Cops are trying to herd them out -- -- David cheers, pulls for Jack as he watches him rise -- Officer MacSwain has David by the arm -- suddenly -- (CONTINUED))S( 5/10/91 YELLOW (2) 79. *114A CONTINUED: (2) 114A -- Weasel, climbing out of the trap, hurls his cudgel -- it sails end over end and -- -- Hits Jack in the side -- he plummets into the mass of cops and is engulfed in blue uniforms.114B IN WINGS 114B David, chased by MacSwain, races across the stage and up the dressing room stairs. MacSwain nabs him, they're struggling; suddenly, at the top of the stairs -- MEDDA (the grand lady) Unhand that boy this instant! (as MacSwain looks up, startled) I said hands off the kid, you red- faced baboon! Get out of my theater -- out, out, out, out, out! David twists away as MacSwain backs stumblingly down the stairs as Medda descends on him in full fury. MEDDA If you're tired of beating up children, maybe you'd like to try a lady next. Confused and intimidated, the Irish cop looks at her -- then ducks his head shamefacedly and moves away. MEDDA Run, David, hurry -- DAVID They got Jack -- MEDDA You can't help him if you're in jail, too! You were right, David -- you've got to keep fighting them -- always. (kisses him) Now go. Please. David looks at her, very moved, then goes. She turns back to her theater -- the sounds of the melee sweep over her. She watches, tears welling in her eyes...115 OMITTED 115)T( 5/15/91 GREEN (2) A79A.116 INT. COURTROOM - MORNING 116 A dingy room filled with dusty light. A BAILIFF announces -- BAILIFF Awrise, awrise, court is now in session, Judge E.A. Monahan presiding. Weasel is in the gallery as JUDGE MOVEALONG MONAHAN, hungover, winding a pocket watch, takes the bench and glances down at a group of battered Newsies, including Spot, Race, and Boots. MONAHAN Any of you represented by counsel? No? Good. That'll move things along considerably. David sees Denton come in, a neat bandage on his head. SPOT Judge Movealong, ya honor, I object. MONAHAN On what grounds? SPOT (proudly) On the grounds of Brooklyn, ya honor! The Newsies congratulate Spot. Monahan gavels. MONAHAN I fine you each five dollars or two weeks confinement in -- RACETRACK Five bucks! We ain't got five cents! DENTON (standing) I'll pay the fines. All of them. JUDGE Pay the clerk. Next. The Newsies mob Denton boisterously. * ALL * Thanks, I owe ya, you're a right * guy, Denton, etc. * (CONTINUED))T( 5/15/91 GREEN (2) 79A/80. *116 CONTINUED: 116 DENTON (subdued) Meet me at the restaurant, all of you. We have to talk. RACETRACK Talk and eat, right? On you, huh, pal? They laugh and clap his shoulders as he looks uncomfort- able. Suddenly David gasps, seeing Jack led out in shackles, his face bruised and swollen. Everybody stares, horrified. JACK Hiya, fellas! Hey, Denton -- guess we made all the papes this time, huh? How'd my picture look? DENTON None of the papers covered the rally. Not even The Sun. Jack is stunned, David bewildered, as Denton turns abruptly and leaves the courtroom. The Bailiff shoves Jack in front of the bench. Snyder slips in from a side door. BAILIFF Case of Jack Kelly, inciting to riot, assault, resisting arrest. SNYDER Judge Monahan, I'll speak for this young man -- JACK (mock surprise) You two know each other? Ain't that nice. (CONTINUED))O( 4/25/91 GREY 81. *116 CONTINUED: (2) 116 MONAHAN Just move it along, Warden Snyder. SNYDER This boy's real name is Francis Sullivan; mother deceased; father a convict in the state penitentiary -- David, the Newsies, are stunned as Snyder continues. SNYDER He is currently an escapee from the House of Refuge, where his original sentence of three months for theft was extended six months for disruptive behavior -- JACK -- Like demandin' you give us the food you steal from us -- SNYDER -- Followed by an additional six months for an attempted escape -- JACK (fighting tears) -- Last time wasn't no attempt, remember, Snyder? Me and Teddy Roosevelt wavin' bye-bye -- SNYDER -- Therefore, I ask that he be returned to the House of Refuge -- JACK -- For my own good, right, Movealong? -- and for what Snyder kicks back to ya -- SNYDER -- And that the court order his incarceration until the age of twenty-one -- DAVID/NEWSIES SNYDER (on their feet) -- In the hope that we No! You can't do that! may yet guide him to a No! Etc. useful and productive life. MONAHAN So ordered. Next. The Newsies shout angrily as Jack is led away, struggling. Weasel slips out the door, smiling.)R( 5/8/91 - PINK (2) 82. *117 OMITTED 117& &118 118119 INT. NEWSPAPERMAN'S RESTAURANT - DAY 119 David, Spot, Race, Mush, Boots, Blink pick dispiritedly at a plate of knockwurst. Les, hungry as always, finishes a large sausage and takes another as he listens. KID BLINK He won't be there long -- the jail ain't built that Jack can't bust outta. BOOTS They're buildin' some mighty good jails these days... RACETRACK So where's Denton? DAVID He said he'd be here. (beat) We can't let this stop us. We gotta keep the strike going, just like Jack was here. MUSH (the sad truth) Yeah, but Jack ain't here. RACETRACK We know that, genius -- if he was here, he'd be tellin' us what to do when he ain't here. SPOT (gets up) You bummers is givin' me a headache. DAVID Where you goin'? We need you. Spot sighs: he hates having to explain the obvious. SPOT Nachally Spot Conlon is needed wherever -- which right now is Brooklyn. Some of my boys is worried, I must give ear to their concerns -- (MORE) (CONTINUED))R( 5/8/91 - PINK (2) 82A.119 CONTINUED: (A1) 119 SPOT (CONT'D) (slams fist in his palm) -- and reassure them. As he starts out, he passes Denton, coming in. Denton hardly notices him as he moves up to the table and is greeted (AD LIB) by the boys. He seems grim, bitter. DAVID Why didn't The Sun print the story? DENTON Because it never happened. DAVID/ALL Never happened; whattaya mean? Etc. (CONTINUED))P( 5/1/91 BLUE (2) 83. *119 CONTINUED: 119 DENTON If it's not in the papers, then it never happened. The owners decreed that it not be in the papers, therefore... (beat) I just came to tell you fellows goodbye. They exchange puzzled looks. David sees Denton's expression. DAVID Denton, what's happened -- you get fired or somethin'? Denton forces a breezy tone. DENTON Reassigned -- back to my old job as The Sun's ace war correspondent. The owner thinks I should be covering only the 'really important' stories. So wish me luck, boys. At least half what I wish you. (to David) They don't always fire you, David. He moves off; David, stunned, hurries after him. DAVID They bought you off... didn't they? Didn't they! DENTON They could've blackballed me from every paper in the country. I'm a newspaperman, I have to have a paper to write for. He looks at David; hurt, betrayed, angry; wishes there was more he could say. He hands him something from his coat. DENTON This is the story I wrote about the rally. I want you to read it at least. He hands it to David and goes. David returns to the others, angrily crumpling the story and hurling it onto the table. The boys look puzzled; Les, still eating the sausage, picks up the story and looks at it curiously. (CONTINUED))P( 5/1/91 BLUE (2) 84.119 CONTINUED: (2) 119 DAVID * (decisively) * We bust Jack out of the Refuge * tonight. From now on, we depend * on nobody but the Newsies. *119A OMITTED 119A119B EXT. HOUSE OF REFUGE/WALL - NIGHT 119B David leads Spot, Blink, Boots, Mush, Race as they crouch and creep along the wall. Spot carries a rope. David looks up, searching for a window. Indicates one. DAVID That's where we saw Crutchy... He starts to throw up the rope when Boots hisses from the corner, beckoning furiously. They hurry over and peek around the corner to see --120 EXT. HOUSE OF REFUGE - COURTYARD - NIGHT 120 A carriage is waiting. The boys watch as a door opens and two figures emerge. One is Snyder, the other is Jack. They get into the carriage and it starts toward the boys -- who quickly duck out of sight as it CLIP- CLOPS past and enters the street. MUSH Where they takin' him...? DAVID One way to find out. Meet me back at the square! David runs after the carriage, leaping onto its back. He flashes the high-sign to the boys as the carriage moves off into the night.121 OMITTED 121& &122 122123 EXT. PULITZER MANSION - NIGHT 123 David hangs on to the back of the carriage, peering around to see some huge stone gates as it moves into a circular drive and stops. He sees a figure waiting: (CONTINUED) 4/19/91 CHERRY 85.123 CONTINUED: 123 SEITZ Get him inside. David watches as Jack is led inside by Snyder.124 OMITTED 124125 INT. PULITZER'S MANSION - NIGHT 125 A butler leads Seitz, Snyder and Jack across a marbled floor, their FOOTSTEPS ECHOING in the luxurious hall. JACK Very impressive. So where do they keep the trains in this station? Seitz shows him into an elegant library. Snyder tries to follow but Seitz stops him, closing the doors. Inside, Jack looks around to see the imposing figure of Pulitzer staring at him, framed by luxurious furnishings. For a moment, the two just stare at each other. Then -- JACK (grins) Sorry to see you ain't doin' so good, Joe. *126 EXT. MANSION - AT CARRIAGE - NIGHT 126 The Driver strolls around the rear of the carriage -- just as David slips beneath it and begins to crawl care- fully toward the front. Finding the lynch-pin that hitches the horses to the carriage, he reaches for it -- just as the horse snorts and pulls the carriage forward a few steps. The Driver hurries back to the reins. With the Driver's boots a few inches from his face, David waits for another chance...127 INT. PULITZER'S STUDY - NIGHT 127 Pulitzer paces, watching Jack look at the books, the art, at framed front pages; headlines of the world's great events... (CONTINUED))P( 5/1/91 BLUE (2) 86. *127 CONTINUED: 127 PULITZER Know what I was doing when I was your age? I was in a war. The Civil War. JACK I heard of it. You win? PULITZER People think wars are about right and wrong. They're not. They're about power. You know what power is? JACK Heard of that, too. I don't just sell ya papes, Joe. Sometimes I read 'em. Pulitzer ignores the impudence, continues quietly. PULITZER Power means that I could see to it that you serve your full sentence at the Refuge. Or I could pull strings and have you free tomorrow. It means I could give you my pocket change -- and you'd have more money than you'd likely ever earn. JACK You bribin' me, Joe? Thanks for the compliment, but I ain't got the power to stop the strike -- PULITZER I disagree. You're the spirit of the strike, without you, they'd fall apart in a few days. JACK Ring for my coach, willya? It's past my bedtime -- PULITZER Shut your mouth and listen ! (as Jack looks up, startled) You're going to do exactly as I say -- (CONTINUED))P( 5/1/91 BLUE (2) 87. *127 CONTINUED: (2) 127 JACK -- or what? You'll send me back to the Refuge? I'll bust out again -- PULITZER -- and be a fugitive who's pursued and caught and returned. I'm offering you a choice -- is that what you choose? JACK I told ya... I can't call off the strike. PULITZER I'm not asking you to. All I ask is that you return to your old job -- as Newsie for the The World. JACK And be a scab? Forget it -- PULITZER For a few days. Then the strike ends -- and it will end, boy, make no mistake -- and you can go wherever you want to buy a ticket. Free and clear, with money in your pocket... and no one chasing you. Jack is silent, troubled. Pulitzer pushes a buzzer. PULITZER You go back to the Refuge. Think it over in your cell. Let me know in the morning.128 EXT. PULITZER'S HOUSE - NIGHT 128 David is hiding by the gates with the lynch-pin in his hand. Snyder is waiting by the carriage. The front door opens -- Seitz and Jack walk out and appear at the top of the entrance stairs. David calls out -- DAVID Jack! (CONTINUED))P( 5/1/91 BLUE (2) 88. *128 CONTINUED: 128 Jack is surprised. He looks at Snyder and Seitz, pulls away from Seitz, slides down a bannister, and leaps to the ground. Snyder lunges for Jack, who manages to evade Snyder's reach. SNYDER (to the driver) After him! The driver whips the horse forward but is jerked off his seat as the carriage separates. The horse runs off. Amidst the confusion, David and Jack tear through the gates way ahead of Snyder. SEITZ (stepping up to Snyder) Don't worry. He's got no place to go.128A EXT. NEARBY STREET/STONE PILLAR - NIGHT (SECONDS LATER) 128A At the pillar, Jack stops running. DAVID Why're you stoppin' -- we've got to run! JACK You shouldn't'a done this, David. They could put you in jail -- DAVID It's worth it -- let's go -- JACK You go to jail, what happens to your family? You don't know nothin' about jail! Thanks for what you done, but you gotta get outta here -- DAVID I don't understand -- JACK I don't either -- I don't understand nothin' no more! Jack pushes David down the street. JACK Just go! (CONTINUED))P( 5/1/91 BLUE (2) 89. *128A CONTINUED: (2) 128A David looks over his shoulder and runs off, leaving Jack alone on the street. Jack steps into the shadows as we... CUT TO:128B INT. HOUSE OF REFUGE 128B As Jack steps back into the light, the CAMERA WIDENS and we realize he's back in the House of Refuge. Jack begins to sing softly: REPRISE: "SANTA FE." Jack sits in a small dark room -- an isolation room; moonlight shines through barred windows; there's a door with a small serving panel in it. JACK SANTA FE MY OLD FRIEND I CAN'T SPEND MY WHOLE LIFE HIDIN' YOU'RE THE ONLY LIGHT THAT'S GUIDIN' ME TODAY Jack looks up as the serving panel opens and Crutchy peers through, offering him something furtively: a boiled potato. CRUTCHY Snitched it offa Snyder's plate when I was servin' him -- the biggest one! (as Jack shakes his head, looks away) Snyder was eatin' good tonight -- the stuff we don't never get? * Patatas... olives... (mouth watering) ... liver and bacon. Sauerkraut... (grins) Guess what I done to his sauerkraut. JACK (irritably) So what's it git'cha? CRUTCHY Anudder three months, prob'ly. But you can't let 'em beat'cha, right, Jack? JACK We was beat when we was born. Crutchy, concerned, hears something and closes the panel. (CONTINUED))P( 5/1/91 BLUE (2) 89A.128B CONTINUED: 128B JACK Jack looks at the WILL YOU KEEP A CANDLE moonlight shining BURNIN'? through the bars... WILL YOU HELP ME FIND MY WAY? YOU'RE MY CHANCE TO BREAK FREE AND WHO KNOWS WHEN MY NEXT ONE WILL BE? SANTA FE WAIT FOR ME129 OMITTED 129thru thru140 140141 EXT. NEWSIE SQUARE - AT GATES - MORNING 141 The Newsies chant at the crowd in the courtyard: (CONTINUED))O( 4/26/91 IVORY 90. *141 CONTINUED: 141 NEWSIES Stop The World -- don't scab, stop The World -- don't scab, etc. David moves among them, looking like a leader now. DAVID Nobody sells a pape today -- we're hurtin' them and they know it! Remember -- no soakin', no hittin' -- etc. The gates open, the wagons start out, followed by nervous scabs flanked by cops and goons. The chant builds as the scabs parade by, then suddenly -- SPOT Look... I'm seein' t'ings... tell me I'm seeing t'ings -- ! David and the others look in disbelief -- walking with the scabs is Jack, wearing a tight new suit, flanked by Weasel and other goons. As Jack moves past, staring straight ahead, the chant dies... RACETRACK What's he doin' with the scabs...? KID BLINK It ain't happenin'... it can't be happenin'... MUSH Hey, Jack -- it's me, Mush, lookit me -- look, willya? BOOTS Where'd he get them clothes -- ? WEASEL (as he passes) Mr. Pulitzer picked 'em out hisself. A special gift to a special new employee. Only not so new, huh, cowboy? SPOT He sold us out! Ya dirty scab, I'll murder ya -- ! Spot tries to bust through the goons but they hurl him back. David, confused, angry, runs alongside Jack, shouting across the smirking Weasel as they march along -- (CONTINUED))O( 4/26/91 IVORY 91. *141 CONTINUED: (2) 141 DAVID This is why you wouldn't escape last night -- why'd you do it? Talk to me, you liar! What else did he give you to sell us out -- money? What else? Look at me! (as Jack keeps walking) You lie about everything -- headlines, your family -- (as Jack keeps look- ing straight ahead) -- because nobody counts but you -- nobody or nothing! Look at me. David lunges for him and Weasel grabs him, hissing. WEASEL I'm gonna be lookin' for you, wiseguy -- (grins) -- or maybe you'd like a nice new suit of your own. David twists away, tries to rally the Newsies. DAVID Keep after them -- we don't need him! (starts the chant) Stop The World -- don't scab! Etc. Some chant halfheartedly, confused, demoralized. A few toss down their picket signs in disgust. David moves among them, desperately trying to keep the chant going. The scabs move on, passing Les, who gives Jack a stricken look as he moves away. LES (to himself) He's just foolin' 'em... so he can spy on them or something... (with certainty) That's it. He's spyin' on 'em. He's gotta be.142 OMITTED 142& &143 143144 INT. DAVID'S APARTMENT - DAY 144 David sits in the window, brooding. (CONTINUED))O( 4/26/91 IVORY 92.144 CONTINUED: (A1) 144 Mayer is removing the bandage from his injured hand, helped by Les. Sarah and Esther work on lace piecework. ESTHER That hand is not ready to work. Mayer flexes his fingers, pale from being bandaged so long. (CONTINUED) PINK 3/28/91 93.144 CONTINUED: 144 MAYER Ready or not, it can handle a broom. He gets his coat; Sarah, looking for something, finds a stained paper package under a sewing basket. SARAH (holds up the package distastefully) What is this? LES Hey -- I'm saving that! He grabs the package and unwraps it -- revealing a half- eaten knockwurst -- throwing the wrapping on the floor. Irritably Sarah starts to throw it away when she sees it has writing on it. MAYER (to David) Don't be too hard on your friend. Maybe he had his reasons for doing what he did. LES (chewing knockwurst) I told you. He's spyin' on 'em. MAYER There. You see? Mayer smiles and goes. Sarah moves to David with the stained papers. SARAH It's Denton's story. 'The Dark Truth: Why Our City Really Fears the Newsie Strike, by Bryan Denton. Last night I saw naked force exercised against mere boys, the Newsies, who earn at best a few pennies a day. I wondered why so much, against so little -- ' David refuses to listen; he angrily steps out on the fire escape and stares off into the city. Sarah keeps reading to herself. What she reads disturbs her.145 OMITTED 145& &146 146 4/19/91 CHERRY 94.147 INT. DORM/NEWSIES LODGING HOUSE - NIGHT 147 The gang looks sullenly at the door where Kloppman is ushering in two policemen. KLOPPMAN He will only be a minute. Please, no trouble. A policeman stands aside and Jack enters, in the new suit. Utter silence. The police escort him the length of the dorm and into --147A INT. WASHROOM - NIGHT 147A Jack goes straight to his hiding place and removes the box. He looks inside and is startled -- -- a dead rat is inside the box, covered with tiny pieces of the photograph with his family. His money is gone. He tosses the box aside; his eyes hardening. The police escort him back into --148 INT. DORM - NIGHT 148 A few snickers as he moves toward his bed. Racetrack stands holding a bundle of Jack's belongings: he shoves it into Jack's chest and does his Delancey routine. RACETRACK Dear me, what is dat unpleasant aroma -- ? (as Jack's fists clench) Go on, take a shot -- I bust your scab face, ya yellow-livered, * rotten stinkin' piecea garbage! * Jack just looks at him, unclenches his fists. He moves for the door, as one by one the Newsies turn their backs on him.149 OMITTED 149thru thru151 151152 INT. WORLD BUILDING - BASEMENT - NIGHT 152 The BIG PRESSES POUND RHYTHMICALLY somewhere O.S. in the building. A candle illuminates Weasel's gloating face as he leads Jack down a flight of RICKETY STAIRS. (CONTINUED) 4/19/91 CHERRY 95. *152 CONTINUED: 152 WEASEL (over the noise) Mr. Pulitzer says nothin' but the best for you, cowboy. He takes care of his loyal employees -- and he's put me personally in charge of seein' that you stay a loyal employee. He opens a door and they enter --153 INT. OLD PRESS ROOM - NIGHT 153 Weasel lights a lantern and Jack sees a wooden bed, an old printing press, junk, all covered with dust. WEASEL You try any tricks, and I go straight to Mr. Pulitzer. (grins) Will you be requirin' anything else? Then I bid you good night. He goes. The great PRESSES THUNDER heavily somewhere in the building above, like a judgment. Jack looks at the bleak room, buried in dust and noise.154 OMITTED 154155 EXT. CIRCULATION WINDOW - MORNING 155 With the other scabs, Jack steps up for his papers. Weasel shows his usual charm. WEASEL Sleep well, cowboy...? Jack ignores him, moves off with his papers. The Delanceys pass by; Morris grinning at him, bouncing a club in his hand. OSCAR Come wit' us, cowboy -- we're gonna fix your pal Davey today -- fix 'im so's he can't walk no more. MORRIS Shuddup! He backhands Morris in the chops and they move on. Jack starts after them, alarmed -- then he sees Weasel. (CONTINUED) 4/19/91 CHERRY 96. *155 CONTINUED: 155 WEASEL Lift one finger... and you're right back in the Refuge. Jack stops, torn. He nods meekly, moves off. Weasel looks satisfied.156 OMITTED 156157 EXT. BAXTER STREET - DAY 157 Sarah, with a basket of lacework, is coming down the street, Les dawdling behind, in a bad mood. SARAH Les, come on -- you're supposed to be helping me today. LES (sulking) I'd rather be soakin' scabs. He stops to kibbitz a game of marbles in an alley. Sarah walks on -- suddenly a man steps in front of her. OSCAR (grinning) 'Scuse me, sweetface. She tries to step around him but Morris is there. He "accidentally" knocks her lacework into the gutter. Les sees it -- and races towards the Delanceys -- LES Get away from my sister! He flails at Morris -- who effortlessly shoves him flat on his bottom and turns, grinning, to Sarah. MORRIS Where's ya brudder, tootsie? Where's little Davey...? SARAH (calmly) You... stupid... ape! On "ape," she socks him square in the grin -- he recoils, licking a bloody lip. Behind him, she sees David rounding the corner -- (CONTINUED))O( 4/25/91 GREY 97.157 CONTINUED: 157 SARAH David! Run -- get away! Oscar grabs Sarah from behind and lifts her up, taunting. OSCAR Yeah, run, Davey! We got the best parta ya family right here! David, furious, runs down the sidewalk towards them. Morris slips on some brass knuckles in anticipation. Sarah struggles, screaming -- SARAH David, no -- don't -- ! Oscar hangs on to Sarah, enjoying himself -- suddenly, from behind, two hands grab the rim of his derby and jerk it down to the bridge of his nose. Blinded, he releases Sarah and staggers around, trying to pry the hat off his eyes. Les looks up to see -- LES Jack! Jack flashes him a grin as he works on Morris's bread basket. Just as Oscar frees himself from the derby, David leaps on him like a fury. Punches fly and the Delanceys beat a quick retreat down the sidewalk, yelling back -- MORRIS Ya better run, cowboy -- we're tellin' Weasel! You'll be back in the Refuge by supper time! OSCAR Yeah, run, ya lousy coward -- run! But they're the ones running. David, catching his breath, looks at Jack, beginning to understand. DAVID Couldn't stay away, huh. * JACK Guess I can't be somethin' I ain't. DAVID A scab...? * JACK Nah. Smart. * Jack shrugs, smiles. David looks at him worriedly.)O( 4/25/91 GREY A97A.158 OMITTED 158thru thru160B 160B)R( 5/8/91 - PINK (2) 97A. *160C EXT. DAVID'S FIRE ESCAPE - DAY (LATER) 160C Jack, David, Sarah thoughtfully on the escape. DAVID Without you, the strike's falling apart... JACK I got no choice. I stay here, they lock me up 'til I'm twenty- one. Les clambers out with a pair of Mayer's cast-off high- button shoes. LES Jack, for the trip -- a pair of cowboy boots! Sorta. Mayer with a bundle of clothes; Esther with food come to the window. She gives it to Jack. ESTHER Who knows what's to eat where you're going? MAYER (gives the clothes) A few things of mine and David's. Wish we had money to give you... JACK (very moved) Who needs it...? I go down to the train yards, hop me a freight, go in the best style -- free... MAYER I don't know what's waiting for you in Santa Fe, but you'll always have family here. They embrace him and move away. An awkward moment -- Jack picks up the bundle to go and -- SARAH (decisively) You're not going to run away. They'll just come after you. You have to fight them. (CONTINUED))R( 5/8/91 - PINK (2) 98. *160C CONTINUED: 160C JACK They got it all wrapped up, Sarah and nothin' I can do is gonna make one bit of difference. SARAH You're wrong. You touched people you don't even know about. She removes the stained pages from her shawl. SARAH Denton's story. JACK Denton looked out for hisself just like I gotta do -- so save it. SARAH Just listen! 'The men who run this city are terrified of the Newsies strike -- because other child laborers in the factories and sweatshops are hearing the message of the Newsies leader --' LES That's you! He's writin' about you! SARAH 'In the voice of Jack Kelly, these children hear strength and pride. Most of all, they hear hope...' Jack listens questioningly. JACK Keep reading. Can these words really be about him...? As we GO TO --160D EXT. ALLEY - LATE AFTERNOON 160D Denton reads his own words: DENTON ' -- And that is what terrifies the powers-that-be, for they know our city thrives on the shame of child labor. Therefore, Jack Kelly's voice must be stopped, whatever the cost... (stops) Damn good writing, isn't it? (CONTINUED))R( 5/8/91 - PINK (2) 99.160D CONTINUED: 160D Jack has listened somberly, moved. JACK All them sweatshop kids are listenin' to me...? (CONTINUED))O( 4/26/91 IVORY 100. *160D CONTINUED: 160D DENTON They think if the Newsies can do it, why can't they? All they need is a leader. JACK The minute I show my face, I'm back in the Refuge. DENTON You'd have help this time. I've been investigating the Refuge -- I know somebody who's going to be very interested in Snyder's little racket. DAVID (wryly) What happened to the ace war correspondent? DENTON This war'll do for now. SARAH Whatever happens, it's Jack's decision. He's the one in danger. They look expectantly as he stares off, deep in thought. LES Jack...? You thinkin'...? JACK Yeah... I'm thinkin' of Newsie Square full of kids... DAVID (picks it up) ... Another rally, right under Pulitzer's nose, and not just the Newsies -- JACK -- Every workin' kid from every sweatshop in New York. We gotta get the word out -- let's go get the Newsies -- (catches himself) They still think I'm a scab... LES I'll tell 'em you was a spy! (CONTINUED))O( 4/26/91 IVORY 101. *160D CONTINUED: (2) 160D DENTON How're you gonna reach all these people? No paper in New York will print anything about the strike. JACK We're Newsies, ain't we? So we make our own paper. DAVID Be quiet and let me think. JACK Whattaya need to start a paper? Writers, right? So we got Denton. What else? LES Advertisements! (as they look at him) Cartoons? DENTON (the cold facts) A printing press. And no paper or printer is going to defy Pulitzer. The others look discouraged; Jack's thinking again. JACK Les. Go set me straight with the Newsies, okay? Tell 'em to meet us later at the World Building. Les races off on his mission; the others look question- ingly at Jack. JACK So happens I know a guy with a printing press.161 OMITTED 161thru thru165 165165A INT. WORLD PRESS ROOM - PULITZER'S PRESSES - NIGHT 165A The huge PRESSES pound out papers; a LOUD THUDDING rhythm shakes the building -- PINK 4/1/91 102.165B INT. WORLD BLDG. - BASEMENT (AS IN SC. 152) - NIGHT 165B The THUDDING rhythm seems very near. Jack leads Sarah, David, Denton, Les down the rickety stairs with a candle. JACK They're right above us -- and if Weasel catches us, it won't be just me they'll throw in the slammer -- They can barely hear over the DIN of the PRESSES. SARAH What -- ? JACK I said shhhh! -- or we all go to jail! The others shush him hastily; MUSIC BEGINS as they go into --166 INT. BASEMENT PRESS ROOM - NIGHT 166 Denton heads straight for the old press, checking it over expertly. Jack directs the others to ink, paper, etc., as -- MUSICAL NUMBER: "THE POINT OF NO RETURN" BEGINS: DAVID WHAT'S THAT? JACK SHHH! YOU'RE MAKIN' ME NERVOUS! DAVID SORRY. SARAH WATCH OUT! DAVID THERE'S SOMEBODY THERE. SARAH WHERE? JACK STAY CALM! DAVID/SARAH BUT -- (CONTINUED) 4/8/91 YELLOW 103.166 CONTINUED: 166 JACK I'M BEGGIN' YA! CHEESE IT, SOUSE IT. CHOKE IT, DOUSE IT. DAVID * But -- * JACK DON'T YOU BUMMERS GET WHAT I'M SAYIN' THIS AIN'T HIDE AND SEEK THAT * WE'RE PLAYIN' ONE FALSE STEP AND THEY'LL BE IN HERE ONE STRAY HAIR, THEY'LL KNOW WE BEEN HERE QUESTIONS -- IT'S TOO LATE FOR 'EM ANSWERS -- WE CAN'T WAIT FOR 'EM WE'RE AT THE POINT OF NO RETURN Denton finds the type- font: David is ready to ink the rollers. A NOISE O.S. makes them freeze. Jack puts his finger to DENTON his lips; hoists Les up to WHO'S THAT? the window to be a lookout. DAVID IS SOMEBODY COMING? LES NOT THAT I CAN SEE. David tosses some candles to Sarah; she lights them DAVID for Denton as he works. NICE CATCH. SARAH THANKS. Jack finds a roll of newsprint. JACK THAT OUGHTA GO THERE. * SARAH BRING THOSE OVER. (CONTINUED) 4/8/91 YELLOW 103A.166 CONTINUED: (A2) 166 DENTON THAT'S IT YOU'RE GETTING IT KEEP IT STEADY ALMOST READY JACK WON'T BE LONG 'TIL SOMEBODY CHOKE IT GUESSES THEY GOT PROWLERS INKING CHEESE IT THEIR PRESSES (CONTINUED) PINK 4/1/91 104.166 CONTINUED: (2) 166 DENTON/JACK RIGHT OR WRONG WE'RE ON THE LAM NOW SARAH TOO LOUD! SOMEONE'S OVER US! DENTON/JACK RIGHT OR WRONG AIN'T WORTH A DAMN NOW! DAVID TOO LATE, GOTTA FINISH IT. JACK/DENTON DAVID/SARAH SOME THINGS SMART WE AIN'T ARE WORTH TRYING FOR SOME DREAMS MOM WOULD FAINT ARE WORTH DYING FOR EVERYBODY WE'RE AT THE POINT OF NO RETURN! LES DAVID AND THE WORLD WILL KNOW NOW WE HAVE TO WRITE A HEADLINE YOU GOTTA HAVE A HEADLINE JACK WHAT WE'VE COME TO SAY DENTON OUGHTA DO IT HE KNOWS ABOUT THE HEADLINES AND THEY ALL REMEMBER US SOMETHING REALLY FLASHY AND TALK ABOUT THE NIGHT SO EVERYONE REMEMBERS AND DON'T FORGET TO PUT IN THERE WE SEIZED THE DAY THAT KIDS FROM EVERYWHERE WILL BE AT NEWSIES' SQUARE During the above, Sarah holds a candle for Denton as he sets a headline in very large type: HOW WE CAN SHOW THIS CITY -- David has a better idea: he grabs some type and resets the headline: HOW WE CAN STOP THIS CITY. Meanwhile, Jack hits the switch and the PRESS HUMS to life. JACK/DENTON THEY'RE HITCHIN' ON A TROLLEY RIDIN' ON A WAGON STOWIN' ON THE FERRY COME TO SLAY THE DRAGON JACK/DENTON DAVID/SARAH HAILIN' FROM CANARSIE SOFTER BENSONHURST AND CHELSEA KEEP IT QUIET NOW ASTORIA AND BRIGHTON BEACH FASTER LET ME TRY IT NOW (CONTINUED))P( 5/1/91 BLUE (2) 105.166 CONTINUED: (3) 166 LES AND SHEEPSHEAD BAY! INSTRUMENTAL break. * DENTON/SARAH JACK/DAVID TIME IS UP NEWSIES ON A DEADLINE LET'S JUST CLEAR OUT NOW GOTTA WRITE THE HEADLINE LUCK IS WHAT IT'S ALL ABOUT * NOW * NEWSIES ON A MISSION TOO BAD PRINT THE NEXT EDITION THINGS GOT BLISTERY SHOW THE DIRTY LIARS TOO LATE WE CAN MAKE SOME FIRES THIS IS HISTORY THANK YOU, MR. PULITZER THAT'S RIGHT FOR HELPIN' WITH THE FLYERS TAKE THE HEAT OR YOU BURN! THANK YOU FOR THE HALL THANK YOU FOR ALL YOUR CONCERN LES AND THE WORLD WILL KNOW AND OUR RANKS WILL GROW AND THE WORLD WILL LEARN -- ALL SHHHHHHH! (NOTE: During the above, several QUICK CUTS or DISSOLVES should give the impression that they've worked through the night:) A) Lead type being rapidly hand-set by Denton, helped by David -- a sub-headline forms: "House of Refuge, House of Shame." B) Papers -- "THE NEWSIE NEWS" -- start rolling off the press as they examine it proudly. C) They fold and bundle the papers, happy but exhausted. D) Pale pre-dawn light shines through the window framing Les as they pass him bundles of papers and he passes them out the window to --166A EXT. WORLD BUILDING - PRE-DAWN 166A MUSIC CONTINUES. Race, Boots, Blink, Mush take the papers from Les and toss them into Kloppman's wagon -- he's on the driver's seat, keeping a lookout. Sarah * climbs out the window, followed by the others. The last * out is Jack -- carrying his belongings in a rolled bundle * -- when he and the Newsies see each other, they freeze * awkwardly. Silence until -- * (CONTINUED))P( 5/1/91 BLUE (2) 106. *166A CONTINUED: 166A RACETRACK You thinkin' you'd like to take a shot at my schnozz -- right? (beat) Five to one says you can't break it. Jack laughs -- the tension breaks. Hugs and backslaps as they climb onto the wagon. DAVID The cops are looking for Jack -- we gotta protect him -- KID BLINK Any bull comes after jack, they gotta go through all of us. BOOTS What's with the bundle, Jack -- ya leavin'? JACK Sante Fe bound, Boots -- but not without givin' Pulitzer one last kiss goodbye -- KLOPPMAN Boys -- ! He points frantically at Weasel crossing the square towards them. They duck quickly -- and he weaves past whistling tunelessly, drunk. As Kloppman eases the wagon away, everybody looks back, shouts -- EVERYBODY Hey, Weasel... Good ni-ight! He looks around blearily: must be the d.t.'s. EVERYBODY WE'RE AT THE POINT OF NO RETURN! WE'RE AT THE POINT OF NO RETURN!166B OMITTED 166Bthru thru185 185)P( 5/1/91 BLUE (2) 106A. *185A HUNDREDS OF COPIES OF THE NEWSIE NEWS (OPTICAL) 185A swirl and cascade, FILLING the SCREEN as we see SUPERIMPOSED a series of living portraits of the working children of the 1890s... young boys in too- large caps and too-small coats, holding lunchpails... holding picks and shovels far too large for them... girls in shapeless dresses sewing, or scrubbing... shining eyes, dirty faces... sad expressions beginning to bloom into hope as they snatch and read the news that the headline proclaims as it whirls TOWARD us ON the SCREEN: HOW WE CAN STOP THIS CITY! We see that same headline across --185B INT. MANSION - BACK OF MAN'S HEAD - MORNING 185B as he reads the Newsie News at breakfast attended by a butler (the Rough Rider) in a khaki uniform. He's reading a headline: "HOUSE OF REFUGE, HOUSE OF SHAME" with a subhead beneath it: "SCANDAL HIDDEN FROM TEDDY ON VISIT." We glimpse a famous walrus mustache as the Man slams his fist on the table in anger. A figure steps INTO FRAME across the table: Denton. DENTON I thought you'd feel that way, Governor Roosevelt. TEDDY ROOSEVELT (MAN) Dis-graceful, Denty! Those poor boys -- and I did nothing! (pure steel) Until now! The Rough Rider snaps out a silk hat and a silverheaded walking stick. Teddy snatches them as if they were armor.186 OMITTED 186187 EXT. NEWSIE SQUARE - DAY 187 Our Newsies look anxiously around the square, empty except for them. They take pains to conceal Jack among them. MUSH So when's the others comin', Cowboy? Jack looks glumly at the empty square; at the gates of the World where Weasel and his goons are beginning to line up, clubs in hand. (CONTINUED))P( 5/1/91 BLUE (2) 107.187 CONTINUED: (A1) 187 JACK They ain't comin'... There ain't gonna be nobody but us... The boys are silent, disappointed, feeling alone and defeated. (CONTINUED))J( 4/22/91 TAN 108.187 CONTINUED: 187 Then Les steps forward, a defiant look on his face, glaring at the goons beyond the gates. He sings out loud and clear -- REPRISE: "AND THE WORLD WILL KNOW" LES WHEN THE CIRCULATION BELL STARTS RINGING, WILL WE HEAR IT? A group of Factory Boys RACETRACK appears in the square; NO! followed by others. The WHAT IF THE DELANCEYS COME boys begin to take heart -- OUT SWINGING, WILL WE HEAR IT? LES NO! NEWSIES WHEN YA GOT A MILLION VOICES More kids are appearing; SINGING, WHO CAN HEAR A LOUSY messengers, garment girls, WHISTLE BLOW? kids of all kinds -- ALL AND THE WORLD WILL KNOW! Kids are coming from everywhere, filling the square -- Spot and the Brooklyn Newsies; more and more kids, cheering, waving the Newsie News -- Jack and David laugh in triumph as shouting and MUSIC RISES UP TO -- ALL AND THE WORLD WILL FEEL THE FIRE AND FIN'LLY KNOW188 INT. PULITZER'S OFFICE - DAY 188 * The SONG RESONATES in the golden dome; Pulitzer stares down at the crowd as the mayor, sweating as usual, waves the Newsies' paper at him. Seitz sits reading a copy, impressed, as Jonathan fields phone calls. (CONTINUED) PINK 4/1/91 109.188 CONTINUED: 188 MAYOR They're all yelling at me -- me! -- factory owners, bankers, businessmen -- the whole city's at a standstill and they're blaming it on me -- ! PULITZER (not listening) Kelly's down there. He should be back in jail. SEITZ (with the Newsie News) Those kids got out a pretty good paper, Chief. PULITZER Too good! Those illiterate guttersnipes couldn't have done this on their own. Somebody's behind this, trying to pull a fast one... JONATHAN Mr. Hearst on the line, sir. Wants to know if you've read the Newsies' paper? Pulitzer glowers in suspicion at the telephone. MAYOR I'm not taking the heat for this -- you've got to talk to them -- settle it -- PULITZER Tell Hearst I'm busy! (ominously) I'll settle it all right -- once and for all.188A EXT. WORLD BUILDING - DAY 188A The huge doors of the World Building open and Seitz marches out, flanked by guards. The crowd opens a path as he marches up to Jack and David. SEITZ It's time to talk. (CONTINUED) GOLDENROD 4/12/91 110. *188A CONTINUED: 188A JACK Like I said, I don't transact business with no office boys. We talk to old Joe hisself or we don't talk. Period. The Newsies love it. Seitz stiffles a smile at Jack's bravado -- a smile of admiration. SEITZ Then I guess you talk. Jack beckons David to follow as they enter the huge doors and --188B INT. PULITZER'S OFFICE - MORE HUGE DOORS - DAY 188B open as Seitz ushers them inside, closes the doors, leaving them alone. Pulitzer waits by the windows, a looming shadowy figure; sounds of CHANTING, SHOUTING floating up from below. David is awed by the palatial office, but Jack saunters coolly to the windows past -- PULITZER You're going to listen to me, boy -- JACK I'd like to, Joe -- (opens a window; crowd noise pours in) -- but I can't hear ya. PULITZER We had a deal -- you broke it. You're going back to jail. JACK Maybe. But you can't put every kid in that square in jail. They ain't goin' away, Joe. PULITZER Neither am I. I can wait them out. It won't be me that's hurt. JACK You sure about that? He nods at David who produces a paper, reads: (CONTINUED) GOLDENROD 4/12/91 111. *188B CONTINUED: 188B DAVID 'Since the strike, the World's circulation has dropped 70 per cent; advertising has been cut in half -- ' (stops reading) Every day you lose thousands of dollars -- just so you can beat us out of a lousy tenth of a cent per paper. Why? JACK It ain't about money, Dave -- if Joe gives in, that would mean nothin's like us got power. He can't let that happen -- no matter what it costs him. Right, Joe? PULITZER I'm about to show you what power really is... He slams the window shut; CROWD NOISE abruptly DROPS -- PULITZER I have the police outside waiting to arrest you -- DAVID You lousy double-crossing -- ! PULITZER -- then I'll deal with that rabble in the street. He's crossing to a buzzer on his desk; Jack, thinking fast, snatches up a copy of the Newsies News. JACK Ya got me, Joe -- but tell me one thing, willya? How'd ya like our paper -- nice printin', ain't it? Right off the presses of one of New York's greatest newspapers -- That stops him. He looks at Jack, frowning. PULITZER All the papers have an agreement... we print nothing about the newsies. Whose press did you use? (as Jack shrugs, smiles) It was Hearst, wasn't it...! (CONTINUED) GOLDENROD 4/12/91 112. *188B CONTINUED: (2) 188B JACK (surprised) Hearst? Nah, it was yo -- David quickly stops him, seeing the gleam in Pulitzer's eyes. PULITZER I knew it. Whoever helped you print this lying rag is trying to break the strike, get the jump on the rest of us. Well, you're going to expose this backstabber to the other owners -- in exchange, I'll call off the police. Jack and David exchange glances, seeing an opening -- JACK Not enough, Joe -- you gotta deal with our demands. Otherwise, our lips are sealed. PULITZER (impatiently) All right, all right -- just say the traitor's name. It's Hearst, isn't it? Say it! Say the name of the scoundrel whose press you used so I can make him the disgrace of the newspaper world! Say his name, damn you! He thunders over them, eyes blazing in triumph. The boys say nothing, just smile up at him knowingly until at last the horrible truth begins to dawn and -- JACK We just wanna say, 'Thanks, Joe.' (as he stares, stunned) And Hearst and them other owners? Maybe they don't have to know. Depends. Pulitzer walks with stiff dignity to the window; from below, the FAINT CHANTING floats seems deafening to his ears. PULITZER Perhaps we can resolve our... small differences. David digs out their demands and prepares to read. GOLDENROD 4/12/91 113. *189 OMITTED 189& &190 190191 EXT. NEWSIE SQUARE - DAY 191 Race, Boots, Les, etc. unpacking rotten fruit, getting ready for action. They see several police moving into the square -- including a paddy wagon. RACE We gotta warn Jack -- ! The others nod agreement -- but where is he? Then they see --192 OMITTED 192193 EXT. COURTYARD - GATES OF THE WORLD - DAY 193 Behind Weasel and the line of goons Jack and David are approaching, beaming in triumph. Seitz is with them. Les quickly slips through the bars, running to tell Jack -- but Weasel grabs him, shoves him back roughly -- LES Jack -- ! Jack -- ! Weasel, surprised, sees Jack behind him. WEASEL I don't know how he got in here, Mr. Seitz -- but I'll take care of him, with pleasure. Just say the word! SEITZ With pleasure. You're fired. WEASEL Come again...? A tomato hits him in the face; he turns to see Les wiping tomato juice off his hands. LES He said, you're fired. Triumphant, Jack hoists Les over his shoulders: JACK The strike's over -- we beat 'em! (CONTINUED))P( 5/1/91 BLUE (2) 114.193 CONTINUED: 193 A huge roar goes up outside the gates -- they swing open and the Newsies swarm in, engulfing Weasel and the Delanceys -- trying to look like part of the gang -- as they rush to mob Jack and David. Jack spots Sarah -- she's waving and pointing in alarm at something. LES (remembers) The bulls! Jack -- the bulls! Jack sees several police shoving through the crowd toward him. He quickly deposits Les -- turns to run and sees -- -- Snyder right in front of him, hands behind his back. Jack spins away and right into the arms of -- MacSWAIN Easy, lad! You don't have to run anymore -- not from the likes of him anyway! Jack looks again and sees Snyder's hands are handcuffed behind him; two cops have him in custody. Denton is there, smiling. DENTON We brought the Warden over to say goodbye. Goodbye, Warden. Jack watches, amazed, uncomprehending, as the cops move Snyder to the paddy wagon. As the rear doors are opened, several boys pile out -- former inmates of the Refuge, including Tenpin. As Snyder is loaded in, the last boy is coming out, crutch first -- CRUTCHY (to Snyder) Remember what I told ya -- first t'ing ya do in jail, you make friends with the rats, share what you got in common -- (sees Jack) Hiya, Jack! My leg tells me the strike's over! * JACK (confused) Crutchy -- I don't get it. What happened -- ? (CONTINUED))P( 5/1/91 BLUE (2) 115. *193 CONTINUED: (2) 193 CRUTCHY Ya orta seen it, Jack -- he came chargin' into the Refuge wavin' his walkin' stick like a sword and he's leadin' this army of lawyers and cops and Snyder's hidin' in the patata bin -- JACK What're you talkin' about -- who come chargin' in? CRUTCHY Who? Your pal! Him! He points O.S. -- Jack turns to see -- ELEGANT COACH parked across the square. A Rough Rider opens the door and a man leans forward -- a glimpse of silk hat and walrus mustache as Teddy Roosevelt raises his walking stick in salute to Jack across the square. BACK TO SCENE Jack is awestruck; so are the other Newsies gathering around. Denton moves up to Jack. DENTON Governor Roosevelt's very grateful that this problem was brought to his attention. He'd like to offer you a lift, anywhere you like. This time, you ride inside. Jack looks at the coach, torn. Boots holds the bundle of belongings he gave him earlier. Suddenly Jack decides, snaps his fingers, Boots tosses him the bundle. JACK Think he could drop me at the train yards? Denton moves off toward the coach. David, Sarah, Les look stunned, dismayed -- Jack avoids their eyes. Behind them, the BELL RINGS, the circulation window opens for business -- a crowd of Newsies races to line up. The gang looks at them hungrily, eager to return the work. They look at Jack. (CONTINUED))P( 5/1/91 BLUE (2) 116. *193 CONTINUED: (3) 193 RACETRACK You really goin' this time...? JACK It's now or never, Racetrack. RACETRACK Won't be the same without ya. Give ya even odds on that. He shakes; the others crowd around. David looks on, left out for the moment; Sarah and Les beside him. KID BLINK See ya in the funny papes, cowboy -- JACK Yeah, Blink, keep ya eye peeled. MUSH (forced) Ya hear what he said -- Blink says... ya hear it? BOOTS We heard it. (offering marbles) My best shooters. Never know when ya need good shooters. SPOT Take it easy, Jackie- boy. Ya ever get in a spot -- (spits in his palm; shakes) -- think of me. CRUTCHY Don't wanna alarm ya, Jack, but what I hear, out West ain't like New York at all -- it's fulla bulls, for one t'ing -- not cops, neither, but big ugly animals with horns and -- JACK (hugs him) I'll miss ya, Crutch. Crutchy hobbles off to the dock. Jack looks off at the waiting coach, then holds out his hand to Les, who runs up and clings to him. (CONTINUED))P( 5/1/91 BLUE (2) 117. *193 CONTINUED: (4) 193 JACK I ain't no good at writin' and stuff but... I'll be thinkin' of ya... SARAH You don't have to run away anymore, Jack. You have a choice now. DAVID We won today, but the fight's not over. You're needed, Jack. We need you. Here. He stands, looking at them. JACK Maybe that's what scares me... Suddenly, the emotions are too much for him -- he turns, runs across the square, not looking back, racing towards the coach. Les starts after him -- David catches him, holds him, as he and Sarah watch -- -- Jack climbing into the coach, greeted by Teddy. The door closes, the coach trots away. "SANTA FE" is underscored. As the coach moves off, the Newsies move up, waving their caps goodbye. David and Sarah watch, feeling a great loss; Les is crushed. The Newsies move into the court- yard, trying to keep their spirits up as: MUSIC BEGINS: REPRISE: "CARRYIN' THE BANNER" APPROX: 3:00 The Newsies sing as they MUSH line up, trying to keep TRY BOTTLE ALLEY OR THE their spirits up. HARBOR KID BLINK TRY CENTRAL PARK IT'S GUARANTEED BOOTS TRY ANY BANKER, BUM, OR BARBER CRUTCHY THEY ALMOST ALL KNOWS HOW TO READ.193A OMITTED 193A)P( 5/1/91 BLUE (2) 117A.193B EXT. LOADING DOCK/WINDOW - NEWSIES 193B sing as they wait for papers, but something's missing... NEWSIES a voice, a presence, a IT'S A FINE LIFE, spirit -- and then -- CARRYIN' THE BANNER... (ETC.) -- Jack leaps onto the dock and rings the bell -- (CONTINUED) PINK 4/1/91 118.193B CONTINUED: 193B JACK Call it, Les! LES Comin' down the chute! The papers slide down the chute; Jack moves to the front of the line grinning -- seeing Sarah smiling at him from the gates. Jack sings out, the song soars, continuing as the Newsies are back on the job -- getting their papers, fanning out across the courtyard, into the city beyond. It is indeed a fine life as closing credits roll until we -- FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Next Friday.txt b/unformated_scripts/Script_Next Friday.txt new file mode 100644 index 0000000000000000000000000000000000000000..9c44381bf20d4bbb057835f88ce7de95bbcc4b5b --- /dev/null +++ b/unformated_scripts/Script_Next Friday.txt @@ -0,0 +1 @@ +EXT. FRONT LAWN - OVERHEAD SHOT - NIGHT DEBO is laid out on the grass. CRAIG (V.O.) In the movies, when you beat up the neighborhood bully; you suppose to live happily ever after. But around here; that's when all the drama begins... Blue and red police lights flash over Debo's body. Two sheriffs walk INTO OUR FRAME and stand over Debo. They flash their lights on him. CRAIG (cont'd) (V.O.) Last Friday; I got fired for the first time. I got high for the first time. I got shot at for the first time and I kicked Debo's ass for the first time... They get him to his feet; but he stumbles and falls in the bushes like a knocked out prize fighter. The sheriffs laugh at him. Debo looks dazed and confused. The sheriffs help him out the bushes and start to cuff him. CRAIG (cont'd) (V.O.) I was the man that night; and Debo ended up going to jail for a couple of years. But he told Ezal he was getting out next Friday. He said, when he see me, he was gonna smoke me on the spot... They walk him OUT OF FRAME... FADE TO BLACK. OVER BLACK: CRAIG (cont'd) (V.O.) And today is next Friday... SOUNDTRACK! "New Line Cinema presents, etc., etc... FADE IN: EXT. LOS ANGELES - EARLY MORNING OPENING CREDITS. It's early Friday morning and the sun peeks over the LA skyline. As the city starts to awake and the credits continue to roll; we see SEVERAL SHOTS of the real people who make up Los Angeles. It seems that they all move to the same beat. EXT. L.A. COUNTY JAIL - CONTINUOUS Debo is released from the Twin Towers County Jail. Still in his orange jumpsuit, he walks right past us and down the street. Everybody clears his path. SOUNDTRACK still PUMPIN'. Debo crosses the street passing an old man dancing and directing traffic. Debo stops, the man starts to dance in front of him. He stares for a second, then he's on his way. Still walking tall and hard, he trips over a crack in the sidewalk (losing cool points). Three little black girls in plaid uniforms practice the latest dance steps on their way to school. Debo is walking towards them. They scream and take off in the other direction. He smiles. Briefly. Still walking; he stops at a corner. A SA boy waits to cross with his low-rider bike. A Metrolink train passes. After it goes by; we see Debo riding off on the boy's bike. He's on the ground holding his eye. Debo continues to ride through the city. He turns a corner or two and comes to a stop at Craig's house. EXT. JONES' HOUSE - CONTINUOUS Mr. Jones' dog catcher's truck sits in front of the house. A CHIHUAHUA (like the Taco Bell dog) takes a dump on the lawn. It starts to BARK at Debo. He looks down at the dog and kicks him in the street. The DOG YIPES! Debo focuses his attention on Craig's house. INT. JONES' HOUSE - CONTINUOUS The hallway is clear and quiet, until MR. JONES (Craig's father), storms out of the bedroom. He struggles to put on his dog catcher's uniform. He stops at the bathroom door and knocks hard. MR. JONES Craig! Craig! Off yo' ass and on yo' feet; this ain't the time to beat your meat! Mr. Jones laughs at himself. CRAIG (O.S.) I'll be out in about 35-40 minutes! MR. JONES Hurry up; today is Fri-day! And we gotta hit the high-way! Mr. Jones continues on his way; dancing to the beat. INT. BATHROOM - CLOSE-UP ON HIGH TIMES MAGAZINE - CONTINUOUS Hands crack open a $20 sack of bud onto the magazine. A pack of Zigzags fall INTO FRAME. Papers are ripped from the package. CLOSE UP ON CRAIG JONES the doctor of this delicate operation. CRAIG (V.O.) Soon as my pops found out what Debo said to Ezal, he wanted me to move with my uncle and little cousin in Rancho Cucamonga. Til' things calm down, or Debo went back to prison. Whichever comes first. He's sitting on the toilet (dressed: not using it) putting the finishing touches on his masterpiece. He licks, rolls and slides the 'J into the fifth pocket on his Levi jeans. CRAIG (cont'd) (V.O.) I feel like the biggest punk around here. I wiped Debo's ass. He should be the one moving. He exits. EXT. JONES' HOUSE - CONTINUOUS The front door opens. Mr. Jones walks out the door, yelling back into the house. MR. JONES Craig! Let's go! I don't wanna hit that traffic. He steps off the porch backwards and into "fresh Chihuahua shit." He slips and falls on the grass. MR. JONES (cont'd) I be got damn. Mr. Jones gets up. He brushes the grass off his uniform. He looks clean, but when he turns around dog shit is smashed all over his back and butt. MR. JONES (cont'd) Craig! Craig! Craig emerges from the house with his bags in hand. CRAIG (irritated) Here I come! MR. JONES (still mad) Well bring yo' ass on... Craig slams the door and starts towards the truck. CRAIG What's the matter? MR. JONES I fell in some mud. Now hurry up! Mr. Jones gets in the truck. Craig jumps in. They back out and pull off. INT. DOG TRUCK - MOVING - CLOSE-UP ON CRAIG - CONTINUOUS He's daydreaming about Smokey. CRAIG (V.O.) I didn't wanna leave my neighborhood at all. Especially my homeboy Smokey. But he went to rehab last week. I know I'mma miss him... Out of nowhere, Debo jumps in front of the truck. Mr. Jones slams on the BRAKES. DEBO Craig! Get out the car, boy! This the rematch! Debo reaches for his shank. Craig turns to Mr. Jones! CRAIG Daddy, punch it! Mr. Jones floors it and hits Debo. He falls over the hood, off the car and in the street. The yellow truck speeds off. Debo jumps up staggering with scrapes and bruises. DEBO You know I'mma find you! You can run ya' can't hide! BACK IN CAR - CONTINUOUS Craig screams out the window. CRAIG You fake ass Suge Knight! Mr. Jones is a bit shaken up. MR. JONES That nigga worst than them damn pit bulldogs or something! That's why moving wit'cha Uncle Elroy and Cousin Day-Day is the best thing for you right now. CRAIG (with attitude) Ya'll making me look like a punk. MR. JONES It ain't about being a punk, son. It's about this... Craig smells something in the air. MR. JONES (cont'd) My great, great grand daddy on my Momma side; had a saying... 'See a fool -- leave a fool.' Somebody else a get him. Plus, I don't want that fool shooting at my house trying to hit yo' ass. CRAIG What's that smell? Mr. Jones sniffs. MR. JONES Must be your upper lip, 'cause I don't smell nothing. CRAIG (holding his nose) I do. MR. JONES What it smell like? CRAIG Smells like you didn't fall in no mud. Mr. Jones grabs the air freshener from under the seat. He starts to spray too much. Craig's window won't roll down. CRAIG (cont'd) What's wrong with the window? MR. JONES I gotta get'em fixed. They don't roll down. CRAIG All damn. MR. JONES Just hold your breath. EXT. CITY OF RANCHO CUCAMONGA - MORNING They exit the freeway and pass a sign that reads, "Rancho Cucamonga" (the city away from the city). EXT. UNCLE ELROY'S STREET - CONTINUOUS Welcome to the suburbs. Where the "Smiley Happy People" live in peace and quiet. The neighborhood is full of green lawns and nice two story track homes as far as the eye can see. The yellow truck drives through the streets and pulls up to a cul-de-sac. Mr. Jones BLOWS the HORN. MR. JONES Nice neighborhood, huh? CRAIG It's alright. MR. JONES 18-years of chasing dogs; and my lazy ass brother hits the lotto his first time playing. I still can't figure that one out. CRAIG Why they got to have the loudest house on the block! Uncle Elroy's house is royal blue with gold trim. All the other houses are painted in earth tones. MR. JONES Ah, son, don't be no hater. You know your uncle ain't got no taste. Just don't let him rub off on you. Craig grabs his bags. CRAIG You coming in? MR. JONES No, I'mma go on to work. I don't wanna hear Elroy's mouth. Now listen to me, Craig. It's gonna be different living over here. Don't let your uncle and your cousin get you into no shit. Understand? CRAIG Hey, Pops, I'm grown. Can't nobody get me in trouble no more. As craig gets out; the front door flies open. It's DAY-DAY (22), Craig's crazy younger cousin. He yells back into the house. DAY-DAY Daddy, Craig is here. Day-Day walks out to the car and gives Craig a pound. CRAIG What's crackin'? DAY-DAY You. Hi, Uncle Willie. MR. JONES Hey, Day-Day. Where's yo' big head father? DAY-DAY There he is. Just then, UNCLE ELROY (42) hits the door. Dressed in boxers and a T-shirt. This is Mr. Jones' (very loud) little brother. UNCLE ELROY Hey, Debo, heard you running from a ass- whippin'? CRAIG Naw, it ain't like that. UNCLE ELROY If you see that boy again, bite off his ear off like Mike Tyson. CRAIG Alright, I'll remember that. UNCLE ELROY You know me? I would've shot his big ass. (peeking into the ear) Hey, Willie, how's it going? Still steppin' in dog shit every day? Uncle Elroy laughs. Mr. Jones isn't amused. MR. JONES Make sure you look after my son out here. Don't get him involved with none of your bullshit, Roy. UNCLE ELROY Don't worry 'bout nothin', big bro. He in the best fuckin' hands in Rancho Chocomunga, baby! This my world, you just a nigga late paying rent. Ain't that right, nephew? Uncle Elroy hugs Craig by the arm. MR. JONES Craig, remember what I told you. CRAIG I'll remember. Mr. Jones pulls off. Uncle Elroy yells out to him. UNCLE ELROY Send Betty my love. (to Craig) Boy you looking good. (grabbing his bags) I'mma take these in the house for you, man... and when you finish with this cat, come inside. I got something to show you. CRAIG Thanks, Unc. Uncle Elroy starts towards to the house. DAY-DAY You know it's been over a year since we kicked it last? Up at the family reunion. CRAIG I know, that's when Uncle Elroy cussed out everybody, and threw up in Aunt Faye's backseat. Day-Day laughs. DAY-DAY Yep. I forgot about him cussin' out everybody. Damn that was fun. CRAIG I know, we had a good time. But ever since you guys moved out here, it seems like we've lost touch. DAY-DAY I know; this a long way from Watts. But what I like about living out here is that you don't hear no helicopters, no sirens, no drive-by's, no nothing. Just peace and quiet. Listen. They do. It is quiet, except for a few BIRDS SINGING. DAY-DAY (cont'd) Shit sound good, huh? Just then, a maroon Cadillac low-rider on Daytons rolls up the block. It's the Jokers: JOKER (28), LI'L JOKER (21) and BABY JOKER (15). They pull into their driveway. DAY-DAY (cont'd) Aw damn. In SLOW MOTION: One by one they get out the car. They have a dog with them named "Cheeco." As they get to the front door they all look over at Craig and Day-Day. Day-Day looks away, while Craig keeps his eye on them. They disappear inside. CRAIG Who is that? DAY-DAY Joker, he just got out of the pen. Li'l Joker, he just got out of Youth Authority. And Baby Joker, he just got out of Juvenile Hall. CRAIG They ever let you hit the switches on that Cadillac? DAY-DAY Naw, them dudes is assholes. Especially that dog - Cheeco. Watch this little ass, he's sneaky. Plus, I got something better than a Cadillac. They walk over to his black BMW 325i on chrome rims. CRAIG This you? DAY-DAY (proud) Yeah, that's me. Just a little somethin' somethin' I picked up. CRAIG Must be nice. I wish we won the lottery. Come up on a million dollars like ya'll. DAY-DAY Man, after taxes, lawyer fees, and paying off my daddy's bad credit, we didn't end up with a million. We bought this house and I spent the rest on this. It's the bomb, huh? CRAIG This my baby. I feel like a new nigga in this car. I get mo' phone numbers rollin' this, than I ever did on the bus. MISS HO KYM (O.S.) Hi, Day-Day! They turn to spot MISS HO KYM (67), the old Korean lady who lives next door. She's sitting on her porch nursing a cup of coffee. DAY-DAY (speaking louder and slower) Hi, Mulan. MISS HO KYM Fuck you, Day-Day. Who's ya boy? DAY-DAY This my cousin, Craig. He just moved out here from L.A. Craig, this is Miss Ho. Day-Day smiles at Craig. MISS HO KYM My name is Miss Ho Kym. Day-Day just trying to be a smart ass. Nice to meet you, Craig. Are you 'bout it, 'bout it? CRAIG Excuse me? MISS HO KYM I said...are you 'bout it, 'bout it -- rowdy, rowdy? Craig can't believe his ears. CRAIG Yeah, I'm 'bout it. MISS HO KYM Well, then, it's all good. Yo, Day-Day, something is going down with those Mexicans across the street? I've been seeing a lot of activity. They all look over at the Joker's house. CRAIG What kind of activity? MISS HO KYM Strange activity. I think they running drugs off Tijuana. Day-Day don't believe me. DAY-DAY How do you know for sure? MISS HO KYM I know everything, playboy. Don't hate, congratulate. DAY-DAY I don't have time, Miss Ho, I'll see you later. Day-Day and Craig start to walk back to the house. MISS HO KYM See you later, Day-Day. Come by after work, I got the John Blaze shit for you. CRAIG Nice to meet you? MISS HO KYM Peace out, Craig. INT. UNCLE ELROY'S HOUSE - CONTINUOUS Day-Day and Craig enter the house. They still have the furniture from the projects. Craig looks around. He spots at a few hanging pictures. CRAIG Man, this a cool house. DAY-DAY (picking up a picture) Thanks, I just wish my mother had a chance to see it. Mother's picture: she looks like Day-Day with a wig on. She's smiling and holding the winning lotto ticket. DAY-DAY (cont'd) But when she found out we won the money, she had a heart attack. You know the story. CRAIG Yeah. A sad moment. DAY-DAY Go on and make yourself at home. I'mma go get dressed for work. CRAIG Oh, yeah, where you work at? DAY-DAY Pinky's Records and Disc in the shopping center. I'mma talk to my boss and see if he got a little position for you. 'Cause you been unemployed for a long time now, Craig. CRAIG Thanks for reminding me. Day-Day exits. Craig is left to look around, until something outside catches his eye. EXT. HOUSE It's D'WANA (20), Day-Day's six-month pregnant girlfriend. She's walking on the right side of his BMW. With one hand she waves at Craig...with the other hand she's keying Day- Day's car with the skills of a retarded first-grader. INT. HOUSE Craig waves back, but something ain't right. Uncle Elroy steps in with SUGA (39), his nymphomaniac girlfriend. She's wearing a sexy nightie that's a size too small. UNCLE ELROY Craig, I want you to meet my old lady, Suga. Suga, this is Craig. SUGA Oooh, ba-by! She gives Craig a big, juicy hug and kiss, grabbing his ass in the process. SUGA (cont'd) (hugging and grabbing) You even cuter than your baby pictures. CRAIG Thank you. SUGA (whispering in Craig's ear) You know, I'mma be your new auntie. We can keep it all in the family if you want to. Uncle Elroy un-hugs them. UNCLE ELROY Okay, okay, that's enough. Go put on some damn clothes. SUGA (pouting) Elroy. UNCLE ELROY Suga. Go ahead and get us something to smoke on. SUGA Okay. (winking) Bye, Craig. CRAIG Nice to meet you. Suga walks out. UNCLE ELROY Man, that girl's gonna kill me one day. Viagra ain't working. My back keep going out... she don't never get enough. But check this out. I got to lay some ground rules. (gets closer to Craig) Your my family and I love you. You're welcome to anything you want in my home. But I don't wanna catch you in the refrigerator or in my Suga bowl... you feel me knocking? CRAIG Yeah. UNCLE ELROY Well, let me in. CRAIG Uncle Elroy, who's that girl by Day-Day's car? He looks. UNCLE ELROY Oh, that's D'Wana. His ex. (yelling upstairs) Day-Day, the crazy bitch is back! Day-Day runs down the stairs to get a look. He's holding a piece of paper. DAY-DAY Aw, naw. He runs out the door. EXT. HOUSE D'Wana continues her job. Day-Day storms over, waving the paper. DAY-DAY Girl, you supposed to be 1000 feet from my house. What you doing over here? D'WANA What it look like I'm doing? You can't quit me, I'm pregnant! DAY-DAY That ain't my baby! Day-Day spots the damage. He loses it. DAY-DAY (cont'd) (in disbelief) Oh, my God! What you doing?! Now he's a madman. DAY-DAY (cont'd) Bitch! You keyed my car! I'mma kill you! Day-Day charges D'Wana. She has her pepper spray ready. D'WANA I got your bitch right here. D'Wana sprays his face orange. He stops in his tracks; grabs his eyes and screams like a woman. DAY-DAY Awwwww.... (staggering) Awwwww.... D'WANA I expect you to return all phone calls and take me to lunch today. I'll be back out here on my break. Nobody quits me. D'Wana runs to her car. She speeds off. Uncle Elroy goes for the water hose. Craig grabs Day-Day. DAY-DAY I can't see! I can't see! Daddy! CRAIG Lay down, Day-Day. Stop moving. Craig puts him on the grass. DAY-DAY She pepper-sprayed me, man! She pepper- sprayed me! CRAIG I know, be still. Before he can say another word, Uncle Elroy nearly drowns him with the water hose. UNCLE ELROY Boy, you got you a little fatal attraction, huh? I had two or three of them in my day. Day-Day is drowning. UNCLE ELROY (cont'd) Craig, I hope you know how to deal with women better than this fool. Craig moves the hose. CRAIG That's too much water. Now Day-Day is blind and choking. UNCLE ELROY Help him to his feet. Let's get him to the bathroom. They get him up and into the house. INT. BATHROOM - CONTINUOUS They rush Day-Day into the shower. DAY-DAY (confused) Hold on. What you doing? Uncle Elroy turns on the cold water. Day-Day screams. He tries to get out. They push him back in. UNCLE ELROY Wet your eyes, boy. Stay in there for about 20 minutes. DAY-DAY 20 minutes? UNCLE ELROY Yeah, 20 minutes. Trust me. I've been pepper sprayed nine times. 20 minutes. Uncle Elroy slams the door. Day-Day stands in the shower fully dressed and soaking wet. UNCLE ELROY (cont'd) Let me show you my back yard. You know it's bigger than y'all back yard. They exit, leaving Day-Day in the shower. EXT. ELROY'S BACK YARD - CONTINUOUS Uncle Elroy and Craig start to walk around the back yard. In the B.G., we NOTICE giant weed plants everywhere. UNCLE ELROY Yeah, you gotta have a little money to live out here, Craig. I never thought I'd be the kinda nigga to move to the suburbs. But as soon as I got my check, I was gone. Paid 230 thousand dollars cash on this house. CRAIG You paid cash? UNCLE ELROY Cash money. They wasn't gonna stick me with no 30-year payment plan. That's for suckas. They got my daddy like that for a Cadillac years ago. I got the only house on the block that's paid for. That's why I'm the king around here. They walk over to the pool. UNCLE ELROY (cont'd) You like that pool? It's half-full with dirty water. An upside-down lawn chair floats in it. CRAIG It's cool, but where's the water? UNCLE ELROY Don't need water. We didn't have no pool in the projects...so none of us swim. CRAIG Y'all never use it? UNCLE ELROY Never... (humping the air) But me and Suga can get real nasty in that Jacuzzi, though. The Jacuzzi water has a purple condom floating in it. Uncle Elroy reaches over and picks it out. UNCLE ELROY (cont'd) (shaking the water off the condom) You welcome get in it anytime you want to. Shit, you my brother's son. CRAIG That's okay, Unc. I can't swim, either. UNCLE ELROY Good. EXT. CRACK HOUSE - MORNING A run-down crack house sits alone in the middle of the block. It looks deserted with chipped paint, overgrown grass and security bars everywhere. Inside we can hear a FIGHT in progress. CRACK DEALER (O.S.) Ezal, I'm sick of you coming around here wit no money. Suddenly the door flies open and Ezal comes flying out on his ass. EZAL I be damned. He gets up and brushes himself off. He heads back into the crack house. EZAL (cont'd) Now look here, man. I'mma preferred customer and I can take my credit card somewhere else. SMACK! SMACK! SMACK! Ezal is roughed up some more and flies through the picture window. GLASS rains down. EZAL (cont'd) Oh, my neck, oh, my back. Man, I quit! I'm retired! Officially! Life shouldn't be this hard for a crackhead! Ezal lays there in pain. Out of nowhere, a bicycle comes INTO FRAME. Ezal looks up at the rider. It's Debo. DEBO Where did Craig move to? EZAL I don't know, Debo. Debo rolls on top of him with the front tire. Ezal is smashed and in more pain. DEBO What you say? EZAL (hurting) He moved out to Rancho Cucamonga with his cousin Day-Day. DEBO Rancho Cucamonga? EZAL Yeah. Debo thinks about it. EZAL (cont'd) I can't breathe. He rolls off of Ezal. Relief. DEBO Get on. EZAL Man, we can't ride to Rancho Cucamonga on that. DEBO Get on! Ezal hops on the handlebars quick. They start to ride off. EZAL Just don't go over the curb. Debo rides over the curb and into the street. The journey begins. EZAL (cont'd) Watch my balls! INT. DAY-DAY'S ROOM - MORNING Day-Day's room is junky. Clothes are everywhere. He's putting on his Pinky's Records and Disc T-shirt. Craig comes in. CRAIG You straight? DAY-DAY Yeah, I'm alright. Is my face still orange to you? Day-Day's face looks sunburned. CRAIG Just a little. DAY-DAY I can't taste nothing. CRAIG What's the matter with your girlfriend? DAY-DAY Man, it's a long story. I met D'Wana three months ago. She had a little pudge in her stomach but I didn't pay it no attention. Come to find out, she six months pregnant. Saying I'm the daddy! CRAIG What? DAY-DAY Yeah, I broke up with her two Fridays ago and she's been harassing me ever since. She don't care about the restraining order or nothing. CRAIG Restraining order? Where the hell you meet this girl? DAY-DAY I went back to Watts to sell my old car and met her on the way. Worst day of my life. CRAIG Damn, you got a stalker. DAY-DAY That ain't the worst part. Her little sister, Baby D. She's the one that gets real physical. But I got a restraining order on her, too. CRAIG You got a restraining order on a little girl named Baby D? DAY-DAY (very serious) You don't know Baby D. He looks at his watch. DAY-DAY (cont'd) I gotta get to Pinky's before I get fired like you. Day-Day exits. Craig is close behind. EXT. UNCLE ELROY'S HOUSE - CONTINUOUS As they walk out the front door, someone catches Craig's eye. It's KARLA (23), the Joker brothers' fine sister. She's leaning against the lowrider, looking into her purse. She waves at them. KARLA (friendly) Hi! Craig and Day-Day are mesmerized. BOTH (waving back) HEY! Craig and Karla's eyes meet. She smiles. CRAIG Who is that? DAY-DAY That's the sister. CRAIG Yo know what? I'm starting to like Rancho Cucamonga. DAY-DAY I know what 'cha thinking. I thought the same thing. But it can't happen. CRAIG Why? DAY-DAY Because, it's been a little tension between us ever since they got out the joint and ran their momma crazy. And I'm just trying to keep the peace. We moved out here to get away from that shit. Day-Day walks over to his Beamer. Craig follows. CLOSE-UP Big scratch on the side of Day-Day's car. WIDER DAY-DAY (cont'd) It ain't that bad, is it? Craig is still looking at Karla. DAY-DAY (cont'd) Craig! It ain't that bad, is it? CRAIG Yeah, it's bad. And that scratch make it ugly. Day-Day is starting to get mad. CRAIG (cont'd) It's long and crooked...make you not wanna even drive it. DAY-DAY Alright, alright... I see what you talking about. Karla looks at her watch and starts to walk up the street. This is Craig's chance. CRAIG Hold up, Day-Day. He trots after her. DAY-DAY Let it go. Karla is still walking. CRAIG Hey! Hey! She stops and waits for him. CRAIG (cont'd) I'm Day-Day's cousin, Craig. What's your name? KARLA Karla. CRAIG Craig and Karla, damn that sound pretty good together. Where you going? KARLA To the Cucamonga shopping center. CRAIG Oh yeah, why you walking? KARLA My brothers won't give me a ride. Day-Day is about to have a heart attack. He's looking back and forth between Craig and Karla, and the Joker's house where somebody is looking out the window. DAY-DAY (to himself) Just get the number and come on. Just get the number and come on. Back at the "Love Connection," Craig has Karla smiling. CRAIG You want us to give you a ride? KARLA I don't know. CRAIG What you mean, you don't know? Just wait here. Craig starts to trot over towards Day-Day. Day-Day is frantically waving Craig to hurry. CRAIG (cont'd) What are you worried about? Day-Day's eyes get as big as golf balls. DAY-DAY Cheeco! Craig turns to see the pit bull "Cheeco" running right after him. KARLA Cheeco, no! Craig runs right towards Day-Day's BMW. DAY-DAY Oh shit, jump! They both jump on top of Day-Day's BMW with CHEECO coming up fast. He's BARKING viciously. ACROSS STREET Joker, Li'l Joker and Baby Joker are across the street laughing. Karla is embarrassed. ON BMW Craig is breathing hard but he's calm, but Day-Day is terrified. DAY-DAY (cont'd) Hey, Joker! Stop playing, man! Call the dog back! They continue to laugh. Craig pulls his belt off. He swings it and hits Cheeco in the middle of his forehead with the buckle. The DOG CRIES and runs back across the street. The Jokers aren't laughing anymore. Joker stares at Craig. Craig stares back. You can feel the tension. Joker kicks the dog. JOKER Get yo dumb ass in the back. CHEECO HOLLERS. Craig and Day-Day get off the top of the BMW. DAY-DAY Look at my roof. Big dents in the roof of his BMW. DAY-DAY (cont'd) Man, why you do that? I told you not to talk to that girl. CRAIG Why not? She was cool with it. Day-Day gets into the car. DAY-DAY So. CRAIG What you mean, so? DAY-DAY If you 'get into it' with them S.A.'s and start a feud, you can always go back to home. I gotta live here. Just remember that. He slams the door, starts the car and backs up. Leaving Craig standing there. He sees Karla walking away. He looks over at the Jokers. They're still staring hard. Craig just looks away and walks into the house. INT. UNCLE ELROY'S HOUSE - CONTINUOUS Craig steps into the house. UNCLE ELROY Nephew, you got perfect timing... Uncle Elroy is sitting on the couch. He has a Phillies' Blunt (cigar) in one hand, a razor blade in the other. UNCLE ELROY (cont'd) We about to start a little puff, puff give in this mothafucka. Are you down? Suga is sippin' on a glass of wine. She moves over, making room in the middle. SUGA (patting the couch) Come on, Craig. Sit down right here. Craig does. Suga moves closer, boxing him in nice and tight. Uncle Elroy licks the cigar. UNCLE ELROY I know you smoke weed, right? CRAIG Why you say that? UNCLE ELROY 'Cause your lips is getting black. Uncle Elroy takes the razor and starts to cut the cigar the long way. UNCLE ELROY (cont'd) All I smoke is blunts. Them fuckin' Zigzags don't do nothing for me. Uncle Elroy scrapes the cigar shavings into a nearby trash can (that's overflowing with cigar shavings already). Suga presses against Craig. SUGA Would you like a glass of wine, baby? CRAIG No thank you. It's too early. Uncle Elroy stuffs the open cigar full of weed. He's concentrating. UNCLE ELROY Boy, I can roll a blunt better than them bitches in Havana. I know Willie don't let'cha smoke in the house, but I'm ya uncle. I don't care how high you get in my house. Long as you let me hit it... He licks and rolls. UNCLE ELROY (cont'd) Look at that. It's perfect. SUGA Fire it up, Roy. Uncle Elroy grabs the lighter. UNCLE ELROY Now I'mma show you the real "Puff Daddy." He lights the blunt. Craig's watching, so is Suga. Uncle Elroy holds the smoke in for a very long time. Maybe too long...'cause his eyes start to bulge, and he starts to toke (cough with your mouth closed). And toke. And toke. And toke. It looks like he's about to bust when he lets out a big puff of smoke. Then he starts to cough, and cough, and cough out of control. Craig and Suga are amazed at this display. Uncle Elroy falls to the floor on his hands and knees. Still coughing. He falls on his back and passes the blunt to Craig. UNCLE ELROY (cont'd) (still coughing) It's the Bombay. Craig takes the blunt and puts it up to his lips. He hits it, holds it in and looks at Suga. Suddenly, his eyes bulge out and he starts to toke, and toke, and toke, and toke. He starts to cough out of control and he falls next to Uncle Elroy who's still coughing. Craig passes the blunt to Suga, who looks at it for a moment and then looks directly INTO the CAMERA. (As if to say, "Shiiiiiiiiiiiit."). INT. UNCLE ELROY'S HOUSE - 15 MINUTES LATER All three are passed out on the couch. Uncle Elroy is snoring with a little slobber hanging. Craig's knocked out with his mouth open. Suga's head is not secure and she's starting to bob. She bobs so hard that her head falls in Craig's lap. He wakes up and looks down. CRAIG Suga. He looks over at Uncle Elroy who's looking over at him. UNCLE ELROY Negro, what the hell you doing to my woman? CRAIG (confused and dazed) I don't know! UNCLE ELROY Suga! SUGA (face in lap) Huh? UNCLE ELROY What you doing to my nephew? SUGA (lifting her head) Ah, baby...I thought this was you. (to Craig) Craig, what are you doing to me? CRAIG I don't know, I think I passed out or something. I don't remember. UNCLE ELROY Passed out? Can't hang, huh? Boy, I knew you was a lightweight. Passed out on one funky ass blunt. They don't make 'em like they used to, baby. Uncle Elroy staggers to his feet. UNCLE ELROY (cont'd) Come on, woman. I'm faded and feeling X- rated. It's Mr. Nasty time. SUGA Mr. Nasty time? UNCLE ELROY Mr. Nasty time. (grabbing his back) But take it easy on me, girl. SUGA Craig, you ain't the only lightweight around here. Suga takes Elroy's hand. UNCLE ELROY Make yourself at home. They both stumble upstairs leaving Craig all alone. It's too quiet now. He grabs the remote and TURNS ON the TV. Flicks a few channels. He picks up the blunt and the lighter. ON TV A public service announcement from King/Drew Rehab Center. It's SMOKEY! SMOKEY (V.O.) Hi, my name is Smokey. And I'm a bud- head. But here at the King/Drew Rehab Center, they help you curve your crave for marijuana but still let you get your drank on. He lifts a 22 oz. bottle of Olde English. SMOKEY (cont'd) (V.O.) It's too hard to stop everything all at once. So some days they let you smoke, but not drank. And other days you can drank, but not smoke. And if you're really making progress, the nurses will get fucked up wit you. Helping you kick the habit by smoking up all yo shit. So come down to the King/Drew Rehab Center and put down the joint, but B.Y.O.B., man! BACK ON COUCH Craig is high. He's looking at the TV with a slight smile on his face. It seems like the walls are shaking. He looks over at Suga's glass and her wine is vibrating, like Jurassic Park. Plaster falls from the ceiling. He listens, it's Uncle Elroy and Suga making love. UNCLE ELROY (O.S.) Oh, baby, right there. Right there...bite the nipple, baby. Bite it! Bite it! Yeah, mothafucka -- yeah, come on, baby, get busy... His eavesdropping is interrupted by a loud KNOCK on the door. Craig is so comfortable, he doesn't want to move. The KNOCKING gets LOUDER. DELIVERY GUY (O.S.) Delivery! CRAIG Hold on. Craig gets up slowly and starts to clean the area. The KNOCKING CONTINUES. DELIVERY GUY (O.S.) Delivery! CRAIG I said hold on! DELIVERY GUY (O.S.) Could you hurry up, please... it's kinda hot out here. Craig stops what he's doing and swings the door open. ON PORCH The DELIVERY GUY, a thirtysomething asshole with tight shorts and a buzz cut, is looking into the house. CRAIG Can I help you? DELIVERY GUY Nice house. Didn't expect you to answer. You must be one of those entertainers. What team you play for? CRAIG I don't play for no team. DELIVERY GUY Come on, jerky, you can tell me. Got a white wife, huh? Blonde bombshell type. Remember what happen to O.J... what team do you play for? You're not related to the Jacksons, are you? CRAIG (in his face) Naw, I play for the Chocamunga Cracker Killers. You want tickets? DELIVERY GUY Okay, buddy. Don't send your entourage out here to do a 187 on me. It's just a certified mail delivery. He hands Craig a letter. DELIVERY GUY (cont'd) Sign here. Craig signs. CRAIG What is it? DELIVERY GUY Delinquent Property Tax Notice... I hope the Cracker Killers pay well 'cause if not, back to the ghetto you go. Wife stays here, of course. He laughs and walks off singing the "Good Times" jingle. DELIVERY GUY (cont'd) '...temporary layoffs? Good Times...hustling and surviving... Good Times...ain't we lucky we got'em...' Oh shit! Cheeco starts to chase him down the street. Craig looks at the notice. "DELINQUENT! YOUR HOUSE WILL BE SEIZED AND AUCTIONED -- TOMORROW AT 9AM PAY TODAY!" CRAIG Oh damn. He SLAMS the DOOR. We FOLLOW Craig upstairs TO Uncle Elroy's room. He knocks softly. CRAIG (cont'd) Uncle Elroy? No answer. CRAIG (cont'd) Uncle Elroy, you got a tax notice. Still no answer. He turns the knob. It's open. INT. UNCLE ELROY'S BEDROOM - CONTINUOUS Craig steps into Uncle Elroy's freak palace. Black lights, candles, velvet posters - the works. There's even a leather fuck swing hanging from the ceiling. Uncle Elroy and Suga are asleep in a leopard-skin waterbed. Craig is amazed. He slowly walks over to the bed. Uncle Elroy is calling the hogs. Snoring. CRAIG (whispering) Uncle Elroy...Uncle Elroy? He's about to shake him when Uncle Elroy lets out a big grunt. It startles Craig. He looks over at Suga. She's completely under the covers. Uncle Elroy rolls over on his stomach, then he rolls on his back again. Craig shakes him. CRAIG (cont'd) Uncle Elroy, wake up. You got a letter today. No response. Craig tries again. CRAIG (cont'd) Unc. Uncle Elroy jumps up like a hibernating grizzly. UNCLE ELROY (half asleep) Come on here, Suga... He goes after Craig, who has to fight him off. UNCLE ELROY (cont'd) I like it rough now. CRAIG Naw, naw! Unc, wake up! It's me! Wake up! Uncle Elroy grabs him in a bear hug and slams him on the bed. Craig finds himself caught between Suga and Uncle Elroy, but now everything is totally still and quiet. Uncle Elroy starts to snore again. He's asleep. The coast is clear now. Craig tries to make his escape. He crawls over Suga to get away. She grabs him and starts to kiss him. SUGA (half asleep) Ohhh, baby! Craig breaks away and tries to hurry out the room. On his exit, he hangs himself on the "fuck swing" and hits the floor with a thud. He scrambles to his feet, then he's out of there. Uncle Elroy and Suga lay asleep as if nothing ever happened. IN HALLWAY Craig tries to gain his composure. He gets an idea. EXT. BUSY CITY STREET - AFTERNOON Debo is riding Ezal on the handlebars. EZAL We gotta stop or something, man. My ass is hurting. This handlebar is hard. Debo keeps riding. EZAL (cont'd) Debo! Debo! Now you stuck on stupid. He finally stops at a pay phone. Ezal jumps off and grabs his ass. EZAL (cont'd) My God...gotta walk it out, walk it out. Man, it's gonna take us a week to ride out there. DEBO Shut up! He still eats here every day! EXT. SANDWICH JOINT - ACROSS STREET - CONTINUOUS Mr. Jones' dog truck sits in front. DEBO Here's the plan. You gonna call over there and say you have a very urgent message for Mr. William Jones. EZAL What urgent message? DEBO If you shut up I'll tell you. The urgent message is...Drop everything! Craig is in trouble. Come quick, don't call. EZAL That ain't gonna work. Debo slaps him in the back of the head. DEBO Just do it. EZAL I don't know the number. Smack! Debo slaps him again. DEBO It's on the outside of the building, now pick the phone up! Ezal picks up the phone. He starts to dial. EZAL Hello...Yeah, I got an urgent message for a nigga named Mr. Willie Jones. Debo slaps him again. DEBO William. EZAL Yeah, I got a urgent message for a customer named William Jones. Drop everything, Craig is in trouble. Come quick. Don't try to call. Ezal hangs up the phone. EZAL (cont'd) Man, you better stop hittin' on me for I do you like Craig did you. DEBO Let's go. Debo and Ezal run across the street to the dog truck. Debo opens the back and lets all the dogs out. They run for it. DEBO (cont'd) After I get in, close the door. Debo is a hard fit. Ezal stuffs him in there. EZAL You too big. DEBO Keep pushing. Finally he's in. Ezal gets in and slams the door shut. Just then, Mr. Jones comes running out the joint with a sandwich in hand. MR. JONES Oh my God! He gets in and speeds off. EXT. CUCAMONGA SHOPPING CENTER - AFTERNOON Cars pull in and out of this 12 store strip mall where Pinky's is located. INT. PINKY'S RECORDS AND DISC - AFTERNOON Everything is pink inside this mom and pop record store. The latest RAP HIT PLAYS in the B.G. A few people exit the store with bags. Day-Day is scanning inventory. A bud-head by the name of ROACH is on top of the counter with his skateboard. ROACH Yo, Day-Day! Check me out. He tries to jump off the counter and land perfectly on his board. Wrong! Off the board and on his ass. DAY-DAY Look, Roach, I know you ain't never worked in a record shop before and you're a little excited. But if Pinky catches you doing that X-Games shit off his counter top, we both getting fired. You feel me? ROACH I feel you. I've just been practicing that one move all week. (disappointed) I thought that was it. An unhappy CUSTOMER walks in holding a CD without the cover. CUSTOMER #1 I can't get jiggy with this shit. (getting loud) Where is the damn manager? DAY-DAY Sir, the manager stepped out for a moment. I'm currently running the store. Can I see the CD? The customer throws the CD on the counter. Day-Day picks it up. CUSTOMER #1 No, give me my damn money back. Right now, and I don't have no damn receipt neither. DAY-DAY Okay, sir...but where's the cover? CUSTOMER #1 I don't have no damn cover. Craig walks in with the notice in hand. DAY-DAY I can't give you your damn money back on this. CUSTOMER #1 Bullshit! I'll go postal in this mothafucka! DAY-DAY Well, you gonna have to go postal then. The customer KNOCKS over a counter display and then turns to get away. DAY-DAY (cont'd) Hey! Craig bumps him and he falls into the Rap cassette rack. CUSTOMER #1 I'm sorry! Don't hit me! Don't hit me. He jumps up and slips on a few more cassettes on his scramble out the door. DAY-DAY ...and if you come back, it's gonna be worse. Roach can't believe what just happened. ROACH Did you see that? That was a W.W.F. hit right there, huh, Day-Day? DAY-DAY Yeah, it was. How you get up here? CRAIG I walked. DAY-DAY You walked? CRAIG Yeah, ya'll got a notice today. It came certified mail. He gives it to Day-Day. DAY-DAY Craig, this Roach. Roach, this is my cousin, Craig. ROACH What up, bro? Craig nods his head. CRAIG I tried to wake up Uncle Elroy but he thought I was Suga. Day-Day reads the notice. DAY-DAY You know what this is? CRAIG Yeah, that's why I walked down here. ROACH What it say? Day-Day ignores Roach. DAY-DAY How can they do this? CRAIG I don't know. Did ya'll forget to pay it or something? ROACH What it say? DAY-DAY Ever since my momma died the bills are always late. CRAIG See how much it is? Day-Day opens it. A PHONE starts to RING. ROACH What is it? DAY-DAY Don't worry about it, man. Get the phone. Roach skateboards over to the phone. ROACH Pinky's. Day-Day reads on. DAY-DAY It says we owe $3,900...by tomorrow. CRAIG Damn...how much money ya'll got left from the lottery? Day-Day goes for his bank book. He flips a few pages. DAY-DAY $247. CRAIG Okay, plan B. Day-Day is overwhelmed. Roach skates back over. ROACH That was a girl on a cell phone. She said she's outside in the parking lot waiting for you to take her to lunch. Day-Day looks at Craig. He runs over to the door. OUTSIDE IN THE PARKING LOT D'Wana sits in her car with her play sister BABY'D (her name does not fit her body). DAY-DAY Oh my God. That's D'Wana. And she got Baby'D with her. Day-Day locks the door and runs into the back. Craig and Roach follow. CRAIG What's the matter? DAY-DAY D'Wana brought Baby'D up here. ROACH That the big one, huh? DAY-DAY You damn right that's the big one. The PHONE starts to RING again. D'Wana and Baby'D are at the door. D'Wana is on her phone. Baby'D starts to knock. DAY-DAY (cont'd) Craig, go out there and tell 'em I'm gone. CRAIG I ain't trying to get in it. DAY-DAY You already in. The knocking gets louder. CRAIG No I'm not. ROACH I'll do it. DAY-DAY No. You can't handle a girl like D'Wana. It's got to be Craig. AT FRONT DOOR They observe the "Yes We're Open" sign. D'WANA That white boy said he was in there. BABY'D Day-Day, don't make me break this window! Craig is peeking out. He hesitates. DAY-DAY Watch out for Baby'D. Craig walks out the back. He steps over the door. Unlocks it, and cracks it open. CRAIG Day-Day ain't here. They don't believe him. D'WANA Who are you? CRAIG I'm his cousin. BABY'D You suppose to work here now or something? CRAIG Yeah, I work here now. D'WANA We didn't come here for Day-Day. CRAIG Yes you did. D'WANA No we didn't. We came to buy a CD. BABY'D Now move. Baby'D kicks the door. Craig has no choice but to let 'em in. D'WANA Where's that boy that told me Day-Day was here? CRAIG I don't know... I think he went out the back. D'WANA Can I look for myself? Suddenly Roach is pushed into the front area. ROACH Hey, ladies. D'WANA Where's Day-Day? ROACH I don't know, he must've left. D'Wana looks at Baby'D. CRAIG I thought ya'll wanted to buy a CD? BABY'D I do... can you help me find the jazz section? Craig looks at Roach for directions. He nods over towards the front of the store. CRAIG Right this way. You know damn well you don't listen to no jazz. Baby'D checks out Craig as he leads the way. D'Wana looks around. D'WANA If Day-Day comes back, tell him I came by and need to see him. Lamaze classes are Wednesday. ROACH Will do. D'Wana starts to walk towards Craig and Baby'D. D'WANA Come on, 'D, let's go. But first she doubles back towards the storage room. CRAIG Where you going? D'WANA Ain't the rest room this way? I gotta pee. ROACH Yeah. D'WANA Thank you. As she's walking in the back, Roach realizes his mistake. BACK STORAGE AREA DAY-DAY Shit. Day-Day makes a run for it. She spots him ducking out the back door. D'WANA He's in there! INSIDE STORE Baby'D knocks Craig out of the way. BABY'D Where is he? D'WANA He ran out the door. Baby'D gives chase with D'Wana, Craig and Roach close behind. EXT. PINKY'S RECORDS AND DISC - CONTINUOUS Day-Day runs around the side of Pinky's Records store. He stops to see if anyone is coming. It's Baby'D with the three others trailing. Baby'D is chasing Day-Day all through the parking lot. Craig, D'Wana and Roach stop to watch. ROACH Haul ass, dude. Don't stop. ...and he is. CRAIG You better stop running from that girl. DAY-DAY Fuuuuuuck -- U! He runs back towards his BMW. The chase continues around his car. Baby'D is starting to tire. DAY-DAY (cont'd) I'mma shoot yo' big ass. D'Wana watches from a distance. Craig and Roach are close. ROACH (smiling) She moves well for a big girl. Just then, out of nowhere, Karla appears behind them carrying a couple of bags. She taps Craig on his shoulder. He turns around. KARLA Hello, remember me? CRAIG Hell yeah, I remember you. KARLA I'm sorry for what my brother did this morning. They're assholes. CRAIG It's cool. You ain't got to apologize for your brothers. They're big boys. KARLA I just wanted to give you this. She hands him a card with her number on it. KARLA (cont'd) If my brothers wasn't so over-protective, I'd have you call the house. But for now just page me when you get a chance. CRAIG Most definitely. KARLA Better sooner than later. She picks up her shopping bags and walks away. Over at the chase: Baby'D is winded. She bends over trying to catch her breath. DAY-DAY Baby'D, you're not going to catch me as usual. So what can we do to end it this time? What you want? Another Big Pun CD? 'Cause I gotta get back to work. Baby'D looks over at Craig. BABY'D Okay, I know what I want this time. DAY-DAY Anything you need. BABY'D Yo' cousin, Craig. Hook us up. DAY-DAY That's it? BABY'D Just tell him to come over here and talk to me. DAY-DAY And I can go free? BABY'D Go, fo' I change my mind. Day-Day carefully walks back over towards the store. D'Wana pouts and walks towards Baby'D. (If looks could kill.) ROACH Great moves, Day-Day. CRAIG What happen? DAY-DAY We worked out a deal. All you gotta do is go over there and talk to Baby'D. Craig looks over at Baby'D. She's waiting. CRAIG What you mean talk to her? ROACH (still smiling) You know what he mean, dude. CRAIG I'm gone. Craig turns and sprints into the store. Baby'D looks concerned. Day-Day grabs Roach and they run into the store. BABY'D I'mma get you, Day-Day! You gotta come out sometimes! D'Wana hands her a brick. D'WANA I told you. Baby'D screams and throws the brick through Day-Day's WINDSHIELD. INT. PINKY'S RECORDS AND DISC - CONTINUOUS DAY-DAY What was that? ROACH (looking out window) You don't wanna know. Day-Day is devastated. DAY-DAY Thanks a lot, Craig. CRAIG I know we cousins and all, but don't try an' hook me up with the big little sisters. DAY-DAY Big bitches need love, too, Craig. ROACH For sure. That's how I like 'em. CRAIG Not me. DAY-DAY Are they still out there? ROACH Negative...they vamped. Day-Day starts to walk into the back storage area. ROACH (cont'd) Shouldn't we straighten up out here before Pinky gets back? Day-Day is like a zombie now. He doesn't answer, just keeps walking. CRAIG Day-Day? No answer. Craig looks at Roach. They follow. BACK STORAGE AREA Day-Day sits with the notice in hand. DAY-DAY Today ain't my day. ROACH Bummer, huh? And Friday is suppose to be a kick-ass day. CRAIG Yeah it is...the best day before the weekend. ROACH That's fuckin' poetic, Craig. Day-Day is still sad. ROACH (cont'd) I know how you feeling. And if I had my bong right now, I'd let you 'toke 'til you choke.' Dude, right here. All out. No lungs. All I got is this. Roach pulls out a big, smashed brownie with green shit in it. CRAIG What's the green stuff poking out? ROACH That's cron-don, sir. My mom hates for me to smoke, so she made me bud-brownies. Wanna bite? CRAIG Naw, I already ate. ROACH Come on, Day, try it. For moms. Day-Day shakes his head. Craig reaches into his fifth pocket. CRAIG It ain't a bong but, wa-la! He has the joint from this morning. ROACH Wo! Roach snatches it. CRAIG Hey. Craig snatches it back. ROACH Sorry, bro, reflexes. How did you do that? CRAIG Black magic. Day-Day snatches the joint and puts it in his mouth. DAY-DAY Give me dat. I'm the one with the problem. Roach pulls out a mini-skateboard that's actually a lighter. ROACH Weed doesn't solve problems. It eases the mind, and the soul. Enjoy. He lights the joint. Day-Day takes a hit. CRAIG I didn't think you smoked bud that much. DAY-DAY (letting out the smoke) I don't. ROACH (taking the joint) I do. DAY-DAY Damn nigga, don't Jack the joint. I didn't even pass it. ROACH (hitting it good) Sorry, dude. CRAIG You better open up a window or something before the smell gets out. DAY-DAY Ain't no windows in here. ROACH I got an idea. He hands the joint to Craig. Gets up and closes the door. Then he grabs the vacuum out of the corner. ROACH (cont'd) This is a little theory of mine... it should work. He plugs in the VACUUM and TURNS it ON. He puts the nozzle in Day-Day's face. DAY-DAY Blow. CRAIG That ain't gonna work. ROACH Fuck yeah. Day-Day hits the 'J and blows into the nozzle. It quickly sucks up the smoke. DAY-DAY (passing the 'J) It works. CRAIG Still gonna smell it. ROACH No way. Watch this. Roach hits the joint harder than anyone else. Smoke starts to come out of his ears. Craig and Day-Day get a kick out of that. EXT. PINKY'S RECORDS AND DISC - CONTINUOUS A pink limo pulls to a stop. The chauffeur gets out wearing his suit just a little too tight. He opens the door and a pair of pink boots hit the pavement. The CAMERA PANS UP TO PINKY (35), the asshole owner. PINKY Look, man, you hittin' them goddamn corners too fast. Slow down. I almost spilled my Hennessy on this 300 dollar suit. He walks over to the door. He thinks it's open. It's not. PINKY (cont'd) I be damn. He shakes the door. It's locked. He looks inside. No one's at the counter. Cassettes all over the floor. Pinky looks around making sure no one sneaks up on him. He reaches under his shirt and pulls out a Glock 9mm. Sticks his key in the door and steps in. BACK STORE AREA - CLOSE UP - ROACH is upside down. All the blood has rushed to his head. He has Chinaman eyes and a big smile on his face. DAY-DAY Roach, what are you doing? ROACH R-U-S-H Intensely. A big cloud of smoke rolls out of his mouth and he falls and hits the deck. ROACH (cont'd) My spleen. Craig and Day-Day laugh at Roach. The VACUUM is still GOING but the room is very smoky. Craig jumps in. CRAIG (unplugging the vacuum) This vacuum don't work. Where's the restroom? DAY-DAY Out the door and to the left. ROACH I thought the vacuum would work. IN HALLWAY Craig makes a left and grabs the knob. He feels something pressing on the back of his head (gun). PINKY (whispering) Don't move or I'll blow your head smooth off. Craig throws his hands up. PINKY (cont'd) Now back up slowly... and don't say a word. He obeys. Pinky backs Craig into the store. PINKY (cont'd) Get on the floor. Craig gets down. PINKY (cont'd) Little mothafucka trying to rob me. I'mma show you how I do 'em. CRAIG I ain't trying to rob you... PINKY Shut up! Fo' I pump this Glock in yo' ass! What did you do wit Day-Day and Roach? CRAIG Man, Day-Day is my people! PINKY I said shut up! Now who sent you? CRAIG Nobody! PINKY If you say another word, it's over. I'm not playing! Pinky starts to pat down Craig's pockets. PINKY (cont'd) You ain't got no gun, but where's the weed at? I smell it. Craig says nothing. PINKY (cont'd) I'mma tie you ass up! Pinky backs up and steps on Roach's skateboard. The gun goes flying and so does he. Pinky falls on his ass. The 9mm lands in front of Craig. There's a big scramble for the gun. BACK STORAGE AREA The mood is serious. DAY-DAY I gotta think of a plan to get this money before tomorrow. ROACH You could sell your Beamer. Day-Day gives Roach the evil-eye. ROACH (cont'd) My bad. DAY-DAY I don't know. I hope Craig got a good idea. We gotta ask him when he comes out. Let's go and clean up before Pinky gets here. ROACH Maybe you can ask him to loan you the money. DAY-DAY Yoooo, that's it. You ain't as dumb as I think you are, Roach. ROACH I know. BACK INSIDE STORE Pinky and Craig are still scrambling for the gun. The store looks like a tornado hit it. Twice. Craig comes up with the pistol. Pinky jumps on the ground. PINKY Don't kill me. Craig is exhausted. He stands over Pinky with the gun. CRAIG Shut up. I been trying to tell yo' ass that... Day-Day is my cousin. They're right there in the back. PINKY Whatever you say, man. I didn't see shit. The safe combination is 34-5-27. Just take it all. Just then, Day-Day and Roach come from the back. DAY-DAY Craig, what the hell are you doing? CRAIG Nothing. PINKY Day-Day, is this your cousin? DAY-DAY Yeah. PINKY Good. You fired...and, Roach, your fired too. ROACH Why me? PINKY I smell weed. He looks up at Craig. PINKY (cont'd) And you...you lucky. I was just about to get in yo' ass. Now give me my pistol back and get the hell out my store. Craig looks at Day-Day. Day-Day looks back at him. Nobody's high now. EXT. FREEWAY - MONTAGE SEQUENCE - AFTERNOON Mr. Jones' dog truck is weaving in and out of traffic. INT. TRUCK - MONTAGE SEQUENCE - CONTINUOUS Mr. Jones is driving and eating at the same time. He finishes off the last few bites of his sandwich. MR. JONES Just hold on, Craig. I'm on my way. INT. BACK OF TRUCK - MONTAGE SEQUENCE Debo and Ezal are smashed inside the dog cages. EZAL Debo! Debo! DEBO What? EZAL I can't feel my legs no more. DEBO Me neither. How far is Rancho Cucamonga? EZAL I don't know. EXT. UNCLE ELROY'S STREET - MONTAGE SEQUENCE The Beamer pulls into the driveway. Our trio get out with very long faces. CRAIG (V.O.) In a strange way, I feel responsible for Day-Day getting fired. If I wouldn't have fought Pinky, and gave Day-Day the joint, he'd still have a job. Day-Day walks into the house while Craig and Roach stay out on the porch. INT. UNCLE ELROY'S HOUSE - UPSTAIRS - MONTAGE SEQUENCE Uncle Elroy opens his bedroom door wearing a S&M mask and holding a tube of KY jelly. He removes the mask. Day-Day hands him the notice. Uncle Elroy takes it with his greasy hands. UNCLE ELROY Ah damn. Damn. DAY-DAY I got fired too. UNCLE ELROY What?! He starts to beat Day-Day with a sex toy. EXT. FREEWAY - MONTAGE SEQUENCE - AFTERNOON The dog truck exits the freeway. He pulls into a gas station by the freeway. He stops near the restrooms and jumps out, air freshner in hand. When he gets to the door, it's locked. MR. JONES Damn. He knocks. MR. JONES (cont'd) Say, man, hurry up. We got an emergency out here. No answer. Mr. Jones paces nervously. MR. JONES (cont'd) I knew I shouldn't have ordered that extra hot sauce. EXT. UNCLE ELROY'S PORCH - MONTAGE SEQUENCE - LATE AFTERNOON Craig and Day-Day are trying to think. Roach is practicing skateboard moves. He's not very good. DAY-DAY Man, sit down. EXT. GAS STATION RESTROOM - MONTAGE SEQUENCE He knocks again. MR. JONES Say, man, what the hell you doing in there? Open the door. Just then the door opens and out walks MICHAEL JORDAN. MICHAEL JORDAN Don't nobody go in the bathroom for about 35, 40 minutes. Mr. Jones is stunned. MR. JONES Hey, you that boy? Jordan jumps in his car and he's gone. Mr. Jones is happy he's just seen Michael Jordan. MR. JONES (cont'd) (smiling) Ain't that something, Michael Jordan. He walks in the bathroom. INSIDE Reality hits, it stinks up in there. Mr. Jones fronds. MR. JONES (cont'd) Oh, Michael, that boy better check his drawls. He starts to spray. EXT. UNCLE ELROY'S PORCH - MONTAGE SEQUENCE - LATE AFTERNOON Craig, Day-Day and Roach are sitting on the porch thinking. DAY-DAY What we gonna do? CRAIG I don't know yet. ROACH I know what I'mma do. Go home and face the music. My dad is gonna kick my ass for getting fired again. He gets on his skateboard. DAY-DAY Alright, Roach, see you around. CRAIG Sorry about today, man. ROACH Yeah, me too. Later. He attempts to jump off the porch with his board and lands dead on his ass once again. His board continues to roll. DAY-DAY Man, sit down. I can't think with you falling everywhere. His board continues to roll into the street. At this same time, Joker's low-rider rolls by and breaks his board in two. Roach runs to pick up the pieces. ROACH My board! The Joker Bros. back their low-rider into the driveway. They have no sympathy. Cheeco (the pitbull) is in the back yard. He's happy to see them. They stroll into the house with three Mexican girls with them. Joker spots our trio looking. JOKER What the fuck you looking at? DAY-DAY Nothing. ROACH You ran over my board! JOKER So what? It shouldn't have been in the street. They disappear into the house. BACK ON PORCH Craig has a twinkle in his eyes and Roach walks over, pissed. ROACH Who the fuck is that, Day-Day? DAY-DAY Let it go, Roach, trust me. ROACH I'm not letting nothing go. They killed my board. DAY-DAY Let it go! Craig is looking over at the Joker's house. Baby Joker walks out the front door. He walks over to the rider and POPS the TRUNK. CRAIG Wait. Check'em out. Baby Joker pulls out a chrome hydraulic pump. He carries it towards the house. Cheeco starts to hump his leg. BABY JOKER Get down. Baby Joker drops the pump, something falls out. (We can't see what it is.) Baby Joker quickly puts it back. BACK ON PORCH CRAIG You see that? DAY-DAY I didn't see nothing. ROACH Me neither. CRAIG It's something in that hydraulic pump. DAY-DAY Yeah, air. CRAIG Naw. I bet'cha it's something better than air. DAY-DAY How you know? It could be anything. CRAIG I don't know, and it could be anything. But I just say we go take a look. ROACH I say we go over there and kick their asses. I can take the little one. DAY-DAY Are you out your mind? I'm not messing with them S.A.'s boy. You must be crazy. CRAIG Could be. Rather be crazy than homeless. Now all we need is a big pack of baloney. Day-Day and Roach look at each other. BOTH Baloney?? INT. JOKER'S HOUSE - DEN - NIGHT The private party is starting to heat up. Big Joker sits on the couch with a PRETTY YOUNG GIRL on his lap. He's smoking on a perfectly rolled cone joint. Li'l Joker dances with the other girlfriend, as an OLD SCHOOL JAM PLAYS in the B.G. The other senorita is pouring herself a drink. Karla walks into the room. KARLA I thought you were taking me to see Mama? JOKER I'll take you later. KARLA When? After you get all drunk and loaded? JOKER Hey! I said I'll take your fuckin' ass later. Now get out of here. You're scaring our company. Karla storms out the room. Baby Joker walks in carrying the chrome pump. JOKER (cont'd) Get up. The Pretty Girl moves off Joker's lap. JOKER (cont'd) Take it in the room. Baby Joker carries the pump in the bedroom. Joker is close behind. He SLAMS the DOOR. The Girl dancing with Li'l Joker gets too nosy. GIRL #1 What was that? LI'L JOKER What was what? GIRL #1 That silver thing. LI'L JOKER I didn't see no silver thing, and neither did you. EXT. UNCLE ELROY'S STREET - CONTINUOUS Craig, Day-Day and Roach are sneaking across the street towards Joker's house. Craig looks calm. Day-Day looks nervous. Roach eats on a piece of baloney. DAY-DAY This ain't gonna work. I'm going back. Day-Day tries to turn around. Craig grabs him. CRAIG It's about to work, just come on. ROACH (about to bite baloney) What about the dog? Craig slaps the baloney out of his hand. CRAIG That's what the baloney's for! All three kneel down next to a parked car. Day-Day looks sick. DAY-DAY Man, I don't think I can do this, Craig. I got the B-G's. CRAIG What's the B-G's? DAY-DAY (holding his stomach) The bubble guts. I'm so nervous it feels like I'mma shit on myself. ROACH Try an' hold it, man. Squeeze your ass cheeks together. DAY-DAY Butterflies, my ass. I'm about to go home. Craig grabs Day-Day again. CRAIG Look, Day-Day. If we don't go over there and take a look, this might be the last night you got a home. Now trust me. Day-Day realizes that Craig is right. He takes a deep breath. CRAIG (cont'd) Now all we gotta do is find out where the little one put that pump. Take it and see what's in it. DAY-DAY You make it sound so easy. CRAIG It is easy. You know why? 'Cause they're not expecting it. Now, Roach, you gotta occupy Cheeco. Long enough for me and Day-Day to take a good look. ROACH Dude, dogs hate me. I don't know why. Me and K-9's just don't get along. CRAIG Well get along with this one. (pushing Roach) Go ahead of us. Don't get seen and don't let that mutt out of your sight. ROACH Fuck, what's his name? CRAIG Cheeco. Roach crawls away on his hands and knees. EXT. JOKER'S HOUSE - NIGHT Roach sneaks past Joker's lowrider. He slowly approaches the fence. No sign of Cheeco. Roach opens the pack of baloney and pulls out a slice. ROACH (nervous whisper) Here, Cheeco. Chee-co, here boy. That's a good boy. It's pitch-black behind the fence, still no Cheeco. PARKED CAR - SAME TIME Craig makes a move. CRAIG Come on, he should have'em by now. Day-Day follows. DAY-DAY Hurry up. He didn't have that much baloney. They sneak up to the side of the house. The MUSIC is BLEEDING THROUGH the walls. INSIDE HOUSE Li'l Joker is dancing with all 3 girls. They're all getting high and feeling good. One girl has come out of her blouse. The others start to follow her lead. LI'L JOKER (yelling towards bedroom) Hey, homes, you guys better hurry up! I'mma get greedy. BACK OUTSIDE Craig and Day-Day are peeking through the window. Craig moves on. Day-Day is still watching. DAY-DAY (to himself) Look at those tig-ole-bitties Craig snatches him from the window. They walk over to the fence. CRAIG You go first. DAY-DAY Naw, you go first. CRAIG You go first. DAY-DAY No. CRAIG Day-Day, if you don't hop that fence I'mma throw you over. DAY-DAY I ain't scared of you. We ain't little no more. Day-Day gets ready to fight. CRAIG What? Craig jumps like he's going to hit him. Day-Day jumps back and almost falls. DAY-DAY I hope to God that dog is happy. CRAIG Me too. ROACH ...is having no luck. Cheeco is nowhere to be found. Roach starts to sing. ROACH My baloney has a first name. It's C-h-e- e-c-o. We hear a MEAN GROWL out of the darkness. Roach continues. ROACH (cont'd) My baloney has a second name it just like the first Cheeco. GROWLING gets LOWDER. ROACH (cont'd) Ooooohhhh I love to eat it everyday if you ask me what I'll say. We can hear TINY FOOTSTEPS RUNNING at Roach. ROACH (cont'd) Cheeco's got to be the dumbest fuckin' mutt in the whole wide U.S.A. CHEECO is running at Roach full speed. He jumps on the fence and starts to BARK with everything he's got. Roach drops the baloney. CRAIG AND DAY-DAY ...hear the DOG BARKING and freeze in their tracks. Day-Day tries to run. Craig grabs him, again. CRAIG Wait. DAY-DAY (loud whisper) Wait for what? A LOT of BARKING. Nothing coming. CRAIG He's still over by Roach. ROACH ...picks up the baloney and stuffs the whole pack into his mouth. CHEECO is SILENCED. Roach is relieved. INSIDE JOKER'S BEDROOM - CONTINUOUS The chrome pump is open and filled with money. Baby Joker's pulling out the money while Joker sits on the bed counting it. They stop when they hear CHEECO BARKING. BABY JOKER Want me to take a look? JOKER No, keep working. In the mirror behind Joker, we see a stick slide through the curtain. The curtain cracks just enough to see Craig's eye looking in. Just then, Li'l Joker bursts through the door with his shirt off and two half-naked girls on his arms. LI'L JOKER Yo, man fuck that shit. Do it later. It's Friday, time to party, SA. JOKER Close the door. LI'L JOKER Not until you come party with us, man. Baby Joker looks at the girls, then at Joker. JOKER Alright, put it in that drawer. Joker hands Baby Joker the money. He puts it away. They start to exit the room. OUTSIDE JOKER'S BEDROOM WINDOW - CONTINUOUS Craig is still looking. Day-Day is scared shitless. He's looking for Cheeco. DAY-DAY (whispering) What you see? CRAIG That pump was full of money. I saw where they put it. Stay right here, I'mma climb in and go get it. DAY-DAY Wait here? So Cheeco can bite my ass off? Tell me where it is I'll do it. CRAIG No, man, just wait. Craig climbs in the window. Day-Day holds his stomach. DAY-DAY I got the B-G's. ROACH ... his meat supply is almost gone. He tries to think fast. Cheeco starts to look for more meat. Roach grabs the smashed brownie out of his pocket and throws it to Cheeco. He swallows it in one big gulp. He's looking for more. There is no more. Roach smiles. CHEECO GROWLS. ROACH Good boy. Nice dog. CHEECO'S STILL GROWLING. Suddenly Cheeco falls back on his butt and lets out a slight moan. CHEECO'S POV Cheeco is looking up at Roach. He's seeing double, even triple. Cheeco lays down. It looks like he's faded. ROACH No lungs, baby. No lungs. INSIDE JOKER'S BEDROOM - CONTINUOUS Craig is in. The bedroom door is cracked. Craig walks over and shuts the door gently. He locks it. Then he creeps over to the dresser. He pulls out the pump and sets it on the bed. He opens it, revealing all the bundled-up money packed in. He starts to stuff it in his pockets. OUTSIDE JOKER'S BEDROOM WINDOW - CONTINUOUS Day-Day is trying to keep his composure. INT. DEN - CONTINUOUS The SA brothers are having a good time. Joker is getting nasty with one of the Girls. He pulls her by the hand. GIRL #2 No. JOKER Fuck that. Joker picks her up and carries her to the bedroom. She screams. He laughs. He goes for the door. It's locked. JOKER (cont'd) Who locked this door? Everybody looks confused. JOKER (cont'd) Who locked this fuckin' door?! Joker starts to kick the door. INSIDE JOKER'S BEDROOM - CONTINUOUS Craig hurries to put the pump back. He's about to go for the window when: BANG! There's a KICK on the door. All Craig can do is go for another door on the other side of the room. BANG! The door flies open and Craig is out there just in time. JOKER I don't want no doors locked around here. You hear me? Joker walks in and hits the lights. He throws the girl on the bed. GIRL #2 Oh, poppy, I like it rough. JOKER (taking off shirt) Good, 'cause that's how you gonna get it. INT. JOKER'S HOUSE - STAIRWAY - CONTINUOUS Baby Joker has his back turned when we see Craig sprint behind him and up the stairs. Baby Joker turns around. He thinks he saw something. He slowly starts to walk up the stairs. LI'L JOKER Karla! INT. KARLA'S ROOM - CONTINUOUS Karla is in her room working out. Craig runs in. He's shocked to see her. She doesn't see him, but he's frozen. Then she turns around and he startles her. KARLA What are you doing? Think fast, Craig. CRAIG Huh? KARLA What are you doing here? CRAIG I hope you don't think I'm crazy, but I just had to come in here and show you I ain't scared of yo' punk ass brothers...and you wouldn't have be scared of 'em neither if you had a man like me in yo' life. KARLA What?? So you snuck in my room to tell me that? CRAIG Yes I did. Excuse me. Her door flies open. Smashing Craig behind it. It's Li'l Joker. LI'L JOKER Who you talking to? Craig looks nervous. KARLA Nobody. LI'L JOKER I heard a voice. KARLA No you didn't. Get out my room. Go back down to your little girlfriends. Karla pushes Li'l Joker out. OUTSIDE JOKER'S BEDROOM WINDOW - CONTINUOUS Day-Day is having a fit. GIRL #2 (O.S.) Shut the window. JOKER (O.S.) You shut the window. She does. DAY-DAY Oh shit. Day-Day takes off. He hops the fence in record speed. CHEECO ...is laying on his back looking through the fence. He's calm and cool now. OTHER SIDE Roach is on his back looking through the fence. He hits a joint and blows the smoke into Cheeco's face. ROACH ...like I was saying. A guy like me, and a dog like you, don't need this bullshit. We need to be in Maui renting jet ski to fat funks in flower shirts. You feel me, C? Cheeco is passed out. Day-Day sneaks around the corner. He whispers. DAY-DAY Roach...Roach, come on. ROACH Where's Craig? DAY-DAY He's inside the house? ROACH Why did he go in the house? DAY-DAY Don't worry about it. We gotta figure out a way to get Craig out of there. He's probably getting tied up now. INT. KARLA'S ROOM - CONTINUOUS Craig is sweating. Karla is standing in front of him. KARLA You did all this for me? CRAIG Most of it. I just hate to see you in this situation. KARLA Thanks for noticing. It used ta be peaceful before they got out. Took over the house and caused my mother's nervous breakdown. CRAIG Why didn't she put'em out? KARLA Easier said than done. We saved up to get away from them, but they followed us. CRAIG I'm sorry to hear that. Craig walks over to the window. CRAIG (cont'd) Can I get out this way? Karla walks up behind him, looking very sexy. KARLA I thought you came up here to see me. Craig turns around. CRAIG I did. Is that door locked? KARLA It's locked. CRAIG Make sure. Karla turns around to check the door. KARLA You so nervous, I already locked this door. Craig drops a thick roll of money into her purse. She shakes the knob. KARLA (cont'd) See. All locked. She walks over to him. They're face-to-face. KARLA (cont'd) What's your hurry? CRAIG I got my cousin Day-Day waiting for me. KARLA (getting even closer) So what? Let's make'em wait. Craig looks AT the CAMERA. CRAIG I be damn. EXT. JOKER'S HOUSE - NIGHT Day-Day and Roach are at Joker's front door. DAY-DAY You wanna knock? ROACH Go for it. Day-Day knocks real soft. Too soft. ROACH (cont'd) No one's gonna hear that. The music's playing. DAY-DAY 'Scuse me, partner, but that's a ghetto knock. ROACH This is a knock. Roach starts to kick on the door with his foot. It's very loud. INT. DEN - CONTINUOUS Joker storms in with the AK. Li'l Joker is in the corner with his girl, and Baby Joker is on the floor. Joker TURNS DOWN THE STEREO. JOKER You fuckin' lover boys hear that? BABY JOKER Hear what? The KNOCKING continues. Li'l Joker and Baby Joker push the girls aside and jump up. Li'l Joker grabs a big knife. Baby Joker grabs a 9mm. Joker looks at the girls. JOKER Don't fuckin' move. They won't. The brothers run to the door. OUTSIDE Roach is still kicking. DAY-DAY What's wrong with you, fool. Stop kicking their door. They might think we the police. The front door swings open and before we know it. Day-Day's got an AK pointed in his face, and Roach is looking at a 9 close up. JOKER What the fuck you want? Day-Day's tongue doesn't work. DAY-DAY Uh...um...I mean uh, can we borrow a cup of sugar? JOKER What?! This look like a 7-11 or something? Get the fuck outta here! DAY-DAY (starts to leave) Alright, no problem. We gone. ROACH Hold on. A man, you broke my fuckin' board and I don't appreciate it. Immediately Day-Day and Roach are snatched inside the house, and the door is SLAMMED. EXT. UNCLE ELROY'S HOUSE - CONTINUOUS Mr. Jones' dog truck pulls to a stop. He gets out and runs to the house. He KNOCKS. Uncle Elroy answers. Suga is looking over his shoulder. MR. JONES I got your message. Where's Craig? UNCLE ELROY I don't know, I didn't leave you no damn message! MR. JONES You didn't call the Sandwich Joint with a urgent message? UNCLE ELROY Hell naw, Willie. Them fleas and tics must be sucking on yo' brain! MR. JONES Somebody left me a message. Well where's Craig and Day-Day? UNCLE ELROY I don't know. Suga, go ask Miss Ho Kym if she seen them. EXT. KARLA'S BEDROOM WINDOW - CONTINUOUS Craig is about to climb out the window. KARLA Next time, page me first. CRAIG Okay. Craig climbs out the window. He loses his footing and free falls into some bushes. KARLA You alright? CRAIG Yeah, I'm cool. See you later. He runs past a sleeping Cheeco and hops the fence. Free at last. He's about to run back across the street when he sees the dog truck. CRAIG (cont'd) What is he doing here? Craig ducks back. INT. JOKER'S HOUSE - DEN - NIGHT Day-Day and Roach are sitting on a couch looking nervous. The Joker brothers hold guns on them. The three half-dressed Mexican Girls look a bit scared themselves. DAY-DAY Look, man, this is a big misunderstanding. All we wanted to do is borrow some sugar. ROACH And some rolling papers. DAY-DAY ...and some rolling papers, that's it. We didn't mean to mess up y'all get together or nothing. (to the Girls) How y'all doing? They answer -- GIRLS Fine. DAY-DAY That's good. My name's Day-Day and this is my friend, Roach. ROACH (waving) Hey. DAY-DAY Ya'll live around here? JOKER Shut up! Both of you right now! DAY-DAY (to Roach) Shhhh! Roach, shut the fuck up. JOKER I don't believe this sugar shit. Something ain't right. Joker thinks for a moment. Then he turns to Baby Joker. JOKER (cont'd) (in Spanish) Go check on the money. Baby Joker obeys the order. LI'L JOKER Here comes Karla, put the guns away. JOKER Keep your mouth shut. Karla walks back in. KARLA Hey, what's going on? JOKER Nothing. What you want? KARLA Are you going to take me to see Mom? JOKER Take your car. KARLA 'Take your car?' JOKER Yeah, and hurry up. Karla doesn't believe it. KARLA Okay. She grabs the keys off the bar. KARLA (cont'd) I'll be back in a bit. 'Bye. She's out the door. Joker turns to Day-Day and Roach. JOKER If everything's alright. We might let you leave, too. EXT. UNCLE ELROY'S HOUSE - CONTINUOUS The front door swings open. It's Uncle Elroy. UNCLE ELROY Craig, where the hell you been? Mr. Jones pops up. So does Suga and Miss Ho Kym. MR. JONES Hold up, Elroy, that's my boy. Craig, what the hell wrong with you? Where you been? CRAIG Have you seen Day-Day? UNCLE ELROY No. Thought he was with you. CRAIG Daddy, Uncle Elroy, I need your help. He steps in the house and closes the door behind him. INT. JOKER'S HOUSE - DEN - NIGHT It's the same scene as before. Two angry Mexicans, three half-naked Girls, plus Day-Day and Roach in the middle. Baby Joker returns. BABY JOKER (in Spanish) Some of the money is missing. JOKER (upset) What?!?! DAY-DAY What?! (as he looks at Roach) What that mean? ROACH I don't know. JOKER It means you Miyateas are staying with us. (to Baby Joker) Get the duct tape. (to Li'l Joker) You know what to do. Li'l Joker turns to the girls. LI'L JOKER Put your clothes back on. The scared Girls start to dress. EXT. JOKER'S HOUSE - NIGHT Karla backs up the rider and she's out. The Joker house looks quiet. Then the door opens and three Girls walk out. LI'L JOKER Sorry you gotta walk, but I'll call you tomorrow. The Girls take off down the street. The porch lights go out. INT. UNCLE ELROY'S HOUSE - CONTINUOUS Craig, Mr. Jones, Uncle Elroy, Suga and Miss Ho Kym are peeking out the window. CRAIG You see that? MR. JONES I saw it. UNCLE ELROY Me, too. You think they're in there? CRAIG Yup. MISS HO KYM Why for? Them boys are real player haters. CRAIG It's a long story. Right now we gotta do somethin'. MR. JONES You come way out here to get into more trouble. You could've stayed at home. UNCLE ELROY Willie, shut up. Yo' old ass need to get in a little bit o' trouble sometimes. MR. JONES (rolling up his sleeve) Don't get it twisted, Elroy. I ain't lost none of my street skills. SUGA If ya'll don't come back not in ten minutes, I'mma callin' the po'lice. Craig, Uncle Elroy and Mr. Jones are about to go on a mission. UNCLE ELROY Wait a minute. I gotta go get my shit. Uncle Elroy runs upstairs. INT. JOKER'S HOUSE - DEN - CONTINUOUS Li'l Joker is almost finished duct-taping Day-Day and Roach. Baby Joker holds the AK. Joker paces the floor. Day-Day and Roach try to make peace by singing an old "War" song. Day- Day is serious. DAY-DAY & ROACH 'Why can't we be friends? Why can't we be friends? Why can't we be friends? Why can't we be friends?'... DAY-DAY (still singing) 'I hope my cousin call the C.I.A.' Joker throws a BOTTLE against the wall. It SHATTERS into a million pieces. JOKER Shut the fuck up! The singing stops. JOKER (cont'd) If you don't tell me where my money is, I'mma show you how close we can get. DAY-DAY Money? Man, we came over here from some sugar and rolling papers. We was going to get high, and I was going to show this white boy how to make Kool-Aid. That's all. ROACH Hey, mister Joker, have a heart, bro. It's Friday. Joker walks over to Roach and kicks him in the mouth. JOKER I'm hearing a lot of talking, but I'm not hearing the right words. BABY JOKER Maybe the other guy took it. DAY-DAY Why would he take it? He don't even know you. JOKER (thinking) Shut up! Where's that other miyatea? EXT. JOKER'S HOUSE - CONTINUOUS Uncle Elroy catches up with Craig and Mr. Jones on the side of Joker's house. He has a big chrome .357 magnum. CRAIG That's a nice piece of heat right there. UNCLE ELROY Thank you. I only got two bullets in the mothafucka, but it's better than nothing. MR. JONES Two bullets? Yo' ass ain't changed. Back in the day, all I had was a stick. CRAIG Come on. They sneak over to the fence. UNCLE ELROY What about that ugly dog? MR. JONES I got my mase. CRAIG He's on the other side, sleep. They start to hop the fence. ON CHEECO ...starts to awake. He tries to stand up and stumbles back on his face. He lets out ANOTHER MOAN. ON CRAIG AND UNCLE ELROY Craig is over the fence. Mr. Jones is over But Uncle Elroy is having a little trouble. CRAIG (cont'd) Need some help? MR. JONES Need to lose some weight. UNCLE ELROY Shut yo' ass up. Uncle Elroy falls off the fence. UNCLE ELROY (cont'd) Damn. Craig & Mr. Jones helps him up. They creep over to the window - the shades are pulled down. CRAIG I'm not sure, but I think they're in this room. INT. JOKER'S HOUSE - DEN - CONTINUOUS Joker is getting tired of the games. And Day-Day is pleading for his life. JOKER Tape his mouth shut. DAY-DAY Joker, a man like yourself can do a lot for this community. By letting us go, you can improve black and brown relations. ROACH Yeah, brown and white relations, too. Day-Day looks at Roach. DAY-DAY Boy, you gonna get us killed. Li'l Joker grabs Day-Day and tapes his mouth shut. He does the same to Roach. JOKER I'm sick and tired of bullshitting with you guys. (in Spanish) Baby brother, go get the chainsaw. Baby Joker hands him the AK and he's gone. Day-Day and Roach look terrified. Everything has turned serious. INT. MR. JONES' DOG TRUCK - CONTINUOUS Debo and Ezal are still asleep. Debo wakes first. DEBO Ezal! Ezal! EZAL Huh? DEBO We must be here 'cause we stopped. EZAL Good, let's get out. They both try to get out. But it's no way to get out from the inside. DEBO Hey, how you get out of here. EZAL I don't know. They both start to go nuts on the door. OUTSIDE The dog truck is shaking like crazy. EXT. JOKER'S BACKYARD - CONTINUOUS Baby Joker walks out the back door. He stops in the middle of the yard. BABY JOKER Cheeco! Cheeco! Here, boy! No Cheeco. He continues to a shed in the back yard. He goes inside and picks up a chainsaw. On his way out the shed, he's slapped in the face with a "Big Ass Stick." Mr. Jones is working the handle. Baby Joker is out cold. Mr. Jones stands over him. MR. JONES Nigga, you got knock the fuck out. CRAIG Yeah, pops! UNCLE ELROY Damn, big bro. You swung that like Sammy Sosa. MR. JONES The skills are still intact. Now tie his ass up, Elroy. He does. INT. JOKER'S HOUSE - DEN - CONTINUOUS The terror continues. JOKER My little brother went out to get my chainsaw. I'mma show you what happens to fools who don't tell me what I wanna hear. You ever see Scarface, mothafucka? Day-Day starts to cry. Roach tries to scream through the tape. Joker turns to Li'l Joker. JOKER (cont'd) Go see what's taking him so long. Li'l Joker obeys. We FOLLOW Li'l Joker THROUGH the house and OUT the back door. EXT. JOKER'S BACKYARD - CONTINUOUS Li'l Joker stands at the back door. LI'L JOKER Junior?! Junior?! No answer. Suddenly he spots something over by the shed. It's Baby Joker all ties up. LI'L JOKER (cont'd) What the... He runs to the rescue. But right before he gets to him, Uncle Elroy jumps out the bushes and takes him. "Ronnie Lott Style." Mr. Jones steps in with the stick. Craig steps in with the rope, and it's over. Uncle Elroy's hurt. It's his back. UNCLE ELROY (in pain) My back. MR. JONES What's the matter? UNCLE ELROY I slip my disc, again... Oh got damn. Craig goes to assist Uncle Elroy. CRAIG Stretch it out. UNCLE ELROY Don't move me. INT. JOKER'S HOUSE - DEN - CONTINUOUS Joker is pissed. JOKER Where are these fucking guys? He storms out the room. Day-Day and Roach try to escape. They flap around on the ground like a fish out of water. EXT. JOKER'S BACKYARD - CONTINUOUS The back door flies open. Joker appears with the AK-47 in hand. He spots Uncle Elroy in the middle of the yard bent over. He lifts the AK. JOKER What you doing here? UNCLE ELROY I lost something, nigga. What it look like? JOKER Looks like a dead man. Out of nowhere, Craig hits Joker from the back. He flies one way and the gun flies another. Now it's really on! Hand-to- hand combat. Craig vs. Joker. Right vs. wrong. Good vs. evil. You know how it go. MR. JONES Go to the body, Craig! Go to the body! INT. JOKER'S HOUSE - DEN - CONTINUOUS Day-Day and Roach have made it a little further to the door, but they still look like fish searching for H2O. Uncle Elroy stumbles in. He grabs a knife and starts to cut them loose. UNCLE ELROY Boy, Day-Day, I'mma kick yo' ass for getting me into this mess and hurting my back! I moved out here to get away from this kinda shit! EXT. JOKER'S BACKYARD - CONTINUOUS Fight's still on. Craig is giving Joker the ass-whipping he deserves when Uncle Elroy, Day-Day and Roach reach the back porch. DAY-DAY Get 'em, Craig! ROACH Bite his ear! UNCLE ELROY What 'em! Watch 'em! Joker takes a few more shots from Craig, then grabs Craig around the waist and slams him to the ground. Craig is hurt. UNCLE ELROY (cont'd) Get off yo' back, Craig! Craig struggles with Joker, who now has the devil in his eyes. CRAIG Ya'll mothafuckas help me! Day-Day and Roach look at each other. They rush to Craig's aide. Joker spots them coming, he also spots the AK. In SLOW MOTION, Day-Day and Roach dive on Joker...at the same time Joker dives for the AK. Day-Day and Roach land on top of Craig and our trio try to hurry to their feet. But as soon as they get up, they're looking down the barrel of an AK- 47. JOKER (smiling) Say hello to my little friend. BOOM! Debo hits Joker from the back. Joker is out cold. DEBO No way, Jose. This one is mine. Ezal picks up the gun and hands it to Debo. DEBO (cont'd) Hi, Craig, remember me? Craig knows he can't fight a gun. Everybody is helpless. We can hear SIRENS getting CLOSER and CLOSER. Suddenly, out of nowhere... CHEECO! The pitbull is back! And he's mad as hell. He runs through everybody and jumps on Debo, knocking the gun from his hand. Craig and Day-Day jump on Debo. Roach WHISTLES, and Cheeco stops his attack on Debo. Cheeco runs over to Roach and jumps in his arms. Roach's being licked to death by the pitbull. DAY-DAY Finally you got a bitch, huh, Roach? ROACH He's a boy, dude. EXT. JOKER'S HOUSE - CONTINUOUS Out front, three sheriff cars swoop into the driveway. The cops jump out, guns drawn. EXT. JOKER'S BACKYARD - CONTINUOUS Debo and Ezal are tied up next to the Jokers. EZAL Mr. Jones, we was just playin'. He made me do it. Mr. Jones don't wanna hear it. Craig runs into the house. Uncle, Day-Day, Roach and Cheeco look at the five on the ground...it's over, or is it? SHERIFF #3 Freeze, Sheriff's Department! The SHERIFFS are on our heroes, guns drawn. UNCLE ELROY Wait a minute! I live across the street! SHERIFF LADY You do? UNCLE ELROY Yeah. Paid cash. DAY-DAY They the ones you want. EXT. UNCLE ELROY'S STREET - CONTINUOUS Red and Blue lights flash through the neighborhood. Everyone is out their door looking at the action. The suburbs is starting to look like the ghetto for real. Uncle Elroy is bent over. UNCLE ELROY When my back gets better I'mma beat the black off you, Day-Day. DAY-DAY I know. I'm sorry. UNCLE ELROY Sorry, my ass. Suga and Miss Ho Kym come running. SUGA Elroy, what happen? UNCLE ELROY I threw my back, again. SUGA Aw, no lovin' tonight? UNCLE ELROY Naw, baby, no lovin' tonight. SUGA Come on, baby, let's go in the house. UNCLE ELROY For what? We ain't gonna have no house after the auction tomorrow! Everyone is sad. ROACH Don't worry, bro, you, Suga, Day-Day and Craig can live with me and my parents. 'Til you get back on yo' feet. UNCLE ELROY Thanks, Roach, but I can't accept that. We're moving back to Watts where it's safe. DAY-DAY Where's Craig? UNCLE ELROY I don't know. MR. JONES That boy just don't never learn. EXT. JOKER'S HOUSE - CONTINUOUS Craig steps out of Joker's front door carrying the chrome hydraulic pump. CRAIG I love Fridays. He walks past the cops and crosses the street. ROACH There he go. MR. JONES What the hell is he carrying? DAY-DAY Property taxes, and a new candy-apple paint job. They greet Craig and all start to walk towards the house. INT. UNCLE ELROY'S STREET - NIGHT The "Jefferson's" theme song, "Movin' On Up," PLAYS on the TV. Uncle Elroy is face down on the floor looking at the TV. Miss Ho Kym walks on his back with her shoes off. He moans in pleasure. Mr. Jones eats chicken wings. MR. JONES Jump up and down on him. MISS HO KYM That's next. UNCLE ELROY Don't listen to him. How much we got? Suga is at the table counting money. She takes a few hundreds for herself. SUGA We got forty-seven thousand, three hundred and fifteen dollars. MR. JONES Good Lord. MISS HO KYM That's a whole lot of scrilla. UNCLE ELROY It's gonna feel good to pay my taxes. Craig is tending to his wounds. CRAIG You're welcome, Unc. DAY-DAY What about me? UNCLE ELROY You didn't do nothing. Roach and Cheeco are about to leave. He has a handful of money. ROACH Hey, guys, I'm outta here. DAY-DAY Thanks for the help. ROACH Hey, man, the pleasure's all mine. Thanks for the dog, and the money. Maybe my dad won't kick my ass tonight. DAY-DAY Call me. ROACH Okay, later, bro. Hey, Craig, nice smokin' wit'cha. CRAIG You too. MR. JONES Smokin' what? CRAIG Nothing. ROACH Later, Mr. Jones. Bye, Suga. ALL Bye, Roach. Roach is gone. Day-Day shuts the door. Miss Ho Kym is finished. She steps off of Uncle Elroy. MISS HO KYM All done. Stand up. Uncle Elroy gets up. He's better. UNCLE ELROY Hey, that George Jefferson shit works. Thanks, Miss Kym. Uncle Elroy walks over to the table and grabs a stack of hundred-dollar bills. He hands it to Miss Ho Kym. MISS HO KYM I can't accept. UNCLE ELROY You better take this money. She takes the money. MISS HO KYM (in Korean) Thank you. (in English) I can take a trip back to Korea now. Find a freak daddy, bring him back to America. Make 'em my bitch. SUGA You go, girl. Uncle Elroy helps Miss Ho Kym out the door. MR. JONES Well, we better hit the road, too. Craig, get your stuff. UNCLE ELROY Well, Craig, you're welcome anytime. Suga hugs Craig. SUGA Yeah, baby, it's a shame you leavin'. Aunt Suga gonna miss yo. And the others have to agree. DAY-DAY You sure you don't wanna stay? CRAIG Naw, I'm got live ghetto fabulous. make sure you get that car fixed. DAY-DAY I will. When can I come visit? CRAIG I don't know. Probably next Friday. They're out the door. EXT. UNCLE ELROY'S HOUSE - CONTINUOUS As we PULL BACK, all is well inside and outside Uncle Elroy's house. The suburbs are back to normal. They get in the car. Craig looks over at the Joker's house. ANGLE ON JOKER'S HOUSE Karla pulls up in the low-rider. They lock eyes and she blows him a kiss. He gives her a wink. They pull off. She goes in the house. CRAIG (V.O.) Well, all's well that ends well. Another Friday gone. Another problem solved. It's a trip to know that things can get crazy in the suburbs, too. I can't wait to get back home...to the peace and quiet streets of South Central. D'Wana's car pulls INTO FRAME. She stops in front of Uncle Elroy's house. Baby'D jumps out with a brick. She throws it through the back window of Day-Day's BMW. She jumps back in and they're gone... THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Next Three Days, The.txt b/unformated_scripts/Script_Next Three Days, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..0807b4cffd2220955c6f5130630949560cccc60c --- /dev/null +++ b/unformated_scripts/Script_Next Three Days, The.txt @@ -0,0 +1 @@ + THE NEXT THREE DAYS Written by Paul Haggis SHOOTING SCRIPT August 6, 2009 FADE IN:1 INT. SUV -- DAY 1 No sound. We are in a speeding SUV. The passenger, LARA, unsnaps her seat belt and reaches for the door handle. The driver, JOHN, sees her door open and dives to GRAB her. The SUV spins, HORNS BLARE, TIRES SCREECH, cars swerve to avoid collision. We aren't sure what is happening, but we know something has gone terribly wrong. Cut to BLACK. Read: THE LAST THREE YEARS2 INT. STEAK HOUSE -- NIGHT 2 Two couples sit at a table, picking at dessert, JOHN and LARA BRENNAN on one side, MICK and ERIT on the other. JOHN is attractive in a worn kind of way, but has the eyes of a kid with a discipline problem. You have to really know him to understand if he is mocking you or agreeing with you. He is a master of irony and has a true enjoyment of the absurd. LARA looks beautiful even in her wrinkled suit. She appears to have had a hard day at the office. She's been drinking at dinner; it hasn't eased her nerves. John's good-looking brother, MICK, boasts his blue collar roots and a gorgeous, if slightly trashy, girlfriend, ERIT, who isn't ashamed of her body or sharing her opinions. JOHN and MICK are laughing. Lara puts cash on the tray beside Mick's credit card. LARA You know what? If you were smart you would stop talking right now. ERIT Sue me. I just know that women should never work for women. John laughs and applauds. Mick buries his head. LARA How can you say that?? ERIT They're always threatened. Especially if you're beautiful and they're not. LARA Erit, you are so full of shit. ERIT So, your boss isn't threatened by you? (CONTINUED) 2.2 CONTINUED: 2 LARA Because she's a bitch! -- (as John and Mick laugh) --Not because she's a woman. ERIT And you would describe her as "attractive"? LARA That has nothing to do with it! ERIT And there is my answer. JOHN Either of you like another drink? Lara shoots John a burning look as Erit builds on her victory. ERIT Women should work under men, men under women. That's it. JOHN (egging her on) But men under men? ERIT That's fine, too. (the men burst into laughter) They're used to it! Why are you laughing? MICK (re: Erit) I don't know, bro, but I think I'd rather work under you than her. ERIT (insulted, shoots back) Oh please, I'd rather work under him, too. That was a dig at Mick but Lara is primed for a fight. LARA You'd rather "work under" John? ERIT You have a problem with that, too? (CONTINUED) 3.2 CONTINUED: (2) 2 LARA No, why would I have a problem with your little sexual innuendo? ERIT What is up your ass tonight?? Mick throws John a "This is all your fault and now it is going to explode" look. John feigns complete innocence. LARA So, I shouldn't take offense that you're coming on to my husband right in front of me. ERIT (claws out now) Lara, if I wanted your husband I would have him. LARA How? You couldn't possibly show him more of your tits. The men are on their feet before blows are exchanged. ERIT -- You know what your problem is?! JOHN MICK That was a great meal! Okay--okay!3 EXT. STEAK HOUSE PARKING LOT -- NIGHT 3 Mick and Erit head toward Mick's sporty pickup. John and Lara step into foreground, Lara still fuming. JOHN She is completely full of shit. LARA DON'T try and agree with me now. JOHN You know what? I don't even believe she is in the dental profession. Lara knows this game; he is trying to get her out of her black mood, and she has no intention of letting him. LARA Shut up. (CONTINUED) 4.3 CONTINUED: 3 JOHN I bet she can't even spell anesthesiologist. Woman's a complete fraud. LARA We went to her office party, idiot. JOHN I think she hit on me that night, too. Lara opens the back door of their black Prius and tosses in the raincoat she was carrying. They climb in, under.... LARA You are completely delusional. She wasn't even hitting on you in there; I just don't like her. JOHN I understand. People who look like that should not be allowed anywhere near oral surgery. She feels a smile coming to her lips and tries to force it away. LARA You are such an asshole. JOHN You're in the chair trying to stay calm; how are you supposed to do that with those things hanging over your-- She can't stand how attractive he is in this moment -- she stops him short by kissing him passionately. His hands slip under her blouse; she tugs at his sweater. JOHN (CONT'D) Someone's going to -- Her hand goes to his pants. He yanks at the seat lever and it goes crashing back, Lara landing atop him. After a moment he sits up quickly and pushes down the visors. She laughs and kisses him and they disappear into each other.4 INT. BRENNAN HOUSE - BACK DOOR -- NIGHT 4 Lara and John enter, Lara carrying her raincoat, her hair sticking up in the back, John's shirt untucked. (CONTINUED) WHITE 9-10-09 5.4 CONTINUED: 4 LARA Hello! JENNA, the teenage baby-sitter, sees right through them. LARA (CONT'D) Did he cry? JENNA Only when I dropped him down the stairs. Lara shoots her a look, hangs up her coat and exits upstairs.5 INT. BRENNAN HOUSE - UPSTAIRS HALLWAY 5 She peeks in her son's room, sees him sleeping soundly.6 INT. BRENNAN HOUSE - FOYER 6 Lara comes down to find John paying Jenna. John nods for her to check the mirror. She tugs at the knot in her hair. JOHN Thanks. See you next weekend. Jenna exits. Lara shows him that his sweater is inside out. John reacts: "Oh God." Lara's smile broadens; she kisses him. He pins her to the wall and they start all over again. He feels for the light switch. He finds it; we cut to BLACK.7 INT. JOHN AND LARA'S BEDROOM -- NIGHT 7 Lara wakes, troubled. It's the middle of the night.8 INT. LUKE'S ROOM -- NIGHT 8 Lara finds Luke's window closed but unlocked. She locks it and looks out. Satisfied, she sits and watches her son sleep.9 INT. KITCHEN -- MORNING 9 Three year-old LUKE holds a knife and fork as he sits at the table watching his dad cut up his pancakes. JOHN Okay, your turn. Luke skewers a piece with his fork. Lara passes, hustling to get to work. JOHN (CONT'D) Very good, very good... (CONTINUED) 6.9 CONTINUED: 9 Luke puts it in his mouth. JOHN (CONT'D) No, no, no; you feed me. (to Lara) Your son is hopeless. Lara grabs her phone and leans over them to take a photo. LARA Squeeze in tight. JOHN You can't do this every morning. It is way too corny. LARA Smile. It's just until he's eighteen. It flashes. Lara kisses John, puts an alien-looking electric toothbrush on the table & walks off to pour coffee to go. LARA (CONT'D) Present. JOHN (examining it) Sweetie, you have to stop believing everything you read in a catalogue. LARA You hate brushing your teeth; this one brushes them in thirty seconds. JOHN (as if stung) I love brushing my teeth. (to Luke) The lies your mother tells. LARA (ignoring him) When's your last class? JOHN Three, and I have papers to grade. Can you pick up Luke? LARA After yesterday I probably don't have a job anyway. Do you think it was wrong to call her a useless cow? (CONTINUED) 7.9 CONTINUED: (2) 9 JOHN Bosses admire that kind of frank exchange. LARA (pulls note off fridge) Did you call your father? JOHN When? LARA (heading for bathroom) "When?" Yesterday, for his birthday!10 INT. BRENNAN HOUSE - BATHROOM 10 Lara puts her foot up and jabs herself with insulin. JOHN (O.S.) I sent him flowers and a handmade card. LARA You're completely impossible. JOHN (O.S.) Did you notice what I got for my birthday this year? A grunt.11 INT. BRENNAN HOUSE - KITCHEN 11 JOHN Mom said Happy Birthday and my father went . Made me tear up. Lara returns, trying hard not to smile. LARA Ever think that someone has to be the bigger person here? JOHN (to Luke) Remember this for the custody hearing: how Mommy is always scolding Daddy. LARA How are you going to feel if Luke grows up and doesn't call you? Lara can't keep a straight face and heads to the foyer. (CONTINUED) 8.11 CONTINUED: 11 JOHN Now she's driving a wedge between us. LARA I give up. JOHN And now she is abandoning you. Lara grabs her raincoat and notices a stain on the back shoulder. Irritated, she heads back to the bathroom.12 INT. BRENNAN HOUSE - DOWNSTAIRS BATHROOM 12 Lara rinses the stain under the sink, surprised to see it run red. She looks at her hands: blood. The doorbell rings.13 INT. BRENNAN HOUSE - KITCHEN 13 John rises to answer the door.14 INT. BRENNAN HOUSE - DOWNSTAIRS BATHROOM 14 Lara looks at her coat, wonders how the hell she got blood on her shoulder. She rubs liquid soap into it.15 INT. BRENNAN HOUSE - FOYER 15 As John opens the door, DETECTIVE QUINN shows his badge. DETECTIVE COLLERO and a team of detectives push past. John has no time to react. DETECTIVE QUINN Police. Mr. Brennan? LUKE sees the police rush past him and gets scared. DETECTIVE QUINN (CONT'D) My name is Detective Quinn. This is a search warrant for these premises. John hears Luke cry and instinctively heads inside. DETECTIVE QUINN (CONT'D) (stops him) Stay where you are. JOHN Get your -- DETECTIVE QUINN Touch me again and you'll be arrested. 9.16 INT. BRENNAN HOUSE - DOWN THE HALL 16 Lara steps from the bathroom and is met by Detective Collero. She sees the coat with the water spot; nods to a team member, who takes it and bags it under: DETECTIVE COLLERO Lara Brennan? LARA WHAT?! DETECTIVE COLLERO Lara Brennan, you are under arrest for the murder of Elizabeth Gesas. She takes her wrist and professionally turns and cuffs her. LARA She's dead?? Elizabeth is dead??17 INT. BRENNAN HOUSE - FOYER 17 JOHN (tries to push past) She didn't do anything! DETECTIVE QUINN I will only -- JOHN (tries again) She didn't do anything! DETECTIVE QUINN Put him in cuffs. The uniform pushes him up against the wall and cuffs his wrists. John watches as his child cries, his wife is led out in handcuffs and the house is torn apart. Cut to BLACK.18 INT. BRENNAN HOUSE -- NIGHT 18 LUKE (O.S.) Daddy!... DADDY!! A light comes on. John steps out of his bedroom and enters his son's room. JOHN (O.S.) It's okay. Just a bad dream. He comes back out carrying Luke, now SIX YEARS-OLD. 10.19 INT. JOHN'S BEDROOM -- NIGHT 19 John lays Luke on the bed and climbs in beside him. JOHN You okay? Luke nods. JOHN (CONT'D) Okay, you can sleep here as long as you stay on this side of the bed. Luke immediately scrambles over his father to take his side. JOHN (CONT'D) You're such a snake, I don't know why I keep falling for the same trick. John kisses Luke, who closes his eyes and snuggles his pillow. John reaches for the lamp. Beside it sits the framed photo that Lara snapped of the three of them that fateful morning. He switches off the lamp, and the screen goes BLACK.20 EXT. PITTSBURGH -- DAY 20 The "T," the city's fast-moving trolley, rises up from underground and we CRANE UP to see the city. JOHN (O.S.) But Sam's your friend, right?21 EXT. ALLEGHENY COUNTY JAIL -- DAY 21 Tilt down from a passing T-Train to find John and Luke, walking toward the huge, modern Allegheny County Jail. LUKE Not at lunch. JOHN Does he take your food? LUKE No. JOHN Did he say something mean? (Luke nods) About Mommy? (CONTINUED) 11.21 CONTINUED: 21 LUKE Yeah. JOHN Did you hit him? LUKE Yeah. JOHN Good. Where did you hit him? LUKE Near the swings. JOHN Wow. I bet that hurt. LUKE Yeah.22 INT. COUNTY JAIL - ENTRY HALL -- DAY 22 - John waits in a long line, mostly women. He glances over at the pleasant and colorful play area in the corner and sees children playing. Luke plays by himself. - John puts his key ring in a plastic container. The guard takes it and puts the keys with other visitors' belongings. John guides his son toward the metal detector. Luke walks through and the buzzer goes off. John instinctively moves forward to help. A guard stops him with a hand on his chest. On the other side of the metal detector another guard runs a wand over Luke, pulls something from his pocket, looks at it curiously. JOHN It's a toy! The guard runs the wand over the child again; no screech. The guard waves John through. No beep. John kneels and pulls on Luke's jacket. JOHN (CONT'D) Don't worry. We'll get it back.23 INT. COUNTY JAIL - CORRIDOR -- DAY 23 They walk along the hall with all the other visitors. 12.24 INT. COUNTY JAIL - CONTACT VISITING ROOM -- DAY 24 John stares out the window at the city beyond. Life seems so close. He looks back into the large communal visiting room; a dozen round tables and plastic chairs. The concrete block walls are covered with naive paintings in bright colors and messages of hope. Luke plays at his feet with a basket of Legos. The door at the far side buzzes, a guard opens it and prisoners in red jump-suits marked VISITING ROOM enter. Lara enters and looks around. She is pale, thin and her hair has returned to its natural color. Lara hurries to him and gives him a real kiss. She breaks and steps to Luke, who plays with his back to her. LARA Hi honey. Can Mommy get a kiss? (no response. Tickles him) Come on, give Mommy a kiss. JOHN Rat-Bag. Give Mommy a kiss. He gives her a peck on the cheek and goes back to his Legos. LARA Is Daddy reading you my letters? JOHN Every night at bedtime. LARA What are you building? A fort? Lara pulls him into a hug; no response. She kisses his head and sits at the table with John. She squeezes his hand. LARA (CONT'D) Was he scared going to school? JOHN I walked him to class, gave him a kiss; he didn't even look back to wave. LARA What did you make him for lunch? (CONTINUED) 13.24 CONTINUED: 24 JOHN Turkey sandwich, just butter and bread, no "vegetables" on it. He swore he ate his apple. He hands her a pack of photos. Lara devours them. LARA Look at his friends. And his desk. This is his teacher? JOHN Miss Phillips. LARA You may have to move to another school district. JOHN Already spoke to a realtor. LARA (still looking at photos) How was your first day? JOHN Excellent. Over half my class stayed awake. Talked to your mom. LARA When is she coming? JOHN She's having a lot of trouble with her business. LARA It's only been a couple of years, I'm sure she'll get around to it. (beat) Have you heard anything? JOHN About the appeal? Yes, and I'm just not telling you. What did Meyer say? LARA --Don't-- JOHN -- It can take months for the court to rule. (CONTINUED) 14.24 CONTINUED: (2) 24 LARA I saw that woman. She was there. She couldn't have just disappeared. JOHN Meyer's looking for a new investigator. LARA Her coat snagged my purse, I felt a button pop - they must have been blind not to find it. JOHN He'll go through all the evidence again. LARA Great, because I haven't quite bankrupted us yet. JOHN We're doing fine. LARA (fondly) You just lie and lie. (strokes his face) But you are very handsome. (admiring him) Can you do me a favor? JOHN I don't know, I'm a little busy. LARA I need you to run for governor. JOHN -- Oh, that I can do. LARA You can change this rule about no conjugal visits, because I don't think I can last another twenty years. She smiles but is already traveling toward a dark place. He reaches out and holds her tight, stroking her back. LARA (CONT'D) I'm okay. I'm okay. (CONTINUED) 15.24 CONTINUED: (3) 24 JOHN I know. But it's going to be fine. I promise. She just stares at Luke, his back to them, playing. LARA You think he'll ever want to kiss me again?25 INT. COUNTY JAIL - CONTACT VISITING ROOM -- LATER 25 The prisoners file out and are patted down. Lara turns and blows Luke and John a kiss. They watch with the other visitors, who all stand on the far side of the room.26 INT. COUNTY JAIL - CHANGING ROOM -- MOMENTS LATER 26 Lara and the female inmates pull off their visiting jump- suits and hand them to a female guard, who searches them for contraband. Lara retrieves her regular jump-suit and pulls it on over her underwear. Another small, daily humiliation.27 INT. JOHN'S BATHROOM -- NIGHT 27 Start VERY CLOSE ON JOHN'S DIGITAL WATCH. Widen to see Luke standing on a low step at the sink in his pajamas using a complicated-looking electric toothbrush. John sits on the toilet, staring at his watch. JOHN Twenty-eight, twenty-nine, thirty. Luke puts it down and checks his teeth in the mirror. JOHN (CONT'D) Good? Luke nods.28 EXT. BRENNAN HOUSE - GARAGE AND ALLEY -- MORNING 28 The garage door opens; the Prius has a lot more miles on it. John backs out, Luke in his child seat. He brakes and finds PAULA, the woman who lives behind them, at his window. PAULA How's Lara? JOHN She's doing okay. (CONTINUED) 16.28 CONTINUED: 28 PAULA Tell her we're pulling for her. JOHN I will. She holds up a plastic water bottle. PAULA They won't recycle these unless you take off the cap. (cap vs. bottle) This is trash. This is recyclable. JOHN Ok. Thanks. John drives off, wondering what kind of world he lives in.29 EXT. PARK -- DAY 29 Sitting on the park bench, John allows his feelings to wash over his face. He watches Luke play with a girl his age. JOHN Luke! Let's go, Toad. Come on. Luke runs to him. John pulls Luke's jacket on. He doesn't notice the young mother on the next bench, NICOLE, watching him admiringly. She calls to the girl Luke was playing with. NICOLE Time to go, Carrie! John glances in time to see CARRIE plop down in the sand, arms folded. He shares a sympathetic smile with Nicole, who heads to retrieve her daughter. John walks off with Luke.30 INT. CRIMINAL COURTHOUSE -- DAY 30 John waits as a courtroom lets out. MEYER FISK steps out with a young associate. He spots John and approaches. MEYER John, I said my office at four o'clock. I can't leave, I'm in -- JOHN (holds up a Subway bag) I figured you had to eat. Meyer relents, turns and calls to his associate. (CONTINUED) 17.30 CONTINUED: 30 MEYER Do you have the ruling in Brennan? She kneels and digs through her rolling briefcase.31 INT. COURTROOM -- A SHORT TIME LATER 31 John sits on a bench, pale and shaken, flipping through the ruling. The courtroom is empty, save a bailiff eating at his desk. During this he gets up and walks out past them. JOHN But what if we find the woman who was leaving the parking lot? MEYER The PCRA was rejected. No new evidence can be submitted. Not anymore. JOHN It was a robbery! Someone stole her purse! MEYER And if they'd used her credit cards we would have had something to argue. I'm sorry; this really...sucks. John offers a smile at Meyer's unlawyer-like choice of words. JOHN So, that's it. Now we just have the Supreme Court. MEYER John, in the last thirty years, the Supreme Court hasn't heard one murder case. No decent lawyer would even file the pleadings. JOHN So, I need to find an indecent one? MEYER No, I'm going to file it. But I need you to do something for me. JOHN Anything. (CONTINUED) 18.31 CONTINUED: 31 MEYER I need you to look at the evidence and just forget Lara is your wife. JOHN (stopped by that) I've seen the evidence, Meyer. MEYER I'm not saying judge her innocent or guilty, I'm just saying look at it. He co-worker sees her leaving the scene, she has the victim's blood on her clothes, her fingerprints on the murder weapon-- JOHN (is this a bad joke?) We went out for dinner! How do you do that after you kill somebody? She would have to be a psychopath! MEYER -- And the fight in the office. JOHN Everyone fights with their boss! MEYER But this one ended up dead. John looks at Meyer anew, feeling profoundly betrayed. JOHN So, you never believed she was innocent? MEYER How can you say that? JOHN So, what are you saying, Meyer?! MEYER That it no longer matters what we believe; Lara's not getting out. And you have no idea how much I hate saying that. JOHN (exiting) I'll find someone to file the pleadings. (CONTINUED) 19.31 CONTINUED: (2) 31 MEYER John! Come on! For Christ's sake. JOHN!! John is long gone. Meyer hurls his sandwich into the trash.32 INT. COUNTY JAIL - VISITING BOOTHS -- DAY 32 John waits alone on the visitors' side of the glass. The door opens, and Lara steps up on the other side. John smiles and picks up the phone, but Lara sees something in his face and doesn't pick up her phone, just stares at him. John fights to keep his smile and nods for her to pick up her phone -- but now she can see the verdict chiseled on his face. Lara gasps and cries inconsolably. John keeps the smile plastered on his face, but now tears run down his cheeks. He taps on the glass and points at her phone, but she doesn't respond. He taps harder and harder -- desperately wanting to comfort her, but she won't allow it. He bangs on the glass with his fist, drawing the attention of the guard on his side. Lara turns and exits. John stands and yells her name, but she can't hear it, and neither can we.33 EXT. GRACE AND GEORGE'S HOUSE -- DAY 33 We're in an old working class neighborhood. John sits in his car, trying to pull himself together.34 INT. GRACE AND GEORGE'S HOUSE -- DAY 34 MICK opens the door. GRACE, their mother, looks up from clearing the lunch dishes. John's face tells them everything they need to know. Mick slams his fist against the door. In the back yard with Luke, GEORGE, John's father turns to see Grace tearfully embrace John. George looks away, uncomfortable, and distracts Luke's attention.35 EXT. GRACE AND GEORGE'S HOUSE - BACK YARD -- LATE AFTERNOON 35 John, Mick and Grace sit in the worn wicker chairs on the back porch. Erit steps out with beers to replace their empties. She sits and they stare off, watching Luke and George play with the dog. After a moment Erit looks to John: ERIT I know you won't want to hear this... (CONTINUED) 20.35 CONTINUED: 35 MICK -- Erit, go put somebody to sleep. She stares unbelieving, then walks off in a huff. JOHN Thanks. MICK Had to be done. (long beat) I am really going to pay for that. John has to smile.36 EXT. THE HILL DISTRICT -- NIGHT (DUSK) 36 John drives through a rough part of town on their way home. He stops at a light and notes the dealers on the corner. A flashy car pulls up, hands are slapped; call the driver DAVID. He takes a roll of cash from the dealer, looks around, catches John staring. John looks away quickly and drives off.37 INT. JOHN'S BEDROOM -- NIGHT 37 John sits at his desk, surrounded by boxes of documents and photographs. As John sifts through the evidence...38 INT. LARA'S OFFICE - THE PAST -- NIGHT 38 Lara and her boss ELIZABETH argue loudly.39 EXT. PARKING GARAGE - THE PAST -- NIGHT 39 It's RAINING outside. ELIZABETH stands at her car door in a small, partially covered garage -- maybe a dozen spots. She turns toward camera -- A FIRE EXTINGUISHER comes right at camera, making a terrible impact and ELIZABETH collapses to the floor.40 EXT. PARKING GARAGE - THE PAST -- NIGHT 40 Lara turns, holding the fire extinguisher.41 INT. JOHN'S BEDROOM -- CONTINUOUS 41 As he flips through a handwritten witness statement. 21.42 EXT. PARKING LOT - THE PAST -- NIGHT 42 Lara's car speeds out of the parking lot. A male co-worker steps out of the rain just as her car passes. He stops as he sees ELIZABETH'S BODY lying beside her car.43 INT. BRENNAN HOUSE - BATHROOM - THE PAST -- DAY 43 Lara tries to scrub the blood off of her coat.44 INT. JOHN'S BEDROOM -- NIGHT 44 The phone beside him SHRIEKS. John picks it up.45 EXT. UNIVERSITY HOSPITAL - EMERGENCY ENTRANCE -- NIGHT 45 It's late; prime time for the ER. John runs in.46 INT. UNIVERSITY HOSPITAL - SEVENTH FLOOR -- NIGHT 46 John enters breathlessly and finds the Nurses' Station. JOHN Lara Brennan; my wife. She was sent up here. Brennan. B-R- DUTY NURSE (finds name in roster) She can't have visitors. JOHN That's ridiculous; I have to see her. DUTY NURSE I'm sorry. John turns away and heads down the corridor to find her himself. The Duty Nurse sees this and takes off after him: DUTY NURSE (CONT'D) You can't go down there! John shoves open a door, moves on to the next. DUTY NURSE (CONT'D) You can't be in here!! JOHN Lara! (CONTINUED) 22.46 CONTINUED: 46 HOSPITAL SECURITY GUARD #1 (running up) I got him! JOHN Lara! A long-haired doctor, BECSEY, steps into his path. DR. BECSEY What's going on?! JOHN My wife attempted suicide. HOSPITAL GUARD 1 DUTY NURSE Let's go. (hands doctor chart) She's not allowed visitors. JOHN I have to see her! DR. BECSEY Why isn't she in the ER? HOSPITAL GUARD 1 DUTY NURSE I'm not asking. Now. She's a transfer from County Jail. JOHN Please. Two minutes. Becsey is not unmoved. He shares a look with the nurse.47 INT. UNIVERSITY HOSPITAL - PRIVATE ROOM -- NIGHT 47 DR. Becsey opens the door for John. Note a prison guard standing outside. DR. BECSEY Two minutes. Becsey leaves. A uniformed female prison guard looks up from her magazine and keeps her eyes on John. He looks to his wife, who's attached to an I.V. and monitors, pale and weak, her arm bandaged where she cut it open along the artery. Lara opens her heavy eyelids and John glimpses something terrible in her eyes: she's tortured to be alive. He kneels beside her and puts a hand on the bed. She takes his little finger, wraps her fingers around it. WHITE 9-10-09 23.48 EXT. BRENNAN HOUSE - FRONT PORCH -- NIGHT 48 John opens the door to let Jenna out; she looks considerably older. JENNA I'm sorry. He just keeps pretending he's asleep. JOHN (reaching for his wallet) Don't worry about it. JENNA It's okay. JOHN I insist. I kept you out on a school night. JENNA I'm not in school anymore. She offers a sad smile and leaves without the cash.49 INT. JOHN'S BEDROOM -- NIGHT 49 Luke lies in the crook of his father's arm, his own arms full of penguins, turtles, a black dog and an opossum. John reads him a letter, the yellow envelope open on the bed. JOHN And give a big hug to Pengui, Little Pengui, Big Turtley, Little Turtley, Kiki and Opossumy. Lots and lots of love, Mommy. (beat) You gonna give them hugs from her? (no response) Should we write her back? LUKE ...When is she coming home? JOHN Soon honey. Soon. LUKE (thinks for a moment, then:) Can I have a quarter? JOHN Can you have a quarter? (CONTINUED) 24.49 CONTINUED: 49 Luke points at the glass coin dish on night stand. JOHN (CONT'D) Ohhh. Sure, but you can't spend those. They come from the cottage where Mommy and I used to take you when you were a baby. LUKE Then can I have them all? JOHN ...Sure. He hands Luke the jar, and hoists up him and his animals.50 INT. LUKE'S ROOM -- NIGHT 50 Luke sets the coin jar on his nightstand. John tucks him in with his animals, then switches off the lamp. John looks back before closing it and watches Luke lie awake, staring at the jar, lost in confused thoughts of his mother.51 INT. BRENNAN HOUSE - KITCHEN -- NIGHT 51 Dirty dishes piled in the sink, John unloads the dishwasher. He finds the handle has cracked off Luke's favorite mug. He places the cup and handle on the counter, opens a drawer crammed with tools and screws and tape and such. He rummages through it. Not finding what he is looking for, he pulls handfuls of junk out of the drawer and slams it all down on the counter. The harder he searches the more he becomes frustrated, until he slams the drawer and leans on the counter, feeling destroyed and needy. And then a female hand appears beside him, opens another drawer and reaches in. John stares at the hand, afraid to move, afraid to look up. The hand finds a tube of glue, places it on the counter and moves away. John turns to see LARA walking away. She turns, smiling and shaking her head, and disappears into the dining room. Stunned, John looks down at the glue on the counter, then suddenly pushes away and rushes into the dining room. No sign of her. And she isn't in the living room. He bolts into the foyer and finds the front door slightly ajar. He flings it open...52 EXT. BRENNAN HOUSE -- NIGHT 52 John rushes out into the street, looking up and down for her -- finally realizing she was never there. (CONTINUED) 25.52 CONTINUED: 52 He stands in the middle of the street, now searching for some way to survive.53 INT. COMMUNITY COLLEGE - JOHN'S CLASSROOM -- DAY 53 Don Quixote is written on the chalkboard. JOHN So, what is it about? Julie? JULIE That belief in someone's virtue is more important than virtue itself? JOHN No. I mean, yes, that's in there. But what is it about? No takers. JOHN (CONT'D) It is about how rational thought destroys the soul. It is about the triumph of irrationality, and the power that is in it.54 INT. COMMUNITY COLLEGE - LIBRARY -- DAY 54 John drops an armload of books into a library cart, each having something to do with prison or prison life. He sits at a table at the back, flipping through them one at a time and discards each in turn. As the shadows grow longer we find him staring at the computer screen linked to the school system. ON THE SCREEN: a book summary disappears, to be replaced by the school search engine -- many of the items have already been inspected. John finds one that reads "Over The Walls." He clicks on the link and the title page appears. The author is DAMON PENNINGTON. There's a photo of him. The caption reads that he LIVES IN BROOKLYN, NY.55 EXT. BROOKLYN, NEW YORK - STREET -- DAY 55 John gets out of a cab and heads into a local dive bar.56 INT. BAR -- DAY 56 A couple of guys at the bar yell at the dog race on the TV screen. DAMON hands John a beer and nods toward a table. (CONTINUED) 26.56 CONTINUED: 56 JOHN It's a course that investigates what drives men to be free, no matter the cost. DAMON Somebody else had dibs on Papillon? JOHN You escaped from jail seven times. Damon lights a cigarette. A TOUGH GUY nearby objects. TOUGH GUY No smoking!! DAMON Yeah, who would want to cut short your precious life? Damon takes a deep drag. JOHN Mind if I tape you? DAMON Go for it, it can't be used as evidence. What do you want to know? John sets up the small digital recorder. JOHN How you escaped when no one else could. DAMON Balls and a little luck. (beat) No prison in the world is airtight. Each one has a key. You have to find it. JOHN How do you do that? DAMON A lot of looking. Especially at things that break the daily routine. Guards get comfortable doing the same thing every day. Something happens where they have to think, adapt. (MORE) (CONTINUED) 27.56 CONTINUED: (2) 56 DAMON (CONT'D) That's when they will make mistakes. But when you see it you have to be ready. You have to have the entire plan already in place before you even know how you are going to get out of the jail. Escaping is easy; the hardest part is staying free.57 INT. JOHN'S BEDROOM -- NIGHT 57 The tape recorder plays Damon's voice; John tears large sheets of art paper from a pad and tacks them to his bedroom wall. DAMON (O.S.) You have to know where you are going to go and how you are going to get there. You have to know how they plan to catch you, where, and when. JOHN (O.S.) How the hell do you know that? He starts to write on the paper with a large felt marker. DAMON (O.S.) You pay off someone who knows. And a lot depends on if the prison is in the country or the city.58 INT. BAR -- DAY 58 JOHN The city. That came out too quickly. Damon now understands. John sits, silent, knowing he blew it. Damon takes his time. DAMON Where are you from? JOHN ...Pittsburgh. DAMON Pittsburgh is tough; so many bridges and tunnels they can block off.59 INT. JOHN'S BEDROOM -- NIGHT 59 The art paper bunches and rips under the pressure of the marker. John tears it off the wall. (CONTINUED) 28.59 CONTINUED: 59 DAMON (O.S.) From the time they make the call, the police can have the center of the city sealed tight in fifteen minutes.60 INT. BAR -- DAY 60 JOHN How can they be so exact? DAMON After 9-11 Homeland Security made every city have a lock-down plan -- downtown Pittsburgh, Philly, Boston, Minneapolis -- fifteen minutes. They can do DC in under ten.61 INT. JOHN'S BEDROOM -- NIGHT 61 John draws a circle on the wall and writes in it: 15 MINUTES -- DAMON (O.S.) Within thirty-five minutes they will have cops at every tollbooth on the interstate -- -- Surrounds it by a larger circle: 35 MINUTES.62 INT. BAR -- DAY 62 DAMON And be running rolling stops on the secondary roads. They won't have your photograph yet, but they will have your description.63 INT. JOHN'S BEDROOM -- NIGHT 63 He draws spokes out from the circles. JOHN (O.S.) What if you can't make it out?64 INT. BAR -- DAY 64 JOHN Thirty-five minutes isn't a lot of time. DAMON Then surrender. (MORE) (CONTINUED) 29.64 CONTINUED: 64 DAMON (CONT'D) Because they will shoot you on sight, along with anyone you are with.65 INT. JOHN'S BEDROOM -- NIGHT 65 John writes DESCRIPTION at the end of one spoke. DAMON (O.S.) Stay far away from the train and bus stations.66 INT. BAR -- DAY 66 DAMON Forget the local airports. Leave from another state.67 INT. JOHN'S BEDROOM -- NIGHT 67 John scribbles key words on the wall. DISTANT AIRPORT.68 INT. BAR -- DAY 68 DAMON Second: identity. It's easy to find fake papers, harder to find ones that will get you through an airport.69 INT. JOHN'S BEDROOM -- NIGHT 69 John writes "IDENTITIES." DAMON (O.S.) You'll need a passport, driver's license and a social security number.70 INT. BAR -- DAY 70 DAMON If you have to rent a car, find a place that will take a cash deposit. They'll still run a credit check, so use a real person's name on the ID. (beat) Third: destination.71 INT. JOHN'S BEDROOM -- NIGHT 71 John writes furiously on the wall. "DESTINATION." (CONTINUED) 30.71 CONTINUED: 71 DAMON (O.S.) You want somewhere that doesn't attract American tourists and doesn't get American newspapers. Think Yemen and you get the idea.72 INT. BAR -- DAY 72 DAMON Then money.73 INT. JOHN'S BEDROOM -- NIGHT 73 John's writes "MONEY." DAMON (O.S.) You need a truck load of it. Everything's expensive: hotels, travel, information.74 INT. BAR -- DAY 74 JOHN How much? DAMON Enough to last at least five-six years. Run out of money and you run out of friends.75 INT. JOHN'S BEDROOM -- NIGHT 75 John underlines "MONEY."76 INT. BAR -- DAY 76 John is starting to understand the enormity of this undertaking. DAMON But before you do anything, you have to ask yourself if you can do it. Can you forget about ever seeing your parents again. Can you kill a guard, leave your kid at a gas station, push a nice old lady to the ground because she is between you and the door? Because to do this thing, that's who you have to become. And if you can't, don't start, because you'll just get someone killed. 31.77 INT. JOHN'S BEDROOM -- NIGHT 77 John backs away from the wall to see it covered in a spiderweb of notes. JOHN (O.S.) How did you get caught?78 INT. BAR -- DAY 78 DAMON I gave myself up. I couldn't take wondering when someone was going to come through the bedroom door. (beat) Got what you need? JOHN Yeah. DAMON What do you have in your pocket? John opens his billfold. Damon takes the cash, leaves him a twenty. 79 INT. JOHN'S BEDROOM -- NIGHT 79 On the wall we see the massive diagram John has created. The screen goes BLACK. Read: THE LAST THREE MONTHS80 EXT. T-TRAIN -- DAY 80 The train crosses a bridge.81 INT. T-TRAIN -- CONTINUOUS 81 John rides, looking down at the river below.82 INT. COUNTY JAIL - ENTRY HALL -- DAY 82 John steps through the puffer (the machine that detects drugs) and into the secure area. He makes a mental note of everything he sees: the number of guards, cameras, etc.83 EXT. COUNTY JAIL - DELIVERY AREA -- DAY 83 John sits in his car on the road above, surreptitiously taking pictures of the vehicles coming and going from the prison. 32.84 INT. JOHN'S BEDROOM -- NIGHT 84 He tapes the photos to the wall.85 INT. COUNTY JAIL -- DAY 85 Walking down a corridor with the other visitors, John steps in a puddle of water. Behind him the others notice and step around it. Moving on, they pass a trustee on a ladder pulling a water-stained ceiling tile away as two guards watch.86 INT. JOHN'S BEDROOM -- NIGHT 86 John traces a route on a map with a highlighter.87 INT. JOHN'S BEDROOM -- DAY (NEW DAY) 87 The wall grows thick with photos and notes.88 INT. CLASSROOM -- NEW DAY 88 He reads an article on his computer -- about illegal aliens and fake ID's.89 INT. JOHN'S BEDROOM -- NIGHT 89 John enters his bedroom and closes the door. We see how dramatically his plan has evolved on the wall as every inch is covered in notes, photos, maps, and various writings. He studies it as he bites into a sandwich.90 INT. COUNTY JAIL - CORRIDOR -- DAY 90 John and Luke walk near the front of the group of visitors toward the visitation rooms. Just ahead he notices a guard using a key to call the elevator. John stops near the elevator and kneels, pulling one of Luke's shoelaces loose. LUKE It was already tied. John reties the lace as the group moves on. He keeps one eye on the elevator. The door opens and the guard steps in - and John notices two WORKMEN in hardhats inside. The elevator closes, the shoelace is tied, the group has moved on down the hall and they are alone. John pulls the laces and unties Luke's shoe. LUKE (CONT'D) You untied it again! (CONTINUED) 33.90 CONTINUED: 90 The guard looks back, now impatient. John offers a smile and throws a look down at the elevator tread, sees the name: OTIS ELEVATOR COMPANY. Suddenly a voice comes from behind: WOMAN'S VOICE Mr. Brennan? Startled, John turns to see DR. LIFSON. DR. LIFSON We met briefly. Byrdie Lifson. JOHN Oh, sorry. Hello, Doctor. DR. LIFSON (to approaching guard) I'll bring them back myself. 91 INT. COUNTY JAIL - CLINIC -- DAY 91 John leaves Luke playing and steps into the office. Lifson partially closes the door, so John can still see his son. DR. LIFSON We check your wife's blood regularly. She's been refusing her insulin. I don't want to sound dramatic, but it's just another form of suicide. JOHN I'll talk to her. DR. LIFSON If she doesn't -- JOHN I'll talk to her. (steps out) Let's go, Squirrel. 92 INT. COUNTY JAIL - CONTACT VISITING ROOM -- DAY 92 John and Luke wait. The prisoners enter. Lara looks terrible. John stands and embraces her. JOHN Hey. Are you alright? LARA I'm fine. I'm fine. (CONTINUED) 34.92 CONTINUED: 92 Lara smiles to cover and bends down and kisses her son, who is engrossed in his toys as usual. LARA (CONT'D) Hi, sweet potato. How are you doing? He doesn't respond. She kisses him on the head then takes a seat. John sits beside her. They speak in whispers. JOHN The doctor told me about the insulin. LARA (watching Luke) Yeah, I forgot. It's no big deal. JOHN You forgot? For how many days? LARA I forgot, okay? I have things on my mind. JOHN --And so much to do. LARA Oh, that's nice. JOHN Why are you doing this? LARA Can I please just watch him play? Tell me about kindergarten. JOHN No. I need you to -- LARA Fine, I won't forget again, okay? (trying to fight away these thoughts:) I am just never going to walk him to school or wash his clothes or make him dinner...and I don't know how I can live knowing that. Okay? JOHN Lara. Look at me. Something will happen. I promise. (CONTINUED) 35.92 CONTINUED: (2) 92 LARA (cruelly - but hushed) What? What is going to happen? There are no more appeals, there are no more anything. Exactly what miracle are we hoping for, John? He looks down, beaten. She lets go of her anger. LARA (CONT'D) I need you to do something for me. JOHN Sure. LARA Stop bringing him. JOHN Come on... LARA He hates coming here. Look at him. JOHN Lara.... LARA Please. It's not his fault. It's too hard to watch him forget me. John looks at his son, playing at a distance, his back to them. It's hard to argue with her, she's right. LARA (CONT'D) You want to hear something funny? JOHN Yes. Anything. LARA My mother tried to send me anti-aging cream. John smiles, but like hers it may be the saddest smile in the world. They sit and watch Luke play.93 INT. JOHN'S BEDROOM -- NIGHT 93 John checks his bank statements and adds them up on the wall under MONEY. The total is $8,840.00. He stares at that figure for a moment. 36.94 INT. REALTOR'S OFFICE -- DAY 94 EUGENIE, the REAL ESTATE AGENT, walks John to the door. EUGENIE You're sure that you don't want a lawn sign? JOHN I'm very sure. Thanks. 95 INT. COMMUNITY COLLEGE - LIBRARY -- DAY 95 A STUDENT shows John how to use Photoshop to enlarge and crop a photo.96 INT. JOHN'S BEDROOM -- LATE AFTERNOON 96 John uses Photoshop, looking through family pictures for an appropriate one to use for Lara's ID. Some of them are of the family at a cottage. He finds one that will work and starts to crop himself and Luke (as a baby) out of the photo. Then he turns and notices Luke standing behind him, staring at the screen.97 EXT. PITTSBURGH -- DAY 97 A helicopter swoops over a bridge and traces the Monongahela River through the city. On the door of the helicopter is emblazoned the name of a local tour company.98 INT. HELICOPTER -- DAY 98 John sits among six other passengers. COPTER PILOT On the left, Allegheny County Jail. Built in 1995, it is now the largest jail in the world. There have been three escape attempts. No one's made it out alive. On your right... Everyone else looks to the right as the pilot continues. John stays fixed on the left window. HIS POINT OF VIEW: The massive rooftops of the jail. But then he sees exactly what he is looking for: workmen wearing yellow helmets spread hot tar and roofing paper. He spots a workman carrying a bucket heading around a tall outcropping on the roof. 37.99 INT. COMMUNITY COLLEGE - CLASSROOM -- DAY 99 LYLA, a student, reads from The Idiot as John returns to his desk with papers in his hands. His laptop lies open to Google Earth -- the rooftop view of the jail, from another angle. John closes it and spreads the papers on his desk -- a printed color version of the same. He draws an arrow to the outcropping where we now see a door; labels it ELEVATOR. LYLA On the first landing, which was as small as the necessary turn of the stairs allowed, there was a niche in the column, about a yard wide, and in this niche the prince felt convinced that a man stood concealed. He thought he could distinguish a figure standing there.100 INT. JOHN'S BEDROOM -- DAY 100 John searches Craigslist for HELICOPTER PILOTS. Clicks on one that reads EXPERIENCED HELICOPTER PILOT, COMBAT VET, WILL CONSIDER ANY OFFER. ANGLE ON JOHN'S WALL Where a magazine clipping of a helicopter sits under the heading ESCAPE. Overlapping it he pins trimmed print-outs of several PILOT candidates. Directly underneath is the Google Earth photo of the rooftop of the jail, the door marked with an arrow, and the landing site indicated with an X in a circle. Below that is a rough sketch of the visitor's room and the adjacent corridor with an arrow marking the elevator. In block letters beside it is the word "KEY?"101 INT. GRACE AND GEORGE'S HOUSE -- NIGHT 101 Luke, John and George stand in the foyer, Luke with his child- sized, brightly-colored overnight bag. John pulls off Luke's coat, kisses him on the head and looks up at George. JOHN Thanks. George nods, takes Luke's hand and walks to the kitchen. 38.102 EXT. HILL DISTRICT -- NIGHT 102 John drives, taking note of the corners where young men hang out, selling drugs or contraband.103 EXT. HILL DISTRICT -- NIGHT 103 John walks up to a guy leaning on the bumper of his car, the trunk partially open. Call him MOUSS. JOHN Adderall? MOUSS Ten apiece, five for forty. John hands him a twenty, Mouss digs into a bag in his trunk and hands him a blister-pack strip of two pills, samples. JOHN I need some passports. MOUSS Piss off. John nods and walks back across the street. The guy watches.104 INT. CAR -- NIGHT 104 John climbs into his car and tosses the pills onto the passenger seat, among a half dozen others. There is a sharp RAP on his window; Mouss. John rolls down the window. MOUSS You have to pay up front. JOHN I can do that. MOUSS You know the Uptown on 5th Ave? JOHN No. MOUSS Ask for Harv. JOHN What's your name? MOUSS Just say Mouss. 39.105 EXT. UPTOWN LOUNGE - 5TH AVENUE -- NIGHT 105 John parks and steps out of his car.106 INT. UPTOWN LOUNGE -- NIGHT 106 Hip-hop blares, the clientele are low-lives, John doesn't exactly fit in as he enters and orders. His words are drowned out. The bartender gives him a beer on tap. John asks for "Hart." The bartender nods to a man at the back who is playing a video game. John walks off, passing a LONG-HAIRED GUY at the bar who watches him. John approaches HARV. JOHN Mouss said to come see you. HARV He did, did he? What do you want? JOHN Three passports, a driver's license, and real social security number. HARV How do you know Mouss? JOHN He babysits my kid. HARV (sizes him up, then:) Okay. Harv gives him a look; nods for him to follow. 107 EXT. HILL DISTRICT - PARKING LOT BEHIND BAR -- NIGHT 107 They step out the back door. HARV You have the photos on you? JOHN Yes. How much? HARV Fifteen hundred. MOUSS steps out of the shadows and cracks John across the back of the head with a pipe. John stumbles to the ground. The two men kick the shit out of John. John tries to protect his face; they just keep kicking. (CONTINUED) WHITE 9-10-09 40.107 CONTINUED: 107 Mouss finally grabs John's hair and flicks a knife in his face as Harv searches his pockets and finds his money. MOUSS I ever see you again, you lose an eye. The two men walk away and get into Mouss' van. John lies doubled up on the ground and eventually tries to stand.108 INT. BRENNAN HOUSE - BATHROOM -- NIGHT 108 John cleans the cuts on his face with peroxide, adds a Band- Aid. He stares at his face, letting defeat wash over him.109 INT. JOHN'S BEDROOM -- NIGHT 109 John deducts $2,000 from the MONEY column.110 INT. JOHN'S BEDROOM -- MORNING 110 His face purple with bruises, John pulls himself out of bed in response to the RINGING DOORBELL.111 INT. BRENNAN HOUSE - FOYER -- CONTINUOUS 111 John limps to the front door and opens it to see Eugenie, his realtor, standing with a nice couple. They see his face, try and hide their reactions. EUGENIE You did remember I was showing the house? JOHN Give me two minutes.112 INT. JOHN'S BEDROOM -- CONTINUOUS 112 John tacks two large dark blue sheets up over the wall, covering his plan.113 EXT. BRENNAN HOUSE - FRONT PORCH -- CONTINUOUS 113 Eugenie reassures her skittish clients. EUGENIE It really is a great neighborhood.114 INT. GRACE AND GEORGE'S HOUSE -- DAY 114 Grace, John's mother, opens the door and sees John's face. (CONTINUED) 41.114 CONTINUED: 114 GRACE Oh, my lord! What happened?115 INT. GRACE AND GEORGE'S KITCHEN -- DAY 115 John sits as Grace approaches with iodine and cotton balls. Through the window he sees Luke playing with the dog. JOHN It was stupid, I fell off the bike. GRACE The bike that's been in our garage for two years? Put your head back. JOHN Some guy made a crack about Lara. GRACE So, that's what you do now: punch everyone who thinks she's guilty? JOHN What's that supposed to mean? GRACE It means it's important what YOU believe, not -- JOHN Really? So, what do you believe, Mom? John stands and opens the back door. GRACE Why are you trying to start a fight? JOHN (calling out back door) Come on, buddy! (to his mother) Where is his bag? GRACE Why are you doing this?! Luke enters as Grace tries to hide her tears. JOHN No reason. I just stupidly thought people who loved her would actually believe she's innocent. My mistake. (CONTINUED) 42.115 CONTINUED: 115 GRACE Stop this! John turns and sees GEORGE standing in the open doorway. He has heard everything. He gives his son a dismissive look and walks off towards his bedroom. John feels like a heel. JOHN (to Luke) Give Grandma a kiss. Luke does, and the two of them leave with his bag.116 EXT. GRACE & GEORGE'S - INSIDE THE PRIUS -- DAY 116 John gets in and checks his mirror. Luke is staring at him. LUKE Does your face hurt? JOHN A little. LUKE Did you hit him back? JOHN No. LUKE That's okay. John pulls away. 117 EXT. HILL DISTRICT -- NIGHT 117 John drives, looking for someone selling fake papers. He sees Mouss' parked car and slows; Mouss stares at him. John flashes his middle finger and drives on. Mouss considers doing something but just flips him off.118 EXT. HILL DISTRICT - ANOTHER INTERSECTION -- NIGHT 118 John asks a couple of guys on the corner about papers and is turned away. As he returns to his car, he doesn't notice MIKE, the long-haired guy from Drake's Bar, watching from astride his motorcycle. A SECOND RIDER pulls up beside Mike. John pulls out and the motorcycles follow at a distance.119 INT. BRENNAN HOUSE -- NIGHT 119 John watches Jenna leave; closes the door, climbs the stairs. 43.120 INT. LUKE'S ROOM -- NIGHT 120 John sees Luke sleeping, surrounded by his animals. The doorbell rings.121 INT. BRENNAN HOUSE -- NIGHT 121 John peers out surreptitiously, sees MIKE standing there. He rings the bell again. John runs and snatches a kitchen knife, returns to the door, secures the chain lock and opens the door a crack. JOHN What? Mike speaks in a loud, atonal and unnerving voice. MIKE I was at the bar. I know what you are looking for. Caught off guard by the voice, John just stares at him. MIKE (CONT'D) I'm deaf, you idiot. I read lips. John stares at him, unsure what to do. MIKE (CONT'D) You really want to talk out here? John puts the knife in his back pocket and steps out onto...122 EXT. BRENNAN HOUSE - FRONT PORCH -- CONTINUOUS 122 John tries to look tough. Mike smiles at John's bravado. MIKE What do you need? John indicates Mike should lower his voice. JOHN Three passports, a driver's license and social security number that can take a credit check. MIKE Thirty seven hundred. JOHN That's too much. (CONTINUED) 44.122 CONTINUED: 122 MIKE It is if you never get them. I need photos and a thousand in advance. John stares at the man, trying to read him. He turns.123 INT. BRENNAN HOUSE - KITCHEN 123 John pulls cash and an envelope from his jacket pocket.124 INT. BRENNAN HOUSE - FOYER -- NIGHT 124 Mike counts the money and shoves it in his breast pocket. MIKE I'll bring them Wednesday. JOHN Not here. Don't come here again. Mike stares at him. John stares back. MIKE Parking lot of Don's. Eckert Street. Under the bridge; two o'clock. If I'm not there on time, leave. John closes the door behind him and watches Mike walk off toward his motorcycle.125 INT. BRENNAN HOUSE - KITCHEN 125 He drops the carving knife back in the drawer. As he looks up, he sees THE SECOND RIDER staring in the window, his helmet still on. John's heart almost stops. The rider DRIVES OFF.126 EXT. STREET - UNDER A BRIDGE -- DAY 126 A beat-up old van sits parked on the crumbling sidewalk. John hands seven hundred dollars to a sketchy-looking guy inside. The guy hands John a 9MM handgun wrapped in a oilcloth. John unwraps it and hands it back. JOHN Show me how to load it.127 INT. BRENNAN HOUSE - KITCHEN -- EVENING 127 John and Luke enter the back door. Luke automatically heads for the living room. John calls after him: JOHN No video game. (CONTINUED) 45.127 CONTINUED: 127 LUKE (O.S.) Dad! John moves to check the answering machine. JOHN I'll play checkers with you after dinner. LUKE (O.S.) You'll just lose again. EUGENIE (V.O.) (on voicemail:) John? It's Eugenie. You're not going to believe it; the people I brought over? They made an offer! I'll bring it in the morning. BEEP. JOHN (buoyed/to Luke) Not tonight. Tonight, I utterly destroy you. 128 INT. JOHN'S BEDROOM -- NIGHT 128 John watches a video on YouTube: "How to unlock any door." The person on screen demonstrates how to make a "bump key." KID ON SCREEN -- a bump key. First, find any key that fits into the same make of lock. 129 INT. BRENNAN'S GARAGE -- NIGHT 129 John files down a key, held in the jaws of a vice. 130 INT. BRENNAN HOUSE - BACK DOOR -- NIGHT 130 John inserts the bump key into the door lock, bumps it with the butt of a screwdriver. The key won't turn.131 INT. BRENNAN'S GARAGE -- NIGHT 131 He files down the key some more.132 EXT. BRENNAN HOUSE - BACK PORCH -- NIGHT 132 He inserts the key, bumps it, turns. The lock opens. 46.133 INT. COMMUNITY COLLEGE - ELEVATOR -- DAY 133 John gets in, heading up to his classroom. People avoid looking at his face. One woman can't help noticing. John nods and smiles. He pushes the elevator button and notices the name: OTIS ELEVATOR COMPANY.134 INT. COUNTY JAIL - ENTRY HALL -- DAY 134 John scans the room as he waits. Two children play in the set that is used to teach them how to speak to a prisoner behind glass using a phone. A moment later, a woman enters with a large shoulder bag. She is a NOTARY. NOTARY Mr. Brennan?135 INT. COUNTY JAIL - CONTACT VISITING ROOM -- MORNING 135 No other visitors today. A NOTARY sits with Lara and John. NOTARY And just put your thumb there. And Lara puts her thumb print on the book. NOTARY (CONT'D) Thanks, that's all I need. The notary heads for the door. John turns to the female guard who is waiting. JOHN I'll just be a moment. He turns back to his wife. LARA (touching him, melting) Your poor face. How could you do that to yourself? JOHN I am useless without you. I can't even ride a bike. LARA I think it's very sexy. JOHN I'm sorry we had to do this. (CONTINUED) 47.135 CONTINUED: 135 LARA You have nothing to apologize for. But you should have told me before this. JOHN I know. LARA I don't want you not telling me things. JOHN From now on I will. LARA (beat) I won't know where to picture you. (off his look) I close my eyes and I see Luke in his bedroom, you on the sofa by the Window. I won't know where to picture you anymore.136 INT. COMMUNITY COLLEGE - JOHN'S CLASSROOM -- DAY 136 John stares at his laptop as the class does a test. Knowing he isn't paying attention, a STUDENT angles his multiple choice test so that his friend behind can see the answers.137 INT. COMMUNITY COLLEGE - CORRIDOR -- DAY 137 John waits for the janitor to leave his tiny office and grabs the door before it closes. He slips inside and finds a rack with keys. He takes one from the hook marked ELEVATORS.138 INT. BRENNAN'S GARAGE -- NIGHT 138 John files down the elevator key as he did the house key.139 INT. BRENNAN HOUSE - GARAGE -- DAY 139 John moves aside a box on the shelf and removes the handgun, wrapped in an old chamois. PAULA (O.S.) John? He turns to see Paula standing in the open garage door. JOHN Hi. (CONTINUED) 48.139 CONTINUED: 139 John tries to look casual as he stands with the thinly disguised gun in his hand. PAULA I was wondering if I could ask you to water my plants next week; I'm going in for an operation. JOHN I hope it's nothing serious. PAULA My idiot doctor misdiagnosed me. He's blaming the lab; the lab's blaming him. But I'll be fine. Thanks. And she walks off. John gets in the car and slips the gun between the seats.140 INT. PRIUS -- DAY 140 John pulls into the empty parking lot beside Don's and waits. Checks his watch: 1:49 PM. A car pulls in. The guy sits there for a second, then gets out and enters the restaurant.141 INT. PRIUS -- DAY 141 John checks his watch. 2:14. He looks around, knowing he is supposed to leave. He makes a call. RECEPTIONIST (O.S.) English Department, this is Catherine. JOHN Hi. It's John. Luke isn't feeling well, I'm going to take him home. I need Carl to cover my 2:30 class. RECEPTIONIST (O.S.) I will let him know.142 INT. PRIUS - DON'S PARKING LOT - MANCHESTER -- AFTERNOON 142 John checks his watch: 2:27. His cell phone rings, displays the name MICK; John presses IGNORE. He feels for the gun between the seats.143 EXT. DON'S PARKING LOT - MANCHESTER -- AFTERNOON 143 The guy comes out of the restaurant. John watches him walk to his car. The man sees him and stares back. John checks his watch. 2:45. The guy drives off, leaving the lot empty. (CONTINUED) 49.143 CONTINUED: 143 John presses the VOICEMAIL button on his phone. MICK (V.O.) Are you ever going to answer your goddamn phone? Suddenly a man in a helmet raps on his side window and John realizes MIKE has pulled up without him noticing. His hand goes to the split between the seats, but stops short as the SECOND RIDER pulls up to the passenger window. MIKE You were supposed to leave. JOHN I need them. MIKE You notice that guy was a cop? JOHN Which guy? MIKE The one with the red light in his back window. John feels ridiculous. Mike hands him the documents. MIKE (CONT'D) Just give me the money. John hands him the envelope of money. Mike checks it. MIKE (CONT'D) You want this too much. You're going to fuck it up. Mike speeds off. The second rider gives John a look and follows. John looks over the passports with their new names.144 INT. BRENNAN HOUSE - GARAGE -- AFTERNOON 144 Luke gets out of the car and heads into the house, swinging his lunch pale. John watches him go, then reaches down beside his seat and pulls out the gun, wrapped in a cloth. He hides it in the garage and thinks about what he is doing.145 INT. COUNTY JAIL - ENTRY HALL -- DAY 145 John moves through the line toward the metal detector. He takes his key ring out of his pocket and slips it, and the separate elevator bump key, into a white plastic dish and (CONTINUED) 50.145 CONTINUED: 145 places it atop the X-ray machine. He steps through the metal detector and then grabs the plastic dish before the guard can get to it. He hands the dish to the guard. JOHN How are you doing today? GUARD Don't touch that. JOHN Sorry. John puts the dish down, and we see the bump key is gone -- John palmed it. The guard dumps John's key ring on the counter with the keys and cell phones from the other visitors. JOHN pockets the palmed key as he enters the jail.146 INT. COUNTY JAIL - CORRIDOR -- DAY 146 John moves down the hall with the fifty or so other visitors. He eases toward the elevator, keeping his eye on the guard ahead. By the time the group stops for the door ahead to open, John's managed to be right beside the elevator. He folds his coat over his arm to block others from seeing and feels for the slot. Finding it, he slips in the bump key. It fits. The guard at the lead opens the door to the first visiting room and the crowd starts moving again. John quickly bumps the key and turns it -- but it won't turn. He bumps it again. Visitors keep moving past him. He looks over his shoulder, sees the guard following them is preoccupied at the door. He turns it harder. Nothing. He tries to pull it out. It's stuck. John panics. The rear guard closes the entry door and follows the crowd. John tugs at it one last time, and then turns it hard and snaps it off in the lock. A BLACK WOMAN among the visitors sees what he is doing but averts her eyes. John drops the rest of the broken key and kicks it into the slot between the elevator and the shaft. He slips back into the crowd and moves on. Near the rear of the crowd now, John approaches the door to the visiting room. (CONTINUED) WHITE 9-10-09 51.146 CONTINUED: 146 He throws a look back, sees another guard step up and try to insert his key in the elevator. John rounds the corner into the visiting room. The camera stays on his face until we finally hear A DEAFENING ALARM.147 INT. COUNTY JAIL - ANOTHER CORRIDOR -- DAY 147 John waits in a line against the wall, beside a door to a small office. Through the glass he watches the MAJOR interview the black woman who noticed what he was doing. She nods and leaves, passing him with a look. The Major holds the door open for him.148 INT. MAJOR'S OFFICE -- A SHORT TIME LATER 148 The MAJOR plays John the CCTV video from the corridor. He flips between two camera positions at either end of the hall. The crowd of visitors shuffling toward the visiting rooms obscures the view of the elevator. MAJOR So, you are where in here? JOHN ...In the middle there. MAJOR In the middle. Can you point to yourself? JOHN (looks) It's hard to tell. I think that's me there. Why? He freezes the tape and points to a blurry figure in the background. MAJOR So that's not you there. By the elevator? JOHN (looks) ....No. (points to another person) I was over here. You want to tell me what's going on? MAJOR You want me to tell you? (CONTINUED) 52.148 CONTINUED: 148 JOHN Yes. The Major holds the piece of the key that jammed in the lock. MAJOR You know what a bump key is? JOHN Sorry. Major puts it on the desk and just stares at John. Finally: MAJOR If this was you, you might want to think about what's going to happen to your kids if both of their parents are in prison. The major stares right through him.149 INT. COUNTY JAIL - CORRIDOR -- DAY 149 John heads toward the exit, accompanied by a guard. As he nears the elevator he sees a technician climbing a step ladder, holding a new CCTV camera.150 INT. COUNTY JAIL - ENTRY HALL -- DAY 150 Face chalk white, John heads for the exit, fighting the urge to run. The door opens just before he gets there and Collero steps in, Quinn holding the door for her. John charges past, noticing neither of them -- but Quinn recognizes him. Quinn turns and watches as John doubles over the short wall nearby and vomits. DETECTIVE COLLERO -- The worst date you've ever been on? This was worse. And this guy? He really thinks he is doing great. Then he's driving me home and I know he's going to try and kiss me, so I pretend to fall asleep. I mean, I'm actually snoring, right in his car. Does that stop him? John turns and notices Quinn, behind the door, watching him. They lock eyes. Collero realizes that Quinn isn't paying attention and wonders what he's looking at. DETECTIVE COLLERO (CONT'D) ...What? (CONTINUED) 53.150 CONTINUED: 150 John turns and walks away. Quinn keeps watching. DETECTIVE QUINN Did I tell you not to date cops? Collero's eyes find John as well. He disappears around the corner.151 INT. T-TRAIN -- DAY 151 John rides home, devastated that his plan has failed, and wondering what he will do. He checks over his shoulder to make sure he isn't being followed.152 INT. BRENNAN HOUSE -- DAY 152 John sits on the bare wood floor of the living room. His head turns as he hears someone POUNDING on the front door. He throws a look to the garage, thinks about the gun; dismisses the idea. Then he hears the voice: his brother. MICK (O.S.) Let me in, asshole!!153 EXT. BRENNAN HOUSE - FRONT PORCH -- CONTINUOUS 153 Mick bangs again. MICK (O.S.) Open up! (more banging) Your car is in the garage, I know you're in there!154 INT. BRENNAN HOUSE -- CONTINUOUS 154 John doesn't move. As we pull back we see that the living room and dining room have been stripped of every bit of furniture, save an old TV set sitting on a box. John knows he can't let his brother see this. The MALE NEIGHBOR in the house to the south opens his door and looks out and scowls. MALE NEIGHBOR What's your problem? He's not home! MICK Not home? So you're saying I'm blind? MALE NEIGHBOR No, I'm saying you're an idiot. (CONTINUED) 54.154 CONTINUED: 154 Mick pounds on the door aggressively. Then just gives up. MICK You know what? You're right. I am an idiot. And he walks off to his car.155 EXT. BRENNAN HOUSE -- CONTINUOUS 155 John leans back against the wall, in the middle of the bare room, and listens to his brother's car start and drive away.156 OMITTED 156AND AND157 157158 INT. JOHN'S BEDROOM -- EVENING 158 John stands, staring at his wall, now a vast collage, layer upon layer of photographs and notes. And no answers. LUKE (O.S.) ...Dad?159 EXT. PARK -- DAY 159 John sits on a bench, frustrated and lost. Luke trots up. LUKE Can I have my cookies? JOHN You hungry? You want your sandwich? LUKE No. John hands him two packaged cookies. Luke runs off and hands them to Carrie. Her attractive young mother, Nicole, sitting a couple of benches down, calls and draws John's attention. NICOLE Carrie! (to John) I'm sorry. She just already has it all figured out. (John nods awkwardly) Nicole. JOHN I remember. (CONTINUED) 55.159 CONTINUED: 159 NICOLE (knows he doesn't) Really? JOHN (smiles and admits) I remember your daughter. NICOLE She's hard to forget. (digs in her bag) Oh, this is for you. Luke was supposed to bring it home. Hands him an envelope. He opens it and sees a birthday invitation with jungle animals on the cover. JOHN He has his father's memory. NICOLE It's for Carrie's birthday party. Please come; I'd love to meet your wife. JOHN I'm afraid she can't be there. ...It's complicated. NICOLE I understand. With me, too. Carrie, come on, time for lunch. (to John) We're going to the cafe on the corner, would you like to join us? JOHN Oh, we're pretty...you know.... NICOLE Busy? John smiles, busted. NICOLE (CONT'D) Come on, we owe you for the cookies. JOHN That's true. And I made those cookies. NICOLE And learned how to pre-package them. (CONTINUED) 56.159 CONTINUED: (2) 159 JOHN Which requires a considerable amount of machinery. Come on, Luke. They walk toward the street, the kids trailing behind. Neither John nor Nicole speak for a moment. NICOLE Do you trade off time with Luke? JOHN No. Luke and I are together full time. NICOLE Wow. I guess that's why I see you so much. JOHN She'd like nothing better than to be here. With him. Lara. She really misses...all this. NICOLE I guess it's all about priorities, isn't it? JOHN No. She's not like that. She'd... (has to admit) She's in prison. NICOLE Oh. JOHN I don't tell most people. NICOLE I understand. JOHN She's innocent. She didn't kill the woman. NICOLE ...Good. I mean, I'm sure she didn't. Nicole doesn't know what else to say. JOHN We should really be getting home. (CONTINUED) 57.159 CONTINUED: (3) 159 NICOLE (feigns disappointment) Oh, okay. JOHN (waving the envelope) Thanks for the invitation. We'll try and make it. NICOLE That would be great. John heads back and scoops up Luke. Nicole watches, trying not to look dumbfounded.160 INT. BRENNAN HOUSE -- LATE AFTERNOON 160 John and Luke enter, John sorting through the mail. Nothing from Lara.161 INT. JOHN'S BEDROOM -- NIGHT 161 John finishes writing a letter on lined paper. He opens his drawer; it is full of letters in yellow envelopes. He pulls one out; it is from Lara, on lined paper. He stuffs his new letter in the old yellow envelope.162 INT. LUKE'S ROOM -- NIGHT 162 This is the only room that is still furnished. John pokes his head in, sees Luke on his bed playing by himself. JOHN You want to read a letter from Mom? Luke shrugs as if he doesn't care, but then scoots over in his bed so that his dad can sit beside him. John does. He pulls the letter out of the envelope and reads. JOHN (CONT'D) Dearest Luke Who I Love, But Not As Much As Chocolate... LUKE She didn't write that. JOHN My mistake. Dearest Luke, who I love so, so much. I wish I could have walked you home today, it was so beautiful out. 58.163 EXT. PAULA'S HOUSE - BACKYARD -- LATE AFTERNOON 163 Luke and John water Paula's vegetable garden. LUKE But what's wrong with her? JOHN She's not feeling well. LUKE Why didn't she just stay home? JOHN Because sometimes people get so sick you have to go to the hospital to get fixed. LUKE How do you know when you're that sick? JOHN The doctors do tests. Something tweaks. John turns and looks back across the alley, at his open garage...and remembers their conversation. He drops the hose and takes Luke's hand. JOHN (CONT'D) Come on. They drop the hose in the garden and walk back to the house.163A INT. JOHN AND LARA'S BATHROOM -- LATE AFTERNOON 163A John flings open the medicine cabinet, finds an old bottle of Lara's insulin. He checks the label. 163B INT. JOHN'S BEDROOM -- NIGHT 163B John hits a key and a medical article appears: LIFE THREATENING COMPLICATIONS OF DIABETES. ...Severe Hyperkalemia...extremely high levels of potassium ...cardiac arrest...particularly dangerous as there are no outward symptoms...164 INT. JOHN'S BEDROOM - LATER -- NIGHT 164 The camera swirls as John searches the wall and photos of delivery vans arriving at the jail. Not seeing what he wants, he charges the desk & rifles through more photos. (CONTINUED) WHITE 9-10-09 59.164 CONTINUED: 164 He finally snatches the photo he's looking for. He turns it over -- on it is written TUESDAY 9:30 AM. And right over the phrase FIND THE KEY he pins the photo of a delivery van from a medical laboratory.165 EXT. COUNTY JAIL -- MORNING 165 Parked at a distance, John watches from inside his Prius. Finally, a DRIVER steps out of the jail carrying a tray of test results. He opens the back door of the van.166 EXT. STREETS -- DAY 166 John follows the van.167 EXT. NURSING HOME -- DAY 167 John watches as the driver steps out with a tray, point and push his key fob, lock the doors and enter the nursing home. IN THE PRIUS - MOMENTS LATER - John watches his stopwatch. The driver returns with a tray. John hits the stop button. 1 MINUTE 48 SECONDS.168 INT. JOHN'S BEDROOM -- NIGHT 168 John Googles: "How to break into a car."169 INT. KITCHEN -- NIGHT 169 John heats a screwdriver on the open flame of the gas fire, then places the red hot tip of it on an old tennis ball.170 EXT. P.M.H. LAB -- MORNING 170 John waits, eating a donut. He sees the driver step out of Pittsburgh Med Health Lab and walk to his panel van. 171 EXT. STREETS -- DAY 171 John follows the van again.172 EXT. MEDICAL FACILITY -- DAY 172 Wearing his iPod, the driver steps out with a tray and presses his key fob; the van chirps and locks. He enters the building as John steps up to the driver's door. John checks no one is watching, places the tennis ball over the key slot and punches the ball flat. The lock pops open. 60.173 INT. LABORATORY VAN -- CONTINUOUS 173 Shelves line the walls; on them sit plastic trays of envelopes. John climbs in and finds the tray from ALLEGHENY COUNTY JAIL.174 EXT. MEDICAL FACILITY -- CONTINUOUS 174 The driver comes back out, heading for the van. He pauses to flirt with a nurse on her break, but she isn't buying.175 INT. VAN -- CONTINUOUS 175 John finds the envelope marked "Lara Brennan." He checks his watch, only 44 seconds have lapsed. He slips the card out, photographs it with his cell phone and puts it back.176 EXT. MEDICAL FACILITY -- DAY 176 The driver heads for the van as John opens the back door and climbs out. Oblivious to his narrow escape, John closes the door and walks away a heartbeat before the driver gets there.177 INT. BRENNAN HOUSE -- EVENING 177 John checks his son, who sits on the bare living room floor playing a video game on the TV, the remaining item. JOHN You okay? Luke nods and shoots somebody.178 INT. JOHN'S BEDROOM -- EVENING 178 John brings up Lara's form in Photoshop on his laptop and erases the hand-written numbers in the test results boxes.179 INT. JOHN'S BEDROOM -- NIGHT 179 John writes numbers in the blank boxes of the medical form. Then he sits back and worries that he's got it right. Calls: JOHN Luke! Time for bed.180 INT. LUKE'S ROOM -- NIGHT 180 John enters the child's bedroom and stops dead. The wall over Luke's bed is covered with crayon scribbles, imitating the chart on his father's bedroom walls. (CONTINUED) 61.180 CONTINUED: 180 Luke walks into the room, and steps up beside his father, staring at the wall. He takes his father's hand, and the two just stand there in silence.181 INT. COUNTY JAIL - CONTACT VISITING ROOM -- DAY 181 John waits as the other prisoners enter. Lara kisses him; looks in his eyes. He sees the despair behind the smile. JOHN ...What's wrong? She takes a letter from her pocket. JOHN (CONT'D) What is it? She hands it to him. John reads. His face changes. JOHN (CONT'D) No....NO! They can't move you. Not without notice! Monday isn't notice! LARA I was only here through the appeal. We knew I'd be moved to a prison. JOHN Muncy is the other side of the state. Lara nods. Off John's face, the screen goes BLACK. Read: THE LAST THREE DAYS182 INT. REALTOR'S OFFICE -- DAY 182 John stands with Eugenie, the frightened realtor. JOHN I don't have two weeks! I need it tomorrow! EUGENIE The title hasn't been cleared -- there is no way that -- JOHN How much can they give me?! EUGENIE Nothing! John turns on his heel and slams out through the door. 62.183 INT. JOHN'S BEDROOM -- DAY 183 John stares at the wall -- MONEY is down to $1,497. He rifles through a drawer, finds a pair of sunglasses. He snatches a baseball cap from a top shelf. He tosses a bag on the bed, unzips it and pulls out the gun. 184 EXT. AIRPORT LONG TERM PARKING LOT -- DAY 184 John unscrews the license plate from a dusty black Prius. He sticks the plate under his jacket, stands and checks over his shoulder as he walks out of the massive parking lot.185 INT. BANK AND MALL PARKING LOT -- DAY 185 A quiet neighborhood bank sits in the corner of an outdoor mall. The Prius pulls into a spot; we dolly over to see the stolen license plate. Inside the Prius, John opens the backpack, puts on the hat and sunglasses and places the gun on his lap. And again he looks at the bank, tapping his toe manically. A guard opens the bank door for a departing customer, smiles and heads back inside. John tightens his grip on the gun, tries to work up his courage, but ultimately realizes he can't do this. Furious with himself, he jams the car into reverse and backs up without looking. He hears a scream, brakes hard and looks. A WOMAN screams. John stomps on the brakes. He leaps out of the car and sees a woman dropping her groceries and scooping her child up in her arms. Call her ELAINE. ELAINE What are you doing?! You almost killed us! JOHN Are you --? ELAINE Are you out of your mind?! You don't look?! She stoops to grab the few items that fell. He tries to help. JOHN I am so sorry -- (CONTINUED) 63.185 CONTINUED: 185 ELAINE Get away! Get away from us! She stands and runs for her car. John returns to the car and sits, leaving the door open and the door alarm screaming. He sits there, letting the failure and his disgust for his weakness wash over him.186 INT. COUNTY JAIL - ENTRY HALL -- AFTERNOON 186 John sits in the children's area, waiting for the line of visitors to get shorter. One look at his face and we can see how tortured he is. He has his cell phone to his ear: MEYER (O.S.) I'm sorry. JOHN No, it was a long shot. Thanks.187 INT. CRIMINAL COURTHOUSE -- CONTINUOUS 187 MEYER (into phone) How's Lara?188 INT. COUNTY JAIL - ENTRY HALL -- CONTINUOUS 188 JOHN She's okay. Thanks, Meyer. John hangs up and stands.189 INT. COUNTY JAIL - CONTACT VISITING ROOM -- AFTERNOON 189 John stands in the corner, staring out through the high, thick windows. He turns as he hears Lara and other prisoners coming. He tries to smile, but she knows something is wrong. LARA What's wrong? JOHN Nothing. LARA Is it Luke? JOHN No. He's fine. I had Meyer see what he could do about not getting you moved. (MORE) (CONTINUED) 64.189 CONTINUED: 189 JOHN (CONT'D) I told him traveling that distance would be a hardship on us, that Luke was already having trouble at school. Which is true. I haven't been spending enough time with him. LARA You haven't? YOU haven't? God, John, you are too much. Luke is having a 'hard time' because mommy is in jail for murder, not because daddy doesn't spend enough time with him! Your father was right, you don't live in the same world we do. JOHN (stung) That's nice, that the two of you talk. What world do I live in, Lara? LARA I don't know, but it's not the real one. I am in here for the rest of my life! And you want me to believe in some fantasy that -- ! A guard steps up and raps her knuckles on the table to get their attention. Only John looks up. FEMALE GUARD We good here? JOHN Yes. Sorry. Lara lowers her voice a little, but not her intensity. The guard walks away under: LARA Now you come here all long-faced, like you've let me down. What do you want me to do, make you feel better? JOHN Got it. I'm sorry. LARA And now you're apologizing. You really are a gem. (CONTINUED) 65.189 CONTINUED: (2) 189 JOHN What do you want from me? LARA Nothing. You're too perfect already. You know you never even asked me if I did it. If I killed her. JOHN (stopped dead) Because I knew you didn't. LARA Then you'd be wrong. She leans forward and whispers in his ear. LARA (CONT'D) I grabbed the fire extinguisher. I hit her in the face. I heard her neck snap. You know why I did it? Because she pissed me off. I threw her purse in the river. We paid for dinner with the cash from her wallet. She sits back a bit to look in his face. Only now, looking in his eyes, a crack forms in her tough exterior. LARA (CONT'D) I'm sorry. I'm actually very sorry. She stands. The guard opens the door and lets her into the changing room. John watches, unable to breathe.190 INT. COUNTY JAIL - CHANGING ROOM -- CONTINUOUS 190 Lara gets one last look at John, through the glass, and then disappears behind the partition. She sits on the bench, leans her head between her knees, and breaks into shards.191 INT. COUNTY JAIL - CORRIDOR -- CONTINUOUS 191 John exits along with all the other visitors, destroyed by what he has heard, playing out what she said in his head. Then suddenly he just stops. The crowd keeps moving, leaving him behind. The guard following the group sees him standing there. Commands him: GUARD #2 Sir, you cannot stand there. (beat) SIR, you need to exit the building NOW. 66.192 INT. COUNTY JAIL - VISITING BOOTHS -- MOMENTS LATER 192 Lara takes a seat on her side of the glass partition. She picks up her phone and opens her mouth to speak. JOHN Shut up. I don't care what you say or how you say it. I don't believe you did it and I never will. I know who you are. She opens her mouth to object but John slams the phone into the cradle. She pounds on the window. He just stares at her. Her eyes well up, and she smiles through her tears.193 INT. COUNTY JAIL - CORRIDOR -- MOMENTS LATER 193 John steps out and sees the MAJOR waiting with his keys. They exchange a look. JOHN Thank you. The Major nods and locks the door. John heads out.194 INT. TOY SHOP -- DAY 194 Luke in his arms, John takes a My Little Pony off the shelf. JOHN You think? LUKE (already an expert) Girls love them.195 INT. GRACE AND GEORGE'S HOUSE -- DAY 195 Grace opens the door. George stands a few steps behind her, quiet. Grace sees John and is immediately concerned. JOHN Hi Mom. GRACE What are you doing here? JOHN I've got class. GRACE Five o'clock at night? (CONTINUED) 67.195 CONTINUED: 195 JOHN Yes. (kisses Luke) Bye. Luke runs in as John walks off.196 EXT. GRACE AND GEORGE'S HOUSE -- CONTINUOUS 196 John's father watches through the window as his son leaves. In his gut, George knows something is wrong.197 EXT. HILL DISTRICT -- NIGHT 197 John sits in his car down the street, watching the corner where he noticed kids selling drugs. A car shows up - the same flashy car he saw weeks ago. The street dealer looks around, runs to the window, makes an exchange, and then the car drives off again. John checks his watch and settles in to wait.198 EXT. HILL DISTRICT -- NIGHT 198 John watches as other cars drive up and score drugs. And then finally the flashy car cruises up again. John checks his watch: it has been two hours. Again the street dealer runs up and hands the driver an envelope. We recognize the driver -- he is the one from earlier, whom we are going to call DAVID. He drives away. John follows.199 EXT. HILL DISTRICT -- NIGHT 199 John follows the flashy car at a distance. It stops at another corner and something is exchanged. It drives on; John follows.200 EXT. HILL DISTRICT - NEIGHBORHOOD -- NIGHT 200 Not the best part of town. It looks rough even for The Hill. The flashy car parks and David crosses the street. Half a block back, John turns left at the corner and then makes a quick right into the alley. He guesses how many houses from the corner David stopped, gets out and checks over the fences. He stops a few houses away when he sees the porch light on a house flick on. David waits on the dilapidated back porch. He waves to whoever is watching him through the pinhole and the light goes out again. (CONTINUED) WHITE 9-10-09 68.200 CONTINUED: 200 John inches closer as the back door opens. David exchanges a few words with whoever opened it and then packages are exchanged. The door closes and David walks off the way he came. John waits a moment, then moves down the alley, hops the fence, and sneaks through the twisted bramble of the back yard. He finds a place to hide, on the ground right beside the back porch. He pulls out his gun and settles in to wait between the trash cans, his heart pounding in his ears. Fade to BLACK. Beat, then: BANG! BANG! BANG!201 EXT. DRUG DEALER'S BACK YARD -- LATER THAT NIGHT 201 John WAKES to HAMMERING on the door. The porch light flicks on and John is bathed in bright light -- he didn't realize he'd fallen asleep. David stands above him on the porch, holding the screen door open -- if he glanced down there is no way he wouldn't see him. John holds his breath and waits. The porch light flicks off, the locks are unbolted, and finally the thick door opens. As before, the two exchange words, but now the POUNDING in John's ears is so loud we can barely hear anything else. John takes a deep breath and springs to his feet -- knocking over the trash cans -- and onto the porch! He smacks David with the gun, grabs him by the hair and jams him forward into the doorway, preventing the supplier -- ALEX -- from slamming the door on them.202 INT. ALEX'S HOUSE -- NIGHT 202 Alex releases his BARKING German shepherd and it immediately attacks David, biting his leg. David screams in agony. JOHN (to Alex) Back up! Get back! Suddenly a THUG comes barreling in from the kitchen and aims a sawed-off shotgun at John, who keeps himself right behind David's head. The dialogue is almost drowned out completely by the sound of POUNDING in John's ears and David's SCREAMING. ALEX -- Shoot them both! JOHN -- I'll shoot the dog! (CONTINUED) 69.202 CONTINUED: 202 ALEX -- Shoot the dog! THUG -- You shoot the dog, I'll kill you! John fires into the floor beside the dog. ALEX -- You want the police here, asshole?! JOHN -- Good idea! John fires two more shots into the floor. ALEX (to thug) -- Put the gun down! The thug obeys, rests it against the wall. JOHN -- Call the dog off!! Put it away! ALEX -- Release! The dog stops its attack but goes back to barking. JOHN -- Put it away!! (aims gun at it) PUT IT AWAY!! Alex reluctantly opens a closet door. ALEX In! Get in! He has to shove the barking dog into the closet. JOHN (to thug) You, too! THUG I'm not getting in there! John fires into the wall! ALEX Get in! (CONTINUED) 70.202 CONTINUED: (2) 202 And the thug goes in the closet after the barking dog. John sees the bolt and drives it home, locking the door. JOHN -- Give me that chair! Alex doesn't obey, so David grabs it and hands it to him. John props it under the handle of the closet door. JOHN (CONT'D) Move! He shoves David forward, closer to Alex. ALEX You're dead. DAVID I didn't do anything!! ALEX You brought him! DAVID I didn't bring him! JOHN Shut up! He pushes them both back into the next room; the dog in the closet never stops barking.203 INT. ALEX'S KITCHEN -- NIGHT 203 John shoves David to the floor and waves the gun between them. JOHN On your knees! Hands behind your head! John catches Alex's eyes darting to the counter. Following his gaze he finds Alex's revolver on the counter. John grabs it, flips open the cylinder and spills out the cartridges. DAVID I can't kneel! JOHN On the floor! David kneels with great difficulty. Alex calmly does as he's told, his eyes on John. (CONTINUED) 71.203 CONTINUED: 203 John grabs the paper bag out of Alex's hand and opens it, finds a couple thousand in cash. JOHN (CONT'D) Where's the rest? DAVID That's twelve hundred dollars! (emptying his pockets) Here, take it. A couple of hundred dollars spill onto the floor. JOHN (gun on Alex) Where do you keep your money?! Alex scoffs, seeing weakness in John. ALEX Yeah, I'm going to give you my money. JOHN I'll shoot you! ALEX You won't even shoot a dog. JOHN Tell me! ALEX Shoot the floor again, impress me. John pistol-whips him and Alex goes down. John holds his gun to his head while he is on the ground bleeding. JOHN I'm going to kill you both. ALEX No, I'm going to kill you both. DAVID Give him your money! ALEX (to David) Keep your dead bitch mouth shut. Enraged, John fires a round into Alex's leg. Alex screams. (CONTINUED) 72.203 CONTINUED: (2) 203 DAVID Stop it!! ALEX (smiles thru pain) See? You aren't going to kill me. That was the worst you can do. So, now you've done it. Go home. I'll come find you and kill you. John looks around desperately. He spots an open bottle of tequila in the clutter on the counter. He grabs it and pours it on the floor. ALEX (CONT'D) You're wasting some good shit. Now he pours it on Alex. JOHN Yeah, good shit; high alcohol content. John smashes the bottle on the floor; tequila goes everywhere. THUG (O.S.) What's going on?! Let me out! ALEX You going to burn me out? John lights a rag as the thug in the closet continues to yell and pound. Now calmly: JOHN Yeah. That's what I'm going to do. DAVID Oh Jesus. Oh Jesus. JOHN Your money. ALEX (no longer smiling) This is a meth lab, you idiot! JOHN No. It was. And he tosses the burning rag at the smashed bottle. David screams as the room explodes in flames. (CONTINUED) 73.203 CONTINUED: (3) 203 ALEX (suddenly desperate) My kid is upstairs!! JOHN -- What?? ALEX MY KID!! Without warning, Alex dashes for the front hall. Stunned, John doesn't shoot. He grabs David by the hair, sticks the gun in his temple and shoves him into the front hall. DAVID Let me go!! JOHN Get up there!! John pushes him up the stairs as a shield, following the trail of blood. DAVID The house is going to explode! ANGLE ON BACK DOOR Fire spreads, the thug yells, the dog barks. The shotgun leans against the wall where the thug left it. The closet door rocks as the thug kicks. The chair won't give way.204 INT. ALEX'S HOUSE - SECOND FLOOR -- NIGHT 204 John moves David quickly up the stairs in front of him and down the hall. They peer into one room, nothing. Into the next - what is clearly a CHILD'S ROOM. Alex kneels on the far side of the room, barely visible behind the small bed, his back to us. Until he wheels, gun in hand, and FIRES twice. A bullet strikes David in the chest, the second grazes John's side. Both men are knocked back into the hall and onto the floor. John pulls himself out from under David as... Running on adrenaline, Alex stands and strides forward. David looks up at him. Alex shoots him again and steps over him into the hall. He sees John, raises his weapon and.... John fires twice, hits Alex in the chest, knocking him down. (CONTINUED) 74.204 CONTINUED: 204 John stands. Alex lies dead, sprawled over David. David looks around through the roiling smoke: JOHN Is anyone up here?! He steps over Alex and into the room. He checks the closet -- empty of clothes; clearly no child lives here. John turns to where Alex was kneeling, sees a bureau pushed aside, a safe crudely installed in the wall lying open, a trash bag on the floor half-filled with cash. John drops to his knees and shovels the remaining cash into the trash bag.205 INT. ALEX'S HOUSE - BACK HALL -- CONTINUOUS 205 The dog barks; the door SPLINTERS.206 INT. ALEX'S HOUSE - SECOND FLOOR -- CONTINUOUS 206 John steps over the bodies; sees David looking up at him. DAVID Don't leave me. I don't want to burn. Don't let me burn. The hall is now thick with smoke. John stares terrified at the two men, one dead, one dying, and agonizes over what he knows is a mistake. Cut to BLACK.207 INT. ALEX'S HOUSE - BACK HALL -- MOMENTS LATER 207 John carries David past the closet just as the thug's boot kicks a hole in the door. Cut to BLACK.208 EXT. ALLEY BEHIND ALEX'S HOUSE -- NIGHT 208 John, bleeding himself, shoves the badly wounded dealer into the back seat. He throws the trash bag into the passenger seat and slams the door closed behind him. Not even a heartbeat later THE GERMAN SHEPHERD leaps up and snaps at the partially open window. John struggles to get the car turned on and the window up as THE DOG tries to force his way into the car. Through the front windshield he sees THE THUG leap over the back fence, landing sprawled in the alley with the shotgun. John jams the car into reverse and backs away -- the man in the back seat screaming for his life, the dog chasing the car, the thug getting off a shot. 75.209 EXT. STREET -- CONTINUOUS 209 John swerves wide around the corner, hitting a fire hydrant and shattering a taillight.210 INT. PRIUS - DRIVING -- CONTINUOUS 210 John slams the transmission into Drive and speeds off down the street. The dog barking disappears. All that's left are the sounds of the dying man. John keeps throwing looks over his shoulder. DAVID I don't want to die. I don't want to die. Now at a safe distance, John pulls over and looks into the back seat. We don't have to see the body to know he's dead. John sits there a moment, listening to the sounds of approaching fire engines. He catches a glimpse of himself in the rearview mirror before pulling out. Cut to BLACK. 211 EXT. BUS STOP -- NIGHT 211 John's car idles at the curb, his back door sits open. He steps back into shot from the far side of the Prius, closes the door and gets in. As he drives away we see David's body lying on the bench, waiting to be discovered.212 INT. FAST FOOD JOINT - TOILET -- NIGHT 212 Standing at the sink shirtless, John pours alcohol on the wound in his side. He mops up the blood with a wad of paper towels, then applies a bandage, fresh from the box. He pulls a new shirt and jacket from a Target bag. A moment later, now dressed, John stuffs the trash bag full of cash into his backpack.213 INT. FAST FOOD JOINT -- NIGHT 213 John steps out of the bathroom, zipping his new jacket. He barely draws a look from the few customers as he limps out of the restaurant. Cut to BLACK. 76.214 EXT. ALEX'S HOUSE -- NIGHT 214 Water streams from the house, the front door and windows broken by firemen who now pack up their gear to leave. LIEUTENANT NABULSI strides into shot, drinking a Red Bull, which he crushes and discards on the porch.215 INT. ALEX'S HOUSE - SECOND FLOOR -- CONTINUOUS 215 Nabulsi climbs the stairs to find SGT. HARRIS watching the CSI team work. Nabulsi steps up behind the CSI worker. LT. NABULSI (almost a whisper) Get out of my way. The man flees like he just saw the prince of darkness. Nabulsi cocks his head and looks down at the dead man. LT. NABULSI (CONT'D) What do we have? SGT. HARRIS A miracle. Meth lab in the basement, the house still standing. Should be just a crater. LT. NABULSI (straddles Alex) Do we know him? SGT. HARRIS Alex Gaidar, history of violence and drug trafficking. Nabulsi sees the brightly painted walls of the child's room. LT. NABULSI He have a kid? SGT. HARRIS Neighbor said wife left with him last year. Big surprise there. LT. NABULSI They type all this blood yet? SGT. HARRIS No, but someone left through the back door bleeding. Zone Three found a gunshot victim dead on a transit bench. Nabulsi nods and descends the stairs. 77.216 EXT. DOWNTOWN STREET -- NIGHT 216 John snips the links of a tall chainlink fence, then turns and walks back to the Prius.217 INT. GRACE AND GEORGE'S HOUSE -- NIGHT 217 John eases open his parents' front door and removes his key from the lock. It's the middle of the night, so he is surprised to see a light on in the kitchen. He enters, carrying his jacket and backpack, and places them on a chair. When he gets to the kitchen he sees his father in his pajamas, reading a biography and sipping a cup of tea. JOHN Hi. What are you doing up? George shrugs. An uncomfortable silence. JOHN (CONT'D) I've come to get Luke. George nods. After another silence, John starts down the hall. His father appears in the hallway behind him. GEORGE John? Are you alright? John turns around, surprised. JOHN I'm fine. The two men look at each other for a moment, John leaves the room. His father steps into the living room and notices his jacket falling off the chair. George lifts it to set it right and sees something is sticking out of the backpack: airplane tickets and passports.218 INT. JOHN'S OLD ROOM -- CONTINUOUS 218 John steps into the room that he had as a teenager. Luke sleeps in the single bed. John sits beside him, touches his face, then looks around the room, wondering how he got here, and is overwhelmed.219 INT. GRACE AND GEORGE'S LIVING ROOM -- CONTINUOUS 219 George slips the tickets and passports out of the side pocket. We do not see the destination, but he does. He opens the passport and reads each of the false names. 78.220 INT. JOHN'S OLD ROOM -- CONTINUOUS 220 John brushes away tears, no idea how he could be acting like this. He tries to wake Luke. JOHN Hey. Hey, buddy. Not a chance. John checks the old alarm clock: it's just after three AM. He lies down beside Luke for just a moment.221 INT. JOHN'S OLD ROOM -- NIGHT 221 John WAKES to the sound of a whistle. He checks the clock. It's almost five. How could that have happened?222 INT. GRACE AND GEORGE'S KITCHEN -- NIGHT 222 John helps a sleepy Luke with his jacket, pancake rolled in his hand. John stands from the table strewn with food. JOHN What do you say? LUKE Thank you. JOHN Give Grandma a big kiss. LUKE I'm too tired to kiss. JOHN Luke... GRACE I'll get lots of kisses next weekend. (to John) We want to take him to the Harvest Festival in Kutztown, where they have the Clydesdales. John thinks about saying something, can't. He watches Luke give Grace a kiss. LUKE Thank you, Grandma. John turns to his father, who stands in the doorway. His father holds out the jacket in silence. John takes it. The airline tickets stick out from the inside pocket. (CONTINUED) 79.222 CONTINUED: 222 John realizes the tickets have been moved from the bag. He looks at his father, who gazes back at him in silence. John can tell by the look in his father's eye that he knows. JOHN Bye Mom. They kiss. John's father stands behind him. GEORGE Goodbye. George grabs his son in an awkward hug. John is shocked. He pats his father's back. They break. JOHN (to Luke) Let's go. John leaves. The front door closes. Grace walks away.223 EXT. DOWNTOWN STREET -- PRE-DAWN 223 John stands in the brightly lit, glass-walled kiosk of a rental car company, the Prius parked at the curb, as the sun threatens to break over the horizon.224 EXT. STREET NEAR ALEX'S HOUSE -- PRE-DAWN 224 Nabulsi kneels beside a fire hydrant, using a shard from a taillight to scrape at a smudge of flaking black paint. Harris comes running up, out of breath, from the alley. SGT. HARRIS Neighbors saw a guy and a dog chase a black car down the alley, so that's probably his. We'll have the taillight debris at the lab by the time it opens. LT. NABULSI Before. Nabulsi stands and hands him the large shard of glass. 225 INT. JOHN'S BEDROOM -- MORNING 225 John packs a backpack -- two white lab coats, wire cutters, a large screwdriver, two rolls of duct tape, the handgun, insulin vials, etc. 80.226 INT. BRENNAN HOUSE -- MORNING 226 Luke sits on his bedroom floor, trying to cram a firetruck into his already full rollerboard. LUKE (calls) Can I carry it? John appears with a box of trash bags. JOHN No. Just what fits in your bag. John hurries off. LUKE ....What about my pockets? JOHN (O.S.) Or your pockets. Luke gives up on the truck and moves to his bedside table. He digs his hand into the small jar of coins his dad gave him and starts stuffing them in his pants pocket. A quarter falls and rolls to the middle of the floor.227 INT. JOHN'S BEDROOM -- MORNING 227 John takes a thick felt marker and writes two numbers on his wrist, right beside the watch. 15, and under it, 35. He then turns and stares at his wall, all the photos, sketches, notes, wondering if he's forgotten anything. He decides it is too late to worry. He loosens an edge of wallpaper and starts tearing it all down.228 EXT. BRENNAN HOUSE - GARAGE AND ALLEY -- MORNING 228 Luke sits in the back seat with their carry-on bags. John tries to stuff all the garbage bags full of paper into the back. He picks the last off the floor and turns and walks out to the alley. He looks around, then stuffs this final bag into his neighbor's trash can.229 EXT. RESIDENTIAL STREET -- MORNING 229 John tosses the last trash bags over the side of the dumpster that sits in front of a demolished house. As he closes the tailgate we get a good look at the broken taillight. 81.230 INT. PRIUS - DRIVING 230 He checks the clock on the dashboard and drives faster, taking a quick glance at his son to see if he is okay back there.231 EXT. REAR OF P.M.H LAB -- MORNING 231 John sits in his car in the back alley, watching the parking lot. The driver comes out carrying trays of test results and puts them in the back of his van. John grabs the large wire cutters and screwdriver from his car and hops out. He takes a few steps to the rear of the one-story building, pries open the phone box and snips the phone wires.232 INT. P.M.H. LAB -- AT THAT MOMENT 232 A clerk on the phone is cut off. She jabs the connection key, does not get a dial tone -- looks to the lights on the other phone lines and sees them go out as...233 EXT. REAR OF P.M.H LAB -- AT THAT MOMENT 233 John snips the last wire and hops back into the car. He is moving before the van exits the parking lot.234 EXT. NURSING HOME -- MORNING 234 The van driver hops out and heads into the nursing home as the Prius pulls into the foreground. John turns to Luke. JOHN Daddy will just be a minute. John grabs his tennis ball.235 INT. LABORATORY VAN -- MORNING 235 John holds his lab results between his teeth as he flips through the envelopes. He finally finds Lara's envelope, removes her report and replaces it with this one.236 EXT. NURSING HOME -- MORNING 236 We watch through the windshield of the Prius as the lab van drives off in the direction of the prison. John tugs Carrie's birthday invitation from his pocket, flips it open, checks the handwritten address.237 INT. POLICE STATION - HOMICIDE DIVISION -- MORNING 237 Harris enters Lt. Nabulsi's cubicle to find him standing. (CONTINUED) 82.237 CONTINUED: 237 SGT. HARRIS Taillight matches any 2004-2009 Prius. LT. NABULSI (with a certain disgust) What kind of a criminal drives a Prius? SGT. HARRIS A socially responsible one? (avoids Nabulsi's searing look by reading the report) Over a thousand of them registered in the city, seven thousand in the state. LT. NABULSI How many registered to felons? SGT. HARRIS Six in the state. Four of them to embezzlers or white collar criminals, one to a rapist, one to a murderer. LT. NABULSI Guess we start with the murderer. SGT. HARRIS She's in prison for life. The rapist is out. LT. NABULSI Find him.238 EXT. NICOLE'S HOUSE -- MORNING 238 John stands with Luke, who holds a hand-wrapped gift. Luke knocks at the front door of a lovely small house. NICOLE (O.S.) Hello? They see Nicole in the side yard, spreading a paper tablecloth. JOHN ...Hi. They move to help keep the tablecloth from blowing away. NICOLE Thanks. Good to see you. (CONTINUED) 83. 238 CONTINUED: 238 LUKE (hands her present) It's a pony. NICOLE Those aren't easy to wrap. (now awkward) You know the party is at eleven, right? JOHN What time is it? (checks watch) Nine. Oh, I'm so sorry, I should have looked more carefully. NICOLE It's no problem. (to Luke, re: present) Why don't you go give this to Carrie? Luke spots Carrie on the back step and runs over. NICOLE (CONT'D) Well, I guess you can help. JOHN Oh. Actually, I can't stay. I have to run some errands. NICOLE (recovering with grace) We'll see you later then. JOHN Thanks so much. (a moment) If.... John looks to Luke and realizes this might be the last time he sees him. JOHN (CONT'D) He...He has my parents' phone number in his pocket. In case I'm late. NICOLE No problem. John throws one more look at Luke then walks off. 84.239 EXT. COUNTY JAIL - DELIVERY AREA -- MORNING 239 The driver steps out of the prison and returns to the lab van carrying his tray.240 INT. POLICE STATION - HOMICIDE DIVISION -- MORNING 240 SGT. HARRIS (enters with reports) Rapist is in a wheelchair. Not sure if that was karma or -- LT. NABULSI The murderer. Where is she incarcerated? SGT. HARRIS (checks papers in his hand) County; right here in town. LT. NABULSI (after mulling this over) She have a husband or kid old enough to drive? Harris exits, knowing he should have checked.241 INT. COUNTY JAIL INFIRMARY -- MORNING 241 THE MALE NURSE re-reads the test results. Dr. Lifson approaches, having been summoned. DR. LIFSON What? MALE NURSE (handing it to her) Lara Brennan's bloodwork. DR. LIFSON (scans, now concerned) Get the lab. He dials. 242 EXT. REAR OF P.M.H. LAB -- MORNING 242 The phone REPAIRMAN is reconnecting the wires, speaking to the technician who discovered the lines were dead. PHONE REPAIRMAN You pissed off somebody, that's for sure. (CONTINUED) WHITE 9-10-09 85.242 CONTINUED: 242 Close on the wires -- he twists the second last pair, now connects the last as --243 INT. COUNTY JAIL INFIRMARY -- CONTINUOUS 243 The MALE NURSE hangs up. MALE NURSE Still busy. I'll try again. DR. LIFSON (studying bloodwork) No. Get an ambulance, take her to University. I'll meet them there. 244 INT. COUNTY JAIL - LARA'S CELL -- MORNING 244 Lara looks up as her door opens, and is surprised to see two FEMALE JAIL GUARDS with a wheelchair. 245 EXT. COUNTY JAIL -- MORNING 245 The Prius pulls up and John waits and watches. He checks the clock: it clicks over to 10:00.246 INT. POLICE STATION - HOMICIDE DIVISION -- MORNING 246 SGT. HARRIS (enters with paper) Husband. School teacher. LT. NABULSI (rising) You got a home address?247 EXT. COUNTY JAIL -- MORNING 247 The two female guards pass off LARA to two MALE JAIL GUARDS who load Lara into an ambulance. JAIL GUARD #1 steps into the back of the ambulance with her. The ambulance pulls out, accompanied by a County Sheriff's car. John follows.248 INT. AMBULANCE - MOVING -- DAY 248 Handcuffed and shackled, Lara stares lifelessly at her GUARD as the EMT connects the leads of a heart monitor. 249 EXT. CITY STREETS -- DAY 249 Knowing where they are going now, John passes the ambulance and escort vehicle. 86.250 EXT. BRENNAN HOUSE -- MORNING 250 Nabulsi peers in the window. Harris comes up the side from the back. SGT. HARRIS No car in the garage. You want to get a warrant? LT. NABULSI Yeah. Nabulsi reluctantly slips a credit card into the door jam. Harris looks around to check no one is watching.251 INT. BRENNAN HOUSE -- CONTINUOUS 251 The front door pops open and Nabulsi and Harris step in. They quickly see that all the furniture is gone.252 INT. JOHN'S BEDROOM -- DAY 252 Nabulsi joins Harris, who is staring at the wall where the wallpaper has been removed. LT. NABULSI Get the warrant.253 EXT. UNIVERSITY HOSPITAL - EMERGENCY ENTRANCE -- DAY 253 The sheriff's car and ambulance pull into the underground entrance. Guard #2 steps from the passenger seat of the ambulance and surveys the surroundings, shotgun in hand, before he knocks on the rear door of the ambulance. They follow procedure in taking the prisoner into the hospital. The sheriff watches until they are safe inside, then leaves.254 INT. LUKE'S ROOM -- DAY 254 Nabulsi inspects Luke's room, still fully furnished, the curious faded crayon drawing on the wall. He spots a couple of coins on the floor. He picks up a quarter, and flips it. Harris steps into the room. SGT. HARRIS She's being transferred to University Hospital. LT. NABULSI Right now? SGT. HARRIS Right now. (CONTINUED) 87. 254 CONTINUED: 254 LT. NABULSI ...Have them call the escort vehicle. Tell them we'll meet them at the hospital in less than ten. And he pockets the quarter and steps out of the room.255 INT. UNIVERSITY HOSPITAL - SEVENTH FLOOR CORRIDOR -- DAY 255 The EMT and two JAIL GUARDS wheel Lara up to the desk and hand over her chart. JAIL GUARD #1 We have Lara Brennan. The duty nurse checks her chart and nods to a NURSE. DUTY NURSE Put her in 7725 and start an IV. The EMT passes her over to the nurse and leaves. The DUTY NURSE picks up the phone as they move off down the hall. DUTY NURSE (CONT'D) (into phone) Can you please page Dr. Becsey?256 INT. UNIVERSITY HOSPITAL - ROOM 7725 -- DAY 256 The nurse wheels her in and GUARD #2 uncuffs her from the gurney, as GUARD #1 gets a call on his cell phone. JAIL GUARD #1 Yeah?... We're here: prisoner's secure, no problems.... Will do. He hangs up and turns to see John enter, carrying Luke's backpack, wearing a white doctor's smock. He raises a gun. JOHN Put the phone down. Guard #1 obeys. NURSE Oh please, no. LARA John?? JOHN Remove your holsters, put them on the floor and get on your knees. (CONTINUED) 88.256 CONTINUED: 256 LARA (can't make sense of this) What are you doing here? JOHN DO IT!! Guard #2 reaches for his weapon; John pistol whips him to the floor. The nurse cups a hand over her mouth to stifle a scream. JOHN (CONT'D) DO IT NOW!!257 EXT. STREET -- DAY 257 Harris speeds toward the hospital. Nabulsi is on the radio. DISPATCHER (V.O.) Lieutenant, the prisoner is secure; jail personnel are 10-27, Code 4. A squad car will meet you at the entrance. Nabulsi puts the walkie down and flips on the siren. Harris reacts. SGT. HARRIS She just said -- LT. NABULSI Run the light.258 INT. UNIVERSITY HOSPITAL - ROOM 7725 -- DAY 258 A second handgun and holster slides across the floor to meet the one that already lies by John's feet. The two guards kneel, facing the far wall. John pulls a roll of duct tape from the backpack and tosses it to the terrified nurse. JOHN Tape their hands and feet. (when he hesitates) Do it!! The nurse tapes the guards' wrists behind their backs. LARA You have to stop this. JAIL GUARD #1 You walk out that door with him and you will both be killed. (CONTINUED) 89.258 CONTINUED: 258 JOHN Tape their mouths! John picks up the key and undoes Lara's cuffs. LARA No. Stop. John yanks her clothing and a white smock out of the bag and tosses them to her. JOHN Put it on. LARA WHY ARE YOU DOING THIS?! JOHN Because we have no other choice!! Put it on! (to nurse) Turn around. He does, John starts taping his wrists. JOHN (CONT'D) Lara, put the clothes on! LARA No. JOHN NOW!! LARA No! They stare at each other. John offers her his cell phone. JOHN Okay. Tell your son you aren't coming. LARA ...Where is he? JOHN Waiting for you. Tell him you aren't coming. LARA How can you do this to me? (CONTINUED) 90. 258 CONTINUED: (2) 258 JOHN Push send. Tell him I'm not coming back either. LARA John -- JOHN Does it look like I'm going home?! Tell him he is alone now and his mother and father aren't coming back! Lara stares at him with hatred, mutters: LARA You son of a bitch. Lara pulls off her prison garb, standing before them naked except for her panties. She quite purposely does not turn away or cover herself, but lets her eyes burn into him. John presses the STOPWATCH button on his watch and the COUNTER starts running.259 EXT. UNIVERSITY HOSPITAL - EMERGENCY ENTRANCE -- DAY 259 A squad car pulls up outside the hospital's main entrance. One officer strides into the Emergency Room while the other takes a look around the parking lot.260 INT. UNIVERSITY HOSPITAL - SEVENTH FLOOR HALLWAY 260 Lara and John step out into the hall. John's eyes flick to the Nurse's Desk but he keeps walking. As they pass we notice DR. LIFSON standing there with Lara's file in her hand. The Duty Nurse notices as well. It takes a second for Lifson to understand what is going on. She steps out into the hall and stares after them. DR. LIFSON What are you doing? John yanks Lara's arm and makes a dash for the elevator, pulling his gun from his pocket. The Duty Nurse sees what is happening and bolts down the hall, throwing open the door to room 7725. 260A INT. HOSPITAL - 7TH FLOOR ELEVATOR LOBBY 260A The elevator doors are closing as John arrives and jams his arm in between them. The passengers see the weapon. (CONTINUED) WHITE 9-10-09 91.260A CONTINUED: 260A JOHN Get out! Get out! They scurry out and the doors close. A heartbeat later the next elevator opens and the cop from downstairs steps off. 261 INT. HOSPITAL ELEVATOR -- DAY 261 LARA Where's Luke?! Is he safe? Where is he?! JOHN He's safe!262 EXT. EMERGENCY ENTRANCE -- DAY 262 The unmarked car brakes hard. Nabulsi and Harris stride out and into the ER, flipping their ID into their breast pockets.263 INT. HOSPITAL ELEVATOR -- DAY 263 Lara and John barely breath. 264 EXT. UNIVERSITY HOSPITAL - HANDICAP PARKING AREA -- DAY 264 The uniformed officer who stayed outside finds John's black Prius with the broken taillight parked in a handicapped spot. He lifts his walkie and CALLS IT IN.265 INT. UNIVERSITY HOSPITAL - MAIN FLOOR -- DAY 265 Nabulsi jabs the elevator button. He reacts as a HOSPITAL SECURITY GUARD comes running toward him. LT. NABULSI What's wrong? Before he can answer, the elevator doors open and they come face to face with John and Lara. John sees their police IDs and levels his weapon. Around them, patients and employees scream and run away. JOHN Back away! LT. NABULSI Don't be stupid. Drop the weapon. JOHN Get back! (CONTINUED) 92.265 CONTINUED: 265 LT. NABULSI We have units at every exit. You'll be shot trying to leave. JOHN (to Lara) Hit the button. Lara stands frozen. JOHN (CONT'D) Hit it! She presses a button. The doors start to close. LT. NABULSI Don't do this. Doors closed. Nabulsi runs and screams: LT. NABULSI (CONT'D) Where are the stairs?! HOSPITAL SECURITY GUARD #2 leads the way. Nabulsi and Harris pass him at the door as he yells into his walkie. HOSPITAL SECURITY GUARD #2 Male and female; white lab coats! Parking levels!266 INT. HOSPITAL ELEVATOR -- CONTINUOUS 266 LARA (freaking out) Oh please oh please oh please... JOHN It'll be okay. (she keeps panicking) Look at me! Do what I say; it'll be okay; I promise. She stares at him, having never seen him like this before. JOHN (CONT'D) Lara? She nods. JOHN (CONT'D) Take the coat off. 93.267 INT. HOSPITAL STAIRWELL AND P1 LEVEL -- CONTINUOUS 267 Nabulsi, Harris and the guard bound down the stairs into the lower elevator lobby. Nabulsi sees the doors aren't opening and runs back to the stairs, meeting the cop from upstairs on his way down. LT. NABULSI Stay here! HOSPITAL SECURITY GUARD #2 (into walkie) Parking garage! Get your asses down here! Nabulsi and Harris leave them and thunder down the stairs.268 INT. ELEVATOR LOBBY - P3 LEVEL -- CONTINUOUS 268 The elevator doors open and John tosses the lab coats out toward a trash can in the direction of the garage. He pounds the elevator button.269 INT. P2 LEVEL 269 Nabulsi and Harris burst onto this floor -- see the elevator doors are closed. LT. NABULSI Watch that door! Harris obeys as Nabulsi flings himself down the next flight.270 INT. ELEVATOR LOBBY - P3 LEVEL -- CONTINUOUS 270 The elevator isn't closing. John slams the button repeatedly. He hears Nabulsi's heavy feet on the stairs, angles and aims the weapon -- Lara can't believe what she's witnessing. Suddenly the doors close, just a heartbeat before Nabulsi gets there. Nabulsi spots the discarded lab coats and runs out into THE GARAGE. He heads for the ramp, scanning the parked cars. Getting to the bottom of the ramp he looks up and sees a SQUAD CAR racing down toward him. As it brakes, Nabulsi realizes they couldn't have escaped this way; he's been had. LT. NABULSI (shouts into walkie) Who's in the lobby?! But he only gets static. He charges back toward the stairs. 94.271 INT. ELEVATOR - LOBBY LEVEL -- CONTINUOUS 271 The doors open. John peers around the corner, hiding his weapon. No police in the lobby, but through the glass doors he sees a squad car screeching to a halt. He grabs Lara's hand and leads her out of the elevator and around the corner. They weave down a corridor, deeper into the hospital, passing another cop at the Emergency Desk who has his back to them. They turn the corner, see a hospital guard running toward them. John recognizes him as the guard he argued with when Lara attempted suicide. John stiffens, but the guard runs past -- looking for a couple in lab coats. They quicken their steps. The guard stops at the end of the hall and turns to stare, recognizing them. He lifts his walkie and speaks. HOSPITAL SECURITY GUARD #1 Main floor, rear corridor. John and Lara turn a corner. John spots the SHIPPING OFFICE. They enter and head for the loading bay.272 INT. HOSPITAL LOBBY -- CONTINUOUS 272 Nabulsi and Harris break into the lobby, sweating. Officers run in the front doors toward him. Nabulsi surveys the scene, realizes they couldn't have gone out the front. He hears a shout: HOSPITAL SECURITY GUARD #1 (O.S.) Back here! They turn and run in the direction of the voice, turning the corner and seeing the SECURITY GUARD at the end of the hall, who sees them coming turns and runs off after John and Lara. LT. NABULSI (into radio, on the run) Get units to Grant Street!273 EXT. HOSPITAL LOADING DOCK -- CONTINUOUS 273 John punches open the door and they hop down off the dock and take off for the street.274 EXT. REAR OF UNIVERSITY HOSPITAL -- CONTINUOUS 274 John tugs Lara across the street, dodging traffic. He yanks off his jacket and pulls it back on inside-out -- this side is black and gold. 95. 275 EXT. REAR OF UNIVERSITY HOSPITAL -- CONTINUOUS 275 Nabulsi runs out of the loading dock and into the middle of Grant Street, HARRIS and the two OFFICERS trailing. Very few pedestrians right here. Nabulsi looks to his right: a crowded crosswalk, fans heading through a pedestrian mall to a Penguins game. He looks to his left: more fans moving toward the stadium. Almost all of them are wearing team colors - a sea of black and gold. Nabulsi curses. 276 EXT. NEARBY PEDESTRIAN MALL -- DAY 276 Lara and John weave through the fans. JOHN Put your hair down. Lara obeys without thinking. John checks his watch, then opens a door. Leaving the throng of fans, he guides Lara through and down the stairs into the T-Train Subway Station.277 EXT. UNIVERSITY HOSPITAL -- CONTINUOUS 277 Nabulsi runs to the crosswalk as Harris takes the other direction. The other two officers take the far sidewalks. 278 INT. T-TRAIN SUBWAY STATION -- CONTINUOUS 278 John and Lara quicken their pace. The camera tilts up and to the glass ceiling. 278A EXT. PEDESTRIAN MALL -- CONTINUOUS 278A Nabulsi searches the faces in the mall. He looks down through the station skylight, catches a fleeting glimpse of them. He runs for the entrance, his walkie flying to his face. LT. NABULSI They're on the platform! Block stations in either direction! Call the Port Authority. Stop all trains! 279 INT. T-TRAIN SUBWAY STATION -- CONTINUOUS 279 John sees a train approaching as they come down the stairs. Almost dragging Lara, John nudges past slower people to make it onto the train. Then they wait. The doors don't close. 280 EXT. UNIVERSITY HOSPITAL - MAIN ENTRANCE -- CONTINUOUS 280 Walkie in hand, Harris jumps into their unmarked car and pulls out. Two SQUAD CARS wail out past him. WHITE 9-10-09 96.281 INT. T-TRAIN SUBWAY STATION -- CONTINUOUS 281 Above -- Nabulsi sees the train and shoves past commuters. 282 INT. T-TRAIN -- CONTINUOUS 282 John spots him coming, slips the long screwdriver from the small backpack he's carrying. Lara sees him tighten his fingers around the grip. The doors finally close just as: 283 INT. T-TRAIN SUBWAY STATION -- CONTINUOUS 283 Nabulsi bounds down the stairs. The train leaves the station. Nabulsi leaps down onto the tracks and chases it. 284 EXT. T-TRAIN STATION -- DAY 284 This station sits above ground. Three squad cars scream up. The officers clamor out of the cars and run for the platform. 285 EXT. DOWNTOWN STREET -- DAY 285 Harris skids the unmarked vehicle around the corner, heading parallel to the underground.286 INT. SUBWAY TUNNEL -- DAY 286 Nabulsi runs down the tracks, the car ahead nowhere in sight.287 INT. T-TRAIN -- CONTINUOUS 287 The T-Train DRIVER gets an emergency call from the base. He looks back into the car as IT RISES UP OUT OF THE UNDERGROUND. Daylight floods the car as the train emerges from underground. John jams the long screwdriver into the door and PRIES IT OPEN.288 EXT. T-TRAIN AND TRACKS -- DAY 288 The wheels SCREECH and the brakes SEIZE. Passengers topple to the floor. John grabs Lara and they leap out onto the tracks. He finds the slit he cut in the tall fence. They slip out through it, onto the street and into the parking lot beyond.289 INT. HARRIS' UNMARKED CAR -- CONTINUOUS 289 Harris screams along the road on the far side of the tracks. He locks up his BRAKES as he sees the stalled T-Train. WHITE 9-10-09 97.290 EXT. PARKING LOT - OTHER SIDE OF THE TRACKS -- CONTINUOUS 290 John yanks off his jacket as they jump into the rented SUV. John calms his racing heart, drives away and turns the corner. 291 EXT. T-TRAIN TRACKS -- CONTINUOUS 291 Harris leaps from his vehicle and runs to the fence on his side of the tracks -- it is ten feet tall with razor wire, no way over it. He sees: Nabulsi charge up out of the tunnel. He jumps into the stalled train car, looks around, doesn't see John and Lara.292 EXT. TUNNEL UNDER RIVER -- MORNING 292 The SUV comes up out of the dark and drives away from the city center, as a police helicopter swoops overhead, going the opposite direction.293 INT. RENTED SUV -- MORNING 293 John checks the counter, still running on his watch. 11:05. He wets his thumb and rubs his wrist until the 15 is erased. All that remains now is the second number: 35. They merge into traffic heading toward the suburbs.294 EXT. T-TRAIN TRACKS -- MORNING 294 Nabulsi pushes through the hole in the wire. Harris runs across the tracks with his jacket off, having scaled the fence on the far side. LT. NABULSI (into walkie) Ring the city. Train and bus stations. Get their descriptions to the State Police. (to Harris) How old is their kid? SGT. HARRIS Six. LT. NABULSI Let's find out where he is.295 INT. SUV - DRIVING -- MORNING 295 LARA Why didn't you tell me? (CONTINUED) 98. 295 CONTINUED: 295 JOHN You would've stopped me. He nods toward the glove box JOHN (CONT'D) There's a case in there. Brush, moisturizer, makeup. Everything you had was old. I hope I got it right. She opens the glove box, unzips the case, and is touched by this small gesture.296 INT. POLICE STATION - HOMICIDE DIVISION -- DAY 296 Detective Collero, who we last saw when they arrested Lara, stops by Detective Quinn's cubicle. DETECTIVE COLLERO You want to take a guess who just escaped from jail?297 EXT. NICOLE'S HOUSE -- MORNING 297 Lara sits in the SUV at the curb. John waits at the door. It is opened by BRENDA, Nicole's mother. BRENDA Hello. JOHN Hi. I'm here for my son. BRENDA Oh, they aren't back yet. JOHN Back from where? BRENDA The zoo. JOHN ...The zoo? Finds an invite and hands it to him. The back clearly says they are going to the zoo. BRENDA It's a zoo party. (in case he's worried:) They ate first. (MORE) (CONTINUED) 99.297 CONTINUED: 297 BRENDA (CONT'D) They should be back in about an hour. Would you like to wait? JOHH No. Thank you. John turns and walks back to the SUV. Brenda watches for a moment, made curious by his behavior. He gets into the vehicle. Lara is in a panic. LARA What's wrong? John punches ZOO into POINTS OF INTEREST on the GPS. LARA (CONT'D) Where's Luke? JOHN He's at the party. He sneaks a look at his stopwatch: 24 MINUTES and counting. LARA What party? You said the party was here. JOHN I was wrong. She took them to the zoo. The GPS comes up with an address. John punches a button. LARA (can't help herself) She? GPS VOICE Estimated drive time: seventeen minutes. JOHN Carrie's mom. Nicole. He drops the transmission into gear and speeds off.298 EXT. BRENNAN HOUSE -- MORNING 298 A squad car is waiting, another arrives. Harris pulls up and strides toward the house. (CONTINUED) 100.298 CONTINUED: 298 SGT. HARRIS Canvas the neighbors. We're looking for the boy and anything they've noticed in the last few days.299 EXT. CITY STREETS -- MORNING 299 John drives like a man possessed.300 INT. SUV - DRIVING THROUGH INTERSECTION -- MORNING 300 John brakes as he spots a State Trooper vehicle at an intersection. As he keeps an eye on the rearview mirror, the squad car puts on its flashers, turns and follows them. John's hands tighten on the wheel. He keeps the speedometer at 35, praying he's not their target. The police vehicle passes them and takes off fast down the four lane street. John breathes again and drives on. He checks the stopwatch - 29 minutes flicks to 30. He pushes the button on the GPS. GPS VOICE Time to destination: eleven minutes. Lara sees him sweat, unaware of the significance of the time.301 EXT. STREETS -- DAY 301 The SUV swerves around a corner, heading into the outskirts of town.302 INT. SUV - FOUR LANE STREET -- DAY 302 John's eyes flick to his stopwatch: 32 minutes flicks to 33. Signs appear quickly now. Interstate: Keep Right; Zoo: Next Left. John keeps driving, hoping somehow that he won't have to make this choice -- their freedom, or their son. Too many questions rage across his face. Perhaps they can escape and his parents can somehow arrange to get Luke to them. Or perhaps Luke would be better off with his grandparents after all. Then there it is: The sign to the interstate points to the entrance ahead on the right. (CONTINUED) 101.302 CONTINUED: 302 The sign to the Zoo sits behind it, pointing to the next road on the left. 34:02, 34:03, 34:04... John takes the freeway ramp.303 EXT. INTERSTATE -- CONTINUOUS 303 The SUV climbs up the on-ramp, leaving the city behind. 304 INT. SUV - DRIVING -- CONTINUOUS 304 LARA You took the wrong turn! It's back there. No response. Lara looks back over her shoulder, wondering if this is some kind of shortcut. LARA (CONT'D) The zoo is back there. You're going the wrong way! (no response) It's back there! (no response) WHAT ARE YOU DOING?!! JOHN She'll call my parents. LARA What?? JOHN They'll take care of him, I will figure out how to get him to us. LARA Are you out of your mind! JOHN I tried!! There's no more time!! Any second now there's going to be a roadblock ahead! It might be there now!! If we don't get out now we don't get out!! Lara sits back in her seat, stunned and horrified, as John continues. (CONTINUED) 102.304 CONTINUED: 304 JOHN (CONT'D) I promise. I promise I will find a way to get Luke to us. I will find some way. Lara unsnaps her seat belt. She reaches for the door latch. John sees her pull the door and GRABS her by the shirt as he slams his foot on the brakes! The tires SCREAM, the SUV skids into an uncontrolled turn. Horns blare. Cars behind them swerve to avoid collision. John holds Lara in her seat as the SUV flies around in a circle and finally comes to a dead stop on the shoulder, miraculously facing in the right direction. John allows himself to breathe. He lets go of Lara's shirt. She opens the door and steps out. John closes his eyes and tries to gather himself back together. He opens his door and steps out. 305 EXT. INTERSTATE HWY - SHOULDER -- DAY 305 John sees the big rig truck driver look back from where he's pulled over. John nods to him that everything is okay and comes around the bumper to find Lara sitting on the gravel shoulder, leaning against the back tire, staring out at the field beyond. He sits beside her in silence. Behind them the cars whip by. No one even thinks to stop to see if they need help. Lara and John watch a cow in the farmer's field. There is nothing for either of them to say, they both know how they got here. Their hands sit on the gravel between each other. Without looking at him, Lara tentatively entwines a single finger with his. He slowly gathers strength from her touch. 306 INT. SUV - ON THE SHOULDER -- MOMENTS LATER 306 They close the doors, and John starts the engine and they drive forward. John takes the first exit.307 EXT. BRENNAN HOUSE - ALLEY -- DAY 307 A garbage truck is just pulling up as Paula shows Harris and an officer her recycling bin. They pull out John's overstuffed trash bag. 103.308 EXT. ZOO ENTRANCE -- DAY 308 Lara sits in the SUV by herself, watching the entrance.309 EXT. ZOO -- DAY 309 Nicole, surrounded by a dozen six year-olds, passes Luke off to John. JOHN No, it really is fine. I can't thank you enough for taking care of him. NICOLE It is our pleasure. Wasn't it, Carrie? John and Luke turn and walk toward the exit.310 EXT. ZOO ENTRANCE -- CONTINUOUS 310 Lara turns and sees John and Luke walking toward her. LARA Hi. LUKE Hi. LARA Did you have a nice time at the party? LUKE Yeah. Lara walks him to the car, as if this day is no different than any other. LARA What was your favorite thing? LUKE Ice cream cake. She lifts him into his seat and buckles him in. LARA They had ice cream cake here? LUKE At Carrie's house. (CONTINUED) 104.310 CONTINUED: 310 LARA Oh. What flavor? LUKE Lots of flavors. LARA My favorite. John starts the car. LARA (CONT'D) I'm going to sit back here, okay? JOHN Sure. Luke plays with a toy. Lara closes the door behind her. She looks out the window and sees: NICOLE standing at the entrance, looking at her. Not exactly sure why she does it, LARA offers her a grateful smile. NICOLE watches them pull away, confused about what she should do.311 INT. SUV - ZOO PARKING LOT EXIT -- CONTINUOUS 311 John drifts up to the stop sign at the intersection. A sign points out the interstate to the left -- and he can see the overpass and freeway entrance; the business district to the right. He checks his watch: 48 minutes. He resets it to zero. Game over. He switches on the radio and searches for NEWS. Luke taps Lara on the shoulder. She leans down. LUKE I think we're going to the cottage. LARA Really? He nods knowingly. LUKE I have money. Lara almost loses it; smiles. (CONTINUED) 105.311 CONTINUED: 311 LARA Good. Then I'll stick close to you. LUKE Okay. John finds the news station. NEWS RADIO -- Traffic down to two lanes at the tollbooths. And downtown is worse. Stay away from the train station if you are trying to get anywhere. Not sure what is happening but a KPGH caller says trains aren't moving and commuters are getting irate. (etc.) LARA John? (no reply) What are we going to do? JOHN (finally) We're going to the train station. John turns right, heading downtown.312 INT. POLICE STATION -- DAY 312 Detective Quinn spots Harris fly in carrying a brimming green trash bag. Quinn jumps up and follows him into the SITUATION ROOM. COLLERO hurries to catch up. Harris dumps the contents onto the conference table as she enters. Quinn immediately dives into the contents. HARRIS and COLLERO share an awkward look. SGT. HARRIS (smitten) Hi. DETECTIVE COLLERO (casting her eyes down) Hi. She and Harris dig into the crumpled papers and photos. DETECTIVE QUINN (to Collero) You're not going to nod off, are you? (CONTINUED) 106.312 CONTINUED: 312 Collero gives Quinn a burning look. Nabulsi enters.313 EXT. TRAIN STATION -- DAY 313 John double-parks and pulls on a ball cap. Traffic is snarled, the place is awash with police and squad cars. Hundreds of people mill out front. JOHN Stay in the car. John puts on his sunglasses and walks right through the middle of it all. Lara watches, certain he will be spotted and arrested. John steps onto the crowded sidewalk outside the front doors. He speaks to a large woman; she shakes her head. He goes on to speak to a black couple, who apparently aren't interested. He approaches an elderly couple.314 EXT. INTERSTATE -- DAY 314 The SUV heads up the on-ramp.315 INT. POLICE STATION - NABULSI'S OFFICE -- DAY 315 Nabulsi is on the phone, catching hell from his Captain, who has had an earful from his counterpart in the State Police. LT. NABULSI I understand....I understand. I didn't tell them to stop EVERY vehicle. Just the ones with a couple and a young child. He hangs up, takes the quarter from his pocket and spins it on his desk.316 INT./EXT. FREEWAY TOLLBOOTH -- DAY 316 John spies the tollbooth ahead, traffic down to two lanes. The ELDERLY MAN beside him has a small bag on his lap. ELDERLY MAN Are you sure twenty dollars is enough? Ticket to Buffalo costs three times that. And now we notice the man's WIFE sitting in the back seat, with Luke and Lara. John pays the toll. (CONTINUED) 107.316 CONTINUED: 316 JOHN (re: SUV) This thing is very good on gas. A State Trooper waves them toward the booth. The trooper ahead checks them out and waves them on. They are free. The same trooper stops the car behind them -- in it, a couple with a child.317 INT. POLICE STATION - NABULSI'S OFFICE -- DAY 317 DETECTIVE COLLERO Every one in the state. LT. NABULSI Go wider. Send their photos to every train, bus station and airport in a three hundred mile radius. DETECTIVE COLLERO (looking at her pad) So, Ohio, Maryland, West Virginia, New York, New Jersey, Virginia, Michigan, Kentucky and Indiana? LT. NABULSI You know what direction they are going, smart ass? DETECTIVE COLLERO Captain, a lot of these places barely have fax machines. LT. NABULSI Then start dialing. (as they exit:) Prioritize. Closest airports first. Nabulsi spins the quarter again, staring at it as if it will give him the answer.318 EXT. DOWNTOWN BUFFALO -- AFTERNOON 318 The Brennans drop off the elderly couple. John waves, drops his gun in the trash can, gets back in and drives away. 319 INT. POLICE STATION - SITUATION ROOM -- LATE AFTERNOON 319 Harris and Collero finish recreating a portion of John's wall, complete with wallpaper. (CONTINUED) 108.319 CONTINUED: 319 Harris steps out into the HALL, passing an INTERVIEW ROOM. Behind the glass he sees QUINN grilling MICK. Harris keeps going into Nabulsi's office. Nabulsi sits, spinning the coin, jacket off, shirt untucked. SGT. HARRIS You want to see it? LT. NABULSI Only if it will tell me where they are. SGT. HARRIS Not so lucky. Nabulsi flattens the coin. Something makes him stare at his fingers. He moves his hand, revealing a Canadian quarter. LT. NABULSI How far is it to the Canadian border? SGT. HARRIS Four, five hours? LT. NABULSI (rising) Collero!!320 EXT. PEARSON INTERNATIONAL AIRPORT - TORONTO -- EVENING 320 The SUV takes the freeway exit and climbs the ramp. 321 INT. POLICE STATION - SITUATION ROOM -- EVENING 321 Nabulsi comes out of his office, passing a waiting ERIT. ERIT Excuse me? You call this coffee? Nabulsi shakes that off and enters the SITUATION ROOM. Every phone at the table is manned, all having the same conversation: SGT. HARRIS I'm calling from the Pittsburgh Police Department. We have a fugitive warrant for Lara and John Brennan, they are most likely traveling with their six year-old son, and we have reason to believe they might be flying out of your airport. Collero hangs up from her call and looks to the next number. (CONTINUED) 109.321 CONTINUED: 321 LT. NABULSI How many airports in Ontario and Quebec? DETECTIVE COLLERO Should I stop calling and count? Nabulsi gives her a look. Collero dials. SGT. HARRIS Yes, we are sending you photographs. We would appreciate it if you could disseminate them....How many terminals? DETECTIVE QUINN (bursts in) I got his parents! 321A OMITTED 321A AND AND322 322323 INT. PEARSON INTERNATIONAL AIRPORT - TORONTO -- EVENING 323 The Brennans enter, pulling their carry-on bags.324 INT. PEARSON -- CHECK-IN DESK -- EVENING 324 AIR CANADA CLERK (as she types) Long way to go with just carry-on. JOHN (smiles) You know how many times you've lost our bags? AIR CANADA CLERK I hear you.325 INT. TORONTO INTERNATIONAL AIRPORT -- NIGHT 325 John and Lara wait for Luke to step through the metal detector. The alarm sounds. John and Lara react as the security agent takes Luke into the glass isolation booth.326 INT. POLICE STATION - INTERVIEW ROOMS -- NIGHT 326 Collero questions Grace on the other side of the glass. She appears devastated. (CONTINUED) 110.326 CONTINUED: 326 DETECTIVE COLLERO So, you just decided to go for a drive, for the entire day? GRACE George wanted to see the leaves. Track to the next room, where Nabulsi questions George. LT. NABULSI So you have absolutely no idea where they are going? GEORGE I told you. We never spoke. George stares Nabulsi down.327 INT. TORONTO INTERNATIONAL AIRPORT -- NIGHT 327 A female security agent searches Luke, digs a handful of Canadian quarters out of his pocket. John's heart races.328 INT. TORONTO AIRPORT - PASSPORT CONTROL -- NIGHT 328 The Brennans approach passport control. Lara glances at John, sees he is sweating and red. She slips her hand into his and takes the passports. LARA I'll do this. She turns and smiles at the officer, putting on all her charm. LARA (CONT'D) Hello. He remains stern-faced. Taking their passports, he examines them against PHOTOGRAPHS on his computer screen. He looks at them, looks at the passports again, then finally waves them through. LARA (CONT'D) Thank you. As they step away, the passport officer turns, sees his replacement waiting. He stands and exits to take his break. The SECOND PASSPORT CONTROL OFFICER takes his seat and motions for the next traveler to approach. As they do an ALERT comes on his computer screen. He taps on it -- and up comes photographs of LARA and JOHN. (CONTINUED) 111.328 CONTINUED: 328 He notes them, taps the screen again and the two take their place beside the others on the watch list. He motions for the traveler to hand over her passport. ANGLE ON THE BRENNANS walking away.329 INT. POLICE STATION - SITUATION ROOM -- NIGHT 329 The phones are quiet. Alone, Harris stares at the portion of the wall that he assembled. Collero enters. DETECTIVE QUINN Too bad you didn't find more of it. SGT. HARRIS Yeah. And wish I could figure out where this is. He points to a small torn photo, taped back together. SGT. HARRIS (CONT'D) I checked websites for every tourist destination I could -- DETECTIVE COLLERO That's the presidential palace. (Harris turns & stares) It was all over CNN. When they deposed...what's-his-name. 330 INT. POLICE STATION - NABULSI'S OFFICE -- NIGHT 330 Harris bursts in. SGT. HARRIS We know where they're going!331 INT. TORONTO AIRPORT - GATE B-15 -- NIGHT 331 John and Lara sit, waiting to board, Luke asleep. AIR CANADA ATTENDANT (V.O.) We'll now begin boarding by rows. 331A INT. TORONTO AIRPORT - SECURITY OFFICE -- NIGHT 331A An AIRPORT SECURITY CHIEF snatches photos of Lara and John out of the printer and bolts out of the office, joined by two other OFFICERS. 112. 332 INT. TORONTO AIRPORT - JETWAY -- NIGHT 332 John, Lara and Luke walk down the jetway, until they are stopped by the crowd of passengers before them. John tries not to show how nervous he really is. 332A INT. TORONTO AIRPORT - GATES -- NIGHT 332A Airport Security runs up to the gate and pushes past the boarding passengers, searching their faces. The Airport Security Chief strides past the passengers and onto the jetway, the pages of photographs in his hand. 333 INT. POLICE STATION - SITUATION ROOM -- NIGHT 333 Nabulsi waits in silence on the other end of a phone. The room is full, no one speaks.334 INT. TORONTO AIRPORT - JETWAY -- NIGHT 334 A second AIRPORT SECURITY OFFICER squeezes along the wall, passing the waiting passengers. We pan to see Luke's brightly colored roller-board. Our hearts stop; it is all over. 335 INT. POLICE STATION - SITUATION ROOM -- NIGHT 335 Nabulsi waits on the other line for an eternity. Finally: AIRPORT SECURITY CHIEF (O.S.) Sorry. There is no one by their description on the flight. LT. NABULSI They're on it. Do you have the photographs? 335A INT. TORONTO AIRPORT - JETWAY -- NIGHT 335A The young AIR CANADA FLIGHT ATTENDANT kneels to help the child with the colorful rollerboard -- we see it's a FIVE YEAR-OLD GIRL. AIR CANADA ATTENDANT Can I take this for you? AIRPORT SECURITY CHIEF (V.O.) We have the photographs. They aren't on this plane. 336 INT. TORONTO AIRPORT - GATE 32 -- CONTINUOUS 336 Now see the GATE NUMBER and destination: PORT-AU-PRINCE. (CONTINUED) 113.336 CONTINUED: 336 AIRPORT SECURITY CHIEF (listens, turns to attendant #2) Are there any other flights to Haiti tonight?337 INT. POLICE STATION - SITUATION ROOM -- CONTINUOUS 337 AIRPORT SECURITY CHIEF (O.S.) No other flights. Anything else? LT. NABULSI ....No. Thank you. Nabulsi hangs up, defeated. Quinn stares out the window, deep in thought. DETECTIVE QUINN It's starting to rain. Nabulsi looks at him as if he's nuts. DETECTIVE COLLERO I'll call the FBI. Collero exits, Quinn turns and looks at the partial "wall." DETECTIVE QUINN You ask yourself why we found this bag and not the others?338 INT. AIRPLANE -- NIGHT 338 Lara looks up from her son, sees her husband staring out the window at the darkness beyond. Ding. AIR CANADA ATTENDANT (V.O.) The captain has switched off the seat belt light. Flight time to Caracas, Venezuela this evening is five hours and fifteen minutes. While in your seat, the captain asks-- 339 INT. POLICE STATION - SITUATION ROOM -- NIGHT 339 Now it's just Harris and Nabulsi, staring at John's wall. LT. NABULSI This guy was a teacher? SGT. HARRIS At a community college. 114. 340 INT. GRACE AND GEORGE'S KITCHEN -- DAWN 340 Sitting in his pajamas, George flips open an ancient atlas and runs his finger down across the Gulf of Mexico to Caracas, Venezuela. And he thinks of his grandson and smiles.341 EXT. VENEZUELAN COUNTRYSIDE (HELICOPTER SHOT) -- DAY 341 A taxi snakes along a mountain road, through the dense forests of Venezuela.342 INT. TAXI - DRIVING - MOUNTAIN ROAD -- DAY 342 Exhausted but awake, John stares out the window at the coastline below. Lara and Luke sleep beside him.343 EXT. LARA'S OFFICE BUILDING - PARKING LOT -- DAY 343 More rain. Detective Quinn squats in the covered parking lot, staring at the spot where the crime took place. Flash to: 344 EXT. PARKING GARAGE - THE PAST -- NIGHT 344 Elizabeth turns at her car, is slammed in the head with the extinguisher and she falls dead. The extinguisher is tossed to the floor and rolls. A YOUNG FEMALE JUNKIE yanks at Elizabeth's purse, getting blood on her hands before she frees it. She looks like a junkie. She runs off toward the sidewalk. 344A QUINN - IN THE PRESENT 344A Turns and sees... 344B LARA - IN THE PAST 344B She hurries along the sidewalk to get out of the rain. Turning the corner into the garage she COLLIDES with the JUNKIE. Lara's purse catches the woman's coat. The JUNKIE puts her hand on Lara's shoulder, leaving a SMUDGE OF ELIZABETH'S BLOOD on Lara's raincoat. She tugs free. A BUTTON from the woman's coat POPS OFF and hits the sidewalk. Lara turns and yells "Hey," then keeps going. She is about to get in the car when she sees the fire extinguisher in front of her left wheel. She picks it up, turns, annoyed. She places it down by the wall. (CONTINUED) 115. 344B CONTINUED: 344B Lara gets in her car and drives off, oblivious to Elizabeth's body lying on the concrete floor on the passenger's side. Her co-worker sees her drive off as he steps into the garage. He spots the body and turns and looks after Lara's car. 345 EXT. LARA'S OFFICE BUILDING - PARKING LOT -- DAY 345 Quinn puts his used gum in a wrapper. COLLERO watches from the car as her partner walks to the corner of the building. QUINN steps up to where the two women collided and looks down at the sidewalk. DETECTIVE QUINN Was it raining when we searched the crime scene? DETECTIVE COLLERO Three years ago?? What are we doing here? Quinn drops his gum wrapper onto the sidewalk. It hits a stream of water coming out from a rain gutter and washes away. Quinn watches it -- then follows... Collero shakes her head, grabs a newspaper to keep the rain off and follows. The gum wrapper washes over the curb into the gutter and travels to the storm drain a half a block away. Quinn gets there, kneels. DETECTIVE QUINN Act like a cop. Grab the other side. DETECTIVE COLLERO You're out of your mind. Quinn jerks the grate up. Collero grabs the other side and helps him lift. They stare down into the hole. Quinn runs his hand along the lip, digging up the mud and sediment...finds nothing. DETECTIVE COLLERO (CONT'D) You really thought you were going to find it? Collero wipes her hands on a tissue as Quinn stares down the hole a little longer, then lets the grate fall. (CONTINUED) 116.345 CONTINUED: 345 CLOSE ON INSIDE LIP OF STORM DRAIN Just before the grate clangs we see JUNKIE'S JACKET BUTTON, squeezed between the grate and the wall. 346 EXT. TOWN SQUARE - SOUTH AMERICA -- EVENING 346 The taxi crosses the ancient square of a small town.347 INT. COLONIAL HOTEL -- EVENING 347 The room has two single beds. John waits at the bathroom door. Lara steps out, a real awkwardness between them. She touches his hand. He offers a smile. She slips past him. He steps into the bathroom and closes the door. Lara lies down on the single bed furthest from the bathroom, face to face with her sleeping son. Without warning, he kisses her on the cheek, for the first time, without being prodded. He turns around and lets her wrap her arms around him. And she almost dies of happiness.348 INT. HOTEL BATHROOM -- CONTINUOUS 348 John washes, trying not to look in the mirror, not wanting to glimpse the man he has become.349 INT. HOTEL ROOM -- NIGHT 349 Lara and Luke sleep, spooning. John sits on the other bed. He picks up the TV remote and flips through Spanish language stations. And there it is: CNN in English. Sports right now, but John knows there is no place they can hide.350 INT. BAR -- DAY 350 Damon takes the money from John's wallet, leaves him with a twenty. DAMON Good luck. Damon leaves him there. As John wonders if he is capable of doing this, we cut to BLACK. Read: THE NEXT THREE DAYS. Hear: Knock knock. Roll credits. \ No newline at end of file diff --git a/unformated_scripts/Script_Next.txt b/unformated_scripts/Script_Next.txt new file mode 100644 index 0000000000000000000000000000000000000000..0af6b522b896a50df25b16ce8694e2d64368d41d --- /dev/null +++ b/unformated_scripts/Script_Next.txt @@ -0,0 +1 @@ + NEXT Written by Gary Goldman Based on "The Golden Man" Written by Philip K. Dick May 14, 2004 BARE WHITE ROOM Thirty feet square. CRIS JOHNSON, wearing a jail uniform, sits in a HEAVY CHAIR that is bolted to the floor. Mid- twenties, jaded, rebellious, handsome as a statue, Cris radiates a serene, if somewhat scruffy, charisma. He faces a PLASMA SCREEN MONITOR on a bare wall. To the left of the screen, an unframed MIRROR; to the right, a DIGITAL CLOCK-CALENDAR. A WOMAN'S FACE appears on the plasma screen. CALLIE FERRIS. Thirty. Tailored. Angular. Kate Hepburn-ish. Ferris on monitor Mr. Johnson, you've been sent to us by the state authorities for testing. We want to determine if there's any substance to your claims. CrIS Fire away. FERRIS ON MONITOR If we can verify your ability, we may be able to help you avoid a criminal trial. CRIS And "we" is...? Ferris ON MONITOR Homeland Security. Ferris' face is replaced on the plasma screen by a series of random video clips. Hang-gliding. Traffic jam. Volcano erupting. Ferris ON MONITOR Now if you would, please look at the monitor and tell us what you see, say, five minutes from now. Cris looks at the clock. 16:32 / March 9, 2006. He squints and the clock speeds up a little. Ferris (o.c.) Are you there yet? In a few seconds, the clock reads 16:37. 2. On the monitor. Ferris' image has been replaced by footage of surfers riding big waves in Hawaii. CrIS Surfers. Ferris (o.c.) Good. Now can you move ahead ten minutes. Varied images fast forward on the plasma screen. He arrives at 16:47 and reports on what he sees. cris Ants crawling up a tree. Ferris (o.c.) Excellent. Can you get to 1900 hours? Cris looks ahead and squints. CLOCK Minutes whiz by. PLASMA SCREEN Clips play and change almost too fast to be recognized. Clock Cris gets to 19:00 -- and keeps going. Mirror Cris has a five o'clock shadow. Clock Hours tick off like an accelerating metronome. Mirror Cris sports a three-day stubble. He struggles to get out of the chair, but he is now strapped into it, bound at the wrist and ankle. His face fills with rage. Plasma screen The evening news zips by. Talking heads. Reportage. 3. Mirror Like a window into a time machine. Cris' beard lengthens. He grows pale. His clothes change every few seconds. Rage gives way to the panic of a man trapped on a runaway train. Plasma screen The news dissolves into a blur. Mirror Cris ages before his own eyes. Wrinkles etch into skin. Hair greys, recedes. Outrage ebbs into hollow resignation as Cris watches himself waste away. Woman's voice Sir...Sir? Cris' tired old eyes look up, confused. INT. VEGAS HOTEL COFFEE SHOP - DAY A perky young WAITRESS stands over him, holding a pot of coffee. WAITRESS Warm-up? On cris Young again. CRIS Just the check. She sets it on the table with a flirtatious smile. He takes it to the register and pays cash. Cris (V.O.) "The future ain't what it used to be." Ever hear that expression? A moment later, A SECOND CRIS follows the first Cris to the register, repeating his every movement. CRIS (V.O.) It's a joke, but it's true. The future changes every time you look at it. Because you looked at it. As Cris 2 pays cash, Cris 1 proceeds into the casino. 4. CRIS (V.O.) Cause once you see it, you're different. Cris 2 follows, literally walking in Cris 1's footsteps. CRIS (V.O.) Maybe just a little. A DRUNK bumps into Cris 1 and spills his Daiquiri on him. CRIS (V.O.) And that changes everything else. Cris 2 -- the real Cris -- follows a moment later and sidesteps the Drunk, who spills his Daiquiri on someone else. CRIS (V.O.) It's got something to do with quantum physics. Cris 2 reaches the gaming tables and merges with Cris 1. Cris (V.O.) That's why I stay away from roulette and craps. It only takes a millionth of an ounce to change a roll. Just placing a different bet can throw things off. A roulette ball skitters indecisively between two grooves before settling into one of them. CRIS (v.O.) I've got other rules, too. I don't play against people, like at poker. Only against the house. Slot machines. Horse racing. Sports games. CRIS (v.o.) And my goal isn't to win big. At least not any more. The idea is to go unnoticed so I can keep coming back to the trough. He passes the MILLION DOLLAR SLOT. Stops, like it's calling out to him. 5. CRIS (v.o.) So no jackpots. No longshots. No big bets except when I want `em to see me lose. Cris notices a DESPERATE GAMBLER on the verge of tears. Clearly, he's dropped a bundle. Cris approaches him and points to the MILLION DOLLAR SLOT. CRIS Try that one, man. I've got a feeling. Gambler (suspicious) Then you play it. CRIS Against my religion. Cris offers the guy a handful of silver dollars. CRIS Do it, quick, before somebody else gets there. While the Gambler dawdles, a MIDWESTERN DOWAGER plants herself at the MEGA-SLOT and starts feeding it dollars. Cris sighs and walks off. The Gambler watches him go, then reacts to BELLS, FLASHING LIGHTS, and SHRIEKS OF CELEBRATION. The Dowager has hit the MEGA-JACKPOT. Blackjack section Cris takes a stool at a crowded table. CRIS (V.O.) Mainly I stick to blackjack. Boring but controllable. Cris antes up. Cards are dealt. He's got a four showing. Taking a hit, he goes bust with a jack. So in real time, he sticks. CRIS (V.O.) And safe unless they think you're counting. 6. The dealer turns over his cards. He's got a king and a deuce. So he has to draw. Pulls the jack. Busted. The dealer pays Cris, then presses a button under the table. INT. SURVEILLANCE ROOM Banks of video monitors display images from the multitude of cameras looking down from above the gaming tables. The SURVEILLANCE SUPERVISOR, HAWKEYE, repositions in response to a red light so he can look over a Surveillance Operator's shoulder and study Cris. INT. office of casino boss - DIFFERENT CASINO - DAY The Stalin-faced CASINO BOSS sits behind his desk. casino boss If you don't mind my asking, why does Homeland Security give a damn about who's lucky in Vegas? He's talking to Callie Ferris. We recognize her sardonic beauty from the plasma screen in Cris's pre-vision. In person, she's edgy, confident, and impatient with those who aren't as quick as she is. Ferris Maybe they're more than lucky. casino boss Then we handle it. Ferris I'm not talking about cheating. That's your problem. But if somebody wins consistently and you can't figure out how...Excuse me. She answers her cell phone. Ferris Ferris...I'll be there in fifteen. She stands, disconnects, and hands the Casino Boss her business card. FERRIS Call me, like they did. And try to hold him till I get here. 7. Casino boss Yes, ma'am. She's already out the door. Video monitor: close on cris Relaxed. Playing blackjack. The FEMALE DEALER tries not to gawk at him as she deals from a shoe. Ferris (o.c.) Nice looking guy. davis (o.c.) I guess. Pull back: surveillance room Ferris and DAVIS, the casino's dapper CHIEF OF SECURITY, stand behind Hawkeye, the Surveillance Supervisor, and study Cris on various monitors. Ferris Maybe she's in cahoots. davis He's beaten six dealers in a row. ferriS You're sure he's not counting? hawkeye We've got five decks in the shoe. And he wins more off the top than the bottom. davis Moves a lot from table to table. On a monitor, Cris pockets some of his chips. hawkeye Keeps his stacks short. On another monitor, A COCKTAIL WAITRESS takes orders from the players. WAITRESS What's your pleasure? CRIS Grand Dad, rocks. 8. Ferris What's his name? davis (shrugs) Not staying here. Pays in cash. Hawkeye We're running him through face check. As Ferris watches Cris on the monitor, he becomes still and attentive, as if sensing danger. He squints a little, the way we do when we try to remember something. Ferris Invite him for a drink. (remembers her manners) If you don't mind. INT. CASINO/BLACKJACK TABLE - DAY As Cris signals for another card, TWO BLACK SUITS appear behind him. black suit (o.S.) Sir, would you come with us, please. Cris takes in their grim faces. Turns to see two more pairs of goons stationed nearby. SNAPBACK to: Thirty seconds ago The COCKTAIL WAITRESS approaches to take Cris' order. WAITRESS What's your pleasure? This time, Cris hurriedly scoops all his chips into his coat pocket, jostling the Waitress as he stands. CRIS Scuse me, sorry. Hustling away, he glances back just as the first TWO BLACK SUITS reach his stool, but this time it's empty. They look around. One of them whispers into his mike. The three pairs of goons get instructions and split up. 9. Tracking shot / eye level Cris strides crisply through the casino. Sees another PAIR OF BLACK SUITS, scanning for him. He ducks into the maze of slots. Zigs and zags from aisle to aisle, seemingly at random. A moment after each turn, a Black Suit appears ahead, behind, or to the side - where they would have spotted Cris. Tracking shot / high angle A clearer perspective as TWO BLACK SUITS approach Cris' aisle from different directions. Cris has no way to see them or know they're coming, but at the last moment, he MOVES in between two aisles where neither guard will see him as they pass. surveillance room Davis and Hawkeye wince as the Black Suits keep missing their quarry. davis What's wrong with you guys? hawkeye He's right next to you! Aisle 63! Ferris watches the chase, fascinated. Phalanxes of slot machines Black Suits converge from various directions, in that fake- calm fast-walk. Cris studies the gamblers playing the machines nearby, then heads to a particular spot - where he is sure to be spotted - except that a TEXAS-SIZED MAN repositions himself, blocking the Black Suit's view. The Black Suit moves on. Cris shifts to another spot just as a different Black Suit arrives at the other end of the aisle. This time, THREE FRAT BOYS change machines and obscure Cris from his gaze. surveillance room Davis is throwing a fit. Davis There! There! He's right there in front of you! Walk toward each other! 10. Cris slips away in the shadow of the Frat Boys. hawkeye Maybe he's on our frequency. DAVIS I don't see an earphone on him. hawkeye He's heading to the Convention Annex. FERRIS (stands) Give me a headset. I'm going down there. Convention annex Arriving at the foyer, Cris sees Five Meeting Rooms. He squints then decisively enters one of them. FOUR BLACK SUITS arrive an instant later. Without wasting a beat, each of them goes through a different door. All except the one Cris went through. Cris re-emerges a moment later and heads back toward the casino. Casino Ferris, arriving, adjusts her headset. Cris sees her. Recognizes her from his prevision as the woman on the plasma screen. Turns and walks away. She sees Cris. Takes off after him. Ferris (to head mic) He's heading toward... (reads sign) the Ipanema Grill. Security Staff converge on the area. Cris is in plain sight. Suddenly a busload of tourists surge in through a door and clog the way. Cris continues into the... 11. Kitchen area Passing a room service cart, he rolls it in front of him. A few steps on, he takes the bottle of OLIVE OIL on the cart and pours some in front of one random closed door. Cris then shoves the room service cart down the hall toward an empty intersecting corridor. A Black Suit barrels into the empty intersection just as the cart arrives - and tumbles over it. Behind Cris, a door swings open; a Black Suit charges out; steps precisely into the puddle of poured olive oil - and falls on his ass. Cris slips by him, but gets cut off by an arriving group of FOUR MORE BLACK SUITS. Big guys. They try to grab him. He evades their grasp almost magically and, like a Shaolin Monk, somehow leverages them into each other until they are in a pile on the floor. Cris darts around them into the... Lobby He co-opts a luggage cart that is loaded up for delivery. Rolling it to the left, a Black Suit on that side doesn't see him - and moves on. Cris switches to the right side of the card - just as a second Black Suit would have seen him. Abandoning the cart, Cris sets off across the lobby in a herky-jerky rhythm. He walks four quick steps without being seen. Then stops behind a column just as Black Suit 1 turns his way. When Black Suit 1 looks on, Cris resumes his journey, cutting across the lobby at an acute angle. In this way, he avoids being seen by Black Suit 2. Cris now backs up three steps and avoids being seen by Black Suit 3. By precisely choosing his movements and knowing where his hunters will be looking, Cris achieves something like invisibility. The last obstacle to daylight is Ferris. She sees him. He makes a run for the door. She dashes after him. FERRIS You! I just need to talk to you! Cris grabs a guest's suitcase and keeps moving. FERRIS Homeland Security! 12. The guest chases after Cris - and collides with Ferris, knocking her to the ground. Which allows Cris to slip through a door to the... Ext. Hotel loading dock - DAY Where TWO LAUNDRY DELIVERY MEN are flinging sacks of clothes into the back of a truck. Cris steps toward the open tailgate with a steady pace. As if on cue, both Laundry Guys turn and bend to pick up another sack of clothes. Cris walks right by them without being noticed -- and climbs into the truck. A moment later, the Laundry Guys pivot back around, toss sacks of clothes in after Cris, and slam the rear doors. They get in the truck and drive off just as Ferris, Davis, and several Black Suits arrive to find a cold trail. davis You were right. This guy is a lot more than lucky. Oddly, Ferris seems almost encouraged. ferrIS At least now I know he exists. INT. DEPARTMENT OF HOMELAND SECURITY - las vegas regional OFFICE - nIGHT Ferris strides purposefully through hallways crowded with people hustling just as urgently as she is. She enters the large ante-room of a bigshot's office and addresses JEANNIE, a civil service secretary. Ferris Jeannie, I have to see him right away. Jeannie He's on with Washington. We just went on Code Orange. Ferris What's the threat? JEANNIE We found a dirty bomb in East Vegas. A barrel of C-4 and a kilo of nuclear waste. But we're getting chatter about a dozen more out there somewhere, ready to blow. Ferris absorbs the catastrophic news without emotion. 13. Ferris Tell him I have a new source that could help with the case. JEANNIE (snide) Another remote viewer? Ferris stares her down. Ferris Have him meet me in imaging. Leaves without waiting for a response. ext. picnic in park - Day Cris and a glowing YOUNG MOTHER hold a BABY BOY. Gazing into the baby's eyes, Cris beams with perfect happiness. He plays with the baby's fingers. The two middle ones are subtly WEBBED BY A PIECE OF SKIN that comes about halfway up the bottom knuckle. The image whites out as... INT. LAUNDRY TRUCK - DAY Sunlight pours into the back of the truck, revealing Cris lounging on a mound of laundry sacks. He composes himself and steps out, nonchalant as James Bond. CrIS Thanks, guys. Not too heavy on the starch. Computer simulation The pursuit of Cris through the casino has been mapped into a 3-D visualization. Multiple camera angles have been merged so that a single POV seamlessly follows Cris without cutting. It's clear that Cris avoids trouble before he sees it. male voice (O.s.) You pulled me out of a conference call with the Secretary to show me a video game? INT. IMAGING lab - DAY ERIC WISDOM, 38, stands next to Ferris as they watch the simulation on a flat-screen monitor. Highly competent, solidly masculine, Spencer Tracy to her Hepburn, you can rely on him in your average emergency. Which this is not. 14. FERRIS I need six men to bring him in. WISDOM We're on Code Orange. Ferris He could help us find the other bombs. WISDOM That's an ultra low probability. None of your "specials" have ever panned out, and this isn't the time to experiment. Ferris steps close to Wisdom. FERRIS Come on, Eric, you saw it. We're flying blind and he's got radar. Wisdom steps away from her. WISDOM Callie, people are talking. They say I'm only funding your research because we're involved. FeRRIS That's because they're.... WISDOM Right. Ouch. WISDOM I'm sorry, but they're right. FERRIS You bastard. WISDOM I care about you, and I wanted to support you. But there's a limit to what I can... FERRIS (professional) Look, we analyzed what this ability would look like if it existed. (MORE) 15. FERRIS (cont'd) I went screening for it in a highly scientific way. And now I've identified someone who matches all the indicators. So the next obvious step is to... wisdom Let me do my job! - Christ! Don't you ever quit? FERRIS No. (beat) I've got a country to protect. He finds her both infuriating and irresistible. WISDOM Use your charm on somebody else. He stalks out of the room, leaving her more thwarted than sad. DRIVER'S POV: TRAFFIC IN VEGAS An elevated freeway. Driving behind a pick-up truck carrying a mattress and box spring. Cris (v.O.) I'm not God. I don't see everything. Just my own future. Ext./INT. Cris' car - DAY Cris drives an old Camaro, muscle-y but inconspicuous. Cris (v.O.) To me, it seems normal. The way lightning comes before thunder. Cris changes lanes to get from behind the truck. CRIS (V.O.) Most of the time, I'm not paying attention. Just making sure I don't step in a mess. In his rearview mirror, Cris sees the mattress fall off the truck, causing an accident. 16. CRIS (V.O.) Sometimes I get a blast from far away. He sees a plume of smoke in the distance. CRIS (V.O.) Or I can start with a glimpse of something close and keep pushing on. He takes the next exit. CRIS (V.O.) Usually it's none of my business. He turns into the parking lot of a bookie shop, THE FINISH LINE. INT. The finish line - DAY Cris walks to the counter. Addresses the manager. CRIS Guy around? MANAGER You are? CRIS Tell him it's King Midas. INT. homeland security regional hq - internal security office - DAY TERRY BAINES, plainclothed HEAD OF PROTECTIVE SERVICES for the Facility, walks down the corridor with three of the better-trained MILITARY POLICE who have been brought in to augment the regular staff of civilian FEDERAL PROTECTIVE SERVICE POLICE. Baines is a handsome former Special Forces Lieutenant, early-forties, who takes his work very seriously. Ferris runs to catch up with him. He doesn't slow down for her. FERRIS Terry? Terry! - I know you've got your hands full but I was wondering if you might be able to spare a few warm bodies for an outside operation. 17. She gives him a look. There's some mutual attraction, but not a lot of affection. BAINES We're strictly internal. FERRIS That's why I need your people. Everybody else is assigned. BAINES Does Wisdom know about this? FERRIS He suggested it. While Baines arches a dubious eyebrow, an intellectual junior analyst, AMANDA, catches up with Ferris. AMANDA Callie. (corrects herself) Agent Ferris. I've got a face match on your subject. His name is Cris Johnson. Ferris takes Amanda's PRINTOUT and glances at it on the run: it's a PHOTO of Cris on a WANTED BULLETIN. fERRIS (slows to a stop) Never mind, Terry. Pretty Boy here is wanted for murder in Nevada. She hustles off with Amanda. INT. BACK ROOM AT THE FINISH LINE - DAY A smoky office with a big screen tv and a poker table, but no card players. Cris is greeted by GUY, relaxed, professional, smartly dressed, mid-forties. He's classier than the joint he runs. Guy Well, if it isn't the Golden Man. A look, a hug. A lot of history. Guy What brings you crawling back to me? 18. CRIS I need to cash some chips. - Got tagged. He starts setting them in stacks on the poker table. GUY You burned through your stash already? CRIS I've been trying to lay low. INT. State police STATION - dAY Computer monitor on a desk plays Cris' escape from the casino. CavANAUGH (o.s.) That's him. I call him the Road Runner. You know? Beep beep. LT. CAVANAUGH, middle-aged hunter type, beer belly but still a menace. Ferris What's he running from? Cavanaugh takes a videocassette from a pile on his messy desk. CAVANAUGH You showed me yours. I'll show you mine. He pops the tape into a VCR. Presses play. On the monitor Low-quality security camera recording of a liquor store at night. Business is good. FIVE PEOPLE wait in line at the register. Time code reads November 11, 2004. Cris walks in, unsteady on his feet. Heads for the beer locker. Pauses. Suddenly runs toward the register at full speed and TACKLES A CUSTOMER, shoving him hard to the floor. Cris prepares to hold him down, but the tackled man just lies there, a pool of blood forming under his head. Cris looks up. The customers are gaping at him, terrified. 19. CRIS (slurred) He was gonna kill you! You all would'a died! Cris sees that they're afraid of him, not the dead man. He runs out. PAUSE TAPE. Back to scene Cavanaugh studies Ferris' reaction. INT. BACK ROOM AT THE FINISH LINE - DAY Guy finishes counting Cris' chips. Guy But you of all people. How could you have let it happen? CRIS That was the night Donna broke off our engagement. GUY Ahh. CRIS I was so drunk I could barely see now. Guy opens a drawer, takes out a pack of a hundred $100's, and counts out an additional sum from his pocket. GUY Well, I hope you don't mind. I called Neal to let him know you're here. CRIS Christ, Guy, did you have to? GUY You say everything's inevitable, so I guess I did. Guy returns to his antique copper espresso machine and starts to make two cups. CRIS Well, you can save your breath. Cause I know what you're gonna say. 20. GUY Then you're aware that Neal is in a serious cash crunch and could lose it all. CRIS I'm sorry to hear that. But I'm done playing the market. While Guy is distracted making espresso, Cris jams the desk drawer shut with a penny. GUY Neal's got it all worked out. He'll fly you out of the country on his jet. Put you up in style. He pays taxes, totally legal. You get cash, squeaky clean. Half the net. When your share hits fifty mil, you can say "finito"...and it's over. CRIS Except last time, Neal didn't take "finito" for an answer. Guy slams his fist. GUY You need us, asshole! The Law is breathin' down your neck! CRIS I can stay ahead of `em forever. GUY But why live that way? CRIS Because I don't want to be used any more. GUY What do you give a shit as long as you get what you want? CRIS Cause what I want is freedom. And you don't get it by giving it up. Guy calms himself and sets an espresso in front of Cris. 21. CRIS Enjoy it while it lasts. Cris picks up the cup and knocks it back. Ext. finish line - Parking lot - DAY Cris starts up the car. Notices he's woozy. He prepares to back out. Instead he blacks out -- as Guy and THREE MEN drag him out of the car. SNAPBACK TO: Guy's office Guy sets the cup of espresso in front of Cris, who picks it up. But Instead of knocking it back, he sets it down and grins cryptically at Guy, who senses something and reaches to open his top desk drawer - the one Cris pennied shut. Guy can't get it open. Guy reaches under his Racing Form. Feels around. Cris holds up a knife. CRIS Looking for this? Guy pulls his arm from under the Racing Form -- spilling the cup of espresso that Cris just set down. Guy knows that's not a coincidence. CRIS Don't mess with somebody who knows your moves before you even think 'em. Cris takes his cash. GUY The jet'll be sold in a week. Then there goes your ticket out. CRIS Don't wait for me. Cris heads out. Guy You know what I think? I think I know the future better than you do. Cris scoffs as he leaves. 22. INT. State police STATION - dAY Cavanaugh pours coffee for himself and Ferris. CAVANAUGH He's just some gambler. Lives completely off the grid. No bank account. No credit cards. No previous record. Ferris So why'd he do it? CAVANAUGH Must be a wacko. He'd never met the victim. No connection whatsoever. Ferris tries to make sense of it all. feRRIS And in fifteen months, why haven't you caught him? Cavanaugh sighs woefully. CAVANAUGH You saw. He's got eyes in the back of his head. He can see around corners. I even had him in custody once, and he disappeared. Ferris Must be very embarrassing. A painful subject for Cavanaugh. CAVANAUGH And what is it you want him for? Ferris Questioning. CAVANAUGH About? Ferris Stuff that hasn't happened yet. Cavanaugh nods knowingly. 23. CAVANAUGH Well, I guess Homeland Security trumps liquor store murder. How can I help? Ext. Suburban home - las vegas - niGHT A tract house, cheap, from the 60's, could be anywhere. Something sad about the place. Cris stands at the door, holding a bag of groceries. IRV, a sick old man, opens the door, wearing a knit cap and pajamas. He's hooked up to a little oxygen tank on wheels. When he sees Cris, his smile crimps the tube in his nose. IRV What are you doing back here? CRIS I came to fix you dinner. IRV Idiot. Irv pulls Cris inside. Closes the door. INT. irv's house - night They embrace like father and son. The oxygen tube gets in the way. IRV This is what you get from two packs a day. CrIS But you quit ten years ago. IRV It was already too late. I just didn't know it. CRIS Sometimes not knowing is better. Irv shakes his head. IRV Look where you're headed, pal. The big decisions are over before you even realize you made `em. 24. INT. The finish line - back room - night Cavanaugh and Ferris chat with Guy. This time the poker game is in progress. CaVANAUGH Any idea where he might be going? Guy turns to Ferris. GUY I've got a little problem with the IRS. Think I could get some relief? FERRIS Depends how helpful you are. GuY Oh, I know everything about him. He looks at Ferris, knowing. She turns to Cavanaugh. FERRIS I need to speak to him alone. INT. FINISH LINE - MAIN PARLOR - NIGHT Guy and Ferris sip cappucino. GUY And another thing, no woman ever turns him down, I'm serious. Mainly because he only propositions the ones he knows'll say yes, which is most of `em anyway. But does that make him happy? No. Says he's bored. Never surprised. Has to watch himself die over and over again. FERRIS Why'd he come back to Vegas? GUY Didn't say, but I'm guessin' it's this friend who's dying. An old fart who took him in when he was strung out on drugs. - He's an orphan, ya know. Been on the road since he was ten. 25. INT. Irv's house / living room - night The place is a mess. Piles of newspapers. Old clothes. Cris cleans up as they talk. Irv sits at a table and plays solitaire. IRV You want my advice? Get yourself a good lawyer and turn yourself in. CRIS If I tell `em the truth, you know what happens? I end up with the Feds. - And you know what they do to me? IRV Make you a secret agent. Cris Don't laugh. They strap me in a chair and make me watch the news. IRV Dan Rather or Peter Jennings? CRIS It's not funny, Irv. That's all I do, day after day, for the rest of my life. Watch the news until I lose my hair and croak. Irv is moved by Cris' dilemma. Irv There's no way around it? CRIS The best I can do is stay away from all of `em. Irv shakes his head with sympathy for Cris' plight. IRV In that case, you've gotta leave the country. CRIS I know, I know, but there's something I gotta do first. 26. IRV What? Cris doesn't answer. His gaze is distant. IRV Cris? Cris focuses. CRIS She's coming here. The Fed. IRV You gotta go? Cris thinks. Shakes his head. CRIS Let's play it out. INT. Irv's kitchen - DAY Cris makes a lamb roast, studding it with cloves of garlic. CRIS I've got the place all picked out. It's called Palau. Three hundred teeny islands in the South Pacific. (places roast in pan) Nothing ever happens there, so there's nothing to foresee. IRV Then what the hell are you waiting for? Cris puts the roasting pan in the oven. CRIS Her. IRV Who? CRIS I haven't met her yet. IRV Then find somebody else! 27. CRIS It has to be her. IRV What's so special about this one? CRIS She's the mother of my child. Irv stops shuffling the cards. IRV I thought you were shooting blanks. CRIS I guess the doctors were wrong. IRV I don't mean to be indelicate, my friend, but how do you know the little bastard is yours? CRIS He's got my thing. IRV Your thing? Cris holds up his hand, revealing that the skin between his two middle fingers is webbed a little higher than normal. CRIS My thing. IRV I still don't understand why you never got that fixed. Cris laughs...then suddenly stops. cris She's here. He walks to the door and opens it to discover Ferris standing there, with her finger about to press the doorbell. CRIS Agent Ferris, come in. She regards Cris with appreciation. 28. FERRIS One step ahead of the game. cRIS Always. She enters. Tries not to be intimidated by his ability or appearance. Sees Irv, watching them. Ferris Is there some place we can speak privately? CRIS Let's go in the kitchen. I've got a roast in the oven. IrV No, you two stay here. I'll watch the food. Once out of Ferris' eyeline, Irv queries Cris with his hand in the shape of a gun. Cris shakes his head, then turns to Ferris - and waits for her to begin. FERRIS You're wasting your life, Cris. You have the most amazing talent, and you're running from it. CRIS Yeah, people say I could have been a chef. Ferris Don't be cute. There's too much at stake here. Her gravity anchors him. FERRIS Now if you say that man in the liquor store was going to shoot five people, I believe you. Why else would you kill a stranger? Cris guards his reaction. FERRIS But no good deed goes unpunished, eh? (MORE) 29. FERRIS (cont'd) And that's how it's going to be in this world. People will either hate you or want to exploit you. CRIS Everyone but you, of course. FERRIS I can fix your legal problems. More importantly, I can give you a chance to use your gift. CRIS Trust me, it's better if I don't. It's better if I just mind my own business. Ferris looks at him, disapproving. FERRIS I'll be honest with you, Cris. That's not an option. Your country needs you. And if we don't grab you, somebody else will. CRIS Nobody's grabbed me yet. Ferris You're up against more powerful forces now. She lets that sink in. FERRIS I'd like you to come with me for some testing. Would you be willing to do that? Cris's expression grows dark. He looks at Ferris accusingly, then BOLTS away, toward the KITCHEN. FERRIS Where are you going? Cris covers his eyes and dives to the floor as STUN GRENADES shatter windows and explode with a FLASH. FERRIS (temporarily blinded) Shit! Cavanaugh! Gas grenades follow. 30. Cris scrambles to his feet as a NEVADA POLICE SWAT TEAM bursts through windows and doors, wearing gas masks and goggles, scanning with laser-guided rifles. They find Cris, dashing for the back door. Open fire. Cris tumbles, dodges a few bullets, then takes a hit in the shoulder, the back, the leg. Staggers forward. Absorbs dozens of bullets. Falls. Lies there. Dying. Cavanaugh steps up to deliver the final shot. SNAPBACK TO: INT. Irv's house / living room - an hour AGO IRV In that case, you've gotta leave the country. CRIS I know, I know, I've got the place picked out. But there's something I've gotta do first. IRV What? Cris doesn't answer. His gaze is distant. IRV Cris? Cris focuses. CRIS I have to go. IRV You just got here. CRIS I know, but they're coming for me. Cris takes the pack of cash he got from Guy, pulls out more than half the bills, and sets them on a table. 31. CRIS This is for nurses and stuff, to make things a little easier. IRV You're gonna need it. Cris shakes his head and embraces Irv. CrIS You're the only one I could trust. Ever. They're both choked up. IRV I don't suppose you've discovered any last minute escape for me? CRIS I looked, Irv, I really did. I went down every path, every treatment. Sometimes there's just no... IRV It's okay. It's okay...Now I can relax. A last look. Ext. irv's street - dAY Cris' approaches his parked Camaro with his key out. CAVANAUGH and SIX TROOPERS spring from hiding, guns trained on him. Camera pans to cris In Irv's back yard, watching this scene. Ext. ALLEY BEHIND IRV'S HOUSE - DAY A State Trooper keeps watch, smoking. When he steps on the butt, Cris enters the frame in the background. When the Trooper turns to a wall to piss, Cris crosses the alley, unseen. When Cris passes out of frame, the Trooper finishes, unaware of what he has missed. 32. Ext. outskirts of vegas - night A Route 66-vintage highway with stop lights and tawdry commercial development. Cris stands on the shoulder, thumbing a ride. Cars and trucks pass without stopping. FAST FOWARD through endless traffic until an OLD CHEVROLET pulls over. Cris checks his watch. It's 8:23. Snapback TO: SIDE OF THE ROAD Chris checks his watch. It's 7:57. Cris (to himself) Twenty-four minutes. He looks around. Sees a donut shop. Heads toward it. INT. Irv's house - night Cavanaugh's State Troopers, guns drawn, are searching the place on a hair-trigger, ready to blow away anything that moves. FERRIS I need him alive, Cavanaugh. Even if he resists. CAVANAUGH Yes, ma'am. She points to Cavanaugh's troopers. FERRIS Tell them. As Cavanaugh grudingly walks off to deliver the message, Irv approaches Ferris. Irv You'll never catch him. He knows what you're gonna do to him. FERRIS That's very helpful information. She walks off, leaving Irv to regret he opened his mouth. 33. INT. donut shop - night Cris steps in. Goes to the counter. CrIS Medium coffee, black, and a glazed. As he waits, he sees a vague REFLECTION in the GLASS DISPLAY CASE: a SQUARE CROSS, coming into focus. Puzzled, Cris looks up and around to see the object that's being reflected. He can't find it. Cris turns back to the display case, but the reflection is gone. The DONUT GIRL gives him his order. Cris takes it, turns, and notices LIZ COOPER sitting by herself at a booth, circling items in the classified section. He recognizes her as the future mother of his future child. Cris gazes at her face, which is both childish and mature, shy yet indomitable. She turns, scowling, from the staring stranger. Cris approaches Liz and gives her that smile that always works. CRIS Mind if I join you? LIZ (prickly) Yeah, actually I do. Cris seems disconcerted. SNAPBACK TO: The Donut Girl gives Cris his order. He approaches Liz again and tries a different opening line. CRIS Is that cruller any good? Liz looks at him like he's hopeless. He notices that she's reading the used car ads. SNAPBACK TO: The Donut Girl gives Cris his order. He approaches Liz. 34. CRIS Shopping for a car? LIZ What business is it of yours? SNAPBACK TO: The Donut Girl gives Cris his order. He approaches Liz. CRIS Rough day? lIZ I don't want to talk about it. SnAPBACK TO: The Donut Girl gives Cris his order. Discouraged after all that rejection, he approaches Liz -- and bobbles his coffee, spilling it on the floor. He's mortified, but she smiles at him. SNAPBACK TO: The Donut Girl gives Cris his order. Now confident he's found the right approach, Cris approaches Liz and deliberately bobbles his coffee. But not in the exact way he did before. When it falls, it splashes on her shoes. LIZ Aw Christ! Look what you've done! CRIS I'm so sorry. I'm a spaz. LIZ Yeah, you are. She wipes her shoe with a napkin. LIZ It looked like you spilled it on purpose. CRIS Why would I do that? LIZ I don't know. To impress me? 35. CRIS Look, I'm sorry. If I could, I'd do it over. Disgusted, she hands him a stack of paper napkins. CRIS Here. She watches as he sops up the coffee and carries dripping, soggy tissues to the trash. The miserable expression on his face finally wins the smile he's been working for. INT. Donut shop - night - a few minutes later They're sitting across from each other, laughing. Liz Divorce, bankruptcy, repossession. Yeah, I'd call that a bad year. CRIS Well, Liz, your luck's about to change. LIZ How's that? CRIS You met me. LIZ And what are you, a leprechaun? CRIS An angel, actually. And we always reward the people who help us. LIZ Great, what do I have to do? CRIS You don't have to do anything. Cris glances outside and sees the old Chevrolet drive by without stopping. He checks his watch. It's 8:23. CRIS But I could use a ride. She knows she shouldn't. 36. INT. JEEP CHEROKEE / on highway - nIGHT Going fast. Johnny Cash on the CD. LIZ When does the luck kick in? CRIS It already has. LIZ I don't feel anything. CRIS Not even a tingle? LIZ Son, I haven't had a tingle in eight months. He waits for the other shoe to drop. Liz (can't hold it in) Since my worthless no-good dickhead of a husband ran out on me. CRIS Then you're way overdue. For a reversal of fortune. Brake lights flare on the cars ahead. They pass an exit. CRIS Any kids? LIZ Thirty. (off his look) I teach fifth grade. CRIS I mean of your own. She shakes her head. CRIS I guess that's good. Considering. LIZ No, that was the problem. - I couldn't get pregnant. 37. Traffic is backed up. CRIS I'm sorry. I didn't mean to pry. LIZ You didn't. I'm just running off at the mouth. - That's why I was in Vegas. To see another doctor. Flashing yellow lights - a barricade. Cris is getting nervous. CRIS He didn't want to adopt? LIZ No, he had to have a Randy Junior. Flashing blue lights - parked cop cars. LIZ What, is there an accident? The place is crawling with state troopers. Cris is looking around for a way out. SnAPBACK TO: one MINUTE EARLIER - one mile back LIZ When does the luck kick in? CRIS It already has. LIZ I don't feel anything. Brake lights flare on the cars ahead. CRIS (urgent) Take this exit. Quick! LIZ Why? CRIS Just take it! 38. The dotted lines on the road are now solid. LIZ It's too late! CRIS No it's not! Cris grabs the steering wheel and jerks it to the right, sending them over some speed bumps onto the off ramp. LIZ Let go! Are you out of your mind?! She slams on the brakes and they screech to a stop on the right shoulder of the exit ramp. LIZ Get out! Cris scrambles for an explanation. Looks, sees a quieu of brake lights from the roadblock now backed up past the exit. CRIS Traffic was piling up. You didn't see it? LIZ GET OUT!! CRIS We could'a been stuck there for hours. LIZ I don't give a flyin' goddamn! You don't grab the steering wheel! Cris pauses for a beat. Takes a different tack. CRIS You're right. I'm sorry. I panicked. I get phobic sitting in traffic. It won't happen again, I promise. LIZ Damn straight, cause you won't be in the car! She waits for him to exit. 39. CRIS How `bout at the next gas station? Please. I'll fill up your tank. Liz sighs, exasperated, and continues down the exit ramp, passing a sign that says, WELCOME TO CALIFORNIA. ext. road block - NIGHT Cavanaugh and Ferris drink coffee as troopers examine every passing vehicle. Ferris You're wasting time here. CaVANAUGH How long have you been in law enforcement? About six months? FERRIS Long enough to know we're not gonna catch him by surprise. CAVANAUGH What, you think he's got some kind of radar? FERRIS Interesting idea. It'd explain a whole lot. CAVANAUGH And Area 51 would explain my missing tennis shoes. But that doesn't mean they're on a flying saucer. Ferris comes to a decision. FERRIS In this case, it does. Cavanaugh knows he's about to hear something wild. Ext. Gas station/mini-mart - night Gasoline flowing. Liz, still in a snit, sits impatiently behind the wheel, watching in the mirror as Cris crosses behind the car and knocks on her window. Grudgingly, she lowers it. He holds out a lottery card. 40. CRIS I am really really really really sorry. Indulging him, she takes it. When he walks away, she deigns to look at it. She tries to resist but can't. Gets out a nickel and scratches the card. Wins $250. What the...? CHUNK. The pump shuts off. BEHIND THE CAR Cris takes out the nozzle and twists on the cap. Behind him, Liz strides by in a huff. Liz Get in the car. I'll be back in a minute. Cris smiles to himself as she proceeds toward the mini-mart. exT. roadblock - NIGHT Cavanaugh considers what Ferris has just told him. CAVANAUGH I'd call your proof a little iffy. FERRIS Look, from your own experience, this guy can't be punched, shot, surprised, captured, or confined. So either he's got something special, or you're an idiot. Cavanaugh doesn't like her logic. CAVANAUGH Let's say I'm not an idiot... FERRIS And I'm not saying you are. CAVANAUGH Then what? FERRIS We've got to think like he does. We've got to think ahead. 41. INT. liz's CAR ON a mountain ROAD - night Willie Nelson on the CD player. Liz holds an Icee in one hand while Cris feeds her Kettle Chips. CRIS But lately I've been traveling all around Oregon. It's really peaceful up there. LIZ All right, I'm starting getting the picture. - Basically, you're a no- good, worthless ramblin' man who's never held a job in life. CRIS (smiles) Exactly. She's charmed, in spite of herself. liz At least you're honest about it. Ext. Liz's car - Outskirts of tahoe - nIGHT Cris and Liz sing along with Patsy Cline on the radio. The song ends as they hit the city limits. LIZ This is where I turn into town. She pulls over. CRIS Well, thanks for the ride. LIZ Thanks for the card. CRIS You're welcome. They're both reluctant to part. cRIS I don't suppose you'd have time for a drink. LIZ No, no, I've gotta teach tomorrow. 42. CRIS I understand...Well, see ya. LIZ So long. He steps out and starts to close the door. LIZ Well, maybe just a quick one. INT. The silver spur - night Cowboy dive. Crowded for a week night. Liz leads Cris to the bar where the BARTENDER is washing some glasses. LIZ Hey, George. Bartender Hey, Liz. LIZ I'll take the usual and he'll have a... CRIS Sierra Pale. The Bartender and Liz exchange a look. Bartender Two Sierras. As he draws two pints, the Bartender leans toward Liz. BartENDER Randy's been hanging around. LIZ He's not here now, is he? Bartender nods toward the pool tables, where RANDY, her ex, plays 8-ball with a pal. LIZ Thanks. She turns to Cris. LIZ We gotta split. My ex is here. 43. Cris lays some money on the bar, and they head for the door. But before they get there, Randy sees Liz and bounds after her, holding a pool cue. He's much bigger and taller than Cris. Randy I gotta talk to you, baby. LIZ Sure, Randy. I'll call you tomorrow. She tries to slide by him. Randy blocks the way. Randy Bullshit. I've left a dozen messages on your phone. Cris steps between them. Cris Excuse me. We were just leaving. Randy And who the hell are you? Cris stands his ground. Locks eyes. Liz Don't mess with him, Cris. He used to play hockey. CRIS Just a friend. Randy Then don't get between me and my woman. LIZ I'm not yours anymore, asshole! Randy Baby, I've made a terrible mistake, and I just want to undo all the... Randy holds Liz by the shoulders. liz Let go! 44. RANDY You still care for me, I know it. Liz resists. Cris grips Randy's arm. CRIS Easy, man. Randy hauls off to slug Cris. Cris easily ducks the blow and answers with a solid punch to the belly. Randy recovers and realizes he's up against a skilled opponent. He takes a stance, ready to get serious. He sticks a few jabs at Cris, who easily slips from each one, like he saw them coming a mile away. Randy goes for a hook. Cris feints and lands an uppercut to Randy's chin. Most men would go down, but Randy is so big, he stays up to take more punishment. Cris delivers an elegant beating that humiliates the big guy and makes him look like an oaf. Cris puts an end to it by breaking Randy's nose. The big guy falls to his knees, bleeding. Liz rushes to Randy's side, holding her ex and glowering up at Cris like he's a sadistic brute. LIZ Get out of here! Get out! Cris realizes he's blown it. SNAPBACK TO: MOMENTS BEFORE RANDY You still care for me, I know it. Liz resists. Cris grips Randy's arm. CRIS Easy, man. Randy hauls off to slug Cris, who this time makes no effort to duck. WHAM! Cris takes a sledgehammer in the mouth. Randy follows up mercilessly, punching Cris in the gut, then holding him up while he punches him again. Liz grabs Randy's arm. 45. LIZ Stop it, Randy! Stop it! Randy flings her aside and finishes up with a solid right to Cris' jaw, that puts him on the floor. Randy pulls back his leg for a pointy-booted cowboy kick to the ribs, when Liz rushes to Cris' side and glowers up at Randy like he's a sadistic brute. LIZ Get out of here! Get out! Randy realizes he's blown it -- and lets himself be pulled out of the bar by a couple of buddies. Liz examines Cris with concern. LIZ Oh God, I'll take you to the emergency room. CRIS No ho'pital. I don' nee' ho'pital. LIZ God, I hate that bastard...Will somebody get some ice! She strokes Cris' hair. Ext. Liz's cottage - night In the foothills. Liz's car pulls up. Cris gets out, holding a dish towel full of ice to his jaw. CRIS I'm sorry I'm causing you all this trouble. LIZ Are you kidding? You stood up for me. CRIS Actually, I wasn't standing for that long. Liz unlocks the front door. Turns on the lights. LIZ Sorry it's so cold in here. The heater's broken. 46. INT. Liz's cottage - night Cris looks around, sore but pleased that he has managed to stay in Liz's company. The place is cozy, ranch-like. LIZ I really should've left him a long time ago. God knows he deserved it. CRIS Why didn't you? LIZ Cause I don't leave. I never have. My boyfriends always left me. She wets a washcloth with hot water. LIZ I get attached to people, and then I'll put up with anything. CRIS What a terrible quality. You're too loyal. She returns with a wet washcloth. LIZ Sit in the light. He lowers himself onto the sofa next to the table lamp. She comes close and gingerly wipes the blood from his nose and lips. LIZ I never minded that I was the more devoted one. Somebody's gotta be more this or more that. He looks in her eyes. LIZ But they never appreciate it, that you're there for them. She tries to stay on task but gets drawn in by his gaze. LIZ They just try and get away with more and more, and figure you'll just... 47. He leans forward. Their lips touch. LIZ Salty. It gets more intense. Then abruptly, she shies away, freaked. LIZ Christ, I don't even know you. I have no idea who you are. SNAPBACK TO: ON THE SOFA She wipes the blood from his nose and lips. He looks in her eyes. She tries to stay on task, but she gets drawn in by his gaze. He leans forward. Their lips almost touch. But this time, Cris pulls back. Liz is embarrassed. LIZ Sorry to get you caught up in my soap opera. CRIS Once you start watching, it's hard not to get involved. She goes back to tending his wounds. LIZ You ever been married? CRIS Almost. LIZ What happened? CRIS She wanted kids. LIZ And you didn't? CRIs No, I did, too. 48. She looks at him, curious. CRIS It's just that...I can't. Something about his revelation unsettles her. LIZ Why are you telling me this? These personal details. CRIS I don't know. You asked and...I guess I felt like you'd understand. Tears well up in her eyes. lIZ I do. Cris looks at her with sympathy. lIZ I can't either. Have kids. Cris comforts her. She looks up into his eyes expectantly. Fighting the pull, he looks away for a moment to see where this is going - then glances back at her, almost dizzy. CRIS That was incredible. LiZ What was? CRIS This. He kisses her with a quiet intensity that quickly ignites. Their lovemaking unfolds as it would be experienced by Cris. Effect before cause. The pleasure, then the gesture that elicits it. Cris explores her body until she sighs, then snapsback and goes directly to the sweet spot. He strings together a perfect melody of shudders and moans, without striking any false notes along the way. Moments are superimposed, diaphonous, played against each other in counterpoint. 49. Visual harmonics, elastically out-of-sync. Rising to a crescendo. Until all the futures resolve into a single now. DISSOLVE TO: AFTERWARDS - nIGHT Floating in bed. Her head on his chest. His eyes open, sadly content, like he wishes he could stop time here forever. Like he's afraid it will all disappear if he takes his eyes off her. LIZ That was...I've never... Cris forces himself to look away into the distance. int. WISDOM'S OFFICE / federal facility - night Wisdom, exhausted, quietly confers with a cadre of ANALYSTS AND OPERATIVES. Their voices are confident, but their body language betrays their pessimism. expert 1 We sent the payload to Livermore, and by measuring the cesium degradation, they've identified the reactor in Smerlensk that it came from. expert 2 Washington has our birds tracking for that radiation signature in key cities. Ferris slips in and takes an empty chair. wisdom What do we know about the explosive? Expert 3 Our lab downstairs is still studying the C-4 sample. It's Czech, but we haven't nailed down the batch. Wisdom rubs his forehead, distraught. WISDOM So basically we've got nothing. No one disagrees. 50. WISDOM You're failing your country, people. You're not trying hard enough. (looks around the table) Do you understand what I'm saying? Do you understand what I expect from you? The staff exchange uncertain glances. WisDOM TWIST ARMS! CRACK HEADS! BREAK THE FUCKIN' LAW! BUT DON'T LET THIS HAPPEN! He has blown them wide-eyed. WISDOM (suddenly calm) Are there any questions? INT. WISDOM'S apartment - NIGHT Ferris and Wisdom are in night gear, getting ready for bed. She sees that he's disheartened. FERRIS You know you're very sexy when you're ruthless. WISDOM We're groping in the dark. FERRIS My guy's got a flashlight. We just need to bring him in. Wisdom doesn't have the energy to fight her any more. WISDOM I'll see if Baines can spare some manpower. She's gracious in victory. FERRIs You're all the manpower I need. 51. INT. Liz's house - bedroom - morning Head on pillow, Liz buds from sleep. Reaches out. Cris is gone. Her eyes open, fearful. INT. LIZ'S KITCHEN - MORNING She rushes in, looking for Cris. - He's not there. She hears CLANKING from the laundry room. On the floor, Cris sits next to the heater, which lies in pieces. He tries to adjust the remaining apparatus. LIZ What the hell are you doing? CRIS You said it was broken. LIZ Well, you're not leaving till it's fixed, I'll tell you that. He smiles archly. crIS I'm afraid that could take a while. Now she understands his strategy. LIZ As long as it's done right. INT. HOMELAND SECURITY - workshop - DAY Ferris enters the area where weapons are stored and where mechanics build whatever the department needs. She interrupts Baines as he gives instructions to some MP's. These are his guys who get priority over the civilian Protective Service Police. FeRRIS Did Wisdom talk to you? BaiNES (grudging) What do you need? FERRIS This one first. 52. She hands him a sketch. He studies it, perplexed. BAINES What is it? FERRIS A trap for somebody who can see the future. BAINES If you say so. FERRIS And then these. She hands him more sketches. INT. Liz's fifth grade class - DAY Liz stands before a map of the Native American tribes of the Lake Tahoe region. LIZ And what was the main staple of their diet? SMARTIE PANTS busts a button to get called on. Instead, Liz points to a SHY GIRL. shy girl Trout. LIZ From the lake? SHY GIRL No. From the rivers. LIZ Right. And the Washo were so jealous of their fishing grounds that when other Native Americans came to trade for dried fish, they were only permitted to remain one night. Liz notices that her students are distracted and giggling. She turns to see Cris standing in the doorway, holding a box. Embarrassed, she blushes. LIz I'll be right back. 53. Liz pulls Cris into the hall, out of sight of the kids. LIZ What are you doing here? CrIS (beaming) I brought ice cream sandwiches for everybody. LIZ Ice cream sandwiches? Do you have any idea how much fat they have in them? Don't you see how overweight half of them are? CRIS (crestfallen) I - I didn't think of it. - I thought you'd be happy to see me. LIZ Well next time exercise a little forethought, okay? He's speechless. CRIS Do you want me to leave these somewhere? LIZ No. CRIS All right then. I'll just go. Seeing his doleful expression, Liz can't help smiling. She glances up and down the hall, then kisses him lasciviously on the lips. LIZ Put a few in the freezer. I love ice cream sandwiches. With a mischievous grin, she ducks back into class, leaving Cris reeling, but exhilarated. 54. int. CHINESE RESTAURANT - NIGHT Liz and Cris stuff their mouths with lo mein. She sets down her chopsticks, picks up a red pencil and industriously resumes marking up a stack of papers. LIZ You have been such a bad influence. I'm gonna be up all night grading papers. Cris watches, bored. CRIS I've got a better idea. Run away with me to the South Pacific. LIZ Funny. We've only known each other a week. CRIS But we're going to be happy together for the rest of our lives. Really, I peeked. She picks up the chopsticks and takes another bite. LIZ I think you're serious. CRIS Deadly. She muses, tempted. CRIS Let's go pack your bags. We'll leave tonight. LIZ And what'll we do for money? CRIS Don't worry. That's always been easy for me. She gets lost in the fantasy. He can almost taste the fulfilmment of his dreams. LIZ This is ridiculous. 55. CRIS Why? LIZ Well, first of all, it's the middle of the school year. CRIS They'll replace you. LIZ And I'm in charge of science fair. CRIS They can pick up the slack. His unbridled enthusiasm brings out her inner adult. LIZ It disturbs me, Cris, that you think it's okay just to duck your responsibilities. He's taken aback by her sudden shift. CRIS I - I don't think it's okay. I'm not that kind of person. But I have this feeling, this very strong feeling, that it has to be now. We have to leave soon, or it's not gonna work out. LIZ I don't believe that. If it's meant to be between two people, somehow it'll happen. CRIS Yes, but sometimes you have to make it happen. You have to seize the opportunity before it's too late. He tries to keep his desperation from showing, but she sees right through him. LIZ What are you afraid of, Cris? Why are you running away from yourself? (MORE) 56. LIZ (cont'd) Whatever it is you're looking for, I don't think you're going to find it on some island, cut off from the rest of the world. He adores her more than ever, and fears losing her even more. CRIS Your students are very lucky. She puts her hand on his. LIZ Now I've got to grade papers. Ext. Church - DAY Liz and Cris file by the PASTOR after the service and mill about on the lawn with the other congregants. Kids release pent up energy in the adjacent park. Randy approaches Cris. Randy A religious fella, are you? Ready to turn the other jaw? Cris offers his profile for hitting. CRIS But then you have to sign the divorce papers. LiZ Randy, don't you dare. She drags Cris towards a YOUNG COUPLE WITH KIDS. Liz Paul, Janice. Have you met Cris? RANDY approaches RICK, a young LOCAL POLICEMAN who's not the sharpest knife in the drawer. Randy There's something weird about that jerk. Have you checked him out? Policeman RICK I'm not dragging the Law into your romantic squabbles, Randy. 57. Randy C'mon, Rick, help me out here. Ext. church - DAY Paul and Janice are chatting with Cris and Liz. Paul Cris, are you free on Tuesday? Cause I'd like you to be my guest at the Rotary luncheon. Janice I'm the first female member. Cris grows distracted. Out the corner of his eye, he sees a SPORTS CAR gunning it down the street, passing a SUNDAY DRIVER to beat a red light. At that moment, a kid misses a catch and a BASEBALL rolls into a street, where a twenty-ish WOMAN JOGGER runs over to get it, just as the sports car passes the Sunday driver, sees the jogger, and skids, forcing A BUS to swerve and plow into a GROUP OF PEOPLE standing at the corner. SNAPBACK TO: A FEW SECONDS EARLIER Paul Cris, are you free on Tuesday? Cause I'd like you to be my guest at the Rotary luncheon. Janice I'm the first female member. Cris is spaced out. LIZ Cris. Ignoring them, Cris turns toward the street where he saw the accident take place. He sees kids, but they're jumping rope. Wrong group. He scans around and finds the kids who are playing softball. Someone misses a catch. The ball rolls toward the street. The sports car is now coming fast. The woman jogger sees the errant ball and runs to fetch it. CrIS Miss! Lady! Don't! 58. She's wearing earbuds and can't hear him. He's too far away to grab her. He's closer to the approaching sports car. Cris picks up a rock, prepares to throw, hesitates a beat, squints.... He throws. Misses. Snapback. Throws. Misses. Snapback. Again. Again. Scores a hit. Snapback. Opens his eyes and hurls the stone. Liz and the bystanders watch, appalled, as the rock SHATTERS the driver side window of the sportscar, which instead of skidding, screeches to a halt. The bus drives by without incident, injuring no one. The Driver of the sportscar bursts from his car and furiously charges Cris. CrIS I'm sorry. I'm sorry. I'll pay for the damages. The Driver curses Cris and tries to grab and hit him. But Cris deftly deflects the blows so that they seem harmless. CRIS I said I'll pay. Realizing he can't land a punch, the Driver changes tack. DRIVER You're damn right you'll pay! I wanna talk to the cops. CRIS No need for that. I'll give you cash. Okay? Will you take cash? He pulls out his wallet. CriS Two thousand? That should cover it. DRIVER Make it three. CRIS Okay, three. He digs in his pocket and pulls out the stack of hundreds. 59. ON RANDY and POLICEMAN RICK Who have seen the whole incident. POLICEMAN riCK I'll run him through the computer. ext. Park - a minute later Away from the crowd. Liz, concerned and alienated, walks a step to the side of Cris. criS People shouldn't drive that fast around kids. They shouldn't get away with it. LIZ So you throw rocks at them? CRIS What do you want me to do? Wait for people to die? Liz is torn. LIZ Cris...I think you should move on. Today. Cris looks at her, almost bereft, and makes a tough decision. CRIS Look, there's something I've been wanting to tell you. LIZ It doesn't matter. CRIS It does. She's afraid to hear it. He's afraid to say it. ext. another church - DAY Cavanaugh is milling around after services when his cell phone chirps. He answers, peeved. 60. CaVANAUGH Cavanaugh...No, you were right to call...Ring Ferris and have her meet me there. He closes his cell phone. Turns to his WIFE. CaVANAUGH They've located him near Tahoe. CaVANAUGH's wife If you let him get away again, you may not have a job. CAVANAUGH I know. Cavanaugh takes his leave. EXT. PARK - DAY Liz reacts to Cris' confession with disbelief. LIZ What are you saying, you're some sort of prophet? CRIS It's not religious. I just happen to see my life before it happens. LIZ Cris, it's sweet that you feel responsible for people. But I think you need help. She looks down. LiZ And I'm...I'm not the one to help you, right now. I've got too much going on in my own life. Cris can't let her go. He takes a quarter from his pocket and hands it to Liz. CRIS Flip it. LIZ Why? 61. CRIS Just do it. She takes the quarter and flips it. Cris calls it in the air. CRIS Heads. She looks. It's heads. CRIS Flip it again. (calls it in the air) Tails. Tails it is, but so what. She flips again. CRIS Tails. (she looks;flips again) Heads. (she looks, flips again) Tails. She looks. Amazed. Disturbed. CRIS Now you believe me? She stares at him like he's the devil. LIZ Yeah. And I don't want to have anything to do with you. She walks away. CRIS Liz. (follows) Don't you see? I can get us all the money we need. She turns abruptly. LIZ Don't follow me. Don't talk to me. Get out of my life! She walks on, leaving Cris bereft. SNAPBACK TO: 62. WALKING IN THE PARK - fiVE MINUTES AGO Cris What do you want me to do? Wait for people to die? LIZ Cris...I think you should move on. Today. Cris squints, then chooses his words carefully. CRIS Why? Because I care so much about kids that sometimes I overreact? His words hit the bull's-eye. Liz's whole demeanor softens. Although still troubled, she takes his arm, and they walk on. ANOTHER ANGLE - BINOCULAR MASK ferris (o.s.) Who's the woman? Ext. Hillside overlooking park - DAY Ferris, Cavanaugh, and Policeman Rick are each looking through a pair of binoculars. POLICEMAN rick Liz Cooper. Nice girl, but very erratic. cAVANAUGH Think she'll cooperate? POLICEMAN RICK Hard to say. She's impossible to control. Ferris Sounds like you've tried. POLICEMAN RICK She's quite a challenge. EXT. PARK - daY Liz and Cris, still walking, holding hands. LIZ I swear, I can't figure you out. 63. CRIS Believe me, the feeling is mutual. LIZ Sometimes you seem mindlessly impulsive. But other times I feel like you're utterly calculating, saying exactly what you think'll push my buttons. CRIS What do you mean? LIZ Don't you think it's kind of an amazing coincidence that neither of us can have kids? CRIS You want to talk to my doctor? I'll get him on the phone. No, really, I mean it. I'll have him send you my records. Because I want you to trust me. He seems so sincere that she dismisses her concerns. LIZ Then open up. Talk to me. Where are you going with your life? Cris seems unprepared for the question. crIS Wherever it takes me. LiZ You never think about the future? CRIS All the time. - But mainly how to stay out of trouble. LIZ No goals? Dreams? Ambitions? CRIS There's only one thing I've ever wanted. LIZ What's that? 64. CRIS A family. She seems disappointed. LIZ That's all? Just a family? CRIS Well, I was, as they say, left on a doorstep when I was two. (makes light of it) Never found foster parents who could put up with me. - So to me, a family sounds like plenty. That certainly pressed her buttons again. LIZ You've got to be making this up. CRIS I wish. She rests her head on his shoulder. LIZ You poor guy. Ext. Hillside overlooking park - DAY Still watching Cris and Liz as the couple get into her car. CAVANAUGH I say we get the whole department up here and bust his ass. Ferris And by that time, his ass'll be long gone. CAVANAUGH Then why won't he see through your trap? Ferris takes a deep breath. Ferris Let's try this one more time. 65. ext. old SHOPPING CENTER - daY Grocery, drug store, hardware, gas station. Liz and Cris get out of her Jeep. He heads for the grocery store. LIZ I'll meet you inside. I need to pick something up at the drug store. They split up. Ext. Across the street - unmarked car - DAY Ferris, Cavanaugh, and Policeman Rick watch the couple go their separate ways. Ferris gets out. FERRIS Stay in the car. If he sees your shadow, he won't take the bait. CaVANAUGH We hear you. Ferris I'm serious. This guy can smell your farts before you even eat the beans. rick Miss, I won't even think about beans. Ferris gets out of the car. Cavanaugh and Rick stay put. Rick Sounds like a crock to me. CAVANAUGH You haven't been chasing him for three years. INT. DrugSTORE - DAY Liz is in the female department, trying to choose between various brands when Ferris approaches. Ferris Miss Cooper. LIZ Yes? 66. FERRIS Agent Ferris. Ferris shows her badge. Homeland Security. Liz, frightened, is ready to listen. INT. Drug store - dAY Ferris and Liz huddle in a quiet corner. Liz is in shock from what she has just heard. LIZ He's not a killer. He needs help. Ferris I agree. But he has a long history of resisting arrest, and the state wants to hunt him down with fifty trigger-happy cops. LIZ (aghast) You're not gonna let them. FERRIS That's why I came to you. LIZ Okay, I'll talk to him. I'll try to get him to... Ferris shakes her head lamentably. FERRIS Even his best friend says he'll never turn himself in. - At this stage, there's only one way to keep him from self-destructing. Liz knows she's facing an agonizing decision. EXT. GROCERY STORE PARKING LOT - DAY Cris waits impatiently by her Jeep. Liz finally approaches, carrying a couple of heavy bags filled with wine and booze. crIS What took so long? LIZ I ran into a friend I hadn't seen in a while. 67. Liz holds out a single key on a ring. LIZ She said we could use her cabin up at the peak. ACROSS THE STREET Ferris rejoins Cavanaugh and Ferris in Rick's car. caVANAUGH Did you tell her about the future thing? Ferris Of course not. I wanted her to believe me. - But I loaded her up with liquor, to dim his headlights. Ext. Mountain road - DAY Liz's Jeep grinds up a steep, winding road, past a sign that says "State Line." She turns onto a dirt driveway that leads to a cabin and a glorious panorama. CRIS God, this is gorgeous. Inspired, he kisses her, but she's distant. CRIS What's wrong? She smiles wanly, then gives him a peck. LIZ Nothing. She hops out of the truck. Ext. STAKEOUT SITE across the CANYON - DAY Cavanaugh and Rick look through binoculars. Ferris peers through a telescope on a tripod. Baines approaches with a half dozen tech and construction guys. 68. baines Okay, when you press the remote, the cabin will lock down like a big jail cell. FERRIS But silently, right? BAINES Unnoticeably. CAVANAUGH And that's when we go in. Ferris rolls her eyes with exasperation. Ferris You still don't get it. (tries to be patient) This has to be clear to your whole army. (to Baines) And yours. -- After she comes out and we lock down the cabin...We don't do anything. We wait. Policeman RICK But if he's already trapped...? FERRIS Gentlemen, try to think like him. - If the plan is to go in right after he's trapped, he'll see it coming and he'll slip away before he's trapped... (to Cavanaugh) Like he's always done. cavANAUGH How does your plan change anything? baines At least he won't hear it when the trap closes. FERRIS And if he doesn't know he's trapped, he can't foresee knowing he's trapped. CAVANAUGH That kinda makes sense. 69. FERRIS The eureka moment is when he realizes he's been trapped. CAVANAUGH When is that? ferriS That's the point. We want to delay "eureka" for as long as possible. So by the time he sees trouble and decides to waltz away... baines (finally gets it) He's already been in the trap for hours. FERRIS Voila. Cavanaugh and Rick nod with a kind of awe. RICK You're smart. Baines looks at her with new respect. INT. Cabin bathroom - sunset Liz looks in the mirror, torn. INT. Cabin - parlor - sunset Cris is lighting a fire he has built. Liz drifts in, pensive. LIZ Cris. Do you think we met for a reason? CRIS You mean, do I believe a higher power brought us together? LIZ Yeah. CRIS No. I think we're just the last in a long chain of accidents that started with the Big Bang. 70. LIZ That's not very romantic. CRIS Oh, but it is. Think of it: For us to meet, everything from the very beginning, every sub-atomic event, every galactic cataclysm, every step of evolution, every act, every accident, every decision in the history of the universe had to happen exactly the way it did just so you and I could be together, right here and now. She is moved by his words, but they make her strangely sad. Cris pours two glasses of Scotch. Hands one to Liz. CRIS To whatever happens next. She doesn't drink. LIZ I shouldn't. CRIS (concerned) Why? LIZ I'm late. CRIS Late? LIZ That's why I went to the drug store. To get a pregnancy test. Off his puzzlement, she hands him a small plastic tab. A SQUARE CROSS is coming into focus. He recognizes the image from the Donut Shop display case just before he met Liz for the first time. LIZ You know what this means? 71. CRIS I do now. They look at each other, equally perplexed. LIZ How did it...? CRIS I have no idea. Unless...But that still doesn't explain... She struggles to make sense of it. CRIS Liz, I really did have this problem. I wasn't lying to you. He can't read her reaction. CRIS But this is good. This is amazing. I want this baby more than anything. She looks at him, emotional. LIZ It's like a miracle. CRIS For both of us. She lets him hold her. EXT. AROUND THE MOUNTAIN - NIGHT State Troopers are camped out in two's and three's. Fifty of them. Plus Baines' SIX MP's, wearing different uniforms. INT. cabin - Bedroom - night Liz and Cris in bed. Her head on his chest. This time he's the one sleeping while she lies awake. Ext. STAKEOUT SITE - NIGHT Ferris and Baines sip coffee and wait. They find each other attractive. baines Think she'll come through? 72. Ferris shakes her head with certainty. FERRIS Women hate good-looking men. Rejecting them makes us feel powerful. Baines And that's more important than love? FERRIS No. But she doesn't really love him. INT. cabin - Bedroom - night Liz eases away from Cris, trying not to wake him. He stirs...but settles back into slumber. She slithers out of bed and tiptoes to the bathroom. Silently closes the door behind her. INT. Bathroom - night Liz stands there in the dark, heart pounding. She sees that the window is open. She looks at it, deciding. INT. cabin - DAY The morning sun on Cris' sleeping face. His foot slides in search of Liz. Not finding her, he opens his eyes. Checks the clock. 10:09 AM. CriS Liz... Liz? No answer. He walks to the bedroom door. Locked. He tries to force it. Won't budge. Tries the window. Bars across it - that weren't there before. Shakes them. Solidly bolted. Looks outside. No one's around. He's about to shout, but stops himself. Runs into the bathroom. Bars over that window, too. As he stands there, trapped, Ferris steps into view outside. FERRIS Surprise. Snapback TO: 73. INT. Cabin - night Cris' eyes flash open in bed. Liz isn't there. He throws off the covers, pauses to scan ahead -- then rushes straight to the bathroom and throws open the door. Liz is still there, in the dark, facing the open window. CRIS You lying bitch! You betrayed me! She darts for the window and starts to climb through. Cris pulls her back by her robe. She SCREAMS. Bars slide silently into place over the bathroom window, locking them both in. BLINDING LIGHTS spike on throughout the forest, converging like javelins at that cabin. SnAPBACK TO: INT. Cabin: MOMENTS EARLIER Cris throws open the bathroom door. Liz is still there, in the dark, facing the open window. Seeing the expression on his face, she darts for the window. This time, Cris doesn't move. CRIS (whispers) Liz, please, I love you. She hesitates. CRIS Let me talk to you for one minute. I won't hurt you, I promise. She turns around, trembling. LIZ Cris, I know you don't mean to hurt people. But you need help or you're going to keep on hurting them. CRIS The man I killed was there to rob the store. He was going to panic and shoot five innocent people. 74. LIZ How do you know this? CRIS Because I saw them die. LIZ Like yesterday, with the car? CRIS Yes. LIZ You were afraid something bad might happen so you... CRIS Not "might"! Those people died! - They just hadn't died yet. His certainty is almost convincing. LIZ What if you hadn't done anything? Have you ever waited to see what would happen? CRIS Once. The trauma replays on his face. CRIS That's why I don't go out much. So I won't be there to see. Liz doesn't know what to believe, but she feels for him. Ext. StAKEOUT SITE - NIGHT Ferris, Cavanaugh, Baines, and Rick are watching through night-vision scopes. CAVANAUGH What's taking so long? BAINES We could just do this the old- fashioned way. 75. INT. CabiN / bathroom - NIGHT Liz steps toward Cris. LIZ Cris, you're a good man. And I will stand by you through this. But you have to... CRIS If they catch me, they'll put me in a cell without a trial, and they'll never let me out. They do that, you know. LIZ I won't let it happen. I'll get you a lawyer. Suddenly distracted, Cris squints with that faraway gaze. LIZ Cris...Cris. He snaps out of it. CRIS There's one decent path. (fixes her gaze) But if we're gonna stay on it, I need you to do exactly what I say. How can she listen to this madman? CRIS Will you give me one chance? One chance in exchange for a miracle? STAKEOUT SITE Ferris, Cavanaugh, Baines, and Rick are getting worried. caVANAUGH We can't wait any longer. We've got to go in. Ferris looks at Baines, who doesn't encourage her. FERRIS Okay. Wait for my signal. 76. INT. cabin - bathroom - night Liz listens, dubious, as Cris crouches beneath the window sill, scribbling a note on a scrap of paper. CRIS A few steps on, your robe will get caught on a thornbush. You won't be able to get unstuck. Ferris and a tough guy will come help you. She'll say, "You've done your country a great service." LIZ And then? CRIS Be unpredictable. Surprise works to my advantage. - And read this when you're safe. He tucks the note into her robe pocket. LIZ Will I see you again? CRIS Bet on it. She gathers her courage and steps to the open window. StakEOUT SITE Everyone is coiled, waiting for Ferris to give the word. Cavanaugh is on the radio with his men, ready to pass it on. Ferris takes a last look through the nightvision binoculars. That's when Liz climbs awkwardly out of the bathroom window in her bathrobe. Ferris She's coming now. (to Cavanaugh) We stay put. Tell them. CAVANAUGH (disappointed, via radio) We stand pat till notified. Don't make a sound. When Liz is out of the cabin, Ferris activates the remote control. 77. ALL AROUND THE CABIN Doors lock and bars slide into place almost inaudibly. StakEOUT SITE Ferris shines a flashlight toward Liz, on off. She heads in the general direction of the light, but stops BEHIND A THICK- TRUNKED OAK TREE, which blocks her from their view. BEHIND THE OAK tree Cris backs out from under Liz's robe. StakEOUT SITE Ferris, Cavanaugh, Baines, and Rick shine their flashlights on the oak tree, waiting for Liz to reappear. FERRIS What's she waiting for? Liz steps into view from behind the oak tree. Ferris shines the light towards her again. She heads straight toward them. ON LIZ As predicted, the hem of her robe gets caught in the thorns. She tries to pull free, but she's stuck. StakEOUT SITE Ferris and Baines wade into the thicket to extricate her. Among the thorns Ferris and Baines reach Liz. Ferris You've done your country a great service. The predicted words hit her hard. LIZ Then why do I feel like a traitor? Ferris and Baines free her and lead her up the hill. BEHIND THE OAK TREE 78. Cris scurries away, using the sound of their rustling to cover his escape. ext. Forest - night Cris scurries near a trio of STATE TROOPERS. He steps on a twig which SNAPS loudly. PAN BACK to find a SECOND CRIS approaching down the same path. Cris 1 dissolves as Cris 2 steps around the twig and continues undetected. A few steps on, Cris 2 slips on mud and slides noisily down a slope. PAN BACK to find CRIS 3, who detours onto stepping stones then rejoins the original path, undetected. STAKEOUT SITE Baines and Ferris help Liz back to their camp. Ferris Rick, get her some coffee. Liz pulls the note from her robe pocket and reads Cris' handwriting: "Then why do I feel like a traitor?" CAVANAUGH (relays a message) We've got movement in the canyon. (to radio) Where are you? A flashlight shines up at Cavanaugh from the canyon. Ferris and Baines scan their infra-red scopes at the area. FERRIS' INFRARED POV: A hot human shape hurries over rough terrain with stealthy urgency. BACK TO SCENE Ferris and Baines looking through their scopes. bAINES She told him. CAVANAUGH We tried it your way. Ferris Go for it. But I want him alive. 79. Cavanaugh picks up the radio with evident satisfaction. CAVANAUGH Boys, now it's our turn. FIFTY SEARCHLIGHTS BLAZE ON and stab through the forest. FERRIS I want him alive. Tell them. CaVANAUGH (afterthought, to radio) And the Feds want him alive. Ferris urgently takes Baines aside. Ferris We need to get to him first. TROOPERS Spread out through the steep terrain. SEARCHLIGHT BEAMS sweep over the landscape. CRIS moves erratically, presciently, in bursts, dodging the streaking spots of glare. StakEOUT SITE Liz is drinking coffee next to Rick's police car. Ferris approaches, coldly knowing. FERRIS You've made a very stupid mistake. LIZ I trust him more than I trust you. Ferris I wouldn't swallow the "I love you" part. LIZ You've never even met him. FERRIS But I've profiled him for months. And I can tell you this: he doesn't love anybody. How could he? To him, we're not even human. (MORE) 80. FERRIS (cont'd) We're the characters in a videogame, and he's the player with the joystick. We say our lines, and he practices his moves until we do what he wants. IN THE FOREST Cris on foot, running over rough terrain. State Troopers converging. Searchlight beams crisscrossing. A cone of light passes over Cris. Comes back. Finds him. Trooper There! I got him! He finds himself face to face with two Troopers, guns aimed straight at him. TrooPER 1 Stop! Cris tumbles, draws fire, serpentines through the woods, feinting, freezing, unhittable - moving closer. troOPER 2 Take better aim! TROOPER 1 I'm trying! Cris is within fighting distance. Chop to an arm. Punch to diaphragm. Cris is now holding Trooper 1's SIX-SHOT REVOLVER. Trooper 1 runs. Cris does not fire after him. Instead, he takes aim at a searchlight at a great distance. Squints. Then fires and scores a direct hit with the first shot. Turns to a second search light. Squints. Squeezes off a second shot. The lamp shatters. ext. Stakeout site - night Baines and Ferris watch as, around the mountain, gunshots sound and searchlights go dark. baines You might be right about this guy. FERRIS (shakes her head) I underestimated him. 81. The searchlight next to her shatters. FERRIS By a lot. THE HUNT Cris gets pinned down behind a tree. A Trooper keeps firing, trying to drive him from hiding. Cris boldly comes out from cover and runs, giving the Trooper a clear shot. But the Trooper runs out of ammo at just that moment. Trooper Shit! StakEOUT SITE Watching through binoculars, speaking into radio. ferriS Be thorough, gentlemen. If you leave a way out, he'll find it. ELSEWHERE IN FOREST Baines' well-trained MP's have set up a triangulated trap. They operate like skilled Special Forces commandos. One of them signals, fingers to eyes, that he has spotted Cris. Cris enters a clearing and continues straight into the trap! The TEAM LEADER prepares to give the signal to shoot. Cris' movement flushes a STAG from the hiding. It knocks over one MP and causes another to miss his shot. The Leader sees the stag and scans around for Cris. CAMERA repositions to reveal that the stag now stands between Cris and the Leader. The Leader shoots the stag, killing him, but not before Cris dashes to cover in another stand of trees. Two MP's fire at Cris. But shoot each other. TEAM leader (to radio) I've got two men down. Friendly fire. Stakeout site Ferris, discouraged, comes to a tough decision. FERRIS (to radio and Baines) Change of plans, everybody. (MORE) 82. FERRIS (cont'd) Try to kill him. Use everything you've got. CAVANAUGH (o.c.) Is this a joke? FERRIS No, it's an order. BaiNES Don't get emotional here. She wants Baines to understand. FERRIS There's only one way to beat this man. He's got to see his own death, and not just maybe. He's got to see himself die again and again and know it's inescapable. And then, maybe, he'll surrender. bAINES And if he doesn't? FERRIS That'll be his choice. And he was no use to us anyway. IN THE FOREST Cris is suddenly the target of a turkey shoot. He hops around like a mountain goat while bullets CHING off rocks and SPLINTER trees. He stays alive, but only by a hair's breadth. Cris finds himself pinned down by Four Troopers. He rushes Trooper One, who fires, and hits Cris solidly in the chest. Snapback TO: Cris rushes the position of Trooper Two. Before he gets there, Cris gets shot in the gut. SNAPBACK TO: Cris rushes the Third Trooper, who hesitates, frightened, then shoots -- and misses. Cris charges up to him, knocks his shooting arm away, takes his weapon, uses him a shield, then fires at a Fourth Trooper as he charges out from the trees. It's Cavanaugh, now covered in blood. SnaPBACK TO: 83. Cris uses Trooper Three as a shield, but when Cavanaugh comes charging from the trees, Cris DOESN'T FIRE. Instead he shoves Trooper Three at Cavanaugh, sending them both tumbling down a slope. StakEOUT SITE Another setback. BAINES Damn. Fifty men might not be enough. FERRIS Somehow we've got to bring him down to our level. BaINES Got any ideas? FERRIS I'm workin' on it. IN THE FOREST Cris crosses a ridge that leads him into steep ravine. He can't get back up. StakEOUT SITE Baines and Ferris listen to the police band. Liz stands nearby. She can hear the patter. BAINES He's crossed over into Maxwell Gorge. FERRIS Move in fast. Keep him moving. Don't let him rest. Then it hits her. FERRIS Don't give him time to look ahead. That's the key. 84. EXT. MAXWELL GORGE - NIGHT Slowly making his way through the steep redwood-covered slopes, Cris hears a NOISE. Looks up. Sees a STATE POLICE SUV CRASHING down the cliff across the Gorge. SNAPBACK TO: MAXWELL GORGE - NOW Cris, catching his breath against a redwood, opens his eyes and looks back toward his approaching pursuers. He looks around the gorge, searching for the cliff where he FORESAW the SUV come crashing down. He recognizes the rock formations across the gorge. He heads in that direction. PAN UP and we see that the cliff is directly under the... StakEOUT SITE Baines steps closer to the edge and looks down. BAINES He's heading this way. Ferris, suddenly confident, shouts into the radio. feRRIS Cavanaugh! We've got a fox hunt going in Maxwell Gorge, right beneath the stakeout. Throw everybody into it! We need to overload him! Liz looks around for some way to help. She spots the State Police SUV that we saw crashing down the hillside. She sidles toward it. MAXWELL GORGE Thirty Troopers and Six MP's are converging on Cris. FerrIS (o.c.) Gentlemen, if he surrenders, fine, cuff him. But if he even shivers, shoot to kill. StakEOUT SITE Liz opens the door of the SUV, shifts into neutral, and starts pushing. - It's too heavy to budge. 85. MAXWELL GORGE Cris moves toward a field of LARGE BOULDERS. StakEOUT SITE Slowly, with great effort, Liz gets the SUV to inch forward. MAXWELL GORGE Troopers and MP's are closing in on Cris. CaVANAUGH (megaphone) Lie down on your stomach, hands behind your head! You've got ten seconds. Ten seconds and we shoot. Cris climbs in among the large boulders, glances up, and waits for the future to happen. StakEOUT SITE Liz gets the SUV onto a slight downslope, and it picks up speed. Baines and Ferris see the SUV rumbling straight toward them. They dive out of the way as the SUV plunges over the ledge. MAXWELL GORGE Troopers and MP's are advancing toward Cris, about to open fire. CAVANAUGH This is your last warning. Thirty Troopers and MP's have their fingers on the trigger when the SUV sails over the ledge and plummets straight down towards them. Cris crouches down among the boulders just as the SUV crashes on top of him, then tumbles toward his hunters, who scatter. Cris makes a run for it just as the SUV explodes in a fireball. STAKEOUT SITE Ferris and Baines watch the events below. fERRIS Keep after him! Quick! Stay on him! 86. While they are distracted, Liz climbs into the front seat of RICK'S POLICE CRUISER, cranks it up, slams into reverse, spins, and takes off down the road. baines What the...? LIZ fishtails down the twisting mountain road. MAXWELL GORGE Cris practically mud-skis down the slope. Troopers and MP's hurtle after him. At the bottom, Cris is carried by momentum onto the CREEKSIDE ROAD... Into the path of A POLICE CAR that comes careening around a curve! Liz at the wheel. She swerves and slams on the brakes, skidding and screeching to a halt. Troopers and MP's slalom onto the road from the incline and rush after Cris. Cris makes it to the car. Driver's side. CRIS Believe me now? He climbs in and guns it. LIZ I'm getting used to miracles. Three MP's grab onto the car's mirrors and door handles. Cris weaves violently until they lose their grip and fly off. In Rick's Police Cruiser - dawn Liz and Cris grin at each other. CRIS Where were you going? LIZ No idea. I was just trying to be unpredictable. 87. STAKEOUT SITE - dawn Ferris urgently unrolls a road map and studies it. In Rick's Police Cruiser - dawn Cris speeds down the treacherous curves. LIZ So what's the plan? Bonnie and Clyde? CrIS Remember that place in the South Pacific? LIZ It's starting to sound really good. He pulls out his cell phone. CRIS I'll check on our ride. INT. LAS VEGAS PENTHOUSE - daWN NEAL, a 60-ish tycoon with silvery hair, finishes packing an expensive suitcase. A high-maintenance SHOWGIRL puts the finishing touches on her make-up in his marble bathroom. Somebody's cell-phone plays the theme from "Peter Gunn." Pan across eight large suitcases, his and hers, ready to go, and find Guy on the sofa, watching CNBC financial news. He reaches into a coat pocket and flips open his handset. Guy Yeah... Guy signals Neal. This is the call they were expecting. Guy No, the jet's not sold...I'm here with him now...Of course, he's pissed...I can ask. With a smirk of triumph, he turns to Neal. Guy He wants to know how soon the jet can be ready. Neal conceals his evident satisfaction. 88. Neal I'll wait until eight o'clock. But if he's not there, I'm taking off without him. INT. Rick's Police Cruiser - dawn Cris, driving fast on the treacherous winding road, closes his cell phone. cRIS It's arranged. But we have to get to the North Vegas airport by eight. LIZ Will we make it? He concentrates as he screeches around a curve. CRIS Right now I'm just trying to stay alive. They hit a patch of ice. Skid wildly. MOUNTAIN ROAD Rick's Police Cruiser swings over the side and tumbles down a steep slope. There will be no survivors. Hold on curve. Rick's Police Cruiser speeds into view AGAIN!?? But this time, Cris steers around the ice patch, skids dangerously, almost goes over the side, but continues safely downhill. Rick's Police Cruiser Liz, palpitating, tries to catch her breath. LIZ Christ, you live dangerously. CRIS Just the opposite. I never take chances. 89. MOUNTAIN ROAD - PREVIOUS CURVE Cavanaugh's Car speeds into view, skids on the same patch of ice and skates over the side of the road, as Cris did, the first time. There will be no survivors. And no second chances. STAKEOUT SITE As a Federal Chopper idles, Ferris marks up a ROAD MAP of the area with X's. FERRIS (to radio) Cavanaugh, get all your men into town. (waits) Cavanaugh? Tell them. Baines approaches. BaINES He's dead. Crashed. Ferris winces, then moves on like a general in battle. FERRIS You take command of the chase. (hands him the map) Have cars block these intersection. She heads over to the copter. BAINES Why these? FERRIS Get in the chopper. He follows her inside, and the copter takes off. MOUNTAIN ROAD Cris takes blind curves at high speed. CRIS Did the doctors ever say why you couldn't have kids? LIZ I grew up at Love Canal. 90. CRIS What's that? LIZ A neighborhood back East built over a chemical dump. A bunch of my friends had birth defects. (looks back) I always figured I was lucky just to be sterile. CRIS Except you're not. And neither am I. We're different, that's all. We just had to find the right match. A look between them. LIZ And somehow we did. They approach the entrance to the town. EXT. hendersonville - DAWN Police vehicles converge on the area, systematically blocking the intersections that Ferris indicated. Rick's Police Cruiser Cris threads his way through town, zigging and zagging down streets and alleys. FROM THE HELICOPTER Ferris sees Cris maneuvering perfectly through the maze, avoiding imminent traps and confrontation. BAINES (discouraged) He doesn't miss a beat. FERRIS (pleased, to herself) Come to momma. Cris dodges another trap. 91. FERRIS (to radio) Stay after him. Keep the pressure on. The bypassed police cars chase after Rick's stolen Cruiser, which leaves town on a street that merges with a WINDY NARROW CANYONSIDE ROAD. BAINES (incredulous) He's driving right into it... Up ahead, beyond a blind curve, the road leads to a ONE-LANE BRIDGE over a DEEP CHASM with RAGING RAPIDS at the bottom. BAINES Sometimes looking one step ahead isn't enough. On the FAR SIDE OF THE BRIDGE, out of sight, beyond a curve, EIGHT STATE POLICE CARS form a barricade across the road. INT. Rick's Police Cruiser - DAY Having escaped from town, Cris and Liz share a glimmer of relief. LIZ You make it look easy. Cris' expression darkens. CRIS Oh shit. Oh no. Liz What is it? CRIS I blew it. They round a curve and the NARROW BRIDGE comes into view. FAR SIDE OF BRIDGE Behind the barricade, Ferris' helicopter comes in for a landing. 92. INT. Rick's Police Cruiser - DAY Cris checks his rearview mirror. A six-pack of cop cars are right behind him. To his left, a steep rock wall. To his right, a vertical drop-off into the canyon. Cris drives on, the blood draining from his face. FAR SIDE OF THE BRIDGE Ferris strides across the span, Baines in her wake. Arriving at the barricade, she approaches the biggest state police car, a HUMMER -- and flashes her badge. FERRIS I need your vehicle. She walks through the Trooper and gets into his Hummer. BAINES What's the plan? FERRIS Playing chicken. BAINES Don't be stupid! He knows what you'll do! FERRIS But so do I. And for once, that makes us even. She starts up the Hummer. It roars. THE BRIDGE Cris slams on the brakes. Stops the car. Police cars stop behind him, blocking retreat. CRIS GET OUT! NOW! OR YOU'LL DIE! She hustles out. LiZ What's going to happen? cris We'll find out. A quick look good-bye and he drives on. 93. HUMMER Ferris gathers her determination and floors it. ON THE BRIDGE A game of chicken with a difference. ON CRIS Squinting. CRIS' VISIONS: Fast forward to the HEAD ON COLLISION! Then a COLLAGE of ALTERNATE CHOICES AND OUTCOMES: Cris swerves; slams on the brakes; gets shot making a run for the rail; spins out on the roadbed; crashes over the side, over the side, over the side! But in every version, the Hummer is unchanging. Unrelenting. Dead on. THE BRIDGE - NOW They're speeding closer. FERRIS Total focus. No doubts or decisions. CRIS' VISIONS: FAST, QUICK, CONDENSED The falling car crashes onto the canyon wall, tumbles downhill, explodes; falls again, this time crashing directly onto boulders at the bottom... ON CRIS He drives toward a specific segment of railing between two light posts. THE BRIDGE Rick's Cruiser crashes through the railing and plunges over the side of the bridge. Liz runs to the rail and leans over the side, watching the Cruiser fall down, down, down through the narrow ravine. IN THE FALLING CAR Cris unbuckles his seat belt. Opens the door. Just before impact, he LEAPS OUT, away from the car. 94. BOTTOM OF CANYON The car smashes into boulders at the shallow side of the river. A moment later, Cris SPLASHES a few yards away in the deepest part of the rapids. ON THE BRIDGE Ferris peers down into the canyon. IN THE RAPIDS Cris bobs to the surface and is carried away by the fierce current. The smashed Cruiser also gets carried into the river. Fighting the current, Cris watches as the smashed police cruiser surges ahead of him - then disappears! Perplexed for a beat, he suddenly understands and desperately swims for a rock and clambers onto it. CAMERA pulls back to reveal that Cris is stuck in the middle of the river -- about five feet from where it drops off into a WATERFALL! A HELICOPTER flies over him. ON THE ROCK Cris looks for a way out. Seeing none, he jumps! And is swallowed up in dark thunderous death. SnapBACK TO: CRIS Still on the rock. Looks up and sees a cable being lowered from the helicopter. He looks around? Is there another way out? Out of choices, he reaches for the cable. Misses! Loses his balance. Flails. At the last second, he steadies himself. He wants to live. The cable dangles back into range. Cris grabs it. The cable is hooked to A PAIR OF HANDCUFFS. 95. FERRIS Watches through binoculars as Cris snaps one cuff around his wrist -- and waits. She shouts into her radio. FERRIS Cuffs on both wrists. Leave him if he doesn't. BAINES IN HELICOPTER BaiNES What can he do hanging by one arm? FERRIS I don't want to find out. Baines speaks to Cris via loudspeaker. Baines Both wrists! On the rock Cris, defeated, attaches the second cuff to his other wrist. He is lifted up into the air, hanging by both arms. Bridge Liz sits, handcuffed, in the back of a second U.S. Government helicopter. Ferris approaches. FERRIS I was wrong about one thing. He is capable of love. HELICOPTER Descends, with Cris hanging below by a cable. MP's are waiting below with a tarp which they wrap around Cris, then tape him like a mummy, up to his neck. When he's bound as securely as Hannibal Lecter, Ferris steps close and gets her first good look at him. Ferris Cris Johnson, we meet at last. CRIS Why does everybody have amnesia but me? 96. FERRIS I only ask one thing from you. Give me a chance to earn your trust. cris I did, and you failed. She seems genuinely surprised. FERRIS Then give me another chance. You get `em all the time. She signals and Cris is dumped into the waiting helicopter. The door is slammed behind him. INT. helicopter - DAY Inside, Cris is surprised to find himself alone with Liz. He edges closer so they can hear each other. CRIS Don't let them know you're pregnant. The helicopter takes off. CrIS You don't have to raise him. But at least let him be born. Can you do that? It might be the only chance either of us gets. LIZ I promise. They gaze at each other with intense longing. LIZ Work with them Cris. So we can be together. He shakes his head, fatalistic. CRIS I'll get us out of here. We can still make the plane. She knows it's hopeless. 97. Ext. HOMELAND SECURITY - VEGAS OFFICE - DAY Coming into view by air. ext. HOMELAND SECURITY - MEDICAL LAB - DAY MED TECHS perform a battery of tests on Cris and Liz. Wisdom, Baines, and Ferris watch through glass in an adjoining room. Wisdom Are you out of your mind? Did you ever play chicken before? FERRIS This game was different. He knew I wouldn't flinch. Baines covertly makes the "big balls" gesture with two clawed hands. Wisdom nods knowingly. baINES What's new with the Code Orange? WISDOM It's red now. And we're out of leads. fERRIS Then you better hope he's what I say he is. WISDOM Please, make me a believer. WHITE VESTIBULE Size of an elevator. Cris stands there, bound ankle and wrist. Click, the metal shackles open automatically and drop to the floor. Cris reaches down for them. Possible weapon. Struggles to lift them. Can't. FERRIS (o.c.) Electromagnets. INT. Observation room - daY Ferris, Baines, and Wisdom peer down into the White Vestibule through a window. Technicians operate a control panel. 98. WiSDOM Aren't you being a little over- cautious? FERRIS Not possible with him. She leans forward, flips a toggle. Down below, in the Vestibule, a door slides open. FERRIS Cris, please step into the next room. WHITE VESTIBULE Cris gives up on the chains and sullenly steps forward. WHITE ROOM Size of a squash court. Cris enters gingerly and peers around. Twenty feet up, an OBSERVATION WINDOW, opaque. On the other walls, RIFLE BARRELS poke through NARROW SLITS. The door slides shut behind him. Observation room Ferris leans forward and speaks. FERRIS Cris, we'll be firing at you with live ammo. Are you ready? WisDOM You're shooting your secret weapon? Ferris signals Wisdom to be patient. Cris just stands there, flatfooted, arms folded, unafraid. Ferris nods. A Techie presses a button. The THREE RIFLES FIRE. Cris is hit square in the chest! By THREE BLUE PAINTBALLS. CrIS You're paying for the shirt. WisDOM (unconvinced) I hope you've got more than that. 99. FERRIS Now we are going to use live ammo. WISDOM Not on my watch, you're not. FERRIS I promise you, he won't be hit. Wisdom looks her in the eye. Sees her certainty. WISDOM It's your experiment. Ferris leans toward a microphone, but before she can speak... CRIS "From now on, Cris, the bullets are real." Ferris sits back and nods to the techies to proceed. BARE WHITE CHAMBER Cris balances, at the ready, as the three rifles take aim at him. He LUNGES at the very instant that one rifle FIRES. A bullet ZINGS by his ear. As the second rifle fires, Cris contorts -- and a bullet parts his hair. As the third rifles fires, he tumbles away, almost a blur. More shots, in rapid sequence, erratic rhythm. Two at a time. Three at a time. Like a pinball, Cris pivots, crouches, dodges every bullet. Then suddenly stops. Stands there. An easy target. Click, click, click, the guns are out of bullets. FERRIS He's almost impossible to shoot, hit, surprise, capture, or contain. WISDOM Mind if I try? FERRIS Be my guest. Wisdom takes out his handgun, carefully aims, and discharges six shots at Cris - doesn't score a hit. 100. WisDOM How do you know it's prevision? Maybe he's reading minds. Ferris shows the aiming gantries to Wisdom. FERRIS No minds to read. The guns are aimed automatically by infrared. WiSDOM (impressed) What other tricks can he do? Ferris pushes a toggle, and a pocket door slides open in a wall. ferris (to Cris) Please step into the next room. CRIS I'm going. No need for a hotfoot. BaiNES (explains, to Wisdom) The floor is electrified. He must have tried resisting and foreseen the result. Cris walks through the doorway into... THE SMALLER WHITE ROOM which is familiar from the opening sequence, but not exactly the same. Because it's not exactly the same future. A HEAVY CHAIR, bolted to the floor, faces a PLASMA SCREEN MONITOR on the wall. To the left of the screen is a MIRROR; to the right, a DIGITAL CLOCK-CALENDAR. Ferris' FACE appears on the monitor. Ferris on monitor Cris, it's time to get started with the next test. This won't be unpleasant. We just need to you sit in the chair. Cris eyes the chair with suspicion. 101. Ferris on monitor I want you to look ahead, tell me the time on the clock and then tell me what film clip you see playing. Let's start with five minutes from now. Then we'll press ahead as far as you're capable of. (to Wisdom) The clips have been assembled at random by a computer, so nobody knows what'll be playing next. Cris looks into the mirror and sees his face reflected - as an old man. He turns away. cris Look, I'll stand here and tell you what I see. INTERCUT BOOTH / WHITE ROOM Ferris on monitor I'm afraid we need you to sit. CRIS Why? Ferris on monitor Why not? CRIS I know what happens. Ferris oN MONITOR Tell us. CRIS You tie me down and never let me out. Wisdom looks at Ferris. She shrugs, sheepish. FerriS That's only because you won't cooperate. CRIS Because you're trying to force me. 102. Ferris Work with us, Cris, and you can be a hero. Fight us, and things will get worse and worse. Cris squints, frustrated, looking for a way out. Ferris ON MONITOR (severe) Now sit in the chair. One. Two. Three. Ferris switches the toggle. The sizzle of electricity. Cris hops and jumps in agony. Ferris turns away, then makes herself look. WISDOM Whoa, you are one tough bitch. FERRIS We're still in a Code Red if I'm not mistaken. She turns off the juice. WISDOM He knew he'd get shocked, but he chose to resist. FERRIS He's almost never had to face consequences. (flips toggle) Cris, are you ready to get in the chair? Cris, recovering, shoots her the finger. She switches the toggle again - and leaves it on. Wisdom doesn't have the stomach to watch. FERRIS We need information, right? Cris collapses, unconscious. FERRIS Leave him there. We'll start again when he recovers. 103. INT. Wisdom's office - DAY Wisdom and Ferris are both traumatized by the torture. WISDOM Okay, how do we use him to find the bombs? FERRIS Simple. We make him watch the news and tell us about it. WISDOM How far ahead can he see? FERRIS I don't know. But I suspect we can increase his range with practice. Especially if we restrict his future to only watching news. Then he'll be like a timescope. Wisdom nods. WISDOM You were right. This is huge. FERRIS This is just for starters. You want to stage a pre-emptive strike, he can tell you if you'll hit the target and whether they hit back and what went wrong. And you can do this over and over until you get it perfect before you begin. Wisdom chuckles at the enormity of the potential. wisDOM And all he's ever done with it is a little gambling and securities fraud? FeRRIS I know, it's amazing; but he's not ambitious. WiSDOM Damn, how will we control this guy when he figures out what he's capable of? 104. Ferris We control him now. We just have to keep it that way. WISDOM Right now, sweetheart, we can't even get him to sit in a chair. Dread suddenly washes over Wisdom. WISDOM We've got to think this through. Your friend could be more dangerous than the terrorists. Ferris Aren't you running ahead of yourself? WISDOM With this guy, you have to. Or it'll be over before it begins. Ferris So we'll keep him in chains. WISDOM That may not be enough. We may have to cut off his arms and legs. Then I might start to feel safe. Ferris grins uncomfortably. Ferris You're not serious. WISDOM Think about it. What we're talking about here is the next step in human evolution. And I'm not gonna make the same mistake the Neanderthals made when they ran across this good-looking Homo Sapien fellow and all the lady Neanderthals said, "He's so cute. Let's keep him around." FERRIS Can we deal with your sexual insecurities at another time? 105. WISDOM You mean after it's too late? Ferris seems to come around to Wisdom's logic. Ferris I wish you'd given me a chance to chain him up before you decided to prune him into a stump. They are both filled with dread. wisdom You think he knows? Already? white room Cris on the floor. His expression hardens. CorrIDORS Ferris and Wisdom stride through the facility almost at a run. WiSDOM I haven't made any firm decisions. Maybe we will just keep him tied up. FERRIS I told you, he doesn't read minds. He sees the results. WHITE ROOM Cris rises from the floor into a crouched position, like an animal ready to pounce. The door flies open and A DOZEN ARMED MP's charge in, rifles at the ready, and surround Cris. Cris checks the time on the digital clock. It's 5:12 PM. Corridors Ferris and Wisdom getting closer; he's on a cellphone. Wisdom Tell Baines to meet us there. And bring a dozen men. 106. WHITE ROOM Motionless, in a crouch...Cris suddenly dashes between two MP's, shoves them aside, makes for the door. He gets smashed by the RIFLE BUTTS of the nearest ones, then stomped by the full contingent. [Attempt #1] AREA OUTSIDE THE White ROOM Ferris and Wisdom arrive and look through the window. THEIR POV: Cris is alone in the room, in that crouched position. No MP's. What we've just seen...hasn't happened yet. OUTSIDE THE WHITE ROOM Baines arrives with THE DOZEN ARMED MP's we saw in the previous scene. WISDOM Wait for my signal, then go in and surround him. Wisdom and Ferris hurry upstairs into the Observation Booth. We pass through the wall into the... White room Where in some future Cris is once again surrounded by the Dozen MP's who are actually outside, waiting to charge in. Suddenly, Cris pounces low at one soldier's hips, shoving him into the soldier next to him, which knocks over a third soldier. Cris dashes for the door, but four MP's pull him away before he can get out. [Attempt #2] Observation ROOM Ferris and Wisdom enter and look down at Cris, who crouches alone, motionless, in the White Room. Ferris prepares to speak to him. Wisdom interrupts. WISDOM I'll do the talking. Wisdom goes to the microphone. WISDOM Cris, this Eric Wisdom. I'm the director of this facility. (MORE) 107. WISDOM (cont'd) We're in the middle of a Code Red, and we'd like your help in preventing a major catastrophe. CRIS I don't believe you. Outside WHITE room BAINES and the DOZEN MP's wait, ready to charge in. WISDOM (o.s.) I apologize for the way you've been treated. Agent Ferris got a little carried away. White room Cris, once again surrounded by the same Dozen MP's, suddenly punches one of them, kicks another, and now has the mobility to start using his Tai Chi moves. But the other MP's gang up on him and pile on, burying him under their weight. [Attempt #3] wisdom (o.S.) Could I ask you as a favor to please sit in the chair so we can begin? observation ROOM Wisdom and Ferris watch as Cris still just crouches there, motionless, alone, in the empty room. He checks the clock. It's 5:09 PM. Just minutes before The MP's will charge into the room. WHITE ROOM Cris runs to the door and tries to bar it so they can't enter. He gets shoved aside by the force of the MP's as they charge in. [Attempt #4] observation ROOM Wisdom and Ferris watch as Cris still just crouches there, motionless, in the empty room. Wisdom flicks off the mike. WiSDOM What's he doing? FeRRIS Looking ahead. 108. WISDOM (to microphone) Cris, time is running out. White room - Cris is again crouched and surrounded by the Dozen MP's. wiSDOM (plasma screen) We need your cooperation right away. Suddenly Cris attacks using his Tai Chi skills. He outfights four of them, but then is subdued by the others. [Attempt #5] SnAPBACK: Cris is again crouched and surrounded by the Dozen MP's. wiSDOM (plasma screen) Cris, don't you feel some sense of obligation to the rest of us? Your ability could save so many lives. Suddenly he repeats the martial arts attack, but refines it, beating six MP's this time before being subdued... [Attempt #6] SNAPBACK: Cris is again crouched and surrounded by the Dozen MP's. wiSDOM (plasma screen) Cris, don't you feel some sense of obligation to the rest of us? Your ability could save so many lives. Faster and faster, over and over, Cris relives the attack, perfecting his movements, finding new opportunities. His skill increases with each iteration as he anticipates every soldier's action and counters it with the greatest economy of means. [Attempts #7-12] The fight takes on the quality of choreography as the MP's seem to step right into Cris' punches and kicks. Cris flips and throws them into each other, leveraging their movements to achieve his goals with perfect efficiency. But Cris still can't quite get out the door. OBSERVATION ROOM 109. Looking down at Cris, still crouched there, alone. FERRIS Don't give him time. Send them in now. WISDOM Baines, do it. Ext. White ROOM Baines gives the signal and the dozen waiting MP's charge in through the door, rifles at the ready. The foreseen attack is now beginning in real time. INT. White room The MP's surround Cris, as foreseen. He remains in the center of them, crouched, motionless. For a long beat, they just stand there, rifles aimed at their frozen quarry. wiSDOM (plasma screen) Cris, don't you feel some sense of obligation to the rest of us? Your ability could save so many lives. Cris suddenly attacks...and with perfect economy of movement, like a diver executing thirteen twists in the second before he hits the water, Cris executes the previous routine with a new "finale" and... Elegantly slips past all the MP's into the hall - and slams the door behind him, locking them in! The escape has the quality of magic. It takes a beat for the MP's to realize what has happened. oBSERVATION BOOTH Wisdom and Ferris are agog. wISDOM What happened? - You idiots! Ferris draws her gun and charges down the stairs. OUTSIDE white room Cris is waiting for her and somehow he has her gun in his hand. 110. CrIS Don't make me do what I can do. Cris spins and shoots Wisdom in the shin as he starts down the stairs. Wisdom collapses. CRIS Don't get too attached to your arms and legs. Cris spins and gets the drop on Baines. CrIS Don't. Baines sets down his gun. Cris takes off. WISDOM Don't let him out of here alive. Baines opens the door to the White Room. MP's stampede out in hot pursuit. baINES Isolate the building. If there's one exit overlooked, he'll know it. FERRIS If there's one soft heart, one slow shooter, he'll know it. Ferris attends to Wisdom, bleeding on the stairs. FeRRIS Don't worry. I caught him once; I'll catch him again. WISDOM Be careful. I don't want anything to happen to you. They care about each other more than they've let on. corridors Cris. Running. MP's and general Security Police close behind. No place to hide. Soldiers open fire. Cris dives for the floor, tumbles, gets to his feet, serpentines, and ends up behind a door that opens at the moment, as if by mental command, shielding him from gunfire. 111. Security Police pour out from the other side. Cris reaches around and grabs someone's gun. He opens fire, buying himself enough cover to get to a doorway. Cris stops, thinks, then charges out shooting, fighting, running -- completing a condensed burst of four impossible tasks that get him to the next point of refuge. He waits, thinks, charges and, with another burst of choreographed action, makes it into an elevator whose doors conveniently open at that moment. He darts inside, keeps shooting, presses certain buttons - starting several stories up, and waits for the doors to close. Sergeant You five, up. You five, down. The rest stay with me. INT. SURVEILLANCE ROOM - DAY Banks of monitors, each containing a grid of mini-frames containing the pov of a surveillance camera -- hundreds in all. LEO, the Soldier at the console, is twitchy and hyper- alert. Leo watches as the Security Forces split up. He scans the monitors to see where Cris will resurface. INT. ELEVATOR - DAY Cris climbs up through the ceiling panel. INT. Elevator shaft - DAY When the elevator stops, he rips open a VENTILLATION DUCT and climbs inside. OUTSIDE WHITE ROOM DR. FIELDING approaches Wisdom with a syringe. WISDOM No demerol. I need to be alert. FERRIS Get him a local. Amanda, Ferris' junior analyst, rushes in with lab reports. amanda You asked for these as soon as they were ready. 112. FERRIS Not now. amanda You might want to check this result. She points to a particular page. Impatient, Ferris reads. Her eyes widen. FeRRIS How pregnant? amanda A few days. Ferris turns to Wisdom. FERRIS This is getting interesting. We have a mating pair. WISDOM Secure the female. POV FROM CEILING - THROUGH VENTILLATION GRILL Liz sits in a waiting room by herself, reading a magazine. Psst! She looks up at the camera. Cris (o.c.) Unscrew the vent. She moves a chair under the vent and prepares to stand on it. The door opens and several MP's march in. SOLDIER (to Liz) We're here to protect you. Without looking up at Cris, she moves the chair back against the wall and sits in it. VENTILLATION DUCT Cris, frustrated, shimmies back through the vent. SURVEILLANCE ROOM Leo checks all the video screens. Cris is nowhere. 113. Leo He must be in the walls. VENTILLATION DUCT Settling in, Cris looks at his watch. 5:17. He concentrates and time speeds by - until a flashlight beam lights up the duct from a distance. SOLDIER I found him! In here! As more Security Police and flashlights fill the shaft, Cris checks his watch: 5:33. SNAPBACK: VENTILLATION DUCT Which is once again dark, quiet and empty. Cris looks at his watch. 5:17. Cris (to himself) Sixteen minutes. Cris takes a deep breath and crawls forward. Remarkably, he seems to be CRAWLING OUT OF HIS MOTIONLESS BODY like a snake shedding its skin! - In fact, Cris 1 lies there in deep concentration, while Cris 2 creeps onward. EXPLORATION SEQUENCE Cris drops down from a ventillator shaft into an office. He opens the door, walks into a corridor, and strides forward, preternaturally calm. He advances through an unfolding panorama of "stage sets" on which different hypothetical scenarios play out, one at a time, several simultaneously, or layered in like the melodic themes in a round or fugue, creating the visual equivalent of harmony and counterpoint. Cris encounters Security Police searching for him. When they discover Cris, they aim their weapons at him. He checks the time. Snapback a few seconds. He hides before they arrive. He goes through a door into a room. People are there. Snapback. Hides in a different room. It's empty. Cris searches the room. Looks in the desk drawers. Puts things in his pockets. The door flies open. Security Police find him and shoot. Snapback. 114. Cris treads down empty corridors. He multiplies into a legion of Cris Johnsons, duplicated again and again, as he explores room after room, searching them sequentially. Simultaneously. He spends much time in a Handyman's Storeroom, while other Cris Johnson's fade away. Cris 27 finds the surveillance room with Leo in charge. Cris scans the room. He is seen. He waits to see who will shoot him first. He is hit in the chest. Fade out. Cris 35 gets caught by two Security Police. He fights them, takes their guns, but gets killed by reinforcements. Cris 63 waits in a room and peers through a crack in the door as his POV FAST FORWARDS, and he charts the comings and goings of the search parties, until they discover him, at which point he snapsback and hides in a different room. He's hiding in many rooms simultaneously. Spying. Piecing together the schedule of the patrol in that corridor. The same situations repeat. Scanning for security cameras. Fighting. Winning. Losing. Dying. He goes down a stairwell. One version of himself exits at a landing. A second iteration of himself continues to the next floor down. At that landing, two iterations of himself turn in different directions, left and right. We follow the one that went to the left. He sees MP's taking Liz from her holding room and escorting her somewhere else. He follows. Gets seen. By her. By them. Snapback. He is waiting in several locations, watching to see where the MP's will emerge with Liz. The MP's and Liz emerge from an elevator in one of the locations. The other Cris' fade out. Liz is ushered into a room and locked inside. Four guards depart. Two guards remain posted outside. They see Cris. He runs down stairs. Into the corridor. Into the room directly under the room where Liz is being held. Cris enters A FORENSICS LAB where the captured bomb is being studied. There is a barrel of C4 PLASTIC EXPLOSIVE. MP's in the room turn on him and open fire. Cris is blasted and falls to the floor, dead. Snapback to... 115. VENTILLATION DUCT Cris, where he started, motionless as a hibernating bear, exploring his futures. CAMERA passes through walls, floors, ceilings and finds Baines rushing through the corridors. Baines enters... Wisdom's office Where Wisdom paces with one crutch while Ferris sits on a sofa like Rodin's Thinker, in concentration almost as deep as Cris'. Baines He hasn't gotten out through any exit. The bad news is... wisdOM You've lost him. BAINES I'm issuing infrared to all my men. We should have a fix in a few minutes. WISDOM You realize if he gets away now, we'll never get him back. He'll be out there, and he'll be our enemy. Ferris looks up. FeRRIS I know how to flush him out. bainES (at a loss) Fine. Tell me what to do. The thought crystallizes as she speaks. FERRIS We don't actually have to do anything. (beat) We just have to decide to do something...unthinkable. Ferris shudders at the dark brilliance of her own idea. 116. int. ground floor of facility - DAY Guards stand in a solid line. No way out. Cris off to one side, in a niche just inside the door. Camera pans and finds a second Cris standing back, away from an exit. Pans and finds a legion of Cris Johnsons, duplicated again and again, trying each exit. At one dim exit, he lies on the ground, charred and dead, next to the gauntlet of MP's he has tried to outrun. Wisdom's office Wisdom and Baines are looking at each other, appalled, then turn to Ferris. WISDOM You want me to threaten to kill a pregnant woman? FERRIS Threats don't count. When he foresees that you actually did kill her, that she's dead... (beat) He won't let it happen. - He'll come to us. Surrender. And she'll live. Wisdom regards her with perverse admiration. FERRIS But it only works if we're not bluffing. Because he'll know. Wisdom considers the decision that lies ahead for him. INT. NEAR THE LOBBY - DAY Cris is still trying to get out the front door, but there's one Soldier, call him CRACK SHOT, who kills Cris repeatedly. Cris snapsback and tries various tactics, but he can't get past Crack Shot alive. He gives up. Turns and runs back into the heart of the building. Cris' mental pov expands to include the entire facility, like a crystal doll house. Simultaneously, he is observing every room, present in every room, charting the place, testing possible actions. 117. The facility is a bee hive of activity. A bee hive that accelerates to fast forward -- until all times are simultaneous. Until the simultaneous activity is made even denser by the accumulated layers of possibility. Cris-134 spies Ferris and Wisdom walking together. He follows them for a while, until he is discovered. Cris-134 fades out. The Ferris and Wisdom who saw him fade out. But another Ferris and Wisdom continue through the building, and their trail gets picked up by Cris-62, who has detoured in order to encounter them. As Cris' goals are accomplished, superfluous versions of himself fade away. The surveillance of a sequence of Ferris-and-Wisdoms is continued by Cris-91, then Cris-14, who watches as Wisdom and Ferris approach two guards standing outside an INTERROGATION ROOM. We recognize them as the MP's who are guarding Liz, inside. Wisdom is let into the Interrogation Room by the MP's. Ferris proceeds into a nearby office alone. SnaPBACK TO: vENTILLATION duct Cris comes out of his trance. Checks his watch. Sixteen minutes have passed. Cris composes his thoughts, takes a breath, then crawls forward, leaving no Cris behind. Now it's for real. A moment after he rounds a corner, A FLASHLIGHT BEAM stabs into the duct that he vacated. It scans around. Withdraws. NOTE: The situations that Cris has just previewed from the Ventillator Shaft constitute the raw material that he will now re-craft into a single narrative: the story of his actual escape attempt, staged in long takes, unfolding in almost- real time. When appropriate, to illustrate Cris' ability, we will portray several locations simultaneously via split- screens which change in number, size, shape, and placement. INT. HANDYMAN'S STOREROOM - DAY Ceiling. The ventillator grill pops open. Cris drops to the floor. He grabs a backpack conveniently hanging on a hook. Without the slightest hesitation, he goes from shelf to box to drawer, loading particular objects into the backpack. 118. CORRIDOR Empty. A door opens. Cris steps out into the hall carrying the backpack and a foot stool. He stays close to a wall, steps on the foot stool, and spray-paints over the lens of a surveillance camera. SURVEILLANCE ROOM Leo spots Cris as he blinds one camera after another. Leo I've got him. Third level, building C. Pete, Brian, get up there. Kyle, block off the west staircase. Jason, bring your dogs in from the east. CORRIDOR SOLDIER PETE and SOLDIER BRIAN charge into an empty corridor and begin their search for Cris. A door slams open, bashing Pete in the face. Cris breaks his shooting arm, grabs his M-16, hides behind the door, and sprays bullets low, hitting Brian in the shins. He runs to Brian, breaks his shooting arm, takes his rifle. Drags Brian and Pete into an open room. Tapes their mouths. SURVEILLANCE ROOM Baines arrives and takes command. Leo He was on third level seventy seconds ago. BaINES But where is he now? INT. WEST STAIRWELL - DAY Cris pours floor polish in specific places. SOLDIER KYLE and his TROOP charge out off the stairwell. Each one steps directly into the polish and slips. As they fall, Cris punches them out or puts them in chokeholds, utilizing the elegant minimum of force or violence. Child's play. As soon as they are unconscious, Cris takes their guns, tear gas, and a gas mask. 119. CORRIDOR SOLDIER JASON and THREE TROOPS are on the way, each with a GUARD DOG. ANOTHER CORRIDOR Cris lies in wait for the patrol. When they appear, he is perfectly placed to mace each dog and each soldier with a quick spritz. He goes back and sprays them again, to keep them out of commission. Surveillance room Cris appears on several screens. LEO He's on this floor!...Shit! He's coming here! The door opens. A tear gas canister flies in. A moment later, Cris charges in wearing a gas mask. He opens fire at the video monitors, shattering every one. By the time the MP's are ready to respond, Cris reaches and grabs Baines' handgun. He swings out into the corridor with Baines' gun in his hand...Without looking, his hand aims and shoots several times. CORRIDOR Emerging into the hallway, Cris looks down at the end of the hall and sees two MP's falling to the floor, wounded. Cris wraps electrical tape around the door handle and a pipe on the wall, sealing the room shut, then turns and maces the last of the dogs. SURVEILLANCE ROOM As the tear gas clears, the damage is visible. Every monitor in the surveillance system has been shattered. Leo, coughing, feels his way to a phone. WISDOM'S OFFICE Wisdom answers on speakerphone. LEO (o.c.) He blinded us. 120. BAINES (o.c.) And the dogs are useless. Ferris stares at Wisdom expectantly. FERRIS He's getting away. CORRIDOR Cris, on the run, encounters CRACK SHOT - not where he was seen in prevision. Crack Shot reaches for his gun. Cris breaks his arm before Crack Shot can fire. WISDOM'S OFFICE Wisdom on the phone. Ferris watching in suspense. WISDOM Any developments on the Code Red? ...Let me know if there are. He hangs up, discouraged. Dials a number. WISDOM Baines, bring the girl friend to the Interrogation Room. (to Ferris) I'll deal with her there. INT. CORRIDOR OUTSIDE INTERROGATION ROOM - DAY Cris sneaks into room where he foresaw that Liz will be brought. The door is recognizable by its industrial look. WAITING ROOM Where Liz is being baby-sat by four MP's. Baines enters. BAINES We're moving her. INT. INTERROGATION ROOM - DAY Cris writes a note. Slips it onto a side table. Opens the drawer of a desk. Writes in it. Puts something inside. CORRIDOR OUTSIDE INTERROGATION ROOM Baines and the four MP's arrives with Liz. Baines, Liz, and two MP's wait while two officers carefully open the door and check out the room. 121. We expect them to find Cris. But they don't. Outside, in the hall, a pencil rolls on the floor toward Liz. She notices it and looks where it came from. Sees Cris, hiding behind a janitor's cart. He puts his fist over his heart. Gesture of love. The two MP's in the room signal for Liz to be brought inside. Two MP's outside the room bring her in. Baines stays on guard outside. INTERROGATION ROOM While the Guards stand on alert, Liz sits in a chair and discovers a piece of paper on a side table, placed exactly where her hand has come to rest. On the paper, in pencil, a square with a square cross within. She flips over the note. It reads, "GO CRAZY!" She considers, then SCREAMS as loud as she can while running around wildly. OUTSIDE INTERROGATION ROOM Hearing the commotion, Baines opens the door. Behind his back, Cris steps from hiding, opens the door to a room and slips inside, closing the door just as Baines looks back. INTERROGATION ROOM The MP's force Liz into a chair behind a desk. SOLDIER Sit there and shut up. Liz sees a drawer which is partially open. She looks inside. Sees a hefty pair of scissors. Inside the drawer, a message is written on the wood. "5:44, stab Wisdom." She looks at a clock in the room. 5:41. But Wisdom isn't there. CORRIDOR Wisdom and Ferris, walking. FERRIS You understand what's at stake here? We're playing for the future. Not just what happens next, but what the future is. What the rules are. (MORE) 122. FERRIS (cont'd) If one man will know it and control it -- and have power over the rest of us. Or if we'll have power over him. WISDOM By killing an innocent woman. She looks him in the eye. FERRIS If you want, I'll pull the trigger. WISDOM I think that might be...more reliable. She accepts the terrible responsibility. FERRIS I'll join you in a minute. I need to take care of some details. Wisdom turns to Baines. WISDOM Get more men up here. Ferris walks to a nearby office and goes inside. INTERROGATION ROOM Liz anxiously checks the clock. 5:43 and still no Wisdom. Then the door opens. And Wisdom enters. They study each other, neither knowing the other's plans. She glances aside at the clock. FERRIS' OFFICE She picks up the phone. Dials a number. FERRIS This is Ferris. I'll need a chopper tanked up and ready. Behind her, Cris steps out of hiding. By the time she sees him, his forearm is around her neck. INT. INTERROGATION ROOM At 5:44, Liz grabs the scissors, lunges at Wisdom, and stabs at his neck. He raises his arm in time to block the blow. 123. The two MP's in the room fight her off, calling to the sentinels outside. OUTSIDE THE INTERROGATION ROOM Baines and the sentinels rush in to help. When the corridor is empty and no one is looking, the door to Ferris' office opens, and Cris emerges with Ferris as his hostage. INT. INTERROGATION ROOM MP's drag Liz away from Ferris. WISDOM (not listening) Where the hell did she get the scissors? CORRIDORS Cris and Ferris make their way toward the entrance. They come across a Patrol. The MP's take aim. Cris holds his gun to Ferris' head. PATROL LEADER Hold your fire. (gets on the radio) We've got the target in plain sight in Corridor 2C, but he's holding a hostage. Agent Ferris. - Request instructions. IntERROGATION ROOM Baines, on the radio, turns to Wisdom. BAINES You won't believe this. He's got Ferris. WISDOM How? BAINES I don't know, but he's on his way to the front door. (beat) They want instructions. Wisdom thinks hard. 124. WISDOM Don't shoot. BAINES Then how are we going to stop him? WISDOM We don't. We let him go. - It's part of the plan. Baines tries not to be insubordinate. BAINES You're sure about this? WISDOM No, but Ferris is. Wisdom takes a deep breath - then grabs Liz by the arm and aims his gun at her head. WISDOM I hope he loves you as much as I love her. CORRIDORS Cris marches Ferris through the building, flanked by Security Police who aim at him but hold their fire. WISDOM'S VOICE comes over the public address system. wisdom (o.c.) Cris Johnson...I've got your girl friend. We know her condition. That gets his attention. wisdom (o.c.) Something very bad will happen at six o'clock unless you're back in custody. CRIS (to Ferris) He hasn't got the balls. FERRIS We'll find out, won't we? IntERROGATION ROOM Wisdom holds Liz at gunpoint. She seems remarkably calm. 125. LIZ You're not going to kill me. That's what the bad guys do. WISDOM In war, you have to be as ruthless as your enemy. LIZ (emphatic) Cris isn't the enemy. WISDOM I didn't mean him. CORRIDORS Near lobby, where Crack Shot repeatedly nailed Cris. This time Crack Shot's shooting arm is in a sling, and he crouches next to a substitute sniper, who lies in wait. Cris walks into view and fires one shot, which wings the substitute sniper -- causing him to miss his shot at Cris. Cris pulls Ferris to the next location. INTERROGATION ROOM Wisdom and Liz. He watches the clock. Now she's afraid. LIZ Can't you just leave us alone? He shakes his head, trying to gather courage. IN THE RAFTERS Another sniper takes aim at a section of hallway that Cris is approaching. CROSSHAIRS As Cris enters the sniper's field of vision, he shifts Ferris to a different position, blocking the shot. CORRIDOR As they pass under him, Ferris sees the sniper above. Cris takes aim at an empty space and fires just as a soldier charges from hiding and absorbs the bullet as if deliberately catching it with his body. 126. FERRIS God, you're remarkable. Cris breaks a window. Tosses a grenade outside. FERRIS I wish you had a little more sense of duty. CRIS I'd say you have way too much. EXT. HOMELAND SECURITY BULDING - DAY The grenade explosion attracts many of the guards. Cris and Ferris slip out the front door where the Guards were previously stationed. He addresses a Soldier in a patrol car. CRIS Give me your keys. The Soldier obeys. Cris shoves Ferris into the car and gets in after her. CRIS (to soldier) If I see you, I'll kill her. They drive off. IntERROGATION ROOM Wisdom, agonized, is about to pull the trigger. Liz, trembling, sees that he's going to do it. WISDOM I'm sorry. Ext. Car - DAY Driving away. Ferris realizes that Cris' escape is going to be successful. She checks her watch. It's 6:13. FERRIS You know what our problem is? CRIS "We got off on the wrong foot." He has taken the words right out of her mouth. 127. FERRIS It's really... CRIS "all been a big misunderstanding." FERRIS Exactly. CRIS "We've never meant you any harm." FERRIS It sounds so insincere when you say it. CRIS I guess you're a better liar than I am. FERRIS You know what I'm going to say next? Cris nods. CRIS It'll never happen. She offers her card. FERRIS My door will be open. We can start from scratch. He takes it. The phone number stands out: 888-CFerris. Flips the card out the window. FERRIS The magic word is cooperate. That's all we've ever wanted to hear from you. A helicopter lands on the road ahead, blocking the way. CRIS When are they going to give up? After you're dead? Cris holds his gun threateningly to Ferris' head. Two MP's get out of the helicopter, carrying something heavy. 128. Cris reacts to what he can't see yet. They are carrying a body. They remove the hood from its head. It's Liz. Dead. Quaking with rage, Cris prepares to shoot Ferris. SNAPBACK TO: INT. HOMELAND SECURITY - Corridors - DAY Twenty minutes earlier. Cris is marching Ferris through the corridors to the exit. ferriS I wish you had a little more sense of duty. Cris stops in his tracks, quaking with rage. CRIS To a gang of murderers? Ferris seems pleased. FERRIS I see you got our message. He checks his watch. 5:54. CRIS What's about to happen...you've brought it on yourselves. Cris changes course and charges into a... STAIRWELL which he descends at a run, roughly dragging Ferris with him. fERRIS It's not too late Cris. You can save her. CRIS I'm planning on it. Cris shoves Ferris in front of him as a shield. Approaching a turn in the stairs, he fires blindly. Rounding the turn, he sees his would-be assassin collapsing, dead. 129. INTERROGATION ROOM Wisdom keeps his gun aimed at Liz's head as he watches the clock: 5:55 PM. Soldier He's heading this way. CORRIDOR Cris charges out of the stairwell, shooting without hesitation - forward, left, right, back - efficiently targeting Security Police in the precise order of their imminent readiness to fire at him. For each bullet, one soldier dies. Wisdom's voice comes over the P.A. System. WiSDOM (o.S.) Johnson, this is Wisdom. It's 5:55. You have five minutes to turn yourself in... Cris and Ferris keep moving. Wisdom (o.S.) Or your worst nightmare will happen. Cris marches right up to the Interrogation Room where Wisdom holds Liz prisoner, using Ferris as a human shield. WisDOM (o.S.) Look ahead if you don't believe me. Cris opens the door to the room, revealing Wisdom, Ferris, and thirty Security Police and MP's - who take aim at him and fire. Cris gets chopped to pieces. SnAPBACK TO: Cris crouches on the floor outside the Interrogation Room, reaches up and opens the door. He gets off a shot at Wisdom, who lives long enough to put a bullet in Liz's heart. SnAPBACK TO: Cris uses Ferris as a shield, gets off a burst of shots at Wisdom, killing him instantly. 130. But a Soldier at Wisdom's side puts a bullet in Liz's heart -- then the thirty Security personnel blast Cris and Ferris to pieces. SnAPBACK TO: STAIRCASE - ONE MINUTE EARLIER Cris, dragging Ferris, arrives at the level of the Interrogation Room and continues down one more flight. Using Ferris as a human shield, he shoots his way into... INT. FORENSIC LAB - DAY Where Cris previously saw the seized barrel of C4 Explosive. He guns down several armed MP's whom he knows would be present, then threatens the technicians. CRIS Get out! They flee. Cris locks himself and Ferris inside. Cris goes over to the bomb. Squints for a beat. IN FAST FORWARD, CONDENSED TIME, MULTIPLE SNAPBACK, he goes through the whole learning curve on bomb detonation, blowing himself up - and snapping back to life -- several times before figuring out the right way to set it off. INTERROGATION ROOM Wisdom holds Liz at arm's length with his gun pointed at her head. Watching the clock count up to 6:00 PM. It's 5:59:41/ /42/43... THE LAB Cris moves the bomb. Closes his eyes for a beat. Moves the bomb again. Closes his eyes. Opens them. Sets the detonator to 10 seconds. CORRIDOR OUTSIDE LAB MP's wait, preparing to gun down Cris when he emerges. The door opens. Ferris sprints out. feRRIS It's going off in ten seconds! The crowd flees with her. 131. INTERROGATION ROOM Wisdom watches the clock count advance. 5:59:55/56/57... CORRIDOR Now empty. Cris runs for it. Dives. INTERROGATION ROOM As Wisdom prepares to the pull the trigger, the bomb explodes in a giant cataclysm. Smoke and dust Roiling. Opaque. Then clearing. The center of the building is gone. A jagged raw atrium extends several stories down and up. To the side, on a narrow ledge of floor extending from a wall...crouches Liz. The only person remaining. She has survived by inches. Very precise. As she recovers from the blast, a door opens behind her. Cris appears, extends a hand and helps her from her perch. Ext. North vegas airport - night A private jet warms up on the tarmac. ext. Private jet - night Cris and Liz bound up the entry steps, exhausted but elated. INT. JET - NIGHT At the door, no one is present to greet them. Odd. They continue into the main cabin, where Neal, the Showgirl, the Pilots, and the Flight Attendant are glued to the television. Neal sees Cris and Liz, but hardly acknowledges them. He's in shock. They all are. Cris and Liz turn to the TV. 132. TV NewsCASTER (o.S.) The situation in Chicago is not quite as severe as in the other nine cities where the dirty bombs exploded, as prevailing winds blew the nuclear waste across Lake Michigan rather than straight into town. Radiation levels in Detroit, on the other hand, may require the entire city to be evacuated. Liz and Cris look at each other, ashen. LIZ This is what they wanted you to prevent? CRIS I guess... LIZ And you wouldn't help? CRIS They didn't explain. They were trying to force me. Liz shakes her head, incredulous. CrIS They were gonna make me a slave. She looks at Cris like he's scum - and heads for the front of the plane. CRIS Liz? Where are you going? Liz To the doctor. She walks out of the jet and down the steps. NEAL She's not coming with us? Cris stands there, bereft, and watches her go. He has run out of futures. CLOSE ON CRIS 133. Tears escaping from his eyes. ROTATE FRAME and discover that the previous cut was actually a... SNAPBACK TO: LIZ'S HOUSE - DAWN Where Cris lies in bed with Liz's head on his chest, the morning after their first night [p. 45]. Since that point, Cris has been up for hours - scanning the futures. Finding no path worth taking. INT. Wisdom's HOUSE - dawn Ferris sleeps next to Wisdom. She's hogged the covers. Her cell phone rings. Drowsily, she answers. FeRRIS Ferris. Cris (o.c.) This is Cris Johnson. She sits up. FERRIS Where did you get this number? INT. Liz's kitchen - dawn Cris is dressed. Despondent. CrIS I want to cooperate. FERRIS That's music to my ears. CRIS But I have conditions. FERRIS I'm sure we can work something out. liz's bed - dawn Liz. Sleeping. Cris sits next to her on the bed. CRIS Liz... 134. Her eyes flicker open. She sees him looking down at her like an angel. LiZ Come back to bed. CRIS I can't. - I have to go. LIZ (incredulous) You're not leaving? CRIS There's something I have to do. Something you'd want me to do. And I can't put it off any longer. LIZ (wounded) Fine. Then go. What do I care? CRIS Liz, it's not like that. I searched for you for a long time. I want to be with you forever. LIZ Don't overdo it. We just met last night. CRIS But a lot has happened since then. LIZ While I was sleeping? He proceeds with difficulty. CRIS We're going to have a child. LIZ Then you really are an angel. CRIS I don't expect you to believe me. But when you do find out, remember that we came together for a reason. That this wasn't just...one night. It was a special chance for both of us. 135. Seeing his misery, she softens. LIZ Then why are you running away from me? He holds back tears. CRIS I'm not...I'm taking the long way around. Now she's crying. LIZ I don't understand. We got off to such a great start. He nods, wistful. CRIS And I looked for a happy ending... But this was the best I could do. They kiss good-bye, and she makes it so wickedly sweet that he can barely pull himself away. Liz watches, mystified, as he leaves - stirred by feelings for Cris that are just coming into being. LIZ See ya? CRIS I wouldn't be surprised. And he walks out the door. Ext. LiZ'S HOUSE - DAY Cris walks down the driveway to the street. He stands there a beat, then Ferris' car drives up and stops in front of him. Cris opens the passenger door and gets in. INT. Ferris' car - DAY They look at each other, coming from very different places. Ferris Mr. Johnson, we meet at last. 136. CRIS I wasn't ready till now. Ferris shifts into gear and drives off. FERRIS We don't have time to waste. Maybe you could start by telling me how your talent works. He thinks how to phrase it. CRIS "The future ain't what it used to be." Ever hear that expression? Ext./Int. front window of cottage - DAY Liz watches from inside as Ferris' car pulls away. CRIS (v.O.) It's a joke, but it's true. The future changes every time you look at it. Because you looked at it. Cause once you see it, you're different. And that changes everything else. Liz puts her hand on her belly. FADE OUT \ No newline at end of file diff --git a/unformated_scripts/Script_Nick of Time.txt b/unformated_scripts/Script_Nick of Time.txt new file mode 100644 index 0000000000000000000000000000000000000000..17314ff052e8bce80f840ba66b94a76e8ae85146 --- /dev/null +++ b/unformated_scripts/Script_Nick of Time.txt @@ -0,0 +1 @@ + NICK OF TIME Written by Ebbe Roe Smith & Patrick Duncan March 1995 FADE IN: INT. UNION STATION - DAY - 12:06PM Union Station, that gorgeous fifty-year-old monument to Art Deco/California Mission architecture. Still beautiful. Still grand. A sign at one of the departure/arrival gates in the main concourse-says the "San Diegan", number 2 64, is due at 12:00. Set above the gates, a big clock - six feet in diameter. THE TIME - 12:06. We see the big hand slam into "7". A loudspeaker - you can just about understand this guy. ANNOUNCER (V.O.) Amtrack 2 64, the San Diegan, from San Diego, Del Mar... EXT. UNION STATION PLATFORM - DAY - 12:06PM The "San Diegan" pulls into the terminal and comes to a slow, grinding stop. ANNOUNCER (V.O.) ...San Clemente, San Juan Capistrano, and Irvine is now arriving at Gate Nine. Doors are opened. Steps set down. Passengers pour out. ANNOUNCER (V.O.) Amtrack 264 will be departing in fifteen minutes from Gate Nine for Oxnard, Ventura... INT. UNION STATION - DAY - 12:07PM A MAN and A WOMAN stand with a view of the arrival doors. He's a blue-collar tough guy, dressed for church. She's his beefy counterpart. ANNOUNCER (V.O.) ...Santa Barbara, Lompoc... THE GUY (MR. SMITH) checks his watch. ANNOUNCER (V.O.) ...Santa Maria, San Luis Obispo... Then he looks up to the big clock. 12:07. The minute hand slams into the "8". ANNOUNCER ...and points north. He resets his watch as DISEMBARKING PASSENGERS pour out of the gate. PEOPLE run forward with kisses and hugs. MR. SMITH Look sharp. They stand like a couple of rocks, their eyes scanning the crowd. MS. JONES That one. MR. SMITH Nah. Hates his wife. They're talking about a couple in their forties. She motormouths her way across the terminal and the husband follows with the suitcases. WHOOSH! A couple of TEENAGE BOYS on rollerblades zip by. MS. JONES I hate rollerblades. EXT. UNION STATION - PLATFORM - DAY - 12:08PM The train.. A PRETTY SIX-YEAR-OLD GIRL (LYNN) , who is holding a stuffed animal almost as large as she is, climbs down the steps. She reaches the platform, looks around. From within the train: GENE Lynn! Lynn!! GENE WATSON, thirtyish, a regular Joe in appearance and inclination, appears above, carrying a couple small suitcases. He takes a relieved breath when he sees her. GENE Lynn, don't walk ahead of me, OK? As he comes down the steps: GENE I'm serious, honey. Don't get out of my sight, all right? I want you to stay right by me. Will you do that for me? LYNN Nods solemnly. GENE reaches the platform and gives out an exaggerated sigh. GENE We made it. LYNN nods back. LYNN We made it. INT. UNION STATION - DAY - 12:08PM WHOOSH! A SECURITY GUARD approaches the two ROLLERBLADING TEENS. They circle him, toss off a few taunts and roll away, laughing. MR. SMITH and MS. JONES continue trolling the PASSENGERS as they come through the gate. MS. JONES Skate-boarders I don't mind, even though they dress like fuckin' idiots, but when I see some pin-head on rollerblades, I get the definite urge to grease the grill of my car with 'em. MR. SMITH Keep your eyes peeled. MS. JONES What about them? MR. SMITH Too old. They're talking about a COUPLE IN THEIR SIXTIES, warmly greeting each other. MR. JONES Him! MR. SMITH If you ever had an idea it would die of malnutrition. First those blue hairs then some Spic. Leave this to me. I know people. It's my job. I'm a people person. MR. SMITH laughs at his joke. MS. JONES What the fuck are you looking for? MR. SMITH has spotted someone. MR. SMITH I'm looking for them. MS. JONES Where? MR. SMITH Right there. He starts walking towards the exit gate. INT. UNION STATION -ARRIVAL CONCOURSE - DAY - 12:09PM GENE has emerged with LYNN. They pause there, getting their bearings. Next to them, a YOUNG COUPLE is kissing. They can't keep their hands off each other. GENE I gotta make a phone call, Lynn. Do you see a phone? LYNN has seen the YOUNG COUPLE. She secretly points to them, covers her mouth, and does a "tee, hee, hee" number. GENE laughs. GENE Come on, you. They start walking across the concourse, towards MR. SMITH and MS. JONES. GENE (to LYNN) Haven't you ever seen anybody kiss like that? LYNN On TV. GENE You never saw your Mom and me kiss like that? LYNN suddenly gets very sad. She looks at the ground, slows down. GENE notices. He stops, crouches down to her level. MR. SMITH and MS. JONES, nearing them, split apart, move around them, and keep going. GENE (to LYNN) Hey, it's OK to talk about her. You can talk about her all you want. You know that, don't you? LYNN nods. GENE So, come on. You never saw us kiss like that? LYNN No way. GENE How did you see us kiss? LYNN gives her own hand a little peck of a kiss. GENE That's it? That little peck of a kiss? Oh, brother, you missed some kisses. LYNN laughs and throws herself on her dad. He holds her to him, looks to the sky for help.. He finds himself staring at the big clock. 12:10. GENE Ooh, I'm gonna be late. I gotta call. INT. UNION STATION - DAY - 12:10PM MR. SMITH and MS. JONES are making a beeline for their target: the YOUNG KISSING COUPLE. WHOOSH! The-ROLLERBLADING TEENS almost collide with them. MS. JONES wants to do something about it, but MR. SMITH pulls her along. They have a mission to complete. They close in on the couple. MR. SMITH Look at 'em. He'd do anything for her.- MS. JONES Young love. The couple are murmuring sweet talk between kisses. The words themselves are unclear until MR. SMITH and MS. JONES are only a few feet away. French. They are speaking French. MR. SMITH makes an instant one-eighty turn. MS. JONES follows. MR. SMITH (sotto voce) Foreigners! Fuck! MS. JONES Frogs. They copy our blue jeans and when we need their help in Kuwait, where the fuck are they? MR. SMITH looks at the partner he's been saddled with. INT. UNION STATION - PAY PHONE AREA - DAY - 12:10PM GENE has found a pay phone. He keeps an eye on LYNN who has wandered a few yards away. GENE Hello, is Mr. Conners there? I have an interview with him at twelve- thirty. Hi, Mr. Conners, this is Gene Watson. Sorry to call you at the last minute like this but... Hey, hey! He reacts to the ROLLERBLADING TEENS who swoop past LYNN, one on each side, too close for a father's comfort. GENE Watch that! Lynn, come here! She does. He keeps an eye on the TEENS, who, having found a victim, are circling around, passing MR. SMITH and .MS. JONES. MR. SMITH has noticed GENE. GENE at the phone. GENE Sorry. There's some crazy kids on skates. Listen, the train just got in, I'm afraid I'm going to be a few minutes late. The TEENS make their pass, flip him the bird, engage in other objectionable behavior, begin to circle again. MR. SMITH watches GENE watch the TEENS, then notice a sturdy, sand- filled ashtray next to him. GENE Great. OK, I'll get there as soon as I can. Bye, now. He hangs up. Keeping one eye on the circling TEENS. GENE (to LYNN) Ready? LYNN Nods. GENE Let' s do it. He picks up a suit-case and accidently-on-purpose uses it to knock over the ashtray, just as the TEENS approach. The ashtray spills its Load of sand into their path. When they hit it, their skates stop, they don't. They sprawl, doing nasty things to knees and wrists. GENE Whoops. He stands over them with LYNN. GENE Now, see, this is why you should always wear a helmet and knee pads. You never know when you're going to fall down and go boom. Right? LYNN Right. ANGLE ON MR. SMITH AND MS. JONES. - 12:11PM MR. SMITH Perfect. He starts forward. MS. JONES (not so sure) Perfect. She follows. They intercept GENE. MR. SMITH flashes a badge. MR. SMITH Could I see some identification, sir? GENE What? MS. JONES (ditto with the badge) I.D. Could we see some? GENE Uh, sure. What's, what's the problem? Will a driver's license do? MR. SMITH That'll do just fine. GENE pulls out his wallet, surprised and confused. MR. SMITH looks at it. GENE Is this about those kids? Look, I'm sorry about that. But they darn near... MR. SMITH You're from Santa Maria, Mr. Watson? GENE Yes. MS. JONES Where's that? GENE Near Lompoc, north. What's... MR. SMITH Come with us, sir. GENE I'd like to know what... MR."SMITH Don't cause a ruckus, sir. He pulls open his coat, putting his hands on his hips, not- so coincidentally revealing the butt of a holstered gun. MR. SMITH You don't want to cause a ruckus, with the little girl and all. MS. JONES Come with me, honey. MS. JONES swoops LYNN up and heads for the station entrance. GENE Hey! I'll take the girl. I'll take the girl! MR. SMITH Don't worry. She's good with kids. GENE hurries after MS. JONES. MR. SMITH grabs up the suitcases. INT. UNION STATION - SOUVENIR SHOP - DAY - 12:11PM MS. JONES nears a souvenir stand. The OWNER is looking the other way. Without breaking stride, MS. JONES reaches out, snatches a child's coloring book and crayons. LYNN You stole that. MS. JONES No, I didn't. I confiscated it. There's a difference. And they're out the door, GENE hurrying after. The big hand on the big clock moves. 12:12. EXT. UNION STATION PARKING LOT - DAY - 12:12PM MS. JONES heads for-a van with smoked windows. She gets inside with LYNN. GENE stops a few feet away. GENE What is going on? MR. SMITH prods him in the ribs. MR. SMITH Into the van, Mr. Watson. Front seat. GENE looks desperately around for help. There is none. He lets MR. SMITH push him toward the van. INT. VAN -.DAY - 12:13PM LYNN and MS. JONES are in the back. MS. JONES Let's get your seatbelt on. Always gotta wear your seatbelt, isn't that right? LYNN resists. LYNN I want my daddy. GENE climbs into the front passenger seat. MS. JONES There's your daddy. See? We're your daddy's friends. MR. SMITH climbs into the driver's seat. MR. SMITH That's right. The policeman is your friend. Isn't that right, Daddy? GENE looks down. MR.. SMITH has pulled his gun. He points it casually so it's aiming through the seat in the general direction of the little girl. MR. SMITH Daddy? GENE Yes. It's OK, Lynn. These are our friends. MS. JONES Hey, would you look at this crazy car? Everybody has their own radio. What do you think of that? LYNN Everybody does? MS. JONES Yep. And you can listen to it without anybody else listening. Let's try it out. She puts some ear phones on her. She holds up the plug-in end. MS. JONES This is what they call the jack. Hi, Jack! LYNN Laughs. MS. JONES It goes in that little hole. LYNN Let me do it. She plugs the jack in. MS. JONES turns on the radio. LYNN gets a big smile on her face. LYNN (loudly) It's loud! She goes to work, playing with the radio, changing stations, etc., oblivious to all else. MS JONES Removes a Pro Label Machine from under the seat. She begins to type in several characters. MR. SMITH Let's get down to business. GENE Who are you? You're not the police. MS. JONES Brilliant. MS JONES presses PRINT on the Labeller. A strip of plastic emerges that she begins to apply to a Name Tag. He looks back to her. MR. SMITH whacks him on the knee with the gun. It hurts. MR. SMITH Pay attention, Mr. Watson. Pay attention and your daughter won't be hurt. GENE You wouldn't... MS. JONES Try us. He looks back. She is caressing LYNN's hair. GENE Get your hands off her. He makes a move. MR. SMITH whacks his knee again, harder. MR. SMITH Mr. Watson, you're not paying attention. Your daughter's life depends on you. Do you understand that? GENE looks from MR. SMITH to MS. JONES and back. He's having a hard time focussing. She slips the NameTag into a manila envelope beside her MR. SMITH Do you understand? GENE Yes, yes, I understand. MR. SMITH Good. He takes the manila envelope from MS JONES, tosses it in GENE'S lap. MR. SMITH This is for you. In it there is a picture of a woman and an itinerary. It is her itinerary. She is presently - are you listening, Mr. Watson? GENE Yes, I'm listening. MR. SMITH She is presently at the Bonaventure Hotel. That's right near here. He gestures. GENE looks. The glassy Bonaventure Hotel is glimpsed surrounded by taller, newer high-rises. MR. SMITH When you leave this van you will get yourself a cab and take it to the Bonaventure Hotel. Then you will take this. MR. SMITH holds up his hand, snaps his fingers. From the back, MS. JONES hands him a cloth-wrapped bundle. He puts it in GENE's hand, shows him what it is: a gun. MR. SMITH ...and you will kill the woman whose picture is in there. Not just shoot her, mind,! kill her. I'd recommend you empty the gun into her. Close up. Got all that? It takes a moment for it all to sink into GENE'S brain. GENE You're out of your mind. MR. SMITH What's your point? GENE I will do no such thing. MR. SMITH Yes, you will, Mr. Watson. A "snap!" from the back seat. GENE looks. MS. JONES has broken a carrot stick. She breaks another. MS. JONES Don't worry. We'll take good care of the kid. She gives half the carrot stick to LYNN, pops the other half in her mouth and grinds it to pulp. MR. SMITH is checking his watch. MR. SMITH It is now 12:16. If the woman in the picture is alive at 1:30... (holds up a walkie- talkie) ...I call my partner, your daughter is dead. He looks in the rear-view mirror to MS. JONES. MR. SMITH And what happens if I don't call you? MS. JONES I kill her anyway. MR. SMITH Did you hear that, Mr. Watson? Do you understand? He taps the manila envelope. MR. SMITH The woman in the picture... He indicates the back seat with his head. MR. SMITH ...or your daughter. GENE looks at his daughter. GENE Oh, my God... MR. SMITH reaches over, puts the gun and manila envelope into GENE'S pockets. MR. SMITH God can't help her, Mr. Watson. Only you can help her. MS. JONES Only you. MR. SMITH You're wasting time. He reaches across GENE, opens the door and pushes him out, then follows him. LYNN takes off the ear-phones, tries to undo her seatbelt. LYNN Where is my daddy going? MS. JONES wraps a big arm around her. MS. JONES He's going to help the police. Your daddy is going to be a hero. LYNN My daddy is going to be a hero? Like Power Rangers? MS. JONES Just like Power Rangers. EXT. UNION STATION PARKING'LOT - DAY - 12:18PM MR. SMITH activates the walkie-talkie, speaks into it. MR. SMITH Let's test this thing. You on? He holds it up for GENE to hear. MS. JONES (O.S.) (filtered) Reading you. MR. SMITH still has GENE'S wallet. He opens it, pulls out some cash, puts it in GENE's breast pocket. MR. SMITH You'11 need some cash. (re: the wallet) I'll hang onto this for the time being. Oh, and... He grabs one of GENE's hands. MR. SMITH You'll need these. He dumps six bullet's into GENE's palm from a cloth Chivas Regal bag. MR. SMITH Get moving, Mr. Watson. Time's a wastin'. GENE just stands there, transfixed by the bullets in his hand. MR. SMITH reaches out, turns him around and gives him a shove away from the van and into the midst of... EXT. UNION STATION - PARKING LOT - BUS STOP - DAY - 12:19PM ...a LARGE CROWD OF TOURISTS, that have just exited an arriving mini-bus. GENE is caught up in the crowd and carried along like a leaf in a stream. Amid the chattering CROWD, GENE is pushed along as if in a trance. He touches the pocket with the gun. He looks at the Bullets in his hand, then at the people around him. It's like a splash of cold water. He quickly pockets the bullets, turns and pushes against the tide of tourists. They resist him, pushing him along until he breaks free and can see... The van is gone! ANGLE ON GENE -- 12:19PM He stands there, a lost man. Fear sweeps over him. He looks desperately around. He is within himself, oblivious to his surroundings, his mind racing, his face a tangle of emotions. He is a man alone in a crowd. He takes a step. A LITTLE LATINO GIRL, chased by HER BROTHER, runs into GENE'S legs. He instinctively grabs her before she can fall, finds himself, crouched down, holding her by the arms. His heart plunges - she isn't Lynn. His intensity scares her. LITTLE GIRL Mama! She pulls away, flees to HER MOTHER, who hoists her up, reprimanding her in Spanish. GENE stays crouched, watching the LITTLE GIRL staring at him over HER MOTHER'S shoulder. Until a COP crosses his line of sight. A LOS ANGELES TRANSIT POLICEMAN, foot-patrolling the station. It's like a gift from above. Relief floods GENE's face. He is saved. He stands, hurries toward the COP, each step more confident. Then, just beyond the COP, MR. SMITH casually slides into view, pointedly holding the walkie-talkie. GENE walks right past the COP heading towards a cab stand. MR. SMITH falls in behind him speaking in his ear. MR. SMITH You talk to a cop, you even look at a cop too long and your daughter is dead. (into walkie-talkie) Do it. MS. JONES (O.S.) (filtered) Go ahead, sugar Die. LYNN (V.O.) (filtered) Lynn calling Daddy. Lynn calling Daddy. Come in, Daddy. GENE grabs at the walkie-talkie like a drowning man. GENE Lynn! LYNN (V.O.) (filtered) I can hear you good. Can you hear me? GENE Yes. Yes, I can hear you. MR. SMITH That's enough. MS. JONES (V.O.) (filtered) 'Daddy has to go now. LYNN (filtered) He has to say "over and out". Daddy, you have to say "over and out". GENE Over and out. MR. SMITH clicks off the walkie-talkie. MR. SMITH Look at your watch. Look at it! At one-thirty your little girl is dead. Say it with me. At one-thirty my little girl is dead. Say it. Say it! GENE (softly) At one thirty my little girl is dead. MR. SMITH Unless you do what you're told. Go do it! He pushes GENE on, toward a cab. MR. SMITH And don't forget I'll be watching you. GENE looks back at him, full of impotent rage. MR. SMITH raises the walkie-talkie. GENE reaches the first cab at the stand. EXT. UNION STATION - CAB STAND - DAY - 12:21PM The CABBIE, talking to ANOTHER DRIVER, throws away his cigarette, ambles over to the Driverside-of the cab. CABBIE Where to, sir? GENE The Bonaventure. The Bonaventure Hotel. Do you know where that is? The CABBIE is disappointed, but he nods and GENE gets into the cab. INT. CAB - DAY - 12:21PM The CABBIE gets in and they take off. GENE stares at the manila envelope in his hand. He starts to open it, is stopped by: CABBIE Amtrack? GENE What? CABBIE You just come in on Amtrack? GENE Uh, yes.. CABBIE Business or pleasure? GENE Business. CABBIE Where'd you come from? GENE San Diego. CABBIE Oh, San Diego? I've thought about moving to San Diego. It's hard to make a living in this town. These short hops. Can't make a dime on 'em. To LAX, Pasadena, then I can make a buck. These little hops cost me money. GENE Sorry. CABBIE 'S okay. What do you think? GENE Huh? CABBIE Better in San Diego? More opportunity there? What? GENE I really don't know. I don't live there. I was just visiting...a grave. CABBIE Aw, too bad. They lapse into silence. GENE starts to open the envelope again. CABBIE Somebody close? GENE What? CABBIE The grave. Somebody close? GENE Wife. Ex-wife. Almost ex. We were separated. She was thinking about a divorce. GENE notices the dashboard clock - 12:22 GENE leans forward. GENE Look...I've... I've got a problem. A big problem... CABBIE Oh, yeah? He hits the horn and swerves to the left. CABBIE Jesus! Watch it, buddy! EXT. LOS ANGELES STREET - DAY - 12:22PM GENE looks out his window and finds himself staring at MR. SMITH, staring back at him, driving the van, next to him. He throws himself back in the seat. INT. CAB - DAY - 12:22PM The cab pulls into the drive front of the Bonaventure Hotel and stops. CABBIE I'd love to hear about your problem, but the ride's over. Three-fifty. GENE looks out the back window, watches the van pulls up to the curb on the other side of the street. CABBIE Three-fifty. I hope your problem doesn't have anything to do with my three-fifty. GENE looks back at the CABBIE, waiting for his fare. GENE Right. Right. GENE digs through his pockets and comes up with one of his business cards. He hurriedly writes on it: "HELP. VAN KIDNAP CHILD." He wraps a five around it, pushes it into the CABBIE'S hand, gives him a meaningful look and gets out of the cab. EXT. BONAVENTURE HOTEL - DAY - 12:23PM GENE stops a few yards from the cab, watching the CABBIE. INT. CAB - DAY - 12:23PM The CABBIE finds the secreted card, but looks at the wrong side. CABBIE What do I want with an accountant? A DOORMAN leans down at the window. DOORMAN I got one for the airport. You free? CABBIE You bet. The DOORMAN plants a PASSENGER in the cab. As he pulls away, the CABBIE again glances at the business card, crumples it up. EXT. BONAVENTURE HOTEL - DAY - 12:23PM GENE watches the cab leave. As it exits, the CABBIE's arm snakes out and tosses the card in the trash. GENE knows what it is. He looks around. VALETS, BELLMEN, ARRIVALS and DEPARTEES, cars coming and going. No one pays particular attention to him. GENE looks at the van across the street. MR. SMITH gets out and walks across the street towards him. The van drives away. GENE watches the van disappear around the corner, desperately hanging onto the last glimpse of it. MR. SMITH takes the walkie-talkie out of his pocket. GENE goes into the hotel. INT. BONAVENTURE HOTEL - LOBBY - DAY - 12:24PM GENE enters. It's like another world. A busy, humming, air- conditioned planet. PEOPLE hustle around the restaurants, waterfalls - a definite ant farm ambiance. HIGH DOWN ANGLE ON GENE - LOBBY - DAY - 12:24PM Suddenly we have cut to a VIDEO IMAGE of Gene looking around this Hotel, complete with scrolling TIME AND DATE. Shot by someone high above. CLOSE ON GENE - LOBBY - DAY - 12:24PM GENE is bumped and buffeted about by the bustling crowd. He breaks free to a clear spot, looks up and freezes. Then he starts tracking all around him, seeing...something. GENE Oh, my God. Oh, no. He desperately fumbles in his pocket. Facing and above him, some WORKMEN ON LADDERS are securing a huge, rolled up banner. GENE finds what he's looking for - the manila envelope. He rips it open. As he pulls out the photograph that is inside, the WORKMEN let their banner unfurl. We do a simultaneous reveal. The woman in the photograph in the envelope is the same as depicted on the banner. Written across the bottom of it in your best red, white, and blue: "RE-ELECT ELEANOR SAMARA GRANT GOVERNOR" And an addendum: "HERE TODAY!" GENE Oh, shit. It dawns on him. He looks around him again. This time we see what he sees. Campaign posters and banners everywhere. On some of them she is posed with a handsome man, several years her junior. These have the caption, "Governor Grant and husband Brendan". GENE Oh, sweet Jesus... His eyes fall on MR. SMITH, standing inside the entrance, walkie-talkie in hand, watching him. GENE looks at a poster, at MR. SMITH, who smiles, nods and gives GENE a move of the head - "Get to it." GENE shoves the photograph away as if it could incriminate him, then slides out the itinerary. The itinerary says "California Educators' Association - 12:00 noon - Emerald Bay Room - Opening Address - Governor Eleanor Samara Grant". GENE checks his watch. 12:26. He looks around him at the confusion and spots a Bellboy, GUSTINO, who's cleaning out ashtrays. GENE Could you tell me where the Emerald Bay Room is? GUSTINO points up. GUSTINO Third floor. Yellow stairwell. Follow the signs. GENE turns away without a word, starts to walk, then turns back. GENE Oh, thanks. Thanks a lot. GUSTINO smiles. GUSTINO No problem. INT. BONAVENTURE HOTEL - "YELLOW STAIRWELL" - DAY - 12:26PM GENE mounts a set of stairs that will take him to the third floor. MR. SMITH follows him as he climbs. INT. "YELLOW STAIRWELL" - DAY - 12:2 6PM The whole lobby and entrance of the hotel are seen as Gene ascends. GENE forces himself not to look at MR. SMITH behind him. His nerves are rising in anticipation of his destination. INT. THIRD FLOOR - DAY - 12:26PM GENE sees the arrow and sign for the Emerald Bay Room. He walks that way. MR. SMITH follows. INT. THIRD FLOOR - SHOP ARCADE AREA - DAY - 12:27PM GENE and MR. SMITH pass gift shops, snack bars. The walkway is crowded and GENE is going against the tide of REPORTERS, POLITICIANS, SUPPORTERS, and just a lot of PEOPLE WITH NAME TAGS. GENE plows on through... ...and runs smack into BRENDAN GRANT. BRENDAN GRANT (laughs) Whoops! The two men reel back from each other. A SECURITY MAN, earphones and gray suit, steps immediately between them. BRENDAN GRANT is a charmingly smooth man. BRENDAN GRANT Nice body check. He continues on, talking to an ATTRACTIVE WCMAN COMPANION. BRENDAN GRANT What the Governor really admires, Mrs. Wentzel, and Eleanor has said this to me on more than one occasion, are pecple like you who take a personal tragedy and turn it into a positive force. He slides a familiar hand around her waist. BRENDAN GRANT You know my wife has a deeply personal reason for going after repeat drunk drivers. They are felons and they should be treated as such. A drivers license is a privilege, not a right. And he is hustled away. Right past an election poster featuring him and Governor Grant. Still stunned by the encounter, GENE turns back and watches the Governor's husband, but keeps walking. INT. EMERALD BAY ROOM - DAY - 12:28PM It is emptying, that's where the crowd came from. GENE comes in. A WOMAN is heading for the door with a centerpiece she's just copped. GENE Excuse me, is the...thing over? WOMAN Yes. You didn't miss much. The food...chicken again. GENE Eleanor Grant is gone? WOMAN Yes. Nice speech. But it's the same at all these... But GENE has turned away. The WOMAN gives him a face, grabs another centerpiece and exits. A CLEAN-UP CREW is starting to go through the room. GENE leans against a wall, breathing through a combination of relief and agony. MR. SMITH is suddenly next to him. MR. SMITH Check your itinerary. Move along. GENE gets out the itinerary. "12:30 - 12:45 - Hors d'oeuvres/ Buffet w/Friends of Eleanor Samara Grant - INVITATION ONLY - Bona Vista Lounge". GENE This says "invitation only". MR. SMITH Of course you're invited. You're a big donor to the campaign. They love you. MR SMITH digs into the manila envelope, comes out with a handful of security badges, name tags, invites. He plucks the name tag that MS JONES printed earlier. It has a red ribbon signifying a Major Donor to the Campaign. He fastens it to Gene's lapel. MR. SMITH This'11 get you in anywhere. Red Elevator. Thirty-fifth floor. GENE Where did you get these? Who are you? MR. SMITH I'm the guy who's going to kill your daughter if you don't get moving. INT. LOBBY ENTRANCE TO THE "RED" ELEVATOR - DAY - 12:28PM GENE approaches. He notices a flurry of movement, a small GROUP OF PEOPLE moving determinedly through the lobby. It is GOVERNOR ELEANOR GRANT with a small entourage! She is a handsome woman in her fifties. The entourage consists of KRISTA BROOKS, Eleanor's, late-twenties assistant, a few assorted POLITICAL AIDES and a couple of PEOPLE WITH NAME TAGS. GENE is not sure what to do. The group reaches the elevator. KRISTA pushes the button. ELEANOR GRANT They-didn't hear a word I said. The mike was too low on the podium. KRISTA How much did we pay for that room? CHIEF AIDE We didn't. ELEANOR GRANT Somebody did. KRISTA turns to an Aide. KRIST A Have Nolin pre-check the PA systems. The elevator doors open. They crowd in. The doors start to close. Gene looks around, where did Mr. Smith go? GENE springs forward, thrusts his hand between them. The doors stop, then bounce open. GENE is startled, finding himself face to face with a cold eyed bodyguard. BODYGUARD Excuse me, sir, this car is for the Governor. You can take the next one. ELEANOR GRANT Don't you dare, Franco. This is one of our biggest supporters. She smiles charmingly, offers her hand to GENE. ELEANOR GRANT Eleanor Grant, gubernatorial incumbent. That's a mouthful isn't- it? I love saying that. GENE steps aboard, shakes her hand. INT. "RED ELEVATOR" - DAY - 12:29PM The elevator begins to rise. ELEANOR GRANT Whose idea was it to have a lunch right after the brunch? I'm about to bust as it is. KRISTA We'll just walk through, do a little grip-and-grin, then get ready for the press con. INSERT FLOOR INDICATOR We are on the third floor. The doors have closed and the elevator begins to rise. GENE Governor... It comes out a little louder then he intended. He has turned, his back to the door. Everyone looks at him. He's committed. GENE I need your help. ELEANOR GRANT What can I do for you Mr....Watson? GENE Its'...ah...about my daughter.... The elevator slows and stops on the next floor above. INSERT FLOOR INDICATOR We are on the fourth floor. Behind GENE, the doors open. MR. SMITH (O.S.) Room for one more? GENE freezes. ELEANOR GRANT I think we can accommodate you. She offers her hand to MR. SMITH as he steps on board. ELEANOR GRANT Eleanor Grant, gubernatorial incumbent. MR. SMITH A pleasure to meet you, Governor. The car begins to rise again. ELEANOR .GRANT turns back to GENE. ELEANOR GRANT You were saying? Your daughter....? GENE I... ELEANOR GRANT Yes? ANGLE ON MR SMITH Yes??? ANGLE ON GENE What to do now? GENE She ..ahh...wanted me to... be sure to get your autograph. ELEANOR GRANT Of course. I wish everything were that easy. KRISTA I've got the pen if you've got the paper. GENE looks at her. She smiles back. KRISTA How about that? He looks at what she refers to: the manila envelope he holds, the one MR. SMITH gave him. KRISTA Is that something precious? GENE No, that's,..that's fine He gives it to ELEANOR GRANT. KRISTA hands over the pen. GENE's eyes flick over to MR. SMITH who is staring at the envelope. ELEANOR GRANT What's her name? GENE looks at the Governor, only inches away, back to MR. SMITH, who raises his eyes, nods, his silent message curt - do it! GENE pulls his eyes away. GENE Her name? Her name is Lynn. ELEANOR GRANT writes the autograph. MR. SMITH'S eyes drill into him. GENE looks over. MR. SMITH raises a hand to his face, pretends to scratch an itch. His other hand taps his wristwatch. GENE's hand slides toward his jacket pocket. Sweat beads on his forehead. He's barely aware of KRISTA talking to him. KRISTA It's funny. I don't even keep a pad of paper with me anymore, everything's gone so electronic. He gives her a quick, weak smile. His free hand wipes the sweat from his face. KRISTA If it wasn't for double A batteries I'd be in big trouble. He is slowly reaching into the pocket with the gun, but stops when he notices MR. SMITH'S hand slide into his jacket, where his gun is. He looks at the other MR. SMITH, earphone, crewcut-Security. There is the hint of a gun on his hip. GENE's eyes widen, dart to MR. SMITH'S face, his hand sliding into his coat. His hand hovers over his gun, trembling. Is the SECURITY MAN staring at him? ELEANOR GRANT hands over the autograph. ELEANOR GRANT Are you all right? Elevators make me queasy, too. GENE gives her a sick smile, abruptly turns away. He takes his hand out of his pocket. It's shaking. He clenches it to stop the shakes. The doors open, startling him. INT. THIRTY-FIFTH FLOOR - DAY - 12:2 9PM ELEANOR GRANT and her entourage exit to greetings and applause. GENE stays in the elevator, frozen, alone with MR. SMITH. The doors close and the elevator descends. INT. "RED ELEVATOR" - DAY - 12:29PM MR. SMITH is fuming, his face red. He explodes. MR. SMITH She was right in front of you! What's wrong with you!? His fists clench. He seems about to lose control. He backs GENE into a corner, physically terrified. MR. SMITH Are you 'fucking with me!? GENE The gun... MR. SMITH What about the gun? GENE It wasn't loaded. I didn't put the bullets in it. MR. SMITH You... He raises a fist. Struggles with the impulse to smash GENE, controls it. Angrily, he takes the gun from GENE's pocket, expertly loads it with bullets from his own pocket. MR. SMITH You won't get many chances like that, Mr. Watson. That's the way life works. Don't blow the next one. He indicates the glass,wall of the elevator with his eyes. GENE looks out and down. GENE'S POV The van. It's moving into a parking spot across from the Bonaventure, on Flower Street. INT. THE VAN - DAY - 12:29PM LYNN is coloring a picture in her stolen book. MS. JONES takes a look. MS. JONES That's pretty good. LYNN I've done much better ones than this. MS. JONES You have, huh? LYNN Oh, yes. I'll show you. I have much more colors at home. MS. JONES That's good. (checks her watch) That's good, sweetie pie. INT. RED ELEVATOR - DAY - 12:29PM The elevator continues its descent and the van disappears from view. GENE strains to see it again, but it's impossible. MR. SMITH jams the loaded gun into GENE's pocket. MR. SMITH There, all loaded. Ready for the hunt. The elevator, doors open into the lobby. INT. BONAVENTURE HOTEL - THIRD FLOOR - YELLOW ELEVATOR LOBBY - DAY - 12:29PM MR. SMITH walks out. GENE follows. MR. SMITH, suddenly becomes self-conscious, walks away from GENE. The object of his shyness: A JAPANESE TOURIST COUPLE nearby. The man is taping his wife with a video camera. VIEW THROUGH VIDEO CAMERA - 12:31PM We see what the camera is seeing, the WIFE, smiling. Behind her, we see GENE, looking confusedly after Mr. Smith. He turns, walks out of frame. In the corner of the picture, a read-out of the TIME: 12:31:00. INT. BONAVENTURE HOTEL - SHOESHINE STAND - DAY - 12:31PM Back in real life, GENE walks toward a shoeshine stand outside the Men's Room. "Huey's Polished Act" and below that, hand- lettered, "Disabled Veteran" where HUEY himself, a fiftyish black man, reads a "Smithsonian" magazine. He sees GENE and perks up - a customer. HUEY Having a rough day? Down at the heels as they...? But GENE goes right past HUEY and into the Men's Room. HUEY (calling after him) You don't see your face, you don't pay! HUEY gives up, goes back to his magazine. INT. MEN'S ROOM. - DAY - 12:31PM Gene goes- over to one of the sinks, runs the cold water, splashes his face, looks in the mirror, into his own eyes. He tries to find an answer, a way out. A pay phone, on the wall behind him, comes into focus. Then a hand reaches in, grabs the receiver...and yanks it, snapping the wire. Gene spins around. It is MR. SMITH, of course. MR. SMITH smiles. GENE doesn't. MR. SMITH leaves. INT. BONAVENTURE HOTEL - THIRD FLOOR - DAY GENE exits the Men's Room and walks back the route he came. INT. BONAVENTURE HOTEL - SHOESHINE STAND - DAY - 12:32PM HUEY sets down his magazine again. HUEY Having a rough day? Down at the heels as they say? What you need is a shoe shine, shoe shine, shoe shine today. It's HUEY's usual patter, he's said it a thousand times. GENE looks around. MR. SMITH is in the lounge area, facing the Flower Street entrance, able to keep the Men's Room and GENE in view. HUEY Take ten, take a break, take a seat, take a load off. Put the world in perspective. GENE lets HUEY usher him into a chair. The gun in his jacket pocket clunks against the arm of the chair. A grim reminder. He pulls out the itinerary. ECU - ITINERARY 12:45 - Governor Eleanor Samara Grant - Pacific Rim Multi-Cultural Conference - Pool Deck - Fourth Floor GENE looks at his watch. ECU WATCH 12:32. The minute hand clicks to 12:33 as he watches. ANGLE ON HUEY - 12:33PM He works away at GENE's shoes. HUEY So, are you a visitor or lucky enough to live in The City of Angels? It's more of HUEY's patter, no real substance to the inquiry. GENE I'm...I'm visiting. GENE watches MR. SMITH frown and amble toward the shoeshine stand. HUEY What do you do, if I may be so bold? GENE (looking at MR. SMITH) I'm just an accountant. HUEY Don't denigrate yourself, my friend. Where would the government be without accountants? They wouldn't know how hard they can squeeze us before we pop, isn't that right? ANGLE ON MR. SMITH - 12:33PM He takes note of the conversation and wanders back to his chair. ANGLE ON HUEY - 12:33PM HUEY Now you take tips. Time was a tip was between a man and his customer. Not any more. They've figured out what they call a formulae, don't laugh, it ain't for babies. They take your sales, see, and slap a percentile on there, figuring that somewhere between your lies and your bad luck they'll hit on the mean amount, mean meaning "in the middle", but if you ask me it means "just plain mean". Why you can have Uncle Scrooge wring a nickel over your poor out-stretched palm, or Daddy Warbucks dropping pearl stick-pins like manna from heaven, don't make no difference, they'll tax your behind according to that same figure. Doesn't seem quite right., does it? GENE No. No, it doesn't. The Bellboy GUSTINO walks by, calls out to HUEY. GUSTINO Hey, Huey, how's it hangin'? HUEY It's a load, my friend, but somebody's got to carry it. GUSTINO laughs, waves. GENE I have to do something. HUEY What's that? You have to speak up. (taps his ear) I'm a little deaf in this ear. Between that and my wooden leg I'm a mess. Compliments of the United States Army Artillery Corps. GENE I said I have to do something. HUEY I'll have you out of here in two shakes o'f a lamb's tail. GENE Is within himself. GENE I keep wondering what she would do if she was here. She'd figure it out. She'd run it down like a column of numbers. Pro's and cons. That's the way she was: Lists all over the house. HUEY's manic shoe-shining slows down: who has he got in his chair? GENE Drove me crazy. There must have been one on me. I didn't add up so she left. That's what attracted me to her In the first place. She made up her mind and she did it. She wouldn't sit around waiting for...whatever. She'd do something. She'd do something. HUEY keeps his eyes on his work. He's afraid he's got a live one. HUEY Yes, well, you know, for a quality shoe you can't beat a good wingtip. Wears like iron. You're a wise man. There ya' go. Two bucks. HUEY gestures for GENE to get down. GENE steps to the floor. He pays HUEY with a twenty. HUEY You got anything smaller? GENE Keep it. HUEY It's a twenty. GENE Keep it. GENE is thinking about something. HUEY Well...thanks muchly... GENE looks around the lobby, at MR. SMITH, the Flower Street entrance, the rest of the area, feeling the gun in his pocket. GENE Can I get out to Flower Street from here? HUEY Sure. Go down past the bar. Take you right out there. HUEY nods toward the bar. GENE Thanks. GENE walks toward the bar. HUEY shakes his head: time for the boys in white. INT. BONAVENTURE HOTEL - LOBBY - DAY - 12:35PM GENE looks towards the Flower Street entrance. The van is still there. A bus pulls up. GENE walks past MR. SMITH. MR. SMITH You get another chance in ten minutes. GENE Then I have time for a drink. He heads up to the bar. MR. SMITH All right, Mr. Watson, but make it just one. I don't want you... But GENE is long gone. INT. HOTEL BAR AREA - DAY - 12:3 6PM GENE walks into the area of the bar. The BARTENDER is just returning to chat with a customer, a REPORTER who is getting sloshed. GENE moves slowly along the bar, into an area where MR. SMITH'S view of him is blocked. REPORTER So where was I? BARTENDER I don't know. Something about the Governor's new regime. GENE hears this and glances towards them. REPORTER Oh yeah. She's dumping the Good Old Boys like yesterday's newspapers. GENE sees that MR.SMITH can no longer see him. He scans the lobby, sees a smaller door that leads onto Flower Street. REPORTER The white boys are in for it. When they got her elected they never thought she was gonna make the Governor's office look like the United Nations. The BARTENDER laughs. GENE quickly cuts across the lobby and out the smaller door onto Flower Street. REPORTER We're talking Custer's Last Stand here. The only minorities not on her staff are the ones still lost in the Rain Forest. EXT. FLOWER STREET - DAY - 12:3 6PM GENE comes out the door, dashes across the street, weaving through the traffic. Once across, he heads up the sidewalk toward the van, keeping low, sneaking up behind it. He crouches by the front door, one hand sliding into his pocket for the' gun, the other -on the door handle. He raises his head cautiously and looks inside the cab. No MS. JONES up front at least. He takes a breath, braces himself. With one motion he jerks the back door open, yanks out the gun. INT. VAN - DAY - 12:37PM The first thing he sees, fixates on, is LYNN. She is stretched out on the seat, eyes closed, mouth open. She appears dead. GENE (a gasp) Lynn! MS. JONES (O.S.) Shhh. You'll wake the baby up. MS. JONES is sitting on the seat behind the one LYNN is on. GENE points the gun at her face. She smiles. MS. JONES (softly) What we have here is what they call a Mexican standoff. The thing you gotta ask yourself is, "What's behind the seat?" Now, a twenty-two'd go right through it, but even a button will throw a twenty-two off so there's a good chance it'd get screwed up somewhere along the way, miss the target. Maybe a thirty-eight? A thirty-eight'11 drill pretty straight, unless it hits metal, then it'll bust up in little bitty pieces. They'll keep going but they'll be slowed down quite a bit. How's about a three-fifty-seven? It'll go through the seat, her, you, the dashboard, shit, it'll go through the engine block before it knows it's hit anything, end up in some pedestrian three blocks away. What do you think? What's my poison? GENE look at Lynn's sleeping face - the gun in his own hand. He lowers the gun, defeated. MS. JONES Well it's a comfort to know you've got the co-Jones to pull that thing out. Whether you've got the balls to pull the trigger we've still got to see. EXT. FLOWER STREET - DAY GENE climbs out of the van, shuts the door, leans there. The gall of his defeat is hard to swallow. He realizes he's holding the gun, hurriedly tucks it away. INT. THE VAN - DAY - 12:38PM MS. JONES puts her gun down, raises a walkie-talkie. MS. JONES (into the walkie-talkie) He's coming back in. MR. SMITH (filtered) I've got him in the crosshairs. INT. BUFFET AREA - DAY - 12:38PM MR. SMITH near the entrance, eating some food. He watches GENE walk past him. Their eyes meet. INT. BONAVENTURE HOTEL - LOBBY - DAY - 12:39PM GENE looks at his watch, then checks the itinerary once more. ECU - ITINERARY 12:45 - Governor Eleanor Samara Grant - Pacific Kim Multi- Cultural Conference - Pool Deck - Fourth Floor ANGLE ON GENE-NEAR BUFFET AREA - 12:39PM GENE addresses another Bellboy, HECTOR who is moving luggage out to the street. GENE Pool Deck? HECTOR Fourth Floor. Take that escalator. GENE thanks him and moves across the lobby MR. SMITH follows GENE INT. BONAVENTURE HOTEL - BAR AREA - DAY - 12:39PM GENE heads toward the escalators. Ahead of him, he sees ELEANOR GRANT and BRENDAN GRANT surrounded by AIDES and SECURITY MEN facing a crowd of PRESS PEOPLE. The Governor and her husband have an arm around each other. They are smiling, relaxed, quite the" happy couple. They give each other a warm kiss. Camera flashes, recording the moment. GENE, heading toward them, has to thread his way through a large WEDDING PARTY - tuxedos and bridesmaid gowns. When he clears them he has neared the impromptu press conference. ANGLE ON BRENDAN GRANT - 12:3 9PM He is now alone in front of a campaign poster, fielding questions from a few remaining REPORTERS. Farther on, ELEANOR GRANT and her entourage can be seen taking the escalator up. GENE heads that way, passing BRENDAN GRANT. BRENDAN GRANT My wife is not interested in negative campaigning. She wants to accentuate the positive. I don't know about you but I find that refreshing. A REPORTER Have you ever thought of running for office yourself? BRENDAN GRANT (smiles, charmingly) Me? A PRETTY YOUNG WOMAN walks by. The Governor's husband's eyes follow her appreciatively as he says: BRENDAN GRANT I'm just a business man. ANGLE ON GENE - 12:40PM He nears the escalator. It's crowded and GENE is pulled into the midst of NEWS PEOPLE, TV, RADIO, PRESS. He joins the flow and lets it pull him along. GENE rides the escalator to the Second Floor and follows the crowd up two flights of the circular stairs. Down a short tunnel and out onto the Pool Deck. EXT. BONAVENTURE HOTEL - POOL, DECK - HIGH ANGLE - 12:41PM About an acre of grass on the Fourth Floor. Skyways connect the Pool Deck to the office buildings across Flower and Figueroa. A platform has been set up with chairs and microphones in front of a podium. EXT. POOL DECK - CLOSE ANGLE ON GENE - 12:41PM GENE blinks in the sudden, bright sunshine. When his eyes adjust, he finds himself in a line that is approaching A SECURITY MAN with a hand-held metal detector. He panics, turns, trying to escape, but finds himself bumped along, trapped. The line shuffles forward. He turns, determined to make a supreme effort to escape and finds himself facing a 2ND SECURITY MAN, who waves him to one side. 2ND SECURITY MAN Excuse me, sir, You don't have to wait. I can take you over here. GENE is dragged forward. He looks around; no way out. He stands, expectant, as the detector slides down one side of his body, is lifted over to the other. Down it slides, toward the pocket concealing the gun. GENE waits for the alarm - which doesn't come. The SECURITY MAN operating the gizmo deftly switches it off as it passes the weapon. GENE is pushed on, looking back, confused, alarmed, finds himself among: PRESS by the dozens. Eleanor Samara Grant SUPPORTERS by the hundreds. SECURITY MEN and COPS IN UNIFORM. GENE moves through them, trying to figure out what just happened. He glances back to the 2ND SECURITY MAN, and bumps into one particular POLICE OFFICER, plain clothes, badge in pocket, who reacts with a quick laugh. POLICE OFFICER Easy, sir. Got to watch where you're going in a crowd like this. He is a handsome, solid-looking guy. You'd trust him. Call him OFFICER TRUST. OFFICER TRUST seems to be in charge. He moves off through the crowd, giving LOCAL POLICE orders in an easy way. GENE looks around. He can't see MR. SMITH. He edges his way after OFFICER TRUST, who reaches the wall beyond which is the drop to the street. He leans there comfortably, scanning the crowd, GENE reaches the wall a few yards away from him. He looks out at the city, getting his courage up. Just as he turns to approach OFFICER TRUST: MR. SMITH (O.S.) I know what you're thinking. GENE freezes! MR. SMITH appears from the crowd, joins him. He smugly flips his walkie-talkie into the air, catches it. GENE What would you do in my place? MR. SMITH Me? He flips the walkie-talkie, catches it. MR. SMITH The bitch would be dead. Course I ain't sayin' which bitch. He flips the walkie-talkie. GENE lashes out, smacks the walkie- talkie. It sails over the edge, falls and smashes onto the sidewalk four stories below. MR. SMITH goes ballistic. GENE walks away from him - right up to OFFICER TRUST. GENE There's a plot to kill the Governor. If you don't believe me, check that guy right there. He has a gun. OFFICER TRUST looks at MR. SMITH and then at GENE. OFFICER TRUST So do you, Mr. Watson. And OFFICER TRUST reaches in his hip pocket for a spare Walkie- Talkie that he tosses to MR. SMITH. OFFICER TRUST You got this under control? MR. SMITH Yeah. OFFICER TRUST It doesn't look like it. MR. SMITH It's under control. OFFICER TRUST It better be. OFFICER TRUST walks away. MR. SMITH stares at a devastated GENE. He sticks the walkie- talkie into his pocket, grabs GENE under the arm, drags him to an isolated corner. MR. SMITH I oughta throw you after that walkie- talkie but I'm going to give you a break because you're an amateur. WAITER M (O.S.) Gentlemen... The WAITER offers a tray of hors d'houvres. MR. SMITH Yeah, thanks. Have a cracker. GENE shakes his head. MR. SMITH Have a cracker, Mr. Watson. GENE woodenly takes one. The WAITER moves on. MR. SMITH There was this guy. Big guy. Irish- Italian. Red-faced, black-haired, jolly son-of-a-bitch. We see them from a distance - just a couple guys chatting. MR. SMITH Nobody could make me laugh like him. We closed more bars together than I can count. He was my pal. I loved that crazy mick, I'm not ashamed to say it. But he was fuck-up. He had this image of himself. Thought he was con man. Always trying to shave the edge. Nickel and dime. I'll always miss him. Tell me why. GENE What...? MR. SMITH Tell me why I miss him. GENE He's dead? MR. SMITH That's right. He's dead. Tell me why. GENE How should I...? MR. SMITH Tell me why he's dead. GENE stares at him for a beat. GENE You killed him. MR. SMITH That's right, I killed him. He fucked up one too many times so I put a bullet in his eye. Then I put two more into him just to make sure. Now that was somebody I loved. He moves in on GENE, crowding him. He breathes hard, looks like one insane piece of work. MR. SMITH I loved that motherfucker but I got the call and I put him down like a sick animal. So if you've got any doubts about what's going to happen if you don't deliver let me tell you something. I'd make gravy out of your little girl just to season that black Irish cocksucker's meat. A wave of applause catches their attention. ANGLE ON ELEANOR GRANT She and her entourage enter the Pool Deck and walk toward the platform. ELEANOR GRANT gladhands people on the way. ANGLE ON MR. SMITH - 12:45PM He turns' back to GENE. MR. SMITH Do what you're supposed to do. Do it now. He grabs GENE and gives him a push. There is a general movement in the crowd toward the platform. GENE is buffeted along. MR. SMITH follows him, keeping him in sight, but then a PACK OF PHOTOGRAPHERS move in, start snapping, lifting their cameras high to shoot over the crowd. MR. SMITH instinctively turns away, hiding his face. He moves around the PHOTOGS and finds himself separated from GENE by the mob. He searches, trying to spot him. MR. SMITH Shit! ANGLE ON GENE - 12:4 6PM In the crowd, GENE is bumped this way and that. His face displays an inner devastation. His eyes focus desperately on something ahead: It is the back of ELEANOR GRANT'S head. She is turning this way and that, greeting supporters. GENE's hand slides into his pocket, grips the gun. He is at the end of his rope. He is going to do it. ANGLE ON ROSTRUM A local POLITICO mounts the platform, taps the microphone. LOCAL POLITICO Can I have your attention Please! Please welcome a man who was for 19 years the distinguished Mayor of Los Angeles. The honorable Tom Bradley. The CROWD reacts loudly, yells and whistles. GENE-pushes his way forward. TOM BRADLEY It is my extreme pleasure this afternoon to introduce to you... ANGLE ON GENE - 12:4 6PM He is now a few yards from ELEANOR GRANT. He comes up against the SECURITY MAN who gave him the once-over with the metal detector. The man's eyes slide over him, then he looks away. He nonchalantly steps aside, moves off through the CROWD. TOM BRADLEY ...a woman who can only be characterized as a one-of-a-kind. GENE is close to ELEANOR GRANT. She is just a few bodies away, visible between them. His hand moves in his pocket. He swallows. The impulse sweeps over him and... KRISTA (O.S.) Feeling better? KRISTA BROOKS, the young woman from the elevator is next to him, smiling. He looks at her in confusion. TOM BRADLEY An iconoclast with class... KRISTA The elevator. You weren't feeling well. GENE looks at ELEANOR GRANT. TOM BRADLEY A genuine lady who's not afraid to get into the trenches... KRISTA Are you better now? GENE turns, scans the crowd - no sign of MR. SMITH. TOM BRADLEY ...and go to the mat with greedy special interests... GENE looks at KRISTA, studies her intensely. She's a bit unnerved. TOM BRADLEY The finest Governor our state has ever had... Again GENE looks at ELEANOR GRANT. She's turning around, facing the crowd, facing him. TOM BRADLEY My friend and yours, Governor Eleanor Grant! ELEANOR GRANT raises her arms. A perfect target. The CROWD roars as GENE turns back to KRISTA. He leans into her, speaks. GENE My wife always said I had a problem trusting people. KRISTA Well, you can trust Eleanor Samara Grant. GENE You don't understand. I'm going to trust you. And you have to trust me. Krista looks at Gene. KRISTA Yes, you're right, I don't understand. GENE Look...my daughter ... she's going to die...unless you can help me. Krista assesses Gene, his desperate tone of voice. Obviously a nut case. A well-dressed nut case, but a nut case nevertheless. Krista, nervous, looks around for help. KRISTA Sure, sure, I'll help you. Let me get Mr. White. I'm sure he can assist you, he's our... Gene pulls the gun, holding it in Krista's sight only, unnoticed by anyone else. GENE (sotto voce) No! You have to listen to me. Krista stares wide-eyed at the gun, at Gene. KRISTA I'm listening, I'm listening. ANGLE ON THE ROSTRUM ELEANOR GRANT takes over the microphone from the beaming LOCAL POLITICO. ELEANOR GRANT My friends, my good friends... ANGLE ON THE CROWD Gene and Krista are gone. EXT. BEHIND THE PLATFORM - DAY - 12:47PM Hidden by potted plants and campaign posters at the fringe of the CROWD, GENE confronts KRISTA, covering her with the pocketed gun. In the background, ELEANOR GRANT delivers a ringing speech, accented with applause. GENE Please...please...you have to believe me... They have my daughter. They want me to kill Eleanor Grant ó or they'll kill my daughter. KRISTA tries to edge away. KRISTA All right, let's just...let's get security in on this. GENE No! You can't! They're in on it. KRISTA I don't see how they could be in on it. They're the best. They're hand- picked. GENE I don't know. One of them is following me. If he knew what I'd just told you they'd... GENE pulls the gun from his pocket. She recoils, thinking he's going to shoot her. GENE Look, how did I get in here with this!? KRISTA stares at the gun. She can't deny the fact. KRISTA I don't know. GENE You've got to trust me. I'm putting my daughter's life in your hands. She's only six. She's just a little girl. Please, please, trust me. KRISTA It's a little hard to trust you under the circumstances. GENE looks at her intently. GENE You're right, it is. (beat) Here. GENE offers KRISTA the gun. She is surprised, to say the least. She takes it gingerly, with only the tips of her fingers. GENE Will you trust me now? She stares at the gun, at the strange man. KRISTA I guess I'll have to. Come on, there's one person we can go to. GENE The man following me has a walkie- talkie. If he sees I'm not here he'll call his partner. I do anything out of line and he'll send the word to kill my daughter. KRISTA He'll think you're in the crowd until the end of the speech. Wait a minute. She steps closer to the platform/ listens. ELEANOR GRANT'S voice is heard. ELEANOR GRANT (O.S.) ...I remember that horrible night as if it were yesterday. A phone call pulling me out of sleep, the terrible news... KRISTA checks her watch. 12:48. ELEANOR GRANT (O.S.) My husband and child senselessly killed by a drunk driver. KRISTA We've got about ten minutes. GENE Are you sure? KRISTA I've heard this speech a lot. Come on. We'll take care of him. We will. GENE But... KRISTA Trust me. You asked me for help. Let me help. Trust me. GENE Okay... She starts to lead him away. GENE Hey. He stops her, points to the gun she still holds. GENE I think you better put that away. KRISTA I think you're right. She pulls out a handkerchief, covers the gun and tucks it out of sight as she leads him behind the platform and away. EXT. POOL DECK - DAY - 12:4 9PM MR. SMITH still roams the crowd, looking for Gene. ELEANOR GRANT But tragedy, if it doesn't destroy us, has a curious way of giving us strength. He sees OFFICER TRUST who gives him a questioning look. He ignores it. ELEANOR GRANT I doubt if I would be before you now, if I hadn't been put through that crucible of loss. MR SMITH notices the JAPANESE TOURIST COUPLE we met before. The man has the video camera pointed at a sharp up angle. MR. SMITH glances up toward what the man is shooting. Consternation and anger fill his face. ANGLE ON RED BONAVENTURE TOWER - 12:4 9PM What he sees is one of the exterior elevators rising. KRISTA stands at the glass looking down. Behind her, just glimpsed, is GENE. ANGLE ON MR. SMITH ELEANOR GRANT And though I can never forget William and Bill Junior or the love I felt for them... MR. SMITH cuts a wake through the CROWD. ELEANOR GRANT I have found joy again in serving this great state. I have found love again in my second husband Brendan... INT. TWENTY-FIFTH FLOOR - DAY - 12:.50PM The elevator doors open. GENE and KRISTA bolt out and hurry down the hall. GENE Where are we going? INT. TWENTY-FIFTH FLOOR - SECURITY TABLE - DAY - 12:50PM KRISTA leads GENE past the SECURITY GUARD stationed in the hallway at a small table. GENE tries to keep his face turned away. The GUARD glances up. HALL GUARD Ms. Brooks ... KRISTA Is he in? HALL GUARD Yes, ma'am. They walk past him. He's a bit curious about GENE, but shrugs it off. GENE and KRISTA reach a door and knock. GENE Who is this? Are you sure we can trust him? KRISTA I'm sure. It's her husband. He's her Campaign Manager. The door opens. BRENDAN GRANT is framed there. BRENDAN GRANT What is it? Is there a problem? KRISTA We need to see you, Brendan. She grabs GENE and pushes inside. INT. ROOM 2503 - DAY - 12:51PM Upscale suite. BRENDAN GRANT'S coat is draped on a chair. KRISTA moves past him, pulling GENE. GENE (to KRISTA) We have to hurry. KRISTA I know. Brendan, listen to me. Someone is trying to kill Eleanor. BRENDAN GRANT What? What are you talking about? KRISTA We need people we can "trust. We only have a few moments... BRENDAN GRANT This is...this is insane. How do you know this? GENE I know it because I'm the one who's supposed to kill her. BRENDAN GRANT You are!? (to KRISTA) You brought this man here!? You brought this man to my room!? KRISTA I had to. Her Security people may be involved... There is the sound of a toilet flushing in an adjacent bathroom. The door opens and A MAN emerges drying his hands on a hotel towel. He is late-middle-aged, white, mild-looking, perhaps wearing glasses. MYSTERY MAN Is there a problem, Brendan? BRENDAN GRANT There certainly is. This man says he's been hired to kill Eleanor. GENE Not hired. They're blackmailing me. MYSTERY MAN Who is this "they"? GENE I don't...I don't know. Please, Mr. Grant! They have my daughter. I'm not some lunatic. Your wife is in trouble. Someone is trying to kill her. Someone is trying to make me kill her. Please, listen... MYSTERY MAN And on the strength of this story, you bring this man to Brendan's suite? Does that show good judgment, Ms. Brooks? I'm just a friend of Brendan's, but it seems to me... KRISTA He brought a gun onto the pool deck. MYSTERY MAN (beat) What? KRISTA He got onto the pool deck with a gun. How did he get past her Security carrying a MYSTERY MAN I see. Where is this gun? KRISTA I Have it. MYSTERY MAN Well, is it real? Do we know anything about it? KRISTA It looks real. I don't know anything about guns. MYSTERY MAN Could I see it? KRISTA gets out the gun, wrapped in the handkerchief, hands it to him. It lays in the palm of his hand. He unwraps it awkwardly, examines it. MYSTERY MAN My goodness. It certainly looks real. He looks beyond them, towards the entrance to the suite. MYSTERY MAN What's your opinion? You're the expert in these matters, supposedly. GENE turns, to see who he is talking to. ANGLE ON DOORWAY - 12:.53PM MR. SMITH stands by the open door. Before GENE can speak, MR. SMITH moves. It is fluid and cohtroled and fast. He marches across the room, detouring to grab a pillow from the couch. He takes the gun, shoves" it- into the pillow and goes face to face with KRISTA. She just has time to wonder what is going on There is a double muffled gunshot. Shock fills her eyes, she slides to the floor. GENE can only stand there, unbelieving, freaked to the gills. BRENDAN GRANT Jesus Christ! MR. SMITH (calmly, staring at GENE) Yeah, I'd say it's real. MYSTERY MAN Are you out of your fucking mind!? The door opens. OFFICER TRUST slides in quickly. OFFICER TRUST Somebody mind telling me... (sees KRISTA's body)) What the hell happened!? MR. SMITH Help me get her off the rug. OFFICER TRUST checks the hall, shuts the door. They begin to drag her body to the bathroom. The MYSTERY MAN watches. BRENDAN GRANT What have you done to me!? Christ almighty! GENE's eyes follow them. As if rousing from a sleep he comes to life. GENE No! He tries to rush to the bathroom but MR. SMITH is right there, gripping him. GENE struggles frantically, uselessly, watching the bathroom door close. MR. SMITH is beyond anger. He grabs GENE'S throat, muscles down. GENE grips the iron hand that's cutting off his air. MR. SMITH You fucked up. MYSTERY MAN (O.S.) That's enough. The MYSTERY MAN grabs MR. SMITH'S arm, tries to pry him loose. MR. SMITH is beyond reason. MR. SMITH You want me to kill your kid!? You want me to kill you!? GENE's eyes begin to roll back in his head. Everything begins fading to black. The blackness retreats in a rush and GENE finds himself staring at the butt of MR. SMITH'S gun, visible under his coat. He reaches for it, yanks it out, fires point-blank into MR. SMITH, again, again. MR. SMITH'S shocked face falls away. GENE heads for the door. MYSTERY MAN Don't let him go! OFFICER TRUST steps between GENE and the door. GENE shoots him down and is out the door. INT. HALLWAY - DAY GENE stumbles out in the hall, gun in hand. He hurries down the hall, looking back to see the MYSTERY MAN and a wounded OFFICER TRUST spill out of Room 2503. The HALL OFFICER pulls his weapon MYSTERY MAN Get him! GENE fires at the HALL OFFICER who goes down. GENE rushes down the hall. One of the guest room door's opens and a MAN staggers out. It is a bloody, wounded MR. SMITH! GENE stops in shock. GENE I killed you. MR. SMITH You fucked up. And MR. SMITH grabs him by the collar and throws him over a railing. INT. THE LOBBY - MID-AIR - DAY GENE is falling, falling. He passes the ascending elevator and gets a glimpse of MS. JONES and LYNN, pressed against the glass, her face a mask of terror. The floor rushes up to meet GENE and... INT. ROOM 2503 - DAY - 12:5 6PM ...he hits the floor, thrown there by MR. SMITH. His escape has been a dream. A wrist-watch fills the frame. 12:56. It is GENE's. We are seeing his P.O.V. He's laying on the floor, his watch-hand in front of his face. MYSTERY MAN (O.S.) You nearly killed him, too, you idiot! MR. SMITH (O.S.) Nearly doesn't count. Lose the P.O.V. BRENDAN GRANT I'm on record. I never wanted this. I wanted simplicity; a telescopic sight, a powerful rifle, but no. What was good enough for Oswald wasn't good enough for you two. You had to get fancy. Drag some shmuck in off the street, stick a gun in his hand. MYSTERY MAN It's academic now. She had to be killed. MR. SMITH What were you going to do, Brendan? Lock her in a closet? You're in the fucking kitchen now. Get used to the heat. He's been seen all over the hotel, looking like some Loony Tunes. We even got him on video. It'll work. Don't worry about it. GENE stirs on the floor. MYSTERY MAN (about GENE) Is he awake? MR. SMITH Yeah. He yanks GENE to his feet. BRENDAN GRANT Oh Great. Why don't we just give him our home phone numbers while we're at it? MR. SMITH It doesn't matter what he hears. He pulls GENE over to the bathroom door. Throws it open. GENE reacts to what he sees within. MR. SMITH That's what it looks like. She was alive a minute ago. Now she's dead. Because you wouldn't do what I told you to do. MYSTERY MAN Get going. You've only got a few minutes to pull it together. MR. SMITH takes GENE out of the suite into the hall. The door closes. Brendan, the Mystery Man and Officer Trust are alone BRENDAN GRANT I don't know if we should go through with this. MYSTERY MAN It's too late for that. BRENDAN GRANT There is a dead woman on my bathroom floor! MYSTERY MAM What about it? She's Eleanor's assistant and they will have been shot with the same gun, by the same lunatic. Some, anonymous loser who went over the edge. BRENDAN GRANT (breathing easier) Only thing better would be if he were a postal worker. OFFICER TRUST He won't be doing any work once I get through with him. MYSTERY MAN And in a few months you're in the Governor's mansion. The people'd make you king of California if they could. BRENDAN GRANT laughs. INT. HALLWAY - DAY - 12:57PM OFFICER TRUST exits from the room and engages the HALL OFFICER in conversation down the hall. GENE and MR. SMITH turns the other way, walk. In an undertone: GENE I'm not stupid.. I know how this is supposed, to work. MR. SMITH Do you now, Mr. Watson? GENE I kill her - and you kill me. MR. SMITH Keep your voice down. GENE Even if you don't, Her Security men will. INT. TWENTY-FIFTH FLOOR - ELEVATOR FOYER - DAY - 12:58PM They reach the elevator. MR. SMITH punches the button. GENE turns on him. GENE How am I supposed to get away? MR. SMITH That's not my problem, Mr. Watson He gets out the walkie-talkie, keys it. MR. SMITH (into the walkie-talkie) Come back. GENE How do I know you won't kill my daughter once I'm gone? MR. SMITH (into the walkie-talkie) Come Back....Fucking Radio. MR. SMITH is getting nothing but static. He angrily keys off, hisses at GENE: MR.SMITH I told you she'd be alright, if you do your job. GENE And I'm supposed to trust you? MR. SMITH What choice do you have? The elevator doors open. MR. SMITH gestures graciously. MR. SMITH After you. INT. "BLUE" ELEVATOR - DAY - 12:58PM They step into the elevator. Stare at each other. The doors close. MR. SMITH erupts. He grabs GENE slams him into the outside window. GENE's face is smashed into the glass by MR. SMITH'S shoulder. His body presses GENE against the glass wall and he speaks, his mouth an inch from GENE's ear. MR. SMITH Look out there! You see the van? The van can be seen below on Flower Street. MR. SMITH You see it?! WHAM! He slams GENE's head against the window. He lifts up the walkie-talkie. MR. SMITH Come back. MS. JONES (V.O.) (filtered) Yeah. MR. SMITH Do it! He jabs the walkie-talkie next to GENE's ear. LYNN (V.O.) (filtered) Daddy...? And then a scream. The horrible sound of a little girl in terrible pain. It cuts through GENE like a stab in the heart. GENE Lynn! He struggles to turn around. MR. SMITH kidney punches him, hard! GENE goes down on one knee. The car stops. SOMEONE starts to board it, stops in surprise. MR. SMITH sticks a badge in their face. MR. SMITH Security. Take the next car. They back off. The doors close, the car continues its descent. MR. SMITH lifts the walkie-talkie. MR. SMITH Again. GENE (a gasp) No, please... Another bone-chilling scream from the walkie-talkie. GENE is ripped to his soul. MR. SMITH hauls him to his feet, shoves him against the glass. MR. SMITH You got one last chance. Half an hour and that kid is dead. I'll kill her myself. I'll rip her fucking head off right in front of you! MR. SMITH releases GENE, who goes limp. The elevator doors open onto the lobby. MR. SMITH gets out, straightening his tie, wiping the sweat from his face. INT. THIRD FLOOR "GREEN" ELEVATOR LOBBY - DAY - 12:59PM GENE gets out of the elevator, almost getting caught in the closing doors. He can't even fight back at the doors. They pound him a couple of times before he is able to step clear of the elevator. GENE stifles a retch, hurries away. MR. SMITH is standing there. Childish giggles erupt from the walkie-talkie. LYNN (O.S.) (filtered, giggling) Daddy, did you hear me scream? INT. THE VAN - DAY - 1:00PM MS. JONES holds the walkie-talkie for LYNN. LYNN (O.S.) She told me to scream as loud as I could. Did you hear me? OMIT INT. MEN'S ROOM - DAY - 1:01PM GENE staggers over to the row of sinks. Leaning on one sink with both hands, his body shudders violently. And he throws up. A man exits a toilet stall and walks toward the sinks. He sees GENE retching, turns away in disgust, and leaves quickly. GENE turns on the faucets.to wash the mess away. He tries to clean up, but catches his reflection in the mirror. He has trouble looking himself in the eye. INT. THIRD FLOOR LOBBY - DAY - 1:01PM MR. SMITH is fuming. Into the walkie-talkie: MR. SMITH The next time I tell you to do something, you goddamn well do it! INT. THE VAN - DAY - 1:01PM MS. JONES tries to be private on the walkie-talkie. MS. JONES Hey, fuck you! You want to baby-sit a screaming kid in traffic, come out here and do it yourself. He got the message, didn't he? LYNN watches her, knowing something's not quite right. INT. BONAVENTURE HOTEL - EXT MEN'S ROOM - DAY - 1:02PM GENE comes out of the Men's Room, stands there at a loss. HUEY (O.S.) Having a rough day? Down at the heels as they say? What you need is a shoe shine, shoe shine, shoe shine today. GENE looks around. HUEY has his nose in his magazine, calling out his patter for whoever drifts by. INT. BONAVENTURE HOTEL - SHOESHINE STAND - DAY - 1:02PM GENE walks over, climbs into a chair. HUEY (still not looking up) Take ten, take a break, take a seat, take a load off. Put the world in perspective. GENE has settled into the chair. HUEY tosses the magazine aside, swings into action... HUEY So, are you a visitor or are you lucky enough to... ...and freezes, staring at the familiar pair of shoes. HUEY (as he looks up) You got a complaint? GENE looks down at him. GENE You remember me? HUEY I remember. The big tipper. GENE Something is going to happen. When it's over you'll know what I was talking about. HUEY Oh, man... GENE Please. Something is going to happen... HUEY What? The end of the world? Man, don't give me your mad rap. I'm not a bartender. I don't want to hear it. I raise a family doing this bullshit. Do me a favor. Get your crazy white ass out of my chair. GENE Please... HUEY Hey, a big tip doesn't give you the right to crap in my ear. You want change? You got it, brother. What was that you gave me, a twenty? HUEY kneels down, gets his cashbox, starts to open it up. From behind him: MR. SMITH Come on, let's get some privacy. GENE He's deaf. It spills out of GENE almost without volition. There's a note of pleading hidden in it. GENE slowly points a thumb at HUEY's "Disabled Veteran" sign. GENE He can't hear a word we're saying. MR. SMITH looks at the sign. HUEY stops what he's doing - "What the fuck?" He almost says it aloud, then: MR. SMITH You wouldn't be kidding me now, would you, Mr. Watson? (to HUEY's back) Hey, nigger! Is that right? You can't hear me? Nigger? HUEY's face settles into something cold. What's he going to do? He stands, looks at GENE, who stares back at him, then slowly turns around, looks at MR. SMITH - and breaks into a jive-ass grin. HUEY Why, looky-here. My customer-quotient just got multiplied by two. What do you think of that? You'll have to forgive me, sir. Didn't hear your approach. Fact of the matter is, I'm deef as a post. Compliments of the United States Army... (does a snappy salute) ...Artillery Corps. Can I give you a shine, sir? You don't see your face, you don't pay. MR. SMITH is suspicious but he climbs into the second chair. MR. SMITH (loudly) Yeah, sure, give me a shine... (looks at GENE) ...shine. HUEY goes to work on his shoes. MR. SMITH I'm putting your toy back in your pocket, Mr. Watson. Unseen by MR. SMITH, HUEY takes a peek and sees the gun being transferred to GENE's pocket. MR. SMITH It's all wound up. Now let's get out your itinerary. GENE does. "1:'30 - California Leads the Nation into the 21st Century - California Ballroom - Governor Eleanor Samara Grant and Brendan Grant" It is the last entry. GENE One thirty. California Ballroom. MR. SMITH (glances at HUEY) That's right. That gives you... He looks at his watch. 1:04. MR. SMITH ...twenty-six minutes to get your shit together. GENE Let me talk to her again. MR. SMITH No. GENE I want'to talk to her. MR. SMITH Forget about it. GENE I talk to her or you can forget about it. MR. SMITH Don't you threaten me. GENE What are you going to do about it, shoot me? MR. SMITH (glances again at HUEY) You know what I'm gonna do. GENE What? Walk out there and twist her arm off? MR. SMITH doesn't reply. GENE It would be a lot less trouble just to let me talk to her. They stare at each other for a few beats. Then MR. SMITH checks HUEY out and gets out the walkie-talkie. MR. SMITH (into it) Come Back. MS. JONES (O.S.) (filtered) Yeah. MR. SMITH Put her on. MS. JONES (O.S.) What gives? MR. SMITH Just put her on. LYNN (O.S.) (filtered) Daddy? GENE grabs the walkie-talkie. GENE Yes, sweetie, it's me. LYNN (O.S.) (filtered) I'm tired. I want to.go now. GENE I know you do, honey. INT. THE VAN - DAY -1:05PM MS. JONES holds the walkie-talkie for LYNN. LYNN Can we go now? GENE (O.S.) (filtered) Not just yet, baby. There's...there's something Daddy has to do. LYNN To be a hero? INT. BONAVENTURE LOBBY - DAY - 1:05PM MR. SMITH, GENE and HUEY in situ. GENE No, honey, not to be a hero. But I want you to remember something for me, all right? LYNN (O.S.) (filtered) All right. GENE He's doing it for you. No matter what anybody tells you, no matter who they are, he's doing it for you, because he loves you. MR. SMITH That's enough. He reaches for the walkie-talkie, but GENE stares him down. Back to the walkie-talkie: GENE Will you promise me that? LYNN (O.S.) (filtered) I promise. GENE All right. Kisses to you. LYNN (O.S.) (filtered) No...kisses to you. GENE No. Kisses to you. LYNN (O.S.) (filtered) No, kisses to... MR. SMITH grabs the walkie-talkie. MR. SMITH I don't care who the fuck you do it for just so you do it. Hey. He reaches down, snaps his fingers in HUEY's face. HUEY looks up. MR. SMITH You done yet? HUEY Just about. He gives the shoes a final wipe, stands away. HUEY Two dollars, if it pleases you. MR. SMITH It doesn't. I remember when it was a fuckin' quarter. He throws a couple dollars to HUEY. To GENE as he stalks away: MR. SMITH Twenty-five minutes. TO HIS BACK: HUEY Thanks for the tip. HUEY turns back to GENE. They stare at each other. HUEY Mister, what are you dragging me into? GENE I'm not dragging you into anything. I don't expect... HUEY Cover your mouth. GENE What? HUEY This gorilla's watching you, is that right? GENE That's right. HUEY Then don't let him be seeing you talking to me. I don't want him twisting my arm off. GENE lowers his head, covers his mouth with a hand. HUEY pretends to work on his shoes. HUEY That was your kid on the walkie- talkie? GENE My daughter. They have her in a van across the street. They say they'll kill her if I don't do something for them. HUEY In twenty-five minutes in the California Ballroom. GENE There was a woman. She was trying to help me. I watched him murder her. HUEY What are you supposed to do? GENE Kill the Governor. HUEY checks his perimeters, then: HUEY I knew I should have packed up and gone home as soon as I got that twenty. What am I supposed to do about this situation? GENE One of them is in on it. He might even be in charge. Her Security is in on it. There's only one person I know for sure isn't in on it. HUEY Who? GENE The Governor. If I could just talk to her... HUEY Oh, Jesus ... GENE No way, there's nothing you can do to help me. HUEY Then why'd you drag me into it? GENE (getting emotional) It's my kid. I've got to...to somehow...do right by my little girl. He gets out her picture, stares at it. GENE It's about time I did. I was one of those guys, workaholics. I worked my ass off for them - my wife, my daughter. That's just what I thought I was supposed to do. HUEY Yeah, all right, listen... GENE (running on) So when she wanted a divorce...I was...I didn't know what I'd done wrong. I didn't see it. I didn't see it.... HUEY takes his wooden brush and whacks GENE on the foot, snapping him from his downward spiral. HUEY Why don't you tell me about the early years some other time? GENE I'm sorry. You understand I don't mind dying if I could save my daughter. I mean that. HUEY Yeah, now listen. I can't mess with these shoes any more or it's gonna look funny. You go down get yourself something to drink. Make sure Godzilla there, follows you. GENE What are you going to do? HUEY I haven't the faintest idea. Go on now. I'll get word to you. GENE gets down. GENE If nothing else, someone heard my story. He gives HUEY a twenty. GENE Keep the change. HUEY Don't think I won't. GENE just stands there. HUEY has to give him a little push. INT. BONAVENTURE HOTEL - THIRD FLOOR - DAY - 1:09PM GENE turns and walks across the lobby toward the bar. His mind is racing. As he passes MR. SMITH... GENE I need a drink. MR. SMITH rises immediately, looks back at HUEY. HUEY gives him a symbolic tip of the hat. MR. SMITH follows GENE. INT. HOTEL BAR - DAY - 1:11PM GENE finds a stool at the empty part of the bar. The place is half-full, noisy. The television is showing a game show. The BARTENDER comes over. GAME SHOW HOST (O.S.) (over television) ...and time is running out... GENE Give me a ...a gingerale? MR. SMITH sits -at the other end of the bar. The BARTENDER gets him a beer. GENE and MR. SMITH lock eyes in the mirror. Between them, a couple of T.V. NEWS TECHNICIANS are grabbing a quick beer. A video camera resides on the bar by them. GENE notices OFFICER TRUST, walking by on a level above, watching him. T.V. NEWS TECHNICIAN 1 Man, I thought she was going to get out the violins. TV REPORTER No shit. If I hear that stop the violence routine one more time I'm going to shoot somebody. A WAITRESS appears suddenly at GENE's elbow, surprising him. She puts a basket of pretzels next to him and a coaster next to his drink. WAITRESS Here's your Ginger Ale, sir. DOWN THE BAR: T.V. NEWS TECHNICIAN 1 Politicians. TV REPORTER They're all the same. The WAITRESS is tapping a long fingernail against the bar. GENE looks down and sees it. A note on the coaster. "Men's Room - Huey." The WAITRESS turns the coaster over, and leaves. GENE looks down the bar at MR. SMITH, drinking, unaware. TV REPORTER You know what bothers me? GENE looks at his watch. 1:12. TV REPORTER When they get all weepy eyed about the "ordinary citizen", the "regular Joe", the "normal American". Gimme a break. There ain't no such animal. We're a nation of two hundred forty million special interest groups. GENE stands. GENE Well, I'm just a regular guy. The T.V. NEWS TECHNICIANS stare at him. TV REPORTER Is that right? GENE Yeah, that's right. But I've built a good solid business out of nothing. Don't underestimate the regular guy. He heads for the open lobby. BARTENDER Sir, you haven't paid. GENE It's on the Special Interest at the end of the bar. GENE jerks a thumb at MR. SMITH and is gone. MR. SMITH starts to follow him. The BARTENDER is right with him. BARTENDER Hey, Sir, don't make me call a cop. MR. SMITH slaps some money on the bar and leaves. T.V. NEWS TECHNICIAN 1 Left field bleachers heard from. T.V. REPORTER Laughs. INT. BONAVENTURE HOTEL - LOBBY - DAY - 1:13PM MR. SMITH scans the lobby trying to spot Gene. OFFICER TRUST comes up behind him. OFFICER TRUST Where is he? Did you lose him? MR. SMITH Shut up. INT. BONAVENTURE HOTEL - SHOP ARCADE - DAY - 1:13PM Elsewhere, GENE circles around the lobby. There seem to be clocks everywhere. A. set of four clocks over the registration desk with the time for Tokyo, Los Angeles, New York, and Paris. The souvenir shop has a dozen clocks on display, with the logos of various LA sports teams. INT. BONAVENTURE HOTEL - RESTAURANT AREA - DAY - 1:14PM The restaurant, the travel agency, the newsstand, all have clocks. 1:14 . Everywhere he turns. GENE has to look at his watch. 1:15! GENE's watch and all the clocks tick over at once. GENE winces as if he could hear all those minute hands tick over one number in a thunderous chorus. INT. BONAVENTURE HOTEL - SHOESHINE STAND - DAY - 1:16PM He's near the Men's Room. HUEY's stand has a sign on the chair - "Gone to Lunch" and there is a clock face with moveable hands. "We'll be back at 1:30." GENE (sotto voice) Let's all hope so. And he enters the Men's Room. Across the lobby MR. SMITH spots him, heads that way. INT. MEN'S ROOM - DAY - 1:16PM GENE enters to find HUEY and GUSTINO the Bellboy. HUEY runs to the door, keeping a lookout. HUEY Quick, off with the shoes and pants. Trade with Gustino. The big guy's coming. INT. BONAVENTURE HOTEL - THIRD FLOOR - DAY - 1:16PM MR. SMITH marching towards the Men's Room. INT. MEN'S ROOM - DAY - 1:16PM HUEY turns to see GENE and GUSTINO just looking at each other, uncomfortable, to say the least. HUEY C'mon, ladies. No time to be shy. GENE kicks off his shoes, shucks his pants. He trades his pants and jacket with GUSTINO, who has done the same. GUSTINO's pants are too big for GENE. His pants are too small for GUSTINO. GUSTINO goes into a stall and closes the door. HUEY comes back from the door. HUEY Gustino! Drop 'em! GUSTINO has taken a seat inside the stall, but with GENE's pants still up. He drops them. HUEY And cover up them socks. Man, who dresses you? HUEY leads GENE to another door. "Service Personnel Only". He taps on it. It is opened by a Latino JANITOR. HUEY and GENE slip through the door, shut it. The JANITOR begins mopping the floor as MR. SMITH comes in. His eyes come to rest on the stall. All he sees are GENE's shoes and GENE's pants crumpled around the ankles. MR. SMITH smirks and leaves. The Janitor raps on GUSTINO's stall with the mop. JANITOR Fue. (Gone.) INT. SERVICE HALL - DAY - 1:17PM HUEY and GENE move down a drab service corridor. Boxes stacked on both sides, floor buffers at rest, shelves with cleaning supplies. GENE notices for the first time that HUEY has a pronounced limp. They come upon IRENE the Cleaning Woman. She joins them moving down the corridor. HUEY Meet Irene. GENE Hi. HUEY Irene is going to help. GENE Thank you. IRENE takes GENE's hand and leads him along at a half-trot. GENE Where am I going? INT. BONAVENTURE - SERVICE ELEVATOR FOYER - DAY - 1:17PM They come through a short corridor and onto the service elevator. HUEY You said there was only one person you knew wasn't in on this thing. GENE Yeah. HUEY You're going to go see her. GENE What!? The elevator doors close. INT. SERVICE ELEVATOR - DAT - 1:17PM IRENE punches the button for the twenty-fifth floor. HUEY You sure she's asleep? IRENE I took up extra pillows. She take a nap before her big speech. GENE What am I supposed to say to her? HUEY It'll come to you. See if you can stop this thing 'fore it gets started. Save us all considerable embarrassment. HUEY takes a pillow and a blanket from IRENE'S cart and puts it into GENE's arms IRENE You don't have to save me. I got nothin' to do with it. You ain't gettin' no key from me. HUEY (shocked) Irene...? The service elevator stops. IRENE pushes her cart out into the hall signalling them to stay put for a second. She starts moving out into the hall, the card key falls on the floor. INT. TWENTY-FIFTH FLOOR - HALLWAY - SECURITY TABLE - 1:17PM At the other end of the hall the HALL OFFICER turns when he hears her approach. INT. SERVICE ELEVATOR - DAY - GENE and HUEY hover in the door of the service elevator. Gene reaches down and snags the card key at his feet. INT. TWENTY-FIFTH FLOOR - HALLWAY - SECURITY TABLE - 1:17PM The HALL OFFICER has to move his table aside so Irene can pass with the cart. As he turns, INT. TWENTY-FIFTH FLOOR - HALLWAY - DAY HUEY pushes GENE across the hall to the door of the Governors bedroom. The Service Elevator door closes. INT. TWENTY-FIFTH FLOOR - HALLWAY - SECURITY TABLE - 1:18PM HALL OFFICER turns quickly at the noise. INT. TWENTY-FIFTH FLOOR - HALLWAY - DAY GENE holds totally still in the alcove outside her room. INT. TWENTY-FIFTH FLOOR - HALLWAY - SECURITY TABLE - 1:18PM HALL OFFICER looks suspiciously, and finally sits back down. INT. TWENTY-FIFTH FLOOR - HALLWAY - DAY GENE uses the key to let himself into INT. ROOM 2510 - 1:18PM Lit only by a bedside lamp. ELEANOR GRANT is laying on the bed, dressed, towel across her eyes, bare feet elevated on a pair of pillows. GENE edges over slowly to her. He stands over her, not knowing how to begin. GENE (softly) Excuse me... ELEANOR GRANT lifts a hand, moves the towel from her eyes. ELEANOR GRANT Who the hell are you? She sits upright, reaches for the phone! GENE moves, putting his hand on top of hers on top of the phone. GENE No, please. They stare at each other for a beat. She bolts for the door! Gene beats her to it! She backs up to the bed. Eleanor Grant is a strong, tough woman, but she's not fearless. GENE Mrs. Grant, Governor...I won't hurt you. ELEANOR GRANT My security people are right next door. GENE I appreciate that. ELEANOR GRANT One loud scream will bring them in here instantly. You won't get very far. Think it over. GENE If I were here to hurt you I would have done it already. ELEANOR GRANT That's...a comfort to hear. GENE I have a problem. ELEANOR GRANT Ah. GENE Only you can help me. I'm also sorry to say, my problem is your problem, Mrs. Grant. She studies him. ELEANOR GRANT I remember you...in the elevator. GENE That's right. ELEANOR GRANT You were very nervous. GENE It was because I had this...in my pocket He slowly pulls out the gun. She takes it in. GENE I need you to listen to me. Carefully. Three lives depend on you listening very carefully to what I have to say. She smiles. ELEANOR GRANT (friendly as can be) Of course. But suppose we set up an appointment. I have an important speech to deliver and you're cutting into my nap time. Very slowly, she moves to the table, lifts the phone ELEANOR GRANT My assistant, Krista Brooks, takes care of constituent... GENE Krista Brooks is dead. She freezes, slowly replaces the phone. ELEANOR GRANT How do you know that? GENE I saw her die. She was shot. With this gun. She turns to him. ELEANOR GRANT You shot her? GENE No. ELEANOR GRANT Who did? GENE I don't know. The only thing I know about him is that he works for your husband. ELEANOR GRANT What? GENE And your husband works for somebody else. ELEANOR GRANT What the hell are you saying? GENE glances at the bedside clock. 1:19. He looks back to the Governor. INT. BONAVENTURE HOTEL - THIRD FLOOR - DAY - 1:19PM An increasingly edgy MR. SMITH is looking at the Men's Room door. He glances over to OFFICER TRUST who's keeping an eye on him. He looks at his watch again, then gets up and heads for the Men's Room. INT. MEN'S ROOM - DAY - 1:19PM MR. SMITH enters. HECTOR is at the urinal. MR. SMITH checks out the feet under the stall. He has to bend over to check properly. GENE''s shoes, GENE' s pants legs. HECTOR notices MR. SMITH'S actions. MR. SMITH is aware that he's been noticed, but he is very suspicious. HECTOR flushes the urinal. MR. SMITH stays by the stall. He is going to look over the top of the stall. He rises on his tiptoes. But HECTOR is staring at him like he's a pervert. MR. SMITH is suddenly embarrassed. He backs away from the stall. HECTOR washes his hands, watching MR. SMITH in the mirror. MR. SMITH leaves. HECTOR dries his hands. He walks over to the stall and knocks on the door. HECTOR He's gone. And GUSTINO tosses a Bellboy jacket over the top of the stall. HECTOR puts it on. HECTOR Hey, Gustino, what takes you so long? You need to eat more fiber. GUSTINO (O.S.) You got anything to read? INT. ROOM 2510 - DAY - 1:21PM The clock on the nightstand. 1:21. ELEANOR GRANT sits against the headboard. GENE sits on the edge of the bed, the gun all but forgotten, held loosely in his hand. GENE I knew you wouldn't believe me. ELEANOR GRANT I said I'd listen to you, not necessarily believe you. You're telling me my people are in a plot against me. You're telling me my husband wants me killed. What do you expect? GENE I don't blame you. I don't have any proof. But nothing like this occurs in a vacuum. You can't be totally oblivious. You must suspect something. You're doing things which are making people angry. People who have been in power a long time are losing their jobs. You know them better than me. How much does it mean to them? How far would they go to hang onto it? Her eyes go inward, reflecting a vague doubt. GENE sees it, hurries to follow up on this possible chink in her armor. Excited by it, he gets up, forgets to cover her so closely. GENE There's only one way to find out for sure. Try to cancel the last speech. ELEANOR GRANT (smiling, covering her inner thought) I'd prefer we didn't refer to it as my last speech. GENE It's the last chance they have for me to kill you. Try to get out of it. They won't let you. They can't. Try to change the schedule and you'll know I'm right. What have you got to lose? It comes down to who you trust, them or me? Test them. ELEANOR GRANT I love it when pistolero's talk of trust. GENE, across the room looks at the gun in his hand. He takes the plunge. GENE This? I've never even fired one. ELEANOR GRANT Indeed. ELEANOR GRANT'S hand sweeps the lamp off the table, plunging the room into blackness. ELEANOR GRANT (in the blackness) Franco! Franco.' GENE slips out into the hall as the connecting room door flies open. Light from the other room spills in. FRANCO rushes in, pulling a gun. INT. TWENTY-FIFTH FLOOR - SECURITY TABLE - DAY - 1:22PM The HALL OFFICER jumps from his chair and runs into the suite INT. TWENTY-FIFTH FLOOR - HALLWAY - DAY GENE quickly moves to the Service Elevator and pushes the button. INT. ROOM 2510 - DAY - 1:23PM ELEANOR GRANT stares up at FRANCO, back-lit by the light coming from the next room. It gleams off the gun he holds in his hand. She stares from the gun up to his hulking frame. FRANCO What is it, Governor!? What's wrong!? She hesitates. ELEANOR GRANT I...I'm afraid I've had a bad dream, Franco. INT. SERVICE CORRIDOR - DAY - 1:23PM The service elevator opens and GENE rushes out. He hurries down the dim service corridor. Suddenly an arm snakes out of the blackness and grabs him! HUEY steps into the light. HUEY Well? GENE I don't know. HUEY What are you going to do now? GENE I don't know. I have to get back. GENE keeps moving fast. HUEY limps to keep up HUEY What are you going to do!? GENE This is about power and you haven't got any. There's nothing more you can do. I'm sorry. Thanks for trying. HUEY watches him disappear. INT. BONAVENTURE HOTEL - LOBBY - DAY - 1:23PM MR. SMITH sees the T.V. TECHNICIAN and REPORTER leaving the bar with their equipment. OFFICER TRUST (O.S.) (alarmed) Where is he? MR. SMITH looks at the man who has appeared behind him. MR. SMITH In the john. He looks at his watch. 1:23. OFFICER TRUST Get moving. MR. SMITH You' oughta learn to relax. I told you I've got it under control. OFFICER TRUST It's time. It's time now. MR. SMITH scowls and heads for the Men's Room. INT. THE VAN - DAY - 1:24PM A different watch. The minute hand moves to: 1:24. It is MS. JONES'. She is in the driver's seat. She looks back at LYNN who is trying to amuse herself one way or another. She checks her gun. She pulls out her walkie-talkie, puts it on the seat beside her. She starts the car. LYNN Where are we going? MS. JONES Not very far, honey-pie. Not far at all. She pulls the van out into traffic. INT. MEN'S ROOM - DAY - 1:24PM MR. SMITH bursts into the Men's Room. He goes to the stall and lifts his fist to pound on the door. MR. SMITH Out of there, Mr. Watson! Your time's up! The stall door opens and GENE comes out, zipping up his pants. He brushes right past MR. SMITH, heads for the door. MR. SMITH reaches out, grabs him. MR. SMITH You forgot to wash your hands. He throws him against the sinks. GENE washes his hands. MR. SMITH leans against the sink next to him In the mirror above the sink, GENE sees the stall door swings open. GUSTINO Is huddled in the corner, feet up on the toilet. MR. SMITH doesn't notice. MR. SMITH I've got faith in you, Mr. Watson. I know you're not just a regular guy, see, I know that. Even if you don't know it yourself. Maybe that's why I picked you. GENE steps between MR. SMITH and the open stall door. GENE I know what I have to do. I'll do it. Let's go. And'they exit the Men's Room. GUSTINO slumps with relief. INT. ROOM 2510 - DAY - 1:25PM Other lights have been turned on. ELEANOR GRANT is fixing her hair in the mirror. FRANCO is cleaning up the broken lamp. There is a perfunctory knock on the hall door and it opens, revealing BRENDAN GRANT. The MYSTERY MAN hovers in the background. BRENDAN GRANT Hey, El, how's the head? She turns, locks eyes with the MYSTERY MAN. MYSTERY MAN Eleanor. She nods, turns back to the mirror. ELEANOR GRANT Lousy. And I have siesta hair. I'm thinking of canceling the speech. BRENDAN GRANT It's an important speech. MYSTERY MAN I'd say critical, not that it's any of my business. ELEANOR GRANT It's just another speech in a Tower of Babel so high that Nimrod himself would be put to shame. Cancel. Make my apologies. In the mirror she takes note of BRENDAN GRANT and the MYSTERY MAN exchange a look. BRENDAN GRANT Excuse me. MYSTERY MAN I'll trot along. Nice to see you, Eleanor. BRENDAN steps into the room, shuts the door. BRENDAN GRANT During a campaign every speech is important. This is free media exposure. Primetime news coverage that we couldn't buy. ELEANOR GRANT What's he doing here? BRENDAN GRANT Who, him? Just visiting. ELEANOR GRANT T Hings have changed, Brendan. I thought you understood that. BRENDAN GRANT He's my friend. And he did help you to get elected, after all. ELEANOR GRANT Don't remind me. BRENDAN GRANT (re the broken lamp) What happened here? ELEANOR GRANT Nothing. I broke a lamp. Brendan steps behind Eleanor and puts his arms around her affectionately. BRENDAN GRANT Eleanor, please. I'll put it this way. This speech or a half-dozen rubber chicken-fund raisers. What do you say? ELEANOR GRANT Truth is, besides the headache I've come down with a little lower intestinal havoc. Make my apologies. BRENDAN GRANT Come on, El, you're a trooper. I'll get you some Pepto, you'll make one of your patented tributes to the common person, then back to Sacramento. This is no time to lay down on the job. I don't care what the polls say, you can't afford to relax. Look what happened to Bush. Tell you what, if you want to blow off the Sacramento speech, fine. But do this one and we'll get out of the smog. ELEANOR GRANT looks at him, almost sadly. She steps toward the dressing table to fix her hair ELEANOR GRANT All right, I'll do it. BRENDAN GRANT That's my girl. ELEANOR GRANT But I want to make some changes. Get Krista in here right away won't you? BRENDAN looks at her for a beat, then snaps his fingers like he just remembered something. BRENDAN GRANT Aw, gee. I sent her on an errand. ELEANOR GRANT You sent my assistant on an errand. BRENDAN GRANT (trying to look sheepish) I've been a bad boy. ANGLE ON ELEANOR It was not what she wanted to hear. INT. BONAVENTURE HOTEL - LOBBY - DAY - 1:26PM Mr. Smith pushes Gene toward the escalators. INT. CALIFORNIA BALLROOM - DAY - 1:27PM All sorts of MEDIA PEOPLE hover around, CAMPAIGN WORKERS wearing political buttons and REGULAR FOLKS round out the crowd. People are eating, drinking, and talking. There are a couple of bars, one at each end of the room. Dessert tables are strategically placed around the room. On the speaker's platform at one end is a podium with some chairs arranged behind it. One of the POLITICO'S takes the podium microphone. POLITICO Ladies, gentlemen, it is my great pleasure to introduce to you the esteemed spouse of our Governor. Let's give a big L.A. welcome to Mr. Brendan Grant. The crowd applauds warmly. INT. HALLWAY - DAY - 1:27PM GENE and MR. SMITH move down the hall, following the signs to the California Ballroom. The entrance to it looms ahead. INT. CALIFORNIA BALLROOM - DAY - 1:27PM BRENDAN GRANT at the podium. BRENDAN GRANT Ladies and gentlemen of the press, campaign volunteers, and those of you who were looking for any excuse to take off work for the afternoon... Polite laughter. INT. HALLWAY - DAY - 1:27PM GENE is pushed up to the doorway where he is met by our friend, the SECURITY MAN with the metal detector. He gives MR. SMITH a nod over GENE's shoulder and sends GENE to join the crowd beyond. INT. CALIFORNIA BALLROOM - DAY - 1:28PM VIEW THROUGH CAMERA The Video Camera clumsily tracks past the CROWD, and comes tosettle on GENE who is walking into the room, not quite sure where he is going. UP ON THE PODIUM: BRENDAN GRANT We have with us today the first woman Governor of our great state... GENE is pushing forward into the crowd. He looks back, seems surprised, begins turning, searching for someone as: BRENDAN GRANT Governor Eleanor Samara Grant. What can I say about her....that won't get me in trouble when I get home tonight. Laughter. Lose the video camera effect. ANGLE ON GENE - 1:28PM GENE, in the midst of the crowd, can't locate MR. SMITH. Confusion clouds his face. He finds himself near the T.V.TECHNICIAN from the bar. The TECHNICIAN is talking into a walkie-talkie. T.V. NEWS TECHNICIAN Charlie. Charlie. Charlie, are you reading me? He gets nothing but static. GENE's eyes move to the back of the room. BRENDAN GRANT She's a woman who loves our great state. T.V. NEWS TECHNICIAN Charlie... (gives it up) I can't get shit on this stupid radio. GENE looks up to a spotlight booth set up in the back. BRENDAN GRANT A brilliant legislator. GENE sees the GLINT of something. A gun? His eyes widen. Is that MR SMITH there? He looks from the spotlight booth to the stage. BRENDAN GRANT ...who will soon win her second term as the greatest Governor California has ever seen! T.V. NEWS TECHNICIAN Somebody's going to ave to run down to the truck. Tell them this radio's fucked. GENE looks away from the stage and locks eyes with OFFICER TRUST. He's at the front of the ballroom to one side of the speaker's platform. OFFICER TRUST stares at GENE like a hungry wolf, clutching his gun in his pocket. They both hear: T.V. NEWS TECHNICIAN I can't get through. Walkie-Talkies don't work from here. There's too much concrete and stuff. Realization floods GENE'S eyes. He looks back at Mr. Smith in he booth. ANGLE ON MR. SMITH - EXTREME CLOSEUP The camera pans along the barrel of the weapon until it comes to Mr. Smith who is settling into firing position. ANGLE ON CROWD BRENDAN GRANT Ladies and gentlemen... T.V. NEWS TECHNICIAN Nothin's getting out. OFFICER TRUST, presses forward, hand in pocket. Gene is his target. ANGLE ON PODIUM - 1:29PM BRENDAN GRANT I am honored to present to you our esteemed Governor and my beloved wife, Eleanor Samara Grant! ANGLE ON ELEANOR GRANT The crowd erupts in .applause and cheering as ELEANOR GRANT comes from the rear of the auditorium and begins to work her way down the center aisle. She waves and nods to all the lyal supporters who surround her. ELEANOR GRANT Thank you! Thank you all! Ballons are released above her onto the center of the floor. ANGLE ON WAITER-GUSTINO He is pushing a large high cart filled with hundreds of finished plates back towards the kitchen area. ANGLE ON GENE - 1:30PM GENE looks at Mr. Smith and Officer Trust and the impending disaster. He has to do something...anything...NOW! GENE begins frantically clawing his way toward the podium. GENE Look out! Look out! But it is lost in the uproar. Fighting to be heard above the noise: GENE clawing forward, screaming hopelessly. He pulls the gun out. ANGLE ON ELEANOR GRANT She spots Gene in the crowd, pushing toward her, gun drawn. Her eyes widen in fear. BRENDAN GRANT follows her gaze. His eyes widen in something other than fear. GENE aims his gun at the ceiling and fires. BAM! BAM! GENE Look out! Pandemonium. Total chaos. People scattering. The Gun in the booth swings from Gene to ELEANOR GRANT. Mr. Smith fires, but his target is blocked by a panicked guest who is hit. From behind her, FRANCO runs to protect ELEANOR GRANT as more gunfire erupts. Mr. Smith's aim is clear and he pulls...BAM! BAM! FRANCO is hit in the center of the back and in the shoulder. He falls onto ELEANOR GRANT and they both fall down hard on the steps. Blood is everywhere. ANGLE ON GENE He looks over and sees ELEANOR GRANT, beneath FRANCO, looking very dead. He careens toward a door. ANGLE ON PODIUM On the dais, BRENDAN GRANT crawls over to where FRANCO lays, half on top of ELEANOR GRANT. They are both still, eyes closed. BRENDAN looks down at his wife's face, splattered with blood. BRENDAN GRANT My God, he did it! The Governor suddenly and violently gasps for breath. Her eyes snap open and burn into BRENDAN. She has heard her worst suspicions confirmed. BRENDAN'S a great liar, but even he can't hide the shock and fear on his face. INT. BACK HALLWAY - DAY GENE bursts through a door. He is followed speedily by OFFICER TRUST. OFFICER TRUST You little son of a bitch. His attack is interrupted by a noise from the darkness. The HUGE DISH PLATE CART, fully loaded, comes flying toward them pushed by GUSTINO. The cart smashes into OFFICER TRUST, throwing him against a wall, dishes clatter and smash. GENE raises a hand to the darkness and takes off. INT. CALIFORNIA BALLROOM - DAY The dais. FRANCO takes a shuddering breath. ELEANOR GRANT pulls herself free, leans over him. She rips opens his shirt revealing a slightly-used bullet-proof vest with a bullet hole that missed the vest and hit his upper arm. His eyes flutter open. ELEANOR GRANT Are you all right, Franco? FRANCO (painfully) I'd be better if they'd put sleeves on these damn vests. She touches his face, looks over to where her husband stands. Their eyes lock. It's curtains for BRENDAN. EXT. HOTEL TAXI STAND - DAY The van pulls into a waiting area. INT. LOBBY - NEAR SHOESHINE STAND - DAY Huey turns and spots a van arriving outside the hotel. He realizes who it could be. INT. THE LOBBY - DAY - 1:30PM GENE 'bangs out of a door, comes to a failing and sees: MR. SMITH has reached the spiral stairway. He starts down it, two and three steps at a time. GENE moves along the railing. MR. SMITH is a whole floor below him. He looks up, sees GENE and lifts the walkie-talkie to his mouth. GENE pockets the gun climbs the parapet. And jumps! INT. BONAVENTURE HOTEL - LOBBY - DAY - 1:30PM GENE lands right on top of MR. SMITH. The walkie-talkie flies over the railing and into the water of the central fountain. INT. THE VAN - DAY - 1:30PM MS. JONES (on the walkie talkie) It's time....You read me? I don't hear from you I'm going ahead now. CHECKS HER WATCH: 1:30 INT. THE LOBBY - DAY - 1:31PM MR. SMITH and GENE roll down the steps, fighting. MR. SMITH basically beats the crap out of him and gets up to continue on. GENE somehow pulls himself up and tackles MR. SMITH. He gets in a few lucky shots before MR. SMITH overpowers him, beats him again finally .sending him flying into the fountain pool. INT. THE VAN - DAY - 1:31PM MS JONES looks to the back seat at LYNN. LYNN Why do you keep looking at me? MS. JONES That's my job. I'm your babysitter. As they talk MS. JONES screws a silencer on her gun. LYNN I'm not a baby. MS. JONES You're a big girl, huh? LYNN I'm not a big girl but I'm not a baby. MS JONES turns to face LYNN. MS. JONES Close your eyes. LYNN Why? MS. JONES I've got something for you. LYNN A surprise? MS. JONES You ask too many questions. You want the surprise or not? LYNN closes her eyes. MS. JONES makes to do the deed. Suddenly, HUEY appears behind her at the windshield. HUEY Good afternoon, madam. Hello there, little girl. With a crumpled up newspaper he begins vigorously rubbing the window. LYNN's eyes pop open. MS. JONES Hey, hey, what are you doing!? HUEY Just giving you the gift of a clean windshield. Only cost you a dollar. MS. JONES I don't want my windshield cleaned. HUEY You just think you don't want your windshield cleaned. MS. JONES No, I know I don't want it cleaned. Get out of here. HUEY Don't be like that. Think of me as the Moses of dirty windshields leading you through the desert of dead bugs. LYNN laughs. MS. JONES For the last time, I don't want it cleaned. Now get the hell out of here! HUEY It's already done. I've already done it. You have to pay me now. MS. JONES I don't have to pay you nothin'. HUEY You're going to deny me a lousy dollar after I've sweated like a pig giving you the gift of a clean windsheild? MS. JONES Fuckin' A. HUEY I don't think so. He reaches in the passenger's window. MS. JONES Hey! HUEY I think this is worth a dollar. He snatches the walkie-talkie off the seat. MS. JONES Goddamnit! Gimme that! She lunges across. HUEY dangles the walkie-talkie before her. HUEY Oh, we'll have to do better than that. MS. JONES You worthless piece of shit! Gimme that! She throws open the passenger door, climbs out. EXT. TAXI STAND - DAY HUEY backs away, taunting her with the walkie-talkie. She is caught between the van and HUEY, trying to keep her gun under wraps. MS. JONES Goddamnit, you fuckin' bum, come here! HUEY Gimme a dollar. MS. JONES Fuck you! She loses it, hauls out her cannon. BAM! HUEY's leg is shot out from under him. He ends up on his back. MS. JONES swoops down on him, trying to grab the walkie- talkie.. MS. JONES Gimme that thing! HUEY's wounded leg is twisted under him. INT. THE VAN - DAY Lynn is terrified by the gunfire and looks for someplace to go. EXT. THE VAN - DAY MS. Jones jumps on the wounded HUEY who is stunned but bravely clutches the Walkie Talkie under him. MS. JONES Goddammit, give it to me, you Sunnavabitch! She sticks the gun in HUEY's face. He tries to take it away from her, but she's really tough...and mad. The gun fires wildly, hitting a passing vehicle which careens left causing a chain reaction of COLLISIONS on the street. INT. THE VAN - DAY LYNN tries to open the van door to escape. The van's door flies open. MR. SMITH stands there, gun in hand.- MR. SMITH Daddy blew it. He points the gun. Lynn jumps back in terror and clambers back in the van. She goes over the seat as he FIRES... The back window SHATTERS. MR SMITH steps inside the van a step and aims over the seat. This time he won't miss. LYNN has nowhere to hide. BAM! BAM! But it isn't his gun firing. He stands, staring surprised, wide-eyed. He pivots... EXT. TAXI STAND - DAY ...and stares at GENE, soaking wet, holding the gun. MR. SMITH'S gun slides from his hand. MR. SMITH Very good...Mr. Watson. I told them...I could make a killer out of you. He drops to his knees, pauses, then tree-falls onto his face. ANGLE ON GENE He rushes forward into the van and reaches over the seat to pick Lynn up. ANGLE ON MS JONES AND HUEY She has heard the gunfire and turns her attention from HUEY to GENE. She raises her gun and aims at GENE and LYNN inside the van. HUEY reaches down, grabs his ankle and pulls his shattered artificial leg out of the pants-leg and applies it to the side of her head. She is knocked aside and out. HUEY There's nothing like a good wing- tip. INT. BONAVENTURE HOTEL - SHOESHINE STAND - LATER - 2:26PM At HUEY's shoe-shine stand, GENE and HUEY sit in the shoe- shining chairs. They are variously bandaged. LYNN is on GENE'S lap. She clings to him, .her face buried against him. They are guarded by COPS. HUEY What time is it? GENE looks at his wrist, gives an ironic smile. GENE Lost my watch. A hub bub catches their attention. ANGLE ON LOBBY AREA-BELOW - 2:26PM A handcuffed BRENDAN GRANT is lead out by STATE POLICE. PRESS flock around them - shouting questions. ELEANOR GRANT watches her husband taken out. The PRESS descends on her like ducks on bread crumbs. Questions litter the air like confetti. ELEANOR GRANT Any comment at this time would be most premature. Please, we'll have something for you in a couple of hours. Please... ELEANOR GRANT finally makes her way toward GENE. COPS keep the PRESS back. INT. BONAVENTURE - SHOESHINE STAND - 2:27PM ELEANOR GRANT looks at GENE for a long moment. ELEANOR GRANT I...1 would like to...thank you, Mister Wat... Gene. GENE NODS, SMILES. ELEANOR GRANT I would also like to apologize. GENE For what? ELEANOR GRANT For not believing you. GENE Believe me, I don't blame you. (to LYNN) This is the Governor, Lynn. Say hello. LYNN lets go of her father with one of her hands, gives a shy little wave. The Governor reaches out, strokes the little girl's hair. ELEANOR GRANT You have a very brave father, Lynn. LYNN looks up. LYNN He's a hero. ELEANOR GRANT Yes, yes he is. LYNN Dads are like that. She goes back to clinging to her father. Gene looks like he might cry he, loves her so much. GENE Can we go now? ELEANOR GRANT Of course. I'll get a car to drive you. GENE No, that's... That's OK. We don't need any help. We'll be just fine. Won't we, Lynn? LYNN nods. ELEANOR GRANT offers her hand to GENE. ELEANOR GRANT Good luck. GENE Same to you. ELEANOR GRANT walks away. The PRESS renews their assault. HUEY and GENE look at each other. Then: GENE Thanks for the shine. HUEY Thanks for the tip. GENE (to LYNN) Come on, kid. I gotta make a phone call. He gets up wearily, carrying his daughter, grabs his briefcase, and heads away. LYNN peeks back over his shoulder at HUEY, shyly waves. HUEY points at her. HUEY Kisses to you. LYNN laughs, comes to life. LYNN No, kisses to you! HUEY No, kisses to you. INT. BONAVENTURE - LOBBY - DAY - 2:30PM Across the lobby, GENE's watch lays on the ground. The crystal is smashed, the hands stopped. 1:31. A shoe steps on the watch, crushing it further. It belongs to the MYSTERY MAN. He stops, checks his perimeters and walks slowly toward the exit. FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Night Time (The Poltergeist Treatment).txt b/unformated_scripts/Script_Night Time (The Poltergeist Treatment).txt new file mode 100644 index 0000000000000000000000000000000000000000..05d24f98b3474f0b10cd9616de7dcc34f381e1f0 --- /dev/null +++ b/unformated_scripts/Script_Night Time (The Poltergeist Treatment).txt @@ -0,0 +1 @@ + NIGHT TIME [The "POLTERGEIST" Treatment] Written by Steven Spielberg March 31, 1980 Steven Freeling is a successful husband, father and provider. His innate practicality and above average intelligence have made him a successful real estate salesman for a large agency in a nearby community. He is well liked, and respected by his boss and co-workers, and is considered an upstanding member of his community. Nora Freeling, now 34, was married at 17 and pregnant at 18. She, with active help from Steven, is in the process of raising 4 children, ranging in age from 6 to 16. During this time she has also managed to juggle her family life well enough to earn a degree in teaching and is active in the community as a substitute teacher. Nora and Steven are close enough in age to their own children that the experiences of a strict upbringing (whippings, edicts and traditions) are still fresh memories. Thus has the generational pendulum swung. They govern their domain with chummy lenience, and serious, but good-natured discipline. They treat their children with respect and humanity, and are afforded the courtesy of being treated the same. They are a close, open and loving family, fairly typical of this neighborhood. The children, Sweeny, age 16, Angel, age 14, Lawrence, age 12, and Carol Ann, age 6, are children of the 80's. They watch more TV than they should, see all the "PG" movies at the local six-plex, and do just enough homework to get by in school. They participate in a "healthy" amount of sibling teasing and fighting, with subjects ranging from which TV show should be aired to who stole who's toys. They are gregarious children who all have "best friends," "2nd best friends," "3rd best friends"....... Carol Ann is typically precocious for a child with much older brothers and sisters. They family generally spends quiet evenings together with bed time dictated at 10:00. Elmer, the last member of the Freeling family, is a silver-buff Cocker Spaniel who has been a member of the family almost as long as the oldest child. TAGINA BARRINS is a 65 year old medium. She has studied under some of the well known psychics of the times and is a regular contributor to the National Enquirer; this being the only accepting outlet for her communications with "the other side." She is eccentric in her manner of dress and speech, but is sincere in her beliefs and very probably a true psychic. Why must all tales of ghosts and hauntings find their settings in gothic cobwebbed mansions, miles away from civilization? Where does an audience draw the line between what is real and what is fantastic? NIGHT TIME is the story of a frightening occurence; not in a haunted house on a hill, but in the center of middle class suburbia. The Freelings, a middle class family, live at 3443 Wanda; a four bedroom, three and one half bath, ranch style house. It is a typical tract house located at the end of one of the several hundred cul-de-sacs in a shopping mall district called Vista. As its name implies, the center of activity is a large modern shopping center complex. This large, child infested community holds five schools: two elementary, two junior high, and one high school. On the neatly manicured rolling hill fringes of town are a well used, man-made lake and the community's "rec-center." This Chicago suburb is one of many similar communities springing up every day. Its planners' goal: to bring families and the conveniences of life closer together. It is a quiet evening. The children have gone to bed allowing Nora and Steven their cherished hours alone. They go to their bedroom, turn the TV on to THE TONIGHT SHOW, (Something they do almost every night) and prepare for a well deserved evening of rest and relaxation. They are lulled to sleep by the voices on the television set. The rest of the evening's programming, the late-late movie, the broadcast of the local news, the sign-off consisting of the Blue Angels performing to strains of the Star Spangled Banner, color bars and test patterns, the local sign off....and finally, static, or white noise. It is through this blizzard of static snow, and beyond the slumbered breathing of Nora and Steven, that the first flash of paranormal communication occurs. The television moans something chillingly audible and the static non-picture rearranges into something indistinguishable. Steven turns over in his sleep, but does not awaken. The days that follow bring a stream of odd but not necessarily suspicious occurrences. Periodic phantom phone calls break the silence in the middle of the night. On the other end, nothing but static noise; similar to the static of the blank night television. Food disappears from the cupboards and refrigerator, and a special lemon meringue pie is marred by nibbling fingers. But with children in the house, and the children's friends, the blame is not easily fixed. The furniture, slightly at first, is rearranged. Just enough to annoy a meticulous mother; not enough to cause suspicion. Elmer, the family dog, begins wandering to a certain alcove in the house. He then sits there, facing the wall, occasionally whimpering toward it, reaching out his paw and scratching at the air. But, well, he's getting old, and if people can get senile, so can dogs. Angel, their 14 year old daughter, while cleaning out the garage, finds an old record of 19th century songs supposedly sung by pioneers as they crossed the country. It becomes her favorite album and is played all the time. She finds it soothing and somehow familiar. The songs become a part of her life; humming them as she studies, walks to school and does her daily chores. But then "things" start happening. Annoying things, inexplicable things, nerve fraying things. The television starts to change channels by itself; to news station and cartoons, specifically. The children, bright and inventive, are at first blamed for creating some gadget to "annoy and frighten your mother." Having proven innocence or at least protested enough, Steven goes next door to see if the neighbors are playing tricks with their remote controls. But the neighbors aren't home. And a phone call to a friend assures Steven that a friend's remote control wouldn't work on his set anyhow. The Freelings are bird lovers. They have built a beautiful aviary which has become the home of many different kinds, colors and sizes of birds. The aviary is located on a patio that is attached to the house. Steven and Nora awaken one early morning to find birds flying all over the house. At first, angry at the children for not closing the cage, Steve wakes them and takes them all downstairs for a lecture on closing and locking the bird cage. But upon entering the porch, everyone is silenced by something: the sight of the aviary torn open, a feat accomplished by something beyond human strength. But no noise had awakened them..."what is going on?" Windows and doors open and close, seemingly by themselves. In the middle of the night someone has to go downstairs to re-bolt a window or re-lock a door. Furniture is being moved around more obviously now. Nora, preparing a meal in the kitchen, hears someone swimming in the pool. She calls outside for whoever it is to get out and get ready for dinner. Her calls are ignored. She goes outside to the sight of something invisible doing what looks like laps in the pool (Or perhaps we, the audience, see something doing laps, but when Nora gets out there, it is gone). This could make her even more nervous, thinking that there is something wrong with her, or that it is someone playing tricks. One evening, as Angel is getting ready for bed, she takes off her clothes and moves to the bed when she is startled and almost screams. There is a lump in her bed, a lump shaped like a body. Recovering, she starts to scold her sister for scaring her, and turns back the covers to discover that there is nothing there. She turns to her sister's bed across the room. She is fast asleep. The usual bluish of the household lights turn different colors and hues, both day and night. Sometimes not enough to cause any more than squinting, or rubbing of the viewing party's eyes. Steve and Nora prepare to leave for a dinner with their friends. They have called a babysitter because the older children are going to a movie. As Steven is shaving, the 19th Century Music album is turned on full volume. This startles him and causes him to cut himself. He storms out of the bedroom, goes to the stereo, takes off the album and breaks it. He then yells for Angel and reprimands her for turning it on so loud. She hasn't done it. The other children deny it also. Steven accuses one of them of lying. "Record players don't just turn themselves on, you know." Angel, upset with her father for breaking her album, and for accusing her unjustly, goes to her room upset. She has to prepare for her date. She sits at her vanity looking at herself, and being angry with her father. She starts to put on lipstick. Looking into the mirror, she is putting her lipstick on someone else's face. She screams. This brings her image back to the mirror. She is frightened to look into mirrors from this point on. Anxious to get out of the house, Angel hurries her older brother, with whom she and several other friends are going to the movies, out of the house. The babysitter, a 15 year old teenager, arrives allowing Nora and Steven to be on their way. As she puts the children to bed, they talk her into telling them a story. She concedes, and tells them a ghost story. As she tells her story, actual events in the house upstage the fictional story she is telling them, adding to and punctuating the higher points. Terrified, the babysitter, negligent of her duties, runs screaming from the house into the night. Neighbors' lights go on, obviously disturbed by the screaming. The older children get home to find the little ones sitting together on the steps, no babysitter in sight. The parents return to a story of a deserting babysitter who says their house is haunted. The evening's events have everyone on edge, especially Steven and Nora. Nora sits at her vanity brushing out her long auburn tresses. As she brushes her hair somewhat mindlessly past her right shoulder, an invisible wind lifts her hair out from her brush and her hand. It arches her hair slowly over her head and lays it to rest on her left shoulder. She sits frozen, unable to speak, the empty brush in her hand, her wide eyes locked on her image in the mirror. At that moment, she feels something touching her cheek. We see two indentations, such as fingers would make, as her cheek gently caves in, opening her lips, and her face is tilted upward by an invisible hand. She then receives a "ghost kiss," a long, forced, passionate kiss, from which she cannot free herself. As she is released, there is a noise from the living /dining area. Steven bolts from their bathroom, sees the wide-eyed, almost panicked, expression on his wife's face. He grabs her hand, and together they walk down the hall to check the house. The furniture in the dining room has been totally rearranged. The chairs are on top of the furniture. Some of the furniture has been moved from room to room. They wake the children, pack lightly, pick up the dog and leave to spend the night at the local Holiday Inn. They will stay there for the evening, then move into Nora's sister's house within a day or so. The next day, unable to work because of the events of his home life, and not knowing what to do, he calls the Parapsychological organization within the University of Chicago. They all decide that the best idea for the Freelings is to spend another night at the hotel, while some of their experts spend an evening at their home with test equipment. That evening in the hotel room, feeling things are getting better, Nora and Steven make love. However, something happens. A spirit enters Steven's body, causing his personality and actions to be altered a bit. He does and says things to her that are obviously not of his doing. Things which Nora would find baroque, to say the least. His manner of love-making is altered, but rather than Nora being turned off, she is somehow excited by this change. What in essence is happening, is that she is making love to two men at the same time. Steven, and another spirit. Some of the things which he says harp back to an old time, long, long ago. The next morning at breakfast, things are a bit strained. A normal breakfast conversation is changed into a frightening experience when the six-year-old, Carol Ann, is talking about what she is going to do at school when all of a sudden, for no more than three or four words, her voice changes, slips two octaves, and a man's voice continues telling the story in the child's own words, but only for a few seconds before the young girl's voice returns. The whole family stops eating, and stares. It is obvious that the child is not aware of what has just occurred. Nora gets up. Puts her hand over her mouth, stares at Steven with a realization of the night before, and runs back up to their room. They come to grips with the fact that it might not be the house, but themselves that are "haunted." The desire for familiar surroundings, and the realization that no one's been hurt, causes them to go back home. On arriving home, they realize that their house has been invaded by an entourage of young, long-haired parapsychologists. Between their visit and the horrifying experience of the babysitter, the entire neighborhood realizes that something terrible is happening in their neighborhood. Also taking place at this time is a major archeological dig. This is going on not from from the Freeling's home (Perhaps instead of a dig, it should be just the building of some new homes in a tract, nearby). The excavators discover bones. Human bones. Thousands of them. It is discovered that what has been unearthed is an extremely large grave site. The results of a massive massacre of white settlers, perhaps 150 years ago. The bones had been shoveled into shallow graves in approximately a 100 acre perimeter. Children, babies, pioneer men and their women. Arrow heads, scalping knives-a horrible way to die. This discovery, along with the disclosure of the events at the Freeling household, cause experts to hypothesize that perhaps through a rift in the barrier between "now" and "then," and through one of the members of the Freeling family, as a mortal host, the spirits have found a gateway into the 1980's and American suburbia. Some hypothesize that they are looking for help to the next world, the world that they belong in, and the world that has been denied them. The Freelings are instantly descended upon by professional, pseudo-professional and crack-pot ghost hunters who all want to spend an evening in the house with the ghosts and their new-fangled equipment for recording spirits on film and tape. A psychologist informs the family that perhaps the spirits are attracted to one member of the family, and that a battery of tests could be run to determine who it was. Not wanting to place any kind of "blame" or ostracization upon any member of the family , they refuse the testing. Besides, what would they do with the "guilty" party? As the Freelings and their house become unwitting celebrities, the children are saddled with a barrage of torment from schoolmates. They are avoided. They are "the haunted people." One of the people who comes to help the Freelings is TAGINA BARRINS, a psychic, and regular contributor to the National Enquirer. She is a comic character who, though she comes off as a crazy old lady seeking attention, is probably the most helpful and authentic psychic of them all. She spends a lot of time just walking around talking to the house. At one point, TAGINA is awakened in the dead of night, and in a somnambulistic state, drives to the Freeling's home, is admitted by our unseen visitors, and walks into Nora and Steven's bedroom. They wake with a start, finding her talking to the television set static. The Freeling's neighbors, once very friendly, have been almost hostile. A petition has been started by the Eisenhowers to force them to leave the neighborhood. It is what Steven and his family want more than anything. They look for a home in the area in which Steven works, but are informed by his boss that if they think about bringing their bizarre ghostly rumors and cultist rituals to his 400 acres of suburban tranquility, he will be fired and will never work in real estate again. Within a short period of time, the Freeling neighbors have problems of their own. Screams and panic indicate that like a contagious virus, the haunting has spread: first to the Eisenhower home, then across the street to other neighbors; then down the block. Beyond causing frightened residents to harm themselves while fleeing ghostly manifestations, ghost fires are set. (A ghost fire is a phenomenon which can take place in any room of a house. Perhaps in the cold center of the haunting in that home. The fire will devastate everything in a specific area, but will not spread to other rooms or other floors.) Each haunting, in each home, is signaled by the television. Where there is a remote control device, the TV will flip on by itself in the early hours of the morning to a station that is broadcasting static noise. The manifestations originate there. Other items for possible incorporation would be: The manifestations love to materialize (not in humanoid form such as ghosts), and occasionally we will see ectoplasmic displays, perhaps emanating from the toaster in the house. (Ectoplasm is a spermatozoa-like substance that originates often from the fingers of mediums trying to contact spirits from the other side). But yet these ectoplasm manifestations could come from the family toaster, or from the microwave oven, or from anything naturally uncommon. Occasionally there is a manifestation of a whisp-like type of smoke in basic humanoid form that keeps changing shape and travels from one room to the next, until if finds the recipient is has been looking for. When found, the smoke will dissipate into the sleeping person. We will see their hair blow from their ear, as if a ghostly breath is whispering something privately, and chillingly. We might even hear mournful crying of "help me, help me" from perhaps a poltergeist. Beyond the toaster and the microwave oven, the ectoplasmic manifestations will finally develop first and foremost from the television sets that are on during static hours, as if a form is trying to climb out of the TV set and into your home to haunt you. This could be the climax of the story. Another aspect of the dog's being affected by the Haunting, could be for the family to see it roll over on its back, as if it is being tickled on the tummy; and without anything obviously petting it, he wags his right leg, the common reaction of most dogs when being tickled above the abdomen. One possible ending for NIGHT TIME could be the evacuation of the town by the townspeople. As we slowly pan through the empty town and its deserted homes, we see ghost fires being lit. The town burns, TV sets imploding; the burial ground has not been consecrated, and the souls are set to rest in peace. Addition to treatment dated July 31, 1980 A petition has been started by the Eisenhowers to force the Freelings to move from the neighborhood. Following various threatening telephone calls throughout dinner, Steven angrily calls the police and asks for someone to come out and investigate the situation. A call from the Freeling home or other families on this community suburb, protesting unusual occurrences. A policeman arrives approximately 8pm. He asks Steven and his family questions about recent threats, etc. And then falls into a serious discussion about the Freelings moving from the neighborhood all together. At least consider a temporary move. Growing hostility has been evident through periodic vandalism. Several windows over the last week with broken windows in their house and automobile along with other assorted mischief. Steven loses his temper at one point during their conversation and questions whether the local police department has really made a concerted effort to do anything to protect his family let alone control this mounting violence. As the conversation heightens almost to hysteria, an iron comes hurling through the living room plate glass window followed by the loud chanting of an angry mob outside, "Free us from the Freelings." Steven grabs the police man and screams, "What are you going to do about that?" pointing hysterically out the window. Flustered, the policeman frees himself from Steven's grasp and takes control by ordering Nora and the children into the living room on the floor out of the way of the windows. Things settle for a bit and the policeman and Steven move toward the front door. He reaches over to pull it open, gun drawn, he jumps back just as a frying pan flies by catching the corner of the door jamb. Out of sight, but with the door still ajar, the policeman yells orders for the crowd to disperse. Footsteps and scurrying can now be heard on the roof, Nora attempting to calm the children. Lightheartedly (on the surface), she heads to the kitchen to get the children some milk and cookies. It's obvious the crowd, laden with guns, frying pans, kitchen knives, crow bars, etc., are paying little attention to the policeman's demands. He reaches over to shut the door, the chanting continues, several octaves higher now. As the door slams, he yells to Steven to get on the phone for some backup units. As he says this, a huge gush of water pours out of the fireplace, sending a cloud of ashes and soot into the living room. The children jump up running and screaming. Nora, in the kitchen, sends a glass pitcher crashing to the floor, she screams and runs to the living room. Steven, angry and frightened, grabs the phone to call for reinforcements but the phone lines have been cut and the phone is dead. Nora and the children begin bolting the doors and windows frantically. The chanting outside continues. The youngest of the Freelings, Carol Ann, silently sobs in the corner of the couch holding snugly to a white stuffed bunny rabbit. In the midst of the terror, she suddenly stands and makes her way toward the window, a very content look on her face as she gazes outside at the angry faces. Her bunny drops and dangles from her hand as she slowly looks toward the sky. Slowly at first, then like locusts, real rocks begin descending from the sky, pummeling the mob. People begin screaming and running in all directions. Slowly various members of the family stop what they're doing and move toward the living room window. Within a few minutes, the yard is cleared of people and rocks cover what was a lawn. The family, relieved but uncomfortable, stare silently at Carol Ann, who softly giggles and caresses her bunny-off in a world of her own. IT'S NIGHT TIME story by Steven Spielberg. Amendments-August 18, 1980 August 8, 1980 A SUBURBAN HAUNTING WHERE A TYPICAL FAMILY IS MOLESTED BY GHOSTLY MANIFESTATIONS THAT FIND ACCESS TO OUR WORLD FROM THEIRS THROUGH THE TELEVISION SET AFTER BROADCASTING HAS CEASED. It further concerns the epidemic spread through the suburban neighborhood of this malevolent haunting. The carrier is the youngest daughter, (Carol Ann). Wherever she goes, "it" follows. The film aims to trace the mental disintegration of this American nuclear family unit as well as the psychological effects on an entire community, that ultimately sets off a vigil-anti action against the Freeling family. August 7, 1980 Nora is feeling very uneasy and tired from little sleep during the night. Steven has headed off for work and the children, except for Carol Ann, are all off to school. Jim and Joannie Bender live next door and are really the only close neighborhood friends the Freelings have. When the housing tract was announced, they were the first two families on the list after camping out in line for almost a week. A feat Nora now tends to regret. She telephones Joannie and asks if she'd like to come by for a morning cup of coffee. Joannie indicates that it's a pretty busy time for her, but before she finishes, Nora cuts in, edging on hysteria, almost begging. A little alarmed, Joannie quickly agrees and the Freeling doorbell is ringing within minutes. Nora, straining to be relaxed, gives her a big hug and talking a mile-a-minute heads for the kitchen with Joannie in tow. Certain things in the house are still disheveled from all the activity during the night. Joannie takes notice of this as she follows Nora to the kitchen. A concerned look crosses her face as she knows Nora is a meticulous house keeper. Nora hands Joannie a cup of coffee, and blurts out, almost in tears, "Joannie, could Steve and the kids stay with you and Jim tonight?" Joannie immediately assumes that Nora and Steven are separating, hence the frantic call. Nora immediately straightens that out but still avoids any discussion about ghosts. She reveals that they believe there have been burglars in the area and they're all feeling a bit uncomfortable staying there knowing they haven't been caught. Without hesitation from Joannie, everything is arranged. Steven arrives home after picking up the kids and finds Nora and Carol Ann patiently waiting in the living room with bags packed. She then announces she has made arrangements with Joannie and Jim for the family to spend the night at their house. Steven gets slightly irritated, feelinng that Nora is over reacting but quickly agrees to have dinner, but not necessarily spend the night. All the kids are delighted because the Bender children are close in age and they look forward to one big party. Following dinner, Lawrence suggests a game of charades. Nora and Joannie are in agreement but set the bed time hour at 10:00 pm. After a mass flurry of stacking dishes and clearing the table all the kids head to the living room, leaving the adults with coffee in the dining room. The kids choose sides and begin acting out various movie idols, etc. We're aware of the adults engaged in a loud political discussion and kids screaming clues, guesses, etc. We then focus our attention to Angel Freeling as she begins giving her clues. A couple of periodic wisecracks from her brother Sweeny and then out of nowhere, Angel freezes and glares into the fireplace with an absolutely horrified expression on her face. The laughter from the children stops instantly and we visibly see two of the children shudder and slowly turn and look in the direction Angel is staring. The fire wavers slightly as if there was a breeze. Then from upstairs in the bedroom the 19th Century music album can be heard full blast as Angel screams and throws her arms back outstretched and fighting as if being tired to a stake. Her face contorts in agony. She throws her head back and forth violently. All the children in the living room are stunned and just stare, mesmerized. Angel cries out several times, "No more fire! No more fire!" The violent jerking subsides for a moment as her eyes rise, still a horrific look on her face, her hair slowly rises as if someone has hold of it and is going to scalp her. Again she screams violently and her head drops limply in front of her. Her arms are still outstretched but she's become more resolved to the pain now, almost unconscious. We are aware that is has become a freezing temperature inside the room, frost has gathered on the windows even though it is the middle of July outside. We then become aware of very faint imprints of faces in the windows. Then writing starts to appear on the filmy condensation, like finger painting. All the screaming has brought Steven and Jim into the living room. Steven enters with an angry tone, "What the Hell..." his voice trails off as he sees Sweeny huddled in the middle of the floor rocking Angel, trying to comfort and calm her. The other children, with teeth chattering, still stare as if in shock. Steven and Jim's arrival breaks the silence. Carol Ann jumps up and runs hysterically to her father. Steven scoops her into his arms at the same time that one of the Bender children becomes aware of the faces in the windows, she screams, which sets off a chain of reaction screaming. Then as quickly as it happened, it ends. The blaring music stops, the frost runs off the windows. All the children are obviously shook. Joannie and Nora run in with a flurry of questions. None of which has an audible answer from the children. Nora looks at Steven, they realize the ghosts have followed them. Everyone has gathered with the kids in the kitchen to have warm milk and cookies to calm everyone's nerves. Angel is back to normal with little sign of her ordeal. All the kids decide they'll sleep in the living room except for the two youngest. Nora and Joannie are in fair agreement to this as they head up the stairs with the little ones. The other kids get the sleeping bags out and start rearranging the furniture for space. Lawrence Freeling is really impressed with the Bender's new Advent TV screen. Johnny Bender runs through the remote control with him and they loudly discuss how great the football games can be seen and they can't wait for the season to start. Soon things settle down, the kids are set and the grown-ups head upstairs. Half way up, Nora says "Ok, everyone quiet, it's way past bed time, lights out, no talking and no watching television." After the "good-nights" and the periodic giggling subsides, the room gets very quiet except for the usual night time creaks. About 30 minutes go by and we hear Lawrence, "psst...Johnny, are you awake?" There's a moaning sound, then "yeah...what'd ya want?" (Lawrence) "What time is it?" Johnny looks over at the big Grandfather clock on the far wall. "It's 2:00 in the morning. Why are you still awake?" Lawrence ignores the question and says "How do you turn on the TV...and make sure there's no sound." (Johnny) whispering, "You're nuts, go to sleep, there's nothing on at this hour." (Lawrence) "Wanna bet? We've got to get it just as it signs off." (Johnny) "You mean to tell me you like to sit and watch the snow or something?" (Lawrence) "Something like that, you'll see." Reluctantly Johnny craws out of his sleeping bag and over to the set; flips it on just in time to see the jets go by on the sign off. (Lawrence), "Great, perfect timing." (Johnny) "Don't you think there's been enough weird shit tonight?" (Lawrence) "Oh come on be a sport, just watch." The two boys crawl back into their sleeping bags and with their chins resting on folded arms, they stare in great anticipation at the Advent screen and the mass of static snow. Shortly we see both of the boys drift off to sleep trying as hard as they can to fight staying awake with no luck. Just as they drift off, the images that began to appear in the Freeling home begin to slowly take shape at the Benders. It's 3:00 am, the Grandfather clock chimes on deaf ears. August 8, 1980 Carol Anne and her best friend, Jeanette are playing house upstairs in Carol Ann's bedroom. They have dressed up in various old clothes of Nora's and some of her jewerly and hats. Tea has been served though a minature little tea set which Carol Ann has obviously used often with all the chips and cracks, etc. Both girls are talking a mile a minute to their dolls. Although this is make believe, like any little girls six years old, they're playing very seriously. Carol Ann wear an old hat of her mother's. On the left side holding up the netting is an antique stick pin which Nora found at one of the local antique shops. The hat is obviously too big for Carol Annand as she bends down to serve her doll some tea, the hat tumbles off onto the table. Jeanette giggles, grabs the hat and puts it on her doll. Carol Anne, at that point, becomes very serious, rises from the table and moves over to the record player. She then puts on the 19th Century record; at exactly this moment, Jeanette begins gazing at the stick pin in the hat and in slow motion she reaches outand removes it from the hat. Carol Ann, standing sternly and motionless by the record player in the background. In the foreground, Jeanette takes the pin, as if it were a buck knife and drives it slowly into the chest of her doll. She then removes her hand leaving the pin embedded. At the head of th epin we reveal a carving of an Indian Fire God (something to be established earlier in the story possibly). Then instantly, Carol Ann reels around, confronts Jeanette and begins speaking like an adult (or perhaps in an Indian language), all signs of being six years old are gone except for her physical appearance. Then looking straight at Jeanette says "She must die." Jeanette turns from Carol Ann, pulls this pin from the chest of the doll and with ferocity, drives the pin into the chest a second time. Carol Ann, still gazing in a trance, looks at Jeanette, then the doll and the doll burts into flames. Jeanette, as if snapping out of a dream, jumps back, startled and runs for the door. The door then bursts into flames. Jeanette, terribly frightened now, begins to scream and cry. The door and the doll blazing away brings Nora frantically up the stairs. Carol Ann up to this point has not moved. At the sound of her mother's voice, she returns to he rnormal voice, "Mommy, mommy make the fire stop!" By now, the neighbors have called the fire department. Fire trucks roar up to the house and a ladder is quickly thrust up to the 2nd floor, bringing the girls to saftey. As the fireman descends, he says under his breath, "oddest thing, only burned a doll and a door, didn't spread to any other part of the house. Damnest thing I ever saw." August 14, 1980 Toward the end of the picture, we should reveal that Carol Ann is beginning to "get to" Nora. Nora has already felt trapped over the past few years. She married at a very young age. She's bright and enthusiastic and has begun to voice her discontent to Steven. It's obvious that Carol Ann was not a planned baby as noted by the ages of the other children. NIGHT-NORA'S BEDROOM Nora is sound asleep; it's her first night alone in their new house. Steven is on a three day business trip. Even with the kids and the dog, Nora has always been a bit nervous without him there. Carol Ann comes in after Nora has finally drifted off to sleep. She stands quietly by the bed, then softly at first, "Mommy" pause..."Mommy"....pause. Nora wakes up. Groggily, "What is it honey?" Carol Ann, "I got somethin' to tell you." Nora, "What honey?" Carol Ann, "I got somethin' to say." Nora (getting a little irritated), "Then say it honey, I want to go back to sleep." Carol Ann, "Can I get up on the bed to say it?" Nora, "Sure..." she pats the side of the bed, "Now what is it you have to tell me?" Carol Ann climbs up and looking straight into her mother's face but with a distant stare, she says "It's Night Time, It's Night Time...." Nora is visibly unnerved and then windows above Nora's bed fly open; she screams. Sweeny comes running into the room. Nora, slightly embarrassed but obviously feeling very distant to Carol Ann. "It's nothing," she says, "Carol Ann just startled me, that's all." Sweeny, not quite sure what to make of the situation, leads Carol Ann out of the bedroom. He looks in the door, after he's tucked Carol Ann in, at his mother, smiles and says "You gonna be alright?" Nora, still a little unsettled, "Just fine, see you in the morning. Just the jitters with your dad gone." The next day, Nora tries to observe Carol Ann from a distance. Too many unexplained things have been happening and Nora is beginning to doubt her own children. While doing relatively routine chores, a thought comes to mind. She goes to the phone and calls information for a locksmith. "Would it be possible to install a lock on a bedroom door today?" pause..."Oh thank you. 3:00 this afternoon. Great." She hangs up. A look of relief crosses her face. [the next page is missing] Sweeny has fallen asleep in the rocking chair next to the bed. A thoughtful look crosses her [Nora's]face as she grabs her robe and heads for the door. A huge back-hoe can be seen past the gentleman at the door. "We've come to start diggin' the pool area, ma'am." Nora, with a slight look of embarrassment, "Oh, I'm so sorry, I completely forgot it was Saturday-I"ll show you around to the back yard." The door closes. As she comes back in, the rest of the family has come to life, the record player is already full blast up stairs, Carol Ann transfixed herself in front of Saturday morning cartoons. Nora exits the kitchen, where Angel has already started breakfast. "Hi mom, I didn't know they were going to start digging the swimming pool today?" Nora, "I totally forgot. I even forgot what day it was. God, I wish your father would come home." Angel, "I can't wait for a pool." She can tell that Nora isn't really listening, her head buried in the refrigerator. Angle (while turning the bacon), "Mom, what happened last night? I heard screaming. Sweeny said you'd had a nightmare. It must have been terrible. Do you remember any of it?" As she is saying this with her head still buried in the refrigerator, Carol Ann wanders in, bunny in tow, and slides unnoticed under Nora's arm to peer in the refrigerator. Nora goes to close the refrigerator, catches a glimpse of Carol Ann and lets out a blood-curdling scream. Carol Ann, obviously frightened, drops to the floor and bursts into tears. Angel at this point also screams and sends the spatula and bacon grease flying everywhere. Nora, more embarrassed than anything, bends down to comfort Carol Ann, she looks up at Angel. A big grin spreads across her face and they burst into hysterics. Nora:" I guess I'm still a little shook from last night." Later that afternoon, nerves still a little frazzled, Nora mentions to Sweeny that it might not be a bad idea for him to take the other kids to a movie that night. Sweeny is not overly thrilled about the idea, but also senses the urgency in his mother's voice. He agrees and they all head off that evening to see "Fantasia" at the local theater, leaving Nora and Elmer home for a quiet evening. Nora is obviously relieved. She settles into a good book and a warm fire and we're aware that it has begun to rain. She calls Steven and gives him a run down on the events of the day but doesn't mention the series of events with Carol Ann. They discuss the new pool, Nora "With all this rain, I hope we don't end up with too much mud for the cement to set in...when are you due home? I really miss you. You know I hate staying in this house when you're not here." We hear him mumble a response. Nora, "I know the kids are here and Elmer's right here keeping me company but it's not the same...." They both say goodbye at the same time a deafening clap of thunder goes off, startling Nora. It's now pouring rain. Nora flips on the television for some company and heads to the kitchen for a cup of tea. Then Elmer begins to act very strange. He sits staring at the wall as he's been known to do on occasion. At this point though, it makes Nora nervous. She calls his name several times with no reaction. He then suddenly bolts for the backdoor. She follows him and looks out into the pouring rain. She tries the outside light but the bulb is burned out. Leaving the door slightly ajar, she grabs her tea and heads for the living room. Very shortly afterward she doses off. She wakes with a jerking motion. She sits up, some sitcom is blaring away with canned laughter, we still hear the pouring rain, she looks at her watch, the kids will come home in an hour or two. Nora rises to stretch and suddenly out of nowhere the 19th Century record album begins blaring away from Carol Ann's and Angel's room. Noticeably disturbed and turning lights on as she goes, Nora heads upstairs to check. As she slowly enters the bedroom, the arm of the stereo ejects over to the side and the stereo shuts itself off. Nora nervously cases the room. Satisfied that it was nothing overly unusual as the girls have left the stereo on before, she heads for her bedroom and gets ready for bed. She stares at herself in the bathroom mirror. Slowly she reaches up and touches the dark circles that have begun to appear under her eyes, she then pulls slightly at the corners as if remembering what it was like without the little wrinkles that now appear there. Then she opens the cabinet, pulls out the jar of cold cream and begins slowly removing the makeup from her eyes and face, staring lethargically in the mirror. The tap water goes on and she begins rinsing her face with several handfuls of water. As the splashing continues we see at the far left corner of the mirror a very small trickle of blood begin to spread in very fine lines along the natural ridges in the glass of the mirror. Her face covered with water she swings around with her eyes closed to grab a towel. Dries her face and reaches over to turn on the facets in the bathtub. Still not noticing the trickling blood on the mirror, she reaches underneath the sink for her favorite bubble bath. She then climbs in the tub, pours plenty in for lots of bubbles. She then adjusts the force of water from the taps, settles back, eyes closed and totally relaxed. As the bubbles begin to rise in the tub (and for the first time in our frame) we see that they are pink in color. Nora, eyes still closed, sees nothing. Moments later we hear Elmer barking up a storm. This rouses Nora. She opens her eyes, sees blood now pouring from the faucet instead of water, screams and flies out of the bath. As she grabs a towel she sees the mirror-hysterical, she runs to the bedroom and grabs her bathrobe. By now Elmer is not only barking but whining as if hurt. Nora goes tearing downstairs out the back door yelling "Elmer, Elmer.." It's raining so hard that Nora is soaked within seconds. She hesitates for a moment and almost heads back inside, but Elmer cries again and she strains to make out his shape in the distance. It's pitch black as she edges her way out onto the patio. Suddenly the ground gives way and she plunges into the freshly dug pit for the new swimming pool. She attempts to grab the side but the freshly tilled soil is now thick and gooey muck. Nora sinks quickly up to her waist in the quick-sand-like mud. She sees one of the pool lights hanging by a wire and struggling, tries to grab it. It has now begun to rain even harder and panic is definitely beginning to set in with Nora. Desperately she grabs at the light wire, catches it and pulls as hard as she can. At that moment, a wagon wheel comes tumbling through the mud along with a sea of skeletons and mummies. One after the other she tries to push off them off of her as they bob up and down out of the thick gooey mud falling in all directions. Many of the skeletons have severed limbs, old bullet holes through the chest and head. Nora is beyond the terror that allows you to scream and is consumed with panic. A bolt of lightning strikes very close to the pool area and suddenly all the pool lights (just hanging by wires, no covers) go on, illuminating this sea of decay. Nora finally gets out a loud scream which dissolves into sobs....we CUT TO: The kids coming out of the theater. Carol Ann is sound asleep in Sweeny's arms. Lawrence is beside himself about the film. As they make their way back to the house, we hear bits and pieces being reenacted by Lawrence. They all clamor inside the house, whispering and giggling "Shh...Don't wake Mom." As a few houselights go on, we are faintly aware of streaked mud on the carpet and hand prints on the wall. The children stare stunned and frightened. Sweeny directs everyone into the living room. Carol Ann, who remains sound asleep, he stretches out on the sofa. He motions to Lawrence and Angel to stay with Carol Ann. He then makes his way up the stairs, following the trail of mud along the banister, hand smudges on the wall, mud covering the door knob and light switch into Nora's room. Dresser drawers are thrown open, a bathrobe covered in mud is draped on the bed. Sweeny then follows the trail into the bathroom. Horrified by the bathtub full of blood, he jumps back and turns to run out of the bathroom. He just catches a glimpse of the mirror as he smashes right into Angel (who had wandered up the stairs in search of Sweeny), they both scream. Lawrence yells from down below. "What's wrong?" Sweeny and Angel grab each other, Sweeny shudders and Angel begins to cry, "Oh Sweeny, what's happened to Mom?" Comforting as best he can he leads her down the stairs back to the living room. Carol Ann still sleeps soundly. Sweeny moves over to the picture window and realizes Nora's car is gone. A bit relieved, he turns back to Angel. "The car is gone...Mom should be alright. We gotta call Dad." He rushes to the phone and dials. Steven answers the phone. Sweeny with a slight loss of control in his voice now, "Dad, oh God Dad, you've gotta come home tonight!" pause, "No, Mom's gone." Pause, "I don't know but there mud everywhere and blood," (he chokes a little bit), "It's awful, and we can't go to the neighbors, they all think we're possessed." Long pause while Steven talks, Sweeny, "Ok Dad, yeah they're all fine, we're in the living room, Carol Ann is sleeping," pause..."Bye...please hurry." Sweeny hangs up the phone and looks into Lawrence and Angel's frightened faces, "He's on his way. Everything's going to be OK. Dad said about an hour and a half, he'll try to call the police but I'm sure they won't come..." Under his breath "they never believe us anyway." CUT TO: Nora driving in a transfixed stare, headlights lighting her face from ongoing cars. We see that her hair is caked with mud along with her arms and face. She pulls into a Motel 6 about 30 miles outside of town, checks in, and immediately goes to call Steven. There's no answer. She dials again, still no answer. She looks at her watch, it's 11pm. Frustrated, she grabs her bag and heads across the street to a little local dive cafe called Indian Palms. She fumbles around with the menu. Nothing looks very good, the page flips back revealing a historical overview of Indian history in the area with a map and pictures from the early 1800's. Nora barely pays attention to what she's looking at until she sees a small picture of a ghastly massacre, an artist's conception of the actual event. She continues reading and realizes that the massacre took place at the exact location of their sub-division. She stuffs the menu in her purse and peels out of the parking area back toward town. We cut to the children at the house. All the younger children have dosed off, Sweeny lies wide awake cocking his head at every sound. Finally he gets up and walks into the kitchen. He opens the refrigerator and the light from inside spills onto the floor in front of him. The storm front seems to be moving on and the pounding rain has turned into a howling wind. He reaches in to grab some milk just as the wind gusts through the back door, then slams it shut causing Sweeny to jump and drop the cartoon of milk. Sweeny moves toward the back door, tries the light switch, nothing happens. He slowly opens the door, "Elmer, hey boy...where are you?" He then sees pool lights, or rather an eerie glow emanating from the freshly dug hole in the back yard. As he steps out onto the patio, cautiously moving toward the illuminated pit, he gets within a few feet and a skeletal head emerges slowly over the edge. Horrified, Sweeny loses his balance and falls backward into the mud along the edge. He quickly scrambles to his feet, sliding across the patio and into the house, never looks back. He then slams the door shut and locks it. He runs to the living room. He sees Carol Ann sitting up, her back to him. All we hear is a humming lullaby. He moves around to the front of her. She doesn't look at him, only stares out the window, singing to her bunny, "It's night time, it's night time..."Still panicked, he wakes the other two kids, "C'mon we gotta go!" He looks at Carol Ann, hesitant at first, "You too, let's go." He reaches out to grab her hand. She looks at him sternly and says, "No." Sweeny stares for just an instant and then reaches over to pick her up. Angel steps in and says,"Here Carol Ann, I'll hold your bunny." Carol Ann turns to both of them and in a low rumbling male voice says, "NO," then pulls the head off her bunny, stuffing flying everywhere. From Carol Ann's POV looking at the shocked faces of Sweeny and Angel, we see a ghost fire burst into flames in the neighbor's house and Jim and Joannie Bender come running out into the street. Then headlights come through the living room window playing across the wall and over to Carol Ann's face. Sweeny, Angel, and Lawrence turn to run toward the door and it too bursts into flame, just as we hear Steven's voice from outside the door,"Sweeny, are you in there?" Sweeny terrified, "Dad, we've got to get out of here. She'll burn the place down." His voice trails off as we hear a chair come crashing through the picture window. Quickly Steve helps all the kids outside. He yells for Carol Ann, Sweeny grabs his arm, "No!" he screams. "She should stay." Steven looks at Sweeny dumbfounded. Just then, Nora drives up and comes running to the four of them. Steven starts to go in after Carol Anne, Sweeny practically tackles him, "No Dad, please." Nora rushes over, "Oh God, believe him he's right..."she buries her head in his chest. We look up and see Carol Ann get up and walk slowly, still humming, toward the back door and out into the yard, moving toward the pit. Steven and Nora grab the kids and head for the car. We then realize that ghost fires have started throughout the neighborhood, even in those houses that have not yet completed construction. People are running with few belongings to their cars, some screams and crying can be heard. CUT TO: Morning. We pan past a "No Trespassing" sign and reveal a huge digging site in progress. To end similar to "The Birds," with no real answer in sight. "It's Night Time:" Final Set of Revisions These final revisions to the treatment, dated August 23, 1980, change the "white settlers killed by Indians" buried under the neighborhood to simply a regular grave yard that Steven's company decided to build on top of. It also amps up the danger to Nora in the scene where she is attacked by the ghost in her bedroom before running outside and falling into the newly dug pool. Finally, it adds an early scene showing the changing of the TV set channels by unseen forces (and also renames "Lawrence" to "Robbie"). August 23, 1980 Steven Freeling comes from a family of real estate brokers. His father was selling houses when they were going for a thousand to five thousand dollars. Both of his brothers are still in business with their Dad and Steven went out on his own. His reputation locally is one of the best. He now heads up a huge firm responsible for the last five or six major land development in the area. The newest being a housing development designed to handle at least 30,000 people. Ground was broken on the area little over two years ago and families started to move in about 6 months ago. Steven is in charge of showing the houses, clearing escrow, arrangements for personal kitchen designs, etc. Approximately all the houses have been filled-it sits in the middle of several other housing development and is separated by rows of poplar trees. A grave yard had stood here for years which accounts for the delay in developing the area. Through a lot of underhanded payoff with the Planning Commission, etc., Steven's company had gotten the ok to build provided they moved the graves to another location. Realizing this would be wildly expensive, they had publicized transferring the grave yard when in fact they simply moved the grave stones to another location but covered the existing grave site with about seven feet of fill and about a foot of dirt, quickly got the foundations laid and before anyone really knew what happened, installed housing tract. Steven was never involved in the negotiations but served as a representative in the community for the company, therefore becoming a target for the ghosts' retaliation. This sequence will begin with Nora combing her hair at the vanity-however, no one else is home, Steven is on a business trip and the kids have gone to the movies to give Nora a little peace and quiet. Fairly deep in thought, Nora combs through her hair in long slow strokes. Then without warning, the brush lifts her hair from one side of her head and lays it down on the other. Nora stares in a state of shock. Indentations from fingers can then be seen as if a hand is grabbing her face and turning. Nora is still in a state of shock, unable to move. We then see her lips press in, her nose shift off to the side a bit and we realize she is being kissed by a ghost. The indentations leave her face and she sits shocked for a few minutes. Then in the mirror, she sees a human form take shape from a smoke and gaseous material. Nora slowly rises from her chair and begins to move toward the door. Staring at the smoke-like shape which is now dissipating, she reaches up to turn on the bedroom light. Just as she switches it on, it immediately goes off. Quickly she turns it on again and again something switches it off. She gasps a little and turns to run down the hall and the stairs to the living room turning lights on as she goes but they go off as quickly as she turns them on. She then turns on the television set which immediately goes off. She runs for the phone, which is invisibly taken out of her hand and hung up. Truly frightened, she runs upstairs again, half way up the stairs as if someone stepped on the back of her dress, she falls. We then see a hand print as if something were gripping her ankle and it begins moving up her leg. Nora stares for a moment in horror and then begins to resist, trying to pull herself up the stairs, reaching desperately for the banister. As she breaks free she runs into the bedroom, the door slams shut moments later and the smokey, gaseous form begins to appear again. We can only see it with the moonlight streaming through the window. Nora sits shivering on the corner of the bed with her hands crossed over her chest holding onto her shoulders. We're then aware of the hand indentations again which grab her wrists and slowly but forcefully uncross her arms and drop them to her side. Nora, under her breath, on the verge of tears says, "No, no please don't hurt me..." As she says this, her night gown is slowly ripped off her shoulders and she is pushed down on the bed. We then see the hand indentations grasp her breast with a strong massaging effect and move down to her underwear which is gradually slipped back on the bed. Not able to grab at any human form she takes hold of the sheets for leverage to try and get out of the ghost's grasp. In the struggle she rolls off the bed, but we're aware that she still can't get up. Her arms are suddenly thrown back straight over the top of her head and then her legs are pulled apart forcefully, we can see on Nora's face sheer terror beyond the ability to cry. Then the sheet over the top of them begins to rise up and down rhythmically, and several times we see her face being kissed. Then the sheet falls away from her as if someone rolled over and took the sheet with them. Nora, for an instant, stares at the sheet, then jumps up and runs for the door grabbing her robe on the way out. She gets downstairs, grabs her purse and heads for the front door. She takes hold of the handle and finds that she can't turn it. She pulls frantically to no avail. She then runs for the back door, quickly switches on the outside light and runs out on the patio. Finding it difficult to see, she runs into the patio table, and knocks a chair over just as the outside light goes off. Now, truly horrified she starts backing out onto the lawn. A clap of thunder goes off startling her, she turns and steps right into the freshly dug pit for the new swimming pool. Another clap of thunder, a bolt of lightning and a huge downpour starts. The freshly tilled soil turns into a gooey quick sand like mud very quickly. One end of the pool is very steep and as Nora tries desperately to climb out the grade is so steep she slides back each time. After the second or third slide, the mud is now up around her waist, another clap of thunder and suddenly the pool lights come on. Nora looks around for a moment and suddenly we see areas in the mud that start to rise up and then shafts of mud as the pouring rain hits these, we realize they are skeletons, more and more bobbing to the surface, then again a bolt of lightening strikes and short circuits the pool lights, causing a strobe effect. In sheer terror, eyes shut, Nora begins screaming, clawing frantically trying to make her way to the shallow end of the pool. Just as she nears the edge a hand reaches out to help her. With one hand resting on the pools edge and the other in this hand, she looks up into the eyes of her ghost, a smoke like apparition. For the first time, we can make out a human like face. Nora screams and goes sliding down back into the sea of skeletons only to come face to face with the corpse of the ghost she just saw. The last image we see is Nora huddled in the corner of the pool, strobe lights going and a sea of bobbing skeletons, rain pouring down and occasional lightening and thunder. Another revision page dated August 23, 1980 Steven sits in the living room one evening after a hard day's work watching Monday Night Football with his two boys, Sweeny and Robbie (change name from Lawrence in previous treatment). Just as the touchdown pass is thrown, the television goes to snow. Steven jumps up furious and starts screaming at the neighbors. He runs over to Jim Bender's house, who is also furious and finds that he thinks that Steven's remote control changed the channel on his set. They argue fervently for a few minutes and Steven heads back to the house convinced now that he will just move the TV somewhere else in the house as to avoid the neighbor's remote control. During the night the television set clicks on and starts racing through the channels till it comes to snow. This wakes Steven with a start. He jumps out of bed, throws on a robe and races over to the neighbor's house. After pounding on the door, Jim Bender answers. Steven immediately flies off the handle accusing him of disrupting the household. Jim seems a bit flustered saying he was just about to head over to his house because his set went on voluntarily. Steven sees this as just an excuse but concedes. This remote control duel continues for a few days, until, one evening while the family is watching a late movie, the channels begin racing around until they come to snow. Steven jumps up and races outside over to their neighbor's house. Peeking through the window, he realizes they are gone. He tries the door several times and walks around to the back of the house. He finds this a bit disquieting and heads back to his house. As he turns his back, we are aware that the TV set in the neighbor's house clicks on, just as we hear a scream from the Freeling home. Nora seems a little more unnerved as Steven enters the house, insisting that some form came out of the television set. Steven passes this off as her imagination, but doesn't let on that the neighbors weren't home to cause the channel changing....thus begins the silent invasion of the Freeling home through the static snow of their television sets. \ No newline at end of file diff --git a/unformated_scripts/Script_Nightmare Before Christmas, The.txt b/unformated_scripts/Script_Nightmare Before Christmas, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..c985c1fa2d37910085dd96369f792ed0cfc976a2 --- /dev/null +++ b/unformated_scripts/Script_Nightmare Before Christmas, The.txt @@ -0,0 +1 @@ +The script to Tim Burton's The Nightmare Before ChristmasNARRATOR'Twas a long time ago, longer now than it seems, in a place that perhaps you've seen in your dreams. For the story that you are about to be told, took place in the holiday worlds of old. Now, you've probably wondered where holidays come from. If you haven't, I'd say it's time you begun. This Is HalloweenSHADOWBoys and girls of every ageWouldn't you like to see something strange?SIAMESE SHADOWCome with us and you will seeThis, our town of HalloweenPUMPKIN PATCH CHORUSThis is Halloween, this is HalloweenPumpkins scream in the dead of nightGHOSTSThis is Halloween, everybody make a sceneTrick or treat till the neighbors gonna die of frightIt's our town, everybody screamIn this town of HalloweenCREATURE UNDER BEDI am the one hiding under your bedTeeth ground sharp and eyes glowing redMAN UNDER THE STAIRSI am the one hiding under your stairsFingers like snakes and spiders in my hairCORPSE CHORUSThis is Halloween, this is HalloweenHalloween! Halloween! Halloween! Halloween!VAMPIRESIn this town we call homeEveryone hail to the pumpkin songMAYORIn this town, don't we love it now?Everybody's waiting for the next surpriseCORPSE CHORUSRound that corner, man hiding in the trash canSomething's waiting now to pounce, and how you'll screamHARLEQUIN DEMON, WEREWOLF, AND MELTING MANScream! This is HalloweenRed 'n' black, slimy greenWEREWOLFAren't you scared?WITCHESWell, that's just fineSay it once, say it twiceTake the chance and roll the diceRide with the moon in the dead of nightHANGING TREEEverybody scream, everybody screamHANGED MENIn our town of HalloweenCLOWNI am the clown with the tear-away faceHere in a flash and gone without a traceSECOND GHOULI am the "who" when you call, "Who's there?"I am the wind blowing through your hairOOGIE BOOGIE SHADOWI am the shadow on the moon at nightFilling your dreams to the brim with frightCORPSE CHORUSThis is Halloween, this is HalloweenHalloween! Halloween! Halloween! Halloween!Halloween! Halloween!CHILD CORPSE TRIOTender lumplings everywhereLife's no fun without a good scarePARENT CORPSESThat's our job, but we're not meanIn our town of HalloweenCORPSE CHORUSIn this townMAYORDon't we love it now?MAYOR WITH CORPSE CHORUSEveryone's waiting for the next surpriseCORPSE CHORUSSkeleton Jack might catch you in the backAnd scream like a bansheeMake you jump out of your skinThis is Halloween, everybody screamWon't ya please make way for a very special guyOur man Jack is king of the pumpkin patchEveryone hail to the Pumpkin King nowEVERYONEThis is Halloween, this is HalloweenHalloween! Halloween! Halloween! Halloween!CORPSE CHILD TRIOIn this town we call homeEveryone hail to the pumpkin songEVERYONELa la-la la, Halloween! Halloween! (etc.)EVERYONE[applause]WITCHESCacklingCLOWNIt's over!BEHEMOTHWe did it![tummy bump]WEREWOLFWasn't it terrifying?HYDE & CYCLOPSWhat a night!MAYORGreat Halloween everybody.JACKI believe it was our most horrible yet! Thank you everyone.MAYORNo, thanks to you, Jack. Without your brilliant leadership - JACKNot at all Mayor.VAMPIRE (fat)You're such a scream, JackWITCHYou're a witch's fondest dream!WITCH (little)You made walls fall, JackWITCHWalls fall? You made the very mountains crack, JackDR. FINKELSTEINThe deadly nightshade you slipped me wore off, Sally. SALLYLet go!DR. FINKELSTEINYou're not ready for so much excitement!SALLYYes I am!DR. FINKELSTEINYou're coming with me!SALLYNo I'm not![Sally pulls out the thread that's holding her arm on]DR. FINKELSTEINCome back here you foolish oaf! Ow!CREATURE FROM BLACK LAGOONOoo Jack, you make wounds ooze and flesh crawl.JACKThank you, thank you, thank you -- very muchMAYORHold it! We haven't given out the prizes yet! Our first award goes to the vampires for most blood drained in a single evening.[applause]MAYORA frightening and honorable mention goes to the fabulous Dark Lagoon leechesSAX PLAYERNice work, Bone Daddy.JACKYeah, I guess so. Just like last year and the year before that and the year before that.[entering graveyard] Jack's Lament Performed by Danny ElfmanThere are few who'd deny, at what I do I am the bestFor my talents are renowned far and wideWhen it comes to surprises in the moonlit nightI excel without ever even tryingWith the slightest little effort of my ghostlike charmsI have seen grown men give out a shriekWith the wave of my hand, and a well-placed moanI have swept the very bravest off their feetYet year after year, it's the same routineAnd I grow so weary of the sound of screamsAnd I, Jack, the Pumpkin KingHave grown so tired of the same old thingOh, somewhere deep inside of these bonesAn emptiness began to growThere's something out there, far from my homeA longing that I've never knownI'm the master of fright, and a demon of lightAnd I'll scare you right out of your pantsTo a guy in Kentucky, I'm Mister UnluckyAnd I'm known throughout England and FranceAnd since I am dead, I can take off my headTo recite Shakespearean quotationsNo animal nor man can scream like I canWith the fury of my recitationsBut who here would ever understandThat the Pumpkin King with the skeleton grinWould tire of his crown, if they only understoodHe'd give it all up if he only couldOh, there's an empty place in my bonesThat calls out for something unknownThe fame and praise come year after yearDoes nothing for these empty tears[leaving graveyard and entering forest]SALLYJack, I know how you feel. [Sally gathers herbs][back at Dr. Finkelstein's castle]DR. FINKELSTEINSally, you've come back.SALLYI had to.DR. FINKELSTEINFor this?[showing her arm]SALLYYes.DR. FINKELSTEINShall we then.That's twice this month you've slipped deadly nightshade into my tea and run off --SALLYThree times!DR. FINKELSTEINYou're mine you know! I made you with my own hands.SALLYYou can make other creations. I'm restless, I can't help it.DR. FINKELSTEINIt's a phase my dear, it'll pass. We need to be patient that's all.SALLYBut, I don't want to be patient.[forest]ZERObarkJACKNo Zero, not now. I'm not in the mood.ZERObarkJACKAll right. [giving Zero a rib from himself] Here ya go boy.[Zero gets rib and shows off his nose][Back to Halloweentown]MAYORMorning gents [to the band][humming This Is Halloween, walks up to Jack's front door and rings bell]MAYORJack, you home?[getting worried, switches face and knocks with desperation then switch back to happy face]MAYORJack? I've got the plans for next Halloween. I need to go over them with you so we can get started. MAYOR (with worried face)Jack, please, I'm only an elected an official here, I can't make decisions by myself. Jack, answer me!![falls down steps]ACCORDION PLAYERHe's not home.MAYORWhere is he?SAX PLAYERHe hasn't been home all night.MAYORooooo[back to forest]JACK(yawning) Where are we? It's someplace new.ZERObark barkJACKWhat is this?[Jack sees Valentine's tree, shamrock tree, Easter egg tree, turkey tree]JACK[gasps][sees Xmas tree][turns knob and gets sucked in]ZERObark barkJACKWhoa!!!! What's This? Performed by Danny ElfmanWhat's this? What's this?There's color everywhereWhat's this?There's white things in the airWhat's this?I can't believe my eyesI must be dreamingWake up, Jack, this isn't fairWhat's this?What's this? What's this?There's something very wrongWhat's this?There's people singing songsWhat's this?The streets are lined withLittle creatures laughingEverybody seems so happyHave I possibly gone daffy?What is this? What's this?There's children throwing snowballsinstead of throwing headsThey're busy building toysAnd absolutely no one's deadThere's frost on every windowOh, I can't believe my eyesAnd in my bones I feel the warmthThat's coming from insideOh, lookWhat's this?They're hanging mistletoe, they kissWhy that looks so unique, inspiredThey're gathering around to hear a storyRoasting chestnuts on a fireWhat's this?What's this?In here they've got a little tree, how queerAnd who would ever thinkAnd why?They're covering it with tiny little thingsThey've got electric lights on stringsAnd there's a smile on everyoneSo, now, correct me if I'm wrongThis looks like funThis looks like funOh, could it be I got my wish?What's this?Oh my, what now?The children are asleepBut look, there's nothing underneathNo ghouls, no witches here to scream and scare themOr ensnare them, only little cozy thingsSecure inside their dreamlandWhat's this?The monsters are all missingAnd the nightmares can't be foundAnd in their place there seems to beGood feeling all aroundInstead of screams, I swearI can hear music in the airThe smell of cakes and piesAre absolutely everywhereThe sights, the soundsThey're everywhere and all aroundI've never felt so good beforeThis empty place inside of me is filling upI simply cannot get enoughI want it, oh, I want itOh, I want it for my ownI've got to knowI've got to knowWhat is this place that I have found?What is this?Christmas Town, hmm...SANDY CLAWSHo Ho Ho Ho ho ho ho hoJACKhmm..[Halloweentown]CLOWNThis has never happened before.WitchIt's suspicious.Witch (little)It's peculiar.VAMPIRESIt's scary.MAYORStand aside.WEREWOLFgrrrrMAYORComing through. We've got find Jack. There's only 365 days left till next Halloween.WEREWOLF364!MAYORIs there anywhere we've forgotten to check?ClownI looked in every mausoleum.WITCHESWe opened the sarcophagi.HydeI tromped through the pumpkin patch.VAMPIREI peeked behind the Cyclops's eye. I did! But he wasn't there.MAYORIt's time to sound the alarms.[DR. FINKELSTEIN's castle]SALLYFrog's breath will overpower any odor. Bitter. [coughing] Worm's wart. Where's that worm's wart?DR. FINKELSTEINSally, that soup ready yet?SALLYComing....lunchDR. FINKELSTEINAh, what's that? Worm's wart, mmm, and...frog's breath.SALLYWhat's wrong? I-I thought you liked frog's breath.DR. FINKELSTEINNothing's more suspicious than frog's breath. Until you taste it I won't swallow a spoonful.SALLYI'm not hungry... [knocking spoon] Oops!DR. FINKELSTEINYou want me to starve. An old man like me who hardly has strength as it is. Me, to whom you owe your very life.SALLYOh don't be silly. [eats soup with trick spoon] Mmmm, see. Scrumptious.[Dr. Finkelstein eats soup] [Halloween]MAYORDid anyone think to dredge the lake?VAMPIREAh, this morning!ZERObarksWitchHear that?Witch (little)What?WitchShh!ZERObarksVAMPIREZero![fanfare as Jack and Zero arrive]KidJack's back!MAYORWhere have you been?JACKCall a town meeting and I'll tell everyone all about it.MAYORWhen?JACKImmediately!MAYOR[in his mayor truck]Town meeting, town meeting, town meeting tonight, town meeting tonight[at meeting]Clown[giggles as he hits Sally]JACKListen everyone. I want to tell you about Christmastown. Town Meeting Song Performed by Danny Elfman and CastJACKThere are objects so peculiarThey were not to be believedAll around, things to tantalize my brainIt's a world unlike anything I've ever seenAnd as hard as I tryI can't seem to describeLike a most improbable dreamBut you must believe when I tell you thisIt's as real as my skull and it does existHere, let me show youThis is a thing called a presentThe whole thing starts with a boxDEVILA box?is it steel?WEREWOLFAre there locks?HARLEOUIN DEMONIs it filled with a pox?DEVIL, WEREWOLF, HARLEQUIN DEMONA poxHow delightful, a poxJACKIf you pleaseJust a box with bright-colored paperAnd the whole thing's topped with a bowWITCHESA bow?But why?How uglyWhat's in it?What's in it?JACKThat's the point of the thing, not to knowCLOWNIt's a batWill it bend?CREATURE UNDER THE STAIRSIt's a ratWill it break?UNDERSEA GALPerhaps it s the head that I found in the lakeJACKListen now, you don't understandThat's not the point of Christmas landNow, pay attentionWe pick up an oversized sockAnd hang it like this on the wallMR. HYDEOh, yes! Does it still have a foot?MEDIUM MR. HYDELet me see, let me lookSMALL MR. HYDEIs it rotted and covered with gook?JACKUm, let me explainThere's no foot inside, but there's candyOr sometimes it's filled with small toysMUMMY AND WINGED DEMONSmall toysWINGED DEMONDo they bite?MUMMYDo they snap?WINGED DEMONOr explode in a sack?CORPSE KIDOr perhaps they just spring outAnd scare girls and boysMAYORWhat a splendid ideaThis Christmas sounds funI fully endorse itLet's try it at onceJACKEveryone, please now, not so fastThere's something here that you don't quite graspWell, I may as well give them what they wantAnd the best, I must confess, I have saved for the lastFor the ruler of this Christmas landIs a fearsome king with a deep mighty voiceLeast that's what I've come to understandAnd I've also heard it toldThat he's something to beholdLike a lobster, huge and redWhen he sets out to slay with his rain gear onCarting bulging sacks with his big great armsThat is, so I've heard it saidAnd on a dark, cold nightUnder full moonlightHe flies into a fogLike a vulture in the skyAnd they call him Sandy ClawsWell, at least they're excitedBut they don't understandThat special kind of feeling in Christmas landOh, well...[Jack's house]JACKThere's got to be a logical way to explain this Xmas thing.[Dr. Finkelstein's castle]DR. FINKELSTEINYou've poisoned me for the last time you wretched girl.[locks Sally away][dingdong]DR. FINKELSTEINOh my head...the door is open.JACKHel-loDR. FINKELSTEINJack Skellington, up here my boy.JACKDr. I need to borrow some equipment.DR. FINKELSTEINIs that so, whatever for?JACKI'm conducting a series of experiments.DR. FINKELSTEINHow perfectly marvelous. Curiosity killed the cat, you know.JACKI know.DR. FINKELSTEINCome on into the lab and we'll get you all fixed up.SALLYHmm. Experiments?[Jack's house]JACKZero, I'm home.[Jack examines & experiments with Xmas stuff]JACKInteresting reaction....but what does it mean?[Sally's room][after Sally jumps to give Jack his basket...]DR. FINKELSTEINYou can come out now if you promise to behave. Sally. Sally. Oooh! Gone again![Jack's house][Sally gives Jack his basket and sneaks off and picks a flower which catches on fire] Jack's Obsession Performed by Danny Elfman and CastCITIZENS OF HALLOWEENSomething's up with JackSomething's up with JackDon't know if we're ever going to get him backHe's all alone up thereLocked away insideNever says a wordHope he hasn't diedSomething's up with JackSomething's up with JackJACKChristmas time is buzzing in my skullWill it let me be? I cannot tellThere's so many things I cannot graspWhen I think I've got it, and then at lastThrough my bony fingers it does slipLike a snowflake in a fiery gripSomething here I'm not quite gettingThough I try, I keep forgettingLike a memory long since pastHere in an instant, gone in a flashWhat does it mean?What does it mean?In these little bric-a-bracA secret's waiting to be crackedThese dolls and toys confuse me soConfound it all, I love it thoughSimple objects, nothing moreBut something's hidden through a doorThough I do not have the keySomething's there I cannot seeWhat does it mean?What does it mean?What does it mean?Hmm...I've read these Christmas books so many timesI know the stories and I know the rhymesI know the Christmas carols all by heartMy skull's so full, it's tearing me apartAs often as I've read them, something's wrongSo hard to put my bony finger onOr perhaps it's really not as deepAs I've been led to thinkAm I trying much too hard?Of course! I've been too close to seeThe answer's right in front of meRight in front of meIt's simple really, very clearLike music drifting in the airInvisible, but everywhereJust because I cannot see itDoesn't mean I can't believe it You know, I think this Christmas thingIt's not as tricky as it seemsAnd why should they have all the fun?It should belong to anyoneNot anyone, in fact, but meWhy, I could make a Christmas treeAnd there's no reason I can findI couldn't handle Christmas timeI bet I could improve it tooAnd that's exactly what I'll doHee,hee,heeJACKEureka!! This year, Christmas will be ours!MAYORPatience, everyone. Jack has a special Job for each of us. Dr. Finkelstein, your Xmas assignment is ready. Dr. Finkelstein to the front of the line.VAMPIREWhat kind of a noise is that for a baby to make?JACKPerhaps it can be improved?VAMPIRESNo problem!JACKI knew it! Dr. thank you for coming. We need some of these.[showing picture of Santa and sleigh]DR. FINKELSTEINHmm.. their construction should be exceedingly simple. I think.MAYORHow horrible our Xmas will be.JACKNo--how jolly.MAYOR[switches face]Oh, how jolly our Xmas will be. [gets pelted] What are you doing here?LOCKJack sent for us.SHOCKSpecifically.BARRELBy name.LOCKLock SHOCKShockBARRELBarrelMAYORJack, Jack it's Oogie's boys!JACKAh, Halloween's finest trick or treaters. The job I have for you is top secret. It requires craft, cunning, mischief.SHOCKAnd we thought you didn't like us, Jack.[giggles]JACKAbsolutely no one is to know about it. Not a soul. Now--[whispers to LS&B] And one more thing -- leave that no account Ooogie Boogie out of this!BARRELWhatever you say, Jack.SHOCKOf course Jack.LOCKWouldn't dream of it Jack.[all said with their fingers crossed] Kidnap the Sandy Claws Performed by Paul Reubens, Catherine O'Hara, and Danny ElfmanLOCK, SHOCK, AND BARRELKidnap Mr. Sandy ClawsLOCKI wanna do itBARRELLet's draw strawsSHOCKJack said we should work togetherThree of a kindLOCK, SHOCK, AND BARRELBirds of a featherNow and foreverWheeeeLa, la, la, la, laKidnap the Sandy Claws, lock him up real tightThrow away the key and thenTurn off all the lightsSHOCKFirst, we're going to set some baitInside a nasty trap and waitWhen he comes a-sniffing we willSnap the trap and close the gateLOCKWait! I've got a better planTo catch this big red lobster manLet's pop him in a boiling potAnd when he's done we'll butter him upLOCK, SHOCK, AND BARRELKidnap the Sandy ClawsThrow him in a boxBury him for ninety yearsThen see if he talksSHOCKThen Mr. Oogie Boogie ManCan take the whole thing over thenHe'll be so pleased, I do declareThat he will cook him rareLOCK,SHOCK, AND BARRELWheeeeLOCKI say that we take a cannonAim it at his doorAnd then knock three timesAnd when he answersSandy Claws will be no moreSHOCKYou're so stupid, think nowlf we blow him up to smithereensWe may lose some piecesAnd then Jack will beat us black and greenLOCK,SHOCK, AND BARRELKidnap the Sandy ClawsTie him in a bagThrow him in the oceanThen, see if he is sadLOCK AND SHOCKBecause Mr. Oogie Boogie is the meanest guy aroundIf I were on his Boogie list, I'd get out of townBARRELHe'll be so pleased by our successThat he'll reward us too, I'll betLOCK, SHOCK, AND BARRELPerhaps he'll make his special brewOf snake and spider stewUmmm!We're his little henchmen andWe take our job with prideWe do our best to please himAnd stay on his good sideSHOCKI wish my cohorts weren't so dumbBARRELI'm not the dumb oneLOCKYou're no funSHOCKShut upLOCKMake meSHOCKI've got something, listen nowThis one is real good, you'll seeWe'll send a present to his doorUpon there'll be a note to readNow, in the box we'll wait and hideUntil his curiosity entices him to look insideBARRELAnd then we'll have himOne, two, threeLOCK, SHOCK, AND BARRELKidnap the Sandy Claws, beat him with a stickLock him up for ninety years, see what makes him tickKidnap the Sandy Claws, chop him into bitsMr. Oogie Boogie is sure to get his kicksKidnap the Sandy Claws, see what we will seeLock him in a cage and then, throw away the keyOOGIE BOOGIESandy Claws..hahaha[city hall]JACKIt goes something like this. [Jingle bells]How about it? Think you can manage?PERSON INSIDE BASSa one, and a two, and a three, and a. . . [Jingle in a flat key by the band]MAYORNext!JACKFantastic! Now why don't you all practice on that and we'll be in great shape. Sally, I need your help more than anyone's. SALLYYou certainly do, Jack. I had the most terrible vision.JACKThat's splendid.SALLYNo, it was about your Xmas. There was smoke and fire.JACKThat not my Xmas. My Xmas is filled with laughter and joy and this--my Sandy Claws outfit. I want you to make it.SALLYJack, please, listen to me--it's going to be a disaster.JACKHow could it be--just follow the pattern. This part is red, the trim is white.SALLYIt's a mistake, Jack.JACKNow don't be modest, who else is clever enough to make my Sandy claws outfit.MAYORNext!JACKI have every confidence in you.SALLYBut it seems wrong to me, very wrong.[to Behemoth]JACKThis device is called a nutcracker.LOCK, SHOCK & BARRELJack, Jack we caught him we caught him.JACKPerfect! Open it up. Quickly![opens to reveal the Easter bunny]JACKThat's not Sandy Claws!SHOCKIt isn't?BARRELWho is it?BEHEMOTHBunny!JACKNot Sandy Claws...take him back!LOCKWe followed your instructions--BARRELwe went through the door--JACKWhich door? There's more than one. Sandy Claws is behind the door shaped like this. [shows Xmas cookie in shape of tree]SHOCKI told you![LS&B start fighting]JACKArr!! [making scary face at LS&B]JACKI'm very sorry for the inconvenience, sir. Take him home first and apologize again. Be careful with Sandy Claws when you fetch him. Treat him nicely.LOCK, SHOCK & BARRELGot it. We'll get it right next time.[Dr. Finkelstein's castle]DR. FINKELSTEINYou will be a decided improvement over that treacherous Sally.IGORMaster, the plans.DR. FINKELSTEINExcellent, Igor.[throws him a dog bone] Making Christmas Performed by Danny Elfman and the Citizens of HalloweenCLOWNThis time, this timeGROUPMaking ChristmasACCORDION PLAYERMaking ChristmasMAYORMaking Christmas, making ChristmasIs so fineGROUPIt's ours this timeAnd won't the children be surprisedIt's ours this timeCHILD CORPSEMaking ChristmasMUMMYMaking ChristmasMUMMY AND CORPSE CHILDMaking ChristmasWITCHESTime to give them something funWITCHES AND CREATURE LADYThey'll talk about for years to comeGROUPLet's have a cheer from everyoneIt's time to partyDUCK TOYMaking Christmas, making ChristmasVAMPIRESSnakes and mice get wrapped up so niceWith spider legs and pretty bowsVAMPIRES AND WINGED DEMONIt's ours this timeCORPSE FATHERAll together, that and thisCORPSE FATHER, WOLF MANWith all our tricks we'reCORPSE FATHER, WOLF MAN, DEVILMaking ChristmastimeWOLF MANHere comes JackJACKI don't believe what's happening to meMy hopes, my dreams, my fantasiesHee, hee, hee, heeHARLEQUINWon't they be impressed, I am a geniusSee how I transformed this old ratInto a most delightful hatJACKHmm, my compliments from me to youOn this your most intriguing hatConsider though this substituteA bat in place of this old ratHuh! No, no, no, now that's all wrongThis thing will never make a presentIt's been dead now for much too longTry something fresher, something pleasantTry again, don't give upTHREE MR. HYDESAll together, that and thisWith all our tricks we're making Christmastime(Instrumental)GROUPThis time, this timeJACKIt's ours!GROUPMaking Christmas, making ChristmasLa, la, laIt's almost hereGROUP AND WOLF MANAnd we can't waitGROUP AND HARLEOUINSo ring the bells and celebrateGROUP'Cause when the full moon starts to climbWe'll all sing outJACKIt's ChristmastimeHee, hee, hee[Christmastown]SANDY CLAWSKathleen, Bobby, Susie, yes, Susie's been nice. Nice, nice, naughty, nice, nice, nice. There are hardly any naughty children this year.[door chime: jingle all the way]SANDY CLAWSNow who could that be?LOCK, SHOCK & BARRELTrick or treat!SANDY CLAWSHuh?[back to Halloweentown][to Jack in Sandy garb]SALLYYou don't look like yourself Jack, not at all.JACKIsn't that wonderful. It couldn't be more wonderful!SALLYBut you're the Pumpkin King.JACKNot anymore. And I feel so much better now.SALLYJack, I know you think something's missing. But --[pricks Jack's finger with needle]JACKSALLYSorryJACKYou're right, something is missing but what? I've got the beard, the coat, the boots --LOCK, SHOCK & BARRELJack, Jack this time we bagged him!LOCKThis time we really did! BARRELHe sure is big Jack!SHOCKAnd heavy!SANDY CLAWSLet me out!JACKSandy Claws in person. What a pleasure to meet you. Why you have hands! You don't have claws at all.SANDY CLAWSWhere am I?JACKSurprised aren't you? I knew you would be. You don't need to have another worry about Xmas this year. SANDY CLAWSWhat?JACKConsider this a vacation Sandy, a reward. It's your turn to take it easy.SANDY CLAWSBut there must be some mistake!JACKSee that he's comfortable. Just a second fellows. Of course, that's what I'm missing. SANDY CLAWSBut --JACKThanks! [took Sandy's hat]SANDY CLAWSYou just can't... Hold on where are we going now?JACKho ho hoSALLYThis is worse than I thought, much worse. I know...SANDY CLAWSMe? On vacation on Xmas eve?BARRELWhere are we taking him?SALLYWhere?LOCKTo Oogie boogie, of course. There isn't anywhere in the whole world more comfortable than that and Jack said to make him comfortable. Didn't he?SHOCK & BARRELYes he did.SANDY CLAWSHaven't you heard of peace on earth and good will toward men?LOCK, SHOCK & BARRELNo![Dr. Finkelstein's castle][getting fog juice] SALLYThis'll stop Jack.[working on new creation to replace Sally]DR. FINKELSTEINWhat a joy to think of all we'll have in common. We'll have conversations worth having.[Oogie's]LOCK, SHOCK & BARREL[laughing]SANDY CLAWSDon't do this. Naughty children never get any presents.SHOCKI think he might be too big.LOCKNo he's not. If he can go down a chimney, he can fit down here![in Oogie's lair] Oogie Boogie's Song Performed by Ken Page with Ed lvoryOOGIE BOOGIEWell, well, well, what have we here?Sandy Claws, huh?Oh, I'm really scaredSo you're the one everybody's talkin' about, ha, haYou're jokin', you're jokin'I can't believe my eyesYou're jokin' me, you gotta beThis can't be the right guyHe's ancient, he's uglyI don't know which is worseI might just split a seam nowIf I don't die laughing firstMr. Oogie Boogie saysThere's trouble close at handYou'd better pay attention now'Cause I'm the Boogie ManAnd if you aren't shakin'There's something very wrong'Cause this may be the last timeYou hear the boogie song, ohhhTHREE SKELETONSOhhhOOGIE BOOGIEOhhhTWO SKELETONS IN VICEOhhhOOGIE BOOGIEOhhhTHREE BATSOhhh, he's the Oogie Boogie ManSANTARelease me nowOr you must face the dire consequencesThe children are expecting meSo please, come to your sensesOOGIE BOOGIEYou're jokin', you're jokin'I can't believe my earsWould someone shut this fella upI'm drownin' in my tearsIt's funny, I'm laughingYou really are too muchAnd now, with your permissionI'm going to do my stuffSANTAWhat are you going to do?OOGIE BOOGIEI'm gonna do the best I canOh, the sound of rollin' diceTo me is music in the air'Cause I'm a gamblin' Boogie ManAlthough I don't play fairIt's much more fun, I must confessWith lives on the lineNot mine, of course, but yours, old boyNow that'd be just fineSANTARelease me fast or you will have toAnswer for this heinous actOOGIE BOOGIEOh, brother, you're somethingYou put me in a spinYou aren't comprehendingThe position that you're inIt's hopeless, you're finishedYou haven't got a prayer'Cause I'm Mr. Oogie BoogieAnd you ain't going nowhere[LS&B laughing][back to Halloweentown][Sally pouring fog juice into fountain][Jack appears from coffin and there's applause]MAYORThink of us as you soar triumphantly through the sky outshining every star. Your silhouette a dark blot on the moon, you who are our pride, you who are our glory, you who have frightened billions into an early grave. [the fog starts to get worse]MAYORYou who have eh, devastated the souls of the living...JACKOh no! We can't take off in this! The reindeer can't see an inch in front of their noses.SALLYWhew!VAMPIREThis fog's as thick as, as...CYCLOPSJelly brainsVAMPIREThicker!JACKThere go all of my hope, my precious plans, my glorious dreams.Kid[crying] There goes Xmas.ZERObarksJACKNo Zero, down boy. My what a brilliant nose you have. The better to light my way! To the head of the team, Zero! We're off!SALLYWait Jack, no![Jack is off!][cheers]JACKho ho ha ha ha SALLYGood bye Jack, my dearest Jack. Oh how I hope my premonition is wrong. Sally's Song Performed by Catherine O'HaraI sense there's something in the windThat feels like tragedy's at handAnd though I'd like to stand by himCan't shake this feeling that I haveThe worst is just around the bendAnd does he notice my feelings for him?And will he see how much he means to me?I think it's not to beWhat will become of my dear friend?Where will his actions lead us then?Although I'd like to join the crowdIn their enthusiastic cloudTry as I may, it doesn't lastAnd will we ever end up together?No, I think not, it's never to becomeFor I am not the one[Jack playing Sandy]JACKho ho ho ho ho ho he he he [lands loudly & wakes up little kid]A little kidSanta![sees Jack][gasps] Santa?JACKMerry Xmas! And what is your name?Kiduh uhJACKThat's all right. I have a special present for you anyway.There you go sonny. Hohohohehehe [goes back up chimney]MotherAnd what did Santa bring you honey?[pulls out shrunken head][mother and father scream]JACKMerry Xmas!Cop[ON PHONE]Hello, police.[frantic peanuts-type talk]Attacked by Xmas toys? That's strange. That's the second toy complaint we've had.JACKhohohohehehe[killer wreath, snake, vampire toy, killer duck][screams][Jack puts toys down chimneys][screams][Jack in the box chases fat kid]JACKYou're welcome one and all!Cop[on phone]Where'd you spot him?---Fast as we can, ma'am---Police---I know, I know a skeleton---Keep calm---Turn off all the lights---Make sure the doors are Locked---Hello, policeNewscasterReports are pouring in from all over the globethat an impostor is shamelessly impersonating Santa Claus,mocking and mangling this joyous holiday.Halloween residents[cheers]NewscasterPolice assure us that this moment, military units are mobilizing to stop the perpetrator of this heinous crime.SALLY[over the Newscaster]Jack, someone has to help Jack. Where'd they take that Sandy Claws?Newscaster--Come back and save XmasJACKLook Zero, search lights! [firing at Jack]JACKThey're celebrating! They're thanking us for doing such a good job.[almost hits Zero]JACKWhoa, careful down there, you almost hit us. ZERObarkJACKIt's ok, Zero. Head higher![Oogie lair]OOGIE BOOGIEAre you a gamblin man, Sandy? Let's play. [sees sally's leg]OOGIE BOOGIEMmmm.. my, my....what have we here?[Sally's hands start to rescue Sandy]SALLY[whispering] I'll get you out of here.OOGIE BOOGIEAh, lovely. Tickle, tickle, tickle. Tickle, tickle, tickle.[Sally's hands untie Sandy][Oogie realizes that there's no body to the leg]OOGIE BOOGIEWhat?!? You trying to make a dupe out of me?[Oogie sucks Sandy and Sally back in][back to Jack]JACKWho's next on my list. Ah, little Harry and Jordan. Won't they be surprised.[sleigh gets hit]JACKThey're trying to hit us! ZERO!ZEROBark[sleigh gets hit][as Jack's falling]JACKMerry Xmas to all and to all a good night...[Halloween]WEREWOLFhowl!MAYOR (with white face)I knew this Xmas thing was a bad idea. I felt it in my gut. Terrible news folks. The worst tragedy of our times. Jack has been blown to smithereens. Terrible, terrible news.[back to "normal" town]Cop[in car]Attention, attention citizens. Terrible news. There's still no sign of Santa Claus. Although the impostor has been shot down, it looks like Xmas will have to be canceled this year. I repeat the impostor has been shot down but there's still no sign ......[Jack in cemetery] Poor Jack Performed by Danny ElfmanWhat have I done? What have I done?How could I be so blind?All is lost, where was I?Spoiled all, spoiled allEverything's gone all wrongWhat have I done?What have I done?Find a deep cave to hide inIn a million years they'll find meOnly dust and a plaqueThat reads, 'Here Lies Poor Old Jack"But I never intended all this madness, neverAnd nobody really understood, well how could they?That all I ever wanted was to bring them something greatWhy does nothing ever turn out like it should?Well, what the heck, I went and did my bestAnd, by god, I really tasted something swellAnd for a moment, why, I even touched the skyAnd at least I left some stories they can tell, I didAnd for the first time since I don't remember whenI felt just like my old bony self againAnd I, Jack, the Pumpkin KingThat's right! I am the Pumpkin King, ha, ha, ha, haAnd I just can't wait until next Halloween'Cause I've got some new ideas that will really make them screamAnd, by God, I'm really going to give it all my mightUh oh, I hope there's still time to set things rightSandy Claws, hmm[Oogie lair]SALLYYou wait till Jack hears about this. By the time he's through with you, you'll be lucky if you... MAYORThe king of Halloween has been blown to smithereens. Skeleton Jack is now a pile of dust.SALLY[gasp]JACKCome on Zero. Xmas isn't over yet!OOGIE BOOGIEWhat's that you were saying about luck, rag doll?SALLYHelp, help, help, helpOOGIE BOOGIESandy, looks like it's Oogie's turn to boogie.SALLY[scream]OOGIE BOOGIEone 2 3 4 5 6 7 -- hahahaSANDY CLAWSThis can't be happening!OOGIE BOOGIEAshes to ashes, and dust to dust. Oh, I'm feeling weak...with hunger.One more roll of the dice oughta do it. Haha [rolls dice]What! Snake eyes. [bang on table]Eleven! Haha looks like I won the jackpot!Bye bye doll face and sandman.Ha, ha, ha[about to dump Sally & Sandy Claus into the lava]What the...JACKHello OogieOOGIE BOOGIEJack, but they said you were dead. You must be double dead.Well come on bone man.ZERObark barkOOGIE BOOGIEoooo ooo ooo. Pull an arm. ha haSALLYJack look out!OOGIE BOOGIESo long, Jack. hahaJACKHow dare you treat my friends so shamefully.[Jack pulls the thread that came loose that held Oogie together]OOGIE BOOGIENow look what you've done. My bugs, my bugs, my bugs, bye bye byeJACKForgive me Mr. claws, I'm afraid I've made a terrible messof your holiday.SANDY CLAWSBumpy sleigh ride, Jack? The next time you get the urge to take over someone else's holiday, I'd listen to her! She's the only one who makes any sense around this insane asylum!Skeletons....JACKI hope there's still time--SANDY CLAWSTo fix Xmas? Of course there is, I'm Santa Claus![and laying a finger aside of his nose, up Oogie's chimney he rose]SALLYHe'll fix things Jack. He knows what to do.JACKHow did you get down here Sally?SALLYOh, I was trying to, well, I wanted to, to --JACKto help me SALLYI couldn't just let you just...JACKSally, I can't believe I never realized...that you...MAYORJack, Jack!BARRELHere he is!LOCKAlive!SHOCKJust like we said.MAYORGrab a hold my boy!JACK & SALLYwhoa!NEWSCASTERGood news, folks. Santa Claus, the one and only has finally been spotted. Old Saint Nick appears to be traveling at supersonic speed. He's setting things right, bringing joy and cheer wherever he goes. Yes folks, Kris Kringle has pulled it out of the bag and delivered Xmas to excited children all over the world! Finale Performed by Danny Elfman, Catherine O'Hara, and the Citizens of HalloweenCHORUSLa, la, la, (etc.) Jack's OK, and he's back, OKCHILD CORPSE AND CHORUSHe's all rightMAYOR AND CHORUSLet's shout, make a fussScream it out, wheeeCHORUSJack is back now, everyone singIn our town of HalloweenJACKIt's great to be home!SANDY CLAWSHohohohohoHappy Halloween![Sandy Claws brings snow to Halloween]JACKMerry Xmas!CHILD CORPSEWhat's this?CYCLOPSWhat's this?HARLEQUIN DEMONI haven't got a clueMR. HYDEWhat's this?CLOWNWhy it's completely newOFF-SCREEN VOICEWhat's this?WOLFMANMust be a Christmas thingOFF-SCREEN VOICEWhat's this?MAYORIt's really very strangeCHORUSThis is HalloweenHalloween! Halloween! Halloween!What's this?What's this?(Repeat)DR. FINKELSTEINCareful, my precious jewel![Dr. F. with his new wife!]JACKMy dearest friend, if you don't mindI'd like to join you by your sideWhere we can gaze into the starsJACK AND SALLYAnd sit together, now and foreverFor it is plain as anyone can seeWe're simply meant to be[at the end of FINALE, Zero zooms off into the heavens]THE END!The script to Tim Burton's The Nightmare Before ChristmasNARRATOR'Twas a long time ago, longer now than it seems, in a place that perhaps you've seen in your dreams. For the story that you are about to be told, took place in the holiday worlds of old. Now, you've probably wondered where holidays come from. If you haven't, I'd say it's time you begun. This Is HalloweenSHADOWBoys and girls of every ageWouldn't you like to see something strange?SIAMESE SHADOWCome with us and you will seeThis, our town of HalloweenPUMPKIN PATCH CHORUSThis is Halloween, this is HalloweenPumpkins scream in the dead of nightGHOSTSThis is Halloween, everybody make a sceneTrick or treat till the neighbors gonna die of frightIt's our town, everybody screamIn this town of HalloweenCREATURE UNDER BEDI am the one hiding under your bedTeeth ground sharp and eyes glowing redMAN UNDER THE STAIRSI am the one hiding under your stairsFingers like snakes and spiders in my hairCORPSE CHORUSThis is Halloween, this is HalloweenHalloween! Halloween! Halloween! Halloween!VAMPIRESIn this town we call homeEveryone hail to the pumpkin songMAYORIn this town, don't we love it now?Everybody's waiting for the next surpriseCORPSE CHORUSRound that corner, man hiding in the trash canSomething's waiting now to pounce, and how you'll screamHARLEQUIN DEMON, WEREWOLF, AND MELTING MANScream! This is HalloweenRed 'n' black, slimy greenWEREWOLFAren't you scared?WITCHESWell, that's just fineSay it once, say it twiceTake the chance and roll the diceRide with the moon in the dead of nightHANGING TREEEverybody scream, everybody screamHANGED MENIn our town of HalloweenCLOWNI am the clown with the tear-away faceHere in a flash and gone without a traceSECOND GHOULI am the "who" when you call, "Who's there?"I am the wind blowing through your hairOOGIE BOOGIE SHADOWI am the shadow on the moon at nightFilling your dreams to the brim with frightCORPSE CHORUSThis is Halloween, this is HalloweenHalloween! Halloween! Halloween! Halloween!Halloween! Halloween!CHILD CORPSE TRIOTender lumplings everywhereLife's no fun without a good scarePARENT CORPSESThat's our job, but we're not meanIn our town of HalloweenCORPSE CHORUSIn this townMAYORDon't we love it now?MAYOR WITH CORPSE CHORUSEveryone's waiting for the next surpriseCORPSE CHORUSSkeleton Jack might catch you in the backAnd scream like a bansheeMake you jump out of your skinThis is Halloween, everybody screamWon't ya please make way for a very special guyOur man Jack is king of the pumpkin patchEveryone hail to the Pumpkin King nowEVERYONEThis is Halloween, this is HalloweenHalloween! Halloween! Halloween! Halloween!CORPSE CHILD TRIOIn this town we call homeEveryone hail to the pumpkin songEVERYONELa la-la la, Halloween! Halloween! (etc.)EVERYONE[applause]WITCHESCacklingCLOWNIt's over!BEHEMOTHWe did it![tummy bump]WEREWOLFWasn't it terrifying?HYDE & CYCLOPSWhat a night!MAYORGreat Halloween everybody.JACKI believe it was our most horrible yet! Thank you everyone.MAYORNo, thanks to you, Jack. Without your brilliant leadership - JACKNot at all Mayor.VAMPIRE (fat)You're such a scream, JackWITCHYou're a witch's fondest dream!WITCH (little)You made walls fall, JackWITCHWalls fall? You made the very mountains crack, JackDR. FINKELSTEINThe deadly nightshade you slipped me wore off, Sally. SALLYLet go!DR. FINKELSTEINYou're not ready for so much excitement!SALLYYes I am!DR. FINKELSTEINYou're coming with me!SALLYNo I'm not![Sally pulls out the thread that's holding her arm on]DR. FINKELSTEINCome back here you foolish oaf! Ow!CREATURE FROM BLACK LAGOONOoo Jack, you make wounds ooze and flesh crawl.JACKThank you, thank you, thank you -- very muchMAYORHold it! We haven't given out the prizes yet! Our first award goes to the vampires for most blood drained in a single evening.[applause]MAYORA frightening and honorable mention goes to the fabulous Dark Lagoon leechesSAX PLAYERNice work, Bone Daddy.JACKYeah, I guess so. Just like last year and the year before that and the year before that.[entering graveyard] Jack's Lament Performed by Danny ElfmanThere are few who'd deny, at what I do I am the bestFor my talents are renowned far and wideWhen it comes to surprises in the moonlit nightI excel without ever even tryingWith the slightest little effort of my ghostlike charmsI have seen grown men give out a shriekWith the wave of my hand, and a well-placed moanI have swept the very bravest off their feetYet year after year, it's the same routineAnd I grow so weary of the sound of screamsAnd I, Jack, the Pumpkin KingHave grown so tired of the same old thingOh, somewhere deep inside of these bonesAn emptiness began to growThere's something out there, far from my homeA longing that I've never knownI'm the master of fright, and a demon of lightAnd I'll scare you right out of your pantsTo a guy in Kentucky, I'm Mister UnluckyAnd I'm known throughout England and FranceAnd since I am dead, I can take off my headTo recite Shakespearean quotationsNo animal nor man can scream like I canWith the fury of my recitationsBut who here would ever understandThat the Pumpkin King with the skeleton grinWould tire of his crown, if they only understoodHe'd give it all up if he only couldOh, there's an empty place in my bonesThat calls out for something unknownThe fame and praise come year after yearDoes nothing for these empty tears[leaving graveyard and entering forest]SALLYJack, I know how you feel. [Sally gathers herbs][back at Dr. Finkelstein's castle]DR. FINKELSTEINSally, you've come back.SALLYI had to.DR. FINKELSTEINFor this?[showing her arm]SALLYYes.DR. FINKELSTEINShall we then.That's twice this month you've slipped deadly nightshade into my tea and run off --SALLYThree times!DR. FINKELSTEINYou're mine you know! I made you with my own hands.SALLYYou can make other creations. I'm restless, I can't help it.DR. FINKELSTEINIt's a phase my dear, it'll pass. We need to be patient that's all.SALLYBut, I don't want to be patient.[forest]ZERObarkJACKNo Zero, not now. I'm not in the mood.ZERObarkJACKAll right. [giving Zero a rib from himself] Here ya go boy.[Zero gets rib and shows off his nose][Back to Halloweentown]MAYORMorning gents [to the band][humming This Is Halloween, walks up to Jack's front door and rings bell]MAYORJack, you home?[getting worried, switches face and knocks with desperation then switch back to happy face]MAYORJack? I've got the plans for next Halloween. I need to go over them with you so we can get started. MAYOR (with worried face)Jack, please, I'm only an elected an official here, I can't make decisions by myself. Jack, answer me!![falls down steps]ACCORDION PLAYERHe's not home.MAYORWhere is he?SAX PLAYERHe hasn't been home all night.MAYORooooo[back to forest]JACK(yawning) Where are we? It's someplace new.ZERObark barkJACKWhat is this?[Jack sees Valentine's tree, shamrock tree, Easter egg tree, turkey tree]JACK[gasps][sees Xmas tree][turns knob and gets sucked in]ZERObark barkJACKWhoa!!!! What's This? Performed by Danny ElfmanWhat's this? What's this?There's color everywhereWhat's this?There's white things in the airWhat's this?I can't believe my eyesI must be dreamingWake up, Jack, this isn't fairWhat's this?What's this? What's this?There's something very wrongWhat's this?There's people singing songsWhat's this?The streets are lined withLittle creatures laughingEverybody seems so happyHave I possibly gone daffy?What is this? What's this?There's children throwing snowballsinstead of throwing headsThey're busy building toysAnd absolutely no one's deadThere's frost on every windowOh, I can't believe my eyesAnd in my bones I feel the warmthThat's coming from insideOh, lookWhat's this?They're hanging mistletoe, they kissWhy that looks so unique, inspiredThey're gathering around to hear a storyRoasting chestnuts on a fireWhat's this?What's this?In here they've got a little tree, how queerAnd who would ever thinkAnd why?They're covering it with tiny little thingsThey've got electric lights on stringsAnd there's a smile on everyoneSo, now, correct me if I'm wrongThis looks like funThis looks like funOh, could it be I got my wish?What's this?Oh my, what now?The children are asleepBut look, there's nothing underneathNo ghouls, no witches here to scream and scare themOr ensnare them, only little cozy thingsSecure inside their dreamlandWhat's this?The monsters are all missingAnd the nightmares can't be foundAnd in their place there seems to beGood feeling all aroundInstead of screams, I swearI can hear music in the airThe smell of cakes and piesAre absolutely everywhereThe sights, the soundsThey're everywhere and all aroundI've never felt so good beforeThis empty place inside of me is filling upI simply cannot get enoughI want it, oh, I want itOh, I want it for my ownI've got to knowI've got to knowWhat is this place that I have found?What is this?Christmas Town, hmm...SANDY CLAWSHo Ho Ho Ho ho ho ho hoJACKhmm..[Halloweentown]CLOWNThis has never happened before.WitchIt's suspicious.Witch (little)It's peculiar.VAMPIRESIt's scary.MAYORStand aside.WEREWOLFgrrrrMAYORComing through. We've got find Jack. There's only 365 days left till next Halloween.WEREWOLF364!MAYORIs there anywhere we've forgotten to check?ClownI looked in every mausoleum.WITCHESWe opened the sarcophagi.HydeI tromped through the pumpkin patch.VAMPIREI peeked behind the Cyclops's eye. I did! But he wasn't there.MAYORIt's time to sound the alarms.[DR. FINKELSTEIN's castle]SALLYFrog's breath will overpower any odor. Bitter. [coughing] Worm's wart. Where's that worm's wart?DR. FINKELSTEINSally, that soup ready yet?SALLYComing....lunchDR. FINKELSTEINAh, what's that? Worm's wart, mmm, and...frog's breath.SALLYWhat's wrong? I-I thought you liked frog's breath.DR. FINKELSTEINNothing's more suspicious than frog's breath. Until you taste it I won't swallow a spoonful.SALLYI'm not hungry... [knocking spoon] Oops!DR. FINKELSTEINYou want me to starve. An old man like me who hardly has strength as it is. Me, to whom you owe your very life.SALLYOh don't be silly. [eats soup with trick spoon] Mmmm, see. Scrumptious.[Dr. Finkelstein eats soup] [Halloween]MAYORDid anyone think to dredge the lake?VAMPIREAh, this morning!ZERObarksWitchHear that?Witch (little)What?WitchShh!ZERObarksVAMPIREZero![fanfare as Jack and Zero arrive]KidJack's back!MAYORWhere have you been?JACKCall a town meeting and I'll tell everyone all about it.MAYORWhen?JACKImmediately!MAYOR[in his mayor truck]Town meeting, town meeting, town meeting tonight, town meeting tonight[at meeting]Clown[giggles as he hits Sally]JACKListen everyone. I want to tell you about Christmastown. Town Meeting Song Performed by Danny Elfman and CastJACKThere are objects so peculiarThey were not to be believedAll around, things to tantalize my brainIt's a world unlike anything I've ever seenAnd as hard as I tryI can't seem to describeLike a most improbable dreamBut you must believe when I tell you thisIt's as real as my skull and it does existHere, let me show youThis is a thing called a presentThe whole thing starts with a boxDEVILA box?is it steel?WEREWOLFAre there locks?HARLEOUIN DEMONIs it filled with a pox?DEVIL, WEREWOLF, HARLEQUIN DEMONA poxHow delightful, a poxJACKIf you pleaseJust a box with bright-colored paperAnd the whole thing's topped with a bowWITCHESA bow?But why?How uglyWhat's in it?What's in it?JACKThat's the point of the thing, not to knowCLOWNIt's a batWill it bend?CREATURE UNDER THE STAIRSIt's a ratWill it break?UNDERSEA GALPerhaps it s the head that I found in the lakeJACKListen now, you don't understandThat's not the point of Christmas landNow, pay attentionWe pick up an oversized sockAnd hang it like this on the wallMR. HYDEOh, yes! Does it still have a foot?MEDIUM MR. HYDELet me see, let me lookSMALL MR. HYDEIs it rotted and covered with gook?JACKUm, let me explainThere's no foot inside, but there's candyOr sometimes it's filled with small toysMUMMY AND WINGED DEMONSmall toysWINGED DEMONDo they bite?MUMMYDo they snap?WINGED DEMONOr explode in a sack?CORPSE KIDOr perhaps they just spring outAnd scare girls and boysMAYORWhat a splendid ideaThis Christmas sounds funI fully endorse itLet's try it at onceJACKEveryone, please now, not so fastThere's something here that you don't quite graspWell, I may as well give them what they wantAnd the best, I must confess, I have saved for the lastFor the ruler of this Christmas landIs a fearsome king with a deep mighty voiceLeast that's what I've come to understandAnd I've also heard it toldThat he's something to beholdLike a lobster, huge and redWhen he sets out to slay with his rain gear onCarting bulging sacks with his big great armsThat is, so I've heard it saidAnd on a dark, cold nightUnder full moonlightHe flies into a fogLike a vulture in the skyAnd they call him Sandy ClawsWell, at least they're excitedBut they don't understandThat special kind of feeling in Christmas landOh, well...[Jack's house]JACKThere's got to be a logical way to explain this Xmas thing.[Dr. Finkelstein's castle]DR. FINKELSTEINYou've poisoned me for the last time you wretched girl.[locks Sally away][dingdong]DR. FINKELSTEINOh my head...the door is open.JACKHel-loDR. FINKELSTEINJack Skellington, up here my boy.JACKDr. I need to borrow some equipment.DR. FINKELSTEINIs that so, whatever for?JACKI'm conducting a series of experiments.DR. FINKELSTEINHow perfectly marvelous. Curiosity killed the cat, you know.JACKI know.DR. FINKELSTEINCome on into the lab and we'll get you all fixed up.SALLYHmm. Experiments?[Jack's house]JACKZero, I'm home.[Jack examines & experiments with Xmas stuff]JACKInteresting reaction....but what does it mean?[Sally's room][after Sally jumps to give Jack his basket...]DR. FINKELSTEINYou can come out now if you promise to behave. Sally. Sally. Oooh! Gone again![Jack's house][Sally gives Jack his basket and sneaks off and picks a flower which catches on fire] Jack's Obsession Performed by Danny Elfman and CastCITIZENS OF HALLOWEENSomething's up with JackSomething's up with JackDon't know if we're ever going to get him backHe's all alone up thereLocked away insideNever says a wordHope he hasn't diedSomething's up with JackSomething's up with JackJACKChristmas time is buzzing in my skullWill it let me be? I cannot tellThere's so many things I cannot graspWhen I think I've got it, and then at lastThrough my bony fingers it does slipLike a snowflake in a fiery gripSomething here I'm not quite gettingThough I try, I keep forgettingLike a memory long since pastHere in an instant, gone in a flashWhat does it mean?What does it mean?In these little bric-a-bracA secret's waiting to be crackedThese dolls and toys confuse me soConfound it all, I love it thoughSimple objects, nothing moreBut something's hidden through a doorThough I do not have the keySomething's there I cannot seeWhat does it mean?What does it mean?What does it mean?Hmm...I've read these Christmas books so many timesI know the stories and I know the rhymesI know the Christmas carols all by heartMy skull's so full, it's tearing me apartAs often as I've read them, something's wrongSo hard to put my bony finger onOr perhaps it's really not as deepAs I've been led to thinkAm I trying much too hard?Of course! I've been too close to seeThe answer's right in front of meRight in front of meIt's simple really, very clearLike music drifting in the airInvisible, but everywhereJust because I cannot see itDoesn't mean I can't believe it You know, I think this Christmas thingIt's not as tricky as it seemsAnd why should they have all the fun?It should belong to anyoneNot anyone, in fact, but meWhy, I could make a Christmas treeAnd there's no reason I can findI couldn't handle Christmas timeI bet I could improve it tooAnd that's exactly what I'll doHee,hee,heeJACKEureka!! This year, Christmas will be ours!MAYORPatience, everyone. Jack has a special Job for each of us. Dr. Finkelstein, your Xmas assignment is ready. Dr. Finkelstein to the front of the line.VAMPIREWhat kind of a noise is that for a baby to make?JACKPerhaps it can be improved?VAMPIRESNo problem!JACKI knew it! Dr. thank you for coming. We need some of these.[showing picture of Santa and sleigh]DR. FINKELSTEINHmm.. their construction should be exceedingly simple. I think.MAYORHow horrible our Xmas will be.JACKNo--how jolly.MAYOR[switches face]Oh, how jolly our Xmas will be. [gets pelted] What are you doing here?LOCKJack sent for us.SHOCKSpecifically.BARRELBy name.LOCKLock SHOCKShockBARRELBarrelMAYORJack, Jack it's Oogie's boys!JACKAh, Halloween's finest trick or treaters. The job I have for you is top secret. It requires craft, cunning, mischief.SHOCKAnd we thought you didn't like us, Jack.[giggles]JACKAbsolutely no one is to know about it. Not a soul. Now--[whispers to LS&B] And one more thing -- leave that no account Ooogie Boogie out of this!BARRELWhatever you say, Jack.SHOCKOf course Jack.LOCKWouldn't dream of it Jack.[all said with their fingers crossed] Kidnap the Sandy Claws Performed by Paul Reubens, Catherine O'Hara, and Danny ElfmanLOCK, SHOCK, AND BARRELKidnap Mr. Sandy ClawsLOCKI wanna do itBARRELLet's draw strawsSHOCKJack said we should work togetherThree of a kindLOCK, SHOCK, AND BARRELBirds of a featherNow and foreverWheeeeLa, la, la, la, laKidnap the Sandy Claws, lock him up real tightThrow away the key and thenTurn off all the lightsSHOCKFirst, we're going to set some baitInside a nasty trap and waitWhen he comes a-sniffing we willSnap the trap and close the gateLOCKWait! I've got a better planTo catch this big red lobster manLet's pop him in a boiling potAnd when he's done we'll butter him upLOCK, SHOCK, AND BARRELKidnap the Sandy ClawsThrow him in a boxBury him for ninety yearsThen see if he talksSHOCKThen Mr. Oogie Boogie ManCan take the whole thing over thenHe'll be so pleased, I do declareThat he will cook him rareLOCK,SHOCK, AND BARRELWheeeeLOCKI say that we take a cannonAim it at his doorAnd then knock three timesAnd when he answersSandy Claws will be no moreSHOCKYou're so stupid, think nowlf we blow him up to smithereensWe may lose some piecesAnd then Jack will beat us black and greenLOCK,SHOCK, AND BARRELKidnap the Sandy ClawsTie him in a bagThrow him in the oceanThen, see if he is sadLOCK AND SHOCKBecause Mr. Oogie Boogie is the meanest guy aroundIf I were on his Boogie list, I'd get out of townBARRELHe'll be so pleased by our successThat he'll reward us too, I'll betLOCK, SHOCK, AND BARRELPerhaps he'll make his special brewOf snake and spider stewUmmm!We're his little henchmen andWe take our job with prideWe do our best to please himAnd stay on his good sideSHOCKI wish my cohorts weren't so dumbBARRELI'm not the dumb oneLOCKYou're no funSHOCKShut upLOCKMake meSHOCKI've got something, listen nowThis one is real good, you'll seeWe'll send a present to his doorUpon there'll be a note to readNow, in the box we'll wait and hideUntil his curiosity entices him to look insideBARRELAnd then we'll have himOne, two, threeLOCK, SHOCK, AND BARRELKidnap the Sandy Claws, beat him with a stickLock him up for ninety years, see what makes him tickKidnap the Sandy Claws, chop him into bitsMr. Oogie Boogie is sure to get his kicksKidnap the Sandy Claws, see what we will seeLock him in a cage and then, throw away the keyOOGIE BOOGIESandy Claws..hahaha[city hall]JACKIt goes something like this. [Jingle bells]How about it? Think you can manage?PERSON INSIDE BASSa one, and a two, and a three, and a. . . [Jingle in a flat key by the band]MAYORNext!JACKFantastic! Now why don't you all practice on that and we'll be in great shape. Sally, I need your help more than anyone's. SALLYYou certainly do, Jack. I had the most terrible vision.JACKThat's splendid.SALLYNo, it was about your Xmas. There was smoke and fire.JACKThat not my Xmas. My Xmas is filled with laughter and joy and this--my Sandy Claws outfit. I want you to make it.SALLYJack, please, listen to me--it's going to be a disaster.JACKHow could it be--just follow the pattern. This part is red, the trim is white.SALLYIt's a mistake, Jack.JACKNow don't be modest, who else is clever enough to make my Sandy claws outfit.MAYORNext!JACKI have every confidence in you.SALLYBut it seems wrong to me, very wrong.[to Behemoth]JACKThis device is called a nutcracker.LOCK, SHOCK & BARRELJack, Jack we caught him we caught him.JACKPerfect! Open it up. Quickly![opens to reveal the Easter bunny]JACKThat's not Sandy Claws!SHOCKIt isn't?BARRELWho is it?BEHEMOTHBunny!JACKNot Sandy Claws...take him back!LOCKWe followed your instructions--BARRELwe went through the door--JACKWhich door? There's more than one. Sandy Claws is behind the door shaped like this. [shows Xmas cookie in shape of tree]SHOCKI told you![LS&B start fighting]JACKArr!! [making scary face at LS&B]JACKI'm very sorry for the inconvenience, sir. Take him home first and apologize again. Be careful with Sandy Claws when you fetch him. Treat him nicely.LOCK, SHOCK & BARRELGot it. We'll get it right next time.[Dr. Finkelstein's castle]DR. FINKELSTEINYou will be a decided improvement over that treacherous Sally.IGORMaster, the plans.DR. FINKELSTEINExcellent, Igor.[throws him a dog bone] Making Christmas Performed by Danny Elfman and the Citizens of HalloweenCLOWNThis time, this timeGROUPMaking ChristmasACCORDION PLAYERMaking ChristmasMAYORMaking Christmas, making ChristmasIs so fineGROUPIt's ours this timeAnd won't the children be surprisedIt's ours this timeCHILD CORPSEMaking ChristmasMUMMYMaking ChristmasMUMMY AND CORPSE CHILDMaking ChristmasWITCHESTime to give them something funWITCHES AND CREATURE LADYThey'll talk about for years to comeGROUPLet's have a cheer from everyoneIt's time to partyDUCK TOYMaking Christmas, making ChristmasVAMPIRESSnakes and mice get wrapped up so niceWith spider legs and pretty bowsVAMPIRES AND WINGED DEMONIt's ours this timeCORPSE FATHERAll together, that and thisCORPSE FATHER, WOLF MANWith all our tricks we'reCORPSE FATHER, WOLF MAN, DEVILMaking ChristmastimeWOLF MANHere comes JackJACKI don't believe what's happening to meMy hopes, my dreams, my fantasiesHee, hee, hee, heeHARLEQUINWon't they be impressed, I am a geniusSee how I transformed this old ratInto a most delightful hatJACKHmm, my compliments from me to youOn this your most intriguing hatConsider though this substituteA bat in place of this old ratHuh! No, no, no, now that's all wrongThis thing will never make a presentIt's been dead now for much too longTry something fresher, something pleasantTry again, don't give upTHREE MR. HYDESAll together, that and thisWith all our tricks we're making Christmastime(Instrumental)GROUPThis time, this timeJACKIt's ours!GROUPMaking Christmas, making ChristmasLa, la, laIt's almost hereGROUP AND WOLF MANAnd we can't waitGROUP AND HARLEOUINSo ring the bells and celebrateGROUP'Cause when the full moon starts to climbWe'll all sing outJACKIt's ChristmastimeHee, hee, hee[Christmastown]SANDY CLAWSKathleen, Bobby, Susie, yes, Susie's been nice. Nice, nice, naughty, nice, nice, nice. There are hardly any naughty children this year.[door chime: jingle all the way]SANDY CLAWSNow who could that be?LOCK, SHOCK & BARRELTrick or treat!SANDY CLAWSHuh?[back to Halloweentown][to Jack in Sandy garb]SALLYYou don't look like yourself Jack, not at all.JACKIsn't that wonderful. It couldn't be more wonderful!SALLYBut you're the Pumpkin King.JACKNot anymore. And I feel so much better now.SALLYJack, I know you think something's missing. But --[pricks Jack's finger with needle]JACKSALLYSorryJACKYou're right, something is missing but what? I've got the beard, the coat, the boots --LOCK, SHOCK & BARRELJack, Jack this time we bagged him!LOCKThis time we really did! BARRELHe sure is big Jack!SHOCKAnd heavy!SANDY CLAWSLet me out!JACKSandy Claws in person. What a pleasure to meet you. Why you have hands! You don't have claws at all.SANDY CLAWSWhere am I?JACKSurprised aren't you? I knew you would be. You don't need to have another worry about Xmas this year. SANDY CLAWSWhat?JACKConsider this a vacation Sandy, a reward. It's your turn to take it easy.SANDY CLAWSBut there must be some mistake!JACKSee that he's comfortable. Just a second fellows. Of course, that's what I'm missing. SANDY CLAWSBut --JACKThanks! [took Sandy's hat]SANDY CLAWSYou just can't... Hold on where are we going now?JACKho ho hoSALLYThis is worse than I thought, much worse. I know...SANDY CLAWSMe? On vacation on Xmas eve?BARRELWhere are we taking him?SALLYWhere?LOCKTo Oogie boogie, of course. There isn't anywhere in the whole world more comfortable than that and Jack said to make him comfortable. Didn't he?SHOCK & BARRELYes he did.SANDY CLAWSHaven't you heard of peace on earth and good will toward men?LOCK, SHOCK & BARRELNo![Dr. Finkelstein's castle][getting fog juice] SALLYThis'll stop Jack.[working on new creation to replace Sally]DR. FINKELSTEINWhat a joy to think of all we'll have in common. We'll have conversations worth having.[Oogie's]LOCK, SHOCK & BARREL[laughing]SANDY CLAWSDon't do this. Naughty children never get any presents.SHOCKI think he might be too big.LOCKNo he's not. If he can go down a chimney, he can fit down here![in Oogie's lair] Oogie Boogie's Song Performed by Ken Page with Ed lvoryOOGIE BOOGIEWell, well, well, what have we here?Sandy Claws, huh?Oh, I'm really scaredSo you're the one everybody's talkin' about, ha, haYou're jokin', you're jokin'I can't believe my eyesYou're jokin' me, you gotta beThis can't be the right guyHe's ancient, he's uglyI don't know which is worseI might just split a seam nowIf I don't die laughing firstMr. Oogie Boogie saysThere's trouble close at handYou'd better pay attention now'Cause I'm the Boogie ManAnd if you aren't shakin'There's something very wrong'Cause this may be the last timeYou hear the boogie song, ohhhTHREE SKELETONSOhhhOOGIE BOOGIEOhhhTWO SKELETONS IN VICEOhhhOOGIE BOOGIEOhhhTHREE BATSOhhh, he's the Oogie Boogie ManSANTARelease me nowOr you must face the dire consequencesThe children are expecting meSo please, come to your sensesOOGIE BOOGIEYou're jokin', you're jokin'I can't believe my earsWould someone shut this fella upI'm drownin' in my tearsIt's funny, I'm laughingYou really are too muchAnd now, with your permissionI'm going to do my stuffSANTAWhat are you going to do?OOGIE BOOGIEI'm gonna do the best I canOh, the sound of rollin' diceTo me is music in the air'Cause I'm a gamblin' Boogie ManAlthough I don't play fairIt's much more fun, I must confessWith lives on the lineNot mine, of course, but yours, old boyNow that'd be just fineSANTARelease me fast or you will have toAnswer for this heinous actOOGIE BOOGIEOh, brother, you're somethingYou put me in a spinYou aren't comprehendingThe position that you're inIt's hopeless, you're finishedYou haven't got a prayer'Cause I'm Mr. Oogie BoogieAnd you ain't going nowhere[LS&B laughing][back to Halloweentown][Sally pouring fog juice into fountain][Jack appears from coffin and there's applause]MAYORThink of us as you soar triumphantly through the sky outshining every star. Your silhouette a dark blot on the moon, you who are our pride, you who are our glory, you who have frightened billions into an early grave. [the fog starts to get worse]MAYORYou who have eh, devastated the souls of the living...JACKOh no! We can't take off in this! The reindeer can't see an inch in front of their noses.SALLYWhew!VAMPIREThis fog's as thick as, as...CYCLOPSJelly brainsVAMPIREThicker!JACKThere go all of my hope, my precious plans, my glorious dreams.Kid[crying] There goes Xmas.ZERObarksJACKNo Zero, down boy. My what a brilliant nose you have. The better to light my way! To the head of the team, Zero! We're off!SALLYWait Jack, no![Jack is off!][cheers]JACKho ho ha ha ha SALLYGood bye Jack, my dearest Jack. Oh how I hope my premonition is wrong. Sally's Song Performed by Catherine O'HaraI sense there's something in the windThat feels like tragedy's at handAnd though I'd like to stand by himCan't shake this feeling that I haveThe worst is just around the bendAnd does he notice my feelings for him?And will he see how much he means to me?I think it's not to beWhat will become of my dear friend?Where will his actions lead us then?Although I'd like to join the crowdIn their enthusiastic cloudTry as I may, it doesn't lastAnd will we ever end up together?No, I think not, it's never to becomeFor I am not the one[Jack playing Sandy]JACKho ho ho ho ho ho he he he [lands loudly & wakes up little kid]A little kidSanta![sees Jack][gasps] Santa?JACKMerry Xmas! And what is your name?Kiduh uhJACKThat's all right. I have a special present for you anyway.There you go sonny. Hohohohehehe [goes back up chimney]MotherAnd what did Santa bring you honey?[pulls out shrunken head][mother and father scream]JACKMerry Xmas!Cop[ON PHONE]Hello, police.[frantic peanuts-type talk]Attacked by Xmas toys? That's strange. That's the second toy complaint we've had.JACKhohohohehehe[killer wreath, snake, vampire toy, killer duck][screams][Jack puts toys down chimneys][screams][Jack in the box chases fat kid]JACKYou're welcome one and all!Cop[on phone]Where'd you spot him?---Fast as we can, ma'am---Police---I know, I know a skeleton---Keep calm---Turn off all the lights---Make sure the doors are Locked---Hello, policeNewscasterReports are pouring in from all over the globethat an impostor is shamelessly impersonating Santa Claus,mocking and mangling this joyous holiday.Halloween residents[cheers]NewscasterPolice assure us that this moment, military units are mobilizing to stop the perpetrator of this heinous crime.SALLY[over the Newscaster]Jack, someone has to help Jack. Where'd they take that Sandy Claws?Newscaster--Come back and save XmasJACKLook Zero, search lights! [firing at Jack]JACKThey're celebrating! They're thanking us for doing such a good job.[almost hits Zero]JACKWhoa, careful down there, you almost hit us. ZERObarkJACKIt's ok, Zero. Head higher![Oogie lair]OOGIE BOOGIEAre you a gamblin man, Sandy? Let's play. [sees sally's leg]OOGIE BOOGIEMmmm.. my, my....what have we here?[Sally's hands start to rescue Sandy]SALLY[whispering] I'll get you out of here.OOGIE BOOGIEAh, lovely. Tickle, tickle, tickle. Tickle, tickle, tickle.[Sally's hands untie Sandy][Oogie realizes that there's no body to the leg]OOGIE BOOGIEWhat?!? You trying to make a dupe out of me?[Oogie sucks Sandy and Sally back in][back to Jack]JACKWho's next on my list. Ah, little Harry and Jordan. Won't they be surprised.[sleigh gets hit]JACKThey're trying to hit us! ZERO!ZEROBark[sleigh gets hit][as Jack's falling]JACKMerry Xmas to all and to all a good night...[Halloween]WEREWOLFhowl!MAYOR (with white face)I knew this Xmas thing was a bad idea. I felt it in my gut. Terrible news folks. The worst tragedy of our times. Jack has been blown to smithereens. Terrible, terrible news.[back to "normal" town]Cop[in car]Attention, attention citizens. Terrible news. There's still no sign of Santa Claus. Although the impostor has been shot down, it looks like Xmas will have to be canceled this year. I repeat the impostor has been shot down but there's still no sign ......[Jack in cemetery] Poor Jack Performed by Danny ElfmanWhat have I done? What have I done?How could I be so blind?All is lost, where was I?Spoiled all, spoiled allEverything's gone all wrongWhat have I done?What have I done?Find a deep cave to hide inIn a million years they'll find meOnly dust and a plaqueThat reads, 'Here Lies Poor Old Jack"But I never intended all this madness, neverAnd nobody really understood, well how could they?That all I ever wanted was to bring them something greatWhy does nothing ever turn out like it should?Well, what the heck, I went and did my bestAnd, by god, I really tasted something swellAnd for a moment, why, I even touched the skyAnd at least I left some stories they can tell, I didAnd for the first time since I don't remember whenI felt just like my old bony self againAnd I, Jack, the Pumpkin KingThat's right! I am the Pumpkin King, ha, ha, ha, haAnd I just can't wait until next Halloween'Cause I've got some new ideas that will really make them screamAnd, by God, I'm really going to give it all my mightUh oh, I hope there's still time to set things rightSandy Claws, hmm[Oogie lair]SALLYYou wait till Jack hears about this. By the time he's through with you, you'll be lucky if you... MAYORThe king of Halloween has been blown to smithereens. Skeleton Jack is now a pile of dust.SALLY[gasp]JACKCome on Zero. Xmas isn't over yet!OOGIE BOOGIEWhat's that you were saying about luck, rag doll?SALLYHelp, help, help, helpOOGIE BOOGIESandy, looks like it's Oogie's turn to boogie.SALLY[scream]OOGIE BOOGIEone 2 3 4 5 6 7 -- hahahaSANDY CLAWSThis can't be happening!OOGIE BOOGIEAshes to ashes, and dust to dust. Oh, I'm feeling weak...with hunger.One more roll of the dice oughta do it. Haha [rolls dice]What! Snake eyes. [bang on table]Eleven! Haha looks like I won the jackpot!Bye bye doll face and sandman.Ha, ha, ha[about to dump Sally & Sandy Claus into the lava]What the...JACKHello OogieOOGIE BOOGIEJack, but they said you were dead. You must be double dead.Well come on bone man.ZERObark barkOOGIE BOOGIEoooo ooo ooo. Pull an arm. ha haSALLYJack look out!OOGIE BOOGIESo long, Jack. hahaJACKHow dare you treat my friends so shamefully.[Jack pulls the thread that came loose that held Oogie together]OOGIE BOOGIENow look what you've done. My bugs, my bugs, my bugs, bye bye byeJACKForgive me Mr. claws, I'm afraid I've made a terrible messof your holiday.SANDY CLAWSBumpy sleigh ride, Jack? The next time you get the urge to take over someone else's holiday, I'd listen to her! She's the only one who makes any sense around this insane asylum!Skeletons....JACKI hope there's still time--SANDY CLAWSTo fix Xmas? Of course there is, I'm Santa Claus![and laying a finger aside of his nose, up Oogie's chimney he rose]SALLYHe'll fix things Jack. He knows what to do.JACKHow did you get down here Sally?SALLYOh, I was trying to, well, I wanted to, to --JACKto help me SALLYI couldn't just let you just...JACKSally, I can't believe I never realized...that you...MAYORJack, Jack!BARRELHere he is!LOCKAlive!SHOCKJust like we said.MAYORGrab a hold my boy!JACK & SALLYwhoa!NEWSCASTERGood news, folks. Santa Claus, the one and only has finally been spotted. Old Saint Nick appears to be traveling at supersonic speed. He's setting things right, bringing joy and cheer wherever he goes. Yes folks, Kris Kringle has pulled it out of the bag and delivered Xmas to excited children all over the world! Finale Performed by Danny Elfman, Catherine O'Hara, and the Citizens of HalloweenCHORUSLa, la, la, (etc.) Jack's OK, and he's back, OKCHILD CORPSE AND CHORUSHe's all rightMAYOR AND CHORUSLet's shout, make a fussScream it out, wheeeCHORUSJack is back now, everyone singIn our town of HalloweenJACKIt's great to be home!SANDY CLAWSHohohohohoHappy Halloween![Sandy Claws brings snow to Halloween]JACKMerry Xmas!CHILD CORPSEWhat's this?CYCLOPSWhat's this?HARLEQUIN DEMONI haven't got a clueMR. HYDEWhat's this?CLOWNWhy it's completely newOFF-SCREEN VOICEWhat's this?WOLFMANMust be a Christmas thingOFF-SCREEN VOICEWhat's this?MAYORIt's really very strangeCHORUSThis is HalloweenHalloween! Halloween! Halloween!What's this?What's this?(Repeat)DR. FINKELSTEINCareful, my precious jewel![Dr. F. with his new wife!]JACKMy dearest friend, if you don't mindI'd like to join you by your sideWhere we can gaze into the starsJACK AND SALLYAnd sit together, now and foreverFor it is plain as anyone can seeWe're simply meant to be[at the end of FINALE, Zero zooms off into the heavens]THE END! \ No newline at end of file diff --git a/unformated_scripts/Script_Nightmare on Elm Street, A.txt b/unformated_scripts/Script_Nightmare on Elm Street, A.txt new file mode 100644 index 0000000000000000000000000000000000000000..53d5700db559daac6109404e95154529f00394ba --- /dev/null +++ b/unformated_scripts/Script_Nightmare on Elm Street, A.txt @@ -0,0 +1 @@ +Wes Craven's A NIGHTMARE ON ELM STREET1A. INT. (MONTAGE). 1A. NIGHTMARE MUSIC THEME begins as we FADE UP on a SERIES OF SHOTS, all CLOSE and teasing. -- A man's FEET, in shabby work shoes, stalking through a junk bin in a dark, fire-lit, ash- dusted place. A huge BOILER ROOM is what it is, although we only glimpse it piecemeal. Then we SEE a MAN'S HAND, dirty and nail-bitten, reach INTO FRAME and pick up a piece of METAL. -- ANOTHER ANGLE as the HAND grabs a grimey WORKGLOVE and slashes at it with a straight razor, until its fingertips are off. -- CLOSE ON SAME HANDS dumping four fishing knives out of a filthy bag. Their blades are thin, curved, gleaming sharp. -- MORE ANGLES, EVEN CLOSER. We can HEAR the MAN's wheezing BREATHING, but we still haven't seen his face. We never will. We just SEE more metal being assembled with crude tools, into some sort of linkage -- a splayed, spidery sort of apparatus, against a background light of FIRE, and a deep rushing of STEAM and HEAVY, DARK ENERGY. -- And then we see this linkage attached to the glove. -- Then the BLADES attached to all of it. -- Then the MAN'S HAND slips into this glove-like apparatus, filling it out and transforming it into an awesome, deadly claw-hand with four razor/talons gleaming at its blackened fingertips. Suddenly the HAND arches and STRIKES FORWARD, SLASHING THROUGH a DARK CANVAS, tearing it to shreds.1. EXT. LOS ANGELES. NIGHT. (2nd Unit) 1. A PULSATION OF LIGHT AND SHADOW. MUSIC DROPS AWAY to a hushed RUSHING OF WIND and DISTANT SIRENS. CAMERA RACKS INTO FOCUS on a HIGH PANORAMA of the San Fernando Valley, its night sky lit from within by a strange GREENISH LIGHT. TITLES BEGIN. CAMERA TILTS DOWN and ZOOMS SWIFTLY into the valley's web of light. CUT TO: 2. INT. CONCRETE PASSAGEWAY. 2. TITLES CONTINUE as TINA GRAY, a strong girl of fifteen in a thin night shift, moves towards us down a dark concrete corridor. Her steps quicken as TITLES appear in the portion of frame she leaves free. A subliminal COLLAGE of SOUND threads in and out of the MUSIC. Distant insane LAUGHTER. Slamming iron DOORS. A bleating animal CRY. A LAMB, white and blank-faced, skitters across her path and on into the dark. No reason why it's there. Then another SOUND, much nearer -- the slithering SCRAPE of something like fingernails across slate. It sets our teeth on edge, twists the MUSIC, and sends TINA running.3. INT. BOILER ROOM. 3. Suddenly TINA's a tiny figure running among huge boilers steam pipes and catwalks -- a shadowed forest of iron and stone. She stops, listening intently as the SOUND of tiny hooves suddenly turns into the rattle of DISTANT RAIN. Then she hears RIPPING FABRIC. Someone is shouldering behind a ragged screen of dirty canvas, approaching TINA. CLOSER ON THE CANVAS. The long curved fingerblades suddenly punch through, flashing in the firelight, and begin ripping through the thick fabric, as easily as scalpels through flesh. They make a hideous, extended RIPPING SOUND. TINA rushes away, hands over her ears. ANOTHER ANGLE -- as the blinded girl stumbles backwards. Then the canvas flaps free. The blades are gone. The TITLES END, and everything goes silent. CAMERA CIRCLES until TINA's looking right into our eyes. The light from a nearby boiler pours through her thin night dress, leaving her naked and vulnerable. Then a deep, ragged VOICE whispers at her as CAMERA CLOSES IN ON HER FACE. VOICE (O.S.) One two, Freddie's coming for you... TINA opens her mouth to scream but only a dry, yellow dust pours out. And at that precise moment a huge shadowy MAN with a grimey red and yellow sweater and a weird hat pulled over his scarred face lunges at her. And it's his fingers that are tipped with the long blades of steel, glinting in the boney light and giving the hulk the look of an otherworldly predator. TINA dodges away, her legs suddenly elephantine and slow. The MAN seizes the trailing hem of her nightgown and hauls her back. The MUSIC shrieks as TINA manages to tear free -- the MAN lurches after her with a hoarse SHOUT as we -- SMASH CUT TO:4. INT. TINA'S BEDROOM. NIGHT. 4. TINA convulses in bed with a SCREAM, looking around wildly. Someone is KNOCKING on her door. WOMAN'S VOICE (O.S.) You okay, Tina? TINA'S MOTHER sticks her head in with a worried look. TINA sits up and blows out a breath, groggy. TINA Just a dream, Ma... (more to herself) Damn dream, is all... The woman, once attractive, ventures a step into the room. A MAN hovers BACKGROUND. TINA'S mother waves him away without looking, shoving a strand of bleached hair from her eyes. She appraises her daughter. TINA'S MOTHER Some dream, judging from that. She nods at TINA's nightshift. TINA looks down at her nightgown, only now aware of the chill penetrating it from the room. There are four long slashes up its middle, cleanly cut as if by scalpels. MAN (OS) (distant, annoyed) You coming back to the sack or what? TINA'S MOTHER Hold your horses. (lower, to Tina as she stands to leave) You gotta cut your nails or stop that kind of dreaming, Tina. One or the other. The woman shuts the door behind her. TINA looks back to her nightgown. TINA (low) Oh, shit. She suddenly snatches up the cross that hangs over her head, her face white as her sheet. FADE TO BLACK BURN ON5. THE FIRST DAY 5. CHILDREN (OS) (singing) One two, Freddie's coming for you... Three four better lock your door Five six grab your crucifix...6. EXT. HIGH SCHOOL. DAY. 6. FADE UP ON SHOT OF this large highschool and its crowds of STUDENTS. FOREGROUND, TINA climbs out of a cherry-red 1959 Cadillac convertible with two other students, best friend NANCY WILSON, and Nancy's boyfriend and owner of the car, GLEN LANTZ. FOREGROUND several GRADESCHOOLERS are playing jump-rope, and the old ditty they sing continues unbroken from TINA's bedroom. ROPE JUMPERS Seven eight, gonna stay up late! Nine ten -- never sleep again!7. MOVING ANGLE FAVORING NANCY. She's a pretty girl in a letter 7. sweater, with an easy, athletic stride and the look of a natural leader. GLEN, holding her hand, wears one of the school's football jerseys; a good-natured, bright kid. Tina's in mid-conversation. TINA (referring to kids' song) That's what it reminded me of -- that old jump rope song. (shudders) Worst nightmare I ever had. You wouldn't believe it. Nancy nods. NANCY Matter of fact I had a bad dream last night myself... TINA turns to NANCY, but before either can say more, ROD LANE, a lean, Richard Gere sort in black leather and New Wave studs joins up with them and interupts. ROD (to Tina) Had a hardon this morning when I woke up, Tina. Had your name written all over it. Tina cracks her gum with a look of withering indifference. TINA There's four letters in my name, Rod. How could there be room on your joint for four letters? The guy's stopped in his tracks. ROD Hey, up yours with a twirling lawn mower! He cuts off across the lawn. TINA Rod says the sweetest things. NANCY He's nuts about you. TINA Yeah, nuts. TINA makes a face and rakes her fingernails across a tree as she passes. TINA (CONTD) (yawns) Anyway, I'm too tired to worry about the creep. Couldn't get back to sleep at all. (beat) So what you dream? NANCY Forget it, the point is, every- body has nightmares once in a while. No biggy. GLEN Next time you have one, just tell yourself that's just all it is, right while you're having it, y'know? That's the trick. Once you do that, you wake right up. At least it works for me. TINA looks at GLEN sharply. He kisses NANCY and darts off for class. TINA Hey! You have a nightmare too? But GLEN's gone. TINA (CONTD) Maybe we're gonna have the Big Earthquake. They say things get weird just before that... BELLS ARE RINGING, and STUDENTS crowding; TINA and NANCY are drawn into the crush. FADE TO BLACK8. EXT. A VALLEY STREET. NIGHT. 8. ANGLE ON A MODEST HOME; no car, just a couple of BIKES in the drive. Every light in the house and yard is turned on. We HEAR the rock group MADNESS played at a 'No adults home' volume.9. INT. TINA'S LIVING ROOM. NIGHT. 9. ON GLEN, dialing. Nancy and TINA are watching, giggling. TINA I can't believe his mother let him come over here. NANCY Right. Well, she didn't, exactly... GLEN shoves a cassette into TINA's Ghetto Blaster. GLEN (to TINA) See, I got this cousin who lives near the airport, that it's okay for me to stay with, right? So I found this sound effects tape at Licorice Pizza, and... The phone is answered. GLEN jerks the tone arm off the record with a SCRUUPT!! GLEN (CONTD) Hello, Mom? (pushes the 'play' button) Yeah, out here at Barry's. A JET PLANE begins to make itself heard on the tape. GLEN moves the machine closer to the phone. It's a big plane -- sounds like a 747 coming in for a landing. GLEN (CONT) Huh? Yeah, noisy as usual. Glad we don't live here -- huh? Yeah, Aunt Eunice says hello. The Jet is SCREAMING IN now, full flaps and howling like a monstrous banshee. NANCY and TINA dissolve into muffled giggles. GLEN (CONT) (shouting over the din) Right, right -- I'll call you in the morning! Right! Huh? Yeah, sure, I, huh?... Suddenly the tape goes silent. GLEN blanches. Next moment another ENGINE is heard, but this one is a FORD LOTUS screaming by at 180 mph. GLEN (CONT) (reacting to his mother's reaction) Uh... some kid's drag racing outside, I think... The sound effect changes abruptly to a SPEEDING SEDAN -- and the ages-old SCREECH of BRAKES, last-second SCREAM and horrible COLLISION. NANCY gamely tries to find the right button to turn it off, but misses. There's a loud SCREEK of fast-forward mayhem -- Glen improvises desperately. GLEN (CONT) Listen, Mom, I got to go -- I think there's been an accident out front -- I -- NANCY jumps back from the cassette player -- WORLD WAR II bursts out at top volume -- MACHINE GUNS, HAND GRENADES, DIVING BEARCATS and SHOUTS of charging Huns. GLEN makes a last-ditch dive and flings the cassette out of the machine. Blessed silence at last. GLEN (CONT) Right. I'll call the police. No, just some neighbors having a fight, I guess. I'm fine, I'm fine! Call you in the morning! He hangs up and sags back. NANCY Worked like a charm. GLEN Jesus. TINA shoves another cassette in, and MICHAEL JACKSON'S 'THRILLER' blasts from the STEREO. The kids relax, the CAMERA GLIDES PAST THEM TO THE WINDOW. The WIND is moving the bare TREE BRANCH outside. CAMERA PANS BACK to the comfortably threadbare room, uneasy. We see NANCY poking at a flame in the hearth as TINA comes FOREGROUND to draw the drapes. NANCY Nice to have a fire. TINA Really. Turn 'er up a little. NANCY turns a nearby valve handle, and the gas fire climbs brightly over its artificial log. TINA joins her, heartened. NANCY Maybe we should call Rod, have him come over too. He might get jealous. TINA Rod and I are done. He's too much of a maniac. GLEN He should join the Marines, they could make something out of him. Like a hand grenade. TINA laughs despite herself. NANCY brightens. NANCY See? You've forgotten the bad dream. Didn't I tell you? TINA shakes her head, wishing she had forgotten. TINA All day long I been seeing that guy's weird face, and hearing those fingernails... NANCY looks up with a flinch. NANCY Fingernails? (blinks, laughing) That's amazing, you saying that. It made me remember the dream I had last night. TINA looks up. TINA What you dream? NANCY I dreamed about this guy in a dirty red and yellow sweater; I dream in color, y'know; he walked into the room I was in, right, right through the wall, like it was smoke or something, and just stared at me. Sort of ...obscenely. Then he walked out through the wall on the other side. Like he'd just come to check me out... The story has left the room deathly quiet. Especially TINA seems effected. TINA (quietly) So what about the fingernails? NANCY remembers, imitating the frightful coincidence. NANCY He scraped his fingernails along things -- actually, they were more like fingerknives or something, like he'd made them himself? Anyway, they made this horrible nose -- (imitates) sssssccrrrtttt.... TINA pales. TINA Nancy. You dreamed about the same creep I did, Nancy... The girls stare at each other. GLEN That's impossible. They look at him. He looks away, as if suddenly listening. TINA What? GLEN Nothing. TINA There's somebody out there, isn't there... NANCY I didn't hear anything... Then there's an unmistakeable SOUND. A distinct SCRAPING against the house, just outside the window. Something multiple, thin and sharp. Something like metal fingernails. NANCY's mouth opens a fraction of an inch.10. EXT. FRONT OF HOUSE. NIGHT. 10. CLOSE ON FRONT DOOR as a BOLT UNLOCKS, a KEY TURNS, a CHAIN is REMOVED. At last the door swings open and GLEN swaggers out. GLEN I'm gonna punch out your ugly lights, whoever you are. No answer but a slight RUSTLE in the bushes. GLEN does a 180 and walks right back inside. The girls prod him right back out, giddy with giggling fear. GLEN It's just a stupid cat. NANCY Then bring us back its tail and whiskers. The girls push him farther. GLEN edges towards the shadows. Then the SCRITCHING again. GLEN stops; TINA edges back into the house. TINA Anyway, I don't have a cat... ANGLE INTO THE SHADOWS. Turned from the girls, GLEN sobers, listening. IN HIS POV we see the street. Silent houses. Motionless trees on empty lawns. GLEN Kitty-kitty? Chow chow chow? Not a living, or dead, soul. GLEN turns back to the girls with a shrug. Instantly, a large FIGURE pounces and throws him to the ground with a shout. The girls SCREAM in panic and run for the house.11. REVERSE -- ROD leaps up and shouts like a sportscaster -- 11. ROD And it's number thirty-six, Rod Lane, bringing Lantz down just three yards from the goal with a brilliant tackle! And the fans go wild! ROD dances into the light, flashing a wild gypsy's grin at TINA. The girl's relieved and frightened at the same time. TINA What the hell you doing here? ROD Came to make up, no big deal. Your ma home? TINA Of course. What's that? ROD takes the spindly hand rake he's found and scraps the house's wall. It makes a terrible SCRIIITCHING SOUND. He grins and tosses it aside. ROD Intense, huh? (sizes up the three) So what's happening, an orgy or something? GLEN Maybe a funeral, you dickhead. ROD wheels, a knife suddenly in his hand, as if ready to take Glen's throat out. NANCY breaks between -- NANCY -- Just a sleep-over date, Rod. Just Tina and me. Glen was just leaving. ROD eyes GLEN, laughs and flips the knife closed and away, putting his arm around TINA's shoulder and laughing as if it's all a great joke. ROD You see his face? (lower) Your ma ain't home, is she? (to Nancy & Glen) Me and Tina got stuff to discuss. He pulls TINA inside without further ceremony. NANCY Rod... But ROD's already got himself and TINA halfway through the living room, heading into the darker part of the house. ROD We got her mother's bed. You two got the rest. ANGLE BACK ON GLEN AND NANCY. NANCY We should get her out of here... TINA darts to the front door, her blouse half out. TINA Hey -- you guys're hanging around -- right? (fake laughing/whine) Don't leave me alone with this lunatic -- Pleeeeze, NANCY! She disappears. GLEN looks at NANCY. Too innocent. GLEN So we'll guard her together. Through the night. (moving closer) In each others' arms like we always said. NANCY Glen. Not now. I mean, we're here for Tina now, not for ourselves. She kisses him lightly, then pushes him back. GLEN (frustrated) Why's she so bothered by a stupid nightmare, anyway? NANCY Because he was scary, that's why. GLEN Who was scary? NANCY turns and looks at him. NANCY Don't you think it's weird, her and me dreaming about the same guy? (GLEN looks away; NANCY stares closer) You didn't have a bad dream last night, did you? GLEN gives her a funny look. GLEN Me? I don't dream. He takes her inside. Over the SOUNDS of locks falling shut we FADE TO BLACK13. INT. TINA'S LIVING ROOM. NIGHT. 13. FADE UP ON an old 50's CLOCK, one of those set into the black plaster body of a stalking panther. It's just past 2 AM. PAN the cold hearth and darkened living room to REVEAL GLEN on the couch, cacooned in sheets. He's listening miserably to the SOUNDS OF LOVEMAKING coming from the next room. TINA peaks, ROD howls. Then silence. GLEN Morality sucks. CUT TO:14. INT. TINA'S MOTHER'S BEDROOM. NIGHT. 14. This is a slightly larger room than TINA's. Adult. Female. Spare in its appointments. The streetlight throws the narrow bed into broken shadow and light. TINA AND ROD lie in each other's arms in the middle of the big bed. Satiated. TINA I knew there was sometihng about you I liked... ROD yawns into the pillows, happy. ROD You feel better now, right? TINA Jungle man fix Jane. ROD No more fights? TINA No more fights. ROD (sleepily) Good. No more nightmares for either of us then. He pulls the covers over his head. He's almost out already. TINA (beat) When did you have a nightmare? ROD (under the blankets) Guys can have nightmares too, y'know. You ain't got a corner on the fucking market or something. He rolls over, practically snoring, and pulls another cover over his head. A dirty red and yellow cover. TINA (sleepily) Where'd you get this snotty old thing? SNORES from ROD. TINA yawns, turns off the light and snuggles against ROD, pulling the cover gingerly over herself, too.15. INT. TINA'S BEDROOM. NIGHT 15. CAMERA MOVES across the room of the original nightmare to find NANCY alone in TINA's bed, staring at the slanting ceiling above the bed. Thinking. We can just hear her HEART beating. She sighs and turns on her side. Immediately the wall above her head turns a faint reddish hue, with a broad yellow smear across its center. All unseen by NANCY, the wall begins to pulse in exact time with her heart's beat. CLOSE ON NANCY'S FACE. She closes her eyes. ANGLE BACK UP ON THE CEILING JUST ABOVE HER HEAD. SOMETHING presses against the surface from the inside. The plaster buldges out as if suddenly elastic, taking the shape of the thing pressing from inside -- taking the shape of a man's face. The face opens its mouth. The knives rake through the surface. ANGLE ON NANCY -- as plaster dust snows down on her. She jerks awake, sitting bolt upright. The face retracts suddenly -- the wall is normal. ANGLE DOWN ON NANCY as she looks up to the ceiling, touching her hair and feeling the plaster dust. REVERSE IN HER POV TO THE CEILING. There are three parallel cuts in the plaster there. About eight inches long. As if cut by sharp knives. Nothing else. Back on NANCY. She draws the covers around her and shivers. Eyes wide open.16. EXT. TINA'S HOUSE. NIGHT. 16. Not a car or person in sight. A stricken breeze dies in the trees.17. ZOOM IN on the window of the room where TINA sleeps. By the time 17. we're FULL IN CLOSE on it, the air is again still as death. A moment later a PEBBLE bounces off the pane. The NIGHTMARE THEME appears in the lower registers and holds its breath. Another PEBBLE strikes, with a sharper RAP.18. INT. TINA'S MOTHER'S BEDROOM. NIGHT. 18. CLOSE ON TINA'S FACE as her eyes open.19. REVERSE IN HER POV. Another PEBBLE clatters off the glass. 19.20. TINA raises slowly. 20. TINA ROD... SNORES FROM ROD. TINA sits up. PAST HER TO THE WINDOW. The WIND MOVES AGAIN; the trees brush the window with their shadows. Then another pebble. RAP! TINA slips to the window.21. EXT. TINA'S BACKYARD. NIGHT. 21. She looks out on an old yard with a patch of bananna trees rattling in the Santa Ana winds. It seems deserted, though the welling dark won't let her be sure. Then another pebble -- PAP! -- hitting with a sharp RACK FOCUS.22. A LOW ANGLE TO WINDOW as TINA jumps back, startled. She hadn't 22. seen that one coming. But she's drawn back to the glass out of curiousity, straining to see in the dark. It's as if the stones are materializing out of thin air.23. INT. TINA'S MOTHER'S ROOM. NIGHT. 23. WHAP! This time a heavier stone, and a thin crack bristles across the glass. TINA (low) Who the fuck you think you are, whoever you are?24. EXT. TINA'S BACK YARD. NIGHT. 24. WIDE ANGLE ON THE REAR OF THE HOUSE. A LIGHT COMES ON. TINA appears in the doorway. TINA (listening) Somebody there? She can see through the backward to a yawning gate and the back alley. No one there. But a word is spoken, as if by wind. VOICE (garbled) Tina. TINA straightens, unable to swallow. There's a ragged, obscene GIGGLE. Deep in the throat. Phlegmy. TINA Who the hell is that? TINA charges across the yard and through the gate, the MUSIC chasing after.25. EXT. A SERVICE ALLEY. NIGHT. 25. She brakes in the middle of the alley and whirls around. Listening. Shivering in the same thin slashed nightgown. A sharp crank of METAL, and fifty feet down the alley the lid of an ash can rolls from the dark like a huge tin coin and spirals noisily down.26. LOW REVERSE ACROSS LID TO TINA. Despite herself she comes over 26. and touches it. She comes up with long worms on her fingers. Next moment the exact same shambling MAN from her nightmare staggers into view fifty feet behind her. TINA falls back into the shadows, shaking the worms off her fingers in repulsion. The MAN turns and starts directly for her, something shining on his right hand as he spreads his arms wide. He starts scraping the steel FINGERNAILS along a cinderblock wall. Orange sparks spurt out -- his arms elongate until they reach from one side of the alley to the other -- and TINA is cut off from her home! CLOSE ON HER as the SCRAPING of the blades gets louder and closer. She begins to shake uncontrollably. TINA Oh, shit, please God... KILLER (softly, approaching) This is God... He holds up his steel-tipped hand like a surgical-steel spider. TINA runs for her life.27. WIDER ANGLE IN THE ALLEY -- a terrifying, all-out footrace 27. between the girl and her pursuer. The MAN is fast; the distance between them closes with each heartbeat. TINA overturns ashcans -- claws her way through a rotten back fence, hammers against a window. Ashen FACES appear, recoil, pull curtains closed and disappear in fright.28. EXT. TINA'S STREET. NIGHT. 28. TINA runs out onto front lawns, SCREAMING for help. No help comes. In fact, the only response is for all the porch lights on the block to be turned off. The MAN roars out from behind a tree -- a tree too narrow to have hidden him -- nearly upon the girl! TINA runs in panic -- at last making her own home, only to be trapped against its locked front door. She hammers against its thick wood. TINA Nancy! Open the door -- Nancy! The MAN slows. He has TINA now and knows it. MAN She's still awake. Nancy can't hear you. TINA turns and looks full at the approaching MAN. Smudged by deep shadow, he's big and hideous. He wears the same dirty yellow sweater from the first nightmare -- from the wall-hanging and blanket too -- and has the same sagging hat and leering grin over his misshapen face. And on his fingers are the steel talons.29. CLOSE ON HIM as he takes the blade on the end of his right index 29. finger and lopes off one of the fingers of his left hand. Then another. We SEE the PIECES OF FINGERS fall past TINA'S face in SLOW MOTION. ANGLE ON THE GROUND of the FINGERS squirming on the ground, one flopping onto TINA's naked foot. TINA leaps back, sickened, and begins stamping on then as if they were huge bugs. The MAN snaps up his arm and the FINGERS fly back into place on his hand. He leers at TINA -- then suddenly lunges at her, sweeping with his cutting hand! TINA's no weak sister -- blocks his arm, deflecting the spines, and grabs the MAN's ugly face with her other hand. But the face only slides off to the bone. The MAN presses in, and TINA contorts in horror as the knives slash across her shoulder -- cutting her deeply.29A. TINA staggers backward, GROANING, her foot now inexplicably 29A. caught in bedclothes! She falls over her bed's conformter, twists away from the man and, like a child, pulls the cover over her! The skull-faced MAN crushes down, and there's a fierce grappling -- punctuated by his GRUNTS and the girl's DEAFENING SCREAMS -- and they both become totally wrapped in the comforter -- until they're beneath it, fighting for life and death.30. INT. TINA'S BEDROOM. NIGHT. 30. ROD lurches up into CLOSE UP in the lightless bedroom, half-awakened by the tremendous struggle somewhere, somehow inside the dark bed. ROD grabs groggily, lifting the blanket.30A. IN HIS POV we glimpse the dark underside of the blanket -- see 30A. TWO SHADOWY FIGURES flailing and clawing under the bedspread -- TINA and the MAN -- or a shape that could be a man -- raging against each other. ROD drops the blanket and leaps from the bed, scared full awake and terrified. Then the horrible TINA's GASPS change to the CRIES of a terribly wounded victim. ROD instantly jerks back the bedspread. IN HIS POV we SEE TINA struggling and flailing along on the sheets, the MAN nowhere in sight. ROD T-tina!? Suddenly TINA -- eyes turned inward to her tormentor -- give an awful jolt -- her arms and legs are spraddled as if by overwhelming force and pinned to the bed. Next instant, her nightgown flies apart and four long gashes chase across her torso. From no visible instruments! A huge irrigation of blood floods the bed. Terrified, ROD dives for the light -- but at the same moment something invisible grabs TINA, wielding her body in the air and bringing it around in a swift blow that knocks ROD crashing into the light -- smashing it to bits.31. CLOSER ON HIM as he struggles around. In the blue FLASHES OF 31. ELECTRICITY ROD sees TINA sliding up the bedroom wall in a dark smear, dragged feet first! ANGLE ON ROD -- paralized by terror! ANGLE ON TINA'S DYING EYES -- moving with her up the wall and bumping around the corner onto the ceiling. She's just looking at who's dragging her, eyes glazing. REVERSE IN HER POV -- to the shadowy, horrendously ugly MAN, dragging her with fierce glee across the ceiling, literally swabbing the ceiling with her bloody body. SEEN in FORCED PERSPECTIVE, the SHOT carries her across a great distance without seeming to get anywhere -- as if the ceiling is an endless plane. ANGLE DOWN ON ROD -- on his hands and knees -- the lamp next to him blurting blue SPARKS and STROBING the nightmare room. ROD'S screaming up at TINA'S invisible tormentor. ROD What the hell's going ON here! Tina! ANGLE ON TINA -- upside down, clawing at the hanging swag lamp above her mother's dressing table -- desperate for some anchor. But she's dragged away from it. The lamp swings back, it's wires gushing more SPARKS. CLOSER along the ceiling as TINA rakes a long furrow in the ceiling with her fingernails. But her eyes are glazing, glazing. And then they fall closed. WIDE, UP ON THE CEILING, as her body suddenly flops loose, hanging for an awful moment by the feet over the bed. REVERSE ON ROD -- staring like a terrified child. ROD Tina -- REVERSE IN HIS POV -- as the body falls like a sack of rocks onto the devastated bed, in SLOW MOTION, striking with a huge splash of blood. A sick, awful GIGGLE floats around the room, then ECHOES off into infinity. ROD staggers up, staring around as if hoping to see this phantom. ROD You motherfucker! I'll kill you for that!32. INT. TINA'S BEDROOM. NIGHT. 32. NANCY is sitting straight up in bed, terrified. The CRIES of ROD are ringing through the whole house. She forces herself to move -- bolting from the bed despite her terror and sense of dread.33. INT. HALLWAY. NIGHT. 33. NANCY flies into the dark hall -- crashing directly into SOMEONE who lurches out of the dark before her. She SCREAMS and jumps back -- GLEN What the hell's going on!? NANCY Oh -- jeez -- Glen! Rod's gone ape! ROD (OS) (sobbing) I'll kill you! NANCY grabs the door; it's locked; she pounds on it. BAM! BAM! BAM! Things fall into sudden, awful silence on the other side. GLEN's voice cracks with fear. GLEN Rod? (silence) Rod, you better not hurt Tina... ROD erupts into terrible HOARSE LAUGHTER AND SOBBING. Then they hear BREAKING GLASS. GLEN barrels into the door like the football player he is. The frame splinters and they're in.34. INT. TINA'S MOTHER'S BEDROOM. NIGHT. 34. Just inside the door NANCY slips and goes down hard. GLEN finds her in the dark more by touch than sight. GLEN You okay? NANCY Yeah. Something slippering all over here... (feeling) Tina? No answer. The room is quiet as a tomb. Except for a stead DRIPPING, from all over. Then GLEN finds a LIGHT SWITCH. On the CLICK the devastation is revealed. There's BLOOD everywhere: up the walls, over the clawed ceiling, soaking the killing floor of the bed, and pooling in the dark red puddle where NANCY has slipped and fallen. GLEN Oh, shit... NANCY wobbles up and sees TINA in the center of the ravaged bed. Unmistakeably and utterly dead. NANCY presses against the wall, then contorts and chokes. GLEN (CONTD) (numb) I...I'm gonna call the cops -- He bursts from the room.35. TIGHT ON NANCY. She turns away from the body in repulsion, 35. sticking her head through the shattered window ROD LANE used for his escape, sucking in the cold night air and moaning. FADE TO BLACK36. EXT/INT. POLICE STATION. NIGHT. 36. FADE UP ON RED LIGHTS and SIREN as an unmarked POLICE CAR speeds to the curb. LT DON THOMPSON, a decent-looking man in his mid-40's, exits and punches a cigarette from his pack. His shaken aide, a uniformed patrolman named PARKER, greets him. (CAMERA FOLLOWS them from the car straight into the station and eventually to THOMPSON'S OFFICE.) PARKER Lieutenant Thompson. Sorry to wake you, but -- LT THOMPSON I'd've canned your ass if you hadn't. What you got? PARKER stumbles to open the door for THOMPSON as the man bulls into the station at a furious pace. PARKER Her name was Tina Gray. It was her home. Father abandoned ten years ago, mother's in Vegas with a boyfriend. We're trying to reach her now. LT THOMPSON grimaces as if he knows the story. LT THOMPSON What's the Coroner got to say? PARKER Something like a razor was the weapon, but nothing found on the scene. THOMPSON is already to the desk officer SERGEANT GARCIA. The big MAN shoves him a sheaf of papers -- SERGEANT GARCIA (wary) Leautenant. You know who -- LT THOMPSON Where is she? SERGEANT GARCIA I put her in your office... PARKER scurries after. PARKER Looks like her boyfriend did it. Rod Lane. Musician type, arrests for brawling, dope -- LT THOMPSON Terrific. What the hell was she doing there? PARKER She lived there. LT THOMPSONOMIT 37. I don't mean her -- OMIT 37.38. INT. INTERROGATION ROOM. NIGHT. 38. THOMPSON enters his office and confronts NANCY and her mother, MARGE SIMSON. LT THOMPSON (CONTD) I mean you. (accusingly, to Marge) What the hell was she doing there? MARGE SIMSON is in her middle thirties; a good-looking woman despite the hour and circumstances. MARGE Hello to you, too, Donald. THOMPSON stops, the steam suddenly out of him. The girl is a wreck and he winces to see it. LT THOMPSON Marge. THOMPSON glances at PARKER and the other UNIFORMED COPS who are in the room. As a man they head for the door. There's no question who the boss is here. THOMPSON turns to NANCY. She fumbles a smile. LT THOMPSON (CONTD) How you doing, pal? NANCY Okay. Hi, dad. NANCY's dress is dark with dried blood, her skin clammy and the color of paste. MARGE shoots her ex-husband a worried glance. THOMPSON pulls a chair close to NANCY. LT THOMPSON I don't want to get into this now, god knows you need time. (hotter) But I'd sure would like to know what the hell you were doing shacked up with three other kids in the middle of the night -- especially a delinquent lunatic like Lane. NANCY weaves. NANCY Rod's not a lunatic. LT THOMPSON You got a sane explanation for what he did? The girl is shredding a Kleenex, staring off. MARGE Apparantly he was crazy jealous. Nancy said they'd had a fight, Rod and Tina. NANCY (quietly) It wasn't that serious... MARGE Maybe you don't think murder's serious -- NANCY sits bolt upright in her chair, her eyes flashing. NANCY She was my best friend! Don't you dare say I don't take her death seriously! (lower, near tears) I just meant their fights weren't that serious. The girl holds the woman's eyes a moment, then looks away. NANCY (CONTD) (to herself) She dreamed this would happen... LT THOMPSON What? NANCY She had a nightmare about somebody trying to kill her, last night. That's why we were there; she was afraid to sleep alone. A tear splashes off the arm of her chair. MARGE She's been through enough for one night. You have her statement. The mother and daughter rise; THOMPSON raps on the door and PARKER opens it. LT THOMPSON (to MARGE) I suggest you keep a little better track on her -- she's still a kid, y'know. MARGE wheels on him. MARGE You think I knew there were boys there!? You try raising a teenager alone. Then she and the girl are gone. THOMPSON glares at PARKER. LT THOMPSON (low to PARKER) See they get home okay. PARKER shoves his hands in his pockets. ON HIS FACE we FADE TO BLACK39. INT. NANCY'S KITCHEN. MORNING. 39. BURN ON THE SECOND DAY FADE UP ON MARGE SIMSON opening a new bottle of gin, pouring herself a careful shot, drinking it, then chasing it with coffee. Nearby a TV drones the morning news. We can't yet see the SCREEN. TV NEWSCASTER (OS/FILTER) In the headlines this morning -- a local teenage girl was brutally murdered during an all-night party. MARGE TURNS, startled, seeing NANCY coming downstairs. The girl looks a little better than she did in the Police Station, but her eyes are still red-rimmed, and a vacant stress masks her face. She looks to the TV. Stops. TV NEWSCASTER (CONTD) Police say the victim, fifteen-year -old Christina Grey, had quarrelled earlier with her boyfriend, Rod Lane, a punk rocker with a history of delinquency. Lane is now the subject of a city-wide manhunt. According to --39A. The TV PICTURE has begun featuring a HANDHELD NEWSREEL SHOT of a dark rubber BODY BAG being carried to a CORONER'S VAN. Just before the thing is lifted inside, TINA'S bloodied, white ARM slips from its zippered side and lolls into the dark night air. A man rudely shoves it back inside and pulls the zipper up the rest of the way.39B. WIDER -- as NANCY pales visible. MARGE darts to the TV and slaps it off, then turning to NANCY. She looks at the girl a moment, then goes to her and hugs her. MARGE (kind) Where you think you're going? NANCY School. MARGE I could hear you tossing and turning all night, kiddo. You've no business going to school. NANCY pulls away, determined. NANCY I gotta go to school, Mom. Please. Otherwise I'll just sit up there and go crazy or something. MARGE studies her face a moment. MARGE Did you sleep? NANCY I'll sleep in study hall, promise. I'd rather keep busy, you know? She absently drains the woman's coffee cup -- then pecks her cheek. MARGE Right home after. NANCY (cont'd) Right home after. See you. MARGE watches the girl disappear outside, then lights a cigarette from the one already burning in her fingers.40. EXT. STREET. DAY. 40. MUSIC slips back in, subtle but tense as we TRACK with NANCY as she walks alone down a sidewalk edged with thick flowering Oleander. She cocks her head, puzzled, as if sensing something. MUSIC mounts. NANCY looks across the street.40A. REVERSE IN HER POV. A MAN is over there in dark clothes, reading 40A. a newspaper, but really watching her.40B. NANCY shrugs and continues on, then stops and looks back again. 40B.40C. IN HER POV we SEE the MAN is gone. 40C.40D. Next moment -- with a MUSIC STING -- a BLOODIED HAND jumps out 40D. from the opposite direction, clamps over NANCY'S mouth and drags her into the bushes.41. EXT. BUSHES. DAY. 41. NANCY struggles, twisting against the powerful assailant. A WIDER ANGLE REVEALS ROD LANE -- barefoot, clad only in jeans and leather jacket, still caked with dark blood. The rest of his skin is pale as a ghost's. ROD I'm not gonna hurt you. He releases her warily. NANCY makes no move to run or scream, even though several STUDENTS pass on the nearby sidewalk. This reassures ROD just a little. ROD Your old man thinks I did it, don't he? NANCY He doesn't know you. (eyeing the blood) Couldn't you change? ROD The cops were all over my house. (shivers) They'll kill me for sure. NANCY Nobody's gonna kill you. He runs his hands down his face, trying to believe that. The two study each other. ROD I never touched her. NANCY You were screaming like crazy. NANCY says this without accusation, just cool observation. ROD Someone else was there. NANCY The door was locked from your side. ROD grabs her hard. His muscular body tenses. ROD Don't look at me like I'm some kind of fucking fruitcake or something, I'm warning you. VOICE (O.S.) Morning, Mr. Lane.42. The boy jerks around. NANCY's father, his .38 leveled right at 42. ROD's belly, eases out of the bushes. LT THOMPSON Now just step away from her, son. Like your ass depended on it. I'm warning you. ROD backs away, looking once at NANCY with a look of terrible sadness. Then he dives out of the bushes and runs like hell. THOMPSON snaps his revolver to fire -- but instinctively NANCY jumps between -- NANCY No! THOMPSON jerks his gun into the air, furious. THOMPSON Jesus -- are you crazy!? He plunges past the girl.42A. EXT. STREET. DAY. 42A. ROD races like a frightened animal across the lawns -- but is soon cut off by the PLANECLOTHESMAN NANCY saw watching her before -- and then TWO UNIFORMED POLICEMAN, who close from another angle. The chase is short and pitifully off-balance, and ROD is soon wrestled to the ground. Next moment one of the cops is holding ROD'S knife into the air for THOMPSON to see. THOMPSON looks at NANCY, as if to say 'I told you.' Background, ROD'S SHOUTS can be heard as he's shoved into a SQUAD CAR. ROD (O.S.) I didn't do it -- ! (fading) I didn't kill her, Nancy! The car's door slams and ROD is gone. NANCY turns to her father, livid. NANCY You used me, daddy! LT THOMPSON (exasperated) What the hell you doing going to school today, anyway -- your mother told me you didn't even sleep last night! NANCY spins angrily and walks away. LT THOMPSON Nancy! Hey! But she just keeps going. FADE TO BLACK43. INT. CLASSROOM. DAY. 43. FADE UP ON an ENGLISH TEACHER and CLASS, NANCY among the kids, trying to concentrate. TEACHER According to Shakespeare, there was something operating in Nature, perhaps inside human nature itself, that was rotten -- a canker, as he put it. The TEACHER'S eyes glance across the room. ANGLE ON NANCY; yawning but listening. TEACHER (CONTD) Of course Hamlet's response to this, and to his mother's lies, was to continually probe and dig -- just like the gravediggers -- always trying to get beneath the surface. The same was true in a different way in Julius Caesar. Jon, go ahead... She nods to a SURFER who's been waiting uncomfortably in front of the class. He squints at his book and begins, the recitation a struggle between baked and salted brain and the poetry of the Bard. SURFER (reading aloud) Uh, In the most high and palmy state of Rome... WISEGUY STUDENT (O.S.) California's the most high and palmy state, man. The SURFER halts with a grin; KIDS snicker. ENGLISH TEACHER Can it. She glares them back into silence. The SURFER starts over, as we CUT TO NANCY. She's nodding off now, barely able to keep her eyes open in the warm, close boredom of the classroom. SURFER (O.S.) In the most high and palmy state of Rome, a little ere the mightiest Julius fell... (NANCY's head pitches forward; she jerks it back up, barely awake) The graves stood tenantless, and the sheeted dead did squeak and gibber in the Roman street...44. NANCY's head has sunk again, eyelids drawn as if by enormous 44. weight. By the time her cheek's against the desk, the SURFER'S VOICE is ECHOED and DISTANT. But another voice, TINA'S, is very near, very much present. A sad, thin plaint. TINA (O.S.) Nancy. NANCY gives a start. Her eyes lock onto something.45. REVERSE. TILTED SIDEWAYS, IN HER HEAD'S POV, we look straight 45. out through the open doorway of the classroom into the hall. There, standing in a black pool of fluid, is a full-sized rubber body bag. Dark red and yellow. Weaving slightly, the merest suggesting of movement within it.46. BACK ON NANCY, sitting upright, wiping the sleep from her eyes, 46. shaking her head like a punchy prozefighter. She looks back out the door.47. REVERSE IN 'NORMAL' POV -- the hallway is empty. But there's a 47. dark smear on its floor tiles.48. NANCY looks nervously towards the rest of the class. No one else 48. has noticed a thing outside the door. All are dumbly spellbound by the SURFER, who now recites like a deep-voiced robot, his face wreathed by white hair. SURFER O God, I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams...49. ANGLE BACK ON NANCY. She slips from her seat, eye warily on the 49. teacher and class. But no one turns as she disappears through the doorway.50. INT. SCHOOL HALLWAY. DAY. 50. NANCY turns and looks both directions. No sign of anybody. TINA (O.S.) (distant) Nancy. NANCY wheels and sees the bag, prone on the tiles at the far end of the hall, at the end of a long snail's trail of slime. A pale hand thrusts out of it. A moment later, as if pulled by invisible gravity, the bag slides out of sight into an intersecting corridor. NANCY Tina! NANCY starts running for it.51. ANGLE AT THE CORNER as NANCY races blindly around the turn and 51. smashes straight into a BODY lunging at her from the opposite direction! Both go down.52. ANGLE AT THE FLOOR. A dazed freshman HALLGUARD cranks herself up 52. on one elbow. She wears a plastic plaque on her red and yellow sweater that reads 'Hall Guard'. Her nose is bleeding from the impact. HALLGUARD Y-you're not supposed to run. W-where's your pass -- you got a pass? NANCY leaps up -- NANCY Screw your stupid pass!53. She turns -- sees the body bag halfway down this darker, narrower 53. hall, upright again. But just as she sees it, it tips and pitches headlong through a doorway -- like some godawful rotten tree finally timbering down. She can hear the sickening CRUNCHING of it falling down a long flight of stairs. NANCY runs for it again. The HALLGUARD staggers up FOREGROUND, bleeding profusely from her eyes and ears. HALLGUARD Hey, no running in the halls! The HALLGUARD raises her hand and we see it's tipped with long metal spikes. REVERSE ANGLE AT THE DOOR as NANCY runs up. NANCY turns to check out the HALLGUARD. She's vanished. NANCY turns and looks down through the open door. The MUSIC sweeps through a strange, brooding movement of strings, mounting towards the NIGHTMARE THEME.54. INT. A STAIRWELL. 54. NANCY edges into the stairwell and looks down. Looks like there's a fire somewhere down there, from the way the orange light dances. But there's only a low WHITE NOISE. NANCY Tina? No answer. NANCY starts down the stairs.55. INT. BOILER ROOM. DAY. 55. NANCY comes off the stairs into a dank boiler room. The smear trail is there. It runs behind a cracking, red-hot boiler the size of a diesel locomotive. Everything about the place feels dreadfully wrong, and the MUSIC is deep into the NIGHTMARE THEME when it pauses. TIGHT ON NANCY. Slow terror moves into her face. There's a low, sinister GIGGLE.56. REVERSE IN HER POV -- we see a tangle of pipes, shadows, and the 56. tainted fire of the huge boiler. Then from behind this, deeply shadowed but still identifiable, steps TINA's KILLER. The same filthy red and yellow sweater and slouch hat, the same melted face twisting into a smile, the same GARBLED LAUGH as he slides the long blades from beneath his shirt and fans them on the ends of his bony fingers. NANCY Who are you? MAN Gonna get you.57. The leering MAN brings the bloodied scalpel-fingernails across 57. his own chest, splitting a nipple. Yellow fluid pours out. MAGGOTS and WORMS. NANCY forgets the question -- jerks around and flees in blind panic into the first opening she sees -- a dark pipe tunnel.58. INT. PIPE TUNNEL. 58. ANGLE IN THE NARROW PASSAGEWAY. In the BACKGROUND the killer shambles towards her; FOREGROUND NANCY breaks into a run. The killer sprints -- NANCY tears ahead into darkness. She flees deeper and deeper into the labyrinth of steaming, SIZZLING pipes, squeezing through smaller and smaller openings. The killer is just yards behind her, and soon she's trapped, just as TINA was before her. She presses her back to the wet bricks. There's no hope of fighting him off, for NANCY is not as strong as TINA. But she is smart as hell, and thinking even in this nightmare. So by the time the creep has raised his knives to strike, NANCY has realized something. She wheels and shoves her arm against one of the scalding steam pipes. In the sme split second we HEAR her flesh scald, we CUT TO:59. INT. ENGLISH CLASS. DAY. 59. NANCY lurches up SCREAMING, arm raised to ward off the invisible blow, books clattering to the floor -- other GIRLS nearby SCREAM in surprise as she stumbles over them. Then she stops, confused and groggy from the nightmare. WIDER ANGLE. EVERYBODY is staring at NANCY as if she's gone mad. The ENGLISH TEACHER rushes over, herself frightened by the terror in the girl's eyes. TEACHER Okay -- Okay, Thompson! Every- thing's all right now -- Nancy!.60. NANCY jerks around with panicked eyes, expecting the killer to 60. leap from any direction. But there's only the sea of staring eyes. NANCY begins methodically picking up her books. TEACHER I'll call your mother. NANCY No! No, really, I'm fine. I'll go straight home. I'm okay. She marches for the door. TEACHER You'll need a hall pass! But the girl's gone.61. EXT. THE SCHOOL. DAY. 61. NANCY walks out of the building, shaken. Then she pauses at one of the big pine trees out front, stops and rests her head against its bark, teeth set. NANCY starts to shake, and next second she's sobbing like a broken-hearted, frightened child. OMIT 61A.OMIT 61A.62. But she shakes herself silent. Wipes the tears away with a slash 62. of sleeve. She rubs her arm absently, lost in thought, then reacts in surprise and pain. She lifts her arm and stares at the spot she's touched. INSERT ON HER ARM and the BURN there; about the size and shape of a half-dollar. WIDER ON NANCY. Utterly, chillingly confused.62A. TINA, against the tree inches from NANCY, (SC 7) -- turns to her and says -- TINA Couldn't get back to sleep at all. (beat) What you dream?63. EXT. A BUSY STREET. DAY. 63. NANCY is walking quickly, head erect, jaw set. Then she enters her father's Police Station.64. INT. VAN NUYS POLICE STATION. DAY. 64. NANCY crosses directly to the GARCIA. NANCY My dad here? GARCIA looks up from his paperwork. SERGEANT GARCIA Lieutenant. LT THOMPSON emerges from another room, uneasy to see NANCY. LT THOMPSON Decide to take a day off after all? NANCY Dad, I want to see Rod Lane. THOMPSON doesn't miss a beat. LT THOMPSON Only family allowed, Nancy. You know the drill. NANCY Just want to talk to him a second. LT THOMPSON He's dangerous. NANCY You don't know he did it. LT THOMPSON No, I know, thanks to your own testimony, that he was locked in a room with a girl who went in alive and came out in a rubber bag. NANCY flinches; her father shows the first signs of color in his neck. NANCY I just want to talk to him. (beat, lower) Please, Dad. THOMPSON shifts almost imperceptibly towards GARCIA, then turns back to NANCY. LT THOMPSON Make it fast. DISSOLVE TO:65. INT. CELL AREA. DAY. 65. A GUARD exits pushing a cart of food trays. NANCY waits warily until he's gone, then looks back to ROD LANE. ROD looks more like a captured coyote than a human; haggard, ribbed, expecting poisoned bait. His hair is wet, his clothes are borrowed jeans and work shirt. NANCY (low) And then what happened? ROD I told you. (reluctantly) It was dark, but I'm sure there was someone else IN there, under the covers with her. NANCY reacts. NANCY How could somebody get under the covers with you guys without you knowing it? ROD How the fuck do I know? (beat) I don't expect you to believe me. NANCY studies his encrypted eyes. Surprisingly, she looks like she just might believe him. She leans closer with a new thought. NANCY What he look like? You get a look at him? He looks away. ROD No. NANCY Well then how can you say somebody else was there? ROD Because somebody cut her. While I watched. Now the place is so quiet you can hear heartbeats. NANCY Somebody cut her while you watched and you don't know what he looked like? ROD smiles an insane smile, stuck with a reality no one will buy. ROD You couldn't see the fucker. You could just see the cuts happening, all at once. NANCY gives a twitch. NANCY What you mean 'all at once'? ROD (low) I mean, it was as if there were four razors cutting her at the same time. But invisible razors. She just... opened up... By now he's picking at a clot of dark blood on his jacket, as if it was a scab on his own body. Then he catches NANCY watching and turns away to the back of the cell. He smashes his fist into the wall -- bone-crushing blows that scare the wits out of NANCY. NANCY Rod! He stops, and his fist is dripping blood as he says in a small, sad voice. ROD I probably could've saved her if I'd moved sooner... But I thought it was just another nightmare, like the one I had the night before. (beat) There... was this guy who had knives for fingers... CLOSE ON NANCY, unable to swallow the gorge rising in her throat. ROD turns to her, and to his surprise she's ashen. ROD (CONTD) Do you think I did it? NANCY No. FADE TO BLACK66. EXT. ELM STREET / NANCY'S HOME. NIGHT. 66. FADE UP ON ESTABLISHING SHOT as a spooky WIND sets a DOG BARKING down the block. A CAR goes by, then this pleasant residential street falls into silence. CAMERA has MOVED IN on NANCY's well-tended two-story home.67. INT. NANCY'S KITCHEN. NIGHT. 67. The house is in shadow. Alone, MARGE scrapes the last of the evening's dishes and slips them into the dishwasher. Neither she nor her daughter has touched the food. But MARGE is well into a bottle of gin; her appetite for that is growing, right along with her dread. She turns and looks up the stairs, calling. MARGE Nancy, don't fall asleep in there. NANCY (OS) I won't. MARGE Get into bed.68. INT. UPSTAIRS BATHROOM. NIGHT. 68. NANCY I will. NANCY'S in the tub, so drowsy she can hardly rinse without falling asleep. The water in the tub is opaque with suds. Luxurious. CLOSER ANGLE, AT WATER LEVEL ON NANCY. Her eyes droop. She slides closer to the surface of the water, letting its heat sooth her nerves. Her eyes stare straight up, glazed; her breathing deepens. REVERSE, across to her legs, crooked, one knee on each side of the tub. There's a ripple in the water between. Then something tiny and shiny breaks the surface between them. It pops up with a slithering MUSIC CUE and catches a sliver of light. Then it begins to rise. Higher and higher it rises, soon accompanied by another, then two more shining, gleaming blades, and then the full glove and dark hairy hand and then the wrist and arm, straight up light an evil sapling between the girl's knees, the knives bloosoming into a bright flower of razor sharp steel in the air, moving over the girl's belly. The hand rears back, the claws arch to strike. MARGE (OS/APPROACHING) Nancy? MARGE raps on the door. The instant she does NANCY jerks up, opening her eyes groggily. The dark wet arm, hand and knifes are gone. NANCY What? MARGE (OS) (through the door) You're not falling asleep, are you? You could drown, you know. NANCY Mother, for petesakes. MARGE (OS) It happens all the time. (brighter) I've got some warm milk all ready for you. Why don't you jump into bed? (fading) I'm gonna turn on your electric blanket, too. C'mon, now. (then she's gone into another room) NANCY (low) Warm milk. Gross. She slides down to water level again, and sings softly, thoughtfully to herself. NANCY (CONTD) One, two, Freddie's coming for you, three four, better lock your door, five six, grab your crucifix, seven eight gonna stay up late, nine ten, never sleep again... The next instant she's jerked with incredible violence straight down beneath the surface of the tub -- as if the bottom had suddenly dropped out and she was in a bottomless well!68A. EXT. UNDERWATER SHOT. NIGHT. 68A. LOOKING UP PAST HER ANKLES we SEE NANCY pulled sharply down into really deep water, the dim light of the surface and bathroom beyond receding with each yank. And yet she somehow flails and gasps and struggles back towards the surface, managing by pure panic to break the surface with her hands!68B. INT. HALLWAY OUTSIDE BATHROOM. 68B. MARGE rushes to the door and listens, alarmed at the wild SPLASHING audible through the locked door. MARGE Nancy! NANCY!68C. EXT. UNDERWATER SHOT. NIGHT. 68C. MARGE'S VOICE reaches to the girl, who thrusts up through main force and breaks the surface with her head and shoulders.68D. INT. BATHTUB. 68D. Gasping and choking, NANCY breaks the surface of her bathwater, like a drowning sailer getting one last chance. Her mother's VOICE booms over her, ECHOED and frantic -- and the loud BANGING on the door finally opens her eyes. She turns and calls gasping to her mother -- NANCY Mommy! REVERSE ON THE DOOR -- as MARGE, using the old hangar through the doorhandle truck, makes it into the room. She rushes across to the tub. NANCY is staggering up in the bathwater, again with solid porcelain beneath her feet. MARGE I told you! Hundreds of people a year drown like that! The mother throws a towel around the gasping girl, helps her from the tub and begins drying her like a child. NANCY looks like she's likes paralized with some sort of weird dread. MARGE You okay? NANCY Great MARGE (not believing it for a minute) To bed with you, c'mon. MARGE rushes out to get the room ready. NANCY turns and looks at herself in the cabinet mirror, then opens the medicine chest and begins a quick, furtive search. CLOSER as she takes out the box of No Doz and slips it into her robe.OMIT SCS. 69 & 70------------------------------- OMIT SCS. 69 & 7071. INT. HALLWAY. NIGHT. 71. NANCY emerges from the bathroom yawning. MARGE follows as the girl plods obediently to her room. MARGE No television, forget the homework, no phone calls. NANCY No, Mother. Yes, Mother. No, Mother.72. INT. NANCY'S ROOM. NIGHT. 72. MARGE And no school tomorrow, either. you take a little vacation, relax and rest for a change. NANCY Yes, Mother. G'night. MARGE offers a smile, and a little yellow pill. MARGE Take this, it'll help you sleep. NANCY Right. NANCY pops it in her mouth and swallows obediently. MARGE leans to her with a kiss. MARGE Sleep tight, don't let the bedbugs bite. MARGE goes out, relieved. NANCY closes the door, leans against it and spits the pill into her hand. She tosses it straight out her window and takes a NoDoz. FADE TO BLACK73. OMIT OMIT 73.74. FADE UP ON INSERT OF TELEVISION SCREEN. 74. A MONSTER MOVIE in BLACK AND WHITE. NO SOUND from the set.75. PULL BACK to REVEAL NANCY propped up in bed, furtively watching. Or 75. is she just thinking? A bedside CLOCK reads 12:45 pm. The girl YAWNS. She shakes herself violently and sits up straighter, forcing herself to concentrate on the movie.75A. ON THE TELEVISION SCREEN. A DIVER struggles to keep facing a 75A. large circling shark.75B. ON NANCY. Her eyes droop shut -- then she jerks awake, rattling 75B. her head as if it were a radio drifting off station. She tumbles out of bed, throws open the window and takes a deep breath of the cool night air.76. EXT. NANCY'S HOUSE AND STREET. NIGHT. 76. HIGH ANGLE, AT SECOND-STORY LEVEL. NANCY looks directly across the street to a lighted, open window. Its curtains, sucked out and waving in the night breeze, give the only motion to the deserted street. Then someone pitches out of the dark at her. NANCY gives a YELP -- then clamps her hand over her mouth as she recognizes GLEN, balanced precariously on the rose trellis outside her window. GLEN Sorry! Saw your light on. Thought I'd see how you were. She gets herself together, barely. NANCY Sometimes I wish you didn't live right across the street. GLEN Shut up and let me in. You ever stand on a rose trellis in your bare feet?76A. INT. NANCY'S ROOM. NIGHT. 76A. NANCY looks over her shoulder to make sure her mother hasn't heard. GLEN's already through her window and planted on her bed. NANCY points to a chair. NANCY If you don't mind. GLEN crosses to the chair and plops down. GLEN So. I heard you freaked out in English class today. There's no maliciousness in his voice, and the familiar frankness is actually comforting to NANCY. NANCY Guess I did. GLEN Haven't slept, have you? NANCY Not really. NANCY tries to smile, but can't fake it very well. GLEN looks her over. GLEN You look dead and rained on, if you want the ugly truth. And what you do to your arm? She shrugs, trying to keep it casual. NANCY Burned myself in Englsh class. She hazards a look in the mirror, and her jaw drops. NANCY M'god, I look twenty years old. (turning back to him) You have any weird dreams last night? GLEN Slept like a rock. NANCY (pleased) Well at least I have an objective wall to bounce this off. (off) You believe it's possible to dream about what's going to happen? GLEN No. NANCY You believe in the Boogey Man? GLEN One two, Freddie's coming for you? No. Rod killed Tina. he's a fruitcake and you know it. NANCY You believe in anything? GLEN I believe in you, me, and Rock and Roll. And I'm not too sure about you lately. NANCY thinks. NANCY Listen, I got a crazy favor to ask. GLEN Uh-oh... NANCY It's nothing too hard or anything. (beat) I'm just going to... LOOK for someone, and... I want you to be sort of a ...guard. Okay? GLEN makes the Twilight Zone sound. NANCY Okay? GLEN Okay, okay. (beat) I think. She comes very close to him. NANCY You won't screw up, right? I mean, a whole lot might depend on it. The way she's looking at him gives him the creeps. GLEN Okay, I won't screw up.77. Nancy takes a deep breath. Then without another word turns off 77. the TV and the light. GLEN (IN DARK) Jesus, it's dark in here. NANCY Shhh. Now listen, here's what we're gonna do...78. EXT. ELM STREET. NIGHT. 78. FADE UP ON NANCY, still in her pajamas, walking through the shadowy streets near her home, listening for the slightest sound. We MOVE with her. But nothing, not even the dog barking earlier, is there now. NANCY peers into the darkness of lawns and trees behind her. NANCY (stage whisper) You still there? Across the street and a distance away, GLEN steps from behind a tree. GLEN Yeah. So? NANCY Just checking -- keep out of sight! GLEN throws up his hands in exasperation and walks back out of sight. NANCY turns and looks down between the houses, deep into a dark alleyway. Then she forces herself to walk into it.79. EXT. ALLEY. NIGHT. 79. MOVING WITH HER as she makes herself go deeper and deeper into shadows. Each time she pauses and waits, the MUSIC grows more threatening and expectant. The feeling is of immense tension -- we're sure the killer will come screaming out on her at any second. But he doesn't. In fact absolutely nothing happens, and NANCY emerges from the far end of the alley unscathed. The only thing strange is that she now finds her self looking across the mall to80. EXT. POLICE STATION. NIGHT. 80. The Police Station. It takes her a little by surprise, it just seems to have appeared. MUSIC creeps into the NIGHTMARE THEME as NANCY whispers hoarsely back down the dark alley. NANCY (CONTD) Still there?81. EXT. ALLEY. NIGHT. 81. We only HEAR the DISTANT VOICE, slightly ECHOED. GLEN'S VOICE (OS) (yawning) Still here! NANCY On your toes, right? NANCY stares into the dark trying to see him, but she can't. She turns back and makes up her mind to move without him in sight.82. EXT. POLICE STATION. NIGHT. 82. MUSIC MOUNTS as we MOVE WITH NANCY across the lawns to the police station, creeping to the first lighted window she sees. It's a low, barred basement window, and NANCY reacts as soon as she looks through it.83. INT. ROD'S CELL. NIGHT. 83. NANCY'S POV down into ROD LANE's cell. The boy is on his rough cot, twitching in disturbed sleep. And a long SHADOW is sliding across the wall. A big SHAPE appears in the shadowed corridor outside the boy's cell, and as IT walks closer NANCY can barely see it's the shambling, grimly scarred man with the filthy red and yellow sweater and strange slouch hat pulled across his brow. The KILLER from all of their nightmares. And this giant shadow of a man passes through the bars of the cell, like so much evil Jello. Halfway through he pauses, turning to check over his shoulder. We see the bars clearly penetrating his body, going in his head, passing out his ankles. Then he turns back to ROD and moves forward, and within another heartbeat is beside the boy.84. EXT. POLICE STATION. NIGHT. 84. NANCY draws back sharply, swallowing in terror. She looks behind her for help. NANCY (CONTD) Glen. No answer. NANCY (CONTD) (louder) Glen?! The street is absolutely deserted. There is no motion, and no sound save one: the distant but unmistakeable sound of GLEN SNORING. NANCY (CONTD) GLEN! A beat of silence after the shout's echoes die, then the steady, boyish SNORES again. NANCY swears under her breath and jerks back around, forcing herself to look again into ROD's cell.85. INT. ROD'S CELL. 85. IN HER POV -- the killer picks up ROD's bedsheet and tests it between his powerful hands. Without thinking, NANCY bangs against the glass. NANCY (CONTD) Rod! Look out! The KILLER wheels around, locking eyes with NANCY. The girl goes white. The man's face is in the light, and it's horrible -- seething with hatred and a twisted, insane intelligence. The hold of those eyes is only broken when ROD rolls up on an elbow with a deep, troubled GROAN. The instant ROD does this, the KILLER fades into the shadows in the cell. But even then his eyes hold on NANCY's until the last second he's visible. ROD looks around the cell groggily, runs his fingers through his matted hair, then collapses back on his pillow. No matter how hard NANCY screams, ROD never once looks at the window. He just pulls the twisted covers about his shoulders and succumbs once more to sleep. And now the bed sheet is no longer on the bed. The KILLER, materializing out of the shadow again, is holding it between his hands like a garrote. He looks up and leers at NANCY, then moves for ROD.86. EXT. POLICE STATION. NIGHT. 86. ANGLE BACK ON NANCY. She pounds on the window, then turns in frustration and yells into the night. NANCY Glen!! She turns back to the cell in desperation.87. OMIT OMIT 87.88. INT. ROD'S CELL. 88. IN NANCY'S POV we look into a cell that is quite deserted save for ROD. Sleeping peacefully.89. EXT. POLICE STATION. NIGHT. 89. NANCY pulls back from the window, stunned. NANCY I swear... Suddenly NANCY feels utterly exposed. She shivers, chilled and vulnerable to the bone in her thin night clothes. She can't move. It's as if some great nerve between her instincts and body had been severed. And she hears the SOUND behind her. A sort of filling-vibrating Scrriiitchh. MUSIC sneaks in -- the unmistakeable NIGHTMARE THEME, creeping over her. NANCY forces herself, by sheer will, to look.90. Ahead of her perhaps twenty-five feet, covered with a thick 90. plastic body bag through which we can barely see her face, is TINA. Standing square in the middle of the street. A dark ooze of BLACK EELS roil out of its bottom, and at its top, the zipper CHATTERS down and the greenish-white face of TINA lolls out. She gestures, supplicating, her watery eyes desperate to convey some desperate message. The MUSIC FALLS TO A HUSH.91. NANCY backs away, eyes streaming tears. 91. NANCY Glen, where are you! Wake up! Glen! DEEP RAGGED VOICE I'm here. NANCY twists around in horror at the same instant the KILLER grabs for her face with his knife-fingers! The girl intinctively pitches back, then scrambles up and runs like hell! NANCY Glen! Glen!!!92. EXT. ELM STREET. NIGHT. 92. MOVING WITH NANCY at full gallop, running blind. She crashes through a sawhorse into a new sidewalk, sinking into the wet cement over her ankles. The stuff sticks to her legs in long gluey globs and she can barely pull her feet loose. The KILLER looms nearby, mocking her -- his scalpel claws gleaming in the streetlight. He just misses the girl as she wrenches free and flees again, now so winded she can only stagger. MOVING WITH THEM. Time after time NANCY just barely manages to elude the shadowy form, leaping from his reach by inches and pouring on more steam. It's too close to even bother screaming now; and besides, that would take breath she doesn't have. The only SOUND is of RUNNING FOOTSTEPS, RASPING BREATH and the KNIFE-FINGERS WHISTLING through the air.93. EXT. NANCY'S HOME. NIGHT. 93. NANCY tears across her front lawn and into the open front door of her home, SLAMMING it with all her might. There's a tremendously satisfying CONCUSSION of wood against doorframe, and the LOCKS fall shut.94. INT. NANCY'S LIVING ROOM. NIGHT. 94. NANCY Glennn!!! But her voice is garbled as if she's under water, and there's no answer. The only clue to Glen being there at all is his distant SNORING. Innocent. Persistent. Deep. NANCY stops, breath in shreds, face smeared with dirt and tears. Something is clawing the window in the dark of the kitchen. NANCY looks and catches the MAN prying at the glass with his big knife-fingers, the sharp blades SIZZLING against the edges of the glass as they crack it away from the frame. NANCY runs upstairs in blind panic.95. INT. NANCY'S ROOM. NIGHT. 95. NANCY darts into her unlit bedroom, slams the door and locks it. Safe at last. She listens at the door. Nothing. She crosses to her bed. Next second the KILLER dives through her window and seizes her in a shower of shattered glass! NANCY twists and manages to grab the wrist of his knife hand with both of hers, barely keeping the blades from her throat. The two fall backwards in a terrible, gasping struggle, crashing onto NANCY's bed. Her grip is broken -- the MAN stabs -- NANCY twists away, backed into a corner of bed and walls. Defenseless, she snatches a pillow up; the KILLER lashes out -- disemboweling the pilow and sending a great gush of feathers flying. NANCY dives for escape in a virtual blizzard. The KILLER manages to snare her with his other hand, and the two crash across the bedside table to the floor, the table and all its contents cascading around them in a whiteout of feathers. ANGLE AT FLOOR LEVEL -- CLOSE ON NANCY'S AND THE KILLER'S HEADS. The blades inch towards the girl's face -- the drool of the grizzled shadow with the horribly scarrred face spills into her eyes. Feathers are everywhere; MUSIC is absolutely insane! But just when the points of steel are less than an inch from her eyes, the old fashioned alarm clock thrown to the floor next to NANCY's head goes off with a jarring RINGGGGGGG!96. Instantly the MUSIC STOPS. And a moment later the room is 96. light. WIDER as NANCY reels up, blinded by the sudden light, SCREAMING AND FIGHTING on her bed. ANGLE ON GLEN, lurching from his own sleep at the frightening noise. He discovers NANCY pressed in terror against her headboard, clutching a pillow like a drowning woman would a straw. It's an intact pillow, and there isn't a feather in sight. NANCY stares incredulously at GLEN, then around the room, untangling herself from her bedclothes. Wary and furious, her voice hoarse. NANCY Glen, you bastard... The boy looks at his friend in groggy alarm. She's absolutely livid, more angry than he's ever seen her, and more strange. GLEN What I do? He reaches for her -- she flattens against the wall, eyes hard, and terribly hurt, too. NANCY (low) I asked you to do just one thing. Just stay awake and watch me -- Just wake me if it looked like I was having a bad dream. (eyes wild) But you. You shit -- what do you do -- you fall asleep! She stops herself, wiping a bit of spittle off her lip, alarmed at how out of control she's become. And suddenly she breaks, sinking into her torn bedclothes and rubbing her head. NANCY (CONTD) (mostly to herself) I must be going nuts... MARGE (OS) Nancy? Her mother's door opens OS. GLEN Oh, shit. NANCY composes her voice as best she can. NANCY Yes, mother? MARGE's flip-flops approach outside the door. GLEN barrels out the window -- NANCY dives for the bed, jams off the light and disappears under the covers. MARGE, bleary eyed herself, opens the door and flicks on the light. MARGE (beat) You okay? NANCY (weakly) Yeah. Just had a little dream. I'm falling right back to sleep. MARGE (beat) Okay... You need anything, just call. NANCY Okay. MARGE closes the door. NANCY immediately sits up and looks at the window. A single bone-white feather floats down in the moonlight. Then it's sucked outside and is gone.97. EXT. POLICE STATION. NIGHT. 97. GLEN's CADILLAC CONVERTABLE careens into the parking lot and SCREECHES to a stop. GLEN and NANCY jump out and head for the station. GLEN You mind telling me what's going on? NANCY's races into the station without answering. GLEN (CONTD) Oh, I see. That makes it all perfectly clear.98. INT. POLICE STATION. NIGHT. 98. NANCY goes straight to the SERGEANT's desk. NANCY Garcia, I want to see Rod Lane again. GARCIA winces. SGT GARCIA I thought when I took the night shift I'd have peace and quiet for a change. NANCY It's urgent, we've gotta see Rod. SGT GARCIA It's three in the morning. Your mother know you're out this late? NANCY (faking it) Of course -- look, at least go back and look at him. Just see if he's okay. GARCIA glances at GLEN. GLEN (faking it) We have reason to think there might be something weird going on. LT THOMPSON (OS) Oh, no argument on that. NANCY jumps around at the sound of her father's voice. LT THOMPSON emerges from his office, rumpled and yawning. NANCY Dad -- what you doing here? LT THOMPSON It so happens I work here, and there's an unsolved murder. I don't like unsolved murders, especially ones my daughter's mixed up in -- what are you doing here at this hour? You're supposed to be getting some sleep. GLEN Listen, sir, this is serious. Nancy had a nightmare about Rod being in danger, or something, and so she thinks... He trails off, loosing it under LT THOMPSON's glare. Besides, he doesn't know exactly what the hell's really going on himself. GARCIA puts his beefy hand on NANCY's shoulder. NANCY I just want to see if he's okay! SGT GARCIA Take my word for it, Nancy. The guy's sleeping like a baby. He's not going anywhere.99. INT. CELL BLOCK. NIGHT. 99. ANGLE ON ROD in his cell. He's asleep, all right, but not safely so. His bedsheet has come alive. It twitches, pulsates, then snakes towards his throat. ROD stirs, the sheet falls still; ROD slips into deeper sleep, and the sheet moves again, completing the noose around his neck!100. INT. BOOKING ROOM. NIGHT. 100. NANCY makes a move for the cell block -- NANCY This isn't your average nightmare, Daddy -- damn it! The door's locked; she hauls on it in desperation. LT THOMPSON Now look, Nancy, don't push it. You've already rubbed my nose in sex, drugs and violence -- don't start throwing in insanity! NANCY takes that one to heart. She wheels on him and pleads, her intensity sobering even to him. NANCY Just go back and check -- please! The man takes a beat, then shrugs and nods towards SGT GARCIA. LT THOMPSON Okay, Garcia. What the hell. SGT GARCIA Right... (feeling in his pockets) Now where'd I put the key... He mumbles backs towards his desk. MUSIC BUILDS as we HOLD ON NANCY'S FACE.101. INT. ROD'S CELL. NIGHT. 101. With a terrible SNAP ROD's sheet jerks tight around his neck. The startled teenager is hauled upright -- eyes popping, face purple. He claws at the sheet, but despite his strength he can't get his fingers between the noose and his windpipe. He's dragged backwards across the cot.102. INT. BOOKING ROOM. NIGHT. 102. GARCIA finally has the keys. Urged on by NANCY he fumbles with the lock.103. INT. ROD'S CELL. NIGHT. 103. ROD'S being dragged backwards, gasping and struggling in vain against the powerful pull -- right across his cell and up the wall, too. He clutches blindly at his throat at the far end of the sheet coils around the bars of the high window. Then there's a powerful wrench of the sheet, and ROD'S neck SNAPS. The kid's body sags lifeless.104. ANGLE THROUGH THE BARS as NANY, GLEN, LT THOMPSON and GARCIA 104. appear in the corridor outside, the girl sprinting ahead. NANCY Rod! But it's too late; NANCY sinks back in horror as her father and GARCIA rush into the cell. LT THOMPSON Gimme a hand, dammit! GLEN, pale as the sheet that's killed ROD, climbs to the bars and unties the knot. ROD slides down over the SERGEANT'S shoulders, limp as a marrionette with its strings slashed. SGT GARCIA Goddamn loco kid -- he didn't have t'do that -- Madre dios! They lay ROD at NANCY's feet; a strange Pieta. NANCY's father looks at her in spooked suspicion. LT THOMPSON How'd you know he was gonna do this? NANCY says nothing. FADE TO BLACK105. EXT. FOREST LAWN CEMETERY. DAY. 105. BURN ON: THE FOURTH DAY FADE UP ON a stark afternoon. On a hill of sere grass overlooking the valley, the casket of ROD LANE is lowered into its grave. A small group of FAMILY and FRIENDS watches soberly as the MINISTER raises his hand in benediction. MINISTER Ashes to ashes, dust to dust. May God be with this young man's soul. ON THE FACES of MARGE, LT THOMPSON, TINA'S MOTHER and ROD'S PARENTS. Just for a second or two, in looks too rapid for an outsider to even notice, these adults exchange looks. Furtive, quick glances that suggest an immense something that they all share, something beyond even this second death among their children. Then they are all staring ahead again, as if the others weren't even there. MINISTER (CONTD OS) His life and his death attest to the Scripture's warning that he who lives by the sword shall die by the sword. ANGLE ON GLEN, watching -- NANCY, standing alone, not believing it for a minute. MINISTER (CONTD OS) But let us recall also our Lord's admonition that we 'Judge not, lest we be judged.' Let us attempt only to love. And may Rod Lane rest in peace. NANCY (quietly) Amen to that much. The mourners walk away from the grave, MARGE among them. She pauses near a MAN and two WOMEN in black -- TINA'S MOTHER, ROD'S PARENTS. They almost, it seems, speak. Then MARGE hurries on. WE MOVE WITH HER as she's joined by LT THOMPSON. Both are worn and on edge. THOMPSON absently lights another cigarette, offering one to MARGE. LT THOMPSON How's Nancy doing? MARGE I don't think she's slept since Tina died. (shakes her head) She's always been a delicate kid. THOMPSON lights her cigarette, attempting some sort of nonchalance. LT THOMPSON She's tougher than you think. Any idea how she knew Rod was gonna kill himself? MARGE No. All I know is, this reminds me too much of ten years ago. THOMPSON blows a plume of smoke against the hard sky and looks away. LT THOMPSON Yeah. Well... Let's not start digging up bodies just because we're in a cemetery. He gives her a look that could cut stone. MARGE toses down her cigarete and crosses to NANCY. The girl is simply staring off over the valley. MARGE (very gently) Time to go home, baby. She moves her away from the brink of the hill.106. EXT. CEMETERY PARKING AREA. DAY. 106. MARGE opens the door of the station wagon for NANCY. NANCY turns to them both, speaking in a still, small voice. NANCY The killer's still loose, you know. She has a wild, Cassandra aspect that sends a chill right up MARGE'S spine. LT THOMPSON You saying somebody else killed Tina? Who? NANCY smiles a weird sort of smile. NANCY I don't know who he is. But he's burned, he wears a weird hat, a red and yellow sweater, real dirty, and he uses some sort of knifes he's got made into a sort of... glove. Like giant finger- nails. As NANCY has described this monster from her dream, unseen by her, the faces of MARGE LT and THOMPSON have drained completely of color. LT THOMPSON (low, even, to MARGE) I think you should keep Nancy at home a few days. 'Til she's really over the shock. MARGE I got something better... (to NANCY) I'm gonna get you help, baby. So no one will threaten you any more. She takes the girl by the arm and guides her into the car, locking the door from outside. NANCY never taking her eyes from her father's as the car bears her away. FADE TO BLACK BURN ON: THE FIFTH DAY107. EXT. UCLA SCHOOL OF MEDICINE. DAY. 107. FADE UP ON UCLA's WESTWOOD CAMPUS and PAN TO SIGN: UCLA SCHOOL OF MEDICINE INSTITUTE FOR THE STUDY OF SLEEP DISORDERS108. INT. A LABORATORY SLEEPING CHAMBER. 108. A NURSE applies sencors to the head, breast, arms, and fingers of NANCY THOMPSON. The girl is lying on a simple broad cot, in her pajamas. The room is subdued in color and holds only this single bed. A large mirror set into one wall hides an observation room beyond. NANCY But I just don't feel... ready to sleep yet. Please, do I have to?109. WIDER, REVEALING DR SAMUEL KING, a young, curly-haired internist; 109. intelligent and wry. He treats NANCY at all times like a young adult, never patronizing. He winks as the NURSE finishes. DR KING Don't worry, you're not gonna change into Bride of Frankenstein or anything. NANCY manages a smile, but she's haggard and visibly thinner. MARGE, background, looks downright distraught. DR KING (CONTD) Nancy have any severe childhood illnesses? Scarlet Fever? High temperatures -- concussions? MARGE No, nothing. NANCY He means, did you ever drop me on my head. The doctor and girl share a nervous laugh; MARGE doesn't even smile. DR KING Nightmares are expected after psychological trauma. Don't worry, they go away. MARGE I sure as hell hope so. NANCY I don't see why you couldn't just give me a pill to keep me from dreaming... DR KING Everyone's got to dream. If you don't dream, you go... (he drills his finger at his temple) All set? NANCY No. MARGE They're just simple tests, Nan. We'll both be right here. DR KING Look, I know it's been fright- ening, I know your dreams have seemed real. But... it's okay. Okay? MARGE Please, Nancy. Trust us. The girls gauges her mother, the doctor, the situation very carefully. Then lowers her eyes. NANCY It's not you I don't trust. It's... (gives up) Okay. Let's do it. Greatly relieved, MARGE gives NANCY a goodnight kiss, then follows the doctor through a doorway near the mirror. As soon as her mother is out of sight, NANCY'S eyes drift to the mirror itself. In its reflection she sees herself looking back, alone on the bed. DISSOLVE TO: 110. INT. THE OBSERVATION ROOM. 110. MARGE and DR KING overlook NANCY's sleeping chamber through the one-way mirror. And KING monitors the girl even more closely with a bank of instruments -- a mass of glowing dials, graphs and meters. His manner with MARGE is slightly more sober. DR KING How long's this been going on? MARGE Since the murder. She was fine before that. DR KING Not to worry. No signs of path- ology in Nancy's EEG or pulse rate. I'd guess what we've got is a normal young girl who just happens to have gone through two days of hell. MARGE It's just made her think... her dreams are real... KING adjusts a dial, watching the EKG like a hawk. DR KING Ever hear the old Buddhist tale about the King who dreamed he was a beggar who dreamed he was a king? MARGE twitches. Then there's a slight alteration in the sound of the EKG. KING nods in satisfaction. DR KING (CONTD) Okay, good. She's asleep. MARGE (immensely relieved) Thank God. MUSIC RISES SOLEMNLY, MAJESTICALLY into a haunting transition as we DISSOLVE TO111. A MONTAGE OF SHOTS, of the EKG GRAPH, its inky needles calming, 111. of a METER tracing the quieting of NANCY's pulse, and of OTHER INSTRUMENTS, indicating life processes we can only guess. All smoothing out.112. CLOSE ON NANCY on TV MONITOR, asleep like the child she is. 112. Innocent. MARGE lights a cigarette, angry at her helplessness. MARGE What the hell are dreams, anyway? DR KING Mysteries. Incredible body hookus pokus. Truth is we still don't know what they are or where they come from. As for nightmares... (leans closer) Did you know that in the last three years twenty Philipino refugees in California died in the middle of nightmares? Not from heart attacks, either. They just died. He gives a "Ah don' know" shrug. MARGE looks out into the sleeping room. NANCY is a motionless bundle in the middle of the bed.113. ANGLE ON A NEEDLE on an EKG dipping to a lower reading. 113.114. WIDER ANGLE -- the mother and DOCTOR watching. 114. MARGE What happened? That needle sank like a rock. DR KING (quietly) She's entering deep sleep now. Heart rate's a little high due to anxiety, but otherwise she's nicely relaxed. All normal. She could dream at any time now. (beat) Right now she's like a diver on the bottom of an ocean no one's mapped yet. Waiting to see what shows up.115. INT. THE SLEEPING ROOM. 115. We can see NANCY drift from the initial stage, over the brink into deep sleep. Her hair falls into her eyes; her face relaxes; her shoulders curl round her like comforters. THE MUSIC DEEPENS, and begins to hint at the tones of the NIGHTMARE THEME.116. INT. CONTROL ROOM. DAY. 116. DR KING and MARGE watch the instruments' every move. One of the machines begins a slight CHIRPING. KING scans it, liking what he sees. DR KING Okay, she's started to dream. He leans forward in his chair, like a pilot starting an instrument approach. MARGE THOMPSON licks her dry lips, fighting a turn of nausea. MARGE How can you tell? DR KING R.E.M.'s. Rapid eye movements. The eyes follow the dream -- their movement picks up on this -- He prods a dial with his pencil and scribbles the time on a note pad. DR KING (CONTD) Beta Waves are slowing, too. She's dreaming, all right. A good one, too. MARGE watches the TV MONITOR. It's in extra-close on NANCY's eyes -- and they're darting beneath the lids, reacting to events lost behind a skein of flesh and neurons. KING points to a moving graph. A needle's begun waving lazily between plus and minus three. The DOCTOR nods, assured. DR KING (CONTD) Typical dream parameter. A nightmare, now, would be plus or minus five or six; she's just around three point -- He stops. Outside, visible through the glass, NANCY twists around. Eyes still closed, she's nevertheless holding her head in the attitude of prey listening to the first faint sound of the predator's approach. MARGE looks from her daughter to the DOCTOR, color draining from her face. MARGE What the hell's this? She awake or asleep? The needle of the graph gives a jagged pitch up, plunges, then surges well above the eight mark. A strange MUSIC CUE -- disonant and threatening, creeps in -- the NIGHTMARE THEME slurred into awful minors and weird disonance. KING stares at the gauge in disbelief, rapping his finger on its glass. DR KING Can't be. It never gets this high... The needle swings even higher, benind. DR KING (CONTD) Jesus H. Christ. He's cut off by the high-pitched KEENING of the girl, the SOUND cutting through the double thickness of the glass like a lasar. A warning BEEPER has begun, the instruments light up like a Christmas tree -- and outside in the sleeping room, NANCY is contorting as if shot through with a thousand volts. KING knocks over his chair in his sprint for the door.117. INT. SLEEPING ROOM. 117. The DOCTOR and MARGE come in on the run -- NANCY's flailing and screaming as if the devil himself were after her. KING grabs her to shake her awake; ANGLE ON NANCY (eyes open) -- looking in terror -- SOUND ECHOED STRANGELY. IN HER POV -- dressed in KING'S clothes -- the horribly scarred MAN reaches out. WIDER -- (NANCY'S eyes closed in sleep) as the girl's fist shoots out with incredible force and knocks DR KING flying! The NURSE and MARGE both descend on her -- and again in her SLEEPING POV we see the MAN stagger for her. WIDER ON NANCY -- (still in her nightmare) -- fighting like a tiger with both MARGE and the NURSE -- sending the NURSE sprawling -- leaving MARGE hanging on for dear life. ANGLE on the stunned DOCTOR fumbling with a hyperdermic needle, spilling most of the stuff on himself with his shaking hands -- the SCREAMS AND CURSES of NANCY are deafening and worthy of a stevador fighting off his worst enemy. Stranger still, her hair is electrified, standing on end and greying before their very eyes! MARGE screams at the top of her lungs. MARGE NANCY!!! IT'S MOM -- NANCY!!!! Some deep bolt of psychic power smacks through the girl, and her eyes flap open -- they're glazed with terror and fury, but open. NANCY's awake. She stares around like a cornered animal in the middle of the bed, her purple face gasping out gut-wrenching SOBS. The NURSE and MARGE dare to go back in and hold the sweat-drenched girl as DR KING comes for her with the needle. DR KING Now, this is just going to let you relax and sleep, Nan -- With incredible swiftness, NANCY backhands the hypodermic into a far wall, shattering it into a million pieces. NANCY No. That's enough sleep. Her eyes are windows straight into white fire as she locks into KING'S face. He dabs his split lip, swallowing painfully. DR KING Okay, kid. Okay. Fair enough. He holds out his hand. NANCY at last takes it, and sags back into her pillow, exhausted. Then KING comes up with blood on his hand. He stares at it, dumbfounded, then at the girl. Across her left forearm, a deep gash is bleeding freely, as if made by a very sharp instrument. MARGE Oh my god, oh my god... DR KING (to the NURSE) Get the kit! The NURSE scrambles away as the DOCTOR claps his hand over the wounds. He looks into NANCY's face. What he sees frightens him even more: NANCY'S haunted, ghost-like eyes turn from him to her mother, and a terrible, chilling smile opens across NANCY's white lips. NANCY You believe this? She pulls her free arm from beneath the sheets and reveals a strange hat, filthy and worn -- the KILLER'S hat. The sight of it frightens MARGE more than anything that's come before. MARGE (deathly pale) Where the hell did you get that? NANCY fixes her with Xray eyes. NANCY I grabbed it off his head. MARGE stares at the hat as if it held her whole future, and her future was a horror. FADE TO BLACK118. EXT. NANCY'S HOUSE. DAY. 118. BURN ON THE SIXTH DAY FADE UP ON NANCY'S HOUSE, early morning.119. INT. NANCY'S KITCHEN. DAY. 119. MARGE is on the telephone, the dirty hat in her hand. Nearby is a nearly empty bottle of gin. MARGE She said she snatched it off his head in a dream. (listens) No, I'm not crazy, I've got the damn thing in my hand! (listens) I know we did, we all... (hears NANCY approaching) Gotta go. She hangs up and stuffs the hat and bottle into a drawer, screening the action with her body. NANCY enters. By now the girl has an extraordinary look. Her hair is ashen, her skin transluscent, and eyes dark-ringed. Her right forearm is heavily bandaged over the slashes. In short, instead of the girl next door, we now could be looking at the lunatic from the next cell. MARGE, though she does her best to hide it, is downright frightened of her. MARGE (CONTD) You didn't sleep, did you? The doctor says you have to sleep or you'll -- NANCY pours herself a cup of black coffee. NANCY Go even crazier? MARGE I don't think you're going crazy -- and stop drinking that damn coffee! NANCY Did you ask Daddy to have the hat examined? MARGE I threw that filthy thing away -- I don't know what you're trying to prove with it, but -- NANCY comes closer, her eyes shining with a new sureness. NANCY What I learned at the dream clinic, that's what I'm trying to prove. Rod didn't kill Tina, and he didn't hang himself. It's this guy -- he's after us in our dreams. MARGE But that's just not reality, Nancy!120. Furious, NANCY janks open the drawer before MARGE can stop her 120. and spills the bottle and hat onto the counter. MARGE grabs away the bottle protectively -- but it's the hat NANCY goes for. She waves it triumphantly -- demonically. NANCY It's real, Mamma. Feel it. MARGE (horrified) Put that damned thing down! MARGE lunges for it -- NANCY leaps out of reach -- NANCY His name is even in it -- written right in here -- Fred Krueger -- Fred Krueger! You know who that is, Mamma? You better tell me, cause now he's after me! MARGE swallows, then persists in the lie. MARGE Nancy, trust your mother for once -- you'll feel better as soon as you sleep! NANCY shoots a hard humorless laugh, holding up her slashed arm. NANCY You call this feeling better? Or should I grab a bottle and veg out with you -- avoid everything happening to me by just getting good and loaded -- MARGE slaps her hard. MARGE (losing it) Fred Krueger can't be after you, Nancy -- he's dead! The room falls silent, both women staring at the other. MARGE (CONTD) (low, raw) Fred Krueger is dead. Dead and gone. Believe me, I know. Now go to bed. I order you, go to bed. MARGE snatches the hat away. NANCY is furious, betrayed. NANCY You knew about him all this time, and you've been acting like he was someone I made up! MARGE pulls away. MARGE You're sick, Nancy. Imagining things. You need to sleep, it's as simple as that. NANCY wheels and smashes MARGE'S bottle of gin in the sink. NANCY Screw sleep! MARGE (CONTD) Nancy! But NANCY runs past her mother for the front door. MARGE (CONTD) Nancy -- it's only a nightmare! NANCY turns in the doorway. NANCY That's enough! On the door SLAM, we CUT TO121. EXT. SHAKESPEARE BRIDGE. DAY. 121. ANGLE ON A NEIGHBORHOOD STREET. We hear GLEN's VOICE and PAN UP to REVEAL NANCY and GLEN high above, two tiny figures walking across this strange white bridge in old Los Angeles. CAMERA BEGINS A SLOW ZOOM. GLEN Whenever I get nervous I eat. NANCY And if you can't do that, you sleep. GLEN Used to. Not anymore. GLEN jams more Big Mack into his face. By now our ZOOM reveals he's attacking a huge bag of Big Macks, and furtively eyeing NANCY. The girl's hair is startlingly white in the sunlight. She's reading a book, hardly paying attention. GLEN (CONTD) You ever read about the Balinese way of dreaming? NANCY No. GLEN They got a whole system they call 'dream skills'. So, if you have a nightmare, for instance like falling, right? NANCY Yeah. GLEN Instead of screaming and getting nuts, you say, okay, I'm gonna make up my mind that I fall into a magic world where I can get something special, like a poem or song. (grins hopefully) They get all their art literature from dreams. Just wake up and write it down. Dreamskills. He stops, seeing the look on NANCY's face. Our ZOOM is much closer now, a wide medium, and still coming in on the kids. NANCY And what if they meet a monster in their dream? Then what? GLEN They turn their back on it. (grins hopefully) Takes away its energy, and it disappears. NANCY What happens if they don't do that? GLEN (shrugs) I guess those people don't wake up to tell what happens. NANCY Great. She leans over the railing, poking her face back into her book. GLEN tips its cover and reads its title. OUR ZOOM IS STILL MOVING CLOSER, a MEDIUM CLOSE UP NOW. GLEN 'Booby Traps and Improvised Anti-personel Devices'! NANCY I found it at this neat survivalist bookstore on Ventura. GLEN (shocked) Well what you reading it for? OUR ZOOM LOCKS IN ON A TIGHT TWO ON THEIR FACES, NANCY's grimly determined. NANCY I'm into survival. She walks away, OUT OF FRAME, leaving GLEN watching after her in astonishment. GLEN She's starting to scare the living shit out of me.122. EXT. ELM STREET/NANCY'S HOME/EVENING 122. ANGLE ACROSS NANCY'S "TREE LAWN", the grass between the sidewalk and the street, in the general direction of GLEN's home. This ANGLE doesn't quite reveal Nancy's house. FOREGROUND is a utility truck in which a half dozen Hispanic WORKERS are loading tools, extension cords and hardware. They look like they've put in one hell of a hard day's work. MARGE appears and hands a check to the FOREMAN of the crew, a white guy in clean coveralls and a gold chain. He scrutinizes it. FOREMAN And the other... MARGE forks over a wad of cash, hands trembling in her half-drunk, helpless rage. MARGE Where's your mask and gun? The FOREMAN counts the money swiftly. FOREMAN Don't bust my chops, lady. If the city found out I put 'em in without inside releases I'd loose my license. He shoves the money in his pocket and climbs in his truck. MARGE EXITS FRAME for her house. PAN WITH THE TRUCK as it pulls away, THEN PICK UP NANCY, walking across the street from the corner. Alone. Dispirited. She lifts her eyes to her home and stops in her tracks. NANCY Oh gross...123. WIDENING TO REVEAL THE HOUSE as NANCY walks across her front 123. yard. Every single window has been covered with brand-new ornamental iron bars, bolted deeply into their frames. CLOSER, AT A WINDOW. NANCY gives a set of bars a powerful shake. They don't budge. Then girl looks up and sees even the window to her second floor bedroom is barred. And the rose trellis has been ripped down and heaped at the foundation in a tangle of wood, thorns and broken flowers.124. INT. MARGE'S ROOM. EVENING. 124. ANGLE ON THE DOORWAY INTO THE HALL. Easy listening MUSIC wafts through the air. NANCY appears in the doorway. NANCY (OS) Mom, what's with the bars!?125. REVERSE to MARGE, propped against the headboard of her bed, a 125. crooked shadow in the gloom. A fresh bottle of Gin glints in her hand. NANCY Oh, Mom... The girl crosses and reaches gently for the bottle. MARGE snatches it away. MARGE 'S'mine... She rocks the bottle in her arms. NANCY What's with the bars? MARGE S'curity. NANCY sits on the bed, a surprising compassion entering her voice. NANCY Mom, I want to know what you know about Fred Krueger. MARGE Dead and gone. NANCY I want to know how, where -- if you don't tell me, I'm going to call daddy. MARGE gives a laugh -- a rasping chachination from deep in her chest. MARGE (CONTD) Your father the cop. That's a good one. (colder) Forget Fred Krueger. You don't want to know, believe me. NANCY I do want to know. He's not dead and gone -- he's after me and if I sleep he'll get me! I've got to know! MARGE blinks at her a moment, then cracks a terrible, crooked grin. MARGE All right.126. INT. NANCY'S CELLAR/NIGHT 126. MARGE drags NANCY headlong down the cellar stairs and across the room with a crazy fury, twisting her down near the foundation. And she thrusts her face so close to her daughter's that NANCY reels from the alcohol. MARGE You want to know who Fred Krueger was? He was a filthy child killer who got at least twenty kids, kids from our area, kids we all knew. It drove us all crazy when we didn't know who was doing it -- but it was even worse when they caught him. MARGE draws herself up with a shake. MARGE (CONTD) Oh lawyers got fat and the judge got famous, but someone forgot to sign the search warrant in the right place, and Fred Krueger was free, just like that. NANCY So he's alive? MARGE smiles grimly. MARGE He wouldn've stopped. The bastard would've got more kids first chance he got -- they found nearly ten bodies in his boiler room as it was. But the law couldn't touch him. At the mention of "boiler room", NANCY gives a shake. MARGE misses this, too busy taking a pull on the bottle that's never left her hand. MARGE (CONTD) What was needed were some private citizens willing to do what had to be done. She reels slowly, looking at NANCY is defiance. NANCY (hushed) What did you do, mother? MARGE cradles the bottle. MARGE Bunch of us parents tracked him down after they let him go. Found him in an old boiler room, just like before. Saw him lying there in that caked red and yellow sweater he always wore, drunk an' asleep with his weird knives by his side... NANCY (dreading it) Go on... MARGE reaches over and taps a dusty two-gallon jug of gasoline near the lawn mower. MARGE We poured gasoline all around the place, left a trail out the door, locked the door, then... She mimes striking a match -- MARGE (CONTD) WHOOSH!!! Her arms shoot up and her eyes go wide with the light of that fire. There's awe in her voice. Then she drops her arms. MARGE (CONTD) (hushed, remembering) But just when it seemed not even the devil could live in there any more -- he crashed out like a banshee, all on fire -- swinging those fingerknives every which direction and screaming he... he was going to get us by killing all our kids... She stops with a sudden quake and drinks for a long moment. But the intake doesn't hide the image. Her face bathed in tears, she looks at her daughter and shakes her head. MARGE (CONTD) There were all those men, Nancy, even your father, oh yes, even him. But none could do what had to be done -- Krueger rolling and screaming so loud the whole state could hear -- no one could take your father's gun and kill him good and proper except me. She sweeps her hand across the air in a terrific slash, then stops, her hand shaking, her voice hoarse and terrified. She looks at her daughter, begging. MARGE (CONTD) So he's dead Nan. He can't get you. Mommy killed him. For someone who started this film at a very young seventeen, NANCY's now the battle-tempered veteran as she takes her mother in her arms and rocks her. NANCY Who was there? Were Tina's parents there? Were Rod's? MARGE sags back. MARGE Sure, and Glen's. All of us. But that's in the past now, baby. Really. It's over. (slyly) We even took his knives. The woman twists around and opens the door on an old furnace -- a furnace unused since the newer gas one nearby was put in. She fishes inside the cavity -- as then we hear a touch of the familiar 'SCRRIITCH'. Next moment she pulls out an object wrapped in rags, opens it and displays the long, rusted blades and their glove-like apparatus. MARGE (CONTD) See? NANCY stares at the damn things, chilled. NANCY All these years you've kept those things buried down here? In our own house? MARGE (CONTD) Proof he's declawed. As for him, we buried him good and deep. MARGE shoves the knives into their hiding place, closes the little iron door. MARGE (CONTD) So's okay, you can sleep. She lurches up and staggers upstairs. NANCY shivers and looks down at her arm. The cut beneath her bandage has begun to bleed again. And from inside the furnace, as if from deep below, the PULSING of the boundless nightmare-boiler room can be faintly heard.127. EXT. ELM STREET. NIGHT. 127. WIDE ON THE STREET AND BOTH HOUSES, GLEN's on the right, NANCY's on the left. A TELEPHONE RINGS. ZOOM IN ON GLEN'S UPSTAIRS BEDROOM WINDOW.128. INT. GLEN'S & NANCY'S BEDROOMS - INTERCUT. NIGHT. 128.129. GLEN, yawning, crosses and picks up his telephone. 129. GLEN Hello? NANCY (telephone) Hi. GLEN Oh. Hi, how y'doing? NANCY looks out the window and touches her hair. NANCY (CONTD) Fine. Stand by your window so I can see you. You sound a million miles away. In the lighted window across the way, she can SEE GLEN move into sight. In his shot, we can SEE NANCY step into her window behind the bars. NANCY (CONTD) Much better. GLEN I heard your ma went ape at the security store today. You look like the Prisoner of Zenda or something. How long's it been since you slept? NANCY Coming up on the seventh day. It's okay, I checked Guiness. The record's eleven, and I'll beat that if I have to. (beat) Listen, I... I know who he is. GLEN Who? NANCY The killer. GLEN You do? NANCY Yeah, and if he gets me, I'm pretty sure you're next. GLEN is appalled. GLEN Me!? Why would anyone want to kill me?! NANCY Don't ask -- just give me some help nailing this guy when I bring him out. GLEN pales. GLEN Bring him out of what? NANCY My dream. GLEN How you plan to do that? NANCY Just like I did the hat. Have a hold of the sucker when you wake me up. GLEN Me? (switching back to a more comfortable reality) Wait a minute, you can't bring someone out of a dream! NANCY If I can't, then you all can relax, because it'll just be a simple case of me being nuts. GLEN I can save you the trouble. You're nutty as a fruitcake. I love you anyway. NANCY Good, then you won't mind cold-cocking this guy when I bring him out. GLEN What!? NANCY (simplicity itself) You heard me. I grab him in the dream -- you see me struggling so you wake me up. We both come out, you cold cock the fucker, and we got him. Clever, huh? GLEN You crazy? Hit him with what? NANCY You're a jock. You must have a baseball bat or something. Come to my window at midnight. And meanwhile... GLEN (weakly) Meanwhile..? NANCY Meanwhile whatever you do don't fall asleep. Midnight. She hangs up. GLEN's eyes bug out. GLEN Holy shit! Midnight. Baseball bats and boogemen. Unfucking real.130. OMIT OMIT 130.131. EXT. THE VALLEY AND HILLS. NIGHT. 131. HIGH, WIDE SHOT. The moon is above the horizon. A cool wind slides a bank of white fog inland. The valley and its lights stretch forever, an endless net of illumination and darkness. A coyote HOWLS on the dark hill.132. EXT. POLICE STATION. NIGHT. 132. A palm frond scuttles across the center of the parking lot. LT THOMPSON arrives in an unmarked car. COP (passing) Lieutenant Thompson -- what you doing in at this time? LT THOMPSON Can't sleep, thought I'd come break up the poker game. The COP laughs and goes his way. THOMPSON's smile evaporates. 133. INT. POLICE STATION. NIGHT. 133. THOMPSON enters and checks the log. Nearby, SGT GARCIA pours coffee. SERGEANT GARCIA If it was any more quiet we could hear owls farting. LT THOMPSON Is quiet, isn't it? SERGEANT GARCIA (too casually) How's your girl? THOMPSON looks at the Desk sergeant a moment, then tosses down the log. LT THOMPSON She's sensible. She'll sleep sooner or later.134. EXT. ELM STREET. NIGHT. 134. The neighborhood is utterly still, most of the homes already dark. But not NANCY's. Or GLEN's. ZOOM TO GLEN'S LIGHTED LIVING ROOM WINDOW.135. INT. GLEN'S LIVING ROOM. NIGHT. 135. GLEN's father watches eleven o'clocks news, a dreary FILM CLIP (STOCK) of war and refugees in a far-away land. MR LANTZ takes a pull on his Bud. MR LANTZ You'd think they'd have some- thing 'bout the Lane kid hanging himself. MRS LANTZ walks through the room, drying her hands on a dishtowel. MRS LANTZ Maybe we're all making more out of it than we should. She heads upstairs. MR LANTZ pops the automatic tuner. CARSON blinks ON. CARSON (TV) I wouldn't touch that line with a ten foot pole. ED MCMAHON and the AUDIENCE laugh in delight.136. INT. GLEN'S HOUSE/UPSTAIRS CORRIDOR. NIGHT. 136. MRS LANTZ comes along the upstairs hall and knocks gently at a closed door. MRS LANTZ Glen? you all right? She puts her ear to the door and listens. MRS LANTZ (CONTD) Glen honey? No answer.137. INT. GLEN'S ROOM. NIGHT. 137. GLEN lies sprawled across the bed, long legs flung over the end, head not visible. His mother enters. She looks at the boy, turns off the TV. Looks at him again. From this angle she can see his head, earphones crammed over it rasping their tinny noise. But no movement from the kid at all. MRS LANTZ crosses and pokes him in the ribs. GLEN lurches up, arms windmilling. GLEN Whuu? He refocuses his eyes, takes off his earphones. MRS LANTZ How can you listen to Carson and a record at the same time? GLEN swings his legs over the edge of the bed and shakes his head to clear the cobwebs. GLEN Wasn't listening to the tube, just watching. Miss Nude America's supposed to be on tonight. MRS LANTZ Well how you gonna hear what she says? GLEN Who cares what she says? The mother gives up. MRS LANTZ You should get to sleep soon, Glen. It's almost midnight. Goodness knows we've all had enough of a time the last few days... GLEN I will, Mom...in a while. You guys turning in? MRS LANTZ Pretty soon. His MOTHER sighs and goes out, closing the door behind her. GLEN flips the TV back on and glances at the clock.138. INSERT OF CLOCK. It's 11:42. 138.139. TIGHT ON GLEN's face. He clamps the earphones back on, and turns 139. the volume up high. The MUSIC is so loud we can hear it resonating inside his skull. CAMERA MOVES PAST GLEN to his window, then ZOOMS through to:140. EXT. ELM STREET / NANCY'S HOUSE. NIGHT. 140. CONTINUE ZOOMING into the LIGHTED window of NANCY's barred second floor bedroom and CUT TO:141. INT. NANCY'S ROOM. NIGHT 141. CLOSE ON MARGE, weaving on the edge of NANCY's bed, stroking the girl's hair. NANCY's still something of a wreck, but less than MARGE. MARGE We'll go away, take a vacation. Get your hair colored nice, the way it was. No one will ever know. (sniffs) This whole room smells of coffee, y'know? She gathers up NANCY's coffee cups and empty NoDoz boxes, leans down and kisses her. MARGE (CONTD) It's all over now, baby. The nightmare's over. Please. NANCY nods her head, half stubborn, half sadly. She can barely keep her eyes open now. NANCY Okay. She scrunches into her pillow. MARGE smiles haggardly and shuts off the light, taking the coffee pot with her as she leaves. NANCY (CONTD) Night-night. MARGE smiles, relieved. The girl pulls the blanket around her shoulders. Her eyes flutter closed, her breathing becomes regular and deep. Once again she's the litle girl MARGE fantasizes she is. The mother tiptoes out of the room, closing the door behind her. HOLD ON NANCY's sleeping face as the DOOR CLOSES. Her eyes remain closed another beat, then open wide. She quietly jumps out of bed and shakes herself savagely to scatter the sleep settling so quickly. Still in the dark, she fishes a full electric coffepot from under her bed and pours herself a fresh fix into a mug she digs from beneath her pillow. The face illuminated by the neon light on the pot is set in absolute determination. NANCY drains the cup, then crosses to her closet, retrieves a pitcher of ice water from behind a heap of clothes and splashes her eyes and the back of her neck. That done she eases open her window and presses her face to the bars, sucking in cool night air until every shred of sleep is gone from her brain. Then she starts pulling on clothes.142. INT. NANCY'S HOUSE/DOWNSTAIRS. NIGHT. 142. ANGLE ON MARGE as she checks the lock on the backdoor. Firm.143. ANGLE IN THE LIVING ROOM as she pads through the darkened house, 143. feels her way to a wall of shelves and takes down a book. Then another, and a third. Then reaches in and fishes out a bottle of gin.144. EXT. NANCY'S HOUSE AND ELM STREET. NIGHT. 144. The sky has gathered in greater darkness. LOW, DISTANT THUNDER rolls around the horizon like a great drum. ANGLE ON NANCY'S HOUSE from across the street. The moon glints off the barred windows. CAMERA ZOOMS to NANCY's window. The imprisoned girl hovers in the darkness behind the grill like a ghost, her eyes turned towards GLEN's. Then she switches to something much CLOSER TO CAMERA ANGLE, and she draws back.145. REVERSE ON GLEN's father, standing on the front porch of his 145. home, also in the shadows, looking straight across and up at NANCY. He draws on his cigarette; his face glows red.146. NANCY pulls down the shade. 146.147. GLEN's father grinds the cigarette beneath his shoe. 147. MRS LANTZ Shouldn't stare. As the man turns our SHOT WIDENS TO REVEAL MRS LANTZ. MR LANTZ Know what I think? I think that kid's some kinda lunatic. The woman spoons more sweetness into her mouth and rubs her forehead. MRS LANTZ Shouldn't say such a thing about the poor child. If you mean the bars, Marge's just being cautious, her being alone and Nancy acting so nervous lately. The woman rises and pulls him gently towards the living room. As he goes inside he takes one last look. MR LANTZ (CONTD) Well, she ain't gonna hang around our boy no more. Once the two are inside, the door is locked.148. INT. NANCY'S ROOM. NIGHT. 148. CLOSE ON NANCY's face. VERY CLOSE. Her eyes stare ahead, red-rimmed, anxious. She picks absently at the thick bandage covering her forearm. The long cuts from Fred Krueger's fingers are bleeding again, but she doesn't even care anymore. Too late to sweat the small stuff. She crosses the room. On the bedside table with the nearly empty Pyrex coffee maker, the empty cup and the empty box of No-Doz, is her old fashioned alarm clock, and a phone. NANCY pours herself the last of the coffee and drinks it to the dregs, then looks to the clock. INSERT CLOCK -- ten minutes to midnight. NANCY'S eyes go to the door. WIDER. Fully clothed and in a jacket now, she creeps to the door and cracks it, just to make sure. Then freezes.149. INT. HALLWAY OUTSIDE NANCY'S DOOR. 149. IN NANCY'S POV through the door we see MARGE, rummaging around in the linen closet not fifteen feet away. There's no way NANCY can get past her. The woman pulls out a full bottle of gin in satisfaction and begins fumbling with its cap.150. INT. NANCY'S ROOM. NIGHT. 150. NANCY eases the door closed again and sinks to the key hole, watching through it with a sinking heart. NANCY (very quiet, very intense) Hang on GLEN...151. INT. GLEN'S ROOM. NIGHT. 151. GLEN, coat now on, goes to his window, checking.152. INT. ELM STREET. NIGHT. 152. GLEN'S POV -- NANCY'S porch is deserted; front door closed, lights out. No sign of NANCY.153. INT. GLEN'S ROOM. NIGHT. 153. GLEN shrugs, takes off his jacket and plops back onto his bed. GLEN Well, I'm not gonna risk sneaking out until she does. He puts the earphones back on.154. INT. NANCY'S ROOM. NIGHT. 154. Absolutely frustrated, NANCY turns from the keyhole to the window. She opens the blind and eases back the curtain.155. EXT. ELM STREET. NIGHT. IN NANCY'S POV THROUGH THE BARS we ZOOM directly across to GLEN's window.156. INT. GLEN'S ROOM. NIGHT. 156. GLEN lies on his bed, fully clothed, earphones over his ears, CARSON droning from the TV. And the boy's eyes begin to droop.157. INT. NANCY'S BEDROOM. NIGHT. 157. NANCY picks up her phone, bites her lip, then begins dialing.158. INT. GLEN'S ROOM. NIGHT. 158. TIGHT ON PHONE as it begins RINGING loudly. WIDER SHOT, revealing GLEN asleep BACKGROUND, the MUSIC still LOUD in his earphones.159. INT. GLEN'S LIVING ROOM. NIGHT. 159. RINGING here, too, just as MR LANTZ is turning out the lights for bed. He stops in the dark, scowling. MR LANTZ Who at this hour? He refuses to turn the light back on. His wife picks her way to the telephone. MRS LANTZ Hello? (listens, frowns slightly) Oh... Hold on. (covers the mouthpiece) It's her. She wants to talk to Glen. The father crosses to the telephone, suspicious. MR LANTZ (whispering) About what? MRS LANTZ (into phone) What's this about, Nancy? She listens, covers up again. MRS LANTZ (CONTD) She says it's private. Very private and very important. MR LANTZ grabs the telephone from his wife and barks into it. MR LANTZ Glen's asleep. Talk to him tomorrow! He SLAMS down the telephone with a grunt of satisfaction to his wife. MR LANTZ (CONTD) Just got to be firm with kids, is all. Then as a refinement he takes the phone off the hook and lays it on the table.160. INT. NANCY'S ROOM. NIGHT. 160. NANCY dials again. This time she gets a BUSY SIGNAL. She slams the phone down in frustration and looks out the window. NANCY Glen. Don't fall asleep... She goes and sits on the bed, propping her chin on her fists.161. Yawns. The TELEPHONE RINGS. 161. NANCY snatches it up. NANCY Glen? TIGHT ON HER, ZOOMING EVEN CLOSER ON HER EAR AND THE EARPIECE as we HEAR the awful SCRITCHING SCRAPE of STEEL FINGERKNIVES. NANCY slaps the phone down as if it were diseased -- then, in pure rage, rips the thing's cord from the wall. Spent instantly, she puts the receiver back on the cradle and lays it on her bed, chiding herself. NANCY Brilliant. Now what if Glen calls? She wraps the phone cord around the useless machine and puts it on her bed, then sneaks back to the door. This time she gives an expression of relief, and opens the door. MARGE is gone. Then the TELEPHONE RINGS again. CAMERA MOVES IN ON NANCY as she turns slowly.162. REVERSE IN HER POV. THE TELEPHONE RINGS again, despite the fact 162. that the end of its janked-out cord is clearly visible. The NIGHTMARE MUSIC THEME slips right up our spines. BACK ON NANCY. She starts to shake. She goes to the telephone as we WIDEN, unwraps it as it RINGS even louder. She's shaking so hard by now she can barely manage to lift the receiver. MOVE IN CLOSE ON HER, so close we can HEAR her teeth chattering as she brings the phone to her ear. NANCY (CONTD) Hello? The unmistakeable VOICE of FRED KRUEGER comes over the phone, garbled by time and unknown dimensions, but clear enough. KRUEGER (FILTER) (triumphant) I'm your boyfriend now... CLOSE ON THE MOUTHPIECE. It's changed from a normal telephone mouthpiece to an actual mouth -- Fred Krueger's mouth -- and his long, slick tongue flicks out and darts into the startled girl's mouth! WIDER -- as NANCY explodes from her micro-dream -- absolutely mad. She jerks the telephone away from her and smashes it against her wall, then attacks it with her feet and hands, smashing it to smithereens. ANGLE ON THE TELEPHONE PIECES. Normal pieces of a normal telephone. She pinches herself hard -- until tears come and her flesh is nearly bleeding. NANCY I'm awake, I am awake. This is not a dream! I am -- She stops, realizing what Krueger meant. NANCY (CONTD) My boyfriend...!163. INT. NANCY'S LIVING ROOM. NIGHT. 163. NANCY barrels down the stairs and across the darkened living room to the front door. It takes her a moment of tugging and fumbling to realize the deadbolt is locked from inside. And there's no key in it now. She races to a porch window and throws it open, shaking and banging on the bars like a mad woman. But there's no getting through. She staggers back, stymied and furious. Then somebody moves behind her in the dark. VOICE (OS) Locked. NANCY jumps around in shock. Her mother has posted herself on the couch with her bottle. NANCY (furious) Give me the key, mother. MARGE I don't even have it on me, so forget it. The word is final. NANCY runs past the woman to the back door, to one window after the other, shaking bars and slamming locks and SCREAMING in teenage fury. But it's no good. The house is her prison. MARGE (CONTD) (drunk satisfaction) Paid the guy damn good to make sure you stayed put. You ain't goin' nowhere, kid. You're gonna sleep tonight if it kills me. NANCY clenches her fists and screams at the top of her lungs, a heart-wrenching, eardrum-breaking cry of love in despair -- NANCY GLEEENNNNNN! SMASH CUT TO:164. INT. GLEN'S ROOM. NIGHT. 164. CLOSE ON GLEN'S FROM DIRECTLY ABOVE. The MUSIC is tinny from the earphones, the TV SOUND DISTANT AND ECHOED. The boy is breathing deeply now, slowly and gently. Then, unmistakeably, he begins to SNORE. Very faintly, far in the background, we can hear NANCY. NANCY (OS) Glen!! Don't fall asleeeeeep! CAMERA PULLS BACK AND STRAIGHT UP as the SNORES merge with a weird, unsettling MUSIC CUE. The boy lies sprawled, still clothed, in the middle of his bed. Save for the bedside lamp, the room is dark. FULL WIDE ANGLE FROM THIS HIGH SPOT looking down at him as from the eyes of some great fly hung on the ceiling. THE MUSIC REACHES A TERRIFYING PITCH OF ANTICIPATION -- THEN STOPS ABRUPTLY. There's a heartbeat's pause. Then with tremendous force, two powerful arms shoot up beneath the red and yellow bedspread and grab GLEN around the waist! Next moment the young man's body is dragged straight down into the bed, as if some huge beast had grabbed him and heaved him down! His feet and his arms shoot up -- there's another hauling yank -- and the boy disappears except for his hands and fingers -- down into the pit in the middle of the bed! His hands are last to go, clawing for a hold. But soon they vanish as well, dragging blankets and bedsheets, wires and stereo across the caved-in bed and into the abyss. There's HIDEOUS SCREECHING of MUSIC jamming in with GLEN's ECHOING SCREAMS -- then an unholy, sudden silence. Next moment what's left of GLEN is vomited up from the pit of the nightmare bed...a horrible mess of blood and bone and hair and wires...streaming out and over the bed. Then the pit in the bed is gone as if it were never there. Drawn by the terribly screams and struggle, GLEN's mother bursts into the room. The women stares for one moment of horrified disbelief, then reels back and lets out the most god-awful SCREAM imaginable. The cry splits the night.165. EXT. ELM STREET. NIGHT. 165. The SOUND of the SCREAM CROSS-FADES WITH the WAIL of the AMBULANCE as it screeches to a halt at the curb, followed by two BLACK AND WHITES and an UNMARKED CAR. Uniformed POLICEMEN spill out FOREGROUND. LT THOMPSON and PARKER exit the unmarked car. By habit or by premonition THOMPSON glances at the house that was his home. His eye is caught by a movement; his daughter is at her upstairs window, white-haired, hollow-eyed, looking down on him through her bars. She gives a little wave. Unnerved, THOMPSON waves back, then walks rapidly for GLEN's home. MR LANTZ, pale as a ghost himself, waits on the porch; we can hear the mother's WAILING inside.166. INT. NANCY'S ROOM. NIGHT. 166. CLOSE ON NANCY'S BIG OLD WINDUP ALARM CLOCK. Its big and little hands sweep together at midnight. BURN ON: THE NINTH DAY There's a BABBLE of POLICE RADIOS, SIRENS WINDING DOWN, RUNNING FOOT-STEPS, SHOUTS, NEIGHBORHOOD KIDS and DOGS BARKING as CAMERA LIFTS TO NANCY'S FACE. Set. Unafraid. Ruthless. The girl pulls the window shade on it all, then looks at her bed. NANCY Okay, Krueger, you bastard. We play in your court.167. INT. GLEN'S LIVING ROOM/NANCY'S KITCHEN -- INTERCUT. NIGHT. 167.168. LT THOMPSON is halfway across the living room when he stops. 168. Something dark and red is welling from a crack in the ceiling. One of his men is rigging a bucket beneah to catch the leaking. The telephone rings and PARKER picks it up. PARKER Lieutenant. It's your daughter. Says it's urgent. THOMPSON turns away from the dripping. LT THOMPSON (low) Tell her I'm not here, tell her... PARKER Uh, she just saw you, sir... THOMPSON nods, crosses and picks up the telephone. SCREEN SPLITS; we see both. LT THOMPSON (CONTD) Hello Nancy. NANCY Hi daddy. I know what happened. LT THOMPSON Then you know more than I do -- I haven't even been upstairs. NANCY (guessing) You know he's dead though, right? THOMPSON debates, then admits it. LT THOMPSON Yeah, apparantly he's dead. How the hell'd you know? A tear coarses down NANCY's cheek, but her voice remains firm. NANCY I've got a proposition for you. Listen very carefully, please. LT THOMPSON Nan, I -- NANCY Please. I'm gonna go get the guy who did it and bring him to you. I just need you be right there to arrest him. Okay? LT THOMPSON Just tell me who did it and I'll go get him, baby. NANCY Fred Krueger did it, Daddy, and only I can get him. It's my nightmare he comes to. The detective flinches at the name. LT THOMPSON Where'd you hear about Krueger -- NANCY presses, very firm, very rational. NANCY -- I want you to come over here and break the door down exactly twenty minutes from now -- can you do that? LT THOMPSON Sure, but... NANCY That'll be exactly half past midnight. Time for me to fall asleep and find him. LT THOMPSON Sure, sure, honey. You just do that -- get yourself some sleep -- that's what I've been saying all along. NANCY And you'll be here to catch him, right? PARKER Lieutenant -- they're waiting upstairs. THOMPSON waves curtly, still speaking to NANCY. LT THOMPSON Sure, okay, I'll be there. Now you just turn in and get some rest, sweetheart. Please. Deal? NANCY Deal. NANCY hangs up. LT THOMPSON starts upstairs. But then he stops, and as an afterthought he could never really explain, turns to PARKER. LT THOMPSON (CONTD) Get outside and watch her house. If you see anything funny call me. PARKER 'Anything funny' like what? THOMPSON shakes his head, embarassed. LT THOMPSON I don't know -- but one thing for sure, I don't want her coming over here. She's way too far gone to be able to to handle this. As PARKER exits, ANGLE CUTS TO NANCY'S KITCHEN as the girl hangs up and sinks back agiainst the wall, trapped by her own resolution. She looks at her watch.169. INSERT -- five past midnight. NANCY switches modes to stopwatch 169. and sets the COUNTDOWN going at twenty-five minutes.170. INT. GLEN'S BEDROOM. NIGHT. 170. LT THOMPSON steps into GLEN's room, anxious to be done with it. He hits a wall of stench and horror even before he takes it in with his eyes, and as soon as he sees the bed he claps his hand over his mouth, pivots and walks right back into the hallway.171. INT. HALLWAY. NIGHT. 171. He sags against the wall, unable to look at the COPS who hover there. COP (faint) What the hell did that, Lieutenant? There ain't even a head left. LT THOMPSON Goddamed if I know. (tries to straighten) What's the Coronor say? COP He's in the john puking since he saw it.172. INT. CELLAR. NIGHT. 172. NANCY pulls tools and hardware out with grim resolution. Hammer, nails, spools of wire, an old square of heavy fishneting, some old shot gun shells, a file -- referring only once to the booklet in her hand.173. INT. NANCY'S LIVING ROOM. NIGHT. 173. Barely able to control her shaking hands, NANCY starts stringing off the spool of wire across the living room, crying and swearing at the same time. DISSOLVE TO HER HANDS wrapping bare lamp wire around two thumbtacks stuck into the insides of the pinchers of a common wooden clothespin. The wire goes OFF SCREEN. ANOTHER ANGLE as she inserts a Lifesaver between the two prongs. One end of the fishline is tied to the lifesaver. The whole now is stretched taut about three inches off the living room carpet. ON NANCY carefully filing a hole in a LIGHTBULB. OH HER pouring powder and shot from shotgun shells into the opening in the bulb until it's full, then sealing it with tape. DISSOLVE TO HER screwing the bulb back into the floor lamp, and placing the thing near the foot of the stairs. SC 174 (DELETE)175. INT. NANCY'S UPSTAIRS HALLWAY. NIGHT. 175. -- NANCY completes installing a sturdy sliding bolt to the outside of her own bedroom door. -- NANCY screws a hinge into the wall directly above her door. Attached to the hinge is the shank of something -- some kind of tool. We can't see what it is because CAMERA never quite frames the whole thing. -- NANCY tiptoes to her mother's door and peeks in. 176. INT. MARGE'S BEDROOM. NIGHT. 176. MARGE lies propped in her bed looking back at NANCY. Her drunkeness has been altered by the SIRENS and BABBLE outside into a sort of comatose clarity. MARGE Guess I should'n'a done it. NANCY Just sleep now, Mom. MARGE Just wanted to protect you, Nan. Just wanted to protect you... MARGE slides over on her side. NANCY smooths her hair, covers her as she would a child, then exits the room. DELETE SC 177178. INT. NANCY'S ROOM. NIGHT. 178. The girl enters, turns out her bedside light, slips out of her dress and puts on her nightgown. Then she kneels by her bed. NANCY (quietly) Now I lay me down to sleep, I pray the Lord my soul to keep. If I should die before I wake, I pray the Lord my soul to take. She gets into bed and pulls the blankets to her chin. CLOSE ON NANCY's face. She stares straight up at the ceiling for a long moment, then closes her eyes. CUT TO:179. INT. GLEN'S LIVING ROOM. NIGHT. 179. LT THOMPSON trudges down the stais and confronts GLEN'S FATHER. LT THOMPSON I know it's hard to think at a time like this, Walter, but can you think of anyone who could've done such a thing? The father stares away, his voice low and dull. MR LANTZ He done it. THOMPSON looks at the man, baffled. LT THOMPSON Who? Who did that? MR LANTZ Krueger. LT THOMPSON Krueger? The father gives him the strangest look. MR LANTZ Had to've done it. No one else was in there. LT THOMPSON How you know that? MR LANTZ Cause I thought Glen was gonna sneak out to see your lunatic daughter, that's why. So I locked him in his room! (getting control) Sorry. Anyways, the door was still locked when we heard the screams. He blinks. MR LANTZ (CONTD) Maybe god's punishing us all... LT THOMPSON (much lower and hard) Keep your head -- this is a fucking flesh and blood killer we're talking about. MR LANTZ Like Rod Lane? A voice calls down from upstairs. COP (OS) Lieutenant Thompson. Coronor wants to show you something. THOMPSON gives MR LANTZ one final look, then heads upstairs. CUT TO: NOTE: These rewrites of scenes 180 and 180 A replace NANCY walking through the 'dream streets' at night, and NANCY approaching the huge deserted building at night, prior to her entering the Boiler Room the final time.180. INT. DOWNSTAIRS, NANCY'S HOUSE. NIGHT. 180. LOW ANGLE UP STAIRS as NANCY appears at head. As she comes downstairs, CAMERA MOVES WITH HER through the hallway to the cellar door. She opens the door.180A. INT. NANCY'S CELLAR. NIGHT. 180A. NANCY appears at top of these stairs, hesitates, then comes down. WIDER as NANCY approaches center of room, stops in CU, then turns eyes. We HEAR the distant SOUND of the boiler room now, faint but unmistakeable. NANCY MOVES, and CAMERA PANS HER to the cellar's side WALL, where another, new doorway is REVEALED. NANCY opens this door and looks down. FIRELIGHT is on NANCY'S face now, and the SOUND of the Boiler Room is very clear. NANCY goes through the door.180B. INT. BOILER ROOM. 180B. NANCY decends like Orpheus into hell, but without weapon save her wits. She decends a steel stair to the lowest level, then hears the SOUND of the knives from down another shaft. She sees there's an even deeper place down there. She starts down. Again, and then again, NANCY decends, each ladder narrower or more twisting, each level deeper, wetter, darker, more airless. Soon she's gasping for air, but still she pushes herself on. She doesn't stop until she breaks out at last at the very bottom of the place, a wet, firelit sump deep in the bowels of the place. CAMERA NOW PANS AROUND WITH HER, and for the first time we SEE the vast maul of the empty boiler behind her. She stares at it. It's seething with some dark WIND that soughs and whines like a huge dying dog. NANCY crosses to it, touching the pile of old, coal-dusted dirt at its base. It looks almost like an old grave. She turns suddenly, listening. Then, hearing nothing, she looks down. NANCY'S POV as she picks up GLEN's earphones. WIDER as she suddenly drops them, staring at her fingers. They're dripping blood. There's another BEEP.180C. INSERT ON NANCY'S WATCH -- the COUNT-DOWN a blur of black digits 180C. counting down to zero. They've just crossed the ten minute warning.180D. CLOSE ON NANCY'S FACE. She speaks into the night. 180D. NANCY (quietly) Come out and show yourself, you bastard. No sooner are these words off her lips than the huge bulk of FRED KRUEGER lurches up behind her! The man is even more hideous hatless, his bald head and tormented face veiled in skeins of ruined flesh, his ragged teeth barred, the great spider of razor-blades flashing from his fingertips. He leaps, but the girl leaps just as fast, a fierce jump, that sends her out over black space and down into a huge, dark sump of blackness.180E. EXT. THE HEAVENS. NIGHT. 180E. CLOSE ANGLE ON NANCY as she curves like a swan though her apogee, and begins falling, diving, planing through black air, the wind ripping at her hair and eyes. Suddenly the complex, glittering skein of light that is the San Fernando Valley seen from the air slides INTO FRAME, and we see she's falling from high, high over the earth. NANCY falls, falls in slow motion against the spinning lights, free as a sky diver freefalling -- a giddy, acrophobic plunge.181,182,183,184 OMIT OMIT 181,182,183,184185. EXT. ELM STREET/NANCY'S HOUSE. NIGHT. 185. NANCY crashes suddenly out of the night and into a hedge just outside her own front door, rolling out at its bottom scratched and bloodied. If she were in any normal reality she'd be a mass of broken bones -- but somehow she's able to claw her way up and look at her watch once more. INSERT. Just a few seconds from zero. She staggers for her house's front door -- but a moment later KRUEGER crashes down atop her! NANCY struggles to her knees just as the man lunges with that godawful handful of blades. But instead of running, she ducks inside the deadly grab and seizes him in a desperate bearhug! The surprise move sends him pitching backwards, her still on him --and they fall into the jumble of torn-down trellis of roses beneath her window. Almost at that very second we HEAR the jarring, deafening RINGING of NANCY's alarm clock! SMASH CUT TO:186. INT. NANCY'S BEDROOM. NIGHT. 186. NANCY sprawls out of her bed onto the floor, twisting from the jabs of the already vanished thorns, briars and brush. Gasping, she takes a second to get her bearings ANGLE ON THE BED as she recovers quick as she can, snatching up the net, ready for an assault from any direction. But the room is empty. Hardly able to catch her breath, her hair tangled, her nightgown torn, she drops the net. She sits on the bed, turns on the bedside lamp and re-examines her room. No one there but herself. It's a terrible blow, despite the fact that she's safe. Her face is covered with tears, she's shaking and breathless. She rattles her head in confusion and despair, realizing her own madness. NANCY I'm crazy after all... At that very instant FRED KRUEGER leaps up from the far side of the bed with an EXPLOSIVE SHOUT of rage! He lunges across the table for her, missing by inches as NANCY pitches backwards and scrambles for the window. But she's stopped by the bars. KRUEGER, incredibly fast, regains his feet and leaps again -- the girl wheels and shatters the coffeepot over his head. As he crashes backwards NANCY flings open the door of her room and dives through -- only to rebound off someone on the other side --187. INT. HALLWAY. NIGHT. 187. MARGE, knocked flying by NANCY'S charge, hits the floor hard, knocking the wind out of herself. NANCY sees what she's done, jumps over the body and slams the door and throws the new bolt home. Next instant she gingerly ties a string to the door's knob, a string that trails down from the ceiling, attached to something up there that's still just barely out of sight. Next instant she's dragging her MOTHER towards the woman's bedroom as fast as she can. KRUEGER is already splintering the doorway behind her as NANCY dips and makes it into MARGE's room, SLAMMING the DOOR behind her and locking it in a flash. The MANIAC breaks the bolt and rips open the door. But the in the very act of doing this he of course unknowingly pulls the string attached to the outside doorknob with terrific force. CLOSE ANGLE ON THE CEILING. The string jerks against a single-edged razor, which in turn cuts a tight wind of cord holding a heavy wedge of steel to the ceiling. WIDER as the thing falls free, pivoting at the hinge at the far end of its handle, and drives straight into KRUEGER'S groin with a terrific blow. As he catapaults backwards with an incredulous shriek, the twenty pound sledge hammer swings back and reveals to camera just what it is! ANGLE DOWN ON KRUEGER, clawwing his way up despite his agony, lurching and cursing forward like an enraged bull. WIDER ANGLE IN THE HALLWAY as KRUEGER roars out -- only to immediately strike the length of WIRE strung across the hallway, catching it just above the thigh. He cartwheels head-over-heels and lands flat on his back! Instantly the DOOR to NANCY's MOTHER's bedroom flies open and NANCY brings a brass lamp down over KRUEGER's head with all her might! It sounds like a line-drive caroming off a metal flagpole. NANCY SLAMS the DOOR as KRUEGER struggles up, clutching his head. Enraged, the huge man CRASHES against the door with terrific force, and rears back and starts smashing against the door like the utter homicidal lunatic that he is. CUT TO:188. EXT. ELM STREET/NANCY'S HOME. NIGHT. 188. HIGH ANGLE at the second floor level. NANCY jerks open the window to her MOTHER's bedroom and jams her face to the bars. The AMBULANCE is pulling away with a tremendous WAIL of its SIREN as NANCY SCREAMS down, trying to make herself heard. NANCY Help! Hey -- Daddy -- I got him trapped! Where are you!?189. ANGLE ON the street. PARKER, assigned to guard the house, sees 189. NANCY -- hair white, eyes wide -- pounding on the bars and screaming like a lunatic. But her meaning is utterly lost in the noise of the ambulance next to him. PARKER (yelling up at her) Everything's going to be all right! Everything's under control! ANGLE at the window. Close on NANCY's face, incredulous at his response. NANCY Get my father, you asshole! PARKER does a little take. That almost sounded sane. PARKER (OS) You heard what I said! Now get back inside or I'll tell your dad!191. Behind her the DOOR SPLINTERS. NANCY whirls around just in time 191. to see KRUEGER bull in! NANCY's eyes go wide -- she's trapped against the bars and has nowhere to go. The man bunches his knives into a single thick blade and rushes her, stabbing. NANCY closes her eyes -- Then from OUT OF FRAME Marge leaps between the two. MARGE No! She blocks the charge perfectly -- blocking the knives. Both she and NANCY are slammed backwards against the bars behind. Drunk though she is, is hanging onto KRUEGER'S weapon hand, keeping the knives inside herself, away from her daughter! MARGE Nancy -- for god's sake's run! But NANCY turns to the window instead, screaming for her father. NANCY Daddy! Where are you!192. EXT. ELM STREET. NIGHT. 192. PARKER, just about to turn back to the business at GLEN's house, sees NANCY and SOMEONE else fall just inside the window. Something begins to dawn on the man. Just a little. PARKER Poor woman's got her hands full with that kid. Maybe I better tell the lieutenant. He turns and jogs towards GLEN's house.193. INT. MARGE'S BEDROOM. NIGHT. 193. ANGLE ON KRUEGER, hauling MARGE up in rage, knocking her senseless across her bed and climbing after her with his knives raised. NANCY wheels behind him and whams him in the kidneys with her fists, spilling him back off the bed, then running past him for the door. She makes it to safety, then turning back. She flips the monster the bird, her eyes wild with pain and fury. NANCY Hey fuckface -- can't catch me! The bait works -- KRUEGER leaves MARGE and howls after NANCY.194. INT. UPSTAIRS HALLWAY. NIGHT. 194. As NANCY clears the hall and makes the stairs, KRUEGER lurches through the shattered doorway after her.195. INT. LIVING ROOM. NIGHT. 195. The girl careens down the stairs, across the room and to the front door, banging against it with terrified fury. NANCY (screaming) Come on -- he's in here! Daddy! Don't let him kill me too! Behind her the huge MAN is thumping down the stairs, KNOCKING THINGS OVER, SCRAPING his LONG STEEL FINGERNAILS along the wall with a horrible sound! NANCY flings a heavy ash tray through the porch window and screams through the bars. NANCY (CONTD) HEELLLPPP!!! Daddyyyyyyy!!!! KRUEGER, bloody and spewwing threats, staggers for her -- NANCY dives behind the couch. CLOSE ON KRUEGER'S FEET as they hit another wire. CLOSE ON the Lifesaver jerking out -- the clothespin snapping together, completing the circuit with a CRACKLING SPARK. WIDER ON THE EXPLOSION that rips out of the floor lamp next to KRUEGER and knocks him sprawling across the room. NANCY peeks out from behind the couch. The man lies in a smoking heap. NANCY runs to the windows and screams out again. NANCY (CONTD) Hey -- Daddy! Hey! I got the bastard! KRUEGER roars up behind her -- she throws herself sideways -- he crashes into the window frame, smashing glass and wood to bits. NANCY turns SCREAMING and runs deeper into the house.196. OMIT 196.197. INT. CELLAR. NIGHT. 197. She careens down the stairs, throwing on the lights, the man thundering after her. ANGLE AT THE FAR END OF THE CELLAR. NANCY brakes at the wall. Nowhere left to hide. THE SCRAPPING of the blades against brick turns her to see the huge killer holding his knife-laden fingers up for her. KRUEGER Ready for these?198. ON NANCY -- she ducks behind the furnace -- comes out the other 198. side with the big jug of gasoline and lets KRUEGER have it straight over the head. The heavy container shatters, showering its contents over every square inch of the man. He staggers backwards with a ROAR of fury, NANCY screaming after him with a box of kitchen matches. Before the man can realize what she's up to, she ignites the whole box and throws it in KRUEGER's face. There's a blinding WHOOSH -- and KRUEGER goes up in a terrific BALL OF FIRE. Faster than a flash the girl runs past the howling maniac and makes for the stairs, KRUEGER after her in full pyrrhic rage.199. INT. NANCY'S KITCHEN. NIGHT. 199. NANCY holds the heavy door until the precisely right moment. Just as the burning, blind monster tops the stairs, NANCY brings the heavy oak door round with all her might and catches him in a great RINGING CONCUSSION. It sends him windmilling backwards and down the stairs in an ass-over-teakettle sprawl of sparks and flames. NANCY slams the door and throws the deadbolt home. No sooner does she accomplish this than the man is SLAMMING again and again against the door from the cellar. The terrible SCREAMS and CURSES PEAK, THEN GROW WEAKER AND MORE GARBLED. Then there's just silence. NANCY staggers, half blind, from the kitchen. As the room begins seething SMOKE from every pore, we CUT TO:200. INT. GLEN'S UPSTAIRS HALLWAY. NIGHT. 200. The CORONER steps out of the bathroom peeling bloody rubber gloves. Pale and sweating. CORONER Found you something, Donald. Should remind you of something... The man shoves out his hand to LT THOMPSON. THOMPSON stares at it without touching it. A long, thin steel blade, razor sharp, attached to some sort of ring and armature -- broken off... The CORONER gives a sweaty, grim smile. CORONER (CONTD) Only place I ever heard of such a thing before was ten years ago. Remember that fucker Fred Krueger? LT THOMPSON has just knocked PARKER sprawling in his race to the stairs. PARKER Hey -- your daughter's acting kinda -- ! (THOMPSON'S gone) Strange...201. EXT. NANCY'S HOME. NIGHT. 201. CRASH as NANCY breaks another window and presses against the bars. The house shudders and glows orange behind her. She sees her father bursting out the front door of Glen's house! NANCY DAD! GET US OUTTA HERE! LT THOMPSON Oh, Jesus -- Nancy! (to his men) Hey! We got a fire!202. ANGLE ON NANCY'S FRONT DOOR. Many MEN batter the door down as 202. black smoke pours from the windows and NANCY's SCREAMS and SHOUTS fill the air. Within moments they've destroyed the door and LT THOMPSON has pulled his daughter into the safety of his arms. But NANCY immediately fights free and darts right back to the front door -- beckoning him to follow -- gesturing like a wild woman. NANCY I got him -- I got Fred Krueger! THOMPSON stares at his wild little girl in astonishment, then runs in after her. The others follow, coughing and choking.203. INT. LIVING ROOM. NIGHT. 203. THOMPSON collides with NANCY as she brakes, frozen. THE SMOKE IS BELCHING OUT OF THE CELLAR, but whoever was locked in there certainly isn't now. The door is flat on the kitchen floor. LT THOMPSON What the hell are you talking about, Nancy? NANCY wheels without answering. A series of tiny, isolated fires burn across the living room and up the stairs. Firesteps. NANCY (CONTD) He's after Mom! Come on! She darts across the living room, following the flaming footprints of FRED KRUEGER up the stairs before THOMPSON can stop her. LT THOMPSON NANCY!204. INT. MARGE'S BEDROOM. NIGHT. 204. NANCY STOPS IN THE SPLINTERED DOORWAY -- a ragged gold-red light splashing her horrified face.205. REVERSE IN HER POV -- FRED KRUEGER, literally a man of fire, has 205. a screaming MARGE pinned to the bed and is crawling all over her! NANCY gives a banshee's howl, snatches up a chair and brings it down over the back of the firey beast, stunning him. By the time LT THOMPSON races into the room NANCY'S seized a heavy blanket has thrown over both of them, fighting the flames. The father joins his daughter without a second thought, heaving another blanket over the bed and smothering the last of the flames. NANCY He's under there! Watch it!206. THOMPSON pushes the girl back -- yanks out his .38 and pulls off 206. the first cover. No movement. He pulls back a second one, ready to fire. But the only thing he sees is the blackened half-skeleton of his ex-wife, smoking and seething and sinking into the fluid-like mattress, sinking right down through it as if she were sinking into a lake. A blackened, gnarled hand goes last, then the bed solidifies over the place she's disappeared. And it's as if no one was ever there. NANCY turns and looks at LT THOMPSON, her face white as her ghostly hair. THOMPSON shoves his .38 back in its holster and finds a cigarette, his hands shaking so badly he can barely manage. NANCY Now do you believe me? PARKER barges in. The room is filled with smoke, the bed is stripped, but other than that, the place seems normal. PARKER You find him? (looking closer at THOMPSON) Sir? LT THOMPSON just walks by him. PARKER chases after. PARKER (CONTD OS) (fading) Sir -- here, let me light that for you -- Lieutenant? What happened? (gone) WIDER, ON NANCY alone in the room. She turns and looks at the bed. MUSIC slips in and builds. The bed has changed color. It's now an ash-darkened red and yellow.207. CLOSER ON NANCY from the direction of the bed. MUSIC SUDDENLY 207. STOPS, and the surface of the red and yellow bed gets a bump in its center that keeps raising, raising until it's a hump that's a head and shoulders, still raising until it looms over NANCY. Then FRED KRUEGER's entire shape sweeps up into the yellow and red mass -- and the garish head, smoking and seething, pops through. NEW ANGLE -- KRUEGER, a burned, sizzling black hump of a killer, clumps onto the floor between NANCY and the door. NANCY falls absoltely still, and her face goes through a strange, almost sublime transformation. NANCY (quietly) I know you're there, Krueger. She turns and faces him. FREDDIE You think you was gonna get away from me? NANCY shakes her head. NANCY I know you too well now, Freddie. KRUEGER smiles bitterly. Coming closer. FREDDY And now you die... There's a SLICKERING RATTLE at his side, and he raises the only thing on him not charred -- the gleaming steel talons.208. NANCY simply shakes her head again, as if seeing a light at the 208. end of her long, long tunnel. And the way she says the words, they might be appearing on the inside of her eyes. NANCY It's too late, Krueger. I know the secret now -- this is just a dream, too -- you're not alive -- the whole thing is a dream -- so fuck off! I want my mother and friends again. KRUEGER grins insanely, confused and amused at the same time. FREDDIE You what? NANCY (even, firm) I take back every bit of energy I ever gave you. You're nothing. You're shit. And then she turns her back on him. KRUEGER bunches his fingers, producing a single ragged bundle of razor talons and raises his hand over the back of her head and neck. NANCY closes her eyes and steps to the door. CLOSE ON HER HAND, touching the door knob. CLOSE ON KRUEGER'S KNIFE-FINGERS poised. MUSIC BUILDS then SHRIEKS as KRUEGER stabs down, right through NANCY -- as if she were an optical illusion -- loosing his balance and falling down, down, down... And he's gone. CUT TO:209. EXT. ELM STREET. DAY. 209. CLOSE ON NANCY'S FRONT DOOR AS NANCY jerks it open and blinks in the bright, diffused light. The MUSIC FADES on a transitional note, into light. We hear BIRDS. CHILDREN playing. Early morning SOUNDS. NANCY (to herself) God, it's bright. MARGE sticks her head out, squinting, and nods. Sober. MARGE Gonna burn off soon or it wouldn't be so bright. NANCY turns and looks her mother over. NANCY Feeling better? MARGE They say you've bottomed out when you can't remember the night before. (shakes her head) No more drinking, Baby, suddenly I just don't feel like it any more. She touches NANCY. MARGE (CONTD) Didn't keep you up last night, did I? You look a little peeked. NANCY smiles. NANCY Nah. Just slept heavy. The girl gives a wave and goes off. MARGE calls after. MARGE See ya. NANCY turns and waves. NANCY See ya.210. WIDER ON NANCY as she walks to the curb. The whole scene is 210. wrapped in an unseasonal tule fog, bright yet diffuse. We notice that NANCY's house no longer has bars on its windows. Then we see a familiar convertible pull up at the curb, top down. TINA and ROD are in the back seat. They all wave to MARGE as NANCY climbs in. GLEN (calling) You believe this fog? MARGE (laughs) I believe anything's possible. TINA slaps five with NANCY. TINA Lookin' good, girl! ANGLE INSIDE THE CONVERTIBLE. GLEN slips into the seat next to NANCY. Someone else is driving, it seems. NANCY looks up to the DRIVER. The big MAN turns and grins at NANCY, a terrible, scarred, hideous leer of a grin -- FRED KRUEGER'S grin! ANGLE BACK OUTSIDE THE CONVERTIBLE as its top clamps over the kids within -- a bright red and yellow top that closes as fast and hard as a beartrap! NANCY'S frightened face flies to the window, pressing against the thick glass as the car roars away from the curb and into the thick fog.211. CAMERA PANS TO a group of LITTLE GIRLS, half-hidden by the fog, 211. jumping rope and singing gayly. GIRLS One two -- Freddy's coming for you! Three four -- Better lock your door! Five six -- Get your Crucifix Seven eight -- Gonna stay up late! Nine ten -- Never sleep again! MUSIC CROSSFADES WITH THIS SONG, expanding the simple tune to symphonic, boundless dimensions as the little girls fade into thin air, and we FADE TO BLACK ROLL END TITLES. \ No newline at end of file diff --git a/unformated_scripts/Script_Nightmare on Elm Street_ The Final Chapter.txt b/unformated_scripts/Script_Nightmare on Elm Street_ The Final Chapter.txt new file mode 100644 index 0000000000000000000000000000000000000000..d3ee396022fe8b9145015359d5e356918b101117 --- /dev/null +++ b/unformated_scripts/Script_Nightmare on Elm Street_ The Final Chapter.txt @@ -0,0 +1 @@ +FADE IN: INT. DC-10 AIRLINER - NIGHT JACOB JOHNSON is sleeping. It doesn't look like a pleasant experience. He is sixteen, dirty blonde, his eyes visibly moving under closed lids as he sits huddle under a blanket in his window seat. The lights are dim -- the shade on the window closed -- a bead of sweat dribbles down his forehead. The HUMMING of the jet's engines vibrates through the cabin. The boy's eyes snap open. Jacob glances around nervously. He looks like an escaped convict who just accidentally walked into the Policemen's Ball. A GREYHAIRED MAN two seats away from him gives the teenager a cursory glance, then goes back to his book. Jacob lays his head back and tries to relax. The engines continue to drone. Until a new noise starts. A WHOOSHING NOISE. The sound is very faint. But distinct from everything else. Jacob frowns. The noise gets LOUDER. Jacob's sure he's hearing it now. He looks at the Greyhaired Man. The man catches his eye and the two of them stare at each other for a heartbeat - then Jacob turns away. The Man returns to his book. And Jacob immediately turns back to him. JACOB Do you hear that? The man gives him an annoyed look as the WHOOSHING gets louder. GREYHAIRED MAN Hear what? JACOB That noise. GREYHAIRED MAN I don't hear anything. The man turns back to the book as the sound gets even LOUDER - - like it's coming closer. Jacob squirms in his seat -- sneaks a look at the man again. How can he not hear that? A STEWARDESS walks by and Jacob catches her attention. JACOB Excuse me. STEWARDESS Yes? The WHOOSHING is completely obvious now. The greyhaired man tries to ignore the two people talking over him. JACOB What is that sound? STEWARDESS That's just the engines, sir. JACOB No, it's different. It's not the engines. It's getting louder. The man sighs -- the stewardess smiles patronizingly. STEWARDESS We're just gaining altitude to get above some rough weather. That's the sound of the engines speeding up a bit. Everything's fine. JACOB Um...okay. The stewardess walks away as Jacob sits back and starts to bite his nails. The whooshing is really starting to BLARE now. He looks between the seats in front of him -- twists around to look behind. He snaps back to the greyhaired man. JACOB (cont'd) Can't you hear that? GREYHAIRED MAN (losing patience) Look, kid. Will you relax? It's just the damn engines, okay? The man glares at him, and Jacob backs off. The sound has grown DEAFENING. Jacob grinds his seat like he's going mad. He looks at the closed window. He reaches out his hand, grabs the handle then rips up the shade for all to see: A 747 coming RIGHT AT US. Jacob SCREAMS. The planes CRASH. Impact - decompression - explosion. The hull of the cabin buckles violently - moaning like a dying elephant - peeling inward revealing RED AND GREEN STRIPING on the outside. A huge wing section RIPS through the structure - barely missing Jacob - taking the greyhaired man's head clean off - nailing the stewardess in the gut and shoving her body across and out the other side of the cabin. And Jacob's seat drops down - sending him and us into: EXT. SKY - NIGHT Like an intricate ballet, Jacob, his body strapped to his chair, tumbles away from the DC-10 and 747 as they seem to merge and bend into some kind of mutant DC-47 - wings and tails wrapping around each other as debris blooms out like a flower and together they EXPLODE - a fiery ball lighting the nighttime clouds and Jacob's shrieking face. And Jacob falls and falls and falls, his hair sticking straight up from the blasting wind. That's when CORPSES start falling past him. The captain of the plane - the stewardess, her body bent in half - the greyhaired man, his head gone but his book still in his hand. More men, women, crew people - and CHILDREN. But these children aren't dead bodies. Two LITTLE GIRLS and one LITTLE BOY, all dressed in white, plummet down next to Jacob, head first, like high divers. And they're singing: THE CHILDREN One two, Freddy's coming for you... The children turn around in the sky so that they are travelling feet first. The Little Boy's pants puff up and the Girls' skirts poof out and RIP UPWARD - the wind taking away their clothes and their skin and their bodies and their hair... THE CHILDREN (cont'd) Three four, better lock your door... Leaving three tiny SKELETONS - taunting and laughing as Jacob screams and covers his eyes. THE CHILDREN (cont'd) Five six, grab your crucifix... And the Skeletons sprout wings - leathery and veiny - the wind catching them and sending them up and away as their voices echo in the sky. THE CHILDREN (cont'd) Seven eight, gonna stay up late... Jacob takes his hands away from his face and starts to frantically pull on his seat belt. SNAP - it flies off his back and miraculously turns into a PARACHUTE. Rope swirls into the air - the wind grabs the canvas - and Jacob's body slows with a violent jerk. But at least he's not falling anymore. Jacob catches his breath as he starts gently floating through the sky. He smiles. This isn't so bad. This is actually kind of fun. Not for long, though, because his new upward momentum carries him back up to: The winged children's Skeletons. Jacob's eyes bug out as he rises into them and they start to circle. They move closer and we can see something in their hands: SCISSORS Jacob twists his body, trying to steer his parachute away from the demons. One of the Skeletons swoops up to his face and pokes its scissors inches away from Jacob's eyes. It sings alone: CHILD Nine ten, never sleep again! The Skeleton cranks its arm back - ready to plunge the scissor's blades into Jacob's sockets. The arms swings toward him - then suddenly diverts up past his head, heading for: THE CHUTE'S STRINGS The Skeleton flaps its wings and poises its scissors at one of the ropes. The other two Skeletons join it over Jacob's head. The three of them look down at Jacob, their boney jaws in a perpetual smile. JACOB No! The Skeletons nod "yes". SNIP - SNIP - SNIP - they cut away at Jacob's parachute as he swings underneath them, trying to pull away - SNIP - SNIP. The parachute flutters away - the Skeletons cackle - and Jacob plummets. ON JACOB We stay with him as he screams and shrieks and yells and the clouds part and the ground rises quickly up to meet him. The ground becomes a town, the town becomes a block, the block becomes a house, the house becomes a roof, and... INT. JACOB'S BEDROOM - NIGHT KA-BLAM! The ceiling explodes as Jacob's body plows through, slams down, shatters the bed, and we immediately: CUT TO: INT. JACOB'S BEDROOM - MORNING Jacob's eyes blast open as he sits up from bed in a cold sweat. A dream. The worst fucking dream from hell anyone would ever want to have -- but still just a dream. He takes a few deep breaths as a soft KNOCK is heard at the door. JACOB Yeah.. ALICE JOHNSON opens the door and sticks her head in. She's thirty-two, blonde, with a caring smile. ALICE You okay, honey? JACOB Yeah, Mom. I'm fine. ALICE Alright. Better get cooking or you'll be late for school. JACOB On my way. Alice closes the door as Jacob gets out of bed and stretches. Sunlight is leaking through the bedroom window shade and Jacob walks over to it. He reaches out and pulls up the shade. And there's nothing buy sky. Jacob frowns and pokes his head out the window. JACOB'S POV - THE GROUND is once again racing up towards us at seven-thousand miles an hour. The entire house is falling. BACK IN THE BEDROOM Jacob leaps away from the window. The WINGED SKELETONS reappear outside -- dancing in the air -- cackling with glee. The bedroom starts to SHAKE violently as Jacob stumbles into the center. The roof starts caving in and the walls begins to crumble. ANGLE STRAIGHT DOWN ON JACOB. Jacob grabs his head, looks up at us, and SCREAMS. We suddenly stay where we are as the house drops down and we punch out through the roof and our shot becomes an: ANGLE STRAIGHT DOWN ON THE HOUSE as it falls away towards the ground. We watch as it becomes a small dot - and finally impacts on the surface. A mushroom cloud of smoke silently puffs out in the distance below EXT. TOWN - NIGHT - AT THE CRATER Smoke and dust whirl around a huge hole in the earth. Splintered shreds of lumber stick up in the air like giant toothpicks. Some of the toothpicks start to move. Jacob rises out of the destruction, charred, scraped, battered and, unfortunately, alive. He climbs up to the edge of the crater. He looks back a the remnants of his home. Then something starts to happen. Something his growing from the crater - spreading out. It's not a cloud, it's not smoke - it's a DARKNESS. Even though it's night, this darkness is darker. It creeps out from the hole - fingers of blackness reaching out. What it covers doesn't disappear. It becomes GLOOMY. The shroud is getting bigger. And it's getting faster. Jacob runs. WITH JACOB - RUNNING He bolts down the streets of the small town in a blind panic. He looks behind him and sees the darkness getting bigger, its gloominess covering houses. Then whole blocks. Everything it touches seems to fall deeper into SHADOW. AT THE STREET CORNER Jacob comes across a WOMAN walking her dog. He stops and yells at her. JACOB Get the hell out of here! It's coming! WOMAN What's coming? Jacob points down the street. The shroud is swooping down the road - browning out street lights in its wake. And the woman doesn't find anything threatening about this. Jacob screams at her. JACOB Don't you see it? WOMAN See what? And it's obvious now: she doesn't see anything. The Woman is totally oblivious to the danger. Jacob shakes his head -- stumbles away. The woman watches him go as the darkness PASSES OVER HER. She sighs. And begins to MUTATE. Her hair gets scraggly, her skin bursts out in sores, her back grows a hump -- all of which she DOESN'T seem to notice. She just shrugs her twisted shoulders. WOMAN (cont'd) Kids...watcha gonna do? She hobbles away with her dog - which now has six legs and two heads. BACK WITH JACOB - RUNNING Like a bat running from hell, he tears through the streets passing buildings that turn creepy and people that become passively accepting monsters. A VOICE booms out from nowhere. FREDDY (O.S.) Jacob! You're too old to run away from home! Jacob covers his ears and races out of town. EXT. HIGHWAY - NIGHT Jacob falls onto the deserted road just outside of town. He rolls on the asphalt and looks behind him. most of the town is covered in an opaque gloom. Suddenly a CACKLING sound is heard and Jacob turns to its source: HIS POV: THE SPRINGWOOD SIGN The town can still be seen behind it -- the darkness over almost all of it now. The sign reads: WELCOME TO SPRINGWOOD. POPULATION... And the numbers after the word "population" are changing. They're counting BACKWARDS, clattering away like an old-time gas pump in reverse - faster and faster - blurring as the "thousands" digit disappears, then the "hundreds", then "tens", then... CLINK - the count stops at "1". Springwood is entirely engulfed in the shroud. There is a pause. CRASH - the sign is violently YANKED into the ground. It vanishes into the earth and a CRACK APPEARS at the edge of the road. The crack grows - moving out to the center of the highway. BACK ON THE STREET Jacob watches the crack as it splits wider in the middle of the street and a GURGLING sound starts to build. The tar in front of Jacob becomes molten. It bubbles and pops. Jacob scrambles backwards as something begins to rise from boiling asphalt. It's a hat. The hat, a fedora to be precise, pushes itself up. A left hand - burned and scarred - pokes out next to it. Four sharp blades jut out of the muck on the other side. A head is up now - a curtain of tar dripping from the rim of the hat - hiding the face. The body beneath the head ascends. The veil of asphalt parts: It's FREDDY KRUEGER. Jacob SCREAMS. Freddy LAUGHS. He shakes off his layer of tar and looks towards the clouded town of Springwood. A look of pure hatred appears on his ragged face. FREDDY Payback time... Freddy opens his mouth - lets out a large breath - and then INHALES an even larger one. A WINDSTORM starts, the source being Krueger's own lungs. The gale force begins to yank at the shroud surrounding Springwood. Fingers of darkness pull up from the town and towards Freddy's mouth -- and houses begin to DISSOLVE. Freddy continues to inhale like he's never going to stop. Krueger is sucking the black gloom into his body - and the entire town of Springwood is going with it. Trees, buildings, cars, picket fences. It's all crumbling and fusing, becoming a part of t cloud that itself is caught in the nightmarish wind tunnel, all piling into Freddy's mouth. The vortex swirls into Krueger. Then it's gone. Nothing but a vacant lot the size of a town remains. Freddy turns to Jacob and BURPS, it sounds like a THUNDERCLAP. JACOB No! FREDDY Don't worry, I have a strong stomach. Freddy reaches down and yanks up his red and green sweater. He pulls apart his putrid abdomen to reveal his guts - and a transparent stomach. Inside the stomach: a black swirling mass. Flashes of houses, people, homes, couples, all trapped in horrible anguish. Freddy drops down his sweater. FREDDY (cont'd) Springwood is mine, boy! JACOB I dreamed you away before I was born! Mom said you couldn't come back! FREDDY Is that true? Then she told you all about me, huh? Let's see what else she has to say. Freddy reaches his left hand into the bubbling tar at his feet, digs around a bit, then pulls out: ALICE. Jacob's mother. Tar dripping down her body. Krueger has her by the neck, waves his blades in front of her. Jacob gets up and runs toward him. Freddy pulls a foot up from the asphalt pit and KICKS Jacob back a good fifteen feet. ALICE Run, Jacob! The boy rolls painful on the hard road. He sits up and screams: JACOB Leave her alone! FREDDY You're such a momma's boy! Freddy swings his knives out, pauses for a terrifying beat, then swoops the daggers towards Alice. CLOSE ON JACOB as OFF SCREEN we hear a horrible multiple GLITCH! Jacob shrieks in gut-wrenching anguish. WIDE ON SCENE We're far enough away so that we don't barf at the sight but close enough to see that Freddy has impaled Alice's body on his blades. He lifts her up effortlessly and raises her limp figure RIGHT OVER HIS HEAD. Krueger swings his arm out, shaking off Alice, sending her flying over Jacob's head. The body lands behind him. ON JACOB as he runs to his mother. She VANISHES just as he reaches out to touch her bloody body. He turns to Krueger and raises his fists. A look of sheer rage is growing in him, blind, insane anger. He bellows: JACOB You fucker! FREDDY Springwood is only the beginning. All I need from you is a ride! Suddenly, between Jacob and Freddy, three SHAFTS OF LIGHT burst up from the road. Three FIGURES appear as the light dissipates. They're dressed in metallic black, heavy boots, helmets with dark visors covering their faces. One is large and muscular. The one in the center has an obviously feminine figure under her skin-tight outfit. The third is a little smaller than the other two with a slightly different face that allows us to see his mouth. They're the DREAM POLICE. Jacob doesn't know this yet, but Freddy seems to. The bastard son of a hundred maniacs frowns at the sight of these new apparitions. Then he looks past them and smiles at Jacob. FREDDY (cont'd) See ya later! Freddy violently DROPS down into the bubbling asphalt pit. Two of the black figures start after him. The third one turns to Jacob as his partners leap into the hole after Freddy. The sound from his exposed mouth is DEAFENING! SOUND COP WAKE UP! Jacob grabs his ears in pain as we suddenly: CUT TO: EXT. HIGHWAY - DAY Jacob's eyes snap open so fast his sockets suffer whiplash. He's lying smack in the middle of the road tucked in a fetal position. Jacob slowly uncurls his body and sits up. He shivers and wipes his sweaty forehead - and that's when he notices something in his hand. INSERT: JACOB'S HAND it's a bracelet, a simple band of gold with a larger plate in the middle, like an ID band. Jacob's fingers turn the plate over. Printed on the other side is the name of the bracelet's former owner: ALICE. Jacob has a souvenir. BACK TO JACOB He raises his face and looks at the road in front of him. It goes off into the distance surrounded on both sides by empty fields. This is where Springwood used to be. A look of anguish crosses Jacob's face as he stares at the desolation. JACOB Mom... HONK! SCREECH! Jacob whips his head around in time to see a huge moving van blasting right at him. He rolls off to the side of the road. The truck barely misses him, kicking up a cloud of dust in its wake. Jacob chokes on the dust. He slowly recovers and looks back down at the bracelet in his hand. He clenches his fist around it as a wild-eyed angry look starts to grow on him. He takes a few deep breaths, then stands up and walks OUT OF FRAME. ANGLE DOWN THE HIGHWAY We can see a pickup truck in the distance. Jacob's HAND ENTERS FRAME, thumb sticking out, his mother's bracelet dangling from his wrist. The pickup truck starts to slow down. EXT. ROSEDALE - DAY A sprawling little community with pleasant streets and cheerful houses. It looks a lot like Springwood, the only real difference being that it actually exists. It also has a sign: WELCOME TO ROSEDALE. POPULATION: 8,786 A Volkswagon bus drives past the sign and stops a couple of blocks down the road from us. Jacob steps out of the passenger side and wearily waves his ride goodbye. He shuffles into town. CLOSE ON YET ANOTHER SIGN It reads: DRUG ADDICTS NOT WELCOME TO ROSEDALE! The sign pulls away to reveal a middle-aged man with an angry expression: MR. HOPKINS MR. HOPKINS Clean up your act somewhere else! He walks along as we PULL BACK TO SEE EXT. ROSEDALE FOSTER HOME - DAY It's a nice-looking two-story house in the middle of a usually quiet neighborhood. Today the home is surrounded by about a dozen townsfolk carrying picket signs: NO HALFWAY HOUSES IN OUR NEIGHBORHOOD!, DON'T LOWER OUR PROPERTY VALUES!, and GO BACK TO JUVENILE HALL! The crowd mumbles amongst itself, occasionally bursting out with a chant in protest. ON JACOB We catch him walking down the sidewalk. He tramps along with his hands stuffed in his pockets and his eyes on the pavement. He looks like he hasn't slept in days. The sound of the crowd ahead of him finally grabs his attention. Jacob approaches the disturbance and comes across a young girl standing behind a bush holding a BAG OF GROCERIES. She is KAREN MILLER, dark hair, sixteen, very pretty, but with a faraway look in her eyes. Jacob stands next to her and stares at the crowd like a zombie. She doesn't turn to look at him as he speaks: JACOB What's going on? KAREN Free speech. The right of assembly. JACOB What is this place? KAREN It's a home. A foster home. For teenagers. It's where you go when things get bad. It's the place to figure out what to do next. It's a home for kids that no one else wants. (beat) It's MY home. Karen hasn't looked at Jacob once. She suddenly seems to steel herself and walks away from the bush, towards the house. Jacob is befuddled. JACOB Oh... He stands there and watches. IN FRONT OF THE HOUSE Karen quickly makes her way into the crowd of people, head up, eyes staring forward. The crowd parts ever so slightly as the irked townsfolk start to heat up. They have an actual human to vent their anger on now. Mr. Hopkins lays in on her as she passes him. MR. HOPKINS Why can't you find somewhere else to shack up? Karen turns to him, still walking, flustered and hurt. KAREN What have we ever done to you? MR. HOPKINS Nothing...YET. Karen turns quickly away from him and trips over a sprinkler head. Her groceries tumble onto the grass. A hand reaches down to help her. It's Jacob's. He quietly helps her re-bag her groceries as Mr. Hopkins looms above them. Both angry and embarrassed now. MR. HOPKINS (cont'd) Look, we've been here for years. This is a quiet street. We'd just like to keep it that way. Jacob can't take this guy anymore. He stands up and faces the older man with a scowl. JACOB Lighten up, mister. MR. HOPKINS (smirks) And what gutter did you crawl out from, kid? (frowns) We don't want your kind here. JACOB My kind? What kind is that? MR. HOPKINS Drug addicts. Dope pushers. We have stand up and take charge. JACOB Swell. I've just got a couple of questions for you...Do you love your parents? MR. HOPKINS Of course I do... JACOB Are they alive? MR. HOPKINS My mother is. JACOB What's it like? Jacob stares at Hopkins. He doesn't answer. He just huffs and puffs as Karen grabs Jacob and pulls him up to the front porch of the home, then into the floor. INT. FOSTER HOME - FRONT HALLWAY - DAY Karen slams the door and takes a deep breath. KAREN Assholes. JACOB I can think of a stronger word. Are you okay? KAREN Yeah. Thanks. I'm Karen. JACOB Jacob. Jacob suddenly gets a little light-headed and has to use a wall to hold himself up. Karen looks concerned. KAREN Are YOU okay? JACOB Yeah. I just haven't had much to eat lately. KAREN Then come help me unpack. She smiles and leads him further into the house. INT. FOSTER HOME - KITCHEN - DAY Jacob is feverishly eating a sandwich at the table while Karen finishes putting the rest of the food away. KAREN I guess the sandwich is alright, huh? JACOB It's incredible. Best I've ever had. KAREN You're not from around here, are you? JACOB No. I've been on the road for a couple of days. KAREN Do you need a place to stay? FOOTSTEPS are heard from below and a couple in their mid- thirties enter from the basement door. They're DAVID and MARY ROSS, both greasy and frustrated. MARY So, we have to get it fixed. DAVID We don't have the money to get it fixed. They both start washing up at the sink, not really noticing the teenagers in the room. Karen speaks up. KAREN What's wrong? DAVID Our plumbing has a bad case of hardening of the arteries. Who's your friend? David gives Jacob a wary glance as the boy stands shakily. KAREN This is Jacob. JACOB Jacob Johnson. DAVID David Ross. My wife, Mary. KAREN They run this house. They're helping me and three other ids get a footing in reality before they kick us out of the nest to make room for the next batch. David is looking out the window at the now dissipating crowd. He lets out a weary sigh. DAVID If there is a next batch. I see the welcome wagon is back. Was there any trouble? KAREN A little. Jacob came to my rescue. MARY (pleasant) Where you from, Jacob? JACOB Springwood. MARY Springwood? Where's that? JACOB Upstate about a hundred miles. DAVID (suspicious) I know this state like the back of my hand. I've never heard of Springwood. There is an uncomfortable pause. Then Karen suddenly breaks in. KAREN Jacob's a little down on his luck. I told him he could stay here a few days. Jacob gives here a surprised look. MARY Are your parents in Springwood? JACOB My father died before I was born. My mother, she's dead, too. DAVID You have a legal guardian? JACOB No. DAVID Been in any state or federal program? JACOB No. KAREN Just for a little while. So he can get his bearings. DAVID Got any ID? Jacob reaches for his back pocket - it's empty. He shakes his head "no". MARY (to David) I think we can help him out, honey. The budget's tight, but we can't turn down someone in need. David doesn't acknowledge his wife, he just stares at Jacob sternly. Karen bites her nails. Then David sits down and starts to lecture. DAVID Okay. You got three, maybe four days to rest up while we try and find a more permanent arrangement for you. But his isn't going to be a free ride. We're part of a community summer work project and eighty percent of the money you make goes to the house. Everybody works - and that includes you. Are you on drugs? JACOB No. DAVID Good. If I catch anything stronger then an aspirin on you, you're outta here. No arguments. You got that straight? JACOB Yes, sir. DAVID Okay. Dinner in two hours. Why don't you go meet the rest of the gang. KAREN Thanks, David. MARY I'll go fix up the spare bed in Wesley's room. David gets up. He gives Jacob a final once-over. DAVID And take a shower, for chrissakes. David leaves the room. Karen gives Jacob a huge grin. INT. FOSTER HOME - THE TV ROOM - DAY Karen leads Jacob into the room. There are two teenagers on the couch: WESLEY is a fifteen-year old, curly hair, kind of small. GINA is also fifteen, brunette hair, seems pretty happy. KAREN Hey, guys, I got someone for you to meet. This is Jacob. Jacob, this is Wesley and Gina. JACOB Hi. WESLEY Welcome to fun central. KAREN He's going to be staying with us for a while. GINA Oh yeah? How'd you get through the blockade? Another kid, SCOTT, pops into the room. He's sixteen, dark hair, with a tough-guy I could give a shit attitude. He doesn't seem to care about anybody in the room, except for Karen. SCOTT Hey, beautiful. How's it going? KAREN Hi, Scott. Scott notices Jacob and frowns. Karen is a little annoyed. SCOTT Who's Barney Rubble? KAREN This is Jacob Johnson. He's a new resident. At least temporarily. SCOTT He better not be rooming with me. I value my privacy. KAREN No, I believe that honor goes to Wesley. WESLEY Good. I could use the company. SCOTT So what's your story? Divorce? Custody battle? Your parents just plain assholes? JACOB They're dead. KAREN Mellow out, Scott. Give him a chance to settle in. SCOTT Just curious. Scott reaches into his shirt pocket and pulls out a pack of cigarettes. As he lights one up, Wesley's cheerful attitude suddenly turns grim. He gets up from the couch and quickly leaves the room. Karen gives Scott an angry look. JACOB Is he alright? SCOTT He'll be fine. He just has a problem with cigarettes. GINA His parents used to use them as a sick kind of discipline. That's why he's here. JACOB If you know that, then why do you smoke in front of him? SCOTT It's not my problem. This really pisses Jacob off. These two are not going to get along very well. JACOB Just what is YOUR problem, then? SCOTT I took care of my problem. That's why I'M here. Scott lets out an aloof puff of smoke and leaves. Jacob gives Karen a confused glance. KAREN His dad used to beat him. One day he couldn't take it any more. JACOB What happened? KAREN He killed him with his father's gun. Self-defense. Jacob sits down on the couch and lets that sink in. Gina scootches away from him on the couch, then gives him a glum look. GINA Everyone here has a fun tale to tell. Isn't that right, Karen? Karen is staring out the window. She has that spaced-out expression we saw before when she was hiding behind the bush. KAREN Yeah. Right. No one has anything left to say. Gina turns the sound on the TV back up as the three sad kids start to watch cartoons. INT. FOSTER HOME - THE TV ROOM - NIGHT Jacob is alone in the dark watching some kind of NICK AT NIGHT b&w sit-com re-run. A cheerful family lovingly banters away on the flickering tube. Jacob just stares blankly. Karen sleepily shows up at the doorway in a long tee-shirt with a glass of milk. KAREN Why don't you go to bed? JACOB I can't sleep. KAREN You need to talk? JACOB No. I'm fine. Thanks. Karen gives him a worried look and heads off to bed. Jacob continues watching TV with a creepy glean in his tired eyes. INT. OLD WAREHOUSE - DAY The kids are here cleaning up the building. The guys throw rotted lumber into trash bins while the girls sweep up. We catch Jacob and Scott tossing some debris into a wheelbarrow. Jacob looks pretty ragged. SCOTT Come on. Let's hop to it. Gotta make way for those new indoor tennis courts. The fate of the world lies in the balance. Okay, this load's full. Jacob grabs the handles of the wheelbarrow and shakily picks it up. Scott sneers. SCOTT (cont'd) You got that? JACOB Yeah, no problem. SCOTT I don't know. Maybe you should think about switching to de-caf or something. Jacob ignores him and pushes the wheelbarrow along. Scott takes some time off to smoke a cigarette. He spots Karen across the room bending over with a dustbin. Scott lingers on this view for a long time. AT A DUMPSTER Jacob pulls up with the wheelbarrow and starts to unload the junk. Gina is next to the dumpster sweeping. She tries to push a large crate aside by herself, but slips and falls. Jacob jumps over to her, reaches out, and grabs her arm to help her up. JACOB You okay? Gina SCREAMS. GINA No! Yes! Let go of me! She shakes off his grip and he jumps back. She runs away with a wild look in her eyes as Karen steps up to a confused Jacob. KAREN She doesn't like to be touched. JACOB No shit! KAREN Don't take it personally. It's not her fault. JACOB What happened to her? KAREN Her mother was a hooker. She forced Gina to carry on the tradition. When she was thirteen... JACOB Jesus. Jacob looks off at Gina with genuine concern. Karen gives him the same expression. KAREN You look terrible. JACOB (smiling) Thanks. KAREN I'm sorry...I just wish you'd tell me what happened to you, that's all. JACOB I can't talk about it right now. I'll tell you later. I promise. KAREN Okay. Why don't you sit and rest for a bit. The supervisor's not around. You look like you could use it. JACOB I think I will. He gives her a gentle squeeze on the forearm, and Karen likes it. Jacob spots a pile of wood next to a wall and heads off for it. ON SCOTT He's watched the entire interchange between Jacob and Karen, and he DOESN'T like it. WITH JACOB as he goes around the stack of lumber and sits down facing the brick wall. He lets out a heavy sigh and stares at the inside of the building. JACOB'S POV - THE BRICK WALL sits there quietly for a few beats until: IT EXPLODES Bricks fly out at us as a gaping hole blows into the wall revealing nothing but BLACKNESS and our shot MOVES through: DREAM FLASHES - NIGHTMARE SPRINGWOOD Horrifying apparitions and images ZOOM by us. Gloomy buildings under a pitch black sky. MUTANTS and twisted MONSTERS. Shadowy streets and dark alleyways. And FIVE RAZOR-BLADE FINGERS suddenly ripping right through the sky and down upon us as a VOICE rings out. VOICE Hey, you! INT. WAREHOUSE - DAY - ON JACOB Jacob's eyes are closed as a SUPERVISOR looms above him. SUPERVISOR No slacking off. Back to work. The boy's eyes snap open and he jumps to his feet like a babbling crazy man. JACOB What! Jesus fucking...Oh, shit! SUPERVISOR Whoa! Get a grip, boy. The supervisor backs off from Jacob as he slowly gets used to reality again. JACOB Huh? What's going on? SUPERVISOR Nothing. That's the problem. Now that you've gotten your beauty rest, let's see if you can change it, okay? Jacob calms down and nods. He walks away, snatching a nervous glance at the perfectly normal brick wall. EXT. FOSTER HOME - NIGHT We watch as various lit windows go dark and the residents of the house go to bed. INT. WESLEY & JACOB'S BEDROOM - NIGHT Wesley is getting in bed. Jacob is sitting in a chair staring out the window. Wes switches off the lights and turns to Jacob. WESLEY Aren't you going to bed? JACOB I'm not tired. WESLEY Bullshit. If you looked any more tired, you'd be dead. Jacob cracks a weary smile in the darkness. JACOB That's right. WESLEY You gotta sleep, man. JACOB Why? Who says? You know, people don't even really know why we sleep. They haven't found any physical reason for it. WESLEY But they do know that you go nuts if you don't. JACOB Sharks don't sleep. They can't pump water through their gills on their own. They have to always keep moving. If they stop, they can't breath. If they go to sleep, they die. WESLEY You're not a shark. JACOB I know. I'm just a kid. Don't worry about me, Wes. Go to sleep. Wesley shakes his head and gets under the covers. Jacob continues to stare out the window, desperately trying to keep his eyes open. JACOB'S POV - THROUGH WINDOW the trees sway quietly in the breeze outside. There is a pause. Then we are suddenly PULLED THROUGH THE WINDOW, SMASHING glass, careening back into: DREAM FLASH - NIGHTMARE SPRINGWOOD We SAIL through the gloomy air, over the creepy buildings. And suddenly DIP DOWN, right for the street, and end up CRUISING three inches off the asphalt, really ripping down the road until we grind to a SUDDEN HALT. Right in front of: FREDDY'S FEET. Our shot TILTS UP. Freddy looms above us and grins. FREDDY You can't stay awake forever, boy! He LAUGHS, his mouth gaping wide, and then splitting open impossibly wider. Something starts pouring out of his mouth, right at us. Hundreds of GIANT BUGS spew down upon us, covering us completely as everything goes to BLACK and we: INT. WESLEY & JACOB'S BEDROOM - NIGHT ON JACOB his eyes are open, his mouth is hanging in a SILENT SCREAM. It looks like his head is about to explode. He lifts his hand up to his face. He's holding an eight-inch long MONSTER BUG. Jacob SCREAMS out loud this time, tosses the mutant insect away. It lands on a windowsill and escapes out the opening. Jacob jumps to his feet, sending his chair tumbling backwards with a CRASH. He shakes and moans, a little drool dripping down his chin. Wesley sits up with a start and stares at Jacob. WESLEY I told you you'd go nuts! Jacob catches his breath, gives Wes a dead serious look. JACOB Get everybody else. I have to tell them something. WESLEY In the middle of the night? JACOB I MEAN it! Wesley is shocked by Jacob's manic state and jumps out of bed. INT. FOSTER HOME - TV ROOM - NIGHT Five kids are gathered around the room in various stages of sleepy grumpiness and annoyed disbelief. Jacob paces back and forth. SCOTT I don't get it. Is this guy alive or dead? JACOB He's neither. He haunts your dreams and if he kills you, you die for real. Wesley, the most gullible of the group, looks pretty scared. WESLEY I haven't dreamed of him. I have nightmares like you wouldn't believe, but never of this guy. SCOTT That's because this all rates an eleven on the bullshit meter! I don't know why we have to listen to this crap. You're scaring the hell out of Wes here. GINA Keep your voice down. SCOTT It doesn't matter. The Ross's sleep like rocks, which is what we all should be doing. JACOB I know this sounds crazy, but I swear it's true. I went to bed one night and woke up in the middle of the road. Freddy Krueger killed my mother, blasted my whole town into his nightmare, and, worst of all, I think he wants to use me to kill more kids and bring more towns into his world. KAREN How? JACOB I'm not sure. I think I'm some kind of carrier. He's somehow inside me and as soon as I fall deep enough into sleep he'll be let loose. You guys were great to take me in. I just don't want to thank you by getting you all killed. Scott gets up and goes to a desk. He pulls out a map and shows it to Jacob. SCOTT Okay. Show me Springwood. Jacob looks at the map and points. SCOTT (cont'd) There's nothing there. JACOB That's what I've been trying to tell you. SCOTT There's NEVER been a town there. JACOB That's how YOU see it. I was part of the nightmare, so I'm the only one who notices the difference. Scott stares at Jacob. He actually grows sympathetic. SCOTT Look, Jacob. You don't have to convince us that nightmares are real. Everybody in this room has been through one. And some of us are still living it. But the thing is, we know it's just in our heads now. It can be just as bad as the real thing was, but it's still only a memory. It can't hurt us physically, unless we do the hurting ourselves. GINA And we don't want to see you get hurt. WESLEY We know it gets crazy. And we'll help out the best we can. SCOTT But this is just too hard to believe. Jacob plops down on the couch, defeated. He hangs his head while the kids start to get up. Wesley gives him a pat on the back as he, Scott, and Gina leave. But Karen is still here. She sits next to a window with a faraway look in her eyes. Jacob looks up at her. JACOB You don't believe me, either, do you? KAREN I don't know. JACOB Why are you still here? KAREN I'm not sure. I guess, I guess I see a lot of me in you. JACOB Feels good to see someone more fucked up than yourself, huh? Karen smiles and sits down next to him. KAREN Yeah. That must be it. JACOB But you haven't told me why you're here at this place. KAREN I can't talk about it right now. Maybe later. Do you want me to stay with you? JACOB Yeah, that'd be great. Don't let me sleep, okay? KAREN I'll do my best. She reaches for the remote control and flicks on the TV, moving a little closer to Jacob when she sits back into the couch. The two of them watch the screen with glassy eyes. KAREN (cont'd) Thank God for cable TV. JACOB Yeah. Thank God. They continue to watch in silence as Karen takes hold of Jacob's hand. INT. FOSTER HOME - THE TV ROOM - MORNING We are ON KAREN as she sleeps curled up on the couch. Jacob is in the background putting on his shoes. He has a brown paper bag with him. Jacob gets up, grabs his bag, and steps over to Karen. He gently pulls a lock of hair away from her face. Then he heads for the front door. EXT. FOSTER HOME - FRONT PORCH - DAY Jacob walks out the door and closes it behind him. He crosses to the porch steps and stops. He has to hold onto a porch column just to keep standing. Karen appears behind him. Jacob jumps a bit. KAREN Where are you going? JACOB I'm leaving. KAREN Why? JACOB He can't hurt you if I'm gone. Maybe I'll go to the desert or something. I'll lie down in the middle of nowhere and finally get some sleep. Krueger can feed of the dreams of snakes and vultures. KAREN Fine. You're just going to take off then... Karen has an angry expression on his face. Jacob gives her a pained look. JACOB Don't do this to me. I'm just trying to protect you and the others. KAREN Right. You blow into town and then blow right out. Terrific. JACOB I don't understand why you're so mad at me. KAREN You just don't get it, do you? JACOB Get what? Karen, though still very angry, looks like she's about to cry. Jacob, confused, sits down on the porch steps. JACOB (cont'd) Maybe I'm crazy. KAREN Running away doesn't help. He sighs and smiles a bit. JACOB And you're going to convince me, huh? KAREN Maybe. This time Karen smiles. Jacob looks at her and sighs. Then he yawns. KAREN (cont'd) I'm going to make some coffee. You promise not to move? JACOB Yeah. Sure. Karen jumps and heads back into the house. Jacob stares at the grass in front of him, his eyes heavy. JACOB'S POV - THE LAWN A bush sits there doing nothing. Until it suddenly comes TO LIFE. Its leaves start to shrivel, the lawn turns brown, the sky turns dark. Everything changes and turns into DREAM FLASH - NIGHTMARE SPRINGWOOD We're in a different front yard in a different town, in a different dimension. The mutant bush starts to change, sprout legs, grow arms, become human. ALICE Her body takes shape as she reaches out a pleading arm to us. ALICE Jacob! Help me! She's fully formed now. And Freddy bursts out from the ground behind her. He grabs Alice, reaches his knife arm around ALICE (cont'd) No-o-o-o-o! Her words are cut off as Krueger jams his blades in her gut and we re-live her death once more. But it's even worse this time. Blood POURS from Alice like a burst fire hydrant, spraying and showering the entire nightmare lawn like a human sprinkler. Freddy LAUGHS. FREDDY Say it, don't spray it, huh, Jacob? Come and join the fun! JACOB (O.S.) NOOOOOOO! Jacob's voice rips through the scene as everything starts to BLUR RED. EXT. FOSTER HOME - FRONT LAWN - DAY Jacob is lying in the grass, violently shaking. Karen drops down next to him. KAREN Jacob! JACOB Nooooo! His body jerks around as if caught in the throes of an epileptic seizure. He SHRIEKS, ignoring Karen completely, and continues to shriek and scream and yell and shake. Like he's never going to stop. EXT. MR. HOPKINS' FRONT DOOR - DAY We're directly across the street from the Foster Home as Jacob's cries echo through the neighborhood. Mr. Hopkins opens the front door. He sees what's going on, scowls, and yells into his house. MR. HOPKINS I told you! It's an overdose! Jesus Christ, I saw this coming. Call 9-1-1! He watches the commotion growing across the street, and never once moves to help. EXT. FOSTER HOME - MOMENTS LATER Jacob is being strapped into a stretcher, babbling incoherently. The residents of the Foster Home stand off to the side while neighbors gawk from the street. Karen is next to the AMBULANCE GUYS looking frantic. JACOB No! Don't let them take me! KAREN Jacob, it'll be alright. AMBULANCE GUY #1 Calm down, kid. We'll take care of you. Jacob grabs the Ambulance Guy. JACOB You don't understand! Let me go! The ambulance guy straps Jacob's arm down. Mr. Ross grabs Karen and pulls her away as they start loading the crazed teenager into the ambulance. Scott shakes his head. Wesley looks terrified. Gina keeps her distance from any human. Karen can't take it and runs into the house. Mr. Ross frowns. DAVID This is just what we need. The ambulance drives away as the gathered crowd stares at the kids angrily. INT. AMBULANCE - DAY Jacob yells and struggles as an Ambulance Guy prepares a syringe for injection. JACOB Don't fucking put me under! You'll set him free! The ambulance guy holds Jacob down and slams the needle home. Jacob screams and his eyes start to glass over. JACOB (cont'd) He'll kill them all... Jacob's head starts to go limp. A VOICE rings out in the van, a voice only Jacob hears: FREDDY (O.S.) Every town as an Elm Street! LAUGHTER echoes as Jacob turns his head towards a window. EXT. A STREET CORNER - DAY The ambulance zooms by. All is quiet for a second until CRASH! A twisted rusty sign post erupts out of the sidewalk and settles at an ugly angle. It's an ELM ST. sign. INT. AMBULANCE - DAY We PULL BACK from a wide awake Jacob, who is now suddenly alone in the van. Outside the window there is only darkness. Jacob twists and struggles on the stretcher as CLANG! the ambulance doors crash open revealing BLACKNESS and KA-BOOM! the stretcher is shot out of the van like a cannonball. INT. WAREHOUSE - DAY The stretcher with Jacob BLASTS through a wall and starts to race across the floor of the building that Jacob had been sweeping up the day before. It careens along, actually taking a few turns, like it has a mind of its own, heading for a shallow pit in the middle of the warehouse. The stretcher hits the pit, drops a bit, swings up violently, and stops in a vertical position like a rake that has been stepped on AND A BLACK HUMAN SHAPE shoots out of Jacob's body from intertial force, staying upright as it slides across the floor, spins, stops, then changes into: FREDDY KRUEGER Freddy has his hands on his hips and a grin on his face. FREDDY Thanks for the lift, kid! He saunters up to Jacob who is still strapped to the vertical stretcher. Krueger waves his knives and wiggles his tongue. JACOB What do you want from me? FREDDY I already got it! The rest I'm going to get from your new little friends. JACOB Leave them alone! FREDDY It's my duty to clean up the neighborhood! JACOB What have you done with my town? FREDDY Aw, poor baby's homesick, isn't he? Don't worry. We'll all be one happy family soon. Wanna be the first recruit? Freddy raises his blades and SWINGS. The straps around Jacob drop away as his body falls to the floor. He scrambles to his feet and starts to RUN. Freddy laughs WITH JACOB - RUNNING as he heads for a door. Before he gets there, the door swings open and Freddy leans casually in his way. FREDDY (cont'd) What's the matter? Don't want to be part of my expansion project? Jacob turns right around and races back across the warehouse. AT THE DUMPSTER Jacob races around to the other side and there's Krueger again. FREDDY (cont'd) Today, Rosedale. Tomorrow, the world! JACOB Over my dead body! FREDDY As you wish. Freddy cranks up his knives and looms over Jacob. And three FLASHES OF LIGHT blast out behind the boy. Jacob rolls away as Freddy holds up an arm to block the blinding glare. The light fades. The DREAM POLICE have arrived. We'll call the small one SOUND COP. He stands there motionless as a loud and horrible GROWING noise emanates from his clenched teeth. This guy's bark is worse than his bite. The female in black is BLADE COP. From nowhere she produces two nasty-looking knives, one in each hand. She spins the blades in the air like an expert Samurai. The large one we'll call POWER COP. He reaches out for the dumpster, and with one hand sends it tumbling away with a CRASH. Freddy frowns. FREDDY (cont'd) Uh oh. Too many parking tickets. The Dream Police fan out around Krueger, surrounding him. Power Cop leaps at Freddy, grabs him and TOSSES him in the air. Freddy tumbles, rolls and bounces right back up on his feet. Right next to BLADE. She swings her knives. Freddy dodges. Swings hi own blades at her. She ducks. Freddy spins again. Right towards: SOUND COP. The short man in black opens his mouth and a sound like a foghorn at a rock concert BLARES OUT. The force of it hitting Freddy like a fist. Freddy bounces back. And once again he nimbly pops up. He glares at the Dream Police. FREDDY (cont'd) Don't interfere! BLADE COP We have to. SOUND COP It's our job. FREDDY Get a new one. And Freddy starts to SPIN. Slowly at first, then faster and faster, until his image starts to BLUR. The Police circle the whirling image, holding back to see what will happen next. Krueger stops spinning. And his clothes are different. His red and green stripes have been replaced by black and white ones. There is a number printed across his chest. He's dressed like a CONVICT. Freddy grins. FREDDY (cont'd) Time to blow this joint. BOOM! A hole is suddenly blown in the high ceiling above Krueger. The building is suddenly filled with the beams of moving SPOTLIGHTS and the sound of blasting SIRENS. A rope falls down through the hole. Freddy grabs it and WHOOSH! he's yanked up. FREDDY (cont'd) You'll never get me, coppers! and away he's gone. After a few seconds the spotlights fade away and the sirens die. The Dream Police look up seemingly unsure of their next action. Then Power Cop kicks a pile of lumber, sending wood flying dozens of yards away. POWER COP Goddamnit! Sound Cop shakes his head. Blade looks frustrated. Jacob steps up behind them. JACOB Alright...just who the hell are you guys? The black-clad trio turn around in unison and look at Jacob. There is a pause. Then: BLADE COP We're the Dream Police. Jacob almost laughs. JACOB The what? POWER COP The Dream Police. Didn't you hear her, man? Power Cop turns to Sound Cop and flips up his visor revealing his face. He's a sixteen-year old black boy. Heavyset features, sweat dripping down his cheeks. He's KINCAID from NIGHTMARE 3. And he's pissed. POWER COP (cont'd) We try and save this guy's ass and then he goes off and cops an attitude. Sound Cop flips up his helmet. He's JOEY, the former mute boy. SOUND COP I think you're the wrong guy to talk about attitudes. BLADE COP Guys, guys. This is getting us nowhere. She takes her helmet completely off, long dark hair tumbling over her shoulders. It's TARYN, the ex-junkie. These three, they're the Dream Warriors. Or at least they used to be. JACOB Hello? May I butt in here and ask some more stupid questions? The three of them stop bickering and turn to Jacob. Blade walks up to Jacob. Her two partners assume position behind her. BLADE COP We don't know much more than you do. What we do know is that we've been recruited... JACOB By who? SOUND COP We don't know. JACOB Why? BLADE COP I think that's obvious. POWER COP The shit's about to hit the fan. SOUND COP Krueger's discovered new powers. BLADE COP He's ripped a hole between dreams and reality. POWER COP Our own powers have been amplified. SOUND COP We only hope it will be enough. BLADE COP But we're going to need your help. JACOB Me? What can I do? Just who are you guys...really? Blade puts her helmet back on. Her face turns grim. BLADE COP We were like you. We fought Freddy Krueger many years ago. Our souls were released from his grip. No we're back to try again. All three of them drop their visors down at the same time. JACOB I still don't understand what... Jacob's voice starts to GARBLE. He keeps trying to talk but the words come out twisted and clipped. He raises a hand to his throat. The hand is transparent. Jacob looks at his body as it slowly starts to disappear and now he's completely mute. SOUND COP Freddy Krueger can't hurt us anymore. POWER COP Because we're already dead. Jacob vanishes completely. INT. HOSPITAL ROOM - NIGHT Jacob opens his eyes. He's in bed, dressed in a white smock. A DOCTOR stands next to him with a clipboard in hand. JACOB What's going on? DOCTOR Just relax, everything's fine. JACOB That's what you say... DOCTOR You're lucky you're here instead of juvenile hall. You put up quite a fight. But you're clean. No traces of drugs or alcohol in your blood. JACOB I could've told you that. Jacob starts getting out of bed. DOCTOR Hold on there. JACOB You said I was fine. I have to get back. My friends are in trouble. DOCTOR I said you weren't on drugs, but I never said you were fine. You're suffering from extreme fatigue and stress that manifested itself into one hell of an anxiety attack. At least that's what we hope it is. You had a major seizure, Jacob. JACOB You don't understand. This whole town is in danger. DOCTOR We're keeping you here for observation. You're not going anywhere tonight. JACOB You can't do that. You don't have the right! DOCTOR Yes we do. Your temporary guardian, Mr. Ross, signed all the papers. If you're okay in the morning we might let you go home. Until then, you're bed bound. JACOB But... DOCTOR We took off the restraints. Do you want us to put them back on? Jacob drops back in bed. The doctor goes to the door and turns out the lights. DAVID Sleep. He closes the door behind him... JACOB Shit... and we hear it LOCK CUT TO: A CRAZED LUNATIC suddenly SCREAMING into the lens with desperation. Dark circles under bloodshot eyes, hair matted with sweat. A guy not having a good day. WE PULL BACK TO REVEAL: The man is tightly bound in a regulation straight-jacket in a tiny, claustrophobic holding cell. We can now tell that the image is in BLACK AND WHITE. We continue PULLING BACK INT. FOSTER HOME - TV ROOM - NIGHT Gina sits on the couch with a stark white blanket on her lap, watching a b&w 1940's potboiler with something less than enthusiasm. Wesley appears in the doorway, checking out the source of the screaming. He looks at Gina, who tosses the blanket aside and rises, frowning. The lunatic on television continues his blood-curdling SHRIEKS. GINA Nice movie, huh? And I came in here to mellow out. She smiles at Wes as she exits. GINA (cont'd) It's all yours. Wesley murmurs a goodnight, then looks back at the screen: ON THE TV Some orderlies enter the lunatic's cell and attempt to sedate him as he thrashes violently, SCREAMING bloody murder. It is gritty and awful but somehow riveting. WESLEY moves to the couch, clearly mesmerized by the scene. He curls up, absently pulling the white blanket around him as he watches: ON THE TV The orderlies in the movie manage to get the needle into their patient, who MOANS and SOBS pathetically. ORDERLY ON TV Relax, will ya, buddy? Everything's gonna be just swell. The second orderly leans on a wall and pulls out a pack of cigarettes from the pocket of his scrubs. (He bears a suspicious resemblance to ROBERT ENGLUND.) WESLEY vaguely tenses at this and absently pulls the blanket more tightly around him to compensate, like a cocoon. ON THE TV The second orderly smiles. SECOND ORDERLY Yeah, mac. You've just had a hard day, that's all. The orderly produces a pack of matches. He goes to the lunatic on the cot, and LIGHTS the match off the guy's forehead. As the match FLARES, the lunatic SCREAMS. CLOSE ON WESLEY he shuts his eyes tensely as the SOUND is magnified, becoming a sudden ROAR that fills the room. Wesley blinks his eyes open, looks around from his blanket cocoon. Whatever that last sound was, it did NOT come from the TV. Beads of sweat line his upper lip as he nervously glances about the room. It remains quiet, serene. Deciding it was his imagination reacting to the scene on TV, Wesley nestles back on the couch, laying down now as the CAMERA MOVES TO REVEAL The carpet at the edge of the room is bunched up as though the walls of the room itself have budged a few inches inward. BACK ON THE TV the second orderly lights his cigarette as he hands the pack to the first. They both look down at the madman as they savor their cigarettes. ORDERLY ON TV You heard the man, Wesley. Just relax. Have a smoke with us. Wesley's brow furrows, reacting to the coincidence. Then he stiffens as the two orderlies in the movie begin to hold the lit cigarettes over the lunatic's face SECOND ORDERLY Yeah, Wesley. Have a smoke. OUR Wesley has seen about enough of this movie. He starts to get up WESLEY Fuck this. but finds that he can't move. The white blanket around him restraining him tightly like the straight-jacket on TV. He squirms and struggles. WESLEY (cont'd) Hey. He struggles harder now, but to no avail. He's wrapped tight, like a cigarette. ON THE TV the two orderlies torment the straight-jacketed lunatic, poking his face with their lit cigarettes. As the lunatic SCREAMS, the screams become magnified, again becoming that loud, deafening ROAR we heard before. Wesley squirms in his blanket/ straight-jacket, he jerks his head around, SEEING with each of the man's SCREAMS, the walls of the room SHUDDER INWARD and Wesley's EYES WIDEN with horror as he realizes not only is he TRAPPED like a sardine in his stark white blanket, but the walls of the room are starting to CLOSE IN on him. He SPINS back to the TV set, where: The first orderly is now looking AT US. Wesley REACTS as he notices something familiar about the man's face. FIRST ORDERLY Relax, Wesley. WESLEY Dad? The second orderly BOLTS into view. He has become Freddy Krueger. FREDDY Yeah, Wesley. Everything's gonna be great! Just have a smoke on us! As they hold their smokes out TOWARD US, their arms PROTRUDE FROM THE TV SET with their lit cigarettes. Wesley SCREAMS and jerks his head away from TV and he HITS the floor with an ugly THUMP. The wind knocked out of him. He rolls. The couch is GONE. As he squirms and struggles to escape his white cocoon, the frightened boy looks around and sees that everything in the room - furniture, carpet, TV, even the door - are all gone, leaving just the white walls SLOWLY CLOSING IN ON HIM. Then we see that on the floor all around Wesley are long, cylindrical white objects. Clearly, they resemble GIANT CIGARETTES, and Wesley - wrapped neck-to-toe in his white blanket cocoon - looks just like one of them. He continues to squirm and SCREAM as the walls CLOSE IN from all sides -- closer -- CLOSER -- pushing the long white things toward him, around him, bunching them together until they are in a tight cluster, as the room CRUNCHES IN TIGHTLY, blocking whatever light source there is, until all Wesley can do is SCREAM one last time, and The screen goes BLACK. After a few beats, we hear a huge, deafening RIPPING SOUND, and a new LIGHT SOURCE appears as Wesley looks up, eyes wide with unspeakable horror as the giant, scarred face of FREDDY looms over him, grinning, and we: INT. FOSTER HOME - TV ROOM The room is back to normal, but not the occupant. Freddy Krueger now stands here alone. He has just peeled the wrapper off a pack of cigarettes of which Wesley has become one. FREDDY Didn't Daddy ever tell you what the Surgeon General says...? Krueger reaches in and pulls the tiny Wesley out of the pack. As before, Wesley is immobile, helpless. Freddy holds him between two fingers. FREDDY (cont'd) Smoking's bad for your health! Freddy looks around, as if searching for something, then beams as he reaches into the air and... FREDDY (cont'd) Ah! A match made in heaven! He produces a puny version of WESLEY'S FATHER In one hand. His body is straight and rigid, like a match stick. Freddy places his thumb on the stiff man's head, and flicks his thumbnail, causing the man's skull to BURST INTO FLAME, an evil grin spanning Wesley's Father's face. He brings the Father-Match to what would be Wesley's tiny feet, and lights the end. VERY CLOSE ON FREDDY'S HAND Wesley SCREAMS as Freddy tosses the FATHER-MATCH and brings the teenager's little head up to his fire-scarred lips. The boy is enveloped by the massive cracked opening as Freddy takes a huge drag off of Wesley's head. Where his feet should be, the tip of the Wesley-Cig GLOWS RED, causing Wesley to SCREAM with supernatural pain. Smoke billows from Freddy's nose and mouth. He savors it. FREDDY (cont'd) Ahhhh! Now we're smokin'! He CACKLES horribly as he continues to suck on the Wesley- Cig. With each puff, Wesley's white-wrapped body becomes slat-black ash. FREDDY (cont'd) What's your sign, Wesley? It wouldn't be Cancer, would it? In between his demonic CACKLES, Freddy DRAGS on the Wesley- Cig, each puff turning more of Wesley into ash until all but his head is black and charred. Freddy holds the Wesley-Cig out, poised to tap the ashes loose. FREDDY (cont'd) Now say the secret word and you know what you'll win... WESLEY Go to hell! Freddy grins. FREDDY Right... And he taps the Wesley-cig with his finger. The ashes immediately fall, sifting in the air as Wesley's head - charred and black at the neck where it's been separated - falls loose. Wesley SCREAMS. WESLEY Noooooooo! and his severed head falls and falls and falls. INT. FOSTER HOME - TV ROOM - THE NEXT DAY WE START on WESLEY'S BODY. Eyes closed, head normal and everything from the neck down charred mass of burnt torso, shriveled limbs, all wrapped in the scorched blanket. ZIP. A body bag hides this ghastly image from us as we PULL BACK. A FIRE MARSHALL and a COP are talking at the doorway in the background. The CORONER is here, a world weary seen-it-all older guy, with his nervous ASSISTANT who's never seen anything like this. They whisper their conversation as they lift the body bag onto a stretcher. ASSISTANT I don't get it. The couch is barely scorched. And how can he burn from just the neck down? CORONER It happens. ASSISTANT It happens? That's your explanation? CORONER I've seen worse. We FOLLOW them as they push the stretcher towards the doorway. ASSISTANT What? What worse? CORONER Never mind. Our shot STOPS at the doorway with the fire Marshall and cop while the wigged-out assistant's voice trails off outside. ASSISTANT No. I wanna know. Really. What could be worse than... FIRE MARSHALL You know what the gossip rags are going to say? Spontaneous human combustion. COP What's that? FIRE MARSHALL That's where bodies are supposed to go up in smoke for no reason. It's all psychic bullshit. What really happened is called the candle effect. A tiny fire gets started, usually from a cigarette. It slowly smolders through the blanket and clothes until the skin starts to actually bake. The body fat begins to melt and liquefy, fueling the fire like a slow burning candle. It takes hours, but it's real. The cop makes some notes. Behind them we see Scott, Karen and Gina. The girls have been crying, and even tough-guy Scott looks pretty screwed up by all this. The cop nods. COP He fell asleep while smoking. What a waste. The kids shoot unbelieving looks at each other as the two men walk off. SCOTT That's impossible. Scott and Karen head for the front door. EXT. FOSTER HOME - DAY A coroner's van, a fire chief's car and the now familiar mob of suspicious neighbors are gathered around the front of the house as the stretcher with Wesley's body is put away. A small van marked ROSEDALE GENERAL HOSPITAL pulls up and Jacob jumps out of it. Jacob's face turns grim as a tearful Karen runs up to him, Scott following. JACOB Who? KAREN Wes... JACOB Oh my God. It's started. SCOTT He fucking burned alive. KAREN They said he fell asleep smoking. SCOTT And we all know that can't be. JACOB I already told you how it would happen. Mr. Ross appears behind the three teenagers, a wasted look on his face. SCOTT Don't start with that shit. JACOB It's not shit. DAVID C'mon, kids. Everyone inside. Now. David leads them back to the house as the coroner's van pulls away. INT. KITCHEN - DAY Jacob, Scott, Karen and Gina stand around in various states of utter shock as David tries to console them. DAVID We have to be strong. He puts an arm around Karen and reaches out to put the other one around Gina, but pulls away at the last minute when she starts to flinch. DAVID (cont'd) We need to pull together and help each other. Mrs. Ross is upstairs in bed. She's pretty messed up. We need to help her deal with this. SCOTT He would never touch a cigarette. You know that. DAVID We don't know anything until the authorities are finished with their investigation. In the mean time, no work for tomorrow - three day weekend. But Monday, it's back on the job. Jacob wasn't covered in our health plan and his little stint at the hospital cost us a bundle. We have to work together or we might lose this place. Okay? The kids all nod, but not convincingly. They care more about Wesley than the house. INT. WESLEY & JACOB'S BEDROOM - DAY Jacob closes the door. All the kids are here. Gina absentmindedly plays with some of Wesley's things. JACOB When I was put under, Freddy was released. I know this because I dreamed it. SCOTT And that dream was real? JACOB Yes. Wesley was his first victim. SCOTT Aw, man... JACOB You said it yourself. How could it have been a cigarette? KAREN And how could he...dire that way and not wake up? GINA (mockingly) Maybe the "authorities" will figure it out. SCOTT I'm sorry. I just can't buy into this. JACOB Call me crazy...but I think he's after Rosedale. The whole place. In my dream he said something about needing a few souls to get the job done. I think he has to kill in order to get the power to suck in a new town. SCOTT You are crazy. JACOB Thank you. There's more. There are... other people in there. In the nightmares. KAREN Like him? JACOB No. Different. There are three of them. They're dressed in black. They have powers like Freddy, but they seem to be on our side. KAREN Who are they? JACOB Well, you gotta hang in there with me on this one. They call themselves... the Dream Police. Scott actually laughs. SCOTT This is too much. GINA You mean...like cops? JACOB I guess. KAREN Where are they from? JACOB They're kids that Freddy killed years ago. THEY don't even know how they got there. But they're somehow patrolling dreamworld to put a stop to Krueger. SCOTT Then why haven't these guys done the job already? JACOB They say they need help. I don't know what or why...yet. SCOTT I can tell you who needs help. JACOB Hey, I'm trying to save all of us. SCOTT I won't believe it until I see it. Jacob is crushed that he's not getting through to them. JACOB By then it'll be too late. It was too late for Wesley. The kids stare emptily at Wesley's earthly possessions. EXT. FOSTER HOME - FRONT PORCH - NIGHT Jacob and Karen sit on the steps. Across the street we can see window curtains part as Mr. Hopkins sneaks a wary peek. KAREN They're going to use all this to shut us down. JACOB I know. It's my fault. KAREN You going to try to run away again? JACOB It's too late for that. I have to stay and try and put a stop to it. KAREN I'm sorry. It's all so hard to accept. JACOB I wish I could convince you of the danger you and the others are in. KAREN I've been in danger before. THAT I can handle. JACOB This is worse than anything you can imagine. KAREN I wouldn't be so sure about that. Come on. Let's go inside. She stands up. INT. KAREN'S ROOM - NIGHT Jacob and Karen lie in bed, clothes on, cozy. Not sexual. She stares at the ceiling while he listens. KAREN She was great. Loving. Supportive, caring - everything a mom should be. Except she had one fatal flow: my father. You see, she was raised at a time when they still had the "obey" part in the wedding vows. He was always jealous. She couldn't talk to another man without him thinking she wanted to go to bed with him. He never hit me. But the things he did to her...and she would always just take it. She never fought back. He'd get drunk and...she'd tell people she just fell down or something. Then one night...I was thirteen. Something happened. My mom suddenly wouldn't take it anymore. Something made her say enough is enough. She hit back. Tat only made it worse. I watched as he hit her over and over. Then he knocked her down the stairs. She broke her neck. And when y father saw what he'd done - he finally became human. He cried over her body for a while, then went into the garage and blew his brains out with a shotgun. To this day I don't remember what that final straw was. The shrinks say I've blocked it out of my memory. There's no one else alive who knows what really happened. I have dreams about it sometimes, but there's always that blank spot. A missing piece. She stops and closes her eyes. Jacob closes his eyes for a second also - feeling her pain. DIFFERENT ANGLE Jacob opens his eyes and touches Karen's arm. She finally turns to him. JACOB I'm sorry. KAREN I know nightmares are real, Jacob. I know. JACOB So did my mom. She taught me a lot about dreams. KAREN Like what? JACOB She told me that a lot of people have special dream powers. I inherited some from her - and some I have all to myself. She showed me how I could link up with other people's dreams - to actually be inside with them. KAREN That sounds wonderful. But...I don't know... JACOB A little hard to imagine, huh? KAREN Yeah. I'm sorry. JACOB I can convince you. KAREN How? JACOB Easy. We're doing it now. Jacob smiles, gets up and walks over to the bedroom door. Karen is confused. KAREN What do you mean? JACOB I mean we're dreaming. You and me. Together. He opens the bedroom door. And there's a FOREST OUTSIDE. Karen is a little scared at first, totally blown away by what's happening. But then she stands up and smiles. JACOB (cont'd) Want to go for a walk? Karen steps up next to him and they walk through the doorway into daylight. EXT. FOREST - DAY Shafts of sunlight filter through as leaves flutter down from the towering trees and Jacob and Karen step out of the bedroom door. KAREN I don't believe it. JACOB It's true. We're really doing it. KAREN But what if I'm just dreaming of you telling me that? JACOB We'll compare notes when we wake up. Then you'll know. Karen looks around. Then she giggles. She likes this a lot. Karen suddenly runs away into the trees like an excited little girl. Jacob frowns. JACOB (cont'd) Karen. Wait. He heads off after her. AMONGST THE TREES Jacob runs. Karen jumps out from behind a tree and laughs. JACOB (cont'd) You have to be careful. KAREN Did you bring us here on purpose? Can you go anywhere you want? JACOB Sometimes. It's not as easy as linking up, though. KAREN Wow, I never knew... She starts wandering off again. Jacob follows her. KAREN (cont'd) You know what I like to do in my dreams? She ducks behind a tree. And comes out suddenly dressed as a sharp BUSINESSWOMAN. Jacob is slightly taken aback. KAREN (cont'd) I like to be other people! Jacob grins as she steps behind another tree - and a FIREMAN walks out in her place. Jacob is really taken aback this time. KAREN (cont'd) (as fireman) I can be anybody I want. JACOB Show off. Karen slips past another trunk and comes out as a tall VOLUPTUOUS REDHEAD. KAREN (AS REDHEAD) When things get bad it helps to be someone else. I use it to protect myself. The redhead walks seductively towards Jacob. He raises his eyebrows as she slinks right up next to him - her ample cleavage inches away from his nose. KAREN (cont'd) (as redhead) What do you think? JACOB I think I like you the way you always are. He smiles. DIFFERENT ANGLE And now Karen is herself again. They're still very close. JACOB (cont'd) Much better. They look like they're about to kiss... but Karen suddenly sees something that grabs her attention. KAREN Look! Jacob turns as Karen runs over to ANOTHER DOOR. It's not the one to the bedroom. It just hangs there in space between two trees. KAREN (cont'd) I wonder where it goes? She reaches for the knob and opens it. JACOB Karen, no! But she's already stepped through. Jacob runs up to the doorway and it SLAMS in his face. Jacob tries to open the door. It doesn't budge. He keeps twisting the knob to no effect. JACOB (cont'd) Karen! Jacob starts to pound on the door as we: CUT TO: INT. KAREN'S HOME - KITCHEN Sixties style decore, appliances that look about twenty-five years old -- not the Foster Home kitchen at all. Karen is standing in the middle of the room, completely disoriented. She walks across to a counter top where she finds a framed picture. It's a picture of HER, Karen, age thirteen. Karen sets the picture down and quickly walks back to the door she came in. INT. KAREN'S HOME - LOWER HALLWAY Karen steps out of her old kitchen expecting, hoping to be back in the forest again. Nope. She blinks. Then she starts to walk down the corridor. More pictures on the wall this time. One of a WOMAN and another of a MAN (Karen's MOM and DAD). Karen's sure of it now. She's home. The center of her worst nightmares. She creeps along to the main stairs. And that's when the NOISES begin. A thumping from upstairs. A CRASH, like something hit the floor above. More thumping, repeatedly and then human MOANING, the sound of pain. Somebody is getting beaten. KAREN Oh no... Something is twisting deep inside the girl. Her face goes shallow as she slowly shuffles around to the foot of the stairs...and starts to climb them. ON THE STAIRS Karen goes up, step by painful step, as the sounds of the BEATING increase in their intensity. Every hit seems to touch Karen as she flinches. She's afraid to go on - but can't seem to stop. INT. KAREN'S HOME - UPSTAIRS HALLWAY Karen slowly heads for a door at the end, nervously reaches out for the knob. INT. KAREN'S PARENT'S BEDROOM Karen opens the door. What she thought she was going to see was bad enough - but this is worse: Freddy Krueger is in the middle of the room. In front of him is a giant human-sized version of an inflatable punching doll, the kind little kids hit that keep bouncing back. But the doll doesn't have the image of a clown on it. It's a flattened wrapped-around version of KAREN'S MOTHER, a pitiful beat-up look on her plastic face. Freddy SMACKS the doll - it falls to the floor - and just bounces back up. And now the face on it has a NEW BRUISE. THWACK! He hits it again, CACKLING with glee. Swoop, bounce. More bruises develop. Krueger looks at Karen. FREDDY Welcome to Romper Room! BAP! BOOOOING! The face on the punching doll changes again, it's even sadder now. And it's looking at Karen. KAREN Why are you doing this? FREDDY Don't you remember? ZING! Krueger whips up his finger knives. SWOOP! he RIPS them through the plastic doll. SISSSSSssss. The doll starts to deflate. SKREEEEeeeee. The escaping air sounding like a human SCREAM. Freddy turns to Karen. And a HAND reaches out from behind her and pulls her out of the room. INT. KAREN'S HOME - UPSTAIRS HALLWAY Jacob pulls Karen away from the door and slams it shut. He grabs her hand. JACOB Come on! They turn to run down the hallway, and it's CHANGED. There are now NO DOORS and NO STAIRWAY. The only way out is the bedroom door they just closed. They stop and Jacob turns to Karen. JACOB (cont'd) Wake up! KAREN What? JACOB You heard me. I said wake up! KAREN How? This is my old house. How did I get here? He begins to shake her. She is confused and disoriented. A CRASH is heard at the bedroom door. FREDDY'S COMING. And Jacob HITS Karen. Nothing major. It's a good slap, nonetheless. She stares at him unbelievingly. He WHACKS her again. KAREN (cont'd) Why are you doing this to me? JACOB This is a dream! You have to get out of here. I'm not hurting you, only he can really do that! Wake up now! SLAP! Karen's getting angry. She doesn't know what she's supposed to do. KA-BLAM! Freddy blasts through the door in a shower of splinters. He sees them and grins. FREDDY Gettin' kinky, huh? Jacob turns to Karen, raises his hand. KA-BLAM! Something blasts through the wall across from them. It's POWER COP. CRASH! The other wall explodes. BLADE appears in the rubble. BOOM! A piece of wall falls down at the end of the corridor. SOUND COP steps through. Karen looks at all this nonsense, then at Jacob. KAREN I think I get it now. She closes her eyes and DISAPPEARS out of Jacob's hands. The DREAM POLICE stand in the hallway. Freddy just puts his hands on his hips and LAUGHS at them. Then Krueger lays his arms flat on his sides, takes a deep breath and begins to INFLATE. His body expands, his clothes and skin stretch and flatten. The bottom half of him getting fatter. He turns into a giant FREDDY PUNCHING DOLL. Power Cop jumps in front of the plastic horror and lets loose a devastating swing. POW! The Freddy Doll swings back and BOUNCES right up again. POW POW POW POW POW! The big Dream Cop pummels away at the Krueger toy as it slaps back and forth between the floor and his fist until SHINK! Two knives appear in Blade's hands and SWOOP. She swings them out. RIP! The Freddy Doll tears, air blasting out in a grating SHRIEK which screeches and hisses until it becomes: Freddy's LAUGH. The red and green plastic flutters to the ground as the evil guffaws fade away and we: CUT TO: INT. KAREN'S BEDROOM - NIGHT Karen shakes Jacob awake. His eyes open. They stare at each other for a few beats, then Karen frowns. KAREN You hit me. JACOB Are you hurt? KAREN Um...no. JACOB If he had done it, you'd be dead. Karen is confused. She doesn't know what to make of all this. She looks at a clock. It's late. KAREN You better get back to your room. We don't want anybody to get the wrong idea. JACOB (smirks) Or the right one? Karen finally relaxes. She smiles and playfully pushes him. KAREN Get out of here. Jacob reaches under a pillow and pulls something out. It's the framed photo of Karen, age thirteen - from her dream. He hands it to her and she looks at it in astonishment. JACOB That's something else my mom taught me. He gets up and goes to the door, turning back to her. JACOB (cont'd) Don't sleep. KAREN No. Not tonight. She holds the picture tightly- staring at it with those faraway eyes. INT. FOSTER HOME - UPPER HALLWAY - NIGHT Scott comes out of the bathroom in his night clothes, the toilet flushing in the B.G. He goes into his room, but stops at the doorway when he hears Karen's door open. Scott ducks behind his door as he watches Jacob leave Karen's room and head for his own. Scott frowns. His is not pleased. INT. FOSTER HOME - DOWNSTAIRS HALLWAY - DAY David Ross is sifting through some mail when a heated conversation in the kitchen catches his interest. He stops to listen. IN THE KITCHEN Karen is finally convinced, Jacob and Scott are looking like they're ready to punch each other, and Gina looks scared. KAREN I'm telling you, this Freddy guy is for real. SCOTT And I'm telling you a dream is a dream. KAREN Jacob was in there with me. SCOTT And where else was he with you last night? JACOB What the hell is that supposed to mean? KAREN I have the picture in my room if you want to see it. He brought it out from the nightmare. SCOTT Or from your hope chest. I bet your bed isn't the only thing he's been into. KAREN That picture was destroyed years ago. JACOB You better watch your mouth, pal. SCOTT I'm the last person you want to start fucking with. JACOB Go ahead and be a tough guy, Scott. Krueger will cut you to pieces before you can even flex a muscle. GINA Will you two stop it! You're scaring the shit out of me. KAREN You should be scared. Mr. Ross enters the room, none too pleased. DAVID Alright. What's going on here? SCOTT Join the fun. Jacob and Karen were just telling us about their new excuse to sleep together. JACOB Nothing happened between us last night. SCOTT You mean in plain old reality, right? DAVID Okay, everybody. Out. Jacob and I are going to have a little talk. Now. Scott, Gina and Karen grudgingly leave the room. David turns to Jacob. DAVID (cont'd) Your days are numbered here, buster. JACOB I'm sorry, but... DAVID Hey, I don't know what kind of shit you're shoveling to these kids, but it's going to stop. My Good Samaritan instincts have their limits. We've had enough tragedy around this place. We don't need you making things worse with fantasies. JACOB You don't understand DAVID And I want you to stay away from Karen. Jacob starts to get defiant. JACOB It's a free country. DAVID This isn't America, it's my house. I've been checking up on you. You have no record with the police or the state or any of the runaway groups. You're the invisible kid. And if I sense even a little bit more trouble-making from you, you're going to vanish from here. Got it? JACOB Yes, sir. David catches his breath. He looks like he wants to say more, but doesn't have the energy left. He just walks out of the room leaving a frustrated Jacob. EXT. FOSTER HOME - NIGHT Mr. and Mrs. Ross are getting into their car. The engine starts and they drive away. INT. JACOB'S ROOM - NIGHT Jacob sits in bed, staring into space. Karen quietly enters the room, carefully shutting the door behind her. She sits down next to him. Jacob looks at her with weary eyes. JACOB You're supposed to be off-limits to me. KAREN It's okay. The Ross's have gone to a council meeting and Scott's in his room. We should be safe for awhile. JACOB Wonderful. KAREN Jacob, what are we going to do? JACOB I'm going to go to bed soon. KAREN Now you WANT to sleep? JACOB I have to find the Dream Police. I think I'm somehow their link to all this. They only seem to appear when I'm around. You woke me up before I had a chance to talk to them last night. KAREN I'm sorry. I was scared. JACOB your fault. I have to ask them what we're supposed to do to help them. And maybe I can protect Gina while I'm in there. KAREN What about Scott? JACOB He's on his own. KAREN Oh... JACOB I don't mean to be cold,but we've done everything to convince him. Gina's too scared to understand. I think Freddy will go after her next. KAREN What should I do? JACOB You have to stay awake. KAREN That's not going to be easy. I'm half asleep already. JACOB You have to try. She nods her head quietly. Then KAREN I'd better get out of here. JACOB Okay. Be careful. KAREN YOU be careful. I'm not going anywhere. She kisses him quickly on the cheek. He needed that. Karen gets up and quietly leaves. Jacob yawns INT. GINA'S BEDROOM - NIGHT Gina sits on her bed in her night clothes. She holds a deck of cards in one hand while she plays solitaire on her bed sheets. She flips a card from her deck: A black nine. She puts it on top of a ten. Another card. Queen of diamonds. She lays it on top of a king of clubs. Gina yawns. Takes another card. It's the Freddy of Spades. Gina frowns. Freddy Krueger's image stares up at her from the card. She looks at her stacks. There's no place to put this one. She starts flipping through the deck of cards, trying to see if there are any more Freddys. That's when a HAND RIPS UP through the bed and grabs her arm. Gina SCREAMS, pulls away from the hand's grip and jumps back up on the bed. And ANOTHER HAND shoots up from a pillow and grabs her shoulder. Gina twists. RIP. TEAR. GRAB. More hands appear out of the mattress, lunging for any part of Gina's body as she SHRIEKS from their touch. And Gina jumps out of bed. She leaps to the other side of the room, bumping against her dresser drawers. Turns to her bed. SWOOP. The multiple hands disappear down into the mattress. There is a quiet beat as she catches her shivering breath. Then a half-dozen ARMS AND HANDS pop out from the drawers next to her. Latching indiscriminately. Some grabbing her legs and arms. Some grabbing more intimate parts. Gina SCREAMS. Pulls away from the dresser. Yanks a few drawers out as the hands vanish and she spins over to another wall. Where the wall ERUPTS with outreaching arms all around her. Two grab her hair. Three on each arm. Her legs are pinned. Gina shrieks and yells and flays her arms. Beating the hands with her fists as two grabs her breasts viciously. She starts kicking as one particularly perverse hand BURNT AND SCARRED, pops out between her legs. Aiming right for her crotch and in an incredible show of strength, the girl pulls away from the horde. Gina heads for the door. CRASH. Hands blast up from the wood floor. She leaps around them. CRASH. More hands try to block her way. Gina jumps around like she's in a mine field made of hot coals. She finally reaches to door and flings it open. INT. ELEVATOR Gina hits the lift's opposite wall having expected it to be a hallway. The elevator's doors close on her bedroom and she turns to see: Freddy. A razor finger poised over the elevator's buttons. He smiles politely. FREDDY Going up? Gina is shocked and speechless. She backs away into a corner like someone trapped in a closet with the devil. Which is exactly what she is. Rising past the terror is Gina's realization that everything Jacob's been saying is true. FREDDY (cont'd) At your service. He punches one of the buttons and the elevator LURCHES. Gina grabs onto a wall as the lift races up and Freddy actually begins to WHISTLE nonchalantly. GINA You're not real! FREDDY Ah, but who is? The elevator begins to slow. FREDDY (cont'd) Fourth floor. Overpopulation. The elevator stops. The doors begin to open. Gina leaps for the way out. But she's blocked. Blocked by PEOPLE. They fill the entrance to the lift and start to pile in. All kinds of people: businessmen, nurses, plumbers. And they're all ZOMBIES. Vacant expressions fill their dark hollow eyes as the zombies keep coming in. Pushing Gina back into the elevator. Filling it to capacity and beyond. The doors close and the elevator starts to move up. Twenty bodies are crammed into the tiny enclosure, smashed together, surrounding the poor teenager, drool oozing out of their mouths, breathing down her neck. SMASHING her so hard she can't even yell for help. Gina turns her head. WESLEY is pressed up next to her. A very dead look on his face. Begin squeezed by the zombies around him. One of his eyes POPS out of its socket. Gina finds the breath to scream and scream and scream. FREDDY (cont'd) Eight floor - the morgue. The elevator doors open and the mass of zombies starts to spastically pile out. Gina, having only been held up by the crushing bodies, falls to her knees as the last of the monsters exit the lift. She breathes in ripping gasps like she's having a coronary. But she sees the open door. And Gina jumps for the exit. Freddy grabs her shoulder and pulls her back violently. Gina falls to the floor again as the doors shut. Freddy waves his fingers down the row of buttons and stops above the very bottom one. This button doesn't looks like the others. It's in the shape of a little heart. Freddy turns and gives Gina a frighteningly serious look. FREDDY (cont'd) Time to go down, Gina. He presses the heart button. And the floor disappears. Gina falls SCREAMING into blackness as Freddy hangs in mid-air and LAUGHS. INT. HONEYMOON SUITE Gaudy colors, mirrors, a cheesy heart-shaped bed. Gina's body drops down, unexpectedly softly, landing on the fluffy satin sheets. she's dressed in a skimpy piece of bright pink LINGERIE. She moans and tries to sit up. And four snake-like strips of satin swoop out from under the bed and quickly wrap around each of her limbs, pulling her down and yank her tight. She's trapped. That's when the door to the room opens and in walks an incredibly huge FAT MAN. He barely fits through the door as he closes it behind him. Puffy cheeks, permanent seat, dirty fingernails, and a lecherous smile. Gina's eyes widen. FAT MAN Hi there, princess. Your mom's told me all about you. Gina SCREAMS as he approaches her, the ground actually shaking from his weight. FAT MAN (cont'd) She said you're even better than she is. He looms above her, now. Starts to unbutton his shirt to reveal a hideous mound of hairy stomach flesh. Gina is repulsed. FAT MAN (cont'd) Aw, come on. I'm really a nice guy. You know what they say. Inside every fat person... RIP! Krueger's finger blades JUT out of the abdomen ad start tearing a huge SLIT up the front of his body. The Fat Man starts to fold back as Freddy's head pops out of the front. FREDDY ...is a maniac trying to get out! Freddy steps out of the Fat Man, sluffing the bulbous remains aside. He towers over Gina. That creepy serious look on his face again. FREDDY (cont'd) Now it's time for YOU to put out, Gina. Gina gasps in horror as Krueger moves in. But then a KNOCK at the door. ROOM SERVICE (O.S.) Room service? FREDDY Huh? I didn't order anything... Freddy frowns and walks over to the door. He turns back to Gina. FREDDY (cont'd) Maybe its complimentary champagne! Krueger opens the door. On the other side is a dinner cart and a waiter behind it. The waiter is JACOB. CRASH! Jacob shoves the dinner cart into the room and into Freddy's gut, shoving Krueger across the room into a tumbled heap. Three EXPLOSIONS OF LIGHT BURST into the room. The Dream Police materialize. Freddy jumps up growling. Power Cop grabs him from behind. Blade leaps over to the bed and in a FLASH of steel, releases Gina from her satin bonds. Jacob yanks Gina off the bed and pulls her towards the door. JACOB Come on! Freddy jumps out of Power Cop's grip and the Dream Police surround him as the two teenagers bolt out of the room. INT. HOTEL HALLWAY Jacob pulls Gina along as the hotel room door SLAMS shut by itself. Gina yells at Jacob. GINA Let go of me! She squirms out of Jacob's grip and bounces away from him like he has the plague. CRASHING is heard from the hotel room. A violent battle is under way. Jacob pleads with Gina. JACOB I'm here to help! He holds out his hand to her. Gina shivers, than looks into Jacob's sincere eyes. SOUNDS of destruction continue behind the door as the girl battles with her worst fear. Finally Gina takes Jacob's hand. GINA Let's get out of here. They start running down the corridor - together. INT. HONEYMOON SUITE The entire room is filled with SWIRLING DUST and SMOKE, completely obscuring everything from sight. As the sound of BREAKING FURNITURE and grunting fighters echoes, a few pieces of debris bounce into view. And then there is SILENCE. The dust settles and the smoke dissipates. The DREAM POLICE stand alone in the rubble of a totally trashed room. POWER COP Where'd he go? SOUND COP I thought you had him. BLADE COP Shit... Krueger has escaped. HOTEL CORRIDOR Jacob runs, Gina trailing behind him, the two of them trying to find a way out. They pass a door. The door SLAMS open and Freddy reaches out, grabs Gina and yanks her into the room. The door BANGS shut. Jacob twirls around and runs towards the door. And the door DISAPPEARS. Nothing but flat wall remains as Jacob hits it. He starts banging his fist against the side of the corridor. JACOB No no no no! The Dream police run up next to him. Jacob spins around angry. JACOB (cont'd) He's got Gina! SOUND COP Stand back. Everyone backs off. Sound Cop opens his mouth. BOOM! An almost visible sound wave bursts forth from his lips and CRACK, a huge hole is punched in the wall. The Police leap into the hole, quickly followed by Jacob. INT. HOTEL ROOM This one's pretty normal. Maybe the business suite. And it's EMPTY except for a heart-shaped box of candy in the middle of the bed. Jacob and the rest of the Police watch as Blade picks up the box and opens it. Dozens of COCKROACHES pour out onto the floor. Now Jacob's really pissed. JACOB You let him get away! SOUND COP It's difficult. POWER COP He's been at this longer than we have. BLADE COP He can do anything. SOUND COP But we have to catch him in the act to get him. JACOB What...there are rules to all this? SOUND COP They're not rules. POWER COP It's just the way it is. BLADE COP Jacob, we need you to bring the rest together. JACOB The rest? You mean the kids at the home? BLADE COP Yes. We need as many of you as we can get. And you must bring them to Springwood. JACOB How? BLADE COP You have the power to link your dreams with other's. Dream of Springwood, then bring the rest with you. SOUND COP Living souls are what he thrives on. Living souls are what we need to help stop him. POWER COP Before it's too late. BLADE COP Before he takes everyone. SOUND COP And every THING. Jacob just shakes his head. INT. LIMBO All is BLACK. Except for Freddy and Gina. He has her from behind, his hands locked on her shoulders. FREDDY Ah...alone at last. Gina cries horribly like a person who knows death is seconds away. Freddy wraps his arms around her, hugging her. And he KEEPS wrapping his arms. They STRETCH and elongate, wrapping once around his body and then around her's again. And then again. Freddy's rubber limbs curl around and around an around Gina's quivering body. Spiraling up and down. Encircling on all sides on every part of her, touching and grabbing her EVERYWHERE. Until Krueger's arms cover her entirely. Gina whimpers. FREDDY (cont'd) Touching, isn't it? And he starts to SQUEEZE. Gina gags as Freddy's snake-like embrace TIGHTENS around her, draining the life out of Gina's body. INT. JACOB'S BEDROOM - NIGHT Jacob wakes with a start as the entire house around him shakes. JACOB Gina! Jacob jumps out of bed. INT. FOSTER HOME - UPPER HALLWAY Jacob dashes down the corridor. Karen comes out of her room. KAREN Is it an earthquake? JACOB No. It's Freddy. They run to Gina's room and fling the door open. INT. GINA'S BEDROOM The RUMBLING of the house has stopped. Gina's in bed, her tongue sticking grotesquely out from the corner of her mouth, her skin completely blue. Jacob and Karen run to her to try and help. Gina's already dead. But Freddy's not quite done with her yet. Jacob and Karen watch as Gina's chest CAVES IN. Karen SCREAMS. EXT. FOSTER HOME - EARLY MORNING The coroner's back, the neighborhood gawks. Jacob, Karen and Scott sit on the front steps in a daze. But this time there are police barricades up. In another part of the front yard we can see Mr. and Mrs. Ross with a social worker, MR. SILVERMAN. Mary Ross is crying while her husband David is having a heated argument with Silverman. The kids watch on gloomily. The social worker leaves as Mr. Ross walks over to the kids. Mary walks right by them and into the house - to broken up over something to talk. DAVID Pack your bags, kids. JACOB You're kicking us out? DAVID No. They're taking you away. They say it's for your own good. KAREN They can't do that. DAVID Yes, they can. They consider Mary and I possibly unfit to act as foster parents. They're going to find temporary homes for you until this mess is straightened out. I'm so very sorry. Karen runs up to David and hugs him desperately. He holds her. KAREN No, please. DAVID They're not calling it an accident this time. They don't really know what to call it. Karen lets go. Scott stands up. SCOTT What's going to happen to us? DAVID You'll be alright. KAREN What's going to happen to you? DAVID I don't know. They're thinking of pressing charges. JACOB Aw, Jesus... DAVID Come on. A car from juvenile hall will be here in an hour. He leads them up the stairs. EXT. JUVENILE HALL - DAY A sign reads: ROSEDALE YOUTH CENTER. INT. OFFICE - DAY Mr. Silverman, the social worker, is talking to the teenagers. Karen and Scott look understandably worried. Jacob looks like the world just ended for him. MR. SILVERMAN I'm sure most of you know how this works already. You'll be assigned new foster homes tomorrow afternoon. Tomorrow morning the police will be talking to you regarding the matter at the old house. KAREN What about it? MR. SILVERMAN Anything you know. SCOTT Are we considered suspects? MR. SILVERMAN You'll talk to the police about that. Don't worry. We'll all try and work this out. KAREN Will we be able to go back to the Ross's? MR. SILVERMAN I don't know. You'll have a place to stay in the mean time. KAREN Will we be together? MR. SILVERMAN No. We don't have anybody willing to take more than one person. I'm afraid you'll be split up. SCOTT Great... MR. SILVERMAN Hey, you can visit each other. You'll be in the same town. JACOB If it's still here. Silverman frowns at that last comment as the kids get up to leave. INT. JUVENILE HALL CORRIDOR The teenagers walk glumly out of the office. Jacob is still strangely silent, not making eye contact with anyone. KAREN Jacob, what are we going to do? JACOB Nothing. KAREN What do you mean, nothing? JACOB It's over. We're finished. He's won. Jacob walks on ahead of them. Karen is flabbergasted. She stops and just stands there with Scott. The two of them watching Jacob walk away. SCOTT Looks like your hero just gave up. And Karen still can't believe it. EXT. JUVENILE HALL COURTYARD - DUSK Jacob is sitting on a bench looking like a beaten man and hating himself for it. Karen and Scott step out of a door. They watch him for a few seconds. Then Karen walks towards Jacob. Scott stays behind and lights up a cigarette. KAREN How can you do this? JACOB Do what? I'm not doing anything. KAREN Exactly. After all we've been through you just throw in the towel. Why? JACOB Because we're fucked. The last thing the Dream Police told me was that they needed all our help. Together. Even if we weren't about to be split up there aren't enough of us left to make a difference. KAREN How do you know that? JACOB I don't. But, it's all just too much. I've tried so hard and nothing's worked. I'm spent. I'm wasted. I'm...I'm so tired. Jacob puts his face in his hands. JACOB (cont'd) I've had enough. KAREN So you're just going to give up? I'll bet that's something your mother never taught you. That hit home. Jacob uncovers his face. His ID bracelet dangles from his wrist. He looks at the bracelet. ALICE glints in the setting sunlight. He remembers. Jacob looks up at Karen. KAREN (cont'd) We still have one night together. JACOB And we're not going to waste it. Jacob stands up. INT. JUVENILE HALL LOUNGE - NIGHT Jacob paces back and forth in front of Scott and Karen. KAREN Scott, we need you. SCOTT Look, I don't know what's going on anymore. Two of my friends die and now you tell me I have to drop into dreamland with you guys to do battle with the dude that did it. JACOB We'll have help. SCOTT Ah, yes. I almost forgot. The Sleepy Squad. Alright. I'll make you a deal. I told you I wouldn't believe this stuff unless I saw it. If I understand this correctly, all I have to do is fall asleep and you just whisk me into the action. JACOB Right. SCOTT Okay. If that happens, if both of you show up in my dream, I'll help you out. If nothing happens, then I'll get a good night's sleep and laugh at you in the morning. JACOB Fine. You got a deal. And you won't be disappointed. KAREN I'm going to be sleeping in the girl's dorm. Will you be able to bring me in? JACOB I hope so. Then I got to make sure we all end up in Springwood. SCOTT The old stomping ground? JACOB Yeah. Only right now it's not a very pretty place. KAREN What do we do when we get there? JACOB Play it by ear. And try and stay alive. A SOCIAL WORKER sticks his head into the lounge. SOCIAL WORKER Half hour til lights out, everyone. The kids get up and start for the door. JACOB Off we go. SCOTT Into the wild black yonder. Scott shakes his head as they leave. INT. KAREN'S DORM ROOM - NIGHT Karen lies in bed, under the covers. She holds the picture of herself, thirteen years old. She stares at it. Still that missing piece. Karen puts the picture on a nightstand and closes her eyes. INT. SCOTT & JACOB'S DORM ROOM - NIGHT Scott lies on the top of a set of bunk beds. Jacob is on the bottom and already looks asleep. ON SCOTT He's still awake. Maybe he's starting to believe some of Jacob's ramblings, because he nervously fidgets in bed. SCOTT Freddy Krueger. Yeah, right. Years ago some sicko gets fried and now he comes back to stick it to you when you're snoozing. Stupid bedtime story. he sighs, looks at his wrist, but his watch isn't on. Then: SCOTT (cont'd) Hey, Mr. Creepoid, you still up? (a beat) Yo, Jacob? There's still no answer. Scott rolls and peeks over the edge of the bunk bed. And Jacob's not there. SCOTT (cont'd) Huh? Scott sits up, looks around. And FALLS right through the middle of his bed, NOT appearing underneath the top bunk. He just disappears. EXT. NIGHTMARE SPRINGWOOD - SOUTH STREET - NIGHT Scott falls out of a tree and lands with a THUD. He groans, slowly gets to his feet and takes in his surroundings. The road is dark and desolate. The street lights emit a grim brown glow and there are no stars or moon in the sky. SOUNDS echo through the trees and buildings. Weird MOANS, odd GURGLINGS, eerie WHISPERS, and an occasional unearthly HOWL. This does not comfort Scott. SCOTT Oh, this is lovely. He starts cautiously walking down the sidewalk. SOMETHING flies by with a FLAPPING. Scott ducks. Was it a bird or a bat or what? It's already gone. Then a craggy voice calls out from behind a tree. BUM Hey, buddy? SCOTT Yeah, what? Scott is understandably jumpy. The dark figure of a BUM starts walking towards him. Scott backs away. BUM Can you spare some change? SCOTT Um, well, let me see... Scott starts sifting through his pockets, and the BUM steps out into the light. He has THREE EYES and a HUMP BACK. Scott YELPS. SCOTT (cont'd) Holy Jesus Christ. The Bum grins and Scott starts stumbling away, his voice trailing off: SCOTT (cont'd) I'll catch you next time, buddy. The mutant bum belches. EXT. NIGHTMARE SPRINGWOOD - PARNELL AVE. - NIGHT Karen rounds a corner. She walks nervously down the middle of the street. There are no cars, and she wants to keep as far away as possible from the houses on either side. There is a CREAKING sound from one of those houses. Karen turns her head to look. A craggy OLD WOMAN is rocking back and forth on her front porch. She's eating something, something stringy and slimy. She munches away with a vacant look in her eyes. The something in her hands MOVES slightly. The old woman's meal is still alive. Karen gags and walks faster. And a PANTING sound is heard, like two dogs. Someone is walking their pet down the sidewalk. It's the MUTANT WOMAN from Jacob's opening nightmare: straggly hair, oozing sores, limping. The source of the multiple paintings is her single dog, all two heads of it. The mutant woman waves unpleasantly at Karen. Karen whimpers and starts to RUN. WITH KAREN - RUNNING She stumbles quickly down the street. We catch fleeting glimpses of other horrors, twisted shapes, bent shadows. Karen rounds a corner, and SCREAMS when she bumps into someone. It's Scott, out of breath from his own sprinting. KAREN Scott! You're here. SCOTT Yeah. Fun town. Talk to any of the neighbors, yet? They're a swell bunch of folks. KAREN Uh-huh. Real friendly, too. SCOTT So this is a dream? KAREN And I'm in it with you. Convinced? SCOTT Maybe I'm just dreaming bout being here with you. Wouldn't be the first time. KAREN Nope. I tired that one already. Doesn't work. Come on, we have to find Jacob. Scott nods and they take off down the street. A cat with three tails slithers by. EXT. NIGHTMARE SPRINGWOOD - MAIN STREET - NIGHT Jacob is standing motionless in the middle of the road. He stares down into the darkness, a wooden expression on his face. Karen and Scott are running up behind him. KAREN Jacob! Thank God! SCOTT So this is the place, huh? Jacob's eyes are steady. He hasn't yet acknowledged the other's presence. He eyes are fixed on the gloominess in front of him. A look of vengeance beginning to grow as our SHOT MOVES IN on him. JACOB I'm home. Karen and Scott are next to him now. They stand silently with Jacob for a few seconds. Then: KAREN What now? JACOB Scott, are you with us? SCOTT A deal's a deal. JACOB Then we wait. And not for long. FLASH! In three bursts the Dream Police appear directly across from the teenagers. Scott and Karen jump back. Jacob hold his ground. SCOTT Whoa! The threesomes stand face-to-face in two parallel rows. SCOTT (cont'd) Nice outfits. POWER COP Is this all? JACOB All that's left. SOUND COP It'll have to do. SCOTT We can always come back later. Like when it's daytime. POWER COP It's always night here. JACOB What's the plan? BLADE COP We need you to draw him out. SCOTT Terrific. We're supposed to be bait. SOUND COP Essentially. JACOB Then let's do it. KABOOOOOOOOM! A huge BRICK WALL, ten feet high and spreading out across the street and through the houses, BLASTS up from the asphalt. Right between the Police and the kids. ON THE DREAM POLICE SIDE The three cops crouch into battle positions. ON THE TEENAGER'S SIDE The three of them have hardly any time to react before three perfectly round HOLES open up underneath each of them. And Scott, Jacob and Karen fall into darkness. ON THE DREAM POLICE SIDE Sound Cop stands up and his body begins to VIBRATE. A new noise emits from his mouth: a HIGH PITCHED SQUEAL. And like the walls of Jericho, the bricks in front of them fall apart and tumble to the ground. Dust settles and the Police walk over the rubble to the other side. The kids are gone. BLADE COP Fan out. The Dream Police break formation and scatter. EXT. A STREET A hole opens up in the road and WHOOSH, KAREN is elevated up into the scene and the hole seals up instantly. She jumps a few feet and drops to her knees, holding onto the ground. She looks up at a street sign. It reads: ELM ST. Karen stands up and heads down the road. EXT. ROCHESTER AVE. Another hole, and VOOM, Jacob is shot up into the street. He spins around, trying to get his bearings. It doesn't take him long. He knows exactly where he is. JACOB Oh no... He starts to run and we FOLLOW him. Jacob jumps over a procession of RATS making their way across the street and just keeps on sprinting. Until he reaches a certain house. He catches his breath as he looks at the building, pain registering on his face. JACOB (cont'd) Mom... Jacob runs towards the house as our shot MOVES IN CLOSE to the mailbox and ate name printed across it. It reads JOHNSON. INT. NIGHTMARE JOHNSON HOME - ENTRYWAY Jacob bursts through the door. He turns on a light switch. A lamp SPUTTERS into semi-life, and keeps sputtering, casting a candle-like glow over the interior. Cobwebs and dust cover everything. Rats and tarantula spiders skitter about. Jacob grits his teeth and walks in deeper. EXT. SPRINGWOOD TAVERN Scott BLASTS out of the asphalt. He staggers for a few seconds from the ride, then looks at the building in front of him. A puttering neon sign, ÔSPRINGWOOD TAVERN', marks the local saloon. Muffled MUSIC and VOICES seep through the cracks of the double doors. Scott looks around, then shrugs. He heads for the entrance. INT. SPRINGWOOD TAVERN Dump is too clean a word, dive is too nice, abomination is more like it. A greenish haze covers everything. Instead of sawdust on the floor there is a collection of debris that looks like a compilation of human teeth, crushed bugs, and pools of unmentionable goo. Then there's the people. Imagine any profanity, any obscenity,any blasphemy, add them all up - then double them. It wouldn't even come close to the patrons of this joint. They dance, they yell, they drink bloody bubbling mixtures. There's a guy to the right that doesn't seem to mind that half his brain is showing. That girl over there has no jaw. In a booth is a couple that are connected at the lips. A ventriloquist on stage is entertaining the troops with his hand up the back of a real body. Scott steps through the door and blinks about a dozen times. Then he decides that the smart course of action is to turn around and go right back out. A MUTANT BOUNCER, half his face a skull, blocks Scott's way. MUTANT BOUNCER Two drink minimum. SCOTT Ah, that's okay. I think I'm underage, anyway. MUTANT BOUNCER Two drink minimum. SCOTT No, really. I'm driving. MUTANT BOUNCER Two drink minimum. The bouncer with the limited vocabulary seems adamant. Scott backs off and turns around. He carefully moves forward. A MUTANT WAITRESS with three breasts slips next to him. MUTANT WAITRESS Can I get you anything? SCOTT That's okay. I'll just sit at the bar. MUTANT WAITRESS Alright, honey. You call if you need anything. SCOTT You bet. You'll be the first to know. Scott turns away, trying to keep his eyes in their sockets. He slides up to the bar next to a MUTANT BUSINESSMAN. The man's head is on backwards, his arms lean on the bar while his face looks out into the crowd. He has to twist his neck to sip his vile drink. A BARTENDER, surprisingly normal-looking, steps up to Scott. BARTENDER What'll it be? SCOTT Um, a beer, I guess. The bartender fills a twisted glass with a sickly brown liquid. Chunks of matter float amongst the foam. Scott takes the drink warily and looks up at the businessman next to him. The mutant smiles at him. BARTENDER Go on. Puts hair on your back. SCOTT And that's all? The bartender returns. Holds one of those half pineapple type drinks in his hand, except this one has the back end of a wriggling lizard sticking out of mucousy fluid under a tiny umbrella. He gives it to Scott. SCOTT (cont'd) That's okay, this'll be plenty. BARTENDER No charge. Compliments of the man at the end of the bar. The bartender walks away and Scott cranes his head to look down the bar. SCOTT'S POV The crowd blocks his view, but we can see a gloved hand with four blades strapped to it tapping nonchalantly on the surface of the wood. BACK TO SCOTT He picks up his drinks, holding the moving one at arm's length, and heads down the bar. AT THE END OF THE BAR sits Freddy Krueger. He sips coolly on some hideous concoction as Scott sits down in the chair next to him and lights a cigarette, trying to look equally cool. FREDDY Welcome to my favorite haunt. SCOTT So you're the man. FREDDY At your service. SCOTT What's on your mind? FREDDY A deal. SCOTT A deal's what got me into this. FREDDY Bring Jacob to me. Scott, valiantly holding on to his nerve, raises an eyebrow. SCOTT What's in it for me? FREDDY Power. You don't need to hang out with those losers. You're a take-charge kind of guy, Scott. Like when you took charge of your father. Suddenly Freddy is spinning a gun on the bar with his free hand. Scott grimaces. SCOTT Leave my father out of this. FREDDY I'll make you mayor of Rosedale. SCOTT After you make it look like this? FREDDY You can have Karen. That was Freddy's trump card. It really hits a nerve in Scott. Karen's everything he's ever wanted. SCOTT Alive? FREDDY Any way you want her. SCOTT (after a beat) Okay. FREDDY Shake? Krueger holds out his knives. Scott shakes his head. SCOTT No thanks. I trust you. Freddy laughs. INT. NIGHTMARE JOHNSON HOME - ALICE'S BEDROOM Jacob opens the door into darkness. JACOB Mother? He turns on the light and a RED HAZE blankets the room. Jacob looks up. The dish-like ceiling lamp is filled with blood. Jacob walks into the room, tears welling. He walks by Alice's vanity, her makeup still sitting there as if she might show up and use it at any moment. He steps up to a wardrobe closet and touches the edges of it lightly. He reaches out and slowly, almost reverently, opens the doors. Dozens of writhing SNAKES drop out of the closet and slither onto the ground. Jacob jumps back and SCREAMS. Then he just stands there in the middle of the teaming reptile mass, not giving a shit anymore, going insane. His fists clenched, his head tilted back, as he YELLS into the air like a wolf baying at the moon. EXT. SPRINGWOOD TAVERN Scott steps off the sidewalk and looks up and down the street. He thinks and we MOVE IN on him. SCOTT Mayor of Rosedale. Scott sneers. SCOTT (cont'd) What a crock of shit. We PULL WIDER as Scott cups his hands around his mouth. SCOTT (cont'd) Hey! He's over here. Yo! Dream Police. Hello! Come on. Move you collective asses. CLOSE ON SCOTT He puts his hands on his hips and sighs. SCOTT (cont'd) Never a cop around when you need one. GLITCH! a stabbing sound of flesh, and Scott JERKS violently as our shot PULLS BACK to reveal: Freddy behind Scott, his deadly fingers buried in the boy's back. Scott chokes on his own blood as Krueger growls. FREDDY I hate a snitch! Freddy pulls out his blades as Scott falls forward and with his final breath utters: SCOTT Eat shit... His body hits the ground with a THUD as a sudden ROAR fills the air. Freddy looks around for its source. And Sound Cop drops down on him with a SMACK. The two of them tumble, then both jump up. Freddy laughs. Sound Cop looks down at Scott's body, then back up at Krueger. His body is shaking with fury,and he opens his mouth. The loudest sound yet comes from Sound Cop. KABOOM! A blast of air at Mach 3 smacks into Freddy and sends him sailing back, SMASHING right through the Tavern wall. INT. SPRINGWOOD TAVERN Freddy flies sideways, right through the bar, destroying chandeliers as he careens through and punches yet another huge hole through the opposite wall. The nightmarish customers don't even seem to notice. INT. NIGHTMARE JOHNSON HOME - ENTRYWAY Jacob is shuffling down the stairs as a SONIC BOOM of noise echoes through the streets outside. He knows exactly what that sound means as we MOVE IN on his face. JACOB Krueger... Jacob races for the front door. INT. SPRINGWOOD TAVERN The dust is just starting to settle as a THUD is heard coming from the hole in the opposite wall. Quickly followed by Freddy's soaring body. Krueger SMASHES into some tables and slides across the floor. Power Cop steps through the hole, his fists clenched. Freddy stands up and dusts himself off. FREDDY Lighten up, bone brain. Power Cop has no intention to. He bolts over, grabs Krueger, raises him over his head like a wrestler, slams him down on the bar, and SHOVES Freddy, knocking glasses and ashtrays aside until he SMACKS into yet another poor wall. Krueger barely gets back on his feet when Power Cop is right on him again. The big man in black SWINGS, but this time Freddy DUCKS. CRACK! a support column bursts into dust. Freddy twirls around. And the two of them start to PUNCH each other. It's a barroom brawl between non-humans as Power Cop and Freddy Krueger exchange multiple blows. SMACK SMACK SMACK! Freddy nails Power Cop, whose head barely seems to budge from the hits. POW POW POW! Power Cop lays into Krueger, sending him spinning and tumbling only to pick him up and start the process all over again. This goes on for a while, and Krueger is losing. The mutant bouncer finally steps up to Power Cop to try and put a stop to all this. MUTANT BOUNCER Take it outside! CRUNCH! Power Cop puts a stop to the bouncer with a vicious elbow in the chest. All this gave Freddy a few seconds to grab a chair and crack it ineffectually over the Cop's head. The pummeling begins again. THWACK THWACK THWACK! Power Cop is punching Freddy towards the door. EXT. SPRINGWOOD TAVERN Like in an old wester, Krueger flies out of the double doors and somersaults onto the pavement. Sound Cop is a few yards away knelt down next to Scott's dead body. He looks up as Freddy sneers. FREDDY No more playing around. Freddy raises his left fist and it begins to EXPAND. It grows like an inflated beach ball, except it doesn't look soft at all. Freddy slides up to the side of the entrance, and raises his giant hammer hand. Power Cop steps through, looking for blood. Sound Cop tries to warn him. SOUND COP Kincaid! Too late. BAM! Freddy's fist slams down on Power Cop's head. He's actually shoved down into the ground a full two feet - trapped at the legs. BAM! Freddy hits him again. Power Cop is down to his thighs and he can't get out. A RUMBLING is heard. Freddy turns to see Sound Cop starting to open his mouth. Krueger instantly reaches down and grabs a brick from the rubble and THROWS it at Sound Cop. FREDDY Put a lid on it! THUNK! The brick lands squarely in Sound Cop's mouth, stretching it painfully and blocking it completely. Sound Cop reels from the impact. Tries to pull out the firmly wedged plug. Freddy turns back to Power Cop, BAM! Hits him down to his hips. The giant fist swings, BAM BAM BAM BAM BAM! like hammering a nail until Power Cop DISAPPEARS into the ground. Freddy's hand deflates to regular size as he turns to the struggling Sound Cop. Sound Cop's head is EXPANDING. Pressure seems to be building up, something's gonna blow. Freddy picks up a boulder from the street rubble. He catapults it with both hands at Sound Cop. The boulder hits Sound Cop's head and takes it CLEAN OFF. Sound Cop's decapitated skull tumbles away with the brick still stuck, as a blast of air shoots up from the stump of his neck with a SCREECH. Sound Cop's body stumbles for a few seconds, then falls over limply. Freddy LAUGHS and laughs and laughs... KACHUNK! until a KNIFE embeds itself in his back. Krueger spins around. CHUNK CHUNK CHUNK! Three more knives slam into his body as he staggers back in surprise. Blade Cop stands twenty feet away reaching into thin air and whipping out knife after knife, flinging them at Freddy. They sail like flying bullets. CHUNK CHUNK CHUNK! Krueger falls back from the sheer force of the onslaught, at least a dozen blades sticking out of his body. Blade stops. She stands there for a beat, waiting to see what Freddy will do next. Krueger sways, looking like an inhuman pincushion. Then he grins. His body steadies, and he suddenly poses like a body builder and flexes every muscle. POP POP POP! The daggers shoot out of his torso and limbs, CLATTERING to the ground. The girl in black steps back and raises her arms. SHINK SHINK! Two-foot-long sabers jut out from her forearms. They're not held by her, they're a PART of her, exiting from the tops of her wrists under her clenched fists. She crosses the blades in front of her. FREDDY (cont'd) (smiling) Ah... a girl after my own heart. KACHINK! Freddy shoots out his finger knives and they EXTEND to double their normal size. He raises them and takes on a fencing stance. FREDDY (cont'd) En guard, bitch SWOOP/CLANG! A swordfight ensues. Freddy swinging his four long knives. Blade slashing her rapier-arms. They lunge, they parry, they leap, they duck. CLANG! They connect. SCREEEEE. Metal scrapes metal. It's a bastardized version of an Errol Flynn movie and Blade Cop and Freddy are equally matched. Blade moves to get the upper hand. CLINK CLINK! Blades shoot out of the girl's ELBOWS. Now when she takes a swing with her fists, another sword is right behind it on the follow-through. Freddy gets caught off-guard. Gets slashed twice in the shoulder and twirls away. Then starts to move FASTER. Blade counters with an equally increased intensity. Freddy ducks, SWOOPS out twice quickly. A fold of black cloth drops down on Blade's stomach, revealing naked skin and a little blood. They pause for a second. FREDDY (cont'd) Touche. And Blade becomes AIRBORNE putting a Samurai to shame, twirling her legs up and out as a blade juts momentarily from her RIGHT HEEL, chopping off Freddy's left hand. Krueger stumbles back in astonishment as green goo spurts out of the stump. Astonishment turns to rage as the two converge again, swinging away at an incredible rate. An impossible rate. JACOB rounds the corner. He stumbles into the action just as the battling pair are becoming an obscure swirling GLINTING MASS. Pieces of them start to drop away. Blade's foot hits the ground. Freddy's arm plops away. A broken sword hits the asphalt under the spinning cloud, then one of Blade's arms. CLOSE ON JACOB as he watches, his eyes dart to try to follow the action that's moving too fast for him to see. Then there's silence. We PULL BACK and PAN to follow Jacob as he walks into the scene of carnage. He steps up to two pills of remains: one black and flesh colored covered with red blood, the other a heap of red and green cloth, scarred tissues, and pukish green glop. Blade and Freddy have literally chopped each other to bits, the two mounds of body parts steaming in the cold night air. Jacob sees something else and walks over to it. It's Scott's body. Jacob kneels down next to the dead teenager. JACOB I'm sorry, Scott. A CRACKING sound makes Jacob stand up. Over to the now- silent bar entrance a BLACK FIST punches up through the cement. With a crumbling of granite, Power Cop rises from the earth. Something else moves behind Jacob and he turns, then SCREAMS. Sound Cop's headless body walks into the shot, his arms held ABOVE FRAME over his neck. Then Sound Cop's arms lower his dismembered HEAD onto his stump, push it down, twist it til it stays. With great effort, Sound Cop yanks the brick out of his mouth. Jacob now looks OFF SCREEN at something else, something that REALLY makes his eyes widen. We get to see the shadow of what Jacob sees, projected on the wall of the bar behind him. The shadow of the pile of body parts that was Blade Cop begins to MOVE. The pieces start to REFORM, leg to torso, arm to shoulder, head to neck. The shadow on the wall rises and we PULL BACK. Blade Cop stands across from Jacob, whole again except for a flash of exposed flesh on her abdomen to remind her of the experience. Jacob raises his eyebrows as the resurrected Dream Police step around him. JACOB (cont'd) Okay, I'm impressed Blade whips her visor up to reveal an upset girl's face. BLADE COP You shouldn't be. Jacob frowns as the four of them walk over to the pile of Freddy remains. But they're not remains anymore. All that's left of Freddy is a stack of CLOTH remnants. A WIND rises and pieces of cloth blow away into the darkness. The other two Dream Police raise their visors, looking equally distraught. They all face Jacob. BLADE COP (cont'd) This is what we were afraid of. SOUND COP He still exists. JACOB What! How? POWER COP We're already dead, that's why he couldn't destroy us. BLADE COP But he's not dead. He's not alive either. He's something in between. SOUND COP He's not entirely part of reality or part of dreams. He's unique. BLADE COP WE can't kill him. POWER COP We can wail away on each other until doomsday and not do any good. JACOB Then who's going to kill this fucker? SOUND COP YOU have to. JACOB How the hell am I supposed to do that? BLADE COP Krueger's power comes from his rage and the souls of children. POWER COP You have to find the original source of that rage and use it against him. BLADE COP This town in its present condition encompasses all evils from all times in its history. The answer is here somewhere... Jacob sighs, then gets an idea. JACOB I think I know where... And he starts to run down the street. BLADE COP Jacob, wait. We have to find him first. JACOB No time. You guys find Karen! He disappears down the road as the Dream Police snap down their visors EXT. ELM STREET HOUSE Karen stands in front of a rotted gate in front of a run down building with shuttered windows and a crumbling foundation. This isn't just an ELM STREET house, it's THE Elm Street house. And for some reason Karen is drawn to it. She looks to her let at the bent mailbox. It has a name plate on it. Another one underneath it. And another. It's as if people moved in and out and instead of changing the plates on the mailbox, they just whacked a new one over the old. Karen steps closer to the mailbox. The little sign on the top reads WILLIAMS. She touches it with her finger and it drops off, the nails holding it on rusted away to dust. A new plate is revealed. This one says THOMPSON. Karen picks lightly at it, and it swings away. The name underneath makes Karen gasp. It reads KRUEGER. And there's still another one under that horrible name. Karen quickly hits the Krueger plate off. The last sign reads UNDERWOOD. Karen frowns. She turns back to the house, a determined expression on her face. KAREN No more... She KICKS the gate open and walks up to the house. INT. ELM STREET HOUSE We've been here before, haven't we? But for Karen it's the first visit as she opens the front door and walks in. She takes in the twisted skeleton of a home for a few seconds and then begins to SEARCH it. INT. ELM STREET HOUSE - LIVING ROOM Karen races through, pulling open desk drawers, rifling through shelves, flipping through books. She doesn't know what she's looking for, but she knows she hasn't found it yet. INT. ELM STREET HOUSE - KITCHEN The intensity of Karen's quest increases as she yanks open cabinets and tosses plates to the floor. Still nothing. INT. ELM STREET HOUSE - STAIRS Karen runs up them, a girl with a mission. INT. ELM STREET HOUSE - MASTER BEDROOM Karen flings the door open. Nothing but a bed and a set of drawers. No hint as to the occupant's lives. She doesn't bother ransacking this one and goes on to: INT. ELM STREET HOUSE - FREDDY'S BEDROOM Jackpot. Karen stares through the open door at a child's room, a very twisted child's room. She slowly walks in. A bed, a desk, a dresser. There's a Jack-in-a-box with its head torn off. A disemboweled Teddy Bear. White puffy guts hanging out of it. A clown doll with its face caved in. A hanging mobile made of strange bent shapes. And a pile of more-than-dirty clothes. Karen goes over to the pile and picks through it with her toe. A small pair of pants, about the right size for an eight-year-old. A black pair of shoes. And a little sweater, a RED AND GREEN STRIPED sweater. Karen goes over to the desk. There is stack of drawings on it - a child's drawings. On one of them it looks like someone was practicing writing their name. FREDDY UNNERWOOD, FREDDY UNDERWUD, FREDDY UNDERWOOD over and over again. Until the final attempt has the last name angrily crossed out, replaced underneath by a hastily scrawled KRUEGER!!! Another piece of paper: a set of human stick figures. A small one is labeled FREDDY. The large one is labeled DADDY. The Daddy figure is depicted HITTING the Freddy figure. There are more drawings, all of them violent, the large figure beating away at the small one. Suddenly a CREAKING. Karen jumps. Hides behind a bookshelf. She's nervously trying to figure out what to do when a framed picture catches her attention on the shelf. It's a picture of a tall, dark man and a little boy. Karen reaches out to grab the picture, but accidentally knocks over a glass mug with a CRASH. FOOTSTEPS can now be heard tromping up the stairs. Someone's coming and Karen's on the edge of panic. She looks around and finds an old baseball bat. She grabs it and runs to the side of the doorway as the FOOTSTEPS approach down the hallway. Karen raises the bat. And Jacob appears. Karen pulls back with the bat as Jacob jumps away from her. KAREN Jacob! You scared the shit out of me! JACOB The feeling is mutual. KAREN Where are the Dream Police? JACOB I told them to look for you. What are you doing here? Don't you know what this place is? KAREN I do now. Look what I found. She starts to drag him over to the desk of drawings. JACOB You've got to get out of here. KAREN Wait. You have to see this. JACOB You don't understand. The Police can't kill Freddy. They literally chopped each other to pieces and he's still alive! Now I'm supposed to figure out how to get rid of him. KAREN But I think I found the answer. Shut up for a second and look at these. She starts showing him the scrawlings. JACOB Okay, so he's a bad artist. KAREN No! You told me Krueger's mother committed suicide and no one knows who his father was, right? JACOB Yeah... KAREN Freddy's been pushing all our buttons with our pasts. These are HIS past. Don't you get it? HE was a foster child, too! She walks over to the bookshelf and grabs the picture of LITTLE FREDDY and FREDDY'S FOSTER FATHER. KAREN (cont'd) Someone had to have taken care of him. This guy...he was Freddy's father. Those drawings...they were Freddy's childhood. This house...it's where it all happened. JACOB But in reality Freddy hasn't lived here for decades. KAREN Like you tried to tell me once before, this is a dream. Who knows why this is all here. JACOB All evils from all times in history... KAREN And isn't this where it all started in Springwood? On Elm Street? Jacob thinks for a second. It's all starting to make sense. JACOB But what does this do for us? KAREN There's got to be a way to use it against him. JACOB Okay, but we're not going to stand around here to figure out how. It's too dangerous. He grabs her hand and pulls her towards her door. JACOB (cont'd) Let's get out of this house. They head out to UPSTAIRS HALLWAY And Blade Cop is standing in the middle of the corridor. The two teenagers stop. JACOB (cont'd) Thank God. Freddy's going to show up any minute. KACHINK! A knife shoots out of Blade's right hand, ready for action. (but wait a minute, her uniform isn't ripped anymore...) Karen and Jacob make their way to the stairs. He turns to Blade. JACOB (cont'd) Where are the others? Blade walks up to him and stands there. Then JAMS HER KNIFE into JACOB'S GUT. Karen SCREAMS. Jacob chokes. Blade Cop shoves the knife in further until it juts out of Jacob's back. She turns. Then BECOMES FREDDY. FREDDY Time to join your mommy. Krueger yanks his finger blades out and Jacob's limp body falls at Karen's feet. Karen shrieks and cries, dropping to her knees to hold him. KAREN No no no no no no no...Jacob... He looks up at her, slowly dying. She strokes his forehead while Freddy laughs at the sentiment. FREDDY Young love...ha! JACOB Karen...dream...powers.... And Jacob is gone. Karen sobs, so torn apart that she is ignoring the incredible danger above her. But not for long. Krueger grabs Karen by the neck. FREDDY It's past your bedtime, young lady. And he starts to DRAG her, kicking and screaming, her body scraping across the floor towards the MASTER BEDROOM Freddy drags Karen in and TOSSES her across the room. She lands with a THUD on the bed. He saunters over to her and climbs up on the bed next to her. Gets on top. Karen yells and hits him uselessly with her fists and it's horrible because there he is, pressing down on her, right in her face, mounting her as if he's going to rape her. FREDDY (cont'd) Aw, sweetheart. This won't hurt a bit. She screams as he presses even harder. FREDDY (cont'd) Come on. Be Daddy's little girl. And the last three words of that sentence seem to ECHO through the room, swirling around Karen. DADDY'S LITTLE GIRL. "Daddy's little girl." Karen twists her head away. And Freddy's become Karen's FATHER. He looks down on her with a lecherous grin. KAREN'S FATHER That's my baby. That's Daddy's little girl. Karen stops struggling. The realization grows on her face with the resurfacing memory. KAREN Oh no... KAREN'S FATHER (Freddy's voice) Now do you remember? She does. And she has an answer for him. KAREN You're NOT my father. KAREN'S FATHER But we're going to have the same fun! Karen stares at him defiantly. And a HAND grabs Karen's Father, and yanks him away. We PULL BACK. KAREN'S MOTHER is next to the bed. Furious. KAREN'S MOTHER That's enough! And she SLAPS Karen's Father. He stands up, SLUGS her across the jaw. She tumbles back. Karen sits up. KAREN Mommy, no! Karen's Mother gets up, a defiant look just like Karen's on her face. KAREN'S MOTHER You're never going to touch her again! KAREN'S FATHER I'll touch what I want! BAP! He strikes her again, sending her right out the door. He follows her. Karen stands up and runs after them. IN THE HALLWAY CRACK! The man hits the woman down to the floor. Karen's mother stands up, just taking it. She's at the top of the stairs. Karen's Father swings his arm back, and Karen jumps on him. He shrugs her away violently. WITH KAREN as she hits the ground and the wall next to Jacob's body. She looks up. WIDER And Karen's Father is now FREDDY again. He swings his fist. SMACK! Karen's Mother reels from the hit, falls backwards. Karen jumps up to try and help her, reaching past Freddy. But it's too late. Karen's Mother tumbles down the stairs, head hitting, bones cracking, disappearing into darkness. Freddy grabs Karen by the neck and lifts her. DANGLES her over the top of the steps. FREDDY Be honored, bitch. You're the last soul I need. And Jacob RISES UP behind Krueger. GRABS him. Freddy DROPS Karen. She hits hard and rolls down the steps as Freddy turns, his knives swinging out and SLAMMING Jacob's gut one more time, IMPALING him against the wall. Jacob gasps out his final breath. JACOB I'll be back... FREDDY I'll be waiting. Freddy pulls his blades out of Jacob and the wall. The boy's body hits the floor for the last time. Freddy turns back to the stairs and looks down them. FREDDY (cont'd) Where's my little pumpkin? He strolls down the steps. DOWNSTAIRS HALLWAY Freddy walks down and no one's there. Karen's Mom was just an illusion, but Karen herself, dead or alive, is nowhere to be seen. FREDDY (cont'd) Play time is over, bitch. He walks down the hallway. Eyes darting. Until a BOOMING VOICE is heard from the kitchen. VOICE FREDERICK! Freddy cocks his head and frowns. VOICE (cont'd) Frederick! What have you done? And, amazingly, a look of FEAR crosses Krueger's face. Something about that voice has struck terror in the heart of the creature that fears nobody. Krueger turns to the kitchen door. A man steps out of the shadows, a big muscular man with a horrifying look in his eyes. A man we've seen somewhere before - in a picture. It's FREDDY'S FOSTER FATHER - MR. UNDERWOOD. And he looks pissed beyond belief. Freddy shrinks back, eyes widening. FREDDY Daddy? MR. UNDERWOOD Don't you "Daddy" me! Mr. Underwood raises his arm and SMACKS Freddy across the skull. Krueger tumbles back into the hallway. Freddy scrambles to his feet. Shakes with dread. Looks like a scared little boy. Mr. Underwood advances on him. FREDDY No, Daddy. Please... Freddy turns and bolts for the front door. He flings it open. Power Cop stands in his way and SHOVES Freddy back - back in front of his foster father. PUNCH - a vicious blow from Underwood sends Krueger into THE LIVING ROOM where Freddy falls over a couch. Underwood stomps into the room. Krueger scrambles up and heads for the archway leading into the dining room. BLADE COP blocks the escape. The ripped flap of her uniform proving she's the real one. She KICKS Freddy back and into Underwood's hands. The man picks up Krueger and HITS him again. And again. And again. FREDDY (cont'd) Stop. You're hurting me. Stop. Freddy wriggles away and opens a window. Sound Cop fills the window, cutting him off. Pushes him back inside. Mr. Underwood grabs Krueger and slaps him over and over. Slugs him. Gives the beating he's got coming to him. And Freddy MOANS and YELLS like a blubbering child. Shrinks into a corner but is yanked out for more pummeling. Power Cop stands at the exit to the hallway. Blade Cop continues to obstruct the dining room arch. Sound Cop steps through the window and stands in front of it. The Dream Police just stare in silence. It's not a street fight, not a punching match. Just a ruthless thrashing that would be hard to watch if it weren't for the fact that we are all cheering because no one in history has ever deserved it more. Underwood stops the whipping and stands over Krueger who is lying on the ground whimpering, pleading for mercy. FREDDY (cont'd) Why, Daddy? What did I do? MR. UNDERWOOD You took some things that don't belong to you! And with that, Underwood brings his fist down and JAMS it into Freddy's stomach. Right THROUGH IT. Shoving it into his very body. Freddy SCREAMS. Underwood violently pulls his fist out and there's SOMETHING in it. A shimmering flowing thing. Crackling with unworldly LIGHT. It's a SOUL. It's Wesley's SOUL. Underwood flings his arm out and lets go. Wesley's soul flies into thin air and DISSIPATES. Krueger's father brings his hand down again and RIPS out GINA'S SOUL. Again. JACOB'S SOUL. Freddy opens his mouth and shrieks. As Underwood raises his arms and begins to SPARKLE. FLASHES of light bounce around his body. He's changing. And something's happening to Freddy's too. Steam is rising from the creature. His feet are starting to flatten as he lays on the ground and BLACK GOO oozes from his pores. He's melting. And still screaming as he watches his foster father's image turn into: KAREN. An aura of LIGHT vanishes around her body as she lowers her arms with a victorious yet sad look on her face. Freddy DIES. A look of horrified realization burns in Krueger's eyes as he sees Karen and CONTINUES to scream inhumanly. His body dissolves, all of it liquefying into BLACK SLIME. Gone. Just a bubbling black puddle of gunk is left. His SHRIEK echoes through the room and everywhere else. Then the GUNK grows and changes into a dark cloud that begins to EXPAND. Power Cop runs up, grabs Karen and yells. POWER COP We gotta get outta here! Karen, almost mesmerized by the black cloud spreading in front of her, stumbles away with Power Cop. EXT. ELM STREET HOUSE The Dream Police and Karen bolt out the front door and run down the street as a RUMBLE joins Freddy's thunderous SHRIEK and the entire town begins to SHAKE. We stay with a shot of the house as the noise and vibrations continue. And the Elm Street House EXPLODES. The BLACK CLOUD punches out the roof and the walls, sending wood and debris flying everywhere. The rubble flies into the air, hangs there for a beat, then falls to the ground. All is SILENT. And the dark cloud turns WHITE. The milky fog spreads out. EXT. ELM STREET INTERSECTION Karen falls to her knees on the pavement, not looking back at the destruction one block away. The Dream Police stop running to turn to face her. Karen hangs her head and cries. Blade steps forward. BLADE COP It took a human touch. It took knowing HIS nightmare. Goodbye, Karen. Karen raises her head as the Dream Police turn away. KAREN'S POV - THE DREAM POLICE walk off into the distance. Just as they are about to vanish into the darkness, a FOURTH FIGURE appears and joins them in formation. Then they all disappear. ANGLE ON KAREN Her mouth drops open at what she's just seen. What she DOESN'T see is the white cloud swooping down the street behind her. She just closes her eyes as the ivory mist envelops her and the SCREEN GOES WHITE. FADE IN FROM WHITE TO: EXT. PARK BENCH - DAY Karen lies sleeping on the bench amongst the grass and trees. Her eyes open and squint at the bright light. She sits up and tries to get her bearings. Some hair falls into her face and she brushes it away. Only then noticing that she's holding something in her hand. She opens her hand and looks down. KAREN'S POV It's an ID bracelet. A band of gold with a larger plate dangling from the middle of it. Karen's hand turns it over. This time the printing reads JACOB. WITH KAREN she chokes back the tears. We hear a PANTING O.S. Then a woman's voice. WOMAN You okay, honey? Karen looks up as we PULL BACK. A pleasant-looking woman, no longer a mutant, is walking her cute dog. She looks sincerely concerned. Karen nods. KAREN Yes. I'm alright. WOMAN I've never seen you around. Are you new in town? KAREN Sort of. WOMAN Well then... (she smiles) Welcome to Springwood. The woman continues on her way. Karen sighs and puts the bracelet on her wrist. She stands and our SHOT PULLS UP AND AWAY as the pretty young girl starts walking through a town she's never seen - except in her dreams. FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Nine.txt b/unformated_scripts/Script_Nine.txt new file mode 100644 index 0000000000000000000000000000000000000000..d72462f5f33ce958be7ee399f17da6cb892f671c --- /dev/null +++ b/unformated_scripts/Script_Nine.txt @@ -0,0 +1 @@ + NINE Written by Michael Tolkin & Anthony Minghella Final Script November 11, 2009INT. PRESS CONFERENCE ROOM - DAYThe flicker of film. Footage from a press conference. GUIDO You kill your film several times, mostly by talking about it. A film is a dream. You kill it writing it down, you kill it with a camera; the film might come to life for a moment or two when your actors breathe life back into it - but then it dies again, buried in film cans. Mysteriously, sometimes, in the editing room, a miracle happens when you place one image next to another so that when, finally, an audience sits in the dark, if you're lucky -- very lucky - and sometimes I've been lucky - the dream flickers back to life again. That's why I'm secretive. REPORTER (O.S.) So what's your favorite pasta? GUIDO Finally, a serious question.Laughter. A word: NINEINT. STAGE 5, CINECITTA - NIGHTA huge soundstage. The STUDIO SUPERINTENDENT lets aman into the stage, turns on a working light.SUPERTITLE: Cinecitta film studios, Rome, 1965 STUDIO SUPERINTENDENT Good luck, Maestro.Departing, he closes the soundstage door.As the man crosses the shadowy stage, a dim shaft oflight catches his face, weary, handsome, haggard.GUIDO CONTINI, the most famous film director in theworld. In front of him:AN ENORMOUS, DUSTY, MULTI-LEVEL FILM SET underconstruction. A complex maze of scaffolding, itsunfinished, chaotic elements suggesting ancient ruins.Cracked stone facades, broken columns, openplatforming, the skeleton of a grand staircase. Alighting grid, not yet hung, and a camera cranesurrounded by a forest of studio lights on stands. p. 2Guido sits at the table, lights up a cigarette and putson his glasses. He looks at the plans, looks up at thestage, puts his glasses down and stands up, steppingover to the crane.Guido, alone, cigarette hanging from the corner of hismouth, contemplates the studio, its turbulent set, inevery sense a jumble of ideas.Guido looks at the set in despair. He sits in thebucket seat of the crane, buries his head in his hands,overwhelmed.THE FIRST OF NINE LOUD CHURCH BELLS CHIMES GUIDO (V.O.) Maestro, Maestro, Maestro Contini... How do you begin? How do you begin this thing? Page 1... Page 1... Page 1... Page nothing...In the distance, a figure approaches out of thedarkness, the darkness of Guido's imagination. Anescape from his tortured reality.The figure emerges gradually, like a goddess. She isgorgeous, imposing, and seductive. She is CLAUDIA, hisfilm star, his muse. When Claudia reaches Guido, shestops in front of him, takes his hands from his face,and kisses him. And with that gesture, the musicswells, the lighting grid rises majestically into theair, the gritty soundstage transforms into somethingbeautiful, transforms into the interior world ofGUIDO'S FANTASY.As Claudia moves away, more and more women slowlyappear. They emerge from everywhere. These are thewomen from Guido's life, past and present. Women fromhis films, women he has loved, the sources of hisinspiration and creative genius.A grand OVERTURE unfolds. The most significant womenin Guido's life are revealed, each with their ownpowerful entrance:LUISA, his wifeCARLA, his mistressLILLI, his costume designer and accompliceGUIDO'S MAMMA, her spiritSTEPHANIE, a fashion journalistSARAGHINA, a whore p. 3A dark and glamourous dream. The women surround Guidoand he loses himself and his anxiety in theircollective embrace.INT. STAGE 5, CINECITTA - DAYThe fantasy ends abruptly with A VIOLENT GRATING NOISE,as the studio's truck doors are yanked open, joltingGuido who is slumped in the crane seat. Harsh daylightpenetrates the gloom. Too bright. He blinks,discombobulated, as a group of silhouetted figuresapproach with purpose. One of the figures is a well-fed, amiable character, DANTE. He is Guido's longtimeassociate and Producer. A younger, more ascetic figureaccompanies him, sharp and birdlike. This is FAUSTO, anaccountant. Dante speaks quickly and without obviouspunctuation: DANTE (walking) Guido! You're here. GUIDO Buongiorno, Dante. DANTE I've been looking for you all over the place. The set's coming along. How are you? GUIDO Bene, grazie, bene.Guido stands to greet him. They kiss on both cheeks. DANTE Bene. My God, you look terrible, better go to makeup, forget you've got a press conference? FAUSTO (discreetly, to Dante) He has no tie. DANTE Yes, makeup and wardrobe.He takes Guido's arm and they head towards daylight.Guido looks back at Fausto, who follows and with a lookand a gesture asks Dante who is he? FAUSTO (overlapping Dante) Signor Contini, I'm Fausto. Good morning, Signor Contini. p. 4 DANTE (interrupts) He's counting costs, you know. The Bank wants him here. (to Fausto) Don't speak to him, I speak to him. FAUSTO Okay, I have some questions for Signor Contini. GUIDO We all have questions for Signor Contini.They head outside.EXT. CINECITTA - DAYGuido, Dante and Fausto hurry through the studio enroute to the Production Offices. Behind them is a largeposter of CLAUDIA, starring in Guido's last movie, afailure, LA DONNA MODERNA (The Modern Woman). As Guidopasses he causes a mild stir, and many people noddeferentially, offer a Maestro, or Dottore. Guido nods. FAUSTO Yes, but please, please, I think it's customary for there to be an approved script and budget before filming commences... GUIDO Is he going to follow us? FAUSTO It's not my intention to be difficult. Maestro, I am a huge admirer of Maestro Contini's movies, your early films are...everybody loves them and... I consider it a great honour for me to be here now... none the less, I need a script and a budget.Neither Dante nor Guido respond. Fausto flounders.They make their way to the Production Offices.Everywhere signs for the movie, ITALIA.INT. PRODUCTION OFFICES, CINECITTA - DAYA long corridor, bustling with activity. The trioheads down it. If a pretty girl goes by, and there areseveral, both Guido and Dante turn to look but withoutmissing a beat of their solemn conversation. p. 5As they progress into and through the open plan office,many of the crew look up and cluster around, trying toget Guido's attention, swelling the procession,interjecting with their urgent requests.There are set models everywhere, in the process ofbeing constructed, or painted.JACONELLI, Guido's production designer, looks up from amodel, hurries over. Nobody stops moving.As a pretty girl passes between them, they all turn tolook.PIERPAOLO, Guido's young PA, has caught up with theprocession. He has dozens of phone messages, sortingthrough them, as he walks alongside Guido, through apartitioned office - PIERPAOLO Where do you want your messages? GUIDO On my desk. PIERPAOLO There's no room on your desk.- into the main office - GUIDO Under my desk. In the trash. Non lo so. PIERPAOLO (waving them at him) Some of these are urgent! GUIDO (to Pierpaolo) Get me a cigarette. JACONELLI (confidentially) We will never be ready to shoot in ten days. GUIDO Jaconelli - FAUSTO (at the same time) Not ready?! GUIDO (continues) Ascolta me. (MORE) p. 6 GUIDO (CONT'D) (he kisses Jaconelli on the cheek) Careful what you say. He's a spy from the bank.Guido carries on moving through the office. DANTE He's not exactly from the bank, Guido.Now BENITO, Guido's Casting Director, moves towardsGuido, Guido tries to duck away from him as they headtowards Guido's office. BENITO Dottore, Dottore. You have actors waiting for you in your office. Auditions all morning. You should see what I've found. I found two sisters. Look, they're right...Guido turns through another partition, as they allbesiege him with questions. Benito despairs. BENITO (CONT'D) Dottore, this way...Guido heads towards Wardrobe, goes straight through thedoor, swinging it shut, leaving the chaos behind him.Dante blocks Benito. BENITO (CONT'D) Maestro! DANTE Not now. He's got the Press Conference.INT. WARDROBE, CINECITTA - DAYGuido comes through the door, blows hard from thebarrage.They're in Lilli's domain here, and a haven, always,for Guido. Part Edith Head, part Coco Chanel, Lilli isGuido's Costume Designer, no longer young, cranky,indomitable, sharp as a tack. She adores Guido withoutany sentiment. She's incapable of sentiment. Guidoheads straight towards her desk, where she is cuttingsome fabric. GUIDO I need a cigarette.Dante comes in, closing the door behind him. p. 7 DANTE He needs a shirt and tie, Lilli.Guido sits up on Lilli's table, as Dante heads toLilli's desk and picks up the phone to make a call. GUIDO I need a coffee and a cigarette.He lies down. LILLI (unimpressed) Answer a question, I'll give you a coffee. Answer another question, I'll give you a cigarette. And so on. GUIDO Actually and an aspirin.Dante stands at Lilli's desk and looks at somedrawings. DANTE (in the background, on the phone) We're running late... LILLI (turns to Guido and lights a cigarette) Calm down. Directing a movie is a very overrated job, we all know it. You just have to say yes or no. What else do you do? Nothing. Maestro - Should this be Red? Yes. Green? No. More extras? Yes. More lipstick? No. Yes, no, yes, no, yes, no - that's directing.Lilli hands Guido the lit cigarette. GUIDO That's right: that's directing. And it doesn't seem to make a blind bit of difference, finally, what the answer is... LILLI So please, Guido, yes or no, do you want any costumes in this film? GUIDO Yes. p. 8 LILLI You see - simple! (handing him an espresso fetched by her assistant, ROBERTA) Might I know what period the movie's in?Lilli glances at Dante who has edged closer to thetable, he looks at the costumes. GUIDO Yes, yes. (downs the espresso) Soon.Lilli glares at Dante, ushering him away. LILLI You know I don't allow producers in here. DANTE Alright. Two minutes Guido.Lilli is the only person who intimidates Dante. Heleaves. Guido pulls out his own tie from his pocket.Lilli walks round and takes the tie off him. Guido sitsup. Lilli puts the tie round his neck. LILLI He's gone. Have you written a word of the script? GUIDO No. LILLI Are you in a panic? GUIDO Yes.She ties Guido's tie for him. LILLI Is Luisa going with you to the Press Conference? GUIDO No. Nobody. Dante. And his spy. LILLI You need to shave. You look terrible. p. 9 GUIDO (looking around, desperate) Why is there no fire escape in here? What if somebody needed to escape? I can't face these reporters. I have nothing to say. LILLI You'll be fine. You're a world class liar, darling, go out there and lie for Italy, lie for Italia.EXT. ROME - DAYGuido is driving his Roadster through the streets ofRome. An Italian pop song of the day is playing on theradio as he speeds around the Piazza del Poppolo. Infront of him in the convoy is Dante with Fausto.INT. GUIDO'S CAR - DAYAs Guido drives, he turns to see his MAMMA in thepassenger seat. He's not remotely surprised. Sheappears the way he remembers her. Mamma isextraordinary. GUIDO What the hell's wrong with me? I can't sleep. I can't think. I can't write. I can't breathe. My heart is racing. Am I dying, Mamma? I owe you flowers, I know. I'll come to the cemetery at the weekend. You should have let me bury you in Roma, Mamma, I could visit you every week. Don't look at me like that. MAMMA (with kindly patience) Oh, Guido, Guido.He stops at a busy intersection.EXT. STREETS OF ROME / INT. GUIDO'S CAR - DAYThis is the Rome of La Dolce Vita, the Rome of Vespas,skinny ties, cool sunglasses, impossibly cool youngpeople. A magnificent fall day, and the cafes arestuffed with the beautiful and chic. p. 10 MAMMA This is your Rome, Guido. The world sees Rome the way you invented it. Your films did that. GUIDO (buoyed by her encouragement) I miss you. MAMMA I miss you, too.Guido is in his own world. The policeman raps on thebonnet of the car. Guido startles and pulls off, alonein the car.Guido looks across as he drives. Mamma has gone.EXT. HOTEL EXCELSIOR, VIA VENETO - DAYThe convoy comes to a quick stop in front of the HotelExcelsior on the Via Veneto.As soon as Guido gets out of the car, the waitingpaparazzi snap his picture. Beautiful women look athim. Guido moves quickly by them.Dante and the team hurry after him. Fausto tacklesDante.And they hurry after Guido.INT. PRESIDENTIAL SUITE - DAYA big suite. About fifty reporters, men and women, arein the room, and an array of microphones are on acoffee table next to a long couch. Excited chaos. ARADIO REPORTER narrates in the background. RADIO REPORTER And we're just waiting for the arrival of Contini...any moment now - Could this film put the Maestro back on top?A few news cameras are filming. There's a buffet, anda bartender.And Guido comes into the room, shaking hands, pattingshoulders, grabbing a glass of champagne. Dante and theteam follow him in. RADIO REPORTER (CONT'D) And here he is..! p. 11 DANTE Silenzio, per favore...Thank you, thank you... RADIO REPORTER Dante, Guido Contini's long time producer, is about to speak... DANTE I want to say a few words from my heart. I am humbled and thrilled to be able to announce that I am producing Guido Contini's next film, Italia, which will star once again Contini's longtime inspiration, the international film star, Claudia Jenssen...A stunning film poster is revealed -- Claudia Jenssenemerging from the Colosseum: CLAUDIA JENSSEN. UN FILMDI GUIDO CONTINI. ITALIA. Flashes. Excitement. DANTE (CONT'D) ...we start shooting in ten days time in Cinecitta. That makes it one week from Monday. (to Guido, handing over) Thank you, Maestro, thank you very much. This is our ninth film together. Guido Contini. GUIDO Thanks for coming, everybody.Pretending to leave, he heads towards the exit andkisses Dante on the cheek.He returns to the couch. All the reporters fire theirquestions at once. The questions come on top of eachother, and Guido covers his despair with an inflatedenergy. He takes his sunglasses off and signals toDINARDO, a harsh-looking woman. DINARDO Maestro Contini. Maestro Contini. GUIDO Yes. DINARDO Grazie. Maestro Contini, your new film is called Italia... big title.Another journalist, Leopardi, vile - sitting next toher, egging Dinardo on - almost sniggers with contempt. p. 12 GUIDO Actually, it's my shortest title yet. DINARDO But hardly a modest one. GUIDO Films are not modest. They cost too much, they take too long, and they involve too many people. So they should have grand titles. DINARDO And might you tell the press what the film is about? GUIDO Why? I still don't know what my last film was about. LEOPARDI (In a loud aside to Dinardo) That was the problem. Nobody else did. GUIDO Of course I can tell you what my film is about...I can tell you the story, I can tell you who I am going to cast, the music I want to use, I can tell you everything... but... I... won't. I'm afraid that if I say anything, the word might get out to the Press.General laughter in the room. He wins a round, but isclearly feeling the strain... Dante recognizes, stepsin. DANTE Our next film will be exactly as it sounds. Italia. It's the very spirit of Italy - Italy as myth, Italy as a woman, Italy as a dream. LEOPARDI Is this true? GUIDO It sounds fantastic. I can't wait to see it.He's still winning. Ignoring the question, he pointsto STEPHANIE, a gorgeous fashion reporter he recognizesfrom American Vogue. Flirtatious and charming, shewants him and he senses it. p. 13 STEPHANIE Signor Contini. GUIDO Stephanie. STEPHANIE Grazie. Could you tell the fashionable women of America who your favorite designer is this year? GUIDO I'm less interested in the wrapping than what might be inside it. REPORTER ONE Signor Contini! You're a man of the world, yes? Educated in Britain, a home in Biarritz. With Italia is it fair to say that you've come home for good? REPORTER TWO (O.S.) (tries to interrupt) What do you think of the New Wave in the French Cinema? GUIDO For good? REPORTER FOUR It's been a long time since you made a movie with your wife, do you plan on casting her in this new film?Guido is spinning plates. GUIDO I told Luisa that when we got married I would never again make love to my leading lady. REPORTER FOUR But she hasn't worked at all since working with you.Laughter. Everyone starts firing questions at Guidoagain. Another REPORTER asks a question. REPORTER FIVE But why are you being so tight-lipped about this film? It's a serious question. What's the big deal? p. 14FANTASY:INT. "SOUNDSTAGE"We discover Guido, alone on the soundstage of hisunfinished set. A retreat into surreality. He sits onthe same couch from the hotel suite. He slouches, armsfolded, legs crossed, with his hat pulled over hiseyes. GUIDO I WOULD LIKE TO BE HERE.INT. PRESIDENTIAL SUITE. DAY GUIDO You want me to be serious? In a Press Conference?INT. "SOUNDSTAGE" GUIDO I WOULD LIKE TO BE THEREINT. PRESIDENTIAL SUITE. DAY GUIDO I thought I was the clown in this circus.INT. "SOUNDSTAGE" GUIDO I WOULD LIKE TO BE EVERYWHERE AT ONCE I KNOW THAT'S A CONTRADICTION IN TERMS.INT. PRESIDENTIAL SUITE. DAY LEOPARDI Signor Contini. Artists do their best work before they're famous. Now you're famous. Without wishing to be negative - but your last two films, they're not, they were... GUIDO Flops. LEOPARDI Your word. Flops. p. 15INT. "SOUNDSTAGE" GUIDO AND IT'S A PROBLEM, ESPECIALLY WHEN MY BODY'S NEARING FIFTY AS MY MIND IS NEARING TEN.INT. PRESIDENTIAL SUITE. DAY LEOPARDI I'm just asking if you're nervous? You seem nervous...This stops Guido. He doesn't answer. We see a bead ofsweat running down the back of Guido's neck.Everyone waits. GUIDO Excuse me? LEOPARDI What I'm asking, Maestro, is have you run out of things to say?INT. "SOUNDSTAGE"As the number progresses, Guido gets up from his chairand begins to scale the enormous heights of hisunfinished set, with great effort. GUIDO I CAN HARDLY STAY UP AND I CAN'T GET TO SLEEP, AND I DON'T WANT TO WAKE TOMORROW MORNING, AT THE BOTTOM OF SOME HEAP BUT WHY TAKE IT SO SERIOUSLY? AFTER ALL, THERE'S NOTHING AT STAKE HERE - ONLY ME I WANT TO BE YOUNG. AND I WANT TO BE OLD. I WOULD LIKE TO BE WISE BEFORE MY TIME AND YET BE FOOLISH AND BRASH AND BOLD. I WOULD LIKE THE UNIVERSE TO GET DOWN ON ITS KNEES AND SAY, "GUIDO, WHATEVER YOU PLEASE, IT'S OKAY EVEN IF IT'S IMPOSSIBLE, WE'LL ARRANGE IT." THAT'S ALL THAT I WANT. p. 16INT. PRESIDENTIAL SUITE - DAY STEPHANIE I was wondering if you think there's a limit to what you can show in a movie. GUIDO What would you like to see that I haven't already shown you?She smiles, he smiles back, lighting his cigarette.INT. "SOUNDSTAGE" GUIDO I AM LUSTING FOR MORE, SHOULD I SETTLE FOR LESS? I ASK YOU, WHAT'S A GOOD THING FOR IF NOT FOR TAKING IT TO EXCESS? ONE LIMITATION I DEARLY REGRET: THERE'S ONLY ONE OF ME I'VE EVER MET.INT. PRESIDENTIAL SUITE - DAYGuido turns to the mantle. He grabs a bottle ofwhiskey, looks up into the large gilded mirror at hisreflection. We see two Guidos. GUIDO (V.O.) I WOULD LIKE TO HAVE ANOTHER ME TO TRAVEL ALONG WITH MYSELF. I WOULD EVEN LIKE TO BE ABLE TO SING A DUET WITH MYSELF.INT. "SOUNDSTAGE" GUIDO I WOULD LIKE TO BE HERE (SING ALONG WITH MYSELF IN A SONG) TO BE THERE (WALKING DOWN A LANE NOW), EVERYWHERE (EVERYWHERE) EVERYWHERE, THAT'S A CONTRADICTION IN TERMS I WANT TO BE HERE (WITH A COUNTER-) HERE (MELODY IN THE) HERE (TOP OF THE MORNING TO YOU GUIDO) GUIDO (GUIDO) GUIDO (GUIDO) GUIDO. ME (ME) ME! I WANT TO BE PROUST... p. 17INT. PRESIDENTIAL SUITE/INT. EXCELSIOR HOTEL - DAYAmidst the chaos, Guido notices a waiter with a tray ofglasses entering the suite through a hidden door in thewall. As the waiter passes, Guido slyly opens the doorand sneaks out. GUIDO (V.O.) ...OR THE MARQUIS DE SADE. I WOULD LIKE TO BE CHRIST, MOHAMMED, BUDDHA BUT NOT HAVE TO BELIEVE IN GOD. AND YOU KNOW I MEAN IT WITH ALL OF MY HEART - IT'S THE END IF SOMETHING IMPORTANT DOESN'T START...INT. "SOUNDSTAGE"Guido continues climbing higher and higher. GUIDO ...I WANT TO BE YOUNG, BUT I HAVE TO BE OLD. WHAT I WANT IS A TALE OF SOUND AND FURY THAT SOME IDIOT WENT AND TOLD. I WOULD LIKE THE UNIVERSE TO GET DOWN ON ITS KNEES AND SAY, "GUIDO, WHATEVER YOU PLEASE, IT'S OKAY EVEN IF IT'S RIDICULOUS, WE'LL ARRANGE IT..."INT. EXCELSIOR HOTEL - DAYGuido slips through the hallway, down the grand lobbystaircase, and escapes.INT. "SOUNDSTAGE" GUIDO SO ARRANGE IT!As Guido reaches the pinnacle of his Everest-like set,Guido's WOMEN appear on the different levels. WOMEN ARRANGE IT! GUIDO THAT'S ALL THAT I WANT! p. 18EXT. ROME - DAYGuido speeds away from Rome in his Roadster.EXT. ROME ROAD - DAYGuido's car passes by the remnants of an ancientaqueduct, with women from his fantasy draped aroundhim, spilling out of his car.THE WOMEN sing a musical flourish of praise to Guido. WOMEN (V.O.) CONTINI, CONTINI, CONTINI, CONTINI...EXT. COUNTRY ROAD - AFTERNOONNow Guido and his women are in the countryside. WOMEN (V.O.) CONTINI, CONTINI, CONTINI, CONTINI...The car races over a hill, blurring the countryside,and we see the blue Mediterranean sea, and the prettyspa town of ANZIO.EXT. HOTEL BELLAVISTA - DAY WOMEN (V.O.) GUIDO!The Alfa Spyder comes to a screeching stop in front ofthe gates of the entrance of an impressive looking Spa:GRAND HOTEL BELLAVISTA. The hotel has a slightly fadedglamour, something that lifts it a little out of time.Guido's women are gone as the song ends.SUPERTITLE: Bellavista Spa Hotel, Anzio, ItalyINT. LOBBY, HOTEL BELLAVISTA - DAYGuido enters like a thief. He doesn't want to berecognised. He approaches the Front Desk, where animmaculate Desk Clerk, the urbane and wise DE ROSSI,waits to greet him. GUIDO I need a room. DE ROSSI Of course. p. 19 GUIDOA suite. DE ROSSIYes. GUIDOWith a view of the sea. A balcony.Something with air. DE ROSSIAll of our suites have air... let mejust look for you. GUIDOI've come from Milano. DE ROSSII understand. GUIDOOn business. I'm a businessman. Busybusy busy. DE ROSSI (without looking up)Would Maestro Contini prefer toregister under a pseudonym? GUIDO (doleful)Please. DE ROSSI (suggesting a name)Signor Milano? GUIDOWhy not. DE ROSSI (continuing to work)Needless to say, I love your films.Guilty pleasure. Those early films. GUIDONot the flops. (anxious, confidential)I need to see a doctor. Do you knowone who's discreet...? I'd like tosee him today, in my room, now, ifpossible. DE ROSSIConsider it done. Please. p. 20 GUIDO (takes the key) And I need to place a call. To my wife.Guido writes the number on a piece of paper on thedesk. DE ROSSI You can take the call at the lobby phone over there.INT. TELEPHONE KIOSK, HOTEL BELLAVISTA - DAYGuido heads into the elegant Art Deco booth, pulls theglass door shut. The phone rings. He picks up.INT. CONTINI HOME, ROME / TELEPHONE BOOTH - DAYWe intercut between the phone booth and LUISA in theirapartment in Rome... Luisa knows every move ofGuido's. She manages him very well, calm, dry andfunny. GUIDO Luisa, tesoro... LUISA There you are. GUIDO Is everybody mad at me? LUISA Well, I'm mad at you. Where are you? GUIDO I had to escape from the Press Conference. LUISA I heard. Dramatic. GUIDO Don't tease me. I'm sick, Luisa. LUISA You're making a film. You make a film, you get sick. It's what happens. GUIDO No, but this time I'm really sick. I can't breathe. p. 21 LUISAAre you by yourself? GUIDOYes, of course I'm by myself. LUISAThen shall I come? GUIDOYes, please come, that's why I'mcalling, please come straight away.That would be wonderful. LUISAOkay. GUIDOGreat. Marvellous. LUISAI don't know where you are. GUIDOI don't know, some spa. Horrible. Ijust kept driving. LUISAWell I can't come if I don't knowwhere you are. GUIDO (suddenly claustrophobic)And, actually, it's hardly worth it.I'll be home in a day or two. LUISA (all too familiar )Yes, it's hardly worth it. GUIDOBut I do wish you were here. LUISAGet some rest, take the waters, sleep,then come back here and make a goodmovie. GUIDOI love you. LUISAGet better. p. 22INT. LOBBY, HOTEL BELLAVISTA - DAYHe hangs up, pensive. Goes straight back to De Rossiat the Front Desk, and scribbles down another number. DE ROSSI Your doctor is on his way. GUIDO (carefully) This number - if a woman answers you put it through to my room, otherwise...De Rossi understands. DE ROSSI It's a wrong number.INT. GUIDO'S SUITE - DAY...CLOSE-UP on Guido's eye, being held open by aDOCTOR. Guido is on the bed, shirt open. The Doctorexamines Guido's eye while a heavy-set NURSE takes hisblood pressure. The Doctor stands and turns to hiscase. GUIDO What? NURSE Dottore. DOCTOR RONDI Si?He walks round to her. The Nurse whispers to theDoctor. They look at the blood pressure gauge. Guidois disturbed by their conspiracy. GUIDO What is she whispering? Is it my blood pressure? Is it serious? Am I dying? DOCTOR (to the Nurse, not answering Guido) Check again.The doctor, interrupting him, takes a tongue depressorfrom his kit.The doctor, sits on the bed beside Guido, and takes hiscigarette out of his mouth. He stubs it out. p. 23 DOCTOR (CONT'D) Stress. Exhaustion.THE PHONE RINGS. The doctor is in the way of the phone.Guido desperately makes an attempt to reach it andcan't. He's trapped by the doctor and by the nurseholding his arm. DOCTOR (CONT'D) Your liver, your heart, your kidneys, they're all very cross with you, Signore.INT. "SOUNDSTAGE"/INT. GUIDO'S SUITE - DAYWE CUT TO A PAIR OF FULL BEAUTIFUL LIPS SINGING HISNAME. CARLA GUIDO... DOCTOR Open wide.Guido opens wide, gagging, as the phone continuesringing. Guido looks at the ringing phone, but thenurse has his arm in her grip as she takes his bloodpressure for the second time. And the phone continuesringing. DOCTOR (CONT'D) But you've come to the right place. There are a dozen mineral springs around the town...INT. "SOUNDSTAGE"/INT. GUIDO'S SUITE - DAYNOW WE CUT TO A SUGGESTIVE LOOK FROM A HEAVILY MADE UPEYE. CARLA GUIDO... DOCTOR ...the Roman emperors came here for the waters...Guido lunges for the ringing phone, with the bloodpressure cuff still on his arm, and picks it up. It isCARLA, at the perfect wrong time. GUIDO (into the phone) Pronto. p. 24 DE ROSSI (V.O.) Signor Contini, it's the Signora.INT. "SOUNDSTAGE"/INT. GUIDO'S SUITE - DAYWE SEE ISOLATED IMAGES OF A SEDUCTIVE BODY: A LONG LEGIN SHEER BLACK STOCKINGS, A SHAPELY ASS, MAGNIFICENTBREASTS. CARLA I WAS LAZING AROUND MY BEDROOM WHEN YOU CALLED AND AN IDEA OCCURRED TO ME I THOUGHT YOU MIGHT BE WONDERING ABOUT, GUIDO... GUIDO (coming back quickly to life) It's a very an important call, Doctor. I'm sorry, I have to take it. Private call. DOCTOR As you wish.FANTASY:INT. "SOUNDSTAGE"An enormous swathe of pink satin rakes across thescaffolding of Guido's unfinished set. Emerging fromthe highest point is a pair of long legs sliding downthe lush fabric. She wears stockings, heels and littleelse. Bathed in hot light, Carla reveals herself frominside the sumptuous folds of satin. CARLA WHO'S NOT WEARING ANY CLOTHES? I'M NOT! MY DARLING, WHO'S AFRAID TO KISS YOUR TOES? I'M NOT! YOUR MAMA DEAR IS BLOWING INTO YOUR EAR, SO YOU'LL GET IT LOUD AND CLEAR, I NEED YOU TO SQUEEZE ME HERE... AND HERE... AND HERE...INT. GUIDO'S SUITE - DAYThe Nurse, still taking his blood pressure andlistening to his pulse, is concerned about Guido'svital signs. p. 25 NURSE Doctor... His pulse... it's racing. DOCTOR (to Guido) Is something wrong? GUIDO What? Yes, yes. It's about my film. It's from the Vatican. Go ahead, Monsignore! Yes, yes, of course, I'm listening.INT. "SOUNDSTAGE"Carla slides from the lush fabric onto a mirroredplatform. As she sings, she writhes and undulates in aseductive display of sexuality. This is Guido'sultimate fantasy. CARLA COOTCHIE, COOTCHIE, COOTCHIE COO. I'VE GOT A PLAN FOR WHAT I'M GONNA DO TO YOU, SO HOT YOU'RE GONNA STEAM, AND SCREAM, AND VIBRATE LIKE A STRING I'M PLUCKING- KISS YOUR FEVERED LITTLE BROW PINCH YOUR CHEEKS TILL YOU SAY "OW," AND I CAN HARDLY WAIT TO SHOW YOU HOW, GUIDO.INT. GUIDO'S SUITE - DAYGuido trying to hide the effects of this phone sex fromthe Doctor and Nurse.INT. "SOUNDSTAGE"Carla grabs onto two satin-covered ropes, suspendedfrom the ceiling. She wraps herself in them, swingingand gyrating. CARLA WHO WON'T CARE IF YOU COME TO ME TIRED AND OVERWORKED? I WON'T! BAMBINO, WHO KNOWS A THERAPY TO BEAT WHAT YOU CAN GET FROM ME? I DON'T! BUT THIS WILL HAVE TO BE ENOUGH FOR NOW, GUIDO, CIAO. (MORE) p. 26 CARLA (CONT'D) (spoken) I love you, Guido.Carla disappears in a cloud of hot steam that becomesthe steam from an arriving train.EXT. ANZIO, TRAIN STATION - DAYAnd out of the steam... CARLA comes walking towardGuido, swinging her hips, with a PORTER behind her,pulling five bags on a wagon. Carla is dressed in herown style, which is not chic, but it's what Guidolikes, a little too tight, a little flamboyant. Shewears it with pride. CARLA Guido! Ciao! GUIDO (to himself, remembering how much work she is) Carla. (and now to her, covering his ambivalence) Carla! CARLA I'm so happy to see you. GUIDO Carlissima.She gives him a hug and a kiss, both too much for himin public. CARLA I missed you so much. (they move off) Are you happy I'm here? GUIDO Of course. CARLA But very happy? Or just a little happy? GUIDO Very happy.She sees something in his face that worries her. CARLA What's wrong? You look very tired, very tired. p. 27 GUIDO (avoiding this, looks at her bags) Carla, all those bags for the weekend? CARLA Yes, the Bellavista is a very fashionable place. You know I stayed there with my parents, during the war, it was full of Germans. GUIDO Carla... I have to tell you... they found out who I am at the hotel-- CARLA No... GUIDO ... yes, horrible, but obviously we don't want to be followed by the press, so I found the most charming pensione for you, and it's right here. It's charming. CARLA Here at the station?EXT. PENSIONE FERROVIA - DAYA small pensione across the street from the station.Carla sizes it up, and it's really not at all what shewas hoping for, but she doesn't say anything.INT. PENSIONE BEDROOM - DAYLater, Carla, in silhouette, from behind. Wrapped in asheet, she is looking out the window of the dingy room.The light from the pensione's neon sign spills in. Theywhisper. GUIDO (O.S.) Close the curtains, it's too light in here.Carla closes the curtains. They continue to whisper. GUIDO (CONT'D) Perfect. Now, go into the corridor--- CARLA What? p. 28 GUIDO Shhh! Yes, count to ten and come back in, and pretend you're in the wrong room, and I'm a complete stranger--Carla sits on the bed facing Guido. CARLA I love your games!She kisses him. GUIDO I'm here on business. CARLA Okay. GUIDO Go, go. Wait. Your face. CARLA What about it? GUIDO Get your makeup.Guido switches on the light, puts on his glasses, andtilts the lamp shade up. He begins to pencil in abeauty mark and darken her eyes. He is meticulousabout this, and precise, and takes his time to make itexactly as he wants it. CARLA I had a nightmare last night. We were in that little alley behind Piazza Navona, where I bought you that scarf, remember? The same one your wife bought you-- GUIDO (probably doesn't) Don't move, Carla. CARLA When you wear it, I never know if it's hers or mine. GUIDO (not really listening) Uh-huh. CARLA So we were there, on the ground, naked, kissing, and we didn't care, and then my husband arrived and killed us both with a shovel! Poor Luigi! (MORE) p. 29 CARLA (CONT'D) He would never do that! He's so sweet. He speaks Latin! He knows all the Roman Emperors. GUIDO (still intent on his makeup job) Good for him. CARLA Perhaps there's a job for him in the movie-- GUIDO Why not? CARLA You could work well together. GUIDO Beautiful. When you come in I want you to be my little savage. CARLA Yes. GUIDO (gesturing towards the door) Go, go.Guido takes off his glasses and puts them on the sidetable.. CARLA You think I am one of your actresses? GUIDO Hurry, please, Carla.Carla gets up and takes Guido's glasses with her. Guidoturns out the light and settles into his pillow, forthe game. Carla looks at herself in the mirror. CARLA Oh, Madonna! GUIDO I'll pretend to be asleep.Carla turns back to the mirror, she puts on Guido'sglasses and turns back to him. CARLA What if I really found the wrong room? Would you be jealous? p. 30 GUIDO Could you do such a thing?Carla teases him with a look that says, "Why not?" CARLA (coyly) Hm! Who knows?Carla goes into the hall and closes the door behindher. We HEAR the MATRON who runs the Pensione talkingto her. While they talk, Guido removes a crucifix fromthe wall and puts it in the bedside drawer.Now Carla comes back into the room, giggling, signalingfor Guido to keep quiet. GUIDO What happened? CARLA (still giggling) It was the woman from the hotel. She wanted to give me towels. GUIDO Come here. CARLA Okay. GUIDO What? CARLA You are a stranger, I don't know you. GUIDO Carla, just come here. (indicating her sheet) Be savage. Show me.She crosses the room and climbs onto the bed and opensthe sheet slowly, spreading her arms wide. CARLA Excuse me! I've got the wrong room. GUIDO Yes, you have. And I don't have the faintest idea who you are.She throws herself on Guido, whose arms enfold her. p. 31INT. PENSIONE BEDROOM - LATERCarla is asleep, her bare back a thing of post-coitalbeauty. Guido sits on the edge of the bed, quietlygetting dressed, filled with confusion and guilt.INT. HALLWAY OUTSIDE PENSIONE BEDROOM - NIGHTGuido tip-toes out of Carla's room, shoes in his hand.He walks down the hallway, alone. GUIDO (V.O.) Page one, page one, page one... The figure emerges from the darkness like a goddess. She is Claudia, his muse...INT. HOTEL, GUIDO'S SUITE - DAYIMAGES OF CLAUDIA in his fantasy. Kissing him.Walking away... GUIDO (V.O.) She takes the man's face and kisses him...Guido is surrounded by discarded bits of paper, anoutline of Italia. An empty sheet of paper sits in histypewriter on his desk. He is not working on theoutline. He is sketching a voluptuous woman... GUIDO (V.O.) (CONT'D) ...And with that gesture, he's suddenly inspired to write something... profound....he draws in the nipples on the woman's breasts.Guido becomes discouraged. He tosses off his glassesand runs his hands through his hair in frustration. GUIDO (CONT'D) Mother of God, give me a sign.He's happily distracted by the sound of vehiclesarriving outside his window. He opens a slat in theshutters, looks down as a motor calvacade draws up. Atits heart is an impressive luxury car. p. 32EXT. HOTEL BELLAVISTA, POV FROM BALCONY - DAYHotel staff swarm around the vehicles which discharge aprocession of religious, including an ANCIENT CARDINALin scarlet robes and the CARDINAL'S SECRETARY. Priestsfollow as the Cardinal heads inside the hotel.Guido is intrigued, hurries out of his hotel room.INT. HOTEL BELLAVISTA LOBBY - DAYAs Guido hurries down the stairs, the Cardinal is beinghelped into the elevator. The CARDINAL'S SECRETARY isdealing with check-in formalities with De Rossi. Guidocalls to him. GUIDO Excuse me, father... CARDINAL'S SECRETARY (turns) Buongiorno. GUIDO His Excellency, the Cardinal, is he -? CARDINAL'S SECRETARY (recognising Guido) Signor Contini! (starstruck) I am a big fan. GUIDO I would very much like to speak to the Cardinal. Do you think he might grant me - CARDINAL'S SECRETARY Is Claudia Jenssen with you? GUIDO No. CARDINAL'S SECRETARY Pity. His excellency is a big admirer of Signorina Jenssen. GUIDO (explaining) I'm in need of some guidance, some pointers... CARDINAL'S SECRETARY Do you think you could find a signed photograph of Signorina Jenssen? p. 33 GUIDO For His Excellency? CARDINAL'S SECRETARY Si. GUIDO I'm sure that would be possible... CARDINAL'S SECRETARY Truly? What a pleasure. Arrivederci, Maestro.He heads towards the elevator. Guido watches him go,then a voice calls out his name....GUIDO! Guido can'tturn round. He knows that voice. DANTE Guidino!Guido hurries towards the elevator. The elevator doorsclose. Guido is trapped. GUIDO I'm not going to ask how you found me. DANTE Please - it's my job. A producer needs to know where his director is at all times...even to know the pensione where his mistress is staying... GUIDO Oh God. DANTE I understand, Guido. Rome is absolutely unbearable. The pressure. It's no good. GUIDO Really? You understand?He takes Guido by the arm and leads him to a stairwell.INT. HOTEL BELLAVISTA - STAIRCASE - DAY DANTE Of course I understand. Absolutely. GUIDO You're not going to drag me back? DANTE No. You're a genius and genius must be served. p. 34 GUIDO Thank you, my old friend. (Dante is guiding him) Where are we going? DANTE You can't be in Rome. Okay. (heading towards the ballroom)INT. GRAND BALLROOM, HOTEL BELLAVISTA - DAY DANTE Rome will come to you!Dante opens the door of the Ballroom to reveal a fullPRODUCTION OFFICE, ART DEPARTMENT, COSTUME DEPARTMENT,CASTING OFFICE. The models, costumes, headshots,everything all in place or being put into place. Anabsolute beehive of activity. Guido is staggered. DANTE (CONT'D) It's a fantastic place for you to focus. Everyone is here to help the movie. Everyone is here because they love you, Guido.He stands watching Guido with genuine admiration as hesets to work with his team. Guido moves through theroom avoiding specific questions from everyone. As hedoes so, Dante makes his way over to Guido with amagnificent girl on his arm. JACONELLI (explaining his designs) Yes, with the flower and the glass and the arches of the Roman Empire... DANTE Guido...you remember Donatella. DONATELLA Ciao. GUIDO (he doesn't, she's new) Ciao. DANTE Donatella, you tested her. DONATELLA I was very nervous. He probably doesn't remember. I was quite nervous. p. 35 GUIDO (distracted, taking it all in) No, I remember you. You were, we all enjoyed you, so to speak. PIERPAOLO Maestro...Pierpaolo, Guido's assistant, holds a telephone. Guidowants to know who it is. PIERPAOLO (CONT'D) Claudia's agent...Guido grimaces. Then takes the phone. He attacks thephone call with gusto. GUIDO (listens to a stream of invective) Did she like the script? (gestures for Pierpaolo to light him a cigarette) No no no no - impossibile - are you telling me she didn't get the script? (shouting at Pierpaolo) Pierpaolo!He takes the cigarette with a smile, and then withoutmissing a beat starts barking at Pierpaolo. GUIDO (CONT'D) Claudia didn't get the script! Send her another one. For Chrissake. Send her two! PIERPAOLO (playing along) Yes, I'm sorry. Right now. GUIDO Cretino! (back to Lombardo, listens) Yes, yes, that's what I say, people just don't realise - she's an actress as well as a star - I know Dante's dying to talk to you. A dolpo. Ciao.He hands the phone to Dante, who's delighted to seeGuido back on good directing mode. DANTE Lombardo... p. 36As Dante takes over, Guido walks away, heads towardsLilli and her domain.INT. LILLI'S TEMPORARY OFFICE, BALLROOM - DAY GUIDO Yap, yap, yap, yap, yap, yap, yap!Guido leaps over the balcony and lies down on a table.Performance mode off. Lilli nods to Roberta to leave.Roberta puts down her work and clears the room quietly,leaving them alone. GUIDO (CONT'D) What are we doing here? LILLI I'm happy. I brought my swimsuit.Lilli is working at a mannequin, hand-sewing somesequins on a costume. A red feathered boa is draped onthe figure. LILLI (CONT'D) It was Luisa's birthday yesterday. GUIDO What? No. Oh please God. No. I spoke with her yesterday. She didn't even mention it. Give me a cigarette.Lilli points to the one in Guido's hand. LILLI What's that?Guido sees the costume. GUIDO What's that? LILLI It's for Claudia. GUIDO For which scene? LILLI Well I don't know which scene until I`ve seen the script, but she always likes something like this, or you do. GUIDO Looks like the Folies Bergere. It's wrong. Italian women don't wear those things. p. 37 LILLI Don't knock the Folies Bergere...Lilli tosses the boa over her shoulder as she continuespinning the costume. LILLI (CONT'D) ...it brings back happy memories. That's where I learned my art. All those sequins, all those feathers. (Still working) And, you're wrong, you put Claudia in one of these for that nightclub scene in Natura Morta. GUIDO Why did people love that film?Guido picks up a straw hat. Puts it on his headplayfully. LILLI Oh Guido, don't. That's death. Every time we have to start again. GUIDO I'm trying to find it. LILLI You won't find it with your head jammed halfway up your ass. GUIDO Ashtray.She produces one. GUIDO (CONT'D) Thanks. You were saying - my head is jammed up my ass. LILLI Halfway. I don't know. Why not dream up something entertaining, Guido? Something with music...with dancing... God knows, we could use a little joie de vivre around here...Guido looks into the faded ballroom mirror behind herand sees... p. 38FANTASY:INT."SOUNDSTAGE"...Lilli, draped atop an upright piano, the redfeathered boa hangs from her shoulders. She places thesame straw hat on her head.The soundstage has been transformed into animpressionistic version of the Folies Bergere of the1930's, with Lilli as its French Star. A spotlightfinds Guido watching from the scaffolding of hisunfinished set. The din of the theater audience fillsthe smoky atmosphere. LILLI (singing and performing in a french accent) LE CINEMA TODAY IS IN A CRISIS DIRECTORS ARE SO EXISTENTIALISTES. THE MOVIES ARE NOT WORTH THEIR ENTRANCE PRICES IF NO ONE SINGS A LOVE SONG WHEN HE'S KISSED. LOVE CANNOT BE LOVE WITHOUT "LE SINGING," A STRING, A CLARINET, A SAXOPHONE TAKE A LESSON FROM THIS OLD PARISIENNE AND THE FINEST ENTERTAINMENT SHE HAS KNOWN.Behind a black scrim, ghostly images come to life.Apparitions that reveal themselves as exotic SHOWGIRLSbarely covered in beads, sequins, and feathers. Theydescend the grand staircase. LILLI (CONT'D) FOLIES BERGERE- WHAT A SHOWING OF COLOR, COSTUME, AND DANCING! NOT A MOMENT IN LIFE COULD BE MORE ENTRANCING THAN AN EVENING YOU SPEND AUX FOLIES BERGERE. FOLIES BERGERE, NOT A SOUL IN THE WORLD COULD BE IN DESPAIR WHEN HE IS GLANCING AT THE FABULOUS STAGE DES FOLIES BERGEREThe showgirls disappear. Lilli comes down from thepiano and crosses onto the stage. The scrim rises.From every corner, more showgirls begin to enter. p. 39 LILY SHOWGIRLSFOLIES BERGERE- OOH LA LALA MUSIQUE, LA DANSE, LESON, LA LUMIERE! OOH LA LALES PETITS JOLIES SEINS DESBELLES BOUQUETIERES OOH LA LASUR LA BELLE PASSARELLE DESFOLIES BEREGERE, OOH LA LAPAS DE MYSTERE-LE SPECTACLE EST TOUT A OOH LA LAFAIT DECOUVERT."ET PAS TROP CHER"VIENS CE SOIR AVEC MOIAUX FOLIES BERGERE.Lilli crosses onto the passerelle, and speaks directlyto the audience. LILLI (CONT'D) Ah, Bon soir, bon soir, bon soir. Je suis la vedette des Folies Bergere. Vedette, it means 'star.'Lilli singles out guests at the lip of the stage: LILLI (CONT'D) Let me tell you. Last night I looked down at this table in the chairs you are sitting in now, and what did I see? A priest! And next to him?Suddenly, she sees Young Guido in the audience. LILLI (CONT'D) Ahh, mon Dieu! Guido? Guido Contini? What are you doing here at the Folies Bergere? You naughty boy! You're only nine years old! But I'm glad you've come. Would you like to join me on stage? Yes. Come. Come, come, come.And she brings him onto the stage. The audienceapplauds. She addresses him as though he is OlderGuido. LILLI (CONT'D) Feeling better? There's no room for hopelessness in here, is there, Guido? (to the audience) We must explain something to our young Guido. What do we want? Laughter! What do we want? Love! What do we want? Dreams! Let us not forget, Guido, mon cher -- That's our privilege - to entertain. p. 40The number kicks into full gear with a rousing can-can.Young Guido finds himself swept into Lilli'sintoxicating world. LILLI AND SHOWGIRLS FOLIES BERGERE THE MUSIC, THE LIGHTS, AND THE LAUGHTER, THE ANSWER TO WHAT YOU ARE AFTER EACH NIGHT AT THE FOLIES BERGERE. FOLIES BERGERE LILLI BY THE HEAVENS ABOVE, YOU WILL SWEAR THERE'S NOTHING RARER! LILLI AND SHOWGIRLS THAN THE FOLIES BERGERELilli crosses the proscenium. Her boa grows and growsuntil it stretches the length of the stage. LILLI AND SHOWGIRLS (CONT'D) FOLIES BERGERE THE STAGE OVERFLOWING, AND GIVING A MUSICAL REASON FOR LIVING EACH NIGHT AT THE FOLIES BERGERE. FOLIES BERGERE... LILLI TO YOUR MODERN IDEAS I COMPARE ONE DERRIERE! LILLI AND SHOWGIRLS AT THE FOLIES BERGERE!Lilli wraps her long boa around Young Guido. He andLilli are lifted onto an art deco swing, flanked by twoshowgirls, that rises into the air. He is transportedand inspired. LILLI AND SHOWGIRLS (CONT'D) THE ANSWER TO WHAT YOU ARE AFTER, THE MUSIC, THE LIGHTS, AND THE LAUGHTER OF THE FOLIES BERGERE!INT. GUIDO'S SUITE - NIGHTWe seem to be looking at the SET ON STAGE 5. Butsuddenly a HUGE HEAD dips into the shot and it's Guidocontemplating a model of the set. He places a figureon the top of the staircase. p. 41He moves round to the front of the model and placesanother figure on the top of the scaffold tower. Heknocks it over.Unconvinced, he sits down on the sofa. The coffeetable is covered in head-shots. He finds the one ofClaudia. Guido looks at it.He lies back to write and finds himself in CLAUDIA'SLAP. She hands him a lipstick, smiles and strokes hishair. He starts to sign - "TO HIS EXCELLENCY.... "then paints his lips and kisses the photo himself.Claudia laughs.INT. ANCIENT BATHS - DAYGrottos and tunnels are thick with steam. Guidofollows the Cardinal's Secretary. CARDINAL'S SECRETARY The Cardinal is right this way.The Cardinal's Secretary leads Guido to a private area,where the Cardinal is already soaking in a large tub ofhot water. CARDINAL'S SECRETARY (CONT'D) Your Eminence, Signor Contini is here.The Cardinal's Secretary makes a gesture to Guido toget into the tub with the Cardinal. Guido gets in thewater. The Cardinal looks hard at Guido and then makeshis first pronouncement. CARDINAL I like Charlie Chaplin. GUIDO Me too. CARDINAL A genius. What can I do for you? GUIDO Do you believe in God?The Cardinal's Secretary is shocked. CARDINAL'S SECRETARY Signor Contini, please. CARDINAL No, no, it's an honest question. Yes, I believe in God. p. 42 GUIDO So do I. CARDINAL Are you a Catholic? GUIDO Oh yes, very much so. Not as much as I would like to be, not as much as you would like me to be, I'm sure, but certainly yes, I'm trying. CARDINAL Try harder. GUIDO Yes, yes. I will, I will. Your Eminence, I am not happy. I'm searching for something. I feel a sense of misery, of despair and -- CARDINAL (interrupting) I saw your films. Not the flops, the others, the good ones. But you think people need to see so much sex? It's not necessary. We can all imagine. GUIDO (laughing) Excuse me - my films are what I imagine. CARDINAL Then your imagination has no moral training. GUIDO (nonplussed) How do you train the imagination? CARDINAL The imagination is God's garden; don't let the Devil play in it. Teach our Italian women to be wives, not whores, don't make us look at filth and debauchery. Make us proud to be Italian...Guido's head disappears under the water. The sound ofthe Cardinal's voice trails away... p. 43MEMORY:EXT. BEACH - DAYSUPERTITLE: Pesaro, Italy, 1926Young Guido, dressed in his school uniform, runs fastacross the rough dunes with five boys from the village.The boys head for a graffiti-covered defensive wallwith barbed wire along the top, a leftover from thewar.They reach into pockets and extract small change, handit to Young Guido, already the ring leader.They crawl through a small opening in the wall andapproach an abandoned bunker...EXT. SARAGHINA'S BUNKER - DAY...Young Guido takes a step forward toward the bunker,as the other boys fearfully take a step back. YOUNG GUIDO (not loud enough) Saraghina. (louder) Saraghina.Now all the boys join in. BOYS Saraghina! Saraghina! YOUNG GUIDO (loudest) Saraghina! Sa-ra-ghina!A shadow moves inside the bunker. Now even Young Guidotakes a step back, but the boys are taking three stepsback.And then she comes out. SARAGHINA is a gritty, earthywoman, with a powerful, voluptuous energy. She hasdarkened eyes and a beauty mark: she is clearly themodel for the whore makeup on Carla.She looks at the boys. She may be a crazy whore, butshe's not an animal, she's just playing one for theboys, and they don't quite understand that she's havingher own fun with them.She takes a deliberate step. Young Guido stands hisground. She takes another step and holds out her hand. p. 44Young Guido opens his hand with the coins.She looks at the money. Is it enough?But she grabs his wrist, and holds it, and then takesthe coins.She stuffs the money in her ample bosom and heads backto her bunker. She returns dragging an old brokenchair, places it in front of the boys and sits, readyfor the "show."Saraghina scoops up the soft white sand in her handsand pours it over her body...A dark vamp begins.FANTASY:INT. "SOUNDSTAGE"Curtains of falling sand fill the soundstage.Through the sand, we see Saraghina seated on the samechair from the beach. She speaks, surrounded by otherWHORES in provocative positions on beaten-up chairs. SARAGHINA So, you little Italian devils, you want to know about love? Saraghina will tell you...and if you want to make a woman happy, you rely on what you were born with. Because it is in your blood.EXT. BEACH - DAYWith a smile, she pulls her dress off her shoulders.INT. "SOUNDSTAGE" SARAGHINA (sings) BE ITALIAN, BE ITALIAN. TAKE A CHANCE, AND TRY TO STEAL A FIERY KISS. BE ITALIAN, BE ITALIAN. WHEN YOU HOLD ME, DON'T JUST HOLD ME BUT HOLD THIS!She grabs her breasts. p. 45EXT. BEACH - DAYShe undulates her body. The boys watch and cheer.INT. "SOUNDSTAGE" SARAGHINA PLEASE BE GENTLE, SENTIMENTAL, GO AHEAD AND TRY TO GIVE MY CHEEK A PAT, BUT BE DARING AND UNCARING. WHEN YOU PINCH ME, TRY TO PINCH ME WHERE THERE'S FAT.EXT. BEACH - DAYSaraghina gets up on the chair, lifts her skirt, andbegins to move her hips.INT. "SOUNDSTAGE" SARAGHINA WHORESBE A SINGER, BE A LOVER BE A SINGER, BE A LOVER,PICK THE FLOWER NOW BEFORE BEFORE IT'S PAST, BETHE CHANCE IS PAST, BE ITALIAN, BE ITALIAN.ITALIAN BE ITALIANLIVE TODAY AS IF IT MAYBECOME YOUR LAST!EXT. BEACH - DAYSaraghina drops to the ground and playfully writhes inthe sand. The boys are transfixed.She gets up and heads towards the water. The boysfollow, running.INT. "SOUNDSTAGE"Saraghina and The Whores brandish tambourines. Theybegin a slow, rhythmic and sensual dance that buildsinto a wild and raucous tarantella.We furiously intercut between the musical fantasy andthe memory of the boys romping on the beach withSaraghina, across the sand and through the water. SARAGHINA WHORESBE A SINGER, BE A LOVER, BE A SINGER, BE A LOVER,PICK THE FLOWER NOW BEFORE BEFORE IT'S PAST.THE CHANCE IS PAST. p. 46 SARAGHINA WHORESBE ITALIAN, BE ITALIAN, BE ITALIAN, BE ITALIAN.LIVE TODAY AS IF IT MAYBECOME YOUR LAST!The whores dance.The number ends.EXT. BEACH - DAYTwo PRIESTS are running down the beach, cassocksflapping.The boys run. Young Guido tries to run away from thepriests. They catch him and carry him away from thebeach.INT. ST. SEBASTIAN CHAPEL - DAYOff-screen, a boys choir sings KYRIE.The priests drag Young Guido through the school'schapel, past a tortured Christ hanging above the ornatealtar, into the Principal's office.INT. PRINCIPAL'S OFFICE - DAYGuido's mother is there with the PRINCIPAL (again, sheappears the way he remembers her). MAMMA I am ashamed of you, Guido. YOUNG GUIDO But Mamma, what did I do. PRINCIPAL Bring him here. That savage is the devil. God will punish you for your sins, now and forever.The Principal produces a cane and starts to whip theboy remorselessly. Mamma looks away. Young Guido criesout as they punish him...INT. PENSIONE BEDROOM - DAY...and the cry is now in Guido's mouth, on top of Carlain the spasm of sex... He suddenly can't breathe...Carla is suddenly aware that he's not in ecstasy... Herolls over, recovers slowly. As always, immediatelywanting to leave after the sex. p. 47 CARLA What? What? GUIDO I can't breathe, I can't breathe. CARLA Guido, don't die on me! Can you imagine... poor Luigi! It would kill him. GUIDO (finding her ridiculous) If I die it would kill your husband?Guido shrugs the sheet off and sits up slowly. Carlakneels up and hugs him, kissing his back. CARLA No, that's not what I meant, Guidino. No. Where are you going? GUIDO I have to go to work. Carla, I can't breathe.Guido stands up and picks up his shirt. He puts it onwhilst they argue. CARLA Let me come with you. GUIDO It's impossible. CARLA Why? GUIDO Because it's impossible. Please. CARLA But why is it impossible? Look at your producer! He's married, he brings his girlfriend to work and nobody cares. Guido. Everybody knows about me. Why? Why won't you let me near you? GUIDO For the very same reason you don't want me to die on top of you. It's not fair to your husband. It's not fair to my wife. p. 48 CARLA See, you're playing with me. You're twisting everything... Please let me come with you. GUIDO No.Guido heads towards the door, still dressing. CARLA I'll be here waiting for you with my legs open.Disgusted with himself, he leaves.INT. TERRACE RESTAURANT, HOTEL BELLAVISTA - NIGHTGlittering lights on the terrace. A view of the sea.A pop band and a dance floor. A slick Italian MALESINGER performs QUANDO QUANDO QUANDO. People dance.The whole PRODUCTION TEAM is at a working dinner.Guido is at the end of the table, spilling ideas,struggling, struggling to make sense of Italia - GUIDO Let's say there were ten sequences, each one set in a different period, but played by the same cast, a man and a woman, a woman and a man... (pours himself a glass of wine) Something light and hectic - like Mozart would do it, like Figaro. (to Lilli) Like the circus... DANTE Claudia is going to be amazing. BENITO It sounds like a masterpiece. FAUSTO (hissing at Dante) Dante, you see, he hasn't written a word... DANTE (defending his director) The screenplay is first of all a map. That's a map. p. 49 GUIDO Let's try to dig for something else. Maybe a group of people digging, with shovels, in the desert. LILLI Guido.She nudges him. He looks across the restaurant to seehis wife at the entrance looking for him... GUIDO Luisa!He jumps up from the table and hurries towards thedance floor, genuinely happy.ON THE DANCE FLOOR: - as Guido is protective of Luisa... holding her backfrom the dinner table. GUIDO (CONT'D) I can't believe you came. LUISA The jungle drums said it was an emergency. GUIDO The jungle drums exaggerated just a tiny bit. LUISA Not entirely. (with concern) You haven't been sleeping. GUIDO I was dying, until just now. Come.He pulls her into the middle of the dance floor. Theystart to dance. GUIDO (CONT'D) And don't think I forgot your birthday. When you get home, the house will be full of flowers... LUISA Am I already going home? GUIDO I hope not. Happy Birthday, my darling. p. 50They move together, enjoying each other. She kisseshim.They walk towards the table.AT THE TABLE: DANTE (Seeing Luisa) Here she is. At last. Magnificent. You know Donatella? LUISA I do now.She leans across to kiss Lilli.He sits Luisa down, goes to grab a bottle of champagne. LUISA (CONT'D) (to Lilli) Thank you for calling. LILLI (confidentially) You're saving the movie. Give him a good idea, for God's sake.Luisa says hello to the rest of the gang, there arekisses, etc. as Guido returns and pops open the bottleof champagne. GUIDO Let's drink a toast to Luisa's birthday. LUISA (negating it) It was Monday. DANTE Happy Birthday! LUISA (not quite able to forgive him) Thank you. GUIDO Happy Birthday.Just then, the Cardinal's Secretary appears. Headstowards the table. CARDINAL'S SECRETARY Maestro. p. 51 GUIDO (standing up to greet him, then turning to Luisa) Ah, Don Mario. Excuse me, darling, this is Don Mario. This is my wife, Luisa. CARDINAL'S SECRETARY A pleasure, Signora. LUISA Sit down, won't you, Don Mario? CARDINAL'S SECRETARY Oh no. LUISA Please. CARDINAL'S SECRETARY I was telling your husband how much I admire his movies. Publicly, you know the Church condemns them - we have to - but we all love them. (To Guido) Last year we did our own version of your Il Vicolo at the Christmas Party. LILLI That I would pay to see. GUIDO Luisa was in that film. LILLI She was the best thing in the movie. GUIDO It's true. It was your first part. CARDINAL'S SECRETARY Of course! - you're Luisa Acari! Oh my Lord! LUISA I was.Music begins. CARDINAL'S SECRETARY You can't stop being somebody. LUISA Can't you? p. 52 CARDINAL'S SECRETARY Well there's a good catholic wife for you, Guido, that's what they do - sacrifice. Still, Signora Contini, it must be a very exciting life for you...Luisa looks to Guido. Close up on Guido.FANTASY:INT. "SOUNDSTAGE"The restaurant table as well as the production team aretransplanted onto Guido's unfinished set. They aresurrounded by camera equipment, standing lightingunits, etc. Luisa rises from her chair, distancingherself from the scene. The other characters, with theexception of Guido, freeze in a dimly lit macabretableau.Luisa contemplates her life with Guido. LUISA MY HUSBAND MAKES MOVIES TO MAKE THEM HE LIVES A KIND OF DREAM IN WHICH HIS ACTIONS AREN'T ALWAYS WHAT THEY SEEM- HE MAY BE ON TO SOME UNIQUE ROMANTIC THEME. SOME MEN RUN BANKS SOME RULE THE WORLD SOME EARN THEIR LIVING BAKING BREAD. MY HUSBAND.... HE GOES A LITTLE CRAZY MAKING MOVIES INSTEAD. MY HUSBAND SPINS FANTASIES, HE LIVES THEM, THEN GIVES THEM TO YOU ALL LIKE MICHELANGELO, HE PAINTS HIS PRIVATE DOME BUT CAN'T DISTINGUISH WHAT'S HIS WORK AND WHAT'S HIS HOME. SOME MEN SELL STOCKS SOME MEN PUNCH CLOCKS SOME LEAP WHERE OTHERS FEAR TO TREAD. MY HUSBAND, AS AUTHOR AND DIRECTOR, MAKES UP STORIES IN HIS HEAD.As the number progresses, the world around Luisadisappears into a black void, leaving only herself,with Guido in the shadows. Luisa climbs the staircase. LUISA (CONT'D) GUIDO CONTINI, LUISA CONTINI: NUMBER ONE GENIUS AND NUMBER ONE FAN. (MORE) p. 53 LUISA (CONT'D) GUIDO CONTINI, LUISA CONTINI: PASSIONATE WOMAN IN LOVE WITH THIS MAN LONG AGO - MANY YEARS AGO. ONCE WE TWO WERE- GUIDO CONTINI, LUISA HIS LOVER: ACTRESS WITH DREAMS AND A LIFE OF HER OWN, THEN WE HAD NO END OF WORLDS TO DISCOVER, SINGING TOGETHER ALL NIGHT ON THE PHONE LONG AGO - SOMEONE ELSE AGO...MEMORY:INT. INSERT STAGE - DAYLuisa's screen test for Guido. A work print inscratched black and white. The music continues. CLAPPER LOADER (O.S.) Signorina Acari, per favore. Provino numero uno. Luisa Acari.The clapper board. TITLE: IL VICOLO (The Alley) Hername: LUISA ACARI.A small set. A couple of tables and chairs, as if it'san outdoor cafe in Piazza Navona. Luisa enters,younger, she's like Audrey Hepburn...Luisa sits on the chair. GUIDO (O.S.) Your name, it's Italian. LUISA My father's Italian. My mother's French. GUIDO (O.S.) What have you done before? LUISA (eyes twinkling) Oh, I've waited... GUIDO (O.S.) Waited? For this? LUISA Waited tables. (they both laugh) And, of course, I studied theatre and mime in Paris. But, mostly waited tables. p. 54Guido enters. He's fascinated by her. She's takenaback that he's in front of the camera and approachingher. He walks straight up to her and unties her hair.It's oddly intimate. He stands back to reappraise her. GUIDO Thank you. LUISA For what? GUIDO Thank you. For what I'm looking at. (walking away) Keep running.INT. "SOUNDSTAGE"Luisa is now at the top of the staircase. She looks atGuido from a greater distance and descends the stairs. LUISA LONG AGO - SOMEONE ELSE AGO. HOW HE NEEDS ME SO, AND HE'LL BE THE LAST TO KNOW IT. MY HUSBAND MAKES MOVIES. TO MAKE THEM HE MAKES HIMSELF OBSESSED. HE WORKS FOR WEEKS ON END WITHOUT A BIT OF REST- NO OTHER WAY CAN HE ACHIEVE HIS LEVEL BEST. SOME MEN READ BOOKS, SOME SHINE THEIR SHOES, SOME RETIRE EARLY, SOME STAY UP TO DREAM AND MUSE. MY HUSBAND ONLY RARELY COMES TO BED - MY HUSBAND MAKES MOVIES INSTEAD. MY HUSBAND MAKES MOVIES...INT. TERRACE RESTAURANT - NIGHTIn reality, Luisa sees Carla enter the restaurant.They look at each other. Carla tries to changedirection, or look as if she's come to the wrong place....Luisa gets up abruptly. LUISA Excuse me, I suddenly feel very tired.She hurries away. Guido senses something terrible ishappening. He gets up and goes after his wife. p. 55EXT. STEPS, HOTEL BELLAVISTA - NIGHTGuido catches up to Luisa as she storms up the steps. GUIDO Luisa! LUISA I'm staggered by my own stupidity. I could vomit. GUIDO Luisa - will you please just tell me what happened? LUISA You open your mouth and a lie comes out. GUIDO What lie? LUISA Why am I surprised? - it's like breathing to you.She walks away up the steps. Guido can only guess atwhat's happened. He heads back to the terracerestaurant...INT. TERRACE RESTAURANT - NIGHTGuido comes back inside. Carla is seated at a table.She sees him and calls for him. CARLA Guido.Raging, he grabs her and frogmarches her out the door.INT. LOBBY, HOTEL BELLAVISTA - NIGHTGuido pulls Carla through the lobby. She's humiliated. CARLA (trying to explain) I was hungry. I'm tired of eating alone in that room. GUIDO There are plenty of restaurants. p. 56 CARLA I wanted to see the hotel. I told you I came here with my parents when I was little. I didn't come to disturb you. GUIDO Well you certainly managed to. CARLA Why didn't you tell me Luisa was going to be here! GUIDO I didn't know she was here. She just turned up. CARLA Well, she could have warned you. GUIDO The only privilege my wife has these days is not having to warn me.He walks over to the front desk, to the ubiquitous DeRossi. GUIDO O.S A taxi, please, for the Signora. DE ROSSI O.S. Right away.Guido goes back to the suddenly vulnerable Carla. GUIDO Carla, you have to wait outside. CARLA Will you wait with me? GUIDO I'm in the middle of a working dinner with my colleagues. CARLA So why do I have to wait outside? GUIDO (shamed) I'll find someone to escort you home.He disappears. Carla walks towards the door, consciousof De Rossi. She's humiliated. De Rossi comes outfrom behind his desk, approaches her. p. 57 DE ROSSI (carefully) Signora, would you rather wait inside? CARLA I'm going to walk. Please tell my friend I had to leave.She walks away.EXT. ROAD - NIGHTCarla walks along the road in the dark, stumblingalong.INT. GUIDO'S SUITE - NIGHTGuido enters. The two single beds. Luisa is apparentlyasleep in hers. Guido sits on his bed. Glum. GUIDO Apparently she's staying in some grotesque pensione next to the station.Luisa doesn't move. GUIDO (CONT'D) Luisa, if I'd invited her here, she would be staying in the hotel, wouldn't she? Think about it. I didn't even know you were coming. LUISA (without opening her eyes) Very plausible. GUIDO Because it's true.Luisa turns on her bedside lamp and sits up in bed. LUISA You told me it was finished. GUIDO It is. Look, she was worried about me, she came to see if I was all right - which yes, is stupid but not, as far as I know, a crime, and hardly a mortal sin.Luisa suddenly laughs, disconcertingly. p. 58 GUIDO (CONT'D) (smiles, insecure) What? What are you laughing about? LUISA Nothing. If you could see yourself. (raising herself up further) I couldn't live with it - the absurdity of being you, the effort of having to hide and lie and cheat. It's exhausting, no wonder you've got no script, you're too busy inventing your own life. GUIDO It's finished. It's finished. (and he is exhausted) If it wasn't before, it is now. LUISA (lying back on her bed) Blah blah blah blah blah.Luisa turns over, reaches to the bedside lamp and turnsit off. Guido gets up and hurries from the room.INT. BAR, HOTEL BELLAVISTA - NIGHTGuido enters the bar, goes up to the bartender. GUIDO Vodka.A voice comes from behind him. STEPHANIE (O.S.) I'll have one of those. Due.Guido looks around, it's the Vogue Journalist from thePress Conference. Stephanie grins at him, infectious,full of flirt. STEPHANIE (CONT'D) Hi, Guido Contini. Stephanie, from Vogue, remember me? GUIDO Yes, I remember very well, Stephanina from Vogue. STEPHANIE So, coincidence. You being here. And me being here. p. 59 GUIDO (taking his glasses off) Amazing. May I take a cigarette? STEPHANIE That was quite a performance. At the Press Conference. The Vanishing Act.Guido takes a cigarette. The drinks appear. Guidoproduces some money. STEPHANIE (CONT'D) No, please, my treat. GUIDO (paying) Please. STEPHANIE Grazie. GUIDO Prego. STEPHANIE (eyeing Guido) I've seen all your movies. GUIDO (lights their cigarettes) Really? STEPHANIE Like a million times. They're the only movies that tell the truth about the modern world. GUIDO And what truth is that? STEPHANIE (thinks) Death of religion... Sexual revolution... GUIDO I don't think religion is dead. And what exactly is the sexual revolution? STEPHANIE That we can talk about later.Stephanie crosses her legs. Guido looks down and seesher grey patent leather boot moving in time to thebeat.A RHYTHM BEGINS. p. 60 STEPHANIE (CONT'D) You have such style. I always think that. That's the other thing I love about your movies. GUIDO (appalled) Style.FLASH: A SUDDEN HEAD TURN OF A MAN IN SHADES. STEPHANIE Every frame is like a postcard. GUIDO (appalled) Okay. STEPHANIE It's great: you care as much about the suit as the man wearing it.FLASH: A SUDDEN IMAGE OF MEN IN STYLISH SUITS. STEPHANIE (CONT'D) It's the Italian man in you: pays for your drinks, undresses you with his eyes...FLASH: A SUDDEN IMAGE OF A WOMAN'S HIP THRUST. GUIDO I hate that man. STEPHANIE No! Style is the new content! It's what my readers love. They want to dress like Claudia Jenssen. They want to undress like Claudia Jenssen. They want to ride on a Vespa down the Via Veneto. They want to live in an Italian movie.FANTASY:INT. "SOUNDSTAGE"The tiered levels of the unfinished set are coveredwith go-go girls in silver miniskirts. At the centerof the stage, Italian male models in stylish suits andRay Bans strut down a fashion runway.Stephanie makes her entrance on the catwalk. p. 61 STEPHANIE I LOVE THE BLACK AND WHITE! I LOVE THE PLAY OF LIGHT! THE WAY CONTINI PUTS HIS IMAGE THROUGH A PRISM.INT. HOTEL BAR - NIGHTGuido lights Stephanie's cigarette.INT. "SOUNDSTAGE" STEPHANIE I FEEL MY BODY CHILL GIVES ME A SPECIAL THRILL EACH TIME I SEE THAT GUIDO NEO-REALISMINT. HOTEL BAR - NIGHTGuido and Stephanie share a laugh as she steals a sipfrom Guido's glass.INT. "SOUNDSTAGE"Stephanie leads the men in a series of tight, rhythmicmoves. STEPHANIE I LOVE THE DARK AND HANDSOME GUYS WITH THEIR SKINNY LITTLE TIES DRESSIN' MOD, LOOKIN' OUTTA SIGHT! I LOVE TO WATCH `EM AS THEY CRUISE WITH THEIR POINTY LEATHER SHOES WEARIN' SHADES IN THE MIDDLE OF THE NIGHT.INT. HOTEL BAR - NIGHTStephanie rubs her leg against Guido's.INT. "SOUNDSTAGE" STEPHANIE WHATEVER GUIDO DOES, IT MAKES ME SMILE HE IS THE ESSENCE OF ITALIAN STYLE. I LOVE THE GLAMOROUSLY LATIN WORLD THAT ONLY GUIDO CAN PORTRAY!!! CONTINI'S CINEMA ITALIANO! I LOVE HIS CINEMA ITALIANO! HE MAKES ME FEEL WITH CINEMA ITALIANO (MORE) p. 62 STEPHANIE (CONT'D) MY LIFE IS REAL WITH CINEMA ITALIANO HE IS THE KING OF CINEMA ITALIANO!INT. HOTEL BAR - NIGHTStephanie whispers into Guido's ear, as she drops herroom key into his pocket. He watches her hips swing asshe walks out. Guido plays with her room key, decidingwhether or not to follow.INT. "SOUNDSTAGE"A long line of chic women replace the men on therunway, joining Stephanie. STEPHANIE THOSE SCENES I LOVE TO SEE FROM GUIDO'S "P" "O" "V" THERE'S NO ONE ELSE WITH HIS UNIQUE DIRECTOR'S VISION. HIS ANGLES - WIDE AND TIGHT - EACH MOMENT FEELS SO RIGHT... DEFINES ITALIAN STYLE BY ONLY HIS DECISION! I LOVE THE SPEEDY LITTLE CARS THE HIP COFFEE BARS THE SLEEK WOMEN IN POSITANO... GUIDO'S THE ULTIMATE UOMO ROMANO! STEPHANIE AND MEN CONTINI'S CINEMA ITALIANO! I LOVE HIS CINEMA ITALIANO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO!DRUM BREAK. The number heats up.INT. HOTEL HALLWAY - NIGHTGuido exits the elevator, weary and ripe with self-disgust, and walks down the hallway to Stephanie'sdoor.Guido pushes open the door and drops her key in a bowl.He walks tentatively into the room and sits on her bed.The dressing room door is deliberately ajar.Guido catches a glimpse of Stephanie undressing in amirror. p. 63INT. "SOUNDSTAGE" STEPHANIE DARK AND HANDSOME GUYS SKINNY LITTLE TIES SHADES IN THE MIDDLE OF THE NIGHT SPEEDY LITTLE CARS HIP COFFEE BARS SLEEK WOMEN IN POSITANO... STEPHANIE AND WOMEN MENECCO IL RE DEL ECCO IL RE DELCINEMA ITALIANO CINEMA ITALIANOQUESTO O E IL QUESTO O E ILCINEMA ITALIANO CINEMA ITALIANONELLA MIA ANIMA ALL NELLA MIA ANIMA NELLA MIA ANIMA CINEMA ITALIANO BIANCO-NERO BIANCO-NERO BIANCO-NERO NERO-NERO STEPHANIE CINEMA ITALIANO WOMEN MENBIANCO-NERO BIANCO-NERO DARK AND HANDSOME GUYSBIANCO-NERO SKINNY LITTLE TIESNERO-NERO SHADES IN THE MIDDLE OF THE NIGHT SPEEDY LITTLE CARS HIP COFFEE BARS MOD, LOOKIN' OUTTA SIGHT ALL NELLA MIA ANIMA CINEMA ITALIANO NELLA MIA ANIMA CINEMA ITALIANO CONTINI'S CINEMA ITALIANO!Suddenly, Guido is sharing the runway with Stephanie,the go-go dancers, and the male models, soaking up theadoration as his idol-worshipping audience cheers andpaparazzi flash. It's a party. Champagne Popping.Flowing.Everyone is chanting Guido's name. Guido and Stephanieexit the runway, arm and arm... p. 64INT. STEPHANIE'S HOTEL ROOM - NIGHTGuido feels consumed with self-loathing. GUIDO No.He gets up from the bed and bolts from the room...INT. GUIDO'S SUITE - NIGHT...Guido enters his own suite. He sits down on Luisa'sbed, curls round her and kisses her neck. Determinedto commit to Luisa. GUIDO I love you Luisa.After a moment she turns to him, her own hand seekshis. GUIDO (CONT'D) Can we please try to be close again.The PHONE RINGS, shockingly loud. He kisses Luisa,then grabs the phone to silence it. GUIDO (CONT'D) Pronto...EXT. PENSIONE FERROVIA - NIGHTGuido arrives at the Pensione. The Matron is waitingat the door. Distressed.INT. PENSIONE FERROVIA - NIGHTAs they walk down the hall - GUIDO Is the doctor still with her?The Matron nods. MATRON Yes, he's in there. He's waiting for you. This way. p. 65INT. PENSIONE BEDROOM - NIGHTGuido goes in with the Matron to find her DAUGHTERpressing a cold compress onto Carla's head as she lies,feverish in the bed. DOCTOR RONDI is packing up histhings. CARLA (distant) You came. GUIDO (taking her hand) I'm here.Doctor Rondi is brisk. He nods to Guido that they gooutside. DOCTOR RONDI Signor Contini.As Guido makes to leave - CARLA Come back.Guido reassures her with a gesture.INT. HALLWAY OUTSIDE PENSIONE BEDROOM - NIGHTGuido and Doctor Rondi come out. Guido is concerned.Doctor Rondi writes out a prescription as he talks. DOCTOR RONDI She took five or six pills, enough to make herself very sick. I understand she's your mistress. (Guido can't answer) This is a sordid business. You movie people, I suppose you don't consider yourself bound by morality...Guido doesn't fight. Rondi hands him the prescription,picks up his bag, turns and walks away, leaving Guidoleaning against the wall...MEMORY:EXT. BEACH - DAYYoung Guido, alone and dressed in his school uniform,runs fast across the rough dunes. p. 66 MAMMA (O.S.) Guido? Dove corri? Where are you running to?INT. PENSIONE BEDROOM - NIGHT... the door knob turns. Guido comes back into theroom, indicates to the Matron and her daughter thatthey should leave. GUIDO Thank you. I'm going to stay with her now. MATRON If you need us for anything, just call, okay? Francesca, andiamo. GUIDO Grazie.He sits on the side of the bed and puts his hand overhers. GUIDO (CONT'D) Carla, I should call your husband. CARLA No, he'll take me home. GUIDO What have you done to yourself? I'm not worth dying for, Carla. CARLA Don't be angry with me. Everything I do, I just want you to love me.This comes out with enormous tenderness, as if shesuddenly understands herself. CARLA (CONT'D) When you're not here with me, I'm still here. When you're in your life, making your movies, dancing with your wife - I'm still here.Guido hears her. Knows what she's saying is true. Shelooks at him. GUIDO Ssshh. You should rest. We'll talk about everything in the morning...He stands and pulls a sheet up over her. p. 67 CARLA (Clutching at him) Don't leave me. Don't leave me.Guido lies down next to her, she turns to face him. GUIDO Rest, rest. Cara mia...FANTASY:INT. "SOUNDSTAGE" MAMMA (O.S.) ...Caro,caro mio....Young Guido is scaling the unfinished set, as Mammacircles him from below. Hundreds of candles fill thedarkness.Mamma intercepts Young Guido as he jumps down from thespiral staircase and she swings him into her arms. Shesings playfully. MAMMA (CONT'D) GUARDA LA LUNA CHE BRILLA LASSU HOW THE MOON GLOWS AS IT SMILES OVER YOU WHEN YOU'RE DREAMING BLISSFULLY! DREAMING, FLYING FREE!INT. PENSIONE BEDROOM - NIGHTGuido attempts to comfort Carla. CARLA My husband thinks I'm clever, that's the strange thing, because I'm not, well you know that, I spend too much time in my little brain thinking about you, about where you are, what you are doing, what you dream of.INT. "SOUNDSTAGE"Mamma guides Young Guido through an allÈe of candles. MAMMA OH, DREAM OF YOUR YOUTH WHEN I'M STILL BY YOUR SIDE DREAM OF YOUR MANHOOD, PRAY I'M THERE TO GUIDE YOU AND WHEN YOU GROW OLD (MORE) p. 68 MAMMA (CONT'D) HOW MY LOVE STILL WILL SHINE ALWAYS REMEMBER MY SON... YOU WILL ALWAYS BE MINE! YES, MINE!She gently spins Young Guido, and - as he completes theturn - he is replaced by Older Guido. Mamma now waltzeswith her adult son. MAMMA (CONT'D) GUIDO SAI CHE TI VOGLIO BENE, FIGLIOLO MIO, GUIDO DO YOU THINK THAT SO MANY WILL LOVE YOU AS I DO?Mamma caresses Guido's face. Guido pulls away.Older Guido watches, as Mamma takes Young Guido up thegrand staircase. MAMMA (CONT'D) GUARDA LA LUNA, SHE HANGS IN THE SKY BEAMING HER BLESSING TO MAKE YOU AND I KNOW THAT THIS ONE GOODNIGHT KISS WILL KEEP ALL YOUR LIFE PERFECT LIKE THIS.Mamma sits on the steps with Young Guido. He rests hishead in her lap.Older Guido walks past them up the staircase. GUIDO Hold on to me, Mamma. Don't let me wake from this.He disappears into darkness.INT. PENSIONE BEDROOM - DAYGuido wakes. It's morning.Carla looks very fragile as the first rays of sun touchthe room. Him, too. He rubs his face, hears voices.He gets up, goes out to investigate.INT. HALLWAY OUTSIDE PENSIONE BEDROOM - DAYCarla's husband, LUIGI, is talking with Matron on thelanding. p. 69Guido straightens himself up, approaches, as Matronretreats to leave them alone. LUIGI is a nice,dignified man. He's very anxious. He and Guido can'treally look at each other. MATRON Excuse me.She leaves. LUIGI Is she okay? GUIDO Yes. LUIGI I'd like to take her home. GUIDO Of course. I'm sorry. (hapless) She loves you, you know that, don't you. LUIGI She's my wife.He walks into the room. Guido stands outside for asecond, then turns to go.INT. GUIDO'S SUITE - DAYThe door is open as Guido enters. He's confused,worried that Luisa has gone, perhaps. But then he seesa figure moving about in the dressing room, emptying acloset. GUIDO Darling?Dante appears, stuffing Guido's things into a suitcase. DANTE We're going back to Rome. GUIDO (anxious) Where's Luisa? DANTE Luisa? She's gone. She's had it with you. (different tone) And quite frankly, so have I. You drag a whole crew up here and then you just disappear. (MORE) p. 70 DANTE (CONT'D) I can't protect you anymore. And Claudia is in Rome. Makeup tests start today. Remember? GUIDO (sits) I can't. DANTE You can't. You must. Don't sit down. GUIDO I need help. DANTE (still packing) You've had help. You've seen the doctors, you've seen the priests, you've taken the cure. GUIDO I'm not cured. DANTE (decisive, no arguments) That's enough! The movie calls, your star has landed. Fausto - take his things please.Dante walks over to the door with the suitcase, passingFausto. A Bellboy and a luggage cart stand in the hall. DANTE (CONT'D) (impatient, at the door) Guido! Andiamo!EXT. GATES OF CINECITTA - LATE AFTERNOONGuido's Roadster approaches the gates. There arePAPARAZZI gathered for the arrival of Claudia, for thebeginning of filming. They drive through, solemn faced,ignoring the press. GUIDO (O.S.) I need more time. DANTE (O.S.) Forget the script. Claudia's here now. She'll inspire you to do what you do best, write with your camera. p. 71EXT. CINECITTA - LATE AFTERNOONThe whole energy of this return to Cinecitta is hectic,people wanting to work, equipment waiting to work,everybody and everything needing Guido's attention.Guido drives towards the stages. Guido feels thepressure that the whole studio is gearing up for amovie that doesn't exist.Guido is trying not to panic. He feels as if he's justarrived in prison camp. He drives fast and straight toStage 4, and as they head towards the studio, they areimmediately swamped. Pierpaolo has a hundred requestsfor Guido... PIERPAOLO Maestro, the screen tests are back from the lab. Will you watch them now? DANTE Tonight. We'll watch everything tonight and make some decisions. PIERPAOLO Design meeting? Production meeting? DANTE Tonight. PIERPAOLO Tonight.Dante marches Guido towards the stage. Lilli joinsthem. LILLI Claudia says where are you? She's in fine form. Feisty. GUIDO (knows what that means) Okay. LILLI She asked if she could read my script as she didn't have one. I said I didn't quite have mine.Lilli peels off and joins her assistant Roberta at arack of costumes. p. 72INT. INSERT STAGE, CINECITTA - LATE AFTERNOONA couple of huge cameras are being prepared, somelights are being flown up into the grid, the LOADER ispreparing the Clapper Board. The Loader has created aslate: ITALIA, CLAUDIA JENSSEN, HAIR AND MAKEUP TESTS.The gang enters. Guido says a brisk hello to the crew,then leaves the set quickly. Finds the studiotelephone behind the flats. He dials.Guido waits. Luisa picks up the phone. LUISA Pronto. GUIDO Luisa, it's me. Please don't hang up. (she doesn't respond) I want you to be with me in the screening room tonight. I want to talk to you about the casting, about the script. Everything...INT. INSERT STAGE/CONTINI HOME - LATE AFTERNOONINTERCUT, LUISA at home, listening, inscrutable. GUIDO Otherwise I won't be able to start, I won't know what I'm thinking...Luisa listens. Pierpaolo appears again, always thesame, needs him to start. PIERPAOLO Maestro.Guido nods, waves him away. GUIDO Are you there? Luisa? LUISA Go on. GUIDO I'm not asking you to let me come home, I just want you to come to the screen test tonight. Not for me, but for the movie. You always have, you always do.Luisa puts down the phone. p. 73Guido is in a mess.INT. INSERT STAGE - EARLY EVENINGGuido walks forward and sits by the camera, as suddenlythere's a commotion at the studio door, and Lilli andsome of her assistants come through, silhouettes only,followed by a tall figure, who demands the space aroundher. As the others walk towards a holding area withcostumes, and wigs and all manner of items, the woman,who is CLAUDIA, of course, simply walks into the light,her home, and stands there waiting for Guido.She looks stunning and glamorous. The epitome of aSixties movie star. Guido gets up and approachesClaudia.Pierpaolo acts as First Assistant Director. PIERPAOLO Silence please. Se gira. And we are rolling.Guido gets behind the camera and films Claudia's test. GUIDO Could you turn to the right please, Claudia. CLAUDIA Yes, I can turn to my right. GUIDO And can you turn to the left. CLAUDIA Yes, I can turn to my left. GUIDO Now just one slow turn for us. CLAUDIA (she turns around) Okay, one slow turn. GUIDO Bellissima. Brava. Cut. PIERPAOLO We've got it. Next costume please.Makeup artists and costume assistants immediatelysurround her, loosening her hair.Dante is thrilled. Fausto is also mesmerised. She's astar, that's the long and short of it. p. 74And she's warming up for a fight with her director.Another litany of jibes, half-joking, but dangerous. CLAUDIA Has anybody got a script? Script missing, handsome reward.... Lost, one script, title Italia. Can't make a film without it...Lilli comes forward, puts a chinchilla fur coat onClaudia, adjusts her hair. CLAUDIA (CONT'D) So interesting to do hair and makeup for a part when you don't know what the part is.Guido adores her, her spirit, her feistiness. CLAUDIA (CONT'D) (shrugs off the coat) No! I'm going back to my hotel now. PIERPAOLO (anxious) But please, just a couple more costumes, Claudia. CLAUDIA (to Guido) I'm going back to my hotel now, my darling, and when I there is a script, I'll read it and then we'll take it from there. (calls over to Lilli) I love the costumes, Lilli. They are beautiful. (back to the guys, sweetly) Ciao Bello. GUIDO That's fair. DANTE Claudia! GUIDO (to Dante) That's fair. DANTE Fair? GUIDO I'll be back. p. 75Guido races after Claudia, taking the chinchilla coatfrom Lilli with him. Opportunity for escape. DANTE (calling to Guido) You've got dailies, Guido. GUIDO I'll be right back. DANTE (shouting) You've got meetings.EXT. CINECITTA - NIGHTGuido drives Claudia towards the gates, which swingopen. The paparazzi are in waiting and swarm the car,flashbulbs popping, men clambering onto the car for apicture of the Star driving away with her Director.Lots of shouting and pleas, lots of remonstration fromGuido. They drive away, and are immediately followedby a posse of photographers on their mopeds and Vespasand little cars.INT. CAR, ROME OUTSKIRTS - NIGHTGuido's Roadster roars away, the papparazzi possefollowing. Guido glances at Claudia, loves having herin the car, she's such a class act. He's alwaysinspired. He's driving fast but distracted by her. GUIDO You look ravishing. CLAUDIA You're not seeing me, you're seeing Lilli's wigs and makeup, I'm somewhere hidden underneath.Guido's a good driver and weaves in and out of thetraffic. So do the posse, but as the road opens up,they can't keep up with him and he manages to overtakea car, they speed after him.EXT. MEDIEVAL LANES, TRASTEVERE - NIGHTGuido stops the car by some narrow streets in theTrastevere, just south of the Vatican. They watch thephotographers hurtle past in search of them.They sit for a second. p. 76 GUIDO It's good to see you. CLAUDIA I'm assuming that's code for there's no script.Guido is exasperated. GUIDO Why is everybody so suddenly obsessed with the script?Claudia listens. She's always seduced by the way hespeaks, his passion. They fall in love with each otherin every movie, that's the way of it. Guido lights acigarette. GUIDO (CONT'D) Talk to the people who love you in our films, they're not interested in my script! They're interested in the way you turn your head, the way the camera looks past you to the moon... the way you smile a little as you cry, the way you really do blush for the camera - how?! - (enough examples, sighs) who even knows, but whatever else it is, it's not my script.Guido has no confidence in what he's saying anymore.They get out of the car and begin to walk away. It'salmost deserted here. CLAUDIA So Lilli says I'm playing a million different parts - GUIDO Not a million - you're the muses, the incredible women who made Italy what it is today, a country run by men - who are themselves run by women, whether they know it or not. CLAUDIA (teasing him) So I'm the women behind the great men? GUIDO (trying hard to tell the truth) The great women... (MORE) p. 77 GUIDO (CONT'D) In a way - yes - you have this man in the story and he's, he wants to take hold of everything, to devour everything, he can't let anything go, or, he doesn't want to, and he changes direction every day, because he's lost, he's dying, he's bleeding to death... CLAUDIA (deflating) And these muses - they fall in love with the man? GUIDO Exactly! They fall in love with him. CLAUDIA (decisive) I'd rather be the man. GUIDO What? CLAUDIA I'd rather be the man.She grabs his hat, puts it on her head. Saunters downthe road. He follows.FANTASY:INT. "SOUNDSTAGE" CLAUDIA IN A VERY UNUSUAL WAY, ONE TIME I NEEDED YOU, IN A VERY UNUSUAL WAY, YOU WERE MY FRIEND. MAYBE IT LASTED A DAY, MAYBE IT LASTED AN HOUR, BUT SOMEHOW IT WILL NEVER END.EXT. MEDIEVAL LANES, TRASTEVERE - NIGHT CLAUDIA These women who come off their pedestals for a kiss - they're just fantasies. GUIDO No, you misunderstand... p. 78INT. "SOUNDSTAGE" CLAUDIA IN A VERY UNUSUAL WAY, I THINK I'M IN LOVE WITH YOU, IN A VERY UNUSUAL WAY, I WANT TO CRY. SOMETHING INSIDE ME GOES WEAK, SOMETHING INSIDE ME SURRENDERS, AND YOU'RE THE REASON WHY, YOU'RE THE REASON WHY. YOU DON'T KNOW WHAT YOU DO TO ME. YOU DON'T HAVE A CLUE. YOU CAN'T TELL WHAT IT'S LIKE TO BE ME LOOKING AT YOU. IT SCARES ME SO THAT I CAN HARDLY SPEAK.EXT. MEDIEVAL LANES, TRASTEVERE - NIGHT GUIDO She's his inspiration. CLAUDIA I can't keep playing that part. GUIDO I fall in love with you every time. CLAUDIA When there's a camera between us. GUIDO No. CLAUDIA It's not a real person, Guido. (pointed) And this man you describe - he doesn't know how to love. CLAUDIA (O.S.) (CONT'D) IN A VERY UNUSUAL WAY, I OWE WHAT I AM TO YOU.EXT. PIAZZA WITH FOUNTAIN - NIGHTClaudia heads towards a little Piazza with an ancientfountain in the centre of the square. The Piazza isempty except for a few cars parked where the entranceshave been blocked off. Claudia steps up onto thefountain. p. 79 GUIDO There was a time once, we were on location, some terrible hotel - and you were in the room directly above me and I could hear you walking about...Guido sits down at the edge of the fountain. GUIDO (CONT'D) ...and, all through the night, I wanted to rush up the stairs and hammer on your door until you opened. CLAUDIA And why didn't you? GUIDO I don't know. I don't know.INT. "SOUNDSTAGE" CLAUDIA SPECIAL TO ME IN MY LIFE, SINCE THE FIRST DAY THAT I MET YOU. HOW COULD I EVER FORGET YOU, ONCE YOU HAD TOUCHED MY SOUL. IN A VERY UNUSUAL WAY, YOU'VE MADE ME WHOLE.EXT. PIAZZA WITH FOUNTAIN - NIGHTClaudia leaves behind the hat on the fountain and movescloser to Guido. The music continues. CLAUDIA Maybe you should have knocked, maybe you should have knocked me right off the pedestal. I can't do this anymore.She takes off her wig and diamond earrings. CLAUDIA (CONT'D) This is me. And you have a wife who loves you.She hands him the wig and the earrings. She kisseshim. CLAUDIA (CONT'D) I'll miss you. Wrong girl.The music ends. Claudia turns and walks away. p. 80INT. SCREENING ROOM, CINECITTA - NIGHTA screen, the leader of a film reel, numbers countingdown, the synch pop on 3, and Claudia appears on thescreen, looking extraordinary from the hair and makeuptest. People start to comment, all enthusiastically.Guido gets a cigarette off Pierpaolo and lights up. DANTE (to Lilli) Great work, Lilli... Wonderful costume... LILLI Thank you. DANTE ...and the hair, makeup, fantastic.Guido watches, sitting alone, he turns around as hesees someone come in the door, but it's Gianluca, notLuisa. BENITO She has a beautiful profile. DANTE Two great profiles. FAUSTO She's a goddess. DANTE And the back isn't too bad. FAUSTO She came directly from Venus. Beautiful. DANTE Fantastic. Guido? Really nice. Who's next? BENITO Actresses. DANTE Okay. Let's see the actresses.The reel finishes. The lights come up, to excitedchatter, he looks at Lilli a row or two behind him, sheshrugs sympathetically.The room goes dark, the next reel begins. Guido turnsback to look at the screen. p. 81During the reel, Dante is very decisive... shouts out,as the women appear.They come on, one after the other, say their names.Guido gives them things to do. Pick up the phone andargue with your lover. No, make him laugh. Make himwant you. Walk towards the camera as if you werefrightened. As if you were angry. ON ELEANORA - veryangry on the phone: BENITO If we like her, we have to call her agent right away. Everybody wants her right now. DANTE Well they can keep her. BENITO She's a very funny actress. DANTE She's peculiar. You don't like her Guido?Next actress: ILARIA. Someone comes in the door.Guido turns and sees it's Luisa, sitting next to Lilli.She's come. He turns back to the screen.Another actress appears. It's Donatella. Verynervous. She says her name. Guido instructs her. Shetries the phone, the walks. She's not a natural.Luisa finds the gentle humor in this situation. Shelooks at Guido. A little smile. He feels it likesunshine. He turns back to the screen. DANTE (CONT'D) She's nice. FAUSTO She's very natural. DANTE Even better. She's a bit nervous here. What do you say, Guido? Donatella's nice?Another girl: ALESSIA. Very striking. Keeps lookingout past the camera, getting sotto voce instructionsfrom Guido. Her hair is in a chignon. She begins herimprov, but Guido interrupts her, suddenly appears infront of the camera. Approaches her, and undoes thechignon, freeing her hair. She's beautiful andinnocent. Guido says something to her, a whisper. Butwhat he says and how he says it, the smile it provokes,goes like a dagger to Luisa. p. 82 DANTE (CONT'D) Who's this? I thought we were looking for a blonde. FAUSTO She's too tall. DANTE Very tall. BENITO She's very beautiful. DANTE It's not the point. Guido wants the blonde. FAUSTO She's not bad, but - DANTE Shh. FAUSTO She's beautiful. DANTE She's too beautiful. For my tastes.As the reel finishes... and the lights come up. DANTE (CONT'D) I don't know what Guido thinks. I think we are happy with Donatella. Donatella's better, isn't she? GUIDO Sure. DANTE (delighted, jumps up) Great. Anyway, fantastic day, but we have to go home. We have a very, very busy day tomorrow. Thank you very much everybody. Thank you. Okay, well done.The screening room empties, a lot of mutualcongratulations on good work, especially to Lilli, anda hug or a handshake from almost everybody for Luisa.Lilli kisses her, leaves. Just the two of them now,husband and wife, several rows apart in the emptyscreening room. GUIDO It meant so much to us all. That you came. (MORE) p. 83 GUIDO (CONT'D) (nothing from Luisa) What did you think? Did you like anybody or -? (nothing) Luisa?FANTASY:INT. "SOUNDSTAGE"THE BEAT OF A STRIPPER'S DRUM.A gloved hand emerges from behind a beaded curtain,beckoning. The curtain opens, revealing the silhouetteof a figure bathed in red light.Guido sits in an audience of raucous men who havefilled all the seats around him. They start to whistleas if they were at some sleazy club. Guido squirms,trapped.The figure steps forward. It's Luisa, tricked out likea seedy nightclub stripper. LUISA YOU WANT MY LOVE? TAKE IT ALL YOU WANT TO WATCH IT ALL COME OFF? TAKE IT ALL COME ON NOW SHOW ME HOW YOU TAKE IT ALL...INT. SCREENING ROOM, CINECITTA - NIGHT LUISA Thank you. GUIDO (encouraged) What for? LUISA Thank you for reminding me I'm not special. You don't even see what you do, do you? Even the moments I think are ours, it's just you working to get what you want.INT. "SOUNDSTAGE"Luisa strips. p. 84 LUISA YOU WANT MY GLOVE? ARE YOU ENTHRALLED? YOU WANT TO SEE IT SLIP AWAY AND WATCH IT FALL? OH WE KNOW IT'S YOUR SHOW SO TAKE IT ALLINT. SCREENING ROOM, CINECITTA - NIGHT GUIDO (dawning on him) What are you talking about?He stands up, leans on the chair back. GUIDO (CONT'D) The screen test? You have to understand, it's nothing, this is what I do, I direct. That's my job.Guido stands up straight. LUISA And this is our life. You think to create is to forgive yourself in public. Fine. But don't think I can forgive you in private, because I can't ever.INT. "SOUNDSTAGE"As the strip becomes more raw, Luisa defiantly exposesher body and her contempt for Guido. Guido watches,humiliated. LUISA SO GO AHEAD TAKE IT ALL YOU WANT MY SOUL? TAKE IT ALL! IT'S TIME TO LEAVE. IF I'M TO LIVE. BECAUSE I HAVE NO MORE, THERE'S NOTHING LEFT TO GIVE...Instrumental.Luisa charges into the audience: she is mauled andassaulted by the men. p. 85 LUISA (CONT'D) I WATCH YOU RISE! I WATCH YOU FALL! WHILE I AM STANDING WITH MY BACK AGAINST THE WALL NOW IT'S YOUR TURN TO FINALLY LEARN YOU HAD THE WORLD YOU HAD YOUR FLING YOU WANTED MORE THAN EVERYTHING YOU GOT YOUR WISH YOU GOT YOUR PRIZE NOW TAKE IT RIGHT BETWEEN YOUR THIGHS YOU GRABBED FOR EVERYTHING MY FRIEND BUT DON'T YOU SEE THAT IN THE END THERE WILL BE NOTHING!INT. SCREENING ROOM, CINECITTA - NIGHT LUISA You're just an appetite, and if you stopped being greedy you'd die. You take everything, and I'm empty.Luisa gets up from her chair, heads to the exit door. LUISA (CONT'D) You know, I'm glad I came. I can see now... it's hopeless...Luisa leaves. Guido is left alone.The room goes dark as the screen tests, on a loop,start up again.Guido walks into the flickering light of theprojector... GUIDO What have I done? What have I done, Luisa?INT. "SOUNDSTAGE"...He sits silhouetted by the harsh white beams. GUIDO I CAN'T MAKE THIS MOVIE, THERE'S NO WAY THAT I'LL BEGIN IT. I CAN'T BEAR TO SEE THE CAMERAS ROLL. PROBLEM IS THE SUBJECT, THERE'S NO PLEASANT WAY TO TREAT IT. (MORE) p. 86 GUIDO (CONT'D) THE PROBLEM IS THE AUTHOR'S LOST CONTROL. HOW I WISH IT DIDN'T HAVE TO BE SO, BUT WE CUT THE LOSSES-STARTING NOW STRIKE THE SET AND KEEP IT FOR SOME SIDESHOW. TELL THE CAST AND CREW THAT THEY CAN ALL GO.Guido stands and walks towards the image on the screen.He violently rips the screen to the ground. GUIDO (CONT'D) FIND ANOTHER GENIUS, I CAN'T BE ONE OR BECOME ONE. I CAN'T EVEN TELL HOW I'D BEGIN. HELP LUISA, HELP ME, HELP ME MAMMA, HELP ME SOMEONE. HERE'S A PLACE WHERE I HAVE NEVER BEEN. GUIDO OUT IN SPACE WITH NO DIRECTION, GUIDO AT A LOSS FOR WHAT TO SAY, GUIDO WITH NO INTERVENING ACTORS, GUIDO AT THE MERCY OF DETRACTORS, GUIDO HERE, WITH NO ONE ELSE BUT... NOTHING HOLDS TOGETHER NOTHING MAKES A BIT OF SENSE NOW IMPOSSIBLE TO GRASP OR UNDERSTAND HOW CAN I GO ON TO WATCH THE WHOLE OF MY EXISTENCE END UP BEING NOTHING THAT I PLANNED HAVE I LOST MYSELF AND ALL I WISHED FOR HAS MY LIFE BECOME A MINDLESS GAME GUIDO, I CAN'T STAND THE NAME OF GUIDO GUIDO, FOR GODSAKE, WHO IS THIS GUIDO? GUIDO HERE, WITH NO ONE ELSE BUT GUIDO...Guido collapses to his knees. GUIDO (CONT'D) (honest) I destroyed everything, Mamma...Suddenly, his mother appears. GUIDO (CONT'D) ...I destroyed everything, I just... you make one wrong turn and then because of that, after it all the turns are wrong. And you are so far from where you wanted to be...and you're lost and then you're lost. p. 87 MAMMA No one can help you find your way. (a beat) It's up to you, Guido. Up to you. Nobody else.In Guido's face, a soulful recognition that what she'ssaid is true.INT. CINECITTA, STAGE 5 - DAYA HUGE CRASH......A large piece of Guido's set comes crashing down.Dante and Guido walk through the empty soundstage,leaving behind the set which is being dismantled by agroup of construction workers. GUIDO (O.S.) Old friends, I have to come clean with you.INT. PRODUCTION OFFICES, CINECITTA - DAYREALITY. Guido faces his production team. This ishard for him. GUIDO There is no movie. I can't pretend anymore. We have to stop. (nothing more to say) I'm sorry.There is silence in the room.EXT. CINECITTA, STAGE 5 - DAYThe metal soundstage door opens as Guido and Dante walkthrough and into the sunlight. Guido is defeated. Hestops at his car and turns to Dante. Guido gets in hiscar. Guido drives away. Dante watches him go.EXT. BEACH - ANGUILLARA - AFTERNOONA cold wind blows. A lonely figure (GUIDO) walks alonga deserted beach.SUPERTITLE: Anguillara, Italy, 2 years later p. 88EXT. BEACH CAFE, ANGUILLARA - AFTERNOONIt's the end of the season. Only a few customers leftin the cafe, as the waiters close up for the day,pulling down umbrellas, stacking tables.Guido's changed, bearded, hair longer and unkempt.Haggard. He looks out to sea, alone, as the wavescrash to and fro. A newspaper sits open in front ofhim. Scribbles and heavy markings circle an ad for atheater production in Rome. Guido gets up at thismoment, starts to leave, hesitates, takes the paper,folds it under his arm, and exits the restaurant.He heads up the steps towards the promenade and wecatch a glimpse of the profound regret in his eyes -EXT. ROME, THEATER - NIGHTGuido waits, nervous, in a doorway across the streetfrom a theatre that's presenting the Pirandello play,DIANA E LA TUDA, starring LUISA ACARI.Luisa exits the theatre with the company of actors, allof them plaited together in post-performance bonhomie.Guido watches from a distance.Luisa takes the arm of a handsome male, as they crossand head down the street.EXT. ANGUILLARA STREETS - DAYGuido and Lilli walk along the waterfront. People passby occasionally. They talk - LILLI I'm glad she's acting again. I made her costumes for the play. She's funny. GUIDO She seemed so happy. I didn't want to interfere... Is she with anybody? LILLI Guido, she's my friend. I'm not her mother. I don't know. I expect so. Nobody likes to be alone. Promise me you're going to let me cut your hair and get rid of that awful beard. p. 89 GUIDO I like to get about without everybody pointing at me. LILLI And where are you getting about? GUIDO Nowhere. Here. I walk. Just to be able to walk. LILLI Are you seeing anybody? GUIDO No, no. Nobody. LILLI (teasing) Well, it sounds exciting. Walking around and not seeing anyone, growing a beard. I might come up here and join you. GUIDO Don't tease me, Lilli. My heart is - LILLI - I know. GUIDO I just miss her. I should have IDIOT tattooed on my forehead. LILLI Luisa certainly thinks so. GUIDO (grasping at this) Does she? Did she really say that? LILLI Stop! I'm not going to act as a postman between you both. Come back to Rome. Make a movie. Go to work.He sits. Lilli joins him. GUIDO No. Never. I've spent this time trying to learn something, Lilli, to not be the person who forgets about everybody else, the person who never grew up. p. 90 LILLI You're such a dope, aren't you? Making movies wasn't your problem. You were your problem. Don't stop being a child. You'll never make another movie! Nobody wants that... especially Luisa.She indicates the people who pass. LILLI (CONT'D) Guido - there probably isn't a single person passing by who hasn't been touched in some way by one of your movies. That's your gift. That's what you've been given. Use it. Just use it with some grace. For Chrissake. GUIDO (doubtful) The only movie I could make now would be... I don't know... would be about a man trying to win back his wife. LILLI Sounds perfect. (after a beat) The costumes might not be so bad too.FLASH: Lights from a makeup mirror. A glimpse of afemale eye applying false eyelashes.FLASH: A man of the collar applies pancake makeup,while a cigarette dangles from his lips.Young Guido, 9, appears and whispers into Guido's ear. YOUNG GUIDO We're ready to begin!INT. FANTASY DRESSING ROOMSA surreal backstage, the cast of Guido's life, whores,models, schoolboys, priests, etc. A show about tobegin.The music of "Be Italian/Folies Bergere" plays andbuilds throughout.People run past with props, lights, etc. Showgirls arehurrying. A beautiful confusion. p. 91EXT. STAGE 5, CINECITTA - DAYGuido pulls up in his car outside the soundstage. Hestops the engine, and sits for a moment in silence.Summoning his courage, he gets out of the car. He isgreeted by Pierpaolo. He seems to need and acknowledgehis support. Pierpaolo is tender. GUIDO I can't remember how you do this. PIERPAOLO You'll remember.INT. FANTASY DRESSING ROOMSThe camera moves through the backstage mayhem.Mamma is in her dressing room preparing. Saraghina issharing a dressing room with a Priest. He is helpingwith her corset. Carla and Luigi. Carla fixes herhusband's hair. Claudia and Stephanie smoke and talk.Lilli adjusts her own, and other men's wardrobe.INT. STAGE 5, FILM SET, CINECITTA - DAYGuido is in his element again, locked in passionatediscussion with an ACTOR and an ACTRESS. In his hand,an actual script. The set surrounding them is modest;a tiny bedroom with a single window and rumpled sheets.The vast film Italia has clearly given way to somethingsmaller, and perhaps truer: the tale of a man and awoman. GUIDO I don't want to say too much. The first way that we kill our film is by talking about it. But this scene is about reconciliation. And within the scene I would like you to try and find your way to begin that journey back towards each other.INT. FANTASY DRESSING ROOMSYoung Guido rushes by the dressing rooms. YOUNG GUIDO Presto! Presto! Take your places! Andiamo! Andiamo!The dressing rooms begin to empty. p. 92INT. STAGE 5, FILM SET, CINECITTA - DAYFrom high above on the soundstage catwalk, Young Guidowatches Older Guido at work. GUIDO (Continuing to speak to his actors) Maybe it's the most important building block that we have to begin again... We start from the beginning each time and I feel today as if I'm starting from the beginning. We'll just keep asking each other questions, and don't look to me for the answers, okay?On cue, Young Guido opens the door behind him andushers in THE CAST OF GUIDO'S LIFE. They enter with asense of anticipation and excitement and arrangethemselves on the staircases and scaffolding that loombehind Guido. They are all dressed in angelic white.But Guido is oblivious, focused instead on the taskthat lies ahead. He talks to his cameraman. Puts downhis script. He takes off his jacket and hangs hisglasses off his sweater, stands contemplating the setin front of him. PIERPAOLO Maestro, should I call final checks? GUIDO Yes. PIERPAOLO Makeup, please! Final checks!A LONG WIDE PAN reveals a tableau vivant looming behindGuido like a glorious choir, his every muse, his everyinspiration. They watch him as he begins to work. Apart of him now and forever.Guido sits on the crane.The soundstage door opens, and we see a small figureslip quietly onto the set. Tentatively, she stepsthrough the shadows. It's Luisa. From a discreetdistance, she watches her husband return to his gift.Pierpaolo calls for silence. PIERPAOLO (CONT'D) Alora. Silencio per favore. Silence please. (to camera) Gyriamo. E alora motore! p. 93CLOSE UP ON THE CLAPBOARD. WORKING TITLE: NINE. DIR:G. CONTINI.As the clapboard strikes. CLAPPER LOADER Slate.At the last moment, Young Guido runs fast, down themaze of steps, across the soundstage and jumps onto thecrane with Guido as it begins to rise. Luisa watches.As the last note plays, the crane soars higher,carrying Guido up and up. GUIDO ACTION.CUT TO BLACK. \ No newline at end of file diff --git a/unformated_scripts/Script_Nines, The.txt b/unformated_scripts/Script_Nines, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..66c91efdf94af2e98ec6cfd6c6dbed03e86fd539 --- /dev/null +++ b/unformated_scripts/Script_Nines, The.txt @@ -0,0 +1 @@ + THE NINES Written by John August FINAL SCRIPT November 2006 READER NOTE One thing that will be obvious to viewers, but not to readers, is that the nine principal parts in this film are played by only three actors: 1) Gary, Gavin, Gabriel 2) Sarah, Susan, Sierra 3) Margaret, Melissa, Mary It'll make more sense in context. Promise.100 100 A MAN'S HAND unwinds a short length of green string. We're extremely close, with a shallow, blurry focus. It's like the first moments after a dream -- just fragments. Scissors cut the string. The man wraps it around his left wrist. A loop. A bracelet. We see the man's teeth, the edge of his chin as he pulls the knot tight. His fingers pull against the string. Solid. It won't break easily. FADE OUT.101 101 PITCH BLACK There's no music. No sound at all, really, except for some distant birds CHIRPING. Then a SQUEAK. A SQUEAL as rusty springs engage. A GARAGE DOOR LIFTS, revealing GARY BANKS in silhouette. He's 30, effortlessly fit, with movie-star good looks. (Although for now, he's merely a TV star.) Like most Laurel Canyon garages, this one has never held a car. Instead, it's the resting place for all the detritus of bachelordom: shitty Ikea furniture, a drum set, a styrofoam snowman, and the Harley he always meant to get running. Gary spots what he was looking for. CUT TO:102 102 EXT. BACK PATIO / LAUREL CANYON HOUSE - MAGIC HOUR (DAWN) Gary drags a beaten Weber kettle. One of its wheels is broken, SCRAPING against the deck. WIDER, we see Gary's house has an incredible view of the city. He couldn't fucking care less. He yanks the circular grill out of the Weber and throws it down the canyon. 2. He empties a garbage bag into the barbecue: mostly women's clothes, but also some stuffed animals and photos still in their frames. There's too much to fit, so he tries stomping it down with a flip-flopped foot. He cracks open a container of lighter fluid and begins drenching everything inside. He sprays until the container is WHEEZING air. He shakes it, making sure it's really empty. Then he cracks open a new container and keeps spraying. And spraying. We follow the dripping fluid as it runs across a photo of Gary and a BLONDE WOMAN. Her eyes are scratched out, making her unrecognizable. Under the grill, lighter fluid is dripping in a stream, soaking into the wooden deck. Finally satisfied, Gary throws the lighter fluid aside. He takes five steps back and pulls a box of matches from his pocket.103 103 EXTREMELY CLOSE as the match SCRAPES, erupting in flames. On Gary's left wrist, we see a green string bracelet. MUSIC STARTS: a pounding, hypnotic track that will carry us through these MAIN TITLES. In EPIC SLOW-MOTION, we follow the burning match as it sails through the air, tumbling end-over-end. Just as it's about to reach its target, we... CUT TO:104 104 A DIGITAL METER shoots to 100 miles per gallon. It's the display of Gary's Prius. We are...105 105 INT. THE PRIUS - DAY Gary's at the wheel, driving, as he finishes a fifth of bourbon. JUMP CUTS take us out of Hollywood, heading downtown. Our TRAVELLING MUSIC is serving us well. Gary stops at a light. He looks left and sees himself on the side of a bus. It's an ad for CRIME LAB ("This fall, Mondays are killer.") Gary watches himself drive away. CUT TO: 3.106 Further along, Gary spots two THUGGY TEENAGERS sitting on a 106 low wall. He calls out to them: GARY Hey! Do you sell crack? The boys look wary. GARY (CONT'D) It's cool. I'm only a cop on TV. QUICK CUTS: Money changes hands. Gary holds a small ziplock bag -- and has no idea what to do with its lumpy beige contents. CUT TO:107 107 HOLLYWOOD. Gary pulls up to a curb. He's now on Sunset Blvd. A matronly black streetwalker (OCTAVIA, 35) approaches the passenger window. Gary holds up the little bag. GARY Is this crack? She takes a closer look. GARY (CONT'D) Do you know how to do it? CUT TO:108 108 INT. SHITTY MOTEL ROOM - DAY Gary and Octavia jump up and down on the bed, each trying to bounce higher than the other, LAUGHING all the while. Gary bounces so high that he THUNKS his head against the ceiling. He crumples, falling off the bed. But he's still laughing. CUT TO:109 109 LATER, Octavia is sleeping. 4.110 110 INT. MOTEL BATHROOM - DAY Gary takes a shower with his jeans on.111 111 INT. MOTEL ROOM - CONTINUOUS Toweling off, Gary looks at his body in the mirror. He notices something odd. He tries to wake Octavia up, but she's down for the count. Looking around, he finds his cell phone. Dials 911. Pacing, he tries to sober up while it rings. The far side answers. GARY Yes, hello. I'm having a medical situation. Yes. Okay. I don't have a belly button. (explaining carefully) I do not have a belly button where I should, on my belly. And I'm concerned, because I don't know if that's... He sits down on the edge of the bed. GARY (CONT'D) Can a person live without a belly button? Because if you think about it, you're born with one. So if you don't have one, you're unborn and it's really hazy whether you're alive or not. I guess I'm wondering: am I alive? (a sudden thought) Or what if I'm God? A beat. GARY (CONT'D) No, no. I'm totally sober. A beat. GARY (CONT'D) No, I don't think I need an ambulance. I don't seem to be dying any faster than usual. But I should probably go to the hospital, don't you think? Yeah, I should. He hangs up. CUT TO: 5.112 112 INT. THE PRIUS - DAY He's driving again, but most of his attention is focused on trying to locate his missing navel. He looks up in the rear-view mirror, where he sees twoA113 A113 VERSIONS OF HIMSELF sitting in the back seat. All three Garys give each other thumbs-up. Driver-Gary looks out the driver-side window, where he sees shoes and asphalt. Only now do we ROTATE to reveal we'reB113 B113 UPSIDE-DOWN. Gary has rolled the car. The music suddenly STOPS. We hear SIRENS approaching. CUT TO BLACK.113 113 TITLE OVER: Part One: THE PRISONER FADE IN:114 114 INT. COURTHOUSE PROCESSING AREA - DAY MARGARET O'REILLY, 34, is speaking to herself. MARGARET La la la la la. Like you've never done worse. From a NEW ANGLE, we see she's using a cell phone earpiece. MARGARET (CONT'D) Okay, yes. He totalled a car. But it was an environmentally friendly car. Why doesn't that get reported? A beat. MARGARET (CONT'D) Please! He was heartbroken, betrayed. You say you understand but you don't. You can't. You're like a big giant Vulcan. 6. Noticing something to her right... MARGARET (CONT'D) He's coming. I'll call you later. She hangs up, wrapping the earpiece around her phone. We reveal GARY being escorted through glass doors by a polo-shirted PAROLE OFFICER. Margaret moves to intercept them, offering a hand. MARGARET (CONT'D) Hi. Margaret. I work for Lola. GARY Gary. MARGARET I know. (to the Parole Officer) We need to go out the back. CUT TO:115 115 INT. BACK HALLWAY - DAY Margaret leads the way. She's been here before. GARY Are there reporters out front? MARGARET A few. Not Hugh Grant level. More like Robert Downey, Jr. when he broke into that family's house and slept in the kid's bed like Goldilocks. "This bed is just right." I handled episodes two through four for Robert. This sort of thing is my specialty. GARY What is? MARGARET Famous fuck-ups. Don't worry. Mama's gonna take good care of you. A phone RINGS. CUT TO: 7.116 116 INT. KITCHEN - DAY A designer kitchen in Hancock Park -- spacious and kosher- ready. The phone on the counter is RINGING. PAROLE OFFICER Answer it. Gary picks it up. GARY Hello? Yes. Yes. He looks to Margaret while the other end of the call talks at length. Then, very deliberately... GARY (CONT'D) The weather in Toledo is rainy. He says this like a sleeper agent repeating his trigger phrase. PAROLE OFFICER Use your normal voice. GARY (to the phone) Nine dogs ran through the field. The koala sits in the tree. The Parole Officer takes the phone from him, punching in a series of numbers and jotting notes on his work sheet. MARGARET It's computer voice recognition. The system can call you any time day or night. If you don't answer within five rings, the police come and haul your ass off. GARY What if I'm not here? Catching the officer's concerned look... MARGARET That's why it's called house arrest. You stay inside your house. (to the officer) He can take direction, I promise. CUT TO: 8.117 117 INT. MASTER BEDROOM - DAY Margaret pulls open curtains, flooding the room with light. Gary wanders, checking it all out. MARGARET Okay, just so it's said, this house is flammable. GARY I didn't mean to burn down my house. MARGARET Yeah, I didn't mean to eat my way into a ten-year shame spiral, but I did, and it's healthier to acknowledge it. (moving on) This flammable house belongs to one of Lola's other fabulous clients, who is currently shooting a pilot in Toronto. GARY Actor? MARGARET Writer. So for the next six weeks, su casa es su casa. I say, feel free to wear his clothes. He'll probably get a sick thrill of out it. The gays. Noticing two crates... GARY He has dogs? MARGARET They're away at summer camp. Now, try the bed. He lies back on it, feeling it out. GARY It's fine. MARGARET Comfortable? GARY Sure. She massages his besocked feet. 9. MARGARET Look, Gary, I know this has been crazy and stressful. I want you to feel safe. And comfortable. GARY I do. MARGARET I'm a fan of yours, you know. Your number-one fan. Gary looks over his toes at Margaret. From this angle, she looks a bit like Kathy Bates from Misery. MARGARET (CONT'D) But if you fuck this up, I will smash your ankles with a sledge hammer. A long beat. MARGARET (CONT'D) That wouldn't be comfortable for either of us. CUT TO:118 118 INT. KITCHEN - DAY Margaret boxes up the alcohol while Gary bounces a lime on the island. MARGARET I'll be coming by twice a day to check up on you. I'm the only person who should be coming by. No buddies, no pals, no heroin dealers... GARY I don't do heroin. MARGARET Yeah, crack is classy. And I'm not buying you porn. There's spray-per- view on cable. GARY Good. I really wasn't concerned about my career, my family or my future. I just wanted to jack off. Margaret is a little impressed by this show of backbone. 10. MARGARET Let me see your phone. He hands over his cell phone. She drops it in the contraband box. GARY C'mon! All my numbers are in that. MARGARET Dial ten digits at random. Whoever answers will be better than the people on this phone. She picks up the liquor box, ready to go. MARGARET (CONT'D) You have my cell number. You have delivery menus. You're fine. Right? GARY I guess. As she leaves, Margaret notices a long butane lighter by the stove. She adds it to the box, just to be sure. TIME CUT TO:119 119 INT. HOUSE / VARIOUS - DAY Gary paces around his new home, trying to get a feel for it. He plays a few NOTES on the piano. He looks up at the painting over the staircase: a cliff near the ocean. He opens random drawers in a Chinese herb cabinet, wondering if there's anything hidden in one of the 46 slots. There isn't. He takes a long beat to consider three paintings in the dining room, which show the same thing in three different ways.120 120 EXT. BACKYARD - SUMMER NIGHT Gary swims laps, trying to exhaust himself. He stands in the shallow end, listening to the quiet. 11.121 121 INT. KITCHEN - SUMMER NIGHT Wearing a fluffy white robe, he looks through the delivery menus.122 122 INT. FOYER / FRONT DOOR - SUMMER NIGHT He takes a bag of food from a college-age DELIVERY GUY, who seems to recognize him. Gary pays him, shuts the door. As he's walking to the kitchen with the food, Gary looks back and sees the Delivery Guy watching him from the front walk. The guy is a little embarrassed, but Gary is pretty used to being stared at.123 123 INT. KITCHEN - SUMMER NIGHT Gary unwraps the Thai food. Makes himself a plate. He watches CRIME LAB on the plasma screen while eating dinner. GARY (O.S. TV DIALOGUE) Once we get these samples back to the Crime Lab, we'll know who the real killer is.124 124 INT. LIBRARY / TV ROOM - NIGHT Gary scans the shelves, looking for something to read. There are five times more books here than Gary has opened in his lifetime. He settles on a paperback of Voltaire's Candide. He lies back on the couch, reading it. He flips a few pages ahead to see if it gets more interesting. A beat. CUT TO:125 125 GARY JACKING OFF to soft-core pay-per-view. We're CLOSE ON Gary's straining face, but we can hear the pleasured MOANS of the actresses as they go down on each other. Nearing climax, he looks for something to come on. He can't find anything. 12.126 126 INT. FOYER - NIGHT His left hand cupped to hold the semen, he pads barefoot from the TV room to the downstairs bathroom. We hear WATER RUNNING as he washes his hands. Then it shuts off. We hear a THUNK. Something hard was dropped on the wood floor. Gary hears it too. He steps out of the bathroom, looks around. He takes a few silent paces back in our direction, stopping just before he reaches the two-story section of the foyer. That's when he hears it: CLICK-CLICK-CLICK-CLICK on the wooden floor. A JINGLE of metal. We follow Gary's eyes up to the second-floor walkway. We can hear the little FOOTSTEPS, toe nails CLICKING. Faint PANTING. But there's no dog. BACK ON Gary, increasingly unsettled. He's directly below the walkway, and can't see up into it. GARY Is somebody there? Hello? He CLAPS his hands twice. Listens. Nothing. He's about to venture a step forward when suddenly THE PHONE RINGS. He nearly jumps out of his skin. It RINGS two more times before he ducks into the TV room to answer it. GARY (CONT'D) Hello?! (relieved) Yes. Yes. He turns his back to the foyer, listening to the instructions on the phone. GARY (CONT'D) Nine leopards run through the jungle. (listening) I bought two cakes at the store. His identity evidently confirmed, he hangs up. He looks back into the foyer. 13. GARY (PRE-LAP) (CONT'D) The house is haunted. There's a zeitgeist, or something.127 127 EXT. UPSTAIRS DECK - DAY Margaret's brought coffee and pastries from Susina. MARGARET Poltergeist, and no. Maybe they were rats. L.A. is teaming with rats. They live in the palm trees. GARY Sure. Maybe. He's obviously not convinced. MARGARET Okay. You know I'm a licensed psychotherapist. GARY Really? MARGARET No. I'm a publicist. My job is what other people think of you, not what you think of yourself. So pull your shit together. I am thisclose to getting Christine Walsh to do your piece in Parade. GARY Parade? I fucking hate Parade. MARGARET Everyone hates Parade. But the people who watch "Crime Lab," they love their Marilyn Vos Savant. Give them a woman of indeterminate age who solves riddles and they are in hee-haw heaven. GARY Okay. MARGARET One heartfelt act of contrition and maybe the showrunner won't kill off your character between seasons. He nods. He gets it. 14. MARGARET (CONT'D) I swear to God, if you go batshit on me... GARY I'm not crazy. MARGARET Exactly. Exactly. CUT TO:128 128 EXT. BACKYARD - DAY Gary is lying in the sun, eyes shut. Suddenly, a golf ball hits him on the head. He sits up, perplexed. For a long moment, he has no idea where the ball came from, until he hears a voice from beyond the wall that separates the properties. WOMAN'S VOICE Sorry! Really sorry. (A practiced ear notices a Canadian accent.) WOMAN'S VOICE (CONT'D) Over here. To your left. (correcting) Right. Sorry. Right. He follows the voice to a gap in the hedges at the far corner of the yard, finding SARAH GLEASON. Late 30's, fresh- scrubbed and girlish, she looks more fragile than she really is. SARAH I'm working on my putting, if you can believe it. Indeed, she's holding a putter. GARY Not really. SARAH Okay. Maybe I was just looking for a way to meet my infamous neighbor. You see, I'm under house arrest, too. GARY What did you do? 15. SARAH I had sex with my husband. GARY That's awful. SARAH Nine months later, I had Jaden. That's her over there.She points to a small portable baby monitor. GARY She's cute. SARAH She's sleeping for another... (checks watch) ...seventeen minutes. She keeps to a schedule. GARY She sounds really boring. SARAH (whispers) She is.A beat. A smile between them. GARY You're rich. Shouldn't you have a nanny from Ecuador? SARAH I'm Canadian. GARY (as if that explains it) Ohhh... SARAH I can't work in the U.S. Plus, I want to maintain this air of moral superiority by doing everything myself. GARY Very Canadian. SARAH Thanks.Another pregnant pause. 16. SARAH (CONT'D) Listen, Jaden goes down again at 2:30. Maybe I could stop by. GARY I'm pretty sure I'll be here. SARAH It's a date. GARY Is it? She picks up the baby monitor, heading back into her house. Suddenly, she realizes... SARAH Oh. I'm Sarah, by the way. GARY Gary. SARAH Yeah. I know. CUT TO:129 129 INT. BATHROOM - DAY Gary brushes his teeth and tongue.130-131 130-131 OMIT132 132 INT. KITCHEN - DAY Gary neatens up, tossing out newspapers and delivery boxes. He plumps pillows. He looks up at the clock: 2:30. He sits, trying to read Candide again. He fidgets. He looks at the clock again: 2:49.133 133 EXT. BACK PATIO - DAY Under the pretense of sweeping up leaves, he peers over the wall, looking directly into Sarah's kitchen. But there's no one in there.134 134 OMIT 17.135 135 INT. UPSTAIRS WALKWAY - DAY Gary carefully sets rat traps, staggering them every few feet. He pokes one with a pencil. The metal arm SNAPS back, breaking the pencil in two.136 136 INT. FOYER - DAY Gary notices that the piano has an electronic device attached to it. He turns it on. He opens the piano bench, finding computer disks. A red disk is labelled "Knowing." He puts it in. Hits play. The piano begins playing by itself, a sensuous but melancholy CLASSICAL PIECE. Gary lies on the floor, listening to it. He stares up at the elaborate chandelier.137-141 137-141 OMIT142 142 EXT. FRONT OF HOUSE - DAY Gary is sitting on a bench by the front walk, trying to read more of his book. He looks over to see Sarah coming up the steps, carrying the baby monitor and a bottle of chardonnay. She stops beside him. SARAH The best of all possible worlds. GARY (confused) Okay. SARAH (pointing to his book) Voltaire. Candide. (off his reaction) Are you actually reading it? GARY I thought I was. He gets up. SARAH Sorry I bailed. Jaden had a fever. 18. GARY Ah! How boring of her. She hands him the wine. SARAH Housewarming gift. GARY Demon liquor. SARAH The best part is, I can drink it. I pumped before I came. GARY So did I.143-144 143-144 OMIT145 145 INT. LIVING ROOM - DAY Sarah tops off Gary's wine glass. They're both on the couch. The baby monitor is sitting on the table behind them. GARY ... so it's kind of hard to prove that I only meant to burn my ex- girlfriend's stuff, and not the entire house. SARAH Yeah. Fire's tricky that way. GARY How about you? Any history of arson? SARAH Strangely enough... GARY I knew it! I could see that little spark. SARAH It wasn't arson. Probably. A long beat while she decides whether she wants to tell him the story. SARAH (CONT'D) Okay. When I was a little girl, our house caught on fire. 19. GARY Oh shit. MUSIC begins, providing backing to her monologue. SARAH I'll never forget the look on my father's face as he gathered me up in his arms and raced through the burning building, out onto the pavement. ON GARY, feeling bad he brought this up, but fascinated at the same time. SARAH (CONT'D) I stood there shivering in my pajamas and watched the whole world go up in flames. And when it was all over, I said to myself, "Is that all there is to a fire?" Is that all there is? As she starts to SING, Gary realizes the story isn't hers at all. It's Peggy Lee's "Is That All There Is." SARAH (CONT'D) Is that all there is, is that all there is? If that's all there is my friends, then let's keep dancing. She leans closer. SARAH (CONT'D) Let's break out the booze and have a ball. If that's all there is. Standing up, Sarah takes Gary's hands, pulling him off the couch. She leads him to an open area -- more space for dancing. SARAH (CONT'D) Is that all there is, is that all there is? If that's all there is my friends, then let's keep dancing. Let's break out the booze and have a ball, If that's all there is. CUT TO:146-149 146-149 OMIT 20.150 150 INT. SARAH'S BATHROOM - DAY [MONOLOGUE] Sarah leans up to the mirror, trying to get her contacts in. It's not going well. Her eyes are tearing up. SARAH Then I fell in love with the most wonderful boy in the world. We would take long walks by the river or just sit for hours gazing into each other's eyes. We were so very much in love. Then one day he went away and I thought I'd die. But I didn't. And when I didn't, I said to myself, "Is that all there is to love?"151 151 INT. LIVING ROOM - DAY Sarah and Gary start to dance. SARAH Is that all there is? Is that all there is? If that's all there is my friends, then let's keep...152 152 INT. ANTIQUE HARDWARE STORE - DAY Deep in the bowels of the store, Sarah is surrounded by vintage lighting fixtures. She's (futilely) trying to match a specific light switch plate. TO CAMERA: SARAH I know what you're thinking. If that's the way she feels about it why doesn't she just end it all? I'm in no hurry for that final disappointment. I know just as well as I'm standing here talking to you, when that final moment comes and I'm breathing my last breath, I'll be saying to myself...153 153 INT. LIVING ROOM - DAY Sarah and Gary become more intimately acquainted on the couch. They still haven't kissed, but hands are running up and down over clothing. Sarah isn't singing anymore, though her voice continues. 21. SARAH'S VOICE Is that all there is, is that all there is? If that's all there is my friends, then let's keep dancing. Let's break out the booze and have a ball, If that's all there... Just as they're about to kiss, A BABY HOWLS. It's the monitor, HISSING and POPPING as Jaden wakes up from her nap, cranky and hungry. Sarah pushes back. Gary tries to close the gap, but she's already standing up. SARAH I need to... GARY Just... SARAH My shoes. Are here. Okay. As she reaches for one, she knocks over a wine glass. SARAH (CONT'D) Crap! GARY Don't worry about it. Just... SARAH I'm going. Bye. Carrying both her shoes, she's across the room and out the front door before he can say anything more. CUT TO:154 154 INT. KITCHEN - DAY Gary washes the wine glasses, being sure to wash off any trace of lipstick. He dries them and puts them back in the cabinet. Faced with the remainder of the wine, he considers dumping it down the sink. Instead, he chugs it from the bottle. He wraps the empty bottle in newspaper and tucks it in the recycling.155 155 OMIT 22.156 156 INT. OFFICE / GYM - SUMMER NIGHT Gary works out hard on the elliptical trainer. He has his iPod cranked with a POUNDING TUNE. He does abs on a stability ball. He's spent.157 157 INT. KITCHEN - NIGHT Gary enters from the driveway door, gulping from a water bottle. He starts to look through the delivery menus when he notices an orange Post-It note by the telephone. It reads: Look for the Nines. He picks it up, looks at the back. Nothing. Sticks it back down on the counter. CUT TO:158 158 INT. LIVING ROOM - NIGHT Gary sits on the couch with his water bottle, listening to the baby monitor: Sarah is singing a LULLABY. He takes off his shoes and socks. When she's finished... SARAH (ON MONITOR) Goodnight, sweetheart. GARY Goodnight. For a long beat, it's quiet. Then we hear RUSTLING. A crib toy plays a short MELODY. Then a slightly-digital voice speaks: VOICE The cat says meow! The pig says oink! Gary smiles to himself. VOICE (CONT'D) The cow says moo! The cow says moo! The cow says moo! Evidently, Jaden loves the cow. VOICE (CONT'D) The dog says, nine. Nine. Nine. Nine. 23. Gary looks back. Did he just hear that? The phone RINGS.159 159 INT. KITCHEN - NIGHT [CONTINUOUS] Gary answers it on the third ring. GARY Hello. It's the parole system. GARY (CONT'D) Yes. Yes. Two trains run through the forest. Music STRIKES. We see a sudden change in Gary's expression. He nearly drops the phone. Forcing himself not to panic, he pushes the button for speakerphone. He wants to make sure he's hearing it right. MALE COMPUTER VOICE Nine. Nine. Nine. Nine. Gary backs away from the phone like it might sprout legs and jump on him. Suddenly, he backs into SOMEONE ELSE. He spins around, startled. He only catches a glimpse of THE MAN -- same height, same build, same everything. The Man is gone in half an instant, vanished into thin air. Gary bolts for the door. Reaching the foyer, Gary steps on a RAT TRAP, which SNAPS down on his toes. He SCREAMS, pulling it off. He looks around to find all eight traps are now on the main floor, rather than the second-floor walkway. Limping, he hops out the door. We stay behind, looking out through the open door.A160 A160 EXT. WILSHIRE BLVD. - NIGHT HEADLIGHTS FLARE as cars travel down Miracle Mile, bringing us to a Metro Bus stop -- a semi-enclosed bench with backlit signage. 24.The far side of the shelter has a one-sheet for Crime Lab.("This fall, Mondays are murder.") The bench side is a promoposter for a show called Knowing. ("Some fates are chosenfor you.")It's here we find Gary taking a seat, gingerly checking histoes where the rat trap snapped. He's hobbled his way herefrom the house, which is probably a block away.There's only a little blood, but his toes really hurt.Over Gary's shoulder, we see a blonde 8-year old girl(Noelle) watching him with concern. She BANGS on the shelterto get his attention. Gary nearly jumps out of his skin. GARY Jesus! You scared the shit out of...She signs "What's wrong?" GARY (CONT'D) (confused) What? NOELLE (signed, subtitled) You're hurt. GARY I don't speak that. Sorry. I don't...She points to his toes. Getting what she must mean... GARY (CONT'D) I'm fine. I'll be fine.Looking around, he realizes that the little girl is out hereby herself. GARY (CONT'D) Where are your parents?She looks at him oddly, not really getting the question. GARY (CONT'D) Your mom, your dad. Where are they? NOELLE (signed, subtitled) Mom is at the car. Where you left her.Again, Gary has no idea what she's saying. 25. NOELLE (CONT'D) (signed, subtitled) You're lost. GARY Look, you need to go back, okay? You shouldn't be out here. It's not safe. Noelle glances to her left. We hear BWOOP BWOOP as a police cruiser pulls over to the curb. GARY (CONT'D) Shit. We go to a WIDER ANGLE as TWO OFFICERS get out of the car. Gary looks back. Noelle is gone, though there's really nowhere she could have disappeared. Putting on his best face for the police... GARY (CONT'D) Evening, officers. CUT TO:B160 B160 INT./EXT. POLICE CRUISER - NIGHT Handcuffed, Gary is placed in back. He's reserving the right to remain silent. MARGARET (PRE-LAP) Once again, the idea of house arrest is you stay inside your house.160 160 INT. LIVING ROOM - DAY The same parole officer from earlier attaches a black anklet to Gary's left leg. We see that Gary's left foot also features bandaged toes. MARGARET Think of it like an electronic leash. Basically, if you ever go more than 100 feet from the base station... She points to an electronic device by the wall. 26. MARGARET (CONT'D) ...the cops come, they throw your ass in jail. If you ever try to take it off, the cops come and throw your ass in jail. And if they ever detect drugs or alcohol in your system... GARY ...the cops come and throw my ass in jail. MARGARET No. I kick your ass. Then the cops come and throw your ass in jail. The parole officer smiles. GARY Do I still have to answer the phone? MARGARET No, I'll be doing that from now on. I'm moving into the guest room. GARY I don't need a babysitter. MARGARET Despite all evidence to the contrary. Don't worry, I'm a cool roomie. Who do you think taught Affleck how to gamble? The parole officer hits a test button on the anklet, which lets out a PIERCING ALARM. MARGARET (CONT'D) Let's never hear that again. CUT TO:161 161 EXT. FRONT OF HOUSE - DAY Margaret walks heel-to-toe, counting her steps. MARGARET 97. 98. 99. With a piece of chalk, she draws a line on the concrete. She looks back to Gary, who's waiting by the front door. 27. MARGARET (CONT'D) Behold! The edge of your world. In the world. (jumps over the line) Out of the world. In the world. Out of the world. Look at me, I'm dancin'! She starts doing the running man over the line. Even Gary's dark mood is broken.162 162 OMIT163 163 EXT. BACK PATIO - NIGHT Margaret and Gary roast marshmallows over the propane grill to make s'mores. They're giggling. GARY So the guy was like, "Do you know fencing?" And I say, of course. That's what it says on my headshot. MARGARET Lies! GARY Always. So he says, "Foil or epi?" MARGARET EpÈe. GARY I say, I'm about equal in both. MARGARET Which is true. GARY So he tosses me this fucking Conan sword and goes after me. I'm just swinging, trying to stay alive. But I end up cutting his ear. MARGARET You cut his ear off? GARY Just a little. But I got the job. Margaret is confused. 28. MARGARET Wait. You were in Pirates of the Caribbean? GARY Yes. No. Not the movie, the ride. I was like, "Gar! Keep both hands inside the boat!" Margaret laughs so hard she coughs. CUT TO:164 164 INT. UPSTAIRS WALKWAY - NIGHT Ready for bed, Margaret leans out the guest bedroom door. MARGARET Goodnight, fuckface. Gary looks out his door. GARY Goodnight, you filthy whore. Both doors shut. CUT TO:165 165 EXT. HOUSE - DAY Establishing. MARGARET (PRE-LAP) It's incredible.166 166 EXT. BACK PATIO - DAY Margaret and Gary sip their morning beverages, looking at something spectacular in the yard. MARGARET It's incredible. GARY I know. Whenever I see them, and I always feel like, damn... MARGARET ...I was born at the wrong time. GARY Exactly. 29. We REVERSE to see the object of their awe: a giant inflatable jump-o-rama in the shape of a castle. CUT TO:167 167 INT. THE CASTLE - DAY VARIOUS SHOTS: Gary and Margaret jump with all their might, bouncing off the walls, SCREAMING all the time. When both finally collapse, it becomes strangely tranquil. They're safe inside an inflatable paradise. Gary scoots over beside Margaret. She puts her head on his arms. It's nice. Prelap: A doorbell RINGS. CUT TO:168 168 INT. FOYER - DAY Gary opens the door to find Sarah. SARAH Where's the warden? GARY Groceries. SARAH Quite the little missus. She walks past him, into the house.169 169 INT. LIVING ROOM - DAY [CONTINUOUS] Sarah crosses to the couch, picking up the baby monitor. GARY How's Jaden? SARAH Boring. We haven't had nearly the grand old time you two have been having. There's an edge to her voice. GARY You've been watching. 30. SARAH Well. I don't want to meddle in your affairs. GARY My affairs? SARAH Everyone needs affection. I get it. She's headed back for the door. GARY I don't. Are you seriously jealous? SARAH The opposite. I just want to protect her. GARY From what? SARAH From you. Look at you. You date models. Actresses. Tennis players. GARY Yeah. SARAH On a scale of one to ten, you belong with the Nines. We both know you won't settle for less. With that, she's gone. CUT TO:170 170 INT. KITCHEN - DAY Gary is trying to load dishes into the dishwasher, but has a hard time getting one bowl to fit. MARGARET What are "the Nines?" GARY What? He looks over. Margaret holds up the orange sticky note by the phone. 31. MARGARET "Look for the Nines." GARY It's not mine. MARGARET It's your handwriting. GARY I didn't write it. MARGARET Okay. She puts it back down. But she doesn't believe him. MARGARET (CONT'D) All-ee-all-ee-all-come-free. GARY (perplexed) What? MARGARET Nothing. GARY Seriously, what? MARGARET Nothing. I thought you were...forget it. Done. Sorry.171 171 EXT. BACK YARD - DAY At the far edge of the property, Margaret and Gary play backgammon. Their mood is significantly more subdued. Margaret answers her RINGING cell phone. MARGARET Yhello? Hi. What?! (to Gary) I have to take this. He nods. Margaret starts walking back to the house. MARGARET (CONT'D) (on phone) Well, who thought it was a good idea letting Courtney into a pottery shop? 32. Left alone, Gary rolls the dice idly. He gets a 4 and a 5. Rolls again. 4,5. 3,6. 4,5. 3,6. 3,6. 3,6. 4,5. He keeps rolling, the wheels in his head starting to turn.172 172 EXT. FRONT OF HOUSE - DAY Sarah is looking in through the living room windows, trying to spot Gary. Giving up, she turns back to the main steps, only to find... MARGARET, who doesn't look pleased. MARGARET I know who you are. SARAH Really. MARGARET I know what you are. And if you come near him again... SARAH You'll what? Margaret lets that go unanswered. There's obviously something big we're not privy to. SARAH (CONT'D) What are you going to do, M... She's forgotten Margaret's name -- if she ever knew it. SARAH (CONT'D) Sorry, what's he calling you? MARGARET Margaret. SARAH I like that. "Margaret." Classic. MARGARET Why can't you just leave him alone? SARAH Alone? He's an actor. If nobody's watching him, he doesn't really exist. (approaching) And for the record, I'm not the one deceiving him. (MORE) 33. SARAH (CONT'D) He's going to figure it out eventually. And when he does, who do you think he's gonna blame? Sarah lets her warning land, then walks past Margaret, heading back down the stairs. REVEAL Gary watching through the hole in the door.A173 A173 INT. FOYER - DAY Gary heard the whole conversation. Or at least enough of it to be deeply freaked out.173 173 OMIT174 174 INT. UPSTAIRS WALKWAY - NIGHT Margaret leans out her doorway: MARGARET Goodnight, ratface. GARY Goodnight.175 175 INT. BEDROOM - NIGHT Gary sits in one of the upholstered chairs, staring at his still-made bed. It's impossible to know what he's thinking, but the wheels are turning.176 176 EXT. SIDE PATIO - MORNING Gary opens the newspaper to a page at random. He starts circling things with a red Sharpie. MACRO CLOSE UP. His pen circles the number nine every time it appears. As he flips the page, he spots Sarah looking in through the rounded trellis, just a few feet away. She's holding her own newspaper, still in the wrapper. SARAH Hey neighbor. GARY Hi. 34. SARAH Sorry for the psychotic episode. I'll blame it on hormones. GARY Okay. SARAH Are you alright? You look a little Beautiful Mind-ish.He almost deflects it, but decides to trust her: GARY How many times should the number nine come up? Probablistically? SARAH Probablistically? GARY (annoyed) You know what I mean. SARAH One time out of ten. GARY How about every time?He hands her the paper through the bars. GARY (CONT'D) But they only show up when you look for them. Looking for them changes things.Trying to find an explanation... SARAH Some of these are prices. There's going to be a lot of nines when... GARY There is something wrong with the world.Sarah looks up slowly. She smiles for an uncomfortably longbeat. She's stalling, thinking. SARAH You have an eyelash on your... here...She steps forward, and motions for him to lean closer to thebars. Brushing off the non-existent eyelash, she WHISPERS: 35. SARAH (CONT'D) I can get you out of here. But you have to trust me. MARGARET [O.S.] Morning. MARGARET enters, carrying her tea. She sees Gary by himself, leaning near the bars of the trellis. MARGARET Everything okay? GARY Peachy. MARGARET Peachy's good. I like peaches. WIDER, we see that Sarah is flush back against the wall, out of Margaret's line of sight. MARGARET (CONT'D) You want coffee? GARY Sure. She turns and heads back into the house. Once she's out of earshot... GARY (CONT'D) What do I do? SARAH You have to trust me.177 177 INT. LIVING ROOM - DAY [A FEW MINUTES LATER] CLOSE ON a white plastic device mounted in the corner of the room, about ten feet up. It might be a smoke detector. Gary stares up at it, intently. He steps forward. A little red light flicks on inside the unit. After a few seconds it turns off. It's some sort of motion detector. Gary tests it again, trying to move his arm slowly enough that the light never engages. 36.Margaret enters, carrying two mugs. She watches him warily. MARGARET You okay? GARY No. MARGARET Oh. GARY Tell me about the Nines. MARGARET The Nines? GARY The Nines. MARGARET Sort of hard to start there... GARY Try. And don't tell me I'm imagining it. They're showing up everywhere, and I want to know why.Trying to formulate the simplest truthful explanation: MARGARET Best guess? They're your subconscious trying to remind you who you are. GARY I'm a Nine? MARGARET Yes. It doesn't make a lot of sense of out context. (offering) Coffee?He takes the mug, then reconsiders. Maybe it's laced withsomething. GARY Why don't you drink coffee? You're always drinking tea.Frustrated, she takes his coffee back and drinks it. She'dreally like to drink the whole thing to prove her point, butit's just too hot. 37. MARGARET Happy?She gestures for him to sit down. Reluctantly, he does. Shesits across from him. MARGARET (CONT'D) You're not going to understand this yet, but we've known each other for like 25 years. One day when I was 12, you called me out of the blue. And we've been talking ever since. GARY Talking. MARGARET On the phone. Usually. GARY I never met you before I came here. MARGARET You, Gary, never met me. But you're not always... (lacking the words) I can understand why you're a little confused. GARY No. I'm a lot confused. MARGARET Theories? GARY This is all a dream. MARGARET No. GARY I'm in a coma. MARGARET (amused) No. GARY Then I'm dead. This is Hell, or Purgatorium or something. MARGARET Okay, a purgatorium is where Romans vomited. But no. This is as real as anything can be. 38. GARY (suspicious) What does that mean? She sits forward in her chair. By instinct, he sits back. MARGARET Everything is what it is. But you're not who you think you are.178 178 NEW ANGLE (TIME JUMP) Gary gets up, headed for the front door. MARGARET (CONT'D) God, no! Please, Gary, don't. But he's already outside.180 180 EXT. FRONT WALKWAY - DAY He's walking towards the blue chalk perimeter line, headed for Sarah's house. Leaves fall lazily from the trees, counter-point to the tension. Margaret calls out from the arched windows. MARGARET You don't know what you're doing. She's almost at tears. He stops at the edge of the chalk line. GARY What happens if I cross this line? The tear in her eye falls. MARGARET I don't know. But it's not good. He very deliberately steps over the line. We hear a thin BEEPING from the house-arrest anklet. He shoots her a look to say, is that all there is? But the BEEPING grows louder, deeper. It starts to come from all sides, booming, a nuclear-meltdown/self-destruct-sequence- activated DRONE. Gary suddenly realizes something very, very terrible is about to happen. 39. GARY Oh shit.The world ignites in white-hot atomic flames.We see the blinding glare erupt behind Margaret, illuminatingthrough her skin, right to the bone.The same flash catches a leaf in mid-air, sizzling through itlike an etched x-ray.As the light hits Gary, we... CUT TO BLACK. 40.READER NOTE: Part 2 is a half-hour episodeof a Project Greenlight-style documentaryseries called "Behind the Screen," whichtracks the progress of a one-hour TV dramapilot from conception through delivery. Inkeeping with the genre, it's very fast andcutty.INTERVIEW sequences are done to an off-camera interviewer.Some scenes are unscripted. The gist ofthese scenes is summarized in italics. 41.200 200 TITLES OVER: Part Two: REALITY TELEVISION CUT TO:201 201 ANIMATED TITLES We RUSH IN on a television set, which spins around revealing a blinding constellation of pixels. MELISSA (V.O.) Previously, on "Behind the Screen." CUT TO:202 202 EXT. STUDIO LOT - DAY GAVIN TAYLOR (30) walks to a meeting, with his laptop bag over his shoulder. He has a tidy, Banana Republic sensibility and an easy smile that belies his manic schedule. SUSAN (V.O.) Gavin Taylor's one of the best TV writers out there.203 203 INT. SUSAN'S OFFICE - DAY Cluttered and corporate, with stacks of scripts and a few touches of arbitrary quirk. SUSAN HOWARD (35) and Gavin kiss hello. SUSAN (V.O.) Every network would kill to work with him.204 204 INT. GAVIN'S OFFICE / GUESTHOUSE - DAY INTERVIEW. GAVIN "Knowing" is a one-hour drama about a woman whose husband disappears. She starts to believe that her daughter is the key to a dark conspiracy. 42.205 205 INT. CONFERENCE ROOM - DAY Gavin pitches his show to the NETWORK BOSSES. GAVIN Basically, it's like "Rosemary's Toddler."206 206 EXT. STUDIO LOT - DAY Impromptu INTERVIEW. Gavin is beaming. GAVIN We sold it in the room.207 207 INT. KITCHEN - DAY Gavin leans into the speakerphone. GAVIN Just tell me Roger liked the script.208 208 INT. SUSAN'S OFFICE - DAY Susan is on her speakerphone. SUSAN You're shooting a pilot.209 209 INT. SUSINA COFFEESHOP - DAY Gavin has coffee with actress MELISSA McCARTHY (34), his best friend. He's pitching her the idea. GAVIN (V.O.) Melissa McCarthy is my first and only choice for the lead. MELISSA I love it. I'll do it.210 210 EXT. FOREST - DAY An EPK-style INTERVIEW, on the set of the pilot. MELISSA Gavin and I have been friends for forever. 43.211 211 EXT. WARNER BROS. LOT - DAY Melissa hangs out with her "Gilmore Girls" CAST and CREW. MELISSA (V.O.) It's really hard to leave a show like "Gilmore Girls," but I really believe in Gavin.212 212 INT. CONFERENCE ROOM - DAY Gavin, Susan and a LINE PRODUCER go over the figures. GAVIN (V.O.) The only way we can afford to shoot the pilot is in Canada.213 213 INT. BEDROOM - DAY Gavin stacks up clothes on his bed, preparing to pack. GAVIN It's really hard to think about leaving for six weeks.214 214 EXT. FOREST ROAD - DAY Gavin YELLS: GAVIN Action! A STEADICAM follows Melissa as she gets out the passenger door of a Toyota Prius, an alarmed look on her face.215 215 OMIT216 216 TITLE OVER: EPISODE 6: POST CUT TO:217 217 INT. LAX / BAGGAGE CLAIM - DAY A DRIVER holds up a sign for "TAYLOR." Gavin approaches, waves to him. He has a laptop bag over his shoulder. TITLES identify him as: 44. Gavin Taylor Creator / Showrunner218 218 INT. LAUNDRY ROOM / KITCHEN - DAY Gavin unlocks the door, entering from the driveway. He's hauling a massive wheeled duffle bag. (Note: This is the same house from Part One.) We hear the CLATTER of toenails on hardwood floors. Gavin kneels down to greet... GAVIN Puggies! Gavin's PUGS pounce all over him.219 219 INT. KITCHEN - DAY [MINUTES LATER] Gavin is on the cordless phone, talking with a friend as he sorts through massive piles of mail. On his left wrist, we notice the same green string bracelet Gary wore in Part One. GAVIN (ON PHONE) It's weird being back. It doesn't feel like my house anymore.A220 A220 INT. FOYER - DAY Gavin sits at the piano, pecking out a haunting melody he's been fiddling with. He grabs a red diskette and a Sharpie. GAVIN (V.O.) At this stage, you have the script you wrote, and the film you shot, but you don't know how it's all going to come together. You just know how you want it to feel. He writes "Knowing" on the diskette, and pops it into the Disclavier unit.220 220 INT. EDITING SUITE - DAY Susan, Gavin and the EDITOR watch the cut. Susan is taking notes on a legal pad. JUMP CUT TO: Susan flips to her next note. TITLES list her position as: 45. Susan Howard VP, Drama Development SUSAN I just don't know if you need the cold open. People want to get right to the story. ANGLE ON the Editor, bristling a bit.221 221 INT. HALLWAY - DAY [LATER] Impromptu INTERVIEW. GAVIN I invited Susan to see a rough cut because I trust her taste. INTERCUT editing suite. SUSAN Could we be more clear why Mary is so freaked out at that moment? GAVIN Wow. I thought it was pretty obvious. And dramatic. GAVIN [INTERVIEW] More importantly, I trust her as a barometer of Roger's taste. SUSAN I know. But that's Roger's big thing this season. Never let the audience be confused. CUT TO:222 222 INT. EDITING SUITE - [LATER THAT] DAY The Editor hands Melissa a microphone. TITLES list her simply as: Melissa McCarthy "Mary" GAVIN So we're trying to squeeze in a wild line over this shot of Noelle. The monitor shows a three-second clip. It's Melissa and a eight year-old actress ("Noelle") in a car. 46.Melissa's character looks alarmed by something the girl hasjust done or said. MELISSA What's the line? GAVIN (quickly) How could you... MELISSA Howkajew? GAVIN Yeah. MELISSA Howkajew. It sounds like kosher drug paraphernalia. Like, come on Shmuley! Have a toke on the Howkajew. GAVIN I know. It's just for the test screening. MELISSA They really think people won't get it? GAVIN The dumb people might not. MELISSA I didn't think we were making the show for dumb people.A beat. JUMP CUT TO:Melissa holds a microphone.As video footage plays back, we hear three evenly-spacedLOOPING BEEPS. Where the fourth one would be, Melissa saysthe line. MELISSA (CONT'D) Howkajew... (again) How could you... (again) How couldjew...Finished, she hands the mic back to Gavin. 47. MELISSA (CONT'D) I feel so dirty. GAVIN That's how I like ya. Melissa giggles.223-226 223-226 OMIT227 227 INT. TESTING SERVICE THEATRE - DAY A MODERATOR explains how it all works to the RECRUITED AUDIENCE. The test begins. ANGLE ON a monitor. We see a scene of Melissa (as "Mary") on a forest road.228 228 INT. TESTING SERVICE / FOCUS GROUP ROOM - DAY Through a one-way mirror, Gavin and Susan watch as the Moderator asks a group of twelve MALE VIEWERS about the pilot they just watched. Their comments are mostly positive. Gavin and Susan share relieved looks. She has a notepad, as always. One AGITATED MAN keeps staring at the mirror, right at Gavin. (We recognize him as the Parole Officer from Part One.) GAVIN That guy's looking at me. SUSAN He can't see you. As a test, Gavin waves his arm. The Agitated Man's expression changes slightly, but it's not clear whether it's in reaction or not. The Moderator directs her next question to the Agitated Man. MODERATOR How about you? Did you feel it was... AGITATED MAN It's not real. MODERATOR And what do you mean by that? 48. AGITATED MAN The show's not real. Why can't you see that? Jesus! Are you fucking blind? (looking at the mirror) You think you're above it all, don't you? You are trapped here with the rest of them, brother. He stands up, pushing past the other people to come right up to the one-way glass. He stares directly at Gavin, even though he shouldn't be able to see him. He SHOUTS: AGITATED MAN (CONT'D) Get out. Get out! Oblivio accebit! Gavin backs away from the glass, freaked out. CUT TO:229 229 EXT. STREET - [LATER THAT] DAY Impromptu INTERVIEW with Gavin, standing beside his Prius. He's clearly still shaken by the experience. GAVIN The guy was crazy. Obviously. The show is kinda twisted, and it just flipped something in him. Gavin sounds like he's trying to convince himself. PRODUCER'S VOICE (O.C.) What did he say? GAVIN Oblivio accebit. It's Latin. "Oblivion approaches." PRODUCER'S VOICE (O.C.) What do you think it means? GAVIN Other than the world is coming to an end? "Oblivio" also means forgetting, forgetfulness. (jump cut) I think that's what I'm going to do. Forget it. CUT TO: 49.230 230 INT. LIVING ROOM - NIGHT Gavin hosts a game night: good friends and lots of cocktails. The guests include Melissa and Susan, along with SAM, TOM, BRUCE, DANA, JON, KEVIN, JEFF, DAN, and CARL. (We don't show anyone's names.) They're playing Celebrity. We go several rounds, keeping the best of what's said. CUT TO:231 231 INT. KITCHEN - NIGHT Between rounds of Celebrity, party-goers mingle. Gavin is making a new batch of cocktails -- he obviously has a knack for it. Susan pours herself another glass of chardonnay. SUSAN Did you have a chance to look at the cards yet? GAVIN From the screening? Melissa reaches in, grabbing the vodka. MELISSA Pardon me. Daddy needs his drink. She makes a quick Cape Cod. From the other room, Sam YELLS: SAM (O.S.) Woman, where's my cocktail! MELISSA (yelling back) I'm a-comin! (to Gavin) I still love you most. She gives him a quick peck, then dashes off with Sam's drink. SUSAN (continuing her thought) People write stuff on the cards they won't say in a focus group. They get more specific. He SHAKES the mixer. SUSAN (CONT'D) Roger has this advice I always remember. (MORE) 50. SUSAN (CONT'D) Forget about anyone who scores you in the Twos and Threes. They'll never like your show. Gavin pours. SUSAN (CONT'D) Instead, look for the Nines. GAVIN The Nines. SUSAN They're the one who think your show is almost the best thing they've ever seen. They get your vision. They just want it to be even better. Melissa YELLS from the living room: MELISSA Round two is starting without you! SUSAN So you'll look at the cards? GAVIN Absolutely. Making his way back to the living room, he stops by the phone. Pulls out an orange Post-It and makes a note. As he leaves, we go in CLOSE to read it: LOOK FOR THE NINES CUT TO:232 232 INT. SUSAN'S OFFICE - DAY INTERVIEW. SUSAN Sometimes the numbers point things out that you don't want to admit to yourself. In this case, Melissa. INSERT: Comment cards. 51. SUSAN (CONT'D) Her overall scores were okay. But if you look at the people who scored the show highest, the one consistent dip was Melissa. CUT TO:233 233 INT. RESTAURANT - DAY Susan and Gavin are having lunch. GAVIN She doesn't have a ton to do in the pilot. There's so much to set up, you don't get a lot of Melissa- time. SUSAN True. That's one of the challenges with a premise pilot. GAVIN But the network still likes the show? SUSAN Of course. Roger is your biggest cheerleader. GAVIN How about above Roger? SUSAN Roger calls the shots. GAVIN After he consults with the Higher Powers. SUSAN True. GAVIN Do they like the show? SUSAN They haven't seen it. They're watching all the pilots on Friday. A beat. GAVIN Why are you focusing on Melissa? 52. SUSAN Because she's the biggest concern. GAVIN She's also the biggest star in the show. SUSAN No, you're the biggest star. Roger made a huge deal with you, and he went along with casting Melissa when that wasn't his instinct. GAVIN Well, hooray for Roger. I don't understand what you want me to do. SUSAN Meet with someone. GAVIN Who? SUSAN Dahlia Salem.Gavin drops his fork so that it will CLATTER on his plate. SUSAN (CONT'D) The network has a holding deal with her. GAVIN Yes. And you put her in Gatin's pilot. SUSAN It's dead. It's dying. But the network loves Dahlia. So if she could jump over to your show... GAVIN Replace Melissa and reshoot the pilot. SUSAN Roger would pay for it.Gavin is nauseous. He has to take a drink to be able tospeak. GAVIN So is this even about Melissa? 53. SUSAN It's about getting your show on the air. That's all that matters in the end. CUT TO:234 234 EXT. SUSINA COFFEESHOP - DAY Establishing.235 235 INT. SUSINA COFFEESHOP - DAY Gavin meets with Dahlia Salem. She's pretty, funny, and very cool. They talk about the other pilot (Gatin's), the role, and how fucked up it is to be having these double-top-secret conversations. It goes well. They seem to genuinely like each other.236 236 INT. SUSINA - DAY [LATER] Dahlia is gone. INTERVIEW with Gavin. GAVIN I see why the network loves her. It's just, I wrote the part for Melissa. She's one of my best friends. And in my head, I only see Melissa for the role. (jump cut) Could Dahlia do it? Absolutely. It could work. I just don't know if I want it to work.237 237 OMIT238 238 INT. PC BANG - NIGHT A empty storefront in Koreatown, both walls lined with computers for the CUSTOMERS playing high-end videogames. We see Gavin playing. His INTERVIEW is intercut with his intense focus on the screen as he plays "Bad Day L.A." GAVIN When I get stressed out, I play videogames. It's my therapy. I can't have them on my own computer, because then I'd never write. So I come down to Koreatown. (jump cut) (MORE) 54. GAVIN (CONT'D) Videogames are better than real life. When you get stuck, you can always hit `reset.' Life needs a reset button.239 239 INT. KITCHEN - DAY Gavin's on the phone. GAVIN If we're really going to replace Melissa, I want to hear it from Roger.240 240 INT. SUSAN'S OFFICE - DAY Susan talks to the speakerphone. INTERCUT GAVIN SUSAN Roger's on a flight to London. But I talked with him before he left. He said yes on Dahlia. GAVIN What does that mean? SUSAN It means yes. GAVIN Yes, replace Melissa? SUSAN He wants your show on the air, starring Dahlia. I just got off the phone with her agents. They love it. She loves you. GAVIN What about Melissa? SUSAN You want me to call her agents? GAVIN God no. I'll tell her. Gavin hangs up. We stay on his side of the conversation. In the background, we see the door to the driveway swing open by itself. 55. A beat later, it SLAMS shut. Gavin is understandably startled. CUT TO:241 241 OMIT242 242 INT. REHEARSAL STUDIO - DAY Melissa, wearing a nun's habit, sings "As Long As He Needs Me." A PIANIST is rehearsing with her. MELISSA As long as he needs me, I know where I must be... INTERCUT with on-camera INTERVIEW: MELISSA (CONT'D) In-between the pilot and the series, I'm trying to squeeze in a one-woman show. (edit) I've always been obsessed with nuns. They're sort of like God's fag-hags. Melissa spots Gavin entering and sings the rest of the song to him. CUT TO:243 243 EXT. WEST HOLLYWOOD BAR - NIGHT Gavin and Melissa have martinis. GAVIN I think my house is haunted. MELISSA Your house is really old. GAVIN 1926. Ever since I got back, I feel like there's someone else there. And then last night, I thought I heard something. A woman singing. MELISSA Shit. Like a ghost? 56. GAVIN I guess. And then I saw something. I ran into someone. MELISSA The woman? GAVIN It was a man. I think it was me.A beat while Melissa processes. MELISSA Your house is haunted by yourself? GAVIN Yeah. MELISSA Gavin, are you alright? GAVIN No. No.He takes a long beat, psyching himself up. What spills outis heartfelt but clearly rehearsed. GAVIN (CONT'D) The network wants to replace you. MELISSA Oh my God. GAVIN And I'm letting them, because I really want the show on the air. I have all these characters inside my head, and they want to live. I'm the only way they can. This is the only way they can. I have five seasons mapped out, and though it sucks, either you go away, or the show goes. I had to make a decision, and that's the decision I made. I'm sorry.By the end of it, we can hear the emotion in his voice.Melissa takes a beat to process. MELISSA So it's done. Finished. Decided. GAVIN Yes. 57. MELISSA I understand. It's not your fault. You're morally incapable of doing the right thing.Gavin doesn't rise to the challenge. MELISSA (CONT'D) Don't get me wrong. I think you do feel bad for me. But that's all you feel for me. You still see me as the fat girl you call on Friday night when a date falls through. Let's go to a movie! Let's go to Fubar! And if you meet a hot piece of ass, don't worry about Melissa, you can apologize tomorrow. Or don't! Same difference. It's not like we're actually friends. GAVIN I don't want to do this on camera. MELISSA No, because you can't control it. Your little puppets are off their strings, running around. Saying things you didn't write. Reality terrifies you. GAVIN Reality. MELISSA Yes. GAVIN The reality is, you would not be here without me. I gave you your first few roles. And your career is a result of that.With exaggerated relief... MELISSA God, thank you. Thank you for finally playing that card. I always knew you were holding onto it, the "I invented Melissa McCarthy card." Congratulations, you win. The game is over.She gets up to go, then decides she has one more thing tosay: 58. MELISSA (CONT'D) Don't you ever pity me again. She leaves him sitting at the table. CUT TO:244 UPFRONTS 244 TITLE OVER: CUT TO:245 245 INT. NETWORK CONFERENCE ROOM - DAY New MUSIC for a change of mood: upbeat, excited. INTERVIEW: SUSAN Upfronts is the week each year when the networks present their fall schedule to advertisers. CUT TO:246 246 INT. GAVIN'S OFFICE - DAY INTERVIEW: GAVIN Sort of like, "Here's our new shit. Like it?" (edit) Upfronts is a complete oxymoron, because no one is remotely honest. INTERCUT SUSAN: SUSAN The schedule is a secret until it's announced, so everything is still in play. JUMP CUT: GAVIN But hey! At least you're in New York! CUT TO:247 247 INT. TOWNCAR / NEW YORK / DRIVING - DAY Gavin watches Manhattan roll by out the windows. 59.248 248 EXT. MANHATTAN HOTEL - DAY Gavin tips the DRIVER and wheels his luggage into a skyscraper hotel.249 249 INT. MANHATTAN HOTEL HALLWAY - DAY Gavin opens the door to room 1909.250 250 INT. MANHATTAN HOTEL ROOM - DAY Gavin checks out the view. We go CLOSE ON a card which reads: Congrats! Love Roger, Susan, and everyone at the network It came with a fruit tray.251 251 INT. MANHATTAN HOTEL ELEVATOR - DAY Gavin, alone, is headed down to the lobby. Impromptu INTERVIEW continues: GAVIN It's surreal being here. None of this is how I planned it. The elevator stops at another floor. CAMERA doesn't look as the doors open, but Gavin spots someone he knows. GAVIN (CONT'D) Hey you! WOMAN'S VOICE God. Hi. Gavin. TURN to find Dahlia Salem. She's hesitant to get on the elevator. DAHLIA You're doing your...show. She means the camera filming them. GAVIN Get on. Come join reality television. She steps on. Hits the button for "Lobby." GAVIN (CONT'D) When did you get in? 60. DAHLIA Just now. This whole last 24 hours has been surreal. GAVIN I just said surreal. DAHLIA You're good? I wanted to call you. GAVIN Please. Call anytime. I don't sleep. DAHLIA I just felt weird about what happened. Not sure he's following... GAVIN Did something happen? CUT TO:252 252 EXT. MANHATTAN STREET - DAY Near the hotel, Gavin is on his cell phone. GAVIN So I just bumped into Dahlia Salem, star of my show... TITLES indicate Gavin's on the phone with his agents. GAVIN (CONT'D) ... who tells me Gatin's show got picked up, so no, she won't be in my show, which makes me wonder, does my show even exist? As he listens to the other side, we hear a distant BOOM, and then a RUSH, like autumn leaves blowing down a street. Gavin reacts, though none of the PASSERSBY seem to hear it. Back to the conversation... GAVIN (CONT'D) No, I've left word with Roger. I've left word with Susan. It's like they've dropped off the face of the Earth. 61.253 253 INT. MANHATTAN HOTEL SUITE - DAY Susan is on her phone. At the same time, she's plowing through email on her Blackberry. SUSAN (PRE-LAP) Right now, the whole schedule's in flux. You get these missives from Roger and the Higher Powers... JUMP CUT INTERVIEW: SUSAN (CONT'D) ...but you're not sure what they add up to. Right now, I can't say for certain whether Knowing will end up on the schedule at all. CUT TO:254 254 INT. HOTEL GYM - DAY Gavin talks with JOHN GATINS (34), who's doing abs on an exercise ball. John Gatins Creator/Showrunner "Paradise Fields" GATINS Look, I'm sorry. But I'm kind of not. I want my show on the air. And I think it was shitty for you to go after Dahlia behind my back. GAVIN I heard your show was gone. GATINS I "heard" you fired Melissa McCarthy without having a backup. Why would they pick up your show when you don't have a star? GAVIN The network wanted Dahlia. GATINS Yeah, in my show. We tested right before you. Our numbers were through the roof. GAVIN Really. 62. GATINS Really. Who's your exec? GAVIN Susan Howard. GATINS She would know. She was there. Ask her. CUT TO:255 255 INT. CONFERENCE HALLWAY - DAY Susan is on her cell phone. A cocktail party is in full swing nearby. We can hear the DIN and MUSIC, and see the occasional GUEST looking for the restrooms. SUSAN (on phone) I'm at the UTA party. Yeah. Did you hear about Ricky's assistant? She literally shat herself. No, I saw it. In the background, we see Gavin approaching. Susan spots him and seizes up a bit. She holds up a one-sec finger to him as she continues her conversation. GAVIN I will break your fucking finger. SUSAN (to phone) I'll call you back. She hangs up. They look each other in the eye, daring each other to go first. SUSAN (CONT'D) Roger wanted to talk to you personally. GAVIN Bullshit. SUSAN They're only picking up two dramas. GAVIN The rest is, what, reality? SUSAN You can go mid-season. 63. GAVIN You can go to Hell. SUSAN Wow.She takes a beat, trying to size him up. SUSAN (CONT'D) You think I deliberately sabotaged your show. GAVIN Didn't you? SUSAN G., I'm on your side. Trust me, I'm the only one who is trying to protect you. GAVIN SUSANProtect me from what? You? There is so much more goingYou are psychotic. on than you... GAVIN All I want to know is why. SUSAN You want a motive? GAVIN Yes. SUSAN This isn't "Crime Lab." No one got murdered. GAVIN My show did. So tell me why. SUSAN I had to get you away from her. She was holding you back. GAVIN Melissa. SUSAN You had to give her up. (beat) C'mon, G. If she really mattered, you couldn't have betrayed her so easily. GAVIN I didn't. 64. SUSAN What, you're the victim? The big Creator can't stand up to one little d-girl? It was your choice. I didn't make you do anything. I mean, do you have any principles? Do you believe in anything but your own ego? GAVIN Fuck you. SUSAN Your dialogue used to be sharper. Maybe Gatins could do a polish. He suddenly punches her, one hit to the face. She drops hard. Gavin takes a step back. Tasting blood, Susan gets to her knees. A wry smile. SUSAN (CONT'D) Is that all there is? In the background, we see partygoers responding to the blow. Susan gets to her feet. She approaches Gavin, hands open. She's not going to hit him. SUSAN (CONT'D) Do you feel like a man? Because I'll tell you a secret. She leans in very close to his ear. There's a strange intimacy between them. SUSAN (CONT'D) (whisper) You're not. She walks away. CLOSE ON Gavin.256 256 EXT. MANHATTAN SIDEWALK - DAY We move with Gavin as he walks. He's trying to get away from the camera, but it keeps following him. He reaches a crosswalk. He has to wait for the light. Finally, he looks INTO CAMERA: GAVIN Look, I don't want to do this anymore. My show's not going to happen, so this show is over. (MORE) 65. GAVIN (CONT'D) Done. Gone. I`m not going to be your fucking puppet. OFF-SCREEN VOICE Are you alright?Gavin looks left, where an African-American woman is waitingfor the same crosswalk. (We recognize her as Octavia, thestreetwalker from Part One.) GAVIN I'm fine. OCTAVIA Who were you talking to?Gavin looks back towards camera, a strange expression.MUCH WIDERWe see Gavin and the woman on the corner. There's no cameraGavin could have been talking to. He's understandablyperplexed: Where did the documentary crew go?Was there ever anyone there?Our CAMERA style has changed: instead of handheld and jerky,we're smooth and slow.The MUSIC has completely changed, underscoring a sense ofcreeping dread.We HOLD for a long beat. The light changes. Still a littleunnerved, Octavia begins to cross the street.Only then do we notice something unusual floating above herhead:A SPHERE OF BLUE LIGHT.WIDER, we see that everyone on the street has the same kindof sphere floating a foot above their heads. No one seems tosee the lights other than Gavin.Gavin looks around in uneasy fascination, as if he's justlanded on an alien world.A beat, then he has an unsettling thought.He slowly looks up. Above his own head, he sees the samesphere of light -- only his is bright white. Pulsing.Blinding. GAVIN Oh God. 66. We PULL BACK, RISING UP to a perspective above and behind Gavin. As we do, the edges of the frame creep in, revealing ICONS and unintelligible STATISTICS, changing moment by moment. A dialog box appears in the center of the screen, reading... Exit Now? Unsaved changes will be lost. [ Cancel ] [ Exit ] An arrow slides back and forth between to the two options. Finally it lands on `Exit.' A CLICK. CUT TO BLACK. FADE IN:x177 x177 INT. LIVING ROOM - DAY [PART ONE] We're continuing an earlier scene from the end of Part One. MARGARET I can understand why you're a little confused. GARY No. I'm a lot confused. MARGARET Theories? GARY This is all a dream. MARGARET No. GARY I'm in a coma. MARGARET (amused) No. GARY Then I'm dead. This is Hell, or Purgatorium or something. 67. MARGARET Okay, a purgatorium is where Romans vomited. But no. This is as real as anything can be. GARY (suspicious) What does that mean?She sits forward in her chair. By instinct, he sits back. MARGARET Everything is what it is. But you're not who you think you are. GARY Okay, then. Who am I?With practiced calm... MARGARET You're a multi-dimensional being of vast, almost infinite power. You created this world on a whim, and decided to stick around to see how it turned out. You, this body you're in, is just one of your incarnations. Avatars. Call you what you will.Not sure he follows... GARY Are you saying I'm God? MARGARET Technically, no. If God is a ten -- a theoretical ultimate, that-which- no-greater-can-be-imagined -- you're more of a nine. GARY So what are you? MARGARET Humans are sevens. Monkeys are sixes. GARY What are the eights? MARGARET Koalas. They're telepathic. Plus, they control the weather.She didn't mean to get on that tangent... 68. MARGARET (CONT'D) What's important is that you, you're the big cheese. El Supremo. You could destroy the world with a single thought. (suddenly) Don't, incidentally. Just file that away. But the truth is, you hold all the cards: every church, every candle, every sacrifice -- that's for you. When people pray, they're not praying because they want this thing or that thing. They just don't want to be forgotten. MARGARET (CONT'D) So you understand, I would have told you earlier, but I didn't... GARY Yeah. MARGARET Okay. GARY I understand. But I don't believe you.He gets up to exit. (This is where we jump-cut time earlier.)FREEZE FRAME. FADE TO BLACK. 69.300 300 TITLE OVER BLACK: Part Three: KNOWING FADE IN:301 301 EXT. MEADOW - DAY In a WIDE SHOT, we see a vast field, bordered by green mountains. Unseen BIRDS call out from the trees, while insects CLICK and WHIRR. In the distance, we spot swatches of bright colors moving our way. It's a family: father GABRIEL (34), wife MARY (33) and daughter NOELLE (8). They're returning from a short day hike. Mary carries a small videocamera. Seeing that Noelle is already a ways down the path... GABRIEL Noelle! Don't get too far ahead. Noelle turns around. Instead of speaking, she moves her hands in sign language. (She's mute, not deaf.) MARY No. You had ice cream at lunch. Noelle begs to differ. More signing. GABRIEL (to Mary) Apparently frozen yogurt doesn't count. MARY I'll make note.302 302 EXT. SMALL GRAVEL ROAD - DAY The family walks up to their car, a blue Toyota Prius. Gabriel sheds his daypack, trying to open the hatchback. It won't lift. Mary goes to open the passenger door. Locked. MARY Did you hit it? GABRIEL Shouldn't have to. 70.He fishes the keys out of his pocket. Presses the remoteentry button repeatedly.Gabriel tries to open the driver's side door. Locked. EvenNoelle knows something's wrong.Gabriel pulls the small mechanical key out of the fob.Unlocks the door and climbs in. Opens the door for Mary andNoelle. GABRIEL (CONT'D) I think we left the overhead light on.He taps it. Moves the switch. MARY Shit.Noelle signs her made-up representation of "shit." MARY (CONT'D) Noelle.Gabriel slides the key into the slot. Hits "START."Nothing. GABRIEL Battery is dead. Least the starter is.Noelle leans forward, aware that this is something serious. MARY How do we...? GABRIEL We call the service. That's all we can do. MARY It's just the little battery that's dead, right? The big one is probably fine. GABRIEL I guess. MARY We can't jump it from one battery to the other? Cross-over somehow? GABRIEL Who did you marry? MacGyver? 71.He gets out of the car, retrieving his cell phone. Maryfollows him out. Noticing that he's not dialing... MARY Are you getting a signal? GABRIEL No. Do you?She checks her phone. A long beat. MARY Yes! One bar.They're both relieved. Finding the AAA card in his wallet,Gabriel takes the phone and dials.It's at this moment we notice the familiar green stringbracelet around Gabriel's wrist.In the back seat, Noelle KNOCKS on the window. She signs,asking if everything is okay. MARY (CONT'D) We're okay. Daddy's calling people to help us.Gabriel pulls the phone from his ear. Looks at the screen.Hits redial. Fuck. GABRIEL The minute you try to place a call, the bar goes away. MARY Keep trying. GABRIEL Okay, I'll keep trying, Mary. But it will keep happening. MARY Well, what do you want to do? GABRIEL I don't know.He tries redial. MARY Maybe if you hold it up higher.Humoring her, he holds it at arm's length. No good. 72. GABRIEL The problem is we're boxed in. It's a canyon. A beat. GABRIEL (CONT'D) Where we turned off the main road, it was more open. And higher, too. MARY That's at least a mile. GABRIEL I can run that. MARY So...we stay here? GABRIEL You okay with that? MARY I don't think we have a choice, so, yeah. Go. Half a beat, while each waits for the other to think of a better plan. Neither does. Gabriel leans down next to Noelle's window. GABRIEL Daddy's going to get a truck to help us out. You take care of your mom, okay? Noelle nods. GABRIEL (CONT'D) I'll be right back. Gabriel gives Mary a quick peck and starts running down the road. We MOVE IN on Noelle, who smiles a little. CUT TO:303 303 EXT. GRAVEL ROAD - DAY Gravel CRUNCHES under Gabriel's shoes as he runs. He keeps an easy pace. In VARIOUS SHOTS, we get a sense of the distance he's travelling. He passes gulches, meadows and boulder fields. 73. He finally arrives at the junction of the dirt road and a larger...304 304 EXT. PAVED ROAD - DAY [CONTINUOUS] Pulling out Mary's cell phone, Gabriel tries to get a signal. By his reaction, it's still iffy. He dials, but the call drops. Tries again. Just the same. He looks left. Looks right. Looks back down the dirt road. He decides to head off to the right, downhill.305 305 EXT. FURTHER DOWN THE ROAD - DAY We catch up to Gabriel as he's walking in the middle of the road, still trying unsuccessfully to get a signal. In the distance, he spots a patch of moving color: a female hiker. A moment's hesitation, then he YELLS out to her: GABRIEL Excuse me! Hi! Hello? She stops, turns. Gabriel jogs to close the distance. As we approach, we reveal SIERRA, 38. In the past 10 years, she's "made a fresh start" 12 times. In this incarnation, she's a wilderness- loving, Bush-hating, wildly-overeducated clerk at Trader Joe's in Venice. GABRIEL (CONT'D) Excuse me. Do you have a cell phone? SIERRA No, I don't. There's no service up here. GABRIEL (re: his phone) Yeah, I'm finding that out. SIERRA You can usually get a signal up at the ranger station. GABRIEL Okay... She points in the opposite direction -- back the way he came. 74. SIERRA You follow the road. It's probably... I don't know. You have a car? GABRIEL It's dead. That's why I need... SIERRA Oh...She pulls a stray hair back from her mouth. Notices himnoticing her. GABRIEL Yeah.A beat. She takes a subtle step closer to the center of theroad. GABRIEL (CONT'D) Are you headed back to your car now? If you could give me a ride to a gas station, wherever...She doesn't leap to extend an invitation. It takes a beatfor Gabriel to figure out why. GABRIEL (CONT'D) Oh. Hey. Look, I'm not some crazy Ted Bundy guy. I'm not going to rape you or kill you or anything.She doesn't seem reassured. GABRIEL (CONT'D) Of course, that's what Ted Bundy would say. Look, I'm a videogame designer. (fishing through wallet) My wife is an editor. My daughter is four.He offers her a family photo. She looks at it, but doesn'ttake it. GABRIEL (CONT'D) They're waiting back at the car, and I want to get some help before it gets dark. SIERRA I can call somebody when I get to town.Trying to temper his frustration... 75. GABRIEL I believe you. I do. But you don't know where the car is. And the guy might not come. We can't be up here all night. Sierra backs away. SIERRA I'm sorry. GABRIEL Don't be sorry. Just help me out here. SIERRA No. I can't. I'm sorry. Once she feels she's reached a good distance, she turns and keeps walking. GABRIEL Why won't you trust me? She doesn't turn back, heading down the road. TRANSITION TO:306 306 EXT. ROAD / INT. PRIUS - DAY Mary is sitting in the back seat of the Prius with Noelle, who's getting tired of her coloring book. Noelle signs something to Mary, who considers the request. MARY Okay, but you have to be careful, understand? You have to use Big Girl hands. Noelle nods. Mary hands her the small video camera. Noelle has some trouble folding out the little screen, but eventually gets it open without any help from her mom. MARY (CONT'D) Do you want to see where we were today? Noelle nods. Mary takes the camera back for a second, flipping it to playback mode and rewinding. The blocky video footage zips past. 76. MARY (CONT'D) Okay, now hit play. This button. Noelle does. On the tiny screen, we see Noelle and her father eating lunch by a waterfall. (Mary is filming.) MARY (CONT'D) There's you. And there's Daddy. You're a little movie star, huh? Noelle smiles. Signs something. MARY (CONT'D) He'll be back soon. Don't you worry. CUT TO:307 307 EXT. PAVED ROAD - DAY Gabriel continues walking, headed back in the direction he came. From behind him... SIERRA (O.S.) Hey! He turns, finding her a ways back. She approaches. GABRIEL Were you following me? SIERRA Once I was sure you weren't following me. I'm sorry, it's just... GABRIEL You thought I was Ted Bundy. SIERRA Kinda. GABRIEL My name's Gabriel. Bundy. She smiles. SIERRA Sierra. They shake. SIERRA (CONT'D) Weird that there's no cars. At all. 77. GABRIEL Yeah. SIERRA So, listen. I'm parked that way. She points off the road, through the forest. SIERRA (CONT'D) It's not that far. If you want, I'll give you a ride to town. GABRIEL Really? SIERRA Yeah. Make up some karma. GABRIEL Lead the way. She does. They cross off the pavement, descending into a dark forest. TRANSITION TO:308 308 EXT. FOREST - DAY Gabriel walks with Sierra. The trees here are taller, creating a cathedral-like ceiling above them. SIERRA Okay, confession. I kind of recognized you. GABRIEL Really? SIERRA I wasn't sure, but I think I saw a picture of you in some videogame magazine my boyfriend had. You're, like, the shit. GABRIEL No. SIERRA You're like the Quentin Tarantino of that world. A videogame God. GABRIEL Not really. 78. SIERRAFine. GABRIELYou seriously recognized me off ofone photo? SIERRAI thought you were kinda hot.Considering. GABRIELConsidering..? SIERRAWithin the subset of videogamepeople. GABRIELOkay. SIERRAI wasn't masturbating to yourpicture or anything. GABRIELWell, I guess I'm flattered. SIERRAYou should be. I'm stingy withcompliments. GABRIELSo your boyfriend plays videogames? SIERRAEx-boyfriend. And yes. Way toomany. He used to play Evercrackback in the day, but yours, well,that was like...what's worse thancrack? GABRIELSuper-crack? SIERRASure. He was this orc witch doctorguy. GABRIELShaman? SIERRAYeah. At one point he was spendinglike, 40 hours a week gathering"thunderleaf" or whatever. (MORE) 79. SIERRA (CONT'D) Then I was his mule, hauling it around because he ran out of space. GABRIEL You had an account? SIERRA I was part of your world, and you didn't even know it. GABRIEL Sorry. SIERRA You can make it up to me.309 309 EXT. ROAD NEAR PRIUS - DAY Mary is pacing -- but trying not to look like she's pacing. She holds the other cell phone (Gabriel's), which she turns on and off, hoping that somehow she'll get a signal. Each time she turns it on, we hear the CHIMES. IN THE PRIUS Noelle is still playing with the video camera, watching footage of the hike. She decides to wind back further. CLOSE ON the blocky pixels rushing past. Noelle hits "play." For now, we just hear the audio. MAN'S VOICE ...I have five seasons mapped out, and though it sucks, either you go away, or the show goes. I had to make a decision, and that's the decision I made. I'm sorry. We reveal the screen. We're watching the argument between Gavin and Melissa from Part 2. MELISSA (ON TAPE) So it's done. Finished. Decided. GAVIN (ON TAPE) Yeah. Confused, Noelle looks out at her mother, Mary, who is still pacing with the cell phone. MELISSA (ON TAPE) I understand. 80. GAVIN (ON TAPE) You do? MELISSA (ON TAPE) I understand. It's not your fault. You're morally incapable of doing the right thing. Noelle REWINDS further. Blocky pixels RUSH PAST as we... CUT TO:310 310 EXT. FOREST - DAY Sierra continues to lead the way. She seems confident where she's headed, even though there's no real path. During the conversation, we notice a small tattoo on her right shoulder blade: IX. SIERRA So you play a lot of characters at once? GABRIEL A couple. Most people do. SIERRA You're not most people. You created the world. You know all the secret codes. GABRIEL What, like `God mode'? SIERRA That's what you call it? GABRIEL That's when you have all the powers, and you can't be killed. It's fine when you're designing, but it's really boring to play. A game isn't fun unless there are rules. SIERRA And you make the rules. GABRIEL Yes I do. I mean, you want to give everyone freedom, but they can't handle it. Half your players are teenage boys, and it's like they're programmed to be destructive. (MORE) 81. GABRIEL (CONT'D) They deliberately crash the world servers. They'd ruin everything just to prove they could.A311 A311 INT. FOREST VALE - DAY Sarah offers Gary her water bottle, which he gladly takes. Out of nowhere... SIERRA Do you think I'm pretty? She stops, turning to face him. GABRIEL What? SIERRA Do you think I'm hot? On a purely physical level. GABRIEL Sure. He drinks. SIERRA That's a rave. GABRIEL Well, I don't know why you're asking. SIERRA My ex-boyfriend, the orc, he says, "What I like about you is that you're not so hot that I'm afraid of losing you." GABRIEL So where's the orc now? SIERRA He's dead. I spiked his water bottle with a massive quantity of GHB. He hallucinated, went into convulsions and died. He screws the cap back on the water bottle and hands it back. GABRIEL Remind me not to piss you off, Sarah. 82. SIERRA Sierra. He's surprised. He could have sworn her name was Sarah. GABRIEL Sorry. SIERRA And what makes you think you haven't pissed me off already? She smiles, keeps walking.311 311 EXT. ROAD / INT. PRIUS - DAY Mary sits down in the front passenger seat of the car. Noelle is still in back, watching footage on the video camera. MARY How are you doing, kiddo? Noelle doesn't look up. MARY (CONT'D) I was thinking we could all go to El Cholo for dinner. How would you feel about some blue corn enchiladas? Should we ask Daddy when he gets back? Without looking up... NOELLE He's not coming back. Mary is stunned. For her part, Noelle seems to have no idea she just spoke her first words. We hear three evenly-spaced BEEPS. After the third one, Mary says: MARY How could you... Mary flinches. It's like someone walked over her grave. Noelle hands her the camera. The footage is cued to earlier in Part 2, where Gavin is having Melissa loop in a wild line: MELISSA (ON TAPE) Howkajew. How could you. How could you. (MORE) 83. MELISSA (ON TAPE) (CONT'D) (beat) I feel so dirty. GAVIN (ON TAPE) That's how I like ya. Mary backs out of the car, as if trying to get away from the video camera. But she's still holding it. She hits STOP. Tries to collect herself. Noelle gets out of the car, but doesn't approach. She signs, "Mommy?" Mary backs away. CUT TO:312 312 EXT. FOREST VALE - DAY Gabriel and Sierra stop for a moment, so he can pull off his outer shirt. For the first time, we see that Gabriel has a large tattoo on his back which looks like this: IX He's sweating a lot. GABRIEL Am I crazy, or is it getting hotter? SIERRA Oh, you're crazy. She hands him back the water bottle. He gladly drinks. When she takes the bottle back, she steps forward. The motion leaves them face-to-face. She pauses for a moment, just long enough for him to turn away. He doesn't. She kisses him. He doesn't really kiss back -- but he doesn't fight it, either. She puts a hand on his thigh, sliding up the inside. Only when she reaches his crotch does he pull back. GABRIEL I have a wife. And a daughter. They're waiting for me. SIERRA Where are they? 84. GABRIEL Back at the car. SIERRA I mean, which direction? GABRIEL They're back... Gabriel turns, trying to get his bearing. The trees BLUR. He nearly falls over. He manages to steady himself. SIERRA Face it, G.: You don't know where they are. You don't know where you are. We've been walking in circles for an hour. GABRIEL Where's your car? SIERRA There is no car. That was all a... (what's the word) "pretense," I guess. An excuse to get you alone. Wobbling, Gabriel sits down on a stump. Sierra kneels down in front of him. SIERRA (CONT'D) Dizzy, huh? It's probably just the GHB. In the water. She holds up the water bottle. FLASH TO: QUICK FLASHBACKS FROM PARTS ONE AND TWO313 313 EXT. FOREST - DAY Gabriel experienced the flashbacks. He felt time move. GABRIEL What's happening? SIERRA I'm sorry it had to come this, G. But it'll all be over soon. 85. GABRIEL You're trying to kill me. SIERRA No! No. This isn't a murder. It's an intervention. CUT TO: FLASHBACK SEQUENCE. Images to accompany previous dialogue... SUSAN I had to get you away from her. She was holding you back. You had to give her up. GAVIN Melissa? SARAH I can you out of here. But you have to trust me. SUSAN Do you feel like a man? You're not.315 315 EXT. FOREST - DAY Gabriel dry-heaves. Sierra rubs his shoulders. SIERRA That's right. Just let it go. Let it go. She's genuinely empathetic -- she doesn't enjoy his suffering. GABRIEL Why are you doing this? SIERRA You did it to yourself. Admitting that is the first step. She comes around to face him. And now we see they're not alone. Two other familiar faces approach: THE PAROLE OFFICER/AGITATED MAN, and OCTAVIA. 86. They're Nines as well. SIERRA (CONT'D) You're a crack-head, G. The thing is, this planet, these people, they're your drug of choice. CUT TO:99 99 INT./EXT. VARIOUS LOCATIONS - DAY [The next sequence bridges multiple earlier scenes from Parts One and Two. Gary/Gavin/Gabriel has one conversation with Sarah/Susan/Sierra, but it's broken up among previous scenes and locations, sometimes for just a line.] S. It's not that hard to make a universe. At first, you just checked in every once in a while. See how the Neanderthals were doing. Move some continents around. But then you got more into it. Starting playing a couple of characters of your own. Kings. Slaves. Messiahs. Pretty soon, you were playing 24/7. G. How long have I..? S. You've been gone for four thousand years. Not that time means the same for us, but... G. You came looking for me. S. That's what a girl does. G. Why now?x107 x107 EXT. STREET - DAY [PART ONE] Streetwalker Octavia leans in Gary's car window. OCTAVIA Because you forgot who you were. 87.x228 x228 INT. TESTING ROOM - DAY [PART TWO] The Agitated Man leans up to the one-way glass. AGITATED MAN You forgot this wasn't real.99 99 INT./EXT. VARIOUS LOCATIONS - DAY S. We couldn't just storm in on a fiery chariot. It's your universe. We had to play by your rules. We had to make you see how limited and corrupt your little world was. Don't get me wrong, this world is nice. It's cozy. But do you remember where you came from? A few beats while it comes back to him. Tears start to build in his eyes. What he's picturing is unspeakably beautiful. G. It was warm. And white. Like...x160 x160 INT. LIVING ROOM - DAY [PART ONE] The Agitated Man/Parole Officer attaches Gary's anklet. AGITATED MAN You can't describe it with human words.x108 x108 INT. MOTEL ROOM - DAY [PART ONE] Octavia leans over Gary, who has fallen off the bed. OCTAVIA You can't think it with human thoughts.99 99 INT./EXT. VARIOUS LOCATIONS - DAY S. That's why you have to come back. Come back with us. With me.x256 x256 OMIT 88.316 316 EXT. GRAVEL ROAD / NEAR THE PRIUS - DAY Mary is sitting on the road. Noelle has her chin on her mother's shoulder, watching the videotape with her. ON SCREEN, with tinny audio: (from scene 177) MARGARET You could destroy the world with a single thought. (suddenly) Don't, incidentally. Just file that away. But the truth is, you hold all the cards: every church, every candle, every sacrifice -- that's for you. When people pray, they're not praying because they want this thing or that thing. They just don't want to be forgotten. BACK TO:A317 A317 EXT. ROAD / PRIUS - DAY Mary is still watching the tape. She realizes Noelle isn't watching over her shoulder anymore. Mary looks around. Her daughter is nowhere to be seen. MARY Noelle? Noelle! CUT TO:317 317 EXT. FOREST CROSSROADS - DAY Gabriel and Sierra are back at the junction where the paved road meets the gravel road. GABRIEL Maybe if I just cut back, didn't get so involved... SIERRA We both know that'll never work. Next week, you'll be back here redesigning the pinecones. You have to quit cold-turkey. GABRIEL I can't. 89. SIERRA You can. But I can't force you to leave. You have to want it. She takes his hand, running a finger through the green string bracelet around his wrist. She kisses him. And then she's gone. Gabriel stands there for a long beat, considering his decision.x103 x103 OMIT318 318 EXT. GRAVEL ROAD / NEAR THE PRIUS - DAY Panicking, Mary calls out for -- MARY Noelle! Noelle! She's nowhere to be found. Then, from behind her... GABRIEL She's here. Gabriel is walking up the gravel road, with Noelle holding his hand. GABRIEL (CONT'D) I didn't forget you guys. Mary regards him as a familiar stranger, a beloved imposter. MARY Everything okay? GABRIEL Absolutely. Let's go home. MUSIC BEGINS, a song that will carry us through the next sequence.319 319 INT. PRIUS - DAY Gabriel climbs into the driver's seat. Both Mary and Noelle watch with interest as he pushes the "START" button. The car BEEPS and engages without any problem. Everyone fastens their seatbelts. 90.320 320 EXT. FOREST ROAD - DAY The Prius drives down the gravel road. Mary tries to keep her eyes on the scenery, but they keep drifting over to Gabriel, trying to read what he's thinking.321 321 EXT. CROSSROADS - DAY The Prius turns on to the paved road. Headlights switch on.322 322 OMIT323 323 OMIT324 324 OMIT325 325 EXT. HOUSE - NIGHT The metal gate at the top of the driveway swings open, SQUEALING on its rusty hinges.326 326 EXT. DRIVEWAY - NIGHT Gabriel lifts the sleeping Noelle out of the car. Carries her into the house. Mary shuts the door behind them.327 327 INT. NOELLE'S ROOM - NIGHT Taking off her shoes, Gabriel tucks Noelle into bed. Turns on a nightlight for her.328 328 INT. MASTER BATHROOM - NIGHT Gabriel brushes his teeth with an electric toothbrush while Mary reads a magazine on the toilet.329 329 INT. BEDROOM - NIGHT Gabriel switches off the light. He spoons Mary, who kisses his hand. On both Mary and Gabriel's faces, we see anxiety. Things left unsaid.330 330 INT. BEDROOM - NIGHT [LATER] Gabriel lies awake, staring at the ceiling. 91.331 331 INT. STAIRWELL - NIGHT Gabriel's bare feet walk down the carpeted stairs.332 332 INT. DINING ROOM - NIGHT Gabriel stares at the three paintings on the wall.333 333 INT. KITCHEN / EXT. BACK YARD - DAWN Gabriel stands in the doorway, looking out at the inky-blue sky. His eyes are red, tired. He hasn't slept at all. It's very quiet, except for the occasional precocious BIRD CALL. Mary enters from the living room, still in her pajamas. He knows she's there. Neither wants to speak. MARY You need to go, don't you? GABRIEL No. I can stay. MARY How long? Forever? Every day, you'd know what you were missing. He smiles, a little. MARY (CONT'D) What happens? If you go. GABRIEL Worst-case scenario? Spontaneous disintegration into a fiery void. Oblivio accebit. The end of everything. MARY That's all? Both smile. GABRIEL That probably wouldn't happen. The basic structure of the universe should hold. I guess I'm just worried about the human factor. You guys kill each other a lot. 92. MARY In fairness, that's usually in your name. Plus we've gotten much more efficient at it.A beat. GABRIEL I like this world. I like my life, here, with you and Noelle... MARY But it's not real. I'm not really your wife, you're not really my husband. On some level, it's all pretend. GABRIEL It's not pretend. There's a reason you were there, in every version. You were my sister, my wife, my best friend... MARY That's a little creepy. GABRIEL I wanted you close. In one version, I even told you. I warned you that some day they might come for me, and... MARY ...You'd have to leave. How many versions were there? GABRIEL Ninety. This is the last one. MARY Wow. GABRIEL I've destroyed billions of people with a thought. Obliterated them. And you'd like to think it's painless... MARY Stop. You don't have to explain, or apologize. Everything that is, is because of you. If that's all, that's enough.With that, there's really nothing more to say. 93. MARY (CONT'D) So. GABRIEL So. MARY Guess you don't really need to pack anything. GABRIEL I'm good. MARY You're great. It's been a pleasure. GABRIEL Likewise. I love you. MARY Love you, too. Ya big lug.He kisses her. It's not a big, passionate, movie-endingkiss, but rather a fond kiss farewell. At the end of it, heWHISPERS into her ear: GABRIEL You're my favorite.She smiles.With two fingers, Gabriel BREAKS the green string braceletaround his left wrist.And in that moment, a film passes over him, like the boundarybetween water and air.He's stepped out of this dimension.Mary is frozen with the same smile on her face, but we noticethat she and the kitchen around her have flattened out to two-dimensional images.She and everything around her has become like wallpaper,slowly curling away, revealing emptiness beneath.Gabriel collapses into a single, spiky sphere of light.The light moves through the kitchen, creating waves thatripple through the tissue-thin walls.Picking up speed, the sphere rushes through the window,heading west. 94.334 334 EXT. LOS ANGELES - DAY As the light flies out over Hancock Park, the mansions and skyscrapers seem unreal, like models. Reaching Santa Monica, we pass over the ferris wheel at the end of the pier. We dive into the blue ocean beneath us, which becomes only a swirling gray fog with a viscous thickness. We see three lights in the distance. We join them, moving with them. Further ahead, more lights, circling. It's a loose spiral made of stars, resembling nothing so much as the number 9. As we get closer and closer, we... MATCH CUT TO: A PALE EYE, opening. We are...335 335 INT. KITCHEN - MORNING Hands reach up, expecting to find glasses, but there are none. As we PULL OUT, we reveal it's not Mary, Melissa or Margaret, but a fourth person -- just slightly different from any of them. We'll call her M. She looks first to the spot where Gabriel was standing. Empty. MAN'S VOICE (O.S.) Honey, do we have nutmeg? M looks over at husband Ben, who is busy making pancakes, reading from a recipe. M We should. Coming around from behind Ben, Noelle checks through the spice drawer. M watches her with cautious fascination. BEN Cinnamon, too. 95.M catches her reflection in the toaster. Notices she looksdifferent than she expected. NOELLE (to Ben) If I had a horse...Noelle turns back with the spices, handing them to Ben one ata time. NOELLE (CONT'D) I would name her Cinnamon. BEN Really. NOELLE And if I had another horse... BEN Nutmeg? NOELLE No, Flash. M Sweetie?She beckons Noelle over. Tucks back the little girl's hair.Keeping her voice low enough so Ben can't hear: M (CONT'D) This is going to sound really strange, but...what's my name?Noelle only gives her a half-crazy look. NOELLE Mmmmmmmmmm-Mommy.Noelle smiles. M smiles too, a little embarrassed. M Right. Exactly.Noelle looks her right in the eye. NOELLE He's not coming back. But it's gonna be okay. He put the pieces together, it's like... M The best of all possible worlds.Noelle taps her nose. 96. BEN Honey? Is it supposed to stick like this?Sharing a look... M We should help him.Noelle agrees. They head over to assist.We MOVE ACROSS the family as they work on the pancakes,Noelle directing how big the ears on hers should be.We leave them in the middle of a messy kitchen, gooeypancakes, and a good life.FADE OUT. THE END 97. ADDITIONAL MATERIAL The following scene (Scene 99) is the conversation between S and G that plays near the end of Part Three. The plan is to shoot this scene in almost every setup of the film that involves both characters -- be it in Part One, Two or Three. So we'll be shooting this scene a lot. We'll then be intercutting the best of all these moments to create one sequence.99 99 INT./EXT. VARIOUS LOCATIONS S. It's not that hard to make a universe. At first, you just checked in every once in a while. See how the Neanderthals were doing. Move some continents around. But then you got more into it. Starting playing a couple of characters of your own. Kings. Slaves. Messiahs. Pretty soon, you were playing 24/7. G. How long have I..? S. You've been gone for four thousand years. Not that time means the same for us, but... G. You came looking for me. S. That's what a girl does. G. Why now? S. We couldn't just storm in on a fiery chariot. It's your universe. We had to play by your rules. We had to make you see how limited and corrupt your little world was. Don't get me wrong, this world is nice. It's cozy. But do you remember where you came from? A few beats while it comes back to him. Tears start to build in his eyes. What he's picturing is unspeakably beautiful. 98. G.It was warm. And white. Like... S.You can't describe it with humanwords. You can't think it withhuman thoughts. (beat)That's why you have to come back.Come back with us. With me. \ No newline at end of file diff --git a/unformated_scripts/Script_Ninja Assassin.txt b/unformated_scripts/Script_Ninja Assassin.txt new file mode 100644 index 0000000000000000000000000000000000000000..ec221bac183e1fe81c719342194adfafcc9d2ed9 --- /dev/null +++ b/unformated_scripts/Script_Ninja Assassin.txt @@ -0,0 +1 @@ + NINJA ASSASSIN Written by Matthew Sand & J. Michael Straczynski REVISED 2nd DRAFT 6/4/08 FADE IN: CLOSE ON a Horimono Tattoo as it is being drawn into flesh. The ink is needled into the surface of the skin, raw and bloody, the needled brush tapped with the precision of ritual. The tattoo is in the style of a Kuniyoshi print: Miyamoto Musashi thrusting his spear into the writhing dragon. The image has beauty but retains the violence required to saturate flesh with art. The skin canvas shifts uncomfortably with the needle- work. HOLLYWOOD Fuck! Fucking-shit-fuck-fucking- fuck! PULL BACK to reveal that we're in...1 INT. TATTOO PARLOR - NIGHT 1 A place of designer furniture, beautiful girls carrying towels, tea and cigarettes. Dozens of Yakuza look on as the process continues, sleeves rolled up or shirts off to expose the lavish tattoos that cover their torsos. HOLLYWOOD, the young Yakuza member, is getting his first tattoo, a relatively small one on his back. He grabs a bottle of sake and suckles it like a baby. HOLLYWOOD Watch it, old man! The old tattoo artist continues tapping his brush. Maybe a little harder. HOLLYWOOD (CONT'D) What the fuck? You're doing it wrong. TATTOO ARTIST The needle is doing what the needle does. HOLLYWOOD What's that supposed to mean? (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 2.1 CONTINUED: 1 TATTOO MASTER The irezumi does not hide the skin, the tattoo reveals the nature of the man and illuminates the four noble professions in the Book of Five Rings: the Warrior, the Artist, the Merchant, and the farmer. If there is a conflict between the needle and the skin, between the mark and the man, then perhaps the path you have chosen is not the path for which you are suited. HOLLYWOOD What did you just say, old man? Hollywood whips his gun out and jams it under the old man's jaw. HOLLYWOOD (CONT'D) I know you didn't just disrespect me, did you? You that fucking stupid? You disrespect me, and I'll tattoo this ceiling with your fucking brains! The old man speaks with a kind of deference honed through years of service to men like Hollywood. TATTOO MASTER No disrespect. Hollywood smiles. HOLLYWOOD You're lucky. I can't kill you 'til you finish this thing. Gimme that mirror! How's it looking? Goons and girls all cluck their tongues in chorus. Hollywood peers at the new tat through the mirror. He whistles approval as Yakuza One enters carrying an origami envelope. HOLLYWOOD (CONT'D) Not bad. Not bad. For an old fuck. YAKUZA ONE Hey, boss. This just came for you. HOLLYWOOD What is it? (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 3.1 CONTINUED: (2) 1 YAKUZA ONE A letter. HOLLYWOOD So open it, dumb ass. He opens the origami envelope, then hesitates at what he sees. HOLLYWOOD (CONT'D) What? What is it? He pours the contents out into his hand. YAKUZA ONE Looks like sand. He tastes it. YAKUZA ONE (CONT'D) Yup. Sand. Black Sand. The tattoo master drops his brush. It clatters to the floor. TATTOO MASTER No... HOLLYWOOD You know what this is? The artist barely nods. HOLLYWOOD (CONT'D) Wanna let us in on the joke? TATTOO MASTER Years ago, I watched a man open an envelope like that one. His eyes pool with fury at the memory. TATTOO MASTER (CONT'D) There were many with him and they laughed like you laugh now. Then it came from the shadows and their laughter was drowned in blood. You cannot bargain with what is coming. You cannot reason with it. Because it is not a human being. It is a demon sent straight from hell that will never stop until you are dead. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 4.1 CONTINUED: (3) 1 HOLLYWOOD What came out of the shadows? TATTOO MASTER I cannot say the word. HOLLYWOOD What word? He pulls open his robe, revealing a hauntingly beautiful tattoo of a Shinobi demon thrusting its blade into a lump of scar tissue at the center of his heart. TATTOO ARTIST That night, one of their blades struck here. I should have died, but for an accident of birth. My heart is here, on the other side. Hollywood peers closer at the dark figure of the demon. HOLLYWOOD What the fuck is that? YAKUZA ONE Looks like a Ninja, boss. HOLLYWOOD A ninja? Are you kidding me? That's the word you're afraid to say? Ninja? As he starts to laugh. HOLLYWOOD (CONT'D) Ninja-Ninja-Ninja! His laughter is infectious. HOLLYWOOD (CONT'D) You old fuck! You had me going! Ninja. That's some good shit. His Lieutenant laughs hard with him until the top of his head disappears, sliced off from his jaw up, leaving his tongue wagging in space. Lights shatter around the room. Chaos ensues. The panicked screams of the fleeing entourage co-mingle in chorus with gruesome death rattles of Hollywood's foot soldiers as one by one, they are eviscerated. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 5.1 CONTINUED: (4) 1 There's a RUSH of movement, more felt than seen. The whistle of swords through the air. Cries and screams. Guns that fire suddenly and are just as suddenly stilled. STAY on the face of the Tattoo Master, barely visible in the thin trace of moonlight from a nearby window. Frozen. Immobile. As the killing continues around him. Then: silence, broken by the sound of heavy, desperate BREATHING, and a MATCH being struck by Hollywood who looks up -- -- and sees a dark figures standing before him. Everyone else is dead. Only he and the Tattoo Master remain. The figure regards him with still silence. For perhaps the first time in his life, Hollywood is terrified. HOLLYWOOD (CONT'D) Listen... you don't have to do this! Whatever you're getting paid, I'll triple it! You hear me! I'll pay you whatever you want! Just name your price! Their answer is silence. Hollywood sees his guns nearby. With a desperate scream, he THROWS the match in the air as he DIVES for his guns, grabbing one in each hand. There is a whistle of metal and suddenly his severed hands are tumbling gracefully through the air. The blade swings again, slicing through his body as if it were barely there, coming out the other side as -- -- Hollywood's body erupts as it falls in two pieces, splattering the artist with blood. The match touches the floor and goes out. The Tattoo Master does not move, has not moved. Frozen. TATTOO ARTIST But you are real, aren't you? After a moment, the ninja emerges into the moonlight, the way a shadow coalesces into a panther gliding from the dark to inspect its kill. The artist doesn't move, but his eyes widen, his heart pounding in his ears. TATTOO ARTIST (CONT'D) For fifty-seven-years, I've told your story... (MORE) (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 6.1 CONTINUED: (5) 1 TATTOO ARTIST (CONT'D) No one ever believed me. The ninja walks towards him, his steps soundless. He crouches down, his eyes taking in the old man's tattoo. TATTOO ARTIST (CONT'D) But you are real, aren't you? There's the shing of a sword being unsheathed. The artist closes his eyes, anticipating death. Silence. He waits for the death blow. It does not come. He finally forces himself to open his eyes. The ninja is gone, having departed as silently as he came, leaving death and blood in his wake. CUT TO:2 INT. ISTANBUL SUPERMARKET AISLE - DAY 2 A roll of toilet paper drops into a cart. PULL BACK to REVEAL RAIZO, 20s, slim and sinewy, his expression distant, almost haunted. He considers the toothpaste options for a moment, then drops in one of those too. Moves on to food. Turkish Muzak plays in the background, a Beatles song, "Helter Skelter" by way of Turkish musicians. Other SHOPPERS cruise past in their own private quests. Raizo gets quick, easy bachelor food: six eggs, a single stick of butter, several handfuls of noodle packages.3 INT. ISTANBUL SUPERMARKET - CHECK-OUT - MOMENTS LATER 3 Raizo waits while the CHECKER - a pretty young woman - tallies up his groceries. CHECKER That's a lot of noodles. (beat) Are you a student? Tourist? Here on business? Raizo shakes his head to all three. CHECKER (CONT'D) When was the last time someone cooked you a real meal? (beat) I get off at seven. (MORE) (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 7.3 CONTINUED: 3 CHECKER (CONT'D) You could come by, let me make you a proper dinner! She winks at him. Very cute. RAIZO I don't think so. Sorry. No smile. No emotion in Raizo's face. He pays in cash. He picks up the bag and starts away when -- CHECKER So if you're not a student, and you're not a tourist, and you're not here to work... what are you doing? RAIZO Waiting. CHECKER For what? RAIZO For the wheel to turn. And he exits.4 EXT. ISTANBUL, STREET - DAY 4 Ancient gateway between Asia and Europe. Minarets thrust up from the tangled streets into the bright Aegean sky. The street is crowded with bicycles, cars and motorcycles as Raizo makes his way down a narrow sidewalk. OZUNU (V.O.) Wherever you are, wherever you may go....5 FLASHBACK - INT. ORPHANAGE OZUNU HOUSE - NIGHT 5 We're in a heavily shadowed room, lit with flickering candles as an older man, OZUNU -- hard-edged and unforgiving -- talks to his clan. OZUNU ...you must never, ever forget who you are, how you came to be. You are Ozunu. You are a part of me as I am a part of you. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 8.5 CONTINUED: 5 Beside him is a ten-year-old boy. His expression has the weight of stone. OZUNU (CONT'D) This is the truth of your lives and it will remain true after death. He pushes the boy forward. OZUNU (CONT'D) This is my new son. I have given him the name Raizo. Welcome him as your brother. The clan mummers "welcome Raizo", bowing their heads. One head remains upright, looking him in the eye. A girl roughly his own age. Her name is Kiriko.5A INT. EUROPOL OFFICE - DAY 5A * MIKA CORETTI, 30's, high-energy, a force of nature in * human form. She enters EUROPOL AGENT RYAN MASLOW's * office carrying an armful of reports. * MASLOW * What's all this for the Delgata * case? * MIKA * No. This is Delgata- * Sets her pile down and she hands him one folder from the * ton. * MASLOW * And the rest? * MIKA * ...evidence. * MASLOW * For? * Her eyes tell him. * MASLOW (CONT'D) * Oh no. Not again. * MIKA * You said you'd take it serious * when I had serious evidence. * (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 8A.5A CONTINUED: 5A MASLOW * Does that evidence include photos * of the Loch Ness monster as well? * He chuckles. She's not laughing. * MIKA * You've trusted my research before, * what's the problem now Ryan? * MASLOW * What's the problem? Come on Mika, * it's like one of those questions * on an IQ test, which of these * doesn't belong; laptops, space * shuttles, nanotechnology, ninjas. * MIKA * All I'm asking for is an hour. * That's all. Give me an hour and * if you still think I'm chasing * UFO's, I'll walk out and you'll * never hear another thing about * them. * He eyes her. * MASLOW * Why do I think I'm going to regret * this? *6 INT. ISTANBUL APARTMENT BUILDING - HALL 6 ON A DOOR LOCK as he inserts his key and HEARS: LANDLADY (O.S.) Oh, Mr. Nan, good, you're back. Raizo turns to his LANDLADY, an older woman who looks up at him from the top of the stairwell. LANDLADY (CONT'D) We had a heating problem, and I had to go into your apartment. Raizo nods, his expression not betraying the sudden tightness in his chest at this information. RAIZO Is everything all right? (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 8B.6 CONTINUED: 6 LANDLADY Yes, fine, it's all fixed. You keep it very dark and spare in there. RAIZO Ms. Ali, my privacy is very important to me. If you enter my apartment again without my permission, I will leave your building. LANDLADY I just -- (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 9.6 CONTINUED: (2) 6 RAIZO Good day. He closes the door behind him.7 INT. ISTANBUL RAIZO'S APARTMENT - CONTINUOUS 7 He stands on the other side of the door, surveying the room for a moment with severe, unforgiving eyes. The place is monastic, nothing decorative, or comfortable. Then, in a quick series of cuts, he checks all of the secret places he hides things. A drawer is flipped over and a hidden bottom opens revealing weapons. A panel in the oven reveals his chain and blade. A hidden compartment in his suitcase exposes inky folds of fabric. He sifts through them as we hear- OZUNU (V.O.) You should have died.8 FLASHBACK - INT. ORPHANAGE DOJO - DAY 8 Raizo, breathing hard, stands over another young boy that he has just defeated in a fight. Both are sweaty, dirty, scarred. The other children are lined up in perfect rows, watching silently. Most are boys, but a few are girls. One of them is KIRIKO, lithe and supple, a child's eyes haunted by an adult's sorrows and knowledge. Ozunu circles Raizo as he regards his fallen opponent. OZUNU On the street. Abandoned by your parents. Without a home. Without people to care for you. You should have done as most children do, and gone quietly from this world, to the next. (beat) But, instead you fought. As you did here today. You fought. And you won. As we TRACK with Ozunu, we see that Raizo's body is covered in scars. OZUNU (CONT'D) Scars are the calligraphy of violence, Raizo. They inscribe the story of one's life. (MORE) (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 10.8 CONTINUED: 8 OZUNU (CONT'D) You survived because you are different. You are special. That is why you are here. That is why the Great Current, which flows beneath all life, carried you to me. BACK TO:9 EXT. BERLIN - DAY 9 Mid-day traffic, tourists strolling down wide avenues past war monuments and street art.10 EXT. EUROPOL - DAY 10 Just long enough to ESTABLISH UNDER: MIKA (V.O.) It's a pattern, like the currents of the ocean.11 INT. EUROPOL OFFICE - HALLWAY - DAY 11 Close on a mound of bank records; rivers of numbers cascading neatly down perforated spread sheets. * MIKA Some people see money as the root of all evil, but to me it looks like a fingerprint. Whether we're talking about 19th century Korea, or 21st century Iraq, the game is the same. If you want to understand why certain things are happening, you have to understand the flow of money. MASLOW You're excited, Mika. You know I get nervous when you're excited. He would never admit it, but he enjoys watching her work, almost as much as he likes poking her about it. MIKA You remember the Eulmi incident? * (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 11.11 CONTINUED: 11 MASLOW Korean queen, late eighteen- * hundred's. According to you, she was off'd by one of these ninja clans. MIKA Ozunu. I think. I've been going through some of the original transcripts of the trial of Kunitomo Shigeaki. The prosecutor questioned him about a payment of 100 pounds of gold. Shigeaki answered that he didn't know what the prosecutor was talking about. The question was never brought up again. But what pinged for me was the amount- the exact same amount rumored to be paid to the Hattori Clan for the assassination of Lord Sanda. MASLOW So you start to wonder, in this ever changing world, if the cost of a man's life has remained constant. MIKA Exactly. I figure these clans are like a thousand years old. They probably don't change a lot. She begins flipping through huge reams of bank records. MIKA (CONT'D) I started looking at international wire transfers, targeting banks in the regions of several high- profile assassinations and bingo- The proverbial needle in a haystack; a single wire transfer circled in red. MIKA (CONT'D) Minister Zhang. The day before the assassination $1,555,999.90 was transferred from the bank of Shanghai. The exact market value of one hundred pounds of gold. MASLOW Highly circumstantial. * (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 12.11 CONTINUED: (2) 11 MIKA I thought you might say that so I checked how often this particular bank transferred that market equivalent to a hundred pounds of gold in the last three years. MASLOW Let me guess. MIKA Not once. He sifts through the report. * MASLOW Okay you got me. This is * interesting. * MIKA The clans are real, Ryan. They * steal children and turn them into * assassins. They've been doing it * for years and nobody's doing a * damn thing to stop them. * MASLOW Look, no one's denying the historical record, Mika. But the whole idea just doesn't fit in with a modern world. It's like one of those questions on an IQ test: which of these doesn't belong in this sentence: laptops, space shuttles, nanotechnology, ninjas. MIKA They're real Ryan. You can call them spooks, or assassins, or whatever you want if it makes you feel better, but they're out there. They're killing people and nobody is doing a damn thing to stop them. CUT TO: GOLDENROD REVISED 2nd DRAFT 6/4/08 13.12 INT. ISTANBUL LAUNDROMAT - NIGHT 12 Close on tokens being rammed down the mechanical throat of a washing machine. Overhead, the fluorescent lights STROBE unevenly, the fixtures old and in need of new bulbs. Raizo steps back as the washer begins to cycle loudly, a wheezbox instrument that rattles, gurgles and groans. As he looks at the machine we hear: OZUNU Our enemies are everywhere.12A FLASHBACK - INT. ORPHANAGE - DAY 12A Ozunu strides among his children who are bathing, scrubbing themselves with evergreens. OZUNU You must move without trace or * footprint. Young Raizo pours water through evergreens onto clothes he is scrubbing. OZUNU (CONT'D) You must become shadow; Your scent * nothing but wind through trees. * BACK TO:12B INT. ISTANBUL LAUNDROMAT - NIGHT 12B A pretty young Japanese woman, the only other customer, calls to Raizo as she stands beside one of the dryers. PRETTY WOMAN Hi... excuse me...? (catches his eye) Would you mind? RAIZO ...sorry? She hands him one end of a freshly dried sheet. PRETTY WOMAN If it's not too much trouble, could you help me with this? He smiles and nods. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 13A.12B CONTINUED: 12B They begin to fold, corner to corner, end to end. Silently. The fluorescent strobing above them. We sense a strange tension between them as we realize they are alone in the midnight cleaners. He looks at her. She smiles. The uneven strobing on either side of the Laundromat casts uneven shadows on her face... almost as though she had two faces. One light, one shadow. We EXTEND the silence for a long BEAT until he looks down at the sheet and says: RAIZO What clan are you from? She glances up sharply. PRETTY WOMAN I... don't understand... RAIZO You came alone. The Ozunu clan would never make such a mistake. Her eyes REACT as suddenly a blade flashes from beneath the sheet, reaching for Raizo's throat. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 14.12B CONTINUED: (2) 12B He catches the blade in the sheet, twisting it in her grip. She fights for control. A fury of slashes and the sheet is shredded.13 INT. ISTANBUL LAUNDROMAT OFFICE - NIGHT. 13 The night manager is half-asleep, watching a Korean soap on Empress Min. When he hears a series of crashes, he gets up.14 INT. ISTANBUL LAUNDROMAT - NIGHT 14 He throws open the office door, wielding a fire iron. MANAGER What is going on- The space is empty, glowing with fluorescent glare. One machine is thumping loudly. He crosses to it. As he nears it, bloody water begins bubbling up, flowing over the top.15 EXT. CURRY-WURST STAND BERLIN - DAY 15 Ketchup splatters the chopped meat. MASLOW And two cokes, please. MIKA How long have you been here? And you can't say "zwei cola bitte"? MASLOW Course I can, but you tend to hear more interesting things if people don't know you can understand what they're saying. MIKA Do you ever stop being a cop? MASLOW Not the way I was raised. My dad always said, being a cop has nothing to do with a clock. It's a consequence of consciousness often interpreted as desire. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 15.15 CONTINUED: 15 MIKA Desire? MASLOW For justice. And doughnuts. He smiles as they move to one of the circular tables. MASLOW (CONT'D) So you got something else? MIKA I think so. Same template as before. The transfer was made the day before a multiple homicide in Osaka. The police and newspapers are calling it a gangland slaying. MASLOW How do you know what the police report says? You're not still requisitioning evidence with my clearance codes, are you? She shakes her head. Lying. Quickly sipping her coke. MASLOW (CONT'D) Good. MIKA What about the bank audit? MASLOW Denied. It was a long shot at best. MIKA But you said you found something. MASLOW A report. A friend of mine in Moscow, tipped me to it. He slips an envelope from his briefcase and gives it to her. MASLOW (CONT'D) It was written during the height of the Cold War by a high ranking KGB agent named Aleksei Sabatin. In it, he raises the possibility that several political assassinations were conducted by an ancient but very sophisticated network he calls the Nine Clans. (MORE) (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 16.15 CONTINUED: (2) 15 MASLOW (CONT'D) Mind you, he doesn't call them ninjas. MIKA What happened to him? MASLOW Same thing that's going to happen to me, if I keep hanging around with you- booted out of the service for mental instability. MIKA Is he still alive? We need to find him. MASLOW Working on it. MIKA You believe it now, don't you? He scoffs. MASLOW Ninjas? Are you kidding? MIKA Then why are you doing this? MASLOW No idea- He finishes his soda and takes his garbage to the can. MASLOW (CONT'D) But I can guarantee you that it has nothing to do with the fact that you're the most attractive researcher that I've ever worked with. He smiles and turns before she flushes a bright shade of red.16 INT. ISTANBUL RAIZO'S APARTMENT - DAY 16 A teapot begins to sing. Raizo pours the boiling water into a plastic bowl of noodles. He covers the bowl and waits a moment for the soup to cook. As he stares, we hear. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 17.16 CONTINUED: 16 OZUNU (V.O.) The body must obey the will. *17 FLASHBACK - INT. ORPHANAGE KITCHEN/DINING ROOM - DAY 17 Several of the younger members of the clan are sitting at the table, about to eat. Ozunu stands before them. He removes a small blade from inside his robe. Places the blade against his palm. OZUNU Hunger and thirst, your bowels and * breath, even the blood in your * veins, are the body's weaknesses. * The knife slices down along his palm, opening a split; the flesh parts, yet no blood flows. OZUNU (CONT'D) Master them, and you master the self. He closes his fist. OZUNU (CONT'D) This is the power of the Ozunu clan. He concentrates, squeezing his hand tightly until he opens it revealing that the wound has closed. OZUNU (CONT'D) This is the way of the ninja. The children look at each other, except for Raizo who stares at Ozunu. OZUNU (CONT'D) Eat tonight and you work twice as * hard tomorrow. Ozunu leaves. The children look at the soup, their mouths watering. All around, the older Ozunu clan members eat noisily. One of the children can't resist any longer and begins scooping up the noodles. In short order, others do the same. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 18.17 CONTINUED: 17 All except for Raizo, who sets down his chopsticks. Willing himself not to be hungry.17A BACK TO SCENE 17A The grown Raizo looks at his soup. We cannot tell if he is going to eat or not. OZUNU The world feeds on the weak.18 FLASHBACK - INT. ORPHANAGE OZUNU HOUSE - NIGHTINGALE 18 FLOOR - NIGHT Young Raizo stands in the central chamber of the compound. The floor beneath his bare feet is made of thousands of carefully mitred pieces of gleaming wood laid down in an intricate pattern. They are not, however, glued down to the floor. The slightest wrong move will make them shift noisily. This is our first look at the Nightingale Floor. OZUNU Suffering exists only because * weakness exists. Ozunu watches from the far side of the room as Raizo takes his first step. Carefully. Graceful as any dancer. He makes no sound. OZUNU (CONT'D) You must hate all weakness. Hate * it in others, but most of hate it * in yourself. He takes another step, and another. Each soft as a falling feather. He is a third of the way across the floor - his body gleaming with sweat - when he steps wrong and the floor sings beneath him. Raizo stops, a flash of panic in his eyes. Then he subdues the emotion and obediently lifts the offending foot, holds it out as Ozunu rises and approaches. Ozunu lays open Raizo's foot with a bamboo rod. Slashing blows that leave deep cuts. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 18A.18 CONTINUED: 18 Raizo's expression hardly changes. Ozunu returns to his place, and Raizo starts walking again, making no noise, and leaving no trace of his passage... ...except for a trail of small, bloody footprints.19 FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT 19 The same evening. Most of the children in this place sleep on mats in the same room. They are exhausted, silent, motionless. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 19.19 CONTINUED: 19 We FIND Raizo and though he makes no sound, his eyes show silent tears of pain, his feet still bleeding and bruised. Kiriko looks on from her mat for a long, silent BEAT, knowing the agony he is in. Then, as if coming to an inner decision, she reaches under her mat for a leaf into which a thick salve has been folded. She crosses the few feet to Raizo's mat and, as he watches in silent agony, she puts her finger to her lips, then kneels down -- -- and begins applying the salve to his feet. Within moments, we can see the pain leaving his eyes. Finishing quickly, she folds the remaining salve back into the leaf, exchanges a quick, furtive glance with Raizo, then heads back for her mat. He lays there for a BEAT, confused as to whether his diminishing pain is a good thing. Then he turns to look at Kiriko, but she lays with her back to him, apparently asleep. He regards her silently for a moment, then rolls over himself to sleep as we come around to -- -- the other side of Kiriko, and see that she is very much awake, almost smiling. She closes her eyes. CUT TO:20 INT. MIKA'S APARTMENT - NIGHT 20 The apartment is dark as Mika ENTERS and turns on the lights. She looks the place over, then goes room to room, turning on every light in the place. The practiced way she does it makes it clear she does this every night. Satisfied she's alone, she goes into the bedroom to change.21 INT. MIKA'S APARTMENT - BEDROOM - MOMENTS LATER 21 Mika is curled up in a chair and with KGB report. She turns a page and sees a photocopied drawing of a very intricate floor that we now recognize as the Nightingale Floor. She reads the caption beneath it. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 20.21 CONTINUED: 21 SABATIN (V.O.) (Russian accent) Historical evidence suggests that Ibn-Battuta's journey through the far east brought him into contact with what might be one of the oldest of the Nine Clans. He travels with a group of orphans that are being taken from a city devastated by war to the Shido of the Ozunu clan. The people of the surrounding province refer to the Shido as "The Orphanage."22 FLASHBACK - INT. ORPHANAGE DOJO 22 We see Battuta, the 14th century Muslim explorer sitting among the original leaders of the Ozunu clan, watching two children fight. SABATIN (V.O.) Battuta describes a ceremonial dinner followed by a display of martial skill. The combatants were children neither beyond the age of ten. Battuta masks his revulsion as the battle continues until one child beats the other to death. Small fists gleam with blood as one boy pummels the other. SABATIN (CONT'D) His host explains that a man's life must be made meaningless compared to the life of the Clan. Own the meaning of a man's life and you own his heart.22A BACK TO SCENE 22A Slowly the light in the bedroom hallway goes OUT. She freezes, and the world seems to freeze with her. She doesn't move, doesn't breathe. She forces herself to sit slowly up, reaching under her bed for a cricket bat. A car drives by outside. Could be nothing. Could be everything. Despite her fear, she edges toward the door. Slowly peers around it. The darkened hall is empty. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 21.22A CONTINUED: 22A There is a ticking sound, like someone tapping at a window. Could be a tree in the wind. Could be something else. She moves slowly through her apartment. Every shadow could conceal unseen eyes. She comes to the end of the hall, where the overhead light is out. She flicks the switch on and off. Nothing. She reaches carefully toward the light bulb. Taps it. The bulb rattles, it's just burned out. She breathes a sigh of relief. Then she notices -- -- that the living room window is open, the blinds gently swaying from the wind, tapping against the sash. She closes it and locks it. Looks to her desk, concerned. Did she leave the window open? Or is something going on. She goes to her desk, anxious, to check on something. She opens a drawer, revealing a box of tampax. Pulls out the tampax to reveal a key... a place no guy would think to check. She unlocks a drawer and takes out an unmarked DVD in a slim plastic case. Relieved, she starts to put it away...then stops. Is it the same DVD? She moves OS. MOMENTS LATER... the TV is switched on, and an image begins to play, revealing a time coded security camera, recording an urban street corner in Japan. The tape is riddled with digital noise and artifacting. Then, slowly, the digital noise seems to coalesce, to grow shapes. The shadows come to life. Then with incredible speed two dark figures start battling it out, their blades striking sparks that are still descending after they've slipped back into the shadows. They emerge over and over, brief flashes of clarity like the perfect arc of a calligrapher's brush describing the wing of a bird. Fight. Retreat. Silence. Shadows. Sparks. Mika hits the pause button and moves closer to the screen, examining the figures. One of the figures is wearing a mask, but the face of the other combatant is revealed, albeit somewhat obscured by the dim light and digital noise. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 22.22A CONTINUED: (2) 22A As we PUSH IN, we see that it's Raizo. But she doesn't know that name yet. MIKA ...who are you? She stares at the fierce beauty of his face and touches the screen gently.22Aa INT. ISTANBUL RAIZO'S APARTMENT - DAY 22Aa CLOSE on a bed of nails; sixteen penny nails arranged in perfect rows pointing up, the sharp tips catching the light. As we REVEAL Raizo his breathing is rhythmic and deep, but this is really the first time we have heard him sound like he is straining. As we continue to WIDEN, we discover the reason for this: he is doing handstand push-ups. On the nails. Over and over, with little apparent effort. The hard edges and lines of his body catch the light, like the tips of the nails, as we HEAR: OZUNU (V.O.) Strength is the only virtue that nature respects.22Ab FLASHBACK - INT. ORPHANAGE - DAY 22Ab Children are sharpening their weapons. Ozunu walks above them. OZUNU Hone your body. Sharpen your mind. Become the weapon you will need to survive. Young Raizo looks up and sees young Kiriko looking at him. She smiles. He looks back to his weapon.22B EXT. ISTANBUL - STREET - DAY 22B Raizo walks down a street where repair work is being done. To keep cars from falling into the hole, they've covered the street with big steel plates. As the cars and trucks pass over the plates, they make a bump-thump sound. Bump-thump, bump-thump, bump-thump. We PUSH IN on Raizo under that sound. GOLDENROD REVISED 2nd DRAFT 6/4/08 22A.23 FLASHBACK - EXT. ORPHANAGE BONSAI GARDEN - DAY 23 Kiriko is working in the bonsai garden. Raizo watches her silently for a moment noticing that she is secretly loosening the wires, letting the branches ease back into their natural shape. He whispers. RAIZO You shouldn't do that. It's against the rules. If they catch you -- KIRIKO Then they catch me. RAIZO They'll put you in the box. KIRIKO Yes, they will. She finishes releasing the branch. KIRIKO (CONT'D) I believe the heart of the tree knows which way it needs to grow. RAIZO Trees don't have hearts. KIRIKO Everything has a heart. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 23.23 CONTINUED: 23 RAIZO I don't. There's sadness and bitterness in his eyes. He's closing off to the world, becoming what they want. She won't let that happen. KIRIKO Really? Let me see. He hesitates, then approaches. Kneels down beside her. She reaches toward him. He flinches...a sword he can handle, but kindness has become something foreign...then allows her to undo the top button of his shirt. She presses her ear to his chest. Listens. Then she gently whispers to it. KIRIKO (CONT'D) Hello....hello, you in there. She listens again. KIRIKO (CONT'D) It's saying hello back. And that it's happy to meet me...but it misses you. Raizo smiles despite himself. RAIZO Liar. KIRIKO Listen to mine, I'm not lying. I'll prove it. Again, he hesitates. Then he leans in, and listens to her heart. Bump-thump. Bump-thump. She smiles. KIRIKO (CONT'D) Hello. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 24.23 CONTINUED: (2) 23 He looks up at her, his ear still to her chest. And for the first time, his face softens. Bump-thump. Bump- thump. Bump-thump.23A BACK TO SCENE 23A In the present as the traffic bounces past Raizo. Bump- thump. Bump-thump. Bump-thump. His eyes saddening with memory, he continues on his way.24 INT. MIKA'S OFFICE - NIGHT 24 Mika is at her computer doing what she does best: intuitively sifting through interconnected threads of information. Searching through what is known about Ibu-Battuta, she discovers information concerning the lost chapters of the "Rihla," supposedly destroyed sometime in the 15th century. She remains immersed until a sound grows louder and louder. A vacuum cleaner. She checks the time. Very late. She looks up and finds two eyes watching her through the crack in her open door. Startled she gets up while the eyes quickly disappear. In the hallway, an older Asian man is pushing the vacuum cleaner. MIKA Excuse me? Excuse me? He shuts it off, turns to her. MIKA (CONT'D) Where's Jona? He seems not to understand her. MIKA (CONT'D) Jona. The usual cleaner. Jona. ASIAN MAN Ahh, Jona. Jona sick. MIKA Oh. Well, tell him I hope he feels better (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 25.24 CONTINUED: 24 ASIAN MAN Take care. You should take care. MIKA ...What? ASIAN MAN Work so late. Not good for you. She smiles sheepishly. MIKA True...Thanks.25 EXT. BERLIN STREET - NIGHT. 25 Mika walks down the empty street, the sound of her heels slap against the stone buildings. The shadows seem to stalk her. She hears a faint sound like metal claws against glass. She stops and listens trying to see into the dark. MIKA ...is someone there?26 INT. ISTANBUL RAIZO'S APARTMENT - DAY 26 Raizo is practicing his chain form. We begin to hear the sounds of another fight. GOLDENROD REVISED 2nd DRAFT 6/4/08 26.27 FLASHBACK - INT. ORPHANAGE DOJO - NIGHT 27 Raizo, is fighting with TAKESHI, a few years older, in a room lit by hundreds of hanging torches. Armed with katanas, the boys duck, dodge and weave around the burning obstacles as they fight. They are both extremely agile, their bodies moving with the impossible flexibility of youth. Kiriko watches along with the other members of the clan. If she feels anything as she watches the fight, we cannot tell. They perform a vicious series of combinations, then Takeshi's sword cracks against Raizo's head, opening a huge gash. Raizo hits the ground hard, blood speckling the mats. Takeshi backs away as Ozunu steps in. As blood flows down the side of his face, Raizo looks like the young boy that he is. Pain throbs from the wound, and he begins to cry. OZUNU Did Takeshi's blow hurt you? You * think this is pain? You are * mistaken. * He gouges three fingers into the boy's stomach and twists something inside of him. Raizo screams. His screams smear into uncontrollable sobbing. OZUNU (CONT'D) That is true pain. You must learn * to live with it. He steps back, leaving Raizo writhing in agony. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 27.27 CONTINUED: 27 OZUNU (CONT'D) This is your first test. Survive * the night. He signals to the rest of the clan and they all begin to leave. Kiriko is the last to turn away. TIME CUT: Later. Night. Raizo is still where we left him, a twisted knot of pain, his face stained with tears and crusted with snot. He is trying to control his breath, at first without success. Then slowly, finally, it begins to ease. His hand, twisted into a kind of rigor mortis, slowly begins to relax, opening like a lotus flower. TIME CUT: Dawn breaks over the wall, as Ozunu returns to the dojo to find Raizo is sitting in a full lotus, completely calm, the wound already beginning to heal. Ozunu shows a hint of a smile. OZUNU (CONT'D) Very good, Raizo. Very good.28 OMITTED 2829 EXT. RIVERSIDE PARK - DAY 29 They are walking. Maslow is nervous. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 28.29 CONTINUED: 29 MASLOW Last night I'm working late and I get a visit. Guy named Zabranski. Works upstairs for Internal Affairs. Just drops by. In the neighborhood- cup a sugar- how ya doin- kinda thing. Asks what I'm working on. Oh, this and that, usual blibbity blab, I tell him. Then he smiles and says-30 FLASHBACK - INT. MASLOW'S OFFICE - NIGHT 30 Zabranski is leaning against the door jam. ZABRANSKI ...Very Good. His faint smile reminds us of Ozunu.31 EXT. RIVERSIDE PARK - DAY 31 MASLOW I don't understand what is really going on, but I'm smart enough to recognize a warning when I see one. MIKA But why? MASLOW Why? It's obvious. If your little fantasy has even slightest chance of being real, then these Nine Clans would have some pretty major juice protecting them. MIKA What are you going to do? MASLOW We are going to tip-toe, very carefully from here on out. You understand? You don't do anything else without checking with me. Got it? She nods. MIKA Did you find Sabatin yet? (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 29.31 CONTINUED: 31 Maslow isn't sure he wants to answer her. MIKA (CONT'D) You did. MASLOW Yeah...he's dead. MIKA How? MASLOW Heart attack. MIKA They killed him. MASLOW People die of heart attacks, Mika. MIKA Was he married? Did he have a family? MASLOW God, you are relentless, aren't you. MIKA I know you Ryan, you would have checked. MASLOW A wife. MIKA Still in Russia? MASLOW Relocated. MIKA Where? He pulls a folded piece of paper from his jacket. MASLOW Explain something to me first. Where is this obsession coming from? What started this whole thing? She thinks. FLASH CUT. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 30.31 CONTINUED: (2) 31 We see Mika reaching out to touch Raizo's face. CUT BACK. She shrugs. MIKA Like your father said...It's a consequence of consciousness often interpreted as desire. MASLOW Desire for what? MIKA For the truth. He shakes his head, handing her the paper. MIKA (CONT'D) Potsdam. She's in Berlin. Mika shoots off as Maslow calls- MASLOW Mika! Tip-toe! She takes several exaggerated tip-toe steps. CUT TO:32 INT. ISTANBUL RAIZO'S APARTMENT - NIGHT 32 A shuriken blade grinds against a whetstone as Raizo sharpens the weapon with practiced grace...despite being blindfolded. Sunlight is held back by vertical blinds. When he finishes, he stands, a Rodin sculpted out of midnight. We realize there are wooden blocks placed around the room. In his palm, a single shuriken abruptly fans into many like a deck of cards. Suddenly his arm whips around as the shurikens crack and split the thick wooden targets. He stands alone, still blindfolded. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 31.32 CONTINUED: 32 OZUNU (V.O.) These next five years will be the most important of your training.33 FLASHBACK - INT/EXT. ORPHANAGE DOJO/VERANDA - NIGHT 33 One of the OLDER NINJAS is wrapping Raizo's eyes with a sticky gauze, like the tape used to wrap horse's legs. MR. OZUNU For an entire year, you shall live without one of your senses, beginning with the sense you rely on the most: your sight.34 FLASHBACK - INT. ORPHANAGE DOJO - NIGHT 34 Takeshi's sword slides from one position to another as Ozunu looks on. Raizo, blindfolded, reacts to the sound, matching his posture a fraction of a second later. OZUNU A true Shinobi lives in darkness. The night is his weapon. * Takeshi attacks again. While Raizo eludes or blocks several blows, for every two he manages to block, another connects. OZUNU (CONT'D) You must see with more than your * eyes. * Raizo gets up, slowly releasing the tension in his jaw. He takes his position again, and this time the stance is easy, his expression softer. This time, as Takeshi comes at him, everything becomes clear. The whistle of the blade. The zip of the leg sweep against the tatami mat. The sound of his robe. Combined with Takeshi's unmistakable body odor Raizo has everything he needs to dodge, slip and counter. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 32.34 CONTINUED: 34 His chain strikes, wrapping an ankle, throwing a stunned Takeshi to the wall. Kiriko tries to hide her smile. Ozunu nods in appreciation. Raizo nods back, as if he can see without eyes.35 FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT 35 Young Raizo, still blindfolded is in bed. Trying to sleep, but it's impossible. Takeshi's snoring doesn't help. He turns slightly towards Kiriko, as her chest rises and falls, her breath as rhythmic as and gentle as the lap of sea-water in a tidal pool. He begins to breathe in sync with her, perhaps in hopes it will relax him. Slowly, all the other sounds in the room go away, until only her breathing, and his, remains. There is the slight murmur of their hearts. Then she opens her eyes...and smiles at him because he cannot see her. But he hears her heart begin to beat faster and that brings a faint smile to his lips. They listen to each other's breathing growing heavier, the sound of their hearts beating faster and faster. Her lips part as she makes the tiniest movement...tilting her pelvis up, rubbing her hips ever so slightly against the blanket- It's like tectonic plates shifting for Raizo. Bump-thump, bump-thump, bump-thump their hearts growing louder and louder as they become-36 EXT. POTSDAM - SABATIN HOME - DAY 36 Mika knocks. The cold war widow opens the door. MIKA Mrs. Sabatin? MRS. SABATIN Ja. MIKA I'm with Europol. We spoke on the phone. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 33.36 CONTINUED: 36 She nods. MRS. SABATIN (stepping aside) Ah, sehr gut. Bitte...please. MIKA Shoen. Mika enters.37 INT. SABATIN HOME - DAY 37 Sabatin and Mika sit across from each other. The house has the chill of loneliness. Tea has been set out between them. MRS. SABATIN You said you read my husband's report, yes? What did you think? MIKA I found it...illuminating. Especially the references to the Rihla. Your husband quotes passages not found in Battuta's present manuscript. MRS. SABATIN My husband journeyed all over the world researching that report, but when he was home, he never spoke about it. He said it was safer that way. MIKA I understand the report caused some problems for him inside the KGB. MRS. SABATIN The report caused "problems" for Alexei's career the way Moses caused problems for the Pharaoh, you see? Very unpleasant. Terrible people saying terrible things. She pours tea, the harsh memories still fresh. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 34.37 CONTINUED: 37 MRS. SABATIN (CONT'D) After he retired...was asked to retire...we moved, first to Byelorussia and then here to Berlin when the wall came down. He said this will be a good place to grow old together. And it was, for a time. MIKA What happened? She looks off, shakes her head. MRS. SABATIN About two years ago...two? Yes, after the assassination of Zhukov, the report drew attention. After that, everything was different.38 FLASHBACK - EXT. SABATIN HOME - DAY 38 As Alexei supervises, workmen install locks, put in fencing material, hang lights and video cameras on the outside of the house. MRS. SABATIN (V.O.) Alexei hired men to change all the locks, and put in more of them. Locks on the windows, locks on the doors, locks on the locks. He put in cameras and motion sensors and lights...everywhere, lights. The lights SNAP on, illuminating the back of the house with brilliant klieg lights. MRS. SABATIN (V.O.) (CONT'D) "There can be no shadows," he said. "No shadows."38A BACK TO SCENE 38A CLOSER on Mrs. Sabatin as she looks down at her tea. MRS. SABATIN I will tell you a true thing, and a hard thing. My husband was a soldier. A member of Russian intelligence. He had seen many terrible things.... (beat) He was not a man to frighten easily. (MORE) (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 35.38A CONTINUED: 38A MRS. SABATIN (CONT'D) But from that day on, when the sun went down behind the hills...in his eyes, I saw the fear a child has of the dark. (beat) Then, one day, a man came to the door.39 FLASHBACK - INT/EXT. SABATIN HOUSE - DAY 39 We are over the shoulder of someone who could be Raizo or Takeshi as the door opens revealing Alexei. After a moment Alexi invites the man in. A security camera watches them enter the house. MRS. SABATIN (V.O.) They talked in Alexei's study for sometime. Then the young man left. Mrs. Sabatin watches the young man leave then hurries toward the study door. MRS. SABATIN (CONT'D) It was unlike Alexei not to see him out. I remember being very scared. But when I opened the door, he was just sitting there. For a moment, he didn't even notice me. Then he stood up and kissed me and told me that he loved me very much. He said I should always remember that. We see Alexei looking shell-shocked, eyes hollowed, as he stands and kisses his wife. His eyes begin to shimmer with tears but before he cries, he leaves.39A BACK TO SCENE 39A MIKA Do you know what they talked about? MRS. SABATIN No. Alexei never spoke about it. But two months later, he was dead. MIKA Can I ask how he died? GOLDENROD REVISED 2nd DRAFT 6/4/08 36.40 FLASHBACK - EXT. SABATIN HOUSE - NIGHT 40 The lights have come on outside his house. Alexei comes out, a gun in hand, shielding his eyes. Searching for whatever set off the automatic lights. Then, suddenly: darkness. And sudden MOVEMENT in the shadows that LUNGES toward Alexei.40A As Mrs. Sabatin shakes her head, looks away. Shrugs. 40A MRS. SABATIN The lights went out. She looks to Mika. That says it all. She rises. MRS. SABATIN (CONT'D) You are the first person who has taken my husband's work seriously. It would be good to know that he did not die without cause. Come with me. Mika follows her into -- -- an adjoining room, where Mrs. Sabatin pulls the bottom drawer of a bureau out and sets it on the floor. From the darkness she removes a metal box. MRS. SABATIN (CONT'D) He would want you to have this.41 INT. ISTANBUL RAIZO'S APARTMENT - DAY 41 Raizo sits alone. Crossed-legged on the floor. Utterly still. There's an ocean of sound swirling around him. The cacophony of Instanbul evening rush hour. Raizo starts to build a dam; auricular sandbags laid one by one, walling off the outside world. The traffic outside- horns, engines, squealing tires, rattling trucks chassis- all fade away. People shouting, singing. A couple next door making love. A baby wailing. Jackhammers pounding... Slowly, the world fades away, until there is only one sound. Faint, familiar, but almost too quiet to hear... (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 37.41 CONTINUED: 41 Raizo's heartbeat. He listens to it. Meditates on its simple rhythm... Until a sound explodes in the room, it is a sound we haven't heard in his apartment- A phone. He rises slowly as the phone continues to ring. He answers it silently waiting for something- The line clicks and goes dead.42 EXT. ISTANBUL STREET SOUK - DAY 42 Raizo walks through the crowded market. Shoppers, salesmen and tourists fill the narrow aisles between the stalls. FIVE CHILDREN- who we see only from the back- run past. Shouting laughing. The last one jostles against Raizo as he goes by. Raizo keeps walking, but he is holding an envelope in his hand. He slips it into his pocket.43 EXT. ISTANBUL STREET - DAY 43 Raizo opens the envelope as he crosses the street. There's a square of paper inside, and a photograph. On the paper is a street address in Berlin. The photograph is a close-up of a woman's face... Mika.44 INT. MIKA'S APARTMENT - LIVING ROOM - DAY 44 Close on the box. It sits on her desk, calling as another box once called to Pandora. She opens it. Inside are a series of cataloged photographs taken in the style of 1970's archeologists (like those of the dead sea scrolls) of the lost chapter of Ibn-Battuta. The scrolls contain his 14th century Islamic writing and several sketches. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 38.44 CONTINUED: 44 There is also a very rough map that suggests the location of The Orphanage. Images of the orphanage, of the children training and their ordeals, bloody combat, ritual bindings, beatings on the Nightingale floor. There is a scroll that she unrolls revealing the lineage tree of the Nine Clans. Also in the box is a single VHS tape. She pushes the tape into the player. It's a recording of a surveillance camera staring at the front of the Sabatin house. A man walks up to the house and rings's the bell. We cannot see his face. Sabatin opens the door. They exchange words. Sabatin seems wary but invites the man in. Mika doesn't understand why this is significant. She hits fast forward until she sees a flash as the man exits. She stops, rewinds and plays it again. * As he steps out of the shadow of the house, she sees his face- It is Raizo. She is startled when someone pounds on the door. It seems like it might rattle off its hinges as she hurries to open it revealing- Maslow and he's not happy. MASLOW (O.S.) You lied to me. He pushes into the room and slams the door behind him. MIKA What're you -- MASLOW I told you to stop using my confirmation code. MIKA I did -- MASLOW Dammit, Mika -- * (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 39.44 CONTINUED: (2) 44 MIKA ...I'm sorry, it was the only way * I could get the evidence. * MASLOW Shit.... MIKA What happened? MASLOW What happened? Everything's fucking happened. He tries to dial it down, succeeds, but only a little. MASLOW (CONT'D) When you were slapping my code all over town like some phone number in a bathroom, did you happen to notice the classification code on the cases you were digging through? She knows. MASLOW (CONT'D) What did it say? MIKA (quietly) DNP. MASLOW That's right. DNP. DO NOT FUCKING PURSUE! MIKA (quietly) Actually that would be DNFP --45 FLASH-IMAGE - INT. MASLOW'S OFFICE - AFTERNOON 45 We SEE men and women in dark suits, their expressions deadly serious, tossing through everything he has in the place.45A BACK TO SCENE 45A MASLOW Right now there are people from internal affairs, CIA, Homeland Security and for all I know the Martian Fucking Military in my office tearing the place apart. (MORE) (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 40.45A CONTINUED: 45A MASLOW (CONT'D) I don't know what they're looking for but I think you do. She shifts nervously, no poker face. She turns and leads him into her home office. With the key from the tampax box she opens the drawer. Maslow watches as she pulls out the contents of Sabatin's box as well as the illegally requisitioned evidence. MIKA Most of this is from Sabatin. Copies of what I think are the lost chapters of the Rihle. I think it describes the original location of the Ozunu Clan but my 14th century Arabic is a little rusty. MASLOW And this? Meaning the DVD. MIKA That's how it started. I made a mistake, mixed up the case code and they sent me that. A moment later the DVD is playing, Raizo and the other ninja dancing through the shadows. MASLOW ...Christ. MIKA Yeah. I know. I don't understand why they're fighting though. It could be a clan war. Maslow starts to put it together. MASLOW So you requisitioned this by accident. You used my code which is why you didn't want to show me this. Which is also why they're tearing apart my office right now. MIKA I'm sorry Ryan. You have to know I didn't mean for you to get in trouble... (MORE) (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 41.45A CONTINUED: (2) 45A MIKA (CONT'D) I just thought if this was real, if these clans were killing people, you know, it was our job to try to stop them. He eyes her. MIKA (CONT'D) Isn't that what your dad would do? MASLOW Okay, that's low. MIKA Look, I know I broke the rules. I'll explain what I did and accept the consequences. MASLOW Very noble of you but I've got the feeling this isn't a slap-on-the wrist kinda consequence. Let me take this and try to make some sense of this shitstorm you started. In the meantime, you will not say anything to anybody. Capiche? She nods.46 INT. PASSPORT CONTROL AIRPORT - DAY 46 Close on Raizo's fake passport. PASSPORT OFFICIAL Are you coming to Berlin for business or pleasure Mr. Han Raizo smiles RAIZO Pleasure.47 INT. MIKA'S OFFICE - DAY 47 She's at her computer, studying a topographical map of Japan, trying to relate the Ibu-Battuta's drawing to it. Suddenly she realizes she is not alone; Zabranski is leaning against the door jam. He smiles. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 42.47 CONTINUED: 47 ZABRANSKI Boy you're like a dog with a bone on that computer aren't you? MIKA Excuse me? Who are you? He reaches across her desk. ZABRANSKI Agent Zabranski. Internal affairs. Need to ask you a couple of questions. You are Mika Coretti, yeah? She nods, her gut clenching. He pulls out a small notebook. ZABRANSKI (CONT'D) Forensic researcher. You work a lot with an Agent...Maslow. That right? MIKA ...A few cases. ZABRANSKI You have something of a social relationship. MIKA What? ZABRANSKI You had lunch with him on the 13th and again on the 18th. MIKA How do you know that? ZABRANSKI Is it not true? MIKA I...I'm not sure. We do have lunch together sometimes, usually when we're working- ZABRANSKI Are you working on something with him right now? A beat. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 43.47 CONTINUED: (2) 47 MIKA No...not right now. ZABRANSKI Has Agent Maslow seemed different lately, in any way? Has he done or said anything that struck you as unusual? MIKA No why. Has Agent Maslow done something? He smiles in the way a piranha might smile if it could. ZABRANSKI Just routine. The agency cares about its field operatives. We monitor for signs of stress, fatigue, mental exhaustion. Agent Maslow has a serious case load. That much work can wear on a man. He leaves. She gets up and closes her door. She grabs her phone and calls Maslow. MASLOW (V.O.) This is Ryan Maslow. Leave a number- She disconnects then texts. TEXT: 911. CALL ME. M48 INT. PARKING GARAGE - NIGHT 48 It is later. The garage is a gyre of shadows. Mika walks towards her car. The fluorescent light flickers and goes out. She stands in the dark. MIKA Come on...you're kidding me. It flickers back on. She continues to her car.49 INT. PARKING GARAGE CAR - NIGHT 49 She gets in as a shadow leaps to life behind her. She starts to scream when she realizes it's- (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 44.49 CONTINUED: 49 Maslow. MASLOW Ssssshhhhhh. Sorry, Mika. MIKA Fucking Christ, Ryan- MASLOW I couldn't talk earlier. They're watching me. MIKA Zabranski came to my office. Asking about you. He nods. MASLOW I know how Sabatin must have felt. MIKA What happened? MASLOW I showed Jamison the materials. MIKA What did he say?50 INT. JAMISON'S OFFICE - DAY 50 A typical autocrat. JAMISON This agency is subject to the International laws and agreements that govern the jurisdiction of our authority. If a case is marked DNP we must respect the jurisprudence of the regional government and act accordingly. MASLOW I understand that sir but- JAMISON Let me be clear, Agent Maslow. In the eyes of the law these materials do not exist. If so, than there is no case and if there is no case there is no reason for this conversation to continue. GOLDENROD REVISED 2nd DRAFT 6/4/08 45.51 INT. PARKING GARAGE CAR - NIGHT 51 MIKA He took the materials? MASLOW Come on Mika, how could he take something that didn't exist? He couldn't. Which means that I couldn't copy it either, and if I couldn't copy it than I can't be violating international laws and agreements by still having it. She likes this guy. MIKA What are we going to do? MASLOW Your going to go home. Pack your bags and go on holiday. MIKA No way- MASLOW Don't fucking argue with me, Mika. I trusted you. Now you've got to trust me. MIKA Ryan, I can't let you lose your job because of me- MASLOW I'm not talking about my job, Mika. He hands her a Glock and two spare clips. MASLOW (CONT'D) Take this. It's clean, no serial number. Untraceable. MIKA I've never even fired one of these. MASLOW (pointing) This is the bad end. This is the end you hold. Point, shoot, run like hell. He also gives her a phone. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 46.51 CONTINUED: 51 MASLOW (CONT'D) I'm going to try to find some help. Until then, I need you gone. Don't tell anyone where you're going, just go. Use this phone to text me when you get there, or if you have any problems. MIKA Ryan... MASLOW I know. It's unbelievable. I've investigated, world bank officials, drug cartels, arms dealers, and I've never faced this kind of heat. For ninjas. Fucking unbelievable! He shakes his head and slips out the door.52 EXT. MIKA'S APARTMENT BUILDING - NIGHT 52 Mika parks her car around the corner from the apartment building, gets out and starts down the street when she sees -- -- the apartment building and the one next door are dark. Candles and flashlights are visible in some of the apartment windows, a scattering of neighbors congregating outside. Mika approaches a NEIGHBOR. MIKA Hey.... NEIGHBOR Hi. MIKA What happened? NEIGHBOR Power's out. Us, the building behind us, that one across the street. Seems like every few months, boom, the lights out. I call, I complain, they listen...nothing gets done. So I sit out here, at least it's cool. Mika looks up at the building, scared but not ready to believe that ninjas are responsible for everything. She pulls a tiny LED flashlight out of her bag and starts into the building. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 47.52 CONTINUED: 52 NEIGHBOR (CONT'D) Watch your step. MIKA You're not the first person to give me that advice today.... And she continues into --53 INT. MIKA'S APARTMENT BUILDING STAIRWELL - NIGHT 53 -- where she climbs the steps, each creak adding to the possibility of attracting trouble. On the passing floors, we hear doors being opened and shut, footsteps, the distant murmur of voices. Could be nothing. Could be everything. She presses on.54 INT. MIKA'S APARTMENT - MOMENTS LATER 54 She opens the door to her apartment, shining the tiny light ahead of her. Shadows chase each other across the room as she swings the light one way, then another. There seems to be no one else in the place. But as she hurries into her home office, we see -- A shadow move behind her. As she packs she begins to hear something, a tapping. The same sound she heard before. She pulls the gun from her purse. With the flashlight spearing the darkness, she goes to her office. Again the window is open, the blinds gently blowing against the sash. She is certain the window had been locked. Now every shadow is alive. She rushes back to her bedroom aiming in every direction. Her flashlight finds her suitcase. On the top of her clothes she sees it: An envelope. Perfectly centered. Setting the gun down, she picks up the oragami-folded envelope. Opens it with a shaking finger. Black sand spills out. Terror steals her breath. Behind her, a shadow tilts and reveals the eyes of a ninja. Before she can even move, a blade flashes from the darkness, heading for her neck- (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 48.54 CONTINUED: 54 Another shadow blocks the blade, knocking Mika over the bed. The sounds of a fight erupt all around her but the combatants are almost invisible in the surrounding darkness. Her flashlight catches glimpses. Impossibly fast, lethal predators trying to kill each other. She crawls towards the spilled contents of her suitcase, towards the gun. Another blow arcs for her and is again blocked. Her hand finds the handle of the gun. She points into the dark, fires. The gun flash strobes the room, freezing the two ninjas in the blink of a flashbulb. They move towards her until a kick sends her gun flying. She can feel them fighting very close to her and when she finds them with her flashlight, a blade is struck deep- Blood erupts. One shadow falls to the ground. The other turns towards her. Her flashlight shakes as the ninja reaches up and removes his mask. It is Raizo. He sees in her eyes that she knows him. RAIZO You know me? She nods. RAIZO (CONT'D) How? MIKA ...security camera in New York. * Recorded you fighting...one of * them. * She glances at the dead ninja. * RAIZO * You know about them? * MIKA A little. * (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 48A.54 CONTINUED: (2) 54 He waits. * MIKA (CONT'D) * Uhh-- Well, there are these * clans...we're not sure how many. * RAIZO * Nine. * MIKA * Okay. Nine. Nine clans. And * they apparently have been * supplying assassins to governments * or anyone who happens to have one * hundred pounds of gold lying * around for the last thousand * years. Give or take. * He nods faintly. Then turns to his dead "Brother". * RAIZO * His name was Jin. * MIKA * You knew him? * RAIZO * He was not born an "Assassin". * She looks at the dead body. * MIKA * ...you're from his clan ? * His nod is almost imperceptible. * MIKA (CONT'D) * Then...why did you stop him? * RAIZO * The clans have three kinds of * people! People with power. * People with money. Or people * hunting them. * (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 49.54 CONTINUED: (3) 54 He hears something she can't. She starts to speak, and * he stops her with a gesture. RAIZO (CONT'D) * They're coming. MIKA Who? RAIZO The Hanta-Kirra. MIKA Does that mean what I think it means? RAIZO They won't stop until you are * dead. * MIKA Oh god. * She looks for her gun. RAIZO The gun won't help you. MIKA I don't have a lot of options okay. I once took a Tae Bo class, but that's the extent of my Kung Fu abilities. RAIZO I can help but you must tell me * something first. MIKA What? RAIZO You saw Ms. Sabatin. * MIKA * How did you know that? * RAIZO * I've been watching you, waiting * for them. * She tries to compute the idea that he's been following * her. * (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 50.54 CONTINUED: (4) 54 RAIZO (CONT'D) * Did she give you something? * She nods, Raizo's eyes lite up. RAIZO (CONT'D) * You have them? Shakes her head "no." MIKA But I can get them. He hears something else. RAIZO We need something black. Hurry! * She runs with the flashlight to a bureau. Inside is a black tablecloth. He pulls her shoes off. RAIZO (CONT'D) Follow me. Step where I step.55 INT. MIKA'S APARTMENT BUILDING STAIRWELL - NIGHT 55 He leads her down through the stairwell of the large walk up. She follows him step by step. Suddenly he pulls her into the corner of a doorway. Wrapping the tablecloth around them, they melt into darkness. Beneath the wrap, he puts his hand over her mouth and nose stopping her breath. Outside after a long beat a ninja's foot silently glides past, climbing the stairs. Inside he releases her nose. Before she can finish taking a breath he yanks her up and they quickly descend the remaining stairs.56 INT. MIKA'S APARTMENT - NIGHT 56 The dead ninja lies in a pool of blood. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 51.56 CONTINUED: 56 The shadows come alive and four dark figures emerge, born from the black- The Hanta Kirra. Their leader drifts forward surveying the apartment, his dark eyes flashing that we recognize. Like snap-focus flashes taking in the myriad signs of the fight: the bullets in the wall, footprints, and shattered lights. One of the killers uses his sword to trace the line of a slashing cut in wall. Braille from the blow that Raizo used to cut the ninja. He removes his mask and we see it's Takeshi. TAKESHI Raizo. Another Ninja leans forward and tastes the air with his nose. Eyes closed. Like a dog getting the scent, his inhalation a long, low whisper in the silent room. DOG NINJA He's taken the girl. Takeshi nods turning to the windows. He smiles; A hunter who knows the hunt is almost over. OZUNU (V.O.) Weakness compels strength. CUT TO:57 EXT. WOODS - NIGHT 57 A figure is running wildly through the thrashing branches.58 INT. ORPHANAGE OZUNU HOUSE ASSEMBLY ROOM - NIGHT 58 Ozunu addresses the clan, his eyes like those of an executioner. OZUNU Betrayal begets blood. BACK TO: GOLDENROD REVISED 2nd DRAFT 6/4/08 52.59 EXT. WOODS - NIGHT 59 We are gaining on the figure who continues to bolt like a panicked horse. BACK TO:60 INT. ORPHANAGE OZUNU HOUSE ASSEMBLY - NIGHT 60 OZUNU This is the law of the Nine Clans. This is the way of the ninja. BACK TO:61 EXT. WOODS - NIGHT 61 We rush up behind the figure who glances back. It is Kiriko and she screams as we attack- The sound of the assault becomes-62 EXT. STREET - NIGHT 62 Mika's car rushing past us.63 INT. CAR - NIGHT 63 Raizo is silent. Mika is driving. MIKA I'm going to have to make a phone call in order to get the manuscript. RAIZO Not now. Just drive. MIKA Where? RAIZO Does not matter. Just get as far away from here as fast as you can without drawing attention. MIKA You think they're following us? RAIZO I know they're following us. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 53.63 CONTINUED: 63 She watches in the mirror for a moment. MIKA I don't see anything back there. RAIZO They have our scent. MIKA Following our scent? Like dogs? RAIZO No. Like Wolves. She swallows. MIKA How do you know so much about them? RAIZO I was one of them. MIKA You flunked out of ninja school or something? RAIZO ...something.64 FLASHBACK - INT. LIMOUSINE - NIGHT 64 Raizo is dressed in normal clothes his hair starting to grow back from the close shave he had in the Orphanage. He wears a silk blindfold. Ozunu sits in the leather gloom of the stuffed upholstery. OZUNU You may remove the blindfold. Raizo does so. Looking around at the lights of Osaka, a city he has never seen before. OZUNU (CONT'D) Your entire life has brought you to this moment. Do not fail yourself. Do not fail your family. Raizo nods faintly. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 54.64 CONTINUED: 64 MR. OZUNU He is wearing a black and gold watch. Bring it to me. Raizo nods again, then opens the door and steps out.65 INT. FIVE STAR HOTEL LOBBY - NIGHT 65 CLOSE ON the fat wrist of a large man as he strides across the lobby. He turns to his entourage which includes several bodyguards and a few arm pieces. KINGPIN Wait here. Gotta piss. BODYGUARD Want me to come with you, boss? KINGPIN Why? So you can shake it for me? You some kind of secret faggot? He laughs and the arm pieces cluck on cue. He heads into the bathroom.66 INT. FIVE STAR HOTEL BATHROOM - NIGHT 66 Kingpin enters there is only one person in the bathroom- Raizo washing his hands. His eyes flash in the mirror, watching the Kingpin only after he has turned away. The enormous man steps into a stall. After a moment he begins to piss, moaning slightly as he does. Raizo hits the air dryer button. The sound fills the room. A thin razor sharp blade flashes from his sleeve. The Kingpin continues to enjoy his piss but as we look at him we see the door behind him silently swing open, revealing Raizo. Raizo stares at the back of the man's head. He can almost see his jugular beating beneath the thick folds of his neck- But something prevents him from striking. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 55.66 CONTINUED: 66 The dryer stops, the sound of the piss dribbling when the Kingpin suddenly looks back over his shoulder- KINGPIN The fuck-? Raizo strikes but the kingpin is able to deflect the blow which sinks into his enormous body. He laughs. KINGPIN (CONT'D) That kinda tickled... He smashes a fist into Raizo that slams him backwards. KINGPIN (CONT'D) Gonna take more than a knitting needle to fuck me up, boy. Raizo attacks and it is immediately apparent that this is not going to be easy. Several ferocious blows that would have broken the neck of a smaller man, only seem to make the Kingpin madder. Soon both are covered in blood, and gore. But it is not until Raizo slams the man's head against the lip of the urinal- The first time a font blood splashing up-- The second time the porcelain shatters as the Kingpin's head opens, spilling black blood across the floor.67 EXT. ROOF - NIGHT 67 It is raining. Raizo, still wearing his bloody clothes, climbs up onto the roof, his clothes spattered with gore. He waits as the shadows around him come to life: Ozunu, Takeshi, and several other clan members surround him. All but Ozunu wear their masks. Raizo extends his hand, revealing the black and gold watch, smeared with fresh blood. He offers it to Mr. Ozunu. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 56.67 CONTINUED: 67 OZUNU Keep it. It will remind you that every minute of your life is a gift that I have given you. Ozunu smiles. OZUNU (CONT'D) You have made me proud tonight, Raizo. There are some who believed you would fail, but I knew you would not. His eyes narrow. OZUNU (CONT'D) You have a strength inside you Raizo. You must use that strength, now to show me that you are truly Ozunu. Several of the other ninjas step back. Revealing Takeshi. He pushes a small hooded figure forward. OZUNU (CONT'D) Weakness compels strength. Betrayal begets blood. Takeshi yanks the hood off revealing a young girl. She is bloody, bound and gagged and for a flash- Raizo sees her as Kiriko. OZUNU (CONT'D) A daughter that turned her back on her family. She tried to run. Takeshi hunted her down. He unsheathes his blade, offering the hilt to Raizo. OZUNU (CONT'D) It is the law of the Nine Clans. Raizo looks at the girl, her tears lost in the rain. We cannot tell if Raizo is crying as he takes the blade- He CRIES OUT, the light of madness in his eyes. He STRIKES, lashing out with the fury of a wild animal, at Ozunu -- -- who bends back with impossible grace. But not far enough. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 57.67 CONTINUED: (2) 67 The point of Raizo's sword slashes across his face, opening an ugly wound that spills blood over his eye and mouth... He hasn't tasted his own blood in years, and the anger boils up in his eyes. OZUNU (CONT'D) Kill him! Raizo meets their attack. Throwing himself into the fray as only a man who is no longer interested in living can. But the ninjas are everywhere. They hurl shuriken at him by the handful, a storm of jagged steel racing for Raizo's flesh. Raizo blocks some of the shuriken, misses many more. The shuriken strike muscles, tendons, flesh. He SWINGS around, still trying to attack, there are too many of them. He stumbles back towards the edge of the roof as Takeshi SWINGS what he believes will be the death blow as -- -- Raizo half-falls, half-leaps backward, falling from the rooftop, tumbling through space, until he -- -- Splashes into the canal below- Bubbles dancing between the ribbons of blood.68 INT. CAR - NIGHT 68 Mika speeds along the autobahn. MIKA Okay, if you're not going to say anything, do you mind if I talk? When I get nervous, it helps if I talk. He says nothing. MIKA (CONT'D) My name is Mika by the way. RAIZO I know. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 58.68 CONTINUED: 68 MIKA Yeah, well usually if someone introduces themselves it is a convention that the other person does likewise. He considers her. RAIZO Raizo...is the name I was given. MIKA So, you were an orphan? His head nods slightly. MIKA (CONT'D) Interesting nature verses nurture case study I imagine. He cocks an eyebrow. MIKA (CONT'D) If it's okay with you, I'll try to fill in some of the blanks. You must have been taken by the Ozunu clan, trained to be an assassin, but something happened and you decided to opt out of the program. I don't imagine this went over so well and since they're after me for just peeking through the keyhole, they must be after you in a major way. But you are also after them or you wouldn't have bothered going to Sabatin. Which I figure means you're searching for the location of The Orphanage because that's obviously the only information Battatu's book would have that you wouldn't already know. He looks at her impressed. MIKA (CONT'D) Yeah, I got some moves too. I'm pretty lethal with the research thing. He almost smiles. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 59.68 CONTINUED: (2) 68 MIKA (CONT'D) But here's a question I can't answer: since you didn't know I went to Sabatin's, why did you save me? RAIZO Ninja only kill two kinds of people. The first kind has power and money. The other kind is trying to stop them. He nods, noticing shops out beyond the exit. RAIZO (CONT'D) Exit here. CUT TO:69 EXT. SHOPPING MALL - NIGHT 69 The shops are all closed, Mika's car crawls to a stop in the empty parking lot.70 INT. CAR - NIGHT 70 Raizo looks her over. MIKA I understand retail therapy as well as any girl but I think it's a little late. RAIZO You are a size 36? MIKA What? No! Size 34...`cept certain times of the month. He starts to leave then stops- RAIZO If you leave while I am gone they will catch you and kill you. He looks her in the eye. RAIZO (CONT'D) Do you understand that? She nods. He opens his door and slips out. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 60.70 CONTINUED: 70 She watches as he heads for the doors. He passes into the shadow of the building and disappears. She digs into her bag for the phone Maslow gave her. She TEXTS: 911. But situ stable. Guardian angel all in black. Need Battuta book soon. Will call. M She hits send. Looks out to the darkness surrounding her. After a moment one of the shadows comes to life. The door opens and Raizo gets in, his arm full of clothes. RAIZO (CONT'D) We need a hotel.71 EXT. HIGHWAY MOTEL - NIGHT 71 The car is parked around several others.72 INT. HIGHWAY MOTEL ROOM/BATHROOM - NIGHT 72 Raizo goes into the bathroom, and turns on the shower. RAIZO Get undressed. Shower. Do not use the hotel soap. Or any towel. Do you smoke? MIKA No. He nods. RAIZO Put your clothes in here. He pulls the garbage bag from the wastepaper basket. Then leaves as she begins getting undressed.73 EXT. HIGHWAY MOTEL - NIGHT 73 Outside the hotel, Raizo finds a pine tree. He cuts several branches from it.74 INT. HIGHWAY MOTEL ROOM/BATHROOM - NIGHT 74 Back in the room, he enters the bathroom. She is still in the shower. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 61.74 CONTINUED: 74 MIKA Hey- RAIZO What? MIKA Don't you know how to knock? RAIZO I'm trying to save your life. MIKA ...okay right. He hands her the tree branch. RAIZO Dry yourself with this. He starts taking off his clothes. He does it quickly without any sense of awkwardness; the world where he came from makes little distinction between male and female. She's not from the same world, keeping herself as covered as possible with a tree branch. He jumps in the shower while she tries to dry herself off. MIKA ...I'm just a researcher. I'm really not equipped to deal with this... He steps out and quickly wipes the dripping water off his body with the branch. RAIZO Get dressed. In the bedroom, Raizo is dressed in new clothes. He lights a cigarette as Mika come out struggling with the tightness of her new jeans. MIKA These are a little tight. RAIZO You said 34. MIKA European sizes...run a little small I guess. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 62.74 CONTINUED: (2) 74 Raizo takes the cigarette and begins waving it all around her. MIKA (CONT'D) This is for my "scent"? He nods. RAIZO Let's go.75 EXT. HIGHWAY MOTEL PARKING LOT - NIGHT 75 CLOSE as he picks the lock of a different car trunk. MIKA Wow. They teach you that at ninja school? RAIZO Most locks are not worth the metal they're made of. The trunk pops open. Raizo tosses their bag of clothes under the lid of the tire compartment. Then closes the door. He leads her down the parking lot sizing up the cars, until he finds one he likes. MIKA You're going to steal a car? RAIZO Just borrow it. The door opens. RAIZO (CONT'D) Get in. She sighs. MIKA In for a penny, in for a pounding.75A INT. CAR - NIGHT 75A Raizo takes out a small electrical device. He aims it at the dash and hits a button. The device finds the right frequency to start the car. She is impressed. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 62A.75A CONTINUED: 75A RAIZO At ninja school I minored in electrical engineering. His smile makes her smile.76 EXT. AUTOBAHN - NIGHT 76 A moment later the car flies back towards Berlin. RAIZO Now we have some time. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 63.76 CONTINUED: 76 MIKA How much time? RAIZO A day. Maybe less. MIKA Jesus. RAIZO Make your call. She nods, digs through her purse for the phone. INTERCUT WITH:77 INT. MASLOW'S OFFICE - NIGHT 77 MIKA Ryan, it's me. MASLOW Mika! For Christ sake I've been calling for hours! MIKA I know. I'm in a bit of trouble- MASLOW Trouble? You miss jury duty you're in trouble. You're in some kind of bottomless pit of deep shit. MIKA Yeah. Least I'm not down here by myself... She looks at Raizo. MASLOW Your guardian angel? Is it him? The one from the tape? MIKA He's on our side, Ryan. I trust him. MASLOW Careful, Mika. MIKA I promised him the Battuta pages. Do you still have them? (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 64.77 CONTINUED: 77 MASLOW ...yeah, I got them. MIKA Can you meet us? In three hours? MASLOW Where? MIKA How bout the usual?78 EXT. BERLIN WALL - NIGHT 78 Maslow waits, the red-tip of his cigarette glowing in the middle of his silhouette. Mika is leading. MIKA There he is. Raizo hesitates; an animal sensing danger. MIKA (CONT'D) He's a good man. It's all right. They approach Maslow. MASLOW Mika! He embraces her. MASLOW (CONT'D) You're all right? MIKA Thanks to him. RAIZO Why have you done this? MIKA Done what? MASLOW Step back Mika. MIKA What? RAIZO People will die. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 65.78 CONTINUED: 78 Maslow takes hold of Mika as he shouts- MASLOW NOW! An explosion of light; A firing line of kliegs all aimed at Raizo, each as bright as a slice of the sun. MIKA No! Twenty heavily armed men emerge from the wall of light. MILITARY MAN Hands on your head! On your knees! Do it now! MIKA Raizo! No! This is wrong! RAIZO The clans have people everywhere. Raizo raises his hands slowly, a glance thrown like a shuriken at Maslow. MIKA What are you doing? MASLOW Following orders. The men swarm over him, binding him with brutal efficiency, hauling him away. CUT TO:78A FLASHBACK - INT. ORPHANAGE DOJO - DAY 78A Ozunu watches. A faint look of disgust dangling from his lips. OZUNU Cut him. Kiriko is panting, covered in sweat and blood, standing over a bloody, beaten Takeshi. OZUNU (CONT'D) All failure must be sown into the flesh. Kiriko is handed a razor sharp blade. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 65A.78A CONTINUED: 78A OZUNU (CONT'D) Cut him! Takeshi prepares for the blow, but-- Kiriko drops the blade. OZUNU (CONT'D) What? He marches up to her. OZUNU (CONT'D) You know the law! Her silence remains defiant, while he boils with suppressed rage, picking up the blade. OZUNU (CONT'D) You will wear this disgrace for the rest of your life! He slashes her, slicing across her face. TIME CUT:79 FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT 79 Raizo wakes up. There's a commotion on the other side of the shoji screens that comprise the inner wall of the dorm. Silhouettes limned against the paper. Raizo moves to the screens. Pulls them a half inch aside as the other children watch... Through the tiny gap, he sees ninjas dragging Kiriko down the hall. Gagged, arms twisted with shiburi, blood streaking her pale and terrified face. GOLDENROD REVISED 2nd DRAFT 6/4/08 66.80 INT. SAFE-HOUSE - VAULT - NIGHT 80 Raizo is chained to the walls of a vault. Spread-eagled, double-locked, and lit from all sides so there are no shadows anywhere in the room. Raizo's head sags. Eyes closed. Cameras stare at him.81 INT. SAFE-HOUSE GROUND FLOOR - NIGHT 81 Classic Berlin aesthetic. A modern office shoe-horned into an abandoned building: cubicles, computers and Aeron chairs amidst crumbling walls. Maslow's team are hanging out there, thirty agents, a fairly competent and well-armed bunch. Maslow is inside the control room which is like a small construction trailer. Several different monitors have images of Raizo. SECURITY GOON Prisoner is secure sir. For a moment it appears that Raizo looks up as Maslow looks at him, as if somehow Raizo could see through the lens watching him. Then his head drops again. MASLOW Right. He scans the different monitors. MASLOW (CONT'D) Something's wrong with the infrared cam. SECURITY GOON No sir, we checked it. MASLOW Then why isn't he showing up? SECURITY GOON We think he's able to lower the temperature of his body to remain neutral. MASLOW Or maybe he's just cold-blooded. SECURITY GOON #2 Sir! (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 66A.81 CONTINUED: 81 The goon struggles to stop Mika as she storms inside. MIKA Ryan, you know this is wrong! It can't be legal! What is this place? Your own private Guantanamo? MASLOW It's an old GDR safehouse. Jamison wants this off the grid. MIKA Ryan you're making a huge mistake! MASLOW I don't think so. We got reports from Washington, London, Osaka all tagging your boy. Only problem we have is where to extradite him first. MIKA So two weeks ago, there's no such thing as a ninja and now every city in the world has a warrant for one? MASLOW We must respect the jurisprudence of the regional government and corresponding law enforcement agencies. MIKA He's not the enemy. MASLOW No? You ever heard of Stockholm Syndrome I'm getting the feeling I'm looking at a pretty serious case of it. MIKA I'm not crazy. This is! (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 67.81 CONTINUED: (2) 81 MASLOW He's a killer, Mika. Weren't you the one telling me it was our job to stop him. MIKA You're not listening to me! MASLOW You're not saying anything worth hearing. Look, if want to do the insubordination tango, let's go, but not in front of the kids okay? Boys, give us a minute. The security goons clear out, closing the door behind them.82 INT. SAFE-HOUSE OFFICE - NIGHT - CONTINUOUS 82 She wheels on him to let him have it. MIKA Damn it, Ryan, I -- -- but he holds a finger to his lips, indicating be quiet. MASLOW Listen to me, we don't have much time. Look, I don't know what you've stumbled into, but somebody is pulling some major strings inside. MIKA They want him dead. He's been fighting them for years. MASLOW I believe you. (softer) I believe you. I've been in this business too long not to smell a set-up. But we have to be careful how we handle this. And I can't risk you going AWOL on me again, because -- (beat) -- because I don't want anything to happen to you. He glances up at her, and it's clear: he has affection for her. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 68.82 CONTINUED: 82 He presses a tracking device into her hands. MASLOW (CONT'D) If trouble comes, turn this on, no matter where, and I'll find you.83 INT. SAFE HOUSE VAULT - NIGHT 83 Raizo remains motionless, his eyes open when he hears someone coming. RAIZO (V.O.) You shouldn't do that they'll catch you. KIRIKO (V.O.) Then they'll catch me. RAIZO (V.O.) They'll put you in the box. KIRIKO (V.O.) Yes. They will.84 FLASHBACK - INT. ORPHANAGE DORMITORY - NIGHT 84 It is the middle of the night. Raizo lies on a floor mat, unable to sleep. He looks over at Kiriko's empty mat. Quietly he gets up and makes his way outside.85 FLASHBACK - EXT. ORPHANAGE MEDITATION BOX - NIGHT 85 He moves to an upright bamboo box about the size of a coffin. Looking at -- -- Kiriko, in the box. Dehydration has left Kiriko with barely the strength to breathe. Her lips are swollen and cracked, she sags against the tight walls of the box. He pulls a bamboo straw from his dark robe, then fills his mouth with water from a flask. Sticking the straw through the bamboo poles near her lips, he feeds her drop by drop, and in this way, separated by a cage they share a kind of kiss. Her eyes part, ever so slightly, and she manages a smile. RAIZO I told you. I tried to warn you. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 69.85 CONTINUED: 85 KIRIKO ...yes, you did.... RAIZO But you did it anyway. Why? KIRIKO Why am I in here for watering my tree...or why are you out there... watering me? She meets his eyes.86 INT. SAFE-HOUSE - VAULT - NIGHT 86 Mika is standing behind the bars which slide open. She has a bottle of water, she looks at the two armed guards following her. MIKA Could you give us a moment? GUARD Negative. Not safe ma'am. MIKA If he wanted to hurt me he could have done that a while ago. GUARD Sorry ma'am. Maslow okayed the water. That's it. They stand near the door as Mika crosses to Raizo. MIKA Hi...you looked thirsty. She holds the water bottle to his lips, whispering. MIKA (CONT'D) I'm sorry...I didn't know about this. RAIZO I know. MIKA You do? He nod's, swallowing another sip. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 70.86 CONTINUED: 86 RAIZO The only time you lied to me was when you told me your size. MIKA How did you know that? RAIZO Your heart. It is special. MIKA You know about my heart? RAIZO Hearts speak truer than tongues. He is unlike anyone she has ever met. MIKA Listen, Maslow is on our side. He's going to try to help you. RAIZO It's too late. All that matters is the Rihla. Get the manuscript before they get here. MIKA The Hanta Kirra? RAIZO Hurry.87 INT. SAFE-HOUSE GROUND FLOOR - NIGHT 87 Mika rushes up to Maslow who is talking to the group of Europols. MIKA Ryan, can I talk to you? MASLOW We have to do this again, Coretti? MIKA No sir. I just...I have reason to believe that a group of ninja may be on their way here. The men chuckle. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 71.87 CONTINUED: 87 MASLOW I think these gentlemen can handle a few whack-jobs wearing pajamas. Am I right? They ad-lib responses: Fucking' A sir... Locked, cocked and ready to rock. MASLOW (CONT'D) See? MIKA But the situation we discussed- MASLOW I'm working on that. You have to give me a little time. MIKA We don't have time. MASLOW They're not here now. MIKA They'll be here soon. MASLOW How soon-88 INT. SAFE-HOUSE - VAULT - NIGHT 88 Raizo looks up. His eyes narrow: they're here.89 INT. SAFE-HOUSE GROUND FLOOR - NIGHT 89 The lights go out. Mika's eyes dart into the pitch, red emergency lights suddenly glowing ominously. MIKA Raizo-- Maslow spins as she sprints for the stairs. MASLOW Mika! Maslow draws his firearm and hisses at one of the Special Ops. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 71A.89 CONTINUED: 89 MASLOW (CONT'D) Go with her! Secure the prisoner! Instantly, tiny LED flashlights and laser targeting systems light up on automatic weapons. Night vision goggles go up. Rather than panicking, the police are instantly in stealth-mode, communicating with quick, urgent hand gestures. A handful of men splinter off for the vault while the rest separate into teams with practiced precision, moving through the safe-house, ready for whatever comes.89A INT. SAFE-HOUSE - VAULT - NIGHT 89A Mika charges into the holding area, the detail of men right at her heels. EUROPOL WATER GUARD Hold your fire-- Raizo's guards release their aim. EUROPOL GUARD Christ-- EUROPOL WATER GUARD Good way to get yourself killed, Agent Coretti. EUROPOL #2 What the fuck's with the lights? EUROPOL GUARD We got some guys in pajamas comin' to play spin the bottle. One of them lifts a shotgun. EUROPOL #2 Huh huh. I got something they can wrap their lips around. MIKA I don't have time for this shit. We have to move the prisoner. In the back of his cell, Raizo's head lifts at the sound of Mika's voice. RAIZO Mika! (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 71B.89A CONTINUED: 89A EUROPOL WATER GUARD No ma'am. Those aren't our orders. Raizo calls from behind the reinforced door. RAIZO You've got to get out of here! She calls to his cell. MIKA Not without you. Raizo's voice hangs in the gloom. RAIZO Then we all die together.89B INT. SAFE-HOUSE - GROUND FLOOR - NIGHT 89B One of the teams edges through the decay of the dilapidated industrial cavern. Straining through the eyepiece of his goggles one of them mutters. EUROPOL AGENT 2 Don't see shit-- Ahead the point man motions and the men take up defensive positions. The point man creeps forward, a flicker of heat fluttering in his IR-Optic. POINT MAN Is that..? Through the darkness we see that his infrared is actually picking up the slow exhale of a ninja poised like a cobra inches away just above him. His blades flash-- And the detail of men recoil as their infrared sensors light up, the point man cleft open in hot volcanic gore. A cloud of shuriken spit out of the darkness and punch into necks, faces, eyes. Ten of them fall like wheat before a scythe. The rest fire hitting nothing. GOLDENROD REVISED 2nd DRAFT 6/4/08 71C.90 INT. SAFE-HOUSE - VAULT - NIGHT 90 The screams of dying men and gunfire shudder down the gullet of the old concrete building. MIKA Fuck me... She watches as the men position themselves, pressing into the black of the corridor. Thumbs flick safeties to hot. A shriek pierces the silence, one of the agents suddenly jerked from his feet like a puppet on a string. They watch in IR as the agent falls to the ground in several pieces. EUROPOL #2 What the fu-- #2's exclamation gets caught in the oozing slit that opens in his throat. The man guarding Raizo's cell door screams. EUROPOL GUARD They're not showing up on IR! He clicks his flashlight the beam glinting against a hail of shuriken that pound into him, wounds flowering in ribbons of red. Mika watches as he lands wetly at her feet. More screams and gunfire shake the shock from her. She dives for the guard, frantic fingers clawing at the key-chain clipped to his belt. The remaining Europol Agents cluster together, flashlights strobing spastically, while Mika slams through Raizo's cell door. She instantly goes to work on his leg irons. MIKA Come on--come on-- Raizo's eyes narrow, the last of the Europol Agents butchered by shadows. RAIZO Mika? (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 71D.90 CONTINUED: 90 MIKA Shh! RAIZO I don't want to sound critical-- He can feel the rush of darkness. MIKA Got it! The leg irons click open and Raizo springs forward the chain of his handcuffs catching a falling blade. He twists and the ring of metal on metal is followed by the dry snap of bone as Raizo breaks the ninja's neck. She releases his handcuffs and they move quickly through the glistening remains of the bodies, Raizo shielding her from the darkness.90A INT. SAFE-HOUSE - SUBLEVEL - NIGHT 90A The two sprint from a stairwell into a concourse, Raizo stopping suddenly, sensing the presence of the Hanta- Kirra. He pushes her toward another set of stairs. RAIZO Go. Find Maslow. He turns to facing the dark. RAIZO (CONT'D) Go quick. She lurches up the stairs as the Hanta-Kirra descend on him like a murder of crows.90B INT. SAFE-HOUSE - STAIRWELL - NIGHT 90B Mika flies up the stairs taking the steps two at a time rounding the next flight-- A beam of light flashing weapons rattling suddenly trained on her. MASLOW Mika! Her stomach finds its way into her throat. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 71E.90B CONTINUED: 90B MIKA Jesus Ryan-- Maslow rushes down to her, another agent scanning the stairs above them. MASLOW I thought you were-- Mika's eyes widen as the agent on the flight above them is ripped into the air replaced by a squall of red. Maslow whirls as a blade suddenly pierces his side-- But before it can continue its deadly cut, Maslow catches it in a bloody fist and fires into the shadows. One of the Hanta-Kirra falls tumbling past them down the stairs. Maslow grunts as he rips the chain blade from his side. MIKA Are you ok? He nods, a bit woozy. MASLOW I hope that wasn't my liver. Gonna need that soon. MIKA Come on.91 INT. SAFE-HOUSE - GROUND FLOOR 91 Sparks dance along the singing ringing blades, the melee escalating in the darkness. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 72-73.91 CONTINUED: 91 Raizo meets the Hanta-Kirra in the air. Vaults from one wall and door to another, spinning in and out of view as he moves through the shadows. The ninjas move with him, matching his speed and ferocity and ability to disappear within the darkness. Swords clash against chains and sword and walls. Sparks fly and blood falls. This is the first time we've seen Raizo turned loose. But it's three on one...and Takeshi isn't a pushover. Mika and Maslow slam through the exit into--92 INT. GARAGE - NIGHT 92 The building carpark. Mika suddenly stops. MIKA Fuck! (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 74.92 CONTINUED: 92 MASLOW What? MIKA The manuscript-- MASLOW No Mika-- He is about to argue but wilts at her resolve. MASLOW (CONT'D) Right... He stuffs his car keys in her hand, trying not to let his voice crack. MASLOW (CONT'D) Two minutes. Keep it in gear. MIKA Maslow-- He turns. MIKA (CONT'D) Tip-toe. He opens the door retracing their steps into the dark. Mika suddenly very alone manages a slow nervous pirouette in the crypt-like garage, before skittering for Maslow's sedan. She slides in pulling the door shut behind her as quietly as she can-- And waits.93 INT. SAFE-HOUSE - GROUND FLOOR - NIGHT 93 Maslow moves cautiously through the folds of midnight. He hears the fighting before he can see it. Raizo blocks a sword-thrust from Takeshi. Dodges around a hail of shuriken. Uses his chain to drive another Ninja back. Takeshi rips free his left arm. Draws a short, angled blade and brings it slashing down at Raizo's neck... Raizo blocks the knife with his elbow, twists, throws Takeshi twenty feet through the air. He recovers mid- flight like a cat and regains his balance. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 75.93 CONTINUED: 93 From the darkness a ninja fires a dozen shuriken at him, and at least three of the spinning blades find their mark. Raizo grunts at the impact, but vaults up and over a counter and LEAPS through a window, crashing out to -94 INT. GARAGE - NIGHT 94 The surrounding shadows seem to press in on the car. MIKA Come on, Ryan... A figure darts in her periphery and her head whips around craning all directions. MIKA (CONT'D) Hurry the fuck up! Ka-chunk-- she punches the lock. Click-- the headlights flash on-- Ka-chick-- she chambers the Glock. MIKA (CONT'D) Motherfuckfuckfuck-- She twists the ignition and as the motor turns over-- The car's headlights explode, shattered by projectiles that seem to materialize from the void. Mika screams throwing the car into gear-- Peeling out toward the down ramp. The car fishtails down level after level through the oscillating light/dark of the dimly lit exit ramp. Her eyes twitch from mirror to mirror when she sees up ahead-- A shadow hanging in the corner of the tunnel like a spider. She ducks just as the front of the sedan is shredded by a squall of stars. The sedan rebounds into the light. Its hood and windscreen looking as though it was gnawed on by a Great White. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 76.94 CONTINUED: 94 Mika cranks the wheel tearing around a dark bend as-- Toom! Something lands on the roof of the car. Above her she sees the distinct tips of the tiger claws that have punctured the metal exterior of the car just as- - She passes under a light-- Revealing a crouching ninja staring right at her, through the sun roof. His blade whips from its sheath but before he can strike-- She jams the barrel of the Glock between the two tips of one set of claws, right where his foot should be-- And fires. A scream is followed by a gout of blood that washes over the sunroof-- The ninja's body tumbling off the back of the car. Maslow's gnarled sedan bottoms out in a starburst of sparks as it corners into traffic. Mika breathing heavy digs into her bag for her cell phone. INTERCUT WITH:95 INT. SAFE HOUSE - NIGHT 95 The lights are still dead. Maslow is with a team of Europols moving through the stairwell. He talks quietly. MIKA Ryan- I had to leave! MASLOW Good, stay clear. MIKA Do you have the map? MASLOW Not yet. We're heading upstairs now. MIKA Where's Raizo (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 77.95 CONTINUED: 95 MASLOW He took off. We think they went after him. He looks into the surrounding shadows unsure.96 EXT. ROOFTOPS - NIGHT 96 Raizo parkours across the roofs, the Hanta Kirra close behind. Shuriken sizzle past; some missing, some lashing open whip cuts across his flesh.97 EXT. WINGED VICTORY ROUNDABOUT - NIGHT 97 Raizo pulls free the shuriken in his side. Drops them to the ground where they clatter back and forth like so much tossed change. He looks up at winged victory silhouetted against the moonlight. And suddenly the ninja are on him. Raizo blocks and parries. Counterattacks with a reverse cut - and throws himself sideways as a truck comes roaring down at him. The truck fills the screen with lights and horns and three tons of death. Raizo cartwheels over the hood, forcing the Scarred Ninja to leap the other way, and as he turns -- -- Raizo comes down on him, slashing his shoulder.98 EXT. WINGED VICTORY ROUNDABOUT - NIGHT - CONTINUOUS 98 The fight is now two one against one, and one of them is Takeshi. Their swords crash back and forth, sending sparks flying. Raizo is tired, already wounded by the shuriken... With a cry, he hurls a second Ninja back and spins to face Takeshi... Too late. Takeshi's blade gets under his guard. Opens up Raizo's side. His sword is ripped free from his hand, rebounds off a speeding sedan and clatters to the ground thirty feet away. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 78.98 CONTINUED: 98 Raizo stumbles backward. Life's blood dripping down and splattering on the concrete. Takeshi raises his sword high. Smiles. TAKESHI This is the end for you, brother. Mika's car slashes across the width of the street screeching to a stop next to Raizo. The door snaps open. MIKA Raizo! Raizo gets into the car. Collapses into the seat, arms wrapped tight around the ugly wound in his side. She peels away before the others can stop her. Mika carves a path through the traffic, driving as fast as she can. Eager to get more miles between them and the ninjas. Raizo lets out a gasp as the car goes over a bump. His shirt is drenched with his own blood. MIKA (CONT'D) What were you doing in the street?! RAIZO ...waiting for you... MIKA You have to go to a hospital. RAIZO No. Not a hospital. Another place. The car speeds into the night.99 EXT. HERBALIST - NIGHT 99 The sort of store where the owner lives above the shop. Mika pounds on the door as a LIGHT comes on in the floor above. A moment later, the door opens. HERBALIST What is it? What -- He steps out of the way as Mika helps Raizo in, bloody and half-dead. GOLDENROD REVISED 2nd DRAFT 6/4/08 79.100 INT. HERBALIST - NIGHT - CONTINUOUS 100 Herbalist places herbs into a hand-grinder as Raizo staggers through the rows of bowls, grabbing what he needs and handing it to her. RAIZO ...dong-xia leaves...three of the lo-chan...dragon root... HERBALIST You should not mix these. Very dangerous. Raizo ignores him. Gives her some more dried bits and pieces. The herbalist shakes his head. HERBALIST (CONT'D) If you are in pain...if you wish to die...there are other ways, this will be agony -- RAIZO No...it will save me.... HERBALIST It will? You're sure? (beat) Let me write this down. He goes to find a pen and paper as Mika grinds away. RAIZO Hot water. She goes to a tea kettle, pours water into the bowl. He reaches for it, and nearly collapses. She helps him raise the cup to his lips. Tilts it and watches him drink. Takes the empty cup away from him. Raizo shudders as the drugs course through him. RAIZO (CONT'D) I have to sleep now...a day at least. His eyelids flutter. She's holding him up now - muscles already loosening. MIKA A day?!? What should I do? RAIZO ...keep moving... (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 80.100 CONTINUED: 100 He slumps over the counter like a child dropping into deepest sleep as -- -- the herbalist comes back, pen and paper in hand. He pauses as he sees Mika standing over Raizo. She looks from him to Raizo and back again, then: MIKA I'll have him to go. (beat) Can you...help me to the car? CUT TO:101 EXT. AUTOBAHN - NIGHT 101 Mika is the proverbial bat outta hell. Her phone is at her ear. INTERCUT WITH:102 INT. SAFE-HOUSE - NIGHT 102 The lights are back on but the place is trashed. MASLOW Mika, where are you? MIKA Moving. He told me to keep moving. MASLOW He's still alive? She glances at his slumped body. MIKA After a fashion. MASLOW Let us bring you in. MIKA Not this time. MASLOW Mika, the situation's a little different. Jurisprudence goes out the fucking window when my men get attacked. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 81.102 CONTINUED: 102 MIKA Do you have the manuscript? He takes a breath. MASLOW ...negative. They got to my office. Everything's gone. The news crushes her. MASLOW (CONT'D) Mika, it's gonna be all right. We'll find them. MIKA ...but I promised... MASLOW We'll keep your promise. They're too many people involved now. It's just a matter of time. MIKA I don't think we have much time... MASLOW Just tell me where you are. She hangs up. MASLOW (CONT'D) Mika? Mika? Dammit.103 EXT. HIGHWAY MOTEL PARKING LOT - NIGHT 103 The car is parked outside the same hotel that he took her too.104 INT. HIGHWAY MOTEL ROOM/BATHROOM - NIGHT 104 She steps out of the shower and dries herself with an evergreen branch.105 INT. HIGHWAY MOTEL ROOM - NIGHT 105 In the bedroom, Raizo is sprawled out on the bed. She is wearing new clothes. She takes a drag on a cigarette then passes the smoke over her body. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 82.105 CONTINUED: 105 MIKA I know you can't hear me, so I'm sure this doesn't matter, but I'm going to say it anyway. She looks at him. MIKA (CONT'D) I'm a forensic researcher, okay? That's like a fancy way of saying I'm a librarian. By myself I can't do anything to help you. She opens her fist; inside is the tracking device Maslow gave her. MIKA (CONT'D) I wanted to think you for saving my life. Bending over him, she kisses him gently. MIKA (CONT'D) And I hope you can forgive me for this.106 INT. MASLOW'S OFFICE - NIGHT 106 There's a crowd of other OFFICIALS there, having turned the place into a makeshift command and control center. An AIDE rushes in from an adjoining room, goes to Maslow. AIDE Agent Maslow, the tracking device-- MASLOW You've got a lock? AIDE Triangulating her position now.107 EXT. HIGHWAY MOTEL ACROSS PARKING LOT - NIGHT 107 Mika watches from the trees as a shadow comes to life on the balcony outside their room. It pauses as if sensing something.108 INT. HIGHWAY MOTEL ROOM - NIGHT 108 Raizo lies alone. The heavy shadows begin to undulate as the Hanta-Kirra emerge. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 83.108 CONTINUED: 108 Takeshi's eyes gleam the way a blade gleams.109 EXT. HIGHWAY MOTEL PARKING LOT - DAWN 109 Police and Europol cars scream up to the hotel.110 EXT/INT. HIGHWAY MOTEL ROOM - DAWN 110 A moment later the door bursts open; Maslow and his men pour into the bedroom. The bed is empty. Raizo is gone. Mika is sitting in the chair. MIKA They took him. Ten minutes ago. He's gone. Maslow embraces her.111 FLASHBACK - INT ORPHANAGE DORMITORY - NIGHT 111 There is a furious storm raging outside the thin screened walls. Raizo is watching Kiriko who seems to be sleeping. In a flash of lightning, her eyes open and she stares at him and he feels in hi heart what she is saying goodbye. The flashing ends and as the thunder booms, she is gone, melting quietly into the shadows. RAIZO ...no!112 EXT. ORPHANAGE COURTYARD/WALL - NIGHT 112 Two shadows race through sheets of rain, visible in flashes of lightning. He catches her near the base of the wall. RAIZO Kiriko! You can't leave! KIRIKO I have to. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 84.112 CONTINUED: 112 RAIZO Why? KIRIKO Because my heart is telling me too. RAIZO The Hanta Kirra will come for you. KIRIKO Then they will come. RAIZO You know the law. He will cut your heart from your chest. She smiles. KIRIKO No...He can never touch my heart. She puts his hand on her chest, then leans in and kisses him. KIRIKO (CONT'D) Come with me. RAIZO Where? What is out there? KIRIKO Life. He cannot imagine what that life might be. RAIZO ...My life is here. She bows her head and turns. RAIZO (CONT'D) Why are you doing this? KIRIKO Because I can't watch you become something you are not. She races for the wall. He watches her climb...And disappear. GOLDENROD REVISED 2nd DRAFT 6/4/08 84A.113 INT. METAL BOX - NIGHT 113 Raizo drifts on the edge of consciousness. He can sense some light filtering through the edges and air holes. The air begins to smell familiar. OZUNU (V.O.) We have been betrayed.114 FLASHBACK - EXT. ORPHANAGE COURTYARD - DAY 114 The clan is gathered outside, the sun beats down on the Spartan courtyard. Kiriko's body is twisted, bound to a pole like one of the Bonsai trees. Ozunu delivers his eulogy. OZUNU A child of mine, my daughter, betrayed us. She refused these gifts. Rejected our clan. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 85.114 CONTINUED: 114 Raizo stands among the clan; his face a mask. OZUNU (CONT'D) Hers is a shame that can only be purged with blood. He unsheathes the ancient Wakizashi, then offers the hilt to Takeshi. OZUNU (CONT'D) You who returned her shall have this honor. Takeshi hides a smile as he takes the blade. Kiriko looks out into the clan and finds Raizo. He can hear her heart pounding. Takeshi knows where she is looking as he prepares to strike. Blood pounds in Raizo's ears. The sword plunges into her heart. Raizo hears it die- And feels his own heart stop.115 INT. ORPHANAGE COURTYARD - NIGHT 115 A bucket of water slaps Raizo awake. He's bound to a pole in the middle of the courtyard by thick rope that bites into his flesh. Ozunu stands before him, as well as the rest of the clan, down to the youngest of them. Watching silently. He looks the same as he has in the flashbacks - except that now an ugly scar runs diagonally across the length of his face. Trace of Raizo's blade from atop the building in Dubai. When he speaks, Ozunu is speaking for the benefit of the rest of the clan as to Raizo. OZUNU You are Ozunu. Your life is meaningless compared to the survival of the Clan. This is our deepest truth. Because of it, we have endured for hundreds of years, and will endure for hundreds more. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 86.115 CONTINUED: 115 He looks to the rest, pounding the message home. The message that says hope and escape are futile. OZUNU (CONT'D) Weakness compels strength. Betrayal begets blood. This is the way of the Nine Clans. (beat) This is the way of the Ninja. He looks back at Raizo, approaching slowly. Taking his time. OZUNU (CONT'D) I have waited many years for this moment. I have dreamed it, many times. He hits Raizo. Hard. OZUNU (CONT'D) You will suffer for seven days, one day for each year you defied me. He takes a knife, and very carefully cuts out a very small piece of Raizo's flesh, from the upper arm. Raizo doesn't cry out. OZUNU (CONT'D) For seven days, we will...take...from you, as I have just done. Everyone here will take from you. Piece by piece. You will live through it all, you will feel through it all. You will watch as the birds fight over the pieces. He STRIKES Raizo as he did long ago, his hand jutting deep inside gut, flicking switches of nerves that cause instant agony. This time Raizo does cry out. OZUNU (CONT'D) You will know pain like no other human being has ever known. He twists something in Raizo's belly and violent spasms wrack the young man's body. Blood burbles up through his mouth and flows down his chin. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 87.115 CONTINUED: (2) 115 OZUNU (CONT'D) Your death will be remembered for a thousand years as a testament to the will and strength of the Ozunu Clan. One last gouge in Raizo's stomach sends a heaving shudder through him. Confident, victorious, Ozunu turns and walks a few steps away as -- -- Raizo coughs up a bloody wad onto the clean floor. Takeshi smiles at this, then looks more closely, seeing something amidst the bile... TAKESHI Father... Ozunu looks down and sees a tiny steel cylinder. A single LED light blinking through the gore. He nudges it with his foot...and TIME SLOWS DOWN as he realizes what he's looking at. He slowly raises his eyes -- -- and meets Raizo's gaze as suddenly -- -- EXPLOSIONS rock the orphanage's centuries-old gate. A reinforced military Humvee crashes through the cloud of splintering timber with a roar and an explosion of blinding lights. The Ozunu Clan scatters as the massive vehicle heaves into the courtyard, revealing behind it still more vehicles, all equipped with brilliant lights. The ninjas take to the shadows, trying to melt away, but the shadows are gone. There's no place for the ninjas to hide anymore. We FIND Mika and Maslow in one of the lead vehicles as -- -- Takeshi draws his blade in a smooth arc, raising it over Raizo's helpless form. Maslow takes aim with his submachine gun and squeezes off a long burst. Takeshi blocks some of the slugs with his sword and dodges the others. He slides into one of the few remaining shadows. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 88.115 CONTINUED: (3) 115 One of the soldiers sees him making a break for it and fires an incendiary grenade. The explosion sends incandescent white phosphorous splashing through the courtyard, but Takeshi is gone. They prepare to fire another one when Maslow comes on the run. MASLOW No more grenades, not until we get the children out! But some parts of the orphanage are already on fire, the flames spreading through the ancient timbers. The carnage continues. Maslow fires at the fleeing ninjas as Mika rushes for Raizo, pistol in hand. One of the MP's screams as a shuriken rips open his face as other Mps FIRE back at the ninja, tearing him apart with gunfire. Mika makes it to Raizo's side. He smiles at her as she saws through the rope with her knife. RAIZO What took you? MIKA You knew I'd come? RAIZO Just because I was asleep doesn't mean I couldn't hear you. Mika finishes with the rope. Raizo pulls free and reaches for a fallen ninja's sword and chain. RAIZO (CONT'D) And I forgive you. Mika looks back at the sound of GUNFIRE tearing apart another ninja. When she looks back -- -- Raizo is gone. GOLDENROD REVISED 2nd DRAFT 6/4/08 89.116 INT. ORPHANAGE KITCHEN/DINING/DORMITORY/DOJO - NIGHT 116 The fires are ripping through the interior, leaping from bamboo furniture to paper shoji screens to polished wooden floors as -- -- Raizo kicks down the burning wall of the empty dorm, the futons smoldering. Raizo continues into the next hall to find -- -- Takeshi waiting for him. An apparition in the wavering blaze of heat, silhouetted against a wall of fire. TAKESHI Come, little brother, let us play like old times They spring at other. Meeting in the middle of the hallway as the flames dance around them...recalling the lanterns they used to fight through, in the days of their training. Their weapons ring out a frenzied drum roll of steel on steel. Neither giving an inch. Evenly matched in skill and ferocity. Locking together for a moment Takeshi smiles. TAKESHI (CONT'D) No death tasted as sweet as hers. Raizo's back glistens orange in the firelight, sweat pouring as he strains, attacks, defends and attacks again. Takeshi jumps over them, twists mid-air and ducks low beneath Raizo's swinging chain as -- -- Raizo stumbles back on the polished floor, blocking Takeshi's attack, but -- -- Takeshi catches his wrist in an iron grip. As he brings his sword around, Raizo gets a loop of chain around the blade and locks it tight. Both men spin in their sudden embrace. Faces inches from each other. TAKESHI (CONT'D) I watched you die when I pierced her heart. You have always been too weak to be Ozunu. Takeshi's finger trips a hidden button on the sword. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 90.116 CONTINUED: 116 The blade retracts back through the handle and a yard of steel jolts out from the hilt of Takeshi's sword. He moves to slam it into Raizo's side...but Raizo FLIPS over him, holding onto the hilt and as he lands he -- -- DRIVES the steel into Takeshi's heart. He still stands for a BEAT, more by inertia than will, then slumps, dead, to the floor. Raizo stalks down the hall. One last task ahead of him.117 INT. ORPHANAGE OZUNU HOUSE NIGHTINGALE FLOOR/MASTERS 117 ROOM/ASSEMBLY ROOM - NIGHT Raizo walks across the Nightingale floor, his bloody footprints moving soundlessly. From the shadows he hears Ozunu's voice OZUNU You have not forgotten your training. You will always be mine, child. Raizo stops, considers this, then continues; his footsteps now bringing every sound possible. Ozunu steps out of the darkness, as though shrugging off a cloak of midnight. OZUNU (CONT'D) Perhaps this is the best way for you to die. His blade rises as like a Cobra's hood, while the chain blade begins to spin. RAIZO The breath I take after you are dead, will be the first of my life. Raizo unleashes all his fury: The chain cutting with the power of an enormous buzz saw-- Hacking timbers in half-- Carving scars in the floors and walls-- Braziers are thrown, fumes begin to spread but-- Ozunu blocks or evades, absorbing the assault patiently (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 91.117 CONTINUED: 117 Waiting for Raizo to tire, waiting for an opening.118 EXT. ORPHANAGE - COURTYARD - NIGHT 118 A portion of the Orphanage's wall burns through. Mika spots Raizo through the flames. She runs for him.119 INT. ORPHANAGE OZUNU HOUSE ASSEMBLY ROOM - NIGHT 119 Raizo begins to weaken. An attack misses wrapping a beam and Ozunu has his opening- His assault is ferocious. Wounds begin opening like windows shears of blood billowing out. Raizo retreats, his chain just blocking, catching, or deflecting the whirlwind attack until-- One sound cuts through the furious fight. Snap-zoom to Ozunu's ear as-- The hammer is cocked, a cylinder spinning into place. MIKA Die you fuck! She fires and Ozunu twists enough so that the bullet grazes him. OZUNU Bitch! A scatter shot of shurikens send her diving to the floor. But the distraction gives Raizo his chance. The blade whistles, the chain snaps and blood arcs out of Ozunu. Rage thunders the hall. Mika gets back up and aims but-- Ozunu seems to pull the shadows and smoke around him as he disappears. MIKA Raizo (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 92.119 CONTINUED: 119 She cannot see him. Ozunu's attack hits Raizo with the force of a bomb burst, his blade shatters through Raizo's chain-- Hurling him back, petals of blood fluttering from his chest. Raizo tries to recover, his chain now in two pieces. RAIZO Mika! Run! MIKA Where is he? I can't see him! RAIZO Get away! Ozunu emerges from the smoke behind her, a wraith. His eyes are as black as the sockets of a skull. She spins around but is too late. The ancient blade runs straight through her chest just as- - Raizo finds them. He sees Kiriko, the same blade taking her life and howls-- His pain a force of nature unleashed. The chain blades crackle in the air- Dual cyclones that batter Ozunu's parrying blade which- Finally shatters against Raizo's fury. And with a final scream, Raizo lunges at his master, the whistling blades lazering through his body until he separates, pieces hanging in mid-air, like an unstitched rag doll. Raizo throws down the blood slick blades and-- --hurries to Mika's side. He picks Mika up and walks through the falling timbers and blazing shards to the door.120 EXT. ORPHANAGE COURTYARD - NIGHT 120 The fighting is over now. All the combatant ninjas dead or long gone. (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 93.120 CONTINUED: 120 Maslow sees Raizo emerge from the smoke and flames, carrying Mika in his arms. MASLOW Mika! He runs to her side as Raizo lays her gently on the ground. MASLOW (CONT'D) What happened? RAIZO She saved my life. Raizo puts his hand on her chest. Closes his eyes. We can FEEL her heart-beat. Bump-thump. Bump-thump. Raizo opens his eyes. RAIZO (CONT'D) She will be all right. MASLOW How can you be sure? Raizo touches her face as she takes in a sudden breath. He smiles distantly. RAIZO Her heart is special. MIKA Medic! Over here now! Several medics rush to them, Raizo gently laying her on the stretcher. As they immediately begin working on her, Raizo fades back. Maslow remains at her side. Her eyes flutter open. MASLOW Is she going to be okay? MEDIC I don't know...she's got a hole right through the middle of her heart...but shes not really bleeding, that badly... (CONTINUED) GOLDENROD REVISED 2nd DRAFT 6/4/08 94.120 CONTINUED: (2) 120 MIKA My heart... She points to the right side of her chest. MIKA (CONT'D) ...is over here. MASLOW ...you gotta be fucking kidding me. MIKA ...Raizo? MASLOW He said you saved his life. She smiles. MASLOW (CONT'D) So you kept your promise. Can we go home now?121 EXT. ORPHANAGE BONSAI GARDEN - DAY 121 Raizo stands among the bound trees. RAIZO (V.O.) You shouldn't do that.122 FLASHBACK - EXT ORPHANAGE BONSAI GARDEN - DAY 122 Kiriko releases one of the trees. KIRIKO I believe the heart of a tree knows which way it needs to grow. CUT TO:122A Raizo releases a tree. 122A (V.O.) Trees don't have hearts. KIRIKO (V.O.) Everything has a heart. RAIZO I don't. CUT TO: GOLDENROD REVISED 2nd DRAFT 6/4/08 95.123 FLASHBACK - EXT: ORPHANAGE BONSAI GARDEN - DAY 123 She listens to his heart. KIRIKO Hello...hello in there. It said it was happy to meet me and that it missed you. CUT TO:124 EXT. ORPHANAGE COURTYARD/WALL - DAY 124 He stands and looks at the wall.125 FLASHBACK - EXT ORPHANAGE COURTYARD/WALL - NIGHT 125 The storm lashes against them. KIRIKO Come with me! CUT TO:126 EXT. ORPHANAGE COURTYARD/WALL - DAY 126 He begins to climb. CUT TO:127 FLASHBACK - EXT. ORPHANAGE WALL - NIGHT 127 She kisses him. CUT TO:128 EXT. ORPHANAGE WALL - DAY 128 We hear his heartbeat. Bump-thump Bump-thump. As he stands on the edge of the wall. In the next moment he is gone- And finally, free. FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Ninotchka.txt b/unformated_scripts/Script_Ninotchka.txt new file mode 100644 index 0000000000000000000000000000000000000000..94bba2130991b0527679522c6fcc9a19ffe2e7ed --- /dev/null +++ b/unformated_scripts/Script_Ninotchka.txt @@ -0,0 +1 @@ + NINOTCHKA Written by Charles Brackett, Billy Wilder & Walter Reisch Based on a story by Melchior Lengyel SHOOTING DRAFT 1939 FADE IN ON: AN ESTABLISHING SHOT OF PARIS IN THE MONTH OF APRIL DISSOLVE TO: THE LUXURIOUS LOBBY OF THE HOTEL CLARENCE CAMERA MOVES to a CLOSE SHOT of the desk. In the background is a revolving door leading to the street. Through the revolving door comes a strangely dressed individual, obviously one who doesn't belong in such surroundings. It is Comrade Buljanoff, a member of the Russian Board of Trade. Despite the spring climate of Paris, he still wears his typical Russian clothes, consisting of a coat with a fur collar, a fur cap, and heavy boots. Buljanoff glances around the lobby, obviously over-whelmed by its magnificence. The Manager, puzzled by Buljanoff's strange appearance, approaches him. MANAGER (politely) Is there anything I can do for you, monsieur? BULJANOFF No, no. He exits toward the street. The Manager returns to his customary duties, when suddenly a second Russian, similarly dressed, pushes his way through the door and gazes around. It is Comrade Iranoff. The Manager, definitely mystified by now, approaches him. MANAGER Yes, monsieur? IRANOFF Just looking around. Iranoff exits. Again the Manager returns to his duties, when suddenly he sees that a third man, dressed in the same fashion, has appeared in the revolving door. It is Comrade Kopalski. Kopalski doesn't leave the revolving door at all but as it turns, drinks in the whole spectacle of the lobby. The Manager is by now dumfounded. STREET IN FRONT OF THE HOTEL CLARENCE A taxi stands at the curb. Buljanoff and Iranoff are waiting beside it, Iranoff holding a suitcase. Kopalski, returning from the hotel, joins the group. KOPALSKI Comrades, why should we lie to each other? It's wonderful. IRANOFF Let's be honest. Have we anything like it in Russia? ALL THREE (agreeing with him) No, no, no. IRANOFF Can you imagine what the beds would be in a hotel like that? KOPALSKI They tell me when you ring once the valet comes in; when you ring twice you get the waiter; and do you know what happens when you ring three times? A maid comes in -- a French maid. IRANOFF (with a gleam in his eye) Comrades, if we ring nine times... let's go in. BULJANOFF (stopping him) Just a minute -- just a minute -- I have nothing against the idea but I still say let's go back to the Hotel Terminus. Moscow made our reservations there, we are on an official mission, and we have no right to change the orders of our superior. IRANOFF Where is your courage, Comrade Buljanoff? KOPALSKI Are you the Buljanoff who fought on the barricades? And now you are afraid to take a room with a bath? BULJANOFF (stepping back into the taxi) I don't want to go to Siberia. Iranoff and Kopalski follow him reluctantly. IRANOFF I don't want to go to the Hotel Terminus. KOPALSKI If Lenin were alive he would say, "Buljanoff, Comrade, for once in your life you're in Paris. Don't be a fool. Go in there and ring three times." IRANOFF He wouldn't say that. What he would say is "Buljanoff, you can't afford to live in a cheap hotel. Doesn't the prestige of the Bolsheviks mean anything to you? Do you want to live in a hotel where you press for the hot water and cold water comes and when you press for the cold water nothing comes out at all? Phooey, Buljanoff!" BULJANOFF (weakening) I still say our place is with the common people, but who am I to contradict Lenin? Let's go in. All three start to leave the taxi, as we DISSOLVE TO: LOBBY -- HOTEL CLARENCE -- AT THE DESK Buljanoff, Iranoff, and Kopalski are approaching the Manager, their only suitcase carried by two of them. KOPALSKI Are you the manager? MANAGER (eyeing the three suspiciously) Yes. KOPALSKI Pardon me for introducing Comrade Iranoff, member of the Russian Board of Trade. MANAGER (bowing with strained politeness) Monsieur. IRANOFF This is Comrade Kopalski. MANAGER Monsieur. BULJANOFF I am Comrade Buljanoff. MANAGER Monsieur. BULJANOFF May I ask how much your rooms are? MANAGER (trying to get rid of them) Well, gentlemen, I'm afraid our rates are rather high. BULJANOFF Why should you be afraid? The other two nod their agreement. The Manager has noted the single suitcase. MANAGER (haughtily) I might be able to accommodate you. Is there some more luggage? IRANOFF Oh, yes, but have you a safe here big enough to hold this? MANAGER I'm afraid we have no boxes of that size in our vault, but there is one suite with a private safe... IRANOFF That's even better. MANAGER But, gentlemen, I am afraid... BULJANOFF He's always afraid. The other two exchange a look of agreement again. MANAGER (a little annoyed) I just wanted to explain. The apartment may suit your convenience but I doubt that it will fit your convictions. It's the Royal Suite. The mention of the Royal Suite startles the three. BULJANOFF Royal Suite! (To the manager) Just a minute. The Three Russians take a step away from the manager and go into a huddle. BULJANOFF (in a low voice) Now Comrades, I warn you... if it gets out in Moscow that we stay in the Royal Suite we will get into terrible trouble. IRANOFF (defending his right to a good time) We'll just say we had to take it on account of the safe. That's a perfect excuse. There was no other safe big enough. The other two welcome the suggestion with relish. BULJANOFF AND IRANOFF That's right. Good, very good. Suddenly Buljanoff grows skeptical again. BULJANOFF Of course, we could take out the pieces and distribute them in three or four boxes in the vault and take a small room. That's an idea, isn't it? For a moment all three see their bright plans crumble. Then Iranoff comes to the rescue. IRANOFF Yes, it's an idea, but who says we have to have an idea? Buljanoff and Kopalski see the logic of this and their faces light up. BOTH That's right... that's right. BULJANOFF (turning to the Manager) Give us the Royal Suite. The Manager leads the three toward the elevator. The CAMERA FOLLOWS THEM and NARROWS DOWN to the suitcase carried by two of the Russians. DISSOLVE TO: DARK INTERIOR OF SAFE -- ROYAL SUITE We hear from the outside the turning of a key, the opening of a door, then the turning of the dial, and then we see the safe door open. Through the open door we now see the Royal Suite. The Three Russians are standing in front of the safe. One of them puts the suitcase into it. MEDIUM SHOT -- ROYAL SUITE OF THE HOTEL CLARENCE Shooting from the interior of the room toward the safe. The Three Russians are standing around it. As Buljanoff and Iranoff close the safe door, Kopalski walks out of the shot. The CAMERA STAYS for a few seconds on Buljanoff and Iranoff, then PANS OVER to the center of the room, where a waiter is setting a breakfast table. He is the former Count Rakonin, a Russian exile employed by the Hotel Clarence. Rakonin is looking with great interest toward the safe, and as he does so we hear Kopalski's voice talking into the telephone. KOPALSKI'S VOICE Will you connect me with Mercier... yes, the jeweler... Rakonin pricks up his ears and looks toward the telephone. CLOSE SHOT -- KOPALSKI -- AT TELEPHONE KOPALSKI I want to speak with Monsieur Mercier personally... Hello, Monsieur Mercier? This is Kopalski of the Russian Board of Trade. We arrived this morning... Thank you. CLOSE SHOT -- RAKONIN As he sets the breakfast table, his interest in the telephone conversation increases. KOPALSKI'S VOICE Yes, everything is here. The necklace too. All fourteen pieces... What? No, Monsieur Mercier, the court jewels of the Duchess Swana consisted of fourteen pieces. Why don't you check on that? Naturally, we have all the necessary credentials. As the voice continues, we DISSOLVE TO: SERVICE STAIRCASE -- HOTEL CLARENCE Rakonin hurries down the stairs, buttoning his overcoat around him. He exits through a door to the street. STREET CORNER NEAR THE HOTEL CLARENCE WIPE TO: Rakonin is getting into a taxi. RAKONIN (to taxi driver) Eight Rue de Chalon. WIPE TO: INSERT the House Number "8" above the doorway of a Parisian apartment house. Camera pulls back to medium shot of the whole entrance. Into it is striding a typical Parisian playboy. He is Count Leon d'Algout. ENTRANCE HALL -- SWANA'S APARTMENT The door is being opened by Swana's maid. Leon enters like a man thoroughly at home. MAID Good morning, Count. LEON Good morning. MAID Her Highness is still dressing. LEON (as he walks toward Swana's door) That's all right. LONG SHOT -- SWANA'S ROOM Swana sits at her dressing table in a negligee. Leon enters with the easy air of an old friend. He kisses her lightly. SWANA Hello, Leon! LEON Good morning, Swana. During Swana's long speech he sits down, not paying much attention to her patter, lights a cigarette, and glances through a magazine. SWANA It's really a wretched morning... wretched. I can't get myself right. I wanted to look mellow and I look brittle. My face doesn't compose well... all highlights... how can I dim myself down, Leon? Suggest something. I am so bored with this face. I wish I had someone else's face. Whose face would you have if you had your choice? Oh, well, I guess one gets the face one deserves. LEON Your conversation has one marvelous advantage, Swana. However many questions you ask you never expect an answer. SWANA Don't you find that restful?... Why didn't you come last night? LEON Darling, I was busy looking out for your interests. SWANA Did you win? LEON (enthusiastically) We can forget horse racing, roulette, the stock market... our worries are over! You remember that platinum watch with the diamond numbers? You will be in a position to give it to me. SWANA (with humor) Oh, Leon, you are so good to me. (She kisses him) LEON We can be rich if you say the word. I had dinner with the Guizots last night. SWANA (contemptuously) Those newspaper people? LEON You'd be surprised how many nice people dine with the Guizots. SWANA What a gruesome proof of the power of the press! LEON Now listen, Swana... I sold Monsieur Guizot the idea of publishing your memoirs in the Gazette Parisienne. "The Life and Loves of the Grand Duchess Swana of Russia"! SWANA (protestingly) Oh, Leon! LEON Sweetheart, we won't have to bother about our future if you are willing to raffle off your past! SWANA Was it for this that I refused to endorse Dr. Bertrand's Mouthwash? I could have made a little fortune by saying that the Vincent Vacuum Cleaner was the only vacuum cleaner ever used by the Romanoffs... and now you want them to smear my life's secrets over the front page of a tabloid? LEON I understand how you feel, but there is a limit to everything, particularly pride and dignity. They are willing to pay any price! They have a circulation of two million! SWANA Imagine two million clerks and shop girls peeking into my life for a sou! Think of my lovely life being wrapped around cheese and blood sausages! I can see a big grease spot in the midst of my most intimate moments! Leon knows on which note to play for Swana's benefit. LEON Well, I am the last person to persuade you, but don't do it blindly... if this is your decision, you must be prepared to face the consequences... (With the expression of a man ready to give his all) I will have to go to work. Swana rises and goes over to Leon. His method has been highly successful. SWANA My little Volga boatman! Stop threatening! I don't deserve this. (Embracing him) Are you my little Volga boatman? LEON Now, Swana... SWANA First tell me, are you my little Volga boatman? LEON (anything to stop her) Yes, I'm your little Volga boatman. SWANA (walking back to the dressing table) Well... two million readers... I know exactly what they want. Chapter One: "A Childhood behind Golden Bars. Lovely Little Princess Plays with Rasputin's Beard." Leon sits down next to her, growing enthusiastic. LEON I've got one chapter Guizot thinks is terrific. "Caviar and Blood." Swana escapes over the ice! SWANA A couple of bloodhounds and we have Uncle Tom's Cabin. LEON (thinking of another idea) Darling, this would be wonderful! Just once... weren't you attacked by a Bolshevik? SWANA (straining her memory) Was I? No... not by a Bolshevik! LEON Too bad! Brings our price down ten thousand francs! There is a knock on the door. SWANA Come in. The Maid enters. MAID Count Rakonin asks the privilege of a few words, Your Highness. LEON Count Rakonin? SWANA He's a waiter at the Clarence, poor devil. You know him. LEON Oh, yes. SWANA Tell him I won't be able to see him for a half an hour. MAID The Count says if it could be as soon as possible. It is luncheon time and he is just between courses. The Maid exits. Swana walks toward the door of the living room. LIVING ROOM -- SWANA'S APARTMENT A charming room, which manages to create a little of the atmosphere of Old Russia. Rakonin stands, his overcoat still buttoned about him, waiting nervously. Swana enters, leaving the door ajar. Rakonin approaches her with the respect he would have paid her at the Imperial Court. RAKONIN Your Highness. SWANA How do you do, my friend. RAKONIN Your Highness, forgive this intrusion, but... SWANA What is it, Rakonin? Did you lose your job? RAKONIN No, madame, something of the utmost importance... it concerns your jewels. SWANA My jewels?! RAKONIN I remember one birthday of His Majesty, our beloved Czar... I had the honor of being on guard at the summer palace... I still see you bending before His Majesty... You wore your diadem and a necklace... your face seemed to be lighted by the jewels. SWANA (puzzled) Why do you bring this up after so many years? RAKONIN They are here!... Your jewels!... Here in Paris! SWANA Alexis! Do you know what you are saying? RAKONIN This morning three Soviet agents arrived. I overheard a telephone conversation with Mercier, the jeweler. Your Highness, they are going to sell them! MEDIUM SHOT -- DOOR OF BEDROOM From the door of the bedroom appears Leon, his face alert. LEON Did I hear something about jewels? SWANA Rakonin, bless him, has given me the most amazing news! MEDIUM CLOSE -- SWANA AND RAKONIN Swana goes to the telephone. SWANA (into phone) Balzac 2769... (to Leon) My lawyer... Leon steps to her side, highly interested. RAKONIN I am sorry... I have to leave. SWANA (to Rakonin) Thank you so much, my friend. I will get in touch with you. Count Rakonin leaves. SWANA (into phone) This is the Duchess Swana... I want to speak to Monsieur Cornillon... it's very important... please get him right away... Hello, Monsieur Cornillon? The most incredible thing has happened! My jewels are here in Paris! Three Bolshevik swine are trying to sell them! Yes... yes... we must act immediately!... Call the police... Have them arrested!... Well, then, get an injunction!... But do something, Monsieur Cornillon! (apparently the answer is some objection from Cornillon) ...But they are my jewels! There must be some way of getting them back! LEON (just as nervous as Swana) What does he say? SWANA (to Leon) Shhh! (into phone) ...But how can there be a question?... Are you my lawyer or theirs?... All right, I'll let you know! She hangs up, rises, the legal situation whirling around in her brain. LEON What did he say? SWANA (discouraged) It looks pretty hopeless... there may be a chance... that's all... The French Government has recognized Soviet Russia and he doubts that they will risk a war for my poor sake. He might be able to make up some kind of a case but it would cost money, money, money!... That's all they are interested in -- those lawyers! LEON (taking her in his arms) Darling, calm down. Why do you need a lawyer? Haven't you your little Volga boatman? Swana looks up at him, hope dawning in her eyes, as we INSERT OF THE JEWELS DISSOLVE TO: spread out on a table in the Royal Suite. Camera pulls back to a LONGER SHOT. We see Mercier, the jeweler, examining the jewels with an eyepiece screwed in his eye. Around him stand the Three Russians. Mercier, a middle-aged man of the greatest suavity and elegance, but a shrewd trader none the less, looks up. MERCIER Very good... superb... excellent... it would be foolish to belittle the quality of the merchandise but your terms are impossible. My counteroffer is the absolute maximum. KOPALSKI But, Monsieur Mercier... MERCIER (continuing) Gentlemen, I'll let you in on a little secret... we are only undertaking this deal for the prestige involved, and, quite frankly, we are expecting to take a loss. Iranoff draws Buljanoff aside and whispers in his ear. IRANOFF (whispering) Capitalistic methods... BULJANOFF They accumulate millions by taking loss after loss. The telephone rings. BULJANOFF (answering phone) Hello... this is Buljanoff, Iranoff, and Kopalski... Who?... Count d'Algout?... No, no... it must be a mistake... we can't be disturbed. MERCIER (continuing) I assure you no one else could meet the figure named by my syndicate... at least under the present economic conditions. KOPALSKI We can wait. IRANOFF (pompously) Do we give the impression of people who are pressed for money? MERCIER Yes. Gentlemen... let's put our cards face down. Right now there is a Russian commission in New York trying to sell fifteen Rembrandts. There is another in London mortgaging the oil fields in Baku. You need money and you need it quickly. I think my offer is fair and does not even take advantage of your situation. CLOSE-UP -- BULJANOFF, IRANOFF, AND KOPALSKI KOPALSKI (to Mercier) Just a minute. The Three Russians step to one side. IRANOFF (in a low voice) He's cutting our throat... BULJANOFF But what can we do?... We have to accept. KOPALSKI Comrades! Comrades! Don't let's give in so quickly. After all we have to uphold the prestige of Russia. BULJANOFF All right, let's uphold it for another ten minutes. SHOT OF THE WHOLE GROUP There is a knock at the door. Iranoff walks toward it, unlocks it, opens it a little. In the door appears Leon. IRANOFF We don't want to be disturbed. LEON My name is Count d'Algout. I telephoned. IRANOFF If you want to see us you must come later. LEON I just want a word with Monsieur Mercier. IRANOFF But you can't... Leon pushes his way in. He approaches Monsieur Mercier. The Russians get between him and the jewels and during the following scene put them back into the safe. LEON Monsieur Mercier. May I introduce myself? I am Count Leon d'Algout. I think I had the pleasure of meeting you in your beautiful shop. I was admiring a platinum watch with diamond numbers. MERCIER Oh, yes, yes... LEON (glancing at the jewels) Glorious, aren't they? KOPALSKI Now, monsieur, you have no right... LEON (very charmingly) Just a moment. (to Mercier) I hope you haven't closed this deal, Monsieur Mercier. It might bring you into serious difficulties. ALL THREE RUSSIANS Who are you? What do you want? What is this? LEON These jewels are the property of the Duchess Swana of Russia, and were seized illegally by the Soviet Government. I am acting for Her Highness, the Duchess. Here is my power of attorney. He hands it to Mercier, who reads it. IRANOFF (excitedly) You know, Monsieur Mercier, this is all non-sense. KOPALSKI These may have been the jewels of the Duchess Swana, but, like all private property, they were confiscated by the State. LEON We'll leave the problem of their ownership to the French courts. Meanwhile I have filed a petition for an injunction to prohibit you from either selling or removing the jewels. Here is a copy. The Russians take the copy of the injunction, read it flabbergasted. As they do so, Leon turns to Monsieur Mercier. LEON I thought it my duty to warn you. I would hate to see you get in any trouble, monsieur. MERCIER Thank you. (he turns to the Russians) Gentlemen, this introduces a new element into our negotiations. Until this claim is completely settled... KOPALSKI We can call our ambassador. IRANOFF I give you my word! They were confiscated legally! MERCIER Please try to understand my position. I am not with-drawing. My offer stands and as soon as you produce a clear title, approved by the French courts, the deal is settled. Until then, good day. He bows and starts toward the door. Leon accompanies him, opening the door as though he were the host. LEON (intimately) I hope you will forgive me, Monsieur Mercier. MERCIER (in a low voice) On the contrary. I consider myself very lucky. Good day. He bows. LEON (bowing) Good day, monsieur. Mercier leaves. Leon closes the door and turns back into the room to the three outraged Russians. LEON (jauntily) Well, gentlemen... how about a little lunch? IRANOFF Get out of here! LEON Don't look so gloomy, gentlemen. All is not lost. You may have a chance. KOPALSKI (bursting forth) We may have a chance. LEON Yes... a very slim one. I want to be fair. I don't deny that you might make out some kind of a case. KOPALSKI We haven't anything to discuss with you. We'll talk to a lawyer! LEON All right -- go ahead... you talk to the lawyer and I'll talk to the judge! IRANOFF That won't help you! You can't intimidate us! KOPALSKI Soviet Russia will put all its might behind this case. BULJANOFF You think because you represent the former Duchess... LEON The Duchess... BULJANOFF The former Duchess! LEON In any case, gentlemen, a charming, beautiful, exquisite woman. I warn you, if this case comes to trial it will be before a French court, and when the Duchess takes the stand... IRANOFF All right, go ahead, get her on the witness stand! What can she say? LEON But how will she look? The fashions this spring are very becoming to her. Gentlemen, the judge will be French, the jury will be French, everybody in that courtroom will be French. Have you ever seen a French court when a beautiful woman sits on the witness stand and lifts her skirt a little? You sit down and pull up your pants and where will it get you? IRANOFF I suppose you expect us to hand over the jewels? LEON Oh, no, no. I am not a highwayman, I'm just a nuisance. All I'm trying to do is make things as difficult as possible. BULJANOFF Not that we are giving in one inch, but tell us... what is in your mind? LEON Well, gentlemen, how about my proposition? IRANOFF What proposition? LEON I just said let's have a little lunch. (picking up the telephone) Room service. MEDIUM SHOT -- CORRIDOR OF THE HOTEL CLARENCE DISSOLVE TO: shooting toward door leading to the Royal Suite. Two waiters are wheeling in a table on which is a block of ice filled with caviar and a collection of the most delicious hors d'oeuvres. They enter the room. After the door is closed we hear from within loud SOUNDS of approval from Buljanoff, Iranoff, and Kopalski. The CAMERA STAYS on the door. After a few seconds a very good-looking cigarette girl enters the room and from within we HEAR even louder SOUNDS of approval. Next a waiter enters carrying champagne and another with glasses on a tray. As they are going into the room, the cigarette girl comes out and runs excitedly down the corridor. Camera pans with her away from the door as she starts down the staircase. MEDIUM SHOT -- DOOR OF THE ROYAL SUITE Some of the waiters come out, others go in, carrying further delicacies. MEDIUM SHOT -- HEAD OF STAIRCASE Up the staircase pants the cigarette girl, followed by two other cigarette girls. Camera pans with them as they rush toward the door of the Royal Suite and enter. From within we HEAR terrific greetings. The CAMERA REMAINS ON THE DOOR as we SLOWLY DISSOLVE INTO EVENING. The electric lights are lit and a band of five Hungarian musicians enters carrying typical Hungarian instruments, including a cimbalom. LONG SHOT -- ROYAL SUITE The orchestra is playing; the Three Russians, very high by now, are dancing with the girls. One of them is wearing the cigarette tray of one of the girls. It is a harmless but loud and hilarious party. Apart from all the hullabaloo sits Leon at the desk, a telegraph blank before him. LEON Hey, Sascha! Serge! Misha! The three come to him, all in the gayest, most agreeable mood. KOPALSKI Yes, Leon... IRANOFF (pawing him) What is it, my boy? LEON About this telegram to Moscow. Why should you bother? I'll write it for you. BULJANOFF Leon... Leonitchka... (he embraces Leon) Why are you so good to us? (he kisses Leon) IRANOFF (kissing Leon too) Leon, my little boy. KOPALSKI (joining them) Oh, Leon, you are so good. LEON (freeing himself as best he can) What's the name of that Commissar on the Board of Trade? IRANOFF Razinin. LEON (writing) Razinin, Board of Trade, Moscow. KOPALSKI You wouldn't like Razinin. BULJANOFF He's a bad man. Sends people to Siberia! IRANOFF We don't like Razinin. BULJANOFF (again pawing Leon) We like you, Leon -- don't we like Leon? The others join him and kiss Leon. IRANOFF AND KOPALSKI Yes, we like Leon... little Leonitchka. This brings on a new frenzy of Russian affection. Leon frees himself and rises. LEON How does this strike you? Commissar Razinin, Board of Trade, Moscow. Unexpected situation here. Duchess Swana in Paris claims jewels, and has already brought injunction against sale or removal. After long and careful study we suggest in the interest of our beloved country a fifty-fifty settlement as best solution. Iranoff, Buljanoff, and Kopalski. KOPALSKI If we say that, Leon... we'll be sent to Siberia! IRANOFF And if we have to go to Siberia... LEON (still looking over the telegram) I'll send you a muff. BULJANOFF Oh, why are you so good to us? IRANOFF AND KOPALSKI Yes, you are so good, Leon. Again they overwhelm Leon with an avalanche of Russian affection. At this moment Rakonin enters with some new bottles of champagne. The Russians immediately leave Leon and direct their affection toward Rakonin, embracing and kissing him. ALL THREE RUSSIANS Comrade waiter, dear waiteritchka!... Why are you so good to us? You good waiter! After Rakonin has turned over the champagne to the Russians, Leon takes him aside. LEON Take this telegram to the telegraph office at once! RAKONIN Yes, monsieur. He leaves the room. CLOSE SHOT -- DOOR LEADING TO CORRIDOR OF HOTEL CLARENCE Rakonin comes out with the telegram. The CAMERA PANS with him as he hurries down the corridor, reading it. The CAMERA NARROWS DOWN on an insert of the telegram as we DISSOLVE TO: TELEGRAPH WIRES OVER A WIDE SWEEP OF COUNTRY DISSOLVE TO: TELEGRAPH WIRES OVER THE ROOFS OF MOSCOW Pan down past the roof of an official building to a CLOSE SHOT of a window. Behind it stands Razinin, reading the telegram. He is a violent, militant Bolshevik. The telegram fills him with rage. As he crumples it, and stares into space, his expression bodes ill for Buljanoff, Iranoff, and Kopalski. FADE OUT: MEDIUM SHOT -- UPPER CORRIDOR OF HOTEL CLARENCE FADE IN: shooting toward door of elevator. The elevator comes up and stops, the door opens, and the Three Russians step out. They are very smartly dressed and look like any urbane gentlemen coming from the races. Two of them have racing glasses. As they walk toward the Royal Suite, Lady Lavenham, an elderly English aristocrat, comes out of her room. LADY LAVENHAM Good afternoon, messieurs, mes Comrades. ALL THREE RUSSIANS Good afternoon, Lady Lavenham. KOPALSKI And how is Lord Lavenham? BULJANOFF ...and little Lady Beatrice? LADY LAVENHAM Very well. Did fortune favor you at the races? IRANOFF Comme ci, comme ca. LADY LAVENHAM I understand... nothing to write home about. BULJANOFF (alarmed) Who wants to write home about it? LADY LAVENHAM It's just a saying. How about joining us Saturday night for dinner? We're having a few friends. KOPALSKI Are we free, Buljanoff? BULJANOFF Possibly. IRANOFF We'll manage. LADY LAVENHAM Then let's say at nine. BULJANOFF Black tie or white tie? LADY LAVENHAM Oh, let's make it white. BULJANOFF Certainly! LADY LAVENHAM Au revoir. ALL THREE RUSSIANS Au revoir. As they walk into the Royal Suite, Buljanoff tosses off an urbane comment. BULJANOFF Nice people. ANTEROOM OF ROYAL SUITE As the three enter, the telephone rings. Buljanoff and Kopalski go into the living room. Iranoff answers the telephone. IRANOFF (into telephone) Yes, Leon... (a little bit annoyed) What is it, Leon?... You can't hurry such things... You must give Moscow a little time... There's nothing we can do about it... why don't you drop in later?... Au revoir... He steps into the living room. LIVING ROOM As Iranoff enters Buljanoff rushes toward him. BULJANOFF Misha! Misha! IRANOFF What is it? BULJANOFF A telegram from Moscow! It must have been here all day! KOPALSKI (joining them and reading telegram) Halt negotiations immediately. Envoy extraordinary arrives Thursday six ten with full power. Your authority cancelled herewith. Razinin. IRANOFF It is Thursday! BULJANOFF It's six o'clock already! They rush into the bedroom. KOPALSKI I always said it would be Siberia! DISSOLVE TO: LOBBY -- HOTEL CLARENCE Manager at desk. Iranoff, Buljanoff, and Kopalski rush from the direction of the elevator. Iranoff pauses at the desk. The others go on to the door and wait for him there. IRANOFF (to Manager) A Special Envoy is coming from Moscow. He'll occupy the Royal Suite. Move our things to the smallest room you've got. MANAGER Yes, monsieur. IRANOFF Right away... instantly! From the door Buljanoff and Kopalski call impatiently. BULJANOFF AND KOPALSKI Iranoff! IRANOFF I'm coming! As he starts toward the door, we DISSOLVE TO: PLATFORM -- PARIS RAILROAD STATION The train has already arrived as the Three Russians hurry down the platform. Neither do they know the name of the Envoy Extraordinary, nor his appearance, and they are searching the crowd for some clue. IRANOFF This is a fine thing. Maybe we've missed him already. KOPALSKI How can you find somebody without knowing what he looks like? Iranoff points to a bearded man with a knapsack. IRANOFF That must be the one! BULJANOFF Yes, he looks like a comrade! They follow the man, but just as they are ready to approach him he is greeted by a German Girl. Both raise their hands in the Nazi salute. BEARDED MAN AND GIRL Heil Hitler! As the two embrace, the Three Russians stop in their tracks. KOPALSKI No, that's not him... BULJANOFF Positively not! By now the platform is almost empty. As the Russians in the foreground look around helplessly, we see in the background a woman who obviously is also looking for someone. It is Ninotchka Yakushova, the Envoy Extraordinary. The Russians exchange troubled looks and go toward her. Ninotchka comes forward. As they meet she speaks. NINOTCHKA (to Iranoff) I am looking for Michael Simonovitch Iranoff. IRANOFF I am Michael Simonovitch Iranoff. NINOTCHKA I am Nina Ivanovna Yakushova, Envoy Extraordinary, acting under direct orders of Comrade Commissar Razinin. Present me to your colleagues. They shake hands. Ninotchka's grip is strong as a man's. IRANOFF Comrade Buljanoff... NINOTCHKA Comrade. IRANOFF Comrade Kopalski... NINOTCHKA Comrade. IRANOFF What a charming idea for Moscow to surprise us with a lady comrade. KOPALSKI If we had known we would have greeted you with flowers. NINOTCHKA (sternly) Don't make an issue of my womanhood. We are here for work... all of us. Let's not waste time. Shall we go? The Russians are taken aback. As Ninotchka bends down to lift her two suitcases, Iranoff calls: IRANOFF Porter! A Porter steps up to them. PORTER Here, please... NINOTCHKA What do you want? PORTER May I have your bags, madame? NINOTCHKA Why? KOPALSKI He is a porter. He wants to carry them. NINOTCHKA (to Porter) Why?... Why should you carry other people's bags? PORTER Well... that's my business, madame. NINOTCHKA That's no business... that's a social injustice. PORTER That depends on the tip. KOPALSKI (trying to take Ninotchka's bags) Allow me, Comrade. NINOTCHKA No, thank you. Ninotchka takes both suitcases and walks away with the Three Russians, whose nervousness has increased with every word from the Envoy Extraordinary. BULJANOFF How are things in Moscow? NINOTCHKA Very good. The last mass trials were a great success. There are going to be fewer but better Russians. The hearts of the Three Russians drop to their boots, as we DISSOLVE TO: LOBBY -- HOTEL CLARENCE Ninotchka, followed by the Russians, comes through the lobby, observing every detail of these unfamiliar surroundings. Suddenly she stops. In the showcase of a hat shop in the lobby is displayed a hat of the John-Frederic's type. NINOTCHKA What's that? KOPALSKI It's a hat, Comrade, a woman's hat. Ninotchka shakes her head. NINOTCHKA Tsk, tsk, tsk, how can such a civilization survive which permits women to put things like that on their heads. It won't be long now, Comrades. She walks out of the shot toward the elevator, followed by the Three Russians, as we DISSOLVE TO: ROYAL SUITE Ninotchka enters, followed by the Three Russians, who by now are frightened to death. BULJANOFF This is the apartment we have reserved for you, Comrade Yakushova. I hope you like it. NINOTCHKA (glancing around the tremendous room) Which part of the room is mine? IRANOFF You see... it is a little different here. They don't rent rooms in pieces. We had to take the whole suite. Ninotchka begins to unpack her things and puts her typewriter on the desk. NINOTCHKA How much does this cost? IRANOFF Two thousand francs. NINOTCHKA A week? IRANOFF A day. NINOTCHKA Do you know how much a cow costs, Comrade Iranoff? IRANOFF A cow? NINOTCHKA Two thousand francs. If I stay here a week I will cost the Russian people seven cows. (with an outburst of emotion) Who am I to cost the Russian people seven cows? BULJANOFF We had to take it on account of the safe. IRANOFF For ourselves... we are much happier now since we moved to a little room next to the servants' quarters. Ninotchka takes Lenin's picture from her bags. NINOTCHKA I am ashamed to put the picture of Lenin in a room like this. (she puts the photograph on the desk) Comrades, your telegram was received with great disfavor in Moscow. KOPALSKI We did our best, Comrade. NINOTCHKA I hope so for your sake. (she sits at her desk and starts to type her report) Let us examine the case. What does the lawyer say? BULJANOFF Which lawyer? NINOTCHKA You didn't get legal advice? BULJANOFF We didn't want to get mixed up with lawyers. They are very expensive here. If you just say hello to a lawyer... well, there goes another cow. KOPALSKI We dealt directly with the representative of the Grand Duchess. I am sure if we call him he will give you a very clear picture. NINOTCHKA I will not repeat your mistake. I will have no dealings with the Grand Duchess nor her representative. Ninotchka continues to type. The Three Russians watch her nervously. Each click pounds on their consciences. NINOTCHKA (looking up) Comrade Buljanoff... BULJANOFF Yes, Comrade? NINOTCHKA Do you spell Buljanoff with one or two f's? BULJANOFF (with fright in his voice) With two f's, if you please. Ninotchka goes on with her typing. Suddenly she looks up at Iranoff, who becomes self-conscious and fixes his tie. As he does so he sees that Ninotchka's glance is concentrated on the spats which he was wearing and in his hurry forgot to remove. He knows it is too late to do anything about it except to stand one foot behind the other, as Ninotchka types faster, the clicking of her keys twice as loud. Ninotchka picks up the telephone. NINOTCHKA (into phone) Will you send me some cigarettes, please? (suddenly getting up) Comrades, I am not in a position to pass final judgment but at best you have been careless in your duty to the State. (with utmost gravity) You were entrusted with more than a mere sale of jewelry. Why are we peddling our precious possessions to the world at this time? Our next year's crop is in danger and you know it. Unless we can get foreign currency to buy tractors there will not be enough bread for our people. And you three comrades... KOPALSKI We did it with the best intentions... NINOTCHKA We cannot feed the Russian people on your intentions. Fifty per cent to a so-called Duchess!... Half of every loaf of bread to our enemy! Comrade Kopalski, go at once to our Embassy and get the address of the best lawyer in Paris. KOPALSKI Yes, Comrade. NINOTCHKA You, Comrade Iranoff, go to the Public Library and get me the section of the Civil Code on property. BULJANOFF Is there anything I can do, Comrade? NINOTCHKA You might get me an accurate map of Paris. I want to use my spare time to inspect the public utilities and make a study of all outstanding technical achievements in the city. BULJANOFF Yes, Comrade. The buzzer rings. NINOTCHKA Come in. The three Cigarette Girls enter. CIGARETTE GIRLS (gaily) Hello! Hello! Cigarettes? Ninotchka looks up astonished. Seeing her, the Cigarette Girls freeze. The Russians stand by quietly. NINOTCHKA (looking at the Russians) Comrades, you seem to have been smoking a lot. FADE OUT: MEDIUM SHOT -- LOBBY -- HOTEL CLARENCE -- EVENING FADE IN: shooting past the desk toward the revolving door. The telephone rings and the Desk Clerk answers. DESK CLERK Desk... yes, Monsieur Kopalski... (he writes down the message) ...you are expecting Count d'Algout... uh huh... but he is not to go to the Royal Suite under any circumstances. He should go to your new room, 985? Thank you, monsieur. (he hangs up the receiver) A few seconds later Ninotchka, naturally completely unaware of the telephone conversation, passes by. She carries a map in her hand. DESK CLERK Good evening, madame. NINOTCHKA Good evening. She exits out the door. EXTERIOR, HOTEL CLARENCE Ninotchka emerges, unfolds the map. CLOSE-UP -- MAP OF PARIS in the hands of Ninotchka. The CAMERA ZOOMS down to a CLOSE- UP of the little drawing of the Hotel Clarence on the map. The CAMERA then PANS OVER from the Clarence toward the opposite side of the street, but before we reach the opposite side we see that in the center of the street is a little isle of safety. The CAMERA proceeds PANNING to the opposite side of the square and we DISSOLVE TO: The Real Location Corresponding to That Seen on the Map and seen from the same ANGLE. It is evening, and along the street comes Leon on his way to the hotel. The CAMERA PANS with him as he crosses the street. He reaches the isle of safety and there passes Ninotchka, who has come from the other side. They pass on the little isle without noticing each other. Suddenly we hear the whistle of a traffic policeman and both Ninotchka and Leon have to step back to the little isle. CLOSE SHOT -- NINOTCHKA AND LEON on the little isle. Wanting some information Ninotchka turns to him -- completely impersonal. NINOTCHKA You, please. LEON Me? NINOTCHKA Yes. Could you give me some information? LEON Gladly. NINOTCHKA How long do we have to wait here? LEON Well -- until the policeman whistles again. NINOTCHKA At what intervals does he whistle? LEON What? NINOTCHKA How many minutes between the first and second whistle? LEON That's funny. It's interesting. I never gave it a thought before. NINOTCHKA Have you never been caught in a similar situation? LEON Have I? Do you know when I come to think about it it's staggering. If I add it all up I must have spent years waiting for signals. Imagine! An important part of my life wasted between whistles. NINOTCHKA In other words you don't know. LEON No. NINOTCHKA Thank you. LEON You're welcome. Ninotchka gets out her map, starts to unfold it. LEON Can I help you? NINOTCHKA You might hold this for me. LEON Love to. NINOTCHKA (engrossed in her geography) Correct me if I am wrong... We are facing north, aren't we? LEON (bewildered) Facing north... I'd hate to commit myself without my compass... Pardon me... are you an explorer? NINOTCHKA No... I am looking for the Eiffel Tower. LEON Is that thing lost again?... Listen... if you are interested in a view... NINOTCHKA I am interested in the Eiffel Tower from a technical standpoint. LEON Technical... I couldn't help you from that angle. You see, a real Parisian only goes to the top of the tower in moments of despair to jump off. NINOTCHKA How long does it take a man to land? LEON Now, isn't that too bad! The last time I jumped I forgot to clock it! (looks at map) Let me see... Eiffel Tower... Your finger, please. He takes her finger and points to the map with it. NINOTCHKA (skeptically) Why do you need my finger? LEON Bad manners to point with your own... Here... the Eiffel Tower. NINOTCHKA And where are we? LEON (shifting her finger back to the hotel) Here... here we are... here you are and here I am... feel it? NINOTCHKA I am interested only in the shortest distance between these two points. Must you flirt? LEON I don't have to but I find it natural. NINOTCHKA Suppress it. LEON I'll try. Ninotchka starts to fold her map. NINOTCHKA For my own information would you call your approach toward me typical of the local morale? LEON Madame, it is that kind of approach which has made Paris what it is. NINOTCHKA You are very sure of yourself, aren't you? LEON Nothing has occurred recently to shake my confidence. NINOTCHKA I have heard of the arrogant male in capitalistic society. It is having a superior earning power that makes you like that. LEON A Russian! I love Russians! Comrade... I have been fascinated by your Five- Year Plan for the past fifteen years! NINOTCHKA Your type will soon be extinct. She walks away from him coldly. Leon stares after her, fascinated. ENTRANCE -- GROUND FLOOR OF THE EIFFEL TOWER DISSOLVE TO: Camera moves with Ninotchka as she enters. She approaches an Attendant. NINOTCHKA Please... can you tell me the exact width of the foundation on which the piers are resting?... and the depth? ATTENDANT You don't have to worry. The thing is safe. NINOTCHKA I am not afraid... I want to know... Leon, who apparently has taken a taxi and prepared himself otherwise, enters the scene, reading from a book. LEON (reading) The foundation is one hundred and forty-one yards square... (he tips his hat and interjects) I hope you'll forgive me but I thought you'd... NINOTCHKA (interrupting) Go ahead. The CAMERA goes with Ninotchka and Leon as they walk toward the steps. LEON (continuing) Four massive piers of masonry are sunk to a depth of forty-six feet on the side of the Seine, and twenty- nine and one-half feet on the other side. The girders of interlaced iron- work which stay the structure have an inclination of fifty-four degrees... NINOTCHKA That's a strange angle. LEON Yes, very strange. By now they have reached the staircase. They start up. LEON (continuing to read) Ascending to the tower is a staircase consisting of eight hundred and twenty- nine steps... (this disclosure frightens Leon as he realizes the climb ahead of him. He reads on as they walk up) ...and an additional two hundred and fifty-four steps to the very top... (now Leon stops but Ninotchka proceeds on out of the picture. Leon calls after her and reads from his book in a loud voice) There is an elevator included in the price of admission! Ninotchka continues to climb. MEDIUM SHOT -- STAIRS (FROM LEON'S ANGLE) Ninotchka, paying no attention to him, walks up the stairs, two at a time. CLOSE SHOT -- LEON He looks after Ninotchka, then makes up his mind and returns down the stairs. GROUND FLOOR -- EIFFEL TOWER, shooting toward the elevator door. The elevator with several passengers is just about to leave when Leon hurries into it. The door closes and the elevator starts to ascend quickly. DISSOLVE TO: HIGHEST PLATFORM -- EIFFEL TOWER The CAMERA ANGLE includes the elevator door and a beautiful background view of Paris. The elevator door opens and Leon emerges leisurely. He is just about to step to the top of the staircase, when suddenly, to his great amazement, he sees Ninotchka, who stands at the balustrade overlooking Paris. She has climbed the tower faster than he despite the elevator. Dumbfounded, Leon approaches her. Ninotchka turns, very matter-of-fact. NINOTCHKA You gave me some very valuable information. Thank you. LEON (looking at the dazzling view) And thank you for getting me up here. I've never seen this before. Beautiful, isn't it? NINOTCHKA Yes, it is. LEON I'm glad I saw it before becoming extinct. NINOTCHKA Do not misunderstand me. I do not hold your frivolity against you. (she looks him up and down) As basic material you might not be bad, but you are the unfortunate product of a doomed culture. I feel sorry for you. LEON You must admit that this doomed old civilization sparkles... It glitters! Night View of Paris with Its Lights Ablaze, as seen from the Eiffel Tower. NINOTCHKA AND LEON NINOTCHKA I do not deny its beauty, but it is a waste of electricity. LEON What a city! There are the Grands Boulevards... blasted out of the heart of the old streets. The Arc de Triomphe... made to greet Napoleon's army. The Opera! And Montmartre... Montparnasse... La BohËme... and now I'll show you the greatest attraction! (he steps to a telescope and, taking some money from his pocket, drops a coin in the slot) It will cost me a franc but it is worth it. (he adjusts the telescope) The most wonderful spot in all Paris -- unique! Here, look.... (she looks in telescope) What do you see? NINOTCHKA I see a house that looks like any other house. What's remarkable about it? LEON It's not the structure but the spirit which dwells within. There are three rooms and a kitchenette dedicated to hospitality. NINOTCHKA So that is your house? LEON Well, let's say I live in it. Such a pleasant place... all kinds of comfort, easy to reach, close to street car, bus, and subway... NINOTCHKA (straight from the shoulder) Does that mean that you want me to go there? LEON (feeling that he has offended her) Please don't misunderstand me... NINOTCHKA Then you don't want me to go there. LEON (in a pickle) Now I didn't say that either... naturally nothing would please me more. NINOTCHKA (simply) Then why don't we go? (looking at him) You might be an interesting subject of study. LEON I will do my best. They walk toward the elevator as we DISSOLVE TO: INTERIOR, ENTRANCE HALL -- LEON'S APARTMENT In the foreground stands a console on which is a telephone. Gaston, Leon's elderly, dignified butler, is answering the phone. GASTON (into phone) No... Count d'Algout is still out. Yes, as soon as he returns I'll tell him. Yes... I'll tell him Monsieur Buljanoff. He puts down the receiver as Leon opens the door with his key. Ninotchka and Leon enter. Ninotchka, during the following scene, is studying every detail of the apartment with the eye of a technical expert. LEON Good evening, Gaston. GASTON Good evening, Monsieur. NINOTCHKA Is this what you call the "butler"? LEON Yes. NINOTCHKA (takes Gaston's hand) Good evening, comrade. (to Leon) This man is horribly old. You should not make him work. LEON He takes good care of that. NINOTCHKA He looks sad. Do you whip him? LEON No, though the mere thought makes my mouth water. NINOTCHKA (to the completely flabbergasted Gaston) The day will come when you will be free. Go to bed, little father. We want to be alone. Leon opens the door to the living room. Ninotchka enters. Just as he is about to follow her, Gaston addresses him. GASTON (in a low voice) Count d'Algout, there have been several telephone... LEON Go to bed. INTERIOR, LIVING ROOM -- LEON'S APARTMENT Leon enters the room. Closes the door. Ninotchka is examining the room. LEON Well, may I offer you a drink, or how about something to eat? NINOTCHKA Thank you. I've had all the calories necessary for today. Leon feels a little uncertain as to how to approach this creature. NINOTCHKA What do we do now? LEON We take off our hat and coat. (he takes her things) We sit down -- we make ourselves comfortable. We adjust ourselves to the prospect of a most enjoyable evening. We look at each other. We smile. (Ninotchka doesn't respond) Well... we don't smile. How about some music? NINOTCHKA Is that customary? LEON It helps. It has ever since King David wooed Bathsheba with the harp. As I am not so fortunate as to have my harp at hand, I shall turn on the radio. NINOTCHKA (the observer) I should say this room is eighteen by twenty-five. LEON Not too big and not too small. What I'd call the typical room of an average man. Or shall we say a little above average. Now if there are any special aspects you wish to study I have nothing to conceal. Just look around. That's my desk. Those are my books, and here am I. Where shall we begin? NINOTCHKA I will start with you. LEON That's great. I'm thirty-five years old. Just over six feet tall. I weigh a hundred and eighty-two pounds stripped. NINOTCHKA And what is your profession? LEON Keeping my body fit, keeping my mind alert, keeping my landlord appeased. That's a full-time job. NINOTCHKA And what do you do for mankind? LEON For mankind not a thing -- for womankind the record is not quite so bleak. NINOTCHKA You are something we do not have in Russia. LEON Thank you. Thank you. NINOTCHKA That is why I believe in the future of my country. LEON I begin to believe in it myself since I've met you. I still don't know what to make of it. It confuses me, it frightens me a little, but it fascinates me, Ninotchka. NINOTCHKA You pronounce it incorrectly. Ni- notchka. LEON Ni-notchka. NINOTCHKA That is correct. LEON Ninotchka, do you like me just a little bit? NINOTCHKA Your general appearance is not distasteful. LEON Thank you. NINOTCHKA Look at me. The whites of your eyes are clear. Your cornea is excellent. LEON Your cornea is terrific. Tell me -- you're so expert on things -- can it be that I'm falling in love with you? NINOTCHKA You are bringing in wrong values. Love is a romantic designation for a most ordinary biological, or shall we say chemical, process. A lot of nonsense is talked and written about it. LEON Oh, I see. What do you use instead? NINOTCHKA I acknowledge the existence of a natural impulse common to all. LEON What can I possibly do to encourage such an impulse in you? NINOTCHKA You don't have to do a thing. Chemically we are already quite sympathetic. LEON (bewildered, and yet completely intrigued) You're the most improbable creature I've ever met in my life, Ninotchka, Ninotchka... NINOTCHKA You repeat yourself. LEON I'd like to say it a thousand times. NINOTCHKA Don't do it, please. LEON I'm at a loss, Ninotchka. You must forgive me if I appear a little old- fashioned. After all, I'm just a poor bourgeois. NINOTCHKA It's never too late to change. I used to belong to the petty bourgeoisie myself. My father and mother wanted me to stay and work on the farm, but I preferred the bayonet. LEON (bewildered) The bayonet? Did you really? NINOTCHKA I was wounded before Warsaw. LEON Wounded? How? NINOTCHKA I was a sergeant in the Third Cavalry Brigade. Would you like to see my wound? LEON (dumfounded) I'd love to. (she pulls the blouse off her shoulder and shows him her scar) Tsk, tsk, tsk. NINOTCHKA A Polish lancer. I was sixteen. LEON Poor Ninotchka. Poor, poor Ninotchka. NINOTCHKA (readjusting her blouse) Don't pity me. Pity the Polish lancer. After all, I'm alive. More and more puzzled and fascinated, Leon sits down close to her. LEON What kind of a girl are you, anyway? NINOTCHKA Just what you see. A tiny cog in the great wheel of evolution. LEON You're the most adorable cog I ever saw in my life. Ninotchka, Cogitska, let me confess something. Never did I dream I could feel like this toward a sergeant. A clock strikes. LEON Do you hear that? NINOTCHKA It's twelve o'clock. LEON It's midnight. One half of Paris is making love to the other half. Look at the clock. One hand has met the other hand. They kiss. Isn't that wonderful? NINOTCHKA That's the way a clock works. There's nothing wonderful about it. You merely feel you must put yourself in a romantic mood to add to your exhilaration. LEON I can't possibly think of a better reason. NINOTCHKA It's false sentimentality. LEON (trying desperately to make her mood more romantic) You analyze everything out of existence. You analyze me out of existence. I won't let you. Love is not so simple. Ninotchka, Ninotchka, why do doves bill and coo? Why do snails, coldest of all creatures, circle interminably around each other? Why do moths fly hundreds of miles to find their mates? Why do flowers open their petals? Oh, Ninotchka, Ninotchka, surely you feel some slight symptom of the divine passion... a general warmth in the palms of your hands... a strange heaviness in your limbs... a burning of the lips that is not thirst but a thousand times more tantalizing, more exalting, than thirst? He pauses, waiting for the results of his speech. NINOTCHKA You are very talkative. That is too much for Leon. He takes her into his arms and kisses her. LEON Was that talkative? NINOTCHKA No, that was restful. Again. Leon kisses her again. NINOTCHKA Thank you. LEON Oh, my barbaric Ninotchka. My impossible, unromantic, statistical... The telephone rings. LEON (continuing) Glorious, analytical... NINOTCHKA The telephone is ringing. LEON Oh, let it ring. NINOTCHKA But one of your friends may be in need of you. You must answer. Leon exits out of shot to answer telephone. CLOSE SHOT -- AT DESK Leon enters, sits down, takes the telephone. LEON (into phone) Hello?... Yes... I'm sorry but I couldn't make it. I ran into a friend from the army... What?... The deal is off! Are you crazy, Buljanoff?... CLOSE-UP -- NINOTCHKA She is startled by the name. LEON -- AT TELEPHONE LEON ...A special envoy arrived... What?... That sounds better. I'll be glad to see her any time she wants... Oh, she doesn't want to see me? What do you know about that? Why?... Well, I'll get in touch with her myself. What's her name?... (he takes a pencil and a piece of paper) ...What?... Yaku... How do you spell it?... Heavens! those Russian names! (he starts to write it down) ...I... Oh, Y... Camera pulls back and Ninotchka enters the shot. She takes pencil from Leon's hand, writes out the name, and leaves again. At first Leon is not aware of the full significance of her action. Then it dawns on him. LEON (continuing) Yakushova... Ninotch... At last the situation is entirely clear to him. LEON (into phone) All right. Thank you. He hangs up and stares at Ninotchka. She is putting on her jacket. LEON (camera panning with him as he walks over to her) Ninotchka... He takes her arm. NINOTCHKA I must go. LEON Ninotchka, or shall I say Special Envoy Yakushova... NINOTCHKA Let's forget that we ever met. LEON I have a better suggestion. Let's forget that the telephone ever rang. I never heard that you are Yakushova... you are Ninotchka... my Ninotchka... NINOTCHKA (firmly) I was sent here by my country to fight you. LEON All right, fight me, fight me as much as you want, but fight me tomorrow morning! There's nothing sweeter than sharing a secret with a bitter enemy. NINOTCHKA (uncompromisingly) As a representative of Moscow... LEON Tonight let's not represent anybody but ourselves. NINOTCHKA It is out of the question. If you wish to approach me... LEON You know I want to... NINOTCHKA Then do it through my lawyer! LEON (desperate) Ninotchka, you can't walk out like this... I'm crazy about you, and I thought I'd made an impression on you. You liked the white of my eye. Ninotchka looks at him for a second, then pulls herself together. NINOTCHKA I must go. She starts for the door. LEON But, Ninotchka, I held you in my arms. You kissed me! NINOTCHKA I kissed the Polish lancer too... before he died. As she goes out, we FADE OUT: THE ENTRANCE HALL -- LEON'S APARTMENT FADE IN: (Note: We have to invent some brief scene to indicate that three days have gone by. From this we) DISSOLVE TO: The butler opens the door. Swana enters, her manner showing her complete familiarity with the place. GASTON Good morning, Your Highness. SWANA Good morning, Gaston. GASTON Count d'Algout is still asleep. SWANA (as she walks toward Leon's room) That's all right. LEON'S BEDROOM The curtains are drawn. The night light is still on. Leon, a dressing gown over his pajamas, is sound asleep in a big arm chair. As Swana enters, she sees him with some alarm. SWANA Leon! What in heaven's name...! LEON Huh? SWANA Is anything wrong? Are you ill? LEON No. SWANA Don't tell me the bed has lost its best friend. LEON I just couldn't sleep. I got up and went back... and then got up again. These last few days... whew! SWANA Darling, you're taking my business affairs far too seriously. Much as I'd love to rob the Bolsheviks of their filthy money, I won't do it at the expense of your health. Particularly as we know we won't get much. (tenderly) You look so pale... pale but interesting. There is a knock at the door. SWANA Come in. Gaston enters with a breakfast tray. GASTON Your breakfast, monsieur. LEON I don't feel like any breakfast. SWANA Nonsense. How can you fight the Reds and make yourself agreeable to the Whites if you don't keep up your strength. GASTON Shall I draw your bath, sir? LEON Make it ice cold. SWANA Not in your condition. (to Gaston) Make it tepid, Gaston... tepid and tender. And lay out his gray suit. (to Leon) Afterwards I'll drive you through the Bois. Slowly... in Waltz time. GASTON A blue shirt, perhaps? SWANA Blue? Let's offset his mood. Find a striped one, and brighten it with a great blaze of tie. GASTON Very well, Your Highness. Gaston disappears into the bath-dressing room. Swana makes Leon sit down and seats herself beside him. SWANA Now... here we have two very handsome soft-boiled eggs. Do you suppose hens mind what happens to their eggs? Probably not. They have such unfeeling eyes. We'll put in a great nugget of butter, plenty of pepper and salt... Darling, I haven't seen you for three livelong days... seventy-two hours! LEON (irritably) Oh, please, Swana! I don't know whether I'm standing on my head or my heels. Here you are blaming me for neglecting you when I'm trying to concentrate on another woman and can't get near her. SWANA You haven't seen her yet? LEON No, and believe me I've tried everything! I must have telephoned her a hundred times. I've sent her telegrams, I've sent her flowers... I asked her to dinner... I offered her seats for the Opera... SWANA That proletarian! In the old days we'd have had her flogged. LEON That wouldn't have done any good. Not with her. (forgetting himself) She's the most incredible creature I've ever seen. SWANA You just told me you hadn't seen her. LEON Well... er... I caught a glimpse of her when she walked through the lobby. SWANA Imagine the carpets of a self- respecting Parisian hotel dirtied by the boots of a muzhik! What does she look like? LEON You can't imagine. SWANA That bad? (Leon nods) Old or young? LEON Timeless. When she comes into a room you'd think that the Bolsheviks had taken over Paris. She wears her cheap miserable blouse as though it were the latest model by Schiaparelli. What a woman! What a woman! There is a Russian snowstorm in each of her eyes. SWANA You saw all that in one glimpse? LEON (getting up) Darling, if we're going to get anywhere someone has to keep his eyes open! (he walks over to the bathroom) SWANA Now, darling, soak in your beautiful pine bath and let Gaston shave you. Leon exits into the bathroom. As he does so a bell rings. SWANA Gaston! There is no answer. After a slight pause she herself goes to answer the bell. DISSOLVE TO: MEDIUM SHOT -- ENTRANCE HALL -- LEON'S APARTMENT, shooting toward the door. Swana goes to the door and opens it. The Three Russians stand outside. Seeing Swana, they are a little intimidated. THE THREE RUSSIANS How do you do? Swana suspects that for the first time she is being confronted by representatives of the Soviet government. SWANA Yes? KOPALSKI We want to talk to Count d'Algout. My name is Kopalski. SWANA Oh... you are the three gentlemen from Moscow? KOPALSKI Yes. SWANA (icily) You may wait. She closes the door. STAIRCASE HALL -- IN FRONT OF LEON'S DOOR The Three Russians, very impressed, stand looking at the door which has just been closed. BULJANOFF That's her. KOPALSKI Imagine! The niece of the Czar opening the door for us. BULJANOFF Once in Petersburg I was driving down the Nevsky Prospect in my cart and Her Highness in her troika swept down from the opposite direction, and when I couldn't make way quick enough she spat in my face. IRANOFF Now look here, Buljanoff. You never were in Petersburg, you never owned a cart, and she never spat in your face. Who are you trying to impress? At this moment the door is opened by Leon in his bathrobe. LEON Hello, boys. ALL THREE RUSSIANS Leon! LEON Come in, come in. They enter. LIVING ROOM -- LEON'S APARTMENT Leon and the Three Russians enter. LEON What's new? KOPALSKI (excitedly) Leon, Leonitchka, she is not going to negotiate! She is going to fight that injunction. She's going to make a precedent of it! IRANOFF She says she won't be intimidated by parasites. She called the Duchess a blood-sucking aristocrat and a blackmailer. LEON (eagerly) What did she say about me? IRANOFF (after a moment's consideration) I think she covered you with the parasites. Leon is disappointed. BULJANOFF And Leonitchka! What she said about us...! IRANOFF And they might believe her in Moscow. BULJANOFF What do you mean they might -- they will! KOPALSKI We don't blame you, Leon, but when we came from Russia we believed in simplicity... IRANOFF We avoided luxury and extravagance and today... well, if you were to offer us a glass of champagne, we wouldn't say no. Leon is so engrossed in his thoughts that he overlooks the hint. LEON Well, boys, I'd like to help you but what can I do? Yesterday I waited six hours in the lobby! KOPALSKI She doesn't leave her room! She has been locked in for the last two days with lawyers and law books! LEON All right, then make an appointment with her so I can see her! KOPALSKI We can't... but you are so ingenious, Leon... IRANOFF You found your way to us and we weren't easy to reach, were we? LEON No, no. BULJANOFF Didn't we put up a strong resistance? LEON Oh, yes, yes. KOPALSKI You must help us, Leon... if you don't win her over we're on our way to Siberia! BULJANOFF Or it might be the firing squad! KOPALSKI Or we can't go back to Russia! An idea dawns on Iranoff. IRANOFF What's wrong with that? Kopalski and Buljanoff seize on the same idea. BULJANOFF Yes! We could stay with Leon! IRANOFF Leon, how would you like to have three lifelong friends? LEON Boys, boys... don't forget Russia is your mother country. Three sons walking out all at once... that's too much for any mother. BULJANOFF Well, if your mother turns against you, you have to look for someone to adopt you. Swana's voice comes from the next room. SWANA Leon! Just a minute... Leon goes back to the other room. LEON'S BEDROOM -- CLOSE SHOT, shooting toward the door of the living room. Swana stands putting on her gloves. SWANA I'm leaving, dear. I'm lunching at Fouquet's if you can make it, and... Leon, remember, a man should think it over twice before he decides to become a mother. She kisses him lightly and walks out. LIVING ROOM -- ROYAL SUITE -- MEDIUM CLOSE SHOT -- AT THE DESK It is piled deep with law books and papers. Ninotchka sits at it, conferring with two Lawyers. FIRST LAWYER (uncertainly) I seem to remember some additional injunctive provision dealing with the property of foreigners residing in France. NINOTCHKA (with the precision of a machine) You are referring to paragraph 59b, section 25f of the Civil Code. The Lawyers exchange a glance of surprise at her knowledge. One of them takes up one of the law books and as he starts to look up the case, Ninotchka speaks. NINOTCHKA Page eight hundred twenty-four. Again the Lawyers exchange a glance of astonishment. NINOTCHKA And do not fail to read the three footnotes. While you are studying it I will eat. (She picks up the telephone) Food please. A LITTLE CORNER IN THE ROOM SERVICE PANTRY Rakonin is answering the telephone. RAKONIN (into phone) Room service... Just a moment please. He beckons to someone out of the scene. Leon enters the scene and takes the telephone. LEON (with an assumed French accent -- into phone) Room service speaking. CLOSE SHOT -- NINOTCHKA -- AT THE PHONE NINOTCHKA (into phone) Send me a plate of raw carrots and beets, beets predominating on a ratio of sixty-forty... What? There is a strike in the kitchen? Good! Will you assure the strikers of my hearty sympathy in their cause. I hope they will not weaken in their demands and tell them to put no dressing whatsoever on my vegetables... What? You won't serve me either? Now look here, Comrade, I think it is a fine idea to let the capitalists go without luncheon but when you keep food away from me you're weakening the people. CLOSE SHOT -- ROOM-SERVICE PANTRY -- LEON AT PHONE LEON (into phone) So! You want to make a strike breaker out of me! I am surprised at you, Comrade! Is it too much for the workers of the world to ask you to walk around the corner for lunch? All I can say to you is take your hammer and sickle and get out of that Royal Suite! He hangs up the telephone with a triumphant smile. DISSOLVE TO: LOBBY OF THE HOTEL CLARENCE Ninotchka emerges from the elevator and starts toward the street. As she passes the showcase of the millinery shop again, she stops and looks at the same hat. Again she shakes her head sadly. NINOTCHKA Tsk, tsk, tsk. She walks toward the street, as we EXTERIOR, HOTEL CLARENCE DISSOLVE TO: A taxi is parked at the curb. Ninotchka comes from the hotel and goes to the taxi. CLOSE SHOT -- NINOTCHKA AND TAXI DRIVER The Driver puts his hand on the handle of his cab's door expectantly. TAXI DRIVER Where to, madame? NINOTCHKA Can you recommend a restaurant? TAXI DRIVER Well, there's Pruniers if you care for seafood. If you want to lunch in the Bois, there's... NINOTCHKA (interrupting) Where do you eat? TAXI DRIVER At PËre Mathieu's. NINOTCHKA Where is that? TAXI DRIVER It's just a place for workmen. NINOTCHKA Where is it? TAXI DRIVER Eight blocks down in the Rue de Poivrel. He opens the door of his cab. NINOTCHKA Thank you. She turns and starts away in the direction he has indicated. The Driver looks after her astounded. The CAMERA PANS from her to the car which stands behind the taxi. It is Leon's smart roadster. Leon sits at the wheel. He too is looking after Ninotchka, astonished. He gets out of his car and starts in the direction she has taken. As he does so, we DISSOLVE TO: PARIS STREET -- IN FRONT OF P»RE MATHIEU'S PËre Mathieu's is a workman's restaurant set a few steps below the level of the sidewalk. A few typical French workmen are going in for lunch. Ninotchka enters the scene, looks around for a second, then goes in too. INTERIOR -- P»RE MATHIEU'S It is a pleasantly simple place crowded with workmen sitting at lunch. An electric piano is playing. PËre Mathieu, greeting all his guests like a typical restaurateur, sees Ninotchka enter. P»RE MATHIEU This way, madame. Are you alone? By the window perhaps? (He leads the way) Or a nice little corner table? NINOTCHKA This will do. (She sits down) P»RE MATHIEU I think this is the first time you have been to my little place. Your face is new to me. Now, what shall it be? NINOTCHKA Raw carrots and beets. P»RE MATHIEU (horrified) Oh, madame! This is a restaurant, not a meadow. He hands her a slate on which the menu is written. P»RE MATHIEU Here is what we are offering today. Please make your choice. I am sure you will find something to tempt your appetite. Suddenly Ninotchka stares in the direction of the door. MEDIUM SHOT -- AT THE DOOR Leon has just entered. The CAMERA follows him as he makes his way casually in Ninotchka's direction affecting not to see her. He seats himself at the table directly opposite Ninotchka and pretends to be overwhelmed with surprise as he sees her. LEON Why, hello! It certainly is a small world! SHOT INCLUDING BOTH TABLES P»RE MATHIEU (to Ninotchka) Well, madame? Shall we start with soup? Fish soup today. I got up at five to fish them from the Seine. LEON (calling over to PËre Mathieu) Crayfish soup for me! P»RE MATHIEU (to Leon) Very well, monsieur. (back to Ninotchka) Then, may I suggest an omelet with mushrooms? NINOTCHKA Bring me something simple. I never think about food. P»RE MATHIEU (horrified) But, madame! If you don't think about food what do you think about? NINOTCHKA The future of the common people. P»RE MATHIEU (sagely) That also is a question of food, madame. I'll bring you a nice little lunch ‡ la PËre Mathieu. (he exits) Leon leans toward Ninotchka with mock humility. LEON Pardon me for addressing you but you insulted him, you know that. You hurt his feelings. It was just like telling a musician you don't like music. That good old man believes in food as you believe in Karl Marx. You can't go around hurting people, Comrade Yakushova, but maybe you can make it up to him. Do you know how? (He changes to the chair at his table which is closest to her table) By eating everything with relish, by drinking everything with gusto, by having a good time for the first time in your natural life! NINOTCHKA I don't like your following me. LEON I didn't follow you. NINOTCHKA Then how did you get here? LEON I always eat here. NINOTCHKA This is a place for workmen. LEON (laying it on thick) But my dear child, I am most at home among working men. I hate the places where you circulate -- the Hotel Clarence... This is my natural element. After all, what are any of us? Workingmen! At least, those of us who are worth our salt. Hyah? He waves off scene to a truckman. TRUCKMAN He is in the middle of an enormous gulp of food. He registers surprise, winks at his companion, and then, deciding to humor a drunk, waves back energetically at Leon in greeting. CUT BACK TO: CLOSE SHOT -- LEON AND NINOTCHKA Leon has been so successful with the truckman he tries it on another. LEON Hyah! Another truckman responds with equal exuberance. LONG SHOT -- RESTAURANT Leon, intoxicated with his success, waves to the whole room. LEON Hyah, fellows! He gets a wonderful response from all. They realize that a swell drunk is among them. LEON AND NINOTCHKA LEON (boastfully) They are all my friends. They're a swell bunch! PËre Mathieu enters the shot and serves a plate of soup to Leon and one to Ninotchka. LEON (trying his bluff on PËre Mathieu) Ah, my friend! I'm happy to see you again! P»RE MATHIEU I'm always glad to meet a new customer, and I hope this first visit will not be your last. He exits out of shot. Ninotchka, her suspicion confirmed, looks at Leon. LEON Just an old man. His memory is getting weak. NINOTCHKA What are you after? LEON Must one always be after something? NINOTCHKA Your tactics are useless. My name is neither Buljanoff, Iranoff, nor Kopalski. LEON Oh, Ninotchka, who wants to talk business. If you win the suit, fine. If we win the suit, better. You do me an injustice. (He moves over to her table, leaving the soup at his table) When we went to my apartment did I have the slightest idea that you had any connection with this deal? NINOTCHKA But you have now, and I know now that you are a man who employs business methods which in Russia would be punished by death. LEON Death! Death! Always so glum! What about life, Ninotchka! Do Russians never think of life? Of the moment in which we are living? The only moment we really have? Don't take it all so seriously, Ninotchka. Nothing is worth it. Please... relax... I beg you, Sergeant... smile! NINOTCHKA (astonished) What? LEON Will you smile? NINOTCHKA Why? LEON Just smile. NINOTCHKA At what? LEON At anything. At the whole ludicrous spectacle of life. At people being pompous and taking themselves seriously and exaggerating their own importance. If you can't find anything else to laugh at you can laugh at you and me. NINOTCHKA Why? LEON Because we are an odd couple. NINOTCHKA Then you should go back to your table. LEON No, I can't leave you. I won't. Not yet. Not until I've made you laugh... at least once. To get rid of him Ninotchka emits a joyless sound which approximates a laugh. NINOTCHKA Ha! Ha! Now go back. LEON That's not a laugh! I mean a laugh from the heart. Now let's see. I'm going to tell you a funny story. Just a moment... I've got it! Well, it seems there were a couple of Frenchmen who went to America... NINOTCHKA On which boat? LEON (thrown off by her methodical thinking) Well, er... let's drop it. I don't think you would care for that one. NINOTCHKA Probably not. LEON Do you like Scotch stories? NINOTCHKA I have never heard one. LEON Two Scotchmen met on the street... and I don't know the name of the street and it really doesn't matter. Well, anyway, one's name was McIntosh and the other's was McGillicuddy. McIntosh says to McGillicuddy, "Hello, Mr. McGillicuddy," and McGillicuddy says to McIntosh, "Hello, Mr. McIntosh," and then McIntosh says to McGillicuddy, "How is Mrs. McGillicuddy?" and then McGillicuddy says to McIntosh, "How is Mrs. McIntosh?"... NINOTCHKA I wish they had never met. LEON (disarmed) So do I. (after a little pause) Now, here's a great one... Ha! Ha! Ha! (he looks at Ninotchka and her expression stops him) Well, maybe it's not so good. Let's forget it! How's this? Two men are looking at the moon. One says to the other, "Is it true that a lot of people live on the moon?" "Yes, it is," says the other, "five hundred million." "Whew!" replies the first, "they must get pretty crowded when it's half moon!" Ha! Ha! Ha! There is no response from Ninotchka. LEON (starting to get sore) I suppose you don't think that's funny? NINOTCHKA No. LEON It seemed funny to me when I first heard it. Maybe the trouble isn't with the joke. Maybe it's with you! NINOTCHKA I don't think so. LEON Maybe you haven't any sense of humor. Well, I'll give you one more chance! Now listen! He gets up and speaks in a threatening voice audible to the entire room. LEON When I heard this joke for the first time I laughed myself sick. Here goes! A man comes into a restaurant and sits down and says, "Waiter! Get me a cup of coffee without cream." After five minutes the waiter comes back and says, "I'm sorry, sir, we're all out of cream, can it be without milk?" GROUP OF SEVERAL WORKMEN They have overheard the story and all burst into laughter. NINOTCHKA AND LEON Ninotchka continues to eat her soup without a shadow of a laugh. LEON (furious) Not funny, huh? NINOTCHKA No. LEON So you don't think that's funny? It is funny! Everyone else thinks so! Maybe you didn't get it. He sits down again. LEON (threateningly) I'll tell you that joke again. A man comes into a restaurant. Did you get that? NINOTCHKA Yes. LEON He sits down at the table and says to the waiter... Did you get that too? NINOTCHKA Yes. LEON Well, so far it isn't funny, but wait. He says to the waiter, "Waiter! Bring me a cup of coffee." So the waiter comes back five minutes later and says, "I'm sorry, sir, we have no coffee."... (he realizes he has made a mistake) Wait a minute... wait a minute... I'm all mixed up... (he starts over again) A man comes in a restaurant, he sits down, he calls the waiter and he says, "Waiter! Get me a cup of coffee without cream," and five minutes later the waiter comes back and says, "I'm sorry, sir, we have no cream, can it be a glass of milk!" He gets up and goes over to his table furiously. LEON Ah! You have no sense of humor! That settles it! You have no sense of humor! None! No humor!! In his excitement he leans on the shaky table. It topples forward. Simultaneously his feet shoot from under him and he sits violently on the floor, the contents of the table crashing about him, hot soup in his face. A terrific roar of laughter arises; the whole restaurant is rocking with laughter. For a split second Ninotchka makes an effort to control the irresistible impulse to laugh but loses the battle and herself roars with laughter. LEON (indignantly) What's funny about this? Ninotchka's laughter is uncontrollable. After a moment Leon gets up and sits next to her. As he dries himself with his napkin he sees the humor of the situation and starts to howl with laughter too. The ice is broken at last! On their mutual wild hilarity, we FADE OUT: LIVING ROOM -- ROYAL SUITE FADE IN: A conference is in session -- Ninotchka, her two Lawyers, and the Three Russians. Ninotchka sits at the desk, leaning back in the chair, looking into space, and apparently weighing every point which is brought up. One of the lawyers is reading from a document. LAWYER (reading) In addition to the arguments above enumerated for lifting this injunction, we wish to cite the decision of the High Court of Paris, rendered in the case of Princess Marishka against the Government of Montenegro on the fifth day of August, 1897. Comparing the facts in that case with our present set of facts we feel that the Treaty between the Republic of France and the U.S.S.R. should prevail over all... Suddenly Ninotchka laughs. Everyone looks at her astonished. Ninotchka gets up. NINOTCHKA I'm sorry, gentlemen. The other day I heard such a funny story... (she laughs again) It still makes me laugh. It is very funny. (a little embarrassed) I am sorry. Oh yes... about this injunction... LAWYER (very businesslike) The hearing is set for the twentieth of this month. NINOTCHKA (not thinking of the injunction) That's two weeks from Thursday... LAWYER We did our utmost to have it set ahead. NINOTCHKA (her attitude completely different from her former business conferences) I know, gentlemen, but it is in the hands of the Court. We're helpless, aren't we? LAWYER Yes. It is unfortunate. NINOTCHKA Well, there's nothing we can do about it. Why get excited? The Three Russians as well as the Lawyers are puzzled. The Russians exchange hopeful glances. LAWYER We'll leave these papers here for your further consideration. Au revoir, madame. NINOTCHKA Au revoir. The Lawyers leave. Left alone with the Russians, Ninotchka is unable to conceal her happiness entirely. NINOTCHKA Well, it means another two weeks in Paris. IRANOFF (with exaggerated efficiency) Too bad we have to waste all that time. KOPALSKI I acted on your suggestion and got in touch with the Power and Light authorities. Whenever you want to visit their plants they are open to you. NINOTCHKA (a little bit dreamily) Oh yes, Power and Light. Thank you. BULJANOFF There's something else which I know will appeal to you. A visit to the Paris sewers. They tell me it is extremely instructive. NINOTCHKA Huh?... Why don't you get a haircut, Buljanoff? You all look so wintry, Comrades. And why do we always keep the windows closed? (she opens the window) Isn't it amazing, at home there's still snow and ice and here... Look at the birds. I always felt a little hurt that our swallows deserted us in the winter for capitalistic countries. Now I know why. We have the high ideal but they have the climate... well, Comrades, I don't think I need you any more. KOPALSKI If there is anything we can do for you... NINOTCHKA No, not a thing. Would you like to go out? ALL THREE RUSSIANS Thank you, Comrade. NINOTCHKA Have you any money? The Russians stammer a negative answer. Smiling benevolently, Ninotchka goes to the table, takes several bills from her handbag, and goes back, extending a fifty-franc bill to Kopalski. NINOTCHKA Well, here are fifty francs. ALL THREE RUSSIANS (overwhelmed) Thank you, Comrade, thank you. NINOTCHKA Bring me forty-five back. ALL THREE RUSSIANS (terribly disappointed) Naturally, Comrade. The Three Russians leave. Ninotchka waits a moment. Then hurries to the door and turns the key. Camera follows her as she goes into the bedroom. She proceeds to the door leading to the corridor and turns its key. She goes to the table and takes a little key from her handbag, goes to the bureau and unlocks the drawer, opens it, and, just as she is about to take out something, her eye falls on the night table, where she sees the picture of Lenin which she brought with her from Moscow. She walks over to it and turns its face against the wall, then goes back to the bureau and takes from the drawer the very hat which twice aroused her disapproval when it was displayed in the millinery shop in the lobby. She moves over to the large mirror, puts the hat on her head, is uncertain whether it is right side to fore, and changes it. She looks at herself, aghast at seeing a complete stranger. She sits down, still staring in the mirror, then leans forward and rests her chin on her hand. As she sits studying the new Ninotchka suspiciously, we LIVING ROOM -- LEON'S APARTMENT DISSOLVE TO: It is evening. Leon is walking nervously up and down. Gaston is puttering over the drink table. LEON (consulting his watch) What time have you, Gaston? GASTON Eight forty-two, sir. LEON I guess it is eight forty-two. GASTON You seem to be a bit nervous, sir. LEON I am, Gaston. GASTON If you will forgive me, ever since you met that Bolshevik lady I've noticed a distinct change in you, sir. LEON (complacently) Have you? GASTON Decidedly. Yesterday I was greatly amazed when I came from the market and found that you had made your bed, sir. LEON And Gaston, I was happier all day long. I felt I'd contributed something. GASTON Well, sir, if you should do it again, which I hope you won't, please remember the order. Counterpane, blanket, blanket, sheet, sheet. LEON Ah, there's something poetic about the simple processes of labor. Counterpane, blanket, blanket, sheet, sheet... it should be set to music! GASTON May I add, sir, that it was with great amazement that I found a copy of Karl Marx's Capital on your night table. That is a socialistic volume which I refuse to so much as dust, sir. I view with alarm, sir, the influence over you of this Bolshevik lady. LEON I can't follow you, Gaston, isn't it about time that you realized the unfairness of your position? You being my servant? Wouldn't you like to stand on an equal footing with me? GASTON No, sir. LEON Isn't there any revolt in you? Sometimes when I order you around don't you feel like kicking me in the pants? GASTON (emphatically) No, sir. LEON Oh, you're a reactionary! Don't you look forward to the day when you can come in here and stand square on your two feet and say, "Hey, you, d'Algout! from now on it's going to be share and share alike"? GASTON (outraged) Emphatically not, sir. The prospect terrifies me. Now, don't misunderstand me, sir, I don't resent your not paying me for the past two months, but the thought that I should split my bank account with you... that you should take half of my life's savings... that is really too much for me. The door bell rings. Gaston starts for the door. With a gesture Leon stops him. LEON Go to bed, little father, go to bed. Gaston leaves through the other door as Leon exits toward the entrance hall. ENTRANCE HALL -- LEON'S APARTMENT Leon enters the scene. He opens the door. Outside stands Ninotchka wearing her new hat timidly as well as a completely new outfit which she has bought, apparently to match the new hat. It takes Leon a few seconds to digest her new splendor. He takes her hand and leads her in, closing the door. He looks at her again and kisses her hand. NINOTCHKA I don't look too foolish? LEON Foolish? If this dress were to walk down the boulevard all by itself I would follow it from one end of Paris to the other, and when I caught up with it I would say, "Just a moment, you charming little dress, I want you to meet Ninotchka... you two were meant for each other." Ninotchka feels more comfortable. Leon leads her into the living room. LIVING ROOM -- LEON'S APARTMENT They both enter. Ninotchka pauses a second and looks around. LEON You remember this room? NINOTCHKA I've never been here before. I wonder whom you're thinking of. Oh, I know, a girl with a map, figuring out each step, worrying about north and south. Today... now this might shock you... I went up to a taxi and said "Eight Rue du Bois"... and here I am. LEON You see? Life can be so simple. NINOTCHKA For twelve francs, seventy-five. LEON Twelve seventy-five from the Clarence? The son-of-a-gun made a detour!... (charmingly) But he got you here. At this moment the clock starts to strike. They both look toward it. INSERT -- CLOCK The hands register nine o'clock. LEON AND NINOTCHKA Leon wants to take her in his arms. She resists a little. NINOTCHKA (reprimanding him) It's nine o'clock. LEON That's when one half of Paris says to the other half, "What are your plans for this evening, madame?" NINOTCHKA (getting more and more in the spirit of her change of appearance) Well, first I should like to take off my hat and jacket. (Leon takes them) Then could we have some music? LEON A wonderful idea! Radio or records? NINOTCHKA Not radio. Let's have music that's just for ourselves. Leon turns on the victrola. LEON (with great feeling and sincerity) I'll play it softly because I have things to tell you about which I can't shout. He walks back to Ninotchka, who by now is seated in an armchair. He sits on the arm of the chair. He tries to make a declaration of his love. He stammers several words. LEON Well, my darling... I... we... It is no use. In a sudden outburst of emotion he takes her in his arms and kisses her. LEON (as they come out of the kiss) You see I couldn't shout that. NINOTCHKA (with great feeling) Leon, you know the jokes you told me a few days ago? I wake up in the middle of the night and laugh at them. Now, Leon that's wrong. I know they're not funny, they're silly. They're stupid. And still... I laugh... and when I look at Buljanoff and Iranoff and Kopalski I know they are scoundrels and I should hate them -- then I realize who made them like that, and instead of sending my report to Moscow I tear it up and go down and buy a ridiculous hat... and if this keeps on... am I too talkative? LEON (radiantly) No... go on. NINOTCHKA Leon, I want to tell you something which I thought I never would say, which I thought nobody ever should say, because I thought it didn't exist... and, Leon... I can't say it... They kiss again. As the kiss ends they look at each other for a second. Ninotchka gets up and goes toward the desk, sits in the desk chair, opens her handbag, which lies there, and takes from it a little mirror and a lipstick. Before she uses it she looks at Leon with guilty happiness. Leon looks at her with great tenderness and walks over to the desk and stands looking at her as she makes up her lips. LEON What a gesture for a sergeant. As soon as she is finished, Ninotchka slips the mirror and lipstick back into her handbag and, as she does so, glances at the top of the desk. NINOTCHKA Leon, I would like to ask you something. LEON Anything, Ninotchka. NINOTCHKA If you don't want to answer, you needn't. But if you do, you must tell me the truth. LEON I promise... I swear. NINOTCHKA (seriously) Did you make any change in this room? LEON I don't think so. NINOTCHKA When I was here before I noticed a photograph of a woman on the desk in a wide silver frame. I thought what a waste of silver. That's all that interested me then. Now I would like to know... what happened to the woman? Leon too is completely serious by now. For answer he quietly opens the drawer of the desk. Ninotchka looks in and takes from the drawer the photograph. As she looks at it she rises. NINOTCHKA The Duchess. Leon nods gravely. NINOTCHKA (looking at the picture) She is very attractive. She has great elegance. (she looks back at Leon) She's what you call a woman of the world, isn't she? LEON (after a little pause) Ninotchka, I love you. NINOTCHKA I suppose she is very entertaining... It must be lots of fun to be with her, so witty, so glamorous... LEON Ninotchka, you're jealous. Ninotchka nods sadly. NINOTCHKA (with great feeling) Leon, don't ever ask me for a picture of myself... I couldn't bear the thought of being shut up in a drawer... I couldn't breathe, I couldn't stand it. LEON My darling. As he takes her in his arms, we FADE OUT: INTERIOR, SMART NIGHT CLUB FADE IN: Duchess Swana enters with a party consisting of General Savitzky and five other smartly dressed people of the world. The Headwaiter hurries to greet Swana. HEADWAITER Good evening, Your Highness. SWANA Good evening, Louis. You seem to be very crowded tonight. Can you manage a table near the floor? HEADWAITER Certainly, Your Highness, this way please... Count d'Algout made the reservation this afternoon. SWANA (puzzled) Count d'Algout... HEADWAITER It is only a small table but it will be no trouble to put in some extra chairs. Swana has grasped the situation by now. SWANA No, that's another party. In order to save the situation one of the ladies makes a suggestion. LADY Why don't we go some other place? It's so crowded here. SWANA (delighted at her luck) No, no! This is glory! At last I'm going to have a look at that female Bolshevik. Can you give us another table? HEADWAITER Only one in the rear, I'm afraid. SWANA That's perfect! Camera moves with the group as the Headwaiter leads it toward a table. ANOTHER WOMAN GUEST You mean Leon's bringing the Bolshevik you told us about? SWANA Isn't it divine? ANOTHER GUEST I wouldn't have missed this for the world. SWANA (very gay, in anticipation of a triumph) Now, we must be very discreet. If she sucks her soup and drinks out of her finger bowl, I don't want anyone to laugh. (everybody in the party giggles) We must not embarrass little Leon. He is going through enough for my sake. We mustn't add insult to injury By now they have reached the table in the rear. HEADWAITER Is this satisfactory? SWANA Thank you, Louis. They sit down. The Headwaiter bends over General Savitzky, an elderly Russian aristocrat, who sits next to Swana. HEADWAITER Is it to be dinner, monsieur? GENERAL SAVITZKY Possibly later. We'll just start with champagne. SWANA (to the party) I'm only afraid that the doorman may spoil our fun. If only he lets her in! Swana laughs and everyone joins in her laughter. GENERAL SAVITZKY Your Highness... SWANA Yes, General Savitzky? GENERAL SAVITZKY I want you to know all the White Russian exiles in Paris are keeping their fingers crossed about the jewels. They are very interested in the case. Swana suspects her countrymen. SWANA Are they indeed? Thank you. GENERAL SAVITZKY They hope the settlement will bring you a fortune. SWANA General, please... if you hear any rumors that I am a charitable person, will you please kill them at their source? As she is lighting a cigarette a guest suddenly looks toward the entrance and sees Leon. GUEST Look! There's Leon! Joyfully Swana looks toward the entrance, as does everyone else at the table. EVERYONE AT THE TABLE Oh yes! Where? There! Oh! How exciting! CLOSE SHOT -- LEON AT THE ENTRANCE Suddenly, through the door of the cloakroom comes Ninotchka, radiant in a beautiful evening gown. SWANA'S TABLE Swana's expression freezes as she sees Ninotchka. The rest of the guests stare in an embarrassed silence, save for one bird-brained little guest, named Marianne, who feels it her mission to save the situation. MARIANNE Isn't she something? A neighbor nudges her warningly. Swana withers her with a glance and rises. SWANA Shall we dance, General Savitzky? Swana and the General leave for the dance floor. The guest who has nudged her turns to Marianne. GUEST Are you crazy? ANOTHER GUEST How could you make such a remark? THIRD GUEST Swana isn't stupid. MARIANNE What did I say? I just said "isn't she something?" I didn't say something what. CLOSE SHOT -- LEON'S TABLE Leon and Ninotchka are seated and a Waiter stands by them presenting a bottle of champagne to Leon for his approval. LEON (to Waiter) Is it dry? WAITER Yes, monsieur. LEON (to Ninotchka) Is that right or do you prefer it sweet? NINOTCHKA I wouldn't know. The closest I ever came to champagne was in a newsreel. The wife of some president was throwing it at a battleship. LEON It's always good luck to launch something with champagne; a battleship... or an evening. By now the Waiter is filling their glasses. Ninotchka lifts her glass and looks at it. NINOTCHKA It's funny to look back. I was brought up on goat's milk, I had a ration of vodka in the army, and now champagne. LEON (gaily) From goats to grapes. That's drinking in the right direction. Ninotchka takes her first sip of champagne. Leon drinks and watches her. The first sip proves a painful surprise. Ninotchka's face is that of a child who has been fed a bad medicine. NINOTCHKA Ugh... um... oh... (slowly the delight of champagne dawns on her and her face breaks into a smile) It's good. She drinks the whole glass at once. Leon looks at her in amused surprise. He drinks too. The Waiter fills their glasses again. NINOTCHKA From what I read I thought champagne was a strong drink. It's very delicate. Do people ever get drunk on this? LEON There have been cases... but the headache the next morning is worth while -- if you drink it with the right toast. (he raises his glass again fondly) To us, Ninotchka! They clink glasses and drink again, looking at each other. LONG SHOT OF THE TABLE, including part of the dance floor. As Leon and Ninotchka lift their glasses again, Swana and General Savitzky start to dance by the table. Swana stops, pretending complete astonishment. SWANA Hello, Leon! What a surprise! You of all people! How are you, my dear? Leon gets up. Ninotchka watches the scene tensely. LEON (embarrassed) Hello, Swana. How do you do, General Savitzky? GENERAL SAVITZKY How do you do? SWANA (to Leon) You're looking magnificent, Leon... (to General Savitzky) ...isn't he, General Savitzky? GENERAL SAVITZKY Yes. Leon knows that Swana wants to embarrass him but is embarrassed nevertheless. LEON Thank you. SWANA Is this your new dress suit? LEON Yes, Swana. SWANA Didn't I tell you Benson and Benson were the tailors for you? LEON (patiently) Yes, Swana, you did. SWANA It's a dream of beauty. He never takes my word for anything, but I was right, wasn't I? LEON Yes, Swana. SWANA (forcing an introduction) Am I interrupting? LEON Not at all. Your Highness, may I present Madame Yakushova? SWANA How do you do? NINOTCHKA How do you do? LEON And General Savitzky. GENERAL SAVITZKY How do you do? NINOTCHKA How do you do? SWANA I've some wonderful news for you, Leon. It's about Punchy... do you mind if I sit down? LEON (realizing that he cannot prevent it) No... please... Swana sits down. SWANA (to General Savitzky) General, would you mind making my excuses at our table? I'll be back in a few moments. GENERAL SAVITZKY Certainly. He bows and leaves. CLOSE SHOT -- ALL THREE SITTING AT THE TABLE SWANA Well, Leon, we can be proud of our Punchy. He had a triumph at the dog show. During the following speech, Ninotchka's expression does not change. She knows exactly the game Swana is playing. SWANA (continuing) He won another blue ribbon and bit the judge. Ha! ha! ha! I bought him the cutest sweater as a reward. You should see him strut down the street in it. He looks like a little boulevardier. (to Ninotchka) You see, Count d'Algout gave me Punchy for my birthday. (to Leon) You must have searched weeks before you found anything as divine as Punchy, didn't you, Leon? LEON (fed up with Swana's tactics) Months, Swana. SWANA (to Ninotchka) Poor Madame Yakushova... here we are talking in mysteries.... I'm sure you wonder what it's all about. NINOTCHKA (dry and direct) Not at all.... I understand perfectly, Count d'Algout gave you a dog. You made it very clear, madame. SWANA Dear me... I must be losing my finesse. If I'm not careful I'll be understood by everybody. LEON (acutely uncomfortable) There's a charming crowd here tonight, isn't there? SWANA I'm going, Leon... (she rises, as does Leon, delighted to get rid of her) but before I leave I must compliment you on your gown, Madame Yakushova. Is that what they're wearing in Moscow this year? NINOTCHKA No, last year, madame. Swana sits again, as does Leon. SWANA Isn't it amazing! One gets a wrong impression of the new Russia. (cynically) It must be charming. I'm glad conditions are so improved. I assume this is what the factory workers wear at their dances? NINOTCHKA Exactly. You see, it would have been embarrassing for people of my sort to wear low-cut gowns in the old Russia. The lashes of the Cossacks across our backs were not very becoming, and you know how vain women are. SWANA You're absolutely right about the Cossacks. We made an unpardonable mistake when we let them use their knouts. They had such reliable guns. Leon has grown more and more uncomfortable as the two ladies fence. LEON Will you do me a favor? Stop talking about the good old days. SWANA A very wise suggestion, Leon. I'm afraid madame and I will never agree. (she plays her trump card) The only thing we have in common is our lawsuit and that will be decided next week. I understand everything will be over by Thursday. Am I right? Ninotchka and Leon realize the malice and yet the truth of her words. NINOTCHKA You're right, madame, it will all be over by Thursday. SWANA (rubbing it in) It is unfortunate that you have so few more days in Paris. (she turns to Leon) Be sure and redouble your efforts so that madame can take some pleasant memories when she returns to Moscow. (she rises, Leon rising too) Good night. (Ninotchka nods without answering. To Leon) Good night, Leon. LEON (coldly) Good night, Swana. Swana leaves the table. Leon sits again. The mood of the two has been changed by the problem of their separation, which has been brought before them. They sit in silence for a moment. Ninotchka speaks first. NINOTCHKA Now I think I need a glass of champagne. Leon fills their glasses. They drink. Then Leon takes Ninotchka's hand. NINOTCHKA (trying to break the mood) Quickly, please... tell me one of your funny stories. LEON A funny story? NINOTCHKA You never finished the one about the two Scotchmen with the names. LEON Well, there were two Scotchmen. One was named McIntosh and one was named McGillicuddy. They met on the street. He stops. NINOTCHKA Go on. LEON No, darling. I'll tell you another story, a much better one. (with deep sincerity) The only thing that will be over on Thursday is the lawsuit. There will be no Thursday for us. Not next week or any week. We won't let it happen. I'll tear it out of the calendar. Is that a good story? NINOTCHKA (touched) Wonderful -- if one could believe it. LEON You must, darling. NINOTCHKA (lifting her glass) To the loveliest story I ever heard. They drink. The orchestra starts a number. NINOTCHKA (afraid of where the conversation may lead) Shall we dance? They both start toward the dance floor. CLOSE SHOT -- LEON AND NINOTCHKA, DANCING A WALTZ At the second turn Ninotchka starts to feel the effect of the champagne. NINOTCHKA (tipsily) Oo! Darling! Something is the matter. LEON You just made that trip from goats to grapes a little too fast. NINOTCHKA Oh, everything is so wonderful! It's getting farther and farther away! LEON What, darling? NINOTCHKA Thursday. LEON Yes. Don't worry. Everything will be all right. In the gayest mood, Ninotchka addresses the crowd on the dance floor. NINOTCHKA Comrades! Comrades! LEON (embarrassed) Darling, darling... please! NINOTCHKA I must talk to my brothers! LEON Shhh! Shhh! NINOTCHKA Don't shush me. I am People! I want to make a speech. I want to overthrow the Duchess! Leon starts to lead her off the dance floor. LEON But, darling, you can't do that. NINOTCHKA Comrades! Good people of France! LEON Now, Ninotchka... please! NINOTCHKA They are all Duchesses here... thousands of Duchesses... and I am going to tell them. By now they have almost reached the powder room. LEON Quite right... yes, yes, yes, but first you're going in that door and you're going to take a little spirits of ammonia and lie down. NINOTCHKA (sweetly) No speech? LEON (as though he were addressing a little child) No speech. NINOTCHKA I love you, my little Leonitchka! LEON And I adore you, Ninotchua. Ninotchka goes unsteadily into the powder room. Leon wipes his forehead in relief and goes to the bar, followed by the CAMERA. LEON (to the bartender) Give me a double brandy. CLOSE SHOT -- DOOR OF THE POWDER ROOM A group of four to six women come out whispering excitedly about something which must have happened within. CAMERA goes with them as they go to the Manager of the restaurant and crowd about him and whisper what has happened. CLOSE SHOT -- BAR The bartender gives Leon his double brandy and Leon tosses it off. The Manager comes into the shot and addresses Leon. MANAGER (very excitedly) I'm very sorry, Count d'Algout, it is most embarrassing, but the lady you brought with you tonight is spreading communistic propaganda in the powder room. Leon stares at him for a second, then turns to the bartender. LEON Give me another double brandy. MANAGER That kind of propaganda is bad anywhere, but inciting the attendants of a powder room to go on strike.... Well, if she succeeds the consequences will be disastrous. LEON What can I do about it? MANAGER She has been asked to leave the powder room but without success. We would appreciate if you would see to it yourself. LEON (horrified) You want me to go in there? MANAGER I'm sorry, sir, but I must insist. The Manager bows and walks away. Leon gulps down the second double brandy. The CAMERA follows him as he proceeds toward the powder room like a hero going into battle. Just as he is about to enter, a very dignified elderly lady comes out, is surprised at his attempted entrance, and glares at him. Leon loses his courage and FOLLOWED BY THE CAMERA goes back to the bar to strengthen it with some of the Dutch variety. LEON (completely exhausted -- to the bartender) Make it a triple brandy. As we DISSOLVE TO: LIVING ROOM -- THE ROYAL SUITE Rakonin, the waiter, opens the door. Ninotchka and Leon, both very tipsy by now, enter the room. Leon is carrying a bottle of champagne in a napkin. As he passes the waiter he speaks: LEON (to Rakonin) All right... you can tell the Duchess... you can tell everybody... they know anyhow... it doesn't make any difference... now get out! Rakonin, who seems very interested in the situation, closes the door. Leon goes to Ninotchka. Both sit on a couch. NINOTCHKA (moving close to him) Don't tell them where we're going, sweetheart. LEON No. Nobody will find us. Ninotchka is lyrically tight. Through her there shines a great happiness. NINOTCHKA Are we going to build our little house? LEON Yes... a little white house. NINOTCHKA Not white, darling. LEON All right, we'll make it red. NINOTCHKA No, don't let's have it any color... no color... just a house house... let's form our own party. LEON Right: Lovers of the world unite! NINOTCHKA (delighted) And we won't stretch up our arms... LEON No! No! NINOTCHKA ...and we won't clench our fist... LEON No! No! NINOTCHKA (tenderly) Our salute will be a kiss. LEON Yes... a kiss... salute! She sinks into his arms and they kiss. NINOTCHKA (still in his arms) I am so happy. No one can be so happy without being punished. I will be punished and I should be punished. (she gets up) I want to confess, darling. LEON I know... it's the Russian soul. NINOTCHKA (her gaiety mixed with sadness) Everyone wants to confess and if they don't confess they make them confess. I am a traitor. When I kissed you I betrayed the Russian ideal. Leon, I should be stood up against the wall. Leon gets up. LEON (sympathetically) Would that make you any happier? NINOTCHKA Much happier. LEON All right. Still carrying the champagne bottle, Leon leads her to the end of the room and stands her against the wall. He takes the napkin from the champagne bottle and puts it over her eyes. The CAMERA moves with him as he goes away from Ninotchka, and as he walks he starts to open the champagne. The cork pops. CLOSE SHOT -- NINOTCHKA, as she sinks gently into a chair. NINOTCHKA (happily) I have paid the penalty. Now let's have some music. CLOSE SHOT -- NINOTCHKA AND LEON LEON Let's turn on the radio. NINOTCHKA Radio! What is radio? LEON It's a little box that you buy on the installment plan and before you tune it in they tell you they have a new model. NINOTCHKA (getting up) Oh yes, yes. It has a little knob that turns... a little knob... it must be somewhere around here... yes... here... I see... Confusedly Ninotchka starts looking for something, repeating, "a little knob... a little knob." Followed by Leon she goes toward the safe, opens the concealing door, and both are delighted as they see the safe's dial. NINOTCHKA (triumphantly) Here it is! Leon nods approval and starts to turn the dial. LEON What shall we get? The news! NINOTCHKA No, no news. We don't want to know what's happening in the world. We want to be left alone, don't we? LEON Yes, sweetheart... all by ourselves. NINOTCHKA (remembering vaguely) Well, then we turn twice to the right and stop at seven... Leon follows her instructions. NINOTCHKA (after a little pause, sadly) It's dead. LEON Well, it has to warm up... you have to give it a chance... just like people... like you and me... first you wanted to fight me and now we belong to the same party... salute! He takes her in his arms and again they embrace. NINOTCHKA (as though she were in heaven) Now twice to the left and stop at seventeen. Leon again follows her instructions. INTERIOR -- SAFE, shooting toward the door. Leon opens the door and both look into the safe. NINOTCHKA (disappointed) No music. LEON (also disappointed) No, no music. Through her fog, Ninotchka becomes aware of the case containing the jewels. NINOTCHKA (bitterly) There it is... Thursday... you can't rip it out of the week.... LEON (helpfully) But I can throw it out of the window. NINOTCHKA (philosophically) It wouldn't be fair to the man in the street. (she pushes back the lid) There they are... they are terrible things, those jewels.... LEON ...but big. NINOTCHKA ...they are the tears of Old Russia... see that stone? LEON Who cried that one? NINOTCHKA Czar Peter gave it to his wife, Catherine the Great. For it he sold ten thousand serfs in the market. LEON Now, darling, don't get impatient, wait until we are married. You know that worthless butler of mine... that reactionary? Some day when I come home to you I may say, "Darling, I drove Gaston to the market and look what I got from him!" From the case of jewels he takes a beautiful diadem and holds it in front of her. NINOTCHKA (the economist now) First ten thousand serfs... now just Gaston. It is very encouraging. Leon takes her by the hand and leads her from the safe. LEON Come, sweetheart. Let me put it on you. You will teach these jewels. For the first time they will learn how they can look. NINOTCHKA They belong to the people. LEON (in a ceremonial voice) I give them back to the people... (as formal and steady as possible under the conditions he puts the diadem on her head) I make you Ninotchka the Great... Duchess of the People!... Grand Duchess of the People! Ninotchka falls in with the spirit of this imaginary coronation. NINOTCHKA Is this the wish of the masses? LEON It is their wish. NINOTCHKA Thank you, Leon... thank you, masses. (in a low voice) Can I make a speech now? LEON Please. Ninotchka turns to an imaginary assemblage. NINOTCHKA Comrades! People of the world! The revolution is on the march... I know... wars will wash over us... bombs will fall... all civilization will crumble... but not yet, please... wait, wait... what's the hurry? (mixing reality with fantasy) Let us be happy... give us our moment.... (turning to Leon) We are happy, aren't we, Leon? LEON (fondly) Yes, sweetheart. (he holds her in his arms) NINOTCHKA (her voice getting dimmer and dimmer) So happy and so tired. She falls asleep in his arms. Leon gathers her up and carries her into the bedroom, the diadem still on her head. BEDROOM -- THE ROYAL SUITE Leon carries Ninotchka to the bed, puts her down on it. She is now sleeping soundly. He kisses her once more and then turns, the CAMERA PANNING with him, and starts toward the door to the corridor and exits. As he closes the door with an uncertain hand, it slams. CLOSE SHOT -- NINOTCHKA, as she lies on the bed On the night table beside her is a photograph of the stern- faced Lenin. The crash of the slamming door awakens Ninotchka for a moment. Completely content and happy, she turns around and sees the disapproving face of the photograph. NINOTCHKA (charmingly) Smile, little father, smile. INSERT OF PHOTOGRAPH OF LENIN The photograph of Lenin starts to smile in approval, as we... FADE OUT: AN ESTABLISHING SHOT OF PARIS -- DAY FADE IN ON: IN THE FOREGROUND a clock shows that it is a quarter to twelve. DISSOLVE TO: LONG SHOT -- LIVING ROOM OF THE ROYAL SUITE It is taken from an ANGLE which includes the door. The lights are still on, the curtains drawn, the empty champagne bottle and glasses litter the room. We hear the buzzer of the corridor door ring several times without an answer. CAMERA moves through the door into the bedroom, never disclosing the bed. The lights in the bedroom are still lighted also and the curtains drawn. CAMERA stops on the door from the bedroom to the corridor. The buzzer rings. Apparently the caller has moved from the living-room door to the bedroom door. CLOSE SHOT OF THE BED Ninotchka is lying on the bed, still in her evening dress. The diadem is no longer on her head, but no special emphasis is laid on that detail in the camera angle. We hear the sound of the buzzer ringing again and again. Ninotchka half wakens and calls out something which sounds like "come in" without being fully aware of what she is doing. BEDROOM -- AT THE DOOR The door is opened from the outside by a maid, who lets in the Duchess Swana, dressed in a smart morning outfit. Swana looks around, surprised and amused at the state of the room. She walks over to the bed where lies Ninotchka, still not enough awake to face reality. Swana is delighted to have surprised Ninotchka in this condition. SWANA (ironically) Good morning. NINOTCHKA (awakening gradually) What? SWANA It is tomorrow morning... tomorrow noon, to be exact. I hope you will forgive me. I know it's extremely cruel to waken anyone at such an hour. Don't you recognize me? I am the Duchess Swana. By now Ninotchka is awake. She gets up and realizes to her acute embarrassment the condition in which Swana has found her. SWANA I know how you feel, my dear. The morning after always does look grim if you happen to be wearing last night's dress. Don't be embarrassed by my presence, though. You couldn't have found anybody more sympathetic to your condition. I remember once in Petrograd when I felt exactly as you do. I had to bow from a balcony to the crowd. My dear, the masses have no understanding of the feelings of a lady before noon. Don't you find that true? During Swana's speech Ninotchka has found herself completely. NINOTCHKA I think we can cut your visit short. Leon is not here. SWANA Of course not, my dear! I didn't come here with any such suspicion. How ridiculous! (with a glance toward the living room) Nor did I come here to pick up his hat. CLOSE SHOT -- LEON'S HAT, shot through the bedroom door into the living room where it lies on the table. LONG SHOT -- LIVING ROOM -- TOWARD BEDROOM DOOR By the bed stand Ninotchka and Swana. Swana starts toward the living room, Ninotchka following her. SWANA (as she reaches the threshold) How stale last night's gaiety looks! It has the taste of a dead cigarette. NINOTCHKA If you were encouraged to come here by our meeting last night I am afraid you misunderstood my attitude. SWANA Don't worry, you were quite rude enough. (during the following speech, she draws the curtains and opens the windows) Do you mind if I let in a little fresh air and sunshine? I'm sure it will make you feel better and I want you to be at your very best. In full possession of your faculties, at least. NINOTCHKA (regaining her usual firmness) Please come to the point. What is it you want? SWANA I just dropped in to have a little heart-to-heart talk with you. NINOTCHKA We have nothing to discuss. SWANA Now there you are completely wrong. If we sit down for a little chat, I'm sure we won't run out of conversation and what's more it won't be dull. NINOTCHKA Madame, what is it you people always say, regardless of what you mean... "I am delighted to have you here"? I have not reached that stage of civilization. SWANA That's all right... I grow on people. NINOTCHKA I must ask you to leave. SWANA Leave? That's exactly what I came here to ask you to do. Leave! I don't mean this hotel and I don't mean Paris... I mean France. There's a plane for Moscow at five-forty. NINOTCHKA (puzzled) Madame, if you... SWANA Don't worry. I have already made reservations. It's perfect flying weather. They assure me there's a fine tail wind which will sweep you back to Moscow in no time. NINOTCHKA (still not understanding) If this is meant to be a joke it is not funny. Or do you still think you're issuing orders from your palace in Petrograd? Ninotchka's words for the first time sting Swana out of her apparently superficial attitude. SWANA (bitterly) My palace in Petrograd... yes, you took that away from me. You took away my czar, my country, my people, everything I had... (with emphasis) but nothing more -- I warn you. NINOTCHKA (simply) People cannot be taken away, madame, neither a hundred and sixty million nor one. Not if you have their love. You hadn't. That's why you're not in Russia any longer, and that's why you came here this morning. SWANA Very interesting, my dear, but couldn't you write all that from Moscow? A dissertation on love on Soviet stationery -- would be an amusing paradox. NINOTCHKA It is not enough to be witty, madame. People grow tired of being entertained. You made that mistake before. Problems were never solved by bowing from a balcony. SWANA My dear, you don't know how impressive I could be. Did you ever see me in my regalia with my diadem and all my jewels? The word diadem startles Ninotchka. She starts to remember the night before, and she looks toward the safe. INSERT OF THE DOOR OF THE SAFE, which is closed by now. CLOSE SHOT -- NINOTCHKA AND SWANA Ninotchka stares in the direction of the safe as Swana chatters on. SWANA You can't deny we gave the people their money's worth -- almost -- eight tumbling Romanoffs -- eight! NINOTCHKA (desperately) I must insist that you leave. SWANA Not before you agree to use those reservations to Moscow. NINOTCHKA In that case I can only say good-by. Abruptly she walks toward the bedroom. TRAVELING SHOT OF NINOTCHKA She enters the small room connecting the living room and bedroom and closes the door to the living room. She walks into the bedroom toward the bed and glances at it. The diadem is not there. After going back into the anteroom, she opens the outer door of the safe and pulls on the inner door. It has not been properly closed and opens at once. The safe is empty. Ninotchka stands staring in frozen horror for a moment, then rushes to the telephone by the bed. NINOTCHKA (into the telephone) …lysÈe 2763. LONG SHOT -- NINOTCHKA AT THE TELEPHONE, waiting for her connection In the background the door to the living room is opened by Swana. SWANA (standing in the door) I wouldn't waken Leon. After last night I would say not before three o'clock at the earliest. NINOTCHKA I told you to go, madame. SWANA Believe me, Leon can't help you. He doesn't know anything about the jewels... I give you my word... I swear it. Ninotchka hangs up the receiver and stares at Swana. She walks toward her. LIVING ROOM, SHOOTING INTO THE BEDROOM. In the foreground Swana, in the background Ninotchka, who is hurrying toward her. NINOTCHKA Where are they? SWANA You were very careless with our precious jewels, my dear. They're too expensive a toy for two children to play with. NINOTCHKA Where are they? SWANA Don't worry. Fortunately last night a very trustworthy friend kept his eyes open. Perhaps he overstepped his function as a waiter but he fulfilled his duty as a Russian. (she draws back the fur scarf she is wearing, revealing a diamond star, one of the jewels we have seen) I just put this on for sentiment. The rest are absolutely safe. I assure you. But if you feel like notifying the police... NINOTCHKA You leave me no choice. SWANA Won't it be rather embarrassing for a Soviet Envoy to disclose the circumstances under which she lost them? NINOTCHKA I will have to face the consequences, but so will you. Don't forget they will ask how you got them. SWANA That's very simple to answer. They were given to me by my mother. They were given to her by her mother, in fact they're mine, you cannot steal what belongs to you! She proceeds into the living room, followed by Ninotchka. NINOTCHKA They always belonged to the Russian people. They were paid for with their sweat, their blood, their lives and you will give them back! SWANA (triumphantly) I told you we had plenty to talk about. Shall we sit down? They both sit. SWANA (very matter-of-fact) Now, let's free ourselves from emotionalism and try to solve the problem in a practical way. Our situation has changed considerably. Before I had only a claim to the jewels. Now I have the jewels. NINOTCHKA In other words moral ideas have no weight with you... all right, then let's deal with legal facts. You know that France has recognized the Soviet. SWANA Unfortunately. NINOTCHKA Under Soviet law the jewels belong to the State. France is going to uphold that ownership. SWANA My lawyer agrees with you. He says France will uphold it in every court, but I will drag you through every court, don't forget that. And when I say it will take two years I am, as always, conservative. NINOTCHKA Won't those two years in court be expensive for you? I know that money was no object as long as you could squeeze it from the pockets of the people, but now... SWANA I may run out of money, but you have already run out of bread. Two years is a long time for your comrades to wait. NINOTCHKA I see. You have calculated in terms of hunger. SWANA No, I just wanted to be absolutely impartial. Both of us are faced with two rather uncomfortable years. We can condense these two years to two minutes if you want to accept my proposition. Ninotchka now realizes what she is after. NINOTCHKA Go on. SWANA I am willing to hand over the jewels and sign the necessary papers if you take that five-forty plane to Moscow. NINOTCHKA (quietly) That's not the way to win him back... not Leon. SWANA I think I know Leon quite as well as you... possibly a little better. Leave that worry to me. Five-forty leaves you time enough to close the deal with Monsieur Mercier, but naturally you'll be too busy for any farewells. I'll see to it that everything is done in the most expeditious manner and I will also see you to the airport. That's my proposition, Comrade Yakushova. Ninotchka knows herself to be faced with an inevitable decision. For a moment she cannot answer. The telephone rings. Ninotchka takes the receiver. NINOTCHKA (into telephone) Yes... (it is Leon) Oh hello... Much as she wants to talk to him she hesitates in the presence of Swana. Swana realizes the situation, gets up, and walks over to the window, where she stands looking out. CLOSE-UP -- NINOTCHKA AT TELEPHONE NINOTCHKA Good morning, Leon... (forcing herself to be gay so that he will not suspect anything) ... no, you didn't waken me... I am fine, thank you.... Yes, it was... marvelous.... What?... for luncheon? I'm afraid I can't. I am going to be very busy... (looking for excuses) well, I have a lot of things to attend to today.... What?... Well to tell you the truth I am a little tired and I would like to rest... (she forces herself to laugh) you may be right... perhaps it is the champagne.... For dinner?... Of course... seven o'clock here?... (realizing that she will be gone by then) seven o'clock is all right.... Where?... That will be lovely.... Yes... (there is a knock on the door) Come in. (into the telephone) Yes?... (looking toward the door she sees something which makes her stop the conversation) Just a moment... (she puts the receiver on the table and walks toward the door) ANTEROOM BETWEEN LIVING ROOM AND CORRIDOR, shooting toward the living room. In the background we see Swana standing at the window. Ninotchka comes into the anteroom, closes the door in order to shut off Swana's view. Camera pans with Ninotchka as she walks toward the hall door where the bellboy is putting down a big flower basket. NINOTCHKA (to bellboy) You can leave it here. The bellboy exits. Ninotchka looks at the basket of flowers for a moment, then takes the envelope which is attached to the handle. She opens it and reads the enclosed letter. It must be a love note, for her eyes grow wet. She turns to the last page. INSERT "...and sweetheart, I have kept my first promise. I sent poor old Gaston to the market this morning and if you will look deep into the flowers you will see what I got for him...." CLOSE SHOT -- NINOTCHKA She puts her hand in the basket and takes out a bottle of milk. INSERT OF THE BOTTLE On the label we see a picture of a goat. NINOTCHKA She smiles sadly and goes to the telephone, which is on the console in the anteroom. NINOTCHKA (into telephone) Operator, will you switch the call please?... Hello?... Darling, your present just arrived.... It's very silly and very wonderful... thank you... No, I won't forget... seven o'clock.... (with great tenderness) Good-by, my darling.... What?... Oh... (softly) salute! She puts down the receiver. Camera pans with her as she goes to the door of the living room. She opens the door and goes in. Swana turns from the window. NINOTCHKA I am sorry to have kept you waiting, madame. SWANA -- AT THE AIRPORT DISSOLVE TO: shooting from a HIGH ANGLE. We hear the SOUND of an airplane just taking off. Camera pulls back so that Swana seems to be photographed from the airplane. Finally the SHOT discloses the whole airport and Swana disappearing into the crowd. ENTRANCE HALL -- SWANA'S APARTMENT Swana's maid is opening the door for Swana, who enters in the highest spirits. SWANA Good afternoon, Jacqueline. MAID Good afternoon, Your Highness. (hesitantly) Madame, I... SWANA You didn't find my glove. All right, you're forgiven. MAID Thank you, Your Highness. Count d'Algout is waiting. He's been here some time. Swana inspects herself briefly in the hall mirror, proceeds into the living room. LIVING ROOM -- SWANA'S APARTMENT Leon is pacing up and down. Swana enters. SWANA Leon, darling, how nice! Have you ordered tea or a cocktail? LEON No thanks, Swana. SWANA Did I act stupidly last night? Should I apologize? LEON I'm the one who should apologize. I should have talked to you before. SWANA Is this, by any chance, going to be a confession? LEON Yes. SWANA Oh, no, my little Volga boatman. Have you forgotten our First Commandment: Never Complain -- Never Explain. It has worked so often and so perfectly, don't let's break the rule. And please don't look so guilty, otherwise I'll... LEON This time, Swana -- just this once -- I must ask you to listen. SWANA All right, I'll listen. LEON I know you hate the obvious but do you mind if, at this moment, I'm not in the least subtle? SWANA Brutal frankness, if you insist. LEON There are a hundred ways to approach it, but I feel it can best be said in one simple phrase. I'm in love, Swana. SWANA And I thought it was something serious! How could you frighten me so? LEON It must be serious, Swana. Not long ago I'd have considered such a statement rather juvenile and rather middle class. Now I can say it without stammering, without a blush. I'm in love, Swana. SWANA Say it over and over again, Leon. Words are a wonderful safety valve, and that's what you need -- because you know it's impossible, don't you? LEON I have to be simple again, Swana, and you may find it shockingly banal. I've thought it over and I'm willing to take all the consequences, even if it means a complete readjustment of my way of living. SWANA Leon! This has the ugly sound of regeneration. LEON I'm afraid that's what it is. SWANA The same old trouble, Leon. You're always late. Whether you're taking me to the Opera or calling for me at a beauty shop, you're never on time. And now, when it's a question of your reform -- late again. (she glances at her wrist watch) By about five minutes. LEON What is this, Swana? SWANA Knowing the efficiency of the French Air Service I think I can guarantee that Madame Yakushova has already taken off for Moscow. LEON Has done what? SWANA She's gone, Leon. LEON Do you expect me to believe that? Swana picks up the receiver of the telephone and holds it out to him. SWANA Here's the telephone. If you call the hotel you will find that you have no seven o'clock appointment. THE MOSCOW PLANE It is flying past the Eiffel Tower. CLOSE SHOT -- AIRPLANE WINDOW Behind the window we see Ninotchka looking at Paris for the last time. Camera moves over to the next window and we see Buljanoff, Iranoff, and Kopalski also giving Paris a sad farewell look. ANOTHER VIEW OF PARIS, from the air. The mist has closed in by now so that only the top of the Eiffel Tower is visible above it. CLOSE-UP -- NINOTCHKA, looking down on the Tower INTERIOR, Airplane -- Ninotchka, Buljanoff, Iranoff, and Kopalski Ninotchka turns from the window and leans against the back of her chair. The Russians follow her example. There is a moment of silence and sadness. BULJANOFF Imagine, for once in our lives we were in Paris and we never went to the Eiffel Tower. KOPALSKI That's right. IRANOFF They tell me it has a wonderful restaurant on the second floor. KOPALSKI While you eat, you look at the view. CLOSE-UP -- NINOTCHKA She is trying to overcome all sentimentality, but as the following speech progresses she cannot escape the personal implication involved. NINOTCHKA Yes, it is an amazing piece of engineering. Still the most remarkable iron structure in the world. Leading to the top there is a staircase of over a thousand steps... but an elevator is included in the price of admission. FADE OUT: FADE IN: INSERT OF A PARIS NEWSPAPER HERALD DU MATIN Camera zooms down on a headline of an article. Mercier buys priceless russian jewels. Russian commission has left for moscow. STREET IN PARIS -- MORNING Camera follows Leon as he walks excitedly and nervously along the boulevard. He turns into a Russian Intouriste Bureau, one of the travel bureaus maintained by the Soviet government in foreign countries to supply information regarding travel, give visas, etc. INTOURISTE BUREAU It is a typical travel bureau. Behind the counter are attendants and some people getting information and pamphlets. Leon enters, looks around, and sees a door which says "Visas and Passport Department." He enters. INTERIOR, VISA ROOM It is a room smaller than the previous one. Behind the counter stands a typical Bolshevik Official. In front of the counter is an elderly English lady. Leon takes his place behind her, nervous at having to wait. The Official stamps the English lady's passport and hands it to her. OFFICIAL Well, everything is in order. I hope you will enjoy your trip to Russia, madame. ENGLISH LADY Thank you. Oh, by the way, I've heard so many rumors about laundry conditions in Russia. Is it advisable to take one's own towels? OFFICIAL Certainly not, madame. That's only capitalistic propaganda. We change the towel every week. ENGLISH LADY Oh... thank you. She leaves. Leon moves up to the Official. OFFICIAL Yes, please? At this moment the telephone rings. The Official takes the receiver. OFFICIAL (into phone) Yes... Comrade Cazabine? No, I'm sorry... he hasn't been with us for six months. He was called back to Russia and was investigated. You can get further details from his widow. He hangs up the receiver. Leon, thinking of Ninotchka, is horrified by this statement. LEON Pardon me, I am very interested in what you just said -- you mean when an envoy goes back to Russia -- if they don't like what he has done they put him out of the way? OFFICIAL Not always... look at me... I've been back twice. (he knocks on wood) LEON (his alarm growing) Here's my passport.... Please give me a visa. I have to leave for Russia immediately. OFFICIAL (reading passport) Count Leon d'Algout... a count!... a nobleman! LEON Don't hold that against me... please! OFFICIAL Why should an aristocrat want to go to Russia? LEON Business. OFFICIAL What business? LEON Private. OFFICIAL There is no privacy in Russia. This whole thing seems very suspicious. What's the real reason? If you ever want to get into Russia, take my advice... confess! LEON (dismayed) Confess what? OFFICIAL Are you sympathetic to the former Czaristic government -- the White Russians? LEON On the contrary -- I don't want to have anything to do with them. OFFICIAL You believe in our cause? Leon, feeling that he has to go to the rescue of his girl, whips up an enormous enthusiasm for the cause. LEON Oh... I think it's great! Everyone works -- everyone contributes -- that's what I want to do -- work! I make my own bed -- you can call up my butler! I don't believe in the right of the individual. I like the Bolshevik ideal -- everyone being the same. You just like me -- me just like you -- I use your comb -- you use my toothbrush -- oh, it's a great life.... Please... give me that visa! At this moment Swana enters. SWANA Hello, Leon darling! LEON (startled) Hello. SWANA (suavely) After our talk last night I took it for granted that you would drop in here this morning. Knowing how difficult it is to get into Soviet Russia, I thought I might be of some assistance to you. (to the Official) May I introduce myself? I am the Duchess Swana of Russia... another Russia. The Official gasps in surprise. LEON Now, please, Swana. SWANA (to the Official) Count d'Algout was for several years my personal representative and if it is necessary to sign any affidavit for him I'll be delighted. LEON (bitterly) That does it, Swana. (he leads her toward the door) Now you mustn't miss your appointment with your hair-dresser. SWANA (stopping at the door) Just in case they don't give you your visa to Russia I want you to know that I have signed a contract for my memoirs and rented a lovely little ch‚teau in the Touraine, and if you feel the need of a change... LEON Thank you, Swana. You are very gracious. His words are unmistakably a final dismissal. She walks out. Leon looks after her for a second, then goes back to the Official. He tries to laugh off the incident. LEON She must have her little joke. (the Official responds with a stony look) You're not going to take that seriously. OFFICIAL The Grand Duchess Swana... active in the White Russian movement? LEON Believe me, I have no connection with her any longer... I swear I haven't! OFFICIAL But you had! LEON Listen, I want to be absolutely frank with you. I have no business in Moscow. OFFICIAL I think so too. LEON I want to see a friend of mine... a very dear friend.... It's a personal matter which has nothing to do with politics or social philosophies.... It's a girl. OFFICIAL So it's love which drags you to Moscow. LEON Yes! OFFICIAL No visa. LEON (fighting for his point) I must get into that country of yours! OFFICIAL Oh no. No visa. LEON (more aggressively) That's impossible! Nobody has the right.... You can't do that!... If you don't give me that visa... OFFICIAL (ironically) You're going to force us... huh? LEON (growing violent) Now look here... you advertise all over the world that you want people to go into your country and when someone tries to get in, you keep him out! OFFICIAL Why should I take a chance? LEON On what? OFFICIAL How do I know you don't want to blow up a factory? LEON What for... why? OFFICIAL Or a tunnel or a bridge... LEON Suspicions... nothing but suspicions!... That's the trouble with you! If you don't let me in I'll stand in front of this office of yours and warn people to keep away from Russia!... I'll picket your whole country.... The Official laughs in a superior way. LEON I'll boycott you, that's what I'm going to do!... No more vodka... no more caviar... no more Tchaikovsky... no more borscht.... Wait a minute, I know something better than that... The Official leans forward sarcastically. OFFICIAL What? With a knock-out blow, Leon sends him to the floor, then, leaning over the counter, he shouts. LEON And you can tell the Kremlin that's just the beginning! He strides out. The Official's head emerges from the counter. As he adjusts his bruised jaw, he speaks. OFFICIAL No visa. Establishing Shot of Russia -- First of May -- Stock Shot of May Day Parade on the Red Square FADE IN ON: DISSOLVE TO: RADIO ANNOUNCER RADIO ANNOUNCER March, march, march! Comrades of the World, never has there been such a May Day parade as this! Already for four hours the pavements of Moscow have resounded to the tread of a million boots! Thousands of gun- carriages have thundered past. Thousands of tanks, combined with our mighty air force, have demonstrated to a belligerent neighbor that we are ready and invincible! Now past me marches the great army of our civilians! Men and women of all ages. All servants of the State united in one thought and ideal. Group of Several Units Marching Workmen, soldiers, tanks, airplanes, etc. DISSOLVE TO: Column of Women, dressed in typical Russian May Day parade fashion, marching and saluting. The CAMERA NARROWS DOWN to a CLOSE SHOT OF Ninotchka marching with the others. All her individuality is gone. She is one of many, a cog in the Russian machine. With a stern expression she is looking straight ahead when suddenly something attracts her attention and she glances to one side. A Column of Male Workers is coming in the opposite direction. Buljanoff, Iranoff, and Kopalski are recognizable among them. CLOSE SHOT -- BULJANOFF, IRANOFF, AND KOPALSKI MARCHING. All three are already pretty exhausted from the long march. Kopalski sees Ninotchka. He whispers it to the others. The three look toward Ninotchka and lift their shoulders with a gesture which says, "Look where we are now." CLOSE SHOT -- NINOTCHKA, answering them with a sad smile. After they have passed she stares straight forward again with the same stern expression. DISSOLVE TO: PANNING SHOT -- STAIRCASE IN NINOTCHKA'S TENEMENT HOUSE It is an overcrowded house. People are walking up and down stairs, standing grouped in front of the various apartments; children are sliding down the banisters and playing games under the feet of the adults. Ninotchka trudges upstairs wearily. Camera pans with her as she goes into an apartment which is divided into several sub- apartments. Finally she opens the door of her own room and goes in. NINOTCHKA'S ROOM It is a comparatively small room, which she shares with two other girls. As she enters only one girl is present. It is Anna, a cello player, who sits on the edge of her bed practicing on her cello. Apparently Ninotchka has not adjusted herself completely to the Moscow which she once thought so great. NINOTCHKA Good evening, Anna. ANNA Good evening, Ninotchka. NINOTCHKA Aren't you late? ANNA No, the opera starts an hour later tonight on account of the parade. During the following scene Anna puts her cello in its case and gets ready to go to her job. Ninotchka starts to arrange the table in the center of the floor for a party of four. Out of her cupboard she takes very primitive-looking dishes, a flower pot, glasses, and a kind of shawl which serves as a tablecloth. NINOTCHKA Didn't you march? Anna is apparently not a fanatical believer in the Bolshevik regime and takes a cynical and humorous attitude toward it. ANNA They didn't let me. I am in disgrace. Last week at the performance of Carmen I played a sour note. The conductor got so excited he yelled, "There's sabotage in the string section!" NINOTCHKA Too bad... you missed an inspiring day, Anna. ANNA I know... my heart is sad... but my feet are happy. When all the tanks and guns were roaring over the Red Square I sat here all by myself and played a Beethoven sonata. Not bad at all. (she has noticed Ninotchka's preparations) Are you expecting someone? NINOTCHKA A few friends... just a little dinner party. ANNA What are you serving? NINOTCHKA An omelet. ANNA (puzzled) An omelet! Aren't you living a little above your ration? NINOTCHKA Well, I've saved up two eggs and each of my friends is bringing his own so we'll manage. ANNA It just goes to prove the theory of our State. If you stand alone it means a boiled egg but if you're true to the collective spirit and stick together you've got an omelet. (devilishly) That reminds me... have you heard the latest they're telling about the Kremlin? At this moment a door to one of the adjoining rooms opens and Gurganov, a middle-aged man with a sour stool-pigeon expression, walks quietly through the room to another door, taking in the girls with one sly glance and giving the impression that not only his eyes but his ears are open. Anna breaks off her remark. ANNA (whispering) I'll tell you later. (after Gurganov has disappeared into the other room she continues) That Gurganov, you never know whether he's on his way to the washroom or the Secret Police. NINOTCHKA You should be more careful, Anna. ANNA And you too, Ninotchka. NINOTCHKA (amazed) About what? ANNA Ever since you have been back from Paris... NINOTCHKA I haven't talked to anyone about Paris. I haven't said a word. ANNA That's just it. It makes people feel queer. I dont' want you to get in any trouble. NINOTCHKA I have nothing to hide. ANNA You should. I'll show you. She walks over to her cupboard and takes out a piece of lingerie and comes back to Ninotchka with it. ANNA When I passed through the laundry yard today I saw all the women huddled around this so I brought it up here. Things like this create a bad feeling. First they didn't know whose it was. Then they saw the Paris label and did it start a commotion! Some said it's what we all ought to wear and others said it's like hanging foreign ideas on our clothesline. It undermines our whole cause. NINOTCHKA (aware of the pettiness which surrounds her) I see. ANNA You know how it is today... all you have to do is wear a pair of silk stockings and they suspect you of counter-revolution. NINOTCHKA Thank you, Anna. I'll dry it up here when I wash it next. I should hate to see our country endangered by my underwear. ANNA (confidentially) Ninotchka, you know I am your friend, you can trust me.... Did you bring back anything else? Ninotchka suddenly is transported to Paris in her memory. NINOTCHKA (with feeling) No, I left everything in Paris. I just happened to be wearing this. ANNA Tell me... what else did you have? NINOTCHKA (enjoying the thought) Well, a hat... ANNA What was it like? NINOTCHKA It was very silly.... I would be ashamed to wear it here. ANNA As beautiful as that? What else? Come, tell me. NINOTCHKA An evening gown. ANNA (puzzled) Evening gown? NINOTCHKA A dress you wear in the evening. ANNA What do you wear in the morning? NINOTCHKA When you get up you put on a negligee, and then you change to a morning frock. ANNA You mean to tell me you wear a different dress for different times of the day? NINOTCHKA Yes. ANNA Now, Ninotchka, you're exaggerating. NINOTCHKA No, my dear, it is true. That's how they live in the other world. Here we dress to have our bodies covered... to keep warm.... ANNA And there? NINOTCHKA Well, sometimes they're not completely covered but... they don't freeze. ANNA (fingering the piece of lingerie) They must have wonderful materials to make a thing like this so soft... something you don't even see. NINOTCHKA You feel it, though. ANNA (hesitantly) Ninotchka, I wouldn't bring this up if we weren't such good friends. NINOTCHKA What is it, Anna? ANNA You know I told you that Pavlov and I are going to get married when he comes back from the maneuvers. Would it be asking too much... NINOTCHKA You want this? ANNA Just for the honeymoon. NINOTCHKA You can have it for good. It is my wedding present. Anna is for a moment speechless over this generous gift. She embraces and kisses Ninotchka. ANNA Ninotchka! Ninotchka! She kisses her again, takes her cello, and starts to leave. ANNA Am I going to play that cadenza tonight! Anna exits, closing the door. Ninotchka is left alone. Her thoughts are still in the other world, obviously with Leon. Mechanically she looks over the table to see if everything is all right, then she walks over to the radio (a primitive little machine). As she turns the knob she smiles again reminiscently. As she does, the blare of a Russian speech brings her back to reality. VOICE ON RADIO Individuals? Yes, as atoms in the cosmos of Soviet Russia. Family? Yes. One great family of one hundred and sixty million, struggling, fighting, victorious Russian proletarians. Thus shall we pursue our way into the future, fists clenched, hearts encased in steel armed against bourgeois sentimentality and... Quickly she turns the knob and again there is a burst of Russian oratory. SECOND VOICE ON RADIO ...From the Exploiters for the Toilers. We are going full steam ahead through industrialization toward socialism. Let us put the Union of Socialistic Soviet Republics into an automobile and the muzhik into a tractor, and then let the capitalists try to keep up with us! The same thing happens for a third time. THIRD VOICE ON RADIO ...and thirty million peasants, eighty-five per cent of the population owned three hundred forty-three million four hundred and sixty-nine thousand acres of land, sixty-five per cent of the total area. And one hundred and fifty thousand nobles possessed thirty-five per cent of the country's natural wealth! Ninotchka turns off the radio. She closes her eyes for a moment and with a sad smile murmurs to herself. NINOTCHKA No music. At this moment the door opens, and Buljanoff, Iranoff, and Kopalski enter. There follow warm greetings between Ninotchka and the Three Russians. ALL THREE RUSSIANS Ninotchka! Ninotchka! A moment of silence follows. The four look at each other as people do who share a secret. NINOTCHKA (with great warmth) How are you, you three scoundrels? KOPALSKI (wryly) Well, we're back home. BULJANOFF (sourly) You know what they say -- there's nothing like home. IRANOFF That's right... and we might as well face it. NINOTCHKA (trying not to say what she feels) Come, now, you must not talk that way.... You have to adjust yourselves.... We must be brave. IRANOFF Brave... that's right. BULJANOFF Let's be happy that we're all alive. IRANOFF And that's something we owe to Ninotchka. KOPALSKI If you hadn't given Commissar Razinin such a wonderful report about us, who knows what would have happened? BULJANOFF I can tell you exactly. NINOTCHKA Now let's forget everything except that we're together. BULJANOFF That's right. IRANOFF Let's do that. KOPALSKI (falling in with her attempt) It's a real Paris reunion. IRANOFF If you close your eyes and listen to our voices we might be in Paris. NINOTCHKA Let's not close our eyes. There are many good things to see here too. BULJANOFF (cynically) I think I need my glasses. KOPALSKI (reprimanding him quietly) A little more tact... look how nicely she's fixed the table -- all for us. BULJANOFF (in a loud voice, trying to make up for his faux pas) How nicely you've fixed the table, Ninotchka. IRANOFF What a lovely room you have here. BULJANOFF How many families live here with you? NINOTCHKA Only myself and two other girls. One is a cello player in the opera and the other a street-car conductor. IRANOFF (impressed) Just three people in a room this size? Whew! KOPALSKI (inspecting the room) And your own gas cooker? That's marvelous! (forgetting himself) Naturally it's not the Royal Suite... NINOTCHKA Sssh! Once and for all, we're in Moscow! KOPALSKI (walking over to the window) Yes, there's no doubt of that... (sarcastically) Just look out of the window and there it is. NINOTCHKA And it's great! Think what it was a few years ago and what it is now. Iranoff and Buljanoff have joined them at the window. IRANOFF She's right... (under his breath) anyhow let's talk ourselves into it. BULJANOFF Just see how happy the people look... from here.... KOPALSKI Can you blame them?... at least the May Day parade is over. BULJANOFF That's another thing... it's spring. NINOTCHKA The same spring we had in Paris. Just as good. KOPALSKI Even the swallows are back. BULJANOFF AND IRANOFF Yes, that's right. IRANOFF Maybe that's the same swallow we saw in Paris! BULJANOFF It is, Ninotchka! It is! He must have been in Paris! You can see it in his whole attitude! He just picked up a crumb of our black bread, shook his head, and dropped it. KOPALSKI If you asked him why he left France I bet he couldn't name one good reason. BULJANOFF I should be a swallow! Right now I would be sitting in front of the CafÈ de Paris picking up flakes of French pastry that would melt in my bill. NINOTCHKA Now, comrades... there is something better in life than crumbs of French pastry. KOPALSKI (the realist) Yes, a good piece of apfel strudel.... NINOTCHKA We will get that... we'll get everything... maybe a little bit later but we'll get it... We must be patient... Finally we got the spring, didn't we? We got the swallows, and you will get your apfel strudel too. BULJANOFF (consolingly) And if it is too late for you your children will eat it. IRANOFF (breaking the mood) Let's forget the future... let's stop being sentimental... let's start that omelet. KOPALSKI That's right. (he takes a little box out of his pocket) Here's my egg. (he hands it to Ninotchka) Iranoff unties his egg from his handkerchief. IRANOFF And here's mine. He hands it to Ninotchka. Buljanoff reaches in his pocket and from his expression we see that a catastrophe must have happened. BULJANOFF Comrades... I'm out of the omelet. NINOTCHKA Don't worry... there will be enough. IRANOFF Come, Ninotchka, let's make it in real Parisian style! The group all go to the gas cooker and Ninotchka starts to make the omelet. The others stand around as though they were watching a great event. KOPALSKI Let's fill it with confitures, des prunes... BULJANOFF ...des raisins de MadËre, des framboises... (...with grapes of Madeira, with raspberries...) IRANOFF ...des petites fraises des bois... de la crËme de Bretagne... (...with small wild strawberries... with cream...) KOPALSKI ...so it blows up that big... what they call an Omelette Surprise! BULJANOFF And the surprise is there's nothing in it. KOPALSKI I know, but if we can't put in all these wonderful things at least let's put in some imagination. (he raises his voice) In that one omelet we'll taste the whole of Paris! The door through which Gurganov disappeared opens and Gurganov comes out. IRANOFF (seeing him) Sssh! The conversation stops. Gurganov walks quietly through the room, again observing everything. He goes out at last. IRANOFF A man like that... all he has to do is to walk through a room and the omelet drops. There is a dead silence. All are again aware of the reality which surrounds. They concentrate quietly on the frying pan. DISSOLVE TO: INSERT OF THE FRYING PAN The eggs are gradually taking the shape of an omelet. DISSOLVE TO: INSERT OF A PLATE ON THE TABLE Only the last scraps of the omelet are on it. Buljanoff's hand comes in with a big piece of bread with which he sops up every fragment that is left. DISSOLVE TO: MEDIUM SHOT -- NINOTCHKA'S ROOM -- EVENING The curtains are drawn and the lamp lighted. All four are sitting around the table, in the center of which is a samovar. In front of each of them is a glass of tea. One of the Russians is playing a balalaika and all are singing gaily, "Paris." Ninotchka is enjoying their companionship. After a little while the door to the corridor opens and Ninotchka's other roommate, the street-car conductor, strides in. She is a squareset, unfriendly woman in uniform. At sight of her one of the Russians nudges Ninotchka, makes the gesture of ringing up a fare, and accompanies it with an inquiring look. Ninotchka nods. The Russians change their tune quickly to the "Volga Boatman" in order not to awaken animosity. The street-car conductor goes to her bed and starts to take off her shoes and her coat, then draws the curtain. During the following scene we hear the splash of water and the sound of gargling. Again Gurganov crosses the room, this time accompanied by his little son. Suddenly the door is opened by Vladimir, a friendly old man. VLADIMIR (calling into the room) Comrade Yakushova, here, the postman left a letter for you. He hands her a letter and exits. CLOSE SHOT -- NINOTCHKA She takes the letter, glances at the envelope, and is stunned. She turns the envelope -- an expression of breathless wonder comes over her face. ALL THREE RUSSIANS What is it, Ninotchka? NINOTCHKA It's from Paris. IRANOFF AND BULJANOFF From Paris? KOPALSKI A bill? NINOTCHKA From Leon. ALL THREE RUSSIANS From Leon!... How is he?... Come, tell us... open it... tell us... how is he? Ninotchka sits in the chair nearest the lamp. All three are looking over her shoulder. Ninotchka hesitates to open the letter, obviously wanting to read it all by herself. Realizing her feelings, the Three Russians walk to the far end of the room and sit down on a little bench, looking toward Ninotchka with childlike expectancy. In great anticipation Ninotchka opens the letter. She starts to read it. Suddenly her expression changes to one of terrific disappointment. She turns the letter over, glances at the second page, then puts the letter down on the table. The Russians have followed her expression closely. Slowly they walk over to her. IRANOFF (very sympathetic) Bad news? NINOTCHKA Look for yourselves. Iranoff picks up the letter. All three look at it. Insert of First Page of Letter, held in Iranoff's hand. In Leon's handwriting we read: "Ninotchka, my darling," The rest of the writing is blocked out, line by line, and across the page is a big stamp which says "Censored." Iranoff's hand turns the page. The second page is also censored except for the final words, "Yours, Leon." SHOT OF THE WHOLE GROUP Iranoff puts the letter back on the table. They all understand and realize that Ninotchka wants to be alone. KOPALSKI Well, I think it's getting late. Good night, Ninotchka. IRANOFF Thank you for a wonderful dinner. Ninotchka rises and shakes their hands. NINOTCHKA (with great warmth) Good night, my friends. The three start to leave but Buljanoff returns and whispers to Ninotchka. BULJANOFF They can't censor our memories, can they? Ninotchka presses his hand. He walks quietly out with the others. Ninotchka, left alone, sits down. She is heartbroken. Her thoughts are too sad and too far away to be disturbed by the snoring which comes from the corner where the street-car conductor has gone to bed. FADE OUT: CLOSE SHOT -- THE WINDOW OF RAZININ'S OFFICE FADE IN: shooting from the inside. Through the window the background of Moscow. It is winter and snow is on the roofs. The CAMERA PULLS BACK and discloses Razinin sitting at his desk, reading a report with a stern expression. MEDIUM SHOT -- RAZININ'S OFFICE Ninotchka enters carrying several folders. She walks to Razinin's desk and stands waiting for him to recognize her presence. She is a tired, stern girl. Razinin looks up. RAZININ Good morning, Comrade. NINOTCHKA (very businesslike) Good morning, Comrade Commissar. Here is my report on the materials available for trading in the next four months. RAZININ Does this include the products of the Far Eastern provinces? NINOTCHKA Yes, it does. RAZININ You mean you have finished the whole investigation? NINOTCHKA Yes. RAZININ That's marvelous.... You must have worked day and night.... Don't you ever sleep? NINOTCHKA I need very little sleep. We must be extremely careful what goods we take in exchange. I have already started a survey of our most urgent needs. RAZININ Well, Comrade, I am afraid you will have to turn over that work to someone else. NINOTCHKA (startled) May I ask why? RAZININ Please... sit down. Ninotchka sits. RAZININ Cigarette? NINOTCHKA Thank you. RAZININ Well, Comrade, have you heard from your friends Kopalski, Buljanoff, and Iranoff? NINOTCHKA No. RAZININ I haven't either, but I've heard about them. You must realize it was only on the strength of your Paris report that I sent them to Constantinople; without that I never would have trusted them on a mission as important as the fur deal. NINOTCHKA May I ask what has happened? RAZININ As soon as our representatives go to a foreign country they seem to lose all sense of balance. If I told you what's going on in Constantinople right now you wouldn't believe it. Those three have been sitting there for six weeks and haven't sold a piece of fur. (he points to the folder) This anonymous report was sent me. They are dragging the good name of our country through every cafÈ and night club. Here... (he reads from the report) "How can the Bolshevik cause gain respect among the Moslems if your three representatives, Buljanoff, Iranoff, and Kopalski, get so drunk that they throw a carpet out of their hotel window and complain to the management that it didn't fly?" Ninotchka has to suppress a smile of amusement at the antics of her three old friends. NINOTCHKA Oh, they shouldn't do such things. Are you sure this report is correct? RAZININ It gives details which couldn't be invented. Naturally I want to verify it and that's why I need you. NINOTCHKA (apprehensively) You want me to go to Constantinople? RAZININ Yes... leaving immediately. NINOTCHKA (her one object to escape the mission) I appreciate the confidence you show in me, but I must ask you to entrust someone else with this mission. I should hate to interrupt my present work. I am positive that my survey is more important than finding out whether three of our comrades have been drinking some extra glasses of champagne. RAZININ (austerely) That is for me to decide, Comrade Yakushova. NINOTCHKA I am sorry, I don't want to overstep my position -- but please... don't send me. RAZININ I don't understand. NINOTCHKA (making a last effort) How can I make myself clear... It is difficult to express but I'd rather not go to foreign countries any more. Please, Comrade... let me stay here... let me finish my work... I am in the rhythm of it now... I don't want to go away. I don't want to be sent into that foreign atmosphere again. It throws one out of gear.... Let me finish my work... I have concentrated everything in it... Please... don't make me go. RAZININ Please don't waste my time, Comrade. Do your duty. Good-by. NINOTCHKA I will do my best. She exits, as we DISSOLVE TO: ESTABLISHING SHOT OF CONSTANTINOPLE, on a bright sunlit day, if possible with the circling shadow of an airplane. DISSOLVE TO: LONG SHOT -- AIRPORT IN CONSTANTINOPLE, shooting from an airplane angle. A crowd is awaiting the arrival of a plane. The CAMERA goes down to a CLOSE SHOT of Buljanoff, Iranoff, and Kopalski, standing in the crowd. All three are very elegantly and gaily dressed. They are in the happiest mood. One of them carries a large bouquet of flowers to greet Ninotchka. DISSOLVE TO: LIVING ROOM OF A VERY LUXURIOUS HOTEL SUITE IN CONSTANTINOPLE. Its style should suggest the locale. Ninotchka enters with the Three Russians, who are very happy to have her with them again. KOPALSKI (indicating the room) How do you like it, Ninotchka? Isn't it wonderful? IRANOFF AND BULJANOFF Tell us... tell us. Ninotchka protests, but during the whole scene it is evident that behind her protestations there is none of the force and conviction she displayed in a similar situation in the Royal Suite. NINOTCHKA But Buljanoff, Iranoff, Kopalski... IRANOFF Now, please, Ninotchka, don't start figuring it out in cows. NINOTCHKA You've done it again and I am responsible. How can you forget yourselves this way? You were sent here to make money, not to spend it. IRANOFF Buljanoff, she still has those old- fashioned Bolshevik ideas. BULJANOFF It is high time you got out of Russia. NINOTCHKA (not knowing what to do with the three rascals) I must be stern with you. KOPALSKI (delighted) That's our old Ninotchka! BULJANOFF AND IRANOFF (agreeing with him) Yes, yes. NINOTCHKA Don't forget, the day will come when you will have to face Razinin. BULJANOFF (cockily) Good old Razinin! Is he still alive? How does he manage? NINOTCHKA But, Comrades... KOPALSKI (with the happiness of being free again in his voice) We are not comrades any more... we are friends, Ninotchka. BULJANOFF Imagine, we don't have to whisper any longer. IRANOFF We can say whatever we want. We can shout... we can complain... Look... (he opens the door leading to corridor) The service in this hotel is terrible! (he closes the door) See? Nobody comes... nobody pays any attention. That's freedom. BULJANOFF (dryly) No, that's bad management. NINOTCHKA Is it possible to bring you back to reality for a moment? I must have a complete report of your negotiations and a detailed expense account. BULJANOFF Don't ask for it, Ninotchka. There is a Turkish proverb which says, "If something smells bad, why put your nose in it?" NINOTCHKA And there is a Russian saying: "The cat who has cream on his whiskers had better find good excuses." BULJANOFF With our cream situation what it is, it is Russia which should apologize to the cats. NINOTCHKA (helplessly) Friends... friends, Buljanoff, Iranoff... KOPALSKI (afraid of being left out) ...and Kopalski. NINOTCHKA (pleadingly) Don't make it difficult for me. This is no more a pleasure trip for me than it is for you. IRANOFF That was our idea when we first came. All we thought we would get out of this trip was a Turkish bath, but... we learned better. KOPALSKI Ninotchka, we are in the magic East, the country of Aladdin and His Lamp... IRANOFF ...Ali Baba and the Forty Thieves... into one single hour you can crowd a thousand and one nights. BULJANOFF All you have to do is say "open sesame." NINOTCHKA I don't know how I can get you out of it this time. How will it end? What will happen to you? BULJANOFF (intimately) Shall we tell her? IRANOFF AND KOPALSKI Yes. BULJANOFF (proudly) Ninotchka, I hope you'll be our guest. NINOTCHKA Guest? BULJANOFF We have opened a restaurant... IRANOFF ...we have a wonderful electric sign: "Dine With Buljanof, Iranoff, and Kopalski." NINOTCHKA You mean you are deserting Russia? KOPALSKI (singing the song of freedom) Don't call it desertion. Our little restaurant... that is our Russia... the Russia of borscht, the Russia of beef Stroganoff, blinis with sour cream... IRANOFF ...the Russia of piroshki... people will eat and love it. BULJANOFF We are not only serving good food, we are serving our country... we are making friends. NINOTCHKA (completely bewildered) Who gave you this idea? What is responsible for all this? KOPALSKI (with a gleam in his eye) There's something in Constantinople... something irresistible.... IRANOFF ...it is in the air... it may come around the corner as you walk down the street.... BULJANOFF ...it may step out of a bazaar... it may wait for you in a corridor... it may hide in the shadow of a minaret.... KOPALSKI (pointing to the balcony) Right now it's on the balcony. Ninotchka looks toward the balcony and is dumbfounded as she sees Leon standing there smiling at her. He walks quietly toward her. LEON (looking longingly at Ninotchka) They wouldn't let me in so I had to get you out. NINOTCHKA (still taken aback) So -- you're behind all this. I should have known. Leon takes her hand and kisses it. The Three Russians exchange glances. The CAMERA PANS WITH THEM --leaving Ninotchka and Leon as Russians walk discreetly out of the room and close the door behind them. CLOSE SHOT -- LEON AND NINOTCHKA LEON Trying to keep me away from you! It couldn't be done. Naturally I couldn't go on forever punching passport officials in the nose -- but I found a way, didn't I? Darling, I had to see you. I wrote and wrote but all my letters came back. NINOTCHKA The one I got they wouldn't let me read. (carried away by emotion) It began, "Ninotchka, my darling," and ended, "Yours, Leon." LEON (with great feeling and sincerity) I won't tell you what came between... I'll prove it. It will take a long time, Ninotchka... at least a lifetime. Ninotchka is aware that she is facing a decision. She knows what she wants but still tries to evade a definite answer. NINOTCHKA But, Leon, I am only here for a few days. LEON If you don't stay with me, I'll have to continue my fight. I'll travel wherever Russian commissions are. I'll turn them all into Buljanoffs, Iranoffs, and Kopalskis. The world will be crowded with Russian restaurants. I'll depopulate Russia. Once you saved your country by going back. This time you can save it by staying here. NINOTCHKA Well, when it is a choice between my personal interest and the good of my country, how can I waver? No one shall say Ninotchka was a bad Russian. Leon takes her in his arms, they kiss as we FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ninth Gate, The.txt b/unformated_scripts/Script_Ninth Gate, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..7f3aec1d8bdd2ed583ae5099de380bb38ad61fb7 --- /dev/null +++ b/unformated_scripts/Script_Ninth Gate, The.txt @@ -0,0 +1 @@ +The Ninth Gate (1999) - Dean Corso... A Roman Polanski Film Written by...Enrique Urbiz, Roman Polanski, and John Brownjohn Telfer House, Library. Night. Andrew Telfer, a scrawny seventy-year-old, is writing a note at his desk in one corner of a big, book-lined room. Dangling from the central chandelier is a noose. A chair stands beneath it. Telfer looks up for a moment. Blankly, he eyes a framed photoportrait on his desk: a beautiful, thirty-something blonde returns his gaze with an enigmatic smile. He stops writing and folds the sheet, scrawls something on the back, and leaves it on the desk. Then he walks to the centre of the room and climbs on the chair. He puts his head through the noose and tightens it around his neck. He kicks away the back of the chair, but it doesn't fall. Frantically, he tries again: this time the chair topples over. The chandelier squeaks as it swings on its hook, but it holds. Fragments of plaster come raining down. His neck isn't broken: he starts to choke. His feet perform a convulsive dance in mid-air only six inches above the floor; one of his shoes comes off. The camera leaves the dying man and moves in on the bookshelves. To the accompaniment of choking sounds, it pans across the rows of volumes until it reaches a gap that shows where one of them has been removed. The choking sounds cease. The camera enters the black void left by the missing book. The screen goes dark. *** Manhattan apartment. Day. Manhattan skyline seen through a picture window. Above it, reflected in the windowpane, the face of an old woman seated with her back to the room. Her expression is impassive and self-absorbed, her twisted mouth suggests she's a stroke victim. She seems quite uninvolved in the action behind her. Corso: (Off screen) An impressive collection. You have some very rare editions here. Sure you want to sell them all? (Dean Corso, a tall, lean, rather unkempt man in his 30's. Steel-rimmed glasses, crumpled old tweed jacket, worn cords, scuffed brown oxfords. He replaces a book on a shelf. Standing beside him is the old woman's son, a middle-aged man with a puffy red face. Her daughter-in-law looks on, one hand cupping her elbow, the fingers of the other playing avidly with her lower lip. The son is cuddling a large Scotch on the rocks like it's an integral part of his anatomy. Son: They're no use to Father, not anymore -not now he's passed away. His library was his own little world. Now it's just a painful memory for Mother here. Daughter-in-law: Unbearably painful. Corso: (glances at them over the top of his glasses, then at the old woman. It's clear that the old woman's true source of pain is their desire to convert her late husband's library into hard cash. He picks up a notebook, adjusts his glasses with an instinctive, habitual movement, taps the notebook with his pencil) Corso: Well, at a rough, preliminary estimate, you have a collection here worth around two hundred thousand dollars. Daughter-in-Law: (almost jumps): Two hundred thousand?! Corso: Or thereabouts. He smiles sweetly at the Daughter-in-Law. The old woman continues to stare blankly at her reflection in the window. Behind her, the son sidles up to Corso, who indicates the volumes in question. Son: How much were you thinking of... Corso: Hmm... I couldn't go higher than four grand - four-and-a-half tops. (takes an envelope from his shoulder bag and starts peeling off some bills) *** Manhattan Apartment. Corridor. Day. Corso walks along the corridor toward the elevator with the canvas bag slung from his shoulder. He's grinning to himself. The bag is obviously heavier than it was. The elevator doors open just as he's about to press the button. He almost collides with a bespectacled, briefcase-carrying man in a three-piece suit and bow tie (Witkin). Witkin: (caustically): You here? You didn't waste much time. Corso: Hello, Witkin. There's a small fortune in there. (smiles sardonically) Help yourself. Witking: (eyes Corso's beg suspiciously): You're a vulture, Corso. Corso: Who isn't in our business? Witkin: You'd stoop to anything. Corso: (brushes past him into the elevator, turns and pats his shoulder bag) For a 'Quixote' by Ybarra? You bet I would. Witkin: (indignantly) Unscrupulous, thoroughly unscrupulous! Corso: (thumbs the elevator button): Good hunting! (The elevator doors close on Witkinís face.) *** Bernieís Book Store. Day. A sign says "CLOSED." Corso pushes open the door of an old fashioned semibasement bookstore - 'BERNIE'S RARE BOOKS' ñ and enters. He walks up to the counter and deposits his bag on it. Bernie: (Off Screen) Witkin just called me. He's spitting blood. Corso: (looks around. The voice came from ten feet up and three bookcases along. Bernie Feldman, a man around Corso's age with dark, curly hair receding at the temples, is perched at the top of a spiral staircase) What's his problem? Bernie: (replacing some books): He says you're a double-dealing, money grubbing bastard. He says he had that sale tied up, and now you've queered his pitch. Corso: (grins to himself): He should be quicker off the mark. (Bernie starts to descend. Corso goes over to a wall cupboard and opens it. An assortment of bottles and glasses come to light.) May I? Bernie:Your valuation was way over the odds it's brought those people out In a rash. They're now asking twice what the books are worth. (Corso, still grinning, pours himself a slug of Scotch. Bernie reaches the ground) He's talking about suing you. Well, let's face it: you screwed him. That's what it's called. Corso: I know what it's called. Bernie: (comes up close) He also says you snaffled the 'Don Qui ... (he stops when Corso shows him the four volumes of the ëQuixote'. He bends over to examine them, whistles appreciatively) The Ybarra 'Don Quixote', 1780, four volumes. Fantastic! (opens one) Sonofabitch, you're the best in the business. Definitely. Corso: And the most expensive. (smiles slyly) That client of yours, the Swiss, is he still interested in this edition? Bernie: (smiles back, then redirects his attention to the books) Sure, but Witkin will blow a fuse. I told him I had nothing to do with this operation. Corso: (knocks back his Scotch in one gulp. Takes out a crumpled cigarette from the pocket of his overcoat, he sticks it in his mouth and lights it) Nothing except your ten percent. Bernie: Twenty. The Swiss is my client, remember. Corso: (shakes his head): No deal. Bernie: Fifteen. (cynically) For my children's sake. Corso: You don't have any. Bernie: I'm still young. Give me time. Corso: (eblows out a stream of smoke, unmoved): Ten. *** A taxi pulls up outside an opulent building downtown. Corso gets out, dodges a persistent beggar, and enters. The sign above the entrance reads: 'BALKAN PUBLICATIONS'. Inside, he nods to the security guard at the desk and makes his way across the lobby to a door at the back. Beside it stands an easel-mounted announcement: 'Demons and Medieval Literature, by Boris Balkan, Ph.D.' It's adorned with a medieval engraving of an Inquisition torture scene. Enter Lecture Room. Boris Balkan, standing at a state-of-the-art lecturer's desk, is a bulky, imposing figure of a man around 50 years old. His thick gray hair is slicked back to reveal a domed forehead. Wearing a pair of heavy hornrimmed glasses, he speaks in a deep, slow, almost monotonous voice, but with great authority. Balkan: Relevant information may be found in Antoine Martin del Rio's 'Disquisitionum Magicarum', Louvain 1599, and earlier, in 1580, in 'De la d'monomanle des sorciers' by the Frenchman, Jean Bodin... His eyes flicker in the direction of the door as Corso enters. His entrance has also been noted by a girl in jeans and white sneakers: childlike face, short hair and green, feline eyes. He sits down in the same row, but on the other side of the aisle, settles himself in his chair and scans the audience, most of whom are middle-aged and female. He gives the girl a cursory glance, then concentrates on Balkan. Balkan: Bodin was probably the first to attempt to establish a system - if the term system may be applied to the Middle Ages - for classifying the contemporary perceptions of evil. In Bodin we find one of the first definitions of the word 'witch'. I quote: (cocks his head for a better look at the text) 'A witch is a person who, though cognizant of the laws of God, endeavors to act through the medium of a pact with the Devil...' As Balkan continues the lecture, Corso's eyelids begin to droop. We pan over the faces of the audience (the girl is still observing Corso). Balkan's voice drones on, fades away. Later...Corsoís fast asleep. Balkan: (Off Screen) I see you enjoyed my little talk, Mr. Corso. Corso: (gives a start and opens his eyes. He takes a moment or two to focus on Balkan, who's standing over him. Peering around, he sees that the lecture is over. The last of the audience are filing out. We glimpse the girl making her exit.) Did I snore? Balkan: Nice of you to ask. No, not that I noticed. Shall we go? (He gestures at the door with a cold and impassive air. Corso gets to his feet. Balkan walks swiftly across the lobby to the elevators with Corso at his heels. They leave behind a buzz of conversation from members of the audience who are still discussing the lecture. ) Don't you sleep nights? Corso: Like a baby. Balkan: Strange, I'd have bet a brace of Gutenberg Bibles you spend half the night with your eyes peeled. You're one of those lean, hungry, restless types that put the wind up Julius Caesar - men who'd stab their friends in the back. (They reach the elevator. Balkan presses a button and turns to Corso, who yawns.) Not, I suspect, that you have many friends, do you, Mr. Corso? Your kind seldom does. Corso: (calmly): Go to hell. Balkan: (is unruffled by Corso's words. The elevator doors open. He stands aside to let Corso pass, then follows him in. He punches a code number on the elevator's digital keyboard. The elevator starts to ascend. )You're right, of course. Your friendships don't concern me in the least. Our relations have always been strictly commercial, isn't that so? There's no one more reliable than a man whose loyalty can be bought for hard cash. Corse: Hey, Balkan, I came here to do some business, not shoot the breeze. You want to expound your personal philosophy, write another book. Balkan: You don't like me, do you? Corso: (shrugs) I don't have to like you. You're a client, and you pay well. The elevator doors open into a spacious room faced with black marble. The walls are bare save for a big, back-lighted photograph of a ruined castle overlooking a desolate valley. Two huge windows in the right-hand wall extend from floor to ceiling. Visible outside on the building's floodlit facade, gargoyles gaze out over the city with their monstrous heads propped on their claws. The centre of the room is occupied by a rectangular block of tinted glass resembling a big black monolith. Vaguely discernible through the glass are shelves filled with antique books in exquisite bindings. Balkan leads Corso over to the 'monolith' . He gestures at it proudly, soliciting admiration. Balkan: Well? Corso: Yup. Balkan: You're privileged, Corso. Very few people have ever set foot in here. This is my private collection. Some bibliophiles specialize in Gothic novels, others in Books of Hours. All my own rare editions have the same protagonist: the Devil. Corso: (impressed but does his best not to show it) May I take a look? Balkan: That's why I brought you here. (Balkan goes over to the 'monolith' and punches a keyboard on a control panel, gestures to Corso to come closer. Corso puts out his hand. Before he can touch the glass, it glides aside with a faint hum. He fixes his glasses and glances at Balkan, who looks on calmly. His eyes roam along the spines of the books. Balkan comes and stands beside him.) Beautiful, aren't they? That soft sheen, that superb gilding... Not to mention the centuries of wisdom they contain - centuries of erudition, of delving into the secrets of the Universe and the hearts of men. I know people who would kill for a collection like this. (Corso shoots him a quick glance) The Ars Diavoli! You'll never see as many books on the subject anywhere else in the world. They're the rarest, the choicest editions in existence. It has taken me a lifetime to assemble them. Only the supreme masterpiece was missing. Come. He accompanies Corso on his tour of the collection. They come to the end of the ëmonolith'. Gesturing to Corso to follow him, Balkan goes over to an ultramodern, brushed steel lectern standing beside one of the huge picture windows. As he approaches the lectern, Corso briefly glimpses the sheer drop beyond the window, the twinkling lights of traffic passing in the street far below. Reposing on the lectern is a black book adorned with a gold pentagram. Corso opens it at the title page, which displays the title in Latin and a pictorial engraving. Corso: (not looking at Balkan) 'The Nine Gates of the Kingdom of Shadows... Balkan: You're familiar with it? Corso: Sure. Venice, 1623. The author and printer was Aristide Torchia, burned by the Holy Inquisition, together with all his works. Only three copies survived. Balkan: One. Corso: The catalogs list three copies surviving in private ownership: the Fargas, the Kessler, and the Telfer. Balkan: True. You've done your homework, but you're wrong nonetheless. According to all the sources I myself have consulted, only one is authentic. The author confessed under torture that he'd hidden one copy. Only one. Corso: Well, three are known. Balkan: That's the trouble. Corso: (resumes his inspection of the book) Where did you get it? Balkan: I bought it from Telfer. Corso: (surprised) Telfer? Balkan: (looking out the window): Yes, he finally sold it to me. The day before he killed himself. Corso: Good timing. Balkan: (ignores this. Corso turns the pages with care. He lingers over an engraving of a knight in armor riding toward a castle with a finger to his lips as though enjoining the reader to silence. Below it is a caption. Balkan draws closer and reads over Corso's shoulder) Nemo pervenit qui non legitime certaverit. Corso: You only succeed if you fight by the rules? Balkan: More or less. Ever heard of the 'Delomelanicon'? Corso: Heard of it, yes. A myth, isn't it? Some horrific book reputed to have been written by Satan himself. Balkan: No myth. That book existed. Torchia actually acquired it. (he returns to the window overlooking the sheer drop. Gazing down, he goes on) The engravings you're now admiring were adapted by Torchia from the 'Delomelanicon'. They're a form of satanic riddle. Correctly interpreted with the aid of the original text and sufficient inside information, they're reputed to conjure up the Prince of Darkness in person. Corso: You don't say. (he continues to turn the pages) Balkan: Are you a religious man, Corso? I mean, do you believe in the supernatural? Corso: I believe in my percentage. I also believe that books grow old and decay like the rest of us. Don't you get dizzy, standing there? (Balkan continues to stare down at the city) What the hell do you want from me, Balkan? Balkan: (leaves the window and confronts him) I want you to go to Europe and play the detective. The other two copies are in Portugal and France. You must find some way of comparing them with mine: every page, every engraving, the binding - everything. I'm convinced that only one can be authentic, and I want to know which one it is. Corso: Could be an expensive trip. Balkan: (takes a folded check from his pocket and hands it to Corso, who slips it into his breast pocket unexamined) That's to get you started. Spend what you need. Corso: What if I find your copy's a forgery? Balkan: (stares at him coldly) It's quite on the cards. Corso: (seeming mildly surprised. He looks at the book again, 'listens' to the quality of the paper by putting his ear to the pages and riffling them with his thumb) Really? It doesn't appear to be. Even the paper sounds kosher. Balkan: Even so. There may be something wrong with it. Corso: (continues to examine the book. He smiles)You mean the Devil won't show up? (shuts the book and replaces it on the lectern) Balkan: Don't be flippant. (quotes) 'There are more things in heaven and earth than are dreamt of in your philosophy.' Corso: Hamlet believed in ghosts, not demons. Balkan: If all three copies turn out to be bogus or incomplete, your work will be done. If one of them proves to be genuine, on the other hand, I'll finance you further. (Corso stares at him, then unfolds the check and glances at the amount - a substantial sum, from the way he raises his eyebrows) I shall want you to get it for me at all costs, never mind how. Corso: Never mind how sounds illegal. Balkan: It wouldn't be the first time you've done something illegal. Corso: Not that illegal. Balkan: Hence the size of the check. Do a good job, and I'll double it. (He picks up 'The Nine Gates' and holds it out. After a moment's hesitation, Corso replaces the check in his pocket and takes the book) Be careful, Corso. Corso: What do you mean? (indicates the book) With this? Balkan: Just be careful. *** Corsoís Apartment. Night. A small kitchen. Corso, one hand wrapped around a Scotch, uses the other to remove a TV dinner from the freezer compartment of his refrigerator and insert it in a microwave. He shuts the door, sets the timer, and strolls out into the living room. A plain apartment. No pictures, ornaments or photographs, just books on every available shelf and surface. Against one wall, a desk with a computer on it. On the floor beside the desk, Corso's shabby canvas bag. On the desk itself, 'The Nine Gates'. Corso goes over to the desk. He stares down at the book for a long moment, meditatively sipping his Scotch. Then, without putting his glass down, he opens the book one-handed and idly turns a few pages, pauses at the engraving of the knight in armor riding toward the castle. The camera moves in slowly until the screen is filled with the image of the knight with his finger enigmatically raised to his lips. *** Telfer House. Library. Day. Corso, canvas bag on shoulder, is standing in the middle of a sitting room. The decor, which includes a smiling portrait of Andrew Telfer, is very rich. Heís looking up at the portrait when the door opens. He turns to see Liana Telfer on the threshold with a business card in her hand. His appreciation of her looks is evident. Liana is a very sexy, thirtyish blonde. She gives Corso the once-over, then enters, closing the door behind her. Corso: Mrs. Telfer? (gestures at the business card) Dean Corso. Sorry to trouble you at a time like this. (Liana comes over and sits down on a sofa, motioning Corso into the armchair that faces it over a coffee table. She puts his card down, crosses her legs, and waits. Corso sits down with his bag between his feet. Opening it, he produces 'The Nine Gates'. Liana stiffens at the sight of it. Corso: It would be very helpful, ma'am, if you could tell me what you know about this book. He holds it out. After a momentary pause, Liana slowly reaches for the book, opens it at random, turns a page or two. She speaks with a slight French accent. Liana: (casually) Isn't this one of my husband's books? Corso: Right. It was in his collection until very recently. He sold it to a client of mine. I'm trying to authenticate it. Liana: He sold it, you say? How strange. It was one of his most treasured possessions. Corso: He never mentioned the sale? Liana: (late in answering. Corso spots her hesitation) No. It's news to me. Who bought it? Corso: A private collector. Liana: May I know his name? Corso: I'm afraid that's confidential. Liana: I suppose he has a bill of sale? Corso: No problem there. Liana: Is this your job, authenticating rare books? Corso: And tracking them down. Liana: (smiles): You're a book detective. Corso: (smiles back): Kind of. (pause) Do you recall when and where your husband acquired this book? Liana: In Spain. We were vacationing at Toledo. Andrew got very excited -- paid a great deal of money for it. He was a fanatical collector. Corso: So I gather. Liana: (puts the book on the coffee table and rises) I'll show you. Corso rises. Then a thought strikes him: picking up the book and his bag, he follows her to a door at the far end of the room, which she opens. Liana: (cont.) Look. She walks on ahead into the library in which Andrew Telfer hanged himself. Corso is eyeing her from behind. Corso: Magnificent... (He drags his eyes away from Lianaís figure and surveys the crowded shelves) Really magnificent... He goes over to inspect the bookshelves. In passing he glances up at the chandelier, which is still hanging slightly askew. Liana: Andrew used to spend many hours in here.Too many. Corso: Did he ever try it out? He asks the question with an air of spurious innocence, looking around the room as he does so. Liana frowns. Liana: I don't understand. Corso: The book - did he ever use it to perform some kind of ritual intended to... well. produce a supernatural effect? Liana: Are you serious? Corso: Absolutely. Liana: A Black Mass, you mean? Corso: More or less. An attempt to conjure up the Devil. Liana: Andrew was a trifle eccentric, Mr. Corso, but he wasn't insane. It's true he'd been acting strangely those last few days. He shut himself up in here - seldom emerged except for meals. (She draws a deep breath, glances at the chandelier) That morning I was woken by the screams of the maid: he'd hanged himself. (pauses, looks at him) Whatever he was up to, I certainly can't see him chanting mumbo-jumbo or trying to raise the dead. The flippant tone of the last few words sounds rather forced. Corso smiles at her faintly over his glasses, pats his shoulder bag. Corso: The Devil, Mrs. Telfer. This book is designed to raise the Devil. *** Corso exits the Telfer House and crosses the forecourt to the street. A man with a mustache and a scarred face is leaning against a limo parked outside the house, smoking a small cigar. They eye each other briefly. Corso reaches the sidewalk just as a cab sails past. He raises his hand too late to flag it down, looks around for another. The mustached manís cellphone beeps. He reaches into the limo and picks up the receiver. Reference Library, Day. Numerous readers are occupying the rows of tables in the central area. Corso is seated at one of the tables with the 'Nine Gates' in front of him. Beside it reposes a large catalog and his notebook. The 'Nine Gates' is open at the frontispiece, which displays the title - 'De Umbrarum Regni Novem Portis'- and the words 'Sic Luceat Lux' separated by an emblem consisting of a tree encircled by a snake devouring itís own tail. As we move in on the coiled snake, we hear Corso translating to himself in a low voice: Corso: (Off Screen) Sic Luceat Lux ... Thus let the light shine... The day goes on. Many of the tables are now deserted and Corso shuts a catalog and gets up to replace It in the wall of books behind him. He runs his finger along a shelf till he comes to another fat tome and removes it. He's startled to see, framed in the gap where the book just was, the face of the girl at Balkan's lecture: short hair, green, feline eyes. The face recedes and disappears. Corso quickly rounds the end of the bookshelf: no sign of her. He looks both ways, but the aisles are deserted. Puzzled, he resumes his seat and opens the second catalog. Then, sensing that he's being watched, he swings around. Nothing outwardly suspicious, just two students comparing notes, whispering. He scans the reading-room at large: still nothing. He turns some pages in 'The Nine Gates', comes to an engraving of a naked woman riding a seven headed dragon with a castle ablaze in the background. He consults the second catalog, which displays a small reproduction of the same scene with text wrapped around it, and jots something down in his notebook. Tired, he straightens and stretches, removes his glasses, pinches the bridge of his nose. As he scans the room, his vision gives him an unfocused glimpse of the girl looking down at him from the gallery overhead. By the time he replaces his glasses, she's gone. *** Corsoís Apartment. Night. It's raining hard. He trudges up the steps of his brownstone with the canvas bag on his shoulder and a bag of groceries in his arms. He rides the elevator up and walks down the passage to his door. He puts his key in the lock and tries to turn it but finds that itís unlocked already. He tries the second lock and turns it. This is unlocked as well so the door opens at once. It takes him a moment to digest this but then he hears a muffled crash from inside the apartment: and a window has been flung open in a hurry. He bursts into the living room. No one there, but the light is on. Dropping his shoulder bag and groceries, he dashes into the bedroom. The window is open and the curtains are billowing out into the room. He darts to the window, flings one leg over the sill and climbs out on the fire escape. Feet can be heard clattering down the fire escape. He peers over the rail just in time to see a dark figure head into the side street beneath him and sprint off through the rain. Corso: (yells half-heartedly): Hey, you! He gives up and climbs back inside, and scans the living room. The only immediate sign of the intruder's presence is that the chair has been pulled away from the desk and one of the drawers is open. He pushes the chair back into place and shuts the drawer. *** Bernieís book store. Next day. 'The Nine Gates' is lying open on Bernie's desk. He's reverently turning the pages with Corso at his elbow. Bernie: Son of a bitch... Where did you get this? Corso: Balkan. He wants me to research it. Bernie: Balkan owns a 'Nine Gates'? Corso: Recently acquired from the late lamented Andrew Telfer. Bernie: Trust Balkan. What does he need you for? I don't suppose he plans to sell it. Corso: He wants me to compare it with the other two surviving copies in Portugal and France. I'm off to Europe. Bernie: Compare it? Corso: Yeah. Only one of the three is authentic, he says. Bernie: Well, this one looks genuine enough. Must be worth a million. Jesus! Take good care of it. Corso: That's why I'm here. I need you to stash it for me. I'm starting to see things. Bernie: (stares at him) Like what? Corso: Uninvited visitors, unfamiliar faces. I don't trust anyone, not even Balkan. (reflects for a moment) Come to think of it, I don't even trust you. Bernie: (a mixture of affection and cynicism) That's mean, buddy. You know I'd never screw you without a damn good reason: money, women, business. Anything else, you can relax. Corso: (taps the book with his forefinger) You'll answer for this with your balls, Bernie. Bernie: (still engrossed): Sure, man, sure. You can castrate me personally. Corso: I'll pick it up on my way to the airport. Bernie: No problem. (He continues to pore over the book, turns another page, reads aloud) 'Virtue lies vanquished', huh? These engravings are terrific. Corso: (leans over his shoulder): Or horrific, whichever. Bernie: (nods absently. He smiles to himself with an air of enchantment) Beautiful, just beautiful... Visible through the bookstore's semi-basement windows, the legs of passerby accelerate as they scurry past: it has started to rain. A pair of manís legs in dark slacks come to a halt. The butt of a small cigar falls to the sidewalk, the legs walk on. Two white sneakers come into view. They step on the butt and extinguish it. *** Corsoís apartment. Night. In the bedroom, Corso packs some articles of clothing and toiletries in a small suitcase lying open on the bed. The doorbell rings. Somewhat startled, Corso straightens up, dumps a handful of socks on the bed and goes out into the lobby. He peers through the spyhole: Liana Telfer is standing outside. He pauses for a moment, thinking hard, then opens the door. Liana: May I come in? Corso: (steps aside and lets her in) This way. (he shows her into the living room. She starts to unbutton her coat) Allow me. He helps her off with her coat and drapes it neatly over a chair. She's dressed to kill in a black, lowcut cocktail gown. Liana: Thank you. Corso: Sit down, won't you? Liana: (sits gracefully on the sofa, taking in the decor of his bachelor apartment as she does so) I've come to talk business. Corso: Great. Everyone's talking business to me lately. Liana: (takes a slim gold cigarette case from her purse, and lights it) Yesterday, when you came to see me about that book, I was too surprised to react as I should have done. I mean, it really was one of Andrew's favorites. Corso: So you said. Liana: I'd like to get it back. Corso: That could be a problem. Liana: Not necessarily. it all depends. Corso: On what? Liana: On you. Corso: (stares at her, absorbing the lines of her figure) I don't understand, Mrs. Telfer. The book isn't mine to dispose of. Liana: (She sits back, showing off her legs) You work for money, I take it? Corso: What else? Liana: I have a great deal of money. Corso: I'm happy for you. Liana: You could stage a theft. I'm sure your client is well insured. Corso: I'm a professional, ma'am. Liana: You're a professional mercenary. Mercenaries work for the highest bidder. Corso: I make a living. Liana: (huskily): I could throw in a bonus. Corso: This has happened before someplace. Liana: I know. In the movies. Corso: And she had an automatic in her stocking top. Corso watches, mesmerized, as she slowly, very slowly, slides her skirt up her thighs to reveal her stocking tops and black lace garter belt. Liana: No automatic. Just as slowly, she smooths her skirt down over her thighs. Corso swallows hard. He rises and goes to his drinks corner, a shelf with an array of bottles and glasses on it. Over his shoulder: Corso: Want one? Liana: Why not? Corso splashes some Scotch into two tumblers and carries them over to her. Liana sits motionless for an instant, looking up at him. Then, very slowly, she stubs out her cigarette, extends the same hand, and fondles his crotch. Corso, with the tumblers encumbering both his hands, can only stand there like a bird hypnotized by a snake. His Adam's apple bobs some more. Holding his gaze, Liana withdraws her hand and rises. They're only inches apart now. She takes one of the tumblers and clinks it against Corsoís, then drains it. He does the same, while in a kind of trance. Very deliberately, Liana relieves him of his glass and puts it down on the table with hers. Then, cupping his face between her hands, she proceeds to kiss him. Corso responds. He pulls up her skirt, she reaches for his zipper and yanks at it. He bears her backward and downward onto the sofa. The gown slips down over Liana's left shoulder, revealing a small tattoo in the shape of a snake devouring its own tail. Later. Lianaís hand reaches across the floor for Corso's canvas bag. She searches in the bag, then inverts it, spilling the contents: a couple of packs of Luckies, a notebook, an envelope full of bills, a Swiss Army knife, an expert's magnifying glass, some pencils, etc. Corso and Liana on the floor, their clothing dishevelled. Corso is lying back, still panting and sweating from his exertions, Liana is sitting up. Liana: Well, where is it? Corso: Where's what? Liana: Don't fuck with me, Corso. Corso: I thought that's what we were doing. Lianaís eyes narrow. She goes for his face with her nails and teeth. Corso turns his head away just in time and scrambles to his feet, pulling up his trousers. Liana, beside herself with fury, flies at him with both hands extended like claws. He manages to grab her wrists and immobilize them, so she sinks her teeth in his chest. With an agonized yell, Corso releases her wrists, clasps his chest and staggers back, he's hobbled by the trousers that have slumped around his ankles. Liana looks around wildly for a weapon of some kind, catches sight of the Scotch bottle and seizes it by the neck. Corso, one hand holding his trousers at half mast, the other raised in supplication, comes shuffling toward her. Corso: Hey, look, be reasonable... Unmoved, Liana raises the bottle and smashes it over his head. Sometime later. Corso recovers consciousness, gingerly feels his aching head. Some blood has trickled down his face. He surveys the room, which is in chaos and has obviously been ransacked. He goes into the bathroom and inspects himself in the mirror, takes a hand towel and gingerly dabs his scalp. Holding the towel to his head, he returns to the living room, where he picks up the phone and punches out a number. We hear a recorded announcement: Bernie: (Voice Over): Hi, this is Bernie's Rare Books. I'm not available right now. If you want to leave a message, please speak after the beep. Corso: (into phone): Bernie, you there? Bernie? Pick up! No response. He hangs up. *** Bernieís Book Store. Corso, bag on shoulder, is lurking in a doorway across the street from the bookstore. The place looks silent and deserted, but a dim glow indicates that a light must be on somewhere inside. Corso quits the doorway and hurries across the street. He walks down the steps to the door and tries the handle. The door opens. Only Bernie's desk light is on. No sign of Bernle himself. He listens intently, looks up at the top of the spiral staircase, which is in shadow, calls in a low voice: Corso: Bernie? No response. He listens some more: nothing but the sound of a passing car. He makes his way cautiously along the bookcases and rounds a corner, then stops short with a look of horror on his face. Bernie has been lashed upside down to the handrail of the spiral staircase. His mouth and eyes are open, and his battered face is streaked with blood. Corso: Jesus Christ! He puts out a hand toward Bernie, but the man is so obviously dead that he withdraws it. He looks around in an involuntary, apprehensive way. Then, satisfied that he's alone, he starts to climb the staircase. Once past Bernie's corpse, which he studiously avoids touching, he climbs faster. The staircase creaks and sways. Reaching the third tier of bookshelves, he presses a hidden button. With a faint click, a panel springs open to disclose a recess filled with books. Corso expels a deep breath. There it is, safe and sound: 'The Nine Gates'. He looks down at Bernie. Corso: Thanks, man. I'm sorry... *** Airport. Corso, ensconced in a window seat, is moodily gazing out at some passing cloud-castles. The sun is setting. Wearing his overcoat and carrying his suitcase, threads his way through them with the canvas bag on his shoulder. Weary and unshaven, he stares straight ahead with an abstracted expression, adjusts his glasses. His footsteps echo as he walks, bag on shoulder, along one of Toledo's narrow medieval streets. Very few people to be seen. The sun is shining brightly, but there's a strong wind blowing. Rounding a corner, he heads down an alleyway flanked by scaffolding swathed in protective netting and blue tarpaulins. It's completely deserted. No sound but that of canvas billowing in the wind like a ship's sails. He consults a street sign, turns another corner. He reaches a doorway leading to an inner courtyard, bumps into a boy who comes running out. We hear the strident cries of a woman. Boy: Si! Si, mama!!! A flight of steps in one corner of the courtyard leads down to the basement. Corso descends them and stops outside a door. A grimy window beside it serves to display some old books and religious prints. The sign on the door reads Hermanos Ceniza Restauracion de Libros. Below it: 'On parle Francais' and 'English spoken'. He opens the door, which creaks and enters. A gaunt, bent-backed old man (Pedro Ceniza) with a pair of glasses perched on the end of his big nose looks up from an old hand press. Everything about him is as gray as the cigarette ash that rains down on his clothes and the books he's working on. He's a chain-smoker. Pedro:Senor. Corso: Buenas tardes. Pedro: Buenes tardes. Pablo: (Off Screen) Buenas tardes. Corso turns to see another old man (Pablo Ceniza) surface from behind some stacks of paper. His resemblance to Pedro is such that they can only be twins. Pablo wipes his inky hand on a rag before shaking Corsoís. Pedro follows suit. Corso hesitates briefly, as Pedro and Pablo look him up and down. Their movements are slow and serene, their expression carries a hint of mockery, and they often exchange knowing smiles. Corso: You speak English? (They nod simultaneously. He produces 'The Nine Gates' from his shoulder bag) I'd appreciate your opinion on this. Pedro takes the book with tremulous hands. Pablo quickly clears away some parchments on the workbench to make room for it. Some ash from Pedro's cigarette falls on the cover. Pablo clicks his tongue and blows it off. Pablo: (reprovingly) What a habit for a bookbinder! (smiles at Corso) 'The Nine Gates...' A superb edition. Very rare. Pedro: (opens it): The Telfer copy. Corso: You used to own it, right? Pedro: We used to, yes. Pablo: We sold it. Pedro: We sold it when the opportunity presented itself. It was too... Pablo: too good to miss. An excellent sale. Pedro: An excellent buy - impeccable condition. Pablo: Impeccable. You are the present owner? Corso: A client of mine. Pablo: (over his glasses): I would never have believed she would part with it. Corso: She? Pablo: (without looking up): Senora Telfer. Corso reaches into his overcoat pocket and extracts a crumpled cigarette. He's raising it to his lips when he stops short, produces the equally crumpled pack and offers it to Pedro, who has just discarded his butt. Pedro helps himself to a Lucky, breaks off the filter and jams it in his mouth. Corso lights both of them. Corso: I understood it was Mr. Telfer that bought it. Pablo: He paid for it. Pedro: It was the senora who made him buy it. He did not seem particularly... (glances at Pablo) Pablo: ...interested. Pedro: (finished examining the text. He looks at the spine) A superb specimen. Corso: (hesitates briefly): Could it be a forgery? Pedro: (suspiciously, almost indignantly) A forgery? (turns to Pablo) You heard that, Pablo? Pablo: (wags his finger reprovingly in Corso's face) I took you for a professional, senor. You speak too lightly of forgeries. Pedro: Far too lightly. Pablo: Forging a book is expensive. Paper of the period, the right inks.... (makes a dismissive gesture) Too expensive to be profitable. Pedro and Pablo assess the effect of their words on Corso, who digests them. Corso: I'm aware of all that, but could some part of it be forged? Restorers have been known to replace missing pages with pages taken from another copy of the same edition. Have you never done that yourselves? The old men look at each other, then turn to Corso simultaneously. Pedro, looking flattered, nods. Pedro: Of course it can be done. Pablo: It requires great skill, naturally, but yes, it can be done. Corso: Couldn't that be the case here? Pablo: What makes you ask? Corso: My client wishes to satisfy himself of the book's authenticity. (The brothers eye each other over their glasses. Corso adjusts his own) His name is Balkan. Boris Balkan of New York. Pablo and Pedro exchange another glance. Corso detects the hint of a smile that passes between them. Pedro: All books have a destiny of their own. Pablo: Even a life of their own. Senor Balkan is a noted bibliophile. He's no fool. He must know this book is authentic. Pedro: We know it. Pablo: So must he. Pedro: This book was with us for years. Pablo: Many years. Pedro: We had ample opportunity to examine it thoroughly. The printing and binding are superb examples of 17th century Venetian craftsmanship. (he picks up the book and riffles the pages under Corso's nose) Finest rag paper, resistant to the passage of time! None of your modern wood pulp! Pablo: Watermarks, identical shades, ink, type faces... If this is a forgery, or a copy with pages restored, it's the work of a master. Pedro: A master. Corso: (contemplates the brothers with a smile) Did you study the engravings? They seem to form a kind of riddle. Pedro and Pablo reopen the book and look at the engravings. Pablo: Well, yes... (another glance at Pedro) Books of this type often contain little puzzles. Pedro: Especially in the case of such an illustrious collaborator. Corso looks at Pedro with sudden interest, then at the book, then back at Pedro. Corso: Collaborator? Pedro: (shrugs, Pablo refocuses on Corso) You cannot have proceeded very far with your research. Come, look closely. He takes a magnifying glass and holds it over one of the engravings, which shows a hermit with two keys in his hand and dog and a lantern beside him. A microscopic inscription can be detected in the bottom right corner. Corso bends over it, looking mystified. Pedro grows impatient. Pedro: Don't you see? Only seven of the engravings were signed by Aristide Torchia. Corso: And the other two? Pedro: This is one of them. Look. Corso: (peers through the magnifying glass once more. We see the insert 'Invenit L.F.') 'L.F.'? Who's that? Pedro: Think. Corso: Lucifer? Pedro: (he and Pablo chuckle heartily) You're a clever man, senor. Torchia was not alone when they burned him alive. Corso: But that's absurd! You don't honestly believe... Pedro: The man who wrote this did so in alliance with the Devil and went to the stake for it. Even Hell has its heroes, senor. Corso looks from one to the other, trying to figure this out. *** Toledo Alleyway. Day. Corso walks back along the narrow alleyway with the canvas- covered scaffolding. He glances over his shoulder. Not a soul in sight. The blue canvas flaps in the wind, the scaffolding creaks and groans. He walks on. He hears a sudden rending sound, looks back and up. There's little time to react: the scaffolding has come away from its mountings. It's starting to buckle and fall out into the street. He breaks into a run. Behind him, collapsing like a house of cards, the mass of canvas and metal gains on him as he sprints for the end of the alley, summoning up all his energy for a final burst. The last of the scaffolding hits the ground only inches behind him. He looks back at the tangled mass that has only just failed to engulf him. *** Train. Dining car. Night. The dining car is deserted save for Corso and a Steward, who is lolling against the kitchen bulkhead at the far end. Corso, with a coffee cup and a brandy glass at his elbow, has 'The Nine Gates' lying open in front of him at the engraving of the hermit with the keys, dog and lantern. There's some cigarette ash trapped between the pages. Smiling faintly, he blows it away. Then he reaches into his bag for his magnifying glass, pushes up his steel-rimmed specs, and screws the glass into his eye. He examines the engraving at close range. We see again the insert of the inscription 'Invenit L.F.' He straightens up and removes the glass from his eye. He finishes his brandy and beckons the steward. Corso, with bag on shoulder, crosses the sliding floorplates that connect one car to another. He enters the next corridor and stops short: there's a lone figure leaning against a window, looking out: it's the girl we saw at Balkan's lecture: short dark hair, catlike green eyes, slim, athletic figure, jeans and white sneakers. Corso sets off along the corridor. When he reaches her, they eye each other's reflections in the windowpane. Girl: (softly): Hi. Corso: (pauses to look at her, unable to make up his mind) I've seen you before, haven't I? Girl: Have you? Corso: Yes, somewhere. A brief silence. Girl: Are you traveling in this car? Corso: The next one. Girl: The sleeper. (smiles) I travel on the cheap. Corso: Are you a student? Girl: Something like that. (looks out the window again) I like trains. Corso: Me too. What's your name? Girl: Guess. Corso: (shrugs, smiles): Greeneyes. Girl: That'll do. What's yours? Corso: Corso. Girl: Strange name. Corso: Italian. it means 'I run'. Girl: You don't look like a runner to me - more the quiet type. They look at each other's reflections once more. Corso nods. Corso: Well, have a good trip. Girl: And you. Corso walks on down the corridor. There's something weird about this chance encounter, but he can't figure out what. Girl: See you around, maybe. Corso: (pauses and looks back. He nods) Maybe. *** Sintra Station. Day. Corso with bag on shoulder, gets off the train. A horse-drawn carriage drops him off in front of a massive gateway flanked by stone walls thick with ivy. Corso pushes open the gate, and beyond them is a neglected drive. Dead leaves litter a gravel driveway flanked by crumbling statues, some of which have toppled over onto the long-neglected, weed-infested lawn. His muffled footsteps are the only sound. Near the house is a dried-up, dilapidated fountain faced with tiles and topped by a mouldering cherub. The waters of the ornamental pond beside it are dark and coated with dead leaves and water lilies. The Quinta Fargas is a gloomy, four-square, 18th century mansion. Corso walks up the steps and tugs the old-fashioned bellpull. He waits, glances at his watch. Echoing footsteps approach. A sound of bolts being withdrawn, and the door opens to reveal Victor Fargas. Tall and bone thin, he has a drooping white mustache. His baggy trousers and oversized woolen sweater contrast with a pair of old but immaculately polished shoes. Fargas: Yes? Corso: Dean Corso, Mr. Fargas. (Puts out his hand) How do you do. Fargas: (hesitates before shaking hands.) Corso, ah yes. Please come in. Fargas, who has a slight limp, leads the way through two reception rooms, entirely bare and empty. Corso observes the patches on the walls that indicate the former location of paintings, curtains, pieces of furniture, etc. Fargas: Home, sweet home! (he ushers Corso into a large but sparsely furnished drawing room. ) You won't say no to a brandy, I take it? He goes over to a side table and pours some cognac into two fine crystal glasses. Corso, meantime, is surveying the room. At the far end is a huge open fireplace. Two armchairs, a table, a sideboard, some candlesticks, a violin case - and books. They're neatly stacked on the floor and the few pieces of furniture. Corso has just discovered them when Fargas comes over with the glasses. He puts his bag down and takes one. Corso: Thanks. (admiringly) Handsome glasses. Fargas: These are the only ones I have left. Corso: (looks around the room) Must have been a beautiful place. Fargas: It was, but old families are like ancient civilizations: they wither and die. (he raises his glass in a silent toast. Corso does the same. Fargas gestures towards the books) There they are, eight hundred and thirty-four of them. A pity you didn't see them in better times, in their bookcases. I used to have five thousand. These are the survivors. Corso: (runs his fingers caressingly over a book) So this is the Fargas collection. Not quite as I imagined it. Fargas: C'est la vie, my friend. But I keep them in perfect condition, safe from damp, light, heat and rats. I dust and air them every day. it's all I do do, in fact. Corso: What happened to the rest? Fargas: Sacrificed in a good cause. I had to sell them to preserve the others. Five or six books a year. Almost all the proceeds go to the state in taxes. Corso: Why don't you sell up? Fargas: Sell the Fargas family estate? It's obvious you're an American, my friend. There are things you can't be expected to understand. Corso: (continues to survey the books, fascinated) If you sold all these your financial problems would be over... (picks up a book and examines it) Look at this, Poliphilo, for example: a real gem! Fargas: (Corso replaces the book. Fargas leans over and carefully adjusts the book until it's precisely in its original position) I know, but if I sold them all I'd have no reason to go on living. More brandy? (he heads for the bottle on the side table without waiting for a reply.) Corso: What about 'The Nine Gates'? Fargas: (puzzled): What about it? Corso: That's why I'm here.. I told you on the phone. Fargas: The phone? (pause) Yes, of course, I remember now. Forgive me. Of course, 'The Nine Gates'. (he looks around several times as if trying to collect his thoughts, drains his cognac, and limps over to some books on a rug near the fireplace. They both kneel on the rug side by side. Corso examines the books, which all deal with magic, alchemy and demonology) Well, what do you think? Corso: Not bad. Fargas: Not bad indeed. These I will never sell. At least ten of them are exceedingly rare. Look, Plancy's 'Dictionary of Hell', First Edition, 1842, Leonardo Fioravanti's 'Compendi di Secreti' of 1571... But this is what interests you, no? (he picks up a black book with a gold pentacle on the cover - the second copy of 'The Nine Gates' - and holds it out. Corso takes it carefully and gets to his feet. Fargas rises too) There it is, in perfect condition. It has traveled the world for three-and-a-half centuries, yet it might have been printed yesterday. Corso: (takes the book over to a window. Fargas follows) Is it in order? You haven't detected anything unusual? Fargas: Unusual? No. The text is complete, the engravings too. Nine plus the title page, just as the catalogs state - just like the Kessler in Paris and the Telfer in New York. Corso: It isn't the Telfer anymore. Telfer killed himself, but he sold his copy to Balkan first. Fargas: Balkan... If he sets his heart on a book, no price is too high. It's strange he should have sent you here, if he already... (breaks off as something has just occurred to him. He points to Corso's bag) You have it with you? May I see it? (Corso gets the book, and they go over to a table. Fargas places the two copies side by side, bends over them) Superb, beautiful, identical. Two of the only three that escaped the flames, reunited for the first time in over three centuries. (he turns the pages of each book, caressing the yellowing paper with his fingertips) Look at this imperfection. In the fourth line here - the damaged "S". The same type, the same impression. (turns both copies of 'The Nine Gates' over to reveal their backboards.) You see? If it weren't for this slight discoloration on the back of my copy, one couldn't tell them apart. Corso: If it's all right with you, I'd like to stay awhile and study them in detail. Fargas: (eyes him keenly): What are you looking for, Mr. Corso? Corso: I wish I knew. Fargas: (looks suddenly grave) Some books are dangerous. Not to be opened with impunity. Corso: Very true. *** Drawing Room. Evening. A fire burns on the hearth. Fargas is seated at a window, practicing the violin. He repeats the same short piece over and over again, occasionally pausing to take a sip of brandy. Corso is sitting at a table with both copies of 'The Nine Gates' open in front of him at the engraving of the knight with a finger to his lips. He compares the two copies with the aid of his magnifying glass. They look identical. He turns over several pages in each book until he comes to the hermit with the keys, dog and lanter. He compares the two copies. Again, no apparent difference. He proceeds to a third engraving: a wayfarer approaching a bridge with two gate towers and an angelic archer in the clouds overhead. Another seemingly identical pair. Then he stops short and returns to the second engraving. it looks the same, but then he spots it: in Balkan's copy the keys are in the Hermit's right hand, in Fargas' copy, theyíre in his left. Fascinated by this discovery, he peers closely at each signature in turn. Balkan's reads 'AT', Fargas' ... 'LF'. Corso turns to an engraving of a jester outside a maze with two entrances. Comparison of the two copies reveals that in Fargas' copy one of the doorways is open; in Balkan's it's bricked up. The signatures, too, vary: 'AT' in one, 'LF' in the other. Corso: (excitedly, under his breath): Now we're getting somewhere An old-fashioned telephone bell starts ringing somewhere in the house. Corso looks up. Fargas doesn't hear the bell immediately. He plays on for a bar or two, then pauses and listens while the telephone continues to ring. He gets to his feet. He puts the violin down and limps out. Corso's open notebook now displays a chart consisting of two horizontal rows of nine boxes. One row is marked 'BALKAN', the other 'FARGAS'. He is busy filling in the boxes with either 'AT' or 'LF'. Fargas reappears. He gives Corso a friendly nod, returns to the window and launches into the same old piece on his violin. Corso has now filled in all the boxes. He studies them for a moment, then circles all the 'LF's in red ink. Outside. Corso exits and shuts the gate. His breath is visible as steam in the chilly night air. After a last backward look at the statue-bordered driveway and the neglected garden, he turns up his overcoat collar, settles his bag on his shoulder, and sets off down the road toward the lights of Sintra, which are visible in the distance. His footsteps re-echo from the wall that bounds the Fargas property. He hasn't gone far when two headlights snap on behind him. Simultaneously, the car starts up and takes off with a squeal of tires. Corso spins around. He stands there transfixed for a moment, then dodges behind a projecting buttress as the car hurtles past, missing him by a hair. The car, a big dark sedan, skids to a halt some twenty yards away. The driver' s door opens and a tall man gets out. He momentarily hesitates when he sees Corso still on his feet. Just then we hear a motor vehicle - a noisy one - rounding the next bend. The tall man is captured by a beam of light. Corso has seen him before: it's the mustache. The man dives back into the car and takes off fast. Corso, trembling with shock, watches the tail lights recede and disappear. The sound of the approaching vehicle increases in volume. Corso turns to stare at it. Wobbling unsteadily along the road comes a lone peasant astride a ramshackle motorbike with a blown exhaust. The peasant honks as he goes by. Corso retrieves his bag from the roadside. *** Corso enters a small hotel, collects his key from the reception desk and sets off in the direction of the elevator. Visible in the background is the hotel lounge. Two elderly female tourists, are quietly conversing at one table while an overweight German couple sip cocktails. Corso, idly scanning the lounge as he makes for the elevator, stops short: a pair of legs in jeans and white sneakers are jutting from an inglenook fireplace in the far corner. He goes over to investigate. The girl is snuggled up in an armchair with a book on her lap. He hesitates for a moment. She looks up. Corso: Hi. You didn't say you were bound for Sintra. Girl: Neither did you. Corso: What are you doing here? Girl: Reading. Corso: I can see that. Girl: And bumping into people unexpectedly. Corso: Unexpectedly is right. Girl: Are you on a business trip? (indicates his shoulder bag) Is that why you always carry that thing around? Corso: (doesn't answer, adjusts his glasses. He looks at the book she has. She hands it to him. We see the title: 'The Devil in Love' by Jacques Cazotte) You like Gothic novels? Girl: I like books. I never travel without one. Corso: Been traveling long? Girl: Ages. Corso: (eyes her, intrigued) You said you were a student? Girl: Did I? (shrugs) So I am. In a way. Hotel Porter: (appears at Corsoís elbow) Excuse me, senor. Phone call. Corso: (surprised): For me? Are you sure? Hotel Porter: Si, senor. (he leaves.) Corso: (turns back to the girl) Well, sorry I disturbed you. (hands back the book and turns to go. Corso goes to the hotel phone and picks up the receiver with a puzzled frown) Yes? Balkan: (Voice Over) Mr. Corso? Corso: (startled): Balkan? How did you find me? Balkan: Made any progress? Corso: Progress? You could call it that. Balkan: Well? Corso: I've examined the Fargas copy. It's authentic. At least it looks that way. Like yours. But there are discrepancies. Balkan: Discrepancies? Corso: In the engravings. Like keys in different hands, doorways open in one copy and bricked up in the other. Balkan: I see. Corso: And there's another thing. Balkan: Yes? Corso: The ones that differ are ail signed 'LF'. Seems like some kind of riddle. ( A long pause) Are you still there? Where are you, anyway? Balkan: I think you'd better get it for me. Corso: The old man wouldn't sell it to save his life - he said as much. (Another long pause) Balkan? A click, and the line goes dead. *** Corsoís hotel room. Corsoís lying fast asleep on his back in bed, one limp arm trailing over the edge. A knock at the door. He grunts and props himself on one elbow. Corso: (sleepily): Just a minute. (He rolls out of bed and wraps the bedspread around his waist. Then he opens the door and stands there, a tousled figure with Liana's teeth marks clearly visible on his chest. The girl stands outside his door. Girl: You left your phone off the hook. Corso: Jesus... (peers blearily at his watch): What time is it? Girl: Early, but you have to go. Corso: (bewildered): Go where, for God's sake? Girl: The Fargas place. Corso: Fargas? I already saw Fargas. Girl: I think you should see him again. Corso: What is this, a practical joke? Who the hell are you? What do you know about Fargas? Girl: Better get dressed. I'll wait for you downstairs. *** Fargas Driveway. Corso and the girl walk in silence up the driveway. He eyes her, mystified, as she strides briskly alongside him. Corso goes up to the front door and yanks at the bellpull. Girl: Don't bother. He isn't there. Corso: (sarcastically): Really. So where is he? Girl: Over there. She points in the direction of the ornamental pond. Corso stares at her, then walks over to it and freezes: Victor Fargasí corpse is floating face up among the dead leaves and lily pads. An empty brandy bottle is floating alongside. Corso: (mutters): God Almighty! Girl: (Ignoring her, Corso tries the door handle, but it's bolted) You want to get inside? Corso nods, too shocked to trade words with her. She looks up at the facade. Then, with surprising agility, she shimmies up a drainpipe beside the door and climbs onto the balcony above it. One of the French windows is broken. She reaches inside, releases the catch, and disappears from view. Corso waits, casting occasional glances at the ornamental pond and its occupant. There's the rattle of a bolt being withdrawn, and the girl opens the front door from the inside. Corso: Wait here. (he enters the house and reaches the drawing room. His foot crunches on something as he crosses it on his way to the rug on which the occult books were stacked: it's the remains of one of Fargas' treasured brandy glasses. He pauses long enough to identify it, then walks on. The books are lying scattered across the rug: no sign of 'The Nine Gates') Shit! Shit, SHIT!!! He looks around helplessly. Then he sees it: the last of the fire is still smoldering on the hearth, and lying open among the ashes, charred around the edges, is Fargas' 'Nine Gates'. He picks up,the mutilated volume, looks at it for a moment, shaking his head, and stows it in his canvas bag and emerges from the house. Girl: Well, did you find it? Corso: You know too damned much. More than I do. Why do you keep following me around? What are you, a groupie or something? IRS, CIA, Interpol? Who are you working for? Girl: You're wasting time, asking all these questions. We'd better get out of here. There's a flight from Lisbon to Paris at noon. We should just make it. Corso: What's with the 'we'? Girl: There are two of us, aren't there? *** Airliner cabin. The girl is drowsing with her head on Corso's shoulder. He looks down at her. Corso: Somebody's playing a game with me. Girl: (drowsily): Of course. You're a part of it. Corso: What exactly happened back there? Girl: Fargas caught someone stealing, I guess. Corso: And what do you guess happened to him? Girl: He drowned. Corso: With a little help from who? Girl: (shrugs): He's dead. Who cares? Corso: I care. I could wind up the same way. Girl: Not with me around to take care of you. Corso: I see. You're my guardian angel. Girl: Something like that. She removes her head from his shoulder, turns away, and snuggles up against the window instead. *** Paris Airport. Corso makes his way across the bustling arrivals hall. The girl, is trailing along in his wake. He glances back at her occasionally. Corso takes out his US passport in readiness to show it. He looks around for the girl, but there's no sign of her. A taxi drops him off in front of a modest but respectable three-star hotel. He hands some money through the driver's window and heads for the entrance. He walks up to the reception desk, which is presided over by a desk clerk (Gruber). Corso: Hello, Gruber. Gruber: (looks up, acknowledges Corsoís presence with a curt nod of the head) Welcome, Mr. Corso. Delighted to see you again. (consults his computer screen) We don't have any vacancies, but I'm sure I'll be able to organize something. Corso: Thank you, Gruber. (discreetly, he slides a 100 franc bill across the desk. Gruber makes it vanish and smiles) Gruber: Thank you, sir. Upstairs in his room, a bottle of Scotch and a glass on a small desk, along with Balkan's 'Nine Gates' and Fargas's charred copy. A cigarette is smoldering in the ashtray beside them. Corso is turning the pages of what remains of Fargas' copy. He pauses at a page of text bearing a distinctive ornamental capital, peers at the gutter, and detects that the page facing it has been torn out. He runs his finger along the rough edge. Then he opens Balkan's copy at the same place. What is missing from the charred copy is the engraving of the hermit with the keys, dog and lantern. He takes a swig of his Scotch and leans back with the cigarette between his lips, thinking hard. Then he glances at his watch and stands up. Corso, canvas bag on shoulder as usual, strides across the bridge toward the Left Bank. He walks up to the entrance of a tall, well-preserved old building overlooking the Seine. A grim-faced concierge is sits in her cubby-hole. She eyes him inquiringly. Concierge: Monsieur? Corso: The Kessler Foundation. She jerks her head in the direction of an old-fashioned elevator like a gilded cage. Kessler Foundation. The secretary looks up at Corso with an inquiringly. Corso: Dean Corso. I have an appointment with Baroness Kessler. Secretary: (consults her appointment book and her watch and rises) This way. (She walks ahead of him down a paneled corridor and stops outside a heavy wooden door.) You have thirty minutes. She knocks on the door and opens it to reveal a spacious room filled with luxuriant potted plants. Beside the window, a large desk is covered with papers and books, some of them open. Corso follows the secretary in. Baroness Kessler, an elegant little white-haired old lady with a scarf draped around her shoulders, turns her electric wheelchair to face him. She speaks with a pronounced German accent. Baroness Kessler: Mr. Corso? Come in. I've heard a great deal about you. (She approaches with her left hand extended. We see that her right arm has been amputated at the elbow.) Corso: Nothing good, I hope. (They shake hands) Baroness: (to the secretary) Merci, Simone. (to Corso) You hope right. The secretary exits, closing the door behind her. Corso: (dryly.) I'm reassured, Baroness. In my trade, to be spoken well of can be professionally disastrous. (He surveys the room. Visible through some open double doors on the right is a vast library. He focuses on it. The Baroness follows the direction of his gaze.) Baroness: Yes, there it is: the Kessler Collection. Corso: Very impressive too. I know your catalog almost by heart. Baroness: Strange we haven't met before. Your name is a byword among dealers and collectors but I imagine you know your own reputation better than I do. Corso: It keeps the wolf from the door. (smiles to change the subject) Were you in the middle of something? Baroness: (beckons him over to the desk. He looks at the array of books and papers) My latest work: 'The Devil: History and Myth' - a kind of biography. It will be published early next year. Corso: Why the Devil? Baroness: (laughs) I saw him one day. I was fifteen years old, and I saw him as plain as I see you now: cutaway, top hat, cane. Very elegant, very handsome. It was love at first sight. Corso: (chuckles, doing his best to charm the old lady) Three hundred years ago they'd have burned you at the stake for saying that. Baroness: Three hundred years ago I wouldn't have said it. (They both laugh) Nor would I have made a million by writing about it. (abruptly businesslike) What is it you wish to discuss, Mr. Corso? Corso: (adjusts his glasses) There's a book in your collection I'd like to examine. (she smiles as if that were already obvious) It's 'The Book of the Nine Gates of the Kingdom of Shadows'. Baroness: (unsurprised): The Nine Gates? An interesting work. Everyone's been asking about it lately. Corso: (stiffens almost imperceptibly): Really? Baroness: (eyes him for a moment) Come with me. (Swinging her wheelchair around, she steers it toward the double doors and into the library beyond them. Corso follows) You really believe in the Devil, Baroness? Baroness: Enough to devote my life and my library to him, not to mention many years of work. Don't you? Corso: Everyone's been asking me that lately. Baroness: (looks mildly amused. She sends her wheelchair gliding over to a bookshelf and removes the third copy of 'The Nine Gates') This book demands a certain amount of faith. Corso: My faith is in short supply. They both go over to a small table in the centre of the room. The Baroness opens the book and turns a few pages. There are handwritten slips of paper inserted throughout.) Baroness: I know this book extremely well. I studied it for years. Corso: Do you have any doubts about its authenticity? Baroness: (glances at him suspiciously) None whatever. Corso: You're sure? Baroness: My knowledge of this book is profound. I wrote a biography of its author. Corso: Aristide Torchia? Baroness: A courageous man. He died for the sake of this very book in 1623. He had spent many years in Prague, a centre of the occult. While there he studied the black arts and acquired a copy of the dread 'Delomelanicon'. This is his adaptation of that work, which was written by Lucifer himself. After they burned him at the stake, a secret society was founded to perpetuate its memory and preserve its secrets: the Brotherhood. Corso: The Brotherhood? Baroness: Yes, a kind of witches' coven. For centuries they have met to read from this book and worship the Prince of Darkness. Today they've degenerated into a social club for bored millionaires. I myself belonged to the Brotherhood many years ago, but time is too precious at my age. I told them to go to the Devil. She laughs at her own little joke. Corso: They still meet? Baroness: Every year. Corso: And you say they read from this book? Baroness: No, I took mine back when Liana Telfer acquired the one in Toledo. Victor Fargas is an unbeliever - he has always refused to participate, so naturally they use the Telfer copy. Not that it has ever worked. (pause) They never do, to be honest. Corso: So Andrew Telfer never took part? Baroness: Never. He knew nothing of these activities until that creature Liana de Saint-Damien married him for money. She used his dollars to buy the book and renovate her chateau. An old and aristocratic family, the Saint-Damiens, but penniless. They have dabbled in witchcraft for hundreds of years. Corso: Telfer hanged himself last week. Baroness: (A brief silence. She looks stunned for a moment) I see. And Fargas? Corso: He was alive the last time we spoke. Baroness: When was that? Corso: Two days ago. Baroness: (digests this, looks at him keenly) Who exactly are you working for, Mr. Corso? Corso: My client's name is irrelevant, Baroness. I'm simply trying to authenticate his copy - the one Telfer sold him before he died. Baroness: (catches on): How stupid of me! I should have guessed! (Angry now, she swings her wheelchair around to face him full on) You've outstayed your welcome, Mr. Corso. Corso: I was hoping to examine your copy in detail. Baroness: Certainly not. Tell your client, who can only be Boris Balkan, to come and examine it himself - if he dares. Tell him not to send any more wolves in sheeps' clothing. And now, kindly leave. (she points to the door with her stump. Her wheelchair hums as she shepherds him out through the office. He opens the door to the corridor) You don't know what you're getting yourself into, Mr. Corso. Get out before it's too late. Corso: I'm afraid it already is, Baroness. Baroness: Some books are dangerous, and this is one. Corso: (smiles wryly): So people keep telling me. Thanks for your time. The Baroness watches him exit. He's hardly out the door when she picks up the phone. *** Corso walks back along the corridor. The secretary gives him a curt nod as he passes. He emerges from the building. As he does, he catches sight of the mustache man leaning against the parapet of the riverside promenade across the way. The man stiffens and straightens up. Corso, with one eye on him, starts walking. The man starts walking too, keeps level with him on the other side of the street. Corso comes to a cafe. For want of a better idea, he goes inside, sits down at a table, orders a drink. Looking out the cafe window, he sees the man leaning against the parapet in his former pose, watching. The man lights a small cigar without taking his eyes off Corso. Corso is still sitting at his table, which now has several checks on it. The lights come on, blotting out his view of the street through the window. All he can now see is a reflection of the cafe's interior, including his own seated figure. He drums his fingers on the table, glances at his watch, and deliberates. He adds up his check and puts some money on the table. Then, settling his bag on his shoulder, he makes for the door. He peers across the street, sees no sign of the man, and exits. Still no sign of the man. He sets off along the sidewalk, glancing across the street as he does so. Then, over his shoulder, he catches sight of a car with dipped headlights - a dark-colored sedan - crawling along the curb some twenty yards behind him. On impulse, he darts across the street to the riverside promenade and dashes down the flight of steps that leads to the quay. The car's headlights blaze up. It accelerates, tires squealing, and swerves across the one-way street in pursuit. Corso races down the steps, hears the car skid to a halt, and sprints off along the quay. A couple of hundred yards along the quay he runs out of steam and slows, turns to look: no sign of the man, no sound of pursuing footsteps. Relieved but still wary, he leans against the embankment wall to catch his breath and light a cigarette. Then, with a final backward look, he walks on to the next flight of steps. He's halfway up them when the man, a tall, menacing figure, appears at the top. He turns to flee, but the man is too quick for him. He darts down the steps and Corso misses the last couple of steps and lands face down on the quayside. The man is on him in a flash. He bends down and yanks the strap of the bag off his shoulder. Corso resists, hugs the bag protectively, gets kicked in the stomach, doubles up and hangs on for dear life. As he lies there with the man kicking him repeatedly and tugging at the strap, he sees, silhouetted against the yellowish, misty glow of the nearest streetlight, a ghostly figure flying down the steps: It's the girl, with her duffel coat streaming out behind her like Superman's cape. The man has finally gotten the bag away from Corso. Just as he straightens up and turns to go, the girl performs a flying leap and kicks him. He grunts and goes sprawling on his back, dropping the bag. The girl is stooping to retrieve the bag when the man scrambles to his feet and lunges at her. He throws a punch at her head. Although she blocks most of its force he catches her a glancing blow on the nose. She reacts like lightning, kicks him in the groin. He yelps and goes into a crouch. Then, with a spin kick, she floors him once more. He lies there, spitting blood and glaring up at her. She seems to have knocked the fight out of him at last. With one wary eye on the man, the girl picks up the shoulder bag and turns to Corso who's struggling to his feet. Beyond her, he sees the man get up and make for the steps. Corso: Hey, he's getting away! The girl merely turns to look. Corso sets off after the man, who has already started up the steps, and just manages to grab one of his legs. The man kicks himself free and continues up the steps with Corso clumsily following a few feet behind. Waiting at the top of the steps, engine idling and passenger door open, is the dark sedan, a Mercedes. Corso reaches street level in time to catch a glimpse of the glamorous blonde behind the wheel: it's Liana Telfer. The man jumps in and slams the door. The car burns rubber as it accelerates away. The girl calmly climbs the last few steps with Corso, bag in one hand and his glasses in the other. She hands them to him. Girl: They're broken. You should be more careful. Corso , leaning back against the promenade wall and breathing heavily, stares at her with his mouth open. He slides down the wall and subsides into a sitting position on the sidewalk. One lens of his glasses cracked, is still sitting on the sidewalk with his back against the wall. The girl is sitting beside him. He produces a crumpled cigarette and lights it. It takes him quite a while, his hands are shaking so badly. The girl's nose is bleeding. She wipes it on her sleeve. Corso produces a handkerchief as crumpled as his cigarette and hands it to her. Corso: When did you learn all that? Girl: What? Corso: (aims a feeble kick in the air) That stuff. Girl: (casually): Oh, ages ago. Corso: No shit. She gets up and holds out her hand. He takes it and rises with an effort. He flicks his cigarette over the parapet. They walk off along the promenade side by side and head for the hotel. Corso goes up to the reception desk, where Gruber is on duty. Corso: I need a favor, Gruber. Gruber: (looks up, registers his broken glasses and disheveled condition and the girl is standing in the background) Certainly, Mr. Corso. Corso: Liana Telfer, maiden name Saint-Damien. Thirtyish, blond, dishy. Probably accompanied by a big man with a Clark Gable mustache. (Gruber make some notes on a pad) I want to know if they're staying at some hotel here in Paris. Gruber: It could take a little time. Corso: Of course. Start with the five-stars. They're the best bet. Gruber: Very good, sir. (pause) Are you feeling all right? Corso: I've felt better. Thanks, Gruber. Let me know if you locate them. Gruber watches Corso and the girl walk to the elevators. In his bedroom, Corso is filling a plastic laundry bag with ice from a tray in the minibar. The girl is sitting on the bed with her head tilted back and a bloodstained handkerchief to her nose. Corso: Here, hold this against your neck and lie back. (sits down beside her and hands her the ice pack. She applies it to the nape of her neck, lies back and shuts her eyes) You were great down there by the river. I haven't really thanked you. (She opens her eyes and smiles at him) Like to tell me what's going on? Girl: (shrugs faintly): Someone's after your book. Corso: They didn't have to kill Fargas to get it. They didn't have to mutilate his copy, either. They tore out the engravings and ditched the rest. There's got to be more to it than that. Girl: (her nose has stopped bleeding) Do you believe in the Devil, Corso? Corso: I'm being paid to. Do you? Girl: (smiles): I'm a bit of a devil myself... She reaches up, removes his glasses, and puts them on the bedside table. Corso eyes her uncertainly. Her nose starts to bleed again. She puts her fingertips to it and inspects the blood on them. Very deliberately, she dabbles them in the blood some more, reaches up, and gently draws four vertical lines down his face from his forehead to his mouth, where her fingertips linger. Corso's face approaches hers. They melt into a passionate kiss, then she pushes him away, rolls him over on his back, unbuttons his shirt, and rests her palms on his chest. Playfully, she runs her forefinger over the imprint of Liana's teeth. Girl: (smiles mischievously): Would you know a devil if you saw one? *** Hotel lobby. Day. Corso, tieless and unshaven, descends the stairs to the lobby carrying his beg. The junior desk clerk, a spotty youth, is dozing on a chair behind the reception desk. Corso goes over and raps on the desk. The junior desk clerk springs to his feet like. Corso jerks his chin at the door behind him. Corso: Do you have a photocopier back there? Clerk: Er, yes, monsieur. Corso: May I use it? Clerk: Are you a guest, monsieur? Corso: You mean I don't look like one? Clerk: Of course, monsieur. This way, monsieur. (He lifts a flap and shows Corso into the back office) Corso: Room 35. And get them to send up breakfast for two. Corso deposits his bag beside the photocopier and takes out Balkan's 'Nine Gates'. He opens it at the first engraving ñ the knight with a finger to his lips - and inverts it. Positioning it on the photocopier, he shuts the flap and presses the start button. The photocopy glides out into the tray. He goes back to his room, quietly closing the door behind him. The girl is lying sprawled among the rumpled sheets, fast asleep. Her clothes are draped over a chair with her backpack alongside. Stealthily, Corso takes Balkan's 'Nine Gates' from his bag and places it behind the minibar, then goes into the bathroom. Corso, with his hair damp from the shower and a towel around his waist, is halfway through shaving when there's a knock on the bathroom door. One cheek daubed with foam, he opens it to find himself confronted by a floor waiter, check pad and ballpoint in hand. Waiter: Bonjour, monsieur. Votre petit dÇjeuner. Corso: Oh. Sure. Taking the pad, he emerges into the bedroom and scribbles his signature, then stops short: there's a breakfast cart in the middle of the room, but the bed is empty and the girl's clothes and backpack have disappeared. Corso: Where is she? Waiter: Pardon? Corso: Madame, ou elle est? Waiter: Je ne sais pas, m'sieur. He makes for the door and exits. Corso catches hold of the door just as it's closing, puts his head out into the corridor, looks right and left. No one in sight but the floor waiter, who casts a puzzled glance over his shoulder as he walks off. He steps back into the bedroom and shuts the door. He stands there for a moment, frowning at the empty bed. Then, abruptly, he dashes over to the minibar and looks behind it. His fears are groundless: 'The Nine Gates' is still there. Just then the phone rings. He picks up the receiver and puts it to his ear on the clean-shaven side of his face. Corso: Yes? Balkan: (Voice Over) Come down. I'm in the cafe across the street. *** Corso, wearing his crumpled overcoat and carrying his bag, emerges from the hotel and crosses the street to the cafe opposite. He enters and looks around, catches sight of Balkan's sleek gray head at a table in the corner. He goes over to him. Corso: You sure as hell get around. (he sits down with the shoulder bag between his feet. A waiter appears at his elbow) Un cafÇ noir, s'il vous plait. The waiter nods and withdraws. Balkan studies Corso's face through his glasses, notes the glasses with the cracked lens. Balkan: Problems? Corso: Yeah, like someone tried to total me a couple times. Aside from that, three people have died on me since I took this job. (thinks for a moment) Well, two. Telfer was dead already. Balkan: I don't follow you. Corso: It's simple enough. You give me 'The Nine Gates' and they start dropping like flies. I'm thinking of giving it back. Balkan: Who are you talking about? Corso: My pal Bernie Feldman, for one. Balkan: The book dealer? He's dead? Corso: Murdered. He was holding your book for me. Someone was after it. He wouldn't give it to them. A moment of silence. Then Balkan emits a chuckle. The chuckle becomes a guffaw, the guffaw gives way to peal after peal of uproarious laughter. He slaps his thighs and rocks back and forth, his face turns puce, his eyes fill with tears. His hilarity is so deafening that the cafe's other customers turn to stare. Corso, too, stares at Balkan as if he's gone crazy. Balkan's mirth gradually subsides. He removes his glasses and mops his eyes. Eventually, still chuckling. Balkan: Poor fellow. Very creditable of him. Corso: (refrains from commenting on this outburst) Then there's Fargas. The waiter brings Corso's coffee. Balkan waits for him to put it on the table and leave. Balkan: What about Fargas? Corso: Dead too. Balkan: How do you know? Corso: I saw him - and his copy, or what was left of it. Someone had snatched the engravings and tried to burn the rest. Balkan: (stares at him for a moment) How tragic. What about the Kessler copy? Corso: The old woman says it's authentic, but I didn't get a chance to look at it closely. As soon as she guessed you were behind my visit she threw me out. You aren't her flavor of the month. Balkan: You must see her again. You must get me that copy ñ or examine it, at least. Corso: (derisively): Are you kidding? I'd have to be the Invisible Man. Balkan: (reaches into his black briefcase and produces a big manila envelope) Try this. Corso takes the envelope and looks at it. It's addressed to 'Baroness Friede Kessler'. *** Kessler Building Lobby. Day. Corso, canvas bag on shoulder as usual, hands the envelope to the secretary, who takes it and walks off down the corridor. A black and white photo fills the screen: it shows a young and beautiful Baroness Kessler flanked by two men in SS uniform. One of them is Heinrich Himmler. Baroness Kessler is scowling down at a wartime number of 'Signal', the Nazi propaganda magazine. It's lying open on her desk with Balkan's envelope beside it. The secretary shows Corso in. The baroness addresses her crisply. Baroness: Merci, Simone. The secretary nods and exits. Fixing Corso with a cold, challenging stare, Baroness Kessler feeds the magazine into a shredder beside her desk. She no longer looks such a dear little old lady. In the Kessler library, Corso is seated at a table on which reposes the Kessler copy of 'The Nine Gates'. Beside it lies his notebook and the photocopies of Balkan's engravings. His shoulder bag is hanging on the chairback, his overcoat draped over it. He reaches into his pocket and produces a cigarette, takes out his lighter. Baroness: Blackmail doesn't entitle you to smoke in my library, Mr. Corso. Corso stops short and looks back through the double doors into her office: she's seated behind her desk like a graven image, watching him intently. He reinserts the cigarette in its pack and pockets his lighter. Getting down to work, he opens 'The Nine Gates' and extracts one of the Baroness's handwritten slips, reads it to himself in a low voice. Corso: 'I will recognize your servants, my brethren, by the sign that adorns some part of their body, a scar or mark of your making...' He replaces the slip. The Baroness cranes her body largely obscures her view of the table. Corso turns some pages and comes to the engraving of the knight with a finger to his lips. He compares it with the photocopy: the castle has three towers instead of four. He examines the margin of the engraving through his magnifying glass to ascertain the presence of something he already knows will be there: an 'LF'. He turns to the chart in his notebook, which has already acquired a third row of nine boxes. He writes 'Kessler' beside it and enters an ëLFí in the first box. The second engraving ñ the hermit with the keys - appears to be identical and the signature is 'AT'. An 'AT' goes down in the second box. The third engraving is different: the angelic archer has an arrow in his quiver, whereas the photocopy of Balkan' s counterpart does not. This one, too, is signed 'LF'. Corso enters an 'LF' in the third box. Camera moves in until the chart fills the screen. A long shot of Corso from behind. He leans back and stretches, glances in the direction of the office: Baroness Kessler is no longer at her desk. Absolute silence reigns. He resumes work, turns to the ninth engraving: the naked woman riding the dragon with a castle ablaze in the background. There's a loud thud, and the engraving sways and blurs. The screen goes black. Fade back in. An electrical hum, punctuated by a strange, rhythmical series of clicks and thuds: click-thud, click-thud, click-thud. Corso, sitting slumped over the table, comes to. He groans and laboriously straightens up, feels his head and winces. The strange sound impinges on his consciousness: he looks around vaguely for its source and discovers it: Baroness Kessler's wheelchair has been left in forward gear. Complete with occupant, it's colliding again and again with the wall beneath a window on the other side of the room. Corso, who can just glimpse the top of the old lady's head from behind, sees it jerk forward at each impact. He struggles to his feet. Corso: Baroness? No answer. Unsteadily, he makes his way over to the wheelchair and swivels it around, starts back with a muffled exclamation. Baroness Kessler has been strangled with her Hermes scarf: her cheeks are blue, her eyes and tongue are protruding. Unobstructed, the laden wheelchair takes off across the library and heads for the double doors, which are now closed. It runs into them full tilt, bursts them open, and continues on its way. Instantly, smoke comes billowing into the library, accompanied by a crackle of flames. The wheelchair disappears into the murk. Corso wildly scans the table for Baroness Kessler's 'Nine Gates', but it's gone. Snatching up his notebook and abandoning his shoulder bag and overcoat, he makes for the office at a run. The office is thick with smoke and illumined by a fiery glow. Corso pauses in the doorway, shielding his face from the heat with one hand, and surveys the scene. The Baroness and her wheelchair have come to rest in the midst of a bonfire of books and papers. Corso can just make out her copy of 'The Nine Gates' on top. The flames are already engulfing it. Corso takes a last look, then dashes through the smoke to the door and exits. With smoke billowing after him, Corso dashes along the corridor, through the lobby, which is deserted, and out onto the landing. On the landing Corso bumps into the secretary, who has just emerged from the elevator. She gives a little shriek and drops a paper bag. Half a dozen oranges go bouncing ahead of Corso as he races down the stairs. In the hallway he almost upends the concierge, who's wielding a broom in her curlers. Leaping aside with a startled yell, she speeds him on his way with some choice words, then peers up the stairwell: the upper stories are already wreathed in smoke, and tenants have come out onto the landings. The secretary comes pelting down the stairs, screaming at the top of her lungs. Outside, Corso douses his head in the basin of a fountain, shakes off the drips and massages his face. Then he leans against the basin and looks around. He's all alone in the little square. He takes out a crumpled cigarette and inserts it between his lips with dripping fingers, gropes for his lighter, and vainly tries to light it. Wearily, he removes the cigarette from his lips and tosses it away. All at once, he spots a huge Great Dane watching him from the mouth of an alleyway. Corso and the Great Dane stare at each other. Then the silence is broken by a fire engine's siren, faint at first but growing louder. He reaches an intersection and looks around the corner. The Kessler building is ablaze. Tongues of flame and clouds of smoke are issuing from the windows of the upper stories. Fire engines and squad cars are drawn up outside, firemen are directing their hoses onto the flames, cordoning off the street and keeping curious spectators away. *** Corso, looking wrung out, crosses the street and makes for the hotel entrance. He's just going through the revolving doors into the lobby when the girl appears on the inside. Hooking her arm through his, she steers him around and back outside again in one continuous movement. Girl: (mutters): Just keep going. (still firmly gripping his arm, she takes him out onto the Sidewalk) Corso: (baffled): What are you playing at? Girl: See those men talking with your friend Gruber? (Corso turns to look. Inside the lobby, two men in trenchcoats are standing at the reception desk in conversation with Gruber) Police. Corso: (at that moment, Gruber looks past them at Corso. He briefly locks eyes with him but shows no sign of recognition) Shit. (He turns and walks off with her at his side. He goes to enter a glass phone booth) Girl: You look better without that old bag and coat of yours. They didn't do anything for you. Corso: (shuts the door in her face. He picks up the receiver, inserts a coin, punches out a number. The girl pulls a funny face at him through the glass. Corso's only response is to turn away and cup his hand around the receiver. Into the phone) Gruber? It's me, Corso. Can you talk? Gruber: No, sir. Corso: But you can listen? Gruber: Certainly, sir. Corso: I'd like you to do something for me. *** Gruber enters a restaurant/bar crowded with lunchtime customers. He spots Corso at the far end of the bar with the girl beside him. She's sucking up some colorful beverage through a straw. Gruber acknowledges her presence with a formal nod. Corso: You don't have it? Gruber: There was nothing in the place you described, sir. I'm sorry. Corso: Goddamit! (He turns to the girl) I suppose you didn't take it? Girl: You still don't trust me, do you? Gruber: (clears his throat) I think I may have the answer, sir. Someone visited your room earlier on, while my young colleague was on duty: your wife. Corso: My wife? I don't have any wife. Gruber: That's what I told him. Corso: Could he describe her? Gruber: (nods): Thirtyish, blond, dishy. Corso: Liana... Gruber: Which reminds me, sir: the lady and gentleman you mentioned - they're staying at the Hotel Crillon, Suite 236-238. Corso: Good for you, Gruber. Thanks a lot. Gruber: Always glad to be of service, Mr. Corso. Corso: I owe you one for those cops, too. Gruber: Ah yes, sir. Interpol. Corso: Interpol! What exactly did they want? Gruber: They expressed an interest in your whereabouts. Corso: And? What did you tell them? Gruber: That you were out. Corso: Anything else? Gruber: They asked if I knew whether you had recently visited Portugal. Corso: And? Gruber: I said that our guests do not make a habit of providing us with their itineraries. Corso: (extracts a 500 franc bill from his billfold and slips it into Gruber's hand. Gruber acknowledges this with a gracious inclination of the head) For what it's worth, Gruber, I don't know what they think I've done, but I'm innocent. Gruber: (impassively): Naturally, Mr. Corso. All our guests are. *** Hotel Crillon, Forecourt. Day. A cab drives up to the entrance. The doorman opens the door, Corso and the girl get out. Corso turns to pay the cabby, the doorman twitches an eyebrow at the girls's jeans and sneakers. Corso and the girl enter the lobby which is bustling with activity. They stand aside as an elevator door opens and some camera-toting tourists emerge. Girl: What'll you do when you see them? Corso: (dryly): Hide behind you, probably. They enter the elevator. The doors glide shut. They walk down the corridor, checking numbers as they go. They've almost reached the door of Suite 236-238 when it opens abruptly. They jump back in alarm. A bellhop emerges backside first, towing a baggage cart laden with suitcases. Corso and the girl hide in a passage a few feet to their rear as the bellhop sets off down the corridor in the opposite direction, leaving the door open. Corso pads silently up to the door and enters with the girl at his heels. A deserted sitting room with an old 'Herald Tribune' lying abandoned on the floor and two dirty coffee cups on the table. The bedroom door is ajar. The girl stands watching as Corso tiptoes over pushes it open. The room is empty, the bed unmade. Corso: Downstairs, quick! They use the stairs for speed's sake. Panting, they halt at the foot of the last flight and scan the spacious but crowded lobby. It's a moment before they catch sight of the man standing at the cashier's desk with Liana beside him. Corso: C'mon. Better grab a cab or we'll lose them. They thread their way across the lobby and make for the exit unobserved. Corso and the girl have stationed themselves at the cab rank on the island. Corso sees a cab approaching amid the stream of traffic and tries to flag it down, but it's taken. Corso: Damn! The doorman hands Liana into the passenger seat of the Mercedes sedan while the man supervises the bellhop as he stows their baggage in the trunk. A Rolls pulls up behind the Mercedes, closely followed by a yellow Lamborghini driven by a smartly dressed, mustachioed Arab with a blond bombshell beside him. The Arab gets out, leaving his keys in the ignition. Nonchalantly signaling to the doorman to park his car, he disappears into the hotel with the blond in tow. The doorman acknowledges his gesture before smilingly accepting a tip from the man, who gets in behind the wheel. Girl: They're going! Corso sights another cab approaching and cavorts into the roadway, waving his arms like a madman. The cab honks and swerves to avoid him, obstructing some other vehicles, which honk in their turn. It's empty. Corso: Bastard! Frustrated yet again, beyond him, we see the Mercedes drive off. With a screech of tires, the yellow Lamborghini takes off fast in reverse. Skirting the island, it backs out into the oncoming traffic. Then, slammed into first, it skids to a halt beside the curb at Corso's elbow. The passenger door opens, the girl cranes over and looks up at him from behind the wheel. Girl: Coming? Corso stares at her for an instant, then jumps in. The Lamborghini sets off after the Mercedes, which is not far ahead. It threads its way into the stream of traffic, pursued for a few yards along the sidewalk by the wildly gesticulating doorman. The girl is expertly piloting the Lamborghini through heavy traffic. The Mercedes can be seen a few cars ahead. Corso: Couldn't you have pinched something a bit less conspicuous? Girl: Don't be so picky. Most people would give their eyeteeth for a ride in this. Corso surveys the car's luxurious interior, opens the glove compartment, removes the contents and inspects them: some CDs, the car papers, a pair of expensive wrap-around sunglasses, an Arab keffiyeh. Visible through the windshield, the Mercedes is cruising along several hundred yards ahead of the Lamborghini. Corso: We can't sit on their tail forever. They're bound to smell a rat. A long shot of the Lamborghini accelerating to draw level with the Mercedes. The Man, with Liana at his elbow, glances sideways. The Manís point of view: the Lamborghini with a figure in shades and a keffiyeh at the wheel. It's the girl. She looks straight ahead as she passes. No sign of Corso. Corso, who has been hiding below door level, sits up. After a quick glance over his shoulder, he settles back in his seat and lights a cigarette, covertly eyeing the girl. Girl: How do I look? Corso: You look like a million. A million barrels of oil. The Lamborghini passes an exit. The girl, who has discarded the keffiyeh and shades, is driving with one eye on the rearview mirror. The Mercedes indicates right, slows, and turns off at the exit. Girl: Sit tight! The girl pulls over onto the shoulder and stands on the brakes. Throwing the car into reverse almost before it's stationary, she hurtles backward along the shoulder. A couple of cars flash their headlights and blare as the Lamborghini reaches the exit and skids to a halt, narrowly missing a large truck that has beaten it to the exit. The Lamborghini crawls along behind the truck as it grinds up the single-lane exit road. Corso: (impatiently): C'mon, c'mon! The girl blasts the truck with her horn and flashes her headlights. The truck's only response is to slow still further before pulling up at a T-junction. Corso: What in hell's the matter with him? Clearly visible in the glare of the Lamborghini's headlights, an arm emerges from the truck's cab window and gives a prolonged, one-fingered salute. The arm disappears, the truck moves off at last and turns left across the bridge spanning the freeway. The Mercedes is nowhere in sight. The Lamborghini moves up to the T-junction and stands there, engine purring. Girl: Take your pick. Corso: No, you. You know everything. Girl: If you say so. She turns off right. Itís dark now, and the Lamborghini is speeding along an avenue of poplar trees. No sign of the Mercedes. Girl: We lost them. Corso: Not at this speed. They must have gone the other way. Girl: You mean I don't know everything after all? Corso: Turn around. They pass a small intersection on the right. The girl backs into it but doesn't complete the maneuver. Something catches her eye. Girl: Thirtyish, blond, dishy - what was her name again? Corso: Telfer. Liana Telfer. Girl: No, her maiden name. Corso: Saint-Damien. Girl: Look. Corsoís point of view. The Lamborghini's headlights have illuminated a signpost. One of the signs reads: 'ST.-DAMIEN 2 Km.' It points the way they were going. The girl turns out into the road and drives on in the original direction. The girl slows as they pass the 'ST.-DAMIEN' sign at the entrance to the village itself. Girl: Should we drive straight in? Corso: In this thing? We might as well hang a bell around our necks. Park here. Corso and the girl walk gingerly down the old village street. A faint glow emanates from a few windows in the time-worn houses, but the street itself is utterly deserted. They pause at the mouth of a small, equally deserted square, church on one end, village stores shuttered and in darkness, two or three parked cars, none of them the Mercedes. Girl: So? Corso looks around irresolutely, sees light coming from the basement window of a baker's shop. Side by side, Corso and the girl look down through the basement window. inside, a flour-smeared baker is deftly preparing a tray of croissants for the oven. Corso: Monsieur? Baker: (looks up, wipes his hands on his smock, and walks over to the window.) M'sieur? Corso: Nous cherchons la maison de Madame de Saint-Damien. Baker: Le chateau, vous voulez dire. Corso: (to the girl): Chateau! That's it - got to be. (to the baker) Ou il est, le chateau? Baker: (gestures): La route apräs ''Çgllse, m'sieur. *** The girl is driving slowly along a country road flanked on one side by woods. A pair of ornate wrought-iron gates and a gatehouse loom up on the left. Corso: Keep going. There's a light on in the gatehouse. They glimpse the gatekeeper leaning against his door, smoking, as they cruise past. The Lamborghini backs into the mouth of a farm track. The girl and Corso get out, cross the road, and strike off into the woods. Hugging the trees that border it on one side, Corso and the girl are making their way up a long, straight, graveled driveway. The lighted gatehouse is to their rear, the lights of the chateau can be seen ahead. Hearing the sound of a car behind them, they turn to see its headlights swing in through the gates. They quickly take cover in the trees and watch the car - a big limo - glide past, then emerge and walk on. They observe the chateau, a substantial 17th century mansion, from the edge of the trees. The forecourt, in which come 20 expensive-looking cars are parked, one of them the Mercedes, is illuminated by the the lights inside the building. The limo has pulled up at the foot of the steps, and the occupants, a smartly dressed elderly couple, are being greeted by a tuxedoed butler while their suitcases are removed from the trunk and carried in after them by a manservant. Corso and the girl have worked their way around to the side of the chateau. One of the lighted windows gives them a view of the upper reaches of the chateau's great hall, with its minstrel gallery and lofty, vaulted ceiling. They climb on a stone bench for a better look. Inside, overlooked by an array of ancestral portraits, some 50 guests are inaudibly conversing in groups. Men and women alike are attired in long black robes resembling monks' habits, and all have silver pentacles suspended from their necks on silver chains. Their cowls are thrown back to reveal the heads and faces beneath. A motley assortment of people, most of them middle- or late middle-aged, one or two of oriental origin. No sign of Liana or the Man. Girl: See them anywhere? Corso: No. Girl: They aren't there. Corso and the girl continue to make their way around the house, cautiously. Peering through a semi-basement window, they see two chefs chopping vegetables at a big kitchen table. They pause, at a loss, and look up at the house. Several of the second-floor windows are illuminated, and one of them has some creeper-covered trelliswork running up to its balcony. The girl, with Corso close behind her, has just reached the top of the trelliswork. She clambers over onto the balcony. Corso scales the last few fact, reaches for the balustrade, straddles it and joins her. Together, they peer through the French windows. With them, we see a bedroom decorated in a very feminine style. Two of Liana's suitcases are on the floor near the bed. A third, with her discarded clothes beside it, is lying open on the bed itself. Liana has stripped to her panties. They watch as she slips them off, goes to a wardrobe, and takes out a black robe and silver pentacle like the ones we saw downstairs. Pulling the robe over her head, she smooths it down, dons the pentacle, and inspects herself in a mirror in the corner of the room. Corso takes advantage of her preoccupation to try the French windows. They won't budge. He turns to the girl and shrugs, then raises his foot and kicks the glass in. Liana spins around with a terrified cry and stands there transfixed. Corso reaches inside, turns the knob, opens the French windows and steps into the room. The girl follows. Liana: You! Corso: Where is it? Liana: How dare you! Corso: That book isn't yours, Madame. 1 need it. Liana: Get out of here, both of you! Corso goes over to the bed and empties the suitcase onto the floor. Among its contents is 'The Nine Gates'. Liana instinctively lunges for it, but the girl blocks her. Corso: (to the girl) Careful, she bites! He's stooping to retrieve the book when the door opens and the Man, robed and barefooted, stands framed in the doorway. Corso turns quickly with the book in his hand, The girl stiffens. Liana makes a dive for the bedside table and produces a chrome-plated automatic from the drawer, flips the safety catch. Liana: (to Corso and the girl) Don't move, either of you. (to the Man) Get the book, Bruno. Corso takes a tentative step backward as Bruno approaches him with his left hand extended. He reluctantly surrenders the book. Bruno rewards him for his co-operation with a vicious right hook to the jaw. Corso goes down, losing his glasses yet again. Groggily, he crawls around in search of them. Bruno joins Liana, steering well clear of the girl. He hands her 'The Nine Gates' and carefully transfers the automatic from her hand to his. Liana: Take them downstairs and lock them up. We'll deal with them later, there's no time now. Bruno: (to Corso, Italian accent): Turn around. Corso, who has scrambled to his feet, complies. Bruno applies the muzzle of the automatic to the nape of his neck. Bruno: (to the girl) You. Go first. Any trouble, I blow his brains. The girl makes for the door. Bruno prods Corso into motion. They exit. Liana stares after them for a moment, clasping 'The Nine Gates' to her chest. A long passage lined with more ancestral portraits. The ancient floorboards creek as the girl obediently walks ahead of Corso and Bruno, whose automatic is leveled at Corso's back. They reach the end of the passage. Bruno: Go left. Down the stairs. They descend a staircase to ground level. Another long passage confronts them, much like the first but floored with marble. Bruno: Avanti, avanti! A door at the end leads into a stone-flagged passage with whitewashed walls. They make their way along it until they reach a heavy oak door. Bruno: (to the girl) Open it! The girl does so to reveal a small landing and a flight of stone steps leading downward. She stops short: the steps have no guardrail and the cellar beneath is shrouded in darkness. Bruno prods Corso through the doorway until all three are on the landing, then throws a light switch. Bare bulbs shed little light on the steps but illuminate a large vaulted chamber below. It's the chateau's wine cellar: oak barrels and racks of bottles thick with dust and cobwebs are housed behind an iron grille with a door in it. The door is ajar, the key in the lock. Bruno: (to the girl) Move! She sets off down the steps. Corso follows with Bruno at his heels. Halfway down, Corso pretends to stumble: he crouches and turns in a single movement. Bruno, following close behind, trips over him. Corso seizes his robe and yanks at it, helping him on his way. Corso: (to the girl) Watch out! She plasters herself against the wall to avoid Brunoís somersaulting body. The automatic escapes from his hand and slithers across the flagstones as he comes to rest, with a sickening thud, at the foot of the steps. The girl follows him down and picks it up. Corso reaches the foot of the steps and rolls Bruno over on his back. He's out cold, with blood oozing from a broken nose. Girl: (faintly admiring) I didn't know you had it in you. Corso: Another thing you didn't know? (He takes hold of Bruno's ankles and, with the girlís assistance, hauls him through the grille into the inner cellar. He stares down at the man for a moment) Hey, give me a hand. I want his gear. He starts to peel off Brunoís robe, shuts the grille door, locks it, and tosses the key into a corner. They cautiously retrace their steps along the marble-floored passage. Corso is wearing Bruno's robe and pentacle over his clothes with his shoes and trouser bottoms visible below the hem. They pass the stairs they descended and continue on their way, turning a corner. As they do so, they hear a faint, intermittent hum. They pause to listen, then walk on. The sound grows louder and more distinct: somewhere in the chateau, voices are chanting in unison. Turning another corner, they find themselves in an anteroom that terminates in two massive double doors. The chanting is coming from beyond them. Corso walks over to the doors with the girl at his heels. He grasps the handle. Girl: (hisses) No! Up to the gallery. The chanting is even louder now. They reach the top of some uncarpeted stairs and cautiously open a small door. A wave of sound hits them. They steal through the doorway into the shadowy gallery, and peer over a balustrade. At the far end of the huge room in a dais draped in black with some shallow steps leading up to it. On the wall above the dais hangs an inverted silver crucifix; on the dais itself, which is flanked by a pair of outsize black candles in three-foot silver candlesticks, Liana stands facing the hall from behind a silver lectern on which reposes 'The Nine Gates'. Arrayed in the body of the hall are the 50 guests, each holding a lighted black candle. Liana and the guests are taking it in turns, like priest and congregation, to intone passages from the Latin text of 'The Nine Gates'. Corso: (quietly, to the girl) You stay here and cover me. I'm going down. Pulling the cowl over his head, he sneaks down the spiral staircase, secretes himself in the rear rank of guests, and concentrates on Liana and the book as the litany continues. All at once, unseen by us, the doors swing open with a crash and Balkan's deep bass voice punctures the air on a derisive note. Balkan: Mumbo-jumbo-mumbo-jumbo-mumbo-jumbo!!! The guests stop chanting, and fifty cowled heads turn to look for the source of this unseemly interruption. Up on the dais, Liana freezes. Balkan: Mumbo-jumbo-mumbo-jumbo-mumbo-jumbo!!! Looking over-life-size in his dark and elegant double-breasted suit, he strides toward the dais. Any guests who fail to get out of his way in time are brusquely elbowed aside. Liana watches him, transfixed, as he climbs the steps and turns to face the guests. Balkan: Look around you - yes, all of you. What do you see? (they involuntarily turn to look at each other) I'll tell you: a bunch of buffoons in fancy dress. What are you expecting, an apparition? I'm the only apparition you'll see tonight. You really think the Prince of Darkness would deign to manifest himself to the likes of you? He never has and he never will - never! (He closes 'The Nine Gates' with a snap and holds it up) You read from his book, yes, but you have no conception of its true power. I alone have grasped its secret. I alone have fathomed the Master's grand design. I alone am worthy to enjoy the fruits of that discovery: absolute power to determine my own destiny. Liana: (finding her voice at last) You're insane, Boris. (puts out her hand) Give it back at once! Balkan: (rounds on her) As for you, Liana de Saint-Damien, you're even guiltier than the rest of this pathetic rabble. You have at least some idea of what this book can do in the right hands, yet you lend yourself to these farcical proceedings, these orgies of ageing flesh conducted in the Master's name. You're a charlatan! Liana tries to grab the book, but Balkan holds it above his head. She claws his cheeks in desperation. He clasps his face, dropping the book. Liana makes a dive for it, but Balkan pounces on her. They roll over, struggling fiercely. Balkan grabs her by the throat. She tries to break his grip, but he redoubles it. Halfway down the dais steps with Balkan on top of her, she fights for breath. Her suffocated, agonized face is turned toward the hall. The guests shrink back in horror, some of them dropping their candles. Hysterical screams rend the air. Corso comes to life. Hampered by his robe, he makes for dais as fast as he can, scattering frightened guests in the process. He takes hold of Balkan's shoulders and tries to haul him off Liana. Balkan, still throttling her, turns to look. He glares at Corso through his heavy glasses, his features contorted with rage. Then, removing one hand from Liana's throat, he deals Corso a backhanded blow that sends him reeling. Liana seizes the chance to break free. She crawls away, but Balkan is too quick for her: grabbing her pentacle chain from behind, he proceeds to garrotte her with it. Liana, now on her knees, scrabbles at the chain that is biting into her neck. Her face turns purple, her tongue begins to protrude. Corso looks around wildly for a weapon. He seizes one of the three-foot candlesticks and raises it over his head. Suddenly: Girl: (Off Screen) Don't, Corso! Startled, he lowers the candlestick and looks up. The girl is perched on the gallery balustrade just above him. Too preoccupied with Balkan and Liana to wonder what her game is, Corso raises the candlestick once more. The girl lands on top of Corso, bearing him to the ground, and immobilizes him with a hammerlock. Corso: Get off me! He'll kill her! Girl: Leave them! Balkan completes his grisly work: Liana's purple face is all too reminiscent of Baroness Kessler's. With a final tug at the chain, he plants one foot in the small of Liana's back and sends her limp body sprawling across the floor of the hall. Screams and cries of horror go up from the guests, who have recoiled still further. Balkan straightens up, a somewhat dishevelled but still imposing figure despite the scratches on his cheeks. Even his glasses are still in place. He leans forward, eyes narrowed in a mock menacing way, and stamps his foot. Balkan: (in a voice like thunder) Boooh! With more hysterical screams and cries of dismay, the guests turn tall and flee the hall like a herd of panic-stricken cattle, jostling each other in their eagerness to get out the door. Calmly, without so much as a glance at the girl, Corso, or Liana's corpse, Balkan smoothes his hair down, picks up 'The Nine Gates', and strides majestically after them. Silence falls. The girl releases her grip on Corso's arm, gets off him and rises to her knees. He sits up, nursing his elbow and staring at her with blank incomprehension. Corso: Why did you do it? Girl: Some things are meant to happen. That was one of them. Corso: Don't give me that crap again! You were working for him all along! Girl: Funny, I thought you were. Corso: You played me for a sucker, the two of you. I don't intend to take the rap for that maniac. Girl: He just murdered someone with a roomful of witnesses. That lets you off the hook for the other killings. You should be grateful. Corso: I'm ecstatic. (He gets to his feet. The girl rises too, starts to pat the dust off his robe. Corso impatiently evades her hand) Where's he off to? Girl: What do you care? Your job is done. This is as far as you need to go. Corso: The hell it is! The sonofabitch owes me the other half of my fee. Girl: (ironically) Of course, it's just business. I thought your curiosity had gotten the better of you. Corso: Okay, so what's meant to happen next? Girl: You really want to know? *** The girl, with Corso, red-eyed and unshaven beside her, is driving along a country road bordered by rolling fields wreathed in gray mist. They've appropriated Liana's Mercedes sedan. Corso has taken over the wheel. The girl is fast asleep with her head on his shoulder. Sunset. The girl is back behind the wheel, Corso smoking. Dazzled by the setting sun, she lowers the visor. The Mercedes rounds a bend. Visible in the distance, crisply silhouetted against the afterglow, is a castle. It's the one of which we saw a backlighted photograph on Balkan's wall. The girl pulls up some distance from the archway that was once the castle gate. A dark green Range Rover is already parked beside it. Corso and the girl get out and briefly survey the derelict building. A glimmer of light is issuing from the arrow slits in one of the turrets. They cross the deserted courtyard, which is littered with fallen masonry. They climb a dilapidated flight of stone steps to the battlements and walk along them to the tower. They pause outside the moldering old door and listen. A man's voice is faintly audible. Corso puts his hand on the handle. The girl gropes in the pocket of her duffel coat and produces the chromium-plated automatic, holds it out. Corso hesitates briefly, then stuffs it in his jacket pocket. He opens the door and enters, followed by the girl. They are looking down into the interior of the turret, which forms a cylindrical chamber. They're on a small landing from which a steep flight of unprotected stone steps curves down and around the inner wall to the floor of the chamber. The floor, littered with debris including worm-eaten beams that have fallen from the ceiling far above, consists of massive, age-old planks. A large circle has been chalked in the middle of the floor, and within it a square divided into nine boxes numbered 1-9. Each box contains some unrelated object: a rusty knife, a piece of cord, a stone, a gold ring, a serpentine bracelet, a glass vial, a small pile of earth, a quill pen, an hourglass. The chamber is illuminated by half a dozen kerosene lamps located around the circle but outside it. Also near the circle is a camper's collapsible table with various objects on it: a black briefcase, 'The Nine Gates', a magnifying glass, a vacuum flask and mug. On the floor beside the table is an open suitcase with more books spilling out of it. The voice we heard from outside is that of Balkan, but a Balkan unlike any we have seen before: no jacket or necktie, shirt sleeves rolled ' up, vest half unbuttoned, strands of gray hair falling over his scratched and sweating face, cheeks flushed, eyes ablaze with excitement. He's kneeling in front of the numbered boxes and babbling to himself in an expressionless monotone: Balkan: ... eight doors come before the Serpent that guards the word, Teth, Enea, Novem, Oded, the number nine, which holds the final secret, the mystery of mysteries. The Serpent is the beast that always sleeps with one eye open and is reflected in the Mirror of Knowledge. (giggles triumphantly) Eight engravings plus one, or one plus eight, which coincides with the number that St. John of Patmos attributed to the Beast: 666... Corso: (to the girl) He needs therapy. Balkan: (proceeds to scrawl some numerals on the floor with a piece of chalk) Six plus six plus six equals eighteen. One and eight. (even more triumphantly): One plus eight equals nine! Corso starts to descend the steps. The girl stays behind, sits down on the top step, props her chin on her hand, and watches the proceedings. Balkan rises with chalk dust all over the knees of his pants. He goes to his briefcase and takes out a sheaf of torn engravings. Corso has reached the foot of the steps. Balkan, turning to resume his place in the circle, catches sight of him. He freezes in disbelief, and a long moment passes before he speaks. Balkan: What are you doing here?! Corso: I thought I'd drop in before they put you behind bars. Balkan: Go away! Corso: We had a deal, remember? Balkan: A deal?! What impertinence! You bungled it, damn you! You failed me all along the line! Thanks to your lack of initiative, I was compelled to do my own dirty work. And I did it! I got these myself! See, here they are! (brandishes the engravings, speaks with mounting vehemence) Nine engravings or nine doors, and only an initiate can open them. Each door has two keys, each engraving discloses a number, a secret element and keyword to be interpreted in the light of reason and the Cabbala, the one true philosophy! Corso: I want my money. Balkan: Don't you understand what's going on here? (returns to the circle, kneels down again, and deals out the engravings like playing cards, one to a box, leaving three boxes Empty) You have before you the mystery of which men have dreamed throughout the centuries. Thousands have died an agonizing death in hopes of just a glimpse of what you're about to see! Corso: Yeah? What's that, Old Nick in person? Balkan: Don't be ridiculous! He has never appeared to anyone, never! He's a spirit - the spirit of pure evil. He manifests himself through his servants, of whom I'm proud to be one! (rises, walks quickly over to the little table, and opens 'The Nine Gates' . Turning over several pages, he tears out an engraving) Three copies, but only nine of their twenty-seven engravings hold the key, and I have them all! (tears out two more engravings in quick succession) I have only to complete the sequence. Then the Serpent will enter the seal of Saturn, and I - I shall enter the Ninth Gate! Corso: Cut the crap and write me a cheque. Balkan returns to the circle, kneels down once more and neatly positions the three engravings in the empty boxes. Then he rises, goes' to the table, and pours himself a drink from a flask. He gargles with it, swallows, and shakes himself like a wet dog. Whatever the flask contained, it seems to have invigorated him. He dribbles gasoline around the circle, then picks up one of the kerosene lamps and hurls it at the floor. The lamp smashes and ignites the gasoline. Instantly, he's ringed with fire. He draws himself up and stands erect in the center of the circle with flames dancing all around him. Balkan: I give you my allegiance, Master. I surrender myself unto you body and soul. Let me fear neither noose, nor sword, nor poison. Let me walk unscathed among lepers and the plague-ridden. Erase me from the Book of Life and inscribe me in the black Book of Death. Let it be no! Let it be so now! (ecstatically) Yes, master, yes! Oh, thank you, thank you! I can feel the power flowing through me like an electric current, rendering me capable of any achievement, mental or physical! I could float on air, walk on water. (He stoops and dabbles his hands in the ring of fire) See? I plunge my hands in fire and feel no heat. (picks up the gasoline can, holds it over his head, dousing himself in the contents, then hurls it aside) Corso: Hey, don't be stupid! Balkan: (unhearing) Admay, Eloy, Agla, Zatel, Gebal, Elimi, Ashtoreth, Moloch, Shamash, Dagon... (With a whoosh, he himself catches fire. Flames play over his ecstatic figure) It's miraculous! I feel nothing, nothing at all! He emits another triumphant laugh that soars up the scale until it becomes a high-pitched scream of agony. He starts to caper around, slapping at his clothes, his face, his hair. Corso has regained his feet. He takes the automatic from his pocket and sends it slithering across the floor and through the ring of flames. Corso: Here, you idiot! He retreats up the steps with horror written on his face. The girl has risen to her feet. He takes her hand and, with a last backward glance, hustles her outside. Balkan's wild screams reverberate around the walls as Corso and the girl hurry across the courtyard. They are standing beside the Mercedes. Smoke and tongues of flame are issuing from the arrow slits of Balkan's tower. His screams rise in a crescendo. Then a gunshot cuts them off like a knife. Corso: He really thought it would work. Girl: He wasn't to know it wouldn't. Corso: (stares at her, momentarily puzzled, then at the blazing castle, then back at her) You didn't do anything to help him, Greeneyes, not this time. Girl: I'm your guardian angel, remember? She lays her palm against his cheek, then crooks her hand around the nape of his neck and draws his face toward hers, kisses him tenderly on the lips. Corso returns her kiss. He folds her in his arms and holds her close. The fiery glow dances over their entwined figures. The castle is now ablaze. The flames have spread from Balkan's tower to the rest of the building. Smoke and flames are now belching from it. The sky overhead is tinged with crimson. *** Paris Hotel room. Corsoís hair damp from the shower and a towel around his waist, is halfway through shaving when there's a knock on the bathroom door. One cheek daubed with foam, he opens it to find himself confronted by the floor waiter, check pad and ballpoint in hand Waiter: Bonjour, m'sieur. Votre petit dÇjeuner. Corso: Oh. Sure. Taking the pad, he emerges into the bedroom and scribbles his signature, then stops short: there's a breakfast cart in the middle of the room, but the bed is empty. No sign of The Girl or her clothes. Corso: Where is she? Waiter: Pardon? Corso: Madame, ou elle est? Waiter: Je ne ''ai pas vue, m'sieur. He makes for the door and exits. Corso catches hold of the door just as it's closing, puts his head out into the corridor, looks right and left. No one in sight but the floor waiter, who casts a puzzled glance over his shoulder as he walks off. Corso, now dressed but unshaven, hurries over to the reception desk, where Gruber is on duty. Gruber greets him with an almost imperceptible inclination of the head. Gruber: Good morning, Mr. Corso. Corso: Morning, Gruber. The young lady I came with, have you seen her? Gruber: Yea, sir. She went out not long ago. (He reaches behind him and produces a folded message slip from one of the pigeonholes) She asked me to give you this. He hands the slip to Corso, who opens it. With him, we read: 'See you around, maybe.' And below that: 'PS. The 9th Engraving was a forgery.' *** Toledo Street. Alley. Day. Corso's footsteps echo as he walks along one of Toledo's narrow medieval streets. The steel-framed glasses with the cracked lens have been replaced by a new pair with gold frames. He's wearing a smart new overcoat and has a new leather bag slung from his shoulder. He rounds a corner and heads down the deserted alleyway we saw in an earlier scene. No scaffolding, just sandblasted walls and freshly painted window frames and grilles. He reaches the doorway leading to the inner courtyard, hears a woman's strident cries, bumps into the boy, who comes running out as before. Corso crosses the courtyard to the steps that led down to the Cenizas' workshop. He stops short and stares. The old door - 'HERMANOS CENIZA - RESTAURACION DE LIBROS' - has been taken off its hinges and propped on its side against the basement wall. The display window is just a gaping hole: the window frame has been ripped out, exposing the masonry surrounding it. The whirr of a power tool can be heard. Corso, looking puzzled, descends the steps. He pauses in the doorway and surveys the interior. The hand press has disappeared and the floor is littered with debris. Pale rectangular patches on the grey walls indicate where counters and cabinets have been ripped out. Two Spanish workmen are busy detaching an old cabinet from the wall with an electric screwdriver. Corso: Oiga! He has to repeat himself before they interrupt their activities. 1st Workman: Senor? Corso: Los Hermanos Ceniza? 1st Workman: Los Ceniza? (glances at the 2nd Workman) Estan muertos. Corso: Como muertos? Quando? 1st Workman: Oh, hace anos, anos. Corso: ANOS?! 2nd Workman: Ingles? Corso: Americana. 2nd Workman: Ah... They dead, many years. Corso: (more and more puzzled): But they were here not long ago - I spoke with them. The 2nd workman looks at his colleague, shrugs and chuckles as if to convey that Corso is crazy, like most foreigners. 1st Workman: Disculpe. He indicates that Corso is in the way. Utterly disconcerted, Corso backs up as they manhandle the cabinet away from the wall and tilt it forward prior to laying it face down on the floor. As they do so, a dusty piece of paper slides off the top of the cabinet and seesaws to the floor like a falling leaf. Instinctively, Corso stoops and picks it up. He looks at it idly, then more closely. His eyes widen. It's the Ninth Engraving: The woman riding a seven-headed dragon with a castle ablaze in the background. The woman's face bears a strong resemblance to that of The Girl. Corso walks back along the alleyway with the engraving in his hand. His receding figure dwindles to a speck. \ No newline at end of file diff --git a/unformated_scripts/Script_No Strings Attached.txt b/unformated_scripts/Script_No Strings Attached.txt new file mode 100644 index 0000000000000000000000000000000000000000..707c174995304d4efeaa47c9d78ccaf4781d4060 --- /dev/null +++ b/unformated_scripts/Script_No Strings Attached.txt @@ -0,0 +1 @@ + NO STRINGS ATTACHED Written by Elizabeth Meriwether INT.. BEDROOM- NIGHT EMMA FRANKLIN and ADAM KURTZMAN Naked in bed but covered.in sheets. Lying next to each other, but not touching. Emma stall has her shoes on. EMMA I don't know. ADAM What about "Comrades-in-Fuck"?. EMMA No. ADAM What if we say we're in the Axis of Fuck? we formed a Fuck Alliance. We're neighbors 'on.. Fuck Street. EMMA What's wrong with "buddies'? ADAM Who says "buddies"? EMMA Yeah, you're right. INT. PAVILLION CAMP . WEEHAWKEN-- IGHT- 1994. A summer camp in- Northern Michigan. It's a dance. An over-enthusiastic counselor with a massive boombox stereo. Coolio's "Fantastic Voyage" blasts. About ten thirteen-year-old boys are lined up along the side. 'Hair down to their ears and parted in the middle-- little versions of Kurt Cobain or Jord Catalano. They are staring at a group of dancing girls - In the middle is KATIE, the blonde who grew boobs before anyone else. And every time she moves; she bounces. The boys watch her, serious, concentrating. They need to remember this for later. Katie continues to bounce- One boy suddenly looks down, scared. BOY It tickles. OTHER BOY- Yeah. It does other stuff. But there's a boy on the, edge of the group : A sweet. face, 'and you wouldn't be surprised to- find but he's Jewish: A 12 year - old, Adam Kurtzman. He's the only boy not looking at Katie. Instead, he's staring off in another direction. On the other side of the dance floor, next to an 'enormously ' fat kid, there's Emma. She's an awkward 12. Wearing borrowed clothes- a skirt that's a little too long, a top that she can't fill out. She's taller than any of the boys. But there's something in her eyes, like she's laughing at everything. She makes eye,contact with Adam: She squints., He takes -a deep breath,. She squints some more. He walks over.-'. ADAM Hey. - EMMA Hey. A 'long' pause'. -They're not looking at each other. Then ADAM Do you want to, freak? INT. PAV'ILLION-- MOMENTS LATER TLC's "No Scrubs." Emma and Adam are freaking awkwardly - Emma is too tall and Adam is holding on too tight and just bouncing up and down. - ADAM You freak, good. EMMA Okay. ADAM - (singing along with the SONG) "No, I don't want no scrubs"-- 3. EMMA I don't get it.' ADAM Urn. She doesn't want a -scrub; Because he's hanging out of his. best friend's ride, trying to -holler at her. Katie, in another part of the dance floor, is in the middle of a big freak-sandwich. KATIE CAMP RULES! Emma scowls at her, looks at Adam. EMMA Let's go to the dumpster- ADAM (SURPRISED) We're not even going out. EMMA (DEADPAN) But I feel like I've known you.my whole life. EXT. CAMP GROUNDS- NIGHT - Emma and Adam awkwardly stand against-the wall near the dumpster. There are couples on either side. of them making out. So. ADAM I've enjoyed camp. There's all kinds of fun activities. For example, I learned how to-archer. EMMA That's good. That'll be useful if you ever make a time machine and go back'to the medieval ages:-and then your-time machine breaks, and you get attacked by knights. ADAM You're funny. It's weird. 4. 'FR+fAÔøΩ1A My life's pretty.fucked ug'. ADAM My parents are gettinga divorce..' That's why I had-to go--to carp. SO. The couple making out next to them rolls over.really close. ..Emma pushes them back over. EMMA Marriage sucks my ' butt . ADAM Yeah. it sucks it. It sucks it. all 'ni-ight. EE+MA People aren't meant to be together forever. .' ADAM I just want to find a girl Who's really nice. And she likes to eat hummus. Suddenly, another CAPPER comes up.' CAMPER Are. you guys gonna make out?.. EMMA We just got here. CAMPER - Well people are waiting. WIDEN TO REVEAL a line of awkwardly coupled Campers waiting = to get to the make-out Spot. A boy walks by them from some ather'-spot, smelling his finger. EMM.A Do you want to- Adam leans in and kisses her. with tongue . ' They're both pretty . bad.. ADAM I like frenching with you. EMMA Okay. 5. Adam starts crying, trying to hide it. EMMA'(CONT'D).. Are you crying? ADAM Pretty much.' EMMA Why are-you crying? ADA Because- because camp'-s almost over- EMMA Jesus.. Exwaa pats him a'couple times on the shoulder. EMMA (CONT'D) Look. I'm not really an affectionate person. Emu a, very uncomfortable, puts her-arm around him. He lets her. They.don't look at. each other. ADAM Can I finger you? . EMMA Na. ADAM Okay. INT. FRAT HOUSE- NIGHT 200-1. University of Michigan. A big party at a Prat house., Keg.. Christmas lights duct-taped.tci. the wall. reryone's wearing "pajamas", which means. underwear. Just like the first scene; A. group of guys are.staring at a hot blonde.' They. wear boxers and drink beer out,. of plastic CUPS: The-hot blonde, KATIE 11, is wearing her sexy-little nightgown and dancing to Ontkast's "Miss Jackson-"- KATIE II (SINGING ALONG) "I'm sorry Miss Jackson,.I'AM FOR REAL:" 6.- She's dancing with a -hot athletic guy,, SCOTTIE', ..who is trying to keep up with her sexy dance. moves,. but is mostly just waving his hands in the hair. At the edge-of the'group, two guys that don't look,that great in their boxers- ADAM, now 21, covered-in hair, and his friend,'ELI. Eli stares at Scottie dancing with the hot blonde, Adam is too busy kissing VANES,SA, a nice girl. ELI I'd like to give her a Roman Face Mask. ADAM (still kissing .Vanessa) iÔøΩlhat? .ELI. It's where your balls are hanging over her eyes and your-dick is hanging over her nose. In-the manner 'of- a mask. . VANESSA Uggh. I'm gonna go get more beer. - ADAM - Okay. I want to get'y"ou.wasted" tonight. VANESSA I'm just getting a beer. Vanessa walks away. ELI ' She's not gonna let-you put it in. ADAM And that'.s totally -fine with me. SH e thinks sex is more fun when you re -in love. Eli stares at him, disbelieving. - ADAM (CONT'D) - 1 don t know.,She"s from :Canada. They don't have guns.. Their computers are run 'by tiny mice. 7.- ELI okay, well I'm from the United States, and I want to give that girl a penis mask. ADAM Why? That's not even hot. ELI Um. Yeah it is. ADAM You think it's hot to just sit there with your penis.on her face? ELI (A BEAT) You don't? Scottie looks over and smiles at the guys.. One of his nipple is slightly' larger and pinks than.the other one. ELI (CONT'D) Look. Scottie's got a gay nipple. ADAM What do you mean? ELI Look at it. ADAM Oh yeah. That nipple is definitely more gay.= You can tell by the way it wants to get legally married to' the other nipple. ELI .,My dads are gay. I'm not ashamed of (YELLINGOUT) I LOVE MY GAY DADS! .Some people around him cheer.. Some Frat Boys look over, pissed. Adam thinks it's funny, then he sees something. ANGLE.ON-- A girt on-the other side of the room. She's the only one not wearing pajamas. She wears glasses, jeans, and boots. She looks over-at him,.squints. ADAM Whoa . I know that, girl. ELI She's got bat.eyes. ADAM What? ELI She's got angry bat eyes. Like staring at you from the dark. Its. pretty hot . I'd fuck.a bat. A bat in a cave. A hot bat in a cave. Adam starts to walk -over to her. ELI (CONT'D) You know who else-is hot? Your girlfriend. INT. ERATHOUSE- CONTINUOUS Adam walks up. ADAM Hi, T- EMMA Hello Adam Kurtzman,. of Camp Weehawken: I'm Emma. I held you while you cried., ADAM Emma. Whoa. Yeah. Whoa. I was totally in love with you. ELM You were? ADAM No. Hi. ,You:'re here. This is crazy. Do you go here? EMMA No, I grew,up 20 minutes away. Ypsilanti,.Midhigan. The land of my birth. 'l go to MIT. ADAM Wow. So grew up-to-be a lot smarter than nip. 9. EMMA Uh-huh. 'It's scary actually, how smart I am. Sometimes my neck gets sore because my:brain is so.big. ADAM My neck gets sore. when I-eat string, cheese. Sometimes.. so what are you' doing Here? -At a party of Frat. EMMA I'm trying,to get someone to rufee me'. I keep holding out my cup.. ADAM I'll rufee.you. I was gonna save it for a Freshman but whatever- I'll take you out to.the alley,. I'll light some candles- Some girls near by give Adam a dirty look and walk away. EMMA So. Times have changed. We've grown up. Do you have -a girlfriend? ADAM NO. Yes. Over there. Vanessa. Is her name. ANGLE ON- Vanessa, by the beer, talking to a bunch of other girls. She sees Adam and makes a kissy-mouth. EMMA Oh. The-fat one? ADAM What? EMMA Look at that McDonald's face. ADAM She''s not fat. EMMA Why won't she sleep, with .you? ADAM What? We. sleep together. All night. 10. EMMA Come on. it's obvious. Look how tense your shoulders are. I'd need a flashlight to find: your-balls. ADAM Whoa. EMMA I'm Pre MEd, I'm really comfortable., with talking about the human body, and male genitalia in piarticular. S could fill, a book with' a.11 the dicks -and balls' I've seen.'I'd call that book.. "Disks -and Balls".. Or "Dicks, Balls, and .Dogs" and'i'd ptit -pictures of dogs in it too. (off Adam's look) I- don't know, I'm weird, deal with it. So why won't she sleep with you? ADAM (A BEAT) We're waiting till we're ready. EMMA. What do you need to be ready for? The rest of your life? It's just' sex, Adam. It's not a marathon.'You don't have-to train. ADAM Oh yeah. I guess everyone hapsex at - MIT. EMMA MIT can get crazy Kids are pretty much ready to fuck anything-. They know that based on attractiveness, they're on - the bottom of -the ' - biological food chain, so if the' opportunity comes along for procreation, they better fucking. ridethat shit. (A BEAT) What's' up with those boxers? ADAM What's'up with your.face? . EMMA I don't get it., 11. ADAM It's like, beautiful. INT. EMMA' S CAA-- NIGHT Emma and Adam are kissing and ripping each other's winter jackets off.-Outside the car, it-snows a little. ADAM My girlfriend's not fat- EMMA Oh- yeah-. she seems great- ADAM She is great- He rips open her shirt. ADAM (CONT'D) And I feel really'bad about this. He puts starts kissing her chest. Then starts coughing. ADAM (CONT'D). Oh. I got too much boob izi .my mouth. EMMA Aren't they cool? They move around and stuff. ADAM You didn't have boobs at Camp. Weehawken. Your boobs were still little stars in the sky. I had such a.big crush-on.you, Jesus. Emma starts taking off his pants. EMMA (TRUMPET SOUND) Doo-doo-doo. I'll be removing your -pants now. Adam moves away. ADAM Hey. Hey. Actually. I can't do. this. 12. EMMA Was the trumpet sound weird? ADAM - No. I just-I can't cheat on my girlfriend.. EMMA -Oh. Why not? ADAM Because then I turn into.my dad. And then.my worst fears have been realized. And then that sucks. Where do. you go from there? -Once your worst :fears have been realized. You become Bob. Sagat.. I want to. A lot. 'A lot,-alot. But I can't. , Is that okay? EMMA Yeah, but I'm keeping your pants. ADAM Really? ' EMMA No. Here. She gives his pants back. EXT. UNIVERSITY OF MICHIGAN CAMPUS- NIGHT- LATER Adam and Emma are walking around the campus-'it's a pretty winter night, a, little bit of snow. A' drunk kid throwing up. EMMA Your dad-was on that show? ADAM Yeah.-That's him. EMMA I always hated that TV show. T think it first came out when I was. teething, and I've just always associated it' with. pain in my gums. ADAM So do you do this stuff all the . time? It.'s okay if you 'do, I might. call you a ho but it's okay- 13.. EMMA No. I don't. But I don't have a problem with it. ADAM What? EMMA The affairs of the. heart. The fleeting passions of a drunken night.-The wayI .see it we're all just these big dumb.. animals. who, for the most .part; just want to have sex with each other.: So maybe we should stop beating ourselves up for what-we feel and just make sweet bone. ADAM You make a c ompelling argument . EMMA And also, it's somewhat improbable, but I like you. Adam beams. EMMA (CONT'D) Don't smile. Jesus. ADAM What? EMMA You want 'to come with me tomorrow? I have to go to-this-'stupid thing. ADAM Um, I think I... . Yeah. Ii11 go with you. ' What is it? EMMA Some stupid thing. EXT.. GRAVEYARD- DAY The next day. Adam. stands next to Emna at a funeral. Everyone is wearing black, except.Adam. He's overwhelmed- why the hell is he here? The people at the funeral are,. on the whole, without style- pudgy bodies and sensible shoes.'It's cold out. 14. They are blowing on their hands. Many people are cryin.g.1Emma stands next to her mother, SANDRA FRANKLIN., crying hard. Forma is- dry-eyed.- ' A bird shits on the coffin. She's the only one to see it. She smiles. INT. FRANKLIN HOUSE- LIVING ROOM Emma's family' s' small house in Yspilanti. The wake. 'People. milling around, talking softly. Lots of six-packs of beer. Baked goods. There's an empty, yellow, above-ground pool,.in the backyard . Adam-and Emma are.-by the food table, loading up. ADAM ' What the fuck, what the fuck, what the fuck?' EMMA You have cookie on your face. ADAM ' You said "some stupid thing." I thought you were getting your hair cut. EMMA Oh. No. ADAM You were burying your father. EMMA Yes. NEIGHBOR DARIA comes up to-the food table. NEIGHBOR.DARIA. 1 , .'m so sorry Emma. He was such a good man. He was always sibi.ling. EMMA Yes. That was-probably because he' was wasted. NEIGHBOR. DARIA Well. I wish you could have been there to say good-bye. But you were at that fancy college, -right?' - 15. Emma looks.-away, we see.for a moment how much pain she's in and how hard. she's trying . to .hide it. Adam notices'. NEIGHBOR DARIA (CONT'D) .And who are you? Are you Emma's boyfriend? ADAM No. ."11.m just- EMMA HE'S MY-- ADAM I'm.her.baby--daddy. Adam. puts his hand on her stomach. Emma looks up at him, getting the joke. Glad to be'saved. ADAM (CONT'-D ) I shot one past the goalie. So. (miming kicking a ball), Score!' NEXGHBOR DARIA (SHOCKED) I had no idea. ADAM But the truth is, I don't even know- if it's mine. EM Of course i¬±s his. He'.s the only ope I bareback with. NEIGHBOR DARIA (VERY- CONFUSED) Well. Oh my.' Congratulations. Aria' I'm sorry for your loss. EMMA Yeah, thank you for being sorry for me. Have a nice day. Neighbor Dana walks away. Emma looks at Adam, smiles. EMMA (CON'E'D) I wish:I'could take you to a funeral'every day. ADAM You should try the Chex Mix.It',s. theBold Party Flavor. EMMA E3ow-do they make it so bold? INT. FRANKLIN HOUSE--LIVING ROOM- LATER It's darker now. Less people..Jonah sits uncomfortably on a. couch between two enormous fat people, watching Frarna do.the- twist with a 6 year old by in a black suit. INT. FRAM LTN IN, HOUSE-- HALLWAY-- LATER Jonah walks around.-the house- seespictures of Emina and her family on, the wall:. -A 3-or 4 year old Emma with a pair of - underwear on her 'head. -A, picture of the family on Christmas:. Emma has a littlei cowboy hat on. Emma's' dad holds a beer and looks -away from". the camera, not smiling. Adam looks out the window out into the backyard.. Emma is walking through the backyard towards her-. mother, who stands alone near the above-ground pool.. - EXT. F ANELIN BACKYARD- EVENING- CONTINUOUS It's cold out.- Emma, ' -now wearing a winter coat, -walks - up to, her mother, not quite standing next to her. SANDRA- I should've got him to move this pool out of here before-he went back to the hospital. Sandra hands-the bottle to Emma, who takes a swig. EMMA What? Yod were going to stop him from dying so he could come home, first and lift all the heavy stuff? That would'vejustmade him-want-to die faster. 17. SANDRA - - Emma, I should have called you, I. thought he was in remission, and then he. just went so quick- EMMA It's okay. SANDRA (A BEAT) He was a son of a bitch. She's crying. Enna looks at her. EMMA Yeah. He was not the greatest.- (hard to say) You should have left.- SANDRA I loved hint. Why? EMMA Because you're crazy. Because you thought he'd change. Because you still root for the Tigers. SANDRA The Tigers are gonna come back. EMMA -Yes..And maybe leprechauns are real. . SANDRA. You don't believe in anything hopeless, Emma? EMMA The Toothfairy. And paying off my student loans.-Are you gonna come back inside-,-Mom? Because it's kind of depressing in there.- It's like. somebody died. SANDRA Yes. I think I will go back in. -You know what I'm gonna do? I'm gonna get-so drunk I can't walk and then I.'m gonna watch "Bambi" and cry for a couple hours. EMMZ It's good to have a plan. TNT. FRANKLIN HOUSE- LIVING ROOM- LATER.' /'Bai2?b1 " is on the TV. Sandra watches, drunk and sobbing. Adam is also crying, harder than, Sandra. Beer cans all around. SANDRA- (THROUGH TEARS) Look at his little his face- ADAM- (THROUGH TEARS) His little deer paws- Emma, sandwiched between them, dry-eyed. IN . EMMA'S CAR- LATER THAT NIGHT' In front of Adam's dorm. Adam stands on the 'street, looking in the car- window. EMMA Id say- we should hook up or something, but I've gotta get back' before Mom watches "Terms of Endearment." ADAM No- I' get it. EMMA I'm glad you came. ADAM is it weird if during most of-your father's funeral,, i. was thinking about' you naked? Ewa smiles and starts the car. ADAM '(CONT' D ) So should 1.1¬±k6 call you or- Adam, you're wonderful, I hope I never see you 'again. (MORE) 19. EMMA (CONT'D) (a beat) Have fun with McDonald's Face. As.she drives away:- ADM She works out all the time. All the tine. -TNT. GENERIC LIVING ROOM- DAY A brightly- lit living room. A spunky 30-something woman stands with her hand on her hip.. A large, unattractive, 40- something man:looksat her with a guilty look on his face. 'WIFE Honey, why did I. find a broken blender in my.herb garden? HUSBAND I don't know what you're growing OUT THEREL A roar of laughter. WIDEN TO REVEAL- We're on the set. of a Sit-Com inside .a sound stage..Los Angeles. 2007. Standing next to the bleachers filled with audience are writers and exec utives=-'baseball hats, sneakers, the occasional suit. They're.all laughing and slapping each other high-fives. Further off to the side, A CHILD-ACTOR sits in a 'canvas chair,. punching keys on a blackberry. Adam, wearing a head- set phone and carrying a clipboard,: stands. next to the chair, looking over - at the. group. of laughing men. CHILD ACTOR Can'you get me a no whip .skim latte? ADAM Yes. I may. CHILD ACTOR (back to the blackberry) You're... so... awesome.- ADAM Oh wow, thank ..you. Yeah. ,That means a lot.. Let's-be best friends forever. 20.. INT. ALVIN KORTZMAN'S HOME-- DAY Adam-walks through his Dad's huge house. Cold, impressicply. decorated. ADAM Dad? is ALVIN (O.S. O.ut here l Adam walk's 'out to the pool area. It's gorgeous-. A"massive' blue swinmiing pool, against the backdrop of the.-Hills. It's perfectly decorated= the pool chairs, the swim-iup bar, -the fancy grill. But it's too clean. It's like no.one.'s ever-,.-used, the furniture. - EXT. ALVIN'S POOL- DAY ALVIN KURTZMAN, 58, tan, wearing a:form-fitting switsuit and flexing. his stomach muscles. Flex. Release. Flex.Release. Adam sits awkwardly on a sleek pool chair, :watching. Release. i . ADAM Wow, I,. should come over and wash my clothes-on your wasbboarcl. abs . ALVIN Hit me in the stomach. ADAM Really? You want me to punch you in the stomach so'you can-show me how ripped you' are but it's going to fucking.hurt my hand? ALVIN Yeah. ADAM ' Yeah, sounds great. Adam punches him in the stomach. ADAM (CONT'D) AAAAH¬Ç¨ ALVIN Let's get some ice on that. 21. INT. ALVIN'S KITCHEN- MOMENTS LATER A sleek, modern, black -and chrome kitchen.. Just as clean and unused. Adam nurses his hand with an ice-pack. Alvin rolls a joint with amazing precision and expertise.. No. mess. ALVIN Hey, it's not what you want to be doing after college, but,you have to start somewhere. I spent the first yearI was out here buying horse tranquilizers for Judy' Garland.' ADAK I.know-. I've seen the pictures. ALVIN How's your mom? ADAM Oh,she's clinically depressed. But it looks like she might start' knitting.So. Alvin lights up the-joint. ALVIN - Good, good. Are you having sex with anyone? ADAM In my mind? ALVIN How long has it been? ADAM Since Vanessa. 8 months. Alvin offers him the joint.. Adam takes it: ADAM (CONT'D) But I've been masturbating like my hands-axe made of Vasoline and someone just took my paints. So. Things'are looking up. It's.good to- see you Dad. Adam sucks on the joint. 22. ALVIN Okay. Here's the deal. I'm dating Vanessa. Adam stares., shocked, holding the pot 'smoke''ixi: his 'lungs. INT. ALVIN' S KITCHEN-' MOMENTS LATER -, Adam is punching Alvin. repeatedly in the stomach. ADAM owl-owl OW! OW! INT. ALVIN'S LIVING ROOM- MOMENTS LATER Adam sitsona black leather couch with two bags of ice.on either hand. Alvin lies stretched out on. the floor. 'He's' on his side In front of Adam, smoking the joint and doing slow leg lifts.- ALVIN I ran into her again at a'party. We just started talking. About you actually. Hey.kiddo. Kiddo? Adam says nothing, does. nothing., ALVIN (CONT'D) I know you guys went out for a WHILE- ADAM Four years. ALVIN Four years. Okay. Yes. A'couple years. But you've been broken up for a year now. ADAM 8 months. ALVIN Okay, but she said for the last year, you were barely. having sex. ' Adam's, in agony, but he's trying not to'-let it show. 23. ALVIN (CONT'D) She said you weren't that attentive to her needs? You told her you'd only go down on her if it was her. birthday? Kiddo, ' just ''ask 'ine if you've got questions. I hav.e.years of experience. Tf there's one thing you-learn after two failed marriages, -it's how to eat kitty. (ACTUALLY SERIOUS) Look. I know I'm .not the best. Dad. But I care about her: And I've always believed that the worst thing you can do. in this .life is say no to love. Right kiddo? INT. ADAM'S CAR-- ' NIGHT Adam's alone, in his parked car. He screams. INT. ACE OF SPADES- NIGHT 'A dive bar. Juke box. Eli., Scottie are sitting around Adam. Scottie looks great. Eli wears 'a Jamba Juice uniform. ELI At-least I know my gay dads aren't going to eat out my ex--girlfriend. SCOTTIE Drink this. - .Scottie puts a shot in front-of him. Adam downs it. SCOTTIE (CONT'D) Are you okay? ADAM Yeah I'm fine. ELI - Because you've got'a weird look in your eyes. I'm gonna-be honest, you look like Christian Slater." Adam dbwns"another shot., ADAM I.'m totally. ,fine. '24. ELI No, no, stop. being so nice. Seriously. Remember when:I.-.stole your inhaler as a joke, arid. you , almost died and you didn't yell at'- me. What did you do?. ADAM I threw your toothbrush in the toilet. ELI You should've just yelled at me. You've got to let some of this stuff out,. Scottie-puts another shot in front of Adam; Adam dawns it. ELI (CONT'D) You. broke' up a year ago. ADAM 8 months. ELI -You broke up 8 months" ago. and now she's-dating' your father: What, are . you going to-do about it? ADAM I'm going to get wasted..: ELI Perfect.- ADAM And then I'm going to puke in that trash--can. outside. ELI - That's a fantastic idea. ADAM And then I'm going. to call every girl in my phone and tell them,.all. the things-I remember about Vanessa. SCOTTIE No, dude-- 25. ELI That's the: worst idea, I've .ever heard, and we're behind you 100 percent. EXT. OUTSIDE ACE OF SPADES- NIGHT Adam, holding onto a trash can-for :support, talks.- into his phone. ADAM (SLURRING DRUNK) Gretchen! Hey! What'sup Gretch! Eli and Scottie watch, worried. ELI He`s at G. SCOTTIE Who's Gretchen? ELI It might, be his cousin. ADAM (into phone)' You smell so good, Gretchen. I'm gonna make you a sandwich. Of my body. (A BEAT) Okay. Put your. mom on the phone. Scottie tries -to take away his phone. Adam fights'back. SCOTTIE Give me your phone dude- He drunkenly lashes out at Scottie., ADAM (SCOTTISH ACCENT) ,You'll never take my freedom- ELI (TO SCOTTIE) Socttie, we gotta let thisplay out. Just let it play out. SCOTTIE No,.I think I got it-_ 26.. ADAM (Scottish). 1 came to.Scotland to raise cropsi and God willing, a family- out of nowhere., Scottie jumps on Adam, he's -taken down-1 EXT. A LIVING ROOM- MORNING Adam is lying face down on a bed. He opens his eyes . ' Bright sun. He has no idea where he is. It''s a living-room of a small apartment. There are boxes everywhere. Nothing. on the shelves,. sparse furniture. WOMAN'S VOICE (O.S.) There's Advil on the table. Adam gets up, in a lot of pain,rand heads over to the Advil. ADAM I don!t'know who you are. Are you pretty? It doesn'tmatter if you're pretty. You can be ugly, I'm still gonna call you tomorrow,' don't worry about it. I'm gonna take you out.. I'm gonna pay for everything- Emma comes out of the bathroom in a'towel and shoes,.drying her hair. - EMMA I'm gorgeous. Adamlooks at her,.amazed. EMMA (CONT'D) You called me last night :and asked if I would fight to get the English out of Scotland..' ADAM You don't live . in LA'. EMMA I've been living here 'fot ' 4 8 . hours . You were throwing up for three of them. I've never seen anyone puke like you puked. You puked .with passion.. It was like watdhiiig Faulkner write "As.I Lay Dying." I - 27. ADAM You're not wearing clothes. EMMA Neither axe you. ADAM Did you take advantage of'me? (A BEAT) -I hope you took advantage.of me. (A BEAT) Will you take advantage of me? Emma just looks at him, it's not clear what she's thinking. ADAM (CONT'D). Oh god, I'm sorry, I'm, like, in my underwear.and I'm hitting on you, that's so gross, who am I? I don't even know you that well-.1-mean I went to your dad's funeral, but other than that- Emma's lips are on his. INT. - EMMA' S BEDROOM- MOMENTS LATER They-are'making out and talking in between kisses. ADAM My dad's dating my.ex-girlfriend- EMMA You told me last night- ADAM I did? Did I tell you in a funny way? Was X kind 'of charming and funny? I EMMA No you were crying and covered in vomit. I ADAM YOUR BREA pts are like 'little elf mountains';: INT. EMMA'S BEDROOM- MOMENTS LATER Adam's ripping through an unpacked box, excited. 28. ADAM Condoms, condoms, condoms- EMMA.'S VOICE (O.S.) They're in,the box, down by the- ADAM . It's like an Easter Egg hunt. But ' we're ,not celebrating Christ ! EMMA (O.S.) Inside the box there's ..a box- Adam takes out a large vibrator, the "rabbit",. ADAM If some guy had a dick,like this, you would be like: Why does your dick have rabbit ears?, EMMP.(O.S.) Is there a Rite Aid bag?,. ,Adam takes out a couple books. ADAM 00, "Snow Falling on Cedars "- what did you think of that? EMMA (O.S.) Jesus. Ema, naked, runs past him, grabs a string of condoms and runs back to the bed. He gets up and chases her. ADAM Those are for, me! You don't get to wear one of those! INT. EMMA' S BED- MOMENTS LATER Adam and Emma are -having sex. ADAM Wow. EMMA ' YEAH-- ADAM It feels like your vagina- is shaking hands with my, penis, 29. EMMA Is that a..good thing?. ADAM Yes. Yes -it is. JUMP CUB-. In a .different position. EMMA You have a weird sex face. ADAM .What's my sex face? EMMA I don't know- it's like Richard. Nixon and Dan Rather and someone having an asthma attack.. ANGLE ON- His sex face, it does look. like that. ADAM Flip it? EMMA Affirmative. They flip so 'she's on top. EMMA (CONT'D) Look, I'm riding you like a sled. ADAM Um. Whee! Ow. Do you want to take your shoes off? EMMA I never take my-shoes oft. What if there's a nuclear attack? ADAM The shoes aren't gonna help. EMMA What if-someone breaks into my apartment, holds me at gunpoint and says: You must run hurdles. ADAM I'm gonna cum. EMMA That's bullshit. 30. ADAM Fine. But you have about-45 seconds to get your shit together. EMMA Fine. ADAM Fine. INT.EMMA'S BED- 45 SECONDS LATER Adam has his 'hands out in the iconic Nixon pose, peace fingers on both hands and makes weird sounds like Nixon having an orgasm.-. (Whatever that. sounds like.) 1 - INT. EMMA'S BED- MOMENTS LATER They are lying in "bed; after the fact. It's a iittle..awkward. EMMA Let's.not do the Richard Nixon thing again. ADAM No. .EMMA It feels wrong. ADAM it was a .mistake. .(a beat) Should we-cuddle or something? EMMA . I don't think so. ADAM I just like to-cuddle otherwise I feel cheap. Emma starts getting dressed- all business. EMMA I don't really do relationships. I've tried and I'm not. good at it. After a couple months , my throat - starts to constrict and the walls start throbbing. 31. ADAM Like a peanut - allergy. - ELA Yeah, like an emotional peanut allergy. ADAM' What's an "emotional peanut"? Ha, ha. EMMA You're on the rebound, you. should be having meaningless yet sate .sex at every free moment of the day. You need another relationship like you need someone to jump :out of that closet'and throw-a brick-at your head. ADAM Oh my god, is that going, to. happen? EMMA Look, I'm attracted to you--- ADAM And I of you. To you. EMMA I'm going to be working 14 hour days and I just need someone who's going to be there at'2am, in.my ' bed, and who.I don't have to lie to or eat breakfast with- ADAM I hate breakfast. And lying. And also war. EMMA We need.to-make some ground rules. INT. EMMA' S CAR- DAY Emma is driving Adam home. She still has her Dad's car. EMMA Don't call me in the middle-of the - day to tell me you were "just thinking about me." No buying me things. No crying. No jealousy. (MORE) 32. EMMA (CONT'D) Nolong silences where we're looking into each other's' eyes.. No fighting.- No telling m e that I have problems with communicating my feelings. Because I know t do. I -don't need you to tell me that I do. ADAM Uh- don't sleep with-my dad. EMMA No stealing. ADAM Stealing? I dated.'a guy who pathologically stole stuff out of my apartment and then' brought it .back the ' nest d ay and apologized. ADAM Okay,'so the bar is really-high here. EMMA Don't ask me about my past- relatioziships or my hopes and dreams for the future. ADAM II don't care about your hopes and -dreams. EMMA I don't care about yours. No' flowers. ADAM I'm scared of flowers.. EMMA - Try to avoid being weak or vulnerable in front of me. Don't tell me about all'the weird things you think about when'you''re alone. Don't talk about your childhood. Don't forward me things.. ADAM Don't do that passive aggressive shit. Like "Oh I'm:-not upset.‚Äû 33. ENMMA Oh Ihate that shit. ADAM - Don't ask me what I think about your body. EMMA what do you think about my body? ADAM - I think-it's great. EMMA Thanks. Don't go pee--pee in front of me. ADAM Don't ever saypee-pee again. Don't talk' about how hard it is to be a woman. Because it's'not. EMMA Don't-list me as your Emergency Contact, because I .Won't".come. This one? She pulls in front of a house. Stops the car. ADAM Yeah. Don't say my penis is "cute". Even if- my penis is ' dressed up like a Care Bear and it's giving.you a care--stare . EMMA Please don't dress up you$ penis. Ever. -ADAM Yeah, that makes sense. EMMA And wedo this until one of us starts feeling something more and then we say good-bye. ADAM- Well it won't be me. EMMA Okay. 34. ADAM (after a beat) So you want to come in? (THE FOLLOWING SECTION- Short scenes maybe with music underneath, kind of like a montage.'.. I don't know) INT ADAM'S BEDROOM- MOMENTS TITER. Adam and Emma are happily going at :it. ADAM Sex is so great. EMMA Sex is so great! Emma goes down on him. ADAM You're blowing me! That's great! Emma looks up at him. EMMA Your dick tastes like ma tzo. ADAM Really? I should call my mom.' EMMA Yeah, let-'s call your mom. Oh wait, I'have your dick in my mouth.- ADAM What else does,it.taste like? EMMA I don't know-; 'let me see.; Siie'.goes back down to check' it out. -Then comes back up. EMMA {CONT'D) A hint of oakiness Some.earth tones. ADAM That's fascinating. EMMA I go on dick tasting touts of Nappa: Valley. 35. She goes back down, Adam starts clapping in rhythm-like'he's at a. sports game. INT. ADAMS BEDROOM-- NIGHT- MOMENTS LATER Emma looks down. Adam comes up. ADAM You taste like candy canes and SUNSHINEL Emma laughs. INT. ADAM'S KITCHEN- NIGHT Emma and Adam both wasted, making out. Sloppy. Just basically licking each other's faces. Emma is, sitting in the sink with her feet hanging down.Eli walks in. ELI, Oh. Hey guys. That's actually a sink used for washing things. Adam doesn't stop kissing her; just: picks' her up and walks her out of the room. - EMMA (still kissing Adam Hey Eli. ELI I can't focus on my porn when there's so much real sex going on around me. ADAM (still kissing Emma) Bye Eli. INT. ADAM'S BEDROOM- NIGHT Adam chases her" around the room with her bra tied around his head- the cups stick up like cat ears. ADAM - Uh-oh, Bra-ears. Bra-ears,.. Emma screams and laughs and runs away from him. INT. ADAM'S BEDROOM= NIGHT In the middle of sex, hot and heavy'. Joanh calls out: ADAM Oh. god, I love you!' j ÔøΩ (A BEAT) Just kidding! INT. ADAM'S BEDROOM-'NIGHT Emma wears nothing but her doctor's; jacket . - Adam wears- )iriefs and a cool Bas-style jacket. - ADAM I've never really done role'-play before. What do I do? EMMA I don't know. I think we :just start. ADAM okay. He does something with his hands. ADAM-(OONT'D) (WOODEN DELIVERY) Oh no Doc- EMMA What are you doing? ADAM Some mime work. EMMA. You don't have to -do that'.. ADAM You don't- think so? EMMA No. I don't think it'-s necessary to the scene.. ADAM Okay. -Re-do. Um, sans mime. Adani puts his -hands on his hips. 37. ADAM! (CONT'D) (WOODEN DELIVERY) Oh no Doc. We're running out of giggawatts. Emma puts her hands on her hips. EMMA Hey McFly. ADAM What Doc? Emma climbs on the bed. EMMA There's only one thing to-do. ADAM What is that? EMMA I think you better get in the De Lorean. ADAM Yes. I think I will. He does. ADAM (CONT'D) . (WHISPERED) This is so'hot.. INT. E.MMA'S BEDROOM- NIGHT Emma and Adam are watching TV in their underwear, but sitting, in different chairs,. eating snacks.: An older-sitcom comes on. A younger Alvin is on screen. with a';bad hair cut. EMMA. Is that your dad? ADAM Yeah. EMMA He's so-attractive. ADAM I hate you. 38. EMMA' I'd like to put him in a !bucket and have sex with the bucket-.- ADAM Seriously. You're a terrible person. INT. EMMA'S BEDROOM- NIGHT They're having sex in a weird position. EMMA So what do you do for, a 1ivin4? ADAM Coffee. I get coffee for 'a I0 'year old girl. Cool. ADAM I want to do stand-up. EMMA So do it. ADAM I'm too scared. EMMA Why? ADAM - I can't-feel my legs. JUMP CUT- Adam-doing some stretches: ADAM (CONT'D) My cholesterol levels have really' been going down. INT. EMMA'S BEDROOM- NIGHT ADAM Am I just a body to yoa? 39. EMMA Yeah. You're my renewable; source of dick. -Your dick is,powering 5 of my lightbulbs. INT. EMMA'S BEDROOM- NIGHT After the fact. Adam is looking through her i-pod. ADAM You have the worst- taste in music I have ever seen. Seriously.- You're like a teenage girl. You're like a tween. EMMA What's wrong, with ,it? He presses a button pn her i-pod and "Since U Been Gone" by Kelly Clarkson comes on. ADAM I don't know if you know, this, but one day, I'm gonna beta big Star. He starts. to dance around.4nd mime a mike. - EMMA. No. ADAM (LIP-SYNCHING) "Here's the thing, we started out friends, but it was-all pretend, yeah, yeah, since you been gone..." EMMA Stop. Stop. This is like my- worst nightmare. He- gets more and more into it, dancing arouund. ADAM (LIP-SYNCHING) "And all you ever hear me say is how I picture me with you-, that's all you ever hear me say-" Suddenly, Eauna Jumps up on the bed and goes. nuts. - 40. EMMA AND ADAM' (LIP-SY NCHING) "BUT SINCE YOU BEEN GONE!I'CAN BREATHE' FOR THE FIRST TIME 1 INT. ADAM'S BEDROOM- NIGHT After the fact. They're lying there happy,-but not touching. ADAM Did we invent-being "fuckbuddies"? EMMA No. ADAM Who invented it? EMMA I don't know. The cavemen? ADAM Like.one caveman texted the other, caveman: "Where are you?". And . she- was like: "In the cave. Smiley face." EMMA Yeah and then they did it. ADAM Probablq;doggy-style. EMMA Definitely. And.-then he was like: I'm gonna go spear some pre- ' historic hog. And she was-'like: Cool, I'm-gonna have a kid and pick- a lot of berries. ADAM That's beautiful. EMMA Yeah, it's really sweet.' INT. EMMA'S HALLWAY- NIGHT Emma, in her scrubs, falls asleep on: Adam's shoulder with-her .key, in the look. 41. ADAM Hey. Emma makes a little sleep sound. EMMA (HALF-ASLEEP) Are -we having sex? ADAM (SOFT) Yeah. Big time. I Adam, props. her up against him, opens the door, walks her over to the bed. He lies. her down in the bed. Covers her.up. Turns out, the light. Leaves.. INT. EMMA'S BEDROOM- NIGHT Emma is in.sweat pants,'popping Advil. Adam is eating pizza. EMMA - . I'm on the rag. ADAM Yeah. I figured that out.: EMMA (sharp).' Why- do I look bad? ADAM Noi You look. Fantastic. Maybe it's just the way you're eating Advil like it's a bag of M&Ms. EMMA You don't'have to be here. ADAM Baby, you're a'-woman, and:I think that's a beautiful thing.' (putting his hand on her STOMACH) - Hello ovaries, I'm Adam. It sounds like.you're pretty busy in there doing all the things you do- EMMA Sheddirig the lining of the uterine walls. 42. - ADAM Shedding-the ew of the-e', ew. But - hurry up and finish soonl EMMA Oh my god. INT.' UCLA TEACHING HOSPITAL- HANDICAP BATHROOM-- DAY Adam follows Emma are going at it in the handicap bathroom at the hospital- Eim a wears scrubs. Adams still holding a ';tray of Coffee Bean coffees'and someone's dry cleaning.' INT. UCLA TEACHING HOSPITAL- OUTSIDE' BATHROOM An old man is in a wheelchair is listening outside the doors He's ' excited- his leg starts to uncontrollably shake. A :ntrse NURSE Hers seizing-.he's seizing up- INT. ADAM'S HALLWAY- DAY Adam opens his doorr, brushing his teeth. Emma'stands at his door with her coat on.' ADAM .You just left. EMMA I know. ADAM' (as he's kissing'her) Is this against the rules'? Is'there. breakfast anywhere on you? Are you a breakfast smuggler?.- EMMA (KISSING HIM) Good, now I don't have to-'brush my teeth.. INT.- EMMA'S BEDROOM- NIGHT Emma is asleep_ Adam.is watching her. The gray he's..watching her looks like it might be breaking. a' rule. 43. INT. EMMA'.S BEDROOM- NIGHT Adam is asleep. Emma is watching hiin. She realizes she's been .watching him, looks up at the ceiling. A little worried. THIS IS THE END OF WHATEVER MONTAGE-'y THING JUST VENBD . INT. UCLA TEACHING HOSPITAL- DAY The ER. Emma walks down the-hallway' with-SUMAIRE, a male- resident, and CONNIE, a'female resident, eating chips. They are all wearing scrubs covered in blood. SUMAIRE He sleeps with other people? EMMA I don't know. I don't ask. CONNIE Don't. you want someone'you can rake leaves with? And.you're like: "Brr, it's cold. Let's go makesome hot coco." And he's like: "O1 baby, that's.so cute, I respect your body." EMMA Hm. No. SUMAIRE I guess my wife is kind of my 'fuckbuddy.. 'Except we don't have sex. And we're not friends. CONNIE I don't buy it. You can't sleep with someone and not'feel. something! Come on! Don't you always feel something? Emma and Sumaire look at her, thinking. EMMA Uh-uh.'. SUMAIRE (OVERLAPPING) No, definitely. not. CONNIE Wow. I.feel like Cindy Lou Who. I'm like-"Have some milk and cookies, because I still believe. EMMA (pointing to her scrubs) You've got some-brain on you. Connie flicks. it on Sumaire. SUMAIRE' That's so immature. You're so immature. He immediately. sticks it on Emma's fair and-runs away. EMMA I have brain on my hair, don't I?. Connie nods. DR. HENRY METZNER, still good-looking", ixi his fifties, walks by. DR. METZNER Need you guys back out' there They immediately straighten up, he's the boss. He and Emma make eye contact. She squints. CONNIE' Of course. EMMA YEAH--= CONNIE We were just trying to bring some fun into our work day. Like on Grey's Anatomy? DR." METZNER (A BEAT) Need you guys back out there. (to Emma as he's -walking AWAY) You have brain on your hair. CONNIE I.hate'him. And I kinda want to do him. But I kinda just -want to go. to SLEEP; 45. EMMA (staring after him) Yeah. CONNIE So what does this guy do? EMMA Adam? I don't really know'. TNT. COMEDY CLUB- NIGHT Adam walks out on'stage up to the mike. He's completely uncomfortable. People are talking, sounds of glasses. ADAM (into the mike,. too 'SOFTLY) Hello Los Angeles. Scottie, Emma,-Eli and JIM and HAROLD are watching. ELI - (whispered to Emma) These are my two gay Dads EMMA I'M EMMA- Jim and Harold wave back. on stage, Adam adjusts the mike-' he has huge pit stains. ELI- Look at that sweat. JIM Oh T thought the shirt had stripes. EMMA Wow. I never really see him in clothes. Everyone looks.,at her. ADAM ' ' (INTO MIKE) Hey, do you guys think, it 's racist that they're called "blackberries".? No one laughs. Emma cringes. A black; person looks. really offended. 46. ADAM (CONT'D) (INTO MIKE) Okay. So. I guess it's just Inge. ELI This is not going to be good. SCOTTIE Maybe you could distract him and I could run up and take 'the mike? i ELI Yeah, we could pretend to'be bandits. ADAM (INTO MIKE) Women.huh? They like to shop. ELI That's fresh-territory. That's really edgy. ADAM (into mike, wooden) My wife, she likes to-shop. Oy. EMMA what? HAROLD Does he have a wife? ELT' Of course. he doesn't. have :a -wife. Look at him. ADAM - ' -(into mike) I tell her: Hey, I wish you would diet as much. as you-shop. .No one laughs. A fat woman looks, rea=lly offended.-. FAT WOMAN Eat my ass.- She throws a piece of food at him. ..He catches it. ADAM (INTO MIKE) Oh.. Wow. This is- this is .a Jalapeno Popper. 47. She throws another one at him.' He catches it. ADAM (CONT ` D ) Hey, I'd like a beer. Some people: actually chuckle. Adam is' surprised, but it feels good. Then a beer comes out of nowhere and hits him in the head. INT. COMEDY CLUB- LATER They're all sitting around the table in-silence.- Adam is holding an ice-pack to his head. ELT You asked her to throw a "beer atÔøΩ you. - EMMA Why did'you say you had a wife? ADAM 1-don't know. Because people make jokes about their.wives. - EMMA Why don't you just talk about your real life? - ADAM Because I suck. EMMA You don't suck. Just.keep doing it. ELI' You sucked. Tell me the next time you do stand-up and I'11see if I can get myself arrested first. HAROLD Thanks for being friends with Eli, I know it can't be easy. JIM We're going to the bar. ELI Dad? Jim and Harold both turn around. 48. JIM/HAROLD .Yeah? ELI Nothing. I just like when you do that. Hey,' I'm getting you a beer. 'Lou should be drunk when that'woman comes back and sits on you.- Emma leaves with them. SCOTTIE So you guys aren't really-going put?. ADAM No. We don't have.time toÔøΩgo out, we're too busy having Sex. ' SCOTTIE Well do you think I ask her out?' ADAM What? SCOTTIE Because you're not really. going out. ADAM Look at you, you could hasre sex with any girl in this bar, and-look at me- It's like you're taking food out of the hands of a starving child. Shit. Come on Scottie.- SCOTTIE What? I just think she's great. They both look over to the bar . En ma sees Adam, smiles r holds. up a beer. - - EMMA CATCH L Adam ducks. EMMA (CONT'D) (LAUGHING) Just kidding. 49. INT. EMMA'S BEDROOM- NIGHT- LATER Adam and Emma are both taking off their clothes, on either side of the bed. It's routine by now. ADAM Do you sleep with other guys? I know I'm not allowed, to ask -or WHATEVER- EMMA So.why are you asking? ADAM Scottie wants to_ask you Out. EMMA What did you say? ADAM What do you meat? I told. him No. EMMA Why? ADAM Why? - EMMA Yeah, why? ADAM Emma, you're killing me-- EMMA I'm not yours. She'meets his eyes for a minute. ADAM Awesome, you want his number? EMMA Sure. Emma gets out her phone, makes a big show of putting in the number. EMMA (CONT'D) Okay,-I'm ready. 50., - ADAM 323-555-8903. EMMA: Great. Thanks. ADAM I think I'll goout onsome dates. EMMA You should. - ADAM Maybe I will. EMMA You should. ADAM Maybe I'll have. a lot of sex, with a lot"of women that aren't you. EMMA Go for it'. ADAM And maybe that sex .will continue on and on-until the break Of dawn. EMMA That sounds fun. ADAM Oh' yeah. Sex on the couch.: Sex on the floor. Sex on' a boat. In a box. With a fox. in a house.' Ona mouse. .(a beat) I do not-like Green Eggs and Ham. I do not like them. (a beat). -Emma. EMMA - I don't want to go out with Scottie anyway. He's too good looking. ADAM Oh great.' That's a great reason. What is. it about me then? Is it because I have hair on my neck?. EMMA It's just so soft-- 51. INT. . FRANKLIN HOUSE- KITCHEN- DAY Sandra Franklin is drinking whiskey, talking on -the phone. SANDRA He just left, he didn't even say good-bye. INT. UCLA TEACHING HOSPITAL- DAY-.CROSS CUT Emma, scarfing down a sandwich, talking on the phone. EMMA Mom, he's a jerk., you keep going out with these jerks- Did you fill out that form.I sent you with the information about the co--payment? SANDRA Oh I don't know. EMMA (SOFT) 'Mom, try to eat something. Don`t just sit there and drink- SANDRA I'ma not! .EMMA Mom. SANDRA (A BEAT) Why are the jerks so much :fun? EMMA ' I don't know,. there must. be some biological reasoning, like assholes -used to be the better hunters or. something. SANDRA Oh., he 'was 'a good ' hunter. ; He was really good at... hunting. EMMA (trying not to. laugh) : Mom! Dr. -Metzner walks by, looks at Emma. -52. INT. GUITAR CENTER- DAY Aiiam is at the counter with four cups' of Coffee - Beaii . coffee, a clerk comes up. ADAM Hi. I, deed a., guitar case. CLERK What kind of guitar do yoiz have? ADAM T don't have a guitar. CLERK (A BEAT) Okay. ADAM It needs to fit a: small body. Like a child's body. CLERK (A BEAT) Yeah.we got those. i TNT. STUDIO LOT- DAY An actor enters the Sit Corn living room set with a guitar case. ACTOR I'm-here for my lesson... TYie Child Actor pops out of the guitar case with striped. stockings and pig-tails. CHILD ACTOR Me too ! The audience roars. The group of writers/executives high- - five'. Someone turns-to Adam and mouths: "So Funny." Adam nods and tries to look excited. A HOT WARDROBE. ASSISTANT walk up with a rack of clothes. She watches- the taping for a momenta Shd' s gorgeous. Adam r1ifflea his hair a little. She makes eye. coritact with him and-rolls.. her eyes like "This show sucks." Adam smiles and nods He, watches her walk awray . 53. INT. EMMA'. S BEDROOM- . NIGHT - Emma and Adam are ripping each other's clothes off, per .usual. ADAM . Should I just,. like, ask her -out? I don't know how to 'do it. I sort of work with her- EMMA Say: "Hey; I'Yre 'always wanted to know what you look like when you're not kissing ass." ADAM - That's a good.idea. EMMA No it's a terrible idea, Jesus. INT. EMMA'S BEDROOM- NIGHT- MOMENTS:LATER Adam is ontop of Emina.Sex is happening. EMMA What-about "Let's-go get some coffee and bitch about work"? ADAM Girls don't sleep with guys who use the verb "to bitch". EMMA Flipsies? ADAM (HIGH-PITCHED) FLIPSIESL They flip so Emma's of top. ADAM (CONT'D) (IN PAIN) YOUR SHOESL EMMA Just ask her outl You're sort of HOT; 54. ADAM (AVICTORY) I'm Port of hot! EMMA Just try not to seem like ;a.serial killer. Are .:you ready to cuzit? I'm ready. ADAM No f' wait, give me a second, think. about something else: pasta sauce, pasta sauce, old men eating pas.ta SAUCE-- EMMA (all hot and bothered) It's not working--' ADAM . The president of Iran eating. pasta s auce- the president of Iran eating pasta sauce off an old man's body- EMMA Just hurry up ! I INT..SOUND STAGE- DAY The next day: Adam stands in his usual spot. This time.there are a bunch of extras dressed as priests; smoking. The Wardrobe .Assistai2t walks. up. She takes -notes, Adam ; -notices -her.,' ruffles up his hair and tries to "look cooler. He takes adeep breath.- ADAM So do you always kiss ass? HOT ASSISTANT .(angry., confused) No. What? - ADAM ' (trying to save it) I like your face. HOT-ASSISTANT (VERY UPSET) Why doesn't anyone take me serious ly? ' 55. She runs -off upset. Adam nods.-That.was a disaster.-The' priests are laughing at him. - - ADAM Yeah. Who wants coffee? - Most of the group raise their hands: And at the edge -of the group, ALVIN STANDS THERE, also with his hand up. - EXT. STUDIO LOT- CRAFT SERVICES- MOMENTS LATER Adam is in the middle of pouring ten cups of coffee. Alvin has his arm around a priest, another priest is taking their picture. PRIEST That was my favorite show. ALVIN Thank you, Father. The Priest laughs. PRIEST- You're so amazing. Adam spills some coffee, the craft services guy' glares. EXT. STUDIO LOT- DAY-.MOMENTS LATER Alvin drinks a coffee, Adam hands out coffee to some of the other extras. Some people recognize Alvin and look over, whispering to-each'other. ADAM what are you doing here, bad? ALVIN I wanted to see you, buddy. ADAM' Buddy? ALVIN - I want'to take you out to-dinner. With Vanessa.'We want to take you out to dinner. 56. ADAM Oh that's nice, but I 'don't really want to eat in a place where you're also eating. ALVIN Come on. We've got to talk about. this. It would mean alot. Come on. I'm going to stay and take pictures with the priests until you say yes. I Adam hits himself '.repeatedly in the head with his' clipboard. ALVIN (CONT'D).. Good. I'm glad that's settled. INT. UCLA HOSPITAL- LATER THAT DAY.- .W61-re-very close on Adam's patch of"neck-hair. SUMAIRE (O.S.) It's so thick. Sumaire is looking at Adam's neck on an exam. table. Emma comes. in. .ADAM Oh -hey,. Emma. I'an freaking out about my neck-hair. SUMAIRE He said-he knew you. ADAM Do you think it's possible that I unknowingly got bit. by adog and somehow, through a series of genetic mutations, I'm starting.to become. a dog? And now I'm :going to. have dog-powers-. Like smell And the power of bark. SUMAIRE (without express,ion) Yeah. Could be. I'll write that down. ADAM And if I shave it,.:am I zapping my body of some sort of strength? Is it secretly "strength hair"? 57. SUMAIRE Oh. That's a good point. What if it's "secret strength hair"? PAM. should I take him up to psych? ADAM No, Emma, I .don't need to: go to "psych," I'm just a-normal guy who's looking for answers: about his -neck--hair . (starting to wheeze). Oh my god, -oh my god, it's killing me,- I'm dying, this is dizziness,- check, this is heart-rate= increase, check-' - ' EMMA. No Adam, this is because you're having dinner with your father.. ADAM T know that! EMMA (TO DOCTOR) His father's dating his ex- girlfriend. SUMAIRE Yeah, that'll do it. - ADAM Please give me drugs. Sumaire and Emma-just look at him. INT.-.HOSPITAL LOBBY- NIGHT Adam sits by himself on. one of the chairs. Emma and the. .Doctor are talking-a little bit away from him. SUMAIRE 1gave him a milligram of. Benzodiazepine; so that's' the medical equivalent of hitting him with a large heavy object: and leaving him on the side of the road. ANGLE ON- Adam, completely zoned out, hitting his hand against.a children's toy block. ADAM Look. My hand is a hammer.- EMMA I just' worked 14 hours. i - Em a is really annoyed. Dr. Metzner,walksby, looking. over. DR. METZNER You're a good girlfriend. EMMA (to Dr. Metzner) Oh Dr. Metzner- he's Um,:he's not MY- Adam holds up his'car keys to Dr. Metzner. ADAM made you.a hat. DR. METZNER I hope you're not going to use those car.keys'to drive. ADAM Put on the hat. EMMA You don.'t have to put anything on. ADAM' (WHISPERED) I Put on the hat. Dr. Metzner puts the car keys on his head and doe$ a funny little dance. Enmia smiles at him. He smiles back: Adam sees it. ADAM (CONT'D) - Give me my hat back. Now. -Now. EXT. BEVERLY HILLS RESTAURANT-- NIGHT. ; I - Emma-sits in her car, Adam is-on the sidewalk. He- can see AT LA Vanessa and Alvin- through the window,- sitting waiting table in a relatively nice restaurant. 59: ADAM I'm all over this. I am 200 percent on my game. (A BEAT) Am I flying right,now? EMMA No. ADAM. Not at all? I'm not airborne? Emma looks very. annoyed. INT. BEVERLY HILLS RESTAURANT- NIGHT Emma sits'at the table with Alvin, -Vanessa, and Adam. A deadening silence. No one is happy to be there. Adam has his napkin on his head. Er4aa takes it off and-gives it. to him. Adam puts it back on his. head. Emma. takes it off and gives it to him- ALVIN (after a beat)., So. How long have you two been. dating? EMMA . WE'RE NOT- -ADAM We're sex friends. EMMA Yes. Yes we are. Awkward. VANESSA Happy Birthday, Adam. EMMA It's your birthday? ADAM It might be. Yes. VANESSA I got you a gift-. 60. .Vanessa takes out a gift bag with '¬±ou're 26!" it has tissue paper. and ribbons. ADAM I. love it. Thank you. VANESSA.' No it's- the gift is inside the bag. ADAM INSIDE THE HAG! Wow! Adam takes out a set 'of - expensive looking- sheets. VANESSA I remember you only had one pair so. A tense ' moment . ADAM I -loved you. -VANESSA .Alvin is everything I loved about you, but he's just.a little bit more mature. Adam starts banging his head against the table. EMMA Adam's-had a long day: I think he .should probably go home and rest. VANESSA What happened? EMMA He 'actually- he had an allergic reaction to his own hair. If he hadn't come in when he did,-we might have lost him. (A BEAT) You can die from hair.'It turns out. ALVIN Oh yeah? ADAM You know what the word 'is'? I've been thinking and 'I figured it out. (MOM) 61. ADAM (CONT'D) The word is Twat. Dad, you're a twat. EMMA Sudden outbursts of emotidn are common. The. patient sometimes shouts out-things like- ADAM want to swordfight you. EMMA. For example. - Adam stands up holding out his napkin as-a sword. Some people around the rdstaurant-look over. VANESSA Adam, we're happy- it's agood thing for everyone--- .ADAM (imitating her voice, SPEAKING GIBBERISH) Cha-cha cha aahahahcha-- EMMA I think-we're going to call it a NIGHT- ALVIN Hey, I know it wasn't-the right thing to do,but I!m,not good at doing the right thing. I've tried and I'm not .good at it. ADAM- When'did you try? You don't try. You just take. You take and take AND TAKE-- EMMA ADAM ALVIN What? You really want to-fight? Alvin stands up. A tense moment. Adam pokes at"the air a couple times with his napkin, but he's moving incredibly slow. - ADAM: You're too fast for me'. 62.. C Adam stumbles, Emma stands ,up and props him On. her shoulder. ADAM . (CONT'-D ) M'lady. Is't thou chamber:hath -thou. EMMA - Let's get the fuckout of-here. ADAM -Let's get the fuck out of'here. They start to walk out of the restaurant. Adam runs back and hits his dad as hard ashe.can with his napkin,- he runs back to Enuaa. ADAM (CONT'D) Ha; ha. II win. I win. EMMA (turns back around, LOUDL Y) It's the best sex of my life. Alvin and Vanessa- watch them leave. EXT. VENICE BEACH- NIGHT- LATER A couple hours later, Emma and Adam walk along .the Venice beach strip. Adam is still pretty out of it, he's enjoying the parade of freaks and drunks that walk by. ADAM I. always loved Venice as a kid. Because I thought: Atleast I'm not as crazy as these. people. EMMA I -But you are as crazy as-these. people. ADAM Not him. There's a guy coverred'in silver body paint., yelling at'.the top of his lungs, and skating by on :a -skateboard. ADAM (CONT'D) who's got' the crazier-family? I 63.. EMMA I don't know, we'd have to develop an elaborate point'system. ADAM (A BEAT) I loved her. Vanessa. EMMA I knoww. I've-never been in love. What does it feel like?. ADAM Home. EMMA Is that good? ADAM Sometimes. Here. Adam gives the sheets Vanessa gave-him to a.guy'dressed as a cat. ADAM (CONT'D) For the kitty litter. TNT'. ADAM'S HALLWAY- NIGHT- LATER Emma and Adam, looking at each other. EMMA So. Sleep. ADAM (A BEAT) -Emma- this isn't working. EMMA Oh. I thought we were having fun, BUT- He strokes. her face, it's tender. It scares her. ADAM Emma. . EMMA You're breaking a rule. ADAM What rule? 64. EMMA You're not allotaed to say '''Emma‚Äû and look longingly in my. face. ADAM That's a bad rule. He kisses her- .it's passionate, a grown:-up, kiss. it takes her off guard. He looks at her, serious,, inches from her face. She's uncomfortable, laughs nervously. EMMA,. Hey, go to sleep. Emma heads down the hallway. ADAM - .Wait-- INT. ADAM'S APARTMENT. BUILDING- CONTINUOUS Emma runs down the stairs. Adam runs .after''her' barefoot, in his boxers, he can't really, run, he's too out of it. ADAM Am I running fast? I can't. tell. She turns around and sees him, laughs.. EMMA Go back to bed! Emma runs down the stairs, outside. EXT. OUTSIDE.ADAM' S APARTMENT- CONTINUOUS He stops at the edge of the lawn, tired. She : s .out on tie lawn. . ADAM I can't do this. EMMA What? What am I asking you to do? ADAM - Nothing. EMMA - So what's so hard about that? - .65. ADAM I love you. EMMA (a. beat)' YOU'RE HEAVILY-SEDATED- ADAM love you. Be my-girlfriend. EMMA Don't operate a motor vehicle. Adam, too tired to chase her, watches her walk to her car. ADAM I'll operate your motor vehicle. EMMA Good night.. ADAM Be my girlfriend. ' Be my. girlfriend forever. INT. EMMA'S CAR- MOMENTS LATER Emma, sits, in her. car, taking. deep breaths.- She can see out her window that Adam is'still sitting on the stairwell looking after her, upset. INT. UCLA TEACHING HOSPITAL- HALLWAY- EVENING Enna's walking down the hallway, Connie catches up. CONNIE Hey, you want to get the Addam's Family? EMMA I got em. . ' CONNIE Thanks dude. INT. UCLA TEACHING HOSPITAL- EXAM ROOM- CONTINUOUS 66. Three people in a .room that look a little like 'the Addaml' s Family : An emaciated man with no hair, is lying ' in .a bed, ' a woman is holding his hand. A teenager is. sitting in chair, looking- out the window. A nurse stands by. 'Hello. How's everyone doing today? No one-says anything. - EMMA (CONT'D) (smiling to.herself ) Sounds great. Emma does a routine check and the man groans, starts to shake a-little. The heart rate monitor picks up.speed. EMkA _(CONT' D) Sir?-Sir? Do you have pain? No orie answers her. The woman won't=break eye contact dith the.man. Some nurses rush in. EMN (CONT'D) Do you feel something-- The tone of the heart rate monitor..Emma tries to; pump his heart with her hands. He's dead. The woman still won't break eye 'contact with, the .man. The teenager isn't- looking at a:ll.- The Nurse turns off the equipment, -looks to Emma', who stands frozen. NURSE (WHISPERED) Time of death.: Emma doesn't respond.- NURSE (CONT'D) (whispered, again) The time of-death. Eimna walks out of the'room, past Dr. Metzner. NURSE (CONT'D) METZNER- Dr. Netzner'nods, walks into the room. - DR. METZNER I'll take care of it. 67. EXT. OUTSIDE THE HOSPITAL/STUDIO LOT- NIGHT-.CROSS CUT Emma is outside, breathing hard. She has one cigarette in. her hand. She doesn't know what- to do, with it. Dr. Metzner comes out the door. He lights a cigarette. DR. METZNER I didn't know you smoked.' EMMA I don't. I just- I .asked someone if I could borrow it. I mean- you can't borrow a cigarette-. I don't know- I don't smoke. DR. - METZNER . (SMOKING) I don't smoke either. You want a light? EMMA I'll just. Hold it. Which is weird. So. I hope you're okay-with that. DR. METZNER (.a beat) People are going to die, Doctor Franklin, that's part of the job. EMMA Yeah, I know that. I'm not, an idiot, Dr. Metzner. Respectfully. With a lot of respect. DR. METZNER Everyone else flinches. I:'ve never seen you flinch. EMMA, Well. I guess I'm like everyone.. DR. METZNER No you're not. - Dr. Metzner tosses his cigarette, turns around to leave. EMMA My dad smoked cigarettes., DR. METZNER He -quit? 68. EMMA Be died. DR. METZNER Ah. That's the fun. part- for everyone who ' dies, there's always someone else you can fix.: And. then - - you go home and ti-y to. sleep. Welcome, to the world.,- Emma. -Henry leaves. FEMALE INTERN, smoking-a little further down, has been listening to the whole thing. she raises her .eyebrows. FEMALE INTERN He's married. 3ust'so you know. Emma throws the cigarette in her hand 'away.. INT. HOSPITAL/'STUDIO LOT- CROSSCUT Emma- is in the locker-room, sitting ,on. the bench with. her "knees curled up underneath her. She's- still upset. : EMMA - (into the phone) Hey, can I come-over later? Adam, on the sound stage, is watching some crew guys pack up some lights. - ; ADAM S have a date. So. EMMA Oh. That's great! ADAM Yeah.-. I )list asked' her and she said' yes'. (whispered) - - She must be-drunk or something. ANGLE ON--Hot Assistant holding up a finger to Adam, :'One minute." - - ADAM I'm trying- to remember what people do on dates. EMMA I don't known don't do that shit. I guess just smile a lot.:Are you. smiling? ADAM (HE'S NOT) Yeah. EMMA Good. INT. RESTAURANT- NIGHT Adam sits across from the.hot assistant, Carmen. They're both- eating. CARMEN. I love-broccoli. Sometimes I think I'd like to live in a broccoli forest. But I would be made out of carrots. Adam's face is frozen into a big, fake smile. TNT. HOSPITAL PARKING LOT- NIGHT Dr.' Metzner walks out of the hospital, into an almost empty parking lot. He sees Emma standing by. her car, looking at him. He starts walking over. .' EMMP, T brought you a pamphlet.. She gives :him a "Quit Smoking" health pamphlet. EMMA (CONT'D) You don't.have to face thiss alone-. DR. METZNER (A BEAT) I'm married.. EMMA. Yeah. I like that about you.. (A BEAT) So. How is-this done? Should we have a tryst? ' Should we. Have a parking lot tryst? 70. DR. METZNER No, I don'.t.think so. EMMA Oh, I'm sorry, I sh.ouldn.'t-- .He touches her face. Kisses her lightly. DR. METZNER Let's get an enormous bed. EMMA (SMILING) Where are we going to get-that? At the enormous bed factory? INT. HOTEL ROOM- LATER Dr.. Metzner is carrying hea:, dropping heir onto a EMM Tt's enormous! DR. METZNER You're beautiful. EMMA - You're near-sighted. Put on your reading glasses. DR.' METZNER I talked about you in therapy. EMMA You should be. talking about your mother.. DR. METZNER I do talk abort my.mother. EMMA What did your therapist telL.you to do about me? DR.. METZNER Not this. He kisses'her. Kisses her again.'. EMMA That? 71. DR. METZNER No. Not that. More kissing. INT. ADAM'S BEDROOM- LATER THAT NIGHT Adam is having sex with Carmen, the Hot Assistant. ADAM -Flipsies? CARMEN What did you _say? ADAM Do you' want to get on top? CARMEN Can we just do it where you're, like, lying on me? ADAM Yeah, cool. That sounds like fun. Adam continues on,. he's not having the greatest time'.. INT. HOTEL ROOM- NIGHT Emma and Dr. Metzner, after the fact. They both seem pretty satisfied. EMMA You're the Old Testament God. - Because you just, like, made me out' of clay. DR. METZNER Well that sounds good. EMMA Okay, An awkward moment. DR. METZNER I have to go. EMMA 'Yeah of course. 72. He starts putting his clothes back on.' eta is left star¬±xig at the ceiling. INT. ADAM'S BEDROOM- LATER THAT NIGHT After the fact. Carmen-is holding onto Adam, forcing a cuddle moment. Adam looks pretty uncomfortable.' CARMEN I feel- really close to you.. ADAM Well. You are really,close to me: IN . EMMA' S ROME- THAT NIGHT Emma comes-home to her apartment. It's dark and empty.: INT. ADAM'S BEDROOM- NIGHT Carmen is asleep next to him in bed. He is on his phone. INT.. EMMA'S BEDROOM- NIGHT Emma is in bed alone, talking on the phone. ADAM (WHISPERED) Maybe he'll leave his wife and you can run away and make A lot of babies' together. Fuck. I can't believe you did that. EMMA I know. I'm a'jerk. ADAM You're not a jerk, you're just- deeply flawed. EMMA Are you jealous? ADAM No. EMMA Okay. 73. ADAM I got laid tonight too. And she'.s sleeping on all the-pillows. Why does she need all the pillows? Is her head made of paper? EMMA There's an extra. pillow in your closet. ADAM It's just- It's the first time since Vanessa, not counting you, EMMA. Yeah. ADAM What's wrong? EMMA Nothing.. ADAM You're jealous. EMMA (HIGH-PITCHED VOICE) I'm not. ADAM Your voice gets really high when _ you're- lying. -You sound like a munchkin. - EMMA (sounds likea munchkin) No' it doesn't! ADAM (MUNCHKIN VOICE) The witch is dead!.The wicked witch is death - EMMA (high). .I'm not jealous! [ : NT-. UCLA TEACHING HOSPITAL- NIGHT- CROSS CUT Emma, in her scrubs, filling out some paperwork. 74 . EMMA Hey, where have you been? ADAM (O.S.). Oh you know, I've been busy. EMMA Doing what?, EXT. SIDEWALK-- DAY- CROSS CUT Adam in a suit .. On his phone . ADAM Going to gang-bangs. I've been getting. involved in the gang--bang community. EMMA Are you trying to make me jealous? ADAM (pretending to, talk to SOMEONE) What was that? I can't hear you-- oh, I have to go, this girl is asking me if she can give me a vagina mustache- have you ever heard of that? No, stop. tickling me, you -tickler! EMMA This isn't going to work- ADAM I'm sorry, I have to go play her pussy like it'sa'harmonica. EMMA Adam! Adam hangs up.. WIDEN TO REVEAL- He's in front of a synagogue, wearing a kippah.A middle-aged woman. stands looking at him. ADAM Shabbat Shalom. 75.. INT. SOUND STAGE- DAY Adam holds a tray o coffee, a bundle of dry cleaning, and a bag from Whole Foods..He talks on.the phone as-people come up and take coffee and the"dry cleaning, the child actor takes the bag from Whole Foods.- - - ADAM . (into his phone) "Big pimpin", spending G's, I be big 'pimpin' on b-l-a-g' s" . INT.- UCLA TEACHING HOSPITAL--DAY- CROSS CUT Emma's in her scrubs eating a sandwich. EMMA Those aren't even the words- The Child Actor holds up a box of.tampons- pissed. CHILD ACTOR . What the fuck? ADAM (covering the phone). Sorry. Those are for.- A. female producer walksby, grabs the tampons. "PRODUCER You're the best! EMMA Just come over later- .ADAM Oh man,. i can't, I.'m doing so much- crazy sex .stuff, I am. exhausted. Emma, is there a word for when you've . been pimped ' rain? EMMA That's too bad you can't come over. Because I'm naked right now. Adam freezes. Emma tries to quietly.. clew her sandwich. ADAM Yeah? EMMA Oh yeah, I'm so naked, Adam,- and I'm just lying on.a big bed with lots of... turkey... ADAM (A BEAT) _So you're at work and you're eating a sandwich? EMMA. Totally. ADAM Mustard or mayo? EMMA Both. INT. GROUNDLINGS- DAY Adam i's-doing improv in an improv class- Funny faces, big gestures. He catches-the eye of a girl. She smiles at hind. He looks surprised, suddenly realizing the possibilities. EXT. GROUNDLINGS PARKING LOT- NIGHT Adam is making out with one of the girls from .his class.,' Joyr. up against his car. They talk as they kiss: JOY You're so funny in class- ADAM THANKS- JOY Do youthink'I'm funny? ADAM It was funny whenyou were Hillary' Clinton and.you _got eaten by. that bear. I didn't know Hillary Clinton could scream like that- JOY Yeah? ADAM Wow. Yeah. 'You're so talented. 77. Adam's phone rings.. ADAM (CONT.'D) (INTO PHONE) What? EMMA This is bullshit. ADAM Oh, I'm sorry, can't talk, I'm groping--someone against my car. Joy gives him a funny. look. EMMA - Fuck you. ADAM Fuck you. Adam hangs up the phone, smiling. ADAM! (CONT'D) Hey, you want to get out of here? INT. ADAM'S' HALLWAY- LATER Emma is knocking on Adam's door. Adam opens it, sees Emma smiles'. . ADAM (SINGS) "Hey jealousy, I'i( gonna drive around this town- let the cops chase us around- EMMA Stop. Stop singing that. Joy walks up to the 'door'. JOY Hello? EMMA Hello. ADAM Oh Joy, this- is my- 7B. EMMA 'I'm his doctor. I did his testicle transplant. JOY Oh my god! EMMA Yeah, we had to do an-emergency, ball. removal. We actually replaced them with the-balls of a small. donkey.. JOY Oh my. god, you have-donkey balls? ADAM I should'have told you. EMMA I just have to do a quick check on them. JOY But it's so late- Yeah,-isn't it? JOY (A BEAT) Are you trying to get rid of me so .you can have sex with him? EMMA Yes, that's right. ADAM I'm sorry, Joy. You're sort of a pawn in a larger game.-It's my FAULT- JOY Bitch. EMMA ADAM This is amazing. JOY Slut'. I 79. EMMA Pumpkin. JOY Pumpkin? EMMA You look.like'a pumpkin, bitch. JOY (pissed, confused) What? EMMA Ring, ring, it's-the pumpkin patch, they want their pumpkin back. INT. ADAM'S BEDROOM-- A LITTLE LATER Emma and Adam, going at.it. ADAM Oh my god, you were crazed, I felt like Flava Flav- EMMA Just shut up and fuck me. INT. ADAM'S BEDROOM- NIGHT- LATER After the fact. ADAM Wow. ENKA, -So I think your balls are going to be fine. ADAM I noticed you'didn't.say I had a. donkey cock, EMMA -I got you a birthday present. Close your eyes.. 8A: ADAM (CLOSED EYES) My birthday was two weeks ago. And. we said No Birthdays. EMMA open them. Emma is holding-a -rubber chicken with a ribbon tied around its neck in a bow. ABAM Oh my god. EMMA I just-.1 figured you were the kind of guy who'd like a rubber chicken. ADAM Yes.'i am that guy. EMMA It's like: What's funnier than a rubber chicken? ADAM Nothing. Nothing is funnier than a rubber chicken. EMMA You can put it in a pot. ADAM Throw it in the shower when someone is showering. EMMA Hit people with it. ADAM And -they're like:.Aaali, .why are you hitting me with a rubber chicken? They kiss, it's- .tender. ADAM (CONT'D)... I love it, I love my -chicken. What are we doing? I have to take you out.-I have to go on a date with you. EMMA What do you mean? 81. ADAM Like -a.date. Like - I pick you up. We talk about our favorite books and TV shows and I pay for everything and then you reward me with an over- the-jeans cock rub. EMMA. That sounds terrible. ADAM Come on, I'll take you to a museum. EMMA Why would I.want to go'to a museum? ADAM (KISSING HER) Um. To learn about art. EMMA Is this what you want? ADAM So much,-so much it's freaking me out. EMMA .Okay. ADAM (CELEBRATING) Yes! Yesssssl We're going on a date! We've had so much sex we can go on - a date now! :Emma laughs and hits him.a couple times with the chicken'. EXT. UCLA TEACHING HOSPITAL- DAY Adam waits outside his car with flowers. Emma, with ahoodie over her scrubs,' stands across from him. ADAM You look great. EMMA I look like shit on a biscuit. What are those flowers for? ADAM .(hariding her the flowers You. EMMA Why? ADAM - T don't know, because you're my flower. EMMA (ANNOYED) That was pretty fucking cute. ADAM I know- I'm good at this. They get into'the car. Adam opens the car 'door-for her. EMMA How long does it take to'go to a museum? An hour? ADAM We're going to the Getty. EMMA 2 hours? ADAM Jesus Christ. IT. ADAM'S CAR- MOMENTS LATER On the.way to the Getty. Adam is driving. Emma sits next to him; uncomfortably holding the big bouquet of - flowers. Neil Diamond-'s "Cracklin" Rosie"_is playing. EMMA I can't believe you made fun of my, music-when all you do is listen to Neil Diamond. "IMAM. I made a date mix, EMMA (can't help smiling) Oh god.. 83. ADAM (SINGING ALONG) "Cracklin'-Rose , you're a store- bought woman, but- you make, me a sing like -a guitar hummin', so hang onto me, girl, as our-song keeps runnin' on, play it now,. play it now, play it now my baby-" Adamturns the music down. ADAM (CONT'D) - What did y ou do today? EMMA - I chocked 5 ,prostates and I drained a genital wart. Adamturns the music up. ADAM "rind us a dream that don't ask no questions-- bah, bah.'bah--" EXT. GETTY MUSEUM-LATER Adam has,the museum guide open. Emma looks around, a little lost. ADAM - - So we're gonna hit up Decorative Objects and Vases. and then we're going to check out Antiquities and Manuscripts- and then.snake back - around and see the Dutch masterpieces,.holla! EMMA Okay- where'.s the bathroom? ADAM We don't have-.time for the bathroom. You're gonna have to man up. He takes her arm and they run-off.. INT. GETTY MUSUEM- LATER Adam and Emma stand in f¬±ont of a painting. ADAM This one is called The, Tri=ph of Chastity. The swan represents chastity. Emma puts her arm around him. and starts to, kiss his neck. EMMA (while she's kissing him). Oh yeah? That's so : interesting- ADAM No- no, kissing on the date She keeps kissing him, ..he's enjoying it. ADAM (CONT' D ) No- not in front of "The Triumph of Chastity." JUMP CUT-. Adam and Emma in ,front of another painnting.. ADAM (CONT'D) I bet you can.'t guess what this one's called. - EMMA Um. "Man with a pink flower." ADAM You're right! The painting is literally: A man with a pink flower. JUMP CUTS-- A series of paintings with the Madonna, Jesus, Angels. ADAM (CONT'D) So I guess there are no paintings of enormous dreidels'. EN.ÔøΩMA Oh, I think I saw one called "Jew Eating Baby." JUMP CUT- Van Gogh's Irises. EMMA (CONT'D). T h is one's good. Is it for sale?. ADAM This was.Vaness.a's favorite. 85. Emma looks at him. Adam's lost in thought. EMMA Ley, I think T'.ve got' to get back. ADAM No, come on, you've got to see the' garden, it's like a gay Japanese monk had a nervous breakdown with a pocketful of'seeds. EMMA ADAM- EXT. GETTY. MUSEUM-- GARDENS- LATER outside the museum, a gorgeous view, weird cactus flowers arranged in a circle. EMMA It's beautiful. ADAM I told you. EMMA (A BEAT) What are we doing here?.Why do we have to do this? ADAM Do what? Spend time with each other' that doesn't involve ripping our clothes off, time that does't involve you texting me at 1 in'the morning and me running over like your little sexbunny- A nearby kid covers his mouth and starts giggling. ADAM (CONT'D) (TO KID) Sometimes "bunnies can be bad. The kid giggles more. An angry. parent shepherds the kid away, gla¬± ing at Adam. ADAM (CONT'D) This is what a relationship is! 86. EMMA No it's not! Maybe that's what You did with Vanessa or whoev er, but ' that's not who I am, Adam. This stuff freaks me out. ADAM I want -to be nice to you and do nice things for you- - EMMA - You already do nice things for me!. You make me laugh and you fuck my brains out. Some people- ipok over. EMMA, (CANT''D) (lowers her voice a LITTLE) Why do we have to do what-everyone else does? ADAM Because T-can't do it-doing anymore if you're not my girlfriend! EMMA Why does it matter if I'm your girlfriend or not, Adam? Why do I have to be yours? ADAM Because .I'ia tired of pretending' that I don't feel anything, I'm tired of pretending like it doesn't -kill me to think that you're with anyone else- This is what people do, Emma-- they buy each other flowers, they go to museums, they don't sleep with other people- EMMA Oh you mean like your parents? Like my-parents? Why would we let ourselves' get hurt when we don't have to?. ADAM ' Because I want to get hurt by you. If I'm gonna get- hurt, 'I want you to hurt me.. Be my girlfriend. 87. EMMA No. ADAM Goddamn .it. You drive me crazy-- EMMA You drive Me crazy- ADAM I wish there was some way I could legally cage fight you. EMMA - ' Buildit! Build the cage.. ADAM - EMMA I'll take you down. I'll take you 'down to Chinatown. I'll serve you dumplings filled with me kicking your ass. ADAM what? She slaps his hand. He slaps her hand back. They start "slapping each other's hands. EMMA Why are you messing everything up? ADAM Why are you afraid of being loved? EMMA Why did you get c6ckblocked by your father? A guard comes over. GUARD You guys need to keep it down, this is a medi.tatioix garden. ADAM This is our way of meditating. GUARD ("you guys are assholes") Yeah. 88. He walks away. They whisper back and forth, fast and without expression, while. pretending to look at theflowers. They. -keep -s-lapping each other on the hands, but they'try to do it so people can't see them. ADAM I want to lock you in.atiny, windowless room with just.-my butt. E I wish you were.a hamster so I could buy you from a pet store and. then: feed you poison lettuce.. ADAM 1 ,wish I was a hamster, so I could play dead, and then when you put your hand .in the cage, I would jutp up and kill you. EMMA, Impossible. ADAM Fine,, I'd jump on your face, and I wouldn't let:go, and your whole' life people would be-like: "Why do you have'a hamster on your face?" Why won't you be my girlfriend? EMMA What if-we get-sick of each other and you get angry because I work all the time ,and then. I stop working and then I never do all-the things I want to do- and- ADAM 'You think anyone does all- the things. they want to do, Emma? EMMA What if.we have kids and then we hate each otherand-we.have a 'horrible. divorce just like.your parents? ADAM. -Then the kids will start a rock- band together like Oasis.,'. } 89. EMMA What if I get cancer and you don't want to take care of'me? ADAM - Then-you should hire a hit man to kill me- ' EMMA What if I'm never around and. sometimes. I'm mean to you and we only have'sex on our anniversary? ADAM ' We'd take a cruise'to spice up our love life! EMMA I don't want to take.a cruise to spice up our love-' life ! ADAM We'd go to. couples therapy- EMMA What if you have-an.-affair with our couples therapist? ADAM We'll go to a couples therapist with female facial hair. EMMA What if you have an of fair with a model? ADAM You'd, be proud of me ! EMM& -You're right, I would-- - ADAM' And I'd just have sex with the model a couple times and then I'd buy you a diamond necklace and apologize., EMMA I don't want a-diamond necklace because you slept with a model! Emma pushes him, he falls into some'flowers. ' 90. ADAM .I'11 never give you a diamond necklace! Emma' jumps in the flowers frith him. ENMA I want a diamond ziecklacei ADAM I'll give-you one every day l They grab each other and start making out. They pull aWay from each other and keep pushing-each other:: EMMA I want to microwave your dick- ADAM I want to tit-fight, that means I want to punch you in the tits a lot. They start Making' out again.. A guard comes over and grabs them one'on each of his arms. A' father, holding his Toddler. daughter, watches then. FATHER (whispered-to the girl) Please don't grow up. INT. ADAM'S CAR- DAY- LATER Adam drives' Emma in silence. Van Morrison's "Have' I -;Told you , Lately That I love you?". They're both miserable.''. .INT. ADAM'S CAR- EVENING- LATER' Outside the hospital. They sit in the car. EMMA (A BEAT) I cna't. I told you in the beginning. It's not who I-am.. ADAM (A BEAT) I don't think I should see you AGAIN 91. EMMA I know. ADAM Because I can't keep doing this. EMMA I know,. I get it. ADAM You do? EMMA Yeah. So. Good-bye. Emma gets out of the car.' ADAM I'm really not going to see-you again. ENEMA I know.'. I think'that's probably smart. Good-bye..- ADAM Yeah. Bye. See ya! Not! Not gonna see ya.. Emma leaves, shuts the car door. She walks into the hospital, upset, trying to keep it together. INT. UCLA'TEACHING HOSPITAL- CONTINUOUS Emma walks up to the elevators. She'stands with some nurses. on her face--What just happened? What 'did .I just do? ADAM I'm really not going to see you again. Emma looks- up- Adam is standing' across the room, by the doors. The nurses look at her, confused. EMMA I I know . ADAM Seriously. No more. Not going to happen. 92. EMMA' I know. ADAM Good-bye. They, look at each other- waiting for something. to happen.. . The elevator dings. She gets on. He watches her get on- INT. UCLA TEACHING-HOSPITAL- ELEVATOR- CONTINUOUS. Emma. stands on the elevator, -almost at the point of breaking down. EMMA Shit. BACK TO ADAM:' ADAM Fine, great. Adam walks'through.the hospital doors, back to his car.; E(T. OUTSIDE UCLA.TEACHING HOSPITAL- CONTINUOUS Adam pulls open the car door,. grabs the bouquet of flowers. He gives them to a couple heading into the hospital. ADAM - ' - Give these to the sick people-. They take the flowers, Adam gets back-in his car, slams his door shut, drives-off, as we hear "Your Body is a Wonderland" blasting from the date mix. 'INT. CLUB- NIGHT Days later. Eli, Scottie, and Adair at a club. Adam's wasted and dancing with some girl'. ADAM Yeah, yeah, we're bumping and we're grindih'- we're in. da club- AAAARGGH-- SOME GIRL 'What? I 93. EXT. CLUB- LATER Adam is - making -out with the girl . against of his car. They're both wasted., ADAM Let's get out of here. SOME GIRL I'm not.looking for a relationship- ADAM Me neither!' That's so funny, neither one of us wants to mean. anything t o other one- we just want to hook up! Like fish! Like a fish -hook! (puts his finger 'in his mouth like a fish, hook) Oo, sex doesn't mean-.anything, aaagh, I.'m a fish! Look at me, I like sex and I'm a fish. SOME GIRL (WEIRDED OUT) Hey,.I think:1 left my purse in there. ADAM . No, where are you going? Let's hook up and not give a fuck about each other! I want that tool.I'don't care about you at all! Where are you going? She's gone. He'puts-his head against his. car. Another girl walks by. ADAM (CONT'D) Hey, hey, buy me a shot. :INT. 'CLUB- NIGHT' Adam is drunkenly making out with agirl. Scottie and Eli watch. ' SCOTTIE - I can't believe it. He's on fire. ELI I think what we. have here is an important life lesson: When you hate, everyone and you don't give a shit, a lot of girls want to have sex with you. EXT. PARKING LOT- NIGHT Adam is making out with, another drunk girl. ADAM I don't want a relationship right NOW- - EXT .. PARKING LOT- NIGHT Another girl, another night.' ADAM 1"'m just not very good with RELATIONSHIPS-- EXT: PARKING LOT-- NIGHT Some other ho. .ADAM I. won't be able to call you,, I'm getting sent to Guantanamo tomorrow- EXT,. PARKING LOT- NIGHT Same deal, Adam stops to throw up- as he throws. up, he farts at the same time. ADAM I just farted right when I threw up. The girl is running away. INT. BEDROOM- MORNING A girl, sleeping in a bed. Adam sneaking out of the bedr66m. I 95. EXT. HOUSE- MORNING 'Adam walks out of a house, quietly closing the door behind him. It's clearly the 'morning-after. OVERLAPPED WITH: ADAM (O.S.) 1. think guys should"make an effort to be- more polite. Like if you know you're never going to call her again, at ' least. send a' Thank You ' Caxd. INT., GROUNDLINGS STAGE NIGHT Adam at the mike.- ADAM I like'to go the extra mile. If I'm drunk and pass out-before you cum, I'll-send you a gift certificate to Berl, Bath, and Beyond. People seem to be digging it, Adam is enjoying it. He seems more comfortable in'his skin. -INT. AGENT'S OFFICE- DAY Adam is shaking hands with an agent, it's 'the end of the meeting. AGENT So I got some commercial auditions. lined up. ADAM Great, I'll do anything that makes any kind of money. Just maybe not something where I.have to ride a. horse-and then underneath it says: Herpes. AGENT Got it. Say hi to your Dad for me. ADAM You know my Dad? 96." AGENT Yeah,' he told me to go see your show. .ADAM Oh. He did? This comes as a 'surprise- it's not-clear what Adam thinks.. INT. ADAM ' S . CAR- DAY-LATERLATER Adam hits his head a couple times-on the steering' wheel,., then picks up his phone. INT. ALVIN'S KITCHEN- CROSS CUT Alvin is paying a pot dealer. He counts out money.. The. pot dealer waits with.an enormous baggie of pot. ALVIN ADAM ADAM Dad. ALVIN .Hey, I wanted to call.to'- . I know you're probably mad at me,, but-- ADAM Thank you. Dad. For 'a. lot; of . things. Alvin smiles, relieved. ALVIN Yeah kiddo, I can do some-things right. (TO'DEALER) is this. an eighth?. ADAM, Are you buying drugs.right now? M. UCLA HOSPITAL- EXAM ROOM- DAY-- X--ray slides up on a lit screen'. Emma, all business,- talks to. LUCILLE, an older woman patient. - ' 97. EMMA (ROBOTIC) As you can see, you have a growth in your breast. We're going to'do some more tests to see if it' s actually cancer.. Do you have any questions so far? LUCILLE (A BEAT) 'Just one.Can you repeat what you just said once more-like I'm a human being? EMMA Oh. I- um. LUCILLE Why don't you just sit. here for a moment? Just sit with me. And then try again. EMMA T have a lot of- LUCILLE Sit down. Emma sits down, surprised.. LUCILLE (CUNT' D) . Here_ Take my hand. Emma takes her hand. LUCILLE (CONT'D) Now we're' just going to sit here for a moment. EMMA I'm sorry. I don't what it feels LIKE- LUCILLE it feels like this. - They just-sit there for a moment. EXT. UCLA HOSPITAL PARKING LOT- NIGHT Emma is leaving work.' Dr. Metzner catches up with her,. DR. METZNER Hey, I have an hour- !. 1 EMMA I don't'. DR. METZNER Okay, so what am'I supposed to do? EMMA Your wife? Emma smiles and keeps walking, checking:her voicemail. ADAM (ori the vo icemail ) Hey it's Adam, 'l don't know if you're free tonight-but I have a show and you're probably-working, but I just thought 1"d- Emma hangs. up and starts sprinting to her car.- INT. . GROUNDLINGS STAGE-- NIGHT- LATER It's a pretty full house. Adam on stage irita- a microphone . He's more confident, comfortable in his own skin. ADAM (INTO MIKE) I used to be a fat ki_d. When I was growing up, I would tell people 1 was in that movie "Honey, I Blew. up the Kids". Like : 'I'm not actually fat, I just got 'enlarged by .a secret' growth. ray. Emma is in the back row with a proud smile.. XNT. GROUNDLINGS STAGE- NIGHT- LATER After the show. Emma is looking 'for him in crowds of people. She sees him, talking to a couple He's different-; confident. She panics a little, turns and leaves. Adam looks around, looking for her. He doesn't see her, goes back.to talking to a girl. 99.. INT. BAR- NIGHT Weeks later. Emma, dressed up pretty, sits at a bar with a Mike, he wears a flashy suit. MIKE I do international finance,. I put together financing packages for overseas ventures. if I had to describe it in 'a word, that word would be: Hardcore. So- you're like a nurse? EMMA A doctor. That`s how I know your grandma. She made 'me sit with her till I could talk to her. like a human being. And then she'gave me your number. MIKE Right, I usually don't go out with people my grandma tells me td go out with,. but she promised me you were beautiful. And, you know,. I'm relieved,- because now I know Grandma's not going blind. Emma smiles. Mike puts his hand on hers. EMMA Mike. MIKE 'Yeah. EMMA Do you think we could take it slow? MIKE Really? Because my Grandma. also said you looked easy. E r m a's. surprised. MIKE (CONT'D) ' I'm kidding., my grandma didn't say that. Emma laughs, drinks some beer. 100. ANGLE-OX- the TV over the bar. There's Adam, happy, swinging on a swing. Underneathi't says: Chlamydia. As we hear: SANRA (O.S.). Emma! ' INT . LAX- DAY It's Sandra Franklin, Emma's :mother. jogging down ,the hallway towards Emma, standing in baggage claim. Emma smiles and holds. out her'arms. 'They' hug. Sandra covers Emma in kisses.' EMMA Mom! Hi! Sandra takes out ridiculously larger cheesy sunglasses. SANDRA I'm in Hollywood! Emma smiles and looks over her- mom's shoulder to see a man. coming towards them, big, built-r vacant expression., SANDRA (O.S.) (CONT'D) That's Tuck. EMMA R Mom! Who is Tuck? Tuck has reached them'by now. TUCK ' Hey, 'I'm Tuck. SANDRA- (as Randy Jackson) "Hollywood baby!" EMMA. Don't' do that voice in here, Mom. SANDRA (AGAIN) -Hollywood!" EXT. HOLLYWOOD BOULEVARD-- DAY - -They are a11: on a tourbus going ona Celebrity gomes Tour. The guide is speaking Spanish. Emma's. on the .phone. 101. EMMA I'm sorry, Mike, I can''.t hear you- I'm on a Celebrities Homes Tour. (covering her phone)- Mazri, this is in Spanish. SANDRA It - doesn't matter, wecan still figure out where they, live. GUIDE . Spanish--Spanish-Spanish--Harrisonl FORD SPANISH--SPANISH SANDRA See? I love Harrison. Ford. MIRE (0.5.) You should come hang out tnight-- TUCK You love Harrison Ford more than me? SANDRA (kisses him on the cheek) No, of course not- TUCK Yeah, you better not, Emma is disgusted. MIKE (O.S.) 'I want you to meet some of my friends. They're all bringing their GIRLFRIENDS-- EMMA (UNCOMFORTABLE) You want Me to meet your friends? GUIDE SPANISH-SPANISH-SPANISH--DENZEL Washington, Justin Timberlake--- SANDRA (whispered, confused) Oh! Do they live-together? 102. EXT. VENICE BEACH- DAY. Emma and Sandra walk ahead. Tuck walks'behind. The' sidewalks. are filled with freaks-- performance-artists; tattoo artists,- drunks, teenagers, beggars, skate-boarders,. SANDRA. I don't think this is fun as Universal" Studios.- - ' EMMA I'm sorry, I only have one day off, T .Wanted-to take you to the places. .1' love . Mom.,.can. we talk about- An artist sits on a stool. surrounded by caricatures'. SANDRA Hey, let-'.s get. h.im to draw. your picture, EMMA' No! SANDRA' Come on. How much? ARTIST For 'a pretty lady, 15 bucks. SANDRA - Is that a discount?- - EMMA - Mom, it's okay, I got it-- Emma sits down. The artist starts to draw: -EMMA (CONT'D) What are-you doing with Tuck? SANDRA What do you.mean? I like him. He takes care of me. EMMA Why do you need to be taken care - of, Mom? why can't you take care of yourself? ' 103. SANDRA. I canrt, Emma, it's not who Iam. I did a lot of drugs and I went to a lot,. of protests so you could 'have - everything the boys have. Good for, YOU. But this is my. life, and this is how it turned out. I never thought I'd be alone' like this,, I thought your father was going to be there. EMMA Thank god he wasn't-. SANDRA Don't say that3 EMMA What, Mom? You never, did any of the things 'you wanted to- do--- SANDRA I wanted to be there for your father. and I was. I wanted to raise you and I"did. Don't tell me that wasn't important. Now,.I want to be loved. That's what I want-. EMMA By Tuck? ' SANDRA Why don't you.take some tine 'out of your schedule-to love someone and :then come talk to me- Tuck comes up. TUCK Bey, ÔøΩ -co me on, we're going to go back to the hotel, I don't like, it .here.' Bunch of freaks. EMMA why don't'you stop telling her what to do, Tuck? Okay? She can do-what she wants !.- She doesn.'t need, you. SANDRA. Yes. I do. Sandra takes Tuck's arm. 104. SANDRA' (CONT' D ) We're, going back to"the hotel. Why don't you call-me when you want to apologize? EMMA Yeah, Mom.. Sounds great. Sandra and Tack-head back to the car, with their arms 'around each other. 'The artist hands her the drawing; She looks like a monster, with.fangs and claws. People are running away from her,, screaming and scared. - EMMA. (CONT'D) (a.beat) Okay.. Would you possibly.be aware of some way that I could get unbelievably high in the next. 5. minutes?'' INT.. M KE-UP TRAILER- SAME DAY A make-up artist is putting bloody gore on Adam's head. There's a logo"for a TV show on the chairs. ADAM Sorry- I'm nervous, it's my first. line on a TV show. MAKE--UP ARTIST Oh yeah.? What is it? ADAM I say; "Put down the guns The .make--up artist attaches small chunks of brain down his face. MAKE-UP ARTIST I.guess he doesn't.put down the gun. ADAM No,-it looks like he'.doesn't. 105. INT. BAR- DAY- LATER .Mike sits with a bunch of'pr'eppy guys watching .a game on the TV -over . the bar. Their -preppy girlfriends are talking in a clump. _ 'Fauna, ' now very stoned, stands with the girls'. GIRLFRIEND #1 I finally-got the flowers figured, out, but there's so much dress- drama. I'm doing-a princess cut but I don't want all. the poofs- GIRLFRIEND #2. Oh I love the poofsL EMMA (GIGGLING) Poofs. GIRLFRIEND (IGNORING HER) I just don't think you can have too MANY POOFS-- EMMA (.giggling more) I poofed in my pant's . INT. SOUND STAGE- DAY- LATER Adam is in wardrobe wearing bloody clothes with a massive, disgusting head wound. He's talking to-a 2 or 3 other guys with head wounds. They're all. doing ChristopherWalken' imitations. A PA walks up to the group. P. A. (WHISPERED-) Your phone - has -been -ringing for the past half-hour. Do you want to take it? It's from, uh, "Do Not Call' Her"? Adamgrabs the phone. ADAM (INTO PHONE) Emma? - 106. INT. BAR BATHROOM DAY- CROSS CUT Emma,. high out of her mind,. curled up in a ball in -the bathroom.' EMMA 'Adam. Adam. I'm stoned and .everyone's talking about weddings.: ADAM I'm there. Adam starts running. HEAD WOUND GUY _ What's going on? ADAM I'm- sorry-- Can 'you tell them I have AN EMERGENCY- HEAD WOUND 'GUY . Dude, you can't go out there like that!. Adam's running and can't heat. ADAM' (INTO PHONE) Where are you? EXT-. HIGHWAY-= DAY People in a car are looking over at another car,., scared. ANGLE ON- Adam, still in wardrobe, driving as- fast as he can. BACK TO THE BAR: Mike's' got' his-arm around Emma, who is up against a wall,. her 'eyes,darting around- Who are these people? BOYFRIEND #2 Babe, can you get me some. nuts?. GIRLFRIEND #2 From the bar? BOYFRIEND #2 No, deez nuts. 107. The guys slap hands, everyone laughs, Emma is freaking out. Suddenly, she looks up, smiles. one of the girlfriends looks up and screams: - ANGLE ON- Adam, in a bloody wardrobe with a massive head wound, standing-in front of the table. They're just staring at each other grinning. MIKE Emma? ' EP91+A,. - (still staring at Adam) I'm sorry, Mike, I have to go. 'This man needs medical assistance. EXT. BAR- DUSK Emma and Adam run but of the bar, laughing. They're grabbing each other,-kissing. EMMA Adam Kurtzman.- ADAM Emma Franklin. They kiss some more. People walk by, surprised or confused to .see someone with a massive head wound kissing someone. A big scoop of his'brains fall on the sidewalk. ' EXT. VENICE BEACH- SUNSET Adam -sits next to Emma on the -beach watching a big, beautiful, 'Venice beach-sunset. There's a drum circle nearby. EMMA My mom's. in town,. she's wearing big' sunglasses and randomly yelling-out "Hollywood Baby!l"She has -a new boyfriend. I was meaxi to him.- ADAM why? EMMA -I don't know. (A BEAT) (MORE) 108. EMMA ' (CONT' D ) After my dad got sick, my mom-would try to feed, him dinner and he'd spit up-the food--he'd yell at her. Herd blame her because he couldn't swallow.' And she just kept feeding him. (A BEAT) She.told me I don't understand,' because I've never been in love. (A BEAT) But that's-not true. Because I have been. T am. ADAM You hurt me. A lot. A Lot. EMMA I know. (A BEAT) Am I high or. is the sun setting? ADAM No, you're just high. EMMA It's beautiful. (A BEAT) Come home with me tonight. Adam?. ADAM (A :BEAT ) Of course I'm coming home with you, are you, kidding me? ' They kiss. It's kind of a desperate kiss, like. they're both trying-to say something they can't say.' IN . EMMA'' S -BEDROOM- NIGHT- LA`MR ' Emma and Adam are kissing, taking off their clothes. It's still urgent, desperate. ADAM What is it about you?'Why can't I get enough' of you? EMMA I missed you so much- ADAM You're gonna kill me-- 109. EMMA I love you.-And I can't see how I could'ever love anyone else. Emma slips her shoes off.-Adam sees her do it, this'is everything hers always wanted. He kisses her. back. - This -is a different kind of sex- it's intense, intimate.-I don't'know how much'of it we see, but they're looking into each other's eyes, not speaking. it takes them by surprise'. INT. EMMA'S BEDROOM- NIGHT- MOMENTS LATER Emma and Adam, after the-fact. They're both a little freaked out. Adam has his hand awkwardly draped over her shoulder. It's not comfortable for either one of them. EMMA That was. ADAM Yeah. EMMA (A BEAT) Hey- tomorrow, maybe we should finally have breakfast? ADAM Yeah. That sounds good. Emma looks happy, closes her eyes. Adam keeps his eyes open, scared out of his mind. INT. EMMA'S BEDROOM- MORNING Emma wakes up alone- Adam's gone. She doesn't seem. surprised. EMMA Yeah. IT. UCLA TEACHING HOSPITAL-- DAY Two days later. Emma is looking at her. phone- there are no messages. Sandra and.Tuck are visiting the hospital. SANDRA I thought you might call. 110. EMMA I just, I had to. 90 into work,. Emma looks down the hallway. ANGLE ON- Dr. Metzner discretely brushing some hair off the - face-of Connie, the other female resident.. Dr. Metzner sees her looking at him, Emma has no reaction. SANDRA No, I understand, you're busy. I'm so proud of you, it's such.a great big hospital-. TUCK We saw Carrot Top. SANDRA Oh! I forgot to tell you! We were, getting a bagelaind he was getting. a bagel too. And that,' s the. whole story. TUCK Stars- they're just like.us. EMMA (looking at her phone AGAIN) That's exciting. SANDRA Why do you keep looking atyour I .phone? Dr. Metzner walks up. DR. METZNER You must be Dr. Franklin's Mom. SANDRA Oh. Yes, I am. Hello. DR. METZNER- How long are you here? SANDRA'- 'Just, till, tomorrow: TUCK We saw Carrot Top. DR. METZNER Well, I can't compete r‚ñ∫rith that, but I can tell.you that we're lucky to have her here. (JOKING) Now get back to work, Emmal Sandra and- Tuck laugh. ' as . Dr.' Metzner walks . away. SANDRA (soft, to Emma) Who's he? Emma's.looking at her phone again,-distracted. EMMA What? Sandra looks at Emma, worried- she can tell something's. not right. - EXT. HOTEL-.DAY - The next day. Em'ma'is gutting her mom's bags in the car. Tuck' honks the horn. TUCK (from the car) Flight leaves in 45 minutes! SANDRA. Okay Tuck! Emma- EMMA You should go- SANDRA Wait. I wanted to say something- EMMA - Come on Mom, you don't have to- SANDRA - Listen to me. I could never stand to see you in pain- you're xiiy child. And I think you -knew thatr and-I think you got good at- -being -strong for me. But, Emma, I'm. telling; you: Be hurt. I can take it. The world can take it. Don't. be so strong, you miss the fun.- EMMA (after a couple beats) Okay. Tuck honks the horn again. TUCK (FROM CAR) We're..not gonna make it. SANDRA We'll make it, Tuck. Sandra rushes into the car.-Ea grabs her TUCK (FROM CAR) You're a nice kid. EMMA (GENUINE) Thanks Tuck. Emma waves as they pull, out. Watches them go.. Gets out.her . -phone- punches some-buttons, looking -fora number. EMMA (CONT'-D.) Hi,. Scottie? It's Emma. I.know this is weird, but do you know where I can find him? . INT. GROUNDLINGS.STAGE-- NIGHT Right before Adam's show- Alvin and Vanessa are there' .Ell" ' Scottie, the gay Dads. Adam's behind the mike. ADAM (laughing at himself) Hello Los :Angeles. Emma, with a hoodie over her scrubs, comes in the back. ADAM (CONT'D). Someone told me recently that I look like Richard Nixon when I Gum. Adam does a little- imitation of what that looks. like. Emma smiles, -kind of embarrassed. She looks over and sees Alv n and Vanessa there too, laughing.-She's surprised'. ;I 113. ADAM (CONT'D) And it suddenly became clear why none of my girlfriends ever wanted to have sex with me. I thought it was just because my dick was too big and it scared them-But apparently-that's not the problem. At all. Actually, I've heard it's like acupuncture- you're- on your back the whole time and you don't even feel it go in. That's what my ex-girlfriend told me before she started dating my father. Vanessa and Alvin laugh, Vanessa covers her head with-her hand. ADAM (CONT'D) Actually they're getting married. So Mother's Day just keeps getting better and better. (MORE JOKES ABOUT THE DAD) INT. GROUNDLINGS STAGE- NIGHT- LATER After the show. Emma, is trying to find Adam in crowds of people. She can't find him'. She finds Eli. SCOTTIE .Hey: I'm glad you came-. EMMA Do you know where he is? SCOTTIE I. don't know- back there? INT. GROUNDLINGS THEATER- BACKSTAGE HALLWAY- CONTINUOUS Emma walks into a hallway backstage, and sees Adam talking and laughing with another girl- he leans downaiid.kisses. her. Emm a turns and runs. Pushes people out of her way. EXT. GROUNDLINGS PARKING LOT- NIGHT-- CONTINUOUS Emma is running over to her car. Adam -runs after her. ADAM EMMA i14. EMMA it's fine, I just wanted to tell you Good Job. ADAM Come. on. EMMA What? ADAM I know-I didn't stay,'and I'm sorry= EMMA I don't need the apology shit. ADAM I don't care if you need It., just stop for a second. so I can' explain-- EMMA Explain what? ADAM Emma, you can't just call me and tell me that now everything's different, now, you love me, now you, want to be.my girlfriend- after I spent-months trying to get over you somehow, trying to tell myselfto forget-you- you can't just .call me and, expect me to just come running- which I did, I know, but I can't just jump back in, I can't just start over, all of a sudden. EMMA I know.. It doesn't- work that way.. I . get i.t . They look at each other, at a loss. ADAM Maybe-we just-'I don't know, maybe we blew it. Maybe ' our.'timing was JUST WRONG- EMMA .Maybe, but maybe that's just the way. it. happened. Maybe we were just growing up. But I'm in love with you. (MOPJ) 115. EMMA (CONT'D) I want to write it on myforehead, t want to buy a t-shirt that's says: "I love.Adam Kurtzman" and wear it around all day long. What do you want me to do?. ADAM I don't know. E why did we waste so much time pretending like we didn't.care?. ADAM ENUNA--- EMMA I want that time back. I want to break all those rules. I want to try this. Let's try. ADAM (A BEAT) I don't think I can do'it again. EMMA. Yeah. Okay. ADAM But we should still, you know, see EACH OTHER- .EMMA Come on. We don't 'have to break up, we never even started. (A BEAT) You're going to be so great. ADAM Wait, Emma, I have to go on again-. A guy comes. out of the club and calls. MAN Hey, Adam, get in here- Adam. runs back to the building. ADAM Don't go anywhere, okay Emma watches h:im - go. She gets in her car, closes the door. .(into phone) Are.youstill working? I'll meet you outside. EXT. GROUNDLINGS-.: NIGHT Adamis'sitting on the curb, outside the club. Alvin is sitting down next-to him. ADAM! Is everyone gone? ALVIN .Vanessa went home to walk the dog.. We- have: a dog now. She named it Freckle. I don't know what to do about that. (A BEAT) I might kill it. I don't know yet., Only time will tell. ,(a beat) Hey;-let's pretend I'm a good dad. and you tell me what the hell's wrong with you and then I take you. fishing. ADAM, I'm completely in -love with someone, and I'm brainstorming ways that I can never see her again without ruining my life.', ALVIN How'd.you get so screwed up? (A BEAT) Oh yeah.-I did it. ADAM I'm just like you- I'm going to fuck it all up. Like you. -Like you gave up on Mom. ALVIN (a beat) ' When ' we -first , had you, we hadn't slept in days, we were just shoving' food in our mouths over the sink whenever we could. And finally, I got it together enough to get. some take-out from one of the -restaurants we used to like. (MORE) 117. ALVIN (CONT'D) And I set it all out on,the table, and the second we sat down, I think it was the first bite I took, you started crying. And your Horn and I looked at each-other-and just STARTED-LAUGHING- LIKE uncontrollably laughing., We're on the floor, we can't breathe.. that kind of laughing. (A BEAT) I'm pretty sure that was the best of moment of my life'. If, you rre not Counting anything with a blowjob. ADAM. So why'd-you start dicking around?'. Why'd you leave her? ALVIN I don't know. I-think the. simplest answer is: I'm a jerk. And--the. other answer is: Because - at -some point, we forgot how to make each other laugh.. And if that-sounds like a bullshit answer, you're probably right. But if it 'sounds really deep, then - that-'s, good too. (A BEAT) Alto.-just FYI- the first time I cheated .oft.' your mom, I. was on a lot of blow. So. if you're married and you. do blow, try to avoid-being -around women who wantto_fuck.you. Even fat women. Blow is-blind, Adam, blow is blind. ADAM {A BEAT) You're an asshole. ALVIN But you're not. Call her. ADAM Don't tell me what to do. (a beat, smiles). I'm going to. call her. EXT. HOSPITAL PARKING LOT- NIGHT- LATER Emma stands in front 'of her car. Her phone is ringing, she ignoresit, throws it into the car. Dr. Metzner comes out of .the hospital, looks at her. 118 EMMA So. Great. Let's do this. DR. METZNER Emma. EMMA, What. do you have- an hour? A half an hour? DR. METZNER (A BEAT) You.don't' need me. EMMA I know. i (A BEAT) So this isn't part of our arrangement, but do you think you could hold me? DR. METZNER Yeah. I think so. -He walks up and puts his arm around -her. EMMA How does this work--'head on your shoulder, head on- your .chest? DR. METZNER Whatever you feel like. She puts her head on his shoulder. it's uncomfortable, but it feels good. DR. METZNER (CONT'D) I've got to go soon. EMMA (EYES CLOSED) T know- - - INT. EMMA'S BEDROOM-' NIGHT- LATER - -Emma is on-the bed with the phone, to her ear. EMMA MOM? 119. EXT. FRANKLIN HOUSE DRIVEWA1 NIGHT- CROSS CUT Sandra is in the driveway, Tuck is taking the bags out of the car- it's very late in'Michigan. - SANDRA' Are you okay? Honey? We just-got home. EMMA I think I get it, Mom. Emma starts to cry, hard. EMMA (CONT'D) It hurts. SANDRA Yeah. It does. They 'don't-say anything- Sandra sits on the front steps of the house and just listens on the other end as. Emma cries. -TNT. UCLA TEACHING HOSPITAL- DAY. The next'day. Adam runs into the door. Waits, for the - elevator. INT. UCLA TEACHING HOSPITAL- CONTINUOUS Adam runs up to-the desk. ADAM Emma Franklin--do you know where she is? NURSE I can't-tell you that, and.no. - ADAM whatif I start running through the hospital and taking everyone off - life support? - NURSE (NOT IMPRESSED) I would call Security, like I'm doing right.now. Dr. Metzner is nearby. - 120. DR. -METZNER Hi . Emma didn't come in today.. Adam' s-phone rings. He looks down, picks it up- ADAM Where are. you? Are'you at:home? EMMA (o.S.) Channel 27. ADAM okay, hold an. EMMA- (C.S. ) Channel 27.' Adam goes. to the TV in the waiting room, reaches up and- changes the channel away from "The Price is Right." NURSE You can't change the channel-.. Adam gets it on Channel 27- it's Bambi. ADAM (INTO PHONE) Fuck. Bambi. Fuck. NURSE What's wrong with Bambi? Adam runs out of the waiting room, as Dr. Metzner'watches him go.' There's a little regret in ÔøΩ his .face. Nurse is glued ,to the TV. - s NURSE (CONT'D) Have you ever eaten deer? It's pretty good. INT. EMMA'S HALLWAY- DAY Adam standing outside Emma's door: Knocks. Knocks. He puts his head on the door. ADAM (SOFT) please.. Emma opens the door. She's been crying for hours. She ldoks wild, raw, a hurt animal. They stare at each other from; either side: of the door. 121. EMMA My dad. ADAM I know. EMMA. Bambi. ADAM I- know. EMMA (after a beat) if you come in here, you're never .leaving. Adam steps inside, takes her-in his arms, she really starts to sob. EMMA (CONT'D) (SOBBING) He's just.a baby deer. ADAM I know, he's a little baby deer. He just holds her. He starts crying too. They are both crying. EMMA Are you crying? ADAM Yeah. EMMA why. are you crying? -ADAM I don't know. They hold each other.in the doorway, crying. He hands her the rubber chicken., she takes it, still crying. INT. EM'S HOUSE- MOMENTS LATER They're still standing in the doorway, crying. ADAM ,Are you good?- 122. EMMA i think so. Emma starts crying again. EMMA (CONT'D) I thought I-was done. ADAM That's okay, that's.okay.. She holds' onto him. He starts crying again too. ADAM (CONT'D) Oh crap. They hold onto each other, crying ridiculously hard. ADAM (CONT'D) What's after Bambi?: I brought. Schindler's List. EMMA I don't know if I can do it. ADAM You can do it. EMMA 'oh god- I can't do it-. Emma starts kissing him. He kisses her back, INT. EMMA'S HOUSE- NIGHT- MOMENTS LATER Clothes, blankets, shoes, socks, a 'rubber , chicken.' On the TV Screen, grown--up Bambi is .eating a branch. 'Emma and. Adam are kissing tenderly. The crying has stopped for now. EMMA 'Do you think we'.re the only people, .who've' ever fucked 'while watching Bambi? ADAM -Yes. The only ones not in jail. .She laughs.-He kisses her some more. 123.. ADAM (CONT'D) You know what I want to doh I want to buy light bulbs with different wattage so I.can see you in.every kind of light. EMMA I'm gonna: Make you do push-ups when yourre old so your-heart stays healthy. ADAM I'm gonna- I'm gonna build you a log cabin. EMMA (SMILING) I don't want toa log cabin. ADAM We're gonna break all those rules. EMMA Not the one about calling-me ia the middle of the day. ADAM Not that one. But the one about peeing, in front of you. I.'m gonna do that whenever I can. Emma laughs and cries. EMMA I'm so - glad you're alive. ADAM Are you glad I'm making this face? Adam makes a funny face. Emma laughs. ADAM (CONT'D) I'm totally, completely, - ridiculously in love with you- Adam kisses-down.-her stomach, she laughs, happy, it feels good... then she turns and sees the'TV screen where'Thumper thumping his leg. EMMA Turn Bambi off- turn Bambi off- 124.. INT. EMMA'S BEDROOM- THE NEXT MORNING. Like the first scene, we are looking at -them-in bed, from' above. But this' time, they are asleep, wrapped in each other's arms. I don't know if it's spooning,:but-it's something tangled. Light is coming in the window. Adam opens his eyes-and looks. at the sleeping Emna. He leans his head 'down to hers. ADAM Hey.' EMMA (still with her eyes CLOSED) Hey. ADAM (WHISPEREDR TENDER) What are we going to have for breakfast? Emma, still half-asleep, smiles. EMMA. Bacon. ADAM (WHISPERED) I'm going to get you so 'much bacon... Thankfully,'we don't have to see that. Fade to black-as'we hear some amazing song, in my head it's "You'Ain't Goin' -Nowhere. ". THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Notting Hill.txt b/unformated_scripts/Script_Notting Hill.txt new file mode 100644 index 0000000000000000000000000000000000000000..c8479e18bac4cbd1bce68395e8c373f475524470 --- /dev/null +++ b/unformated_scripts/Script_Notting Hill.txt @@ -0,0 +1 @@ + N O T T I N G H I L L Screenplay by Richard Curtis -------------------------------------------------------------- Title EXT. VARIOUS DAYS 'She' plays through the credits. Exquisite footage of Anna Scott -- the great movie star of our time -- an ideal -- the perfect star and woman -- her life full of glamour and sophistication and mystery. EXT. STREET - DAY Mix through to William, 35, relaxed, pleasant, informal. We follow him as he walks down Portobello Road, carrying a load of bread. It is spring. WILLIAM (V.O.) Of course, I've seen her films and always thought she was, well, fabulous -- but, you know, million miles from the world I live in. Which is here -- Notting Hill -- not a bad place to be... EXT. PORTOBELLO ROAD - DAY It's a full fruit market day. WILLIAM (V.O.) There's the market on weekdays, selling every fruit and vegetable known to man... EXT. PORTOBELLO ROAD - DAY A man in denims exits the tattoo studio. WILLIAM (V.O.) The tattoo parlour -- with a guy outside who got drunk and now can't remember why he chose 'I Love Ken'... EXT. PORTOBELLO ROAD - DAY WILLIAM (V.O.) The racial hair-dressers where everyone comes out looking like the Cookie Monster, whether they like it or not... Sure enough, a girl exits with a huge threaded blue bouffant. EXT. PORTOBELLO ROAD - SATURDAY WILLIAM (V.O.) Then suddenly it's the weekend, and from break of day, hundreds of stalls appears out of nowhere, filling Portobello Road right up to Notting Hill Gate... A frantic crowded Portobello market. WILLIAM (V.O.) ... and thousands of people buy millions of antiques, some genuine... The camera finally settles on a stall selling beautiful stained glass windows of various sizes, some featuring biblical scenes and saints. WILLIAM (V.O.) ... and some not so genuine. EXT. GOLBORNE ROAD - DAY WILLIAM (V.O.) And what's great is that lots of friends have ended up in this part of London -- that's Tony, architect turned chef, who recently invested all the money he ever earned in a new restaurant... Shot of Tony proudly setting out a board outside his restaurant, the sign still being painted. He receives and approves a huge fresh salmon. EXT. PORTOBELLO ROAD - DAY WILLIAM (V.O.) So this is where I spend my days and years -- in this small village in the middle of a city -- in a house with a blue door that my wife and I bought together... before she left me for a man who looked like Harrison Ford, only even handsomer... We arrive outside his blue-doored house just off Portobello. WILLIAM (V.O.) ... and where I now lead a strange half-life with a lodger called... INT. WILLIAM'S HOUSE - DAY WILLIAM Spike! The house has far too many things in it. Definitely two- bachelor flat. Spike appears. An unusual looking fellow. He has unusual hair, unusual facial hair and an unusual Welsh accent: very white, as though his flesh has never seen the sun. He wears only shorts. SPIKE Even he. Hey, you couldn't help me with an incredibly important decision, could you? WILLIAM This is important in comparison to, let's say, whether they should cancel third world debt? SPIKE That's right -- I'm at last going out on a date with the great Janine and I just want to be sure I've picked the right t-shirt. WILLIAM What are the choices? SPIKE Well... wait for it... (He pulls on a t-shirt) First there's this one... The t-shirt is white with a horrible looking plastic alien coming out of it, jaws open, blood everywhere. It says 'I Love Blood.' WILLIAM Yes -- might make it hard to strike a really romantic note. SPIKE Point taken. He heads back up the stairs... talks as he changes... SPIKE I suspect you'll prefer the next one. And he re-enters in a white t-shirt, with a large arrow, pointing down to his flies, saying, 'Get It Here.' SPIKE Cool, huh? WILLIAM Yes -- she might think you don't have true love on your mind. SPIKE Wouldn't want that... (and back up he goes) Okay -- just one more. He comes down wearing it. Lots of hearts, saying, 'You're the most beautiful woman in the world.' WILLIAM Well, yes, that's perfect. Well done. SPIKE Thanks. Great. Wish me luck. WILLIAM Good luck. Spike turns and walks upstairs proudly. Revealing that on the back of the t-shirt, also printed in big letters, is written 'Fancy a fuck?' EXT. PORTOBELLO ROAD - DAY WILLIAM (V.O.) And so it was just another hopeless Wednesday, as I set off through the market to work, little suspecting that this was the day which would change my life forever. This is work, by the way, my little travel book shop... A small unpretentious store... named 'The Travel Book Co.' WILLIAM (V.O.) ... which, well, sells travel books -- and, to be frank with you, doesn't always sell many of those. William enters. INT. THE BOOKSHOP - DAY It is a small shop, slightly chaotic, bookshelves everywhere, with little secret bits round corners with even more books. Martin, William's sole employee, is waiting enthusiastically. He is very keen, an uncrushable optimist. Perhaps without cause. A few seconds later, William stands gloomily behind the desk. WILLIAM Classic. Absolutely classic. Profit from major sales push -- minus $B!r(J347. MARTIN Shall I go get a cappuccino? Ease the pain. WILLIAM Yes, better get me a half. All I can afford. MARIN I get your logic. Demi-capu coming up. He salutes and bolts out the door -- as he does, a woman walks in. We only just glimpse her. Cut to William working. He looks up casually. And sees something. His reaction is hard to read. After a pause... WILLIAM Can I help you? It is Anna Scott, the biggest movie star in the world -- here -- in his shop. The most divine, subtle, beautiful woman on earth. When she speaks she is very self-assured and self-contained. ANNA No, thanks. I'll just look around. WILLIAM Fine. She wanders over to a shelf as he watches her -- and picks out a quite smart coffee table book. WILLIAM That book's really not good -- just in case, you know, browsing turned to buying. You'd be wasting your money. ANNA Really? WILLIAM Yes. This one though is... very good. He picks up a book on the counter. WILLIAM I think the man who wrote it has actually been to Turkey, which helps. There's also a very amusing incident with a kebab. ANNA Thanks. I'll think about it. William suddenly spies something odd on the small TV monitor beside him. WILLIAM If you could just give me a second. Her eyes follow him as he moves toward the back of the shop and approaches a man in slightly ill-fitting clothes. WILLIAM Excuse me. THIEF Yes. WILLIAM Bad news. THIEF What? WILLIAM We've got a security camera in this bit of the shop. THIEF So? WILLIAM So, I saw you put that book down your trousers. THIEF What book? WILLIAM The one down your trousers. THIEF I haven't got a book down my trousers. WILLIAM Right -- well, then we have something of an impasse. I tell you what -- I'll call the police -- and, what can I say? -- If I'm wrong about the whole book-down-the-trousers scenario, I really apologize. THIEF Okay -- what if I did have a book down my trousers? WILLIAM Well, ideally, when I went back to the desk, you'd remove the Cadogan guide to Bali from your trousers, and either wipe it and put it back, or buy it. See you in a sec. He returns to his desk. In the monitor we just glimpse, as does William, the book coming out of the trousers and put back on the shelves. The thief drifts out towards the door. Anna, who has observed all this, is looking at a blue book on the counter. WILLIAM Sorry about that... ANNA No, that's fine. I was going to steal one myself but now I've changed my mind. Signed by the author, I see. WILLIAM Yes, we couldn't stop him. If you can find an unsigned copy, it's worth an absolute fortune. She smiles. Suddenly the thief is there. THIEF Excuse me. ANNA Yes. THIEF Can I have your autograph? ANNA What's your name? THIEF Rufus. She signs his scruffy piece of paper. He tries to read it. THIEF What does it say? ANNA Well, that's the signature -- and above, it says 'Dear Rufus -- you belong in jail.' THIEF Nice one. Would you like my phone number? ANNA Tempting but... no, thank you. Thief leaves. ANNA I think I will try this one. She hands William a $B!r(J20 note and the book he said was rubbish. He talks as he handles the transaction. WILLIAM Oh -- right -- on second thoughts maybe it wasn't that bad. Actually -- it's a sort of masterpiece really. None of those childish kebab stories you get in so many travel books these days. And I'll throw in one of these for free. He drops in one of the signed books. WILLIAM Very useful for lighting fires, wrapping fish, that sort of things. She looks at him with a slight smile. ANNA Thanks. And leaves. She's out of his life forever. William is a little dazed. Seconds later Martin comes back in. MARTIN Cappuccino as ordered. WILLIAM Thanks. I don't think you'll believe who was just in here. MARTIN Who? Someone famous? But William's innate natural English discretion takes over. WILLIAM No. No-one -- no-one. They set about drinking their coffees. MARTIN Would be exciting if someone famous did come into the shop though, wouldn't it? Do you know -- this is pretty incredible actually -- I once saw Ringo Starr. Or at least I think it was Ringo. It might have been that broke from 'Fiddler On The Roof,' Toppy. WILLIAM Topol. MARTIN That's right -- Topol. WILLIAM But Ringo Starr doesn't look anything like Topol. MARTIN No, well... he was quite a long way away. WILLIAM So it could have been neither of them? MARTIN I suppose so. WILLIAM Right. It's not a classic anecdotes, is it? MARTIN Not classic, no. Martin shakes his head. William drains his cappuccino. WILLIAM Right -- want another one? MARTIN Yes. No, wait -- let's go crazy -- I'll have an orange juice. EXT. PORTOBELLO ROAD - DAY William sets off. INT. COFFEE SHOP - DAY William collects his juice in a coffee shop on Westbourne Park Road. EXT. PORTOBELLO ROAD - DAY William swings out of the little shop -- he turns the corner of Portobello Road and bumps straight into Anna. The orange juice, in its foam cup, flies. It soaks Anna. ANNA Oh Jesus. WILLIAM Here, let me help. He grabs some paper napkins and starts to clean it off -- getting far too near her breasts in the panic of it... ANNA What are you doing?! He jumps back. WILLIAM Nothing, nothing... Look, I live just over the street -- you could get cleaned up. ANNA No thank you. I need to get my car back. WILLIAM I also have a phone. I'm confident that in five minutes we can have you spick and span and back on the street again... in the non-prostitute sense obviously. In his diffident way, he is confident, despite her being genuinely annoyed. She turns and looks at him. ANNA Okay. So what does 'just over the street' mean -- give it to me in yards. WILLIAM Eighteen yards. That's my house there. He doesn't lie -- it is eighteen yards away. She looks down. She looks up at him. INT. WILLIAM'S HOUSE - CORRIDOR - DAY They enter. She carries a few stylish bags. WILLIAM Come on in. I'll just... William runs in further -- it's a mess. He kicks some old shoes under the stairs, bins an unfinished pizza and hides a plate of breakfast in a cupboard. She enters the kitchen. WILLIAM It's not that tidy, I fear. And he guides her up the stairs, after taking the bag of books from her... WILLIAM The bathroom is right at the top of the stairs and there's a phone on the desk up there. She heads upstairs. INT. KITCHEN - DAY William is tidying up frantically. Then he hears Anna's feet on the stairs. She walks down, wearing a short, sparkling black top beneath her leather jacket. With her trainers still on. He is dazzled by the sight of her. WILLIAM Would you like a cup of tea before you go? ANNA No thanks. WILLIAM Coffee? ANNA No. WILLIAM Orange juice -- probably not. He moves to his very empty fridge -- and offers its only contents. WILLIAM Something else cold -- coke, water, some disgusting sugary drink pretending to have something to do with fruits of the forest? ANNA Really, no. WILLIAM Would you like something to nibble -- apricots, soaked in honey -- quite why, no one knows -- because it stops them tasting of apricots, and makes them taste like honey, and if you wanted honey, you'd just buy honey, instead of apricots, but nevertheless -- there we go -- yours if you want them. ANNA No. WILLIAM Do you always say 'no' to everything? Pause. She looks at him deep. ANNA No. (pause) I better be going. Thanks for your help. WILLIAM You're welcome and, may I also say... heavenly. It has taken a lot to get this out loud. He is not a smooth- talking man. WILLIAM Take my one chance to say it. After you've read that terrible book, you're certainly not going to be coming back to the shop. She smiles. She's cool. ANNA Thank you. WILLIAM Yes. Well. My pleasure. He guides her towards the door. WILLIAM Nice to meet you. Surreal but nice. In a slightly awkward moment, he shows her out the door. He closes the door and shakes his head in wonder. Then... WILLIAM 'Surreal but nice.' What was I thinking? ... He shakes his head again in horror and wanders back along the corridor in silence. There's a knock on the door. He moves back, casually... WILLIAM Coming. He opens the door. It's her. WILLIAM Oh hi. Forget something? ANNA I forgot my bag. WILLIAM Oh right. He shoots into the kitchen and picks up the forgotten shopping bag. Then returns and hands it to her. WILLIAM Here we go. ANNA Thanks. Well... They stand in that corridor -- in that small space. Second time saying goodbye. A strange feeling of intimacy. She leans forward and she kisses him. Total silence. A real sense of the strangeness of those lips, those famous lips on his. They part. WILLIAM I apologize for the 'surreal but nice' comment. Disaster... ANNA Don't worry about it. I thought the apricot and honey business was the real lowpoint. Suddenly there is a clicking of a key in the lock. WILLIAM Oh my God. My flatmate. I'm sorry -- there's no excuse for him. Spike walks in. SPIKE Hi. ANNA Hi. WILLIAM Hi. Spike walks past unsuspiciously and heads into the kitchen. SPIKE I'm just going to go into the kitchen to get some food -- and then I'm going to tell you a story that will make your balls shrink to the size of raisins. And leaves them in the corridor. ANNA Probably best not tell anyone about this. WILLIAM Right. No one. I mean, I'll tell myself sometimes but... don't worry -- I won't believe it. ANNA Bye. And she leaves, with just a touch of William's hand. Spike comes out of the kitchen, eating something white out of a styrofoam container with a spoon. SPIKE There's something wrong with this yogurt. WILLIAM It's not yogurt -- it's mayonnaise. SPIKE Well, there you go. (takes another big spoonful) On for a video fest tonight? I've got some absolute classic. INT. WILLIAM'S LIVING ROOM - NIGHT The lights are off. William and Spike on the couch, just the light from the TV playing on their faces. Cut to the TV full screen. There is Anna. She is in a stylish Woody Allen type modern romantic comedy, 'Gramercy Park,' in black and white. INT. MANHATTAN ART GALLERY - DAY Anna's character -- Woody Anna -- is walking around the gallery with her famous co-star, Michael. They should be the perfect couple, but there is tension. Anna is not happy. MICHAEL Smile. ANNA No. MICHAEL Smile. ANNA I've got nothing to smile about. MICHAEL Okay in about 7 seconds, I'm going to ask you to marry me. And after a couple of seconds -- wow -- she smiles. INT. WILLIAM'S LIVING ROOM - NIGHT SPIKE Imagine -- somewhere in the world there's a man who's allowed to kiss her. WILLIAM Yes, she is fairly fabulous. INT. BOOKSHOP - DAY The next day. William and Martin quietly co-existing. An annoy- ing customer enters. Mr. Smith. MR. SMITH Do you have any books by Dickens? WILLIAM No, we're a travel bookshop. We only sell travel books. MR. SMITH Oh right. How about that new John Grisham thriller? WILLIAM No, that's a novel too. MR. SMITH Oh right. Have you got a copy of 'Winnie the Pooh'? Pause. WILLIAM Martin -- your customer. MARTIN Can I help you? William looks up. At that moment the entire window is suddenly taken up by the huge side of a bus, obscuring the light -- and entirely covered with a portrait of Anna -- from her new film, 'Helix.' INT. WILLIAM'S HOUSE - CONDOR/LIVING ROOM - DAY William heads upstairs and pauses. Spike coming down, wearing full body scuba diving gear. SPIKE Hey. WILLIAM Hi... INT. WILLIAM'S KITCHEN - DAY The two of them fixing a cup of tea in the kitchen. WILLIAM Just incidentally -- why are you wearing that? SPIKE Ahm -- combination of factors really. No clean clothes... WILLIAM There never will be, you know, unless you actually clean your clothes. SPIKE Right. Vicious circle. And then I was like rooting around in your things, and found this, and I thought -- cool. Kind of spacey. EXT. WILLIAM'S TERRACE - DAY The two of them on the rooftop terrace, passing the day. William is reading 'The bookseller.' The terrace is small and the plants aren't great -- but it overlooks London in a rather wonderful way. Spike still in scuba gear, goggles on. SPIKE There's something wrong with the goggles though... WILLIAM No, they were prescription, so I could see all the fishes properly. SPIKE Groovy. You should do more of this stuff. WILLIAM So -- any messages? SPIKE Yeh, I wrote a couple down. WILLIAM Two? That's it? SPIKE You want me to write down all your messages? William closes his eyes in exasperation. WILLIAM Who were the ones you didn't write down from? SPIKE Ahm let's see -- ahm. No. Gone completely. Oh no, wait. There was -- one from your mum: she said don't forget lunch and her leg's hurting again. WILLIAM Right. No one else? SPIKE Absolutely not. Spike leans back and relaxes. SPIKE Though if we're going for this obsessive writing-down-all-messages thing -- some American girl called Anna called a few days ago. William freezes -- then looks at Spike. WILLIAM What did she say? SPIKE Well, it was genuinely bizarre... she said, hi -- it's Anna -- and then she said, call me at the Ritz -- and then gave herself a completely different name. WILLIAM Which was? SPIKE Absolutely no idea. Remembering one name's bad enough... INT. WILLIAM'S LIVING ROOM - DAY William on the phone. We hear the formal man at the other end of the phone. And then intercut with him. WILLIAM Hello. RITZ MAN (V.O.) May I help you, sir? WILLIAM Ahm, look this is a very odd situation. I'm a friend of Anna Scott's -- and she rang me at home the day before yesterday -- and left a message saying she's staying with you... INT. RITZ RECEPTION - DAY RITZ MAN I'm sorry, we don't have anyone of that name here, sir. WILLIAM No, that's right -- I know that. She said she's using another name -- but the problem is she left the message with my flatmate, which was a serious mistake. INT. WILLIAM'S LIVING ROOM WILLIAM (cont'd) Imagine if you will the stupidest person you've ever met -- are you doing that...? Spike happens to be in the foreground of this shot. He's read- ing a newspaper. RITZ MAN Yes, sir. I have him in my mind. WILLIAM And then double it -- and that is the -- what can I say -- git I'm living with and he cannot remember... SPIKE Try 'Flintstone.' WILLIAM (to Spike) What? SPIKE I think she said her name was 'Flintstone.' WILLIAM Does 'Flintstone' mean anything to you? RITZ MAN I'll put you right through, sir. Flintstone is indeed the magic word. WILLIAM Oh my God. He practices how to sound. WILLIAM Hello. Hi. Hi. ANNA (V.O.) Hi. We hear her voice -- don't see her. WILLIAM (caught out) Oh hi. It's William Thacker. We, ahm I work in a bookshop. ANNA (V.O.) You played it pretty cool here, waiting for three days to call. WILLIAM No, I've never played anything cool in my entire life. Spike, who I'll stab to death later, never gave me the message. ANNA (V.O.) Oh -- Okay. WILLIAM Perhaps I could drop round for tea or something? ANNA (V.O.) Yeh -- unfortunately, things are going to be pretty busy, but... okay, let's give it a try. Four o'clock could be good. WILLIAM Right. Great. (he hangs up) Classic. Classic. EXT. RITZ - DAY William jumps off a bus and walks toward the Ritz. He carries a small bunch of roses. INT. RITZ HOTEL - DAY He approaches the lifts. At the lift, he pushes the button and the doors open. As he is getting in, William is joined by a young man. His name is Tarquin. WILLIAM Which floor? TARQUIN Three. William pushes the button. They wait for the doors to close. INT. RITZ CORRIDOR - DAY The lift lands. William gets out. So does Tarquin. Rooms 30-35 are to the left. 35-39 to the right. William heads right. So does Tarquin. William is puzzled. He slows down as he approaches room 38. So does Tarquin. William spots, so does Tarquin. William points at the number. WILLIAM Are you sure you...? TARQUIN Yes. WILLIAM Oh. Right. He knocks. A bright, well-tailored American girl opens the door. KAREN Hello, I'm Karen. Sorry -- things are running a bit late. Here's the thing... She hands them a very slick, expensively produced press kits, with the poster picture of Anna, for the film 'Helix.' INT. THE TRAFALGAR SUITE ANTE-ROOM - DAY A few seconds later -- they enter the main waiting room. There are a number of journalists waiting for their audience. KAREN What did you think of the film? TARQUIN Marvellous. 'Close Encounters' meets 'Jean De Florette.' Oscar- winning stuff. They both turn to William for his opinion. WILLIAM I agree. KAREN I'm sorry. I didn't get down what magazines you're from. TARQUIN 'Time Out.' KAREN Great. And you... WILLIAM (seeing it on a coffee table) 'Horse and Hound.' The name's William Whacker. I think she might be expecting me. KAREN Okay -- take a seat. I'll check. They sit down as Karen goes off. TARQUIN You've brought her flowers? William goes for the cover-up. WILLIAM No -- they're... for my grandmother. She's in a hospital nearby. Thought I'd kill two birds with one stone. TARQUIN I'm sorry. Which hospital? Pause. He's in trouble. WILLIAM Do you mind me not saying -- it's a rather distressing disease and the name of the hospital rather gives it away. TARQUIN Oh sure. Of course. KAREN Mr. Thacker. Saved by the bell. INT. TRAFALGAR SUIT CORRIDOR - DAY KAREN You've got five minutes. He is shown in through big golden doors. Karen stays outside. INT. THE TRAFALGAR SUITE SITTING ROOM - DAY There Anna is, framed in the window. Glorious. WILLIAM Hi. ANNA Hello. WILLIAM I brought these, but clearly... There are lots of other flowers in the room. ANNA Oh no, ho -- these are great. A fair amount of tension. These two people hardly know each other -- and the first and last time they met, they kissed. WILLIAM Sorry about not ringing back. The whole two-names concept was totally too much for my flatman's pea-sized intellect. ANNA No, it's a stupid privacy thing. I always choose a cartoon character -- last time out, I was Mrs. Bambi. At which moment Jeremy, Karen's boss, comes in. A fairly grave, authoritative fifty-year-old PR man consulting a list. JEREMY Everything okay? ANNA Yes, thanks. JEREMY And you are from 'Horse and Hound' magazine? William nods. ANNA Is that so? William shrugs his shoulders. Jeremy settles at a little desk in the corner and makes notes. A pause. William feels he has to act the part. They sit in chairs opposite each other. WILLIAM So I'll just fire away, shall I? Anna nods. WILLIAM Right. Ahm... the film's great... and I just wondered -- whether you ever thought of having more... horses in it? ANNA Ahm -- well -- we would have liked to -- but it was difficult, obviously, being set in space. WILLIAM Obviously. Very difficult. Jeremy leaves. William puts his head in his hands. He was panic. WILLIAM I'm sorry -- I arrived outside -- they thrust this thing into my hand -- I didn't know what to do. ANNA No, it's my fault, I thought this would all be over by now. I just wanted to sort of apologize for the kissing thing. I seriously don't know what got in to me. I just wanted to make sure you were fine about it. WILLIAM Absolutely fine about it. Re-enter Jeremy. JEREMY Do remember that Miss Scott is also keen to talk about her next project, which is shooting later in the summer. WILLIAM Oh yes -- excellent. Ahm -- any horses in that one? Or hounds, of course. Our readers are equally intrigued by both species. ANNA It takes place on a submarine. WILLIAM Yes. Right... But if there were horses, would you be riding them yourself or would you be getting a stunt horse person double sort of thing? Jeremy exits. WILLIAM I'm just a complete moron. Sorry. This is the sort of thing that happens in dreams -- not in real life. Good dreams, obviously -- it's a dream to see you. ANNA And what happens next in the dream? It's a challenge. WILLIAM Well, I suppose in the dream dream scenario. I just... ahm, change my personality, because you can do that in dreams, and walk across and kiss the girl but you know it'll never happen. Pause. Then they move towards each other when... Jeremy enters. JEREMY Time's up, I'm afraid. Sorry it was so short. Did you get what you wanted? WILLIAM Very nearly. JEREMY Maybe time for one last question? WILLIAM Right. Jeremy goes out -- it's their last seconds. WILLIAM Are you busy tonight? ANNA Yes. They look at each other. Jeremy enters, with another journalists in tow. Anna and William stand and shake hands formally. ANNA Well, it was nice to meet you. Surreal but nice. WILLIAM Thank you. You are 'Horse and Hound's' favorite actress. You and Black Beauty. Tied. INT. TRAFALGAR SUITE CORRIDOR - DAY William exits fairly despondent and heads for the door. Tarquin is in the corridor calling on his mobile phone. TARQUIN How was she? WILLIAM Fabulous. TARQUIN Wait a minute -- she took your grandmother's flowers? William can't think his way out of this. WILLIAM Yes. That's right. Bitch. He turns to go, but is accosted by Karen. KAREN If you'd like to come with me we can rush you through the others. WILLIAM The others? INT. RITZ INTERVIEW ROOM - DAY KAREN Mr. Thacker's from 'Horse and Hound.' A forty-year-old actor with great presence warmly shakes William's hand. MALE LEAD Pleased to meet you. Did you like the film? WILLIAM Ah... yes, enormously. MALE LEAD Well, fire away. WILLIAM Right, right. Ahm -- did you enjoy making the film? MALE LEAD I did. WILLIAM Any bit in particular? MALE LEAD Well, you tell me which bit you liked most -- and I'll tell you if I enjoyed making it. WILLIAM Ahm right, right, I liked the bit in space very much. Did you enjoy making that bit? INT. RITZ INTERVIEW ROOM - DAY Same room same seat, minutes later, with a monolingual foreign actor and an interpreter. WILLIAM Did you identify with the character you were playing? INTERPRETER Te identicaste con el personaje que interpretabas? FOREIGN ACTOR No. INTERPRETER No. WILLIAM Ah. Why not? INTERPRETER Por que no? FOREIGN ACTOR Porque es un robot carnivoro psicopata. INTERPRETER Because he is playing a psychopathic flesh-eating robot. WILLIAM Classic. INT. RITZ INTERVIEW ROOM - DAY And now William is sitting opposite an eleven-year-old American girl. WILLIAM Is this your first film? GIRL No -- it's my 22nd. WILLIAM Of course it is. Any favourite among the 22? GIRL Working with Leonardo. WILLIAM Da Vinci? GIRL Di Caprio. WILLIAM Of course. And is he your favourite Italian film director? INT. RITZ CORRIDOR - DAY William emerges traumatized into the corridor. It is full of camera crews. And there is Karen. KAREN Mr. Thacker? WILLIAM (so weary) Yes? KAREN Have you got a moment? INT. ANNA'S SUITE SITTING ROOM - DAY They knock on her door. ANNA (V.O.) Come in. William enters. A certain nervousness. They are alone again. ANNA Ahm. That thing I was doing tonight -- I'm not doing it any more. I told them I had to spend the evening with Britain's premier equestrian journalist. WILLIAM Oh well, great. Perfect. Oh no -- shittity brickitty -- it's my sister's birthday -- shit -- we're meant to be having dinner. ANNA Okay -- fine. WILLIAM But no, I'm sure I can get out of it. ANNA No, I mean, if it's fine with you, I'll, you know, be your date. WILLIAM You'll be my date at my little sister's birthday party? ANNA If that's all right. WILLIAM I'm sure it's all right. My friend Max is cooking and he's acknowledged to be the worst cook in the world, but you know, you could hide the food in your handbag or something. ANNA Okay. WILLIAM Okay. INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT Bella and Max are in the kitchen. MAX He's bringing a girl? BELLA Miracles do happen. MAX Does the girl have a name? BELLA He wouldn't say. MAX Christ, what is going on in there? The oven seems to be smoking a little. Then the bell rings. MAX (cont'd) Oh God. It's bad timing. Max shoots out of the kitchen. INT. MAX AND BELLA'S CORRIDOR - NIGHT Max heads for the door impatiently. He opens it and turns back without looking at William and Anna standing there. MAX Come on in. Vague food crisis. William and Anna move along the corridor to the kitchen. INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT Bella is there. BELLA Hiya -- sorry -- the guinea fowl is proving more complicated than expected. WILLIAM He's cooking guinea fowl? BELLA Don't even ask. ANNA Hi. BELLA Hi. Good Lord -- you're the spitting image of... WILLIAM Bella -- this is Anna. BELLA Right. (pause) MAX Okay. Crisis over. He rises from his stove position. WILLIAM Max. This is Anna. MAX Hello, Anna ahm... (He recognizes her -- the word just falls out) Scott -- have some wine. ANNA Thank you. Door bell goes. INT. MAX AND BELLA'S CORRIDOR - NIGHT Max opens the door -- it is Honey. MAX Hi. She does a little pose, having worn a real party dress. MAX Yes, Happy Birthday. They head back along the corridor. MAX Look, your brother has brought this girl, and ahm... INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT They enter the kitchen. HONEY Hi guys. (sees Anna) Oh holy fuck. WILLIAM Hun -- this is Anna. Anna -- this is Honey -- she's my baby sitter. ANNA Hiya. HONEY Oh God this is one of those key moments in life, when it's possible you can be really, genuinely cool -- and I'm going to fail a hundred percent. I absolutely and totally and utterly adore you and I think you're the most beautiful woman in the world and more importantly I genuinely believe and have believed for some time now that we can be best friends. What do you think? ANNA Ahm... I think that sounds -- you know -- lucky me. Happy Birthday. She hands her a present. HONEY Oh my God. You gave me a present. We're best friends already. Marry Will -- he's a really nice guy and then we can be sisters. ANNA I'll think about it. The front door bell goes. MAX That'll be Bernie. He heads out into the corridor to the front door. INT. MAX AND BELLA'S CORRIDOR - NIGHT Max opens the door. MAX Hello, Bernie. BERNIE I'm sorry I'm so late. Bollocksed up at work again, I fear. Millions down the drain. INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT They enter the room. MAX Bernie -- this is Anna. BERNIE Hello, Anna. Delighted to meet you. Doesn't recognize her -- turns to Honey. BERNIE Honey Bunny -- happy birthday to you. (hands her a present) It's a hat. You don't have to wear it or anything. INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT A minute or two later -- they are standing, drinking wine before dinner. Bernie with Anna on their own -- William helping Max in the kitchen. MAX You haven't slept with her, have you? WILLIAM That is a cheap question and the answer is, of course, no comment. MAX 'No comment' means 'yes.' WILLIAM No, it doesn't. MAX Do you ever masturbate? WILLIAM Definitely no comment. MAX You see -- it means 'yes.' Then on to Bernie's conversation. BERNIE So tell me Anna -- what do you do? ANNA I'm an actress. BERNIE Splendid. I'm actually in the stock- market, so not really similar fields, though I have done some amateur stuff -- P.G. Wodehouse, you know -- farce, all that. 'Ooh -- careful there, vicar.' Always imagined it's a pretty tough job, though, acting. I mean the wages are a scandal, aren't they? ANNA Well, they can be. BERNIE I see friends from university -- clever chaps -- been in the business longer than you -- they're scraping by on seven, eight thousand a year. It's no life. What sort of acting do you do? ANNA Films mainly. BERNIE Oh splendid. Well done. How's the pay in movies? I mean, last film you did, what did you get paid? ANNA Fifteen million dollars. BERNIE Right. Right. So that's... fairly good. On the high side... have you tried the nuts? MAX Right -- I think we're ready. They all move towards the kitchen. ANNA (to Bella) I wonder if you could tell me where the...? BELLA Oh, it's just down the corridor on the right. HONEY I'll show you. A moment's silence as they leave -- then in a split second the others all turn to William. BELLA Quickly, quickly -- talk very quickly what are you doing here with Anna Scott? BERNIE Anna Scott? BELLA Yes. BERNIE The movie star? BELLA Yup. BERNIE Oh God. Oh God. Oh Goddy God. The horror of his remembered conversation slowly unfolds. Honey re-enters. HONEY I don't believe it. I walked into the loo with her. I was still talking when she started unbuttoning her jeans... She had to ask me to leave. INT. MAX AND BELLA'S CONSERVATORY - NIGHT A little later. They are sat at dinner. Bella next to Anna. BELLA What do you think of the guinea fowl? ANNA (whispering) I'm a vegetarian. BELLA Oh God. INT. MAX AND BELLA'S CONSERVATORY - NIGHT Moving on through the evening -- they are very relaxed, as they eat dinner. A few seconds watching the evening going well -- Anna is taking this in -- real friends -- relaxed -- easy, teasing. And there's a cake. Honey wears Bernie's unsuitable hat. Anna watches William laughing at something and then putting his head in his hands with mock shame. INT. MAX AND BELLA'S CONSERVATORY - NIGHT Coffee time. MAX Having you here, Anna, firmly establishes what I've long suspected, that we really are the most desperate hot of under-achievers. BERNIE Shame! MAX I'm not saying it's a bad thing, in fact, I think it's something we should take pride in. I'm going to give the last brownie as a prize to the saddest act here. A little pause. Then William turns to Bernie. WILLIAM Bernie. BERNIE Well, obviously it's me, isn't it -- I work in the City in a job I don't understand and everyone keeps getting promoted above me. I haven't had a girlfriends since... puberty and, well, the long and short of it is, nobody fancies me, and if these cheeks get any chubbier, they never will. HONEY Nonsense. I fancy you. Or I did before you got so far. MAX You see -- and unless I'm much mistaken, your job still pays you rather a lot of money, while Honey here, she earns nothing flogging her guts out at London's seediest record store. HONEY Yes. And I don't have hair -- I've got feathers, and I've got funny goggly eyes, and I'm attracted to cruel men and ... no one'll ever marry me because my boosies have actually started shrinking. MAX You see -- incredibly sad. BELLA On the other hand, her best friend is Anna Scott. HONEY That's true, I can't deny it. She needs me, what can I say? BELLA And most of her limbs work. Whereas I'm stuck in its thing day and night, in a house full of ramps. And to add insult to serious injury -- I've totally given up smoking, my favourite thing, and the truth is... we can't have a baby. Dead silence. WILLIAM Bella. Bella shrugs her shoulders. Bernie is totally grief-struck. BERNIE No. Not true... BELLA C'est la vie... We're lucky in lots of ways, but... Surely it's worth a brownie. William reaches for her hand. Max breaks the sombre mood. MAX Well, I don't know. Look at William. Very unsuccessful professionally. Divorced. Used to be handsome, now kind of squidgy around the edges -- and absolutely certain never to hear from Anna again after she's heard that his nickname at school was Floppy. They all laugh. Anna smiles across at William. WILLIAM So I get the brownie? MAX I think you do, yes. ANNA Wait a minute. What about me? MAX I'm sorry? You think you deserve the brownie? ANNA Well... a shot at it. WILLIAM You'll have to prove it. This is a great brownie and I'm going to fight for it. State your claim. ANNA Well, I've been on a diet since I was nineteen, which means basically I've been hungry for a decade. I've had a sequence of not nice boyfriends -- one of whom hit me: and every time my heart gets broken it gets splashed across the newspapers as entertainment. Meantime, it cost millions to get me looking like this... HONEY Really? ANNA Really -- and one day, not long from now... While she says this, quiet settles around the table. The thing is -- she sort of means it and is opening up to them. ANNA ... my looks will go, they'll find out I can't act and I'll become a sad middle-aged woman who looks a bit like someone who was famous for a while. Silence... they all look at her... then. MAX Nah!!! Nice try, gorgeous -- but you don't fool anyone. The mood is instantly broken. They all laugh. WILLIAM Pathetic effort to hog the brownie. INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT Anna and William are leaving. ANNA That was such a great evening. MAX I'm delighted. He holds out his hand to shake. She kisses him on the cheek. He stumbles back with joy. ANNA And may I say that's a gorgeous tie. MAX Now you're lying. ANNA You're right. I told you I was bad at acting. Max loves this. ANNA (to Bella) Lovely to meet you. BELLA And you. I'll wait till you've gone before I tell him you're a vegetarian. MAX No! ANNA Night, night, Honey. HONEY I'm so sorry about the loo thing. I meant to leave but I just... look, ring me if you need someone to go shopping with. I know lots of nice, cheap places... not that money necessarily... (gives up) nice to meet you. And Honey gives her a huge hug. ANNA You too -- from now on you are my style guru. Anna and William head out... Bernie tries to save some dignity. BERNIE Love your work. They move to the door and wave goodbye. EXT. MAX AND BELLA'S HOUSE - NIGHT William and Anna step outside. From inside they hear a massive and hysterical scream of the friends letting out their true feelings. William is a little embarrassed. WILLIAM Sorry -- they always do that when I leave the house. The house is in Lansdowne Road, on the edge of Notting Hill. They walk for a moment. A bit of silence. ANNA Floppy, huh? WILLIAM It's the hair! It's to do with the hair. ANNA Why is she in a wheelchair? WILLIAM It was an accident -- about eighteen months ago. ANNA And the pregnancy thing -- is that to do with the accident? WILLIAM You know, I'm not sure. I don't think they'd tried for kids before, as fate would have it. They walk in silence for a moment. Then... WILLIAM Would you like to come... my house is just...? She smiles and shakes her head. ANNA Too complicated. WILLIAM That's fine. ANNA Busy tomorrow? WILLIAM I thought you were leaving. ANNA I was. EXT. NOTTING HILL GARDEN - NIGHT A little later in the walk. ANNA What's in there? They are now walking by a five foot railing, with foliage behind it. WILLIAM Gardens. All these streets round here have these mysterious communal gardens in the middle of them. They're like little villages. ANNA Let's go in. WILLIAM Ah no -- that's the point -- they're private villages -- only the people who live round the edges are allowed in. ANNA You abide by rules like that? WILLIAM Ahm... Her look makes it clear that she is waiting with interest on the answer to this. WILLIAM Heck no -- other people do -- but not me -- I just do what I want. He rattles the gate, then starts his climb -- but doesn't quite make it, and falls back onto the pavement... WILLIAM (casually) Whoopsidaisies. ANNA What did you say? WILLIAM Nothing. ANNA Yes, you did. WILLIAM No, I didn't. ANNA You said 'whoopsidaisies.' Tiny pause. WILLIAM I don't think so. No one has said 'whoopsidaisies,' do they -- I mean unless they're... ANNA There's no 'unless.' No one has said "whoopsidaisies" for fifty years and even then it was only little girls with blonde ringlets. WILLIAM Exactly. Here we go again. He fails, and unfortunately, spontaneously... WILLIAM Whoopsidaisies. They look at each other. WILLIAM It's a disease I've got -- it's a clinical thing. I'm taking pills and having injections -- it won't last long. ANNA Step aside. She starts to climb. WILLIAM Actually be careful Anna -- it's harder than it looks... But she's already almost over. WILLIAM Oh no it's not -- it's easy. A few seconds later. Anna jumps down into the garden. ANNA Come on, Flops. William clambers over with terrible difficulty, dusts himself off, and heads towards where she stands. WILLIAM Now seriously -- what in the world in this garden could make that ordeal worthwhile? She leans forward -- and, for the firs time since the first time -- she kisses him. This time a proper kiss. A tiny pause. WILLIAM Nice garden. EXT. MAGIC GARDEN - NIGHT They walk around the garden. It's a moonlit dream. We see the lights of the houses that surround the garden. They come across a single, simple wooden bench. ANNA 'For June, who loved this garden -- from Joseph who always sat beside her.' We cut in and see an inscription carved into the wood. She doesn't read the dates, carved below -- 'June Wetherby, 1917 - 1992.' She is slightly chocked by it. ANNA Some people do spend their whole lives together. He nods. They are standing on either side of the bench, looking at each other. The camera glides away from them, up into the night sky, leaving them alone in the garden. Music plays. INT. WILLIAM'S LIVING ROOM - EVENING William in a towel rushes downstairs, having just had a shower. He shoots past Spike. WILLIAM Bollocks, bollocks, bollocks. Have you seen my glasses? SPIKE No, 'fraid not. WILLIAM Bollocks. (still searching -- with no help from Spike) This happens every time I go to the cinema. Average day, my glasses are everywhere -- everywhere I look, glasses. But the moment I need them they disappear. It's one of life's real cruelties. SPIKE That's compared to, like, earthquakes in the Far East or testicular cancer? WILLIAM Oh shit, is that the time? I have to go. INT. WILLIAM'S LIVING ROOM/CORRIDOR - EVENING He sprints downstairs, now fully dressed. WILLIAM (not meaning it) Thanks for your help on the glasses thing. SPIKE (sincerely) You're welcome. Did you find them? WILLIAM Sort of. INT. CINEMA - NIGHT Mid-film. We move across the audience. And there is in the middle of it, we see Anna, watching the screen, and next to her, William, watching the film keenly, through his scuba- diving goggles. INT. RESTAURANT - NIGHT A very smart Japanese restaurant. We see Anna and William sitting, near the end of their meal. ANNA So who left who? WILLIAM She left me. ANNA Why? WILLIAM She saw through me. ANNA Uh-oh. That's not good. We've been aware of the conversation at a nearby table -- now we can hear it. Two slightly rowdy men. LAWRENCE No - No- No! Give me Anna Scott any day. William and Anna look at each other. GERALD I didn't like that last film of hers. Fast asleep from the moment the lights went down. Again -- Anna reacts. LAWRENCE Don't really care what the films are like. Any film with her in it -- fine by me. GERALD No -- not my type at all really. I prefer that other one -- blonde -- sweet looking -- has an orgasm every time you take her out for a cup of coffee. Anna mouths 'Meg Ryan.' LAWRENCE Meg Ryan. William and Anna smile -- they're enjoying it. GERALD Drug-induced, I hear -- I believe she's actually in rehab as we speak. LAWRENCE Whatever, she's so clearly up for it. Anna's twinkle fades. LAWRENCE You know -- some girls, they're all 'stay away chum' but Anna, she's absolutely gagging for it. Do you know that in over fifty percent of languages the word for "actress" is the same as the word for "prostitute." This is horrible. LAWRENCE And Anna is your definitive actress -- someone really filthy you can just flip over... WILLIAM Right, that's it. He gets up and goes round the corner to the men. There are in fact four of them, the two meeker men, Gavin and Harry, hanging on the other guys' witty words. WILLIAM I'm sorry to disturb you guys but -- LAWRENCE Can I help you? WILLIAM Well, yes, I wish I hadn't overheard your conversation -- but I did and I just think, you know... He's not a very convincing or frightening figure. WILLIAM ...the person you're talking about is a real person and I think she probably deserves a little bit more consideration, rather than having jerks like you drooling over her... LAWRENCE Oh sod off, mate. What are you, her dad? Anna suddenly appears at his side and whips him away without being recognized. WILLIAM I'm sorry. ANNA No, that's fine. I love that you tried... time was I'd have done the same. They walk on and then... ANNA In fact -- give me a second. And she walks straight back to their table. ANNA Hi. LAWRENCE Oh my God... ANNA I'm sorry about my friend -- he's very sensitive. LAWRENCE No, look, I'm sorry... ANNA Please, please -- let's just leave it there. I'm sure you meant no harm, and I'm sure it was just friendly banter and I'm sure you dicks are all the size of peanuts. A perfect match for the size of your brains. Enjoy your meal. The tuna's really good. And she walks away. Gerald turns to Lawrence. GERALD You prick. EXT. RITZ ARCADE - NIGHT They are walking. ANNA I shouldn't have done that. I shouldn't have done that. WILLIAM No, you were brilliant ANNA I'm rash and I'm stupid and what am I doing with you? WILLIAM I don't know, I'm afraid. ANNA I don't know either. They have arrived at the end of the arcade. ANNA Here we are. (pause) Do you want to come up? WILLIAM (he hoes) There seem to be lots of reasons why I shouldn't. ANNA There are lots of reasons. Do you want to come up? His look says yes. ANNA Give me five minutes. He watches her go -- and stands in the street. Music plays. INT. RITZ CORRIDOR/ANNA'S SUITE - NIGHT William coming along the hotel corridor. He knocks on the door. ANNA Hiya. There's something slightly awry. He doesn't notice. WILLIAM Hi. He kisses her gently on the cheek. WILLIAM To be able to do that is such a wonderful thing. ANNA (pause) You've got to go. WILLIAM Why? ANNA Because my boyfriend, who I thought was in America, is in fact in the next room. WILLIAM Your boyfriend? He is duly shocked. She's trying to be calm. ANNA Yes... JEFF (V.O.) Who is it? Jeff drifts into view behind. He is a very famous film star and looks the part -- well built, very handsome. Unshaven, he has magic charm, whatever he says. Over a t-shirt, he wears a shirt, which he unbuttons as he talks. WILLIAM Ahm... room service. JEFF How you doing? I thought you guys all wore those penguin coats. WILLIAM Well, yes -- usually -- I'd just changed to go home -- but I thought I'd just deal with this final call. JEFF Oh great. Could you do me a favour and try to get us some really cold water up here? WILLIAM I'll see what I can do. JEFF Still, not sparkling. WILLIAM Absolutely. Ice cold still water. JEFF Unless it's illegal in the UK to serve liquids below room temperature: I don't want you going to jail just to satisfy my whims... WILLIAM No, I'm sure it'll be fine. JEFF And maybe you could just adios the dishes and empty the trash. WILLIAM Right. And he does just that. Scoops up the two used plates and heads to the bin. ANNA Really -- don't do that -- I'm sure this is not his job. JEFF I'm sorry. Is this a problem? WILLIAM Ah -- no. It's fine. JEFF What's your name? WILLIAM Ahm... Bernie. Jeff slips him a fiver. JEFF Thank you, Bernie. (to Anna) Hey -- nice surprise, or nasty surprise? ANNA Nice surprise. He kisses her. JEFF Liar. (to William) She hates surprises. What are you ordering? ANNA I haven't decided. JEFF Well, don't over-do it. I don't want people saying, 'There goes that famous actor with the big, fat girlfriend." He wanders off taking off his t-shirt. WILLIAM I better leave. Anna just nods. WILLIAM -- this is a fairly strange reality to be faced with. To be honest, I don't realize... ANNA I'm sorry... I don't know what to say. WILLIAM I think goodbye is traditional. INT. RITZ CORRIDOR - NIGHT William walks away. EXT. RITZ - NIGHT William walks down the arcade outside the hotel. He is stunned. EXT. LONDON BUS - NIGHT William sits alone on a bus. We see him through the side window. As it drives away, we see that the whole back of the bus is taken up with a huge picture of Anna. INT. WILLIAM'S BEDROOM - NIGHT He gets into his room and sits on the bed. INT. SPACESHIP - NIGHT Space Anna, in the very hi-tech environment and a serious moods, fastens the last clasps on her uniform. She takes a helmet type thing, and places it on her head. INT. CONNECT CINEMA - NIGHT Cut round to the Coronet cinema where this film is showing. It's not full. The camera moves and finds, sitting on his own...William. Just watching. We see a momentous flash of light from the screen explode, reflected in his eye. INT. WILLIAM'S LIVING ROOM - EVENING William is looking out the window, lost in thought. Spike enters. SPIKE Come on -- open up -- this is me -- Spikey -- I'm in contact with some quite important spiritual vibrations. What's wrong? Spike settles on the arm of a chair. William decides to open up a bit... WILLIAM Well, okay. There's this girl... SPIKE Aha! I'd been getting a female vibe. Good. Speak on, dear friend. WILLIAM She's someone I just can't -- someone who... self-evidently can't be mine -- and it's as if I've taken love-heroin -- and now I can't even have it again. I've opened Pandora's box. And there's trouble inside. Spike nods thoughtfully. SPIKE Yeh. Yeh... tricky... tricky... I knew a girl at school called Pandora ... never got to see her box though. He roars with laughter. William smiles. WILLIAM Thanks. Yes -- very helpful. INT. TONY'S RESTAURANT - NIGHT Only two tables are being used. William and his friends are on their first course. Bernie reads an "Evening Standard," with a picture of Anna and Jeff at Heathrow Airport. MAX You didn't know she had a boyfriend? WILLIAM No -- did you? Their looks make it obvious that everyone did. WILLIAM Bloody hell, I can't believe it -- my whole life ruined because I don't read 'Hello' magazine. MAX Let's face facts. This was always a no-go situation. Anna's a goddess and you know what happens to mortals who get involved with the gods. WILLIAM Buggered? MAX Every time. But don't despair -- I think I have the solution to your problems. WILLIAM Really? They all look to him for wise words. MAX Her name is Tessa and she works in the contracts department. The hair, I admit, is unfashionable frizzy -- but she's as bright as a button and kisses like a nymphomaniac on death row. Apparently. INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT The kitchen. William is looking uneasy. A doorbell rings. MAX Now -- try. William nods. Max heads off to the door. We stay with William -- and just hear the door open and a voice come down the corridor. TESSA (V.O.) I got completely lost -- it's real difficult, isn't it? Everything's got the word 'Kensington' in it -- Kensington Park Road, Kensington Gardens, Kensington bloody Park Gardens... They reach the kitchen. Tessa is a lush girl with huge hair. MAX Tessa -- this is Bella my wife. TESSA Oh hello, you're in a wheelchair. BELLA That's right. MAX And this is William. TESSA Hello William. Max has told me everything about you. WILLIAM (frightened) Has he? MAX Wine? TESSA Oh yes please. Come on, Willie, let's get sloshed. She turns to take the wine and William has a split second to send a message of panic to Bella. She agrees -- it's bad. INT. MAX AND BELLA'S KITCHEN/CONSERVATORY - NIGHT Max walks over to the table. Honey, Bella, William and another girl. MAX Keziah -- some woodcock? KEZIAH No, thank you -- I'm a fruitarian. MAX I don't realize that. It is left to William, who has been set up here, to fill the pause. WILLIAM And ahm -- what's a fruitarian exactly? KEZIAH We believe that fruits and vegetables have feelings so we think cooking is cruel. We only eat things that have actually fallen from the tree or bush -- that are, in fact, dead already. WILLIAM Right. Right. Interesting stuff. (pause) So these carrots... KEZIAH Have been murdered, yes. WILLIAM Murdered? Poor carrots. How beastly. INT. MAX AND BELLA'S CONSERVATORY - NIGHT Time for coffee and chocolates. Beside William sits the final, perfect girl. She is Rosie, quite young, smartly dressed, open-hearted. It is just Max and William and Bella and her. ROSIE Delicious coffee. MAX Thank you. I'm sorry about the lamb. ROSIE No -- I thought it was really, you know, interesting. WILLIAM Interesting means inedible. ROSIE Really inedible -- yes that's right. They all laugh. It's going very well. INT. MAX AND BELLA'S CORRIDOR - NIGHT William is with Rosie by the door -- just about to say goodbye. ROSIE Maybe we'll meet again some time. WILLIAM Yes. That would be... great. She kisses him gently on the cheek. He opens the door -- she walks out. He shuts the door quietly and heads back into the living room... INT. MAX AND BELLA'S LIVING ROOM - NIGHT Max and Bella wait excitedly. MAX Well? WILLIAM She's perfect, perfect. BELLA And? William makes a gentle, exasperated gesture, then... WILLIAM I think you have forgotten... (he looks at them) what an unusual situation you have here -- to find someone you actually love, who'll love you -- the chances are... always miniscule. Look at me -- not counting the American -- I've only loved two girls in my whole life, both total disasters. MAX That's not fair. WILLIAM No really, one of them marries me and then leaves me quicker than you can say Indiana Jones -- and the other, who seriously ought to have known better, casually marries my best friend. BELLA (pause) Still loves you though. WILLIAM In a depressingly asexual way. BELLA (pause) I never fancied you much actually... They all roar with laughter. BELLA I mean I loved you -- you were terribly funny. But all that kissing my ears... WILLIAM Oh no -- this is just getting worse. I am going to find myself, 30 years from now, still on this couch. BELLA Do you want to stay? WILLIAM Why not -- all that awaits me at home is a masturbating Welshman. Music starts to play to take us through these silent scenes. INT. MAX AND BELLA'S LIVING ROOM - NIGHT Max lifts Bella off her couch and carries her upstairs. Mix through -- William sits on the couch downstairs -- eyes wide open -- thinking. INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - DAY Morning. Max, all in his suit for the city... Bella kisses him goodbye. William sees this from the kitchen. She is also dressed for work -- and moves back into the kitchen to pack her briefcase with law books from the kitchen table. EXT. MAX AND BELLA'S HOUSE - DAY William emerges from the house, a little ruffled from a night away from home, a heads off. EXT. NEWSAGENT - DAY William walks past the newsagent, heading for home. We see, though he doesn't, a rack of tabloid papers, all of which seem to have very grainy, grabbed pictures of Anna on their front page. Headlines --'Anna Stunna'-- 'It's Definitely Her!' and 'Scott of Pantartica.' INT. WILLIAM'S BATHROOM - DAY William is shaving. The bell goes. He heads out to answer it. EXT./INT. WILLIAM'S HOUSE -DAY William arrives at the door and opens it. There stands a dark- glassed Anna. ANNA Hi. Can I come in? WILLIAM Come in. She moves inside. Her hair is a mess -- her eyes are tired. Nothing idealized. INT. LIVING ROOM - DAY The two of them. ANNA They were taken years ago -- I know it was... well, I was poor and it happens a lot -- that's not an excuse -- but to make things worse, it now appears someone was filming me as well. So what was a stupid photo- shoot now looks like a porno film. And well... the pictures have been solid and they're everywhere. William shakes his head. ANNA I don't know where to go. The hotel is surrounded. WILLIAM This is the place. ANNA Thank you. I'm just in London for two days -- but, with your papers, it's the worse place to be. She's very shaken. ANNA These are such horrible pictures. They're so grainy... they make me look like... WILLIAM Don't think about it. We'll sort it out. Now what would you like -- tea ... bath...? ANNA A bath would be great. INT. WILLIAM'S CORRIDOR - DAY Spike enters through the front door. William doesn't hear him. Spike is reading newspapers with the Anna pictures in it. SPIKE Christ alive... brilliant... fantastic .... magnificent... He heads up the stairs. Opens the bathroom door, walks in. INT. WILLIAM'S BATHROOM - DAY Spike heads for the toilet -- undoes his zip... ANNA You must be Spike. She's in the bath. Spike turns in shock -- and sidles out of the bathroom. INT. WILLIAM'S CORRIDOR - DAY Spike calms himself down. He then opens the bathroom door again -- and looks in. INT. WILLIAM'S BATHROOM - DAY Anna is still lying low in the bath. ANNA Hi. SPIKE Just checking. INT. CORRIDOR - DAY Spike comes back out into the corridor. Looks to heaven. SPIKE Thank you, God. INT. WILLIAM'S KITCHEN - DAY William and Anna at the kitchen table, eating toast, dringking tea. ANNA I'm really sorry about last time. He just flew in -- I had no idea -- in fact, I had no idea if he'd ever fly in again. WILLIAM No, that's fine. It's not often one has the opportunity to adios the plates of a major Hollywood star. It was a thrill for me. (she smiles. Pause) How is he? ANNA I don't know. It got to the point where I couldn't remember any of the reasons I loved him. And you... and love? WILLIAM Well, there's a question -- without an interesting answer. ANNA I have thought about you. WILLIAM Oh no no -- no. He doesn't think she has to talk about this. ANNA Just anytime I've tried to keep things normal with anyone normal -- it's been a disaster. WILLIAM I appreciate that absolutely. (changing subject tactfully) Is that the film you're doing? ANNA Yes -- start in L.A. on Tuesday. WILLIAM Would you like me to take you through your lines? ANNA Would you? It's all talk, talk, talk. WILLIAM Hand it over. Basic plot? ANNA I'm a difficult but brilliant junior officer who in about twenty minutes will save the world from nuclear disaster. WILLIAM Well done you. EXT. TERRACE - DAY A little later. They're in the thick of the script. WILLIAM 'Message from command. Would you like them to send in the HKs?' ANNA 'No, turn over 4 TRS's and tell them we need radar feedback before the KFT's return at 19 hundred -- then inform the Pentagon that we'll be needing black star cover from ten hundred through 12.15' -- and don't you dare say one word about how many mistakes I made in that speech or I'll pelt you with olives. WILLIAM 'Very well, captain -- I'll pass that on straightaway.' ANNA 'Thank you.' How many mistake did I make? WILLIAM Eleven. ANNA Damn. 'And Wainwright...' WILLIAM Cartwright. ANNA 'Cartwright, Wainwright, whatever your name is, I promised little Jimmy I'd be home for his birthday -- could you get a message through that I may be a little late.' WILLIAM 'Certainly. And little Johnny?' ANNA My son's name is Johnny? WILLIAM Yup. ANNA Well, get a message through to him too. WILLIAM Brilliant. (the scene's over) Word perfect I'd say. ANNA What do you think? WILLIAM Gripping. It's not Jane Austen, it's not Henry James, but it's gripping. ANNA You think I should do Henry James instead? WILLIAM I'm sure you'd be great in Henry James. But, you know -- this writer's pretty damn good too. ANNA Yes -- I mean -- you never get anyone in 'Wings of a Dove' having the nerve to say 'inform the Pentagon that we need black star cover.' WILLIAM And I think the book is the poorer for it. Anna smiles her biggest smile of the day. He is helping. INT. WILLIAM'S DINING ROOM Anna and William. Sat down at table. There's a picture hanging on the wall behind. ANNA I can't believe you have that picture on your wall. It is a poster of a Chagall painting of a floating wedding couple, with a goat as company. WILLIAM You like Chagall? ANNA I do. It feels like how being in love should be. Floating through a dark blue sky. WILLIAM With a goat playing a violin. ANNA Yes -- happiness wouldn't be happiness without a violin-playing goat. Spike enters with three pizzas. SPIKE Voila. Carnival Calypso, for the Queen of Notting Hill -- pepperoni, pineapple and a little more pepperoni. ANNA Fantastic. WILLIAM I don't mention that Anna's a vegetarian, did I? SPIKE (pause) I have some parsnip stew from last week. If I just peel the skin off, it'll be perfect. INT. WILLIAM'S LIVING ROOM - NIGHT Later in the evening. William and Anna on their own. They're sipping coffee. A few seconds of just co-existing. Anna looks up. ANNA You've got big feet. WILLIAM Yes. Always have had. ANNA You know what they say about men with big feet? WILLIAM No. What's that? ANNA Big feet -- large shoes. He laughs. INT. WILLIAM'S LIVING ROOM - NIGHT A few hours later -- eating ice-cream out of the tub. ANNA The thing that's so irritating is that now I'm so totally fierce when it comes to nudity clauses. WILLIAM You actually have clauses in your contact about nudity? ANNA Definitely. 'You may show the dent at the top of the artist's buttocks -- but neither cheek. In the event of a stunt person being used, the artist must have full consultation.' WILLIAM You have a stunt bottom? ANNA I could have a stunt bottom, yes. WILLIAM Would you be tempted to go for a slightly better bottom than your own? ANNA Definitely. Ths is important stuff. WILLIAM It's one hell of a job. What do you put on your passport? Profession -- Mel Gibson's bottom. ANNA Actually, Mel does his own ass work. Why wouldn't he? It's delicious. WILLIAM The ice cream or Mel Gibson's bottom? ANNA Both. INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT They are walking up the stairs -- and stop at the top. ANNA Today has ben a good day. Which under the circumstances is... unexpected. WILLIAM Well, thank you. (awkward pause) Anyway -- time for bed. Or... sofa-bed. ANNA Right. Pause. She leans forward, kisses him gently, then steps into the bedroom and closes the door. INT. WILLIAM'S LIVING ROOM - NIGHT William downstairs -- on a sofa -- under a duvet. Eyes open. Thinking. Pause and pause. He waits and waits -- the ultimate 'yearn.' But nothing happens. William gets off the sofa decisively. Sits on the side of it. Then gets back in again. Pause, pause, then... in the darkness, a stair creaks. There's someone there. WILLIAM (to himself) Oh my God... (then...) Hello. SPIKE Hello. I wonder if I could have a little word. He drifts round the corner, half-naked. WILLIAM Spike. SPIKE I don't want to interfere, or anything ... but she's split up from her boy- friend, that's right isn't it? WILLIAM Maybe. SPIKE And she's in your house. WILLIAM Yes. SPIKE And you get on very well. WILLIAM Yes. SPIKE Well, isn't this perhaps a good opportunity to... slip her one? WILLIAM Spike. For God's sake -- she's in trouble -- get a grip. SPIKE Right. Right. You think it's the wrong moment. Fair enough. (pause) Do you mind if I have a go? WILLIAM Spike! SPIKE No -- you're right. WILLIAM I'll talk to you in the morning. SPIKE Okay -- okay. Might be too late, but okay. Back to William thinking again. Dreamy atmosphere. And then... more footsteps on the stairs. WILLIAM Oh please sod off. ANNA Okay. WILLIAM No! No. Wait. I... thought you were someone else. I thought you were Spike. I'm delighted you're not. The darkness of the living room. We see Anna in the shadow. INT. WILLIAM'S LIVING ROOM - NIGHT A few moments later. William and Anna stand in the middle of the room. He kisses her neck. Then her shoulder. What a miracle it is just to be able to touch this girl's skin. Then he looks at her face. That face. He is suddenly struck by who it is. WILLIAM Wow. ANNA What? And then gets over it straight away. WILLIAM Nothing. And kisses her. INT. WILLIAM'S BEDROOM - NIGHT The middle of the night. They are both asleep -- a yard apart. In sleep, her arm reaches out, touches his shoulder and then she wriggles across and re-settles herself, tenderly, right next to him. He is not asleep and knows how extraordinary this all is. INT. WILLIAM'S BEDROOM - DAY The morning. WILLIAM It still strikes me as, well, surreal, that I'm allowed to see you naked. ANNA You and every person in this country. WILLIAM Oh God yes -- I'm sorry. ANNA What is it about men and nudity? Particularly breasts -- how can you be so interested in them? WILLIAM Well... ANNA No seriously. I mean, they're just breasts. Every second person in the world has got them... WILLIAM More than that actually, when you think about it. You know, Meatloaf has a very nice pair... ANNA But... they're odd-looking. They're for milk. Your mum's got them. You must have seen a thousand of them -- what's the fuss about? WILLIAM (pause) Actually, I can't think really -- let me just have a quick look... He looks under the sheet at her breasts. WILLIAM No, beats me. She laughs... ANNA Rita Hayworth used to say -- 'they go to bed with Gilda -- they wake up with me.' Do you feel that? WILLIAM Who was Gilda? ANNA Her most famous part -- men went to bed with the dream -- and they didn't like it when they woke up with the reality -- do you feel that way with me? WILLIAM (pause) You're lovelier this morning than you have ever been. ANNA (very touched) Oh. She looks at him carefully. Then leaps out of bed. ANNA I'll be back. INT. WILLIAM'S BEDROOM - MORNING William on the bed. The door opens. It is Anna with a tray of toast and tea. ANNA Breakfast in bed. Or lunch, or brunch. She heads across. She smiles and sits on the bed. ANNA Can I stay a bit longer? WILLIAM Stay forever. ANNA Damn, I forgot the jam. The doorbell goes. ANNA You get the door, I'll get the jam. INT./EXT. WILLIAM'S CORRIDOR - DAY William heads down the corridor and opens the door. Outside are hundreds of paparazzi -- an explosion of cameras and questions, of noise and light. The press seem to fill the entire street. WILLIAM Jesus Christ. He comes back inside, snapping the door behind him. Anna is in the kitchen. ANNA What? WILLIAM Don't ask. She heads back the corridor, with no suspicion. ANNA You're up to something... She thinks he's fooling around. She opens the door, the same explosion. In a split second she's inside. ANNA Oh my God. And they got a photo of you dressed like that? WILLIAM Undressed like this, yes. ANNA Jesus. INT. WILLIAM'S KITCHEN - DAY Anna is on the phone. Spike is blithely heading downstairs to the kitchen in just his underpants. SPIKE Morning, daring ones. He does a thumbs up to William -- very excited about what he knows was a 'result.' ANNA (on the phone) It's Anna. The press are here. No, there are hundreds of them. My brilliant plan was not so brilliant after all. Yeh, I know, I know. Just get me out then. (she hangs up) Damnit. She heads upstairs. WILLIAM I wouldn't go outside. SPIKE Why not? WILLIAM Just take my work for it. The moment William goes upstairs, Spike heads for the front door. EXT. WILLIAM'S HOUSE - DAY From outside -- we see this scrawny bloke in the frame of the doorway, in his grey underpants. A thousand photos. Spike poses athletically. INT. WILLIAM'S CORRIDOR - DAY Spike closes the door and wanders along to a mirror in the hall- way, muttering. SPIKE How did I look? Inspects himself. SPIKE Not bad. No bad at all. Well-chosen briefs, I'd say. Chicks love grey. Mmmmm. Nice firm buttocks. INT. WILLIAM'S BEDROOM - DAY William enters. He's unhappy for her. She's almost dressed. WILLIAM How are you doing? ANNA How do you think I'm doing? WILLIAM I don't know what happened. ANNA I do. Your furry friend thought he'd make a buck or two telling the papers where I was. She's packing. WILLIAM That's not true. ANNA Really? The entire British press just woke up this morning and thought 'Hey -- I know where Anna Scott is. She's in that house with the blue door in Notting Hill.' And then you go out in your goddamn underwear. SPIKE (dropping in) I went out in my goddamn underwear too. WILLIAM Get out, Spike. (he does) I'm so sorry. ANNA This is such a mess. I come to you to protect myself against more crappy gossip and now I'm landed in it all over again. For God's sake, I've got a boyfriend. WILLIAM You do? It's a difficult moment -- defining where they stand. ANNA As far as they're concerned I do. And now tomorrow there'll be pictures of you in every newspapers from here to Timbuktu. WILLIAM I know, I know -- but... just -- let's stay calm... ANNA You can stay calm -- it's the perfect situation for you -- minimum input, maximum publicity. Everyone you ever bump into will know. 'Well done you -- you slept with that actress -- we've seen the pictures.' WILLIAM That's spectacularly unfair. ANNA Who knows, it may even help business. Buy a boring book about Egypt from the guy who screwed Anna Scott. She heads out. INT. STAIRS/LIVING ROOM - DAY WILLIAM Now stop. Stop. I beg you -- calm down. Have a cup of tea. ANNA I don't want a goddamn cup of tea. I want to go home. The doorbell goes. WILLIAM Spike, check who that is... and for God's sake put some clothes on. Spike leans merrily out of the window. SPIKE Looks like a chauffeur to me. INT. WILLIAM'S KITCHEN/CORRIDOR - DAY They move from the kitchen into the corridor. ANNA And remember -- Spike owes you an expensive dinner. Or holiday -- depending if he's got the brains to get the going rate on betrayal. WILLIAM That's not true. And wait a minute... this is crazy behavior. Can't we just laugh about this? Seriously -- in the huge sweep of things, this stuff doesn't matter. SPIKE What he's going to say next is -- there are people starving in the Sudan. WILLIAM Well, there are. And we don't need to go anywhere near that far. My best friend slipped -- she slipped down- stairs, cracked her back and she's in a wheelchair for the rest of her life. All I'm asking for is a normal amount of perspective. ANNA You're right: of course, you're right. It's just that I've dealt with this garbage for ten years now -- you've had it for ten minutes. Our perspectives are different. WILLIAM I mean -- today's newspapers will be lining tomorrow's waste paper bins. ANNA Excuse me? WILLIAM Well, you know -- it's just one day. Today's papers will all have been thrown away tomorrow. ANNA You really don't get it. This story gets filed. Every time anyone writes anything about me -- they'll dig up these photos. Newspapers last forever. I'll regret this forever. He takes this in. That's the end. WILLIAM Right. Fine. I will do the opposite, if it's all right by you -- and always be glad you came. But you're right -- you probably better go. She looks at him. The doorbell goes again. She opens the door. Massive noise and photos. Outside are her people, including Karen, a chauffeur, two bodyguards. And then the door is shut and they're all gone. Silence. INT. WILLIAM'S KITCHEN/CORRIDOR - DAY Spike and William sitting there. Pause. WILLIAM Was it you? SPIKE I suppose I might have told one or two people down the pub. WILLIAM Right. He puts his head in his hands. It's over now. EXT. LONDON - DAY As full, sad music plays -- William begins to walk through Notting Hill. This walk takes six months... as he walks, the seasons actually and magically change, from summer, through autumn and winter, back into spring... First it is summer -- summer fruits and flowers -- a six-month pregnant woman -- Honey with another leather-jacket boyfriend. As he walks on the rain starts to fall -- he turns up his coat collar -- umbrellas appear. Followed by winter coats -- chestnuts roasting -- Christmas trees on sale and the first hint of snow. Then he comes to Blenheim Crescent, which is startling snowscape, for the hundred yard, right across Ladbroke Grove. By the time he reaches the purple cafe, the snow is melting and in a few yards, it is spring again. He passes Honey again -- arguing with her boyfriend, walking away tearful. Then turns past 'the pregnant woman' -- now holding her three-month baby. The camera holds on her. INT. BOOKSHOP - DAY A grey day in the bookshop. Martin and William. As ever. A feeling that things in there ever change. Ten seconds pass. Honey rushes in. Spike, still feeling in disgrace, comes in with her but lingers in the doorway. HONEY Have we got something for you. Something which will make you love me so much you'll want to hug me every single day for the rest of my life. WILLIAM Blimey. What's that? HONEY The phone number of Anna Scott's agent in London and her agent in New York. You can ring her. You think about her all the time -- now you can ring her! WILLIAM Well, thanks, that's great. HONEY It is great, isn't it. See you tonight. Hey, Marty-- sexy cardy. And she rushes out. William looks at the piece of paper, folds it and then places it gently in the garbage bin. INT. TONY'S RESTAURANT - NIGHT Bella bangs a spoon on a wine bottle. All the friends are gathered in the restaurant. BELLA I have a little speech to make -- I won't stand up because I can't... be bothered. Exactly a year ago today, this man here started the finest restaurant in London. TONY Thank you very much. BELLA Unfortunately -- no one ever came to eat here. TONY A tiny hiccough. BELLA And so we must face the fact that from next week, we have to find somewhere near to eat. Tony's brave face breaks. The dream is over. BELLA I just want to say to Tony -- don't take it personally. The more I think about things, the more I see no rhyme or reason in life -- no one knows why some things work out, and some things don't -- why some of us get lucky -- and some of us... BERNIE ... get fired. BELLA No! BERNIE Yes, they're shifting the whole outfit much more towards the trading side -- and of course... (he owns up) I was total crap. They're all rather stunned. TONY So we go down together! A toast to Bernie -- the worst stockbroker in the whole world! They toast him. HONEY Since it's an evening of announcements ... I've also got one, Ahm... I've decided to get engaged. Total bewilderment from the others. HONEY I've found myself a nice, slightly odd looking bloke who I know is going to make me happy for the rest of my life. Special cut to Bernie -- the shot shows he had special feelings for Honey. WILLIAM Wait a minute -- I'm your brother and I don't know anything about this. MAX Is it someone we know? HONEY Yes. I will keep you informed. As she sits down, Honey leans towards Spike and whispers. HONEY By the way -- it's you. SPIKE Me? HONEY Yes. What do you think? SPIKE Well, yes. Groovy. MAX Any more announcements? WILLIAM Yes -- I feel I must apologize to everyone for my behavior for the last six months. I have, as you know, been slightly down in the mouth. MAX There's an understatement. There are dead people on better form. WILLIAM But I wish to make it clear I've turned a corner and henceforward intend to be impressively happy. INT. TONY'S RESTAURANT - NIGHT Two hours later. They've had a very good time. There's been a chocolate cake. Lots of alcohol. Tony is playing 'Blue Moon' on the piano, and Bernie joins him, singing. At one table Bella and Honey sit -- beer and wine on the table. BELLA I'm really horribly drunk. Elsewhere, Max an William are relaxed together. MAX So -- you've laid the ghost. WILLIAM I believe I have. MAX Don't give a damn about the famous girl. WILLIAM No, don't think I do. MAX Which means you won't be distracted by the fact that she's back in London, grasping her Oscar, and to be found filming most days on Hampstead Heath. He puts down a copy of the 'Evening Standard' with a picture of Anna on its cover. WILLIAM (immediate gloom) Oh God no. MAX So not over her, in fact. EXT. HAMPSTEAD HEATH - DAY Cut to the wide sweep of Hampstead Heath. William entirely alone. He marches up a hill... goes over the crest of it -- and sees a huge film crew and hundreds of extras in front of the radiant white of Kenwood House, with its lawn and its lakes. EXT. KENWOOD HOUSE - DAY Now closer to the house, William approaches a barrier -- where he is himself approached. SECURITY Can I help you? WILLIAM Yes -- I was looking for Anna Scott... SECURITY Does she know you're coming? WILLIAM No, no. She doesn't. SECURITY I'm afraid I can't really let you through then, sir. WILLIAM Oh right. I mean, I am a friend -- I'm not a lunatic but -- no, you basically... SECURITY ... can't let you through. At that moment -- thirty yards away, William sees trailer door open. Out of it comes Anna -- looking extraordinary -- in a velvet dress; full, beautiful make-up; rich, extravagant hair. She has a necessary cluster of people about her. Hair, make-up, costume and the third assistant who has collected her. She walks a few yards, and then casually turns her head. And sees him. Her face registers not jut surprise, certainly not a simple smile. His being there is a complicated thing. Cut back to him. He does a small wave. She pauses as the whole paraphernalia of the upcoming scene passes between them. The movie divides them. But then she begins to walk through it, and followed by her cluster, she makes her way towards him. When she reaches him, the security guard stands back a pace, and her people hold back. She doesn't really know what to say... ANNA This is certainly... ah... WILLIAM I only found out you were here yesterday. ANNA I was going to ring... but... I didn't think you'd want to... The third assistant is under pressure. THIRD Anna. She looks around. The poor third is nervous -- and the first is approaching. ANNA (to William) It's not going very well -- and it's our last day. WILLIAM Absolutely -- you're clearly very busy. ANNA But... wait... there are things to say. WILLIAM Okay. ANNA Drink tea -- there's lots of tea. She is swept away, four people touching her hair and costume. KAREN Come and have a look... EXT. KENWOOD PARK - DAY As they make towards the set... KAREN Are you a fan of Henry James? WILLIAM This is Henry James film? EXT. KENWOOD HOUSE - DAY A complicated shot is about to happen -- with waves of extras -- and a huge moving crane. They end up next to the sound desk. KAREN This is Harry -- he'll give you a pair of headphones so you can hear the dialogue. Harry the sound man is a pleasant, fifty-year-old balding fellow. He hands him the headphones. HARRY Here we go. The volume control is on the side. WILLIAM That's great. William, the headphones on, surveys the scene -- the cluster is a full 100 yards from the action, to allow a gracious sweeping wide-shot. He watches Anna. She is with her co-star in the Henry James film -- let's call him James. JAMES We are living in cloudcuckooland -- we'll never get this done today. ANNA We have to. I've got to be in New York on Thursday. JAMES Oh, stop showing off. He studies an actress a few yards to the left. JAMES God, that's an enormous arse. ANNA I'm not listening. JAMES No, but seriously -- it's not fair -- so many tragic young teenagers with anorexia -- and that girl has an arse she could perfectly well share round with at least ten other women -- and still be beg-bottomed. ANNA I said I'm not listening -- and I think, looking at something that firm, you and your droopy little excuse for an 'arse' would be well-advised to keep quiet. Back by the desk, William is listening and laughs. That's his girl. Anna prepares. ANNA So I ask you when you're going to tell everyone, and you say...? JAMES 'Tomorrow will be soon enough.' ANNA And then I... right. JAMES Who was that rather difficult chap you were talking to on the way up? ANNA Oh... no one... no one. Just some... guy from the past. I don't know what he's doing here. Bit of an awkward situation. EXT. HAMPSTEAD HEATH - DAY Cut back to William -- he has heard. WILLIAM Of course. He takes off the headphones and puts them gently down. WILLIAM Thank you. HARRY Anytime. William walks away. The moment of hope is gone. He couldn't have had a clear reminder. INT. WILLIAM'S LIVING ROOM - EVENING William is emptying Anna Scott videos into a box. SPIKE What's going on? WILLIAM I'm going to throw out these old videos. SPIKE No. You can't bin these. They're classics. I'm not allowing this. WILLIAM Right -- let's talk about rent... SPIKE Let me help. We don't want all this shit cluttering up our lives. INT. BACKROOM OF THE BOOKSHOP - DAY The next day. William is hard at work, doing the accounts in a dark small room with files in it. Martin pops his head in. MARTIN I have to disturb you when you're cooking the books, but there's a delivery. WILLIAM Martin, can't you just deal with this yourself? MARTIN But it's not for the shop. It's for you. WILLIAM Okay. Tell me, would I have to pay a wet rag as much as I pay you? They head out, Martin behind him, incomprehensively rubbing his hands -- he's in a very good mood. INT. BOOKSHOP - DAY William enters -- and there stands Anna -- in a simple blue skirt and top. ANNA Hi. WILLIAM Hello. ANNA You disappeared. WILLIAM Yes -- I'm sorry -- I had to leave... I didn't want to disturb you. ANNA Well... how have you been? WILLIAM Fine. Everything much the same. When they change the law Spike and I will marry immediately. Whereas you... I've watched in wonder. Awards, glory ... ANNA Oh no. It's all nonsense, believe me. I had no idea how much nonsense it all was -- but nonsense it all is... (she's nervous) Well, yesterday was our last day filming and so I'm just off -- but I brought you this from home, and... It's quite a big wrapped parcel, flat -- 3 foot by 4 foot, leaning against a bookshelf. ANNA I thought I'd give it to you. WILLIAM Thank you. Shall I... ANNA No, don't open it yet -- I'll be embarrassed. WILLIAM Okay -- well, thank you. I don't know what it's for. But thank you anyway. ANNA I actually had it in my apartment in New York and just thought you'd... but, when it came to it, I didn't know how to call you... having behaved so... badly, twice. So it's been just sitting in the hotel. But then... you came, so I figured... the thing is... the thing is ... WILLIAM What's the thing? Then the door pings. In walks the annoying customer, Mr. Smith. WILLIAM Don't even think about it. Go away immediately. Mr. Smith is taken aback and therefore completely obedient. MR. SMITH Right. Sorry. And he leaves. WILLIAM You were saying... ANNA Yes. The thing is... I have to go away today but I wondered, if I didn't, whether you might let me see you a bit... or, a lot maybe... see if you could... like me again. Pause as William takes this in. WILLIAM But yesterday... that actor asked you who I was... and you just dismissed me out of hand... I heard -- you had a microphone... I had headphones. ANNA You expect me to tell the truth about my life to the most indiscreet man in England? Martin edges up. MARTIN Excuse me -- it's your mother on the phone. WILLIAM Can you tell her I'll ring her back. MARTIN I actually tried that tack -- but she said you said that before and it's been twenty-four hours, and her foot that was purple is now a sort of blackish color... WILLIAM Okay -- perfect timing as ever -- hold the fort for a second will you, Martin? Martin is left with Anna. MARTIN Can I just say, I thought 'Ghost' was a wonderful film. ANNA Is that right? MARTIN Yes... I've always wondered what Patrick Swayze is like in real life. ANNA I can't say I know Patrick all that well. MARTIN Oh dear. He wasn't friendly during the filming? ANNA Well, no -- I'm sure he was friendly -- to Demi Moore -- who acted with him in 'Ghost.' She's kind in here, not sarcastic. MARTIN Oh right. Right. Sorry. Always been a bit of an ass. William returns a little uneasy. MARTIN Anyway... it's lovely to meet you. I'm a great fan of yours. And Demi's, of course. Martin leaves them. WILLIAM Sorry about that. ANNA That's fine. There's always a pause when the jury goes out to consider its verdict. She's awaiting an answer. WILLIAM Anna. Look -- I'm a fairly level- headed bloke. Not often in and out of love. But... He can't really express what he feels. WILLIAM ... can I just say 'no' to your kind request and leave it at that? ANNA ... Yes, that's fine. Of course. I... you know... of course... I'll just... be getting along then... nice to see you. WILLIAM The truth is... He feels he must explain. WILLIAM ... with you, I'm in real danger. It took like a perfect situation, apart from that foul temper of yours -- but my relatively inexperienced heart would, I fear, not recover if I was once again ... cast aside, which I would absolutely expect to be. There are too many pictures of you everywhere, too many films. You'd go and I'd be... well, buggered, basically. ANNA I see. (pause) That reality is a real 'no,' isn't it? WILLIAM I live in Notting Hill. You live in Beverly Hills. Everyone in the world knows who you are. My mother has trouble remembering my name. ANNA Okay. Fine. Fine. Good decision. Pause. ANNA The fame thing isn't really real, you know. Don't forget -- I'm also just a girl. Standing in front of a boy. Asking him to love her. Pause. She kisses him on the cheek. ANNA Bye. Then turns and leaves. Leaving him. INT. TONY'S RESTAURANT - DAY The restaurant is in the middle of being deconstructed. The pictures are gone off the walls -- a kettle on a long extension lead is on the bare table behind. They're all sitting there. WILLIAM What do you think? Good move? HONEY Good move: when all is said and done, she's nothing special. I saw her taking her pants off and I definitely glimpsed some cellulite down there. BELLA Good decision. All actresses are mad as snakes. WILLIAM Tony -- what do you think? TONY Never met her, never want to. WILLIAM Brilliant. Max? MAX Absolutely. Never trust a vegetarian. WILLIAM Great. Excellent. Thanks. Spike enters. SPIKE I was called and I came. What's up? HONEY William has just turned down Anna Scott. SPIKE You daft prick! Bella is casually looking at the painting that sits beside William. It is the original of the Chagall, the poster of which was on his wall. BELLA This painting isn't the original, is it? WILLIAM Yes, I think that one may be. BERNIE But she said she wanted to go out with you? WILLIAM Yes -- sort of... BERNIE That's nice. WILLIAM What? BERNIE Well, you know, anybody saying they want to go out with you is... pretty great... isn't it... WILLIAM It was sort of sweet actually -- I mean, I know she's an actress and all that, so she can deliver a line -- but she said that she might be as famous as can be -- but also... that she was just a girl, standing in front of a boy, asking him to love her. They take in the line. It totally reverses their attitudes. A pause. WILLIAM Oh sod a dog. I've made the wrong decision, haven't I? They look at him. Spike does a big nod. WILLIAM Max, how fast is your car? EXT. TONY'S RESTAURANT - DAY Max's car arrives in the street outside. They pile into the car. MAX If anyone gets in our way -- we have small nuclear devices. BERNIE And we intend to use them! MAX Where's Bella? HONEY She's not coming. MAX Sod that. Bernie -- in the back! He shoots out of his door, rushes round and grabs Bella out of the chair. MAX Come on, babe. EXT./INT. CAR. STANLEY CRESCENT/NOTTING HILL GATE - DAY Max's car is shooting up Stanley Crescent. We are inside and outside the car. BELLA Where are you going? MAX Down Kensington Church Street, then Knightsbridge, then Hyde Park Corner. BELLA Crazy. Go along Bayswater... HONEY That's right -- then Park Lane. BERNIE Or you could go right down to Cromwell Road, and left. WILLIAM No! Suddenly the car slams to a halt. MAX Stop right there! I will decide the route. All right? ALL All right. MAX James Bond never has to put up with this sort of shit. EXT. PICCADILLY - DAY The car turns illegally right across Piccadilly the wrong way down a one-way street and ends up outside the Ritz. William sprints into the hotel. Bernie follows. BERNIE Bloody hell, this is fun. IT. RITZ LOBBY - DAY WILLIAM Is Miss Scott staying here? It is the same man. RITZ MAN No, sir. WILLIAM How about Miss Flintstone? RITZ MAN No, sir. WILLIAM Or Bambi... or, I don't know, Beavis or Butthead? Man shakes his head. RITZ MAN No, sir. WILLIAM Right. Right. Fair enough. Thanks. He turns despondent and takes two steps when the Ritz Man stops him in his tracks. RITZ MAN There was a Miss Pocahontas in room 126 -- but she checked out an hour ago. I believe she's holding a press conference at The Savoy before flying to America. William is very grateful. He kisses the Ritz Man. Bernie's also gratuful. He kisses him too. BERNIE We have lift off!! A Japanese guest assumes this is the way to behave and the Ritz Man gets kissed a third time. EXT. LONDON STREET - DAY The car speeds through London. It gets totally stuck at a junction where no one will let them in. SPIKE Bugger this for a bunch of bananas. He gets out of the car and boldly stops the traffic coming in the opposite direction. Our car shoots past him. SPIKE Go! They leave him behind. Honey leans out the window and shouts... HONEY You're my hero. Spike waves wildly -- he loses concentration and is very nearly hit by a car. EXT. THE SAVOY - DAY They pull to a stop. William leaps out. MAX Go! INT. THE SAVOY - DAY William rushes up to the main desk. WILLIAM Excuse me, where's the press conference? MAN AT SAVOY Are you an accredited member of the press? WILLIAM Yes... He flashes a card. MAN AT SAVOY That's a Blockbuster video membership card, sir. WILLIAM That's right... I work for their in- house magazine. (mimes quotation marks) 'Movies are our business.' MAN AT SAVOY I'm sorry, sir... Honey shoots into shot, pushing Bella's chair. BELLA He's with me. MAN AT SAVOY And you are? BELLA Writing an article about how London hotels treat people in wheelchairs. MAN AT SAVOY Of course, madam. It's in the Lancaster Room. I'm afraid you're very late. HONEY (to William) Run! INT. SAVOR ROOM - DAY William runs, searching. At last finds the room, and enters. INT. LANCASTER ROOM - DAY Huge room -- full of press. Row after row of journalists, cameras at the front, TV cameras at the back. Anna clearly gives press conferences very rarely, because this one is positively presidential. She sits at a table at the end of the room, beside Karen: on her other side is Jeremy, the PR boss, firmly marshalling the questions. JEREMY Yes... You -- Dominic. QUESTIONER 1 How much longer are you staying in the UK then? ANNA No time at all. I fly out tonight. She's in a slightly melancholic and therefore honest mood. JEREMY Which is why we have to round it up now. Final questions. He points at a journalist he knows. QUESTIONER 2 Is your decision to take a year off anything to do with the rumours about Jeff and his present leading lady? ANNA Absolutely not. QUESTIONER 2 Do you believe the rumours? ANNA It's really not my business any more. Though I will say, from my experience, that rumours about Jeff... do tend to be true. They love that answer, and all scribble in their note books. Next question comes from someone straight right next to William. QUESTIONER 3 Last time you were here, there were some fairly graphic photographs of you and a young English guy -- so what happened there? ANNA He was just a friend -- I think we're still friends. JEREMY Yes, the gentleman in the pink shirt. He is pointing straight at William, who has his hand up. WILLIAM Yes -- Miss Scott -- are there any circumstances in which you two might be more than just friends? Anna sees who it is asking. ANNA I hoped there might be -- but no, I'm assured there aren't. WILLIAM And what would you say... JEREMY No, it's just one question per person. ANNA No, let him... ask away. You were saying? WILLIAM Yes, I just wondered whether if it turned out that this... person... OTHER JOURNALIST (to William) His name is Thacker. WILLIAM Thanks. I just wondered if Mr. Thacker realized he'd been a daft prick and got down on his knees and begged you to reconsider, whether you would... reconsider. We cut to Max, Bella, Bernie and Honey, all watching. Then back to Anna. ANNA Yes, I'm pretty sure I would. WILLIAM That's very good news. The readers of 'Horse and Hound' will be absolutely delighted. Anna whispers something to Jeremy. JEREMY Dominic -- if you'd like to ask your question again? QUESTIONER 1 Yes -- Anna -- how long are you intending to stay here in Britain? Pause. Anna looks up at William. He nods. ANNA Indefinitely. They both smile -- suddenly the press gets what's going on -- music -- noise -- they all turn and flash, flash, flash photos of William. Max and Bella kiss. Bernie kisses a total stranger. Spike finally makes it -- he's bright red from running. SPIKE What happened? HONEY It was good. Honey hugs him. It's a new experience for Spike. Cut to William's face -- flash after flash -- still looking at Anna. They are both smiling. INT./EXT. THE HEMPEL ZEN GARDEN WITH MARQUEEN - DAY Anna and William at their wedding -- they kiss and walk into the crowd. Honey, a bridesmaid in peach satin -- she is surrounded by at least four other bridesmaids, all under five. Nearby, Tony standing, glowing, beside his fabulous, pyramidical wedding cake. William's mother is not quite happy with how he's looking. She tries to brush his hair. Max, dressed in the most devastating Bond-like white tuxedo is dancing with Anna -- thrilled. He does a rather flashy little move. Cut to Bella who is watching and laughing. Martin, in an awkward tweed suit, is jiggling to the beat of a song, entirely happy in the corner. EXT. LEICESTER SQUARE - NIGHT A huge premier -- screaming crowds -- Anna and William get out of the car, she holding his hand -- looking ultimately gorgeous -- he in a black tie that doesn't quite fit. He's startled. EXT. GARDEN - DAY A pretty green communal garden. Children are playing, watched by mothers, one of whom holds a new baby in a papoose. A very old couple wander along slowly. A small tai chi group moves mysteriously. And as the camera glides, it passes a couple sitting on a single, simple wooden bench overlooking the garden. He is reading, she is just looking out, totally relaxed, holding his hand, pregnant. It is William and Anna. THE END -------------------------------------------------------------- \ No newline at end of file diff --git a/unformated_scripts/Script_Nurse Betty.txt b/unformated_scripts/Script_Nurse Betty.txt new file mode 100644 index 0000000000000000000000000000000000000000..ea8d7ab0c67c3adceff57bc75f0a6a92f08f992f --- /dev/null +++ b/unformated_scripts/Script_Nurse Betty.txt @@ -0,0 +1,2 @@ +NURSE BETTYScreenplay by John C. Richards & James FlambergStory by John C. Richards + Shooting Script (FINAL) 3/9/99 FADE IN: 1 INT. OPERATING ROOM - DAY 1 A tense surgery in progress. Meters flicker, instruments flash in the bright overhead light. In the midst of it all stands DR. DAVID RAVELL, 35. The master of his domain. Ravell leans forward so a NURSE can mop the sweat from his brow as he completes a last, delicate procedure. His co workers sigh collectively with relief. DAVID (to Asst. Surgeon) Close her up, will you? 2 INT. HOSPITAL CORRIDOR - DAY 2 Dr. Ravell comes out of surgery, clearly exhausted. Without his surgical mask he is ruggedly handsome. TWO NURSES follow, attending him like a fighter fresh from the ring: CHLOE, 25, Raven-haired and striking, and JASMINE, 24, an exotic mix of African-American and Asian. BLAKE DANIELS, 58, the silver-haired Chief Surgeon, rushes up the corridor. On his heels is DR. LONNIE WALSH, 33. Lonnie is also conspicuously handsome, but he'll always be second to David. In everything. The look on Blake's face stops David in his tracks. BLAKE There's been a train crash near Santa Barbara. They're flying an aortal trauma here now. How can I ask you this, David... David rubs his eyes. Thinks about it. DAVID I can do it, Blake. His bravery isn't lost on the two nurses, although Chloe exchanges a quick, covert glance with Lonnie. CHLOE Is he crazy, Jasmine? He's been on his feet for fourteen hours. JASMINE Chloe, it's been this way since Leslie died. Losing himself in his work, poor thing... 2. YOUNGER MAN'S VOICE (O.S.) ... I'll give you something to lose yourself in... OLDER MAN'S VOICE (O.S.) Excuse me, miss? PULL BACK TO REVEAL: WE ARE LOOKING AT A TELEVISION SCREEN BEHIND THE COUNTER OF A SMALL-TOWN DINER. INSERT: FAIR OAKS, KANSAS 3 INT. TIP TOP DINER - DAY 3 Quaint, Midwestern eatery. Knick-knacks and photos abound. The booths and counter are packed with LOCALS. A family dining section off in one corner. TWO GUYS sitting at the counter in team jackets. The older of the two holds up his empty coffee cup. But his WAITRESS, standing a couple seats down from him, doesn't move. She's completely absorbed in watching the soap opera that plays on two battered, fuzzy TV sets. BETTY SIZEMORE, 30, has a wholesome attractiveness that competes with a bit too much makeup and a cheesy white waitress uniform. TWO OTHER WAITRESSES attend to customers behind her. The younger of the two guys is involved in the soap opera. But the older one, still wants coffee. He gestures toward Betty. OLDER MAN Miss? Betty leans forward, grabs the coffee pot and moves in front of him. Without taking her eyes from the TV, she pours the java, which somehow lands in his cup without spilling a drop. OLDER MAN (cont'd) Very impressive. That is very... (turning to others) Did anybody see that? The LOCAL GUYS around him don't even bother to look up. Of course, they've seen it before. Betty smiles. 3. OLDER MAN (cont'd) Thank you. Could I bother you for a little more...? Before he can even finish, Betty is topping him off with milk. BETTY Skim, right? (tears open an Equal) And half a pack, if I remember correct... The older gentleman's mouth works a bit but nothing comes out. He is flabbergasted by her attention to detail. She looks at the younger man, who is still following the show and gobbling down a huge bacon burger. BETTY (cont'd) You know, you're never too young to start on a lean meat substitute... (BEAT) You wanna try some turkey bacon on that? YOUNGER MAN You want a tip when I'm through? BETTY It's your body... Betty turns back to change pots. The older man watches her intently as the younger of the two mumbles to himself. YOUNGER MAN (to himself) That's right, so why don't you get up off it... OLDER MAN Wesley... (to Betty) I've told him the same thing. Thanks for the suggestion. BETTY No problem. Betty flashes the men a winning smile and moves off, one eye always on the TV as she approaches two local types. SHERIFF ELDEN BALLARD, 32, a short, tightly wound little man, sitting at his own booth. Ballard is spit and polish all the way: creases in his shirt, a glossy shine on his shoes. Badge proudly displayed. He sits with 4. ROY OSTREY, 31, a gangly, bookish local reporter. Betty drops five ketchup packets and four mayonnaise packets on the table for him. Another smile. ROY Hi, Betty. You're looking good... BETTY Thanks, Roy, you're sweet... a big liar, but sweet. I liked your editorial this morning... ROY Oh, appreciate it. I was trying to, ahh, give a sense of history to... BALLARD (interrupting) Yeah, it was great. Really put the whole idea of "church bake sales" in perspective... ROY You know, Elden, some people actually read more than just the Classifieds... BALLARD Why don't you go back to doing something you're good at... like that Lonelyhearts column? (chuckles to himself) I'll take a refill there, Betty... His cup is full before he can even finish the sentence. BETTY Hey, Sheriff. How's everything? BALLARD Oh, you know, the usual... keeping the world safe. BETTY ... I meant your food. BALLARD Oh, right... 's fine. Thanks. ROY I thought you said the eggs weren't... BALLARD It's fine. Mind your own meal... 5. ROY You should get the order you want. BALLARD And you should keep your nose out of another man's omelette... (to Betty) It's no big deal, Betty. BETTY There's yolks in there, huh? It's no prob'... gotta keep you on track. Betty grabs Ballard's plate without another word, gives him a reassuring rub on the shoulders and moves off. He smiles appreciatively after her, then turns on Roy. BALLARD Why you always gotta embarrass me? I been eating lunch with you since grade school and you always gotta embarrass me! ROY They're just eggs, Elden, how embarrassing can eggs be? BALLARD ... plenty ROY Who eats eggs for lunch, anyhow? BALLARD Mind your own business. You just said that shit so you could look at her a little longer, anyway... Still carrying Ballard's plate, she returns to the counter. BETTY Come on, guys, I told you it's egg whites only for the Sheriff... (quietly) ... I put him in that 'zone' thing. COOK #1 Well, it better be a pretty good size zone if he's in it... Betty and the cooks share a quick laugh. They move to change his order while Betty glances up at the TV. 6. 4 INT. HOSPITAL CORRIDOR - RETURN TO TV SCREEN 4 Lonnie catches up to Blake in the corridor. LONNIE Blake, I can handle that transplant! BLAKE We need someone with the right kind of experience, Lonnie. LONNIE Even if he's falling asleep on his feet? BLAKE Lonnie, it's a complex procedure. Why don't you observe? LONNIE I'm not some snot-nosed resident fresh out of medical school, Blake. BLAKE No, you're not. You're a good doctor, Lonnie, but you're not David Ravell. I've made my decision. Now, if you'll excuse me ... Blake exits. The camera moves in to hold on a CLOSEUP of Lonnie's face as he simmers in anger. Music soars. 5 INT. TIP TOP DINER - DAY 5 Plates of food are piling up on the shelf in front of the COOKS. One of them turns the TV off by remote. BETTY Hey! We were watching that! COOK #1 The other girls've got orders up... we're not one 'a them goddamn Nelson families, y'know. Betty snatches up several plates to help out. Ballard's food appears with A CLATTER of porcelain. BETTY It's "Nielson"... COOK #1 Yeah, well, we ain't one 'a them, neither. 7. (BEAT) Go on now... DARLENE When you gonna get those things fixed, anyhow? COOK #1 When you all quit watching 'em for a living... Frustrated, Betty delivers several plates and drops them at tables where the people know her by name. She moves off toward FOUR LOCAL GUYS in a booth jangling their empty cups. Betty weaves her way over to them and pours refills. When a hand strays around to touch her ass, she pushes it away with her foot and keeps right on pouring. Absently, Betty takes a look around the restaurant. The other waitresses are gone and no one is behind the grill. Alarmed, she pushes through the double doors into the kitchen. 6 INT. TIP TOP DINER - KITCHEN - SAME TIME 6 THREE WAITRESSES, along with the DISHWASHER and TWO COOKS are standing in a row waiting for her. BETTY ... alright, I get it, no more TV. Sorry. No one moves, then DARLENE leads them in a huge SURPRISE! They produce a life-size cardboard cut-out of Dr. David Ravell, who looks dashing in his green hospital scrubs. Betty backs up in disbelief. BETTY (cont'd) Oh my gosh, this is so embarrassing! Where did you ever find this? DARLENE On the goddamn internet, where else? BETTY You're joking... WAITRESS #1 ... nope, got him at "T.V. Hunks with Sweet Little Asses.Com." WAITRESS #2 Seventy-five dollars... COOK #1 ... Seventy-eight fifty. (everyone looks at him) 8. Well, I paid for the damn thing, I oughta know. WAITRESS #2 C'mon, Betty! Pose with him! Betty laughs and puts her arm around the cardboard man. A flash photo is taken. A cupcake with a single candle is placed in her hands. DARLENE One candle... uh-oh, you're getting up there! Doesn't David like 'em young? BETTY I'm over the hill, what can I say? Darlene gives Betty an envelope with cash showing. WAITRESS #1 A little something for those nursing classes you've been wanting to take... DARLENE ... but keep putting off thanks to a certain husband we won't mention... BETTY Oh, guys, you didn't have to do that! DARLENE So how you gonna celebrate? Del takin' you into Wichita for a big fancy dinner? The others laugh; they know better. So does Betty. BETTY Yeah, Dairy Queen, maybe... Oh, I should probably call him. Thanks, you guys... COOK #1 Alright, alright, come on... I'm not running no bed & breakfast, we got customers. Let's go... Smiling, Betty grabs a wall phone as the others mingle about. 7 INT. SIZEMORE MOTORS - DEL'S OFFICE - DAY 7 The trailer/office of a small-time car dealership. As the PHONE RINGS, the CAMERA PANS across pictures of DEL SIZEMORE, 35, dressed as Napoleon, Caesar and Abe Lincoln, arms raised in a high-energy sales pitch. 9. The PHONE RINGS again. We see a framed certificate of achievement from General Motors, dated 1986. After the THIRD RING an ANSWERING MACHINE clicks on. It's loud. ANSWERING MACHINE (Del's voice) Hello there! You've reached Sizemore Motors, home of the best selection of used General Motors cars in the Big Springs - Fair Oaks area. We can't come to the phone right now 'cause we're out making a sale, so leave us a message; better yet, come on down and steal one 'a these beauties right out from under us! Coffee's always on! BETTY (V.O.) Hi Del, it's me. I guess you're busy. 8 INT. SIZEMORE MOTORS - TRAILER/OFFICE - DAY 8 Del's very busy. He's on the rented sofa in the trailer's lounge, screwing his secretary, JOYCE. But as he rocks the couch, he's listening to Betty's message. BETTY (V.O.) I know you want the Oldsmobile back tonight, so... I was wondering if I could take one of the new Buicks. Del pulls out and lurches across the room. He reaches for the desk phone but misses, spilling down onto the carpet. He gathers himself and his pants up in disgust, pawing around the desktop until he finds the phone. BETTY (V.O.) (CONT'D) So, call me when you-- DEL Whoa, whoa, whoa! Hang on a second there, baby. Why do you need one of the new Buicks? BETTY (V.O.) Oh, you're there. You sound out of breath. DEL I ran back in to get the phone. 10. The answering machine is on, so their VOICES are BOOMING. The phone cord is stretched across the trailer as he tries to get back to Joyce. He motions for her to join him but she remains where she is, fuming. BETTY (V.O.) I don't need one, but it's kind of a special night, and-- DEL What's so special about it? LONG PAUSE. Joyce looks at Del, incredulous. Then pissed off. He signals to hold on. BETTY (V.O.) Sue Ann's taking me out and I thought it might be fun to go in a nice car... Joyce wriggles to a sitting position and begins to pull up her panties. Del shoots her a look that says 'I'm not finished yet!' They pantomime frantically back and forth until Joyce throws him the finger and SLAMS out the door. BETTY (V.O) (CONT'D) What was that? DEL Nothing... it's, ahh, busy here. Look, you don't need a LeSabre to go out with Sue Ann. Take the blue Corsica. I'll see you when I get home. He throws the phone onto the cradle, then bangs on a window to get Joyce's attention as she fires up a smoke. DEL (CONT'D) (through the pane) Shit! Joyce, open the damn gate, will you?! As Del zips up his pants Joyce trudges across the lot to bring in the "Closed For Lunch" sign and open the gate. Del silently studies the much nicer car lot next door for a moment. He takes in the banners, the signs, etc. DEL (cont'd) ... that's what we need, some goddamn flags. 11. 9 INT. OFFICE/TRAILER - LATER 9 Betty enters the office. Joyce is on the phone. She looks up, irritated, and says something under her breath to the caller. JOYCE Uhh, no, we haven't picked a date yet... well, once he dumps her we will. (to Betty) He's out pricing banners... I don't expect him back. BETTY "Banners?" JOYCE You know, flags and shit... he said "for a livelier look" or something. Betty nods and swaps her car keys for a set Joyce gives her. JOYCE (cont'd) 'S too bad about the LeSabres... they're a really sweet ride. As Joyce prattles on, Betty notices the Buick LeSabre keys on a rack behind her. She sidles around Joyce, deftly removes a set from the hook and drops them in her purse. She smiles and starts to wave goodbye as Joyce puts her call on hold. JOYCE (cont'd) Need something else? BETTY No, I was just... How you doing? JOYCE Great. Good. Content... BETTY Oh. How come? JOYCE I dunno. Job satisfaction, I guess... (BEAT) How's things at the Tip Top? BETTY They're fine... you miss it? JOYCE You must be joking. 12. BETTY Hmm. (BEAT) So, Del get that car he sold you up and running yet? JOYCE Oh, yeah, he's got things up and running, alright... BETTY 'Kay, good. Bye, then... JOYCE Uh-huh. (back to phone) Anyway, I'm thinking Easter, 'cause I just fucking love pastels. She whispers, then laughs loudly as Betty leaves. 10 EXT. SIZEMORE MOTORS - DAY 10 The cardboard doctor is standing next to Betty's Olds. She thinks about leaving him, but picks him up and tosses him into a blue Corsica. He lands with his face against the passenger window. She stands for a moment by the Corsica, dangling the LeSabre keys before her eyes. Suddenly, she jumps inside the Chevrolet and slams the door. 11 EXT. SIZEMORE MOTORS/TRAILER PARK - DAY 11 The blue Corsica leaves the parking lot and pulls onto the street. The car makes an abrupt turn into a trailer park directly behind the car lot and glides to a halt behind a row of battered airstreams. Betty gets outs of the Chevy and looks back: the handsome face of Doctor David Ravell is staring at her from the car. BETTY Oh, Christ, what am I gonna do with you? She goes back to pick him up, then starts off. 12 EXT. TRAILER PARK - SAME TIME 12 A row of cheap trailers on both sides of a crumbling driveway. Betty appears with her cardboard man tucked under one arm and then disappears behind a pickup truck. 13. 13 EXT. SIZEMORE MOTORS - SAME TIME 13 She tosses the cardboard "David" over a concrete slab wall, climbs over herself and walks straight to the LeSabres. Her key opens the last one - maroon. She puts the doctor on the passenger seat, gets in the car and inhales the new car smell. Joyce can be seen inside the trailer, still talking on the phone. She misses the whole scene as she works on her nails. BETTY We deserve this. 14 INT. LESABRE - DRIVING - DAY 14 Betty has the car at 75 m.p.h., on the rural Kansas roads, wheat fields for miles on both sides of her. The RADIO is blasting Bonnie Raitt and she's singing along. She sees her speed and punches the accelerator ... 80 m.p.h. ... 85 ... 90 m.p.h. She turns the radio up louder. When she approaches a sign saying "You are leaving Kansas" Betty suddenly becomes self-conscious. She eases up on the gas ... slows down ... does a U-turn and heads back toward Fair Oaks. She glances wistfully in her rear view mirror at the billboard that quickly fades into the distance. 15 EXT. BETTY'S NEIGHBORHOOD - LATER 15 Betty enters a modest residential neighborhood and pulls into a driveway. She parks in a detached garage and looks over at the cardboard David. There's no way he's going in the house. She puts him in the trunk and closes the garage door. 16 EXT. SUE ANN'S HOUSE - SAME TIME 16 She walks several houses down. On her way to the door we hear a DOG BARKING, CHILDREN and GENERAL COMMOTION from inside. SUE ANN ROGERS answers Betty's knock. Her hair is matted with sweat as she struggles with CHILDREN, ages 4, 3 and 6 months. Suddenly, Sue Ann is hit by an errant rubber ball. SUE ANN Hey, darling... oww! Sorry, got my own little Gulf War going on here. Betty takes the baby as Sue Ann pulls a videotape from a shelf. It's all one move; they do this every day. 14. BETTY Did you watch it yet? SUE ANN Sure did. I'll tell you, if that man was any better looking it'd be a crime 'a some sort... BETTY Yep. Hey, I got a surprise for tonight. We're going to the Starlite in style! SUE ANN Oh, Betty-- BETTY I'll give you a hint. If you scrunch up your eyes a bit it looks just like a Jaguar... SUE ANN Honey, I'm really sorry, I was gonna call you about tonight. Larry's got a lodge meeting. There's no way I can get a sitter this fast. BETTY (disappointed) No... what about your sister? SUE ANN I can't ask her again-- Nathan, stop it! Jesse, don't take that, hit back!-- I feel terrible, hon. After a beat ... BETTY It's all right. SUE ANN You sure? Maybe next week we could... BETTY Uh-huh. No, we'll do it later. 'S only a birthday, right? I'll have another one next year... Betty forces a smile, kisses the baby and hands it back to Sue Ann, who hands her the videotape. SUE ANN Aahhh... (BEAT) So what color is it? 15. BETTY What? SUE ANN The LeSabre! BETTY Maroon. (BEAT) I stole it. SUE ANN What? BETTY He wasn't going to let us use it, so I just took it. SUE ANN Oh, I wish we could just get in it and drive, and drive, and drive! BETTY Yeah, me too. SUE ANN Sorry, hon. Happy Birthday... BETTY I gotta go make dinner. Betty throws her a look as Sue Ann closes the door. Betty turns around, frustrated. She starts yanking her apron off as she crosses the street. 17 INT. BETTY'S HOUSE - DAY 17 A low-end ranch. A worn-out sofa and loveseat form an 'L' that dominates the living room. Romance novels line a small bookcase. SIX CANARIES in cages chatter away in the kitchen. Del sits at the dining room table, agitated. He is presently attacking a pork chop, baked beans and a loaf of Wonderbread. All we hear is A FORK CLICKING and BIRDS CHIRPING. Betty stands at the breakfast counter, barefoot, still in her uniform and quietly eating a salad. BETTY Sure you don't want any salad? DEL No, I do not want any goddamn... what was all that shit on the phone about the new Buicks? 16. BETTY I told you. Sue Ann was gonna take me out tonight, but... DEL She's not comfortable in a Corsica? 'S got air and leather... BETTY I took the blue Corsica, Del. Relax. DEL All right, then. Actually, I'm glad you're going out. I got something going on tonight. Some serious clients, with real potential. Del BELCHES, smiles, then CLUCKS at the birds nearby. BETTY ... like the water purifiers? DEL What? BETTY Or the vitamins? Or the...? Del almost comes out of his chair, pointing his finger at her. DEL Hey, the FDA screwed me on that when they changed the law, and you know it! (BEAT) Anyway, 'least I try shit, still got some dreams left... you're a goddamn waitress, what do you got? BETTY I got you, Del... DEL ... well, then you ain't got much. BETTY Oh, I know. (BEAT) So, who're these clients? DEL Couple 'a guys in from outta town. They want to see the new LeSabres. Betty hides her reaction. 17. DEL (cont'd) And I don't need Sue Ann's fat ass around to fuck it up... BETTY Just knock it off, 'kay? Anyhow, they're 97's, they're not even new. DEL They're new to us... Truce for a moment. Del plucks a copy of Soap Opera Guide from Betty's purse while absently taking a bite from Betty's cupcake. He narrowly misses the candle. DEL (cont'd) Jesus... you know these actors are mainly models, which are mainly fags. They've done studies. The rest're assholes. But you know what bugs me most about these soaps? She silently mimics him as he says... DEL (cont'd) It's people with no lives watching other people's fake lives. BETTY Yeah, I guess there's nothing like watching those tenpins fall, huh, Del? DEL That is a skill! Del lurches to his feet and crosses to the bird cages as the canaries CHIRP and SING EXCITEDLY at his approach. DEL (cont'd) Daddy's here, babies... daddy's here. (to Betty) Be back later... clean up. He exits. She collects his dirty dishes, puts them in the sink and starts to wash them. Then she stops. BETTY What the hell am I doing? She drops the dishes with a clatter, pours herself a glass of wine, lights the candle on her deflowered cupcake and opens the one card on the table. CLOSE ON 18. a traditional greeting from her grandparents. Red hearts and lace. A color photo of them enclosed. Betty smiles at this. After moment, she quietly sings a quick refrain of "Happy Birthday" to herself. 18 INT. LONNIE'S APARTMENT - NIGHT (ON TV SCREEN) 18 Standing wrapped only in a towel, Lonnie speaks into the phone. LONNIE Tell me something good, Sugar. 19 INT. CHLOE'S APARTMENT - NIGHT (ON TV SCREEN) 19 The beautiful nurse Chloe is curled up seductively on her sofa with her phone in one hand and a cigarette in the other. CHLOE We're all set. I told him my car's in the shop. He said he'd be happy to give me a ride home. LONNIE (V.O.) You're beautiful. CHLOE Tell me something I don't know... Betty hits FAST FORWARD. Characters flit on and off the screen at top speed until David Ravell appears. 20 INT. WOODED ROADSIDE - NIGHT (ON TV SCREEN) 20 Chloe's magnificent legs are folded into the seat of David's 560 SL. She struggles with her seatbelt, so he helps her. She makes sure their hands touch. CHLOE Thanks for pulling over, David... I can't go that fast without taking a breather. DAVID Sorry... it's nice to see what this little beauty can do, though. I guess, somehow, all that speed helps me forget the past... 19. CHLOE I'm sure it does... (touching the seats) Mmm, leather. How far do they recline? David smiles, a little uncomfortable. CHLOE (cont'd) Listen, David, I know I've said it before, but I want to tell you again how sorry I am about your wife. (BEAT) It must make you scared to get close to someone again. She puts her hand over his on the gear shift. A moment. Finally, he has to move her fingers to start the car. CHLOE (cont'd) Let's not go... not yet. BETTY sits on an old couch in the den and watches, eyes glued to the screen. Suddenly, she hears the sound of TIRES ON GRAVEL. HEADLIGHTS sweep across the window. BETTY Damn! She hits PAUSE and crosses to look out. 21 EXT. BETTY'S HOUSE - NIGHT 21 Del gets out of a black Lincoln Town Car, followed by CHARLIE and WESLEY - the guys in the team jackets from the diner. Charlie is 63 years old. He wears a dress shirt, slacks and docksiders. The suburban father look. Wesley is 28. He's in jeans, T-shirt and white Reeboks. Clean cut; the kid who used to mow your parents' lawn. Betty quickly snaps out the light and closes the door until it is open only a crack. 22 INT. BETTY'S HOUSE - NIGHT 22 Del swaggers into the house. The two men follow politely. DEL ... you can have the best damn running backs in the world, somebody's still gotta block for 'em. 20. CHARLIE You're a hundred percent right. They rely on what's-his-name's arm too much... Del stops and looks around, deflated by the mess. The den is only a short flight of steps from the living room and the kitchen. Betty has a clean view of both from where she sits on the couch. 23 INT. BETTY'S HOUSE - DEN - NIGHT 23 She hears Del come in, but doesn't take her eyes off the TV screen. DEL (O.S.) My apologies, gentlemen. I asked my wife to straighten this shit up before she went out. 23A INT. BETTY'S HOUSE - LIVING ROOM - NIGHT 23A Del crosses to an old stereo and puts on an LP. He smiles as the music overtakes the room. Charlie and Wesley stand nearby, appreciating the quaintness of the surroundings. DEL Now, what can I get you gentlemen to drink? Del crosses to the cupboard. Charlie and Wesley stand leisurely in the living room. CHARLIE Bourbon, little water, thank you. WESLEY Beer, please. DEL You got it. Wesley looks at a wedding portrait of Del and Betty. WESLEY Hey... you got a fine one right here! CHARLIE Wesley... (to Del) Your wife's a very lovely woman. Have I seen her before? 21. DEL If you ate at the Tip Top you did. CHARLIE Oh, yes, with the coffee... DEL Yep, Betty pours a pretty mean cup. Del reaches into the fridge and produces a Miller for Wesley, then mixes two drinks and walks into the dining room and Charlie and Wesley follow to the table and sit down. CHARLIE I like this. I like doing business in the home. It's cozy... (noticing the card and cupcake) Who's birthday? DEL Ahh... my wife's. WESLEY What'd you get her? DEL Huh? Oh, umm, a car. (BEAT) So, to a successful transaction... They raise their glasses and drink. Del tosses back his drink in one gulp. 24 INT. DAVID'S CAR - WOODED ROADSIDE - (ON TV SCREEN) 24 Chloe is on top of David, kissing him on the mouth as he resists. He finally has to push her away forcibly, and we hear a TEARING SOUND. Chloe's blouse has been ripped. DAVID I'm sorry, Chloe. She starts to cry. David reaches out to comfort her. DAVID (cont'd) It's not that I don't find you attractive. I'm just not ready... David looks up to find her lips on his. In spite of himself, he gives in to the warmth of her kiss and responds hungrily. Betty is mesmerized. 22. 25 INT. BETTY'S HOUSE - DINING ROOM - NIGHT 25 The men have retired into the dining room, sitting or standing around a worn wooded table. Charlie and Wesley are just finishing their drinks. DEL All right gentlemen, let's get down to it. I need to know if you're for real. CHARLIE If we're for real? DEL You don't exactly look like drug dealers. WESLEY Isn't that the point? DEL Yeah, well, I don't have time to screw around. I got buyers in Dallas, Houston and Vegas who are ready to snap this stuff up. CHARLIE We appreciate that. But you just poured me a drink, I'd like to enjoy your hospitality for a few minutes. DEL Fine. You got five... CHARLIE It's a nice place you got here. Real comfortable. Sweet little town, Fair Oaks. You like it here? DEL (laughs) Are you kidding me? What's to like? WESLEY Seems like a nice place. DEL It is, if you like idiots... CHARLIE What do you mean? DEL It's a small town, man. I never should have left Omaha. People here think 23. small. They act small. They're a bunch of dumb fucks. WESLEY Really? DEL You better believe it. CHARLIE Could you give us an example? DEL Of what? CHARLIE I'm asking you for an example of one of these dumb fucks being a dumb fuck. DEL I don't follow... CHARLIE You're not a dumb fuck, are you, Del? DEL (warily) No... CHARLIE I didn't think so. So, give me an example of a stupid person doing a stupid thing. Not being stupid, you're equipped to recognize it. DEL Are we gonna do business here, or not? WESLEY Relax, we brought the cash. CHARLIE I'm just curious. Can't you give me an example? DEL (annoyed) All right ... lemme see ... okay, new Burger King opens up. These assholes get excited and start lining up. Like it's some five star restaurant. The place is mobbed. Right? 24. CHARLIE Hmmmm. "Five Stars," huh? (BEAT) Is that stupid, Wesley? WESLEY No, that's ignorant. They just don't know any better. CHARLIE That's what I thought. (to Del) You better give me another example. DEL This is bullshit, can we get down to business here, please? Off a look from Charlie, Wesley produces a pistol and gently nudges the barrel into Del's ear. DEL (CONT'D) Jesus Christ! WESLEY He's waiting... DEL Okay, uh... the, umm, Injuns're stupid. WESLEY "Injuns?" CHARLIE You did not just say "Injuns," Del. DEL The Indians, Injuns, whatever. They're always drunk and doing stupid things. CHARLIE Like what? DEL Driving their cars into trees... puking on the sidewalk... stupid shit! CHARLIE Let's see... around here that would be Kiowa, Kickapoo or Osage, if I'm not mistaken. DEL I... I don't know... 25. CHARLIE Well, my idea of stupid is very different from yours. (BEAT) So here's how this is gonna work. Would you take your socks off, please? DEL My socks? WESLEY You heard the man. Del slowly takes his shoes and socks off. He's sweating, trembling. CHARLIE I'm gonna talk to you and when I'm finished, you can answer. But I don't like being interrupted. Now roll them into a ball... Del does it. DEL Oh, Jesus, please... Please, God. CHARLIE ... and put them in your mouth. At a sharp look from Charlie, Del obediently stuffs the socks into his mouth and starts to cry. Wesley produces a roll of duct tape and fastens Del's hands to the back of his chair. 26 INT. BETTY'S HOUSE - DEN - NIGHT 26 Betty is glued to the TV, oblivious to the men. Chloe and David are still talking in his car. She continues to cry. DAVID (V.O.) You're wonderful, Chloe, you are... But I just know there's something special out there for me. 27 INT. BETTY'S HOUSE - DINING ROOM - NIGHT 27 CHARLIE Now I'm gonna tell you what stupid is. Stupid is taking something that doesn't belong to you. Right Wesley? 26. WESLEY That's right. CHARLIE Stupid is trying to sell it to other people who are, by their very nature, untrustworthy. WESLEY That is so right. CHARLIE Stupid is calling people in Kansas City who are affiliated with the rightful owners of the thing you stole, and trying to sell it to them. Right Wesley? WESLEY Now, that's really stupid. CHARLIE So you see, we have totally different ideas of what's stupid and what's not. Don't we? Del nods; crying, sweating. CHARLIE (cont'd) Good. Now we're getting somewhere. You agree that you were stupid? Del nods again. Wesley collects Charlie's glass and mixes him another drink. He gets a beer for himself and stands behind Del. Charlie sips his drink slowly, savoring it. CHARLIE (cont'd) You know, a hundred and fifty years ago you'd have been scalped for that remark about Native Americans. Right here where your house is - you'd have been scalped. WESLEY Hell of a way to die. CHARLIE It wasn't always fatal, Wesley. We could scalp Del right now, and he'd be plenty alive to tell us how it feels. Del's eyes get huge. CHARLIE (CONT'D) It's pretty simple, too. (BEAT) 27. First you take a knife and just draw a mark right across the hairline. Wesley produces a long knife and traces a line across the very top of Del's forehead. Trickles of blood wind their way down his brow. Del is MOANING and PANTING through his socks. CHARLIE (cont'd) Hold still, Del, we're just talking here... (pointing to a spot) Then you grab a big handful of hair and pull as you cut. It's amazing how easily the scalp comes off. WESLEY A mark, huh? Wesley takes a jab at Del's forehead with his knife, leaving a small cut. Del starts twitching, rocking back and forth as Wesley grabs a fistful of his hair. WESLEY (cont'd) Shut the fuck up! I bleed more than that when I shave... Del stops moving. He breathes furiously through his nostrils. CHARLIE Now. I want to know the particulars of your stupid act: how you got what doesn't belong to you, who helped you get it, and of course, where it is now. Charlie pulls the socks out of Del's mouth. Del splutters, gasping for air. DEL It's in the Buick! I swear to God it's all there! 28 INT. BLAKE DANIELS' OFFICE - DAY (ON TV SCREEN) 28 David enters. Blake nods to him grimly. DAVID You wanted to see me, Blake? BLAKE I wish I could say I had good news. (off David's look) David, I'll get right to the point. Chloe Jensen has filed charges of sexual 28. assault against you. (BEAT) You can continue to practice at L.A. County, but I'm afraid I have to revoke your privileges here at Loma Vista until this is resolved. HOLD on David's shocked expression ... MUSIC UP AS DEL (O.S.) PLEASE DON'T KILL ME!!! Betty's not sure what Del said, but the panic in his voice got through. She hits PAUSE and takes a look. 29 INT. BETTY'S HOUSE - DINING ROOM - NIGHT 29 Del is facing her, tiny rivulets of blood running into his terrified eyes. Wesley stands at his shoulder, still holding a handful of his hair, still poised with the knife. DEL I got it from a truck driver named Duane Cooley, out of Amarillo. He brings my cars down from Detroit. But I haven't touched it, I swear to you... Please! Please! Please! Annoyed, Charlie stuffs the socks back in Del's mouth. Betty stares. Her gaze shifts from Del to Wesley, drawn by Wesley's demonic expression. CHARLIE Consider yourself lucky. Luckier than those 'Injuns' you have such contempt for. Wesley stares at the top of Del's head. Betty stares at Wesley. Charlie walks into the kitchen for another drink. CHARLIE (cont'd) I'll tell you, if anyone got a raw deal it's the American Indian. This country has a black mark on its soul for what was done to them. Wesley's nostrils flare. Betty leans forward. CHARLIE (cont'd) I'm all for them owning casinos, getting rich off the white man's greed. It's a beautiful piece of irony, isn't it, Wesley? 29. WESLEY IT SURE IS!! And with a long SCREAM, Wesley rips Del's scalp from his head. It makes a sickening sound like fabric tearing. For a long moment, there is only silence. An eerie silence. Suddenly, Del SCREAMS into his socks and thrashes in his seat, blood pouring down his head on all sides. Somehow, he manages to get to his feet, the chair still taped to him, and begins smashing into whatever is near. Blood flies and curios shatter as Del thunders through the room. A dying bull, only messier. It's quite a show. CHARLIE JESUS CHRIST!!! Wesley steps back, staring at the dripping scalp in his hand, as if wondering how it got there. Betty is transfixed, horrified. Charlie re-enters. The two men look at each other over Del's MUFFLED SCREAMS as he plows headlong into wooden paneling, a china cabinet, and finally, back toward them near the breakfast counter. Del bashes blindly into it. CHARLIE (cont'd) (to Wesley) What the fuck is the matter with you?! Wesley is practically foaming at the mouth, still rushing on what he did. Charlie draws a silenced pistol and mercifully SHOOTS Del through the head. The big man stops suddenly, blinks once or twice, topples over. 30 INT. BETTY'S HOUSE - DEN - NIGHT 30 Betty points her remote at the dining room and clicks it, as if trying to make the image disappear. Finally, she gives up, slowly turning away from the carnage and aims at the TV. "A Reason to Love" pauses on the face of David Ravell and Betty sits in absolute silence. 31 INT. BETTY'S HOUSE - DINING ROOM - NIGHT 31 Charlie quickly begins to hide their tracks, producing a plastic baggie and collecting the beer cans and his own glass. He also wipes down the fridge as Wesley watches. CHARLIE Are you out of your mind? You scalped him! 30. WESLEY You told me how to do it! CHARLIE That was to get him to talk! (BEAT) Get rid of that thing, will you? Wesley crosses to the garbage can, steps on the lever. He looks at the scalp one more time before dropping it in. CHARLIE (CONT'D) This is great - just great! Now we don't know where the goddamn stuff is. WESLEY He told us it's in the Buick. CHARLIE We don't know which Buick, do we? WESLEY Well, why'd you shoot him? CHARLIE I had to shoot him! It was the only decent thing to do. They exit the house. CHARLIE (O.S.) (cont'd) This is very unprofessional, Wesley. 32 INT. BETTY'S HOUSE - DEN - NIGHT 32 Betty is still in the family room, staring at the TV. She pushes 'play' again and David Ravell begins to speak. 33 EXT. SUE ANN'S HOUSE - STREET - LATER 33 Sue Ann comes out of her house, balancing a homemade cake in front of her. The candles give off an unearthly glow as she picks her way up the Sizemore's gravel drive. 34 INT. BETTY'S HOUSE - DEN - SAME TIME 34 Betty is catatonic, staring at the frozen image of David Ravell on her TV. Downstairs, Sue Ann comes in. 31. SUE ANN (O.S.) Happy Birthday to you! Happy Birthday to you! Happy Birthday, dear-- A terrified SCREAM as the cake lands unceremoniously on the entryway. ON BETTY As she hits 'Play': DAVID ... you're wonderful, Chloe, you are... But I just know there's something special out there for me. 35 INT. BETTY'S HOUSE - FOYER - LATER THAT NIGHT 35 Roy enters the foyer and looks around, carrying a pad and pen in hand. He hears VOICES from the kitchen, sees FLASHBULBS going off. He sneaks down the hall when A VOICE stops him. DEPUTY Hang on there, Roy. Nobody comes in. ROY Elden called me. He wants to, ahh, make a statement for the paper... The deputy nods him through and Roy moves off toward the sewing room where he has spotted Betty. 36 INT. BETTY'S HOUSE - SEWING ROOM - SAME TIME 36 Betty is packing an overnight bag on her bed when Roy enters and quietly closes the door behind him. She is working with a purpose, almost like a different person from the woman we first met. Still bright and cheerful, but with a willful glint in her eye. Determined. ROY Hey, Betty. Are you okay? BETTY I'm great, good, content. (stopping) What happened to your arm, Roy? ROY Oh, nothing, it's fine. I just need to keep it wrapped for a few... 32. BETTY Make sure it's elevated... ROY Uh-huh. BETTY You want me to make you a sling? It's no problem... Betty starts whipping a T-shirt into place but stops abruptly. She turns curiously to Roy. BETTY (cont'd) What're you doing here, Roy? ROY Well, I was worried about you and I wanted to make sure you were alright... and I guess I was sort of hoping I could ask you about what happened... BETTY Oh, that... Sure, I saw the whole thing. It was disgusting! ROY My God... did you get a look at who did it? BETTY Yes. ROY You did? Was it anyone that you...? BETTY It was Chloe... Sheriff Ballard enters the house, surveys the scene of the crime where one deputy wipes blood off his boot with a paper towel, and erupts when he sees Roy. BALLARD Hey, you guys wanna try not stepping directly in the evidence, please? (to Roy) Ostrey, you and your goddamn police scanner! I leave for ten minutes and... Betty, I'm sorry about this. He motions to a female officer. 33. BALLARD (cont'd) Why don't you take her down to the station? We'll be along in a bit... She leads Betty out the kitchen door. BETTY 'Night, guys... 37 INT. BETTY'S HOUSE - DINING ROOM - NIGHT 37 As Ballard leads Roy into the next room... BALLARD Okay, let's go... I got nothing for the record yet. ROY Oww! My arm, careful! BALLARD Ahh, what'd you do now... fall off your bike again? ROY No, it's nothing, I... my piranha just mauled me a little when I layed their food out. BALLARD Good God...they're meat eaters, Roy, just drop the shit in there! ROY I can't...they prefer a more formal presentation. I don't usually go so close to the surface, but I was... BALLARD ...you are so goddamn weird. (BEAT) Oh, and by the way, get the hell outta here! ROY No, Elden, I need to... BALLARD You need to get yourself gone from my crime scene. And leave Betty alone, she's... 34. ROY She knows who killed Del. Elden, she said it was a woman. BALLARD It wasn't a woman. ROY Yes it was. Betty saw the whole thing! Your killer's name is Chloe... BALLARD I'm tellin' you it wasn't no woman, Roy! 38 INT. BETTY'S HOUSE - LIVING ROOM - NIGHT 38 Ballard drags Roy into the living room, where he sees Del. He has been turned upright and is being carefully examined. ROY Jesus... BALLARD You think a woman did that?! Roy runs into the kitchen, covering his mouth. 39 INT. BETTY'S HOUSE - KITCHEN - NIGHT 39 Ballard and his cronies delight in watching Roy struggle with the dry heaves. Roy runs to the kitchen sink, almost loses it, then wipes his mouth with a paper towel. BALLARD Kinda' looks like a burnt out roman candle, don't he? (BEAT) Del must've sold a lemon to the wrong Indian, and got paid back the old fashioned way. Them Kickapoos get pretty mean when they drink... Roy sees Del's scalp in the garbage can as he goes to drop his crumpled towel inside. ROY So, you think you're gonna find his scalp hanging in some tepee? BALLARD They no longer live in tepees, Mr. College Graduate. 35. ROY Did you send anyone out there? BALLARD You bet I did. I got a squad car on the way to the reservation right now. ROY Bad idea ... BALLARD You just go write your little story, Roy. I'll handle the police work... ROY You better handle what's in this garbage can first. 40 EXT. SIZEMORE MOTORS - NIGHT 40 Every car on the lot has its trunk open and spare tire on the ground behind it. Charlie and Wesley are at the last car. WESLEY I still don't understand how you knew Del was telling the truth. CHARLIE I saw his soul Wesley. He was face to face with his God, and no one lies in that situation. But your Geronimo act rattled me, and I abandoned my instincts. (BEAT) Never abandon you instincts. WESLEY I didn't. You gave me a look! CHARLIE What 'look'? WESLEY That one look you got! I thought you were done, so I took him out... CHARLIE I wasn't done, I was just sick of hearing him whine. And you didn't take him out, you scalped him. Christ, I almost puked, did I tell you that? WESLEY Well, why'd you have to tell that Indian story? 36. CHARLIE What the hell does that mean? If I'd told a Ty Cobb story would you have clubbed him to death with a bat? Wesley is stung. Charlie slams the last trunk in disgust. The rest remain where they are; open. CHARLIE (cont'd) It's not here. Let's go. WESLEY You just gonna leave these cars sitting here like this? CHARLIE Why not, it'll confuse 'em... gotta do something, now that you fucked it up. WESLEY I wanted to make a statement. CHARLIE Let me tell you something. In our business you can't put food on the table if your phone doesn't ring. The guys who get the calls are good - not flashy, just good. They get in, they get out. Nobody knows a goddamn thing. Understand? Boom, boom, boom. Three in the head and you know they're dead. WESLEY ... that's a good motto. CHARLIE Fine, I'll get you a bumpersticker, but you better start believing it! It's the only statement you need to make. 41 INT. POLICE STATION / OBSERVATION ROOM - NIGHT 41 Betty is questioned in a holding room by a POLICE OFFICER and a DOCTOR. Ballard and Roy watch through a window. DOCTOR And did your husband know these people? BETTY Sort of...but he ignored them. DOCTOR And how did that make you feel, Betty? 37. BETTY I felt all cold inside. And angry. Ballard looks both ways to make sure he won't be overheard. BALLARD I questioned Joyce about all this... ROY Yeah? BALLARD Seems she was pretty familiar with 'ol Del. On a regular basis, if you get my drift... ROY ... and half the other guys in this town. Including you, I believe... BALLARD Junior year! ROY Anyway, so what? BALLARD So? ... Suppose Betty found out about them? ROY You said a woman couldn't have done it. BALLARD A woman can write a check. ROY So you're saying Betty Sizemore - our Betty Sizemore--who you were in swing choir with--has now hired somebody to scalp her husband in her own kitchen while she watched? You're amazing. BALLARD 'S just a theory...just 'cause I'm thinking it don't mean I like it. The doctor comes out of the holding room. BALLARD (cont'd) How is she? 38. DOCTOR She's in a kind of shock. I see all the signs of a post-traumatic reaction with possible dissociative symptoms. BALLARD Could I have that in American? DOCTOR It's a type of altered state...it allows a traumatized person to continue functioning. BALLARD So she did witness it? ROY Oh, you're sharp as a tack, Elden. BALLARD That's it! YOU'RE GONE! He spins Roy around and marches him toward the door, one arm bent behind his back. ROY Oww, the arm, the arm! BALLARD You just don't know when to quit, Roy! You were jealous of me when I got hall monitor in seventh grade, and you're still jealous now!!! ROY One question, Doctor, please! (outside the door) You can't do this! I'm the press, I have rights!! BALLARD That's right, you have the right to remain silent. Ballard pushes Roy out the door. As he returns, Roy reappears behind him, leaning in to listen. Ballard doesn't see him. BALLARD (cont'd) Sorry you had to see that. You were saying? DOCTOR I was saying that it seems probable that she witnessed the murder, but her memory of it is gone, at least for the time being. I also think you ought to have her 39. stay with someone tonight. (BEAT) Any idea who Chloe or Lonnie are? BALLARD No... Friends from the diner maybe? DOCTOR Well, you should find out. She keeps talking about them... Ballard nods, sure he's got a clue here. He looks in at Betty again, just as she begins repacking her travel bag. He frowns at this, his suspicions fueled all the more. 42 EXT. SUE ANN'S HOUSE - NIGHT 42 A police car pulls up to Sue Ann's house. Betty gets out, carrying her overnight bag. Sue Ann appears, embraces her and leads her inside. 43 INT. SUE ANN'S HOUSE - BEDROOM - LATER 43 Betty lies down in a bright red race car bed. Sue Ann tucks her in and turns out the light. SUE ANN Let me know if you need anything, okay? BETTY Are you and Larry happy? SUE ANN Oh, I dunno... enough, I s'pose. BETTY Then you should treasure that... you gotta hold on to whatever you got that's any good, even if it's only a little bit. SUE ANN All you been through... I ever tell you what a good friend you are? BETTY All the time... SUE ANN Well, you are. After a beat... 40. BETTY Something bad happened to Del and me, didn't it? SUE ANN Yeah, hon. Real bad. You just get some sleep, everything's gonna be fine. BETTY Sue Ann, I'm sorry about all this, but I just know there's something special out there for me... Sue Ann looks down at her friend, troubled. She strokes Betty's hair gently and kisses her. After she leaves, Betty lies awake, staring at the ceiling. A mobile dangles overhead. LATER The Mickey Mouse clock on the wall reads 3:30. Beneath it, Betty is sitting up in bed, wide awake. 44 INT. SUE ANN'S HOUSE - LIVING ROOM - NIGHT 44 Betty comes down the stairs without a sound. She finds a pen and paper near the phone and writes a note. INSERT: Dear Del: This is the hardest thing I've ever done and I can't even face you. But I need to be honest. We haven't been happy for a long time. You always say people need their space, and now you'll have some. I'm sorry. Betty She takes off her wedding band and puts it on the table. 45 EXT. BETTY'S HOUSE/GARAGE - NIGHT 45 Betty raises the garage door, tosses her overnight bag and birthday money envelope into the LeSabre, and gets in. She drives through Fair Oaks, past the town limits. She keeps on driving until her car recedes into the moonlit prairie horizon. 41. 46 EXT./INT. LESABRE - DRIVING - NIGHT 46 She comes to a sudden halt in front of the "You are Leaving Kansas" billboard. She stares hard at it through the windshield. Suddenly, she hits the gas and bolts off along the Oklahoma blacktop. She never looks back. 47 INT. BETTY'S LESABRE - THE NEXT DAY 47 Betty yawns, looks at her watch and increases her speed. When she sees a sign for a MOTEL ahead, she pulls off the highway. 48 EXT. TRUCK STOP/MOTEL - DAY 48 She parks at a truck stop/restaurant/motel complex, hops out and runs to the motel office window. 49 INT. TRUCK STOP - MOTEL ROOM - DAY 49 Betty enters her room, immediately turns on the TV, and plops down on the bed. VOICE (V.O.) And now we return to "A Reason to Love." 50 EXT. TRUCK STOP/MOTEL PARKING LOT - SAME TIME 50 A crowded truck stop in the Texas flatlands. THREE TRUCK DRIVERS in jeans, flannel shirts and denim jackets walk across the parking lot. One is an old, grizzled veteran with a salt-and-pepper stubble and a greasy CAT cap on his head. It's CHARLIE. Next to him is DUANE, a burly young driver in fancy cowboy boots. Flanking Duane is WESLEY. WESLEY So you got Asian women? DUANE (Southern accent) Sure, I got Asian. Got black, white, any color you like, video and magazine. Got fat chicks and animals too, if you want 'em. They're extra... CHARLIE Mmmm. Well, it was a piece of luck running into you, Duane. I thought I was 42. gonna have to take Wesley out and hose him down. All he talks about is those Japanese gals. WESLEY I like 'em small. When you're inside a little Asian chick, it's like your dick is the axle that holds her body together. DUANE That's nicely put. You outta get yourself to Thailand... They reach Duane's truck, an empty car-carrier with Michigan plates, and climb up into the cab. 51 INT. DUANE'S TRUCK - DAY 51 Two Confederate flags criss-cross over Duane's CB unit. On the dashboard is a Rebel flag pin, a bumper sticker that says "The South Will Rise Again" and a dozen country music tapes. Duane gets in the sleeper cab, where stacks of porno tapes and magazines reach the ceiling. Wesley takes the driver's seat, Charlie, the passenger seat. CHARLIE What part of Dixie are you from, Duane? DUANE Georgia. In case I didn't tell you, it's cash only, gentlemen. WESLEY We can live with that. CHARLIE I'm a Yankee, myself. Massachusetts. Duane passes two videos to Wesley. DUANE Here's Ghengis Kunt and The Demilitarized Zone. Get it? (laughs) They're Korean, so they're pretty hot. CHARLIE You know, it's interesting. The South lost the Civil War, but they still seem to get all the glory. DUANE Huh? 43. CHARLIE Jeb Stuart, Stonewall Jackson, Jefferson Davis - they're all losers in my book. Charlie smiles. Duane stops digging through the videotapes. DUANE The fuck you talking about? CHARLIE Even Robert E. Lee was a loser. DUANE (to Wesley) He goin' crazy on us, or what? CHARLIE Did you know the most brutal, inhumane prison of the entire war was in Georgia? DUANE Really. And where was that, old man? CHARLIE Andersonville. (BEAT) They did horrible things to men there... 52 INT. CHLOE'S APARTMENT - NIGHT - (ON TV SCREEN) 52 Chloe is curled up on her white leather sofa, cowering as Lonnie hovers over her accusingly. LONNIE I think you better tell me what's going on here, Chloe. CHLOE I just feel... funny about what we did. LONNIE (laughs) You feel guilty? Let me remind you of something, sweetheart. You're in this up to those fabulous eyes of yours. Understand? The camera holds on her face for a melodramatic beat ... Chloe's trapped, and she knows it. PULL BACK to reveal Betty lying on the bed in her motel room, out cold. 44. 53 INT. DUANE'S TRUCK - LATER 53 The flag poles over the CB unit are bare. Duane is in the sleeper cab, his forearms bound to his thighs with duct tape. A telltale piece of Confederate red fabric hangs out of his mouth. There is a purplish bruise on his forehead. He's quiet, but glowering at his captors. CHARLIE ... So, at a rest stop outside Logansport you noticed that two guys were slipping something extra in one of your cars, and you decided to see what it was. Then you figured you'd take this valuable commodity and go into business yourself, even though it didn't belong to you. But you needed a crackerjack salesman to move it, so you made the biggest mistake of your short life and chose Del. Sound right so far? Duane nods. CHARLIE (cont'd) Del's dead, by the way. I sent him to the Great Beyond. WESLEY Actually, I scalped him, and then you killed him. Duane narrows his eyes in disbelief. CHARLIE Exactly. (BEAT) Now, the one thing I don't get is that we checked all the Buicks on that lot. Four '97 LeSabres and nothing in 'em. Duane smiles mockingly. CHARLIE (CONT'D) Ohhh ... There weren't four, were there? Charlie reaches up above the visor and pulls down a rumpled manifest. He leafs through it. CHARLIE (cont'd) There were five, damn it! I should have known!! Goddamn... (BEAT) So, what happened to the fifth car? 45. Duane shrugs his shoulders. CHARLIE (CONT'D) You know you're going to die, don't you, Duane? (Duane nods) And you really don't know where that other LeSabre is, do you? Duane shakes his head. Charlie sighs, resigned. CHARLIE (cont'd) He's telling the truth. He doesn't know. WESLEY Should I kill him now? CHARLIE Wait. Any last words, General Lee? Duane nods emphatically. Wesley pulls the Confederate flags out of his mouth. DUANE Suck my dick, you Yankee piece of shit. He spits in Wesley's face. Charlie has to restrain Wesley. CHARLIE God, I admire that. Ya see that, Wesley? That's why they get all the glory. Charlie climbs down from the big rig and heads across the parking lot. The Town Car is parked near the adjacent motel, just a few spaces away from Betty's LeSabre. With a furious calm Wesley wipes his face, then takes out a can of lighter fluid, sets it on the dash and looks at Duane. WESLEY ...why'd you spit on me? 54 EXT. TRUCK STOP/MOTEL PARKING LOT - DUSK 54 Charlie pulls the Town Car alongside Duane's rig and drums the steering wheel impatiently. It begins to rain. There are flashes of LIGHTNING in the distance. CHARLIE Come on, Wesley, three shots. A FLASH OF ORANGE FLAME ignites inside Duane's cab. Charlie sighs. Finally, THREE DULL THUDS reverberate from inside. Wesley climbs down clutching a videotape and gets in the car. 46. CHARLIE (cont'd) What the hell was that, another statement? WESLEY Well, no one ever spit in my face before. Especially some cracker fuck. CHARLIE You have to rise above it. The professionals rise above that kind of thing... As they drive away FLAMES are beginning to dance inside the cab. 55 INT. TRUCK STOP/MOTEL ROOM - EVENING 55 The FLICKERING LIGHT of the TV screen is the only light. Betty lies asleep on the bed. The NEWS comes on and she starts to stir as ... NEWSCASTER ... small town of Fair Oaks ... has left people shaken ... owner-manager of Sizemore Motors ... Betty sits up. On the TV screen is a shot of Del as Julius Caesar from one of his commercials. NEWSCASTER (cont'd) ... police are still investigating. She blinks at the screen, confused, as the next story comes on. Betty reaches for the phone. 56 INT. POLICE STATION - EVENING 56 Ballard is doing paperwork. Roy is asleep on a nearby bench. A DEPUTY picks up a ringing phone and hands it to Ballard. DEPUTY Sheriff, it's Betty Sizemore, on two! BALLARD SHHH!... (Whispering) BETTY? WHERE ARE YOU? 47. 57 INT. TRUCK STOP/MOTEL ROOM - ON BETTY 57 BETTY I'm in a motel. Has something happened to Del? Did he do something stupid? BALLARD (V.O.) BETTY, I NEED TO TALK TO YOU...IN PERSON! WHERE'RE YOU AT? BETTY IF THIS IS ABOUT DEL, FORGET IT! I'M NOT COMING BACK! BALLARD (V.O.) GODAMMIT, BETTY! ... WHO'S CHLOE? BETTY I'M THROUGH TALKING NOW! GOODBYE! She hangs up. HEADLIGHTS sweep across the curtains, startling her. 58 INT. BETTY'S LESABRE - MOVING - DAY 58 Betty crosses the border from Texas into New Mexico. She grips the wheel intently, driving for all she's worth. 59 OMIT 59 60 EXT. FAIR OAKS TRAILER PARK - LATE AFTERNOON 60 Betty's blue Corsica sits surrounded by yellow police tape. Half a dozen COPS mill around. To one side are several REPORTERS and PHOTOGRAPHERS, Roy included. A FEW RESIDENTS mill around in the background. A stack of pictures of Betty sit on a makeshift table. REPORTER #1 Who witnessed Ms. Sizemore driving here? BALLARD The Assistant Manager, Mr. Wylie. REPORTER #2 But he couldn't identify the male passenger? 48. BALLARD Only to say he was wearing green. ROY What if the killers didn't see her? You published her picture - you're gonna get her killed! BALLARD No, we're bringing the community into the effort to find her. ROY You're lying! BALLARD I spoke to Betty Sizemore yesterday. (the reporters hush) That's right. There's no doubt in my mind, folks... she's on the run. Whether or not she's mixed up in all this remains to be seen... ROY That's bullshit, Sheriff! You think she's a suspect! BALLARD I'd like to apologize for our local boy. He's been in love with Betty since the fifth grade, y'see. He means well, but he's in over his head on this. 61 INT. TIP TOP DINER - NEXT MORNING 61 CLOSE SHOT of a headline in the Wichita Eagle: "EYE WITNESS TO BRUTAL MURDER MISSING" over a picture of Betty. Charlie is one of MANY CUSTOMERS reading a copy. Wesley is plowing through a stack of pancakes. WESLEY So how do we know that car's still in Fair Oaks? CHARLIE We don't. But a '97 Le Sabre'll be easy to find if it's here, town this size... (BEAT) He said he gave his wife some car as a gift, remember? Charlie turns the page for emphasis and studies Betty's features. 49. CHARLIE (cont'd) This is bad, Wesley. Very, very bad. Wesley happily adds three strips of bacon brought by A WAITRESS, who wears a button with the word "Missing" over Betty's face. CHARLIE (cont'd) ... extremely bad. Wesley finally looks up, directly at the picture of Betty. CHARLIE (cont'd) Did you hear what I said? Wesley nods, his mouth stuffed with food. CHARLIE (cont'd) Maybe you don't appreciate the gravity of this situation. It's bad enough that we don't have what we came here for. It's worse that we don't know where it is. And now this. (points at the headline) This was supposed to be my last job. I already put the deposit down on my boat. (BEAT) How can you eat at a time like this? I get nauseous just watching you... WESLEY I can eat because I know we didn't kidnap that woman. I can eat because they aren't looking for us. And I can eat 'cause I'm fucking hungry... (off Charlie's look) ... relax. She's gonna end up on a milk carton and that's about it. CHARLIE I hope you're right... WESLEY ... I know I am. Let's just do what we gotta do here, and get the fuck gone. They sit for a moment in silence. Wesley swallowing without chewing and Charlie studying Betty's photo. CHARLIE She got out of town awfully fast. And wasn't she quiet in that house? I think most women would have screamed, don't you? I know they would've... (BEAT) 50. We could be dealing with a cunning, ruthless woman... 62 INT./EXT. SUE ANN'S HOUSE - DAY 62 Sue Ann opens her front door to find Wesley standing before her. It's a new Wesley: glasses, conservative suit, and a convincingly humble manner. WESLEY Mrs. Rogers? I'm Dwight Campbell, with Neighborly Life Insurance. I'm looking for Betty Sizemore. SUE ANN I wish I could help you, but I can't. Wesley is hit by a flying action figure. He doesn't flinch. Kids run by. WESLEY Aren't they precious? (BEAT) Ma'am, she has a substantial death benefit coming to her from the tragic loss of her husband. Does she have any relatives in the area? SUE ANN No. (BEAT) Well, her grandparents are down in Oklahoma, but that's it... WESLEY I see. And are you in touch with Mrs. Sizemore? SUE ANN No. But I'm taping her show every day so she can watch it when she comes back. WESLEY Her show? SUE ANN "A Reason to Love." Wesley's eyes light up. He can't help himself. WESLEY I see. (BEAT) Did Chloe testify? 51. SUE ANN (reassuring) I don't think she will. She's a slut, but I just don't think she's that mean. Jasmine'll bring her around... WESLEY Jasmine... Do you have yesterday's show on tape, by any chance? Sue Ann holds the door open, smiling, and Wesley enters. 63 INT. TIP TOP DINER - KANSAS - DAY 63 Charlie nurses a cup of coffee at the counter while talking to Darlene. His Federal Marshall's badge rests on the counter. Shehands him two photos of Betty taken at her birthday celebration. In one she's holding the cardboard David Ravell. The other, a closeup shot. CHARLIE ... and how long did she work here? DARLENE Oh, five years, give or take. CHARLIE Hmm... you two in high school together? DARLENE Aren't you a sweetheart... no, not quite. Anyway, she's been with us awhile. CHARLIE But she wanted more out of life, right? DARLENE No... she just wanted something outta life. Anything. And with Del, she wasn't getting nothing. That's her husband, Del. I'm sorry about what happened and all, but that's the way I feel about all of this... CHARLIE I see. (holding up photos) May I? DARLENE If it helps bring her back, be my guest... 52. CHARLIE Thank you for your cooperation. (BEAT) Just one more thing... did she ever talk about getting rich? DARLENE ... who doesn't? Darlene tries to smile and returns to the kitchen. Charlie studies the snapshots, comparing them. 64 INT. APARTMENT/BEDROOM - DAY 64 Wesley is in bed on top of Joyce, humping her slowly. WESLEY ... and what kind of car does she drive? JOYCE Well, she wanted a LeSabre, but Del made her use that blue Corsica... (BEAT) So, is this what you boys'd call 'pumping me for information?' Joyce GIGGLES as Wesley stops moving. WESLEY Did you say LeSabre? JOYCE Look, she didn't kill Del over no car if that's what you're thinking. WESLEY But she could have taken one, right? With her knees, Joyce prods him into humping her again. JOYCE Maybe, but I don't think she had the nerve. I know her. And I'm a pretty good judge of character... Joyce reaches for a cigarette on the nightstand and takes a deep drag. Wesley closes his eyes and turns away, offended. WESLEY ... yeah, I can see that. 53. 65 EXT. DESERT ROAD - WILLIAMS, ARIZONA - DAY 65 Betty drives along a lonely stretch of highway that slowly reveals a desert town in the distance. 66 INT. CANYON RANCH BAR - DAY 66 Big ol' place. Lots of wood and red leather. Betty rushes in as the clock on the wall reads 2:58. The Town Drunk, MERLE, is alone at the bar watching "Bass Masters" on a huge TV screen. In front of him is a remote control. A FEW OTHERS at tables. Betty sidles up to the bar and sits down. She looks at Merle, at the clock, at the remote. BETTY Would you mind very much if I changed the channel at three o'clock? MERLE Yes. He BURPS, then finally looks at her with bleary eyes. BETTY Please? It's very important to me. "A Reason to Love" comes on at three around here. He ignores her. Betty puts her wallet on the bar. BETTY (cont'd) I'll give you money. Merle SLAMS his hand down on the bar, scaring her. MERLE ARE YOU DEAF?!! It's 3:01. ELLEN DRABER, 40's, appears behind the bar, looks at the clock and takes the remote from Merle. She changes the channel to "A Reason to Love" as the opening titles end. Betty can't believe it. Merle smiles at her wickedly. MERLE (cont'd) Please keep it down, it's time for "A Reason to Love..." 54. BETTY That's real funny. Why don't you have another drink? ELLEN What's the matter here? BETTY I begged him to let me put that on! ELLEN He's a prick. Merle?... You're a prick. MERLE grunts in reply. Ellen turns back to Betty. ELLEN (CONT'D) So you're into "Reason," too? Finally, someone civilized! I'm Ellen, what can I get you? BETTY Hi, I'm Betty. I'll take a Miller, if you got it... 67 INT. CHLOE'S APARTMENT - DAY (ON TV SCREEN) 67 Chloe paces in front of her white sofa, a matching white telephone in her hand. She looks worried. ELLEN (O.S.) What's that bitch up to now? We hear the BEEP TONE of an answering machine. CHLOE Lonnie? It's Chloe. We need to talk ... I don't think I can go through with this. She hangs up. The camera stays on her for a melodramatic beat of introspection as we GO TO COMMERCIAL. 68 INT. CANYON RANCH BAR - RETURN TO BAR 68 BETTY Do you have a phone? Ellen swings a phone up onto the bar. ELLEN If it's long distance you can leave me a buck when you're done. Betty dials ... 55. BETTY Sue Ann? It's Betty. I just wanted to let you know I'm okay ... Huh? I'm at the Canyon Ranch Bar in ... (looks at Ellen) MERLE Phoenix... ELLEN Shut up, Merle... Williams. BETTY Williams, Arizona. About halfway there, I guess. 69 INT. SUE ANN'S HOUSE - DAY 69 Sue Ann is in her kitchen, ignoring the pleas of all three children. SUE ANN Halfway where? You've gotta come home. We've been worried sick about you. Are you alright? BETTY (V.O.) Sue Ann, I thought you of all people would back me up on this, you know what Del's like. How did he take my note? SUE ANN Betty, honey, listen to me. A man came by from Mutual Life Insurance. He says you've got money comin' to you from Del's policy. (BEAT) Del's life insurance policy-- Are you with me? BETTY (V.O.) What are you talking about? 70 INT. CANYON RANCH BAR - DAY 70 "A REASON TO LOVE" comes back on the TV. BETTY Tell Del I'm sorry. I left so quick, but I need to do this. SUE ANN (V.O.) Do what? 56. BETTY I gotta go. SUE ANN (V.O.) Betty! Listen to me! Del is ... Betty hangs up. 71 INT. COCKTAIL LOUNGE - NIGHT (ON TV SCREEN) 71 David is at a bar staring into his drink. Lonnie is with him. LONNIE How you holding up, amigo? DAVID I just wish I knew why she's doing it. LONNIE Yeah. Women are an unsolved mystery. ELLEN (O.S.) If that little weasel ever walked in here I wouldn't serve him. BETTY (O.S.) I'd slap his face. ELLEN (O.S.) I'd kick him in the nuts, if I thought he had any. DISSOLVE TO: 72 INT. CANYON RANCH BAR - LATER 72 There are two empty beer bottles in front of Betty. The THEME MUSIC and CLOSING CREDITS of "A Reason to Love" are playing. Betty pushes the phone back across the bar. ELLEN Where you headed, Betty? BETTY Los Angeles, California. ELLEN And you called your friend, and she's telling you not to go? (Betty nods) When I went to Europe my friends told me I was crazy. 57. BETTY Europe? The Europe? (laughs) This is my first time out of Kansas. ELLEN I should call you Dorothy. (BEAT) When I left here I went straight to Italy. Everybody told me not to go. But I wanted to go to Rome ever since I saw Audrey Hepburn in "Roman Holiday," and goddamnit, I went. BETTY Did you love it? ELLEN Sure I loved it! It was great. Ellen rinses a few glasses as she talks to Betty. ELLEN (CONT'D) Let me tell you something. I got groped by these Tunisian guys who thought I was a slut for wearing shorts, it was hotter than stink the whole time, and I got some kind of weird gum disease from the water. Plus, it ended my marriage-- BETTY That's horrible! ELLEN No, he was a toad. Even more of a toad than Merle... I just wear the ring to keep the flies away. Rome was the best thing I ever did, because I DID IT! And I swear to you, it changed me. I've been to Rome, Italy! I sat every morning at the Cafe Sistina and had my cappuccino, and watched the pilgrims walk to mass, and no one can ever take that away from me. Betty leans across the bar conspiratorially. She looks at Merle to make sure he won't hear her. BETTY I left my husband two days ago. ELLEN Really? 58. BETTY I'm getting back with my ex-fianc. He proposed to me right around here, so I guess this is just sort of a sentimental stop... ELLEN Wait, I thought you said you'd never been outta Kansas... BETTY Oh. I mean, except for that. (BEAT) Yep. I'm trading in a car dealer for a heart specialist, so that's pretty good... ELLEN Nice move. Cedars Sinai? BETTY No. Loma Vista. ELLEN (laughs) I s'pose his name's David Ravell. BETTY (truly shocked) How did you know? ELLEN What's his real name? BETTY Dr. David Ravell. ELLEN You mean... George McCord, the actor? BETTY No, I mean David Ravell. He's a surgeon. Ellen looks at Betty. ELLEN Yeah, I know, we just watched him together, remember? Up there on the TV. (off Betty's earnest look) Good God Almighty ... You're serious. I've heard about people like you. Ellen whistles, wipes the bar down to buy a few seconds. Merle looks over at Betty, then catches Ellen's eye. 59. ELLEN (CONT'D) Piss off, Merle. (to Betty) So how you gonna find him, Betty? BETTY I'll go to the Hospital. ELLEN What if you can't find him? What if you get out there, and nothing's the way you thought it was gonna be? BETTY Like Rome? ELLEN Worse. BETTY You made out alright. ELLEN Yeah, but at least I knew Rome was gonna be there when I arrived... Ellen walks to the end of the bar and starts rinsing glasses. After a beat, Betty gets up and moves down close to her. BETTY Ellen, this is the biggest thing I've ever done, but I've gotta do it. ELLEN You take care of yourself then, Betty, and don't let anybody stop you... BETTY To tell you the truth, I can't believe I've made it this far. It may not be Europe, but I just know there's something special out there for me... Ellen looks into Betty's eyes - sees the innocence, the hope and enthusiasm - and has to look away. Betty takes it as her cue to leave. She smiles, puts two dollars on the bar near the phone and leaves. Ellen stands perfectly still, watching the door. MERLE What planet is she from? 60. 73 INT. BETTY'S LESABRE - GRAND CANYON - MOVING - DAY 73 Betty approaches the GRAND CANYON, driving slowly along the South Rim, searching for a specific spot. Finally, she pulls over abruptly. This is it. We can tell by the joy in her expression. 74 EXT. GRAND CANYON - DAY 74 Betty walks to the rail and gazes out at the canyon. Turning her head slowly, as if expecting it, she sees DAVID RAVELL leaning on the rail about twenty feet away, clutching a bouquet of roses. Betty starts toward him... he starts toward her... A magic moment... Shattered when a black sedan appears, inching its way along. She freezes. David vanishes, and ... An ELDERLY MAN helps his wife out of the car and snaps her picture in front of the canyon. Betty moves away. 75 INT. LINCOLN TOWN CAR - KANSAS - MOVING - NIGHT 75 Charlie and Wesley drive across Kansas farm country. CHARLIE So she gets rid of the asshole and is set for life in the same day. WESLEY You think so? Joyce says she's timid. CHARLIE Joyce was screwing Del. WESLEY ... among others. CHARLIE I'd say that about torches her credibility, wouldn't you? WESLEY Yeah, well, if the wife's trying to sell it she'll fuck up. She's an amateur, just like Del was. The CAR PHONE RINGS. Charlie answers. 61. CHARLIE Maybe... (into phone) Yes? SUE ANN (V.O.) Is this Neighborly Life Insurance? CHARLIE Sorry, you've got the wrong number. He hangs up. CHARLIE (CONT'D) No, I see Betty as a Midwestern Stoic type. Ice water in her veins. A clear thinker. Probably a Swede or a Finn. WESLEY A 'Finn?' What is a Finn? CHARLIE You should read more. Listen to me. I think this woman was waiting for a chance to do this, and we gave it to her. She kept to herself for years, living with a pompous asshole. Then she sees her opportunity, and BOOM! - she leaves that little mudpatch in the dust. These heartlanders can't figure it out, 'cause that's not their sweet little Betty. Hah! We've been tracking her for, what, three days and I already understand her better'n most the people in that shitty little burg. Charlie pulls out the close-up photo and studies it. CHARLIE (cont'd) Betty, Betty, Betty... WESLEY So what the fuck's a Finn? CHARLIE Oh, for Chrissakes. It just means the kind of person who can eat shit for a long time without complaining, then cut their momma's throat and go dancing the same night. WESLEY Like... us? 62. CHARLIE No,... like a worthy adversary, Wesley. Like a very worthy adversary. 76 OMIT 76 76A INT. ROY'S APARTMENT - DAY 76A Roy approaches his fish tank cautiously. He leans down and looks at the piranha as a TV commercial ends and "A Reason to Love" comes on. He then returns to his computer, struggling to find the right words and to type them with only one hand. He types a little, stares at the screen, then deletes an entire sentence one character at a time, hammering on the 'Delete' key. He glances up at the television as the words 'Chloe' and 'Lonnie' are repeated. 77 INT. POLICE STATION - BALLARD'S OFFICE - THE NEXT DAY 77 Roy and Sue Ann go straight to Ballard's office, where they find him at his desk eating lunch out of tupperware containers. He wears a napkin tucked into his shirt-top. BALLARD What the hell do you want?... Hey, Sue Ann, what's up? ROY We think we know where Betty is. BALLARD Ah, shit... Do I have to hear this now? SUE ANN What's with the tupperware, Elden, did Meredith run outta baggies? BALLARD No reason to get a plate dirty. ROY I see you're sticking to the diet Betty put you on... BALLARD Worry about your own goddamn lunch! ROY (excited; to Sue Ann) Tell him what you told me. 63. SUE ANN Betty is a big, big fan of the soap opera, "A Reason to Love." Look... She tosses a copy of "Soap Opera Digest" on the desk. Ballard ignores it and keeps eating. BALLARD Why do I need to see this? Did he ask you to...? ROY Listen! I saw 'Chloe' and 'Lonnie' on T.V. They're television characters. SUE ANN Betty's in love with Dr. David Ravell, from the show. What if she's out in Los Angeles looking for him? The actor, I mean... BALLARD That's the dumbest thing I've ever heard. ROY Yeah? Well, she called Sue Ann yesterday from Arizona. BALLARD She said she was in Arizona, did she? ROY & SUE ANN Yes!! BALLARD You people are even more stupid than I thought. The woman's on the run and she's gonna just phone in her location? SUE ANN Come on, Elden, she's not on the run. Couldn't you at least call the Los Angeles Police Department? ROY You gotta do that much. BALLARD Hey, I'm the law. I don't gotta do nothing... 64. 78 EXT. FARMHOUSE - OKLAHOMA - DAY 78 The Lincoln pulls into the dusty, overgrown driveway and front yard of a derelict farm. 79 INT. FARMHOUSE / KITCHEN - DAY 79 The remains of pie and coffee on the table, Charlie and Wesley kick back with JERROLD BLAINE and his wife ELIZABETH, both in their 80's. Photos of Betty at various ages lie scattered in front of them. Charlie holds up a picture of a young Betty in ballerina costume posing at the barre. He studies it intently. ELIZABETH This is Betty at twelve. CHARLIE Very graceful. Perfect form. ELIZABETH Betty was a lovely child. JERROLD And she always had such spirit! But, after her mother died... WESLEY Would you say she was ambitious? JERROLD Oh, there's no tellin' what that girl could've accomplished, and she never had it easy. Never really had a childhood... caring for her father, going to school. Charlie admires a photo of Betty, around 18 years old. He continues to rummage through a box of collectibles, pocketing a small child's diary when it is convenient. CHARLIE Wise beyond her years, I'm sure, and such poise, too. (quietly) Very, very impressive... WESLEY Well, then, did you ever get any indication that she wanted to leave her husband? 65. ELIZABETH I don't like talking bad about the dead, but now that he's gone I can tell you she put up with things in that marriage I wouldn't have. And yes, she, of all people, was the one who defended him. And that's why what that sheriff said makes me so angry. CHARLIE What do you mean? ELIZABETH If anyone had paid to have that husband of hers killed, it would have been me. CHARLIE (taking her hand) Mrs. Blaine? I can tell you right now, without a doubt, that your granddaughter is alive, and did not kill Del Sizemore. JERROLD You've got to be missing a piece of your soul to kill someone. That's not our Betty... WESLEY (defensive) ... why do you think you have to be missing a piece of your soul to kill somebody? JERROLD Because it ain't natural, young man. WESLEY What are you talking about? Killing's totally natural. It's dying that isn't natural... CHARLIE (covering) My partner's still young, Mr. Blaine, and he loves his job. (laughs) He'd like to kill all the criminals himself! (BEAT) Now, if Betty was running from someone, where do you think she'd go? 80-82 OMIT 80-82 66. 83 INT. BETTY'S LESABRE/ EXT. COUNTY USC HOSPITAL - MOVING -83 AFTERNOON Betty drives through Boyle Heights - East L.A., holding a map and checking street signs. She is wearing a brand new Nurse's uniform. Up ahead, she sees the hillside complex of L.A. County/USC Hospital. Hurriedly, she pulls over and checks herself in the visor mirror. She is underwhelmed. BETTY God... I still look like a waitress. 84 INT. HOSPITAL - CHIEF NURSE'S OFFICE - AFTERNOON 84 The CHIEF NURSE, a large, dynamic woman in her 50's, faces Betty across her desk. CHIEF NURSE Of course, I don't know every doctor who works here... BETTY Dr. Ravell's the finest surgeon on the staff. You must know him. He's incredibly handsome, gentle, considerate. He's being sued for sexual assault right now, but-- (Off Chief Nurse's look) It's not true. He was set up. CHIEF NURSE Well, I certainly would have heard about that. BETTY Of course, he's only here two days a week. He's also on staff over at Loma Vista. CHIEF NURSE ... I don't think I know that hospital. BETTY It's in a very pretty area that gets a lot of sun, has palm trees out front, mountains in the background... CHIEF NURSE Really? You've just described all of Southern California. The Chief Nurse looks at Betty for a moment, then stands abruptly, signaling the end of the interview. 67. CHIEF NURSE (cont'd) Well, I'm sorry, but I can't even consider you without references or a resume. And frankly, I don't know how you could have forgotten them. 85 INT. HOSPITAL / HALLWAY - LATER 85 On her way down the hall Betty passes a patient's room when the sound of A PERSON MOANING stops her. She can't help but go inside. A TV plays commercials. AN OLDER WOMAN lies in bed, alone and staring at the ceiling. Betty looks around and notices several arrangements of flowers on a deserted nightstand. She brings them over to the older woman's bedside, positions them, then gently strokes her head. BETTY There... you rest now. The woman's eyes flutter. She is disoriented at first, then calms as she adjusts to the comforting sight of Betty. Betty takes her hand. OLDER WOMAN Who... who're you? BETTY I'm... I'm Nurse Betty. The woman smiles serenely at this and begins to drift off. Betty checks her monitors as the opening credits of "A Reason to Love" begin to play. She glances up at the doorway at the same moment and sees Dr. David Ravell standing at the entrance. He checks the chart on the door, smiles warmly at Betty and then moves off. In a flash, Betty is up and after him. The THEME MUSIC is her private soundtrack as she checks out every man in surgical scrubs, looking for David Ravell. Then... She sees him. In all his glory at the end of a corridor walking away from her. Betty gives chase. She gains steadily on him, her heart racing. As they near Emergency the NOISE LEVEL picks up. He stops at the nurses' station. Betty closes the gap. She starts to run. BETTY (CONT'D) DAVID!!! 68. He turns to face her ... It's not David Ravell. BETTY (cont'd) Sorry, I thought you were someone else. (BEAT) Do you know Dr. David Ravell? The man shakes his head. Betty keeps going, looking around: it's incredible - the size, the activity, the intensity. 86 INT. HOSPITAL - EMERGENCY AREA - SAME TIME 86 DOZENS OF PATIENTS lie on gurneys awaiting treatment in a holding area. It's still more intense at the entrance: VOICES talking back and forth urgently, POLICE OFFICERS, CIVILIANS, DOCTORS AND NURSES converging. 87 EXT. HOSPITAL - EMERGENCY AREA - LATE AFTERNOON 87 FIVE AMBULANCES unload patients at the same time. At that moment a group of TWENTY JAPANESE HOSPITAL ADMINISTRATORS reaches the E.R. portion of their tour. A WHITE MERCEDES tears up the ramp and SCREECHES to a stop. A YOUNG MAN in gang colors is pushed out, bleeding heavily. A DOCTOR runs at the Mercedes to head it off, yelling indignantly. The car plows right into him and takes off. Another ambulance crests the ramp, lights flashing. The Mercedes SLAMS into it head-on. NURSES AND DOCTORS run into the parking lot. A GANGBANGER gets out of the Mercedes, dazed and wobbly. He pulls a pistol. Everyone dives for cover. The Mercedes driver is unconscious. The driver of the smashed up ambulance is slumped over the wheel. The rear doors fly open, and a young Hispanic woman, ROSA HERRERA, leaps out. ROSA SOMEBODY HELP US! PLEASE, SOMEBODY! Doctors and nurses work on patients and try to get to the injured doctor, but the kid with the gun keeps them away. SECURITY GUARDS draw their guns and scream at him to drop it. ROSA (cont'd) WHY ISN'T ANYBODY HELPING US?!! (to gunman in Spanish) Hey, you little shit! If I had a gun I'd shoot you right now! The loading area is jammed with panicked people. Doctors and nurses creep out of the hospital on all fours, trying to stay 69. low. No one is getting to Rosa, whose frantic eyes find Betty. They look right at each other. ROSA (cont'd) What are you standing there for?! Betty walks toward her calmly, indifferent to the danger as Rosa pulls the gurney out of the ambulance herself. A PARAMEDIC lies unconscious inside. ROSA (cont'd) You gotta help him, he's hurt bad!! On the gurney is a YOUNG MAN with a chest wound, nearly dead from blood loss. A DOCTOR appears and quickly examines him while keeping one eye on the gunman. He looks up at Betty. DOCTOR #1 Forget it! He doesn't have a chance. Help us over here. The doctor takes off. Rosa looks at Betty, crying. ROSA Please! Betty hesitates, then checks his pulse - he has none. She peels back the bandages over a huge chest wound. ROSA (CONT'D) Danny, it's gonna be all right! Betty looks at Rosa again; looks around for help - there's no one. She plunges her fingers into the wound. ROSA (cont'd) (panic) What are you doing? BETTY He has no heartbeat! ROSA You're hurting him!! BETTY I'm massaging his heart. I saw it done once. ROSA ARE YOU CRAZY?!! STOP IT!!! BETTY LISTEN TO ME! IF I DON'T DO THIS, HE'S DEAD! 70. She keeps working on him. We hear a GUNSHOT, and the kid with the pistol falls to the pavement. The loading area immediately fills with DOCTORS, NURSES and COPS. BETTY (CONT'D) All right, we're moving him inside! Give me a hand! Rosa is shocked into motion. Together they wheel Danny toward the entrance. A DOCTOR and TWO NURSES come out to take over. Betty, her white uniform now covered in blood, steps aside. 88 INT. HOSPITAL - EMERGENCY ROOM - LATER 88 The DOCTOR tries to calm Rosa and keep her from entering the treatment area. ROSA Is he gonna live? DOCTOR He's got a chance. Thanks to what that nurse did. They exit together as AN ADMINISTRATOR and several Japanese officials approach. The Chief Nurse hovers nearby. ADMINISTRATOR (to Chief Nurse) Harriet? Who is that remarkable nurse? CHIEF NURSE That's Betty Sagamore. I hired her today. 89 INT. CHEAP HOTEL - NIGHT 89 SEVERAL LOW LIFES are hanging out in the lobby. When Betty comes in with a bag of groceries they look up, ready to hassle her as she approaches the DESK CLERK. BETTY May I have my key, please? She puts the bag on the counter, revealing that the front of her white uniform is covered with blood. She smiles at the low lifes, stopping them in their tracks. 90 INT./EXT. MOTEL ROOM - HOUSTON, TEXAS - DAY 90 The Town Car's looking a little muddy around the rims. Charlie and Wesley look tired as they wait in a seedy motel 71. room. Charlie sits near a window, reading diary entries aloud. Wesley kicks back on the bed, fast-forwarding through "Genghis Kunt" and talking back to the screen. WESLEY Thas' it, thas' it... conquer that bitch. (BEAT) What time're they coming? CHARLIE It's not an exact science, Wesley. He said they'll be here... My Houston contact has always been very reliable. WESLEY And then we're gonna do her right here. Right? CHARLIE You're always so coarse... "Do her right here." Let's just see what happens, okay? (reading) "I wish that I could find a way; To speak my thoughts on Mother's Day. There are no words that quite express; My gratitude or happiness. A pleasant smile perhaps a kiss; I would not fail to give her this. I'd make her glad the whole day through; By sayin' 'Mother', I love you!' P.S. I wish I could say this to my mother's face, but I can't anymore." Wesley rolls his eyes and turns up the volume. Finally a car pulls up outside and Charlie snaps the book closed. He makes a quick attempt to arrange himself and motions to Wesley, who turns off the tape. A WOMAN with greasy blonde hair and skinny legs shown off by a short skirt comes in with another MAN. Charlie looks her over disgustedly as his face falls. CHARLIE (cont'd) Who are you?! (to the man) What the... Who the hell is this? MAN #1 Easy, Charlie! She's exactly who you said you were looking for. CHARLIE Wait, wait a minute. We have a major miscommunication here. This not Betty. This is not even close to Betty... 72. WOMAN What the fuck're you talking about? My name's Betty... CHARLIE Then I'm sorry... Wrong Betty. WESLEY Let's get out of here. We got another long drive ahead of us. (BEAT) ... the fuck where I do not know, but I know it's gonna be long. CHARLIE (gathering his things) Betty would never dress like that. She's not some trailer park slut! WOMAN Fuck you! CHARLIE And she doesn't have a sewer for a mouth... WESLEY Okay, thank you, goodbye... Keep in touch... CHARLIE ... She's got class, and poise. Lots of poise... The man looks at Charlie, then at Wesley, who shrugs in reply as he steers them out the door. WESLEY Will you ease off on the 'poise' shit, you're spooking me here... 91 INT. HOSPITAL - CHIEF NURSE'S OFFICE - DAY 91 The Chief Nurse sits behind her desk. Betty faces her like a student in the principal's office, now dressed in her white waitress uniform. She hopes no one notices. CHIEF NURSE What you did yesterday was reckless at best. You are not an employee of this hospital! If that boy dies I don't even want to think of the lawsuit that'll follow. Are we communicating here? 73. BETTY Yes, ma'am. CHIEF NURSE Good. I'm prepared to offer you a job. You can help out in the pharmacy until your California certification and references arrive, but you are not to touch anyone. Is that totally clear? (Betty nods) Fine... The Chief Nurse gets up, and Betty follows suit. CHIEF NURSE (cont'd) You can start tomorrow. And don't say a word about this to anyone. (studying Betty's uniform) Is that issue? BETTY Umm... yes. Back home. CHIEF NURSE Alright. Oh, and one more thing about what you did yesterday... Well done. 92 INT. HOSPITAL - INTENSIVE CARE UNIT - DAY 92 Danny Herrera is in bed unconscious. Rosa and her MOTHER are keeping vigil when Betty enters. Rosa jumps to her feet. ROSA Hey, it's Supernurse! Betty, right? Rosa hugs her and tells her mother in Spanish who Betty is. ROSA (cont'd) My mother doesn't speak English. Sra. Herrera smiles at Betty and starts to cry. As she steps forward, Rosa stands aside. The short, stocky woman envelops Betty in a bearhug. MOTHER No podremos olvidar lo que hizo ayer. ROSA (translating) We can't forget what you did yesterday ... How can my family ever repay you? 74. BETTY Tell her I was just-- MOTHER Yo s que es su empleo, pero... ROSA She doesn't care if it was just your job... Danny would be dead now but for you. Sra. Herrera kisses Betty's hands and smiles through her tears. Then she motions to Rosa to take her place as she goes to Danny's bedside. Betty picks up Danny's chart and reads it. ROSA (cont'd) You don't sound like you're from here. BETTY I'm not. I just drove in from Kansas. ROSA So why'd you come to L.A.? BETTY I came for love. My fianc is here. MOTHER Bravo! Mi hija no hace nada para amor... ROSA You're making me look bad... My mother says I wouldn't move across the street for love. BETTY It's something I had to do. For David. ROSA 'David.' That's your guy. So, you staying with him? THE ICU NURSE enters and adjusts the bank of machines feeding, medicating and monitoring Danny. Betty watches with interest. BETTY No... I don't really know where he is yet. I'm at a hotel around the corner. ROSA Man, that is love. 75. MOTHER Ella debe quedar contigo. ROSA What? Ahh, Mom says you should stay with me... Okay, yeah, why not? Betty looks at Sra. Herrera curiously. ROSA (CONT'D) You can go get your stuff right now. I'll walk you down. BETTY No, that's not, I couldn't... ROSA Listen, when someone does the kind of thing you did, you gotta do something in return. So, you stay with me until you find your David and live happily ever after. Okay? Rosa follows Betty out the door. 93 EXT. ROSA'S APARTMENT - NIGHT 93 Betty and Rosa make their way up the stairs of a Silverlake apartment house. At the sound of SCREECHING TIRES they both look down as a black Lincoln Town Car drives by. Betty shudders. ROSA You okay? This neighborhood, you get used to it... She nods. Rosa continues to talk as they climb the many stairs that lead to her door. ROSA (cont'd) I got this apartment with a guy. BETTY The one you were telling me about? ROSA No, this one was worse...I had to have the place sprayed when he left. Twice... He was two guys before the last one--not counting a little office thing in there, which I'm trusting you with, 'cause if it gets out, I'm on the street... 76. 94 INT. ROSA'S APARTMENT - SAME TIME 94 The place is neat. As well furnished as a legal assistant's salary will allow. The living room is dominated by a large glass tank filled with tropical fish. Betty checks out the space. BETTY It's lovely...I really like your aquarium. ROSA Yeah, well, at least fish don't use your razor or pee on the seat... BETTY Hmmm. Sounds like you've had a pretty tough go of it with men... ROSA Oh, I dunno...but just once I wish I'd run into a guy who noticed the Koi before my tits. Betty smiles, a little embarrassed. ROSA (cont'd) ...come on, I'll show you your room. 95 EXT. TEXAS HIGHWAY - THE NEXT DAY 95 The black Lincoln Town Car is parked on a lonely stretch of prairie highway. Wesley sits in the passenger seat with the door open. The RADIO is on. Charlie is on his cell phone nearby. CHARLIE (into phone) No, we don't know where she is... I understand... No, we'll find her... (BEAT) I understand. He hangs up and looks out at the horizon, where huge black storm clouds are gathering. Then he walks slowly to the hood of the car, staring at the ground in front of his feet. WESLEY What'd they say? Can we go back to Detroit? Charlie rests his hands gently on the hood, as if considering buying the car. Wesley's MUSIC BANGS from the radio. 77. CHARLIE They said find it. Find her, find it. Finish the job you were paid to do. WESLEY Half. CHARLIE What? WESLEY They paid us half. They still owe us half... CHARLIE (disappointed) There it is again. That lousy attitude that got us here in the first place. That "make a statement," do an end zone dance, shake your ass and sue everybody in sight attitude that's dragging this whole country down the drain. (BEAT) They don't owe us shit, Wesley! WHEN YOU FINISH THE JOB, YOU GET PAID!! WE HAVEN'T FINISHED THE GODDAMN JOB!! Charlie POUNDS on the hood of the car, scaring Wesley. CHARLIE (cont'd) That woman could be in any one of four states. Four big states where the deer and the antelope play, Wesley! We're not in Rhode Island! WESLEY I know that. CHARLIE AND TURN THAT FUCKING MUSIC OFF! Wesley switches it off. Charlie turns his back to the car and addresses the angry clouds on the horizon. CHARLIE (cont'd) Do I deserve this? In the twilight of my career, do I deserve this? I don't think so! I've always tried to do what's right. I never took out anybody who didn't have it coming. I'm a professional! (BEAT) AND WHERE THE FUCK AM I? I'M IN PURGATORY! 78. WESLEY Worse... you're in Texas. CHARLIE Well, I should be in FLORIDA now! If Carl hadn't gone in to get those stones removed, you wouldn't be here and I'd be on my way to the Keys. On my boat, RELAXING WITH A GLASS OF PORT!! Re-ti red! The first raindrops begin to fall. CHARLIE (cont'd) I'm very tired, Wesley! I've worked hard, and the work should be over, but IT'S NOT! This job is just beginning. (he turns around) GET IN THE CAR! Wesley is in the car, but he's too scared to tell Charlie, whose eyes are blazing. Charlie silently walks around to the driver's side and gets in. He and Wesley stare at each other over a photo of Betty, which is between them on the dash. Charlie starts the engine and snatches up the picture. CHARLIE (cont'd) What're you thinking, girl? What's going on in that pretty little mind of yours? Huh? You can tell me... He paws at the picture, imploringly. He mutters to himself. Wesley shakes his head and stares out. 96 INT. HOSPITAL - PHARMACY - DAY 96 Betty sits in an office along with a CLERK who taps away at a computer keyboard while she studies a printed list of names. BETTY I can't find Loma Vista Hospital... CLERK I never heard of Loma Vista Hospital. BETTY I don't believe this! You're the second person here who's told me that. That's like Ford saying they never heard of GM! CLERK Try another county... 79. He exits. 97 INT. LAW FIRM - LATER 97 Rosa is on the phone at her desk in a law office. BETTY (V.O.) Hey, Rosa...it's Betty. How do you get to this town called 'Tustin?' It's in Orange County... ROSA Tustin? Take the Hollywood Freeway to the Five... BETTY (V.O.) The Five? ROSA Just look for the really crowded road and follow that. BETTY (V.O.) Okay...oh, umm, would you mind if I borrowed some clothes? ROSA Huh? Sure, look in my closet, take any dress you want! (BEAT) We're still on for tonight, right? 98 INT. EXAMINING ROOM - LATER 98 Betty stands in a sexy pink dress, trying to decide if she should put on a hospital gown and waits, tensing each time she hears a voice from the hallway. Finally, the DOORKNOB BEGINS TO TURN. A man's hand and the bottom of a white sleeve appear. The door swings open and a silver-haired, bespectacled DOCTOR in his mid-60's enters. The nametag on his white coat reads "DAVID RAVELL, M.D." 99 INT. NIGHTCLUB - NIGHT 99 Tasteful jazz, plenty of red leather booths. Betty winds her way through a PACKED CROWD, passing out small white cards. Rosa spots her and goes over to meet her. 80. ROSA You made it! Hey, that looks great on you. 'S classy... (BEAT) So, how'd it go today? You find him? BETTY Ummm...no, no. Different 'Ravell.' Rosa starts to lead her to the bar. BETTY (cont'd) You know, the more I think about it, this really isn't David's kind of place. ROSA What are you talking about? This bar is packed with professional people! (BEAT) Everybody says if you're going to get married, this is the spot to meet someone... Luckily, I'm currently off men, so I've got the luxury of not giving a shit. BETTY I know what you mean, I recently had some trouble with a man, a different man...and David's still getting over Leslie. (off Rosa's look) His wife. ROSA He has a wife?! BETTY Had. She died in a car accident last year. She was decapitated. ROSA God, that's awful! BETTY It may not have been an accident. They never did find her head... ROSA Her 'head'?! You're making this up... BETTY No, no! Well, see, she was having an affair with a Russian diplomat who I believe was mixed up with the Mafia... 81. ROSA Jesus, I thought my love life was crazy... LATER Rosa and Betty are sitting in a booth, talking over drinks. The place is a little quieter now. ROSA (cont'd) ... so, we'll hit the library first and fan out from there. They've got all the L.A. phone books, plus medical directories... (BEAT) We're not gonna let him hide from you any more, okay? I'm making this my personal mission. BETTY David isn't hiding from me, I left him standing at the altar six years ago and now I'm... ROSA Fuck the details, they're always to blame... Look, too many of these guys duck out on us, especially after they become doctors or lawyers. I see it at my company all day long! So I'm just gonna make sure you get your, you know, fairy tale ending or whatever... (BEAT) One of us should. BETTY Rosa, I can't believe you're doing all this for me...thank you. Rosa glances over to see Betty pass a business card to A WAITER who checks on them. When he is safely gone, Rosa touches Betty on the sleeve. ROSA Hey, how 'bout a card for me? What is that? (takes one, reads) "Please call if you have any information on David Ravell." This is my phone number! How many of these have you given out? BETTY How many men have I talked to? 82. ROSA Jesus! They're all gonna be calling me! BETTY You said in L.A., anything goes. ROSA I was talking about what you could wear! 100 EXT. DESERT HIGHWAY - THE NEXT DAY 100 The Town Car's parked on a barren stretch of desert highway, white smoke billowing from the hood. Half a mile ahead Charlie and Wesley are walking in the sweltering heat. They're in their shirtsleeves, drenched in sweat as the sun beats down on them. CHARLIE See, in a LeSabre Betty's probably getting twenty-two, maybe twenty-five miles to the gallon, where we're topping out at fifteen. (BEAT) She's probably all cool and fresh, and comfortable in that nice air-conditioned car right now. Wesley wipes the sweat from his eyes and trudges on in silence. Charlie takes out a photo of Betty and speaks to it. CHARLIE (cont'd) You don't look comfortable here. That's 'cause you don't like being the center of attention, do you? Nah. You're like me. WESLEY What the hell's the matter with you? Wesley grabs the photo, tears it in half and tosses it. Then he starts walking. Charlie is stunned for a moment, but recovers quickly. He finds the pieces and stuffs them in his pocket, then catches up to Wesley. CHARLIE That was a really shitty thing to do. WESLEY I'm sick of looking at her mother-fucking face. A beat... they walk for a moment. 83. CHARLIE Don't talk like that. She's my last one, Wesley, my final target. (to photo) Don't you realize your special, that you represent something? This is too much. Wesley explodes. WESLEY What? What does she represent?! What could some cornbread white bitch from Kansas who's dragging our sorry asses up and down the Louisiana Purchase possibly mean to you?!! I'd just love to know... CHARLIE I dunno... something. (BEAT) Why is she doing this to me? Why?... WESLEY I don't know, but when we find her she's gonna die for it.101-102 MOVED 101-102 102A INT. ROADSIDE GARAGE - LATE AFTERNOON 102A The Lincoln Town Car is raised up high on the hydraulic jack. Wesley is at a pay phone out front. WESLEY Can you describe her to me?... Okay... Yeah, that sounds like her... Thanks. He hangs up and goes into the garage, where he addresses the Town Car above him. WESLEY (cont'd) They found her in Vegas. No answer. WESLEY (cont'd) Perfect match on the description. ON CHARLIE Lying across the front seat taping the reassembled photo of Betty to the dash. Charlie's beginning to come apart. His hair is uncombed and his clothes are wrinkled. His eyes have a thousand-yard stare. 84. WESLEY (O.S.) (CONT'D) Sounds like she's with the buyer Del lined up. Charlie pulls himself up on the door and looks down. CHARLIE How'd they describe her? WESLEY You know, blonde, thin, whatever... CHARLIE Not so fast! Slower... 'blonde, thin', yes... Did they say she had style? A kind of grace or anything? Wesley rolls his eyes, then goes straight to the levers controlling the hydraulic jack. WESLEY (to mechanic) How do I get this fucking thing down? MECHANIC I wouldn't if I were you. He got pretty upset when I tried it... 103 INT. LAW OFFICE - A DIFFERENT DAY 103 MERCEDES LOPEZ, early 40's, impeccably dressed, enters her office loaded down with a bulging briefcase and a stack of files under her arms. (The entire scene is in Spanish.) MERCEDES What do you think my father would do if I told him I didn't want to be a lawyer anymore? ROSA Probably the same thing my mom would do if I got engaged... have a heart attack. MERCEDES So how's it going with your new roomie? What's her name? ROSA Betty. It's O.K. except I'm worn out. We spent all weekend looking for her 85. doctor-boy. How can a big time heart guy leave no trace of himself? MERCEDES So tell her to settle for the old one in Orange County. ROSA She's gonna have to 'cause I'm out of ideas. MERCEDES Maybe we're suing him for malpractice. What's his name again? ROSA David Ravell. MERCEDES God, that sounds so familiar. Ravell, Ravell... where's he out of? ROSA I'm not sure now. She said he used to be over at Loma Vista. I never heard of it. MERCEDES Loma Vista? (laughs) You mean like the guy on "A Reason to Love?" 104 INT. ROSA'S APARTMENT - LATER 104 Rosa enters, tosses her purse on the table and goes straight to the VCR. Written in magic marker on a video is "A Reason to Love, Apr. 23." The tape Sue Ann gave to Betty. She pops it in and turns it on. The OPENING TITLES start ... The characters appear ... one is an impossibly handsome man over the title "DOCTOR DAVID RAVELL." 105 INT. HOSPITAL PHARMACY - LATER STILL 105 Betty working at a desk in the pharmacy. The same clerk as before busies himself at another counter. Rosa appears at the glass partition and raps urgently on it. ROSA Guess who I saw today. BETTY Who? 86. ROSA Doctor David Ravell. BETTY What? Where was he?! ROSA ON TELEVISION!! (off Betty's puzzled look) Cut the shit, will you! A BEAT. Rosa SLAMS the videotape down on the counter. ROSA (CONT'D) Either you're making a fool out of me because you get off on it, or you got serious problems. Which one is it?! BETTY I have no idea what you're talking about. ROSA I'M TALKING ABOUT DAVID RAVELL!! BETTY Shhh! I heard you the first time. ROSA (suddenly calm) I spent my weekend looking for someone who does - not - exist. I should have been here at the hospital with my brother, but I was with you. BETTY If you didn't want to do it, you should have said so! Is this about gas money? ROSA IT'S NOT ABOUT GAS MONEY!! (BEAT) You have a thing for an actor on a stupid white soap opera, and we searched all over town for his character! Not the actor - whose name is George, by the way. His character! Rosa stands over Betty, fuming. BETTY Are you having a nervous breakdown? Rosa SCREAMS and smacks her hand on the glass as Betty watches. SEVERAL PEOPLE in a nearby lounge look up. Rosa stares at them until they look away. 87. BETTY (cont'd) Why'd you help me in the first place? ROSA I helped you because I'm an idiot! Ask my mother, I love it when people take advantage of me! I TRUSTED YOU!! I THOUGHT HE WAS REAL! BETTY HE IS REAL!! Betty tries to return to her work but Rosa confronts her loudly. The nearby VISITORS and STAFF pretend to be busy. ROSA You need help, Betty! Even if this is your idea of a joke, you need SERIOUS HELP!! (walking away - to herself) Necesitas un mdico! Pront simo! ON BETTY fuming in her humiliation. After a moment, Rosa reappears at the window. ROSA (cont'd) I'm not going back on our arrangement. My word is good, and my family owes you. But I think it's best for both of us if you get your own place as soon as you can. BETTY Fine. 106 OMIT (NOW 102A) 106 106A EXT. SIZEMORE MOTORS - KANSAS - NIGHT 106A Roy and Joyce approach the door to the trailer/office. She takes out her key, then stops. It's been padlocked and barred with yellow police tape, as is the whole lot. Roy pulls hard on the lock, then starts looking around. JOYCE You're wastin' your time, Roy. ROY Look Joyce, I need your key to the files, not advice, okay? This is a complex case. 88. Roy works on opening a side window. JOYCE Nothin' complex about it. Del's dead, Betty's gone. She's probably dead, too. ROY You'd like that wouldn't you? You've hated Betty since you were in Pep Squad together... JOYCE No... before that. ROY Ahh, I hate this town! Places like this just make you small... (BEAT) I should have never come back here after college. JOYCE Blah - blah - blah... Hurry up, will ya, I got a date tonight... Roy forces the glass open and starts to squirm through the window as Joyce watches. JOYCE (cont'd) I don't know what you think you'll find, anyway. ROY (O.S.) Names, a phone number, something... (BEAT) Listen, Ballard told me that the guy who brought the missing car down from Detroit was murdered, but do you see him doing anything about it? If Ballard wasn't such a stubborn ass, I wouldn't have to be breaking in here... The color drains from Joyce's face. JOYCE What did you say? ROY (O.S.) The driver was killed. I think there's a connection-- JOYCE (starting to cry) No, about... Are you talking about Duane Cooley? 89. ROY (O.S.) Yeah. Why, you know him? JOYCE (crying) Know him? We were gonna get married! He was gonna leave his wife for me! Fuck!!... Joyce begins to sob at the side of the trailer as Roy shimmies through the window frame. Suddenly, Ballard is there, weapon cocked and placed roughly into Roy's privates. Joyce backs away. BALLARD I know you don't use them, but if you wanna keep 'em you'll back out of there slowly... 106B INT. SQUADCAR - MOVING - NIGHT 106B Roy is in the rear of the car, handcuffed to the screen dividing the front seat from the back. Ballard is driving. ROY Come on, Elden, think about it. The driver, all them trunks standing open like that... something's going on here! BALLARD I know that... ROY Well, do something, then, damnit! BALLARD You watch your mouth when you're in a goddamn county vehicle... You don't think I see what's going on? Del, now this Cooley fella, both of 'em mixed up with Joyce... 'S not no conspiracy, not some episode off the X-Files... 's just a crime of passion, plain and simple. Betty's on some kind'a pre-minstral rampage, that's what is going on here. A moment of silence as they drive. ROY Oww... Did you have to make these things so tight? 90. BALLARD No, I didn't have to. He grins at Roy in the rearview mirror. 107 INT. LAW FIRM - ANOTHER DAY 107 Mercedes Lopez arrives at the office and stops at Rosa's desk. (The entire scene is in Spanish) MERCEDES Hey... Is Betty still trying to find that soap opera guy? ROSA Oh, yeah... Man, I'd love to find that actor just to see the look on her face, watch her bubble burst in mid-air. Mercedes hands her two tickets to a benefit. MERCEDES Here's your needle... He's supposed to make an appearance here tonight. 108 INT. BETTY'S BEDROOM - LATER 108 Betty's lying on her bed reading "Modern Nurse". The L.A. Times Classifieds are open on the bed. Rosa looks in. BETTY Don't worry, I'm looking... just taking a tiny break. ROSA This is crazy. I come home, you go to your room. You go in the kitchen, I go to my room. It's stupid. Betty nods in agreement. ROSA (cont'd) So what do you say? Can we be friends? BETTY ...okay. Rosa smiles and starts looking at the tickets in her hand. BETTY (cont'd) What are those for? 91. ROSA Oh, it's a charity dinner. The money goes to a good cause, but I don't have anybody to go with... BETTY Umm... Rosa exits for a moment, then reappears in the doorway. ROSA ...you hungry at all? 109 INT. LINCOLN TOWN CAR - MOVING - LATE AFTERNOON 109 The car is covered in dust and mud from the road. It's worse inside: food wrappers, empty bottles, pieces of clothing, filthy windows. They've been living in it. Wesley's driving now. Charlie's almost unrecognizable: a six day beard, uncombed greasy hair, bloodshot eyes, rumpled clothes and an exhausted, faraway look. The photo of Betty faces him, taped to the glove box. He is reading from the diary, which he clutches like the Bible. They roar along a desert highway, passing a sign that says "Grand Canyon, This Exit. 74 Miles." Charlie looks up, marking his place. CHARLIE We should go. WESLEY We don't have time to look at a hole in the ground. We can make Vegas in four hours. This one's got to be her. CHARLIE It's a very moving experience, trust me. WESLEY No. CHARLIE One of the Seven Natural Wonders of the World. WESLEY No... be dark before we get there. You wanna see the Grand Canyon at night? CHARLIE What difference does it make? She wasn't in Kansas City, or Houston, or Dallas. We 92. went to every goddamn place Del mentioned and no Betty. So what the hell makes you think she's in Vegas? You think she's waiting for us with tassles on her titties? Vegas is too crass for Betty. WESLEY I said, 'No.' N-O. Charlie turns to a passage and reads aloud. CHARLIE "When I grow up I'm going to become a nurse or a veterinarian. I always want to help people and value all life, be it animal, plant or mineral..." (to Wesley) Does that sound like a goddamn showgirl to you? WESLEY Do you hear yourself right now...? Like a fucking madman... Wesley drives on stoically. The Exit comes and goes. CHARLIE Every American should see the Grand Canyon. Are you an American? WESLEY Yes, I am and we're not going. Act professional. Charlie stares at him, hate rising from just below the surface. He draws a nickel-plated pistol and points it at Wesley's head. Wesley looks at it and keeps on driving. Charlie knows this isn't the way to handle it. He lowers the pistol. CHARLIE If you don't take the next turn for the canyon, I'm blowing my goddamn brains all over this car. He puts the pistol in his mouth and cocks it. Wesley looks over, not so sure this time. LONG SHOT of the black Town Car as the turn signal comes on, and it eases onto a lonely dirt road. Their headlights pick out a sign that says: "Grand Canyon Fire Trail. Forestry Personnel Only." 93. 110 EXT. BEVERLY HILTON - EVENING 110 Rosa and Betty approach the hotel entrance. Ahead of them a black Lincoln Town Car pulls up. Headlights glint on the chrome, hitting Betty in the eye. She freezes, and Rosa bumps into her. ROSA Sorry. Betty stares at the car, unable to remember what it should mean. Then a MAN in a tuxedo gets out. Betty moves on. 111 INT. BEVERLY HILTON - LOBBY - EVENING 111 A sign on an easel reads "Save the Children." Betty and Rosa present their tickets at the door to a ballroom. Several times there is a stir near the entrance and a scattering of flashbulbs. Rosa scans the crowd. BETTY Looking for someone? ROSA You never know who you'll see. Rosa keeps looking. Finally, GEORGE McCORD - the actor who plays DAVID RAVELL - enters. He comes in with LYLA BRANCH, late 40's, and TWO OTHER MEN. Several women approach George, some starry-eyed, for quick, polite greetings. He's doing his job of being a soap star. Rosa waits for an opening, then puts her hands on Betty's shoulders and points her at George. ROSA (cont'd) Look who's here! Betty's jaw drops. She freezes. ROSA (cont'd) What are you waiting for? Talk to him! You came fifteen hundred miles for this. Rosa prods her, then Betty makes her way unsteadily toward George. When she's a few feet away he looks up. He can't help but notice her - she's beautiful. She's also looking right into his eyes. The conversation stops as he does a double take in Betty's direction. 94. GEORGE Do I know you from...? His friends watch as George studies her face. BETTY ...of course you do. (hurt) You don't remember me? GEORGE I take it I should. I'm sorry. BETTY We were engaged. LYLA Oh good, another one... George's friends look at each other. A few heads turn. GEORGE I beg your pardon? BETTY But I'm the one who's sorry. Letting you go was the biggest mistake of my life. (to his friends) We were thirteen days away from getting married and ... I just got scared. It's a mistake I've had to live with for six years. But it's behind me now... (to George) And I hope you can put it behind you. I've missed you... David. George sighs with relief. His friends smile. The tension evaporates. They can handle a fanatical fan. GEORGE That's very kind of you. BETTY The day I left you I just drove and drove. I drove all day and all that night, and I didn't go anywhere. I just kept driving. I stopped at a little country church, and the pastor let me in, and I sat-- LYLA ... in the very first pew, where we would have sat on our wedding day. 95. Betty looks at her. So does George. LYLA (cont'd) I can't believe I remembered that, although I suppose I should. I wrote it... (to Betty) But that was seven years ago, and you're quoting it verbatim. I'm flattered... I think. Or frightened. What's your name? BETTY Betty Sizemore. What do you mean you wrote it? LYLA I'm Lyla Branch. I'm the Producer. They shake hands. ACROSS THE ROOM Rosa watches expectantly. LYLA (cont'd) Alright, I admit it, you had me there. You're better than most of them, anyway...do you have a headshot? GEORGE No, wait...what happened next, Betty? LYLA Are you sure you want to encourage this? (BEAT) No, you're right, let's have some fun. So, what did happened next, "Betty"? BETTY Well, David moved out here and started his residency. Then he met Leslie-- LYLA No, no, no. We know all that. What happened with you? BETTY I married a car salesman. The friends laugh. Rosa watches, confused. So is Betty. FRIEND #1 You were dumped for a car salesman, George! BETTY Why are you calling him George? 96. FRIEND #2 Yeah - David - tell us about this car salesman. George likes the challenge. This party isn't so boring after all. GEORGE Oh, you mean Fred. BETTY No, Del. GEORGE Right, Del. Del was one hot salesman. Of cars. He could talk anyone into anything. BETTY You knew Del?! GEORGE Honey, I didn't want to tell you at the time, but Del and I go way back. We went to school together. In fact, he saved my life. Two more minutes in that icy water and I would have drowned. But Del jumped in and grabbed me. We fell out of touch eventually, but I still owe him one. BETTY He never told me anything about...that's unbelievable! LYLA Funny, that's just what I was thinking... GEORGE I can't tell you how much it hurts me to hear that you married him. His friends snicker. Rosa stares. Betty is oblivious to everything but George. BETTY I'm so sorry. Life makes us do awful things sometimes. She's ready to cry. Which only inspires him all the more. GEORGE I tried to tell myself it was for the best, that there was a reason behind it. But... Del? 97. BETTY There was no plan! I was just young and stupid and scared! GEORGE You never gave us a chance... BETTY I know that. I can't tell you how many times I've said that to myself in those exact words. Betty wipes her tears away as they flow freely now. George doesn't like seeing her cry; he tries to say something but his friends interrupt. GEORGE Hey, don't... come on, I was just... you're not really crying, are you?... I was just playing along... FRIEND #1 Now, look what you've done, George. BETTY Why do they keep calling you George? GEORGE I don't know. Why do you keep calling me George? LYLA Listen - David - It's getting late. George hesitates; Lyla sees it. GEORGE (to Betty) Right, uhh...I feel terrible about this, we have a prior engagement at another party. (BEAT) But... I'd be honored if you'd come. LYLA Yeah, bring your friend along. I'm sure you got a lot of catching up to do... Rosa watches, stunned, as Betty waves to her as she leaves arm-in-arm with the man of her dreams. 98. 112 EXT. GRAND CANYON - NIGHT 112 The Town Car is parked near one of the viewing stops at the rim. Charlie stands in the darkness, but Wesley stays in the car. CHARLIE You don't know what you're missing, asshole. Charlie walks toward the canyon rim. Suddenly, Betty appears in the headlights standing at the rail - her back to Charlie - with a bouquet of flowers. ON WESLEY Just as he closes his eyes to rest, the CAR PHONE RINGS. WESLEY Yeah? SUE ANN (V.O.) Mr. Campbell? WESLEY Huh? SUE ANN (V.O.) Is this Neighborly Life Insurance? WESLEY (recovering) Oh, umm, yes, this is Dwight Campbell. SUE ANN (V.O.) It's Sue Ann Rogers, Betty Sizemore's friend? I heard from her. ON CHARLIE walking toward the rail. As he nears her, they kiss. Suddenly, REPEATED BLASTS from the car horn. The image of Betty shudders, then blurs, then fades away entirely. Charlie rubs at his eyes tiredly, then slowly trudges back toward the car. Charlie returns and gets into the car. Silence. Wesley stares at him. WESLEY ... you have a good time? You make a little wish? 99. Silence from Charlie. WESLEY (cont'd) Well, guess what? I found Betty... where she's been, anyway. CHARLIE Where? Where is she? WESLEY I'm not telling. CHARLIE What? WESLEY I'm not telling 'til you straighten up. You been acting like fucking Jerry Lewis on me and this shit's gotta stop or you can forget about your Betty... I mean it. A slow transformation comes over Charlie. CHARLIE Wesley, I'm fine... just tell me where she is. 113 EXT. BEVERLY HILTON - NIGHT 113 George, Betty, Lyla and the two friends are waiting outside the hotel for their cars. FRIEND #2 I bought a car from Del, too. He sold me a lemon. LYLA Really? I put a hundred and thirty thousand miles on mine. BETTY Huh. I had no idea our little lot was so popular... FRIEND #1 I never bought a car from Del. But I loved him. In my own way. GEORGE I guess we all did. (to Betty) You know, I didn't marry Leslie because I loved her. I married her to forget you... 100. BETTY Oh, David...I'm sorry I caused you that much pain. A black jeep 4x4 pulls up and ERIC AUGUSTINO, the actor who plays LONNIE, gets out. BETTY (cont'd) Oh my God! What's Lonnie doing here? GEORGE You're late, Eric. ERIC I know. Why are you guys leaving? LYLA We did our twenty minutes. Before Eric can take another step Betty SLAPS him across the face. FLASHBULBS go off as PHOTOGRAPHERS capture the moment. BETTY You bastard! How can you even show your face around here? Do you think we're not onto you? ERIC Who the hell is this? GEORGE Sorry. She thinks you're someone else. George hustles Betty to his car as photographers continue to shoot. BETTY I know exactly who you are! 114 EXT. CANYON RANCH BAR - NIGHT 114 The Lincoln Town Car rumbles into the dusty parking lot and parks. CHARLIE This doesn't look like the kind of place Betty would go to. WESLEY Maybe she had to use the bathroom. She pees, doesn't she?!... Wesley tears the photo of Betty from the glove box. 101. CHARLIE Be careful with that! Charlie takes it back and gingerly secures the tape. 115 INT. CANYON RANCH BAR - NIGHT 115 Merle is at the bar, drunk, the only customer on a slow night. Ellen drops two coasters in front of Charlie and Wesley as they sit down. ELLEN What can I get you? WESLEY We're Federal Marshals, ma'am. Ellen looks dubiously at their unshaven faces and rumpled clothes. CHARLIE We're looking for this young lady. He slides the photo of Betty across the bar. Ellen's gaze drops to the picture for a second, and Charlie sees what he was looking for - a flicker of recognition. He allows himself a satisfied grin. Wesley shows Ellen his badge as Merle checks out the photo. ELLEN I haven't seen her. MERLE Sure you have! That's ... ELLEN Shut up, Merle. Charlie continues to grin at Ellen ... WESLEY Ma'am, if you've seen this woman-- MERLE Betty! That's her name - Betty. Charlie takes the photo and puts it back in his pocket. ELLEN I never saw that woman before, and neither has Merle. He drinks too much. And don't try to tell me you're cops. I 102. was married to a cop for nine years, and you're not cops. Now get out of here. Wesley steps behind Merle, takes a handful of his hair and SLAMS his head into the popcorn machine on the bar. Merle staggers away, stunned. Wesley removes the tin popcorn scoop from a nearby hook. Ellen reaches for something under the bar, but Charlie's faster. He pins her arm with one hand. CHARLIE You haven't been very forthcoming with us. They watch Wesley follow Merle at a slow walk around the pool table, CLOBBERING him over the head about every five steps with the popcorn scoop. Merle wobbles with every shot, but won't go down. They begin a torturous second lap around the table, punctuated by the CLANG of the scoop against Merle's head. CHARLIE What's your name, dear? ELLEN Ellen. CHARLIE That's a nice name. After one more CLANGING shot Merle staggers, then falls. Wesley walks over to Charlie and Ellen, drawing his knife. WESLEY That's a really nice name... 116 INT. GEORGE'S RANGE ROVER - MOVING - LATER - NIGHT 116 George and Betty are alone. BETTY Lyla's very nice. GEORGE Yes, she is. BETTY She told me I was charming and relentless, and would go far in this town. And she said that unlike the other charming, relentless people she knew, she liked me. 103. GEORGE She's a good person to know. (BEAT) So where did you study again? BETTY Carleton School of Nursing. Two semesters, but Del made me give it up... GEORGE Alright, okay... I think you broke the record for staying in character about three hours ago. BETTY You told me that two hours ago. He pulls up in front of Rosa's apartment and parks. BETTY (cont'd) I haven't been this happy since I was twelve years old. GEORGE What happened when you were twelve? BETTY For Mother's Day, I used all my allowance that I'd been saving to take my mother to Kansas City. We got our nails done and had lunch at "Skies," a restaurant at the top of a building from where you can see the whole city. It was the last outing we took together. She died the following year. GEORGE Wow ... You just gave me goosebumps, you know that? You make it all sound so real. Great improv... BETTY I just want everything to be perfect between us. GEORGE I know. Listen, we need to take a time out here. Can we talk seriously for a minute? BETTY Of course. 104. GEORGE At last! I know how much you want this. You're gifted and extremely determined, but ... it's not up to me. BETTY I know. It's up to us. Betty leans over and kisses George - so deeply that he's too surprised to react. She pulls away abruptly and gets out. BETTY (cont'd) I love you, David. And I want to see you tomorrow, and the next day, and the next day. Still surprised, and now a little intrigued, he watches her go inside. 117 INT. ROSA'S KITCHEN - NIGHT 117 Betty comes in and pours a drink from the fridge. Rosa appears in a nightshirt behind her, framed in the doorway. ROSA Were you with him this whole time? BETTY Oh, God! You scared me! Yes... ROSA You still in love? Betty nods. ROSA Does he know you think he's real? BETTY He is real. ROSA Uh-huh... So, what'd you talk about? BETTY Oh, my gosh, everything! My trip out here, what we've both been doing, you know... ROSA No, I'm not sure I could begin to imagine... So, where'd you go? 105. BETTY To a party in the Hollywood Hills. ROSA Was it a huge place? With a view of the whole world? BETTY Yes. I'd never been in a place like that before. ROSA I have, lots of times. My mother used to clean them. I used to piss in their pools. Rosa gets up and starts for her bedroom. She stops. ROSA (cont'd) This isn't fair, you know. Do you always get what you want? BETTY No, almost never. ROSA But, you're in love with someone who doesn't exist. You come here, you meet this guy, who should laugh in your face, and instead you leave with him! (BEAT) Betty, you are one-of-a-kind... Rosa goes into her bedroom and closes the door. Betty smiles and nods, sipping at her drink as she retires to her room. 118 OMIT (NOW 120A) 118 119 INT. POLICE STATION - JAIL CELL - THE NEXT DAY 119 From his cell Roy Ostrey hears a door open, then the sound of approaching footsteps. It's Ballard. ROY Elden, let me out of here. Now! This is ridiculous, I need medical attention! BALLARD That's a nice name for what you need... 106. ROY Come on, I have to get this dressing off...it itches! And what about my fish? Who is taking care of them? Ballard doesn't say anything. He's very grim, subdued. Roy has never seen him like this. BALLARD Just shut up a second and listen... That, uh... that bar in Arizona? Where you said Betty was? ROY What about it? BALLARD Any idea where it is? ROY Little place called "Williams," why? BALLARD I just got something off the wire. The woman who owns it was murdered last night. (BEAT) Now, I'm not saying I agree with you or nothing, but... what else do you know? ROY I know plenty. 120 EXT. LYLA'S HOUSE - DAY 120 Palatial, spartan. Lyla is sitting in the inner court of her Lloyd Wright home with George at one knee. GEORGE She makes me stretch! I got inside my character last night like I haven't done in six years on "Reason". It was a totally rejuvenating experience. LYLA I know, George, I was there. I'm not denying that she's good. GEORGE She's even taken a job as a nurse! (BEAT) David Ravell's getting boring, Lyla. 107. LYLA We know that... GEORGE Can I have an evil twin? LYLA No, George, we've already done that with Lonnie. The blind one last year, remember? GEORGE Oh, of course. Who can forget the Emmy? (BEAT) Then let me bring Betty to the set and see what happens. LYLA I don't know, George... GEORGE I'll tell the cast ahead of time. What do you say? LYLA I'll think about it. GEORGE It'll be like live television! Let's live on the edge a little. You and I can break the mold here! LYLA I said I'll think about it. GEORGE Fine, but promise me one thing. If we use her, I want to direct those episodes. She's my discovery. LYLA Actually, she was my discovery... just like you. GEORGE Hmm? LYLA "Would you like ground pepper on that salad, Ms. Branch?" Remember? GEORGE ... yeah. 108. 120A EXT. L.A. FREEWAY - NIGHT 120A The black Lincoln Town car hurdles along the 10 Freeway, a revitalized Charlie back at the wheel. Surrounded by traffic, the lights of the city in the distance, the two men push on toward their new destination. 121 EXT. HOLLYWOOD MOTEL - THE NEXT DAY 121 The black Lincoln Town Car - now washed and gleaming - is parked in front of a modest motel. 122 INT. HOLLYWOOD MOTEL / BATHROOM - DAY 122 Charlie looks like a new man - showered, clear-eyed and energized - he's at the sink shaving as Wesley watches from his seat on the edge of the bathtub. CHARLIE So you believed the bartender. Why? WESLEY Well... I think I saw her soul. CHARLIE That's good. You're learning. But let me tell you why I know she was lying. (BEAT) First off, Betty would never fall for a soap star. It's beneath her. WESLEY I dunno, that lady sounded pretty sure... CHARLIE No, no, Betty came here strictly for business, 'cause it's the biggest market for what she's selling. I should have known it all along. I'm kicking myself as I shave here. So, first thing we... WESLEY Wait, wait, wait a minute... that doesn't make sense. CHARLIE What doesn't? WESLEY You gimme this bullshit Psychic Friends theory, you believe that dumbshit trucker, you believe this woman... 109. CHARLIE I never said that I believed... WESLEY No, you believed her, we drove all the way to L.A. so that means you trusted her that much... so why's the rest of her story suddenly so kooky? Huh? CHARLIE 'Cause I just don't buy it. Call it instinct. Call it 35 years of professional know-how... WESLEY I call it 'nutty' as my shit after I eat Almond Roca... CHARLIE You need to remember who you're talking to... WESLEY I need to get my goddamn head examined. (BEAT) You can't rule something out on a whim. Or because she's cute. I've been following your whims all across the U.S. of A. and now I'm tired! Me! CHARLIE Wesley... WESLEY "It's beneath her..." She's a mother fucking housewife... nothing's beneath her! Wesley stands up for emphasis, pointing a finger in Charlie's personal space. Charlie reacts at this, throwing his razor into the sink and turning on Wesley. CHARLIE Boy, you need to get outta my face... now! You got a feeling, then you do what you gotta do, but don't you ever try to tell me my job. Not ever. It's a standoff. Wesley blinks first. He stalks off and out of sight. In a moment, he returns. WESLEY Fine. Just fine... I'll go check some shit on my own then. And don't call me 'boy...' 110. He turns and slams into the door frame. He glares at Charlie, then exits. When the front door BANGS SHUT allows himself to go back to his shaving. 123 EXT. STUDIO BUILDINGS - DAY 123 Map in hand, Wesley stand near A GUARD and discreetly asks questions. WESLEY ... what kinda car's Jasmine drive? GUARD Ahh, Mercedes, I think. Black. WESLEY Yeah? The sport utility? GUARD Uh-huh. WESLEY Damn, that's sweet... (BEAT) She really that good-looking in person? GUARD Better. WESLEY Oh fuck... Wesley looks around covertly, then produces a fifty. WESLEY (cont'd) Hey, can you sneak me on the lot? GUARD Sure. Wesley smiles and wanders off, headed toward a series of studio buildings in the distance. The guard watches him go. GUARD (cont'd) ... it's Sunday, I can sneak anybody on the lot. 124 INT. HOLLYWOOD MOTEL ROOM - DAY 124 Charlie toys with matches from the Canyon Ranch Bar. Working off a list of names and phone numbers from his Zaurus, he makes calls from his room. 111. CHARLIE Betty Sizemore, she's got ten kilos... Blonde hair, a great figure... sort of a whole Doris Day thing going on. That's what I said-- Doris Day. You could see her working at the U.N., or something. 'The U.N.' "United Nations." Forget it... (BEAT) Nobody like that? You're sure? Yeah, Detroit by way of Kansas... Alright, let me know if you hear anything, okay? He hangs up. Deletes another one off the list and looks out the window. Checks the now well-worn photo of Betty. He's starting to doubt himself. 125 INT. ROSA'S APARTMENT / BATHROOM - EVENING 125 Rosa stands in the doorway as Betty, wearing one of Rosa's hotter outfits, puts on her makeup. BETTY Are you sure I can borrow this? ROSA No, please. Go ahead, it's your funeral... BETTY Rosa... ROSA Well, what if this guy's just playing with you? What if he's lying about who he is? BETTY You should have a little faith in people. ROSA Does he ever talk about medicine? His patients, the hospital? BETTY All the time. It's always "Loma Vista" this, "Loma Vista" that. The DOORBELL RINGS. Rosa goes to the front door and looks through the peephole, then opens the door. George McCord, flowers in hand, gives his best leading man smile. 112. GEORGE You must be Rosa. I've heard so much about you... I'm George McCord. ROSA Not as much as I've heard about you. She's a very nice girl and you better not hurt her. GEORGE What? Betty appears. BETTY Rosa, so you've met David? ROSA Sure did! And a funny thing, Betty, he introduced himself to me as George! BETTY Oh, he does that. (hugging him) It's this silly game he plays. Half the people who know him call him George. 126 EXT. ROSA'S APARTMENT - NIGHT 126 GEORGE I don't think your friend likes me. BETTY She's a little jealous, I think. And confused when it comes to men... (BEAT) So where are we going? GEORGE Well, first I thought Patina, and then the Ivy, but then I thought of somewhere a little more romantic. Like my place. 127 INT. GEORGE'S HOUSE - NIGHT 127 Modern glass and steel structure in the hills. Austere. Betty and George sit on the sofa with the lights low and SOFT MUSIC playing. GEORGE God, I haven't felt like this since I was with Stella Adler in New York. You're so...real. 113. He leans forward slowly to kiss her, but Betty pulls back. BETTY You never mentioned a 'Stella' to me. GEORGE Didn't I? BETTY No, I would have remembered that name. The only Stella I ever knew was a parrot. (BEAT) Was this before Leslie? Before us?... George takes her face in his hands and looks at her. GEORGE I've never met anyone like you, Betty. BETTY I know, that's why we were meant to be together... GEORGE No, I mean your dedication scares me... BETTY It's easy to be dedicated, when you care about something... GEORGE Yeah, I felt that way, too, when I first started, but now... the hours, the repetition... it's not all glamour and mall openings anymore. Maybe I should've listened to my people and tried to make the crossover to nights earlier, I don't know... (BEAT) ...I just hope it's not too late for me. God! Listen to me, "Me, me, me." It's so easy to get caught up in the whole ego cycle of this business and make it all about yourself. Stop, right? That's it, no more about me tonight, I promise... Let's talk about you...what do you think about me? I'm kidding... Seriously, Betty, I'm doing all the talking here... BETTY ...but I love listening to you, so that's okay... 114. GEORGE Thanks. But I'd like to hear what you're feeling... BETTY Well, I just feel that life'll be much sweeter for you now with me around. I promise... GEORGE You know, I almost believe that... you're like a warm breeze that's suddenly blown into my life... (laughs) I said that to Leslie, once, at her funeral, remember?... BETTY I remember. You said it to her, but it was meant for me, wasn't it? GEORGE Yes... maybe it was. She kisses him deeply, then allows herself to fall back on the sofa, pulling George down on top of her and kissing him passionately. 128 INT. HOLLYWOOD MOTEL - THE NEXT DAY 128 Wesley hands Charlie a newspaper folded open to the Entertainment section, where there is a picture of Betty slapping the actor Eric Augustino. George is in b.g. WESLEY ...so I'm standing there, minding my own business on Hollywood Blvd., checking out Gladys Knight's star-thing there, I look up at this little souvenir shop dude, Chinese dude, reading a paper... and who do I see? (holding up paper) That's Lonnie. He's the show's Main Prick. And that is definitely Betty. Now, that ain't no coincidence... (BEAT) I found out where they shoot it, and where the dressing rooms are. Charlie studies the photo, troubled by something. CHARLIE Who's this? 115. WESLEY A doctor on the show... why? Charlie thinks about it, then reaches into his pocket and takes out the photo of Betty with the cardboard David. As he compares the photos, Wesley peeks over his shoulder. WESLEY (cont'd) What in the... (simmering) What the hell is this? You've been holding out on me. All this fucking time! CHARLIE It just didn't fit her profile... WESLEY Fuck the profile! That's the same guy!! CHARLIE She can't be here because of a... a soap opera. Not a soap opera. That'd make her... WESLEY ... crazy! No shit, Shaft!! And you ain't far behind... CHARLIE ... but she's, no, Betty's smarter than that. She wouldn't be here for a... WESLEY I do not know how the fuck you lasted an hour in this job! Dragging our asses around with the answer to our prayers in your motherfucking jacket... a picture of that cunt right next to the... Charlie cuts Wesley short by grabbing his shirt and pulling him close. CHARLIE Don't Don't you talk about Betty like that. I don't care who she ends up being, you never use that word again. Got it? WESLEY Man, you have got to get some therapy. CHARLIE I said 'got it?' 116. WESLEY ... yeah, I got it. (struggling) Come on, you're stretching out my vest... CHARLIE You made your point... (drops him) I was wrong. He carefully folds the paper, pockets the photo and straightens his clothing. He straps on his holster and checks his weapon for emphasis. CHARLIE (cont'd) Now, get yourself ready. 129 INT. MOTEL BATHROOM - DAY 129 Wesley gathering his gear through the open door. Charlie stands looking at himself in the mirror. Touches at the gray in his hair. As an afterthought, he tosses on a splash of cologne. 130 OMIT 130 131 INT. SOUNDSTAGE - DAY 131 George leads Betty past several standing sets and into the 'operating room' as CREW MEMBERS buzz around. Betty walks with her eyes closed and holding George's hand. GEORGE Just a little further... come on... George stops and puts both hands over Betty's eyes. He looks about expectantly and then uncovers them with a flourish. GEORGE (cont'd) Surprise! Betty stares, slowly trying to take in her new surroundings. It looks like Loma Vista, but something is different. Odd. Cameras, lights, etc. - all the apparatus of a TV show - are in plain sight... And very disorienting. BETTY Oh my gosh...I didn't know I was going to meet your friends today...I dressed a little casual. 117. He leads her to a taped mark on the floor as CAST MEMBERS appear, including JASMINE and BLAKE DANIELS. GEORGE That's cute...listen, you got the part, and I'm directing. You've only got four lines today, so I thought I'd just spring it on you. No blocking or anything, just stand near the nurse's station... we're gonna do a quick walk-through. Alright? He kisses her cheek and walks off toward the waiting Lyla before she can respond. VOICE (O.S.) Quiet on the set! GEORGE Traffic was terrible... LYLA No, that's fine, we've only got seventy pages to shoot...take your time. A STAGE MANAGER hands Betty a set of sides and an on-set COSTUMER tries to fit her. BETTY Excuse me. What are you doing? STAGE MANAGER We'll get you into hair and make-up after this, just put this on... The other actors take their positions. Lyla watches from behind the cameras as David readies himself. Chloe enters the set with Kleenex tucked into the neck of her costume. CHLOE (to Betty) Hi. I hear you're great. Good luck... BETTY What are you doing here? David... GEORGE Your lines'll are in the script, but you can ad lib. BETTY Ad lib? 118. GEORGE In fact, I want you to ad lib, that's the magic I'm after. I wanna give a whole new feel to the show. She's sliding toward a complete meltdown. VOICE Slate it! George steps back behind the cameras. Betty's still frozen to her spot, overwhelmed. GEORGE Just do what you've been doing. Watch the scene and on your cue take off from there. VOICE 5-4-3-2... Chloe and Blake run through their lines lifelessly, then stop when they get to Betty's cue. Their faces loom around her menacingly. Staring. The lights are impossibly bright. People begin to shuffle and stare at one another. Lyla clears her throat as George bounds on stage, still smiling. GEORGE Betty? CHLOE Are you all right? BLAKE (to Chloe) I think you stepped on my first line... CHLOE ... I was talking to her. (to Betty) Do you need anything...? She's freezing up. George approaches her. GEORGE Betty, I thought this would be the best way. You know, throw you into it... LYLA What the hell's going on? GEORGE If you need a minute, that's okay. But I thought you'd want to-- 119. BETTY David, I don't... Can we talk privately for a second? GEORGE Stop calling me David. We're on set, for Christ's sake, you don't have to call me David here. As he pulls away Betty grabs his arm. BETTY Why are you doing this to me? GEORGE Why am I doing this to you? Isn't this what you wanted? Lyla approaches. LYLA Is there a problem, George? GEORGE No! No problem, there is no... (to Betty, sotto) What is the problem? Just do that... thing... you do! Come on! You drove me nuts with this for three days, now do it! George steps back behind the cameras as if nothing's wrong. Betty still hasn't moved. She's shaking with fear. The cast and crew members find it hard to look at her. LYLA All right, everybody! That's ten minutes! GEORGE No! Let me try this! JASMINE (storming off) This is bullshit! LYLA Forget it, George. It was a gamble, it didn't work. Nice try. GEORGE Let me try this, goddamnit! SHE'S BEEN DOING IT ALL WEEK, SHE CAN DO IT NOW! LYLA I SAID FORGET IT! 120. George throws down his script and rushes up to Betty, who reaches out to him. He brushes her hands away. GEORGE Well, I don't know what you had in mind, but I hope you're happy. I put myself on the line for you, my reputation, and you're making me look like an idiot. BETTY What do you mean? What did I do to you... GEORGE Who put you up to this? Did my ex-wife ask you to...? BETTY David, please-- GEORGE STOP CALLING ME THAT! MY NAME IS NOT DAVID, AND IF YOU REALLY DON'T KNOW THE DIFFERENCE, YOU'RE MORE FUCKED UP THAN I THOUGHT YOU WERE! Betty begins to cry. STAGEHAND Leave her alone, George! GEORGE SHUT THE FUCK UP!! You're a fucking grip, go grip something!!! (to Betty) And you're not an actress, you're nothing but a soap opera groupie, aren't you? YOU HAVE NOTHING BETTER TO DO! DO YOU?? Well, why don't you get a fucking life, and stop ruining mine! Betty stands dead still as George continues to berate her. ALL SOUND slowly starts to drop out, then comes back abruptly with a RUSH. Suddenly a light snaps on for her and she stares at him. BETTY I'm sorry...Oh my gosh, are you George McCord?! GEORGE ...What? What did you call me? 121. BETTY George...McCord. You're my favorite actor on... LYLA She called you 'George,' George. BETTY ...did I win some contest? GEORGE But I'm David... I mean, I'm not David, but she thinks I am! You heard her... (looking around the group) Stop staring at me... I'm not crazy, she is! BETTY Why are you screaming at me? I mean, what am I... why am I here? I don't... GEORGE You're doing this now? After all the.. are you sick? Are you going to kill me now? BETTY No, I... I'll leave. Forgive me if I caused you all any trouble... I just, I don't know how I... (to George) ... I'm sorry. George watches Betty walk off the set. The cast and crew try to pretend this scene didn't happen, except for Lyla, who burns a hole into George's back. Their eyes meet. GEORGE What?! 132 OMIT 132 133 INT. TV STUDIOS / RECEPTION AREA - DAY 133 George McCord, wearing sunglasses and still angry, strides into the lobby. Charlie and Wesley stand quickly and take out their badges as he approaches. GEORGE What can I do for you, gentlemen? 122. CHARLIE How do you do, Mr. McCord. We're trying to locate a deranged fan of yours,... a Ms. Betty... GEORGE Deranged. That would be the right word. Wesley takes out the photo of Betty. GEORGE (cont'd) That won't be necessary. She's staying with a Rosa something... Hernandez, Herrera. I know it's an 'H' sound... in Silverlake. CHARLIE Thanks so much. You must get bothered by this kind of thing a lot. GEORGE More than you know. Is there anything else? CHARLIE No, that should be more than-- GEORGE Good. George turns to leave. WESLEY Actually, there is one more thing. George stops. Wesley is suddenly shy, hesitant. WESLEY (cont'd) It's just... well... I watch the show too, and you being Dr. Ravell and all, I thought you could maybe get Jasmine to come out here. GEORGE You thought wrong. George pulls away. Wesley grabs his sleeve. WESLEY It's just for an autograph. It's not for me... GEORGE It never is. 123. George wrenches free of Wesley's grip and takes off. Wesley is furious. He catches George in two strides, spins him around and SLAPS him across the face. George's glasses go skittering across the floor. PEOPLE stare. WESLEY You need to learn some manners, friend... reach out to your goddamn fan base a little more. Charlie pulls Wesley away. George is frozen to the spot, humiliated, a pink handprint emerging on his cheek. WESLEY (cont'd) ... and I saw your movie-of-the-week. It sucked dick! 134 EXT. HOLLYWOOD BLVD. - DAY 134 Betty walks aimlessly along a busy street. She moves without direction, in a daze until a glint of bright light hits her, causing her to turn. She is staring at a black Lincoln sitting in a car lot, sunlight dancing off its chrome. She shudders involuntarily at it. Suddenly, she hears a familiar voice. DEL (O.S.) What the hell are you doing here? It's Del. He's in a pastel version of his usual shirt, slacks, and tie. DEL (cont'd) Well, are you gonna answer me? What'd you come here for? BETTY I came for love... DEL You're not on that soap opera thing again, are you? 'Cause you know what that is? BETTY It's people with no lives watching other people's fake lives. DEL That's right. So, if you know it, why are you in trouble? 124. BETTY I don't know. DEL You sure don't. Who do you think you are coming to Hollywood, anyway? You should remember where you came from. And who you really are. Del looks up at the sun for a moment, shading his eye from it. DEL (cont'd) I gotta run. Got some serious clients to meet, with real potential. (BEAT) Goddamn, it's hot! He wipes the sweat from his brow. Betty looks at his handkerchief and sees that it's soaked in blood. Then back at his face, now obscured by blood pouring down from his head. She stares, horrified, and in that moment Del becomes... a MAN, staring back at her as he wipes the sweat from his brow. MAN Who are you talking to? Are you crazy? Betty backs away and melts into the flow of PEDESTRIANS. 135 INT. ROSA'S APARTMENT - LATER 135 Rosa comes home from work and tosses her purse and jacket on the chair. No Betty in her room. ROSA Bet-ty!? Did the pizza guy show up yet? She emerges from Rosa's bedroom with toiletries and moves to an open suitcase in her room. She barely acknowledges Rosa. ROSA (cont'd) Are you all right? (no answer) What happened? (BEAT) He dumped you, didn't he? I KNEW IT WHEN I MET HIM!! He's a loser, like the rest of them. Mother-fucker! Rosa now notices Betty packing. 125. ROSA (cont'd) What are you doing? BETTY I'm going back to... I need to... I don't know. Rosa tries to stop Betty for a moment to talk. Betty grabs a pile of Rosa's clothes and heads for her room. BETTY (cont'd) ... this is your sweater, right? ROSA Where are you going? BETTY I have to leave now. She tries to put Betty's suitcase away. ROSA What? No, I'm not gonna let you just run out of here... You need to talk about what's going on... BETTY You think I'm crazy, Rosa, but you don't know the half of it. My husband was, ahh... ROSA Your husband?! BETTY Yes, I had a husband and he was killed two weeks ago in my kitchen. I was right there... Rosa stops. ROSA Jesus!... What are you saying? They stare at each other for a beat. ROSA (cont'd) What?! That you had something to do with it? BETTY I don't know. I'm just starting to remember it now. I don't... 126. ROSA Yeah, but your running away isn't going to help you with all this... BETTY There was blood everywhere, Rosa. I saw it, I think I watched the whole thing happen... Oh my God... ROSA Okay, okay, look, ummm... Let's just talk a little first and you'll feel better, I promise. The doorbell rings. ROSA (cont'd) That's our pizza... You can't go yet. 136 EXT. ROSA'S APARTMENT - DAY 136 Charlie watches Betty undress from a nearby fire escape. He stares at the object of his desperate search with relief and some fascination. Betty's movements are unhurried, mindless. Charlie stares, mesmerized, until she steps into the shower. 137 EXT. ROSA'S APARTMENT - STREET - SAME TIME 137 Wesley gently nudges open the trunk to Betty's LeSabre. The cardboard cut-out of David Ravell pops out at him. WESLEY Whoa! What the fuck're you doing here? He breaks it over his knee and throws it in the gutter, then quickly removes the wing nut holding the spare tire. He removes the tire, then raises the panel on the floor of the trunk as Charlie joins him. WESLEY (cont'd) It's all here. It hasn't been touched. The bottom of the trunk is lined with brown paper-wrapped bricks of cocaine. Charlie stares at it, shaking his head. WESLEY (cont'd) You were right. Del wasn't lying. CHARLIE Well, you were right about what that bartender said. 127. Wesley looks at him. He appreciates the compliment. WESLEY But you were right first. You gotta follow your instincts. Charlie takes a long look at Wesley and smiles proudly. CHARLIE What do your instincts tell you to do now, kid? WESLEY Leave. Take this shit back to Detroit and get the rest of our money. CHARLIE We could do that. I could be on my way to Florida, and you could go to Thailand and fuck your brains out. WESLEY ...but that's not what we're gonna do, is it? CHARLIE No... if we don't finish this job, how are we gonna look at ourselves in the mirror? This is it for me, Wesley, she's the last one. My instinct says I gotta see this through with her, and if there's one thing I've tried to teach you here-- WESLEY It's to follow my instincts. And my instincts say get the fuck out of Dodge. CHARLIE No, I said to follow 'my' instincts. Now, we go up there and conclude our business. Case closed. Charlie walks off. Wesley closes the trunk up and prepares to follow him. WESLEY ... oh, that's fucking democratic. 138 INT. ROSA'S APARTMENT / HALLWAY - MOMENTS LATER 138 At the sound of the BUZZER Rosa goes to the door. She looks through the peephole and sees Charlie holding up a badge. 128. CHARLIE I'm Detective Jefferson-- ROSA Oh... Did Betty call you? Charlie nods. Rosa opens the door, and he enters with Wesley. ROSA She's got problems, but she's no killer. I hope you guys can straighten this out... Charlie and Wesley exchange a puzzled look. CHARLIE We'll do what we can. Where is she? ROSA Bet-ty! (to the men) Please, go easy on her. She's had a really rough day. Betty appears. She recognizes the men instantly and freezes. Charlie's eyes wander over her... slowly. Wesley notices. ROSA (cont'd) These guys are here to help you, Betty. BETTY I don't think so. (BEAT) Rosa, I didn't kill Del... they did. Wesley produces a pistol, sitting Rosa forcibly on the sofa and tapes her mouth and hands. Charlie walks over to Betty. CHARLIE We meet again. He moves closer to her... almost whispers. Wesley steps in and quickly tapes her hands. Charlie stops him. CHARLIE (cont'd) Not her mouth... (to Betty) I've spent many long hours in a car with your face staring back at me. I've seen it painted on the horizon. WESLEY (to Charlie) What's wrong with you? 129. A KNOCK at the door ruins Charlie's moment. ROSA That's our pizza. Wesley hustles Rosa out of the room. CHARLIE Get rid of them. You understand? Betty nods, scared, and looks through the peephole. She stares with disbelief at ROY OSTREY. He KNOCKS again. She opens the door a crack. ROY Betty! Boy, am I glad to see you! BETTY Roy! What are you doing here? ROY You're in serious danger! BETTY Ahh, look, right now's not very... ROY I woulda' been here sooner, but Ballard put me in jail. He still thinks you had Del scalped. BALLARD I never said that! Open the door, Betty. BALLARD shoves Roy aside; Charlie's getting edgy ... BETTY Sheriff, I don't... BALLARD C'mon, Betty, open up! I got some questions for you about... ROY Have you checked the trunk of that car you're driving, Betty? I think there might be... BETTY It's not really a good time, guys... BALLARD Don't give me that. I've come two thousand miles for this! 130. Charlie has been listening quietly on the other side of the door and finally snaps. CHARLIE Two thousand miles? That's nothing! He flings the door open, sticks a pistol in Ballard's face and yanks them both inside. CHARLIE (cont'd) Hah! You probably flew! I've crossed the river Styx looking for her, pal! I travelled the fucking country to be here! Charlie slams the door and frisks them, taking a gun and handcuffs from Ballard. Wesley returns with Rosa. CHARLIE (cont'd) (to Betty) Who are these idiots? BETTY This is Roy Ostrey, he's a reporter. And this is Sheriff Ballard. We all went to Fair Oaks High together... CHARLIE Oh, this is wonderful... Wesley takes over. He sits Rosa down on the sofa, then pushes Betty down next to her and beckons to Roy. WESLEY Come here. He breaks Roy's nose with his pistol. Roy crumples to the floor, holding his face. Betty starts to scream, but Charlie puts his hand over her mouth. Wesley tapes Roy's hands together, then beckons to Ballard. WESLEY (cont'd) Your turn. Ballard drops to his knees in a prayer-like position near the aquarium. BALLARD I got two kids and a dog... Wesley grabs his shirtfront and slams him to the floor, then with a foot on his neck, he loops Ballard's arms around one leg of the steel aquarium stand and handcuffs him. 131. Charlie does nothing but stare at Betty, his eyes locked with hers. Wesley sees it. WESLEY Act professional, remember? Charlie pulls her to her feet. WESLEY (cont'd) What are you doing? Charlie leads Betty out of the room. WESLEY (cont'd) No way! This is not professional! 139 INT. BEDROOM - SAME TIME 139 Silence. Then Charlie takes out a knife and cuts the tape from Betty's wrists, touching her hair. Gently. He leaves her standing in the corner while he sits on the edge of the bed. BETTY ... I s'pose you did that so I could take my sweater off or something. CHARLIE No, just stand there... lemme look at you a minute. She does. Charlie stares intently at her. CHARLIE (cont'd) Do you know who I am? BETTY ... I... I know what you are. CHARLIE Do you know why I'm here? BETTY I've got a pretty good idea. You're here to kill me, so kill me. You want me to be afraid, but I'm not. I don't care who you are, or why you two killed my husband... Charlie studies her, then sets his gun down on the bed. CHARLIE You really... didn't have anything to do with what Del was doing, did you? 132. BETTY I have no idea what he was mixed up in... it was always something. CHARLIE So you weren't involved with him in his pathetic attempt to diversify? (off her blank look) Were you mixed up in the drugs, Betty? BETTY Drugs? God, no! I'm totally against drugs. CHARLIE Damn, life is strange. I had you figured for this cold-blooded, calculating bitch-- Not that I didn't admire you for it. Charlie slowly folds his knife and pockets it. BETTY ... well, if you're not going to slit my throat, why'd you come up here? CHARLIE ... to see you. 140 INT. ROSA'S APARTMENT - LIVING ROOM - SAME TIME 140 Wesley stands over Ballard, about to tape his mouth. Rosa and Roy are sitting in chairs opposite them, their mouths and wrists already taped. BALLARD You killed that bartender in Arizona and the trucker in Texas, didn't you? WESLEY How did you find Betty? BALLARD I just put it all together. I knew David, Lonnie and Chloe were from that show. Roy starts freaking out, trying to talk through the tape. BALLARD (cont'd) Betty thinks they're real people. It sounded crazy, but it was worth a shot. Roy is apoplectic... 133. WESLEY What do you want?! Wesley tears his tape off. ROY That's a lie! I figured it out! I've been trying to tell this dumbass-- BALLARD Fuck you, Roy Ostrey! ROY --small-time, pissant, Barney Fife-- WESLEY SHUT UP! Shut the fuck up, both of you, before I kill you! ROY I'm the one who watched the show...I was... WESLEY Did Chloe crack? ROY Totally. She came apart like a house of cards. They dropped the charges... WESLEY Goddamn... how 'bout Jasmine? ROY She's a lesbian. Wesley immediately pulls his gun and points it at Roy's head. WESLEY You lie, motherfucker... ROY I swear to God! Rosa STAMPS her feet, drawing Wesley's attention. She tries to talk through the duct tape; gestures for him to come to her. WESLEY What?! You scream, you die. He yanks the tape off. Rosa winces. ROSA I have a tape of today's show. 134. 141 INT. ROSA'S APARTMENT - BEDROOM - SAME TIME 141 Betty is sitting on the bed. Charlie leans against the wall, facing her. He has trouble starting this. CHARLIE ... I never meet people like you. I'm a garbageman of the human conditon. I deal with trash, mostly, people willing to trade any part of themselves for a few more minutes of their rotten lives. But you... you're different. BETTY I am? CHARLIE Sure. You could probably have any thing you wanted... somebody as beautiful and stylish as yourself, and you don't even realize it. Betty looks curiously over at Charlie. CHARLIE (cont'd) I'm appreciably older than you, but my health is good. I take care of myself, and I got some money socked away. You'd never have to work agin, that's for sure. I'd treat you like a queen. BETTY Umm, I don't think that... CHARLIE Wait. Let me get this out. (clears his throat) I like the symphony, walks in the rain, sunsets, animals and children. I read passionately, and I like to discuss things. I'm basically conservative, but flexible. I've been involved in the death of thirty-two people, but I can live with that because the world is lighter by thirty-two pieces of shit, excuse my language. BETTY "Thirty-two?" CHARLIE Well, thirty-three, but I'm not counting Del, on account of you... so, what do you think? 135. (BEAT) You probably feel I'm flattering myself to see us together. BETTY I don't feel that, no. I just....I'm not really who you think I am. CHARLIE No one is, honey. Here, listen to this... "If who I am and who I hope to be should meet one day, I know they will be friends." Now that's beautiful. Betty is stunned. BETTY I wrote that when I was twelve... where'd you get that?! CHARLIE (he pulls out the diary) I know. I borrowed it from your grandparents because I... I... it doesn't matter. Don't worry, they're fine... (he gives the diary back) Look, I used to feel that same way, said practically those same words, sitting at night in a foxhole in Korea... (BEAT) I've chased you across the country, Betty, and I come to find out we're a lot more alike than you'd think. BETTY I thought you were a garbageman of humanity, or something. CHARLIE Yes, but I'd sort of like to put that behind me now... 142 INT. ROSA'S APARTMENT - LIVING ROOM - SAME TIME 142 Wesley is engrossed in watching "A Reason to Love." Behind him, Ballard quietly walks his feet up the wall until he's completely upside down. He rubs one foot against the other until one pantleg is above his cowboy boot. Rosa and Roy watch. He finally lifts the boot off. It falls soundlessly onto his chest. A small pistol is revealed, holstered above his ankle. He works the holster open using the edge of the fishtank. 136. Roy and Rosa COUGH LOUDLY at the same time to cover the noise. Wesley glares at them. Ballard gets the pistol free. But it falls into the fishtank. The air goes out of Roy's sails. Ballard has fucked up again. On screen, Chloe and Jasmine kiss and embrace. Wesley reacts as if he was slapped. WESLEY ... goddamn! Wesley immediately runs the sequence back to view it again. Ballard KICKS the wall of the fishtank with his cowboy boot. Roy and Rosa cover the sound again with COUGHING. Wesley pauses the T.V. and looks around. WESLEY (cont'd) What's your problem? Ballard KICKS at the tank again. But he can't break the glass. Roy can't take it any more. He launches himself at the tank, grabs it by the rim and pulls it down on top of himself. A torrent of water, fish, plants and gravel pours down upon him. WESLEY (cont'd) You stupid piece of fuck! He leaps at Roy and starts kicking him savagely. Rosa throws herself onto Wesley's back, knocking him to the floor. Ballard paws through the muck, scattering fish and gravel everywhere. He spots a glint of metal in the sand. Wesley struggles out from under Rosa. Just as he gets free, Ballard FIRES, hitting him TWICE into his chest. Wesley stares in disbelief at the blood rushing out of him. Then at Ballard, as if trying to link the two. He slumps to the floor and opens his mouth to scream ... WESLEY (cont'd) D-A-A-A-D-D-D-Y-Y-!!!! Charlie opens the bedroom door. CHARLIE Wesley??! Charlie sees Wesley turn to him as Ballard FIRES again. Wesley's face explodes. The flying lead drives Charlie back to the bedroom. Crawling through the muck, Roy notices a fish flopping helplessly on the carpet inches from his face. 137. ROY Those're Japanese koi! ROSA Yes! How'd you know that? ROY You gotta get 'em in water right away! BALLARD We're in a shootout, Roy! Shut up about the damn fish! ROY YOU shut up! (to Rosa) They're beautiful, but get them some water. He gently hands her the fish, then picks up Wesley's nearby gun. Rosa nods; she's amazed that he knew what it was. She looks at Roy in a slightly different way before crawling away toward the kitchen.143-144 OMIT (NOW IN 141, 142) 143-144 145 INT. ROSA'S APARTMENT - BEDROOM - SAME TIME 145 Charlie FIRES back from the doorway. CHARLIE Oh, Christ, they shot my boy! Enraged, he empties his pistol at the living room. Ballard and Roy return fire, and Charlie ducks back in. CHARLIE (cont'd) (reloading) How the hell did this happen? I'm in a goddamn shoot-out! Wesley? What the fuck happened out there?! He opens the door, and a bullet slams into the doorjamb near his head. He ducks back in. Charlie sags against the wall, looking toward Betty. CHARLIE (cont'd) That's my son! My son is dead! BETTY I'm sorry. 138. CHARLIE You're sorry? YOU'RE THE REASON WE'RE HERE! BETTY WAIT A SECOND! I AM NOT THE REASON YOU'RE HERE! I WAS MINDING MY OWN BUSINESS, LIVING A PERFECTLY BORING LIFE UNTIL YOU CAME ALONG! Charlie fights back his grief. BETTY (cont'd) What do you want from me? Charlie can't handle the moment. He breaks for the door, and BLASTS away. This time he's nicked in the shoulder. He stumbles back, losing his balance. His gun falls and slides right into Betty's hand. Equally surprised they stare at one another. Charlie slumps over in his defeat as Betty holds a shaky pistol on him. CHARLIE Oh shit... 146 INT. ROSA'S APARTMENT - LIVING ROOM - SAME TIME 146 Rosa crawls to a flower vase and dumps a second koi into the water inside. Roy and Ballard crouch behind the open archway, using the hanging beads as protection. BALLARD (checks his gun) We need ammo... Go check his jacket, I'll cover you. ROY I'm not going out there! Let's wait for the real police... BALLARD You gotta go, we're pinned down! ROSA So why can't we just sneak outside? Huh? BALLARD Lady, you don't just run away from crime... besides, Betty's in there. 139. ROY (checking) You wanna see if he has more shells, go ahead. I say we wait... BALLARD No, no, no... you don't know shit about procedure! You don't send your best... ROY I've got the working gun, Elden, me! You wasted all your bullets so you crawl out there. Ballard stares at him in disbelief, then back at the closed bedroom door. Ballard starts off on his belly. BALLARD Goddammit... 146A OMIT 146A 147 INT. ROSA'S APARTMENT - BEDROOM - SAME TIME 147 A LONG BEAT passes. POLICE SIRENS wail in the distance. Betty moves close to Charlie to look at his shoulder. He watches her intently. CHARLIE If we went out that window right now we'd have a chance... BETTY I better go check on them. CHARLIE Wait, Betty... you still haven't answered me. BETTY This is really awkward... The SIRENS are coming closer. He waves her off. CHARLIE Ahh, it's too late, anyway. It's too late. (BEAT) Listen, I could shoot my way out, maybe take one of them with me... If you'd gimme my gun back. 140. BETTY I'd rather not... CHARLIE Betty, I don't wanna shrivel up alone in some stinking prison. No way. I've got some professional pride. And I don't want anybody else to get the credit for taking me out. BETTY ...what're you saying? CHARLIE When a Roman general knew a battle was lost, he'd throw himself on his sword. Charlie fumbles in his pocket, then pulls out the photo of Betty with the cardboard David Ravell. CHARLIE (cont'd) Did... did you really come here because you love this guy? BETTY Yes... Not the actor, though, the doctor. I think. Charlie's sinks slowly to the floor. CHARLIE So all this...really was because of that soap opera? My son is dead because you came out here to be with that doctor? A fake doctor? BETTY I wouldn't have put it quite that way, but... CHARLIE Wesley didn't even want to come up here. He warned me, but I insisted... (BEAT) I have to ask you, Betty...are you crazy? BETTY I don't think I am. Charlie remains sitting pensively for a long beat. CHARLIE I want you to listen to me, Betty. People don't lie when they're about to die. 141. (BEAT) You don't need that doctor. You don't need that actor. You don't need any man. It's not the forties, honey. You don't need anybody. You've got yourself... and that's more than most people can say. Charlie reaches out slowly and takes the gun from Betty. She doesn't fight him. He kisses her hand and steps into the bathroom and closes the door. A single GUNBLAST sends a shiver through Betty. 148 INT. LYLA'S HOUSE - NIGHT 148 TV Newscast CLOSE SHOT of an ANCHORMAN. ANCHORMAN In a story that police say is bizarre, even for Hollywood, a father-son team of killers tracked a Kansas soap opera fan halfway across the country, only to find themselves the victims in a final, bloody confrontation... The Anchorman continues as the CAMERA PULLS BACK to reveal Lyla and George watching television in a plush living room. LYLA This story is beyond belief, which is perfect for us. It's free advertising and it's gonna run for months. GEORGE I don't think she can do it. You saw what happened. LYLA You fucked it up. Who wouldn't freeze in those circumstances? And I don't care what her problems are. She wouldn't be the first one in that cast with problems. We have nothing to lose by making her an offer. GEORGE What about me? Don't you wanna know how I feel about it? I'm the one who... LYLA Why would I give a shit how you feel. And I got news for you. I loved your 'icy water' idea the other day... I'm toying 142. with the idea of killing David Ravell off in a boating accident. GEORGE That's not a bad idea. How many episodes before he comes back? Lyla shakes her head "no." GEORGE (cont'd) Jesus, don't do that! If it gets around that you fired me, I'll never land a pilot. LYLA Then do as you're told. Get her back. 149 INT. TIP TOP DINER - DAY 149 George and Betty sit across from one another in a booth. Betty listens patiently. Her former co-workers try to remain busy but can't help gawking. GEORGE I'm sorry for what I did. It was inexcusable. I'm sorry for the things I said, and for not respecting you, and for all the stupid things that... Darlene approaches, puts a piece of paper on the table. DARLENE When you have a minute... GEORGE Look, I don't really like the whole idea of autographs, and I'm kind of in the middle of... DARLENE Don't flatter yourself. It's the check. She walks off. GEORGE Oh. Of course... sorry. BETTY (grabbing it up) My treat. You were saying... something about how stupid you've been? 143. GEORGE Right... I was. I was an idiot, plain and simple, and I hope you can find it in your heart to forgive me. How's that? BETTY Kinda like you'd been saying it since you got on the plane... GEORGE I have... did it sound that bad? BETTY Mmm-hmm. Listen, I forgive you, Mr. McCord... GEORGE George... BETTY ... George. I do. (BEAT) My best friend once said if you were any handsomer it would be a crime... GEORGE Thanks... BETTY ... it's too bad you're such an asshole. 'S the only thing that Del was ever right about. George winces... accepts it. GEORGE No, that's... okay. Fair enough. (BEAT) So, now that we've sort of settled the 'asshole' thing, is there any chance you'll come back to the show? At all? 150 INT. TV DINER - DAY 150 Dr. David Ravell sits with Nurse Betty in a diner, catching a bite to eat before going back on shift. They smile at one another over their meals. BETTY ... there's always a chance, David. DAVID Right. But will there be a tomorrow, and the next day, and the next? 144. BETTY (whispering to him) Doctor, if you were any handsomer it'd be a crime... DAVID I guess that means you're free tonight. Of course, it's up to you... BETTY No, it's up to us. I love you, David. And I want to see you tomorrow, and the next day, and the next day... (they kiss) 151 INT. TIP TOP DINER - DAY 151 Darlene, the other waitresses, the cooks and assorted customers gather at the counter to watch Betty on television. Sheriff Ballard beams from a nearby stool. 152 INT. SUE ANN'S HOUSE - DAY 152 The kids are out of control, but Sue Ann's oblivious. She leaps from her chair. SUE ANN That's my best friend! 153 INT. ROSA'S APARTMENT - DAY 153 Roy, Rosa, Danny and Sra. Herrera watch Betty lean across the table, take David's face in her hands and move into a romantic kiss. On the sofa, Rosa takes Roy's hand in hers. POSTSCRIPT: Rosa Herrera received 11 phone calls off the business cards Betty handed out. But she fell in love with Roy Ostrey, married him and moved to Kansas. 154 EXT. CAFE SISTINA - ROME - DAY 154 Betty watches the pilgrims on their way to St. Peter's as she sips a cup of coffee. HER WAITER stands nearby with one eye on a TV set that broadcasts "A Reason to Love" in Italian. 145. BETTY Could I get some service here, please? Without looking, the waiter approaches, tops off her cup and moves back to watching the show. Betty smiles knowingly at this, takes a sip and settles back in her seat. Slowly, the world passes by. POSTSCRIPT: Betty Sizemore appeared in 63 episodes of "A Reason to Love." She is using her earnings to pay for a nursing degree and is currently on vacation in Europe. The Europe. FADE OUT: THE END diff --git a/unformated_scripts/Script_O Brother Where Art Thou_.txt b/unformated_scripts/Script_O Brother Where Art Thou_.txt new file mode 100644 index 0000000000000000000000000000000000000000..08b211e784302ac855d0bff9622cd3bff44db579 --- /dev/null +++ b/unformated_scripts/Script_O Brother Where Art Thou_.txt @@ -0,0 +1 @@ +"O BROTHER, WHERE ART THOU" By Ethan Coen and Joel Coen BLACK In black, we hear a chain-gang chant, many voices together, spaced around the unison strike of picks against rock. A title burns in: O muse! Sing in me, and through me tell the story Of that man skilled in all the ways of contending... A wanderer, harried for years on end... On the sound of an impact we cut to: A PICK splitting a rock. As the chant continues, wider angles show the chain-gang at work. They are black men in bleached and faded stripes, chained together, working under a brutal midday sun. It is flat delta countryside; the straight-ruled road stretches to infinity. Mounted guards with shotguns lazily patrol the line. The chain-gang chant is regular and, it seems, timeless. We slowly fade out, returning to BLACK The last of the voices fades. After a long beat we hear the guitar introduction to Harry McClintock's 'The Big Rock Candy Mountain.' A WHEAT FIELD A road cuts across the middle background. Noonday sun beats down. We hear the distant picks and shovels of men at work and see, rising above ground level, the occasional upraised pick and spade heaving dirt. Men are digging a ditch alongside the road. After a long beat, three men pop up in the wheat field in the middle foreground. They wear faded stripes and grey duck- billed caps. They scurry abreast toward the camera, throwing an occasional glance back at the ditch-diggers. A clanking sound accompanies their run. Oddly, the wheat between them sweeps down as they run. After a brief sprint they drop back down into the wheat. In the background a man enters frame left, strolling along the road, wearing a khaki uniform and sunglasses, a shotgun resting against one shoulder. He glances idly down into the ditch and strolls on out of frame right. The three men rise back up from the wheat and, clanking, resume their sprint. THREE PAIRS OF EYES They are topped by three cap bills, and peer out from behind a blind of greenery. We hear distant whistling. The men are looking at a weathered barn. A young boy, whistling, is heading down the road that leads away from the barn, jiggling the traces of the old plough horse that leads him. He turns a corner and is gone. BARNYARD The three clanking men (we can now see their leg irons) are awkwardly chasing a chicken around the yard. The squawking yardbird doesn't need to move much to elude the three bunched men. COUNTRY LANE It curves in a gentle S into the background. It is sun- dappled, pretty. We hear clanking footsteps approaching at a trot. The three men enter in the foreground and trot on down the lane. The leftmost has a flapping chicken tucked under one arm. AFTERNOON CAMPFIRE The three men sit in a side-by-side arc around a dying fire, one of them contentedly picking his teeth with a small chicken bone, another wiping grease off his chin with a sleeve, the third idly poking at the fire with a spit. Each of them, still bound by chains, clinks as he moves. One of them abruptly cocks his head, listening. The others notice his attitude and also freeze, listening. We hear the distant baying of hounds. ROLLING HILLS From high on a ridge we see the three chained men running toward us. In addition to their clanks we hear a distant chugging sound. TRACKING Laterally with the clanking, running feet. The chugging sound is very loud. RUNNING Next to a freight train. A boxcar door is open. INSIDE THE BOXCAR The lead convict hooks an elbow in and starts hauling himself up, his two clanking friends keeping pace outside. Six hobos sit in the boxcar, lounging against sacks of O'Daniel's Flour. They impassively watch the convict clamber in as his two confederates run to keep up. The convict hauls himself to his feet. In spite of his stubble he has carefully tended hair and a pencil mustache. He is Everett. As he dusts himself off: EVERETT Say, uh, any a you boys smithies? The hobos stare. Everett gives an ingratiating smile as, behind him, the second convict starts to haul himself into the boxcar, the third convict still keeping pace outside. EVERETT Or, if not smithies per se, were you otherwise trained in the metallurgic arts before straitened circumstances forced you into a life of aimless wanderin'? The convict running outside the boxcar door stumbles and disappears and the middle convict is yanked out immediately after. Everett, just finishing his speech, flips forward in turn, smashes his chin onto the floor and is sucked out the open doorway, his clawing fingernails leaving parallel grooves on the boxcar floorboards. The hobos impassively watch. OUTSIDE The three men tumble, clanking, down the track embankment. Squush - they come to a rest in swampland at the bottom. They shake their heads clear, then rise to their feet in the muck and watch the train recede. Its fading clatter leaves the baying of hounds. EVERETT Jesus - can't I count on you people? The second con is Delmar. DELMAR Sorry, Everett. Everett looks desperately about. EVERETT All right - if we take off through that bayou- The third con, Pete, bald but also with beard stubble, angrily cuts in. PETE Wait a minute! Who elected you leader a this outfit? EVERETT Well, Pete, I just figured it should be the one with capacity for abstract thought. But if that ain't the consensus view, hell, let's put her to a vote! PETE Suits me! I'm votin' for yours truly! EVERETT Well I'm votin' for yours truly too! Both men look interrogatively to Delmar. He looks from Pete to Everett, and nods agreeably. DELMAR Okay - I'm with you fellas. Everett makes a sudden hushing gesture and all listen. The baying of hounds is louder now, but through it we hear a distant scrape of metal against metal, like the workings of a rusty pump. The men turn in unison to look up the track. A small, distant form is moving slowly up the track toward them. As it draws closer it resolves into a human-propelled flatcar. An ancient black man rhythmically pumps its long seesaw handle. The three convicts look out at the swampland which begins to show movement, the bowing grass trampled by men and dogs. The flatcar draws even and slows. EVERETT Mind if we join you, ol' timer? OLD MAN Join me, my sons. The three men clamber aboard and the old man resumes pumping. The three men exchange glances; Delmar waves a clanking hand before the old man's milky eyes. No reaction. DELMAR You work for the railroad, grandpa? OLD MAN I work for no man. PETE Got a name, do ya? OLD MAN I have no name. EVERETT Well, that right there may be why you've had difficulty finding gainful employment. Ya see, in the mart of competitive commerce, the- OLD MAN You seek a great fortune, you three who are now in chains... The men fall silent. OLD MAN And you will find a fortune - though it will not be the fortune you seek... The three convicts, faces upturned, listen raptly to the blind prophet. OLD MAN ...But first, first you must travel a long and difficult road - a road fraught with peril, uh-huh, and pregnant with adventure. You shall see things wonderful to tell. You shall see a cow on the roof of a cottonhouse, uh-huh, and oh, so many startlements... The cloudy eyes of the old man stare sightlessly down the track as the seesaw handle rises and falls through frame. OLD MAN ...I cannot say how long this road shall be. But fear not the obstacles in your path, for Fate has vouchsafed your reward. And though the road may wind, and yea, your hearts grow weary, still shall ye foller the way, even unto your salvation. The old man pumps - reek-a reek-a reek-a - as all contemplate his words. Loud and sudden: OLD MAN IZZAT CLEAR? The men start, then mumble polite acknowledgement. The railroad tracks wind to the setting sun. Reek-a reek-a reek-a - the flatcar rolls, in wide shot, toward the golden horizon. FADE OUT DAY A hot dusty road leading up to a lone farmhouse. The three men walk, clanking and abreast. DELMAR How'd he know about the treasure? EVERETT Don't know, Delmar-though the blind are reputed to possess sensitivities compensatin' for their lack of sight, even to the point of developing para- normal psychic powers. Now clearly, seein' the future would fall neatly into that ka-taggery. It's not so surprising, then, if an organism deprived of earthly vision- PETE He said we wouldn't get it! He said we wouldn't get the treasure we seek! Everett grows testy: EVERETT Well what does he know - he's an ignorant old man! Jesus, Pete, I'm telling you I buried it myself, and if your cousin still runs this-here horse farm and has a forge and some shoein' impediments to restore our liberty of movement- Bang! A rifle shot kicks up dust in front of the men. CHILD'S VOICE Hold it rah chair! The front of the farm house shows only a harshly shaded front porch and a dark screen door. The screen door swings open and a child emerges on to the porch and steps down into the sunlight, holding a gun almost bigger than he is. The grimy-faced boy, about eight years old, wears tattered overalls. CHILD You men from the bank? PETE You Wash's boy? CHILD Yassir! And Daddy tolt me I'm to shoot whosoever from the bank! He pokes his rifle at the three men, who raise their hands. DELMAR Well, we ain't from no bank, young feller. CHILD Yassir! I'm also suppose to shoot folks servin' papers! DELMAR Well we ain't got no papers. CHILD Yassir! I nicked the census man! DELMAR There's a good boy. Is your daddy about? THE BACK OF THE HOUSE Wash Hogwallop, a sour-looking bald man, sits near a rusted bathtub in a yard littered with ancient car parts and farm implements overgrown with weeds. He is whittling artlessly at a stick. He glances up as the three convicts clank around the corner, then returns to his whittling. WASH 'Lo, Pete. Hooor yer friends? EVERETT Pleased to make your acquaintance, Mister Hogwallop. M'name's Ulysses Everett McGill. DELMAR 'N I'm Delmar O'Donnell. PETE How ya been, Wash? Been what, twelve, thirteen year'n? Still looking sourly at his whittling: WASH You've grown chatty. He tosses the stick aside and sighs. WASH I expect you'll want them chains knocked off. THE HOGWALLOP KITCHEN The four men and little boy sit around the kitchen table eating stew. A Sears Roebuck catalogue on the boy's chair brings him to table height. The cons are now rid of their chains and are dressed in ill-fitting farmer's wear. WASH They foreclosed on Cousin Vester. He hanged himself a year come May. PETE And Uncle Ratliff? WASH The anthrax took most of his cows. The rest don't milk, and he lost a boy to mumps. PETE Where's Cora, Cousin Wash? Wash glances at the little boy. WASH Couldn't say. Mrs. Hogwallop up and R-U-N-N-O-F-T. EVERETT Mm. Must've been lookin' for answers. WASH Possibly. Good riddance, far as I'm concerned... The three men slurp their stew. WASH I do miss her cookin' though. DELMAR This stew's awful good. WASH Think so? He sniffs dubiously at his spoon. WASH I slaughtered this horse last Tuesday; 'm afraid she's startin' to turn. LIVING ROOM Later. The four men sit about listening to a big box radio. Wash is whittling once again; Everett dips his comb into a pomade jar and carefully works on his hair; Pete is digging around with a toothpick; Delmar dreamily waves one hand in time to the music. The music ends. ANNOUNCER Well, that's the last number for tonight's 'Pass the Biscuits Pappy O'Daniel Flour Hour.' This is Pappy O'Daniel, hopin' you folks been enjoyin' that good old-timey music, and remember, when you're fixin' to fry up some flapjacks or bake a mess a biscuits, use cool clear water and good pure Pappy O'Daniel flour for that 'Pass the Biscuits, Pappy' flavor. So tune in next week folks, and till then whyncha turn to your better half and sing along with Pappy: 'You are my sunshine, my only sunshine...' Everett clears his throat. EVERETT Well, guess I'll be turning in... He screws the lid back on the pomade. EVERETT Say, Cousin Wash, I guess it'd be the acme of foolishness to inquire if you had a hairnet. WASH Got a bunch in yon byurra. Mrs. Hogwallop's, matter of fact. Hepyaseff; I won't be needin' 'em. THE THREE MEN Sleeping in a hayloft. Everett wears a hairnet over his painstakingly arranged hair. Pete snores on the inhale. Delmar whistles on the exhale. A spotlight plays over the hayloft ceiling and a voice booms: BULLHORN VOICE All right boys, itsy authorities. The three men rouse themselves. BULLHORN VOICE We gotcha surrounded. Just come on out grabbin' air! Everett shrugs his shoulders and peeks down into the barnyard. EVERETT Damn! We're in a tight spot! From high we see a foreshortened lawman holding a bullhorn surrounded by armed deputies. Next to the man with the bullhorn, a tin-starred sheriff watches impassively through mirrored sunglasses, a bloodhound drooling at his side. MAN WITH BULLHORN And don't try nothin' fancy - your sitchy-ation is purt nigh hopeless. DELMAR What inna Sam Hill...? EVERETT Pete's cousin turned us in for the bounty! PETE The hell you say! Wash is kin! An unamplified voice echoes up from the yard: VOICE Sorry Pete! I know we're kin! But they got this Depression on, and I gotta do fer me and mine! Pete screams down from the hayport: PETE I'M GONNA KILL YOU, JUDAS ISCARIOT HOGWALLOP! YOU MIS'ABLE HOSS-EATIN' SONOFABITCH! YOU- RAT-A-TAT-A-TAT- Everett pulls Pete down as a tommy gun spits lead into the hayloft. EVERETT Damn! We're in a tight spot! Pete is enraged: PETE Damn his eyes! Pa always said never trust a Hogwallop-COME'N GET US, COPPERS! BULLHORN VOICE So be it! You boys're leavin' us no choice but to smoke you out. EVERETT Oh no! Lord have mercy! Men approach the barn with torches. DELMAR What do we do now, Everett? EVERETT Fire! I hate fire! PETE YOU LOUSY TIN-WEARIN' MOTHERLESS BARNBURNIN' COCKROACHES- Everett cuts in, his voice breaking: EVERETT NOW HOLD ON, BOYS-AINTCHA EVER HEARD OF A NEGOTIATION? MAYBE WE CAN TALK THIS THING OUT! DELMAR Yeah, let's negotiate 'em, Everett. The hayloft is filling with smoke. Flames lick downstairs. PETE YOU LOUSY YELLA-BELLIED LOW-DOWN SKUNKS- EVERETT Now hold on, Pete, we gotta speak with one voice here - CAREFUL WITH THAT FIRE NOW, BOYS! Pete grabs a flaming faggot and hurls it down at the deputized congregation. It lands harmlessly in some scattered straw. BULLHORN VOICE You choose it, boys - the prison farm or the pearly gates! The straw curls, lights, and the fire scuttles over to a parked Black Maria. With a loud airy WHOOOF! the undercarriage of the police van pops into flame. The man with the bullhorn sees it. MAN WITH BULLHORN Holy Saint Christopher - OUTA THAT VEHICLE, CHAMP, SHE'S LICKIN' FAR! Tommy guns are stored in the back of the van. The drum of one starts spinning. Flames lick up the outside of the van as - chinka-chinka- chinka - bullet holes walk across the body. MAN WITH BULLHORN Take cover, boys, THAT AIN'T POPCORN! Yelling men scurry away. The vehicle rocks and chatters under the force of the many tommy guns now firing inside. Tires pop, hiss and settle; doors pop open; glass shatters. VOICES Who's that? An oncoming car is bouncing crazily across the yard, horn blaring. Deputies leap out of its path. The car shoots past the chattering van which still bucks and bounces on its shocks, its interior strobing and flashing as if filled with trapped lightning. The speeding car heads directly for the flaming barn door and crashes through in a shower of sparks. The car brakes inside the barn and the driver's door flies open. The little Hogwallop boy yells over the roar of the flames: BOY Come on, boys! I'm gonna R-U-N-N-O-F- T! Pete, Everett and Delmar pile in. DELMAR You should be in bed, little fella. The doors slam shut and the boy grinds into gear. He has wood blocks strapped to his feet so that he can reach accelerator, brake and clutch. He sits on a Sears Roebuck catalogue to give him a view over the dash. BOY You ain't the boss a me! The car speeds for the far wall, sheeted in flame, and bursts through. COUNTRY ROAD - DAY The little Hogwallop boy walks away in long shot down the middle of the empty road. His walk is unsteady, the wood blocks still strapped to his feet. He turns to face us and hollers: BOY You candy-butted car-thievin' so's 'n so's! I curse yer names! Pete enters in the foreground and throws a dirt clod at the boy. It lands shy as Pete yells: PETE Go back home'n mind yer pa! We pan Pete over to the shoulder where the car is stopped, its hood propped open. Everett and Delmar are looking at the engine. PETE What's the damn problem? DRYGOODS STORE The proprietor is a bespectacled middle-aged man wearing sleeve garters and a visor. Behind him are stacked, among other necessaries, sacks of O'Daniel Flour. He pushes a small tin across the counter. PROPRIETOR I can get the part from Bristol; it'll take two weeks. Here's your pomade. Everett is stunned. EVERETT Two weeks! That don't do me no good! PROPRIETOR Nearest Ford auto man's Bristol. Everett picks up the tin. EVERETT Hold on there - I don't want this pomade, I want Dapper Dan. PROPRIETOR I don't carry Dapper Dan. I carry Fop. EVERETT No! I don't want Fop! Goddamnit - I use Dapper Dan! PROPRIETOR Watch your language, young fellow, this is a public market. Now, if you want Dapper Dan I can order it for you, have it in a couple of weeks. EVERETT Well, ain't this place a geographical oddity-two weeks from everywhere! Forget it! Just the dozen hairnets! PETE AND DELMAR On a wooded hillside. They sit at a twig fire, roasting a small creature on a spit. EVERETT (O.S.) It didn't look like a one-horse town... He stalks into frame and plops disgustedly down by the fire. EVERETT ...but try getting a decent hair jelly. DELMAR Gopher, Everett? EVERETT And no transmission belt for two weeks neither. PETE Huh?! They dam that river on the 21st. Today's the 17th! EVERETT Don't I know it. PETE We got but four days to get to that treasure! After that, it'll be at the bottom of a lake! He grimly shakes his head. PETE We ain't gonna make it walkin'. DELMAR Gopher, Everett? Everett has taken out a can of near-empty Dapper Dan. He scrapes the last of it onto his comb and starts combing his hair. We hear distant singing - one lone tenor voice. EVERETT Well, you're right there, but the ol' tactician's already got a plan- Everett fishes a gold watch from his pocket and tosses it to Pete. EVERETT -for the transportation, that is; I don't know how I'm gonna keep my coiffure in order. Pete looks at the watch, puzzled. PETE How's this a plan? How're we gonna get a car? EVERETT Sell that. I figured it could only have painful associations for Wash. Pete pops the front and reads the inscription. PETE To Washington Bartholomew Hogwallop. From his loving Cora. Ay-More Fie- dellis. EVERETT It was in his bureau. He screws the lid back on the pomade. Delmar whistles appreciatively. DELMAR You got light fingers, Everett. Gopher? PETE You mis'able little sneak thief... He lurches threateningly to his feet. PETE You stole from my kin! Everett scrambles up. EVERETT Who was fixing to betray us! PETE You didn't know that at the time! EVERETT So I borrowed it till I did know! PETE That don't make no sense! EVERETT Pete, it's a fool looks for logic in the chambers of the human heart. What the hell's that singing? We can make out the words now, sung by the lone tenor. VOICE Oh Brothers, let's go down, come on down, don't you wanna go down... People in white robes are drifting down the hill, through the woods behind the campsite. They join in with the lead voice: VOICES Oh Brothers, let's go down, down to the river to pray... Delmar gazes wonderingly at the white-robed figures as he answers Everett: DELMAR Appears to be... some kinda... con- gur-gation. Care for some gopher? Everett too watches the white-robed people following in the wake of the tenor. He answers absently: EVERETT No, thank you Delmar - a third of a gopher would only rouse my appetite without beddin' her back down. There are more and more white robes drifting through the woods, all of them strangely oblivious to the three men. DELMAR You can have the whole thing - me'n Pete already had one... There is an endless stream now, drifting through the foreground, the background, the campsite itself. VOICES Oh, sisters, let's go down, come on down, don't you want to go down... DELMAR We ran acrost a gopher village... The drifting worshipers wear beatific expressions. One only, a middle-aged woman, notices the three convicts around whom the rest of the flock blindly drifts. She calls to them: WOMAN Come with us, brothers! Join us and be saved! THE RIVER White robes stream down the hill, out of the woods, and down the riverbank. The voices swell in a great chorus: VOICES We went down to the river one day, Studying about that good old way, And who shall wear that robe and crown, Oh Lord, show us the way... We are booming down to reveal a minister in the foreground. He stands belly-deep in the river, easing a white-robed man back-down into the water. Behind him a line of robed singers lengthens steadily as people stream out of the woods. Pete, Delmar and Everett emerge from the woods and gaze down at the river. White-robed people continue to drift past them. EVERETT I guess hard times flush the chumps. Everybody's lookin' for answers, and there's always- Delmar wades out into the stream, cutting in line. EVERETT Where the hell's he goin'? Delmar has reached the minister and holds his nose as the minister incantates over him and lowers him into the water. PETE Well, I'll be a sonofabitch. Delmar's been saved! EVERETT Pete, don't be ignorant- Delmar is slogging back through the water. DELMAR Well that's it boys, I been redeemed! The preacher warshed away all my sins and transgressions. It's the straight-and-narrow from here on out and heaven everlasting's my reward! EVERETT Delmar what the hell are you talking about? - We got bigger fish to fry- DELMAR Preacher said my sins are warshed away, including that Piggly Wiggly I knocked over in Yazoo! EVERETT I thought you said you were innocent a those charges. DELMAR Well I was lyin' - and I'm proud to say that that sin's been warshed away too! Neither God nor man's got nothin' on me now! Come on in, boys, the water's fine! LATER The smoldering twig fire. A bloodhound on a leash circles into frame, its tail fiercely wagging. We follow it as, nose to the ground and straining against its leash, it waddles over to an empty tin of Dapper Dan pomade. A VOICE All tight, boys! We got the scent! A CAR Everett drives, shaking his head with a forebearing smile. Pete, sitting next to him, and Delmar, in back, are both dripping wet. Pete is sullen: PETE The preacher said it absolved us. EVERETT For him, not for the law! I'm surprised at you, Pete. Hell, I gave you credit for more brains than Delmar. DELMAR But there were witnesses, saw us redeemed! EVERETT That's not the issue, Delmar. Even if it did put you square with the Lord, the State of Mississippi is more hardnosed. DELMAR You should a joined us, Everett. It couldn't a hurt none. PETE Hell, at least it woulda washed away the stink of that pomade. EVERETT Join you two ignorant fools in a ridiculous superstition? Thank you anyway. And I like the smell of my hair treatment - the pleasing odor is half the point. He shakes his head and laughs. EVERETT Baptism. You two are just dumber'n a bag of hammers. Well, I guess you're my cross to bear- DELMAR Pull over, Everett - let's give that colored boy a lift. A thirtyish black man in worn go-to-meetin' clothes stands on the shoulder, waggling his thumb at the passing car. He grabs his battered guitar case as the car pulls over and trots up to the open window. HITCHHIKER You folks goin' through Tishamingo? Delmar pushes open the back door. DELMAR Sure, hop in. Everett looks at the man in the rearview mirror as he pulls out. EVERETT How ya doin', boy? Name's Everett, and these two soggy sonsabitches are Pete and Delmar. Keep your fingers away from Pete's mouth-he ain't had nothin' to eat for the last thirteen years but prison food, gopher, and a little greasy horse. HITCHHIKER Thank you fuh the lif', suh. M'names Tommy. Tommy Johnson. Delmar is genuinely friendly: DELMAR How ya doin', Tommy. I haven't seen a house in miles. What're you doin' out in the middle of nowhere? Tommy is matter-of-fact: TOMMY I had to be at that crossroads las' midnight to sell mah soul to the devil. EVERETT Well ain't it a small world, spiritually speakin'! Pete and Delmar just been baptized and saved! I guess I'm the only one here who remains unaffiliated! DELMAR This ain't no laughin' matter, Everett. EVERETT What'd the devil give you for your soul, Tommy? TOMMY He taught me to play this guitar real good. Delmar is horrified: DELMAR Oh, son! For that you traded your everlastin' soul?! Tommy shrugs. TOMMY I wudden usin' it. PETE I always wondered-what's the devil look like? EVERETT Well, of course there's all manner of lesser imps'n demons, Pete, but the Great Satan hisself is red and scaly with a bifurcated tail and carries a hayfork. TOMMY Oh no! No suh! He's white-white as you folks, with mirrors for eyes an' a big hollow voice an' allus travels with a mean old hound. PETE And he told you to go to Tishamingo? TOMMY No suh, that was mah idea. I heard they's a man there pays folks money to sing into a can. They say he pays extra effen you play real good. Everett's eyes narrow as he studies the man in the rearview. EVERETT How much does he pay? TISHAMINGO The car is pulling into the parking lot of a single-story cement-block building with a hundred-foot antenna and a handpainted sign: WEZY LISTENING AIN'T NEVER BEEN SO EASY NOR SO FINE As the men get out of the car, Everett snaps his suspenders. EVERETT All right boys, just follow my lead. INSIDE Everett strides up to a portly middle-aged man who wears dark glasses and holds a white cane. EVERETT Who's the honcho around here? MAN I am. Hur you? EVERETT Well sir, my name is Jordan Rivers and these here are the Soggy Bottom Boys outta Cottonelia Mississippi- Songs of Salvation to Salve the Soul. We hear you pay good money to sing into a can. MAN Well that all depends. You boys do Negro songs? Everett grimaces, thinking. EVERETT Sir, we are Negroes. All except our a-cump- uh, company-accompluh- uh, the fella that plays the gui-tar. MAN Well, I don't record Negro songs. I'm lookin' for some ol'-timey material. Why, people just can't get enough of it since we started broadcastin' the 'Pappy O'Daniel Flour Hour', so thanks for stoppin' by, but- EVERETT Sir, the Soggy Bottom Boys been steeped in ol'-timey material. Heck, you're silly with it, aintcha boys? PETE That's right! DELMAR That's right! We ain't really Negroes! PETE All except fer our a-cump-uh-nust! THE STUDIO The three singing convicts form a semi-circle behind Tommy, who plays his guitar into a can microphone. They are performing a hot and harmonized version of 'Man of Constant Sorrow'. When they finish Everett whoops and slaps Tommy on the back. EVERETT Hot damn, boy, I almost believe you did sell your soul to the devil! MAN Boys, that was some mighty fine pickin' and singin'. You just sign these papers and I'll give you ten dollars apiece. EVERETT Okay sir, but Mert and Aloysius'll have to scratch Xes - only four of us can write. THE LOT A caravan of two oversize cars is pulling into the lot just as Tommy and the three convicts burst out of the station door, whooping it up. A sixty-year-old man in enormous seersucker pants held up by suspenders and the outward pressure of a blooming belly is getting out of the first car. His face is familiar from countless sacks of Pass the Biscuits Pappy O'Daniel Flour. Delmar waves a fistful of money at him. DELMAR Hey mister! I don't mean to be tellin' tales out a school, but there's a man in there hands out ten dollars to anyone sings into his can! PAPPY I'm not here to make a record, ya dumb cracker, they broadcast me out on the radio. A big shambling man of about thirty has followed him out of the car. He has the sloping shoulders, the pasty skin, and the aimlessly bobbing head of an intellectual flyweight. JUNIOR That's Governor Menelaus 'Pass the Biscuits, Pappy' O'Daniel, and he'd sure 'preciate it if you ate his farina and voted him a second term. Two other members of the retinue, older men whose girth rivals the governor's, are Eckard and Spivey. ECKARD Finest governor we've ever had in M'sippi. SPIVEY In any state. ECKARD Oh Lord yes, any parish'r precinct; I was makin' the larger point. As Pappy brushes by them, Junior wheedles: JUNIOR Aintcha gonna press the flesh, Pappy, do a little politickin'? Pappy slaps at the young man with his hat. PAPPY I'll press your flesh, you dimwitted sonofabitch - you don't tell your pappy how to cawt the elect 'rate! Pappy waves his hat at the radio building as singers in faux hillbilly outfits with various musical instrument cases get out of the second car. PAPPY We ain't one-at-a-timin' here, we mass communicatin'! ECKARD Oh, yes, assa parful new force. SPIVEY Mm-mm. The men head for the station, with Junior lagging. PAPPY Shake a leg, Junior! Thank God your mama died givin' birth-if she'd a seen ya she'd a died of shame... A CAMPFIRE It is night. Tommy sits in the background, playing and singing a slow blues. The three convicts, holding coffee cups, gaze into the fire. Over the dreamy song: DELMAR Why don't we bed down out here tonight? PETE Yeah, it stinks in that ol' barn. EVERETT Suits me... He stretches out. EVERETT Pretty soon it'll be nothin' but feather beds'n silk sheets. Pete swishes his coffee as he stares into the blaze. PETE A million dollars. EVERETT Million point two. DELMAR Five... hunnert... thousand... each. EVERETT Four hundred, Delmar. DELMAR Izzat right? EVERETT What're you gonna do with your share of the treasure, Pete? PETE Go out west somewhere, open a fine restaurant. I'm gonna be the maider dee. Greet all the swells, go to work ever' day in a bowtie and tuxedo, an' all the staff'll all say Yassir and Nawsir and in a Jiffy Pete... He gives his coffee a thoughtful swish and murmurs: PETE An' all my meals for free... EVERETT What about you, Delmar? What're you gonna do with your share a that dough? DELMAR Visit those foreclosin' sonofaguns down at the Indianola Savings and Loan and slap that cash down on the barrelhead and buy back the family farm. Hell, you ain't no kind of man if you ain't got land. PETE What about you, Everett? What'd you have in mind when you stoled it in the first place? EVERETT Me? Oh, I didn't have no plan. Still don't, really. PETE Well that hardly sounds like you... A distant Voice: VOICE All right, boys, itsy authorities! The three men tense up. Tommy stops singing. VOICE Your sitchy-ation is purt nigh hopeless! Pete shovels dirt onto the fire as Delmar and Everett scramble to peek over a low ridge. Their point-of-view shows a lone barn with their car parked to one side. Various police vehicles have pulled up facing the barn, and armed men, their backs to us, train guns on it, some taking cover on the near side of their parked cars. EVERETT Damn! They found our car! The man with the bullhorn continues, directing his comments at the distant barn: MAN We ain't got the time-and nary inclination-to gentle you boys no further! The three convicts notice the sheriff who once again stands impassively next to the man with the bullhorn, holding a leash against which a bloodhound strains. MAN It's either the penal farm or the fires of damnation-makes no nevermind to me! The sheriff makes a signal to a man holding a torch, who skitters up to the barn and lights it. DELMAR Damn! We gotta skedaddle! EVERETT I left my pomade in that car! Maybe I can creep up! DELMAR Don't be a fool, Everett, we gotta R- U-N-O-F-F-T, but pronto! EVERETT Where's Tommy? PETE Already lit out, scared out of his wits. Let's go! DAYTIME ROAD The three men shuffle down the dusty road. PETE The hell it ain't square one! Ain't no one gonna pick up three filthy unshaved hitchhikers, and one of 'em a know-it-all that can't keep his trap shut! EVERETT Pete, the personal rancor reflected in that remark I don't intend to dignify with comment, but I would like to address your general attitude of hopeless negativism. Consider the lilies a the goddamn field, or-hell!- take a look at Delmar here as your paradigm a hope. DELMAR Yeah, look at me. EVERETT Now you may call it an unreasoning optimism. You may call it obtuse. But the plain fact is we still have... close to... close to... He loses his drift as all three men turn, reacting to the sound of an approaching speeding car. EVERETT ...close to... three days... before they dam that river... The car comes into view cornering on two wheels. It crashes back onto all four and, as it speeds along, dollar bills snap and flutter out its windows. The car roars up to the three men as Delmar waggles a hopeful thumb. It screeches to a halt. The driver, a young man in a sharp suit with a round, babylike face, leans over to call through the passenger window. DRIVER Is this the road to Itta Bena? PETE Uh... Itta Bena... Delmar plucks a fluttering dollar bill out of the air and looks at it wonderingly. He holds it stretched between two hands, brings the two sides together, then gives it an appraising pop. EVERETT Itta Bena, now, uh, that would be... PETE Isn't it, uh... Like a child gazing at soap bubbles, Delmar looks around at the wafting currency, and yanks another fluttering bill out of the air. EVERETT I'm thinkin' it's uh, you could take this road to, uh... There is the sound of a distant siren. The driver, still patiently leaning over to hear out the two brainwrackers, shoots a quick look in his rearview mirror. PETE ...Nah, that ain't right... I'm thinkin' of... EVERETT ...I believe, unless I'm very much mistaken - see, we've been away for several years, uh... The driver pushes open the passenger door. DRIVER Hop on in while you give it a think. The three men climb in and the car squeals out. INT. CAR The driver shoots a glance up to the rearview mirror as the sirens grow louder, then gropes inside his coat. DRIVER Any a you boys know your way around a Walther PPK? DELMAR Well now, that's where we cain't help ya. I don't believe it's in Mississippi. The man stops withdrawing the gun and appraises his passengers. Delmar reacts to the paper currency fluttering inside the car: DELMAR Friend, some of your folding money has come unstowed. DRIVER Just stuff it down that sack there. You boys aren't badmen, I take it? DELMAR Well, funny you should ask-I was bad, till yesterday, but me'n Pete here been saved. My name's Delmar, and that there's Everett. DRIVER George Nelson. It's a pleasure. He opens his door and steps onto the running board, giving Everett a casual: NELSON Grab the tiller, will ya buddy? Everett slides over, startled. George Nelson, now fully outside and facing the pursuit vehicles, has one hand clamped on the car roof and waves to Delmar with the other. NELSON Hand up that Thompson, Jack. Delmar gropes in the footwell. DELMAR Say, what line of work are you in, George? EXT. CAR Nelson sends a spray of bullets back at the pursuit car. NELSON COME AND GET ME, COPPERS! YOU FLATFOOTED LAMEBRAINED SOFT-ASSED SONOFABITCHES! NO ONE CAN CATCH ME! I'M GEORGE NELSON! I'M BIGGER THAN ANY JOHN LAW EVER LIVED! HA-HA-HA-HA- HA! I'M TEN-AND-A-HALF FEET TALL AND AIN'T YET FULLY GROWED! Nelson fires wildly as the pursuit cars gain on him, returning fire. He suddenly notices a herd of cattle grazing at the roadside and murmurs: NELSON ...cows... He swings the tommy gun over with a whoop. NELSON I hate cows worse than coppers! He lets loose a spray. One of the cows drops and the rest stampede toward the road. DELMAR Aww, George, not the livestock. Energized, Nelson resumes bellowing: NELSON HA-HA! COME ON YOU MISERABLE SALARIED SONSABITCHES! COME AND GET ME! In bovine ignorance of the conventions of high-speed police pursuit, some of the cows have wandered up onto the road. The lead police car broadsides one. George Nelson, cackling wildly, fires into the air as his car recedes. SMALL TOWN The car is speeding into town, dodging and weaving through light traffic as George fires into the air - perhaps a means of clearing a path, perhaps an expression of high spirits. The car screeches to a halt and George hops out, and the three convicts emerge to follow him. NELSON COME ON BOYS! WE'RE GOIN' FOR THE RECORD-THREE BANKS IN TWO HOURS! Jowls shaking in a full run, George Nelson bursts through the door of the bank, followed by the three men. He fires into the ceiling and leaps up onto a table. NELSON OKAY FOLKS! HOLD THE APPLAUSE AND DROP YER DRAWERS - I'M GEORGE NELSON AND I'M HERE TO SACK THE CITY A ITTA BENA! He leaps down, fires into the air again, and sweeps a young woman standing in line into a full V-J dip, kissing her on the lips. Delmar nudges Everett. DELMAR He's a live wire though, ain't he? NELSON Thanky dear! All the money in the bag, and you can tell your grandkids you were done by the best! I'M GEORGE NELSON AND I'M FEELIN' TEN FEET TALL! He winks at the three men who obediently wait. NELSON It's a kick and a quarter, ain't it boys? Distant sirens again. EVERETT Pardon me, George, but have you got a plan for gettin' outa here? NELSON Sure boys, here's m'plan! He whips open his suitcoat to reveal a half-dozen sticks of dynamite. NELSON They ain't never seen ordnance like this! WELL, THANK YOU, FOLKS, AND REMEMBER: JESUS SAVES, BUT GEORGE NELSON WITHDRAWS! HA-HA-HA-HA-HA- HA! GO FETCH THE AUTO-VOITURE, PETE! He sends a burst into the ceiling, and heads for the door as customers murmur. VOICE ...it's Babyface Nelson... George whirls. NELSON WHO SAID THAT?! The customers stare mutely back. NELSON WHAT IGNORANT LOWDOWN SLANDERIZING SONOFABITCH SAID THAT?! MY NAME IS GEORGE NELSON, GET ME?! The customers shuffle their feet and glance uncomfortably about. Delmar lays a hand on George's shoulder and tries to steer him toward the door. DELMAR They didn't mean anything by it, George. NELSON GEORGE NELSON! NOT BABYFACE! YOU REMEMBER AND YOU TELL YOUR FRIENDS! I'M GEORGE NELSON, BORN TO RAISE HELL! OUTSIDE THE BANK The siren grows louder as the four men emerge. EVERETT You gotta be a little tolerant, George; all these poor folk know is the legend. Hell, they can't be expected to appreciate the complex individual underneath- NELSON Aww, I'm all right- He shrugs off Everett's hand and lights the fuse on a stick of dynamite. NELSON This'll put me right back on top! The car squeals up and, as sirens approach once again, the three men pile in. NELSON OR-VOIR, ITTA BENA! GEORGE NELSON THANKS YOU FOR YOUR SUPPORT! As the car peels out - KA-BOOM! - the dynamite blows a crater in the street behind. CAMPFIRE It is night. George Nelson, now strangely quiet, holds a coffee cup and stares gloomily into the fire. After a long beat, Delmar, also staring into the fire, slaps one knee and ejaculates: DELMAR Damn but that was some fun though, won it George?! George responds, barely audible and without brightening: GEORGE ...yeah... Everett and Pete exchange significant looks. Delmar, however, is less sensitive to the Babyface's mood. DELMAR Almost makes me wish I hadn't been saved! Jackin' up banks - I can see how a fella could derive a lot a pleasure and satisfaction out of it! GEORGE ...it's okay... DELMAR Whoa doggies! At length George swishes the coffee around his cup, shrugs, tosses the coffee and rises. GEORGE ...Well, I'm takin' off. He digs into a pocket and tosses his car keys to a dumbfounded Delmar. GEORGE You boys can have the automobile. Glassy-eyed, he continues to dig in his pockets and lets his money fall to the ground. GEORGE 'N might as well take my share a the riches. DELMAR What the - where you goin', George? George has turned woodenly and walks away, leaving the campfire's flickering circle of light. GEORGE ...I dunno... who cares... Delmar stares at Everett, who looks appraisingly at George's retreating back. Pete scrambles to pick up the loose money. DELMAR Now wuddya suppose is eatin' George? EVERETT Well ya know, Delmar, they say that with a thrill-seekin' personality, what goes up must come down. Top of the world one minute, haunted by megrims the next. Yep, it's like our friend George is a alley cat and his own damn humors're swingin' him by the tail. But don't worry, Delmar; he'll be back on top again. I don't think we've heard the last of George Nelson. Delmar, gazing out at the blackness that has closed over George Nelson, hasn't really been listening. He turns sadly back. DELMAR Damn! I liked George. A FIELD A ploughing farmer has paused to look for the source of distant string-band music, growing closer. There is also an approaching amplified voice: VOICE Don't be saps for Pappy; vote for Stokes and responsible gummint! A stakebed truck approaches along the road bordering the field. It is festooned with Stokes banners showing the candidate holding high a broom. Pickers perform in the bed of the truck, along with a dancer doing a two-step as he pushes a broom. A midget in overalls waves his arms, as if conducting the music. VOICE He's against the Innarests and for the little man! This, the driver's voice, is amplified through a flared speaker mounted on the roof of the cab. As the oncoming truck draws near, the midget bellows out at the farmer, who has removed his hat to scratch his forehead. MIDGET Greetings, brother! Vote for Stokes! The voice tails away: MIDGET Clean gummint is yours for the askin'! Our pan with the passing truck comes to rest on the WEZY radio building. INSIDE We are pulling back from a close shot of the portly blind man. MAN Hang on! Lemme slap up a wire. He turns away to load a recording as he talks into a microphone. MAN Folks, here's my cousin Ezzard's niece Eudora from out Greenwood doin' a little number with her cousin Tom- Tom which I predict you're just gonna enjoy thoroughly. He switches off the microphone as the song, a duet of 'I'll Fly Away', scratchily issues from a monitor. He turns his attention back to a well-dressed man sitting nearby. MAN Now what can I do you for, Mister French? FRENCH How can I lay hold a the Soggy Bottom Boys? MAN Soggy Bottom Boys - I don't precisely recollect, uh - FRENCH They cut a record in here, few days ago, old-timey harmony thing with a guitar Accump-accump-uh- MAN Oh I remember 'em, colored fellas I believe, swell bunch a boys, sung into yon can and skedaddled. FRENCH Well that record has just gone through the goddamn roof! They're playin' it as far away as Mobile! The whole damn state's goin' ape! MAN It was a powerful air. FRENCH Hot damn, we gotta find those boys! Sign 'em to a big fat contract! Hell's bells, Mr. Lunn, if we don't the goddamn competition will! MAN Oh mercy, yes. You gotta beat that competition. 'I'll Fly Away' mixes up to play full over the following. MONTAGE - The three men walk down a flat delta road, the sun shimmering off the rough pavement. Their bank loot, wrapped in a bandanna, is knotted to the end of a stick slung over Delmar's shoulder. - A different road under a threatening sky. The three men stand in the middle distance, waiting. In the foreground two little black boys are walking home, each carrying a block of ice. A horse-drawn cart rumbles in from offscreen and Everett waggles his thumb. Thunder rumbles. - A spinning 78 on a green felt turntable. The crude black label identifies it as 'Man of Constant Sorrow' by the Soggy Bottom Boys. - A high shot looking down through the rain past the dripping eave of a barn, under which Everett, Pete and Delmar have taken cover. The three hold their coats pinched shut at the neck as they look forlornly up at the weather. - The three men walk along a red dirt road elevated through a bayou. - The three men sit around a campfire. Everett sits on a stump, expressively telling a ghost story as Pete and Delmar gaze at him from below, wide-eyed and rapt. - The three men walk past a cotton field dotted with burst pods. - A Woolworth's interior. A sad-faced woman in a calico dress addresses the clerk: SAD-FACED WOMAN Do you have the Soggy Bottom Boys performing 'Man of Constant Sorrow'? CLERK No, ma'am, we had a new shipment in yesterday but we just can't keep it on the shelves. The sad-faced woman is crestfallen. SAD-FACED WOMAN Oh, mercy. Then - just the purple toilet water. - The three men walk down a road excavated through banks of clay, from which gnarled tree roots protrude. - A pie rests on a windowsill, steam wafting from it. A hand enters from below the sill outside and disappears with the pie. A moment later we see Everett's and Pete's backs as they scamper away across the yard. A short beat, and then Delmar peeks over the sill. He ducks back down and then his hand reaches up to leave a dollar bill. Moments later we see him scampering away after Pete and Everett. - Another campfire. The three men sit around it laughing as they enjoy the pie, each with a slab on a plate improvised of old newspaper. Everett finishes his piece, licks his thumb and tosses the newspaper onto the fire. We jump in to look at the soiled newspaper as flame begins to curl its edge. A story is headlined 'TVA Finalizing Plans for Flooding of Arktabutta Valley'. The flame curls the page away, briefly revealing the page beneath - with a story headlined 'Soggy Bottom Boys a Sensation - But Who Are They?' - before it too is consumed. - A little general store. We are very high, looking down at a foreshortened Everett, Pete, Delmar and store clerk, who is wielding a long telescoping pole that stretches toward us. Everett is pointing up, directing the man with the pole. He moves it tentatively to and fro until, at a certain point, Everett nods vigorously. A reverse shows the end of the pole - a long stock-pincher - as it closes over a tin of Dapper Dan pomade, resting on a high shelf. The exterior of the store shows it to be on a corner of a little crossroads town. The three men are emerging from the store just as a car pulls up to one of the two bubble-topped gas pumps out front. A fancyman in a boater hat gets out of the car and heads for the store, passing the three; Everett glances at him and, as the man disappears inside, he dives into his car, waving for Delmar and Pete to follow. Delmar, initially reluctant, is hauled into the car by Pete, and the men take off. - The spinning 78 recording, as the song enters its last verse. - A spinning car wheel. - A panoramic boom up as the car toodles away, down a road that winds through scrub grass toward a distant sunset. THE CAR The three men are driving through the heat of the day. Everett drives; Pete is slouched in the front passenger seat; Delmar, in back, picks out 'I'll Fly Away' on a banjo. Pete listens to something, squints, tilts his head. PETE ...Shutup, Delmar. Delmar and Everett exchange glances; Everett shrugs and Delmar desists. We can faintly hear a high, unearthly singing. Barely human, the sound seems to agitate Pete. He looks desperately out the window. His hinging point-of-view shows, down the declivity from the road and half hidden by trees, three women washing clothes in the river. Pete's reaction is enormous. He jams a fist into his mouth, eyes widening. He yanks the fist out and screams: PETE PULL OVER! Everett, startled, does so. EXT. Before the car has even come to a stop Pete's door flies open and he is stumbling down the bank to the river. Everett and Delmar follow more casually, Everett chuckling. EVERETT I guess o' Pete's got the itch. AT THE RIVER The unearthly singing, full volume here, comes from the three women, beautiful but marked by an otherworldly langor as they dunk clothes in the stream and beat them against rocks. Pete is all awkward smiles and deep, burning eyes: PETE Howdy do, ladies. Name of Pete! Strangely, the three laundresses do not answer, though they do smile at him as they continue to sing. Pete tries again as he reaches into their laundry basket: PETE Maybe I could help you with the, uh- He realizes he is holding ladies' undergarments. PETE Ahem. I, uh... He drops them back in the basket. PETE I don't believe I've, uh, heard that song before... Everett and Delmar have arrived; Everett is loud and jovial: EVERETT Aintcha gonna innerduce us, Pete? Pete's eyes stay glued on the women as he hisses out of the corner of his mouth: PETE Don't know their names. I seen 'em first! Everett laughs lightly. EVERETT Ladies, you'll have to pardon my friend here; Pete is dirt-ignorant and unschooled in the social arts. My name on the other hand is Ulysses Everett McGill and you ladies are about the three prettiest water lilies it's ever been my privilege to admire. None of the women respond but, as all continue to sing, one brings a jug marked with three Xes to Everett. EVERETT Why, thank you dear, that's very, uh... He takes a swig. EVERETTE Mm. Corn licker, I guess, uh, the preferred local uh... He passes the jug to Pete as the woman runs her fingers through his hair. The other two women are approaching to likewise tousle Pete and Delmar. Delmar's woman caresses his face and, by squeezing his cheeks, smushes his mouth into a pucker. DELMAR Pleased to meet you, ma'am. The singing continues. The stream gurgles. Somewhere, in the distance, flies lazily buzz. PETE Damn! FADE OUT FADE IN CLOSE ON DELMAR We are very tight. Delmar's eyes are closed. We hear loud snoring. At length his eyelids flutter open, but the snoring continues. Delmar groggily props himself on one elbow. It is late afternoon. He is still on the riverbank. Everett snores nearby. The ladies are gone. The hamper of laundry is gone. Pete is gone. After looking blearily about for a moment, Delmar starts and staggers to his feet. DELMAR Holy Saint Christopher! He toes Everett urgently in the ribs. EVERETT Whuhh... DELMAR Oh sweet Lord, Everett, looka this! Pete's clothes are laid out on the ground, not in a heap, but mimicking the human shape, as if he had been simply vaporized fron within them. Everett rouses himself and looks at the clothes: He scans the opposite river bank. EVERETT PETE! Where the heck are ya! We ain't got time for your shenanigans! Delmar stares horrified at the pile of clothes: a spot in the middle of the shirt is rising and falling, rising and falling. DELMAR Sweet Jesus, Everett! They left his heart! Everett joins Delmar to look. The rhythmic rising and falling now travels up the shirt. A large yellow toad sticks its head out from under the collar. Delmar keens. Everett is bewildered. EVERETT What on earth is goin' on here! What's got into you, Delmar! DELMAR Caintcha see it Everett! Them sigh- reens did this to Pete! They loved him up an' turned him into a horney- toad! The toad hops down the river bank. DELMAR Pete! Come back! He slides down the bank after the toad, Everett watching in perturbation. The toad plops into the river and Delmar dives in after him. He emerges a moment later with the toad wriggling in his hand. DELMAR Don't worry, Pete! It's me, Delmar! Oh Everett! What're we gonna do?! DRIVING We hear soft whimpering as Everett drives, sneaking worried glances over at the passenger seat. Delmar has the toad in his lap. He whimpers as he pets it. Everett hesitantly offers: EVERETT ...I'm not sure that's Pete. DELMAR Course it's Pete! Look at 'im! The frog croaks. DELMAR We gotta find some kinda wizard can change 'im back! A beat. Delmar continues to whimper. Everett squints and shakes his head. EVERETT ...I'm just not sure that's Pete. FINE RESTAURANT The tables are formally laid with linen. Delmar and Everett sit at a table, a shoebox between them, deep in conversation. EVERETT You can't display a toad in a fine restaurant like this! Why, the good folks here'd go right off their feed! DELMAR I just don't think it's right, keepin' him under wraps like we's ashamed of him. EVERETT Well if that is Pete I am ashamed of him. The way I see it he got what he deserved - fornicating with some whore a Babylon. These things- He points a knife at the shoebox. EVERETT -don't happen for no reason, Delmar. Obviously it's some kind of judgment on Pete's character. ANOTHER PATRON We are looking over the shoulder of a broad-shouldered man in a cream-colored suit and a shirt with powder-blue collar. He is digging into a huge plateful of steak and eggs. Sensing something, he looks up, cocks his head, and then slowly turns to look back. He thus reveals a cream-colored eyepatch with powder-blue trim; his good eye is looking intently off - at Everett and Delmar, who continue arguing, out of earshot. BACK TO EVERETT AND DELMAR Still heatedly discussing. DELMAR The two of us was fixing to fornicate! The waitress has just arrived for their order. Everett gives her an ingratiating laugh: EVERETT Heh-heh. You'll have to excuse my rusticated friend here, unaccustomed as he is to city manners. He ostentatiously fans some of his money. EVERETT Well mamzel I guess we'll have a couple a steaks and some gratinated potatoes and wash it down with your finest bubbly wine- BIG MAN Watching Everett fan his money. The big man stops chewing and slowly raises his napkin to his lips to give them a dainty pat. BACK TO EVERETT AND DELMAR As Everett closes his menu. EVERETT ...And I don't suppose the chef'd have any nits or grubs in the pantry, or - naw, never mind, just bring me a couple leafs a raw cabbage. WAITRESS Yes sir. The big man appears as she leaves. BIG MAN Don't believe I've seen you boys around here before! Allow me t'innerduce myself: name of Daniel Teague, known in these precincts as Big Dan Teague or, to those who're pressed for time, Big Dan toot court. EVERETT How d'you do, Big Dan. I'm Ulysses Everett McGill; this is my associate Delmar O'Donnell. I sense that, like me, you are endowed with the gift of gab. Big Dan chuckles as he draws up a chair. BIG DAN I flatter myself that such is the case; in my line of work it's plumb necessary. The one thing you don't want is air in the conversation. EVERETT Once again we find ourselves in agreement. What kind of work do you do, Big Dan? BIG DAN Sales, Mr. McGill, sales! And what do I sell? The Truth! Ever' blessed word of it, from Genesee on down to Revelations! That's right, the word of God, which let me add there is damn good money in during these days of woe and want! Folks're lookin' for answers and Big Dan Teague sells the only book that's got 'em! What do you do - you and your tongue-tied friend? DELMAR Uh, we uh- EVERETT We're adventurers, sir, currently pursuin' a certain opportunity but open to others as well. BIG DAN I like your style, young man, so I'm gonna propose you a proposition. You cover my check so I don't have to run back up to my room, have your waitress wrap your dinner picnic- style, and we'll retire to more private environs where I will explain to you how vast amounts of money can be made in the service of God Amighty. Everett rises and digs in his pocket. EVERETT Well, why not. If nothing else I could use some civilized conversation. As the three men start to move off, Big Dan gives Delmar a tilt of the head and a crinkling smile. BIG DAN Don't forget your shoebox, friend. We hear bellowing issuing from a curtained private dining- room. INSIDE THE PRIVATE ROOM Pappy O'Daniel sits smoking a cigar, nursing a glass of whiskey, and soliciting the counsel of his overweight retinue. PAPPY Languishing! Goddamn campaign is languishing! We need a shot inna arm! Hear me, boys? Inna goddamn ARM! Election held tomorra, that sonofabitch Stokes would win it in a walk! JUNIOR Well he's the reform candidate, Daddy. Pappy narrows his eyes at him, wondering what he's getting at. PAPPY ...Yeah? JUNIOR Well people like that reform. Maybe we should get us some. Pappy whips off his hat and slaps at Junior with it. PAPPY I'll reform you, you soft-headed sonofabitch! How we gonna run reform when we're the damn incumbent! He glares around the table. PAPPY Zat the best idea any you boys can come up with? REEform?! Weepin' Jesus on the cross! Eckard, you may as well start draftin' my concession speech right now. Eckard grunts as he starts to rise. ECKARD Okay, Pappy. Pappy whips him back down with his hat. PAPPY I'm just makin' a point, you stupid sonofabitch! ECKARD Okay, Pappy. As he settles back Eckard looks around the table and helpfully relays: ECKARD Pappy just makin' a point here, boys. A MEADOW The car boosted from the general store has been pulled off the road and parked a few yards into a field littered with bluebonnets and rimmed with moss-dripping oak. Everett, Delmar and Big Dan sit on a blanket around a large picnic hamper. Big Dan is just sucking the last piece of chicken off a bone. He tosses the bone over his shoulder, belches, and sighs. BIG DAN Thankee boys for throwin' in that fricasee. I'm a man a large appetite and even with lunch under my belt I was feeling a mite peckish. EVERETT Our pleasure, Big Dan. BIG DAN And thank you as well for that conversational hiatus; I generally refrain from speech while engaged in gustation. There are those who attempt both at the same time but I find it course and vulgar. Now where were we? DELMAR Makin' money in the Lord's service. BIG DAN You don't say much friend, but when you do it's to the point and I salute you for it. Delmar is pleased and embarrassed. DELMAR Oh, it weren't nothin', I- BIG DAN Yes, Bible sales. The trade is not a complicated one; there're but two things to learn. One bein' where to find your wholesaler - word of God in bulk as it were. Two bein' how to reckanize your customer - who're you dealin' with? - an exercise in psychology so to speak. He rises to his feet and tosses down his napkin. BIG DAN And it is that which I propose to give you a lesson in right now. He reaches up and with one hand easily rips a stout limb off a tree. He casually strips its twigs. EVERETT I like to think that I'm a pretty astute observer of the human scene. BIG DAN No doubt, brother - I figured as much back there in the restaurant. That's why I invited you out here for this advanced tutorial. His club is ready. He swings at Delmar who staggers back with a grunt. Everett wears a puzzled smile. EVERETT ...What's goin' on, Big Dan? Delmar, though stunned, is faster to size things up. He charges Big Dan and wraps his arms around him. Delmar roars. Big Dan rears back and whacks at his head. Everett is still puzzled, but willing to be instructed: EVERETT Big Dan, what're you doin'? Big Dan walks awkwardly over to Everett with Delmar still attached to him like a hunting dog locked on to a bear. Big Dan takes a break from whacking at Delmar to deliver a blow to Everett. The blow catches Everett on the chin and sends him reeling. BIG DAN It's all about money, boys! Atsy answer! Dough re mi! Big Dan bear hugs Delmar and tosses him away. He whacks Everett into a semi-conscious heap and then paws through his pockets. BIG DAN Do unto others before they do unto you! He pulls out their wad of cash. BIG DAN I'll just take your show cards... He walks over to Delmar who is on the ground moaning, and kicks him several times. BIG DAN ...and whatever you got in the hole. He takes Delmar's shoebox and flips off the top. Inside is a bed of straw with the toad resting on it. BIG DAN What the... He pokes around the straw with his finger; nothing else inside. BIG DAN It's nothin' but a damn toad! Delmar, moaning, looks blearily up through swollen eyes. Big Dan has the toad in his enormous fist. Delmar moans through cracked and bloody lips: DELMAR No... you don't understand... BIG DAN Don't you boys know these things give ya warts? He squeezes the frog, crushing it, and tosses it away against a tree. DELMAR Oh Lord... Pete... Big Dan is over at the car, cranking it up. BIG DAN End of lesson. He climbs in. BIG DAN So long, boys! Hee-hee! See ya in the funny papers! The car belches and pops and toodles off down the road. Delmar staggers to his feet and stumbles over to the carcass of the frog, weeping. DELMAR Pete... Pete... Pete... FADE OUT PAN DOWN FROM BLACK TO BRING IN A TORCH Flickering in the night. We hear the rumble of distant thunder as the continued pan down brings the torch's bearer into frame - a man with the slavering grin of the dim-witted sadist. He watches as we hear: VOICE Where are they?! There is the sound of a lash and a scream. VOICE Talk, you unreconstructed whelp of a whore! Where they headed? Another lash brings another scream. The screams come from Pete. His arms, stretched high over his head, are tied to a tree limb. His interrogator wields a bullwhip. INTERROGATOR Your screams ain't gonna save your flesh! Only your tongue is, boy! Another lash, another scream. INTERROGATOR Where they headed! A third man walks into the torchlight, a hound drooling at his heels. He is Cooley, the sheriff with mirrored sunglasses whom we remember from previous barn confrontations. COOLEY Lump. I.O. The two men acknowledge by backing away from Pete. We hear a pat... pat... and then the accelerating pitter- patter of arriving rain. Cooley looks up. COOLEY Sweet summer rain. Like God's own mercy. He looks back down at Pete. COOLEY Your two friends have abandoned you, Pete. They don't seem to care 'bout your hide. He shrugs, looks off. COOLEY ...Okay. Looking up, into black: a rope is tossed up - it recedes out of the torchlight into black night - and then drops back down into the light, a noose bouncing at its end. COOLEY Stairway to heaven, Pete. The two henchmen fit the noose over Pete's neck. Cooley licks his lips. His dog slobbers. COOLEY We shall all meet, by and by. PETE Goddamnit! Cooley holds up one hand. The two men pause in fitting the noose. Pete is sobbing: PETE Godfer gimme! Thunder crashes. BACK OF A HAYTRUCK Everett and Delmar sit disconsolately on a haybale as the stakebed truck bounces along a rough country road. They are both ill-kempt and heavily bruised. Though still an undammable river of verbiage, Everett now seems to be talking out of weary habit, not conviction: EVERETT Believe me, Delmar, he would've wanted us to press on. Pete, rest his soul, was one sour-assed sonofabitch and not given to acts of pointless sentimentality. Delmar doggedly shakes his head. DELMAR It just don't seem right, diggin' up that treasure without him. We distantly hear picks ringing and male chanting. Hollow- eyed, Everett tries to convince himself as much as Delmar: EVERETT Maybe it's for the best that Pete was squushed. Why, he was barely a sentient bein'. Now, soon as we clean ourselves up, get a little smell'um in our hair, we're just gonna feel a hunnert per cent better about ourselves and about... His voice trails away as he looks out at the road. They are passing a line of chained men in prison stripes and duck-billed caps wielding pickaxes and shovels at the side of the road. Guards bearing shotguns amble back and forth. As he stares at the line of men Everett tries to pick up his thread: EVERETT ...and about... life in general... The prisoners look like phantoms in the heat and dust. EVERETT Jesus. We must be near Parchman Farm. The men, giving throat to a dolorous chain-gang chant, do not look up at the passing haytruck. Everett is haunted: EVERETT Sorry sonsabitches... Seems like a year ago we bust off the farm... The last man in line swings his pick and, as he grows smaller, looks up. Everett stares. It is Pete. Lone and lorn, he returns Everett's slack-jawed stare until heat ripples and the truck's dusty wake dissolve him away. Everett blinks. EVERETT Pete have a brother? DELMAR Not that I'm aware. Everett shakes his head as if to clear it. EVERETT Heat must be gettin' to me. The truck rattles on. TOWN SQUARE Ithaca, Mississippi. On a bunting-covered stage a pencil- necked man with round rimless glasses addresses a crowd of rustics. The pencil-neck is identified on posters as 'Homer Stokes, Friend of the Little Man', and, in life as in the pictures, he shakes a broom over his head. A midget in overalls stands next to him. STOKES And I say to you that the great state a Mississippi cannot afford four more years a Pappy O'Daniel - four more years a cronyism, nepotism, rascalism and service to the Innarests! The choice, she's a clear 'un: Pappy O'Daniel, slave a the Innarests; Homer Stokes, servant a the little man! Ain't that right, little fella? The midget enthusiastically seconds: MIDGET He ain't lyin'! STOKES When the litle man says jump, Homer Stokes says how high? And, ladies'n jettymens, the little man has admonished me to grasp the broom a - ree-form and sweep this state clean! The midget waves his little midget broom in time with Stoke's waves. STOKES It's gonna be back to the flour mill, Pappy! The Innarests can take care a theyselves! Come Tuesday, we gonna sweep the rascals out! Clean gummint - yours for the askin'! He beams amid cheers and then, as three girls in gingham frocks run out to join him: STOKES An' now - the little Wharvey gals! Whatcha got for us, darlin's? The oldest girl is about ten. LITTLE GIRL 'In the Highways'! STOKES That's fine. The haytruck has pulled into the square and Everett and Delmar are climbing out. Everett stares at the stage. EVERETT Wharvey gals?! Did he just say the little Wharvey gals? Delmar shrugs. For some reason, Everett is enraged: EVERETT Goddamnit all! Onstage, the three girls are singing in untrained but enthusiastic harmony: GIRLS In the highways, In the hedges... Everett stomps toward the stage, fighting his way through the crowd. Puzzled, Delmar follows. DELMAR You know them gals, Everett? Everett reaches the stage and climbs up into the wings just as the song ends. The midget starts buck-dancing to a fiddle tune as the three little girls, filing off, notice Everett. YOUNGEST Daddy! MIDDLE He ain't our daddy! EVERETT Hell I ain't! Whatsis 'Wharvey' gals? - Your name's McGill! YOUNGEST No sir! Not since you got hit by a train! EVERETT What're you talkin' about - I wasn't hit by a train! MIDDLE Mama said you was hit by a train! YOUNGEST Blooey! OLDEST Nothin' left! MIDDLE Just a grease spot on the L&N! EVERETT Damnit, I never been hit by any train! OLDEST At's right! So Mama's got us back to Wharvey! MIDDLE That's a maiden name. YOUNGEST You got a maiden name, Daddy? EVERETT No, Daddy ain't got a maiden name; ya see - MIDDLE That's your misfortune! YOUNGEST At's right! And now Mama's got a new beau! OLDEST He's a suitor! EVERETT Yeah, I know 'bout that. MIDDLE Mama says he's bona fide! This worries Everett: EVERETT Hm. He give her a ring? YOUNGEST Yassir, big'un! MIDDLE Gotta gem! OLDEST Mama checked it! YOUNGEST It's bona fide! MIDDLE He's a suitor! EVERETT Hm. What's his name? MIDDLE Vernon T. Waldrip. YOUNGEST Uncle Vernon. OLDEST Till tomorrow. YOUNGEST Then he's gonna be Daddy! EVERETT I'm the only damn daddy you got! I'm the damn paterfamilias! OLDEST Yeah, but you ain't bona fide! EVERETT Hm. Where's your mama? Stokes is announcing from the stage: STOKES And now let's fetch back the Wharvey gals to sing 'I'll Fly Away'. The girls call over their shoulders as they run back onstage: MIDDLE She's at the five and dime. YOUNGEST Buyin' nipples! WOOLWORTH'S The faces of a six-year-old girl and her four-year-old sister light up. GIRLS Daddy! Next to them is a two-year-old girl with a string wrapped around her waist. The other end of the string is held by a woman in her thirties with a haggard, careworn face. The woman also holds a babe-in-arms. Everett, entering, goggles at the infant. EVERETT Who the hell is that?! WOMAN Starla Wharvey. EVERETT Starla McGill you mean! How come you never told me about her? SIX-YEAR-OLD 'Cause you was hit by a train. EVERETT And that's another thing - why're you tellin' our gals I was hit by a train! WOMAN Lotta respectable people been hit by trains. Judge Hobby over in Cookeville was hit by a train. What was I supposed to tell 'em - that you was sent to the penal farm and I divorced you from shame? EVERETT Well - I take your point. But it leaves me in a damned awkward position vis-a-vis my progeny. A man in a straw boater joins them. BOATER 'Lo Penny... This gentleman bothering you? EVERETT You Waldrip? BOATER That's right. Everett sniffs and, catching a scent, squints. Waldrip's hair, protruding from under his boater, is plastered against his scalp. EVERETT ...Have you been using my hair treatment? WALDRIP Your hair treatment?! Everett covers his anger with an exaggerated politeness. EVERETT S'cuse me... He draws Penny aside. EVERETT Well, I got news for you case you hadn't noticed - I wasn't hit by a train. And I've traveled many a weary mile to be back with my wife and six daughters. SIX-YEAR-OLD Seven, Daddy! PENNY That ain't your daddy, Alvinelle. Your daddy was hit by a train. EVERETT Now Penny, stop that! PENNY No - you stop it! Vernon here's got a job. Vernon's got prospects. He's bona fide! What're you? EVERETT I'll tell you what I am - I'm the paterfamilias! You can't marry him! PENNY I can and I am and I will - tomorrow! I gotta think about the little Wharvey gals! They look to me for answers! Vernon can s'port 'em and buy 'em lessons on the clarinet! The only good thing you ever did for the gals was get his by that train! EVERETT ...Why you... lyin,... unconstant... succubus! WALDRIP You can't swear at my fiancee! EVERETT Oh yeah? Well you can't marry my wife! With this he takes a wild swing which Waldrip easily eludes. Waldrip adapts a Marquess of Queensbury stance and prances about, delivering stinging punches to the nose of a stunned and outclassed Everett. A crowd is gathering and voices murmur: BYSTANDERS Who is that man? PENNY He's not my husband. Just a drifter, I guess... Just some no-account drifter... EXT. WOOLWORTH'S Its glass doors swing open and Everett is hurled out and bellyflops into the dust of the street. BRAWNY MANAGER ...And stay out of Woolworth's! MOVIE THEATER Romantic music tinnily plays as Delmar and Everett watch, Everett slumped down and angrily hissing: EVERETT Deceitful! Two-faced! She-Woman! Never trust a female, Delmar! Remember that one simple precept and your time with me will not have been ill spent! DELMAR Okay, Everett. EVERETT Hit by a train! Truth means nothin' to Woman, Delmar. Triumph a the subjective! You ever been with a woman? DELMAR Well, uh, I - I gotta get the family farm back before I can start thinkin' about that. EVERETT Well that's right! If then! Believe me, Delmar, Woman is the most fiendish instrument of torture ever devised to bedevil the days a man! DELMAR Everett, I never figured you for a paterfamilias. EVERETT Oh-ho-ho yes, I've spread my seed. And you see what it, uh... what it's earned me... Now what in the... The screen is flickering down to black as the music slows to sludge and stops. The theater is dark and quiet. Everett and Delmar, and the rest of the sparse audience, look restively about. A man carrying a shotgun enters the auditorium. He walks halfway down the aisle and stops several rows behind Delmar and Everett. He scans the theater, then brings a whistle to his lips. At his whistle the back doors burst open and a line of chained men trot in at double-time. With much clanking they file into one row and then, that row filled, the one behind it. They remain silently on their feet. The first guard and two others who escorted in the convicts scan the theater. The first guard again blows his whistle. The two rows of chained men sit. After another silence: FIRST GUARD ...Okay boys! Enjoy yer pickcha show! One more whistle cues the movie to grind back up to speed. A hissing whisper from behind draws Everett and Delmar's attention: VOICE Do not seek the treasure! It's a bushwhack! Everett and Delmar turn and stare, saucer-eyed. In the middle of the frontmost row of convicts sits Pete - bald, haunted Pete. After a long, disbelieving stare: DELMAR ...Pete? Pete whispers again, urgently: PETE They're fixin' a ambush! Do not seek the treasure! Everett, jaw hanging open, can only stare, as if at a ghost. Delmar stares also, but finally brings out another: DELMAR ...Pete? PETE Do not seek the treasure! Everett's face remains frozen in horrified disbelief, but Delmar finally accepts Pete's corporeal reality. DELMAR We thought you was a toad! Pete squints and cocks his head as if to say, What was that? Delmar repeats the whisper slowly and with exaggerated mouth movements: DELMAR We thought... you was... a toad! Pete shakes his head - didn't catch it - and repeats, also overarticulating: PETE Do not... seek... the treasure! A guard murmurs: GUARD Quiet there. Watcha pickcha. VERANDA Pappy O'Daniel sits on the veranda of the Governor's Mansion, smoking a cigar and sipping from a glass of bourbon as the evening sun goes down. PAPPY I signed that bill! I signed a dozen a those aggi-culture bills! Everyone knows I'm a friend a the fahmuh! What do I gotta do, start diddlin' livestock?! JUNIOR We cain't do that, Daddy, we might offend our constichency. PAPPY We ain't got a constichency! Stokes got a constichency! ECKARD Them straw polls is ugly. SPIVEY Stokes is pullin' ah pants down. ECKARD Gonna pluck us off the tit. SPIVEY Pappy gonna be sittin' there pants down and Stokes at the table soppin' up the gravy. ECKARD Latch right on to that tit. SPIVEY Wipin' little circles with his bread. ECKARD Suckin' away. SPIVEY Well, it's a well-run campaign, midget'n broom'n whatnot. ECKARD Devil his due. SPIVEY Helluva awgazation. JUNIOR Say, I gotten idee. ECKARD What sat, Junior? JUNIOR We could hire us a little fella even smaller'n Stokes's. Pappy whips at him with his hat. PAPPY Y'ignorant slope-shouldered sack a guts! Why we'd look like a buncha satchel-ass Johnnie-Come-Latelies braggin' on our own midget! Don't matter how stumpy! And that's the goddamn problem right there - people think this Stokes got fresh ideas, he's oh coorant and we the past. ECKARD Problem a p'seption. SPIVEY Ass right. ECKARD Reason why he's pullin' ah pants down. SPIVEY Gonna paddle ah little bee-hind. ECKARD Ain't gonna paddle it; he's gonna kick it real hard. With his mouth forming an O around his dropping cigar, Pappy looks sadly from one to the other, like a spectator at a particularly boring tennis match. SPIVEY No, I believe he's a-gonna paddle it. ECKARD Well now, I don't believe assa property scription. SPIVEY Well, that's how I characterize it. ECKARD Well, I believe it's mawva kickin' sichation. SPIVEY Pullin' ah pants down... ECKARD Wipin' little circles with his bread... A NOOSE In slow motion it is dropping... dropping... dropping through the night. We hear distant thunder and the howl of a hound. The sounds recede, and the black background dissolves into a pan down from a raftered ceiling as the noose fades away. The continued pan down shows that we are in a barracks-like cabin. It is night. Convicts are ranged in bunk-beds. Their snores stand out against the chirp of crickets. In the upper berth of the foreground bed is Pete. His hands are clasped behind his head. A manacle and chain links one wrist to a rail that serves as headboard. He stares up, haunted, at the phantom noose. PETE I could not gaze upon that far shore... He reacts quizically to a whispered: VOICE Pete! A moment later Everett rises over the lip of his bed. His face is blacked and he sways as if standing on a boat. EVERETT Hold still. He is raising a large, long-armed, short-nosed pincering tool. He locks the nose onto Pete's chain and levers the arms. As his hand chinks free, Pete does not react to his newfound liberty. We hear an agonized voice from off as Everett continues to sway: DELMAR ...Cain't stand much longer. Pete's eyes burn into Everett's. PETE It was a moment a weakness! EVERETT Quitcha babblin' Pete - time to skedaddle. THE THREE MEN We track with them as they walk through the moonlit woods. Delmar's and Everett's faces are thoroughly blacked; Pete is just finishing blacking his, and he hands the shoe polish back to Everett. PETE They lured me out for a bathe, then they dunked me'n trussed me up like a hog and turned me in for the bounty. EVERETT I shoulda guessed it - typical womanly behavior. Just lucky we left before they came for us. DELMAR We didn't abandon you, Pete, we just thought you was a toad. PETE No, they never did turn me into a toad. DELMAR Well that was our mistake then. And then we was beat up by a bible salesman and banished from Woolworth's. I don't know if it's the one branch or all of 'em. PETE Well I - I ain't had it easy either, boys. Uh, frankly, I - well I spilled my guts about the treasure. DELMAR Huh?! PETE Awful sorry I betrayed you fellas; must be my Hogwallop blood. EVERETT Aw, that's all right, Pete. Pete is shaking his head, miserable. PETE It's awful white of ya to take it like that, Everett. I feel wretched, spoilin' yer play for a million dollars'n point two. It's been eatin' at my guts. EVERETT Aw, that's all right. Pete starts weeping. PETE You boys're true friends! He hugs a stunned Delmar. PETE You're m'boon companions! He hugs Everett, who looks profoundly uncomfortable. EVERETT Pete, uh, I don't want ya to beat yourself up about this thing... PETE I cain't help it, but that's a wonderful thing to say! EVERETT Well, but Pete... He clears his throat. EVERETT Uh, the fact of the matter is - well, damnit, there ain't no treasure! Now it is Pete's turn to be stunned. He and Delmar stare at Everett. EVERETT Fact of the matter - there never was! PETE But... but... DELMAR So - where's all the money from your armored-car job? EVERETT I never knocked over any armored- car. I was sent up for practicing law without a license. PETE But... EVERETT Damnit, I just hadda bust out! My wife wrote me she was gettin' married! I gotta stop it! Pete stares vacantly off. PETE ...No treasure... I had two weeks left on my sentence... EVERETT I couldn't wait two weeks! She's gettin' married tomorra! PETE ...With my added time for the escape, I don't get out now 'til 1987... I'll be eighty-four years old. Delmar, not angry himself, is trying to work it out. DELMAR Huh. I guess they'll tack on fifty years for me too. EVERETT Boys, we was chained together. I hadda tell ya somethin'. Bustin' out alone was not a option! PETE ...Eighty-four years old. Delmar brightens. DELMAR I'll only be eighty-two. Pete lunges at Everett. PETE YOU RUINED MY LIFE! He tackles him and, with his hands wrapped round Everett's throat, the two roll over. EVERETT (strangled) Pete... I do apologize. PETE Eighty-four years old! I'll be gummin' pab-you-lum! They have rolled through some brush and their bodies are now halfway into a clearing. They abruptly stop. Pete, lying on top of Everett, looks up, startled by loud chanting. Everett, lying on his back, tries to see as well, his eyes rolling back in his head. Their point-of-view shows a great open field where men in bedsheets parade in formation before a huge fiery cross. Pete and Everett hastily crabwalk back into the bushes and then push through with Delmar. The ranks of hooded men, chanting in a high hillbilly wail, intersect and shuffle like a marching band at halftime. At length they stop in perfect formation, still chanting, to face the Imperial Wizard, who stands in front of the burning cross dressed in a red satin robe and hood trimmed with gold. An aisle leads through the middle of the formation to the burning cross, before which a gibbet has been erected. The backmost row has stopped, facing away, only a few yards from the bushes that hide Delmar, Pete and Everett. As the chanting continues, two Klansmen lead a black man, whom they grasp by either arm, up the aisle toward the gibbet. BLACK MAN I ain't never harmed any you gentlemen! Everett hisses: EVERETT It's Tommy! They got Tommy! DELMAR Oh my God! It is indeed Tommy Johnson. TOMMY I ain't never harmed nobody! Pete is staring aghast at the makeshift gibbet. PETE The noose. Sweet Jesus! We gotta save 'im! A broad-shouldered man in the middle of the ranks of Klansmen, sensing something, slowly turns to look back over his shoulder. He thus reveals that his hood has only one eye- hole. He slowly draws off his hood. It is, of course, Big Dan Teague. His one good eye looks about; his other eye, now revealed, is hideously clouded and stares up and off in fixed sightlessness. Everett, still crouched behind the bushes, notices something. He hisses and points. EVERETT The color guard. Off to one side is a robed and hooded three-man color guard displaying a Confederate flag. In front of the crowd the Imperial Wizard raises one satin- draped arm, and the chanting stops. WIZARD Brothers! We are foregathered here to preserve our hallowed culture'n heritage! From intrusions, inclusions and dilutions! Of culluh! Of creed! Of our ol'-time religion! Over in the bushes Everett, Delmar and Pete are straightening up and adjusting their appropriated robes and hoods, having disposed of the color guard. WIZARD We aim to pull evil up by the root! Before it chokes out the flower of our culture'n heritage! And our women! Let's not forget those ladies, y'all, lookin' to us for p'tection! From darkies! From Jews! From Papists! And from all those smart-ass folk say we come descended from the monkeys! That's not my culture'n heritage! A roar from the crowd. WIZARD Izzat your culture'n heritage? Another roar. WIZARD And so... we gonna hang us a neegra! A huge roar - and now the ranks resume their chanting. The color guard hustles up the aisle to draw up behind the two men leading Tommy to the gibbet. Everett hisses: EVERETT Hey Tommy! It's us! Behind Everett in the deep background someone emerges from the ranks into the middle aisle. He approaches with a strong, purposeful stride - Big Dan Teague, bareheaded, holding his hood under his arm. Everett hisses again: EVERETT Hey Tommy! Tommy looks back over his shoulder. TOMMY ...Huh? Everett is oblivious to the big man approaching from behind. EVERETT It's us! We come to rescue ya! TOMMY That's mighty kind of ya boys, but I don't think nothin's gonna save me now - the devil's come to collect his due! PETE Tommy, you don't wanna get hanged! TOMMY Naw I don't guess I do, but that's the way it seems to be workin' out. EVERETT Listen to me, Tommy, I got a plan - Whoosh - arriving Big Dan whips the hood from Everett's head. Everett is exposed - in blackface. The chanting abruptly stops. The crowd is stunned. Big Dan whips off the other two hoods - Delmar and Pete, in blackface. From the crowd: VOICE The color guard is colored! Big Dan roars. The crowd roars. Everett screams: EVERETT Run, boys! Pandemonium breaks out, and the Imperial Wizard takes off his red satin hood for a better view. He is the reform candidate Homer Stokes. Next to him, his midget also pulls of his midget hood. Stokes is peeved. STOKES Who made them the color guard? Everett, Pete, Tommy and Delmar, bearing the Confederate flag, are retreating across the neutral ground separating the mob of Klansmen from the burning cross. The mob pursues in full cry. When the intruders reach the foot of the cross, Delmar turns. He javelins the flagpole up and out toward the pursuing crowd. Homer Stokes is mortified. STOKES Damn! Can't let that flag touch the ground! The crowd gasps and watches, heads tilted back, in silence. The only sound is the fluttering flag. Homer Stokes' eyes rise, hesitate and start to fall as the flag reaches its zenith and starts to descend. We boom down with the hurtling flag toward a sea of upturned white hoods. Dead in the middle is bareheaded Dan Teague. His arms are tensed out at his sides like a waiting kick-off returner. He squints up with his one good eye, judging distance and trajectory. From somewhere we hear a loud BOINK, as of a wire popping. The flag flutters. The crowd is silent. Big Dan sets and... WHAP! He snaps his hands up and together. He has caught the flagpole. The flag has not touched the ground. The crowd cheers. Big Dan looks around, beaming acknowledgement of the cheers. From somewhere, another BOINK. As Big Dan's look reaches front again, his smile fades. His eye tracks up - up- CREEEEEEK! The fiery cross is twisting and starting to fall. At the foot of the cross Everett snaps its last guy wire with his pincers - BOINK - and the four men sprint off. WHOOOOSH - As the crowd scatters, the cross descends toward Big Dan, frozen, looking up. It crashes in a shower of sparks and embers that obliterates Big Dan Teague. A PACKARD It is pulling up in front of a town hall from which party sounds filter out. Pappy O'Daniel emerges from the car with his retinue - Eckard, Spivey and Junior. PAPPY I'm sayin' we har this man away. ECKARD Assa good idea, Pappy. SPIVEY Helluva idea. ECKARD Cain't beat 'em, join 'em. SPIVEY Have him join us, run our campaign 'stead a that pencil-neck's. ECKARD Enticements a power, wealth, settera. SPIVEY No one says no to Pappy O'Daniel. ECKARD Oh gracious no. Not with his blandishments. SPIVEY Powas p'suasion. PAPPY What's his name again? ECKARD Campaign manager? Waldrip. SPIVEY Vernon Waldrip. ECKARD Vernon T. Waldrip. PAPPY Hmm... His folks from out Tuscarora? SPIVEY Tuscarora? Might be. I b'lieve they is. ECKARD Not a doubt in my mind. Pappy is disgusted: PAPPY You don't know where his goddamn folks from; you speakin' outcha asshole. ECKARD Well now Pappy I wouldn't put it that strong... As the three men make their way up the steps, Eckard's voice is fading: ECKARD ...but p'haps yaw right... In wide shot, they disappear into the building. A reverse shows the wide shot to have been the point-of-view of Everett, Pete, Delmar and Tommy, who peek out from the mouth of an alley. Everett hisses his intelligence: EVERETT Well, it's a invitation-only affair; we'll have to sneak in through the service entrance- PETE Wait a minute - who elected you leader a this outfit? Since we been followin' your lead we got nothin' but trouble! I gotten this close to bein' strung up, n'consumed in a fire, 'n whipped no end, 'n sunstroked, 'n soggied - DELMAR 'N turned into a frog - EVERETT He was never turned into a frog! Delmar sulks: DELMAR Almost loved up though. Everett is stunned. EVERETT So you're against me now, too!... Is that how it is, boys? Silence. No one wants to meet Everett's eye. He is saddened. EVERETT The whole world and God Almighty... and now you. Well, maybe I deserve this. Boys, I... I know I've made some tactical mistakes. But if you'll just stick with me; I need your help. And I've got a plan. Believe me, boys, we can fix this thing! I can get my wife back! We can get outta here! Headlights play; the men suck back into the alley as a car passes by. The car tools up to the banquet hall and Homer Stokes emerges with his midget. The midget tosses his balled-up white hood into the car and both men shrug into their suitcoats. Stokes is angry: STOKES ...goddamn disgrace. Made a travesty of the entire evenin'... They too start up the stairs. Stokes's pace is brisk and the midget hops awkwardly to keep up. STOKES ...what I wouldn't give to get my hands on those agitators. Whoever heard a such behavior. Even among culluds. Or mulattos, maybe - I suspect some miscegenation in their heritage... how else you goin' explain it - usin' the Confed'it flag as a missile... BANQUET HALL KITCHEN Everett, Pete, Delmar and Tommy are entering through the back door. The blackface has been scrubbed off but all four now wear long gray beards as disguise, clumsily affixed with spirit gum. Each is carrying a musical-instrument case. They elbow past the bustling kitchen help. EVERETT Scuse me... scuse me... we're the next act... DELMAR Everett, my beard itches. PETE This is crazy. No one's ever gonna believe we're a real band. EVERETT No, this is gonna work! I just gotta get close enough to talk to her. Takin' off with us is got a lot more future in it than marrying a guy named Waldrip. I'm goddamn bona fide. I've got the answers! HEAD TABLE Out in the banquet hall Penny and Waldrip sit side-by-side at the head table, surrounded by the Wharvey gals. Penny and Waldrip are facing the hall with their backs to the stage as the four bearded band members - Everett, Pete, Delmar and Tommy - take their places. Pappy O'Daniel stands by Waldrip's chair with an arm draped over his shoulder, leaning in to murmur confidentially. Waldrip sits stiffly erect as he listens, frowning at a spot in space. Suddenly Waldrip erupts: WALDRIP Well that's a improper suggestion! I can't switch sides in the middle of a campaign! Especially to work for a man who lacks moral fibre! PAPPY Moral fibre?! He waves his cane, outraged. PAPPY You pasty-faced sonofabitch, I invented moral fibre! Up on the stage, the band has launched into a song. PAPPY Pappy O'Daniel was displayin' rectitude and high-mindedness when that pencil-neck you work for was still messin' his drawers! A hissed Voice: VOICE Psst! Penny! Hey! Up here! As the two men continue to exchange sharp words, penny turns her head to look steeply up over her shoulder. Everett is up onstage just behind her. As the rest of the band continues to play, he is parting his beard to hiss down at her: EVERETT Penny! It's me! Dismayed, she shakes her head and tries to unobtrusively wave him away. He is undeterred: EVERETT No, Penny, listen! We're leavin' the state! Pusuin' opportunities in another venue! I got big plans! Not minstrelsy; this-here's just a dodge - I'm gonna be a dentist! I know a guy who'll print me up a license! I wanna be what you want me to be, honey! I want you and the gals to come with me! She shakes her head vigorously and looks down at her plate as Everett continues pleading to her back: EVERETT They're my daughters, Penny! I'm the king a this goddamn castle! Stokes has ambled up to the head table. STOKES What're you doin' here, Pappy? I guess someone let on there was free liquor, heh-heh. PAPPY Yeah, you'll be laughin' out the other side your face come November. ECKARD Pappy O'Daniel be laughing' then. SPIVEY Not out the other side his face, though. ECKARD Oh no, no, just the reg'la side - This byplay is interrupted by a roar from the crowd. The band has launched into 'Man of Constant Sorrow', precipitating the huge reaction. Everett, still trying to get Penny's attention, looks up, stunned at the ovation. Cry from the crowd: VOICE Hot damn! Itsa Soggy Bottom Boys! Everett and the boys, still singing, exchange bemused looks. A shrug, and they lean into the song with a will. Everett performs an impromptu buck-and-wing, bringing the crowd to new heights of hysteria. PAPPY Holy-moly. These boys're a hit! JUNIOR But Pappy, they's inter-grated. PAPPY Well I guess folks don't mind they's integrated. Stokes is also staring at the band, frowning. He murmurs to himself: STOKES Wait a minute... Everett catches Stokes' look. The two men look at each other, aghast. Stokes raises his voice accusingly: STOKES ...you's miscegenated! All you boys! Miscegenated! Everett raises the volume of his singing. Stokes cries out: STOKES Get me a mike-a-phone! A mike is thrust into his hand and he bellows into it, overwhelming the music, which the boys eventually abandon. Stokes continues bellowing into the silence: STOKES These boys is not white! These boys is not white! Hell, they ain't even ol'-timey! I happen to know, ladies'n gentlemen, this band a miscreants here, this very evening, they interfered with a lynch mob inna performance of its duties! The crowd stares at him, stone-faced. Stokes plows on: STOKES It's true! I b'long to a certain society, I don't believe I gotta mention its name, heh-heh... Nobody joins in the laugh; Stokes slowly strangles on it. STOKES ...Ahem. And these boys here trampled all over our venerated observances an' rich'ls! Now this-here music is over! I aim to - Boos start up among the crowd. STOKES I aim to hand these boys over to - listen to me, folks! The boos are growing in volume. There are cries of 'More music!' and even one 'Shut up, pencil-neck!' STOKES Listen to me! These boys desecrated a fiery cross! More boos. Waldrip approaches and nudges the microphone away to murmur confidentially in Stokes' ear. Stokes excitedly retrieves the mike and struggles to be heard: STOKES And they convicts! Fugitives, folks, escaped off the farm! This cuts no ice; the boos have become overwhelming. STOKES Folks, these boys gotta be remanded the 'thorities! Criminals! And I happen to have it from the highest authority that that Neegra sold his soul to the devil! He is hit by a tomato. The boos are deafening; the Soggy Bottom Boys, sensing opportunity, launch back into the interrupted verse of 'Man of Constant Sorrow'. The boos become wild cheers. Stokes is being pelted by foodstuffs. Shielding himself with one arm, he bellows into the mike: STOKES Wait a minute! Wait a minute! Is you is or is you ain't my constichency? INT. RUSTIC CABIN Far up some sleepy holler. An old man in overalls and his wife sit hunched before a crystal set, listening to the tinny voice. They look at each other wordlessly, look back at the crystal set. BACK TO BANQUET HALL Stokes is almost drowned out by the music as his midget looks apprehensively on. STOKES Is you is or is you ain't - A disgruntled audience member yanks out the microphone plug; Stokes continues to mouth the inaudible words. Pappy is considering the crowd. PAPPY Goddamn! Oppitunity knocks! He starts clambering up onto the stage. Two men advance through the clapping audience holding high either end of an eight-foot rail. When they reach Stokes, other audience members help load him onto the rail. Onstage, Pappy claps along with the audience. As they play, the band members fearfully eye Pappy, who advances on them. Pappy joyfully shakes his fat ass in time to the music and does a little two-step. The audience roars. The band relaxes, performing with even more gusto. Stokes is being through the crowd on the rail, jeered at and pelted with comestibles until he bangs out the exit. As the songs rolls into its big finish the audience roars approval, and Pappy elbows in to the microphone, beaming. PAPPY That's fine, that's fine!... He drops one arm around Everett, the other around Delmar. PAPPY ...Ladies'n gentlemens here and listenin' at home, the great state of Mississippi (Pappy O'Daniel, Gov'nor) thanks the Soggy Bottom Boys for that won-a-ful performance! Cheers. PAPPY Now it looks like the only man in our great state who ain't a music luvva, is my esteemed opponent in the upcomin', Homer Stokes - Boos. PAPPY Yeah, well, they ain't no accountin' f'taste. It sounded t'me like he harbored some kind a hateful grudge against the Soggy Bottom Boys on account a their rough'n rowdy past. Boos. PAPPY Sounds like Homer Stokes is the kinda fella gonna cast the first stone! Boos. PAPPY Well I'm with you folks. I'm a f'give and f'get Christian. And I say, well, if their rambunctiousness and misdemeanorin' is behind 'em - It is, ain't it, boys? Everett hesitates, not sure where this is going. EVERETT Sure is, Governor. PAPPY Why then I say, by the par vested in me, these boys is hereby pardoned! Loud cheers prod Pappy to another level of inspiration: PAPPY And furthermore, in the second Pappy O'Daniel administration, why, these boys - is gonna be my brain trust! Raucous cheers. The band beams, but Delmar leans into Everett, worried: DELMAR What sat mean exactly, Everett? EVERETT Well, you'n me'n Pete'n Tommy are gonna be the power behind the throne so to speak. DELMAR Oh, okay. PAPPY So now, without further ado, and by way of endorsin' my candidacy, the Soggy Bottom Boys is gonna lead us all in a chorus of 'You Are My Sunshine' - ain't ya, boys? He gives Everett a meaningful look, which Everett holds for a considering beat. EVERETT ...Governor - that's one of our favorites! Pappy returns a considered appraisal: PAPPY Son, you gonna go far. The song begins. LATER The steps of the meeting hall. People stream out of the concert into the warm summer night. Everett, now relieved of his beard, is walking down the steps with Penny. EVERETT I guess Vernon T. Waldrip is gonna be goin' on relief. Maybe I'll be able to throw a little patronage his way, get the man a job diggin' ditches or rounding up stray dogs. DELMAR Is the marriage off then, Miz Wharvey? PENNY McGill. No, the marriage'll take place as planned. EVERETT Just a little change of cast. Me and the little lady are gonna pick up the pieces'n retie the knot, mixaphorically speakin'. You boys're invited, of course. Hell, you're best men! Already got the rings. He raises Penny's left hand with his own to display their wedding bands - but Penny's finger is bare. EVERETT Where's your ring, honey? PENNY I ain't worn it since our divorce came through. It must still be in the rolltop in the old cabin. Never thought I'd need it; Vernon bought one encrusted with jewels. EVERETT Hell, now's the time to buy it off him cheap. PENNY We ain't gettin' married with his ring! You said you'd changed! EVERETT Aw, honey, our ring is just a old pewter thing - PENNY Ain't gonna be no weddin'. EVERETT It's just a symbol, honey - PENNY No weddin'. DELMAR We'll go fetch it with ya, Everett. EVERETT Honey, it's just - Shutup, Delmar - it's just - PENNY I have spoken my piece and counted to three. She walks off. EVERETT Oh, goddamnit! She counted to three! Sonofabitch! You know how far that cabin is?! His attention, and everyone else's, is drawn by a procession on the street below. A crowd carrying torches jogs behind a man in clanking leg irons and wrist manacles who is being escorted by four policemen trotting alongside, their nightsticks held across their chests in riot-ready formation. Everett and the rest of the Soggy Bottom Boys descend the last couple of steps to meet the oncoming criminal. Delmar cries out: DELMAR George! It is indeed George Nelson, grinning and game despite his heavy restraints. GEORGE 'Lo, boys! Well, these little men finally caught up with the criminal a the century! Looks like the chair for George Nelson. Yup! Gonna electrify me! I'm gonna go off like a Roman candle! Twenty thousand volts chasin' the rabbit through yours truly! Gonna shoot sparks out the top of my head and lightning from my fingertips! As he passes he turns to call back over his shoulder: GEORGE Yessir! Gonna suck all the power right outa the state! Goddamn, boys, I'm on top of the world! I'M GEORGE NELSON AND I'M FEELIN' TEN FEET TALL! Delmar, smiling, shakes his head as he watches him go. DELMAR Looks like George is right back on top again. BLACK In the black we hear snuffling, growing louder, closer, slobberier. A crack of light. We are inside a cupboard. Its door is being nosed open by an eagerly sniffing snout. As the door swings wide the inside of the cupboard is washed with light. It contains, next to a tangled bunch of hairnets, several neatly stacked tins of Dapper Dan pomade. PINEY WOODS Everett, Pete, Delmar and Tommy are walking through the woods. EVERETT Well, at least you boys'll get to see the old manse - the home where I spent so many happy days in the bosom of my family - a refugium, if you will - with a mighty oak tree out front and a happy little tire swing... They emerge into a clearing. The cabin stands before them. It is indeed a peaceful-looking haven with a mighty oak tree in front. There is, however, no tire swing; instead, three nooses hang from one stout limb. DELMAR Where's the happy little tire swing? Two shotgun-wielding goons fall in behind the four men and push them forward. Moving forward reveals, next to the oak tree, three fresh- dug graves. Standing at the far lip of each grave is a rough pine coffin. The sheriff with mirrored sunglasses, Cooley, steps off the porch, the drooling hound at his heels. COOLEY End of the road, boys. It's had its twists and turns - EVERETT Waitaminute - COOLEY - but now it deposits you here. The goons are shoving them toward the tree. Three gravediggers, having just finished their work, emerge from the three graves. They are shirtless black men with bandannas round their necks. EVERETT Waitaminute - COOLEY You have eluded fate - and eluded me - for the last time. Tie their hands, boys. EVERETT You can't do this - COOLEY Didn't know you'd be bringin' a friend. Well, he'll have to wait his turn - EVERETT Hang on there - COOLEY - and share one of your graves. EVERETT You can't do this - we just been pardoned! By the Governer himself! DELMAR It went out over the radio! COOLEY Is that right? The leering goons, who have been lashing the men's wrists behind their backs, pause, their sadism stymied. They look to Cooley for guidance. So too does the drooling hound. Silence. Finally: COOLEY ...Too bad we don't have a radio. The goons recover their leering grins and resume their happy task. The gravediggers stand next to the graves, leaning on their shovels. They begin to sing a slow and dirgelike 'You've Got to Walk That Lonesome Valley'. Sweat glistens on them and trickles down their faces like tears. PETE God have Mercy! TOMMY It ain't fittin'! EVERETT It ain't the law! COOLEY The law. Well the law is a human institution. Cooley gives the faintest smile. COOLEY Perhaps you should take a moment for your prayers. PETE Oh my God! Everett! DELMAR I'm sorry we got you into this, Tommy. PETE Good Lord, what do we do? Pete is in tears. Tommy is terrified. Delmar bows his head to silently pray. Everett bows his head as well. He murmurs: EVERETT Oh Lord, please look down and recognize us poor sinners... please Lord... The singing of the gravediggers begins a mournful swell. EVERETT ...I just want to see my daughters again. Oh Lord, I've been separated from my family for so long... The mournfully building song is now supported by a bass more palpable than audible - the song, it seems, rising out of the earth itself. EVERETT ...I know I've been guilty of pride and sharp dealing. I'm sorry that I turned my back on you, Lord. Please forgive me, and help us, Lord, and I swear I'll mend my ways... For the sake of my family... For Tommy's sake, and Delmar's, and Pete's... The rumble is building. EVERETT ...Let me see my daughters again. Please, Lord, help us... Please help us... The rumble erupts into a deafening roar. A wall of water is crashing through the hollow. It engulfs everything and everybody. The cabin itself is ripped away; the Soggy Bottom Boys are knocked off their feet and all is noise and confusion. UNDERWATER A silent world. Everett tumbles in the current in natural slow motion. Suspended around him are scores of tins of Dapper Dan pomade. Other objects spin slowly by; framed sepia-tinted family portraits, tree limbs, a fishing pole, an outhouse door, a frying pan, a noose, an old banjo, the wild-eyed frantically paddling bloodhound, a tire with a rope tied around it. FURTHER DOWNHILL The churning torrent opens into a lowland to become a newly created river, fast-moving but no longer violent. After a beat of hold on the rippling waters, the surface is broken by the up-bob of a pine coffin. The coffin floats downstream for a beat and then Everett pops out of the water next to it, gasping for air, shaking his head clear of water, and moving his shoulders to finish freeing himself from the rope round his wrists. Pete and Delmar emerge nearby, gasping for air. The men hang onto the coffin, which bears them downstream. Dazed, they look around. The inundated valley shows only the occasional roof- or treetop poking out of the newly formed river. All is quiet except for the gurgle of water. DELMAR A miracle! It was a miracle! EVERETT Aw, don't be ignorant, Delmar. I told you they was gonna flood this valley. DELMAR That ain't it! PETE We prayed to God and he pitied us! EVERETT It just never fails; once again you two hayseeds are showin' how much you want for innalect. There's a perfectly scientific explanation for what just happened - PETE That ain't the tune you were singin' back there at the gallows! EVERETT Well any human being will cast about in a moment of stress. No, the fact is, they're flooding this valley so they can hydro-electric up the whole durned state... Everett waxes smug: EVERETT Yessir, the South is gonna change. Everything's gonna be put on electricity and run on a payin' basis. Out with the old spiritual mumbo- jumbo, the superstitions and the backward ways. We're gonna see a brave new world where they run everyone a wire and hook us all up to a grid. Yessir, a veritable age of reason - like the one they had in France - and not a moment too soon... His voice trails off as he notices something. A cottonhouse in the middle of the river is submerged to its eaves. A cow has taken refuge on its roof. It stands staring at Everett, who returns the stare. He shakes off the vision and clears his throat. EVERETT Not a moment too soon. Say, there's Tommy! Tommy has indeed just surfaced downstream, clinging to a half-submerged piece of furniture. EVERETT What you ridin' there, Tommy? The furniture beneath him begins to rotate in the current and, to keep his head above water, Tommy climbs in place like a hamster on a wheel. As the chest exposes its ribbed upper half: TOMMY Rolltop desk... STREET Everett and Penny walk arm in arm, the seven Wharvey gals behind. The girls sing 'Angel Band' as the grown-ups talk. EVERETT All's well that ends well, as the poet says. PENNY That's right, honey. EVERETT But I don't mind telling you, I'm awful pleased my adventuring days is at an end... He fumbles in his pocket. EVERETT ...Time for this old boy to enjoy some repose. PENNY That's good, honey. EVERETT And you were right about that ring. Any other weddin' band would not do. But this-here was foreordained, honey; fate was a-smilin' on me, and ya have to have confidence - He is slipping it onto her hand. PENNY That's not my ring. EVERETT - in the gods - Huh? PENNY That's not my ring. EVERETT Not your... PENNY That's one of Aunt Hurlene's. EVERETT You said it was in the rolltop desk! PENNY I said I thought it was in the rolltop desk. EVERETT You said - PENNY Or, it might a been under the mattress. EVERETT You - PENNY Or in my chiffonier. I don't know. Everett shakes his head. EVERETT Well, I'm sorry honey - PENNY Well, we need that ring. EVERETT Well now honey, that ring is at the bottom of a pretty durned big lake. PENNY Uh-huh. EVERETT A 9,000-hectacre lake, honey. PENNY I don't care if it's ninety thousand. EVERETT Yes, but honey - PENNY That wasn't my doing... Indignation quickens her pace. Everett keeps up, and the two are pulling forward out of frame. EVERETT Course not, honey, but... We are now on the Wharvey gals who follow in a ragged bunch, still singing. From somewhere distant, through the song, we can just hear a rhythmic clack of metal on metal. The second-to-last girl is the oldest; she holds a piece of string along which we travel, still listening to Penny and Everett, off: PENNY I counted to three, honey. EVERETT Well sure, honey, but... We reach the end of the piece of string; it is wrapped around the waist of the toddler, who lingers in frame. She gazes down a quiet street at the edge of town that ends in an open field. EVERETT ...finding one little ring in the middle of all that water... His voice, and that of the singing girls, recedes. EVERETT ...that is one hell of a heroic task... The string is given a tug and the little girl waddles out of frame. A train track is thus revealed in the distance. The rhythmic clack is from the hand-pumped flatcar. The blind seer pumps the car along the distant track, singing harmony under the Wharvey gals' receding voices. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Oblivion.txt b/unformated_scripts/Script_Oblivion.txt new file mode 100644 index 0000000000000000000000000000000000000000..277d061900a9d6a956402c5ea0e19f594b490afc --- /dev/null +++ b/unformated_scripts/Script_Oblivion.txt @@ -0,0 +1 @@ + OBLIVION Written by William Monahan Current Revisions by Karl Gajdusek Based on the story by Joseph Kosinski DRAFT: March 27, 2011 1. FADE IN: EXT. THE PLANET - MORNING Huge mountains, destroyed STRUCTURES. Buildings enveloped by flows of earth. Awe-inspiring beauty. JACK (V.O.) They arrived almost half a century ago. Aliens, Scavs, whatever you want to call them. Their idea of how-do-you-do was to blow up our moon. Giant waterfalls crash where lava cooled through iron and concrete. Telephone polls half-buried in sand. JACK (V.O.) Without her moon, the earth went insane. Most were killed in the floods, as the cities came down, as everything caught fire. A year later their ground troops landed, to exterminate whoever was left. A station wagon half protrudes from a lava flow. A child's plastic flip-flops on the dash. JACK (V.0.) They were probably surprised, what we were willing to do, to survive. We used the nukes. (BEAT) We won the war, but lost the planet. Low on the HORIZON, the TET rises with the sun. It's a WHITE TETRAHEDRON (SIX-SIDED) SPACE STATION that circles the earth once a day, like an artificial moon. JACK (V.0.) Humanity had to flee the Earth. We had to unlearn what it meant, to call something our home. Now we live on the Tet, our man-made moon. A temporary home before the next step. Everyone's there now. (BEAT) Well, almost everyone. 2. INT. BEDROOOM - MORNING An ALARM chirps. A man's hand reaches out of bed, silences it. The MAN swings his feet onto the floor. He sits with his face in his hands, waking up. We hear a SHOWER RUNNING. He looks up. A WOMAN showers near him, only steamed glass walls between them. She sees him, smiles at him, without modesty. He looks back at her. OVER TITLES. We watch a familiar morning routine: INT. A HOME - MORNING BATHROOM. The man flicks on a light, stares at himself in the mirror. This is JACK. Early 40's, a good face that enjoys rugged living. Tan and weathered skin. His eyes are curious, kind, almost child-like. The woman squeezes in next to him, VICTORIA. 30s, a tom- boy shock of red hair, towel around her neck. She brushes her teeth. KITCHEN. Victoria watches the coffee drip, bites toast. SHOWER. Jack lets warm water blast him in the face. READY ROOM. Jack pulls a worn high-tech workman's suit from a locker, revealing a photo taped to the door: It's of him and Victoria, younger, in a white-walled high-tech corridor, smiling eager at the camera. He stares at it for a moment, closes the locker door. KITCHEN. Victoria hands Jack his coffee. He kisses the top of her head, heads out to work. EXT. SKY TOWER - CONTINUOUS He walks out onto the deck of a futuristic home perched 1,200 feet in the air, literally above the clouds. As our minds are blown, Jack moves away from the glass- walled home towards his BUBBLESHIP, a futuristic-cross between a Bell 47 Helicopter and a jet fighter, and we CRANE UP UP UP... INCREDIBLE VERTIGO until we're looking down at this impossible structure. Jack, climbing into his ship. TITLE CARD: "OBLIVION" 3. EXT. THE SKY - DAY The SKY stretches to infinity above roiling planetary cloud-cover. The BUBBLESHIP streaks through our frame, dropping faster than free fall. INT. BUBBLESHIP - CONTINUOUS Through the canopy of the Bubbleship: The cloud cover below seems to FALL UPWARDS at us, that's how fast we're diving. There's a small worn BOBBLE-HEAD on the dash which vibrates with the ship. Jack is un-phased by the drop, touches a few controls. VICTORIA (V.O.) Good morning, Jack. I'll be your flight attendant for the day. This is day... three thousand two hundred and twenty five, in case you were wondering. JACK is running instruments. A day at work.. VICTORIA Today we will be running support on five Resource Gatherers working the seaboard. Coordinates coming to you... now. Please do confirm. On Jack's heads-up display, five icons glow to life. JACK Yeah, I got 'em. You got 'em, Bob? The Bobblehead bobs. INT. SKY TOWER, CONTROL STATION - CONTINUOUS VICTORIA watches the Bubbleship's icon on a screen. She's now wearing a work jumpsuit open over a man's undershirt. She has a natural ease with tech and stress. She sips her coffee, punches up a feed, multi-tasking with cool. VICTORIA Drone perimeter defense is intact, although one went offline last night. How's the drop? (CONTINUED) 4. CONTINUED: JACK Oh, you know. Same ole' same. In front of Victoria, almost a hundred years of technological advances. Most prominent a MAP overlaid with environmental, meteorological, radiation levels... Other screens stream cam-footage from the Bubbleship. VICTORIA Alright, you're blind in five, four, three... INTERCUT WITH JACK IN THE BUBBLESHIP. JACK watches the cloud wall RUSH UP at him. VICTORIA (CONT'D) Two... one... JACK You should come with me sometime. VICTORIA No, thank you. Have a nice ride. The Bubbleship HITS CLOUDS, goes completely blind. Just vapor and water HAMMERING the canopy like bullets. On the heads-up display, GPS numbers roll. The readouts deal with climate, terrain below... Even in this hell, Jack takes the controls, starts to pilot on instruments. One of Victoria's boards flashes. She squints as a large MASS forms near Jack's ship. VICTORIA (CONT'D) Jack, you got some weather on your five, closing. The Bubbleship is VIBRATING, buffeted. JACK What do you call this? What does a storm look like inside a storm? Like this. The WALL OF WEATHER comes out of the wind and rain from behind Jack's ship, simply eats it up. Suddenly Jack's going end over end, helpless. Warning lights flash. Jack punches controls that won't respond. JACK (CONT'D) (humming to himself) "I've got sunshine... (MORE) (CONTINUED) 5. CONTINUED: ( 2) JACK (CONT'D) on a cloudy day. When it's cold outside I've got the month of May..." Victoria watches the readouts, helpless. JACK (CONT'D) (STILL SINGING) "I guess you'd say... What can make me feel this way?" (a little tense) Okay, Bob. Need you to work with me here. In the Bubbleship, Jack works the display, literally SMACKS a panel with his fist. Suddenly, the Bubbleship SURGES with power. Jack regains control as: INT/EXT. BUBBLESHIP - CONTINUOUS The Bubbleship BURSTS through low clouds, hurtling down past turbulence into... THE SKY ABOVE A BEAUTIFUL DESOLATE PLANET. Mysterious black sand dunes, active volcanoes, swirling orange and gold sediment, steaming bright blue hot springs and rich brown craters. Jack takes a moment to marvel at it all. JACK (under his breath) "Talkin' 'bout my girl..." Jack shifts the Bubbleship, in the distance a series of RESOURCE-GATHERERS on the horizon. Essentially titanic vacuums, sucking up the oceans. In front of her console, VICTORIA charts the Gatherers, and the patrol arcs of their defensive Drones. One blinks, stalled. VICTORIA Okay, we've got another Drone downed last night. JACK Send it. NUMBERS FIRE across the heads-up. Jack touches a button. A BAR GAUGE begins to fill, like a street racer turning on the NOX before dragging... (CONTINUED) 6. CONTINUED: VICTORIA Would you like to set a course to reserve fuel? JACK (SMALL SMILE) Absolutely not. Bar gaucre hits top. Jack punches it. JACK vibrates in his seat, pinned back. The ship SCREAMS over the surface, following the signal. Now A HUGE CRATER opens up in front of him which he DROPS INTO, barely missing an edge... which seems to have architecture to it. The ship skims close along the walls which are revealed to be rows and rows of stadium seats, half buried in sand. We're in Giants Stadium, New Jersey. Old news to Jack. He surveys below... JACK (CONT'D) I see it, looks like full mid- flight impact. What was its last destination? BELOW, through blowing dust, we see a DRONE, a spherical mechanical weapon, plunged into the sand. VICTORIA Yo no se. No data. It's not transmitting. (checking the map) Tet coverage will go live in 11 minutes. Jack stares forward at a huge broken sign: "Home of the 2015 World Champions..." JACK You know, I actually read about this game. Giants are literally on their own seven with 25 seconds on the clock... VICTORIA Please do not reminisce on my Comm, thank you very much. He puts the Bubbleship into a soft descent. Victoria observes it on her console. (CONTINUED) 7. CONTINUED: ( 2) VICTORIA (CONT'D) Negative, technician. I have no eyes in the sky for another ten minutes. Do not land. SEEN FROM INSIDE A STADIUM TUNNEL: The bubbleship lands thirty yards from the Drone, moors itself by setting spikes from its skids. Blowing sand whips around both. INT. BUBBLESHIP - CONTINUOUS JACK grabs an old YANKEES CAP from between the seats and slides it on backwards. He hoists a WEAPON, a carbine- sized gun on a sling, and checks its charge as he slides the door open. He's BLASTED with sand and wind which now suddenly still, like a freight train that's passed. JACK Anyway... QB lets off this mile- high bomb... The weather's fast and erratic like this. As Jack starts moving towards the Drone, a heavy mist forms, shrouding it in grey. There's almost no sound, just Jack's feet on earth... JACK (CONT'D) The thing just sails the length of the field. Victoria anxiously checks a screen, the arc of the Tet's "vision" still not covering Jack's location. VICTORIA Jack I have no scope. The Tet is still offline. He pauses. A faint sound on the wind... like a whine. JACK And at the one yard line... interception. Devastation. It's all over. EXT. STADIUM - CONTINUOUS LIGHTS connected to the ship's two AUTOMATIC GUNS reach from the hull of the BUBBLESHIP, backlighting JACK as he reaches the downed drone. (CONTINUED) 8. CONTINUED: THE DRONE, a spectacular piece of technology, has landed hard, half-buried in the sand. The basic electronics are still humming, cycling. JACK But the guy's too eager. He starts running it back. Everyone's yelling "Fall down, just fall down!" Jack goes to his knees, examining it, his hands expertly locate an empty tube-like space on the side of the Drone. JACK (CONT'D) Huh... The fuel-cell has been taken. VICTORIA What do you mean taken? Was it a malfunction? Jack looks at the casing... beaten, pried open? He glances at the ground around him, the dark tunnels. REVERSE ANGLE. From inside a caved-in tunnel entrance, Jack looks small, vulnerable. Something watches Jack... JACK No... It's a master drone, too. 166. Looks like it was hit mid flight, managed to limp its way here. Watch my back, I'm starting field repair. INTERCUT: VICTORIA AT SKY TOWER. Glances at the arc of the Tet's vision - still six minutes away. JACK (CONT'D) Bob, I'm going to need a cell. AT THE BUBBLESHIP. An exterior compartment opens revealing spare parts, etc... At the same time, a small ROVER, an ball-shaped independent gopher, rolls free from the ship, sprouting wheels... VICTORIA Jack, you need to get out of there. Bring it home to the shop. Jack has a panel open. He pulls a lead from the sleeve of his suit, connects it to a board. We see FLIGHT DATA transfer to the Bubbleship. (CONTINUED) 9 CONTINUED: ( 2) JACK So the guy keeps running. 30, 40, 50 yards and BAM! He gets pasted. Ball goes loose... VICTORIA Jack, you know they can weaponize a fuel cell. Now a DRIVER shoots out of the tool cuff of his suit. JACK (STARTING WORK) And wouldn't you know it, Giants recover, start running it back. Total insanity. VICTORIA I'm reading the whole central core off alignment, you don't have the necessary tools. Jack's got an arm and half his chest inside. He takes his CHEWING GUM, presses it in next to a board... Systems go green on Victoria's console. VICTORIA (CONT'D) Hold on, what did you just do? JACK (calling to the ship) Bob, I said I needed... He turns to find that the ROVER is already there, a DEUTERIUM FUEL CELL sitting in its payload bay. A SOUND now reaches Jack. Distant, an animal in pain? Jack listens, but it's gone. He slots the cell. A HUMMMM as the Drone powers up, systems coming online. Jack looks around at the stadium. JACK (CONT'D) Can you imagine it? 80,000 people on their feet. Everyone yelling "Go! Go! Go!..." Touchdown... He sets his gun against the Drone, raises his arms, running in a circle, making the crowd roar sound... JACK (CONT'D) "Yahhhhhhhhhhhhhh... ." (CONTINUED) 10. CONTINUED: (3) INTERCUT VICTORIA: Listening to his stadium cheer sound over the Comm. She rests her head in her hands. WITH JACK. The empty ruined structure stares back. Reality returns, sadly... He reaches for the open Fuel Cell door... hesitates, hating what comes next... and that SOUND comes again. Distinctive. An animal's whimper... INT. STADIUM TUNNEL - MOMENTS LATER Jack stands at the tunnel entrance, shining a light into the depths. The sound is clear now, a low WHIMPERING. Jack makes his way down the tunnel, carefully. Ahead, the tunnel meets the circular tunnel that rings the stadium. His light plays over the silty floor, finds: A DOG. Starving, shivering. It COWERS in a corner. JACK Hey there, boy. Easy... Jack moves forward, hand out. JACK (CONT'D) You got nothing to be scared of, buddy... The dog suddenly SCURRIES away into the dark BEHIND JACK, a HUGE FORM RISES. We see GREY SKIN, TEETH... and Jack hears ITS HEAVY LABORED BREATH... JACK (CONT'D) Ah, shi... JACK SPRINTS, full speed! The animal, A GIANT EMACIATED HAIRLESS BEAR, comes SURGING out of the darkness, lumbering after him. Jack TEARS back down the tunnel, the bear's form almost FILLING the tunnel behind him. EXT. STADIUM - CONTINUOUS We HEAR JACK before we see him. A loud "AHHHHHHHH'.!!!!" as Jack comes STREAKING out of the tunnel, the bear on his heels. (CONTINUED) 11. CONTINUED: VIEW FROM ABOVE: Jack streaks down the field, 50, 40, 30.. The giant bear closing... WITH JACK. He can see the drone in front of him, the Fuel Cell Door still hanging open. He puts on a burst of speed but STUMBLES, sliding on his chest, arm outstretched towards the Drone as the bear LEAPS! He REACHES, flips the Drone's fuel cell door shut. Drone 166 REACTIVATES. It SURGES UP, weapons POWERING UP and RRRRRRRRRRRRip!! It opens up with white plasma fire on the bear which seems to go nova in mid air, disintegrating to BLACK ASH which covers Jack. Jack stumbles to his feet. Drone 166 NOW WHEELS ON HIM. Its smoking red-hot cannons inches from his face. JACK averts his gaze as the Drone SCANS Jack. Breathing hard, hating this moment. With its ganglia still hanging out, it doesn't seem to be processing... And then just as quickly, the Drone rockets up into the sky and is gone. Jack falls to his knees in the sand, exhausted. Only now realizing that Victoria has been calling his name. VICTORIA Jesus, Jack. What the hell was that? INTERCUT VICTORIA. The Tet's scanners finally giving her a high-rez thermal view of Jack. Her display burning red from the residual plasma fire. JACK (SPITTING ASH) Call in number 166 for service up top. It's practically got its motherboard and half its hydraulics hanging out. (under his breath) But it still wants to kill everybody... VICTORIA Jack, what happened? Nowtrudging to the ship: JACK I'll see you at the house later. You want anything? Milk? Bread? Anything else that doesn't exist? (CONTINUED) 12. CONTINUED: (2) VICTORIA You. He leans against the ship. Smiles tired. It's a nice thing to hear. JACK Well if you want anybody else, you're out of luck. He boards the BUBBLESHIP. VICTORIA We only have two more months, Jack. Please try to resist the urge to do something stupid. (BEAT) There's no other service signals. Come home. ON VICTORIA. A relationship off balance. She wants him home. He wants... JACK No... ON JACK. The captured Drone data right there in front of him on the heads-up. He's too curious. JACK (CONT'D) That Master Drone was hit right over mid-town. Same area as the one we lost last night. EXT. HILLSIDE -- LATER JACK'S BUBBLESHIP, locked and armed, sits atop a ridge, against the bruised and lightning-fractured sky. Jack SCANS the horizon with his BINOCS, past deserted landscape, an early iron-framed skyscraper that came down semi-intact on its side. Nothing. He lowers the Binocs, glances upwards to where one of the HUGE RESOURCE GATHERERS blots out half the sky, breath- taking. It's hovering over what is left of a subsided harbor, a few blasted and rusted hulks of ships. The water level has dropped by a kilometer. (CONTINUED) 13. CONTINUED: The Gatherer is sucking up salt water, harvesting the elements essential to create DEUTERIUM, "Heavy Hydrogen." At the top of the giant machine, Drones work tirelessly, ferrying containers of Deuterium energy up into the sky. Jack raises the Binocs, snaps a few photographs... VICTORIA There's no Drone signal there. (BEAT) What are you doing, Jack? JACK One day when we get to Mars, someone will want to know about this. From someone who was here. He stares at the HUGE columns of water draining upwards. JACK (CONT'D) Do we have to take it all? VICTORIA It's not doing anyone any good here. JACK nods, starts to turn away when something GLINTS on the horizon. He raises the Binocs, PANS to a gallows- like structure. He ZOOMS, but it is still unclear. VICTORIA (CONT'D) Jack, without a signal, you're looking for a needle in a haystack. I think we've had enough excitement for one day. JACK is at the back of the Bubbleship, throwing levers. JACK Actually I've got a bit of a problem with a gyro here, call you when I've fixed it. He releases a catch, pulls a WHITE RECTANGULAR CASE from a slot in the Bubbleship. He kneels down, hands working expertly, producing a full UNFOLDING MOTORCYCLE. As Jack locks the rear wheel in place, the bike HUMMS to life. He gets on and opens up the throttle, rooster- tailing off. The bike's electric, but it MOVES. (CONTINUED) 14. CONTINUED: ( 2) JACK rides over what used to be the sea-bed, soaking up the thrill of catching top speed air over embankments of black sand. Completely carefree, enjoying himself like a man who is utterly and completely alone. EXT. SINK HOLE - DAY Something was here. A large metal beam has been propped onto rocks, stretching over... a COLLAPSED SECTION OF EARTH. This was the source of the light reflection. Jack stares down into the hole... black. He POPS a flare, drops it in. It comes to rest far below, next to the unmistakable form of a DRONE. JACK .There you are. An instant of BLACK... And we're suddenly looking at Jack THROUGH ALIEN BINOCULARS. High tech, symbol readouts changing. Something is watching him. INT. SINK HOLE - DAY Inside the hole, looking up. A CLIMBING ROPE spills towards camera. We descend with Jack, all the way down into the hole, the light receding above. He touches his suit and a light array blazes on, illuminating the walls passing by. INT. LIBRARY -- DAY Jack drops down through what used to be a roof... into the READING ROOM OF THE NEW YORK PUBLIC LIBRARY. Vast, ruined, the far end totally collapsed, like a sky-scraper fell on it. He reaches the silty floor, the flare's burning light illuminating the room. He STARES at the expanse of SHELVES that line the walls, stripped and empty. Wonder... and disappointment. He turns to his task, kneels by the Drone. The thing's a wreck. A METAL SHAFT protrudes from a crease. Jack marvels at the accuracy of the shot... He carefully reaches out, slides the fuel cell door open. Again, the FUEL CELL is missing. (CONTINUED) 15 CONTINUED: JACK Vika, you're not going to believe... WHITE NOISE on the comm. There's no signal down here. EXT. HILLSIDE -- CONTINUOUS The static BUBBLESHIP sits inert. VICTORIA ON THE COMM Jack? Jack... ? INT. SKY TOWER, CONTROL STATION - CONTINUOUS Victoria, worried. Finally, she turns to the TET COMM. A station reserved for high-tech, long-range communication with the home base. A STATUS indicator, and a screen for text communication. TET COMM STATUS: "COMMUNICATION ENABLED." VICTORIA Mission, this is Lieutenant Victoria Kohl, requesting Drone intercept at coordinates sending now. Her AUDIO goes through a SCRAMBLING PROCESS, then is uploaded where a few seconds later its receipt is acknowledged: STATUS: "APPROVED." She stares up at the map, sees one of the Drones turn towards Jack's location. She settles back, watching. INT. LIBRARY - DAY JACK looks up and sees how the Drone was brought down: above it is a twisted tangle of chain-mesh and cables strung between two structures, a DRONE TRAP. MOVEMENT FROM THE DARKNESS. Jack spins, his gun coming off his back in a fluid motion. Just the empty cavern, the wreckage at the end. Jack squints at... a wall of books on the shelves beyond the wreckage. JACK .Jackpot. (CONTINUED) 16. CONTINUED: He steps forward... ALMOST FALLS INTO A GIANT HOLE! He raises the flare off the ground, illuminating a void where the entire floor has imploded down seven more stories. What's left is a PIT, with a building-sized ton of twisted metal hanging over it... A single bent GIRDER still spans the hole. Jack tracks the possibilities... steps out onto the girder. He reaches up to the suspended wreckage to balance... IT SHIFTS! A hundred tons of twisted metal just moved an inch above him. Best leave that alone... He balances, inching across this metal tightrope. Finally reaching the other side... AT THE FAR SHELVES Jack approaches the wall of books, hundred of them. He kneels, lifts one, blows dust off the cover: "THE EDUCATION OF HENRY ADAMS." He steps back, admiring it... SNAP! A BEAR TRAP hidden in the debris closes around his leg, piercing armor and flesh. Jack has a second to process and a cable rises from the debris, goes taught! JACK is dragged through the dust inhumanly FAST, headed towards a darkened alcove. He activates a LASER CUTTER on his cuff, slices through the cable which WHIPS AWAY as he brings his rifle up, FIRES rounds into the darkness. INHUMAN SCREAMS. Half animal, half electronic. Something's in pain, but not retreating, CLOSING ON HIM. Jack SLICES DOWN, cutting loose the claw, and RUNS FOR IT back towards the HOLE as his girder is yanked away in front of him, pulled into the void below. Jack doesn't slow, reaches the edge, LEAPS! A moment, Jack hanging in space, gravity clawing at him, falling... SLAMMING into the far side. For a moment dangling over the fall, then Jack hauls himself over the far side. ALIEN FORMS emerge from recesses. We get glimpses of feathers, oily flesh, metal... They CLOSE as he reaches his line, clips in and RISES automatically, the suit riding the line up at neck-snapping speed... (CONTINUED) 17. CONTINUED: ( 2) ABOVE. The line trembles under his weight and stress... A KNIFE, improvised from bone and sheet metal, enters the frame and CUTS THE LINE. Jack has a second to feel the slack hit. And then he's FALLING... IMPACTS the ground. Can't get his air. Staggering wildly to his feet, FORMS CLOSING... Suddenly a DRONE blasts down through the ceiling hole. Its lights turning night to day, its cannons FIRING. In the STROBING FLASH of canon fire, we see SCAVS INCINERATED. Metal and hair fry to ASH as the insect- like creatures SCREAM!! Other shots IMPACT WALLS. Fire and plaster dust fills the space. Jack shields himself from the debris as the Drone ceases firing, WHIRLS on Jack. The same awful moment as it SCANS him. Then it lifts away, is gone as quickly as it arrived. And with its departure, the darkness comes again. Silence, whatever was here is now gone. Jack takes in the destruction for a hard beat: The ash of an alien, burning paper twisting in the air. He looks up towards the light above. A long ways above. EXT. SINK HOLE - LATER Jack appears, dirty-faced, filthy and frustrated, crawling, lugging his own weight up through the sink hole. Finally back to the surface. He shakes himself off... notices his bike has been taken. JACK (AD-LIBBING EXPLETIVES) That was my bike!! He kicks at the dust, the rocks, curses at the pain as he's reminded of his injured leg. He stares at the long walk ahead, the wall of wind and rain that now hits him, soaking him. He starts walking. 18. EXT. BUBBLESHIP - DUSK The debris in the air makes for spectacular sunsets. Jack's Bubbleship bursts from the low clouds, carrying Jack home after the long day. We see the "PLANETARY RING" formed by the rubble from the destroyed moon. INT. BUBBLESHIP - CONTINUOUS Jack marvels at the ring, thoughtful. But then checks his read-outs. Victoria knows what he's looking for. VICTORIA Check your seven. Jack touches his controls and the Bubbleship Canopy REVOLVES so Jack's facing away from the direction he's traveling in. Low on the HORIZON, the TET floats in the sky. It's setting, glows a dull orange, like a Harvest Moon. INTERCUT VICTORIA. She's leaning back in her command chair, her feet propped on the console, also staring out at the Tet. Strangely quiet. In Jack's face a curious mixture of nostalgia, and confusion... This small metal planet is his home. JACK Goodnight, folks... See you back here tomorrow. Same time, same channel... He punches the throttle, and screams across the tops of the clouds through the beautiful light, arriving at... EXT. SKY TOWER, LANDING PAD - CONTINUOUS The GLASS walls of the SKY TOWER reflect the Bubbleship as it lands. HOOKS catch the landing rockers of the BUBBLESHIP and lock it down against the buffeting wind. INT. SHOWER - DUSK Jack drops the last piece of his environment suit. He touches a button and warm water sprays down. Through the glass, he can see Victoria inside the Sky Tower. She nods at him, a tense welcome home. He nods back. There is no privacy in the Sky Tower. (CONTINUED) 19. CONTINUED: As the glass walls go opaque with steam, he closes his eyes, the water running over his face. POPS OF MEMORIES go through his imagination: SKY TOWER. Early in their tour, Victoria girlishly jumps on the sofa with a pint of ice cream, laughing. BEDROOM. Also early. Jack watches Victoria sleep, brushes hair from her face, affectionate... And the memory... SEEMS TO DISTORT. Suddenly becoming: THE NEW YORK SKYLINE, seen through a cheap telescope. Jack, pulling away from the telescope, happy, turning to... A BRUNETTE WOMAN, staring back at him. Jack STARTS, snapping out of the memory. INT. SKY TOWER, STORAGE AREA - DUSK Rows and rows of shelves, mainly empty now. Jack and Victoria have gone through almost all of what they needed for a 5-year tour. Jack grabs a container of water. INT. SKY TOWER, READY ROOM - MOMENTS LATER Jack starts to hang up his workman's suit, pauses to stare at the photo of a younger him and Victoria on the Tet. They look so eager, so innocent. He shifts slightly to where he can see out to the Tet itself, sinking below the horizon. INT. SKY TOWER 2, WORK AREA - DUSK The area is devoted to DRONE REPAIR. Lifts, parts, shelves, odds and ends of gear and weaponry, tables of tools, a written-off DRONE at the back. Jack comes in, glances at his newest arrival, the self- beached DRONE 166. Even deactivated, it looks like trouble, like pure evil. He opens a drawer, slips THE EDUCATION OF HENRY ADAMS into the drawer, shuts it. 20. INT. SKY TOWER, LIVING AREA - DUSK We finally see the whole thing. It couldn't be more comfortable, although it continually vibrates in the wind: VICTORIA is sitting, reading her own work notes. In the background, Chaplin's "Modern Times" plays silently on a large screen. JACK goes up behind her and kisses her on the head. VICTORIA (not looking at him) You're not supposed to bring up surface items. JACK sips water, then waits even longer before... JACK No. I'm not supposed to bring them in the house. He's right. He exchanges his water for a glass of something stronger, and goes and sits down. VICTORIA I tried to reach you earlier... If we're going to be an effective TEAM -- JACK You're right. VICTORIA Then you can't just -- Jack leaps up, only to return a second later with a small bundle held together by an old rag. He hands it to her, pleased, watching her reaction. She opens it to reveal a small GREEN SEEDLING in a pocket of fresh, rich soil. Her eyes play over it... VICTORIA (CONT'D) Where did you find this? JACK Ah-ha. So it's okay when I bring you something. But if I -- She MOVES suddenly, opening one of the glass doors of the Sky Tower and heading outside where she holds the seedling away from her body, off the edge, lets it drop. (CONTINUED) 21. CONTINUED: She comes back in, washes her hands in the sink, upset. JACK (CONT'D) Was that really necessary? VICTORIA I know you think I'm a stickler for the rules, but you have no idea what sort of toxins could be in something like that. He chuckles... VICTORIA (CONT'D) I'm sorry, I don't think it's funny. JACK It was just a plant, Victoria. VICTORIA That's not the point. We have two more months and the last thing we need is you putting it all at risk. He shakes his head, grimaces as he limps away. VICTORIA (CONT'D) (CONCERNED) You're hurt. What happened? He admits it with a glance, offers no explanation. She comes over to him, examines the wound professionally. VICTORIA (CONT'D) Come on. TNT. INFIRMARY BAY - DUSK It is tiny, but state of the art. VICTORIA seriously examines his wound, cleaning it out. It's no small wound but they're less concerned than we would be. Victoria pulls on gloves, opens cabinet and removes a watery substance as well as a small electronic wand. She smears the substance onto his wound, a HEALANT. VICTORIA This is gonna pinch a little... (CONTINUED) 22. CONTINUED: JACK Hit me. She activates the wand, shines ultra violet light onto the substance. A beat, then he BENDS OVER in pain. Through the healant we see the FLESH begin to knit and repair. Skin and sinew literally regenerating... to new. VICTORIA (AFFECTIONATE) Serves you right. She kisses him on the forehead, turns away. INT. SKY TOWER, DINING ROOM - LATER Wine is involved, candles. Victoria is mellower, much. This is a couple who knows each other's differences and admires them. This isn't an argument. VICTORIA .I'm not saying you can't go into your caverns, I'm saying we have a job and if I'm trying to reach you and you're off on one of your adventures -- JACK Look, they trained me to fix drones. That's my job, I get that. But it's not what I am. I can't simply do the same thing over and over again, every day, with that... world down there. (toasts the sky) And if mission has a better Drone tech, they can get him to baby- sit. He gets up, tries out his leg. Stiff, but healed. VICTORIA It's only a little while longer. The Gatherer's have collected most of the resources we need for Mars. Pretty soon -- JACK Pretty soon, there won't be anything left down there. No more plant life, no more water. (MORE) (CONTINUED) 23. CONTINUED: JACK (CONT'D) So forgive me if I want to enjoy it a little before the end. VICTORIA You act like there's not a war going on down there but there is and we can't leave even two of those things alive... (NO RESPONSE) Dammit, Jack. They nearly killed you today. They eat in silence for a moment, then: JACK Actually, it was like they were trying to... catch me. (trying to joke) Guess I look tasty. He goes over to her, puts his arms around her. VICTORIA Please be careful. If they get to you, what happens to me? JACK puts a finger to her lips, then kisses her. VICTORIA (CONT'D) Answer the question. Jack considers this. Then he pulls his shirt off over his head. For sex? VICTORIA (CONT'D) (PLEADING) Jack. JACK Come on. EXT. SWIMMING POOL - NIGHT Talk about an infinity pool. The pool is miles in the sky, with a glass bottom. The cold wind is constant overhead but heaters flare with the changes in temperature, compensating. Jack glides graceful underwater, his nude form silhouetted against the roiling dark clouds below. He surfaces near Victoria, who's stayed dressed on the edge with a glass of wine. (CONTINUED) 24. CONTINUED: He kisses her, steals a sip of her wine, then pushes back into the water, looking up at the stars, the streaming moon-rubble above. VICTORIA Can you imagine when we go back up? Having a face to face conversation again? I can't believe it's finally ending. (TOASTING HIM) We made it. Jack looks away... JACK It's not so bad down here. They certainly don't have anything like this. VICTORIA I wonder what duty I would have pulled. Probably programming the Mars boats. JACK I'd have been overhauling the zero- G toilets. (SHE LAUGHS) I'm serious, it's dangerous work. I mean, you think you have control of the situation. He swims closer. She smiles, he presses on. JACK (CONT'D) But then you realize, there are some things that were never supposed to happen in zero G. VICTORIA Stop! JACK It's awful. Just thinking about it, I get afraid... She LAUGHS, reaches for her wine, accidentally knocks the glass which tips over, and rolls right off the Sky Tower. They watch it disappear into the darkness below. JACK (CONT'D) Ocops. (CONTINUED) 25. CONTINUED: ( 2) VICTORIA (SUDDENLY) I've been happy here. With you. (watches water fall from her hand) I can't remember zero gravity. Physically. Can you? JACK Here, let me show you... He reaches up PULLS her into the pool. She screams, laughing as she goes in. She surfaces, pulling her soaking shirt over her head and tossing it to the side. VICTORIA I should have seen that coming. Jack smiles, then takes a breath and goes under. He floats face-down, staring through the bottom of the pool into the lightening-stung clouds below... .and then Victoria's form glides underneath him, looking up at him, smiling. She stops moving and her body rises towards his. He opens his arms, and she floats up and against him. They embrace, kiss... Two bodies, intertwined underwater, a thousand feet above a roiling thunderstorm. Their lips part, he pulls back to look at her ... But it's the BRUNETTE WOMAN who stares back at him!! INT. SKY TOWER, BEDROOM -- LATE NIGHT Jack wakes, breathless, troubled. He doesn't know this woman who invades his dreams... Next to him, Victoria lies asleep, curled in the sheets. Shaken, he quietly gets up, grabs clothes... and goes where he goes when Victoria is asleep... INT. SKY TOWER, WORKSHOP AREA - NIGHT Jack moves to a BENCH where he keeps his finds... a few coins, a watch, a pistol, a snow globe showing the Nativity. A book: THE LAYS OF ANCIENT ROME. JACK produces his newest find from the library: THE EDUCATION OF HENRY ADAMS. He opens it. (CONTINUED) 26. CONTINUED: . He was three years old when he took this earliest step in education; a lesson of color. The second followed soon; a lesson of taste... ON HIS EYES as he reads: . he remembered quite clearly his aunt entering the sick room bearing in her hand a saucer with a baked apple. He puts the book down, strangely troubled. TNT. SKY TOWER, COMAND CENTER - LATE NIGHT The console sits inert, unattended. Suddenly, a BLIP radiates on the MAP, its origin elsewhere. A signal. EXT. DEEP SPACE - NO TIME A NASA SHUTTLE floats in deep space, a recognizable design from our time. INT. SPACE SHUTTLE - NO TIME Empty, dark. Frozen crystalline dust hangs in the air. The ship is dead. Suddenly a panel "blips" on. Other systems go active. The ship is waking up. There's a VISIBLE RUMBLE as the engines prime... FURTHER BACK, in the hold. ROWS OF DELTA SLEEP PODS. We close on one... AND THE SHUTTLE'S GIANT ENGINES ERUPT IN FIRE. INT. SKY TOWER, BEDROOM - MORNING Jack's eyes blink open, waking from another dream. He sits up, troubled. EXT. SKY TOWER - DAWN Victoria works in her GARDEN. She grows perfect, blemishless ROSES. The roof is open to the sky. Victoria makes a small depression in the earth, taps three seeds out of a labeled envelope. (CONTINUED) 27 CONTINUED: JACK comes through, kisses her. Then moves off towards his work. VICTORIA Don't go out today until we get a signal. Jack looks back. She's never said this before. She's genuinely worried. JACK .Then what would you say in your report? Victoria looks away, stuck. JACK (CONT'D) I can't get to a site fast enough unless I'm already out there. You know that. He turns, disappears through the glass mechanical doors. EXT. SKY TOWER - MOMENTS LATER JACK suits up and gets into the bubbleship and for the first time we see the startup procedure. JACK One, Two, Three. Jack Harper. Lights sparkle across the board. Activation sounds. Jack hits switches. Outside, protective barriers lower. The stratospheric wind VIBRATES the bubbleship. JACK (CONT'D) What say we have a little fun today, Bob? The Bobblehead vibrates along with the engines. INTERCUT VICTORIA putting on her headset. VICTORIA (ON COMM) What's that, Jack? JACK Just thinking I'd take Bob manual for the dust-off. Feeling the need. (CONTINUED) 28 CONTINUED: VICTORIA A hundred terraformed acres on Mars is all you have to think about. INT. SKY TOWER, CONTROL STATION - CONTINUOUS VICTORIA stares out from her windows above the clouds. VICTORIA (TO HERSELF) I love you. He waves, blows the chocks. The WIND whipping off the tops of the clouds instantly grabs the ship, HURTLES it into the void. WITH JACK, just letting the wind twist him and the ship in freefall. Loving this feeling. Victoria. turns professionally to her console. THE TET SYMBOL ON THE SCREEN, the COUNT DOWN TO TET-RISE. She opens video streams, loses herself in her work. VICTORIA (CONT'D) Time as indicated. Technical officer away on autonomous patrol as of this transmission. Border Beacons surrounding the radiation sector are 100% operative... STATUS: "LOG RECEIVED." VICTORIA (CONT'D) You're welcome... Victoria takes a sip of coffee, turns to another task, when again a BLIP on her map pulls Victoria's attention back. That signal, radiating near Jack's position. She swipes up a grid, intensifies her sensors... VICTORIA (CONT'D) Jack... I've got a rogue signal. Might just be interference, but there shouldn't be anything there. JACK Drone? Already she's got the signal analyzed on six different screens. No matches... (CONTINUED) 29. CONTINUED: VICTORIA (TROUBLED) No... It's.. I'm not sure what it is. INTERCUT Jack listening to her in the Bubbleship. JACK Don't be embarrassed, there's always a first time. (BEAT) Send it over. I'll check it out. Victoria hesitates... hits a key. VICTORIA On its way. Be careful, okay? EXT. WATERFALL - DAY Jack's ship skims over the surface of a deep pool of water. Up ahead, a waterfall explodes its force into the pool, spray and mist already reaching the Bubbleship. JACK All right, I'm coming up to the location. Jack begins flying slowly up the twelve hundred foot wall of falling water which almost seems to conceal a Petra behind its veil. Jack reaches the top... JACK'S POV - THE SPIRE AND OBSERVATIONAL DECK of the EMPIRE STATE BUILDING, now part of a cliff, set in shifted sea-bed, a gushing river pouring past. EXT. OBSERVATION DECK - MOMENTS LATER Jack lands and gets out of the craft, grabbing his weapon and Yankees cap as he does. He looks around, half nervous, half in awe that the old girl is still standing. JACK (under his breath) New York, New York... It's a wonderful town. The Bronx is up, and the Battery's down... He can hear nothing over the wind and the water. He moves to the balcony edge, looks "downtown" at the sunken city. A Venice set in a matrice of rubble and sea-bed. (CONTINUED) 30. CONTINUED: He notices an old PAY TELESCOPE next to him, bent and rusted. He puts his eyes to the lenses. Nothing. Black. He STARES at the 25-cent slot on top, lost in a deep sense of Deja-Vu... VICTORIA Jack, you're right on top of it. What do you see? Jack starts a circuit of the deck. A pile of old deck chairs in his way, he pushes at them with his foot... finds a WIRE, running below them, linked to two CAR BATTERIES, hidden under the rubbish. He traces the path of the wire... up. EXT. TOP OF THE ESB ANTENAE - LATER JACK has made an arduous climb to discover a TRANSMITTER, hooked to an old MILITARY REPEATER, and both hooked to... we look up as Jack does... the RUSTED, DAMAGED, ESB Antenna atop the building. JACK Bob, give me audible on this signal. Almost immediately from the Bubbleship comes the intermittent electronic SQUACK of the signal. EXT. OBSERVATION DECK - MOMENTS LATER At the bubbleship, Jack watches the frequency analysis of the signal play on his heads-up. He touches the screen and the signal goes quiet. VICTORIA What did you find? JACK It's an old radio system. It's been reactivated. VICTORIA Define reactivated. Jack looks at the batteries, the wire... (CONTINUED) 31. CONTINUED: VICTORIA (CONT'D) Jack, that signal's going out over the whole territory. You need to blow the structure. JACK It's the Empire State -- VICTORIA It's ancient history, Jack. You know the procedure. Blow it. He pulls several CHARGES from the Bubbleship's storage, starts to set them... He pauses, staring at the railing, the old telescope. Change of plans. He walks towards the batteries, a blade sliding out of the cuff of his suit. He reaches them and SEVERS the lines. The signal dies. EXT. OBSERVATION DECK - MOMENTS LATER The Bubbleship lifts off. Jack can't help staring down at the Observation Deck as the ship lifts into the air. TNT. BUBBLESHIP - DAY Jack is in the air, troubled. Up ahead in the distance we see a LARGE NATURAL RIDGE. Some instruments light up. VICTORIA Check your course, you're headed right at the border. JACK Yeah, I may have seen another drone trap... INTERCUT VICTORIA She checks her map. Jack's Bubbleship is headed straight at a large red swath of territory marked out, toxic radiation levels constantly monitored. A small ALARM goes off in the Bubbleship cabin. VICTORIA You're at the edge of range, Jack. You're starting to break up. (CONTINUED) 32. CONTINUED: JACK It's okay -- VICTORIA (SERIOUS) No, it's not okay. You get in too close that radiation -- JACK -- will cook me from the inside before I know it. Don't worry, I'm still more than five clicks from the beacons... IN THE BUBBLESHIP. A BIGGER ALARM goes off, Red skull- and-crossbones flash across the heads-up. Jack DIVES the ship, down over huge rocky outcroppings. Jack, intent on piloting. Static. Some GARBLED SOUNDS. Victoria's voice barely coming through. VICTORIA What are -- you ---- out there Jack? The signal goes to pure static as Jack steers into a steep canyon, rock on all sides. Barely room to squeeze, but Jack's not worried. This is all familiar. JACK That's right, Bob. You know where we're going. INT. SKY TOWER, CONTROL STATION - CONTINUOUS Victoria stares at the screen, static hiss low and empty. It's not the first time he's done this, but she hates it every time. VICTORIA Jack...? Victoria works the panel, upping signal, boosting reception. The static is again MIXED WITH GARBLED SOUNDS. She listens, confused, ups the volume... BLIP! That signal from the Empire State starts again. This time it LOCKS ON, a loud and continuous electronic pattern. 33. EXT. CRATER LAKE - DAY JACK's ship emerges from a canyon into a beautiful landscape we have never seen before. This is Jack's SECRET PLACE. TREES exist on an island surrounded by clean water. And near the shore, a GROTTO, a carved-out portion of the hillside, supported with scavenged timbers, protected by plastic tarps. A ton of gear is piled inside. JACK has been scavenging for a long time. The BUBBLESHIP lands. JACK walks into the structure, slapping on a relay from a SOLAR GENERATOR. All around are young growing plants, including small yellow flowers and their GREEN SEEDLINGS -- the same Jack gave to Vika. Jack kneels down by an old military JAMMER. He checks a screen: the Crater Lake location is being jammed. INT_SKY TOWER, CONTROL STATION - DAY Victoria sits, the repetitive audio of the signal playing from her console. She stares at the empty map, the notable absence of the Bubbleship's icon on it. She keys the Comm, one last time. VICTORIA Jack? Jack, I really need you online... EXT. CRATER LAKE - DAY A RECORD PLAYER is taped into his solar power system. An EARLY METAL POWER-BALLAD floats out of the speakers. Jack has a basketball hoop lashed to a pole. He shoots hoops by himself, the ROVER retrieves the ball. LATER. Jack brings a single CHAIR out in front of the water. He sits, and with care produces the books he's brought with him. He opens one with burnt edges: TREASURE ISLAND. .I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a hand- barrow... JACK is in an obscure state of frustration. He lifts another book, THE LAYS OF ANCIENT ROME: (CONTINUED) 34 CONTINUED: How can man die better Than facing fearful odds, For the ashes of his fathers, And the temples of his gods... Jack closes the books, strangely unsatisfied... INT. SKY TOWER, CONTROL STATION - DAY ON VICTORIA, stuck with the audio signal playing. She moves the Tet Comm, hesitates. Then keys the control. VICTORIA Mission, this is Lieutenant Victoria Kohl, requesting a link. I may have a situation... A beat while the connection is made, then... THE TET (TEXT ON SCREEN) Lt. Kohl, standby. (BEAT) What is your situation? VICTORIA I have a rogue signal of unknown origin. I'm sending you a relay. THE TET (TEXT ON SCREEN) Have your Technician locate and report. VICTORIA (loathe to admit) Technician is... experiencing technical difficulties... She winces, that wasn't the greatest lie. Waits... THE TET (TEXT ON SCREEN) Are you still an effective team? VICTORIA Yes, we're an effective team. THE TET (TEXT ON SCREEN) Understood. Have your Technician locate and report. VICTORIA (SUDDENLY) We're happy, to be coming home. (CONTINUED) 35. CONTINUED: A long beat. Then: THE TET (TEXT ON SCREEN) (beat, then) It'll be good to have you back, Vika. Two more months. : ) Victoria SMILES despite herself. Nods, emotional. VICTORIA Will communicate findings on next Tet cycle. Understood. Victoria clocks off. Stares at the border area on the map where she last saw Jack. A KLAXON goes off in her workspace. Victoria STARTS. For the first time she seems confused as she works the console. She can't immediately figure it out... Suddenly she brings up a WIDE SCAN for tracking the Tet, The whole Eastern Coast of the continent. And something is closing, coming over the poles, FAST. ON VICTORIA... EXT. CRATER LAKE - DAY Jack folds the page of his book, stuffs it in his cargo pocket and walks down to the water sparkling over stones. Motion catches his attention. It's the ROVER, approaching with the basketball. JACK So, um... Victoria. The ROVER shifts, confused. JACK (CONT'D) I was thinking, when our tour is up, maybe we'd stay. We could put in for another -- Wait, wait. Stop yelling. Hear me out. No, don't throw that, that's a... The ROVER turns around. Jack smiles at the poor machine's confusion. The smile dying... this is serious. JACK (CONT'D) Maybe you should go, and I should stay... (CONTINUED) 36. CONTINUED: The ROVER leaves, obedient. Jack watches it go, sad. He's spoken the words. He lies back on the bank, looks at the clouds rolling overhead. JACK (CONT'D) I should stay... His eyes... close. INT. JACK'S DREAMS - VARIOUS ---- AN ELEVATOR. It climbs a gantry towards a SHUTTLE. POV looks over, sees a YOUNGER VICTORIA, who smiles back, nervous... -- A GLASS CARAPACE. A WOMAN'S FACE inside. The same Brunette woman. Her eyes open, she SMILES WITH LOVE... .then SCREAMING! JACK'S POV SPINS as A SCAV looms through ORANGE LIGHT and DUST, snarling with its electronic squeal... WOMAN'S VOICE JACK!!! JACK's eyes snap open. It is much later in the day. He scrambles to his feet, breathing hard, remembering SOMETHING... something desperate... BOOM! What appears to be A METEOR streaks across the sky, leaving a trail of flame and white smoke. Jack grabs his binocs and traces the meteor path... resolves it just barely as the shuttle, crashing down. It disappears over a rise, a beat, then a FIERY EXPLOSION. JACK Bob! Let's get going! The Bubbleship is already powering up by the time Jack piles in. He touches a control and the ship shoots up into the air. INT. BUBBLESHIP - MOMENTS LATER Jack sets a course towards the smoke on the horizon. (CONTINUED) 37 CONTINUED: JACK Vika? Vika, did you get that? An object hit near here. A ship. VICTORIA Where the hell have you been? Jack's silent, not wanting to lie. INTERCUT VICTORIA, looking at streaming info from TET. VICTORIA (CONT'D) (tense, professional) It's an external. An alien ship. It's a God damn Scav vessel in the Western Valley. JACK I saw it through optics in the last minute. I'm not sure it was alien. VICTORIA Turn around, Jack. The Drones will handle the situation. JACK The Drones'll kill anything that moves. VICTORIA Just for once wait for your orders on this one, Jack. This is serious. Jack is silent, unsure. The crash site growing closer... VICTORIA (CONT'D) Technician. This is your Control. Turn around. JACK Vika... VICTORIA You heard me. Another hard beat. Jack hating this but... JACK Negative. I'll report when I get to the site. (CONTINUED) 38. CONTINUED: ( 2) IN THE BUBBLESHTP. Bob seems to shake his head. JACK (CONT'D) (sotto, to Bob:) What are you looking at? INT. SKY TOWER, CONTROL STATION - CONTINUOUS Victoria STARES at her Comm. This has never happened. EXT. CRASH SITE -- DAY A MOUNTAINOUS AREA of what was once sea-bed. Smoky orange fire blows across the ruined landscape. A fire in a dust storm. A GUST now reveals... The crashed NASA space shuttle, with the name ODYSSEY on its fractured hull. INT. BUBBLESHIP - CONTINUOUS JACK is circling the wreckage, looking down. JACK I'm here, and it's definitely one of ours. VICTORIA I'm not confirming this from the Tet. JACK I'm confirming it. I'm right here. Vika works her displays, scanning, wanting to keep him safe. The wreckage has strewn out thousands of flaming pieces of debris, all which register heat signatures. JACK (CONT'D) This thing is ancient, one of the old pre-war shuttles. JACK'S POV - THE WRECKAGE. The ship's guts are strewn across the earth. Several pod-like canisters strewn around, more fixed into the burning wreckage. 39. EXT. CRASH SITE -- CONTINUOUS JACK TOUCHES DOWN, rolling out of his Bubbleship even before it's settled. He heads straight into the burning wreckage, into hell. Heat SEARING his eyes, disorienting him. All around metal POPS and GROANS as it distends. He moves through metal panels, dodging flames and burning debris -- searching wildly. Jack sees what looks like a SURVIVOR! HAULS it over to discover it's only an empty NASA jumpsuit. But beyond that... A DELTA-SLEEP POD, split wide open. Its interior EMPTY. Jack moves on, finds another POD, presses his face against the glass... A HUMAN FACE on the other side. A MAN, sleeping... A FUEL EXPLOSION plumes into the dark sky. Jack STUMBLES ON, tracks another pod literally ON FIRE. Beyond that, a whole portion of the ship is semi-intact, the hull ripped lengthwise. Jack tracks a burnished STEEL CYLINDER with radioactive markings, locked in strong moorings... And near that, another POD, still locked in the ship's wall. Jack moves to it, wiping away soot and grime, pressing his face close and sees her... .THE BRUNETTE WOMAN FROM HIS DREAMS. She's asleep, her face lit by moving firelight. JACK is stunned. Eyes dart to readouts: She's alive. ON JACK. Confused, amazed, moved. He puts a hand out, towards the glass of the pod... JACK OKAY SVUNK! SVUNK! Behind Jack, plasma rounds impact the Pod with the man in it, the metal going nova, collapsing... JACK (CONT'D) NO! 1! Cannon fire erupts all around him! TWO DRONES settle on the site, their weapons kicking out energy, locking on and destroying Pods... JACK (CONT'D) NO! NO! They're firing on the ship. Vika, it's one of ours. 40. INT. SKY TOWER, CONTROL STATION - CONTINUOUS Victoria stares at her screens, perhaps for the first time in her life, frozen. Jack's voice blares over speakers. JACK There are people here, and they're killing them! Victoria opens her mouth to respond. She can't. EXT. CRASH SITE - CONTINUOUS A Drone passes right over Jack, locks into position, lining its cannons on the Pod with the WOMAN in it... Jack moves between the Drone and the Pod. The Drone hesitates... SCANS him. Weapons literally red hot from repeated fire. The Drone SHIFTS AGAIN, FAST, looking for its shot. Jack counters, keeping his body between the Drone and the Pod. JACK Get out of here! Go away! Get! A moment of insane bravado, Jack un-shoulders his weapon, strafes the Drone with gunfire which knocks it back. It re-centers, weapons chugging with energy. INTERCUT VICTORIA. Staring at the feeds. A screen catching a half-image of Jack firing at the Drone. She's absolutely still, holding her breath... Jack stares at the Drone, at certain death. JACK (CONT'D) Well, what the hell are you waiting for? GO ON! And suddenly, the Drone moves on, Canons live, searching on into the wreckage, annihilating other Pods. ON JACK, chest heaving... An instant of BLACK, shuttering back to: CROSS-HAIR POV: We suddenly see Jack through CROSS- HAIRS, tracking him as he shields the Delta Pod with his body, dragging it towards the Bubbleship... (CONTINUED) 41. CONTINUED: A high-tech, high-powered RIFLE rests in two alien- armored hands. Like a metal-coated insect tarsus (barbed feet of a fly). The alien begins to depress the trigger... Then another tarsus presses the barrel down. Don't. Don't fire. SHIFTING OVER: Close on an ALIEN. Our first real look, still too close to truly comprehend. Thick stubbled hair armored with metal, bones; A head-dress of authority. Behind layers of dusted cracked goggles, the older alien eye... blinks. EXT. CRASH SITE - CONTINUOUS JACK reaches the Bubbleship, heaves the Delta Pod onto the carrier which immediately secures it with armatures designed to carry damaged drones. JACK steals another look at the sleeping face of the WOMAN. He touches the glass, wiping away soot and dust. JACK It's you... SEEN FROM FAR AWAY The Bubbleship flies up and up, The DELTA SLEEP POD securely hanging from its belly, carrying Jack and this mysterious woman away into the evening sky. EXT. SKY TOWER, BUBBLESHIP PAD - SUNSET The WIND is wild and brutal. As the Bubbleship touches down, CLAMPS snap on the landing skids. Jack is in motion, bursting out of the ship. He glances up. Victoria stands behind the glass of the Sky Tower living room, staring at him. THUNK. He releases the armature. HAULS the Pod with him towards the house. HAMMERS ON THE GLASS. JACK Open it! Victoria obeys, opens the glass doors. WIND fills the living room as Jack hauls the Pod in. Then Victoria touches a control and the walls SEAL. (CONTINUED) 42. CONTINUED: JACK (CONT'D) The drones tried to kill her. They destroyed the other survivors. VICTORIA (RATIONALIZING) Well it didn't recognize her. It's machinery. It's programmed MACHINERY -- JACK She came off a NASA shuttle. The drones were specifically targeting the pods -- VICTORIA I don't know what the machinery did or didn't do. There's protocol... JACK Protocol? Protocol?! Who's the machinery now, Victoria? VICTORIA stares at him. Then retreats from the question into the task at hand. She kneels by the Pod. VICTORIA Go get the cutter, and a breather, and my big bag. Now. The Pod's been damaged, she's not doing well, let's get her out of there. Jack moves. Victoria, almost holds back, but... VICTORIA (CONT'D) .This has to be reported. HE SPINS. Stares at her. Really angry. JACK I know it does. And when we report it, we'll also report that drones slaughtered the other human survivors from one of our ships. See what they make of that. He goes for the equipment. Victoria stares at the woman's face, deeply unsettled... Jack returns with Victoria's bag, and firing up a CUTTER. (CONTINUED) 43. CONTINUED: ( 2) VICTORIA Right there, be careful... Jack directs the blue arc towards a seal. The Pod depressurizes with a sudden exhale of dead air. Jack pulls back the pod door. Inside, the woman lies in a gauzy sleep suit. Her hair is matted. Her body looks frail, her skin translucent, veins dark, lips blue, like a drowning victim. Vika pulls her feeding tube, takes her pulse, checks her eyes, lifting the lids. VICTORIA (CONT'D) Lift her up, we have to get some air into her. JACK gets his arms around the woman, pulling her upwards. FLUID seeps from her mouth... And suddenly she's ALIVE, COUGHING, spewing fluid across Jack and the floor. He sets her down as she painfully wretches, then SUCKS IN AIR. Her eyes flutter open. She's suddenly violently ill again. Instinctively, Jack goes to hold her -- VICTORIA (CONT'D) (PROFESSIONAL) No. Don't. Let her get the fluid out. The woman stops heaving. Looks up at both of them... She tries to stand, disoriented by the glass walls, the infinite vertigo that surrounds them. She falls to her knees and stares with amazement down into the clouds. Jack kneels beside her, puts a hand on her shoulder. JACK You're safe. You're in a skytower, on Earth. WOMAN .Jack. Victoria gives a sharp look at Jack. He's stunned. Now completely exhausted, the woman SLUMPS into unconsciousness. Jack catches her. Victoria comes close, slides an oxygen breather mask over her face. (CONTINUED) 44. CONTINUED: (3) VICTORIA We need to get her cleaned up. INT. SHOWER - MOMENTS LATER A bizarre and almost beautiful tableau: ALL THREE together under the water, Jack holding the unconscious Woman like a child. The warm water spraying over their three forms, soaking the woman's gauzy suit which clings to her body. Water running across Jack and Victoria's faces, their open eyes, locked on each other. The water finally stops. VICTORIA We have to get her up to the Tet. JACK I know. VICTORIA I don't have the facilities here. Once she's stable... JACK I know. The glass door slides open behind them. Neither move. VICTORIA What's going on? He shakes his head. He has no idea. INT. INFIRMARY BAY - LATER The WOMAN lies in a bed. VICTORIA checks her readouts, adjusts her UV drip. She glances over her and realizes that the woman's eyes are open, staring at her. Beat. Victoria turns, offers the woman some water. VICTORIA Here. Drink this. You're dehydrated... You've been in a very bad crash. Your ship came down. This DISTURBS the woman. She tries to sit up. (CONTINUED) 45. CONTINUED: WOMAN What about the others? How did you get out? VICTORIA What's your name? WOMAN .Julia. Julia. The woman, JULIA, sinks back down, exhausted. VICTORIA You need to rest quietly. You've been in delta sleep for a long time. JULIA How long...? VICTORIA Best guess? About 65 years. Julia takes that in... JULIA Where's Jack...? Julia STARTS. Looks down at her arm where Victoria has just slid a needle under her skin. She stares at her, almost afraid. Victoria depresses the plunger. VICTORIA Shhhhhh... EXT. SKY TOWER - NIGHT SEEN FROM AFAR. The Sky Tower a lonely refuge in a roiling storm, turning on its axis, like a weather-vane And we PLUNGE DOWN. Down and down, to the base of the SKYTOWER, to see... EXT. SKY TOWER BASE - NIGHT AN ALIEN, battered by wind, rags blowing, raises its mask to the sky. Looking up towards the tower. It wears the DISTINCTIVE HEAD-DRESS that we have seen before. 46 , INT. SKY TOWER, DINING AREA - NIGHT Victoria is very subdued, poking at food. Both very aware of the woman sleeping in the infirmary. VICTORIA Tomorrow, I'll report that we have her. Jack nods, but won't look at her. Deep in thought. VICTORIA (CONT'D) Jack... (BEAT) What do you want from me, Jack? This isn't just a Shakespeare Sonnet, a buffalo nickel, some vase... JACK It's a Greek funeral vase. Which I want my ashes in, incidentally. Victoria collects the dishes, heads for the kitchen. JACK (CONT'D) I just think we need to know why. VICTORIA Jack, please. This isn't why we're here. This is just what we have to do before our real lives begin. We've given them five years and now we get to go home. (BEAT) So just leave this alone. It's not our job. JACK And what if I can't? They stare at each other, each obscurely frightened. EXT. INFIRMARY - NIGHT Julia sleeps, a mask taped to her face, oxygen hissing. Jack watches her. Now cleaned and dry, there's a natural, earthy, freckled beauty to her. Air passing peacefully through her lips, now returned to color. (CONTINUED) 47. CONTINUED: Jack reaches out to brushes hair from her face. He notices the outline of a necklace with a pendant under her nightgown. INT. SKY TOWER, KITCHEN - NIGHT Victoria sets dishes in a dishwasher. She stops. She can see Jack in the Infirmary, staring at Julia. INT. WORKSHOP AREA - NIGHT DRONE 166 sits in its hub, repaired. Jack replaces a panel, moves to a laptop and activates the drone. It POWERS UP, rising fast, bringing its canons around. We should be afraid, very afraid, that something is wrong with it. It SCANS Jack, as menacing as ever. But something's changed in Jack. He just stares back at it. Beat. Then the DRONE FIRES itself off into the black clouds, disappearing towards the earth below. Jack stares after it; then he turns, looks across empty space to the underside of the glass pool. Victoria has just dived in. She swims laps, kicking hard, bubblestreams peeling across her body. Exercise, not pleasure. EXT. SKY TOWER, POOLSIDE - NIGHT Jack stands at the end of the pool, watches Victoria stoke powerfully towards him. She sees him as she reaches the edge, stops, looking up at him. This is important, something Jack's been wanting to say for a long time: JACK I read these books, of what it was like down here, before... He sits, his legs dangling into the water. She pulls up close, her arms on the side. JACK (CONT'D) In this one book I was reading, a man describes being a child. He remembers a yellow kitchen, a baked apple. (CONTINUED) 48. CONTINUED: VICTORIA I know. That was the world before. Your little obsession... JACK What was so wonderful about life on the Tet? She looks away... JACK (CONT'D) When our time is up next month. I want to put in for one more tour. Victoria pushes off from the side, drifts back... JACK (CONT'D) It's almost all gone, Victoria. I want to be here for the end. She turns, resumes swimming laps. Hard, driving through the water. He watches her for a moment, then turns away. INT. SKY TOWER - NIGHT Victoria comes in from the pool. She can see Jack in the bedroom, sitting on the bed, his back to her. She moves into the Infirmary, moves to Julia and checks her IV drip. She starts to adjust it, stops. She stares down at Julia. INT. SKY TOWER, BEDROOM - MOMENTS LATER Victoria comes in from the infirmary. She opens a closet, changes into a night shirt. JACK VIKA -- She turns and grabs him, desperate. VICTORIA Please. Please. Don't you understand? We have a chance to be on the first boats out, to be the first to settle Mars, raise a family. Five years. Proof that we are an effective team. (CONTINUED) 49. CONTINUED: She holds his face, kisses him, willing him to want her as desperately. VICTORIA (CONT'D) Everything we've wanted is waiting for us up there. Please, Jack. JACK I don't know if it is or not, Victoria. I can't remember. She starts to reply... has nothing. Shakes her head. She grabs blankets and pulls them around herself, her back to him, her eyes open, scared. Jack also lies down, staring upwards. And then Jack asks the 64,000 dollar QUESTION: JACK (CONT'D) Do you remember her? Victoria doesn't move. Stares straight out. EXT. THE SKYTOWER - NIGHT WIND shakes the SKYTOWER, and the clouds boil beneath it. Jack and Victoria sleep next to each other. In the infirmary, Julia sleeps alone. A machine "beeps." EXT. OBSERVATION DECK - DAY (DREAM) We're in the deep saturation of Jack's dream. Images fly by, then SLOW. People, enjoying the view. New York City. Jack, looking through the pay telescope. Then turning, seeing... Julia right next to him, smiling up, happy. INT. THE SKY TOWER, BEDROOM - NIGHT Jack's eyes open. That dream again. Victoria's still asleep next to him. He rises out of bed... INT. SKY TOWER - VERY EARLY MORNING Jack pads out into the main room. STOPS when he sees Julia, risen from the infirmary, standing at one of the glass walls of the Sky Tower, staring out. (CONTINUED) 50. CONTINUED: It's early early morning. Probably 3:00 am. While it's dark below, the first signs of dark blue and orange sunrise are visible on the horizon. THE PLANETARY RING glows with soft golden light. JULIA'S POV: In the distance, the Tet is rising, faint light on its surface as it crests the planet's curve. VERY CLOSE on Julia. The image of Tet reflected in the corneas of her eyes. She's been crying, silently, and alone. One hand at her chest. JACK It's beautiful, isn't it? It's your home now. (NO RESPONSE) How do you feel? She wipes her eyes. JULIA A bit more... located. JACK What was your shuttle's mission? She turns to him, watches him carefully in the dim light. And then, lying: JULIA I don't remember. I should get back to the ship. I might be able to find the flight recorder. JACK Your ship... it's pre-war. JULIA (again, careful) Have you ever seen a ship like that? JACK No. No, of course not. This answers something important for Julia. JULIA I wonder what brought us back? JACK .There was a transmission. I don't know who sent it. (CONTINUED) 51. CONTINUED: (2) JULIA We'll never really know without the flight recorder. (almost casually...) She says we can't go down there, that it's too dangerous. He laughs a little, shakes his head. JULIA (CONT'D) What? JACK Funnily enough, you've found your man. JULIA (SMILING) Have I? An awkward beat, then: JACK How did you know my name? JULIA .You look like someone I once knew. (extending her hand) I understand I owe you my life. Thank you, Jack. They shake. A weird moment. She breaks away, looks back at the Tet which now glows a pale orange on the horizon. JULIA (CONT'D) What happens now? JACK In a few hours, the Tet will come online. Victoria will report your rescue and I imagine they'll send someone down for you. JULIA From... the `Pet? JACK Yes. She gestures out to the Bubbleship on its pad. (CONTINUED) 52. CONTINUED: ( 3) JULIA You fly that thing? JACK .You could say that. She SMILES, pleased. A twinkle in her eye... JULIA Alright then. Don't you want to know? EXT. SKY TOWER, BUBBLESHIP PAD - EARLY MORNING JACK and JULIA are suited up, ready to go. The Tetis still low and far on the dark horizon, silhouetted bythe first signs of sunlight growing in the East... The Bubbleship's ENGINES start up with their distinctive whine. As they head towards the ship, Victoria comes out from the house, a robe pulled on... VICTORIA Jack! What are you doing? JACK I'll bring her back before Tet- Rise. We just want to try to find the flight recorder. You can't know everything watching from a mile up. VICTORIA She shouldn't be -- Julia turns on Victoria, quickly. JULIA Thank you. I feel very well. Then, coldly, she boards the ship. JACK She's the flight officer, she wants. to see the wreck of her ship and secure items there. You'd want to do the same thing. VICTORIA Jack, please. (CONTINUED) 53. CONTINUED: JACK Don't worry, we'll be back before you have to make your report. VICTORIA That's not it. I can't protect you with the Tet offline and I just have a very bad... JACK I'll be fine. He turns and boards. Julia is staring at her through the bubble-canopy. The bubbleship rises and then falls off to the side, plummeting towards earth. INT. BUBBLE SHIP - EARLY DAWN Jack pulls the ship out of its dive, sets course across the altered earth. Julia is STARING down, a little afraid, but darkly fascinated... Victoria's voice cuts through on the Comm. VICTORIA Jack... This isn't just about protocol. I'm trying to understand. JACK (BEAT) I'll be home for breakfast. And he SWITCHES OFF the Comm. INT. SKY TOWER, COMAND CENTER - CONTINUOUS Victoria STARES at the dead Comm. A moment, then she SLAMS the panel with her fists. She backs off, staring at the panel. INT. BUBBLESHIP - CONTINUOUS They fly in silence. Julia gazes down at sights we're by now familiar with, becoming visible as the first light hits. The craters, emaciated seascape. (CONTINUED) 54. CONTINUED: JULIA So I guess I'm around... a hundred years old. (BEAT) What happened next? He gestures towards the moon ring in the sky. JACK The Scavs assumed taking out the moon would wipe us out, and it almost did. But we re-grouped, fought back. We beat them in the end. She glances at him. JACK (CONT'D) That's if you call nuking half the planet beating anybody. He looks at her, shrugs. They fly past a RESOURCE GATHER, its column of water lifting from the seas. JACK (CONT'D) We harvest seawater to supply the Mars colony with the energy we need to live there. We're almost done. Pretty soon, there'll be no more water down here. JULIA A dry planet... He nods at the Tet, rising in the distance. JACK Yeah. What's left of us are up there now, ready to go where you were headed, Mars. 40 acres and a mule. What we've got left. What you've got. Julia stares out at the Tet. JULIA What about you? JACK We were born and raised up there. Vika's the A-student. I'm just a tech... I fix things. I... (CONTINUED) 55. CONTINUED; ( 2) JULIA looks at him. Something out of the groove. JACK (CONT'D) Why are you looking at me like that? JULIA Sorry. She stares back down at the landscape. JULIA (CONT'D) It's so beautiful. He looks at her, surprised. He thought he was the only one... EXT. CRASH SITE - EARLY MORNING THE BUBBLESHIP sits landed amidst the wreckage. A low still fog has condensed, leaving visibility low, moisture everywhere. While there was light up high, they've descended back into the pre-dawn darkness. The ROVER has detached, shining its small light in their direction to help. Julia searches fruitlessly. Everything from the wreck small enough to carry away has been taken by Scavs. Every piece of fabric and metal. Jack half watches her, half tracks the periphery, his weapon slung low. INT. SKY TOWER, COMAND CENTER - CONTINUOUS Victoria sits at her workstation, upset. She's got the Bubbleship up on the map, its cam feed on display. EXT. CRASH SITE - CONTINUOUS Julia, still weakened from Delta Sleep, hauls aside debris, revealing a metal floor-plate, unscrewed and discarded. The slot within is empty. JULIA No! NO! It's been taken. DAMN IT! (CONTINUED) 56. CONTINUED: She backs off, upset, breathing hard. JACK Look, it doesn't matter -- JULIA It matters, okay!? You don't... you can't understand... I need that flight recorder. I need to know what happened. (BEAT) You need to know what happened. JACK We should stay close to... She ignores him, moves on. Deeper in the wreckage, she locates the empty moorings that held the Steel Cylinder Jack saw. It's also gone. JACK (CONT'D) What was it? She STARES at him, wanting to say something. Deciding not to. She leans back against a wall of the shuttle. INT. SKY TOWER, COMAND CENTER - CONTINUOUS Victoria has tried to ignore the cam feeds, working on other things. She glances over, then away just as a FORM passes by one of the cam feeds! Victoria checks another readout, glances back as TWO MORE FORMS pass by the camera. Glimpses of metal and fur... VICTORIA (hitting the Comm) Jack! Jack! There's something coming your way. JACK!!" TNT. CRASH SITE - CONTINUOUS Jack's Bubbleship sits silent. The COMM still switched off. Suddenly ANOTHER FORM moves through our line of sight, something's there, and CLOSE. WITH JACK and JULIA. The air still, damp. Almost no sound. She picks through the remains of the ship. He's staring at her. (CONTINUED) 57. CONTINUED: JULIA (without looking up) You're staring at me. JACK I'm sorry. INTERCUT: Victoria watches as MORE AND MORE Alien figures pass the camera feed. Moving towards Jack and Julia's position. Victoria, HELPLESS. Julia looks up at Jack, directly for the first time. He stares at her... JACK (CONT'D) How do I know you... ON JULIA'S FACE. Suddenly her vision racks... JACK SPINS, sees emerging out of the mist, SCAVS. A dozen of them. Alien tribesmen, bristling with weapons, war-like high-tech headdresses. Mandibles and claws. Terrifying and close. Jack reaches for his weapon, bringing it around and -- SLAM! He's hit from the side by a SCAV. Its armored body bringing him to the ground. He tries to CRAWL AWAY, sees Julia grabbed. He twists, sees Scavs crawling over the Bubbleship. JACK (CONT'D) Bob! HOME! In the background, the Bubbleship BLASTS OFF, Scavs falling off as Jack KICKS BACKWARDS, breaking the Scavs hold. He rolls away towards his weapon- - straight into the legs of a GIANT SCAV holding an improvised club which now comes down, IMPACTING JACK... INT. SKY TOWER, CONTROL STATION - CONTINUOUS VICTORIA stares at image of the wreck growing SMALLER as the Bubbleship rises. VICTORIA JACK! JACK...! 58. EXT. OPEN LAND - DAWN Darkness. LOUD SOUNDS. ANIMAL PANTING. Small, glimpses of earth moving by, then darkness again. Jack and Julia are tied to a huge SCAV SLED pulled by twelve FERAL DOGS. A combination of old scavenged military hardware and new innovation to adapt to a world without engine-power. Giant treads roll forward as the dogs STRAIN against metallic harnesses. Jack's head lolls to the side. He blinks, looks over to see Julia next to him, unconscious. He tracks up. At the top of the sled, a massive Alien Scav pilots the sled, sand whipping through a head-dress we recognize: The LEADER. He holds a long whip, cracks it over the dogs who haul the sled forward. We slow, letting the sled pull away from us into the dark as we travel BACK, towards where we came from, reveal... The Bubbleship's ROVER has been following. A machine meant for small journeys, it rolls inside the tread path left by the sled, but it can barely handle the terrain. INT. SKY TOWER - MORNING Victoria hears the SOUND OF THE BUBBLESHIP, arriving. She rushes to the glass of the Sky Tower, sees the Bubbleship, docking itself. Auto pilot. No one inside. EXT. MOUNTAIN CANYONS - MORNING From far away, we see the sled wind up this rocky canyon which opens onto a massive wall of old concrete and steel. Something giant and industrial in its time. The sled approaches, seems to disappear as it moves under a shadowy outcropping of rock. In the dark underneath, huge metal doors... close. INT. A DARK SPACE -- NO TIME Almost complete blackness, just the SOUND of a slow drip of water. In the far distance, the howls and chatter of Scavs. Jack's blood-encrusted eyes blink open. Irises dilate trying to orient. He raises his head, can barely see. (CONTINUED) 59. CONTINUED: He and Julia lie in the only pool of light in the room, filtering in from a high ventilation shaft. She's unconscious. Around him, in the dark, the sense of movement. His eyes adjusting, he squints into the dark. There's a FORM on the edges of the light, watching him. Jack tenses as the figure... .strikes a match on the floor, brings the flame to its face, revealing... An Old Man: BEECH. He sucks in on the end of a cigar. For a moment, their eyes meet. Then the match goes out. Dark silhouette again. Only the feint orange glow from the cigar. BEECH MonteCristo, #2. Do you have any idea how long I've waited, for this? He EXHALES a stream of smoke into the beam, then moves closer, into the light. Beech's face is lined with age and exposure, his skin scarred from battle. His teeth yellowed and crooked, but his arms and body are strong. Jack TENSES. Beech's voice is calm, with a barely held- back malice lurking just under the surface. BEECH (CONT'D) Well, let me tell you, Jack. It's been a long time... JACK Who are you? Where is this? BEECH inhales again. There's a piercing curiosity to Beech's gaze, studying him. BEECH We're deep underground. Very deep underground. JACK We were taken by the Scavs... BEECH Oh... The "Scavs". (BEAT) Tell me, Jack. Have you ever met a Scav, up close? (CONTINUED) 60. CONTINUED: (2) Jack is suddenly aware of other FORMS in this room. Motion, on the periphery. Hair... Feathers. Scavs? BEECH (CONT'D) No, of course not. You just repair the damage, keep the Drones up and killing. Don't ask many questions, do you, Jack? No part of the... (BITTER TASTE) .job description. Beech pulls off the cigar... BEECH (CONT'D) Brutal, if you think about it. The way your Drones - JACK The Scavs took everything from us. And if you're working with them -- BEECH Interesting, Jack. Interesting. You're worried I might be some kind of... Collaborator. Jack doesn't respond. BEECH (CONT'D) (ASIDE) Lllllllights! A beat, then a BANK of lights flickers on, revealing HUMANS, all around them, heavily armed. Julia GROANS, the light bringing her to. Jack moves to protect her, tracks ten, TWENTY people... He looks UP where ROWS AND ROWS of men and women stare down from above with undisguised animosity. Forty, fifty more... At the front, a strong battle-scared Scav, SYKES, hovers on the edge of violence. He's been recently WOUNDED. BEECH (CONT'D) You see...? We're not Aliens, Jack. We're very much human. Jack can't process. Human face after human face. (CONTINUED) 61. CONTINUED: ( 3) BEECH (CONT'D) Of course that's a problem. Your drones go for human shapes, human voices. So... we change our shapes, change our voices. (INHALING SMOKE) The Drones still kill us, but they're not nearly so aggressive as when they smell a human target. Did you ever ask yourself why that is? JACK No, they're programmed to BEECH To what, Jack? (OFF JULIA) You saw it yourself. You almost got yourself blown to bits protecting her. I've been meaning to ask you, why did you do that? JACK Anyone would have... BEECH Anyone. Would have. Interesting. Julia comes around, her eyes flickering open, She SCREAMS, looking frantically for an escape. Jack GRABS her, protecting her, calming her. Beech gets CLOSE, studies Jack, what he's doing. Nods. BEECH (CONT'D) Very interesting. Beech moves away. Jack moves after him and suddenly forty or more weapons lock onto him. Sykes closer than any other. BEECH (CONT'D) Careful, Jack. I'm afraid you're not very popular here. Beech switches his gaze to Julia. BEECH (CONT'D) Welcome back to earth, commander. Hope you like what we've done with the place. (CONTINUED) 62. CONTINUED: ( 4) Beech moves on. Jack and Julia follow, cautiously... INT. GROW-HALL, RAVEN ROCK - CONTINUOUS They pass into a giant area devoted to agriculture. ROWS of wide, two-story glass tubes hold PLANTS bearing fruit. Their roots are held bare, bathed only in moist air... BEECH We grow what we can, under the lights. It isn't much; Wheat- grass, some vegetables, what beans and soy we can. The general state of our health proves that human beings are not herbivores, but the alternative is not appetizing to anybody. (SARDONIC WINK) Not yet, anyway. JACK When we get you up to the Tet, there's plenty - BEECH There is? Plenty. Plenty of what? JACK Food.Foreveryone. (BEAT) Look,it'samazing you've lasted thislong.But the radiation zonesare growing. All of this, willbe gone soon. BEECH The zones... the area you don't patrol... JACK No one does. You go there --- BEECH -- Your organs boil from the inside. I've heard. Beech moves on, turning down another corridor. There are PAINTINGS, stacked against the walls. Picasso, Monet, Kandinsky, Warhol. SCULPTURES in piles. (CONTINUED) 63. CONTINUED: A Grand Piano is pushed in a corner, other instruments propped against it. They pass a room filled with BOOKS, another with a SCREEN mounted in front of a projector. For a moment, Jack forgets everything else. It's like his private collection at Crater Lake, but a hundred times bigger, richer... Julia stops in front of a painting of a young girl in a field of golden grass, staring towards a farmhouse on the horizon. She turns to Jack. JULIA It reminds me of home... INT. SKY TOWER, COMMAND STATION - DAY VICTORIA is communicating with the Tet. She has been crying, sick with worry. VICTORIA He's disappeared. (CORRECTING HERSELF) My Technical Officer, Jack Harper. He's gone. THE TET (TEXT ON SCREEN) Time since last contact? VICTORIA .Six hours. THE TET (TEXT ON SCREEN) Protocol states 24 hours before reporting a loss of contact. VICTORIA The Scavs took him. I witnessed it. He has a... A beat. Victoria experiencing jealousy she didn't fully understand before... VICTORIA (CONT'D) There's a woman with him. The survivor of the crashed shuttle, Julia Sommerville. Silence. (CONTINUED) 64. CONTINUED: THE TET (TEXT ON SCREEN) Prep the survivor for immediate evac. VICTORIA I told you, she's with the Technical Officer. I'm requesting permission to re-task the Drones for search and rescue. THE TET (TEXT ON SCREEN) Permission granted. Victoria gets to work on the console, re-tasking Drones. Another TONE makes her look over. THE TET (TEXT ON SCREEN) (CONT'D) You doing okay, Vika? VICTORIA (FRUSTRATED) Yes, I mean. I don't know. Tet Comm Status: "COMMUNICATION ENDED." INT. RAVEN ROCK - NO TIME Jack and Julia are held back by Scavs as up ahead Beech's second-in-command, the battle-hardened SYKES, whispers heatedly in his ear, glancing back. Not everyone thinks having Jack and Julia here is a good idea. Jack peers over the edge of the gantry they are on. FAR BELOW, ancient GEOTHERMAL TURBINES churn. JULIA Jack, what he said about the Tet... JACK (not looking at her) It took three decades to build the Tet. And when it was finally ready and it was time to go up, there were people who refused. Leaders, who told their people to stay. Staring at Beech, the glint in the man's eyes... (CONTINUED) 65. CONTINUED: JACK (CONT'D) And so they stayed. And they were slaughtered. Whatever the conversation is, it doesn't go well. Sykes storms off, angry. Other Scavs go with him. EXT. CANYON - DAY The ROVER has reached the Canyon, starts to make its way in towards Raven Rock. INT. SKY TOWER, COMAND CENTER - DAY Vika is on a tear, working hard. Unable to reach Jack, she's looking for any clue, anything to help find him. To that end she's replaying the recordings of her last transmission from the Bubbleship. We hear her last PLEADING: VICTORIA'S VOICE Jack! Jack! There's something coming your way. JACK!!!! Victoria LISTENS, chilled. She hits REWIND, then PLAY: JACK'S VOICE .It'll be fine. Trust me. VICTORIA'S VOICE I'm trying to. JACK'S VOICE I'll be home for breakfast. Alone in the Sky Tower, this hits Victoria hard. REWIND. Victoria STARES at the counter, letting it go further back. Then, PLAY. Just STATIC. Then we hear Victoria's end of a conversation we already witnessed: JACK'S VOICE (BREAKING UP) (CONT'D) I'm near the... .border territory. .still more than five clicks from the... beacons... (CONTINUED) 66. CONTINUED: VICTORIA'S VOICE What are you doing out there so far, Jack? Then the static for a moment filled with GARBLED SOUNDS. Victoria hits STOP. She stares. Makes an adjustment, plays the SOUNDS again. Something drawing her in... INT. WORK HANGAR, RAVEN ROCK - CONTINUOUS A Large bay, filled with machinery, computers. Other things scavenged from the wreck of the Odyssey including several Delta Sleep Pods. Scav Soldiers work in the center of the bay on a DOWNED DRONE. It's been opened up, taken apart. All of its circuit boards and wiring spread out, hooked to computers. To the side, other soldiers are grouped around something. Jack tracks the object they're working on: The scarred STEEL CYLINDER Jack saw on the Odyssey. Its been opened up and some ten scavenged Deuterium fuel cells have been fitted inside the casing. JULIA The bomb... She REALIZES something, wheels on Beech, angry. JULIA (CONT'D) You brought down the Odyssey. You sonofabitch you crashed our ship. There were people on board, all so you could get -- BEECH I know what I did. But tell us, Commander, why did you have a bomb on board, what was it for? Tell him. She looks at Jack, reluctant to say it, but... JULIA The Tet... is an alien ship, Jack. The odyssey's mission --- Our mission, was to investigate it. Jack shakes his head no. Angry... (CONTINUED) 67. CONTINUED: BEECH It attacked us. First it destroyed our moon. Then it unleashed its primary weapon, a brilliant weapon... JACK I was born there! BEECH I was born in Chicago, Jack. I used to go to baseball games with my father. I used to get two big hot dogs, fill 'em up with relish, and mustard. Just go to town. Me and my pops, watching the sox. (quick, pressing) You have any memories like that Jack? JACK No, my father was a -- BEECH Was what? Tall? Fat? He yell at your mom? Ever go to a baseball game, Jack? JACK (GETTING ANGRY) I already told you -- BEECH Right, sorry. Tell me how your mother smelled. JACK What? BEECH My mother, smelled like warm fruit. Like oranges, sitting in the sun. Jack starts to speak... Stops. Beech moves to one of the scavenged DELTA SLEEP PODS, runs his hand over the embossed name-plate... (CONTINUED) 68 CONTINUED: ( 2) BEECH (CONT'D) If you had looked more carefully at the wreckage of the odyssey, you would have noticed there were two empty sleep pods. The Pilot, and the Co-pilot... Jack stares at the name plate on the POD: "J. Harper." JULIA It was you, Jack. JACK What? JULIA You and Victoria. We were all on the Odyssey. We were supposed to make contact... JACK No. BEECH The Tet is an alien vessel, Commander Jack Harper. It came and destroyed our moon and most of humanity when it did. And ever since, with your help, it's been trying to finish the job. (BEAT) I'm sorry, Jack. It's not good news, I know. You've been turned to the wrong side. Beech goes to the BOMB, stares down at it BEECH (CONT'D) But now, with your help, we can finally destroy it. JACK You're insane. This is insane. He turns to Julia, but she won't help him. JACK (CONT'D) (to both of them) There are people up there - BEECH What? People like you? We are the last real people. (MORE) (CONTINUED) 69. CONTINUED: ( 3) BEECH (CONT'D) Pockets like this one, hiding out, dying. Probably all over the planet. Beech raises his gaze to Jack. Deadly serious. BEECH (CONT'D) We didn't win the war, Jack. We lost. These words hit Jack. He starts to reply, finds he can't. Beech approaches, fatherly, gentle. BEECH (CONT'D) It has taken us ten years to get here, but we finally have a weapon, and a working Drone to carry it. Except we can't successfully program the Drone. It's not our technology. (CLASPING HIS SHOULDERS) But you can, repairman. That is the beautiful irony. It gave you the skills. ON JACK... EXT. RAVEN ROCK - CONTINUOUS The ROVER crawls up the Canyon finally arrive at the entrance to Raven Rock. It stops, scanning the face of Raven Rock... BLAMI!! A SHOT hits it, it tumbles back, utterly destroyed. INT. SKY TOWER, CONTROL STATION - CONTINUOUS Victoria is working hard, intent on deciphering the sound. She doesn't notice the image of Raven Rock appear on a side monitor, transmitted from the ROVER. INT. WORK HANGER - CONTINUOUS Suddenly, SYKES and several other Scavs burst into the area. All eyes go to Jack and Julia as the ruined ROVER is brought in. (CONTINUED) 70. CONTINUED: SYKES It followed him here. I told you this was a mistake! Beech, processing. All around the periphery, REACTION. This is a disaster. BEECH Well well, we may be out of time. Set the Drone to return to the Tet upon reactivation. It needs to go right to the center -- JACK No! It will kill - BEECH (RAGING) It will kill that ugly stain on the sky. That's all! Now program the Drone! Soldiers push Jack towards the opened Drone. Jack stares at the read-outs, the electronics. Sykes GRABS a weapon from a female Scav soldier, lines it on Jack. JACK No. I won't do it. SYKES He won't help us. We bury them both, make our run as soon as we can load up. JULIA NO!! Jack stares Sykes down. JACK You know I stare into weapons every day, so you can put that away. Because here's what I can tell you... (back to Beech) If the Rover found us, the Drones will too. Unless you want them to find you, let me get somewhere where I can send a signal. Somewhere far from here. Beech... caught. (CONTINUED) 71 CONTINUED: ( 2) BEECH (IGNORING SYKES) What's your plan, Jack? Tell the Tet where we are, so they can send a nice big welcome -- JACK The Drones would kill you. Let me try to stop that. SYKES You can't trust him! JACK (staying on Beech) You're wasting time. On Beech, Sykes... TNT. RAVEN ROCK - MOMENTS LATER Jack and Julia stand near the entrance to Raven Rock. Sykes appears with the white rectangular box, tosses it down in the dirt at Jack's feet. Beech watches as Jack unfolds his motorcycle. Behind them, other Scavs are packing up, readying an exodus. JACK I can fix this. BEECH Well, you're the repairman. Jack powers up the bike and gets on. He looks at Julia who hesitates, then she climbs on the back of the bike. JACK I'll get to the antenna, send a signal with my location. The Tet will call off the search. .You should be safe, for now. Jack starts to go. BEECH Jack... What if I told you that I had been to your radiation zones. And what I found there... Would change everything you think you know about the world. (CONTINUED) 72. CONTINUED: Jack looks at him, hearing this. Then GUNS the bike. Beech stares after them, the rooster-tail of Jack's bike racing away across the ruined landscape. SYKES What makes you think he's any different from the others? Beech stares at him a moment, then back out. BEECH She does. Beech turns away. EXT. THE RUINED EARTH - DAY Jack pilots the electric bike across STAGGERING BEAUTIFUL VISTAS... LANDSCAPES OF THE IMAGINATION. On the back of the bike, Julia takes in the incredible beauty around her. Finally, in the shadow of a jagged mountain, the BIKE slows and STOPS. Jack checks the charge: it's dead. They climb off and Jack leaves the bike where it lies, headed off on foot. JULIA What happened...? She's staring into the distance where an old WRECK of a RESOURCE GATHERER lies shattered against a cliff-face. JACK The Scavs brought it down ten years ago. All. this time, I thought we were at war with the Scavs... but it turns out we were just killing each other. He turns, heads off on foot. After a moment, she follows. EXT. CLIFF TOP - DAY Jack and Julia reach the top of a high cliff, with what looks like a METAL SPIRE protruding upwards at its edge. (CONTINUED) 73. CONTINUED: We PASS OVER them, staring down a familiar 1,200-foot waterfall. Jack has returned to the top of the Empire State, this time approaching from above. Together, they climb DOWN the craggy rock face. Two tiny figures against a massive backdrop, a mortal fall below. EXT. OBSERVATION DECK - DAY Jack is the first to drop onto the cracked cement of the deck. He moves forward, pulling the plastic and camouflage off the transmitter and repeater. He gets to work on the repeater. It's old tech, hard to make it talk to the Bubbleship. Julia stands a ways off. For a moment, their gazes meet, then he continues working. INT. SKY TOWER, COMAND CENTER - DAY Victoria is hard at work, processing the sound that caught her attention. She has it playing through the whole sky tower: The SOUNDS are broken, static-like, almost ALIEN. Strange and guttural. Fingers fly over controls, making adjustments. This time the sounds parse into WORDS. A male and a female voice. Almost apprehensive, she pulls an electronic filter, overlays it on the signal, which suddenly drops into perfect clarit : A recording of Jack and Victoria, from a different patrol. VICTORIA'S VOICE (LAUGHING) .And I want a dishwasher, the kind that you can put -- JACK'S VOICE I don't think they'll have those on Mars, Honey. VICTORIA'S VOICE Okay, fine. No dishwasher. How about just you. All the time. JACK'S VOICE Yes. When we get there. ON VICTORIA. Her face totally still. Strangely frozen in the face of this sweet little exchange... (CONTINUED) 74. CONTINUED: And then a SOB breaks from her lips. The kind you can't control. Her fingers SHAKING, BADLY, she plays the recording, puts it on a loop. TNT. SKY TOWER - CONTINUOUS The voices BOOM through the Sky Tower, over and over. Frightening that their simplicity contrasts so much with the effect they are having on Victoria who moves into the main room, white as a sheet. She looks up as.. The Bubbleship lifts off from its platform and sails into the sky. She watches it go, then rushes back towards her station. EXT. OBSERVATION DECK - DAY Jack stares at the ESB Antenna, down at the repeater and the line of code he hopes he's transmitting. JULIA What will you do now? Jack doesn't answer. He moves to the edge of the deck, stares out, unwilling to meet her eyes. JACK That old man is smart. Those fuel cells, the way he's got them tied in with your device... He could blow the whole station. JULIA Jack, you can't turn them in. He glances at her, shakes his head. JACK What do you want from me? I'm just a repairman. (BEAT) This is bigger than me. Jack moves off to a corner of the deck by the old telescope. She follows him, steeling herself. JULIA (CAREFULLY) You and I started the same year at NASA. (MORE) (CONTINUED) 75. CONTINUED: JULIA (CONT'D) It wasn't really about space for me, it was about... what could be out there. Life... JACK Look, stop, okay? Just -- JULIA But for you, it was always the stars. You wanted to fly further and faster than any one else. JACK I don't know who you're talking ABOUT -- JULIA I'm talking about a man I knew, who was fearless. A man who wouldn't bow out of a fight, ever. JACK STOP! You and that old man have this story... Except I know who I am, okay? I know who I am! JULIA No, you don't. That thing brainwashed you, it erased your MEMORIES He turns, starts to lean on the old telescope, draws back, staring at the thing like it bit him. JULIA (CONT'D) That's right... What do you remember? INTERCUT: The auto-piloted Bubbleship skims over the surface of downtown, headed towards the Empire State... Jack is staring at the telescope, agitated, confused. JACK Why do I... what is it about this place? JULIA Ten days before we got our go- ahead, you asked me to meet you here. (CONTINUED) 76. CONTINUED: ( 2) INTERCUT: VICTORIA. Eager to find out where the Bubbleship is headed, she punches up the live feed. Julia comes close, puts a hand out, rests it on his chest. She moves closer to him, searching his eyes. JULIA (CONT'D) Don't you remember what happened here? INTERCUT: The Bubbleship now moving UP the waterfall. Victoria, leaning forward, watching the feeds... Julia takes one of his hands, places it around her waist. Moves closer still... JACK When I sleep. You're always there. She kisses him. EXT. OBERVATION DECK - DAY (FLASHBACK) A YOUNGER JULIA is staring out over glorious intact New York City. Next to her, a YOUNGER JACK peers through the telescope. Now he pulls away, turns to her... YOUNGER JACK There, right there. Take a look. She smiles, puts her eye to the telescope. YOUNGER JACK (CONT'D) The tall billboard, with the girl on it. YOUNGER JULIA Oh, okay. I don't understand. YOUNGER JACK nervously produces an ENGAGEMENT RING from his pocket. YOUNGER JACK Now, pan to the right, slowly... YOUNGER JULIA'S POV - THROUGH THE TELESCOPE PANNING over as he directed, to a billboard, half-covered by a large canvas. The words "JULIA, WILL YOU MARRY ME?" clear on the canvas. (CONTINUED) 77. CONTINUED: YOUNGER JACK (CONT'D) Julia... She GASPS, looks over. There he is, holding the ring -- VRROOOOOM! THE SOUND OF A BUBBLE SHIP... EXT. OBSERVATION DECK - DAY (PRESENT) VROOOOMMMM! The Bubbleship RISES INTO VIEW directly in front of them. Jack, kissing Julia, tries to break away, confused, guilty. Julia holds on. She reaches to her collar, pulls free a necklace, a familiar ring dangles from it... JULIA There are a few pages missing, but it's the same book. INT. SKY TOWER, CONTROL STATION - CONTINUOUS Victoria stares at the screen, the image of Jack kissing Julia, then breaking away. She's strangely cold, like there's simply nothing left to feel... INT. BUBBLESHIP - MOMENTS LATER Jack pilots the ship, a tense silence between he and Julia. He checks a few readouts, then hits the Comm. JACK Vika, it's me. I'm... all right. I'm coming in. Don't report in to Mission, not until I get back. No response. Dead air. Julia is pressed far back in her seat, watching Jack. INT. SKY TOWER, CONTROL STATION - CONTINUOUS Victoria is still motionless. She hears Jack's calls on the Comm, does nothing. JACK'S VOICE .I'm 20 minutes out. A TONE makes Victoria look over. The Tet, checking in. (CONTINUED) 78. CONTINUED: THE TET (TEXT ON SCREEN) Mission requests status of survivor. VICTORIA Go to hell. Beat. Beat. THE TET (TEXT ON SCREEN) Did not copy. (LONG BEAT) Have you located your partner? Vika is silent. The Tet waits for a response. It doesn't get one. Finally: THE TET (TEXT ON SCREEN) (CONT'D) Are you still an effective team? VICTORIA (LIPS TREMBLING) No. A long painful silence. Tears flow without sobs. Tet Comm Status: "COMMUNICATION ENDED." Victoria. pushes away from the console, numb. As she leaves the room, we STAY on the console... which suddenly comes alive. Readouts go active, data history starts to play. The Tet is accessing everything. Visual and Voice recordings blaze by. Images, everything the Bubbleship has seen. We see the image of Raven Rock sent from the ROVER. INT. SKY TOWER - CONTINUOUS Victoria enters the Sky Tower, staring at it as if it was all alien to her. As she moves through, she unzips her jumpsuit, steps out of it, moves on. Her shirt, then bra, land on the floor. She moves on... EXT. SKY TOWER - TWILIGHT JULIA and JACK step out of the Bubbleship, head towards the interior of the Sky Tower. The whole thing has been opened up. Wind blows freely through papers, magazines. Vases have been blown over, water spilled. (CONTINUED) 79. CONTINUED: There are petals, Rose petals, swirling everywhere. EXT. SKY TOWER, GARDEN - CONTINUOUS Jack comes out near the garden. It's been ripped to shreds. What plants are left lie uprooted and broken. Flowers strewn about. PETALS float off the side of the sky tower and down into the clouds. VICTORIA stands near the far edge, looking out. She's no longer in her jumpsuit. She wears a beautiful flowing dress which waves in the wind. Her hair is free. JACK Vika... the Scavs. They're humans, like us. The war has become some giant... mistake. She turns. The heartbreak in her face clear. VICTORIA I saw you. I saw you two. JACK SHE'S -- VICTORIA (shaking her head) Stay away from me with the truth! I don't want the truth. I preferred oblivion. Victoria looks up, sees Julia in the distance... VICTORIA (CONT'D) You never really loved me, did you, Jack? His silence is LOUD. She LAUGHS, tears flowing... JACK (broken for her) Vika, she was my wife. She looks at the infinite sky, the clouds, and as the TET appears... He steps towards her and she backs towards the edge. VICTORIA I told them. The drones will be here. For her. For you. (CONTINUED) 80. CONTINUED: Jack feels the sting of this betrayal, but quickly accepts it. JACK Then come with me. (she shakes no) Don't you see what it means? There are still people, living on Earth. Surviving on earth. People like us. Victoria hears that and laughs, bitter. JACK (CONT'D) Vika? Her laughter dies. She looks at him, strangely calm, beautiful in this moment. VICTORIA Oh, Jack. I think they made us. Victoria steps backwards. Jack LUNGES forward. JACK NOOO1 PETALS are falling towards us from the skytower, and then, so is VICTORIA. EXT. SKY TOWER CONTINUOUS Jack stares after Victoria for one terrible beat, then falls to his knees. Not yet feeling, in shock. Julia approaches, slowly... He turns at her so fast she's afraid and steps back but he blows right by her, into INT. SKY TOWER, CONTROL STATION - MOMENTS LATER Jack enters Victoria's station. Trespassing in a space that doesn't belong to him. His eyes play over the room: A cup of coffee, now cold. A jacket on the back of her chair. On a monitor, a wavelength plays silently. The signal she descrambled. He looks at the Tet Communication Device. We realize he's never spoken directly to the Tet before. (CONTINUED) 81 CONTINUED: JACK This is Technician Jack Harper. The signal goes out. Beat. Beat... THE TET (TEXT ON SCREEN) Where is your Control Officer? JACK She's dead. THE TET (TEXT ON SCREEN) Prep the survivor for immediate evac. JACK Did you hear what I said? She's dead! THE TET (TEXT ON SCREEN) Prep the survivor for immediate evac. You will be reassigned. JACK I want to talk to somebody. Beat. THE TET (TEXT ON SCREEN) It'll be good to have you back. JACK DAMN YOU! I want to hear your voice! Beat. Beat. Tet Comm Status: "Communication Ended." He stares at this last transmission. Then looks up to the big map. From all over the sector, DRONES are closing on the Sky Tower. Closing on him. EXT. SKY TOWER, BUBBLESHIP PAD - MOMENTS LATER Jack comes back out, heading towards the ship. Julia puts out a hand to him. JACK We have to go. 82. TNT/EXT. BUBBLESHIP - CONTINUOUS Jack and Julia streak across the sky in the Bubbleship. On the heads-up display, they can clearly see the radiation border marked RED in front of them, and the two DRONES closing behind them. JULIA Where are we going? JACK Beech said to look in the radiation zones. I have to go there. JULIA And if he's just a crazy old man? Jack looks at her. It'd be a funny moment, but it's not. JACK I've been wrong about everything else. He dives the ship towards the clouds below. EXT. CANYON - MORNING Drones shoot down a canyon towards RAVEN ROCK. INT. BUBBLESHIP - CONTINUOUS The Bubbleship BURSTS through clouds. Up ahead, the familiar RIDGELINE is approaching... AND THREE DRONES WATTTNG. Jack HAULS the ship over as the Drones bear down on them OPENING UP. We recognize one: Drone 166. Canon fire ROCKS the Bubbleship, pieces blowing off. Jack REVOLVES THE CANOPY to return fire. A Drone EXPLODES but Drone 166 and another blast through the smoke, firing. 83. INT. RAVEN ROCK - CONTINUOUS Everything has been packed, loaded, ready to leave. Beech watches Sykes supervise the final lashing of the BOMB onto a sled. Beech gives a command and the great steel door groans OPEN, revealing... SIX DRONES, waiting. Their weapons POWERING UP. ON BEECH, a final realization washing over him. EXT. OPEN SKY - CONTINUOUS Jack SPINS the ship, evading pursuit, even as he checks his heads-up, tracks the two Sky Tower Drones closing from behind. He hauls over, pursuing Drones turning with him, firing as the two Drones burst out of cloud cover FAST, MID-AIR COLLISION, two more Drones go down! Jack hits the brakes. Another Drone overshoots him, pulls up. Jack sites the Drone, starts to fire... The Bubbleship is raked with fire! Drone 166 is right on them and firing. The canopy is hit! CRACKS spider-web across it. A canon is blown clean off. Jack tries his remaining weapon. It's dead. WITH DRONE 166 It pulls out of an arc, ACCELERATES, closing on the Bubbleship as the Bubbleship tears away into a cloud bank, goes in. Drone 166 follows, seconds behind. Drone 166 EMERGES from the cloud bank into open air, its cannon lining on... nothing. Empty sky. It REVOLVES quickly, sensing for ... SMASH! Jack's Bubbleship IMPACTS the Drone from above, the ship's manacles designed for transporting broken Drones CLAMPING ON. Suddenly the two vessels are LOCKED. And the Drone goes wild. It's engines THRUSTING, fighting against the counter-force of the Bubbleship's engines. The Drones GUNS BLASTING in every direction, but unable to elevate to hit the Bubbleship. INSIDE THE BUBBLESHIP. Julia screams as the ship tumbles end over end. Jack stays on the controls, tracking the last Drone closing from above. (CONTINUED) 84. CONTINUED: Jack FORCES Drone and ship to turn, turning Drone 166's canon on the last Drone which EXPLODES. JACK There... He punches the throttle. The Bubbleship with Drone 166 attached blasts in the direction of A CLIFF FACE. DRONE 166 gets free of one restraint, rotates so its cannon come to bear on part of the undercarriage. OPENS UP, blasting the storage to bits... And Jack PULLS UP, just clearing the ridge, Drone 166 IMPACTING ROCK. The Drone blasts clear through, CRASHES ONTO VOLCANIC ROCK. INT. THE BUBBLESHIPP - CONTINUOUS Jack and Julia in the damaged, smoking, now-shaking ship. JACK You okay? JULIA No. Jack nods, turns the ship north again. The Bubbleship shaking and smoking. Up ahead, the RIDGELINE approaching. WARNING ALARMS trigger on the Bubbleship's display Claxon-like. JULIA (CONT'D) What is that? JACK Radiation warning. We're five clicks from the border. Jack makes an adjustment, the Bubbleship SURGES with more speed. It sounds like it's going to tear itself apart. EXT. ROCKS NEAR CRATER LAKE - CONTINUOUS The smashed Drone 166 POWERS BACK UP. A moment as it runs its systems, then BLASTS OFF in pursuit. 85. INT. BUBBLESHIP - CONTINUOUS On the heads-up, they can see Drone 166 coming up behind them, closing FAST. Jack touches a familiar button. The Bar-guage for his extra boost starts to fill... FROM BEHIND THEM, blasts go wide. Drone 166 is firing, missing. The bar gauge FALTERS, something broken. Jack SLAMS the dash. Gauge keeps rising. The Bubbleship starts to buck as RED WARNING TEXT STREAMS ACROSS THE CANOPY: "LETHAL RADIATION LEVELS APPROACHING. DO NOT ENTER." JULIA Jack... JACK I got this. Jack hits it. They're both propelled back into their seats. The radiation zone coming up fast... They CROSS INTO THE ZONE!! .and the Bubbleship goes completely DEAD. Jack works controls, punches at the display. But there's nothing. Just the whistling sound of wind... JACK (CONT'D) Bob! BOB! What are you doing Bob!!!!! Bob just bobbles... BLAM! BLAM BLAM!! The blasts from Drone 166 impact them, helpless. JACK (CONT'D) Hold on!! Jack grabs a level, a mechanical lever, and HAULS IT UP. THE COCKPIT OF THE SHIP SEPARATES FROM THE BODY. The dead body of the ship tumbles backwards as Drone 166 BLASTS IT, tries to pull up but the Bubbleship IMPACTS Drone 166 which SPINS OUT OF CONTROL towards the ground. THE BUBBLESHIP COCKPIT skims the surface, IMPACTS a ridge, blasting through it. It hits another ridge, the canopy shattering, earth piling in on them as they finally grid to a stop. Jack groans, leans to checks that Julia is okay. She's coughing, dazed, but alive. 86. EXT. RADIATION ZONE - CONTINUOUS Jack opens the canopy door. It falls off. He stumbles out, himself still dazed. Wind and sand blow around him. CLOSE ON JACK. He breathes in. Breathes again. Waiting for a painful death, that doesn't arrive. JACK Son of a bitch, old man... Words die on his lips as he tracks the plume of smoke from the downed Drone 166, lifting over a nearby ridge. He turns back to the ruined ship, grabs his carbine. JACK (CONT'D) Stay here. Jack runs towards the smoke which is already being blown clear by a rising sand storm. He flops down in the dirt at the top of the rise, bringing his weapon up. JACK'S POV - DRONE 166. It lies smashed and smoking at the bottom of an incline. Finally dead. The wind and sand are beginning to whistle now, growing intensity... Jack starts to stand... when a FAMILIAR SOUND makes him turn. THAT OF A BUBBLESHIP. Jack hits the dirt as A BUBBLESHIP, just like Jack's, screams overhead and lands next to the DRONE, in a moment eerily reminiscent of the first scene of the film. Below, a MAN gets out of the second Bubbleship. He wears the same kind of suit as Jack. ANOTHER REPAIR MAN. He's got a bandana wrapped around his lower face to shield him from the sandstorm. Jack reaches for his BINOCS, bring them to his face only to find the lenses shattered. Reaching the downed Drone, the MAN kneels next to it and in a familiar fashion begins utilizing his tools to fix Drone 166. He locks a damaged cannon back into place, tightens it... Jack suddenly realizes what the man's doing. He stands, the wind now blasting in his direction, he starts running down the hill towards the man. (CONTINUED) 87. CONTINUED: JACK (CONT'D) Hey! Hey, wait! Stop! Don't touch that Drone! His words are eaten up by the wind and sand. He rushes forward. WITH THE REPAIRMAN. We only see his hands as he works on Drone 166. He's very good. Even in the growing sandstorm he clips out a ruined board, slots a new one in. Runs a by-pass around a wire-bundle. The Repairman's fingers go to a familiar switch to activate the Drone... JACK'S VOICE No! Wait! The Repairman hears the voice, even as he flips the switch. He LEAPS BACK, spinning around, his carbine coming off his back, lined on Jack fifteen feet away who STARES BACK AT HIM IN UTTER ASTONISHMENT. JACK'S POV -- THE REPAIRMAN. Holding the weapon on him. The man is Jack. A cleaner, newer, but identical version of Jack... A CLONE. Jack stares, transfixed. Now it all makes sense: The Garbled transmissions, Victoria's last words, who or what he really is, and is not. Not so for Jack 2. He takes a step back, confused, horrified. A tense moment. JULIA'S VOICE Jack!? Julia has just crested the rise, sees the two Jack's. Also understanding... JACK Julia! Stay back! Jack 2 senses her movement, SPINS and AIMS his rifle as Jack rushes forward -- JACK (CONT'D) No! -- He HITS JACK 2 and they both go down, the weapon FIRING! They fight over the weapon. (CONTINUED) 88. CONTINUED: ( 2) Blow for blow combat, their physical strength and training identical, the only exception being that JACK 2 is fresh, his suit immaculate, a man who has just arrived at work, maybe just arrived on the planet. WITH JULIA. Standing, watching the two clones fight... she suddenly drops to her knees, her hand on her side. Blood seeps between her fingers. She's been shot, badly. WITH JACK AND JACK 2. Jack grapples with Jack 2, trying to control him... JACK (CONT'D) STOP! You have to understand! You have to understand... Jack 2 throws Jack, leaps on top of him, trying to throttle him, in a full panic. Jack drives up into his gut, rolls away. JACK (CONT'D) We're just Drones! We're just Drones, man! You and me! Don't you get it? Don't you know? Jack 2 comes at Jack wildly, emotion over-amping technique. Jack DUCKS the blow, wraps Jack 2 up in a choke-hold. SQUEEZING... JACK (CONT'D) It's okay. It's going to be okay... Jack 2 goes limp, unconscious. Jack lets him go, staggers back. Everything finally processing. Then: JACK (CONT'D) Julia... He turns towards Julia, sees her kneeling there, holding her side. The blood seeping between her fingers... JACK runs to her as she begins to fall. She is conscious, but just barely. But still, she PULLS BACK from him. JULIA (HORRIFIED) Don't touch me. Don't She lurches away from him, body running on fear and adrenaline. Jack nods, accepting her terror of him. (CONTINUED) 89. CONTINUED: ( 3) He moves forward, lifts her up against her willand carries her to shelter among the rocky terrain closeby. EXT. SMALL ROCKY ENCLAVE - CONTINUOUS Jack sets her down. There's blood frosting her lips and her skin has gone pale. He looks back, sees the Bubbleship and Jack 2's form lying next to it. He realizes something. JACK I'll be back for you. INT. BUBBLE SHIP 2 - MOMENTS LATER Jack climbs in, looks around at the interior of the ship, at the similarities. He stares out at the unconscious Jack 2 in front of the ship. JACK (EMPTY WORDS) One, Two, Three. Jack Harper. A moment... then lights sparkle across the board. JACK (CONT'D) Okay... Let's go home. The Bubbleship 2 lifts off. INT/EXT. BUBBLESHIP 2 - DAY (LATER) ON JACK. Making the approach. And then he sees it: Another Sky Tower, just like his. It had to be there. The Bubbleship closes on this new Sky Tower. EXT. SKY TOWER 2, GARDEN - DAY A woman we know but do not know is starting her new garden. VICTORIA 2. She looks happier, a little younger and more radiant than the Victoria we knew. It's earlier in their tour. Victoria 2 looks up as the Bubbleship lands. SMILES as Jack gets out and crosses the bridge towards her. VICTORIA 2 You're early... (CONTINUED) 90 CONTINUED: As he approaches she notices his damaged environmental suit. VICTORIA 2 (CONT'D) What happened out there? I lost contact. JACK stares at her, heartbroken. JACK .Just a bit of a dust up. VICTORIA 2 Are you all right? He nods. She comes over to him. He marvels at her beauty, the simplicity of life here... VICTORIA 2 (CONT'D) (SELF-CONSCIOUS) .What? She comes close, brushes his hair away from his forehead. VICTORIA 2 (CONT'D) You dreamed a lot last night. I was thinking, you have to start writing them down. JACK I cut myself, I just came by for... VICTORIA 2 I'll get it. JACK No, I'll get it. He kisses her. Gentle, loving... JACK (CONT'D) I'll get it. You stay here. And as JACK goes into the sky tower, she returns to happily planting her roses. Oblivious. INT. SKY TOWER 2, WORK AREA - MOMENTS LATER As Jack heads through his work area he sees A COLLECTION. Just started, but not much different from his own. (CONTINUED) 91 CONTINUED: Some coins, a book, THE COLLECTED POEMS OF T.S. ELLIOT, left open to a page, a passage underlined. He reads: We shall not ceasefromexploration And the end of allourexploring will be to arrivewherewe first started and know the placeforthe first time. He nods, strangely moved, moves on. INT. SKY TOWER 2, INFIRMARY - CONTINUOUS He grabs the healant and wand. He shuts the cabinet, stares at his reflection in the burnished steel. INT. SKY TOWER 2, READY ROOM - CONTINUOUS He opens the door to the locker. Stares at the brand- new, unworn picture of he and Victoria, taped to the inside of the door. INT. SKY TOWER 2 - MOMENTS LATER Jack comes out into the living area of Sky Tower 2, noticing everything: The furniture, the big things are exactly the same, but the little personal touches, the smaller details are different. He sees it all in a different light now. Things that he never looked twice at before. The items used to keep them from the truth. Victoria 2 comes in from outside, washes her hands. VICTORIA 2 We should watch a movie tonight. He sits, looking around himself. He belongs here. He fits here. Victoria munches on something. VICTORIA 2 (CONT'D) I was going over the catalog and there's still a bunch of your favorites I haven't seen... She glances over, smiles. Who wouldn't forget everything for that smile? 92. INT. BUBBLESHIP 2 - MOMENTS LATER Jack stares down as the Bubbleship LIFTS OFF from Sky Tower 2. He sees Victoria 2 come out, looking at him puzzled. Then she moves towards her Control Station. After a moment, her voice comes over the Comm. VICTORIA 2 Hey, you didn't say goodbye. JACK (BEAT) Good bye... He turns the Bubbleship, towards EXT. RADIATION ZONE - DAY Jack touches down in the second Bubbleship. Drone 166 still lies there, but Jack 2 is GONE. EXT. SMALL ROCKY ENCLAVE - DAY Jack clambers into the enclave to where he left Julia. She's passed out, she looks dead. There's blood on the ground around her. He pulls her into his lap, pulling away the clothing around the wound. As he does, her eyes flutter open. She's delirious, eyes fixing on him. JACK This is gonna pinch a little. JULIA (NOT PROCESSING) Okay... He spreads the HEALANT over her wound, activates it. For a moment, nothing. Then the skin starts to knit. And Julia starts to SCREAM... INT. BUBBLESHIP 2 - LATER Julia is unconscious, propped in the passenger seat of the ship. Jack climbs in, jams Bob the Bobblehead onto the dash. It bobbles at him, ready. Jack hits the gas and the Bubbleship lifts into the air. 93. INT. BUBBLESHIP 2 - DAY The Bubbleship soars through the sky. There's something particularly calm, picturesque, exquisitely beautiful about the earth below. Jack pilots. In the seat next to him, Julia is pale, propped against the canopy, recovering. She watches him. He's aware of her gaze, but he doesn't look over. INT. CRATER LAKE, GROTTO - SUNSET Julia weakly stands amidst the tarped supplies, aware she's trespassing somewhere utterly private. Outside, the sound of Jack splitting wood. She takes in the books, the records, the mementos of the past. Sees the Jammer up and working... Jack comes in, gets to work piling wood in the fireplace. He won't meet her eyes. Scared of himself, ashamed in front of her... JACK I always thought that plateau up there could be for a house someday. I thought about remaining here, letting the rest of humanity run off to Mars. And we'd just stay here. Jack stops himself, realizing how easily he said "we." JULIA I'm sorry. Jack... JACK No. He moves away from her, lights the fire, it starts to crackle. He gets up and goes, walking down to the lake. She stands near the fire, glad for its warmth, watching him out there, silhouetted in front of the lake. WITH JACK. He stares out over the water. Letting the truth wash over him. And then MUSIC from the grotto... the opening bars to the Temptation's "My Girl." 94. INT. GROTTO, CRATER LAKE -- NIGHT Julia stands by the record player, watching the disc revolve. She looks up when Jack's form appears in the doorway. He's been out there too long, cold. JULIA He loved this song. Jack sits, shivering, looking out at the lake. She moves to him, wraps a blanket around him. JACK What was he like? JULIA He was arrogant, and annoying, and the best man I'd ever known. Some distant part of Jack smiles at that. JULIA (CONT'D) .And I loved him. JACK I'm not that man. JULIA Shhhhh. Yes you are. She rests her head against on his shoulder, holds him. Simple, caring. His eyes... close. INT. MISSION CONTROL, NASA - EVENING (FLASHBACK) A group of ASTRONAUTS and NASA CONTROLLERS are celebrating. A television screen reads: "Odyssey Mission a GO!" A YOUNGER JACK and JULIA are among the people celebrating. As an ASTRONAUT pops champagne, Jack and Julia find a private alcove, he lifts out the engagement ring that she wears on the necklace around her neck... YOUNGER JACK We should just tell everybody. YOUNGER JULIA No, when we come home... They KISS... 95. TNT. A DARK ROOM - NIGHT Their bodies entwined. Kissing, touching. Clothing pulled away. Staring into each other's eyes. INT. NASA CREW APARTMENT - EARLY DAWN Younger Jack stares out the window at the Odyssey on its launchpad in the distance. Steam rolls off its engines. It's being readied to launch. YOUNGER JULIA Hey... He looks over, smiles. She's naked under the sheets, happy, smiling back at him. EXT. CRATER LAKE - MORNING (PRESENT) Jack's eyes blink open. Julia is asleep near him, peaceful. He turns, stares into the lightening morning sky. The Tet rising with the sun. EXT. CRATER LAKE -- MORNING Jack walks to the water's edge. He stares at the reflection of the Tet in the glassy surface of the lake. And under that, a fish, nibbling algae... He smiles at the fish. JULIA (O.S. ) Good morning. He turns. She's there, arms held around herself against the chill of morning. They look at each other, so much to be said. JACK We can't stay here. She smiles, nods. INT. BUBBLESHIP 2 - DAY Jack and Julia fly low over terrain. As the Bubbleship crests a rise and drops down into a steep canyon, she takes his hand. He glances at her, lets his hand stay in hers. The entrance to Raven Rock looms ahead... (CONTINUED) 96. CONTINUED: His eyes narrow. There's SMOKE, drifting from inside Raven Rock. EXT. RAVEN ROCK - DAY As the Bubbleship touches down, the carnage becomes clear. A few shattered DRONES lie here and there, but there are bodies and smoking blast points everywhere. JACK grabs his carbine, heading inside. JACK Stay here... INT. RAVEN ROCK - DAY As Jack moves into the darkness of the ruined Raven Rock, his suit's lights blaze on. He moves in, weapon ready. Bodies are everywhere, blasted to pieces. FIRES still burn here and there. Paint bubbles on burning canvas. Records melt and drip in the heat... Jack turns a corner, finds Sykes STARING AT HIM! But his eyes are dead. Sykes still holds a spear implanted in a Drone's wrecked body. A FLICKERING LIGHT draws Jack's attention. INT. RAVEN ROCK, CHAMBER - CONTINUOUS BEECH is slumped in a chair, blastburnt, clutching a charred black box in his arms. His eyes half-lidded, he STARES AT: Newsreel footage, from when the Tet arrived. On the screen crowds stare, the UN meets, Cults form. THE MOON in the sky, its surface VIBRATES, then starts to come apart. People SCREAM... Cutting to War Footage. Alien Troop-ships touching down, their design distinctly Tet-like. They discharge waves of warriors... CLOSE ON: Hand held, war-journalism. We see the alien soldiers pushing back resistance. All of them are versions of Jack. One sights the cameraman, BLAM! Blows him away. Camera hits dirt.. SMASH! Jack is there next to Beech. He's just pushed the projector over. (CONTINUED) 97. CONTINUED: BEECH (not looking up) The first ones were soldiers, programmed only to kill. Beech slowly, painfully, looks at him. Little emotion in Beech, just resigned recognition. BEECH (CONT'D) Later, there were new versions. More... creative. The Tet needed something different. And finally there was... you. JACK I'm the weapon of this war. BEECH smiles sardonic, nods. BEECH The Tet. The clockmaker God. Such brilliant, complex machinery... For such a simple task. To steal our water, our life... all for fuel. (BEAT) It doesn't even care about us. It's just... effective. JACK Why didn't you tell me? BEECH Not the kind of news that. (coughing up blood) .motivates a man. Beat,then low, defeated. BEECH (CONT'D) We lost, Jack. It won. JACK The device...? BEECH (shaking his head) No Drone. It will go on, devouring world, after world... (BEAT) You like books, Jack. Beech closes his eyes, recalling from memory... (CONTINUED) 98. CONTINUED: ( 2) BEECH (CONT'D) "Cowards die many times before their deaths; The valient never taste of death but once." Beech's voice trails off... Jack kneels in front of Beech. The old man's eyes are open, fixed on the artwork, the remnants of humanity... But they don't blink any longer. Beech is dead. Jack reaches up, closes Beech's eyes. He removes the box from Beech's arms: The flight recorder from the odyssey. JULIA'S VOICE There is a way. Julia stands in the doorway to the library. JULIA It wants me. Bring me to it. (off his silence) I'm right. You know I am. It's the only way. INT. WORK HANGER, RAVEN ROCK - MOMENTS LATER The room destroyed. The disassembled Drone a smoking hulk. Jack works in front of an open Delta Sleep Pod from the Odyssey. He HAULS the cylindrical BOMB to the Pod, slots it into the space for personal effects... JULIA Is it ready? Julia is standing at the entrance to the room. He nods and she approaches, STARES at what will be her coffin. JACK Julia... JULIA Let's just do it. She moves to climb in, then turns to Jack and kisses him. It's a kiss filled with a lifetime of kisses missed. Finally, it breaks. She backs away, into the Pod, next to the BOMB. Trembling as the door starts to CLOSE. Suddenly, she's very scared. Fighting back panic. (CONTINUED) 99. CONTINUED: JULIA (CONT'D) Jack... Jack!! The door closes, SEALS. Jack stares down at her through the carapace. He puts a hand on the glass. She puts hers on the other side. JULIA (CONT'D) .I got this. He touches a button and a pale gas starts to fill the chamber. Julia realizes that this will be her last moment of consciousness. Trembling, crying, afraid... JULIA (CONT'D) Jack... And she falls asleep. Jack stares at her sleeping form. JACK Dream about us. EXT. RAVEN ROCK - LATER Wind tearing at him, JACK loads the sleep pod onto the drone-carrier of the Bubbleship. TNT/EXT. BUBBLESHIP, OUTTER ATMOSPHERE - LATER The Bubbleship hovers high above the clouds, the Delta Pod attached beneath it. Jack STARES down at the earth. He hits a control and the ship rotates, so it's facing upwards towards the Tet which fills the sky above. Jack touches the throttle and the Bubbleship begins to CLIMB. Jack has the odyssey flight recorder on the seat next to him. He touches a control and THE AUDIO fills the canopy. It's distant, fuzzy, recorded from deep space. Jack listens as the Tet grows in size in front of him. ORIGINAL JACK'S VOICE Good morning folks, this is captain Jack Harper here in the cockpit. We're settling in at a cool one hundred and fifty clicks from the unidentified flying object... 100. INT. SPACE SHUTTLE ODYSSEY - NO TIME ( FLASHBACK) The ORIGINAL JACK in the Pilot's seat, ORIGINAL VICTORIA next to him, co-piloting. Jack GRINS as he peers out at the Tet, just a small geometry among the stars... ORIGINAL JACK (to Mission Control) So far, from this distance, we're still reading zero heat signatures, no sign of organic life. Did I mention we're still really far away? ORIGINAL VICTORIA Mission plan has us approaching to one hundred kilometers, doing our initial readouts... ORIGINAL JACK Yes, because everyone knows, if you want to really know something, one hundred kilometers is the best DISTANCE -- ORIGINAL VICTORIA Stop. We don't know what it is, if it has intentions. ORIGINAL JACK (to Mission Control) I think she just made my point -- INT. BUBBLESHIP 2 - CONTINUOUS (PRESENT) Jack touches a control, the sound from the recorder FAST FORWARDS. Hours and hours of time on the odyssey fly by. The Bubbleship has reached the stratosphere where the blue sky gives way to black space. We see the small ship detach from the blue curve of earth, the blackness of space in front of it. JACK Bob, let's prep for outer atmosphere. OUTSIDE, the Bubbleship starts to transform for outer space as it RISES higher and higher... (CONTINUED) 101. CONTINUED: THE TET (a metallic voice) Technician Harper. JACK Finally. There you are. THE TET Your ship has converted to space mode. This is not authorized. JACK I am delivering the survivor from the crash of the NASA ship. ON JACK. The Tet reflected in his eyes. JACK (CONT'D) We are... a more effective team. THE TET .Proceed. Jack... exhales. The TINY BUBBLESHIP climbs towards the massive artificial moon as the audio from the flight recorder surrounds him again... ORIGINAL JACK'S VOICE -- We don't know if we're dealing with E.T. or the Klingons here, and we're not going to from this distance. INT. SPACE SHUTTLE ODYSSEY NO TIME (FLASHBACK) The ORIGINAL JACK and ORIGINAL VICTORIA, in a friendly argument. ORIGINAL VICTORIA It could be inert. Anything on it could be long gone by now. ORIGINAL JACK Which is why we need to make contact, before it just blows on by like some... ORIGINAL VICTORIA Which is why we need to make contact. (CONTINUED) 102. CONTINUED: He double-takes, relieved that she finally agrees with him, smiles. ORIGINAL VICTORIA (CONT'D) (to Mission Control) I agree with Commander Harper. It crossed whatever light years of space and time to come this close to us. We're not going to really know anything about it from this far away. INT. BUBBLESHIP 2 - CONTINUOUS PRESENT Jack sits in the Bubbleship, the Tet looming above, the voices surrounding him.., remembering. INT. ODYSSEY SPACE SHUTTLE - NO TIME (FLASHBACK) They must have been given clearance to approach, because the Tet now FILLS the view in front of them. ORIGINAL VICTORIA Mission control says maintain one thousand meters. Original Jack touches a control. The Shuttle pushes forward, a little. ORIGINAL VICTORIA (CONT'D) What are you doing? ORIGINAL JACK This is a once in a lifetime opportunity. ORIGINAL VICTORIA We have our orders, Jack. We're to let it proceed without -- ORIGINAL JACK We are. We're going to let it proceed whereever it's going... He lifts out of his seat, floats back towards the mid- section of the Shuttle. ORIGINAL VICTORIA Jack... (CONTINUED) 103. CONTINUED: He's already pulling on a spacesuit. Near him is the row of Delta Sleep Pods. In the nearest one, he can see Julia, asleep. He puts his hand on the glass... ORIGINAL JACK I'll be right back... ORIGINAL, VICTORIA Are we really going to do this? He looks over. original Victoria is already pulling on her spacesuit... A last glance back at Julia, then he turns away. He smiles at Victoria, drifts next to her, pulling out a small camera and pointing it back at the two of them... JACK Let's make history. FLASH. The birth of the picture of the two of them, eyes filled with anticipation. The photo in Jack's locker. EXT. THE ODYSSEY IN SPACE - NO TIME The shuttle airlock cracks. Two figures in Space Suits emerge. Small puffs of gas, they head towards... REVERSE ANGLE. The Tet MASSIVE in front of them. Their small forms shrinking at they approach it. CLOSE ON JACK. His face seen through his visor as they approach. Filled with wonder. The dark shadow of the Tet crossing over him, blacking out everything. INT. BUBBLE SHIP 2 --- CONTINUOUS PRESENT Our Jack sits at the controls, the Tet now similarly massive in front of him, blotting out all other sight. He glances at the Bobblehead, which trembles from the ship's engines. JACK It's okay Bob, I'm scared too. In front of him, a SLOT opens in the Tet wall. THE TET Enter at headway speed only. (CONTINUED) 104. CONTINUED: JACK Entering at headway speed. He flies into the Tet, carrying the POD. INT. THE TET, OUTTER CHAMBERS - CONTINUOUS The TET is obviously of alien manufacture. In this huge bay, other BUBBLESHIPS are being constructed, welded together, by Drones. JACK drifts above all of this. THE TET Leave the survivor and return to your duties. Breathable atmosphere has been provided. A PAD is illuminated for Jack to land. JACK (SMALL SMILE) Understood. Jack continues on, towards a huge DOOR. THE TET Leave the survivor and return to your duties. JACK (touching a control) You know, you made a mistake, Tet. You left me curious. THE TET Reverse course. Leave the -- JACK And right now, I want to see what you're made of... Jack GUNS his ship at the large doors, OPENING UP with canons as he does. In front of him, the door IMPLODES just as Jack's ship reaches it, passing into... INT. THE TET, INTERNAL CHAMBER - CONTINUOUS A VAST space, miles in every direction. Jack's ships STREAKS along walls that pulse with energy... (CONTINUED) 105. CONTINUED: JACK Do you like books, Tet!? I like books. Can I tell you something that I read? BEHIND THE BUBBLESHIP. DRONES detach from the walls of the Tet, beginning pursuit. JACK (CONT'D) It's a story from Rome, a very great city, that you destroyed. The Bubbleship hauls over, headed deeper into the Tet. EXT. RADIATION ZONE - CONTINUOUS Drone 166 sits inert in the sand where we last saw it. Now it RISES UP with a familiar and evil sound. It moves off, searching... INT. THE TET, INTERNAL CHAMBER - CONTINUOUS JACK's flies as never before. Drone fire reaching him! Blasts IMPACT the Bubbleship. JACK There was a guy named Horatius... and he held a bridge, alone. And when they told him to run, to give up, he said -- BOOM! A drone blast EXPLODES A whole engine of the ship. The Bubbleship goes into an uncontrollable SPIN, headed straight at a WALL... JACK (CONT'D) He said everybody dies. The thing is, to die well... SMASH! Jack's ship IMPACTS the wall, goes halfway through. The Canopy SHATTERS. Glass and debris tear at him. INT. THE TET, INCUBATION CHAMBER - CONTINUOUS Jack STUMBLES OUT, badly wounded. He drags the pod off the carrier. He looks around himself, sees: (CONTINUED) 106. CONTINUED: ROW UPON ROW of EMPTY GLASS PODS. He tracks the walls, until near him... there are a dozen with Jack and Victoria clones still inside. BEHIND HIM Drones BLAST away from behind the Bubbleship. Jack stares at the clones, LAUGHS morbidly. JACK .What Horatius said, what his argument was, was this... He opens the pod, revealing... -- BEECH'S BODY, and on his chest the raw BOMB. The nuclear warhead from the odyssey surrounded by ten Deuterium fuel cells. THE TET That is not the Survivor. JACK No. BEHIND HIM. The Drones blast away the last bit of the Bubbleship, push through... EXT. CRATER LAKE - DAY A Delta Sleep Pod rests in front of Jack's ruined Grotto, near the lake's edge. A TIMER now reaches ZERO. The Delta Pod unseals with a HISSS, its door opening. Soft daylight falls on Julia's face. Her eyes move under their lids, then flicker open.. INT. THE TET, INCUBATION CHAMBER - CONTINUOUS Jack sees the DRONES swarming towards him. He starts to recite, but falters. He's really scared. JACK How can a man die... TNT. CRATER LAKE - CONTINUOUS Julia emerges from the Pod, confused, looking around. JULIA Jack? (CONTINUED) 107. CONTINUED: She sees the metal cylinder, releases it and it tumbles to the ground. She crouches by it, opens it. Whatever she sees moves her to tears as IN FRONT OF HER, the form of Drone 166 rises into view. Its weapons trained on her. She looks up, right at it, resigned... INT. THE TET, INCUBATION CHAMBER - CONTINUOUS As the Drones swarm down, Jack closes his eyes, recites without embellishment. The way these words were meant to BE SPOKEN: JACK How can man die better Than facing fearful odds, For the ashes of his fathers, And the temples of his gods... The DRONES are on him, weapons lining! JACK (CONT'D) (YELLING) Do you hear me!!! Jack pounds the trigger with his fist. As ALL THE CLONES open their eyes. .and everything is bathed in WHITE LIGHT. EXT. THE TET - CONTINUOUS The Tet explodes in a MASSIVE DEUTERIUM FISSION EXPLOSION, the entire artificial moon killed from within. EXT. CRATER LAKE - CONTINUOUS DRONE 166 falls inert in front of Julia as the Tet Explodes in the sky above her. She stares up, tears already running down her face. EXT. VARIOUS LANDSCAPES - CONTINUOUS DRONES fall from the sky, powerless... A RESOURCE GATHERER YAWS, losing power, and falls ponderously into what remains of the sea... 108 EXT. CRATER LAKE. CONTINUOUS The explosion is like St Elmo's fire, refracted across the sky, all over the face of the earth. Julia looks down at her hands which hold: A rolled canvas, the only object inside the metal cylinder. She unrolls it now. We glimpse a girl lying in golden fields, a farmhouse in the distance. The painting from Ravens Rock that reminded her of home. ON JULIA, weeping, staring at the fire ball in the sky. BLACK FADE UP ON: EXT. A GARDEN - DAY Well-tended. Thick ripe fruit hang on vines. JULIA (V.0.) The Tet arrived almost half a century ago. And it changed our world forever... We're at CRATER LAKE, three years in the future. The Grotto has been turned into a house, the ground has been cultivated. Roses and yellow flowers grow near the house. A SOLAR ARRAY powers the spot. All Jack's scavenging has gone to very good use. There's a small make-shift boat moored at the Lake's edge. JULIA (V.0.) It was probably surprised, what we were willing to do, to survive. Jack's basketball sits alone near the hoop. JULIA (V.0.) We had to unlearn what it meant, to call something our home. There's a familiar painting, hanging on the wall. The girl in the field of wheat, yearning towards home. JULIA (V.0.) But we did. We started over. And so here we are now, everyone that's left... (CONTINUED) 109. CONTINUED: JULIA is turning over a patch of ground for next year. Next to her, A CHILD is digging her fingers through loam. The CHILD looks up, stares across the water. JULIA Well, almost everyone. A MAN stands at the edge of the water, on the opposite side. He wears the wrecked remains of a worksuit, and carries a pack. It is Jack 2. He's aged three years, his hair has grown, his boots are scavenged. He has travelled a long way, and we know that as he stares across the water, he knows exactly what he is looking at. CHILD Who is that? ON JULIA. It's been a long journey to this moment for her as well. She smiles. JULIA It's your father. Come on, let's go pick him up. END. \ No newline at end of file diff --git a/unformated_scripts/Script_Observe and Report.txt b/unformated_scripts/Script_Observe and Report.txt new file mode 100644 index 0000000000000000000000000000000000000000..a5348502617935bf205eef9c07cbdb7ad02b7a94 --- /dev/null +++ b/unformated_scripts/Script_Observe and Report.txt @@ -0,0 +1 @@ + OBSERVE AND REPORT Written by Jody Hill FADE IN: EXT. CAROLINA MALL - MORNING ONE LONG TRACKING SHOT FROM THE BACK. A PERVERT in a trench coat runs along the edge of the mall. A group of OLD WOMEN is coming toward the MAIN ENTRANCE. The Pervert opens his trench coat and flashes the old women. They SCREAM! The Pervert ducks behind the bushes and runs with the skill of a Navy SEAL. A FAMILY is walking down the sidewalk. The Pervert opens his trench coat and flashes them. The Pervert ducks behind a dumpster. He keeps running and sees a car driving by. The Pervert flashes the CAR. The Pervert takes a two-step run, sees ANOTHER LADY, flashes her. He dives behind a car. Then pops up and flashes ANOTHER GIRL. It's an all-out Pervert assault! The Pervert then runs across the parking lot, jumps a fence, and darts from the property -- vanishing as quickly as a Ninja who just perfectly executed an assassination. INT. MALL - BUSINESS OFFICES - DAY MARK, the Mall Manager, walks by a group of women, who were exposed to the Pervert. They crowd around and complain loudly. MARK Ladies, please, we're doing everything we can to handle the situation. Nothing is more important to us than the safety of our shoppers. Now in the meantime, feel free to check out some of our wonderful back-to- school sales. Excuse me for a minute. Mark walks down the hallway that houses all of the business affair offices. He stops at the RECEPTIONIST'S desk. MARK Have you seen Ronnie? (CONTINUED) 2. CONTINUED: RECEPTIONIST I haven't seen him all morning. The Mall Manager quickly walks off. On the way, he passes a JANITOR. MARK Ramon, have you seen Ronnie? JANITOR No, senor. The Mall Manager keeps walking. INT. SECURITY OFFICE - DAY The Mall Manager comes into the surveillance room. It's a small office with monitors that show the different security cameras around the mall. DENNIS, a Mall Security guard with sunglasses who will not utter a word ever, turns around in the chair. MARK Where is Ronnie? Dennis shrugs. CUT TO: INT. GARAGE - DAY Blackness. White shafts of light sporadically shoot through the dark and we see IMAGES. A GIANT FLASHLIGHT is inserted into a UTILITY BELT. MACE is inserted in the other side. A WALKIE-TALKIE is turned on. A TASER is sparked. MIRRORED SUNGLASSES are pushed over the nose. A garage door raises and bright light spills in... EXT. GARAGE - DAY A garage door opens slowly and reveals a souped-up ORANGE GOLF CART. There's a siren on top that spins around. The man driving is RONNIE BARNHARDT (28), a stocky mall security guard whose expression reads all business. Ronnie pulls out of the garage... SUPERIMPOSE: OBSERVE AND REPORT 3. EXT. MALL - DAY HEAVY METAL MUSIC. A group of anarchist SKATERS rages through the mall parking lot tearing up everything they see. A couple of them smoke cigarettes. One skater grinds over a bench. One kid ollies onto the hood of a car. Another slams into an old man and knocks him over. Meanwhile, Ronnie sits in his golf cart -- waiting. He looks eerily like Mel Gibson at the beginning of Mad Max. The skaters ride past a set of construction cones. One skater picks up the cone and tosses it across the parking lot. The skaters soar past Ronnie, who flips on the silent orange siren and gives chase. As the skaters ride through the parking lot, Ronnie pulls up and drives alongside of them. RONNIE (cop authority voice) Pull over to the sidewalk, NOW! STEVIE, the leader of the skaters, yells back. STEVIE Fuck off, Ronnie, it's just a parking lot. RONNIE Sir, pull over to the sidewalk, NOW! HECTOR, another skater, joins in. HECTOR Leave us alone. STEVIE Yeah, skating's not a crime, dick. RONNIE Skateboarding is not allowed on mall premises. Pull over now! STEVIE We're not leaving. HECTOR Yeah, fuck you! The skateboarders flip Ronnie off and push hard to get away from him. Ronnie guns it and an all out chase ensues. (CONTINUED) 4. CONTINUED: Ronnie pulls up alongside of a SLOW SKATER. Ronnie side- swipes the skater, forcing the skater to run into a trash can and fall. Ronnie catches up to ANOTHER SKATER. This time, Ronnie tries to hit the skater on the side again, but he is too fast. Ronnie swerves trying to get him, but he dodges and ducks. Ronnie hits the brake. The skater thinks he has escaped, but looks up and sees that a car is in his way. The skater nails the car and is thrown over the hood. Ronnie is back in the chase and only Hector and Stevie are left. Ronnie guns the golf cart and zooms up closely behind the two kids. Ronnie rams Hector over and over from behind. Hector wobbles. Ronnie rams him again. Hector goes swerving off and falls down hard. Ronnie doesn't break his pace and guns it toward Stevie. Stevie is good. He turns and rides through cars, ollies over parking blocks, and through pedestrians. Ronnie burns down the lane beside him. Stevie looks behind and Ronnie is nowhere in sight. He's in the clear. Stevie turns back around and sees Ronnie, driving in reverse straight towards him. Ronnie rams into the skater and knocks the poor kid on his ass. STEVIE What the fuck are you doing? RONNIE I was driving in reverse and trying to get you to flip into the back seat. STEVIE What? RONNIE That way I could handcuff you smoothly and take you in. You know, never mind, just get in the goddamn golf cart. Stevie picks himself up slowly and hobbles toward the golf cart. 5. INT. MALL - SECURITY OFFICE - MORNING Ronnie is in the room with the monitors. The skaters sit across from him. There's a poster on the wall with the security guard motto: OBSERVE AND REPORT. Ronnie fiddles with his walkie-talkie. RONNIE It seems like we go through this every day. What's it going to take for you all to realize that I won't tolerate this horseplay and just do whatever you want to and don't worry about the rules attitude? STEVIE Ronnie, I hear what you're saying and I just want you to know that personally, it pains me to see you all worked up and I just want you to know that I'm really sorry because you can't do shit and you can take your little rules and stick'em up your ass, you fuckin' rent-a-cop. The Skaters all start cracking up. HECTOR Yeah, suck my dick. The Skaters start laughing louder. RONNIE That's funny, guys. I try to be a mentor to the youth, but it seems like you boys have gone straight past boydom to the land of street- hardened criminals. I'm left with no choice. You call me rent-a- cop, but I call myself the law's right hand. I see the crime... and I phone it in. And that's what I'm getting ready to do right now. Ronnie picks up the walkie-talkie and turns it on. He speaks into it. RONNIE (into walkie) 317, this is Ronnie Barnhardt over at Carolina Mall. Come in, over. (CONTINUED) 6. CONTINUED: WALKIE VOICE (V.O.) This is Officer Douglas, what do you wish to report? Over. RONNIE (into walkie) I've got a couple of trespassers who have been found skateboarding on mall property. Can you send a black and white over to take these boys into processing? Over. Ronnie winks at the Skaters. WALKIE VOICE (V.O.) Uh... Yeah, Ronnie, we're kind of busy today. I mean, we got like three car accidents. Ronnie picks up the walkie and whispers into it. RONNIE (into walkie) What do you mean? I've got these guys red-handed. I'm gonna need a car over here pronto. I can't hold them all day by myself. Over. WALKIE VOICE (V.O.) Copy. Yeah, like I said, we're awfully busy right now. I think you should probably just make'em promise not to do it again and threaten to call their parents or something. That'll get them. Over. The Skaters start laughing. RONNIE (into walkie) Sir, I don't think you understand, their parents don't care about them. This is a 911 from one of your soldiers. Officer needs assistance! Over! WALKIE VOICE (V.O.) Yeah, it's not gonna happen... The VOICE fades as Ronnie turns off the Walkie. (CONTINUED) 7. CONTINUED: RONNIE So as you can see, the law is just one little call away. But I'm gonna choose not to use that tactic today. I'm gonna do something that I like to do from time to time, and that's called handle shit myself. Ronnie takes his pad out of his pocket. He begins writing. RONNIE While I won't have you arrested today, I am going to suspend each of you for one week. For those of you who don't know how this works, here it is. This is official documentation. If you step foot on mall property, it is considered trespassing. At that point, I call the police, they come down, you go directly to jail. Ronnie fills out the paperwork, sets the suspension notes on the table. Stevie looks down at it. He picks it up, reads it, balls it up, and throws it at Ronnie. The Skaters start cracking up. RONNIE You accepted it originally, so it still counts. Ronnie sits there while the Skaters laugh. INT. MALL - FOOD COURT - DAY Ronnie sits at a table with a Cinnabon in front of him. Across the table sits NELL, a chubby but cute girl, who wears a Cinnabon uniform. The couple holds hands and they have their heads bowed. NELL Dear Lord, bless this food that we eat and purify it with Your salvation. Also, please keep Ronnie safe as he works in Your name to protect the customers and employees and store owners of the mall. (MORE) (CONTINUED) 8. CONTINUED: NELL (CONT'D) And please turn your wrath on any sinners that try to hurt him and make them pay by burning in the eternal flames of hell. In Christ's name we pray, amen. RONNIE Amen. Ronnie begins devouring his Cinnabon. NELL So what's on the agenda for you today? RONNIE You know, the usual. Spot crime before it happens, perform random acts of bravery, save people from certain death, yada yada yada. NELL What's wrong, Ronnie? RONNIE Nothing, Nell. NELL Ronnie, I know that you really want to be a Police Officer, but you have to realize that things work out the way they're meant to. RONNIE I know. I'm okay, Nell. Thanks, but really, I mean, I'm on the front lines right now. I'm livin' it. NELL Your job is definitely more exciting than mine. RONNIE Of course it is, but at least you don't have to wrestle with the demons at night. I better get going. NELL I'll see you after work, sweetie. Nell leans in to kiss Ronnie, but he pulls away. (CONTINUED) 9. CONTINUED: RONNIE Not at work, Nell. We have to keep up appearances, we talked about this. And don't call me sweetie. NELL I'm sorry. I'll see you after work, Officer Barnhardt. RONNIE 'Bye, Nell. Ronnie stands up and walks off. INT. MALL - DAY Ronnie stands in the middle of the mall and supervises the early morning MALL WALKERS as they stride around the outer marked lane. It's all senior citizens. RONNIE Slow it down. Watch your speed there. This ain't a race. Hey, second time, slow it down. Mark, the Mall Manager, walks up to Ronnie. MARK I've been looking all over for you. RONNIE I haven't been hiding, but some things that I have to do are better to keep hidden from you and 'official' eyes. Trust me, it's best all around if there are no bodies to clean up. MARK So you may or may not have heard, but this morning, several women were assaulted just outside the front doors by a crazy Pervert. RONNIE For the love of God. MARK I know, it's horrible. (CONTINUED) 10. CONTINUED: RONNIE You want me to phone this one in to the police? MARK Not just yet. See if we call the police, they'll be a big scandal and something like that could kill what little traffic we have at this mall. What I need you to do is watch out for this Pervert and if you see him, try to stop him or quietly phone it in so we can handle this discreetly. RONNIE Hold on, Mark. Let me make sure I understand you. You're telling me to deny my primary objective of Observing and Reporting crime and at the same time, you're giving me authorization to handle this case on my own. MARK I'm just saying keep an eye out and keep quiet. RONNIE So basically, I'm in charge of this whole investigation. MARK There's no investigation. RONNIE Not yet. Okay, Mark, I'll do it, but I'm gonna need a few things first. MARK You can't carry a gun. RONNIE Well, I'm gonna need a new title. Something to instill fear in the criminal mind. How about Director of Mall Intelligence? MARK Head of Mall Security. RONNIE That's perfect. (CONTINUED) 11. CONTINUED: MARK And it doesn't come with a raise. RONNIE Got it. MARK And the new title stays between us. RONNIE Understood. Thank you for this opportunity, Mark. I won't let you down. CUT TO: EXT. CAROLINA MALL - DAY Ronnie stands in front of a Cadillac with a boot on one of his tires. A local news camera crew comes up to Ronnie and the FEMALE REPORTER starts asking questions. FEMALE REPORTER Excuse me, sir, but we would like to ask you a few questions. RONNIE I'm sorry, but I can't answer anything. FEMALE REPORTER We heard a report that an unidentified man was spotted earlier today exposing himself to several women. Do you care to comment? RONNIE I'm not allowed to comment on that situation. FEMALE REPORTER So you admit there is a situation. RONNIE I'm trained to resist torture for up to 72 hours, you really expect me to break now? Get real, lady. (CONTINUED) 12. CONTINUED: FEMALE REPORTER (to her camera crew) We're wasting our time here. Let's go find some police to interview. RONNIE Good luck. FEMALE REPORTER What's that supposed to mean? RONNIE It just means you won't find any police. FEMALE REPORTER Are you telling me the police haven't even been called! RONNIE (SARCASTIC) Ewww, alert the media. FEMALE REPORTER Jesus, well who'd they leave in charge, you? Ronnie smiles like he knows a secret. FEMALE REPORTER Yeah, right. Why would they leave you in charge? RONNIE First of all, if there was a situation to be handled, I don't see why you find it so goddamn ridiculous that I would be in charge. The Reporter waves for her crew to start filming. FEMALE REPORTER (setting a trap) Look, there is no way you're in charge of this investigation. RONNIE Well for your information, I'm in charge of this whole fucking operation. (MORE) (CONTINUED) 13. CONTINUED: RONNIE (CONT'D) I don't give a goddamn if you believe me or not, Ms. Hot Fuckin' SHIT news lady. I'm the first line of defense against this pervert. As the law's right hand, I'm here so that people like you can live in your own little happy world and think places like this mall are safe and fun. I'm the defender of this war zone. Just me and my goddamn flashlight. Just then, SADDAMN, an angry Middle Easterner with shitloads of cell phones and beepers strapped to him, comes running up to Ronnie. SADDAMN You motherfucker, you put a boot on my car! RONNIE (cop voice) I warned you about parking in the fire lane, Saddamn! SADDAMN Fuck you, Ronnie! Take that goddamn boot off of my car. RONNIE (going into cop VOICE) Step away now! SADDAMN I pay good money to this mall. Don't tell me where to park! RONNIE Sir, I will be forced to take action if you do not step back! SADDAMN I'm gonna kill you! Ronnie pulls out his taser and shoots Saddamn. Saddamn goes down hard and begins twitching. He is fucking out of it! Ronnie goes back to giving the interview as if nothing happened. (CONTINUED) 14. CONTINUED: RONNIE As I was saying, the pervert situation here is real bleak. For all you people out there thinking of coming to the mall, please for your own safety, stay away. SADDAMN (still fucked up) I can't believe you tased me. RONNIE (to the man) That's right and I've got another one waiting right here for you. CUT TO: INT. DEPARTMENT STORE - DAY BRANDI, the make-up counter girl, globs on tons of make- up. She's a hot girl who looks like she's spent a few sticky nights in the bed of a truck. Ronnie stands back and watches Brandi. Finally, he walks up to her. RONNIE Hey, Brandi. Brandi looks up from her mirror and then goes back to applying make-up. RONNIE That color looks great on your skin. Not just that color, but I've noticed that all make-up looks really good on you. Especially the blue around your eyes. I bet it drives the men crazy. Brandi glares at Ronnie. RONNIE It's okay. I can say that because I'm taken. BRANDI What do you want, Ronnie? (CONTINUED) 15. CONTINUED: RONNIE I'm here on official business. See, I don't know if you know this, but I have recently been made Head of Mall Security. Did you hear about that? BRANDI No. RONNIE Well, I'm sure you will. It's actually pretty huge news. But the reason I stopped by is to tell you that it looks like we've got a pervert on the loose. A real live psychopath who gains sexual gratification by exposing himself to ladies such as yourself. I just want to warn you to be careful when coming and going to work. BRANDI Okay, got it. RONNIE And you may not want to wear any of those skirts that you like to wear. BRANDI What skirts? RONNIE You know what skirts. Something like that could set him off. And for that matter, you better not wear any of those little low-cut top things either, okay? Especially with those black bras because, you can really see them in the light. Perverts really tend to notice stuff like that. Okay, see you later. Ronnie takes off and leaves Brandi still applying make- up. INT. MALL - NIGHT The lights are turned off and the mall is empty. Ronnie walks out with Dennis. (CONTINUED) 16. CONTINUED: RONNIE Dennis, man, I'm glad we've got a minute to talk. There's no easy way to say this so I'm just going to come right out with it. Mark offered me the position of Head of Mall Security. I know this isn't easy for you to hear seeing as you've been here longer than me. But I want you to know that you're my best friend and I'm only going to accept the job if you're okay with that. Dennis shrugs. RONNIE Well, you should know I've already accepted and it's too late to turn it down now. Every ship needs a captain. So you were passed over. Who gives a shit? Dennis, in time, you'll come to accept answering to me. Remember, there aren't any leaders in friendship. We cool? Dennis and Ronnie shake hands. They walk out and lock the doors behind them. RONNIE Hey, you want to go and grab a beer or something? Dennis doesn't say anything and just walks to his car. Ronnie follows. RONNIE Yeah, you're right. You're probably in no mood to party after that news. Well, try not to take it too hard. See you later, buddy. Ronnie leaves Dennis and walks to his car. EXT. TRAILER - NIGHT Ronnie's home is a shitty double-wide at the very end of the shittiest trailer park in town. 17. INT. RONNIE'S BEDROOM - NIGHT Ronnie lives in a boy's room. There's all kind of posters up with instructions on how to execute choke holds, wrist locks, and other assorted death blows. However, the biggest decoration is a large diagram of the mall. Ronnie stands in the middle of his room with his MOM across from him. She's an old, thick boozer, with the strength of a father and the love of a mother. She downs a full beer and throws it against the wall. MOM You think you're ready for a shot at the title, motherfucker?! RONNIE I'm ready, Mom. MOM Ding ding. Ronnie and his Mom take to fighting. Ronnie's Mom is surprisingly good and she lands the first blows to Ronnie's cranium. RONNIE Ow! MOM What's wrong, baby? Is your pussy hurting? RONNIE Fuck you! Ronnie attacks his Mom. He manages to scoop her and body slam her to the ground. Ronnie's Mom flips out of it on the ground. However, Ronnie holds onto her wrist and stands up, thus locking in the submission hold. MOM Ah! RONNIE You give? MOM Fuck you! Ronnie flips the wrist lock tighter! MOM Ow! (CONTINUED) 18. CONTINUED: RONNIE You move with me, you go down. You move against me and your arm breaks. MOM I give! RONNIE What's that? MOM I give! Let me go, goddamn it. Ronnie lets his Mom go. She shakes off the pain. MOM I can't believe you got that lucky shit on me. RONNIE Luck has nothing to do with it. MOM You almost broke my arm. RONNIE I'm sorry, Mom. Are you okay? MOM Not really. Ronnie's Mom rubs her arm. Ronnie drops his guard and comes over to tend to his Mom's wounds. However, she's only playing possum. Ronnie's Mom sees an opening and attacks Ronnie at his legs. Ronnie goes down and the two start wrestling again. (NOTE: This plays as realistic as possible, no phony punches or smooth/comedy fighting, it looks like a school yard fight video. Sloppy and real.) CUT TO: INT. RONNIE'S BEDROOM - LATER THAT NIGHT Ronnie is laying in bed while his Mom chugs another beer beside him. She's one-eye-closed punch-me-in-the-face drunk. They're watching Ronnie on the news from earlier. EDITED LOCAL NEWS SEGMENT: Ronnie talks into microphone. (CONTINUED) 19. CONTINUED: RONNIE (V.O.) Yeah, well for your information, I'm in charge of this whole BEEP operation. I don't give a BEEP if you believe me or not, Ms. Hot BEEP BEEP news lady. Do you see anybody else? BEEP no you don't. As the law's right hand, I'm the first line of defense against this pervert. I'm here so that people like you can live in your own little happy world and think places like this mall are safe and fun. I'm the defender of this war zone. Just me and my BEEP flashlight. The FEMALE REPORTER addresses the camera over FOOTAGE OF RONNIE TASING SADDAMN. FEMALE REPORTER (V.O.) No comment as to why steps are not being taken, but this Security Guard feels like he is the only one doing anything to protect the people who visit Carolina Mall from the suspect. For all of us, I hope this isn't the case. Back to you, Lindsay. Ronnie turns off the television. MOM (drunken slur) I'm so proud of you, Ronnie. RONNIE Do you think I did good? MOM Hell yes. You were great. RONNIE Ah, you're just drunk. MOM Nah, you did good. RONNIE Yeah, I usually don't come out to the forefront like that. (MORE) (CONTINUED) 20. CONTINUED: RONNIE (CONT'D) My official orders are Observe and Report, but when Mark put me in charge of mall security, something inside of me changed. It's what I've always wanted. Things haven't always worked out, with the whole... well, you know. But this gives me faith that I can do something great. This is my call to duty and I'm going to answer. I'm going to bust this fucking pervert. I swear it on everything I am. Anyway, I better get to sleep. I got a big day tomorrow. Good night, Mom. (off no answer) Mom? On cue, Ronnie's Mom falls over in a drunken sleep. She starts SNORING loud as hell. Ronnie gets out of the covers and helps his Mom onto the bed. Ronnie tucks her in like a loving son. He pries the bottle from her fingers. Then, he grabs a pillow and goes to sleep on the floor. INT. MALL - O'CHARLEY'S - DAY Ronnie walks up to O'Charley's. It's the one-step-up restaurant that's in the mall. There's a BOUNCER out front who watches over the store. RONNIE You working the door here? BOUNCER That's what they tell me. They needed to hire a little security here in case the drunks get out of line or whatever. RONNIE Kind of funny they thought they needed more security here. Ha. You do realize that if anyone gets out of hand, you need to call me to handle the situation. BOUNCER I work for O'Charley's, not for the mall. (CONTINUED) 21. CONTINUED: RONNIE Granted, but you realize that my jurisdiction supersedes any and all other forms of security when under the roof of Carolina Mall? BOUNCER You know, I thought about getting a job as a Mall Security. RONNIE You did? BOUNCER Yeah, man. I mean, I'm kind of on extended vacation from college and it's just like, I don't want to do shit, you know what I mean? My parents said I have to work if I want to live at home, but I just don't feel like doing anything. This was the easiest job I could find, I mean, what the hell could be hard about being a bouncer in a mall restaurant? But now that I think about it, Mall Security could be easier than this. RONNIE My young friend, you are sorely mistaken. Do you know how much stuff I'm in charge of? BOUNCER No. RONNIE A shitload. That's not even counting the parking lot. BOUNCER Really? I thought you just kind of chilled out and called stuff into the police. RONNIE No way, that's about like 75, maybe 82 percent of it. There's so much other stuff. BOUNCER Like what? (CONTINUED) 22. CONTINUED: RONNIE Two words, Friday Night. BOUNCER What about it? RONNIE It's crazy, let's just leave it at that. BOUNCER Okay. RONNIE Listen. I like you, but I don't like the fact that you're masquerading as an official in the security world. If you're serious about a career in the security world, then perhaps I could look into getting you a job on my staff? BOUNCER Oh yeah? RONNIE Part of my job is reaching out to troubled youths such as yourself. It's who I am. BOUNCER Does it pay more than $6.50 an hour? Ronnie laughs. He leans over to the Bouncer and whispers in his ear. BOUNCER (WHISPERING) Seven even. Ronnie stands back and winks at the Bouncer. BOUNCER I'd say that's more than I'm making now. RONNIE Hold on, this job involves a probationary period. You have to prove yourself worthy. We can't just hire any old Tom, Dick, or Harry just because they want to carry a flashlight. (CONTINUED) 23. CONTINUED: BOUNCER What do I have to do? RONNIE You have to complete a term as deputy. You will answer directly to me. Your job will be to come and find me if you see any trouble. If this works out, then I will phone the crime into the police. Now, this will train your eyes to spot various criminal activity. Once you have completed your training, you will be awarded an official position on my security staff where you will have the duty of actually phoning in crimes to the police yourself. BOUNCER So basically, I just do what I'm doing now and then you'll get me a job? RONNIE For starters. BOUNCER How long does this mentorship last? RONNIE Until Mark lets me hire another guy. BOUNCER Can I smoke while I work? RONNIE Yes, you can. BOUNCER Sign me up. RONNIE You keep that attitude up and you'll have no problem making the squad. Ronnie reaches into his pocket and hands the Bouncer a mini flashlight. BOUNCER What's this? (CONTINUED) 24. CONTINUED: RONNIE It's a flashlight. Get to know it. It's your new best friend. Until you get your giant flashlight. Then, that will be your new best friend. The Bouncer takes it and puts it into his shirt pocket. RONNIE Okay, look alive, soldier. Deputy time starts now. No more slacker attitude for you. Ronnie walks away, but after he takes a few steps, he stops and turns. RONNIE You know, I remember when I got my first flashlight... Ronnie goes into an emotional memory in his mind. Ronnie walks away leaving the Bouncer there alone. EXT. MALL - DAY LOUD ROCK SCORE FADES TO LOUD ROCK SOURCE. A tricked-out Toyota pulls up to the parking lot. The car comes to a stop and out steps Brandi, the makeup counter girl. Brandi walks toward the mall to start her new day. As she crosses the parking lot and heads toward the door, the Pervert pops out. This time, he's upped his attack and beats off staring right at her. The horrendous sight stops Brandi dead in her tracks. She SCREAMS bloody murder... CUT TO: INT. DEPARTMENT STORE - DAY It looks like a RAPE SCENE. Brandi cries in the makeup chair and is surrounded by a large group of mall employees. Her makeup runs down her face as her effeminate coworker BRUCE consoles her. Mark is working crowd control. (CONTINUED) 25. CONTINUED: MARK (to the crowd) Alright, people, she's doing good. We're just gonna get her down to my office and everything's going to be fine, so the best thing for you employees to do is just get on back to your stations and you customers can go ahead and enjoy the back to school savings here at Carolina Mall. BRANDI It was horrible! Oh, my God, the thought of that disgusting -- I think I'm going to be sick. BRUCE Just let it out, baby. He should be ashamed! BRANDI I just keep playing it over and over again in my head. MARK Brandi, please, Dennis has called the police and let's just take this down to my office. The DEPARTMENT STORE MANAGER comes running over. DEPARTMENT STORE MANAGER What's going on? BRUCE A Pervert attacked Brandi is what's going on! DEPARTMENT STORE MANAGER Are you okay, Brandi? BRANDI Physically, yes. But psychologically, no! Brandi starts crying hard. The Department Store Manager pulls Mark aside. DEPARTMENT STORE MANAGER (WHISPERING) Did you call the cops? (CONTINUED) 26. CONTINUED: MARK They're on the way. Brandi starts crying even louder. DEPARTMENT STORE MANAGER Yeah, we got to get her the fuck out of here. Everybody's standing around and nobody's shopping. This is bad for business. MARK I'm trying, but she just keeps crying. Ronnie comes running up on the scene. He looks like a man who ran a mile to get here. RONNIE Brandi! I came as soon as I heard. Jesus, are you alright? BRANDI I'm fine, Ronnie. MARK She's fine, Ronnie. RONNIE This is one of the most heinous things I've seen. Jesus, I tried to tell you about the skirts. It's not your fault, you little fighter you. Ronnie's not mad, okay? MARK Ronnie, can you get her down to my office so the Police can talk to her in private when they arrive. RONNIE Rogers. BRANDI I can't walk right now. I feel like I'm in shock. RONNIE Don't worry. I'll carry you. Ronnie reaches down and picks up Brandi. She totally lets him. Ronnie struggles and can't lift her. It looks dumb. (CONTINUED) 27. CONTINUED: MARK Oh, fucking Jesus. Ronnie finally manages to lift Brandi. He carries her out of the Department Store and down through the middle of the mall. EXT. MALL - DAY A black UNMARKED POLICE CAR pulls up quickly and stops directly in front of the Main Entrance to the mall as if to say to the world, "I'm a Cop and I can do this." Out steps DETECTIVE HARRISON, a young cop that has the arrogance and swagger of a man who is just beginning to feel his power. INT. MALL MANAGER'S OFFICE - DAY Mark sits at his desk, while Ronnie comforts a crying Brandi. Dennis stands in the corner, not saying a word. Detective Harrison knocks as he comes in the door. DETECTIVE HARRISON Your secretary told me to come on in. I'm Detective Harrison, Cabarrus County Police. Detective Harrison shows his badge to Mark. The two men shake. MARK Mark Talbert, I manage the mall. This is Brandi, she's the one who saw the deviant. DETECTIVE HARRISON Hello, Brandi. Are you doing okay? BRANDI I'm really shaken up. DETECTIVE HARRISON Yes, ma'am, I'm sure you are after all you've been through, but I'm here to tell you that we're going to work together to make sure we catch the person who did this. (CONTINUED) 28. CONTINUED: RONNIE My name is Ronnie Barnhardt, chief inspector on the case and head of Mall Security here at Carolina Mall and this is my lieutenant, Dennis. From one law enforcement officer to another, I just want to welcome you and say that we will do whatever it takes to coordinate with your department in order to bring this assailant to justice. The Detective pauses as if he's unsure what just happened. DETECTIVE HARRISON Great. (back to Brandi) Okay, Brandi. Did you get a look at the suspect? BRANDI Yes, I did. RONNIE Did you get a blood sample? BRANDI No. RONNIE That's a shame. Would have been useful. MARK Go ahead, Detective. DETECTIVE HARRISON Thank you. Brandi, can you remember anything specifically? What color was his hair? Was he tall or short? BRANDI He was tall and skinny and he had brown hair and it was real greasy. Detective Harrison begins writing in his note pad as Brandi speaks. Ronnie notices this and picks up some paper and begins to write as well. DETECTIVE HARRISON Was his hair long or short? (CONTINUED) 29. CONTINUED: BRANDI It was long about to his shoulders. DETECTIVE HARRISON Did he say anything? BRANDI No, he just stood there and you know, touched himself. DETECTIVE HARRISON What was he wearing? BRANDI Just a brown trench coat. RONNIE This is what I got so far. Ronnie holds up his paper. Ronnie has drawn a crude sketch of the Pervert that Brandi described, but it's basically a long-haired stick figure with a penis. RONNIE What's yours look like? DETECTIVE HARRISON I just wrote a description. RONNIE Oh. Ronnie puts his sketch away. DETECTIVE HARRISON Okay, Brandi, I think that's good for now. I think the best thing at this point is to just follow up with the other ladies who saw the perpetrator yesterday and see if they remember anything. BRANDI What if he comes back? DETECTIVE HARRISON That's highly unlikely. These incidents are usually random and unpredictable. I'm sure you'll be safe. (CONTINUED) 30. CONTINUED: RONNIE I'm afraid I'm going to have to disagree with you there, Detective. By my math, it seems pretty clear that Brandi's been targeted. DETECTIVE HARRISON Targeted? What gives you that impression? RONNIE Well, how about the fact that she was the first employee to get assaulted? Not to mention the fact that she is the prettiest girl who works at this mall. To me it seems obvious that this is some sort of methodical villain that plans on returning to finish what he started by murdering Brandi. BRANDI Is that going to happen?! DETECTIVE HARRISON That's not going to happen. Ronnie looks at Brandi and nods his head "yes." DETECTIVE HARRISON Well don't worry. I'm on the case and I'm going to do everything in my power to bring this guy down. RONNIE That's right, Brandi, you've got the best team in law enforcement working for you. DETECTIVE HARRISON Look, I've got to get going. Here's my card. I'll even write my home phone number on the back, just in the event you need to get a hold of me. Detective Harrison writes his number on the back and then hands his card to Brandi. (CONTINUED) 31. CONTINUED: DETECTIVE HARRISON Give me a call when you aren't working and I'll have you come to the station to look through some mug shots. (touches her leg) Don't worry okay. BRANDI I feel a lot better now. Ronnie holds out his hand. DETECTIVE HARRISON What? RONNIE I'll take one of those cards as well. DETECTIVE HARRISON Oh, okay. Detective Harrison reluctantly hands Ronnie a card. RONNIE Go ahead and write your home phone on there as well in case I need to get a hold of you. DETECTIVE HARRISON You can just leave a message at the station. I check my messages constantly. RONNIE Sorry, but I'm gonna need those digits. If we're gonna solve this crime we need to constantly be in communication with each other and have an open door policy with intelligence. Brandi, let me see that card. Ronnie takes the car from Brandi and copies the home phone number from the back. RONNIE Cool, I'll call you later with an update. DETECTIVE HARRISON Don't do that. (CONTINUED) 32. CONTINUED: RONNIE It's no problem at all. We're brothers of the badge. This is what we do for each other. Detective Harrison takes off. Ronnie looks around happily. RONNIE Seems like a good guy. A little green, but still solid. INT. MALL - NIGHT The mall is winding down for the day and most of the customers have gone home. Ronnie walks through the mall, taping up pictures of the sketch he made of the Pervert. Nell comes walking up with her apron over her shoulder. NELL What are you doing? RONNIE Just putting these posters up. NELL You've been so obsessed with catching this pervert I've barely seen you. RONNIE That's what it's like when you date the Head of Mall Security. The downside is we don't get to see each other as much, but the upside is you get to brag to all your friends. NELL Well, are you ready to go? RONNIE Sure, let's take off. INT. RONNIE'S LIVING ROOM - NIGHT The LOCAL NEWS is on and they show an update on the MALL FLASHER STORY. The sound is OFF. (CONTINUED) 33. CONTINUED: The living room is dark. Ronnie and Nell are on the couch making out. Ronnie is starting to get frisky. His hands go to Nell's boobs, but only outside of the shirt. She allows it. Ronnie decides to push it. He takes his hand and tries to go up her shirt. Nell immediately stops kissing and pushes Ronnie away. NELL What are you doing, Ronnie? RONNIE Come on, let me get some of those big bazoombas. Ronnie goes in hard for the tits, but Nell pushes him away. NELL Ronnie, no. RONNIE Goddamn it, are we ever gonna do it? NELL You know we talked about this. RONNIE We did, it's just, well, I'm tired of just doing what we do. I'm ready for something bigger. Like sex or just maybe using a finger on you -- NELL Ronnie, you know I'm saving myself for marriage. I thought you were okay with that. RONNIE Well, I used to be, it's just. I don't know. What's so great about being a 27-year-old virgin? Nell stands up and starts to put on her coat. Ronnie stands up and tries to comfort her. RONNIE Nell, I'm sorry. Don't go away like this. (CONTINUED) 34. CONTINUED: NELL I thought you loved my purity. RONNIE I do. I really do. I'm sorry, Nell. NELL It's okay. I should leave anyway, it's late. RONNIE I'll stop by for breakfast tomorrow. NELL See ya tomorrow. Nell leaves and Ronnie closes the door behind her. RONNIE Mom, wake up. Let's go to bed. Ronnie's mom groans. She has been passed out on the floor with an empty bottle of Jack D beside her the whole time. INT. MALL - NIGHT The lights are off and a gloved hand breaks into a case in the jewelry store. All of the diamonds and gold are picked up and pocketed. Someone is robbing this bitch. CUT TO: INT. MALL - THE NEXT MORNING Ronnie strolls through the mall sipping on his morning coffee. He stops when he sees that the jewelry store has been broken into and robbed. RONNIE Oh shit. Ronnie goes running down through the mall. INT. MALL - SECURITY OFFICE - MORNING Dennis and Ronnie are sitting and Mark stands over them. They're looking at the security tapes. (CONTINUED) 35. CONTINUED: Detective Harrison knocks on the door and walks in. Ronnie stands up to greet him. RONNIE Good to see you, brother. Looks like the old team is getting together to crack one more case. Ronnie gives Detective Harrison a hug. RONNIE I'm ready to go to war with you. DETECTIVE HARRISON Thanks for waking me up this morning, Ronnie. RONNIE I've already checked the Security tapes. They didn't catch a thing. Someone must have broken in here and turned them off. DETECTIVE HARRISON My team just checked all the doors and there are no signs of forced entry. I've also checked out the crime scene, but we didn't see any fingerprints on the glass. The suspect was probably wearing gloves. MARK That doesn't sound good. How did they do it? RONNIE Laser technology. DETECTIVE HARRISON My guess it was an inside job. Probably someone who has access to keys like a janitor or a security guard. RONNIE Detective Harrison, can I ask you how long you've been a detective for? DETECTIVE HARRISON I'm almost at the end of my first year. (CONTINUED) 36. CONTINUED: RONNIE Just as I thought, a rookie. DETECTIVE HARRISON I've been a police officer for several years. RONNIE Yeah, you're a rookie, okay. It's fine, you'll learn with experience. And when you do, you'll discover that rule #1 of law enforcement is that you don't ever turn on a fellow officer. Now, I know you would never actually accuse somebody on my Security Force of committing this act of lawlessness. DETECTIVE HARRISON Whoever did this would have to had keys to the Security Room so they could shut off the camera. RONNIE Look, my record speaks for itself and as for Dennis, well I can certainly vouch for him. Dennis is one of the finest men I know, so just take my word, you're barking up the wrong tree. Now, let's put this little squabble behind us and get back to busting the guys that robbed this mall. DETECTIVE HARRISON Ronnie, nobody is accusing anybody, but I would like to stick around for a while and interview some of the employees. MARK Okay, but all I ask is that you do it quietly, so that the hoopla is kept to a minimum. DETECTIVE HARRISON I understand. RONNIE I understand too, sir. (CONTINUED) 37. CONTINUED: MARK Ronnie, you are to leave Detective Harrison alone and let him handle the investigation. RONNIE No can do, Mark. When you appointed me Head of Mall Security, I swore an oath to protect this mall and aid in bringing crime to its knees. MARK You didn't swear an oath. RONNIE To myself I did. DETECTIVE HARRISON Ronnie, on these types of investigations, it's usually not a good idea to have too many cooks in the kitchen. RONNIE There's only one cook. I'm a chef. A cook and chef, together, serving up justice. DETECTIVE HARRISON I'm gonna do this alone. RONNIE Hot plates of justice. Ronnie stands up. RONNIE Come on, rookie. Let me show you the lay of the land. CUT TO: INT. MALL - DAY Ronnie talks to Dennis in the middle of the mall. RONNIE Okay, Dennis. I've gotta hang with Detective Harrison. (MORE) (CONTINUED) 38. CONTINUED: RONNIE (CONT'D) What I need for you to understand is that just because Detective Harrison is here, doesn't mean that you and me are no longer best friends. Sure, Harrison would be cool to hang out with. He carries a badge and a gun. He probably owns a boat. Over time, we'll probably become really close like brothers, but for right now, you're still number one. Now, I must leave you behind because duty calls, so... chin up. Radio if you need anything. Ronnie takes off, but we STAY WITH Dennis. He walks directly to the ARCADE. Dennis puts a quarter in the machine and plays pinball. INT. MALL - KIOSK - DAY Ronnie watches from afar as Detective Harrison interviews SADDAMN, who stands in front of his cell phone kiosk. DETECTIVE HARRISON So, have you seen any suspicious people hanging around the mall? Anybody who might have been casing the stores? SADDAMN Nah, man. I ain't seen nothing. DETECTIVE HARRISON Okay, well if you can think of anything, here's my card. Detective Harrison hands Saddamn his card and begins to leave. Disgusted, Ronnie comes walking up. RONNIE (to Harrison) My turn, Rookie. DETECTIVE HARRISON What are you doing, Ronnie? RONNIE Solving the whole case right before your eyes. (CONTINUED) 39. CONTINUED: DETECTIVE HARRISON Ronnie, this is official police business. RONNIE Hello, Saddamn. SADDAMN What the fuck you want, Ronnie? RONNIE I want your ass to face the music is what I want. SADDAMN Don't come any further, bitch. The restraining order says 20 feet so just back the fuck up. DETECTIVE HARRISON Ronnie, I appreciate your enthusiasm, but just let me handle this. (to Saddamn) Have a good day, sir. RONNIE So you're just gonna let him slip right through your fingers? DETECTIVE HARRISON I have no reason to make him a suspect. RONNIE No reason? Look at him. There's every reason in the goddamn book. SADDAMN Why are you saying that, man? RONNIE I think it's obvious, Saddamn. SADDAMN That's fucked up. You're racist, man. RONNIE You're not even black. (CONTINUED) 40. CONTINUED: DETECTIVE HARRISON Ronnie, stop. We're finished here. Now if you're going to tag along, I'm gonna need you to just stay back; are we clear? RONNIE Sure, sorry. We're crystal. Detective Harrison walks away. Ronnie follows, but takes one more look at Saddamn, who flips Ronnie off. Saddamn goes back to hollering at girls. SADDAMN What's up, girl, you got a boyfriend? Free cell phones with a month trial and I throw in my phone number for free. INT. MALL - JANITOR'S ROOM - DAY Ronnie stands nearby as Detective Harrison questions an old Mexican JANITOR, who stands by his cart of cleaning products. DETECTIVE HARRISON Did you let anybody borrow your keys? JANITOR No, senor. DETECTIVE HARRISON Have you seen anything suspicious? JANITOR No, senor. DETECTIVE HARRISON Okay, sir. Thank you for your time. RONNIE Alright, I believe I can be of some assistance here. DETECTIVE HARRISON Ronnie, we talked about this. RONNIE This is a special circumstance. (CONTINUED) 41. CONTINUED: DETECTIVE HARRISON What special circumstance? RONNIE Communication skills, watch and learn. Ronnie steps into the forefront. RONNIE Que pasa? JANITOR Long drawn out conversation in Spanish? RONNIE Como? JANITOR More Spanish dialogue. RONNIE Si. (to Harrison) Yeah, this guy definitely did it. DETECTIVE HARRISON What did he say? RONNIE I don't know, I don't speak Spanish, but judging from his tonal inflections, it's safe to say that he's hiding something. The only question is where. (to Janitor) Okay, Ramon, I'm giving you one chance and one chance only to come clean. Or else Detective Harrison is going to come over to your house and deport your whole family back to Mexico. DETECTIVE HARRISON No, I'm not. RONNIE Good cop, bad cop, just play along. (to Ramon) Where are you hiding the jewels? (CONTINUED) 42. CONTINUED: JANITOR No se. RONNIE Alright, you're gonna make me be the bad guy here? Well, that's a role I'm comfortable playing. Let's just see what you're hiding. Ronnie digs through the trash bin that is on the cart. Ronnie slings trash out all over the floor. He finds nothing. DETECTIVE HARRISON Ronnie, that's enough. RONNIE Think you're pretty slick, don't you? Guess what? I'm pretty slick too. Ronnie takes the cleaning products and opens the bottles. He pours the contents out on the floor. What's he looking for? Who knows. RONNIE Alright, you're free -- Wait a minute. Ronnie takes the mop and breaks it in half with his foot. He takes the halves and shakes them, thinking that something will come pouring out of the open cylinders. Nothing does. RONNIE Okay, my mistake. Sir, you're free to go. Uh, you might want to have someone clean this up which in this case is you, so, uh, chop- chop. Wouldn't want anyone to slip on this mess. Ronnie leaves the Janitor with a bewildered look. INT. MALL - VICTORIA SECRETS - DAY Ronnie follows Detective Harrison into the lingerie store. They approach the counter where a HOT CLERK is working the register. HOT CLERK Hello, can I help you? (CONTINUED) 43. CONTINUED: DETECTIVE HARRISON I'm Detective Harrison with the Cabarrus County Police. RONNIE And I'm Ronnie Barnhardt, head of Mall Security. DETECTIVE HARRISON Okay, seriously, would you back the fuck off?! I'm trying to do my job and you're fucking it up. RONNIE Come on, we're working here. DETECTIVE HARRISON I'm working! Detective Harrison is seriously annoyed. DETECTIVE HARRISON (back to the Clerk) Sorry. Hi. I'm doing a check with all the mall employees to see if anybody has any information on the robbery that took place here last night? HOT CLERK I'm sorry, but I haven't noticed anything out of ordinary. A SEXY WORKER comes up to them holding a scandalous pair of undies. SEXY WORKER Tracy, do you think my boyfriend would like these? The Sexy Worker holds the undies up to her crotch. Ronnie looks and his tongue almost drops out of his mouth. He straightens himself out. DETECTIVE HARRISON That's fine, thanks for the help. RONNIE You're gonna let them distract you with a little bit of panty showing. You have got a lot to learn, my friend. (to the Hot Clerk) Who are you protecting, toots? (CONTINUED) 44. CONTINUED: HOT CLERK What are you talking about? RONNIE Look, I'm sure you and your little friend have made a real lifestyle for yourselves here. It's probably easy for you to blind most men with your beauty, but I'm not most men. I can see through the sexuality to the truth. Jewelry, gold, diamonds, you don't really expect me to think that a man wants that crap. I'm putting you on my list of top suspects. I don't think you did the crime, but I do think you are an accomplice. DETECTIVE HARRISON I'm sorry, ma'am. He's not with me. Here's my card. If you think of anything, just give me a call. Detective Harrison walks out and Ronnie follows him. On the way out of the store, Ronnie passes a MAN who is looking at the underwear. Ronnie stops. RONNIE You should be ashamed of yourself. Ronnie gives him a warning look, then walks out. INT. MALL - HOT TOPIC - DAY Ronnie and Detective Harrison stand across the counter from a tattooed SALESMAN. RONNIE Is that pot I smell? DETECTIVE HARRISON Shut up, Ronnie! SALESMAN It's sage. RONNIE Whatever, hippy. If I find you doing drugs or killing cats or whatever you devil worshippers do, I'll come back here and bust you. I swear to God. (CONTINUED) 45. CONTINUED: DETECTIVE HARRISON Get the hell out, Ronnie. I'm here to ask questions about the robbery. RONNIE Just forget that, we're on to something bigger here. (back to the SALESMAN) Tell me more about this 'sage.' CUT TO: INT. MALL - SEARS - DAY Ronnie and Detective Harrison are in the hardware department talking to the SEARS MANAGER. Detective Harrison sits on the ground. He has completely given up on the investigation at this point, as Ronnie controls it all. Ronnie picks up a hammer. RONNIE Now, maybe I'm crazy or maybe I'm the smartest man alive, but it seems kind of convenient to me that you sell hammers like this one that could easily be used to smash a glass case in, oh say, a jewelry store. SEARS MANAGER Couldn't you smash the glass with anything? RONNIE You really think you're gonna talk your way out of this one? CUT TO: INT. MALL - FOOD COURT - DAY Ronnie is hanging out with Dennis and the Bouncer from O'Charley's. Behind him, Nell works the counter at Cinnabon. (CONTINUED) 46. CONTINUED: RONNIE You guys should have been there today. We were just solving shit left and right. I mean, that's what this job is supposed to be like. Busting loiterers and kids who steal pennies from the fountain has its rewards, but really getting in there and closing cases is where it's at. It's rewarding too because at the end of the day, you know you've done something good for the world. BOUNCER What are we doing here, Ronnie? I thought you said they were giving away free Chick-fil-A sandwiches. RONNIE Well -- What is your name anyway? BOUNCER Charles. RONNIE Well, my young apprentice. I called you here today because as Head of Mall Security, I have decided that it's time to take protection to the next level. In other words, I alone cannot combat this recent crime wave. In order to help me in my personal journey, I have decided to divide up the tasks between my soldiers. So, for now on, Dennis, my right-hand man, you will be in charge of solving the case of who is robbing the mall. Little Chucky, you will be on the case of the Pervert. You are both to collect data and provide it to me. I will analyze the data, draw conclusions, and solve these crimes as well as coordinate and strategize with various law enforcement agencies. BOUNCER Since we're going to be doing a lot of the work and you're going to be solving the crimes, do we at least get paid? (CONTINUED) 47. CONTINUED: RONNIE You can't measure honor in dollars and cents. Ronnie looks over at the Cinnabon and Nell waves to him. Ronnie smiles back and waves at Nell. BOUNCER Is that your girlfriend or something, Ronnie? RONNIE Who me? Nah, man. Why? What do you think of her? BOUNCER She's not my type, but that's just me. RONNIE Yeah, but, you don't think she's kind of hot? BOUNCER Are you blind? Give me a break. Wait, are you sure she's not your girlfriend? RONNIE Fuck no. There's no way I'd date that... person who's obviously not hot. Nell waves again, but Ronnie just kind of turns away, ignoring her. RONNIE Anyway, our new unit will operate under the name, 'Special Elite Task Force.' You will answer directly to me and no one else. Now, let's all put our hands in the middle and do a unifying cheer. Ronnie puts his hand out. Dennis puts his in as well. Charles isn't sure. BOUNCER You're gonna hook me up with a job, right? RONNIE Seven even. I promise. (CONTINUED) 48. CONTINUED: Charles puts his hand in as well. RONNIE One, two, three, TASK FORCE! Ronnie is the only one who gets into it. It's a weak-ass cheer. RONNIE Okay, so now I say we all take a celebratory trip to Sears because, as we all know, today is half- price day on all automotive parts for mall employees. CUT TO: INT. MALL - DAY SLOW MOTION BAD-ASS SHOT. The "Elite Task Force" walks down the mall as if they were the baddest ass-kicking team on the planet. They walk united and unopposed. CUT TO BLACK. FADE IN: INT. SECURITY OFFICE - NIGHT Ronnie tacks up pictures of all of the robbery "suspects" on a bulletin board. It's pictures of Saddamn and the Devil Worshipper guy. Beside him is a sketch of the Pervert. The images are on the bottom points of a Pyramid. On top of the Pyramid is a combination drawing/picture of Ronnie. The body is drawn with his arms folded across his chest and a photo of his face is tacked on top. The whole thing adds up to nonsense, with the only clear idea is that he defeats them all. Ronnie sits back in his chair and stares at the board. All of a sudden, there is a KNOCK at the door. The door opens and BRANDI peeps her head in. BRANDI Sorry to interrupt. (CONTINUED) 49. CONTINUED: RONNIE It's no interruption. What are you still doing here? BRANDI I had to do inventory tonight. Bruce took off early so I'm the last one. Hey, I was wondering if you would mind walking me to my car. You know, just in case that freak with the dick is out there someplace. RONNIE It would be my honor. Ronnie stands up and walks out with Brandi, shutting off the light as he leaves. EXT. MALL - NIGHT Ronnie and Brandi pull up to Brandi's car in the golf cart. BRANDI Alright, thanks for the ride. RONNIE Just doing my job with a little something extra especially for you. BRANDI See ya tomorrow. RONNIE Brandi, um... I was just thinking, would you like to go to dinner this weekend? BRANDI How come every time somebody does something nice for me, they act like I owe them a blow job? RONNIE Look, it's not like that. I've got a girlfriend... who doesn't work in this mall. BRANDI Ronnie, I got to be honest with you, you're not really my type. (CONTINUED) 50. CONTINUED: RONNIE Just out of curiosity, what is your type? BRANDI Rich guys. Or guys who are really hot. RONNIE Yeah, I guess that's not me. BRANDI I'll go out to dinner with you on one condition. RONNIE What's that? BRANDI This is not a date. Do you understand? We're going to dinner, but we are not going on a date. RONNIE Done. BRANDI And you can never tell anybody we went out. RONNIE My lips are sealed. BRANDI You pay for dinner, right? And as many drinks as I want. RONNIE You may drink your fill. BRANDI And you have to drive me to my car every night after work for the next six months. RONNIE You got it. BRANDI And my car is low on gas, so I need some money to fill it up. Ronnie takes out his wallet. (CONTINUED) 51. CONTINUED: RONNIE Is $20 enough? BRANDI Nah, fifty. Ronnie takes out more money and hands it to Brandi. She takes it, counts it, and puts it into her bra. BRANDI Okay, you can pick me up after work on Saturday. Dinner and that's it. Don't try to kiss me because I'll smack the shit out of you. It's not a date. RONNIE Got it. Not a date. BRANDI Thanks for the ride. Brandi climbs out of the golf cart and walks to her car. She opens the door and starts to get in -- RONNIE Hey, Brandi. BRANDI What? RONNIE I lied. It is a date. Before she can argue, Ronnie guns the golf cart and drives away. EXT. MALL - MORNING Ronnie sees Stevie and the Skaters doing hand rails down a ramp while mall patrons try to get by without getting nailed by flying skateboards. Ronnie drives up on his golf cart. STEVIE Our suspension is over. RONNIE I'm not here for that. I need to talk to you. A giant BODYGUARD with a shaved head stands up. (CONTINUED) 52. CONTINUED: BODYGUARD Anything you want to say to Stevie, you can say to me, motherfucker! RONNIE Who the fuck are you? STEVIE This is my cousin, Roy. He's a boxer. BODYGUARD You got a fuckin' problem, bitch?! Ronnie reaches into his belt and produces a can of mace. He sprays it into the eyes of the Bodyguard. The guy goes down and starts SCREAMING IN PAIN. BODYGUARD My eyes! STEVIE Jesus, Ronnie, what the fuck are you doing? RONNIE I need a favor. STEVIE I'm listening. RONNIE As you know, we've had a lot of crime around here lately. Between the Flasher and all the break-ins, I've decided to go to the streets. Frankly, I'm looking for a stool pigeon and you're just the right person. STEVIE Why would I want to help you? RONNIE I could make it worth your while. You like skating at the mall. I could allow you to skate here whenever you wanted. In exchange, you keep your eyes peeled and provide me with any information you come across as to the identity of the perpetrators. (CONTINUED) 53. CONTINUED: STEVIE Sorry, dude, but I'm no snitch. Go find somebody else to do your dirty work. RONNIE Well, let me put it another way. If you don't help me, I'm gonna spread your little butt cheeks and stick this flashlight up your ass. But like for real. Like I really will do that. This is the new me talking and I get what I need, you understand me, Stevie? STEVIE Alright, dude, I understand, you sick fuck. RONNIE Cool. In that case, have fun shreadin'. Ronnie gets into his Golf Cart and drives off. Stevie looks down at the Boxer who is still on the ground. STEVIE Stop crying, Roy. Stevie starts skating. INT. MALL - FOOD COURT - DAY Ronnie walks into the Food Court and sees Nell waiting at their table with Ronnie's morning Cinnabon. He takes a deep breath and heads over. NELL Hey, sweetie -- Oh, I'm sorry, good morning, Officer Barnhardt. RONNIE Good morning, Nell. NELL Where were you last night? I tried to call, but your mom said you weren't home from work yet. (CONTINUED) 54. CONTINUED: RONNIE Look, I got to talk to you about something. I'm not really sure how to put this. Let's see. If you drove a Toyota. NELL I drive a Ford. RONNIE I know, but let's just pretend you drove a Toyota. Now, this Toyota runs really good. It always starts when you need it to and it gets good gas mileage and you don't have to do much to maintain it. Then you get a really important job like Astronaut, no that won't work, you get a job as the head of Wall Street. Well, you may really like that Toyota, but you're going to feel weird about driving it to work every day, right? Now let's say that somebody offers you a chance to get rid of that Toyota and instead you get a Ferrari. It may be more expensive and harder to drive, but I mean, it just looks good as hell. What would you do? NELL I don't get it. RONNIE You would trade up, Nell. Well, that's exactly what I'm doing. NELL Are you thinking about getting a new car? RONNIE No, Nell, I'm getting a new girlfriend. NELL What?! Who? RONNIE This girl, Brandi. (CONTINUED) 55. CONTINUED: NELL The slutty girl who works at the make-up counter? RONNIE Yeah, I mean, no, she's not a slut. But you're thinking of the right person. NELL How could you do this to me? RONNIE I'm sorry. I don't mean to hurt you. It's just, well, I believe in this world, you play the hand you're dealt and at this point in my life, I've been dealt five Aces. I'd be a fool not to bet. NELL Why are you doing this, Ronnie? RONNIE I have to, Nell. NELL Don't you love me? RONNIE Of course I love you. NELL Then tell me why? RONNIE Because I've never dated the prom queen before. NELL Remember when you started this job? You weren't such a hotshot then. I've stood by you when you were at your worst. Every time you fell, I held your hand and told you everything would be okay. Time and time again. RONNIE Come on. Why do you have to bring that up? (CONTINUED) 56. CONTINUED: NELL I never cared about who you wanted to be, I fell in love with who you really are. If you leave me, Ronnie, I won't be there to pick you up when you fall. RONNIE Even if I do fall, it won't matter, because I'm learning to fly. Ronnie stands up and walks away. Nell sits there sad. She looks down at her Cinnabon and devours the whole thing. INT. MALL - MAURICE'S FOR MEN - DAY Ronnie looks through a clothing rack. It's full of cheap fabrics, lots of imitation silks and shit. A SLICK SALESMAN approaches Ronnie. SLICK SALESMAN Can I help you, sir? RONNIE Yeah, um, I've got a really special date tonight with a hot young lady -- Do you know Brandi? SLICK SALESMAN No. RONNIE Never mind. Anyway, I need something that's really 'cool.' Something that will impress her and I guess you could say I'm not exactly in the know with what the hipsters are up to these days. SLICK SALESMAN Let's see. Are you looking to fall in love or are you looking to get laid? RONNIE Um, I guess love, but uh... SLICK SALESMAN You want to get laid, too? (CONTINUED) 57. CONTINUED: RONNIE Watch it, man. She's a lady. But yes. SLICK SALESMAN Alright, I got just the thing. Something classy is what you want. Show her you're a man with taste. CUT TO: INT. RONNIE'S BEDROOM - NIGHT Ronnie's Mom sits on his bed with a bottle of Wild Turkey. She waits for Ronnie to come out of the closet. MOM Come on, Ronnie, just get out here. RONNIE It's too tight in the butt. MOM Let me see. Ronnie comes out of the closet and he's wearing a ridiculous fucking outfit. It's an imitation silk button up, with a pair of black parachute pants. There's two belts for some DOUBLE BELT action. He's got no socks on and a pair of white shoes. He looks like a goddamn fool. MOM Ronnie, you look so handsome! RONNIE Really, you don't think I look like a phony. MOM Hell no. You look like a stud muffin. RONNIE Yeah, I guess these clothes are kind of cool. MOM Nell is a lucky girl. RONNIE Its not Nell, Mom. (CONTINUED) 58. CONTINUED: MOM Really, I thought you and Nell were going to get married some day. RONNIE I did too. But then I met this girl Brandi and she swept me off my feet. MOM Well, I always liked Nell, but as long as you're happy, Ronnie, that's all I care about. RONNIE I actually feel kind of bad about Nell, but I figure that I can pour all the sadness into Brandi and just really rely on her for my happiness instead of Nell. MOM That sounds wonderful. Is she pretty? RONNIE She is, Mom. She's the most perfect girl in the whole world. MOM I remember when your father picked me up for our first date. I swear he was the most handsome man that I had ever laid eyes on. I knew right then and there that this would be the man that I married. RONNIE I hope that happens tonight. MOM It will, Ronnie. Then you'll have to give her a ring like the one your father gave me. Ronnie's Mom holds up her finger for Ronnie. It's a giant yellow/cottony-looking diamond ring. RONNIE Is that a yellow diamond? (CONTINUED) 59. CONTINUED: MOM It's a glass diamond. This is how it looks now. RONNIE Mom, why did Dad leave? MOM Well, he kind of freaked out when you were born. You had so many special needs that he just couldn't handle the pressure. One day, he just couldn't take it anymore. RONNIE Do you think it was my fault that Dad left? MOM Definitely. You don't think it was mine do you? RONNIE Well, I didn't know, with the drinking and all. MOM Nope, it was all you. Ronnie nods. MOM I love you, Ronnie. RONNIE I love you, too, Mom. INT. CAPTAIN O'LANDERS - NIGHT The restaurant is the cheesiest of all sea food restaurants. Think one step down from Red Lobster. Ronnie sits across the table from Brandi. She chugs one of those giant frozen drinks, killing it in one gulp. RONNIE Damn, that was pretty impressive. BRANDI Yeah, work's been pissing me off, so I just need to blow off some steam. (CONTINUED) 60. CONTINUED: RONNIE Well, Brandi, can I just say that you look absolutely beautiful tonight. BRANDI Yeah, I know. (calling to waiter) Nurse! Get me another -- (to Ronnie) You got this, right? RONNIE Yeah, yeah. No problem. BRANDI Nurse! Bring me another and keep 'em coming. (to Ronnie) I think it's funny to call the waitress nurse. Ronnie takes a pill bottle out of his pocket. He opens it up and pops a pill. BRANDI Hey, what's that? RONNIE Oh, it's nothing. BRANDI Don't be stingy, what the fuck is that? RONNIE It's just a pill I'm supposed to take. BRANDI Let me see. Ronnie hands the pills to Brandi. BRANDI Where the fuck did you find these? RONNIE The Doctor. (CONTINUED) 61. CONTINUED: BRANDI Damn, Ronnie, Klonopin. I'm impressed. This is the good shit. I didn't know you partied like this. RONNIE Yeah, I guess I party like this every four to six hours as needed. BRANDI Let me get one. RONNIE Help yourself. BRANDI Hell yeah! Brandi pops a bunch of pills. RONNIE So, how do you like working at the mall? BRANDI I hate that shit. All I do is listen to bitching all day long. I got to put makeup on these fat- ass women all day and it's like, I don't give a shit what you do, you can't polish a turd. RONNIE Yeah, I see how that could get to you. BRANDI Let's do some shots. Waiter, four shots of Jager! RONNIE That's a lot. BRANDI It's Friday. RONNIE So, Brandi, I hope I'm not being too forward, but do you have a boyfriend? (CONTINUED) 62. CONTINUED: BRANDI I've got a few hook-ups but nobody who is a boyfriend. RONNIE Yes! BRANDI You know, it's just like a time in my life where I want to be free right now and think about myself. Not get tied down to one person. RONNIE Yeah, I understand. I hate ties. I recently cut mine and now I'm free like a bird. The shots come. BRANDI Alright, bottoms up. Ronnie holds up a shot to toast. RONNIE To new beginnings. BRANDI Right up your ass! Brandi downs her shot. RONNIE Okay. Ronnie takes his shot. BRANDI Oh, shit! RONNIE No more. I'm sticking to beer. BRANDI What's wrong, is your pussy hurting? RONNIE God, you remind me so much of my mother. Brandi knocks back the other two shots. (CONTINUED) 63. CONTINUED: BRANDI Feel the burn, bitch! RONNIE You are so beautiful. INT. RONNIE'S CAR - NIGHT Ronnie's car is a piece-of-shit Subaru. Brandi is shit- faced and yelling at people out of the window. BRANDI Who wants to see my titties?! Brandi lifts up her shirt and shows the passengers of other cars her boobs. RONNIE Brandi, this is the most fun I've ever had on a date. BRANDI For the last time, this ain't a date, motherfucker! This is a party! RONNIE Wooo! Um, so, Brandi, it's no secret that I'm attracted to you. I think everybody in the mall is. As you know, I recently split with my girlfriend and basically, I was wondering if, since you don't have a boyfriend, that I could maybe be your boyfriend and you could be my girlfriend? BRANDI That's my house! Ronnie hits the brakes. EXT. BRANDI'S HOUSE - NIGHT Ronnie opens Brandi's door and helps Brandi out. She's almost passed out drunk. Both of her eyes are closed and she immediately tries to sleep on the ground. Ronnie helps her up, but when he does, Brandi gives him a kiss -- a sloppy one. (CONTINUED) 64. CONTINUED: RONNIE Brandi, I had a wonderful time tonight. BRANDI I'm so fucking shit-faced. They kiss again, but when they do, Brandi pukes all over the place. It's a disgusting puke and there's vomit on her cheek and stuff. Ronnie holds her head for her. RONNIE Are you okay? BRANDI My breath smells like asshole. Ronnie looks longingly into her eyes. RONNIE I love you, Brandi. BRANDI I think I've got puke in my teeth. RONNIE I don't care. Ronnie kisses Brandi passionately on the mouth. He walks her inside the house. On the way in, she falls over. Ronnie helps her up. He carries her into the house where the make-love spot is. CUT TO BLACK. FADE IN: INT. MALL - FOOD COURT - DAY Ronnie is with Dennis in the food court. Ronnie is smiling, but Dennis isn't saying a word as usual. RONNIE Don't look at me like that, Dennis. I told you I wouldn't talk. Ronnie sits back, but he can't help a giant grin on his face. (CONTINUED) 65. CONTINUED: RONNIE I'm serious, Dennis. A gentleman never kisses and tells. So, just stop with all the pressure because it's just not gonna happen. Ronnie keeps on grinning at Dennis. RONNIE Okay, fine, you son of a bitch, you want details, I'll give you details. I had sex with Brandi last night. Dennis and Ronnie high-five. RONNIE It was amazing. I mean, I've never experienced anything like it. I've been with a girl or two. Dennis stares at Ronnie. RONNIE Okay, fine, I've been with a girl, but let me tell you, this was so much better. You know how many times we did it? Twice! BAM! BAM! BAM! OVER AT THE CINNABON STAND Nell, who looks like she's been crying nonstop, stuffs a whole Cinnabon into her face. As it fills her cheeks, she looks over to Ronnie's table and sees Ronnie making thrusting motions at the table. Nell swallows, stuffs another Cinnabon in, then storms out of the Food Court. BACK AT RONNIE'S TABLE Ronnie continues to talk to Dennis. RONNIE But I got to tell you, Dennis. It was steamy and sexy, but more than anything, I should tell you that it's her soul that I fell for the most. She got pretty tanked, but I could just really tell that she's a good person. The kind of person that I could see myself with. (MORE) (CONTINUED) 66. CONTINUED: RONNIE (CONT'D) Look, I'm gonna get out of here. There's a lot of people I need to tell about this, so I'll catch up with you later. Oh, and I almost forgot, keep your eyes peeled for crime and stuff. Ronnie leaves the table. INT. DEPARTMENT STORE - DAY Nell watches Brandi as she pops a couple of aspirin behind the makeup counter. She takes a deep breath and walks up to the counter. NELL Excuse me. BRANDI How may I help you? NELL I need to talk to you. BRANDI What is it, honey? Let me guess. You're looking for something to take care of those blackheads and hide that puffiness under your eyes. I've got just the thing. NELL No, that's not it. Well, how much is it? BRANDI Fifty dollars for the bottle. NELL Okay, I'll take it. Brandi begins to ring up the cream. NELL Listen, I know you're Ronnie's new girlfriend. BRANDI What the hell are you talking about? (CONTINUED) 67. CONTINUED: NELL It's okay. I know he left me to be with you and I accept that. BRANDI I don't know who you've been talking to, but it's safe to say that you're fucking trippin'. NELL It's fine really. It's going to take a while for me to get over it, but I'll be okay. Nell starts to get all teary-eyed. She picks up a Kleenex from a box on the counter and wipes her eyes. BRANDI Oh fuckin' Lord. This is disgusting. NELL I'm sorry. BRANDI Pull it together. This is how you run around all the time? Have some self-respect. No wonder your man left you. Who the hell would want to be around this shit all day? Nell pulls herself together. NELL Jesus teaches us to forgive. And I forgive you for what you did to me when you stole my boyfriend. Plus, I feel pretty confident that you'll end up burning in hell because of the various evil ways you live your life and that brings me some satisfaction. But I just want to tell you that Ronnie is a good person. He does a lot of stupid stuff, but really, he wants to do good for the world. I want you to know that if you hurt him and ruin his heart, I will personally come down here and kick the ever living shit out of you. Nell walks away. (CONTINUED) 68. CONTINUED: BRANDI You better fuckin' run, bitch! Nell turns around and starts storming toward Brandi. Brandi throws her hands up, frightened. BRANDI I'm just kidding. Nell stops charging and walks away. Nell walks past Bruce who is helping a customer at the end of the counter. NELL It's not too late to change your ways. BRUCE Okay. Thanks. Nell walks out of the department store. INT. MALL - FLOWER SHOP - DAY Ronnie looks at the colorful flowers in the glass refrigerator. The FLOWER SALESMAN walks up to Ronnie. FLOWER SALESMAN Ronnie, I've been expecting you. RONNIE You have? FLOWER SALESMAN Oh yeah, I heard about last night. Brandi is quite the woman. Congratulations, my friend. Or should I say, welcome to the club? The Flower Salesman winks and starts laughing. Ronnie doesn't. It gets weird so the Flower Salesman stops. RONNIE What color of roses do the women like anyway? FLOWER SALESMAN Well, it depends on what you are trying to say. The white roses symbolize innocence and purity. (CONTINUED) 69. CONTINUED: RONNIE Yeah, we're way past the color white if you know what I mean. What about the yellow ones? FLOWER SALESMAN Joy, happiness, appreciation. RONNIE I don't even know what to make of that. FLOWER SALESMAN The pink rose means thank you. RONNIE Next. FLOWER SALESMAN The red rose is the most powerful. It symbolizes love. RONNIE Why didn't you just say that? I'm a busy man here. FLOWER SALESMAN I'm sorry. RONNIE Forget it. Give me a big bag of the red ones. FLOWER SALESMAN Um, can I ask a question? RONNIE Go ahead. FLOWER SALESMAN Do you really like Brandi? RONNIE I've only been on one date with her, but I could see myself being with her for all of eternity. FLOWER SALESMAN Well, in that case, the greatest symbol of love is just a single red rose. (CONTINUED) 70. CONTINUED: RONNIE Seems like a big bag of roses would be more love than just one, but I guess you're the expert. Gimme one. The Flower Salesman takes a single red rose from the case and hands it to Ronnie. INT. DEPARTMENT STORE - DAY Brandi is behind the counter gossiping with Bruce. Ronnie holds his rose and watches them from a distance. He takes a deep breath and then walks to the counter. RONNIE Brandi? BRANDI What are you doing here? RONNIE I came here to see you. And to present you with this single red rose. It symbolizes 'love.' BRANDI Ronnie, that's really... uncalled for. RONNIE Well, after last night, I just wanted you to know that it wasn't just some fling to me. It meant something special and I felt it deep in my soul. BRUCE You fucked the Security Guard? (PLAYFUL) You are such a little slut! BRANDI Oh, like you've never been drunk, Bruce! Brandi grabs Ronnie and pulls him off to the side. BRANDI Ronnie, look. I got to be honest with you. I barely remember last night. (CONTINUED) 71. CONTINUED: RONNIE I remember it for the both of us. BRANDI Okay, see here's the thing. I don't know how to say this, so I'm just gonna come on out with it. Ronnie, I could never date you seriously. I mean, you're a security guard. RONNIE I'm the head of Mall Security. BRANDI Exactly. The point is, I don't really see myself being with that. Like ever. You know what I mean? RONNIE Brandi, I know exactly what you mean. And I just want to thank you for being honest. You're telling me I'm not living up to my full potential in life. It's funny, because I've been feeling like this for quite some time. I guess I just needed that extra little push to get me over this hurdle I've been stuck on. How can you be with a man who isn't living the life he was meant to? BRANDI Yeah, something like that. And just you know, you're a security guard at the mall and it's like, come on, you know? RONNIE I don't like it, Brandi, but I do understand. I promise you this. Next time you see me, I will be wearing a uniform that will make you proud. I will be the man that you will be honored to call your life's love. BRANDI Don't bet on it. (CONTINUED) 72. CONTINUED: RONNIE I will though. I'll bet everything I have on you. Now I ask you for one favor. Although I am unworthy, will you accept this rose from me anyway? BRANDI I can't do that. And tell your girlfriend to stop coming by my work and threatening me and shit. Brandi walks away, leaving Ronnie there holding his flower. CUT TO: INT. POLICE STATION - DAY Ronnie sits at a small table and waits patiently. Then a POLICEMAN walks into the room. Ronnie stands to shake his hand. RONNIE I'm here to become a police officer. POLICEMAN We're always on the hunt for new recruits. Do you have at least a high school diploma? RONNIE I have a GED. POLICEMAN We usually prefer an actual diploma, but GED is technically acceptable. Are you a citizen of the United States? RONNIE You bet your ass I am. POLICEMAN Okay, Mr. Barnhardt, there are several steps you have to complete in order to be eligible for the police academy. Physical evaluation, psychological test, background check. (MORE) (CONTINUED) 73. CONTINUED: POLICEMAN (CONT'D) If you pass these tests, you will be admitted to the police academy. Now, I like to tell all new recruits that they should complete a ride along before making this decision. It's where you actually ride along with a real police officer during a routine patrol. It helps give you an idea of the kind of situations you'll be dealing with. Sound good? RONNIE That sounds fun. Sign me up. INT. POLICE CAR - NIGHT Ronnie sits in the unmarked police car with Detective Harrison. RONNIE It's like it was meant to be. You behind the wheel. Me riding shotgun. Two brothers of the badge unite to form the ultimate crime-stopping combo. I'm psyched to be here, Harrison. Thank you for the opportunity. DETECTIVE HARRISON You requested to ride along with me. RONNIE I know. You want to know the truth. It's because I respect you. See, when we're at the mall, it's obviously my turf. Sure, I break your balls about being a rookie, but out here in the streets, I'm the rookie. I'm here to learn. Teach me. DETECTIVE HARRISON Why do you want to become a Cop? RONNIE I've wanted to be a Police officer all my life. (MORE) (CONTINUED) 74. CONTINUED: RONNIE (CONT'D) Don't get me wrong, I love keeping the mall safe, but you guys are the ones that really enforce justice and protect, not just our mall, but our whole community. I don't tell the guys on my squad this, but the Security Guard job was just temporary. DETECTIVE HARRISON Well, just pay attention tonight and make sure you stay out of the way. RONNIE Right, we're not back at the station anymore so we can cut the charade. DETECTIVE HARRISON What are you talking about? RONNIE Well, I know that policy demands I stay out of the way, but between you and me, I just want you to know that if anything pops off tonight, I'm going to jump right in there and take 'em down with you. DETECTIVE HARRISON No, no. Ronnie, policy says you have to stay in the car. RONNIE I get you. You have to say this in order to keep you safe 'legally' speaking. I should probably follow along too. 'I swear I won't get out of the car and fight justice tonight.' DETECTIVE HARRISON Ronnie, you really can't. RONNIE I know. Ronnie winks at Detective Harrison. A smile comes across Harrison's face. (CONTINUED) 75. CONTINUED: DETECTIVE HARRISON I'm glad we understand each other. Detective Harrison puts the car in drive and the guys head off for the night. INT. POLICE CAR - LATER THAT NIGHT Ronnie and Detective Harrison sit in the parked car. They're at the shittiest crack corner in the whole town. Lots of scary bums and hookers loiter around the car. RONNIE Yeah, so then I basically saw his ass trying to circumvent around the ped exit and slip through the employ exit. Not allowed. The two ped exits are to be used only -- DETECTIVE HARRISON You see that corner there, Ronnie? RONNIE Yeah, I see it. DETECTIVE HARRISON That corner used to be the worst corner in this whole town. It was riddled with drugs, prostitution, and gang violence. It was nicknamed 'The Crossroads.' RONNIE Shit, I've heard of that. DETECTIVE HARRISON That's right, but myself and the other officers worked on cleaning it up for years so that the good folks of this neighborhood wouldn't have to worry about being safe. Yes, sir, that corner is a testament to the fine police work of our force. RONNIE I don't know. It looks pretty shitty to me. (CONTINUED) 76. CONTINUED: DETECTIVE HARRISON Well, it's a low income area, Ronnie. You're being kind of prejudiced. RONNIE Oh, yeah, I can see that it's basically a fine neighborhood. DETECTIVE HARRISON That's right, but it hasn't been easy. We still patrol this area every night just to keep our presence up. RONNIE I use that same technique at the mall. DETECTIVE HARRISON I'm sure. I usually do the foot patrols myself, but because I like you, I'm going to let you do it tonight. RONNIE Really? DETECTIVE HARRISON Yeah, really. But I told you about department policy, so I'm going to need you to keep quiet about this one. RONNIE You can count on me. Thank you for the honor. DETECTIVE HARRISON Of course, Ronnie. I just really believe in you. RONNIE I won't let you down. Ronnie opens the door and gets out of the car. As he exits, a car drives by BLARING RAP MUSIC. The passenger throws a beer bottle at Ronnie. He dodges it and the bottle shatters on the ground. Ronnie is shaken, but he waves to Detective Harrison like he's okay. Detective Harrison waves back, then PEELS OUT OF THERE. Ronnie is confused. (CONTINUED) 77. CONTINUED: RONNIE Where are you going?! Detective Harrison keeps on driving without looking back. CUT TO: EXT. CROSSROADS - A SHORT TIME LATER Ronnie looks petrified as he stands guard. A BUM stands off to the side staring Ronnie down. Ronnie waves to the bum. The bum runs his finger under his throat. Ronnie tries to ignore him. A group of KIDS walk by Ronnie talking loudly. RONNIE Hey, no horse play. You guys get on home. KID You want some crack? RONNIE No, I don't want any crack. In fact, I didn't want to do this, but you leave me no choice in the matter. I'm placing you under citizen's arrest. Ronnie grabs the little Kid by the shoulders to restrain him. KID Let me go, motherfucker! RONNIE I place you under citizen's arrest for the crime of selling a Schedule 1 Narcotic. You have the right to remain silent... Unbeknownst to Ronnie, Gang Members start walking up behind him. It's like that scene in Training Day where all the gangsters are hanging out right across the street with guns and shit. They come up behind him as he speaks to the kids... (CONTINUED) 78. CONTINUED: RONNIE ... If you cannot afford an attorney, one will be appointed to you. Now I guess we just wait here for my ride to come back. Ronnie turns around to look for Harrison's return, but instead he sees that he is surrounded by a large group of pissed-off GANG MEMBERS. GANG MEMBER #1 That's my little brother you got there. RONNIE Who, this little guy right here? GANG MEMBER #1 That's right. RONNIE Well, I hate to be the one to tell you this, but it appears that your little brother has tried to sell me illegal drugs. I know it's hard for you to hear that. GANG MEMBER #1 He works for me, motherfucker! RONNIE Is that so? Well then, it looks like you got one less employee because I'm taking little brother down. I'll die right here before I let crime prevail. The Gang Members all pull out their guns and point them at Ronnie. RONNIE (to the little Kid) Free to go, little brother. My mistake completely. Good luck with the crack. The little Kid runs off. RONNIE Alright, so I guess I'll be seeing you folks. The Gang Members stand in Ronnie's way and cock their guns. (CONTINUED) 79. CONTINUED: GANG MEMBER #2 Yo, waste this pig, Tone. RONNIE Oh, no. That's really not necessary, Tone. GANG MEMBER #2 Do it, man. Gang Member #1 puts the gun right up to Ronnie's head. RONNIE Oh, Jesus, I don't want to die. Don't let me die, don't do it! Ronnie goes down on his knees. RONNIE No, please! I'm sorry! Ronnie reaches into his boot and pulls out a small rod. He flips his wrist and it extends into a night stick. Ronnie's begging was a trap. Ronnie pops up and begins dropping all those motherfuckers with lightning-fast precision. Ronnie breaks arms and busts heads like a fucking ninja. Gang Member #1 comes in and hits Ronnie with a sucker punch, busting his nose wide open. Ronnie stands up and goes mano y mano in a fist fight with Gang Member #1. He starts kicking Ronnie's ass. Ronnie goes down again and Gang Member #1 starts stomping Ronnie. Ronnie grabs Gang Member #1's leg and twists it. He takes him down. Ronnie jumps on top of him and begins beating him senseless. SLOW MOTION: Ronnie stands up and looks around at the pool of beaten bodies. This is Ronnie at his most primal and also at his best. CUT TO: INT. POLICE STATION - NIGHT Detective Harrison is eating doughnuts and laughing with a bunch of other COPS. (CONTINUED) 80. CONTINUED: COP #1 I can't believe you dropped him off at the Crossroads. That's fucking hilarious. DETECTIVE HARRISON Trust me, you would have done the same thing. This guy is without a doubt the biggest fucking idiot I have ever met. COP #1 He's probably going to get killed. DETECTIVE HARRISON Good! Fuck him, I hope he does get killed. All of a sudden, Ronnie comes in all beaten and bruised. DETECTIVE HARRISON Ronnie, what are you doing here? RONNIE I know what you did! DETECTIVE HARRISON Ronnie, look, I didn't do anything -- RONNIE You're not going to talk your way out of this one. You set me up! DETECTIVE HARRISON Ronnie, look -- RONNIE Don't try to deny it! You set me up and that's all there is to it. DETECTIVE HARRISON Ronnie, I -- RONNIE And I just want to thank you for it. DETECTIVE HARRISON Thank me? Why? (CONTINUED) 81. CONTINUED: RONNIE Because I'm proud to report that I passed the test. I know you wanted to see if I had the chops to cut it on the police force and I'm glad to say that I passed. I knew I would get initiated some time, but I didn't think it would be so soon. Thank you, Detective Harrison. Thank you for believing in me. DETECTIVE HARRISON Ronnie, I don't know what to say. RONNIE You don't have to say anything. Your actions speak for themselves. Thank you for giving this rookie a shot. Get used to seeing Ronnie Barnhardt around here, boys. BAD-ASS PHYSICAL EXAM MONTAGE - INT. TRAINING FIELD - DAY SPRINT: The TESTING OFFICER blows a whistle and starts the 100 meter dash. Ronnie jumps off the starting line and hauls ass down the track. The other Trainees fall behind Ronnie as he smokes their asses. PULL-UPS: Ronnie jumps on the bar and begins to do pull- up after pull-up. SIDE SLIDE: The Testing Officer blows a whistle and Ronnie begins to shuffle side to side like an ice skater that never moves forward. SIT-UPS: Ronnie goes hard on the sit-ups. OBSTACLE COURSE: Ronnie sprints up a wall and flips to the other side. He charges a body of water, then jumps onto the rope and swings safely to the other side. CUT TO: INT. MALL - NIGHT All the lights are off and we see the dark shadow creep through the darkness. The shadow breaks into the SHOE STORE and grabs as many pairs of sneakers that it can carry. The shadow opens the sliding cage and closes it from the other side. Then bends down and locks it. 82. INT. MALL - MANAGER'S OFFICE - THE NEXT DAY Mark sits behind his desk reading a paper. The HEADLINE READS: CHAOS CLIMBS AT CAROLINA MALL. There's a KNOCK at the door. MARK Come in. Ronnie sticks his head in the door. RONNIE Good morning, Mark. MARK Is it, Ronnie? I mean, the mall is getting butchered in the press. Somebody who works here is ripping the place off. The cops don't have any leads. I'm getting shit from the owner of the mall. Sales are down. I mean, what's so good about this morning? RONNIE I feel your pain, Mark. Quite frankly, there's two things happening. One, I'm lacking a sufficient firearm. And two, we're understaffed. That's why I come to you this morning with a plan. (calling to the door) Come on in, Charles. Charles opens the door and walks in. MARK Who is this? RONNIE This is Charles, sir. CHARLES (BOUNCER) How's it going? MARK You work at O'Charley's, right. CHARLES That's right. (CONTINUED) 83. CONTINUED: RONNIE Mark, I would like to hire Charles here as an additional Security Guard. He would operate under me. I figure with the additional criminal element, we should hire more security in hopes that we would have a better chance of catching these guys. MARK Do you have any experience, son? CHARLES Not really. RONNIE Um, sir, I have personally been training young Charles for weeks now in preparation for this day. The kid kind of looks up to me. I'm some what of a big brother to the little guy. Charles kind of looks at Ronnie like he's crazy. MARK Alright, it's actually not a bad idea. It might make our Security more visible so we can give people the illusion that we're on top of this. Ronnie winks at Charles. CHARLES Thank you, Mark. MARK Ronnie, one more thing. Look, if this crime doesn't come to an end pretty soon, we're gonna have to let someone go. I mean, you've always done a great job for me, but the truth is, someone is going to have to take the fall. You're the one who wanted to be Head of Mall Security and quite frankly, I just bought my wife a new Cadillac, so let's just say it won't be me. (CONTINUED) 84. CONTINUED: RONNIE With Charles on my team, I can now devote more time to the robbery and Pervert case. I plan on having these wrapped up by the end of the week. Mark laughs to himself. RONNIE Why'd you just laugh? MARK It's nothing. Have fun, Ronnie. Ronnie looks at Charles. RONNIE Did I say something funny? CHARLES Let's go, Ronnie. Ronnie and Charles take off. INT. MALL - DAY Ronnie and Charles stand in the middle of the floor and supervise the "mall walkers." CHARLES Be careful, guys. Nice and slow. RONNIE That's not bad, but you need to learn to speak in a more authoritative voice. Watch this. Slow it down! Slow it down! You've already received one verbal, don't make me issue a second! (back to Charles) See, you can't be intimidated. You have to make them respect you. CHARLES Ronnie, you know I really want to thank you for the job. You're a man of your word. (CONTINUED) 85. CONTINUED: RONNIE No problem, my young student. So, I got something to tell you. Keep this between us until it's official, but I don't think I'm going to be here for much longer. CHARLES You're quitting? But you love this job. RONNIE I do love it, but it looks like someone is going to be joining the police force. CHARLES The real police? RONNIE They're calling me up. It's basically a done deal. Just a little red tape is the only thing keeping me from carrying a gun. CHARLES I didn't even know you wanted to become a Cop. RONNIE It's always been my job. The Mall thing is great training, but it has its limitations. Some stars are just meant to shine brighter than others. CHARLES Congrats, brother. RONNIE (to a mall walker) HEY, SLOW IT DOWN, LADY! A Mall Walker slows her pace. She turns around and Ronnie sees that it's Nell. RONNIE Nell? NELL Hey, Ronnie. RONNIE What are you doing? (CONTINUED) 86. CONTINUED: NELL Nothing, just getting in shape. RONNIE Well, that's okay, I guess. Just watch your speed, okay? Nell waves and walks on. CHARLES Isn't that your girlfriend? RONNIE Ex. CHARLES She looked good. RONNIE You think so? CHARLES She looks a lot better. RONNIE Yeah. Ronnie shrugs it off. INT. PSYCHOLOGICAL EVALUATION - DAY Ronnie sits across from a female PSYCHOLOGIST. PSYCHOLOGIST Okay, Ronnie, today I'll be giving you a psychiatric evaluation to determine if you're competent to enter into the Police Academy. It's really just a formality. Don't want any serial killers working for us, now do we? RONNIE No, ma'am, we don't. PSYCHOLOGIST Okay, Ronnie, so let's start with your background. Where are you from? RONNIE Born and raised right here. (CONTINUED) 87. CONTINUED: PSYCHOLOGIST Local boy. Okay, and, Ronnie, have you ever been convicted of any crimes? RONNIE No, ma'am. My record is totally clean. PSYCHOLOGIST Do you now take any illegal drugs or have you taken any in the past? RONNIE No, ma'am. I believe drugs are the path to self-destruction and should be purged from the face of the earth with ruthless vengeance. PSYCHOLOGIST Any prescription medications? RONNIE Yes, for my nerves. A man in my line of work has a lot of stress to deal with. If you've seen the bloodshed I've seen, you'd be on the meds too. I -- Where are you going with this? PSYCHOLOGIST Are you presently or have you ever been affiliated with the Communist Party? RONNIE I can't believe you'd even ask me that. PSYCHOLOGIST Have you ever been in the military? RONNIE Yes. PSYCHOLOGIST What branch of the military were you in? RONNIE The kind of branch that doesn't exist on paper. (CONTINUED) 88. CONTINUED: PSYCHOLOGIST Okay, here's a real world scenario. You have a gun -- RONNIE Finally. PSYCHOLOGIST That wasn't really the question, never mind, I think I got that one. Um... here's one. Do you feel like you would work well on a team? RONNIE Would I? Yes. Would I be more useful working alone, I would say definitely. I see myself more like a Rambo kind of guy. A man who rolls solo. Taking care of business on his own terms. Kind of like a Superhero or something. PSYCHOLOGIST Why do you want to become a cop? RONNIE I want to become a cop to help people. The world is a scary place with lots of evil everywhere. See, I have this vision of evil trying to get at the world from every angle and there I stand at the top of it all with my gun, just kind of blowing it away. Just me and my weapons, cleaning up this whole town. I know I could do some good if I was just given a chance and everybody would be a lot better off. PSYCHOLOGIST Uh-huh. So, what do you feel is the greatest danger facing a police officer today? RONNIE Maybe Russian gang activity, but you know what? I think I'm gonna have to go with evil on that one too. (CONTINUED) 89. CONTINUED: PSYCHOLOGIST Okay, I think we're good here. It's been a pleasure, Ronnie. RONNIE Thank you, ma'am. INT. RONNIE'S HOUSE - BATHROOM - NIGHT Ronnie's Mom takes a bath and swigs on a bottle. She's drunk and passing out in the tub. Ronnie scrubs her back with a sponge. RONNIE I'm telling you, Mom, this police thing could be good for both of us. Not just the fact that I'll be making the streets safer for you, but they have health insurance and a pension plan so I don't have to worry about your medical bills as much. MOM I don't care about that bullshit. All I need is a little nip of this good shit right here and I'm ready to walk through the pearly gates. RONNIE Mom, I know, but maybe you should stop drinking so much. You're getting up there and you know what the doctor said about your liver. MOM I don't tell you how to party, don't tell me how to live my life. I've taken care of you since you were born. RONNIE I just worry about you is all. MOM Ronnie, don't get your hopes up about this police thing. RONNIE Why would you say that? (CONTINUED) 90. CONTINUED: MOM You know why. I just don't want to see you get hurt. It's my job to protect you from the bullshit. RONNIE Mom, I appreciate it, but I'm going to make it as a police officer. I'm tired of coming in second all the time. Everybody in life gets to go for their goals, why should I be any different? MOM I know. Just be careful is all. You've got a good heart and I don't want to see it broken. RONNIE Okay, Mom. I hear you. MOM And, Ronnie, one more thing. RONNIE What's that, Mom? In the tub, a bunch of bubbles plop to the surface. RONNIE Mom! That's gross! MOM (drunk laughing) That's right! Now you got to smell it! RONNIE Mom. EXT. POLICE ACADEMY - DAY The Police Academy is full of energy as new recruits pour up the steps and into the building, eager to start their training. Ronnie comes walking up and takes a long look at the building. Ronnie smiles to himself and heads up the stairs. Ronnie reaches the top where Detective Harrison is waiting. Ronnie stops. (CONTINUED) 91. CONTINUED: RONNIE Ronnie Barnhardt reporting for duty. DETECTIVE HARRISON I can see that. Listen, I don't really know how to say this, but we're not going to be able to let you join the academy. RONNIE What?! Why not? DETECTIVE HARRISON It seems you had a little trouble passing the minimum requirements. RONNIE Did I fail one of the tests? DETECTIVE HARRISON Well, yes, actually, you failed the psychological exam. RONNIE No! DETECTIVE HARRISON It says... (reads from the form) That Ronnie Barnhardt shows warning signs of delusion and allowing him to join the force puts his life and the lives of others in jeopardy. RONNIE Detective Harrison, you've got to believe me. I'm completely sound. This has got to be a mistake. DETECTIVE HARRISON Ronnie, I personally did your background check and this is the fifth time you've been turned down for the police academy. RONNIE You guys keep records on that? (CONTINUED) 92. CONTINUED: DETECTIVE HARRISON We sure do. Look, I tried to talk to them, but there's no way they're gonna let you in. I'm sorry, but your dreams of becoming a Police Officer just aren't going to happen. RONNIE I understand. Thanks for believing in me, Detective. And just for the record, I'm not crazy. DETECTIVE HARRISON Take care, Ronnie. Detective Harrison goes inside and closes the doors on Ronnie. Ronnie stands outside of the closed academy by himself. The CAMERA PUSHES INTO Ronnie and SPINS UPSIDE-DOWN. CUT TO BLACK. FADE IN: INT. CAROLINA MALL - MORNING Ronnie is behind the locked gate to the food court, but it looks like he is behind bars in a prison. Ronnie slides the bars up and walks out. INT. MALL - DAY Ronnie walks through the mall and looks at the lights of the different shops. Everything looks colorful and weird. Ronnie is in his own head. This isn't the exciting world as before, now it's a disgusting fabricated make-believe land. TIME LAPSE: A DAY SPEEDS BY AS RONNIE WALKS LIKE A ZOMBIE THROUGH IT ALL. INT. MALL - FOOD COURT - NIGHT The mall is kind of winding down for the day. The stores are closing and people are going home. Ronnie sees Nell putting her apron away and preparing to leave. Ronnie walks up to her. (CONTINUED) 93. CONTINUED: RONNIE Hey, Nell. NELL Hey, Ronnie. How's it going? RONNIE Can I talk to you for a second? NELL What is it? RONNIE I tried to get into the police academy again and the same thing happened. NELL Oh, Ronnie, I'm sorry. Ronnie starts to tear up. RONNIE Why does this keep happening to me, Nell? NELL I don't know, Ronnie. Maybe it's just not meant to be. Are you okay? RONNIE No. Are you going home? I mean, do you want to go somewhere and talk or something? NELL Ronnie, I can't. RONNIE Why not? NELL I've got plans. RONNIE What plans? SADDAMN Look at this sorry piece of shit. Ronnie looks up to see Saddamn walking toward him. (CONTINUED) 94. CONTINUED: RONNIE What the fuck do you want? SADDAMN I don't want anything from you. (to Nell) How you doing, sweetness? Saddamn hugs Nell from behind and kisses her on the cheek. SADDAMN You look beautiful tonight. RONNIE What the fuck is going on? SADDAMN You ready to go? We got reservations at 9:00. NELL I'm ready, Saddamn. RONNIE Nell, for the love of God, don't go with him. NELL I'm sorry, Ronnie. Nell and Saddamn turn and walk towards the door. On the way out, Saddamn turns back around to Ronnie and smiles. Then, he begins to "air hump" Nell from behind. RONNIE Don't go, Nell. Remember your purity! Remember your purity! Nell and Saddamn leave the mall. INT. MALL - DAY Ronnie sits down on one of the benches in the mall. He watches a couple walk by, their little kid swinging between their arms. Then, Stevie comes in and takes a seat next to Ronnie. STEVIE What are you doing, Ronnie? (CONTINUED) 95. CONTINUED: RONNIE I'm just taking a break. What do you want, Stevie? I don't have time to fuck around with you today. STEVIE I got something. Stevie reaches into his pocket. He pulls out a bunch of Polaroids of penises. RONNIE What the fuck is this? DUDE Dude, I found these all over the mall. I'm guessing that whoever this Mall Flasher is, left these for girls to find. RONNIE This thing gets grosser and grosser all the time. Well, thanks for the clue. Maybe I can use this to identify the freak. You can skate all you want around here. STEVIE What's wrong with you, Ronnie? RONNIE What do you mean? STEVIE I don't know. You just seem kind of sad. RONNIE Nah, man, I'm fine. I mean, I'm catchin' perverts and protecting this mall and just you know, really livin' the dream. STEVIE That's cool. Look, man, you want to get high? RONNIE No, I don't want to get high. STEVIE That's cool. (CONTINUED) 96. CONTINUED: The conversation dies down and the two just kind of sit there. RONNIE And by the way, if I see you getting high, I will call the police and have your criminal ass arrested. Don't you fuckin' ever mistake my kindness for weakness. I hate drugs and I hate you too. STEVIE Fine, you fucking dick. Steve stands up to leave. Ronnie sits there looking sad. EXT. MALL - NIGHT Ronnie sits in his golf cart staring at the mall as the last of the customers leave. That's when Ronnie sees Brandi come out of the door. Brandi looks around and darts across the parking lot. Ronnie follows Brandi's path and tries to catch up with her. EXT. MALL - NIGHT Ronnie drives around, but he can't find Brandi anywhere. Ronnie sees a lone black car at the outer edge of the parking lot. He pulls his golf cart over and climbs out. Ronnie creeps up to the car and peers in the window. Inside, Ronnie sees Brandi and Detective Harrison banging like a couple of wild animals. Ronnie jumps back in shock! INT. DETECTIVE HARRISON'S CAR - NIGHT Brandi stops humping Detective Harrison. BRANDI Shhhh. DETECTIVE HARRISON What is it? BRANDI I thought I heard something. (CONTINUED) 97. CONTINUED: Detective Harrison looks out of the window. He doesn't see anything. He climbs back on top of Brandi. DETECTIVE HARRISON It's nothing. OUT OF NOWHERE, A FLASHLIGHT BREAKS THE BACK WINDOW OF THE CAR. EXT. MALL - NIGHT Ronnie runs around Detective Harrison's car wielding a flashlight like a mad man. RONNIE HARRISON!!! Ronnie beats the shit out of Harrison's car. He smashes headlights, mirrors and fenders. INSIDE THE CAR Harrison and Brandi duck down. BRANDI Shit! DETECTIVE HARRISON That motherfucker is crazy. BRANDI Well, you're the fucking cop. Do something. DETECTIVE HARRISON You're right. Okay, here it goes. Harrison reaches over Brandi and opens her door. BRANDI What the fuck are you doing?! Harrison pushes Brandi out of the car and shuts himself back in. OUTSIDE Ronnie sees Brandi and stops pummeling the car. (CONTINUED) 98. CONTINUED: BRANDI Ronnie, it's me! Don't do anything crazy. RONNIE Get back inside, Brandi. This isn't about you... you... you slut! BRANDI Fuck off, Ronnie. RONNIE How can you just stand there after you ruined my life and act like nothing happened?! BRANDI It's easy 'cause I don't give a FUCK ABOUT YOU! Ronnie SNAPS. He charges at Brandi with the flashlight over his head. He's about to crack her when... CLICK. Ronnie STOPS to see Harrison on the other side of him with his pistol drawn and pointed at Ronnie. DETECTIVE HARRISON Drop the flashlight, Ronnie. Ronnie drops the flashlight from his hands. RONNIE You're pretty tough with that gun. DETECTIVE HARRISON Ronnie, I know you've had a hard time -- RONNIE You were supposed to be my friend! DETECTIVE HARRISON So you're gonna kill Brandi? RONNIE I was just trying to scare her. BRANDI You don't scare me, you piece of shit. (CONTINUED) 99. CONTINUED: Ronnie lifts the flashlight up again like he's going to hit Brandi. Brandi ducks. Detective Harrison cocks the gun. DETECTIVE HARRISON Ronnie! RONNIE Fine, fuck you! Fuck all of you! And, Harrison, you better be glad you have a gun or I'd kick your ass too. And you know what? I'm taking my friendship back because you don't deserve it! And, Brandi, I'm taking my love back too. I'm gonna leave now and you two can just have fun. Have fun sleeping tonight because something tells me, you won't be able to. Ronnie climbs into the golf cart and drives off. DETECTIVE HARRISON That guy is a nut job. BRANDI Tell me about it. DETECTIVE HARRISON So you slept with him? BRANDI I was drunk okay. You gonna make a big deal out of it. DETECTIVE HARRISON No, I guess not. BRANDI Fine. INT. RONNIE'S BEDROOM - NIGHT ON THE TELEVISION: There's an update on the CAROLINA MALL FLASHER. It says he has exposed himself to more girls. As the TV blares the headline, Ronnie lays in his bed and watches. The images shine COLOR on him, but Ronnie is in his own world. 100. INT. MALL - FOOD COURT - DAY Ronnie has the Special Elite Task Force assembled. RONNIE I'm disbanding the task force. CHARLES Hey, Ronnie, that's crazy talk. Are you cool? RONNIE No, I'm not cool, Charles. In fact, shit is seriously fucked up. I've got to protect the whole mall by myself. Now, I got you this fucking job, when are you going to stop being a little baby and do something for a change. (MOCKING) 'I don't want to do anything hard. I just want to be a little bitch and brag about dropping out of college.' Grow a fucking pair, will you, Chucky? CHARLES I'm gonna go check the parking lot. Charles walks away. RONNIE (calling out) I'm sorry, Charles! I didn't mean it, buddy! Ronnie puts his head on the table. RONNIE You know, Dennis, for the longest time I made this job my whole life. I looked at this mall as a kingdom and I looked at Mark as the King. I thought of myself as the first Knight and the customers, well, they were the peasants. I lived by an old code where one was bound by duty and honor. But now I don't know if I believe in that code anymore. I've lost my way. Now I just feel like it's one big kingdom of shit. Right now, I got half a mind just to let this whole place burn. Burn it to the fucking ground! (CONTINUED) 101. CONTINUED: Dennis stares down at the desk. Dennis takes off his hat and reveals that he has bleached white Eminem hair underneath. Next, he reaches under his collar and flips out a thin gold necklace. He kicks up his shoes and reveals the newest and freshest basketball kicks. This is the REAL DENNIS and for the first time ever, he speaks... DENNIS (high ghetto voice) I've been waiting on you to get on my page this whole time. You look at this mall as a Kingdom?! Shit! I look at this place like a motherfucking jail sentence. You put on that uniform every morning, but what are you really protecting? Commerce and corporations and money. Well I say, fuck that! I'm a fucking outlaw and I'm going to live that until the day I die. Now, I can show you the way, but you've got to be willing to accept it. So I'm gonna ask you now, Ronnie. Are you ready for a trip to the other side? RONNIE You're goddamn right I'm ready. DENNIS Alright then. Let's party. CUT TO: EXT. DUMPSTERS - DAY Dennis and Ronnie hang in the back of the mall by the dumpsters. Dennis sucks down a fat joint. He passes it to Ronnie. DENNIS So, yeah, usually I take a joint straight to the head before I start work in this motherfucker, but on really stressful days, I like to get drunk too. Dennis pulls out a flask and gulps it down. Ronnie is still staring at the joint. Finally he takes a puff and begins violently coughing. He finally stops. (CONTINUED) 102. CONTINUED: RONNIE Fuck it, give me the bottle. Dennis hands Ronnie the bottle and he takes a big swig. CUT TO: INT. MALL - DAY Ronnie and Dennis stand against a wall while they check out booties of various shapes and sizes on all of the girls that walk by. DENNIS So then I usually come in here and perv out on girls for about an hour or two. I hooked up twice last week. One was this Asian chick and the other was this mom. She wasn't that hot, but what else do I got to do? Two high school girls walk by. DENNIS Sweet Jesus in the morning. INT. DEPARTMENT STORE - DRESSING ROOM - DAY Ronnie and Dennis are hanging in a dressing room. DENNIS Dressing rooms are a great place to hide out, because nobody is really going to think of looking for me here. You can nap or just kind of hang out and just really have some personal time. Hey, hand me that camera. Ronnie picks up a shitty camera and hands it to Dennis. DENNIS Thanks, Ronnie. Dennis stands up on the bench and looks into the other changing room. The two high school girls are changing into other clothes. Dennis starts taking pictures of them without them knowing. CUT TO: 103. EXT. DUMPSTERS - DAY Ronnie is smoking a joint and so is Dennis. DENNIS Right before lunch I usually blaze up again real good. CUT TO: EXT. MALL - DAY Dennis and Ronnie walk by the skaters. DENNIS Hey, what's up, motherfuckers?! STEVIE What up, Big Den?! DENNIS You know, smokin' that good good. STEVIE Dude, why are you hanging out with Ronnie? RONNIE Fuck you, Stevie! DENNIS Hey, Ronnie's alright. Let me see that stick. Stevie slides the skateboard over to Dennis. He jumps on it and does a perfectly executed kick flip. The skaters cheer! INT. DEPARTMENT STORE - DAY Brandi is at the counter with Bruce. She helps a MALE customer. BRANDI That'll be $39.99. MALE My wife's gonna love this perfume. BRANDI I hope so. It's my favorite. (CONTINUED) 104. CONTINUED: Brandi looks past the Customer and sees Ronnie just standing there staring daggers at her. Ronnie shakes his head in disgust. The Male Customer turns around and sees Ronnie. It's a weird little moment. Dennis grabs Ronnie by the arm. DENNIS Come on, brother. Let's go. Ronnie follows Dennis off. CUT TO BLACK. FADE IN: THIS BEGINS THE ROCKING MONTAGE OF MALL DESTRUCTION INT. RECORD STORE - DAY Ronnie stands in the store and looks down at his walkie. MARK (V.O.) (over the walkie) Ronnie, we need you down at the candy store. Some little brat has been shoveling peanuts in his mouth for the last hour. Ronnie turns the walkie-talkie off. Dennis runs behind the counter. Dennis drops the needle on a ROCKIN' SONG. Dennis jumps on top of the counter and starts jumping up and down with the music. He's fucking drunk. Dennis jumps off the counter and tackles Ronnie, knocking over a stand of DVD's. CUT TO: INT. MALL - DAY Ronnie and Dennis ride on a mini railroad train for kids. They both drink from the flask as they spin around the track. It's full of nothing but kids and security. CUT TO: 105. INT. MALL - VICTORIA'S SECRET - DAY The HOT SALES CLERK stands outside of the dressing room wearing a sexy teddy with a G-string and garters. Dennis and Ronnie are kicking back in the love seat and watching. Dennis makes a motion for the Sales Clerk to spin around. She reluctantly does as she is instructed. CUT TO: INT. MALL - TOY STORE - DAY Ronnie and Dennis play video games. A LITTLE KID tries to take the controller from Dennis, but Dennis whips out the handcuffs. He locks the Little Kid onto the display case so the kid can't move. CUT TO: INT. ARCADE - DAY Ronnie and Dennis play Skee-Ball, except Ronnie tosses the balls to Dennis who is standing on top of the machine. Dennis slam dunks the balls into the 100 point hole. The tickets pour out. CUT TO: EXT. MALL - DAY Ronnie and Dennis are driving in the golf cart and they're both wearing those GIANT SUNGLASSES that they won with arcade tickets. Behind them, Stevie and the other Skaters hold onto the golf cart and get pulled on their skateboards. They race towards a loading ramp. Dennis floors it and they go up the ramp and JUMP the golf cart into the air. The golf cart and Skaters soar into the air. It holds forever, until suddenly, the golf cart lands with a thud. CUT TO BLACK. FADE IN: INT. MALL - NIGHT The mall is basically empty as Dennis and Ronnie make the final rounds. They get to the doors and lock up for the night. (CONTINUED) 106. CONTINUED: RONNIE Dennis, I got to thank you for today. Man, I was so down, but you taught me that I don't need to take things so seriously here. We have a pointless existence. Who gives a fuck? DENNIS Don't mention it, homey. I'm just glad I got me a partner in crime. RONNIE A partner. I like that. You know, I've never really had a friend before, but I think that this could be the beginning of a real good thing. Dennis unlocks the doors to the Gap. DENNIS You ain't even seen the best part. After everybody leaves, I rob the shit out of this place. RONNIE What do you mean? DENNIS I steal shit! RONNIE You're the one who's been robbing the mall? DENNIS Hell yeah! Who'd you think it was?! Dennis goes inside the Gap and just starts grabbing shit. RONNIE I can't believe this. Right in front of my goddamn face this whole time! Dennis holds up a sweat shirt. DENNIS This probably will look good with my complexion. RONNIE Dennis, I can't take part in this. (CONTINUED) 107. CONTINUED: DENNIS Ronnie, I thought you were down?! What the fuck?! Here I am opening up myself to you and you're just gonna stick it to me like this. What the fuck has this place ever done for you? Don't you know that people see us as jokes?! A useless tool that's left in the shed. Well that's not me. Not now, not ever. I told you, I'm an outlaw. RONNIE I can't let you rob the mall. DENNIS What the fuck you mean you can't let me? RONNIE Come on, Dennis. We're best friends, so just put that stuff back and let's go get a beer. DENNIS Alright, Ronnie, you're right. Dennis sets the shirts down. DENNIS I don't really know what I was thinking. Robbing the mall? Let's just go get that beer. RONNIE Good, man. That makes me feel better. Ronnie turns to walk, but Dennis grabs the hand of one of the mannequins and rips it off. He takes the hand and cracks Ronnie over the head with it. Ronnie goes down on his knees. DENNIS See ya in Mexico, bitch. Dennis cocks back and whacks Ronnie again. Ronnie's lights go out. 108. EXT. CITY STREET - NIGHT Dennis pulls out of the mall driving a HARLEY DAVIDSON. He flips a joint into the air and peels out. He cruises down the street. He passes a cop car and flips it off. CUT TO BLACK. FADE IN: INT. CAROLINA MALL - MORNING The JANITOR walks up the floor with a mop. Ronnie is battered and bloodied from his fight with Dennis, but he is wide awake and handcuffed to THE GAP. RONNIE Ramon, get your ass over here! Go get my spare keys out of the office. The Janitor looks at Ronnie, smiles, and calmly mops in the other direction. RONNIE Ramon! Goddamn it get back here! Go get my goddamn keys. INT. MALL - MANAGER'S OFFICE - DAY Mark sits across the desk from Ronnie and Charles. MARK How fucking stupid do you have to be?! I mean Dennis. What the fuck, Ronnie? How could you not have known it was Dennis? Then, how the fuck could you be so stupid as to let him get away. OBSERVE AND REPORT. Those are the only two things you have to do and you can't do those worth a shit. RONNIE Can I speak now? MARK Go ahead. RONNIE Are you sure? MARK Just start talking, Ronnie! (CONTINUED) 109. CONTINUED: RONNIE It seems only natural that 'some people' would want to blame me and truth be told I do put a lot of that blame on myself. But some people might say that the cops are to blame for not catching them. Some people might say that the reason this happened was the undeniable fact that I was under- equipped and quite frankly, lacking a sufficient firearm. But not me. I carry this loss alone deep inside my heart. MARK Good. Because you're fired. RONNIE (PLAYFUL) Fuck you. MARK I'm serious, Ronnie. I've always liked you, but there's just no excuse for this. Somebody is going down and I'll be damned if it's going to be me. Now, don't make a big thing out of this. Just pack your shit and get out by the end of the day. RONNIE Wait a minute. I thought I could trust you, Mark, and now you're telling me that you're going to be the one to put the knife in my back. Fair weather friend you are. MARK I'm not your friend, I'm your boss. RONNIE You think you're so smart, Mark. You don't know everything. If you're firing me, then you can say goodbye to your entire Security staff. Because there is no fucking way my team is going to work here if you fire me. Isn't that right, Charles? (CONTINUED) 110. CONTINUED: CHARLES Ronnie, I got to talk to you about this. Mark asked me down here to escort you out. RONNIE And you told him to fuck off, right? Charles? Right? CHARLES What the fuck do you want from me, Ronnie? RONNIE This isn't happening! Everybody is fucking me over?! I hate you all. Charles stands up. CHARLES I'm sorry, Ronnie, but it's time to go. RONNIE Wait a minute. I'll work for free, Mark. MARK No, Ronnie. RONNIE I'll pay you. MARK Nope. RONNIE I love you. MARK Ronnie, Jesus have a little self- respect. RONNIE You don't love me, Mark? MARK Ronnie, it's over. Ronnie takes a deep breath. He stands up to leave. Ronnie starts to walk out, but stops. (CONTINUED) 111. CONTINUED: RONNIE Hey, Charles. Mark asked you down here in case I got out of hand? Well, get ready to earn your money. Ronnie cracks. He grabs a calendar and throws it on the ground in a violent baby-like outburst. MARK Stop him! Charles tries to grab Ronnie, but Ronnie pushes him off. Ronnie knocks the framed pictures off of the wall. He then opens the door and slams it into the wall over and over again. That does nothing. Ronnie tries to rip the cushion on the chair. He looks ridiculous. CHARLES Alright, Ronnie, that's enough. Ronnie stops and begins to cry. Then he runs out of the office in tears. INT. RONNIE'S BEDROOM - DAY/NIGHT Ronnie lies in his bed and we... TIME LAPSE: The sun rises and sets three times through the window of his bedroom, signifying that three days have passed. The whole time, Ronnie doesn't move from his bed. Until... Ronnie gets on his "nice" clothes, but they're a far cry from his Security Guard uniform. Ronnie's Mom comes up to him. MOM What's on the agenda for today? RONNIE I guess maybe look for a job or something. MOM Well, I know you're sad about it, but try to look on the bright side. (CONTINUED) 112. CONTINUED: RONNIE There is no bright side. My life is over. MOM Ronnie, you may not be smart or handsome, but you've got dreams inside of you and dreams make you special. No matter what this world tries to throw at you, they can never take those dreams away. RONNIE What the fuck are you talking about, Mom? MOM I don't know. I'm drunk. I just know that mothers are supposed to talk like that to their children when they're sad, so I tried. What do you want from me? RONNIE Nothing. That's exactly what you're supposed to do. I just blew my life. I tried to be a big shot, a hero and a stupid cop. I wanted to be recognized for being great. I should have just been happy where I was at. I didn't do my duty. MOM Ronnie, the other night when I soiled my pants right before I puked myself, I was thinking about how you would come home and find me and clean me up. I knew you would be there to find me and take care of me, so I was able to pass out on the floor and not worry. If there's one thing you know about, it's duty. RONNIE I do it because I love you. MOM I know and I love you too, Ronnie. I haven't always been easy to deal with and most people would have thrown me away a long time ago. (MORE) (CONTINUED) 113. CONTINUED: MOM (CONT'D) Just like your father did. But not you, Ronnie. Look, whiskey was always the way I dealt with being a single mother, but as I get older, I know that I can't keep doing this. I've got everything I need with you. So I want you to know that I'm ready to make a change. Your life needs to get easier and you don't need to take care of old Mom anymore. RONNIE Are you going to quit drinking? MOM I'm switching to beer. I can pound those all day and still keep my shit together. I'm doing it for you. RONNIE I'm so proud of you, Mom. MOM I'm proud of you. Now today is a new day and we're going to get through it. Now, get out there and find what the world has in store for you. Ronnie's Mom leaves and Ronnie looks at himself in the mirror. Then something catches his eye. Ronnie sees a newspaper laying on the ground. He picks it up and reads. EXT. JAIL - DAY Ronnie walks up the steps that lead to the local jail. INT. JAIL - DAY Ronnie walks into one of those booths where you can talk to a prisoner on the opposite side of a Plexiglas divider. Ronnie sits down in wait. Then, two GUARDS appear escorting a handcuffed Dennis. Dennis takes a seat and picks up the phone. DENNIS What's up, Ronnie? How you doing? (CONTINUED) 114. CONTINUED: RONNIE I've been better. You? DENNIS I'm holding it down in here. RONNIE Yeah, I heard they finally caught up with you. DENNIS I know. I should have hit Mexico, but, you know, I got stoned and just kind of kicked with this girl in Kannapolis for a while. RONNIE You know they fired me when they found out you were the one who robbed the mall. DENNIS Shit, dog. Sorry about that. RONNIE It's cool, but I need to know why you did it. DENNIS I told you. I'm an outlaw. RONNIE Come on, Dennis. DENNIS Man, you want to know the real reason? RONNIE Yeah. DENNIS Alright, I'll tell you. Man, that gig was one of the best jobs I ever had. I got to wear a uniform, I could smoke weed whenever I wanted. For once in my life, I felt like I was actually somebody. I know most people don't think it's shit, but I really loved it. Then, all of a sudden, I find out that your ass got promoted over me. (MORE) (CONTINUED) 115. CONTINUED: DENNIS (CONT'D) After all I put into it, you're the one that makes it to Head of Mall Security. You know what it's like to get passed over, Ronnie? So I got pissed off. I started robbing the joint as a way to get at them for what they did to me. But you know what, Ronnie? RONNIE What's that? DENNIS You ever love a girl so much that you can't break up with her, so the only thing you can do when she pisses you off is smack her in the goddamn face? RONNIE No, Dennis, I haven't. DENNIS Well, I have. And that's pretty much how I felt about the job. RONNIE Thanks for talking to me, Dennis. DENNIS Well, it's the least I could do after knocking you out and all. Ronnie starts to hang up the phone. DENNIS Hey, Ronnie. RONNIE Yeah, Dennis. DENNIS Bail me out of here, old friend. RONNIE I can't do it, Dennis. You're now a criminal who stopped caring, but my crime is that I care too much. Ronnie hangs up the phone and walks out. 116. INT. MALL - DAY Ronnie comes into the mall and makes his way down the center of it, feeling naked without his uniform. Charles, now wearing a mall security uniform, comes out and stops Ronnie. CHARLES Ronnie, what are you doing back here? RONNIE I just came to talk to Nell. Don't get your panties in a wad, I'm just here as any normal patron. CHARLES Ronnie, dude, I've been all fucked up in the head. I feel like shit about what happened. I mean, here I am, just looking to shuck responsibility and I ended up hurting you in the process. Look, I should have been honest with you. I don't give two shits about this stupid job. But you do. RONNIE It's okay, Charles. CHARLES I've decided I'm going back to college. Getting stoned and studying beats this any day. I realize that now. I realize that there aren't any jobs where you can avoid hard choices. Anyway, take as long as you want at the mall. I'll keep Mark off your back. RONNIE Thanks, Charles. INT. MALL - FOOD COURT - DAY Ronnie sees Nell sitting down and eating a Cinnabon. Ronnie takes a seat at her table. NELL Ronnie, what are you doing here? (CONTINUED) 117. CONTINUED: RONNIE I got something I want to say. NELL I don't think we should be talking. RONNIE I'll be quick. Nell, this is the only job I was ever any good at. I'm not a crime solver or right hand of the law. I'm just a dumb guy in a uniform who can't even become a real policeman. Somewhere along the way I started to think I was something special, someone whose shit didn't stink, someone who deserved to date out of my league. You know, I've learned. My shit does stink. It smells horrible. And you're also out of my league, but for some reason, you like the smell of my shit. I guess what I'm saying is... Ronnie reaches into his pocket and pulls out his Mother's disgusting yellow engagement ring, but for some reason, it looks beautiful. RONNIE If you give me another chance, I'll spend the rest of my life making it up to you. And you can call me sweetie in front of people and I'll like it. Nell thinks about it. She leans over the table and kisses Ronnie. Ronnie is stunned. With one kiss, Nell seems to make everything okay. They stare at each other and the moment seems to hold for an eternity. Love is in the air until... THE PERVERT STEPS IN FRONT OF THEM AND EXPOSES HIS DING- A-LING! Nell SCREAMS! The Pervert runs. Ronnie gets pissed! RONNIE Son of a bitch!!! (CONTINUED) 118. CONTINUED: NELL Oh, my God! RONNIE Are you alright? NELL I'm fine. RONNIE Shit, we should call somebody. NELL Ronnie. RONNIE Yeah? NELL Go get him. Ronnie realizes that this is his duty and his alone. Ronnie rises from the table slowly. He looks at Nell and nods acceptance. Then, Ronnie runs after the Pervert. INT. MALL - DAY The Pervert is in a full blown run through the mall. His trench coat is wide open and his wienie is flapping for the world to see. In a way, it's his greatest accomplishment. People scream! Mothers grab their daughters! No one is safe! CUT TO: ANOTHER ANGLE Ronnie comes ripping out of the food court. He's got a fierce look of determination in his eyes. He runs hard to catch up with the Perv. CUT TO: ANOTHER ANGLE There's a crowd surrounding the Cell Phone Kiosk. The Pervert bursts through the crowd and knocks people out of the way. SADDAMN What the fuck, man?! (CONTINUED) 119. CONTINUED: Ronnie comes running up behind him. RONNIE Get out of the way! Get out of the way! The crowd totally clears a path for Ronnie, but Ronnie stops running and SUCKER PUNCHES SADDAMN. Saddamn goes down hard and Ronnie rejoins the chase. RONNIE Stay the fuck away from my wife! CUT TO: THE PERVERT runs past the skaters, who are hanging out on a bench. STEVIE Dude, that's fucking disgusting! Ronnie comes running way far behind. STEVIE Hey, Ronnie, here! Stevie slides his skateboard out for Ronnie to jump on. Ronnie jumps like he is going to land on the skateboard and sail to the finish line. However, when Ronnie's feet touch the board, it goes shooting out from under him. Ronnie slams onto the ground. All of the skaters start laughing. STEVIE What a fucking douche! Ronnie picks himself up and starts to run again. He only makes it a little ways before he hits something slippery. Ronnie falls onto the ground and cracks his head. Ronnie lays on the ground and sees Ramon laughing against a wall with a mop in his hands. RONNIE Okay, Ramon, we're fucking even! Ronnie picks himself up and starts running again. CUT TO: 120. THE PERVERT runs past VICTORIA'S SECRET. He stops at the doorway and as if he can't resist, flashes the ladies in the store. He takes off running again. CUT TO: RONNIE as he runs by the RECORD STORE, which of course is BLASTING MUSIC. Ronnie stops at the doorway. RONNIE Turn it down. Turn it down. The Record Store guy turns the MUSIC DOWN. Ronnie goes back to his chase. CUT TO: THE PERVERT runs past Mark. He looks around at all the people staring. MARK Okay, show's over. Enjoy your shopping experience at Carolina Mall. Ronnie runs past Mark. MARK Jesus. (calling out) Charles! Charles comes running up. CHARLES What is it? MARK Call the police. And go get Ronnie. CHARLES He's trying to help. MARK Just do what I ask you. Charles runs after them. Ronnie sees Charles coming and runs faster. Charles is moving in on him. (CONTINUED) 121. CONTINUED: CHARLES Hey, Ronnie! Ronnie turns around to see Charles as he flings him a giant flashlight. Ronnie catches it. RONNIE Fuck yeah! Ronnie starts running again, but this time, he's a little more together. CUT TO: THE PERVERT has made his way through the whole mall at this point, but Ronnie is right on his ass. The Pervert is heading toward the DEPARTMENT STORE. INT. DEPARTMENT STORE - DAY The Pervert comes barreling in and the ladies at the perfume and make-up counters SCREAM. He looks like he's charging straight at Brandi. He's getting closer. BOOM! Ronnie comes in from the side and nails the Pervert with the flashlight. Ronnie jumps on top of the Perv and beats the ever-living shit out of him. This is a vision of a man leaving all out on the field. Ronnie stops pounding and looks up. He sees Brandi staring at him. Ronnie is overcome by anger and beats on the Pervert harder than ever before. Finally, Charles comes in and pulls Ronnie off of him. A huge crowd has gathered around. Ronnie has blood all over him. Ronnie picks the Pervert up and holds him tightly by the arms. Mark comes running up. CHARLES You want to report this to the police. RONNIE Hell no. I'm taking him down myself. Ronnie starts to walk away with the Pervert. (CONTINUED) 122. CONTINUED: MARK Hey, Ronnie. Ronnie stops and turns around. Mark tosses Ronnie a set of keys. MARK Good job, Ronnie. RONNIE Thank you, sir. Ronnie leads the Pervert outside. On the way, he passes Brandi. BRANDI Good job, Ronnie. RONNIE I don't love you! BRANDI I don't love you either. RONNIE Fine. The customers and employees of the mall CLAP for Ronnie. This is his finest moment. CUT TO: INT. GOLF CART - DAY Ronnie is stuck in traffic. He looks ridiculous in the orange golf cart on a city street with a Pervert chained up beside him, but Ronnie could care less. EXT. POLICE STATION - DAY The golf cart pulls up to the police station and Ronnie gets out with the Perv. Ronnie walks up the front steps and all of the officers part and let him through. Detective Harrison is at the top of the stairs. Ronnie walks right up to him. RONNIE I caught the Pervert. (CONTINUED) 123. CONTINUED: DETECTIVE HARRISON I see that. Well, you better turn him over to me and I'll take him inside and book him. RONNIE Since you're a real Cop, right? DETECTIVE HARRISON Hey, Ronnie, you may not be an officer of the law, but you're the law's right hand. Good job. Ronnie lets go of the Pervert. He nods to Harrison, then turns his back and walks back down the steps. Ronnie gets into his golf cart and drives away. CUT TO BLACK. FADE IN: EXT. CAROLINA MALL - MORNING Ronnie stands in front of the Mall with Nell beside him. Ronnie looks nervous, but Nell looks down at her yellow ring with pride. She looks at Ronnie, sees a loose eyelash and brushes it off of him. RONNIE What are you doing?! NELL You had an eyelash? RONNIE I'm trying to remember my speech. NELL Sorry. Nell looks straight ahead, but smiles as Ronnie tries to take himself serious. FEMALE REPORTER Okay, Ronnie, we're ready for you. Ronnie takes a deep breath and walks over to where the LOCAL NEWS has set up a camera and microphone. FEMALE REPORTER Okay, we rolling? CAMERAMAN Rolling. (CONTINUED) 124. CONTINUED: FEMALE REPORTER Good evening. We're here today with Ronnie Barnhardt, head of Mall Security here at Carolina Mall. Last week, Ronnie was able to catch The CAROLINA MALL FLASHER single-handed and bring him to justice. Ronnie, how did you manage to find the identity of The Pervert and take him down? RONNIE Well, being a mall security guard basically requires the same skill set that someone in say the FBI has. You have to use logic and evidence and old-fashioned common sense as well as the latest technology to deduce the criminal mind. It's what I do. All of a sudden, STEVIE AND THE SKATERS come up behind Ronnie. They look into the camera lens and start smiling. Ronnie turns around and sees them, but tries to focus on the reporter. FEMALE REPORTER Any last words for the folks at home. RONNIE Yeah, I'd just like to say that Carolina Mall is back on track and safer than ever... The Skaters start flipping off the camera. Ronnie keeps getting distracted. RONNIE In fact, there are some wonderful sales taking place right now. Stevie walks up behind Ronnie and pretends to hump him. RONNIE So for all you families out there, come on down and see us. It's a wonderful place. Ronnie turns around angrily. RONNIE THAT'S IT, YOU LITTLE SHIT! (CONTINUED) 125. CONTINUED: THE SKATERS jump on their skateboards and skate off. Ronnie runs after them. He jumps into his GOLF CART and gives chase. The NEWS CAMERA is still rolling. The FEMALE REPORTER looks into the lens. FEMALE REPORTER You heard it, folks. Everything is back to normal here at Carolina Mall. Back to you, Lindsay. CUT TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Obsessed.txt b/unformated_scripts/Script_Obsessed.txt new file mode 100644 index 0000000000000000000000000000000000000000..bfca0f8604af13e9132b025877bb6aa0940a59ff --- /dev/null +++ b/unformated_scripts/Script_Obsessed.txt @@ -0,0 +1 @@ + OBSESSED Written by David Loughery October 15, 2007 FADE IN: EXT. HOUSE IN THE HOLLYWOOD HILLS - EARLY MORNING A two-story California Craftsman with a SOLD sign in the front yard. Yukon SUV pulls into the drive and stops. The driver's door opens and DEREK CHARLES steps out, a handsome and likable African-American in his early 30's; a guy who's fought hard to make himself a success in business and life. Derek wears a business suit and the first thing he does is cross the lawn to the SOLD sign. With a new homeowner's look of satisfaction, Derek grips the SOLD sign and pulls it out of the ground. WOMAN'S VOICE Derek? D erek looks over to where his pretty wife BETH is standing beside the SUV, holding their cute 2 year old son KYLE in her arms. Beth shakes her head with amusement. BETH What are you going to do with that? CUT TO: INT. LIVING ROOM - MINUTES LATER The SOLD sign, now in pieces, burns brightly in the fireplace. The rest of the room is empty except for KYLE who is nearby, asleep in his stroller. Derek and Beth's VOICES drift down from upstairs. BETH'S VOICE This is coming down. DEREK'S VOICE Why? BETH'S VOICE Do you want people to think we put it up? DEREK'S VOICE (soft chuckle) I don't know. I kind of like it. BETH'S VOICE Please tell me you're joking. 2. INT. MASTER BEDROOM - SECOND FLOOR Derek and Beth stare up at their own reflections in a huge ceiling mirror. The rest of the room is vacant. DEREK All I'm saying, before we take it down... maybe we should try it out. (PLAYFUL) You know. Christen the new house. BETH And what do you suggest we use for a bed? DEREK What do we need a bed for when we've got a fine shag carpet? BETH (LAUGHS) Because I'm gonna have fine shag carpet tattoos all over my -- Derek puts his arms around her waist and pulls her close. Beth resists -- but only slightly. BETH (cont'd) Don't you have to go to work? DEREK (nuzzling her neck) Told `em I'd be late. BETH What about... DEREK Kyle? That boy wouldn't wake up if a nuclear bomb went off. BETH Maybe not, but the movers... DEREK Won't be here for another hour. Beth smiles, giving in. They look up at themselves in the mirror like naughty teenagers. BETH Derek, you are so bad. (CONTINUED) M 3. CONTINUED: DEREK Isn't THAT why you married me? As they begin to kiss passionately... CUT TO: CEILING MIRROR - MINUTES LATER Distorted images of Derek and Beth in the mirror's reflection, naked bodies intertwined, making love on the carpet. I NT. LIVING ROOM Kyle continues to snooze in his stroller. Outside the window, a moving van arrives and BLOWS its horn. INT. BEDROOM Beth, drowsing in Derek's arms. They stir at the sound of the horn. DEREK Want me to stay? Crack the whip on these guys? BETH No. Go to work and earn that promotion. Somebody's got to pay for all this. They share a quick kiss and then Beth swings over to find her clothes. As Beth dresses, Derek stares up at himself. He smiles with satisfaction. Life is good. CUT TO: INT. LIVING ROOM - LATER OVERS bring in furniture, placing a big glass table in the dining room area below the stairs. Nearby, Beth opens a box and removes family pictures. She arranges them with loving care on the mantle above the fire place. (CONTINUED) L A T C 4. CONTINUED: FRAMED PHOTOS of Derek and Beth in their early dating days, at their wedding, celebrating holidays, Beth pregnant, the birth of Kyle; photos illustrating the history of this happy family. UT TO: INT. YUKON - DAY Picture of Beth and Kyle smiling at him from the dash, Derek drives the freeway toward the skyscrapers of downtown. He listens to the stock and financial report. Then, switches over to CD and Gnarls Barkley's "Gone Daddy Gone" blares out. The two sides of Derek Charles. C UT TO: EXT. DOWNTOWN LA - DAY ANGLING DOWN from a towering glass and steel office building as Derek's Yukon enters the parking garage. CUT TO: INT. ELEVATOR Derek and several others ride up from the parking garage. Derek scans the Business page of a folded newspaper. he elevator stops on the ground floor, the door slides open and MORE PEOPLE get on. The doors shut and the car ascends. t other floors, people get on and off until it's just Derek and one other passenger: LISA SHERIDAN, balancing an arm load of thick files. She's in her mid-20's, white, beautiful, glasses and hair pulled back projecting an efficient, smart and sophisticated look; simple blouse and skirt, high heels, great legs. Lisa glances over at Derek, intrigued. ISA Gage/Bendix? Derek looks up from his paper with a distracted smile. DEREK Excuse me? LISA I couldn't help but notice we're both going to Seven. (CONTINUED) 5. CONTINUED: DEREK Right. Gage/Bendix. I work there. LISA I thought you might. DEREK Do you have an appointment with us? LISA Why? Do I look like a client? DEREK Actually, you do. LISA (pleasant laugh) W ell, I hate to shatter the illusion but I'm just a lowly temp. DEREK (genuinely surprised) You're a temp? LISA Just here for the day. DEREK Well, you could have fooled me. Lisa shifts on her feet. LISA I'm beginning to think these heels were a big mistake. Derek glances down at her shapely legs. LISA (cont'd) I should have worn my track shoes. They've got me running all over town picking up these disclosure -- That's when the pile in her arms slides south. The files fall to the floor and spread out in a mess. Lisa LAUGHS and drops to her knees. LISA (cont'd) God, I'm such a klutz. Derek bends down to help. Their hands touch briefly. (CONTINUED) P L T 6. CONTINUED: (2) DEREK No problem. Happen to anybody. They straighten up, look at each other. he door slides open, revealing the sleek and vast offices of GAGE BENDIX, ALTERNATIVE ASSET MANAGEMENT. ISA Thanks. I owe you one. CAMERA FOLLOWS Derek through a warren of cubicles where STAFF WORKERS attend phones and computers. He becomes aware that Lisa is right behind him. DEREK (with humor) Are you following me? LISA No. I'm taking these files to Mister Charles' office. They said it was this way. DEREK Derek Charles? LISA I guess you probably know him. DEREK Oh, yeah, I know him. (lowers his voice) Kind of an asshole, takes himself waaaay too seriously. But don't tell him I said that. L ISA I could get you into trouble? DEREK Deep trouble. Approaching a desk where Derek's assistant, a mild-looking man in his late 30's named PATRICK looks up and smiles. Across from Patrick is another desk and another assistant, a middle-aged woman named MARGE. ATRICK Morning, Derek. How's the new house? (CONTINUED) 7. CONTINUED: (3) DEREK Total chaos. Lucky for me, I sneaked out as soon as the movers showed up. PATRICK Beth must have loved that. DEREK If she calls mad -- and she will -- tell her I'm in a meeting. PATRICK Remember who used to sit at this desk? She'll know I am lying. DEREK (with a smile) Good point. Patrick CHUCKLES as Derek enters his office and vanishes inside. Patrick notices Lisa standing there with her arm load of files. PATRICK (to Lisa) Can I help you? Lisa stares at Derek's office. LISA That's Derek Charles? PATRICK Yes. Lisa breaks into a smile; obviously charmed. Patrick takes amused notice of Lisa's interest in Derek. PATRICK (cont'd) (TEASING) Watch it, girl. He's married. LISA The good ones are always married. PATRICK (dramatic sigh) Or straight. CUT TO: G G 8. INT. MEETING ROOM - LATER Derek sits at a long table with his silver-haired boss, JOE GAGE and his best friend and co-worker BEN KINGMAN. One wall of the room is glass, giving a view of the outer office activity. G AGE (to Derek) Did you talk to our German friend, Herr Ganz? DEREK Matter of fact, I just got off the line to Berlin. GAGE And? DEREK Ganz doesn't like the way the Stock Market's been gyrating and he thinks the hedge fund wave is about to crest. AGE You think he's right? DEREK Hell, no. I think he's a hundred percent wrong. We haven't even gotten close to that point yet. Hedge fund demand is coming from individual investors which is why it's gaining mainstream acceptance. You know Ganz. He gets paranoid when anything goes mainstream. He started making Auf Wiedersehen noises but I managed to talk him into a private equity portfolio instead... to the tune of 155 mil. AGE (PLEASED) I knew there was a reason I promoted you. No offense, Ben. BEN None taken, Joe. I'm just honored to be allowed to exist in Derek's world. Derek looks over at Ben who winks at him. They're friends and good-natured ribbing is part of their relationship. (CONTINUED) B B 9. CONTINUED: GAGE Good. I want you to throw Derek all your support on this one. T hat's when Lisa walks by on the other side of the glass. Gage perks up. GAGE (cont'd) Whose legs are those? BEN Never seen `em before. DEREK I think she's one of the temps. BEN You mean temptress... GAGE Remind me to call that agency and have them send over a couple more just like her. Doesn't hurt to have a little eye candy around the office, does it, boys? Ben agrees. Derek merely nods. He's not comfortable with this tone of sexism. CUT TO: INT. OFFICE - EVENING End of the day. Workers are leaving. Derek passes an open office door. Ben sticks his head out. BEN I scored an extra Lakers ticket for tomorrow night. Think you can get free? DEREK I'm moving into a new house. EN So? DEREK Do I look like a man who wants a divorce? EN I could call and say it's a work emergency. (CONTINUED) D 10. CONTINUED: DEREK Thanks, but I think I'll stay married instead. BEN (LAUGHS) Coward. Ben ducks back into his office. Derek walks past a cubicle on their way to the elevator. LISA Good night, Mister Charles. Derek stops, turns and sees Lisa sitting at a computer station. She smiles. L ISA (cont'd) You punk'd me. DEREK (LAUGHS) Sorry but you set me up. LISA (with humor) Don't worry. I'll get my revenge. And by the way, you might like to know everybody who works here strongly disagrees with you. DEREK About what? LISA About Derek Charles being an asshole. They all say he's the nicest guy in the firm. DEREK Well, that just proves he's got `em all fooled. LISA And he's humble, too. I'm Lisa, by the way. Lisa Sheridan. DEREK Well, it was nice to meet you, Lisa Sheridan. Good luck with your next job -- erek continues on to the elevator. Lisa calls after him: (CONTINUED) C D 11. CONTINUED: (2) LISA Actually, they're keeping me on a few more days, so I'll probably see you on Monday. Can't tell if he heard. Lisa watches him go out of sight, then, curious, she turns to her computer and pulls up Derek's bio and picture on the company web site: "Derek Charles graduated from UCLA with a major in finance. Began his career with major Wall Street Brokerage firm before joining Gage/Bendix working with clients to help them accomplish their investment objectives. From asset allocation and investment planning, pension analysis, etc." C UT TO: INT. CHARLES HOUSE - KYLE'S ROOM - NIGHT Kyle is asleep in his crib. Derek and Beth look down on him, smiling, then move quietly toward the door. Before they can sneak out, Kyle lets out A CRY. They look at each other. DEREK Damn. Almost made it. BETH Your turn. erek returns to the crib and picks up Kyle. DEREK Hey, little man. What's wrong? You should be... (feeling him) Uh oh. Poopy diaper. Beth... BETH (in the doorway; with a laugh) I've been changing him all day. Beth leaves. Derek carries Kyle over to the changing table, opens Kyle's diaper and turns away. DEREK Whew. What's that woman been feeding you? UT TO: T 12. EXT. CHARLES HOUSE - LATER THAT NIGHT Derek and Beth sit at a table on the outside deck that overhangs a sheer drop to the canyon below. In the distance, the LA basin sparkles like a diamond in the night. Derek and Beth are happy but exhausted. In front of them is an empty pizza box. Derek picks up a bottle of champagne and pours some for Beth and himself. They're both a little drunk. BETH Well, we toasted the house -- DEREK Toasted Kyle -- BETH Your promotion -- DEREK But I've saved the most important toast for last... (raising his glass) To my beautiful wife who I love and adore more than anything in the world. BETH And to my handsome husband. I asked for the moon and he gave me the stars. hey clink glasses and drink. BETH (cont'd) Derek... DEREK (YAWNS) Uh huh? BETH How would you feel about trying out that mirror again? This time in our own bed. DEREK (perks up) Yeah? Give the magic mirror another test drive? BETH You know how I like looking at your sexy butt. (CONTINUED) 13. CONTINUED: DEREK (LAUGHS) Beth, you are so bad. BETH Isn't that WHY you married ME? CUT TO: EXT. OFFICE - MORNING Derek arrives to find Lisa sitting at his outer desk in Patrick's place. She looks up and smiles. She's not wearing her glasses and her hair is down giving her a softer, less severe look. LISA Hi. Remember me? DEREK Lisa Sheridan, Girl Temp. Where's Patrick? LISA Out with the flu. I did some trading with the other temps and wrangled your desk. I hope that's okay. D EREK Uh... sure. Looking over at the assistant outside the other corner office. DEREK (cont'd) Hey Marge. MARGE Good morning, Derek. Back to the temp. DEREK Grab your pad and follow me. Derek goes into his office. Lisa collects her things and does as told. INT. DEREK'S OFFICE Derek goes behind the desk as Lisa enters and sits down on the couch. She crosses her legs. Those great legs. (CONTINUED) D 14. CONTINUED: LISA I put a memo on your desk about the Christmas party this Friday. EREK Is it that time already? Derek picks up the memo and scans it. LISA Why don't they invite spouses? DEREK How's that? LISA To the Christmas party. It says "for employees only." DEREK It's like that in most companies. They think people are more inhibited in front of their spouses, less likely to kick back and enjoy themselves and mingle with co-workers, which is what the party is about. LISA So, does this party get pretty wild? DEREK Just the opposite. LISA Well that's no fun. Derek notices a container of Starbucks coffee. LISA (cont'd) I called Patrick. He said you like it black with two sugars. Derek is impressed. He opens the container. LISA (cont'd) If it's cold, I can run down and nuke it in the Break Room. DEREK (takes a sip) No, it's perfect. Lisa is pleased. She raises her pad and pencil. (CONTINUED) 15. CONTINUED: (2) LISA Fire away. DEREK Well, it's Monday and first thing on Monday... LISA I took care of that. DEREK Took care of what? LISA On Mondays you always send your wife a dozen long-stemmed red roses. (off Derek's look of surprise) I called to confirm they've been delivered. DEREK Thanks. LISA I think that's incredibly sweet. How long have you two been married? DEREK Three years in March. LISA And you still send her flowers every Monday morning? Lucky girl. DEREK It's kind of a tradition. LISA Patrick said you started sending them back when Beth worked here as your assistant. Is that how you won her heart? DEREK Well, it took a little more than roses. (getting down to business) We need to run some calls. LISA (POISED) Ready when you are. (CONTINUED) C 16. CONTINUED: (3) DEREK ( AMUSED) Are you always this efficient? LISA Does that surprise you? DEREK Well, it's just that most of the temps we get here... LISA I think you'll find I'm not your typical temp. DEREK No. Definitely not. (THEN) Okay not your typical temp... start with Phil Trendle at Emerson... set up a lunch for end of the week. Wherever he wants but push the Water Grill. Then Terry Mills at Imagio. Am I going too fast for you? LISA No. Go faster. I can handle it. UT TO: INT. CHARLES HOUSE - KITCHEN - DAY Beth is feeding Kyle while talking on the phone to Derek. BETH It's a beautiful little park with a duck pond and close enough to push Kyle. INTERCUTTING DEREK IN HIS OFFICE, while he listens and goes over reports. BETH (cont'd) I've already met a dozen other women with kids the same age. One of them, Lauren something asked if we'd like to come over for a barbecue on Saturday. DEREK I don't know. It's shaping up to be a work weekend. Outside, at her desk, Lisa eavesdrops on her headset, listening with interest. (CONTINUED) D D 17. CONTINUED: BETH You can work at home and then we'll go to the barbecue. A s Beth chats on, Derek gets a weird feeling. Still on the phone, he slowly gets up from his desk and moves quietly to the door. He looks out, expecting to catch Lisa listening in. Instead, she's not at her desk. She's standing several feet away at a file cabinet. She turns and smiles at him. LISA Do you need me? Derek shakes his head no and steps back into his office. CUT TO: INT. CHARLES HOUSE - BEDROOM - NIGHT Derek finishes some work on his home computer. In the background, Beth sits in bed reading a book. BETH Work at the office. This is home. Come to bed. DEREK In a sec. Derek finishes. He rises, walks over to the bed and climbs in beside Beth. She puts her book on the night table and switches off the light. They cuddle together. Beth CHUCKLES. BETH The card that came today with the roses... EREK Uh huh? BETH ... was addressed "To Betty." EREK Betty? BETH (with humor) Your other wife? Yeah. Who's Betty? (CONTINUED) B B 18. CONTINUED: DEREK Blame it on the new girl. Patrick called in sick and I had a temp on my desk. B ETH I thought we had a deal. No female assistants. DEREK Honey, I don't control the temp pool. BETH She pretty? Derek gives Beth a look. ETH (cont'd) Just asking... DEREK Yeah, she's pretty... plain. BETH (JOKING) I don't care. I want her fired immediately. DEREK Actually, she did a great job... aside from the card. They get comfortable. Beth puts her head on Derek's chest. ETH Night, Derek. DEREK Night... Betty. Beth LAUGHS, gives him a playful punch. CUT TO: INT. OFFICE - DAY TWO DELIVERY GUYS come out of the stairwell, struggling with an undecorated Christmas tree. Marge directs them to a spot to put it. INT. DEREK'S OFFICE Beth and Kyle are visiting. Derek has Kyle on his desk, letting him play with his keys. (CONTINUED) 19. CONTINUED: BETH Hope you don't mind us dropping in unannounced. DEREK You kidding? This is a treat. BETH Sheila's meeting us for lunch at Central Market. Then I'm taking Kyle to the Grove. (to Kyle) And who are we going to see at the Grove? KYLE (EXCITED) Santa! BETH (to Derek) You want to come? Get your picture taken on Santa's lap? DEREK I'd love to but I'm all jammed up. But say hi to your sister. BETH That guy she was seeing, the one we met at Thanksgiving... Jack. D EREK The one she said was perfect. BETH Apparently he's not so perfect. He told her he just wants to be FWB. DEREK FWB? BETH Friends With Benefits. DEREK What does that mean? BETH You know. Sex but no commitments. DEREK And Sheila's got a problem with that? (CONTINUED) ( 20. CONTINUED: (2) Beth laughs. Lisa appears at the door. LISA Excuse me. They turn. Lisa smiles sweetly. DEREK Lisa, this is my wife Beth. Beth, Lisa. She's temping for Patrick. BETH (friendly but checking her out) Hi. LISA It's great to meet you, Mrs. Charles. eyes lighting up) And this must be Kyle. I can already tell he's going to grow up to be a heartbreaker. Lisa comes over. Kyle presses shyly against Derek. LISA (cont'd) Hi, Kyle. I'm Lisa. When Kyle doesn't respond... DEREK Kyle, say hello. BETH He can say hello. He's usually not this shy around strangers. LISA What a handsome boy. (to Derek) He looks just like you. DEREK Actually, most people think he takes after Beth. LISA Talk about the perfect family. The three of you should be on a magazine cover. BETH I hope my husband's not working you too hard. (CONTINUED) B 21. CONTINUED: (3) LISA (cheery tone) He is. But I like it. I'm learning a lot. (to Derek) Joe Gage needs to see you when you get a minute. BETH Well, that's our cue to leave. We just dropped in to say hi. (taking Kyle from Derek) Come on, big boy. Lisa steps back, moves off to the door. LISA It was great to meet you... Beth. ETH You, too... Laura. She did it on purpose, winking at Derek. He smiles. LISA Lisa. BETH Excuse me? LISA It's Lisa. You said Laura. BETH I did? If Lisa knows she's being fucked with, she doesn't show it. BETH (cont'd) Sorry. Lisa. LISA (WAVING) Bye, Kyle. Say hi to Santa for me. Lisa exits. A beat. DEREK (to Beth) That was intentional. (CONTINUED) 22. CONTINUED: (4) BETH Wasn't me. Blame "Betty." So what's the deal with her? DEREK What do you mean? BETH She knew I was taking Kyle to Santa. DEREK So? BETH So she was obviously listening at the door. DEREK Well, she probably didn't know when to come in. BETH I thought you said she was plain. Derek, that girl may be a lot of things but one of them is not plain. DEREK How would I know? I only have eyes for you. B ETH (LAUGHS) Oh, you are so slick. They put Kyle in his stroller. DEREK Come on. I'll walk you to the elevator. You can say hi to the old gang. (BEAT) Ever miss it? BETH I like to think I traded up. Derek beams. They share a kiss. EXT. ELEVATOR Derek, Beth and Kyle are surrounded by office workers making a fuss over Beth and Kyle. Even Joe Gage comes out of his office to embrace Beth and chat. (CONTINUED) T D L 23. CONTINUED: Lisa watches from a distance. Her face betrays no emotion. After a moment, she turns and enters Derek's office. isa sits behind the desk in Derek's chair and look at a framed picture on Derek's desk -- Derek, Beth and Kyle, the perfect happy family. Nearby, Lisa sees a pile of CD's. She looks through them and smiles with an idea. CUT TO: INT. SUV - DAY A warm LA morning with a hot sun coming up. Derek drives to work, listening to Gnarls' "Crazy." INT. OFFICE - MORNING Workers hang bulbs and decorations on the Christmas tree. A festive holiday spirit is in the air. Derek exits the elevator, heads to his office. Patrick is back at his desk. D EREK Hey, Patrick. Feeling better? PATRICK Much. Thanks. (BEAT) You know it's going to take more than the flu to keep me away from that Christmas party. LISA (O.S.) Not sure we can say the same for Marge... Derek turns to see Lisa, now sitting at Marge's desk. EREK You get around don't you? LISA (CONT'D) Poor thing called in with a fever... PATRICK Yeah... She's not speaking to me at the moment. he three share a laugh. (CONTINUED) L D 24. CONTINUED: DEREK Alright. You two behave yourselves out here... erek goes into his office. We stay with Patrick and Lisa. PATRICK (whispers to Lisa) So, how many times did you get busted listening in on Derek's calls? LISA (light laugh) I'm way too devious to ever get caught. Besides, I thought all you assistants listened in. PATRICK (with a smile) We do. A beat. Lisa wonders if she might make a friend here. LISA How long have you worked here? PATRICK Ten years this Spring. ISA I'll bet you know more about what goes on behind these closed doors than anybody. PATRICK Oh you got that right girl. I know all the dirty little secrets. L ISA Well maybe we should grab a drink some night after work for a little girl talk. PATRICK (lonely guy; flattered by her INTEREST) Listen, honey, if you think you can buy my silence with a couple of Cosmo's... you're right. They share a laugh, bonding. CUT TO: 25. INT. OFFICE - DAY Deserted at lunch hour. Derek, in shirtsleeves, emerges from his office and approaches the Break Room. INT. BREAK ROOM Derek enters, opens the refrigerator and takes out a lunch bag. He hears a slight SNIFFLING NOISE, turns and is surprised to find Lisa seated a corner table, a little tearful. Lisa looks up, quickly wipes her eyes with her hand and puts on a smile. LISA Sorry. I thought everybody was at lunch. An awkward moment. Lisa starts to rise. LISA (cont'd) I should go... DEREK No. Stay. I was just gonna take this back to my office. Lisa sits back down. Derek starts to leave; hesitates. DEREK (cont'd) Anything I can do to help? I mean... if you want to talk about it. LISA It's nothing. DEREK Most people I know don't cry over nothing. LISA ( with humor) You think I was crying? This is just my allergies. DEREK Uh huh. What are you allergic to? LISA Men, apparently. Actually it's more like they're allergic to me. (CONTINUED) ( 26. CONTINUED: DEREK Boyfriend trouble? Lisa hesitates, wondering if she can confide. LISA It's stupid really. (a beat) This guy I've been seeing just calls and dumps me. Middle of the day. No warning. No explanation. Just "I don't think we should see each other anymore." DEREK OUCH!!! That's pretty cold. How long were you together? LISA Two months. small laugh) Actually, it was one of my longer lasting relationships. I don't know what it is but sooner or later I just seem to scare men off. (BEAT) I'm starting to think there's something wrong with me. Derek sits down beside her. He puts a comforting hand on her shoulder. DEREK (like a big brother) Nothing wrong with you. Your boyfriend's a fool, that's all. LISA I wish I could believe that. DEREK Maybe you just haven't met the right guy yet. LISA I'm beginning to think all the good ones are taken. D EREK Look, I'm no expert but if it didn't work out, maybe it wasn't meant to be. When the right guy comes along... you'll know it. (CONTINUED) D ( D L 27. CONTINUED: (2) She looks up at him; smiles. LISA Is that how it was with you and Beth? DEREK Actually, yeah. We both knew pretty quick. LISA Love at first sight? DEREK It does happen. ISA Great. Now I'm jealous. DEREK Why? LISA She's got it all. Perfect husband, perfect child, perfect marriage. EREK Nobody's perfect. There are problems in every relationship. The important thing is to keep moving forward. trying to buck her up) Don't get down on yourself. You're a bright, attractive girl. Any man would be lucky to have you. LISA Oh, yeah. Right. DEREK No, really. If I was single... LISA But you're not. EREK I just meant... LISA I know. You're just trying to make me feel better. (touches his hand) And you have. Lisa gets up. (CONTINUED) I 28. CONTINUED: (3) LISA (cont'd) Thanks, Derek. DEREK (ENCOURAGING) Hang in there. It'll happen. Lisa nods. She smiles and exits. ncident forgotten, Derek opens his lunch bag and takes out a sandwich. B en appears in the doorway, grins at Derek. BEN What was that all about? DEREK Poor kid got dumped by her boyfriend. BEN Really? I wouldn't mind taking up the slack. That is one hot piece of ass there. (off Derek's look) Like you haven't noticed. DEREK (AMUSED) Hey, I'm a happily married man. And so are you. BEN Doesn't mean we can't look. Ben goes to the refrigerator, opens it and starts rooting around. BEN (cont'd) Not like the old days, back when you could get away with a little office nookie on the side and not get nailed for it. (turns and gives him a grin) Don't give me that "I'm appalled" look. That's how you got together with Beth, isn't it? DEREK Ben, if you're looking to start something with that girl... (CONTINUED) ( D 29. CONTINUED: (4) BEN You saw her first? DEREK Fuck off. BEN Besides, I don't think I'm her type. Now you on the other hand... EREK Ben, do me a favor... BEN All I'm just sayin' is a lot of these single gals see the work place as a hunting ground. cocking his finger like a gun) And this one's got you in the cross hairs. With a grin, Ben "pulls the trigger -- bang!" and exits. Derek looks a little annoyed. C UT TO: INT. DEREK'S OFFICE - DAY Derek at his desk. He notices an envelope with his name on it. He opens the envelope. A note and a home-made CD slide out. "Thanks for the shoulder, Lisa. (Thought you might like these.)" Curious, Derek feeds the CD into his computer, lowers the volume and is hit with Gnarls Barkley in concert. He turns down the volume and smiles, continues to listen. He hear the ding of an IM on his computer. It's from TEMPGIRL: TIS THE SEASON TO BE GNARLY. Derek considers, types back. WHERE DID U FIND THIS Reply: CONCERT BOOTLEG. TOTALLY ILLEGAL. WE COULD BE ARRESTED. He responds: WORTH THE RISK. I LUV GNARLS. (CONTINUED) C 30. CONTINUED: Reply: ME 2 He responds: THANX. GET BACK 2 WORK. She replies: GONE DADDY GONE. Derek smiles, then goes back to work. CUT TO: INT. CHARLES HOUSE, KITCHEN - DAY Breakfast. Beth and Derek at the table. Derek is feeding Kyle. We can see a naked, undecorated Christmas tree in the next room. BETH On your way home, can you pick up those Baby Einstein DVD's for you know who. DEREK I'll have to do it tomorrow. Office party's tonight. BETH I forgot. Well, if you drink too much, take a cab, okay? D EREK If it's anything like last year, I'll be home early. (THEN) Kyle, I want you to eat this. Kyle shakes his head "no" and points at the Christmas tree. KYLE Santa! DEREK Yeah, Santa. And he's coming soon. So eat. Don't you know Santa only brings presents to boys who eat all their food? Kyle considers; then furiously eats. Derek and Beth LAUGH. UT TO: INT. RESTAURANT - DAY Derek sits at the bar by himself, reading the paper. He looks up and sees Lisa come in. Lisa catches Derek's eye, surprised. Then she smiles, starts to make her way over... (CONTINUED) D 31. CONTINUED: LISA (gesturing to the empty stool next to him) This seat taken? DEREK (always a good guy) No. Be my guest... A HALF-HOUR LATER Lisa is sitting next to Derek at the bar. The food has come. DEREK (cont'd) (CHEWING) Still the best burger in town. Lisa chews and nods in agreement. EREK (CONT'D) (cont'd) (WHISPERS) ... And the best Margarita. LISA (raises her eyebrows) Really? DEREK We used to cut loose here after a long day at work. LISA Work hard, play hard. Right? DEREK (LAUGHS) Back in the day... (BEAT) How's that boyfriend trouble coming? LISA Keep moving forward, right? D EREK Exactly. LISA How about you, Derek? What's the grand plan? (CONTINUED) L L L 32. CONTINUED: (2) DEREK You know, run the company by 35. Jet by 40. Retire to my private island and own the Lakers by 50. isa laughs. ISA Lakers suck. DEREK Not with me in charge. Touche. They both smile. ISA You want one? DEREK What? LISA A margarita? DEREK Oh, I don't know. LISA C'mon big talker... it's Christmas time. Works dead -- Derek's not sure. LISA (cont'd) I won't tell if you don't. DEREK All right. One. What do you like? Strawberry? LISA Rocks. Salt... CUT TO: INT. OFFICE - EVENING The Christmas party is in full swing with MUSIC, TWO BARTENDERS and lowered lights. The tree is all lit up. The mood is happy and playful and people are getting a little tipsy. (CONTINUED) M D 33. CONTINUED: A MALE WORKER gives A FEMALE WORKER a back massage with a computer mouse. Joe Gage, in a Santa suit, is passing out gag presents. Lisa is in a group with Patrick and some other women, chatting. She glances over and sees Derek. He's off to the side with Ben, sipping drinks. esks and furniture are shoved back and workers are free- style dancing, crowding into the center of the room. arge grabs Derek by the arm and pulls him out. Derek makes some half-hearted dance moves, then gets into the spirit. It's crowded, people are close together and a moment later, Derek finds himself dancing face to face with Lisa. L ISA (with humor) Well, if it isn't the Office Asshole. DEREK That's Mister Office Asshole to you. LISA I'm impressed. You can dance. DEREK All those years watching Soul Train. LISA (LAUGHS) I wasn't sure I was going to come tonight. DEREK Why not? LISA Well, it's not like I've been here that long. DEREK I'm sure everybody's glad you decided to show up. LISA Even you? DEREK What do you mean "even me?" I'm your number one supporter around here. (CONTINUED) D D 34. CONTINUED: (2) This makes her smile happily. LISA (looking up) Uh oh. Derek looks up, too. They're under the mistletoe. EREK How did that get there? They look at each other, smile. An awkward moment. Derek laughs it off. LISA (PLAYFUL) Maybe a quick one on the cheek? If we don't, people will really suspect there's something going on. But Derek steps away. DEREK Guess we'll just have to take that chance. LISA (good natured laugh) Coward. The music changes, breaking the mood. Derek smiles at Lisa and slips away, rejoining Ben. erek looks at his watch. BEN You're not thinking about bailing, are you? Fun's just getting started. Remember last year? Sally Sloane did a table dance. H e indicates a pretty secretary LAUGHING and accepting another drink. BEN (cont'd) I give her one more drink, then stand back. How about you, buddy? Need a re- fill? Come on, where's your holiday spirit? DEREK With Beth and Kyle. I'm gonna take a piss and sneak out. (CONTINUED) 35. CONTINUED: (3) BEN You're no fun. Derek heads down the hall, a little unsteady. INT. MEN'S ROOM Derek enters. No one else around. He goes to the urinal and begins to unzip. About 30 seconds later he hears the door open and close but thinks nothing of it because it is a large public Men's restroom in the workplace with 4 urinals and 2 stalls. But suddenly, a hand snakes around his waist and grabs his crotch. Derek whirls around, face to face with a brazen, smiling Lisa who dangles a sprig of Mistletoe in her free hand. Her eyes flash with desire. DEREK (ALARMED) What are you doing? Lisa tries to kiss him. Derek resists. He staggers away from the urinal with Lisa still holding him. DEREK (cont'd) Lisa -- They knock open a stall door and fall in. Derek goes back against the toilet and Lisa is now practically straddling him. D EREK (cont'd) Lisa, stop -- LISA Why? DEREK Are you out of your -- That's when someone comes in. Derek kicks the stall door shut with his foot just in time. He and Lisa freeze, pressed close together as A DRUNK MALE WORKER staggers to the urinal and unzips. Lisa hides a GIGGLE. Derek is horrified they'll be discovered. Then... The Drunk begins to piss. Loudly. And then begins to sing Santa Claus is coming to town... even more loud. (CONTINUED) 36. CONTINUED: In the stall, Lisa and Derek are face to face. His hand grabs her wrist as she squeezes his crotch. He tries to remove it but her grip is like a vice. DEREK (cont'd) For god's -- LISA Oh, come on... Hearing something, the Drunk hesitates in mid-piss, looks back over his shoulder. DRUNK (BLEARY) Hey, who's there? Derek is trapped. Lisa gives him a naughty smile. She's in control and enjoying this, turned on by the thrill of getting caught. DRUNK (cont'd) Somebody in there? Lisa is about to answer. Derek hushes her. When there's no reply, the Drunk resumes pissing. Lisa smears the Mistletoe sprig against Derek's face, then starts to go down on him. He clutches her head with both hands forcing her to stop. She looks up at him, eyes gleaming with passion. D EREK (HISSING) Don't do this... The Drunk continues his piss. Endless. Finally.. finished. He clumsily zips back up, lurches over to the sink. He looks at himself in the mirror, runs his fingers through his hair, smiles at himself and then stumbles out the door. The stall door bangs open as Derek pushes Lisa aside and staggers out, trying to zip up his fly. LISA (CONFUSED) Wait. Where are you going? DEREK (FLUSTERED) You've got the wrong idea! (CONTINUED) A P 37. CONTINUED: (2) Lisa doesn't seem to understand but she's amused. Derek is already out the door. INT. OFFICE It's a wilder scene now. Sally Sloane is doing an uninhibited table dance to the delight of everyone gathered. atrick, standing off, sees Derek hurry down the hall and head for the elevator. moment later, he sees Lisa come down the hall and rejoin the party. A little tipsy, he walks over to her. PATRICK Living dangerously, aren't we? LISA Oh, Patrick, you're such an old queen. (THEN) Come on. Dance with me. Lisa pulls Patrick out with the other dancers. LISA (cont'd) (as they dance; teasing) I 'll bet you've never been this close to an actual woman. PATRICK Honey, I've never been this close to an actual man. CUT TO: INT. YUKON - NIGHT Derek drives home. He's agitated, trying to calm down, trying to make sense of what happened. That's when he hears a SIREN. Derek's eyes go up to the rear view mirror in panic as a police car with flashing lights gains on him. Derek pulls over, heart pounding. This is all he needs right now. The police car flies by on its way to some emergency. Derek closes his eyes; lets out a deep breath. D 38. EXT. CHARLES HOUSE - NIGHT Swept by headlights as Derek pulls into the drive. INT. KYLE'S BEDROOM Dark. Derek looks in on his sleeping son. INT. MASTER BEDROOM Dark. Derek approaches the bed where Beth sleeps. He slips in beside her. BETH (SLEEPY) How was the party? DEREK I only stayed for two drinks. BETH That dull, huh? A long beat. Derek considers telling her. EREK Beth... BETH Not tonight, honey, okay? I'm really tired. And Beth is already back asleep. Derek lies there, in Hell. He looks up and sees his own dark reflection in the ceiling mirror. C UT TO: INT. OFFICE - MONDAY MORNING Derek gets off the elevator and walks to his office, turns a corner and sees: Lisa coming the other way, carrying files. Derek tenses and stops, expecting the worst. Lisa merely gives him a pleasant smile and walks by. LISA Good morning. DEREK Morning. (CONTINUED) D D 39. CONTINUED: Like the other night never happened. Lisa continues on her way, delivering the files to a co-worker. erek stands there, observing Lisa, wondering. Ben appears beside Derek. BEN You okay, bro? Derek turns, a little startled. He registers Ben. DEREK Yeah. I'm fine. BEN You should have stuck around. DEREK What? BEN The Christmas party. Hank in Human Services tossed his cookies on the Christmas tree. DEREK (barely registering) Really? Sorry I missed that. Derek goes to his office. Ben goes to his. CUT TO: INT. DEREK'S OFFICE - LATER erek is at his desk, working. Lisa appears in the doorway. Derek looks up; tensing. LISA Bad time? DEREK (WARY) No... LISA Joe wants to know if you're done with the Ganz portfolio. DEREK Tell him he'll have it end of the day. (CONTINUED) ( 40. CONTINUED: LISA (starts to go) Thanks. DEREK You're working Joe's desk? LISA Just for today. light laugh) He's a real screamer, isn't he? DEREK Don't let him fool you. His bark really is as bad as his bite. Lisa smiles and exits. Derek is thinking Great, maybe she doesn't remember. CUT TO: EXT. DEREK'S OFFICE - LATER Derek is at his desk working. It's the end of the day and workers are leaving. Patrick appears at the door. PATRICK Okay if I take off? DEREK Yeah, go home. PATRICK See you tomorrow. Patrick leaves. Through the open door, Derek can see other workers leaving, getting on the elevator. Lisa is one of them. She doesn't even look his way. Derek relaxes, goes back to his work. CUT TO: INT. PARKING GARAGE - NIGHT Derek walks to his Yukon SUV, the only car remaining. He BEEPS it and the doors unlock. As Derek opens the driver's door and slides inside, the passenger door opens and Lisa slips in, wearing her overcoat and an intimate smile. (CONTINUED) 41. CONTINUED: DEREK (STARTLED) What are you -- LISA I owe you an apology for the Christmas party. I think I sort of took you by surprise. DEREK (UNEASY) We both had a few drinks. Just forget it. L ISA What if I can't? DEREK Lisa... nothing happened. LISA All right, have it your way. Nothing happened. Lisa lets the front of her overcoat fall open. She's naked underneath. DEREK (jolt of panic) You really need to get out of my car. LISA Why? DEREK This is so not right. LISA Relax. Nobody's around to see us now. God, I almost went insane today, didn't you? Having to go pretend like I was concentrating on work when all I could think about -- DEREK (FLARING) Lisa, get out of my car! LISA (startled; confused) Derek, what's wrong? What did I do? (CONTINUED) L 42. CONTINUED: (2) Derek suddenly reaches across her and throws open the passenger door. DEREK I don't know if you're just dense or what's wrong with you but I want you to understand something. There's nothing going on between us. I would never -- never -- jeopardize my job with a co- worker. ISA Maybe you are an asshole. Wow. DEREK Get out! Derek physically forces her out. Derek quickly turns the key in the ignition, REVS the engine and peels out in reverse. The passenger door bangs shut. Lisa stands there in her overcoat staring in mute disappointment as Derek speeds out of the parking garage. C UT TO: INT. CHARLES HOUSE - NIGHT Derek lets himself in, determined to tell Beth everything. DEREK (CALLING) Beth? Honey? BETH'S VOICE In here. Derek heads for the dining room. DEREK There's something I need to... He stops, seeing Beth at the table, looking upset with a bottle of wine and a glass. DEREK (cont'd) What's wrong? BETH I've been on the phone for the last hour with Rachel MORE) ( Hendricks. (CONTINUED) H B D 43. BETH(cont'd) CONTINUED: She found out Tim's been having an affair with a neighbor and it's been going on for the last year and a half. EREK (stops dead) Tim? Really? Derek sits down at the table. BETH At first I couldn't even conceive of it. They've always seemed to be so much in love, totally devoted to each other. DEREK Tim... told her? ETH Just blurted it out last night when he came home from work. Then he said he was moving out. You know they've got three kids. Poor Rachel's a wreck. DEREK Yeah. That's tough. BETH Tough? It's a disaster. If it was me... DEREK Beth, you know I'd never cheat on you. Derek reaches across the table and takes her hand. BETH I know. e moves closer and puts an arm around her. DEREK Tim's an idiot. B ETH He's a son of a bitch. (beat; then) What did you want to tell me? There's no way he can tell her now. DEREK Forget it. Just a little problem at work. (MORE) (CONTINUED) B 44. DEREK(cont'd) CONTINUED: (2) (BEAT) Nothing I can't take care of. CUT TO: INT. BEN'S OFFICE - NEXT DAY Derek, agitated, has confided in Ben who's both concerned and a little turned on. BEN Why didn't you tell me? DEREK There was nothing to tell. BEN Nothing to tell? She grabbed your cock? Flashed her tits in your car? Come on, man. I thought I was your best friend. DEREK You think this is funny? BEN I just... jeez. I mean, I kinda got she was interested but I never figured she'd... DEREK What the hell did I do? I was nice to her, that's all. EN Sure you didn't lead her on? Just a little? I mean, a pretty girl... it would be normal... DEREK I didn't do a damn thing. BEN Maybe she thinks she can make the jump from assistant to wife, too? DEREK Thanks. You're a big help. BEN Sorry... What are you going to do? DEREK Report it to Human Resources... (CONTINUED) D 45. CONTINUED: BEN Get her fired? DEREK I don't have a choice. BEN I'd be very careful if I were you. What if she makes trouble and says you came on to her? D erek gives Ben a look. C'mon man... BEN (CONT'D) (cont'd) Look... it's not like you don't have a history of behavior here. When's the last time you had a female assistant on your desk? People are going to wonder. EREK Then I need to get my side on the record first. They look at each other. BEN (a beat; making a joke) Wouldn't it be cheaper to just have her killed? Derek frowns at him. CUT TO: INT. HUMAN RESOURCES - LATER A determined Derek arrives and enters the offices of HENRY TRUMAN, IN CHARGE OF HUMAN RESOURCES. A SECRETARY looks up from her desk. SECRETARY Morning, Mister Charles. DEREK Hi, Connie. Is Hank in? I need to talk to him. HANK (from the inner office) Derek? That you? Derek enters Hank's office and closes the door. (CONTINUED) 46. CONTINUED: DEREK Hey, Hank. HANK What's up? DEREK Well, it's sort of a personal matter. I need to talk to you about one of the temps, Lisa Sheridan. HANK Right. She worked your desk for awhile. DEREK (about to confess) Listen, Hank, this going to be a little awkward... HANK If you're here to file a complaint about her performance, save your breath. Her agency called this morning and said she wouldn't be coming in any more. They already sent over a replacement. D EREK (hiding is surprise) She quit? They give a reason? HANK No. Did you have some kind of a problem with her? DEREK Well, I just thought she was unqualified, sort of in over her head. But if she already quit... HANK Looks like she beat you to it. DEREK (absorbing this) Yeah. HANK Anything else? DEREK No. I guess not. (CONTINUED) B ( 47. CONTINUED: (2) HANK How's the new house? DEREK New house is great. a smile) Couldn't be better. HANK Tell Beth I said hi. DEREK I will. Listen. We'll have you and Kathy over some night when we're more settled. HANK Sounds like a plan. Derek opens the door and exits. Outside, down the hall, Ben is waiting. BEN Well? DEREK She quit. BEN Really? DEREK Yeah. Ben grins. He raises his hand for a high five. EN Come on, bro. That's good news. Problem solved. DEREK (as his good luck sinks in) Looks that way, doesn't it? BEN Not a bad little Christmas present. Derek, happier now, returns the high five. CUT TO: T 48. EXT. CHARLES HOUSE - DAY Christmas morning. hrough the window we see Derek, Beth and Kyle under the tree unwrapping presents, having a great time. For Derek, all troubles are forgotten. C UT TO: INT. DEREK'S OFFICE - DAY Derek, at his desk, in a good mood, on the phone. DEREK Hans? Derek. How was your Christmas? Well, you people invented it. You got the prospectus? Great. Look it over. I think it's gonna be a happy new year for all of us. Derek looks at the doorway where Ben is standing. Derek gives Ben the thumbs up. Ben beams and does a little victory dance. CUT TO: INT. MASTER BEDROOM - A WEEK LATER - NIGHT Derek and Beth come in, dressed in tux and gown, exhausted from a New Years party. BETH God, it's after three. That's the last time I'm going out on New Years Eve. Next year we'll celebrate here at home. Just you, me and Kyle. A "You Have Mail" DING comes from Derek's home computer on the other side of the room. DEREK I'm just gonna check my e-mail and come to bed. BETH Can't it wait? DEREK It's already tomorrow in Berlin. Ganz was supposed to send me his approval. That's probably him. (CONTINUED) D I U 49. CONTINUED: Beth goes into the adjoining bathroom. With a YAWN, Derek sits down at his computer and goes to e- mail. He scans it and is instantly confused. Dozens of e-mails, all from the same sender: TEMPGIRL. A little fearful, Derek pulls up the first e-mail. It opens up to reveal a self-taken photo of Lisa looking sexy and inviting on a bed, smiling seductively and wearing skimpy lingerie that shows off her sexy body. nder her photo: SEE YOU IN THE NEW YEAR. Derek feels a jolt of panic. He deletes it, brings up the others. t's the same photo, Lisa on the bed, over and over. Derek stares at Lisa on screen, feeling sick and invaded. He isn't aware of Beth coming out of the bathroom behind him. She approaches as he continues to delete. BETH Ganz? She's about to peer over his shoulder. Derek hits the delete key and the last photo of Lisa disappears. BETH (cont'd) What was that? DEREK (acting perturbed) Nothing. I gotta get a new spam blocker. Beth gives him a kiss on the cheek. BETH Forget it. He'll call you in the morning. Come to bed. Beth goes away. erek stares at the computer screen saver: A picture of Beth with Kyle sitting on Santa's knee at the Grove. CUT TO: INT. OFFICE - DAY Derek is at his desk, tensely typing on the computer, sending an e-mail to TEMPGIRL. (CONTINUED) 50. CONTINUED: Derek types: LEAVE ME ALONE. He sends it and sits back. Almost instantly there's a reply. D erek stiffens. Then, tentatively, he opens the new e-mail. TEMPGIRL has replied with one of those annoying YELLOW SMILEY FACES. It winks at him. Derek is chilled. CUT TO: EXT. CHARLES HOUSE - DAY Mid-January. The withered Christmas tree waits at the curb for pick-up. INT. MASTER BEDROOM - DAY Beth helps Derek pack a bag. BETH Remember the last time Joe had one of his weekend work retreats? DEREK How could I forget? I had a hangover for a week after. BETH Any women coming this year? DEREK No, just the usual suspects. Joe says it's going to be a male bonding experience. BETH I can just picture you guys in the hotel jacuzzi, getting in touch with your innermost feelings. DEREK (zips up his bag) Hopefully, they'll all get drunk and crash early. Or if I'm really lucky... drown in the jacuzzi. BETH Call me tonight. (CONTINUED) J D 51. CONTINUED: DEREK I will. erek gives her a kiss. Their image is reflected in the overhead mirror. CUT TO: INT. HOTEL BAR - NIGHT A COCKTAIL WAITRESS delivers drinks to Derek, Joe Gage, Ben Talbot and THREE OTHER MEN smoking cigars and relaxing after dinner. The mood is rowdy. They're all a little toasted. A drink is put in front of Derek. DEREK I didn't order this. The Cocktail Waitress leans down and WHISPERS in his ear: WAITRESS It's from the lady at the bar. D erek turns and peers at the crowded bar area. He catches a flash of a young woman in a tight dress seated on a stool. But a crowd of people move into his line of vision and when they clear, the woman is gone. Derek tenses. JOE Derek, you okay? DEREK I'm fine. Just thought I saw somebody. JOE Somebody you know? Or somebody you'd like to know? The other guys chortle. BEN No way. You can't tempt this guy. OE Who could blame him with a wife like Beth. (CONTINUED) 52. CONTINUED: DEREK Speaking of Beth, I said I'd give her a call before she puts Kyle to bed. I'll be right back. Derek picks up his drink and leaves. JOE Hurry back. This party's just getting started. EXT. PATIO OUTSIDE THE BAR Low-lit. Empty. Derek comes out, flips open his cell to call home. He puts his drink down on a table. DEREK Hey, honey. It's me. INTERCUTTING WITH BETH in Kyle's bedroom, putting him to sleep. BETH How's the male bonding? DEREK They're all getting wasted. Any minute now, Joe's going to suggest the Jacuzzi. BETH Well, if your future depends on putting on a bathing suit and hot tubbing it with a bunch of drunks... Derek? You there? Derek freezes. Across the patio, he sees A FIGURE slowly approaching. It's a woman back-lit, a silhouette. But as she passes into the light from the bar, she's revealed as Lisa, transformed into an alluring femme fatale. D EREK I have to go. BETH Wait. Kyle wants to say good night. DEREK (TENSE) They're yelling for me to come back. BETH It'll just take a second... Beth picks up Kyle. (CONTINUED) ( 53. CONTINUED: BETH (cont'd) Say good night to Daddy. As Lisa comes closer... DEREK (DESPERATE) Beth, I'll call you later. BETH I'll be in bed -- Derek? Derek clicks off and pockets his cell. On the other end, Beth looks perturbed. Now Lisa comes face to face with Derek, smiling. She boldly picks up his drink and takes a sip. LISA I can always tell from the pained look on your face when you're talking to Beth. DEREK (DEMANDING) How did you know I'd be here? LISA I've got my sources. slight frown) What's wrong? You don't look happy to see me. DEREK Why did you come here? LISA You said you could never be with someone you work with. (when he doesn't seem to "get IT") That's why I quit. So we could be together. Derek looks at her, astounded. DEREK (holding down panic) Lisa, you need to leave. LISA (teasing smile) Or what? You'll make a scene? (MORE) (CONTINUED) 54. LISA(cont'd) CONTINUED: (2) Call security? What would Joe and Ben and the others think? I'll tell you what they'd think. They'd think we arranged it. And in a way, we did. Lisa turns aside. Out of Derek's sight, she slips a capsule into his drink, then puts it back on the table. LISA (cont'd) This hook-up was on the books from the day we met. D EREK What are you talking about? LISA One of us has to take control and I guess it's me. So you go back, say your good nights to the boys and I'll be waiting in my room. 610. DEREK I'm not coming to your room. LISA Would you rather I came to yours? DEREK You're crazy... sick. You need help. LISA I know. I need help. (moves closer; seductive) Help me, Derek. She presses against him. DEREK Stay away from me! Lisa emits a musical little laugh and smooths her dress. She registers Derek's angry face and clenched fists. She smiles. LISA All right, Derek. You play your games... (turning away) ... and I'll play mine. Lisa disappears into the darkness, high heels echoing. Derek feel his cell phone vibrate. He pulls it out. DEREK Beth, I'm sorry -- (CONTINUED) D D 55. CONTINUED: (3) BEN'S VOICE Beth? It's Ben. Where the hell are you, bro? EREK I'm right here. Coming back in. Agitated, Derek picks up his drink, downs it and re-enters the bar. CUT TO: INT. HOTEL CORRIDOR - NIGHT After midnight. erek and Ben get off the elevator. Ben is slightly drunk but Derek is farther gone -- wobbly on his feet, bleary. BEN Come on, it's early. We'll go to my room and plunder the mini-bar, charge it all to Joe. D EREK Can't, man. That last drink totally kicked my ass. I need to lie down. BEN All right, be that way. But don't forget. Nine o'clock in the California Room. Joe's big rah-rah to the troops. Ben goes one way, Derek the other. Derek, feeling more and more disoriented, makes his way to his room. He fishes around in his pockets and finds his key card. He slides it and pushes open the door. INT. HOTEL ROOM Derek lets himself in, doesn't even click on the lights. There's enough moonlight coming through the window to lead him to the bed where he flops down on his back. He doesn't even bother to undress. Derek closes his eyes, then opens them. He feels sick. Sound and perception are playing games with his head. The room begins to spin and he can hear a sound, a rushing noise. Is it the shower in the bathroom? The bathroom door is shut but there's a crack of light around the edges. Is someone in there? (CONTINUED) 56. CONTINUED: Derek is too out of it to care. He just wants to sleep, make it go away. He closes his eyes, begins to drift off. The bathroom door opens, letting in a cloud of steam and a shaft of light. A woman's silhouette appears, naked. She moves to the bed. D erek feels the bed move... feels a tug on his trousers... then, an amplified ZZZZIIIPPP. Derek's eyes open in shock. He can't believe what he sees -- Lisa, naked, straddling him. Her hand caressing his face. It's like a dream. A nightmare. Lisa smiles seductively and puts a finger to her lips. LISA Shhhhh. DEREK (groggy; can barely get the word out) No.. LISA Hush, baby. Her voice seems distorted like it's coming from another world. LISA (cont'd) I'm going to take real good care of you. Derek tries to resist but finds he has no control over his body or mind. All he can see is a shifting, distorted image of Lisa's face... her smile... her teeth.. her lips... the blazing look of sexual desire in her eyes. And somewhere in those eyes he can see HIMSELF. And that's the last thing Derek sees before he passes out and the entire world goes black and silent. C UT TO: INT. HOTEL ROOM - NEXT MORNING Dazzling sunlight. Derek wakes up, startled by a pounding on the door. WOMAN'S VOICE Housekeeping! (CONTINUED) D 57. CONTINUED: Derek blinks, blinded by the sun. His brain is fogged and he's disoriented. It takes him a moment to realize where he is. A hotel room. Naked under the covers. How did he... WOMAN'S VOICE (cont'd) Housekeeping! The door begins to open. DEREK (SHOUTING) Later! Come back later! WOMAN'S VOICE Okay. I come back. The door closes. erek glances over at the clock. 10:15. Shit. He's overslept and now he's late for the seminar. Derek starts to get up, looks over and -- his heart stops. There's Lisa sprawled beside him on her stomach, naked under the covers. She opens her eyes and gives him a sexy, sleepy smile, stretching her body like a cat. LISA Morning. Derek goes into panic mode, jumping out of the bed like it's on fire. DEREK You've got to get out of here! LISA What are you talking about? DEREK Leave! You've got to go! Derek grabs Lisa by the arm, drags her out of the bed at the same time gathering her clothes from the floor and thrusting them into her arms. LISA Derek, come on... D EREK I want you out of here! (CONTINUED) L 58. CONTINUED: (2) LISA Why? You worried somebody's gonna catch us? DEREK Just get the hell out. LISA (HALF-AMUSED) We woke up a little grumpy this morning, didn't we? Lisa barely manages to slip into her dress before Derek opens the door and pushes her out into the hall. ISA (cont'd) Derek, what is wrong with you? Derek slams the door. On the other side, we hear Lisa's musical laugh. LISA (cont'd) All right. Have it your way. Derek locks the door. Shaking, he goes to the bed, sits on the edge and buries his throbbing head in his hands. DEREK (in hell) Fuck... fuck... fuck. CUT TO: INT. HOTEL - SEMINAR ROOM - MINUTES LATER Derek slips in and takes a seat next to Ben at the end of a big table. The other guys are there, also a little under the weather. They take notice of his late arrival. JOE (interrupting his talk) Thank god. We were about to send out a search party. DEREK Sorry. Overslept. Derek glances over at Ben who frowns at him. Derek looks over at the wall clock as Joe resumes talking. 10:35. T IME CUT (CONTINUED) I ( 59. CONTINUED: It's now 12:50. While Joe continues his talk, A HOTEL CLERK quietly slips into the room, goes over to Derek and whispers to him. Derek perks up with concern. He leans over to Ben, WHISPERS: DEREK (cont'd) It's Beth. BEN What about her? DEREK She's here. MYSTIFIED) I'll be right back. Derek gets up and leaves. NT. CORRIDOR OUTSIDE Derek follows the Clerk. As they turn a corner... CLERK Here's your wife, sir. Derek stops dead. It's not Beth waiting for him. It's Lisa, dressed sexy/casual, bright smile. The Clerk goes away. LISA I thought you might need an excuse to get out of there. How about some lunch? DEREK Lunch? LISA It's gorgeous outside and I made a reservation at -- Derek grabs her by the elbow and hustles her out of sight, trying to keep his voice down. DEREK What do you think this is? LISA The morning after? DEREK (FLARING) We didn't do anything last night. Lisa gives him a sly smile. (CONTINUED) D 60. CONTINUED: LISA But you can't remember, can you? DEREK It didn't happen! LISA Derek, not so loud. You'll cause a scene. DEREK That's exactly what we Right. A scene. need. Derek hauls her roughly back down the hall. LISA What are you doing? DEREK What I should have done last night. Taking you inside to tell Joe and the others whatever you want. They'll know you're out of your mind. H e yanks her toward the door. LISA (trying to pull away) Why are you trying to ruin this? EREK THERE IS NO THIS!!! LISA Don't say that. DEREK Godammit! Derek throws her roughly against the wall. She hits her head, a little stunned. Derek steps back, surprised by his own violence. DEREK (cont'd) I'm sorry... LISA What's wrong with you? You're acting like a stranger. (CONTINUED) L 61. CONTINUED: (2) DEREK Yeah! That's exactly what I am. A stranger, a person you don't know. Now either go inside and tell them your bullshit lies or get the hell out of here. LISA (flaring; ugly tone) You think you can use me, then throw me away? I'm not some piece of garbage, Derek. I'm a human being... Lisa reaches out to him. Derek, in frustration, raises his hand as if to strike her. Her eyes flash with excitement. Derek stops himself, revolted by his own behavior. LISA (cont'd) Do it. Hit me. You can do anything you want to me. Don't you know that? Anything. Derek stares at her like she's a thing, an object. He shakes his head. ISA (cont'd) Don't look at me that way. DEREK How else do you look at somebody who sickens and repulses you? L ISA Derek, please... DEREK I don't care what you do or what you say. What goes on in that twisted mind of yours. It doesn't matter because the truth is, there's never going to be anything between us. So go ahead, Lisa... do your worst. They stare at each other. Then, Derek turns and goes into the seminar room, closing the door behind him. (CONTINUED) D 62. CONTINUED: (3) With a heartbreaking expression of hurt, Lisa stares at the door for a long moment, wipes a tear from her face and walks away. CUT TO: INT. HOTEL RESTAURANT - THAT NIGHT Derek, Ben, Joe and the others eat dinner. A lively atmosphere. Derek seems apart from the others, lost in thought. BEN Derek, you drinking? DEREK Not tonight, man. I'm sticking to ice tea. CUT TO: INT. ELEVATOR/HOTEL CORRIDOR - LATER THAT DAY Derek gets off on his floor and heads to his room. INT. HOTEL ROOM Derek steps inside and freezes, confronted with his worst nightmare. High heels and a path of discarded clothing leads to the bed where Lisa lies in bed, naked under the covers, her eyes shut, seemingly asleep. EREK (anger rising) No. No fucking way... Derek moves toward the bed and the sleeping girl. D EREK (cont'd) Goddamn it, Lisa. No response. Her head is cocked to one side and her skin is ghostly pale. Derek leans over and shakes Lisa's naked shoulder. DEREK (cont'd) Lisa, get up. It's like shaking a doll. (CONTINUED) D 63. CONTINUED: DEREK (cont'd) Get up or I'll drag you out and throw you in the hall. That's when Derek sees it. On the night stand: an empty bottle of prescription pills. Derek picks up the bottle and looks at the label: Ambien. Derek grabs the bedside phone and punches Desk. DEREK (cont'd) (fighting panic) This is 622. There's a woman in my room, she's taken an overdose of prescription pills -- Ambien. You need to get the paramedics and security up here right away. Please hurry. Derek hangs up. Now he puts one knee on the bed and takes Lisa's face in his hands, turning her head. He might as well be handling a marionette. DEREK (cont'd) (SHOUTS) Lisa! No response. He puts his ear to her naked chest, trying to detect a heartbeat. If there is one, he can't hear it. Derek gently slaps her cheeks. Rolls back her eye lids. Nothing. DEREK (cont'd) Oh god... Now Derek begins to perform CPR. He tilts Lisa's jaw back, clears her mouth and begins to breathe into her, alternating chest compressions. EREK (cont'd) Lisa! Wake up, goddamn it... C UT TO: INT. ER WAITING AREA - NIGHT In a corner, Derek looks haggard, being interviewed by a veteran police detective, MONICA REYES. Reyes looks more like a middle-aged suburban mom than a cop but she's very good at her job. REYES All right, Mister Charles, let me get this straight. E) (MOR (CONTINUED) 64. REYES(cont'd) CONTINUED: This girl you barely know, works in your office, fantasizes you're having an affair and when you reject her, she tries to commit suicide in your bed. DEREK I know how it sounds but, yeah, that's pretty much it. REYES This affair... DEREK There WAS NO affair. REYES So she just... made it up in her head? With no help from you? DEREK Maybe I was too nice to her, said something she took the wrong way, I don't know. All I know is I did not lead her on. REYES And you had no idea she'd be at the hotel? DEREK None. I don't even know how she got in my room. REYES Apparently she told one of the housekeepers she was your wife and lost her key. DEREK Doesn't that prove she did this on her own? REYES All it proves is she lost her key. DEREK She never had a key. REYES Look, Mister Charles, I don't care if you were or weren't banging this girl. I just need to get your version for my report. (MORE) (CONTINUED) D 65. REYES(cont'd) CONTINUED: (2) Besides, if it's a question of innocence, I'm not the one you have to convince. D EREK What do you mean? REYES Let's just say I wouldn't like to explain a situation like this to my husband. Before Derek can respond, Reyes sees AN ER DOCTOR signalling. REYES (cont'd) I'll be right back. Reyes goes to talk to the Doctor. Derek watches them talk. The Doctor hands Reyes a piece of paper. Derek can't stand the suspense. He walks over and interrupts. DEREK How is she? Reyes nods to the Doctor and takes Derek aside. REYES They pumped her out in time. Doctor says she's groggy and disoriented. Probably tomorrow they'll move her out of ICU and up to the fifth floor for a psychiatric evaluation. All suicides are put on 72 hour hold, it's standard. EREK Did she say anything? REYES As a matter of fact, she was lucid long enough to give the doctor a name to call in case of emergency. He wrote it down. Here. Reyes hands Derek a piece of paper. Written on it is DEREK CHARLES and his phone number. REYES (cont'd) Still want to stick to your story? CUT TO: EXT. CHARLES HOUSE - EARLY MORNING Dawn is breaking as Derek guides the Yukon into the drive. He steps out, hesitates. The front door of the house opens to reveal a very tense looking Beth in a robe. (CONTINUED) D 66. CONTINUED: They look at each other across the distance. Derek walks to her. BETH (a little cold) Tell me everything. From the beginning. Derek nods. This is not going to be easy. CUT TO: INT. LIVING ROOM - LATER erek has told it all. Beth, looking stunned, stares at him, uncomprehending. A long beat, then... BETH How could you let this happen? DEREK You think I encouraged it? BETH Maybe you liked it. DEREK Beth... BETH What man wouldn't? The attentions of a pretty young girl? I can just see those adoring blue eyes batting at you every time you told her how pretty she looked or what a nice dress -- DEREK Stop it, Beth. You know I never said those things. BETH You must have said something. Done something to give her the idea. DEREK If I did, it wasn't intentional. B ETH She was in your bed, Derek! You spent the night together and you want me to believe nothing happened? (CONTINUED) 67. CONTINUED: DEREK I was passed out... drunk. Nothing happened. BETH Damn you, Derek. Damn you. Beth turns away, her face burning. DEREK I love you, Beth. I love Kyle and the life we have together. I would never do anything to screw that up. This girl is disturbed. She's seriously disturbed and for some reason, she fixated on me. B ETH Why? DEREK I don't know. She's crazy. BETH You should have told me. From the very beginning, you should have told me. DEREK I know. BETH Why didn't you? DEREK At first I thought it was no big deal. And then... I was just embarrassed. I didn't know how to explain it to you without looking... BETH Guilty? DEREK I said I was wrong. A beat. BETH Did she know about us, Derek? DEREK What? (CONTINUED) C 68. CONTINUED: (2) BETH How we met? DEREK Don't do this, Beth. You'll make yourself sick. BETH I'm already sick. DEREK Honey, I know I screwed up... Derek reaches out. DEREK (cont'd) But I've told you the truth. I have to know you believe me. BETH (weary sigh) I don't know what to believe. All I know is, I need to be alone for awhile. DEREK Beth, don't -- BETH I need to be alone -- Beth moves quickly upstairs. Leaving Derek there. He sits back on the couch, head in his hands. At a loss. After a beat- - INT. UPSTAIRS HALLWAY - CONTINUOUS Derek makes a determined rush up after her. Only to find the bedroom door locked. Derek's upset. Resigned, he makes his way over to-- INT. GUEST ROOM - CONTINUOUS He grabs a pillow. Punches it twice. Knows he's in the dog HOUSE-- UT TO: INT. HOSPITAL ROOM - DAY Lisa is propped up in a hospital bed, a dark brooding expression on her face, tangled hair hanging down. Just staring, eyes wide, a little dopey looking. (CONTINUED) R L L 69. CONTINUED: Monica Reyes appears in the doorway. REYES Miss Reynolds? I'm Monica Reyes. isa looks up. Her face transforms into a bright smile. LISA Come in. I'm sorry I'm such a mess but they won't let me take a shower or wash my hair. (dismissive laugh) Apparently I'm still on suicide watch. REYES I'm a police officer assigned to your case. How are you feeling? LISA Well, still a bit groggy from the medication. But it isn't stopping me from feeling ashamed for all the trouble I've caused. REYES Do you feel like talking about the other night? LISA Have you spoken to Derek? REYES Yes. LISA And he's all right? REYES Relatively speaking. ISA When can I see him? EYES See him? LISA Derek. REYES I'm afraid that's not possible. (CONTINUED) R R 70. CONTINUED: (2) LISA Why? REYES Miss Sheridan, I don't think Mister Charles wants to speak to you or continue any kind of contact. Lisa looks at her oddly. LISA Then why did he send these? Really? Lisa indicates a bouquet of flowers in a vase nearby. REYES (keeping the surprise out of her voice) He sent you flowers? L ISA Peonies. My favorite. Reyes inspects the attached card. "Lisa Darling, the other night was just a misunderstanding. Don't ever leave me. Love always, Derek." REYES When did these show up? LISA A few hours ago. They're lovely, aren't they? eyes decides not to push it, goes into her Q & A: REYES Can you tell me what happened at the hotel, why you were there. LISA Didn't Derek tell you? REYES I'd like to hear your version. LISA There's not a lot to tell. We got together at the hotel and you can guess what we did. EYES Slept together. Had sex. (CONTINUED) ( R ( 71. CONTINUED: (3) LISA Of course. REYES Derek denies it. LISA He's just being a gentleman, trying to protect me. REYES I see. Go on. LISA The next day when Derek told me his wife wouldn't give him a divorce and that we could never see each other again, I guess I over reacted. BEAT) I didn't realize he was just being noble. REYES Noble? LISA He was thinking about his little boy, Kyle... what the breakup might do to him. He's not even two, you know. My parents broke up when I was pretty young. It leaves a scar that never really heals. REYES So you believe Mister Charles is in love with you? L ISA Read the card. Derek and I belong together and nothing can change that. But I do feel bad about his wife. EYES You do? LISA I'm not a home-wrecker. I'm not stealing him away. Their marriage is dead and Beth is in denial. It can't be easy to find out that the man she loves is in love with another woman. I just hope she doesn't do something foolish. strange smile) You know the old saying. (CONTINUED) D 72. CONTINUED: (4) REYES What's that? LISA "Hell hath no fury like a woman scorned." Lisa could almost be talking about herself. Reyes nods but she's chilled. REYES You take it easy now. We'll talk again. She excuses herself. Lisa goes back to happily smiling at her flowers. CUT TO: INT. CONFERENCE ROOM - DAY Derek and Joe Gage. JOE I don't have to tell you how an incident like this could impact the company. Even the slightest whiff of impropriety... DEREK There was no impropriety, Joe. This is just the sick fantasy of a very disturbed girl. JOE Who might retaliate by hitting us with a sexual harassment lawsuit. DEREK There was no sexual harassment. If anything, I'm the one who was sexually harassed. (SIGHS) I can't believe this is happening to me. It's like a nightmare. JOE By now, you're probably wishing you had fucked her. erek gives him a shocked look. J OE (cont'd) For all the trouble it's costing you. (THEN) Sorry. Bad joke. (CONTINUED) J 73. CONTINUED: DEREK Goddamit, Joe, if there's an injured party here, it's me. JOE Derek, calm down. I believe you and you know I'll back you up all the way. But if I find out there was something going on, I won't have a choice. DEREK That's not going to happen because there's nothing to find out. OE Good. Then you have nothing to worry about. Meantime I'm going to put Ben on the Ganz account. DEREK But Ganz is my client -- JOE Look, maybe you should take some time off. Just til this blows over. Marge sticks her head in. MARGE Sorry to interrupt. Derek, there's a Detective Reyes here to see you. Joe and Derek exchange looks. CUT TO: INT. DEREK'S OFFICE - LATER Derek and Monica Reyes face each other across Derek's desk. DEREK She obviously ordered the flowers for herself. REYES With your credit card. DEREK My secretary keeps all my personal information on her computer. Lisa must have accessed it when she was working my desk. (CONTINUED) 74. CONTINUED: Reyes gives him a blank look. DEREK (cont'd) You think I sent the flowers? I'd have to be as crazy as she is. REYES There's more. DEREK More? Reyes opens a bag. REYES This is a print out of Lisa's blog. It's sort of a diary she was keeping. Reyes puts a large pile of papers on Derek's desk. REYES (cont'd) It's a rather graphic and detailed account of your various sexual liaisons together. D EREK What? REYES You can read them for yourself but I should warn you they're a little... X- rated. Derek pages through, growing more alarmed. We see thing like "THREE TIMES... FROM BEHIND... ON THE FLOOR... I WAS SCREAMING... WE WERE LIKE TWO ANIMALS... COMING TOGETHER OVER AND OVER... WHEN HE SLAPPED ME THE PAIN WAS EXQUISITE..." DEREK (REACTING) This is... none of this ever happened. I was never at her apartment. I never even touched her, let alone did any of this... REYES According to those entries, you're quite the accomplished lover, Mister Charles. And you made promises to her, promises to divorce your wife and marry her... DEREK You can't possibly believe this. (CONTINUED) 75. CONTINUED: (2) REYES Whether I believe it or not is irrelevant. The only thing that matters is that she believes it. DEREK There's got to be something I can do to protect myself... my family. REYES You could file a restraining order. But that may not be necessary. DEREK Why not? LISA Lisa's left town. She was released in the custody of an older sister yesterday. Her sister flew down from San Francisco and took her back. Lisa's agreed to check herself into a neuropsychiatric hospital up there. DEREK (some relief) Well, I can't say I'm unhappy to hear she's gone. Maybe now she can get the help she needs. REYES W ith any luck, Mister Charles, you'll never hear from her again. CUT TO: EXT. CHARLES LIVING ROOM - DAY Beth moves through the room, stopping to pick up one of Kyle's toys. She looks through the sliding glass window and sees Derek on the deck, holding Kyle in his arms. They're playing a game. Derek points to objects in the distance and Kyle identifies them. "Truck... doggie... bird..." and so on. A tear in Beth's eye. She comes closer. They don't see her. DEREK (singing to Kyle) "Four little ducks went out one day... over the hill and far away..." CUT TO: B 76. EXT. CHARLES HOUSE - NIGHT A few days later. INT. CHARLES LIVING ROOM - NIGHT A 14 year old baby sitter SAMANTHA walks Beth and Derek to the front door. They're dressed for a night out. BETH You've got our cell numbers so if there's any problem, don't hesitate to call us, okay? DEREK Come on, honey. Samantha knows what to do, don't you? SAMANTHA I've got four little brothers. Trust me. I'm really good at this. ut Beth remains concerned. BETH (to Derek) I don't know. Maybe we should... DEREK No way. Do you know how hard it was to get these reservations? Come on, we agreed. This is an important night. And I am not gonna waste you in that outfit. (to Samantha) She looks fantastic, doesn't she? SAMANTHA Like a movie star. D erek takes Beth by the arm. DEREK Everything's gonna be fine. BETH (giving in; to Samantha) Okay, but you call us. Derek grins and leads her out the door, calls back to Samantha. DEREK Lock this. We'll be back by ten. (CONTINUED) D 77. CONTINUED: SAMANTHA Have fun. Samantha closes the door behind them and locks it. CUT TO: INT. RESTAURANT - LATER THAT NIGHT Derek and Beth sit together in a romantic candle-lit booth, working on a bottle of wine. EREK I haven't seen you looking this relaxed and beautiful in weeks. BETH I'd forgotten what this was like... the two of us out together. DEREK Yeah. It's been awhile. He looks at her. It's been awhile since they've touched or had sex, too. Beth smiles a little shyly, drops her eyes. DEREK (cont'd) (ENCOURAGED) So... there's hope? BETH It's not that easy. DEREK I need you to believe me. Derek pours the last of the bottle into Beth's glass and signals the Waiter. DEREK (cont'd) Could we get another bottle, please? Derek smiles at Beth. She looks at her wine glass. BETH Derek, not everybody gets drunk and does things they regret. Derek looks like he's been punched in the face. DEREK I keep telling you I didn't do any thing to regret. (CONTINUED) 78. CONTINUED: Beth looks up and gives him a hard, cold look. BETH (SLOWLY) I am telling you... you did. CUT TO: INT. CHARLES LIVING ROOM - LATER THAT NIGHT S amantha is sprawled on the couch. The TV is going, she's listening to music on her I-pod while texting a friend on her phone and paging through a teen magazine all at the same time, multi-tasking. She doesn't hear the door bell RING the first time. Or the second. Then there's a LOUD KNOCKING. Samantha becomes aware, looks around, then sees a shadowy figure through the frosted window next to the door. With a SIGH of annoyance, Samantha gets up and goes to the door. She unlocks and opens it. Lisa is standing on the threshold, looking fresh and pretty and smiling. LISA (super friendly) Hi, I'm Beth's friend Allie. She's expecting me. Lisa breezes right in. SAMANTHA Mister and Mrs. Charles are out. LISA Out? SAMANTHA They went to dinner. LISA What? Beth told me to drop by. That's strange. Oh well, I have something for Kyle. I'll just run up and give it to him. SAMANTHA You can't. He's sleeping. LISA Oh, I won't wake him. (CONTINUED) K 79. CONTINUED: SAMANTHA Maybe you should come back. LISA But I'm here right now. Why should I... oh, I see. Just doing your duty. Good girl. You know what, let me call Beth. Lisa takes out a cell phone, punches in a number. Samantha looks relieved. LISA (cont'd) (into her cell) Beth? Hey, girlfriend. It's Allie. Where am I? Where are you! I'm at your place. You told me to come by. ( to Samantha) No it's okay. She forgot. (back into cell) No, Samantha was a little concerned so I said I'd call you. (winks at Samantha) Yeah. Okay, honey. You two have a great night. (to Samantha; holding out the CELL) Oh, wait. Did you want to talk to her? Samantha shakes her head "no." LISA (cont'd) (into cell) Beth, I'll call you tomorrow. Lisa clicks off. LISA (cont'd) (to Samantha) Great. This will only take me a minute. Lisa crosses to the stairs and goes up. Samantha returns to the couch and resumes texting. INT. KYLE'S BEDROOM yle is asleep in his crib. The door cracks open, emitting light from the hall, turning Lisa into a silhouette. She enters the room, silent as a ghost, and approaches Kyle's crib. She stands over him, smiling down at the vulnerable sleeping child. Then, Lisa turns away and looks at herself in a mirror. (CONTINUED) 80. CONTINUED: She takes out a tube of red lipstick and applies it to her lips. CUT TO: INT. LIVING ROOM - A MINUTE LATER Samantha is listening to i-pod music/texting/watching TV. In the background, out of focus, Lisa comes down the stairs. LISA Thanks, Samantha. Nice meeting you. SAMANTHA (preoccupied; doesn't even LOOK) You, too. Lisa vanishes. Samantha sends a last message, then thinks she ought to check on the baby. She gets up, starts for the stairs when she gets another text message on her phone. She checks it, laughs and returns to the couch to text her friend back. C UT TO: INT. SUV - NIGHT Derek and Beth drive home in tense silence. Finally, Beth speaks. BETH It's his birthday tomorrow. DEREK I know. BETH I told him we'd take him to Legoland. DEREK I'll go on-line tonight and order the tickets. Unless you think you should take him alone. BETH No. Whatever we're going through, he needs us to be together. (CONTINUED) ( 81. CONTINUED: Derek turns the corner to their street. The house comes into sight. The garage door goes up. Derek pulls into the drive and guides the car into the garage. CUT TO: INT. CHARLES LIVING ROOM - A MINUTE LATER A key in the lock. The door opens. Derek and Beth enter. On the couch, Samantha ends her texting and greets them with a bright smile. SAMANTHA Hey! You guys got back so fast-- BETH Any trouble with Kyle? SAMANTHA No. He was a doll. THEN) But you just missed your friend. Beth and Derek freeze, turn and look at each other. BETH What friend? SAMANTHA You know. Allie? She was just here... called you on the cell? BETH (TENSING) Nobody called me... DEREK Someone was here? Inside the house? SAMANTHA (to Beth) You said it was okay. She said she had something for Kyle... BETH (instant panic) Oh my god! Where's Kyle? SAMANTHA In his crib. Beth streaks for the stairs. (CONTINUED) D 82. CONTINUED: DEREK How long since she was here? SAMANTHA A couple minutes. What's wrong? Derek runs for the stairs. SAMANTHA (cont'd) (calling after them; now AFRAID) You said it was okay! INT. KYLE'S BEDROOM Beth runs to the crib. To her horror, it's empty. Lisa lets out a cry of anguish. Derek appears in the door. Lisa turns to him in desperate panic. LISA She took him! She took my baby! INT. LIVING ROOM Derek tears back down the stairs, shouting to Samantha. EREK Call 911! He bursts out the front door. EXT. CHARLES HOUSE - GARAGE Derek races into the garage, yanks open the driver's door and gets in. He starts the engine, turns to back out and -- Surprise! There's Kyle is in the backseat, strapped into his car seat, smiling at his Daddy. DEREK Kyle... Derek gets out, pulls open the back door and unstraps his son, then hesitates. What Derek sees makes his blood run cold. On the child's forehead... a perfect red lipstick kiss. CUT TO: INT. HOSPITAL ER - NIGHT Kyle is being examined by A DOCTOR while Derek and Beth comfort him. (CONTINUED) ( T D 83. CONTINUED: DOCTOR We pumped his stomach. X-ray and cat scan came back normal. We'll wait for the blood work but it appears he's completely fine. I don't see any reason why you can't take Bhim home in a couple hours. ETH (tearful relief) Thank you, Doctor. Monica Reyes appears in the doorway. CUT TO: INT. ER WAITING AREA - A MINUTE LATER erek and Beth confer with Reyes. Beth is very agitated. REYES Apparently Lisa stole her sister's ID to buy a ticket and board a plane to LA earlier today, then used her sister's credit card to rent a car. The sister didn't even know she was gone until a few hours ago. She said Lisa had been doing well in therapy. She didn't know she checked herself out this morning... BETH (EMPHATIC) She was in our house -- alone with our son. DEREK he doctor says he's fine. BETH Well, I'm not fine. to Reyes; demanding) I want you to find her. REYES We will. She violated the restraining order so we can arrest her. Look, Mrs. Charles, I know you're upset. I'm a mother, too... BETH How would you feel if it was your child? REYES Exactly the same as you. (CONTINUED) D ( 84. CONTINUED: BETH Find her. Beth goes back into the examining room to join Kyle. DEREK Now what? Am I supposed to go out and buy a gun or something? REYES She didn't physically harm him. DEREK No, but she could have. Is that the message she's trying to send? R EYES Either that or...maybe she was trying to show you she could love him. off Derek's sickened reaction) People like Lisa... their emotions can turn on a dime. What you don't want is her feelings for you to change to rage. I don't know. But there's a good chance she'll try to get in touch. If she does, you need to call me right away. Meanwhile, you might want to beef up your home security. erek nods. CUT TO: EXT. CHARLES HOUSE - LATER THAT NIGHT The SUV pulls up and parks. Derek and Beth get out. Derek removes the sleeping Kyle from his car seat and carries him to the front door where Beth waits. INT. KYLE'S BEDROOM - LATER THAT NIGHT Kyle is asleep as Derek tucks him in. Beth CRIES OUT from another part of the house. BETH Derek! Derek races out of the room. INT. MASTER BEDROOM The bedroom has been trashed. The bed has been stripped. The ceiling mirror is now a spider-webs of cracks. (CONTINUED) 85. CONTINUED: The closet is open and clothes are strewn about. Derek discovers Beth on her knees, holding up a family photograph in which Beth's head has been torn off. BETH She never left. She was here the whole time. Beth scrambles over and finds a wedding photo of herself and Derek. Again, her head has been removed. B ETH (cont'd) What kind of sick person... Derek crouches down and holds Beth who begins to cry, her body shaking. DEREK It's all right, it's all right... BETH No Derek! It's not all right!!! We have to do something. We can't live like this. As he holds his wife, Derek looks up and sees their reflection in the mirror -- twisted and distorted, like Lisa's mind. CUT TO: INT. CHARLES HOUSE - LIVING ROOM - NEXT DAY Derek and Kyle watch Baby Einstein on TV. In the b.g., A SECURITY MAN installs a new alarm system. Beth is on the phone, talking to someone. Derek keeps an eye on her. BETH (into phone) Right. Thank you. Beth clicks off, starts dialing a new number. DEREK Who are you calling? BETH Guess. DEREK You're not... (CONTINUED) B 86. CONTINUED: BETH (DETERMINED) I got her home number from Patrick. DEREK She won't be there. BETH She can still pick up her messages. DEREK Beth, why are you doing this? ETH I want her to know who she's dealing with now. On the other end, Lisa's cheerful voice: LISA'S VOICE Hi, this is Lisa. I'm not here right now so please leave a message after the beep and I'll get back to you. Have a good one. BETH (into the phone) L isten to me, you little bitch. This is Beth Charles and I just want you to know that if you ever... ever... come near my child or my house again... I'll kill you. Beth clicks off, gives Derek a defiant look. Derek doesn't know what to say. The Security Man appears. SECURITY MAN You're all set, folks. You want me to show you how the system works? BETH Definitely. CUT TO: INT. GUEST ROOM - NIGHT Derek lies in bed, wide awake, on guard. He hears a car engine outside, gets up and goes to the window. Derek looks out and sees a police patrol car in front of the house. A moment later, it drives off. (CONTINUED) 87. CONTINUED: Derek goes to Kyle's room. He's sleeping safely. He goes to the master bedroom and observes Beth from the door way. She's asleep. Derek returns to the guest room. A sudden SOUND. Derek tenses. He hops up and goes to the window. It's just the sprinklers going on in the front yard. CUT TO: INT. CHARLES LIVING ROOM - NEXT MORNING Derek is leaving for work. He points to the security pad. DEREK Make sure you set this. BETH You don't have to tell me. DEREK It can't go on much longer. They're bound to pick her up soon. ( THEN) Look, if you want me to stay, I'll call in... BETH No. Go to work. If anything happens, the security patrol can be here in two minutes. (off his look) Go. I can take care of myself. Derek opens the door and exits. Beth closes it behind him, then touches the keypad. SECURITY VOICE SET. Beth watches from the window as Derek drives off to work. Kyle is nearby playing. The phone rings. Beth goes over and picks it up, a little wary. BETH Hello? Oh hi, Dad. (THEN) What's wrong? (CONTINUED) 88. CONTINUED: As she listens with mounting concern, we... CUT TO: INT. OFFICE - DAY Patrick is at his desk. The phone buzzes and he picks up. PATRICK Derek Charles' office. Oh, hi, Beth. Patrick perks up at the tone in Beth's voice. INT. DEREK'S OFFICE Derek is concentrating at his desk when his phone BUZZES. He answers quickly. DEREK Yeah? PATRICK Beth's on 2. DEREK Thanks. Hi, honey. Everything okay? INTERCUTTING WITH: INT. KYLE'S BEDROOM Kyle is playing on the floor. Beth is on the phone. BETH We're fine but I had some not so great news from my Dad. DEREK What's wrong? BETH Mom went back in for more tests. They wanted to do another biopsy and she's pretty scared. D EREK I can imagine. BETH I'm sure it'll be fine but I thought I'd drive down to San Diego to hold her hand, take Kyle with me. (CONTINUED) K T 89. CONTINUED: DEREK I'm gonna be stuck here pretty late but I could drive down after... BETH I don't think that's a good idea. Friday night traffic's gonna be a nightmare and they won't know the results til tomorrow. Why don't you do what you need to do and drive down in the morning? DEREK Are you sure? BETH Yes. here's still that frostiness between them. DEREK All right. Say hi to your dad and tell your mom everything's going to be fine, I love her. And call me when you're leaving the house. BETH I will. Beth clicks off and turns to Kyle. BETH (cont'd) Come on, sweetie. We're gonna take a little trip. KYLE (EXCITED) Legoland? Beth almost laughs. She holds him close. BETH Much more fun than Legoland. We're going down to Nana and Poppa's. YLE Daddy, too? BETH No. We'll see Daddy tomorrow. Now... what toys do you want to take? (CONTINUED) 90. CONTINUED: (2) Kyle toddles over to his toy box. CUT TO: INT. OFFICE At his desk, Patrick answers the phone. PATRICK Derek Charles' office. LISA'S VOICE (bright and chipper) Hey there, girlfriend. PATRICK (happy to hear from her; keeps his voice down) L isa? LISA'S VOICE How are you? PATRICK I've missed you. LISA'S VOICE I've missed you, too. Everything okay around the office? PATRICK (hushed/secretive) Well, actually... LISA'S VOICE What? PATRICK I'm a little concerned. I heard the Charles' took out a restraining order against you. LISA'S VOICE (LAUGHS) Oh, that. That was Beth's doing. She's not handling this very well. Derek's just waiting for the right time to tell her he's leaving. P ATRICK I don't think that's gonna happen. (CONTINUED) ( 91. CONTINUED: LISA'S VOICE Of course it is... PATRICK I'm not sure I should be telling you this... LISA Patrick, don't be such a drama queen. I thought we were friends. PATRICK We are, we are. LISA Well? PATRICK Well... Beth's headed down to San Diego tonight. Her mother is having some tests done. Derek is driving down first thing in the morning to be by her side. when she doesn't respond) Lisa? Did you hear me? LISA'S VOICE Patrick, I have to go. PATRICK But you just... LISA'S VOICE I'll talk to you later. PATRICK Wait. I wanted to tell you about my date I last night. The one my friend set me up with? The graphic artist? Lisa, you'd be so proud of me. I met him for drinks at -- L ISA'S VOICE Patrick. PATRICK Yes? LISA'S VOICE (COLD) I really don't care whose dick you sucked last night. I have to go. The line goes dead. (CONTINUED) E W 92. CONTINUED: (2) Poor Patrick looks like he's been hit in the face with a bag of shit. CUT TO LISA She puts her cell phone in her pocket. IDEN TO REVEAL that she's standing in a grove of trees, looking down at the Charles house. INT. CHARLES HOUSE - DAY Beth goes out the front door, arms full with Kyle and overnight bags. She sets the alarm and shuts the door behind her... only to realize she forgot her purse. Beth punches back in, grabs the purse from inside and closes the front door again behind her. Forgets to re-set the alarm. XT. DRIVE WAY Beth secures Kyle in his kiddie seat, then walks around to the driver's side, gets in and drives away. PAN UP TO Lisa watching. CUT TO: EXT. CHARLES HOUSE - MINUTES LATER Lisa approaches the back of the house, carrying a paper bag. She steps up on the deck and goes to the kitchen door. She doesn't even check to see if it's locked. She takes the bag which contains a bottle of champagne and uses the bottle to break a pane in the kitchen door window. Then she reaches inside and unlocks the door. INT. KITCHEN Lisa steps inside and looks around at the cheerful room, Kyle's high chair, the places set for three at the table. L isa puts the champagne bottle on the counter, then humming happily, she begins to open shelves until she finds two crystal champagne flutes. She takes them down. Now she looks for an ice bucket and finds it. INT. BETH'S CAR Beth drives down the hill, calling Derek on her cell. INTERCUTTING DEREK IN THE OFFICE (CONTINUED) S D 93. CONTINUED: DERE (answering his cell) Hey. BETH We just left the house. DEREK Good. Did you set the alarm? BETH The... I think I did. I had to run back in and I can't remember if I re-set it. EREK Look, don't worry about it. BETH No, I'm barely down the hill. I'll do it and call you back. Beth clicks off. She slows down and pulls into a driveway. She backs out and returns up the hill. INT. MASTER BEDROOM Lisa enters, carrying the ice bucket with the champagne bottle in it and the two flutes. She smiles excitedly, like a woman preparing for her lover's return. Lisa places the champagne on the night table. She removes her coat to reveal a sexy white nightgown, then reaches into the coat pocket and takes out a paper bag. he upends the bag and with a giggle, begins to sprinkle red rose petals on the floor, making a trail to the bed. I NT. BETH'S CAR Beth drives up the winding road to the house. INT. MASTER BEDROOM The ice bucket and champagne sit on the night table. Lisa stretches out on the bed, amid the rose petals, leaving a space for her lover beside her. She gazes up at the cracked ceiling mirror. She smiles at herself and, thanks to the cracked mirror, her smile is distorted, scary and insane- looking. 94. EXT. CHARLES HOUSE Beth pulls into the drive. INT. MASTER BEDROOM On the bed, Lisa hears the car. She rolls off the bed and crosses to the window, parting the curtains to look out. HER POV Beth stepping out of the car. BETH'S VOICE (barely audible; to Kyle) Mommy will just be a minute. Lisa tenses, suddenly fearful. INT. DEREK'S OFFICE He can't work, glancing at his cell for Beth's call. INT. FOYER Beth lets herself in. She's about to set the alarm when she hears the floor creak above her. Beth freezes. She waits, listens. No further sound. But Beth knows. Beth goes to the front door as if to leave. She opens the door and closes it as if she left the house. INT. MASTER BEDROOM Lisa, standing very still near the window, hears the sound of the door opening downstairs, then closing. Relieved, she moves to the window and peers out, expecting to see Beth getting into the car. But there's no sight of her. INT. FOYER Beth pulls off her shoes and lays them by the door. She begins to quietly tip toe up the stairs, certain to be as quiet as she can. N 95. INT. MASTER BEDROOM Beth enters to see Lisa peering out the window. BETH Girl, you're even dumber than my husband said you were. (BEAT) Or did you just forget to take your meds? Lisa whirls around. Beth is standing in the doorway, giving Lisa a deadly look, like a cat who's just trapped a mouse. Beth takes notice of the rose petals on the bed and floor. Lisa is wide-eyed, terrified, caught. Lisa begins to edge her way around the room. BETH (cont'd) You really fucked up this time... coming back to my house. Didn't you get my message? Lisa's eyes dart around for escape. Beth seems remarkably calm. BETH (cont'd) You can look all you want but you're not getting out of here. ot until I've given you the beating of your life... bitch. And she means it, too. Lisa tries to dart around her. But Beth cuts her off, grabbing Lisa by the throat and forcing her back, slamming her hard against the bed post. L isa bounces off the post, stunned. Beth is on her, slapping her hard, grabbing a handful of Lisa's hair, ripping it out by the roots as Lisa tries to get free. Lisa lets out a subhuman shriek of pain. Beth tosses the hank of hair aside, keeps on coming. She's beyond pissed. BETH (cont'd) Think you can walk into my house... my bedroom... Beth slaps and punches Lisa. (CONTINUED) ( L 96. CONTINUED: BETH (cont'd) My child... my husband! Lisa tries to fight back but Beth is a tiger, beating the hell out of her, knocking her around the room. ISA (in pain; terrified, WHIMPERING) Please... BETH Please? Please what? Please don't hurt you? As Beth pummels her, Lisa stumbles/retreats into the adjoining bathroom. She slams the door shut and throws the lock, face bleeding, looking around for a weapon, something to protect herself with. CRASH! The bathroom door comes off its hinges as Beth barges in. LISA No! Beth grabs Lisa by the head and slams her face into the bathroom mirror. It cracks. Lisa is wobbly, unable to stand. Her face is a bloody mess. But before she can collapse, Beth props her up. B ETH ("CONCERNED") You're bleeding. We need to wash that off. Beth forces Lisa down, shoves her head into the toilet and flushes it, holding her there as Lisa flops and chokes. BETH (cont'd) Don't worry. I'm not going to drown you. jerking Lisa's head up) No, no. I'm just getting started... LISA (BLUBBERING) Please... I'm sorry... BETH Too late, bitch. Sorry won't cut it. Beth kicks Lisa out of the bathroom. (CONTINUED) I 97. CONTINUED: (2) Lisa lands on the floor and gets up, rose petals sticking to her gown. As Beth comes out of the bathroom, Lisa lunges for the night table and grabs the bottle of champagne. She swings it and hits Beth is the side of the head. Whack! The cork pops and champagne goes spewing everywhere. Stunned, Beth goes down on her knees. Lisa wipes blood from her face, circling Beth, lips drawn back and teeth showing like an animal. LISA He doesn't love you! I'm the one he wants! (crazed; screaming) Why can't you get that through your head? Lisa raises the bottle to hit her again. Beth lunges forward and tackles her. The bottle goes flying as the two women thrash around on the floor. I NT. OFFICE Derek dials Beth's cell. INT. CAR Kyle snoozes in his car seat. Inside Beth's hand bag on the front seat, her cell phone TRILLS. NT. MASTER BEDROOM Beth and Lisa fight on the floor like two she-demons. Lisa breaks free from Beth. She crawls to the head of the stairs and grabs the post, pulling herself to her feet, eager to escape. BETH (suddenly behind her) Careful. You don't want to fall down the stairs. Beth gives Lisa a shove. Lisa goes crashing down the stairs and lands at the bottom in a heap. Beth descends. BETH (cont'd) Did that hurt? Because it looked real painful. (CONTINUED) P 98. CONTINUED: LISA (managing to sit up; defensive) Please... Beth... BETH Oh, it's Beth now? What happened to Betty? Lisa rises to her feet, wobbly. She raises bloody hands in surrender. LISA Please. I'll go... I'll leave... I swear I'll never bother you again... BETH You got that right. Lisa turns and desperately hobbles for the front door. But Beth easily beats her to it, knocking Lisa aside and throwing the chain. B eth turns and faces Lisa with a murderous look. Hugging the wall for support Lisa back away, leaving a bloody smear. Beth advances. In the kitchen, the phone RINGS. Both women freeze. hone RINGS again. Then... DEREK'S VOICE ON THE ANSWERING MACHINE Hi, you've reached the Charles residence. We're not here right now but if you have a message for Derek... BETH'S VOICE ON THE ANSWERING MACHINE ... or Beth... or Kyle.... Kyle, say hello. KYLE'S VOICE ON THE ANSWERING MACHINE (CUTE) Hello. BETH'S VOICE ON THE ANSWERING MACHINE Please wait for the beep. BEEEEEEP. DEREK'S VOICE (with concern) Beth? Are you there? (CONTINUED) 99. CONTINUED: (2) LISA Derek! Lisa tries to make it to the kitchen to get the phone. Beth grabs her by the sleeve and pulls her back. The sleeve tears loose in Beth's hand. DEREK'S VOICE Beth? Lisa stumbles back toward the stairs. She scrambles upward, thinking maybe she can get to the phone in the bedroom. Lisa reaches the top step just as Beth snags her ankle, stopping her. Lisa rolls around and viciously kicks Beth in the shoulder with her other leg. Beth falls back, tumbles halfway down the stairs. D EREK'S VOICE (cont'd) Beth, pick up! Lisa makes it to the bedroom. She sees the phone on the night stand. DEREK'S VOICE (cont'd) Beth? Are you there? Lisa desperately grabs the phone. LISA Derek! Oh, Derek, thank god! INTERCUTTING DEREK IN THE OFFICE Reacting in surprise and panic. DEREK Lisa? Before she can answer, Beth is suddenly there. She rips the phone from Lisa's hand and strikes her with it. As Lisa stumbles back into the hall landing, Beth speaks calmly, even sweetly, into the receiver. BETH Derek, I'm right in the middle of something... let me call you back. DEREK Beth -- Beth hangs up the phone. (CONTINUED) T D 100. CONTINUED: (3) Alarmed, Derek hurries out of the office, punching a number into his cell as he runs to the elevator. A nervous Patrick watches Derek exit... EREK (cont'd) I need to speak to Lt. Reyes. It's an emergency! Beth goes out into the hall and Lisa springs on her. he two women fight, going up against the bannister. They claw and punch at each other. With renewed strength, Lisa forces Beth up against the bannister. Beth looks over the side and down... Fifteen feet below is that large glass dining table. Lisa bangs Beth against the bannister. A few feet away is a heavy crystal chandelier suspended from the ceiling by a metal chain. T he bannister rail begins to crack. Lisa tries to force Beth over, then Beth suddenly swings them around, reversing positions -- The bannister cracks, breaks apart and Lisa topples over the side. As she's about to fall, Lisa reaches out and grabs the chandelier with both hands. By a miracle, it supports her and she swings back and forth like a human pendulum but now the chandelier is beginning to pull loose from it's ceiling mount. Plaster cracks and rips away. Lisa swings back and forth, dangling. Beth stands on the landing. She looks at terrified Lisa, then up at the ceiling mount. It won't take Lisa's weight much longer. And both women know it. Lisa hangs by one hand, reaching out with her other hand to Beth who could pull her to safety. LISA Please.... Beth considers. Then, as if coming out of dream, she slowly reaches out to Lisa. Their hands lock together. Beth slowly pulls Lisa toward her, toward safety. (CONTINUED) L T 101. CONTINUED: (4) BETH (quiet voice) Let go of the chandelier. LISA (AFRAID) No... BETH Let go, Lisa. he chandelier is about to break loose. B ETH (cont'd) (motherly concern) Listen to me. You have to let go right now. And, trusting, Lisa lets go. But so does Beth!!! With a look of horror on her face, Lisa falls through space. The soundtrack goes dead silent as we go into slow motion. Down, down, down Lisa falls. Her arms and legs flop around like a marionette with its strings cut, clawing the air. The fall seems endless. Then... Lisa hits the glass dining table with her back. Her whole body buckles. The surface of the table ripples. In slow mo, the glass shatters and explodes around Lisa, framing her entire body, forming a halo around her head. Sound returns -- the sound of breaking glass -- and it's deafening. The table gives way and Lisa lands hard on the marble floor, her skull cracking. Her back is probably broken but she's still conscious. ying there, Lisa stares up at Beth on the landing as glass bounces and TINKLES around her. The two enemies lock eyes. Beth's face is impassive. Lisa opens her mouth, trying to speak. And that's when the chandelier breaks loose. (CONTINUED) R R 102. CONTINUED: (5) Beth watches without emotion as the chandelier plunges downward and hits Lisa in the chest with a radiantly beautiful shower of crystals. It kills her on impact. W e come out of slow motion. Real time resumes. On the landing, Beth stares down at Lisa's body, splayed under the chandelier like a broken doll. Lisa's eyes are open but they're dead. Beth, stoic, just stands there, looking down. INT. DEREK'S SUV As Derek speeds through traffic, desperate to get home. INT. CHARLES HOUSE Beth comes down the stairs, taking no notice of Lisa's lifeless body. She goes to the foyer, unhooks the chain and opens the front door. EXT. CHARLES HOUSE Outside, a car pulls up and Monica Reyes jumps out. Reyes hurries up the walk and meets Beth standing in the open door. REYES Beth? Is everything alright here? BETH (very calm) I'm fine. Lisa had an accident. (moving past Reyes) I have to go. My mother needs me. Reyes looks into the house and sees Lisa's body, then turns back as Beth goes to her car and opens the driver's door. EYES Beth, I need to speak with you. Beth turns back to Reyes. BETH Call me on my cell. EYES What happened here? BETH I think you know what happened... (a beat) ORE) (M (CONTINUED) H I 103. BETH(cont'd) CONTINUED: Now my child has been waiting too long. I am sure my husband will be home soon... Beth and Reyes lock eyes. Reyes nods her understanding. Beth nods back, gets in the car, starts the engine and backs out of the drive. Reyes watches her exit. NT. DEREK'S SUV In traffic. He dials his cell. INTERCUTTING BETH IN HER CAR She picks up her ringing cell phone, looks at the caller ID and glances at Kyle in the rearview mirror. BETH (tears start to well) It's Daddy... DEREK (FRANTIC) Beth, I spoke to Reyes. Are you okay? BETH It's over, Derek-- DEREK Beth... (a pause) Tell me baby-- are you hurt? BETH I should have believed you... DEREK It's gonna be okay, honey. We're gonna be okay-- BETH (long beat) I love you, Derek. DEREK And I love you-- Derek continues on against the traffic. The dashboard picture of Beth and Kyle still smiling back at him. HIGH ANGLE SHOT, PULLING BACK As Beth's car drives away, passing police cars on their way to the house. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ocean's Twelve.txt b/unformated_scripts/Script_Ocean's Twelve.txt new file mode 100644 index 0000000000000000000000000000000000000000..c455a4dbea71f4121aa6227f61a933c866c2cb38 --- /dev/null +++ b/unformated_scripts/Script_Ocean's Twelve.txt @@ -0,0 +1 @@ + OCEAN'S TWELVE Written by George Nolfi ROUGH DRAFT1 A MULTI-COLORED SCREEN 1 After a few introductory credits, we pull back to reveal the source of this kaleidoscopic backdrop: A SINGLE, STRIPED TULIP, planted in a long row of other tulips. A HAND reaches in and pulls the tulip from the ground. We then cut to:1A A BASKET of tulips, carried by hand to a truck, where it 1A is loaded with hundreds of other baskets. The door of the truck is SHUT and we cut to:1B The door of the truck OPENING to reveal that the tulips 1B are now boxed and crated. A forklift moves the crates onto a wagon, which is driven by a MANNED CART across the biggest warehouse on the planet, the Bloenen Markt (CHECK THIS-- steven) in Amsterdam, Netherlands. The cart and wagons we were following disappear into a maze of synchronized activity.1C The cart arrives in the AUCTION ROOM, which is 1C constructed like an ampitheater: the buyers sit in a steeply raked semi-circle, facing two giant, clock-shaped scoreboards that display the bids on the flowers being viewed. The striped tulips fetch a very high price.1D The carts of striped tulips are delivered to an automated 1D sorting apparatus of enormous size and complexity. They end up on a truck heading for the airport.1E The tulips are loaded onto a plane. During the transatlantic flight, they sit nestled in the cargo hold.1F The tulips are unloaded from the plane, driven across an 1F airport tarmac and loaded onto another plane.1G The tulips are unloaded from the plane and loaded onto a 1G truck. The truck drives through a small town and pulls into the back of a2 EXT./INT. FLOWER SHOP -- DAY 2 A YOUNG MAN takes delivery of the flowers and carries them through the rear of the store to the display area up front. We stay on the tulips as we hear the following conversation: CUSTOMER Wow. How do they do that? (CONTINUED) 2.2 CONTINUED: 2 OWNER It's an accident. It means the flower developed a virus early in the bulb stage. The flaws create the unusual coloring. CUSTOMER Can you arrange something for me with those? OWNER Of course. What kind of price range are you looking for? Now we SEE the customer: TESS. TESS Well, it's for my parent's anniversary. They don't know I'm coming. I just want it to be beautiful. Can you just do whatever you think looks best? OWNER I'll need a few minutes. TESS Take your time, please. And thank you. The Owner moves toward a corner of the store where the flowers are arranged. Tess walks around, looking at the rest of the store. Tess looks out the window. A black sedan is pulling up at the curb. OWNER That should be some surprise. TESS Which? OWNER For your parents. TESS Oh. Yes. I hope so. One of the POWER TWINS gets out of the driver's side door and crosses in front of the car. Tess starts moving away from the window. (CONTINUED) 3.2 CONTINUED: (2) 2 OWNER Which one is it? TESS I'm sorry? OWNER Anniversary. TESS Oh. Fortieth OWNER Wow. Okay. I think I have an idea. Something classic. The Power Twin opens the rear passenger side door, revealing TERRY BENEDICT. Tess turns away from the window. TESS Do you have a bathroom? OWNER Straight back, on the left. It's unisex. TESS Thank you. Tess scurries to the back. OWNER (to Tess, a caveat) It's unisex! Tess flies past the bathroom and heads for the back door. She pushes through it and runs right into Power Twin No. 2. CUT TO:3 EXT. HOUSE -- DAY 3 A nice place on the eastern seaboard. We hear the faint sound of a phone ring. 4.4 INT. HOUSE -- DAY 4 Danny Ocean picks up the receiver, checks the caller ID. He smiles and answers: DANNY Miguel Diaz speaking. Almost immediately, his expression clouds. He looks at his watch. DANNY (cont'd) Tess, Tess. It's okay. You remember what we talked about, if this happened? All right. Call me in twenty-four hours on that number. He hangs up the phone and runs out of the house. He doesn't take anything with him.5 EXT. HOUSE -- DAY 5 Danny runs out of the house and down the street, leaving his car in the driveway.6 INT. CAR -- DAY 6 Tess, floral arrangement in her lap, sits in the car with Benedict. BENEDICT The Baldwins. TESS What about them? BENEDICT We had dinner with them three years ago. You talked about your parent's anniversary. She says nothing. BENEDICT (cont'd) I'm getting married next month. TESS So am I. (CONTINUED) 5.6 CONTINUED: 6 A beat. BENEDICT Well, I hope Danny is as good as he thinks he is. A bouquet toss in prison can get pretty ugly.7 INT. BANK VAULT -- DAY 7 Danny takes a safe deposit box out of a wall, He opens the box, revealing a CELL PHONE and some CASH.8 EXT. TRAIN STATION (NOT A BIG ONE) -- DAY 8 Danny boards a train.9 INT. AMTRAK TRAIN -- DAY 9 The landscape hurtles by. We pan over to find Danny sitting next to the window. We continue to pan and find REUBEN TISHKOFF seated next to a group of male commuters. REUBEN (over) I really think you're being too sensitive. She's crazy about you. I can tell.10 INT. SPA -- DAY 10 REUBEN lies in a mud bath, his face covered with a dried exfoliating "mask" treatment. There is a cigar in one hand and a cellphone in the other. His eyes are closed to the sun. REUBEN Joyce, she's ninety-two. I'm all she has left. (beat) The wheelchair thing was an accident, she's having some trouble with the joystick. I'll adjust it. (beat) I told you, when her mouth hangs open like that, that means she's happy. (beat) I am. When are you coming over? (beat) (MORE) (CONTINUED) 6.10 CONTINUED: 10 REUBEN (cont'd) You're tired because you work too much. You don't have to work all the time. Don't you want to take a break? Those trays look so heavy. (beat) Of course. How could you ask that? (beat) Because when I heard you laugh, all my problems disappeared. A SHADOW crosses over Reuben's face, and Reuben squints open one eye. There, with the sun like an aura behind his head, is TERRY BENEDICT.11 INT. AMTRAK TRAIN -- DAY 11 Reuben is handed a bloody mary by the porter, who then continues on, bringing a glass of white wine to THE AMAZING YEN.12 INT. POOL -- DAY 12 Yen swims a strong, steady freestyle. Pull back to reveal that he is swimming in a 9' by 5' "Endless Pool" in his 15th floor Shanghai apartment. A HAND MOVES INTO FRAME and turns off the water current. Yen immediately slams into the end of his jacuzzi-sized pool. He lifts his head out of the water to SEE the POWER TWINS standing "poolside." He spits out a stream of invective, in Chinese. The Power Twins look at each other.13 INT. AMTRAK TRAIN -- DAY 13 Yen sets his magazine down and heads for the bathroom, where TURK and VIRGIL MALLOY are waiting in line. TURK The opening doesn't work. VIRGIL Duh. TURK She shouldn't have the same dream as Franklin. He's the antagonist. (CONTINUED) 7.13 CONTINUED: 13 VIRGIL It was your idea. TURK No it wasn't. VIRGIL Well, it wasn't mine. It couldn't be; it's too stupid. TURK Why do you do that? why do you have to get personal? VIRGIL It's not personal, it's a fact.14 INT. YOGA STUDIO -- DAY 14 VIRGIL and TURK MALLOY, in GTX lycra yoga gear lead a class (mostly female) through the vinyassa. The studio is mirrored on three sides. TURK It's personal. You don't argue logically. You attack. (to the class) Bring the right foot back even with the left, buttocks raised high.... (to Virgil) ...you have to have reasons, to support your argument... (to the class) ...flattening the back so the body forms a triangle. VIRGIL I can't listen to you anymore. It makes me physically sick. Turk looks to him, but also sees a GUY in the class staring at all of the women "raising their buttocks high". He indicates this to Virgil, who goes over to the guy. TURK Relax the crown of the head toward the floor. Draw the hips away from the hands, len--gthening the spine. And press the heels toward the floor. (CONTINUED) 8.14 CONTINUED: 14 Virgil steps on the guy's back and leans down to whisper in his ear. VIRGIL This a serious class. No pigs allowed. Okay? GUY Sorry. TURK Virge. Virgil stands up. Benedict and the Power Twins are standing right behind him. His expression changes as he sees them in the mirror.15 INT. AMTRAK TRAIN -- DAY 15 The Malloys and Yen are still waiting for the bathroom. TURK You're hallucinating. VIRGIL Yeah, whatever, OJ. Finally, the lock OPENS and RUSTY RYAN exits. We follow him to his seat, where he puts on a pair of headphones.16 TIGHT SHOT 16 Of molten metal bubbling in a small iron cask, a jeweler's cask. MOVE to REVEAL a GARAGE filled mostly with cars in some state of restoration FIND RUSTY as he painstakingly works on a new piece that is just BELOW FRAME. Whatever it is, it is clearly getting to him. He shakes his head; it's not right. It's just not good enough. Rusty glances at the digital thermometer attached to the cask of molten metal. It reads: 736.18 degrees. RUSTY You are kidding me. 9.17 INT. RUSTY'S CAR -- DAY 17 Rusty glances in his rearview as he drives through the city talking on his cell phone. He's keeping an eye on a white Cadillac that seem to be following him. RUSTY 736.18 degrees Fahrenheit, Felix. I watched it. FELIX (TELEPHONE V.O.) Rusty. What do you want from me? Rusty turns a corner, then glances in his rearview again. RUSTY I want what I paid for. FELIX And that's what I sent. RUSTY No, Felix, no. I paid for pure. And if my workshop were on top of Mount Everest it would be pure. But I'm at sea level, Felix, and at sea level it should liquefy at 736.95. If it's pure, that is. Which this isn't. Rusty makes another turn. A few seconds later, the Cadillac turns behind him. FELIX (TELEPHONE V.O.) Well, I didn't know you were going to liquefy it. Rusty pulls to a stop light. The Cadillac pulls up three cars behind him. RUSTY Let me ask you something: When Christo calls his cotton supplier and asks for 100% cotton cloth, do you think his supplier sends him 98% cotton and 2% polyester and when that doesn't work, says to Christo, "Well, you should have told me you were going to wrap the coast of Australia"? (CONTINUED) 10.17 CONTINUED: 17 FELIX Who's Christo? Rusty looks to the heavens. RUSTY Felix, you're in a shame spiral. Have your assistant lose my number. Rusty snaps his phone shut. RUSTY (cont'd) My god. Rusty looks into the rear view mirror and then slows the car to a stop. He gets out of his car and slams the door shut. He walks back to the Cadillac and knocks on the window. It rolls down electronically to reveal Benedict. RUSTY (contd) How long you gonna give us?18 INT. AMTRAK TRAIN -- DAY 18 Rusty continues to listen to his headset. We pan over to see FRANK CATTON seated opposite him.19 INT. RITZ CARLTON HOTEL, NEW YORK -- DAY 19 The penthouse apartment. It takes the entire floor and has a 360 degree view. Right now, all of the furniture inside of it is being taken away by movers. Frank enters frame. BENEDICT Four weeks. FRANK We stole that money fair and square. You bought people off to find me. You took advantage during an economic downturn, and made them say some shit they shouldn't have said. It's not fair, it's not just, and it aint' cool. A long beat. Benedict stares back at him. FRANK (cont'd) Did you hear what I just said? (CONTINUED) 11.19 CONTINUED: 19 BENEDICT I heard what you said, Frank. Did you hear what I said? Frank looks at Benedict and the Power Twins.20. INT. AMTRAK TRAIN -- DAY 20 Frank takes us to Livingston.21 INT. STAGE -- NIGHT 21 Livingston performs a stand-up routine. LIVINGSTON How many people here tonight were stupid enough to have children? A few people raise their hands. LIVINGSTON (cont'd) Wow. No, seriously, that's great. I have a child. A daughter. She's five. They get to you, right? Am I right? Like emotionally. I mean, sometimes she'll turn to me with her little face and her little shiny eyes, and she'll say, "Daddy, please stop hitting me," and it just breaks my heart.' People aren't sure what to make of this. LIVINGSTON (cont'd) I'm Livingston Dell. Thanks for listening. See you at ten. Livingston strides off stage as we see that he is at the Bellagio, in the lounge. Benedict and the Power Twins are waiting for him. Somehow he isn't surprised. LIVINGSTON (cont'd) (to Benedict) I appreciate you letting me finish my run. You've been very patient. BENEDICT What can I say? You're a funny guy. 12.22 INT. AMTRAK TRAIN -- DAY 22 Livingston takes us to Saul Bloom, reading the Racing Form.23 INT. THE WASPIEST IMAGINABLE MEN'S CLUB -- DAY 23 All dark wood and oriental rugs. MOVE across a row of oil paintings that flatter stodgy club members from the 1800s to the present. Land on Saul, sitting in window light that mimics the aforementioned portraits. SAUL What it is about horses? I ask you. Is it the strength? The beauty? The fearlessness? The grace? Of course. But there's something else. Something in the eyes. The person with him nods. SAUL (cont'd) Yes. When I look into a horse's eyes, I can tell: This one's a winner. A jacketed WAITER appears, holding a tray. WAITER Excuse me, Mr. Bloom? SAUL Yes? WAITER There appears to be a problem with your card. The waiter tips the tray to reveal Saul's credit card, which has been CUT INTO TINY PIECES. Without missing a beat, he reaches for his wallet. SAUL You take Visa? WAITER I was acting on instructions from your business manager. SAUL My business manager? (CONTINUED) 13.23 CONTINUED: 23 WAITER Mr. Benedict.24 INT. AMTRAK TRAIN -- DAY 24 Saul leads us to Basher.25 INT. RECORDING STUDIO -- NIGHT 25 Basher is putting the finishing touches on a song. A producer and engineer sit behind a huge mixing console. It's good-- Basher's really got something going here.26 INT. RECORDING BOOTH -- MOMENTS LATER 26 Basher is leaning over a thick legal document, and Benedict is leaning over him. The music has been turned off. BENEDICT Look at it this way...Eugene....if the album goes platinum it'll cover what you owe. And if the second one goes gold, that should cover the interest.27 INT. AMTRAK TRAIN -- DAY 27 Basher takes us to Linus.28 INT. CAR -- DAY 28 Linus looking from the front seat to the back, talking to Benedict. LINUS I'm responsible for myself. I have my own life and my own plans. I've never asked for anything but a fair shake. We make a deal, I stick to the deal. He turns forward, thinking. Then after a beat, he turns back to Benedict. (CONTINUED) 14.28 CONTINUED: 28 LINUS (cont'd) I just need to be absolutely clear that we have an understanding: If you contact my father, I'll kill myself, and you'll never get the rest of your money. Benedict nods. Linus turns forward and exhales, relieved.29 INT. AMTRAK TRAIN -- DAY 29 Linus takes us back to Danny. The train hurtles onward. CUT TO:30 ABSOLUTE BEDLAM 30 Reuben, Yen, the Malloys, Frank, Livingston, Saul, Basher, and Linus are all talking at once -- right at us. Right at Danny. And they are not happy. The group is in an abandoned WAREHOUSE somewhere near NYC. Danny is overwhelmed, like a deer caught in the headlights. He throws a desperate glance at Rusty, who's looking out the window serenely, letting Danny flounder.31 MOMENTS LATER 31 Total silence. Everyone just stares at Danny, waiting for an answer. DANNY How many can't make the deadline? Everyone raises their hands except Reuben. REUBEN (off their looks) So I'm smarter than those schmucks on Wall Street. Whose fault is that? Fair enough. DANNY How many think if they run, they'll be found? (CONTINUED) 15.31 CONTINUED: 31 Everyone raises their hands. Including Reuben. Danny gets up, walks over to Rusty. The rest of the guys shrug and begin talking amongst themselves. After a long beat. DANNY (cont'd) Well, the only other-- RUSTY We're on the five o'clock. DANNY Good. A beat. DANNY (cont'd) Where? RUSTY Amsterdam. Danny steps back. DANNY AMSTERDAM!? Danny's tone draws everyone's attention. Noticing this, Danny and Rusty move into a nearby dilapidated office doorway. The guys go back to talking, mostly about what they were doing when they were found. This rises steadily in volume until the din is obliterated by a LOUD VOICE: DANNY (cont'd) I'M TELLING YOU THIS IS A DEATH SENTENCE! RUSTY FINE, THEN STAY HERE! The guys exchange glances. Danny walks over to them and sighs. CUT TO: 16.32 INT. AIRPORT TERMINAL -- TICKETING AREA 32 Livingston hands his passport to a KLM AGENT. LIVINGSTON Flight 144 to Amsterdam. JUMP CUT TO the agent handing Livingston his boarding pass. KLM AGENT You're in seat 43J. Enjoy your flight. LIVINGSTON Uh...there must be some mistake. I mean...unless...is your first class section in the back of the plane? The agent looks back at him, confused. KLM AGENT No. JUMP CUT TO the agent handing Linus his boarding pass: KLM AGENT (cont'd) 32E. CUT TO the agent handing Virgil and Turk their tickets. KLM AGENT (contd) 41C and D. JUMP CUT TO the agent handing Saul his boarding pass: KLM AGENT (cont'd) 55K. SAUL Fifty-five K? There's a fifty-five K? KLM AGENT We've increased capacity by employing advanced design technology. SAUL You made the seats smaller. Can you just say that? You made the seats smaller. (CONTINUED) 17.32 CONTINUED: 32 JUMP CUT to show Frank: FRANK See, you're not hearing me. What I'm trying to tell you is the reservations agent made a mistake when she issued the ticket, because on the rare occasions that I fly commercially, I always book a first- class ticket with no restrictions-- The desk agent looks back at him skeptically. KLM AGENT She may have, air, but this is the only ticket available to you on this flight. I need you to step aside so I can take care of the next customer. FRANK Now, listen: Don't make me get black.33 INT. SECURITY AREA 33 Frank stands with his arm outstretched, shoes and belt off. Two TSA officers run metal detecting wands over every inch of his body. Three more guys pick through his luggage: they squeeze toothpaste from his Sensodyne tube, sniff his hair products, unroll his "tighty-whitey" briefs.... PAN to REVEAL that Basher is getting the exact same treatment, right next to him. They exchange looks. REVERSE ANGLE: the rest of the group stands sipping iced lattes from Starbucks and watching the show. Reuben walks up. DANNY Reuben. REUBEN I wanted to wish you luck. And listen: I want to do something for you. Reuben hands Danny an envelope. DANNY What's this? (CONTINUED) 18.33 CONTINUED: 33 REUBEN Take it. Take it. This is the least I can do. I've got a friend who owns the Bellagio of Amsterdam and I've made reservations for all of you there. It's all taken care of. RUSTY That's very touching, Reuben. REUBEN It's the least I could do. I love you guys. Enjoy. Yen says something in Chinese. REUBEN (cont'd) No, thank you.34 INT. 747 -- NIGHT 34 Yen sits in First Class, playing an in-seat video. Virgil and Turk kneel on either side, watching his progress. VIRGIL Nice. TURK Great anticipation. FLIGHT ATTENDANT Gentlemen, you'll have to go back to your seats now. Reluctantly, they do. We follow them back to coach, where they pass Linus, talking to himself. LINUS Ground level. First floor. Day one. Planning stages. (beat) Planning stages. We move on to find Livingston, who grabs Turk by the arm. LIVINGSTON How'd he get that seat? TURK What seat? (CONTINUED) 19.34 CONTINUED: 34 Turk moves on, taking us past a sleeping Saul and landing on Danny and Rusty, who watch a movie with fixed expressions. A reverse angle shows us that the video screen is twenty rows away--it is impossible to discern any detail at all. Rusty takes his headphones off and exhales. Danny notices this and does the same. After a beat: RUSTY Call me an elitist asshole, call me a bourgeois clown, call me anything you want, but 'economy' is bullshit. DANNY Oh, I don't know...it's not that ba- The guy in front of Danny moves his seat back suddenly and spills Danny's drink all over Danny's lap. Linus approaches Danny and Rusty. LINUS Hey. You guys have a minute? DANNY Sure, Linus. RUSTY What's on your mind? LINUS Well, I know this may not be the exact right time to bring this up, but I've been thinking about...well, about where I want to be in five years, career-wise, and I've decided I really want to be more than just a role-player. I really see myself as kind of an idea man, like you guys. I mean, I know you do your part and you're in the trenches with us and all, but it's really your show, and like I said, five years from now, I want to be running my own show.... Danny and Rusty exchange a look...then look back at Linus. DANNY RUSTY Uh-huh. Right. (CONTINUED) 20.34 CONTINUED: (2) 34 LINUS So if there's any opportunity for me to be involved in the, you know, planning stages of things, I would really appreciate it. I really feel like I'm ready for more responsibility and that I could really make a contribution. Rusty turns to Danny. RUSTY Are you thinking what I'm thinking? DANNY Evelyn. RUSTY (to Linus) We're negotiating the terms with her tomorrow. You feel up to taking the lead? LINUS Are you serious? DANNY Absolutely. LINUS This isn't some gag? RUSTY No gag. LINUS Wow. Yeah. That would be awesome. DANNY Okay, then. LINUS Man. I wasn't sure if I should say anything. Now I'm glad I did. DANNY So are we. RUSTY We're here to listen. (CONTINUED) 21.34 CONTINUED: (3) 34 LINUS Great. Thanks. Really. You won't regret this. Linus leaves. Danny and Rusty put their headphones back on. Now they look content. Basher and Frank watch Linus go. BASHER Tom. SAUL He can be a Tom? BASHER Anybody can be a Tom. SAUL You gotta make your own opportunities. This ain't a rehearsal. BASHER Tom. Saul chews his economy class trail mix. SAUL Boy, you're tough. BASHER Stop calling me "boy". Saul stops chewing. They look at each other. CUT TO:35 EXT. AMSTERDAM -- DAY 35 Establishing shots of the city.36 EXT. RED LIGHT DISTRICT -- DAY 36 The group makes their way down a damp cobblestone street. They stop in front of a window and look up. REVERSE ANGLE (CONTINUED) 22.36 CONTINUED: 36 They have stopped in front of a narrow townhouse that has been converted to a hotel. The sign says "Bellagio of Amsterdam."37 INT. BELLAGIO OF AMSTERDAM -- DAY 37 A single room with 12 bunks in it. Their noses are wrinkled up because the place stinks. LIVINGSTON How could he lie to us like that? RUSTY The sign said 'the Bellagio of Amsterdam'. Everyone looks at each other and turns to leave. LINUS (?) Wait a minute. That's it? DANNY Yeah. LINUS Look, you guys no frills, no perks, run-and-gun, all that stuff, and I said no problem because I believed you were right that we shouldn't go deeper into debt and spend money we don't have. I mean, am I the only one who thinks this might actually be a good thing? That we could use a little humility? That maybe we were a little too pleased and impressed with ourselves after the Benedict job? Okay, I grant you that maybe this isn't what we deserve, but maybe it's what we need. We can do this. No, I take it back: We have to do this. A long beat. CUT TO:38 EXT. AMSTERDAM'S FINEST FIVE-STAR HOTEL 38 Four black mercedes skid to a stop outside Amsterdam's finest five-star hotel. (CONTINUED) 23.38 CONTINUED: 38 Everyone emerges with big smiles on their faces. Everyone except Linus. He scowls, yanks his bag back from the hotel doorman who rushed over to take it for him.39 EXT. CONVENIENCE STORE, UNITED STATES -- DAY 39 Tess enters and buys a phone card.40 EXT. PHONE BOOTH -- DAY 40 Tess talks to Danny. Across the street, a BLACK SEDAN is parked. TESS What are you doing in Amsterdam? DANNY (PHONE V.O) Only what I have to do to get Benedict off our backs. TESS Be careful, Danny. Please. DANNY How's work? TESS It's the same. I'm distracted. DANNY I'm sorry. TESS It's not your fault. DANNY (TELEPHONE V.O.) I keep trying to figure out what I did wrong. How did he find us? Tess can't bring herself to tell Danny the truth, that it was entirely her fault. TESS Danny, don't keep thinking about it. DANNY (TELEPHONE V.O.) I did something wrong. He should never have found us. (CONTINUED) 24.40 CONTINUED: 40 TESS I'll call you tomorrow. I love you. DANNY I love you.41 INT. AMSTERDAM HOTEL SUITE -- NIGHT 41 Danny hangs up the phone and site. CUT TO:42 INT. HOTEL -- NIGHT 42 In other rooms, the guys get themselves settled in. Each takes a step toward personalizing their suite.43 EXT. AMSTERDAM COFFEE HOUSE -- DAY 43 Danny and Rusty lead an obviously eager Linus towards a coffee house. RUSTY She'll try and use her looks to distract you. Don't let her. DANNY Be polite, but firm. LINUS Right. RUSTY Don't get soft on us. Don't make too many concessions. LINUS I won't. Danny and Rusty nod. Okay.44 INT. COFFEE HOUSE -- CLOSE ON EVELYN. 44 Who is obviously a MAN IN DRAG. Linus looks to Danny and Rusty but they give him nothing. (CONTINUED) 25.44 CONTINUED: 44 EVELYN The onset of summer is like a woman who owns too many shoes. She/He looks to Linus, who looks to Danny and Rusty. DANNY (bailing Linus out) If animals were capable of flattery, the World Bank would be open until 8pm. EVELYN When I was four years old, I saw my mother kill a spider with a tea cozy. Again, the Evelyn looks to Linus, who has nothing to say. RUSTY A doctor who specializes in skin diseases will dream that he has fallen asleep in front of the television. Later he will wake up in front of the television but not remember his dream. Evelyn nods and looks to Linus, as do Danny and Rusty. He furrows his brow, then speaks: LINUS O let the sun beat down upon my face, stars to fill my dreams. I am a traveler of both time and space, to be where I have been. Danny and Rusty stare at Linus like he's nuts, like he's just cracked. Evelyn's entire expression changes. EVELYN Your young friend has a great deal to learn about respect. She/He puts his/her drink down and walks to another part of the establishment. DANNY Linus...why don't you wait outside. Rusty and Danny follow Evelyn and quietly console him/her. 26.45 EXT. COFFEE HOUSE -- AFTERWARD -- DAY 45 Linus cools his heels. Danny and Rusty emerge from inside. DANNY Is that your idea of making a contribution? RUSTY Her terms were scandalous. And we were lucky to get them after what you said. DANNY The deal was this close to being blown. LINUS "Deal?" What "deal?" Danny and Rusty just look at him. LINUS (cont'd) I know what you guys are doing. Danny and Rusty exhange looks. What? LINUS (cont'd) Look. That...person had too many cupcakes. They just keep staring at him. LINUS (cont'd) I was playing along. RUSTY "Playing along!" DANNY You called her mother a whore. RUSTY A really cheap one. LINUS Guys, I'm not falling for this. I'm not.... But Danny and Rusty aren't laughing. They look pissed. Seriously pissed. (CONTINUED) 27.45 CONTINUED: 45 LINUS (cont'd) I mean... Danny and Rusty just look at him. Linus squirms. LINUS (cont'd) I called her mother a whore?46 INT. AMSTERDAM HOTEL SUITE -- NIGHT 46 Danny and Rusty explain the job to the group. RUSTY It's a privately owned home. But don't let that fool you. It's extremely well-protected. A photo of a four-story canal house is displayed on a flat screen connected to Livingston's computer. SAUL What are we after? DANNY A document. A very old, very valuable document. A photo labeled "The Vanderspeigle Getuigschrift" is displayed on screen. VIRGIL What is it? RUSTY A stock certificate. DANNY The first one ever issued, from the first corporation on the planet. The Dutch East India Trading Company. It's the only one of it's kind and it's worth a boat-load. TURK What's our cut? RUSTY 2.7 million after expenses. A beat. Turk seems confused... (CONTINUED) 28.46 CONTINUED: 46 TURK Each? VIRGIL Who negotiated this? Danny and Rusty look at Linus, LINUS Thanks. LIVINGSTON What do we know so far? DANNY There's a dummy key pad by the front door. (points to a diagram) But the alarm is really controlled by the keypad in Mr. Vanderspeigle's second floor office. Now, here's good news: we already know the system's master code. Evelyn gave it to us. FRANK That's not good news, that's really good news. VIRGIL We just wait until he leaves. DANNY Yeah, well...that's the bad news. RUSTY He doesn't. Frank flinches. Doesn't like what he's hearing. DANNY He's agoraphobic.47 AMSTERDAM PLANNING MONTAGE 47 Shots of their mark, Vanderspeigle, being an agoraphobic weirdo. LIVINGSTON So he's never been out of his house? Ever? (CONTINUED) 29.47 CONTINUED 47 RUSTY (V.O.) Not once since he moved in ten years ago. SAUL (V.O.) Doesn't this guy believe in fresh air? RUSTY (V.O.) Cracks his windows at night...that's about it. When Vanderspeigle cracks his window we see that locking pins fall into place to prevent the window from opening more than a few inches. LIVINGSTON (V.O.) Can we tap into the system from the outside through the phone lines? RUSTY (V.O.) Negative. It's a closed-loop system with two redundant servers locked into titanium cases in the guy's bedroom.47A We SEE the servers in Vanderspeigle's bedroom. 47A BASHER (V.O.) Could we use a remote device to trigger the panel? DANNY (V.O.) It's hard-wired and shielded.48 INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) 48 TURK Guys, am I missing something here? We know his damn code, right? You're telling me with that much information we can't find a way into this freak's house? Frank flinches again. He seem to be reacting to the term "freak." TURK Can't we just get a telephone repair truck... 30.49 AMSTERDAM PLANNING MONTAGE (CONTINUOUS) 49 TURK (V.O.) ...put the basket up and use a telescoping rod through the open window to tap out the guy's code? Turk's idea plays out as it is in his MIND'S EYE, until: RUSTY (V.O.) The street in front of the house is blocked off to vehicles. DANNY (V.O.) And it's covered by five independently-wired surveillance cameras.... RUSTY (V.O.) Monitored 24-hours a day by a security company. We SEE the security arrangements they describe.50 INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS) 50 SAUL God, this guy really is a freak. BASHER Crazy freak. Frank reacts again to the term "freak." It really bothers him. Danny notices. DANNY Something wrong? FRANK Just...don't call the guy a freak, okay? Everyone turns and looks at Frank like he's a freak. FRANK (cont'd) What? The entire room is staring at him. (CONTINUED) 31.50 CONTINUED: 50 FRANK (cont'd) What?! I mean, am I the only one here who feels funny about stealing from a...a...handicapped guy? Danny looks to one side of the room...then the other. DANNY Yeah. The rest of the room agrees. Matter closed. Everyone just turns back to what they're doing. DANNY (cont'd) Okay, so we know what we can't do... Frank stews. DANNY (cont'd) Time to think outside the box, guys. A beat. Everyone thinks. Then: LINUS Okay, here's something...I've got an idea...suppose we-- RUSTY No. LINUS Well, but how-- RUSTY There's a Goldmann Grid over the enitre surface. Linus looks at him. RUSTY (cont'd) Is that what you were thinking about? Linus nods. DANNY (sudden idea) But.... (CONTINUED) 32.50 CONTINUED: (2) 50 RUSTY --Well, that's different. Especially if we-- Rusty makes a circular motion with his finger and then stops it with his other hand. DANNY Right. LINUS What? RUSTY (quick aside to Linus) A Schuman Special. (then to Livingston) Livingston-- LIVINGSTON Absolutely. I mean, I'd need a day to-- RUSTY You'll have three. Basher? BASHER No worries. RUSTY Virgil, Turk. VIRGIL. Just gotta get the gear. TURK Sweden. RUSTY Yen? Yen says something in Chinese. RUSTY (cont'd) What, and give up show business? Saul-- SAUL I know, I know. I'll be bored. You'll be fine. (CONTINUED) 33.50 CONTINUED: (3) 50 RUSTY Clock's running. Everyone gets up and leaves. Within seconds, Linus is alone, standing in the middle of the room. LINUS What's a Schuman Special?51 INT. HOTEL SUITE -- THE PLANNING SESSION -- NIGHT 51 Livingston uses a mock up of the alarm panel as a visual aid. LIVINGSTON (to Basher) Your shot has to hit directly above the keypad.52 AMSTERDAM PLANNING MONTAGE (CONTINUOUS) 52 We see Basher rehearsing the shot. He can't get a clear shot of the target. In fact, he can't see it. He turns to Saul. BASHER Let me see the specs. Saul pulls a well-worn copy of the alarm system blueprint. Basher goes to the height of the alarm keypad in the bedroom. It's 4' 10". BASHER How tall is the surface of this roof? SAUL About 87 feet. BASHER How tall exactly?53 INT. HOTEL SUITE -- DAY 53 Danny looks at a diagram of the safe they'll have to crack when they get inside Vanderspeigle's house, the safe that contains the "Vanderspeigle Getuigschrift". Everyone but Linus and Rusty are here. But then Rusty comes in. (CONTINUED) 34.53 CONTINUED: 53 RUSTY You're not going to believe this. DANNY Try me. RUSTY We don't have line-of-sight. DANNY What? RUSTY We tried everywhere. Some places we're only three or four inches off...but...there's no straight shot. Even with Basher. It's literally impossible. Linus enters, out of breath. Seeing everyone, he goes to Danny and Rusty. LINUS Can I talk to you guys for a second? They nod and allow Linus to pull them into the corner. Linus looks over at the group and then turns to 'them. LINUS Listen, I've done a little research on the Schuman Special, and uh...we don't have line of sight for the shot. DANNY What? RUSTY Jesus. This'll kill us. DANNY (to Linus) Listen: Don't say anything. If you're ever going to run your own crew, you've got to remember to never show weakness. RUSTY It's like blood in the water for these guys. (CONTINUED) 35.53 CONTINUED: (2) 53 DANNY If they think you're slipping, you won't even see it coming. Linus swallows. RUSTY But hey--thanks. Linus nods and goes back to the group. RUSTY (to Danny) I need some air.54 EXT. CANAL -- DUSK 54 Rusty and Danny walk along the adjacent road. DANNY The Swinging Priest? RUSTY Not enough time. DANNY Crazy Larry. RUSTY Too many variables. DANNY Robinov's Revenge? RUSTY Too many obstacles. DANNY The Soft Shoulder. RUSTY Not enough people. DANNY Baker's Dozen. RUSTY We'd need a woman. DANNY Hell in a Handbasket. (CONTINUED) 36.54 CONTINUED: 54 RUSTY Can't train the cat that quickly. DANNY I can't have my wife watch me hauled off in handcuffs again. RUSTY It's always about you, isn't it? DANNY This like running toward a cliff. Speaking of which, how's Isabel? RUSTY I have no idea what you're talking about. DANNY You get the tattoo removed? RUSTY Given its location, my doctor advised against it. Rusty stops walking. Danny continues, then notices he is alone. He turns back to Rusty. DANNY What are you doing? RUSTY We're here. DANNY Oh. As Danny and Rusty enter the hotel, Rusty trips on the steps. DANNY Nice. Rusty bends down to look at the step. He notices that one tile on the edge of the stop has lost some mortar. He touches the tile and watches the lip rise up and down, up and down, as though it's cantilevered.55 THE GROUP STARES INTO CAMERA 55 SAUL You want to do what? (CONTINUED) 37.55 CONTINUED: 55 REVERSE to REVEAL Rusty and Danny. RUSTY Tilt it. Raise it slightly. SAUL The whole house? RUSTY It's only a few inches. BASHER Then I'll have line-of-sight. FRANK We can't tilt a whole house. VIRGIL They did it with the Leaning Tower of Pisa. RUSTY Exactly. SAUL It took three hundred guys two years to do that. You're crazy. Nobody's ever done anything like this. RUSTY Not true. Palowski did it in `64 in Venice and `73 in Istanbul. SAUL Really? LIVINGSTON And he only had a crew of six. RUSTY There are thirty pylons. We cut them, insert the jacks, and crank. BASHER For nineteen hours. Here's the order in which they have to be done. 38.56 EXT. VANDERSPEIGLE'S HOUSE -- NIGHT 56 It is pouring rain. From across the canal, we MOVE towards Vanderspeigle's house, favoring a barge moored just out front. Then, instead of moving over the barge, we PUSH THROUGH its hull to--57 INT. BARGE HULL 57 FIND Frank and Livingston inside manning a series of industrial water pumps. They're grimy and covered in sweat. Rain drips through the deck above them. LIVINGSTON So, Basher approached me about being on a crew. FRANK When? LIVINGSTON Yesterday. Frank thinks about that. Yen pops his head out from a small tube and says something in Chinese. Frank shrugs...doesn't understand. Yen tries again.... This time he enunciates very clearly and talks very loudly (like Americans do when foreigners don't understand English). Frank nods, starts turning the handle of the water pump in the opposite direction. Yen climbs down out of the tube. Then he climbs back up the tube. He picks up a jack in the corner. Climbs back in the tube.58 INT. UNDER VANDERSPEIGLE'S HOUSE - NIGHT 58 We FOLLOW him as he climbs through the tube and emerges underneath Vanderspeigle's house, inside its foundation. The thirty pylons extend from the base of the house into the into the swamp it sits atop of. There is little space between the swamp level and the house. Runoff from the rain outside drips everywhere. (CONTINUED) 39.58 CONTINUED: 58 FIND Danny and Rusty struggling to place a hand-cranked jack into a freshly cut space in one of the timber pylons. They are covered in muck and grime RUSTY The good news is, after the first twelve hours, I stopped being able to smell anything. DANNY Took a few more for me. RUSTY This water was stagnant six hundred years ago. FIND the Malloys, thirty feet away, using a fancy underwater saw to cut a space in another pylon. Because the cutting is taking place underwater it is extremely quiet. VIRGIL There's no reason for him not to. He would go to the cops. TURK Okay, so he goes to the cops. VIRGIL Then they arrest Dominique. TURK. Right. VIRGIL Then we have no story. TURK Right. LINUS She steals the money from Mr. Mulroney. They turn to look at Linus, sawing nearby. TURK What? VIRGIL Why would she? (CONTINUED) 40.58 CONTINUED: (2) 58 LINUS To pay Franklin to keep quiet. Turk and Virgil think about that. Linus keeps sawing. TURK That's good.59 INT. APARTMENT ACROSS FROM VANDERSPEIGLE'S HOUSE -- NIGHT 59 Basher and Saul sit in big cushiony chairs. SAUL Counterfeiting? Me? (beat) I have to tell you, it's not something I condone. It's cheating. BASHER It is cheating. SAUL There's no subtlety to it. BASHER It's kind of embarrassing. SAUL No one I know... BASHER I can't imagine anything like that. A long beat. Then each of them reach into their jackets and produce $20 bills. They exchange and examine the bills closely by eye. Satisfied, they trade them again and return them to their coat pockets. SAUL Not bad. BASHER Bolivia. SAUL Diego's people? BASHER Yeah. (CONTINUED) 41.59 CONTINUED: 59 SAUL Well. Congratulations. BASHER I told him about you. SAUL I'm too old. That's dangerous. My stuff is cheap compared to that. It's just me and my gal, you know. What you're talking about is organized. But thanks, anyway.60 INT. APARTMENT -- NIGHT 60 Frank sits watching TV. Livingston enters with groceries. FRANK Jay Leno called. LIVINGSTON When are you gonna stop with that tired "white people can't be funny stuff"? It's so old, Frank, really. Do you want some orange juice? I got the good kind. Just then they are interrupted by Danny's voice on a walkie- talkie. DANNY (V.O.) Augie One, this is Condor.61 UNDER VANDERSPEIGLE'S HOUSE 61 Rusty turns to Danny. LIVINGSTON (V.O.) This is Augie One; Go Condor.62 INT. APARTMENT -- NIGHT 62 DANNY (V.O.) We're fully cranked here. Let's go to phase two. Livingston and Frank look at each other. (CONTINUED) 42.62 CONTINUED: 62 FRANK Bring that orange juice.63 EXT. ROOF -- NIGHT 63 Basher sets up his gear again. This time, when he raises the crossbow to check his shot, HE CAN SEE THE KEYPAD. Just barely. He steadies himself. Saul knows that he's ready to take the shot. He speaks into a walkie talkie. SAUL This is Gatsby. We're green here. Basher aims. The INSTANT he fires the shot we CUT TO:64 INT. EUROPOL HEADQUARTERS -- THE HAGUE -- DAY 64 A MALE SECRETARY (HESS) rushes through Europol's extraordinary Richard Meier-designed headquarters.65 INT. AUDITORIUM -- DAY 65 Europol Agent ISABEL LAHIRI gives a presentation to seventy- five of her colleagues. With her on stage are a couple of seated HIGHER-UP TYPES. She's nervous. ISABEL Let's discuss, briefly and to begin, with the category of "thieves", as distinguished from the larger category of what might be termed "hardened" criminals. The highest level, "master thieves," if you will, is a very small world. Between six and ten high-level crews are operating in Europe at any given time. Worldwide, no more than twenty. The most famous, Gaspar LeMarc, is either dead or retired, and the expectation is that no one will replace him. The good news is the trend is toward their extinction. (CONTINUED) 43.65 CONTINUED: 65 The secretary enters the auditorium and walks toward the podium. ISABEL For example: Anecdotal evidence suggest these people are personally insufferable. The Higher-Ups look at each other; what did she just say? ISABEL Their egos demand constant praise, and they embellish their exploits to anyone who will listen. They tell their own stories endlessly, provided of course, they are talking to a fellow thief or an intimate. Many in the audience are now looking to each other, wondering if this is appropriate. ISABEL Those who interact with them on a personal level are relegated to positions of total servitude, with no chance for growth or freedom. Their lives are treated as secondary. Many of them suffer from depression. It's a crime for which there is no law, and yet causes untold damage. One of the Higher-Ups convinces the other to say something, but by now Hess the Male Secretary has reached Isabel and interrupts her by whispering into her ear. She balances. ISABEL (cont'd) (amplified by the lectern mic) WHAT?66 INT. EUROPOL HEADQUARTERS -- LONG SHOT -- DAY 66 Isabel and Hess walk briskly through the ultra-modern hallway. He briefs her as they walk in a hushed voice. Then something he says stops her in her tracks. Hess continues to explain something we can't hear. Then he pulls out some PHOTOS. Isabel leafs through them. (CONTINUED) 44.66 CONTINUED: 66 ISABEL That's impossible!67 EXT. VANDERSPEIGLE HOUSE -- CRIME SCENE -- DAY 67 Isabel arrives and is greeted by PAUL, a lead detective working the Vanderspeigle theft for the Amsterdam police department. PAUL Thanks for coming. We can really use your help on this one. His partner looks over at Isabel, who is wearing a skirt and pretty damn good shoes. The guy checks out her legs and looks away. ISABEL I hope the scene hasn't been contaminated. Isabel walks away. Moments later, she enters the house with the lead detective.68 INT. VANDERSPEIGLE HOUSE - DAY 68 As soon as she's inside she's all business. ISABEL No forced entry. PAUL Not that we can find.69 UPSTAIRS -- VANDERSPEIGLE'S HOME OFFICE 69 Isabel looks around Vanderspeigle's home office. Behind a fake bookcase is a small room which contains the safe. In the other direction is Vanderspeigle's bedroom. PAUL (nods) We can't figure out how they disabled the alarm. We thought maybe they tried to short it out somehow. (CONTINUED) 45.69 CONTINUED: 69 ISABEL No, that would have triggered the system. Isabel goes to the alarm pad. Pulls the face plate off, examines the inside. ISABEL (cont'd) And damaged the circuits. PAM Well, then I don't know how they got in. ISABEL They had to have known the code. She moves on to look in the mark's BEDROOM. PAUL (calls to her) We considered that, but the mark swears that nobody in the world knew the code except him. He programmed the last seven steps of the system himself. He set it and never left the house again. When he dies, we'll probably have to physically cut all the power lines to the house to get it off line. Isabel examines the computer brain of the alarm system which was locked inside a titanium case in Vanderspeigle's bedroom closet. She answers the detective almost as an afterthought. ISABEL There are other ways to get the code. (to herself) Closed loop. Redundant servers. Titanium encasement. Not bad. The lead detective enters the bedroom. PAUL Like what? Again, Isabel is inside her own mind. She's really just answering the detective's questions out of courtesy. (CONTINUED) 46.69 CONTINUED: (2) 69 ISABEL Uh...well, they probably set up in a house across the canal and watched him type the code in through a pair of binoculars. We GO WITH HIM as he walks back into the office. He stands at the alarm panel and pretends to type in the code. He twists around and looks out the window behind him. PAUL (calling to Isabel in the bedroom) Actually, I don't know about that. Isabel re-enters the office. PAUL (cont'd) Unless he had a habit of typing in the code like this-- He stands to the side of the panel and reaches over to type in the numbers. It's an obviously unnatural position. Then he moves in front of the panel and types in the code as one normally would. PAUL (cont'd) --then his body would block the view from across the canal. ISABEL That's why they probably set up over there-- She points out an adjacent window on another wall. ISABEL (cont'd) --And used the mirror. She points at a small mirror on the opposite wall. The detective bends down so his eye is at the level of the keypad, then he looks in the mirror. He can see directly across the canal into another house. ISABEL (cont'd) I'm guessing they'd need a fifteen hundred millimeter lens to get a clear shot but-- But Isabel's already moved on. Something has caught her attention just above the alarm panel: a patch of paint that is shinier than the paint that surrounds it. (CONTINUED) 47.69 CONTINUED: (3) 69 Isabel puts her finger to her tongue to wet it, then touches the shiny area. When she pulls her finger away there is paint on it. Isabel cocks her head.70 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 70 A black-clad thief (LINUS) uses a paint brush to touch up the wall above the alarm keypad.71 BACK TO SCENE -- THE CRIME SCENE 71 The lead detective watches Isabel intently. PAUL What is it? Isabel uses the blunt end of a letter opener from Vanderspeigle's desk to gently dig at the wall under the paint. The plaster there is soft and wet. In fact it isn't plaster at all. It's spackle. PAUL (cont'd) What is that? Isabel cooks her head again.72 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 72 THUNK! A crossbow bolt hits the wall above the alarm panel.73 BACK TO SCENE -- THE CRIME SCENE 73 ISABEL It's where the crossbow bolt hit. PAUL A crossbow bolt? ISABEL Ever heard of Franz Schuman? PAUL No. (CONTINUED) 48.73 CONTINUED: 73 Isabel is at the window. The one that Vanderspeigle leaves cracked open every night. Isabel looks across the canal at the apartment where Basher and Saul were playing cards. ISABEL They would have fired from that roof. Through this open window. Isabel kneels down, checks the line-of-sight to make sure she's correct. PAUL From that roof, through this window? Nobody could make a shot like that. ISABEL Not a cop, anyway. PAUL What's that supposed to mean? ISABEL Sorry. Your friend downstairs put me in a bad mood. PAUL He's an idiot. You shouldn't let him bother you. ISABEL Yes. You're right. Isabel pulls out a notepad and writes the name: "Eugene `Basher' Tarr." There are two names above Basher's in her little book: "Robert Ryan" and "Danny Ocean." ISABEL (cont'd) But these man are exceptionally good. Even when they make mistakes.74 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 74 A bolt flies through Vanderspeigle's open window and hits the wall above the alarm pad. Two thin wires are attached to a tiny wheel, which is attached to the back of the bolt. The wires run back to the window of the apartment across the canal. Inside that apartment: the wires end in another tiny wheel which is mounted on a large tripod for stability. (CONTINUED) 49.74 CONTINUED: 74 In effect the group now has a mini-clothesline running between the alarm pad and the apartment across the canal. Livingston attaches a device designed to fit directly over the number pad of Vanderspeigle's keypad to the "clothesline" that runs across the canal.75 BACK TO SCENE -- THE CRIME SCENE 75 Isabel writes: "Livingston Dell?" Underneath Basher's name in her notebook.76 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 76 Livingston's device is shuttled across the canal, through Vanderspeigle's cracked window and right to the alarm panel. Magnets on the side of the device cause it to snap into place over the top of the keypad. Livingston then types a six- digit code into a remote keypad. His keypunches are mimicked by the remote device. Vanderspeigle's alarm shuts off. Downstairs: From inside we see the front door lock picked. The door swings open.77 BACK TO SCENE -- THE CRIME SCENE 77 Isabel nods her head. There's a slight smile on her face. The smile of admiration, respect in another's skills. ISABEL When did he get up and notice the certificate was gone? PAUL The alarm woke him at 4:2O am. ISABEL But the alarm would have been-- She stops. And smiles to herself. ISABEL (cont'd) Oh... Oh, I know what happened. PAUL What? Isabel quickly glances around the room. Her eye lands on the floor near the false bookcase. (CONTINUED) 50.77 CONTINUED: 77 On some dark lines in the crevices where the floor boards meet. She kneels down for a closer look. ISABEL There was someone else. PAUL Someone else.78 MIND'S EYE (ISABEL) -- THE NIGHT BEFORE 78 Danny and Rusty come through the front door. They are followed by Linus. All of them are soaking wet from 24 hours in the swamp under the house, and the last few minutes in the pouring rain outside the front door. The group silently slips up the stairs. ISABEL (V.O.) Oh, I wish I could've have seen that.79 INT. VANDERSPEIGLE OFFICE - NIGHT 79 They enter Vanderspeigle's office. You can hear him snoring in the other room. Danny and Rusty quickly, carefully remove the crossbow bolt from the wall and take it to the window. They drop it (and the attached wires) to the Malloys, who are waiting on the street below. Meanwhile Linus spackles the hole in the wall and paints over the spackle. Danny and Rusty turn to see that Linus is finished. They hand-signal each other like Special Forces guys do, then move towards the bookcase on the adjacent wall. ISABEL (V.O.) That must have really been something. Suddenly: DANNY Wait! Wait! Shhhh! Everyone freezes. Danny puts his hand up to his ear to try to listen for the sound he thought he heard. We hear the faint sound of somebody singing to themselves. Danny and Rusty quickly realize it's coming from behind the bookcase. What the hell? (CONTINUED) 51.79 CONTINUED: 79 They yank open the false bookcase to reveal a handsome Frenchman who has just finished cleaning out the contents of Vanderspeigle's safe. Danny and Rusty stare at him. He turns around and sees them, but if he's bothered in the slightest he sure isn't showing it. Danny approaches him. This exchange is whispered with a great amount of drama at very close range. DINNER JACKET Can I help you? DANNY Yeah. What the hell are you doing? DINNER JACKET I am getting here first. Just then, Frank and Yen arrive. The Frenchman looks them over. RUSTY This is our score. DINNER JACKET I am here before you. FRANK (joining) We let you in the house! Somehow you got in after we hit the code but before we got to the door. DINNER JACKET That's thirty seconds. How could I know which exact thirty seconds I had? Unless I knew you plan. Could I have known your plan? Do you have a snitch in your group? DANNY No. RUSTY We don't. DINNER JACKET Yes, I know you don't. Because I saw, the whole thing from that chair. I knew you were around, but I had my own plan. Yen says something in Chinese. (CONTINUED) 52.79 CONTINUED: (2) 79 DINNER JACKET There's really no need for that. Danny wants to raise his voice, but he can't. Vanderspeigle is snoring twenty feet away. DANNY Listen, we have to come to some arrangement. LINUS We've incurred some very serious costs here. Danny and Rusty look at him. LINUS Well, we have. The Malloys arrive. DINNER JACKET Every second I am becoming more outnumbered. VIRGIL (whispering, re: Dinner Jacket) Who's this? FRANK He said he got here first. VIRGIL That's bullshit. RUSTY Hey. Mouth. VIRGIL This is our goddamned job! He sounds as angry as a guy who's whispering can sound. LIVINGSTON If the situation were reversed-- DINNER JACKET But the situation is not reversed. The situation is that I am here first, without any help from you. (CONTINUED) 53.79 CONTINUED: (3) 79 Livingston arrives, soaking wet like everyone else. DINNER JACKET So as much as I would-- Basher and Saul arrive. DINNER JACKET Jesus, how many of you are there? DANNY Just give us the stock certificate. Whatever else you took out of that safe...it's yours. Dinner Jacket stops. Thinks for a moment. Then: DINNER JACKET No. But: I leave you with something. He hands Danny a business card. DINNER JACKET My attorney. In case Evelyn's employer tries anything...well, anything. Dinner Jacket smiles, then pulls a tiny electronic device out of his shirt pocket. He presses a button. And the alarm blares to life.80 BACK TO SCENE -- THE CRIME SCENE 80 Paul stares at Isabel. PAUL Are you sure? ISABEL I'm sure there's another scenario that would fit these physical details, but I don't know what it is. PAUL Where should we start? Isabel takes out her PDA, writes something on her keypad, and hits a few buttons. A second later, Paul's BEEPER goes off. (CONTINUED) 54.80 CONTINUED: 80 ISABEL You can start by picking that guy up.81 INT. AMSTERDAM HOTEL SUITE -- DAY 81 The group sits around looking depressed. VIRGIL Who the hell was that guy? FRANK It's going to get out, you know. People are going to find out. BASHER Somebody must know this bloke's name. LIVINGSTON The question is who trained him. He got into that place alone. DANNY He says. FRANK I believed him. SAUL (unsettled) You think he's better than us? FRANK I'm not saying anything, but the man was sitting there, waiting for us. LINUS Do you think the cops even know who this guys is? RUSTY Please. That guy's never even seen a cop. TURK Maybe he works with the cops. (CONTINUED) 55.81 CONTINUED: 81 SAUL You don't work with the cops unless you absolutely have to. And not even then. BASHER Either way, he's got to have a name. LIVINGSTON It can't be that hard to find out who this guy is. Like I said, somebody trained him. Who trains the best? DANNY LeMarc. (to Rusty) Right? RUSTY If he's not dead. LINUS Who's LeMarc? Stunned silence from the guys. They won't even respond. Yen says something.82 EXT. POLICE HEADQUARTERS -- DAY 82 Isabel arrives.83 INT. POLICE HEADQUARTERS -- DAY 83 Isabel is waiting to be processed. Eventually, she is directed down a hallway.84 INT. INTERROGATION ANTEROOM -- DAY 84 We LOOK through a one-way mirror into the interrogation room where detectives Onderdonk and Devenpeck are trying the bad cop / bad cop routine on Evelyn. Isabel walks INTO FRAME and watches: Onderdonk slams his fist on the table. Davenpeck shouts in Evelyn's face. Evelyn just laughs. (CONTINUED) 56.84 CONTINUED: 84 Isabel shakes her head. Frustrated and more exhausted than their detainee, the two detectives leave the interrogation room for the ante-room where Isabel is. ONDERDONK Fucking stone. DAVENPECK I'm not quitting. ONDERDONK Who said quitting. I'm tired. ISABEL Can I speak to him? The two detectives look at each other. DAVENPECK Who are you? Isabel produces a signed document. They look at it, shrug, and give it back. DAVENPECK Apparently, you can do whatever you want with him. ONDERDONK Are you moving him? ISABEL Oh no. I just need to speak with him. To get some information. DAVENPECK We've been on him for six hours. ONDERDONK With our best stuff. DAVENPECK Our best stuff. In mind terms, we've been torturing this guy. ISABEL I'm sure. I only need a moment, then I'll be out of your way. (CONTINUED) 57.84 CONTINUED: (2) 84 They shrug. Isabel goes into the room with Evelyn. We STAY WITH Onderdonk and Davenpeck, who watch her through the two- way mirror. THROUGH THE MIRROR: Isabel walks right up to Evelyn, smiles, and whispers one word to him/her. Evelyn's face freezes. He/she looks at Isabel, scared. Then he/she starts to weep. Uncontrollably.... Tears stream down his/her face. Isabel hands Evelyn a sheet of paper and he/she begins to write. Onderdonk and Davenpeck are dumbfounded. Isabel turns around so she's facing them.85 INT. AMSTERDAM HOTEL SUITE -- NIGHT 85 The entire group, minus Danny, sits around glumly watching CNN International on the flat screen. Danny is on his cell phone on the other side of the room. DANNY (INTO PHONE) It's not a problem, it's a hiccup. It won't affect our schedule that much. I want to talk about you, not the job. How are you doing? KNOCK-KNOCK-KNOCK. Something about it doesn't sound familiar. Danny moves into the big roam. Rusty is at the door, looking through the peep-hole. Rusty puts his head down. Clearly it isn't a stranger. DANNY Tess, I've got to call you back. He hangs up. KNOCK-KNOCK-KNOCK. Rusty indicates for Danny to get it. DANNY Coming. Danny opens the door to reveal ISABEL. She looks at Danny. He looks back at her. They don't say a word. Danny motions for her to come in. (CONTINUED) 58.85 CONTINUED: 85 RUSTY (still glued to the TV) Who is it? ISABEL (to Rusty) Hello, Robert. Rusty spins to see Isabel. RUSTY Isabel. He crosses to her. STAY with the group for a moment. LINUS "Robert?" Is that his real name? Virgil and Turk shrug. LINUS How does she know that? LIVINGSTON Ex-girlfriend. BASHER & SAUL Fiancee.86 ANGLE ON RUSTY AND ISABEL 86 The entire group is watching them. RUSTY It's great to see you. ISABEL Is it? Because you've been seeing a lot of me lately. She hands a surveillance photo to Rusty. ISABEL You were sitting in a Mercedes outside my apartment on Wednesday night. She hands Rusty another photo. (These are the photos Hess the male secretary showed her at Europol HQ that we couldn't see.) (CONTINUED) 59.86 CONTINUED: 86 ISABEL You were hiding in the bushes when I had lunch yesterday at Trattoria Bella. She hands him a third photo. Looks at the fourth. ISABEL This one...I'm not even sure where this one was taken, but I like it a lot. Very Ron Gallela. She hands this photo to Danny. It's a picture of Rusty, with a dorky look on his face, peering out from behind a mailbox he's using as cover while he spies on Isabel. ISABEL I mean, if I didn't know better I'd think you all came here to steal the Vanderspeigle Getuigschrift, also known as the world's first stock certificate. (to the group as a whole) You must have been so proud of yourselves. A Schuman Special. It's been awhile. (smiles at Basher) That was a very handsome crossbow shot, Eugene. Basher winces at the sound of his real name. The group stares back at her. Can't believe this is happening. ISABEL And the Palowski...whose idea was that? She knows it was Rusty. RUSTY We didn't steal anything. ISABEL Oh...I know you didn't. Somebody beat you to it. One man. No crew. No back up. Tell me something -- just so I can get the full picture in my head -- was he wearing a tuxedo? A white dinner jacket? (CONTINUED) 60.86 CONTINUED: (2) 86 BASHER (to Isabel) At least we saw him in the flesh. You'll never see this guy your whole life. ISABEL So you know who he is? DANNY Of course we know who he is. ISABEL Well, then. I'll see you when you see him. To get your certificate back. She takes the photo of Rusty peeking from behind the mailbox from Danny's hand. She walks out. The group is frozen. Livingston is still looking at the pictures of Rusty following Isabel. LIVINGSTON (to Rusty, re: the photo) Who's hat is that? SAUL How did she-- That was-- DANNY (to Rusty) This is what I was talking about. This is exactly what I was talking-- RUSTY --I was just checking up on her. I knew she didn't want to see me. I was being polite. TURK Where did she learn all that stuff? The Palowski stuff. DANNY Her father. VIRGIL He was a cop? RUSTY Thief. (CONTINUED) 61.86 CONTINUED: (3) 86 LINUS Was he good? DANNY Very. FRANK Great. VIRGIL What's the big deal? She's just some brilliant, pissed-off ex- girlfriend who's dad taught her every trick in the book. SAUL & BASHER Fiancee. TURK But did you see that display of emotion, handing out those pictures? VIRGIL Totally unprofessional. RUSTY She's passionate. VIRGIL She's unbalanced. RUSTY Her job is very stressful. SAUL She could reduce her stress by leaving us alone. DANNY We've got to slow her down. Everyone agrees. DANNY But first: We find our French friend and introduce ourselves. FUNKY TRANSITION TO: 62.87 INT. EUROPOL HEADQUARTERS -- DAY 87 Isabel is talking to her superior. ISABEL'S BOSS Twenty-four hours. You know that. ISABEL I don't have twenty-four hours. They're there now. They'll lead me to him. ISABEL'S BOSS You also know that you can go now, if you don't take your secretary. When there's liability, I need a document. She nods.88 INT. EUROPOL HEADQUARTERS HALLWAY -- DAY 88 Isabel exits. HESS He said we can't leave until tomorrow because of liability issues and he needs a document. ISABEL Yes. HESS Thanks for trying. ISABEL Let's share a car. HESS That would be nice. Thank you. ISABEL I can't believe they won't make an exception. (beat) I've got to find out who this other guy is. CUT TO: 63.89 INT. MONTE CARLO CASINO -- NIGHT 89 Dinner Jacket (AKA FRANCOIS TOULOUR) wins a huge blackjack bet. The crowd reacts enthusiastically. A beautiful woman stands near him.90 INT. MONTE CARLO CASINO -- NIGHT 90 The crowd around the blackjack table erupts as Toulour wine another massive bet. Note: The same dealer pays him off. The same crowd is watching. But Toulour is dressed in a different tuxedo, and a different women is standing by his side. ANOTHER BEAUTIFUL WOMAN Fantastic. BASHER (V.O.) He did his first big job in 1989. Bundesbank, Berlin. DANNY (V.O.) The fifteen million dollar one the day the Berlin wall fell? BASHER (V.O.) He was nineteen years old.91 INTERCUT -- INT./EXT. MONTE CARLO CASINO -- NIGHT 91 FOLLOW Toulour (in a different tuxedo, with a different beautiful woman) as he exits the casino.92 EXT. MONTE CARLO CASINO -- NIGHT 92 When we PICK HIM UP on the exterior he is in another tuxedo with another woman. ANOTHER BEAUTIFUL WOMAN Where do you want to go this weekend? BASHER (V.O.) Bank Faltier, Paris 190 and again in '91.... Total take twenty-one million euros. Bank of Italy '92. Eighteen million. Danish Treasury, also 192. Twenty-two million. (MORE) (CONTINUED) 64.92 CONTINUED: 92 BASHER (V.O.) (cont'd) Prado museum. Madrid '93.... The Picasso. Estimated value-- SAUL (V.O.) Hang on a second! He-- All of them?! LIVINGSTON (V.O.) He's not done. DANNY (V.O.) Wait -- Prado Museum, the Picasso -- that was Moretti.93 INTERCUT -- EXT. MONTE CARLO -- NIGHT 93 Toulour rockets his turbocharged Bentley into a tunnel.94 EXT. MONTE CARLO TUNNEL - NIGHT 94 PICK HIM UP as he exits the tunnel in a new car, wearing a new tux, with a new woman. BASHER (V.O.) He in Moretti. It's one of his aliases. RUSTY (V.O.) Anything else? BASHER (V.O.) UDC bank in Geneva, `94. Nineteen million in bearer bonds. The Louvre --'95 and twice in '96. Yen (in V.O.) says something in Chinese. BASHER (V.O.) He left a Post-It note on the Mona Lisa that said "Bitch set me up." LIVINGSTON (V.O.) Tell them about Saint Tropez. BASHER (V.O.) In 2000, he stole the King of Morocco's 230 foot yacht. Vanished into thin air. Crew surfaced a few days later in a life raft. Couldn't remember a thing. (CONTINUED) 65.94 CONTINUED: 94 SAUL (V.O.) How do you hide a two hundred foot yacht?! BASHER (V.O.) If the King knows, he's not telling. He received it back a month later.95 INTERCUT -- EXT. COTE D'AZURE -- NIGHT 95 Toulour. Another car. Another tux. Another beautiful woman. He pilots his convertible Maserati at high speed along the windy road. ANOTHER BEAUTIFUL WOMAN How far is your house, Baron? TOULOUR Twenty minutes by helicopter. TURK (V.O.) One guy did all those jobs? VIRGIL (V.O.) How'd he get all those aliases? BASHER (V.O.) Until a month ago Interpol were convinced that the heists were the work of twelve different people. But not any more. LIVINGSTON (V.O.) The French national police just gave him a nickname. "Le Renard Nuit" -- The Night Fox.96 INT. HOTEL SUITE -- DAY 96 Danny rolls his eyes. BASHER Scotland Yard said he's the new LeMarc. RUSTY Scotland Yard never saw LeMarc. 66.97 INTERCUT -- EXT. PRIVATE HELIPORT -- NIGHT 97 A helicopter lands on a massive Lake Como estate. Toulour gets out. New clothes. New woman. DANNY (V.O.) Personal information? LINUS (V.O.) Some say he's one of these guys that thinks because he was born in a penthouse, he controls the elevator business. Others say he turned out okay when you consider how rich his parents were. SAUL (V.O.) Taxes over here are brutal. People don't realize. LINUS (V.O.) Father was a big-time industrialist, got into the cellphone market on the ground floor. Mother inherited. Had maids as a child. He's a public figure, people know who he is. He's been rumored to run for office in Spain, even though he doesn't appear to live there.98 INTERCUT -- EXT. / INT. TOULOUR'S HOUSE -- NIGHT 98 Toulour, in new clothes, with yet another woman, unlocks several locks and disarms two alarms. The woman can't believe all the security he has. ANOTHER BEAUTIFUL WOMAN What do you have in there, the Mona Lisa? TOULOUR (as if) Please. ANOTHER BEAUTIFUL WOMAN (doesn't miss a beat) You know what? I don't like that painting either. I don't like anything Van Gogh did. (CONTINUED) 67.98 CONTINUED: 98 Toulour smiles and lets her in. LINUS (V.O.) He's an avid golfer, pro-level tennis player, and inveterate gambler. But apparently his favorite pastime is.... Linus trails off.99 BACK TO THE HOTEL 99 DANNY What? RUSTY Spit it out, Linus.100 INTERCUT -- INT. TOULOUR'S VILLA -- NIGHT 100 A tableau shot looking into the bedroom. ANOTHER BEAUTIFUL WOMAN joins Toulour in his bedroom.101 INT. AMSTERDAM HOTEL SUITE -- DAY 101 LINUS He's rarely alone. I think it's a compulsion. I have a list of names here...it was just the first week. DANNY All right, moving on, is there anything else we need to know about this guy before we-- BASHER Did we forget to mention he's a Viscount? DANNY A what? LIVINGSTON Viscount. As in nobility. (CONTINUED) 68.101 CONTINUED: 101 DANNY (cannot take it anymore) Last time I checked titles like that went out with a little number I like to call the French Revolution-- BASHER Spain. DANNY What? BASHER His title. It's Spanish. Mother's cousin.102 INTERCUT -- INT. TOULOUR'S BEDROOM -- DAWN 102 Toulour crawls out of bad. Wonders who the woman next to him is.103 BACK TO SCENE -- INT. AMSTERDAM HOTEL SUITE -- DAY 103 DANNY He may be the greatest thief in Europe. He may have slept with half of the EU. He may be a Casanova with the soul of a starving artist. It doesn't matter.104 INTERCUT -- INT. TOULOUR'S HALLWAY -- DAWN 104 Toulour comes downstairs in his bathrobe.105 BACK TO SCENE -- INT. AMSTERDAM HOTEL SUITE -- DAWN 105 DANNY There's something he cares about. There's something he can't live without.106 INTERCUT -- INT. TOULOUR'S HOUSE -- DAWN 106 Toulour reaches the base of the stairs and stops dead in his tracks. He looks ahead of him to a wall covered with paintings. One painting is clearly missing. (CONTINUED) 69.106 CONTINUED: 106 All that remains are the dust/fade marks on the wall to indicate that it had been there. He walks up to the wall and smiles -- certainly this will be an interesting day. He's actually been cheered up by this.107 EXT. TOULOUR'S VILLA -- DAY 107 Toulour in playing a hard-fought game of tennis. His opponent (EDMUND) bangs a great shot. Toulour gets there and smacks it back. Edmund dives for the ball, just gets it back over the net. But Toulour is waiting and hits a kill shot. EDMUNDS Are you on steroids? Toulour laughs. EDMUND Let's try again. Give me five games this time. TOULOUR You are worse than Sampras. You should be paying me. A BUTLER arrives. BUTLER (in French) Pardon me, sir. He hands Toulour two business cards. One says "Daniel Ocean," the other "Rusty Ryan." BUTLER (in French) Two gentlemen. They say they met you in Amsterdam last week. TOULOUR (in French) Put them on the veranda and get them a drink. I'll be right up.108 EXT. VERANDA -- DAY 108 Danny and Rusty look out over Lake Como. Toulour arrives. TOULOUR (to Danny) Rusty. (MORE) (CONTINUED) 70.108 CONTINUED: 108 TOULOUR (cont'd) (to Rusty) Danny. DANNY Other way around. TOULOUR Are you sure? Usually I'm so good at that. Edmund arrives, carrying his tennis bag. TOULOUR This is Edmund. Edmund. Rusty. Danny. He calls by their wrong names again. DANNY Nice to meet you. Edmund. (making conversation) You a tennis pro? Rusty takes a sip of ice tea. EDMUND Actually, no, I'm the King of Morocco. Danny and Rusty nod, their smiles frozen.109 INT. VILLA -- DAY 109 Toulour shows Danny and Rusty his art. TOULOUR Sadly, I can't show you my favorite painting of all -- a Degas that used to hang right there -- because it was stolen recently. DANNY That's awful. RUSTY The criminal element is everywhere these days. Toulour nods. DANNY Listen, Francois-- (CONTINUED) 71.109 CONTINUED: 109 TOULOUR Please. Call me Baron. DANNY We came here for the Vanderspeigle certificate-- TOULOUR That's not for sale. DANNY Your Degas is worth three times that. You want your painting back, you're going to have to trade. TOULOUR You actually expect me to believe that you are in possession of my Degas? You are living in a...in a bubble. Toulour looks at them and walks away. CUT TO:110 INT. LAKE COMO HOTEL SUITE -- DAY 110 Rusty and Danny stand with the rest of the group. BASHER He used the word "amateur"? Rusty and Danny nod reluctantly. VIRGIL You said we could show him the painting right, to prove that we had it. DANNY Yes. RUSTY He still wouldn't trade. Yen says something. FRANK We need to teach him a lesson. (CONTINUED) 72.110 CONTINUED: 110 TURK Absolutely. DANNY All right, let's stay calm. We don't need to over-react here. He said some disrespectful things, that's true. But why antagonize this guy? Why get into something with him? He's young and he's filthy rich, and he's got time on his hands. We don't want to become his Betty noir. We can just fence his painting and earn a lot more than we would have from the certificate. BASHER It's about reputation. You said so yourself. We have to get that certificate to Evelyn's buyer or-- DANNY We'll make enough selling the Degas to pay off her buyer-- FRANK Then why did you make that trip down there in the first place, if you didn't want to get into something? DANNY Saul? SAUL Turn his name over to Isabel. In exchange for getting off our backs. Tough one to swallow. SAUL Short of that...the only appropriate response is to steal his next job right out from under him. Just like he did to us. TURK We don't even know our next job. DANNY We got ten million in that closet. (CONTINUED) 73.110 CONTINUED: (2) 110 Danny points at the closet in the room. DANNY I cash in the Degas, take a moment to think about our next move. Toulour isn't going anywhere. You guys are hyping him too much, you're letting him get inside your head. Everyone agrees. Danny opens the closet. There's a picture frame in there, but NO PICTURE. It's been stolen by Toulour. We hear the SOUND OF A CASE BEING SHUT AND LOCKED.111 INT. PARIS BUILDING -- DAY 111 We see a SMALL, SECURE BOX being transported to a heavily secured truck.112 EXT. PARIS BUILDING -- DAY 112 The truck exits the building and drives down a street with security MOTORCYCLES surrounding it.113 EXT. PARIS FREEWAY -- DAY 113 The motorcade heads for the private airport. The secure box is loaded onto a plane as Isabel and her male secretary Hess exit a plane nearby.114 INT. CAR -- DAY 114 Isabel and Hess heading into Paris. ISABEL Why do I need to see all these guys? When I tracked the Munch down in Sweden I got all the approvals I needed with one phone call. (MORE) (CONTINUED) 74.114 CONTINUED: 114 ISABEL (cont'd) With Lenin's shaving kit the Russians brought me in and it took a single signature and I got it at the airport a minute after I arrived. What's so goddamned special about the French? Hess gives her a look as though she should know better. HESS Without their signatures, you can't do anything. You can't pull the suspects over, you can't do surveillance on them, you're not even allowed to contact them. They're real sticklers about sovereignty issues here.115 INT. PARIS BUREAUCRAT'S OFFICE -- DAY 115 The Bureaucrat looks at Isabel. All of her. INSPECTOR Isabel, I couldn't possibly sign those documents in good conscience without talking to you about the case in detail. I realize you're in a hurry and my schedule for the rest of the day is quite full, so perhaps, if you're interested in being expedient, we could discuss the case...over dinner.116 INT. SEDAN -- DAY 116 Isabel sits in the back with Hess. HESS Foucquet's at eight-thirty. Apparently their's a private room. Better bring your kevlar. (to the driver) Don't stop for that.117 EXT. PARIS STREET--DAY 117 The driver accelerates through a yellow/red light, almost hitting DANNY AND TOULOUR Who deftly avoid getting crushed. (CONTINUED) 75.117 CONTINUED: 117 DANNY That's not how I want to go. TOULOUR No. They walk on. TOULOUR Very theatrical of you...asking to meet here. Like we're spies meeting to do an exchange. DANNY Why are you doing this to us? TOULOUR Doing what? DANNY This is a game for you. For us it's survival. Are you that bored? I mean... TOULOUR No. I wouldn't do that. No... The truth is...I made a bet. Or maybe a better word is a "wager". DANNY What kind of wager?118 EXT. PARIS CAPE -- DAY 118 Danny and Toulour sit across from each other. The bottom quarter of the Eifel tower is visible in the background. TOULOUR A gentlemen's wager with a friend of mine -- my mentor. A few months ago we were at his winter place in Nicaragua and another guest referred to me as "the greatest thief in the world." I didn't object, obviously, but my mentor fell silent. Later I asked him about it. He said if I really wanted to say I was the best thief...I'd have to prove I was better than the eleven of you. (beat) (MORE) (CONTINUED) 76.118 CONTINUED: 118 TOULOUR (cont'd) You know, the Benedict job made waves, even all the way over here. 16.3 million dollars. That's a lot of money. DANNY 163. TOULOUR Sorry. 163. Before you were found.119 INT. ARAB MUSEUM ROOFTOP FUNCTION ROOM -- DAY 119 TOULOUR Yes, 163 million is a lot of money. It attracts attention. So, in a way, you brought this problem with me on yourselves. You're victims of your own success. DANNY Here's what I'm going to do. You tell me the name of your mentor. I'll call him up and I'll tell him that you're the greatest thief in the world...that I accept that to be true.... And in return...you leave us alone, let us go about our business. How about that? TOULOUR He said you'd probably say something like that -- but he said you'd probably have your fingers crossed when you said it. Danny frowns, pulls his hand out of his pocket. TOULOUR (CONT'D) So in this situation -- for the purposes of my wager -- words aren't good enough. I have to prove this on the ground. DANNY This mentor of yours...was he a good thief in his day? TOULOUR Who, LeMarc? (CONTINUED) 77.119 CONTINUED: 119 Danny swallows. DANNY Yeah. Him.120 INT. PARIS HOTEL ROOM -- DAY 120 Angle on the group -- they're slack-jawed. LIVINGSTON Who? Yen says something. RUSTY I thought so too. SAUL LeMarc. The LeMarc. Danny nods. SAUL God hates me. He hates all of us. FRANK Hell, this could go on forever. DANNY No. It's going to be settled by one more job. A single object. SAUL Whatever it is, let's just let him have it. DANNY We can't. LIVINGSTON Because of pride? DANNY Because we beat him, he'll pay Benedict off. A stunned beat. FRANK (new lease on life) Now we're talking. (CONTINUED) 78.120 CONTINUED: 120 BASHER One score, for the whole thing? LIVINGSTON What do we have to do? I mean, is it a fair bet or is it like...the Coronation Egg or something? Danny points. That's it. That's the one. SAUL He wants us to steal the Coronation Egg! BASHER That's just... that's...what is that? SAUL The Holy Grail. RUSTY Carl Faberge, the greatest goldsmith in history, constructed the Coronation Egg in 1896 for the wedding of Czar Nicholas and Alexandra. Every world class thief in the last 108 years has tried to steal it. No one has even come close. SAUL That's because it's cursed. LINUS What? SAUL It's un-stealable. DANNY It's the only thing in LeMarc's entire career that he went after but failed to get. He tried three times. A long beat of silence.... DANNY We get the egg and we're free. (CONTINUED) 79.120 CONTINUED: (2) 120 BASHER That's great, except we can't get it. SAUL It's not possible. DANNY Then we go to jail. A beat... VIRGIL Well...where is it now?121 EXT. ROME, ITALY PRIVATE AIRPORT -- DAY 121 The SMALL, SECURE BOX is being taken off a plane. Another motorcade forms and escorts the vehicle into the city.122 EXT. STREETS OF ROME -- DAY 122 The motorcade is completely stopped in traffic. In a nearby sedan, Isabel sits next to an Italian CARABINIERI LIAISON of same sort. Hess is in the front seat. ISABEL I'm going to need surveillance on both hotels, phone taps, room bugs, people in the lobby and by every exit. CARABINIERI OFFICER Yes, absolutely. ISABEL If I had to guess I'd say I'll need at least 25 people, a dozen vehicles...and an on-call air unit. CARABINIERI OFFICER Yes, absolutely. ISABEL Okay, one more thing, and this is crucial: these guys are extremely, sophisticated at avoiding electronic surveillance, so we'll need real state of the art stuff. (MORE) (CONTINUED) 80.122 CONTINUED: 122 ISABEL (cont'd) I'm talking synthetic aperture pinhole cameras, wave reformation mics with a high Plank coefficient and a passive input structure-- You're not writing anything down; are you sure you're getting all this? CARABINIERI OFFICER Yes, absolutely. ISABEL Okay. Good. Now what time am I meeting Captain Giordano? A beat... CARABINIERI OFFICER (tentative) Yes... ISABEL No, what time? Another beat... CARABINIERI OFFICER Yes...absolutely... Isabel looks right at him. ISABEL I see...so...you've spoken with the Pope and he's okay with autographing my breasts? Hess turns around. CARABINIERI OFFICER Yes, absolutely. Isabel sighs loudly and sinks back into her seat.123 EXT. STREETS OF ROME -- DAY 123 The motorcade arrives at the Museum of Modern Art. We follow armored car and continue on to find Danny walking up the front steps. 81.124 INT. MUSEUM OF MODERN ART -- DAY 124 Angle on Livingston as he subtly nods at something in the distance. Danny is standing next to him. DANNY What am I looking at? LIVINGSTON A TR354 infra red motion detection system. It's the gold standard. DANNY Saul and Linus back yet? LIVINGSTON No. DANNY No? LIVINGSTON And I can't find Rusty.125 INT. MUSEUM -- ELSEWHERE 125 Frank and Yen look at an "authorized-entry only" door as a member of the museum staff goes through it. The door has a complex double-locking mechanism that would make it impossible to pick. Yen says something in Chinese. FRANK What? Yen says something in Chinese, again. FRANK Well, I don't know, but that's one nasty lock. Danny approaches. DANNY Seen Rusty? FRANK We thought he was with you. (CONTINUED) 82.125 CONTINUED: 125 Danny moves off.126 INT. MUSEUM -- ELSEWHERE 126 Basher is being questioned by Danny. BASHER Not since we first got here. About an hour ago. Danny moves away. BASHER (cont'd) (to Danny's back) And where's Saul and Linus?127 INT. ROME HOTEL ROOM -- DAY 127 Isabel enters her room. Suddenly she spins and draws her pistol. Her gun ends up in Rusty's face. ISABEL Jesus, Robert. I could've killed you. He shrugs. A long beat as she takes a look at him. RUSTY I'm older. ISABEL I hope so. What are you doing in my room? RUSTY I thought maybe we could get some coffee. ISABEL No, thanks. RUSTY Okay, how about a two week trip to Zanzibar? ISABEL Please don't. (CONTINUED) 83.127 CONTINUED: 127 RUSTY Fine, coffee then. Whatever you say. Isabel gives an exasperated sigh. ISABEL Why do I want to have coffee with you? RUSTY How should I know? sorry about your mom. Isable nods. RUSTY (cont'd) She was a real... ISABEL She hated you. RUSTY Well, she was nice enough to hide it from me. Some people can't even do that. ISABEL She hated everybody. Rusty nods. He remembers. ISABEL You'll never get it by the way. RUSTY Get what? ISABEL You'll think you've got it, you'll be so close that you'll be able to taste it and then this guy, the Night Fox or whoever he is, will just take it -- right out of your hand -- just like he did in Amsterdam. He's as good as LeMarc. RUSTY It's not possible. ISABEL You're in a bubble. (CONTINUED) 84.127 CONTINUED: (2) 127 Rusty looks at her.128 INT. ROME WAREHOUSE -- DAY 128 A mock up of the room the egg will be displayed in. A dummy egg sits on a cradle in the center of the room. Infra-red motion detectors cover the room. Motion sensitive lasers shine directly onto the egg. Danny, Basher, Yen, Frank, and Livingston try to figure out how to get around the security systems. LIVINGSTON (IN THE BACKGROUND) No, that won't work either. The IR will pick it up before you even get close. This is depressing to everyone. FRANK Look, if we're having this much trouble, and we've got ten guys Toulour must be pulling his hair out.129 INTERCUT -- EXT. POOLSIDE -- DAY 129 Toulour lies in a lounge chair.130 BACK TO SCENE -- INT. ROME WAREHOUSE -- DAY 130 The group agrees Toulour must be suffering like them. Rusty strides in. Everyone looks at him. He looks at the mock up of the egg. RUSTY Would you call that bubble-shaped? DANNY What? Rusty shrugs it off. RUSTY She pulled a gun on me. He sits. (CONTINUED) 85.130 CONTINUED: 130 RUSTY (cont'd) She won't back off. FRANK Are you back on? RUSTY I'm selling. She ain't buying. DANNY More importantly, what kind of reception is the Italian Police giving her?131 INT. ROME POLICE HEADQUARTERS -- DAY 131 A SUBORDINATE OFFICER leads Isabel down a hallway. SUBORDINATE OFFICER Captain Giordano is handling an urgent interrogation. He'll be up as soon as it is completed. Please wait in here. He leads Isabel and Hess into the Captain's office. A large clock on the wall reads 11:45 am. The open windows in the office look out onto one of Rome's famous courtyards. Captain Giordano stands with three other officers. They are having a loud, tense conversation in Italian. Isabel watches as Giordano's temper really flares. He jabs his finger at one of the other cops. CAPTAIN GIORDANO (SUBTITLED) Naples sucks! They're a joke! The only decent player they have is Pasqualli -- and he's a pussy. ITALIAN COP 1 (SUBTITLED) Pasqualli runs circles around Bologna's backfield every time. ITALIAN COP 2 (SUBTITLED) Pasqualli could single-handedly-- Isabel turns to the officer who escorted her in. ISABEL What are they talking about? (CONTINUED) 86.131 CONTINUED: 131 SUBORDINATE OFFICER It's an internal matter, Madame. Isabel and Hess look at each other.132 EXT. COURTYARD -- DAY 132 The Captain continues to argue. Those involved in the discussion are being brought lunch.133 INT. CAPTAIN GIORDANO'S OFFICE -- DAY 133 Isabel's sitting on the couch now, her eye lids drooping. Hess checks his PDA. ITALIAN COP 3 (O.S., SUBTITLED) --and her friends could trounce NapIes! The clock on the wall reads 2:20 PM. Isabel's been here two and a half hours.134 INT. ROME WAREHOUSE -- DAY 134 Livingston, Yen, Danny, and Rusty are experimenting with a way for Yen to drop from the ceiling so that he's hanging right over the egg. Their mock-up alarm rings. A red light flashes. LIVINGSTON Damn-it. Danny rubs his face. This is feeling impossible. He goes into the corner and clicks a walkie-talkie. in the background we see Rusty trying to keep everybody's spirits high. RUSTY All right, okay. Let's not be defeatists.... What about that mirror trick that Akimbo tried at the-- LIVINGSTON --There's no mirror thin enough to avoid tripping the lasers. (CONTINUED) 87.134 CONTINUED: 134 In the foreground, Danny on the walkie-talkie. DANNY What's he doing now? VIRGIL (RADIO V.O.) Nothing. Just reading the papers at a cafe. Oh, no, wait. A woman just sat down next to him.... He's getting her phone number. TURK (RADIO V.O.) Wow. What are those? VIRGIL (RADIO V.O.) Jimmy Chu. TURK (RADIO V.O.) I've never seen that color. DANNY (into walkie) Okay, take it easy over there. Saul and Linus enter. DANNY What happened? Linus puts his BACKPACK down. LINUS We thought someone was following us. SAUL We gave 'em the shake. Caught 'em napping.135 INT. CAPTAIN GIORDANO'S OFFICE -- DAY 135 Isabel is asleep on the couch. It's 5:30 PM. A hand taps her shoulder. She wakes up and is shocked to see Captain Giordano, finally, standing above her. SUBORDINATE OFFICER (doing the introductions) Captain Giordano, Rome Police Special Investigations. Isabel Lahiri, Europol, Major Theft Task Force. (CONTINUED) 88.135 CONTINUED: 135 The Captain nods. Isabel looks over at Hess, who is still asleep.136 MOMENTS LATER 136 Isabel and the Captain are alone now. Giordano is looking right into her eyes, with laser focus. There isn't even a hint of lasciviousness about him. He's all business. ISABEL ...reason to believe these men... (lays out photos of Danny, Rusty, and Toulour) ...are going to try to steal the Coronation Egg when it is actually put on display next week. I need official authorization to surveil and pursue these suspected criminals on Italian soil. CAPTAIN GIORDANO Yes, absolutely. ISABEL And I'll need substantial resources from your department. Can I count on that? CAPTAIN GIORDANO Yes, absolutely. Isabel stops. Starts to wonder. ISABEL So, Captain, what do you think of my skirt? He smiles and looks at her. CAPTAIN GIORDANO I think it's very beautiful. Why, don't you like it?137 EXT. ROME CAFE -- DAY 137 Danny and Toulour. A waiter brings them coffee, Danny SPOONS in a lot of sugar, then stirs. (CONTINUED) 89.137 CONTINUED: 137 TOULOUR I don't usually call for a second date. For you I make an exception. DANNY Thanks. TOULOUR I think it's good that we talk. You see, you should stop following me. You're wasting your time. I'm going to let you go first and get caught. Then they will increase the security even more, and then I will steal the Egg. Then Lemarc can make his decision. DANNY You sound confident. TOULOUR Confident? This is a very American word. I am arrogant. There's a difference. DANNY Doesn't matter if you're that good. Are you that good? TOULOUR I can move objects with my mind. Danny just looks at him. TOULOUR You don't believe it? DANNY Do you? TOULOUR Are you done stirring your sugar? Danny stops, lifts the spoon. It's completely BENT. DANNY That's fantastic. (starts to go) Listen, I appreciate the call, and, best of luck. (CONTINUED) 90.137 CONTINUED: (2) 137 TOULOUR Danny. I'm serious. Sit down, please. Danny site down and looks at him. DANNY You're telekinetic, is that what you're telling me? TOULOUR Yes. But...it's a curse. A nightmare. Everything is too easy. But then LeMarc says I'm still not the best. So I take his challenge. And you will fail, and I will win, and so what? What does it prove? What is he trying to show me? Danny just looks at him.138 INT. CAPTAIN GIORDANO'S OFFICE -- DAY 138 CAPTAIN GIORDANO Ms. Lahiri, you're in Italy now. We are a sovereign nation. We're not some adjunct, some administrative district of the EU. When Europol calls we don't jump up and tap dance for you. If you want to work in Italy, then you have to do it under Italian authority...and that means you have to talk to Commander Andriotti...who, I'm sure, will be happy to meet with you some time next week-- ISABEL Next week! CAPTAIN GIORDANO --when he returns from vacation. Isabel slumps back into her chair. Stares up to the heavens.139 INT. POLICE HEADQUARTERS IN ROME, HALLWAY -- DAY 139 Isabel and Hess walk. (CONTINUED) 91.139 CONTINUED: 139 HESS He said he has to get approval from someone else and they're on sick leave. ISABEL Vacation. HESS Sorry I fell asleep. ISABEL We both did. I'm exhausted.140 EXT. CAFE JUST OFF PIAZZA NAVONA -- DAY 140 An exasperated Isabel tries to regain her equilibrium with a cappuccino. A piece of music comes over the cafe loudspeaker that catches Isabel's attention. A CHEESY WAVY SCREEN TRANSITION TO:141 ISABEL'S FLASHBACK 141 Years ago. Isabel's sitting at the very same cafe reading the newspaper when she hears frantic police whistles. She looks up to see a man running down the street at full bore. As he gets closer we realize it's Rusty. Eight cops are chasing him. Rusty rushes past the cafe. As he does he notices Isabel, they make eye contact. Then he's gone. Sprints around the corner. The cops rush past her. She hears sirens converging from all directions.142 INT. POLICE HEADQUARTERS (STILL IN FLASHBACK) 142 Isabel shows her Europol identification to a detective. ISABEL Hi, this isn't official business. Actually, I'm here on vacation. But I was sitting in a cafe this afternoon, near the Piazza Navona and...the police were chasing someone on foot. I was just wondering if you caught him or...do you know anything about that case? (CONTINUED) 92.142 CONTINUED: 142 ITALIAN DETECTIVE I know the case, yes. Unfortunately, we didn't catch him. ISABEL Oh...143 EXT. CAFE JUST OFF PIAZZA NAVONA - DAY (STILL FLASHBACK) 143 Isabel sits in the same seat the next day, reading the newspaper, enjoying her vacation. She looks up and stops cold. Rusty, all cleaned up now, dressed in a perfectly-tailored suit, sits down three tables away from her. She stares at him. Can't believe it. The brazenness. The audacity of this guy. Rusty doesn't seem to have a care in the world as he chats easily with the waiter, in Italian. Finally, Isabel just can't help herself. She gets up and walks over to Rusty's table. ISABEL Excuse me... RUSTY Yes. ISABEL Um...Did I...? I think I saw you...yesterday. RUSTY Oh yeah? ISABEL The police were chasing you. RUSTY You sure your eyes aren't broken? ISABEL I'm quite sure it was you. RUSTY Well, then I'm not gonna argue. Can I buy you a coffee? 93.144 EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY 144 We transition back to the cafe. Isabel's phone rings. ISABEL Hello. RUSTY We've got to stop meeting like this. She turns. He's sitting at the table behind her.145 EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY - LATER 145 Isabel and Rusty are being quiet for the moment. The waiter's in the midst of an animated discussion in Italian with one of the customers. ISABEL What are they talking about all the time?! RUSTY Soccer. (translating) He doesn't like Naples....thinks they're a bunch of...sissies. (turns to Isabel) Can I ask you a question? (off Isabel's nod) Will you come to Zanzibar with me on Friday? ISABEL Stop it.146 INT. ROME WAREHOUSE -- DAY 146 Danny sleeps, sitting up, in a chair as the rest of the group tries to figure out how to defeat the security systems around their mock-up egg. The group breaks into applause startling Danny awake. LIVINGSTON We did it! It works! (CONTINUED) 94.146 CONTINUED: 146 DANNY What, what happened?147 INT. ORNATE HALLWAY -- DAY 147 TIGHT MEDIUM shot on uniformed National Police officer as he strides down the hallway. His bearing is disciplined, stern, formal. He is clearly handling a matter of utmost importance. Tilt down to reveal he is carrying a tiny cup of CAPPUCCINO.148 INT. ORNATE OFFICE OUTER OFFICE -- DAY 148 The National Police Officer blows through, passing Hess.149 INT. ORNATE OFFICE -- DAY 149 Isabel sits with Commander Andriotti. The office door swings open and the National Police officer walks in. He places the cappuccino on Andriotti's desk and leaves.150 INT. CAPTAIN GIORDANO'S OFFICE -- DAY 150 Giordano sits with his feet up on his desk, smoking a cigar. The door swings open and Isabel strides in, catching him completely off guard. She thrusts a piece of paper in his face. CAPTAIN GIORDANO What's that? ISABEL An order signed by Commander Andriotti instructing you to "provide any and all support that Agent Lahiri requests, whenever she requests it." He looks at it. CAPTAIN GIORDANO It's good, yes. Okay. He looks at her. CAPTAIN GIORDANO That's a very nice blouse you wear today. 95.151 INT. MUSEUM --DAY 151 Linus and the Malloys walk through the museum. LINUS When Dominique goes back with Thomas to check the trunk, the money shouldn't be in the briefcase. Franklin should have double-crossed them. VIRGIL That could be a great moment, when he's on the ground. TURK And you think Thomas is going to get blown up. VIRGIL Hey. They look. A large group of Security people are talking to some NEW TECHNICIANS and ISABEL. ISABEL Another camera here and here. And have a guard here at all times so any attempt to disable the system will be detected. All your IR devices need to be fitted with reflective faces otherwise a UV later can be used to burn the sensors out.152 INT. ROME WAREHOUSE -- DAY 152 The guys look glum. LINUS She just walked in there like Patton or something. She's changing...everything and-- There were so many cops with her. I've never seen so-- Danny plats up his hand to stop him. (CONTINUED) 96.152 CONTINUED: 152 LINUS I don't understand. If her father was a thief...why's she such a hardass? I mean you'd think she'd have a little sympathy for us. RUSTY When she was twelve her mother told her that her dad got arrested doing a job in Russia and died in jail. (beat) So I wouldn't count on much sympathy. BASHER "This time it's personal". Danny looks to Rusty, who nods.153 EXT. MUSEUM OF MODERN ART -- DAY 153 Fourteen police cars parked in front of it. Isabel stands at a police checkpoint on the road in front of the museum chatting with Captain Giordano, who's clearly brown-nosing her big-time since receiving Andriotti's order. Her phone rings. She looks at the number and answers it. ISABEL What do you want? RUSTY (V.O.) Ever heard of overkill? ISABEL I don't even think Toulour can get it now. RUSTY If he gets it, we'll let you arrest us. If we get it, you come away with me to Zanzibar-- ISABEL What is your obsession with Zanzibar?! RUSTY Do you want to make the bet or not? (CONTINUED) 97.153 CONTINUED: 153 ISABEL I'm hanging up. Stop calling me.154 INT. HOTEL LOBBY -- DAY 154 Isabel crosses to the elevators.155 INT. ISABEL'S HOTEL ROOM -- DAY 155 She enters. Shuts the door behind her. Then, instantly, starts balling.156 INT. ROME WAREHOUSE -- DAY 156 Danny and Rusty stand with Livingston. LIVINGSTON I'm telling you, with everything she's done in the last twenty-four hours...unless you happen to be best friends with the head of security at the museum, unless you are someone he knows and trusts enough to leave alone in the gallery, after disabling about half of their security system, forget it. We are not stealing that egg... DANNY "Someone he knows. Someone he trusts...." "Someone he knows...." RUSTY What about someone he doesn't know but trusts? DANNY For instance? RUSTY I'm talking about you know who, who looks an awful lot like you know who... Everyone looks at Danny. (CONTINUED) 98.156 CONTINUED: 156 DANNY She might. It's not going to be easy getting her over here.157 EXT. DEPARTMENT STORE -- DAY 157 Tess walks down the street. She passes an alley, where a utilities truck is raising a MAN IN A BUCKET. She enters the department store.158 INT. DEPARTMENT STORE -- DAY 158 Tess shops for perfume. The Power twins watch her from a discreet distance. She smiles at them. Then makes her way to the ladies room.159 INT. LADIES ROOM -- DAY 159 She walks in and goes right for the window. She's about to open it when it opens from outside. She jumps a mile until she sees that BRUISER is there, standing in the bucket from the utilities company. BRUISER Hiya, Tess. Just climb on through. Try not to look down too much.160 EXT. DEPARTMENT STORE -- DAY 160 Four stories above an alleyway. Tess climbs out the ladies room window into the cherry picker basket, with Bruiser's help.161 EXT. STREET LEVEL -- A MINUTE LATER 161 Tess climbs into a taxi cab. Reuben -- in an anachronistic taxi driver's uniform -- is driving. REUBEN There's make-up in the bag there. And some photos. Do the best you can. 99.162 INT. THE POSHEST ROME HOTEL -- DAY 162 The HOTEL MANAGER comes to the front desk to answer a call. HOTEL MANAGER Bonjourno. Yes. Yes. Oh...oh, really. Well, absolutely. We can have...I can make our presidential suite available. No, no, no. No trouble at all. We'd love... We're honored that she'd think of us... He hangs up. Turns, elated, to his front desk staff. HOTEL MANAGER (SUBTITLED) Julia Roberts is coming to stay with us!163 EXT. POSHEST ROME HOTEL -- DAY 163 Tess, as Julia Roberts, steps out of a Mercedes limo wearing sunglasses and carrying a puppy. Frank and Basher, as Nation of Islam bodyguards, clear a place in front of her. Reuben trails, dressed in the latest hip-hop clothes. A throng of fans and paparazzi rush toward her. Strobes blind us. Fans scream out her name, thrust paper and pen at her for autographs. It's a frigging madhouse. PRESS Ms. Roberts! Ms. Roberts! Why did you come back to Rome so soon!! TESS I...uh... PRESS Was it to see Topher? TESS To see what? PRESS Topher Grace!! Your co-star!! Is that why you're here?! TESS Oh. No. I came to -- to see the-- (CONTINUED) 100.163 CONTINUED: 163 PRESS Where's Danny? TESS What? PRESS Danny, your husband!! TESS (looks to Reuben) Well, he's not really-- REUBEN Ms. Roberts is very tired!! Please let her through! Please!164 INT. PRESIDENTIAL SUITE -- DAY 164 Tess enters and shuts the door behind her. She takes a deep breath and exhales. She looks up at Danny, who's there waiting for her. TESS I can't do this. Danny goes to her. Kisses her. Hugs her. When he steps back he answers: DANNY Yes, you can. TESS I'm not an actress, Danny! And I don't look like her! DANNY You do, Tess. You really do. I never told you that before, but it's true. TESS Come on: my... She notions at her body, but we can't tell what part. TESS And my... She motions at her body again; again it's totally ambiguous what part. (CONTINUED) 101.164 CONTINUED: 164 TESS And my ears. Anybody who sees my ears is going to know instantly. DANNY Nobody's looking at your ears. TESS Yes, Danny, they are. They're going to know.165 INT. DISPLAY ROOM FOR EGG -- MUSEUM OF MODERN ART -- DAY 165 Isabel stands with the MUSEUM DIRECTOR. ISABEL When did that happen? MUSEUM DIRECTOR We just found out. I arranged a private showing for tomorrow morning before we open the show to the public. ISABEL I don't understand, why do you have to disable any of the systems-- MUSEUM DIRECTOR Because she might want to get close to the egg, got right up here and look at it. And I'm not going to embarrass myself or this institution by telling her she can't. ISABEL She's an actress, Giovanni, not the Pope. MUSEUM DIRECTOR Do you realize how much free publicity we'll get for this museum, just because she because she decided to come by and look at the egg? She's even agreed to do a photo shoot for us promoting the museum. Isabel gives an exasperated sigh. (CONTINUED) 102.165 CONTINUED: 165 ISABEL That's exactly the sort of thing...166 INTERCUT -- INT. WAREHOUSE -- DAY 166 Saul, Frank, and Rusty sit on plush couches and watch Isabel's conversation with the museum director from six different angles. Clearly, Livingston has tapped into the museum's closed circuit system. ISABEL (TELEVISION V.O.) ...that the people I'm after will exploit. (thinks) Okay, fine. You want to shut down half the electronic system, let me post eight cops in the room... Saul, Frank, and Rusty clench teeth and fists... On pins and needles for a moment. If the museum director agrees they're in big trouble. MUSEUM DIRECTOR (TELEVISION V.O.) Are you crazy? That's worse than....you want me to treat her like a criminal? The guys relax back into the couches, their plan narrowly having escaped disaster.167 ANOTHER ANGLE 167 On Saul, Frank, and Rusty relaxing. Only this angle has a digital quality to it -- because we are watching them now through a hi-def TV screen. PULL BACK to REVEAL Toulour, sitting in a warehouse of his own, watching his own surveillance footage of both our guys' warehouse and the museum's closed circuit system. MUSEUM DIRECTOR (TELEVISION V.O.) Look, if you need to do something to reinforce security during her visit, fine. But it's got to be out of sight. And it can't effect Julia in any way. Are we clear? 103.168 INT. ROME BISTRO -- DAY 168 Toulour eats with a beautiful woman. Virgil sits six tables away, keeping an eye on him. Turk strolls in and sits with his brother. TURK Where is he? VIRGIL (points at Toulour) There. I took a look at the interrogation scene. TURK Why? VIRGIL 'Cause Linus said it was repetitive. TURK It clarifies everything. VIRGIL He said it's too on the nose. TURK What's he, the head of the studio? What's he ever written? VIRGIL He's just saying -- Oh, no-- TURK What? VIRGIL It's not him! Turk spine to see "Toulour" get up at the other table. Only it's not Toulour. It's somebody who looks like Toulour from behind. TURK What! How did you-- You moron! You said you were watching him the whole time! (CONTINUED) 104.168 CONT1NUED: 168 VIRGIL I was! I mean, I used the bathroom once, but it was quick. You lost him yesterday! They sit for a minute. TURK Livingston said Frank said that Rusty said that Danny said Toulour said don't ever bother following him.169 INT. RUSTY'S HOTEL ROOM -- NIGHT 169 ON Rusty -- the blue light of an unseen television reflecting off his face. He walks onto the balcony.170 WAVY TRANSITION TO FLASHBACK: 170 We follow Rusty down a hallway. He enters a dark apartment. Slips silently through the dining room. Two places are set. A candle on the table is burned down to almost nothing.171 INT. BEDROOM -- NIGHT 171 The lights are out here too. But Isabel's still awake. Rusty enters the room. She doesn't look at him RUSTY I'm sorry. ISABEL What happened? RUSTY I have to go. Right now. I have to leave the country. It could be a while. A month. Maybe more. Isabel turns to look at Rusty. She can barely see the outline of his face in the darkness. ISABEL What are you saying? What the hell are you saying? Where are you going? (CONTINUED) 105.171 CONTINUED: 171 RUSTY I can't tell you. Isabel stares at his dark face. ISABEL When people start talking the way you're talking there are only two possibilities: you're either in intelligence or you're a criminal. And no one I work with has ever worked with you...or even knows your name. RUSTY You knew what I was the day you met me, Isabel. ISABEL Robert... RUSTY We can talk about it when I get back. ISABEL No, Robert. I have to tell you something. RUSTY What is it? ISABEL I'm taking the job. I'm moving to Amsterdam. He doesn't respond for a moment. RUSTY I can't have this conversation right now. Please, Isabel. I have to get out of here. I love you. He kisses her then leaves.172 EXT. APARTMENT -- NIGHT 172 Outside the front of the apartment, he shuts the door and turns toward us. We see his face in the light for the first time: His left eye is swollen shut. Blood is caked into his hair and on his cheek. Somebody beat the shit out of him. 106.173 BACK IN THE PRESENT DAY 173 Rusty is still on the balcony. There's a knock at the door. He opens it to see Isabel. ISABEL You want to walk?174 EXT. ROME -- NIGHT 174 Rusty and Isabel sit on the steps of the Campidoglio. ISABEL I know how you're planning to do it. I know Julia's visit is the key. RUSTY Who's Julia? ISABEL (after a beat) LeMarc knew when to get out. He just quit...with his perfect record intact. Now he's a legend. (exhorting) Don't do this. RUSTY LeMarc quit because he was 75 years old, Isabel. He was tired. His doctor told him if he didn't start taking it easy he was going to have another heart attack. You're dramatizing it. ISABEL You don't know why LeMarc retired, any better than I do. You have no idea. RUSTY Actually, I do. I know exactly why. ISABEL Really? How's that? (CONTINUED) 107.174 CONTINUED: 174 RUSTY He told me. ISABEL (skeptical as hell) You know LeMarc? RUSTY A little. ISABEL Since when? RUSTY Ten years ago. ISABEL For how long? RUSTY For six months. ISABEL You-- She's so mad she can hardly speak. ISABEL You knew LeMarc? You knew LeMarc and never told me? That's the worst thing you've ever done to me. Nobody knows more about LeMarc than me. How could you do that? RUSTY I couldn't tell you, then. ISABEL Really awful. Isabel thinks. ISABEL Then why aren't you as good as Toulour? Rusty shrugs. A beat. (CONTINUED) 108.174 CONTINUED: (2) 174 ISABEL I don't want to arrest you, Robert. I really don't. But I will if you make me. I will if you go for that egg. Rusty goes silent, looks out at the lights of the city. ISABEL So many times, I waited. You can't do that to a person. RUSTY Isabel-- ISABEL I have to go. Isabel gets up...walks away fast. She's barely holding herself together. Rusty watches her go. Several seconds, then:175 FLASHBACK -- INT. APARTMENT BUILDING -- ROME -- DAY 175 Rusty carries a huge bouquet of flowers up the stairs to the front door of his apartment with Isabel. It's a perfect sunny day outside. He unlocks the door quietly and swings it open to see the apartment is bare. The furniture is still there. But nothing else. Nothing on the walls or the shelves. Isabel has clearly moved out. Rusty's whole body reacts.... He slowly looks around him, as if in a dream. His eye goes to the dining room table. Isabel's engagement ring is there.176 BACK TO SCENE -- EXT. ROME -- CAMPIDOGLIO -- NIGHT 176 Rusty is still watching Isabel, small now in the distance. She turns the corner out of sight.177 EXT. MUSEUM OF MODERN ART -- DAWN 177 Isabel pulls up in her car. 109.178 INT. MUSEUM OF MODERN ART -- DAWN 178 The Egg is being put into position. Isabel watches.179 INT. HOTEL SUITE -- DAWN 179 Reuben is talking to Yen. Frank and Livingston get ready in the background. REUBEN You're a photographer. Very exacting. You want things a certain way, but you never raise your voice. You're uncompromising. Strong. FRANK Reuben, what are you doing? REUBEN Oh, we understand each other. I'm mean, the actual words are gibberish to me, but I know what he means. There's a tone, you know. We communicate. I'm sure he'd tell you the same thing. (to Yen) Am I right? Yen says something in Chinese.180 INT. HOTEL SUITE -- DAWN 180 Danny and the Malloys are looking at Tess's hair. TURK I say we do a Joey Heatherton, 1971. VIRGIL It's the wrong color. Turk looks at his watch. TURK Damn. There's a knock at the door. They let Tess check on it. She looks out the keyhole; (CONTINUED) 110.180 CONTINUED: 180 It's TOPHER GRACE. Tess looks back to the group and shrugs. TOPHER (off) Hello? He knocks again. The group scrambles and hides. Tess opens the door. TOPHER Hey! I got your room number from McCormick, I hope you don't mind. He walks in and hugs her. She looks terrified. Topher disengages and looks around. TOPHER This is great. Do you have the adjoining room? TESS Uh, no. TOPHER Oh. Hey. I saw the rough cut of YOU ALWAYS, YOU NEVER. It's so awesome. Congratulations. TESS Oh. Thank you. TOPHER It was just like a dub of a lo-rez output, but I could totally see what you were doing. I think you might win again. Seriously. TESS Oh. TOPHER It really actually looked like you were blind. How did you do that? What is it like, an on-set thing, or was it digital? TESS It was, uh... (CONTINUED) 111.180 CONTINUED: (2) 180 TOPHER You can tell me, I won't tell a soul. Because if you say it's instinctual, I'm quitting right now. Seriously. The way you parted your hair? That was so connected. And that scene with the matches? And when you find out who your real grandmother is and run through the rain and find her on the porch and touch her face? Man, that was...you gotta tell Steven how much I loved it. TESS Okay. TOPHER So what are you doing? TESS I'm, uh, getting ready to go out... TOPHER (laughs) I mean next. What movie are you doing next? TESS I...I'm having trouble deciding what to do next. TOPHER Is Danny working? TESS Danny...Danny is...Danny is... TOPHER Oh, no. Is something wrong? Have you two... TESS No, no... TOPHER I'm so sorry. I'm so sorry. TESS No. we're absolutely fine, he's just-- (CONTINUED) 112.180 CONTINUED: (3) 180 TOPHER I've got to stop asking people about their spouses, it's like always a mistake-- TESS No, really-- TOPHER Listen, I won't say a word. Seriously. I'm rooting for you guys, you know that. This is your private business and I totally respect that. No more Danny questions from me. TESS Thank you. He's fine. Danny's fine. He's working. TOPHER Hey, cool, whatever. That's what I'll say. A beat. TOPHER So can I come look at that Egg with you?181 INT. MUSEUM -- ENTRY HALL -- DAY 181 Reuben (dressed in a hip-hop outfit) and Linus (dressed like an agent) stand in front of some paparazzi. A crowd of museum employees also rubberneck. REUBEN My name is Stuart Feldman, Worldwide Executive Senior Vice- President of Marketing, Corporate Senior Vice-President of Publicity and Corporate International Executive Worldwide President of Promotion for the Warner Brothers Motion Picture company. (indicating) My colleague, Grant Wells, who is responsible for Ms. Roberts itinerary, has graciously set aside time for Ms. Roberts to view the Coronation Egg privately. 113.182 INT. SECURITY ROOM 182 Isabel, the Security Director, and Captain Giordano sit with four cops watching a bank of closed circuit screens. ISABEL I want to be on record as saying that you should have shut the entire museum down. Isabel keeps her eye on the tourists who circulate through the other wings of the museum.183 INT. MUSEUM -- ENTRY HALL -- DAY 183 "Julia" arrives flanked by her "Nation of Islam" guards, Frank and Basher. The assembled employees clap and call her name. She waves as they take her picture. Topher throws his arm around Julia to make sure he gets in all the shots. The Museum Director comes up to greet "Julia".184 INT. SECURITY ROOM 184 Isabel watches the security camera feeds. ISABEL There! Right there! Isabel points at a screen showing the museum's other entrance. Rusty nonchalantly slips into the museum.185 INT. GALLERY CONTAINING THE CORONATION EGG -- DAY 185 "Julia" enters and walks up to the egg. Her entourage follows. TESS It's so beautiful. My God. Topher looks at the egg-- TOPHER Kinda small. He turns away to look a cute girl on the museum staff. (CONTINUED) 114.185 CONTINUED: 185 TOPHER Hi. BACK ON "JULIA" She leans in close to the egg. TESS I'm not going to set off any alarms? MUSEUM DIRECTOR No. No. Get as close as you like. Reuben pops his head in between them. REUBEN (obsequious) Julia -- unless you have any objections -- Wen and his crew set up for the publicity stills.186 INT. ANOTHER PART OF THE MUSEUM -- DAY 186 Rusty ponders a painting like college student trying to impress his art history professor. Finally he moves on, into another gallery. PAN to REVEAL nine uniformed cops trailing behind him.187 INT. GALLERY CONTAINING THE CORONATION EGG -- DAY 187 Yen ENTERS FRAME -- dressed like a pretentious grunge rocker. He whispers Chinese into a bullhorn. Theoretically he's speaking to his crew (Danny, Saul, and Livingston in lame disguises) telling them where to set up the camera, lights, and flags. Each "crew member" carries an odd-looking oversized "light meter". Upon closer examination we can see that each device has a small TV screen on it -- which is tapped into the museum's closed circuit system. The guys are carefully placing their flags and lights so as to block the view of the egg from each of the eight cameras on the ceiling of the gallery. "Studio Execs," Reuben and Linus go to "Julia." (CONTINUED) 115.187 CONTINUED: 187 REUBEN I was thinking maybe we could get you and Topher into some "You Always You Never" hats and t-shirts for the shoot-- TESS That's stupid. REUBEN (instant reversal) So stupid! (turns to Linus as if it's his idea) Idiot. (gingerly) Maybe we could put some posters in the background-- TESS I don't think we want to be so obvious-- REUBEN I completely agree! (to Linus) Stop trying to turn this into some sort of stunt.188 INT. OTHER PART OF MUSEUM 188 Isabel struts up to Rusty. ISABEL This isn't going to work. RUSTY I don't know what you're talking about.189 INT. GALLERY CONTAINING THE CORONATION EGG -- DAY 189 Yen stands on two apple boxes to shoot photos of "Julia" and Topher. "Julia" looks ridiculously stiff and keeps putting her hands up to block her ears. Topher keeps shooting glances at Danny, who is moving around flags and lights, ostensibly in accordance with Yen's Chinese language orders. (CONTINUED) 116.189 CONTINUED: 189 Julia sees Topher's expression -- he recognizes Danny from somewhere... JULIA Okay, thanks everybody. Thank you so much. She starts to walk out. Topher shrugs and follows her.190 INT. MUSEUM HALLWAY -- DAY 190 Julia and her entourage barrel down the hallway. Topher catches up. TOPHER Hey, J Ro, why the quick exit? TESS I...uh, I have to take some pills. Aspirin. I get headaches. TOPHER Yeah, well, with everything thing you've been going through I can see how you'd need something. TESS They're just aspirin. TOPHER Right. I've never taken aspirin in my life, ever. Can you believe that? TESS That's amazing. TOPHER For me, it's like a control thing. TESS Well, with aspirin...it's very beneficial. TOPHER Oh, yeah. I'm sure. They are interrupted by the sound of PIERCING SIRENS and CLANGING BELLS -- all manner of alarms coming from the gallery containing the egg. (CONTINUED) 117.190 CONTINUED: 190 Tess rushes back to the gallery just in time to see police officers pin Danny and his entire crew on the floor and against walls and start handcuffing them. She freezes. Can't move.... Her bodyguards (Frank and Basher ) grab her and move her quickly out of the area.191 EXT. ROME POLICE HEADQUARTERS -- DAY 191 Three massive Ford Excursion SUV's with diplomatic plates double park out front, completely blocking the flow of traffic on the narrow street. Eight FBI agents climb out of their behemoths and walk inside like they own the place. The boss is a 55 year-old agent named MOLLY STARR.192 INT. LOBBY -- DAY 192 Molly Starr steps inside with her posse. She pulls out her badge and hangs it around her neck. AGENT MOLLY STARR Who's in charge? Isabel and Captain Giordano look at her and her team with obvious trepidation. ISABEL (tentative) I am. CAPTAIN GIORDANO (smelling trouble) She is. Molly gives a slight nod to one of her lackeys. He thrusts an official-looking paper at Isabel.193 INT. "OBSERVATION "HALLWAY -- DAY 193 Molly swaggers down a hallway, followed by Isabel and Giordano. She stops at an observation window and looks through it to see Danny, who is handcuffed to a chair, awaiting interrogation. His expression is impassive. She moves on to the next window: Yen. Same impassive expression. She continues down the line, Reuben, Livingston, and Saul. Each has the same impassive expression. Through the final window she sees Linus... (CONTINUED) 118.193 CONTINUED: 193 He's nervously tapping his foot. Molly smiles sadistically. AGENT MOLLY STARR Oh, yeah... I'll start with him.194 INT. INTERROGATION ROOM -- DAY 194 Molly sits face-to-face with Linus. Isabel and Captain Giordano stand in the corner and observe. AGENT MOLLY STARR When people think of Italy they think of food, wine, the Renaissance. They don't realize Italy has the scariest prisons in the civilized world. You know why? They're all leftover from the Middle Ages. They're worse than dirty; they're damp. They're like caves. Linus can't look her in the eye. AGENT MOLLY STARR (cont'd) I'm the only hope you've got. LINUS What do you want? AGENT MOLLY STARR Testify against the others in the Benedict case. LINUS I can't do that. AGENT MOLLY STARR Sure you can. You'll get a year, maybe two. The Italian charges will be dropped. You and the others will be extradited to the US this afternoon. A long beat. AGENT MOLLY STARR Think about those prisons. Think about living there for twenty years, getting out when you're fifty. What a catch you'll be. 119.195 EXT. / INT. FBI SUV -- DAY 195 Linus is bundled into the back of the SUV. Agent Starr gets in next to him. She motions to the driver. They pull out.196 EXT. POLICE STATION -- DAY 196 Agent Starr's SUV is followed by three other SUV's and escorted by two Rome Police cars.197 INT. FBI SUV -- DAY 197 Linus stares morosely at the headrest in front of him. A long, long beat...then he turns to Agent Starr: LINUS Did you tell Dad? Before "Agent Starr" answers the agent in the passenger seat turns around. It's Clint Eastwood. CLINT Of course she did. We're married, for God's sake.198 INT. HOTEL SUITE -- DAY 198 Tess waits. A key sounds in the door, and she is on her feet. She reaches Danny before he's all the way in the room. She kisses him, then remembers she's mad at him. TESS Why didn't you tell me? DANNY I couldn't. TESS Why not? DANNY Because you're not an actress. You wouldn't have been so real. (CONTINUED) 120.198 CONTINUED: 198 TESS I thought you were going to jail. DANNY I'm not going to jail. A beat. TESS So you don't think I'm a good actress. DANNY You're a terrible liar. TESS I'm a good liar. DANNY Where did Benedict find you? TESS He... DANNY At your parent's house. TESS That was...okay, so I'm not a good liar. So what. You're good enough for both of us. DANNY Exactly.199 EXT. CIAMPINO AIRPORT -- DAY 199 The motorcade of FBI SUV's pulls through the security gate and drives toward a US government Gulfstream parked on the flight line. Isabel watches with Captain Giordino and Commander Andriotti. Linus, Saul, Yen, Livingston and Reuben get out of the SUVs, all of them beaming. They hug Linus's mom and dad and mount the steps to the plane. Then Rusty gets out, says goodbye to everyone, and heads for Isabel. ISABEL (eyes go wide) What the-- Oh my God! (MORE) (CONTINUED) 121.199 CONTINUED: 199 ISABEL (cont'd) (spins to Giordano) Call the tower! Don't let that plane take off! Giordano stares blankly at her. But he doesn't move. ISABEL (cont'd) Do something! Do you realize what's happening?! Do you understand what's going on?! CAPTAIN GIORDANO (deadpan) Yes, absolutely. Isabel blinks. It takes a second to hit her. Rusty approaches. RUSTY Guys. Get on there before they leave without you. Thanks. CAPTAIN GIORDANO (speaking like an American) Hey, no problem. Good seeing you, man. ANDRIOTTI Take care. See you back home. RUSTY Thanks, Scooter. Isabel is dumbstruck.200 EXT. TOULOUR'S VILLA -- DAY 200 Toulour pulls up in a Ferrari. His butler gets the door for him. BUTLER How was Rome, air? Toulour answers by handing a small velvet bag to his butler (a bag just big enough to hold the coronation egg). TOULOUR Put this in the safe, would you? (CONTINUED) 122.200 CONTINUED: 200 BUTLER Of course, sir. Your guests are on the veranda. TOULOUR Guests?201 EXT. CIAMPINO AIRPORT -- DAY 201 Isabel watches as the "US Government" Gulfstream containing all the members of Rusty's crew that she arrested at the museum taxis down the runway and becomes airborne. She turns to Rusty. ISABEL I hate you. RUSTY I love you. ISABEL This will ruin me. RUSTY No, it won't. Not if you come to Zanzibar. ISABEL What is it with Zanzibar? RUSTY It's where LeMarc is. Rusty points nearby at another private plane. The pilot has just opened the door and put the stairs down. RUSTY That one's ours. We can be there in three hours. A beat. RUSTY Don't you want to meet him? He wants to meet you. ISABEL You're asking me to turn my back on my whole life. (CONTINUED) 123.201 CONTINUED: 201 RUSTY Would you miss it? ISABEL I'm a cop. That's who I am. RUSTY You're only a cop because your father was a thief. ISABEL Who died in a Russian jail. RUSTY According to you mother. ISABEL What does that mean? RUSTY It means you should meet LeMarc.202 EXT. VERANDA -- DAY 202 Toulour walks out to find Danny and Tess chomping on gourmet nuts and sipping his special reserve brandy. TOULOUR (to Danny) Let me guess, you decided you did want to give my lawyer a call. But you lost his card. Toulour holds out another card to Danny. DANNY No, nothing like that. We just came to collect our money. TOULOUR Not only did you fail, half of your crew got pinched! Your plan was not good. (to Tess) And you don't look anything like Julia Roberts! I mean your... (motions ambiguously to her body) ...and your... (another ambiguous motion) ...and your ears. (CONTINUED) 124.202 CONTINUED: 202 Toulour stops. Danny and Tess just look at him. Something about their demeanor is troubling. Namely, that they look completely untroubled. TOULOUR Oh, no. You stole it on the way to Rome didn't you? I stole a replica.203 EXT. PARIS BUILDING -- DAY 203 A repeat of the shot of the SMALL, SECURE BOX being taken to a truck. The truck moves out of the garage and on to the street as before. This time the shot continues over to a door on the side of the building. A YOUNG KID emerges with a backpack over his shoulder.204 EXT. PARIS STREET -- DAY 204 The BACKPACK KID passes another guy, a NORMAL-LOOKING GUY, who, after a beat, follows Backpack Kid.205 INT. PARIS TRAIN STATION -- DAY 205 The Backpack Kid, followed by Normal-Looking Guy, walk through the terminal and get in line. We swing over to see Normal Looking Guy #2 looking at them.206 INT. TRAIN -- DAY 206 In motion. We start on the Backpack Kid, who is reading a book. The Backpack is beneath his legs. Next to him sits LINUS. Across from him is one of the Normal-Looking Guys. The other Normal-Looking Guy is a row away, facing him. Linus looks at the door of the car. SAUL Is making his way through the door. He looks drunk. LINUS Looks down at his copy of the French FHM. SAUL (CONTINUED) 125.206 CONTINUED: 206 Gets close and closer to Linus and the Backpack Kid. LINUS Puts his magazine away. SAUL Is almost to Linus's row, he stumbles a little, almost falls. Then, with a loud WHOOSH the train goes completely dark. It's gone into a tunnel. We hear Saul's voice CRY OUT. In a few seconds, the train exits the tunnel and the lights come back on. SAUL Has fallen into the lap of the BackPack kid. Linus and the Normal-Looking Guy try to help him up. He stumbles onward and collapses into a vacant seat. LINUS (in French) He's completely drunk. The BackPack Kid nods his head. Linus goes back to his book. We drop down to see HIS BACKPACK also beneath his feet.207 INT. TRAIN STATION ROME, ITALY -- DAY 207 Linus walks through the terminal, backpack over his shoulder. Suddenly he stops and kneels to tie his shoelace. Saul, seeing this and reacting, splits off into another direction.208 INT. WAREHOUSE -- DAY 208 Linus and Saul approach the group. DANNY What happened? Linus puts his BACKPACK down. LINUS We thought someone was following us. 126.209 BACK TO TOULOUR ON VERANDA - DAY 209 TOULOUR But that means you knew what to steal before LeMarc proposed that I challenge you for it. That means...210 INT. RUSTY'S GARAGE -- DAY 210 The image from the beginning of the film, with Rusty watching the boiling cask. He's talking on the phone. RUSTY Gaspar, it's Rusty. How are you? And this time we see what be is working on: A PERFECT REPLICA OF THE CORONATION EGG. In the warehouse in NYC, we see Danny and Rusty "arguing", but from a different angle. They are smiling as they yell: DANNY I'M TELLING YOU IT'S A DEATH SENTENCE! RUSTY FINE, THEN STAY HERE!211 BACK TO TOULOUR ON VERANDA - DAY 211 TOULOUR LeMarc told you. Of course. He looks deflated. It's probably just occurring to him that he's never lost before. He sits down. TOULOUR To teach me. He is silent. Tess indicates to Danny that they should leave. Danny nods, and they rise. (CONTINUED) 127.211 CONTINUED: 211 DANNY Well, we'll be in touch to make all the arrangements. TOULOUR No. Don't go. Please. Toulour gets up. TOULOUR You are my guests. I will celebrate your victory. Besides, you may have noticed, I don't like to be alone.212 EXT. VERANDA -- LATER 212 They are toasting champagne. TOULOUR I am feeling more French by the minute. To my first depression.213 INT. TAXI -- DAY 213 Saul and Basher ride to the airport. BASHER So I think if you really analyze it, you can see that it's inevitable. It's time for us to evolve, en masse. I have to help bring that about whatever way I can, you know. Otherwise, the trajectory is fixed. You know what I'm saying? SAUL Mmm. Yes. But I'm through evolving, I think. It's too tiring. I feel pretty evolved. You know, considering.214 INT. AIRPORT -- DAY 214 Frank and Yen buy magazines. Yen has a copy of an ITALIAN TABLOID. The headline screams CO-STAR SAYS JULIA MARRIAGE IN TROUBLE. A sub-headline reads HER ADDICTION TO PAINKILLERS IS RIPPING THEM APART. 128.215 INT. AIRPLANE -- NIGHT 215 In First Class. Basher and Saul tip champagne glasses. Virgil, Turk, and Linus all crack open copies of their story to read. TURK I've got an idea for another Dominique story. VIRGIL Can we finish this one first? TURK Just let me tell it to you. VIRGIL No. TURK It's like three sentences. VIRGIL I'm serious; you're asking too much. Virgil puts on his headset. Turk leans over to Linus and begins to speak. Linus, reading, holds his finger up. Yen reads a magazine. Reuben glances at it. REUBEN May I look at that when you're through with it? Yen says something. It would seem he is okay with that. Livingston speaks into his VOICE RECORDER. LIVINGSTON (trying to be dispassionate) All in all, it was depressingly familiar. The forced camaraderie, the hollow smiles. Scared to take a moment's reflection. Scared to imagine a different life. We behaved like boys. (beat, he chokes) But... (CONTINUED) 129.215 CONTINUED: 215 He begins to weep, quietly, but very quickly regains his composure. LIVINGSTON I'm Livingston Dell. Thanks for listening.216 EXT. VILLA -- NIGHT 216 Tess and Danny enjoy the sunrise. TESS When do you want to go back? DANNY Feel like traveling? TESS Yeah. Don't you? DANNY Yeah. Toulour enters with THE LAST BEAUTIFUL WOMAN in tow. TOULOUR Tess. Danny. This is Monica Bellucci. And indeed it is. MONICA Hello. TESS & DANNY Hello. TOULOUR We're thinking of taking a trip to the states. Take a look around. We'd love to meet some of your friends while we're there. Actually, one friend in particular.217 EXT. SKY OVER ZANZIBAR -- DAY 217 We follow the Gulfstream jet. 130.218 INT. JET -- DAY 218 Isabel looks out the window. Rusty watches her, She looks over at him, then back out the window.219 EXT. BEACH HOUSE -- DAY 219 Stunning. Classic. Rusty and Isabel pull up. He takes her hand and leads her inside.220 INT. BEACH HOUSE -- DAY 220 Rusty and Isabel walk through the house. RUSTY There he is. Rusty indicates the back porch. A figure sits in a lounge chair, reading a book. This is LEMARC. RUSTY (cont'd) Gaspar! ISABEL Gaspar? That was my fa-- Isabel looks to the porch just as LE MARC, her father, turns to face her. She goes to him and they embrace. ISABEL (cont'd) Daddy. LeMarc looks to Rusty. Rusty salutes, makes a drinking gesture and heads for the kitchen. The sound of a jet takes us to221 A GLOBE 221 As we rotate from Toulour's villa to LAS VEGAS, NEVADA CUT TO: 131.222 ESTABLISHING SHOTS 222 Of the Bellagio hotel. CUT TO223 A RECEIPT 223 For a wire transfer of $ 191,507,067.37 into the account of TB ENTERPRISES. Description: "Repayment of personal loan".224 TERRY BENEDICT 224 Staring at this receipt. He looks up. REUBEN Is opposite him. They are both being served for lunch by a JACKETED WAITER, whose face is continually obscured. REUBEN That's the exact figure, I'm pretty sure. BENEDICT Yes. REUBEN So we're clean? BENEDICT You want it in writing? REUBEN I'll take your word. BENEDICT You're clean. REUBEN These grudges, they're awful. Nobody wine. BENEDICT As soon as someone retaliates, the situation is out of control. (CONTINUED) 132.224 CONTINUED: 224 REUBEN This way, there's no need for retaliation. Why would there be? BENEDICT There's plenty for everyone. REUBEN More than plenty. It's just a matter of sharing. BENEDICT Sharing is good. REUBEN It is. Waiter? Can I get sparkling water? It's good for my acid reflux. WAITER (off) Of course. The waiter turns toward the bar and we see now that he is FRANCOIS TOULOUR. He's wearing a STRIPED TULIP in his WAITER'S JACKET. CUT TO BLACK THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Office Space.txt b/unformated_scripts/Script_Office Space.txt new file mode 100644 index 0000000000000000000000000000000000000000..1f16eded406875f7fb8b606ceef922635d570473 --- /dev/null +++ b/unformated_scripts/Script_Office Space.txt @@ -0,0 +1 @@ + OFFICE SPACE Transcribed by Jean Liew[Scene: A highway. There's a huge traffic jam. Peter drives forward a bit at a time and he sees an old man with a walker on the sidewalk. The lane next to his is moving, so he switches lanes, only to have it stop and the lane he was on move. He switches back and then it happens again. The old man is now ahead of him.]Cut to Michael, who's rapping along with the radio. A black guy selling papers walks by and he shuts the windows and turns down the volume. He passes and he turns it back up again.Cut to Samir. He grabs the steering wheel and shakes it in frustration.SAMIRMotherf - shit - sonofa - ass!! I just -He hits the steering wheel.Cut to Milton at a bus stop. TNHe mumbles his coming lines, as he does with all his lines.MILTONIt's late again. If I'm there late again, I will be dismissed.[Scene: Initech parking lot. Bill drives into his special spot. (Reserved for Bill Lumbergh) He turns on the alarm for his Porsche (license plate: MY PRSHE) and walks in. Peter walks in too.]Cut to inside. Peter pauses at the door and slowly reaches out to touch the metal handle. It gives him a shock and he enters.Cut to the cubicles. Peter goes into his. He picks up papers, turns on the computer and sits down.NINACorporate Counsels Payroll, Nina speaking. Just a moment.(repeats that over and over)Bill comes up to Peter.BILLHello, Peter. What's happening? UhÖ we have sort of a problem here. Yeah. You apparently didn't put one of the new coversheets on your TPS reports.PETEROh, yeah. I'm sorry about that. I, I forgot.BILLMMMM..YEAH. YOU SEE, WE'RE PUTTING THE COVERSHEETS ON ALL TPS REPORTS NOW BEFORE THEY GO OUT. DID YOU SEE THE MEMO ABOUT THIS?PETERYeah. Yeah. Yeah. I've got the memo right here, but, uh, uh, I just forgot. But, uh, it's not shipping out until tomorrow, so there's no problem.BILLYeah. If you could just go ahead and make sure you do that from now on, that will be great. And Uh, I'll go ahead and make sure you get another copy of that memo Mmmm, Ok?He walks away.PETERYeah, yeah, I've got the memo, I've got -He picks it up but Bill's at another cubicle.BILLHello, Phil. What's happening?Peter tries to read his papers, but a loud radio (news) is bothering him. He stands up and sees it's Milton.PETERMilton? Uh, could you turn that down just a little bit?MILTONUh, they said I could listen to the radio at a reasonable volume from nine to eleven while I'm collatingÖ.PETERBut, no, no, no. I know you're allowed to, I was just thinking, like a personal favor, y'know?MILTONI, I told Bill that if Sandra's going to listen to her headphones while she' working, I can listen to the radio while I'm collating -PETEROk.MILTONSo I don't see why -PETEROk.MILTONThe radio, I can't -PETERYeah! All right!He sits down.MILTONI enjoy listening to the radio at a reasonable volume from nine to eleven.Dom walks up.DOMHello, Peter. What's happening? (Big smile)We need to talk about your TPS reports.PETERYeah. The coversheet. I know, I know. Uh, Bill talked to me about it.DOMYeah. Uh, did you get that memo?PETERYeah. (holds it up) I got the memo. And I understand the policy. The problem is, I just forgot this time. And I've already taken care of it so it's not a problem anymore.Dom nods.DOMYeah. It's just that we're putting new coversheets on all the TPS reports before now before they go out now. So I'd really appreciate it if you could just remember to do that. from now on. That'd be great.He walks away. Peter's phone rings and he answers it.PETERPeter Gibbons. (listens) Yes. (listens) I have the memo.[Scene Another part of the room. Paper jams in the printer.]SAMIROh no! Not again! Why does it say paper jam when there is no paper jam?!! I, I swear to God, one of these days, I, I, I just kick this piece of shit out the window!!!MICHAELyou and me both, man. The thing is lucky I'm not armed.Samir grabs the paper out, tearing off the bottom part of it.SAMIRPiece of shit!!Nina comes with papers.NINASam...ire...Na...Na...Naga...Samir gets it.NINAUh-huh!SAMIRPlease.He sits in his and Michael's cubicle.NINAMichaelÖ - (Michael reaches for it) Bolton?MICHAELThat's me.NINAWow! Is that your real name?MICHAELYeah.NINASo are you related to the singer guy?MICHAELNo, it's just a coincidence.SAMIRHow come no one in this country can pronounce my name right? It's Na-gee-een-ah-jah. NagaenajarMICHAELAt least your name isn't Michael Bolton.SAMIRMichael, there's nothing wrong with that name.MICHAELThere was nothing wrong with it. Until I was about nine years old and that no-talent assclown became famous and started winning Grammys.SAMIRWell, why don't just go by Mike, instead of Michael?MICHAEL WHY SHOULD I CHANGE IT? HE'S THE ONE WHO SUCKS.Peter comes up to their cubicle.PETER HEY GUYS.MICHAELWhat's up G?PETERWanna go to Chotchkie's, get some coffee?SAMIRIt's a little early...PETERI gotta get out of here. I think I'm gonna lose it.NINAUh oh. Sounds like somebody's got a case of the Mondays.[Scene Chotchkie's. They're sitting at a booth thing.]PETERBoy. I tell ya, one of these days... One of these days it's gonna be likeHe mimics a machine gun. Brian, a waiter, does it too, in Peter's face.BRIAN(LAUGHS) SO CAN I GET YOU GENTLEMEN SOMETHING MORE TO DRINK? OR MAYBE SOMETHING TO NIBBLE ON? SOME PIZZA SHOOTERS, SHRIMP POPPERS, OR EXTREME FAJITAS.PETERJust coffee.BRIANOh. Sounds like a case of the Mondays.He goes to take some more orders.PETERWhat if we're still doing this when we're 50?SAMIRIt could be nice to have that kind of job security.PETERLumbergh's gonna have me work on Saturday, I, I can tell already. I'm doing it because, because, uh, I'm a big pussy. Which is why I work at Initech to begin with.MICHAELUh, I work at Initech and I don't consider myself a pussy, ok?SAMIRYes, I am also not a pussy.MICHAELI'm gonna find out the hard way that I'm not a pussy if they don't start treating us software people better.SAMIRThat's right.MICHAELThey don't understand. I could come up with a program that could rip that place off big timeÖbig time.PETERYeah.Cut to Joanna, a pretty waitress.Cut back to the guys.PETEROh, there she is.SAMIRPeter, you, you always talk about this girl. If you're so obsessed with her, why don't you just ask her out?PETERBecause I'm just another asshole customer. You can't just walk up to a waitress and ask her out. (cut to Joanna, and back to them) Plus, I'm still trying to work it out with Anne. Oh, that reminds me. I'm not going to be able to play poker with you guys on Friday.MICHAELWhy not?PETERUh, I have to see this occupational hypnotherapist with Anne.MICHAELDude! An occupational hypnotherapist?!PETERAnne wants me to go. She thinks it might help. Y'know, sometimes I just think, I keep thinking that she's cheating on me.MICHAELYeah. I know what you mean.SAMIRYeah.PETERWhat is that supposed to mean?MICHAELNothing. Why don't you just tell Anne you're not into hypnosis and you want to play poker with us?PETERAh, I can't do that. She might get all pissed off at me. Besides, I think the guy might be able to help. He did help Anne lose weight.SAMIRPeter, she's anorexic.PETERYeah, I know. The guy's really good.MICHAELAn occupational hypnotherapist isn't going to help you solve any of your problems. And speaking of problems, what's this I hear about you having problems with your TPS reports?SAMIRYeah. Didn't you get that memo?Peter sighs.[Scene Outside Initech. Tom, another employee, runs across the street, towards Samir, Peter and Michael.]TOMHey! Hey, guys! Samir!!SAMIRIs that Tom Smykowski?PETERWhat's he doing?MICHAELOh, probably working on another heart attack.TOMHave you guys see this?He hands them a piece of paper.MICHAELWhat? It's the staff meeting. So what?TOMWe're all screwed, that's what. They're gonna downsize Initech.SAMIROh, what are you talking about Tom? How do you know that?TOMThey're bringing in a consultant - that's how I know. That's what this staff meeting is all about! That's what happened at Initrode last year. You have an interview with a consultant and they bring in efficiency experts. You're interviewing for your own job!MICHAELTom, every week you say you're losing your job and you're still here.TOMI'm going to be the first one they're gonna lay off. Just the thought of having to go to the State Unemployment Office and having to stand in line with those scumbags!!![Scene Michael and Samir's cubicle. They're sitting there worrying.]MICHAELShit. Shit.TOMYou know there are people in this world who don't have to put up with all this shit? Like that guy that invented the pet rock. You see, that's what you have to do. You have to use your mind and come up with some really great idea like that and you never have to work again!MICHAELI don't think the pet rock was really such a good idea.TOMThe guy made a million dollars! Y'knowÖ I had an idea like that once.PETERReally? What was it, Tom?TOMWell, all right. It was a JumpÖ to Conclusions-mat. You see, it would be this mat that you would put on the floor and it would have different conclusions written on it that you couldÖjump to.MICHAELThat is the worse idea I've ever heard in my life, Tom.SAMIRYes, yes, it's horribleÖthis ideaÖ.TOMAh, look. I, I gotta get outta here. I'll see you guys later, if I still have a job.He goes to his cubicle.PETEROur high school guidance counselor used to ask us what you would do if we had a million dollars and didn't have to work. And invariably, whatever we would say, that was supposed to be our careers. If you wanted to build cars, then you're supposed to be an auto mechanic.SAMIRSo what did you say?PETERI never had an answer. I guess that's why I'm working at Initech.MICHAELNo, you're working at Initech because that question is bullshit to begin with. (The printer is not working) If that quiz worked, there would be no janitors, because no one would clean shit up if they had a million dollars.SAMIRWell, I would invest half of it in ??? Mutual Funds and give the rest of it to my friend, Saheib, in Securities.MICHAELSamir, the point of the exercise is that you could figure out what you want to do. And thenÖ(reads the printer's display) "PC load letter"?!! What the fuck does that mean?!!He knocks off the paper tray.[Scene Peter's apartment. He enters, tired, and sits down on the couch. He then turns on the TV.]LAWRENCE(V/O, FROM NEXT DOOR) HEY PETER-MAN! CHECK OUT CHANNEL NINE! IT'S THE BREAST EXAM! CHECK OUT THIS CHICK!PETERLawrence, can't you just pretend like we can't hear each other through the wall?LAWRENCEOh! I'm sorry man, is Anne over there or something?PETERNo! But if you just want to talk to me, just come over.Lawrence does so; it takes him like ten seconds.LAWRENCEHey man. Check this out, dude.He changes channels a bunch of timesPepsi commercial, a soap opera and another show. He stops on breast exam.PETEROh geez, Lawrence.LAWRENCEI'm sorry, man. I thought you'd wanna see this. Doesn't this chick look like Anne?PETERYeah, a little bit.LAWRENCEHey, she hasn't been over here in a while. You two still going out?PETERI guess, yeah. I, I don't know. Sometimes I get the feeling that she's cheating on me.LAWRENCEYeah, I get that feeling too, man.PETERWhat do you mean by that?LAWRENCEI don't know , man, I just get that feeling looking at her, like - I'm sorry, man. Look, I, I, I, I, I, I'm talking out of my ass. I don't know.He gets up.PETERIt's ok. I just had a rough day.LAWRENCETell me about it, man. (sits on the couch) I gotta wake my ass up at six AM every day of this week and drag myself up to Vascalinas. Yeah, I'm doing the drywall up there at the new McDonalds.PETERLet me ask you something. When you come in on Mondays, and you're not feeling too well, does anybody ever come up to you and say "sounds like someone's got a case of the Mondays"?LAWRENCENo. No, man, shit, no, man. I believe you get your ass kicked for sayin' something like that, man.PETERHuh.LAWRENCEWe still going fishing this weekend?PETERNah. Lumbergh's gonna make me come in this Saturday. I know it.LAWRENCEWell, you can get out of that easily.PETERYeah, how?LAWRENCE(Gets up) Well, when you work on an Saturday, he generally asks you at the end of the day, right? (gets a beer) So all you have to do is avoid him ñ (peter offers him a bottle cap remover) That's all right, i got one ñ (he gets on from his pocket) The last few hours of the day. And turn off your answering machine, you should be home free then.PETERThat's a really good idea. (sits on the couch) Lawrence, what would you do if you had a million dollars?He sits down.LAWRENCEI'll tell you what I'll do, man--Two chicks at the same time.Peter laughs.PETERThat's it? If you had a million dollars, that's what you'd do, two chicks at the same time?LAWRENCEDamn straight, man. I've always wanted to do that. I figure if I were a millionaire, I could hook that up. Chicks dig guys with money.PETERWell not all chicksÖ.LAWRENCEWell, the type that double up on a guy like me do.PETERGood point.LAWRENCENOW, WHAT WOULD YOU DO?PETERBesides two chicks at the same time?LAWRENCEOh yeah.PETERNothing.LAWRENCENothing, huh?PETERI would relax, I would sit on my ass all day, I would do nothing.LAWRENCEYou don't need a million dollars to do nothing, man. Take a look at my cousin. He's broke and don't do shit.[Scene Peter's room. He's in bed and he keeps hearing voices.]NINACorporate payroll, Nina speaking. Just a moment. Corporate payroll, Nina speaking. Just a moment. Corporate payroll, Nina speaking. Just a moment.Peter buries his head in his pillow.[Scene The staff meeting. Peter's watch reads Friday 12, 10:37. Everyone's standing outside their cubicles. There's a banner that says "Is This Good for the COMPANY?"]BILLSo you should ask yourself, with every decision that you make (points to the banner) Is this good for the company? Am I helping the best way that I can for the company...PETERIs that the guy?TOMYeah...BILLGood. Well, uh, I'd like to, uh, welcome a new member to our team. Uh, Bob Slydell. Yeah. Uh, he is, uh, a consultant. Yeah. He is a consultant. (Tom shakes his head) He'll be helping us out a little here, asking some questions, making sure things go a little more smoothly. Yeah. Oh and remember, next Friday is Hawaiian shirt day! So, y'know, if you want to, go ahead and uh, wear a Hawaiian shirt and jeans.[Scene Milton's cubicle, under the banner. He's on the phone with Peter.]MILTONI, I don't care if they, if they lay me off either, because I, I told Bill that if he moves my desk one more time, then, then I'm quitting. I'm going to quit. And I told Dom too because they've moved my desk four times. I used to be by the window, where I could see the squirrels and they were merry. But then they switched from the Swingline to the Boston stapler, but I kept my Swingline. (he's holding his red Swingline) (Camera pans to Peter) They have my staples for the Boston and I kept the staples from the Swingline stapler.PETEROk, Milton.MILTONAnd if, if they take my stapler, I will, I will set this building on fire.PETEROh, that's great. I will talk to you later.He hangs up and looks at his watch4:45. Peter looks around and sees Bill. He ducks and peeks to see Bill talking with some workers. He quickly tries to save his files, but the computer is slower than he'd like. Bill is talking to other guys.PETEROh, come on! (it finished saving, but starts to save another file) Oh, for crying out -!He peeks over the wall again. The computer finally finished saving and he turns it off. He peeks over the wall but Bill's not there. He gets ready to leave and almost runs into Bill.BILLHello Peter. What's happening? Um, I'm gonna need you go ahead and come in tomorrow. So if you could be here around nine, that would be great. (starts to walk away) Oh, oh, yeaÖI forgot. I'm gonna also need you to come in Sunday too. We, uh, lost some people this week and we need to sorta catch up. Thanks.[Scene Outside the clinic. A sign saysHypnotherapist; Dr. Swanson, CCS; Anxiety, Depression, Marriage, Weight Loss, Smoking, InsuranceCut to inside. Anne is with Peter. Opposite them are Dr. Swanson and two other patients.PETERSo I'm sitting in my cubicle today and I realized that ever since I started working, every single day of my life has been worse than the day before it. So it means that every single day you see me, that's on the worse day of my life.DR. SWANSONWhat about today? Is today the worse day of your life?PETERYeah.DR. SWANSONOh, that's bad stuff.PETERI'm sorry.DR. SWANSONOk.PETERBut is there any way that you, you could just sock me out so there's no way that I'll know I'm at work? Right here? (points to his head) Can I just come home and think I've been fishing all day or something?DR. SWANSONThat's really not what I do, Peter. However, the good news is, I think I can help you. I want you to do something for me, Peter. (dims the lights) I want you to try and relax. I want you to relax every muscle in your body, from your toes to your fingertips. Now I want you to relax your legs. You're going to begin to feel your eyelids getting heavy as you slip deeper and deeper into a state of complete relaxation. the air of concerns to you is disappearing. Deeper, way down, your concerns about your job melts away. Way, way down. Now when I count backwards from three, you'll be in a state of complete relaxation. your worries, cares and ambitions will be gone. And you will remain in that state until I snap my fingers. Three. Deeper and deeper. Way down, way down. Two. Way down. One.He faints out of the chair and everyone rushes to his aid.ANNEOh my God, Dr. Swanson! Ooh! Ooh! Is he dead? Oh!She runs to get help. Peter just sits there and smiles. The hypnosis thing apparently worked...[Scene Peter's bedroom. Saturday morning, 8:00. His alarm clock beeps and he sits up. He looks at the clock and decides to go back to sleep.]Cut to later. Peter's still asleep. The phone rings and the answering machine picks up.BILLYah, hi. It's Bill Lundbergh. It's about ten o' clock, uh, wondering where you are.Cut to later. Peter's still asleep. The phone rings again.BILLON MACHINE) YEAH, HI, IT'S BILL LUMBERGH AGAIN. I JUST WANTED TO MAKE SURE YOU KNEW THAT WE, UH, DID START AT THE, UH, USUAL TIME THIS MORNING. (PETER ROLLS OVER...) YEAH, IT ISN'T A HALF DAY OR ANYTHING LIKE THAT. SO IF YOU COULD GET HERE AS SOON AS POSSIBLE, THAT WOULD BE TERRIFIC.Cut to later. Peter finally gets up. The answering machine has seventeen messages. He listens to them.BILLYeah, hi, it's Bill Lum -Next messageBILLYeah, it's -Next messageBILLYeah, hi, it's Bill Lumbergh -Next messageBILLYeah, it's me again. Uh, I was away from my desk for a minute. Just checking in case you called while I was gone.The phone rings. Peter answers it.PETERHello?ANNEPeter, what's going on?!PETERHuh?ANNEIt's 3:30. Why aren't you at work?!PETERBecause I didn't feel like it.ANNEPeter, what is wrong with you?! First, you sit there while Dr. Swanson dies and you just walk out of the car and embarrass me in front of my friends. Don't blame this on hypnosis either. That's total bull!Peter hangs up but Anne calls back.ANNEANSWERING MACHINE) LISTEN, ASSHOLE. NO ONE HANGS UP ON ME. WE'RE THROUGH!!! AND ñHA- ONE MORE THING. I'VE BEEN CHEATING ON YOU!!!! (BEEPPeter gets back into bed.[Scene Initech. Another staff meeting.]BILLFrom now on, you use the time sheets if you work on two or more job codes and you need the extra columns to fit it all in. Otherwise, use the old time sheets...TOMWhere's Peter? How come he didn't show up this weekend?MICHAELI, I don't know.BILL...it would really, really help us out.MICHAELPOINTS) WHO'S THAT GUY?BILLSo, uh, any questions?[Scene Chotchkie's. Peter enters and goes up to Joanna at the counter.]PETERHi, I'm Peter.JOANNAHi. How can I help you?PETERWhat are you doing for lunch today?JOANNAWell, our specials are barbecued chicken - it's actually right over there on the board. (points) Excuse me.She goes to take orders.BRIANHey! Look who's back! Table for three, to -Peter shoves him out of his way and goes over to Joanna.PETERI was asking what you were doing for lunch. Would you like to have lunch with me?JOANNAOh, are you serious? Yeah, I don't , I don't think I'm supposed to do that.PETEROh. I'll tell you what I'm gonna do. I'm gonna go next door and get a table and if you'd like to join me, no big deal. All right? And if not, that's cool too. Ok?He starts to walk away.JOANNAUh, when you say "next door", do you mean Chili's or Flingers?PETERFlingers.JOANNAOk.[Scene Initech. Bob Slydell and Bob Porter are interviewing Tom.]BOB SLYDELLSo what you do is you take the specifications from the customers and you bring them down to the software engineers?TOMThat, that's right.BOB PORTERWell, then I gotta ask, then why can't the customers just take the specifications directly to the software people, huh?TOMWell, uh, uh, uh, because, uh, engineers are not good at dealing with customers.BOB SLYDELLYou physically take the specs from the customer?TOMWell, no, my, my secretary does that, or, or the fax.BOB SLYDELLAh.BOB PORTERThen you must physically bring them to the software people.TOMWell...no. Yeah, I mean, sometimes.BOB SLYDELLWell, what would you sayÖ you do here?TOMWell, look, I already told you. I deal with the goddamn customers so the engineers don't have to!! I have people skills!! I am good at dealing with people!!! Can't you understand that?!? WHAT THE HELL IS WRONG WITH YOU PEOPLE?!!!!!!!CUT TO THE CUBICLES. TOM EXITS THE INTERVIEW ROOM AND MICHAEL ENTERS.Cut to inside.BOB SLYDELLLet's see. You're Michael...Bolton?He nods.BOB PORTERIs that your real name?MICHAELYeah.BOB PORTERAre you in any relation to the pop singer?MICHAELIt's just a coincidence.BOB SLYDELLLAUGHS) TO BE HONEST WITH YOU, I LOVE HIS MUSIC. I DO . I AM A MICHAEL BOLTON FAN. FOR MY MONEY, I DON'T THINK IT GETS ANY BETTER THAN WHEN HE SINGS WHEN A MAN LOVES A WOMAN. BOB PORTERI mean you must really love his music.MICHAELYeah. YeahÖhe, he, he's pretty, he's pretty good, I guess.BOB SLYDELLYou're GOD DAMN right he is.They laugh.BOB PORTERSo tell me. What's your favorite song of his?MICHAELHmm. I, I, I don't know. I mean, I guess, I sorta like 'em all.The Bobs laugh.BOB SLYDELLHA HA! I feel the exact same way, but it must be hard for you, I mean, having the same name as him. I celebrate the guy's entire catalogue. But anyway, let's get down to business, Michael!MICHAELYou, you know, you can just call me Mike.They stare at him.[Scene Flingers. Peter is saving a table and Joanna enters.]JOANNAHi.PETERHey.JOANNAI wonder if they will let me wear this in here.PETERI think it would be ok. Would you like to sit down?He motions to a chair.JOANNAOk. (does so) Wow. This place is really nice.PETERYeah, is it?JOANNAOh my God, compared to Chotchkie's. I like the uniforms better anyways.PETERI like yours.JOANNANah. (makes a facePeter looks at the buttons' wearing on his suspender. One says We're not in Kansas anymore. The one underneath says POOF.PETER"We're not in Kansas anymore."JOANNAYeah. Really. (laughsPETERIt's on your - (pointsJOANNAOh! That's, uh, that's uh, my pieces of flair.PETERWhat are pieces of flair?JOANNAThat's where you know, suspenders and buttons and all sorts of stuff. We're, uh, we're actually required to wear fifteen pieces of flair. quite stupid actually.PETERDo you get to pick them out yourself?JOANNAYeah. Yeah. Although I didn't actually choose these. I, uh, I just grabbed fifteen buttons and, uh, I don't even know what they say! Y'know, I don't really care. I don't really like talking about my flair.PETEROk.JOANNASo, where do you work, uh, Peter?PETERInitech.JOANNAAnd, uh, what do you do there, Peter?PETERI sit in a cubicle and I update bank software for the 2000 switch.JOANNANODS) WHAT'S THAT?PETERYou see, they wrote all this bank software and to save space, they put 98 instead of 1998. So I go through these thousands of lines of code and uh, it doesn't really matter. I, uh, I don't like my job. I don't think I'm gonna go anymore.JOANNAYou're just not gonna go?PETERYeah.JOANNAWon't you get fired?PETERI don't know. But I really don't like it so I'm not gonna go.JOANNALAUGHS) SO YOU'RE GONNA QUIT?PETERNo, no, not really. I'm just gonna stop going.JOANNAWhen did you decide all that?PETERAbout a week ago.JOANNAReally?PETEROh, yeah.JOANNAOk. So, so you're gonna get another job?PETERI don't think I 'd like another job.JOANNALAUGHS) SO WHAT ARE YOU GOING TO DO ABOUT MONEY AND BILLS?PETERY'know, I never really liked paying bill? I don't think I'll do that either.JOANNALAUGHS) SO WHAT DO YOU WANT TO DO?PETERI want to take you out for dinner and then I wanna go to my apartment and watch Kung Fu. Did you ever watch Kung Fu? Joanna gets a weird look on her face.JOANNAI love Kung Fu...PETERChannel 39.JOANNATotally...PETERYou should come over and watch Kung Fu tonight.JOANNAOk...PETERGreat.JOANNAOk. Can we order lunch first?PETERYeah.JOANNAOk.[Scene Milton's cubicle. He hears bill talking and eavesdrops.]BILL...stapler off my desk...Milton puts his Swingline stapler somewhere else. The guys laugh.BILL...anyway, sounds great, Bob. I'll see you in a few. (they walk off) Hey, Milton, what's happening?MILTONUh...sir...BILLUh, I'm going to have to ask you to move your desk. Now, if you could get it to go as far back against that wall as possible, that would be great.MILTONNo, no, because I was, I was -BILLThat way, we'll have some room for more boxes and things we need to put in here.MILTONNo...sir...BILLUh (sees the Swingline) Oh there it is.MILTONNo. No.BILLLet me just get that from ya. (picks it up) Great. So if you could get to that as soon as possible, that would be terrific. Have a nice lunch, Milton. Bye.He walks off.MILTONOk. I'll set the building on fire.[Scene Hallway at Initech. Peter enters in casual clothes. Milton walks up to him.]MICHAELPeter!PETERMichael!MICHAELWhat the hell's going on, man? I thought you were going to come in here and start shooting.PETERI just came to get my address book. I'm not gonna stay. I've got a number I don't wanna lose.MICHAELWhat?! Peter, you're in deep shit! You were supposed to come in on Saturday. What were you doing?PETERMichael, I did nothing. I did absolutely nothing and it was everything that I thought it could be.MICHAELWell, I hope you have a better story than that for Lumbergh. You know, you're supposed to be having your interview right now with the consultants.PETERWho?He writes down Joanna's number.MICHAELWhat has gotten into you?PETEROh yeah. Right.MICHAELPeter, Peter you, gotta postpone it man. Tell them you were sick. Make something up.PETERAh, no way. I feel great.[Scene The interview room.]BOB PORTERThe next paper looks like a Peter Gibbons.Peter enters.BOB SLYDELLAha! All right. We were just talking about you. You must be Peter Gibbons. Uh huh. Terrific. I'm Bob Slydell and this is my associate, Bob Porter.PETERHi, Bob. Bob.BOB PORTERWhy don't you grab a seat and join us for a minute?He does so.BOB SLYDELLY'see, what we're trying to do here, we're just trying to get a feel for how people spend their day. So, if you would, would you just walk us through a typical day for you?PETERYeah.BOB SLYDELLGreat.PETERWell, I generally come in at least fifteen minutes late. I use the side door, that way Lumbergh can't see me. Uh, and after that, I just sorta space out for about an hour.BOB PORTERSpace out?PETERYeah. I just stare at my desk but it looks like I'm working. I do that for probably another hour after lunch too. I'd probably, say, in a given week, I probably do about fifteen minutes of real, actual work.BOB SLYDELLUh, Peter, would you be a good sport and indulge us and tell us a little more?PETERLet me tell you something about TPS reports...'Cut to later. Peter is more relaxed.PETERThe thing is, Bob, it's not that I'm lazy. It's just that I just don't care.BOB PORTERDon't, don't care?PETERIt's a problem of motivation, all right? Now, if I work my ass off and Initech ships a few extra units, I don't see another dime. So where's the motivation? And here's another thing, Bob. I have eight different bosses right now!BOB SLYDELLI beg your pardon?PETEREight bosses.BOB SLYDELLEight?PETEREight, bob. So that means when I make a mistake, I have eight different people coming by to tell me about it. That's my real motivation - is not to be hassled. That and the fear of losing my job, but y'know, Bob, it will only make someone work hard enough not to get fired.BOB SLYDELLBear with me for a minute.PETEROk.BOB SLYDELLBelieve me, this is hypocritical. But what if you were offered some kind of stock option and equity sharing program?PETERI don't know. I guess. Listen, I'm gonna go. It's been really nice talking to be of you guys.He shakes their hands.BOB SLYDELLAbsolutely. It's all on this side of the table, trust me.PETERGood luck with your layoffs. I hope your firings go really well.BOB SLYDELLWow.Cut to the cubicle's. Peter walks past them and into the hall.BILLHey, Peter, what's happening? Listen, uh -Peter walks right past him.[Scene Chotchkie's]STANJoanna? Would you come here for a moment, please?JOANNAI'm sorry. I was late. I was having lunch.STANI need to talk about your flair.JOANNAReally? I have 15 buttons on. I, uh, (shows himSTANWell, ok, 15 is minimum, ok?JOANNAOk.STANNow, it's up to you whether or not you want to just do the bare minimum. Well, like Brian, for example, has 37 pieces of flair. And a terrific smile.JOANNAOk. Ok, you want me to wear more?STANLook. Joanna.JOANNAYeah.STANPeople can get a cheeseburger anywhere, ok? They come to Chotchkie's for the atmosphere and the attitude. That's what the flair's about. It's about fun.JOANNAOk. So, more then?STANLook, we want you to express yourself, ok? If you think the bare minimum is enough, then ok. But some people choose to wear more and we encourage that, ok? You do want to express yourself, don't you?JOANNAYeah. Yeah.STANGreat. Great. That's all I ask.JOANNAOk.[Scene Conference room. Dom and Bill are talking to the two Bob's.]BOB SLYDELLRight. So there's three more people we can easily lose. There's Tom Smykowski.BILLHe's useless.BOB SLYDELLGone.DOMSounds good to me.BOB SLYDELLHere's a peculiar one. Milton Waddams.DOMWho's he?BOBYou know, squirrely looking guy, mumbles a lot.DOMOh.BOB SLYDELLWe can't find a record of him being a current employee here.BOB PORTERI looked into it more deeply and I found what happened was he got layed off about five years ago and no one ever told him about it. But through a glitch in Payroll, he still gets a paycheck. I went ahead and fixed the glitch.BILLGreat.DOMSo, um, Milton has been let go.BOB SLYDELLJust a second there, Professor. We, uh, we fixed the glitch. So he won't be receiving a paycheck anymore. So it'll just work itself out naturally.BOB PORTERWe always like to avoid confrontation whenever possible. The problem is solved from here on, then.They laugh.BOB SLYDELLUh, we should move on to a Peter Gibbons. I had a chance to meet this young man and boy does he have Straight to Upper Management written all over him.BILLOoh, uh, yeah. I'm going to have to go ahead and sort of disagree with you there. Yeah. Uh, he's been real flaky lately and I'm not sure that he's the caliber person you want for upper management. He's been having some problems with his TPS reports.BOB PORTERI'll handle this. We feel that the problem isn't with Peter.BOB SLYDELLUm-um.BOB PORTERIt's that you haven't challenged him enough to get him really motivated.BOB SLYDELLThere it is.BILLYeah, I'm not sure about that now.BOB PORTERAll right, Bill. Let me ask you this. How much time each week would you say you deal with these TPS reports?BILLYeah...[Scene Peter parks in Bill's usual spot and goes into the building. He takes a drill and removes the metal door handle.]Cut to outside, where Bill has to park in the handicap spot.Cut back inside. Peter tears down the banner.Cut to outside. Bill's Porsche is being towed away. They only manage to pull off the bumper.Cut to Peter and Joanna watching Kung Fu. They're about to kiss.LAWRENCEHey Peter man! Check out channel nine! It's a breast exam! Whoo!!Cut to Peter's cubicle. Bill checks his watch because Peter's still not there.Cut to a lake. Lawrence, Peter and Joanna are fishing. Peter holds up a big fish.Cut to Initech. Peter enters with an Igloo cooler.DOMHello, Peter.PETERHey Dom!He slaps him on the back.Cut to Peter's cubicle. He puts the fish on his desk and starts to gut it. He throws its entrails on a stack of TPS reports.Cut to Peter and Joanna watching Kung Fu.Cut to Peter removing the screws in the cubicle wall. He pushes it over. It reveals a window and Peter relaxes.[Scene Peter's cubicle, now with only one wall. he's playing Tetris as Bill walks up.]BILLSo, Peter, what's happening? Now are you going to go ahead and have those TPS reports for us this afternoon? (Peter keeps playing) Uh, yeah. So I guess we should probably go ahead and have a little talk, hmm?PETERNot right now, Lumbergh. I'm, I'm kinda busy. In fact, I'm going to have to ask you to go ahead and just come back another time. I have a meeting with the Bobs in a couple of minutes.BILLUh, I wasn't aware of a meeting with them.PETERYeah, they called me at home.BILLThat sounds good, Peter. Uh, and we'll go ahead and, uh, get this all fixed up for you later.[Scene Milton's cubicle. He's organizing papers.]MILTONF...C...P...BILLHi, Milton. What's going on?MILTONI, I, I, I, I didn't receive my paycheck this week.BILLUh, you're gonna have to talk to Payroll about that.MILTONI, I did and they, and they said -BILLUh, we're gonna need to move your desk downstairs into Storage B.MILTONNo...I...I...BILLUh, we have some new people coming in and we need all the space we can get.MILTONNo...no...no...no...but...but...but...I, I, I -BILLAnd if you could could go ahead and get a can of psticide and take care of the roach problem we've been having that would be great. (He walks away.MILTONI can't...Excuse me. I believe you have my stapler?[Scene The meeting between Peter and the two Bobs.]BOB PORTERIt looks like you've been missing a lot of work lately.PETERI wouldn't say I've been missing it, Bob.They laugh.BOB SLYDELLThat's terrific, Peter. I,I, I'm sure you've, you've, you've heard some of the rumors around the hallway about how we're just going to do a little (finger quotes) housecleaning with some of the software people.PETERWell, Bob, I have heard that and you gotta do what you gotta do.BOB PORTERWell, these people here. First, Mr. Samir Naga...Naga...BOB SLYDELLNaga...BOB PORTERNaga-worker here anyway!The Bobs laugh.BOB SLYDELLMr. Mike Bolton. We're certainly gonna miss him.PETERYou're gonna layoff Samir and Michael!?BOB PORTERWe're gonna bring in some entry level graduates for us to work in Singapore, that's the usual deal.BOB SLYDELLWell, it's standard operating procedure.PETERDo they know about this yet?BOB SLYDELLNo! No, of course not. We always find it's better to fire people on a Friday. It's statistically shown that there's less chance of an incident if we do it at the end of the week. Anyway, Peter, what we would like to do is put you into a position where you would have as many as four people working right underneath you.BOB PORTERThis is a big promotion, Pete.BOB SLYDELLHuge.PETERSo you're gonna fire Samir and Michael and give me more money?BOB SLYDELLUmm-hmm.PETERWow![Scene Michael is messing with the printer.]MICHAELYeah. Yeah. That's it. That's exactly what I need. Just give it to me. Come on. Come on, you little fucker. Let's go! That's what I need. Let's do that. Let's do exactly that, you little, fu-Peter walks up to him.PETERListen... Well, what are you doing tonight?[Scene Peter's place. Michael, Samir and Peter are there.]PETERThere comes a place in a man's life and, uh, maybe that time for you is now, when it doesn't hurt to think about the future.MICHAELUh, no offense, there, Peter, but think about yourself, sport. You're the one who's been flaking out at work. Whatever that religious experience or whatever the hell it was, you better snap out of it, or you're gonna get canned.PETERYeah. I, I, I...Listen, that virus you're always talking about. The one that, that could rip off the company for a bunch of money...MICHAELYeah? What about it?PETERWell, how does it work?MICHAELIt's pretty brilliant. What it does is where there's a bank transaction, and the interests are computed in the thousands a day in fractions of a cent, which it usually rounds off. What this does is it takes those remainders and puts it into your account.PETERThis sounds familiar.MICHAELYeah. They did this in Superman III.PETERYeah. What a good movie.MICHAELA bunch of hackers did this in the 70s and one of them got busted.PETERWell, so they check for this now?MICHAELNo, you see, Initech's so backed up with all the software we're updating for the year 2000, they'd never notice.PETERYou're right. And even if they wanted to, they could never check all that code.MICHAELIt's numbers up their asses.PETERSo, Michael, what's to keep you from doing this?MICHAELIt's not worth the risk. I got a good job.PETERWhat if you didn't have a good job?[Scene A bar. Michael and Peter are there.]MICHAELCockos! Samir and I are the best programmers in that place. And you, you haven't even been showing up and you get to keep your job.PETERActually, I'm being promoted.MICHAELWhat?!!!PETERYeah, I know, Michael. It's completely unfair. And I realized something today. It's not about me and my dream of doing nothing. It's about all of us together. I don't know what happened at that hypnotherapist the other day; maybe it was just shock. It's wearing off now, but when I saw that fat man keel over and die, Michael, I realized that we don't have a lot of time on this earth. We weren't meant to spend it this way. Human beings weren't meant to sit in little cubicles, starring at computer screens all day, filling out useless forms and listening to eight different bosses drone on about mission statements.MICHAELI told those fudge-packers that I like Michael Bolton's music. God.PETERthat is not right, Michael. For five years now, you've worked your ass off at Initech, hoping for a promotion or some kind of profit sharing or something. Five years of your mid-20s now, gone. And you're gonna go in tomorrow and they're gonna throw you out into the street. You know why? So Bill Lumbergh's stock will go up a quarter of a point. Michael, let's make that stock go down. Let's take enough money from that place that we never ever have to sit in a cubicle ever again. Your software works right?MICHAELOf course it works. That's not the point. Look, even if it could work, I don't know how to install it. I don't know the credit union software loan.PETERYeah? But Samir does.[Scene Peter's apartment. Samir's there, along with Michael and Peter.]SAMIRBut that's not much money, I -PETERThat's the beauty of it. Each withdrawal is a fraction of a cent. That's too small to notice. Take a thousand withdrawals a day, space it out over a few years, that's a couple hundred thousand dollars.MICHAELJust like Superman III.SAMIRSuperman III - that's it, I have to leave now, ok? (gets up) I have to get my resume ready.PETERGet your resume ready for what? Another job where they can fire you for no reason?SAMIRThat's right! If I'm lucky.PETERLook, I don't know about you guys, but I'm tired of being pushed around. Aren't you?SAMIRYes, Peter, but I'm not going to do something illegal.PETERIllegal? Samir, this is America! Come on, sit down! Come on! This isn't Riyadh! They're not gonna saw your hands off, all right? The worse they can do is put you for a couple of months into a while collar, minimum security resort! Shit, we should be so lucky! Did you know they have conjugal visits there?SAMIRReally.PETERYes.MICHAELShit, I'm afraid. I haven't had a conjugal visit in six months.SAMIRSo what do you think?MICHAELThis thing actually is pretty fail-safe, Samir.PETERYou came here looking for a land of opportunity. And this is the knock of that opportunity. Tomorrow's your last day at Initech. You have two optionsunemployment or early retirement. What's it gonna be?SAMIRI have a question.PETERYes.SAMIRIn, in these conjugal visits, you can have sex with women?PETERYep. You sure can.SAMIROk. I'm gonna do it.PETERThat's what I'm talking about! I'm talking about America!!MICHAELPeter Let's discuss the plan, all right?PETERAll right.MICHAELAll right. It works like a computer virus. All right? So all we have to do is load it anywhere into the credit union mainframe and it'll do the rest.PETEROk, you guys give me that disk and I'll take it from there. Oh, but listen. Before we go any further, all right, we have to swear to God, Allah, that nobody knows about this, all right? No family members, no girlfriends, nobody!SAMIROf course.MICHAELAgreed.LAWRENCEDon't worry man! I won't tell anybody about this either!MICHAELWho the fuck is that?!PETERUh, don't worry about him. He's cool. All right. Now here's how I see it all going down...[Scene Initech. Peter shakes the Bobs' hands.]BOB SLYDELLPeter, congratulations. This is one heck of a promotion.BOB PORTERAnd we'll go ahead and get some people under you right away. (They give a thumbs up.[Scene Samir and Michael's cubicle. They look at each other. Michael copies the virus and looks around. He gives it to Samir. Samir walks by Peter and gives it to him. He puts it into his computer and copies the file. He goes to Samir and Michael's cubicle.]MICHAELWell, that was easy.PETERYeah, I guess it was.MICHAELWhat did you do with the -DREWHey guys.PETEROh, hey Drew.DREWdid you guys hear about Tom Smykowski?MICHAELThe guy who got laid off?DREWNo, man, check this out.[Flashback. Tom's getting drunk in his kitchen.]DREWV/O) LAST WEEK, AFTER HE FOUND OUT HE WAS GETTING LAID OFF, HE TRIES TO KILL HIMSELF BY RUNNING THE CAR IN THE GARAGE.Cut to Tom in his car.MICHAELV/O) IS HE DEAD?!DREWV/O) BUT THAT WIFE OF HIS COMES HOME EARLY FROM WORK EARLY AND FOUND HIM IN THE CAR AND TRIES TO PLAY IT OFF AS IF NOTHING HAPPENED.TOMCOUGH) I WAS HAVING SOME TROUBLE WITH THE SHIFTER HERE. IT'S JAMMED. I, I COULDN'T GET IT INTO DRIVE. I, I, I MEAN, REVERSE.MRS. SMYKOWSKIAre you ok, Tom?TOMYeah.DREWV/O) AND THEN, AS HE'S LOOKING AT HER, HE DECIDES HE WANTS TO LIVE.TOMI'm ok.MRS. SMYKOWSKIRight.TOMIt seems to be working now. See ya later, honey. Love ya.He backs out.DREWV/O) BUT THEN AS HE BACKS OUT INTO HIS DRIVEWAY, HE'S SLAMMED BIG TIME BY A DRUNK DRIVER.We hear a bang from behind the closing garage door.Cut back to Initech, present.PETERWell, is he ok?DREWSort of. He broke both his wrists, his legs, a couple of ribs, his back. But check it out. He's gonna get a huge settlement out of this. Like seven figures. He's getting out of the hospital this weekend and he's throwing a big party to celebrate. I'm thinking I'm gonna take that new chick from Logistics. I might be showing her my O face. Oh! Oh! Oh! you know what I'm talking about. Oh! Yeah. Right. See you guys there.[Scene Peter's car. Samir and Michael are with him.]MICHAELWow, our last day at Initech.SAMIRI can't believe they had security escort us out. Not like we're gonna steal something.PETERI stole something.MICHAELOh yeah. I guess we all did.PETERNo, I stole something else.SAMIRWhat did you steal?PETERWe'll call it a going away present.[Scene A field. They drop the printer. Samir stomps on it four times and Michael, eight times. Peter hands Samir a bat. He hits the printer twice and Michael takes over. He starts to punch it. Samir and Peter pull him away, but he runs back to destroy the evil printer.]Cut to Peter's place. Samir's trying to break dance.[Scene Outside Peter's place.]PETEREverything is going to be ok. Ok?SAMIRThe one I see is -PETERI can see this working. I gotta go. I gotta go. Joanna's coming over. Don't worry! You're worrying! All right? Monday morning we're gonna check the account balance and everything will be all right. Don't miss Tom's barbecue. I'll see you there.Peter goes inside.SAMIRRAPPING) BACK UP IN YOUR ASS WITH THE RESURRECTION...[Scene Peter's place, morning. Joanna sees all the empty liquor bottles.]JOANNAHey, what were you guys celebrating last night?PETERUm, I'm not really at liberty to talk about it. I really can't.[Scene Peter's car. He and Joanna are going to the barbecue.]PETERSo when the subroutine compounds the interest, right, it uses all these extra decimals places that just get rounded off. So we just simplify the whole thing and we just round it down and drop the remainder into an account that we own.JOANNASo you're stealing.PETERAh, no. No. You don't understand. It's, uh, very complicated. It's, uh, it's, it's aggregate so I'm talking about fractions of a cent that, uh, over time, they add up to a lot.JOANNAOk. So you're gonna make a lot of money, right?PETERYeah.JOANNAOk. That's not yours?PETERWell, it, it becomes ours.JOANNAHow's that not stealing?PETERI don't think, I don't think I'm explaining this very well. Um, this Seven Eleven, right? If you take a penny from the tray -JOANNAFrom the crippled children?!PETERNo, that's the tray. I'm talking about the tray. The penny's for everybody.JOANNAOh, for everybody. Ok.PETERYeah, well, those are whole pennies.JOANNAYeah.PETERRight. I'm just talking about fractions of a penny here, but we do it from a much bigger tray. A couple of million times. So what's wrong with that?JOANNAIt seems wrong.PETERIt's not wrong. Initech is wrong. Initech is an evil corporation, all right? Chotchkie's is wrong. Doesn't it bother you that you have to get up in the morning and put on pieces of flair?JOANNAYeah, but I'm not about to go in and start taking money from the register!PETERYou know, the Nazis had pieces of flair but they made the Jews wear them.JOANNAWhat?!PETERLook, we don't - I, I - we don't have to talk about this. Let's just go to the barbecue, all right?JOANNAOk.[Scene Tom's house. Samir and Michael open the front door. tom is in a full body cast and is hooked up to a bunch of stuff.]TOMMichael! Samir! How are you doing?MICHAELHiya Tom.SAMIRHi Tom.TOMYeah, I'd like you to meet my lawyer, Rob Newhouse. (they shake hands) Rob, Michael.ROBHello Michael.TOMSamir.ROBHello -SAMIRSamir.ROB...Samir. (Peter and Joanna enter.TOMPeter!! How are ya? I'm glad you could make it.PETERTom! Hi! This is someone I'd like you to meet. This is Joanna.JOANNAHi.TOMHi. Forgive me for not getting up. (He starts laughing and everyone joins in nervously) Ooh...Ooh... Uh, Peter, Peter, come here a minute. I want to show you something.They go into the kitchen. There's a Jump to Conclusions mat. It says ??? ; Jump Again ; Strike Out ; Could be ; Loose one Turn ; Yes! ; No! ; Accept it ; Go wild ; One step back ; Think Again ; Moot! On the bottom are footprints, under the word StartTOMWell, what do you think? It's a prototype.PETERWell, that's exactly as you described it. Uh, listen, I, I heard about your settlement. Congratulations.TOMWell, thanks, Peter. y'know, I'm glad you're here because I wanted to talk to you. I know how you get depressed about your job and all, and I just wanted you to know that's how you feel. I used to be the same way.PETERReally?TOMSure. Oh maybe I didn't whine as much, but I hated my job as much as you and I've been doing good for over thirty years!PETERWow.TOMJust rememberIf you hang in there long enough, good things can happen. I mean, look at me.He laughs.PETERThanks Tom.TOMAw, sure.[Scene The backyard. Samir and Michael are talking to Rob.]ROBConjugal visits? Not that I know of. Now, a minimum security prison is no picnic. I have a client in there right now. You see, the trick is, kick someone's ass the first day or become someone's bitch. Then everything will be all right. Why do you ask, anyway?MICHAELOh, no, we were just seeing -His cup flies out of his hand and ice cubes go everywhere.Cut to Peter and Drew.DREWHey Peter.PETERDrew.DREWThat's something about old Tom Smykowski, huh?PETERYeah.DREWLucky bastard. (sees Joanna) Hey, isn't that the girl who works over at Chotchkie's?PETERYeah.DREWHmm, who's she here with?PETERShe's here with me.DREWReally?PETERYeah.DREWAll right, Peter! Ooh! Ooh! Right on. Make sure you wear a rubber, dude.PETERWhy's that, Drew?DREWAre you kidding me? She gets around, all right?PETERShe does, does she?DREWOh yeah. Like a record.Joanna waves.PETERWith who?DREWWell, let's see. Lumbergh fucked her. Ah, let me see who else...PETERLumbergh?![Scene Peter's car. He and Joanna are leaving the party.]JOANNAOh, what if you get caught? Oh, I, I, I, I just don't know if this is such a good idea.PETERANGRY) YEAH? WELL, MAYBE IT WASN'T SUCH A GOOD IDEA FOR YOU TO SLEEP WITH LUMBERGH!JOANNAWhat?! What are you - Oh! All right, Lumbergh...PETERARGH!!! AH GOD! LUMBERGH!!JOANNAPeter! What is wrong with you? That was like to years ago! What, do you know him?PETERYeah, I know him!! I know him! He's my boss!! He's my unholy, disgusting, pig of a boss!!JOANNAOh, he's not that disgusting.PETERHe represents all that is solace and wrong! And you slept with him!JOANNAThat is none of your business, ok? I didn't ask you who you slept with before we were together. I don't care!PETERWell, I didn't think you would sleep with a guy like Lumbergh!JOANNAListen to you! Who do you think you are? How dare you judge! Do you think you're an angel or something? No! You're this petty, stealing, wannabe criminal...man!PETERWell, I may be. But at least I never slept with Lumbergh!!JOANNAOk. That's it. I'm done. I want to get out of the car. Stop. I wanna get -PETERFine.He stops and Joanna gets out.JOANNAWhy don't you call me when you grow up? Oh, wait, that's probably never gonna happen so just don't call me, all right?PETERSay hello to Lumbergh for me!!!She slams the door and he drives off.[Scene Peter's room. He's having nightmares again.]DREWLumbergh fucked her...Lumbergh fucked her...Lumbergh fucked her...BILLOh that's greatÖgreatÖDREWI'm gonna see the O-face again. Oh! Oh! Oh! Ooh! Ooh!That dissolves into Bill, naked, holding a foot in one hand a cup of coffee in the other.BILLWhy don't you move it a little to the left? That's right. Great. Oh, hello, Peter. What's happening? Uh, could you give me those TPS reports ASAP? Mmmkay?Peter wakes up and breathes deeply.[Scene Chotchkie's. Stan approaches Joanna.]STANJoanna?JOANNAYeah?STANWe need to talk. Do you know what this is about?JOANNAMy, uh, flair.STANYeah. Or, uh, your lack thereof. I'm counting and I only see fifteen pieces. Let me ask you a question, Joanna.JOANNAUmm-hmm.STANWhat do you think of a person who only does the bare minimum?JOANNAHuh. What do I think? Let me tell you what I think, Stan. If you want me to wear thirty-seven pieces of flair like your pretty boy Brian over there, then why don't you just make the minimum thirty-seven pieces of flair?STANWell, I thought I remember you saying you wanted to express yourself.JOANNAYeah. Yeah. Y'know what? I do. I do want to express myself. Ok? And I don't need thirty-seven pieces of flair to do it. (gives him the finger) All right? There's my flair! And this is me expressing myself. (holds up her hand) There it is! I hate this job! I hate this goddamn job and I don't need it!!She storms out.[Scene An ATM machine. Peter gets out a receipt that says he has $305,326.13] [Scene Peter's car. Samir and Michael have obviously seen the receipt.]SAMIRShit, shit, shit, shit. Son of a bitch! Shit! This is a - fuck! Son of a bitch! Shit!MICHAELWhat happened?PETERYou tell me, Michael, it's your software!SAMIRYes, it's your software!PETERCorporate accounting is sure as hell going to notice 305, 3 (grabs the receipt) 26.13!! Michael!!MICHAELOh shit! They, they probably won't notice it's gone for another two or three days.PETERMichael! Michael! You said the thing was gonna take two years!SAMIRWhat happened?!PETERYou said the thing was supposed to work.MICHAELWell, technically it did work.PETERNo it didn't!SAMIRIt did not work, Michael, ok?!MICHAELOk! Ok!SAMIROk?!MICHAELOk! Ok! I must have, I must have put a decimal point in the wrong place or something. Shit. I always do that. I always mess up some mundane detail.PETEROh! What is this fairly mundane detail, Michael?!!!!!MICHAELOk quit getting pissed at me, all right? This was all your idea, asshole.PETERAll right. Ok. All right. Let's try not to get pissed off at each other, all right? We'll figure this thing out together, ok? And the first thing we gotta do is we gotta close that account down before it gets any bigger.[Scene Initech. It's Bill's 41st birthday. All the employees are singing the birthday song to him in a flat monotone. He blows out the candles and everyone claps.]ALLMmm. You look terrific. (etcBILLAll right, Kate, you wanna get everybody started there. (he gets a slice of cake) Mmm. That is terrific. That is just terrific. I really, really appreciate it.A slice is handed to Milton.NINAMilton, don't be greedy. Let's pass it along and make sure everyone gets a piece.MILTONCan I keep a piece? Because last time I was told that -NINAJust pass.He does so.MILTONBut this, this, it, it, it's a little cake...Everyone gets a piece and Nina gets the last one. Milton has to watch everyone enjoy their piece.[Scene Peter's apartment. They're trying to figure out what to do.]SAMIRIs, is there a way to just give the money back?PETERWhat? We just hand them a check with the exact amount they're missing? I, I think they'd figure that out.SAMIRWell, we have to do something.MICHAELMay-maybe we launder the money.PETERThat's a great idea. Ok, how do we do that?MICHAELI don't know, I don't know. I don't even know what it means. It's something I think, I think coke dealers do.PETEROk. Do we know any coke dealers?MICHAELMy, my cousin's a cokehead. We're in deep shit.SAMIRYes. We are in very, very deep shit.[Scene Milton's new "office" - the basement. Bill enters with a piece of cake.]BILLMilton?MILTONYes.BILLWhat's happening?MILTONI wanted to see you because -BILLSay, you know what would be a great idea?MILTONNo...no.BILLSince you're already down here, it would be great if you could get a ca of pesticipe and take care of the cockroach problem we've been having in here.MILTONI...I...that's really not my job and I haven't received my -BILLFor now, why don't you get a flashlight and a can of pesticide and -Dom enters.DOMBill! We need you upstairs right away. Some major glitch in the accounting. A lot of money missing.They go upstairs and Bill turns off the light.MILTONExcuse me? Excuse me? Ok, that's the last straw.[Scene Peter's place. Michael is looking up "money laundering" in the dictionary.]MICHAELLAUNDERING. TO CLEAN...NO, UH, HERE IT IS. TO CHANNEL MONEY THROUGH A SOURCE OR BY AN INTERMEDIARY.SAMIRIt doesn't really help us, Michael.PETEROk. We're looking up money laundering in a dictionary.MICHAELYeah, well, you guys can both eat my ass, ok?PETERMy girlfriend slept with Lumbergh, that's what I can't believe.SAMIRYeah, you didn't know that?MICHAELIt happened two years before you moved to Atlanta.PETERYou mean, Ron Lumbergh, the airshow guy?MICHAELYeah, who did you think she slept with, Bill? (He and Samir start laughing) If she fucked him, their children would have hooves!PETERRon's not related to Bill, is he?Someone rings the doorbell.MICHAELWho is it?He hides the checks while Peter goes to the door.PETERDon't panic. It's probably just the mailman.He opens the door.STEVEMONOTONOUSLY) HELLO SIR. MY NAME IS STEVE. I CAME FROM A ROUGH AREA. I USED TO BE ADDICTED TO CRACK BUT NOW I'M OFF AND TRYING TO STAY CLEAN.PETEROk.STEVEThat is why I am selling magazine subscriptions.PETERNo -STEVEI was hoping you would help me out.MICHAELWait, wait, wait, wait! You used to be addicted to crack?STEVEYes, but not anymore.Cut to later. They've got Steve in an armchair, trying to get him to help.STEVELook, I'm sorry. I do not know anything about money laundering.MICHAELLook, we're not asking you if you know about money laundering, we're just trying to see if you can hook us up.PETERHe doesn't know anything, all right?SAMIRWait, wait, wait a minute. Wait a minute. You just give us the name of one drug dealer. I could talk to him. I have good networking skills.STEVENORMAL) I LIED. ALL THAT STUFF ABOUT ME BEING A CRACKHEAD WAS TO HELP ME SELL MAGAZINES. I'M A SOFTWARE ENGINEER.PETERYou're a software engineer?!SAMIRWorking must be, must be very hard for you.STEVEI made more money selling magazine subscriptions than I ever did working at Initrode.MICHAELHuh? You worked at Initrode?PETERYou can't tell anybody about any of this stuff I told you. I mean, we know a lot of the same people.STEVEActually, that all depends.He holds up his clipboard.Cut to later. Peter closes the door.PETERWhat am I going to do with forty subscriptions to Vibe ?MICHAELI wish we had never done this. What are we going to do? You know what I can't figure out? How is it that all these stupid, Neanderthal, Mafia guys can be so good at crime and smart guys like us can suck so badly at it?SAMIRWe're new to it, though. If we had more experience -MICHAELNo. No. Y'know what I think? I think we're screwed. There's evidence all over that building to link it to us. Even if we could launder money, I wouldn't want to. If we're caught while laundering money, we're not going to go to white-collar-resort-prison. No, no, no. We're gonna go to federal-reserve-pound-me-in-the-ass-prison.SAMIRI don't want to go to any prison! Why the hell did I do this?! I've never done anything wrong in my whole life! We weren't thinking clearly because you told us we were losing our jobs! And look at us now, we're, we're worried about going to prison!PETERDon't worry about it. I'll think of something.SAMIRAss. I'm going home. You are a very bad person, Peter.Samir and Michael leave. Peter knocks on the wall.PETERLawrence! You awake?LAWRENCEYeah, man!PETERYou wanna come over?LAWRENCENo thanks, man. I don't want you fucking up my life too![Scene Peter's room. He dreams that they're in court, with Rob as their lawyer.]JUDGEAnd now the sentence for these heinous crimes committed against Initech. I hereby sentence you, Michael Bolton and Samir Na...Ananajibad...to a term of no less than four years in federal-pound-me-in-the-ass-prison. Peter Gibbons, you've lead a trite and meaningless life. And you're a very bad person.The judge bangs the gavel and Peter wakes up.[Scene The living room. Peter is up, feverishly writing a confession. He tears it out and puts it into an envelope with the checks.][Scene Flingers parking lot. Peter sits on the hood of his car, trying to figure out what to do. Joanna comes out.]JOANNAHey.PETERHey. You're not working at Chotchkie's anymore.JOANNANo, no, I got fired.PETERWhat happened?JOANNAI flipped off my boss. And some customers - actually a line just happened to be standing there, so...PETERI'm going to go away for awhile. Uh, to jail. Yea, about that computer scam, you were rightÖit was a bad idea. I'm going to take the blame for it, I decided. I'm going to return the money and leave the confession under Lumbergh's door. Joanna, I wanna apologize. I had no right to get pissed off at you, Lumbergh isn't my problem. It wasn't even the right Lumbergh. I don't know why I can't just go to work and be happy, like I'm supposed to like everybody else.JOANNAPeter, most people don't like their jobs. But you go out there and find something that makes you happy.PETERYeah. I may never be happy with my job. But if I could be with you, I think that I could be happy with my life. But if you could give it another shot, I promise, Joanna -JOANNAOh shut up.They hug and kiss.BRIANHey, what's going on here? Get a room you two!He makes an annoying noise and gives them the finger.JOANNAI hate that guy.[Scene Initech. Peter drives up.]Cut to inside. Peter sticks the envelope under the door of William Lumbergh, Division Vice President. He walks away but frantically runs back and tries to get the envelope. He can't reach it and finally gives up.[Scene Initech. Morning. Milton is talking to an secretary. Lumbergh hasn't gotten to work yet.]MILTON...to Mr. Lumbergh and he told me to talk to Payroll and then Payroll, they told me to talk to Mr. Lumbergh. And I still haven't gotten my paycheck and they stole my stapler and they told me to move my desk to Storage Room B and there was garbage all over it and I don't appreciate that.SECRETARYUm, why don't you go and sit at your desk. Mr. Lumbergh should be here any minute.MILTONMr. Lumbergh -SECRETARYJust go and sit at your desk.MILTONBut -SECRETARYOh?MILTONOk, I, I, I'm going to set the building on fire. I tell him, if I don't get my stapler (the secretary leaves) I'm going to have to get my stapler back because it is my stapler. (he goes into Mr. Lumbergh's office) It's my stapler, the Swingline. It's been mine for a very long time.[Scene Peter's room. He's packing his clothes. He goes outside and knocks on Lawrence's door.]PETERHey, Lawrence, are you there?LAWRENCEHey, Peter, man.PETERHey. So, I may be going away for awhile.LAWRENCEYeah, I know, man. It's a bummer, dude, what can I say?PETERYeah. Well, it's time to go face the music. You take care of yourself, cause I don't wanna see ya.They shake hands.LAWRENCEYou too, man. Take care. (Peter starts to leave) Hey Peter! Watch out for the corn hole ok?PETEROk, Lawrence.[Scene Peter's car. He's driving along when he sees something.]Cut to Initech. It's on fire, big time. Peter joins the crowd of his co-workers and watches. Milton walks away quickly. A structure falls and Peter laughs.Cut to inside, a burning cubicle.[Scene The burned ruins of Initech. Peter is now a construction worker, working alongside Lawrence. Lawrence digs up Milton's burnt Swingline.]PETERLet me see this.LAWRENCEWho would want that stapler, man? That's toasted, man.PETERI know someone who might want this.A car horn beeps. Michael and Samir step out of the car.MICHAELHey man! Wanna go out to lunch?PETERI brought mine in a pail. Plus, Joanna's supposed to come by later.SAMIRSo, how do you like your new job?PETERIt's not too bad. Not too bad. How's Penetrode?MICHAELInitrode.PETERInitrode.SAMIRIt's work.PETERYeah. Yeah.MICHAELI could probably get you a job if you want.PETERNo, thanks. I'm doing good here.MICHAELSo, uh, we're gonna be ok, right?PETERYeah. I think the fire pretty much took care of everything.SAMIRBut what if the money burned up? It's too be a scheme.PETERYeah...SAMIRAre you sure you don't want us to get you a job?PETERThat's the one thing I'm definitely sure of.MICHAELAll right, G.PETERYou guys take care!SAMIROk.MICHAELStay in touch, man!PETEROk, will do. (They get in the car and leave) This isn't so bad, huh? Making bucks, getting exercise, working outside.LAWRENCEFuckin' A.PETERFuckin' A...[SceneA beach. Milton is relaxing and a waiter comes up to him.]MILTONExcuse me. Excuse me, Senor. May I speak to you please? I asked for a mai tai, a margarita, and a pina colada. I asked for no salt, no salt in the margarita. But it had salt in it. (the waiter leaves) If you do that again, I won't be leaving a tip. I won't be putting one down. Sir? I could check into a competing resort...END \ No newline at end of file diff --git a/unformated_scripts/Script_Omega Man.txt b/unformated_scripts/Script_Omega Man.txt new file mode 100644 index 0000000000000000000000000000000000000000..ce3f9c463872337fbc1c04d6ce0a3020ffb0f33c --- /dev/null +++ b/unformated_scripts/Script_Omega Man.txt @@ -0,0 +1,26 @@ + + +E-mail this page to a friend +Tell me when this page is updated + + + +Home +Gallery 6 | Gallery 7 | Omega Man Novelization | Omega Man Remake Script | Omega Man Script | Links | Interview Page | Reviews | Gallery 1 | Gallery 2 | Gallery 3 | Gallery 4 | Gallery 5 | Contact Me + +Omega Man Script + +I Am Legend + + +This is a copy of the 1st revised draft of Omega Man, back when it was still titled I Am Legend. I obtained a copy of this script from a charity auction for retired actors; the script was signed by Charlton Heston and Producer Walter Seltzer. + +I AM LEGEND Screenplay By John William Corrington First Draft: 6/26/70 Revised: 7/18/70 Property of Walter Seltzer Productions Inc. Warner Bros. Studios I AM LEGEND FADE IN: WIDE ANGLE MED. LONG SHOT WE SEE a palm-lined richly attractive street in a Los Angeles suburb. The houses are set back from the street; the street itself is quiet, empty -- except for a few cars parked in front of the houses. While the camera takes no notice, the tires are down on the parked cars, the lawns of the houses are uncut. A Ford experimental model convertible turns corner INTO VIEW. It drives at a medium speed. MED. CLOSE SHOT - NEVILLE IN CAR - HEAD ON ROBERT NEVILLE is driving car. He wears sunglasses, a sport shirt, a neckerchief, and looks altogether like a wealthy man out for a drive. CAMERA ALLOWS CAR TO PULL ABREAST, so that SHOT BECOMES SIDE ANGLE. As the CAMERA ENTERS passenger space of the car, we HEAR MUSIC, "Everybody's Out Of Town." Neville hums along with it. He seems at ease, unconcerned. We SEE the houses on his right side passing by. Then his humming stops, his jaw tightens. The car stops with vicious suddenness, and CAMERA PULLS BACK to MED. SHOT, as if aghast at the sight to follow. Neville, in a single motion of astonishing speed, comes up with a sten gun in his right hand, fires directly INTO CAMERA. REVERSE SHOT - DARKENED BALCONY WINDOW OF HOUSE CAMERA ZOOMS IN from MED. LONG to MED. CLOSE SHOT of a deeply shadowed window in one of the houses. Bullets smash into the frame of the window, tear out chunks of the stucco. We SEE, barely, a figure fall backward. We cannot see any details of the figure. Its presence is more intuited than seen. CLOSE SHOT - NEVILLE'S FACE IN F.G. is Nevilles sten gun, almost obscuring his features. FREEZE-FRAME. CUT TO: CREDIT MONTAGE A rapid series of SHOTS as titles begin. Title of film is not shown now but held to the last frame of the film. Titles begin with star names, etc. and are distributed over following scenes except where noted. ALIEN MISSILE being raised to point toward sky. FACE OF CHINESE SOLDIER twisted with anger, SCREAMING. TV SCREEN - IN THE CLEAR - MATTHIAS READING NEWS MATTHIAS ... the Sino-Russian border war continues to escalate, according to... ANOTHER MISSILE RISING. Under this and subsequent FLASH CUTS there should be the constant CRACKLING SOUND of RADIO transmissions in Russian and Chinese. MEETING ROOM with a small number of officials angry, frightened. On the wall behind there are crossed red flags, a portrait of Lenin. ANOTHER MISSILE. We HEAR, overlapping one another, Chinese and Russian VOICES counting down almost together from ten to one like a chorus of doom. Missile is fired SOUND BREAKS OFF. FLASH CUTS OF SERIES OF ATOMIC BLASTS, one after another, each one a slightly CLOSER SHOT, garbled RADIO TRANSMISSIONS under SHOTS -- including French, Russian, Chinese, British and American accents. BRITISH ...totalyes, totalno survivor (break)The embassyterrible... AMERICAN Jesus, Jesus Christ...you never (break) ...Vladivastok ... nothing ... nothing... INT. OMAHA SITUATION ROOM with giant illuminated wall-map of world, various equipment, military personnel sitting at consoles. In F.G. a YOUNG OFFICER is leaning across a desk, speaking to OLDER OFFICER. In his face is real fear. OFFICER Theyve ... gone ape, Sir ... gone ape... As he speaks, WE HEAR the CRACKLING ground-bass of radio TRANSMISSIONS, cut, broken. "Condition Yellow ... Yellow Alert ... Attention ... Yellow Alert..." ZOOM SHOT - PAST OFFICERTS FACE TO ILLUMINATED WALL MAP At edge, we begin to SEE RADAR-STYLE BLIPS approaching North American continent from East. Radio transmissions increase in intensity, volume, and in the GARBLED HYSTERIA, which is just below the voices. "Condition Red ... Red... Red ... Bogies on screen ... origin ... What is origin? What is origin?... Asia ... no, Jesus, from all over. They're both ... we see... both of them are ... PROCESS SHOT - MISSILES IN SPACE SOUND is killed for this and similar SHOTS. Alien missiles apparently motionless in space with the earth turning very slowly below. MED. CLOSE SHOT - ANTI-MISSILE MISSILES being raised, fired. CLOSE SHOT - MILITARY TECHNICIAN in Omaha Situation Room. He is monitoring anti-missiles as they head for incoming missiles. Radio transmissions again: "...two minutes thirty to initial intercept. Tracking is...ninety seconds to initial... PROCESS SHOT - ANTI-MISSILES IN SPACE showing anti-missiles zeroing in on the much larger alien missiles. SOUND OFF. WE SEE some of the small missiles about to hit the larger ones. MED. SHOT - MILITARY TECHNICIANS at consoles. CAMERA PANS TO WALL MAP showing small blips conjoining with the large ones6 SOUND SUDDENLY. "Abort antis ... repeat abort.... configuration..." MED. SHOT - MILITARY TECHNICIANS They frown at one another, one shrugs. SOUND: another VOICE, "Impact... Impact... score mounting. Impact on thirty percent of incoming ... now fifty-one point six. Impact.." PROCESS SHOT - MISSILES COLLIDING MED. SHOT - MILITARY TECHNICIANS as they hear the transmissions, their expression of nonunderstanding turns to one of panic. SOUND: Initial VOICE, "Abort firings. Missiles do not conform to nuclear-configurations. Repeat, abort firings. Do not intercept. Non-nuclear attack underway ... Repeat, non-nuclear attack underway. PROCESS SHOT - MISSILES EXPLODING Color of explosions should be geared to the color of water in the plaza fountain, which is perhaps illuminated by CAMERA orange and red and yellow spots under the water. IMAGE BLURS at explosion. CAMERA MOVES DOWNWARD from explosion, picking up earth far below, keeps going down more and more rapidly, finally BLURRING In speed. VERY HIGH SHOT - SHOPPING CENTER CAMERA is still going DOWN, less rapidly. This SHOT seems to follow out of preceding one. At first, we SEE the shopping center, then SHOT CENTERS at the sidewalk In front of a single store. It is a Saturday afternoon, hundreds of people milling about, many oars moving. SHOT-finally NARROWS down on a single man walking out of store. CAMERA MOVES TO CLOSE SHOT. Man looks vaguely troubled, then panicked, grabs his eyes, his head CAMERA MOVES IN for a VERY CLOSE SHOT of his face, then his mouth alone as he opens It to give a blood curdling HOWL of agony and fear. VERY CLOSE SHOT - CAR STRIKING POLE The driver is dead or dying. His car veers crazily into another car, ends up striking pole. TV ANNOUNCER - IN THE CLEAR MATTHIAS MATTHIAS ... the entire Los Angeles area. Already, hospital facilities have begun to crack under the strain and Civil Defense authorities state that the situation is much the same... MED. SHOT - TV SCREEN - IN THE CLEAR - MATTHIAS from between heads of two people watching TV. We watch the screen and then, as fragment of news reporter's story is cut off, CAMERA REVERSES showing people watching are dead, eyes, mouths open. MATTHIAS ... across the entire country. Martial law is now nation-wide. Whether a state of war between China and Russia -still exists is not important any longer. Our fellow countrymen are dying. The very foundations of civilization are beginning to crumble... CLOSE SHOT - RADIO It is a small transistor on a counter in a filling station. As CAMERA PULLS OUT showing station deserted, cars stopped here and there, a man and woman dead in a convertible at the gas pumps. ANNOUNCER ... CONELRAD channel. This is a class one emergency. All civilian traffic is barred from streets and highways. Stay in your homes... CLOSE SHOT - RADIO IN POLICE CAR We SEE the receiver, HEAR the emergency message as CAMERA PULLS BACK revealing a policeman lying, eyes open, across the steering wheel of the car. ANNOUNCER Those found without specific military orders are subject to summary execution ... Repeat This is a... LONG SHOT - DOWN A H0SPITAL CORRIDOR As the CAMERA PANS HALLS, WARDS, ETC., there are, here and there, a few bodies in the hallways, the beds are full. MED. CLOSE SHOT - IN THE CLEAR - NEVILLE IN LABORATORY Neville sits at his desk in white lab coat, sign on desk says COLONEL ROBERT NEVILLE. He is watching a small TV on his desk. MATTHIAS so now the question is survival. Is this the end of technological man? Is this the conclusion of all our yesterdays, the boasts of science, the superhuman conquests of space and time... the age of the wheel? Neville grimaces, shakes his head. At the end of next speech PHONE RINGS. MATTHIAS We were warned of judgment. Well, It's come now. This is the Judgement, the weeping and gnashing of teeth... Oh, God, where will it end...? CLOSE SHOT - NEVILLE ON PHONE nodding, face set. NEVILLE Yes. Soits airborne bacteria. Let's try-vaccine 93-b-71. How the hell do I know? I don't... It might. Ill be there in an hour. NEVILLE RUNNING DOWN CORRIDORS with small satchel. NEVILLE ON AIRSTRIP running toward waiting helicopter. He wears fatigue coveralls. NEVILLE IN AIRBORNE HELICOPTER with satchel of vaccine in lap. PILOT next to-him. ZOOM SHOT - TO PILOT grabbing eyes, falling forward onto controls. HELICOPTER GOING DOWN Neville showing signs of illness too. HELICOPTER CRASHED Neville drags himself from wreck. Only one bottle of vaccine is unbroken. He injects himself, passes out. LAST TITLE FADE OUT. FADE IN: MED. LONG SHOT - INT. DARK TRAVEL AGENCY from rear of office. There are posters on the walls: "See Mexico." "Visit London," "TWA to Hong Kong," etc. Dust is over everything, the floors are filthy and-, littered with paper. CAMERA points out OPEN DOOR to street. Suddenly we SEE Neville FLASH by in his car. CUT TO: LONG BOOM SHOT - DOWN ANGLE ON EMPTY STREET from roof of building. In left F.G. WE SEE clothesline. Clothes hanging on it are bleached. have begun to fall apart. We HEAR in DISTANCE ' high-pitched ROAR of Neville's ENGINE. Then he races by in street below. CUT TO: MED. SHOT - DESERTED SCHOOL ROOM CAMERA points out OPEN WINDOWI- with a broken blind hanging alongside. In left frame, next window has Easter bunnies, eggs, etc. made by children. In right side of frame, teacher's desk with small flag, rotten apple. Again, SOUND of CAR, Neville passes outside. CUT TO: MED. SHOT - NEVILLE IN CAR As he rounds corner, he sees things lying scattered in the street ahead. He tries to stop, but runs over them. CLOSE SHOT - TIRE GOING FLAT MED. SHOT - NEVILLE GETTING OUT OF CAR He is irritated, looks around as if seeking a filling station attendant in order to get tire fixed. Glances down. He has run over a broken steel box, with US Mint markings. Its torn hinges have shredded the tire, and the gold ingots it contained are scattered under the wheels. He glances across street. A Brink's truck sits crashed into a fire hydrant, its rear doors open, swinging useless in breeze. Mint boxes and gold bullion lying unguarded. MED. CLOSE SHOT - NEVILLE His expression is one of total disgust. He speaks sardonically. NEVILLE Why don't they keep the goddamn street clean. MED. SHOT - NEVILLE He unloads car, hangs gun over his back, puts a few grenades in his belt, lifts gas can. As he walks away from car, he muses. NEVILLE There was a Mercedes agency on Sunset. Or was it Wilshire? MED. LONG SHOT - NEVILLE WALKING Ahead is the agency. Windows are broken. A 230SL convertible sits in the showroom. Neville walks through the broken window, walks around car. NEVILLE The color's not right, but ... how long did you say it takes to get a new one from Germany...? He walks to another car. NEVILLE How about this one? One careful Pasadena driver in tennis shoes? What's her phone number? MED. SHOT - NEVILLE SERVICING CAR He has put in battery, gas, etc. He closes hood, gets in. Glances at watch. NEVILLE My God, is it that late? He guns the motor and drives out through the broken window. CUT TO: . WIDE ANGLE LONG SHOT - NEVILLE IN CAR We see Neville speeding down an empty main thoroughfare, the car accelerating faster and faster. He makes an impossible turn, the car bottoming, righting itself, fishtailing, straightening out and zooming on. CUT TO: WIDE ANGLE SHOT - A DIFFERENT PERSPECTIVE A long DOWN SHOT, which shows the car reaching speeds of over a hundred miles an hour. CUT TO: VERY CLOSE SHOT - NEVILLE IN CAR This is HEAD ON. Nevilles concentration, his tension must show. He looks like a master-driver in the ultimate test of his career. Meanwhile, it is getting darker, closer to night. CUT TO: WIDE ANGLE LONG SHOT - NEVILLE IN CAR CAMERA RUSHES IN as SHOT OPENS, to MED. SHOT of the car careening down a deserted street in absolute recklessness. As Neville nears the end of the street, he slightly sideswipes a car parked out from the curb. VERY CLOSE SHOT - TIRES AND LOWER SECTION OF CAR Tires squeal as Neville turns corner. CAMERA MOVES OUT TO MEDIUM SHOT as car rights itself and shoots away. MED. SHOT - NEVILLE IN CAR The car lights are on now, and as Neville slows down, it is deep twilight. He turns into drive in front of a tall apartment building. CAMERA MOVES IN TO MED. CLOSE SHOT of Neville in car. He presses remote-control button and WE SEE garage door open ahead of him. CAMERA SWIEEPS to Neville's face. He shows relief, as if he has made, It through a very tough race indeed. MED. SHOT - DOWN ANGLE FROM BEHIND CAR As Neville guns motor and starts into garage, a figure detaches itself from growing darkness and leaps onto him. The figure seems simply to materialize) and it leaps high, landing almost in the car. Neville tries to fight back as the car drifts down the drive into garage. MED. SHOT - INT. GARAGE from within the garage. WE SEE the car drifting down the ramp into garage, Neville and the black-clad figure wrestle as the car, at low speed, crashes into a pillar or another car. Neville pushes the black figure away, hits him, hits him again, jumps from the car with his sten gun and fires a burst into the black figure. CAMERA RUSHES IN FOR CLOSE SHOT OF NEVILLE as he turns from the fallen figure. He looks outward at the still-open garage door, his face reflecting fear, horror. REVERSE SHOT - GARAGE DOOR AREA Two more black-clad figures are rushing in armed with clubs or spears. CLOSE SHOT - NEVILLE CAMERA JERKS as Neville fires his sten gun directly into LENS. Above the gun, his face is clenched in hatred, loathing. MED. SHOT - GARAGE DOOR AREA The door is lowering now. There is a body lying in a dark heap-just inside. WE can SEE one or two others scurrying away outside in the dark as the door closes4 MED. SHOT - NEVILLE He has lowered his gun, holds the remote-control box, pressing the button to lower the door. He is exhausted, shoulders slumped. He walks through the garage stopping to check a large gasoline-powered generator that has been jury-rigged to a panel to distribute current. There are shelves full of oil and batteries and similar supplies. He walks through the low-lighted garage. There are several rows of bright automobiles, sports cars, jeeps, a few pick-up trucks, a single armored car. All are kept in good condition, brightly polished. Neville walks back out into the open area of the garage, surveying the damage to the Mercedes, shaking his head. NEVILLE That's a shame. So hard to get a repairman these days, too. MED. SHOT - NEVILLE AT ELEVATOR Neville unlocks an elevator, gets in and pushes the button for the top floor. NEVILLE Penthouse, Robert. He's probably anxious to get on with the game. He leans back against the side of the elevator, eyes closed, exhausted, but still on the verge of laughter. NEVILLE Some game... CUT TO: LONG SHOT - ELEVATOR DOOR OPENING - NEVILLE The elevator opens directly into penthouse. Neville coming OUT into his fortress-apartment. In left F.G. of SHOT is silhouette of profile of what appears to be a man in a military--cap. Neville drops sten gun slowly to the floor, looks around room, his eyes light on figure. NEVILLE Okay, Okay, Im ready. CAMERA MOVES PAST SILHOUETTE, MOVES ACROSS LARGE ORNATE CHESSBOARD in middle F.G. to MED. SHOT on Neville-. He pulls off dirty shirt, tosses it aside, walks to his left. CAMERA STAYS ON HIM. NEVILLE Go ahead ... move. Neville walks into what seems another world, as CAMERA TURNS to FOLLOW HIM. It is a very long gallery-like room with many mahogany bookcases, walls covered with major paintings, pieces of sculpture here and there. He walks to a beautiful and ornate bar-liquor-cabinet, takes down a bottle of fine scotch. He pauses and studies the label as he twists off the cap. He speaks back over his shoulder. NEVILLE Why dont you have a belt? It might improve your game. He takes a long pull from the bottle, then moves on to the far end of the room where we can SEE a beautiful bed, armoire, old fashioned wash-basin, mirror, etc. These are perhaps screened off from the rest of the long gallery area by some bookcases set at right angles to the wall, forming a small chamber behind. CAMERA STAYS at ENTRANCE to SMALL CHAMBER. Neville rummages for a clean shirt, slips it on. NEVILLE But tonight you're going to lose. Luck over skill... CAMERA MOVES IN QUICKLY FOR CLOSE SHOT showing that beneath is sardonic humor, Nevilles loneliness and isolation tell on him. MED. CLOSE SHOT - NEVILLE He still carries glass, and is rummaging again, this time in a storage cabinet. It is white, antiseptic, very large. It contains a multitude of canned goods. Neville gets out a can of beans. He moves to stainless steel refrigerator, also large, gets out a summer sausage, and ice cubes and a chilled glass for scotch. NEVILLE You hear all that downstairs? I let sundown catch me out. So he took the gambit and threw away a few pawns. I was lucky... Neville opens can, cuts casing off one end of sausage. CAMERA moves OUT to MED. SHOT, showing this opposite end of apartment. It is as stark, barren and utilitarian as the other end is cultivated and civilized. In it are kitchen facilities, laboratory equipment, and a massive arsenal. (See Appendix for more on apartment) NEVILLE From time to time he gets nervous. He smells the end game coming... Neville is looking toward center of room as he talks. CAMERA MOVES BACK so as to place chessboard once more in middle F.G. Neville is walking toward board, scotch bottle and glass In one hand, beans (with spoon in can) in other. Summer sausage Is slang across his shoulder, held by string looped over finger of hand holding beans. He saunters to board, looks down studying situation. We now have time to SEE that the board, and its pieces, are both large and superb: a museum-quality set. NEVILLE But end games are fall of surprises, arent they? Ummm. My move, and discovered ... check! He puts down beans and sausage on edge of table, and moves knight, revealing check from his queen on opponent's king. Neville smiles and sits down. MED. SHOT - ACROSS BOARD - NEVILLE'S POINT OF VIEW We find that his partner is a bust of Caesar propped in the chair with an old and badly battered garrison cap on it. Cap bears eagle Insignia of colonel. CAMERA MOVES TO TWO SHOT. Neville studies board, absently presses a switch located under the table. After a moment, we HEAR MUSIC. It is Frankie Laine singing "We'll Be Together Again." RECORD No tears, no fears, we both have a lifetime before us... So what if we have to part, we'll be together again... Neville hits reject switch. Another tune, instrumental COMES ON. "Harlem Nocturne," Ted Heath's orchestra; alto sax solo. MED. SHOT -NEVILLE AT CHESS BOARD Neville makes a move on board. As he does, we HEAR NOISE, COMMOTION outside. Breaking glass, yells. Neville stands, studying board Intently. As the noise INCREASES, CAMERA MOVES to CLOSE SHOT of his FACE. His jaw tightens at he tries to Ignore the SOUNDS. ZACHARY (O.S.) Come out, Neville Neville sighs, smiles at bust. NEVILLE Excuse me, won't you. Just for a moment. He walks quietly to window, reaches down and picks up a Springfield 1903 rifle with a Sniperscope attached. He steps to the window. The windows are full-length and open onto a narrow balcony. All along the balcony rail, spaced every thirty feet or so, are floodlights pointed down into plaza in front of building. Neville has knocked out partitions between portions of balcony so as to have access to flood lights all along building. Down below In plaza or courtyard, there Is a large and brightly illuminated fountain, water bubbling In it, cascading from level to another. Neville stares out over darkened city. In far distance, perhaps a mile away, we SEE a fire start up, blaze higher. REVERSE SHOT - NEVILLE'S SILHOUETTE IN WINDOW NEVILLE They're at It again. Burning, wrecking. I wonder what tonight? A library? A laboratory? Maybe they've found the Museum of Fine Art. Goddamn those crazy bastards... MED. CLOSE SHOT - NEVILLE AT WINDOW He raises the rifle. LONG SHOT - INFRA-RED TELESCOPIC SHOT PANNING weird and unreal area outside range of floodlights. Passes a hunched, squatting figure. Stops, moves back Crosshairs glow as sight is given fine adjustment. IMAGE RECOILS as we HEAR REPEAT OF RIFLE. Figure slumps. MORE NOISE, CONFUSION, CRIES. MED. CLOSE SHOT - NEVILLE SHOT is across chessboard, through pieces from busts POINT OF VIEW. Neville is grinning sardonically. He raises the rifle in salute. NEVILLE Hall Caesar! And what do you suppose Brother Matthias is going to say about that? CUT TO: MED. LONG BOOM SHOT - NEVILLE AT TABLE SHOT is from outside window. CAMERA IMMEDIATELY PULLS BACK farther and farther until we SEE Neville's penthouse, a circle of brilliant light in an ocean of surrounding darkened buildings, no street lights. CAMERA HOLDS when penthouse is only a small glimmer of light. (Matte) DISSOLVE TO: CLOSE SHOT - FIRE IN FOG. Fire flickers as CAMERA PULLS BACK to reveal that it Is made 'up of burning books. CAMERA PANS titles: Molecular Biology, Astrophysics, etc. In B.G. we see many members of the Family systematically wrecking scientific and computer equipment. MATTHIAS (O.S.) Three? You're sure? Not three. ZACHARY (O.S.) Three, Brother. Two were inside the garage when he brought down the door, We heard the shooting. Then Joshua... CAMERA TURNS RIGHT, bringing Matthias INTO FRAME, CLOSE SHOT, head and shoulders. Matthias has dead-white hair, complexion, wears enormous sunglasses with reflecting lenses. MATTHIAS The light, you have to stay clear of the light... CAMERA PULLS BACK, revealing Zachary. He Is like Matthias, white with sunglasses. But his hair Is natural and his features clearly African. Zachary speaks defensively. ZACHARY Brother, there wasn't no light... That cat hit Joshua in pitch black... MATTHIAS He cant see in the dark-...anymore than we can In the light. Zachary shrugs. ZACHARY Go tell him. Brother. He sees good enough, dark or light. Matthias walks in the glare of flames, wrecking continues In B.G. His dialogue is delivered sadly, reasonably at first. MATTHIAS one creature... caught in a place he can't stir from in the dark. One lone man... ZACHARY He aint a man, Brother. MATTHIAS No, no, you're right. But he is alone, outnumbered hundreds to one, with nothing to live for but memories ...nothing to live with but his gimmicks and gadgetry, his guns and ears...and yet the whole Family cant bring him down out of that...that... ZACHARY Pig-paradise, Brother? MED. CLOSE TWO SHOT - MATTHIAS AND ZACHARY Matthias smiles sadly. MATTHIAS Forget the old ways, Brother, the old hatreds, the old pains. The Family is one... Zachary nods, matching Matthias grin. ZACHARY Hog heaven, then... But Matthias is getting worked up. MATTHIAS Its not a joke, Brother. Remember the word! That thing, that Neville, is a creature of the wheel! He uses forbidden weapons, to6.ls! He has the power of Hell In those evil things! CLOSE SHOT - ZACHARY He is agitated, tired of hearing this. He has told them before that he can bring Neville down. He tries again. ZACHARY Well, let me put the power on him. Look... CAMERA FOLLOWS his pointing finger. In a glass-fronted refrigeration unit are flasks of nitroglycerin. CAMERA SNAPS BACK to ZACHARY. ZACHARY ...or there's cannons. I can go to the old Guard armory. I could get a rocket-launcher ... Just turn me loose... MED. SHOT - GROUP - MATTHIAS AND FAMILY We SEE that a group of five or six others who are like Matthias have gathered around while others continue destruction in B.G. The group mumble amongst themselves, shake their heads. Matthias answers him, as if he were explaining to a child. MATTHIAS Oh, yes, Brother, you could do that. Any one of us could. But if we did, The curse would begin once more, don't you see that? CLOSE SHOT - ZACHARY Zachary is sullen. ZACHARY I see that bastard living In the light like God whilst we rot and hide down here like grubs ... What do you reckon will happen if he hunts as out while We sleep? MED. GROUP SHOT MATTHIAS, ZACHARY, OTHERS MATTHIAS Put it out of mind, Brother. He will be destroyed. But not by guns and explosives. They are forbidden. They are never to be used again. When we have cleansed the word the flood of our righteousness will sweep it all away... As Matthias speaks he picks up a book and hurls it toward the fire, knocking elaborate glass structure down. MATTHIAS And Neville will be brought down... down to the Family and judgment. For blasphemy, for murder... As he speaks SLOW DISSOLVE from fire, grown larger now, engulfing whole building behind, to brightly lit top story of Neville's apartment.' VERY LONG SHOT TOP STORY OF NEVILLE'S APARTMENT FADE OUT FADE IN: MED. LONG SHOT - EMPTY STREET, EARLY MORNING The street is one of those with many apartment-hotels, etc., as on portions of Wilshire Blvd. SHOT is through trees, grass is tall in the-lawns, etc. We HEAR NOTHING at first but BIRDS. Then we HEAR the SOUND of someone RUNNING. CAMERA TURNS, finds a LONE FIGURE RUNNING TOWARD IT. SHOT. should be made INTO RISING SUN, sun rays refracted and diffused around dark silhouette of figure. MED. CLOSE SHOT - NEVILLE RUNNING He is in sweat suit, the shirt has JOHNS HOPKINS in large letters on front, his sten gun is on sling over shoulder, canteen and pouches in utility belt at waist. Flashlight, knife, etc. There is also a small tape recorder hung on belt. Neville continues to run, looking from time to time at numbers on buildings. At last he stops in front of a building, inspects it. He is breathing hard. NEVILLE ...And Big Bob Neville shakes off the last of the tacklers and scores with fifty thousand fans tearing up the stands... Another six for Hopkins...yea. Neville. He squats, pulls map from pouch, studies it, speaks into small tape-mike. CAMERA MOVES OUT FOR MED. LONG SHOT OF NEVILLE, down ANGLE from building POINT OF VIEW. NEVILLE This is 6306 Rimini Boulevard, sector two. The last six blocks have been clean. In the 5500 block, some signs they'd been foraging for food in a small drive-in grocery. (sardonically) You'd think prices would keep them in the super markets. MED. CLOSE SHOT - NEVILLE He unlimbers sten gun, checks it, sets it down, checks flashlight. Then he opens canteen, squats and drinks. Assumption is, it's whiskey. He gargles a little, spits it out, studies the building narrow-eyed. Talks into recorder. NEVILLE You've got to hand it to the bastards. They cover their tracks. It's been a damn year now. Drinks again, lets mike-hang, eyes distant in thoughts NEVILLE If I could find the nest, find where he stays thered be an end-run, and an end game, sure enough... He gets up, closes canteen, picks up equipment. NEVILLE But what would I do then...? CUT TO: SERIES OF SHOTS - NEVILLE SEARCHING He moves through dark corridors, into rooms. He is very efficient in his checking, spending only a few moments in each place. MED. SHOT - INT. ROOM Dark, dusty, light falling through half-closed blind. SHOT is ACROSS BED. Neville kicks open door, sees bed. There is someone or something apparently in it. Neville jerks back sheet, sten gun ready. CLOSE SHOT - CORPSE IN BED The body, left from plague-time, is not a skeleton, but simply a decayed and desiccated ruin, disgusting and piteous. CLOSE SHOT - NEVILLETS REACTION He is sickened, his raised adrenaline draining away. MED. SHOT - NEVILLE IN BASEMENT He probes in comers, closets. Obviously is well practiced at this "search and destroy" technique. . MED. SHOT - NEVILLE IN OFFICE BUILDING He is moving. rapidly through offices, dust everywhere, files, etc. scattered. He always checks closets, etc. CLOSE SHOT - NEVILLE LOOKING DOWN His eyes narrow, he leans over and reaches down into wastebasket. REVERSE SHOT - UP ANGLE - NEVILLE ABOVE MED. CLOSE SHOT - NEVILLE He lifts up a sardine can, oil drips from it. Neville smiles viciously. CLOSE SHOT - WASTE BASKET In it are empty bottles, trash. It is not dusty or old looking. MED. SHOT - NEVILLE AT DOOR OF OFFICE Door is large, paneled. Obviously the entrance to very plush executive office. Neville puts ear against door, listens, stands back, kicks door open. LONG SHOT - OFFICE - PAST NEVILLETS SHOULDER It is paneled. drapes, dark furniture, thick carpets, etc. It is very long with a huge ornate desk at the far end. Behind the desk, sitting in a large high-backed swivel chair is a body. Neville studies the figure in the chair for a moment. The figure wears a hood, and it is this which keys Nevilles response. CAMERA DRIFTS DOWN ROOM toward figure. CAMERA now in Neville's POINT OF VIEW. CAMERA GLANCES FROM SIDE TO SIDE as it approaches figure, making sure there are no others lurking in corners. CAMERA STOPS on MED. SHOT, figure in chair, it stirs. NEVILLE (O.S.) All right, Dracula. Wake up. You've got company. Figure does not move. WE SEE BARREL of sten gun poked toward him from BOTTOM OF FRAME. We cannot see eyes of figure. NEVILLE (O.S.) Where's Matthias? Where does he stay? Figure does not move. MED. CLOSE SHOT - NEVILLE He shrugs, sighs. NEVILLE I always ask, and I always get the same answer (beat) Once more: where's the hive? Where does the king bee stay? MED. CLOSE SHOT - FIGURE IN CHAIR As Neville finishes speech, he pokes figure with barrel of gun. It falls forward, hood coming off. It Is dead and Disintegrating. SHOT HOLDS. We HEAR Neville's VOICE into tape recorder. NEVILLE (O.S.) 6806 Rimini Boulevard, sector two. Found another. Matthias' crowd is dying from the plague, one by one. Sweep continues. DISSOLVE TO: FADE IN: LONG SHOT - NEVILLE WALKING ALONG STREET He walks, one hand in pocket, a sten gun In the other, window-shopping. Some of the windows in the stores are broken. Behind others, the displays are askew, dusty. A liquor store Is almost demolished. He reaches an expensive looking clothing store, pauses, walks inside. Dialogue Is VOICE OVER. He palls off sweatshirt, drops it on floor. NEVILLE You dumb bastard, why did you ever bother to wash these things? Youre the only consumer left in town. CUT TO: MED. SHOT - NEVILLE IN MENIS CLOTHING DEPARTMENT He takes a garment from the rack, looks at it, drops it then frowns, picks it up and re-hangs it on the rack. He draws out a beautiful brocade tuxedo jacket, turns it, smiles, hangs it back. NEVILLE The Officers club is closed, isn't it? Permanent undress is the correct uniform. CUT TO: LONG SHOT - NEVILLE WALKING THROUGH DARKENED STORE Away from windows, it is shadowy in-the store, and we watch Neville walking, some clothes over his arm. SHOT is PAST HEAD AND SHOULDER OF A MANNIKIN. CUT TO: LONG SHOT - THE SAME - ANOTHER ANGLE Again POINT OF VIEW of a manikin -- as if those inert figures are watching Neville's progress past them. He seems unconcerned, but his sten gun is in his right hand. MED. LONG SHOT - ANOTHER ANGLE THIS SHOT is from between the upraised arms of a manikin. CLOSE SHOT - FACE OF MALE MANIKIN CLOSE SHOT - ANOTHER MANIKIN CLOSE SHOT - NEVILLE'S FACE He has stopped in relatively light portion of store. He is looking up, face filled almost with reverence. MED. UP ANGLE SHOT - FEMALE MANIKIN This manikin wears a very brief bikini. She is remarkably life-like. Her hips jut forward provocatively, her eyes point down toward Neville, and her long brown hair falls about her tanned shoulders. She wears the smallest of smiles. MED. SHOT - NEVILLE LOOKING UP AT MANIKIN This SHOT is past the head and shoulder of another manikin across the aisle from where Neville stands. It is as if his moment of passion and remembrance is overseen. MED. CLOSE SHOT - NEVILLE - SIDE VIEW He is I still looking upward. He puts out his hand to touch the almost-flesh of the manikin. Then, suddenly, there Is a small indefinite SOUND. He pauses, his jaw tightens. CAMERA RUSHES BACK TO MED. LONG SHOT as Neville whirls, sten gun up, clothing dropped. He is about to fire. MED. SHOT - GROUP OF MANNIKINS AND LISA These are female manikins including some with Negro features, In various dress, various poses. CAMERA FINDS LISA AMONG THEM, MOVES IN SUDDENLY TO MED. CLOSE SHOT. WE SEE the "manikins" mouth open In horror. MED. LONG SHOT - NEVILLE'S POINT OF VIEW - LISA Lisa turns suddenly and vanishes Into the shadows of the store. CLOSE SHOT - NEVILLE He is petrified. He cannot believe what he has seen. The gun hangs useless in his hand. He stands thus for's long moment, then, finding his voice, he calls after her. NEVILLE Wait...come back...wait... Youre real! Youre not... LONG SHOT - NEVILLE RUNNING THROUGH STORE Again, this SHOT is through a group of male manikins, well dressed, grinning at Neville as he runs. MED. LONG SHOT - ANOTHER ANGLE - NEVILLE RUNNING He gets another glimpse of the girl as she runs out a side door of the store. MED. SHOT EXT. STORE This store is across the street from a large park. Neville pauses outside the store, looking up and down. CAMERA RUSHES BACK TO VERY LONG SHOT, still focussed on Neville. When CAMERA STOPS, the SHOT is FRAMED by the girl's hair and one shoulder. We do not see her face, but we can tell she is looking back at Neville from within the park. CAMERA ZOOMS IN on Neville again as he sees the girl. He begins running across the deserted street toward her. SEQUENCE OF SHOTS - NEVILLE RUNNING THROUGH PARK In none of these shots do we see the girl again. We see Neville running through trees, past a lake or stream; pausing to get his breath ' looking in all directions. He is almost frenzied. It has been almost two years since he has seen a normal human being alive -- much less a lovely girl. As the sequence ends, he is obviously exhausted. The shadows are much longer now. It is afternoon. MED. CLOSE SHOT - NEVILLE SEATED ON BENCH He sits, head down, his gun beside him. He is beginning to wonder if he has hallucinated the girl, if at last he is slipping toward insanity. NEVILLE Does it begin this way? Is two years alone too much? Then his head comes up. He has control again. NEVILLE No. you silly bastard, it doesn't begin this way, and two years alone is all right. The way it begins is asking yourself idiot questions. Now, let's find a drink before it's time to go home. He stands up, stretches, looks refreshed. DISSOLVE TO: CLOSE SHOT - CANDLE GUTTERING IN HOLDER CAMERA PULLS BACK, showing Neville in bar mirror. He drinks from glass, pours a little more from bottle, turns from-the bar. The room Is dark, light coming only from candle and from windows at front. The door is open. Neville, sten gun in left hand, drink in right, walks through tables, stands at door. Across the street is a federal court building. His eyes go up its height as CAMERA TURNS for LONG SHOT of BUILDING, Neville In RIGHT SIDE of FRAME. MED. CLOSE SHOT - NEVILLE BACK INSIDE He puts down empty glass, starts to pick 'up his equipment. Suddenly pauses as he HEARS a CRASH from a breaking bottle. His jaw tightens, he becomes tense and turns toward sound. CLOSE SHOT - WINE KEG DISPLAY Sign reads "Visit Our Wine Cellar -- For the Experience of a Lifetime" MED. SHOT - NEVILLE He squints at sigh, heads for the stairway with candle. MED, SHOT - NEVILLE GOING DOWN STAIRS WITH CANDLE MED. LONG SHOT - NEVILLE IN CELLAR This should be a spooky and generally tense atmosphere. The cellar, like much contemporary commercial architecture is made to look like an "authentic" wine cellar, and two years' dust and cobwebs have improved on art. SHOT is from BEHIND wine rack, over bottles, showing Neville at foot of steps, looking about cautiously. He puts candle on hogshead for general lighting, pulls out flashlight to examine MED. REVERSE SHOT - WINE RACKS, NEVILLE'S POINT OF VIEW MED. LONG DOWN SHOT - NEVILLE LOOKING AT WINE RACKS His flashlight probes here and there along walls. Stops on a. particular area of one of the racks. VERY CLOSE SHOT SIDE VIEW OF WINE BOTTLES IN RACK Neville's light falls on bottle. Behind rack we SEE another HAND at back. CAMERA HOLDS. The hand is still when light first strikes it, then it comes to life, moves, clenches. MEDIUM SHOT - BEHIND RACK OF BOTTLES We SEE a FAMILY MEMBER who has apparently been sleeping in cellar and has knocked wine bottle over in sleep. He comes awake fully as Neville enters cellar. NEVILLE - CLOSE SHOT From the shadows to his left rear. Also made from behind wine rack. CAMERA RISES from near floor level to five feet or so, following POINT OF VIEW of Family member. MED. WIDE ANGLE SHOT - WINE RACK From behind Neville. As he approaches rack, the entire Rack tilts and slowly falls toward him. MED. SHOT - NEVILLE throws himself back, trying to avoid the rack, but as he does so, he looks up. MED. CLOSE SHOT - UP ANGLE - CREATURE ON TOP OF WINE RACK hood flaring behind, arms outstretched CLOSE SHOT - NEVILLE'S REACTION MED. SHOT - RACK FALLING ON NEVILLE bottles falling out of rack and exploding on floor. Creature jumps free from top of rack, MED. LONG SHOT - DOWN ANGLE FROM STAIRS Three more of the creatures pile-out from behind barrels, wine racks, wherever they've been sleeping. MED. SHOT NEVILLE UNCONSCIOUS UNDER WINE RACK CLOSE SHOT CREATURE'S FACE Shook as CAMERA SNAPS IN for very CLOSE SHOT: dead white face, Its mouth open, twisted with hatred and anger, eyes still obscured by hood. FADE OUT. SLOW FADE IN: As light begins to fill the SCREEN again, BLURRY, without FOCUS, WE HEAR, as from a great distance, TINY in sound, the VOICE of Matthias once more. He is preaching in away not much different from his last TV appearance in the credit montage. His voice has a peculiar mixture of the comforting and the sinister in it. As he goes on, his voice RISES, moves toward HYSTERIA. MATTHIAS- ...and, oh, brothers and sisters, I ask you to look at him. Does he have the Marks? Do you see them? (muffled answers of "no, no.") You see him as we were before the Punishment, before we gained grace. You see lying there, the last of scientists and bankers and business- men...the users of the wheel! Do we use the tools of the wheel, as he does? ("no, not.") Is he of The Family? ("no, not") Is he of the Sacred Society? (no, not.") Then ... what is he? (confused mumbling, anger) CAMERA CLEARS VERY SLOWLY TO AN UP SHOT NEVILLE's POINT OF VIEW WE SEE the vague image of someone in robes in a high pulpit, behind a high bench. CAMERA MOVES SLOWLY, APPEARING TO SEEK FOCUS. THEN IT SNAPS INTO FOCUS IN ZOOM - VERY CLOSE SHOT of large reflective sunglasses. It is Matthias. His hood is pushed back, and the rooms illumination is quite low. He seems to float in the darkness with candle-flames flickering around and behind him. LONG DOWN SHOT - NEVILLE TIED ON FLOOR MATTHIAS POINT OF VIEW Neville is regaining consciousness. CAMERA MOVES SLOWLY DOWN on him as Matthias talks. MATTHIAS (O.S.) He is part of the dead...he has no place here. He has the stink of oil and electric circuitry about him. He is obsolete... ( ...yes, yes.") WIDE ANGIE SHOT CHAMBER IN FEDERAL COURT BUILDING Its former function should still be evident, but it-now serves as the place where the Sacred Society governs the Family. It is courtroom, meetinghouse, church of the group. It is dark, hung with black cloth. The room is full of the hooded creatures that we have seen before. Only Matthias and perhaps half a dozen of his immediate followers do not wear hoods. Their hair and skin is dead white, their eyes are covered by an assortment of shields. MATTHIAS And what shall we do with old machinery...? ZOOM CLOSE SHOT - MATTHIAS - NEVILLE'S POINT OF VIEW He points at Neville. MATTHIAS ... you are discarded. You are the rubbish of the past... MED. CLOSE SHOT - NEVILLE His initial horror and fear past, he LAUGHS aloud. NEVILLE This is a bloody Halloween party... Youre all sick ... You need... Those nearest, knock him back down, silence him. MED. SHOT - MATTHIAS He smiles, shakes his head. His voice becomes soft with false compassion. He leans down over his pulpit. MATTHIAS How hard it is to admit the truth. (beat) Take him to the little room. For the Questioning... MED. SHOT - CREATURES DRAGGING NEVILLE CAMERA FOLLOWS as they take Neville into a smaller room. MED. LONG SHOT - THE LITTLE ROOM - MATTHIAS AND NEVILLE This room resembles the small chambers in which private questioning took place during the Inquisition. The table is long and there are candles and books on it. The scene should be Gothic and just this side of a put-on. Taste here, as elsewhere, must be exquisite so as to tread the line between the grotesque, the demented, and the Camp. MATTHIAS Well, now, Mr. Neville, we can talk for a little while. It's been a long time since you've talked -- except to yourself. CLOSE SHOT - NEVILLE'S REACTION Neville is surprised. He has assumed Matthias was truly and completely insane. NEVILLE So you dont rant all the time? Why bother with it at all? MED. SHOT - MATTHIAS He LAUGHS, walks around the dark room. MATTHIAS Yes, you were a scientist. The kind of man who understood nothing until there was almost nothing left to understand. NEVILLE (surly) I'm getting along... MATTHIAS You're getting dead, Mr. Neville -- or doctor or colonel, whatever they called you. I have responsibility for the last tiny remnant of mankind ... I have that responsibility. NEVILLE Then why the hell dont you live up to it? Why don't you throw away the costumes and get these people organized, try to work on a cure... Matthias turns on him angrily. MATTHIAS Oh. we are organized. You know that well enough. A cure? There is none. In the early days ... Have you seen the ruins of the general hospital? Thousands of bodies littering the corridors, rooms jammed with the dead ... and finally... those pitiful few who were left, hopeless, going mad, lynching the doctors, the technicians who had betrayed them... By the way, why weren't you there... Doctor? REACTION SHOT - NEVILLE NEVILLE I tried. There was a crash... TWO SHOT - MATTHIAS AND NEVILLE, MATTHIAS It doesn't matter. There was no cure. Is none. The curse you people created, couldn't stop, is... forever. So Ive turned that curse into a blessing. CLOSE SHOT - NEVILLE'S REACTION MATTHIAS (O.S.) No. now the Family has found its way. It can bear the burden -- the only curse left is -- you. NEVILLE You are insane. And before very damn long, youll be dead -- can't you see that? CLOSE SHOT - MATTHIAS MATTHIAS (angrily) last night you killed how many? Three of us? And today We don't know yet. And before that? You've killed dozens...Youre the messenger of death, Doctor, not us. TWO SHOT - NEVILLE AND MATTHIAS OTHERS come INTO the room now, and Matthias manner changes. Once again he adopts the portentous pose of judge-prophet. NEVILLE I was defending myself ... You lunatics came after me... MATTHIAS He's confessed all, Brothers. Murder, use of forbidden tools, practice of proscribed rites. He admits 'science, medicine, weapons, machines, electricity. He has not shared the Punishment; he does not bear the Marks... CLOSE SHOT - NEVILLE NEVILLE What is the Punishment? The Marks? WIDE ANGLE GROUP SHOT - MATTHIAS AND GROUP OF FAMILY As Neville speaks, the group stares at him. This is the first group appearance of the Family. WE SEE that they are of both sexes and all races. Some seem fairly young, however there are no children. In addition to the hoods, we find some wearing goggles, some helmets with dark visors, etc. Obviously, all these forms of eye guards have been scavenged in the empty city. SERIES OF CLOSE SHOTS - INDIVIDUAL FAMILY MEMBERS As CAMERA PANS from one to another, each removes his or her glasses, goggles, etc. revealing blank white eyes. CAMERA completes pan, stops on Matthias. He removes glasses, shows his own white eyes. For the first time, WE SEE the OPAQUE EYES of the Family. MATTHIAS (quietly) These are the Marks, Mr. Neville ... The Punishment is what you and those like you brought upon us... CAMERA CLOSES on Matthias, closes slowly on his face, eyes, as he talks. MATTHIAS In the beginning, we tried to help one another, those that were left. We tried to clean things up, set them straight. We buried and burned. And it came to us that we were spared for just that work... PAN SHOT - FAMILY MEMBERS LISTENING TO MATTHIAS MATTHIAS (O.S.) ... to bury what was dead, to burn what was evil, dangerous... Neville's VOICE breaks in harsh, angry. NEVILLE (O.S.) So you burned libraries, laboratories...You wrecked computer centers, engineering facilities ... a herd of insane barbarians. Every night you go on burning. PAN SHOT ENDS ON MATTHIAS. He still speaks very quietly. MATTHIAS You call us barbarians, Neville'. Very well, it's an honorable name. We mean to cancel the world you made. We will simply erase history from the time that machinery and weapons began to threaten more than they offered. CLOSE SHOT - NEVILLE NEVILLE You'll play hell... CLOSE SHOT - MATTHIAS MATTHIAS No, you've played hell you and your dead kinsmen of the car and the plane and the tank and the bomb ... and when you die, the-last living reminder of hell will be gone ... forever. As he speaks, CAMERA PULLS OUT TO GROUP SHOT. The Family RS assent. Matthias turns to Zachary. MATTHIAS Brother Zachary? ZACHARY We got everything ready. MED. SHOT - EXT. - NEVILLE, MATTHIAS, ETC. An alley or narrow street. There, a cart has been brought. It has high sides and two solid wooden wheels about five feet in diameter. It is filled with old newspapers, books, files, broken pieces of wooden furniture, etc. SHOT is made BETWEEN Neville and Matthias. Matthias and Family have glasses or shields back on. Zachary comes over, jerks Neville roughly toward cart. Matthias stops him. MATTHIAS One thing, Neville, now that its over... Neville stares back at him. MATTHIAS why didn't you leave? Why didn't you get out of the city...? NEVILLE I wasnt sure about that ... until now. MED. LONG SHOT - NEVILLE IN CART On his head is a conical cap obviously made of computer printout paper. This scene echoes the burning of heretics. Again, if it is done tastefully, it will gather still another fragment of the past which haunts us. Neville is bound in the small cart. It is pulled by members of the Family. HOWLING members of the Family throw rubbish at him -- scientific debris -- and curse him. The cart is in the midst of a dense crowd, each member of which carries a candle. The lighting is weak, bizarre. CLOSE SHOT OF OLD WOMAN in hood, eyes opaque, LAUGHING insanely, throwing objects at Neville. CLOSE SHOT - HANDS trying to reach through the slats of the cart to scratch Neville. They are dead white. MED. CLOSE - NEVILLE over a wave of candles, the flames flickering Insanely. LONG SHOT - THE CROWD filling a narrow street from Neville's POINT OF VIEW. CAMERA TRANSITION TO NEVILLE who stands tied to the cart, wood and paper and books piled around him. CAMERA PULLS BACK to WIDE ANGLE LONG SHOT. We find that we are in a VAST EMPTY STADIUM. In the midst of the field, THE FAMILY, all carrying candles, are gathered around the stand from which Matthias preaches. The cart has been turned upside-down and the technological debris it contained is piled below one of the wheels, to which Neville Is bound, spread-eagled. It stands in a large circular burned area. This is where Matthias and the Family have burned bodies after the plague's onslaught. MED. LONG SHOT - MATTHIAS - NEVILLE'S POINT OF VIEW MATTHIAS Here Is evil... MATTHIAS past Neville's profile. As Matthias speaks, CAMERA FOCUS ALTERS FROM MATTHIAS to NEVILLE. MATTHIAS Is this not the place where all the dead burned? And this (pointing to Neville) Is the last of the dead...And what will we do with this corpse? As Matthias asks his question and the Family HOWLS for Nevilles death, CAMERA PULLS OUT VERY QUICKLY TO WIVZ ANGLE LONG SHOT as stadium LIGHTS COME 0N. At first flickeringly, then with a BURST of fall power. All the lights do not come on. Some bulbs ate burnt out or have failed over the past year or so, but still the field la flooded with light. MED. SHOT - MATTHIAS AND OTHERS OF THE SOCIETY falling back from their stand, trying to cover their eyes despite their sunglasses. MATTHIAS (surprised) What...? NED. LONG - CROWD SCENE Family members dropping their candles, falling, groping, trying to find a way out of the blazing arc lights. CLOSE SHOT - FAMILY MEMBER writhing on ground in agony. MATTHIAS (O S.) Find the switch, get those lights off...! Give us the darkness again! More dark ... more dark! NED. CLOSE - FAMILY MEMBER stumbling blindly toward sidelines of stadium. NED. CLOSE - FAMILY MEMBER trying to stab Neville, missing him In his blindness. WIDE ANGLE LONG SHOT - STADIUM Neville still staked out in center of stadium. Last of the creatures Is crawling or hobbling away out of the light. After a long moment the are-lights begin to fade, wink, and finally go out. CAMERA ZOOMS DOWN TO CLOSE SHOT of Neville struggling, trying to get loose. Then he pauses, fear in his expression, He HEARS someone COMING. NED. SHOT - BLURRED IMAGE OF SOMEONE MOVING ACROSS FIELD walking swiftly across the empty field, Neville tries to twist his head around to see, but it is too dark down in the bowl of the stadium to see more than a shadowy figure. CLOSE SHOT - HANDS UNTYING NEVILLE - SEMI-DARKNESS WE SEE HANDS quickly loosening the ropes on Neville's ankles and hands. MED. SHOT - NEVILLE'S POINT OF VIEW Shadow of someone above him. MED. SHOT'- NEVILLE FREEING SELF FROM ROPES He pulls loose from the last rope. NEVILLE Who are you? Dutch (O.S.) Shut up. Move, move, MOVE! Neville begins to run, pushed by the shadowy figure. SEQUENCE OF SHOTS: MED. CL0SE - NEVILLE running to edge of field. MED. LONG - NEVILLE AND FIGURE running into ramp area, disappearing under stands. MED SHOT - NEVILLE Figure behind him pushes him along in the darkness, giving him no pause. LONG SHOT MATTHIAS AND FAMILY RECOVERING FROM LIGHT Matthias and his people are re-grouped, looking for Neville. CLOSE SHOT - MATTHIAS MATTHIAS Find him. Search the Corridors... the storerooms...everywhere... CLOSE SHOT NEVILLE Figure behind pushes him through a door, slams it closed. Neville falls to his knees, shakes his head, trying to get his bearings. A beam of light from an electric torch sitting on a box dimly illuminates the room. He rises, starts to turn. Then, from shadows behind him, between lockers he HEARS: LISA (O.S.) All right, son of a bitch. Just hold tight... (beat) Uh-uh, dont turn. Stand. When I want you turned, Ill turn you. on or off or around. Lisas voice is low, smooth, sophisticated, but there is in It the sound of a profound self-confidence. MED. LONG SHOT - NEVILLE - REAR VIEW AGAINST LIGHT Lisa slowly drifts INTO FRAME LEFT. FOCUS is on Neville. Lisas head, right shoulder are blurred. Her hand comes up holding a .45 automatic. FOCUS MOVES TO GUN, Neville still In B.G. LISA Thats fine. Now put your hands out... way out, shoulder high. Like they were going to crucify you. CLOSE - NEVILLE looking AT CAMERA, his head and shoulders in LEFT HALF OF FRAME. In shadows behind, WE SEE LISA vaguely, the .45 VIVID in SHAFT OF LIGHT from torch. NEVILLE As a matter of fact, they were going to roast me. Why did you stop them? Lisa comes closer. We can SEE HER. She Is beautiful, and black. She Is wearing a shirt, tails tied, and long shorts, with cycle boots. Her face is composed, almost amused as she moves up behind Neville. LISA We've got a reason, Neville's eyebrows rise. He is setting himself to turn on her. NEVILLE My name is Robert... LISA Your name's mud, Mister. Neville whirls, CAMERA FOCUSES on Lisa who lifts the .45, brings it chopping down with moderate force. MED. TWO-SHOT - NEVILLE AND EISA Lisa is breathing a little harder, but her composure is fine. She cooks pistol. Neville is getting off floor staring into muzzle of .45, rubbing his head, looking at the girl with grudging respect. LISA ...and youre not going to need a name if you fool with me again. She nudges Neville toward the door. He raises his hands automatically. They walk. NEVILLE Where did you pick up that cute way of saying stop? WE SEE LISA still behind, looking from one side to the other as they traverse corridors. LISA Oakland. I was a Raider. Anyhow, I only said slow. You know how I say stop? The pistol nudges Neville's ribs. Neville keeps walking. NEVILLE You keep clowning around, and those spooks out there are going to... LISA Shut up. Dutch is taking care of the honks. LONG SHOT - FROM CORRIDOR OF STADIUM LOOKING OUT ONTO FIELD WE SEE MATTHIAS' PEOPLE running closer toward the corridor, This shot, we discover, Is from POINT OF VIEW of the shadowy figure, Dutch, who now stands in darkness. WE HEAR Dutch fumbling with something. CAMERA FOCUSES now on F.G. Dutchs hand rises, holding cylindrical container. Matthias' people still in B.G. reach corridor entrance. Dutch throws container. REVERSE SHOT - CORRIDOR FROM MATTHIAS' POINT OF VIEW As they try to enter, there is a blinding explosion of LIGHT, only moderate SOUND, as a phosphorus grenade explodes. SHOT should capitalize on diffusion, refraction of phosphorus blow-up, its brilliant blue-white glare. MATTHIAS No, no ... get back ... The next entrance... MEDIUM TWO SHOT - NEVILLE AND LISA Neville is in F.G., Lisa behind with pistol. They are trotting. LISA okay... stop, Open it up. They are standing near a utility room. Neville turns and sees her for the first time. NEVILLE Youre..! LISA Okay, you've seen me before. Pull it out buster ... move! Neville wheels out a small motorcycle, NEVILLE (admiringly) You plan ahead... LISA We plan every which a way. Now look, you're gonna ran this thing, but I'm the ramrod, you know? Neville says nothing, seating himself on the bike. LISA Do me a favor, will you? Don't screw up. I know how to roll, Out It's hard on the elbows ... and oh, yeah, If you just have to play James Bond, I'm gonna sift your brains All over the walls, Neville grins In spite of himself. NEVILLE Yes, ma'am... CAMERA PULLS BACK as he, starts cycle and they move OFF down shadowy corridors. LONG SHOT - MATTHIAS AND FAMILY IN CORRIDOR They tan along corridor, seeking Neville. SOUND of bike can be heard MED. CLOSE SHOT - CANISTER ROLLING INTO MATTHIAS' PATH As we see another grenade appear, we HEAR Alts laughter from side corridor. Grenade explodes, spurting burning phosphorus onto one of Family. CAMERA PULLS OUT to MED. SHOT as Family member SHRIEKS in pain. MATTHIAS Down the other way. We'll catch them at the main exit ... the ramp. SERIES OF SHOTS - NEVILLE AND LISA ON BIKE IN CORRIDORS Lisa yells directions to him as Neville skids bike around corners, in and bat, around obstacles like heaps of cushions, piles of coke cases, etc, Shot should take advantage of bike light, refractions, shadows, veering of bike, near collisions. LISA Left, left, goddamn It. (beat) Another leftand step on it. LONG SHOT - RAMP OF STADIUM Shot is from Dutchs POINT OF VIEW. CAMERA PULLS BACK, revealing Dutch, standing about ten yards from ramp. He holds a grenade In each hand. It is still dark, but the first signs of pre-dawn are APPEARING. We HEAR the roar of the Family as they run inside the corridor toward ramp. As they APPEAR, Dutch lofts the first one and then the other grenade, tossing one on each side of the exit, leaving a narrow passage directly in the middle, free of the phosphorous, though bathed in blinding LIGHT. Matthias and Family fall back in confusion. We HEAR sound of bike over their yells, Dutchs laughter. MED. SHOT - NEVILLE AND LISA ON BIKE They skid around final corner. Neville hits brakes, Leaves rubber. REVERSE LONG SHOT - DOWN CORRIDOR, NEVILLVES POINT OF VIEW Matthias and his people, turned and blinded by burning phosphorus, HEAR Neville coming. CAM8RA ZOOMS to MED. CLOSE SHOT, Matthias. MATTHIAS He is coming ... There... MEDIUM CLOSE SHOT - NEVILLE AND LISA ON BIKE LISA What the h6ll you stopped for? Hit It, you dumb honk! NEVILLE You want me to? Lisa prods him with the pistol. LISA Right on, you lump. They're blinded. Right on! Neville shrugs, races engine. NEVILLE Okay, baby, hitch up your drawers... He revs engine, kicks off straight toward Matthias and Family. LONG SHOT - MATTHIAS AND FAMILY NEVILLES POINT OF VIEW We see Matthias and the rest coming closer and closer as SOUND of bike becomes deafening Behind Family is burning phosphorus. Matthias Puts out his hands as If to wave Neville to a stop. MATTHIAS Stop them, stop them... FLASH CUT - CLOSE SHOT - NEVILLE'S FACE. LONG SHOT - MATTHIAS AND FAMILY NEVILLES POINT OF VIEW Shot MOVES RAPIDLY closer to Family. FLASH CUT - CLOSE SHOT - LISA,'S FACE LISA Down the middle, right down he middle! MEDIUM SHOT - SIDE ANGLE - COLLISION OF BIKE AND FAMILY As bike flashes through them, some of the Family try to stop Neville. Bike veers, rights, sails through, knocking Family members in all directions, MEDIUM-SHOT - BIKE GOING BETWEEN PHOSPHORUS GRENADES Neville manages to steer down slot between the two bombs Dutch has thrown. For a moment, the bike and its riders are bathed in weird glow of phosphorus. Howls of disappointed Family can be heard. LONG SHOT - LISA AND NEVILLE ON BIKE DUTCHS POINT OF VIEW They roar down ramp and into empty parking lot. CAMERA PULLS BACK showing Dutch in F.G. cranking up his own bike, laughing exultantly at the success of the escape. He watches Neville and Lisa race away, and after another look in the direction of the stadium where the grenades still burn, he follows them. LONG SHOT - CYCLE ON FREEWAY - FRONT ANGLE MED. SHOT - SIDE ANGLE - LISA WITH ARM AROUND NEVILLE She has left arm around his middle, gun in right hand aimed into ribs. Yells Into his ear: LISA Take the next exit... As they reach exit, Neville wheels the bike suddenly. Lisa has to grab him with both hands. He plucks gun from her hand, lowers the hammer as they speed down off-ramp. Lisa Yells: LISA You sneaky bastard Neville LAUGHS, hands her back the gun. She sticks it into her belt and puts both arms around him at they go off onto country road. DISSOLVE TO. MED. LONG DOWN ANGLE SHOT - NEVILLE AND LISA They pull up in front of an apparently deserted house perched on the edge of a canyon. Neville leans the bike on its stand, stretches, turns. MED SHOT - LISA She is holding gun on him again, smiling broadly. MED. SHOT - NEVILLE He scratches his head. NEVILLE Well, I'll be damned. I thought we'd gotten past that... CAMERA PULLS OUT TO TWO SHOT LISA Youre sweet. Now just walk on up to that house. MED, LONG SHOT - LISA AND NEVILLE WALKING TO HOUSE SHOT is THROUGH OPEN WINDOW next to door through which they will pass. Window looks dusty, drapes faded, torn. As Lisa and Neville approach door, CAMERA PULLS BACK across barrel of Thompson submachine gun and hands holding it, revealing that SHOT is from GUNMANIS POINT OF VIEW. MED. SHOT - LISA AND NEVILLE WALKING INTO HOUSE It is moderately dark In house. Neville rubs his eyes. SHOT is still ACROSS GUN BARREL. Neville sees gunman. Lisa moves up beside him. LISA It's all right, Tommy. This is the Man.... I mean THE Man.... but he's tame. REVERSE SHOT - TOMMY He Is a small Chinese boy of about twelve who holds the machine gun nervously pointed at Neville, He smiles at Lisa, frowns at Neville. TOMMY What are you gonna do with him, Lisa? GROUP SHOT - LISA, NEVILLE, TOMMY. LISA (to Neville) Have you got any idea what Tom would have done If you'd come up to this house carrying my .45? Neville nods. NEVILLE Im beginning to get an idea. CAMERA PULLS OUT as others walk into light. They have been waiting to see what was happening. LISA This is the crop... There are perhaps six or eight young people about evenly divided between boys and girls. The others, except for Lisa and her brother, are white. LISA all there is. At least that we know of. There are others around, I guess... If Matthias and his nuts havent killed them all. Neville is astonished. The kids seem healthy, alert. NEVILLE I didnt know there were...any. LISA (sardonically) Between Matthias and his goons at night and you In the daytime shooting anything that moved, we stayed low, NEVILLE I was staying Alive, The others exchange glances, LISA If you call that living. Neville Is Irked. He did not come for a seminar In ethics. Then there is the SOUND of a motorcycle outside, All turn, toward the door, TOMMY Its Dutch... He runs toward door, Lisa and the rest follow, Neville in rear. MED. SHOT -DUTCH He climbs off cycle, drops kickstand. He wears a leather jacket, a air of pearl-handled .45 automatics on his hips. Saddlebags are staffed with grenades, a Thompson submachine gun, etc. Dutch also wears goggles, an old World War I style helmet, riding breeches and Jack-boots. His hair is long, and on the back of his jacket is painted the upraised red fist of revolution--with the middle finger extended. He is a tough cookie, but very bright indeed. Tommy and Lisa WALK into picture. LISA Hey, it's the mad bomber. Where you at, baby? Dutch pulls off his helmet, smiles at Lisa, ruffles Tommy's hair. CAMERA MOVES OUT to include others in GROUP SHOT. Dutch looks at Neville. DUTCH I see you got my partner, the mad doctor, here all right. CLOSE SHOT - NEVILLE'S REACTION NEVILLE You know who I am? CAMERA MOVES OUT to GROUP SHOT LISA Dutch knew about you. He knew your work... Neville looks astonished. NEVILLE My work...? Dutch stares upward, hands in back of breeches, reciting from memory. DUTCH "Biowar Pathology Parameters in Urban and Semi-urban Environment" Journal of Military Medicine, June, 1974, "Incremental Effects Countermeasures to Toxic Agents in Liquid Systems Delivery" Microbiological Letters, January, 1975 LISA God Almighty, Countermeasures to what...? DUTCH To somebody poisoning your well. Neville grins. NEVILLE Where did you pick up on that? DUTCH Med school, I was a senior when they scratched the whole world. I was going to apply to Biowar Labs for a post-doc, but the next term never came. Neville is surprised, touched. NEVILLE I'm sorry you didn't make it. LISA If you all are done with the mutual admiration, you reckon we can go on Into Richie? NEVILLE Richie? They walk toward house. DUTCH Lisas brother. He looks like hes about to go over. CLOSE SHOT NEVILLE He frowns uncomprehendingly. NEVILLE Go over...? TWO SHOT- DUTCH AND NEVILLE They have reached house now head down hall into darkened bedroom. DUTCH Oh, that's right. You've only seen the tertiary cases ... Were primary, you see. Neville is stunned. It simply has not occurred to him that the young people are also victims of the plague. DUTCH When it hit, the older people either died outright or went to the third stage pretty fast. You know: blindness in light, albinism, psychotic delusions, occasional stages of torpor: like Matthias and his gang. NEVILLE And you? DUTCH Some of the younger people had a kind of resistance. We...hold out. One or two of us are a little bit light sensitive, but otherwise all right. But Richie's going. He's advanced secondary. GROUP SHOT - AT DOOR OF BEDROOM A girl comes out. LISA How is he? GIRL (shaking head) No better. The color is gone from his skin, Lisa. Hesalmost white. Lisa shakes her head. LISA If he wasn't out of his head already, thatd really blow his mind. Dutch laughs without humor, lights a candle. They step INTO darkened room, close to bed. They look down to see a BOY lying on bed, tossing. His skin Is light- not dead white, but very light--though his features are African. His hair is natural, but also light His eyes, when he opens them, are white, but only iris is missing. Pupil is still visible. Neville leans down over him, studying him. This is our first chance to see Neville as Doctor. LISA Well...? NEVILLE Shut up. SERIES OF SHOT - NEVILLE AND RICHIE He goes over Richie carefully, checking vital signs, blood pressure, reflexes, etc. DUTCH (O.S.) He could hold here for weeks and then come up one of Matthias' monsters--or he could go over in ten minutes. NEVILLE (still examining Richie) So they go through fever and delirium passing from your state to Matthias'? And then, At Matthias, they hold again. Indefinitely. CLOSE SHOT - DUTCH DUTCH I've seen them go over before. I almost got killed last summer by a friend. He went over without any warning. When I looked away. he was kind of pale and: his hair was going. When I looked back he didn't have any eyes. MED. SHOT - GROUP NEVILLE (looking up) What did you do...? Dutch shrugs, looks At Neville steadily. DUTCH Why doctor, I did like you do. I killed the son of a bitch. LISA (insistently) Listen, if the Masonic rites are over, how about Richie? Neville rises and they walk INTO NEXT ROOM. Other KIDS sit around reading, playing guitar, eating. NEVILLE We'll take him to my place. I've got most of what I need there. LISA (scornfully) Is there anything you can do, Doctor? Youve lost 200 million patients already. Neville studies her a moment. NEVILLE I don't have it. LISA Have what? Time, a care? NEVILLE I don't have the plague. I'm immune. REACTION SHOT - GROUP OF YOUNGSTERS Even Lisa looks awed. Dutch frowns, confused. DUTCH Everybody...has it NEVILLE (quietly) Everybody but me. There was a vaccine. Only an experimental batch. We never thought... PAN SHOT - YOUNGSTERS They watch Neville expressionless DUTCH If' you're immune, then your... NEVILLE My blood could be a serum. At this stage the antibodies might turn it around ... stop it... DISSOLVE TO: LONG SHOT - OLD TRUCK ON FREEWAY MED. SHOT - BACK OF TRUCK, NEVILLE, LISA, RICHIE, OTHERS Richie is completely covered to keep him from the light. MED SHOT - BACK OF TRUCK - TWO SHOT Neville and Dutch are talking. NEVILLE ...nothing with drugs. Its got to be the serum. DUTCH Couldnt you reconstitute the vaccine? NEVILLE I tried. Have you got any Idea how many steps it takes to synthesize an antibiotic specific to this bag? SERIES OF FLASH CUTS INTERCUT DURING SPEECH Showing Neville CAPTURING one of Matthias creatures, RESTRAINING him, INJECTING him with various drugs. CLOSE SHOTS of Nevilles face, the creatures face. As Neville INJECTS him again, the creature breaks loose, smashes a flask over Nevilles head, RUNS toward elevator, falls, clutching throat, dies. NEVILLE (continuing) I caught one of. Matthias creatures. I used everything on the shelves DUTCH And...? NEVILLE He goddamned near killed me. And then he died very badly himself. MED. SHOT - BACK OF TRUCK - ANOTHER ANGLE DUTCH So it's... NEVILLE Very tight, doctor. Very tight, Indeed. LONG-SHOT - TRUCK IN CITY STREETS MED. SHOT -TRUCK AT NEVILLE'S PLACE' They are at garage door unloading Richie carefully. MED. SHOT INT. APARTMENT Elevator DOOR OPENS. Reaction of Lisa, Dutch, small girl, others to apartment. They STEP OUT, amazed at the art, the beauty of left side. Lisa turns, sees arsenal, lab. LISA I see where you do your heavy thinking. MED. SHOT - NEVILLES ART, BOOKS IN B.G. NEVILLE That side keeps this side going. You can't have one without the other. MED. CLOSE SHOT - LISA, ARSENAL, LAB IN B.G. LISA (sardonically) Like love and marriage...? CLOSE SHOT - NEVILLE NEVILLE (sardonically) Thats the way they used to sing the song. GROUP SHOT They take Richie down through lab side of apartment. At end is a door, OPENS, another room there. Bed, etc. NEVILLE The guest room. Lisa looks at dust, cobwebs. LISA You weren't expecting us... Neville pauses in helping put Richie in bed, looks up at Lisa. NEVILLE No, I wasn't expectingyou. MED. SHOT - NEVILLE AND DUTCH IN LAB AREA We SEE Lisa still in B.G. through doorway looking after Richie, youngsters looking everywhere in apartment. NEVILLE Ill need some help. DUTCH This place spooks the kids. They're used to the country. FLASH CUT OF SMALL GIRL AWED BY-LAB EQUIPMENT MED. SHOT - NEVILLE AND DUTCH IN LAB AREA DUTCH Lisa is all the help youll need. You'll make out just fine. They exchange glances. NEVILLE Id almost forgotten how it wasto have people that matter to you. DUTCH That's all the mattering there is. MED. SHOT - EXT. PLAZA As the youngsters climb back into truck, one, a little girl, comes to Neville who stands with Lisa. Dutch stands nearby. She looks up At Neville. CLOSE SHOT - CHILD CHILD They come at night, the Family; they come in the dark, and some of the kids say theyll take Richies soul and put it in a bag, and give it to the Devil! That's what some of the kids say CLOSE SHOT - NEVILLE NEVILLE Oh, I won't let them do that, honey... Maybe... GROUP SHOT - CHILD CHILD Are you God? Neville smiles. Lisa cuts in. LISA Let's find out if hes even a doctor before we go promoting him. They laugh as Dutch picks up the child puts her in cab of truck. MED. CLOSE SHOT - NEVILLE, LISA WAVING AT YOUNGSTERS The fountain splashes In the B.G. REVERSE SHOT TRUCK PULLING AWAY CAMERA PULLS BACK. Truck in B.G. moving away. In F.G. on either side of frame in profile are Neville and Lisa looking at one Another. DISSOLVE MED. SHOT - INT. RICHIE'S ROOM Neville has a glucose drip set up, and on a table beside the bed various equipment for blood samples, etc. He stands looking down at the boy who mumbles, twists, resting uneasily. Neville picks up a hypo, draws some fluid from a small phial, gives Richie a shot. After a moment or so, his restlessness abates. Lisa comes into room quietly, comes up behind Neville quite close. She is in shadow, only barely visible. LISA How about a break? NEVILLE Well need one. There's nothing more to do until tomorrow... LISA I mean for dinner. Neville turns. MED. CLOSE SHOT - LISA - NEVILLE'S POINT OF VIEW In this shot, we discover for the first time since the very brief encounter in the clothing store that Lisa is an exceptionally beautiful woman. She Is dressed In a white mini-skirt, completely feminine. REVERSE SHOT - NEVILLES REACTION MED. TWO SHOT Lisa takes Nevilles hand, Pulls him toward other room. MED. SHOT In B.G. Lisa moves toward phonograph, Neville heads for liquor cabinet. As he passes bust of Caesar and chessboard, he glances down at, board. NEVILLE Your move MED. CLOSE SHOT - LISA AT PHONOGRAPH She looks up slightly puzzled. LISA What are we playing? CLOSE SHOT - NEVILLE taking gin and sherry down from cabinet. He turns, looks puzzled too. Then he LAUGHS. NEVILLE (pointing at bust) My partner. Also my attorney executive officer, chief of staff... Lisa takes cap off bust, perches it on her own head, grins at Neville. LISA You sure know how to pick em. CLOSE SHOT -CANDELABRA, TABLE SET FOR DINNER MUSIC is lush, insinuating The table setting Is expensive china and crystal. In B.G. the balcony, drapes parted, moon low in sky. SOUND of GLASS being filled, CAMERA PULLS BACK to reveal Lisa and Neville sitting at table. He has on a shirt, neckerchief, sports coat. NEVILLE How did you find the dress? Lisa smiles. LISA The same way you found the jacket. I hustled it. Neville looks thoughtful. NEVILLE I wonder why either of as bothered to pick them up. Lisa finishes a mouthful of food. LISA No bother. The house-fuzz was on extended vacation. Anyhow, you never believe you're the only one left. There was a song: someday my prince will come... Neville grins. NEVILLE Yeah. That was in Show White. Lisa blushes, looks irritated, but goes on. LISA I kept thinking, someday something's got to come along ... and that's about what happened. NEVILLE What? Lisa looks him over. LISA (sardonically) Something, MED. CLOSE - NEVILLE smiles, pours wine, NEVILLE One question... CLOSE - LISA LISA All right. What? CLOSE - NEVILLE NEVILLE Those stadium lights... how did you manage that? No power, no gas for the emergency generator, the patching... CLOSE - LISA looks smug, coy. LISA Oh, Massa Neville, this year chile's gone to college. School of electrical engineeringat Berkeley. TWO SHOT Neville rolls wine on his tongue. NEVILLE: I'm surprised you didn't barn the stadium down. Lisa, Angry slams down her fork. LISA Dont be a wise ass mister. I saved your tail. Anyhow, if you'd been listening to the kids at Berkeley instead of fooling around in a lab with your superbugs... Suddenly, from outside, where it Is now dark, we HEAR: MATTHIAS (O.S.) So youre back, Neville. That escape was very clever very "scientific. Neville goes on eating. Lisa looks up, her face frozen with an old fear, NEVILLE What's wrong... LISA NothingOh, its his voice. Ill never get used to it, to hearing it. We were with him for a while, you know CLOSE SHOT - NEVILLE He is surprised, Interested. NEVILLE With him? CLOSE SHOT - LISAS PROFILE LISA When it happened when even the army fell apart and there was nobody left, Matthias would walk the streets at night ringing a bell. What people were left lived alone, like animals. Richie and I had as a place In the back of a furniture store... We heard his bell, and we came out to see... And there were other people. We thought we were alone... MED. TWO SHOT Neville shakes his head. NEVILLE There were weapons, ears, food Lisa shakes her head almost angrily. LISA And there were two kids completely alone, with the ruins-of the whole world and six million corpses around them. Matthias gave us the Family, for a while, CLOSE SHOT -NEVILLE NEVILLE What happened? MED. SHOT - LI SA She stands now, walking amidst the books and paintings of the left side of the room. LISA We helped with the burial, with the burning, but when it was done, when the worst was past... TWO SHOT - LISA AND 1,TEVILLE MATTHIAS (O.S.) We can hear the music, see the lights... it must be wonderful up there... everything a man could want. Lisa has paused as Matthias' distant VOICE comes into the room. She shivers and continues. LISA They noticed how different we were. They hated our skin, our eyes, They resented us because we could still walk in the sunlight, enjoy the breeze and the flowers and the clouds rolling in from the oceans. CLOSE SHOT - LISA LISA And one night, when they were awake and we slept, Matthias and the rest tried to kill all of us ... some of us got away And hid out. LONG TWO SHOT - NEVILLE AND LISA During conclusion of last speech, Neville has risen and walked across room to her. MATTHIAS (O.S.) Everything you could wantExcept another like yourself CAMERA ZOOMS IN ON LISA who looks at Neville. Her lips are moist, her eyes soft. CAMERA TURNS, HOLDING LISA, to TWO SHOT: now two profiles. MATTHIAS (O.S.) It's an awful thing to be alone, Neville, to be the last of something... Neville stretches out his hand. Lisa comes to meet it. MED, SHOT - EXT. APARTMENT - MATTHIAS, FAMILY It is quite dark and WE SEE MATTHIAS' FAMILY more as dark masses than as individual figures. CAMERA PANS FROM ONE FACE TO ANOTHER as dialogue goes on, pausing at each to show the horror and loneliness of these creatures - They are all looking up, some without glasses. INTERSPERSE WITH SHOTS of brightly lit penthouse, LONG SHOT - UP ANGLE. LISA (O.S.) I believe he's right, dont you? NEVILLE (O.S.), I don't have to believe. I know. LISA (O.S.) If all this hadnt happened, what do you suppose you would have done. Sooner or later. NEVILLE (O.S.) I dont know. Maybe I'd have stayed out one night, or walked downstairs, sooner or later. LISA (O.S.) It's different now, for me... MED. SHOT - INT. APARTMENT, LISA AND NEVILLE As Lisa speaks, we HEAR the GENERATOR, which is a constant sub-sound in all scenes in Neville's apartment, SPUTTER and FAIL, then START again, MUSIC LOSES SPEED, WHINES, COMES BACK to proper pitch, then power fails completely. Lisa rises as Neville springs from table. Candles now are only illumination. NEVILLE Those bastards ... how could they get Into the garage? No, no ... it's out of gas. I haven't fueled it in two days. As he talks, Neville is getting sten guns, flashlight, grenades. He tosses a sten gun to Lisa. NEVILLE You stay here. You won't need that, but still it'll make you more comfortable. Neville runs to elevator, pries open doors. MED. SHOT - INT. ELEVATOR SHAFT - UP ANGLE Nevilles face, flashlight, peer into pitch dark. We HEAR in B.G., the SOUND of the Family POUNDING on the garage door. CLOSE SHOT - NEVILLE He climbs out trap door in roof of elevator, grabs elevator cables. SOUND of POUNDING grows LOUDER. SERIES OF SHOTS - NEVILLE GOING DOWN CABLE scenes illuminated by flashlight at his belt. CLOSE SHOT NEVILLE Prying open bottom elevator door. This should be rather hard with only inches to stand on, as he works. SOUND of POUNDING is now deafening. As Neville finally stands in garage, resting against wall next to open elevator, he sees: MED. SHOT GARAGE DOOR UNDER CLUBS, AXES CLOSE SHOT - NEVILLE - SAME ANGLE His expression does not change as he pulls gun from shoulder sling, cocks It, opens fire at door. CLOSE SHOT - GARAGE DOOR SPLINTERING The SOUND overrides POUNDIIZ: SOUNDS of pain, SCEAMING from outside as the door is filled with scores of holes from Neville's gun. MED. SHOT - NEVILLE WITH FLASHLIGHT He has a large battery light and is hustling five-gallon gasoline cans over to tank on generator. Pours gasoline. It is deathly SILENT, except for CRIES, MOANS from outside. CLOSE - LISA - UPSTAIRS She has heard the shooting, walks back and forth in the candlelight, nervous, CLOSE - EXT. APT. - MATTHIAS AND ZACHARY They stand in the darkened plaza next to the now silent fountain. Zachary has a rope with a grapple on it. He throws it up to balcony of second floor. MATTHIAS You may not have time, Zachary. He's in there, working, Zachary smiles. ZACHARY I got more time than he does. When he comes back up, I'll be waiting. MATTHIAS Don't be foolhardy. He has the devils luck. During his speech Matthias hands a ZULU SPEAR to Zachary. CLOSE SHOT - ZACHARY As he speaks, CAMERA SHOWS him snaking a pistol out of his boot, covertly shoving it into his belt under the robe he wears. ZACHARY Sure he does, But this time, the luck's run out. Gimme ten minutes and it's Paradise lost. Hang In, Brother. MED. LONG SHOT ZACHARY CLIMBING WITH SPEAR SLUNG OVER BACK with expert agility Zachary climbs the rope to the second floor balcony. Then he tosses grapple to next floor, climbs. MED. SHOT - NEVILLE, POURING GASOLINE He finishes, still in a sweat, Pauses for a moment to rest CLOSE SHOT - ZACHARY CLIMBING Side view, Zachary breathing heavily, going up from third to fourth floor, CAMERA MOVES UP for SHOT of his profile against the moon as he climbs rapidly. CLOSE SHOT -DOWN ANGLE - ZACHARY CLIMBING Straight down into Zacharys face and empty white eyes as he climbs. Below, B.G. of SHOT, we SEE PLAZA washed in pale moonlight, silent fountain He reaches fourth balcony, rests against rail. MED. SHOT - LISA stands, hands on back of chair, looking toward elevator. The doors are open. It is a dark hole. There is no sound. MED. CLOSE - NEVILLE He Is pulling rope to start generator. It will not turn over, he curses and tries again. On the fourth Pull, it connects, motor starts, lights, come on, flickering at first then steadily. Neville smiles, sighs with relief, Looks toward garage door. There is only silence. MED. LONG SHOT - EST. APT. PLAZA DOWN ANGLE SHOT showing plaza, balconies, and area behind plaza, bushes where Family lurks. As SHOT OPENS, floodlights COME ON, all grab eyes, pull hoods over their faces. Some HOWL in pain, stumble, writhe on ground, crawling to bushes. CAMERA CLOSES, MED. CLOSE, on MATTHIAS who fumbles his sunglasses back in place and PLUNGES INTO the shrubbery. ZOOM SHOT FROM VERY LONG TO CLOSE - ZACHARY As SHOT CLOSES on him, Zachary, pulling hood close, is just tossing grapple to fifth floor balcony. He is well under floodlights which are spaced every thirty feet or so above him and pointing oat. It is only the reflected and diffused light he must contend with. CLOSE - LISA She HEARS grapple land, reacts. Where did the sound come from? Was it close or distant? She stands now facing elevator, head turned. Then she hears ANOTHER SOUND (lights and MUSIC are on again Already), It is the elevator-doors CLOSING. Generator SOUND is also on again, She watches elevator doors, What is coming up? Neville--or something else? CLOSE SHOT - ELEVATOR DOORS REVRSE SHOT - LISA, BALCONY IN B.G. We SEE in B.G. Zachary appear on balcony. toss spear aside, pull gun. MED SHOT - ELEVATOR DOORS, LISAIS POINT OF VIEW As she watches, they open, Dark FIGURE steps slowly INTO light. It is Neville. He smiles at her reassuringly. Then O.S. SOUND of pistol being cooked, Nevilles face CHANGES, blazes with hatred. He swings sten gun up, seeming to aim directly at her. CLOSE - LISA LISA Robert...? She falls away OUT of line of fire. MED LONG SHOT - BALCONY, NEVILLES POINT OF VIEW Zachary is over balcony, covering his eyes with one arm. He is aiming pistol at Neville while covering eyes from light with left arm. CLOSE SHOT - NEVILLE He fires. CLOSE SHOT ZACHARY Bullets chew up drapery, wall. Bullets hit him, but he tries to Come on. The short bursts hit him, knocking him backward like a fire hose. He stumbles, rises covered with blood, his face unveiled now, blood on the pale skin, running into his blank eyes. ANOTHER burst knocks him back onto balcony and over it. He falls without a sound. REVERSE ZOOM SHOT - ZACHARY FALLING back to bushes beyond floodlights where Matthias is, from his POINT OF VIEW. CLOSE - MATTHIAS His face is contorted in pain. Other Family members MURMUR, MOAN. MATTHIAS (whispers) Oh, Brother, he won't be up there forever, I promise you...I promise You MED. CLOSE - ZACHARY He lies sprawled on cement of plaza, eyes open, frozen, At last unaffected by the floodlights. In his right hand, we see the pistol. CAMERA CLOSES on Pistol. CLOSE - MATTHIAS He sees pistol, mouth twitches. His votes Is soft, sorrowful. CAMERA CLOSES CLOSER as he speaks, MATTHIAS Ah, so it wasnt Neville who brought Brother Zachary down. No, look. Neville was only an instrument of punishment, wasnt he? (murmurs of assent, Yes, Brother) Because Brother Zachary used forbidden things, he sinned against the night Matthias STARES UP at Nevilles apartment. REVERSE ZOOM TO BALCONY MED. LONG SHOT - BALCONY TO INT. APT. Neville has dropped gun, walks slowly to Lisa who lies on floor, raised on one elbow. MED. TWO SHOT LISA I... thought... Neville does not smile. NEVILLE Sure you did. You thought, the honkys freaked out. Give em time, It always comes to this... LISA (considering) No, no.... She stands up with his hand to help her. CLOSE TWO-SHOT LISA (grinning) I thought, it's got to be Matthias disguised in a Neville suit... Neville embraces her. CLOSE - LISA Eyes closed she still grins, reacts to his touch. She finds she is covered with grease from Nevilles slide down elevator cable. She smears some of the grease on his face. LISA But theres nobody else like you, is there... (beat) ... you pale-face bastard. VERY CLOSE SHOT - NEVILLE'S FACE Even the touch of a beautiful woman after so long does not quite dull his edge. NEVILLE What -was the old joke? "If you were the only girl in the world, and I were the only boy, all right but until then, don't bother me." So I guess you're the only girl in the world. (beat) You pretty black bitch. CAMERA MOVES TO CLOSE TWO-SHOT They kiss, break, look at each other: two people who've been through a lot for a long time. If there is a God, they want to thank Him for this chance to be human again. LONG SHOT - SUN RISING, FROM NEVILLES BALCONY CLOSE SHOT - LISA SLEEPING IN RUMPLED BED She is alone, reaches out for Neville. Sun strikes bed. She opens eyes, squints with more than normal reaction to sun. MED. SHOT - LISA GOING TO DRAW DRAPES She walks rapidly to balcony, draws blinds. She is nude. She rubs her eyes, looks at her hands. Stands in shadow, worried expression on her face. LONG SHOT - NEVILLE AT OTHER END OF APT. He is COMING THROUGH door to Richies room. Neville does not see Lisa at first. He stands scratching head, considering how to proceed with Richie, walks over to laboratory facilities. LISA (O.S.) How is he...? Neville does not glance up, is still studying. NEVILLE Stable. No loss of pigment since yesterday, vital signs steady. He's comfortable. He looks up, sees Lisa, smiles. NEVILLE Im sorry. I was thinking. It is been a long time since I had anyone to take care of... CLOSE SHOT - LISA She stands in the shadow, smiles. LISA You haven't lost your touch. You take very good care. MED, SHOT - NEVILLE CAMERA PANS as Neville walks over, CLOSE SHOT as he kisses her lightly. They exchange amused looks. NEVILLE Well, let's get on with it. LISA What? NEVILLE We take a ride. I need some things for the serum. Want to come...? LISA Richie...? NEVILLE Hell sleep for three or four hours. Well be back. MED. SHOT - NEVILLE AND LISA IN DRUGSTORE They are taking things from shelves. CLOSE - LISA STANDING before shelf, labeled PLANNED PARENTHOOD SUPPLIES. She reaches up, takes down a bottle of pills, tosses it from hand to hand, grins at Neville. CLOSE NEVILLE'S REACTION He returns the grin. TWO-SHOT Lisa tosses the bottle away. They walk from the drugstore hand in hand, Neville carrying a sack of supplies. MED. LONG SHOT - NEVILLE, LISA IN CAR pulling up in front of a hospital. It is surrounded by cars, an ambulance has crashed on the emergency ramp. The scene should take into account the awful final days of the plague, and how it must have been at the hospitals. CLOSE TWO-SHOT - IN CAR NEVILLE Why dont you wait for me? There's no use your going in... LISA Save it. You might need some help carrying things. SERIES OF SHOTS - INT. HOSPITAL These should be SHOCK SCENES recalling the actual dimensions of the city's final agony. Neville carries his sten gun, remains impassive as they walk. Lisa reacts to horrors despite her toughness. MED. SHOT - CORRIDOR corpses scattered-here and there. Some on stretchers, some on floors. CLOSE SHOT - LISAS REACTION LONG SHOT - LISA AND NEVILLE walking through ward. PAN SHOT - BEDS IN WARD. In each bed there is a corpse, desiccated, skeletal, some are lying, some sitting up. One is half out of bed. The horror is moderated by the darkness and shadows of the ward. There may be an ECHO in this SHOT of PAN SHOT on FAMILY when Zachary is killed. CLOSE SHOT - NEVILLE AND LISA Lisa looks straight ahead now. Neville, sten gun in right hand, keeps on lookout for Family members. MED. SHOT - NURSES STATION The dead nurses, desiccated, uniforms rotted, sit in various postures as death caught them. CLOSE - LISA HOLDING ONTO NEVILLE'S ARM MED. SHOT -- INT. OF LAB it is light because of windows when Neville raises blinds. He looks around, spots a small centrifuge. NEVILLE Thats it. I wonder if theres anything else. Lisa stands staring blankly at a calendar, March 1975. LISA If there is, think about it. I dont want to come back again. Neville looks up with a small patronizing smile. NEVILLE It gets to you, does it? LISA I'm just fine, buddy. It would get to anybody who can feel... NEVILLE Look: it's over with. Make believe the dead are happy. CLOSE - NEVILLE He has centrifuge, spots a white lab coat hanging on a clothes tree. Takes it down, looks at it, bundles it up and sticks it into centrifuge. NEVILLE Come on. Let's go play doctor. LISA I never learned that kind of make-believe. I just keep wondering, why me? Why did I live...? NEVILLE Because you were young, strong and resistant. Thank your genes. LISA (bitter laugh) That's the first thing I ever did have to thank them for. MED. TWO-SHOT - INT. APT. - NEVILLE ON COT He lies with blood device in his arm. Lisa holds bulb to draw blood. NEVILLE Just squeeze it gently. Keep squeezing Till the bottle's full. LISA (uneasily) Will one bottle ... be enough? CAMERA PANS SLOWLY, SETTLING ON CLOSE SHOT OF PLASMA BOTTLE on left side of FRAME. It is empty. Neville and Lisa in B.G. Neville, Lisa in FOCUS. NEVILLE Its 160 proof Old Anglo-Saxon. One drop will ... LISA (trying to hide her queasiness) Corrode your mind, send you running for the front of the bus... NEVILLE (LAUGHS) Well ... there arent any busses anymore. Go on. Start. As he says last line, she begins. FOCUS CHANGES INSTANTLY TO BOTTLE. Blood gushes up, begins to fill the bottle. CLOSE SHOT - BLOOD IN CENTRIFUGE Centrifuge is turned on and begins to spin. NEVILLE (O.S.) I was a very peculiar doctor those last years... CLOSE SHOT WINE POURING INTO GLASS NEVILLE (O.S.) I looked for ways of treating diseases that hadnt existed... MED. TWO-SHOT - LISA AND NEVILLE drinking wine over sandwiches on-work table. NEVILLE ...until other doctors invented them. LISA It was a peculiar world, wasn't it? NEVILLE It was what we made of it. Everybody helped. LISA They paid for it. CLOSE - NEVILLE Examining Richie. Finishes examination begins drawing blood with large syringe. NEVILLE But the last irony is Matthias. Look who gets left behind to play Noah after the flood. LISA Noah is up for grabs, Robert. Matthias is only a contender. CLOSE TWO - NEVILLE LOOKING UP NEVILLE UM...? Lisa smiles at him. CAMERA MOVES OUT to show Richie coming around. He looks up, suddenly terrified as he sees Neville. RICHIE (weakly) Hey... LISA Easy, baby. Its all right... RICHIE Where are we? Did they get us...? LISA Nobodys got us, Richie. You remember that place where there was light? The place where the creeps all came at night trying to bring it down? RICHIE Yeah, sure... LISA This is it. This is Neville. He's ...the landlord, I guess. (slyly) Richie eases back, somewhat reassured. RICHIE How sick is he? Lisa smiles sardonically at Neville. LISA He isnt hardly sick at all, honey. Maybe just a little spooked once in a while. He's going to get you well. RICHIE Well, hell. You know there aint no way... NEVILLE I'm going to try. What have you got-to loose? Richie smiles up at him. RICHIE Nothin' man. Not a thing. You go it, hear? LISA He will, baby. He will. VERY CLOSE SHOT - MICROSCOPIC SLIDE on the slide we SEE CELLS being attached and destroyed by other cells. NEVILLE (O.S.) I dont know how much it will take. Ill draw blood as often as I can. Well just have to keep pumping it to him. LISA (O S.) (tired) How long do you think it will take? NEVILLE (O.S.) How do I know? Maybe it wont work at all... Who do you think I am, Louis Pasteur? VERY CLOSE SHOT - LISAS FACE WE NOTICE that she is a little lighter than in past scenes. Streaking in her hair should now be somewhat noticeable. LISA But its a chance... MED. CLOSE - NEVILLE He looks up from microscope. NEVILLE Yeah, and it ought to be your chance. You need this stuff, too. TWO-SHOT LISA Not as bad as he does. And anyhow, he's my brother... Neville studies her a moment. NEVILLE That's why he is getting it first. (beat) And if it works, you understand what that should mean, don't you? Lisa looks puzzled. LISA What? NEVILLE Hell be the source of more antibodies. The more people we can inject, the more we'll have serum for...the others. And when thats done, we'll pull out. We'll take what we need, and head for the mountains and the valleys ... think of what's out there... MED. SHOT - LISA She is listening, but her expression shows that she is preoccupied with other thoughts. Neville has left workbench and walks across apartment. Lisa walks with him. They stop near liquor cabinet. NEVILLE (O.S.) A whole world. Vines, fields that will grow anything we want to plant. Streams full of fish again. Stands of timber... LISA You sound almost... NEVILLE Almost what? LISA Almost glad that it ... happened. CAMERA PULLS OUT TO TWO SHOT Neville pours a drink, mixes one for Lisa. He looks up coldly, almost angrily. NEVILLE I'm not glad, but Im not moaning, either. I told them in Biowar, you people are crazy. This kind of research... (breaks off) ...Ah, why do you think I was a colonel instead of a lieutenant general? LISA Now they know. NEVILLE No, they dont know a goddamned thing. They're dead. We know. (beat) Forget it. Its not worth our time. He takes off lab coat, climbs into coveralls, gets sten gun, belt with flashlight, grenades, etc. He cocks sten gun, checks pouch for ammo, checks flashlight. CLOSE - LISA LISA Where are you 'going? Dont you need some rest? CLOSE - NEVILLE NEVILLE This is the way I rest...Ill be back before sundown. Dont worry. LISA Robert... NEVILLE Later... CLOSE SHOT - NEVILLE WAVING FROM ELEVATOR - LISA'S POV REVERSE SHOT - LISA She looks sad, subdued tears in her eyes. EXT. PLAZA - DAY empty and the fountain splashes untended. We SEE a small FIGURE on a bicycle pedaling across the far side of the open space. It is the child we met in the house with Al and Richie and the Others. She conceals her bicycle at the edge of the plaza and scurries fearfully across the open space to the fountain. On the edge of its lowest basin, she lays out a pitiful array of flowers and an apple or two from a paper shopping bag she carries. She crouches, kneeling with her hands clasped, hardly daring to look up at Neville's tower. GIRL Please...I brought you this stuff. Don't let them take me either, and put me in a bag. Please. She HEARS the SOUND of an ENGINE roaring closer and races terror-struck, for her bicycle. As she DISAPPEARS, Neville's car crosses the plaza at speed, slowing only enough for the garage doors to open and ENTER. The girl's offering lies unheeded on the fountain. VERY CLOSE HAND WITH HYPODERMIC NEEDLE CAMERA PULLS OUT TO MED. CLOSE - NEVILLE is injecting Richie with serum. The boy is unconscious, mumbling deliribusly. RICHIE ...got to move fast, keep on moving. That Matthias, he wants you. All the cops want' I you. They gonna get you, boy, they gonna make you come over, you hear? This dialogue in background while Neville and Lisa (who is O.S. in dressing room) talk. CAMERA PULLS OUT.TO MED. SHOT. INTERCUT CLOSE SHOT - LISA, looking in mirror at a streak of silver in her hair. LISA What do you think...? MED. SHOT - NEVILLE NEVILLE I don't. We'll have to see. CLOSE - LISA she uses mascara to cover the light streak in her hair. Stares at herself in mirror. LISA He's all the brother Ive got, all the family...in this world. NEVILLE Don't sweat. This is his best chance. MED. SHOT - NEVILLE WALKING INTO MAIN APT. NEVILLE If there were time, I'd have trapped one of Matthias' things and tried the serum on it. Lisa bristles at this. LISA What do you mean "things Arent they human, too? NEVILLE Yeah ... I guess you could call them that. How many are there? Forty? ... Fifty? The last of those four billion steamy bodies that were crawling around last time somebody took a count. They were a dandy bunch weren't they? LISA They did the best they could. Who the hell are you to put down the human race? NEVILLE Me? I'm nobody, baby ... but at least I know it. I was just part of the crowd, and I didn't think much of it. LISA Well I do! They made the world...that's what it was all about. NEVILLE No, honey...they RUINED it ... we're living in what they made of it, and God help us. Pretty soon those sick animals out there'll be gone, and then we will be too and all that'll be left is this (points to his collection of cultural artifacts) That one Rembrandt's worth more than everyone left alive in this stinking city! Maybe in a hundred years or so Godll get around to kicking through the ashes down here and read Shakespeare and say, "Well ... maybe it was worth it." LISA I've heard that kind of talk before, you uppity, honky pig...and I HATE IT! NEVILLE Ohhh, lovely! Yeah ... I've heard THAT kind of talk before, too, and that got everybody a hell of a long way, didn't it? There're just about enough of us here to go through all that again, right? (more) NEVILLE (CONTID) You can found a Panther cell, and I can start up a White Citizens Council! Or shall I be the SDS and you can be the whole damn Harvard faculty?! Too bad we don't have enough folks around to do the United Nations over, isn't it! CLOSE - LISA She is boiling, but holds her control. She speaks quietly, matter-of-factly. LISA Neville, you are a bastard. A class-A bastard. MED. SHOT - LISA WALKING TOWARD DOOR NEVILLE (O.S.) Where are you headed? Lisa stops, turns. LISA I know it doesn't mean much to you, but it happens this is an anniversary. Two years ago today, all those no-good people you just wrote off, died in this town. I've got a mother and father Richie and I buried with our own hands out there, after the Army stopped burning the bodies. Id like to go visit them, if it's all right with you! Neville studies her for a long moment. NEVILLE Sure, it's all right. He tosses her something below CAMERA RANGE as he speaks. NEVILLE Take this with you. CLOSE - LISA catches a sten gun, stands holding it, looks down at it, back up toward Neville. FADE OUT FADE IN: CLOSE - LISA WALKING rapidly, purposefully. SHOT IS HEAD AND SHOULDERS. CAMERA PULLS OUT TO MED. SHOT. She is walking along a path with grass grown up on both sides. CAMERA PULLS OUT TO LONG SHOT, DOWN ANGLE. WE SEE now that she is walking in a cemetery. The graves are overgrown, some of the stones fallen. The place is in general disrepair. MED. SHOT - LISA AND GRAVE She pushes aside some tall weeds and stands before a place relatively cleared, where someone has put gravel to keep down the weeds and has carefully outlined a large grave-site with coke and seven-up bottles by burying them in the ground neckdown. There is a faded plaque of wood, probably the bottom of an orange-crate or something more substantial. On it are the names and dates of her parents: Richard and Lorena McNally Born, Montgomery, Alabama Died, Los Angeles, California 1977 In front of the marker are a couple of tin coffee cans with the remains of long-wilted flowers in them. VERY CLOSE LISAS FACE She stands for a moment, silent, near tears. Then she speaks in a low, almost conversational tone. LISA Listen, I know I don't come like I should. But it's hard times, momma, daddy. You never knew what hard times was. You only thought you did. Suddenly, above her monologue, she HEARS a SOUND. A SOB. It .is not the sound of an animal, but a human sound, She whirls, a copy of Neville, the sten gun she is carrying ready to fire. She cocks it as she turns, and her face is hard. She sees nothing. MED. LONG SHOT - CRYPT LISAS POV Perhaps some thirty meters away through the weeds and grass, she sees a crypt. It, too, is overgrown with moss, ivy, and has not been cared for. CLOSE - LISA She slowly approaches crypt, gun ready, a little on edge, curious. VOICE (O.S.) Oh, God ... oh... Lisa stops as she HEARS this MOAN, then moves cautiously around to front of crypt. The door is ajar slightly. Again, like Neville, after a pause, she kicks door OPEN, jumps past it, glancing inside. MED. SHOT - LISA - FROM WITHIN CRYPT Lisa is outlined against the bright summer sky, her shadow long, only her silhouette visible. She stands looking inside. her gun ready. VERY CLOSE LISAS FACE Her expression is one of astonishment, utter sorrow. MED. SHOT - WOMAN KNEELING IN CRYPT LISAS POV The woman, a hood over her head and shoulders like a shawl, kneels beside a tiny body laid out on rags. Her fingers touch its leg or arm. She faces the body as SHOT OPENS. Then she turns very slowly to her left, looks up at Lisa from the deep shadows. MED. CLOSE - WOMANIS FACE - SLIGHT DOWN ANGLE Her face is dead white, white hair straggled around it. Her eyes are the blank white of all Matthias' people. And there are tears running down her cheeks. In B.G. but clearly visible, WE SEE THE FACE of the dead child, its eyes, too, are white, blank. It is obviously a newborn infant. MED. CLOSE REVERSE SHOT - LISA - SLIGHT UP ANGLE The gun falls to her side. She stands for a moment watching the woman. LISA I'm ... sorry... MED. SHOT - LISA She turns and RUNS AWAY from the crypt, back the way she has come. LONG SHOT DOWN ANGLE LISA RUNNING THROUGH CEMETERY CLOSE SHOT FOUNTAIN EXT. NEVILLE'S APT. - UP ANGLE It is late afternoon. The fountain bubbles, its water spewing into the air and cascading down From one level to another, over the sides and into the bottom pool. CAMERA PULLS BACK, drawing Neville INTO FRAME, showing SHOT was NEVILLE'S POV. SHOT IS OF NEVILLE from BEHIND. REVERSE SHOT - NEVILLE Arms folded, he stands watching fountain splash. He enjoys watching it. SOUND OF CAR approaching in near distance. MED. SHOT - LISA IN CAR THE SHOT IS PAST NEVILLE IN F.G. Lisa pulls UP, parks the car, and gets out slowly, carrying her gun listlessly. She is absorbed in thought, stops a little behind Neville on the far side of fountain. She wears sunglasses and a scarf though it is not bright. Her hair has a few subtle streaks in it and her skin has lightened also. Neville has glanced at the car as it arrived, is now turned back to fountain. NEVILLE It's an illusion, you know. It looks like a tapped spring, but theres nothing new ... the same water coming up over and over again... Lisa says nothing. NEVILLE He's better. His skins a little darker; I cant tell about his eyes yet. MED. SHOT - ANOTHER ANGLE Lisa is restless. She walks around fountain, looks through at Neville from the far side. LISA He's got eyes like his momma, big and soft. Melting brown. I'll know when they're right. She always said held give the girls hell. And he would...if there were any girls. CLOSE - NEVILLES PROFILE - LISA IN B.G. OUT OF FOCUS He is looking past fountain. NEVILLE Did you find ... your people? HOLD SHOT - Lisa in FOCUS, not looking at Neville. LISA Yes. Right where we put them down. We talked a while. (beat) And then something happened. HOLD SHOT FOCUS on Neville again. He glances through fountain at Lisa. NEVILLE Oh...? MED. SHOT - LISA - NEVILLE IN B.G. OUT OF FOCUS FAR SIDE OF FOUNTAIN Lisa walks slowly back and forth, not looking at Neville, profile to us. LISA A couple of Matthias' people were out there... HOLD SHOT Neville in FOCUS, looking at Lisa, interested. NEVILLE Did you take care of them? REVERSE SHOT - LISA THROUGH FOUNTAIN NEVILLES POV Lisa turns to fade him now, angrily. LISA NO. I did not. I didnt do a goddamned thing but look and choke and run. MED. CLOSE - NEVILLE THROUGH FOUNTAIN - LISAS POV He looks puzzled at her angry response. As she continues, his expression changes to one of compassion. LISA (O.S.) Because one of them was a dead baby Stillborn, like all of them. And the other one was its mother. And because I don't go around shooting mothers and babies Anyhow... CLOSE SHOT - LISA LISA, ...and because In nine months I could be on my knees right where she was... VERY CLOSE ZOOM SHOT - NEVILLE THROUGH FOUNTAIN His reaction to Lisa's announcement of possible pregnancy. NEVILLE What are you talking about? CLOSE SHOT - LISA - SITTING ON EDGE OF FOUNTAIN She is turned away from Neville, looking INTO CANERA, still angry. LISA Well, now, man, Im not sure. I mean, I missed my appointment with the obstetrician and he was out of rabbits anyhow. But I was sick as a hound dog this morning and right now I feel like Ive been eating weeds. CLOSE NEVILLE'S REACTION NEVILLE Well I'll be damned... CLOSE - LISA turns toward him. LISA That is a damn good bet. LONG TWO-SHOT - DOWN ANGLE Neville walks around fountain to join Lisa. She turns, looks up at him, rises. They embrace, kiss, walk toward garage entrance together. VERY CLOSE SHOT - PENLIGHT BEAM, DIRECTLY INTO CAMERA FRAME is FILLED with LIGHT. It moves a little back and forth. NEVILLE (O.S.) Does that hurt...? RICHIE (O.S.) A little ... yeah, it hurts. How about off man? MED. GROUP SHOT - NEVILLE, LISA. RICHIE IS IN BED Richie's color is now clearly returning. His hair is perhaps dark blond, light tan. Lisa is smiling. So is Neville. NEVILLE A week ago, that much light would have driven you crazy. Richie LAUGHS, snaps his fingers. He is a tough young man, not easily impressed, but his recovery has made him demonstrative. RICHIE (sings) ...I'm beginning to see the light... NEVILLE (to Lisa) Hes doing fine. We can move him any-time now. (to Richie) Get some rest. Youre going to need it. MED. TWO SHOT - LISA AND NMLLE WALKING INTO MAIN APT. LISA Move him...? NEVILLE Sure. I'll have another batch of the serum ready in a few hours, and that's It. We'll load up the Land Rover in the garage, meet Dutch and the others and head out. How about the Sierras? Maybe Washington...it doesn't matter. CLOSE SHOT - LISA who smiles with delight at the news. MED. TWO SHOT - LISA AND NEVILLE Neville goes to his laboratory workbench. Lisa calls back to Richie. CAMERA STAYS ON LISA. LISA What you want to eat, honey? RICHIE (O.S.) Gimme some more of that great chicken soup...Ugh! Lisa LAUGHS, goes to cabinet for soup, takes it to stove. LISA (to Richie) Listen, you feel like coming out here to eat it? RICHIE (O.S.) Sure. You better ask the man, though. LISA Hey... CAMERA PANS TO NEVILIE, grinning. NEVILLE All right. Put on that robe I brought you. And walk easy. You may feel a little giddy. Lisa WALKS INTO FRAME, kisses Neville. LISA He's been giddy for 18 years. Lisa has a gun, wears her sunglasses and a shoulder purse. NEVILLE What are you up to? LISA You say we're going to leave. I'm going to hit the stores. What I pick up today, youre going to be seeing for a long time. Neville pauses in his work, looks concerned. NEVILLE Why don't you skip it. In those stores, some of them... LISA (laughing) The most dangerous thing I ever came across in those stores was ... you. (seriously) Look, I got my gun. MED. SHOT - LISA AND NEVILLE - ANOTHER ANGLE Neville shrugs, half-smiling. NEVILLE Watch yourself. Stay on the round floors, close to the doors in the light...and if you see anything, shoot. LISA (impatiently) Sure. And honey... Neville glances up questioningly. LISA Can I have your credit cards...? CAMERA FOLLOWS LISA INTO ELEVATOR. On the way down, she takes off her glasses. Her expression is one of fatigue. Under her scarf, the streak In her hair is mach more evident. Her complexion seems lighter than before. LONG SHOT - LISA DRIVING DOWN EMPTY STREET MED. CLOSE - LISA IN CAR MED. LONG - LISA WALKING ALONG STREET She pauses to look In the windows of various shops Doors are frequently open, window displays fallen down, Cars parked along street are rusted, flat tires, etc. In one or two cars, one can SEE a hint of a decayed CORPSE. CLOSE - RICHIE EATING SOUP dressed In Neville's robe, many sizes too large for him. He eats slowly, reflectively. In B.G., Neville is preparing to draw more blood. RICHIE Is that going to be for me...? NEVILLE No, you dont need any more. This Is for Lisa. She has to get it before... RICHIE Before she goes bad like I did. Lemme ask you something. Would that stuff work on say Matthias? MED. SHOT - NEVILLE ON BED, RICHIE BESIDE IT Richie helps Neville, draw blood. Pint bottle on table. NEVILLE It might. There's no way to tell for sure. TWO SHOT - NEVILLE AND RICHIE RICHIE There's one way... MED. SHOT - NEVILLE ON BED, RICHIES POINT OF VIEW NEVILLE Forget It. Weve got...what? Six, eight kids to look after including Dutch. I can't use any more of my blood till we're clear of this place and I can afford the weakness... CLOSE - RICHIE RICHIE How about mine? CLOSE - NEVILLE NEVILLE Later. In a month...if your blood count is good, if you gain weight...but not soon. TWO SHOT - NEVILLE AND RICHIE Neville pulls needle. Bottle is full. He wipes arm with cotton, stands up, stretches. RICHIE That's not all of it, Chief. If there was a cow that gave two quarts of that serum a day, you still wouldnt (beat) ... go to Matthias, As he says the last part of speech, it is clear that Richie is formulating for the first time what he thinks should be done, MED. LONG TWO SHOT - ON ROOF There Is a kind of pillbox on the roof formed of sandbags. Topside is mounted a light machine gun aimed toward the roof access way. Neville is sitting on sandbags, Richie standing. NEVILLE Okay, you're right. The hell with them. RICHIE But... they're part of the human race NEVILLE You say. Your sister says. But when the wheel topped turning, I got left with the decisions and I say Matthias and his collection of loonieseven cured...would ruin a fresh start. CLOSE - RICHIE He is angry in turn. RICHIE You come on real stronglike Youd wipe out the whole Family If I told you where they hole up. CLOSE - NEVILLE His Interest is aroused. Does Richie know where the Family stays? NEVILLE The rat's nest? Just try me. MED. LONG SHOT - RICHIE He has walked away from Neville. Now he whirls. RICHIE All right. Theyre down In the Federal Court building. That's where they stay. Go, man, go. CLOSE SHOT - NEVILLE stands at pillbox, his arm over canvas coveted machine-gun. His expression changes from disbelief to astonishment. SERIES OF FLASH CUTS: Federal Court building, Neville drinking, looking out at building as on p. 26 NEVILLE So that's where they were all the time, CLOSE SHOT - RICHIE Smiles wryly. RICHIE Well, what are you waiting for? Aren't you gonna go zap em? Kill, you got to kill CLOSE SHOT - NEVILLE He looks a little sheepish, between anger and laughter. NEVILLE There's no time now. I've got to- go set it up with Dutch for tomorrow... CLOSE - RICHIE He smiles at Neville, his liking and respect returned. RICHIE Gee, you really a mean ass, aint you? MED. CLOSE TWO SHOT Neville smiles at him. NEVILLE I was, you little bastard Till I got mixed up with you and your sister and the rest of the Katzenjammer kids. They exchange looks of real affection. DISSOLVE TO: LONG SHOT - NEVILLE DRIVING We SEE him DRIVE UP to the house in which Dutch and the others live. Dutch COMES OUT to meet him. CAMERA CLOSES TO MED. TWO SHOT. DUTCH Richie...? NEVILLE Beautiful. The staff works. I've got blood drawn to make up some for Lisa. We'll start on the rest of you in a week or so. DUTCH You're using a lot of Juice, Doc. How do you feel? NEVILLE Fine. No problem. They walk, looking into canyon. DUTCH It's a nice world. Somebody ought to do something with It. CAMERA MOVES TO CLOSE SHOT- NEVILLE NEVILLE Its all ours, Dutch. Can you be ready to travel in the morning? CLOSE SHOT - LISA IN STORE In wine shop. She HUMS, smiles, reaches up and takes from shelf a bottle of wine, examines it critically, puts it in her large cloth shopping bag. CLOSE - RICHIE - INT. NEVILLES APT. He is talking earnestly. RICHIE not all that different from them, man. You got to try. Right? You can't walk away. Don't you see? You're a good man... CAMERA PULLS OUT showing Richie dressing, pulling on a shirt, talking to the bust of Caesar now on a shelf, still wearing the overseas cap, RICHIE But you dont listen. You go your own way. Well, this time It's gonna be my way, you know? My way He is dressed now and walks purposefully toward elevator. He pauses, looking at arsenal, goes over, picks up a flashlight, finds a scrap of paper, writes something on it, puts in gun barrel. ENTERS elevator. CAMERA FOLLOWS IN MED. SHOT of Richie's FACE as ELEVATOR DOORS CLOSE. MED. TWO SHOT - NEVILLE AND DUTCH DUTCH Sure. Where are we going? CAMERA MOVES IN TO CLOSE SHOT - NEVILLE NEVILLE Away. Somewhere no one bothered with before, on a river nobody dammed, in mountains that were too far to build highways to. Where everything we do... CAMERA PULLS OUT TO TWO SHOT WITH DUTCH DUTCH ...will be the first time it's been done there Neville and Dutch LAUGH, exchange grins. NEVILLE Youve got the idea. DUTCH Like we were the first peopleonly this time dont trust no snakes. They LAUGH. CAMERA PULLS OUT TO MED. TWO SHOT. Neville and Dutch walking back to his car. DUTCH You want as at your place, the crack of dawn, huh? Neville's reverie is interrupted. NEVILLE Huh? Oh, yes. Right. CAMERA HOLDS as they shake hands then MOVES to LONG SHOT as Neville drives away. Dutch waves, watches him go. DUTCH See you, tomorrow, Moses. MED. CLOSE - LISA IN STORE undressing, trying on dresses In front of a large, three-panel mirror. She stands nude in the shadow, changing to a new dress. She steps into medium light before mirror, sees that she is much lighter, her hair is heavily streaked. SHOT - RICHIE- WALKING in a fine mood, doing a dance step now and then, hands in pockets. He pauses in front of leather goods store. MED. SHOT - RICHIE COMING OUT OF-STORE He now wears an expensive leather jacket such as he could never have afforded In the past. He walks on. MED. CLOSE SHOT - ELEVATOR DOOR - INT. NEVILLES APT door opens as SHOT begins. Neville puts left toward liquor at blast of Caesar. NEVILLE Well, I wonder If we'll have room for You He strolls to balcony, looks out over plaza, fountain. NEVILLE Richie... (beat) Richie... Neville frowns, turns back toward interior of apt. ZOOM SHOT - PIECE OF PAPER - NEVILLES POINT OF VIEW as CAMERA FOCUSES on the note, stuck in the barrel of the gun nearest Neville. Neville walks rapidly INTO FRAME, heading for note. CAMERA FOLLOWS TO MED. SHOT. Neville reads note. NEVILLE going to find out whos right: you or me... He frowns quizzically. NEVILLE Whos right? You or ... me... CLOSE - NEVILLE looks up, suddenly understanding the note's meaning. NEVILLE Matthias ... my God, that stupid kid! Neville rapidly begins loading up on equipment. He takes down grenades, a satchel-charge, extra clips for the sten gun, flashlight, etc. MED. SHOT - NEVILLE Slings sten gun over shoulder, turns, RUNS into elevator. WIDE ANGLE SHOT - COURT BUILDING - RICHIES POINT OF VIEW MED. REVERSE SHOT - RICHIE Looks up at the imposing building, his eyes traveling along its front. He looks wary, as if he wishes he had not embarked on this particular venture. Then he shrugs, starts up steps. MED. SHOT - RICHIE going up steps. Pauses at the dark open door, then walks In quickly, impulsively. MED. SHOT - NEVILLE PILING EQUIPMENT INTO CAR CLOSE SHOT - LISA - IN STORE sitting at cosmetics table now, SHOT over her shoulder, INTO MIRROR. Her face is light, hair blond, eyes green. She smears-dark pancake makeup on cheek, trying desperately to pretend to herself that she is not changing over. Her light hand slows down at she sees the hopelessness of it. Her face reflects fear and hopelessness. MED. SHOT - RICHIE walking into court building, CAMERA FOLLOWS as Richie walks down dark deserted corridors. They seem almost to form a maze, CLOSE - RICHIE as he rounds a corner, he stops, looks up, mouth open In horror. CAMERA PULLS OUT RAPIDLY UP ANGLE, past shoulder of SOMEONE or SOMETHING RICHIE is staring at. MED. CLOSE REVRSE SHOT - UP ANGLE - STATUE It is a very large statue of Justice, holding scales and sword. CAMERA moves up to VERY CLOSE SHOT on FACE, blinded eyes. REVERSE SHOT - RICHIES REACTION He is relieved, but still fearful, almost ready to run. He turns, about to retrace his steps, perhaps to give it up, to leave. MED. SHOT RICHIE FROM DOWN CORRIDOR as he turns back, he is grabbed on both sides from shadows. CLOSE - RICHIE CLOSE - ONE OF MATTHIAS' CREATUR3S In this SHOT and following, the shook effect of their eyes and dead white faces should be maximized. CLOSE SHOT - OTHER CREATURE CLOSE - RICHIE face paralyzed with fear, as they drag him OUT of CAMBRA FIELD OF FOCUS. LONG SHOT - NEVILLE IN CAR rounding corner suicidally, headed for court building. We notice for first time that it is well into the afternoon, the sun standing fairly low in the sky. CLOSE - NEVILLE IN CAR - FRONT VIEW Face grim, determined. He twists wheel viciously as he rounds another corner. CLOSE - RICHIE held between his two captors. Matthias voice is soft, reassuring. MATTHIAS What is your name? Richie tries to answer, but is near panic. CAMERA MOVES TO VERY CLOSE SHOT OF RICHIE. MATTHIAS What Is your name? Once you were among us... MED. SHOT - NEVILLE IN CAR arriving In front of court building, drives up on Sidewalk, up on steps if possible, piles out of car, gets equipment, runs into building. CLOSE SHOT CANDLE - RICHIE IN B.G. OUT OF FOCUS This scene is in courtroom where Neville was brought earlier. Candle gutters, focus goes to Richie. MATTHIAS (O.S.) All right, Richard. Why did you come back here? Richie is getting a little control back, He is still terrified, but his belief in his mission has returned. RICHIE I came to help you. You know the man... Matthias' voice is low, without Inflection. MATTHIAS (O.S.) Neville... RICHIE That's him, yeah. Listen, he's got a serum for... MATTHIAS (O.S.) For...? CAMERA MOVES IN FORCLOSE SHOT - RICHIE RICHIE ...for what's wrong with you. If you could just talk to him, get with him ... then everybody could be MATTHIAS (O.S.) Yes, everybody could be..? Richie swallows. He does not like to use the word. RICHIE ... Everybody could be...normal again. TRANSITION TO MED. LONG SHOT- RICHIES POV Matthias behind table, a candle to one side of him. He wears his glasses. MATTHIAS We could be as we were before? RICHIE (O.S.) Yes. I guess so. The way we were... His voice trails off. From this point on, with each successive speech, Matthias gets CLOSER, looms LARGER. ANGLE OF SHOT becomes slightly up. Matthias walks around table. CAMERA HOLDS ON HIM. MATTHIAS (wearily) The way we were... Is that what Neville thinks we want? It that why he sent you...? RICHIE No, listen: he didn't send me... Matthias removes his glasses as he approaches Richie. MATTHIAS (loader, irrationally) Oh, yes. He did send you, One way or the other, you came back to offer us something from his world, to change us back, cripple us, destroy our dedication to what must be done. RICHIE (0.S.) I was almost like you, but he saved me ... brought me back. He wants as all to go away from here... MATTHIAS He damned you. Don't you see? If 'you had come over, if you had the marks, I wouldn't have to do...this! Matthias loons huge, terrifying. His hands are below FRAME but as his speech concludes, he moves his arm, shoulder brutally. VERY CLOSE REVERSE SHOT - RICHIE His eyes stare, his mouth is open. He stands for a moment, strangling. Blood rushes out of his mouth and he falls. CAMERA FOLLOWS HIM DOWN, FOCUSES on his dead face. MATTHIAS (O.S.) Prepare the Family. Tonight I think Neville mightcome out. MED. SHOT - NEVILLE IN CORRIDOR At first we SEE the BEAM of his FLASHLIGHT as he moves INTO SHOT. He is looking for the courtroom he remembers. NEVILLE So many damn rooms ... it could take all day... He glances at his watch, moves on. CAMERA TURNS, shows him moving away, beginning to trot. CLOSE SHOT - MATTHIAS IN COURTROOM talking as SHOT OPENS. CAMERA MOVES OUT quickly to LONG SHOT revealing Family gathered in their rags with spears, knives, etc. MATTHIAS ... so the time has come. Tonight we must bring him down. If he leaves, one day he will come back and destroy us. Tonight, tonight, tonight... The Family picks up Matthias word like a CHANT "tonight, tonight." MED. LONG SHOT - LISA It is dark now. She is walking out of store, arms filled with bottles, packages. She wears glasses, scarf. We do not see her face. CAMERA MOVES IN toward her slowly. O.S. we HEAR the FAMILY moving down the street close by. Lisa stops, freezes, turns toward SOUND. LONG SHOT - THE FAMILY LISAS POV They are marching down the street half a block away, perpendicular to the street upon which Lisa stands. MED. CLOSE - LISA - BACK VIEW We see Lisas back as she watches Family marching past in B.G. They carry candles, chant. FAMILY ...outside the Family, there is nothing at all... As we watch, Lisa stands frozen. Then she lets her packages slowly slip from her arms. VERY CLOSE SHOT - BOTTLE OF WINE SLIPPING FROM LISAS HAND The bottle falls to the pavement, breaks. The red wine soaks the sidewalk. MED. CLOSE - LISA This is still a BACK SHOT. She slowly reaches up, pulls off her scarf, tosses away her sunglasses. As her hair Is revealed we SEE It is now almost pure silver (not white, silver). She begins walking toward the street where the Family marches. It is dusk now, almost dark. CAMERA HOLDS as Lisa gets smaller, walking into distance, MED. SHOT - DOOR IN CORRIDOR Neville moves INTO FRAME approaching the door slowly, carefully. He stands next to door, out of the way, opening It with his fingertips When it is loose, he kicks It open quickly. Inside it is pitch black. Neville stands in corridor, next to door, back against the wall. He cannot see inside. CLOSE - NEVILLE He is sweating now. In the darkness he cannot handle himself as well as in the lights. He swings his penlight inside, looks around quickly. He sees nothing but the table and a few smoking candle stabs on It. He hears a sound, a scuttling, as If someone were tip toeing from one place to another. Neville palls a concussion grenade out of his satchel, pulls the pin with his teeth, holds it in his left hand. He turns, tosses the grenade into the room and covers his ears. The EXPLOSION is deafening, sounding down the corridors. SEQUENCE OF FLASH CUTS: This is very brief - DARKENED HALLWAYS AND CORRIDORS as the booming SOUND of the EXPLOSION moves along them. MED. CLOSE - NEVILLE From Inside room where grenade has gone off. In the dim light, bluish smoke drifts. We SEE NEVILLE at edge of door. NEVILLE Well, Matthias don't you have anything to say? There Is silence. Neville waits, then dives Into ROOM flashlight held out to one side, sten gun ready. He lies on his belly scanning room. It seems empty. NEVILLE Preach to me, brother... CLOSE - NEVILLE ON FLOOR He lies looking from side to side. It is still silent. Then his flashlight stops. LONG SHOT - UP ANGLE - JUDGES BENCH AND SEAT CAMERA ZOOMS IN ON RICHIE dead in judges seat. We SEE Richies head thrown back, blood still oozing from his mouth, eyes open. CLOSE SHOT NEVILLES REACTION His expression is hard, bat it is obvious that the boys death has moved him. NEVILLE What a waste, Richie, what a stupid waste. He turns and walks slowly back toward CORRIDOR. CAMERA REVERSES TO DOWN ANGLE SHOT, from behind the bench, centered on Neville, across Richies body. MED. LONG SHOT - FOYER OF COURT BUILDING Neville walks INTO SHOT, downcast. He looks up. LONG SHOT- EXT. COURT BUILDING It is night. Neville frowns. NEVILLE (O.S.) Lisa...Ive got to get back... MED. LONG SHOT -NEVILLE RUNNING DOWN STAIRS TO CAR He runs, jumps INTO CAR, races AWAY, headlights on. CLOSE SHOT - CAR HEADLIGHTS MED. SHOT - STREET - NEVILLE'S POINT OF VIEW We SEE EMPTY STREET ahead. Then, on one side, a dark FIGURE Avoiding Nevilles headlights, throwing something. Move to CLOSE SHOT of windshield, as bricks hits, shatters it. MED. SHOT - CAR FLASHING THROUGH STREETS MED. SHOT - STREET - NEVILLE'S POV As he rounds corner, we SEE DARK FORMS pushing a car out to block him. They scatter as Neville approaches. CLOSE - NEVILLE IN CAR He twists wheel to avoid collision. MED. SHOT - NEVILLE'S CAR He manages to avoid the car Matthias' creatures have pushed in front of him, but he sideswipes car at curb, goes out of control, crashes into storefront. MED. SHOT - INT. WRECKED STORE - DOWN ANGLE Neville's car amidst dust, smoke, debris inside wrecked toy store. SHOT is past HUGE HEAD of MICKEY MOUSE. Store is full of figures of clowns, animals, bizarre toys. MED. CLOSE - MANIKIN Another huge toy smashed by Neville's car. Neville rises INTO FRAME, sten gun ready, small cut on head. He rubs away blood, squints outside. CAMEA HOLDS as he steps over debris INTO STREET. SEQUENCE OF SHOTS - NEVILLE RUNNING We see him in CLOSE SHOTS, MED. SHOTS, DOWN AND UP ANGLES, running through silent empty street. MED. SHOT - NEVILLE PAUSING TO REST He stands against the side of a building, breathing deeply. He is weakened by the loss of blood in making serum. Then a spear or arrow STRIKES the bricks next to him. He whirls, shoots. REVERSE SHOT - CREATURE FALLING This SHOT is from beyond the creature who has tried to kill Neville. Neville is in far B.G., sten gun aimed at the creature. The creature lies on the pavement, bleeding, twitching. CAMERA HOLDS as Neville begins running again, this time directly TOWARD CAMERA, running over the body of the thing he has killed. LONG DOWN SHOT - NEVILLE RUNNING We see him running from VANTAGE POINT above the street. He is about a half-block from the apartment. We see his APT. from this VANTAGE POINT ALSO. We see SEVERAL of the FAMILY in the street running toward Neville. He FIRES, still running. Cuts them down. MED. WIDE-ANGLE SHOT - PLAZA - NEVILLE'S POV He stands before the apt. The fountain is running, floodlights on. He is dog-tired, but relieved. He smiles and walks carefully INTO PLAZA, glancing at the shrubs and shadows. SEQUENCE OF SHOTS - NEVILLE WALKING ACROSS PLAZA We see fleetingly the profile of one of Matthias CREATURES IN THE SHADOWS, thus suggesting that there are many watching his progress. He stops in front of garage, presses button on his remote control. MED. SHOT - NEVILLE WALKING INTO ELEVATOR CLOSE SHOT - NEVILLE IN ELEVATOR exhausted downhearted from Richie's foolish death. His eyes are closed. MED. SHOT - ELEVATOR DOOR SHOT is across int. of apt. It is dark. One candle is lit on chess table. This candle is in left F.G., VERY CLOSE FOCUS on candle as SHOT OPENS. As elevator door opens, FOCUS SHIFTS TO DOOR. Neville steps out. CAMERA CLOSES TO CLOSE SHOT. He frowns. Why is the apartment dark, bathed by glow of floodlights and a single candle? NEVILLE Lisa ... Lisa... Lisas voice is strange and distant, and odd quality in It as if it were being heard through water. LISA (O.S.) Yes...Robert... Neville relaxes, puts down his gun. He walks a step or two toward the SOUND of her VOICE - by the draperies, now pulled to cover the balcony windows. NEVILLE Richie ... went to Matthias ... he's... MED. SHOT - SILHOUETTE OF LISA - NEVILLE'S POV We see her standing, three-quarter-rear view. She is illuminated by very weak, bluish light of outside floods coming through draperies. Her VOICE still has that peculiar mechanical SOUND. LISA Yes, Robert ... I...know... NEVILLE (O.S.) You know?...How...? CAMERA.MOVES IN FOR EXTREME CLOSE SHOT ON LISA. As CAMERA CLOSES, she turns so that her face is now illuminated by the -candle. When SHOT completes, Lisa stands revealed. Her hair is white, face deadly pale, eyes completely blank. As she turns, she speaks. When her turn is complete, so is the speech. LISA Matthias told me. It was ... necessary. ZOOM SHOT - NEVILLE LISAS POV Neville's reaction to Lisas change. WIDE ANGLE SHOT - LISA AND FAMILY SHOT is from behind Neville so that his back is the central POINT IN FRAME. Lisa moves closer to circle of light from candle, and from all sides, so do members of the Family. Matthias stands next to Lisa. MATTHIAS (mocking tone) Come In, Neville... (laughs) That sounds strange, doesnt it? Come In, Neville. He LAUGHS. Others grab Neville. MED. SHOT - NEVILLE He Is dragged to chair at chess table. MATTHIAS (O.S.) I thought we might arrange a little entertainment before time for...concluding our business. All right, brothers SEQUENCE OF SCENES - DESTRUCTION OF APARTMENT The Family, free at last to revenge itself, destroys Neville's treasures, SHOTS of books torn down, ripped apart, paintings SLASHED, sculpture SMASHSD, furniture BROKEN, wine-cabinet SMASHED -- his scientific equipment, his cabinets of food, his arsenal are WRECKED AND DESTROYED. It is as if the remote past has come forth to revenge itself on civilization. At the end of the sequence, se SEE some of the FAMILY setting FIRE to the draperies, the books, the kindling left of furniture. One of the creatures begins to SMASH the lense of the balcony floodlights. During this sequence, Matthias VOICE COMES OVER MATTHIAS (O.S.) We waited for you, Neville. So you could see this the end of everything youve done. You see? None of it was real. It was a dream. Your art, your scienceit was all a nightmare. And now its doneits finished. The SHOT SURVEYS ruined apartment, burned books, slashed paintings, wrecked scientific equipment -- the bust of Caesar smashed, deserves a CLOSE SHOT. CLOSE NEVILLES FACE - REACTION SHOT ACROSS CHESS.PIECES He has lost, In the space of a few hours, a surrogate son, a woman, and all the treasures he so painstakingly saved from the wreak of this civilization. Everything except the blood with which to make more serum. MED. CLOSE SHOT - MATTHIAS - PROFILE SHOT watching the conclusion of the destruction, smiling. Lisa stands in B.G., listless, paying no attention. He speaks to the family. MATTHIAS Brothers and sisters, our task is nearly complete He is the last of those who brought the Punishment to us. We have cleansed, rolled away his World. We go back now to a good time. We will build... CLOSE - NEVILLE cuts in loudly. NEVILLE Coffins Matthias. Build coffins. That's all you're going to need CLOSE - MATTHIAS pauses, stung. MATTHIAS Bring Mr. Neville along. MED. CLOSE - NEVILLE As the creatures start to walk toward elevator, he breaks free, dives away from them into what is left of his arsenal section of apartment. He clubs first creature with the butt of a broken rifle, throws it at the next. He grabs up a Pistol, fires point blank at two more. Matthias comes at him, a knife raised. The pistol is empty. Neville dodges Matthias, skirts toward center of room. Matthias following. Neville reaches down, lifts the head of the broken bust of Caesar, throws it at Matthias, knocks him down and out. NEVILLE Lisa... He grabs her am. She does not respond. He pulls her along he opens the refrigerator takes out the pint bottle of blood and stuffs it into his coveralls. Lisa neither resists, or helps. Neville grabs up the broken rifle. MED.SHOT - INT. - GARAGE NEVILLE S POINT OF VIEW Lisa tries to speak in her peculiar new voice. LISA Robert... NEVILLE Shhh CAMERA PULLS BACK to reveal Neville and Lisa in F.G. in darkness of garage. In B.G. we SEE, up the ramp, brightly-lighted plaza area. Neville holds broken rifle, is studying the situation. He looks at his watch, NEVILLE Half an hour till sunup. We'll have to try it. CLOSE SHOT - NEVILLE Behind him, he hears the elevator starting-up again. NEVILLE Hell, I should have wrecked it. LISA (O.S.) Robert... CLOSE TWO SHOT - NEVILLE AND LISA In the B.G., beyond the lights of the plaza, we see the sky Is beginning to lighten. It is dawn, In the distance the silence is broken by the faint sound of a track motor coming through the streets. Neville makes sure the blood is secure, prepares himself to run. As he bolts forward, he pulls Lisa along with him. NEVILLE Now, Lisa, now! MED. LONG SHOT - EXT. PLAZA - LISA AND NEVILLE RUNNING As Neville and Lisa come up out of the garage we SEE the Family beginning to drift away at the edges of the floodlights as the first signs of dawn begin to show. Sound of truck, previously very faint almost subaural, now becomes a little louder. Neville Is obviously pulling Lisa, while she does not resist him, does not cooperate. They slow down in middle of the Plaza, near the fountain, awaiting truck. MATTHIAS (O.S.) Lisa. His voice is soft, almost caressing. It is the same voice in which he addressed Richie before stabbing him. MED. CLOSE SHOT - LISA AND NEVILLE They look back and up--toward balcony of Neville's apartment. VERY CLOSE SHOT LISA She recognizes Matthias voice. Her face, expressionless, wrapt, gazes upward, seeing him. We hear sound of truck in distance. CLOSE SHOT - NEVILLE He stares up, trying to spot Matthias. His hands work bolt of broken rifle. REVRSE UP ANGLE SHOT - MATTHIAS ON BALCONY - NEVILLE'S POV This Is a SLOW ZOOM SHOT. Matthias stands on balcony In area between floodlights broken out earlier as Family member Wrecked apartment. He leans over balcony outlined against lurid red glow of fire in apartment behind. MATTHIAS Lisa... REVERSE DOWN ANGLE SHOT - LISA BELOW Again, SLOW ZOOM to Lisa who stands looking up, shaking off Nevilles hands. MED. SHOT - NEVILLE He stands before fountains hands outstretched to Lisa. NEVILLE Lisa... CLOSE SHOT - LISA Her head turns from side to side as the voices call to her. CLOSEUP SHOT - NEVILLE NEVILLE Lisa, for Gods sake, come on MED. SHOT - LISA She shakes her head, looking at Neville and turning to look once more up at Matthias. MED. SHOT - UP ANGLE - MATTHIAS Matthias looks about, discovers the ZULU SPEAR, cast aside on balcony by Zachary earlier. He picks it up, raises It above his head, his face twisted with hatred. CLOSE SHOT - MATTHIAS FROM BEHIND This is down angle shot from behind Matthias with Lisa, Neville below. Matthias, In F.G. throws spear with all his strength. CLOSE SHOT - SPEAR INTO CAMERA CLOSE SHOT - NEVILLE The spear strikes him In chest. He falls backward into fountain, the bottle of plasma falling from his coverall. CLOSE SHOT - TOP OF FOUNTAIN We see Matthias across jet of water at top of fountain. As Matthias speaks, the water at top of jet turns red, MATTHIAS The bad dream is over, Neville. Now we can sleep in peace. MED. CLOSE - NEVILLE He has fallen against pillar In center of fountain, bleeding profusely, but still alive. Then he HEARS A VOICE O.S. LISA (O.S.) Robert...Robert... NEVILLE Lisa, where are you? Her voice is odd, quacky. It is not the voice we know. She Lurks at the edge of the FRAME. LISA I came to Matthias, he knows... MED. LONG SHOT - LISA IN SHADOW The SUN Is now beginning to come ONTO PLAZAI Lisa must retreat as It gradually narrows the area of the plaza still In shadow. LISA to see that you were... NEVILLE Yes? LISA evil, that Brother Matthias was right... NEVILLE I... love you. LISA I have to be part of something else the Family, I have to have... CLOSE - NEVILLE His head Is back as the sun strikes the fountain. His eyes are open. When the sun reaches his face, his eyes do not blink. He is dead still, we HEAR Lisas voice going on and on. LISA (O.S.) have to have The Family, Robert, do you understand? You understand, don't you, Robert? We HEAR SOUND of GENERATOR, which has been In B.G. all during this sequence. It COUGHS, CUTS OUT, COMES.BACK ON. LONG SHOT - DOWN ANGLE - PLAZA WITH FOUNTAIN CENTERED Neville is motionless In center. Lisa flits along the edge of the receding shadow as the sun eats away the area. She retreats back toward the smoking building. LISA (O.S.) The Family is everything, Robert ...I came back to the ... Family... Her voice gets more and more distant as It FADES completely. CLOSE SHOT - TOP OF FOUNTAIN Again we HEAR GENERATOR CUT OUTO COUGH, COME ON, AND STOP. Water In fountain matches this rhythm, stopping at last, lights go out. CAMERA MOVES IN SLOWLY ON NEVILLE - HOLDS In SOUND TRACK WE HEAR LOUDLY the SOUND of the MOTOR. It becomes quite LOUD. While CAMERA DRIFTS AROUND FOMUTAIN SLOWLY. We HEAR SOUNDS of people getting out of the truck. We HEAR VOICES. CAMERA COMPLETES ITS CIRCUIT OF FOUNTAIN. In B.G. beyond fountain and Nevilles body, we SEE the YOUNG PEOPLE HE HAS FREED. They wear protective clothing, sunglasses. They see him, walk slowly toward the fountain. MED. SHOT - YOUNG PEOPLE IN GROUP They stand in mourning around him. Then Dutch steps forward, sees something in fountain. CLOSE SHOT - HANDS REACHING INTO FOUNTAIN Dutch reaches down into the red waters of the fountain, lifts from it the bottle of blood, holds it up so that the sun stands just behind it. MED. SHOT - GROUP OF YOUNGSTERS They look at the bottle. CLOSE - DUTCH He is obviously the leader now. He turns to the others. SLOW ZOOM SHOT - LISA She sits huddled in the shadows next to the garagesomewhere at the edge of the plaza. She looks helpless and very old. Broken. She tries to cover her eyes and face. GROUP SHOT DUTCH IN B.G. NEVILLES BODY IN F.G. Nevilles body is OUT OF FOCUS. DUTCH It's Lisa! Go get her! Several of the youngsters go to her while the test move to the silent fountain and untie Nevilles body. CAMERA MOVES to SHOOT OVER Dutchs-shoulder. CLOSE SHOT - DUTCH We see In Dutch's face the same confidence and determination we knew in Neville. He watches impassively as they take Nevilles body to the shadowed area and arrange it. CAMERA BEGINS SLOW RISING SHOT Dutch in F.G. One of the youngsters has driven the old truck up into the plaza. Lisa kneels beside Nevilles body, touching his face, arranging his hands, mumbling confusedly, recalling the tomb scene of mother with stillborn baby. Nevilles body is carefully wrapped in a blanket. Lisa CRIES OUT. DUTCH All right, lets moveWeve got a long way to go. CAMERA RISES TO LONG SHOT DOWN ANGLE OF PLAZA as Neville and Lisa are put in back of truck with youngsters all-around them. Dutch takes one final look around, climbs in truck. CAMERA NOW COVERS ENTIRE PLAZA AREA. Truck STARTS, PULLS AWAY. Plaza is now empty. We HEAR trucks MOTOR FADING in distance. HOLD SHOT. Then title appears on screen: I AM LEGEND FADE OUT. THE END + + + + + + + +Enter supporting content here diff --git a/unformated_scripts/Script_One Flew Over the Cuckoo's Nest.txt b/unformated_scripts/Script_One Flew Over the Cuckoo's Nest.txt new file mode 100644 index 0000000000000000000000000000000000000000..04c87dcc7f4b5b4cfc43c913e28a27e6ffdc12b9 --- /dev/null +++ b/unformated_scripts/Script_One Flew Over the Cuckoo's Nest.txt @@ -0,0 +1 @@ +EXT. WORK FARM - NIGHTFALLAll we SEE is an ELEVATED SHOT of the distant mountains,rolling landscape and McMURPHY -- one cheek laid-open andcrusted over with dried blood, his face and prison workclothes caked with dried sweat and dust -- as he sits on thevery top of a water tower watching the last rays of sunlight.A long moment passes before McMurphy's attention is drawnelsewhere and he looks down.REVERSE SHOT - McMURPHY'S POVFar below, in the prison yard a MAN is SEEN hurrying acrcssthe yard where he joins a group of men composed of armedprison guards, officials, and medics -- a stretcher, anambulance, a fire truck and safety nets spread out at thebase of the water tower. The man is seen talking to theofficials, then a bullhorn is handed to him and they all lookup at McMurphy.McMURPHYAs he looks down at them, a searchlight is turned on him. MAN (V.O.) (through bullhorn) McMurphy! This is Doctor Shankle, from the infirmary. Can you hear me?McMurphy doesn't respond. SHANKLE (V.O.) (through bullhorn) Can you hear me, McMurphy?McMurphy doesn't respond. Another searchlight goes on as aSECOND VOICE is PICKED UP on the BULLHORN. SECOND VOICE (through bullhorn) Why don't we blast 'im, for Christ sake, he ain't gonna come down... you...The BULLHORN is TURNED OFF. A long moment passes as McMurphycontinues to squat on the tower and wait. He shivers againstthe coming night when... SHANKLE (V.O.) (through bullhorn) McMurphy! I have the warden's promise. If you come down, nobody will hurt you! You'll be in my custody! I promise!An imperceptible smile appears on McMurphy's face.INT. MEN'S DORM - OREGON STATE HOSPITAL - DAWNStrange HUMMING SOUNDS, CLANKING PIPES and HISSING RADIATORSas we see beds, with patients lying asleep, line two walls.The third wall is a heavy gauge steel grill, with a door thatopens on to the day room. The door is open. On the far sideof the day room, a long hallway with other doors opening intorooms: the latrine, washroom, tub room, mess hall, seclusionroom, psychiatrist's office, visitors' room, etc.Across the day room, a glass enclosed nurses' station whereTURKLE, a Negro night attendant, is seen preparing to go offduty.The CAMERA PANS the beds in the men's dorm. One man turns,another twists, a third lies as if dead.CAMERA PAN ENDS on BROMDEN, who lies still, eyes wide open,very alert. He reaches down, plucks a stale piece of gum fromunder the bed frame, puts it in his mouth and starts chewing.A beat, then Bromden carefully undoes the leather strap whichbinds him to the bed. He slips out of bed and quietly makeshis way down the aisle, paying no attention to the otherpatients, some of who are beginning to stir awake.Ahead, at the end of the hallway, the door opens and threeNegro day attendants, WASHINGTON, WARREN and MILLER, dressedin white uniforms, enter and move down the hallway anddisappear into a side room.Bromden continues his silent journey towards the day room asTurkle emerges from the side door to the nurses' lounge, goesup the hallway as MISS PILBOW, the day nurse, comes in,passing Turkle on the way out. She crosses to the nurses'station and enters as Bromden reaches the day room.INT. DAY ROOM - DAYas Bromden makes his way across the day room, past thenurses' station, unnoticed by Miss Pilbow who is busypreparing the day's medication.Bromden is sliding along the hallway wall, when he issuddenly cut off by a mop which THUDS against one side of hisneck. A second mop yokes him on the other side. Bromdenfreezes. Terrified. MILLER Where you goin', Chief? WARREN You goin' t'see the Big White Fathuh? WASHINGTON He goin' t'see the Big White Muthuh...They cackle, legs jiving, as the ammonia stings Bromden'seyes and burns his nose. He tries to twist his head, butWashington jams the mop harder. Bromden freezes, panicspreading across his face. WASHINGTON (CONT'D) Haw, look at 'im, big 'nough to eat apples off my head an' he mine me like a baby...A KEY is HEARD hitting the lock in the main door. Washingtonvery adroitly releases Bromden, hands him the mop, and turns,along with Warren and Miller, to their duties, as BIG NURSEenters the ward. THREE ATTENDANTS (simultaneously, as Big Nurse passes) Mornin', Miss Ratched... BIG NURSE Good morning, boys.She sweeps by and disappears into the nurses' station. Thethree attendants put their mops and rags aside and starttowards the men's dorm, leaving Bromden pressed against thewall, mop in hand.INT. NURSES' STATIONas Big Nurse enters to be greeted by Miss Pilbow, who wearsan enormous cross between her breasts. MISS PILBOW Good morning, Miss Ratched. It's a beautiful day, isn't it? BIG NURSE Mean old Monday, Miss Pilbow, mean old Monday... (she flips on the intercom) Good morning, boys. Rise and shine. Rise and shine.INT. MEN'S DORM - DAYas Washington, Warren and Miller roust the patients out ofbed. BIG NURSE (V.O.) (through loudspeaker) Time to get up! Come on now, it's a beautiful day! Let's not straggle! Everybody up, up, up!The Chronics are physically helped out of bed as the Acutes,who can handle themselves, cross out into the Day Room,rubbing the sleep out of their eyes. Big Nurse steps out ofthe Nurses' Station. Washington and Warren are hustling thepatients toward the washroom.Miller stays behind, stripping Blastic's bed and rolling uphis mattress.INT. DAY ROOM - DAYas the Acutes straggle past Big Nurse. BIG NURSE Good morning, Mister Sefelt... Good morning, Mister Fredrickson. Good morning, Billy, I spoke to your mother last night and she sends her love... Good morning, Mister Harding... Good morning, Mister Cheswick. Mister Scanlon...Bromden comes drifting by, going in the opposite direction.Big Nurse takes his hand and reaches up and pats his face. BIG NURSE (CONT'D) Oh, Mister Bromden... (calling out) Mister Washington!Washington comes running. WASHINGTON Yes, Miss Ratched? BIG NURSE Mister Washington, why don't we get a good head start on the day by shaving Mister Bromden and see if we can't avoid a disturbance. WASHINGTON (taking Bromden by the hand) Yes, Miss Ratched...INT. WASHROOM - DAYThe patients are busy washing and shaving.Warren is assisting a vegetable wash himself as Washingtonguides Bromden through a cage-like partition... where anantique barber chair stands. WASHINGTON (calling as he goes) Warren!He sits Bromden down and straps his bands and legs in, thenplugs the electric shaver in and turns it on and brings theBUZZING instrument towards Bromden's face. Bromden turnsaway. WASHINGTON (CONT'D) (shouting out) Get your black ass in here!Warren props the vegetable up against the sink. WARREN Tha's it... be right back!Warren leaves; the old man starts sliding. QUICK CUT TO:BROMDENas Warren enters and takes a firm grip on Bromden's head andWashington goes to work on Bromden's face. CAMERA PUSHES INTOEXTREME CLOSEUP of Bromden's fearfully distorted face as theBUZZING SOUND of the electric razor INTENSIFIES until it isINSUPPORTABLE. QUICK CUT TO:INT. DAY ROOM - DAYNo sound as we SEE Big Nurse watch the last few patients filepast the side door to the Nurses' Station where Miss Pilbowhands out little cups with pills. Washington stands by,checking to see each man takes his pills before filling theircups with orange juice.The last patient takes his pills and returns to his place inthe Day Room. Miss Pilbow closes the window.Satisfied that all is well, Big Nurse turns on an old 45record player with a stack of records, then she settles downto her work as a SOFT, NOSTALGIC NUMBER from the '40's isHEARD OVER LOUDSPEAKER. CAMERA BEGINS SLOW PAN of the DayRoom.The patients, under the influence of drugs, have settled downfor the day. HARDING is playing cards with MARTINI, CHESWICKand BILLY. SEFELT and FREDRICKSON are putting a jigsaw puzzletogether in brotherly love. SORENSEN is off by himself,rubbing his hands clean. TABER, pencil in hand, sitspondering over a blank piece of paper. SCANLON paces back andforth. On the Chronics' side of the room, RUCKLY is turning agrimy photograph over in his hands. BANCINI sits wagging hishead, mumbling over and over, "Tired, awful tired..." ELLISstands against the wall, arms outstretched, hands nailed tothe wall by imaginary nails.Bromden is pushing a mop around. Washington, Warren and Miller are in the men's dorm making upthe Chronics' beds when O.S. the TELEPHONE RINGS. CUT TO:INT. NURSES' STATION - DAYas Miss Pilbow picks up the phone. MISS PILBOW Eighty-two, Miss Pilbow speaking... Yes... (she makes a note and hangs it) ... New admission, Miss Ratched...Miss Pilbow goes to the mirror, quickly preens herself, thenturns and flips the intercom on. MISS PILBOW (CONT'D) (over loudspeaker) Mister Washington! Mister Warren!She exits. CUT TO:INT. DAY ROOMas Miss Pilbow exits nurses' station and heads down thehallway, Washington and Warren on her heels. Miller lookingwistfully after them. CUT TO:INT. MAIN ENTRANCE - STATE HOSPITAL - DAYStaff personnel are SEEN moving in and out of the mainentrance where a state penitentiary car is parked. A DEPUTYSHERIFF leans on the fender smoking a cigarette as SECONDDEPUTY SHERIFF comes out of the building and motions down toFirst Deputy, who crushes his cigarette out, then opens therear door to the car. DEPUTY SHERIFF (to an unseen occupant) Okay, let's go.A long beat, then McMurphy slowly emerges from the car. He'swearing handcuffs and dressed in faded jeans, flannel workshirt, leather jacket, black motorcycle cap, and heavy blackboots. He's been scrubbed clean and has a Band-Aid on hischeek. McMurphy does a couple of knee bends to get the kinksout of his legs as Deputy reaches in the car and takes out asmall gym bag containing McMurphy's belongings. DEPUTY SHERIFF (CONT'D) Let's move it...McMurphy goes up the stairs, followed by the Deputy, andcrosses into the building.INT. MAIN BUILDING - DAYas McMurphy enters the building followed by the Deputies,where Nurse Pilbow, McMurphy's folder in hand, and Washingtonand Warren stand waiting -- all in a pleasant, receptivemood. First Deputy hands McMurphy's gym bag to Washington,who hands it to Warren. SECOND DEPUTY Okay, this is it!McMurphy turns and holds out his hands. As cuffs are removed,McMurphy impulsively takes hold of the Deputy's head andplants a kiss on his forehead. SECOND DEPUTY (CONT'D) (squirming out of McMurphy's grasp) Jesus, you're crazy, McMurphy. MCMURPHY Yeah, ain't that the truth. DEPUTY SHERIFF (to Miss Pilbow) He's all yours, Miss. MISS PILBOW Thank you, Officer...The two Deputies start down the stairs. MCMURPHY So long, fellas...The two Deputies merely shrug their backs at McMurphy whotakes a deep breath of fresh air. MCMURPHY (CONT'D) Yes, sir, it's a mighty nice fall day... MISS PILBOW This way, Mister McMurphy. MCMURPHY Yes, ma'am...McMurphy follows Nurse Pilbow into the hallway as the doorcloses behind them. CUT TO:INT. HALLWAY - DAYOther STAFF MEMBERS are administrative personnel are SEEN asMcMurphy walks alongside Nurse Pilbow, who is noticeablynervous by his close proximity. Washington and Warrencasually bringing up the rear. MCMURPHY (as he peels the Band-Aid off, revealing a scar) I tell ya, these goons showered me at the courthouse this morning, last night at the jail, and I swear they'd have swabbed my ears out on the way over if they could've found the facilities...A young Japanese nurse, named ITSU, passes by. MCMURPHY (CONT'D) (to Nurse Itsu) Hey, how ya doin', cutie? NURSE ITSU Okay. How you doing? MCMURPHY Just great! (calling after her) See ya around!Nurse Itsu laughs and disappears around the corner. MCMURPHY (CONT'D) (to Nurse Pilbow) Yes, sir, I sure am gonna enjoy my stay here. MISS PILBOW I'm sure you will. MCMURPHY (to Nurse Pilbow) Ya know, I ain't never been in an institution of psychology before. MISS PILBOW Oh...They arrive at the ward door. Nurse Pilbow unlocks the doorand opens it as... MCMURPHY Yeah, I'm here on a ninety-day observation period. Short-timer, like they say...Soft nostalgic MUSIC is HEARD OVER. MISS PILBOW Of course. (indicating door) Mister McMurphy. MCMURPHY After you, ma'am. MISS PILBOW Thank you.Nurse Pilbow enters the ward and McMurphy watches her crossthe visitors' area to a heavy-gauge steel screen wall, withsecurity gate which she opens. MCMURPHY (to Washington and Warren as they step into ward) Man, there sure is an awful lot of poontang around here. SPIVEY (calling) Hold it!McMurphy turns to see DOCTOR SPIVEY approaching. SPIVEY (CONT'D) Good morning, boys. WASHINGTON AND WARREN (simultaneously as Spivey passes into the ward) Mornin', Doctor Spivey. SPIVEY Great day for fishing. WASHINGTON AND WARREN (simultaneously) Yes, sir!The door closes. CAMERA HOLDS on sign that READS: SMILE AT THE NEXT FACE YOU SEE. IT MAY SAVE HIS LIFE. MCMURPHY (O.S.) Yeah, I was just thinking the same thing, Doc... CUT TO:INT. WARD - DAYas McMurphy, Spivey, Washington and Warren cross thevisitors' area towards Nurse Pilbow, who stands holding thesecurity gate open. At the far end of the hallway, whichopens into the day room, patients can be seen. SPIVEY (to McMurphy) Oh, what's that? MCMURPHY Why, I'll betcha there must be a million albacore and tuna running of the coast right this minute. SPIVEY Oh, do you do much fishing?As they pass through the security gate: MCMURPHY Fish! Hell, Doc, I'd like to have a nickel for every fish I landed between Point Conception and the Alaska coast...Washington and Warren continue down the hallway, passingSEFELT, who shyly approaches and waits at a respectfuldistance. SPIVEY (to McMurphy) Is that so? MCMURPHY Yup! Worked right outta Depoe Bay for just about every season since I was able to haul my own weight. SPIVEY My, my... Ah, who are you? MCMURPHY McMurphy, Doc. R.P. McMurphy.They shake hands. NURSE PILBOW Mister McMurphy is a new admission. SPIVEY Ah, yes. Well, we must talk soon, Mister McMurphy. MCMURPHY You bet, Doc.Spivey turns to Sefelt. SPIVEY Good morning, Jim. How are you feeling? SEFELT (approaching and pointing to his mouth) Doc, my gungs hurt me.Spivey starts checking out Sefelt's mouth. NURSE PILBOW This way, Mister McMurphy.As McMurphy follows Nurse Pilbow down the hall, Spivey'svoice trails after him. SPIVEY (O.S.) Have you been taking your Dilantin, Jim? SEFELT (O.S.) Uh-huh... SPIVEY (O.S.) Well, we'll send you over to the dentist and see what he can do. Okay? SEFELT (O.S.) Okay, Doc!McMurphy and Nurse Pilbow reach the day room. MISS PILBOW Make yourself at home, Mister McMurphy... MCMURPHY Thank you, ma'am,Nurse Pilbow enters the nurses' station, closing the doorbehind her. Next to the door is a bulletin board which, amongother bits of information, READS: TODAY IS MONDAY SEPTEMBER 30, 1963. THE NEXT MEAL IS LUNCH.THE NEXT HOLIDAY IS HALLOWEEN.Another notice READS: SIGN UP NOW! BASKETBALL TOURNAMENT STAFF VS PATIENTS.Washington, Warren, MillerThere are no other names listed. Sefelt passes by. MCMURPHY (CONT'D) Hi. SEFELT Hi.Sefelt crosses into the day room where he joins Fredrickson,who is putting a jigsaw puzzle together.INT. DAY ROOM - DAYas McMurphy drifts into the room and looks around. The roomis as it was. The MUSIC ENDS. There is a CLICK. McMurphy'sattention is drawn to the nurses' station.McMURPHY'S POV OF NURSES' STATIONwhere Miss Pilbow is SEEN through a large plate glass window,busy typing a nameplate for McMurphy.Big Nurse, her back to McMurphy, is turning over a stack ofrecords. She presses the phonograph button. A record falls onthe turntable and MUSIC BEGINS as she turns and seesMcMurphy.ANOTHER ANGLEMcMurphy smiles and tips his hat to Big Nurse. Big Nurse smiles back and takes her seat. McMurphy turns and drifts into the day room. Big Nurse looks up and studies him. McMurphy catches the eye of a PATIENT, sitting by himself. MCMURPHY How ya doin', buddy? PATIENT Poorly, thank you. MCMURPHY Oh, yeah? What's ailing ya? PATIENT I got the fever. MCMURPHY Well, that's too bad...Taber, pencil and paper in hand, crosses to McMurphy and tapshim on the shoulder. MCMURPHY (CONT'D) Yeah, buddy? TABER Are you a doctor? MCMURPHY No, 'fraid not...Taber walks away.Martini tugs at McMurphy's sleeve. MCMURPHY (CONT'D) Yeah, buddy? MARTINI Can you borrow me a dime? MCMURPHY Sorry, buddy, I'm clean outta change...Scanlon moves in. SCANLON Got a cigarette? MCMURPHY Sure... MARTINI Me too! Me too!As McMurphy hands out his cigarettes Bromden drifts by, mopin hand. MCMURPHY Hey, how's it look up there, big boy? SCANLON He can't hear you. He's just a deaf and dumb Indian! MCMURPHY That right? HARDING (O.S.) Martini, it's your turn!Martini is staring off into space. HARDING (O.S.) (CONT'D) Martini! MCMURPHY (to Martini) Your buddy is callin' ya.Martini crosses back to the card game as Taber returns. MCMURPHY What's troubling ya, buddy? TABER I want you to write me a letter to my brother for a hundred dollars to bury me. MCMURPHY You look pretty healthy to me. TABER (CONT'D) I'm the next one. MCMURPHY How do ya know that? TABER (CONT'D) Because I quit breathing. MCMURPHY You're breathin' right now.Taber walks away.McMurphy watches him go.Nearby, an OLD VEGETABLE squeaks. MCMURPHY (crossing to him) What's that, Pop?The old man squeaks again. MCMURPHY (leaning in close) Can't hear ya, old-timer. OLD VEGETABLE Ain't this a pisser? MCMURPHY Hell, compared to where I just come from, this is a country club.McMurphy crosses to the card game and stands watching thegame. MCMURPHY Whatcha boys playin'? BILLY H-H-Hearts. MCMURPHY Shoot! No wonder you don't care nothin' 'bout showin' your hand.Billy holds his hand close to his chest. MCMURPHY What's your name, buddy? BILLY B-B-Billy. MCMURPHY Well, put 'er there, Billy boy, my name's McMurphy.They shake hands. MCMURPHY What I wanna know is who's the top loony around here? BILLY (CONT'D) Y-Y-You m-mean th-the pr-president of the P-P-Patients C-Council? MCMURPHY Yeah, that'll do for openers! BILLY (CONT'D) (to Harding) H-H-Harding, the m-m-man w-wants to t-talk to you, y-you're the pr-pr pr... HARDING Does he have an appointment? CHESWICK Yeah, do you have an appointment? MCMURPHY What for? CHESWICK (to Harding) What for? HARDING I'm a busy man! CHESWICK (to McMurphy) He's a busy man!A beat; then: MCMURPHY I can wait...McMurphy picks up a chair and sits down right next to Hardingand looks at him. Another beat; then: HARDING (to McMurphy) What are you doing? MCMURPHY I'm seeing what a busy man does.Harding, very nervous at McMurphy's proximity, turns back tothe game. HARDING Your turn, Martini!Martini is lost in the clouds. HARDING (CONT'D) Martini, throw a card!Martini throws a diamond. HARDING (CONT'D) No, throw a club! CHESWICK Yeah, throw a club!Martini throws a spade. HARDING Don't you have any clubs? MARTINI No! HARDING Let me see your hand! MARTINI No! HARDING (slamming his cards) Well, if you gentlemen will excuse me, I have some pressing matters to attend to.Harding gets up and crosses to the hallway, gathering hispride as he goes.McMurphy slides into Harding's seat and rakes all the cardsin. MCMURPHY Yessir, that's why I came to this establishment for, to bring you birds fun and entertainment 'round the gamin' table...McMurphy fans the deck out and lays it on the table.Everyone's eyes pop as he scoops the cards up in one movement-- he's a card shark, a magician -- leaving the Acutes withtheir mouths hanging open. MCMURPHY Easy now, don't smudge 'em, we got lots of games ahead of us... BIG NURSE (O.S.) Mister McMurphy!McMurphy turns to see Big Nurse approaching, Washingtoncasually bringing up the rear. MCMURPHY Yes, ma'am... BIG NURSE (CONT'D) (handing him his bag) Will you come with me, please. MCMURPHY (rising) Hold the fort down, will ya, fellas! BILLY Sure, Mack!McMurphy walks with her toward the men's dorm. BIG NURSE My name is Miss Ratched. I'm the head nurse here. You've already met Miss Pilbow and Aides Washington and Warren. MCMURPHY Yes, ma'am.Big Nurse and McMurphy stop at the security gate to the men'sdorm where Miller opens the gate. BIG NURSE (CONT'D) Mister Miller, this is Mister McMurphy, who'll be staying with us.Greetings are exchanged as they pass through.INT. MEN'S DORM - DAYas Big Nurse and McMurphy cross down the aisle. BIG NURSE We do appreciate the way you have taken it upon yourself to meet the other patients. MCMURPHY Thank you, ma'am...Big Nurse stops at an empty bed where Warren is turning themattress down. BIG NURSE This is your bed. You may leave your things in that cabinet. MCMURPHY Yes, ma'am... BIG NURSE Please use your time to familiarize yourself with your new home and if there is anything you need to know, don't hesitate to ask us. MCMURPHY Now that you mention it, I sure would like to call my aunt up in Portland and tell 'er where I am so she can come visit me. BIG NURSE All in good time, Mister McMurphy. All in good time. MCMURPHY Yes, ma'am. BIG NURSE Good. Now if you'll just go along with Mister Washington, he'll see that you're properly oriented.McMurphy doesn't move. BIG NURSE (CONT'D) Is there anything else? MCMURPHY Just that I'm glad to be here, Miss Ratched. I really am. BIG NURSE Good. I'm sure we'll be friends.They smile, sizing up each other. MCMURPHY Yeah, you ain't half so bad looking for a head nurse. BIG NURSE Yes. Now go along, Mister McMurphy. Go along. MCMURPHY Yes, ma'am. (to Washington) Lead the way, Sam.They cross out of the men's dorm.Big Nurse watches them go. SPIVEY (V.O.) What other work have you done?INT. DOCTOR SPIVEY'S OFFICE - DAYDoctor Spivey is seated behind his desk, on which are severalglass-framed photos of Spivey's family, plus a nameplate:JOHN M. SPIVEY, M.D., and McMurphy's papers.McMurphy, freshly showered and wearing hospital-issueclothes, sits facing him. MCMURPHY Hell, Doc, I've been everything from a hoopla man with a two-bit carny show to a top mechanic and bull goose catskinner for every gypo loggin' operation in the Northwest till the Army taught me what my natural bent was. SPIVEY Oh, what was that? MCMURPHY Poker! SPIVEY I see. MCMURPHY Yeah, but you know how society persecutes a dedicated man. SPIVEY (CONT'D) In what way? MCMURPHY They say I'm a habitual hassler. Like I fight some. Sheeut. They didn't mind so much when I was a dumb logger and got into a hassle. That's a hardworkin' feller blowing off steam, they say. But if you're a gambler, all you have to do is spit slantwise and you're a goddamned criminal. SPIVEY I see... MCMURPHY To tell the truth, ever since I found my natural callin' I done time in so many small-time jails I could write a brochure... SPIVEY Yes... Ah, do you know why you're here? MCMURPHY Well, ya know, Doc... (indicating his papers) Doesn't it say so there? SPIVEY (looking over papers) Well, according to the Warden at Pendleton, you were a disturbing influence on others. 'It appears that there is a potential in him for instigating a revolt among the other inmates.' (looking up at McMurphy) What do you think of that report? MCMURPHY I don't, Doc... SPIVEY (goes back to papers) Arrested on an assault charge five times... MCMURPHY That's correct, Doc ... SPIVEY (reading from folder) The doctor at the prison states: 'Don't overlook the possibility that this man may be faking psychosis to escape the drudgery of the work farm...' What do you say to that? MCMURPHY Doc, what can I tell ya? SPIVEY Ah, it seems you have no other psychiatric history, Mister Murphy? MCMURPHY No, this is my first trip, Doc. SPIVEY (closes folder and sits back) Well, you're here for a ninety-day observation period, Mister McMurphy. I'd like you to understand you are here on a court order and we are responsible to the state. So, I'd like your cooperation! MCMURPHY You bet, Doc! SPIVEY Good. Good.INT. DAY ROOM - DAYCAMERA is on Big Nurse as she stands, in front of a chair,doing a deep breathing exercise.The patients and staff, standing in front of chairs arrangedin a circle, follow suit as best they can. After a couple ofexercises Big Nurse sits. The others do the same exceptBancini, who remains standing, wagging his head back andforth. BANCINI I'm tired. Whew. O Lord. Oh, I'm awful tired... BIG NURSE (busy with her papers) Somebody please see to Mister Bancini, so we can start the meeting.Billy does... gently laying a hand on Bancini. BILLY T-t-t-take it e-e-easy, P-P-P Pete... BANCINI Awful tired...Billy gently eases Bancini into his chair and sits besidehim, patting his skinny knee. BIG NURSE At the close of Friday's meeting, we were discussing Mister Harding's problem, concerning his wife... (reading from logbook) Mister Harding stated that his wife made him uneasy because she drew stares from men on the street. Is that correct, Mister Harding? HARDING Yes, that's perfectly correct. BIG NURSE (reading) He also thinks he may have given her reason to seek sexual attention elsewhere, but he didn't say how. He has been heard to say to his wife, 'I hate you, I don't ever want to see you again. You've betrayed me.' (she closes book) So. Does anyone care to touch upon this further?Big Nurse waits. A long beat.Harding sits, chewing his nails, tensely waiting, almostwanting someone to begin.The patients shift uncomfortably, looking in all directions.McMurphy looks around to see what will follow, when he seesEllis, nailed to the wall; his pants leg darkens and a puddleof piss forms at his feet. McMurphy looks to see if Big Nurseor the Aides have noticed.If they have, no one pays any attention.McMurphy fidgets in his seat, then gets up, crosses to Ellis,unhooks him from the wall, and moves him over a few feet.The other patients are aghast at this move, look at eachother quizzically.Big Nurse merely watches.McMurphy crosses back to his chair and sits. BIG NURSE (CONT'D) Mister McMurphy, this ward is a democratic community run by the patients and their votes, so you should feel at ease in your new surroundings to the extent you can freely discuss emotional problems in front of the patients and staff. However, the cardinal rule, and I must emphasize this: Everyone keeps their seat during the meeting! MCMURPHY Yeah, well, it just pains me somethin' awful to see a full growed man sloshing around in his own water... BIG NURSE Yes... We were discussing Mister Harding's problem with his wife. Now, who will start? (no response) Billy. BILLY M-m-m-ma'am? BIG NURSE Would you like to start? BILLY N-n-n-n-n-no, ma'am. BIG NURSE Mister Sefelt?Sefelt shrugs and sinks into his seat. BIG NURSE (CONT'D) Mister Fredrickson?Fredrickson passes. BIG NURSE (CONT'D) Mister Taber?Taber passes. BIG NURSE (CONT'D) Mister Martini? MARTINI No! BIG NURSE Mister Scanlon?Scanlon looks at the floor. BIG NURSE (CONT'D) Mister Cheswick?Cheswick wags his head 'no.' BIG NURSE (CONT'D) Am I to take it that there isn't a man among you who has an opinion concerning this matter? (no response; she focuses in on Harding) Mister Harding, you've stated on more than one occasion that you suspected your wife of seeing other men. HARDING Yes, Miss Ratched, this is correct. BIG NURSE But you have no proof. HARDING No, Miss Ratched... BIG NURSE And yet you suspect her. HARDING Yes, that is correct. BIG NURSE Why? HARDING I can only speculate as to the reasons why. BIG NURSE Have you ever speculated, Mister Harding, that you are impatient with your wife because she does not meet your mental requirements?One of the Chronics laughs like a child. HARDING Miss Ratched. Given all the conditions of that sublime relationship, coupled with the subsequent annihilation of all that I held to be sacred, mentally, physically and emotionally, the only thing that I can speculate on, at this late date, is how I will justify the very existence of my life, with or without my dear wife. SEFELT What's he talkin' about? TABER Yeah, Harding, why don't you knockoff the bullshit and get to the point.Several Acutes chime in, "Yeah, get to the point," AD LIB. HARDING The point is, I will carry on until I fully understand what the function of that relationship is regardless of form or content.Several hands go up. BIG NURSE Yes, Billy? BILLY I-I-I-I-I d-d-don't s-s-see how anyone could lu-lu-lu-love a man who t-t-t-talks the way he does. TABER Yeah, Harding, you're so fuckin' dumb I can't believe it. HARDING That's a matter of opinion. SEFELT Yeah, Harding, where do you breathe anyway? FREDRICKSON Through the ass.Sefelt and Fredrickson snicker into their hands. A few of theothers laugh. HARDING (smarting) Is that your sense of humor or are you trying to say something? FREDRICKSON (innocence itself) Now what would I be trying to say? HARDING I don't know. I don't know, but it makes me feel very peculiar when you throw in something like that. FREDRICKSON Peculiar? SEFELT Why? TABER Yeah, why? SCANLON Yeah, tell us why. HARDING I hesitate to go on. BIG NURSE No secrets, Mister Harding. Let's get it all out in the open... HARDING I mean, the other day you made an allusion to my wife and the possible sexual problems we might be having. I know that to be the case, but the way in which you broached it, if that's your idea of teaching me something... HARDING (CONT'D) (his voice rising as he goes on) ... or making me aware of a condition in my life, then I say, categorically speaking, the hell with you, Taber! I don't have to justify the condition of my life to you or any of you. No matter what I will carry on until I fully understand what that function is regardless of the form or content. Regardless of the fact we must try to understand the function of our capacity to obtain, to personify the condition, the condition of our existence, our existence... TABER You know what, Harding? I think you're some kind of morbid asshole or something. You've been talking about your wife evere since I can remember. You know, she's on your mind and blah, blah, blah and on and on and when are you going to wise up and turn her loose! FREDRICKSON Yeah, wise up, Harding. SEFELT Yeah, turn her loose! ACUTES (start pouring it on) Yeah, who do you think you are anyway?... He thinks he's God Almighty... He's a snob... He's a schmuck... Dumbbell... Creep... Cretin... Idiot... Get rid of him... Ship him upstairs... RUCKLY (chiming in) Ffffffuck da wife... BANCINI (wagging his head) Tired... Awful tired... ACUTES (not letting up) Zap him... Give 'im lobotomy... Cut his nuts off... He doesn't have any... Fag... Pervert. BANCINI (in a strong angry voice) I'm tired!Everyone hushes. BIG NURSE Somebody see to Mister Bancini.Two or three Acutes get up and try to soothe Bancini, but heisn't to be hushed. BANCINI Tired. Tired. Oh God, I'm tired...Big Nurse nods to Washington, who goes to Pete, and gives hisarm a jerk toward the door. Bancini is unmovable.Big Nurse signals Nurse Pilbow, who heads for the nurses'station.Washington senses danger, lets go of Pete's arm, backs away. WASHINGTON You a good boy, Mistah Bancini...Nurse Pilbow returns, hypodermic needle in hand.Pete turns to his fellow inmates. BANCINI You see... it's a lotta baloney... It's all a lotta baloney... NURSE PILBOW Yes, yes, Mister Bancini, now if you'll just be calm... BANCINI That's all it is, just a lotta baloney. Ya see, I can't help it, can't... NURSE PILBOW (working her way around Bancini) Yes, I know, I know...She gets him in the ass, with the needle, and springs back. BANCINI ... don't ya see. I was born dead. Not you. You wasn't born dead. Ahhh, it's been so hard... (starts going over, slowly; sighing and crying) Tired... I'm tired... aw-ful tired...McMurphy looks around at the others.Each patient is locked in his own world -- oblivious toBancini's state.EXT. BASKETBALL COURT - DAYWIDE SHOT of entire court, surrounded by a high fence toppedoff with barbed wire, as Washington and Warren escort theAcutes -- including Bromden, Ellis, a lobotomy case andseveral other Chronics -- through the gate onto the court,which is run down, with cracks in its surface and leavesscattered everywhere.Martini, who is carrying the ball, runs ahead, followed byScanlon, where he starts dribbling the ball in a franticcircle, suddenly passes the ball to nothing. MARTINI (as he throws ball) Catch it! Catch it!The ball rolls to the corner. WASHINGTON Martini, there ain't nobody there, ya dumb goon! Go get the ball! MARTINI No!Martini turns away, his feelings hurt. Washington goes afterthe ball, when Martini goes running after it. MARTINI (CONT'D) I get it! I get it!But Washington gives Martini a body check and beats him tothe ball.Martini tries to get the ball from Washington, who is quiteagile and teases him as he returns to the court where he andWarren start shooting baskets, freezing Martini and Scanlonout.The other patients just hang around or walk, as if in aprison yard.Cheswick stands in close proximity to McMurphy and Harding,who stand watching the action. McMurphy finally offers acigarette to Harding, who accepts. They both light up. MCMURPHY Well, say, buddy, is that the usual pro-cedure for those Group Ther'py shindigs? Bunch of chickens at a peckin' party? HARDING A pecking party? MCMURPHY That's right, buddy. And you want to know who pecks the first peck? HARDING AND CHESWICK Who? Who? MCMURPHY Ah, come off it! It's that Big Nurse, that's who...The other Acutes have gathered around McMurphy and Harding. HARDING It's as simple as that. You've been on our ward six hours and have already simplified the work of Freud, Jung and Maxwell Jones in one grand analogy: it's a pecking party. MCMURPHY I'm not talking about Fred Yoong or Maxwell Jones, buddy, what I'm talkin' about is that crummy meeting and what that nurse did to you! HARDING Did to me? MCMURPHY Did to you and all the rest of you guys. BILLY Y-y-yes! Yes! Y-y-y-you s-s-saw wh wh-what she c-c-can do to us! MCMURPHY What did I see 'cept a grown man gettin' whipped so bad he can't laugh anymore. FREDRICKSON It's the questions she asks. MCMURPHY Tell 'er to go straight to hell! HARDING Miss Ratched is a competent psychiatric nurse, not some, some kind of monster pecking out our eyes! MCMURPHY (as calm as blue waters) She ain't peckin' at your eyes, buddy.McMurphy grabs Harding by his balls and Harding goes up onhis toes. MCMURPHY She's peckin' at your balls, buddy, at your ever-lovin' balls.Harding is doubled over. SEFELT That kind of behavior will get you a P.A. rating, my friend. MCMURPHY P.A. What the hell is that? SEFELT Potential assaultive. FREDRICKSON Which gets you shipped up to Disturbed for a nice little zap job. MCMURPHY Huh? HARDING Electro-Shock Therapy, my friend. Five cents' worth of electricity and you are out of everybody's hair. MCMURPHY Tell 'er to go to hell anyway! HARDING (CONT'D) And if you persist in your ways, they can always ship you over to Medical Surgery. MCMURPHY What for? HARDING (CONT'D) Lobotomy! MCMURPHY Lobotomy? HARDING (CONT'D) (pointing to lobotomy case) That!McMurphy looks.SHOT OF A LOBOTOMY CASEA vegetable, complete with two half-dollar scars in hisforehead.McMURPHYAs he absorbs this bit of information the basketball rolls tohis feet and he picks it up. MCMURPHY (to Harding) Is that your sense of humor or are you tryin' to say somethin'? HARDING Now, what would I be trying to say?Martini and Scanlon rush over and try to get the ball. SCANLON Gimme the ball! MARTINI No. Me! Me! WASHINGTON (O.S.) Pass the ball, McMurphy.McMurphy crosses to the court, bouncing the ball as he goes.When he reaches the court he holds the ball out toWashington, who reaches for it, but McMurphy snaps it backover his shoulder to Martini. MCMURPHY (turning to Martini) Pass it to me, Martini.Martini holds back. MCMURPHY C'mon, I'll give it back!Martini passes to McMurphy. MCMURPHY Atta boy, Martini.He passes it back to Martini, who laughs and passes it backto McMurphy, who passes it to Scanlon, who passes toMcMurphy, who passes to Billy, etc. Bromden just standswatching. MCMURPHY (encouraging them) Back and forth, that's it. Shoot, man, we'll be takin' on the New York Knicks before we're through...McMurphy looks to see Big Nurse looking out a window at them.He catches her eye. She turns away. MCMURPHY (V.O) Hey-ya, hey-ya, come on, come on, I'm waitin' on you suckers, you hit or you sit...INT. DAY ROOM - NIGHTThe MUSIC is PLAYING. The TV is on the six o'clock news asMcMurphy, cards in hand, is dealing blackjack to Cheswick,Harding, Sefelt, Billy and Martini. Fredrickson and Scanlonare looking on as Bromden eases up to the game. Cheswick isat the nurses' station talking to Big Nurse. SEFELT Hit me! MCMURPHY Hit, you say? Well well well and with a king up, the boy wants a hit. Whadaya know. So comin' at you and too bad, a little lady for the lad and he's over the wall and down the road, up the hill and dropped his load. SEFELT Boogered!McMurphy rakes in Sefelt's cigarettes, adding them to a pileof loose cigarettes, packs of cigarettes, several cartons ofcigarettes.As Cheswick sits down, depressed: MCMURPHY 'Kay, place your bets. MARTINI (holding up a cigarette) What's this? MCMURPHY That's a dime, Martini.Martini breaks a cigarette in half. MARTINI (CONT'D) Bet a nickel! MCMURPHY (to Cheswick) Whadaya bet, Cheswick? CHESWICK She won't give me any more cigarettes! MCMURPHY That okay. I'll take your marker. How many ya want? CHESWICK (CONT'D) Lend me twenty.McMurphy counts out twenty cigarettes, marks it down on apiece of paper, and passes the cigarettes to Cheswick, whobets all twenty.The Sports have come on TV and McMurphy's attention isdivided. MCMURPHY (checking the board) 'Kay, all bets are down, let's wheel 'em an' deal 'em.He deals the cards out, the first one face down, then thenext one face up. MCMURPHY Big king... little deuce... another king... a lovely lady... big ten... and a trey... hey, hey, whadaya say? Ya hit or sit, Martini? MARTINI Hit me. MCMURPHY (hits with a picture) That's twenty up, Martini. (turning to TV, he shouts across room) Hey, Taber, who's pitching the opening game?Taber calls back something but it's lost in the other sounds. MARTINI (CONT'D) Hit me! MCMURPHY Wait a minute, Martini, I can't hear a thing. (turning back to Taber) What? TABER (shouting back) Koufax against Ford! MISS PILBOW (V.O.) (over loudspeaker) Medication time! Medication time! Medication! MARTINI (simultaneously with Pilbow) Hit me!McMurphy slams his cards down, stands up, crosses the dayroom, heading for the nurses' station. He passes Washington,who stands there waiting to dispense orange juice.INT. NURSES' STATION - NIGHTas McMurphy enters. Nurse Pilbow is the only one there. MCMURPHY Pardon me miss, but would you mind turning... NURSE PILBOW (scared out of her wits) Stay back! Patients aren't allowed to enter the... Oh, stay back! MCMURPHY All I'm askin' is...Nurse Pilbow grabs at her cross, screams and shuts her eyes,holding the cross in front of her. NURSE PILBOW (CONT'D) Oh, stay back, I'm a Catholic!Big Nurse enters from the nurses' lounge. BIG NURSE Mister McMurphy. Patients aren't allowed in here. MCMURPHY Sorry, ma'am.McMurphy steps out of the station, closing the door behindhim.INT. DAY ROOM - NIGHTas McMurphy goes around to the front of the nurses' stationand queues up behind the other Acutes who are getting theirmedication. McMurphy reaches the window, takes the cup, butdoesn't take his pills. MCMURPHY (to Big Nurse) Pardon me, ma'am, can I ask you somethin'? BIG NURSE (politely) Yes, Mister McMurphy? MCMURPHY How 'bout turning off that music for a while so a man can hear himself think? BIG NURSE (pleasantly) That music is for everyone, Mister McMurphy.McMurphy leans in, placing his hand on the window. MCMURPHY (confidentially) Well, say, how 'bout easin' it down a bit so a man don't have to shout! BIG NURSE (CONT'D) (aware of his physical proximity) Mister McMurphy, there are old men here who couldn't hear the music at all if it were lower. That music is all they have, and I wish you wouldn't lean against the glass there, your hands are staining the window.McMurphy jerks his hand away. MCMURPHY Sorry, ma'am... Sorry 'bout that...McMurphy breathes on the glass and wipes it clean with hissleeve. MCMURPHY Sorry to have bothered you. BIG NURSE Not at all, Mister McMurphy...McMurphy turns to walk away. NURSE PILBOW Your medicine, Mister McMurphy. MCMURPHY (turning back, he examines the contents of the cup) What's the horse pill for, honey? NURSE PILBOW It's just medication, Mister McMurphy, good for you. Now down it goes... MCMURPHY Look, miss, I don't like swallowing something without knowing what it is! NURSE PILBOW (stepping back a little) Don't get upset, Mister McMurphy... MCMURPHY I'm not upset. All I wanna know, for the lovva Jesus... BIG NURSE That's all right, Miss Pilbow, if Mister McMurphy does not wish to take his medication orally, he may... MCMURPHY No, that's okay, ma'am. Down it goes.McMurphy makes a big show of popping the pill in his mouth,holding his paper cup upside down, for all to see, thenmoving on to Washington, who fills it with orange juice.McMurphy gulps it down, not without some difficulty, then hesmiles at all the concerned faces and crosses the room to thecard table, where he sits to see the Acutes looking at him. HARDING Why didn't you tell her to go to hell, lover boy? TABER Yeah, whattsa matter, Mack, she too much for ya?McMurphy holds the pill up and flicks it into Harding'sforehead. MCMURPHY You boys seem to think you've got a champ in there, huh? HARDING I don't see you scoring any points, buddy. And you're just the man for the job, right? MCMURPHY Hell, I couldn't get it up over old hatchet-face if ya paid me! HARDING (CONT'D) She's not all that homely, Mister McMurphy. In fact, she must have been a rather beautiful young lady.The men look at Big Nurse.The patients look at the nurses' station.PATIENTS' POVBig Nurse is busy at her work.INT. NURSES STATION - BIG NURSE'S POV - NIGHTThe patients looking at her. They turn back to their cardgame.REVERSE ANGLECAMERA HOLDS on Big Nurse as McMurphy's VOICE is HEARD overINTERCOM. MCMURPHY (V.O.) (through intercom) Yeah, an' I'm tellin' ya, she's just an icy-hearted over-the-hump gal who never got enough of the old wham-bam to straighten 'er out... Okay, who wants a card? MARTINI (V.O.) (through intercom) Me. Hit me!Big Nurse looks up and studies the men gathered round thetable.INT. MEN'S DORM - NIGHTThe patients are asleep except for Bromden, who stands by thewindow looking out.McMurphy is asleep in the bed next to his. A beat whenTURKLE, a fifty-year-old Negro night attendant, slightlydrunk, lays a gentle hand on Bromden's shoulder. TURKLE Le's get back to bed, Mistah Bromden...Bromden allows himself to be led back to bed. Turkle fumblesaround for the security belt, finds it, straps Bromdenloosely in bed, then goes off clucking to himself.Bromden reaches under his bed and plucks a stale piece of gumfrom under the bed frame. He starts chewing it when he seesMcMurphy looking at him.Bromden goes right on chewing and looking McMurphy right inthe eye. MCMURPHY (whispering) Chief? I wanna ask ya somethin'. (sings) Oh, does the spearmint lose its flavor on the bedpost overnight? When you chew it in the morning, will it be too hard to bite? This question's got me goin', won't somebody set me right; does the spearmint lose its flavor on the bedpost overnight?McMurphy holds the last note, reaches over and rustlesthrough his nightstand. MCMURPHY Here ya go, Chief...A small object lands on Bromden's bed. It is a fresh packageof gum. Bromden picks it up. Examines it. Unwraps it.Deposits his old piece of gum under the bed frame, theninserts the fresh gum in his mouth and starts chewing.SERIES OF SHOTSSHOWING the MEN'S DORM, the empty DAY ROOM, TURKLE ASLEEP inthe NURSES' STATION, EMPTY HALLWAYS, the NIGHT SUPERINTENDENTAT HER DESK, MORE HALLWAYS... ENDING ON:INT. MEN'S DORM - SUNRISEABERRATED SHOT of INSTITUTIONAL GROUNDS SEEN THROUGH STEELMESH SCREEN -- as the sun rises above the treetops.REVERSE SHOT - BROMDENlooking out of the window. His face washed by the sunlight.His eyes have a vague look, almost vacuous, as... BIG NURSE (V.O.) (through loudspeaker) Good morning, boys. Rise and shine. Rise and shine.INT. MEN'S DORM - DAYas Washington, Warren and Miller roust the patients out ofbed. BIG NURSE (V.O.) (through loudspeaker) Time to got up! Come on now, it's a beautiful day! Let's not straggle! Everybody up, up, up!McMurphy is in bed, not ready for the world, when Washingtoncrosses to Bromden, who is looking out the window, and leadshim off. WASHINGTON Le's go, Chief. Le's go get ourselves all nice and clean... (to McMurphy) You too, Mistah Mack-Murphy!Washington goes off with Bromden.CAMERA HOLDS on McMurphy as he slowly pulls it together andsits on the edge of the bed. He's naked as he opens thedrawer to his nightstand and fishes around for a cigarette. MCMURPHY (looking in the drawer) What the... (looking around) Who the fuck stole my cigarettes!INT. DAY ROOM - DAYas the Acutes straggle past Big Nurse. BIG NURSE Good morning, Mister Sefelt, are your teeth any better?... Good morning, Mister Fredrickson... Good morning, Mister Harding; my, my, you've been biting your fingernails again...She sees McMurphy approaching, wearing a towel around hiswaist and a scowl on his face. BIG NURSE (CONT'D) Mister McMurphy, patients are not permitted to run around in towels. MCMURPHY I wanna report a robbery! BIG NURSE On this ward? MCMURPHY Yeah, some creep stole my cigarettes! BIG NURSE Oh, I had them removed. MCMURPHY What for? BIG NURSE Patients are rationed to one pack of cigarettes a day.Bromden comes drifting by, going in the opposite direction.Big Nurse takes his hand. BIG NURSE (CONT'D) (calling out) Mister Washington!Washington comes running. WASHINGTON Yes, Miss Ratched? BIG NURSE Please see to Mister Bromden. WASHINGTON (taking Bromden by the hand) Yes, Miss Ratched...Washington leads Bromden off. Big Nurse turns to Cheswick andseveral other Acutes, who have crowded around. BIG NURSE Now you boys hurry along and wash up for breakfast... (to McMurphy) You too, Mister McMurphy. MCMURPHY Well, say. How 'bout springing a pack of cigarettes loose? BIG NURSE After breakfast, Mister McMurphy, after breakfast. MCMURPHY You sure run a tight-assed ship 'round here, don't ya! BIG NURSE Yes. Now run along like a good boy and see that you wash up properly.WIDER ANGLEA beat, as the Acutes wait for McMurphy's next move, then: MCMURPHY 'Kay, let's go brush our teeth, fellas...McMurphy turns and crosses toward the washroom, singing atthe top of his lungs. MCMURPHY Oh, Lulu had a baby, His name was Sunny Jim, She put 'im in a piss pot, To teach 'im how to swim. Oh, he swam to the bottom, He swam to the top, Lulu got excited, An' pulled 'im by his... Cock-tail ginger-ale, Five cents a glass, An' if ya don't like it Ya can shove it up your... Ask me no more questions, I'll tell ya no more lies.BIG NURSEwatching McMurphy who removes his towel as he enters thewashroom.INT. WASHROOM - DAYas McMurphy enters to see Warren take a firm grip onBromaen's head and Washington goes to work on Bromden's face.CAMERA PUSHES INTO EXTREME CLOSEUP of Bromden's fearfullydistorted face as the BUZZING SOUND of the ELECTRIC RAZORINTENSIFIES until it is INSUPPORTABLE.INT. MESS HALL - DAYWe SEE the attendants spooning food into the sucking pinkmouths of the vegetables, a shade too fast for swallowing. MCMURPHY (O.S.) What's wrong with you guys?We SEE McMurphy seated with the Acutes, shoveling food downhis guillet. The others are barely touching their food. MCMURPHY Why, if I'd have known how soft this place was gonna be, I'd have arranged for my transfer sooner... (holding up his orange juice) Look at this here, real orange juice! (slugging it down) Hooee, that's good. Why, you couldn't pay me to leave this place! (slaps his belly) All this place lacks is a couple of sweet gals to liven things up...He gets up and carries his tray to the proper place, where henotices Miller loading several other trays onto a dumbwaiter.Miller pushes a button and the dumbwaiter goes down. McMurphycrosses to the door to find it blocked by Washington. MCMURPHY Stand aside, Sam, Nature's callin'. WASHINGTON Nobody leaves here till seven thirty.McMurphy turns Washington over in his mind, then he looks upat the clock above the door.The time is 7:28. The second hand sweeping its way toward7:29. MCMURPHY Don't know if I can hold it that long, Sam. WASHINGTON (CONT'D) Tha's your problem. MCMURPHY (confidentially) Who do you like in the opening game, Sam? WASHINGTON (CONT'D) Huh? MCMURPHY (turning away) Asshole.McMurphy turns and walks away.Washington watches him go. CHESWICK (V.O.) I wanna know about my cigarettes!INT. DAY ROOM - DAYA group meeting is in progress. Doctor Spivey is there.Cheswick is on his feet. BIG NURSE Sit down, Mister Cheswick. CHESWTCK (not sitting) No, I ain't no kid to have my cigarettes keep from me like cookies! Ain't that right, Mack! (McMurphy doesn't respond) Mack??? BIG NURSE Sit down, Mister Cheswick!Cheswick sits -- stunned. A beat; then: BIG NURSE (CONT'D) (to Cheswick) You should have thought about that before you gambled all your cigarettes away. Is that clear?Cheswick sulks in his seat. BIG NURSE (CONT'D) Mister Cheswick, is that clear! CHESWICK Yeah... BIG NURSE Good... (opens her book) Now, as I recall, we were making quite a bit of headway, last time, with Mister Harding's problem. So, does anyone care to begin?McMurphy's hand goes up. No one else's does. BIG NURSE (CONT'D) Yes, Mister McMurphy. MCMURPHY Right... I've been givin' some serious consideration to what you told me about the democratic something of this therapeutic community of ours, an' I got a few things I wanna get off my chest, before we get back to Harding's problem. BIG NURSE Certainly, Mister McMurphy. MCMURPHY Right!McMurphy takes a folded sheet of paper out of his pocket,unfolds it, studies it and begins. MCMURPHY 'Kay... Item one... I've been thinkin' 'bout the age problem we got on this ward. You know, the young an' old livin' together, an' I was thinkin' what a great thing it would be if the music was turned up louder. Louder so the old fellas could hear better...Doctor Spivey nods with approval.Big Nurse doesn't.The Acutes are bewildered. MCMURPHY But then I got to thinkin', the music is so loud already, it makes it difficult for the young fellas to hold a decent conversation...Nods and murmurs of approval from the Acutes.Big Nurse can only wait for McMurphy's next move. MCMURPHY Well, I was turnin' this dilemma over in my head, when I happened to hit on that old tub room out there, an' I said to myself, McMurphy, I said, that place would make a great second day room. A sort of game room for the young fellas. Whadaya think, Doc? SPIVEY It is worth considering... Miss Ratched? BIG NURSE The point is well taken, Doctor, but do we have the necessary personnel to cover a second day room? SPIVEY Well, since it will be largely the Chronics who remain here, one aide and one nurse should easily be able to handle any situation that might occur. (he turns to the patients) What do you think, men, is it workable? CHESWICK Right, Doc. It's workable.Several other Acutes voice in the affirmative. SPIVEY Fine! BIG NURSE Good. Good. Yes, yes, I think we should give it a trial period. So! May we get back to Mister Harding's problem... (she sees McMurphy's hand up) Yes, Mister McMurphy? MCMURPHY I'm not finished yet. BIG NURSE Go on... MCMURPHY (looking at his list) 'Kay, item two. Tomorrow, and listen carefully to me, you ding-a lings. Tomorrow is the opening game of the World Series an' what I want is to take a vote on switchin' the group meetin' to later on in the day, so we can watch the ballgame. BIG NURSE Just a minute, Mister McMurphy! MCMURPHY Yeah? BIG NURSE Please understand, the schedule has been set up for a delicately balanced reason that would be thrown into turmoil by a switch of routines. MCMURPHY The hell with the schedule, you can get back to the schedule next week when the series is over. What I want is a vote on it right now! CHESWICK I second the motion! MCMURPHY Atta boy, Cheswick! BIG NURSE Very well! All those in favor, please raise your hands.Big Nurse casts a watchful eye over the patients. MCMURPHY (raising his hand) Okay, raise your hands.Only Cheswick's goes up. MCMURPHY Come on', what is this crap? Who wants to watch the World Series?Martini and Scanlon's hands go up.Several Acutes look at them.Scanlon and Martini's hands go down.McMurphy can't believe his eyes. BIG NURSE (CONT'D) (politely) I count only two, including you, Mister McMurphy. Certainly not enough to change ward policy.McMurphy's hand goes down. BIG NURSE (CONT'D) Yes. Now was there anything else you wanted to discuss, Mister McMurphy? MCMURPHY No way. CHESWICK No way.McMurphy starts tearing his sheet of paper up into a thousandpieces. BIG NURSE (checking her watch) Then I suggest we turn our attention back to Mister Harding's problem. Would anybody care to begin?She looks around.McMurphy is slouched in his chair.Harding puts his hands up. No one else does. BIG NURSE (CONT'D) Yes, Mister Harding? HARDING Yes, thank you, Miss Ratched. Since our last meeting I have been reflecting, quite seriously, on the nature of my problem. Naturally, I'm referring to the capacity to obtain the necessary results in order to obtain... No, no. To personify the very existence of that relationship regardless of the function... (he stops, chews his lip, then continues) Regardless of the function, we will confront the question of... Yes. Yes. The question of... Existence... Relationship... Function... Confront... Yes, confronting us in the moment of deepest crisis... Yes, the crisis of our souls. Of our souls, which I am trying to fully understand the problem... the problem. Not to shut ourselves off, but somehow... Somehow to understand fully our capacity... to obtain... to personify... the question... existence depends... depends on the question... to reflect... to reflect...Harding, breaks off, sweating; he begins to knead hisforehead and chew his nails. HARDING (CONT'D) To reflect...ANGLESilence as the CAMERA REFLECTS: the room, the patients, thestaff, the hallways, the hospital, the grounds, the trees,the sky, ending on. MARTINI (V.O.) Hold it a minute. What's a man need to buy thum hotels?INT. TUB ROOM - NIGHTBromden is pressed against the wall, watching McMurphy,Martini, Scanlon and Cheswick play a game of monopoly. Theothers are playing cards or just hanging around, a littlechagrined. Billy is most disturbed by this separation. MCMURPHY You need four houses on every lot of the same color, Martini. Now let's go, for Christsakes. MARTINI Hold it a minute.There's a flurry of money from Martini, red, green and yellowbills blowing in every direction. CHESWICK Let's go, for Christsakes... MCMURPHY It's your dirty roll, Cheswick.Cheswick rolls the dice. MCMURPHY Snake eyes! Hoooeee, that puts you on my Marvin Gardens, which means you owe me three hundred and fifty dollars.Cheswick starts counting out the money. MARTINI What's thum other things? Hold it a minute. What's thum other things all over the board? CHESWICK (to Martini) How can a man concentrate with you sitting there hallucinating a mile a minute... MCMURPHY You just come on with that three fifty and Martini will take care of himself... Your dice, Scanlon. SCANLON Gimme those dice. I'll blow this board to pieces. Here we go... (throws the dice) Lebenty leben, count me over eleven, Martini...Martini picks up a house... SCANLON (CONT'D) Not that one, you crazy bastard, that's my house...Scanlon grabs Martini's hand and tries to get his piece back.Martini won't let go. MCMURPHY Break it up, God dammit! Ain't I got enough troubles without you guys messin' around... can't depend on nobody. BILLY (from the next table) Some of us ha-ha-have b-b-been here a long t-t-time, Randle, and will b b-be here long after this Wo-Wo World Series of yours is oh-oh-oh, what's the use anyway...McMurphy slams his fist down on the table, sending themonopoly pieces flying. Martini is crestfallen. MCMURPHY What's the use! Hooee! It'd do you birds some good just to get a little exercise lifting your arms to vote! HARDING A baseball game isn't worth the risk, my friend. MCMURPHY It is to me! An' if I hafta bust way outta this place to see it, I will! CHESWICK Right! FREDRICKSON Oh, yeah? MCMURPHY Yeah! SEFELT Big man! MCMURPHY Yeah, how much you wanna bet? SEFELT On what? MCMURPHY That me an' my buddy, Cheswick, we'll be downtown tomorrow watchin' the ballgame while you suckers are sittin' around this goddamn nursery! HARDING And how do you propose to accomplish that little feat, my friend? MCMURPHY That's between me an' myself. So why don't you boys just shove off. I got some planning to do.McMurphy sits and resumes his game of solitaire. Martini andScanlon are putting the monopoly game back together again.Bromden spots (or he thinks he spots) one of the attendantslistening at the door. He wants to warn the others, butdoesn't know how. SEFELT Maybe he'll just show Miss Ratched his big thing an' she'll open the door for him.Sefelt and Frederickson smile at each other.Bromden slides along the wall toward the door. MCMURPHY Maybe I'll just use that thick skull of yours as a batterin' ram, Sefelt. SEFELT (CONT'D) Why, my head would just squash like an eggplant, McMurphy.Fredrickson and Sefelt snicker in their hands. MCMURPHY You think it's funny, huh? TABER Yeah, you don't know how to get outta this place!Bromden reaches the door and looks out. No one is there. MCMURPHY Put your money where your mouth is, Taber. TABER (CONT'D) Yeah, yeah, you're a fucking phony, McMurphy!Bromden turns back to the room to see McMurphy slam his fistdown on the table; the monopoly game goes flying. MCMURPHY (rising and turning on the others, who back off) You want me to show ya! You want me to show ya how! TABER (CONT'D) Yeah, yeah, show me. Show me how! MCMURPHY All right!He looks wildly around the room, spots the machine, crossesto it and smacks it with his hand. MCMURPHY With this thing! I'm gonna put this thing right through the window, that's how! HARDING You mean you're going to try to pick that thing up and shove it through the window? MCMURPHY You're fuckin' A-right, I am! HARDING (CONT'D) With your own two hands? MCMURPHY You heard me the first time! TABER I'll bet a buck you don't do it! MCMURPHY You're on! BILLY M-M-Mack, y-y-y-you c-c-can't l-l lift that thing! MCMURPHY Stand aside, son. Any more takers? SEFELT I'll bet a dollar. FREDRICKSON Me, too... MCMURPHY Right! MARTINI A nickel. SCANLON A dime. MCMURPHY Okay. Who else? HARDING Twenty-five dollars. MCMURPHY (knows he's taking a bad bet) Okay, Harding, you're on. HARDING Okay, sucker. MCMURPHY Yeah... Okay, stand aside, you guys! You're usin' up my oxygen!The Acutes stand aside and McMurphy steps up to the machine.He shifts his feet to get a good stance, wipes his hands onhis thighs, leans down and gets hold of the levers on eachside, and strains.Bromden watches, in awe of McMurphy.McMurphy turns loose, straightens up and shifts his feet fora better position. HARDING Giving up? MCMURPHY Just warmin' up.He grabs the levers again. His whole body shakes with thestrain. For just a second we HEAR the cement GRIND. Then hisbreath explodes and he falls back limp against the wall.There's blood on his hands. No sound but his rasping breath.He opens his eyes and looks around. Then pulls out apocketful of IOU's and tries to sort them out, but his handsare frozen into red claws. He throws the whole bundle on thefloor and walks out. At the door, he turns back. MCMURPHY But I tried. Goddammit, I sure as hell did that much. Didn't I?McMurphy exits.REACTION SHOT OF ACUTESSHOT OF BROMDENlooking at the machine. A long beat.INT. MEN'S DORM - NIGHTThe patients are getting ready for bed when Billy approachesMcMurpby, who is in bed. BILLY M-M-Mack...McMurphy turns away from Billy, who crosses to the other sideof the bed. BILLY (CONT'D) M-M-Mack, I-I-I'm sorry! HARDING Leave him alone, he's pouting. BILLY Y-Y-Y-You leave him alone! MCMURPHY That's okay, kid... BILLY Th-th-then y-y-you're n-n-not m-m mad? MCMURPHY No, kid, it was my own stupidity, that's what pissed me off. BILLY O-o-o-oh... MCMURPHY What we're gonna have to do is pull this ballclub together for our next play. 'Kay! BILLY 'K-k-kay, Mack!INT. HALLWAY - DAYWashington, Warren and Miller are at the end of the hallway,listening to a small RADIO. We can HEAR the SPORTS ANNOUNCERgiving the line-up for the opening game of the World Series. WASHINGTON'S POV Way down the hall, the Group Meeting is SEEN in progress.INT. DAY ROOM - DAYA Group Meeting is in progress and Big Nurse is honed in onBilly. BIG NURSE Try, Billy, try...Billy tries, but can't talk.The other Acutes are bored, restive, waiting.McMurphy has ants in his pants as Big Nurse speaks to Billy. BIG NURSE (CONT'D) Was it your idea to visit her on Sunday? BILLY Y-y-y-yes... BIG NURSE Tell us about it... BILLY I-I-I-I c-c-c-came over S-S-S Sunday m-m-m-morning after ch-ch-ch church and br-br-brought her s-s some flowers, and I s-s-said, I said, 'C-C-C-Celia, will you muh muh-muh-muh-muh...' till the girl broke out l-l-laughing.Billy laughs at himself. BIG NURSE What was it about her that disturbed you so, Billy? BILLY (rubbing scars on his wrist) I was in luh-love with her. BIG NURSE Billy, were you afraid of her, or of her love?No response from Billy. BIG NURSE (CONT'D) That was the first time you attempted to commit suicide, wasn't it? (no response) You must try to talk about it, Billy. MCMURPHY Jesus Christ, the man doesn't want to talk, so get off his back an' let's get on to some new business. BIG NURSE Mister McMurphy, the purpose of this meeting is therapy. Group therapy. MCMURPHY Yeah, yeah, the hell with that crap! The World Series is goin' on right' now an' that's therapy also! BIG NURSE Let me pose a question to the group: do any of you feel that Mister McMurphy is perhaps imposing his personal desires on you too much? MCMURPHY What the hell does that have to do with it? This is an important event and I want a vote on it! CHESWICK Yeah, let's vote on it! BIG NURSE Will one more vote satisfy you? MCMURPHY Yeah, it'll satisfy me. BIG NURSE Very well. What is it you're proposing, Mister McMurphy? MCMURPHY I'm proposing a re-vote on watchin' the ballgame! BIG NURSE (to the patients) A vote is before the group. MCMURPHY Okay, I wanna see the hands. I wanna see which of you birds has any guts. BIG NURSE Everyone in favor of changing the schedule raise his hand.The first hand to come up is Cheswick's. Then McMurphy's.Then Martini, Scanlon, Sefelt, Fredrickson, Billy and Taber.Harding doesn't vote.Big Nurse starts counting the hands.McMurphy, his face beaming, counts the hands. MCMURPHY That's it! We made it! BIG NURSE I'm sorry, Mister McMurphy, I count only eight. MCMURPHY So do I! BIG NURSE But there are eighteen patients on the ward, Mister McMurphy. MCMURPHY (the light dawning) You mean to tell me you're gonna count those old birds over there? BIG NURSE I'm sorry, Mister McMurphy, but you must have a majority to change ward policy. MCMURPHY Well, I'll be a son-of-a-bitch... BILLY B-But, M-M-Miss R-Ratched, y-you n never c-c-counted th-their votes before!A beat. BIG NURSE (losing ground) You mean you don't want their votes to count, Billy! BILLY I-I-I... MCMURPHY Well, screw that noise!McMurphy rises and, taking his chair, he crosses toward thetelevision set. BIG NURSE Sit down, Mister McMurphy!McMurphy turns the TV on, flips the channel, then sits andwaits for a picture. BIG NURSE (CONT'D) I want you to turn the television off and return to your place!A picture swirls onto the TV screen. The ballgame is inprogress (documentary footage to be used).Martini rushes over and joins McMurphy. Scanlon follows hoton his heels as -- MCMURPHY Hoo-wee! Man, all I need me now is a can of beer and a red-hot.Cheswick gets up and starts across when -- BIG NURSE Sit down, Mister Cheswick.Cheswick stops and stands there, helpless to move. CHESWICK Mack...McMurphy is deep into the game.INSERT - TV SCREENOn the screen a great play is taking place, and at thebreathtaking moment the TV picture swirls into a little eyeof light -- then nothing.BACK TO SCENEThe Acutes are left with their mouths hanging open. BIG NURSE (V.O.) (over loudspeaker) I want you men to return to your proper places. The group meeting is not over!McMurphy continues looking at the blank TV screen as theAcutes look from McMurphy to Big Nurse, not knowing what todo next when -- MCMURPHY (jumping up and shouting at the blank TV screen) A hit! It's a hit! He's rounding first, heading for second. Here comes the throw. He's sliding... and... he's safe! He's safe! (McMurphy whistles and claps his hands) Hoo-wee! Whatta game! Whatta game! Come on, Koufax! Strike 'em out!The Acutes are stunned at McMurphy's outburst. BIG NURSE (V.O.) (over loudspeaker) Mister McMurphy, you are deliberately violating the rules!... MCMURPHY He's into his wind-up. Here comes the pitch. Strike on the inside corner!Sefelt, Fredrickson, Billy and Taber get up and cross towardthe TV. Harding is the only one who doesn't join them. BIG NURSE (V.O.) (over loudspeaker) You men remain seated! MCMURPHY (focusing in on TV screen) He's into his wind-up. Here's the next pitch... and it's a hit! It's a hit! MARTINI (jumping up and down) I saw thum! I saw thum! SCANLON Me, too! Me, too! SEFELT Yes, I see it! I see it! MCMURPHY (on his feet, shouting) Ya-hoo, let's'play ball!The other Acutes pick up on McMurphy and start shouting atthe blank TV screen. ACUTES Ya-hoo! It's a hit! A triple! It's a home run! A double! He's out! Whadaya blind? He's safe by a mile! (AD LIB) BIG NURSE (V.O.) (over loudspeaker) You boys, stop this and go to your assignments! Mister McMurphy, I want you to set an example... MCMURPHY 'Kay, it's two outs, bases loaded as Koufax steps up to the mound... Checks the runners... goes into his wind-up... Here comes the three-two pitch... And it's a fly ball into deep center. Mantle is going back. He's going back! Back! His back is up against the wall... and... he catches it! He catches it!The Acutes are shouting, cheering, stomping and dancing ineach other's arms. BIG NURSE'S VOICE (over loudspeaker) You men stop this! Mister Washington! Miller! Warren!Big Nurse's last words overload the intercom and the systempeaks out. Big Nurse's mouth continues to work in franticcircles as Washington, Miller and Warren rush to quell theuproar.INT. SPIVEY'S OFFICE - DAYDoctor Spivey is seated behind his desk, looking overMcMurphy's papers.McMurphy sits facing him. SPIVEY How are you feeling? MCMURPHY Just fine, Doc... In fact, I think I might've put on a couple of pounds since I got here. SPIVEY Good, good, and how are you getting along on the ward? MCMURPHY Come on, Doc, you know as well as I do what's been comin' down in that loony bin. SPIVEY Yes, well, Miss Ratched feels that you're a disturbing influence on the other patients. MCMURPHY Shoot, Doc, the only one I'm disturbing is that old nurse and her fixed ways. That's all. SPIVEY Yes, that may be so, but in making a careful study of your past record, along with your behavior since you arrived here, my feeling is that you are not mentally ill and it is going to be my recommendation that you be returned to Pendleton where they are better equipped to handle your case.This is the kiss of death to McMurphy. MCMURPHY Come on, Doc, you must be kiddin'. SPIVEY I'm afraid not. MCMURPHY Jesus, that old nurse sure wants my ass in a sling, don't she! SPIVEY No, Mister McMurphy, it's just that we cannot offer you the guidance and assistance that you would receive at Pendleton. MCMURPHY Guidance and assistance! That's insane! Doc, ya gotta help me. SPIVEY I'm sorry, but I can't keep you here. MCMURPHY When? SPIVEY We'll let you know.REACTION SHOT of McMurphy.EXT. BASKETBALL COURT - DAYWashington and Warren are sitting on the grass watchingMartini, Scanlon, Harding and Billy, who are positioned onthe court waiting on McMurphy who is under the board withBromden.Cheswick and the other patients hang around off court as: MCMURPHY (with great physical and vocal emphasis throughout entire scene) Okay, Chief. This is your spot! I don't want you to move from this spot! Never!... 'Kay, now, take the ball! Raise your hands, like this...McMurphy raises his hands above his head. Bromden followssuit. MCMURPHY That's good! That's a good boy, Chief! Now jump and put it in!McMurphy jumps. Bromden doesn't. McMurphy does this a coupleof times. Each time Bromden remains motionless. HARDING He can't hear you! MCMURPHY I know, goddammit! You don't have ta tell me that! HARDING So why are you talking to him? MCMURPHY I'm not talkin' to him! I'm talkin' to myself! It helps me think! HARDING It doesn't help him. MCMURPHY Well, it doesn't hurt him either! (turning to Bromden) Does it, Chief! (no response) See, it doesn't hurt him. (to Bromden) Jump! An' put it in!McMurphy jumps. Bromden doesn't move. HARDING Well, I think you're just confusing him...Bromden jumps. MCMURPHY Ha! Did ya see that! (calling to Cheswick on the sidelines) Hey, Cheswick! CHESWICK Yeah, Mack? MCMURPHY Come here!Cheswick runs over. CHESWICK Yeah, Mack? MCMURPHY Let me get on your shoulders. CHESWICK Sure, Mack...McMurphy climbs on his shoulders. MCMURPHY 'Kay, wheel me around to the basket... 'Kay, easy, easy. Hold it! 'Kay, now. (he sees Bromden has walked away) Hey, Chief, come back!Bromden doesn't hear. MCMURPHY Cheswick, go get 'im!Cheswick goes after Bromden, catches him, and McMurphylatches onto him. MCMURPHY Now, wheel me to the basket.Cheswick, straining under the weight of McMurphy, turnstoward the basket.INT. MEN'S DORM - NIGHTas Bromden, chewing his gum, watches McMurphy ease his wayout of bed and silently cross down the aisle, past the sleeppatients, toward the day room.INT. DAY ROOM - NIGHTas McMurphy crosses the day room, past the nurses' stationwhere Turkle is asleep.INT. HALLWAY - NIGHTas McMurphy crosses down the hallway and stops at the messhall door. He tries the handle. The door is locked. McMurphylooks up at the open transom, ponders it, then jumps up andgrabs the door lintel. He tries to lift himself up, but can'tmake it when suddenly he is lifted up to the level of thetransom by Bromden.McMurphy worms his way through the transom and disappearsdown the other side.CAMERA HOLDS on Bromden who waits. A long beat. There is astrange HUMMING SOUND HEARD O.S. Another beat, then the dooropens.McMurphy smiles at Bromden. MCMURPHY (pointing to the floor) Wait here, Chief. (more to himself as he starts down hall) Heh, heh, I'll show 'em who's crazy.INT. MEN'S DORM - NIGHTMcMurphy is nudging Cheswick awake. MCMURPHY Hey, Cheswick! Wake up! CHESWICK (waking up) Yeah, Mack, what is it? MCMURPHY I'm leaving. Goodbye! CHESWICK (sitting up) Where ya goin', Mac? MCMURPHY Shhh...McMurphy turns and crosses to Billy. MCMURPHY (waking Billy) Hey, Billy. Billy boy, wake up and say goodbye to your ol' buddy. BILLY (waking up) W-w-w-what is it, M-M-Mac? MCMURPHY So long, kid. BILLY Wh-wh-wh-wh... MCMURPHY Shhh...McMurphy turns from the bewildered Billy and crosses toMartini. MCMURPHY (nudging Martini awake) Psst! Hey, Martini, wake up! MARTINI (waking up) Yeah, Mac? MCMURPHY Bye-bye.McMurphy turns to Scanlon. MCMURPHY Scanlon! Hey, Scanlon, wake up! SCANLON (waking up) Yeah, what's up? MCMURPHY Shhhh. See ya around the ball park.McMurphy crosses to Fredrickson and wakes him. FREDRICKSON (waking up) What? What? MCMURPHY So long, Freddy. Don't take any wooden nickles. FREDRICKSON (sitting up) What? MCMURPHY Shhh...The other patients are sitting up, some of them getting outof bed as McMurphy turns to Sefelt who is snoring. McMurphypinches his nose and Sefelt wakes up. MCMURPHY Bye-bye, pussy cat.McMurphy crosses to Taber. MCMURPHY (waking Taber) Up an' at 'em, Taber. TABER (waking up) What's going on? MCMURPHY Shhhh. Time to say goodbye.McMurphy turns and crosses to Harding. MCMURPHY Hey, Hard-on. Wake up, Dumbo.Harding opens his eyes and looks at McMurphy. MCMURPHY (CONT'D) Ya owe me twenty-five bucks. HARDING What for? MCMURPHY I'm busting outta this place. HARDING That's nice. Send me a post card.Harding turns his back to McMurphy. MCMURPHY (turning to the others who have gathered around) So long suckers. BILLY Wh-wh-where ya going, M-M-Mac? CHESWICK How ya gettin' out, Mac? MCMURPHY Shhh... That's for me to know an' you to find out. TABER Bullshit. You ain't got no way out! MCMURPHY Oh, yeah? TABER Yeah! MCMURPHY How much ya wanna bet? TABER (CONT'D) Ten bucks. MCMURPHY You're on. (to the others) Let's go! An' keep it quiet.McMurphy starts down the aisle. The others follow.INT. DAY ROOM - NIGHTas McMurphy and the other patients cross the day room, pastthe nurses' station, where Turkle shifts in his sleep.INT. HALLWAY - NIGHTas McMurphy and the patients cross down the hallway and enterthe mess hall followed by Bromden.INT. MESS HALL - NIGHTCheswick, Bromden, Martini, Scanlon, Sefelt, Fredrickson,Billy, Taber and McMurphy, stand looking at the dumbwaiter. BILLY Wh-wh-what's d-d-down th-there, M-M Mac? TABER Where's it go? MCMURPHY Out. It's the way out. So just keep it in your minds if ya ever wanna make use of it. TABER I don't believe it... FREDRICKSON Neither do I... SEFELT Me too... MARTINI I wanna see it... SCANLON Me too! Me too! BILLY Y-y-yeah, p-p-prove it, M-M-Mac! CHESWICK Yeah, show us, Mac! MCMURPHY Shhh. Wait a minute. You guys are gonna screw up my plans. So just gone on back to bed like nothin' happened. MARTINI No! I wanna go! SCANLON Me too! Me too!Several of the others chime in. MCMURPHY Shhh. Hold it down! I'll take you guys down, but ya gotta come right back up! 'Kay? PATIENTS (simultaneously) 'Kay, Mac! MCMURPHY Shhh... Remember this is a privilege, so I don't want none of you goons fuckin' up. Kay? PATIENTS (simultaneously) 'Kay, Mac! MCMURPHY 'Kay, let's see... (he checks the men out) Cheswick first ... then Billy... Martini... Scanlon... Sefelt... Fredrickson... Taber an' the Chief... 'Kay PATIENTS (simultaneously) 'Kay! MCMURPHY Shhh!INT. TUNNEL - NIGHTThe patients are waiting in the tunnel, which is used as anunderground connecting system to the institutional buildings,as McMurphy gets out of the dumbwaiter. MCMURPHY (looking around) Where's Martini and Scanlon? CHESWICK (pointing) They went that way. MCMURPHY Charlie, ya can't ever let those goons outta ya sight! Understand! CHESWICK Right, Mack!Far down the tunnel Martini and Scanlon are briefly SEEN asthey skitter across the tunnel. SEFELT There they are! MCMURPHY Hey, Martini! Psst! Scanlon! Ya dumb goons, come back here! (starting after them) Come on, let's get 'em!McMurphy starts down the tunnel. The others don't move. MCMURPHY (calling back) Come on, you guys, let's stick together.The Acutes follow McMurphy. They run down to the intersectionand turn the corner.No sign of Martini or Scanlon.Somewhere a DOOR is HEARD SLAMMING CLOSED and FOOTSTEPS areHEARD coming their way. TABER Somebody's coming! MCMURPHY Shhh! (he listens then) This way!McMurphy hustles the men round the corner as two aidespushing a gurney come wheeling by. BILLY I-I-I th-th-think we sh-sh-should go back! SEFELT Yeah, my feet are gettin' cold. FREDRICKSON Mine, too! MCMURPHY We'll go back just as soon as we find those guys! 'Kay? ACUTES (simultaneously) 'Kay, Mack!The band takes off down tbe tunnel, calling out in loudwhispers, "Martini! Scanlon! Psst! Where are you?"Down one tunnel and up another -- till they turn a corner andsee an open door.They go to the door and peer out. Steps lead up to theoutside world. MCMURPHY They must be up there! CHESWICK Yeah! BILLY L-L-Let-'s go b-back!Several Acutes express the same desire. MCMURPHY Come on, don't crap out on me now. We got two buddies out there! BILLY (CONT'D) I-I d-d-don't know! M-M-Miss R Ratched g-g-g-g... MCMURPHY Fuck Miss Ratched!McMurphy crosses out and up the stairs.The Acutes look at each other. A beat, then: MCMURPHY (O.S.) Wow! Look at this!The Acutes don't move. MCMURPHY (O.S.) Hey, you guys, come on up here and take a gander at this!The Acutes inch their way out the door and up the steps.EXT. INSTITUTIONAL GROUNDS - NIGHTas the Acutes join McMurphy to see the moon low in the sky,silhouetting the trees and buildings, and Martini chasingScanlon across the wet grounds. CHESWICK There they are! MCMURPHY (his attention elsewhere) Hey, what's that? SEVERAL ACUTES (simultaneously) What? Where? MCMURPHY (pointing) Over there! SEFELT (squinting) I don't know... BILLY I-i-it's a b-b-bus! MCMURPHY A bus? BILLY (CONT'D) Y-y-yes, a b-b-bus! MCMURPHY Well, shoot, man! Whadaya say we take ourselves a little spin around the place. TABER We'll get in trouble... CHESWICK Yeah, maybe we ought to go back, Mac... FREDRICKSON Yeah, my feet are cold... SEFELT My feet hurt... BILLY I-I-I'm w-w-wet... MCMURPHY (walking towards the bus) Go ahead! Go back!The Acutes cast frightened looks at each other then go afterMcMurphy. Martini and Scanlon join them. BILLY (CONT'D) H-H-How d-d-do we g-g-get b-back?McMurphy has reached the bus and begins checking it out. TABER Yeah, take us back to the dumbwaiter, Mac. MCMURPHY I'm not going back in there. I told ya this was a one way trip. Now stand aside.McMurphy lifts the hood to the bus and begins jumping thewire. The Acutes stand helplessly by as the engine turns overand catches. McMurphy closes the hood and gets on the bus toa chorus of, "Please, Mac, take us back... Please..."McMurphy puts the bus in gear and the bus starts moving. TheAcutes start running alongside of the bus calling out forMcMurphy to take them back. MCMURPHY (shouting to them) Get on assholes!They leap on.EXT. INSTITUTIONAL GROUNDS - ANOTHER ANGLE - NIGHTAs the bus makes a full circle and stops alongside ofBromden. MCMURPHY (waving Bromden onto the bus) Come on, Chief! Let's go!Bromden boards the bus. McMurphy lets out a war whoop as hecloses the door and starts the bus moving.EXT. INSTITUTIONAL GROUNDS - NIGHTas the bus picks up speed and churns across the grounds.INT. BUS - NIGHTthe Acutes look out with wild-eyed excitement.EXT. INSTITUTIONAL GROUNDS - NIGHTas the bus careens out the main entrance and down thethoroughfare.INT. BUS - NIGHTas the Acutes cast worried looks at each other.EXT. HIGHWAYas the bus turns a corner past a sign that reads: DALLES 6, SALMON CREEK 8, DEPOE BAY 11, CAPE LOOKOUT 22,PORTLAND 46INT. BUS - NIGHTMcMurphy is singing at the top of his lungs. MCMURPHY (singing) Your horses are hungry, That's what she did say, Come sit down beside me, An' feed them some hay. My horses ain't hungry, They wontt eat your hay-ay-aeee... BILLY H-Hey, M-Mack. MCMURPHY Yeah, kid? BILLY W-W-Where we g-g-going? CHESWICK Yeah, where we going? MCMURPHY I dunno. Where do ya wanna go? MARTINI I wanna go home! SCANLON Yeah, it's cold! MARTINI I'm hungry. TABER Yeah, we'll miss breakfast! MCMURPHY Breakfast! Hell, I know just the place where we can chow down an' thaw out before we shoot back on home. 'Kay? BILLY 'K-Kay, M-Mack! MCMURPHY (singing) Soo, fare-the-weel, darlin'. I'm gone on my way, My wagons are loaded, My whip's in my hand... DISSOLVE TO:EXT. DEPOE BAY - DAWNThe dawn is just cracking the horizon as the bus pulls upbehind a corroded tin sheet building. A sign reads: DEPOE BAY, SEAMANIS SERVICE, SPORT FISHING, BOATS FOR CHARTERBeyond the boathouse is the dock with several fishingtrawlers and beyond that -- the open sea.The door to the bus opens and McMurphy gets out. MCMURPHY (as he steps out of the bus) This is it!as McMurphy walks directly to the wall, alongside the door,lifts the edge of the siding, comes up with a key, opens thedoor and enters.A beat, then the lights go on inside the building.SHOT OF BUSThe Acutes' faces pressed against the windows, looking out.INT. SEAMAN'S BUILDING - DAWNas McMurphy lifts a cold bottle of beer out of a Coca-Colacooler, opens it, takes a long pull on the bottle, thencrosses to the heater and turns it on.Nearby, a sign reads: ALL EQUIPMENT CAN BE RENTEDOn the walls are old photographs of people with their prizecatches. Fishing equipment, tackle and wet weather gear crowdthe room.There is a counter which McMurphy walks behind and takes abag of potato chips off a wall rack, full of beer nuts,hostess cupcakes, etc.McMurphy eyes the keyboard to the fishing boats. Several keysare there.INSERT - KEYBOARDwith the names of the fishing boats: The Lark. Mary Ann.Noel. Annabella. The Capri.INT. BUILDING DEPOE BAY - DAWNMcMurphy studying the board as the Acutes stick their headsin the door. They're all miserable and cold. MCMURPHY Come on in an' warm up. You can put some of that gear on to keep warm. An' there's beer an' Coke in the cooler an' some food over here...They hesitate. MCMURPHY Come on, don't be shy now, you're among friends.The Acutes come in, Bromden bringing up the rear.Martini goes for the candy. Scanlon goes for the Coke. Sefeltand Fredrickson go for the wet weather gear and boots. Theothers go to the heater. Bromden stands in the middle of theroom. MCMURPHY Why don't one of you boys help ol' Chief there get warmed up?Billy goes to Bromden's aid as McMurphy crosses to a windowand looks out.McMurphy turns and looks out the window. A long beat. CHESWICK When do you think we'll be going back, Mack? MCMURPHY (looking out the window) Come here a minute, Cheswick. You, too, Sefelt. Hey, all you guys, come over here, I wanna show you somethin'.The Acutes cross to the window and look out, saying, "What?What is it? Whadaya lookin' at? I don't see a thing." MARTINI Oh, look at the pretty boat.ACUTES' POVNestled against the dock is a trim fishing trawler,beautifully framed in the bay window. MCMURPHY (V.O.) Yeah, did you ever see a boat like that? Why, I'll bet you could go all the way to Hawaii in that boat! Tahiti... the Philippines... Tibet...CAMERA HOLDS on FULL SHOT of the boat.BACK TO SCENEA long beat, then we SEE the Acutes, wearing wet weathergear, complete with boots and squall hats, each man carryingsoda pop, food, fishing equipment, etc., being led onto theboat by McMurphy who carries a case of beer.EXT. FISHING BOAT - DAWNas a white gorge of smoke and water pours from the stern andthe boat pulls away from the dock, leaving a boiling foam ofwater.INT. SHIP'S BRIDGE - DAWNThe entire crew is jammed into the bridge, McMurphy behindthe wheel.McMURPHY'S POVas the dock and other fishing boats slip by.EXT. HARBOR JETTY - DAWNas the boat passes out of the harbor and heads for the opensea. DISSOLVE TO:EXT. BOAT DECK - DAYThe sun is up. The engine is dead. The ballgame is HEARD OVERship's RADIO. The men are scattered over the boat. Taber andMcMurphy, beer in hand, are sunning themselves, listening tothe ballgame. On the stern Martini and Scanlon are trying torig up a pole. Fredrickson gives them a hand. Billy has aline out. So does Bromden and Sefelt who is seated nearby,fishing the ocean floor when he suddenly gets a bite andlooks over the side, surprised. His line goes straight downinto the depths. His glasses fall off into the water. Sefeltsighs and slowly begins reeling his line in.Billy gets a strike and starts fighting the fish. BILLY H-H-Help! MCMURPHY Ease up on the star drag, keep the tie up, up and work hell outta that fella.Martini gets a strike and loses it. Scanlon comes up andstarts to take the pole from him. SCANLON My turn. MARTINI (hanging onto the pole) No.They start a tug of war. Fredrickson tries to break it up,when he gets a strike and his line spins out.Billy's fish breaks into the sun in a shower of silverscales, and he gets so excited he lets the end of the pole godown and the line snaps. MCMURPHY Up, I told you! Keep that tip up... up! You had you one big silver there.Fredrickson lands his salmon in a spray of scales and blood.The fish is flopping all over the deck. Billy grabs the fishand wrestles it down.Bromden lands a fish when -- SEFELT (O.S.) Oh, my God! I see something!Everyone rushes over to Sefelt and looks down into the water.REVERSE SHOTDeep down in the water a gigantic white form slowly rises outof the depths, becoming solid, alive. SCANLON Jesus God... MARTINI What is it? FREDRICKSON We'll never get that on the boat.The fish is now clearly SEEN. BILLY (calling) M-M-Mack! M-M-Mack!McMurphy pulls himself up. MCMURPHY What is it, kid? BILLY C-C-Come here and l-look at th this!McMurphy crosses down and looks over the side. MCMURPHY He's a big flounder. Could weigh two, three hundred. You got to lift him in with a winch. FREDRICKSON Does that mean we have to cut him loose? MCMURPHY Like hell we will! We got the muscle standing right here. All we need is a couple gaffin' hooks and some rope. BILLY I-I-I'll get them. MARTINI Me, too. SCANLON Me, too.McMurphy turns to Sefelt who is sweating under the strain. MCMURPHY Steady does it, Sefelt!SEFELT'S POVThe massive fish is closer to the surface. DISSOLVE TO:BACK TO SCENEAll the men are standing by as gaffing hooks and rope aremade ready. The fish is gaffed and slowly hauled out of thewater.McMurphy and Bromden lean over, held by the others, grab thebig fish by its gills and, with a heave-ho, the fish is slidin and flopped to the bottom of the boat. The men gosprawling over the big fish. There's a lot of laughter,handshakes and back-slapping going on when -- VOICE (over bull horn) All right! Stand to! Stand to!The men look up.REVERSE SHOT - ACUTES' POVOff the bow is a Coast Guard cutter, and on the deck standsDoctor Spivey, Washington, Warren and several other aidesdressed in white.INT. HALLWAY - STATE HOSPITAL - LATE AFTERNOONas the Acutes, sunburned and covered with dried brine andfish scales, are escorted down the hallway by Washington,Warren and Doctor Spivey.It's a triumphant procession as they wheel the giant flounderwith a sheet over it on a gurney, holding up their catchesfor all to see.McMurphy is lagging a bit behind as they pass the mess hallwhere workmen are busy installing a security screen over thetransom, while inside the mess hall another workman is SEENwelding a lock on the dumbwaiter.INT. DAY ROOMas Big Nurse steps out of the Nurses' Station. SPIVEY (to Big Nurse) Here they are, Miss Ratched. Safe and sound! BIG NURSE Good. Well, boys, did you enjoy yourselves?A burst of exuberance as the inmates hold up their fish. FREDRICKSON (to Sefelt) Show her the one you caught, Jim.Sefelt whips the sheet off the big fish. BIG NURSE My, my...No one can find superlatives or gestures big enough todescribe his catching of the big fish, "brought it inhimself" AD LIB. MCMURPHY Yeah, ya should've come along with us, Miss Ratched, an' gotten a little sun on your cheeks and maybe caught a fish or two. BIG NURSE Mr. McMurphy, you had no right to take these men out with you! MCMURPHY (loudly) Yeah, that's kind of crazy, ain't it! BIG NURSE No, it was irresponsible!Big Nurse turns to the others, leaving McMurphy dangling. BIG NURSE (CONT'D) (respectfully) That's quite a catch, Jim. Whaat are you going to do with it? MARTINI (crossing to McMurphy) Gimme a cigarette! SEFELT I thought I might donate it to the mess hall. MCMURPHY (reaches in his pocket; he has none) I don't have any.AD LIBS: "They could use it." "Take a picture first." BIG NURSE (CONT'D) That's an excellent idea. Now, why don't you boys place your fish on the gurney and we'll see to it that everyone enjoys a fresh fish dinner.The men toss their fish on the gurney as Martini joins thegroup and starts hitting the others up for a cigarette. Allhe gets for his troubles are a series of "No," "Get lost," "Idon't have any." BIG NURSE (CONT'D) Thank you, boys. Now if you'll just go along with Mister Washington to the showers, supper is in half an hour.The inmates start AD LIBBING and laughing, "We're nothungry," as Martini sees Harding light up a cigarette andcrosses to him. MARTINI (to Harding) Gimme a cigarette! HARDING No! MARTINI Why not? HARDING I'm not running a charity ward...Martini snaps the cigarette out of Harding's hand, and takesoff with Harding chasing him.Martini dashes around the room, pulling chairs in Harding'sway, taking a drag on the cigarette whenever he can.Harding corners Martini, but Martini tosses the cigaretteover Harding's head to Scanlon.Scanlon takes off with Harding after him, absolutely livid.Scanlon passes to Billy who passes to Martini. Everyone inthe room is getting wired.Martini throws it away as Harding jumps him and nails him tothe floor. MARTINI (holding his hands up; empty) All gone! All gone! Don't hit! Don't hit!Harding starts pounding Martini's head on the floor whenBilly and Scanlon jump Harding and start pounding him.Fredrickson picks up the cigarette and stands there watchingthe fight as he smokes the cigarette as Washington, Warrenand Miller move in and start separating the men.McMurphy, watching the fight, sighs, then deliberatelycrosses toward the Nurses' Station.INT. NURSES' STATION - MISS PILBOW'S POV - DAYas McMurphy reaches the Nurses' Station and puts his handthrough the plate glass window, his fist stopping inches fromMiss Pilbow's startled face. Miss Pilbow's scream is added tothe SOUND OF THE SHATTERED WINDOW.INT. DAY ROOM - DAYMcMurphy reaches in and picks up his carton of cigarettes. MCMURPHY I'm sure sorry, ma'am. Gawd, but I am. That window glass was so clean I didn't even see it...McMurphy turns and crosses back to the day room, opening thecarton of cigarettes as he goes. MCMURPHY You guys want cigarettes! Here's the goddamn cigarettes!McMurphy starts tossing packages of cigarettes into the massof struggling bodies as Washington grabs McMurphy by the armand tries to wheel him away.McMurphy shakes him off and throws a pack of cigarettes inWashington's face.Washington goes after McMurphy, grabs him, and drives himagainst the wall, right next to Bromden, who watches asMcMurphy shoves Washington away, goes into a crouch andstarts circling Washington. Washington dances in and out,chipping away at McMurphy's face until McMurphy drives hisfist square into Washington's white, starched chest, drawinghim against the wall.McMurphy moves in for the kill. WASHINGTON Warren! Miller!The Acutes have stopped fighting and are watching.McMurphy tags Washington, then is grabbed from behind byWarren, who pulls him back.Washington moves in and goes to work on McMurphy, whenBromden grabs Washington, from behind, in a bear hug.Miller jumps on Bromden's back. Bromden, still holdingWashington, backs up into the wall, squashing Miller, whoscreams out.EXT. HALLWAY TO DISTURBANCE WARD - LATE AFTERNOONas McMurphy, bruised from the fight, and Bromden, handcuffedto a special belt, wait while an aide unlocks the first of adouble set of heavy security doors.The first door is locked, leaving McMurphy, Bromden, and thethree aides crammed in the small space between the two doorswhile another aide opens the second door and McMurphy andBromden step through, followed by the aides.INT. DISTURBANCE WARD - LATE AFTERNOONAs the aide locks the door behind them, the other aides leadBromden and McMurphy toward a bench, where they unshacklethem. AIDE (pointing to a bench) Wait over there...The three aides go down the hall, leaving McMurphy andBromden who sit and look at their new surroundings. There isa man sitting next to them.McMURPHY'S POVThe architecture is the same as the ward we left below, butit is the atmosphere that is different. A heaviness pervadesall. Heavily sedated patients sit isolated from each other.Others stand shifting from one foot to the other, whileothers walk up and down the hallway, their locomotive powersnot unlike that of Parkinson's Disease (caused by too muchsedation).Suddenly, one patient gets up, speaking very angrily,shouting incoherently at no one; he crosses the hall andenters a side room. An aide goes in after him. A long beat,then the aide comes out with the patient and gently leads himback to his seat, talking softly to the man.Further down the hallway, a gurney is wheeled out of the eastroom with a patient lying on it, out cold; he is wheeledfurther down the hall to the men's dorms, where he is left tosleep it off.Two aides come out of the EST room and head in McMurphy'sdirection, where one of the aides motions to the patientsitting next to McMurpby. AIDE (CONT'D) (approaching him very gently) Come on, Joey... this isn't going to hurt you... good for you... make you feel better...The patient clings to the bench, terrified, weeping.The aides peel him off the bench and escort him down the hallto the EST room.ANOTHER ANGLEAs McMurphy watches the patient go, he takes out a package ofgum. Takes a stick for himself and gives Bromden one.McMurphy turns back to his own thoughts. BROMDEN Thank you.McMurphy looks up. A long beat. MCMURPHY Say it again. BROMDEN Thank you.Another beat. MCMURPHY Say... God Bless America! BROMDEN God Bless America. MCMURPHY (slapping his thigh) Goddammit, you sly son-of-a-bitch! Does anybody else know? BROMDEN No. MCMURPHY Shit! This is too much! (his mind going a mile a minute) Chief, I tell you we're gonna bust outta this place an' make it all the way to Canada before they know what bit 'em. BROMDEN Ca-na-da... MCMURPHY Ya like that, Chief, huh? BROMDEN Yeah... MCMURPHY Yeah, well, well, well. 'Bout time the rest of the world got a gander at Big Chief Bromden cuttin' down the boulevard, stopping just long enough for virgins... Oh, man, I tell you, I tell you, you'll have women trippin' you and beating you to the floor... BROMDEN Ca-na-da... MCMURPHY Shhh, Chief, don't talk. Never talk! Remember, this is just between you an' me. Do ya understand?Bromden nods. NURSE ITSU (O.S.) Mister McMurphy.McMurphy turns to see Nurse Itsu. The two aides are standingbehind her. MCMURPHY (recognizing a long-lost friend) Hey, how ya doin'? NURSE ITSU Fine, thank you. (offering pills) Here, please take these. MCMURPHY What are they? NURSE ITSU To help you relax... please...McMurphy takes the pills and downs them. Bromden takes hispills. NURSE ITSU (CONT'D) Please take off your shoes.McMurphy takes off his shoes. NURSE ITSU (CONT'D) Please follow me. MCMURPHY (rising, thumbs up) You an' me, Chief.McMurphy, flanked by the two aides, follows Nurse Itsu to theEST room. MCMURPHY (to Itsu) You know, I never got your name. NURSE ITSU (stopping at the door) Miss Itsu. (indicating the room) In here, please. MCMURPHY You comin' in to hold my hand? NURSE ITSU No... MCMURPHY Yeah... Well, see ya around, Itsu.Itsu smiles at McMurphy. MCMURPHY Yeah...McMurphy gives Bromden one last wave and goes in.Bromden watches the door close behind McMurphy.INT. EST ROOM - LATE AFTERNOONThere are four other aides in there, standing around an emptygurney.A DOCTOR is at the head of the gurney, a NURSE alongside ofhim. MCMURPHY (as he enters) Hi...McMurphy looks around at the six aides. MCMURPHY You boys can take a cigarette break now...The Nurse smiles at him. DOCTOR That's all right, Mister McMurphy, just climb on the bed and lie down... MCMURPHY Whatever you say, Doc...McMurphy climbs on the bed and lies down.The Doctor moves around to the side of the bed and takesMcMurphy's pulse, while the Nurse dips her fingers into a jarof salve. DOCTOR (to McMurphy) This won't hurt you at all... MCMURPHY Uh, uh...The Nurse starts applying salve to McMurphy's temples. MCMURPHY What's that for? NURSE Conductant. MCMURPHY (smiling up at her) Surely, goodness and mercy will follow this, eh, honey? DOCTOR (holding a mouthpiece) Please, put this in your mouth...McMurphy takes the bit in his teeth. The Doctor moves back tothe head of the gurney and places the thongs on McMurphy'stemples.The Doctor nods to the six aides, who move in and gentlyplace their hands, in a very professional manner, onMcMurphy's knees, hips and shoulders. Once set, the Doctorturns to his controls.SHOT OF McMURPHYas he looks around, not nearly as scared as he is mystifiedby the whole process, when suddenly, without warning,McMurphy is hit by the shock. His face is a contorted mask ofsurprise and pain. His whole body caught in a sudden spasm. Amoment of rigidity, then McMurphy passes out and his bodyrelaxes. Another moment, then a series of violent body spasmsbegin flowing down his body. Now the aides' function is veryclear, as they press down, holding McMurphy firmly to thegurney, until the last spasm subsides. SLOW FADE OUT TO:FADE IN:INT. DAY ROOM - DAYA Group Meeting is in progress. Doctor Spivey is there. BIG NURSE (to Sefelt) It's been brought to my attention that you're giving Mister Fredrickson your medication, aren't you, Mister Sefelt? SEFELT It's the Dilantin that makes my gums soft! BIG NURSE Now, Jim, you must be honest with yourself.At the end of the hall, the door opens and McMurphy andBromden enter the visitors' room, accompanied by Washingtonand Warren. They cross to the security gate, open it and passinto the hallway.Washington and Warren disappear into a room, leaving McMurphyand Bromden, who walk slowly towards the day room.The Group Meeting continues over as Fredrickson raises hishand. BIG NURSE (CONT'D) Yes, Mister Fredrickson? FREDRICKSON I wanna know why the dorm has to be locked in the daytime and on weekends? TABER Yeah, why can't a fellow even have the weekends to himself? CHESWICK (standing up) Yeah, whadabout our cigarettes? BIG NURSE Sit down, Mister Cheswick, and wait your turn!He sits. BIG NURSE (CONT'D) If the dorms were left open, you would just return to bed after breakfast... FREDRICKSON So what? Is it a mortal sin? I mean, normal people get to sleep late on weekends... BIG NURSE With few exceptions, time spent in the company of others is therapeutic, while every minute spent brooding alone only increases separation. CHESWICK (jumping up as he sees McMurphy) Mack!Everyone looks at McMurphy and Bromden.Bromden is as he always was, as McMurphy slowly drags himselfinto the day room. He looks like a zombie as he takes theroom in. Then, suddenly, he slaps his thigh. McMURPHY Hey, hey, you ding-a-lings, you creeps, you goons...He enters the room doing a jig. The Acutes' faces light up. MCMURPHY I got ten thousand watts and hot to trot. First woman takes me on is gonna light up like a pinball machine an' pay off in silver dollars...McMurphy does a full circle of the room, greeting theChronics. But it's an effort for him. His voice is slower,his footwork slightly out of sync. BILLY H-h-how's it g-g-going, Mack? MCMURPHY Just fine, Billy boy, just fine. Full of piss an' vinegar! They checked my plugs and cleaned my points... BIG NURSE Mister McMurphy. MCMURPHY (turning) Yes, ma'am? BIG NURSE Welcome back. MCMURPHY Thank you, ma'am. BIG NURSE I hope everything is settled. MCMURPHY Ma'am, I'm as gentle as a puppy dog. Why, I haven't licked the tar out of an aide for two weeks! Hi ya, Doc!Spivey greets McMurphy. BIG NURSE Good. Why don't you join us? MCMURPHY Why, thank you, ma'am... (he gets a seat and sits heavily) Whew. Man, I tell you, that place up there is somethin' else! (pulling it together) Well, ya boys been practicin' up for the big game? (no response) I figured as much... BILLY W-W-We h-heard y-you w-were n-never c-c-coming back! MCMURPHY Yeah, well, let me tell ya somethin'... While I was up there gettin' in-lightened, I came up with one hellava plan...A great sadness suddenly sweeps over McMurphy's face and hebreaks off. BILLY Wh-wh-what p-plan, M-Mack!No response from McMurphy. HARDING What's your plan, Mack? MCMURPHY (coming out of it) Plan?... Oh, yeah, the plan... Yeah...McMurphy gets up and crosses to the window, where he joinsBromden who is looking out the window.REACTION SHOT of the others as they look at McMurphy and eachother with quizzical looks.INT. GYMNASIUM - DAYOn the court both teams are lined up taking photographs forthe local newspaper. The bulb pops a few times. PHOTOGRAPHER (wrapping it up) Thank you, boys.The line breaks up. McMurphy crosses to Big Nurse, who sitsin the front row.It's the big Saturday game between the Acutes and Aides, asspectators enter the gymnasium already half-filled with maleand female patients, staff members and visitors.Doctor Spivey stands nearby at the timers' table, basketballin hand, whistle around his neck, talking to the timer. MCMURPHY Miss Ratched, would you please save a space for my aunt? She's comin' down from Portland. BIG NURSE Certainly, Mister McMurphy, with pleasure. MCMURPHY Thank you, ma'am...O.S. the WHISTLE BLOWS. MCMURPHY Gotta go now, ma'am... BIG NURSE Yes. Good luck, Mister McMurphy. MCMURPHY Thank you, ma'am.McMurphy crosses onto the court. Big Nurse watches him go.BASKETBALL COURTDoctor Spivey is at half-court, basketball in hand as theplayers take up their positions: Washington faces McMurphyfor the jump at center. Harding and Billy are playing guardwith Warren and Miller on them. Martini and Scanlon are inthe forward position, with the two white Aides covering them.The other Acutes sit on the bench as substitutes. MCMURPHY (to Washington) Hey, Sam, bet ya two bucks ya lose. WASHINGTON Shit, man, tha' ain't even worth considerin'. MCMURPHY How 'bout twenty? WASHINGTON Now you talkin'. MCMURPHY Bet! WASHINGTON Bet you ass... MCMURPHY (to Spivey) You're a witness, Doc! SPIVEY Me? I didn't hear a thing! Let's play ball!Spivey checks the court, then blows the whistle as he tossesthe ball into the air.Washington taps the ball to Warren, who passes to Miller, whohands off to Washington, who goes up for a layup. Two points.The Acutes haven't even moved from their spots. Thescoreboard reads: AIDES 2 PATIENTS 0. MCMURPHY (taking the ball out) Come on, wake up, you ding-a-lings. The game is on.The Acutes snap to and McMurphy passes the ball into Harding,who fiercely dribbles down court, McMurphy running alongsidehim. MCMURPHY Pass the ball, Harding... (no pass) Don't hang onto it... (no response) Pass it, goddammit!Harding dribbles into the corner and finds himself bottled inby two Aides. MCMURPHY Harding, here, over here!The ball is snagged from Harding's hands by an Aide, whopasses it down court to another Aide, who turns and makesanother basket.Scoreboard: AIDES 4 PATIENTS 0 MCMURPHY (to Harding) Ya deaf! I said pass the ball! HARDING What are you talking about??? Everybody was covered!!! Everybody was covered!!! MCMURPHY I was open! Come on, let's play ball!McMurphy and Harding turn to see Martini, down court, passingthe ball into Billy. WASHINGTON (slapping his hands) Gimme tha' ball!Billy panics and hands the ball to Washington, who turnsaround and makes another basket. Score: AIDES 6 PATIENTS 0.McMurphy and Harding run down court, McMurphy taking the ballaway from Martini, who would like to bring it in. MCMURPHY (to Washington) What kind of crap is that??? WASHINGTON (CONT'D) Jus' playin' the game, sucker...Washington chuckles and trots on down court. MCMURPHY (to Martini) Get down there where ya belong, Martini. You, too, Scanlon. (tosses ball to Harding) You take it out, Harding!Harding takes the ball and passes it in to McMurphy, whoturns and dribbles down court exactly like Harding did. HARDING (running alongside McMurphy) Pass the ball! (no response) Pass it! (no response) Pass it! Pass it! I'm open, McMurphy, pass the ball!McMurphy stops dead in his tracks and flings the ball atHarding. The ball bounces off Harding's head and goes out ofbounds. The WHISTLE BLOWS. Harding spins a few times. MCMURPHY (O.S.) Harding, get back here!Harding turns to see the other team go by. They score anotherbasket. Score: AIDES 8 PATIENTS 0.Billy takes the ball and passes into McMurphy, who turns tosee CANDY enter the gym, with her friend, ROSE. MCMURPHY (calling out) Candy. Candy, over here. (to Doctor Spivey) Hey, Doc, time out. SPIVEY (blowing his whistle) Time out!McMurphy tosses the ball to Spivey, then crosses the court toCandy and Rose, who have had a couple of drinks on the waydown. CANDY Mack, you sonofabitch, you ol' fucker, how've you been? MCMURPHY (swinging her around in his arms) Terrific, baby, terrific! (to Rose) Hi ya doin', Rose? ROSE Okay, Mack! (looking around) Whoowe, Candy girl, are we in an insane asylum or ain't we? MCMURPHY (to Candy) How's your ass been holdin' up, honey?Candy pokes her ass at McMurphy. He gives it a squeeze. O.S.a WHISTLE BLOWS. MCMURPHY Come on, girls, we're holding up the game!McMurphy leads the two ladies across the court.The entire gymnasium is riveted on the three of them. As theyreach Big Nurse: MCMURPHY Miss Ratched, this is my Aunt Candy and her friend Rose...Greetings are exchanged. MCMURPHY Miss Ratched was kind enough to save you ladies a seat...The two ladies wedge themselves in next to Big Nurse. O.S.the WHISTLE BLOWS. MCMURPHY Talk to ya at half time!McMurphy turns and crosses onto the court. CANDY (calling after him) Sock it to 'em, kid! ROSE (taking in the players) Are they all crazies? BIG NURSE No. ROSE Oh, just those guys dressed in white? BIG NURSE No, miss, it's the other way around. ROSE Well, you could've fooled me.On the court, McMurphy throws the ball to Martini.Martini throws the ball to McMurphy.McMurphy throws the ball back to Martini.Martini throws the ball into the stands.The WHISTLE BLOWS O.S. MCMURPHY Whadaya doin', there's no one there! MARTINI I saw 'em! I saw 'em. HARDING (O.S.) (shouting) Mack, get back here!McMurphy turns to see the other team go by and score abasket.Billy passes the ball into MeMurphy. MARTINI Gimme the ball! MCMURPHY (holding the ball) Okay, Martini. That's okay. Now you watch me.McMurphy dribbles the ball down the sideline. Stops.Goes into his routine of ball tricks: faking one way, thenthe other, over his head, under his legs, finally ending on apass behind his back which goes straight into Washington'shands. Washington dribbles down court for an easy layup.Score: AIDES 10 PATIENTS 0 MCMURPHY (to Spivey) Time out! SPIVEY (blowing his whistle) Time out! MCMURPHY (shouting to Timer) Replacement coming in! Harding out!McMurphy crosses to Bromden, takes his hand, and leads himonto the court and under the Acutes' basket, where hemaneuvers him into the proper position. Then McMurphy raiseshis hands above his head and Bromden follows suit. MCMURPHY (starting back up court) Time in! (sees Harding still on court) Hold it! Time out! (to Harding) I said Harding out! HARDING I refuse! MCMURPHY I said out! HARDING (casting a quick look at his wife) No! MCMURPHY I'm the coach! HARDING I just started! MCMURPHY You can come back later! HARDING I don't trust you! MCMURPHY (looking for another victim) Scanlon out! SCANLON No! MCMURPHY Martini out! MARTINI No!McMurphy looks at Billy. BILLY I-I-I-I-I'll g-g-g-go, M-M-Mack... MCMURPHY Good boy, thank you, Billy.Billy goes off and sits by Big Nurse. Now, the lineup on thebench is Billy, Big Nurse, Candy and Rose.Spivey blows the whistle.Under the Aides' basket, Harding passes the ball intoMcMurphy, who dribbles to half court, takes his mark, andlobs the ball over the outstretched arms of the Aides rightinto Bromden's waiting hands. Bromden turns and slams theball into the basket.The crowd goes bananas. Score: AIDES 10 PATIENTS 2Bromden walks in majestic dignity the full length of thecourt and takes up his position under the Aides' basket,while McMurphy and his teammates have been putting tremendouspressure on the Aides, not allowing them to pass the ball in.As soon as McMurphy sees that Bromden is firmly set, handsheld up, under the Aides' basket, McMurphy turns and runsdown court, followed by the other Acutes, where they take uptheir defensive position.Washington and the Aides easily bring the ball down court,work themselves into position, and take a shot at the basket,which Bromden swats aside.Each Aide gets a shot at the basket, and each time Bromdenswats it aside; sending the last swat into McMurphy's waitinghands.McMurphy dribbles the ball up court, where he runs into heavypressure from Washington. HARDING (off to the side of McMurphy) McMurphy, pass the ball!McMurphy passes the ball to Harding and cuts toward thebasket. MCMURPHY (as he cuts past Harding) Harding, pass the ball!Harding ignores McMurphy, as he runs by, and throws the ballto Bromden, who turns and slams the ball into the basket.The crowd goes bananas.Score: AIDES 10 PATIENTS 4 CANDY (at the top of her lungs) Atta boy, Mack! (to Big Nurse) What's he in for? BIG NURSE Who? CANDY Mack! BIG NURSE Miss, it's a complicated case. It would take too long to explain. CANDY Yeah, well, he looks like hell!CHEERS are HEARD O.S. Candy turns back to the game.CAMERA HOLDS on Candy, Big Nurse and Billy, who is staring atCandy. BIG NURSE (to Billy) Billy, it's not polite to stare!Billy sinks back, thinks it over, then presses forward. BILLY (to Candy) Miss!Candy looks at Billy. BILLY (CONT'D) Hi! CANDY (giving him a big smile) Hi...Billy sinks back in his seat.On the court, McMurphy dribbles down to half court where heis stopped by Washington and Warren, who put the squeeze onhim. McMurphy turns and gives them his ass to contend with,then manages to throw the ball under his legs andWashington's legs. The ball rolls to Martini, who scoops itup and throwing it wildly away, the ball ricochets off thebackboard and goes in for two points.The crowd goes bananas. Score: AIDES 10 PATIENTS 6Bromden starts striding down court when the Aides make a fastbreak past him, but miss their shot.McMurphy retrieves the ball as Bromden, not more than severalfeet from his own basket, does an about-face and returns tohis basket where he turns to see McMurphy lob the ball fullcourt to Bromden, who catches the ball on one bounce, turnsand slams the ball in for another basket.Score: AIDES 10 PATIENTS 8The crowd goes bananas and Bromden turns and starts stridingdown the court when he sees McMurphy at the far end of thecourt yelling at him. MCMURPHY (yelling and gesturing) Run, Chief, run!Bromden gets the idea and starts loping down court abreast ofWashington, who is making another fast break towards his ownbasket.Washington and Bromden go up together and Bromden swats theball to Scanlon. MCMURPHY (yelling and gesturing) Run, Chief, run!Bromden starts running towards his own basket, Washington hoton his heels, when the ball is passed to him and he goes up,makes the point, but takes a bad spill, crashing head overheels to the floor.The crowd gasps. The WHISTLE BLOWS. SPIVEY (shouting) Foul!As McMurphy charges across court and grabs Washington by hisshirt... MCMURPHY (breathing in Washington's face) Ya fuckin' coon, you're not on the ward now! WASHINGTON (cool as a cucumber) Take you han's offa me!Spivey comes running, blowing his whistle. SPIVEY Break it up, boys! (to Timer) Point counts. One free throw!McMurphy pushes Washington away and turns to Bromden, who isbeing helped off the floor by Harding, as... MARTINI AND SCANLON Great shot, Chief! Ya okay? You're doin' great!They lead Bromden to the foul line. MCMURPHY (to Washington as they line up at the foul line) We got your black ass now, Washington, wanna bet another twenty? WASHINGTON No way...Bromden takes the ball at the foul line. Sets himself up andlobs the ball underhand. It goes in.The crowd goes wild.INT. MEN'S DORM - NIGHTThe patients are asleep except for Bromden who sits on theedge of his bed watching McMurphy, his face pressed againstthe window, looking out. TURKLE (approaching) What you boys doin' up at this ungodly time o' the night? MCMURPHY Prayin', brother. Prayin'. TURKLE Well, you boys finish it up an' climb back into your beds. 'Kay? MCMURPHY 'Kay...The men slide into their beds and Turkle goes off, cluckingto himself.A beat, then McMurphy rushes back to the window and looksout.McMURPHY'S POVOutside, in the dark, Candy and Rose are seen wanderingaround.REVERSE ANGLE - BROMDEN AND McMURPHY MCMURPHY There they are, Chief!McMurphy tries to get the girl's attention and fails. MCMURPHY Where are they goin'?McMurphy takes off, towards the day room, followed byBromden.INT. DAY ROOM - NIGHTAs the two of them cross into the day room heading for thewindow, Turkle sticks his head out of the nurses' station. TURKLE I thought I told you boys to go to bed! MCMURPHY (flagging the girls) Our prayers have been answered, Turkle! Our prayers have been answered!McMURPHY'S POVas we SEE the girls coming.REVERSE ANGLE TURKLE Oh yeah... MCMURPHY I tell ya, there's an angel of mercy standing out there, Turkle. TURKLE Hallelujah, brother, now get back in bed! MCMURPHY Come an' see.Turkle comes out of the nurses' station, leaving the sidewindow open. TURKLE (crossing to McMurphy) That angel of mercy, he ain't a she, is he? MCMURPHY You's better believe it, brother!Turkle reaches the window and sees the girls outside.CANDY and ROSE'S POV - THE MEN looking out.BACK TO SCENEas Turkle turns to McMurphy. TURKLE Ah believe ya, brother. Ah believe ya! MCMURPHY (taking Turkle aside; holds up $20 bill) Now, wouldn't you pray for twenty bucks, a bottle booze an' a piece of that angel cake? TURKLE (taking the $20 and reaching for his keys) Ah'm on my knees, brother, ah'm on my knees.Turkle unlocks the security screen and raises the window.McMurphy sticks his head out the window. CANDY AND ROSE (both slightly tipsy) Hiya, Mack. MCMURPHY Hiya, girls... TURKLE Shhh...Candy passes a heavy bag of bottles in. Then McMurphy andTurkle help her in. Her dress is above her thighs, her assvisible as she swings over the windowsill and into McMurphy'sarms. CANDY Whew! Made it! MCMURPHY (embracing Candy) Man, you look good 'nough to eat! CANDY Yeah, well you look like hell warmed over... ROSE (O.S.) Hey, pssst! Whadda 'bout me?Turkle turns to help Rose in, but she's not as easy tohandle, being a good deal heavier and twice as plastered asCandy. TURKLE Hey, Mac! Gimme a hand, will ya!McMurphy disengages himself from Candy and lends Turkle ahand. Rose is finally hauled into the room. ROSE (giggling; loud) Whew! Hiya, boys! TURKLE Shhh... let's move it away from the window...The group shifts a few feet as Turkle closes the window andlocks the screen. McMurphy turns back to Candy. MCMURPHY (arms open) Come here, sugar...Candy moves into McMurphy's arms as Rose, straightening herdress, turns to see Bromden looming. Rose SCREAMS. TURKLE What happened? ROSE (backing into Turkle) What's that? TURKLE (mystified) What? ROSE (pointing at Bromden) That! TURKLE Oh, that. That ain't nothin' to be afraid of, ma'am. Just ol Chief Bromden. That's all... ROSE Is he one of the loonies? MCMURPHY He's a patient, Rose... ROSE Oh, yeah... MCMURPHY Yeah... ROSE (approaching Bromden tentatively) Hi ya, big boy? How's it goin'? Like it in here? MCMURPHY He can't hear you, Rose. He's just a big deaf an' dumb indian... CANDY Pssst! Hey Rose! There they are! ROSE (looking around) What? Where?CANDY points to the patients sleeping in the men's dorm. CANDY In there. ROSE Wow! They're so quiet. TURKLE They're sleeping, Miss. They're sleeping. An' we gotta keep it down so we don't disturb their sleep. ROSE Are they dangerous when they're awake? TURKLE Oh, no, Miss. Not these loonies. These are nice guys. Nice guys. CANDY What's that smell? TURKLE What smell? CANDY Smells weird. Smells like pneumonia. TURKLE Ammonia, Miss... ROSE Smells like piss. Is this real, Candy? Is this really real? I mean we are in an insane asylum, an' I wanna know how we got ourselves into this scene. TURKLE Shhh, please, Miss. Keep it down...Rose turns to McMurphy who has opened a bottle of booze andis taking a long pull. ROSE (to McMurphy) Who is he? MCMURPHY (passing the bottle to Turkle) He's in charge. ROSE Are you a doctor? TURKLE (passing the bottle to Rose) Not exactly, Miss. Not exactly. ROSE (drinking and passing the bottle to Candy) Yeah, well, I'll tell ya somethin'. I'll tell ya somethin'. I had this boyfriend, Chuck. (to McMurphy) Ya know him, Mac. Ya remember, Chuck. MCMURPHY Sure, I know Chuck. I know him. ROSE Well, listen to this. He got mad at me one day. Boy, did he get mad at me. He took the light bulb, ya know. I thought he was going to cram it right up me, ya know. But he ate it. He ate the whole fucking light bulb. (to Turkle) Now, tell me! Is he crazy? Tell me! Is he crazy? TURKLE Well, Miss... I would say... I would say, yes. Yes, he's crazy. ROSE I thought so. TURKLE Is he in an asylum? ROSE He's dead. TURKLE Oh, I see. He was a very sick man. Very sick. ROSE That's what I told his mother. And she said I was crazy. Her son ate the whole fucking light bulb and she said I was crazy. TURKLE I don't know anything about that, Miss. I would have to examine you first... ROSE You ol' fucker! TURKLE Well, I'm running a risk by letting you in, Miss. You know I'm runnin' a risk of gettin' my black ass fired. If you understand what I mean... MCMURPHY Sure, she understands what you mean. She's not dumb. Why do you think Rose came to visit us? Rose is very interested in hospitals and hospital facilities. Aren't you, Rose? ROSE What? TURKLE I'll be very glad to show you around, Miss... MCMURPHY Yeah, that's a good idea, Turkle. Why don't ya take Rose on a little tour of our facilities... ROSE Wait a minute... CANDY It's okay, Rose. You can go with him. ROSE Oh yeah! Well if ya don't mind, I'll decide on my own date! CANDY Shit, Rose! What's there to decide? There's only four of us. ROSE Whaddaya talkin' about? There's at least twenty guys in there. Let's wake 'em up and get this party on the road. TURKLE Now, Miss. What do you want with twenty zombies when you got a twenty gun salute looking you right in the face. ROSE Oh, yeah... TURKLE You better believe it, you sweet little thing. You better believe it... ROSE Don't you sweet talk me you ol' spook, you! TURKLE Oh, I'm all through talkin'. Now, let's just you an' me trip on down that hall. CANDY Go with him, Rose. Go with him. ROSE Well, okay, but I just want to look at the facilities. That's all. TURKLE That's all I'm going to show you.McMURPHY'S POV - TURKLE AND ROSEas the two of them cross out of the day room toward thehallway, Turkle suddenly turns and hurries back to McMurphy,takes the bottle of booze and hurries off clucking tohimself.BACK TO McMURPHY and CANDY. MCMURPHY 'Kay, lets get under way.McMurphy crosses to package of booze, selects another bottle,unscrews the top and takes a long pull, then hands the bottleto Bromden. MCMURPHY Down the ol' hatch, Chief.Bromden takes a long pull on the bottle, gags and passes thebottle to McMurphy who crosses to the nurses' station andpeeks around the corner.McMURPHYas he peeks around the corner.McMURPHY'S POV - TURKLE AND ROSEfar down the hallway, as Turkle shows Rose one room, thenanother, and then the seclusion room, into which Turkleplayfully lures Rose, who playfully resists, but finallyenters. A beat passes and they don't come out.BACK TO McMURPHYSatisfied, he crosses to the nurses' station, reaches in theopen side-door window, opens the door and enters.INT. NURSES' STATION - NIGHTas McMurphy enters the nurses' station and looks around.INT. MEN'S DORM - NIGHTThe patients are all asleep. A very long beat, then -- MCMURPHY (V.O.) (through loudspeaker; very low, ominous, drawn out) Who knows what evil lurks in the hearts of men...Ominous LAUGHTER, then the lights go flashing on and off. MCMURPHY (V.O) (through loudspeaker) Medication time! Medication time! Rise and shine! Rise and shine! Time to say goodbye... Everybody up, up, up!Some of the patients immediately pop awake as Candy comes inand starts hustling the patients out of bed. CANDY Up and at 'em, boys. BILLY (waking up) H-H-Hi, Candy... CANDY Hi, Billy.INT. DAY ROOM - NIGHTMUSIC OVER as the patients are queued up at the nurses'station where Candy is handing out cups full of whiskey,McMurphy backing her up, pouring the booze into the cups.Harding takes his cup and moves back into the day room asEllis automatically downs the booze, gags and goes spinningoff across the hallway and is nailed to the wall. QUICK CUT TO:DOWN THE HALL - TURKLEsticks his head out the door to check the scene out. Seeswhat's happening and comes rushing down the hallway, withouthis shirt, and zipping up his pants.INT. NURSES' STATION - NIGHTas Turkle shoves his way to the intercom system and switchesoff the lights and music. TURKLE (furiously pushing them out) You crazy goons... shut up an' get outta here... Out! Out! Out!INT. HALLWAY - NIGHTSilence as the last man is driven out of the nurses' station.Down the hallway, a light goes on in the visitors' room. TURKLE Shit, it's the soo-per-visor come to fire my black ass.A KEY is HEARD hitting the lock at the end of the hallway.Without losing a beat, Turkle reverses his movement andstarts pushing everybody back into the nurses' station. TURKLE (CONT'D) (pushing) Get back in there! In! In! In!As Turkle pushes the last man into the nurses' station, hesees Rose stick her head out of the seclusion room. TURKLE (CONT'D) (motioning and shouting) Stay in there! Stay in there!Rose ducks back into the seclusion room as, simultaneously,Turkle closes the door behind him to the nurses' station asthe door to the ward opens and the NIGHT SUPERVISOR, a middleaged woman, enters the ward.INT. NURSES' STATION - NIGHTas Turkle, shushing the crowd, makes his way to the nurses'lounge and opens the door. TURKLE (harsh whisper) Alla ya goons, get in here!The patients pile into the nurses' lounge, Turkle crammingthe last one through the door and closing it. He turns andcrosses to the side door and steps out.INT. HALLWAY - NIGHTas Turkle steps out of the nurses' station, closing the doorbehind him. NIGHT SUPERVISOR Oh, there you are, Mister Turkle. TURKLE Evenin', ma'am. NIGHT SUPERVISOR Is everything all right? TURKLE (blocking her way to the day room) Why, sure, ma'am... NIGHT SUPERVISOR The lights were flashing on and off, Mister Turkle. TURKLE Jus' cleanin' up, ma'am. NIGHT SUPERVISOR At this hour? TURKLE Cleanliness is a twenty-four-hour job, ma'am...Harding passes by and enters the latrine. NIGHT SUPERVISOR What are these men doing up wandering around? TURKLE (leaning in) Ah guess the natives are restless, ma'am... NIGHT SUPERVISOR (getting a whiff of his breath) You've been drinking on the job again, haven't you, Mister Turkle! TURKLE Ah, no, ma'am... well, yes, ma'am... (leaning in close) A man get awful lonely at night, if ya know what Ah mean, ma'am...Down the hall, Rose sticks her head out the door, sees what'shappening, and ducks back in as the Night Supervisor turns onher heel and starts back down the hallway, Turkle at herheels. NIGHT SUPERVISOR I want those men put back to bed, Mister Turkle! TURKLE Yes, ma'am... NIGHT SUPERVISOR And you haven't heard the last of this! TURKLE Yes, ma'am...She opens the gate, slams it behind her, crosses to the maindoor, opers it and exits to: TURKLE (CONT'D) (calling after her) Night, night.Turkle turns and the smile leaves his face as he hurries downthe hallway.O.S. the TOILET FLUSHES as Turkle stops at the seclusion roomand sticks his head in. TURKLE (CONT'D) Be right back, honey...Turkle closes the door, crosses down to the nurses' station,and enters as Harding comes out of the latrine.INT. NURSES' STATION - NIGHTas Turkle enters, crosses to the nurses' lounge and opens thedoor to see the patients, silhouetted against the openrefrigerator light, moving around, pulling the room apart. Itsmacks of Dante's Inferno as Turkle snaps on the light andsteps into the room.INT. NURSES' LOUNGE - NIGHTas Turkle steps into the room and sees the extent of theplundering. The filing cabinet is open. So is the medicinecabinet. Rolls of medical gauze are strewn around, coughsyrup and orange juice are flowing.The patients start piling out of the room, carrying theirplunder.Fredrickson and Sefelt are SEEN sitting on the floor, infront of the open refrigerator, looking through theirdossiers. FREDRICKSON Christ, they even got my first grade report card here... SEFELT Lemme see...Sefelt leans in, unintentionally tipping a bottle of coughsyrup in his hand which goes "glug, glug, glug..." all overthe papers. SEFELT (CONT'D) Jesus, they're terrible grades, Fred...Turkle stoically takes in the shattered remains of his job,unscrews the top to his bottle of whiskey, and takes thebiggest swig of his life as, O.S., Rose is HEARD SCREAMING.INT. HALLWAY - NIGHTas Rose, naked as the day she was born, runs screaming downthe hall, Ellis loping after her, reaching out his hand.INT. DAY ROOM - NIGHTas the others, who are laying out food, drinking booze andstringing up hospital gauze, turn to see Rose enter the room.She runs behind McMurphy, pressing her body to his, as hegently takes hold of Ellis' outstretched hands. MCMURPHY (to Rose) Don't scream, honey...He gently guides Ellis to the wall, with Rose still clingingto his back. MCMURPHY Ellis ain't gonna hurt you... Ellis is nice... Nice Ellis... see the nice lady...He pins Ellis to the wall. MCMURPHY There, see, nice lady touch Ellis...Rose reaches out and touches Ellis.The others stand agog, looking at this Holy Trinity. DISSOLVE TO:INT. DAY ROOM - NIGHTA SOFT NOSTALGIC NUMBER is HEARD OVER LOUDSPEAKER as Harding,Billy and Cheswick watch McMurphy dance with Candy,Fredrickson with Sefelt and Rose, who is dressed, dance withTaber.Martini and Scanlon are busy draping hospital gauze aroundthe room.Bromden sits by the window -- waiting. DISSOLVE TO:INT. DAY ROOM - NIGHTAnother SOFT NOSTALGIC NUMBER is HEARD OVER LOUDSPEAKER asMcMurphy, Candy, Harding, Cheswick, Taber, Sefelt andFredrickson watch Rose, on a table, doing a solo bump-andgrind dance, while Martini and Scanlon race around the roomin wheelchairs.Billy sits, watching Candy and McMurphy, who sit across theroom.Candy is tired and bored.McMurphy is drunk and starting to fade. CANDY It's time to hit the road, Mack... MCMURPHY (snapping at her) Don't worry 'bout the road! We'll hit the road! It'll be there when we're ready! (to the room) Ain't that right, fellas?He gets up and crosses to his friends. MCMURPHY I jus' want you guys to have a good time... Are ya havin' a good time? You... you... good... good... Lez have some fun...He turns to see Billy, who isn't having fun. MCMURPHY Whatsa matter with ya...Billy turns away and McMurphy crosses to him. MCMURPHY Ain'tcha havin' a good time... (no response) Whadaya want? Ya wanna drink? A cigarette...Billy looks up at McMurphy, his eyes are flooded with tears. MCMURPHY Whatsamatter, kid, what's botherin' you...? BILLY Ah-ah-ah-are y-y-y-you g-g-g-going t-t-t-to muh-muh-muh-marry her? MCMURPHY Marry who? BILLY C-C-C-C-Candy! MCMURPHY Candy? Hell no, Billy, she's just a good friend, that's all... BILLY Wu-wu-wu I-I-I-I th-th-think sh-sh sh-she's th-th-th-the ma-ma-ma-most bu-bu-bu-beautiful wu-wu-wu-woman in th-th-the whole world!A long beat as McMurphy looks at Billy, then Candy, thenBilly. MCMURPHY (softly) Why don't ya go tell 'er...Billy doesn't move. MCMURPHY Go on, son, now's your chance...Billy slowly crosses toward Candy, stopping halfway to lookback at McMurphy, who gives him an affirmative gesture. Hecrosses to Candy, who just looks at him. BILLY C-C-Candy, wu-wu-will y-y-you mu-mu marry me! CANDY Ah, Billy...Candy rises, kisses Billy on the cheek, and dances with him.McMurphy beams on the twosome, unscrews his whiskey bottle,takes a long pull on the juice, and looks at Bromden.Bromden sits by the window waiting. DISSOLVE TO:INT. DAY ROOM - NIGHTas the MUSIC ENDS. A long silence, then another NUMBER beginsas McMurphy, who has nodded off, starts awake and looksaround.McMURPHY'S POVBromden sits by the window waiting.Cheswick is asleep on the table.Martini and Scanlon are sitting in their wheelchairs fillingtheir cups from through the enema tube.Harding sits, maintaining his aloofness, smoking a cigarette.Sefelt is sitting on the floor, in a drunken stupor, whileFredrickson dances around him.Candy and Billy stand, locked in each other's arms, swayingto the MUSIC.McMURPHYstruggles to his feet, steadies himself, crosses to thenurses' station.INT. NURSES' LOUNGE - NIGHTas McMurphy enters and goes to Turkle, who is dead asleep.McMurphy lifts Turkle's keys and leaves.INT. DAY ROOM - NIGHTas McMurphy crosses to Billy and Candy, and gently partingthem, he puts his arms around them -- as much for support asaffection. MCMURPHY Come on, you lovers, it's gettin' late...They move toward the hallway.Bromden and Harding are the only two who watch them go.INT. HALLWAY - NIGHTas McMurphy passes several doors, reaches the door of hischoice, fumbles with the keys, finds the right one, and opensthe door to the seclusion room. MCMURPHY (standing aside) In ya go... BILLY (holding back) M-M-M-Mack? MCMURPHY It's okay, kid. Everything it going to be okay... I'll come back an' getcha in a while... 'Kay...Candy and Billy, hand in hand, enter the small room, whichhas a bed in it.McMurphy closes the door, looks at the keys, and pocketsthem. CAMERA TRACKS with McMurphy, who is a very weary man,back into the day room.INT. DAY ROOM - NIGHTMUSIC OVER LOUDSPEAKER as McMurphy crashes heavily into hischair. He can hardly keep his eyes open as he looks around.Harding sits nearby.Taber is lying on a couch, his head in Rose's lap.Cheswick is asleep on the table.Ellis stands nailed to the wall.Bromden sits by the window -- waiting. CAMERA HOLDS onBromden. MCMURPHY (V.O.) Hey, Harding, wake me in an hour. HARDING (V.O.) Sure, Mack...CAMERA PUSHES INTO WINDOW. TIME LAPSE SHOT of the DAWN andSUN RISING. WASHINGTON (V.O.) (very far away; getting closer) Bibbit? Where's Bill Bibbit, ya damn goons?INT. DAY ROOM - EARLY MORNINGas Washington jostles McMurphy awake. WASHINGTON Come on, get over there!McMurphy allows himself to be led to the heavy securitypartition, by the men's dorm, where all the patients arelined up.It is morning and the day room is a mess:A few chairs turned over. Paper cups and empty bottles.Puddles of cough syrup, orange juice and apple juice workedinto sticky masses.Rose sits by herself on the couch.Bromden is the last one led to the lineup, where Big Nursewaits. BIG NURSE Thank you, Mister Washington! Mister McMurphy, do you know where Billy is?McMurphy shrugs "no." BIG NURSE (CONT'D) Mister Harding, have you seen Billy?Harding shrugs "no." BIG NURSE (CONT'D) Mister Sefelt...Big Nurse's question is cut off as all the patients andattendants turn their heads toward the hallway and startlaughing. Big Nurse turns to see Turkle, without his shirton, walk into the seclusion room and close the door behindhim.Big Nurse turns and starts down the hallway, the laughtertrailing after her when, suddenly, the laughter breaks off asBig Nurse stops and in the silence, she opens the door.INT. SECLUSION ROOM - EARLY MORNINGas Big Nurse opens the door to see Candy snuggled up toBilly, who lies there, eyes closed, a smile on his face. TURKLE (buttoning up his shirt) Morning, Miss Ratched...He slides out of the room as Billy opens his eyes. A longbeat as they look at each other. BILLY M-M-M-M-M-M-Big Nurse shakes her head and exits, closing the door behindher.INT. HALLWAY - MORNINGas Big Nurse heads for the day room, walking straight forMcMurphy when: BILLY (O.S.) (shouting) M-M-M-Miss Ratched!Big Nurse stops and turns to see Billy, half naked, pullinghis pajama pants up as he runs, stumbling toward Big Nurse. BILLY (CONT'D) (crying out as he runs) P-p-p-please du-du-don't t-t-t-tell m-m-my muh-muh-muh-mummy!He trips on his pajamas and falls sprawling at Big Nurse'sfeet, his bare ass exposed to all. BILLY (CONT'D) (blubbering as he rises) P-p-p-please du-du-du-don't t-t tell her, p-p-please... BIG NURSE You should have thought about that before you brought that woman in here! BILLY N-n-n-n-no, no, I du-du-du-didn't, I didn't! BIG NURSE I don't want your mother to believe something like this but what am I to think? BILLY Sh-sh-sh-she m-m-made m-m-me do it! BIG NURSE Billy, that girl couldn't have pulled you in there forcibly... BILLY Sh-sh-she did! Everybody did! BIG NURSE Who? Tell me! BILLY M-M-Muh-Muh-McMurphy! MCMURPHY Ahhh, Billy... BILLY (caught in his own anxiety) P-p-p-please duh-duh-duh-duh t-t tell, M-M-M-Miss R-R-Ratched, y-y you don't need to! BIG NURSE Get up, Billy. BILLY (screaming) No! No! No!Billy pitches forward and collapses on the floor, screaming,pounding his fists and feet against the floor. BILLY (CONT'D) N-n-n-n-duh-duh-duh-pl-pl-pl-pl-muh muh-muh... BIG NURSE (ignoring McMurphy) Mister Washington. MCMURPHY (helplessly to Billy) Hey, Billy, stop cryin'. You don't have to cry... You ain't got nothin' to be ashamed of. She ain't gonna tell you mother... stop crying... WASHINGTON Yes, Miss Ratched! BIG NURSE (to Washington) Put him in Doctor Spivey's office! WASHINGTON Yes, Miss Ratched...Washington nods to Warren and the two of them scoop Billy offthe floor and carry him screaming to Doctor Spivey's officeas Big Nurse crosses into the nurses' station and picks upthe phone as Candy eases her way into the day room and joinsMcMurphy.A beat, then Miller starts herding the patients toward thewashroom, staying clear of McMurphy and Bromden, who don'tmove.McMurphy pulls the keys out of his pocket. MCMURPHY (to Candy) Let's go!McMurphy checks the nurses' station, sees Big Nurse is busyon the telephone. MCMURPHY (to Bromden) Let's go, Chief...McMurphy crosses to the window, followed by Bromden, Candyand Rose, where he begins fumbling with the lock.MILLERas he herds the patients out of the day room. He turns to seeMcMurphy trying to open the screen. Miller crosses toMcMurphy. MILLER Hey, what's gone here?McMurphy turns around and punches Miller.INT. NURSES' STATION - MORNINGas Big Nurse, still on the phone, sees Miller go sprawlingacross the floor. She grabs the intercom. BIG NURSE (V.O.) (through loudspeaker) Washington! Warren! To the day room, immediately!INT. DAY ROOM - MORNINGMcMurphy opens the screen, raises the window, and helps Candyand Rose out as Washington and Warren converge on them.McMurphy and Bromden wheel around.Washington, Warren and Miller appear around the corner, takeone look, and head straight for McMurphy. WASHINGTON (stopping just short) 'Kay, let's have the keys an' nobody get hurt!Washington's words are cut off as, O.S., Nurse PilbowSCREAMS... a bloodcurdling scream. They turn to see NursePilbow enter the nurses' station, her uniform splattered withblood, hysterically talking to Big Nurse (we can't hear her).Big Nurse and Nurse Pilbow rush out of the nurses' stationand head down the hallway.McMurphy is glued to the spot. CANDY (calling from outside) Come on, come on, let's go!McMurphy hesitates, then moves across the day room toward thehallway.INT. DOCTOR SPIVEY'S OFFICE - MORNINGCAMERA SHOOTING TOWARD the door, crammed full of patients,who stare at the scene with curious detached looks, as BigNurse and Nurse Pilbow force their way through the patients.The crowd parts and Big Nurse stops in the doorway, horrifiedat what she sees. CAMERA HOLDS on Big Nurse's reaction. Abeat, then McMurphy appears alongside Big Nurse and isstricken by what he sees.McMURPHY AND BIG NURSE'S POV - REVERSE SHOT - DOCTOR SPIVEY'SOFFICEThe office is splattered with blood. Billy is lying face up,hanging over Spivey's desk, dead. His throat and both wristsare cut. A broken picture frame, containing a photograph ofSpivey's family, lies nearby. MCMURPHY Billy, oh, Billy boy...McMurphy crosses into the room and kneels alongside Billy'sbody. He gently lays his hand on Billy's face. BIG NURSE Get away from him! Don't you dare touch him!McMurphy turns and leaps at Big Nurse, grabbing her throat;he drives her into the Acutes and Nurse Pilbow.INT. HALLWAY - MORNINGas McMurphy, Big Nurse, Nurse Pilbow and several Acutes godown, arms and legs intertwined, kicking, trying to get awayas McMurphy strangles Big Nurse.Nurse Pilbow screaming, as Washington, Warren, Miller rushin, trying to break his hold on Big Nurse's throat, her faceturning blue. McMurphy's face, twisted by his passion, whenWashington lands a rabbit punch and MeMurphy's face relaxesas he passes out. DISSOLVE TO:INT. DAY ROOM - DAYMUSIC OVER LOUDSPEAKER. The day room is as it was in thebeginning. Harding is dealing out a game of blackjack toMartini,Scanlon, Cheswick and Fredrickson.Taber, pencil in band, sits pondering over a blank sheet ofpaper.Ruckly is turning a grimy photograph over in his hands.Bancini sits wagging his head, mumbling over and over,"Tired... awful tired..." Ellis stands against the wall, armsoutstretched. HARDING (V.O.) (over last scene, in McMurphy's style) Okay, suckers, place your bets...INT. HALLWAY - DAYBromden is mopping the floor near the security gate to thevisitors' room, when a key hits the lock. Bromden looks upexpectantly.BROMDEN'S POVas Sefelt and Miller enter the visitors' room, cross to thesecurity gate and pass into the hallway. Bromden goes back tohis mopping.INT. DAY ROOM - DAYas Sefelt jauntily enters the day room. BIG NURSE (V.O.) (through loudspeaker) Did everything go well, Mister Sefelt?Sefelt turns to the nurses' station where, inside, Big Nursesits very erect, wearing a back brace that reaches up aroundher neck. Sefelt shows his teeth and gums to Big Nurse. BIG NURSE (V.O.) (CONT'D) (through loudspeaker) That's very nice. Now, doesn't that make you feel better, Mister Sefelt? SEFELT Yes, ma'am... BIG NURSE Good...She turns back to her work.Sefelt crosses to the card game, where he sits and catchesFredrickson's attention; showing him his teeth. Fredricksonsmiles at Sefelt and blows him a kiss. HARDING (who has been dealing) Big Ace... a lovely lady... another ace... an' a little trey, hey, hey, whadaya say... hit or sit? SCANLON Hit! SEFELT (to Fredrickson) Ya know what, Fred? FREDRICKSON What? HARDING (dealing a card to Scanlon) Big king, too bad... SEFELT Just wait till you hear... HARDING Hear what? SEFELT McMurphy killed two attendants and escaped... HARDING When? SEFELT Yesterday... HARDING Who told you that? SEFELT Gary Blinker... SCANLON Gary Blinker's fulla shit! MARTINI He's not! SCANLON He is!Harding slams his card down on the table, rises and crossesto the nurses' station where he taps on the side window.Big Nurse gets up, crosses to the window and slides it open. BIG NURSE Yes, Mister Harding? HARDING Is it true McMurphy killed two attendants and escaped yesterday? BIG NURSE No. Mister Harding, that is not true. DISSOLVE TO:INT. HALLWAY - LATE AFTERNOONBromden is squatting, leaning against the wall near thesecurity gate to the visitors' room, when a KEY HITS THELOCK. He looks up expectantly. This time it is McMurphy. Orwhat was McMurphy, for his head is bandaged, and his tonguehangs out of his mouth as he is led across the visitors' roomby an ATTENDANT.McMurphy shows Bromden no sign of recognition, which Bromdenpays no attention to, thinking McMurphy is putting on thesame act he did when he came back from Electro-Shock Therapy.Bromden joyously turns and runs down the hallway to the dayroom.INT. DAY ROOM - LATE AFTERNOONas Bromden crosses into the day room, gets a seat, and sitsfacing the hallway, bursting with expectation.A long beat, then the Attendant appears with McMurphy andtaps at the side door to the nurses' station.The Acutes break off their card game and look at McMurphy;their faces hang open at his appearance.Big Nurse crosses to the side door, opens it, and steps outinto the day room. To the Attendant as she takes McMurphy bythe arm: BIG NURSE Thank you... ATTENDANT Yes, ma'am...The Attendant exits. BIG NURSE (to McMurphy) Now, let's find you a place to sit, shall we, Mister McMurphy?Big Nurse gently guides McMurphy to a seat on the Chronics'side of the room.Bromden can hardly contain himself as he waits for McMurphyto go into his act.The Acutes have already absorbed the reality of McMurphy'scondition as they exchange looks with each other. FREDRICKSON (whispering) Lobotomy... HARDING Yeah... SCANLON Yeah, that Gary Blinker is fulla shit...The Acutes turn back to their card game as Harding shufflesand deals the cards out.Bromden keeps his eyes glued to Big Nurse and McMurphy. BIG NURSE (sitting McMurphy down) Here now, you sit here... That's it...Big Nurse pats McMurphy's face and crosses back to thenurses' station.McMurphy just sits there, his head lolling to one side.Bromden waits for McMurphy to go into his routine.McMurphy just sits there.Bromden snaps his fingers and slaps his thigh, then waits forMcMurphy to follow suit.McMurphy just sits there slobbering.Bromden slaps his thigh again.No response from McMurphy.The MUSIC PLAYS ON. DISSOLVE TO:INT. MEN'S DORM - DAYBREAKas Bromden stands by the window looking out. A long beat,then he turns into the room and looks around.BROMDEN'S POVThe patients are all asleep. The new night attendant is fastasleep in the nurses' station.Bromden quietly takes his pillow and goes to McMurphy's bed,where he kneels and puts his head very close to McMurphy's. Along beat as Bromden studies McMurphy's face. BROMDEN (whispering in McMurphy's ear) When I first came here I was so scared of being lost I had to holler so they could track me... I figured anything was better than being lost...On the last word, Bromden places his pillow over McMurphy'sface and begins to suffocate him. McMurphy starts thrashingand Bromden lies full length on McMurphy. A long beat, thenthe thrashing ends. Bromden gets off McMurphy, replaces hispillow, and crosses down the aisle toward the day room.INT. DAY ROOM - DAYBREAKThe night attendant continues to sleep as Bromden passes thenurses' station, heading for the tub room.INT. TUB ROOM - DAWNas Bromden crosses to the heavy machine which McMurphy hadonce tried to lift, sizes it up, then bends over and takeshold and heaves. The GRINDING WEIGHT is HEARD as Bromdenexerts all his strength, slowly lifts the machine off thefloor, balances it above his shoulders, then crosses out ofthe tub room.INT. DAY ROOM - DAWNas Bromden comes around the corner and past the sleepingnight attendant in the nurses' station.Bromden lines himself up with the window across the room,then starts toward it, picking up speed as he goes. Then, atthe last moment, he stops and, with an enormous effort, hehurls the machine through the security screen and the window.A LOUD CRASH.In the nurses' station, the night attendant starts awake andlooks around. Too late as Bromden vaults through the window.CAMERA HOLDS on window as Bromden runs across the grounds anddisappears into the pine trees.INT. DAY ROOM - DAWNas the night attendant comes out of the nurses' station andlooks confusedly around. Then he spots the shattered window.EXT. COUNTRYSIDE - EXTREME LONG SHOT - SUNRISERolling hills, forests and distant mountains, bathed insunlight, as Bromden runs across a far-off meadow.CREDITS OVER. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Only God Forgives.txt b/unformated_scripts/Script_Only God Forgives.txt new file mode 100644 index 0000000000000000000000000000000000000000..8c5a1ba83d881f47b761ad49ba52f668b6239043 --- /dev/null +++ b/unformated_scripts/Script_Only God Forgives.txt @@ -0,0 +1 @@ + ONLY GOD FORGIVES Written by Nicolas Winding Refn Second draft script With the support of the Media Programme of the European Union The SOUND of Muay Thai boxing... The Art of Eight Limbs... Thrust and move... Feet shuffling across the ring... FADE IN: INT. BACK ROOM - NIGHT CLOSE ON a pair of hands from VARIOUS ANGLES... The SOUNDS of the fighting grow LOUDER. Punches, kicks, elbows... The hands tense into fists. They're strong hands. Fighter's hands. ZOOM OUT TO REVEAL Julian (mid-thirties) staring at his hands. Even though he's kept in shape, he hasn't fought for a long time. The SOUND of the boxing match gets LOUDER STILL as Julian continues staring at his hands - it's almost as if he's meditating. Suddenly he breaths in. Behind him sits a young kid dressed in Thai boxing clothes - this is Liang, barely sixteen. He looks nervous, occasionally glancing at Julian's reflection through the huge mirror that hangs on the far wall. Julian continues to stare at his hands and closes them into a tight fist. CUT TO: INT. CORRIDORS - NIGHT The SOUNDS of the boxing match reach FEVER PITCH as we TRACK WITH Julian and Liang making their way towards the ring. CUT TO: INT. THAI BOXING RING - NIGHT Two Young Thai Boxers beat the crap out of each other. The crowd is wild with excitement, people placing bets on which way the fight will turn. One of the Thai Boxers goes down and money immediately starts changing hands... The ring is cleared and Liang jumps in as Julian pushes his way though the crowd, nodding at people as he passes. They know him here. Again bets are placed.... PICK OUT a face in the crowd. Billy. Julian's older brother (late thirties). Julian sits down next to Billy who's delighted to see him, throwing his arm around him, pulling him in close. BILLY ... I love violence! Billy offers Julian a hit from his bottle of Mehkong whiskey. Julian refuses. He's more interested in the fight. BACK TO THE RING where the fight has just started. Liang is immediately on the ropes. Julian watches, concerned. Billy takes a phone call but he can't hear. He nods to Julian and takes it outside. BACK TO THE FIGHT where Liang pulls an amazing move. Turns the tables. Takes the bigger man down with a series of jabs, swings and backfists. As Julian applauds Liang's success, Billy slinks off out of the auditorium. Liang wins the fight with a knock out... The crowd go wild with adulation... Julian watches, transfixed... Liang is lit up by a beatific white light... As he stands triumphant in the middle of the ring, the crowd start to gather round him... Julian continues to stare at what's taking place before him... ... Which is almost like a religious ceremony... The audience bow down before Liang as he stares out into the light... A look of calm washing over his face... A sense of stillness and peace... Enlightenment through victory and violence... CUT TO: EXT. BANGKOK STREETS - NIGHT Billy stalks the streets of the city of vice. A man on a mission. CUT TO: INT. CHANGING ROOMS - NIGHT Liang is sitting on a bench, his constantly-smiling Mother beside him, as Julian peels off fifty Bhat notes. We get the sense that Julian's proud of him, that Liang is something of a protege of his and that Liang is incredibly pleased to have gained his approval. JULIAN Two fifty, three hundred... Liang takes the money. Julian pulls off two more notes. A bonus. JULIAN (CONT'D) You did well out there. You've got something, Liang. Potential, yeah? Liang nods. JULIAN (CONT'D) Don't spend it all in once place. CUT TO: EXT. BACK ALLEY - NIGHT Billy comes down a back ally and knocks on a door. After a moment the door opens. The Doorman recognises him and lets him enter. CUT TO: INT. UNDERGROUND NIGHTCLUB - NIGHT WE TRACK with Billy as he makes his way through the small subterranean nightclub. A Thai man - known as The Lizard - sits by a table with a few locals gambling... He spots Billy and follows him with his eyes as he continues to gamble. Billy moves across to a small private corner... ... where he meets various men and women, all smoking Methamphetamine. Billy joins in but an argument quickly starts up between him and another Thai Man. The music's too loud to hear what they're arguing about but it suddenly gets out of control... Billy starts viciously hitting the Thai Man and quickly the room EXPLODES in a frenzy of violence. CUT TO: INT. BACK ROOM - NIGHT A fan does what it can to cool Julian down as he counts out money at his desk. Sitting opposite him, feet on the table, is Gordon, Julian's lieutenant and the closest thing to a friend he's got... Julian's phone rings. He interrupts his counting. Picks up and listens... JULIAN (ON THE PHONE) Hold on, hold on. What did he say? Beat as Julian listens. He glances over at Gordon who looks up, concerned. JULIAN (CONT'D) (ON THE PHONE) No, tell him to stay there. Tell them both to stay there. Beat. JULIAN (CONT'D) (ON THE PHONE) I'm coming over. CUT TO: EXT. BACK ALLEY - NIGHT The Lizard sits outside the nightclub, somehow managing to smoke a cigarette at the same time as he stems the flow of blood from his nose with a handkerchief. Julian and Gordon arrive. JULIAN He still in there? THE LIZARD ... No. Beat... Julian glances at Gordon. JULIAN You told him I was coming... THE LIZARD Wouldn't listen... Julian stares at him... JULIAN Well maybe you didn't try hard enough. The Lizard takes the handkerchief away from his nose. Shows the bloodstain to Julian. JULIAN (CONT'D) When was the last time you slept? The Lizard smiles but stares at Julian with hatred in his eyes. THE LIZARD Just cause I ain't slept for three days, don't mean I don't know right from wrong... and your brother has become a real problem... Again Julian stares at him - clenching his fist. The Lizard notices this but gazes up into Julian's face blankly. THE LIZARD (CONT'D) You're not going to cause another ruckus in my club now - are you? A long pause as Julian considers it. JULIAN No. THE LIZARD Good - 'cause Billy ripped me off and then he broke my face... Julian turns to Gordon. GORDON Like I always said. One day he's going to meet the devil. Beat. JULIAN You know where he is now? The Lizard stares at Julian. THE LIZARD Bangkok has millions of people my friend. You and your brother, you're lost to my world... The Lizard gets up - puts out his cigarette and looks at Julian... THE LIZARD (CONT'D) So what you going to do? You wanna come in? Very good amphetamine in here... Julian looks over to Gordon. Sees he's keen. JULIAN You go. I'm gonna look around. See if I can find him. GORDON Sure--? JULIAN Go on. He turns back to The Lizard. JULIAN (CONT'D) Which way'd he go? The Lizard nods his head towards the busy street. Julian turns and heads off... Gordon steps up to the entrance to the club. The Lizard sticks out an arm, blocking his way. THE LIZARD His brother didn't pay. GORDON So? That's his problem. THE LIZARD Now it's your problem. GORDON I'm with you mate. Billy's fucked-- THE LIZARD You don't pay his debt - you don't enter. Gordon thinks for beat. Takes out his money... GORDON How much...? ...and The Lizard smiles for the first time. CUT TO: INT. MA LONG'S BROTHEL - NIGHT Julian is talking to Ma Long, fifties, the mother figure to a group of girls who stand in the background. JULIAN You seen Billy? MA LONG Not this evening. A particularly pretty prostitute catches Juilan's eye. He stares at her, stone faced. JULIAN Well if he comes in, tell him I'm looking for him, yeah? MA LONG He's not coming in. I tell him to stay away. He hurt one of my girls Julian. Not good... Julian considers. Pulls out his wad of notes again. Hands a few to Ma Long. JULIAN Yeah, well... if you see him, tell him I'm looking for him... Ma Long nods as she takes the money. Julian is about to leave. He looks at the pretty prostitute again. Stares at her for a moment. Then walks out. CUT TO: EXT. BANGKOK STREETS - NIGHT Billy's so wasted he's bumping into people. He starts window shopping the various brothels that line the street: groups of girls smiling at him... Anything for a price... PICK OUT one particularly young-looking girl. Just fifteen. She makes eye contact with Billy... He smiles... Pulls out a roll of notes... CUT TO: EXT. BANGKOK STREETS - NIGHT Julian out in the middle of the road. Girls on the pavement, girls in the windows. A steady line of punters cruising past. He stands alone. Focussed. Watchful. An island in a sea of neon. It feels ominous. Like something really bad's about to happen... CUT TO: ONLY GOD FORGIVES FADE IN: INT. TAXI - NIGHT CLOSE ON Chang, mid-forties, a man who looks like he's carved out of stone. The neon lights bleed over his face in a seemingly unending flow as he's driven towards his destination. CUT TO: EXT. SEEDY HOTEL - NIGHT Police cars are parked up outside. Chang gets out of his taxi. Pays the driver. Makes his way inside. CUT TO: INT. SEEDY HOTEL - NIGHT Chang makes his way up the stairs to a landing where a GROUP OF POLICEMEN are gathered. Their circle opens up as Chang approaches and they bow as he joins them - like he's a God. One of the group, Kim Han Ho, gestures towards the door of Room 610 where TWO COPS stand guard. Chang gives a nod and the door is opened. CUT TO: INT. ROOM 610 - NIGHT Chang stands silhouetted in the doorway. Stepping into the room he moves into the light in CLOSE UP. His face is a mask. The bed is drenched in blood. The fifteen year old prostitute lies naked on her back. She's dead, her body having been savagely beaten in some sort of brutal sex game gone wrong. Billy is slumped in the corner in his underpants, his eyes glazed, staring at MTV, a bottle of Mehkong whiskey in his hand, a crack pipe on the floor. Chang stares at him, giving nothing away. CUT TO: INT. ROOM 611 - NIGHT The Hotel Owner serves tea to Chang who sits in silence with Lieutenant Kim. The door is open and we can see into room 610 across the corridor where Billy is still sat staring at the television. CUT TO: INT. HOTEL CORRIDOR - NIGHT A young cop, Daeng, who has been watching Chang, summons up courage to whisper to his superior officer, Phaiban. DAENG (IN THAI) Who is that guy? Phaiban says nothing. DAENG (CONT'D) (IN THAI) Is he a cop? PHAIBAN (IN THAI) He was... Before Daeng can ask another questions, two more cops lead an older Thai man, Choi Yan Lee (50's, overweight, dragged straight from his bed) down the corridor towards the crime scene. CUT TO: INT. ROOM 611 - NIGHT As Choi Yan Lee is delivered to the doorway, Chang gets up and goes over to him. A moment of uncertainty in Choi Yan Lee's face. Fear. He doesn't know why he's been brought here. He looks for some comfort from Chang. Chang gives him nothing. CUT TO: INT. ROOM 610 - NIGHT Chang leads Choi Yan Lee to the doorway. Slowly Choi Yan Lee realises what he's looking at. His daughter. Dead. Mutilated. Every father's worst nightmare. CHANG (IN THAI) Is this your daughter? Beat. CHOI YAN LEE (IN THAI) Yes. CHANG (IN THAI) How could you? ... but Choi Yan Lee just stares at his daughter. Finally: CHOI YAN LEE (IN THAI) ... What? CHANG (IN THAI) How could you let this happen? CHOI YAN LEE (IN THAI) I didn't do anything. CHANG (IN THAI) Well now's your chance. A long moment between them as Choi Yan Lee fails to understand what Chang is suggesting. Chang stands back. CHANG (CONT'D) (IN THAI) Do what thou will. Choi Yan Lee nods. Chang leaves the room, closing the door behind him. CUT TO: INT. ROOM 611 - NIGHT Chang sits drinking tea in silence with Lieutenant Kim. The guards in the corridor stare at the closed door of Room 610 from where we hear the cries of Billy being beaten to death. ANGLE ON: Daeng who's starting to look scared. Phaiban puts a reassuring hand on his shoulder. As the beating reaches its climax, with Choi Yan Lee screaming out Thai obscenities, we hear the sickening sound of Billy's neck snapping. And then a regular thud as blow after blow rain down on his body. CUT TO: INT. ROOM 610 - NIGHT Chang opens the door and looks through. Choi Yan Lee is sitting breathlessly on the floor covered in blood. In his hand he holds a piece of wood he has ripped from a chair. Billy lies dead, his head completely smashed in. CUT TO: EXT. BANGKOK - NIGHT A police car drives through the city streets and onto the freeway heading out of town. CUT TO: INT. POLICE CAR - NIGHT The bloodied Choi Yan Lee sits in the back, Chang on one side, Kim on the other. As the police car turns onto a more major road, Choi Yan Lee starts to get nervous. CHOI YAN LEE (IN THAI) You missed my turning. I live that way. Beat. Chang says nothing. Phaiban is driving, Daeng in the passenger seat. Daeng looks back at them through the rearview mirror... KIM (IN THAI) We'll get you there. CUT TO: EXT. BANGKOK - NIGHT The Police Car heads over the Mega Bridge and continues its way out of town. DISSOLVE TO: EXT. COUNTRYSIDE - NIGHT The bright white headlights of the stationary police car blind Choi Yan Lee who's caught in their glare, rigid with fear. CHOI YAN LEE (IN THAI) I'm so sorry. Please. Please. Please don't hurt me. I'm so sorry. CHANG (IN THAI) What are you sorry for? CHOI YAN LEE (IN THAI) I thought... You were there. He killed my daughter. I thought you were letting me... CHANG (IN THAI) Answer the question. What are you sorry for? Beat. Choi Yan Lee is wrongfooted. Tentatively... CHOI YAN LEE (IN THAI) I killed the Westerner? CHANG (IN THAI) And why did you do that? CHOI YAN LEE (IN THAI) He killed my daughter. CHANG (IN THAI) And why did he do that? Choi Yan Lee can't answer. CHANG (CONT'D) (IN THAI) How old was she? CHOI YAN LEE (IN THAI) Fifteen... CHANG (IN THAI) You knew what she was doing and you did nothing. CHOI YAN LEE (IN THAI) How else can we make money? Four daughters. No sons. What else could I do? Daeng watches as Kim opens the boot and pulls something out. He walks towards Chang and hands it to him. Daeng sees that it's an axe. CHOI YAN LEE (CONT'D) (IN THAI) What did you expect me to do? You have to have pity on me. My daughter's just been murdered. CHANG (IN THAI) This isn't about her. This is about your other three daughters and making sure you don't forget them. Chang nods to Kim and Phaiban who grab hold of Choi Yan Lee. Kim slips a plastic strap around Choi Yan Lee's arm, using it as a tourniquet. They wrestle him to the ground and pull his arm out. CHOI YAN LEE (IN THAI) I won't forget. I promise. Forgive me. Chang approaches with the axe. He stops for a moment. Looks down at him... CHOI YAN LEE (CONT'D) (IN THAI) I'll change. I'll be a better man. CHANG (IN THAI) I know. Chang slams down the axe, severing Choi Yan Lee's arm at the elbow. Choi Yan Lee SCREAMS in agony. CUT TO: INT. HOTEL ROOM - NIGHT The anonymity of a hotel room. Julian opens the curtains and we see the sky line of Bangkok - he looks out. He lies back on the bed, surfing through two hundred TV channels. Settles on a boxing match. Starts drifting off... As he drifts we hear the SOUND OF SINGING. A karaoke rendition of 'I Hung My Head' by Johnny Cash. VOICE I set off running to wake from the dream My brother's rifle went into the sheen I kept on running Into the south lands That's where they found me My head in my hands CUT TO: INT. KARAOKE BAR - NIGHT REVEAL that the voice is that of Chang and he's not half bad either: deeper than you'd have though, and with it comes a stage presence, a sort of John Wayne swagger... CHANG The sheriff he asked me Why I had run And then it came to me Just what I had done And all for no reason Just one piece of lead I hung my head I hung my head. The policemen, still dressed in their uniforms, watch in respectful silence. Daeng sits with them. He too watches in awe. CUT TO: INT. SKYTRAIN - DAWN Chang travels home across the city. CUT TO: INT. CHANG'S APARTMENT / LANDING - MORNING Chang opens the door as quietly as he can. He slips off his shoes and walks gingerly into the apartment. CUT TO: INT. CHANG'S APARTMENT / KITCHEN - MORNING On the kitchen table Chang sees a picture. A badly-drawn house with a man, a woman and a child. Across the bottom: "LOVE YOU DADDY FROM DAUGHTER AND WIFE XXX' Chang stares at it and smiles - picks it up and pins it to the fridge with a magnet. CUT TO: INT. CHANG'S HOUSE / KANITA'S BEDROOM - DAY Chang and Kanita, his eight year old daughter, are playing with her dolls who have captured a soft toy. CHANG (IN THAI) So now that they've caught him... What are they going to do? Kanita thinks for a moment. KANITA (IN THAI) Put him in jail. CHANG (IN THAI) Come on. They haven't got a jail big enough. Look at the size of him. Again Kanita thinks. KANITA (IN THAI) Keep him as a pet? CHANG (IN THAI) But he blew down all their houses. Would you want to keep a pet that could do that? Kanita shakes her head. KANITA (IN THAI) What if they just let him go? CHANG (IN THAI) How could they be sure he wouldn't do it again? KANITA (IN THAI) They could ask him...? Very nicely? Chang picks up the soft toy. Peels off a sticker from a sheet and places it between its eyes. Satisfied with his work he puts the soft toy back in the middle of the game. CHANG (IN THAI) "And so the king and the fairies that lived in the village said to the creature: this is your mark which will stay with you forever. If you ever try and blow down our village again, it will heat up until it boils your brains, for it has magical properties. Go in peace. Kanita nods, happy with the judgement. She picks the soft toy up and 'walks' it away from the village of the dolls. CUT TO: INT. CHANG'S APARTMENT / MAIN BEDROOM - DAY Chang walks into his bedroom where his wife Nadee is just waking up. He kisses her good morning. As he starts to undress, she starts to get dressed. They share a smile about this. Finally Chang lies down on the bed and closes his eyes. Nadee kisses him good night. CUT TO: INT. CHANG'S APARTMENT / KITCHEN - DAY Nadee starts making breakfast as Kanita watches cartoons. CUT TO: INT. CHANG'S APARTMENT / BEDROOM - DAY As Chang sleeps the heavy curtains are drawn to keep out the light of the day - but they cannot deaden the sound of the city outside as it goes about its frenetic everyday business. The CAMERA MOVES through the apartment, briefly settling on the sleeping Chang, then roaming through the various rooms, PICKING OUT different objects... We see that Chang is obsessed with cowboy films and a keen collector - the sitting room is stuffed with movie posters, photographs and other bits of movie memorabilia... Amongst the many family photos we also PICK OUT several pictures of Chang when he was in the army and shots of what looks like a very successful career as a Thai boxer. At the end of the tour we're back with Chang. We ZOOM IN to a tight CLOSE SHOT. CUT TO: INT. HOTEL ROOM - DAY We see a hotel room door and hear a knock - Julian ENTERS FRAME and opens to reveal... ...Two Thai girls - one being Mai - standing in the hallway. Julian lets them enter. Mai embraces Julian, kissing him on the mouth as Julian closes the door. They turn to consider the other girl who is starting to undress. She smiles compliantly, eager to please. Julian turns back to Mai and kisses her again. As the kiss becomes more passionate, the other girl joins them and the three of them begin to have sex. CUT TO: INT. CHANG'S APARTMENT - DAY Chang is sitting eating alone at the dinning table, watching an old western on TV. CUT TO: EXT. BANGKOK STREETS - DAY Chang walks down the streets towards a school. Standing at the gate, Kanita is waiting for him. He hugs her and they hold hands as they continue down the crowded street. CUT TO: INT. TOY STORE - DAY Chang waits patiently at the counter as Kanita sorts through various dolls, trying to choose which one to buy... Chang looks round and gazes out the window into the street where pedestrians stream past. Suddenly Chang has a strange VISION: All the women disappear. In the street there are only men. We cut to a CLOSE UP of Chang and then back to his VISION again: Now all the men have gone and he can see only women. Back to the CLOSE UP of Chang who continues staring out of the WINDOW: ... where everything is back to normal. Men and women walking up and down the sidewalk. CUT TO: INT. HOTEL ROOM - DUSK The remnants of various room service orders litter the floor along with the trappings of a heavy session: empty bottles of alcohol, drug paraphernalia, etc. Julian lies sleeping, entwined in the limbs of the girl... There is a knock on the door. Julian and the girl ignore it. A pause and then Julian's mobile phone starts ringing. He doesn't answer. The knocking starts up again, this time louder. Finally: JULIAN Julian's not here mate. Fuck off... Beat - then we hear a voice from behind the door. GORDON (O.S.) Julian? Still they ignore him. Either too wasted or too tired to do anything else. GORDON (O.S.) (CONT'D) Julian...? I need to talk with you... Beat. Finally Julian answers with zero energy... JULIAN What is it? GORDON (O.S.) It's about Billy... JULIAN I can't deal with my brother right now... Beat. GORDON (O.S.) He's dead... Julian opens his eyes, confused - still out of his head on drugs. JULIAN What? No answer. Finally Julian gets up and wraps a towel around his body and slowly opens the door. Gordon stands in the hallway - behind him two Thai men from Julian's crew. JULIAN (CONT'D) What happened? GORDON They found his body in a hotel room... Julian doesn't know what to say... Neither does Gordon. GORDON (CONT'D) Look, get dressed and I'll see you downstairs. Julian nods and closes the door. He stands still - glances out the window - seeing the sun setting and the night coming in. He glances at the pretty girl still sleeping on the bed. He goes into the bathroom where Mai is dressed and putting on make up. MAI What happened? Julian looks at her. JULIAN Someone killed Billy... The camera ZOOMS IN on Mai. CUT TO: INT. MORGUE - NIGHT A Mortuary Attendant pulls a sheet back to reveal - Billy. His body completely mutilated. Julian stares at his brother's corpse intensely, not betraying any emotion. He turns to Gordon who's standing behind him. GORDON What do we do? JULIAN For now... We wait. Julian glances back at the body... CUT TO: EXT. ALLEYWAY - NIGHT Julian stares up at the night sky, his mobile phone gripped tightly in his hand. He puts the phone down. He looks out across the city again then back to the phone. It's like he's scared. He picks it up quickly and dials. A moment as it rings then it's answered. JULIAN Hello Mum. Beat. JULIAN (CONT'D) It's me... Julian... Something's happened. CUT TO: INT. FOUR SEASON'S HOTEL - DAY The CAMERA tracks as we follow a pair of high heeled shoes belonging to an elegant woman in her fifties, who looks like she's in her forties and could actually pass for late thirties. She strides towards reception, a Porter struggling to keep up with her. This is Jenna Hopkins. Head of a notorious London Crime Family. Mother of both Julian and Billy. Newly appointed Lady Macbeth of Bangkok. She hands her passport over to the Concierge. JENNA I'd like to check in now please. The Concierge checks the computer. CONCIERGE I'm afraid the room won't be ready until four o'clock. Beat... Jenna just stares at him... CONCIERGE (CONT'D) ... It's policy JENNA I'd like to speak to your manager. Beat. CONCIERGE Yes of course... The Concierge retreats. Jenna lights a cigarette. MANAGER Good afternoon madam, what seems to be the problem? JENNA Listen to me... I've just travelled six thousand miles to see the corpse of my first born son and I haven't slept for thirty hours and he says I can't go to my room. The Manager just stares at her but is clearly taken back by her force... MANAGER I'm sorry madam... JENNA How much? MANAGER ... it simply isn't possible. Jenna pulls out a massive bundle of notes. Peels off a couple of hundred dollar bills. JENNA ...Fuck off you cunt, just hand me the fucking key... She lays the money on the desk. The manager looks around... MANAGER Well I might be able to arrange something... The Manager turns to the Concierge. JENNA Don't leave the money there. Some cunt'll nick it. Put it in your pocket. The Manager hesitates. JENNA (CONT'D) Put it in your pocket. MANAGER There's really no need-- JENNA Put it in your fucking pocket. The Manager takes the money. Pockets it. Places the key on the desk. MANAGER Room 300. CUT TO: INT. FOUR SEASON'S HOTEL / CORRIDOR - DAY The lift doors open and Jenna walks out, the Porter struggling to keep up with her as she swishes down the corridor. CUT TO: INT. FOUR SEASON'S HOTEL / ROOM 300 - DAY The struggling Porter opens the door and lets Jenna in. She walks into the suite and gives it the once over. Satisfactory. The Porter places her bags on the side and hangs up some of her clothes, desperate to try and get out in one piece... As soon as he's finished he bows and starts to shuffle out of the room. JENNA Hey... Open this. Jenna points to the Duty Free bag then starts running a bath, beginning to undress. JENNA (CONT'D) I need a drink. The Porter is stunned. JENNA (CONT'D) Well don't just stand there... The Porter fumbles, taking the gin out of the Duty Free bag, spilling the tonic in his nervousness as he makes her cocktail. Jenna returns in a dressing gown, takes the drink off him and takes a huge slug. The Porter is terrified, stunned. Rooted to the spot. Jenna sits on the bed and stares out of the window. Just as the Porter thinks it's safe to try edging out of the room again, she starts talking to him... JENNA (CONT'D) I loved him so much you know... Billy... Beat. The Porter doesn't know what the fuck she's talking about. JENNA (CONT'D) Everyone loves their children don't they? Well, not everyone, but... She looks over at him. The Porter smiles at her. JENNA (CONT'D) Do you want to see a picture? The Porter nods, uncertain. Jenna gets up, goes over to her purse. Opens it up. A picture of Billy. She hands it to the Porter - who takes it and just looks at it, not knowing what to do... Jenna starts to cry. For a long time. Finally... PORTER Madam. I have to return to my station. Jenna snaps out of it in an instant. JENNA What, yeah, thanks. She pulls a fifty dollar bill out of her purse. She hands the money to the Porter who leaves as quickly as he dares. CUT TO: BLACK. We hear Dave Berry singing 'Mama'. FADE IN: INT. HOTEL HALLWAY - NIGHTMARE The elevator doors open. Julian steps out into the empty hallway. Everything is normal... But everything is also not normal. The CAMERA tracks from behind as Julian walks - looking at the doors as he passes them and finally stopping in front of one: He knocks but there is no answer. Realizing the door isn't locked, he pushes it open and steps in. CUT TO: INT. HOTEL ROOM - NIGHTMARE The room is exactly the same as the one Jenna's staying in. However, instead of her, Julian sees a man sitting on the bed, his back to him. His features are obscured... Julian slowly begins to walk towards him, but before he can reach out, the figure turns to face him... It's Chang. But there is blood smeared all over his face... Julian stares at him in horror. Slowly he looks down at his hands only to discover that they're dripping in blood... We ZOOM IN on his hands. CUT TO: INT. HOTEL ROOM - NIGHT Julian wakes from his nightmare - covered in sweat. He is alone. He sits up. Looks at his hands, still very shaken by his nightmare... We hear the traffic of Bangkok. Julian gets up and walks to the table... Light up and begins to smoke morphine... He walks to the window and looks out over Bangkok... His phone rings - Julian answers... JULIAN (ON THE PHONE) Hello? JENNA (V.O.) It's me... JULIAN (ON THE PHONE) Hi Mum. Where are you? JENNA (V.O.) I'm in Bangkok... JULIAN (ON THE PHONE) What? Julian looks at his watch. JULIAN (CONT'D) (ON THE PHONE) ... I thought you didn't get in til midnight...? Beat. JENNA (V.O.) I needed to be by myself... JULIAN (ON THE PHONE) Okay... so, what d'you want to do? JENNA (V.O.) Raise Hell... Julian turns his back to the window. CUT TO: INT. FOUR SEASON'S HOTEL / BAR Jenna looks immaculate. She stubs out her cigarette when she spots Julian making his way towards her. She gets up and they embrace. She holds on to him. A little too long. Finally she pulls away. She looks at him for a long time. JENNA Could it be have been one of the gangs? JULIAN Maybe. Take your pick. Billy wasn't popular. JENNA What do you mean? JULIAN You know Billy... He was eccentric. Jenna smiles to herself as if this brings back memories and Julian even smiles. Both sit in silence for a moment. JENNA But you're going to find out who did it, right? JULIAN I'll make sure it gets done. JENNA No, it needs to be you that does it. We need to show them. Do you understand what I'm saying? JULIAN Yeah, okay, I'll do it. JENNA Good. HOLD ON Julian as we bring up the SOUND of Johnny Cash's Ring of Fire. VOICE Love is a burning thing And it makes a firey ring Bound by wild desire I fell into a ring of fire CUT TO: INT. KARAOKE BAR - NIGHT Chang is singing again... CHANG I fell into a burning ring of fire I went down, down, down And the flames went higher And it burns, burns, burns The Ring of Fire / The Ring of Fire And the cops are all there, Daeng included, watching him... CUT TO: INT. THAI BOXING CLUB - NIGHT Chang's singing continues as we see an assortment of tough looking Thai Men listening to Gordon (MUTE). CHANG` (V.O.) I fell into a burning ring of fire I went down, down, down And the flames went higher And it burns, burns, burns The Ring of Fire / The Ring of Fire Gordon explains the situation: what information they're after, how much they'll get paid for good leads. All the while Julian watches from the background. CUT TO: EXT. BANGKOK STREETS - NIGHT A montage of Julian's crew spreading out, shaking down their various contacts: doormen, pimps, dirty cops, stall holders, barmen... CHANG (V.O.) The taste of love is sweet When hearts like ours meet I fell for you like a child Oh, but the fire went wild. One of the crew, the rat faced Charlie Ling, starts talking to the Hotel Owner who was there the night of the murder. A couple of hundred Bhat notes and he starts talking... CUT TO: INT. KARAOKE BAR - NIGHT Chang reaches the climax of the song. CHANG I fell into a burning ring of fire I went down, down, down And the flames went higher And it burns, burns, burns The Ring of Fire / The Ring of Fire The Cops watch with total devotion. CUT TO: EXT. SLUMS - DAY A Tuck-tuck makes its way through the crowded streets driven by one of Choi Yan Lee's Three Daughter's. In the back sits Choi Yan Lee, his stump of an arm in a sling, a daughter either side of him. His arm's only just been bandaged up and he's clearly still in a lot of pain, his face going into spasm with every bump in the road. CUT TO: EXT. CHOI YAN LEE'S KIOSK - DAY Julian stands on the street corner sipping a soft drink. Waiting. Behind him Gordon, his phone glued to his face. On the other side of the road is Choi Yan Lee's Kiosk, big enough to double as his home, currently manned by his long suffering wife Kim Yan Lee. She serves a chilled coconut to a man. As he turns round we reveal... he's a particularly murderous looking member of Julian's crew - Ko Sam. We pick out Charlie Ling a little further down the road, who's looking at a tray of battery powered robots that some Street Kid's selling. They're all counting down the minutes. Biding their time. Waiting for Choi Yan Lee to turn up. Finally the sound of the Tuck-tuck approaching... Ko Sam drinks his coconut down in one - slurping as he hits the bottom. Letting the empty shell fall to the floor. Charlie Ling stands up. Feels the gun under his jacket. The Tuck-tuck pulls up and Choi Yan Lee's Daughters help him into the kiosk that doubles as their home. Julian and his men close in. CUT TO: INT. CHOI YAN LEE'S SHACK As Choi Yan Lee enters his home and his daughters make a fuss of him, the shutters of the kiosk counter are suddenly SLAMMED SHUT. They all turn round in panic, but before they can do anything about it, the last of the three daughters is pushed into the kiosk, followed by Ko Sam, Charlie Ling, Gordon and Julian. Choi Yan Lee snivels in the corner, waving his bandaged arm in the air. CHOI YAN LEE (IN THAI) You can't kill me. I'm a cripple. KIM YAN LEE (IN THAI) Who are you? What do you think you're doing? Get out or we'll call the police. Ko Sam shakes his head at her. Not a good idea. Julian turns to Charlie Ling. JULIAN Ask him if he's Choi Yan Lee. At the mention of his name the colour drains from Choi Yan Lee's face. His eyes lock with Julian's. CHARLIE LING (IN THAI) Is your name Choi Yan Lee? Choi Yan Lee nods his head. JULIAN Ask him why he killed my brother. CHARLIE LING (IN THAI) You killed his brother. Big mistake fat man. Why'd you do it? Beat. Choi Yan Lee knows he's been caught... CHOI YAN LEE (IN THAI) He murdered my daughter. CHARLIE LING He says he killed his daughter. Julian considers him for a moment. Slowly he pulls out a gun... Aims it at Choi Yan Lee's face... CHOI YAN LEE (IN THAI) Oh God. Please don't kill me. Please. I'll give you anything. Anything you want. My daughters. My shop. Please. I've paid for what I did. Look at me. In his desperation Choi Yan Lee suddenly lurches forward, brandishing his wounded arm at Julian. He pulls the bandages off, exposing the bloody stump. CHOI YAN LEE (CONT'D) (IN THAI) I've paid for what I did. Don't you see? Julian turns to Charlie Ling. JULIAN What's he saying? Beat. CHARLIE LING He says... He says he's paid for what he's done. That he's been punished already. Choi Yan Lee nods his head enthusiastically. CHOI YAN LEE (IN THAI) He told me to do it. Then he took my hand. Look. Again he thrusts his stump at Julian who glances at him. JULIAN Who did that to him? Choi Yan Lee looks at the various faces that surround him - then stares directly at Julian. CHOI YAN LEE (IN THAI) The Angel of Vengeance... Charlie Ling looks at him surprised... yet there's a sense that deep down he knows what he's talking about... CHARLIE LING (IN THAI) It's a lie - he doesn't exist... CHOI YAN LEE (IN THAI) I'm telling the truth. It was the Angel of Vengeance. JULIAN What's he saying? CHARLIE LING He's lying... JULIAN Tell me. CHARLIE LING It's a story old women tell their grand children... 'The Angel of Vengeance' is supposed to come down from the heavens and judge the living... restore karma to the world.. Gordon laughs... but Julian listens with great interest... JULIAN How does he do that? CHARLIE LING Leads people to their destiny... That's the myth anyway. Ko Sam smiles. Julian doesn't. Finally: JULIAN Ask him who cut his hand off. Charlie Ling's reluctant to question him further. Julian insists. JULIAN (CONT'D) Do it. CHARLIE LING (IN THAI) Who turned you into a cripple - and no bullshit this time. Choi Yan Lee continues babbling hysterically... CHOI YAN LEE (IN THAI, QUIETLY) I'm telling you the truth... The Angel of Vengeance is real... He made me do it... You've got to believe me... I've already been judged. CHARLIE LING He says it was The Angel of Vengeance... Choi Yan Lee starts to giggle uncontrollably. CHOI YAN LEE (IN THAI) The Angel of Vengeance. Yes. You don't find the Angel of Vengeance. No. He finds you. JULIAN What's he saying? CHARLIE LING (IN THAI) Pull yourself together fat man. If you don't talk sense I'll cut off your cock and shove it down your throat. CHOI YAN LEE (IN THAI) I'm telling you the truth. He'll find you. Choi Yan Lee retreats to the corner of the room. JULIAN What did he say? Charlie Ling considers Choi Yan Lee. Realizes he's not going to get a better answer out of him... CHARLIE LING He said you don't find The Angel of Vengeance. He finds you... Julian considers this for a long time. He realises he's not pointing his gun anymore. Puts it away. GORDON Are we going to kill him or what? The room suddenly feels stuffy. The atmosphere oppressive. Julian's got to get out... GORDON (CONT'D) What are you doing? But Julian's already stumbling out of the kiosk... JULIAN Nothing... We're not going to do anything... Just leave him. Leave them all. CUT TO: EXT. KIOSK - DAY Julian stumbles out of the kiosk and breaths in lungfulls of air. Disoriented, he careers into a stall selling various religious artefacts, sending candles, incense and statues of Buddha flying... He falls to the ground. When he gets to his feet everything around him seems intense and incredibly vibrant... The dogs fighting on the street, the Buddha that lies in pieces on the ground, the children that stand watching him, his crew as they come out of the kiosk, hiding their guns... Julian takes a long moment to get his bearings... Finally he stands up, but as he does he feels different... As if the axis of his world has shifted... CUT TO: INT. THAI BOXING CLUB - NIGHT The CAMERA TRACKS from the side as we see Jenna walk through the boxing gym. All around her people are fighting and sparring. She spots Julian and Gordon through the large windows of the office. They see her and stand up. We LINGER OUTSIDE in the training area as Jenna goes through THE DOOR... CUT TO: INT. BACK ROOM - NIGHT Boxers train in the background. Jenna, Julian and Gordon sit in silence. Finally: JENNA Did you kill him? Beat. A shared look between Gordon and Julian. JULIAN It's a little bit more complicated than that Mum. JENNA Complicated? He killed my son... What's so fucking complicated about that? JULIAN Mum, calm down... JENNA Don't tell me to calm down. I want him dead. Beat... Julian does not know how to explain the situation. Jenna stares at him. JENNA (CONT'D) We don't forgive. Only God does. JULIAN I know, you always say that - but this is different... JENNA How? Silence. Julian doesn't know how to answer. Jenna watches him carefully... JULIAN Maybe... Maybe Billy had it coming... JENNA What are you talking about? JULIAN ...because of what he did. Jenna thinks it over for a moment. JENNA I don't care. JULIAN Why? JENNA Just don't - some Thai cunt murdered your brother and we're not going to let him get away with it. JULIAN What if... What if it was The Angel of Vengeance? Jenna stares at her son like he's finally lost the plot. JENNA The Angel of fucking what...? JULIAN ...it - or he - restores karma and order in the world. JENNA 'Restores' things? Who said anything about 'restoring' things? Beat. JULIAN He loves all humans... JENNA I don't know what kind of spiritual journey you're on, but you will kill HIM-- JULIAN I'm not, I'm just... Julian can't get the words out. He gets up. JULIAN (CONT'D) ... I've got to go. ...and Julian leaves - letting the door to the office stay open. We pick up the sounds of the fighters training outside as we slowly ZOOM IN on Jenna. She turns to Gordon. JENNA How's business? GORDON It's alright, yeah. Well, what with Billy not being around, it's tricky to be honest... JENNA What d'you mean? GORDON Well, we're supposed to be moving five keys out the end of this week. But Billy's not here, is he? JENNA I'm here. Julian's here. Gordon shrugs. Jenna clocks it. JENNA (CONT'D) What's gotten into him...? Is he high or something? GORDON I don't know. Earlier today - we had the guy... The guy that killed Billy. Had a gun against his face. But then - nothing... JENNA Nothing? GORDON Julian let him go. Now there's all this stuff about angels... I don't know what the fuck's wrong with him. JENNA Not like you... Gordon smiles at her uncertainly. GORDON I know how to do what needs to be done. That's all. She stares at him, long enough to make him uncomfortable. JENNA So tell me... What did he mean when he said it was complicated? GORDON There's this other guy... Might have been involved... JENNA So we kill them both. GORDON We don't know who the other guy is yet... JENNA Okay. Well how about we start with the guy we do know? CUT TO: INT. KARAOKE BAR - NIGHT A girl sings 'Another Woman's Man' by Dolly Parton. Julian's sitting alone at a table, nursing a drink. Mai enters, looking much more sophisticated than when we saw her in the hotel. She sits next to Julian and gives him a kiss on the cheek. MAI Sorry I'm late. JULIAN It's alright... He drinks his drink. Silence... MAI What's wrong? JULIAN Nothing. Mai looks around the bar... It's half empty - some girls and men spread out. The waitress comes over and Mai orders a drink. They sit in silence, listening to the song... MAI See anyone you want us to take home tonight? Julian glances round but shakes his head. Looks at Mai. MAI (CONT'D) What? JULIAN Nothing... MAI What's with you? You want to get high? Beat. Silence. Finally... JULIAN I want you to meet my Mum. A pause, Mai slightly taken about. MAI Is she here? Julian nods. MAI (CONT'D) D'you want me to? Julian nods. Mai studies him. MAI (CONT'D) Why d'you want me to meet her? JULIAN To show her... To show that I've got something here... MAI What, like we're a couple? Julian stares at her for a long time. Can't quite say it out loud, but the answer's yes. CUT TO: EXT. CHOI YAN LEE'S SHACK - NIGHT Choi Yan Lee oversees his daughter's serving hot food to customers. FOCUS ON Liang, the young kick boxer, watching him from across the street. Liang pulls out a knife which glints in the light of the street lamps. He heads over to the shack. Liang asks Choi Yan Lee a question. Choi Yan Lee leans over to hear him better. Liang GRABS hold of his hair and PULLS him over the counter, SLITTING his throat with the knife. Choi Yan Lee's wife and daughters look on as blood floods from his neck, over the sweets and snacks on sale and down to the ground below. Life slips away from Choi Yan Lee in a matter of seconds. Liang holds onto him until he's dead and then lets go of his head and runs off into the night. CUT TO: EXT. BANGKOK STREET - NIGHT Gordon is waiting on a street corner smoking cigarettes. Liang comes up to him, breathless. Gordon pulls out several hundred dollars. GORDON Never come back - you understand me? Liang nods. GORDON (CONT'D) Good... Liang takes the money. A proper pay out. GORDON (CONT'D) You're a fighter, kid. No doubt about it. Good luck with that. CUT TO: INT. BACK ROOM - DAY Julian's talking to Liang's Mother and Sister who are sitting in front of him, both upset. Gordon hovers in the background... JULIAN When did you last see him? LIANG'S SISTER Last night. He went out. JULIAN Did he have any enemies? LIANG'S SISTER None. LIANG'S MOTHER (IN THAI) Someone called him. LIANG'S SISTER Someone called his mobile. JULIAN Who? LIANG'S SISTER She doesn't know. They spoke in English. Liang's Mother pulls out a mobile phone. Passes it to Julian. JULIAN This his phone? Liang's Sister nods. Julian scrolls through the numbers. All have Thai names against them - except one. Julian considers the number, then redials. A beat. Then the SOUND of a phone ringing in the same room. Gordon looks round. Realises he's busted. Takes his phone out. Kills it. Julian stares at him. Before he gets a chance to say anything, there is a knock on the door. JULIAN (CONT'D) What is it? THAI MAN (V.O.) There's some cops here to see you. JUILAN What do they want? THAI MAN (V.O.) Probably just money. You want me to find out how much? Julian thinks it over... JULIAN No, I'll talk to them. CUT TO: INT. BOXING CLUB - DAY Julian clocks the cops who are waiting for him. He walks over, strangely on edge. As he gets closer he sees Chang - standing on the other side of the room by the boxing ring, his back to him, watching the sparring fighters... Julian stares at him... Turns back to the cops... JULIAN Good morning officers. How can I help you? Slowly Chang turns to face him. Julian stares at him as if he's in a trance... KIM We're investigating the murder of Choi Yan Lee. Julian recovers. Turns to Kim and shrugs. JULIAN Never heard of him. KIM His arm was cut off. Here. Julian manages to cover his reaction. JULIAN I run a boxing club. Not much call for one armed men. A beat. Mexican stand off. JULIAN (CONT'D) What's this got to do with me? KIM He was the father of the girl that was found dead with your brother. JULIAN Then I guess you boys have got a lot of work to do - so have I, so if you'll excuse me... KIM That's why we're here Mr Hopkins. If you could just answer our questions. JULIAN Sure, sorry. What do you want to know? Julian looks over to Chang who continues staring at the boxers. The way the ring is lit he's almost silhouetted. KIM Where were you last night? JULIAN With my mum... Some of the boxers come over to Chang. They know him. They're reverential. With the effect of the lighting, it seems to Julian like they're bowing down before a God. JULIAN (CONT'D) You want to speak to her? KIM That wont be necessary at the moment. JULIAN Am I suspect? Chang turns round to face Julian. His presence is magnetic. Julian stares back at him, realizing that this must be the Angel of Vengeance... Chang walks over to them. Studies Julian for a long moment and then turns to Kim. CHANG (IN THAI) This is not the man. And as soon as he's said it, he turns on his heel and leaves. The cops back off and away. ZOOM IN on Julian. Deflated and strangely disappointed... He turns to Gordon who's standing behind him. JULIAN I want you to find out who that guy is. Okay? GORDON Sure. No problem. JULIAN Now. The SOUND of Nadee singing 'LONELY COMING DOWN' by Dolly Parton. CUT TO: INT. KARAOKE BAR Chang sits on his own drinking apple juice as he watches his wife sing on stage. Julian enters, sees Chang but can only see the back of his face. He walks over to the bar, orders a drink. Julian starts to watch Nadee. When he turns back to the bar he sees Chang reflected in the optics - somehow standing right next to him, staring at him. Julian turns to face him. CHANG Why are you here? JULIAN You're him... Aren't you? CHANG Who? JULIAN The one who killed my brother. Chang says nothing for a long time. CHANG I love all living things. Beat. CHANG (CONT'D) I restore karma. Is that why you came? JULIAN I came here to kill you. CHANG What's stopping you? JULIAN I don't know... CHANG Would you like me to tell you? Julian nods. CHANG (CONT'D) You want the Angel of Vengeance. JULIAN Yes. CHANG Why? JULIAN Cause, all my life... I don't know. CHANG Yes you do. JULIAN My mother wants me to kill you. Chang stares back at him. CHANG And what do you want? JULIAN ... I love violence. CHANG You want to fight me? Julian nods. JULIAN Thai style. CUT TO: INT. RESTAURANT - NIGHT Three cops sit eating noodles. KIM (IN THAI) What about his brain? PHAIBUN (IN THAI) It's a risk... One hit in the wrong place and he'll be straight back in hospital. And maybe he wont be so lucky as last time. DAENG (IN THAI) Then why's he going to fight the Westerner? The question hangs in the air. It's what they're all wondering. PHAIBUN He used to be a great boxer. KIM He has to do it. Since he came out of the coma, that's what he's done. Whatever's been asked of him, he's done it. He can't help it. It's all a mystery... A mutual pause. DAENG And if he loses? PHAIBUN He can't lose. He's the Angel of Vengeance. CUT TO: EXT. CHANG'S APARTMENT - NIGHT Nadee is standing behind Chang. They're playing a game in which they speak in English. She points out the window. CHANG View. NADEE Window. `She points at the table. CHANG Table. NADEE Do you like the table? CHANG Yes. I like the table. Chang stiffens. Nadee detects the change in him. NADEE What is it? Chang takes her in his arms. He starts kissing her neck. CHANG I need to speak to you in Thai. A pause. NADEE (IN THAI) What is it? CHANG (IN THAI) I love you. She stares at him for a long moment. It's odd for him to have confessed his feelings in such a way. Not bad, just odd. And then she starts to kiss him back... CUT TO: EXT. STREET - EVENING Julian is anxiously waiting outside. He looks up as Mai comes out of her appartment in a red dress. Julian's face drops. MAI What is it? JULIAN You can't wear that. MAI Why not? JULIAN My mother's... Very particular about colours. MAI You're kidding? JULIAN She hates red. Come on, we'll get you something else. Mai stares at him, reluctant to give in. JULIAN (CONT'D) Come on. MAI This is insane. JULIAN Look, I'm telling you. It's easier this way. Trust me. Mai gives in. Takes his hand. CUT TO: INT. CLOTHES SHOP - NIGHT Chang picks out a dress for Mai. She takes it, finding it hard to believe that he's making her do this... CUT TO: INT. RESTAURANT - NIGHT Three people sit around a table awkwardly. Julian, Jenna and Mai (dressed very conservatively) all eating soup. A long silence. JENNA So... May, isn't it? JULIAN It's Mai, Mum. JENNA How long have you two known each other then? Mai's about to answer but Juilan gets there first. JULIAN A year and a half isn't it? Beat as Mai quickly counts in her head... MAI ...that sounds about right. JENNA Well it's always a rare treat to meet one of Julian's lady friends. JULIAN Mum, please... JENNA So, where did you two meet? JULIAN I saw her walking down the street. Jenna raises an eyebrow... JULIAN (CONT'D) And I thought - this is the most beautiful girl I've ever seen - so I just walked up to her and started talking. JENNA I hear that happens a lot in this part of the world... Tell me, what's your line of work, Mai? MAI I work in the service industry. JENNA I bet you do. But tell me Mai, before you started serving my son, how many cocks were you serving? Was it over a thousand? Mai stares at Jenna in disbelief. JENNA (CONT'D) I know girls like you. Just because you might be pulling the wool over my son's eyes don't think it's going to work with me. JULIAN Mum, stop it, for fuck's sake. JENNA I'm sorry Julian, but I won't stand by and let a dirty little hooker take advantage of my son in the vain hope that her womb isn't so diseased that she can trick him into impregnating her and putting another cocksucking child on to this earth. JULIAN Leave her alone Mum. You've got her wrong. She's a good girl. JENNA What do you know about what's good? Beat. Julian says nothing. MAI He's good to me... JENNA Well that's nice isn't it, I'm really happy for you-- JULIAN Mum! A pause. JULIAN (CONT'D) The cops came by my club today. Beat. She stares at him. JULIAN (CONT'D) They're investigating a murder. The guy that killed Billy turned up dead this morning. Jenna looks bored. Lights a cigarette. JENNA Oh really, shame that, still, live by the sword, die by the sword... JULIAN I know it was you, Mum. JENNA I did what had to be done. JULIAN He was there. He was with them. JENNA Who? JULIAN The Angel of Vengeance. JENNA D'you kill him? JULIAN No. JENNA Cause he as good as killed Billy. What I want to know is, what are you going to do about it? JULIAN I'm not going to kill him... JENNA Yes you are. You're going to do it for me and you're going to do it for your brother. JULIAN This isn't about Billy. This is about me. All my life I've been running... JENNA That's right you cunt, cause you always run away whenever there's a problem... just like you're running away from killing this fucking Angel of whatever - JULIAN - his name is Chang- JENNA Chang?! Mai stands up. MAI I should be going now. JENNA Sit down you cunt. JULIAN Mum, don't talk to her like that. Mai sits down. JENNA So what am I left with? Julian stares at her. JULIAN Me. Jenna calms down. She looks at their reflections in the mirror behind the bar. We ZOOM in on the mirror, their faces refracted by the glass. JENNA You're right. We're family. We stick together. But Billy was family too. JULIAN Billy was a fuck up... He deserved everything he got. You know it and I know it. JENNA That's it. I'm not listening to this. I don't ever want to hear you mention his name again... Do you hear me? JULIAN Yeah we were brothers, but we were never close... And he was only in Bangkok cause you couldn't control him. So you sent him to me-- JULIAN (CONT'D) -- So you sent him to me and what could I do? JENNA You could have protected him. JULIAN I did what I could. And that's more than you ever did. JENNA I would've done anything for him. Okay, he wasn't born with as many advantages as you were. He struggled with things. But I always stood by him. JULIAN And what did that get him? I'll tell you what, a one way ticket to this fucking place, just like me. JENNA Don't you dare blame me for what happened back then. JULIAN I'm only here 'cause of you. If you didn't exist, I wouldn't be here. Beat. JULIAN (CONT'D) I could've been someone, Mum. I was on my way... Jenna stares at him - this is a conversation she does not like having... JENNA You would've been a great fighter... You could've gone pro. JULIAN Don't you think I know that? And look at me now. I'm a front for a drugs smuggling. He turns to Mai. JULIAN (CONT'D) It's true... The whole thing's a front. Every day I see kids coming in with great potential. And every day I see kilos of heroin going out. And it's all because of you, Ma. You and the money and the drugs. Jenna silently seethes, waiting for Julian to shut the fuck up. He quietens down... JENNA At least you're not behind bars and that's more important to me. Julian turns to her - he has been waiting all his life to say this. JULIAN That's right Mum. That's what's more important to you. But what about me? Sometimes I think you only got me out of there so the cops couldn't trace it back to you... Jenna stares at him. Her face a mask. JULIAN (CONT'D) ...that's right Mum. Think about it. With me gone you were safe. And it turned out to be good for business as well. All very convenient. Silence between them. Jenna lights another cigarette - her hands now shaking. JULIAN (CONT'D) Is that what happened with Billy? Did Billy become a problem like I did? Wouldn't surprise me, he was a big fucking problem when he was here... Still, at least you didn't have him killed. Jenna slaps him hard on the face. Julian recovers. Looks up at her. Very intense. JULIAN (CONT'D) I'm not going to kill him for you, Mum. Doesn't matter what you say. And do you want to know why? JENNA Surprise me. JULIAN 'Cause I'm going to fight him. In the ring. Me versus him. JENNA Well that seems sensible... And what do you hope that's going to achieve? JULIAN I don't expect you to understand. Cause you don't understand anything that isn't about you. JENNA And when you lose, what's going to happen then? JULIAN I don't know... But maybe this time I'll win. Like you say, only God forgives. Maybe this time he'll forgive me... Jenna turns to Mai. JENNA Do you understand what he's talking about? 'Cause I haven't got a fucking a clue. JULIAN You never did, Mum. A pause. Julian's touched a nerve. Jenna recovers. JENNA I hope you find what you're looking for. 'Cause if you don't, it's going to find you and I'm not always going to be there to look after you. Jenna composes herself. Suddenly brightens. A different person. JENNA (CONT'D) Nice to meet you Mai. Hope to see you again soon. Jenna shakes her hand. Mai's too shocked to resist. And then, as if nothing had happened, Jenna leaves. Julian covers his face with his napkin. MAI Are you alright? He's not. He's crying. But he doesn't want anyone to see. JULIAN I'm fine. Beat. JULIAN (CONT'D) I'll be fine. In a minute. Julian wipes his face clean. Pulls himself together. JULIAN (CONT'D) Sorry about that. CUT TO: EXT. FOUR SEASON'S HOTEL - NIGHT Jenna gets out of her cab and walks toward reception, a look of steely determination in her eyes. CUT TO: INT. FOUR SEASON'S HOTEL - NIGHT The Concierge and the Manager see Jenna coming towards them and brace themselves... However, to their relief, she diverts to the palm court area where Gordon is waiting for her. GORDON Nice evening? JENNA Lovely, yeah. Just catching up, you know. Jenna sits down. Lights a cigarette. JENNA (CONT'D) You're a piece of work, aren't you? Gordon blushes. Jenna blows out her match. JENNA (CONT'D) No fucking hanging about with you, is there? GORDON Well, I don't know about that. Just been out here a while... Know how to get things done. JENNA I bet you do. GORDON But things are going to shit. Since Billy died, Julian's all over the place... JENNA We'll have to something about that the, wont we? But, first things first, what about Chang? GORDON Who? JENNA My son's guardian angel. GORDON He's just a retired cop... JENNA Good, then he won't be to hard to kill, will he? GORDON It's not that simple... Is there somewhere we can go that's a little more private? Beat. She raises her eyebrows. JENNA What did you have in mind? Gordon blushes. Moves closer, conspiratorial... GORDON You can't just going round killing cops here anymore. It's not that easy. JENNA I didn't say it was easy. But then, you're a resourceful man, aren't you? GORDON I looked into it. Chang's a hard man to get to. None of the Thais'll go near him... JENNA Well then you're going to have to find someone who's not a fucking Thai then, aren't you? GORDON There might be a way... But Julian can't find out... Jenna looks at Gordon - smiles and crosses her legs. JENNA Don't you worry about that. There are certain things that a mother and son shouldn't - and don't - discuss... Gordon thinks he does but isn't a hundred per cent sure. CUT TO: INT. HOTEL ROOM - NIGHT Julian sits on a chair, holding his hand over a flame. Mai finishes applying make up, comes out of the bathroom wearing her red dress. She watches him for a moment. MAI What are you doing? JULIAN Seeing when it hurts. Mai watches him. He doesn't flinch. MAI I'm going to go. Julian takes his hand off the flame. Sees she's left the clothes he bought her behind. JULIAN Didn't you like what I got you? MAI It's fine, but you know... It's not my style. JULIAN What do you mean? MAI Maybe you should give it to your mother. JULIAN Don't to be so hard on her. Her life hasn't been easy. MAI Come on Julian. She's a fucking bitch. JULIAN Don't say that, okay? You don't know what you're talking about. She'd do anything for me. MAI The way she talks to you -- JULIAN Don't go there. MAI What? 'Don't talk about my mother'? Come on Julian. Julian stands up, angry. MAI (CONT'D) Why don't you fuck her instead of me? Julian grabs hold her neck. Throws her hard against the wall. JULIAN You don't get to judge her. You think she's bad? You should've met my dad. But he's not around anymore, and do you know why? Cause she loved me too much. He lets go of her neck. Mai rubs her neck. MAI You're fucked. He pulls money out of his pocket. JULIAN How much do I owe you? He forces a roll of notes into her hand, forcing her to take it. MAI Fuck you. She opens the door, sets fire to the money, and walks out of the room. As she walks down the hotel corridor, Julian slams his fists into the wall. CUT TO: INT. SKYLIGHT BAR - NIGHT A mixed clientele. High class. Asian and European. But there's an edge to the atmosphere. The music's that bit too loud, that bit too aggressive. And the people inside don't look like they're having a good time. It seems evil. Sleazy. Jenna introduces herself to Yuri Karkov, a well dressed and charismatic Russian in his forties who is surrounded by Thai girls and fellow Russians including his distinctive looking bodyguard, Dimitri. As the camera TRACKS CLOSER to them we start to hear what they're saying... YURI KARKOV ... so why do you want to kill a policeman? Policemen are good. They mind their own business and keep the streets safe. Stop people stealing my cars... JENNA You really want to know? YURI KARKOV Yes. It may effect the price. JENNA He killed my son. YURI KARKOV Revenge. Pricey... JENNA This is Bangkok. Nothing's that expensive. YURI KARKOV You're right. Most things are cheap in Bangkok. Especially life... We'll take care of this business for you. But it won't be easy and it won't be cheap. CUT TO: INT. RESTAURANT - NIGHT Chang and his crew eat dinner together. CUT TO: EXT. RESTAURANT - NIGHT A crappy van pulls up outside. Out get three Cambodian men. Very poor, badly clothed. They look like farmers. Only they pull out semi automatic firearms and head for the restaurant. CUT TO: INT. RESTAURANT - NIGHT Chang has just finished a meal with the Cops including Kim, Daeng and Phaiban. Chang is just settling the bill when the Three Gunmen walk in. He looks up just as they OPEN FIRE. An insane storm of led rains down on the room, shattering all the mirrors on the back wall, taking out Two Waitresses and covering the room with broken glass. Chang hits the floor and starts to drag himself towards some cover. Chang's men are completely pinned down. Phaiban's been hit and his white shirt has turned dark red with blood. Chang keeps edging towards where his jacket's hanging on a chair. In it, his pistol. The Gunmen keep firing. As soon as a clip is finished, they pull it out and put a fresh one in and keep shooting. A stray bullet hits the waiter who knocks over the chair Chang's jacket's on. It falls to the ground. With it, his pistol. He grabs it and returns fire, letting off four rounds. He takes Gunman One. Head shot, right between the eyes. Gunman Two sees this and sprays at Chang - - but Chang manages to dive to cover. He rolls and fires again, shooting Gunman Two in the chest three times. Chang's out of ammo and needs to reload. Gunman Three's weapon jams. He drops his weapon and runs. Before he's finished reloading his pistol, Chang's after him. He sees Phaiban. Dead. Daeng trying to stem the flow of blood from his chest. Chang keeps running, determined not to lose his man. CUT TO: EXT. RESTAURANT - NIGHT The driver of the crappy van smokes nervously in the driving seat as he waits. As soon as he sees Gunman Three, panic-stricken, running in fear, he puts the van in gear, revs the engine and starts to pull away. Gunman Three runs after him, crying out for him to slow down. The Driver slows. Gunman Three struggles to jump into the open doors. Chang bursts out of the restaurant. Stops dead. Aims and fires off two rounds. Blood spatters across the inside of the windscreen. The Driver falls forward, dead. The back door of the van slams shut. Gunman Three thinks he's made it. He's wrong. The van isn't going anywhere. Chang approaches the back door of the van, ready to fire. CHANG (IN THAI) Do you want to die? Do you want me to kill you? For what you've done? A long pause. Finally: GUNMAN THREE (O.S.) (IN THAI) No. Please. Don't kill me. CHANG (IN THAI) Tell me why not. Tell me why I shouldn't shoot you as soon as you come out of that door. GUNMAN THREE (O.S.) (IN THAI) I'm sorry? CHANG (IN THAI) Not good enough. GUNMAN THREE (O.S.) (IN THAI) It's my first time. I've never done anything like this before. CHANG (IN THAI) I know that. You're wearing sandals. Hitmen don't wear sandals. The door opens. Sandaled feet step out of the van. Gunman Three comes out with his hands up, falling to his knees. Chang continues to point his weapon at the unarmed man. CHANG (CONT'D) (IN THAI) Give me a reason. The Cops appear behind him in the doorway. Chang holds his ground. His finger twitches. It looks like he's going to pull the trigger. GUNMAN THREE (IN THAI) I'm begging you. Please-- CHANG (IN THAI) You showed no mercy in there. Why should mercy be shown to you? GUNMAN THREE (IN THAI) I don't know... CHANG (IN THAI) Yes you do. A long beat. GUNMAN THREE (IN THAI) I don't know his name. CHANG (IN THAI) But you know where he is. Gunman Three looks up... Nods. CUT TO: INT. COVERED ELECTRICAL MARKET - NIGHT Flanked by the Cops, Chang frog marches Gunman Three through the crowds, passing various stalls that seem to sell anything you could ever want for your TV, computer or Hi-fi. Gunman Three is so scared that he keeps forgetting the route and fretting about which way to turn at every junction in the warren-like market. Finally they reach the entrance to a particular shop. CUT TO: INT. ELECTRICAL SHOP - NIGHT Chang enters, followed by the others. Gunman Three is incredibly relieved to have found it. Li Po stands behind the counter - beside him sits Pan, a twelve year old boy who is severely handicapped. As soon as Li Po sees Chang and his crew arrive with Gunman Three next to them he knows the game's up. He can't run. His kid's sitting there... He approaches them with a heavy sigh. CHANG (IN THAI) You know why we're here. LI PO (IN THAI) Yes... GUNMAN THREE (IN THAI) He set it up. He knows who ordered the hit. He'll tell you. CHANG (IN THAI) Don't talk unless I ask you to. Understood? GUNMAN THREE (IN THAI) Yes. Completely understood. Chang turns to Li Po. CHANG (IN THAI) Do you have anything to say for yourself? LI PO (IN THAI) I'm a salesman. Some of the things I sell aren't exactly legal... But I'll give you the man that hired the hit... Chang stares at him... CHANG (IN THAI) Good... Li Po summons the contact details on his distinctive looking mobile phone. Proffers it to Chang. LI PO (IN THAI) As for myself, I'm not scared of paying for what I've done. I just... just don't hurt my son. Chang looks down at Pan - who is just staring at them, not understanding the situation. Chang takes the phone from Li Po. GUNMAN THREE (IN THAI) You see? He knows. He's got the details. I told you he would. CHANG (IN THAI) And I told you not to talk unless I asked you. Chang aims his gun at Gunman Three. GUNMAN THREE (IN THAI) Wait. You said if I took you to him you'd let me live. Chang shakes his head. CHANG (IN THAI) I never said that. Chang fires. Gunman Three's brains spatter across the TV screens on the far side of the wall. Pan begins to cry and Li Po hugs him and tells him how much he loves him... thinking they're next... Chang studies the mobile phone. CHANG (CONT'D) (IN THAI) This him? Li Po nods - scared. CHANG (CONT'D) (IN THAI) Where do I find him? LI PO (IN THAI) Skylight bar at the Jupiter.. Every night. Chang studies Li Po making sure he speaks the truth... then nods. CHANG (IN THAI) I'm taking your phone. Chang turns to leave. LI PO (IN THAI) What about me? Beat. Chang considers. Looks at Pan who's staring at Chang in fear. Looks back at Li Po. CHANG (IN THAI) I forgive you... CUT TO: EXT. THE JUPITER - NIGHT A people carrier pulls up outside the hotel. The doormen open the side door and step back when they see the heavily armed and bloodstained policemen get out, led by Chang. CUT TO: INT. SKYLIGHT BAR - NIGHT PICK OUT Dimitri and the group of Russian Criminals. Yuri Karkov is in the centre of them, a girl on either arm. Chang leads the Cops into the bar. He fires two shots into the ceiling. That shuts everyone up and gets the Russian Criminals up and ready for a confrontation. Half the bar's emptied by the time Chang reaches Yuri Karkov. YURI You better have a fucking good reason for doing this. Don't you know who you're fucking with. Chang looks at him. CHANG (IN THAI) You live in my country. Can't speak my language... Too bad the one guy on my team that could speak English got murdered today. Yuri looks round for help. He can't understand a word. YURI Can someone tell me what the fuck this guy's trying to say... Chang calls over to the barman. CHANG (IN THAI) Can you turn the music off. It won't be long, I promise. The music's killed. CHANG (CONT'D) (IN THAI) That's better. Thank you very much... Chang pulls out Li Po's distinctive mobile phone. Dimitri, currently flanking Yuri, turns white. Chang calls a number. A beat. Then a phone starts ringing in Dimitri's jacket pocket (with a really cheesy ringtone). Dimitri winces. Chang shakes his head. Yuri pulls a gun. Kim shoots him dead. Chang moves his gun across to Dimitri. Holds his mobile phone up to his ear. Dimitri answers. Chang speaks through the phone. CHANG (CONT'D) (IN ENGLISH) You're under arrest... CUT TO: INT. SKYLIGHT BAR - LATER WE TRACK IN on Dimitri as he stares at Chang, a rabbit in the headlights. Chang slowly sits down next to him. Talks to him in English. CHANG (CONT'D) I need information. Phaiban spins a spotlight onto Dimitri. CHANG (CONT'D) And you're going to help me. Suddenly the atmosphere in the emptied club shifts. It's as if Dimitri and Chang are locked into some kind of surreal performance... CHANG (CONT'D) Whether you like it or not. Dimitri's body starts to shake in fear. DIMITRI It was an English woman - she wanted you dead... A beat. Not what Chang expected... CHANG Why? DIMITRI Said you... murdered her son.... CHANG Who was she? DIMITRI I don't know... CHANG How did she know me? Dimitri shakes his head. He really doesn't know. DIMITRI She asked for you by name... CHANG And what's my name? DIMITRI CHANG-- Chang starts to circle him. Dimitri's terrified. Doesn't know what the fuck he's on about. Suddenly he's grabbed from behind by Phaiban. Chang smashes a beer bottle and walks up behind Dimitri... CHANG (IN THAI) I see the way you look at my people. The way you abuse them with your eyes. For this, I take your sight. He pushes the broken bottle into Dimitri's eyes. Gauges them out. Dimitri screams hysterically - calling out for his mother in Russian... CHANG (CONT'D) (IN THAI) You live in my country, but you fail to learn our language. You don't even try. For this I take your tongue... Phaibun grabs Dimitri's head from behind. Chang presses down on his stomach with his knee and opens his mouth - grabs hold of his tongue and with a blade slowly cuts it off. ...Dimitri's screams become more like the howls of a dying animal... Chang looks at him and his men release Dimitri who stumbles around the room like a chicken without a head... CHANG (CONT'D) (IN THAI) You had opportunities. You could have chosen other paths... But you wouldn't listen... For this I give you silence... Chang grabs Dimitri and pushes the knife into his ear. First one side, then the other. SOUND OUT. We can't hear Dimitri's screaming. We can't hear anything at all. Beat. MUSIC STARTS. Painful and beautiful, but also tacky... The opening bars to one of Dolly Parton's classics. Karaoke style. NADEE (V.O.) If I should stay, I would only be in your way. So I'll go, but I know I'll think of you every step of the way. And Chang with his crew just stare at the tortured Russian as he screams until his lungs are ready to burst. CUT TO: INT. KARAOKE BAR - NIGHT Nadee and Chang on stage. Singing their hearts out. CHANG AND NADEE And I will always love you. I will always love you. You, my darling you. Hmm. His crew watch, emotion etched on their faces... CUT TO: INT. FOUR SEASON'S HOTEL / JENNA'S ROOM - NIGHT Gordon is sitting on a chair in Jenna's hotel room, a whiskey in his hand, the Bangkok skyline behind him. NADEE (V.O.) Bittersweet memories that is all I'm taking with me. So, goodbye. Please don't cry, Jenna walks in from the bedroom wearing her dressing gown and walks over to him - a commanding presence. He makes to get up but she pushes him down and then leans down and kisses him hard on the mouth. CHANG (V.O.) We both know that I'm not what you, you need. CUT TO: INT. KARAOKE BAR - NIGHT Nadee and Chang continue singing - a spotlight beaming down on them, singling them out in the shadowy bar. CHANG AND NADEE And I will always love you. I will always love you. CUT TO: INT. FOUR SEASON'S HOTEL / JENNA'S ROOM - NIGHT Jenna and Gordon are still kissing as the guitar solo of the instrumental section kicks in... CUT TO: INT. KARAOKE BAR - NIGHT As Chang waits for the instrumental section to end, he starts to cry, letting the tears flow without embarrassment. Nadee puts her arm around him to comfort him. The rest of the crew start crying as well, Daeng in particular. NADEE I hope life treats you kind And I hope you have all you've dreamed of... And I wish you, joy and happiness. CHANG But above all this, I wish you love. And I will always love you. CUT TO: INT. THAI BOXING CLUB - NIGHT Julian trains alone in the night... NADEE(V.O.) I will always love you. CHANG (V.O.) I will always love you. CUT TO: INT. KARAOKE BAR- NIGHT Nadee and Chang holding hands... CHANG / NADEE (O.S.) I will always love you. I will always love you... I, I will always love you. CUT TO: INT. THAI BOXING CLUB - NIGHT ...Julian stares at his reflection. CHANG / NADEE (V.O.) You, darling, I love you. Ooh, I'll always, I'll always love you. Julian lifts his fists up. The same fighting pose we saw him in at the very beginning. He's ready. Ready as he'll ever be. CUT TO: BLACK FADE IN: INT. THAI BOXING RING - NIGHT Two figures kneel on either side of the ring. Julian and Chang. Both wearing Mongkol. Totally still. The ceremonial music begins... Slowly Julian and Chang start to perform Ram Muay, the ancient, traditional dance which the rules of the game say must be carried out before a fight takes place. It is both strange and spiritual: Julian and Chang move their arms rhythmically, in time to the music, their hands describing shapes and outlining fighting positions. As the dance develops, so their positions become more combative; now crouching, now standing, hinting at the kicks and punches that they're about to perform... but all carried out with an almost beatific precision that is at odds with the violence that is about to follow... FADE OUT. The Music Ends. A moment of stillness, and then slowly we bring up the SOUND of the baying crowd. Chanting. Screaming. Wild excitement. Ready for the fight they've all been waiting for... FADE IN: INT. THAI BOXING RING - NIGHT The crowd is packed. In one corner: Julian. Charlie Ling beside him along with Ko Sam. He looks focussed. Confident. In the other corner: Chang. Kim next to him along with a couple of his crew. He looks incredibly calm. The first bell sounds. Five second warning... Chang looks over into the crowd. Kanita with Nadee. Kanita offers him a 'thumbs up'. Chang smiles. Returns it. Julian looks over. Sees Mai take a seat. She holds his gaze. The second bell sounds. The first of five rounds. Julian and Chang walk up to the centre of the ring. The Referee stands between them. Brings them together. A quick look down to the Three Judges. Then a look between the two fighters. Julian eyes Chang. Steely determination in his eyes. Chang looks back at him without emotion. REFEREE (IN THAI) Fight. Julian and Chang circle each other. Julian moves in to attack first. He throws a straight left first to Chang's face and steps his left foot forward at the same time. Chang bends his right leg, dodging the attack. He then pounces on the upper part of Julian's arm with his right hand and catches his wrist with his left hand. He tries to turn Julian's front wrist up, but Julian's too strong. This is a surprise for Chang. He breaks and steps back. Julian moves in to attack again, raising both elbows to make an attack on Chang's head. Chang steps forward and pulls an uppercut, connecting hard with Julian's chin. Julian moves back, dazed. Takes a moment to get his bearings back. That hurt. Chang doesn't take the opportunity to attack. He hangs back. Waiting for Julian to come at him again. This pisses Julian off. He moves forward and throws an offensive kick with his right foot. Chang moves back to dodge the attack and swivels to try and strike with a counter attack. He moves too slow. The right footed attack was a feint. Julian slams his right foot down on the floor and uses it to swivel, unleashing a kick with his left which connects with Chang's jaw and sends him flying back. Julian uses his forward motion to propel him onwards. He bounds over to the disoriented Chang and hits him with a series of jabs and punches to his upper body and face. Chang's almost on the ropes. Julian comes in hard with kicks to the shins with his right foot. Chang bends his body to pass under Julian's right foot. Julian misses the target. Chang manages to place his right foot on Julian's left knee-joint which makes him fall down. Julian's in a vulnerable position, but Chang doesn't move to make the killer blow. He steps back to let him recover. Again this enrages Julian. He gets up and moves forward towards Chang. He comes in with a high right kick. Again Chang manages to dodge the attack and returns with a right foot to the back of Julian's left knee. Julian swivels, punches air, and gets a trio of punches in his gut. His guard's down. But again no killer punch. JULIAN Come on. Chang retreats. Shrugs at Julian. You come on. Julian moves towards him, but before he gets a chance to take out his frustrations, the bell goes. End of round one. Julian stalks back to his corner. He turns to look at Chang, a look of intense anger and frustration. CUT TO: INT. THAI BOXING RING - NIGHT Julian moves towards the middle where Chang is already waiting. Julian waits for Chang this time. Chang is reluctant to attack. A waiting game... Who will strike first... Chang wins. Julian moves to kick Chang in the ribs, keeping both his hands down as he moves in. Chang predicts this and prepares to throw his own kick as it comes in. Chang steps back, but again Julian swivels, using his right foot instead to pivot and unleashes a killer strike with his left foot. Chang goes flying backwards. PICK OUT the look of concern etched on the faces of Nadee and Kanita. Chang recovers but Julian moves in fast with a series of punches and elbows. Chang's on the ropes now and getting badly beaten. He clings on to Julian to limit the damage. REFEREE (IN THAI) Break. The two fighters step back from each other. Chang's face is damaged. Juilan's about to get stuck into him again when the bell sounds. End of the second round. Round three: Julian slamming punches into Chang. Nadee comforting Kanita. Telling her it'll be okay. Chang responding with kicks and elbows. Defensive blocks and counter attacks. Mai willing Julian on. Jenna watching with Gordon... End of round: Julian feeling more confident. Again his eyes scan the crowd. This time he sees what he's looking for: Jenna. Chang eyeballs Julian from the other corner. Sees him staring into the crowd. Looks over. Tries to see what he's looking at but can't make it out. POV from Chang as he sees Jenna make her way toward Julian. When she gets to him we see her saying something to Julian about the fight - urging him to hit harder... Jenna then walks back to Gordon... On Chang. Deep in thought. He gets up early. Walks around the ring. Looking into the crowd. Jenna sees him. Stares at him. Suddenly nervous. Everything slows down as Chang clocks her again. The colours of the room change from blue to yellow to red. He's seen her and she knows she's been seen. And he knows. And she knows that he knows... The bell goes off. Back to reality. Chang turns round. Too late. He gets a massive blow to his head. He goes down hard. The Referee starts counting. Nadee and Kanita watch on, fearful. Jenna holds her breath. Hopeful that he might be down and out. Kim watches on, concerned. KIM (IN THAI) Get up. Please get up. After a long, terrible pause... Chang gets up. He looks over into the crowd. Makes eye contact with his wife. It's okay. She shakes her head. She can't bear it. Tears running down her face. Back on his feet, Chang suddenly drops his guard. Julian hesitates, confused. Chang leans in close to him. Winks. CHANG It wasn't you, was it? Julian shrugs, puts his guard up. CHANG (CONT'D) You're innocent. JULIAN What are you talking about? CHANG It's not your fault. Chang raises his arms again. Ready to fight. Julian gets ready to attack but something's changed. The fire's gone out of him. He looks over to his mother, to Mai, Chang's words echoing in his mind. It's not his fault. Then Chang comes in with a flurry of punches. Left, right, left, right. Julian just takes them... Chang pauses in the onslaught. Julian stays motionless in the middle of the ring. Chang runs at him, flings his right foot, swivels, pulling out a roundhouse left kick - - which makes contact with Julian's draw. SLOW MOTION as Julian's head takes the impact. He's out cold before he hits the floor. CUT TO: BLACK. FADE IN: INT. CORRIDORS - NIGHT Jenna hurries down the corridor. She reaches the dressing room door. She's about to knock but she stops. She opens the door silently and lets herself in. CUT TO: INT. CHANGING ROOMS - NIGHT Julian's sitting on the treatment table, his face covered in cuts and bruises... Jenna watches him in silence from the shadows, steadies her breathing and then slips back out of the room. CUT TO: INT. CORRIDORS - NIGHT Jenna comes out of the changing rooms as Mai approaches. Jenna shakes her head. JENNA He doesn't want to see anyone. Mai is disappointed. Doesn't know what to say. JENNA (CONT'D) Just give him time... MAI ...tell him I came? JENNA Of course. Jenna hugs Mai close. JENNA (CONT'D) We'll get him through this together. CUT TO: INT. CHANGING ROOMS - NIGHT Julian turns when he hears a knock at the door. Says nothing. Jenna enters and closes the door behind her. She stands there for a moment as if considering what to say... JENNA You deserved to win. You should've WON-- JULIAN Give it a break mum. Just... give it as rest. He steps into the light. She reaches out to touch him. JENNA I'll never get use to seeing you get hurt - even when you win. JULIAN Yeah, well I lost. JENNA And did it make a difference? Julian says nothing. JENNA (CONT'D) I want to know... Did it make a difference? Slowly he shakes his head. JULIAN ... No... it didn't make a difference... No difference at all. JENNA And how do you feel now? JULIAN Nothing. I don't feel anything at all. JENNA Don't you see, that's how I felt when Billy died... Julian studies his mother. JULIAN What do you want, Mum? Beat. JENNA What d'you think I want? I want it to be like it used to be... I don't want to lose you... Jenna starts crying. Could be real, could be an act - hard to tell she's so good... JULIAN What's wrong Mum? She shakes her head. Can't say it. JULIAN (CONT'D) What's wrong? JENNA He knows... He knows it was me. JULIAN Who does? Beat. Jenna says nothing. Julian thinks... Cogs turn... JULIAN (CONT'D) Chang? Jenna nods. JULIAN (CONT'D) What did you do, Mum? What did you do? Jenna makes her hand into a pistol. Pretends to fire it into her skull. She tried to have Chang killed. Julian's speechless. JENNA He's going to come after me. And after he's come after me, he's going to come after you. Julian stares at his mother; fragile, terrified, alone. JENNA (CONT'D) I'm scared, Julian. Julian stares at his mother. JENNA (CONT'D) What are we going to do? Julian begins to realize what he has to do... and he looks at his hands. Finally... JULIAN We'll be okay - I'll do it, I'll take him out... JENNA Not just him. We've got to take them all out. Julian stares at her - the power she has over him... JENNA (CONT'D) Kill them all. The final solution. CUT TO: INT. CHANG'S APARTMENT / KITCHEN - NIGHT Chang, Nadee and Kanita are having a nice dinner - happy that Chang won and enjoying each other's company in silence... CUT TO: INT. CHANG'S APARTMENT / KANITA'S BEDROOM Chang tucks in his daughter. Nadee watches from the doorway. Kanita still has some dolls on her bed. He starts taking them off. Notices one of them is broken. CHANG (IN THAI) What happened to the princess' head? KANITA (IN THAI) The monsters were angry. They bit it off. CHANG (IN THAI) I thought the King banished them all from his kingdom? KANITA (IN THAI) These were new monsters. The woods are full of them. Chang holds the broken princess' body. A sudden wave of fear washes over him. A sense of doom. KANITA (CONT'D) (IN THAI) What's wrong Dad? CHANG (IN THAI) Nothing's wrong. Go to sleep. CUT TO: INT. CHANG'S APARTMENT / KITCHEN Chang speaks on the phone. CHANG (IN THAI) They're going to come after me... Okay. Good. He ends the call. Stares at his reflection in the window. CUT TO: INT. CHANG'S APARTMENT / MAIN BEDROOM - NIGHT Chang gets into bed next to his wife. Switches off the light. The two of them are bathed in moonlight. He holds his wife's hand. CUT TO: INT. CAR - DAY It's still early - the sun is only just starting to rise over he city. Charlie Ling's driving, Ko Sam beside him. Julian's in the back street. His face is a mask, his eyes hidden by his sunglasses... next to him is a silver shining motorcycle helmet. CUT TO: IN. CHANG'S APARTMENT / KITCHEN - DAY Chang is eating breakfast as he watches a western on TV. CUT TO: EXT. THAI SHOPPING STREET - DAY Nadee and Kanita walk through the various stalls buying groceries. CUT TO: INT. CHANG'S APARTMENT - DAY Chang is dressed - finishing putting on his tie - ready for the day. He walks into his sitting room as he hears his mobile ring. CHANG (IN THAI) Hello... VOICE (IN THAI) She is in her room... CHANG (IN THAI) You sure it's her? VOICE (IN THAI) Yes... CHANG (IN THAI) Good... see you very soon. ...and Chang hangs up... The Angel of Vengeance getting ready to strike again. CUT TO: INT. CHANG'S APARTMENT BUILDING - DAY Chang steps out of his apartment into the hallway where a uniformed policeman sits on guard reading a Manga comic. CHANG (IN THAI) What's your name? LI HOM (IN THAI) Li Hom. CHANG (IN THAI) Listen Li Hom. You see anyone you don't like... You call me, okay? Li Hom nods. Chang leaves. LI HOM (IN THAI) And by the way... Chang turns. LI HOM (CONT'D) (IN THAI) Congratulations. Last night. Everyone in the station's talking about it. Chang nods. Leaves. CUT TO: INT. / EXT. CAR - DAY The car's parked outside Gordon's apartment block. Gordon's not shown. Julian's calling him... JULIAN We're outside. GORDON (V.O.) Sorry mate, something's come up. Julian pauses. Can't believe it. JULIAN I need you here. Right now. GORDON (V.O.) I know but... I'm busy. What I'm doing, it's important. I'm sorry mate. Julian's incredibly frustrated but hasn't got time to argue. JULIAN Okay. Julian kills his phone. He's still for a moment, then: JULIAN (CONT'D) Let's make a move. CUT TO: EXT. FOUR SEASON'S HOTEL - DAY Chang and the Cops walk into the hotel. Chang heads for the elevators while Kim approaches reception. Chang calls the lift and waits. Kim comes back. KIM They wont disturb us. Chang nods. The elevator door opens. CHANG What floor? KIM Top. CUT TO: INT. ELEVATOR - DAY Chang and the Cops are standing in the elevator waiting to get off. Elevator music plays... CUT TO: INT. CHANG'S APARTMENT - DAY Julian is walking around Chang's apartment... looking at all family pictures... getting a sense of how they live. He opens drawers and closets and studies all the photos of Chang as a boxer and soldier. ...on a wall is a framed article in Thai that Charlie Ling is reading. JULIAN What's it say? Charlie starts reading the article out: CHARLIE LING "Boxing Cop Hero Back From Grave". One of Bangkok's finest, blah blah blah, came out of a coma that lasted for an entire year, waking up as if nothing had happened... Wife was really happy, blah blah blah... "It's hard to describe" Chang said, "but I do feel different." Charlie starts to sneer as he reads. Julian is listening intently. CHARLIE LING (CONT'D) "I experienced something metaphysical, impossible to explain... I travelled to many places and saw many things... And when I woke up I was no longer the man I once was..." JULIAN The Angel Of Vengeance. CUT TO: INT. CHANG'S APARTMENT BUILDING - DAY Nadee and Kanita come out of the elevator and Nadee quickly sees that police guard from before has been replaced by someone else (Ko Sam)... Ko Sam smiles... KO SAM (IN THAI) I'm the new guard. Please, go on in. Nadee looks at him suspiciously but enters the apartment with Kanita. Ko Sam pretends to go back to reading his Manga comic. CUT TO: INT. FOUR SEASON'S HOTEL / JENNA'S ROOM - DAY Jenna sips tea from a China cup. She puts it back down on to her saucer. Kim is sitting opposite her. Chang stands in the background. JENNA I came here to collect my son's body. Now it's released, my business in Bangkok is completed. KIM When are you leaving? JENNA Tonight. KIM And your other son - is he going with you? JENNA I've had no real contact with Julian since he ran away. KIM You watched him fight. Jenna looks over to Chang. JENNA I watched him lose. And he deserved to. You were the better fighter. My only sadness is that Billy got caught up in what he's doing out here. And paid for it with his life. Kim and the rest of the crew take this in. JENNA (CONT'D) I'll never testify against my own flesh and blood, Officer Chang. But he's a killer. Chang senses something. Starts to become agitated. JENNA (CONT'D) ... It pains me to say it, but my own son is a killer. He killed a cop back in England ten years ago. He's been on the run ever since. I say son... But he hasn't been a son to me. Chang stares at the door to the bedroom. Feels the presence of someone the other side of the door. JENNA (CONT'D) Not for a long time. Not since he killed that cop back home... That was ten years ago. He's been running ever since. And he'll never stop until he's caught. Until you catch him. Chang starts to push the door open... Behind him Jenna stands up. Before Chang fully opens the door, his mobile phone rings. It sounds INCREDIBLY loud. He takes it out and looks at the display with a feeling of dread. He answers... CHANG (IN THAI) HELLO NADEE (V.O.) (IN THAI) It's me... Did you change the guard? CUT TO: INT. CHANG'S APARTMENT / KITCHEN - DAY Nadee is in the kitchen putting away the groceries as she is speaking with Chang... CHANG (V.O.) (IN THAI) No. NADEE (IN THAI) Someone else is out there now... CUT TO: INT. FOUR SEASON'S HOTEL / JENNA'S ROOM - DAY Chang begins to panic. His eyes fall upon Jenna. CHANG (IN THAI) Get out of the apartment... CUT TO: INT. CHANG'S APARTMENT / KITCHEN Nadee hear's Kanita call for her from the living room. NADEE (IN THAI) Hold on... CUT TO: INT. FOUR SEASON'S HOTEL / JENNA'S ROOM - DAY Chang screams down the phone: CHANG (IN THAI) GET OUT OF THE APARTMENT! CUT TO: INT. CHANG'S APARTMENT / KITCHEN - DAY ... But Nadee is holding the phone against her chest and can't hear Chang as she walks into the living room... CUT TO: INT. CHANG'S APARTMENT / LIVING ROOM - DAY ... where Julian is sitting on the couch wearing the motorcycle helmet, a shotgun on his lap. Kanita is standing in the middle of the room, staring at Julian. Charlie Ling leans against the opposite wall, a pistol in his hand. Nadee remains silent, trying to think fast. CUT TO: INT. FOUR SEASON'S HOTEL / JENNA'S ROOM - DAY Chang listens to the phone, knowing something's wrong. Jenna stares at him, defiant. Their eyes lock briefly. But Chang hasn't got time for this. He barges past her and out of the room. CUT TO: INT. FOUR SEASON'S HOTEL / CORRIDOR - DAY The CAMERA TRACKS with Chang as he runs down the corridor in total desperation. CUT TO: INT. CHANG'S APARTMENT BUILDING - DAY The CAMERA ZOOMS towards the main door. CUT TO: INT. CHANG'S APARTMENT - DAY CLOSE ON Nadee who stares at the main door then slowly turns back to Julian. She knows they're trapped. Beat. NADEE (IN THAI) Kanita - go to your room. But Kanita stands still - fear in her eyes. NADEE (CONT'D) (IN THAI) ... go to your room now. And slowly Kanita walks towards her room as Charlie Ling watches her... Kanita closes the door. Beat - silence... Julian stands up and walks toward Nadee - raises his shotgun and blows her head off. Blood spatters onto the wall, bits of brain and skull everywhere as her body falls to the ground... CUT TO: EXT. BANGKOK STREETS - DAY Chang stops in his tracks. It's as if he can feel the shotgun blast in his heart. He knows what's just happened... He stands still. He closes his eyes as if he had only to wish to make it all go away... He opens them again to see... The street is completely deserted. Chang stands alone in the middle of a ghost town. CUT TO: INT. CHANG'S APARTMENT - DAY Julian takes off his helmet that's covered in blood, throws it onto the floor and walks toward the front door. CHARLIE LING Wait... Julian turns back. Charlie Ling nods towards Kanita's room. CHARLIE LING (CONT'D) The kid. Julian shakes his head. JULIAN No way. CHARLIE LING SHE SAID-- JULIAN Who said? Beat. JULIAN (CONT'D) My mother? Charlie Ling nods. JULIAN (CONT'D) What kind of a mother says that? CHARLIE LING If you've got a problem, talk to her. JULIAN No. We're not doing it. CHARLIE LING You don't have to. I will. Charlie Ling kicks open the door. Julian realises he can't let him do it. And as Charlie Ling sees Kanita... Julian shoots him in the back. Charlie Ling slumps to the floor. Julian approaches the doorway. He looks in. Sees Kanita sitting on her bed. She stares at Julian, Charlie Ling's dead body at his feet. They hold each other's gaze... and then Julian slowly bows his head and leaves... CUT TO: INT. CHANG'S APARTMENT BUILDING - DAY Julian walks out of the apartment with the shotgun raised, expecting to shoot Ko Sam... But the hallway is empty... CUT TO: EXT. BANGKOK STREETS - DAY Julian stumbles out of the apartment, desperately catching his breath. He ends up leaning on a stall - similar to the one he knocked over outside Choi Yan Lee's kiosk. Candles and incense. Buddha's smiling back at him... Julian looks around him and again everything seems intense and incredibly vibrant... A group of school children, all of whom are Downs Syndrome, are crossing the road. Smiles plastered across their faces... Julian stares at them... Their presence seems to have a calming effect on him, as if they're giving him new energy to do what he's starting to realize he has to do next. CUT TO: INT. CHANG'S HOUSE - DAY Chang stares at the body of his dead wife. Perfectly still. His crew in the background... CUT TO: INT. FOUR SEASON'S HOTEL / RECEPTION - DAY Julian walks across towards the lift, the shotgun hidden inside his shirt. CUT TO: INT. LIFT - DAY Lift music. Julian stands perfectly still in the lift as it goes up... Just like Chang did before... CUT TO: INT. CORRIDOR - DAY As Julian walks down the corridor he takes the shotgun out - holds it out in front of him as if it were a sacred weapon... He reaches the door to his mother's room and pauses. Julian stares at the door as if it was heaven's gate... He loads the shotgun with two fresh cartridges. JULIAN Only God forgives. And now mother - you will die... He rings the bell, raising the shotgun, ready to shoot. The door OPENS - - but it's Gordon who opens it, dressed in a bathrobe. Confused, Julian continues to level the weapon at his head. Gordon backs away into the room. GORDON Easy... Julian says nothing. Edges into the room. The gun still pointed at Gordon's head. Julian says nothing. Kicks the door closed with his foot. JULIAN Where's is she? GORDON She's gone... Picked up Billy's body... She's gone home. Finally Julian lowers the shotgun. GORDON (CONT'D) Didn't she tell you? Julian sits down. GORDON (CONT'D) You alright mate? D'you want something? Julian mumbles to himself... then turns to Gordon. Realisation dawning on him: JULIAN I'm so fucked... CUT TO: INT. POLICE STATION / INTERVIEW ROOM - DAY Kanita sits in a chair, her father standing behind her. Very formal. Kim is showing her various head shots of criminals... Kanita shakes her head until Chang puts down a picture of Julian. She looks up at her father - nods... CUT TO: INT. CAR - DAY Jenna gazes out of the window. She takes out her compact and adjusts her make up. CUT TO: EXT. BANGKOK - DAY Jenna's taxi heads over the Mega Bridge, taking her away towards the airport. CUT TO: INT. UNDERGROUND CARPARK - DAY Gordon and Julian walk towards Gordon's car, the sounds of their footsteps ricocheting off the concrete walls. Reaching the car, Gordon stands by the driver's door as Julian heads for the passenger's side. Gordon pauses before unlocking the door. Looks over to Julian, talking across the roof of the car. GORDON We're good mates aren't we? Beat. Julian's instantly suspicious... JULIAN ... Yeah. GORDON I'm sorry about this Julian. I wish there was another way... Gordon levels a pistol at Julian's head. JULIAN What did she say? What did she promise you? GORDON Don't make this harder-- GUNSHOT. A bullet RIPS through Julian's shoulder. He falls back on the car behind him setting off a chorus of car alarms. Gordon starts to walk round to deliver the killer blow. GORDON (CONT'D) You've become a liability. You can see that, can't you? Julian looks at the wound. It's deep but he's not totally incapacitated. He pulls the shotgun out from under his shirt. It clatters to the floor. GORDON (CONT'D) And now she wants me to take over. She wants me to be the favoured son. What am I supposed to say? Julian sinks to his knees, leaning over to pick up the shotgun. He's got seconds... GORDON (CONT'D) I didn't want it to end like this. First I fuck your mother. Then I-- Gordon turns the corner - but Julian's in position. Two shots in quick succession. Both barrels fired at Gordon's chest. The force of the explosion FLINGS Gordon's body against the far wall of the car park. Dead instantly. Julian pulls himself up and stands there, the smoking shotgun acting as a makeshift crutch. He gazes at Gordon's steaming corpse, appalled by the turn of events... CUT TO: EXT. ALLEYWAY - DAY Julian falls out into a side street. He's badly wounded but he's going to make it... CUT TO: INT. TOILET - DAY Julian takes the top off a vodka bottle with his teeth. He pours the spirit over his wound. It stings like hell and Julian screams in agony. CUT TO: EXT. BANGKOK STREETS - DUSK Julian walks out into the night, the neon glow turning the streets into a modern day Hades.... Although the wound isn't life threatening, Julian's face is pale from the loss of blood. He looks like a ghost. He sees two cops chatting on a street corner. They don't see him, they're not even looking for him, but they remind him. Chang. It's just a matter of time... Julian keeps walking. Wipes sweat from his face. Looking for a place to hide. A hole in the ground. Anything. Then suddenly it comes to him. A single idea. A possible way of escape... CUT TO: INT. KITCHEN - NIGHT A series of napkins are rolled and placed in a steadily growing pile. The work is being carried out by Mai who has a lowly position in a massive and sterile industrial kitchen. Not the sort of life she planed on having... A Co-Worker calls out to her... CO-WORKER (IN THAI) Mai. Some guy's out there asking for you. Mai finishes the last napkin and places it on the pile. She walks towards the exit, passing her Co-Worker... CO-WORKER (CONT'D) (IN THAI) Don't forget it's supposed to be my break next. CUT TO: INT. HALLWAY - NIGHT Mai comes from round a corner and sees Julian leaning against the wall. She checks that they're alone, knowing instinctively that he's in trouble. MAI What happened to you? Beat. Julian almost smiles. JULIAN I've got to get out of Bangkok. Didn't want to leave... He winces. JULIAN (CONT'D) ... without saying goodbye. MAI Who did this to you? A pause. JULIAN My mother... She made me what I am. And now I've got nothing. And they're after me. Mai stares at him. MAI Come with me... Julian looks at her. MAI (CONT'D) ...to Cambodia - we can hide there... You'll be safe there. Mai and Julian smile at each other. It's sweet. Innocent. JULIAN I got about twelve grand at the club... Should be enough to get us there. Set ourselves up. Disappear... MAI Now? JULIAN Right now. Mai looks around - they're alone. MAI Wait outside... CUT TO: INT. / EXT. RESTAURANT - NIGHT Julian watches as Mai comes into the Restaurant from the kitchen and walks over to the bar area... Making sure no one's watching, Mai starts to pull money out of the til... Julian looks over at the shop front next to him... A Travel Agency. Pictures of holidays and beaches. Paradise. It all seems in his grasp. Mai comes up to him... MAI Let's go. CUT TO: INT. TAXI - NIGHT Mai and Julian are in the Taxi. He puts his arm around her. They're on their way... CUT TO: EXT. THAI BOXING CLUB - NIGHT The taxi pulls up outside Juilan's club. CUT TO: INT. TAXI - NIGHT Julian gets out of the taxi. JULIAN Stay here. If I'm not out in five minutes... Go. Mai nods. MAI Five minutes. Julian nods and slams the door shut. Mai watches Juilan disappear into the building. CUT TO: INT. THAI BOXING CLUB - NIGHT We PAN THROUGH Julian's empty club. It's silent and empty like a tomb... We PICK UP Julian as he hurries through towards his office. CUT TO: INT. BACK ROOM - NIGHT Back where we first met him... Julian flings open the door to his safe and starts pulling wads of money into a canvas hold all. He's about to leave when he notices someone standing in the shadows behind him. Slowly, out of the darkness, a series of figures appear like vampires... Chang and the Cops. Impossible to say how long they've been standing there... Chang and Julian stare at each other... CHANG Let's go. We TRACK IN to a CLOSE SHOT on Julian. It's almost as if this moment was inevitable. CUT TO: EXT. THAI BOXING CLUB - NIGHT Chang brings Julian out of the club. A police car is waiting outside. Mai sits in the back seat. CUT TO: EXT. BANGKOK - NIGHT The police car drives through the city streets and onto the freeway heading out of town. CUT TO: INT. POLICE CAR - NIGHT Daeng is driving. Kim sits next to him. Daeng looks into the rearview mirror to see-- Julian and Mai sitting next to Chang. Mai looks scared... Julian more accepting of his fate... CUT TO: EXT. BANGKOK - NIGHT The Police Car heads over the Mega Bridge and continues its way out of town. CUT TO: INT. CAR - NIGHT They all sit in the car in silence. CUT TO: EXT. COUNTRYSIDE - DAWN The Police Car pulls up. CUT TO: EXT. FIELD - NIGHT Chang leads Juilan across the field. The Cops follow a few steps behind with Mai. Suddenly, and completely unexpectedly, Chang punches Julian in the gut... Julian falls to the floor and Chang starts to viciously attack him, punching and kicking him. Finally Julian, unable to defend himself, is lying on the ground, immobile. CHANG (IN THAI) Get up. Julian rolls over. Eyes Chang. Slowly he starts to get up onto his knees. They continue, Chang forcing Julian to crawl as they make their way further into the field. Then Chang stops... CHANG (CONT'D) (IN THAI) Get up. Now. Julian struggles to get up to his feet, but before he does, Chang kicks him hard in the chest, sending him back down to the floor. JULIAN I'm sorry... CHANG (IN THAI) Do you have anything to say? JULIAN Don't hurt her. He kicks him in the stomach. CHANG (IN THAI) Do you have anything to say? JULIAN I'm sorry... Chang kicks him again - like you would kick a dog... Juilan groans. Chang squats down next to him. CHANG (IN THAI) What do you expect me to do? JULIAN I don't know... I'm sorry. Chang gets up and walks on. He stops and turns round. CHANG (IN THAI) Come on. Julian stumbles to his feet. The party continue. We see that one of the crew is carrying an axe. CUT TO: EXT. FIELD / HIGH POINT - DAWN A couple of wild dogs watch as our group reach a high point. Chang looks down at Julian who is lying on the ground. The crew stand in the background with Mai. Chang sits next to Julian. CHANG (IN THAI) When you were born - what's the first thing you remember seeing? A beat as Julian struggles to understand Chang's question... Chang stares at him. CHANG (CONT'D) (IN THAI) What do you remember? Beat. JULIAN Dark... Darkness. Chang looks at him in a strange way - like this answer has some meaning for him. CHANG (IN THAI) And do you ever see light? Julian shakes he's head. JULIAN No... Never. Chang considers this answer for a long moment. He gets up and returns to Mai - stares at her.... CHANG (IN THAI) I am the Angel of Vengeance... I restore order and karma. I love all living things... Mai just stares at him - too frightened to move. CHANG (CONT'D) (IN THAI) ...I want you to walk away from here now... Do you understand? Mai nods. CHANG (CONT'D) (IN THAI) Good. Chang smiles at her. CHANG (CONT'D) (IN THAI) Go with God. Mai turns and leaves. Chang watches her disappear into the field. Chang takes the axe off Phaiban and turns back to Julian. CUT TO: EXT. FIELD - DAWN Mai walks through the field, alone. CUT TO: EXT. FIELD / HIGH POINT - DAWN Chang leans down next to Julian and whispers something into Julian's ear - so softly that we cannot hear it. Whatever it says it instantly has an effect on Julian. He visibly relaxes. He doesn't make a sound as he's held down. A plastic strap is tied around his arm as a tourniquet. His arm is pulled out. Chang swings the axe and chops off first his left hand and then his right. Julian grits his teeth throughout. Doesn't scream. Chang picks up the severed hands and throws them to the wild dogs. The dogs tear into the meat, fighting over their prize. CUT TO: EXT. FIELD - DAWN Chang and his men walk back towards the car. MUSIC KICKS IN once again... the Karaoke version of John Denver's country and western ballad... CHANG (V.O.) Almost heaven, West Virginia Blue ridge mountains Shenandoah river - Life is old there Older than the trees Younger than the mountains Growin' like the breeze. CUT TO: EXT. BANGKOK - DAY We see various scenes of every day life in Bangkok. CHANG (V.O.) Country roads, take me home To the place I belong West Virginia, mountain momma Take me home, country roads CUT TO: EXT. SCHOOL - DAY We see kids waiting outside the school for their parents to pick them up. Kanita spots Chang, runs towards him and they embrace. CHANG (V.O.) All my memories gathered round her Miners lady, stranger to blue water Dark and dusty, painted on the sky Misty taste of moonshine Teardrops in my eye. Chang and Kanita disappear into a crowd of policemen. CUT TO: INT. KARAOKE BAR - NIGHT Chang is in his element. Singing like a cowboy. CHANG Country roads, take me home to the place I belong West Virginia, mountain momma Take me home, country roads.. The Cops sit and watch him. Their leader... Their God... CUT TO: INT. HOSPITAL - DAY Julian is lying in hospital. Bandages covering the terrible wounds where his hands once were. Mai is sitting beside him. Spoon feeding him food. CHANG (V.O.) I hear my voice In the mornin' hour she calls me The radio reminds me of my home far away And drivin' down the road I get a feelin' That I should have been home yesterday, YESTERDAY CUT TO: EXT. HEATHROW AIRPORT - DAY An aeroplane lands. CHANG (V.O.) Country roads, take me home To the place I belong INT. CUSTOMS - DAY Jenna is in the process of being strip searched by the authorities. Zero dignity. CHANG (V.O.) West Virginia, mountain momma Take me home, country roads As one of the Custom's Officers puts on a rubber glove, Jenna starts to scream out obscenities at them. Mask off, a real monster underneath, flailing around for all to see. CUT TO: INT. KARAOKE BAR - NIGHT Chang keeps singing. CHANG Country roads, take me home to the place I belong West Virginia, mountain momma Take me home, country roads Take me home, country roads Take me home, country roads And we end CLOSE on Chang. With the sense that the 'country roads' have kind of taken both of them home... CUT TO: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ordinary People.txt b/unformated_scripts/Script_Ordinary People.txt new file mode 100644 index 0000000000000000000000000000000000000000..3c6868f96110ca1cb9c4ac9598e6b4316d4be0e5 --- /dev/null +++ b/unformated_scripts/Script_Ordinary People.txt @@ -0,0 +1 @@ + ORDINARY PEOPLE Written by Alvin Sargent From the novel by Judith Guest Full Film Transcript by Pierre Gautard [Main Credits] 1 EXT. BEAUTIFUL COUNTRYSIDE, SMALL TOWN ≠ DAY 1 Small beautiful country town in the fall, on the shore of a great lake. Close in on school. [Music: Canon in D by Pachelbel, and angel voices singing then: ] CHOIR (OS: young male voices) In the silence of our souls, O Lord, we contemplate Thy peace 2 INT. SCHOOL HALL, CHOIR ≠ DAY 2 Students' choir rehearsing Canon in D by Pachelbel (not originally written with lyrics). Among many, Conrad is singing. He is just behind Jeannine Pratt. They don't know each other yet. CHOIR (girls and boys together) Free from all the world's desires Free of fear and all anxiety Ooooh. Ooooh Ooooh. Ooooh Alleluia Alleluia Sing Alleluia! [Close in on Conrad] 3 INT. CONRAD'S BEDROOM - NIGHT 3 Conrad suddenly wakes up from nightmare 4 INT. THEATER PLAY - ON STAGE - NIGHT 4 A man of fifty is holding his wife's hand over the breakfast table. MAN Do you know we've made love one hundred and thirteen times? We hear laughter (numerous). MAN (cont'd) I figured it out on my Bowmar calculator. (CONTINUED) 5. 4 CONTINUED: 4 Laughter again. The man and the woman are two actors on stage of the local theater. A very conventional play. The set represents an average American kitchen. A man and a woman are having coffee. Man is holding woman's hand. We gradually discover the audience of the theater. MAN (cont'd) To know someone that well is a wonderful thing. Pause MAN (cont'd) Two lumps? [ close in on two couples in the audience] Beth and Calvin and their friends. The women are amused, the men trying to keep awake. WOMAN No, one. MAN So I don't know everything about you. I don't know your favorite movie stars. I can't remember the name of your favorite perfume. I have racked my brain and I can't remember. WOMAN That's funny. It's "My Sin." Audience laughs, Alvin wakes up and behaves. Gives a conventional smile to his wife Beth. MAN But I do know, in the last twenty four years, that I have never been out of love with you. 5 EXT. THEATER ≠ NIGHT 5 The four of them come out of the theater. The women walk together in front, men behind. CALVIN Well, did we like it? FRIEND'S WIFE I loved it. BETH Bev Walsh was wonderful. (CONTINUED) 6. 5 CONTINUED: 5 FRIEND'S WIFE I liked them all. CALVIN It was funny. FRIEND It was a comedy. Wasn't it? Essentially? FRIEND'S WIFE Well let's face it: Clyde Banner's getting fat. BETH Yes. FRIEND'S WIFE He should never turn profile. CALVIN Most of us shouldn't turn profile. 6 INT. CAR. COUNTRY ROAD ≠ NIGHT 6 Calvin seems stunned. BETH What was it you were you thinking about? CALVIN When? Calvin gives his wife a conventional smile. She coddles up against him, but it is cold. 7 INT. JARRETT'S HOME. ≠ NIGHT 7 Car enters garage. [car door Alarm On] / [car door Alarm Off] as car doors open and close. Beth goes upstairs and directly into her bedroom. Calvin notices this, then notices the light under his son's bedroom door. He knocks. 8 INT. CONRAD'S BEDROOM ≠ NIGHT 8 Conrad is lying on his stomach, on his bed, thinking. He composes himself, grabs his book as if he had been reading. CONRAD Yeah? (CONTINUED) 7. 8 CONTINUED: 8 Calvin opens the door, but does not enter the room, respecting his son's privacy: CALVIN You okay? CONRAD Mmm, mm. Yeah. How was the show? Calvin shrugs, as if to say "so and so..." CALVIN Mmmh. Trouble sleeping? CONRAD No. CALVIN You're sure? CONRAD Mm-hmm. CALVIN Burning the midnight oil? CONRAD Yeah. CALVIN Okay. Pause CALVIN (cont'd) You thought about calling that doctor? CONRAD No. CALVIN Well, the month's up. I think we should stick to the plan. CONRAD The plan was if I needed to call him. CALVIN Yeah. Okay. Don't worry about it. Get some sleep. By the way, I am working on those Michigan State tickets. (CONTINUED) 8. 8 CONTINUED: 8 CONRAD Okay. Calvin closes the door. Conrad reflects, then shuts off light. 9 INT. PARENTS' BEDROOM ≠ NIGHT 9 Calvin shuts off bedside lamp. Then kisses Beth. They embrace. 10 INT. KITCHEN ≠ MORNING 10 Beth prepares the breakfast table geometrically (CU). 11 INT. CONRAD'S BEDROOM ≠ MORNING 11 Conrad's lies on his bed, fully dressed, full awake, thinking. BETH (OS, IN THE KITCHEN) What about the Warrens, did you call them? CALVIN (OS, IN THE KITCHEN) Yeah, they said they'll make it some evening soon. Look at these people. Everybody I grew up with... is in the paper these days. 12 INT. KITCHEN ≠ MORNING 12 Calvin is reading his newspaper. Beth is preparing the breakfast CALVIN "Joey Georgella. New football coach for Trinity." 13 INT. CONRAD'S BEDROOM ≠ MORNING 13 Conrad's sits up on his bed. CALVIN (OS, downstairs) Did you check with Jane for the Michigan State tickets? 14 INT. KITCHEN ≠ MORNING 14 Calvin is reading his newspaper. Beth is cooking some French toast. (CONTINUED) 9. 14 CONTINUED: 14 BETH Yes. She'll talk to John. Where's Conrad? This'll get cold. CALVIN Con! 15 INT. CONRAD'S BEDROOM ≠ MORNING 15 Conrad's sitting on his bed. CALVIN (OS, downstairs) (to Beth) Will you drop those suits at the cleaners for me? BETH They won't be back by Saturday. 16 INT. KITCHEN ≠ MORNING 16 Beth still preparing breakfast. CALVIN That's okay. Connie! Calvin goes to the stairs and calls upstairs. CALVIN (cont'd) Conrad! 17 INT. CONRAD'S BEDROOM ≠ MORNING 17 CONRAD I'll be right there! 18 INT. KITCHEN ≠ MORNING 18 Calvin sits back at table. Conrad finally appears at the bottom of the stairs. CALVIN Here he is! CONRAD Morning. BETH Morning. CONRAD Morning. (CONTINUED) 10. 18 CONTINUED: 18 CALVIN Did you sleep? CONRAD Yeah. CALVIN Hungry? CONRAD (wondering) Uh...uh... hungry, uh? Beth slides a French toast onto Conrad's plate. BETH It's French toast. It's your favorite. CALVIN Yeah. CONRAD Uh... I'm not really hungry. CALVIN Breakfast, pal, remember? Main meal. Energy! Beth comes and takes away Calvin's plate right away. BETH You're not hungry, you're not hungry! Beth takes away the food and goes to throw it away. CALVIN Wait a minute, Beth, Hang on. He's gonna eat it. Come on. (to Conrad) It's French toast. Beth pushes the toast in the sink's grinder. French toast disappears. BETH There's fresh fruit for you when you get home from school later. Grinding noise of disposal. CALVIN What are you doing? What are you doing? (CONTINUED) 11. 18 CONTINUED: 18 BETH You can't save French toast. BETH (cont'd) Listen, I've got to run. I'm playing at nine. Will you please call Mr. Herman about the shutters? I can't get anywhere with that man. Beth exits. CALVIN You have to charm Mr. Herman. Did you charm him? (to Conrad) You have to eat, Con. We just want you keep on getting stronger. CONRAD Dad, I'm not hungry. CALVIN Are you okay? CONRAD Yeah. I got to go. Lazenby's picking me up. Calvin is strangely overenthusiastic. CALVIN Oh. Is he? Great! CONRAD Why is it great? CALVIN Well. I don't see the old gang much anymore. I miss them. Bring them around... Phil, Don, and Dick Van Buren. We'll play some touch football on the lawn. CONRAD See you later. Exit Conrad. Calvin resumes eating, reflects, then : CALVIN Con! But his son is gone. 12. 19 EXT. JARRETT'S HOME ≠ MORNING 19 Calvin walks up the alley to the street. [Horn honks] Lazenby's car stops, with music playing. Lazenby is driving, Stillman is with him in the front and Dickie van Buren is at the back. LAZENBY (to Stillman) It's called flake. Conrad just stands there, waiting. DICKIE VAN BUREN Come on, Jarrett! We're late, let's go! LAZENBY Jarrett. Come on! Conrad gets in the car. 20 INT. LAZENBY'S CAR ≠ MORNING 20 STILLMAN Uh, we're late `cause little Dickie's mom had to pack his lunch. DICKIE VAN BUREN Christ, Stillman! You guys were late at my house. I been up all night studying for this poly-sci exam. STILLMAN That guy wants a goddamn personal analysis of it all. How do you make sense of that crap, anyway? LAZENBY You read the crap! DICKIE VAN BUREN Oh, shit! When was the last time you read something? STILLMAN Yeah. Right! We swim our ass everyday, when are we supposed to study, uh?. LAZENBY I swim and I study. (CONTINUED) 13. 20 CONTINUED: 20 STILLMAN Get a sense of reality, Lazenby. (to Conrad) ) What you reading? DICKIE VAN BUREN (to Lazenby and Stillman) Meditation! CONRAD Hardy. DICKIE VAN BUREN You guys tried meditation? STILLMAN Meditation? LAZENBY It's just like thinking, Stillman. No, I don't do it too often. STILLMAN (to Conrad) Ain't that junior English? You got all junior classes this year? They didn't pass you on anything? LAZENBY Stillman, you know they don't pass you on... breathing in that dump if you don't take the final. DICKIE VAN BUREN Hey, man, get something on that radio, really. You know, I gotta study. Conrad stares at the barrier, then away. DICKIE VAN BUREN (cont'd) Get something lighter for your head. Car stops at railroad crossing. DICKIE VAN BUREN (cont'd) (OS) I hope it's a long train. I've got to get the stuff down. I'm gonna flunk this test. LAZENBY We're going to be late. (CONTINUED) 14. 20 CONTINUED: 20 Train passes, Conrad stares through it and as in a zoetrope sees glimpses of a graveyard. .../... Car slows down near school. LAZENBY (cont'd) Does my hair look like shit, doesn't it? DICKIE VAN BUREN Yeah. LAZENBY Yes, it looks like shit. Thanks. STILLMAN Hey, hey, hey! Hey, there's Pratt. DICKIE VAN BUREN Look at that ass! STILLMAN Let me out, I need a jump. LAZENBY No dirty stuff out of the window. DICKIE VAN BUREN No dirty stuff? (to Janine, outside) Pratt! You have nice ...knees! Conrad looks at Jeannine seriously. STILLMAN Hey. Interested in something. Jarrett? She looks back. 21 SCHOOL ≠ MORNING 21 A crowd of students entering school. 22 INT. SCHOOL, CLASSROOM ≠ MORNING 22 Conrad seems to be day-dreaming, looking outside. Female literature teacher questions about the character of Jude in the story of Jude the Obscure, written by Thomas Hardy. TEACHER How about we discuss some theory, here? Conrad, what's your theory on Jude Fawley? Conrad? (CONTINUED) 15. 22 CONTINUED: 22 Conrad comes back to it TEACHER (cont'd) What's your theory on Jude Fawley? CONRAD Uh... TEACHER Do you think he was powerless in the grip of circumstances... or could he have helped himself? CONRAD I don't... Uh...Powerless? I guess he thought he was, yeah. JOEL The guy was a real jerk. He was hung up on what was the moral thing to do. It didn't make any sense. TEACHER I think that's a little too easy, Joel. Paul? What do you think? PAUL I found the book hard to follow. I couldn't figure it out. 23 EXT. SCHOOL STADIUM ≠ DAY 23 Conrad eats on a bleacher, reflecting, looking at some students training. 24 INT. SCHOOL CORRIDOR. PHONE BOOTH - DAY 24 [Telephone Rings OS] Conrad is calling Dr Berger. DR BERGER (OS) Hello? CONRAD Hello. DR BERGER Hello? CONRAD Uh, Dr. Berger? (CONTINUED) 16. 24 CONTINUED: 24 DR BERGER (OS on phone) Yes? CONRAD Hi. This is Conrad Jarrett calling. DR BERGER Who? CONRAD Conrad Jarrett! Dr. Crawford at Hillsboro Hospital gave me your number... and... DR BERGER Oh, yes! I'm with a patient now. Can you call back at two fifteen? CONRAD I don't think I'll be free. DR BERGER Then give me your number. I'll call you tonite. Hello? Hello? CONRAD Uh, that's OK, I'll try to call you back. Thanks. Conrad hangs up. 25 INT. SWIMMING POOL ≠ DAY 25 Conrad with goggles, ready to jump. Swimming training session. Conrad and six others dive. They swim in their lanes. COACH SALAN Go! OK, Come on, now! Move it, you guys! Move it! Keep it going! Keep it going! Keep it going! Come on! Keep plugging! Plugging! Use those legs! Use those legs! Lazenby, get with it! Jarrett, keep your head down! Work it out there! Work it! Come on, now! Come on! Push off! Get your head down. Jarrett! Come on! Keep it up! Keep it going! Dig! Dig! Dig in there! Come on! Get at it! Push on. Jarrett! Push on! 17. 26 INT. SWIMMING POOL, LOCKER ROOM - DAY 26 Conrad slams his locker's door 27 INT. DINING ROOM - NIGHT 27 BETH Was he actually a client of yours? CALVIN Well. Regionally. BETH It's too bad. CALVIN I mean.. it's tragic. Really. Look at him now. He's lost everything. BETH Fish too dry? CALVIN It's not too dry. BETH They have a new mechanic at C&S. CALVIN What happened to little Harry? BETH I don't know. I think he took a job in Skokie. Anyway, this new mechanic is so ...awkward. (to Conrad) Is that shirt ripped? Leave it on the table in the hallway. CALVIN That girl from the hospital, the one you painted with, she was from Skokie, wasn't she? CONRAD Uh, uh. CALVIN What was her name? CONRAD Karen. (CONTINUED) 18. 27 CONTINUED: 27 CALVIN Sharon? CONRAD Karen! CALVIN Karen. BETH Conrad, do you want me to sign you up for round robin at the club? CONRAD I haven't played in a year. BETH Well, don't you think it's time to start? Silence BETH (cont'd) Also, Calvin, we have to go to the Murrays on saturday, I couldn't get out of it, it's Clark's birthday. I bought him that book on wine. CALVIN (aside) Good god, not the Murrays... 28 INT. BEDROOM - NIGHT 28 Conrad is twisting in his bed under a nightmare EXT. NIGHTMARE. STORM on LAKE - NIGHT Conrad and Buck are fighting against the storm in their small sailboat CONRAD Lift the rope off Bucky! 29 INT. BEDROOM - NIGHT 29 Conrad is twisting in his bed under his nightmare EXT. NIGHTMARE. STORM on LAKE - NIGHT Conrad and Buck are fighting against the storm in their small sailboat BUCK We're going in! 19. 30 INT. BEDROOM - NIGHT 30 Conrad is twisting in his bed under his nightmare EXT. STORM on LAKE - NIGHT (NIGHTMARE) Buck is overboard swimming, trying to cling at the overturned small sailboat CONRAD (OS) Give me your hand! 31 INT. BEDROOM - NIGHT 31 Conrad is twisting in his bed under his nightmare EXT. STORM on LAKE - NIGHT (NIGHTMARE) Conrad is clingin at the keel of the overturned sailboat CONRAD Bucky! 32 INT. BEDROOM - NIGHT 32 Conrad is twisting in his bed under his nightmare and muttering in his sleep. CONRAD Fuck! Fuck! Ha... 33 EXT. DR BERGER'S OFFICE BUILDING. STREET. ≠ DAY 33 Conrad, sitting on a bench, looks at Dr Berger's office windows on the other side of street, hesitating to go. He finally crosses the street and enters building. 34 INT. DR BERGER'S OFFICE BUILDING. LIFT ≠ DAY 34 Conrad, kind of terrified, rehearses his meeting Dr. Berger: CONRAD Oh, hi. How are you? /.../ Oh. I'm fine /.../ Couldn't be better, really. Oh, terrific, yeah. 35 INT. DR. BERGER'S CORRIDOR - DAY 35 Conrad sees ´ Dr Berger ª on a bell. He rings but another door opens behind him. Dr Berger motions him to come in. DR BERGER Ha! Hi! Come in. It's OK, they all do that. (CONTINUED) 20. 35 CONTINUED: 35 INT. Dr. BERGER'S OFFICE - DAY Dr BERGER (cont'd) Jarrett? Conrad nods. Dr BERGER (cont'd) Come in. Sit down. Dr Berger is fixing an amplifier Dr BERGER (cont'd) I just have to... wire some... volume. Music suddenly blares. Dr Berger stops it. Dr BERGER (cont'd) Ah... sorry. Sit down! You've had trouble finding the place? CONRAD Not yet. Dr Berger gives him a second look. Telephone Rings. Dr Berger sits at his desk, looks up file. DR BERGER Hmm.... Jarrett. How long since you've been out of the hospital? CONRAD A month and a half. DR BERGER Feeling depressed? CONRAD No. DR BERGER On stage? CONRAD Pardon me? DR BERGER People nervous... treating you like you're ...a dangerous character? CONRAD Yeah. I guess a little. DR BERGER Are you? (CONTINUED) 21. 35 CONTINUED: 35 CONRAD I don't know. Dr Berger sits at table, looks up another file. DR BERGER How long were you in the hospital? CONRAD Four months. DR BERGER What did you do? CONRAD I tried to off myself. Isn't it down there? DR BERGER It doesn't say what your method was. CONRAD Double-edged Super Blue. DR BERGER Oh. Dr Berger closes file Dr BERGER (cont'd) So how does it feel being home? Everybody's glad to see you? CONRAD Yeah. DR BERGER Friends? CONRAD Yeah. DR BERGER OK? CONRAD Yeah. DR BERGER Everything... CONRAD Yeah. (CONTINUED) 22. 35 CONTINUED: 35 DR BERGER You're back in school? Everything okay at school? Teachers? CONRAD Yeah. DR BERGER No problems? CONRAD Uh-uh. DR BERGER So why are you here? Pause CONRAD Uh... I'd like to be more in control, I guess. DR BERGER Why? CONRAD So people can quit worrying about me. DR BERGER Who's worried about you? CONRAD My father, mostly. This is his idea. DR BERGER What about your mother? Isn't she worried about you, too? CONRAD I don't know, listen. You... You're a friend of Dr Crawford, so you're probably all right, but I'll be straight with you, I don't like this already. DR BERGER Well, as long as you're straight. CONRAD What do you know about me? Have you talked to Crawford? (CONTINUED) 23. 35 CONTINUED: 35 DR BERGER Yes. He called me on the phone. He told me your name and... he told me to look for you. And, uh... he said you had a brother who died. A... boating accident, wasn't it? Want to tell me about it? Silence Dr BERGER (cont'd) Well I suppose you talked this over with Crawford at the hospital. Right? CONRAD Right. Conrad nods. DR BERGER How did that go? CONRAD It didn't change anything. DR BERGER Why do you want to change? CONRAD I told you, I'd like to be more in control. DR BERGER Why? CONRAD I told you, so people can quit worrying about me. DR BERGER Well. I'll tell you something. I'll be straight with you, okay? I'm not big on control. But it's your money. CONRAD So to speak. DR BERGER So to speak. Okay... Dr Berger picks up his diary. (CONTINUED) 24. 35 CONTINUED: 35 Dr BERGER (cont'd) How's Tuesdays... and Fridays? Same time. CONRAD Twice... a week? DR BERGER Well. Control's a tough nut. CONRAD I've got swim practice every night. DR BERGER Well. That's a problem. How do we solve that? CONRAD Guess I'll have to skip practice twice a week, and come here. DR BERGER Well. It's up to you. CONRAD I don't like being here. I got to tell you I don't like being here at all. Dr Berger nods. DR BERGER Mm-mmm. 36 INT. DINING ROOM ≠ NIGHT 36 Beth tidies up some napkins, neatly tied up in rolls in a drawer which she closes (CU). She is in the kitchen, Calvin speaks to her from the dining room table. Conrad is sitting there too, looking at his father. CALVIN (OS) I saw Mort Swain. His sister died. BETH The one from Idaho? CALVIN The one with the restaurant. BETH Did she die in Idaho? CALVIN I guess so. Why? (CONTINUED) 25. 36 CONTINUED: 36 BETH You said she was always traveling. I just... wondered if she died in Idaho. CALVIN I don't know. Maybe she died in Idaho. Maybe Kansas City. Conrad laughs. Calvin too. Calvin is first surprised, then pleased by his son's reaction. CONRAD I went to see Dr. Berger. In the kitchen, Beth stops and listens. CALVIN Berger? CONRAD Yeah. CALVIN Did you? CONRAD Yeah. CALVIN Good! You didn't say anything. Good! CONRAD I went. CALVIN When? CONRAD Today. Beth comes closer BETH I didn't know you made an appointment. CALVIN How did it go? CONRAD If it's too much money, I don't have to go. It's not necessary... (CONTINUED) 26. 36 CONTINUED: 36 CALVIN (enthusiastic) Don't worry about the money, it's okay. CONRAD Well it's 50 $ an hour. Twice a week. CALVIN Ah, it's okay. And it is necessary. What did you talk about? CONRAD Not much. CALVIN What about your schedule? Will that be all right? CONRAD Well, it'll cut into swim practice. BETH Where's his office? CONRAD Highland Park. 37 INT. SWIMMING POOL, POOLSIDE - DAY 37 COACH SALAN (screaming at a swimmer) Keep that head straight Genthe! I don't want to tell you again! Conrad is standing in front of him shivering from cold. COACH SALAN (cont'd) (to Conrad) Now, this is what I see. I see you yawning, I see you come late. I don't see you having any fun out there. Are you getting enough sleep? CONRAD Yeah. COACH SALAN Well, are you having fun out there? CONRAD Fun? (CONTINUED) 27. 37 CONTINUED: 37 COACH SALAN There's no point if you're not having fun. Right? CONRAD Yeah. I guess so. COACH SALAN You guess so...? Are you on medication, Jarrett? Tranquilizers? Anything? CONRAD No. No, sir. COACH SALAN Did I ask you if they gave you shock out there? CONRAD Yeah. COACH SALAN Yeah what? CONRAD Yeah. You asked me. Yeah, they did. COACH SALAN Don't look at us, Lazenby! Get your ass in the water! Look at the bottom of the pool! You know, I'm no doctor, Jarrett. I would never have let them put electricity in my head. 38 EXT. SWIMMING POOL CORRIDOR ≠ DAY 38 Students coming out of the pool. Lazenby and Dickie, followed by Conrad and Stillman DICKIE VAN BUREN God that Salan! He's such a picky bastard! He drives me nuts! STILLMAN Everybody drives you nuts. STILLMAN (cont'd) Don and Fenetch look good, don't you think, Jarrett? CONRAD They look very good. (CONTINUED) 28. 38 CONTINUED: 38 DICKIE VAN BUREN Hey, Con, is he giving you a hard time? LAZENBY He gives everybody a hard time, Dickie. JEANNINE'S FRIEND You guys don't want a clarinet, do you? STILLMAN Yeah, Van Buren wants a clarinet. DICKIE VAN BUREN I don't need a clarinet. Who's selling it? JEANNINE'S FRIEND My brother. He needs a motorcycle. DICKIE VAN BUREN Uh, uh... I need a new pair of shoes. STILLMAN You need a new personality. Dickie Van Buren and Stillman leave. Conrad and Lazenby stand in front of Jeannine and her friend. JEANNINE (points at Jarrett) You, you stand behind me in the choir. CONRAD Oh? I do? You do? Is that you? JEANNINE You have a lot of energy. CONRAD I do? JEANNINE Yeah. I mean, That's good. My name's Jeannine Pratt. CONRAD Nice. Hi! JEANNINE'S FRIEND You're Conrad Jarrett, remember? (CONTINUED) 29. 38 CONTINUED: 38 CONRAD Right. Hum. Yeah. Um. Bye. JEANNINE Bye-bye. LAZENBY "You've got a lot of energy." 39 INT. JARRETT'S HOUSE, ENTRANCE - NIGHT 39 Halloween : Beth opens door with a plate of candied apples ready. Outside, five kids screaming. CHILDREN (OS) Trick or treat! BETH You're the scariest ghost I've ever seen! And the tiger and the witch... You all look just wonderful. Take an apple. CHILDREN Thank you. BETH There you go. Be careful. CHILDREN Thank you Mrs Jarrett, bye. BETH Good-bye. Children's laughs. Beth closes the door. BETH (cont'd) The Cabbots. Little Julie's first time. God, she's so cute! 40 EXT. JARRETT'S HOUSE ≠ NIGHT 40 The children run away, laughing. CHILDREN Ha! Ha! Ha! Ha! BETH (OS) Know what I've been thinking? 41 INT. JARRETT'S HOUSE, LIVING ROOM ≠ NIGHT 41 Calvin is lying back on the couch. Beth is by his side, and talks to him seducingly. (CONTINUED) 30. 41 CONTINUED: 41 CALVIN Mmm? BETH That Christmas in London would be like something out of Dickens. We've never done that before, right? Christmas in London? CALVIN Maybe we shouldn't plan to go away right now. BETH Yes, we talked about that. We decided on that. CALVIN Yeah. I know we talked about it, but the more I talk about it, the more the timing doesn't seem right. BETH (interrupting) Calvin, we've always gone away at Christmas time. CALVIN I know. BETH I think... I think it would be good for him too. Isn't it time we got back to normal? CALVIN He's just started with this doctor. BETH Alright, so he'll miss three weeks. Why interrupt it? BETH (cont'd) Because I want to get away! I think we all should. It's important. CALVIN No. If he doesn't go through with this now, he might change his mind. BETH Alright then if he changes his mind, maybe it's not something that was right for him to do. (CONTINUED) 31. 41 CONTINUED: 41 CALVIN You talked to him about it? Does he want to go to London? BETH I don't think he knows what he wants to do. 42 EXT. JARRETT'S HOUSE ≠DAY 42 Beth arrives in alley with car, takes out shopping, enters house. 43 INT. JARRETT'S HOUSE, BEDROOM'S LANDING ≠DAY 43 Beth goes upstairs with her shopping, knocks on Conrad's door. No answer. She enters in an authoritarian way, then comes out and closes the door. She then goes to the next door on the landing (Buck's bedroom), stops in front of it. She hesitates, then enters. 44 INT. JARRETT'S HOUSE, BUCK'S BEDROOM ≠DAY 44 Beth slowly enters Buck's abandoned bedroom, all silent. Everything has stayed like it was. Beth looks around, sits on bed. Stares at photos, prizes and objects. It's like a museum. 45 EXT. JARRETT'S HOUSE ≠DAY 45 Conrad arrives on foot. 46 INT. JARRETT'S HOUSE, BUCK'S BEDROOM ≠DAY 46 Beth in Buck's abandoned bedroom, all silent, sitting on bed. Conrad appears at door, Beth is startled. BETH HA! CONRAD Oh, I'm sorry. BETH Don't do that! CONRAD I'm sorry, I... BETH Ha. I didn't think you were here CONRAD I'm sorry, I just got in. I didn't... I didn't know you were here. (CONTINUED) 32. 46 CONTINUED: 46 BETH I didn't play golf, today. It's too cold. CONRAD How's your golf game? BETH I didn't play. CONRAD Oh... It did get colder today. BETH No, I mean, ...for the year it's colder. CONRAD Yeah. Beth leaves Buck's bedroom. 47 INT. JARRETT'S HOUSE, LANDING ≠DAY 47 BETH Weren't you swimming today? CONRAD Uh-huh. Sorry I scared you. BETH How'd it go? CONRAD Good. I swam well, today. BETH Good. CONRAD Yeah. Personaly I think I could swim the 50 if my timing got... He leans back against a wardrobe. Beth sees it. BETH Off. CONRAD ...my timing got better. I'm a just a little... a little off with my... my timing. BETH Well, you have to work at that. (CONTINUED) 33. 47 CONTINUED: 47 CONRAD Yeah. Oh, I got seventy four on a trig quiz. BETH Seventy four? Gee, I was awful at trig. CONRAD Oh? Did you...? You took Trig? Beth stares, trying to remember. BETH Wait a minute... Did I take trig? That's... - uh...? I bought you two shirts. They're on your bed. Beth enters parents' bedroom and closes the door. Conrad just stands there, paralyzed. 48 INT. CAR ≠ NIGHT 48 Beth and Calvin are going to the Murray's birthday party, Calvin is driving. CALVIN Who's gonna be there? BETH Well. The Murrays of course, and the Gunthers, and the Caines, and... the good old us. CALVIN Why don't we just go to the movies instead? BETH Don't be negative. CALVIN That's not negative. That's unpredictable. Come on. Let's really go to the movies. BETH Okay. Calvin smiles, thinking she agrees, not understanding she is taking this as a joke. CALVIN Really? (CONTINUED) 34. 48 CONTINUED: 48 BETH Okay. Yeah. Come on. Let's go. What's our excuse? CALVIN Beth wanted to go to the movies? BETH Good. Very good. She laughs strangely. 49 EXT. MURRAY'S HOUSE ≠ NIGHT 49 The car is arriving at the Murrays' house, we see in background BETH All right now, smile. And remember, not too many martinis. 50 INT. MURRAY'S HOUSE ≠ NIGHT 50 Gladyce the maid goes open the door. Beth enters all smiles, followed by Calvin. BETH Hello Gladyce. Will you put that with the rest of them? Several guests. Beth sees Mrs Murray coming down the stairs eyes wide open, showing off. BETH (cont'd) Oh, look, we're in time for the grand entrance! MRS MURRAY Hello! Look who's here! Three blocks away and the last to arrive. They kiss. MRS MURRAY (cont'd) Come on in. While going to the dining room, they meet their host, Clark Murray a thin blond man. BETH Clark! Happy birthday! You look wonderful for a 75-year-old! BETH (cont'd) Is that new? (CONTINUED) 35. 50 CONTINUED: 50 MRS MURRAY Yes. It is. Do you like it? BETH You did the mousse? It turned out well? CALVIN Hey. Partner. How are you? Calvin meets his business associate Ray Hanley, and Man #2 (red tie striped cream, wearing glasses), and their wives. RAY HANLEY Hey, pal! Calvin kisses Ray's wife. Beth is with two women : Woman #1 with dark hair (in green), the other, Woman #2, with grey hair (in orange). BETH Hi there. WOMAN #1 Hi. Beth. BETH Good to see you, and where were you at the lunch last week? Man #3 is giving Clark Murray some financial advice MAN #3 Call your bank and borrow the money. MURRAY I was thinking of going public. MAN #3 I wouldn't do that, I wouldn't do it now... MURRAY Why not? MAN #3 ...because the market's low. Beth is talking to Woman #2 (with grey hair, orange dress) BETH Your hair looks wonderful. It's shorter, isn't it? I like that. Man #2 is telling a joke to two women (CONTINUED) 36. 50 CONTINUED: 50 MAN #2 I said: "Would you please put out your cigar?" and he says: "Huh?". I said: "Would you put out your cigar?", he says: "Huh?". I said: "Would you please put out your cigar?", he says: " I don't have another one!" The two women laugh. BETH Good to see you! You look beautiful. As ever. MAN #4 (full grey hair) It's a macho factor. When these kids are at school, they just think they've got to walk on the edge of danger. Beth joins the two women and man #2 : BETH What are these hushed tones all about? WOMAN # He just told the funniest joke! Calvin laughs with two male guests. MAN #4 (with grey hair) passes him MAN #4 I'm not talking to you. CALVIN Why? Woman #2 with grey hair (in orange) is sitting on a couch talking to other guests WOMAN #2 Obviously, you know, I have my fingers crossed on this merger. Man #3 and Clark Murray are still talking financial advice. MURRAY When can we have lunch? MAN #3 Great. Fill me in the office, I have no idea of my schedule, but I'm free almost everyday. (CONTINUED) 37. 50 CONTINUED: 50 Calvin talks with Man #2 (red tie striped cream, wearing glasses) MAN #2 I ran into Billy white. Bob Mc Lean's leaving Coles and Johnson. CALVIN Where is he going? MAN #2 He doesn't know. CALVIN Jesus. Beth is laughing, adressing MAN #4 (with grey hair) BETH No. You didn't. You're so mean. Isn't he the meanest man you've met? A guest, Man #5, talks golf with a woman. MAN #5 When a ball is in play, if a player, his partner, their equipment or their caddies accidentally move it... Birthday cake comes in with candles (CU) GUESTS He's a jolly good fellow For he's a jolly good fellow Won't regret, can't forget What we did for love Beth and other women and gathered around the piano. They are a little drunk are singing a little false. Annie, a guest with red blouse, is sitting on the steps of the stairs, eating out of her plate. Calvin comes and sits next to her. CALVIN Hi. Annie. What's your boy up to these days? ANNIE Oh. Who knows? They won't tell. How's Conrad doing? CALVIN He's great. Just great. (CONTINUED) 38. 50 CONTINUED: 50 ANNIE I asked Donald, and he says they haven't talked much. I said maybe he's a little self-conscious. A woman in green going upstairs, drunk, trips over Calvin CALVIN Oh! Calvin laughs. The woman goes upstairs. CALVIN (cont'd) No, no. No. No. He's... Beth, not far, listens. CALVIN (cont'd) There's a doctor in Highland Park... that he sees a couple of times a week. That kinda cuts into his social life. Beth, still. CALVIN (cont'd) He's great. Just great. ANNIE Really? Is he still having some problems? CALVIN Oh, no, no. Nothing like that. No, no, just somebody to talk to... that's all. Kind of polish off the rough edges, that's all. Beth joins in, to cut him off. BETH How are you. Darling? Is he falling asleep on you, yet? ANNIE Nah. He's great. CALVIN (Mimicking "Mr. Wonderful") Mr. Great. That's me! 51 INT. CAR ≠ NIGHT 51 Beth looks uptight and scornful. Calvin notices it. (CONTINUED) 39. 51 CONTINUED: 51 CALVIN Hey? BETH You drink too much at parties, Calvin. CALVIN I'm not drunk. BETH Why did you tell Annie Marshall that Conrad is seeing a psychiatrist? CALVIN I dunno. Why not? BETH Well for one thing, I don't think people hear that kind of thing very easily. CALVIN Come on, for most people, it's a status symbol, right up there with going to Europe. BETH Well, I thought your blurting it out like that was in very bad taste... CALVIN I did not think it was that... BETH Not to mention a violation of privacy! CALVIN Whose privacy? Beth is strangely vehement. BETH Our privacy! The family's privacy! I think it is a very private matter. Calvin sighs. INT. Dr. BERGER'S OFFICE ≠ DAY Conrad sits in an armchair, very nervous, scratching his leg. (CONTINUED) 40. 51 CONTINUED: 51 CONRAD So what do I do... tell you my dreams? DR BERGER I don't hold much stock in dreams. CONRAD What kind of a psychiatrist are you? They all believe in dreams. DR BERGER Really? What's happening? What's going on? CONRAD I just feel... I feel so... DR BERGER What? CONRAD Jumpy. I don't know. DR BERGER Look. Kiddo... I lied. I do believe in dreams. Only sometimes I want to know what's happening when you're awake. Come on, something's bugging you, making you nervous. You're making me nervous. CONRAD Maybe I need a tranquilizer. DR BERGER Tranquilizer? CONRAD Yeah. What do you think? DR BERGER I think you came in here looking like something out of The Body Snatchers. It's not my impression that you need a tranquilizer. Conrad notices a cube on the table. CONRAD What is this? DR BERGER Clock. (CONTINUED) 41. 51 CONTINUED: 51 CONRAD Oh, I see. So you get to tell the time, but I can't. Is that it? DR BERGER Mmm, mmm. CONRAD So you know when the hour's up? DR BERGER Right. CONRAD Fifty minutes, fifty five minutes? What is it? Dr Berger doesn't answer. CONRAD (cont'd) Maybe... Maybe I don't want to swim anymore. You know, I mean my timing is for shit. You know, he's got two guys that swim the fifty, they're better than me, and... DR BERGER Ha, ha. CONRAD They're a bunch of boring ass jocks. DR BERGER Ha, ha. CONRAD And him... I can't stand him. He's a tight ass son of a bitch! DR BERGER Ah, ah?... Have you ever thought about quitting? CONRAD Are you telling me to? DR BERGER No. CONRAD It wouldn't look good. DR BERGER Forget about how it looks! How does it feel? (CONTINUED) 42. 51 CONTINUED: 51 CONRAD How does it feel? How does it feel? DR BERGER Yes! CONRAD How does it feel?! DR BERGER Yes! How does it feel? CONRAD It's the same thing that happened last year... It's the same damn thing I did last year. DR BERGER Are you the same person you were last year? CONRAD I don't know! DR BERGER That's why you need a tranquilizer? CONRAD You tell me! DR BERGER No. It's up to you! CONRAD Fifty bucks an hour, can't you decide if I should have a pill or not? I mean, you're a doctor, I'm supposed to feel better! Right? DR BERGER Not necessarily. Conrad reflects. Dr BERGER (cont'd) How is it with your friends? Is it getting any easier? CONRAD No. It's still hard. DR BERGER Is anyplace easy? CONRAD The hospital was. (CONTINUED) 43. 51 CONTINUED: 51 DR BERGER It was? Why? CONRAD Because nobody hid anything there. DR BERGER Was there anyone there you could talk to? CONRAD Uh-huh. DR BERGER I mean, besides Dr. Crawford? CONRAD Uh-huh. 52 INT. RESTAURANT ≠ DAY 52 Conrad is sitting, reflecting. A young woman's hand blinds him for a second : Karen has arrived. CONRAD Whoa! KAREN Hi! CONRAD Hey, Karen! Hi! How are you? KAREN Good. Real good. CONRAD Sit down. Please. KAREN Thank you. CONRAD Wow. Long Pause. They laugh. KAREN When did you get back? CONRAD Uh... The end of August. KAREN God... (CONTINUED) 44. 52 CONTINUED: 52 CONRAD It's great to see you. KAREN Oh, you too. Listen. I am not gonna be able to stay a real long time. I've got a meeting over at school. Drama Club meeting. We're doing "A Thousand Clowns" this year. You know it? Anyway. We're going so crazy trying to get it together. I am secretary this year too. CONRAD Don't let me hang you up. KAREN No. Oh, no, you're not hanging me up! No, I really wanted to see you. I didn't know quite what to expect, though... I mean, you sounded...uh, you sounded sort of funny on the phone. CONRAD (interrupting) No, no, I wasn't. It was just a gray day, that's all. Kind of... But everything's great, I'm back in school, I am on the swim team, and... KAREN Oh. You're swimming? Terrific, Conrad! That's... That's really wonderful. CONRAD We haven't had any meets yet. I could end up on the bench all year, but... KAREN Come on, you'll do great. I'll bet your folks are real proud of you. CONRAD Yeah, yeah. WAITER What can I get you guys? CONRAD You're hungry, at all? (CONTINUED) 45. 52 CONTINUED: 52 KAREN Uh... I just want a coke. CONRAD Uh... two cokes, please. KAREN You think we offended him? CONRAD Something I said? Definitely a low self-image day. KAREN So. Uh... CONRAD KAREN - Are you... - What did... CONRAD KAREN I can't believe how beautiful You know what I really wanted you look. to... CONRAD You really look beautiful. KAREN So do you. CONRAD Do you miss it? KAREN Miss what? CONRAD The hospital. KAREN No. Waiter brings two cokes KAREN (cont'd) Thank you. CONRAD You don't miss it? At all? Nothing? Nothing about it? KAREN No. CONRAD You don't miss Leo's corny jokes? (CONTINUED) 46. 52 CONTINUED: 52 Pause. She looks at him sternly. KAREN Are you seeing a doctor? CONRAD Yeah. I'm seeing a doctor. Are you? KAREN Uh... Uh, well, Dr. Crawford gave me a name, and I went for a while. But uh... I dunno.It just didn't work for me, I guess. He just kept telling me all the things I already knew, and , uh... finally, I decided... the only one who can help me is myself. At least, that's what my dad says. I don't mean it's not right for you, Conrad. I mean I think that if it's something you want to do, that's what you should be doing. CONRAD Well, ya, I don't know how long I'll keep it up. I sorta got shoved into it. Pause KAREN Your hair grew in. CONRAD Oh, yes. That was such a dumb thing to do. KAREN I like it. CONRAD You do? KAREN Yeah! CONRAD I don't know, I just... Uh... I miss it sometimes, the hospital. Really do. KAREN Things have to change. You know? (CONTINUED) 47. 52 CONTINUED: 52 CONRAD But that's where we had the laughs. KAREN But that was a hospital. This is the real world. CONRAD Yeah, yeah, I... you're sure right. Pause KAREN I really have to go. I'm sorry. I have a meeting over at the school. Drama Club meeting. We're doing "A Thousand Clowns". CONRAD I know, you told me. KAREN Did I? CONRAD Yeah. KAREN I better hurry. Don't wanna be late. CONRAD Thanks for seeing me. He clears his throat. KAREN Conrad? Let's have a great Christmas! Okay? Let's have... a great year. Let's have the best year of our whole lives, OK? We can, you know. This could be the best year ever. CONRAD Yeah... Yeah. KAREN Yeah! She gets up KAREN (cont'd) Mmm... Will you call me? (CONTINUED) 48. 52 CONTINUED: 52 CONRAD Yeah... KAREN You mean it? CONRAD Yep! KAREN You. Uh... You look good. Conrad. CONRAD Yeah. KAREN Bye. CONRAD Bye-bye. She leaves. Then stops a few steps away, and shouts : KAREN Hey! A customer is startled. KAREN (cont'd) Would you cheer up? Conrad sits there with a strange feeling of embarrassment, reflecting. 53 EXT. JARRETT'S HOUSE. GARDEN ≠ DAY 53 From inside, Beth stares outside in the garden where Conrad is lying on a chaise lounge. She comes out. BETH It's cold out here. You should put that on, or do you want a sweater? CONRAD Do I need one? Beth is taken off guard by Conrad's reaction, doesn't know what to do. BETH What are you doing? CONRAD Nothing. Thinking. (CONTINUED) 49. 53 CONTINUED: 53 BETH About what? CONRAD Not about anything. BETH Your hair is starting to grow out. It's looking... looking better. Pause CONRAD I was thinking about the pigeon... You know the one that used to hang around the garage. How it used to get on top of your car, and he take off when you pulled out of the driveway. BETH Oh. Yeah, I remember. I remember how scared I used to get... That whosssshhhhh! Flap, flap, flap, flap!... Every time I started the car. CONRAD Yeah. That was the closest we ever came to having a pet. You remember Buck asked you, he tried to talk you into... getting a dog. Do you remember that? He said. "How about it, if it's the size of a little football?" BETH You know. Uh... That animal next door, that Pepper or Pippin, whatever its name is... CONRAD Pippin. Pippin. Pippin! BETH He's not a very friendly dog... I... I don't care what Mr. McGreary says. CONRAD BETH - What he really wanted was a - Everytime time that dog retriever. It was down the comes into this backyard, I street for sale. That's what try to get him out... he wanted. A retriever. (CONTINUED) 50. 53 CONTINUED: 53 CONRAD (he barks) Arf! Arf! Arf! Beth stops in her tracks, startled, but doesn't show it. BETH Put that on if you're gonna stay out here, okay? Conrad stays alone a while and stares. Then goes inside. 54 INT. JARRETT'S HOUSE. DINING ROOM ≠ DAY 54 Conrad enters hesitantly, back from garden. Beth is busy dressing up the table. CONRAD Can I help? BETH Help what? Oh, you mean with this? No. CONRAD I will. BETH (casually) No, I tell you what you can do though. You can go upstairs to that room of yours and clean out the closet. CONRAD Mom... BETH Okay? Because it really is a mess. They stand there, facing each other, uptight. The telephone rings. Beth goes over to it, picks it up, seems suddenly delighted. BETH (cont'd) Hello. /.../ Oh, hi! /.../ Yeah, , no, I didn't get there. I was swamped with work. How did it go? /.../ No, no, I'm not doing anything, just getting ready for dinner. Uh-huh. Beth laughs to a gossip. Conrad is devastated. (CONTINUED) 51. 54 CONTINUED: 54 BETH (cont'd) Did she really? Beth laughs again. [echo effect to get into Flashback] 55 EXT. JARRETT'S HOUSE, GARDEN ≠ DAY 55 Beth is laughing at Buck story. She is lying leisurely on a mattress on the lawn. Buck is standing, telling his story. BUCK Oh anyway, Mary Ann Ramon started to just scream, just cry, right? It was crazy. We got so drunk that we couldn't talk to each other. It was the last day... the last day of school. A younger Conrad, sitting aside, is listening too, amused. BUCK (cont'd) We walked out of the building in the middle of the class! Conrad laughs. Beth laughs. BETH Oh, Bucky! Beth laughs. 56 INT. JARRETT'S HOUSE, DINING ROOM - DAY 56 Beth laughs. Conrad stares at Beth laughing on the phone. The gossip gets too funny. BETH No. Stop! Beth laughs. INT. Dr. BERGER'S OFFICE ≠ EVENING DR BERGER What do you expect from her? CONRAD We just don't connect. DR BERGER Why not? CONRAD I don't know. We just don't. (CONTINUED) 52. 56 CONTINUED: 56 Silence DR BERGER What are you thinking? CONRAD That I jack off a lot. DR BERGER So what else is new? Does it help? CONRAD For a minute. Silence DR BERGER What now? CONRAD John Boy. DR BERGER Who? CONRAD You know, in "The Waltons". John Boy? DR BERGER Yeah. What about him? CONRAD My father came into my room and he didn't know what to say. This is right after Buck died. And he came over and sat on the bed next to me, put his arm around my shoulder. We just sat there. I remember I was watching his shoe. And thinking... Cos his shoe was turned over on its side. I was thinking: "He's so uptight, it's gonna crack off." Dr Berger listens carefully. CONRAD (cont'd) And I knew I should have felt something. But I didn't know what to feel. I kept thinking what they say on TV, you know, stuff like: (MORE) (CONTINUED) 53. 56 CONTINUED: 56 CONRAD (cont'd) "Oh, no, noo! Ooh, My god!" But I didn't say that... because I didn't feel sad... so much as... Conrad sighs. DR BERGER So much as what? CONRAD I dunno. I kept thinking that John Boy would've said something...about the way he felt, you know. Something. DR BERGER What would John Boy have said? CONRAD I don't know. DR BERGER Come on. Conrad seems lost. Dr Berger is on to something. Dr BERGER (cont'd) Come on. CONRAD Come on what? DR BERGER Don't hold back. Silence 57 EXT. CITY BUSINESS CENTER ≠ DAY 57 Calvin walks with his business partner Ray Hanley (seen at the party). RAY HANLEY Well. At least she's an improvement. She doesn't crack gum in your face. That's what you get when your partner does the hiring and firing. CALVIN Oh, I'm sorry. That's my fault. I just can never seem to tell anybody that they're not making it. (CONTINUED) 54. 57 CONTINUED: 57 RAY HANLEY Hold, hold it. Wait a minute. That's not the problem. Where are you? CALVIN What? RAY HANLEY I've been losing you these days. CALVIN Oh, I'm sorry. RAY HANLEY That's okay. That's okay. You off the track? CALVIN Huh? They laugh. RAY HANLEY Come on. I've known you for twenty years. You think I can't tell when something's wrong? How's Connie? CALVIN Connie's all right. He is. He's okay. RAY HANLEY Look, I am sorry, it's none of my business, but I think you worry too much. You've been on the rack about him long enough. You're making it a habit. You've gotta let him go sometime. CALVIN I'm not on the rack about him. RAY HANLEY The thing about it is, in a year he'll be gone. Off to Michigan or Harvard or wherever in the hell he gets it in his head he wants to go. Maybe he'll decide to take a tour of Europe for a year and not even go to school at all. Who knows? CALVIN I can't argue with "Who knows." (CONTINUED) 55. 57 CONTINUED: 57 RAY HANLEY I'm just try giving you the benefit of my experience. CALVIN Thanks. RAY HANLEY With Valerie, it's more than her living away from home... She's gone. Got her own friends, her own life. She breezes in ...for a couple of days on vacations, but... I don't know, maybe girls are different. Or maybe she was too aware of what was happening between Nance and me. But they leave... And all that worrying doesn't amount to a hill of crap. It's just wasted energy. Calvin is troubled. 58 INT. COMMUTER TRAIN ≠ NIGHT 58 Going home on the commuter, Calvin is thoughtful. He remembers his sons when they were kids. 59 INT. JARRETT'S DINING ROOM - DAY 59 YOUNG CONRAD Give me back my sweater! Come on, it's my sweater! YOUNG BUCK Possession is nine tenths... CALVIN Hang on! YOUNG BUCK Dad, what's possession? YOUNG CONRAD Give it to me! YOUNG BUCK I can't, it's already on me. CALVIN Wait, hang on! Whose sweater is it? YOUNG CONRAD It's my sweater! (CONTINUED) 56. 59 CONTINUED: 59 YOUNG BUCK OK! Alright! I'll give it back to you... as long as you give me back my hockey stick and my skis. YOUNG CONRAD All right. Calvin laughs CALVIN That's fair! In the commuter train Calvin also remembers... 60 INT. JARRETT'S HOME. LANDING ≠ NIGHT 60 Calvin knocks violently on Conrad's bedroom door CALVIN Conrad! Conrad! BETH What is it? 61 EXT. JARRETT'S HOME. STREET ≠ NIGHT 61 Conrad is taken away on a stretcher into an ambulance. AMBULANCE MAN Watch your back. Cuts are vertical. He really meant business. WS on Beth, hand on mouth, astonished. Beth and Conrad have overheard. AMBULANCE MAN (cont'd) Let's go. 62 INT. COMMUTER TRAIN ≠ NIGHT 62 CONDUCTOR Lake Forest is next. Lake Forest. Calvin realizes he has to get off. 63 INT. SWIMMING POOL ≠ NIGHT 63 Another training session at the swimming pool. Conrad is heavily swimming in his lane, although he looks tired and bored, not really fit for training. He stops, exhausted at the end of a row, looks at his friends happily discussing by the side of the pool, then at coach Salan in his office glass booth overlooking the swimming pool. Conrad reflects. 57. 64 INT. SWIMMING POOL. COACH SALAN'S OFFICE BOOTH ≠ NIGHT 64 Coach Salan is sermonning Conrad in his office glass booth overlooking the swimming pool. COACH SALAN What it is you want? I don't know what else to do for you. CONRAD I'm not asking you for anything. COACH SALAN You gotta be kidding me. I don't get it. I excuse you from practice twice a week so you can see some shrink. I work with you every damn night at your convenience. What the hell more am I supposed to do for you? CONRAD Nothing. COACH SALAN Bright kid like you, everything going for you. See, I don't get it. Why do you wanna keep messing up your life? CONRAD I don't think that ...that quitting swimming will mess up my life. I... I really don't. COACH SALAN Okay. Okay. Now, this is it. CONRAD Yeah. COACH SALAN You're a big kid now. CONRAD Uh, uh. COACH SALAN Actions have consequences. CONRAD Okay! (CONTINUED) 58. 64 CONTINUED: 64 COACH SALAN I'm not taking you back again. You'll remember that? CONRAD I won't ask you to ...sir. Conrad stands up and leaves. Coach Salan is disappointed. 65 INT. LOCKER ROOM ≠ NIGHT 65 [Laughter] Conrad tidies his closet. Lazenby comes to him. LAZENBY What happened? You all right? CONRAD Yeah. LAZENBY Salan says you quit the swim team. CONRAD Yeah. LAZENBY Why? CONRAD I don't know. I felt like it was a bore. LAZENBY That's not a real reason! CONRAD Well, that's the way it is. LAZENBY So what's going on? CONRAD Nothing. LAZENBY What happened? CONRAD Nothing. LAZENBY Connie, come on, talk to me. (CONTINUED) 59. 65 CONTINUED: 65 CONRAD Nothing. Swimming's a bore. That's all. LAZENBY Well listen, I talked to Salan... CONRAD Well, quit talking to people! Okay? LAZENBY Holy shit! Yeah. Sure. Fuck you. Jarrett. Lazenby walks away to the others, waiting. They leave. STILLMAN Ooh! Ohh! LAZENBY Shut up. Leave it alone. STILLMAN I told you. The guy's a flake. They laugh. Conrad, angry with himself, slams his locker's door. 66 INT. DR BERGER'S OFFICE ≠ EVENING 66 Conrad reclining on couch. Dr Berger washes his hands in background room, then comes in. DR BERGER So, what did your dad say about it? CONRAD I haven't told him yet. DR BERGER How come? CONRAD I don't know. The timing isn't right, you know. He sweats everything so much, he'll just get worried about it. DR BERGER Can you tell your mother? CONRAD My mother? My mother and I don't connect. Don't you listen? I told you that. (MORE) (CONTINUED) 60. 66 CONTINUED: 66 CONRAD (cont'd) What do people have in common with mothers anyway? It's all surface junk. You know: "Clean your room, brush your teeth, get good grades, nah, nah, nah, veh..." Hey, look, I'm just wasting money today. I am not gonna feel anything. I'm sorry. DR BERGER No. Sorry's out. Come on, something's on your mind. CONRAD What time is it? DR BERGER No, no, never mind the time. There's time. Look. Remember the contract? Control? Maybe there's some connection between control and uh... ≠ what do we call it? - lack of feeling? Mmm? CONRAD I said I feel things. DR BERGER When? CONRAD Ah, God... Come on. DR BERGER When? CONRAD Sometimes. I don't know. DR BERGER Come on, come on, Jarrett, I thought you didn't like to fool around. CONRAD I don't? I'm not. DR BERGER Like to play games, do you? CONRAD I don't! DR BERGER So? (CONTINUED) 61. 66 CONTINUED: 66 CONRAD What do you want? DR BERGER I'll tell you what I want. I want you to leave "I don't know" out there on the table with the magazines. Okay? CONRAD Yeah, and if I don't have an answer you want me to make one up? DR BERGER Yeah. That would be nice. Make one up. Right now. About how there's no feelings in there. CONRAD I said I have feelings. DR BERGER Oh! Now you have, now you don't! Get it together, Jarrett. CONRAD Why you hassle me? Why are you trying to make me mad? DR BERGER Are you mad? CONRAD No! DR BERGER Oh, cut the shit! You're mad! You're mad as hell! You don't like being pushed. So why don't you do something about it! CONRAD What? DR BERGER Tell me to fuck off! I don't know. CONRAD Well, fuck off! No. No, I can't, I can't do this. DR BERGER Why not? (CONTINUED) 62. 66 CONTINUED: 66 CONRAD I can't... DR BERGER Why not? CONRAD I can't do this. It takes too much energy to get mad! DR BERGER Do you know how much energy it takes to hold it back? CONRAD When I let myself feel low, I feel as lousy. DR BERGER Oh! I beg your pardon! I never promised you a rose garden... CONRAD Fuck you. Berger! DR BERGER What? CONRAD Fuck you. DR BERGER Yeah? CONRAD Fuck you! DR BERGER That's it! CONRAD Jesus, you're really weird! What about you? What do you feel, huh? Do you jack off or jerk off? Whatever you call it? DR BERGER What do you think? CONRAD (shouts at him) What do I think? I think you married your fat lady... and you goona over fuck the daylights out of her! (CONTINUED) 63. 66 CONTINUED: 66 DR BERGER Sounds good to me. CONRAD Ah! Ha! Ha... Conrad falls on the couch, out of breath. DR BERGER A little advice about feeling, kiddo... Don't expect it always to tickle. 67 INT. GRANDPARENTS' LIVING ROOM ≠ DAY 67 Beth, Grandfather (Beth's father), Conrad and Calvin pose in front of Grandmother (Beth's mother) aiming her camera to take a photo. Grandfather is very excited and noisy. GRANDFATHER GRANDMOTHER Ha! Ha! Mother do you know Be quiet. I have to how to aim that thing? concentrate. Be quiet. GRANDFATHER GRANDMOTHER Is it in focus? Smile. Smile. Okay. Good. Okay, now I want to take the three young ones. Dad, will you get out of there. Will you get out of there? GRANDFATHER Oh, all right, all right. GRANDMOTHER And be quiet. Be quiet. Be quiet. Conrad. Where are you? GRANDFATHER Connie! GRANDMOTHER Connie. GRANDFATHER Over in the middle between your mother and father. CALVIN That's good. GRANDMOTHER That's great. All right, smile everybody. (CONTINUED) 64. 67 CONTINUED: 67 GRANDFATHER GRANDMOTHER You're taller than your Quiet! Will you be quiet? mother is! Really! All right, smile! GRANDFATHER GRANDMOTHER This is beautiful. Hold it Shut up! Wonderful. OK, now I level, would you? want to take Cal and Beth. OK? GRANDFATHER GRANDMOTHER Great! Sure. Oh, come on. You Oh, hoooold it! can do better than that. GRANDFATHER Ohhh! CALVIN Connie. I want one of Connie and his mother. BETH No, I tell you what. Let's get the three men in there, and I'll take a picture of you. CALVIN Connie, move in a little closer to your mother. Okay... prize winner... GRANDFATHER Yeah. That's great. CALVIN Portrait... GRANDFATHER It's great. BETH Do it. CALVIN Page one, Lake Forrester... GRANDFATHER GRANDMOTHER Ain't it mother? Yes. It's marvellous. I love it. Calvin clicks but it doesn't work, the camera wasn't cocked. CALVIN (cont'd) Shoot, I didn't cock it. (CONTINUED) 65. 67 CONTINUED: 67 BETH Calvin... CALVIN Hold it. Connie, smile! BETH Calvin! CALVIN Just a second, smile! BETH Calvin, give me the camera. CALVIN No, I didn't get it yet , Beth. BETH Come on, give me the camera. CONRAD Dad, give her the camera. CALVIN I want a really good picture of the two of you, OK? BETH No but I really want a shot of the three of you men. Give me the camera, Calvin. Please... CALVIN Not until I get a picture of the two of you. BETH Cal? CONRAD (shouts) GIVE-HER-THE-GODDAMN-CAMERA! Calvin is startled. Conrad sits in an armchair. Calvin hands the camera to Beth. They exchange places. BETH Smile. Beth takes a photo of Calvin. BETH (cont'd) Who's hungry? I'll make the sandwiches. (CONTINUED) 66. 67 CONTINUED: 67 Beth leaves for the kitchen, leaving the camera to her mother. 68 INT. GRANDPARENTS' KITCHEN ≠ DAY 68 [plate crashes]. We follow the grandmother going to the kitchen to see what's happening. With her, we discover Beth kneeling, picking up a broken plate on the ground. GRANDMOTHER Beth?! BETH I think it can be saved. Beth gets up, goes to the table and starts preparing the sandwiches. BETH (cont'd) That was dumb. It was just so dumb. I don't think he's happy in school. GRANDMOTHER Have you talked to his teachers? BETH I don't think people want to be with him. He provokes people. GRANDMOTHER Well. / Why don't you do this? / It's an awkward age. BETH Thank you. GRANDMOTHER Maybe he needs a change. Are you sure he's eating enough? BETH Yes, Mother, of course. GRANDMOTHER I think he'll be all right - if you're firm with him, mmm? BETH I think maybe he should go away to school. I just don't know how to deal with him any more. GRANDMOTHER Who would make that decision? (CONTINUED) 67. 68 CONTINUED: 68 BETH I don't know. I suppose this doctor he's seeing. GRANDMOTHER What sort of doctor... would make that decision for you? BETH A psychiatrist. GRANDMOTHER I thought we were all finished with that. BETH No... GRANDMOTHER What's his name? BETH Berger. GRANDMOTHER Jewish doctor? BETH I dunno, I suppose he's Jewish. Maybe just German. GRANDMOTHER What does Cal say about all this? Beth shows her mother the two pieces of the plate and puts them together. BETH You know, I think this can be saved. It's a nice clean break. 69 INT. SCHOOL ≠ EVENING 69 The choir is rehearsing. CHOIR Alleluia, Amen. Amen. Alleluia, Amen. Aaaaaamen. (final) CONDUCTOR Okay. Altos, that last "E" natural could be just a little higher. Officers, don't forget your meeting tonight. That's it. (CONTINUED) 68. 69 CONTINUED: 69 Choir breaks. Jeannine looks at Conrad. 70 INT. SCHOOL CORRIDOR ≠ EVENING 70 Jeannine in school corridor still singing. JEANNINE Mmm mm mmm, Mmm mm mmm, Mmm mmm Mmm mm mmm. Jeannine stops to drink some water at the tap of the fountain. Conrad see her when he is already too near, and has almost his coat on. Seeing an opportunity to talk to her, he steps back, takes off his coat while she is not looking, then passes her, putting on his coat as if he was naturally on his way out. GIRLS Hi. Jeannine! Jeannine notices Conrad passing by. JEANNINE You are really a terrific tenor. CONRAD Oh... JEANNINE In fact. You should be doing the solo in that Russian thing. CONRAD Ha, no. I... JEANNINE No. I'm serious. You really sing well. I'm getting to know your voice. CONRAD Yeah? JEANNINE Yeah! CONRAD How can you hear me sing if you're singing? JEANNINE Well... I don't always sing. Sometimes I just listen. CONRAD Oh? (CONTINUED) 69. 70 CONTINUED: 70 JEANNINE For instance, Marcia Blair can't sing a note. CONRAD Uh, uh... JEANNINE Janet Fox only mouths the words and never sings. CONRAD Ha, ha? Ha, a detective? JEANNINE Yeah... 71 EXT. PARK ≠ EVENING 71 JEANNINE Do you like Vivaldi? CONRAD Uh... JEANNINE Telemann? CONRAD Telemann? Um... JEANNINE What kind of music do you like? CONRAD Oh. Uh... Modern jazz. I like. Folk rock. Spoon on a glass. JEANNINE Spoon on a ...glass? Conrad laughs. JEANNINE (cont'd) Oh, you mean like ...tablespoon? Oh, dear! Why do I ask dumb questions? I'm just showing off. Why is it so hard... the first time you talk to somebody? Conrad shrugs. CONRAD Mmmm. You make it look easy. Jeannine is touched. (CONTINUED) 70. 71 CONTINUED: 71 JEANNINE Really? Jeannine looks at him, then: JEANNINE (cont'd) Oh, that's my bus, I got to go! She runs and gets into the bus. Conrad follows and see her gets into the bus. JEANNINE (cont'd) I'll see you later! And you're really a terrific tenor! CONRAD (singing like a tenor) Ah. You're just saying that? Bus goes away. CONRAD (cont'd) Alleluia! Alleluia! 72 EXT. PARK ≠ EVENING 72 Conrad goes home through park. CONRAD Alleluia! Ah ha, ha, ha, ha, ha, ha, ha. Ha, ha, ha, ha, ha, ha, ha, ha, ha, alleluia! Alleluia! Alleluia, Alleluia! Alleluia! Alleluia! Alleluia! Alleluia! 73 INT. CONRAD'S BEDROOM ≠ EVENING 73 Conrad enters his room still singing in a low voice. CONRAD Alleluia! He browses quickly through a pocket book, finds the piece of paper inserted in it, picks up phone and dials the number written on the paper KAREN'S MOTHER Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER Who's calling, please? (CONTINUED) 71. 73 CONTINUED: 73 CONRAD It's a friend of hers from Hillsboro? KAREN'S MOTHER Oh... Well, she's ...not home from school yet. CONRAD Oh. Um...Hmm. Just tell her I called. This is Conrad. Calling. Just tell her I called and I'm feeling great, and I just wanted to talk to her. KAREN'S MOTHER Yes. I will. CONRAD OK. Thank you. KAREN'S MOTHER Good bye. Conrad walks nervously around to and fro for a while then looks up into directory. He finds Jeannine number, writes it down "Pratt 5556719", then picks up the phone. CONRAD All right Conrad hangs up, and rehearses what he is going to say, but he is yet too shy to call. CONRAD (cont'd) Hello. Jeannine. This is Conrad. Hello. Jeannine, this is Conrad. Hello. Jeannine. This is Conrad. Conrad. Conrad? What a dumb name. Hello. Jeannine. This is Bill. Uuuuurgh! Conrad takes courage and dials Jeannine number. JEANNINE Hello? CONRAD Hello. This is... Hello, this is Conrad calling. Jarrett? JEANNINE Oh... (realizing, more enthusiastic) Oh. Hi! (CONTINUED) 72. 73 CONTINUED: 73 CONRAD Hi. Listen. I was... I was wondering if maybe you'd like...to go out sometime? JEANNINE You mean, with you? Like on a date? CONRAD Well, yeah, we wouldn't have to call it a real date. We could fake it sort of, to see how it goes.. Jeannine laughs. JEANNINE That was dumb. Forget it. Just forget it. Now start over. CONRAD Hi, this is Conrad Jarrett... JEANNINE (interrupting) ) I'd love to. When? Conrad laughs. 74 EXT. STREET JARRETT'S HOME ≠ DAY 74 [Happy music] Calvin and Conrad happily come back home with a Christmas tree on top of car. 75 INT. JARRETT'S LIVING ROOM ≠ DAY 75 Christmas tree standing in living room ready to be decorated. Bet silently comes in. Calvin finally notices she is here. CALVIN I didn't see you there. What do you think? BETH (cold) Fine. CALVIN Rawlins used to have such great Scotch pines. And they all look like skeletons this year. Conrad comes in with a box of chritsmas tree decorations CONRAD Hi. What do you think? (CONTINUED) 73. 75 CONTINUED: 75 BETH (cold) Very nice. Conrad and Calvin stop at the tone of her voice. CALVIN What's wrong? BETH (cold) Why don't you ask him what's wrong? Maybe you won't have to hear it from Carol Lazenby. CALVIN Hear what? CONRAD Dad, I quit the swim team. CALVIN What? BETH Carol thought I knew. Cos why wouldn't I? It happened over a month ago. CALVIN Quit? When? Where have you been every night? CONRAD Nowhere. Around. The library mostly. CALVIN Why didn't you tell us, Connie? CONRAD I don't know, I didn't think it mattered. CALVIN What do you mean? Why wouldn't it matter? Of course it matters. And... BETH (interrupting) No, that was meant for me, Calvin. CALVIN What was meant for you? (CONTINUED) 74. 75 CONTINUED: 75 BETH It's really important to try to hurt me. Isn't it? CONRAD Don't you have that backwards? BETH Oh? And how do I hurt you? By embarrassing you in front of a friend? Poor Beth! She has no idea what her son is up to! He lies and she believes every word of it. CONRAD I didn't lie! BETH You did! You lied everytime you came into this house at 6:30 ! If it's starting all over again, the lying, the covering up, the disappearing for hours, I will not stand for it! I can't stand it! I really can't! CONRAD Well don't then! Go to Europe! CALVIN Connie! Now, Connie! Connie!... CONRAD Cos the only reason she cares, the only reason she gives a fuck about it... CALVIN Connie!... CONRAD ...is because someone else knew about it first! CALVIN Just stop it, Connie! ... CONRAD No! You tell her to stop it! You never tell her a godamn thing! And I know why she never came to the hospital, she's busy going to goddamn Spain and... goddamn Portugal! Why should she care if I'm hung up by the balls out there? (CONTINUED) 75. 75 CONTINUED: 75 BETH Maybe this is how they sit around and talk at the hospital, but we're not at the hospital now. CONRAD You never came to the hospital! CALVIN How do you know she never came? You know she came but she had the flu and couldn't come inside, but she came. CONRAD Yeah! She wouldn't have had any flu if Buck was in the hospital! She would have come if Buck was in the hospital! BETH Buck never would've been in the hospital! Conrad takes his head between his hands and runs upstairs. CALVIN That's enough! That is enough! BETH I won't do it again. I really won't do it. CALVIN What in hell has happened? Upstairs, Conrad's bedroom door slams. CALVIN (cont'd) Somebody better go up there. BETH Ah! Oh, god, that's the pattern, isn't it? He walks all over us and then you go up and apologize to him. CALVIN I am not going to apologize... BETH Yes of course you are! You always do! You've been apologizing to him ever since he got home from the hospital, only you don't see it! (CONTINUED) 76. 75 CONTINUED: 75 CALVIN I am not apologizing. I'm trying to goddamn understand him! BETH Don't talk to me that way. Don't you talk to me the way he talks to you! CALVIN Beth. Let's not fight. Okay? No fighting. Okay? Please. Let's go upstairs. Calvin goes, but Beth doesn't, and turns away. 76 INT. CONRAD'S BEDROOM ≠ EVENING 76 Calvin enters Conrad's bedroom and closes the door. Conrad is lying on his stomach, feeling all crooked. His voice is muffled by his head between his arms. CALVIN I want to talk to you. CONRAD I need to sleep. CALVIN In a minute... CONRAD I didn't mean it. I didn't mean any of it. I am sorry. Please don't be mad. CALVIN I'm not mad ! I'm just trying to figure out what happened down there. CONRAD I don't know what happened! I am sorry about it all. I am sorry about the whole thing. What I said, I didn't mean it. Just please tell her. Tell her I'm sorry, will you? CALVIN Why don't you tell her? CONRAD Oh, God, no, I can't! Don't you see? I can't talk to her! (CONTINUED) 77. 76 CONTINUED: 76 CALVIN Why not? CONRAD Ha! Because it doesn't change anything. It doesn't change the way she looks at me. CALVIN She was upset, Conrad. Your mother was hurt because you quit the swim team. I don't understand it myself. CONRAD I don't mean just now. Don't you see? I don't mean just today. CALVIN What then? Explain it to me. CONRAD Ha! I can't! Everything is German pudding with you , dad. You don't see things! CALVIN What things? Conrad sighs. CALVIN (cont'd) What things? Please, I want you to tell me. CONRAD That she hates me! Can't you see that? CALVIN Your mother doesn't hate you, Conrad? CONRAD All right, all right. You're right. She doesn't. Please leave me alone, now. Silence. Then Calvin stands up and goes to the door. CALVIN What about this Dr. Berger? Do you think he's helping you? CONRAD Don't blame it on Burger, it's not his fault! (CONTINUED) 78. 76 CONTINUED: 76 Calvin opens the door. CALVIN I'll be downstairs if you need me. Exit Calvin. Conrad remains lying on his back with his arm over his eyes. INT. Dr. BERGER'S OFFICE ≠ EVENING DR BERGER Tuesday you felt great. You bought a Christmas tree, it was all hunky- dory. Okay? CONRAD You're the doctor. DR BERGER Don't take refuge in one-liners like "You're the doctor". Okay? Because that pisses me off. CONRAD Okay. Okay. DR BERGER So everything was fine till you had the fight with your mother, then everything was lousy. CONRAD Yeah, but I don't blame her. I mean, she's got... She's got her reasons. It's impossible after all the shit I've pulled! DR BERGER What shit have you pulled? Hey! Remember! I'm talking proportion here. Now, what shit? Conrad sighs. DR BERGER (cont'd) Come on. You must be able to come up with at least one example. And don't give me "I tried to kill myself", that's old turkey. What have you done lately? CONRAD Lately? DR BERGER Uh, uh. (CONTINUED) 79. 76 CONTINUED: 76 CONRAD Hey, come on, if you... Listen, I'm never gonna be forgiven for that. Never! You know, you can't get it out, you know, all the blood in her towels, in her rug. Everything had to be pitched. Even the tiles in the bathroom had to be regrouted. Christ, she fired the godamn maid because she couldn't dust the living room right. If you think I'm gonna forgive... - that she's gonna forgive me... Conrad stops. Dr. Berger looks at Conrad to signal him he just said something: Conrad realizes he just made a Freudian slip, looks at him, DR BERGER What? Conrad stands up, reflects, looks outside window. CONRAD I think I just figured something out. DR BERGER What? CONRAD Who it is who can't forgive who... DR BERGER Well a real problem... a real problem has a real solution. CONRAD I've heard this all before. DR BERGER Doesn't make it any less true. CONRAD I'm so tired. DR BERGER Yeah, well... that's a hell of a secret you've been keeping on yourself. CONRAD So what do I do now? (CONTINUED) 80. 76 CONTINUED: 76 DR BERGER Recognize her limitations. CONRAD You mean, like she can't love me? DR BERGER Oh, kiddo, no. Like she can't love you enough. Like don't blame her for not loving you more than she's able. CONRAD But she loves my father. I know she loved my brother. It's me! DR BERGER Ha! Now we're back to the rotten kid routine! She can't love you because you're unlovable. Where does that leave your dad? How come he loves you? You're a rottenkid, doesn't he know that? CONRAD That's different. He feels responsible. Besides, he loves everybody. DR BERGER Ho, I get it! The guy's got no taste! He loves you, but he's wrong. Look... maybe she just can't express it the way you'd like her to. Maybe she's just afraid to show you what she feels. CONRAD What do you mean? DR BERGER I mean there's someone besides your mother you've got to forgive. CONRAD You mean me? Conrad is wondering. CONRAD (cont'd) For trying to off myself? Don't you sit there and stare at me. What for? (CONTINUED) 81. 76 CONTINUED: 76 DR BERGER Why don't you give yourself a break? Let yourself off the hook? CONRAD What did I do? No answer. CONRAD (cont'd) What did I do? DR BERGER We'll talk about it on Thursday. CONRAD Come on! DR BERGER Time's up. CONRAD What do you mean? You're gonna pull the plug... Come on! What did I do? DR BERGER Come on, Con. You know the rules. CONRAD Rules? What rules? Can't I have a few minutes? DR BERGER You think about it. Just think about it. Silence CONRAD Jesus! Conrad is out of breath. 77 EXT. PARK ≠ DAY 77 Calvin and Friend are jogging in sportswear. Calvin's friend explains a stock market deal he made. FRIEND Say. After going to a new high, it falls to 112 1/4 and then rallies on good volume. I shoot an order to buy 4000 at the market. If I get the 4000 shares at 113 3/4, I know something's wrong. (MORE) (CONTINUED) 82. 77 CONTINUED: 77 FRIEND (cont'd) But suppose the order to buy the 4000 shares I put in at the price of 113 3/4, I get 2000 at 114, 500 at 114 1/4, and the rest on the way up, so the last 500 shares I pay 115 1/2, then I know I'm right.I'm going to peel off here. Friend leaves Calvin and runs toward his home. CALVIN OK. FRIEND I'll see you, Cal. CALVIN See you later. Now Calvin is running through the park alone. Different voices are echoing off screen. FRIEND (OS) Suppose the order to buy 4000 at 113 3/4... BETH (OS) He walks all over us and you go up there and apologize to him... FRIEND (OS) 500 at 114... CONRAD (OS) It's all German pudding with you, dad, you don't see things. BETH (OS) You've been apologizing to him ever since he came home from the hospital. And you just don't see that! CONRAD (OS) Tell her to stop it! You never tell her a godamn thing! BETH (OS) Buck never would have been in the hospital! (CONTINUED) 83. 77 CONTINUED: 77 CONRAD (OS) She hates me! Can't you see that? Calvin trips, and falls in dead leaves. He sits up, thoughtfull. CALVIN (OS) I want to be clear. INT. Dr. BERGER'S OFFICE ≠ EVENING Calvin laughs nervously, all smiles. DR BERGER (OS) That's good. CALVIN In the car, I was thinking: "be clear.". I suppose that's what psychiatry's about. Being precise and clear. And honest, of course. I'll level with you. I'm not a great believer in psychiatry. DR BERGER Okay. CALVIN I know what happens here is only between you and him, and...I like that, I respect that. And...he's better, I can see that. I am not trying to put you down, I just don't believe in psychiatry as a panacea for everybody. DR BERGER Neither do I. Calvin laughs. CALVIN I wish I knew what the hell I was doing here. DR BERGER Well, you said you... thought you could shed some light on some things. What did you mean by that? (CONTINUED) 84. 77 CONTINUED: 77 CALVIN I don't know actually, I'm not sure, I think I meant in terms of Conrad. You see, I knew something was wrong even before he tried to... to kill himself. But I thought that... It's clear that he's very smart. He's been an "A" student ever since he started school, and naturally I thought that ...intelligent people could work out their own problems. DR BERGER But you still feel responsible? CALVIN Yeah, sure I do. It's hard not to. It was luck. It was just luck that I happened to be there when he tried it. I could have been at a meeting. We both could've been away. It was luck! DR BERGER You think of yourself as a lucky man, then? CALVIN No! No. No. I used to. I used to think... that I was a lucky person... before... the "accident". Mmm, I guess the whole of life is nothing but an accident, is it? What happens to you. I should do with it. DR BERGER That sounds more like the philosophy of a drifter than a tax attorney. CALVIN Yeah. Maybe, maybe I am drifting a little. I can see myself, ...and I can see the two of them drifting away from me, and I just stand there watching. DR BERGER What would you want to do about that? CALVIN Something. I gotta do something about it. I don't know what. (MORE) (CONTINUED) 85. 77 CONTINUED: 77 CALVIN (cont'd) I feel like I'm sitting on a fence, and I don't like it. DR BERGER And you see them as on ...opposite sides of this fence? CALVIN Yeah... No. I don't know. I see her not being able to forgive him. DR BERGER For what? CALVIN Oh, I don't know exactly. Being too much like her. People always think that she and Buck are... were ...were alike. But it's really she and Conrad. They were the only two that didn't cry at the funeral, you know? It's not easy for me to admit this but, uh... she didn't... His mother doesn't show him a great deal of affection. I'm not trying to put her down in any way at all. She is a wonderful woman, huh... DR BERGER Did she give Buck much affection to ...Buck? CALVIN Oh, god, yes, she loved Buck! Bucky got so much... I think what she felt for him was special. You know, he was her first-born. That's not unusual, is it? DR BERGER And you? CALVIN Me? I loved Buck. DR BERGER What I mean is, your wife's affection. CALVIN For me you mean? DR BERGER Yes. (CONTINUED) 86. 77 CONTINUED: 77 CALVIN Mmm. She's very... No. There's no problem with her for me. We've been... We've been married nearly twenty one years. Everybody loves Beth. But, huh... for Conrad, - it's been difficult. He didn't talk about that? We don't know what happens here. It doesn't come up. I guess that's what it is. It's private here. Isn't it? DR BERGER Mm-hmm. Very private. CALVIN I think I know why I came here. I think I came here to talk about myself. DR BERGER Okay. Why don't we? 78 INT. JARRETT'S HOME. GARAGE ≠NIGHT 78 Calvin sits in the dark in his car behind the wheel, not looking too happy. Door to garage opens and Beth appears. BETH Hi! Calvin slowly opens the door. Car Buzzer Alarm. Calvin heavily comes out. BETH (cont'd) Calvin? [Buzzing Continues] BETH (cont'd) What's the matter? Calvin heavily comes out of the car, and finally closes door. Buzzing stops. CALVIN This will sound strange. What I'm gonna to say will sound strange. BETH What happened? Come inside. (CONTINUED) 87. 78 CONTINUED: 78 CALVIN Could we talk about Buck's funeral? BETH What? CALVIN I know it'll seem trivial, but it's on my mind, or has been, and I'd just like to talk about it. BETH Why? CALVIN When I was getting dressed for Buck's funeral, I was... BETH Calvin, what's the matter with you? CALVIN Just let me get it off my chest,OK? BETH What could getting dressed for Buck's funeral possibly have to do with anything right now? CALVIN I was wearing a blue shirt. And you said: - Wear a white shirt and the other shoes! It was nothing at the time. But it's always seemed to stay with me. And I, for some reason, been thinking about it and it suddenly occured to me what difference did it make what I wore at Buck's funeral? BETH Ha, ha. Beth retreats inside the house to the kitchen. CALVIN Just hear me out, Beth! It won't hurt you to listen! BETH I won't listen to that! No one in their right mind would listen to that. (CONTINUED) 88. 78 CONTINUED: 78 CALVIN I just want to talk about something I always remembered. BETH Why do you want to remind me of it? CALVIN Because I've always wondered, in some needling way, what it mattered what I wore. I was crazy that day. We were going to our son's funeral. And you were worried about what I wore on my feet. I'm sure it sounds like nothing to you, but it sticks with me and I just wanted to ...tell you about it. She comes to him and takes him into her arms. BETH It's all right. 79 INT. MALL ≠ DAY 79 Two stairways, one going down, one up, cross each other in the middle space of the mall. On the one going down is Beth, Caroll, Beth's friend, is on the other. They have to shout. CAROLL Beth! Beth! Hi! How are you? BETH Caroll! I'm fine. How are you? CAROLL I haven't seen you! BETH I know. I'm so busy. I promise I'll call you soon and we'll have lunch. CAROLL Right! BETH How's Brad? Give him my love. CAROLL Fabulous! Is everything okay? Beth gestures to the crowd in the mall. BETH Isn't this madness? It gets worse every year! (CONTINUED) 89. 79 CONTINUED: 79 Good-bye! CAROLL Good-bye! 80 INT. MALL SHOP ≠ DAY 80 Beth is spacing, seemingly gazing at a dress. SALESWOMAN May I show you this in your size? BETH What? SALESWOMAN May I show you this dress in your size? BETH Oh... No, no. No. Thanks. 81 INT. MALL DINER ≠ DAY 81 Beth and Conrad are having lunch at a table in the diner. Beth is summing up the birthday presents she bought. BETH We've got Bennett's, and Grant's and Foley's. Ha, Conrad should get something for my mother and father. He's not supposed to get something for his doctor, is he? CALVIN I don't think so. I think we should go see him, Beth. - Dr. Berger. Beth laughs. BETH What? CALVIN I think we could all go and see him together. BETH Why? CALVIN He thinks it's a good idea. (CONTINUED) 90. 81 CONTINUED: 81 BETH Ho... He thinks it's a good idea? What does he know about me, about this family? I've never even met him. CALVIN Exactly. That's the point. Wouldn't it be easier if we all talked about it? In the open. BETH About what? What are we gonna talk about? Don't try to change me, Calvin. I don't want anymore changes in my life. For God's sake, hasn't enough happened? Let's just hold on to what we've got! CALVIN Darling, that is what this is for. Maybe you'll get a surprise. BETH I don't want any surprises. I know I'm not perfect. And if I can't go around hugging everybody all the time the way you do, then I'm sorry. CALVIN I am not asking you to be perfect, you're missing the point. BETH I don't want to see any doctors or counselors. I am me. This is my family. And if we have problems, then we will solve those problems in the privacy of our own home, not by running to some kind of specialist everytime something goes wrong... WAITRESS (interrupting) Are you folks ready to order? CALVIN Huh, no... Could you give me a couple of minutes, please? WAITRESS Sure. (CONTINUED) 91. 81 CONTINUED: 81 BETH ...running to experts every time something goes wrong. Silence BETH (cont'd) I know you mean well. I want this to be a nice Christmas. CALVIN I do too. I want all of them to be nice Christmases BETH We need time together, Calvin. You and I. We have to get away. New Years'. We can spend some time in Houston with my brother and Audrey. You know, play a little golf. Relax. Calvin seems doubtfull. Beth goes softly. BETH (cont'd) I have already talked to Mother about it, and Conrad can stay with them. Please don't worry about it. Please, for his sake, don't indulge him. We need time together. Okay? CALVIN Okay. Okay. Beth takes his hand but it seems almost like a handshake. BETH I love you. CALVIN I love you, too. Beth stares at him. BETH Let's just give things time. Okay? Calvin doesn't say anything. 82 EXT. JEANNINE'S HOME ≠ EVENING NIGHT 82 Conrad came to pick her up, they both come out. Conrad fetches his car keys while she closes her door. (CONTINUED) 92. 82 CONTINUED: 82 JEANNINE Conrad? CONRAD Hmm? JEANNINE I don't bowl. I mean, I'm a horrible bowler. CONRAD Oh, that's all right. JEANNINE Yeah. Well... Conrad wants to open the door on her side. JEANNINE (cont'd) I got it. That's OK. Thing is, I'm a funny bowler. CONRAD Well, listen. We don't have to go bowling if you'd rather not, I'm not a bowling nut or anything. How funny are you? JEANNINE On a scale from one to ten? ... About a ten. CONRAD Hoo, that's pretty funny. Hey, well, listen, I promise you won't look silly. JEANNINE Guarantee it? CONRAD Guarantee it. They get into the car. 83 INT. BOWLING ALLEY ≠ NIGHT. 83 Jeannine enters frame looking very focused, ball in hand. Conrad looks. She shoots but the ball drops and goes into the gutter to the end. Conrad does not react. The skittles are intact. 84 INT. DINER ≠ NIGHT. 84 Jeannine is eating a hamburger. (CONTINUED) 93. 84 CONTINUED: 84 JEANNINE Can you ever break the ball? CONRAD Can't break the ball, can't break the floor, can't break anything in a bowling alley. And that's what I like about bowling alleys. Can't even break the record. Jeannine giggles with laughing eyes. CONRAD (cont'd) Anyway... JEANNINE Hmm? What? CONRAD Just "anyway", it's a conversation starter. JEANNINE Catchy! CONRAD You like it? JEANNINE Mmm, mmm. CONRAD I thought it'd get to you. I've been working on it all day. Jeannine laughs, then: JEANNINE Do you think people are punished for the things they do? CONRAD You mean by God? JEANNINE Yeah. CONRAD Mmm, I don't believe in God. JEANNINE Not at all? CONRAD No. Well, it's not a question of degree. Either you do or you don't. (CONTINUED) 94. 84 CONTINUED: 84 JEANNINE I believe in God. CONRAD So you're afraid he'll punish you for something you did? JEANNINE I've done a lot of things I'm ashamed of. CONRAD Yeah? So have I. She looks up at him, then at his wrists. JEANNINE Did it hurt? CONRAD No, I dunno, I don't remember really. JEANNINE You don't want to talk about it? CONRAD Ah, I don't know... I've never really talked about it. To doctors, but not to anyone else. You're the first who's asked. JEANNINE Why did you do it? CONRAD Uh... I don't know. It was like... falling into a hole. It was like falling into a hole, and it keeps getting bigger and bigger, .and you can't get out, and then, .all of a sudden, it's inside...and you're the hole, and you're trapped, and it's all over. Something like that. And it's not really scary, except it is when you think back on it. 'Cause you know what you were feeling stange and new... A group of noisy students enter the Diner. STUDENTS (singing and horsing around) (MORE) (CONTINUED) 95. 84 CONTINUED: 84 STUDENTS (cont'd) Like McDonald's can, nobody can do it. Like McDonald's can, you deserve a break today. So get up and get away! The manager tries to calm them down. A student comes to Conrad's table and steals some fries. STUDENT Hey. Jarrett. How you doing? How about some fries? Some students grab Jeannine and dance around, put a Mac donald's hat on her head. She laughs. JEANNINE What are you doing? The manager pushes them towards the exit. STUDENT Hey, what's your problem? Lighten up! MANAGER Hey. I don't like your attitude. Going out, a student pulls the manager's ear. Jeannine laughs, a bit stupidly. Conrad notices it. She sees that. 85 INT. CAR ≠ NIGHT 85 Conrad drives sadly. He is disappointed and acts as if he was sulking. Jeannine tries to make it up. JEANNINE Energetic. Those guys. CONRAD (not believing) Yeah, they were pretty funny. JEANNINE No... CONRAD What? You thought they were funny? JEANNINE No. I... Silence JEANNINE (cont'd) I'm sorry, I... (CONTINUED) 96. 85 CONTINUED: 85 CONRAD What for? JEANNINE Anyway... Conrad does not find this funny. Finally car stops. Conrad sighs. JEANNINE (cont'd) Do you want to talk? CONRAD About what? JEANNINE Are you okay? CONRAD Yeah. Yeah, I'm fine. Uh... I'll give you a call. JEANNINE Will you? I want you to. CONRAD Sure. JEANNINE Well... Guess I'll see you in choir. CONRAD Okay. Yeah. Thanks. JEANNINE Okay. CONRAD I mean. Good night. Good night. JEANNINE Good night. Jeannine leaves the car. 86 INT. JET ≠DAY 86 Beth is all smiles, she succeeded with Calvin. They both are playing with their earphone CALVIN Seven. BETH Yes... It's not even plugged in. (CONTINUED) 97. 86 CONTINUED: 86 Stewardess' voice in loudspeaker. STEWARDESS In preparation for our landing in Houston, observe the fasten seat belt sign...... 87 EXT. JET ≠DAY 87 Jet lands on Huston's airport runway. STEWARDESS ......and please no smoking until well inside the terminal. Thank you. 88 EXT. HUSTON GOLF ≠ AFTERNOON 88 Golf ball being wished out of sight by a club. Beth, Calvin, Ward (Beth's brother) and his wife Audrey, are having drinks sitting at a table on a golf course under a parasol. WARD lifts his golf club and demonstrates a clumsy hesitating swing, and how it misses. WARD Watch this. Pessimistic golfer. Pessimistic golfer. Ward arms his club as if to strike, then stops. WARD (cont'd) Oh. Damn! They laugh. WARD (cont'd) Are we two up? Two? GOLF PLAYER (OS) Two! WARD All right. Let's hustle up. We're close here. CALVIN I'll never get over how flat it is here. I'll never get over... WARD I know it's flat, but we decided to teach you to love it. (CONTINUED) 98. 88 CONTINUED: 88 AUDREY He is trying to get everybody to move down here. BETH Really? AUDREY Gosh, you guys, it's so good to see you. You look tired. Cal. CALVIN Airplane scotch. BETH Would you tell me why it is I am still hungry? WARD 'Cause you're in Texas, girl. When we get done, we'll get you home. Get ya some steaks on the barbecue. Audrey will put together her famous salad. BETH With baked potatoe and sour cream, too, uh? How long has he had that drawl? AUDREY Ever since we joined the country club. 89 INT. SWIMMING POOL - NIGHT 89 Revolver fires upwards. Swimmers dive. It's a swimming competition. Conrad is sitting on one of the top bleachers, fully dressed, uneasy, while down there, by the side of the pool, his friends, in swimming trunks and wet hair, watch the race. Lazenby sees him, Conrad looks down. In the audience, everyone is shouting for his team. .../... Now the competition is finished. The swimming pool is empty and silent, except for someone sweeping the side of the pool, and Conrad sitting still, reflecting, looking around. 90 EXT. SWIMMING POOL EXIT - NIGHT 90 The group comes out of the pool. Conrad at the back, as if he wasn't part of it. (CONTINUED) 99. 90 CONTINUED: 90 LAZENBY I am glad you can laugh about it, cos' it sure as hell wasn't funny. Come on, we weren't that bad. STILLMAN Let's face it, we stunk. I don't know how you can listen to that lecture on Buck Jarrett one more time. I know he is the world's greatest swimmer, but it bugs the hell outa me when he does that. LAZENBY Stillman, cut it. STILLMAN Think he's ever gonna stop kissing the guy's picture? LAZENBY Stillman, shut the hell up, would you? Hey, con, you want a ride? CONRAD Oh. No. Thanks. LAZENBY We sure could've used you today, buddy. CONRAD Oh, no, I don't think so. LAZENBY Yeah... I don't think anybody could've helped us today. STILLMAN How's it going, Jarrett? I hear you got eyes for Pratt these days. You in her pants yet? CONRAD Hey, do me a favor, Stillman, try not to be such a prick. STILLMAN You're the prick. Guys like you walk around like you're king shit. You give me a goddamn pain in the ass, you think we owe you... (CONTINUED) 100. 90 CONTINUED: 90 Conrad hits him hard with a jab, then jumps on him. They fall in the plastic bags of the disposal, Conrad still hitting. Lazenby tries to stop him. Conrad pushes him away. Two students take hold of Conrad and pull him away, two others with Stillman. LAZENBY Come on! Connie. Come on! Cool it, Jarrett! Connie! Connie. That's enough. STUDENTS No, Stillman, no! No! STILLMAN Let go! Let go! LAZENBY It's all right! He's crazy! Just calm down, uh? STILLMAN You're crazy! You're crazy! You know that? Conrad walks back to his car STILLMAN (cont'd) Send him back where he came from! OTHERS Now, now, it's over. It's over. STILLMAN All right! Shit! Stillman hits a garbage bag. 91 INT. CAR ≠ NIGHT 91 Conrad opens the door and sits down in his car. Lazenby comes, opens the door and hands Conrad his hat. LAZENBY Here's your hat. Lazenby comes in and sits. LAZENBY (cont'd) You want to talk? The guy's a nothing. He's a zero upstairs. You used to know that about him, Con. Ever since fourth grade, you've known it. (CONTINUED) 101. 91 CONTINUED: 91 CONRAD So? LAZENBY So you just make yourself look stupid when you let him get to you like that! CONRAD So I look stupid, is that it? LAZENBY No, it isn't. What is it with you? Huh? I don't know why you want to be in this alone? You know, I miss him too. Connie, the three of us were best friends! CONRAD I can't help it, it hurts too much to be around you. I gotta go. Lazenby looks at him, then opens the door and goes out. LAZENBY Yeah. Okay. Conrad remains alone and touches the horn by accident. 92 INT. GRANDPARENTS' HOME, STAIRS & LANDING ≠ NIGHT 92 Conrad gets home, climbs upstairs directly to his room, and closes the door. His grandmother hears him, opens her bedroom door, closes it. 93 INT. CONRAD'S BEDROOM ≠ NIGHT 93 Conrad reflects for a short time, then goes down to... 94 INT. KITCHEN ≠ NIGHT 94 Conrad enters the kitchen, takes something in the fridge, goes to the phone to make a call. He dials. KAREN'S MOTHER (OS) Hello? CONRAD Hello. Is Karen there? KAREN'S MOTHER (OS) She...uh... Ah!... Bill? KAREN'S FATHER (OS) Hello. (CONTINUED) 102. 94 CONTINUED: 94 CONRAD Yes, hello. Is Karen there? This is Conrad Jarrett, calling. I'm a friend of hers. KAREN'S FATHER CONRAD Karen's... I called... KAREN'S FATHER Karen's dead. CONRAD What? What? KAREN'S FATHER She killed herself. Karen's father hangs up. Conrad suffocates under the shock. He hears Karen's voice. KAREN (OS) Let's have the best Christmas ever. 95 INT. BATHROOM ≠ NIGHT 95 Conrad rushes into the bathroom CONRAD Ha! 96 INT. RESTAURANT ≠ DAY 96 [Very short flashback on Karen] KAREN We can. You know. 97 INT. BATHROOM ≠ NIGHT 97 Conrad has rushed into the bathroom where he ends up sitting on the toilet and grabbing the washbowl, out of breath under the shock. KAREN (OS) We could have the best year of our whole lives. Conrad opens tap, water flows. 98 EXT. LAKE ≠ NIGHT 98 [Flashback to the boat accident on the lake] Conrad yells at Buck (who is holding tight the rope maintaining the sail up) to have him get the sail down; (CONTINUED) 103. 98 CONTINUED: 98 but Buck is stubborn and asks Conrad (who is at the helm) to maintain starboard course.[The result of opposites will overturn the small boat]. Waves of water CONRAD Get the sail down! Get it down! BUCK I can't hold it! Keep it starboard! 99 INT. KITCHEN ≠ NIGHT 99 Conrad stares at himself in the mirror 100 EXT. LAKE ≠ NIGHT 100 CONRAD Get the sail down! Get it down! BUCK Keep it starboard! 101 INT. BATHROOM ≠ NIGHT 101 Conrad takes water in his hands... 102 EXT. LAKE ≠ NIGHT 102 BUCK Go for it! CONRAD I am trying! I can't! Let it out! 103 INT. BATHROOM ≠ NIGHT 103 Conrad stares at the water in his hands 104 EXT. LAKE ≠ NIGHT 104 CONRAD Let it out! BUCK Just keep it starboard! CONRAD I can't! Boat overturns. CONRAD (cont'd) Ahh! BUCK Ahh! 104. 105 INT. STAIRS ≠ NIGHT 105 Conrad rushes downstairs with his coat. 106 EXT. LAKE ≠ NIGHT 106 Conrad comes out from underwater, taking air in. CONRAD Aaah! 107 INT. STAIRS ≠ NIGHT 107 Conrad rushes downstairs with his coat. 108 EXT. LAKE ≠ NIGHT 108 CONRAD Bucky! BUCK Give me your hand! CONRAD Here! 109 EXT. HOUSE ≠ NIGHT 109 Conrad rushes out of the house. 110 EXT. LAKE ≠ NIGHT 110 The boys are holding each other's hands over the overturned boat's hull. BUCK We screwed up this time, Buddy! Dad's gonna haul ass over this! CONRAD It ain't so goddamned funny! 111 EXT. STREET ≠ NIGHT 111 Conrad rushes. 112 EXT. LAKE ≠ NIGHT 112 BUCK Just don't let go! CONRAD I won't, honest to God! BUCK Everything gonna be okay! 105. 113 EXT. STREET ≠ NIGHT 113 Conrad rushes. 114 EXT. LAKE ≠ NIGHT 114 BUCK Hang on. Brother! But Buck's wet hand slips away. Buck tries to gain hold on the curved slippery surface of the hull, but he can't make it and disappears into the water, while Conrad manages somehow to hold on. CONRAD Stay with me! Stay with me! Stay with me! Bucky! Where are you? Buck disappears into water. 115 EXT. STREET ≠ NIGHT 115 Conrad rushes. 116 EXT. LAKE ≠ NIGHT 116 CONRAD Bucky! 117 EXT. STREET ≠ NIGHT 117 Conrad rushes. 118 EXT. LAKE ≠ NIGHT 118 Conrad holds on firmly to keel of boat CONRAD Bucky! 119 EXT. STREET ≠ NIGHT 119 Conrad rushes. 120 EXT. LAKE ≠ NIGHT 120 Conrad holds on firmly to keel of boat CONRAD Buck! 121 EXT. STREET ≠ NIGHT 121 Conrad rushes. 106. 122 EXT. LAKE ≠ NIGHT 122 Conrad holds on firmly to keel of boat CONRAD Buck! 123 STREET ≠ NIGHT 123 Conrad runs, gets to a phone booth, calls Dr Berger, out of breath. DR BERGER (OS, drowsy) Hello? CONRAD This is Conrad! DR BERGER What's going on? CONRAD I need to see you! DR BERGER What time is it? CONRAD I don't know! DR BERGER Where are you? CONRAD I... I don't know! DR BERGER All right. Listen to me. Get to the office somehow, and I'll meet you there. CONRAD Okay. 124 INT. DR BERGER'S OFFICE LIFT & CORRIDOR ≠ NIGHT 124 Dr Berger comes out of the lift and finds Conrad waiting in the dark corridor, in a state of emotional shock. DR BERGER Oh, good. You're here. CONRAD Something happened... (CONTINUED) 107. 124 CONTINUED: 124 Dr Berger fiddles for his keys in the dark to open his office's door. DR BERGER Just wait, just hold on... CONRAD I need... I need... DR BERGER Just wait till we get inside... Dr Berger finally opens the door. They enter. DR BERGER (cont'd) There... 125 INT. DR BERGER'S OFFICE 125 Dr Berger enters the dark office DR BERGER Shit. You'd think they'd assume there'd be an emergency now and then?! DR BERGER (cont'd) Don't take it off. Just sit down. Conrad cries. CONRAD Something happened! DR BERGER What? CONRAD It's... DR BERGER It's what? CONRAD Oh. God! I need something. DR BERGER What do you need? Tell me! CONRAD It just keeps coming! I can't... I can't make it stop! DR BERGER Don't try. (CONTINUED) 108. 125 CONTINUED: 125 CONRAD I gotta... I gotta... I gotta get off the hook for it. I gotta get off the hook! DR BERGER For what? CONRAD For what I did! DR BERGER What did you do? CONRAD What I did to him! DR BERGER What did you do? CONRAD It's something... It's something... Don't you see? It's gotta be somebody's fault or there's no godamm point! DR BERGER Point? What point? It happened! CONRAD No, no... Oh, no. I don't mean that. It's that... It's just that... Buck, Bucky, I didn't mean it! 126 EXT. LAKE ≠ NIGHT 126 Flash of Buck in storm. 127 INT. DR BERGER'S OFFICE 127 CONRAD Bucky, I didn't mean it! 128 EXT. LAKE ≠ NIGHT 128 Flash of Buck in storm. 129 INT. DR BERGER'S OFFICE 129 CONRAD Bucky! (CONTINUED) 109. 129 CONTINUED: 129 DR BERGER I know that, it wasn't your fault. CONRAD But it was: you said. "Get the sail down!" ... 130 EXT. LAKE ≠ NIGHT 130 Flash on both hands of Conrad holding tight the rudder CONRAD ...and I couldn't! 131 INT. DR BERGER'S OFFICE 131 CONRAD I couldn't! It jammed! And then the halyard, the halyard jammed! I couldn't because the godamn halyard jammed! And then you're sittin' here, you're screwing around... 132 EXT. LAKE ≠ NIGHT 132 Flash of Buck in water trying to hold on overturned boat. 133 INT. DR BERGER'S OFFICE 133 CONRAD ...until it's too late to do anything! And I'm supposed to take care of it! 134 EXT. LAKE ≠ NIGHT 134 Flash of Conrad giving Buck a hand over the overturned hull of the boat. CONRAD And I'm supposed to take care of it! 135 INT. DR BERGER'S OFFICE 135 DR BERGER And that wasn't fair, was it? CONRAD No! And then you say ... 110. 136 EXT. LAKE ≠ NIGHT 136 Flash of Conrad holding Buck's hand. CONRAD (OS) "Hang on!"... 137 INT. DR BERGER'S OFFICE 137 CONRAD ..."Hang on!", and then you let go! 138 EXT. LAKE ≠ NIGHT 138 Flash : hands separating 139 INT. DR BERGER'S OFFICE 139 CONRAD Why'd you let go? DR BERGER Because I got tired! CONRAD Yeah? Well. Screw you, you jerk! Conrad breaks down and cries. DR BERGER It hurts to be mad at him, doesn't it? CONRAD Yeah. He just wasn't careful. He just wouldn't care. He didn't see how a bad thing might happen. DR BERGER Bad things happen even when people are careful. CONRAD We were screwing around out there, we should've come in when it started to look bad. DR BERGER OK, so you made a mistake. CONRAD Why did he let go? Why? (CONTINUED) 111. 139 CONTINUED: 139 DR BERGER Maybe you were stronger. Did it ever occur to you that you might have been stronger? Conrad comes out of it and stares at him. DR BERGER (cont'd) How long you gonna punish yourself? When you gonna quit? CONRAD Oh, God, I'd like to quit. DR BERGER Why don't you? CONRAD It's not easy. It's not that easy. God... I loved him. DR BERGER I know. Dr Berger takes off his coat, sits down. Calvin cries. DR BERGER (cont'd) What happened? You said something happened. What started all this? Calvin stutters with pain and cries. CONRAD Ka-ren. She killed herself! I just found out she's dead. DR BERGER Jesus. CONRAD And she was fine, she was OK. DR BERGER No. She wasn't. CONRAD She was! She was! She told me! She said she was... DR BERGER What? CONRAD She was busy, she was feeling good and she... (CONTINUED) 112. 139 CONTINUED: 139 DR BERGER And what? Conrad cries. DR BERGER (cont'd) What? CONRAD I just wish I'd known...I could've done something. DR BERGER You saw her once and now you' want to take her on too? CONRAD No! DR BERGER No? CONRAD No. I just... DR BERGER What? CONRAD That isn't it. I... I feel bad about this, I feel really bad about this. And just let me feel bad about this! DR BERGER Okay. Listen. I feel bad about it too. CONRAD Why do things have to happen to people? It isn't fair. DR BERGER You're right. It isn't fair. CONRAD You just do one wrong thing... and... DR BERGER Um-hmm. And what was the one wrong thing you did? 113. 140 EXT. LAKE ≠ NIGHT 140 Flash of Conrad looking around in the water for Buck. CONRAD (OS) Haaa... 141 INT. DR BERGER'S OFFICE 141 DR BERGER You know. Conrad looks at him and cries and sighs. 142 EXT. LAKE ≠ NIGHT 142 Flash of Conrad getting back on hull and clutching to the keel. CONRAD (OS) Haaa... 143 INT. DR BERGER'S OFFICE 143 Conrad stares at Dr Berger. CONRAD Haaa... DR BERGER You know. 144 EXT. LAKE ≠ NIGHT 144 Flash of Conrad clutching to the keel. CONRAD (OS) Haaa... 145 INT. DR BERGER'S OFFICE 145 Conrad stares at Dr Berger. CONRAD I hung on. I stayed with the boat. DR BERGER Exactly. Conrad cries. 114. 146 EXT. LAKE ≠ NIGHT 146 Flash of Conrad clutching to the keel. CONRAD (OS) Haaa... 147 INT. DR BERGER'S OFFICE 147 DR BERGER Now. You can live with that. Can't you? 148 EXT. LAKE ≠ NIGHT 148 Flash of Conrad clutching to the keel. Waves. CONRAD (OS) Haaa... 149 INT. DR BERGER'S OFFICE 149 Conrad cries CONRAD I'm scared! I'm scared. DR BERGER Feelings are scary. And sometimes they're painful. And if you can't feel pain, then you're not gonna feel anything else either. You know what I'm saying? CONRAD I think so. DR BERGER You're here and you're alive. And don't tell me you don't feel that. CONRAD It doesn't feel good. DR BERGER It is good. Believe me. CONRAD How do you know? DR BERGER Because I'm your friend. (CONTINUED) 115. 149 CONTINUED: 149 Conrad is out of breath. CONRAD I don't know what I would've done...if you hadn't been here. You're really my friend? DR BERGER I am. Count on it. Conrad falls into Dr Berger's arms, crying. 150 EXT. JEANNINE'S HOME ≠ EARLY MORNING 150 Jeannine opens her curtains, sees Conrad, outside her home, walking to and fro. She puts on a jacket and comes out to him. CONRAD Hi. I was gonna call but I didn't want to wake anyone. JEANNINE Might have been easier... CONRAD Listen, I want to say something about the other night. I mean I liked being with you but I didn't like myself. JEANNINE Conrad. I was stupid. That was dumb of me to laugh and it was my fault. I just didn't know what to do. I was embarrassed. CONRAD Really? You were embarrassed? JEANNINE Yes. When those boys came in, it was awful and awkward. That's what I do when I get embarrassed. I laugh. CONRAD But they were all right. They were just up and they were having a good time, and I let them get in the way of what was happening. It was dumb. It was dumb. I've been doing lots of dumb things lately. I just didn't know wether or not you were being straight with me. (CONTINUED) 116. 150 CONTINUED: 150 Jeannine is moved, she extends her hand to him then put it to her heart. CONRAD (cont'd) Yeah? Jeannine nods. CONRAD (cont'd) Anyway, I'd like to try it again. I thought it worked out okay. Well, except for the bowling. Jeannine laughs, looks down, then looks up straight in his eyes. JEANNINE Yes. CONRAD Yes? Jeannine nods. JEANNINE Yes. Conrad is moved. CONRAD Uh... Are you going to school? JEANNINE No, not on Sunday. Conrad realizes. Laughs. JEANNINE (cont'd) Have you eaten? CONRAD No. I haven't. JEANNINE Do you want some breakfast? Conrad nods. She smiles at him. CONRAD Okay. They go up the steps and Jeannine opens the screen door. JEANNINE Mom! 117. 151 EXT. HUSTON GOLF ≠ AFTERNOON 151 (CU) Golf ball falls into hole. WARD Oh !... BETH All right. How about that? CALVIN Boy, oh, boy. Beth is beaming from her success at golf. BETH Oh, I do love that. CALVIN Oh, these holes sure do love you. Oh boy, oh boy. BETH We should spend more time playing golf together, you know that? Maybe our next vacation, strictly golf. Pinehurst, Myrtle Beach... CALVIN Pinehurst would be nice. I think Connie would like Pinehurst. She pulls back and looks at him. BETH Do you do that deliberately or is it just a reflex? CALVIN Well, you said "vacation", so I just assumed you meant him too. BETH I'm surprised you haven't felt the need to call him since we've been here. CALVIN I was gonna call him tonight. BETH (to Ward and Audrey) Hey, could we have a little drink before we head back? (CONTINUED) 118. 151 CONTINUED: 151 WARD Drink, yes. Little, no. (to Calvin) What'd you get? Cal, what'd you get? CALVIN (to Ward) Six. (to Beth) Let's finish this. BETH What? CALVIN What you started. BETH What I started? CALVIN What you started. BETH Ha! There's no point discussing it. CALVIN I think there is a point. BETH He controls you even when you are two thousand miles away. CALVIN He isn't the problem. BETH Isn't he? CALVIN No, he isn't. Let's talk about what's really bothering you. BETH No, no. Let's talk about what's bothering you. Cos' that's what you want, isn't it? CALVIN Jesus, what have I done to make you so angry with me? (CONTINUED) 119. 151 CONTINUED: 151 BETH It's not what you've done, it's what you think I've done. You blame me for the whole thing. CALVIN Can't you see anything except in terms of how it affects you? BETH No! I can't! And neither can you, and neither can anybody else! Only maybe I'm just a little more honest about it! CALVIN Well, stop being so godamn honest, and start being a little generous! And start thinking about him for a while! BETH I don't know what he expects from me. I never have known. CALVIN Well, I'll tell you what he expects! BETH What? He wants me to throw my arms around him everytime he passes an exam? Well, I can't do it! I cannot respond when someone says: "Here, I just did this great thing. Love me.". I can't! CALVIN All he wants... All he wants is to know you don't hate him. That's it. BETH Hate him? My God! How could I hate him? Mothers don't hate their sons! Is that what he told you? Do you see how you accept what he says with no questions, and you can't do the same thing to me, can you? CALVIN I just try to keep this family together... (CONTINUED) 120. 151 CONTINUED: 151 BETH (she shouts) I don't know what everyone wants from me anymore! AUDREY Beth, nobody wants anything from you. WARD Beth, listen. We all just want... Cal, Con, everybody, we just want you to be happy. BETH Happy? WARD Yes. BETH Ward, you tell me the definition of happy, uh? But first, you better make sure that your kids are good and safe, that no one's fallen off a horse, or been hit by a car, or drowned in that swimming pool you're so proud of! And then you come to me and tell me how to be happy! She leaves. Calvin follows. Ward and his wife just stand there. 152 INT. JET ≠ DAY 152 Beth stares away from Calvin, as in a void. She sighs, closes her eyes; Calvin turns away from the window, looks at Beth and remembers... When they were happily dancing... [ to and fro twice] Calvin in his plane seat, reflects. 153 INT. LIVING ROOM ≠ NIGHT 153 Beth checks a pile of mail. Conrad comes in. CONRAD I think I'm gonna turn in. Dinner was good. Really good. CALVIN It's pretty early. You tired? (CONTINUED) 121. 153 CONTINUED: 153 CONRAD Yeah. It was kind of a rough week. CALVIN I hope your grandmother wasn't too tough on you? CONRAD No. She was fine. I'm glad you're back. Conrad gives his mother a hug, but she is like made of stone. Calvin sees it. CONRAD (cont'd) Good night. Beth remains transfixed as if she didn't know what it was all about. Calvin sees it. 154 INT. BEDROOM ≠ NIGHT 154 Beth is not sleeping, she looks up, sees her husband wrinkled pillow, but he is not in bed. She looks at the time, gets up, puts on a robe. 155 INT. STAIRS ≠ NIGHT 155 Beth goes downstairs, tying up her robe. She stops, hearing someone sobbing in the dark, in the dining room. 156 INT. DINING ROOM ≠ NIGHT 156 Beth enters the dining room in the dark. BETH Calvin? Calvin is sitting at table in the dark, sobbing, his head in his hands. BETH (cont'd) Why are you crying? Calvin doesn't answer. BETH (cont'd) Can I, uh... Can I get you something? Calvin mutters in a very low voice. CALVIN I don't... (CONTINUED) 122. 156 CONTINUED: 156 BETH What did you say? Calvin sits back in his chair. BETH (cont'd) Calvin. What did you say? Calvin produces a very deep sigh. BETH (cont'd) Tell me. Calvin looks up at her with a sad expression. CALVIN You are beautiful. And you are unpredictable. But you're so cautious. You're determined, Beth. But you know something? You're not strong. And I don't know if you're really giving. Beth is looking at him not knowing what this is about. CALVIN (cont'd) Tell me something. Do you love me? Do you really love me? BETH I feel the way I've always felt about you. Calvin is disappointed by the answer, but not surprised, just sad. CALVIN We would've been all right, if there hadn't been any ...mess. But you can't handle mess. You need everything neat and ...easy. I don't know. Maybe you can't love anybody. It was so much Buck. And Buck died, it was as if you buried all your love with him, and I don't understand that. I just don't know. Calvin sighs. CALVIN (cont'd) Maybe it wasn't even Buck. Maybe it was just you. Maybe, finally, it was the best of you that you buried. (MORE) (CONTINUED) 123. 156 CONTINUED: 156 CALVIN (cont'd) But whatever it was, I don't know who you are. I don't know what we've been playing at. So I was crying. Calvin is overcome by sadness CALVIN (cont'd) 't know if I love you anymore. And I don't know what I am going to do without that. Beth does not know what to say or do. She turns away and goes upstairs. 157 INT. BEDROOM ≠ NIGHT 157 Beth enters, kind of reflects, then goes open a closet, takes out some luggage. A sudden burst of emotion overcomes her, she cries but does not seem to identify the emotion, then restrains it. 158 INT. CONRAD'S BEDROOM ≠ DAWN 158 In his bed Conrad is not sleeping. He hears the door of the house close, then someone walking outside on the gravel. He gets up, go look out of the window. Ouside, a taxi leaves. He goes downstairs. 159 INT. STAIRS ≠ DAWN 159 Conrad goes downstairs, curious. Looks around, sees nobody. 160 EXT. GARDEN ≠ DAWN 160 From inside, Conrad finally sees his father in the garden, reflecting. Patches of snow. Conrad puts on his coat over his pyjamas, and joins him. CONRAD Dad? CALVIN The yard looks smaller without leaves. CONRAD Dad? What happened? CALVIN Your mother's going away for a while. CONRAD Where? Why? (CONTINUED) 124. 160 CONTINUED: 160 CALVIN Back to Houston. Then I... I don't know. CONRAD Why? What... I know why. It's me. Isn't it? CALVIN No. CONRAD Yeah, it is. It's my fault. CALVIN Don't do that! Don't do that to yourself! It's nobody's fault! Things happen in this world, people don't always have answers for them, you know. Calvin sits down. CALVIN (cont'd) I don't know why I'm yelling at you for... CONRAD No, that's right! You're right! You ought to do that more often. CALVIN Oh, yeah? CONRAD Yeah, yeah, Haul my ass a little, you know. Get after me. The way you used to for him. CALVIN Oh, he needed it. You didn't. You were always so hard on yourself, I never had the heart. CONRAD Oh, Dad. Don't. CALVIN No, it's the truth. I... I never worried about you. I just wasn't listening. CONRAD Well, I wasn't putting out many signals then. I don't think you could have done anything. (CONTINUED) 125. 160 CONTINUED: 160 CALVIN No, no, no, I should ...I should've got a handle on it somehow. CONRAD You know, I used to figure you had a handle for everything. You knew it all. Calvin looks at him and laughs briefly at himself. CONRAD (cont'd) I know that wasn't fair but you always made us feel like everything was gonna be all right. I thought about that a lot lately. I really admire you for it. Calvin is moved. CALVIN Well, don't admire people too much. They'll disappoint you sometimes. CONRAD I'm not disappointed. I love you. Calvin looks at him, cries and takes him in his arms. CALVIN I love you too. They hug each other. [ Camera pulls back / Canon in D by Pachelbel ] Credits roll. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Orgy of the Dead.txt b/unformated_scripts/Script_Orgy of the Dead.txt new file mode 100644 index 0000000000000000000000000000000000000000..d8be04def8370edf34c8739fffb3a81cb7678123 --- /dev/null +++ b/unformated_scripts/Script_Orgy of the Dead.txt @@ -0,0 +1,2 @@ +back +"ORGY OF THE DEAD" by EDWARD D. WOOD, JR. From his novel "Orgy of the Dead" Copyright 1965 Astra Productions "ORGY OF THE DEAD"FADE IN:EXT. CEMETERY - NIGHT. CLOSEUP of HEAVY RIVETED IRON DOORS with round handles covered by spider webs. Two "GIANTS", wearing leopard-skin shorts, iron bicep-bands and headbands, pull the heavy iron doors open revealing the INTERIOR of the MAUSOLEUM. There is an ornate stone sarcophagus in the center of the room, raised up on an altar. The back wall has a mantle with a bust of the Virgin Mary looking downward at the coffin. There is a round red window in the center of the wall. A ray of red light shines through the window, illuminating the misty fog hanging in the air. The giants walk into the Mausoleum. They lift the heavy stone lid off of the coffin, revealing CRISWELL. He is lying in the coffin on his back, with his arms crossed over his chest and eyes closed. He is wearing black suit pants, a white shirt, a black ribbon-like bow-tie, and a black satin cape. DISSOLVE TO: MEDIUM SHOT OF CRISWELL We see CRISWELL, Narrator of our tale and SOLE RULER OF THE DARK WORLD, now sitting upright, slouching somewhat in his coffin, glancing offscreen (at his cue card). During his monologue, each time Criswell looks up at the camera a DRAMATIC PAUSE is inserted as he then looks back down at the cue card and searches for his place in order to continue. CRISWELL I am Criswell! For years I have told the almost unbelievable, related the unreal, and shown it to be more...than a fact. Now I tell a tale of the threshold, people, so astounding that some of you may faint. MONOLOGUE CONTINUES AS CAMERA CUTS TO GRAVEYARD SEQUENCE: SHOT of an ancient TOMBSTONE, surrounded by fog, with a human SKULL sitting at its base. DISSOLVE TO: CLOSEUP of BLACK RAVEN with thick fog swirling around it DISSOLVE TO: Another tombstone, with a cherub-like engraving on the front DISSOLVE TO: A plaque-like grave stone on the ground with fog swirling over it, a Skull and a long bone sitting on the ground by it CRISWELL (Voice Over) This is a story of those in the twilight time...once human, now monsters, in a void between the living and the dead. Monsters to be pitied, monsters to be despised... CUT BACK TO CRISWELL: CRISWELL (continuing) A night with the Ghouls...the ghouls reborn, from the innnermost depths...of the world. TITLE MUSIC BEGINSMAIN TITLES TITLES are superimposed over a still photo of a Gilded Nude Female Figure sitting on the stone altar in the MAUSOLEUM. ASTRA PRODUCTIONS presents CRISWELL in ORGY OF THE DEAD Copyright by Astra Productions 1965 starring FAWN SILVER as Black Ghoul PAT BARRINGER as Shirley WILLIAM BATES as Bob featuring Gold Girl Dance...........PAT BARRINGER Hawaiian Dance.............MICKEY JINES Skeleton Dance...........BARBARA NORDIN Indian Dance...............BUNNY GLASER Slave Dance..............NADEJDA DOBREV Street Walker Dance......COLEEN O'BRIEN Cat Dance...................TEXAS STARR Fluff Dance................RENE DE BEAU Mexican Dance...........STEPHANIE JONES Zombie Dance...............DENE STARNES Mummy.......................LOUIS OJENA Wolf Man...................JOHN ANDREWS Doctor...................EDWARD TONTINI Second Doctor............WILLIAM BONNER Giants....................ROD LINDEMANN Detective...................JOHN BEALEY Nurse....................ARLENE SPOONER Costumes.................ROBERT DARIEUX Art Director.............ROBERT LATHROP Sets..................ERNEST BOUVENKAMP Sound.......................DALE KNIGHT Assistant Cameraman......ROBERT MAXWELL Make-up.................MARGARET DAVIES Hairdresser..............NANCY SANDOVAL Choreographer..................MARC DESMOND Still Photographer............ROBERT WILSON Production Supervisor..........TAD STAFFORD Post Production Supervisor..DONALD A. DAVIS Color.........................EASTMAN COLOR Processing.....CONSOLIDATED FILM INDUSTRIES Screenplay by EDWARD D. WOOD, JR. From his novel "Orgy of the Dead" Director of Cinematography ROBERT CARAMICO Associate Producers WILLIAM BATES L.S. JENSEN NEIL B. STEIN Produced and Directed by A. C. STEPHEN FADE TO BLACK.FADE IN.EXT. HIGHWAY IN WILDERNESS. "NIGHT" A CONVERTIBLE is driving along a DESERT ROAD. LONG SHOTS of the automobile driving are filmed in bright sunlight. The desert hills are clearly visible in the background, with only a slight darkening to suggest day-for-night, but the car's headlights are on so we clearly understand that it is pitch black in the dead of night. CUT TO: MEDIUM SHOT - BOB AND SHIRLEY IN CAR. NIGHT BOB and SHIRLEY are seated in the CONVERTIBLE, driving through the night, on a "date". They are searching for an ancient CEMETERY. MEDIUM SHOTS have a pitch black background and dark shadows across the car. Shirley is leaning over in her seat toward Bob, who is driving. SHIRLEY We sure picked the wrong night to find a cemetery. Let's turn back. BOB No. It's on a night like this when the best ideas come to mind. SHIRLEY But does it have to be in a cemetery? BOB You wouldn't understand. Seeing a cemetery on a night like this can stir in the mind the best ideas for a good horror story. SHIRLEY But there're so many wonderful things to write about, Bob. BOB Sure there are--and I've tried them all. Plays, love stories, westerns, dog stories. Huh, now there was a good one, that dog story all about-- SHIRLEY (interrupting) But horror stories! Why all the time horror stories? BOB Shirley, I wrote for years without selling a single word. Bob lets go of the wheel with his right arm and puts it around Shirley, who leans closer against him. BOB My monsters have done well for me. You think I'd give that up just so I could write about trees, or dogs, or daisies? Huhuh--Daisies! That's it, I'll write about my creatures who are pushing up the daisies. Shirley looks up at Bob and smiles. He tilts his head down and they kiss. BOB Your puritan upbringing holds you back from my monsters, but it certainly doesn't hurt your art of kissing. SHIRLEY That's life. My kisses are alive. BOB Who's to say my monsters aren't alive? LONG SHOT of the car driving down the road CUT back to MEDIUM SHOT of Bob and Shirley BOB All of my books are based on fact, or legend. Thats perhaps why they're more interesting and sell in the top spots. SHIRLEY Well, fact or not, I don't see how we're going to find an ancient cemetery in these mountains tonight. I can't see a thing! Let's turn back. BOB There's an old cemetery on this road. I've been there before. LONG SHOT of car driving up a desert road with a sandy mountain in the background. SHIRLEY I'm getting the jitters! Let's turn back! BOB (reluctantly) Okay. Bob takes his arm from around Shirley and puts it back on the wheel. BOB Just as soon as I find a place wide enough to turn around. CLOSEUP of CAR INTERIOR - DASHBOARD. CUT BACK TO MEDIUM SHOT - Bob and Shirley SHIRLEY Not so fast! We hear sounds of tires squealing on the road. CLOSEUP of car wheel racing along the road. CUT BACK TO MEDIUM SHOT - Bob and Shirley SHIRLEY (desperately) Not so fast! CLOSEUP - CAR PEDALS. Bob steps hard on the brake, then pumps the brake repeatedly. CUT BACK TO MEDIUM SHOT - Bob and Shirley. Shirley screams and hides her face with her hands. ZOOM IN on a high dirt bank at the roadside, then the screen swirls and spins quickly to suggest a dizzying automobile crash. DISSOLVE TO:EXT. WOODS - NIGHT Bob and Shirley are lying on their backs, unconcsious, on the ground. The ground is covered by scattered leaves. Misty fog swirls over them. (beat) Shirley wakes up and sits upright groggily. She looks around, then looks down at Bob. She moves toward him and cradles his head in her lap. DISSOLVE TO: EXT. CEMETERY - NIGHT Cemetery is filled with fog. We see a large stone throne framed by ornate columns, with an altar beneath it. There are tombstones in the background, and skulls and bones on the ground. CAMERA PANS RIGHT across a small clearing to the MAUSOLEUM. CRISWELL (VO) It is said on clear nights, beneath the cold light of the moon, howl the dog and the wolf, and creeping things crawl out of the slime. It is then the ghouls feast in all their radiance. The Mausoleum doors creak open on their own, and Criswell quickly stalks out across the clearing, hiding his face behind his long black cape which is held up with his bent elbow against his face, in Dracula fashion. CRISWELL (VO - Continuing) It is on nights like this most people prefer to steer clear of, uh, Burial Grounds. It is on nights like this, that the creatures are said to appear, and to walk! CUT TO: MEDIUM SHOT, CRISWELL CLIMBING ONTO HIS THRONE Criswell walks up the steps to the altar, across the altar, and then sits down on the stone seat. He then slowly lowers his cape from his face and regally looks off to the right (at his cue card). CRISWELL The day is gone, the night is upon us, and the moon, which controls all of the underworld, once again shines...in radiant contentment. (beat) Come forth, come forth, o Princess of Darkness. Criswell repeatedly beckons slowly toward himself with his right hand, staring across the clearing at the mausoleum. The PRINCESS OF DARKNESS is standing in front of the Mausoleum. She walks into the clearing with an entrancing demeanor, her arms outstretched straight in front of her. She is wearing a long black low-cut dress with long open sleeves. The sleeves are lined with red and hang down a couple feet from her wrists. She walks slowly over toward Criswell's throne. The Princess of Darkness stands beside Criswells throne, crosses her forearms in front of her chest, and bows toward him. He nods toward her. She reaches out and places her left hand on Criswell's right hand. CRISWELL (VO) Time seems to stand still. Not so the ghouls, when a night of Pleasure is at hand! Criswell continues to hold the Princess of Darkness's hand, and she looks at him seductively. CRISWELL If I am not pleased by tonight's entertainment, I shall banish their souls to everlasting damnation! The Princess of Darkness again crosses her arms in front of her chest and slowly bows to Criswell. CUT TO shot of the FULL MOON with dramatic cymbals crashing, then back. CRISWELL And who is to be first? The Princess of Darkness claps twice, summoning the first of the night's entertainers. These poor souls must dance for Criswell's approval. If he is pleased, they can continue to entertain him for centuries, but if not, they will be banished to everlasting damnation by the All-powerful Criswell. LONG SHOT OF THE CLEARING. Huge flames rise from the ground in front of the clearing. The INDIAN GIRL enters the clearing and begins to Dance. She is wearing a red Native American- style dress and headband. PRINCESS OF DARKNESS One who loved flames. Her lover was killed by flames. She died in flames. The INDIAN GIRL DANCE begins. The Indian Girl dances around for awhile, then dances away into the foggy background.EXT. WOODS - NIGHT Bob slowly wakes up and sits up. Bob and Shirley look around.EXT. GRAVEYARD - NIGHT The Princess of Darkness points dramatically toward the mausoleum and begins to speak without moving her lips! A marvel of filmmaking art. PRINCESS OF DARKNESS (out of sync with picture) One who prowls the lonely streets at night in life is bound to prowl them in eternity. The STREET WALKER DANCE begins. The STREET WALKER walks into the clearing wearing a pink dress and purple feather boa, and beckons with her finger as if to say, "Come here, Criswell!"EXT. WOODS. NIGHT. At the car accident scene with Bob and Shirley, slow jazz music is audible from the nearby festivities in the cemetery. Bob and Shirley are still sitting on the ground, looking toward the source of the music. CRISWELL (VO) Ahh, the curiousity of youth... on the road to ruin! May it ever be so adventurous! SHIRLEY I'm so frightened. BOB Well we certainly can't stay here. C'mon. SHIRLEY Where? BOB In there. SHIRLEY It frightens me. BOB Silly, there's nothing in there to be afraid of. SHIRLEY Then..then what's that music? BOB That's what I want to find out. We have to get help. SHIRLEY What help can we possibly find in the cemetery at this time of night? BOB Something's making that music. SHIRLEY I'm not sure I care to find out what it is. BOB All right. Don't worry, I'll be right beside you. SHIRLEY What help will that do if something in there isn't dead? BOB Not dead? In a cemetery? SHIRLEY I can't imagine anything dead playing that music. BOB Well, it's probably just the caretaker, and that's exactly who we want to find. They'll have a telephone. C'mon. Bob helps Shirley up from the ground and leads her into the thick bushes.EXT. CEMETERY, NIGHT Criswell nods repeatedly, smiling at the dancer in approval. The Street Walker's clothes have suddenly disappeared. Bob and Shirley creep beneath the bushes, crouched down low. They reach the edge of the clearing where Criswell and the Princess of Darkness are watching the Street Walker Dance. SHIRLEY Could it be some kind of college initiation? BOB It's an initiation all right, but not of a college as you and I know them. Nothing alive looks like that! SHIRLEY Can't we get out of here? BOB I'm not sure... SHIRLEY What do you mean? BOB I'm not sure, myself. It's just a feeling I've had since the crash...Like I feel a cold chill all over.. ..Now this! The Street Walker dances with a Skeleton that is hanging by the door of the mausoleum. The Street Walker dance ends. CRISWELL I would see for approval, the one who in life worshipped gold above all else. The Princess of Darkness points dramatically toward the mausoleum again to start off the next dance. The giants walk to the doors, now wearing red and white horizontal-striped miniskirts (or ancient egyptian garb?). They pull the iron doors open slowly, and we see the GOLD GIRL DANCER lying on her back on the altar inside. SHIRLEY (pointing toward the mausoleum) Look! BOB Be careful!--They'll see you. The Gold Girl Dancer rises slowly and seductively from the table, then stalkingly dances out into the clearing. She is wearing a metallic gold tunic-like dress. We see a shot of Bob and Shirley watching, and suddenly the Gold Girl's dress has disappeared. The Gold Girl Dance continues. CRISWELL Throw gold at her. The giants pick up a bucket of gold doubloons and begin slowly sprinkling them over the Gold Girl as she dances. She sits on the ground and reaches for the falling coins. CRISWELL More gold. The giants continue dropping gold coins on the Gold Girl. She picks up the gold coins, rubbing them over her body, in ecstasy. CRISWELL (excitedly) More gold! The giants continue, to the delight of Criswell. The Gold girl tries to scoop all the scattered coins closer to her. CRISWELL (impatiently) More gold! The giants continue. Criswell is thrilled, and begins to LAUGH loudly. CRISWELL (to the Princess) For all eternity, she shall have gold. The Princess of Darkness laughs in acknowledgement, then claps her hands twice, commanding the Giants to finish the ceremony. The Giants walk toward the Gold Girl, who is still on the ground playing with the gold coins and rubbing them on her body. The giants pick up the Gold Girl, who resists, trying to maintain contact with the gold. She reaches for it as they lift her up. CLOSEUP of a BUBBLING GIANT CAULDRON full of a substance that is supposed to look like gold. The Giants dip the Gold Girl feet first into the cauldron, submerging her entire body. A few seconds later, the giants lift the Gold Girl out of the cauldron. Her body is now entirely gilded, and she is stiff. They lift her onto their shoulders, carrying her like a board, walking in front of Criswell's throne, then back into the mausoleum, laying her body on the altar. We see Bob and Shirley, looking dismayed. CRISWELL (VO) And both couldn't help but remember a line from one of Bob's stories: "A sudden wind howls. The night things are all about me. Every shadow, a beckoning invitation...to disaster. I know I should think of other things, of pleasant things, but I can't. How can I think of other things, of pleasant things, when I am in a place surrounded by shadows and objects, which can take any shape, here in the darkness...Any shape my mind can conceive." Deep in the woods, we see THE WOLF MAN and THE MUMMY, walking quickly. Suddenly, Bob and Shirley are grabbed from behind by the WOLF MAN and the MUMMY. The Wolf Man and The Mummy drag Bob and Shirley over to the clearing near Criswell's throne. The Princess of Darkness is now seated at Criswell's right side with him on his throne. CRISWELL Bring 'em in! The Princess of Darkness stands and walks to the end of the altar below Criswell's throne, then sits on the lower seat at the end of the altar and crosses her legs. The Wolf Man and The Mummy drag Bob and Shirley over to the center of the clearing to face Criswell, The Sole Ruler of the Dark World. CRISWELL They are live ones? THE MUMMY (with audible tape hiss added) Yes, Master. CRISWELL Live ones where only the dead should be? THE MUMMY Yes, Master, and we caught them, him and me. The Mummy motions toward the Wolf Man. THE WOLF MAN WWWWOOOOOOAAAAAAAUUUUUGGGGHHHHAHAAAA!!! CRISWELL You shall both be rewarded. (To Princess) My Dear Empress of the Night, put these intruders to the test. Medium Shot of Princess of Darkness. (Suddenly the Princess of Darkness is beside the throne again, several feet from the seat at the foot of the altar) PRINCESS OF DARKNESS But they are not yet one of us. CRISWELL (happily) A situation easily remedied. PRINCESS OF DARKNESS Tie them that they may watch. CUT back to long shot of the entire throne and throne altar. The Princess of Darkness is now seated again at the end of the altar. The Wolf Man and The Mummy tie Bob and Shirley to very tall grave stones. CUT to medium-close shot of Princess of Darkness, whose chest is heaving excitedly as she grips the handle of the long sacrificial dagger tucked into the belt at her waist. SHIRLEY (desperately, to Criswell) Fiend! Fiend! PRINCESS OF DARKNESS To love the cat, is to be the cat! Criswell motions toward The Princess of Darkness, who then walks back up onto the altar and then sits down beside Criswell again. The CAT GIRL DANCE begins. CRISWELL (jovially) A pussycat is born to be whipped. The Cat Girl Dance ends. CRISWELL (excitedly) It will please me very much to see the Slave Girl with her tortures! CUT TO interior of the stone mausoleum. The Ancient Egyptian SLAVE GIRL is chained from her wrists to a high hook on the wall. One of the "giants" pretends to whip her with a cat o' nine tails. CUT back to CRISWELL. CRISWELL (excitedly) Torture! Torture! It pleasures me! The slave girl pulls with all her might and the chains suddenly pop off the hook. She then pushes the iron doors open and dances out into the clearing. The Slave Dance concludes. SHIRLEY I'm so frightened. BOB You've got a right to be. We're trapped by a bunch of fiends. SHIRLEY Those creatures..! BOB Don't let them hear you. SHIRLEY What can we do? BOB I don't know. I just don't know. But don't give up. We're not finished yet. Shirley closes her eyes and sighs. BOB Easy Shirley, Easy! Panic won't do us any good! Let me think. We've got to stall for time. SHIRLEY I'm afraid I'll faint. BOB Whatever you do, don't do that. The Camera zooms back and we see that the Wolf Man and The Mummy are hiding behind Bob and Shirley. The Wolf Man has his hand up to his ear so he can hear what Bob and Shirley are saying. The Wolf Man and The Mummy then creep over toward Criswell's throne. The Wolf Man whispers into The Princess of Darkness's ear while The Mummy and Criswell watch. The Princess of Darkness gets up from the throne and walks over to Shirley. Shirley grimaces. The Princess of Darkness unbuttons Shirley's blouse, then marks Shirley's abdomen with a red (blood?) cross using her long sharp fingernail. Shirley screams. The Princess of Darkness pulls her long dagger out of her belt and raises it, staring into Shirley's eyes. Suddenly, Criswell yells: CRISWELL HOLD! The Princess of Darkness pauses and looks back at Criswell. CRISWELL Let her continue to learn. The time is not yet right that they should join with us. The Princess of Darkness reluctantly puts her dagger back in her belt and tucks Shirley's blouse back in. The Princess of Darkness walks back to Criswell's throne. He pulls a human skull out from behind his seat. CRISWELL ...And what is this? PRINCESS OF DARKNESS A symbol, Master. CRISWELL What kind of symbol? PRINCESS OF DARKNESS She loved the bull ring and the matador. She danced to their destruction. Now she dances to her own destruction. Her dance is of skulls. The Princess of Darkness takes the skull from Criswell and throws it dramatically into the clearing. The MEXICAN DANCE (SKULL DANCE) ensues. CRISWELL She came to us on the Day of the Dead. PRINCESS OF DARKNESS El Dia De Los Muertos...A celebration in her country. CRISWELL Her dance has pleased me. The Princess of Darkness snaps her fingers, starting the HAWAIIAN DANCE (SNAKE DANCE). PRINCESS OF DARKNESS With the loss of her lover, this one cast herself into the Volcano's fire. A couple times during the dance, there are abrupt cuts to STOCK FOOTAGE of a rattlesnake in a bright daylight shot in tall dry grass. (Looks like it was from a documentary) CRISWELL She was? PRINCESS OF DARKNESS As I said, a worshipper of snakes, and of smoke, and flames. CRISWELL Oh, yes, a religion of sorts. PRINCESS OF DARKNESS It would seem so, Master. Hawaiian Dance continues, then cut to The Mummy and The Wolf Man. THE MUMMY I don't like snakes. I remember the one Cleopatra used. Cute little rascal until it flicked out that red tongue, and those two sharp fangs. You'd never think such a little thing packed such a big wallop. THE WOLF MAN Aaaaahhnnnhaaaaaannnhhh? THE MUMMY Hurt her? Hell, it killed her! THE WOLF MAN (in agreement) Aaaahhhhnnnahhhnnnggnnn. Hawaiian/Snake Girl continues to dance. THE MUMMY We had lots of snakes in my ancient Egypt...slimy, slinky things. THE WOLF MAN Aahhhhnnnaaahahnn. AaaaaahhhhoooWWWOOOOOOOOOOOOOOOOOOOOOO! THE MUMMY When I was alive, they were the things nightmares were made of. THE WOLF MAN Aaarrrgggaahh. The Hawaiian Dance ends. CRISWELL She pleases me. Permit her to live in the World of the Snakes. (audible cue card flip) CRISWELL (continuing, after finding his place on the next cue card) Now, I will talk...to The Wolf Man...and The Mummy. PRINCESS OF DARKNESS As you wish, Master The Princess of Darkness motions for The Wolf Man and The Mummy to come. THE MUMMY He wants us. THE WOLF MAN Aaahhnnnahnnnn. THE MUMMY What do you suppose for? THE WOLF MAN Aaaaannnnnuuunnnuhhhhh? THE MUMMY Did you do something to get us into trouble again? THE WOLF MAN Aannnnaahhnn. THE MUMMY Did you howl off-key at the moon again? THE WOLF MAN Aannnnaahhnn. THE MUMMY I can't remember doing anything wrong either. PRINCESS OF DARKNESS COME! THE MUMMY We better go before we make him mad. The Wolf Man and The Mummy walk over to Criswell's Throne. THE MUMMY (apprehensively) We are your servants, Master. The Wolf Man bows to Criswell. CRISWELL Of course you are. The Wolf Man and the Mummy crouch in fear as they face Criswell. THE MUMMY Have we in some way made you angry, Master? CRISWELL You know better than that. THE MUMMY We don't know of anything, Master... CRISWELL Then why do you shake so? THE MUMMY It's not often an Emperor like you calls on creatures like us. CRISWELL Well rest easy, I'm not angry with either of you. THE MUMMY (relieved) Aaaahhhh. The Mummy Sighs in relief and the Wolf Man nods. THE MUMMY Then it is some service you desire of us. CRISWELL You are the keepers of the Damned. You two know them all. And I am tired of this usual type of entertainment. I want...a decided change. PRINCESS OF DARKNESS The moon!...is soon gone! The Princess of Darkness points up at the full moon. PRINCESS OF DARKNESS There is little time left for the remainder of the evening's pleasures. The Princess of Darkness gets up from the seat at the end of the altar and walks around beside Criswell's throne. CRISWELL Yes, yes yes I know all that. PRINCESS OF DARKNESS At the first sight of the morning sun's rays, we must be gone. CRISWELL I suppose most of the others will have to wait for their judgement until after the next full moon. PRINCESS OF DARKNESS It would seem so, Master CRISWELL Ahh, but I declare there is still time for something. THE MUMMY There are one or two which should complement the night's entertainment, Master CRISWELL Ahh, good. Then I will see them. Dismiss the rest. THE MUMMY Yes, sir, Master. Bob's hands are wiggling, trying to loosen the rope binding his wrists behind his back around the stone column. BOB The ropes are coming loose. SHIRLEY Be careful! BOB I am--It's our only chance. SHIRLEY Nothing is worth your life. BOB My guess is if we don't take the chance pretty soon, we're not going to have much life left anyway. SHIRLEY I'm frightened. I'm so frightened. BOB Hold on just a little longer, Shirley. SHIRLEY Be careful, oh please be careful. We'll never get out of here alive, I know it. I just feel it. BOB You do? SHIRLEY Yes I feel it in my bones. BOB You're talking nonsense. SHIRLEY Oh, no I'm not. These heathens probably have an open grave for us. BOB They wouldn't dare put us in the same grave-- or would they? SHIRLEY I should hope not. I hate you! BOB That sudden? SHIRLEY Yes, that sudden. If it weren't for you we wouldn't be hunting for an old cemetery on a night like this. It's all your fault. BOB (dejected) ...And I thought you loved me. The Princess of Darkness is leaning over, covering her mouth and whispering into Criswell's ear, looking over her hand back at Shirley. CRISWELL Not yet. I perhaps have other plans for such a pretty one. No matter, I will tell you when and if you may have her. The Princess of Darkness crosses her forearms and bows to Criswell. PRINCESS OF DARKNESS The Wolf Man informs me that the next one is the woman who murdered her husband on their wedding night. Now she dances with his skeleton. The SKELETON DANCE begins. The SKELETON DANCE GIRL, wearing a white dress and long wedding veil, comes into the clearing with a skeleton. She dances with the skeleton, then dances in the clearing for Criswell. The Skeleton Dance concludes. CRISWELL (to Shirley) Have you not enjoyed the evening's festivities? Shirley is silent and looks downward. CRISWELL Ahh, that will soon change when you become one of us! The Wolf Man leans back and howls. (He tilts his head back so far his fake rubber wolfman mask comes up and you can see his skin at the bottom of his neck) THE WOLF MAN WWAAAAAAOOOOOOOOOOAAAAAHHGGGGHHHAAAA- AAAAAAAAAHHGGGGGHHHHHHHhhhhhh! CRISWELL It would seem that The Wolf Man would have you for his own! SHIRLEY AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA. CRISWELL I have promised both The Wolf Man and The Mummy a reward. It could be that you are that reward. SHIRLEY AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA. CRISWELL You need not worry...Not just now, anyway. BOB Leave her alone, you fiend! CRISWELL Fiend is it! You will not be so fortunate. Your existence will cease within moments. No one wishes to see a man dance... (looking at Shirley) And you, my dear, will entertain for centuries to come. BOB If I could get my hands on you... CRISWELL ..Oh, You could do nothing! (to Shirley) I can save you much pain. BOB Leave her alone, I tell you! CRISWELL (to Shirley) I do not joke in my proposal. PRINCESS OF DARKNESS She is to be mine! It is so spoken! CRISWELL The Princess of Darkness would have you for her own to join us through extreme pain. (beat) Yet I am inclined for one as lovely as you, to be more lenient. I have but to touch you with my finger, and it would mean the end of you, all over, quickly and painlessly... SHIRLEY No. No! No! CRISWELL I repulse you? Very well. It seems you have chosen your own fate. Live with it! I should say die with it! Bob looks down somberly, then looks over at Shirley. BOB I've got the ropes loose now. I've got my hands free. Be careful--Don't change your expression too much. They must not catch on. SHIRLEY What can we do against them? BOB I don't know, yet. We'll just have to watch our chance. When it comes I'll know what to do--I hope I'll know what to do. SHIRLEY I still don't know what ever made me go steady with a crackpot writer like you. BOB All right. Put it on heavy. SHIRLEY My old boyfriend Tommy would never have gotten me in a mess like this. At least he's got brains. BOB Him! I'll bet he sleeps with all the lights on. SHIRLEY Maybe so. CUT TO shot of The Mummy talking to The Wolf Man THE MUMMY I could make her another Cleopatra... THE WOLF MAN Ahh hahahhnnn hahnnn! THE MUMMY Without the snake, of course. PRINCESS OF DARKNESS (impatiently) Well? CRISWELL Ahh, she will be yours. PRINCESS OF DARKNESS (impatiently) When!? CRISWELL At your discretion...But first, I desire more entertainment. PRINCESS OF DARKNESS The moon is almost gone! CRISWELL Ahh, there is yet time. PRINCESS OF DARKNESS At the first sight of the morning's rays' light... CRISWELL (getting annoyed) I know the laws of the night. I state there is still time for yet another. PRINCESS OF DARKNESS (forcefully) I would have time for my own pleasures! CRISWELL (angrily) Your own pleasure comes only after mine, when I desire it. I am the Sole Ruler of the Dark World. There is no one to challenge my authority here. My word is the law--all powerful. No one is to challenge that authority, no one!. Is that understood? It is my command. PRINCESS OF DARKNESS I understand, Master CRISWELL Then see that it does not happen again, in the penalty of Everlasting Despair. Now are there others? PRINCESS OF DARKNESS There are others. CRISWELL Well then let us proceed. The Princess of Darkness snaps her fingers three times, summoning the Zombie Dance Girl. PRINCESS OF DARKNESS She lived as a zombie in life, so she will remain forever a zombie in death. The ZOMBIE DANCE GIRL dances. BOB Easy, Shirley. Easy! The Zombie Dance concludes. PRINCESS OF DARKNESS The moon sinks lower into the hills! We must hurry to the finish. CRISWELL I will decide the conclusion. PRINCESS OF DARKNESS (impatiently) You had the mummy cancel all the others scheduled for this session. CRISWELL (interrupting) Then cancel my order. PRINCESS OF DARKNESS The moon is almost gone! CRISWELL There is yet time. Don't you want your own pleasure? PRINCESS OF DARKNESS Oh, if there is only time! CRISWELL Hahh, there is always time... All in good time...there is always time. You shall have your pleasure. THAT... I decree PRINCESS OF DARKNESS (looking at Shirley) All others were but infinitessimal bits of fluff, compared to her (toward the Dancer) This one would have died for feathers, furs, and fluff...and so she did! The FLUFF DANCE Girl dances for approval. The Fluff Dance ends. Criswell looks over at the Princess of Darkness. CRISWELL The time...is short. PRINCESS OF DARKNESS For what!?! CRISWELL Your pleasures of course! PRINCESS OF DARKNESS You mean...! CRISWELL You may take her now. PRINCESS OF DARKNESS Is there time? CRISWELL You better hope there is. PRINCESS OF DARKNESS Thank you, Master! Thank you. CRISWELL Now hurry, hurry. I will watch! Your desires may be my pleasure also...Our fitting climax to an evening's enter- tainment. You must...hurry now. The Princess of Darkness begins ceremoniously dancing with her long sacrificial dagger, slowly moving toward shirley, gazing back at Criswell seductively. She finally gets to Shirley and cuts the button off of Shirley's shirt, which was so tight it was about to burst open anyway. She unsnaps the front of Shirley's bra. Bob sees his chance and makes his attempt at a "move," merely stepping forward. He is instantly hammer-fisted on the back of the neck by The Wolf Man, and falls down unconscious. The Princess of Darkness raises her long dagger high above Shirley's head. But suddenly, the sun rises (it is already high overhead), and the night creatures lose their power. The Princess of Darkness clings to Shirley's arm, as she slowly sinks down to the ground, losing all strength. The Camera pans around, showing Shirley and Bob's faces, then back to the ghouls, all of whom have turned to steaming skeletons. Only their clothing and bones remain. Quick Zoom in on Criswell's throne. Criswell's steaming skeleton still sits, surveying the cemetery, wearing his cape. FADE TO BLACKFADE IN.EXT. WOODS - MORNING At the clearing in the woods near the car wreck, Bob and Shirley are lying on their backs on the ground, just as they were after the crash, before they got up to investigate the strange music that led them to the ghouls. There are two DOCTORS examining Bob and Shirley. In the foreground, we see a REPORTER's shoulder and hands. He is writing down details of the accident in a small paper pad. DOCTOR #1 Easy, Miss, everything's gonna be alright. SHIRLEY Bob? Bob? DOCTOR #1 He's right here beside you. He'll be alright too. The reporter walks around and crouches beside Shirley and DOCTOR #1, and continues writing in his pad. A Newspaper PHOTOGRAPHER crouches in the foreground to get a shot of the accident scene and victims. SHIRLEY Where are they, where did they go? They tried to kill me. DOCTOR #2 What's this you say? Who was going to kill you? SHIRLEY The ghouls--they all turned into skeletons. DOCTOR #2 Take it easy, Miss. DOCTOR #1 What she needs is a good rest. SHIRLEY It's true, I tell you, it's true! They all turned into skeletons. She-she cut me here. Shirley points to her abdomen where The Princess of Darkness had made the X with her fingernail. NURSE crouches down and pulls out a length of medical tape, then hands it to the doctor. She cuts another piece of tape, but the Doctors don't realize this and leave her hanging... DOCTOR #1 Probably was bruised in the crash. DOCTOR #2 You know, you two were very lucky. SHIRLEY I love you Bob. I really do. Forgive me? BOB There's nothing to forgive. It was all a dream. SHIRLEY You love me then? BOB Of course I do. The doctors put Shirley onto a stretcher while the photographer takes more pictures. They put her into the back of an ambulance. Then after the doctor listens to Bob's neck with a stethoscope, Bob just gets up and walks into the back of the ambulance. CRISWELL (VO) As it is with all the Night People, they are destroyed by the first rays of the sun. But upon the first appearance of the deep shadows of the night, and when the moon is full, they will return, to rejoice...in their evil lust, and take back with them any mortal who might happen along. CUT TO:INT. MAUSOLEUM, MORNING. Criswell is back in his coffin, sitting upright. CRISWELL Yes, they were lucky, those two young people...May you be so lucky...But do not trust to luck, at the full of the moon, when the night is dark...Make a wide path around the unholy grounds...of the Night People. Who can say that we do not exist-Can you? But now, we return to our graves, and you (pointing at audience) may join us soon! Criswell reclines back into his coffin, crossing his arms, and returning to the slumber of the undead.THE END.===============================================APPENDIX:DANCES IN ORDER OF APPEARANCE IN THE FILM:1. Indian Dance...............BUNNY GLASER (Fire)2. Street Walker Dance......COLEEN O'BRIEN3. Gold Girl Dance...........PAT BARRINGER (Also Shirley)4. Cat Dance...................TEXAS STARR5. Slave Dance..............NADEJDA DOBREV (Ancient Egyptian)6. Mexican Dance...........STEPHANIE JONES (Skulls)7. Hawaiian Dance.............MICKEY JINES (Snakes)8. Skeleton Dance...........BARBARA NORDIN (Murdered husband, wedding night)9. Zombie Dance...............DENE STARNES10. Fluff Dance................RENE DE BEAU=============================================== \ No newline at end of file diff --git a/unformated_scripts/Script_Orphan.txt b/unformated_scripts/Script_Orphan.txt new file mode 100644 index 0000000000000000000000000000000000000000..e28dbc7e4b7520de555eb954500aec93c278c60a --- /dev/null +++ b/unformated_scripts/Script_Orphan.txt @@ -0,0 +1 @@ + ORPHAN Written by David Leslie Johnson February 5, 2007 FADE IN: CLOSE -- KATE COLEMAN (MID 30S ) She's a simple beauty and very pregnant, propped up in a bed, wearing a hospital gown. A heart rate monitor BEEPS. She touches her swollen belly, flush with excitement, her eyes full of wonder. MAN'S VOICE (O.S.) Okayp, just relax.now. This'll be over Caitti before you know it. Kate looks up. Her smile falters-as we REVEAL: INT. DELIVERY ROOM - NIGHT Harsh lights overhead. -THUNDER rumbles outside. Kate's on a. delivery table, legs already in the stirrups. A sheet hangs- across her belly so we can't see what's going on below her waist. A DOCTOR and NURSE snap pn gloves, prepare instruments: SHARP BLADES and CURETTES, NEEDLES and FORCEPS. Kate is stricken. She tries to sit up. KATE Wait, I've changed my mind. I don't want to do this anymore. The Doctor gives the Nurse an exasperated look. The Nurse takes Rate's hand, eases her back onto the table. NURSE Your baby is dead. There's nothing. else we can do. Kate reels, her world turned upside-dowp. Emotional free-fall. KATE No, this isn't what's supposed to happen. My baby's alive! NURSE We're so sorry. A terrible loss, we're so sorry... KATE But it's still alive! It's moving! Feel it, you can feel it! Kate tries to put the Nurse's hand on her.belly but the-Nurse- pulls away and hands the Doctor a pair of gleaming.blunt-tipped SURGICAL SCISSORS. The Doctor leans between Rate's spread legs, disappearing behind the curtain. Rate gasps. RATE No, stop! I want to be asleep! 2. -DOCTOR- TOO late for anesthesia.'' The baby's coming. You're.going to experience some pressure now... - Kate winces and bites her lip as the Doctor goes about his unseen work. A GOOD-LOOKING MAN in surgical scrubs stands behind him.. Bizarrely, he's videotaping-the whole thing. He's Kate's husband, JOHN (late 30's). He smiles at her from behind -the camera. JOHN It's okay, honeys You're doing great! The Doctor hands the scissors, now slick with gore, to the Nurse. H e takes a SUCTION. CATHETER and disappears behind-the curtain again. The Nurse - presses a button on a vacuum pump and the machine begins to HUM. Kate tightly closes her eyes. KATE This isn't happening. Wake up, wake up, wake up... Suddenly -- the thin wail of a BABY CRYING. Rate's eyes go wide w ith horror as the smiling Nurse approaches with a wriggling bundle wrapped in a blanket. Blood seeps through the pink fabric. W e can't see what's inside, but it's moving. And it's CRYING. NURSE Congratulations, Mrs. Coleman. It's a girl . The Nurse offers her the bloody, blanketed bundle. Kate screams - INT. KATE AND JOHN'S BEDROOM - NIGHT -- then snaps awake. She's been having a nightmare. John lies n ext to her in bed. Be stirs, but doesn't wake. Kate slips out of bed and quickly pads to the bathroom; INT. KATE AND JOHN'S BATHROOM - NIGHT Kate closes the door. We now see that she's not pregnant in reality, only in her nightmare. She slides to the cold floor in t he dark, a hand on her flat belly as she starts to cry... INT. DOCTOR BROWNING'S OFFICE - DAY Water TRICKLES in a little Zen fountain. Kate sits across from -DR. -BROWNING, a mousy-haired woman in her 50's. DR. BROWNING A lot of women experience difficulties around the anniversary of the miscarriage or the baby's expected due date. It's perfectly normal. 3. KATE I was thinking of" going back to work. I really thought 1 was doing better. DR. BROWNING You are. Think about where you were just four months ago. - (off Kate's look) Are you still sober? Kate hesitates. Dr. Browning gives her a penetrating look. KATE I drove by the wine shop,on my.way.bome the other day. DR. BROWNING Did you stop? KATE I really wanted to. The thought went through m' head, you know. it wasn't for me, it just might be nice to have a bottle handy in case we had guests. DR. BROWNING. But you didn't go in? KATE No. DR. BROWNING That's all that matters. Let's try to stay focused on the. positive. Grief is different for everyone. You have to take it at your own pace.. Keep writing in your journal. You're doing fine. Rate smiles weakly. unconvinced. INT. LIVING ROOM -.DAY Rate hangs curtains over a beautiful picture window. She steps' back to admire her work, then sighs. Now what? Now that she s done, the house suddenly seems-quiet and lonely and too big. INT. NURSERY - DAY Kate sits in a rocking chair, gazing out a distinctive ARCHED 'WINDOW. We realize that she's -In a fully furnished and decorated nursery. Crib, changing table, baby swing. No baby. EXT. COLEMAN RESIDENCE - DAY It's a big, dramatic home in an affluent neighborhood. Kate % crosses the backyard into the nearby woods. 4. EXT. FOREST - DAY After a short walk, Kate sits by a PEACEFUL BROOK lost in her thoughts. ,She pulls a JOURNAL filled. with handwritten entries from her coat pocket. After a beat,'she begins to write. EXT. SCHOOL FOR THE DEAF - DAY Class has just let out, PARENTS arriving to pick up their KIDS. But the playground is MOSTLY SILENT -- these children an deaf, communicating to one another and their teachers by sign language. 'Kate pulls up in a luxury minivan. Her five-year-old daughter MAX runs over togreet her. She's almost- ridiculously cute. (NOTE: Max doesn't speak. Her "dialogue" is SIGNED and SUBTITLED. She wears a REARING AID- to help her read lips. when people speak to her, they must face her and/or sign.) Kate kisses Max's'head and helps her into the van, buckling her car seat. Max shows her an art project she's bringing home. KATE Wow, did you make this? MAX MY TEACHER HELPED. INT./EXT. KATE'S MINIM - DAY Kate's' driving. She stops at an intersection. A PREGNANT WOMAN crosses the street in front of them and stops at the corner. Kate watches her for a long beat as if transfixed... In the backseat, Max-CLAPS her hands to get Kate's attention. Kate turns and sees Max pointing to the traffic light. IVs green. A car horn HONKS. Kate snaps -out of it and drives off. INT. MUSIC ROOM - DAY Kate sits at a baby grand piano,'trying to compose a piece of.. music. She plays a few NOTES, frowns, tries again, takes a pencil and erases what she's written down. She pauses to look over-at a beautiful ORCHID in an ornate plants= by the window. For a moment, she just stares at it. Then: 13 1 She's startled by something outside BOUNCING off the side of the house. She closes her eyes, frustrated. BANGI EANG1 BANG! She tries to ignore it, but can't. 'EXT. COLEMAN RESIDENCE - DAY Max is playing basketball in the driveway, but the ball's too big for her and the hoop's too.high. Every time she tries to shoot, the ball falls short and BANGS against the house. 5. Kate opens-the door, angrily signing as she speaks: Stop banging that against the house! I'm trying-to work!. MAX SORRY. Max gives an abashed look. Kate sighs. She knows she was too harsh with her. KATE -No, I'm sorry.. But just... take a break for a little while, okay? Max nods. Kate goes. back inside. A CAR pulls into the-drive.. It's John and eleven--year-old-DANIEL, Rate and John's other child. Daniel's blonde, brash, and-cocky, the all-American kid. He's wearing.a Little League uniform. Daniel runs toward Max. He steals her ball and dribbles-it around her in circles. -Max watches glumly. He offers her the ball, but when she reaches for it, he snatches it away and shoots a lay--up..- DANIEL Boo -yahl He shoots! He scores! JOHN Nice one, champ! - Daniel pumps his arm and runs inside. John walks up the drive, carrying a bouquet of FLOWERS. He hands Max the ball and lifts her up to the basket. Max happily puts the ball-through'the hoop. JOHN All right! Ginme five! She smiles and gives him a high-five as he carries her inside. YN'. MUSIC ROOM - DAY - Kate has just sat back down at the piano when she hears Daniel tear into the house and run upstairs. She slumps her shoulders and closes her notebook. No more work today. John enters. JOHN Drapes look'nice. KATE Curtains. (off his.look) They're curtains, not drapes. And haw exciting is my life that -I now know the difference. 6. He offers her the flowers.. RATE .That's this for? JOHN Just love you. He kisses her as she takes them. Some of her gloomy mood melts. INT. MAX'S BEDROOM -- NIGHT Kate tucks Max into bed. MAX READ ME A STORY? KATE Ore story. Then bedtime. Okay? Max nods. happily and picks up a book from her nightstand. Kate groans inwardly when she sees what it is. It'.s called. "We were Going To Have A Baby, .But We Had An Angel Instead." KATE You want to hear about the baby again? Max nods. Kate hesitates, then gives Max a sad smile. INT. MAX'S BEDROOM - HIGHT (TIMECUT) Kate sits on Max's bed, reading and showing her the pictures: KATE "People send us flowers and cards, but we still miss our baby. If this just happened to you, I'm sorry you got an angel instead of a'baby. I.think a baby would have been more fun." The last picture is a FAMILY WITH A BABY ANGEL watching over them. MAX IS BABY JESSIE AN ANGEL? KATE Yes, she is. She's with us every day. Kate gives Max a gentle kiss on the forehead. INT. KATE AND JOHN'S BATHROOM - NIGHT Kate opens a medicine chest 'and shakes a PILL from a prescription bottle. She swallows the pill-with a Dixie cup of water. 7. INT. XATB AND JOHN'S BEDROOM - NIGHT John watches TV in bed. Kate enters from the bathroom in a nightshirt and sits on the bed. She.rubs lotion on her feet. John watches her, then reaches out, runs his fingers uup and down her back. Kate freezes. He can't see the-nervous look that crosses her face. He moves closer, pushes her hair aside, kissing hex-. neck. Kate responds stiffly, trying to get. in the mood. He slides a hand around her waist, moves it up to her breast... KATE I'm sorry. I can't. Shit... She moves away, tears suddenly in.her eyes. He gives a concerned look, lets her have her space. A beat. KATE I'm so sick of feeling like this. Christ, the kids must thing I'm crazy. JOHN Will you stop worrying about what everybody else thinks? KATE How can I? I saw a pregnant woman today on the way home and I almost lost it. Just burst into tears with Max sitting right there. Daniel barely talks to me. You and I haven't had sex in over a year now. What if I.never get better? I don't want to lose you. JOHN You're never going to lose us. I promise you. I just wish... (off her look) Have you thought any more about adopting? KATE I can't even be a mother to the children we already have. JOHN That's not true. The kids understand. They just know you're not happy. KATE But I should be. JOHN - Do you want another child? B. KATE You Snow I do. More than anything. JOHN Even if it can-'t be'biologically ours. KATE- YES JOHN Then what are we talking about this -for? Let's do it. KATE You-don't just adopt a child because you're lonely and depressed. JOHN That's not why we'd be doing..it. We wanted a child a year ago and we still want one, now.. KATE We can't replace our baby. JOHN No, 'we can't. But we can take the' place we made for her in our hearts and our home and give it to a child who needs a family. (BEAT) Kate, we love being parents. We're good at it and'it makes. us happy. What better reason-do you want? Kate looks at him for a beat, then smiles and lets her tears fall. INT.-LAWYER'S OFFICE -- DAY Kate and John are being interviewed by a FEMALE LAWYER. LAWYER - Are you both employed? JOHN I'm-an architect at a firm in the city. The Lawyer turns to Kate. Kate hesitates. KATE I used to teach music at Yale. I haven't worked for about a year. LAWYER - (a beat, considering) You're sure you want an older child? - - (MORE) - - - 9. LAWYER (CONT'D) With your background, you could have a newborn in as little as a year. JOHN We've'alread y waited a.long time. :We'd lake a child as:quickly as possible. LAWYER.. Well, 'getting an older child-As definitely quicker, not to mention cheaper, but- there's a reason for that. A lbt of these kids- have serious behavioral problems.' JOHN We've already signed up for special- needs-'adoption classes. Trust me, we're ready for anything. LAWYER You must have a lot of love to give. Are you looking for a boy or a girl? RATE (SMILES) A girl. We'd like a little girl.- - - EXT. RURAL HIGHWAY - AERIAL SHOT -- DAY CAMERA FINDS John's car winding its way along a tree-lined road... } INT. JOHN'S CAR - DAY John is driving. Kate is studying pages and pages of photocopied records in a manila folder. -John gives her an amused look. KATE You're not worried about being prepared? JOHN - There's not gonna be a pop quiz. Kate smiles. She closes the folder and looks at a Polaroid of a happy, seven-year-old Puerto Rican girl stapled to the cover. The name next to the photo is YOLANDA. EXT. HOME FOR GIRLS - ESTABLISHING - DAY - It's a pillared mansion with a large porch. TWO NUNS supervise a' GROUP OF YOUNG GIRLS on a playground.- A sign- out front reads "ST. CABRINI'S HOME FOR GIRLS." John's car pulls into the parking lot. From-2L SHAKY, HANDHELD POV looking out a second floor window, we see Kate and John get out of the'car. Someone in watching them... Kate senses movement and looks up... but there's no one there. ..y 10. INT. HOME FOR GIRLS - PLAYROOM - DAY Yolanda; the girl from the Polaroid, is playing with a dollhouse. The door-opens. Kate and John are led inside by SISTER ABIGAIL, an African-American nun in her 50's. SISTER ABIGAIL Yolanda, look who's here to see you. Yolanda, smiles at Kate and John.. She runs over to greet them, but stands just out of their reach. -Kate kneels in front of her. RATE Don't you look pretty! YOLANDA 6ister Abigail put ribbons in my hair. See? KATE Wow, that was nice of her. Look, we brought you something for the trip tomorrow. She hands her a bag of activity books and a "Travel Turtle," a kid- sized lap desk for coloring in the car_ Yolanda's face lights up. SISTER ABIGAIL What do you.say? YOLANDA Thank you. Kate reaches out to her, but Yolanda pulls-away, focusing all her attention on her presents. Rate gives her a sad 'smile. IT. HOME FOR GIRLS - PLAYROOM -- DAY (TIMECUT) Yolanda is drawing a picture, "Travel Turtle" on her lap. Kate and Abigail sit nearby, watching. Kate seems worried. Abigail notices. She speaks in a low voice so Yolanda won't hear: SISTER ABIGAIL Nervous? KATE Yeah. And happy. And excited. : And proud. And scared shitless. It' s funny. All the same feelings I had when I was pregnant with our others. .SISTER ABIGAIL That's what really worries you, isn't it? Something bad happened, the last time you felt this way. (off Kate's look) (MORE) SISTER ABIGAIL .CONT'D) Yolanda's doing something similar. She's afraid of :getting hurt again,. .too. Bit I have a-good feeling'about you two. You can help. each other heal. And you're lucky. You have a wonderful husband who can be there for you both. A flicker crosses Rate's eyes at the mention of het "wonderful husband." Doubt? uncertainty? Abigail.do'esn't see it. I h T. HOME FOR GIRLS - CORRIDOR - DAY 'John emerges frcaitthe HEN'S ROOM. The walls of the hallway are lined -with Children's-artwork. He glances at it as he walks by. Suddenly, he stops short. Amidst the crude watercolors and _macaroni mosaics are several beautiful ain s, s'% surprisingly sophisticated, more Like the works of Henri 'R usseahan the o crayon-and-stick-figure scribbles surrounding them. Then he hears something: a LITTLE GIRL'S VOICE, softly HUN= G a tune. We know the words. When I was juuust a lii.ittle yiiir., I asked my mother, what will I be?... M. HOM13 OR GIRLS - ART ROOM - DAY .John follows the HUMMING to a stark, white room. Light slants in from a big-window, shining on A LITTLE GIRL in a lacy white dress. Her. back is to us, so.we can't see her face, just curls of platinum blonde hair spilling to her shoulders. She sits at an easel, all alone, painting another extraordinary picture. John watches, curious. Suddenly; she senses his presence. She- stops humming, the paintbrush freezes mid-stroke. She turns. She looks about eight years old, with pale skin and-bright, doe- like eyes, her delicate features framed by Shirley Temple curls. It's the face- of a porcelain angel, a perfect little laving doll, friendly and inviting. She wears a thick black velvet ribbon around her neck and one around each wrist. Her'name is ESTHER. JOHN Hi there. ESTHER Hello. - She speaks with a strange accent. Sounds Eastern European. JOHN Are these , paintings all yours? ESTH ER Yes. Do you like them? JOHN Very much. They're remarkable. - 12. BSS h T ank :you. My name is Esther. What's yours? JOHN John. It's nice to meet you. She smiles and demurely offers her hand, giggling as he takes it. She blushes, then turns back to her painting. It's a half- finished jungle scene with a SMILING LION crouched beneath a tree. JOHN So what's this one going to bo? ESTHER My paintings are stories that come from my imagination. -This one'-s about a'sad mother lion who can't find her cube. JOHN She's smiling. ESTHER She's dreaming about her babies. It's the only thing that makes her happy. JOHN Well, I hope she finds them. ESTHER She will. I,bok. As she speaks, Esther dabs her brush and paints little lion cubs curled up in front of their sleeping mother: ESTHER They were lost'in the jungle 'and they were so scared because they didn't'have a mother or father. But just when they thought they'd be alone forever, they found their mother sleeping under this tree. And they felt so safe that they fell asleep too. Now when-the mother lion wakes up, her dream will have come true. She has her family again. JOHN Where did you learn how to do this? ESTHER Y've just had lots of time to practice, I guess. It's so boring here. JOAN You don't play outside with the other girls? Sounds like they're having fun. 13. ESTHER I like staying inside. That way I don't get my clothes dirty. JOHN (amused) - Well, that's very responsible of you, but I'll- bet the sisters could find something else for you. to wear. ESTEER You.don't like my dress? - Don't you think it's pretty? - JOHN Your dress is. very pretty. I'm ,just saying. you could -probably go outside if you really wanted to. - ESTHER (a beat, hesitant) I don't like laying with the other .girls. I'm different from everyone. JOHN There's nothing wrong with different. ESTHER Yes, there is. Everybody says there's not, but it isn't true. I don't care. If I'm sad or lonely, I just come in here a nd paint a story with a happy endingg And when people say they like. my paintings, it makes me feel better. (off his look) I think.peo le should always try to take the bad things that happen to them and turn them into something good. Don't you? John is taken aback. Who j t1m1s )dc? Before he can respond: .- RATE (O.S.) There you are. Rate and Sister Abigail stand in the doorway. John waves for Kate to enter and Esther sits up eagerly when she does. Abigail's expression darkens when she sees who John has been talking to. JOHN Hey, I'd like you to meet someone. - (to Esther). Esther, this is my wife, Kate. Kate smiles and offers her hand, but instead of shaking it, Esther lovingly presses it to her cheek. 14. - ESTIIR - Motta... Kate'and John exchange a beumsed look'. JOHN She painted these all by herself. ' RATE Wow, you're quite the little-artist. ESTHE'R Thank you. You smell nice. Kate laughs. Sister Abigail shifts uncomfortably. ESTHER Would you like me to paint you a picture? You can watch me if-you want. I'm normally a little shy, but -- SISTER ABIGAIL' Esther, I'm sorry, they don't have time for you to paint them a picture. (off Esther's look) They have to come with me now. Yolanda's going home with them tomorrow. isn't that wonderful? Esther wilts. She releases Rate's hand and musters a weak smile. ESTHER Yes. I'm sure she'll be very happy. KATE It was nice meeting you. ESTHER - The pleasure was mine. JOHN (to Sister Abigail) You've got a real talent on your hands here. SISTER ABIGAIL Yes, we're very lucky to have her. But there's something -strange-in Abigail's voice -- she definitely doesn't un -lucky. Esther watches them go. INT. HOME FOR GIRLS - ENTRY - DAY Sister Abigail walks Kate and John to the front door. I5. SISTER ABIGAIL The notary will be here at.ten for-you- to sign the placement agreement. KATE Thank you so much for all your help. Kate gives her a warm hug. But mid-embrace, she notices something: Esther is at the end of the hallway, peering at them from around a corner. Abigail and John see--her,' too. KATE What did she say to me.back there? It sounded like... "motta?" SISTER ABIGAIL It's Russian. It means "mother." INT.JoHN'S CAR - NIGHT John whistles "Whatever Will Be, Will Be" to himself as he drives. Kate gives him an amused look, then Jokingly sings along: KATE - When you were juuust a liuittle JOHN Sorry, I've got that stuck in my head now. KATE She. made quite an impression on.you. JOHN I wish you co'uld've heard the things. she was saying before you c&me in. I Jatow adults who aren't that mature. (BEAT) I wonder' why they didn't show us her case file. KATE She probably wasn't there when we were first ,looking. JOHN It just blows may mind, a kid could go through as much-as she must have and still turn out like that. KATE You sound like you're sorry we're not adopting her instead of Yolanda. 16. JOHN No, of course not. I just hope she. gets the right break. (off her look) I wouldn't trade our littl'e' girl for the world. You )maw that. Rate gives him an adoring look and squeezes his hand. EXT. HOME FOR GIRLS - ESTABLISHING - MORNING . The sun is just rising,.warming the sky with an idyllic light. INT. HOME FOR GIRLS - DORMITORY.- MORNING The GIRLS (5-7) are busily getting dressed and making their beds. The HOUSEMOTHER inspects each of-them in turn. One bed remains unmade, its occupant missing. The Housemother turns to the room, ready to give a scolding, but can't find who she's looking for: HOUSEMOTHER Where's Yolanda? INT. HOME FOR GIRLS - WASHROOM - MORNING The OLDER GIRLS (8-12) are-brushing their teeth and washing up. The Housemother enters and looks around. HOUSEMOTHER Have any of you seen-Yolanda? Nobody has. INT. HOME FOR GIRLS -- VARIOUS - MORNING Sister Abigail leads the NUNS and LAY ASSISTANTS in a search of the home, looking for Yolanda. The playroom, art room, chapel, classrooms, laundry room, rest rooms.-- they're all empty. INT. HOME FOR GIRLS - BASEMENT - MORNING A young-nun, SISTER JUDITH, walks downstairs into -a dark storage- area. Lots of hiding places. - SISTER JUDITH Yolanda? Are you hiding-down here? Then she notices a closet behind her. The door. is ajar. She reaches out, opens it... and nearly gags at what she sees inside. LOW ANGIL - INSIDE THE CLOSET A child's bare feet dangle in mi , , a .,im3. The "Travel Turtle" is on the floor beneath them. - A chair lies on its side nearby. 17. INT. HOTEL ROOM -- MORNING - Kate dries her' hair in the bathroom. The PHONE RINGS O.S. She pauses, suddenly concerned for some reason. She opens the door. As John reaches for-the phone, CAMERA MOVES IN on Kate. She watches from the doorway, her face already registering dread. She knows. Even before he answers the phone, somehow she knows. JOHN (0,S-) Bello? EXT. HOTEL ROOM BALCONY - DAY The sky has turned gray. Kate stares out at the hotel parking- lot, smoking a cigarette. - Her eyes are red;- but she's long since cried-herself out. John stands by the open-sliding glass door. JOHN .The birth family is claiming her body. They're planning a private service. He looks to Kate for a reaction, but she has none. He continues: JOHN Sister Abigail thinks she might have been playing something called "The Choking Game." It's a kind of schoolyard dare. You try to get a rush by having someone choke you until you almost pass out. There have been cases where kids have tried it alone and accidentally hanged themselves. A beat. Kate's voice is distant, as; KATE So that's it? She just vanishes from our lives? JOHN We can have our awn-service. I think .it's important that we - KATE I've been' in grief counseling for almost a year-and-a-half.. If you say the word "closure,." I'm going to-claw your eyes out. She's not angry, just matter-of-fact. Be wants to say something, but holds his tongue. Silence hangs heavy between them. KATE Maybe we're not supposed.to do this. 18. - JOHN.. No. Don't say that. - RATE- - we -try to .have a baby and I have a 'third-trimester miscarriage that leaves. me sterile. 'We try to adopt and she dies the night before we bring her home. That doesn't sound like' somebody's trying to tell us. something? JOHN - Yolanda didn' t the to.teach us a lesson.. We didn't make this-happen. KATE ' It doesn't make.anndifference. I can't go through this again. JOHN so let's not. Let's adopt.Bather. This brings Kate back to reality. She eyes him coolly. KATE Her body's barely cold and you're already thinking about replacing her? JOHN . We can't replace Yolanda any more than We can replace Jessie. But we can't help her anymore, either. Esther is alive and needs a family. Right now. KATE We have to at least wait until.-- JOHN -Until what? I don't want to waste .a nother year of our lives wishing for something that we.can't-have. (beat). I want us to feel like a family again. Kate regards him for a beat, conflicted. Then: KATE Let's see what Sister Abigail thinks. INT. HOME FOR GIRLS - SISTER ABIGAIL'S OFFICE - DAY - Sister Abigail hands Rate and John a folder with a Polaroid of Esther stapled to it. Her- case file. 19. SISTER ABIGAIL For the most -part, she's an'ideal child. She's originally from Russia, but her English is flawless, Smart as a.tvhip and very mature °for her age. I don't think I've-ever had to tell her .anything-twice and I've never had to clean-up after her.. She's a bit of a- nQat-freak. JOHN I think we can handle that. SISTER.ABIGAIL She's also fiercely independent., Whatever the other-children want to do, she wants to.dc the opposite. JOHN She told me they make fun of her. SISTER ABIGAIL I'm sure they do, but she doesn't make- things any easier on herself. She just doesn't seem interested in friends.. She doesn't even play like a normal child. She just reads and paints. Most of the time she barely-speaks. KATE Why do'you think that is? SISTER ABIGAIL . Well, like most of the girls here, there's been no shortage of hardship in her life.- She's been orphaned twice-- her birthmother died of AIDS, then the American family who adopted her was- killed in.a house fire. And I strongly suspect that she's been sexually abused as well. KATE By who? SISTER ABIGAIL I don't know. There's nothing in her -history, but that doesn't necessarily mean anything. Russian adoption - records. are notoriously unreliable. JOHN Then what are you basing this on? Sister Abigail hesitates. Deciding how much to say. 20. SISTER ABIGAIL I wish I knew. There's just something missing with her. A-spark you see in a child's eyes that isn't there. I've only seen that-before in cases where the child had been severely traumatized. It might also explain - some of her idiosyncratic behaviors. JOHN Like what? SISTER ABIGAIL She refuses to shower or change clothes with the other girls.' She won't even allow the housemother in-the bathroom with her. She.'.s also very concerned with her physical appearance for her age. She's like a teenager getting ready for a date every morning. She insists on wearing dresses-every day. The ribbons around her wrists and neck stay on day and night. . The only trouble we ever had with her was when we tried to take them off. She kicked two of Sister Francis' teeth-out. Kate and Tohn are taken. aback. Abigail sighs. SISTER ABIGAIL I'm sorry. I'm 'not trying to discourage you. If you're serious, I'll do everything I can to-expedite the process, given the circumstances. (BEAT) My one reservation is..this. When-an adoption fails, it's usually because the parents didn't know what to expect. -And'in this case, I can't' tell you what to expect because the plain fact of the- matter is that-I don't knaw. INT: HOME FOR GIRLS - CHAPEL DAY Esther is happily-helping a NUN clean the sanctuary. Kate and John sit in a pew near the back of the empty chapel. KATE She really did open up with us, didn't she? JOHN She latched. right onto you. We're probably the best chance she has at a. normal life. Esther looks up from her work and waves at them. They wave back. 21. KATE A normal life..' That sounds really good,',doesn't it? - She smiles. and takes John- .'s hand. EXT. HOME FOR GIRLS - DAY. CAXERA FOLLOWS Esther's feet, saddle shoes CLICKING on -the walk. Kate walks beside her, holding her hand. In Esther's free hand, she clutches a DOG-EARED BIBLE held together with a rubber band. Activity on the playground stops as the girls watch Esther leave. None of them look sorry to see her go. She ignores them. John puts.Esther's things ---- a small suitcase and her-paintings in the trunk of the car.. Sister-Abigail sees them off.- SISTER ABIGAIL If you ever need anything, please don't hesitate to call. Before Kate. can respond, Esther tugs on her arm. _ESTHER Come on! Let's-go) Kate laughingly lets Esther drag her away. RATE (to Abigail) We wills Sister Abigail happily watches them go.. Rate and Esther smile and wave goodbye.' She'waves back... but once the car pulls out, her smile fades. She seems'vaguely troubled as they drive away... INT./EXT. JOHN'S CAR - DAY Headed for home. Kate is showing Esther some SIGN LANGUAGE. Esther makes the sign for each letter as she says it aloud: ESTHER E-S-T- KATE Put your thumb here. She makes the sign for 'T." Esther. sees her mistake, corrects it. ESTHER T-H-E-R.' E-S-T-H-E-R. Esther. RATE Perfect l 22. Esther smiles and practices=it a few times.- Outside, the LEAVES have turned color. Esther gazes out in-wonder. - ESTHER It's so beautiful, motta. KATE Sweetie, here we say "Mont" or. "mommy." ESTHER Kate and John exchange-a warm look. EXT. PRIVATE ROAD - DAY John's car turns at a GATE and drives down the road leading-to their private community. The secluded road winds through the forest and crosses the little BROOK we saw earlier. EXT. NEIGHBORBOOD' - DAY The Coleman's neighborhood 3.s surrounded by forest,-an upscale community of big houses and manicured lawns. A POSTMAN delivers the mail. A HISPANIC NANNY pushes a BABY in a stroller. GARDENERS tend someone's flowers. Esther -soaks it all in. EXT. COLEMAN RESIDENCE - DAY They pull into the driveway and get out. Esther's mouth practically hangs open at the sight of their beautiful house. The front door opens and Max runs out to meet them. Daniel appears in the doorway-with DORIS COLEMAN (arid-60's), their grandmother. Daniel stands aghast at the sight of the strange, pale girl with the Goldilocks curls and frilly white dress. DANIEL (SOFTLY) -Holy shit:.. Max. runs straight into Kate's arms and gets a big hug. KATE Oh, we missed you so muchll Kate gives Max a kiss, then turns to Esther: Max hangs back, a little shy. Esther signs' to Max without speaking: - ESTHER HELLO, MAX. MY NAME IS ESTHER. Max gives Kate an excited smile. KATE She's been practicing the whole way. 23. Kate takes the girls' hands and they all walk up'to the house. Esther notices Man's hearing aid. EST-HER - What's that? KATE . That's a hearing aid. It helps her hear.a little so she can read lips. John gives Doris a Use on the cheek. JOHN Hi, Mont. Thanks for watching them. (to Esther) Esther, this is Grandma Doris. ESTSER A pleasure to meet you. Esther surprises everyone by giving her a perfect ltttle rtse Daniel fails to suppress a laugh. Kate silences him with a look. DORIS How precious! It's a pleasure-to meet you, too. JUN (to Esther) And this is our son, Daniel. Esther smiles and puts out her hand. Daniel grudgingly takes it. ESTHER Hello, Daniel. DANIEL Hey. INT. COLEMAN RESIDENCE - VARIOUS - DAY Esther walks from room to room, in awe of her luxurious new home. Kate and the rest of the family follow her. ESTHER Everything's so bigi As Esther moves on to the next room, Daniel hangs back and whispers to John, too loud: DANIEL Why is she dressed like that? JOHN Don't be rude. 24. Esther overhears them, but pretends she didn't. Kate sees this- and tries to distract her. - KATE Would you like to see-your room? Esther smiles and nods eagerly. But on the way up the stairs, she eyes Daniel furtively, sizing him up... INT. ESTHER'S BEDROOM - DAY Kate pushes the door open and Esther enters. We recognize the room by the arched windows -- this used to be the-nursery.- It's been completely made over as a little girl's room, complete with a lacy white canopy bed covered with a mountain of STUFFED ANIMALS.. Esther turns to Kate and John with a toothpaste-commercial smile. ESTHER It's perfect. INT. ESTHER'S BEDROOM - NIGHT Esther is in bed, wearing a nightgown. Kate and John tuck her in. ESTHER I love.you, motta -- I mean, Monmiy. KATE I love you, too, sweetie. She kisses Esther on the forehead. John leans in for a kiss and Esther,hugs -him tight. Then he and Kate turn out the light and close the door. Esther watches them go...- INT. UPSTAIRS HALLWAY - NIGHT Kate and John walk to their room, arms lovingly around each other. They close their door, leaving the hallway empty and dark. Then: CAMERA SLOWLY MOVES back down the hall toward.the closed door of Esther's_room, PUSHING IN'on the doorknob, lingering there fora long beat... Then we hear the lock CLICK shut. EXT. NEIGHBORHOOD - ESTABLISHING -- MORNING JOGGERS. PAPERBOY. Lawn sprinklers. KIDS running and -riding bicycles. Saturday in the suburbs. INT. KITCHEN - MORNING ' Esther and Max eat breakfast at the table while rate pours their juice. Daniel tears through wearing a soccer iuniform. KATE Good luck II I love you II 25. DANIEL Love you, tools John follows Daniel, kissing Kate on his way out.' KATE Remember, it's only a game. JORN I'm a fan. Fans yell. _.I'll call to let you know who won. INT. ESTHER'S BEDROOM - DAY Kate and Esther are decorating. Esther pins up some of her paintings. Kate spreads out a selection of wallpaper borders. KATE Okay, which one do you like? ESTHER These are for a'younger child. Did you pick them out for Yolanda? Kate is taken aback. She stammers for a beat. KATE I'm sorry. I'll take them back and pick some just for you. ESTHER It's all right. I rather like this one. Esther points out her.favorite and goes back to pinning up her paintings. Kate sighs. As she rolls up the samples, she notices the same Gothic mansion in several of Esther's older paintings. KATE '1s that a real place? ESTHER No. I just made it up. It's a haunted castle where a beautiful- princess was locked away. She waited so long and was so sad that she filled the moat with her tears, but then a handsome prince swam ,across it and rescued her. (SMILES) I like happy ending's. Don't you? INS'. SHOPPING MALL - DAY Sliding doors open. Rate and the girls enter. Esther looks around, dazzled by three stories of glass-ceilinged extravagance. It's totally alien to her. - 26. M. CLOTHING STORE - DAY Kate and the girls look through racks'. of children's clothes. Kate pulls a pair'of jeans with. flowers embroidered on the pockets. KATE These are cute. ESTHER -Jeans are ugly. KATE But sweetie, you have to have something you can play outside in. ESTHER That doesn't mean I have to look like a boy. INT. SHOPPING MALL - DAY Kate leads the girls through the mall, carrying BAGS of purchases. Something catches Esther's eye. She hangs back, distracted. It's a pet store. ' In the display is an aguarium filled with TROPICAL. FISH, their vibrant colors illuminated by a black light in the tank. Esther gazes in, nose practically against the glass. RATE You like fish? ESTHER I like all beautiful things. Kate taps Max's shoulder and signs to her. KATE You should show her Hodgepodge when we get home. Max nods eagerly. Esther givee.them a curious look. ESTHER Hodgepodge? What's that? INT. MAX'S 13EDROOM -- DAY HODGEPODGE is a hamster. Esther kneels in front of his cage for a closer look. Kate stands behind her. Max beams proudly. KATE Max. takes care of him all bir herself. It's her big girl responsibility. ESTHER Aaaww,-can I pet him? .27. KATE Sure. But you have to promise not to- let him out of his. cage .unless- Hcumey or Daddy is,here to hold him. ESTEER Why? - KATE Because he's very delicate and you could hurt him. Okay? Esther xiods. Kate scoops.flodgepodge up and kneels between the girls. Esther and Max share a smile as they stroke his-fur. EXT. COLEMP RESIDENCE'- POOL -- DUSK A banner reading."WELCOME HOME, ESTHERII'" has been hung. John sprays LIGHTER rLUID on a charcoal grill and starts the fire. Daniel watches attentively at his father's side. INT. KITCHEN - DUSK Kate and Doris prepare hamburgers and hot dogs for the barbecue. They can see Esther and Max laughing and playing horseshoes in the backyard, wearing NEW MATCHING SUNDRESSES.. Adorable; -DORIS They grow up fast, don't they? KATE Too fast. DORIS So what are your plans now? KATE Well, we'll get Esther settled, then I'll probably go back, to work. DORIS Oh, so you think.they'll take you back? Kate's eyes flicker with irritation. KATE I'm not talking about Yale. I'm going to teach piano lessons from home. DORIS I see. That was such a good position you had at Yale. It's a. shame. KATE I didn't quit because I wanted to. I quit because.I couldn't work anymore. 28. DORIS I know. I'm 5o glad you're doing better now. (BEAT) Bow's Maxine feeling? KATE She's fine. Kate's pointedly not making eye contact with Doris now. DORIS Well, it's a shame that it took something like that for you to :get help, but I'm glad you did. Kate takes. the plate of food and leaves without looking at her. EXT. COLEMAN RESIDENCE - POOL - NIGHT - Dinner's over. Daniel has changed into swim trunks and SPLASHES around in the pool. Everyone else is gathered around Esther, who's opening a few small presents. She unwraps a BOOK OF SIGN LANGUAGE and gasps excitedly. ESTHER , This is perfect! Thank you! Eiow do I say "thank you?" Kate shows her. Esther turns and makes the sign to Max. MAX YOU'RE WELCOME. Behind them, Daniel climbs out of the pool and runs out to the end of the diving board, poised to jump back in.- DANIEL, Dad! Watch this! But John is focused on Esther.- She's opening a big present la1aled "FROMi DADDY." Daniel can't get his attention. DANIEL Dad! 'Dad!! Dad, look!! John distractedly glances over his shoulder at him and Daniel does a huge cannonball into the pool. SPLASH! Suddenly, Esther squeals with glee. She's unwrapped an IIRT EASEL and NEW PAINTING SUPPLIES. By the time Daniel-'s smiling face pops out of the water, he's disappointed to find that Esther has drawn John's attention again, barraging him with-hugs and kisses. She looks at Daniel over John's shoulder and hticks her tongue out at him. Daniel fumes. 29. INT. ESTHER'S BEDROOM -- NIGHT John walks behind Esther, his-hands over her eyes. Kate leads her into the darkened roam by the hand. KATE Are you ready? Esther nods excitedly. John uncovers her eyes. Esther stops short in awe. It's the FISH TAN C from the shopping, mall. Esther kneels before it, entranced. She turns the black light on and off, marveling at- how it makes her dzess glow and the colors in her paintings light- -up. She gives Kate and John a. big smile. INT. KATE AND JOHN'S BEDROOM - DAY Rate and John get dressed for church. John pulls on a tie. Kate searches through a jewelry box. She's missing something. KATE nave-you seen my pearls? INT. CHURCH -- DAY Sunday morning in America. Kate and John sit with Doris and the kids. -A.PRIEST reads-from the scripture and a SIGN LANGUAGE II?TERPRETBR translates. Esther follows along in her own Bible and Kate notices aphoto poking from between its pages. All she can see is the face of a RUGGED-LOOKING MAN in his 40's. She eyes it curiously... INT. MAX' S BEDROOM - DAY Kate is cleaning, picking Max's clothes up from off the.floor. She sees something that gives her pause -- one of Max's STUFFED ANIMALS has a STRING OF PEARLS hung around its neck. INT. FAMILY ROOM - DAY Esther and Max are playing a board game. Kate enters with the pearls and shows them to Max. - KATE Did you take this out of my jewelry box? Max shakes her head, confused. KATE Then-how did it get in your room? MAX I DON'T KNOW. 30. KATE Somebody put this around T.J.'s neck. Who was it if it wasn't.you? Max shrugs. She looks-nervous. Kate sighs. RATE Go take a time-out and think about it. ESTHER But we're playing] KATE She can finish your game later. (to Max) Come on. Max pouts and follows Kate upstairs. Esther watches them go. INT. CLASSROOM - DAY Esther stands in front of a class full of KIDS. Their teacher, MRS. GROSSE, is introducing her. Esther's wearing a pretty little dress'and Shirley Temple curls, but her usually unflappable smile seems wary, uncertain in the face of these staring third graders. MRS. CROSSE This is our new student. Her name is Esther Coleman and I want you all to make her feel very welcome today. One of the kids, BRENDA, whispers. a wisecrack to a FRIEND. Esther shifts uncomfortably. INT. CAFETERIA - DAY Esther sits at the end of the table where Brenda and her FRIENDS are eating.. They eye her derisively. Esther ignores them- and prays over her lunch. The other girls exchange amused looks. Brenda folds her hands and makes an earnest, mocking face: BRENDA Dear Jesus, please help me to not dress like such a freak tomorrow. The girls laugh. Esther pays no attention. INT./EXT. TREEHOUSE - DAY Daniel and his friends AUSTIN and TREVOR run down a short path through the woods behind.the Coleman's house to a tall tree. CAMERA REVEALS an enclosed treehouse about ten feet up -This is' no "Little Rascals" job -- this thing was professionally built. They climb up to it. Inside, Daniel throws back a rug and pries up a loose plank. Under it is a small STASH OF WEED. The other 31. boys open their 'video ina" ine s, c b o books, and an old a "PLAYBOY'.' w�h Cindy Crawford the c TREVOR Cindy Crawford? This- magazine's older than we axe1 She's probably got Like wrinkly-old grandma boobs Howl They laugh. Daniel sparks up a joint. Suddenly: ESTHER (O.S.) Do you want to play? The boys quickly waving the wke away. Esther and Max are lo king up lat them O DANIEL Get out of here! This is my treehouse. Dad built it for mM. Esther smiles, then leads Max away. The boys watch them go. AUSTIN Is your, like, whole family ietarded or something?. - Trevor and Austin laugh. Daniel flushes, angry and embarrassed. INT. BATHROOM - NIGHT Kate finishes drawing a bath for Esther. KATE I think we should try this with the door unlocked tonight. What do you say? ESTHER (PANICKED) What if someone comes in and sees me? KATE Nobody's'going to come in. I'll stand right outside the door. ESTHER I could sing for you. At the home, I used to sing so the sisters would know I was all right. Please? Esther's eyes are desperate, pleading.. Kate sighs. TNT. UPSTAIRS HALY,WAY - NIGHT Kate closes the door. The lock CLICKS shut. A moment later, Esther starts BUMMING. Kate listens fbr a beat,-troubled.. '32. .INT. MAX IS BEDROOM - NIGHT Esther and Max are huddled in bed and Kate reads-them a story. John watches from the doorway. Kate sees him and smiles. INT. KATE AND JOHN'S BEDROOM -- NIGHT Kate's in bed, writing'in her journal by the light of d bedside lamp.. Outside, rain PATTERS-on the window and lightning FL1SHBS. John kisses her good night. She smiles and surprises him by pulling him close and kissing him more deeply. He responds.. She places his hand on her breast and he starts to undress her. Then:. A KNOCK at the door. John and Kate cringe at the interruption. KATE Come in. The door opens. It's Esther and Max. ESTHER We're scared of the lightning. Max giggles. Kate and John exchange a resigned look.' JOHN Okay, come on. But just for tonight. Esther and Max excitedly clamber into the bed and snuggle between them. Kate and John share amused looks.- INT. KITCHEN - MORNING' The kids are eating breakfast. Esther reads her sign language book at the table. Max signs to Daniel. He turns to Kate with a frustrated sigh. DANIEL Mom, what's she saying? ESTHER She wants you to pass the milk. Kate gives Daniel an admonishing look. RATE See? If you studied more, you wouldn't have to ask all-the time. Daniel glares fit Esther, but she doesn't see it. John enters, ready for work. He-grabs his travel mug, gives Kate a kiss. JOHN See you later. 33. Esther puts dut her arms for a hug. He leans in to kiss her, but she clings to him and won't-let go. She pouts. ESTEER I want you to take us to school. She looks up at him with big sad eye.a. He can't resist. JOHN I guess I can be late today. (to Kate) I can take them to school and you can pick them up. ESTHER Yay! We're going with Daddy! - She jumps up from the breakfast table and runs off to get ready.. INT. FOYER - MORNING The kids are leaving for school with John. Kate sees them off. DANIEL Bye, Mom. Kate-gives him and Max a kiss, but Esther-runs right by without pausing, hurrying after John. Esther. takes- 'John 'a-hand, holding it on the way to the car. Kate watches them, a little hurt... INT. LIVING ROOM - DAY Rate sits with Esther, watching her open a gift-wrapped box. Inside is a JOURNAL like the one we've seen Kate writing in. KATE I have a journal just like this that I write in every day. ESTHER - What kinds of things do you write about? RATE what I did that day, how I feel. Anything I don't want to forget. I thought you and I could spend some time together today and start a life book. ESTHER Whit's that? RATE It's like an adoption storybook. And it's all about you. I did a couple pages to gat you started. Look. - 34. She opens the journal. Pasted to.the first page is a photo.from "HOMMY A DADDY GET rMARRIeED ng Esthermarvelskat Kate'sgwedding dress. ESTHER So beautiful,.. , Kate turns the page to a picture of.Khte and John with Daniel as a BABY. Then Kate, John, and SIX=YEAR-OLD DANIEL with BABY MAX. KATE This is Daniel when he was born, And there's Max; And there's you. She turns next to a photo of the-whole- family taken at Esther' s welcome home party. The caption reads, "ESTHER JOINS THE FAMILY." RATE . If you want, we can put your other pictures in here, too. ESTHER What other pictures? KATE The ones I saw in. your Bible. Esther gives her a dismayed look. KATE - I'm sorry. They slipped out at church. If they're private, we don't have.to --- ESTHER It's okay.' I want you to -see them. She smiles, but it looks forced. INT. ESTHER'S BEDROOM - DAY Kate and Esther sit on the floor. Esther. removes the rubber band from around her Bible and takes out a few battered photographs. They're all of Esther with a rural family -- the man.Kate saw in the photo at church, his WIFE,. and THREE BOYS, aged 6, 10, and 14. In one, they're all posed together in front of a farmhouse. ESTHER These are the Wallaces. That's James and Hannah. And that's Micah, Luke, and Isaiah. KATE - This is the American family that adopted you from Russia? 35. Esther nods'. They're candid -family snapshots full -of. laughter and hugs. Esther'.s adopted father is in all-of them. The last one is of him and. Esther, the same photo Kate. saw part, of at church. KATE'. They lookvery'n.ice. They must have loved you'very much. Ksther nods, but Kate-sees that she's holding back tears. RATE What's wrong?. ESTHER I hid these because Ididn't want you to know how much I miss' them, I was afraid you'd think I didn't love you. KATE It's okay, sweetie... I understand. (beat; considers) You know, I lost someone who was very .special to me once, too. Esther wipes her eyes and looks up, interest piqued. ESTHER Really? INT. MUSIC ROOM - DAY Kate shows Esther the orchid in its ornate planter. RATE We don't have any pictures of Jessica because she died while she was still in my tunny. But we spread her ashes in here and as long as. this flower grows, part of her will be alive inside it. (BEAT) It's okay to be sad.about the people we've lost.. And it.'s okay to iniss them, too. Esther nods. They'smile at one another through their tears. INT. ELEMENTARY SCHOOL - HALLWAY - DAY Between classes, crowded with KIDS.,. Esther clutches her books to her chest. Daniel and Trovor are walking the other way and as they pass, Daniel dumps Esther's books. Trevor laughs. Esther glares at'Daniel and kneels to pick up her books, bitt the kids walking by purposefully kick them, laughing faces leering down at her. She gathers her books, but one of them is missing. She looks around. -Spots it. 36. Esther's Bible lies on the floor at Someone's feet. A.hand reaches down. and picks it up. It's Brenda. BRENDA Is this a Bibl? ESTHER Give it back to me. She reaches for it, but Brenda laughs and raises-it over her head. BRENDA Jesus-freak brought a Bible to school! Esther angrily swipes at it again, but one of Brenda's friends grabs it first. Esther takes a deep breath, trying to calm down. I3STUER May I pleas. have my Bible? The girl hesitates, shrugs and offers Sather the Bible... but snatches it away again at the last second. Brenda laughs. 8sther reaches for it, but the girls keep passing it between them. Esther and Brenda grab it at the same time. There's a brief tug- of-war, then the rubber band SNAPS and the Bible flies apart, pages and hp otos scattering everywhere. Esther gasps in horror and dives to the floor, desperately scooping up the loose pages. A"crowd gathers, watching and snickering, Daniel and Trevor among them. Esther looks to Daniel for help, but he just stands there, watching uncomfortably. Brenda laughs at Esther crawling around on all fours. BRENDA Look at the cute little doggied Is this your collar, little doggie? Brenda reaches out and grabs the ribbon-around Rsthdrls neck... The-second Brenda touches the ribbon, Esther flies into panic. She screams an s Brenda'e hand away, aching h_ex e and k coking feet, ster 11 s 5 riekincr At the toy Dg her.lungs. Brenda leaps back, wide-eyed and freaked out. The kids fall into stunned silence. Esther's screams echo in the hallway. A TEACHER comes running. Trevor puts a hand over his mouth so the teacher won't see him laughing. TREVOR Dude, your sister's a.total spazl DANIEL She's not my sister. .37. 1W-. KATE'S MINIVAN - DAY The drive home from school. is silent and tense. Esther stares out the window. 'Kate eyes her in the rearview mirror, concerned. EXT. COLEMAN RESIDENCE - DAY The minivan is'parked in the drive and the kids are climbing out. As Daniel and Max head to the house, Kate takes Esther-aside. RATE Mrs. Grosse told me what happened today. Do you want to talk. about it? Daniel-hangs back to see if Esther is going, to tell on him. She "sees him standing there, then turns to Rate with a smile. - ESTHER There's nothing to talk about. We were -just playing a game, that's all. She walks away, passing Daniel without, a look. Kate is. dubious. INT. MAX'S BEDROOM - DAY Max enters, throws down her "Hello Kitty" bookbag ---- and stops short. Hodgenodte's-cag .is empty. Max stands frozen for a beat, then starts looking for him. Esther appears in the doorway. ESTHER What's the matter? Max turns and tries to block the cage, but Esther sees that it's empty. Esther gasps. ESTHER Where is he? Were you playing with him? Max frantically shakes her head. Esther quickly shuts the door. ESTHER You left his cage open! Look! Sure enough, the door of the cage is wide open. Max shakes her head, frightened tears in her eyes. MAX I DIDN'T! I PROMISE! ESTHER Then how did he get out? MAX I DON'T XNOW41 I DON'T KNOW] 38. ESTBER You have to think! Mommy's not going to believe your. She didn't.believe you about the necklace and she's not going to believe you about this! Max is devastated. She's sobbing now. Esther tries to calm her. ESTHER It' a okay. Don't cry. Look 'at me. She takes Max by the shoulders. Max looks up, breath hitching. ESTSER I'll tell Monmy-it was-my fault. You won't get in any trouble.. I'll tell her I took him out of the cage without your permission and he ran away, okay? Max gives a grateful nod. Esther smiles and strokes Max's hair. ESTHER - Don't worry. It'll be our little secret. :Max nods again and gives her a-hug. She doesn't see the calculating look in Esther's eyes... INT. SUNROOM - NIGHT A-glassed-in terrace off of Kate and John's bedroom filled with plants. Kate is wearing only a long T-shirt, watering the plants before bed. John enters in his pajama bottoms, snuggles into her from behind. Kate smiles and.leans into him. INT. KATE AND JOHN'S BEDROOM - NIGHT The lights - are off. Kate and John are in bed, making lave. Slow, passionate, intense. When they're finished,- breathless and trembling, she cradles his face in her hands gazing lovingly up at.him. Then something catches her eye in the moonlight: Ethel Jg.wat ,them fr m the -open b edr door, hgr hen frozen 9J1 tth dooxknob. KATE Oh, my God! They hurriedly pull the sheets up and Kate turns on the bedside lamp. Esther stares at them blankly. KATE . Esther, honey? What is it? Are you okay? Esther just glowers at'her, then turns and walks away. 39. INT.'ESTBER'S BEDROOM - DAY Esther. Sits at her easel, painting. Kate enters and sits down on' the bed. Esther doesn't look:at her. She's painting a sophisticated, stylized PORTRAIT OF KATE. -Other PORTRAITS of the family -arealready pinned to the wall. Kate shifts uncomfortably. We need to talk -about last night. ESTU Do we? KATE Yes. There are certain things that. grown-ups do. that kids aren't supposed to see. And that was one of them. Esther keeps painting. She still hasn't looked at her. - KATE Esther, I need you to listen to me.. Esther pauses. She deliberately sets her paintbrush down and turns to Kate. An awkward beat. KATE See, when two grown-ups love each other very, very much, they like to. show that love to each other -- Iknow.- They fuck. Kate is dumbfounded. Esther regards her with a bored, aloof-look. INT. JOHN'S DEN - DAY John is troubled by what Kate has told him. JOHN - She could nave picked it up anywhere. Bell, she probably heard it at school. KATE This wasn't something she overheard. She knew what it meant. And the way she said'it. I don't even think she expected to get in trouble over it. JOHN We'll talk to her about it tonight. KATE You think that's enough? 40. JOHN' What do you suggest? KATE ' I could take her to Doctor Browning. JOHN It was one dirty word. I don't think we need to call in the shrink just-yet. KATE Maybe. It just reminded The of what Sister Abigail said.. We really don't know that much about her.'- The last 'family she-was with could have been - like, "Pass the fucking potatoes" at the dinner table for all we know. ' JOHN Iget it, I just- don ''t want to make a bigger deal out of it than it is. KATE If she's saying "fuck" to my face, what's she doing when we're not around? We have to be thinking about what kind of influence she's having-on Daniel and Max. Particularly Max. JOHN I wouldn't worry about it. You're right, we don't know how she was raised, but we do know she's a good kid. if Danny and Max want to start acting.like her, that's fine with me. EXT. COLEMAN RESIDENCE - DAY Esther and Max pick wildflowers along the edge of the forest. ESTHER Let's pick flowers for Daddy. Max.nods happily. 'Then Esther notices something that makes her stop short. A girl approaching on a bicycle... It's Brenda. She pretends to not see Bather, just rides right by. Esther watches, her face strangely slack... then starts to follow .her. Max gives Esther a confused look, but tags along. EXT. PARK -- DAY Esther finds Brenda's bike parked at a neighborhood playground ---- swings carousel, jun7le gym, and a-tall corkscrew slide made-tor look like a rocket ship. There are KIDS playing. MOMS watching. 41. A BONELESS GUY with a shopping cart full of stuffed garbage bags asleep by a tree. WOMEN. doing pilates. Esther ignores them all. Brenda is climbing on the jungle gym with some other kids. Esther walks over with Max in tow and just watches Brenda play. Brenda sees her and makes a face. Esther just stands there. Staring. BRENDA . What are you looking at? No response. Max tug on Esther's arm, but she's rooted in place, staring blankly at Brenda. Finally, Brenda can't take it. She climbs off the jungle gym and walks away. Esther watches 'her go.. Brenda gets on a swing, but just as she starts to get some height, Ester' right there,.star n ,_p a her again. Max happily grabs a swing for herself, but Esther is fixated on Brenda. BRENDA Stop staring at.mel Stop ital. But Esther is unwavering. Can't take her eyes off of her. Brenda gets off the swing and runs away. Esther calmly walks after her. BRENDA Go-away! Stop following me, freak! Max sees Esther following Brenda and grudgingly gets off the swing, hurrying to -catch up. Brenda gives them an angry look. " BRENDA Why don't you two,go home and change each other's diapers? Esther and Max follow Brenda across the park,, Max still uncertain about what's going on.. Brenda heads for. the tall corkscrew slide. Steep stairs lead to the enclosed top, the tip of the rocket ship. Brenda starts up the stairs, then pauses. She turns to Esther. BRENDA You go first. Esther doesn't move, but Max gladly takes her turn. After a beat, Esther follows Max up the stairs. Brenda stays behind, watching. Max goes down the spiraling slide, but Esther just stands at the top, looking down at Brenda. BRENDA Gol! Esther, continues to stare down at her for a beat, then turns and -disappears from eight. only. then does Brenda climb up. Max runs to the stairs for- another turn. Brenda reaches the top and looks around. She sees Max.' But where's Esther? She turns. 42. Suddenly, Es er is right in ,AIL of her. She didn't' go down the slide, she was just crouched out of sight. Brenda gasps -- -- then Este spits Jn her face acrd ush hex dawn the airs. Brenda SCREAMS as she falls,-limbs flailing, out-of-control. She lands hard in the dirt and just lies there crying, clutching her arm and bleeding from a gash in her forehead. Brenda's scream draws alarmed looks. The Homeless Guy startles awake. one of the playground mothers comes running to help. But Max stands frozen, gaping at Esther in total shock. Esther stares blankly down.at Brenda from atop the slide. Utterly emotionless. EXT. PARK - DAY (TIMCUT) BRENDA'S FATHER arrives on the scene. Brenda says something. to -him and points at Esther and Max, who watch from a distance. ESTHER Are you going to tell on me? Max shrugs. ESTHER I didn't mean to hurt her. I just wanted her-to stop picking on me. (off Max's look) Don't you hate it when someone is mean to you for no reason? Wouldn't you do almost anything to make them stop? A best. Max nods. Esther offers her hand and Max takes it. INT. DINING ROOM - NIGHT Esther and Max sit at the table. Kate and John eye them sternly. JOHN Brenda says you pushed her. ESTHER That's not true! We were just playing and she tripped! I swear! KATE (to Max) Did you see what happened? Esther eyes Max expectantly. Max hesitates. Then: MAX IT .WAS AN ACCIDENT. Kate sighs, not entirely convinced... 43. INT. MUSIC ROOM -- DAY. Kate carefully tends the memorial orchid, spraying it with a fine mist of water.-- INT. SUNROOM - DAY - Kate's watering the plants when she feels something on'her hand. There's an ANT on it. She flicks it off. Then she seed ANOTHER, this one crawling up her arm. She makes a face and looks down. Thg g are ante arwl ng loon a-: arou her feet. She quickly steps back,- brushing at her- arms and legs. She looks under one of the plant tables to'see what's attracted them: It's Hodgepodge. He's been dead for several days, his body swarming with ants and MAGGOTS. EXT.-COLEMAN RESIDENCE � GARDEN - NIGHT A hole has been dug in the backyard flower garden. Kate, John, Esther, and Max stand around it. Max places a shoebox with "HODGEPODGE" written on it in the hole and lays a flower on top of it. John starts shoveling dirt into the bole. Esther and Max exchange a knowing look... INT. MAX'S BEDROOM - DAY Esther and Max are giggling and playing dress-up. Clothes are strewn everywhere. They're both trying to look grown-up. They're even wearing makeup -- heavy mascara and pink, painted cheeks. Daniel walks by and sees Max putting on lipstick. He takes it away from her. DANIEL Hey, you're not allowed to wear makeup. Does mom know you have this? ESTHER Give it-back. DANIEL, Make me. ESTHER Give it back'or I'll tell Daddy, that you hit her and then you'll be in trouble. Max smiles. Daniel-scowls at Esther, then gives Max the lipstick. He leaves. Max gives Esther a hug. Best friends forever. 44. f l iT. SUPERMARKET - DAY Kate waits in line -at the check-out. Esther and-Max are with her. Aw .Kate pushes her cart up to the-counter, she looks over and sees the nearby'"WINE & SPIRITS" aisle. No big. deal, just a passing glance, a flash of idle distraction. Her eyes unreadable. Then: ESTHER (O.S.) What kind of sex do men crave most? Kate-looks back, shocked. Esther has picked up a "COSMOPOLITAN" from the newsstand and is'reading the cover aloud-to Max. KATE Put that away. Don't look at those. Kate puts the magazine back. There are several others just like it at kids-eye level. "Orgasms UNLIMITED!" "Thrill EVERY INCH- Of Him J" Kate'sighs and-'starts putting groceries on the conveyer.- ESTHER "How To Hit Your G-spot Every Time." Kate whirls. Esther has picked up the same magazine. Kate angrily snatches it and pulls Esther toward her. Max startles. KATE Stand where I can see yowl The CASHIER and a couple CUSTOMERS turn to look at her. Kate ignores them. Esther can't suppress a little smile. INT. DINING ROOM - NIGHT The family is eating dinner. Esther makes a face and pushes her plate away half-finished. ESTHER May I be excused? KATE At least eat your chicken. ESTHER I'm not going to eat something that I don't like just to make you feel better. That's ridiculous. JOUN Esther, stop it. Eat the chicken and then you can be excused. ESTHER Yes, sir. Esther starts eating. Kate gives John an exasperatedlook. 45. IM. FOYER - DAY The doo;rbel]. RINGS. Esther ��dto Esther it. it's Sisttereys. a clipboard Abigail. She's carrying ESTHER Hello, Sister Abigail. SISTER ABIGAIL. Hello, Esther. INT. STA'IRAELL -- DAY Esther leads Sister Abigail upstairs. Kate and John follow- SISTER ABIGAIL to need updated charts I t¢ also going t from her. pediatrician and her dentist for my supervision report. KATE ECK- That's no problem. We've got a ch up with the dentist next week. INT. ESTHER'S BEDROOM - DAY .Esther leads Kate, John, and Sister Abigail into her room. ESTHER Isn't it lovely? Look at my new paintings. -I've=done a portrait -for everyone in the family. She shows sister Abigail the portraits pinned to her wall. There's also a painting of everyone together. SISTER ABIGAIL That's one good-looking family you've got.. ESTHER I know. Aren't they perfect? Sister Abigail gives Kate and John an amused look- INT. KITCHEN - DAY Kate, John, and Sister Abigail talk over coffee. JOHN I swear, we-didn't bribe her to say that. .y: 46. SISTER ABIGAIL No explanation necessary. I don't think there e'anything that girl could say that would surprise me. KATE. She dropped the 't--bomb on me a few weeks ago. 'Sister Abigail raises her eyebrows in comic, exaggerated surprise. SISTER ABYGAYL Well. I'm glad to hear she's finally come out of her shell.' 1OBN She's just testing us. It's been nowhere near as bad as we expected. SISTER ABIGAIL What kinds of things is she doing? -KATE Talking back to me. Purposefully disobeying. She took Max to the park without ppesrmission the other day. That was the biggie. A girl they were playing with got hurt. A beat. Sister Abigail is suddenly apprehensive, tries to cover. SISTER ABIGAIL Really? is the girl all right? RATE She broke her arm and had to have something like eleven stitches, I think. She was lucky. SISTER ABIGAIL She doesn't. sound very lucky. JOHN She's lucky she didn't break her neck. Sister Abigail seems troubled by this. EXT. COLEMAN RESIDENCE - DAY Sister Abigail walks out to her car, concerned. She doesn't see Esther spying down from her bedroom.window, just staring at her with that strange, blank look... 47. INT. MUSIC ROOM - DAY Kate gives a piano lesson- to a.COLLEGE S7TUDENT, listening as he runs. through a finger exercise. KATE= Relax;. wrists following fingers... EXT. NEIGHBORHOOD - DAY John leads Esther and Max on a bike ride around the neighborhood. Esther speeds-up, leaving Max behind so she can ride next to John. ESTHER I'm Daddy's little girl, aren't I? JOHN That's right. You both are. As they head home, they see JOYCE 'PATTERSON (late 30's) jogging toward them. A blonde with dark roots and an overdone boob job., wearing a skimpy sports bra and mini shorts. She waves to tem. JOYCE - Look at these three cutiesl JOHN How're-you doing? JOYCE Hanging in there. Hey,,. I've got. a chair X want moved upstairs. You think you could come over and give me a hand? John glances toward home. Kate's at the door, waving goodbye to the College Student.- She sees John talking to Joyce and gives them an unreadable look before going back inside. JOHN Uh, yeah. Maybe Kate and I -could help you -out. JOYCE Okay, I'll call you. John and Max start off again, but'Esther doesn't move. She's openly looking Joyce over from head to toe. ESTHER You have a l ovely body. JOHN. Come on, Esther. Let's go. Esther reluctantly follows. Joyce eyes her dubiously. 48. INT. KITCHEN -- DAY John acid the girls enter. Kate has juice boxes for the girls. A. look passes between John and Rate. Esther notices. KATE How was the.iide? Did you have fun? Max nods'and heads off; but Esther hangs back, eavesdropping: KATE Didn't waste -arty time-turning that divorce settlement-into a tit job, did= she? JOHN I didn't notice. KATE Yeah, right. She's teasing, but there's something biting underneath it. Esther walks away, sipping on her juice box.. INT. HOME FOR GIRLS - SISTER ABIGAIL' S OFFICE - NIGHT After hours. Sister Abigail is at her desk. She opens a file and reads. We see a Polaroid of Esther stapled to the cover... EXT. CARNIVAL - NIGHT Midway rides and boardwalk games have been set up in the parking lot of Daniel and Esther's school. A banner reads ""EDGAR ELEMENTARY ANNUAL HALLOWEEN HOOT." The place is packed with excited children in Halloween costumes. The school is at the'top of a steep hill. Kate and John walk up it with the kids. Daniel's dressed as a ninja, Max is a "FINDING NEMO" fish, and Esther's an angel, complete with a shiny halo. SERIES OF SHOTS John gives Daniel some money to hang out with Austin and Trevor... On the BOARDWALK, playing games, winning prizes. Esther shoots BBs at balloons with a toy rifle. She's pretty good at it... On the MIDWAY, Esther and Max are whirled around on the Scrambler, screaming and laughing. Kate and John watch and take pictures..'. THE HAUNTED -MAZE A cheap fun house attraction. The girls ran up to John and Kate.. ESTHER We want to go in by ourselves) 49.- JOHN Okay, just make sure you hold her hand. ESTHER I will. - The girls. run inside. John smiles, but Kate watches anxiously. INT. HAUNTED' MAZE - NIGHT - Esther leads Max through the dark', winding fun house corridors. Max starts to look cared. She nearly leaps. out of her skin when a RUBBER--MASTED GHOUL jumps out at them. But Esther just laughs at it. Max sees that she's not afraid and soon they're both giggling at the CHEESY SPOOKS that try to scare them. EXT. CARNIVAL - NIGHT The girls emerge frtn- the'maze, clutching each other and laughing. ESTHSR Let's play "hide and seek." You go first. Max excitedly runs off. Esther watches her vanish into the CROWD. Moments later,-Kate and John appear. Rate-nervously looks around. RATE Where's Max? ESTHER I don't know. I was trying to hold her hand, but she pushed me and ran away. KATE Oh,.my God... JOHN It's okay. Did YOU see where she went? ESTHER This way, I think. She points the wrong way. Kate takes her hand and they quickly move through the crowd, looking for Max. John stands on a bench for a better vantage, Kate grabs passersby: KATE Have you seen a little girl in-a fish costume? She has short brown hair? Nobody's seen her. Kate grows frantic. Esther watches with a nonchalant smile, enjoying the drama.- She tugs on Kate's arm. ESTHER i Mommy, I want scene cotton candy. - '� 'ti 50. ICATS Not now, Esther I— JOHN" Kate, please. Take it easy. She's gotta be around here Then Kate spots Daniel approaching, holding Max's hand.' Kate breathes a sigh of.relief and rushes to give Max a fierce hug. KATE Are you all right?- Don't you ever run off like that[ What were you thinking? DANIEL They were playing "hide and seek."- I- saw Esther let her run off. Esther gives him a sharp look. John turns on her, . angry. JOHN Did you lie to us? What did I tell you about'holding her hand? ESTHER I'm sorry, sir. She looks like she's going, to cry. John sighs, then turns to Kate and Max. Esther gives Daniel a hateful look through her tears. EXT. COLEMAN RESIDENCE - MORNING The kids pile into the minivan for school. As Daniel climbs in, Esther' drops something behind him and pretends to find it. ESTHER What's this? She shows Kate a little PLASTIC BAGGIE OF WEED. Daniel blanches when he sees it.. His.treehouse staah.. INT. JOHN'S DEN - NIGHT Kate and John confront Daniel. DANIEL I wasn't taking it to school[ RATE Then what was it doing 'in-your backpack?- DANIEL I don't knowl" She just put it there to. get me in troubles 51. JOHN Where would'Esther have gotten pot? DANIEL (a beat reluctant) She saw me wCth it in the treehouse. -JOAN Is that what...you're doing- out .there with Austin and Trevor? Smoking pot?! Daniel stammers. John stews-. EXT. HOUSE - DAY John screws a hasp to the treehouse-door with -a POWER DRILL and slaps a PADLOCK on it. Daniel stands below,-watching. John climbs down, shows Daniel the padlock key, and pockets it. JOHN- Off limits until further notice. Be heads to the house; Esther is playing in the backyard.. She takes John's hand and walks inside with him. Daniel watches them. INT./EXT. KATE'S MINIVAN - DAY Kate pulls out of the driveway with Esther in the back seat. As they leave the neighborhood, Joyce Patterson Jogs by in her skimpy workout clothes. She-waves. Kate gives a polite nod. ESTHER Why does she have to'dress like that? KATE - She just likes the 'attention. ESTHER Well, I think it's immodest. I don't know why Daddy -likes her so much. KATE . (a beat, apprehensive)- What do you mean? ESTHER He's always smiling at her and talking to her. She wants him to come over to her house. Did you know that? (off Kate's look)) Please don't tell Aaddy I told. I don't want him to be mad at me.- Kate doesn't respond, clearly disturbed. 52.. I EXT. DENTIST'S OFFICE - PARKING' LOT - DAY Kate gets out Of the minivan, but Esther stays put'-in her seat. Rate sighs, frazzled and distracted. KATE Esther, come on. ESTHER X told you, I don't like the de ntist. KATE There's nothing to be afraid of. ESTHER - I know. Because I'm not- going- KATE Esther, get out of the cart Righ t now! For a moment, they just glare at each other. Mexican stand-off.. Then Esther sticks her nose in the air and does as she's told. INT.-DENTIST'S OFFICE - EXAM ROOM -- DAY The DENTIST lowers Esther back in the chair, pulls on rubber gloves. The HYGIENIST clips a dental bib around Esther's neck. HYGIENIST She hasn't had a check-up in about two years, so she's a little nervous. -DENTIST she doesn't look to me. Now let's have a look at those co ppers. Esther just looks at the ceiling with her mouth tightly shut. DENTIST. Come on, darling, open wide. -Esther eyes him anxiously; then reluctantly opens. Just a bit. DENTIST That a girl: Little wider... She opens more. He leans in to take a look... Suddenly, she SHdMPS dawnn his jinx s hard Pnou h to draw blo-mss fr and locks �n like Rottweile�] The Hygienist is frozen in shock. DENTIST Aaagh! Goddammit!! Help me with her ! The Hygienist holds her down while the Dentist tries to pry her mouth open. Finally, he yanks his fingers free, cradling them 53. painfully. Esther HISSES at ldm like a cat, lips flecked with blood. The Dentist and Hygienist exchange a startled. lock. INT. DENTIST'S-OFFICE - WAITING ROOM -- DAY Canned MUSAK.. Kate bits waiting. The Hygienist enters. HYGIENIST - Mrs. Coleman? Kate gives her a confused look. Then she notices Esther htanding behind the Hygienist with a-smug grin on'her face. INT./EXT. KATE'S MINIVAN - DAY Driving home.. Kate stews, on her last frayed nerve. Esther gazes out the window, seemingly oblivious, singing a little nonsense song under her breath: "La-la-la, la-la-la-la... La--la-la ..." Kate stops at a traffic light. Glances outside. She's stopped next to a LIQUOR.STORE. Kate quickly looks .away, her temptation real enough to startle her. The light turns green and she drives off without looking back. Esther keeps SINGING.. A few blocks later, they pass a BAR. Then a bus shelter with a big ABSOLUTE VODKA AD. Kate probably drives by them every day, but now they're popping out at her, sly old enemies that never really left, re-emerging from the shadowy recesses of her mind. She tries to focus on the road, Esther's VOICE grating in her head... "La-la-la, la-la-la-la:.. La-la-la, la-la-la-la..." INT. FOYER -- DAY Kate and Esther enter. Esther skips upstairs. Kate sighs, angry and frustrated. She plays a message on the ANSWERING MACHINE. SISTER ABIGAIL (V.0.) Hello, this is Sister Abigail calling for John and Kate. Please call me as soon as you get this message. I have. something that we need to discuss in person. It's regarding. Esther. UPSTAIRS Esther stands at the top of the stairs, listening to-the message- She's heard everything. And she's scared. Scared and pissed. INT. KATE AND JOHN'S BEDROOM.- NIGHT Kate and John get ready for bed. KATE He's been our dentist for ten years. Why would he lie to us? 54. JQAN I didn't say he's lying. I just think Ws-blowing it out of proportion, KATE I saw the bite marks. We're lucky he's not suing us. JOHN Fine, but I don't believe for a"second that she just did it for no reason. RATE That's because she's always on her best behavior with you. JOHN' That's. not true. I've had to deal with her at her worst.. - KATE What you think is her worst is what she's like with me all the time. She's completely- different with me than she is with you'., JOHN So you've seen her haul off'and bite someone like an animal? KATE No, but she threw that fit at school JOEN Yeah, because the other kids were harassing her. It's the same thing here. (off her reaction) She's from a completely different culture Kate. She has to be taught that this. behavior isn't appropriate but there's nothing malicious about it. If'she says she bit him because she was scared and he was hurting her, I don't see any reason not to believe her. A beat. Kate looks at him. She's stewing hbaut something. KATE So should .1 believe her when she says you've been hitting on Joyce Patterson? JOHN' (taken aback) Did she say that? t. 55. ]CATS Is it true? JOHN of course not! KATE Did-she invite You over?' JOHN She wanted me to help her move a chair. KATE Oh, - come on. JOHN ON All right, she was obviously coming to me. But I shut her down. KATE Then why didn't you tell me? JOHN Because I knew how you'd reactl KATE Really? You sure it wasn't because you were coming-on to her so obviously that an eight-year-old picked upon it? A long-beat. John sighs, resigned.- JOHN How-long are you going to keep this hanging over me? It was ten years ago. KATE You keep-saying that. But it's only been about two years since you told me. (a tense beat) Having another child was -supposed to bring us together. JOHN I'm sorry I didn't tell you-about it- x just feel like I've earned a little trust here. KATE - I don't know what you expect from me. I might never completely trust you again. Not like before. JOHN I gave you a second chance. �4 56. Kate stops short. IIis words-are like a phybical blow. - KATE - That's not fair. JOHN So-you can keep bringing uP my . mistakes over and Over, but we're not even allowed to discuss yours? KATE I was sick! You were just an asshole who wanted to fuck somebody else! JOHN You were a danger to our children. If I didn't want to. make this work, I could have left months ago and nobody would have blamed me. KATE Nice. Is that-what-your mother told you? Angry tears well in her eyes. He realizes be went too far.. Kate goes into the bathroom and SLAMS the door. INT. MAX'S BEDROOM - NIGHT - It's late. Esther and Max sit on the bed in their nightgowns. Only the bedside light is on. They're signing to one anothe r. ESTHER THE MAN LADY YS Comm TOMORROW. MAX I' M AFRAID. I DON'T WANT HER TO TAKE YOU BACK TO THE HOME. ESTHER NEITUER DO 1. WE HAVE TO SCARE HER AWAY. WILL YOU HELP ME? Max anxiously nods her head. Esther smiles. INT..JOHN'S DEN'- NIGHT The room is dark. The girls sneak in, still in their nightgowns, and close the door. Esther turns on a :reading lamp. ESTHER ' Look for the key to the treehouse.' -Max nods and they start searching the room. Esther rifles through John 's desk. - Nothing. She looks in a closet. A DARK PLASTIC CASE with Two PADLOCKS on it catches her eye... 57. Max opens a. keepsake chest and finds SEVERAL KEYS on:a ring. She excitedly shows them to Esther. Esther smiles and takes them. As they're about to leave,.Esther. Uses. She looks back at the- closed closet. Then looks at the keys. Max eyes her curiously. Esther slides a chair over to. the closet and opens it.. She stands on the chair, pulls down the case with the padlocks on it, and sets it on the floor. She tries a couple of.keys. Then -- CLICK. There's a GUN inside. A shiny revolver and a BOX OF AMMUNITION. Esther's face lights up. She.carefully picks up the gun{-turns it over, looks at it. Max's eyes nearly pop out. Esther gives her a sly look, then loads a single bullet, SPINS. the cylinder... .and points the cmn at ax. Ri.aht between the Bye ESTHER Do you -want to_ play? - A beat. Max shakes her head. Esther smiles, fingers the trigger. After a long, awful, pants wetting eternity, she lowers the gun. ESTHER You're right. We'd better not. (BEAT) Not yet. - INT. LIVING ROOM -- DAY Sister Abigail sits across from Kate and John with a grave look. SISTER ABIGAIL When you first asked about adopting Esther, I expressed some misgivings. But I wasn't completely straightforward with you. You see, I love children. I've worked with them my entire life. And the thing about love is that it sometimes clouds your judgement. (BEAT) But the truth is that I knew there was something wrong with Esther from the moment I laid eyes on her. Kate sits up, concerned. John bristles. - KATE You said you suspected, some kind of abuse. SISTER ABIGAIL Yes, but there was something else. It was hard to say chat it was at first. Just-a feeling that she was a profoundly damaged little girl. (MORE) 58. SISTER ABIGAIL ' (CONY' D) (beat) s eemed Then I notaced that she - always k_ to. be around whenever ther' wwasa get kind of trouble.- Two girls iii a fight. And there she'd be . Someone would get caught stealing. And ell she'd - myself it Was But I never really. believed it. (beat) l who After you told me about the gir broke her arm, -:E -started wondering again. I called the achool:Esther went to while she was with the Wallaces and asked if there'd been any serious accidents while she.Was there.. One incident was still fresh in everyone's minds. A boy in one of her classes was stabbed in the throat with a pair of 'scissors. All the kids-who saw it happen said it was an accident, that he was running with the scissors and fell. But once again, Esther, was there. ANGLE - ESTHER is eavesdropping from around the corner. She slips away. BACK TO SCENE JOAN But none of these things were her fault. SISTER ABIGAIL That's; g I was reluc!tant to t anything bef ore. Now'I think th at may a have been a mistake. (off their-looks) Children like Esther, who've spent their entire lives-in institutions, have never had' a chance to 'form normal, lasting bonds.. The longterm effects of 'this- can be devastating. In the very worst cases, children who fail to form early attachments are unable to learn the difference between'right and wrong. They can lie, cheat, steal --- .or worse -and and have no remorse whatsoever for their actions.' They view other human beings as objects, pawns for their amusement. And they can-be potentially very dangerous. INT. ESTHER'S BEDROOM - DAY white s gloves, like she's Esther pulls on -a pair of . dinty hurCh services dressing for morninga C 59.- INT. LIVING ROOM'- DAY JOEt7- This.doesh't sound like Esther at all. SISTER ABIGAIL A severely character-disturbed child can appear to be -completely normal, -even exceptional. It's like they have two faces one-they show the outside world in order'to get what they want, and the other, their true face, lying just beneath the surface. INT. MAX'S BEDROOM - DAY Max sits on her bed, wearing a jacket and clutching her "Bello. Kitty" backpack. Anxious and waiting. Esther enters. - - E5T_HBR Let's go. INT. LIVING ROOM - DAY - KATE What about the orphanage in Russia where she was raised? Wouldn't they have been able to tell? SISTER ABIGAIL - I've put in a call to the director there, but she could have easily slipped through the. cracks. JOHN - So the bottom line here is that you don't have proof of any of this. SISTER ABIGAIL That's true,-I don't. But I believe the circumstantial evidence is enough to warrant taking the next step. RATE Which is what? - SISTER -ABIGAIL Get Esther out of'the house. Kate and John are stunned. JOHN You want to disrupt the adoption over this?! - 60. SISTER ABIGAIL - If I'm-wrong, she-can come back home. But you need to get her to a therapist who can tell you what you're dealing WITH JOHN She's just a kids - SISTER ABIGAIL She's also the sole-survivor of a house fire that killed her last family. (off their looks) It was arson. I did some checking. Someone deliberately set that fire. They-never caught who did it. JOHN Wait a minute, you're not suggesting -- SISTER ABIGAIL Pyromania is one of the warning signs of a character--disturbed child. Rate blanches, realizing: KATE Do you think she had something to do with'what happened to Yolanda? A long beat. Sister Abigail hesitates, reluctant to answer. SISTER ABIGAIL - The thought that a child could cougnit such a monstrous crime flies in the face of everything I hold dear. But in my opinion, at'a a possibility that you need to take very seriously. INT. NOW SHED - DAY. Esther slides the door open -on SCREECHING rails and steps inside. Walks over to John's workbench. Looks at the TOOL RACK above it. INT. LIVING ROOM - DAY Kate and John are stunned by what Sister Abigail has told them. JOHN We can take her to Doctor -Browning. - Kate suggested doing that weeks ago. But I don't want to send her away. Not without at least some kind of proof. Sister Abigail.sighs, frustrated. Kate turns to him: 61. KATE But what if 'the doctor says she's dangerous? A beat. He considers, uncertain and emotional. JOH1 Then I guess we.won't.bave any choice. EXT. FOREST - DAY Daniel sits near.the brook, sullenly throwing rocks in the water. He hears something behind him and turns. Esther and Max are running off through.the woods, leaves CRASHING under their feet.' Neither of them ree him. He eyes them curiously. EXT. COLEMAN RESIDENCE - DAY Sister Abigail ie leaving. Rate and John stand by the front door, 'troubled, watching her go. EXT. PRIVATE ROAD -- DAY Esther and Max run toward'the bridge where. the road into the neighborhood crosses the brook. They climb an embankment and crouch. by the bridge abutment, out of breath. Esther looks both ways. There's no traffic. She and Max hide behind the abutment. INT./EXT. SISTER ABIGAIL'S CAR - DAY Sister Abigail drives away., troubled. She takes a pack of cigarettes from the glove compartment and lights one. EXT. PRIVATE ROAD - DAY The girlb wait by the abutment. The only sound is the RIPPLING brook. Max looks nervous. Esther gives her a reassuring smile. ESTHER - It's going' to be fine. Just wave your arms and make sure she stops. Max nods. Then Esther hears a CAR coming. She peers out'from behind the abutment. It's Sister Abigail's car. Esther quickly ducks out of sight. ESTHER Here she. comes. Wait until she gets close. Max nervously peers out from behind the abutment. Esther stands behind her. The car starts across the-bridge. Suddenly -- -- sthe pusbes Max it into the Load. stumbles and falls ri ht ,m. on of the _speed� car. 62. Sister Abigail gasps and SLAMS on the brakes, 'TIRES SQUEALING, stopping the car mere feet from where Max lies in the road. She frantically. jumps out of the car and kneels next to Max. SISTER ABIGAIL Dear Lord! Are you okay, honey? Max looks up at her,-stunned, but unhurt. Sister Abigai1 is taken aback. She recognizes her. SISTER ABIGAIL - Max...?! - - A SHADOW falls on Abigail from behind. She turns and looks "up. Esther looms.over her, a CLAW HAMMER raised above her head. efor is a Abigail Va e a , Esther angrily hits her in tie ' l head as hard as she can with the hammer. CRUNCF#. Max startles,'eyes wide with shock. Sister Abigail falls and lies twitching on the pavement. Eyes staring blankly, one pupil wide from the head trauma. Blood trickles from under her headdress. As Max stares at. the body, paralyzed with fear, Esther scurries into Sister Abigail's car and finds her purse. She flips through her wallet. Cash, credit cards. Takes it all. Finds her rosary beads. Grabs them, too. Then she hurries back to the body. ESTHER Help me get her off the road. Max looks up blankly, then staggers .to her feet. They each take a hand and start dragging Sister Abigail's body, but she's heavy and they're little. It's all they can do to slowly move her. Then Esther hears something. There's ANOTHER CAR coming. It's still out of sight through the trees, but closing. Esther and Max hurriedly drag the body, struggling it to the side of the road, just as the car rounds the bend. Esther gives the' body a kick,, sending it rolling down the embankment. The car is almost on them. Esther and Max quickly hide under the bridge.. Esther grabs Max's backpack and pulls u wig _cm. The car reaches the bridge. Esther listens to it cross, tense, gun . ready... . but it passes Abigail's car and continues without stopping. Esther breathes a sigh of relief. Suddenly, there's a CROARING_noise from behind them.' Esther turns. It's Sister Abigail. She's still alive. She's trying to speak, but all that comes out is an awful'MOAN. Esther scowls and grabs the hammer. Sister Abigail looks up at her,' moaning louder. Then Esther brings-the hammer down. CRUNCH. The moans stop. Esther hits her AGAIN and AGAIN. 63. Ma x 'pr cataton ipes her Se p rettysdr sand white glove harernow splaa ered ith blood. e s t t ESTHER Did you get any on you? Max shakes her head, pale and shivering. ESTHER Good. Let's get her covered up. Esther starts scooping leaves and debris onto Sister Abigail's corpse. Max just watches fora long beat... then shuffles over like a zombie and helps her. Esther smiles.. INT. TREEBOUSE - DAY Esther is wearing a clean dress. -- She stuffs Max's "Hello Kitty" backpack under the looUe floorboard where Daniel.used to keep his weed. Max is huddled in a-corner, still dazed. As the y talk, Esther laces the bloody from Sister"ibigails car i a lastic grocery bag s ade ties kit.off. P ESTHER If you tell on me, you'll get in trouble, too. MAX YOU, TRICKED ME. ESTHER. That doesn't matter. 'They'll send you to jail just for helping me bury her. Max starts to cry. Esther moves closer, comforting. ESTHER She wanted to take me away from you. (BEAT) Now we eau be together forever. EXT. TREEHOUSE -- DAY Daniel heads home on the path through the forest. Be hears a NOISE up ahead and sees Esther and Max emerge from the treeh ouse. He quickly hides., 'watching. Esther locks the treehouse_and looks around, see him. She and down and walk home hol d din in g pe ers out at them... g hands. Daniel PARK - DAY The usual suspects are here. Kids playing. Moms watching. The Homeless Guy with.his shopping cart, rooting through a trash can. A VENDOR selling a SpongeBob popsicle from a cart. CAMERA FOLLOWS the SpongeBob pop as. the vendor hands it to a little girl... 64. It's Esther. She smiles at the. vendor and walks away. She- spots the Homeless Guy across the park and casually heads toward him. As she approaches, we see that she's carrying the -plastic yrocery bag with the bloody hammer and sister Abigail's things in t. She carefully looks around to snake sure nobody is watching, then nonchalantly tosses the incriminating bag into the Homeless Guy's shopping cart and keeps walking, sucking on her SpongeBob pop... INT. LIVING ' ROOM - DAY Rate hangs up the phone and turns to John. RATE She's canceling some appointments-so we - can get her in-tomorrow. They hear Esther HUMMING upstairs and exchange a disgiuieted look. IN . BATHROOM -- DAY Esther HUMS O.S. -Her black velvet ribbons have been removed and laid out in a row on the counter.' CAMERA MOVES to the bathtub, where Esther is taking a bath. The water is faintly red. -She's scrubbing under her fingernails. -Humming pleasantly to herself. And now we see what the ribbons have been covering: the has t ick, knotte t h e wa x u ht.r neck and -wrists. INT. JOHN'S DEN - NIGHT John sits on his. desk, eyeing Daniel--wearily. JOHN Esther and Max? You saw them? DANIEL Oh-huh. JOHN The treehouse is still locked. DANIEL Esther had the-keys. JOHN You mean these keys here? He goes over tothe keepsake chest and opens it.. The KEY RING is there. He holds it up. Daniel flusters.. JOHN You're not lying to get them in- trouble,.are you? ' 65. DANIEL No, I swear! JOHN (sighs, exasperated) I don't know what's got into you lately. Just go to your room. Daniel leaves, dejected... IN THE HALLWAY and trudges upstairs. fe doesn't see Esthe em� eras from j - a sh dows behin hi�- She glares angrily, after him... BACK IN THE DEN Alone now, John looks at the.key ring, considering. Be goes to the closet, looks at the'gun case. Takes it down. Unlocks it... The gun.is right where it belongs. He sighs and closes the case. INT. DANIEL'S BEDROOM - NIGHT Daniel is in bed, sound asleep The doorknob turns, the door CREAKS open. Someone sneaks into his room, approachinbglh1ss-bbed. Turns on the bedside light, Daniel stirs, squinting, It's Esther. Daniel looks up at her, confused. Ruaaenlv,,shs fistful gf i hair and SLAM bis hea hMk.Aqg__inst the Before he can cal ou ; $he w o a-PAI OF SCISSORS an plunges them tows d his face--- Daniel gasps, but the gleaming point of the scissors stops short,- hovering less than an inch from his wide, staring eye. ESTHER ssshhh. - Esther leans in, her face wild-and terrifying. Daniel lies there breathless, paralyzed with fear. -The. scissors drift from his eye, his between his legs. holds fast by his ha ir. er'voiceis an'e H il, ssibant bhiss ESTHER You te.11 anybody what you saw and I will cut your hairless little prick off before you even figure out what it'-s for. Do you understand me? She rapidly cuts the air with the scissors -- SNIP-SNIPI Daniel frantically nods his head. She twists his hair again. ESTHER ,= -it 66. N DANIEL I won't tells I won't tell, T xomisel p She holds him for a beat, savoring his fear. A DABX STAIN seeps through the bedspread. Esther' sees it and grins. ESTHER You pissed yourself. Daniel is crying, humiliated, belplesa.,'too terrified to dare make a sound. Finally, she releases him and turns off the light. As ick ad :it bWgan it she's go . up in a b all and his faa in his pillow stifl e his Bobs INT. DOCTOR BROWNING'S OFFICE - WAITING ROOM - DAY. A SECRETARY sits behind a desk. Kate flips through a magazine. m John glances at his watch. Rate gives him a moment later, Dr Browning emerges from r office u with Esther. E ESTBER It was nice talking to you, Alice. I I hope we can be friends. DR. BROWNING I'd like that. (to.Kate and John) You can come on in- INT. DOCTOR BROWNING'S OFFICE - DAY Dr. Browning's manner is serious. Kate and John sit, anxious.- ' DR. BROWNING o Well, let's start with what youca me here for. You don't have anything' be worried about with Bsther. John breathes a sigh of relief. Kate gives-a dubious smile. KATE She's not dangerous? DR. BROWNING No, of course not. JOHN Thank God. DR. BROWNING It's. not all good news . You do have a serious problem in. your home.. (BEAT) But the real issue is with you, Rate Kate reacts, stunned. 67. INT. DOCTOR BROWNING'S OFFICE -WAITING ROOM - DAY Esther. fidgets, impatient. She turns to the Secretary: ESTRER May I go to the restroom? INT. DOCTOR BROWNING'S OFFICE.- DAY Dr. Browning continues. Kate' can't believe what 'she's hearing: DR. BROWNING I was able to coax her into admitting that there's been some tension between the two of-you. She's really tr!ing very hard to please you. The problem is that you're blocking her attempts-to attach-with you. That's why whenever something bad happens, you blame her, whether it's really her fault or not. KATE But that's not what's.been happening. DR. BROWNING I doubt you're even aware that you're doing it. But subconsciously you t aunt her to be bad because' demonizing her is your way of covering your own feelings _ of inadequacy as a mother. KATE I don't feel inadequate. DR. BROWNING But you do have doubts. You worry that' you Could relapse. KATE What does that have to do with'Esther? DR. BROWNING Frankly, everything. Your guilt over what happened with Max is preventing- you from bonding with Esther. Kate turns to John, aghast, but he's taking this very seriously. DR. BROWNING It's made you doubt your fitness as a mother. And that terrifies you. So you're having trouble with Esther, alonV comes Sister Abigail with these stories about her being some kind of monster and you believe them because (MORE) 68. DR. BROWNING (CONT.'D) it f s easier than with yojW fear ,that there's something hwrong th you. RATE . What the hell did she tell you?. DR. BROWNING ... Let's not m4ke this about herana m a d dne real progress with her today tell you with complete certainty that Esther is not to blame here. INTERCUTS INT. RESTROOM -- DAY in a C AMERA MOVES IN on one- , o 131sthex is in a ba11 muttering t herself, her eyes glassy and star ING ESTEER She didn't see. She doesn't know. She doesn't knout Ahitl She starts POUNDING the walls-of stall th her fists. We CUT between her a Dr.-B rowning talking to ltate D = DR. BROWNING She's an extremely bright, thoughtful, sensitive little girl going through a very challenging time. Esther clutches her head, rocking back and forth. ESTHER Goddamn, coaksucking bitch!! Thinks she knows well Doesn't know shit!! DR. BROWNING You just have to learn to be more patient. .You're really very lucky to have her. END INTERCUT : Esther's fit has passed. She neatly composes herself and emerges from the stall... and sees that there's a WOMAN at the sink. She eyes Esther warily. Probably heard everything. Esther hesitates , then walks right by with. her nose in the air. TNT. GARAGE -. DAY John pulls the car in out of the RAIN. They get out and Esther. goes Inside. When Kate is sure she's out of earshot: KATE Thanks for the support back there. 69. JOHN Hey, I'm not a psychiatrist. And a lot of what she's saying makes sense. Before she can respond, Nate's cell phone RINGS. She turns away from John' and'answers it. He sighs and goes inside. KATE - Hello? SISTER JUDITH (V.O.) is this Mrs. Coleman? KATE Yes. Who's calling? SISTER JUDITH (V:O.) This is Sister Judith from Saint Cabrini's. I'm sorry to bother you. Did-Sister Abigail make.it to 'her appointment with you yesterday? T tXNDER rolls. EXT. PRIVATE ROAD - NIGHT CRIME SCENE TAPE flutters in the rain. POLICE CARS are parked-on the roadside, lights FLASHING. DETECTIVES shine flashli.ghts'Under the bridge. sister Abigail's body- has been- discovered. INT. LIVING ROOM - DAY - Kate and John sit across from a POLICE DETECTIVE and TWO UNIFORMED PATROL OFFICERS. Kate and john-are still in shock. JOHN We'll help in any way we can. We at least owe her that much. KATE Do you have any idea who could have done this? ' DETECTIVE ' We have .a suspect in custody based on an anonymous -tip. We're just trying. to - place ham at the time we think the - murder took place. - JOHN Who is it? DETECTIVE I can't tell you that right now. But he was found with the murder weapon, along with some cash and credit cards. 70. JOHN Jesus..:: at kind of sick' monster carjacks a nun? Kate glances up, sees Esther crouched on the stairs, watching... INT. fAMiLY ROOM - DAY Daniel sits in a big recliner, sullenly playing a VIDEO GAME SHOOT- EM-OP. Kate is researching- on the Internet. We get CLOSE SHOTS of some of her Google.results, INTE Ctfs with Daniel BLASTING AWAY at alien baddies, his face angry and intense: "Character-disturbed Children." -BLAME.-BLAME-BLAME "Antisocial Personality Djsorder." PL f-BLAMI- "C ren o Kfll." Esther enters holding Max's handy leadin her around like a pet. Max numbly follows. They walk up to Daniel'in the recliner. ESTHER We want to sit there. KATE Esther, Daniel was there first. - Daniel eyes Esther. Wary, but defiant. She sighs and makes a -"cutting" motion with two fingers. Daniel brusquely turns off th e game and gets out of the chair. - As' he leaves, Kate calls out, KATE Daniel? Daniel? He ignores her and stomps upstairs. She watches him, concerned. INT. JOHN'S DEN - NIGHT Kate shows John some pages she's printed out from the Internet. KATE This is what Sister Abigail was telling us about. Character-disturbed children, 'Look at the, symptoms. (READING) "Superficiallycharming. Difficulty making and keeping frinnds. Cruelty to pets. Bossy and controlling. Overly affectionate with strangers." JOHN "Extended period of bedwetting. Speech pathology. Abnormal eye contact." She doesn't have half of these. KATE I still think Doctor Brow have missed something. iner couldd (MORE) 71. RATE (CONT'D) have just told her what she wanted; to hear. Look. (flips ages, reading) "Character-disturbed children are adroit manipulators. They can be exceptionally charismatic, oftentimes playing people off one another to get what they want." JOHN save you showed this to Doctor. B±owiiing? KATE (hesitates)- I'm not 'seeing her anymore.. JOHN You're not going to therapy? When did you decide that? SATE When do you think? John sighs. A tense-beat. JOHN I know you were. upset. But we have to at least consider the possibility that she's right about this. KATE No, we don't. Why does everybody around here get the.benefit of the doubt fro m you except me? JOHN That's not true. I'm just..worried about you, that's all. We can hire someone to help you with the kids if it's getting to be too much. KATE I don't need help. All I want is for a doctor who knows what they're doing to give us a second opinion. INTERCUT: INT. ESTHER'S BEDROOM - NIGHT All the lights are out except for the BLACK LIGHT in the aquarium. Bather is touching up the PAINTING OF THE MOTHER LION we saw when -we first met her, but we can't see what she's doing to it. The black light causes some of the paints on her palette to fluoresce. John and Kate's VOICES carry, up through the heating vent: 72. JOHN We're-not going to.keep taking her to doctors until you hear what you want to hear. KATE - That's not what I'm trying to dal I -want this to work just as much as you do, but there are. serious questions. that we still don't havethe answers to. If Sister Abigail was right about Esther,. then people are dead because of HEAL JOHN - She didn't really believe that. RATS She didn't want to believe it. But she was worried enough-to think we should put her in foster care until we found out for sure. JOHN For all, her good intentions, sister Abigail was not a trained psychologist. She'had certain suspicions about Esther and they turned out to be wrong. Why is can't you accept that? KATE (a beat, thin)ts) What if somebody else thought there was something wrong with her? Like the director of the orphanage in Russia? Esther stops painting and listens, suddenly apprehensive. KATE if it's a dead end, I'll drop it. - But if they say the same thine, then we'd have to get.a second opinion. John considers. He doesn't want to be unreasonable. He nods. JOHN All right.- See what you can find out. END INTERCUT: Esther' fumes. She angrily throws her painting across the room. rNT. KATE AND JOHN'S BATHROOM - MORNING John-is shaving with his shirt off. He sees Esther in the reflection, slyly watching him. She smiles at him. 73. . ESTHER Will, you take me to school today? JOHN You'll have to get ready early, EST= I .don't mind. INT. LIVING ROOM - DAY Kate is on the. phone. She has pen and -paper ready to take notes. KATE Sister Judith? Hi, this is Kate .Coleman. I teas.wondering if you'd heard from anyone at the Sludianka Orphan's Shelter in Russia. sister Abigail said that...- Oh, you did? _ (listens, troubled) What do you mean?... Well, I don't understand. How could they not have any record of her being there? (LISTENS) .Yes, please. Call me the moment you hear anything. Thank you. She hangs up, disturbed. INT. JOHN'S CAR - MORNING John drives. Esther rides next to him. She SNIFFLES and he realizes that she's holding back tears. JOHN What's the matter? ESTHER I don't want to go to school. JOHN Why not? ESTHER I hate it. Nobody likes me there. Nobody ever likes me. She stares forlornly out the window. Big sad eyes. John sighs. JOHN You want-to play hooky? (off her look) I can call in- sick and we'll go to -the zoo. What do you think? Esther smiles through her tears. 1 74.. ESTHER I'd like that very much. EXT. ME TARY SCHOOL r MORNING Kate drives up the steep hil1 in front of Daniel and Esther's school and stops at the end of a long'line of parents dropping kids off. Daniel. gets out without looking at Kate. KATE Daniel, wait a minute. He hangs back. Rate gives him and Max a concerned-.look. RATE - How are you guys getting along with Esther? - , Daniel freezes. An apprehensive look passes between him and Max. DANIEL Fine, I guess. KATE Does she ever make you guys feel uncomfortable or do things you know she's not supposed to? Has she ever hurt either of you? Daniel wants to say something, but the frightened look on Max's face stops him. Rate realizes she's struck.a nerve. KATE Please. You can tell me anything. DANIEL -I gotta gu. Before Kate can stop -him, he closes the car door and runs off. EXT. ZOO -- DAY John and Esther walk by the LION exhibit.- She takes John's hand and presses it to her cheek. ESTHER You don't know how-long I've waited for a 'daddy just. like you. JOHN And a monany, too. Right? Esther hesitates. John notices. She gives a sad shrug. ESTHER I don't think !'Tommy likes me very much. 75. John is taken aback. An awkward beat.- JOHN That's not true..- Mc=my loves 'you. ESTHER It's all right. I understand if she doesn't. It must be difficult to love an adopted child as much as- your own.. JOHN Sweetheart, .you are just as much a part of this family- as Danny. and Max are. Mommy doesn't love'you any less because you're adopted. Do you understand? She nods, but doesn't look convinced. John thinks. JOHN Why don't you do something special for her? So she can see what a good girl you are. I'll bet she'd like that. Esther's face brightens. EST LER That's a wonderful idea. I think I know just what I'm.going to do, too. INT. KITCHEN - NIGHT After dinner. Kate is loading the dishwasher. John is brig ing in dirty dishes from the dining room. Esther enters, all smiles. Hands hidden behind her back. John gives Kate an expectant smile. ESTHER I have a special surprise for you, Mommy. Kate eyes her warily. No idea what to expect. KATE You do? ESTHER- I picked this flower just for youl It's Kate's memorial orchid. Kate gasps. John is horrified. Kate reaches for the flower. KATE Estherl Put that down --l Esther laughs and playfully pulls it away. Kate grabs her by the wrist and Esther suddenly drops the flower, SHRIEKING in pain. 76. ESTHER- You're,hurting me! 's eaction. Esther runs from the room,-cr her wri wrist- e ying, and startled clutching Esther JOHN What the hell did you do to her? KATE I just grabbed her arm! aohn hurries after Esther. Kate hangs back, picks the orchid-up" from off the floor. it's ruined. INT. FAMILY ROOM - NIGHT Esther sits. on the nofa, still crying. john comforts. her. Kate looks in on them. John shoots her an angry look. INT. WORK SHED.- NIGHT Darkness. Esther slips inside, closes the door, turns on a light. Goes to the workbench. There's a VICE bolted to it. She finds some rags and wraps them around her wrist where Rate grabbed her. Then she places her wrist in the vice, puts the handle of a SCREWDRIVER between her teeth, and bites down on it. She takes a couple of deep breaths and sta s clo in the yicg of her are. Grimacing in agonyy screwdriver clan ed between her teeth against the pain, she twists the vice tighter and tighter.. INT. KITCHEN - NIGHT Rate sits at the table. John has calmed down, but is still angry. KATE She knew what it meant to me. She did it on purpose., JOHN It wasn't even her idea. (off her look) I'm the one who told her she should try to do something nice for you. He leaves. INT." ESTHER'S BEDROOM - NIGHT It's late, The room is dark.Esther plaintively calls out: ESTHER Daddy! Daddy! 77. The door opens. John,.blearily -enters in his pajamas. JOHN what in it, sweetheart? ESTHER My arm huits .' JOHN - - Okay. Let me see. He turns on a bedside lamp and sits on the bed. She pulls up.hex` sleeve, cringing. Heir wrist is mottled with HORRIFIC B I INT. EMERGENCY ROOM - CURTAIN AREA -- NIGHT A camera flash POPS. Esther is in a hospital gown (still wearing her black ribbons) while a SOCIAL WORKER photographs the bruises. , TNT. EMERGENCY ROOM -- EXAM ROOM - NIGHT Rate and John sit across from a harried ER DOCTOR. An x-ray of Esther's arm is clipped to a light box. _ ER DOCTOR It's a hairline fracture in her radius. KATE I swear, I barely touched her. ER DOCTOR (SKEPTICAL) You'll need to talk to the social - worker about that. She's going to come in here- and ask you some questions. JOHN But.it was just an.accident. ER DOCTOR It's routine. We're required by law to file. a report. Child Protective Services will be in touch to schedule a follow-up visit at your home. Kate is shocked. John shoots her a dirty look. TNT. FOYER --NIGHT Home from the hospital. It's very late. The kids are wearing coats over their pajamas.. Esther's arm is in a fiberglass cast. John is carrying Max, who has fallen asleep.. As they start upstairs, Kate reaches out to John. He hangs back. Daniel and Esther go to their rooms. When they're gone: 78, KATE You know I would never hurt any of the-. kids on purpose. JOHN I know. It's not what you do on purpose that scares me. Kate watches him go. ..Be turns away and takes Max upstairs. .1 TNT. MUSIC ROOM - NIGHT - Kate site curled up on the window seat by the planter, holding the wilting orchid and sobbing inconsolably, old wounds re-opened... INT. KATE AND JOHN.''S BEDROOM - NIGHT Dark. John is asleep, alone in the bed. The door is ajar. Esther appears in the.doorway. She peers in, watching him sleep. After a beat, she gathers her courage and quietly enters, tiptoeing toward the bed. She pulls back the covers and.climba in next to him. John doesn't stir. Esther curls up beside him. INT. KATE'S MINIVAN - DAY It's raining. Rate sits in the parked van. No sound except RAINDROPS TAPPING the roof. She's looking out at something. It's the LIQUOR STORE she drove by earlier. She's-parked in front of it, staring at it through-the rain-streaked windshield... INT. LIQUOR STORE - NIGHT Kate puts TWO BOTTLES OF WINE on the counter. The CASHIER rings them up. She's anxious, guilty, already hating herself. KATE We're having guests over for dinner. The Cashier nods. Like be gives a shit. Kate lowers her eyes.- INT. KITCHEN - DAY The two wine bottles sit on the kitchen counter. One bottle is. open, a GLASS already poured. But Kate's not drinking it. She's just standing these, arms folded, looking at it. The house is. quiet. She's alone here. Only her demons to keep her company- A long moment of. awful indecision passes,, Kate paralyzed. Then she looks up, her gaze moving past the wine glass to the window., Through it, she can see the backyard. It's the swimming pool that holds her eyes, its cold-surface rippling in the rain. But- she's seeing something else there, something awful. Impossible to know- what she's thinking, but whatever it Is, it moves her to action: 79. She, abruptly grabs the glass and quickly empties it in the sink before she-can change hex mind. -Then she grabs the. open wine' bottle and pours it all down the drain. She runs the water and scrubs the sink with her fingertips, removing every trace. Tosses the empty bottle in the trash and ties up the garbage bag. EXT. COLEMAN RESIDENCE - DAY Kate hurries out in the rain and stuffs the kitchen trash in the garbage can, burying it under-another bag. INT. KITCHEN - DAY - Kate re-enters, dripping wet. There's still the other wine bottle. The unopened one. She 1}esitates. INT. KATE AND JOHN'S BEDROOM' - DAY Rate's.in the walk-in closet. She hides' the wine bottle in a cubby in her shoe rack and turns out the light. INT. KATE'S MINIVAN -- MORNING Driving the kids to school. Kate looks drawn and weak. Daniel and Max stare off into space. Esther holds a stack of her paintings in her lap, obliviously prattling: ESTHER I can't wait for show-and-tell. I hope Mrs. Grosse. likes my paintings. I did one especially for her.. .Nobody responds. Kate's blocking her out. Esther doesn't mind. EXT. ELEMENTARY SCHOOL/INT. KATE'S MINIVAN - MORNING Kate drives up the hill and pulls to the curb. Daniel gets out, but'Esther struggles, her wrist cast making her clumsy, and she awkwardly fumbles her paintings.. They land in the gutter and start-blowing away. She gives Kate a horrible,-pleading-look ESTHER Moumiy! My paintings! Kate eyes her accusingly. KATE You dropped them on purpose. ESTHER No, I didn't! I swear!. - Kate doesn't believe it for a second, but sees a CROSSING GUARD and a FEW KIDS hurrying to grab the paintings as they're carried off by the wind. Kate shoots Esther a dirty look, then sets the parking brake with an exasperated sigh and gets out to help... 80. acti But, the second-Rate is out of the van, Esther springs tut like a snake that's been poised to strike. sh c� put s s then gear shit in'neutral andggrabs the parki ng her .an alarmed look. Esther smiles at her... releases t braka. Daniel sees Esther jump out of the van, just ag it starts 1 roll ._ ba hil DANIEL MOROI Frazzled, Kate turns to. Daniel.. He points. to the van. KATE SHITT she hurries after it, but it's already.inoving too fast, picking up speed, rolling into oncoming e goes into a panic- fueled 'run,. sure erupting into ic., Kat KATE MAXI Drivers w van a of s Parked a ars eSHEERING gerssi door. c d Max is trapped in her car seat, helpless, eyes wide in mute terror,.as the minivan clears the parked cars, head ed for the intersection at the bottom of the hill.. Kate chases it, powsrlen s to do anything but watch.- KATE MAAAAAX!1! The minivan cams into the intersection. Tires S ► horns cars yrgave , and s = hal . T T3 sh - b all and 0MV into a streetlight on the opposa.t e corns . Kate frantically dashes across the street, hysterical with fear, and throws open the back door. Max is crying and terrified, but safe. Kate 'scoops Max into her arms, clutching her to her chest. It's okay, baby. It's okay, you're all right. Mo_irimy' s got you... BACK AT THE SCHOOL A crowd has out front; horrified,. watching breathlesslyguntilehe sees pull u� Max lsafe y � the van.' A wave of relief washes over him. Then he whirls angrily, looking for Esther. Be blithely headed to class, paintings hertarmj,gas if nothing ha pened. P Bl. INT .'. LIVING ROOM - NIGHT Rate sits across from John and Dr. Browning.The mood fa grim: KATE I set the brake. . Bven if I hadn'tr the police said it wouldn't have.:rolled unless it was put in neutral. DR. BROWNING. But Max says she didn't see Esther do anything wrong. Max is cover.ng for her. And X don't think it's the first time. DR. BROWNING It also-wouldn't be the first time that you've tried to blame Esther for. something that was really your fault. XATE This. isn-'t all in my head. Sister Abigail was right. There is something wrong with Esther. And I don't care anymore if I can't prove it. I'want her out of this house. John and Dr. Browning exchange a dark look. DR. B' OWNING So you're at a place where you would actually let somebody take her away? KATE I'll do whatever I have to,do to protect my children. JOHN 56 will 1. (re: Dr. Browning) That's why she's here. something in his voice makes Kate apprehensive. An uneasy beat. DR. BROWNING I have an opening held for you at a residential rehabilitation clinic about forty-five miles from here. They specialize in extended treatment for women who are relapsed alcoholics. Kate is stunned silent. She gapes at. them. with a mix of anger and fear, unable to stop' a flash of guilt. How much do they know...?. .82.. KATE . What are you talking.about? -JOHN I'll stand by you through this for as long as it takes. My mom'a already agreed., to 'help look after the - kids . . RATS Tell her not to bother. (to Dr. Browning) I'd like you to leave now. JOHN Kate, don't. John stands and takes something from inside the sideboard. Ile : sets it on the coffee table between them... qtr, s the wine bottl g she hid " he closet. Kate is stricken. She looks at it like it was a poisonous spider. JOHN The girls found it while they were playing in your. closet. KATE The girls?" You mean Esther found it. JOHN Yes, Esther found it. Does that make a difference? Is she lying? A beat. Kate's silence-is answer enough. KATE I didn't... I bought two bottles. I poured the other one down-the sink. JOHN But not this onie. Again, no answer necessary.. Kate looks defeated, tears welling. KATE I'm not going to rehab. JQHN I'm not going to leave you-alone with the kids again until you do. - . KATE I haven't had a drink in almost a year. John sighs, frustrated.- Dr. Browning intervenes, her voice infuriatingly even. and calm.' 83. DR. DROWNING Relapse is very common in early sobriety. We can help you. But not until you drop the charade. - KATE It's not a charade. I wanted to- drink i t. You have no fucking idea how.badly I wanted to drink it. But I didn't. (off John's look) I know 1 should have told you.. I was just afraid of what you'd do. JOHN I wanted you to come to me. That's why ,I didn't confront you with it last night. If Max had gotten hurt this morning, it. would've been because I trusted you tell me if there was a problem. RATE What happened this morning had nothing to do with this! JOHN l f ow do you expect me to believe that? KATE Max and Daniel are the only reason I'm still sober. I would never do anything that would hurt them. DR. BROWNING You don't think this behavior effects them? KATE You know damn.well what I'm talking about. _ Her voice is brittle now, barely controlled. A beat. The tears sta rt to spill. KATE When I look out at the pool and think... (to John) When I try to imagine what would have happened if you hadn't come home early that day... it makes me want to kill myself. I would the before I let something like that happen again. JOHN Then why-not throw both bottles away? 84, KATE- Becauso"I need help. i thought I could handle it myself, but I can't. I'll go back to-therapy. I'll start going to A.A. meetings. JOHN That's not enough anymore.' I told you last time what I'd do if this'ever happened again. I'm trying to give you another chance. KATE - You haven't heard.a word I've said. JOHN I've heard enough. If it was just the two of us, that would be one thing. But I can't let you be in a position where you could hurt the kids. KATE I'm not the one you need to be worried aboutt Seven people close to Esther have died in the past year. Max was almost the eighth. now many more coincidences are you willing to ignore? JOHN Kate, stop it. You're talking about an eight-year-old girl. And right now she's making a lot more sense than you are. KATE I know I haven't given you any reason to believe me. But you have to. I'm begging you. JOHN I'm sorry. Maybe if you'd been honest with me from the start. But not now. ANGLE -- MAX AND ESTHER peer around the corner, watching them argue. Max is crying. JOHN You either check into rehab this week or I leave and I take the kids with me. Esther leans close and whispers into Max's hearing aid: ESTHER I'll kill her it you tell.. 85. Max gives her a frightened look.- Just then, Doris.appears with a bowl of popcorn. She quickly ehoos the girls away. DORIS Come on, you two. Let's go watch TV. Max wipes her eyes. Esther takes her hand and leads her away. EXT. COLEMAN RESIDENCE -- NIGHT - John walks Doris out to her car.-He gives her a hug. JOHN - You sure you don't mind? She's not going to appreciate your being around. DORIS .I don't care what she appreciates. You can't leave those kids alone with her while you're at work all day. (off his look) You're doing the right thing. Don't let her change your mind. JOHN I'll see you tomorrow. Doris gets In her car. John looks conflicted. INT. UPSTAIRS HALLWAY - NIGHT Bedtime. Esther can be heard HUMMING through the closed bathroom door. Daniel listens as he sneaks down the hall in his pajamas... INT. MAX'S BEDRROM - NIGHT Max's eyes are red from crying. She's drawing a picture, but hides it under some other papers when Daniel enters. Be closes the door. Esther's HUMMING can be heard O.S. A tense beat. DANIEL Are you okay?' Max nods. Daniel sits down next to her. He lowers his voice. DANIEL Did Esther do something to the van? Max turns away and shakes her bead. DANIEL It's okay. You can tell no. I saw her jump out before .it started to roll. Max gives him a startled look, suddenly frightened. 86.. MAX DID XOD: TELL ON !3ER? DANIEL No way. Dad won't believe me. You have to do it with me. Max shakes her head and starts signing, but Daniel can't keep up. DANIEL Slow down, 'I don't understand. Did she make the van crash? A long beat. Max reluctantly nods'. - DANIEL Then we have to tell Mom and Dad. Max starts crying. She signs, but Daniel doesn't understand. Frustrated, Max starts hitting him. Daniel grabs her arms DANIEL -Stop it!- She's going to kill us if we don't tell! Morn and Dad can protect us! Max. shakes her head. Daniel releases her. DANIEL Why not? MAX NOBODY CAN. Daniel stops short. Max hesitates, then gets up and shows him the pictures that she hid from him when he first came in. They're crude crayon drawings of Max and Esther. In the first, Esther stands atop the rocket ship slide and pushes Brenda down the stairs while Max watches.. The= next one turns Daniel's blood cold. X &'s of Sister Abigail's murder. Esther stands over Sister Abigail with a bloody hammer wh e r e Max cowers under the bridge. The last one is of Esther and Max in the treehouse. Esther is covered in blood. DANIEL What did she do in the treehouse? MAX SHE PUT TEE BAD THINGS THERE. Suddenly, Esther's O.S."humming STOPS. Daniel looks up, alarmed. DANIEL r She's coming. 87. 'Max quickly hides the. pictures-. Daniel scrambles to the door, but -pauses and signs to Max as best he can. DANIEL Everything's going to be all right. INT.'UPSTAIRS HALLWAY - NIGHT Daniel hurries back to his room and closes the door, just as Esther emerges from the bathroom. She pauses, suspicious. INT. KATE AND JOHN'S BEDROOM -r NIGHT Kate and John are in bed. It's 3:23 a.m.' They both appear to be sleeping. Then Kate. moves. She's still wide awake. She looks over at John, slowly push the covers back, and inches out of bed so that he doesn't wake u es' p. She quietly dresses. INT tIPSTAIRS HALLWAY - NIGHT Kate emerges from their bedroom with a small OVERNIGHT BAG and cree ps into the dark hallway, careful not to make any noise. She stops by the. door of Max's bedroom, and slowly opens it. TNT. MAX'S BEDROOM - NIGHT Kate slips inside, closes the door; and starts toward Max's bed...- Suddenly, a desk light comes on. It's Bather. She's been sitting there in the dark. The light casts strange shadows on her face. ESTHER.. Going somewhere, Kate? Kate startles and whirls to check on Max. She's. fast asleep. ESTHER She's fine. Lot's not wake her. KATE What are you doing in here? ESTHER 1-couldn't sleep. I was-afraid you might try to take Daniel and Max away. Kate stands frozen, frustrated and'angry. KATE Go to your room. ESTHER (LAUGHS) Honestly, we're past that now, aren't we?. 86. t KATE I'um not going to let you hurt my children. - ESTHER 1m not the one who passedouutt drunk. and let I hear the first step is (on.ffideannttially) -admitting that. you have a problem. KATE (a beat, stricken) Who told you about that. - Esther holds up Kate's journal:: Kate blanches. ESTHER It's in your journal. I found �it a few weeks ago.. It's very intimate. 3 learned so much about you. Your marital troubles, your drinking problem. Where you hide your wine bottles. You have lovely handwriting, by the way. Would you like to bear my favorite part? Esther has a page marked. She reads: ESTHER "Eight weeks before my due date, Jessica died-from several undiagnosed birth defects. I hadn't felt her move for days, but now that I knew she was dead, I started-to feel her kick again. It's called phantom fetal movement, like the pain felt in a missing limb. I was an amputee and my baby was the lost part of me. Because of other complications, Doctor Kosgrove didn't want to induce. So I had to wait to go into labor. For sixteen days I carried Jessica's body and felt her ghostnow a kicking in my-belly. y womb coffin and inside me slept a corpse." (to Kate) How perfectly hideous. No wonder you turned into a nasty, smelly drunk. Kate is dumbfounded, trembling with impotent rage and raw emotion. ESTHER Kate. You don't know how lucky you are, I'll never have children of my own. My father paw to that while I was still-in diapers. I. actually don't"remember a 7 time when he wasn't fucking.me. (MORE) 89. E STHER (CONY' D ) (off Kate's look) I don't want your pity.' He did it to make me strong. So 1 ,wouldn't turn out weak and 'pathetic like you.. RATE I'mi pot weak.. ESTHER Please. You're soft. Like,& worm. Losing your baby could have. made you stronger. But for you it's alwa s.more therapy and more- pills and more booze. Anything so that you don.'t have to actually face the so state of your miserable existence. And why should you? You've got John to carry your dead weight around.. But you know something? You don't deserve him. And sooner 'or later, he's going to figure that out. Esther stands up to leave. Kate-blocks her path. ESTHER What are you going to do? Hit me? -Kate. looks really tempted. A beat. She puts out her hand for the journal. Esther gives it to her with a smile. Kate steps aside. ESTHER See you tomorrow. She leaves. Kate glares after her. - INT. KATE AND JOHN'S BEDROOM - DAY .Kate is on the phone, angry, trying to keep her voice low, KATE I need to know where she came from and I need to know now. INTERCUT: INT. HOME FOR GIRLS - OFFICE - DAY Sister Judith talks. to Rate on -the phone, looking harried. SISTER'JUDITH I'm sorry, we've called every orphanage in Moscow trying to find out. KATE We adopted her from yquI How can you not know anything about her?!- 90. SISTER JUDITH The Wallaces could have adopted her illegally. Are you-sure remember anything that could he doesn't? END INTERCUT: KATE - I'll call you back. She curtly hangs up- INT. FAMILY ROOM - DAY Doris plays a game with the kids. Esther feigns' nonchalance, but. the tension is thick between Dani?l and Max. Doris is oblivious. DORIS I say Professor Plum did it in the Conservatory with the candlestick... INT. ESTHER'S BEDROOM - DAY Kate rifles. through Esther 'a things. She finds the life book that e fli it.The p i till blank exce forstherfaamily photos that fate put ingforahers Then she notices that the first page has been torn out. And on the page. captioned '"ESTBER JOINS THE FAMILY," P.sther's face has been et cu oval cut out Df "h farm of r Creepy. Kate ransacks the room,. searching for something,, anything. Then she notices a.stuffed doll that she just knocked over. Its dress has been flipped up, revealing ,g slit, cut in he doll's pack. grabs it. Something has been hidden in the stuffing... Tt's a '� Bible. Kate pulls it out and quickly looks through the pictures that-Esther keeps inside. They're the same photos of the Wallaces that we saw earlier. With one new addition. It's the missing page from Esther'.s life book, the picture of Kate and John at their wedding. But the face that Esther cut out, from the other picture has been glued over Kate 'a.face here, p 3t loo like JTobm DDd $ her are eg�S markied. The caption is still "MOMMY & DADDY GET MARRIED." Kate shudders. KATE Jesus Christ... She flips through the: Bible and shakes it, but there's nothing else. She notices that the Bible -is in a foreign language. There's an ink stamp on the inside cover. it's in the sa me. language as the Bible. "See on saarne rnatituat omand." She focuses on two words: seamne.Inatituut. 91. INT. FAMILY ROOK! - DAY Daniel gets up from the.game. DORIS Where are you going? DANIEL Bathroom. Esther eyes him as he leaves. INT. DOWNSTAIRS HALLWAY - DAY - Daniel hurriedly sneaks toward John's den, but stops just outside. Be hears a keyboard CLACKING and warily peers around the. corner. Kate ia'working on John's computer. Daniel eyes the KEEPSAKE BOX. .No way to get to it unseen. Be thinks a beat, then slips away... 'INT. JOHN'S DEN - DAY Kate googles "SAARNE INSTITUUT." All the sites that come tap are in the same language as Esther's Bible. She sighs, frustrated. Then she sees something -- a photo of a Gothic mansion. The sign out front reads: "Saarne Instituut." Kate recognizes it - instantly. It's the same Gothic mansion from Bather's paintings. She scours the web site for anything' decipherable. There's a - link: "KONTAKT JA XNFO." She clicks it. There's a phone number. INT. GARAGE -- DAY Daniel looks around, finds what he's looking for: a TIRE IRON. INT. JOHN'S DEN - DAY Kate is on the phone, anxiously 'listening to the TONE of a foreign telephone ringing.- Then: RECEPTIONIST 01 (V.0.) Saarne Instituat. Xas ins -eaan teid AIDATA7 KATE Uh, hello.- I'm sorry, do you speak English? RECEPTIONIST #1 (V.0.) Ruidas, palun7 KATE Do you speak.English? Does anybody there speak-English? This is very- important. 92. RECEPTIONIST #1 (V.0.) Ma ei sac aru. Dote Like silmapilk. Kate starts to-say somethf.ng, but she's interrupted by HOLD MUSIC. EXT. TREEHOUSE - DAY I)aAje runs lookslaround. o The coast is clear. Hetstarts�climbing... INT. JOHN'S DEN - DAY Kate is still .on -hold. , Finally-, a MAX' picks up. Be speaks English with the same ACCENT as Esther. RECEPTIONIST #2 (V.a.) Hello? KATE Is this the Saarne Institute? RECEPTIONIST #2 (V.O.) yes. KATE I need to talk to someone about one of your children. She was adopted by.an American family about a year ago. RECEPTIONIST #Z I beg your pardon? KATE A little girl, possibly adopted from your orphanage. I'm trying to find somebody who might remember her. RECEPTIONIST #2 (V.O.) This girl, she is -not come from here. KATE Can't you at least check? RECEPTIONIST #2'(V.0.) No, I am sorry. KATE Please, I know she at least spent some time there.' RECEPTIONIST #2 (V.O.) No, 'ou not understand. Saarne Institute is not orphanage. It is mental hospital. Off Rate's shocked reaction: 93. V. INT. /EXT. TREEHOU SE . -:-'DAY. CRAAAACK! Daniel uses the tire iron'to pry the hasp off the treehouse door. The wood SPLINTERS and the hasp comes free. He enters and looks'around. Nothing unusual. He throws back the rug and pulls up the loose plank. Max's "Hello Kitt l" backpack is stuffed inside. He unzips it, his, eyes going wide with ho or... r r he pulls Bsther' blood-stained d ess fro t L e �c ck. ESTHER (0.S.) I couldn't have,done it by myself, you - know. Daniel whirls around. 'CAMERA REVEALS Esther standing in the doorway behind him.- She's holding something behind her back. ESTHER - Max is just ag-guilty as I am. She steps toward him'and he backs..away, angered by her words, but wary of those hands-behind her back. What's she biding...7 DANIEL You leave her alone. ESTHER Think about it. Somebody had to have helped me. If they find that dress, they won't just be coming for me. They'll becoming for Max, too.. Is that really what you want? She's maneuvering him away from the door. Daniel screws up-his courage and stands his ground. DANIEL - You're full of shit. I'm telling Mom what you did and you're gonna fry for it. ESTHER (SIGHS) All right. I was just trying to be. nice. And with that: she takes a can CHARCOAL, LIGHTER FLUID from behind her back and tazts snravina the-floor At Daniel's feet with Al. He gasps' and jumps back as it SPLATTERS in. front of hire. She douses the floor from one side to the other. Then she opens a BOOK OF MATCHES and lights one. Daniel blanches, ESTHER Goodbye, Daniel. 94. She drops the match. - The lighter fluid IGNITES 'and a wall between Daniel the door, Esther smiles at him through fire the ER Tgl,pp3ES trapped. INT. JOHN' S DEN - -.DAY . Kate talks on the phone. She's e-mailing a picture of Esther. KATE It's called the Saarne Institute. S-A - A-R-N-E. it's in Estonia: INT. HOME FOR GIRLS - OFFICE - DAY Sister Judith jots down the info.. - SISTER JUDITH Estonia? This can't be right. All he r paperwork is from Russia. INT. JOHN'S DEN -.DAY KATE Please, just try to find out if sh e was ever a patient there. I'm sending them a-picture of her right now. INT./EXT. TREEHOUSE - DAY SMOKE pours from the treehouse. Esther has climbed down and is watching it burn . Inside, Daniel is surrounded by FLAM ES, choking on black smoke. He stumbles to a window and sticks his head out. DANIEL MOMI HELP! M0000MI The fire closes in. The place is going up like a tinderbox. He carefully climbs out the window and stands- on the sill, fifteen feet off the ground. DANIEL MOOOOM!1 He hugs the side of the treehouse, panicked. The FLAMES grow higher, licking at his feet. No place to go now but up. He reaches for the edge of the roof and struggles to pull himself onto it, his legs kicking out over empty space. He gets an elbow on the sloped roof and starts wriggling up onto it... .suddenly -- he sue. He glide dawn, arel grabbing the q2 9 t h e with his fin e s aJ the last seco Esther gasps, excited, like she's the front row of a great sports event. DANIEL MOMMYI HELP MSEEII 95.. `.. INT. JOHN'S DEN DAY Kate's still on the phone. She glances out window backyard and the woods beyond. Suddenly, her eyes wide. theA COLOMN OF SMOKE rises above the treeetop s. Realization- and horror slam home at the same time. t. EXT. TREEHOOSE - DAY Daniel fights desperately to hang on. Bother watches, eyes wide with exhilaration. For alone, breathless beat ��ajustt.�gs a there, dangling helplessly, fingers slipping y. hen hg loses ,dg l b ur[-gts to ou d. He lands hard and doesn't move. Esther walks over and crouches next to him. She touches his neck for a pulse. He's still alive. Esther pouts, disappointed. She- looks around, finds a HEA VY ROCK. She lifts it over her head, ready to cave. in Daniel's skull... Sudde l Y, Max rus e innc3 ushe gsa�► knck from her hands. Esther whirls on Max, eye s flashing i rage. g But then Kate is there, running up the path with Doris not far behind. Kate sees Daniel's rumppledabodyta and his her world collapses, everything else falling away. KATE Oh, my God! Daniell Baby, can you hear me? Please, baby! Wake up. He doesn't move. Kate calls out to Doris:. KATE Call nine-one--onel Doris hurries back to the house. Kate catches Esther watching her warily.. Kate glares at her with pure hate. EXT. COLEMAN RESIDENCE - DAY' FIREFIGIITERS have arrived to put out the treehouse. NEIGHBORS gather to gawk. Max is in the house, watching from the window as EMTS load Daniel into an ambulance. He's still unconscious an d in full cervical immobilization. Doris bowers nervously.- gby Kthe atewrist. climbs in with Daniel, angrily dragging Esther KATE Get in here. DORIS She can ride with us. KATE I'm not letting her out of my sight.. 96.- INT. HOSPITAL - WAITING ROOM - NIGHT Hours later. The-whole-family-waiting fpr-news Kate and John sit across from one another; The silence and tension heavy between its with irls- DOC WAN) en ers. Kate a drthesothers are inst ntly on eir feet: DR. RAJAH. ' Me stopped.-the abdominal bleeding. - Ue1B should consider b yourselves ery lucky V Relief 'floods over .Kate and John. Esther listens, intent... JOHN Can we see him? - DR. RAJAN In a little while. He 'a resting in ICU. - KATE Will he be able to tell us what happened? A pointed glance-between Kate and John. Dr. Rajan doesn't notice. DR. RAJAN It's possible. There's no way of - knowing for sure what he'll remember until he wakes up. Esther shifts nervously. Not the answer she was hoping for... INT. HOSPITAL -,WAITING-ROOM.- NIGHT (TIMECUT) Rate has taken John aside, voices low, out of earshot of the .others. She's shown him two pieces of paper: One is'a pa inting Esther did of the old Gothic mansion.. The other in a printout of the photo from the-Saarne Institute's web site. _ KATE She-told me she just made it up, but it's.a real place. JOHN There has to be some other explanation. She didn't come from an insane asylum! KATE How do we know? The orphanage we thought she came from has never even' heard of her[- Everything. about her could be a lie! 97. JOHN - We have her passport, her birth certificate, her school and medical- . records -- KATE It's just paper, JohnI From halfway around the world!-- This isn't last me being paranoid. Call. Saint Cabrini's yourself. if 'you don't believe me. A beat. John looks like he's wavering. RATE Your own mother was there this time. Only Esther or Daniel could have started that fire. I know who I think did It. Do you? . JOHN I don't know what to think anymore. KATE Well, I'm done connecting the dots for you. You can believe what you want about me. Blame me for everything. I'll leave tonight if you want me to, on one condition. (BEAT) Esther goes, too. ACROSS THE ROOM Esther watches Kate and John. She can't hear what'they're saying. She looks worried. She turns to Doris. ESTHER Can I have a dollar for the pop machine? Doris gives her a dollar.from her'purse. Esther smiles and heads toward the vending machines.. Max watches her go. But as soon as Esther's out of sight, her cheery face turns to graiii.te. She puts the dollar in her pocket and sneaks away... INT. FOYER - NIGHT Back at home, the phone RINGS. The answering machine picks up. A MAN with an Estonian accent (DR. VARAVA) leaves a message: DR. VXMVA (V.O. ) I'm.calling for Katherine Coleman. - This is Doctor V.rava from the Saarne Institute in Tallinn. Please- cill me immediately;.. 98. INT. HOSPITAL - ICU - NIGHT Esther peers through a door.and sees Daniel lying unconscious with a rigid A traction, both his arms by wires heart rate monitor BEEPS Esther approaches his bed like the angel of deaths slowly drawing the CURTAIN around them. The HEART RATE MONITOR Is clipped to his finger. Esther slips .it onto her own finger. The machine continues to BEEP, registering her heartbeat instead of his. Slowly, she climbs up onto the bed, prowling like,a cat. She carefully straddles him and takes a pillow from under his head. The movement causes him to stir. His eyelids flutter. At the last moment, he sees her looming, over him... Then s 'ash s the ' i� 1 down ova hin face. he al Daniel struggles,. but he can barely move, traction wires JANGLING as he thrashes helplessly. His SCREAMS are muffled under the pillow. Esther viciously presses down with all her strength... INT. HOSPITAL - WAITING ROOM - NIGHT Max sits next to Doris, staring at. the hallway that leads tor-the .vending area, waiting She get s s p. walk toward iit, re d aounting.�looks worried. t u and s d a Maxine, where are you going? Max turns the corner. The vending area is empty. Esther isn.'t there. Max's eyes go wide with fear. INT. HOSPITAL -- ICU - NIGHT Daniel has stopped struggling. When Esther finally lifts the , pillow, his eyes are them a and slid s the pillow d u is headr gently closes e nderneath h Then she climbs down from the bed and slips the heart rate monitor back on his finger. FLATLINE. An ALARM sounds. IN. HOSPITAL - WAITING ROOM - NIGHT Max runs up to Kate and John. She urgently yanks Kate's arm. KATE What-is it, sweetie? Suddenly, a CALL comes on the overhead speakers: HOSPITAL OPERATOR (V.0.) Code ninety-nine, ICU. Code ninety- nine, ICU. 99. .Dr. Rajan runs by at top speed. Kate gasps, panicked. RATE Oh, My. God... Daniell She and John run after Dr. Rajan. Doris quickly grabs Max to keep her from following. INT. HOSPITAL -. lCD - NIGHT Kate and John follow Dr. Rajan.to the room where a CODE TEAM races to resuscitate Daniel. KATE Dan.iL-I! Kate and John try to enter the room, but the ICU NURSE stops them. KATE What's happening --?1 ICU NURSE You have to stay out here. _ They catch a glimpse of Dr. Rajan picking up defibrillator paddles before the door is SLANHEI) in their terrified faces. INT. HOSPITAL - ICU - NIGHT (TIMECtT) Rate and John sit outside, waiting. Dr. Rajan emerges. His face tells.them everything. Rate's crying before he even says a word. DR. RAJAN I'm sorry.. His injuries were more severe than we first thought. John chokes back tears. He holds Kate close as she sobs. KATE Oh, no... Oh, no... Oh, my baby... _ DR. RAJAN We're so sorry. A terrible loss, we're so sorry... Kate gets up and rushes into Daniel's room in time to see the ICU Nurse cover his body with a sheet. Kate collapses to the floor, weak with horror and grief. John tries to comfort her. Then slowly, Kate's eyes turn steely and her grief burns into rage. She pushes. John away and stands up. RATE Where is she? INT. HOSPITAL -- WAITING 'ROOM NIGHT Kate storms in and looks-'around, her-face a mask, of fury. John hurries after her. She spots Esther. returning from ding machines, - innocently sipping a. e c h t e 'ven KATE What did you do?! Heads'turi. Doris and Max are taken aback. Kate looks insane. She strides.toward Esther, gaining momentum with every step, but Esther just looks up at her with a half-hidden smile on her fa ce. RATE, What did"you do to him, you bitch?!. Them ,he slaps sE ther As ha as she. cmn h t e face, sending her reeling to it fioot Everyone is-horrified. JOHN Kate! Stop it! Rate looks ready to hit her again, but a NURSE holds her back. WAITING ROOM NURSE ORDERLY I Esther touches her mouth. She's bleeding. For a beat, she just lies r sr - uina shock he Th o John u and-in g bursts a into tear sen en-shewsees stantly ESTHER Daddy! Daddy! Help me! John scoops her into his arms; Kate is apoplectic. It takes TWO ORDERLIES to hold her. Max watches, crying. KATE She killed him! He was going to live and she killed him!1 JOHN She was out here the whole time! Dr. Rajan rushes in, readying a syringe. KATE No! Get away from me l i! DR. RAJAH Hold her still! A small crowd has gathered, watching with horror and pity as the Orderlies overpower her. Dr. Rajan-grabs Kate's arm, quickly hunts for a vein, then jabs the needle-in. Kate screams. 101. Pleaeet Somebody listen to me! She killed. my. babyI She killed my baby... But her eyelids are already. drooping . John watches, nearly overwhelmed with emotion. Kate goes limp in the Orderlies' arms. INT. HOSPITAL ROOM - NIGHT Kate lies in a bed, barely conscious. A NURSE. pushes -a 'sedative into an IV tube taped to Kate's arm. Rate looks -up 'groggily. and sees John talking to Dr. Rajan. DR. RAJAH We can keep her sedated overnight. John nods. He waits for Dr. Rajan and the Nurse to leave, then walks over and looks,down at Kate. She's fighting to stay awake. JOHN Mom's driving us home. I think it's better if you stay here tonight. I don't want you around the kids like this. Kate weakly grasps his hand, her voice a thready whisper: KATE John... Please... Please don't let her take my family... A long, emotional beat. John hesitates, conflicted. Then he places her hand back on the bed and turns away. She tries to call out, but doesn't have the strength. - She sees the girls waiting in-the hallway. Max has been crying. She looks scared. John leads them all away. And the last thing Kate sees-before blacking-out again is Esther's devious smile... EXT. COLEMAN RESIDENCE - ESTABLISHING - NIGHT LIGHTNING flashes in the distance. There's a storm coming. INT. MAX'S BEDROOM - NIGHT John tucks Max into bed. When he leans down to kiss her, we see Esther watching from the doorway. Max eyes her warily... JOHN What's wrong, sweetheart? - ESTHER She's thinking about Daniel. (to Max) Aren't you? 1.02. Max reluctantly nods. John gives her a sad look. JOHN Me, tQO. Esther enters and stands next to john at Max's bedside. BSTHER - Sweet dreams. - As she kisses max good night, Esther fuitively redches out and grabs Max's HEARING AID from off her.nigbtstand... l f 7T. ESTHER'S BEDROOM - NIGHT - Esther stands at her closet, 'looking through-her pretty dresses, leasantly.SUNG to herself. She holds one up to her chin, looks at herself in the mirror. Then another. She chooses a RUFFLY DRESS and lays it out on her bed. Shersands ov er it with a a pair of-Scissors in her h a nd , e y eing -it app g y. After -a thoughtful beat, she starts cutting its rufflesoff... INT. FOYER - NIGHT Esther's HUMMING can be heard O.S. John trudges downstairs,. exhausted and emotionally devastated. He-goes into the, living room, slumps in a chair, buries his face in his hands, and cries. CAMERA PULLS BACK, revealing the unnoticed answering machine in f.g. The light on it is BLINKING. One new message... TNT. UPSTAIRS HALLWAY - NIGHT walks down the hall,�ray with her dress draped over h er-army stillHUM MING. goes into the bathroom and c oses doo L INT. HOSPITAL ROOM - NIGHT Esther's HUMMING continues, no other sound here at'all... Rate comes to, fighting her drug-induced stupor. She forces herself to sit up and gingerly pulls the IV needle out of her arm. INT. HOSPITAL - ICU -- NIGHT Esther's HUMK NG.continues, still no sound. Kate stands in rthede. doorway. The bed Daniel was lying in is already-empty and as if -he was never here. RAIN streaks down the window. ]Cate enters and sits down heavily next to the bed. She touches the place where her son lay dead only bourn before. She brehks down and sobs inconsolably, but we can't hear it, only the SUMMING of Esther's lighthearted, melodic tune. 103. INT. FAMILY ROOM - NIGHT Back to NORMAL SOUND. John sits on the sofa, eyes red anti teary, watching a videotape-of Daniel pla'irig soccer. There's a NOISE from the kitchen.. Be_pauses the video, listens. A moment later, $OFT'KUSIC starts vlayin3 Q.S. An old, crackly recording from the forties of The Ink Spots singing "I'M MAKING BELIEVE." Sentimental, bittersweet, and a little creepy. Baffled, John goes to the kitchen... INT. KITCHEN - NIGHT ... and stops short at what he sees. Esther stands on a chair, cutting slices of cheese with a LARGE KNIFE. -She's prepared a plate of fruit, cheese,-and-crackers. She's wearing the dress we saw her choose, but with some alterations. The ruffles are gone, so are-the sleeves. It's low cut and too grown up. Her hair is perfectly curled and her face is caked with makeup --- powder, red lipstick, thick mascara, dark eyeliner -- giving her a grotesque, woman-child, eight-year-old- beauty-queen look. JonBenet Ramsey by way of Angelina Jolie. John is stupefied. She szailes at him. Outside, THUNDER RUMBLES. ESTHER 4 Hello, darling. JOHN What are you doing? ESTHER - - Making you a snack. You skipped your dinner. JOHN Get down from there. That knife's too sharp for you to be playing with. Esther climbs down from the chair and nonchalantly carries the cheese and cracker plate to the dining room, as-if he hadn't said anything. John follows her, dumbfounded... INT. DINING ROOM.- NIGHT There are TWO GLASSES and a bottle of SPARKLING WATER on the dining room table. Dim lighting and romantic MUSIC. John is completely nonplussed. 'Esther sets the cheese plate on the table. JOHN What is this? - 104. ESTHER.-- I wanted to do something special for you. I don't like my daddy to be unhappy. JOHN - But why are you dressed like that? $STHSR Don't you like it? JOAN No, I don't.- You're not supposed to play with Mommy's makeup. ESTHER I'm sorry, sir. I.just want to be as' pretty for you-as she is. JOHN You don't need makeup to be pretty. Esther is touched. She gazes up at. him lovingly. ESTHER You really mean that, don't you? JOHN of course. Why don't you go wash your face and we'll tuck you back into bed. ESTHER - But-1 worked so hard. Can't we stay up just a little longer? She gives him the big, sad eyes. They're a little disconcerting under all the makeup.. John sighs.' JOHN -All right. We'll have a little snack and then off -to bed. Esther beams. John sits down, reluctantly humoring her. Esther starts pouring sparkling water into the glasses. ESTHER We really. should be drinking that bottle-of wine, but I couldn't find it. JOHN Little girls aren't allowed to drink wine. ESTHER. I'm not so little. To family.. 105. She raises a glass in toast.: John gives her a sad look, but goes along with it. They-CLINK their .glasses together and drink. But. instead of sitting down,'Esther continues to stand next to 'him. She picks up a piece of cheese and tries to feed it to him. John eyes her uneasily'. 'Be takes the cheese from her.and eats it. JOHN Why don't you sit down? ESTBER I like being close to you. She gazes into his eyes and.touches his face. John moves her hand away, suddenly very uncomfortable. She hesitates, nervous... then eans saes Qn h. John grabs her arms and abruptly pushes. her away xn-shock and near-panic. ESTHER What's wrong? JOHN Don't ever do that again. ESTBSR I. thought you loved me. You said I was pretty. JOHN Of course, I love you. But not... it's different than how I love Mommy. You're my little girl. ESTHER Will you stop saying that? We can be together now, don't you see? She can't come-between us anymore. JOHN Who can't? You mean Mommy? ESTHBR She's not my inormyl Please, sir, I'll do anything for you... She reaches out to touch his face again, but he grabs her hand. JOHN Esther, stop it! I mean it. This is wrong. ESTHER Am I being bad? - You can spank me. it you-'.d like. I'll let you. I won't, evn cry. Unless you want me to. 106. John gapes with-disgust and horror,. He looks like he-might vomit. JOHN. God ouoin A beat. Esther looks heartbroken. Suddenly, she tries to kiss him again, desperate this time, throwing herself at him, pushes her to the floor. She frantically crawls back to him. Be hurries to the other side of the table. ESTHER Please! Please! You're ruin.ing it! JDHN Jesus Christ, lust stop talking! Go upstairs and wipe that shit off your facel Right nowt Esther runs upstairst crying.- John just gapes in utter disma and revulsion. He runs Into the kitchen and throws up in the sink. INT. ESTHER'S BEDROOM - NIGHT Esther situ at her little vanity table, looking at her overly made- up face in the mirror, and sobs hysterically... INT. HOSPITAL - ICU - NIGHT. - Kate is still sitting at Daniel's empty. bed, eyes red and puffy from crying. Outside, it's RAINING HARDER. Lightning FLASHES. Her CELL PHONE CHIMES. She eyes it wearily, considers not answering. 'After a few RINGS,-she picks up., KATE Hello? DR. VARAVA V.O.) is this Katherine Coleman? KATE Who's calling? INTERCUT: INT. SAARNE INSTITUTE - MORNING -Doctor Varava is a craggy-faced an in'his 50's. His manner is urgent, almost desperate. as he speaks on the phone. DR. VARAVA . My name is Doctor Varava from the Saarne Institute. I got your mobile number from Sister Judith. Kate sits up, suddenly roused. 107. RATE Did you get the picture I:sent? Did you recognize her? DR. VARAVA- Yes, X did. Where is she now? Is- she. with you? - KATE No, she's at home with my husband. DR. VARAVA Neetudl Call him ut and to get your family of � e ush er call the police. - KATE He won't do it. He's not going to do anything without some kind of proof. DR. VARAVA Then tell him that the little girl in that picture isn't a little girl. Kate stops short, confused and suddenly frightened. KATE . What are you talking about? The picture I sent, you was of our adopted daughter. She's only eight years old. DR, VARAVA. -No, she's not. She has a pituitary disorder that causes proportional dwarfism. She only Jcz Tike a child. INT. ESTHER'S BEDROOM -- NIGHT We're intercuttinq now with Esther at her vanity, her crying building to a MANIACAL WAIL, her MAKEUP STREAKING. from her tears. DR. VARAVA Her real name is Veera Klammer, she escaped from here eighteen months ago and she's thirty-two years old! Esther SCREAMS, slowly scratching her face with her fingernails.. RESUME KATE AND VARAVA Kate's mind is reeling. KATE This can't be. There has to be a mistake. 108. DR. VAPAVA Does she have the scars? RATE What scars? ESTHER - has stopped crying, her sorrow burning into blind, monstrous rage. She glares at her reflection, her mascara smeared down her cheeks. DR. 'VARAV- We'had to keep het .in a restraint jacket when she was here to stop her .from hurting' our staff, but she was constantly fighting against it until the collar and cuffs began deep into her skin. She wound up p scars from it. Around her wrists and neck; Esther black from her wrists and neck, revealing althe ly r scars over sew RATE AND VARAVA RATE E Oh, my God... - ow could this have happened? H DR. - VARAVA She's been passing herself off as a child for most of her life. 'She worked as a prostitute for years, catering to wealthy pedophiles. ESTHER curls her upper lip, looking at her top teeth. She reaches up, pulls on her teeth and -- RA-CLICK. y come out DR. VARAVA She even had a dental.appliance'made to complete the illusion by disguising her adult teeth. Re r- gerfect, earl white }aabY Beth e- d8rn at a f, e s t of- CRgmp, Eoia, fTx. DR. VtAVA When she was finally arrested, she continued the pretense to stay out of jail and: was sent to an orphanage. 109. A K TE .AD VARAVA DR.' VARAVA You're not the first to have been fooled. She's even-been adopted before. A family here in Estonia took her in.and lived with her fog over six. months. They never suspected. Kate-hesitatesa'b.eat, almost afraid to ask: KATE But why was ahe at your hospital? DA. VARAVA Veera is dangerously insane.. She was molested by her father and sexualized at a very early age. When. he. took another lover, he told Veera it was because she could heverbe a real woman. Veera murdered them both. ESTHER just stares at herself in the mirror. With her scars revealed, her face scratched, her mascara streaked down 'to her chin, and her awful, yellow, snaggletoothed sneer, she looks like a monster. DR. VARAVA She now sees herself as trapped in the body of a. child and it disgusts her. She wants to. be what her father considered to be a "real woman." She t wants o be a wife, a mother, a lover. She wants to grow up. - Suddenly, -she grabs her chair and SMASHES the mirror with it. Then she whirls and swings the chair into her aquarium with a 'feral scream --= CRASH! Water-and fish flood onto the floor. DR. VARAVA When she was adopted here in Estonia, = she tried to find love where she had found as a child. With her new lather. When he refused her, she bordered the entire family in, their sleep. END INTERCUT: KATE And then she burned the house down... DR. VARAVA Yes. How did you know? off Kate's horrified look -- 110. 4,. INT. ESTHER'S BEDROOM - NIGHT. John pushes the door open and looks inside. JOHN Esther? Are you-all right? She's not here. The light is on, but the room is empty. Fish are still FLAPPING around on the floor,-mouths. gasping. John gives the-broken aquarium an unnerved look. JOHN Esther, where are you? No answer. He turns off the light, about to look "elsewhere... then stops. With the overhead light off, the room is lit only by the black light in Either ' s broken aquar i u m, t 7UVALI ma Esther s p a n i tin ha a chap n S 's painted t = that they ook f een vri d er black h - - - John takes a closer look, turning the black light on and o ff. Unde gal lights the painting he saw when he first met Esther,- a mother lion and her sleeping cubs. .[Inds black Limos the cube are now dead and 'the mother's mouth .s dripping with blood. The paintings that looked like typical family portraits in normal light are now nightmarish visions of death and violence. In one, Kate's eyes have been gouged out. In another, Daniel's throat has been slashed. In the picture of the whole family, John- and Esther look normal, but Kate, Daniel, and Max are all decomposed corpses. John staggers back in shock. The telephone RINGS, startling him. The answering machine picks up. He hears KATE.'SVOICE, KATE (V. 0. John? Are you there? EXT. HOSPITAL PARKING LOT -- NIGHT Kate is on her cell., running to the- car. - KATE - John[ For God's sake, pick up the fucking phone! INT. ESTHER'S BEDROOM - NIGHT John turns to leave -- suddenly, th r bursts out mom undo her pile "of stuffed animals with ,s, 3ILD SC Sj3g a n he he�se�lf at John If rom the bed, } labs her scissors into his eve. John screams and throws herto the floor. Be stumbles out of the room, blood streaming down his face. UPSTAIRS HALLWAY John staggers to the stairs, the handle of the scissors jutting from his eye socket. But just as he hits. the first step, Baer rushes out and pushes tine cMm the etz{rs. FOYER John-goes flying, head over heels, crashing into the railing hard enough to SPLINTER it, and lands hard at the foot of the stairs. Be lies there in a heap, too stunned. to move. Esther appears at the top of the stairs. looking down at him. She. has a JU} P ROPE in her hands and starts slowly walkinq toward him, softly singing: ESTHER When I was juuust, a lifitle g .iirl I asked'my mother, what .will I be... leg is broke John tries to stand, but cries out in agony. Big He looks up, sees the table with the PHONE on it. As he painfully crawls toward it, Esther closes in on him, singing and winding the jump' rope around her fists like a garotte. -ESTHER - Que sera, sera, Whatever will be, will be... The future's not ours to see... John reaches for the phone, actually touches it, when Esther straddles him from nd,- the iump rope around his neck, and starts strangling with it. The phone.falls out of reach. John itoo dazed from the fall to fight. EST[3ER When I grew uuup and feeell in looove I asked my sweetheart what lies ahead Will we have rainbows, day after day Here's what my sweetheart said.-.. John chokes t clawing at the rope as she twists it tighter aid tighter. Finally, his head droops his remaining eye goes blank. Be'a dead. Esther gently lowers has body to the floor, a tear running down her cheek. She kisses him. Whispers in his ear: ESTHER Qua sera, sera. Suddenly -- a GASP from upstairs. Esther whirls. I 's 5 N ax.. She stands atop the .stairs,- paralyzed- with fear. She's, seen everything. Esther, looks-u at her with a reassuring smile on her awful, mascara-streaked, blood-splattered monster face. ESTHER It's all right, baby. -Come to Mommy. 312. I Max runs away. Esther scowls. ESTHER Shit l. She scrambles to her feet.. INT. JOHN'.S DUN NIGHT 'Esther Pulls John's gun case down-from the closet shelf, frantically unlocks it, and grabs the }. INT.TEXT. JOHN'S CAR -.NIGHT Kate is speeding home, talking on her cell phone. 911 OPERATOR ' (V . 0. ) Dracena nine-one-one. What is-your emergency? KATE I need the police. There's an intruder in my home. _ INT. MAX'S BEDROOM - NIGHT Esther enters, gun in hand, turns on the light. Max isn't here. Esther looks under the bed, opens the closet. Nothing. UPSTAIRS HALLWAY Max carefully peers out from.around a corner... Suddenly -- no sound.. This is how Max experiences the world. A silent vacuum. Her perspective is shot MOS. The hallway is empty and Max cautiously maces her way toward the stairs. Suddenly, Esther emerges from Max's room. Max quickly ducks into Daniel's room. Esther doesn't see her: DANXEL'S BEDROOM Max looks around for, a place to hide. She sees a TOY ROBOT lying on the floor amongst Daniel's things... KATE AND JOHN'S BEDROOM Esther is searching the walk-in-closet when she hears a LOUD NOISE from Daniel's room - something heavy falling over. She smiles. UPSTAIRS HALLWAY Esther edges toward Daniel's room, gun raised. There's a STRANGE GRINDING SOUND coming from inside... 0 7I 113. DANIEL'S. BEDROOM Esther enters and looks around, confused. There's a PM OF BOOKS that.have been knocked to the floor, but Max isn't here. Then she sees what's making the GRINDING noise.' It's the TOY. ROBOT. It's been placed atop a bookshelf, motor grinding, walking on wobbly legs. As it walks, it pushes books off the edge of the, bookshelf- onto the floor. That's what made the noise that lured her here. Esther scowls furiously at the robot and SHOOTS it. Her back is to.the doorway, so she doesn't see Max emerge from her hiding place in the bathroom. and slip- past. INT.fEXT. JOHN'S CAR -.NIGHT Racing through. the streets, running stop lights. Rate is still on her cell. - POLICE OPERATOR (V.O.) we have officers on the way, ma' amn. RATE Well, where the hell are they? Jesus Christ, I'll be there before they will POLICE OPERATOR (V.0.) Ma'am,- I need you to stay calm. 'Do not approach the house. Let the officers --- Rate hangs. up. INT. BATHROOM - NIGHT Esther enters, looks in the linen closet, pulls back the shower curtain. Nothing. she's getting frustrated. SUNROOM Streaking rain casts frightening shadowa in the glassed-in terrace. Max quickly sneaks in and crawls under one. of the numerous plant tables. Hanging leaves droop almost to the floor, hiding. her. But as she curls up in the shadows, she bumps into a table leg and unknowingly knocks over a FLOWER POT. MOS: -The flower pot SMASHES TO PIECES on the floor directly behind Max.' Naturally, she doesn't bear it. BATHROOM But E e does. She turns. Eyes narrowing, suspicious. SUNROOM - Max cowers underneath the table with her back to the door. She oesn gee Esther enter. 114. Esther looks around. The room is dark and- still: She starts looking under the plant tables, vne by one,.HUMMING to herself. Max is facing away from Esther and. doesn't see her-approaching Can't hear her HUMMING. Es er 19 a ogin -,is ... Suddenly, TIRES can be heard SQUEALING- out on the street. Esther stops and hurries to look outside. She.stands right acr oss from where Max ia hiding and seen her. Max presses 'her knees to her chest, trying to di sappe4r wMa under the table. Esther doesn't notice. Max is-right behind her, there are pieces of BRO=N POTTERY right by Esther's feet, but she hhassher.face pressed to the rain-streaked glass, trying EXT. COLEMAN RESIDENCE -- NIGHT Fate 's the house. durb and SKIDS to a stop on the wet law n She jumps o of the ar and sprints to the house. c INT. SUNROOM - NIGHT Esther sees Kate and leaves. Max breathes a sigh of relief- INT. FOYER - NIGHT Kate bursts through the front door and-runs insider from the rain and s es'John�'s crumpled on t e floor. e h KATE John! Oh, my God! John!'1 She rushes to him, but it's obvious that he's dead. She leans over his body and bursts into tears, aching at what has been done to him... then stop and steels herself for what ]sh jds to do.. JOHN'S DEN Kate hurries to the keepsake box and rummages for the.keys. Can't. find them. She. quickly looks around. Her breath catches. The CASE l ies empty on t floor, u let sca tered around it. KITCHEN Kate. runs in, sobbing She sees the big knife that Esther was using earlier, grabs it. Reconsiders. She throws it aside an d instead draws a huge goddamn BUTCHER'S KNIFE from the knife block. MAX'S BEDROOM Kate throws the door open. Max's bed is empty. KATE No!! 115. UPSTAIRS HALLWAY,. Kate runs back out, - crying, frustrated, knife' trembling in- her hand. She calls Esther out,.voice thundering with rage;.' KATE VEERAI VEERA KLAMMHRI - 'DOWNSTAIRS Esther hears her real name and freezes. Realization bits. Gig.'s up. It's over. Her eyes flit, panicky. She quietly darts away. BASEMENT STAIRWAY Esther opens the- door to the basement. She pulls open the breaker box and starts flipping SWITCHES. UPSTAIRS HALLWAY Kate cautiously moves down the hall suddenly, he lights go plunging - tlw o se into darkness. KATE AND JOHN'S BEDROOM Max freezes.- Now-she's blind as well as deaf. The only light comes from the FLASHES OF LIGHTNING through rain-streaked windows. KATE AND JOHN'S BATHROOM Max hurries inside and hides in the linen closet. UPSTAIRS HALLWAY Esther sneaks upstairs, hugging the wall, gun held ready. She pauses at the top of the stairs, waiting. Lightning FLASHES.. 'The- hallway is empty. She sidles along the wall... LINEN CLOSET MOS: Max is huddled on the floor, terrified. Suddenly, there's a FLASH of lightning --'mid Bhe A= fiba movement t�mn qb The 7oUvered slBts-.in .t225 t efo8�. KATE AND JOHN'S BATHROOM Th& shadowy fizmre is fate. She's within feet of Max's hiding place and doesn't know it. LINEN CLOSET MOS: Max watches the shadowy figure, nearly hyperventilating, not realizing that it'e Kate. It's coming closer, closer... then moves away. Max catches her breath. 116. UPSTAIRS HALLWAY - Kate heads back toward the stairs'. Esther raises the gun and -- BLAM! The knob on top of the bannister EXPLODES. Kate startles and whirls' to see Bather, just as she pulls frantically crawls/crabwalks into Esther's room, ehr teas ianother SHOT blows a chunk out of the moulding by ESTHER'S ROOM Kate stands by the door with her back to the wail, holding her bloody shoulder. Her eyes flit, searching for a weapon. Nothing. She's standing right outside the door. Kate breath. .Esther takes a wary step into the room, gun holds .her Suddenly, Kate lunges body checking Esther against the door. They struggle for the gun. It GOES OFF. Kate kno cks it out of Esther's hand and slams her to the floor, but Esth er is like a wild animal, kicking and shrieking and clawing at Kate'a face. For a moment, they're locked li ke that, Ka te's hand wringing Esther's neck, Esther's thumb into Kate's wound. Kate screams in agony, twisting. Esther wriggles out from under her and scrabbles/slides into the hallway,-quickly scoops up the gun -- FOYER =-bnt Rate mat-out TA S her 'and the tw-q of i o.tvmbl n down the s. They-hit the already splintered secon of the mailing and t gives way- -- CRASB 1 Rate and Esther fly through the smashed railing and fall a tangled heap. Kate cracks her head. The gun goe toSthe floor s They're both stunned by the fall, breath knocked out. Kate is dazed, unable to move. Esther recovers first, looks around for the gun, can't find it. Kate stirs, fighting to stay cons cious. Esther squirms away from her crawls over to John's body, and wrenches the scissor from his eye so ket. Kate sees her but can only watch helplessly as Esther stagg p towa-rd her, bloody scissors clutched in her little fist like a dagger, 117. Then. TSOi hits Es a i�g the ' the head. ad and clocked her with a heavy Piece of Max 'has snuck up from be 1i Way to go, slugger ! the broken railing stung like a .basebal l bat. Esther stumbles to her 7mee6, but manages to shake it off. She slowly rises and turns on Max with a feral snarl. Max tries to- hit. her again, but Esther is ready this time and swats the blow aside. She rips the piece of railing from Max's bands and .tosses it across the .room. Then.she knocks Max to the floor with a fierce backhand from her fiberglass cast.. XATE' eees this and desperately searches fot the gun. She spots it under'nder a nearby table and starts dragging he rself toward it... the Esther hears gun S he- es Y%ate for the guw,tnd at her, scissors raised above head g screaming with hate. Kate reaches whi the n. Esther 's , almost-on her. Kate grabs the gun, ls a nd � Esther staggers back with a bZ hole an ehr the t . Max watches, wide--eyed, as Esther limply drops the scissors and gives the smoldering bullet hole in her chest a surprised look. Blood.trickles from her mouth. She looks up at Kate, frightened tears welling in her big, sad eyes. ESTHER Please" don't hurt me, Mommy. rat fucking chance, bitch. Kate SHOOTS her again. This one goes right between those pretty eyes. Esther falls to the floor, dead gaze staring at the ceiling, a pool of blood .expanding around her pretty Shirley Tem ple curls. Kate drops the gun and crawls over to Max, scooping her into her arms and hiding her face from the horrible sights all around them- For a long moment, mother anddaghte r o just�holdaeacheother close. Kate strokes Max's hair, cry ng u What Kate can't see"is the'slack, traumatized expression on Max's bloodied face. .vacant and emotionless. That spark you should see in the. eyes of a"child, gone forever. CAMERA PULLS BACK and we FADE - OUT . THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Other Boleyn Girl, The.txt b/unformated_scripts/Script_Other Boleyn Girl, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..743b7fbff3c6d1a8cb7f29aa51baa1e2da9a86cd --- /dev/null +++ b/unformated_scripts/Script_Other Boleyn Girl, The.txt @@ -0,0 +1 @@ + THE OTHER BOLEYN GIRL Written by Peter Morgan Based on the novel by Philippa Gregory FEBRUARY 2006 T EXT. FIELD - DAY1 1 We're moving through a cornfield. At speed. The sound of children's laughter. Excited shrieking. A beautiful young girl, (MARY BOLEYN, 8), our heroine, runs through the fields, being chased by her younger brother, GEORGE, and sister, ANNE, (10). Touchingly, MARY is barely taller than the corn, her head skimming along the sheaves. REVERSE ANGLE TO REVEAL: the children are being watched by their parents, (SIR THOMAS and LADY ELIZABETH BOLEYN). SIR THOMAS I received a formal request for marriage today for Anne. (a beat) From the Carey family. SIR THOMAS indicates to ANNE; the eldest. Dark-haired. Intelligent. The obvious leader among the children. LADY ELIZABETH But that's wonderful. SIR THOMAS I turned it down. LADY ELIZABETH turns...`What?' SIR THOMAS And offered them Mary instead. SIR THOMAS indicates MARY, the middle child. Fair-haired. Pretty. Sweet-natured. SIR THOMAS Fnne's too good for William Carey. She can do (better than a merchant's son. LADY ELIZABETH You underestimate Mary. SIR THOMAS Not true. I think she's..the kinder of the two. Quite possibly the fairer. The CHILDREN, meanwhile, have started a race.. SIR THOMAS But to get ahead in this world, you need more than fair looks and a kind heart. On the field, ANNE wins. She jumps up and down, holding her arms aloft, as MARY flops to the floor. Vanquished. 2. SIR THOMAS smiles, `See?' He walks towards ANNE.. SIR THOMAS (applauding his favourite) Bravo! Anne! EXT. BELL TOWER - TEN YEARS LATER2 2 Bells ring high up in the bell-tower of a country church. INT. MARY'S BEDROOM - DAY3 3 MARY, ten years older, and grown into a heavenly bride is in her room, surrounded by MAIDS and SEAMSTRESSES making final adjustments to her dress. A knock at the door. ANNE May we come in..? ANNE and GEORGE enter. GEORGE lets out a low whistle.. ANNE Look at you..! Younger than me. More beautiful than me. Married before me. (a beat) I am eclipsed. I am just the `Other Boleyn Girl.' MARY Hardly. GEORGE No, is this it? This is the end of the unholy trinity? GEORGE extends her arms, wraps them around his two sister. An intimate moment. MARY No, George. Never. I'll be married, that's all.. (a beat) Apart from that - it won't change a thing. The three of them hug together, tightly.. INT. CHAPEL - DAY4 4 A packed country church. The PRIEST officiates in Latin. The air is thick with incense. And winter cold.. 3. The entire BOLEYN FAMILY is assembled on one side. FATHER, MOTHER, the DUKE and DUCHESS of NORFOLK, brother GEORGE, and finally ANNE.. PRIEST Confirma hoc, Deus, quod operatus es in nobis.. The PRIEST sprinkles the ring with holy water. WILLIAM CAREY, (35), puts it on MARY's finger. few rows back, a young NOBLEMAN stares at ANNE. Looks at her across the church. Obviously attracted. ANNE notices. INT. BOLEYN HOME - NIGHT5 5 The party afterwards. MUSICIANS play. The bride and groom, (WILLIAM and MARY), are dancing, surrounded by WELL-WISHERS and other GUESTS.. WILLIAM Are you happy? MARY Very. WILLIAM You don't secretly wish you'd married someone grander? With a title? MARY No. I want a husband who loves me. And who thinks it first thing every morning. And last thing at night. WILLIAM Then you've found the right man. IN ANOTHER CORNER: ANNE is dancing with her brother GEORGE. She looks up to see the NOBLEMAN who was staring at her across the church.. ANNE Who is that? He was staring at me in church? GEORGE That's Henry Percy. Heir to the Duke of Northumberland. Richest landowner in England. ANNE's eyes widen in interest, "Really?" (CONTINUED) 4. GEORGE But don't get your hopes up. He is already betrothed. GEORGE indicates a tall, haughty-looking FIANCEE beside PERCY.. ANNE Betrothed is not married, brother George. A lot can happen before you reach the altar. ANNE stares over at HENRY PERCY. Who stares back. IN ANOTHER CORNER:6 6 he DUKE OF NORFOLK, the most powerful nobleman in the room, and close personal friend of the KING's walks with his growling DOGS to where SIR THOMAS BOLEYN and LADY ELIZABETH are sitting. SIR THOMAS gets to his feet.. SIR THOMAS Thomas.. he DUKE ignores THOMAS, and goes instead to his sister, (LADY ELIZABETH), and kisses her.. NORFOLK I think I have managed to persuade the King to come and stay with you on progress. A week-end's hunting in late summer. SIR THOMAS But that's wonderful! Thank you, thank you so much.. (he turns to ELIZABETH) Did you hear that, Elizabeth? LADY ELIZABETH (hates the idea) Yes. SIR THOMAS Finally we can present George, and with luck, get him a position at court. LADY ELIZABETH excuses herself, and leaves.. NORFOLK These are difficult times. I have it on good authority that the Queen no longer bleeds - yet the matter of a male heir is still not resolved. a beat) It cannot be long before the King is forced to look outside the marriage. (CONTINUED) 5. SIR THOMAS What? And make a bastard King of England? NORFOLK A legitimized bastard. What choice does he have? (a beat) Obviously, I've given it thought, and wondered which Howard girl I could put under his nose. Imagine the influence that would give us. To be blood family of the next King of England. Equally, imagine if another family were to achieve the same? NORFOLK indicates SIR JOHN SEYMOUR in the corner, and his two loathsome, ambitious sons EDWARD and THOMAS.. SIR THOMAS What about Anne? SIR THOMAS turns, and indicates ANNE across the crowds, who's dancing with GEORGE... SIR THOMAS I realise as a `Boleyn' she is not officially a `Howard', but as your sister's daughter.. NORFOLK But she's your eldest, Thomas. Your first born. And your favourite. Wouldn't you prefer her to have a nice, uncomplicated, respectable marriage? Like Mary? SIR THOMAS If Anne were an uncomplicated, respectable girl like Mary, then I'd say `yes'. But she's not. SIR THOMAS looks out at ANNE.. SIR THOMAS She's anything but. INT. BOLEYN CASTLE - DAY7 7 SIR THOMAS and LADY ELIZABETH stand in a corner, watching the party continue. ELIZABETH's face darkens.. ADY ELIZABETH don't like it. It would cost a fortune to make our house fit for a royal visit. Money we don't have. (MORE) (CONTINUED) 6. And what if theDY ELIZABETH(cont'd) LA king doesn't like her? Or if she sleeps with him but gives him a girl? SIR THOMAS And what if you were to look on the bright side? Just once? An ominous clap of thunder outside.. SIR THOMAS Risk nothing, you gain nothing. ADY ELIZABETH stares at her husband.. LADY ELIZABETH hen was it that people stopped thinking of ambition as a sin, and started thinking of it as a virtue? SIR THOMAS Easy for you to say. You've had power and wealth all your life. LADY ELIZABETH Until I married you, Thomas. And I was happy to give it up. LADY ELIZABETH turns, and walks back inside. INT. CORRIDOR - NIGHT8 8 ANNE knocks on the door of her father's study. She waits. Presently, the door opens. We see SIR THOMAS inside.. ANNE You asked to see me father? SIR THOMAS Yes. Come in. SIR THOMAS closes the door. INT. HEVER CASTLE - NIGHT9 9 MARY is in a bathroom. Being prepared by ANNE for her wedding night. ANNE brushes her sister's hair. Rubs oil in her skin. MARY o - the King himself is coming to Hever. I'm so happy for George. ANNE Yes. But Father took me aside. It seems he has ambitions for me, too. (a beat) (MORE) (CONTINUED)1 7. He thinks I'm ANNE(coage dnow...and of not of an nt' ) unpleasing appearance... MARY What? What are you saying..? ANNE It's known the King has a wandering eye. Imagine...if he were to like me? MARY But...you could never be more than his mistress. And that's no substitute for a husband. ANNE But as the King's mistress the least I'd get after he finished with me would be an Earl. And if I fell pregnant? And gave him what his wife has failed to? a beat) Quite apart from the money, it'd be a Duke at least. MARY But what about your happiness? Your future? ANNE shrugs, smiles.. ANNE I could be a happy Duchess. INT. BEDROOOM - NIGHT 0 10 MARY and ANNE enter the bedroom. A sea of candles. MARY stares at the bed. A child. Suddenly terrified. ANNE Are you nervous? MARY A little. ANNE You'll tell me everything in the morning? MARY I promise. ANNE No details spared? The two SISTERS hug tightly. Visibly emotional.The door opens, and WILLIAM CAREY appears in the doorway. ANNEcurtseys, gives MARY a last `Good luck' kiss, then goes.MARY stares at her husband. MARY Hold me a moment?WILLIAM CAREY envelops MARY with his arms.. MARY (cont'd) I'm so lucky to have a man who is content with what he has.MARY looks at him.. MARY (cont'd) You are, aren't you?WILLIAM CAREY smiles, looks at his gorgeous bride.. WILLIAM I am the luckiest man in the world.WILLIAM reaches for the wine.. WILLIAM (cont'd) Drink?MARY shakes her head. But WILLIAM tenderly insists.. WILLIAM (cont'd) You should. It will hurt less.MARY nervously drinks.. WILLIAM (cont'd) Lie back.MARY lies down. Then she lifts up her nightdress. WILLIAM pullsdown his trousers.MARY extends her hands. Inviting him to join her. WILLIAM slowlylowers himself on top of her. He enters her.MARY smiles, in anticipation of pleasure. A side to her onemight not have imagined.But one or two strokes later, and WILLIAM's knuckles whiten, hisface reddens, then he cries out, and slumps on top of her.MARY looks up. Surely that wasn't it? WILLIAM (cont'd) Thank you. (CONTINUED) 9. WILLIAM rolls over. MARY stares. Soon WILLIAM snores contentedly. MARY is wide awake. Confused. aybe this is how it's meant to be. FADE TO BLACK: EXT. ENGLISH COUNTRYSIDE - DAY11 11 The thunder of horses' hooves. A huge cloud of dust. The Royal Standard flutters in the wind. Beneath it, a SOLDIER in the KING's uniform, riding hard, dirt kicking up in his wake. The SOLDIER is flanked by a dozen other of the KING's SOLDIERS, who lead a coloumn of fifty or more RIDERS.. It's like an army. A legion riding into battle. But it's not, This is just the KING OF ENGLAND going away for the week-end. Behind the advance party, is the KING himself, (30's), handsome, in his prime, surrounded by a dozen or so of his closest COURTIERS, (among them the DUKE of NORFOLK), a grand, tough, intimidating lot. Behind them, comes the KING's CONFESSOR, a Priest with a large ornate crucifix, a small library of religious books.. Then, in a riot of colour, come the MUSICIANS, the FOOL and the PLAYERS, led by the MASTER of the REVELS. Behind them, come the SQUIRES and PAGES, carrying the King's weapons, his jousting kit, his swords, his armour, his lance, etc. Then come the animals: FALCONS, in cages, and the HUNTING HOUNDS, beagles and pinchers, barking in excitement, and an assortment of FRESH HORSES for travelling, and hunting. And finally, bringing up the rear, another unit of ARMED GUARDS, and a second STANDARD BEARER..1 EXT. HEVER - DAY 2 12 The BOLEYN family page, (WILLIAM STAFFORD), is perched on a hill. Keeping watch. Staring into the distance.. Presently, he sees clouds of dust and the sound of thunder approaching. His expression changes... EXT. HEVER - ESTATE - DAY13 13 Pandemonium breaks out among STAFF and FAMILY MEMBERS as STAFFORD calls out, "The King!" 10. INT. HEVER - DAY14 14 ANNE is being dressed by MAIDS. Hearing the commotion outside, she rushes over to the window to see the approaching RIDERS. ANNE looks out of the window. Scans the approaching RIDERS until she finds the KING.. ANNE There he is! The young HENRY TUDOR is a dazzling, magnetic, intensely glamorous and handsome figure. A total contrast from the bloated, bearded figure of his later years. ANNE You think he will like me? MARY Of course, sister. How could he not? ANNE turns to face MARY. The two SISTERS embrace tightly. EXT. HEVER - DAY15 15 The entire BOLEYN FAMILY is nervously assembled outside the house, (which we notice has been transformed at great cost. Huge marquees in the gardens. Fountains. Additional staff. Smart uniforms. New extensions to the stables and kitchens). MARY is discreetly hidden, among the CROWDS. ANNE is pride of place. Visibly nervous. SIR THOMAS and LADY ELIZABETH are beside her. The proud PARENTS. Everyone bows deeply in deference as the King arrives. SIR THOMAS Your Majesty, you are most welcome. The King dismounts athletically. His DOGS are unleashed, bark excitedly.. HENRY Sir Thomas. kisses hand) Lady Elizabeth.. A SERVANT in stiff, new uniform, with trembling hands, brings wine on a tray. HENRY takes a glass.. SIR THOMAS May I present my son, George. GEORGE, visibly nervous, bows deeply from the neck. But HENRY's attention has been caught by a beautiful woman behind GEORGE.. (CONTINUED) 11. HENRY (while staring at MARY) Your Uncle tells me I should have you at court. Should I? GEORGE It would be a great honour, Sir. MARY dutifully, modestly averts her eyes.. SIR THOMAS And our daughter, Anne. ENRY turns to see ANNE. ENRY No one said anything of a daughter. ANNE curtseys deeply... HENRY Had we known, we might have come sooner. ANNE Your Majesty.. SIR THOMAS Perhaps you'll allow Anne to show you around our modest house? HENRY A pleasure. ANNE offers HENRY her hand. He takes it, then leads ANNE away. MARY shoots ANNE a look, `Good luck'. EXT/INT. HEVER - DAY16 16 ANNE leads the KING through the house. She is followed at a distance by SIR THOMAS BOLEYN. And watched by MARY and GEORGE from a gallery above.. ANNE Here is the library. HENRY Charming. ANNE And through here, the observatory.. HENRY Lovely.. HENRY looks up, his eye having been caught by something.. (CONTINUED) ( H ( A 12. HENRY What's that? HENRY points at an emblem above a doorway.. ANNE falcon, your Grace. HENRY I can see that. But what's it doing there? More to the point.. (turns 360) ..not just there, but in every corner in the house? ANNE I have no idea. Ask my father. a beat) Perhaps because falcons are vaguely associative with field sports - field sports with aristocracy - and in the absence of a genuine coat of arms.. (shrugs) ...a man with ambition will do the strangest things. HENRY is delighted by ANNE's candour.. ENRY That's a sharp tongue you have. a beat) I wonder what it might say about me behind my back? ANNE Oh, his Majesty has nothing to fear from me. Unless he fears an excess of compliments. HENRY smiles, visibly charmed.. HENRY Really? And what would they be..? WATCHING FROM ABOVE, MARY smiles to herself, "Well done, Anne", as HENRY and ANNE continue down a corridor.. INT. BOLEYN HOUSE - EVENING17 17 The entire BOLEYN FAMILY is assembled, frantically changing ANNE from her day attire to her finest evening clothes. SIR THOMAS watches.. (CONTINUED) K M 13. SIR THOMAS Bravo, Anne! The King was quite smitten! Told me so himself. And has requested you sit beside him at dinner. SIR THOMAS adjusts her hair.. SIR THOMAS My girl. My dear, remarkable girl. I knew you would up to the task. MARY watches. A momentary stab of jealousy at FATHER's attention. But as ANNE looks over at MARY for support.. MARY smiles. Shakes herself out of it. It's her sister. What was she thinking? INT. BOLEYN HOME - NIGHT18 18 MUSIC is being played. Everyone is dressed in their finest, a packed banquet hall. MUSICIANS come to a climax, loud and enthusiastic applause from everyone. HENRY gets to his feet.. HENRY Well played! And, may I say.. (a modest smile) ..an excellent choice of music too! nowing smiles from the COURTIERS, SIR THOMAS and LADY ELIZABETH, the DUKE of NORFOLK, etc.. HENRY Sir Thomas, Lady Elizabeth, dear Anne. Your health. H ENRY raises his glass. Cheers and applause from the COURTIERS. A beaming SIR THOMAS raises his glass. CUT TO: LATER: dinner is served. Everyone is eating. HENRY and several close COURTIERS are engaged in debate.. HENRY ..I had it from the lips of the Spanish ambassador himself. That our musicians are the envy of all Europe. BRANDON ..then he was flattering you, your Grace. HENRY Our Universities and philosophers, too. (CONTINUED) H ( B 14. BRANDON ...another lie. That honour would have to go to the Germans. HENRY What of our painters, then? RANDON Years behind their Italian counterparts. The truth is far from leading the world, we're a provincial outpost, lagging far behind. HENRY What? Is no one proud to be English? (turns to ANNE) Anne? What say you?ANNE gulps. The clanking of cutlery. All eyes on her. ANNE Me, my Lord? clears throat) I know little of such matters, but I've not heard mention of our armies. Undefeated, I believe, in a generation. ENRY Well said. ANNE Or our navy? The finest in the world. HENRY It's true. ANNE The universities in Spain and the philosophers in Germany may be strong, but are they really the equal of Oxford and Thomas More? HENRY Never! ANNE I doubt there is a country that is fairer in Government, or better protected by nature from her enemies, whose people are happier or more prosperous.. HENRY She's right, by God! She's right!HENRY is delighted. SIR THOMAS stares proudly across the room atANNE. Who's hand, we notice, is shaking. (CONTINUED) A I T ( S 15. Her heart pounding in her chest. INT. STAIRCASE - BOLEYN HOUSE - NIGHT19 19 SIR THOMAS stops ANNE on her way upstairs. SIR THOMAS You did well tonight. Very well. Quite enough to be invited to court, I am sure of it. SIR THOMAS kisses ANNE's forehead.. SIR THOMAS Now go to bed. Get a good night's sleep. Because there's still the hunt tomorrow. a beat) You must excel at that. SIR THOMAS watches ANNE go. Admiring her. Then he turns to see his wife, ELIZABETH. She turns away in disgust. INT. GIRLS' BEDROOM - NIGHT20 20 MARY and ANNE lie together. In spoons position. ANNE is fast asleep. MARY strokes her sister's hair. Eyes open. wo vulnerable, young children.21 21 EXT. HEVER CASTLE - STABLE YARD - DAY The following morning.. Thirty or more RIDERS, STABLE-BOYS and HORSES are gathered. To one side, a deafening pack of DEER-HOUNDS, (wire-haired Lurchers), barking frantically. t's a scene of great activity, excitement, and anticipation. The MASTER OF THE HORSE helps HENRY mount his steed - the biggest and most glamorous stallion of all, with wonderful, ornate saddlery. number of OTHER LADIES are also going hunting, and we notice they ride pillion, (ie), riding on the same horse as their MEN, sitting behind them, holding onto them.. F inally, ANNE comes out. The KING turns.. HENRY Good morning, Anne. ANNE curtseys deeply.. (CONTINUED) H B A W 16. ANNE Good morning, your Grace. HENRY ho will you be riding with? It's clearly an invitation. He indicates there is room for ANNE on the back of his saddle. But ANNE fails to read the signal. ANNE On my own your Grace. HENRY Your own..? A STABLE-BOY leads out her horse. ANNE They have invented a new saddle which allows ladies to ride on their own. ANNE skilfully mounts the horse, and sits upright.. HENRY ut with no man to hold onto? How will you stay on the horse? ANNE Why? The same way you hold onto yours, your Grace. A flicker behind HENRY's eyes. It's the first wrong move ANNE has made. HENRY We'll see. ENRY yanks the reins on his horse.. HENRY Let's away! ANNE shoots a look at MARY. Then follows. EXT. COUNTRYSIDE - DAY22 22 The thunder of hooves.. WILLIAM STAFFORD leads the way out with a pack of some forty or fifty hounds. It's a stirring sight. Following the hounds, come thirty or forty RIDERS, led by the KING himself. HENRY (kicking his horse) Hah! (CONTINUED) R T I 17. Up ahead, the HOUNDS start to bark. Their pace increases. They've got a scent. The BUGLER blows his horn.. The DOGS begin to increase their pace. The RIDERS urge their horses to gallop. The LADIES hold tight to their MEN..2 EXT. FIELDS - DAY 3 23 Up ahead, a STAG, wide-eyed, innocent, lifts it's head.. The sound of the hunting bugle and the roar of approaching footsteps, like thunder. The STAG twitches in fear, then bolts off towards the forest. EXT. FIELDS - DAY24 24 The DOGS and RIDERS roar across fields. The hounds snarl, almost delirious with primal agitation.. Among the RIDERS, the more advanced HORSEMEN have already opened up a clear lead on their weaker counterparts.. n the advanced group, are HENRY, several COURTIERS, his GUARDS and, of course, ANNE.. They jump over a hedge. One of HENRY's COURTIERS catches the hedge and falls. HENRY smiles, then turns to see.. ANNE comfortably jumping the hedge herself. HENRY's smile fades. He urges his horse to greater speed.. HENRY (kicking his horse) Hah..! EXT. FIELDS - DAY25 25 The terrified DEER bolts into safety of the forest. The barking HOUNDS, locked into the scent, follow. he RIDERS see this, and some pull up. IDER We've lost him. He's in the forest. Galloping through trees and thick forest is not for the fainthearted. But HENRY charges past, kicking up dirt.. HENRY Then we must follow. H T H S T H2 18. INT. FOREST - DAY26 26 HENRY weaves skilfully through low-hanging branches. He looks over his shoulder, ANNE follows, close behind.. Sharp branches tear at HENRY's face. Some draw blood. Behind him, several other COURTIERS suffer lashes from the branches, and pull up. But not ANNE. She kicks her horse harder. Seemingly impervious to the whipping branches.. ANNE Hah! Ahead, the DEER darts and weaves. The HOUNDS give chase. EXT. FOREST - RAVINE - DAY 7 27 alf a mile ahead.. A steep ravine, with a sheer drop of twenty-five feet deep. At the bottom, a brook with dangerous rocks, then another sheer climb of twenty-five feet the other side. The DEER arrives, looks, then scampers down the ravine, pursued by the HOUNDS. he remaining RIDERS arrive. They see the DEER scramble up the other side, followed by the DOGS, slipping in the mud, and struggling with the brook. everal DOGS fall. Yelping in fright and pain as they lose footing and fall on the rocks. The KING pulls up his horse.. HENRY raises his hat, and salutes the DEER. ENRY he King of England defeated by a humble fawn. The COURTIERS laugh, then they turn their horses around and head off. ANNE stares. It's a clear opportunity to impress. She looks down at the rocks. A long stare, then.. ANNE (suddenly kicking horse) Hah! The COURTIERS gasp in disbelief as ANNE lurches forward, and leaps into space, heading fearlessly down the sheer ravine. orse and rider almost tumble down the vertiginous, lethal drop. But, reaching the bottom, the horse leaps across the brook, then scrambles up the other side. (CONTINUED) A H2 T H T A 19. She made it! Exhilarated, ANNE turns, breathing hard. The KING stares at her. The COURTIERS stare at her. long silence. Nothing but the sound of wind in the trees.. COURTIER Please, your Majesty. It's not safe. HENRY turns and stares daggers at the COURTIER, `Silence'. He stares across the ravine at ANNE. Their eyes meet. hen he kicks his horse, `Hah!', and lurches forward. He heads down the sheer ravine. The COURTIERS gasp, rush to the edge of the ravine to watch. ANNE goes to the edge her side. ENRY's horse slides perilously down the ravine, then struggles to clear the brook, and lands heavily in the water. he KING struggles to keep control, and as the horse tries to scramble up the bank the other side, it loses it's footing in T the mud, it's hooves grasping horrifically at air.. he COURTIERS cry out in horror, ANNE covers her mouth as.. The KING's horse falls backwards, unseating HENRY, sending him flying, and worst of all, landing on top of him as they fall and tumble dreadfully down into the brook, and onto the rocks.. Pandemonium breaks out. The sound of shouting voices, cries of horror, raising the alarm. ANNE's FACE: what has she done? INT. HEVER - NIGHT 8 28 HENRY slowly comes to, to find himself staring at a number of faces. A PHYSICIAN, SIR THOMAS BOLEYN, the DUKE of NORFOLK, one or two COURTIERS, and finally, ANNE.. PHYSICIAN It's a miracle, Majesty, you have no broken bones.. HENRY flinches in agony, tries to move.. SIR THOMAS My daughter Anne is here. Would like to apologise. ENRY (recoils, his pride hurt) No! Get her away from me! ANNE opens her mouth, wants to protest, but is hastily ushered out of the room. (CONTINUED) H 20.LATER: HENRY's wound is being dressed by MARY. HENRY And who are you? MARY Mary, your Grace. Anne's younger sister.HENRY looks her up and down.. HENRY You've been here all week-end? MARY Yes, your Grace. HENRY Really? How could I have overlooked you? MARY Next to Anne, it's easy to do. HENRY Nonsense.HENRY sits up, takes H better look. Intrigued. a ENRY (cont'd) Tell me about yourself. You're married? MARY Yes, your Grace. To William Carey. ENRY From Wolsey's office? MARY Yes, your Grace. HENRY Then why haven't I seen you at court? MARY Because I have persuaded him to spend a year or two here first. We have a small manor and some land. Nothing much. But enough to start a family. HENRY A charmed life in the country? Away from it all? MARY Yes. (CONTINUED) M ( ( 21. HENRY Everything I would have wished for myself. But then my brother died. a beat) And duty called. HENRY looks at MARY, then.. HENRY You don't think he'll miss court? a beat) A young, ambitious man? MARY He says not, your Majesty. MARY lowers her eyes.. MARY But, if he ever changed his mind, I would always support him. HENRY stares at MARY. HENRY Well said. EXT. HEVER CASTLE - DAY29 29 Strapped and bandaged, HENRY is helped onto his horse. Beside him GEORGE BOLEYN is also on a horse, riding off to court for the first time.. SIR THOMAS and LADY ELIZABETH bow, curtsey farewell.. HENRY Thank you again, Lady Elizabeth. We'll take good care of your boy.. (kissing her hand) And Thomas.. HENRY embraces him, whispers in SIR THOMAS's ear.. HENRY You'll take care of that matter? SIR THOMAS Consider it done, your Majesty. HENRY shoots a lingering look at MARY, which ANNE notices. Then the King and his entourage ride off. MARY waves farewell to GEORGE. ANNE stares. Suspicious. M Y M ( M 22. INT. HEVER CASTLE - DAY30 30 MARY and ANNE are sitting together. Presently the door opens, and WILLIAM STAFFORD emerges.. STAFFORD Your Father wishes to see you. MARY and ANNE get to their feet. STAFFORD raises his hand.. STAFFORD Just Mary. MARY shoots ANNE a quizzical look, then goes with STAFFORD. ANNE's smile fades. A flicker of suspicion. She follows.. INT. SIR THOMAS'S STUDY - DAY31 31 An intimidating atmosphere. Dogs lie at the feet of the DUKE of NORFOLK. SIR THOMAS looks up.. NORFOLK Mary, I don't know what you said or did - but you obviously made a deep impression on the King. exchanges a look with SIR THOMAS) And he has requested you come to court with immediate effect. MARY's eyes widen in disbelief..'What?'32 32 INT. CORRIDOR - SAME TIME ANNE listens at the door. Horrified. ANNE What?!? INT. SIR THOMAS'S STUDY - SAME TIME33 33 WILLIAM STAFFORD watches from the doorway as the DUKE of NORFOLK, WILLIAM CAREY and SIR THOMAS smile delightedly, staring at MARY.. NORFOLK ou're to pack and leave first thing in the morning. MARY shoots a desperate look at her husband.. (CONTINUED) T B 23. NORFOLK The King himself has secured you a position in the Queen's household. MARY ut I don't want to go to court. Nor does my husband.Silence. SIR THOMAS ell her.WILLIAM CAREY clears his throat. Avoids MARY's eyes.. WILLIAM The King has also offered me a position. As Gentleman of the Privy Council. MARY What? SIR THOMAS Y'hear that? Gentleman of the Privy Council! Attending to the private and personal needs of his Majesty himself! That's the inner sanctum!MARY's shell-shocked, lost for words.. MARY But what about our future? Here in the country? NORFOLK Put it out of your mind. From now on your home is at court. MARY William, please! Don't you understand what this means?MARY stares imploringly.. MARY They will separate us. Put me in different accommodation. Where the King can always...find me.WILLIAM CAREY averts his eyes.. NORFOLK Happily your husband understands the value of such an opportunity. (a beat) For us all. (CONTINUED) B W M ( 24. MARY What about Anne? Couldn't she go instead? SIR THOMAS's expression darkens. A flicker of pain. SIR THOMAS The way that girl behaved this week-end, she can count herself lucky she still has a home. INT. CORRIDOR - SAME TIME34 34 ANNE'S FACE, outside the door: it's as if a knife had been plunged into her gut. She turns and runs down the corridor..35 35 INT. WILLIAM CAREY'S HOUSE - NIGHT WILLIAM and MARY lie in bed. MARY is equally wretched. Tears are M also running down her cheeks. She stares at her husband.. MARY How could he DO this to me? My own father. a beat) What if we just refused? WILLIAM We would be cut off. He made that clear. MARY But would that be so bad? MARY stares at him.. MARY Position means nothing to me. Nor wealth. We could find somewhere. A small farm. Away from everything. WILLIAM You say that now - but when you're older? And our children are grown up? (comforting her) This won't last long. A year. Maybe two. And at the end of that - we'll we have everything we want. (a beat) It's for our FUTURE. MARY ut can't you see? Do this, and we might not HAVE a future. A M3 25. EXT. BOLEYN HOME - STABLES - DAY36 36 MARY is getting ready to leave. She turns a corner and `bang', walks straight into ANNE. A tense moment. The two SISTERS stare at one another.. MARY I'm so sorry.. ANNE What for? You think I want the King? Or to be used and abused by him? (puts on brave smile) No! You're welcome to him. I have my own plans, which don't involve becoming a rag that will one day be discarded. MARY stares, saddened, `Oh, Anne', but there's no time to talk. She has to go. ANNE is left. Her eyes blazing. EXT. PALACE - DAY 7 37 MARY and WILLIAM ride through London streets escorted by SERVANTS bringing their belongings. They approach Whitehall Palace. Armed GUARDS slowly open the gates. MARY's face: as the heavy gates open. She shoots a last look at the `free' world outside. Then, she rides through the Palace gates. `CLANK', the heavy doors shut behind her. The outside world has been totally sealed off. Faces appear at palace windows, staring down at the `new arrivals'. mong them: is HENRY himself. He stares out of the window. Sees MARY. Then he lets the curtain fall. INT. COURT - DAY38 38 KATHERINE of ARAGON, (late-30's), imperious, intimidating, Spanish. Surrounded by other LADIES IN WAITING, (mostly high- born, Spanish, and the QUEEN's age). A SERVANT announces.. SERVANT Mary Carey, Ma'am. QUEEN KATHERINE looks up..`Who?' QUEEN KATHERINE Who? SERVANT The new Lady in Waiting. (CONTINUED) ( I M P M ( S 26. QUEEN KATHERINE Really? But I was not expecting anyone. ERVANT Appointed by...his Majesty the King. QUEEN KATHERINE By my husband? Really?The air crackles with tension. It's school bullying. QUEEN KATHERINE Well, then she must be some kind of gift. He must have seen in her some special talent that would please me. Tell me. What special talent is it that you have? with icy contempt) Apart from your obvious youth and beauty?T errified, MARY stammers.. MARY I...I.. QUEEN KATHERINE oetry, perhaps? MARY N-no.. QUEEN KATHERINE Or dressmaking? MARY I..I.. QUEEN KATHERINE Music! That's it! You compose? Or sing? MARY ..I'm afraid not. Your Majesty. QUEEN KATHERINE Come, you're too modest. turns to a MUSICIAN) Signor Vasquez.The Spanish GUITARIST obliges by starting to play a well-knowntune of the period.. MARY No..really..I beg you, your Majesty. (CONTINUED) M ( W 27. QUEEN KATHERINE (barks, suddenly terrifying) I command you to SING!!! MARY flinches. Blushing deeply, her skin glowing with perspiration and terror, she begins to sing.. Normally she sings well. But her voice now is strangled with fear. MARY stands rigid, her knuckles whiten, nails digging into her hands, drawing blood. Finally, MARY finishes. The room is silent. All eyes on KATHERINE, who stares coldly. A formidable adversary. QUEEN KATHERINE Bravo! A nightingale! (the cruel satisfaction of victory) Welcome at court! INT. CORRIDORS - WHITEHALL PALACE - AFTERNOON39 39 MARY walks through the packed corridors of court, her face burning from the humiliation. The sound of a voice behind her.. WOMAN'S VOICE ait! Mary! Stop! But MARY does not hear. She continues walking, distressed, and distractedly enters.. Finally, she is caught by JANE PARKER, whom we had seen at the window earlier. Younger, also English, a kindred spirit.. JANE I know that must have been agony, but put yourself in her shoes. She knows the only reason the King has asked you here is because he desires you. For a wife that must be very difficult. a beat) She's a good woman. Trust me. JANE smiles. MARY manages a smile.. J ANE (cont'd) Jane Parker. MARY Mary Carey. The two girls shake hands. JANE You have a brother, don't you? George? (CONTINUED) J 28. MARY Yes. JANE I've seen him a few times at court. And like him...very well. (a beat) But I don't think he has noticed me. MARY I can't imagine. (a beat) Should I mention you to him? JANE Would you? MARY Of course. Happily. ANE PARKER smiles. But as soon as MARY's back is turned, the smile fades. EXT. TILTYARD - DAY40 40 A large dusty yard, where KNIGHTS train for combat, and practise their fighting skills. MARY is with GEORGE, who is putting on his armour.. GEORGE Not noticed her? Jane Parker? Of course I have. How could I not? She looks like a goat. MARY Well, she likes you, and asked me to give you this..to remember her by. MARY hands over a handkerchief.. GEORGE Ugh. Well say you haven't seen me. Or that you forgot. GEORGE hastily gives it back.. GEORGE (cont'd) There is something about that woman that makes me feel... (he shudders) GEORGE gets to his feet, indicates to his MALE COURTIER friend that he is coming.. MARY And our sister? Any word? (CONTINUED) H H M A 29. GEORGE ANNE? You know she took being upstaged by you very badly. MARY Yes, I know. GEORGE And no amount of interventions on my behalf would make her believe you hadn't done it intentionally. MARY But you KNOW I would never do anything like that. GEORGE I know. GEORGE finds his helmet, puts it on.. GEORGE (cont'd) Just give her time. She'll come round. MARY watches GEORGE go to join the other MALE COURTIERS. INT. MARY'S ROOM - COURT - DAY41 41 MARY enters her room, and closes the door. She begins undressing, taking off her clothes, then catches sight of a DOG in the shadows. She gasps. It's the KING's dog. HENRY (O.S.) Please, don't be alarmed. ENRY steps out of the shadows.. MARY covers herself in modesty, and falls to her knees in a deep curtsey of deference. HENRY steps into the light, walks towards her.. H ENRY I wanted to find somewhere we could be alone so I might say a few words to you in person. ENRY turns, looks around the room.. HENRY I hope your accommodation is comfortable. I realise it's no substitute for the life you had in mind in the country.. (a beat) But please, give me the opportunity to try to make you happy here.. (MORE) (CONTINUED) N M ( ( 30. (a beat) NRY(cont'd) HE The moment I met you, I realised I.. HENRY tails off as MARY unbuttoning her dress.. HENRY (tailing off) What are you..? MARY's dress comes off her shoulder. The KING's eyes, however, instead of staring at MARY's beautiful, exposed body, stay focused on her eyes. An uncomfortable moment.. HENRY I am sorry. (delicately putting her clothes back on MARY) You obviously misunderstand me. HENRY bows in respect, then turns, and takes his leave, leaving MARY standing in the room.. INT. NORFOLK'S STUDY - COURT - NIGHT42 42 The DUKE of NORFOLK stares in disbelief at MARY. His dogs lie intimidatingly at his feet. NORFOLK What? If all the King wanted was coition, he could fetch in a woman from the bath house. a beat) What he wants is YOU. a beat) To woo you. And be wooed in return. (a beat) And could'nt you look just a little happier? There isn't a girl in the Kingdom that wouldn't wish to be in your shoes. MARY Your opinion, Uncle. MARY speaks quietly. Lowers her head.. MARY Mine is that it's the greatest insult of all. ORFOLK What? MARY Asking a whore to have feelings, too. WE'RE INTO A BRIEF MONTAGE: F T A T 31. INT. ROYAL CHAPEL - DAY43 43 An incense-filled Royal Chapel. The ARCHBISHOP is giving mass, in Latin, for the Royal Household. he King sits at the front, on the left. With the men. The ladies are separated, as is traditional, and sit on the right. HENRY is lost in prayer. It's not long, however, before he turns to look at MARY. EXT. COUNTRY CHAPEL - DAY44 44 Meanwhile, a remote country parish church. Far away. local PRIEST arrives. He sees two HORSES tethered to a tree by the side of the church. He dismounts. Checks no one has followed him. hen he enters the church.4 INT. ROYAL CHAPEL - DAY 5 45 In the Royal chapel: the ARCHBISHOP solemnly performs the Eucharist, breaking bread and making wine from blood.. But, in full view of all those in the chapel, the KING continues to stare at MARY. inally, she looks up. Their eyes meet. MARY blushes, averts her gaze. But then, for the first time, she reciprocates. And looks back. This is witnessed by the QUEEN, and further back, by the DUKE of NORFOLK and SIR THOMAS BOLEYN. Everyone is pretending to focus on the MASS. But none of them can concentrate.. INT. COUNTRY CHURCH - DAY46 46 In the country church: The PRIEST's eyes become accustomed to the dark. Everywhere, long shadows, eerie darkness.. PRIEST Are you there? Presently, a WOMAN steps into the light. It's ANNE. Dressed in a shawl. PRIEST No one saw you? (CONTINUED) P 32. ANNE No. PRIEST You brought the money. ANNE hands over a purse of coins. They walk to the altar.. PRIEST And the groom? Is he here? Up ahead, the GROOM slowly steps out of the shadows. Now we see his face. It's HENRY PERCY. RIEST Good. Then let us begin. EXT. ROYAL CHAPEL - DAY47 47 Back at court: the service ends. Everyone in the Royal Household filters out of the church. But it's a very different atmosphere to when they entered.. The extent of HENRY's affection for MARY is now public knowledge evidenced by.. ..the attention SIR THOMAS and NORFOLK now receive from CARDINAL WOLSEY and THOMAS CROMWELL, and the way in which QUEEN KATHERINE and her SPANISH LADIES are being neglected. MARY allows herself a private smile of satisfaction. Surprised at how good it feels. To be the number 1. INT. MARY'S ROOM - NIGHT48 48 MARY lies in bed, in a room covered in flowers. She admires a beautiful necklace in a box, and a handwritten letter from the KING. We can see from MARY's face how much she likes it. Presently, urgent `knock', `knock', at the door. MARY's eyes widen in excitement. The King? She hurriedly closes the necklace's box. Tucks the letter away in a drawer. She gets out of bed. Anxiously straightens her hair, then goes to the door, to find.. GEORGE, her brother, who bursts in.. MARY George? It's the middle of the night. (CONTINUED) (M S W I 33. GEORGE t's Anne. MARY hat? GEORGE he's married Henry Percy! MARY (horrified) What? GEORGE In secret. Without telling anyone!MARY's face falls.. MARY Oh, no...! GEORGE tailing off) You don't look pleased. MARY Why would I be pleased? GEORGE It would make her the future Duchess of Northumberland. Our sister! MARY But they'll never allow it, don't you see? He's already precontracted to Mary Talbot, and if word of the consummation gets out her reputation will be ruined..MARY pulls back her sheets.. MARY ...I have to tell Father. Before it's too late.. GEORGE What?GEORGE watches MARY go to the door.. GEORGE Mary..! Wait! Come back! A 34. INT. SIR THOMAS'S STUDY - BOLEYN HOUSE - LONDON - DAY49 49 A FAMILY MEETING: ANNE and HENRY PERCY, (the HANDSOME YOUNG NOBLEMAN from Mary's wedding), stand in front of the DUKE of NORFOLK and SIR THOMAS BOLEYN and GEORGE.. SIR THOMAS What were you thinking? The marriage of a senior noble is a matter of state. Something only the King can decide.. HENRY PERCY looks down, avoiding eye contact.. NORFOLK Who knows about this? ANNE No one. NORFOLK Then that is how it shall remain. Forever. ANNE But you cannot undo what has been done before God. (defiant stare) And consummated too. `Snap', NORFOLK's quill breaks. SIR THOMAS almost chokes. GEORGE's eyes widen.. NORFOLK WHAT? SIR THOMAS (struggling to contain his anger) There have been improper intimacies, too? ANNE I have lain with my husband. There is nothing improper about it.. NORFOLK SILENCE! My God, if you were my daughter I'd thrash you within an inch of your life.. ANNE recoils, terrified.. SIR THOMAS The boy will return to Northumberland - where he will marry the Talbot girl. As arranged. (CONTINUED) A ( Y ( N N 35. SIR THOMAS gives the signal for WILLIAM STAFFORD to escort PERCY out. ORFOLK As for you. You will go to France and stay there until you have learned your lesson. MARY What? ORFOLK How could you do this to your sister? You know full well her friendship with the King is at an extremely delicate stage. Any scandal or black mark against Mary's name now could be fatal. SIR THOMAS dismisses her.. NORFOLK You will join the court of the French Queen. And stay there until your father has forgiven you. ANNE goes. GEORGE follows.. INT. CORRIDOR OUTSIDE - DAY50 50 MARY paces anxiously in the corridor. Presently, ANNE emerges from the room. Burning with humiliation. Their eyes meet. MARY is about to speak, but ANNE cuts her off.. ANNE ou told them, didn't you? a beat) How COULD you? MARY Because you would never have got away with it. And it would have ruined your prospects forever. (a beat) Believe me. I did it for your good. ANNE Really? For MY good? I'll try to remind myself of that. While I'm in exile. And you're here, in the King's bed, and unchallenged for our father's affection. a beat) That it was for MY good. Not yours. MARY ANNE, wait..! (CONTINUED) M M Y M M I5 36. ANNE storms out. GEORGE shoots MARY a look, "I'll deal with this", and runs after ANNE.. OVER THIS: we fade in MUSIC and the sound of laughter.. INT. BALL-ROOM - PALACE - NIGHT 1 51 A grand MASQUE BALL. We're in a spectacular candle-lit ballroom. MUSICIANS play. Large formations of DANCERS perform elaborately choreographed moves. Among them we pick out.. SIR THOMAS BOLEYN stalking the party. Ever watchful. On duty. Vigilant. He is distracted by the sight of... His son, GEORGE BOLEYN, surrounded by FRANCIS WESTON and his FRIENDS. GEORGE is clearly in his element. Laughing in delight. Very fond and intimate with FRANCIS WESTON.. SIR THOMAS looks concerned for the first time. n another corner, MARY is in costume, but looking forlorn. She watches proceedings with a blank, distant expression. Presently, a voice behind her.. MASKED MAN Why look so glum, Mary? MARY turns to see a MASKED MAN behind her. MARY What reason have I to be happy? MASKED MAN ou have two men, the King of England and I, both fighting for your love. The MASKED MAN is tall. His voice is quiet, but strong. MARY Do I know you? MASKED MAN You know me, Mary - but not half as well as I know you. I know you better than anyone here. And love you better than anyone here, too. And if God had made ME your husband instead of William Carey, one thing I know.. (a beat) I would never have let you go. MARY's smile fades.. MARY Wait! Who ARE you? (CONTINUED) N B M M Y IM M 37.MARY lunges for the MAN's MASK to try and remove it, but the MANretreats into the safety of the shadows. Meanwhile..All around MARY the crowds part, and a deep voice booms out. ASKED MAN #2 Ah! Who have we here?!?MARY turns to see a SECOND MASKED MAN, (unmistakably the KING),surrounded by COURTIERS. M MARY My name is Kindness. MASKED MAN #2 wonder, will you be kind to me? MARY What is it you desire? MASKED MAN #2 our love, fair Lady. MARY You demand a great deal. MASKED MAN #2 No more than I would give in return.MARY notices her FATHER is among the masked COURTIERS. His eyesgiving MARY cues.. MARY It is easy for a man to declare love from behind a mask. ASKED MAN #2 ut if I remove it, you might reject me. MARY If your feelings were sincere, I would never reject you. MASKED MAN #2 But you do not know who I am? I could be ugly. Or poor. MARY o matter how you looked. Or who you were. MASKED MAN #2 Really? Then I shall hold you to your word. And unmask..!With a flourish, the KING rips off his mask.. (CONTINUED) H M H S 38. MARY Your Majesty..! SIR THOMAS urgently nods, `Go on!' MARY theatrically swoons. Falling into the KING's arms. A gasp among the COURTIERS.. HENRY he faints! Quick! Take her to my rooms! Call my physicians..! SIR THOMAS quickly picks MARY up. He carries her through the crowds, out of the ball-room.. QUEEN KATHERINE watches from a distance. A flicker of pain. Then, with great dignity and pride, she turns back to watch the entertainment.. INT. KING'S APARTMENT - COURT - NIGHT52 52 `Thump', the doors open, and MARY is carried into the King's apartments. HENRY fusses, brings water. Opens windows. ENRY Go! Leave us! Go! SIR THOMAS bows to the KING, shoots MARY meaningful look, `Don't fail me', and retreats. HENRY closes the doors. He and MARY are left alone. HENRY makes her comfortable. MARY Thank you, your Grace. HENRY `Henry', please. The first rule of this room, is to leave `Your Grace's' and `Your Majesty's' outside. ENRY looks up.. HENRY Is there anything I can bring you? MARY No. HENRY Nothing to increase your comfort or well- being? MARY You might ask your servants to bring me some water. HENRY goes to get water himself.. (CONTINUED) M HH 39. HENRY There. There ARE no servants.MARY's eyes widen. The KING of ENGLAND brings her a drink! MARYtakes a sip of her drink and watches as HENRY goes behind ascreen and begins to remove his costume. His mask.MARY notices a mirror, and watches in the reflection of themirror how HENRY removes the costume and status of KING andbecomes a MAN. Private. ENRY visibly unwinds, his facial muscles relax. He breathes outdeeply. His face becomes softer. More gentle. Then he puts on acomfortable robe, and emerges from behind the screen.HENRY goes over to a pile of cushions, and flops down - andsmiles at MARY. MARY So, this is it? This is where the King of England sleeps? HENRY And reads. And writes. And finds a few moments each day... (gestures) ...for himself.HENRY smiles at MARY.. HENRY (cont'd) You look surprised? MARY I am. I suppose it's more..MARY looks at the bed, the books, the pages of writing on thedesk.. MARY ..simple than I imagined. ENRY There's no need for show. I am only ever here alone. MARY And yet you invite me here? HENRY Because I trust you. MARY You hardly know me. (CONTINUED) M M ( 40. HENRY A man in my position develops an instinct. a beat) You would never lie, could never lie to me.MARY smiles, admitting he's right. MARY No. HENRY I also sense...that you might relish an opportunity to be yourself, too. MARY Yes. HENRY Well, here you only say what you like, do what you like. M MARY Very well.MARY smiles. Stretches out her legs. Relaxes.. MARY I'd like an apple, please.. (can't believe she's saying this) ..Henry.HENRY jumps to his feet, brings MARY an apple. MARY laughs,`Thank you'. Bites into the apple.. MARY Now it's your turn. HENRY What? MARY To say something, or do something you couldn't outside. HENRY There are many things I cannot admit to in public. Sadness, for example. And loneliness. MARY But when you are loved as much as you are? How can you be lonely? (CONTINUED) S S I H 41. HENRY Do you not know what it is to be lonely in a marriage? MARY Yes. I do now. ENRY married my brother's widow because my father ordered it. As a duty. To keep the alliance with Spain. And she is a remarkable woman. And wife. HENRY looks at MARY.. HENRY But I never looked at her or longed for her the way I do you. HENRY reaches out. Their hands meet.. HENRY Imagine how different it might have been. For both of us..had we been able to chose for ourselves.. HENRY leans forward and they kiss. Gently at first. MARY resisting. Then harder.. ensing this, the KING picks MARY up and leads her to the canopied bed, and lays her down.. They begin to make love. As radical a contrast to the scene with WILLIAM CAREY as it is possible to imagine.. MARY's eyes open. She gasps. Her hands grip the sheets.. INT. PALACE - DAYBREAK53 53 HENRY and MARY, entwined in one another's arms, as the sun rises... INT. CORRIDOR - OUTSIDE HENRY'S APARTMENTS - DAY54 54 Several hours later: WILLIAM STAFFORD is fast asleep in a window seat in the corridor outside. Finally, the door opens. And MARY emerges from the KING's apartment. TAFFORD Good morning. S TAFFORD jumps to his feet. Waking rapidly.. (CONTINUED) ( M 42. STAFFORD I have orders to bring you to your father. MARY stares at STAFFORD. As he straightens his shirt.. MARY My father..? a beat) Well, we'd better not keep him waiting. STAFFORD turns, leads the way. MARY follows. INT. NORFOLK'S STUDY - COURT - DAY55 55 The DUKE of NORFOLK's dogs are eating breakfast out of bowls by the fire. Slurping hungrily. The entire family is gathered. SIR THOMAS, LADY ELIZABETH. Also present is WILLIAM CAREY. NORFOLK Well..? MARY stares at her husband.. NORFOLK Did he have you? MARY's eyes burn.. MARY Yes. NORFOLK More than once? MARY stares daggers.. NORFOLK You'd better get used to talking about it. Once you sleep with the king, it's not a private matter any more. MARY Yes. More than once. WILLIAM CAREY's face: a flicker of pain.. NORFOLK So he was satisfied? MARY I believe so, Uncle. (CONTINUED) B G 43. NORFOLK ood. This is where our work begins. It's one thing to catch the king. Quite another to keep him. NORFOLK turns to SIR THOMAS, ignoring MARY as though she were a piece of livestock.. NORFOLK I want you to keep her spotless, hair washed every day. She must read all the latest books and be able to venture and defend an interesting opinion. She must know her music, must be energetic and entertaining - in company and in bed. That's how he likes his women. And if ever she's in any doubt as to how to conduct herself, or what to do next - she should simply watch the Queen. That woman kept him from straying for eleven years. And the effort almost killed her. ut SIR THOMAS has not heard. He is distracted. He watches from a palace window as, in a stableyard down below.. GEORGE and FRANCIS WESTON return from riding together. The sound of laughter as they dismount, and hand their horses to the stable-boys.. SIR THOMAS watches as GEORGE and FRANCIS walk back to the palace together. There's something in their manner, the intimacy between them.. SIR THOMAS's smile fades. INT. PALACE - DAY56 56 `Slap', HENRY spreads out a huge architect's drawing of a magnificent ship on a table. He sits with SIR THOMAS BOLEYN and the DUKE of NORFOLK. HENRY The biggest warship in the fleet. Thirty- two guns and two hundred feet long, and with your permission Thomas.. (We notice SIR THOMAS's clothes have become more expensive, grander) ..I'd like to name her after your daughter. The "Mary Boleyn". SIR THOMAS looks up in disbelief.. SIR THOMAS Majesty! I'm...I'm speechless.. (CONTINUED) O O A N 44. HENRY onsense. She's an angel. It's the least she deserves. And if there's anything else I can do for YOU, my friend..as an expression of my gratitude..let me know.SIR THOMAS's tails off. Thinking.. S SIR THOMAS s it happens..there is one thing. HENRY Name it.SIR THOMAS has clearly not stopped thinking about what he sawbetween GEORGE and FRANCIS WESTON.. SIR THOMAS ur son, George. He's of an age now.. HENRY You want me to make him a match?SIR THOMAS bows. Deadly serious.. SIR THOMAS Yes, your Majesty. HENRY Do you have anyone in mind? SIR THOMAS There is one lady, Sir.. HENRY Go on.. SIR THOMAS Who I fear is too high-born for us. And following the unfortunate matter between Anne and Henry Percy, I didn't want my children to overreach themselves again.. HENRY verreach themselves?HENRY can't help smiling.. HENRY One is currently in the King's bed. If they are good enough for me, I suggest they're good enough for anyone else. So.. (gestures) Who is it?OVER THIS: we hear GEORGE's distraught voice.. (CONTINUED) G S I S S G 45. GEORGE (O.S.) Jane Parker..? INT. SIR THOMAS'S STUDY - LONDON - DAY57 57 GEORGE BOLEYN, visibly shocked and distressed, stands in front of his father. EORGE I beg you, Father. No. SIR THOMAS She's well connected, her father is cousin to the King. And there's money, too. GEORGE But must I actually...marry her? SIR THOMAS's expression changes.. SIR THOMAS thought you had ambitions for this family. G EORGE I do. SIR THOMAS And that you wish to make a contribution yourself. Not just stand back and watch your sisters. EORGE nods.. SIR THOMAS Then my advice would be to start behaving like a man. A real man. Do I make myself clear? SIR THOMAS walks out. GEORGE stares after him.. GEORGE (quiet) Yes, Sir. INT. BALL-ROOM - PARKER FAMILY CASTLE - NIGHT58 58 MUSICIANS play. We're at GEORGE's wedding. Attended by the KING and QUEEN, all the senior LORDS. It's a markedly grander and posher affair than MARY's earlier wedding, a clear indication of the BOLEYNS' new, elevated status. (CONTINUED)SSRB 46.A formation dance is in progress. At the centre of it: GEORGEdances with a radiant, triumphant JANE PARKER. GEORGE's eyesmeet those of FRANCIS WESTON across the room. y contrast: HENRY dances with MARY. A couple with eyes on foreach other. Locked to one another. Blissfully unaware of anduninterested in anyone else. Silently counting the minutesbefore they can tear off one another's clothes.. EVERSE ANGLE TO REVEAL:Their intimacy is witnessed by WILLIAM CAREY, who we notice isnow drinking heavily, drowning his jealous sorrows..ELSEWHERE:SIR THOMAS BOLEYN is dancing with his wife, LADY ELIZABETH. Hehisses through a fixed smile.. SIR THOMAS For God's sake, it's the wedding of our youngest child attended by the King of England and the greatest Lords in the Land. Would a smile be too much to ask? LADY ELIZABETH What's to smile about? I'm a mother with one child on his wedding day looking like he's been condemned to death. he indicates GEORGE, who dances with JANE PARKER.. LADY ELIZABETH Another banished abroad, in disgrace. And a third whoring in public with an adulterer. SIR THOMAS For the moment she's happy.SIR THOMAS watches MARY who dances with the KING.. LADY ELIZABETH But will she be happy when he leaves her? Because you know that's how it will end. SIR THOMAS Only God knows how anything will end. LADY ELIZABETH God..? He turned his back on all this a long time ago.SIR THOMAS stares coldly at his wife. He applauds as the dancecomes to an end. (CONTINUED) W M W M W 47. IN ANOTHER CORNER: MARY and the KING also clap. HENRY whispers sexily in MARY's ear. She laughs. Then HENRY is called to one side... MARY is momentarily left alone. She looks up to see WILLIAM CAREY standing in front of her, swaying slightly. WILLIAM You're in love with him, aren't you? MARY illiam, you're drunk. WILLIAM How is it? With him? MARY stares - suddenly hard - punishing him. MARY He pleases me. Is that what you want to hear? WILLIAM What does he do to you? Tell me. I want to know.. MARY pulls away. But CAREY pulls her roughly to one side. HENRY sees this from across the room.. WILLIAM I know you look at me with contempt. But I had no choice. Your father insisted I stand aside. What was I expected to do? MARY Say `no', husband. (a beat) That was all you had to do. MARY pulls her arm away, and goes. She walks across the room, visibly shaken, and joins the KING.5 INT. HENRY'S APARTMENT - DAY 9 59 HENRY and MARY make love. Two people giving everything of themselves.. Hours later: they lie together, enveloped in one another's arms. MARY is awake. The King asleep in her arms. She lovingly strokes his hair. Watches him breathe. Her face is glowing. Content. And the look in her eyes tells us more eloquently and unequivocally than any sonnet.. (CONTINUED) I M 48. ...that she has fallen in love. FADE TO BLACK: INT. MARY'S APARTMENT - COURT - DAY60 60 The sound of groaning. Wretching. Shooting through a half-open door, we see MARY hunched over her basin, vomiting. P resently, she emerges from the bathroom. White-faced. Her hands instinctively covering her belly. MARY's eyes widen with the implications. INT. KING'S APARTMENT - DAY61 61 SIR THOMAS BOLEYN and the DUKE of NORFOLK stare at MARY. Also present are several PHYSICIANS and GEORGE BOLEYN.. SIR THOMAS Are you certain? MARY Yes. SIR THOMAS looks at the PHYSICIAN, who nods.. SIR THOMAS n that case...I suppose...someone should tell the King. INT. HENRY'S APARTMENT - DAY62 62 Shooting through a half-open door.. SIR THOMAS and the DUKE of NORFOLK are having a private audience with the KING. SIR THOMAS whispers something in HENRY's ear.. (WE DO NOT HEAR THE WORDS - WE DO NOT NEED TO). HENRY's face breaks out in a smile. He delightedly shakes SIR THOMAS's hand. OVER THIS: the sound of a voice.. SIR THOMAS (O.S.) Keep them shut...still shut.. INT. COURT - ACCOMMODATION - DAY63 63 A blindfolded MARY is led through doors by SIR THOMAS..into a suite of grand, unfurnished rooms, the most prestigious accommodation at court.. (CONTINUED) ( L ( G 49. SIR THOMAS Now open! MARY removes her blindfold. She gasps in disbelief, turns 360 degrees, staring at the size, and grandeur of the location.. SIR THOMAS There's more. Thanks to you, I am to become an Earl. Your brother a Viscount. EORGE smiles at MARY, who's eyes widen.. SIR THOMAS (cont'd) In addition, we have received a number of new grants and estates. pointedly, to LADY ELIZABETH) So our debts are paid off. But LADY ELIZABETH remains granite-faced.. LADY ELIZABETH Just be aware. These `gifts', this `favour' can go as swiftly as it comes. These rooms belonged to the Duke of Buckingham. Once the King's closest friend. Now his head rots on a spike.. SIR THOMAS Because he committed treason. ADY ELIZABETH But what is `treason'? It's anything the King or his lawyers decide it to be. Anything that offends him, or causes him displeasure. a beat) And can you assure me we'll never do that? LADY ELIZABETH turns and walks out. MARY looks anxiously at SIR THOMAS, who gestures dismissively.. SIR THOMAS Pay her no heed.. INT. MARY'S BEDROOM - DAY64 64 MARY wakes up. She gets out of bed. She goes to the window and draws the curtains. Then MARY looks down, and gasps. The floor has fresh drops of blood on it. MARY goes to her bed, and rips back the sheets. Her eyes widen in horror. There is blood all over the sheets. (CONTINUED) T 50. MARY covers her mouth. Lets out a loud cry. The sound of approaching footsteps as SERVANTS come running.. INT. MARY'S APARTMENT - DAY65 65 MARY lies on the bed being examined by several PHYSICIANS. SIR THOMAS and the DUKE of NORFOLK look on in concern. Finally, the PHYSICIAN turns, washing his hands.. PHYSICIAN Happily, the baby lives. She's not miscarried. S SIR THOMAS's face. Overcome with relief.. PHYSICIAN But the placenta is weak. For the sake of the child.. The PHYSICIAN clears his throat. This will not be easy.. PHYSICIAN She must begin her lying-in immediately. MARY (horrified) What? MARY looks up. Her heart sinks. MARY But I'm only three months..66 66 INT. MARY'S BEDROOM - COURT - DAY MARY lies in her bed, watching with a forlorn expression as MIDWIVES and MAIDS prepare the apartment for lying-in. APESTRIES with soothing biblical images are hung on the walls. CURTAINS are drawn for darkness. A large CRUCIFIX is placed in a corner. As each TAPESTRY is hung, the room becomes darker... ..and darker. ..and darker. MARY cranes her neck to remain in sunlight for as long as possible, but before long.. ..her face slips into darkness, and the room into total silence. And effective imprisonment. A T6 H Y 51. INT. MARY'S APARTMENT - DAY67 67 Darkness. The KING stands at the foot of MARY's bed. He is clearly uncomfortable in these `maternal' surroundings.. HENRY ou poor girl. All alone in here. But the time will fly by. MARY Will it? It's six months? HENRY I know. But the most important thing is a healthy child. ENRY takes MARY's hand.. HENRY (cont'd) I'll come and see you as often as I can. I promise. H ENRY kisses MARY, then goes. 8 68 INT. COURT - DAY The KING's birthday. The MASTER OF REVELS has organised a lavish ball. The entire court is assembled and dancing, but HENRY appears sullen, distant. Unable to celebrate. He misses MARY. he QUEEN has several of her prettiest SPANISH LADIES-IN WAITING surrounding the KING. Giggling, fragrant butterflies. But HENRY shows no interest. The DUKE of NORFOLK notices this. A flicker of concern. EXT. GARDENS - DAY69 69 An archery competition is in progress. But HENRY pays no attention. He sits listlessly to one side. Ill-tempered and missing MARY. mong the GUESTS are SIR JOHN SEYMOUR and his CHILDREN. They notice the KING, all alone. They talk among themselves. Sensing an opportunity, SIR JOHN SEYMOUR advances, and presents his pretty daughter JANE to the KING. The DUKE of NORFOLK, (never far away), notices how modestly and demurely young JANE SEYMOUR flirts. (CONTINUED) F 52. She has been well trained. But she makes no impact on HENRY. He waves the SEYMOURS away. Not remotely interested. or the moment. INT. MARY'S ROOM - LYING-IN - EVENING70 70 The KING is visiting MARY. He sits by her bed. They hold hands and are talking intimately. PULL BACK TO REVEAL: This is being watched by the DUKE of NORFOLK, and SIR THOMAS BOLEYN. NORFOLK's face is dark and brooding.. NORFOLK For the moment he's still visiting Mary. But for how long? The Queen will soon have his head spinning with pretty little Spanish things. Not to mention the Seymours with that girl of theirs. NORFOLK looks up... NORFOLK What we need is someone from OUR family who will keep the King focused on Mary, reminding him of her while she is absent. SIR THOMAS is about to speak, then changes his mind. NORFOLK What? Speak.. SIR THOMAS It's just...I was going to suggest Anne. NORFOLK You couldn't control that girl last time. What makes you think it would be any different now? SIR THOMAS I've had favourable reports from the Dowager Queen in France. It seems she is quite changed. INT. MARY'S APARTMENT - DAY71 71 MARY sits up. Her eyes widen in horror.. (CONTINUED) H M 53. MARY Why? Sitting beside her in the darkness, is her brother GEORGE.. GEORGE I suppose they felt three years of exile was punishment enough. MARY But the King visits me every day. There's no need for her. Or anyone else. GEORGE They just want to protect you. Leave nothing to chance. MARY But in who's interests do they imagine Anne will act? Certainly not mine. GEORGE turns, looks all around him.. GEORGE (cont'd) Why DO they make this room such a dungeon? Does it really need to be this dark? GEORGE notices MARY's vexed expression.. GEORGE Don't worry. She's had three years to forgive you. And she's not going to risk being sent away again. She'll do as she's told, I'm sure. (a beat) Besides, the most important thing is.. GEORGE moves MARY's lips into an upward shape.. GEORGE The three of us will be together again. MARY's lips: a reluctant, unconvincing smile.. FADE TO BLACK: EXT. KENT COUNTRYSIDE - COAST - DAY72 72 The thunder of galloping horses. alf a dozen RIDERS, among them a HOODED WOMAN, riding side- saddle, tearing across the countryside.. P 54. EXT. VILLAGES - DAY73 73 The RIDERS and the WOMAN gallop through villages, spraying mud. VILLAGERS stop and stare.. A MOTHER pulls a child out of the path of the RIDERS. EXT. COUNTRYSIDE - NIGHT74 74 The RIDERS and the WOMAN ride in silhouette against a perfect full moon.. EXT. COUNTRYSIDE - DAY75 75 HENRY and several of his COURTIERS return from a hunting trip. Several dead STAGS are carried on horseback. The atmosphere is celebratory. It's been a good day. Dogs bark in excitement. INT. GREENWICH PALACE - THAT NIGHT76 76 A dinner at court. HENRY is at one end, in serious conversation with foreign AMBASSADORS. Presently, at the other end of the table, loud laughter. H ENRY looks up, then returns to his conversation. It's not long before another loud gale of laughter in the corner of the room. HENRY looks up again. Then returns to his conversation. resently, a third roar of laughter at the other end. This time, HENRY loses patience.. HENRY What's the noise? I can hardly hear myself think! At the other end, a COURTIER gets to his feet.. BRANDON It's Mistress Boleyn, your Majesty. Her stories about life at the French court. They are particularly amusing. HENRY's expression changes. The room falls silent.. HENRY I'm only aware of one Boleyn girl and she is lying-in with a certain child in her belly! (CONTINUED) AHAA 55.SIR THOMAS BOLEYN gets to his feet.. SIR THOMAS It's my elder daughter, Anne, your Majesty. She has returned to court. HENRY What? That awful girl, Thomas? The one that almost killed me? (a beat) You allowed her back? SIR THOMAS The time abroad has done her good, your Majesty. I'm certain you'd find her much improved. HENRY Really..?HENRY looks down the table.. HENRY Well, come on. Where are you, other Boleyn girl? Show your face.ANNE slowly gets to her feet. HENRY looks up. When he seesANNE's face, his face falls..ANNE is a woman transformed. Gone are the simple clothes, puppyfat and lack of confidence.ANNE has become a glorious, head-turning siren; dressed indaring French clothes. er hood is half-crescent, and reveals the hair. Her necklineplunges sexily. Her sleeves are long and loose, offering daringflashes of arm and elbow..Like every other red-blooded MAN in the room, HENRY is utterlymesmerised. Speechless.. HENRY So? What is so amusing, Anne? Perhaps we might hear and judge for ourselves?ANNE dark, intelligent eyes stare back at HENRY. Suddenly, allsound fades, and the world shrinks around them: it's as thoughthey are the only two people in the room.. ANNE I was just giving my thoughts on the new French King. HENRY Which are..? (CONTINUED)HR R 56. ANNE That for someone with such great wealth, and power..he has surprisingly little authority as a man. HENRY Hah! ANNE And is SO consumed by one particular rivalry he can barely think. HENRY eally? And who is this rival? ANNE A neighbouring King, who's name one is forbidden to mention at court. Whose reputation haunts him in his thoughts and dreams. ipples of laughter, as people guess.. ANNE Whose armies and navy thwart his every endeavour. Whose physical and intellectual endowments are known far and wide. ENRY laughs too. Enjoying this.. ANNE In order to restore his confidence, this French King spends a fortune on anything that glitters, on building of castles with large towers..ANNE artfully gestures the phallic implications.. ANNE But these symbols of wealth and virility fail to convince. Talk among the ladies at court in France suggests..AANNE stops herself... HENRY What? ANNE That in this department too, the King has his shortcomings.ANNE's gesture, (discreetly wiggling her small finger). HENRYstares for a moment. A deathly silence. Has she gone too far? (CONTINUED) M O S I S E 57. Then HENRY smiles. Delighted. DOGS bark in bewilderment. Soon everyone in the room laughs too. xcept for the SEYMOURS, (SIR JOHN and his sons, EDWARD and THOMAS), who glower, mute, at the end of the table beside their sister JANE.. INT. MARY'S BEDROOM - DAY77 77 SIR THOMAS beams with excitement and satisfaction... SIR THOMAS You should have seen the Seymours! Their faces! MARY lies in bed. Sitting by her side is her father.. SIR THOMAS They must have thought that with you out of the way, they had a real opportunity with that pale-faced thing of theirs, Jane... SIR THOMAS smiles as he remembers.. SIR THOMAS (cont'd) But Anne put pay to that. Last night, the King only had eyes for us Boleyns. MARY shoots a private, knowing look.. MARY Or HER, you mean. SIR THOMAS What? MARY 'm wary of any suggestion that Anne would serve anyone but herself. France can't have changed her THAT much. SIR THOMAS n this occasion I am quite satisfied she was being loyal to you. MARY Really? MARY stares hollow-eyed.. MARY (cont'd) Then ask yourself this. If she is really so concerned for my well-being... (a beat) (MORE) (CONTINUED) ( H H7 58. ...then why hasRY(conot dcome to see me MA she nt' ) since she returned? EXT. TILTYARD - DAY78 78 HENRY and several of his closest COURTIERS are sparring close- combat sword fighting. It's tough, physical, no-holds barred stuff.. INT. ARMOURY - DAY 9 79 AFTERWARDS: HENRY and his COURTIERS, (among them GEORGE), are being undressed and washed by their PAGES and SQUIRES.. HENRY You're a fortunate man, George. To be blessed with G two such sisters. EORGE Yes, my Lord. There is a powerful physicality, a sexual confidence to HENRY which he exudes, even among men. He moves closer to GEORGE. ENRY Tell me. Are they as different in temper as they are in looks? GEORGE Oh, yes. Each has her own, quite distinct virtues. Mary for example.. HENRY I'm familiar with Mary's. Tell me about Anne's. GEORGE Anne? Well, she's strong. Some might say `difficult'. ENRY Headstrong. With a fiery temper. GEORGE But with it comes great passion, too. It's both the best and the worst thing about her. a beat) There are no half measures with Anne. HENRY Careful, you'll make me think I chose the wrong Boleyn girl. (CONTINUED) A S8 A 59. GEORGE Oh, no. I'm certain Mary is the right choice. You will have a serene, happy, life with her. The risk is with Anne, it might be like being caught in a wild summer storm. HENRY Is that so..? GEORGE has tried to put HENRY off. But might just have said the wrong thing. HENRY storm, you say..? INT. BOLEYN APARTMENTS - COURT - FOLLOWING DAY 0 80 A small, precious-looking GIFT BOX sits on a table. ERVANT From the King, madam. ANNE looks at the box. Her heart misses a beat. It carries the unmistakable royal seal. ANNE Open it. A SERVANT stares.. ANNE I said `open it.' The SERVANT opens it. Other SERVANTS crane their necks, stand on tiptoes. Inside is a large pearl pendant. The SERVANT gasps. ANNE, too. Covers her mouth. It's beautiful.. But from somewhere, she manages to find the strength.. ANNE Now close it again. And send it back. The SERVANT stares in disbelief.. ANNE (cont'd) You heard me. The SERVANT bows, and leaves, taking the box. ANNE watches, a look of mischief in her eyes. She's up to no good. INT. KING'S APARTMENT - DAY81 81 The SERVANT nervously stands in front of the KING, holding the box.. (CONTINUED) .8 60. HENRY She did what? SERVANT Sent it back, your Grace. HENRY's face. Confounded.. HENRY Sent it back? EXT. BOLEYN APARTMENTS - DAY82 82 A ROYAL MESSENGER, in the King's livery, holding a larger, more expensive looking GIFT BOX, walks towards the Boleyn house.. INT. BOLEYN APARTMENTS - DAY83 83 ANNE shakes her head, and sends the gift back. She looks anxious. Knows this is a high risk game she's playing. INT. KING'S APARTMENTS - DAY84 84 The MESSENGER stands in front of the KING, holding the rejected BOX in his hands.. HENRY What? Again? EXT. BOLEYN APARTMENTS - DAY85 85 The same ROYAL MESSENGER walks towards the BOLEYN house. This time holding an even larger, more expensive-looking GIFT.. INT. BOLEYN APARTMENTS - DAY86 86 Again, ANNE shakes her head, and sends the gift back. INT. KING'S APARTMENT - DAY 7 87 The KING is in a meeting with several AMBASSADORS on an important matter. The doors open. He looks up to see.. .the MESSENGER returning with the latest GIFT. HENRY's smile fades. H A 61. INT. CORRIDORS - COURT - DAY88 88 `Crash', the KING, flanked by several of his most intimidating COURTIERS, bursts through doors, and storms along a corridor. It's an impressive sight.. People scatter to get out of the way. INT. BOLEYN APARTMENTS - COURT - DAY89 89 The KING bursts in. Everyone leaps to their feet. SERVANTS stop and stare and curtsey. LADY ELIZABETH bows, clearly thrown.. LADY ELIZABETH Your Majesty. HENRY turns full circle, looking for someone.. HENRY Your daughter. Where is she? LADY ELIZABETH Mary..? HENRY Anne! INT. BOLEYN APARTMENTS - DAY90 90 ANNE hears the KING's voice. Her eyes widen. She looks down. Sees HENRY. ANNE smiles privately - it's confirmation that her strategy has worked. t that moment, HENRY sees her, calls out, `Anne!'. ANNE's smile fades. ENRY dashes up the stairs.. INT. BOLEYN APARTMENTS - DAY91 91 ANNE, who is not properly dressed for the KING, rushes back to her room. HENRY follows. ANNE closes the door.. HENRY Anne.. A ANNE (hurriedly dressing) Your Grace? They speak through the door.. (CONTINUED) A H A I A B 62. HENRY You received my gifts? ANNE Yes. HENRY And? They did not please you? ANNE On the contrary, my Lord. They pleased me greatly. HENRY Then why did you return them? Now ANNE opens the door. She appears wearing a stunning outfit.. INT. BOLEYN APARTMENTS - DAY92 92 ANNE steps into the corridor. Closes the door behind her. ANNE ecause my sister lies in bed with your child. If you wish to please me, Sir, then send her the gifts you send me. HENRY I have shown Mary enough kindness and generosity. It's you I want, Anne. ANNE beg you, my Lord, do not do this. What has changed so? HENRY YOU. Don't you see? YOU have changed. ANNE But Mary is still the mother of your child. And even if she weren't.. ENRY What? ANNE How could I forget that you chose her above me when we first met? You liked her better. HENRY Not true.. ANNE Either way, I could never betray my own sister.. (MORE) (CONTINUED) A9 T 63. (a beat) NE(cont'd) AN Now I beg you, leave me. This is too difficult to bear. HENRY You see! The same pain as mine! It proves you feel the same way! ANNE Perhaps. But since it can never come to anything.. HENRY Let me decide that. For now, you have given me hope. H ENRY goes on bended knee, kisses her hand, and goes. ANNE is left alone. She breathes out. Then looks down at her hands. hey are shaking. FADE TO BLACK:93 93 INT. MARY'S BEDROOM - NIGHT MARY is asleep. Dead of night. Suddenly she wakes up, and holds her stomach, `Ouch!'. It's the first contraction. INT. SIR THOMAS'S BEDROOM - SAME TIME94 94 SIR THOMAS is asleep. The sound of voices. A commotion outside. The sound of banging on his door.. STAFFORD Sir Thomas! It's Mary..! INT. MARY'S ROOM - NIGHT 5 95 MARY cries out in pain. The contractions become stronger. MIDWIVES and PHYSICIANS urgently do their business. Pots of boiling water. Primitive surgical instruments. PRIEST arrives, ready to perform the last rites.. INT. MARY'S ROOM - NIGHT96 96 The DUKE of NORFOLK, SIR THOMAS, and GEORGE BOLEYN arrive in MARY's bedroom, and stare anxiously as the labour begins in earnest.. SIR THOMAS Does the King know? (CONTINUED) A 64. GEORGE He's on his way.ANNE, who overhears this, surreptitiously adjusts her dress.MARY screams in agony. The labour is well and truly under way.Medically, it's a primitive, brutal affair..No comprehension of sterilisation. MIDWIVES have dirty hands.PHYSICIANS use rusty, blood-stained instruments..Presently: the KING arrives with several COURTIERS.. SIR THOMAS Any moment, your Grace.But the KING hasn't heard. He has seen ANNE. Suddenly, it's asif all sound, all vision disappears, except for ANNE. He standsbeside her..All around them the violence and dramatic activity of the birthunfolding; but for all their connection with it, HENRY and ANNEmight as well be in a rose garden.. HENRY Anne..ANNE stares ahead at MARY's bed.. HENRY Anne, I love you.. ANNE Your Grace, this is not the time.. HENRY I love you Anne. I cannot stop thinking about you. I cannot eat, I cannot sleep.. ANNE But how could I ever TRUST you?NORFOLK cranes his neck to listen.. ANNE When I have seen how you have betrayed first your wife. And now my sister.HENRY takes ANNE to one side... HENRY I vow from this moment forth I will never lie with my wife, or speak to your sister again. I will do anything you ask.. (CONTINUED)AA 65.MARY's contractions build. Birth is imminent. PHYSICIANS andMIDWIVES work to deliver the baby. ANNE thinks, then.. ANNE Then don't acknowledge the child.HENRY is thrown.. HENRY What?With a blood-curdling scream, MARY finally gives birth. SIRTHOMAS and NORFOLK crowd into the room, anxious to see.. PHYSICIAN A boy!SIR THOMAS turns towards HENRY, beaming with happiness.. SIR THOMAS It's a boy, your Majesty. A strong, healthy boy.HENRY's face: a boy? His eyes fill with emotion. This is what hehas waited for. A son.ANNE notices his conflict, and prompts him again.. ANNE What my sister has given you, I could, too.HENRY looks at the BABY, then turns to face ANNE. His eyes arefull of conflict, then..he silently nods.ANNE's face breaks out in a smile.. ANNE Very well.Then, in front of everyone, not caring how inappropriate it is,HENRY falls to his knee, takes ANNE's hand and kisses it.The audible sound of gasps. MARY watches in horror as HENRYfalls to his knees and kisses ANNE's hand.. M MARY (a dagger in her heart) Henry..?HENRY gets to his feet, then turns and walks away withoutlooking in the direction of MARY or the BABY. MARY (cont'd) My Lord..?MARY stares after the KING, but he does not turn around. (CONTINUED) L L A A 66. Instead, MARY's eyes meet ANNE's. ANNE's eyes stare back. The ultimate moment of revenge. barely perceptible smile of satisfaction, then ANNE turns and goes. The MIDWIVES and PHYSICIANS stare at one another, visibly embarrassed by what they have just witnessed. The clearing of throats, averting of eyes. Then they get on with their work to the sound of the MARY's cries.. INT. SIR THOMAS'S STUDY - NIGHT97 97 `Crash', SIR THOMAS and NORFOLK burst into the study, angrily slamming the door closed behind them. ANNE is inside. NORFOLK Damn you! Three years we've been working on this! Not a single detail was left to chance! And now, in the moment of our greatest glory.. NORFOLK stares at ANNE.. NORFOLK All I can say is you'd better have a plan. And it had better work. ANNE stares back defiantly.. ANNE Or what...Uncle? LADY ELIZABETH Stop it! Both of you. What shall we do about Mary? And the child? Or have we forgotten them already? ANNE Mary should go back to her husband. Not a flicker of emotion on her face. ANNE She has been inconvenienced long enough by this family. ADY ELIZABETH Fine. Then you can be the one to tell her. ADY ELIZABETH stares at ANNE.. (CONTINUED)1 A9 67. LADY ELIZABETH I think you've earned that privilege. LADY ELIZABETH turns and walks out. ANNE's smile fades.9 INT. MARY'S APARTMENT - DAY 8 98 MARY lies in bed. She looks pale. Exhausted. INT. CORRIDOR - DAY 9 99 ANNE stares into the room through a crack in the doorway. A flicker of doubt. What has she done? To her own sister? ANNE checks herself. Enough sentiment. She swallows it. nd enters. INT. MARY'S APARTMENT - DAY 00 100 MARY looks up as ANNE enters, and freezes.. MARY How can you show your face in here? ANNE I understand you're angry - but be assured. I did nothing, except remind him of you. MARY Oh, spare me. You did this deliberately. As revenge. (a beat) And now you have what you wanted you probably think justice has been done. ANNE Well, hasn't it? MARY Be careful, that's my advice. Learn from my experience. Because he'll only do to you what he has done to me. ANNE Never. I'll make sure he understands I'm a greater thing by far. That he can never have me until he makes me a far greater offer. (CONTINUED) O 68. MARY You'll never get Henry Percy back, if that's what you mean. ANNE That's not what I mean. ANNE's eyes burn with anger.. ANNE And don't you ever mention his name to me again. I'll never forget how you betrayed me. MARY If that's what you think, fine. Tell yourself that. ANNE I did, sister. Every day for three years. ANNE turns, and walks out. EXT. COURTYARD - DAY101 101 MARY is leaving COURT. Pale. Weak. Her belongings have been packed into boxes. Ahead of her, the BABY is being carried by MIDWIVES, led by WILLIAM STAFFORD. MARY walks across a courtyard, then stops in her tracks. VER BY THE STABLES: the KING and ANNE are mounting horses to go riding together. HENRY lifts ANNE up into the saddle behind him, (how she has learned!). ANNE holds tight, her arms wrapped around his waist.. At that moment, ANNE looks over and sees MARY. Their eyes meet. They stare for a beat, then.. ANNE kicks HENRY's horse, `Hah!', and they ride out. Galloping into the distance. MARY's face: fighting to hold onto her dignity. WILLIAM STAFFORD watches her, his eyes burning with sympathy. REVERSE ANGLE: to reveal, this is all being watched by QUEEN KATHERINE, from a palace window above.. QUEEN KATHERINE turns, and coldly lets the curtain drop.. EXT. COUNTRYSIDE - DAY102 102 MARY and her entourage travel through the countryside in a small caravan of horses and wagons. It's raining heavily. W 69. EXT. HILLSIDE - DAY103 103 The rain continues. MARY's carriage approaches the manor house. At one time this was everything she wanted. Now it's a prison. INT. MANOR HOUSE - NIGHT104 104 MARY sits at the dinner table with her husband, WILLIAM CAREY, who's health has deteriorated. He drinks heavily. A shadow of his former self. He stares at the BABY.. W WILLIAM Have you christened the child? MARY Henry. WILLIAM I see. A painful smile.. WILLIAM And is he to take my name? Or is he to be a Fitzroy or some other sign that he is a royal bast... MARY He is to be Henry Carey. WILLIAM I see. A silence, then.. WILLIAM Well, then, here we are. WILLIAM stares at MARY. Clearly still in love with her. WILLIAM I could pretend none of this ever happened. Start again. (a beat) If you could. MARY's face. Manages a brave smile. INT. CAREY'S HOUSE - COURT - NIGHT105 105 MARY lies in bed, her eyes open and staring blankly at the moon outside, as WILLIAM CAREY makes love to her. (CONTINUED) ( A H F M 70. After a short, frenzied thrashing..he climaxes, then as before, rolls over and falls asleep. MARY stares at the ceiling. ADE TO BLACK: EXT. PALACE - SUMMER106 106 Gorgeous sunshine. Greenwich Palace at it's most beautiful. EXT. GARDENS - DAY107 107 HENRY and ANNE walk through the gardens. Out of earshot of the entire court which is assembled outside.. HENRY Well, I have done what you asked. Will you give yourself to me, now? ANNE As what? HENRY My one true mistress. To whom I am loyal above all others? ANNE But it's not true. You are loyal to the QUEEN above all others. HENRY My wife? I barely see her. ANNE But she sits on a throne beside you. Accompanies you to every state function. ENRY For appearance sakes only. In every other regard, our marriage is a sham. ANNE Still, she is your WIFE. And ever present. And I feel her eyes on me. And those of her spies. ANNE nervously looks left and right.. ANNE And look at us. Forever reduced to meeting in secret like this. Speaking in whispers. a beat) Hardly conducive to passion? (CONTINUED) H ( 71. HENRY Well, what would you have me do? INT. COURT - DAY108 108 ANNE watches from a distance as HENRY talks to WOLSEY. We do not hear their dialogue, but the two MEN are having a heated discussion. Voices are raised. WOLSEY pleads with the KING to be reasonable. HENRY silences him angrily, then walks out.. INT. COURT - ANNE'S APARTMENTS - WINTER - DAY109 109 ANNE enters a lavish drawing-room, and sits down. She picks up a book, and pretends to be reading. HENRY enters, sidles up behind ANNE, putting his arms around her, then.. HENRY Wolsey has agreed to draw up plans for the Queen to be sent to a nunnery. HENRY kisses ANNE on the neck.. HENRY She will protest, of course. She won't go quietly, but she knows she has failed to give me a son, and deserves her exile. HENRY kisses ANNE) Which leaves you all alone at court.. He begins to unbutton her dress.. HENRY ...queen in all but name. Mother to any future heir. ENRY unbuttons and kisses lower, lower. HENRY So, is this assurance enough? Will you give yourself to me now? A flicker behind ANNE's eyes, then.. ANNE I'd like to. But I'm afraid I find the insult too much to bear. HENRY What insult? (CONTINUED) A A A H B ( H 72. ANNE Because as long as we remain unmarried, any child I gave you would forever be daubed `bastard' and I a `whore'. ENRY ut what alternative is there? throws hands up in exasperation) My love for the Queen may have died, but even you must concede, she is still very much alive. A ANNE Katherine of Aragon is alive. That woman is not worthy of the title `Queen'. ENRY Oh, Anne. ANNE I really do not know why we waste time talking of convents when you could annul the marriage. HENRY Annul it? ANNE That woman married two brothers and therefore sinned against God. HENRY But she never consummated the marriage with my brother. ANNE They were married six months. HENRY Arthur was a sick man. ANNE And Katherine is a shrewd woman who knew that her position as Queen would never be safe until she bedded your brother. (a beat) Talk to your advisers. They will tell you as much. ANNE walks out. HENRY stares. INT. COURT - SEVERAL MONTHS LATER - DAY110 110 ANNE sits in her study working. HENRY appears in the doorway. His face is dark. Conflicted. (CONTINUED) M S I ( T Y 73. HENRY Wolsey has agreed to charge the Queen? ANNE But that's wonderful. ANNE's smiles, then notices.. ANNE Why do you look sad? HENRY Because she will contest it. Which means putting her on trial. And hearing these delicate matters in public. ANNE es. But any court made up of YOUR Bishops will surely find in YOUR favour. And declare the marriage invalid. Now it's ANNE's turn to start kissing HENRY round the neck.. ANNE hen you, my sweet Lord, will be free to remarry. (sensing his arousal) Then I can give myself to you fully. kissing him lower, lower..) And give you everything you.. (a beat) ..desire. ANNE stops, leaving HENRY highly aroused.. EXT. COUNTRYSIDE - DAY111 111 It's mid-winter. A lone RIDER appears on the snowy crest of the hill looking down on Rochford Hall. t's WILLIAM STAFFORD, (now bearded). He kicks his horse. Rides down towards the house. INT. ROCHFORD HALL - DAY112 112 A fire roars. STAFFORD warms himself, staring at MARY's new baby daughter, (CATHERINE), in a a cot. TAFFORD She's beautiful. MARY Thank you. (CONTINUED) S M 74. STAFFORD I brought gifts from your family. A night-dress from your mother. (to YOUNG HENRY) This from your Uncle George. STAFFORD produces a small wooded sword from behind his back. Little HENRY takes the sword. Swooshes it with excitement. MARY Please be sure to thank them - though one wonders what's kept them so busy that not a single one of them found time to visit the new baby. STAFFORD It's Anne. She's turning this country on its head. She has persuaded the king to test the validity of his marriage, and put the QueenM on trial. MARY What? STAFFORD She continues to hold out. Expertly witholding her favours until... MARY ..until what? STAFFORD Until he makes her the ultimate offer. MARY's eyes widen.. MARY High stakes indeed. EXT. ROCHFORD HALL - STABLE YARD - DAY113 113 MARY follows STAFFORD out to the stables where freshly watered and fed horses are waiting.. MARY And my brother George? TAFFORD Continues to be promoted. As does your Father. I lost track of their latest titles. STAFFORD smiles. Mounts his horse.. (CONTINUED) T M H 75. STAFFORD ow is your husband? I heard he was unwell. MARY He is. STAFFORD I'm sorry. STAFFORD stares at her. Their eyes meet. STAFFORD opens his mouth, for a moment it looks as if he's about to finally declare his feelings, then.. WILLIAM (O.S.) Mary..! WILLIAM CAREY's voice calls out from inside. STAFFORD's expression changes. Now's not the right time. He kicks his horse, and rides off.114 114 INT. ROCHFORD HALL - BEDROOM - DAY WILLIAM CAREY lying in bed, emaciated, coughing blood, weak and sick, calls out for help, `Mary!'115 115 INT. ROCHFORD HALL - CORRIDOR - DAY MARY walks down a corridor towards her husband's bedroom. As she goes, she passes a window. She stops. And looks out. In the distance is WILLIAM STAFFORD's horse. Reaching the brow of a hill.. EXT. HILL - COUNTRYSIDE - DAY116 116 At that precise moment, WILLIAM STAFFORD's horse reaches the top of the hill.. STAFFORD (pulling horse up) Whoa.. STAFFORD turns, and faces back down at the house. He takes a last look. For a moment there is a connection between them both. hen, he turns, and kicks his horse, and rides over the brow. H A A 76. INT. ROCHFORD HALL - CORRIDOR - DAY117 117 MARY watches him go, then stops - catches herself feeling something for the first time. Then she turns and walks along the corridor.. ..back in the direction of WILLIAM CAREY's coughing. INT. COURT - DAY118 118 A hall filled with LAWYERS and AMBASSADORS from both sides. Arguably the grandest, most significant divorce proceedings in history. ANNE watches from a distance as HENRY talks to CARDINAL WOLSEY. Then HENRY turns. He walks towards ANNE. HENRY The Queen has insisted a Papal representative be present at the trial. But Wolsey has assured me the trial will proceed for appearance sake only. We have our verdict. ANNE Then what troubles you? HENRY One or two friends have refused to lend their support. Among them, Thomas More. (a beat) And then there's the small matter of my conscience. ANNE Why? You have justice on your side. HENRY stares, conflicted.. HENRY Do I? ANNE strokes his head. Pacifying him. But the look on her face tells us - this is getting harder and harder. INT. HENRY'S QUARTERS - COURT - SEVERAL MONTHS LATER119 119 HENRY sits at breakfast. Reading official correspondence. Legal documents. And private letters. e sorts through the various scrolls, matters of state, then finds one. A letter in a hand he does not recognise. (CONTINUED) ( S A1 77. A quizzical look. HENRY cracks the seal and begins to reads the letter. Presently, his expression changes. Then his face darkens ominously. His knuckles whiten.. INT. CORRIDOR - COURT - DAY120 120 SIR THOMAS and the DUKE of NORFOLK storm down a corridor. Their faces are grim. It's a terrifying sight. INT. ANNE'S ROOM - DAY 21 121 `Crash', the door flies open. SIR THOMAS and NORFOLK burst in. ANNE is in the bath. She covers herself.. SIR THOMAS `Mary Talbot'. ANNE Who? SIR THOMAS Mary Talbot!! The girl that married Henry Percy. It seems she has petitioned the King, demanding a divorce from her husband( on the grounds.. he can hardly bring himself to say the words) ...that his prior betrothal to you was actually.. (his knuckles whiten) ..consummated. ANNE's eyes widen in horror..`What?' SIR THOMAS I knew this would come back to haunt us! ANNE I must go to the King. SIR THOMAS No! He doesn't want to see you! Or hear a word from your lips! He's far too angry. a beat) It seems the only Boleyn he will speak to, the only person who's testimony he will trust in this matter.. (a beat) ...is Mary. ANNE's face. A dagger in her heart. (CONTINUED) H S A ( A1 78. ANNE Mary? EXT. CEMETERY - DAY122 122 A cemetery in mid-winter. WILLIAM CAREY's coffin is lowered into the ground. MARY, dressed in window's black, steps forward, take a shovel, throws earth on the grave. MARY walks back to comfort the CHILDREN. The elderly PRIEST continues with the service. MARY bows her head. Then she senses someone's eyes are on her. She looks up, and her expression changes.. There is GEORGE. Her brother. Standing among the handful of mourners. Staring at her. 23 123 INT. COURT - BOLEYN HOUSE - NIGHT The entire BOLEYN family is assembled. SIR THOMAS, LADY ELIZABETH, the DUKE of NORFOLK, GEORGE and, at the centre of proceedings, ANNE herself. The atmosphere is tense. Presently, the door opens, and MARY enters the room. In widow's weeds. All eyes on her. And her CHILDREN. A sharp intake of breath, a ripple of shock at the state of them. In simple country clothes. MARY curtseys.. SIR THOMAS Mary. n awkward silence. MARY holds her CHILDREN's hands.. SIR THOMAS We're so sorry. clears throat) About your husband.. INT. COURT - BOLEYN HOUSE - NIGHT124 124 Several MAIDS are assembled, fussing over MARY. Transforming her from penniless country widow to sophisticated courtier again. A ANNE enters, (unseen by MARY), and ushers everyone out. She takes the brush from the departing SERVANT, and continues to brush MARY's hair. ANNE uch beautiful hair. earing ANNE's voice, MARY freezes. (CONTINUED) Y M M 79. ANNE Thank you for coming. MARY looks up. Notices ANNE's hands are shaking.. ANNE I hate how this matter has come between us. I wanted to come to see you after your daughter was born, and again when your husband died, but.. MARY It's fine. MARY pulls away. Raises her hand.. MARY Leave me. Please..? ANNE stares at MARY, her lips trembling.. ANNE I'm frightened, Mary. What have I done? MARY turns away. Avoids ANNE's eyes. INT. KING'S APARTMENTS - NIGHT125 125 The KING sits in his private apartment. He looks up as MARY enters, and curtseys deeply. Seeing MARY, his DOG enthusiastically greets her. Lapping at her. MARY looks at the KING. She is overcome with emotion, but finds the strength to hide it.. HENRY Ah! Mary! Come in. MARY walks closer. HENRY Closer.. (beckons) Into the light. MARY walks closer. HENRY looks at her.. HENRY The Other Boleyn Girl. I'd forgotten how beautiful you were. MARY looks at him. Something has changed in him. A perceptible darkness around the eyes. A sadness.. MARY ou asked to see me, your Grace? T A A Y H 80. INT. CORRIDOR OUTSIDE KING'S APARTMENTS - DAY126 126 The BOLEYN FAMILY members are pacing outside. Anxious. ANNE and SIR THOMAS exchange looks. FINALLY: the door opens. MARY emerges from the King's apartments. er entire FAMILY stares expectantly at her. ANNE steps forward, barely able to conceal her anxiety.. ANNE And..?1 INT. BOLEYN APARTMENTS - COURT - NIGHT 27 127 MARY is putting the children to bed, tucking YOUNG HENRY in. OUNG HENRY Mama? What's the matter? MARY's face: visibly upset. Her hands shaking. MARY (putting brave face on) Nothing. MARY smiles, tenderly kisses YOUNG HENRY. ANNE appears in the doorway. Watches through a half-open door. Notes how loving MARY is as a mother.. MARY gets to her feet. Walks towards ANNE. INT. CORRIDOR - BOLEYN APARTMENTS - NIGHT128 128 MARY closes the door behind her. ANNE stares at her, then.. ANNE (with difficulty) I am forever in your debt. MARY You owe me nothing, sister. I did it that we may finally draw a line beneath everything that has happened between us. ANNE hen let it be exactly that. A new start between us. Here at court. ANNE embraces MARY, who stiffens. (CONTINUED) V1 W A E M ( 81. MARY Thank you. But I'd rather go back to our home in the country. ANNE What? That damp old ruin? With no food? Or warmth? a beat) Why don't you let your family look after you? Your children would have the best of everything here. They would grow up safe and secure. MARY stares, horrified. But before she can reply... The sound of a commotion, from outside. The sound of trumpets. The unmistakable noise of arriving SOLDIERS. veryone rushes to a window. Looks down to see a small ARMY. t the centre of everything: an grand, old, bearded ARCHBISHOP climbs down from an opulent carriage. MARY ho's that? SIR THOMAS The Papal Legate. Sent by the Pope to preside over the Queen's trial. MARY looks first at ANNE, then back out as the long procession dramatically enters the Palace Gates. MARY So, it's true. It's really happening? ANNE suddenly looks pale. Vulnerable. Frightened. ANNE Yes, it is. Stay with me, please? I need my sister by me side. EXT. BLACKFRIARS - COURTHOUSE - DAY 29 129 A huge crowd is assembled. Despite the intimidating presence of the KING's GUARDS, the people shout vigorously in support of QUEEN KATHERINE. Crying out her name. The QUEEN arrives. ast cheers go up. INT. BLACKFRIARS MONASTERY - DAY130 130 We're in a packed courtroom. The room is filled with the country's highest-ranking bishops. To one side: ANNE and MARY watch from behind a screen.. (CONTINUED) YA ( A 82.MARY hears the CROWD's cheering for the QUEEN. Screams ofsupport and affection, `Long live Queen Katherine', `Our onetrue Queen'. MARY looks anxious.. MARY The crowds are with her. ANNE The crowds have no vote. a beat) And the bishops that do are in Wolsey's pocket.ANNE watches as KATHERINE enters court. The QUEEN sees ANNE, andstarts walking directly towards them.. ANNE (cont'd) God, she's coming towards us.QUEEN KATHERINE walks towards the screen, reaches it, then Qpushes it aside, intimidatingly flanked by her LAWYERS.. UEEN KATHERINE So..the Boleyn whores. Two former ladies of mine. Hiding in shadows. (a beat) What did I do to upset you, that you should turn against me like this? ANNE You failed to give England an heir. QUEEN KATHERINE And that upsets you so? ANNE What upsets the King upsets me.QUEEN KATHERINE straightens. Big mistake. QUEEN KATHERINE How dare you! CRIER (calling out) Katherine, Queen of England, come into court..!KATHERINE's LAWYERS try to drag her away from ANNE, but shewrenches herself free.. QUEEN KATHERINE ou want me to creep away and become a nun? Well, I shall not. You want me to lie before God and admit my first marriage was consummated? Well, it was not. (MORE) (CONTINUED) KH 83. You want me toUEEN KATHERINE(cont'd) Q retire and withdraw my daughter's claim as sole rightful heir to the throne? Well I shall not. Not in a thousand years, not if you rack me to within an inch of my life... (beat) I am Katherine, Queen of England, the King's one true wife, and mother of the heir to the throne. Beloved of the people, and beloved of a King you have bewitched.KATHERINE turns and enters the packed courtroom. She makes noreply to the CRIER, instead walks over to where the KING sits,and falls onto her knees..MARY looks at ANNE, who is visibly shaking. And tries to composeherself.Throughout the courtroom, people exchange looks. Gasp. KATHERINEis completely disregarding the court, Campeggio and Wolsey, andappealing directly to her husband.. KATHERINE My Lord, how have I offended you? For twenty years, I have been a true, obedient wife. I have loved all those whom you loved, and given you children though it has pleased God to take them away. If there is any just cause that you can allege against me, I will happily depart to my shame and dishonour, but I tell you, as God is my witness, there is none. ENRY sits in silence, but can barely contain his rage. ATHERINE (cont'd) So, I beg you, dear husband, to spare me this humiliation. But if you will not, and I am to be tried.. HENRY (defiant) You are. KATHERINE ..then let it be in a proper court and by the only authority I recognise. His holiness himself.An audible gasp from the court. HENRY shoots a look at WOLSEY,`What?!?' WOLSEY is horrified, `I know nothing of this.'KATHERINE gets to her feet, and dramatically walks out of thecourt, stopping only to pause by a window.. (CONTINUED) A A L ( 84. The cheers from the loyal PEOPLE who are waiting outside ring through the court. HENRY looks dark, thunderous. He storms out of court. WOLSEY watches, visibly shaken... WOLSEY Since it has pleased the Queen to absent herself from the court, the trial will simply proceed without her. A LAWYER gets to his feet. The trial begins.. INT. BOLEYN FAMILY HOME - NIGHT131 131 The entire BOLEYN FAMILY is assembled. ANNE paces up and down. MARY is with her children.. ANNE Wolsey promised the King his verdict. Instead he has humiliated him. SIR THOMAS But they are continuing with the trial. And the Bishops will still find in the King's favour. ANNE Yes. But without the Pope's blessing, the result will seem hollow. a frustrated gesture) If only the King would take matters into his own hands. ADY ELIZABETH And do what? His only option would be to reject the Catholic Church? And his faith would never allow it. SIR THOMAS Nor his good sense. Breaking with Rome would isolate England politically. Leave us at the mercy of the Protestants. ANNE But the alternative is leaving this country without an heir. Failing in his duty as a King. And risking civil war. ANNE stops thinks.. ANNE (cont'd) S omehow I need to make him understand that it is a fair price for a legitimate heir. ANNE looks at MARY.. (CONTINUED) I M 85. ANNE (cont'd) One he could hold in his arms.. ANNE's face: an idea forming.. ANNE (cont'd) A strong, rosy-cheeked boy.. MARY looks up. Sees all eyes staring at her.. MARY (becoming suspicious) What? INT. CORRIDOR - DAY132 132 HENRY, along with THOMAS CROMWELL and several of his LAWYERS are walking along a corridor. They turn a corner, then stop. HENRY freezes. He's seen something. And the impact of it has made him stop in his tracks. REVERSE ANGLE TO REVEAL: In the gardens outside, are ANNE and YOUNG HENRY, playing. The KING's face: it's as if all sound goes silent. He stares, transfixed, at the boy. He hears nothing except YOUNG HENRY's laughter. He sees nothing except YOUNG HENRY's golden locks. MARY watches from a distance, her heart cracking as HENRY dismisses CROMWELL and the LAWYERS, and goes out to join ANNE and YOUNG HENRY. t seems to have a profound affect on him.. EXT. GARDENS - DAY133 133 HENRY walks towards ANNE. And bends so as not to frighten the boy.. HENRY Who's this? ANNE smiles, maternally strokes the boy's hair.. A ANNE Go, on.. YOUNG HENRY My name is Henry. (CONTINUED)11 86. HENRY Is it, now? A fine name. (raises eyebrow) And how old are you? YOUNG HENRY Four, Sir. REVERSE ANGLE: to see MARY watching helplessly from inside the palace. Tears are streaming down her face. LADY ELIZABETH appears, and puts her arm round MARY's shoulders in comfort.. OUTSIDE: in the gardens, YOUNG HENRY and his father continue to get to know one another.. YOUNG HENRY (cont'd) Is that sword real? HENRY I think so. Would you like to see it? HENRY draws it, and shows the boy, who's eyes widen in excitement.. HENRY Now, `on guard'. HENRY and YOUNG HENRY begin to play fight. As they do, our CAMERA slowly, slowly pulls back to reveal.. The scene is being watched by: MARY, her nose pressed against a window in the palace, as she continues to watch HENRY play with her SON.. INT. QUEEN'S QUARTERS - SAME TIME134 134 From a window high up, we notice: QUEEN KATHERINE has appeared, too. EXT. GARDENS - DAY 35 135 HENRY continues to play with the boy. It's clearly a powerful emotional experience for him. EXT. PALACE - SAME TIME 36 136 Gradually, other FACES appear at the palace windows.. First SIR THOMAS's. Then NORFOLK's. Then MARY's. Finally back to QUEEN KATHERINE.. (CONTINUED)1 87. Watching on tenterhooks. Unsure how this will play out. FADE TO BLACK: EXT. GREENWICH PALACE - DAY137 137 A clap of thunder. A storm breaks. Rain pours. INT. CORRIDOR/QUEEN'S QUARTERS/PALACE - DAY 38 138 QUEEN KATHERINE, screaming in protest, surrounded by wailing LADIES-IN-WAITING, is dragged roughly away from court by a unit of ARMED GUARDS.. KATHERINE How dare you! (struggling) Take your hands off me.. The GUARDS drag the QUEEN away, her heart-breaking kicking and screaming continues. As she disappears.. We REVERSE ANGLE TO REVEAL: this is being watched shadows by the KING himself.. His face: burning with guilt and self-loathing. INT. ANNE'S APARTMENT - DAY139 139 The door flies open. ANNE is reading, alone. She looks up to see HENRY, his eyes ablaze.. HENRY Now you will give yourself to me. ANNE looks up.. ANNE I thought I had made myself clear. Until we are married, there is no questi.. HENRY Silence! Enough of your GAMES! (tearing at her dress) I have torn apart this country for you, gone against every principle in my heart, I've endured the doubts and counsel of good men and silenced them with the axe...just to be with you.. HENRY tears her dress. He forces himself on top of her. (CONTINUED) ( ( A 88. HENRY Now prove to me it was worth the sacrifice. He pushes her back against a table, slamming her down, and enters her roughly. ANNE cries out in pain.. ANNE Stop, you are hurting me..! INT. ANNE'S QUARTERS - NIGHT140 140 That night: ANNE is being groomed by MARY. ANNE How was he with you? As a lover? MARY Tender. a beat) Surprisingly so. a beat) Why? ANNE's face. Haunted. Fearing the worst. ANNE No reason. OVER THIS we FADE IN: the sound of bells ringing..1 INT. PALACE CHAPEL - WESTMINSTER - DAY 41 141 A small ceremony. Held in secret. The distant sound of crowds protesting. Booing. Jeering. MARY watches from the shadows as ARCHBISHOP CRANMER marries HENRY and a visibly pregnant ANNE.. ARCHIBISHOP (in LATIN, we see sub-titles) Do you, Henry Tudor, take Anne Boleyn as your lawful wedded wife..? HENRY's face: eyes burning with self-loathing.. HENRY I do. Their voices are almost drowned by the SHOUTS of protest and dissent coming from the streets..`Whore', `Witch'. INT. PALACE - DAY142 142 MUSICIANS play in the corner, struggling to drown out the sound of the PROTESTERS. (CONTINUED) (AH S 89.A party is in progress. ANNE, the bride, is at the centre ofproceedings, visibly pregnant and finally Queen. But it hasbrought her no peace. The cacophony from outside visiblytroubles her. MARY stands by her side. Maid of honour. ANNE Did you hear? On the way to the church? They were calling me a witch. MARY All that will die down as soon as they get to know you. ANNE But what if it doesn't? What if they hate me forever? MARY They won't. They will see how much the King loves you, and follow. ANNE (haunted, hollow) How much the King loves me?ANNE shoots an anxious look over at HENRY, who is with CROMWELL,in the corner, lost in serious conversation.. MARY ister, I wonder if you've given any thought..to the matter of my returning to the country. With the children.ANNE's face: her expression changes. Suddenly fearful. ANNE What? No! I need you here more than ever. Besides, as the Queen's sister, you can't live alone out there like some gypsy. We need to make you a proper match. earing this, the passing WILLIAM STAFFORD freezes.. ANNE What about the Duke of Suffolk?ANNE indicates an ugly, fat COURTIER.. ANNE All the ladies at court are mad for him. Or Lord Fardingly. indicates an OLD courtier, in his 60's) Marry him and you'd own half Scotland..WILLIAM STAFFORD's face. M S W 90. INT. COURT - ACCOMMODATION - DAY143 143 MARY is walking back to her apartments, when WILLIAM STAFFORD runs after her, appearing in the corridor behind her.. STAFFORD Wait! Mary.. STAFFORD catches her up.. STAFFORD I couldn't help overhearing. And before you agree to any of your sister's matches, let me just say.. STAFFORD takes a deep breath. His heart racing.. STAFFORD ..I have saved money...not a lot...but enough. I've my eye on a place in the West...Tatton...near where I grew up.. MARY turns, an incredulous look.. MARY hat? (surely this is a joke) Stafford? TAFFORD blurts it out.. STAFFORD Mary...I love you. There..I've said it. From the moment I joined your family.. MARY Wait.. MARY looks at him. A lightening flash of recognition. She's heard those words before, and puts two and two together.. M MARY It was you, wasn't it? At the masked ball? STAFFORD Yes. MARY Oh, Stafford.. STAFFORD Mary..I have watched how your family has treated you. (MORE) (CONTINUED) G S M 91. If you came withFFORD(cwould )never STA me..I ont'd betray you...or take you for granted..I would love you and cherish you to my dying day.. MARY But it's impossible. You know that. Now Anne's Queen, my family would never allow it. STAFFORD And you would CARE? What THEY think? After everything they have done to you? TAFFORD stares incredulously. Then goes. INT. QUEEN'S APARTMENTS - LYING-IN - DAY144 144 MARY's face. Lost in thought. STAFFORD's words still ringing in her ears. She sits at the foot of ANNE's bed. ANNE sits in bed. Heavily pregnant. On the other side is GEORGE. ANNE God, I look hideous. EORGE Does it hurt? ANNE Little nips and stabs. MARY isn't listening. She is lost in thought. GEORGE Just imagine. It it's a boy. The unholy trinity will be mother, uncle and aunt to the next King of England. ANNE But if it isn't? The King will take that as evidence of God's displeasure. And will turn further against me. He's already become so cold. ANNE touches her stomach anxiously.. ANNE They say you can tell by the shape of the stomach. Mary, what do you say? Boy or girl? ANNE tails off when she sees MARY. Miles away. ANNE What's the matter with her? MARY looks up, `What?' (CONTINUED) M1 92. ANNE You've been like this for days. MARY What? ANNE Mooning. You're not in love, are you? MARY What? (blushing) Certainly not.. MARY gestures dismissively.. MARY (flustered) In love! MARY returns to her book, flicking pages. But privately she is shocked. Is it that obvious? INT. COURT - QUEEN'S APARTMENTS - NIGHT 45 145 A darkened room. ANNE screams out. She is in the middle of giving birth. With a bone-chilling scream, a head appears.. MIDWIFE And again, one more.. ANNE pushes again. MARY holds her. ANNE howls in agony. Her nails dig into the sheets. A last, primal, blood-curdling roar of pain.. MIDWIFE It's done, your Majesty..! MARY Well done... PHYSICIANS and MIDWIVES swarm around the baby. ANNE, despite having lost a great deal of blood, tries to sit up.. ANNE And..? MARY It's a girl! MARY takes the child from the MIDWIFE, holds it for ANNE. MARY A beautiful, healthy girl. (CONTINUED) H 93. ANNE is overcome by maternal love, but realises what this will mean. She stares at the baby. Fear filling her eyes.. ANNE A girl? INT. ANNE'S BEDROOM - NIGHT146 146 MARY watches from a distance, as SIR THOMAS and NORFOLK tell the King. HENRY staggers from the disappointment, as if he had been delivered a blow.. SIR THOMAS She has named her Elizabeth. After your mother. HENRY Is the child healthy? SIR THOMAS Perfectly, Sir. HENRY stares, hollow-eyed. Finally.. ENRY Well, if we can have a healthy daughter, we can have a healthy son. HENRY turns, and without a word, pushes past everyone, and leaves. ANNE is left alone, her heart breaking.. MARY stares at ANNE. A stab of compassion. Not long ago the same thing happened to her. Hoping to console ANNE, MARY hands her beautiful new BABY over to her... ..ANNE takes the BABY in her arms. Filled with love for something that will almost certainly mean her destruction. Her shoulders shake with tears. FADE TO BLACK: INT. LYING-IN - DAY147 147 ANNE stands by a window, staring out. Her hands wringing with anxiety. MARY is in another corner, tending to baby ELIZABETH.. A ANNE Who is it? MARY leaves the BABY, goes over to the window. Looks out. Down below, HENRY is walking with an attractive young LADY.. MARY Lady Somerset, I believe. (CONTINUED) ` B A 94. ANNE Yesterday it was the wife of the French Ambassador. The day before with the Countess of Salisbury. (a frustrated gesture) How could he DO that to me? So SOON? ANNE stares at MARY.. ANNE Now I know how it must have been for you. ANNE reaches for MARY's hand. Their hands touch. Briefly. Then MARY pulls away her hand, still not quite ready to forgive.. And goes to tend to the crying BABY ELIZABETH.. INT. MARY'S ROOM - COURT - NIGHT148 148 MARY is with her children, reading them a bedside story. From next door, the sound of raised voices. The KING and ANNE are having a furious row. But MARY is not listening.. ANNE (O.S.) You can't ignore me like this. I am your wife! Why don't you just admit it! HENRY (O.S.) ecause it's not true! ANNE (O.S.) Liar! I can smell the whore on you! Get away from me! You disgust me! SLAP', the sound of someone being struck. INT. BEDROOM - NIGHT149 149 ANNE and MARY are together. ANNE is combing her hair. Strands of it come loose in her hands. Her eyes are hollow with stress. Her skin pale and covered in a film of perspiration.. ANNE I struck him today. What am I doing? I am destroying this all on my own.. ANNE looks left and right. Makes sure no one is within earshot. Goes to check outside her door, then returns.. ANNE I can't sleep at night! And without sleep I cannot think! (CONTINUED) U M M A 95. MARY Oh, Anne.. ANNE nd it's getting more and more difficult to arouse him. Some nights he cannot do it...at all. I have to resort to ever more disgusting...then he hates himself in the morning...hates me even more for what I made him do... ANNE eyes stare. She rocks back and forth.. ANNE It's slipping away, Mary. I can feel it. MARY takes ANNE's hand. Envelops it in hers. INT. ANNE'S BEDROOM - NIGHT150 150 The sound of ugly, loveless sex. Cries of pain. ANNE tries to keep the KING aroused. Demeaning, cruel, shaming, loveless sex.1 HENRY repeatedly strikes her. Hating her. Hating himself. 51 151 INT. MARY'S BEDROOM - PALACE - NIGHT In the neighbouring room: the ugly sounds of ANNE and HENRY's sex come through the walls. MARY covers her ears with a pillow, blocking out the noise, and escapes to the only safe world she knows. That of her dreams.152 152 INT. ANNE'S BEDROOM - DAY SIR THOMAS BOLEYN, NORFOLK, GEORGE BOLEYN and MARY are watching intently as ANNE is being examined by several PHYSICIANS. nbearable tension. Finally a PHYSICIAN straightens, turns to face the FAMILY.. SIR THOMAS And..? The PHYSICIAN's face: he nods. EXT. RIVER THAMES - WINTER PARTY - MONTHS LATER - DAY153 153 A magnificent winter party to celebrate ANNE's pregnancy. The River Thames is frozen over. It's a lavish spectacle. Jousting on ice-skates, bear-baiting with dogs, MUSICIANS, skate- dancing, sledges and fire-eaters and Muscovite tumblers. (CONTINUED) LGG G 96.The KING threads his way through COURTIERS and ENTERTAINERS.Wherever he goes, people stop their conversations, bow in fear.Inimidated.ANNE, visibly pregnant, sits on a throne. Alone. She looksdrawn, frightened, and tired. An unmistakable echo of QUEENKATHERINE at the masked ball earlier. EORGE And so, it's come to this. Our sister is with child, and all England's fate is in the balance. EORGE indicates ANNE.. GEORGE (cont'd) If it's a boy, the King will have been vindicated in getting rid of his first wife, and his authority will be unassailable. But if it isn't. Or if, God forbid, she miscarries. EORGE indicates HENRY, who's face is also drawn, dark,malevolent, suspicious. Barely recognisable. GEORGE The King will have to move swiftly to silence his enemies. He will claim innocence. That he was corrupted. Anne will swiftly be replaced as Queen, by someone more `acceptable'. (a beat) And we Boleyns will never be able to show our faces at court again. MARY That's no bad thing.MARY shudders to herself. Holds her children protectively. MARY Anyone with any sense would have run away from this hell-hole already. As far as they could go. GEORGE ike the wise William Stafford.MARY turns... MARY What? GEORGE You didn't know? Sold up and went. Left for the country. Just like that. Gone to live in some place called.. (CONTINUED) A A G 97. MARY (under her breath) ..Tatton. GEORGE Where he grew up, apparently. Did you know he came from a better stable than all of us? His grandmother was a Beaufort, cousin to the King. And he never mentioned it. (shrugs) Who'd have guessed? EORGE shrugs, and skates off with FRANCIS WESTON. We pull back to reveal they are being watched by JANE PARKER.. ..who looks drained. Lonely. Worn out by the humiliation of her failed marriage and the agony of unrequited love.154 154 INT. ANNE'S BEDROOM - NIGHT `HAAARRGGH', ANNE bolts awake in the middle of the night. Her face is pale. She is covered in a thin film of perspiration. She flinches in pain. Holding her stomach.. Immediately doors open, and several SERVANTS and LADIES appear. But ANNE composes herself. ANNE I'm fine, thank you. (visibly paranoid) Just a bad dream. Reassured, the SERVANTS fill ANNE's glass with water.. ANNE (flinches as she speaks) But fetch my brother and sister, will you? The SERVANT bows, and goes. As soon as ANNE is left alone, she slowly looks down, and pulls back the bedsheets.. W hen ANNE sees what lies beneath, she howls in horror. INT. ANNE'S BEDROOM - COURT - NIGHT155 155 MARY and GEORGE arrive breathlessly in ANNE's room, to find.. ANNE is on the floor before the fire, her arms wrapped around as if she were hugging herself. On the floor beside her is a bloodstained bundle of sheets. ANNE looks up through the trailing locks of her hair.. (CONTINUED) ( TM AG YM 98. ANNE I lost it. Almost without pain. And so fast it was over in a moment.MARY looks down at the bundle of sheets.. MARY (heart cracks) Oh, Anne..MARY hugs ANNE tightly. All animosity now gone.. ANNE ou have to get rid of it. Bury it. Get rid of it somehow. No one must know. EORGE rushes to a cupboard, and pulls out a cape. He wraps itaround ANNE. Then he pours wine into a glass. MARY wraps ANNE ina blanket to warm her. And begins making the bed with freshlinen.. DISSOLVE TO:AN HOUR LATER: ANNE is composed. Staring into the fire. MARY andGEORGE sit on either side of her. ANNE It's not the first. Miscarriage.MARY's heart cracks. Takes ANNE's hand. ANNE They will take it as proof that I cannot bear children. That I am cursed by God. And should be dispensed with. MARY Why? There's still time. You could sleep with the King, and fall pregnant again. No one would know.. ANNE he King would never lie with me now, and risk damaging the `child' he believes I'm carrying.. a beat) Besides, he is barely capable anymore. And I couldn't go through that again.ANNE stares at MARY and GEORGE.. ANNE No, if I am to survive..I have to take matters into my own hands.MARY and GEORGE exchange blank looks.. (CONTINUED) ( B ( 99. MARY I..I don't understand. ANNE I need a baby, Mary. rolling eyes) Must I spell it out? MARY You mean lying with another man? ANNE Of course. GEORGE But that would be treason. MARY esides, where would you find someone you could trust? ANNE Obviously, it would have to be someone close. Very close..ANNE stares meaningfully at her BROTHER.. GEORGE What..? horrified) No..! MARY Stop it, Anne! It's madness.. ANNE Don't you see? This affects all of us. If I go down, so do all of you. The only way to save ourselves..is to do this.. (a beat) And pray it's a boy.MARY covers her mouth in horror, gets to her feet.. MARY I can't listen to this.. (feeling nauseous) ...this is monstrous.. ANNE Mary, sit down.. MARY No, Anne! I understand you have had a shock tonight. A terrible shock. But there is no need for this.. (CONTINUED)1 G 100. MARY reaches the door, turns to GEORGE.. MARY Come, George.. GEORGE gets to his feet.. ANNE George is staying. He understands this involves the whole family.. MARY No. Come, George.. ANNE George, is STAYING! EORGE freezes.. MARY (her heart cracking) I pray for you both. MARY turns...then goes. ANNE Mary! Come back! 56 156 INT. CORRIDOR OUTSIDE ANNE'S ROOM - NIGHT MARY leaves the room. Tears stream down her cheeks. She runs down the corridor, rushing towards her children.. But as MARY goes, we REVERSE ANGLE TO REVEAL: A figure sits in the shadows by ANNE's door. Someone who has heard everything that has been said.. I t's JANE PARKER. Who turns, holding her head, covering her ears, unable to listen to any more.. INT. CORRIDORS - NIGHT157 157 MARY runs through the corridors in an agitated state. INT. MARY'S ROOM - COURT - NIGHT158 158 MARY rushes into her room. She goes to the beds where her CHILDREN are sleeping. MARY gently shakes them awake.. MARY Come on, darling wake up. (CONTINUED)1 101. YOUNG HENRY Where are we going? MARY Away from here. Far, far away. INT. ANNE'S BEDROOM - NIGHT159 159 ANNE and GEORGE stare at one another. ANNE pours a mug full of mulled wine.. ANNE takes the first step, and starts unbuttoning her brother's shirt. GEORGE quickly knocks back the glass of mulled wine.. ...then gasps as ANNE puts her hands into his trousers. Their eyes meet for an intense moment.. EXT. STABLES - NIGHT160 160 MARY and her CHILDREN ride through the night. INT. ANNE'S BEDROOM - NIGHT 61 161 ANNE and GEORGE are making love. Silent tears are streaming down GEORGE's cheeks Visibly traumatised. ANNE tenderly wipes them away.162 162 EXT. COUNTRYSIDE - NIGHT MARY and her CHILDREN continue to ride through the night. They gallop, silhouettes against the moon. The faster and further they get away from court, the better. INT. ANNE'S BEDROOM - NIGHT163 163 Afterwards: ANNE and GEORGE lie in silence. ANNE strokes her baby brother's hair. GEORGE rocks to and fro. Staring at the fire.. INT. CORRIDOR OUTSIDE ANNE'S ROOM - NIGHT164 164 JANE PARKER gets to her feet. Numb with shock. She stares ahead. Momentarily loses her footing. Then disappears into the darkness. DISSOLVE TO:1 Y N N1 102. EXT. VILLAGE - DAWN165 165 MARY arrives in a market village. She asks directions. Then kicks her horse. Rides on. EXT. WILLIAM STAFFORD'S HOUSE - DAY166 166 A simple farmhouse, nestling in a valley. INT. WILLIAM STAFFORD'S HOUSE - DAY 67 167 MARY stands in front of the door, protectively holding her children. A flicker of panic passes behind her eyes. What is she DOING? She knocks. YOUNG HENRY Who lives here, Mother? MARY Someone. (clears throat) A friend. o answer. MARY knocks again. Still no answer. MARY hesitates, then tries the door. It opens.. INT. WILLIAM STAFFORD'S HOUSE - DAY168 168 MARY enters, calls out, `Hello?'. No answer. Inside: it's warm, inviting, idyllic. The CHILDREN go to the kitchen table. Instantly feeling at home. MARY calls out.. MARY William? o answer. OUNG HENRY Mama, I'm hungry. CATHERINE Me, too. MARY stares. What should she do? INT. KITCHEN - DAY 69 169 The CHILDREN eat hungrily. A clock ticks on the wall. T F C11 T 103. INT. BEDROOM - DAY170 170 MARY puts CATHERINE to sleep in a bed. YOUNG HENRY is already fast asleep in another bed. MARY draws the curtains. hen closes the door. INT. CORRIDOR - DAY171 171 MARY walks along a corridor. She looks in the bedroom. MEN's clothes in the wardrobe. No sign anywhere of a woman's presence. MARY turns, then catches sight of herself in a mirror. Her hair is bedraggled. Her clothes are filthy. INT. BATHROOM - DAY 72 172 MARY pours hot water into a bath. The room is thick with steam. She begins unbuttoning her dress.1 EXT. FIELDS - DAY 73 173 WILLIAM STAFFORD and several FARM-HANDS return from working in the fields. Talking and laughing. They reach a crossroads, go their separate ways. STAFFORD rides on for a while.. ..then stops when he sees a horse outside his house. EXT. STAFFORD'S FARMHOUSE - DAY 74 174 STAFFORD dismounts his horse. A quizzical look. Then he walks towards the front door. INT. STAFFORD'S FARMHOUSE - DAY175 175 STAFFORD enters his house to see empty bowls of food on the table. HILDREN's boots by the door. And a WOMAN's riding cape. rom upstairs, the sound of splashing. STAFFORD expression changes. He slowly goes up the stairs. he sound of splashing gets louder. A WOMAN's voice. Humming. INT. BATHROOM - DAY176 176 STAFFORD pushes open the door. MARY is in the bath. Washing herself. MARY looks up. (CONTINUED) S H M P F T ( M 104. STAFFORD's eyes. MARY's eyes. MARY I'm sorry. a beat) I just didn't know where else to go. STAFFORD walks in. MARY gets up... No modesty. No shame. No effort to cover herself. STAFFORD sweeps her into his arms.. No words. No explanations. Time for that later. hey fall into a passionate embrace, and sink to the floor.. ADE TO BLACK: INT. COUNTRY CHURCH - DAY177 177 Time has passed. Winter has become spring. We're in an idyllic country church. MARY and WILLIAM STAFFORD are being married by a PRIEST. RIEST Do you, Mary, take William as your lawful wedded husband? MARY I do. INT. BARN - NIGHT178 178 A dance is in progress. MUSICIANS play. Fifty or so GUESTS. MARY is talking to a friend. In another corner: she notices a MESSENGER arrive. A former COLLEAGUE from court. e talks to STAFFORD. They talk gravely. STAFFORD's face is ashen.. MARY excuses herself from her friend, crosses the room, goes to STAFFORD.. M MARY What is it? STAFFORD News from court. TAFFORD avoids MARY's eyes.. (CONTINUED) Y M M M1 W 105. MARY hat? It's Anne. Tell me.. (fearing the worst) She miscarried the child? FLASHCUT TO: EXT. WOODS - DAY179 179 ANNE is walking alone. Her MAIDS follow at a distance. Presently she lets out a cry. Her body doubles up in pain. Her MAIDS rush towards her. INT. BARN - NIGHT180 180 Back at the dance. STAFFORD continues.. STAFFORD They say it was deformed...monstrous. She is charged with incest and of summoning the devil. Your brother, too. He has already been sentenced. Anne is in the Tower, awaiting trial. FLASHCUT TO: INT. TOWER - DAY181 181 ANNE in a prison cell at the Tower. Frightened. Vulnerable. 82 182 INT. BARN - NIGHT MARY face: horrified. MARY I must go. MARY turns to walk out. STAFFORD blocks her path.. STAFFORD And do what? George is doomed. For Anne it's only a matter of time. MARY I can petition the King.. STAFFORD ou think he will listen? It's his own neck he's saving by getting rid of them, can't you see? MARY stares.. (CONTINUED) M M 106. STAFFORD Fine, go. But if you do, you might as well kiss your children goodbye. You are Anne's sister. That alone makes you her accomplice and co-conspirator. MARY I have no choice. Anne and George are my family. I cannot desert them. MARY walks towards the door.. STAFFORD And what of your new family? Your CHILDREN? MARY Henry and Catherine have you. Anne and George have no one. (a beat) I'm sorry..183 183 EXT. COUNTRYSIDE - DAY The sound of galloping hooves. MARY rides hard, towards London.. INT. GREAT COURT - TOWER OF LONDON - DAY184 184 ANNE is led into a great courtroom lit by flickering torches, and filled with fifty or sixty of the country's most powerful NOBLEMEN. ANNE walks to the centre of the room, surveying her `jurors', noting that they have remained seated.. ANNE It is a sad day for England when the nobles do not rise for their Queen. NORFOLK And even sadder when that same Queen is charged with adultery and incest. ANNE Charged is different to convicted, Uncle. Or is it not? In this court? Deathly silence. The clearing of throats. Then with much chair scraping, the NOBLES reluctantly get to their feet.. NORFOLK Master Cromwell, read out the indictment.. CROMWELL gets to his feet.. (CONTINUED)1 107. CROMWELL The charge is that in the twenty-eighth year of the reign of our Sovereign Henry, King of England, his wife, the Queen, being seduced by the Devil, did knowingly commit adultery, high treason and offences against God. NORFOLK How do you plead? ANNE Not guilty, my Lord. EXT. COUNTRYSIDE - NIGHT185 185 MARY thunders across bridges, through villages. Urging on her horse. No thought of rest. INT. GREAT COURT - TOWER OF LONDON - NIGHT 86 186 A ANNE faces the LORDS, as she makes her case.. ANNE My noble Lords..the love I have for my brother is the love any sister would have for someone with whom she has grown up in the same house, nursed when sick, played games as children, shared life's celebrations. As ANNE delivers this speech, our CAMERA slowly pulls back, back, towards the door.. ANNE That is the love I have for him. Not what you suggest. Our CAMERA pulls out through the door... ..and into a corridor beyond, where we find HENRY hunched in shadows, eavesdropping, his face cast in shadows.. ANNE (V/O) Judge me, my Lords, as you see fit. But never forget that your verdicts will be judged again by God, in the greatest court of all.. HENRY's face is a study of guilt. His knuckles whiten, his nails dig into his hands.. NORFOLK (V/O) My Lords, the time has come to cast your vote. S1 108. EXT. COUNTRYSIDE - NIGHT187 187 MARY gallops through shallow streams, spraying water.. INT. COURTROOM - DAY188 188 ANNE watches on as each LORD takes it in turn to get to his feet, and deliver his verdict. First CROMWELL, then the SEYMOURS, then HENRY PERCY.. The verdicts rain down on ANNE, `Guilty, guilty, guilty', going round the courtroom, until they reach the DUKE of NORFOLK. ANNE meets the eyes of her UNCLE.. NORFOLK (unflinching) Guilty. NORFOLK stares at ANNE. Not a hint of compassion.. NORFOLK In which case, the burden falls on me to pass sentence. EXT. TOWER GREEN - THE FOLLOWING DAY 89 189 A terrified GEORGE BOLEYN is led to the scaffold. He is watched by FRANCIS WESTON.. EXT. COUNTRYSIDE - DAY190 190 MARY reaches the outskirts of London. Gallops through villages.. EXT. TOWER GREEN - DAY191 191 GEORGE BOLEYN's eyes are covered with a cloth. He puts his head on the block. A PRIEST says last rites as GEORGE's arms are held back. Terrified, his lips mouth prayers..begging forgiveness. The axe falls. A huge ROAR goes up. REVERSE ANGLE TO REVEAL: this has been watched by SIR THOMAS BOLEYN. EXT. TOWER OF LONDON - DUSK192 192 MARY arrives in time to hear the ROAR from the crowds. She dismounts her horse, exhausted from the journey, he walks against a tide of CROWDS leaving. Drunk. Laughing. Talking among themselves. (CONTINUED) W1 109. MARY's expression changes. Suddenly, a shiver goes down her spine. MARY feels sick. Fearing the worst, she goes up to a WOMAN in the CROWDS.. MARY ho was it? INT. PALACE - COURT - DAY 93 193 HENRY walks through corridors arm in arm with JANE SEYMOUR, followed closely by the SEYMOUR BROTHERS, SIR JOHN SEYMOUR and the ever-surviving DUKE of NORFOLK.. HENRY turns a corner, then stops in his tracks when he sees...MARY waiting outside his Privy Chamber, restrained by GUARDS. Seeing the King, she curtseys deeply.. HENRY Mary..? The SEYMOUR BROTHERS draw their swords, but the KING's DOG runs excitedly towards her. HENRY gestures for the SEYMOURS to sheath their swords.. H ENRY Leave us. The SEYMOURS leave. The DUKE of NORFOLK hesitates.. HENRY ALL of you! NORFOLK shoots MARY a look, then goes. HENRY turns and leads her into.. INT. PRIVY CHAMBER - DAY194 194 His private room. His sanctuary. Where he took her before. The room to which only MARY seems to have had access.. MARY Your Majesty.. (falling into a deep curtsey as HENRY closes the door ensuring their privacy) I understand my family has offended you. But having taken my brother today, I beg you to spare my sister. HENRY Oh, Mary... (CONTINUED)H H H 110. MARY I realise you must replace Anne as Queen. (a beat) But must she die, too? HENRY She has been tried and found guilty. MARY You could send her away. ENRY I am bound by the law. MARY You could send her to a nunnery. No one would know. HENRY Anne? To a nunnery?HENRY almost manages a smile. MARY There is precedent, my Lord. Louis of France did it, too. When his wife could not conceive. HENRY The French Queen was a blameless woman. Your sister a witch. MARY I understand Anne has offended you. I ask only that if there is any regret you might..feel yourself. ENRY What? MARY For your part in the matter..MARY treads delicately. Realising the very suggestion istreason. MARY ..does not unduly colour your thinking. Killing Anne will not make it go away. (a beat) It would only make it worse. ENRY stares at MARY.. HENRY How could I have made that mistake? (CONTINUED) T A ` G H 111. Suddenly his eyes are full of regret. And sadness. HENRY (cont'd) Choosing her over you? ENRY thinks. A long silence. HENRY o. I will reflect on the matter. MARY falls on one knee. Kisses his swollen, bejewelled hand in gratitude. HENRY stares, watching her as she goes. EXT. TOWER HILL - DAY195 195 A team of CARPENTERS erect gallows and scaffolding. Hammers knock nails. A sickening metronome of death. OTack', `tack', `tack'. n the hill: a blood-stained chopping block is put into place. INT. ANNE'S CELL - DAY196 196 The doors to ANNE's cell open. ANNE looks up. In the doorway is MARY. MARY stares at ANNE.. ANNE's appearance is shocking. She looks ten years older. Haggard and lined by stress. ANNE puts on a brave face, stares back at MARY. MARY Oh, Anne.. The two sisters walk towards one another, and embrace. Tight. Tears run onto each other's shoulders.. ANNE How has it come to this? MARY Ssshhhhh. EXT. TOWER GREEN - DAY197 197 A LIEUTENANT gives a nod. SOLDIERS raise a barrier, and allow the CROWDS that have been waiting to rush forward. he CROWDS swarm over the grassy hill...putting down coats...reserving seats..anxious to secure the best views. 112. INT. ANNE'S CELL - DAY198 198 ANNE looks out through a narrow window. Her intense, fearful eyes flit and dart.. ANNE They're letting the crowds in. MARY It's all right. You will be spared. The King as good as gave me his word. ANNE The King saw you? MARY Yes. ANNE manages a rueful smile.. ANNE We all made a mess of that, didn't we? We all underestimated little Mary. ANNE looks at MARY.. ANNE I don't think he ever stopped loving you. MARY That's not true. ANNE It is. He never loved me in the same way. And deep down you know it. MARY averts her eyes.. ANNE You should have been Queen. You even gave him a son. But instead all this has happened because.. (a beat) Because I couldn't bear to be the Other Boleyn Girl. ANNE shrugs.. ANNE And now look? The sound of approaching footsteps. ANNE looks at MARY, suddenly frightened.. (CONTINUED) H S 113. ANNE Hold me.. The two SISTERS fall into an emotional embrace as the JAILOR's keys turn in the lock.. ANNE You'll look after Elizabeth? MARY It will be all right. Trust me. ANNE he couldn't ask for a better moth... (breaks down, composes herself) MARY hugs ANNE tight..`Sssshhh'. MARY e will spare you. I am sure of it. ANNE takes a deep breath. Tries to look serene.. EXT. TOWER HILL - DAY199 199 A roar of the crowd. ANNE, wearing a shawl of white ermine, is violently jostled and spat at as she's marched across Tower Hill to the scaffold. She shoots MARY an anxious look across the crowds.. M MARY shoots a signal, "Don't worry." ANNE climbs the steps, and faces the CROWDS. Finally the jeers subside.. ANNE I...I come here to die...a loyal subject.. More spit, jeers and abuse. MARY stands on tiptoe, cranes her neck. Anxiously scans the CROWDS for the GUARDS that will free ANNE.. MARY Come on.. ANNE ..I..I do not blame the King. Never was there a more just or goodly Lord.. Presently, MARY sees two SOLDIERS pushing through the CROWDS towards her. Her heart leaps.. ANNE ..I beg God's forgiveness and his mercy.. (CONTINUED) A M 114. ANNE looks up to see the SOLDIERS reaching MARY, and handing her a letter. ANNE smiles in relief. MARY opens the letter and reads.. CROMWELL (V.O.) "Madam..." INT. CROMWELL'S OFFICE - DAY200 200 THOMAS CROMWELL, the former assistant to WOLSEY, who has now replaced him, sits at his desk, writing the letter.. CROMWELL (V.O.) ..the King has spared you because of his respect and affection for you and because you are the mother of his son." EXT. TOWER HILL - DAY201 201 MARY continues to read the letter, as ANNE is forced to kneel by the EXECUTIONER.. CROMWELL (V.O.) "But you risked your life coming to court and you are advised you not to do so again. You will not be shown the same clemency a second time. Your sister Anne was tried and found guilty, her crimes were high treason and she deserves to die. Cromwell." MARY, who is reading, looks up in horror.. MARY No! ANNE looks up. She sees the look on MARY's face. MARY's eyes. ANNE's eyes. `WHOOSH', the masked EXECUTIONER swings his sword. ANNE is beheaded. MARY almost chokes.. The CROWD falls eerily silent. A stunned calm descends on Tower Green. Nothing but the sound of the wind. MARY sways, then falls backwards, having lost consciousness. She falls, falls..but is caught by a strong pair of arms.. ..WILLIAM STAFFORD, who has followed her to London. Suddenly the CROWDS burst into life. A great, bloodthirsty ROAR echoes around Tower Green as ANNE's head is lifted aloft.. (CONTINUED) A 115. WILLIAM STAFFORD carries MARY in his arms. They walk against the flow, of teaming CROWDS, and newly-arriving FAMILIES coming to watch the spectacle.. SLOW FADE TO BLACK: INT. BEDROOM - DAY202 202 SIR THOMAS BOLEYN sits by a window. Staring out at the fields beyond. Ashen-faced. Broken. CAPTION #1: "WRETCHED AND DISGRACED, SIR THOMAS BOLEYN DIED TWO YEARS LATER OF A BROKEN HEART." EXT. FIELDS - DAY203 203 We're moving through a cornfield. At speed. The sound of children's laughter. Excited shrieking. CAPTION #2: "AS SOLE HEIR, MARY INHERITED THE ENTIRE ESTATE." s in the opening scene: three CHILDREN, a BOY and two GIRLS, run through the fields, playing. Touchingly, they are barely taller than the corn, heads skimming along the sheaves.. CAPTION #3: "SHE AND WILLIAM STAFFORD LIVED HAPPILY AWAY FROM COURT FOR THE REST OF THEIR LIVES." REVERSE ANGLE TO REVEAL: the children are being watched from a distance by MARY and WILLIAM STAFFORD, standing outside Hever Castle. MARY smiles, shielding her eyes from the sun.. CAPTION #4: "MARY's SON, HENRY, WENT ON TO BECOME CLOSEST FRIEND AND ADVISER TO HIS COUSIN ELIZABETH.." We CLOSE on YOUNG HENRY and ANNE's unmistakable red-headed daughter ELIZABETH.. CAPTION: "WHO WENT ON TO BECOME QUEEN ELIZABETH I, ONE OF THE GREATEST MONARCHS IN BRITISH HISTORY." THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Pacifier, The.txt b/unformated_scripts/Script_Pacifier, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..0c62f1456fef3fd6095740fce608314389b8639c --- /dev/null +++ b/unformated_scripts/Script_Pacifier, The.txt @@ -0,0 +1 @@ + THE PACIFIER Written by Thomas Lennon & Robert Ben Garant Previous Revisions by Jason Fulardi, Scott Alexander & Larry Karaszewki March 3rd, 2004 FADE IN: EXT. PACIFIC OCEAN - DAY A fishing boat pushes over choppy water. FOUR GUN TOTING MEN on Jet Skis wearing black wet suits and goggles escort the boat. Flying above it is a HELICOPTER. INT. FISHING BOAT/CONTROL DECK - CONTINUOUS A SERBIAN MAN captains the wheel. SERB 2 scans the horizon with binoculars. He checks the GPS system, then his watch, then speaks into his throat mic. All italics are Serbian w/ subtitles: SERB 2 Fifteen minutes to delivery. EXT. PACIFIC OCEAN - CONTINUOUS The JET SKIER in the lead weighs in on a radio. INT. SEA HAWK 1 - CONTINUOUS The HELICOPTER PILOT weighs in. PILOT All clear from above. EXT. SKY - CONTINUOUS The camera descends as the boat passes, and dives beneath the surface. EXT. PACIFIC OCEAN - CONTINUOUS The droning of engines becomes less pronounced. Foam from the boat and skis bubbles. Calm. Then from out of nowhere five NAVY SEALs wearing RE- BREATHERS appear, in neat formation like the Blue Angels. JET PROPELLED BACKPACKS push the SEALs through the water. The LEAD SEAL: SHANE WOLFE, points upwards. All eyes follow his finger to the underbelly of the boat above. From his belt, Shane takes a steel wand with an adhesive disc attached, aims it at the fleeing boat and FIRES. A cable shoots up -- THUD... The disc sticks to the boat's hull. Shane pushes a button on the wand retracting the cable and drawing himself closer. Dangling from the cruiser, Shane fixes a BOMB to the hull. He releases himself from the boat and speeds away -- 2. BOOM. A dense explosion sends ripples through the water and ELECTRICITY crackling around the boat. INT. FISHING BOAT/CONTROL DECK - CONTINUOUS A SURGE of ELECTRICAL FORCE blasts from the control panel. SPARKS fly. The two Serbian Men jolt backwards -- WHAM -- and hit the wall. All the needles inside all the dials go LIMP. The roar of the engines DIES and the boat STOPS. EXT. PACIFIC OCEAN, UNDER THE BOAT - CONTINUOUS Shane slips inside the hull, through the new hole. INT. SEA HAWK 1 - CONTINUOUS The chopper slows to a hover. The Pilot looks below. PILOT What's happening? EXT. PACIFIC OCEAN - CONTINUOUS The jet skiers protectively circle the injured boat in a SYNCHRONIZED SWIMMING move, and the Jet Ski drivers are simultaneously YANKED below the surface: a split second later they're replaced by our SEALS (ALSO IN BLACK WET SUITS AND GOGGLES) -- the switch happens in less than a second, way too fast for anyone to notice. INT. FISHING BOAT/CONTROL DECK - CONTINUOUS The shaken Serbs climb to their feet. SERBIAN 2 What happened? They look around, and see the SEALS, on the jet skis: In the masks they are indistinguishable from the GUN-TOTTING MEN they switched paces with. All seems clear. Serb 1 pushes on the throttle... nothing. SERBIAN 1 We've been hit. We're taking on water. Suddenly the boat lists -- and water pours in, under the cabin door. They spring into action! SERBIAN 1 (CONT'D) Grab the professor, quick! 3. EXT. DECK - CONTINUOUS Serb 1 rushes out, shouting orders: He alerts four ARMED GUARDS and the Jet Ski drivers (now our Seals). SERBIAN 1 Something must be below us! Shoot! Shoot! The Armed Guards fire relentlessly into the water. Serb 2 rushes below deck. INT. SHIP'S HOLD - CONTINUOUS PROFESSOR CHARLES PLUMMER, bound to a chair and gagged, tries to YELP as the room begins to flood with water. INT. SHIP'S CORRIDOR - SIMULTANEOUS Serb 2 runs down steps to the lowermost hold. He tries to force the door open. When it finally opens, he is forced back by a three foot wall of water. INT. SHIP'S HOLD - CONTINUOUS Professor Plummer panics, as the water rises up to his mouth He struggles, but can't get free. Up to his nose, over his head.... He's gone. Then Shane Wolf rises out of the water, hauling the Professor up. He cuts the Professor's GAG. Plummer screams. Shane removes his mouth piece. Shane doesn't seem the slightest bit fazed by the circumstances. SHANE Lieutenant Shane Wolfe, United States Navy. I'm gonna get you outta here. But you have to do exactly what I say, when I say it. My way -- no highway option. Do you copy? (Plummer nods, terrified.) Where's the briefcase? The Professor gestures across the room, where a metal BRIEFCASE is floating. Shane calmly HANDCUFFS it to his own waist. As the water rises, to the roof. PLUMMER How did you know where I... Shane sticks the mouth piece into Plummer's mouth, giving him his oxygen. EXT. ON THE DECK - SIMULTANEOUS 4. The Armed Guards stop shooting into the water. One of our SEALS calls out to them, in PERFECT SERBIAN: SEAL KEEP SHOOTING! The Guards fire again. The SEAL speaks into his neck mic. SEAL (CONT'D) Give it a second, they're almost out of ammo. The Seal calls out: "shoot more, more!" They do, until there's nothing but empty CLICKS from their guns. SEAL (CONT'D) Now Lieutenant. Chopper's four meters at your 10 o'clock. INT. SHIP'S HOLD - CONTINUOUS Just before the water envelopes him and Plummer... SHANE (into his mic) I've got the Prof and the case. First round's on me back at Virginia Beach. Shane takes a deep breath, and pulls himself, the Professor and the briefcase UNDER the water. EXT. OCEAN'S SURFACE - MOMENTS LATER Shane and the Professor rise to the surface as the boat falters behind them. Shane pulls out a retractable CROSSBOW. It clicks open and he shoots a CABLE into the belly of the helicopter above him. SHANE Hold on. INT. HELICOPTER - A SECOND LATER Shane appears at the Pilot's door, holding the Professor. Shane addresses the Pilot in perfect SERBIAN. SHANE You know how to swim? The Pilot nods, terrified. Shane TOSSES the Pilot out. Shane swings into the hot seat and grabs the controls, pulling the Professor in behind him. 5. ON THE SURFACE OF THE WATER - CONTINUOUS The SEALS on the Jet Skis SALUTE Shane in the chopper, then disappear gracefully back into the water. INT. HELICOPTER - CONTINUOUS Shane smiles, clearly he loves this kind of day. He looks beside him, the Professor looks terrified. The Professor takes out his mouth piece. PLUMMER Oh my God. I can't believe you... how'd we... That was the most incredible... Shane sticks the mouth piece back in the Professors' mouth, shutting him up. SHANE Better keep that on `til we get to the rendezvous point. PLUMMER (through the mouth piece) Why? Poison gas? SHANE (re: the oxygen) No. I'm just not big on chit chat. EXT. MOUNTAIN CLEARING - A LITTLE LATER A Pave Hawk SH-60 helicopter, rotors whirling slowly, waits. Shane's chopper appears from behind a tree line and sets down atop the mountain by a stream. Shane and Charles sprint from the chopper towards the waiting Hawk. Charles stops Shane. CHARLES Lieutenant, thank you. (He pats his briefcase) You saved more than just my life today. Can I call my wife to let her know I'm okay? SHANE Negative. Not imperative to the mission. We have to keep moving. I have strict orders to get you out of here safely. CHARLES I'm safe, Lieutenant. Please. She thinks I'm dead. (then) Don't you have a family? 6. SHANE (this gets him:) Make it quick. Charles picks up his briefcase. He holds the lock up to his mouth and whispers into it: CHARLES Joe, Todd, Lulu, Peter, Tyler. The briefcase pops open. Shane looks at him, puzzled. CHARLES (CONT'D) My kids. It's voice activated. Designed it myself. I do security, that's my specialty. (gestures back:) Those guys back there tried to get this case open for five days -- couldn't crack it. And you should see what happens to you if open it without the code. I have a picture of my kids in here, you want to see it? SHANE Negative. Charles takes a cell-phone out of the case. Shane looks in the case: it's EMPTY, except for the phone and a family PHOTO. Charles dials his cell phone... nothing CHARLES Battery's dead... Shane considers, then hands him his satellite phone. Charles dials, and talks... CHARLES (CONT'D) Honey, I'm alive... INT. PAVE HAWK - CONTINUOUS Shane climbs in the Hawk and approaches the cockpit. The PILOT sits, back to him. SHANE We're almost ready. Just gives us a - The Pilot slumps forward... DEAD. Shane turns- SHANE (CONT'D) Professor, RUN!!! WHAM. Shane drops, knocked unconscious. All goes black. 7. EXT. PAVE HAWK - MOMENTS LATER The helicopter is on fire. Wolf lies facedown in the stream. He looks around, barely conscious. SHANE'S P.O.V.: Everything is a blur, in slow-motion. He sees Charles, unconscious. A Huey Helicopter lands. A VERY TALL MAN steps out, and takes Charles' Briefcase. There is huge explosion, as the chopper ignites. Everything is ablaze. Shane reaches out, grabs the picture of Charles' kids then goes unconscious. F ADE TO BLACK: EST. HOSPITAL - DAY TITLE CARD: 1 Month Later INT. HOSPITAL - DAY Shane lies in a hospital bed, despondent. His arm and face bandaged. Shane's Captain enters: BILL FAWCETT (35) -- friendly, unassuming. He looks like he hasn't slept in days. Shane salutes him with his bandaged arm -- it hurts to salute, but he does it anyway. SHANE Captain, sir. BILL As you were Lieutenant. Bill sits down beside the bed. He takes a long look at Shane. He holds a REPORT in his hand. BILL (CONT'D) We've been through a lot together Shane. You're the best man I ever trained. And a good friend. SHANE ... I know sir. And I except full responsibility for the mission's failure. BILL Why the hell did you let him use the satellite phone? SHANE He had to call his family. A lapse in judgement on my part that I regret sir. 8. Bill shakes his head, disappointed. He pulls up a chair, and sits opposite Shane. BILL ... Plummer was the best security expert the department of defense ever had -- a genius. He was working on a program that scrambles launch codes. He called it G.H.O.S.T.: Guided High-altitude Scrambling Transmitter. One pulse from the GHOST satellite and a country can't launch its own nukes. That's what the Serbians kidnapped him for, but they couldn't get S inside the briefcase. SHANE The case was empty sir, as I stated in my report. Bill considers this. Then... BILL Not a surprise, really. Not like the professor to hide things where someone might look for them. G.H.O.S.T. is still out there, (Bill smiles:) which is why I'm going to give you another shot. Shane sits up. He can't believe his good fortune. SHANE Sir. Thank you. I... appreciate your confidence. Invigorated, he pulls off bandages, disconnects an IV, and starts to rise. SHANE (CONT'D) I'll need to put a team together. I'm gonna need the mini sub, I need access to an EP3 aries 2 spy plane... BILL (interrupting:) Negative. It's not that kind of mission. Shane listens, intrigued. BILL (CONT'D) Two days ago, I got a call from the professor's wife... Widow. She told me someone had broken into her home. Searched the place, top to bottom. (MORE) 9. BILL(CONT'D) She's scared. The family's scared. Whoever killed the professor must think G.H.O.S.T. is in that house. Maybe it is, maybe it isn't. Either way, I need someone to stay at that house, and protect them. And while you're there -- find out if the program is in there. SHANE That's it? Why would you want me for that, sir. BILL The professor's wife requested you. Shane is surprised... Bill pulls a tiny tape recorder from his pocket, presses play, we hear PROFESSOR PLUMMER'S voice. CHARLES (O.S.) Honey, I'm alive. Listen: A lot can happen between here and home -- if anything happens to me, call Lt. Shane Wolfe. He's a good man... anyway, I should go. I'll call you in an hour. I love you. Shane is shocked, hearing the dead man's voice. BILL ... You gotta problem with this mission? SHANE Sirnosir. It's just that... I've never been very good with kids, sir. Not even when I was a kid sir. CUT TO: INT. SHANE'S APARTMENT - NIGHT Shane packs his duffel bag. He opens a drawer: There's five t-shirts, identical to the one he wears. He opens another drawer: Five khaki pants, also identical to the one he wears. He opens the closet: There's a massive fur- collared coat. Hm. He rejects it. Shane packs his duffel with military gear: GPS compass, night vision goggles, camouflage vest, machete... they all go in. Shane heads to the door, then goes back to his chest of drawers. He reaches in, and pulls out a small, old MEDAL: the ribbon is faded and frayed. He looks at it for a moment, then unzips his suit and pins it to the inside, like it's a lucky rabbit's foot. 10. EXT. SUBURBAN STREET - AFTERNOON A taxi door opens. Shane looks like a bad ass, ready for anything. He steps from the taxi onto an adorable TROLL doll on the sidewalk. It SQUEAKS. Shane's P.O.V.: Julie's unkempt suburban house, with toys all over the lawn, and a "BLESS THIS MESS" welcome mat. Shane double-checks the address. The sprinklers go off. Shane darts to the door and rings the bell (it's one of those long cheerful doorbells). WE hear TINY FEET approach -- then the door swings open, Shane looks down -- and sees LULU, 8, peering up at him. Shane eyes Lulu. Lulu eyes Shane, then: LULU Mom! There's some weird bald guy at the door! SLAM. Lulu shuts the door in Shane's face. Shane frowns. WE hear heavier footsteps approaching. EMALE VOICE (o.s.) (before she sees Shane:) Look, if you're with the Hare Krishnas, we're not interested... The door opens revealing JULIE PLUMMER. Julie holds NAKED baby PETER, 2. She sees Shane, and stops, a little startled by his size... SHANE (salutes:) Lieutenant Shane Wolfe, reporting for duty. JULIE Of course. I'm so sorry. Thank you for coming. She hugs him. He's not quite sure what to do -- he's a rock, he doesn't flinch. JULIE (CONT'D) Come in and meet the rest of the gang. INT. PLUMMER HOUSE/FOYER - DAY It's warm and quiet. Petite Julie SCREAMS up the stairs- 11. JULIE KIIIDDS!!! Shane startles, covers his ears. JULIE (CONT'D) Get your butts down here and say "hello!" And then three pairs of feet come down the stairs. Lulu, ZOE, 15, and TODD, 14 line up like the perfect family portrait. Todd's hair hangs in his face. He wears a Sid Vicious shirt and a long trench coat. JULIE (CONT'D) You've already met Lulu. This is Peter, Zoe and Todd. Kids, this is Lieutenant Wolfe. He's the man who is going to be staying with us for a while. All the kids except for Todd- KIDS Hi. Shane nods, stern. On the stairs, a Romanian MAID walks by, carrying a BABY. JULIE And this is Helga and Tyler. Shane nods hello to them. SHANE (official:) Ma'am... Baby. JULIE Kids, go finish your homework. And I'll be checking. Zoe, Lulu and Todd climb back up the stairs. Julie leads Shane into... INT. LIVING ROOM - DAY Julie sits, Shane stands "at ease" (which doesn't look "at ease" at all). SHANE You have a pleasant family, ma'am. 12. JULIE Charles wasn't around too much. His work took him all over the world. He'd be gone six or seven months at a time. So I think for the younger ones it's a little confusing. Zoe and Todd... well, they're dealing like your normal teenagers. Maybe in Todd's case semi-normal. SHANE Mrs. Plummer, I have to tell you that I did everything I could... JULIE Charles was in a dangerous business. I knew it when I married him. No one's to blame here. (beat) Everyone thinks that Charles told me or the kids where he hid it. And until G.H.O.S.T. is found, we're all in danger. SHANE Nothing will happen to your family as long as I'm here. I've dealt with much... Suddenly from behind Shane's head a DUCK appears and NIBBLES his ear. Shane spins in full fight stance. He sees the Duck... and relaxes. Sort of. JULIE That's Gary. He was Charles'. The duck QUACKS angrily. Confused, Shane returns to "at ease," keeping one eye on the duck. SHANE Mrs. Plummer- JULIE Call me Julie. Beat. SHANE ... Mrs. Plummer, I'll go secure the perimeter. JULIE I'm glad you're here- 13. But Shane is already gone. CUT TO: MONTAGE. MILITARY MUSIC PLAYS: Shane secures the area. He paces off the yard. He mounts surveillance cameras in the eaves. He attaches contact alarms in the doors and windows. Shane climbs a telephone pole, opens the circuit box and TAPS the phones. Shane, now wearing an EAR TRANSMITTER, crawls through the shrubs, hiding electric eyes. Nighttime -- the family eats dinner. We slowly pull out... through the kitchen window... and reveal Shane with night vision goggles on scoping the property. The phone RINGS inside. Through the window, Julie casually answers it. Shane touches his ear transmitter and LISTENS as he walks into the house. BILL (o.s.) Julie, it's Bill Fawcett. I have some potentially good news. JULIE What is it? BILL (o.s.) A safety deposit box under Charles' name was just found in Switzerland. I think it could contain GHOST. JULIE That's wonderful. This could all be over! BILL (o.s.) There's a catch. Swiss law says only his family can access it. I'm going to need you on a plane tomorrow morning. INT. LIVING ROOM - NIGHT Shane, listening to the conversation, enters- JULIE I'll be there. 14. Julie and Shane share a look. INT. PLUMMER HOUSE/FOYER - MORNING Julie, with her suitcase, Shane, Helga and the Kids stand in the doorway. Zoe listens to her I-Pod ignoring the hug Julie gives her. JULIE Don't worry about the Kids, Helga will handle everything. (Worried:) But if there is an emergency, all the emergency numbers are on the fridge. And on the phone. And on the back door... ZOE Mom -- we'll be fine, chill. JULIE (a little choked up:) I know, it's just... I am a mom, it's my job to worry. ... I love you guys. I'm gonna miss you. I'll be back in 48 hours. And guys, whatever Lieutenant Wolfe asks you to do... do it. Okay? A ll the children nod in agreement except Zoe who pops her chewing gum bubble. JULIE (CONT'D) Lieutenant, I don't want you to worry about anything except the safety of my children. Helga will take care of everything else. SHANE Don't worry. They'll be safe with me. HELGA Everything will be fine, Mrs. Plummer. Julie gets in the car and it drives away. Shane turns back to the kids who loom in the doorway. HELGA (CONT'D) Tell me, are you licensed to kill? SHANE ... No. HELGA (she frowns) Too bad. H S 15. Helga trudges up the path and in. INT. UPSTAIRS HALLWAY - NIGHT Shane, on a short ladder, screws in a surveillance camera into the corner of a wall when he hears: MALE VOICE (o.s.) Prepare to be annihilated! Lulu SCREAMS. The sound of MACHINE GUN FIRING. Immediately, Shane leaps off the ladder and bounds down the stairs two at a time and into the... INT. HOUSE/FAMILY ROOM - NIGHT hane rushes in -- and finds Lulu screaming and giggling in front of a VIDEO GAME. Shane shakes his head. SHANE Could you turn that dow- And Shane spies half of Todd's face peeking around a corner staring at him... S SHANE (CONT'D) Hey- Todd disappears. WAAAAA!! WAAAAA!! Shane spins, looks around for the CRYING BABY... can't find him. SHANE (CONT'D) ... Where's the baby? Without looking Lulu points. A diapered Peter stands in the half full AQUARIUM, pouring in Cheerios. Helga enters holding the wailing Tyler. Gary suddenly FLIES by - - WHRRP! Shane ducks. Shane scowls at Helga: SHANE (CONT'D) You run a very loose ship. HELGA You don't like it? You're the SEAL. You do something. I make bottle. elga stomps out. Shane heads down the hall, when in the corner of his eye -- he sees A FIGURE SCURRY ACROSS THE BACK LAWN. Shane turns off the light. He shuts off the window alarm and sneaks out silently. 16. EXT. PLUMMER HOUSE - BACK YARD - CONTINUOUS The yard is littered with toys. In the middle is a TRAMPOLINE. He spots the Figure climbing the TRELLIS. Shane runs, jumps onto the trampoline. He flies in the air and latches onto the figure. They both tumble to the ground. Shane yanks off the DARK FIGURE's hood, revealing SCOTT (16) a nervous teenager. He's dazed, but alright, wearing SHARPER IMAGE night vision goggles. SCOTT ... Zoe? Zoe runs out the door, setting off the PIERCING ALARM. ZOE He's my boyfriend, tool. SHANE So you're the one who broke in. Zoe -- go back inside. ZOE Okay, fine... come on Scott. Shane grabs Scott by the scruff of the neck. SHANE Not with this kid. (to Todd:) You -- Gimme twenty! Freaked, Scott fumbles for his wallet and gives Shane a twenty dollar BILL. SHANE (CONT'D) I meant PUSH-UPS! Befuddled, Scott starts to do lame push-ups. Shane grabs the back of Scott's shirt, LIFTING him in the air, spinning him away from the house like a marionette. Scott runs off, calling out from across the street. S COTT ... I'll call you, Zoe! Zoe storms inside. Shane stands there, fuming. The Alarm's still blaring. The window of the house next door opens: a Korean couple, THE CHUNS, pop their heads out. They're arguing with each other in Korean. Shane addresses them, IN PERFECT KOREAN with subtitles: S S 17. SHANE My apologies. We had an intruder. A simple misunderstanding. MR. CHUN (perfect English, no accent) We speak English, Kojak. SHANE Oh. Sorry. MRS. CHUN ... Look, about the 2000 decibel alarm and the kleig lights and stuff... we own a bakery, so we're up kind of early. Would you mind? SHANE Sorry. Shane pulls a remote control from his pocket and clicks it. The alarm stops. MR. CHUN Thanks a bunch. Oh, and we found this in our pool filter... Try to keep that zoo reigned in, huh baby-sitter? Mr. Chun tosses him the TROLL DOLL and slam their window shut. Shane's about to head inside, he pulls a tiny camera phone from his pocket, and snaps a shot of the Chun's car in their driveway. I INT. PLUMMER HOUSE - NIGHT hane marches Zoe up the stairs. Loud, angry rock music blares from Todd's room. SHANE Your mother thought you were in real danger. You should have told her the truth. ZOE Who do you think you are -- my dad? Zoe starts to turn -- then suddenly spins and tries kicking him in the CROTCH. But Shane catches her foot -- and whirls her away. She has to hop on one foot, to not fall over. He "hops" her down the hall to her room. S W 18. ZOE (CONT'D) Let me go! It's Saturday night. I have plans! Zoe's back to her door, Shane flips her foot in the air. Zoe falls backwards into the room. Shane shuts her door. SHANE Not anymore. Shane marches back down the hall, bangs on Todd's door- SHANE (CONT'D) Lights out. TODD (o.s.) Bite me! Shane frowns, continues down the hall. He passes the NURSERY (Peter and Tyler's room), where Helga is singing a lullaby: (as annoying Has something Barney might sing). ELGA When you're down and low, lower than the floor. And you feel like you ain't got a chance. Don't make a move `til you're in the groove, and do the Peter Panda Dance. Just hop three times like a kangaroo -- She does a little "dance" that goes with the lullaby: She hops forwards three times, then "crab-walks" sideways. HELGA (CONT'D) Sidestep twice, just like the crabs do. Three steps forward, one step back. She does. The Children, in bed -- laugh and laugh. HELGA (CONT'D) Then quick like a turtle lie on your back! riggle like a snake `til you can't no more. he wriggles on the floor. Then jumps up, to their beds. Shane shakes his head, keeps walking- SHANE This family's in for a rude awakening. T Z Z T 19. EXT. PLUMMER HOUSE - DAWN The sun rises over the neighborhood, warm orange light. INT. HOUSE - SAME TIME Everyone is asleep. In the bedrooms, a SERIES OF SHOTS: L Tyler snores in his crib. Peter in his bed. ulu is surrounded by stuffed animals. odd is out cold, motionless. oe is wrapped in blankets. Until A TRUMPET BLARES "REVEILLE"! Zoe jumps, like she's been electrocuted. OE Huh? Wha--?! INT. TODD'S ROOM - MORNING Todd sits up, disoriented, not understanding what's happening. The Whistle GETS LOUDER. Suddenly his door flies open -- and Shane strides in with a BOOM BOX. Todd blinks groggily. TODD W-what are you doing??! SHANE You're burning daylight. Move. Move. ODD It's Sunday...! (he squints at a clock) And it's six a.m. You're insane. Todd pulls the blanket over his head. Shane flips the mattress over spilling Todd to the floor. SHANE Now move it! Todd scrambles to his feet and out the door. INT. HALLWAY - CONTINUOUS All the little kids are CRYING. Covering their ears. Helga runs through in hair curlers, half-asleep and angry, carrying the crying baby. L 20. HELGA (She curses in Romanian) SHANE Hey. Not in front of the kids. S he gives him a look of disbelief. HELGA What's it matter? Nobody speaks Romanian. SHANE Usca mi-as chilotii pe crucea lu mata! Helga narrows her eyes, shocked. HELGA (She curses Again, in Romanian.) Shane's jaw drops. INT. KITCHEN - LATER The children are assembled, lined up tallest to shortest. At the end on the floor is Baby Tyler, sucking on a bottle. Shane firmly starts his Patton speech: SHANE Listen up, ladies. Your behavior is unacceptable. In order to maintain a state of safety we need to maintain a state of discipline and order. I've only got one rule: Everything is done my way. No highway option. Do you copy? LULU Do you copy? SHANE What? I said -- do you... LULU ("copying" him) What? I said -- do you... SHANE Do not copy me! ULU Make up your mind. L 21. Shane starts to speak then thinks better, he's furious. Everyone stares blankly -- a tense silence. It's broken by the sound of a large AIR BUBBLE from the aquarium. ULU (CONT'D) P eter farted. Everyone cracks up. Shane tries to maintain decorum. He reaches into his bag and unpacks a set of small high-tech SECURITY BRACELETS with a red light and a covered button. He straps one to each Kid's wrist. SHANE Tracking devices. Now that I know I can't trust you... Never take them off. The panic button is only for emergencies. Touch that -- you better be dying, or you're dead. ZOE I am not wearing that. Just because my mom's paranoid doesn't mean we have to take orders from you. He yells at her, Marine sergeant style: SHANE Let me explain how the chain of command works. I tell you what to do -- and you do it. End of chain. Now I'm not gonna have time to learn your names. So you are -- (pointing) Red 1, Red 2, Red Leader, Red baby... wait, where's the older male? There were five. HELGA (mysterious) He walks like Dracula, with footsteps silent like death -- Shane looks to Zoe for translation. ZOE He's in his room. Angry, Shane bounds up the stairs. INT. UPSTAIRS HALLWAY - SAME TIME S hane marches to Todd's shut door. He tries the knob, but it's locked. Shane bangs hard on it. S 22. SHANE Red 4! Open this door! No answer. Shane turns away from the door and DONKEY KICKS it...SMASH! The wood CRACKS, then CRASHES inward. The entire frame collapses. INT. TODD'S ROOM hane charges in- SHANE It didn't have to go down like- Todd isn't there. Down the hall -- a FLUSH. Oops. INT. HALLWAY - NIGHT The bathroom door opens, and Todd comes sauntering back. He sees Shane, the destroyed door and wall... SHANE All I need is a hammer and some plaster of Paris. I can fix this. A piece of the ceiling falls, hits Shane on the head. TODD Can I get by? Embarrassed, Shane steps aside, then mutters- SHANE Here's your bracelet. If you'd been wearing it, this wouldn't have happened. Shane SNAPS it onto Todd's wrist, and head down the hall, patrolling. Zoe comes up the stairs, to her room. She stops at Todd's door -- they glare at Shane. ZOE He has to go. Todd nods in agreement. INT. PLUMMER HOUSE - MORNING - LATER S hane does one-handed push ups in the living room while the Duck watches. With his other hand he loads the PHOTO of the Chun's license plate into his laptop computer. His head shifts, he hears something suspicious -- the rumble of a car approaching. L S 23. He rushes for the front door, clicks his alarm remote and opens it, just as -- WHACK -- the MORNING PAPER connects with his face, hard. From off-screen we hear a PAPERBOY. PAPERBOY (O.S.) SORRY DUDE! Shane rubs his nose. Lulu screams at the top of her lungs. Shane turns, to see that Peter is chasing her, wearing a towel as a sheet. He pretends to be a ghost. PETER Whhhoooooo! LULU Stop it, Peter! Lulu hides behind Shane. Peter Booos again. Lulu screams. SHANE Hey, hey, good soldiers aren't afraid of anything. LULU This house is haunted. Daddy even said so. He said there's a ghost. And then it hits Shane. His eyes light up. SHANE Really? And where is this ghost? ULU I don't know. I've never seen it. INT. HALLWAY - LATER Shane walks slowly down the hall. As he walks he glides his hands along the wall, feeling, pushing, scanning the ceiling. Searching. I INT. STAIRWAY - SAME TIME Todd and Zoe kneel on the stairs. They surreptitiously pour COOKING OIL all over the wood. Then -- a creak. Zoe whispers. ZOE Here he comes...! Zoe and Todd run downstairs and hide behind the couch. F 24. Shane strides to the top step and RAPS on the wall. He RAPS again, listening for hollow spaces. Nothing. Shane lifts his left foot out to take a step down... When he hears an alert from his laptop. He goes back to the living room, then turns his attention to his laptop. MR. Chun's photo appears next to a VEHICLE REGISTRATION. Shane scans it... Todd and Zoe's faces fall. The footsteps again- TODD He's coming back- But Helga, carrying a huge laundry basket, appears, takes a step onto the stairs -- HELGA AHHH!!! BUMP! BUMP! BUMP! She flies down the greased stairs, BANGING her head and ass on each step, all the way down. inally, BAM! Helga HITS the bottom with a mighty crash. She screams, as laundry flutters down from above. T IGHT - ZOE AND TODD They gulp, terrified. ZOE Uh-oh. EXT. SWISS BANK - DAY Establishing. INT. SWISS BANK - DAY Bill and Julie, looking jet-lagged, sit across a desk from a SWISS BANKER. He seems to be about 100 years old. He's reading a HUGE stack of paperwork with a magnifying glass, mouthing along in FRENCH. It's taking him a LONG time. They wait patiently -- til their patience runs out. BILL As we discussed, this is an urgent matter. The Banker puts up a finger to "shush" him. Then looks back to the paperwork, then licks his finger to turn the page. He licks his finger again, but can't get the page to turn. 25. He feebly gets up, and shuffles across the room to a WATER COOLER. He fills a paper cup with water and shuffles back to his desk. He dips his finger in the water to turn the page. JULIE Can't you call somebody? Do something to get us around all this paperwork? BILL Sorry. Not in Switzerland, I can't. Bill can't stand it anymore. He jumps to his feet. BILL (CONT'D) This is absurd. If we can't get some faster service, we're going to have to file a complaint. The Banker looks at him blankly. BANKER Marcel! Another Banker, MARCEL, enters. MARCEL Oui. BANKER Je ne comprende pas. MARCEL (to Bill and Julie:) I'm so sorry, the chief does not speak English. But I can tell you -- you will have access to the box tout-suite. As soon as your background checks clear. JULIE Thank you. How long is that? INT. PLUMMER HOUSE - SAME TIME Helga, suitcases in hand, heads to the door -- Shane tries to block her path. Peter's in the aquarium. The duck flies around, QUACKING. HELGA AGGH! These brats! Sugi Pula! SHANE Red Leader, remain calm -- 26. HELGA I am calm. I QUIT, that makes me calm! SHANE Let's not be hasty. Suddenly, RING! Amid the chaos, Shane moves for the phone. Helga takes the opening and runs for the door. He grabs her suitcase. As she tries to wrestle it away, Shane picks up the receiver. SHANE (CONT'D) Hello--- (sees Helga crawling away) Don't even think about it. The suitcase handle breaks off, and Helga dashes for the door. Shane dives, grabbing her foot. He DRAGS her back. SHANE (CONT'D) Ah, Mrs. Plummer. (covering the phone, so Julie can't hear the struggle) No no -- everything's fine. You're gonna be gone how much longer? here's a pause, the camera DOLLY/ZOOMS as he says it: SHANE (CONT'D) Five business days? elga's shoe comes off -- Helga falls forwards, and Shane falls back, against the counter. SHANE (CONT'D) That is not a problem. Just doing my... He picks up his hand, that landed on a diaper. SHANE (CONT'D) Duty. Helga's at the door. Shane body-checks it closed. Helga struggles to get him off. CRUNCH. Helga chomps down on Shane's hand... SHANE (CONT'D) Ah! Things are GREAT!!! You do what you have to do. Shane lets go. Helga scampers out the door. 27. SHANE (CONT'D) Take care, Mrs. Plummer. Shane hangs up the phone, as Helga makes a dash down the path to a waiting cab. EXT. HOUSE - CONTINUOUS Shane chases Helga to the cab. SHANE Red Leader! I command you to come back! That is a direct order! You can't leave a man behind!! Helga jumps in the cab. SHANE (CONT'D) (SCREAMING) I don't know the Peter Panda song!! As the cab pulls away, in the rear window, Helga glares back, then does an obscene Romanian hand gesture. ANGLE - SHANE His jaw drops in disbelief. He drops his head, defeated. Then -- he slowly glances up. ACROSS THE STREET The Korean couple is staring at him, dumbfounded. KOREAN WOMAN Don't worry, if she loves you, she'll come back. ANGLE - SHANE Rises, takes a deep breath and strides inside. INT. HOUSE - CONTINUOUS Shane enters... to find the kids are all gloomy. The baby cries. Shane awkwardly picks the baby up. SHANE Okay, listen up. There's been a change of plans. Your mom's not coming back as soon as she thought... 28. LULU (worried) When is she coming back? SHANE Soon. In the meantime, we're just gonna have some more big fun. TODD That's what we've been doing? LULU But tomorrow's a school day. ZOE I need a signed release for Driver's Ed! LULU I've got Brownies! Shane reacts, inundated. SHANE Whoa, WHOA! HALT! We'll take this hill one inch at a time. Only then can we rise to the challenge. All for one, and one for all! LULU (singing) "Be all that you can be!" SHANE That's Army. I'm Navy. But I appreciate your enthusiasm. nice moment. Until -- FWRPPPP! SHANE (CONT'D) Tell me that was the duck? FWRPPP! WE zoom in on the baby's leering face. hane quickly moves the Baby away from his body. Pure self-preservation, everyone bolts from the room. SHANE (CONT'D) Hey. HEY! Nobody will help. Even Peter runs, holding his nose. 29. CLOSE-UP - SHANE He gulps. INT. BATHROOM - MOMENTS LATER Shane enters, holding out the Baby at full arm's length. He lowers Tyler onto a changing pad, takes a deep breath, then pulls out PLIERS and a SCREWDRIVER. Using the tools as chopsticks, he cautiously unfastens the diaper... And then -- it flops open. SShane GROANS, repelled. SHANE The things I do for my country. Shane tries approaching -- he can't do it. Aghast, he looks around for a solution. Then: Shane picks up the Baby and dips the bottom half in the toilet, then FLUSHES, over and over and over. INT. HALLWAY - NIGHT Shane patrols the hall, making sure all the doors and windows are locked. Lulu is in her pj's. A hand tugs on Shane's shirt, he looks down to see Lulu. LULU Hi. Zoe thinks you look like the Hulk. I think you're cute. SHANE (unsure how to respond...) Thank you. Lulu doesn't go away, she just stares at him, it starts making Shane uncomfortable. LULU Do you know Kung Fu? SHANE Affirmative. LULU Did you ever punch someone so hard that their head came off? hane walks away from Lulu. She follows. Shane is again twirling the MEDAL in his fingers. Lulu follows at his heels, like a puppy. 30. LULU (CONT'D) What's that medal for? SHANE None of your business. LULU I'll trade you a SpongeBob button for it. Shane walks room to room, pulling down the shades on every window. LULU (CONT'D) Is that so people can't hurt us? He bends down to her level, and tries to sound sweet: SHANE I think -- it's time for you take a nappy- poo, in beddibye land, little girl. Lulu looks at him, like he's an idiot. LULU Do I look like I'm five to you? Lulu sulks off to bed, and shuts off her light. All the lights are out, all the kids asleep. Shane breathes a sigh of relief, and patrols. INT. KITCHEN - BREAKFAST - MORNING The Kids are dressed for school. On the table in front of each place is a tan BAG. The kids sit down at their designated spots, confused by the MRE's (MEALS READY TO EAT) in front of them. SHANE What are you waiting for? Dig in. Todd, Lulu and Zoe all tear open their bags. Todd pulls out a bag of CORN BEEF HASH and a Snickers bar. Zoe pulls out a bag of FETTUCCINE ALFREDO and some matches. Lulu takes out a bag of turkey slices and a coffee packet. Shane smiles, proud of his accomplishment. The Kids stare at "breakfast," dubious. SHANE (CONT'D) Don't worry, I can get lots more of those. And I've survived off this stuff for months. 31. ZOE Like I'm really gonna eat all those carbs. Shane turns to address them: SHANE Okay, ladies. Your mama -- is not here to take care of you now. So -- here's how it's gonna be. We're gonna pull together, all for one, one for all. If I say in, you stay in, if I say out, you go out... Peter stands in his chair, dancing... PETER Ba ba do the hokie pokey... SHANE I did not say at ease! Peter's eyes fill with tears. ZOE He's only two, he doesn't have any idea what you're talking about. I don't have any idea what you're talking about... Shane sighs. Lulu asks Shane: LULU Can you kill a man with your bare hands? SHANE You play too many video games. (then:) Yes. LULU ... I can cross my eyes. Wanna see? SHANE Negative. Lulu crosses her eyes at Shane, then at Tyler -- who SCREAMS at the top of his lungs. Shane turns to Lulu. LULU Tyler hates it when I do that... Peter starts bawling, too. He runs away, crying. The table cloth is yanked to the floor. And the phone rings. Shane answers, trying to hear over the screaming. 32. SHANE Plummer residence... yes, I know it's Monday. Oh. Thank you, sir. He hangs up. Zoe smiles at him, innocently. ZOE Who was that? SHANE Your vice principal. He said if you're late again, you and Todd are expelled. He wants to see you in his office. With your ... legal guardian. INT. GARAGE - MOMENTS LATER The garage door opens, dramatically unveiling Shane. He's wearing Tyler in a SNUGGLE. Across his chest, he's got a bandoleer of baby-bottles and juice boxes. Shane can't hide his contempt as he sees: Julie's WHITE MINIVAN. A bumper sticker declares "World's Greatest Mom." Shane puts Tyler in a CAR SEAT. Its interlocking buckle connects FOUR WAYS. Shane fumbles with it for a while. It just doesn't add up... LULU We're gonna be late. SHANE Not on my watch. Shane TIES the buckles in a fancy knot. EXT. GARAGE - MOMENTS LATER The car speeds out of the drive, backwards at sixty m.p.h.. It does a skidding 180 and heads down the street. EXT. EAST BETHESDA K-12 SCHOOL - 9:29 A.M. A big suburban school, Busses and PARENTS are parked at the curb, STUDENTS of all ages are hurrying inside. The Minivan skids completely sideways, into a TINY parking spot -- a death defying, perfect parallel park. INT. PRINCIPAL'S OFFICE - MOMENTS LATER CLOSE UP ON: a stopwatch. It hits ZERO, and at that moment, the SCHOOL'S BELL RINGS. Holding the stopwatch is the VICE PRINCIPAL MURNEY (50's). He's HUGE and mean. 33. MURNEY I always said these kids didn't need a baby sitter, they needed a parole officer. Looks like Mrs. Plummer finally listened. He glares at Shane, and the Kids: Shane sits with Tyler in a Snuggle, holding Peter on a harness, as he plays on the floor. The Kids are seated around him, mortified. MURNEY (CONT'D) (To Shane) What's your name, son? SHANE Wolfe. Shane. Lieutenant. I'm in charge of watching these kids for... a few days. Murney is unimpressed. MURNEY aby-sitter huh. Well, whatever work you can get. I'm Murphy. Duane. V.P in charge of discipline, conduct and truancy. Top to bottom, K thru 12. You're in my house now, boy. I coach wrestling, too. (re: Todd:) And the creeper here played hookey from every wrestling practice this month. The Kids crack up. Murney is furious. MURNEY (CONT'D) She's missed twenty-two Driver's Ed classes. Out of twenty-three. They're the worst students in my school. OMAN'S VOICE Your school? Murney grimaces as PRINCIPAL CLAIRE NELSON (early 30's) enters. She's attractive, assured, tough. He withers. PRINCIPAL CLAIRE Good morning kids. What are you doing in my office, Murney? MURNEY I was explaining, that as vice principal, I am in charge of.... 34. PRINCIPAL CLAIRE Very little. I thought I asked you to find out who stuck to the baloney slices to the cafeteria ceiling with mustard? MURNEY I'm got some leads. (then, confidential:) My informant's about to crack. PRINCIPAL CLAIRE Then hop to it. I think I can handle this from here. The opens the door for Murney. He exits, fuming. The BELL rings. SHANE Red 1, Red 2. Get moving. The teens hustle off to their classes. Shane checks his TRACKER -- two little red DOTS move away. Good. Principal Claire eyeballs him... staring him up and down, as he casually holds the three kids. PRINCIPAL CLAIRE So. You're the new baby-sitter? SHANE Bodyguard. You see, Mrs. Plummer called my captain, she thought the kids needed - PRINCIPAL CLAIRE It's okay, Lieutenant, I was briefed of the situation by Mrs. Plummer. She told me all about you. She notices NAVY SEAL tattoo on his upper arm. Claire sees this -- and suddenly reacts, impressed. PRINCIPAL CLAIRE (CONT'D) Lieutenant, huh? You with "The Teams?" (Shane nods.) Petty Officer Third Class Claire Nelson at your service. SHANE ... You're kidding? PRINCIPAL CLAIRE Four years at Naval base Coronado. The Service paid for my college. 35. Shane stares not sure whether to believe. On the spot, Claire looks nervously around. She lifts her pants leg... revealing a tiny ANCHOR TATTOO on her ankle. SHANE "Honor, Courage... PRINCIPAL CLAIRE Commitment". That's the way I live my life, and the way I run my school. SHANE Can't be too careful. So. Permission to stick around and keep eyes on the kids? She smiles. PRINCIPAL CLAIRE Permission granted. Welcome aboard. Just try not to frighten the children. SHANE No one will even notice I'm here. JUMP CUT TO: EXT. EAST BETHESDA K-12 SCHOOL - MID-MORNING Shane, dead serious, (Tyler in Snuggle) is riding the see- saw in the school's playground. Peter rides on the other side with a group of KIDS, to balance Shane. Shane types on his laptop: CLAIRE NELSON. A picture of Claire in a Naval uniform pops up as well as her stats... SHANE Clean as a whistle. Shane closes the computer, picks up a pair of binoculars. BINOCULARS P.O.V. as Shane goes from window to window of the school: Zoe is glaring at him through the window from her seat in a class. Todd, sitting in the back row of a class, yanks his hood over his head. Lulu waves from 2nd Grade, delighted. Along line of FIRST GRADERS wait for the seesaw. SHANE (CONT'D) Back off. Official Business. 36. ON THE PLAYGROUND: Shane stands with his Baby snuggle. Peter is running in circles around him on his harness, like a tether ball. He checks his tracking device... INT. CAFETERIA - LUNCH TIME BINOCULARS P.O.V.: Five hundred students eat at long tables. Zoe, with a group of HIP FRIENDS, turns her back to him embarrassed. Todd, in line to get lunch, does the same. Lulu sees Shane and waves. Shane puts down his binoculars. He turns to the person in front of him, with stern intensity. SHANE Give up now. Save us both a world of pain. Now -- last time: Open the hanger, Black Hawk coming in. Reveal: Shane is talking to Tyler, in his safety seat -- trying to get him to eat. Beside Shane, Peter is destroying a sandwich with animal crackers. SHANE (CONT'D) Open in T minus three, two, one... Tyler gurgles, ignoring him. Shane sighs. Principal Claire sits next to Shane with her lunch tray. PRINCIPAL CLAIRE What would you say is the secret with kids, Mr. Wolfe? SHANE Show no weakness. RINCIPAL CLAIRE I'll drink to that. (she toasts, with milk.) Shane... Can I call you Shane? SHANE ... Sure. PRINCIPAL CLAIRE So. When you agreed to serve your country, I bet you didn't know you'd be serving creamed bananas to one year olds, huh? Shane gives her a look. Principal Claire smiles. 37. SHANE Hey -- I out rank you, you know. PRINCIPAL CLAIRE Not here, you don't. You're on dry land, lieutenant. (she looks at his chair) Well, not so dry where you're sitting, I guess. Shane sees that Tyler is pouring his juice Box all over Shane's pants. He yanks Tyler away from him. SHANE Oh, man... Tyler starts to cry -- but Shane stops him from crying by making a funny face. Tyler laughs. Claire smiles. PRINCIPAL CLAIRE Don't take this personally -- but you're pretty good at this. Seriously, I'm impressed. A whole day, and all three Plummer's stayed out of trouble. That's... unusual. Suddenly there's a huge crash around the corner, and the sound of Students in an uproar. Shane hands Tyler off to the Principal and leaps over the table... INT. LUNCH-LINE - CONTINUOUS Students are in a ring, cheering, as four STUDENTS in Wrestling Jackets hold Todd. One reaches down and gives Todd a "wedgy" then another WRESTLER punches him. Todd slips out of their hold and decks the Wrestler. VP Murney is watching, but not stopping it. Zoe, in the crowd, cheers Todd on: ZOE Kick his butt, Todd! Shane and Claire push through the Students. As soon as they see the Principal, the crowd freezes. RINCIPAL CLAIRE Who started this? Silence. Then vice principal Murney steps forward. MURNEY He did. (Todd) 38. PRINCIPAL CLAIRE Todd started a fight with five students at once? Shane turns to Todd, and "punches fists" with him, impressed. MURNEY The kid's mixed up. Look at him. PRINCIPAL CLAIRE If I catch anyone on the team fighting again, next week's tournament is off. I don't care who starts it. Murney smirks, and gives her a "I'll handle it" wink. MURNEY You heard the lady. Any more fighting and there'll be no more wrestling. Personally I think that's a little harsh. Boys'll be boys. (low, to Todd:) `Scept for Plummer here. Todd lunges at him. Shane effortlessly grabs Todd and Judo FLIPS HIM -- Todd lands on his feet, sticking the landing. No one is more Ssurprised than Todd and Shane. SHANE ... Nice moves, man. The Bell rings, the crowd breaks up. Murney approaches Shane. MURNEY Pretty slick, Frogman -- I'm a black belt myself. S'why they asked me to coach the wrestling team. Murney makes a loud Kung Fu CRY and throws a punch, stopping an inch from Shane's head. Shane doesn't flinch. MURNEY (CONT'D) See -- total control. Maybe you could stop by practice, we'd show the boys how a couple of pros do it, what do you say? Come on, promise I'll go easy on you. SHANE ... Sorry, sir. I'm on duty. 39. MURNEY Oh, yeah. That's right. I forgot you had to baby-sit. Maybe some other time then. Shane puts an arm over Todd's shoulder. Todd shakes him off and heads to class. Murney snickers to Claire: MURNEY (CONT'D) Looks like pretty boy there's all bark and no bite. PRINCIPAL CLAIRE ... Don't even think it, Murney. He'd kill you so fast, I wouldn't even have time to get my camera. INT. SCHOOL HALLWAY - 2:55 Shane looks exhausted. Peter is asleep in his shoulder, Tyler is crying, as he keeps watch. The Principal strolls up. PRINCIPAL CLAIRE Another day, another dollar twenty, minus taxes... aren't you gonna change him? SHANE I'd love to, for one who'll eat, and not cry. PRINCIPAL CLAIRE That's not what I mean, Lt. Then Shane smells what she means -- Tyler's diaper is full. Shane recoils in disgust, holding Tyler out like a grenade. SHANE Oh -- change him. Roger that. Uh... Panicked, he pushes Tyler towards the Principal. PRINCIPAL CLAIRE Sirnosir. Not my job. SHANE But... PRINCIPAL CLAIRE Instructions are right on the box. Bathroom's down the hall. Have fun. 40. Just then, an alarm in his Jacket GOES OFF. He looks at his tracker: it's flashing RED 3 RED 3. Shane hands off Peter and Tyler to the Principal. SHANE Emergency! INT. 2ND GRADE HALLWAY - CONTINUOUS Shane runs down the hall, following his tracking device. It leads him to a door. He bursts though it, doing a shoulder roll. INT. 2ND GRADE CLASSROOM - CONTINUOUS 2ND GRADERS are sitting on the floor. Lulu is in front of the class, with the Panic Button in her hand. The board reads: SHOW AND TELL. Shane lands in fight stance -- the Class applauds. Next to Lulu is a very upstaged LITTLE BOY with a FROG. Lulu sticks her tongue out at him. LULU See! My nanny can kick your nanny's butt. Shane is furious, but the FINAL BELL rings. At that moment, his Tracker Alarm sounds again. He looks: CLOSE-UP ON THE TRACKER SCREEN: Two DOTS labeled RED 1 and RED 2, are heading away from the school fast. I INT. HALLWAY - CONTINUOUS Shane runs with Lulu through the mob of Kids. He hands her to the Principal. SHANE Thanks. EXT. EAST BETHESDA K-12 SCHOOL - CONTINUOUS Shane dives into the Minivan. The DOTS on the tracker are headed North. He speeds away after them. EXT. BUSY INTERSECTION - MOMENTS LATER The BLINKING DOTS on his tracker are side by side, racing down the road ahead of Shane. They make a sharp right. Shane makes a right, almost tipping the minivan. He blasts through a red light. 41. EXT. IN FRONT OF A CONSTRUCTION SITE - MOMENTS LATER He turns a corner -- a PLYWOOD WALL surrounds the site. He leaps out of the minivan. He looks at the tracker: Zoe and Todd are dead ahead, through the fence. EXT. CONSTRUCTION SITE - CONTINUOUS Two BIG CONSTRUCTION workers are standing on the other side of the plywood wall -- Shane KICKS out one entire section, and charges through. CONSTRUCTION WORKER What hell do you think you're doing? He turns around, to see several CONSTRUCTION WORKERS, all brandishing tools. SHANE Tell me where the kids are and I'll let you all live! CONSTRUCTION WORKER Buddy, you're about to get a beat down. Three Workers rush him. Shane easily takes them out. The remaining Workers give Shane a scared look -- then RUN. ANGLE - SHANE He's alone. He catches his breath, then checks his tracker. Todd and Zoe's BEEPS are coming from a MANHOLE. Shane pries off the manhole cover. He looks down. IN THE MANHOLE - It's dark and dank. No sweat. Shane lowers himself down. INT. SEWER - SAME TIME Shane lands shoulder deep in DISGUSTING SLUDGE. He winces, then checks the tracker -- the DOTS are CLOSE, feet away. Shane trudges through the river of muck. SHANE Red 1? Red 2? It's horrific. The DOTS BEEP LOUDER. He's almost there! He splashes around a corner -- then gasps -- he sees the blinking lights below the surface. He takes a deep breath and dives under. He comes up for air with ZOE and TODD'S HOMING BEACONS. A note is tied to them: "Ha! Ha!" 42. INT. PLUMMER HOUSE - LIVING ROOM - LATER Principal Claire sits with the Kids in the living room. From outside, they hear the front door open, and the sound of OMINOUS, SQUISHY footsteps. Then the door swings open, revealing Shane, looking like a Swamp Creature. Everyone gasps, then covers their noses. A CUTE YOUNG COP enters behind Shane. Todd stiffens. Zoe fixes her hair. The Cop looks at them. CUTE COP 14 year old Male, weird hair. 16 year old female. Ditto. (into his radio:) Cancel that a.p.b.. The Cop turns to Shane, with a smirk. CUTE COP (CONT'D) In the future, use our nonemergency number. That's the one to call if nobody's fleein' or bleedin'. The Cop leaves, Zoe checks him out as he goes... CLAIRE Shane are you okay? SHANE (eerily calm:) Just fine, thank you. Covering her nose. The smell is BAD. CLAIRE I should probably get going then. If you need anymore help... Call. She practically GAGS as she passes him. Shane looks around at Scott and Zoe, he doesn't say anything, but with his hand he makes a "my eyes on you" gesture. INT. BATHROOM - LATER Shane is in the shower. He pours an entire bottle of SHAMPOO over himself. INT. BACK YARD - DAY Shane BURNS his clothes in the barbecue. 43. INT. KITCHEN - LATER Tyler is in a high-chair, Peter rocks in a cradle-swing. Shane enters, in just a towel. He sees on the fridge; Helga'S SHOPPING LIST -- all junk food. He looks at it, cringing in disgust, before he notices: Sitting around the table are Lulu's entire BROWNIE TROOP - - a dozen little girls in uniforms, they're staring at him. The Brownies applaud, and whistle. BROWNIE oo hoo! Hubba hubba! Shane covers up and leaps into the Family Room, pulling Lulu after him. INT. FAMILY ROOM - CONTINUOUS SHANE Who are those people? LULU It's my troop, it's Monday. Monday, Wednesday and Saturday are troop nights. SHANE (O.S.) Get rid of them. LULU I can't. Everybody's parents go out on troop nights. They won't be home `til ten. Mom's our den mother. Lulu starts to sniffle, close to tears. LULU (CONT'D) Tonight we're supposed to sell cookies. SHANE Selling cookies isn't imperative to my mission. LULU We have to. If we don't sell enough cookies, we can't go the Jamboree, and if we can't go to the Jamboree. (whispers:) Come on, Shane. You gotta help me out. They already think I'm a loser. And it's not like I have any other friends, cause mom never lets me out of her sight... 44. Lulu's about to burst into tears. Shane sighs. INT. KITCHEN - MOMENTS LATER Shane, back in "uniform," paces in front of the Brownie Troop. They are assembled, at attention, Indian Style. SHANE Alright, ladies. Here's how it's gonna be. Tonight, I'm gonna be your den -- commander. That means if you want to live to see tomorrow, do as I say. DO WE UNDERSTAND EACH OTHER? The Brownies stare art him in stunned silence. BROWNIE Den Mother? ... I'm scared of you. SHANE Good. Now -- wait here. INT. LIVING ROOM - A LITTLE LATE The Brownies are in the living room, unpacking boxes of cookies, getting ready to go. Zoe's on the phone. ZOE ... yeah, he's a total psycho. I think mom found him from one of those Tough Love boot camps or something... Shane blows passed her, revving a cordless POWER DRILL. VARIOUS SHOTS: As Shane uses the drill to seal every window and door. He's not just locking them -- he's SCREWING THEM SHUT WITH DRYWALL SCREWS. INT. ZOE'S BEDROOM - MOMENTS LATER Shane's finishing up the last window. ZOE This is totally cruel and unusual! You can't do this -- we could run out of air! Shane lifts her window so it's open a HALF INCH, then drills it into place. Shane ushers the Troop out the door, then loads Peter and Tyler into TWO SNUGGLES -- one attached to his front, the other to his back. Shane closes the front door and attaches a "Club" lock to it. 45. EXT. DRIVEWAY - MOMENTS LATER Shane Loads the brownies and toddlers into the minivan. As the minivan pulls out of the driveway, the camera CRANES up to... ZOE'S WINDOW: Inside, Zoe picks up the phone, hits speed-dial. ZOE .. he's got us on lock-down, it's like Oz or something. No, not munchkin Oz -- HBO Oz. (she listens:) Hm... I dunno if that's a good idea, Scott... EXT. GROCERY STORE - PARKING LOT - AFTERNOON Shane pulls the minivan into the crowded parking lot -- the Brownies are all singing 99 Bottles of Beer on the Wall at the top of their lungs. EXT. GROCERY STORE - MOMENTS LATER Shane (double-Snuggled) helps the Brownies set up a card table to display their cookies. SHANE I gotta get supplies. I can see you through the window, but if anything happens... LULU (flashing her bracelet) I know. INT. GROCERY STORE - MOMENTS LATER Shane watches the Brownies on the store's CLOSED CIRCUIT monitor, as he pushes a cart into the store. He looks around at the bright, colorful boxes of Children's Cereals, Rainbow Fruit Roll-Ups, Snack packs... NOTHING looks familiar -- nothing even looks like food. He sees: a huge, 100 pack VALUE CASE of SPAM. He smiles. Tyler looks at him -- "what are you, nuts?" EXT. GROCERY STORE - CONTINUOUS The Brownies are trying to sell the cookies, but they're very shy. SHOPPERS blow passed them without even noticing them. One of the Brownies spots something... 46. BROWNIE Oh no... they're back. SLOW MOTION: In a shot out of Reservoir Dogs, we see who she means: A group of bad ass, chubby CUB SCOUTS. They're headed straight towards the cookie table, menacingly. UGLY CUB SCOUT (to another Scout) Hey Skeever, what's stinky and floats `til you flush `em? 2ND SCOUT Brownies? The Scouts cackle. The Ugly Scout yanks a box of cookies away from Lulu. He rips it open, dumping the cookies on the ground and grinding Uthem with his foot. UGLY CUB SCOUT This is Troop 16 territory. How are we supposed to sell raffle tickets when this place reeks of your skanky cookies? 2ND SCOUT BEAT IT, before I get my face punching badge on you. The Brownies take off running, clutching their boxes. One of the Scouts grabs Lulu -- she tugs and tugs, but can't get away. Finally, the Cub Scout takes her SCARF. He laughs, and lets her go. The Cub Scouts high-five. EXT. GROCERY STORE - MOMENTS LATER Shane heads to the Brownie's table -- but Lulu and the Brownies are gone. In their place are the Chubby Scouts. SHANE Where are my troops? UGLY CUB SCOUT ... I haven't seen anybody, you Skeever? 2ND SCOUT Nope. You wanna buy a raffle ticket? We're trying to win .22's. Around his neck, Shane's monitor starts beeping. Shane takes off running in the direction of the signal. 47. EXT. PARKING LOT - SECONDS LATER Shane runs up to the minivan. The Brownies are huddled behind it, trembling. SHANE What happened? (No one answers) Well? LULU Those boys over there broke our cookies. Shane eyes the Cub Scouts. Dead serious: SHANE Well then -- I'm afraid I have to eliminate them. If I don't come back -- avenge my death. He heads toward the Scouts. The Brownies scream. BROWNIES No! Shane stops. He bends down, and points at Lulu's Panic button. He firmly tells Lulu, who's close to tears: SHANE This is not a toy. I'm here to protect you. Not cookies. Get in the car, we're going home. BROWNIE You can't take us home yet, you're supposed to take us to dinner. SHANE Where? INT. CHUCK E. CHEESE - A LITTLE LATER - DAY An extreme CU of the Chuck E. Cheese MANAGER. He wears braces and head-gear, which causes him to lisp. MANAGER Welcome to Chuck E. Cheese! Wider reveals...CHAOS. SCREAMING CHILDREN everywhere. On stage, the Chuck E. Cheese automaton band JAMS. SHANE I wish I were in Chechnya. A LITTLE LATER: 48. Brownies are running around, playing video games and skee ball. Shane's watching Peter, in the PLASTIC BALL POOL, while he holds Tyler in the Snuggle. The Manager approaches Shane. MANAGER Anything elsh I can do for you? SHANE In a big glass (he shows him) This much ice... this much cyanide. The Manager laughs, but the headgear seems to hurt his face when he smiles. MANAGER How `bout a re-fill on that pischer of Mischer Pibb? SHANE What? MANAGER (gesturing:) Pischer of Mischer Pibb? Mischer Pibb? Frustrated, the Manager picks up a pitcher and exits. Lulu approaches, she grabs Shane by the sleeve and drags him over to the stand up Mortal Kombat game. LULU Let's fight! SHANE I'm watching your brother... LULU I pressed two player. I thought you liked combat. Unless you're scared. Shane doesn't like the sound of that. He steps up to the machine. He cracks his knuckles, stretches. Then he takes a joy stick. He checks over his shoulder -- Peter's happily splashing about in the plastic balls. ON THE SCREEN: they each select a fighter. Lulu picks a small female character. Shane picks a man who looks LIKE SHANE. They begin, Lulu screams out with her fighter, in unison: VIDEO GAME/LULU Prepare to be annihilated! 49. She leaps over Shane in a somersault and throws a DOZEN throwing stars. Then kicks him in the head repeatedly. SHANE That's not fair. Nobody can jump thirty feet. LULU The Hulk can. SHANE That wasn't a documentary. The second round starts, Brownies have gathered around to watch. Lulu's fighter does a series of kicks. Shane can't even get one punch in -- she pins him to the ground, kneels on his head, then kicks him in the face. Shane is taking it really seriously. He's really mad. SHANE (CONT'D) This isn't fair. My joystick's broken. LULU You wanna switch? They switch sides. Round three starts. Lulu's fighter picks up Shane's in the air, spins her, then cracks her in half over his knee... and then a kick in the face. SHANE (re: the Snuggle) You don't have a baby on your chest... Lulu's having fun now, she's just avoiding Shane's fighter, dancing, jumping, while he pounds the buttons, swinging and missing... Shane's really fuming. LULU You're not even trying... SHANE I AM TOO TRYING. LULU Too slow... come on -- take a shot... oops too slow... swing and a miss... She keeps dancing. It's really annoying. Shane's working the joy stick hard, slamming buttons, but he can't hit her. He is KO'd. She does a very obnoxious VICTORY DANCE. 50. LULU (CONT'D) In your face! I am the greatest hand-to- hand combat champion in the entire world! Shane screams and RIPS THE JOYSTICK OFF THE MACHINE. Sparks fly. Shane looks around to see if the staff noticed. He and the Brownies sneak away, leaving the sizzling machine, its joystick dangling by its wires. INT. PLUMMER HOUSE - LIVING ROOM - CONTINUOUS Zoe's on the phone, the Zhouse is quiet. ZOE Mom -- stop worrying. INTERCUT WITH: INT. HOTEL ROOM - CONTINUOUS JULIE (ON THE PHONE) I'm a mom, it's my job to worry. ZOE Seriously, everything's cool. The guy's just a control freak. JULIE It's only a few more days. I hate leaving you, but you know I have to do this. I love you. ZOE I know. Don't worry, we're okay. Tonight I'm just doing homework -- in my cell. INT. PLUMMER HOUSE - LIVING ROOM - CONTINUOUS As Zoe hangs up, we WIDEN OUT: The house is PACKED with TEENAGERS: they're keeping quiet until the phone is in its cradle, then the TEENAGE DJ starts the music back up. Zoe looks around at the mess. She turns to Scott, who doesn't seem concerned at all. ZOE Dude, this is outta hand. Who are all these people? SCOTT Jus' ma peeps. And the folks who read my BLOG. 51. Zoe rolls her eyes, then notices a WEIRD SWEATY KID, who's throwing mustard covered baloney slices at the ceiling, where they stick with a satisfying SQUISH. ZOE Dude, not cool... VARIOUS SHOTS - The Plummer House: - Its a huge party: the place is JAMMED, kids everywhere. - Teenagers come and go through the kitchen's DOGGY DOOR. EXT. MALL PARKING LOT - CONTINUOUS Shane (Tyler in Snuggle), loads Brownies into the minivan, counting them. Barking at them like Marines: SHANE Move, move, move! Go go! EXT. SUBURBAN ROAD - MOMENTS LATER Shane drives, the Brownies are singing 99 Bottles... again. Suddenly, a look of horror comes across Shane's face... he spins the minivan in a 180 and floors it. INT. CHUCK E. CHEESE - LATER - DUSK Shane (Tyler in Snuggle) bursts in, the Brownies follow. We see what he forgot: PETER, still happily playing in the pool of plastic balls. The Manager is watching him. MANAGER I figured you'd come back for him -- they almost always do. SHANE Inexcusable, to leave a man behind like that... MANAGER Relax, we once found a kid in the ball pool when we opened in the morning -- Shane wades into the ball pool and pulls Peter out, which is fine, except that he's MISSING HIS DIAPER. MANAGER (CONT'D) WHOA, Whoa. Not okay, freestyling in the ball pool -- not okay. S 52. Shane grimaces. He holds his breath, and goes down for the diaper. He disappears under the balls -- for a long time. The Manager and the Brownies share a concerned look. He's still down there. Silence. LULU Should we send someone in after him? He surfaces, gasping. He's holding the diaper, out away from him. He charges across the room with the diaper. SHANE Clear out! GO GO GO! And he bursts out the other doors, at a full run. EXT. PLUMMER HOUSE - NIGHT Shane is exhausted, as he pulls up in the Minivan. He gets out -- and groans in disbelief. It's insanity: HIP HOP blasts, gyrating TEENAGERS everywhere, chugging drinks, making out, peeing in the bushes, jocks throwing footballs. Reeling, Shane takes Lulu, Peter and Tyler up the path. He protectively guides them past the craziness -- until a football suddenly WHIZZES by. Outraged, Shane snatches it mid-air -- then CRUSHES the ball. POP! hane gives a blood-curdling stare. SHANE Party's over. The jocks flinch, scared, then RUN. Shane unlocks the CLUB lock off the door. INT. PLUMMER HOUSE - KITCHEN - CONTINUOUS Inside is worse, a total wreck. Zoe's dancing with Scott. Shane drags the needle across a record at the D.J.'s turntables. Everyone recoils from the horrible sound. SHANE No one leaves until this house is spotless! I want to be able to eat off the floor! The latrine! Hell, I wanna be able to eat in the kitchen!! Nervous glances -- then everybody suddenly RUNS for the back! Shane is confused, trying to understand... 53. then he intuitively dashes past them! He's scoping the surroundings... windows... vents... AH! The doggy door! Scott is halfway through the doggy door when Shane grabs his ankles and yanks him back in. Shane holds Scott upsidedown by his ankles. SHANE (CONT'D) Oh no you don't. Now, we're gonna do this my way -- no highway option. Just then: A MUSTARD SOAKED BALONEY SLICE drops from the ceiling, sticking to the TOP of Shane's head. PLOP. Shane's eyes narrow, he takes it off, trying to maintain his dignity. He fumes... SHANE (CONT'D) Start swabbing, ladies. He hands Scott the mop. Scott gulps - and starts mopping. DISSOLVE TO: CLEANING THE HOUSE. Miserable TEENS scrub. In a bathroom, Scott and Zoe, in Playtex gloves, furiously clean. Scott scrubs the toilet with Pinesol as the Duck swims in the top of the toilet. SCOTT This is officially the worst party ever. ZOE It was YOUR idea! I don't even know most of these losers. INT. PLUMMER HOUSE/STUDY - NIGHT Shane inspects the house, as kids clean. Shane wipes a finger down the sofa. Clean. He lifts the sofa, and rubs his finger UNDER IT. He holds it up to a KID... residue. The Kid quickly starts cleaning again. A GIRL reorganizes a stack of CD'S. Shane goes over them, straightening -- then he notices something. He pulls out a CD: It is a home-burned disk, labeled with a Sharpie. It reads: GHOST. Oh my god... CUT TO: EXT. PLUMMER HOUSE - SIMULTANEOUS Two DARK CLAD FIGURES watch, through binoculars. They see Shane find the CD, and walk out of sight. 54. INT. PLUMMER HOUSE/STUDY - CONTINUOUS Shane quickly tucks the CD into his pocket. CUT TO: EXT. PLUMMER HOUSE - ALMOST DAWN A long line of exhausted party-goers files out. Scott's the last one to leave. INT. PLUMMER HOUSE - VARIOUS Shane works his way through the house. It's SPOTLESS: counter tops glisten, furniture polished. It looks like Better Homes and Gardens. He heads upstairs. Zoe blows past him -- into the bathroom, where she throws up. Shane sits down, outside the bathroom door. ZOE ... Thanks a lot, Rambo. My friends will never come here again. SHANE Those people aren't your friends. They show no respect for you or your house. Because you have no respect for yourself. ZOE I do too respect myself. ueasy, she pukes again. Shane hands her a handkerchief. SHANE You got barf on your tank top. (Announces:) Company, downstairs! He walks down the hall, Zpounding on doors. ZOE You're not my dad! Shane stops. Lulu and Todd step into the hall. Zoe gets up, shaky and furious, and screams in Shane's face. ZOE (CONT'D) We hate you, you hate us. You're like a robot. Why don't you just leave us alone? Silence. Lulu's crying, Todd picks her up. Shane stands, helpless. After a beat... 55. SHANE You're right, Red 1. I'm not the man for this job. LULU Shane --! SHANE In all my years I have never been treated with such disrespect. Not even from the enemy. Don't worry, as soon as your mom comes back, I'm gone. Suddenly -- the power goes out. SHANE (CONT'D) Now what? ZOE (sighs, tired) It's Scott... SHANE Puberty... talking doesn't do any good. Go to your rooms. Suddenly, TWO NINJAS, all in black BURST in through the window. Shane spins in fight-stance. SHANE (CONT'D) (to the kids:) Go! Terrified, Zoe and Todd scoop up the kids and rush down the hall. The Ninjas pull a retractable KENDO STAFFS. Wielding them with great skill. It takes all of Shane's skill to fend them off -- the three fight, close-quarters and fast. Until Shane pulls down attic's spring-loaded FOLDING LADDER and clocks a Ninja with it. He goes down, but Shane is SHOCKED from behind by the other NINJA. The Ninjas attack, fiercely -- they're good. Their Kendo staffs hiss with a powerful ELECTRIC CURRENT. The Ninjas knock Shane backwards down the stairs... NINJA GHOST -- hand it over! They leap down after him, pounding him with their staffs, knocking him into... 56. INT. PLAYROOM - CONTINUOUS There are TOYS EVERYWHERE -- like a tornado hit a TOYS-R- US. Shane fends the Ninjas off. He spots a BASEBALL BAT, and grabs it, facing them, fiercely. They step back... SHANE Okay -- who wants some? Shane swings the bat down on a Ninja's head: It's a whiffle bat, it makes a silly thunk. Shane and the Ninja share a surprised look -- then the Ninjas charge. Shane fends them off with his Whiffle bat. With his foot, he picks up a FISHER PRICE CORN-POPPER, and uses them both to fend off blows. It rattles and pops as he fights with both Toys -- until a Ninja breaks them with one blow. Shane sees a FARMER JOHN TALKING GAME. He jumps up onto a shelf and grabs it. He pulls the string, and swings the plastic disk like a deadly bolo. FARMER JOHN GAME The rooster goes... WHACK, he hits a Ninja in the head. He swings the Farmer John like a bull whip -- until a Ninja knocks the shelf over. Shane crashes down, toys fly, several FURBIES hit the floor. They echo the fight: FURBIES Ow! Ow! Shane sees: The Ninjas are wearing only Ninja socks -- no shoes. He grabs a barrel of LEGOS, and flings them all over the floor. The Ninjas move towards him -- the Legos and Jacks dig into their feet. NINJA/FURBIES Ow! Ow ow! Crap! The Ninjas fight as they hobble around, avoiding Legos, Shane runs to the changing table, then violently squeezes DESITIN at a NINJA, blinding him. Shane hangs in the doorway and swings at them, KICKING a Ninja in the chest. The Ninja CRASHES through the window! he other Ninja looks up, fearful. Suddenly he grabs a bottle of BABY POWDER. He sprays it in Shane's face... POOF! The room fills with a CLOUD OF WHITE. ANGLE - SHANE 57. He squints, blinded. The cloud dissipates... and Shane sees he's now alone. He runs to the broken window. OUTSIDE: The Ninja's are long gone. Shane bangs the window sill, disappointed to have lost them. INT. HALLWAY - SECONDS LATER Composing himself, Shane approaches Zoe's door. He quietly knocks. SHANE Kids. It's safe. You can open up. A long pause -- then the door creaks open. The kids run out and hug Shane with all their strength, bawling. Todd and Zoe enter, terrified. Shane isn't sure what to do... Then, he hugs Peter and Lulu. He really hugs them. LULU Please don't leave us Shane. SHANE I'm not going anywhere. He hugs them, even Zoe is crying and hugging Shane. ZOE I'm sorry for giving you a hard time. SHANE Shhh... It's okay. TODD Who were they? What did they want...? SHANE They're looking for a program, that your father invented. ZOE So Mom's not paranoid? There really are people out to get us. He takes out the CD labeled GHOST. SHANE They're not after you. They want this. But nothing's gonna happen to you, as long as I'm here. And I'm not going anywhere. 58. The kids shudder, relieved. They hug him tighter. He looks Zoe, eye to eye. He dries her tears: SHANE (CONT'D) But I can't do this without your help, okay? We need a little more cooperation here. (the Kids nod) Tell you what -- let's start over. From now on, you listen to me, and do what I say. (to Zoe and Todd:) And I... I'll listen to you too. Deal? Truce -- okay? Zoe and Todd nod. Shane offers his hand to shake. They shake -- then they hug him, too. INT. LIVING ROOM - MOMENTS LATER Shane and the Kids sit around Shane's computer. Shane slips the Ghost CD in the disc drive, pushes play -- SHANE C'mon c'mon c'mon... CLOSE-UP - COMPUTER MONITOR The SOUND comes on: it's MUSIC. "Unchained Melody." And then, PICTURE: Demi Moore and Patrick Swayze at a pottery wheel. Shane is furious -- a long pause. Then... Zoe laughs: she can't help it, it's been a long night. Then, the other kids join in. Soon, even Shane is laughing too: the telephone RINGS -- they all jump, startled. Zoe answers it, all smiles, she tries to play it cool and not frighten her mother: ZOE Hey mom we're fine, absolutely nothing happened you should worry about. Nope. Shane takes the phone. SHANE Mrs. Plummer... two men tried to get into the house tonight. WE INTERCUT: INT. HOTEL ROOM - CONTINUOUS JULIE Oh my god! 59. SHANE No - it's okay. They're gone, everyone's fine. They were looking for GHOST, but they didn't find it. You have any luck? JULIE Well, yes and no. We found something in the box... But we're not sure what it is. Bill thinks it's part of the GHOST. It looks like some kind of "key". We just don't know what its for. She holds up the strange, metal two pronged KEY. JULIE (CONT'D) The good news is I'll be home in two days, as soon as the customs paperwork clears. SHANE (very genuine) ...So soon? We were just starting to have fun. Don't worry -- we'll be just fine. EXT. SCHOOL - MORNING Early morning, students run in to school. The minivan pulls up, and Shane emerges with the five kids. SHANE I gotta warn you guys: From now on, I'm gonna be sticking even closer. INT. LULU'S CLASSROOM - DAY The TEACHER shows the children how to dye Easter eggs. ANGLE on Lulu, making a mess of an egg. She smiles. ANGLE on Shane, squashed at a little desk. He dips an egg in some purple dye. EXT. SCHOOL PARKING LOT - DAY Driver's Ed. An obstacle course with cones. Zoe nervously drives a small sedan, a crazed TEACHER next to her. He is gesticulating, SCREAMING, reacting each time she HITS the gas, then BRAKES, HITS the gas, then BRAKES. Shane stands off to the side, shaking his head. Peter and Tyler are tight in their Snuggles. 60. INT. LULU'S CLASSROOM - LATER The TEACHER hangs a series of cute "Turkey Hand" drawings above the blackboard (the kind where your fingers make the feathers). She hangs one of a HUGE HAND, and smiles at Shane, who sits in the back, sunglasses on. Shane nods, "yeah, I know it's good." Then... VOICE (OVER THE PA:) Will Shane Wolfe please report to Vice Principal Murney in the gym. Lulu's classmates all chant, in unison: SECOND GRADERS Ooooooooh! (You're in trouble!) INT. THE GYM - MOMENTS LATER Shane enters. Zoe sits in a folding chair, mortified. She is holding a broken-off SIDE VIEW MIRROR. Murney stands, Principal Claire next to him. They look concerned. SHANE Don't worry. So, she wrecked a driver's Ed. car -- she'll pay for the damage... MURNEY That? Lady drivers, what do you expect. No, it's not that -- it's the boy... SHANE Red two? I mean Todd? Claire nods. Shane gives Zoe a look. Zoe shrugs. PRINCIPAL CLAIRE Ordinarily I would wait for his mother to return... but -- I'm a bit concerned, and I'm not sure what to do... SHANE Has he been skipping class? PRINCIPAL CLAIRE Well -- yes. He does always miss sixth period. But this... Murney calls into the hallway. Todd enters. Shane stops, in shock: Todd's long hair is all shaved off, he now has a bleach blonde BUZZ CUT, giving him a "skinhead" look. 61. MURNEY This is how he showed up to practice. And that's not all. I was doing a little re- con in his locker... and I found this: Murney hands Shane a book and Shane flips through it. It's a book of photographs of NAZI UNIFORMS. Shane scowls. MURNEY (CONT'D) If he'd had Hustler or something, boys will be boys -- but this is just sick. SHANE He's not a NAZI. PRINCIPAL CLAIRE It's certainly not normal. (pulls Shane aside.) See if you can talk to the boy. Find out what's going on. Shane shakes his head: Todd is worse than he thought. Todd and Zoe stand to go, and Shane walks them out. The WRESTLING TEAM is assembled, stretching. They snicker and shake their heads at Todd, as he passes. Shane walks the kids out, and Murney chases after him. MURNEY hope you won't go light on him -- that whole family's no good, if you ask me. SHANE I'll talk to him. MURNEY You're a good man, Shane. Bet you're a hell of a fighter on the mats, huh? (Shane ignores him, and keeps walking.) Maybe sometime we oughta strap up, we'll give these boys a treat. He "fake-punches" one of his Boys -- who flinches like Murney has maybe hurt him a couple times. Murney laughs. SHANE Another time, maybe... MURNEY It's a date then. I'll show you a couple moves. I promise I won't hurt you. 62. Shane walks away. Without warning, Murney lets out a Kung Fu SCREAM, and leaps at Shane, kicking him in the BACK, Shane trips forwards to his knees. Murney tells his team: MURNEY (CONT'D) See that? You never know when your adversary is going to strike! SHANE Did you kick me in the back? Is there a footprint on my jacket? Shane dusts off his back, and leaves. MURNEY Come on Frogman! Don't be a sissy! Shane turns back. It looks like Shane might fight, but instead he takes a deep breath, and leaves. Murney shakes his head, and snickers to his Team. EXT. PLUMMER HOUSE - A LITTLE LATER The minivan pulls up, with Shane and all the Plummers piled in. Shane parks, Todd runs towards the house. Shane holds Todd back by the arm. SHANE Wait Todd, I want to talk to you... odd yanks his arm away and runs into the house. INT. TODD'S ROOM - CONTINUOUS Shane knocks on Todd's door. Nothing. He enters. The window is wide open, Shane checks his window alarm -- there's a REFRIGERATOR MAGNET stuck to it, keeping the contact, so the alarm didn't go off. SHANE Smart kid. Shane looks out the window -- far down the block, he can see Todd, running around the corner. Shane hops out the window. He sees Zoe, peering out her window. SHANE (CONT'D) Zoe, you're in charge. If anyone gets within forty clicks of the perimeter, signal me. Keep all doors sealed, do your homework, preheat the oven, and make sure Lulu brushes her teeth! 63. He starts to shut the window, but the Duck leaps up on the sill. SHANE (CONT'D) You want in or out? The Duck leaps out. Shane screws the window shut. On the corner, Shane sees Todd climbing on to a CITY BUS. Shane picks a GIRL'S BICYCLE up off the front lawn. It's pink, with a flowered basket. It's small for him, but he hops on and pedals furiously after the bus. EXT. CITY STREET NIGHT - MOMENTS LATER Shane, on the girl-bike, pedals after the bus. A few HOMEBOYS watch him pass, curiously. He nods back, tough. EXT. OLD WAREHOUSE - DOWNTOWN D.C. - NIGHT - LATER The bus stops in a rundown neighborhood Todd hops off the bus. Shane's arrives a moment later, dripping sweat. He stashes the bike behind a mailbox... Shane'S P.O.V.: At the entrance to the old warehouse, Todd meets up with three other TEENAGE BOYS, they're dressed in brown HITLER YOUTH UNIFORMS, they head inside. Shane follows them, stealthily. INT. OLD WAREHOUSE - CONTINUOUS Shane follows the Hitler Youth into a large room, set up with folding chairs. He hides in a dark corner. Todd and the Hitler Youth enter, and take seats. A CREEPY MAN in a scarf walks out, and stands in front of them. Shane watches as the MAN addresses the Hitler Youth. MAN Alright. All my Nazis are finally here. Okay, I want all of you at attention. The Nazis stand at attention. Shane is horrified... MAN (CONT'D) And on stage left - (he yells) VON TRAPPS! I need my Von Trapps! hane watches... as a group of blonde ACTORS, all dressed in lederhosen as the SINGING VON TRAPP family enter, and join the "Nazis." There's also a few NUNS, a CAPTAIN VON TRAPP, and a MARIA. The Creepy Man is, in fact, a good natured, slightly foppish DIRECTOR. 64. DIRECTOR Okeydokey. Starting from where we left off Gimme Rolf and Liesl -- let's give You are Sixteen a run up der flagpole... Todd heads up to the stage, the Director arranges him and the ACTRESS PLAYING LIESL (40ish) into position. An ACCOMPANIST begins on piano, Todd sings, remarkably well: TODD You wait little girl, on an empty stage/for fate to turn the light on/your life little girl, is an empty page/that men will want to write on... ACTRESS/LIESL To write on... TODD You are sixteen, going on seventeen... Shane bursts into laughter. His whole face lights up for the first time ever... Todd and Liesl dance. Todd is good, but nervous. He attempts a spinning kick, but he slips, and hits the stage, clutching his ankle. He gets up, and limps to the seats. The Director walks onto the stage, upset. He looks up, to heaven: DIRECTOR Baby Jesus, have I done some unspeakable evil that I deserve to be saddled with the world's worst production of Sound of Music? (he shouts, at the cast:) We open in a week. The set's not finished... The cast is a bunch of clumsy goats -- every kick ball change would make Bob Fosse dig himself out of the earth, so he could have a heart attack again. TODD I'm sorry... I'll get it right. DIRECTOR None of you will ever get it right! Which is why, I quit. He throws down his script. The Cast is stunned. DIRECTOR (CONT'D) And with that, he exits stage right... end scene. 65. And, on his own cue... he exits stage right, in a huff. The entire cast looks to Todd, fuming. Shane jumps up from his hiding place, startling everybody. Everyone steps back. Todd is terrified. Shane kneels down beside Todd. He closes his eyes, and begins rubbing his hands together like Mr. Miyagi. LIESL You gonna fix him? SHANE No. My hands are freezing. Shane grabs Todd's ankle hard and unceremoniously CRACKS it, and yanks him to his feet. TODD I'm not going to quit. I hate wresting... SHANE AT EASE. (Todd shuts up) Would you listen, just once? Look, I don't know a hell of a lot about this kinda stuff, but... You're good. A lot to learn, but with hard work, discipline -- you could make a go of this. TODD ... but what about Murney? SHANE That guy's an idiot. Todd smiles, relieved. They sit on the edge of the stage. SHANE (CONT'D) "Sound of Music" is a great show. My dad took me to see it when I was a kid. Shane smiles wistfully. Todd relaxes. TODD You don't seem like the musical type. SHANE Come on. Julie Andrews was hot. TODD What if... girls'll think I'm... weird or something? 66. SHANE You know what girls think is weird? Wrestling. Men in leotards pinning each other to the floor? I've never understood that. Chicks dig guys who can dance. TODD Doesn't matter now anyway... show's off... it's over. Shane looks at the Cast, they look pretty glum as they pack up their costumes. Todd looks devastated -- only a moment after Shane saw him happier than ever. Shane straightens up, grabbing Todd by the shirt collar. BEAT. SHANE COMPANY -- CENTER STAGE! Everyone looks around, they're not sure what to do... off Shane's glare, they quickly assemble on stage. SHANE (CONT'D) DO YOU, OR DO YOU NOT HAVE WHAT IT TAKES TO PERFORM THIS MUSICAL? There's some mumbling. Liesl chimes in. LIESL We don't have a director... Shane shakes his head. SHANE No director? I have directed rescue missions in Afghanistan! I've directed numerous snatch and grabs in countries who's names you are not allowed to know. I have choreographed multi-pronged amphibious landings and stealth air attacks! (full of bravado) Do you think I have the stomach to whip this production into shape, or not? Everyone nods... Todd looks up at Shane. He smiles. TODD Yes. SHANE YES WHAT? 67. TODD/CAST YESSIR. INT. PLUMMER HOUSE - UPSTAIRS HALLWAY - LATER Shane's patrolling the hallway. He hears Zoe in her room, BREAKING something, angrily. He peeks in -- just as Zoe THROWS her cell-phone into the wall, furious. SHANE ... What's up? ZOE (embarrassed) Nothing... It's stupid... Scott. I called him in his room, another girl picked up the phone. I know it's no big deal. I don't know why I let it get to me. SHANE I don't see what you see in this guy. ZOE It's just nice to think someone's thinking about you, you know? S SHANE (He nods) It won't happen again. ZOE ... No wait! ...What are you gonna do? You're not gonna hurt him are you? Promise you won't touch him. SHANE Okay. I promise. I won't touch him. Shane exits. He turns out the light. INT. LULU'S ROOM - LATER Shane tucks Lulu into bed. ULU Tell me a story. Shane looks at her surprised. He sits on the bed... Stumped. Then he starts: SHANE Okay. Let's see. Once there was a family of Elves. (MORE) T S L 68. SHANE(CONT'D) One day, the little Elf family -- Uh. Went into the magic forest. To find a secret gnome... facility, where gnomes where turning mushrooms into... Uranium. The elves had to go in and take it out. ULU Why? SHANE They were ordered to. By the Elf Unit commander at Elf station bravo. So -- they waited for cloud cover, and they came in from the north... As Shane finishes the story, he illustrates, setting up the scene with DOLLS, on Lulu's floor. SHANE (CONT'D) The Elf Team decided on an L Ambush -- so three elves formed a base leg and laid down a heavy suppressive fire on the gnomes while the others maneuvered around to the right flank and walked through finishing off anything left alive... I mean standing... D ISSOLVE TO: AN HOUR LATER: Shane's really into the story. Lulu's fallen asleep. Shane's eyes are brimming with tears as he finishes: SHANE (CONT'D) ... And not one Elf got left behind that day. We got `em all. Even, the teeniest little elf of all -- Rodriquez. Then, from across the hall, Peter WAILS. Todd pops his head in the door. ODD You have to do the Panda Dance... or he won't stop. SHANE Oh, c'mon... I can't remember that thing. TODD I'll write it down for you... The wails get louder and LOUDER... S 69. INT. NURSERY - CONTINUOUS Tyler's asleep. Shane sighs, and whispers to Peter, reading from Todd's notes: SHANE When you're down and low, lower than the floor. And you ain't got a chance. Don't make a move `til you're in the groove, and do the Panda Dance... Peter starts bawling. Shane doesn't know what's wrong. Todd calls from the doorway... TODD You have to do the dance. Like dad used to do. He made it up for him. Shane sighs. He sings again, mortified. He does the dance as he sings... Shane hops forward three times. S SHANE Just hop three times like a kangaroo -- Sidestep twice, just like the crabs do. Peter applauds. Humiliated, Shane crab-walks sideways. SHANE (CONT'D) Take three steps forward and one step back... (He does.) EXT. PLUMMER HOUSE - MORNING - THE NEXT DAY As Mr. Chun gets his paper, Shane, (Tyler in the snuggle), hands out bag lunches as the Kids load into the minivan. Shane turns and catches Mr. Chun, staring. SHANE What are you looking at? INT. GARAGE - MOMENTS LATER Todd sits in the back of the Minivan, listening to Sound of Music on his Walkman, Lulu is next to him, with her Gameboy, Zoe and Peter are half asleep. Shane climbs into the PASSENGER SEAT. Zoe realizes he's staring at her, through the mirror. SHANE Today you drive. T A 70. The Kids sit bolt upright. They turn to Zoe, terrified. She gets out in shock, and gets in the driver's seat. The other Kid's seat belts CLICK loudly. ZOE But -- I can't even pass driver's Ed. SHANE Exactly. ZOE Have you given a driving lesson before? SHANE N ot in a car, no... but it's a lot like a Bradley Assault Vehicle. TODD Especially when Zoe's driving. The Kids share a dubious look. Zoe backs jerkily out. INT. MINIVAN - CONTINUOUS Zoe is super-tense as they drive. Shane is nervous, but trying not to show it. Lulu and Todd are terrified. SHANE Do you know what causes most accidents? ttention span. The most important thing is that you keep an absolute focus on... Zoe's looking RIGHT at him, not the road. SHANE (CONT'D) THE ROAD! Don't look at me... ZOE What?!? he Minivan brakes abruptly at a red light, just as a semi SCREAMS through the intersection. Shane is shaky. ZOE (CONT'D) You wanna drive? SHANE No. Keep going. I trust you. Zoe is surprised. Touched. She pulls out, jerkily. S P 71. EXT. BETHESDA K-12 SCHOOL - LATER Zoe pulls to the curb, almost tapping a bus's rear fender. Shane unclenches his teeth. SHANE Good. Next lesson, 1500 hours. Zoe smiles. And the other Kids all bolt from the car, terrified. Lulu makes a big show of kissing the ground. ZOE Ha ha ha. Very funny. T hey head into the school. Shane spots something. ANOTHER ANGLE reveals: SCOTT (Zoe's boyfriend), with a few FRIENDS, laughing, being obnoxious. Shane jumps out of the car. Before Scott knows what's happened, Shane's LIFTED him in the air by his backpack. Scott's terrified. SHANE I know 437 ways to hurt a man without touching him. Broken promises lead to broken legs. Do we understand each other? Scott nods, trembling. Shane lets him down and heads into school. INT. BETHESDA K-12 SCHOOL, CAFETERIA - LUNCHTIME Shane (Peter in lap, Tyler in snuggle) keeps an eye on the Kids at their tables. KIDS boisterously run past. Suddenly -- Claire BARKS out. RINCIPAL CLAIRE CHILDREN... STOP RUNNING!! The kids instantly freeze. Claire strides into view. She's wearing a cute dress, and a little make-up. PRINCIPAL CLAIRE (CONT'D) (a long, severe stare) Now... WALK! DOUBLE TIME. Chastened, the kids gulp and orderly march away. Shane's eyes alight, impressed. SHANE Wow. I'm glad I never had you for a CO. S T P 72. PRINCIPAL CLAIRE (she coyly smiles) I've noticed improvement in your troops lately, too. Noon and none of them have been called to my office. It's a miracle. S he sits beside him, and offers him a milk. RINCIPAL CLAIRE (CONT'D) Buy you a drink, sailor? SHANE Thanks. hey eat in silence. Shane`s not so good at small talk. She's waiting for him to say... something. SHANE (CONT'D) You look nice today. PRINCIPAL CLAIRE This old thing? Well, you never know who you're going to run into. She smiles. He smiles back... Suddenly, there's a commotion: Murney is marching Todd towards them, dragging him by the ear. Principal Claire sighs "not again." In one move, Shane leaps over the table. Principal Claire watches him leap: PRINCIPAL CLAIRE (CONT'D) ... Love it when he does that. Murney shoves Todd forward. MURNEY I've had it. I just caught this boy dancing under the bleachers like some kind of Bavarian fruitcake. Murney gets up in Shane's face. MURNEY (CONT'D) I want this freak outta my school and into treatment. Somebody needs to give this punk a talking to... TODD Hey. I'm right here. Talk. E veryone is shocked that Todd talked back. A hushed whisper goes through the cafeteria. Murney turns around. M 73. MURNEY You got something to say? Boy? TODD Yeah. Yeah I do. I quit, Murney. A hushed "oooh" goes through the Students. MURNEY Winners never quit, boy. What're you so scared of, Freak? The Students snicker. Todd looks, intimidated. Then: TODD I am not scared. I... I want to sing. Silence. No one's sure they heard him right. Todd pulls out a stack of SOUND OF MUSIC FLYERS and hands them out. Todd is on the poster in his Rolf costume. Principal Claire takes one: she laughs, now it all makes sense. TODD (CONT'D) I'm in Sound of Music. It opens Friday... MURNEY A musical? You're blowing off wrestling for a musical? (to Shane:) This is what happens when there's no man in the house. TODD There is a man in my house -- me. (Murney turns:) Let's get one thing clear. I'm not quitting cause I hate wresting. I'm quitting because you're a bad coach. You suck. The whole team wants to quit. I'm the only one with the guts to do it. M urney looks over at the Team. They look to the ground sheepishly, Todd's telling the truth. Murney looks around, humiliated, furious -- URNEY So -- you're a tough guy now? Murney takes ONE STEP towards Todd -- Shane steps between them, protecting him. MURNEY (CONT'D) Stay out of this, baby sitter! Murney glares at him -- face to face. So calm, it's scary S 74. SHANE You said you wanted to wrestle. You win. Let's do it. Everyone is watching. Murney did not expect to be called out. His voice cracks -- then he regains his calm: MURNEY After school. The Gym. Your ass is mine. He storms out. There is a stunned moment -- and then a mob of Students, and a lot of CUTE GIRLS, swarm Todd, taking flyers. Shane gives Todd a proud thumbs up. A QUICK SERIES OF SHOTS: Of STUDENTS whispering to other STUDENTS, passing notes: A Kid opens a note -- it reads: "Murney's getting his ass kicked. 3:00." INT. GYM - 3:00 The bleachers are PACKED. Murney struts out onto the mat. The two fighters begin circling one another. The Wrestlers scream for Murney. Todd cheers Shane on. M URNEY on, you're about to enter Murney's house of pain. SHANE I'll be sure to lock up when I'm through. Murney roars and CHARGES Shane. Shane defensively uses Murney's momentum to flip him halfway across the mat. WHAM. Murney lands on his back. The Wrestlers mouths drop. Murney, shocked, climbs to his feet and CHARGES again, Shane side-steps, and sweeps Murney -- sending him right into the wall, hard. Murney bounds to his feet, rushes Shane. Shane DIVES OVER Murney, grabs onto Murney's waist. Shane's momentum pulls Murney backwards -- BAM. Murney's shoulders hit the mat with Shane smiling down on him. Todd flops to the mat, raises his hand and SLAPS it down- TODD Pinned! Shane stands. Shane throws an arm around Todd, and they head out. The Wrestling Team huddles around Murney, who's quietly twitching on the ground, mumbling something. S 75. TODD (CONT'D) Is he okay? SHANE Dislocated nerve, that's all. He'll be fine in (checking his watch) two months. TODD That was awesome. They walk out. The crowd cheers. Claire, too. Shane S smiles at her as he passes. She gives him a thumbs up. SHANE (to Todd) Let's go, Todd. I got my troops waiting. CUT TO: EXT. FOREST - DAY Shane marches the Brownies through a FOREST. He wears Peter and Tyler in front and rear Snuggles. SHANE If you're ever lost in the woods, the first thing you have to do is find a source of drinking water! And make sure it's potable. If you're not sure, boil it for thirty minutes! The girls are loving it, fascinated. SHANE (CONT'D) You have to eat, right? Well let me tell you you're not gonna find Girl Scout cookies out here. LULU We're Brownies. SHANE No brownies either. A lot of roots are edible. So is some tree bark. When I HALO'd into Rwanda, I lived off the underground fern stem for three weeks! Shane kicks over a ROCK. Underneath are crawling BUGS. SHANE (CONT'D) Insects. They look nasty but they're full of nutrients that may save your life. 76. He scoops up some bugs and EATS them. BROWNIE He's eating Roly-Polies! The Brownies are frozen in shock. SHANE (mouth full of bugs:) Wots of pwotien! E UPBEAT MUSIC kicks in over the following MONTAGE: EXT. PLUMMER HOUSE - FRONT LAWN - DAWN Shane leads the Brownie Troop through Combat exercises. In unison, the Girls PUNCH, KICK. PUNCH, PUNCH, KICK. Shane's got Tyler's cradle next to him, in between punches, in perfect tempo, he reaches out and rocks it. The Duck watches all this -- fascinated. EXT. MALL PARKING LOT - EARLY MORNING The lot is empty. Shane and Zoe sit in the minivan, Shane holds a stopwatch. He signals her, she burns rubber, and races through a slalom of orange cones -- she hits EVERY ONE -- the wheel hubs are CLOGGED with cones. She skids to a stop just short of the "Severe Tire Damage" spikes. INT. NURSERY - DAY Shane changes Tyler's diaper WITH ONE HAND. In his other hand he's reading The Brownie Handbook. It's open to a page that reads "Knot Tying." INT. OLD FACTORY - DAY The CAST is assembled on stage, where Shane has set up a scale model of the set on the floor. He illustrates the stage directions, by moving around toy army men: S SHANE Okay -- we'll put Von Trapps here, here, and... here at the top of the stairs. Now the Nazis are gonna come in, this way -- and the Von Trapp is set... He laughs at his own joke... The Kids don't get it. EXT. MALL PARKING LOT - DAY Zoe leaps into the minivan through the windows. Zoe peels out and weaves the cones... T I E 77. she only clips one, it teeters, but doesn't fall. Shane gives her a signal, she throws it in reverse and drives the course backwards. EXT. PLUMMER HOUSE - FRONT LAWN - DAY Lulu, in her BROWNIE uniform, ties a complicated knot -- we WIDEN to see she's tying Shane's hands behind his back, as the Brownie troop watches. He counts "1,2,3..." and then begins wriggling free. They watch closely. EXT. MALL PARKING LOT - DAY Shane and Zoe are huddled under the minivan's dashboard. Shane's showing her the IGNITION WIRES. EXT. PLUMMER HOUSE - BACK YARD - DAY Shane has the Brownies assembled. He's attached SOFA CUSHIONS to himself. The Brownies attack, mercilessly. INT. NURSERY - DAY Shane changes Tyler's diaper RAPID-SPEED. Hands a blur. INT. OLD FACTORY - NIGHT Todd and "Liesl" work on the You Are Sixteen dance. ODD ... your life little girl, is an empty page/that men will want to write on... T odd tries the spinning kick, but blows it, landing hard. Shane blows a WHISTLE. SHANE Why don't we just let the Nazis win tonight -- huh? Now. From the top -- think of yourself as a gazelle prancing over the plains. Graceful. Todd tries the kick. THUD! Shane BLOWS the whistle. SHANE (CONT'D) Gazelle. Prancing. Graceful. Again. INT. NURSERY - NIGHT At the end of Peter's crib, Shane performs the "Panda Dance." Singing and doing all the moves -- he's got it down, adding a James Brown flourish, now and then. U 78. SHANE Don't touch that dial sleep for a while -- HEAAAY! And say good night, Peter Panda. He does a spin kick. Then he tucks Peter in. SHANE (CONT'D) Good night, Peter. PETER (going to sleep) Good night, daddy. Shane is so touched, he almost bursts into tears. He kisses Peter on the forehead. SHANE I'm not your daddy, Peter. But sweet dreams. MONTAGE ENDS EXT. "PRICE CLUB" STORE - EVENING The Brownies sit at their cookie table beside the door. Across the lot, the Chubby Cub Scouts, at their own table, see them. The Scouts head towards the Brownies. U GLY CUB SCOUT Hey Skeever, what's in a Girl Scout's pants when she has diarrhea? 2ND SCOUT Brown... He stops short, the Brownies have moved into a FORMATION, ready to strike, Lulu at the front: it's (kind of) scary. LULU Go away and we won't hurt you. The Scouts share a look -- they LAUGH. The head Scout steps forward and grabs Lulu's cookies. In one move, she spins out of the way and pulls off his neckerchief. GLY CUB SCOUT Gimme that! He grabs the neckerchief, but like lightning, she wraps it around his arm, tying him. She shoves a cookie in his mouth. 79. LULU Uh oh. You're gonna have to pay for that. The Scout struggles, the Other Scouts are scared. UGLY CUB SCOUT Let go! Let go -- MOMMY! She lets him go -- in a FLIP, he lands on the ground hard. Lulu lets out another "kia!" The Girls move forward in unison, striking a cool pose. INT. "PRICE CLUB" STORE - CONTINUOUS Shane shops, wearing the double snuggle. As he's comparing prices -- he sees, on the security monitor: The Brownies attacking the Cub Scouts. He smiles, proud. S SHANE That's my troop. EXT. "PRICE CLUB" STORE - A MOMENT LATER The Cub Scouts have all been tied with their own bandanas to the CART CORRAL. Shane comes out of the store, and catches Lulu, using his "catchphrase." LULU From now on, you do things our way -- no highway option! The Scouts nod, terrified. Shane gives her a stern look, then LAUGHS. INT. VAN - DRIVING - DUSK Shane drives. The Brownies joyously CHANT a MARCH. BROWNIES I don't care what has been said, Brownies rock! Full speed ahead! Give me guff, I'm in your face! Brownies rule the human race! SHANE Sound off! BROWNIES One two! Three four! One TWO THREE FOUR! INT. PLUMMER HOUSE - UPSTAIRS - LATER Shane works his way down the hall, checking on the kids: N 80. - LULU'S ROOM: LULU is asleep. - TODD'S ROOM: The door is OPEN -- Shane peers in. Todd has a SWITCHBLADE. He is practicing with it, clicking it open, tossing it hand to hand. Off Shane's look: TODD West Side Story auditions in two weeks... Shane takes the switch blade, and performs an AMAZING trick with it, spinning Sit like a pro. SHANE It's all in the wrist... He heads down to Zoe's room and peaks in -- SHE'S NOT IN BED. He rushes in -- but she's out on... EXT. BALCONY - NIGHT Zoe sits on the railing, she seems sad. Shane approaches. ZOE Don't worry. I'm not gonna jump. SHANE What's wrong... Scott? ZOE o. Scott's fine. I don't know what you did, but he's really straightened up. Flowers, phone calls. ...I've never been in love like this before. Shane nods. SHANE How long you been together? ZOE A month... SHANE That's longer than any relationship I've ever had. ZOE You're okay, Shane. I'm not used to anyone giving me the benefit of the doubt. My teachers don't trust me. Mom doesn't. My dad didn't care about us, he was never here... Z Z S 81. SHANE (interrupts her, stern:) Hey. Your father cared about you very deeply. He told me you were the greatest things in his life. That what's bothering you? Cause -- we can talk about it, if you want. Zoe's eye well up, then she cries. Shane holds her. ZOE I miss him so much... Shane is a little taken by surprise. Then -- he decides to answer. He takes his Sfather's MEDAL out of his pocket. SHANE This was my dad's. He was the only family I ever had. Mom left when I was little, cause dad was always gone. Two years in... an indisclosable locale. Another six in... Another indisclosable locale. I didn't really have a home, so I went to military school -- then one day my mom got the letter. No more dad. He looks at the Medal. SHANE (CONT'D) I always wanted to be just like him. I'm starting to realize, I never really knew him. I don't know if I'm like him or not. ZOE That's horrible, Shane. SHANE The hardest part was living without any details...why? How? Where? I always wondered if he thought about me. OE Me too. So how did you get through it? SHANE You could say I just shut down my emotions. I turned off all feelings and dedicated myself to becoming the perfect soldier. OE I never even got to say good bye. J 82. A tear runs down Zoe's face. She throws her arms around Shane. The phone rings. Shane answers it. INTERCUT WITH: J INT. HOTEL - CONTINUOUS ulie's on the other end. JULIE The red tape is cleared up, we're on the first plane in the morning. INT. HALLWAY - MOMENTS LATER Zoe runs down the hall, telling the family: ZOE Mommy's coming home! Mommy's coming home! Everyone wakes up, happy, sleepy! TODD When? ZOE Tomorrow morning! PETER Mama! Excited, the kids are all abuzz, talking excitedly. ANGLE - SHANE He's left alone. EXT. BACK YARD - LATE NIGHT The house is dark. Shane sits in a lawn chair, scoping the area with NIGHT VISION GOGGLES ON. Gary sits in the next chair. Shane sighs morosely. SHANE Just another assignment. No reason for personal attachments. Shane takes a sip out of a juice box. He pets the Duck. SHANE (CONT'D) Hey Gary, your wings aren't clipped. How come you don't fly away? (pause) (MORE) T S S S T 83. SHANE(CONT'D) I guess you've got it good. Kids to play with. Three squares a day. he Duck stares, unblinking. SHANE (CONT'D) All quiet on the western front. I guess I better fix that Playroom window. S hane rises. INT. GARAGE - NIGHT hane turns the light on. Gary follows Shane as he looks for tool. Suddenly, the Duck starts quacking... Shane turns. Gary's foot is caught in a grate. SHANE What happened, Gary? Shane gets down on his hands and knees and gently pries Gary's foot from the grate. Shane is about to stand when something below catches his eye. Shane pulls out a pen flashlight, shines it down the grate... we see a CRANK WHEEL. SHANE (CONT'D) What do you suppose this is? Shane tugs at the grate until it pops off. Shane grips the valve and tries turning it. Nothing. He tries harder, muscles rippling, and then it gives... The wheel spins. he floor opens, revealing a CIRCULAR STAIRCASE, leading below the garage. Shane steps down it... INT. BOTTOM OF STAIRS - CONTINUOUS There's a small room, and a hall leading to a STEEL DOOR. It's solid and inscrutable. No hinges or cracks. The only break in its surface is a strange, TWO-PRONGED KEYHOLE. Shane looks on stunned... DISSOLVE TO: INT. GARAGE - MORNING Shane's at the Steel Door. He has high-tech tools laid out in front of him. He's been trying, unsuccessfully, to crack the lock all night. The Kids are watching his progress, Lulu hands him a tool. Shane dials a phone. INTERCUT: B S 84. EXT. SEDAN - MOVING We pan up from the WHITE "US GOV" license plates to Bill at the wheel. Julie sits beside him. Bill's cell phone rings, he answers it. SHANE Sir! Excellent news. I think I found GHOST. Bill reacts, excited. BILL ... Do you have it? SHANE No. It's in a steel vault. I've been trying all night, can't crack it, sir. ILL (remaining calm) Good! Good work. Okay, don't do anything further. We'll be there shortly -- don't do anything `til I get there. BACK TO: INT. GARAGE - CONTINUOUS Shane smiles, pleased, and hangs up. Then we slowly MOVE UP. Away from Shane... towards the neighbor's house. W e PUSH INTO the house. Through a window... revealing the Korean neighbors standing in the dark. Silently spying on Shane. An ominous pause. MRS. CHUN GHOST. CUT TO: INT. GARAGE - CONTINUOUS SHANE One things for sure. After we turn this in to my CO, whoever's been bothering you guys won't be bothering you anymore. Everyone reacts happily, relieved. Except for -- Lulu. She looks stricken. SHANE (CONT'D) What's wrong, Lulu? You should be happy. I 85. LULU But, Shane -- does that mean you'll have to go? CLOSE-UP - SHANE He goes silent. Tongue-tied, he has no answer. SHANE You guys better get ready. Your mom should be home soon. CUT TO: EXT. HOUSE - DAY Bill's Sedan pulls up. Julie and Bill hop out. INT. JULIE'S HOUSE - MOMENTS LATER Julie opens the door, comes into the dark hall. Bill is carrying her suitcases. JULIE I had a fight with Zoe when I left, so they probably trashed the place... She trails off... BILL What's wrong? They listen -- they hear, in the next room, Kids singing a beautiful, a capella version of The Hills are Alive (with The Sound of Music). She turns on the lights -- what she sees makes her drop her luggage, in shock. J JULIE'S P.O.V.: The house is spotless. The rug is vacuumed. The fish tank is clear, filled with healthy TROPICAL FISH. KIDS VOICES (singing, a capella) ... with songs they have sung, for a thousand years... Dumb-struck, Julie goes to the... INT. KITCHEN - CONTINUOUS The kitchen is sparkling clean, no dishes in the sink. She sees, attached to the fridge with magnets: A flyer for Sound of Music, featuring Todd. ( B 86. JULIE almost faints. Bill steadies her. She staggers to... INT. DINING ROOM - CONTINUOUS Shane and the Kids are holding up a home-made sign: WELCOME HOME, MOM! Todd pushes STOP on a CD player: The Sound of Music stops. Zoe is in a conservative dress, Todd a button down and khakis: barely recognizable. Lulu has bows in her hair. Peter is fresh faced, smiling, Tyler is asleep: a picture- perfect family. ZOE Welcome home, mom. Julie starts bawling. The Kids rush forward and hug her. Across the room, Shane sees Bill enter. Shane stiffens and salutes proudly. S SHANE Captain. BILL (he smiles wryly, then salutes back) Good job, Lieutenant. INT. GARAGE - DAY Shane leads Bill inside. Bill holds the pronged key. ILL I'm really proud of you, Shane. I'm giving you your choice of assignment, anywhere you want. You just name it. SHANE That's kind of you, Sir... pause) But I'll have to think about it. Bill stops, surprised. Shane continues, a bit reluctant. SHANE (CONT'D) Sir, all I've never known is the military. At nine years old my father put me in cadet school and from there I never looked back. Don't get me wrong, I wouldn't trade it for anything and I have no regrets... S S 87. BILL I should hope not. SHANE But being with these kids has made me feel like there's more to life than taking out your enemy. And I think I want to explore that some more. Suddenly, an ANGRY VOICE. MAN'S VOICE PUT YOUR HANDS UP!! WIDE Shane and Bill spin, startled. The CHUNS strides up, GUNS DRAWN. MRS. CHUN Give US THE KEY! SHANE Mr. and Mrs. Chun? They checked out- KOREAN MAN H ands up! Compliant, Shane puts his hands behind his head. He takes a submissive position... Mrs. Chun comes closer, reaching for Bill's key... Shane shoots Bill a glance... SHANE NOW! Shane SPINS and grabs both guns! He WHACKS the Koreans' forearms, while SLAMMING their heads together. hane takes control! He smiles, relishing a second of glory -- when suddenly, CRACK! A third gun BUTTS him in the head. CLOSE-UP - SHANE Lights out. He turns, startled, and starts to fall. Disoriented, confused, he looks up as he drops... SHANE'S POV He is losing consciousness. Things are spinning... woozy. B 88. KOREAN MAN (arguing with Bill) You promised us GHOST months ago! BILL I'm sorry, Mr. Chun. There were delays... Shane peers in confusion, then passes out. FADE TO BLACK. FADE IN: INT. NURSERY - MOMENTS LATER Julie and the Kids are on the floor, tied up. Peter and Tyler are caged in the play pen. Peter has a JUICE BOX. The Korean Man (Mr. Chun) secures the room, closing the window shades. Bill checks the knots binding the children. They whimper, scared. L ULU SHANE!! BILL He won't be baby-sitting you anymore. He GAGS the kids. Julie glares, livid. JULIE I trusted you. Charles trusted you. So did the Department of Defense. ILL North Korea pays better. (to Mr. Chun) Keep an eye on them. You -- with me. Bill GAGS Julie. The Kids are furious. Bill and Mrs. Chun exit. INT. GARAGE - DAY Shane lies unconscious. Bill and Mrs. Chun approach the steel door. Bill inserts the two-pronged key... and it CLICKS. The door HUMS, then slides OPEN! Inside is a dark corridor. Bill grins. They enter... INT. SECRET VAULT Light is at the end. They anxiously tiptoe, reaching... 89. THE VAULT! Spare, bright and white. The floor is covered with square tiles. At the far end is a LARGE ELEVATED SAFE. Beside the safe is a red switch, with two settings: ARMED and DISARMED. It's set on ARMED. The air is filled with an ominous, low-pitched HUM, like a monstrous computer. Bill eyes the safe. BILL You bring your stethoscope? MRS. CHUN No. But I've got some C4. She confidently strides toward the safe -- which sets off hidden flame-throwers in the walls. A jet blast of FLAME shoots out! She leaps back just in time, but the shoulder of her jacket is on fire. Bill pats out the flames with his own jacket. Chun is Bokay, just missing BOTH eyebrows. ILL Charles never made things easy. Mrs. Chun's eyebrows are neatly, completely SINGED OFF. MRS. CHUN Just... had eyebrows... done. INT. HOUSE - SAME TIME Mr. Chun guards the kids, eyeballing them icily. Lulu "looks" scared. But behind her back, we reveal her HANDS untying her ropes! Freed, she hits her panic button! O.S., BEEPING. Lulu grins hopefully: Shane's coming! A beat... then Mr. Chun pulls the Tracker from his pocket. He sneers. MR. CHUN Think I'm stupid? Now stop bothering me. Lulu frowns, then leans back against Zoe. With a rapid blur of finger-work, she unties Zoe! Then -- needing a distraction, she signals Tyler and crosses her eyes. Tyler GASPS, horrified -- and SCREAMS HIS LUNGS OUT. Chun spins, startled -- and Lulu quickly ROLLS across the room! She lands against Todd, quickly assuming a fake bound position, as if she hadn't moved. Mr. Chun whirls -- the Kids look innocent. Mr. Chun is confused for a second: "wasn't he tied to the other one?" I W Z 90. BEHIND TODD - Lulu frantically unties Todd's ropes -- it's gonna be close... Chun scowls. Skeptical, he steps closer... He leans down to look at Todd's ropes Z-- OE Now Peter! Peter SQUIRTS JUICE into Mr. Chun's face. The Kids use the distraction: Todd POPS to his feet, then LEAPS into his SPIN KICK: it connects with Mr. Chun's head. OE (CONT'D) Let's GO! All the kids bounce up. They untie Julie, then scoop up Peter and Tyler. Mr. Chun growls and starts to stagger up. Lulu lands in Karate stance and calls out: LULU Hi ya! The other Kids take off, Mr. Chun looks at Lulu. Mr. Chun laughs: MR. CHUN That's cute. HAM without warning, Lulu SWEEPS Mr. Chun's leg, he drops to his knees in pain, then, when he's at her level, she KICKS him right in the nuts. It HURTS. Mr. Chun tries to grab her by the wrist, but Lulu EVADES with her cool, snake-like move. Lulu runs, slamming the door behind her. Mr. Chun gets up and turns the doorknob, but the door won't budge... INT. OUTSIDE THE NURSERY - CONTINUOUS Zoe shoves a chair between the door and the opposite wall, they're trapped inside. INT. NURSERY - CONTINUOUS Mr. Chun punches the door, making a small hole. He reaches out to knock the chair away but he can't quite reach. He puts his face up to the hole he's made... I INT. OUTSIDE THE NURSERY - CONTINUOUS Todd's outside with a FIRE EXTINGUISHER: he blasts Mrs. Chun's face. M E M 91. INT. NURSERY - CONTINUOUS Mr. Chun falls back from the door, his face COATED in white. He yells out furious! MR. CHUN That stuff doesn't hurt. He sticks his face out the hole... DONNGGG -- Todd hits him square in the face with the fire extinguisher ITSELF. EXT. FRONT DOOR - SAME TIME The family comes scrambling out -- but as Julie exits, a HAND suddenly GRABS her. JULIE AGGGH! She SCREAMS. Bill lurches into view, clutching her! The kids are horrified. They start to run back, but she urgently gestures -- JULIE (CONT'D) Keep going! RUN! Go GET HELP!!! The kids fret, unsure, then nod and run to the side garage. Zoe and Todd load the kids into the minivan. ZOE/TODD Hurry! C'mon! Buckle up!! INT. HOUSE - CONTINUOUS Bill pulls Julie inside. Mrs. Chun listens to Mr. Chun ON THE RADIO, speaking in Korean: RS. CHUN They're headed for the car! BILL Relax -- I've got the keys, they're not going anywhere... INT. MINIVAN - CONTINUOUS SPARKS FLY as Zoe hot-wires the minivan. She floors it... EXT. HOUSE - CONTINUOUS r. Chun comes racing around the house -- as SCREEEECH! The van suddenly FLOORS out, almost clipping him! Z Z 92. MR. CHUN ARGHH! Chun falls, as the van PEELS backwards down the driveway, and 360's. RRRR! It shifts into drive and ROARS away. Chun hops into Bill's car and races after them. INT. VAN - CONTINUOUS Zoe floors it. OE Omigod! What are we doing??! TODD Let's look for a cop! WIDE The sedan GUNS its engine, gaining on them. oe runs a yellow. She hits the curb and goes AIRBORNE. WHOOOOOO! The kids SCREAM, as they sail through the intersection! The sedan keeps chasing. INT. GARAGE - SAME TIME Bill has Julie at gunpoint, leading her to the secret door. They step past Shane's body, lying on the concrete. BILL How does it work? JULIE How does what work? BILL Don't play dumb. It's getting old. I want to know how to get through the booby traps. What's the code? JULIE I don't know any code -- Charles didn't tell me about the room... BILL If I knew Charles had hidden it so well, I wouldn't have killed him so soon. Don't make me kill you too. Julie GASPS, chilled. Then, a CRACKLING of static. Mrs. Chun exits the vault, holding a military RADIO. B 93. MRS. CHUN Mr. Bill, my husband has question: MR. CHUN (OVER THE WALKIE) I have a clean shot at their tires. It's B risky, they might wreck... ILL ... Do it. JULIE NO! Julie goes frantic, emotional. SHANE (O.S.) Bill, don't hurt the kids. Surprised, everyone looks down. ANGLE - SHANE They look over -- Shane is standing in the doorway. SHANE (CONT'D) I know the code. I'll get you in... just please don't hurt anyone. ill eyes him. The men stare down, Bill deciding if he can trust him. Then -- he clicks "talk" on the radio. BILL Change of plan. Bring them back unharmed. Bill uncuffs Shane. EXT. BUSY STREET - DAY The vehicles race, Chun just inches from the kids' tail. He tries to pass them on the right. It's like a chariot race, Chun zooming by, half on the sidewalk, to cut them off! INT. MINIVAN - CONTINUOUS Todd scrambles into the back seat. He does something we can't see, as Zoe drives. ZOE What's taking you? 94. TODD Don't wait for me! The sedan pulls up beside them. Zoe makes a very lewd gesture at him. It throws Mr. Chun off for a beat. TODD (CONT'D) Now! Zoe floors it, Mr. Chun is now face to face with Todd -- who throws a dirty diaper into the his face. Mr. Chun swerves and almost wrecks. Lulu starts PELTING Mr. Chun with debris: milk cartons, crayons, orange peels. M R. CHUN Aah! HEY -- Rubbish clobbers him. Exasperated, Mr. Chun ROLLS UP his window, then POUNDS the gas! Faster! About to pass... Zoe looks over. Chun is pointing a gun! She suddenly PULLS the emergency brake. WIDE RRRRRRRR!! The Van SPINS into a squealing 360. Mr. Chun SCREAMS, disoriented, and loses control. In the van, Peter laughs. PETER Wheee! The Van spins madly. The sedan skids and PLOWS into a store window. CRASH!! The kids cheer, triumphant. INT. SECRET VAULT - MOMENTS LATER Shane scopes out the vault. The walls and ceilings are covered with high-tech weaponry. Mrs. Chun holds Julie. Bill waits impatiently. Shane is figuring his options... SHANE Anybody got any perfume? Hair spray... breath freshener... A bewildered beat -- then Julie pulls out a tube of Binaca. Shane SQUIRTS it, revealing in the mist a myriad of crisscrossing LASER BEAMS. Shane steps forward. He speaks aloud, confidently: J B B 95. SHANE (CONT'D) Zoe, Todd, Lulu, Peter, Tyler! Bill reacts, puzzled. SHANE (CONT'D) The key is the kid's names. Watch. Shane steps forward - ZAP! The floor tile SHOCKS HIM, sending him flying backwards. Bill laughs. Shane gets up, in pain. ILL You think this is a game?! S SHANE But... That was the code! I swear! I saw Plummer use it on his briefcase. BILL Code or no code, go get it -- now. ill cocks his gun. Sweat drips down Shane's face. He mists the air to see the beams: He steps forward, over one beam and ducking under another -- he miscalculates: a BURST OF FLAME blazes from the ceiling like a giant blow torch, Shane leaps back, landing on his hands and knees. JULIE (to Bill) You can't make him do this -- He doesn't have a chance. CLOSE-UP - SHANE Shane's thinks. He notices a GROOVE carved in the floor, not quite centered to the room. He feels the Groove. Something she said... SHANE (thinking) Haven't got a chance. Shane feels the Groove in the floor. He thinks. He looks up at the ceiling (bottom of the first floor). SHANE (CONT'D) (sings softly to himself) ... When you're down and low, lower than the floor. And you haven't got a chance. Don't make a move `til you're in the groove, and do the Peter Panda Dance. E 96. Shane LAUGHS sharply. That's the code! He shares a look with Julie. Bill and Julie share a look -- they have no idea what he's laughing about. Calmness comes to Shane's face. He takes a deep breath, S facing forwards: SHANE (CONT'D) Just hop three times like a kangaroo -- He hops forwards three times, fearlessly. NOTHING HAPPENS. No BOOBY TRAPS are set off. SHANE (CONT'D) Sidestep twice, just like the crabs do. He steps sideway, across two tiles. Again -- NOTHING HAPPENS. It dawns on Julie what he's doing. Julie smiles, relieved. Shane he steps forwards, then back: SHANE (CONT'D) Three steps forward and one step back. When he steps back -- A SPRING-LOADED SPIKE launches down from the ceiling, imbedding itself where he was standing. Shane is rattled, his focus gone. Until Julie shouts: JULIE QUICK LIKE A TURTLE LIE ON YOUR BACK! Shane snaps out of it and flops down on his back -- just in time: FLAMES SHOOT FROM BOTH WALLS right at him. If he'd been standing, he'd be toast. EXT. BUSY INTERSECTION - SIMULTANEOUS The Minivan blasts through another yellow. LULU Look out Zoe! Rollers! There is a POLICE CAR cruising the street ahead of them. Zoe blows past it. Inside is the Cute Cop. The Squad Car's lights flash on, and he catches up with the minivan -- it takes a while, they're FLYING. ZOE Come on. Use the gas, not the brake, 5-0. Zoe slows down so the Police Car can pull up beside her. The Cute Cop shouts over at Zoe. 97. CUTE COP I'd say you could lose your license -- but you haven't got one! ZOE People are trying to kill us. They have my mom, and our bodyguard -- you have to follow me! CUTE COP Just pull over! ZOE Fine. Don't follow me! She swerves into the Squad Car, almost running it off the road. Zoe U-turns, and speeds back towards her house. The Squad Car turns around and chases her. EXT. SUBURBAN STREET - MOMENTS LATER The Minivan speeds by. The Squad Car is on its tail. It is joined by MORE SQUAD CARS. Following the chase, at a safe distance, is Mr. Chun in his now-wrecked sedan. EXT. SCHOOL - SAME TIME Murney and Claire are watching a SOCCER GAME. He's in a NECK-BRACE. MURNEY That Baloney Bandit struck again. I accept full responsibility. My intelligence proved to be faulty, but if I had more resources... She shakes her head, Suddenly, the Minivan SPEEDS by. VROOOOM! Then the Police Car CHASES by. VROOOM!! Then -- FIVE MORE POLICE CARS ZOOM BY. VROOOOOOM!!! MURNEY (CONT'D) (not that surprised:) I told you not to pass her in Driver's Ed. Claire frowns, concerned... INT. PLUMMER BASEMENT - CONTINUOUS Shane is on the floor, sliding forward, nervously. 98. SHANE Wriggle like a snake `til you can't no more. Then better jump quick, like there ain't no floor. Shane jumps up just AS THE FLOOR UNDER HIM DROPS AWAY, revealing a pool of liquid. Shane has wedged himself in the corner. A bead of his sweat falls into the liquid, and sizzles in a cloud of smoke. It's acid. SHANE (CONT'D) (to himself, to calm down) Almost done, almost done... "Just hold your breath, and jump to the left." He jumps, to the left of the HOLE. He lands in front of THE SAFE. He's relieved -- then nozzles spray YELLOW GAS at him. He holds his breath just in time. Still holding his breath: SHANE (CONT'D) And that's the Peter Panda Dance. He flips the switch to DISARMED. The safe's red light turns green. Immediately, the flamethrowers and blowguns retract! The gas gets sucked into grates. The whole room goes SILENT. Whew. Bill looks around. He nervously steps forward - he waves his hand over the floor, and jumps back. Nothing happens. Bill signals for Mrs. Chun to go first. She gestures back: you go. It's a stand-off. Finally, Bill takes a breath -- and walks across the room. The Booby Traps are disarmed. Mrs. Chun follows, pulling Julie along. BILL Thank you, Shane. You were always my best man. I knew you'd figure it out. Shane scowls, disgusted. BILL (CONT'D) You know, if you're willing to join up, I'd be happy to cut you in on the proceeds. What do you say -- we make a good team? SHANE I was devoted to you, sir. And you betrayed all of that. All that we stand for. 99. Beat. Bill shrugs. BILL I'll take that as a "no." Bill turns to the safe. He starts to reach for the dial... then catches himself. Something's not right. BILL (CONT'D) ... I think you better open it. Shane reaches for the safe, before he reaches the dial -- BILL (CONT'D) Wait. That's just what you want isn't it? Bill thinks, trying to read Shane's poker face. Shane shrugs. Bill gestures to Mrs. Chun. BILL (CONT'D) You open it. Mrs. Chun doesn't budge. BILL (CONT'D) Oh come on. I walked the floor first. Reluctantly - Mrs. Chun reaches out, and touches the dial. Nothing happens. Relief. She turns it, and ZAPPPPP! 1000 volts ELECTROCUTES her, her hair on end, shaking from the voltage... Bill is off guard, Shane kicks his gun away! The gun skids into the acid and plunges, SIZZLING. Bill is incensed, but Shane gazes coldly. SHANE There will be no mercy. BILL None requested. Full of himself, Bill LUNGES. And he's strong! He shoves Shane back, then PUNCHES him in the gut. Shane glares, then returns an onslaught of BLOWS. Shane's fury is unleashed: A volley of attacks, hitting Bill's arms, head, legs! He's crazed, unrelenting. But suddenly Mrs. Chun LEAPS onto his back. MRS. CHUN AAAAAA! 100. She SCREAMS and grabs his throat. Shane struggles to lose her. Suddenly, he drops and FLIPS her. She catapults, stumbles backwards across the room, and stops just inches from the acid! She teeters, tottering, unable to gain her balance. Shane shakes his head, then runs to grab her outstretched hand. She smiles, saved. But he's unforgiving. SHANE You're a... terrible neighbor. Shane COLD-COCKS her, knocking her out. Suddenly -- JULIE Shane! Watch out! Bill is charging him. Shane whirls, delivering a ROUNDHOUSE KICK. OOF! Bill gets slammed in the chest. Bill tumbles, the wind knocked out of him. He jumps to his feet, delivering a series of hard punches, which Shane deflects -- they tangle like pro's. It's clear the both have the same training. They punch, spin, kick, connecting only occasionally. Bill wheels around and lands a kicks squarely in Shane's chest. Shane tumbles, landing on his back in front of the safe. ANGLE - BILL He steps over Shane. Leering mercilessly, he jabs the spike against Shane's throat. BILL Any last words? Julie gasps. Shane narrows his eyes, then whispers/sings. SHANE ... Say, good night, Peter Panda! The CODE! A BELL rings, and the safe door flies open! SLAMMING Bill in the head! BONG! Bill's collapses and drops. K.O.! EXT. PLUMMER'S STREET - SAME TIME The minivan races toward the house. The Police Cars chase after, SIRENS wailing. IN THE VAN, everyone is SCREAMING. 101. TODD Zoe! You're going too fast!! You're not gonna have enough time to stop- ZOE Hey, I'M the one in Driver's Ed! I think I know what I'm doing!! WIDE She squeals into the driveway, then BRAKES. But it's too late. The van SKIDS, smoke BURNING from the tires -- and hits a tree. The Kid spill out and run. The lead Police Car screeches to a stop. POLICE leap from the car. INT. SECRET VAULT - SAME TIME Shane and Julie stare at each other, then look in the safe: Inside, the cavernous metal box holds but one object: A tiny COMPUTER CHIP. Shane gently removes it. SHANE ... GHOST. They look in silence. She smiles at Shane, grateful. JULIE Thank you Shane. It's finally over. Now we can go back to our peaceful... Then -- a sudden AMPLIFIED VOICE from behind them: ULLHORN (V.O.) FREEZE! HOLD IT RIGHT THERE! EXT. HOUSE - SAME TIME Total commotion. The kids clamber from the van, with their hands raised. Cops surround them. Even Peter and Tyler have their little hands over their heads. The garage door raises, Shane steps out. SHANE Whoa, WHOA! What are you doing to these kids?? CUTE COP FREEZE. HANDS WHERE I CAN SEE THEM. 102. Cops cover Shane and Julie, Julie and Shane Freeze. ZOE But, officer... CUTE COP I said FREEZE. Zoe, you're in a lot of trouble... Reckless endangerment! Driving without a license. Numerous, uh... trafficS violations -- SHANE (cutting him off) These kids are heroes. They just aided in exposing a high-level espionage ring. I suggest you call the FBI. Now. Silence. The Cops are unsure what to do. He scoffs. CUTE COP You expect me to believe any of that? Suddenly -- a CRAZED SCREAM. MR. CHUN (O.S.) EVERYBODY! HIT THE GROUND!!! WIDE Everyone spins. Mr. Chun stands inside the gate, pointing a ROCKET LAUNCHER. He's disheveled and manic. MR. CHUN (CONT'D) I WANT THE GHOST, TEN MILLION DOLLARS, AND A DIRECT FLIGHT TO PYONGYANG! The cops freeze, helpless. Shane weighs his not so many options... Nobody is sure what to do. But then -- a WOMAN suddenly flips over the fence, vaults onto Chun, and KNOCKS him out with a Karate Chop. PRINCIPAL CLAIRE Ya!! Claire lands on her feet, triumphant. Even Chun is amazed, as he turns his head, Shane spins, and grabs the rocket launcher. CLOSE-UP - SHANE He breaks into a big grin. 103. CLOSE-UP - CLAIRE She proudly smiles back at him. ANGLE - THE CUTE COP He's flummoxed. This chaos is unsolvable. Beaten, he reaches for his radio. COP I think I'll call the FBI. DISSOLVE TO: EXT. PLUMMER HOUSE - LATER F.B.I. AGENTS swarm the area. Bill and the Chuns are being hauled away in cuffs. Julie huddles with the kids. Shane talks with an F.B.I. Agent. F .B.I. AGENT Mr. Wolfe... that was nice work. You're a one-man battalion. SHANE Just doing my job. F.B.I. AGENT The Bureau is always looking for good men. Do you have a card or something? The Agent hands him a BUSINESS CARD, then walks off. Shane examines it, swelling with pride. INT. GARAGE - CONTINUOUS The Kids are looking around, watching the FBI Agents work. Lulu is following one of the FBI Agents around. LULU Do you have to wear that thing in your ear all the time? FBI AGENT Yes. LULU Does it itch? FBI AGENT Yes... 104. Zoe is looking at the safe. She sees, fallen onto the floor, from the safe, a letter. Her siblings, and Julie notice, and gather around. Zoe reads the LETTER: ZOE If you're reading this, then Julie found the key. Julie, Tyler, Peter, Zoe, Todd, Lulu -- I want to say: I love you more than anything. I always have. A tear comes to her eye. The Plummers hug each other. EXT. THE PLUMMER HOUSE - CONTINUOUS Claire walks up to Shane. Mock-angry. PRINCIPAL CLAIRE So. What happens now? You'll be stationed somewhere else, right? I guess there's no more reason for you to stick around here. Shane looks at her. He looks around: at the family. He looks at Claire.... SHANE Well. I'm kinda, re-conning the situation, here... And to tell the truth. I don't see anything but reasons to stay. P RINCIPAL CLAIRE So... What's the next move? Shane smiles slyly and pulls her close. SHANE ... I don't know. I'm on dry land. You're the superior office. You tell me. PRINCIPAL CLAIRE Well. Summer's almost here. What if you and me did a little amphibious recon mission. On, say -- Maui? SHANE Sir yes sir. Claire beams. The Plummers all approach, interrupting. Zoe gives them a look -- that makes Shane and Claire BLUSH. Lulu turns to Shane, sad. LULU This is it. Your work here is through. Guess you have to go now... 105. She puts out her hand, to shake his. SHANE Ah, come here you. He surprises her with a BEAR HUG -- he hugs the whole family at once, squeezing them off the ground. He puts them down. Before he goes: he reaches down and gives Zoe - - his medal. He squeezes her hand around it. ZOE But... SHANE He would've wanted me to give it to someone I care about. Like he did. Thank you. For everything. P ETER Love you, Shane. TIGHT - SHANE This is too much. He wipes his face. SHANE Your dad would be so proud. Shane bawls -- he can't keep it in. He starts to head off, Lulu calls after him: LULU Shane, we're never gonna see you again! SHANE What are you talking about? I'm gonna see you Friday night. A long beat. Julie looks up, baffled. JULIE What's Friday night? INT. VICTORIA THEATRE, BACKSTAGE - NIGHT Close on Shane: SHANE Tonight is the night we trained for, and failure is not an option! No detail is too small! We are the BEST! Remember your lines, hit your marks, and stay in character! I expect perfection! (MORE) 106. SHANE(CONT'D) (he grins) Now let's break a leg. Wider reveals the Cast of `The Sound of Music'. CUT TO: Shane's military-march version of the musical. Nuns sing "How Do You Solve a Problem Like Maria?" The Von Trapp kids perform "So Long, Farewell." In the audience, Julie watches in astonishment. She is surrounded by her children. Scott: in a suit, his hair combed, Claire: dressed to the nines, the little Brownie Troop, even Murney. Lulu has a basket in her lap -- inside: GARY THE DUCK and his new family, the most adorable ducklings you ever saw. They all watch, rapt. You Are Sixteen begins. Shane watches with bated breath. Todd spins. In SLOW MOTION, he leaps into the SPIN KICK. It's fantastic -- a Michael Jordan dunk. The AUDIENCE goes nuts, Shane stands, and shouts: SHANE (CONT'D) YESSS! (And an Armed forces:) Huu-ah! The Audience stares at him, until he sits back down, beaming with pride. Finally: "CLIMB EVERY MOUNTAIN." Hearts swell, as the family crosses the papier-m‚chÈ alps. A STANDING OVATION. The performers take their curtain calls, then giddily gesture Shane to come out. He humbly steps into view -- and the house goes crazy. Thundering applause. A cellophane bouquet of flowers gets thrust on him. Shane smiles, touched. Mission accomplished. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Papadopoulos & Sons.txt b/unformated_scripts/Script_Papadopoulos & Sons.txt new file mode 100644 index 0000000000000000000000000000000000000000..3825acd8a421b1c4492cb06abb75865f95a72c78 --- /dev/null +++ b/unformated_scripts/Script_Papadopoulos & Sons.txt @@ -0,0 +1 @@ + PAPADOPOULOS & SONS Written by Marcus Markou Final Version with Dialogue Changes 03.04.12 Music. Zorba - the Ballet by the Hungarian State Symphony. Classical and uplifting. CUT TO:1 EXT. PAPADOPOULOS MANSION - GARDEN. DAY 1. 1 A very English scene - a beautiful English garden belonging to a mansion house. A smartly turned out gardener in green overalls is raking leaves. It's an impressive picture of Britishness and order. Another gardener, DAVE is trimming the edge of the lawn. We see shots of the garden; plants, trees, a gazebo, sundial, water fountain etc. We follow one of the gardeners pushing a wheelbarrow across the width of the lawn and we see the rear of this impressive property. Title: 'PAPADOPOULOS & SONS' CUT TO:2 INT. PAPADOPOULOS MANSION - INTERIOR. DAY 1. 2 MRS PARRINGTON knocks on a bedroom door. The door opens on HARRY PAPADOPOULOS in his bedroom doing up his shirt in a mirror. CUT TO:3 EXT. PAPADOPOULOS MANSION - DRIVEWAY. DAY 1. 3 A chauffeur-driven Mercedes pulls up to the front of the mansion house. MRS PARRINGTON, the housekeeper and nanny, waits for the car. HARRY and his children, JAMES, KATIE and THEO exit through the front door. As they do so, MRS PARRINGTON makes sure the children are smartly turned out. The chauffeur gets out and opens the door for the children. CUT TO:4 EXT. CAR MONTAGE. DAY 1. 4 We see the car make its way through London and images of the City, the Gherkin, NatWest Tower, Canary Wharf. The Mercedes pulls up outside a hotel. CUT TO:5 INT. LONDON HOTEL - AWARDS CEREMONY. DAY 1. 5 A PRESENTER is standing behind a lectern, with a large crystal vase award. Behind him, on the stage, we see a 'European Entrepreneur of the Year Award' banner. PRESENTER Orphaned when he was just a boy, Harry Papadopoulos came to this country with nothing. (CONTINUED) 1 5 CONTINUED: 5 We cut to the family seated at a round table. The children look bored. HARRY listens proudly. PRESENTER (CONT'D) Harry was a grafter, entering the restaurant trade as a young man. (Beat) That's a euphemism for 'Greek waiter' isn't it? There is some laughter in the audience. We cut to HARRY again, who attempts to smile off the joke. PRESENTER (CONT'D) Only joking Harry. He then started the now famous Papadopoulos & Sons - doing all things Greek. From taramasalata to olive oil and frozen mousakas - which, I must admit, my wife and I are partial to occasionally. Not one to settle, Harry's made the move into commercial property where he's about to embark on one of the most audacious developments yet - Papadopoulos Plaza. A two million square foot redevelopment in the heart of our great city. (Applause from the audience) Ladies and Gentlemen, I give you European Entrepreneur of the Year. Harry Papadopoulos. Awards music. We now cut to HARRY getting up from the table. He momentarily acknowledges the applause. The children are clapping politely but absently. CUT TO:6 INT. LONDON HOTEL - SMALL FUNCTION SUITE. DAY 1. 6 It's the photo call for 'European Entrepreneur of the Year.' A PHOTOGRAPHER is taking shots of HARRY holding his award. KATIE, JAMES and THEO stand alongside their father. The children look disinterested. PHOTOGRAPHER That's lovely. (Referring to the vase) Now just hold it up a bit for me. Yeah, that's nice. Bunch up a bit. HARRY Just look at the camera. PHOTOGRAPHER A little bit more. Perfect. Now touch the vase for me, if you don't mind. (CONTINUED) 2 6 CONTINUED: 6 KATIE Touch it? What a perv. JAMES (With a stammer) Katie. You're the p... p... perv. KATIE And you're the f.. f.. freak. HARRY Shush. PHOTOGRAPHER Come on guys. Big smiles. Big smiles for me. THEO Did you really work in a restaurant Daddy? HARRY A long time ago. Touch it. PHOTOGRAPHER Guys. This is supposed to be a celebration. What's the Greek word? Is it Opa? Opa? HARRY Touch the vase. The family touch the vase and force a smile. THEO Cheese!!! CUT TO:7 INT. PAPADOPOULOS MANSION - KITCHEN. EVENING 1. 7 MRS PARRINGTON is drying dishes. HARRY, THEO, KATIE and JAMES are at the table having supper. THEO is on a laptop, checking stock market trends. KATIE is texting. HARRY is reading congratulatory cards. HARRY Congratulations from the Prime Minister. Sir Derek Otterly was there today Mrs Parrington. MRS PARRINGTON I don't know him. HARRY Sir Derek? You must remember him. He's been to the house. (CONTINUED) 3 7 CONTINUED: 7 MRS PARRINGTON They all blur. KATIE That's because they're all so dull. THEO Weird. Gold doing well. Tech stocks down. DAVE enters and hands MRS PARRINGTON some empty mugs. DAVE Nice one Mrs P. MRS PARRINGTON Oh, thanks Dave. Would you like to stay for some supper? DAVE Oh no. Best not. Got some dinner at home. That's a nice vase, isn't it? HARRY European Entrepreneur of the Year. DAVE That's impressive. JAMES Dave. Did you g.. g.. get my cuttings? DAVE I did mate. It's in the greenhouse. I got you a Caryopteris and a Philadelphus. JAMES Cheers man. Thank you. DAVE See you later. JAMES See you tomorrow. Dave exits. THEO Daddy? What did Papadopoulos & Sons borrow for the property development? HARRY About three hundred million. MRS PARRINGTON shuts and removes THEO's laptop. (CONTINUED) 4 7 CONTINUED: (2) 7 MRS PARRINGTON Never mind the trials and tribulations of the stock market. Finish your supper young man. THEO Nanny P! MRS PARRINGTON Eat up or there'll be no pudding. I've made you a nice sponge. THEO pulls a childish grimace and starts to breath heavily through his nose. THEO Two, Four, Eight, 16... HARRY Alright. THEO Thirty two, sixty four, 128.. HARRY That's enough. THEO Something is happening with interbank lending Daddy! HARRY Alright. We'll talk about it tomorrow. HARRY gets up from the table. HARRY (CONT'D) It's going to be a long summer. HARRY exits. MRS PARRINGTON Taking them to a business awards ceremony is hardly a family day out. My suggestion was a cottage in Lyme Regis. CUT TO:8 INT. PAPADOPOULOS MANSION - HALLWAY. EVENING 1. 8 DAVE is at the front door in the hallway. He is putting on his muddy boots. HARRY enters. HARRY Dave? I need to talk to you about James. It's... Look, you really should be doing that at the back. (CONTINUED) 5 8 CONTINUED: 8 DAVE Yeah. Sorry. HARRY Look. Its. He needs to complete his degree. And this gardening, the horticulture, the plants. DAVE Yeah, yeah. HARRY It's a huge distraction. DAVE I was just helping him out during the holidays. HARRY Well, I need him to complete his studies and you're diverting his attention. And frankly, it's not what I pay you for. Dave doesn't answer. HARRY (CONT'D) Please don't be so churlish. You know, if you were worked for my company you'd probably be fired. DAVE Yeah. Is there anything else? HARRY No. That's it. DAVE Goodnight Mr. Papadopoulos. DAVE exits. JAMES comes through the hallway. He has overheard some of the conversation and he's upset. He walks past HARRY and flashes him a dirty look. HARRY James. JAMES now stops and returns to say something to his father. JAMES W... HARRY Relax. JAMES Wa... wa... (CONTINUED) 6 8 CONTINUED: (2) 8 HARRY Calm down. He stops. He takes a couple of deep breaths and composes himself. JAMES Wa.. wa.. HARRY (CONT'D) You need to learn how to... You really need to learn how to express yourself more calmly. JAMES Wanker. (Beat) Wanker. JAMES exits up the staircase. HARRY watches him. CUT TO:9 INT. PAPADOPOULOS MANSION - JAMES' BEDROOM. EVENING 1. 9 HARRY taps on JAMES' door. There is no answer. He walks in. HARRY James? Can I come in? JAMES' room resembles a botanical garden. JAMES is at his desk with pots of plants and various tools and test tubes with soil and desk lamps. JAMES looks through a microscope, studying a leaf, ignoring his father. HARRY surveys the room trying to accommodate his son's interest in botany. He notices a poster of Charles Darwin with a quote. He reads it out. HARRY(CONT'D) It is not the strongest to survive, nor the most intelligent but those adaptable to change. Fascinating. Charles Darwin. (Latching onto a random plant) Ah. Look at that. (Beat) And that's... JAMES answers without looking up from the microscope. JAMES Did you know, that the average garden contains over three and a half million species? HARRY No, I didn't. JAMES Dad. I'm not going back to... (CONTINUED) 7 9 CONTINUED: 9 HARRY But it's only a year and then you've got a law degree. JAMES I've no intention of running P.. P.. Papadopoulos & Sons. I can't even pronounce it. HARRY Look. Finish your studies. The plants. It's a hobby. Sure. Give yourself options. You may change your mind about the business. You know, there are a lot of creative roles now in business. JAMES Like what? HARRY Like marketing. Alright. Defer the final year. Take a year out, why not? Fine. But don't quit. Your mother would have said the same. JAMES Would she? HARRY Well, your mother would probably have said do what you feel was right but I'd argue she was wrong. And then we'd argue. Probably. And she'd win. That was your mother. At least consider deferring. JAMES thinks about it. JAMES Okay. I'll consider deferring. HARRY Yeah? Great. Great. So, there you are, it's not a definitely not? HARRY wants to bond but doesn't know where to start. HARRY latches onto an English Ivy in a Union Jack plant pot. HARRY (CONT'D) What's this one called? JAMES It's an ivy. The doorbell rings. (CONTINUED) 8 9 CONTINUED: (2) 9 HARRY Mrs P!(Pause, waits for a response) Mrs P! Look, I'd better. HARRY goes to exit and then comes back to shake his son's hand. HARRY (CONT'D) Hey. Well done. For. You know. HARRY heads towards the door and just before he exits he gives an emphatic double thumbs up. HARRY CONT Closed? JAMES Yes please. CUT TO:10 EXT. PAPADOPOULOS MANSION - FRONT DOOR. EVENING 1. 10 HARRY opens the front door. We see a friendly door-to-door salesman with a charity badge around his neck. He has a plastic basket of cleaning products. DOOR KNOCKER Evening boss. Sorry to disturb. I work for a homeless charity. HARRY Sorry. No thanks. DOOR KNOCKER New dish cloths? HARRY I know how you people operate. DOOR KNOCKER I got a badge. HARRY studies the badge. HARRY No mention of a charity. DOOR KNOCKER Come on boss. Give us a break. I'm trying to earn a living here. Look. Got tea towels, surface cleaners, scrubbers, brushes, window sprays, shammies - for drying the car. Cars. THEO appears at the door. THEO Daddy. You need to see the news! (CONTINUED) 9 10 CONTINUED: 10 DOOR KNOCKER Hello there mini boss. THEO Who's that man? HARRY He's a... he's a... he. He works for a charity. THEO Is it a cake sale? DOOR KNOCKER Cakes? Did you say cakes? Did he say cakes? How do you know? That's what I want to do. Open up a cake shop. HARRY Cakes? Really. DOOR KNOCKER Cup cakes, individually decorated gingerbread men, bite-sized apple strudels, gooey fudge balls, mini- muffins as well as your traditional fare. Got a business plan and everything. It'll be egalitarian but feel exclusive - sort of my mission statement really. The Progressive People's Cake Shop. With... progressive pricing. HARRY That's very good. I know a thing or two about the food business as well. DOOR KNOCKER Really? I'm looking for investors. HARRY Retail's not for me, I'm afraid. Staff. Nightmare. They'll nick your cakes, upset your customers, then do you for wrongful dismissal. DOOR KNOCKER Oh. Thanks for the encouragement. THEO Let's buy something. The news Daddy! HARRY Well, how much for... DOOR KNOCKER It's a shammy. (CONTINUED) 10 10 CONTINUED: (2) 10 HARRY Whatever. How much? DOOR KNOCKER The shammy. It's a shammy. HARRY I'm not going to say that word. DOOR KNOCKER Why not? HARRY Because it's a silly word and I don't know what it's for and I don't know if you're genuine. And I'll probably never use it. CUT TO:11 INT. PAPADOPOULOS MANSION - KITCHEN. EVENING 1. 11 HARRY walks in with the entire box of cleaning products and hands them to MRS PARRINGTON. MRS PARRINGTON Oh. A shammy. THEO Come look Daddy. On the TV, we see a 'New Bank Crisis?' banner and a reporter standing outside a bank in the city of London. HARRY Turn it up. THEO points the remote and turns up the volume. NEWS REPORTER Panic confusion and chaos. They said it couldn't happen again but today it just did sending shock waves through the world's markets. HARRY What's going on? THEO Another bank collapse. The TV images cut to people leaving an office with boxes of their belongings. NEWS REPORTER VO (CONT) All 8,000 members of staff have been asked to leave while the bank is put into liquidation. (MORE) (CONTINUED) 11 11 CONTINUED: 11 NEWS REPORTER VO (CONT) (CONT'D) It comes as a shock but not a surprise. HARRY's mobile phone rings. He answers. HARRY Nicholas. I'm watching now. It's insane. I don't know. Why don't you call them? Alright. I'll see you first thing tomorrow. Bye. THEO Will this have repercussions on your loan? Harry is lost in thought. MRS PARRINGTON That's a very good word Theo. Isn't it? Daddy? Repercussions. (Beat) It's a good word. HARRY Oh yes. Sorry. Yes. It's a very good word. CUT TO:12 EXT. PAPADOPOULOS & SONS FACTORY. DAY 2. 12 Next morning. Establishing shot. We are at the Papadopoulos & Sons HQ - the exterior of the factory. CUT TO:13 INT. PAPADOPOULOS & SONS FACTORY OFFICE. DAY 2. 13 HARRY, FAT LAKI and NICHOLAS are walking into the office. FAT LAKI They've revalued the property. They're calling in the guarantees. You need to find thirty mil now. Six months to find the rest. HARRY And if we don't? What happens? NICHOLAS They'll put you and everything you own into administration. Harry. You took out crazy loans. Our business is making feta cheese for God's sake. HARRY Nick. (CONTINUED) 12 13 CONTINUED: 13 NICHOLAS You gambled it on a shopping mall. HARRY I could do without these comments right now. NICHOLAS I'm the finance director of this company Harry. You never listened. Never. It always had to be bigger, better. Like these offices. We didn't need these offices. Do you know how much we paid for that 'work of art ' up there? Do you? Two hundred grand. For a fish. Nicholas points towards a fish hung across the wall. HARRY What do you want me to do Nick? NICHOLAS Our business was profitable Harry. I was going to retire in two years. I'd like to bring that forward. HARRY You're resigning? Now? The accountants coming in. NICHOLAS Sorry Harry. En boro. En boro. NICHOLAS exits. HARRY Nicholas! NICHOLAS That's enough. That's enough. HARRY Nicholas. Can you believe that? ROB and SOPHIE, an American, enter. ROB Shit, fan and hitting? Hey! Fat Laki! You know why they call this guy Fat Laki? SOPHIE shrugs. FAT LAKI indicates how big he once was. SOPHIE Wow. Congratulations. (CONTINUED) 13 13 CONTINUED: (2) 13 FAT LAKI I stopped eating bread. It's sad though. I loved bread. But. What can you do? ROB This is Sophie. Just relocated from our New York office. SOPHIE Hello. Really pleased to meet you. Can I just say, I'm a huge fan of Greek food. Especially the cakes. I love Baklava. HARRY Great. The ship's going down and we've got baklava. ROB I take it the banks are pulling the rug? What are the bastards proposing? FAT LAKI They've demanded the 300 million we borrowed. Thirty by close of play. ROB Sweet mother of God. They are sons of bitches. FAT LAKI They've taken a new position on the value of the property development. It's triggered the guarantees. SOPHIE Can you sell it? HARRY It's not even a building site yet. SOPHIE So, its bankruptcy. ROB Put something offshore, I said. He wanted to pay his taxes. HARRY Maybe I should have been more Greek about it. ROB Hey. It's bankruptcy baby. Not disaster. (CONTINUED) 14 13 CONTINUED: (3) 13 HARRY Accountants. When it's good, they get paid. When it's bad, they get paid. I want my son to be a lawyer for the same reason. He doesn't get it. So what are the options? ROB Well, the obvious is to buy back your own business. SOPHIE Trick is finding the investors to back you. HARRY And the banks will sell back to me because? ROB Because nobody makes pink slop like you do Harry. SOPHIE The banks just want a quick sale. They have no interest in running your business. HARRY Let's jump on it. ROB I'll talk to private equity firms, VCs, angels. The usual suspects. We'll find someone. SOPHIE What doesn't break you, makes you. HARRY Ah. Therapy. Don't charge me for that, will you? Rob? Don't let her charge me for that. CUT TO:14 INT. PAPADOPOULOS & SONS FACTORY OFFICE. DAY 2 14 HARRY walks through his office and down to the factory floor where he overlooks a small army of oblivious Papadopoulos & Sons employees processing taramasalata into containers. CUT TO: 15 15 EXT. PAPADOPOULOS MANSION - DRIVEWAY. DAY 3. 15 Music continues. We see the front of the house. A standard removal truck is parked outside alongside the Mercedes and a Bentley sports car - displaying (PAPA 1 and PAPA 2 number plates). Two removal men in white overalls and white gloves (almost forensic looking) walk out the front door carrying a large oil painting. A third man stands at the back of the van waiting to receive goods. CUT TO:16 INT. PAPADOPOULOS MANSION - HALLWAY. DAY 3. 16 KATIE walks down the stairs and we see removal men assessing the valuables of the house. CUT TO:17 INT. PAPADOPOULOS MANSION - KITCHEN. DAY 3. 17 The family, including MRS PARRINGTON, are in the kitchen. THEO is on his laptop. KATIE nervously files her nails. MRS PARRINGTON has made everyone a cup of tea. HARRY is reading a newspaper. JAMES is reading a book. KATIE enters. KATIE They're going through my things. It's disgusting. HARRY Are they darling. It's temporary. You'll get it all back. Two bank assessors RUPERT and NIGEL enter. RUPERT has a clipboard with items to be ticked off. NIGEL has a camera. RUPERT Morning. KATIE (Sarcastically) Oh. Hi. NIGEL (Under his breath) Problem. RUPERT This is the... kitchen. NIGEL Fabulous finishes. HARRY So how long's this going to take? RUPERT Most of the day, I should think. (CONTINUED) 16 17 CONTINUED: 17 HARRY And what are we allowed to keep? RUPERT Ah, well. According to the asset sheet... let's see. Not very much. KATIE Little rats, with their little claws. MRS PARRINGTON That is quite unnecessary Katie. RUPERT We may as well do this now. That's a nice computer. Oh, don't worry we're not going to, you know, take it... now. Anything interesting? THEO hisses at RUPERT like a snake with an aggressive face. THEO Stocks. Everyone's selling. I'm buying. Two, Four, Eight, 16, 32.. MRS PARRINGTON Double your numbers quietly Theo and apologise or I'll confiscate that wretched computer for a week. THEO Sorry. RUPERT There's no easy way of doing this. NIGEL You have impeccable taste, by the way. MRS PARRINGTON It's not mine. RUPERT We operate very strict guidelines. NIGEL We have your range of Greek dips at home. Don't we Rupert? RUPERT As I was saying, we operate very strict guidelines. HARRY So. What is legally ours? (CONTINUED) 17 17 CONTINUED: (2) 17 RUPERT Well, the bank will let you keep £25,000 in cash. And you're each allowed £1,000 in personal items. KATIE My Westwood Gold Label cost more than that. NIGEL It's such a beautiful dress. I couldn't resist looking. KATIE I love it too. NIGEL (Whispering) I'll sort something out for you. KATIE (Whispering) Thank you! RUPERT Nigel. NIGEL You seem like such a lovely family. We hate doing this. RUPERT Nigel. HARRY Right, so 25k cash. And 1000 in personal items. What else? RUPERT Ah. Well. One thing that came up in the meeting with HQ this morning. The fish and chip shop. The Three Brothers? JAMES What fish and chip shop? MRS PARRINGTON That went years ago. RUPERT Well, the bank is unable to seize it as an asset because of its co- ownership with a... Spiros Papadopoulos? HARRY Right. (CONTINUED) 18 17 CONTINUED: (3) 17 MRS PARRINGTON Yes, that's his brother. But they haven't spoken in years. CUT TO:18 INT. PAPADOPOULOS MANSION - DINING ROOM. EVENING 4. 18 The family is sitting at the dining room table watching SPIROS eat. No one else is eating and the table is set for one. The dining room is spartan - less furniture/ no pictures. We see some tea crates stuffed with tissue wrapped objects. SPIROS It was so strange. Oh, James - more lemon son. JAMES passes SPIROS a small plate of quartered lemons. SPIROS sticks his fork into one and squeezes juice over his chicken. SPIROS (CONT'D) Oh. This is so good Mrs P. In all the years, I never stopped thinking about you or your food. MRS PARRINGTON Still so charming. SPIROS So, I'm sitting there watching the telly and suddenly I see Papadopoulos & Sons. On the TV. THEO Daddy over leveraged himself. SPIROS Look at this little Englezo. Hey! I'm your Uncle Spiros re. I'm your uncle, re manga! I'm going to eat him he's so cute. THEO Please don't eat me. SPIROS Re gugluthi. He's just like his mother. A little Englishman. THEO That's because my Mummy was English. SPIROS Ah! I know re! I know. Ah. So! I'm watching the news and I'm thinking, what's my baby brother gone and done now? And just at that moment. (MORE) (CONTINUED) 19 18 CONTINUED: 18 SPIROS (CONT'D) As I'm thinking that thought, in the same split second, the phone rings. And it's him! I mean, it's gotta be some kind of quantum physics there, no? No? Insane. Insane. (To KATIE) Katie. You're so grown up. I can't believe this. You were like... just a girl. Dumpy and spoilt. Look at you now. MRS PARRINGTON She's still a little spoilt. KATIE Nanny P! JAMES And dumpy. MRS PARRINGTON Not so dumpy. SPIROS Ah, James. Sweet baby James. When you were three. How old was he? Three or four? We used to play fight. Remember? You loved to fight. Why, you broke my nose. Yeah! Fuck that hurt! MRS PARRINGTON Spiros. SPIROS Oh. Sorry. (To THEO) Duck! I said duck. (Quacking). THEO I know what you said. SPIROS Don't tell your father. (Quaking) Harry. Thank you for phoning me. No, seriously. I'm so grateful. There's, you know... I know there's so much that we need to sort out, you and I. HARRY Well. SPIROS But we should be celebrating. Yeah? I don't drink anymore. Just so you know. But you don't have to be drunk to dance. That's what I say now. You don't have to be drunk to dance! (CONTINUED) 20 18 CONTINUED: (2) 18 HARRY Fantastic. So. Look. We're losing the house and well everything. It's only temporary. I'm in negotiations with a top corporate finance team to buy it back. But in the meantime, I need to free up some capital. SPIROS I'll give you whatever I've got but you know, I don't have much money. HARRY I don't want your money Spiro. I want to sell the Three Brothers. We'll split it 50/50. I get enough money pay the rent, pay a few bills off and it's great for you because you get some cash to do whatever it is you want to do. SPIROS You can't sell the Three Brothers. HARRY I knew it! I knew you'd be difficult. I knew it, I knew it, I knew it. You haven't changed. SPIROS No, it doesn't feel right. HARRY You're loving this. SPIROS No Harry. I want to help. HARRY Can't you see we're in the shit? MRS PARRINGTON Gentlemen, please. May I suggest we sleep on this? Before it gets out of hand. SPIROS Yeah. This is good advice Mrs P. MRS PARRINGTON Harry? Harry? HARRY Okay. Whatever. CUT TO: 21 19 EXT. PAPADOPOULOS MANSION - REAR OF HOUSE. DAY 4. 19 Music. Time lapse of evening into night.20 INT. PAPADOPOULOS MANSION - LIVING ROOM. DAY 5. 20 HARRY, JAMES, KATIE, THEO and MRS PARRINGTON are sitting on a sofa. SPIROS addresses them. SPIROS I couldn't sleep last night. Not a wink. Over and over, in my mind, I was trying to imagine selling the shop. Something here was saying, no, no. I want to help you. All of you. So I prayed for guidance. I asked the Universe. Please help me. Please help me help these people. And I must've fallen asleep not long after. A crazy sleep. And then this dream. Banayia mou. There was this, this music. The most incredible music. And you and me Harry. Running the shop. I woke with tears in my eyes and I knew. HARRY Sorry. What are you going on about? SPIROS We are going to reopen the Three Brothers. THEO Brilliant! KATIE Is he talking about us? JAMES Yeah, I think he is. HARRY There's nothing there. SPIROS Exactly. It's empty. Useless. We'd get nothing for it. But if we made the Three Brothers great again. Hey! That is our destiny! Okay. It needs work. Sure. But destiny need work. HARRY You're still crazy. (CONTINUED) 22 20 CONTINUED: 20 SPIROS We have. You. You have a better chance of getting through this if we increase the value of the shop. HARRY I'm not opening a fish and chip shop, I'm Papadopoulos & Sons, I'm on supermarket shelves. KATIE God. What would I tell my friends? JAMES Don't know, maybe the truth? KATIE (Mimicking) I don't know, maybe the truth. JAMES God. Fuck off. KATIE F.. f.. fuck you. MRS PARRINGTON Enough! SPIROS People! Hear me out. If we get it up and running again, we can sell it as a going concern instead of an empty shop. This deal you're working on could take ages. In the meantime, you're getting cash in and you're saving money because it's got two bedrooms. Eh? The Three Brothers is a goldmine. Used to be. Can be again. HARRY When did you become so practical? SPIROS I'll get it fixed. I'm a handyman now. MRS PARRINGTON I thought you were a waiter Spiros. SPIROS Around too much booze Mrs P. I went travelling. Belgium, America, Brooklyn. I ended up managing a block of apartments in LA. I do painting, decorating, plumbing, electrics, everything. (CONTINUED) 23 20 CONTINUED: (2) 20 MRS PARRINGTON A man who can fix things. SPIROS I've got a van. HARRY Oh. It's alright everyone. Don't panic. He's got a van. SPIROS Let's go look at the shop. Let me go and start working on it now. HARRY You're out of your mind. I know what you're up to. You want to make some money for yourself. That's fine. It's okay. It's okay. At least you're thinking smart these days. But don't involve us in all this. SPIROS I want to help. MRS PARRINGTON Given the current situation, I think it's worth consideration. HARRY What? I'm not opening a fish and chip shop. I'm not. I'm not! I'm not! I'm not! Not! Not! What? MRS PARRINGTON May I have a private word? Now. CUT TO:21 INT. PAPADOPOULOS MANSION, HALLWAY. DAY 5. 21 MRS PARRINGTON You're behaving like a child. HARRY Mrs Parrington, with all due respect... MRS PARRINGTON You are the father of this family. HARRY I'd rather boil my own head than go back to a chip shop. MRS PARRINGTON What a terrible thing to say. Really. (CONTINUED) 24 21 CONTINUED: 21 HARRY He's unreliable Mrs P. He's irresponsible, he's a talker. He sings. He dances. He plays the bongo drums. He's a waiter. He'll drive us all mad and leave us broke. MRS PARRINGTON He seems reformed to me. He doesn't drink anymore. I think he wants to help. HARRY Moving back to a chip shop will destroy my children's confidence. MRS PARRINGTON Seeing you behave like a spoilt brat will do that perfectly well. HARRY We're going to smell of fish and chips. MRS PARRINGTON The children need a home. I don't give a fig for your bourgeois snobbery. Look at you. Everything has to be a drama with you Greeks. Show some gumption man. CUT TO:22 EXT. SPIROS' VAN MONTAGE. DAY 6. 22 Music. We see the family get into Spiros' tatty white van. SPIROS loads up some suitcases into the back. HARRY carries his businessman of the year award. JAMES has some plants. THEO has his laptop. KATIE has designer dress bags and shoes. On the side of the van we see "The Honest Handyman" with a telephone number and the strapline, "If it's still broke... then we can't fix it. That's honesty!" The logo is a hammer with angel wings. The van pulls out of the drive.23 EXT. THE THREE BROTHERS. DAY 6. 23 The van pulls up in front of The Three Brothers Fish and Chip Shop. The door is boarded up and covered in posters. We see the old sign, "The Three Brothers". The family, still seated in the van, stare out. SPIROS So many memories. KATIE Are we really going to live in that? (CONTINUED) 25 23 CONTINUED: 23 THEO Oh. JAMES I'm trying to find something good. KATIE And? JAMES No. Nothing. SPIROS Nonsense. You'll love it! We're going to have a crazy time. We're going to fix this place up. I'm going to teach you how to do some Greek dancing, some singing. We'll fry some good fish. We'll laugh. Good times. SPIROS exits the van leaving the stunned family in silence. CUT TO:24 EXT. THE BOGAZI KEBAB SHOP. DAY 6. 24 Across the road in the Bogazi Kebab Shop, HASSAN ALI and MEHMET (his son) are standing in front of the shop. They watch as the Papadopoulos family exit the van. HASSAN I don't believe it. MEHMET What? HASSAN The Greeks are back. MEHMET What Greeks? HASSAN Those Greeks. Hello my old friends. Mehmet. Find out what they're up to. CUT TO:25 INT. DAY. THE THREE BROTHERS - RESTAURANT AREA. DAY 6. 25 We are inside The Three Brothers. We hear a jangle of keys and the door opens. The family walk in led by SPIROS. KATIE still carries her designer clothes bags and shoes, JAMES carries some plants, THEO his laptop and HARRY walks in last. It is an old fashioned fish and chip shop that hasn't traded in 30 years. (CONTINUED) 26 25 CONTINUED: 25 SPIROS See. It looks much worse from the outside. KATIE It's actually a fish and chip shop. JAMES Of course it is you spanner. KATIE Daddy. Really? THEO What's this? THEO picks out an old plaque-mounted stuffed fish. SPIROS This is Mr Charles. Our lucky fish. He helped us make the busiest chip shop in London. SPIROS takes in a deep breath. SPIROS (CONT'D) I can smell the past. Your father and I. Young. The women. Young. Making good money. HARRY Wasting it. Gambling it. Losing it. SPIROS Happy days. KATIE It's a crack den! SPIROS Don't worry. Let me show you the rest. We'll make it homely. Furniture, beds, TV. Come on. Let me show you. So... here is the prep room... The children follow SPIROS through the shop. HARRY is left looking at the place, taking it all in. He takes out his mobile and calls. CUT TO:26 INT. MORTIMER ROLF & JONES - SOPHIE'S OFFICE. DAY 6. 26 A phone rings at SOPHIE's office within Mortimer Rolf and Jones, HARRY's accountancy firm. SOPHIE Mortimer Rolf and Jones? (CONTINUED) 27 26 CONTINUED: 26 HARRY Hello. Could I speak to Rob. SOPHIE He's not at his desk. Can I take a message? HARRY It's Harry Papadopoulos. SOPHIE Oh hi. It's Sophie. We met at your office, the other day. HARRY Oh hi. Any news? SOPHIE We're lining up interest. HARRY Right. Well, I just need to know... I need to know if this is going to work. SOPHIE Rest assured. We'll be driving the herd to Abilene. HARRY Sorry. SOPHIE It's an old American, Mid-West expression. (Beat) Are you okay Mr. Papadopoulos? HARRY Yep, all good. Just keep me informed please. SOPHIE Of course. HARRY hangs up. ROB enters. SOPHIE (CONT'D) Harry Papadopoulos called. You should call him back. ROB Let's go out, yeah. Let's celebrate. Let's find... I don't know... Let's find a... salsa club or something. SOPHIE Sorry? (CONTINUED) 28 26 CONTINUED: (2) 26 ROB Daddy just put another pig in da bag. Owch! A new instruction. Wallinghams. Big UK retail chain. Established. (Wallinghams jingle) Leave it... Leave it to Wallinghams... Comfortably, elegantly, reliably. Wallinghams. (Voice-over mode) Croydon, Greenwich, Enfield, Wimbledon and... Ding! Going into administration. Coming to little old moi for services rendered. (Tommy Cooper) Thank you. Oh thank you very much. God I love an economic downturn. Joking aside though. Five thousand laid off. Sad. Very, very sad. But dear sweet mother of God it was a shit business. SOPHIE Happy days. ROB Oh yeah. Hallelujah! (He goes to exit) Six? CUT TO:27 INT DAY. THE THREE BROTHERS - RESTAURANT AREA. DAY 6. 27 HARRY is on the verge of a panic attack. He slowly starts to double numbers. HARRY Two, four, eight, sixteen... Two, four, eight... THEO (O.S.): Daddy, come at look at this giant mushroom I've found. HARRY Coming. CUT TO:28 EXT. THE THREE BROTHERS - ROOF TERRACE. DAY 6. 28 SPIROS, HARRY, JAMES and THEO walk up a steel staircase onto the Three Brother's roof terrace. SPIROS Yeah. Yeah, yeah, yeah. Hey. Remember up here? We used to bring out the tables and chairs with the other Greeks. (MORE) (CONTINUED) 29 28 CONTINUED: 28 SPIROS (CONT'D) What ever happened to Soula, Pani and Stavro? I loved that crowd. Sometimes there'd be a poker game. Sometimes dancing. We had fun. THEO Did my Daddy dance? SPIROS Yeah. I taught him. And your mother. THEO My Mummy? SPIROS Hey. Manga. This is the place where your Mummy and Daddy met. JAMES What? Up here? SPIROS Yeah. They talked all night. They danced. Yeah, there was a lot of dancing here. Hey. You want me to show you? How about it? SPIROS clicks his fingers. HARRY Spiros please. It's not a holiday. Just show everyone around. HARRY exits. SPIROS What? (To THEO) I'll show you later. (To JAMES) You alright? JAMES Yeah. No, I like the view. I might put some plants up here. CUT TO:29 EXT. THE THREE BROTHERS. DAY 6. 29 KATIE is outside the shop, having a cigarette. We see Mehmet approach. MEHMET Hello. KATIE Hi. MEHMET Do you have a light? (CONTINUED) 30 29 CONTINUED: 29 KATIE You came all this way for a light? KATIE hands him a lighter. MEHMET I'm from the kebab shop across the road. KATIE Nice. Silence. MEHMET's run out things to say. They both smoke. MEHMET My Dad wants me to spy on you. I don't think he like Greeks. (More silence) You want to go out sometime? KATIE Yeah, alright. MEHMET I'm Mehmet. KATIE It's Katie. (They shake hands) It's shit here, isn't it? MEHMET Yeah. Pretty much. (Looking around) Yeah. Catch you later. KATIE Yeah. Bye. MEHMET walks back to his shop. KATIE smiles. Music - Athina, Athina by The Trio Attico . HARRY steps outside the shop. He looks at KATIE who is still smoking. He stands there for a moment looking a little lost. He gets into SPIROS' van and drives away. CUT TO:30 EXT. CITY OF LONDON CEMETERY. DAY 6. 30 HARRY drives to a cemetery. He parks the van and exits with flowers. Harry walks through the cemetery. We see his wife's 'In Loving Memory of Elizabeth Papadopoulos 1962-2001 - Devoted mother and wife'. He lays down his flowers. CUT TO:31 INT. MORTIMER ROLF & JONES - SOPHIE'S OFFICE. DAY 7. 31 SOPHIE is at her desk. We see the same type of flowers in a vase as Harry has laid down at the cemetery. The phone rings. (CONTINUED) 31 31 CONTINUED: 31 SOPHIE Mortimer, Rolf and Jones. Oh hi Dad. Yeah, I got them. They're beautiful. Thank you. Alright. Put her on. ROB enters. ROB He's here. SOPHIE (Whispering) Right. Just a second. Hi mom. Thanks for the flowers, they're lovely. There was nothing wrong with New York. Yes, you can stay friends with Matt. And Bill and Susan. Mom, look, I've got a meeting. I don't know. Some meeting. Yeah, I promise, I will. I love you. Okay, bye. Bye. SOPHIE puts the phone down. ROB Parents. Is Matt your... SOPHIE Ex. ROB Right. A bit of a tosser, yeah? SOPHIE I wouldn't say tosser exactly. We just wanted different things. ROB Yada, yada, yada. Yeah, I hear ya. It's like me and my ex. She was keen and everything but I don't know, her forward thinking sort of killed the romance. Yeah. (Silence) It's good to have these little chats. Shouldn't always be about work. Society is so work obsessed. Tragic. Right. Back to work. CUT TO:32 INT. MORTIMER, ROLF & JONES - ROB'S OFFICE. DAY 7. 32 Seated around a conference table is ROB, SOPHIE and HARRY. HARRY studies a spreadsheet. HARRY Some big names. ROB Pap & Sons is still a cash cow. (CONTINUED) 32 32 CONTINUED: 32 HARRY What's the potential deal structure? ROB That's the pisser. SOPHIE You'd still be key to running the business, but... HARRY But? ROB Money isn't cheap Harry. These guys will want at least 95% of the company. HARRY Leaving me with nothing. I'd do the same thing. I'd be CEO of Papadopoulos & Sons. Get a salary. Get my house back. My children's future. ROB It beats fish and chips. SOPHIE You'd be working for someone else. HARRY I'd be working for someone else. By the way, I'm not actually running a fish and chip shop. Just helping my brother relaunch. ROB Sure. Listen, there maybe another way. Came up in conversation with the Norske Velconan Bank. It'd be along the lines of a straight loan to buy back the business. HARRY Why would they lend me the money? ROB Well. Let's ask them. Want me to look into it? HARRY Sure, no choice. ROB's mobile alarm goes off. (CONTINUED) 33 32 CONTINUED: (2) 32 ROB Okay. Cool. Got to go. Got an emergency with - get this - a high tech portable toilet company - that has literally gone down the tubes. (ROB holds up a flyer for the company) An internet ready, wireless, crapper with a waterproof keyboard and screen. For the love of God. Because taking a dump needed an overhaul. Still, somebody's got to bury them. Inomine patre, Spiritu, Sanctu... etc, etc. SOPHIE Got to love a downturn. ROB Laters. ROB exits. SOPHIE starts to pack her files. SOPHIE I think what you're currently doing with your brother sounds liberating. HARRY I'm liberating myself of my last 25 grand on a disused chip shop. SOPHIE But its like a startup. Isn't that the most exciting phase of any venture? Taking a bit of a risk. Developing your products and your services. Learning about your market. Look, some of the largest companies on the planet never make a profit. Like a real profit. It's all accounting tricks and leveraged debt. What I'm trying to say is, does it matter if the business is a small one? As long as it makes a profit and the people who work there are happy? HARRY What are you doing working in a place like this? SOPHIE This is only temporary. I got divorced recently. Came to London for a fresh start. I'm actually looking into setting up my own business. HARRY Well, I'm sorry about that. About the divorce, I mean. Not... (CONTINUED) 34 32 CONTINUED: (3) 32 SOPHIE I've been meaning to ask. Can I come and visit your shop sometime? HARRY There isn't one. SOPHIE When it's up and running. HARRY It's a chip shop. It's hot. On your feet all hours. Verbal abuse from customers on a Friday night. SOPHIE I wasn't applying for a job Harry. Just wanted to stop by. SOPHIE exits. CUT TO:33 INT. THE THREE BROTHERS - THEO'S BEDROOM. NIGHT 8. 33 THEO is in bed on his laptop. SPIROS knocks and enters. SPIROS It's late. What are you doing little man? THEO Trading. I watch trends. Making trades based on patterns. I don't even look at the fundamentals. SPIROS The fundamentals? THEO You know, capital employed, gearing ratios etc. Not even turnover or profit. It's short term, but I can spot a trend. I know what's going to happen. SPIROS So, you can see the future? And? THEO Same as the past. The pursuit of order from chaos. I'm done for today. SPIROS takes the laptop and closes it. (CONTINUED) 35 33 CONTINUED: 33 SPIROS Ah! Theo, Theo, Theo. Guglouthi mou. Kali Nichta. Onira ylica. Sweet dreams. THEO Uncle Spiros? You knew my Mummy. SPIROS Yes. She was... She was beautiful. And she was very kind to me. THEO I wish I had my Mummy sometimes. SPIROS It's very hard for you. THEO I'd have made her laugh, Uncle Spiro. SPIROS You make me laugh. THEO I've come out with some classics. Real gems. Wasted on this family. SPIROS Ha! You are something else. KATIE We can hear everything.. KATIE and JAMES are at the doorway. JAMES Don't fall for him Spiros. He's a little tinker. KATIE Say the magic release poem! THEO No. JAMES Actually, say it the magic release poem. THEO No... KATIE/ JAMES Theo Papadopoulos is a hippopotamus, who's always making such a fuss from his top to bottomus!!! (CONTINUED) 36 33 CONTINUED: (2) 33 KATIE and JAMES tickle THEO who squeals with delight. SPIROS laughs. CUT TO:34 INT. THE THREE BROTHERS - LIVING ROOM. NIGHT 8. 34 SPIROS opens the door on the sparse living room. HARRY is lying neatly in silk pyjamas, in a sleeping bag on a camp bed. He is staring at the ceiling. SPIROS Ah, your kids are something else. SPIROS undresses, taking off items of clothes until he is down to his boxer shorts. SPIROS then gets out an icon of the Virgin Mary. He kisses it and then crosses himself three times. SPIROS (CONT'D) Don't worry. I'm not too religious. I'm a lapsed Buddhist. I do everything a good Buddhist does except abstinence. SPIROS farts. Harry shuts his eyes and shakes his head in disgust. SPIROS then hands HARRY some ear plugs. SPIROS (CONT'D) Ear plugs. SPIROS gets into the sleeping bag and turns off the light. SPIROS (CONT'D) Oi re. This is a fantastic thing. Did you ever imagine, 30 years ago? Back here? HARRY No. SPIROS Remember how excited we felt when we got this place? It feels like that again. Hey. My gut says... push Alaskan Pollock. Over Cod! What do you think? HARRY I should never have taken out that loan. SPIROS Ah. We'll talk fish after we fix this place. (Singing) We'll talk fish after we fix this place. Katie's got some good thoughts. Says we should keep the old look. And she had some beautiful ideas about the uniforms. (CONTINUED) 37 34 CONTINUED: 34 HARRY But then, you know. The potential yield of the Plaza. Papadopoulos Plaza. Fully developed with a thousand year lease. I would have kept the freehold. I'm telling you Spiro. It was good. I'd have been worth a fortune. Worth, I don't know. One billion five. One billion six. One billion six. Big numbers Spiro. Big, big numbers. SPIROS starts snoring. HARRY puts the ear plugs in and stares out into the darkness. CUT TO:35 EXT. THE THREE BROTHERS. DAY 9. 35 We are in front of the shop. SPIROS addresses a small gathering of people who have turned up to help in the renovation. He holds a bottle of champagne. Alongside him, HARRY carries the box of cleaning products. We see JAMES, KATIE, THEO and MRS PARRINGTON. We see FAT LAKI, PHIL THE TILL, FATHER JIMMY, a Greek Orthodox priest and an assortment of Greek faces of various ages. SPIROS We were children when we came to the UK with nothing. We start again. Fat Laki. The weight you lost is an inspiration. Phil The Till. You've helped many Greeks with your tax friendly till machines. Eh, only two things are certain in life - death and taxes. Unless you're Greek. Then it's only death! (The crowd cheer). Nikos, Kyriaco, Androniki, Loula, Uncle Panikos, Aphrodite, Maria and of course, Father Jimmy. Thank you. Thank you, thank you, thank you. HARRY Didn't Father Jimmy get done for selling illegal copies of Rambo? SPIROS He's got three liquor stores in Palmers Green. HARRY He always hated me. HARRY now addresses the small crowd. (CONTINUED) 38 35 CONTINUED: 35 HARRY (CONT'D) People. Hello. Sorry. Hi. I just want you to know this is a temporary situation for the family. I'm currently in negotiations with a top corporate finance team about re- acquiring the assets of Papadopoulos & Sons. That's it. UNCLE PANIKOS What did he say? PHIL THE TILL He's had some sort of breakdown. UNCLE PANIKOS Tragic. SPIROS James, music. SPIROS nods towards JAMES who pushes a button on a his docked MP3 player. Greek music - Oba, Oba Ta Bouzoukia by the Delphi Brothers. SPIROS (CONT'D) Thank you. I officially announce the renovation of the Three Brothers. HARRY You're supposed to do that after you launch something. SPIROS To hell with convention. SPIROS smashes the bottle on the floor and rallies the assembled party who cheer 'bravo' and clap. CUT TO:36 INT/ EXT. THE THREE BROTHERS - MONTAGE. DAY 9. 36 Montage to the same music. MRS PARRINGTON picks up a tray with teas and we follow her through the shop. She stops so that people can take a mug and we see her continue her journey - all the way through the shop to outside, where we see HARRY sitting alone in the van. He's not part of the activity. We see scrubbing, cleaning, fixing. Boards are taken down. Inside we see people painting and the fish fryer cleaned. We see product displays go up. We see SPIROS with manic and crazy enthusiasm. JAMES and KATIE messing around. Finally, we see FATHER JIMMY splashing holy water, saying a prayer and making the sign of the cross over the fish frying range while others stand and watch the ceremony with respect. (CONTINUED) 39 36 CONTINUED: 36 He splashes water on those assembled. They wince as the holy water hits them. The music fades. CUT TO:37 INT. THE THREE BROTHERS - RESTAURANT AREA. EVENING 9. 37 FAT LAKI is tasting strips of kebab meat. He is making notes as he does so, marking for texture, flavour etc. Around him are SPIROS, MRS PARRINGTON, JAMES, KATIE, THEO and HARRY. SPIROS Hade re Laki. Tell us. FAT LAKI Entaxi. Don't rush me. Its been a long time since I had meat like this. FAT LAKI takes another bite and looks upwards as he chews. THEO What's he doing? MRS PARRINGTON He's assessing the competition. SPIROS E belame mas (He's driving us crazy). FAT LAKI There's a reason Hassan's still in business. Texture, very good. Way above average. Meat content. High. Mechanically recovered cheap rubbish? You wish. This is a quality donner, nicely cooked with all the right combination of herbs. It's beautiful. SPIROS It doesn't mean we can't take them on. FAT LAKI No. I'm not saying we can't. MEHMET walks into the shop and freezes. HARRY Yes? MEHMET Sorry. I... I... HARRY What do you want? (CONTINUED) 40 37 CONTINUED: 37 MEHMET That's a lot of Greeks. Katie grabs her coat. KATIE What? We're going out. MRS PARRINGTON Not too late. KATIE exits with MEHMET. MRS PARRINGTON (CONT'D) Well, she is 18. HARRY We'll make a better product at a cheaper price with larger portions. We'll lose money on the kebabs in the short term, put Turks out of business within a year, make our margins on the fish and when the rest of this crummy street has packed up we'll raise our prices and cut our portion sizes. SPIROS The entrepreneur has spoken. HARRY Hey, it's temporary, but as long as we're here we'll do some business. CUT TO:38 EXT. THE THREE BROTHERS. EVENING 9. 38 Establishing shot of the finished gleaming shop at night. We hear the sound of a sizzling frying pan. We hear the crack of an egg. CUT TO:39 INT. THE THREE BROTHERS - RESTAURANT AREA. EVENING 9. 39 An egg being broken over chips and fish scraps. SPIROS is cooking. HARRY and JAMES are sitting at a table. SPIROS You know, when he was a little boy, he'd come home from school and sit there - just like that. JAMES Who was the third b.. brother? (CONTINUED) 41 39 CONTINUED: 39 HARRY Michael. He died in the fire. With our parents, your grandparents, in Cyprus. In the war between the Greeks and Turks. JAMES How did you both escape? HARRY Spiros climbed down and Michael who was... six? SPIROS Yeah. HARRY Dropped me down. I was just a baby. SPIROS I caught him. But Michael... He. I told Mihalis to jump. But he... he ran right back into the house. We'll never know why. One night and everything changes. JAMES He probably wanted to save his Mum and Dad. SPIROS You know what? I never thought about that. You could be right. Yeah. You are a wise boy James. Your soul is old. Tell me. This has always been a big question for me. For many years. Do you think... do you think... I could've done something else? For Michael? JAMES No. You were holding a baby. SPIROS Yeah. JAMES And how old were you? SPIROS I was nine. JAMES Well, you were only a boy. Like Theo. HARRY has stopped eating. He looks troubled. (CONTINUED) 42 39 CONTINUED: (2) 39 SPIROS H? Hello? What's wrong with him? Hey. Don't worry. It's temporary! HARRY Excuse me. HARRY exits. SPIROS Did I say something wrong? CUT TO:40 INT. THE THREE BROTHERS - LIVING ROOM. NIGHT 9. 40 HARRY is lying on top of his camp bed. JAMES knocks and enters with a cup of tea. HARRY He was only nine. I never thought about how young he was. JAMES I got you this. Tea. HARRY James. Come here. Sit down. I've let you and your brother and your sister down. JAMES Dad. HARRY I made a promise to your mother that I'd take care of you. JAMES And you're doing that. HARRY This is humiliating for you. JAMES Dad, we'll get through this. Like... I don't know. Like King Lear. HARRY I don't know the story. JAMES Well, King Lear loses everything. Absolutely everything and he finds himself in the middle of this storm with nothing and all his kids h.. h.. hate him. They think he's a prick. (CONTINUED) 43 40 CONTINUED: 40 HARRY What happens to him? JAMES Well. He dies. HARRY Oh. JAMES But it has to end like that because its a tragedy. HARRY I'm sorry about your plants. JAMES I can grow new ones. HARRY Why didn't you bring more with you? JAMES I didn't want to get in the way. HARRY You're such a sweet boy. You get that from your mother. Your stammer is getting better. You know what? I'm going to go and get your plants. Now. From the house. JAMES What? Right now? HARRY I'm going to get your plants. Like King Lear. Yes? JAMES Er. Yeah. Sort of. CUT TO:41 EXT. PAPADOPOULOS MANSION. NIGHT 9. 41 HARRY is back at the old house. There is an 'Auction' sign at the entrance. We see a skip. We see him peering in through a window. He walks over to the skip and looks in. He climbs in. Inside the skip among old cardboard boxes, a broken chair etc he finds a selection of plants - some of them in pots. He picks one up, the one with the distinctive Union Jack pot, and brushes the leaves. We then see him walk off with a box of plants. CUT TO: 44 42 INT. THE THREE BROTHERS - RESTAURANT AREA. NIGHT 9. 42 SPIROS, JAMES, KATIE and THEO are making batter. It is late. They are all in their pyjamas. We see beer cans, a vodka bottle and bags of flour. The radio plays Greek music. HARRY enters carrying a cardboard box of plants. THEO Daddy! HARRY Hello. What's going on? JAMES We're making b.. batter. SPIROS Uncle Spiros' special mix. HARRY That's all I could find. JAMES Thank you. HARRY It's very late. SPIROS I said they could help. KATIE It is the holidays. THEO gets upset. THEO Uncle Spiros said I could make beer and vodka batter. SPIROS It doesn't sound very good. HARRY Hey. You can stay up. It's the holidays. Tomorrow, we'll look through the newspapers and pick out some stocks. How does that grab you? THEO Natural resources is a good buy. KATIE Hey, wait. Show us your frying skills. (CONTINUED) 45 42 CONTINUED: 42 SPIROS I was telling them how you were born with a timer in your head. How you fried to perfection every time. HARRY Not tonight. JAMES Come on Dad, show us how to fillet a fish. KATIE Go on Daddy. SPIROS Yes H. Come on. Show us. Show us. Show us! Show us! The children join in. KATIE/ JAMES/ THEO Show us! Show us! HARRY You should really be thinking about bed, all of you. Good night. SPIROS Bed? HARRY exits. SPIROS tastes his batter and is happy. CUT TO:43 INT. THE THREE BROTHERS - LIVING ROOM. NIGHT 9. 43 HARRY stares at himself in the mirror. He can hear muffled laughter from the rest of the family. CUT TO:44 INT. SPIROS' VAN. DAY 10. 44 HARRY is seated. He is fiddling with his suit and tie. He sees JAMES pushing a wheelbarrow with plants, smoking what looks like a joint. HARRY shakes his head. SPIROS gets in the van. SPIROS Alright, that's it. Where we going? HARRY City. Get a loan. Get the business back, get the house back. Does this suit look alright? SPIROS Yeah. It's a suit. (CONTINUED) 46 44 CONTINUED: 44 HARRY It doesn't. I don't know. It doesn't fit. As they are about to set off HARRY sees KATIE and MEHMET kissing in the wing mirror. HARRY CONT I don't believe it. They're kissing. SPIROS Ah. Kids. Come on. HARRY In the street? SPIROS They're smoking. They're hanging out. HARRY Are they? Are they? SPIROS What? HARRY Are they screwing? SPIROS No. They're just kissing. HARRY I've got to get out of this place. SPIROS Come on. He's a sweet guy. HARRY Out! The family is in the gutter. SPIROS You're overreacting Harry. HARRY The thought of her pregnant. In a kebab shop. SPIROS Harry. Don't worry about Katie. She can look after herself. Spiros starts the van. We see it pull away. Music. CUT TO: 47 45 EXT. INDUSTRIAL ESTATE. DAY 10. 45 We now see the van driving through London before it pulls into an industrial estate and come to a stop. CUT TO:46 INT. SPIROS' VAN. DAY 10. 46 SPIROS turns off the engine. HARRY What are you doing? SPIROS I've got something to say. HARRY About Katie? Is she pregnant? SPIROS No. HARRY Oh God. Have you've got cancer? SPIROS No. SPIROS pulls out eight or nine A4 pages of hand written notes. He takes out his reading glasses. Reading the piece of paper. SPIROS (CONT'D) Just bear with me. So. Here goes. After years of abuse on my behalf and unacceptable behavior, I reached a moment of clarity - actually this was two years ago. (Reading) I'd like to apologise for the hurt I've caused. HARRY What now? SPIROS (Reading) There were aspects of my behaviour which were unacceptable. This includes, and is not limited to. HARRY Why now? SPIROS I've been carrying this. Well, if you don't want to hear we can do it later. HARRY No. Now is fine. Now is good. (CONTINUED) 48 46 CONTINUED: 46 SPIROS Just. (Reading note paper and turning over pages) Oxi. Oxi. Skip that. (Beat) I have abused your generosity. HARRY I agree with that statement. SPIROS When we were children and got to London I looked after you. Got you ready for school. Made you do your homework. I taught you to cook, ride a bike, speak Greek. Dance. (Beat) Why don't you speak Greek re? HARRY You were reading your list. SPIROS I fought with Stephen Klein, when he accused you of stealing his orthopedic shoe. Remember that? HARRY Yeah. SPIROS Did you take it? HARRY No. SPIROS You can tell me now. HARRY I didn't steal the shoe. Are you going to read all of that? SPIROS I don't have to. HARRY Why did it go wrong with us Spiro? We may as well get to it. Why did you turn against me after I left the shop? SPIROS I never turned against you. HARRY That's what it felt like. Spiros puts the notes down. He takes off his glasses. (CONTINUED) 49 46 CONTINUED: (2) 46 SPIROS I was jealous of you. HARRY You were my brother. SPIROS Brothers get jealous. HARRY You were more than a brother. SPIROS You were my life and then you left. Gone. HARRY I set up the business. I wasn't going to stay in the shop. You could've come with me. SPIROS Harry, you were so fast. You were like a plane, like a supersonic jet. HARRY But I gave you everything you wanted. Did I ever once turn you down? In all the years after I left the business. Did I? And after it went bust? But it was never enough. Every week something new. Writing a cheque to... I don't know. You had some weird friends. Who was that bloke with the pin head? Kept turning up at the house. SPIROS None of my friends anymore. HARRY And then drunk at Elizabeth's funeral? And your big 'tell it as it is' speech. SPIROS I heard about it. HARRY That was it for me. For us. SPIROS You were right to cut me off. (CONTINUED) 50 46 CONTINUED: (3) 46 HARRY She never had a bad word for you Elizabeth. Always forgave you. And she made me forgive you. Every time. SPIROS She did. I always had a way back when she was with us. Elizabeth was so good to me. She was our world. She was our world. Harry is chocked and is trying to hold it together. HARRY I'm sorry, I can't. SPIROS It's okay H. HARRY I've got to get to this meeting. It's an important meeting. SPIROS It's okay to miss her. HARRY Oh man. (Silence) Just give me a minute. CUT TO:47 EXT. INDUSTRIAL ESTATE. DAY 10. 47 We see Spiros' solitary van parked up in ghostly industrial estate. The van eventually starts and pulls away. CUT TO:48 INT. MORTIMER, ROLF & JONES - BOARD ROOM. DAY 10. 48 SOPHIE, ROB, HARRY and LARS - a Scandinavian banker - are sitting round the boardroom table. ROB With the help of Lars and the Norske Velconan Bank, we aim to buy Pap and Sons back from the receivers. LARS Also, I have to say Harry that I believe there is an intuitive bond between the Greek and the Nordic peoples, yah? And so, maybe the very first vikings were descended from Ancient Greeks, somewhere in the deep mists of time. And so it's so... so Wagnerian, yah? (CONTINUED) 51 48 CONTINUED: 48 SOPHIE We should point out the new approach. ROB To buy Papadopoulos & Sons but divest the food manufacturing side of the business. HARRY Divest the food manufacturing? What else is there? ROB Sell off the food but keep the property. LARS Papadopoulos Plaza. It's going to be worth a fortune. HARRY That's not what I had in mind. SOPHIE It's an asset breakup. LARS Tusk. Tusk, yah? Makes us sound like barbarians. ROB With the new loan, you'd buy back your old assets and then sell off the brands in the Pap & Sons stable. LARS Yah. And you know how to squeeze the value Harry. SOPHIE That's a break up. HARRY Please. I know what it is. LARS The pitta bread, the cakes get sold to a bakery. ROB The halloumi and feta to a dairy company. LARS I love your halloumi! Grilled. It's... (Kisses air) (CONTINUED) 52 48 CONTINUED: (2) 48 ROB The sell off value of these brands will exceed the new loan. LARS So my bank will get its money back faster than you can say 'knife'. HARRY And what do you get? ROB Lars wants 50% of the Plaza development. Which is what will remain after the debts have been settled. HARRY So you get 50% of the development for free. LARS Sure, yeah. But you get 50% of the same development yah, also for free. SOPHIE What do you want Harry? HARRY I want my food business back. ROB Guy, guys, guys. Reality check. Harry. It's not going to happen. Okay? The best you can hope for is to work with Lars here and save something. HARRY I can't say no. LARS Okay. So. Yah. I need to take this to the board. Take two, three months. But pish, yah? SOPHIE It seems criminal to buy the business back only to break it up. As an aside to SOPHIE. ROB Can I just point out that you are skating. Figuratively speaking. On thin fucking ice. HARRY I'll do whatever the bank wants. (CONTINUED) 53 48 CONTINUED: (3) 48 LARS Okay! Harry, we are going to take this to the hoop, yah? Three points! Yah? Three points! CUT TO:49 INT. MORTIMER, RALF & JONES - CORRIDOR. DAY 10. 49 HARRY and SOPHIE are walking towards the lifts. SOPHIE Taking out a loan to pay off a loan? So you can remortgage a property? It's got nothing to do with business. It's got nothing to do with making stuff. HARRY I get my life back. SOPHIE No. You get a loan for some land. HARRY My children get their lives back. SOPHIE I'm sorry. This isn't very professional. HARRY Do you give all your clients a hard time Sophie? SOPHIE No. Just the interesting ones. HARRY You got five minutes? SOPHIE Yeah. Of course. HARRY Just want to talk about the shop and make sure my brother's got the right plan before I go. SOPHIE Okay. Let's grab a coffee. CUT TO:50 EXT. SOUTH BANK. DAY 10. 50 SOPHIE and HARRY are strolling along London's South Bank. (CONTINUED) 54 50 CONTINUED: 50 SOPHIE So it's 30% on materials. The fish, the potatoes, the packaging etc. Would you include energy? Light, heat? HARRY Yeah. But not rent because we already own the building. SOPHIE Okay. And 30% on labour? HARRY Yeah. SOPHIE So it's 30/30/30. Classic restaurant model. HARRY That's right. SOPHIE What are your weaknesses? HARRY The price of fish can vary. Dramatically. SOPHIE Can you vary the menu? HARRY You don't want to complicate it. SOPHIE It doesn't have to be complicated Harry. (Beat) What are your fears? HARRY My fears? Oh. Just that it just won't work out. That fish and chips has maybe had its day. SOPHIE No. Hang on a second. (They stop) Fish and chips is a British classic. It's much more than just a quick meaningless experience. It's something to be savoured. Just think of the soft, white, cod flakes, gently falling away as your fork pierces the hard, crunchy shell of the golden batter. The rich smells of a fryer's delight. The tangy smack of salt and vinegar on your lips. Hell yeah. I'd pay for that. (MORE) (CONTINUED) 55 50 CONTINUED: (2) 50 SOPHIE (CONT'D) (HARRY and SOPHIE exchange glances. They hold a look) We should talk about... We should talk about accounting packages. HARRY Yes. We should We see HARRY and SOPHIE walk down South Bank. CUT TO:51 EXT. LOCAL PARK. BRIDGE. DAY 10. 51 MEHMET and KATIE are kissing on a bridge. KATIE breaks away and stares into the distance. MEHMET What? KATIE This time last year I was in Malibu. MEHMET We'll go tonight. KATIE It's not a nightclub. It's America. MEHMET Oh. Look. The shop's where I'm from but it's not where I'm going to end up. KATIE My Dad must've said that to my Mum once. Maybe even on this bridge. MEHMET See. Look where he ended up? KATIE So, what's your plan? MEHMET Property. Got an eye for it. KATIE I'll probably be a pop star one day. MEHMET Cool. KATIE Yo, yo, yo! It's time to die... Yo, yo, blue bottle fly... (MORE) (CONTINUED) 56 51 CONTINUED: 51 KATIE (CONT'D) You is fat... You is bloated... You is fatally attracted... to my light bulb. MEHMET That is well sick! KATIE Yeah. I wrote something for you too. It's a poem. It's called, 'Sometimes I want for nothing else'. Just you and me. In an ever expanding Universe. Sharing a cup of tea. Sometimes, I want for nothing else. MEHMET Fuck. You're amazing. MEHMET and KATIE start kissing again. CUT TO:52 INT. THE THREE BROTHERS. DAY 11. 52 Food preparation montage. Music. Harry is filleting a fish. Fish is being fried. Potatoes are being sliced and fried. Pickled onions are being poured into the European Entrepreneur vase. The shop is being cleaned and the kids mess around. Fish and chips are being prepared. CUT TO:53 EXT. THE THREE BROTHERS. DAY 11. 53 Outside the shop, MRS PARRINGTON, wearing a 'Three Brothers Reopens' tee shirt, is promoting the shop by handing out some mini fish and chip samples to passers by. MRS PARRINGTON Lovely. Come and try. Fresh fish. Lovely hot chips. Come and try. Little boy. Battered inside. Special chip for you? And one for you. Fish and chips, come and try. We batter our own fish. She serves an elderly English couple. She then serves a Mum holding hands with a child, with another child in a pushchair. A gang of Asian school lads walk by. Across the road, we see HASSAN leave his shop and cross the road towards The Three Brothers. He is coming over to talk to HARRY. MRS PARRINGTON offers him some fish and chips. (CONTINUED) 57 53 CONTINUED: 53 MRS PARRINGTON(CONT'D) Sir, have a chip. Have a fish. No. None for you. Try, come and try. CUT TO:54 INT. THE THREE BROTHERS - LIVING ROOM. DAY 11. 54 HARRY and HASSAN are sitting in the living room. SPIROS sits between them. Almost like a referee. HASSAN drinks a cup of tea. HASSAN It's not just fish and chips. SPIROS There's room for all of us. HARRY What do you want Hassan? HASSAN Remember when we were children? When we were friends. We weren't Greeks, Turks. Respectfully, I would like you to take your kebabs off the menu. This is a fish and chip shop. SPIROS What do we get? HASSAN I won't do fish. HARRY You don't do fish Hassan. HASSAN You are going to put us on the street. HARRY It's business. HASSAN It's not about business. Perhaps you would not be like this if we were Greeks. HARRY I'll tell you what. We'll take kebabs off the menu, if you ask your son to stay away from my daughter. HASSAN thinks about this. He sips his tea. SPIROS More tea? (CONTINUED) 58 54 CONTINUED: 54 HASSAN No. Thank you. This is very difficult. HARRY Come on. It's easy. HASSAN My son is his own man. HARRY Right. There's no deal. HASSAN Is this because he's Turkish? Because he's a Muslim? HARRY Oh no. I don't have a problem with that. SPIROS Harry's not like that. HASSAN Because he works in a kebab shop? Is that it? SPIROS Yeah. Harry's more like that. HARRY I would ask you - both of you - to respect a man's aspiration for his daughter. HASSAN I have similar aspirations for my son. Spiro, perhaps you should remind your brother where he is now. Tell him to look around. Perhaps he still sees a big mansion with gardens and servants. Well, I don't. But more importantly, neither does my son. HARRY This is only. We'll be gone in a couple of months. HASSAN I hope so. It's going to be a very long couple of months. HARRY For both of us. (CONTINUED) 59 54 CONTINUED: (2) 54 HASSAN finishes his tea. There is an uncomfortable silence. At this moment THEO comes in with a camera and takes a photo of the three men sitting together. THEO Say cheese! Flash. The scene of the three men is captured as a still photograph. Music - 5000 Lies by George Zambetas. CUT TO:55 INT/EXT. PHOTO STILLS MONTAGE. DAY/NIGHT 12. 55 Music continues. We now see a series of photo stills, as you would find in a family album or on a rotating screen saver. The images cover over two months of activity at the shop and beyond. Some of these shots are out of focus. Some are over exposed etc. Some are badly framed. Sometimes the people in the shots are aware of being photographed, sometimes not. They rotate once every four or five seconds throughout the song. The images we see are: 1. KATIE dangling two fish from her ears as if they are earrings. 2. MRS PARRINGTON behind the counter of the fish bar having a cup of tea. 3. HARRY in his fish and chip shop coat and hat looking miserable behind the counter. 4. JAMES is sitting at one of the tables with half a dozen plants. He is repotting. 5. KATIE and MEHMET outside the shop having a cigarette. 6. PHIL THE TILL juggling potatoes. 7. HARRY on the sofa fast asleep. 8. JIMMY THE PRIEST playing cards with FAT LAKI and PHIL THE TILL. He is showing the photographer his three kings, while the other players look on bemused. 9. HARRY with a tomato ketchup dispenser goofing around. 10. MRS PARRINGTON and JAMES present FAT LAKI with a birthday cake. 11. HARRY and SOPHIE in the shop together having fun. 12. The three children, JAMES, KATIE and THEO pulling a see no evil, hear no evil, speak no evil pose on a bench, outside the shop. 13. MRS PARRINGTON being embraced by SPIROS outside his van. (CONTINUED) 60 55 CONTINUED: 55 14. MRS PARRINGTON and THEO standing outside the shop pointing at something in the sky. 15. KATIE and MEHMET flirting outside the shop. 15. SOPHIE is sitting at a table eating fish and chips with THEO. 16. The entire family behind the counter posing for a shot, as if for a local newspaper. 17. HARRY and SOPHIE sitting outside the shop, smiling. 18. SPIROS looking serious - staring out of the shop window. Unaware. 19. A shot of HARRY and SPIROS outside the shop, looking at at the camera. We are pulling out of the shot. SPIROS is happy and smiling but HARRY is stern and serious. This photo is held for longer. We pull out. CUT TO:56 INT. THE THREE BROTHERS - RESTAURANT AREA. DAY 13. 56 THEO looking at the same photo on his laptop. He closes the lid. The family is sitting at a restaurant area table - SPIROS, MRS PARRINGTON, HARRY, THEO, KATIE and JAMES. On it, there is a mobile phone. They watch it in silence. HARRY So, here we are. SPIROS Here we are. MRS PARRINGTON I'm sure it will be good news. HARRY If it's good news Spiro, I want you to have the shop. All of it. THEO Will we get to visit Uncle Spiros again? MRS PARRINGTON Yes, of course we will. SPIROS Who's going to help me to run the store? I'm going to need you little man. MRS PARRINGTON I expect Uncle Spiros will always find you a holiday job here. (CONTINUED) 61 56 CONTINUED: 56 The mobile phone rings. HARRY answers. HARRY Hello. Lars. Yeah. I'm just... HARRY steps away from the table and exits the restaurant area. We watch the family. They do not talk. HARRY comes back. MRS PARRINGTON What is it? THEO Did you get the loan? HARRY Bad news I'm afraid. KATIE Really? HARRY Yeah. We're going home! We got it! We're going home. The family's response is muted. SPIROS Congratulations. HARRY What's wrong? We're leaving, we're out of here. We got the loan. We should be celebrating. The family are still unmoved. SPIROS He's right. It's a good day. You, you made it. You're a survivor. Sorry. SPIROS shows some discomfort and starts to get up. HARRY What is it with you Spiro? Why can't you be happy for me? Whenever I have any kind success you always have to stamp on it. (Spiros gets up) Where are you going? SPIROS I am happy for you. I am. HARRY What is it? What's wrong? Spiros staggers off. (CONTINUED) 62 56 CONTINUED: (2) 56 SPIROS There is this... SPIROS collapses onto the floor. CUT TO:57 INT. HOSPITAL. DAY 13. 57 SPIROS is on an oxygen mask. HARRY, KATIE, JAMES, THEO and MRS PARRINGTON are watching him. THEO He looks dead to me. MRS PARRINGTON No, he's not dead. He's sleeping. He's still sleeping. THEO Like sleeping beauty? MRS PARRINGTON Yes. That's a good way of looking at it. SOPHIE enters. SOPHIE is carrying a cake. SOPHIE Sorry. I hope I'm not. HARRY No, no. Come in. (Indicating to James to get a chair) James, James. And take the erm... (Refering to cake) SOPHIE Yeah, I heard the news and I really wanted to bake something so I made a Greek Easter cake. Don't ask. HARRY No. That's really... lovely. Thank you very much. We'll, we'll have some of that. He's in a mild coma apparently and we have to talk to him and play music and... James, put the... turn the music on. (To SPIROS) Hey, wake up. The accountant's here. You've got to wake up. JAMES plays an Ipod in its dock. We hear the first bars of an inappropriate song. HARRY (CONT'D) James! (CONTINUED) 63 57 CONTINUED: 57 KATIE Jesus Christ! MRS PARRINGTON Katie! JAMES Sorry. It won't turn off. KATIE You're such a spanner! JAMES Fuck off slag. MRS PARRINGTON Katie! James! THEO Let me do it! HARRY Wait! I can felt something. Katie. Get the doctor. KATIE I don't want to ask. JAMES Oh for fuck's sake, I'll go shall I? James exits and fetches a female doctor. HARRY Doctor. I felt something just now. A gripping movement. DOCTOR Anything else? HARRY No, just a slight squeeze, is that a sign? DOCTOR It could be a decorticate response. It's difficult to tell. HARRY Right. How long's he going to be like this? DOCTOR He's suffered a heart attack. It's hard to predict. You should all take a break. I'm sorry about him. (CONTINUED) 64 57 CONTINUED: (2) 57 MRS PARRINGTON Yeah. Okay. We'll leave you to it. Come on. We'll just say goodbye to Uncle Spiros. The family depart. SOPHIE also goes to leave. HARRY Would you mind staying around? SOPHIE Of course. CUT TO:58 EXT. HOSPITAL. EVENING 13. 58 We see the exterior of St Thomas's Hospital in London, from the other side of the Thames River. CUT TO:59 INT. HOSPITAL. EVENING 13. 59 HARRY and SOPHIE sit at SPIROS' side. It is late. HARRY is gently singing Varka Sto Gialo (A Boat in the Harbour) to SPIROS - a traditional Greek song. He is humming the parts he cannot remember. HARRY So, he saved me twice. Once in the fire, and once after the banks. I was always embarrassed by him, you know. By his thing that he does. You know, his... 'thing'. But the thing that he does. It's a good thing really. These last few months. This year actually. This whole year. God. What a year. What a year. And yet. I've never felt so alive. I've never felt so engaged. Why is that? I mean why? I mean, I'm frying chips. SOPHIE shrugs with smile. HARRY (CONT'D) I love him. I've always loved him. And I love my children. I love... I love my life. I love it. Why is that? Why do I love it now? What was wrong with it before? SOPHIE It's okay. It's okay. HARRY It's a crazy, crazy, world. It's up, it's down. You fight. You win. (MORE) (CONTINUED) 65 59 CONTINUED: 59 HARRY (CONT'D) You lose. You become exhausted. And then you leave. There's no logic. There's no logic. It's insane. It's insane. The whole thing. SPIROS wakes. He rips out the respirator from his mouth. HARRY (CONT'D) No, no, no, no. Spiro. SOPHIE I'll get someone. SOHPIE exits. HARRY Spiro mou. Spiro mou. SPIROS Ella bethi mou. Ella tho. You have to let me go. It's good. Michael's with us. Michael. O Mihalis. He was always there. Always with us. Always. Three brothers. HARRY When I was a little boy. You cooked for me. Every time I came home. They were good times Spiro. Efharisto. SPIROS Itan Kali zoi. A good life. Now you understand. Levendis mou. SPIROS smiles. He closes his eyes and dies. CUT TO:60 INT. THE THREE BROTHERS - RESTAURANT AREA. DAY 14. 60 Fade from black. Music continues. Close up on HARRY who is sitting by himself. He has just come from the funeral and wears black. We see a hand on his shoulder. As the camera tracks back we see it is KATIE's hand. She is also wearing black. He touches it. He is starring into the distance. KATIE sits next to him. JAMES and THEO appear, also in black, and sit next to KATIE. They stare into the distance. The camera continues to track back towards the entrance of the shop. CUT TO:61 EXT. THE THREE BROTHERS - ROOF TERRACE. DAY 14. 61 JAMES and HARRY climb up the stairs to the roof terrace. HARRY stops and stares in disbelief. We cut to HARRY's POV and see a beautiful roof garden packed with plants and life. (CONTINUED) 66 61 CONTINUED: 61 HARRY Did you do this? JAMES It was for you. And Uncle Spiros. And Mum. HARRY Thank you James. JAMES points out the English Ivy in the Union Jack pot that HARRY brought back from the old house. JAMES This is the Ivy you saved, that night. HARRY We meet again. KATIE and THEO appear at the entrance to the roof terrace. HARRY (CONT'D) Did you know about this? JAMES They can all go back to the house if you want. The plants. They're quite easy to move. But they're also very happy to grow here as well. If we choose to stay. HARRY looks towards KATIE and THEO. KATIE It's whatever you want to do Daddy. We're all really proud of you. The family embrace. CUT TO:62 INT. THE THREE BROTHERS - RESTAURANT AREA. DAY 15. 62 It is another working day at the Three Brothers. HARRY, FAT LAKI and JAMES are behind the range frying and placing fried fish into the display. There are lots of customers queuing up and the restaurant is busy with customers at the tables. KATIE is taking an order. THEO, in a school uniform, and MRS PARRINGTON walk into the shop. HARRY Theo mou. Good day at school? MRS PARRINGTON Very good day. Impressed the teacher with his ability to solve quadratic equations. (CONTINUED) 67 62 CONTINUED: 62 HARRY That is fantastic. THEO Your friends are outside. HARRY looks out of the shop window. CUT TO:63 EXT. THE THREE BROTHERS. DAY 15. 63 HARRY exits the shop and is confronted by ROB and SOPHIE. ROB As you won't come to me, I thought I'd come to you. HARRY I'm not changing my mind Rob. ROB I just want to talk. CUT TO:64 EXT. LOCAL PARK. DAY 15. 64 HARRY, ROB and SOPHIE are in a park, sitting on a park bench. ROB Tell me this is a joke. HARRY I don't want to do the deal. ROB Harry, you have seriously lost the plot on this one. HARRY It just doesn't feel right. ROB We worked hard on this. SOPHIE If he doesn't want to do the deal, he doesn't want to do it. ROB Shut up. HARRY Hey. No need for that. ROB I don't understand. (CONTINUED) 68 64 CONTINUED: 64 HARRY I've got everything I want. And I've got no debt. And that feels good. When I lock up my shop at night, it feels good. I've got no debts, no loans. I own it 100 per cent. ROB Come on. A percentage of something that could be worth millions. You'd walk away from that? For a chip shop? HARRY Yeah. Right now? Yes. I would. And I'm with my children. And that's. You can't put a price on that Rob. And I'm having fun. We're having fun. Come back to the shop and let me cook you something to eat. Go on. We're doing great business. I'm actually thinking of expanding. ROB That's... That's... That's good Harry. That's, that's very good. I'm happy for you. If this is success. HARRY What is success Rob? What is it? We've both had it. What is it? Is it the share price? Is it the profit earnings ratio? Is it a beautiful car. ROB You tell me Harry. You've had it all. HARRY Yeah, I have. And I can tell you. Success is... the joy you feel. That's it. That's all it is. Success is the joy you feel! ROB Come on. Lets go. SOPHIE I don't think so. ROB Okay. I'm sorry I shouted at you. SOPHIE I don't care about that. I just don't want to work for you anymore. Rob shakes his head and walks off. (CONTINUED) 69 64 CONTINUED: (2) 64 ROB Good luck people! HARRY Best fish and chips in London! ROB Call me when you want to go public! SOPHIE I just quit my job. HARRY Yep. I think you did. SOPHIE I'm just trying to work out what I'm feeling HARRY And? HARRY and SOPHIE kiss. HARRY (CONT'D) Bag of chips? CUT TO:65 INT. THE THREE BROTHERS - RESTAURANT AREA. DAY 15. 65 HARRY and SOPHIE walk into the shop. JAMES and FAT LAKI are behind the counter. KATIE is taking orders. THEO is doing his homework with MRS PARRINGTON. HARRY Ladies and gentlemen, meet our new bookkeeper. SOPHIE Hello. HARRY You may have to take a few shifts behind the counter. SOPHIE Well. Got to learn the business from the inside. HARRY Get the girl a Three Brothers coat. FAT LAKI Yes boss. (CONTINUED) 70 65 CONTINUED: 65 HARRY We are going to build a great business, from today. SOPHIE I'm so excited. HARRY Good times, eh? SOPHIE I think so. HARRY Katie. Tell Hassan to meet me outside. Laki, bring that kebab. CUT TO:66 EXT. THE THREE BROTHERS. DAY 15. 66 HARRY, SOPHIE, JAMES, KATIE, MRS PARRINGTON and FAT LAKI meet HASSAN, MEHMET and a couple of HASSAN's family in the street outside the shop. FAT LAKI is carrying the kebab. HARRY Hassn. Thank you for coming. Laki? FAT LAKI passes the kebab to HARRY. HARRY gives it to HASSAN, who passes it to a family member. HARRY CONT Kebab's are off the menu. HASSAN You're a good man. Thank you. We see KATIE and Mehmet hold hands. HASSAN (CONT'D) We must celebrate. The Greek way. Yes? Come on. HASSAN invites Harry to dance. JAMES hits his portable stereo. We hear the opening bars of Siko Horepse Sirtaki. HARRY No. HASSAN Someone get some plates. Get everyone. HARRY No, I can't. I actually can't. I... I really don't know... I actually don't know how. (CONTINUED) 71 66 CONTINUED: 66 FAT LAKI Hade re. Just make it up. SOPHIE Come on Harry. I want to learn to. Teach us all how to dance. HARRY, without thinking starts to dance. George Zambetas 'Siko Horepse' plays. JAMES Dad. What are you doing? HARRY I think I'm going to dance. And then I'll teach you all. KATIE Go on Daddy! HARRY It's been such a long time since I did this. Amazing how it all comes back to you. Oh... This is! HARRY starts to clap to the music. The others start to clap and form a circle around him. Everyone enjoys the audacity of what HARRY is doing as he starts to dance by himself. People passing by stop to witness the spectacle. HARRY is in the middle, dancing by himself. The camera pulls back as the party of people clapping come together in a circular farandole which takes over the street. CUT TO:67 INT. THE THREE BROTHERS - RESTAURANT AREA. DAY 15. 67 THEO is at one of the restaurant tables. He is trading on his laptop. Mrs PARRINGTON comes into the shop. MRS PARRINGTON Quick. Theo. Come and see your father. He's making the most delightful fool of himself. THEO jumps down and runs out. We pick up the screen of THEO's computer. On it, we see a trading screen with THEO's name, a 'triple A' status trader logo, and a current account balance of £22 million. FADE TO BLACK. THE END 72 \ No newline at end of file diff --git a/unformated_scripts/Script_ParaNorman.txt b/unformated_scripts/Script_ParaNorman.txt new file mode 100644 index 0000000000000000000000000000000000000000..40444945676c6bb232b11285c651881575171cba --- /dev/null +++ b/unformated_scripts/Script_ParaNorman.txt @@ -0,0 +1 @@ + PARANORMAN Written by Christopher Butler 1 INT. RESEARCH LABORATORY - NIGHT 1 An attractive FEMALE SCIENTIST in a gore-spattered lab coat moves fearfully along a wall, passing benches strewn with broken lab equipment. Her ample bosom heaves as she PANTS nervously, mascara-rimmed eyes darting to and fro. Glass SMASHES on the floor nearby and MELODRAMATIC MUSIC swells. The woman backs into a shadow, not noticing a pair of dead eyes catching the moonlight behind her. The music climbs to a frenzy as something GROANS horribly into the woman's ear. She spins around on her stiletto heels as a rotted face looms out of the darkness, drooling through broken teeth, and lunges at her neck. ZOMBIE Brains! CLOSE ON the woman as she raises her hands and SCREAMS. CUT TO: 2 2 INT. BABCOCK'S HOUSE, LIVING ROOM - NIGHT Eleven year-old NORMAN BABCOCK sits on the floor watching TV. He has large piercing eyes and a messy shock of hair. The movie scene we just witnessed continues off- screen with the sound of bloodcurdling SCREAMS. Behind him sitting upon a sofa is GRANDMA BABCOCK, a plump old lady squinting through thick glasses. GRANDMA BABCOCK What's happening now? NORMAN The zombie is eating her head, Grandma. GRANDMA BABCOCK That's not very nice. What's he doing that for? NORMAN Because he's a zombie. That's what they do. GRANDMA BABCOCK Well he's going to ruin his dinner. I'm sure if they just bothered to sit down and talk it through it'd be a different story. Norman CHUCKLES, as if the idea is absurd, then winces as he hears his father shout from the kitchen. ParaNorman 2. 2 CONTINUED: 2 PERRY BABCOCK (O.S.) Norman! Didn't I tell you to take out the garbage? NORMAN Coming, Dad! GRANDMA BABCOCK Tell him to turn up the thermostat too, will ya? My feet are like ice. Norman nods to her and shuffles over to the kitchen door. 3 3 INT. BABCOCK'S HOUSE, KITCHEN - CONTINUOUS Norman's mother, SANDRA BABCOCK, is emptying the dishwasher. She is in her late thirties, and wears `mom' clothes that do no favors for her figure. His father, PERRY BABCOCK, is older, with a neatly-trimmed beard trying hard to delineate chin from neck. He stands on a chair, decked out in tool belt and safety goggles, even though he's only changing a light bulb in a ceiling fixture. Sandra smiles at her son as he makes his way silently to an overstuffed trash can as tall as he is. SANDRA BABCOCK Hi. Whatcha watching in there? NORMAN Sex and violence. SANDRA BABCOCK Oh. That's nice. Perry glares over as Norman wrestles with the garbage. PERRY BABCOCK Can't you be like other kids your age and pitch a tent in the yard, or have a healthy interest in carpentry? SANDRA BABCOCK Perry... NORMAN I thought you said kids my age were too busy shoplifting and joyriding? SANDRA BABCOCK Norman! He hefts the bag onto the floor and ties it in a knot. ParaNorman 3. 3 CONTINUED: 3 Breezing into the kitchen through the back door while CHATTING inanely on her cell phone, Norman's older sister COURTNEY is fifteen years-old and is the bleached-blonde cheerleader archetype of every schoolboy's sordid dreams. COURTNEY Oh yeah, he's r-i-double p-e-d. Like, a seven pack at least. (TO NORMAN) Ew! Watch it! She pushes her brother out of the way as he drags the garbage outside. SANDRA BABCOCK Courtney, be nice. COURTNEY Yeah, she totally doesn't deserve him. I mean, she's nice and I really like her, but she's a complete loser. Yeah, I know. Courtney slumps into a chair at the table, twisting a strand of gum out of her mouth with a finger. Norman returns inside and shuts the door, pausing a moment as if thinking something over. NORMAN Dad? Grandma says, "Can you turn up the heating?" Her feet are cold. The bubble Courtney is blowing POPS against her face, Perry rolls his eyes and GROANS, and Sandra pales. SANDRA BABCOCK Now, Perry... PERRY BABCOCK How many times do we have to go through this, Son? Your grandmother is dead! NORMAN I know! PERRY BABCOCK Then why do you keep on talking to her? NORMAN Because she talks back! COURTNEY O-M-G, you are such a liar! ParaNorman 4. 3 CONTINUED: (2) 3 NORMAN I'm not making this up! I swear! She talks to me all the time! COURTNEY Oh yeah? Prove it! Norman levels her a look that says "you asked for this". NORMAN She said it's not very ladylike to hide photos of the High School quarterback with his shirt off in your underwear drawer. Sandra and Perry raise their eyebrows. COURTNEY I knew it! You've been sneaking around in my personal stuff! NORMAN No I haven't! Grandma told me! COURTNEY You are the worst! Courtney, brimming with outrage, storms out of the kitchen, her ponytail wagging furiously behind her. Sandra kneels down beside Norman with a wearily sympathetic smile. SANDRA BABCOCK Norman, I know you and Grandma were very close, but we all have to move on. Grandma's in a better place now. NORMAN No she's not, she's in the living room. Perry throws his arms in the air, swaying on the chair. PERRY BABCOCK Your grandmother was old and sick, and she died. That's all there is to it! SANDRA BABCOCK Perry, this is just part of the mourning process. ParaNorman 5. 3 CONTINUED: (3) 3 PERRY BABCOCK Stop indulging him! I'm nothing if I'm not liberal, but that limp- wristed, hippie garbage needs to be nipped in the bud! Norman SIGHS and steps between his parents as they argue. He mutely heads out of the room. 4 4 EXT. BABCOCK'S HOUSE, FRONT YARD - CONTINUOUS The argument in the kitchen continues, slightly muted. PERRY BABCOCK (O.S.) This behavior might be okay with your side of the family, but I'm not putting up with it anymore! Not me! SANDRA BABCOCK (O.S.) Oh, not this again! PAN UP to find a light go on in Norman's bedroom window. 5 5 INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - NIGHT Norman sits on his bed, using a couple of zombie action figures to act out his parents' ongoing "discussion" which carries upstairs. Norman gets up off the bed and approaches the door. PERRY BABCOCK This isn't the West Coast, Sandra; people talk! They do! SANDRA BABCOCK (O.S.) He's just sensitive, Perry. PERRY BABCOCK (O.S.) Oh please, "sensitive" is writing poetry and being lousy at team sports... not this! I won't have him turn out like that uncle of yours! If that crazy old tramp has been around here putting ideas in Norman's head... SANDRA BABCOCK (O.S.) Perry, no one's had anything to do with Uncle Prenderghast in years! I bet he doesn't even know what Norman looks like! Norman quietly closes the door, and the room goes black. ParaNorman 6. 6 INT. MR PRENDERGHAST'S HOUSE, STUDY - NIGHT 6 CLOSE ON a faded photograph of Norman, held in the grimy hand of MR PRENDERGHAST. He stands over a dusty desk scattered with pictures of Norman, Sandra and older family members. He is in a dark study; a wall-to-wall trove of curious miscellanea and dumpster-dived junk. MR PRENDERGHAST Not much time, not much time... He pulls an old leather-bound book out from the mess, and traces a finger over a woodcut illustration on its cover; an ethereal woman lying beneath a cluster of stars. Wincing with pain, the man drops the book and clutches at his chest, COUGHING and GASPING horribly. CAMERA PANS to a wall covered in countless photographs, newspaper clippings and scrawled occult markings. It is a shrine of sorts; a madman's recondite genealogy project, and at its center is a photograph of Norman, posing with his family on vacation. ZOOM IN to the photograph, hurtling past the Babcocks and through dense trees further and further into a dark forest. TITLE: PARANORMAN 7 7 INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - MORNING Norman opens bleary eyes, turns off his zombie hand alarm clock, and slides out of bed. 8 INT. BABCOCK'S HOUSE, LIVING ROOM - MORNING 8 Dressed for school, Norman pauses at the front door and turns to look at the sofa in the living room. He waves happily, and Grandma smiles back. Courtney passes him as she comes down the stairs in the opposite direction. She also stops to look at the sofa, but to her eyes it is empty. She sneers contemptuously. 9 9 EXT. SUBURBAN STREET - MORNING Norman ambles past houses and lawns spotted with small- town America detritus; cheap plastic lawn furniture, peeling-paint fences and cookie-cutter topiary. Here the quaint colonial buildings are mostly in disrepair, their picket fences rotten or daubed in graffiti. ParaNorman 7. 9 CONTINUED: 9 Norman is watched dubiously by the occasional passer-by as he shouts amiable greetings to people who simply aren't there. NORMAN Good morning! Hey Bruce! How's it goin'? Not much. I'm kind of late for school. I need to go. Hi, nice to see you guys. Good morning. Sorry I gotta run. Excuse me. Pardon me. See ya. At one street corner, Norman bends over a gutter. He is watched curiously by a man retrieving his morning paper across the other side of the street. MAN'S POV - Norman crouches over the flattened remains of raccoon road kill. NORMAN (CONT'D) Hey there little buddy! C'mere! He realizes he is being stared at and slowly turns to face the onlooker, then hurries away. Though no one else sees them, to Norman's eyes, a whole host of ghosts are meandering through the streets. NORMAN (CONT'D) Yeah, good to see you! How you doin'? Hi Mrs Hardman. You look nice today. I like what you've done with your hair. HAIRDRYER GHOST Does anyone smell burning? HIPPY GHOST Hey, peace, man. NORMAN Totally. CIVIL WAR GHOST As you were, soldier. NORMAN Sir, yes sir! GREASER GHOST Yo Norman, you playin' hookie? NORMAN No no, I'm just late for school. Sorry, I gotta go. (to Mobster Ghost) How you doin'? ParaNorman 8. 9 CONTINUED: (2) 9 MOBSTER GHOST Hey, how you doin'? A little further along Norman nods pleasantly to the ghost of a parachutist impaled in the branches of a roadside tree. NORMAN Hi! How's it hanging? PARACHUTIST GHOST Ho ho! Haven't heard that one before. Well, it's a nice day. 11 11 EXT. MAIN STREET - MORNING Its industrial days now rusted behind it, Blithe Hollow has become a run-down tourist town, celebrating its heritage with lame fetes and crass knick-knacks. A massive billboard beside the main square reads "BLITHE HOLLOW - A GREAT PLACE TO HANG!" illustrated by a group of waving Puritans beside an equally cheerful witch hanging from a gallows. Across the street a huge banner suggests this year is particularly important for the town; "BLITHE HOLLOW - 300 BEWITCHIN' YEARS!" The town center is lacking in charm; its historical buildings subsumed into a vulgar modern thoroughfare with gaudy witch-themed shop fronts and cracked sidewalks. Everywhere Norman walks, the witch theme is prevalent. Cars have bumper stickers that extol such witticisms as "MY OTHER CAR IS A BROOM". There's a dingy bar, the BAR GENTO, and a greeting card store called BEST WITCHES. Norman hurries past SHERIFF HOOPER, a heavyset black woman, and DEPUTY DWAYNE, lanky and awkward and looking like he'd rather be elsewhere. SHERIFF HOOPER Watch and learn. "Parking violation" is my middle name. DEPUTY DWAYNE Really? I thought it was Rhona. They glance up disdainfully as Norman passes by. Clearly in this town Norman has something of a bad reputation. 12 EXT. SCHOOL ENTRANCE - MORNING 12 Norman walks up a tree lined path that leads to a squat school building. Out front, the name "BLITHE HOLLOW MIDDLE SCHOOL" is carved into an ugly hunk of granite. ParaNorman 9. 12 CONTINUED: 12 SCHOOL KIDS line the path in front of Norman; a gauntlet of jeering, merciless, pre-pubescent horror. Norman takes a deep breath as he begins his daily walk of ridicule. Most of the kids give him a wide berth, but others sneer and WHISPER as he passes. A bell RINGS the start of the school day, and everyone makes a bee-line for the building. Someone barges Norman with their shoulder, knocking his backpack to the ground. Other kids SNICKER as they step over him. As the last of them head through the lobby doors, Norman is left alone on the path. Norman bends down to retrieve his spilled possessions, and a dark shape beyond the gate catches his eye. NORMAN'S POV - Mr Prenderghast, barely visible as he stands within the shadow of a tree, stares back at him. Norman frowns and squints his eyes, but now sees only trees and shadows, so he continues up the steps. 13 13 INT. SCHOOL HALLWAY, LOCKERS - MORNING An expanse of unevenly lacquered floor, scuffed by scores of dragged heels. Rows of dented lockers line the walls. Norman stands before his locker, across which someone has daubed the word "FREAK" in marker. Clearly something of a daily ritual, he reaches inside, takes out a bottle of surface cleaner and a rag and proceeds to wipe it off. Across the hallway, another kid is removing graffiti from his locker. NEIL is overweight with frizzy red hair, and is busily rubbing a handkerchief over the word "FATTY". He watches Norman with interest. A voice behind his shoulder gives Norman a start. ALVIN Hey, ghost jerk! You know what? Norman turns to find textbook bully ALVIN, the only 6th grader in his class who shaves, looming over him. He is flanked by a couple of leering sycophants, one of whom wears a T-shirt emblazoned with "TEAM ALVIN". Norman SIGHS. NORMAN What do you want, Alvin? ALVIN Why don't you see some more ghosts, goober? ParaNorman 10. 13 CONTINUED: 13 The kids LAUGH uproariously, encouraging Alvin to show off some more. ALVIN (CONT'D) Hey! Hey! Norman! Alvin points to a fly that has landed on the locker beside him. He swats it flat with his hand. ALVIN (CONT'D) Talk to that. The kids around Alvin burst into LAUGHTER. ALVIN (CONT'D) That is so Alvin! The bullies strut away, content in the psychological damage they've managed to inflict. PUG Loser! ALVIN That was good, right guys? Norman mutters as they leave, but not loud enough so as anyone might hear. NORMAN Flies don't talk. Across the hall, Neil continues to watch with sympathy, but he is already being hurried along by his friend SALMA, a nerdy Indian kid with braces. SALMA Neil, come on. Let's go. 14 14 INT. SCHOOL GYMNASIUM - DAY Amidst stacked bleachers, foam mats and stray dodge balls, a crudely constructed stage fills one end of the gymnasium. Mediocre art class scenery represents a colonial town, complete with plywood hills, chapel and crescent moon dangling perilously from a basketball hoop. In a director's chair far too small for the job is MRS HENSCHER, an imposing woman with spectacles and beret who looks like she smells of too-much perfume. At the front of the stage wearing a pilgrim hat and carrying a large scroll, is NORMAN. He is surrounded by kids whose attempts at home made period costume leave a lot to be desired. ParaNorman 11. 14 CONTINUED: 14 MRS HENSCHER You stink of illiteracy! (A BEAT) Pilgrims? The Mayflower? Don't any of you know anything about the history of this town? Mrs Henscher tries her best to remain unfazed. MRS HENSCHER (CONT'D) Puritans were strict and devout settlers, who came here to build a home, a place without sin. What is it now Salma? Salma is holding her hand up. She looks like the Wicked Witch of the West. Even beneath green makeup and plastic warty nose, it is clear she is not best pleased. SALMA Why is the witch always a hideous old crone with a pointy hat and a broomstick? I don't believe it's historically accurate, Mrs Henscher! Mrs Henscher's knuckles clench white around her script. She attempts an understanding smile, in the same way a shark might. MRS HENSCHER It's not supposed to be. It's supposed to sell postcards and key chains. (CLAPS HANDS) So let's try it again. Top of page six, Norman. Norman skips ahead on his scroll. NORMAN The founding fathers of Blithe Hollow discovered an evil witch amongst them... MRS HENSCHER No no, Norman, with gusto! Like this! Waving her arms theatrically, she bellows Norman's lines, milking every syllable for effect. MRS HENSCHER (CONT'D) They put her on trial and hanged her! (MORE) ParaNorman 12. 14 CONTINUED: (2) 14 MRS HENSCHER (CONT'D) But the vengeful witch cursed her accusers, seven of them in all, to die a horrible and gruesome death, and rise from their graves as the living dead; their souls doomed to an eternity of damnation! (A BEAT) Now I want you to try that again, but with conviction! My reputation is at stake here, and I won't have this turn out like that wretched Kabuki debacle of oh-nine! As she launches into her lecture, Norman notices a change in the room. The lights dim, the wind outside picks up, and indistinct shapes flicker at the corners of his eyes. Norman glances around at the other kids on the stage, to see if they are seeing what he is seeing. For a split second the children are replaced with faded figures in real Puritan dress. Seven solemn figures. As he turns around nervously, Norman sees the suggestion of another place fizzing in and out of the shadows... MRS HENSCHER (CONT'D) Norman! Are you listening to me, boy? Norman is brought back to the real world with a start, and nods timidly from behind his scroll. NORMAN Sorry, Mrs Henscher. MRS HENSCHER So am I. Now, unless there's any other issues, let us resume... They put her on trial and hanged her! Neil turns excitedly to Norman. NEIL Ooh! This is my moment! He shuffles toward Salma and swings his branch around, not realizing Alvin has slung the hangman's noose around Norman's neck. Norman is yanked off balance and staggers into Neil who keels over, rigid branch arms unable to stop his fall. He lands on top of Salma, her kicking legs sticking out from under him as though Dorothy's house had just landed on stage. The kids break into uncontrollable LAUGHTER. ParaNorman 13. 14 CONTINUED: (3) 14 ALVIN Boom, baby! NEIL Sorry! Mrs Henscher flings her script into the air, her face beet red. MRS HENSCHER Oh, you useless bunch of... The school bell RINGS drowning out her howling voice. 15 15 INT. SCHOOL HALLWAY, LOCKERS - LATER As kids hotfoot it out of the building as quickly as possible, Norman stands pitiably in front of his locker. Fresh graffiti reads "SEE YOU TOMORROW, FREAK". Norman heads for the door, and pretends not to hear when Neil shouts out behind him. NEIL Norman, wait up! 16 16 EXT. MAIN STREET - LATER Norman keeps going, but Neil quickly catches up, beaming intently at the side of his head. NORMAN I keep telling you, Neil. I like to be alone. NEIL So do I. Let's do it together! You shouldn't let them get you down. They always do stuff like that to me. NORMAN Why? NEIL Because I'm fat. And my allergies make my eyes leak. And I sweat when I walk too fast. And I have a lunchbox with a kitten on it. And I have Irritable Bowel Syndrome. I guess there's a whole bunch of stuff. NORMAN Doesn't it bother you? ParaNorman 14. 16 CONTINUED: 16 NEIL Nah. You can't stop bullying, it's part of human nature. If you were bigger and more stupid, you'd probably be a bully too. It's called "survival of the thickest". 17 17 EXT. URBAN STREET - DAY Norman and Neil walk away from the school along a tree lined street at the end of which stands a huge commemorative statue. It is a grotesque effigy of the evil witch from the local legend. MR PRENDERGHAST (O.S.) Psssst! The boys stop. It seems to be coming from the witch. NEIL That statue just "pissst" at us! Wild-eyed Mr Prenderghast suddenly leaps in front of them, startling them as he staggers closer. MR PRENDERGHAST You know who I am? NEIL The weird stinky old bum who lives up the hill? MR PRENDERGHAST (points to Norman) I was asking him. NORMAN Yes. I know. I was told not to talk to you. Sorry. Mr Prenderghast steps in front of Neil, leaning closer to Norman and whispering conspiratorially. MR PRENDERGHAST And you know why you're not supposed to talk to me? Norman tries to back away. MR PRENDERGHAST (CONT'D) I can see ghosts too! And I know that's not all you've been seeing lately, is it? Bad omens? Things you can't quite explain? Strange faces peering through the veil? Norman's eyes widen further. ParaNorman 15. 17 CONTINUED: 17 MR PRENDERGHAST (CONT'D) And I'll bet no one told you about the witch's curse, did they? NORMAN Actually, we're learning about it in school..? NEIL (BEAMING PROUDLY) I'm a tree! Mr Prenderghast impatiently turns his back on Neil and leans close to Norman. MR PRENDERGHAST There's something you really need to know! This is the most important thing you will ever hear! The fate of everyone depends on it! Now listen close... The witch's curse is real, and you're the one who has to stop it! Mr Prenderghast grabs Norman's arm and leans closer. MR PRENDERGHAST (CONT'D) You've gotta use your gift of talking to the dead! He breaks into a HACKING COUGH, face turning beet red and bloodshot eyes bulging. MR PRENDERGHAST (CONT'D) Because if you don't the witch's ghost... (COUGHING) And this is the most important thing of all... You have to go up to the old graveyard and... NEIL (O.S.) Leave him alone! An apple bounces off Mr Prenderghast's head. He turns to find Neil standing behind them on the path, lunchbox open in his hand providing leftover low-carb ammunition. NEIL (CONT'D) Don't make me throw this hummus! It's spicy! Mr Prenderghast thinks better of it and turns to flee the scene. He HISSES out of the side of his mouth at Norman. ParaNorman 16. 17 CONTINUED: (2) 17 MR PRENDERGHAST This ain't done with! You'll see it soon enough! Watch for the sign! As he hobbles away, Neil peers down the street after the old man. NEIL Jeez, what a dirty old creep! NORMAN He's my uncle. NEIL So is it true? NORMAN What? Norman just stares at him. NEIL Can you see ghosts? Like, everywhere? All the time? NORMAN Uh, yeah? NEIL Awesome! Do you think you can see my dog Bub? He was run over by an animal rescue van. Tragic and ironic. We buried him in the yard. Could you see him? Norman frowns disbelievingly, completely taken aback. NORMAN Maybe. NEIL Sweet! Come on! 20 20 EXT. NEIL'S DRIVEWAY Neil forcibly drags Norman up the front driveway of a pastel-painted house. A pair of legs spotted in oil stick out from beneath a pimped-up camper van. Neil's brother MITCH calls out from under the van. MITCH Neil? That you? ParaNorman 17. 20 CONTINUED: 20 NEIL Hey Mitch! We're gonna go play with the dead dog in the garden and we're not even gonna have to dig him up first! Mitch sits up. He's a strapping six-foot jock with tattooed biceps. The kind of guy who wears year-round flip-flops. MITCH What'd you say? Mitch pulls his brother aside so as to exclude Norman, who stands awkwardly a little way away, surrounded by cheery lawn ornaments and ineptly manicured topiary. MITCH (CONT'D) Neil, isn't he that weird kid? Y'know, "Look at me, I talk to ghosts so people will pay attention to me." Mitch makes a goofy face and twitches farcically. NEIL Can you stop doing that? It's kinda stupid. MITCH Now listen to me, you don't need to be hanging out with weird people. That's a tip. Neil scowls at his brother. NEIL Don't blow this for me, Mitch. This one's not weird. He talks to dead people. Neil has had enough and defiantly walks away from his brother. 21 21 EXT. NEIL'S GARDEN - LATER Neil rummages around in the bushes of his back yard, surrounded by a gloriously tasteless menagerie of lawn ornaments. Norman stands slightly to one side surveying the rows of plastic gnomes and wondering if he should have gone straight home after all. NEIL He's around here somewhere... (A BEAT) So does everyone come back as a ghost? ParaNorman 18. 21 CONTINUED: 21 Norman hesitates. This level of interest is new to him. NORMAN No. My grandma told me it's usually people who still have stuff to figure out. Or sometimes it's the ones who died suddenly, or in a bad way. A BARK, and Norman turns to see a translucent puppy wagging its tail cheerfully, despite being chopped neatly into two halves. NORMAN (CONT'D) Bub? NEIL Is he there? How's he look? Bub BARKS, then his front half notices his tail and runs behind to sniff his own backside. NORMAN Uh... good. Bub bounds over to Neil, runs clean through his chubby calves, then doubles back for another try. NORMAN (CONT'D) He's happy to see you. NEIL ("DOGGY" VOICE) Who's a good boy, huh? Good boy! (TO NORMAN) Can he feel it if I pet him? NORMAN Yeah, I guess. Neil bends over and kisses the air by his ankles, making a "coochy-coo" face. NORMAN (CONT'D) Uh... that's not his chin. Neil stops mid-smooch, and quickly stands up. Norman watches as Neil picks up a stick and waves it in front of Bub's nose, even though he can't see him. NEIL Go get it! NORMAN He can't fetch it, y'know. ParaNorman 19. 21 CONTINUED: (2) 21 NEIL Yeah well, it's still fun. Good boy! Bring it back! Go get it, Bub! Good boy! CLOSE ON Norman as he watches Neil toss the stick back and forth across the garden. The stick lands near his feet and he bends down to pick it up. NEIL (CONT'D) Why don't you try? NORMAN `Cos I don't really, uh... You can go. NEIL No, no, it's fun! Try it! NORMAN No I don't want to. NEIL You throw it. It's really easy. NORMAN No it's okay. You can throw it. NEIL No, c'mon, it's really fun. NORMAN Here. You go first. NEIL No, you try it. I already went like fifty times. NORMAN Okay, what do I do? NEIL You get the stick, you pull it back, and you throw it! Norman throws it and accidentally hits Neil in the head, knocking him over. NORMAN Neil? Sorry! As Norman runs over to him, Neil lies on his back GIGGLING, the stick held between his teeth. NEIL I fetched it! ParaNorman 20. 21 CONTINUED: (3) 21 CLOSE ON NORMAN, as a smile creeps across his face and he starts to LAUGH. NORMAN Are you okay? CUT WIDE as the two kids enjoy their play, the sun above them breaking through the clouds in a bright blue sky. 28 28 INT. MR PRENDERGHAST'S HOUSE, STUDY - NIGHT PANTING and WHEEZING, Mr Prenderghast staggers into his study, SLAMS the door behind him and heads for his desk. MR PRENDERGHAST I'll show him, and that scary little fat kid... He shakily rummages around the collected papers and trinkets, and pulls out the leather bound book, all the time GRUMBLING crazily. MR PRENDERGHAST (CONT'D) Doesn't he realize we're running out of t... With a strangled CROAK he clutches dizzily at his chest, then keels over backwards, stiffly hitting the floor with a THUMP. Silence, then, a stream of spectral orbs sputter out of him, sculpting his shape in the air. With a GASP, Mr Prenderghast's corpse sucks the spirit back in, and he staggers back to his feet. MR PRENDERGHAST (CONT'D) No! Not yet! Not yet! He CROAKS again, this time for real, CRASHING back down onto the ground. The ghostly shape re-emerges from the body. He blinks his eyes, looking around as if he's just been woken from a deep sleep, then down at the defunct body lying at his feet. PRENDERGHAST GHOST Aw, nuts. ParaNorman 21. 29 EXT. SCHOOL - NIGHT 29 Lit by spotlights, a large banner over the entrance reads, "THE WITCH'S CURSE - presented by BLITHE HOLLOW MIDDLE SCHOOL DRAMA SOCIETY - written, produced and directed for the stage by Margot Henscher". A notice beneath it reads "SPELLING BEE - NEXT WENSDAY". A chorus of kids' voices can be heard SINGING from inside, belting out an operatic rendition of Donovan's "Season of the Witch". 30 30 INT. SCHOOL GYMNASIUM - SAME Rows of plastic chairs in front of the spotlit stage are occupied by expectant families. Among the sea of faintly buzzing video cameras, and a ripple of APPLAUSE, Sandra politely smiles at the acting talents of other peoples' children. Next to her, Perry struggles to fit a battery into his camera. PERRY BABCOCK Great, now we'll never get to remember this moment. ANGLE ON STAGE as Salma, in full witch get-up, waves her hands theatrically at the other children. SALMA I curse you accusers to die a horrible and gruesome death and rise from your graves as the living dead; your souls doomed to an eternity of damnation! The Pilgrims who aren't dying and rising from the dead begin to menace Salma with their farming implements, and begin a slow ominous chant. KIDS Kill the witch! Kill the witch! Sandra nudges her husband and cheerily points toward the stage. SANDRA BABCOCK Gosh, aren't they adorable? Norman hears a HOOTING sound from above. An owl with big glowing eyes wheels down over the audience from the beams of the gymnasium. Norman glances around, wondering why no one else seems to notice as it glides low and alights in the papier mache branches on Neil's head. It turns to Norman and HOOTS. ParaNorman 22. 30 CONTINUED: 30 He looks down from it and catches Neil's eye. Neil makes a puzzled expression. NEIL What? KIDS Kill the witch! Kill the witch! The chanting seems to deepen and slur and the air grows dark and thick. The shapes of the audience and the kids beside him swim around, blurring like a finger pulled through oil paint. The ceiling disintegrates into clouds, which CRACKLE with lightning. NORMAN (under his breath) Oh no! Not again! All around trees have sprouted out of nowhere, and through the darkness in the distance are occasional lights of small houses. This might be how this very spot looked three centuries ago. 31 31 EXT. OLD FOREST - NIGHT As Norman turns on the spot GASPING, he hears a RUSTLE in the bushes behind him and spots several dark and ominous figures in Pilgrim clothing scouring the undergrowth. PURITAN Witch! We know you're out there! Norman stands on a twig which, naturally, CRACKS loudly, and the figure turns around and points at him. PURITAN (CONT'D) There! NORMAN No! PURITAN Witch. More figures emerge from out of the darkness, wielding hayforks. They SHOUT threateningly and, as one man, surge toward him. Norman turns and runs. The trees around him are shifting, but there's no wind blowing the branches. Limbs GROAN as they twist, bearing down on him like ragged talons trying to stop his escape. Soon he can run no further, the way ahead tangled up into a wall of thorny fingers. ParaNorman 23. 31 CONTINUED: 31 Norman finds himself pushed up against the trunk of a huge tree, and a knothole grimaces at him, wood splitting open into a hag-like mouth. It furrows a mossy brow and speaks in a low rumbling voice. TREE The dead are coming! Norman GASPS and tries to push himself away, but the pursuing figures are drawing closer, and there's no escape. A familiar voice whispers out of nowhere. NEIL (O.S.) Hey buddy! Are you okay? Norman turns around to find the knothole is now Neil's face, bulging out of the side of the tree with a look of concern. This is the last straw, and Norman SCREAMS. 32 32 INT. SCHOOL GYMNASIUM - NIGHT Norman stands next to Neil on stage, eyes closed and WAILING. Everyone around him stares in stunned silence as, still SCREAMING, he runs into the spotlight. NORMAN THE DEAD ARE COMING! He continues running directly off the edge of the stage and lands on the floor with a THUMP. For a moment no one knows quite how to react. Mrs Henscher quizzically checks her script. Norman's eyes focus and he sees everyone standing around him, staring. Sandra pushes through the crowd. SANDRA BABCOCK Norman! MITCH Did he say the dead are coming? PERRY BABCOCK (NERVOUS LAUGHING) No, no, no! NORMAN YES! Everyone jumps as Norman abruptly sits up, eyes wild. NORMAN (CONT'D) The tree told me! ParaNorman 24. 32 CONTINUED: 32 Perry's face drains of color while the other parents MURMUR and MUTTER, crowd speak for "what a weirdo". Norman sees their expressions of disgust and suspicion. Worst of all, peering around parents' legs with a look of shock and fear is Neil. Norman catches his eye a moment, and Neil looks down at the ground. 33 33 INT. STATION WAGON - LATER Barely keeping his fury in check, Perry drives home, Norman sitting despondently in the back seat. PERRY BABCOCK This is where it stops! It's one thing being a mental case in front of your family, but not the whole freaking town! There's not gonna be any more talking to ghosts, or grandmas, or, or... what is it now? SANDRA BABCOCK I think it's trees. PERRY BABCOCK You're grounded! You hear me? Perry pulls the car up in the Babcock's drive and gruffly climbs out of the car. NORMAN This is ridiculous. I wish everyone could see what I see! I didn't ask to be born this way! Perry mutters as he slams his door shut. PERRY BABCOCK Funny, neither did we. Norman catches the remark and feels it hard in his gut. His mother hears it too, and leans over her seat with a look of sympathy. A beat as she sees the pain in her son's face. SANDRA BABCOCK Y'know, sometimes people say things that seem mean, but they do it because they're afraid. NORMAN He's my dad. He shouldn't be afraid of me. ParaNorman 25. 33 CONTINUED: 33 Sandra's eyes are filled with sorrow. SANDRA BABCOCK He's not afraid of you. He's afraid for you. Sadly, Norman climbs out of the car. 35 35 EXT. SCHOOL - AFTERNOON Ominous clouds roll long shadows over the school building. Norman stands at the bottom of the school steps, trying to prepare himself for what he knows is going to be a bad day. He steels himself, and SIGHS. 35A 35A INT. SCHOOL HALLWAY - MORNING Norman walks the familiar gauntlet of school kids, only this time the abuse is tenfold. KID #1 Look! It's AbNorman! KID #2 What'd the tree tell you today, Norman? KID #3 Are the dead coming soon, Norman? INT. SCHOOL BATHROOM - CONTINUOUS 36 36 An overhead bulb casts a dim light over chipped wall tiles and yellowed ceramic sinks with leaky faucets. The door opens and Norman hurries inside, a number of voices still SHOUTING behind him. He shuts the door, cutting them off, and leans against it, taking a breath. He heads over to the first stall. The door is locked, so he takes the next one. CLOSE ON Alvin, sitting on the toilet in the next stall scribbling obscenities on the wall to pass the time. He pauses as he hears the lid drop next door, then resumes his vandalism. Norman sits on the lid of the toilet, pulling his knees up under his chin feeling sorry for himself. ParaNorman 26. 36 CONTINUED: 36 ANGLE ON toilet paper in an industrial-sized roll. It jitters on its mount and begins to turn slowly on its own, unspooling sheet by sheet toward the floor. Norman frowns and watches as it stops unravelling and a draught of wind blows out of nowhere, ruffling his hair. The toilet roll suddenly spins violently, flinging the paper into the air in reams. The screws holding the dispenser to the wall RATTLE fiercely. The toilet underneath Norman begins to shake and shudder, spilling water over the floor. Norman WAILS loudly as he jumps onto the back of the cistern. Alvin is frozen in place in his stall, hearing the noises and really not sure how to react to them. He glances down and sees toilet water leaking across the tiles. He quickly pulls up his pants to cover his dignity, and jumps up off the toilet with a SQUEAL. In Norman's stall everything stops dead and the lid of the toilet slowly CREAKS open. Norman GASPS as Mr Prenderghast's face stares up at him out of the toilet bowl. With some effort the old man's ghost shimmies out of the toilet, eventually POPPING out like a cork from a bottle, hovering in the air in front of Norman's face. NORMAN You died?! PRENDERGHAST GHOST Yeah, but I got unfinished business here! NORMAN Ew! Couldn't you use another stall? PRENDERGHAST GHOST My ghost isn't going anywhere until I pass on my duty to another! And that would be you! NORMAN Me? No, you must have it wrong! PRENDERGHAST GHOST Oh it's you all right! I've been holding back the witch's curse for years, but now I'm dead. It has to be you! NORMAN But I... I don't know what any of it means! ParaNorman 27. 36 CONTINUED: (2) 36 Before Norman's eyes the bathroom stall and everything beyond it is ripped away, revealing thick undergrowth and tall trees. Norman is suddenly sat on the toilet in the middle of a forest. PRENDERGHAST GHOST It means the past is coming back to haunt you! Time is running out! The anniversary of the witch's death is tonight. Her ghost is going to wake up, and when she does she'll raise the dead! You gotta keep her in her grave! The toilet paper on the ground twists up beneath Norman's feet, sculpting skull faces and clutching hands that reach for him as he shrinks back. NORMAN But I'm just a kid! How am I supposed to stop it? In an instant the air and trees around him are eaten away, the school bathroom reappearing through the holes. PRENDERGHAST GHOST Read from the book at the spot the witch was buried! NORMAN What book? PRENDERGHAST GHOST The one in my hands! Norman looks at the ghost's wispy hands. PRENDERGHAST GHOST (CONT'D) Not these hands, my other hands! The me that's at home in my study starting to smell a little funny! Norman looks sick and overwhelmed, but the ghost doesn't let up, swirling right up to his face. PRENDERGHAST GHOST (CONT'D) Get the book and read from it! Before the sun sets tonight! NORMAN But this is crazy! PRENDERGHAST GHOST Do I look crazy to you? Norman pauses a beat. Mr Prenderghast is floating upside down, various bits of bathroom detritus orbiting around him. A piece of toilet paper dangles off his nose. ParaNorman 28. 36 CONTINUED: (3) 36 PRENDERGHAST GHOST (CONT'D) Tell me you'll do this! NORMAN I... I... PRENDERGHAST GHOST Swear! NORMAN Y-you mean like the "f" word? PRENDERGHAST GHOST I mean promise! NORMAN Okay, okay, I promise... PRENDERGHAST GHOST That'll do! Mr Prenderghast's ghost begins to disappear, bubbling and melting at the edges like a burning photograph. NORMAN No! Mr Prenderghast, wait! Alvin, hearing only Norman's voice, gingerly peeks around the corner of his stall. PRENDERGHAST GHOST Sorry kid, I'm done here! I'm free! I'm finally free! NORMAN Wait! No, you can't leave now! Please! I don't understand. Mr Prenderghast hangs in the air a moment, face scrunched up as he awaits his release, CACKLING crazily. The ghost explodes into a million particles of light, blowing open the stall door and catapulting Alvin backwards across the room. The mirrors behind him crack and the light bulb shatters. From the floor, Alvin groggily looks up and sees Norman framed in the stall with the door hanging off its hinges. He reaches over and flushes the toilet. NORMAN (CONT'D) Uh... yeah. You might want to give that a few minutes. He grabs his bag and runs out of the room. ParaNorman 29. 40 INT. SCHOOL HALLWAY, LOCKERS - CONTINUOUS 40 Norman sprints madly for the main doors, passing Neil and Salma who glance up from their lockers as he stumbles by. NEIL Norman? Alvin tears around the corner in pursuit, but Neil stands in his way, waving his arms indignantly. NEIL (CONT'D) Hey! What's the big deal? ALVIN Don't get your bra in a twist, fat boy, this has nothing to do with you! Keep out of my way! NEIL Or what? ALVIN Or I'll punch you in the boobs! NEIL I don't have boobs. These are pectorals! Alvin jabs him in the chest. NEIL (CONT'D) Ow! My boobs! Neil swiftly steps aside. Alvin reaches the door to see Norman disappearing along the path as fast as he can. Alvin YELLS after him. ALVIN You're dead, freakshow! Do you hear me? D-E-D! DEAD! You're gonna be so dead you're gonna have to talk to yourself when you're dead! 41 41 INT. BABCOCK'S HOUSE, LIVING ROOM - EARLY EVENING Wearing her fanciest dress, Sandra bustles out of the kitchen to the front door. PERRY BABCOCK I really don't think we should be leaving him. SANDRA BABCOCK Perry, you promised me a meal that someone else microwaved. ParaNorman 30. 41 CONTINUED: 41 PERRY BABCOCK He's probably up there right now fiddling with his ouija, or his orbs, or whatever it is he's got up there. This is not good. 42 42 INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - EARLY EVENING Norman paces his room looking pale and anxious as he hears the front door shut downstairs. Everywhere he turns he finds himself face to face with some zombie related novelty, from his lurid horror posters to his shelves of ghoulish action figures, and it's not doing anything for his nerves. His cell phone BEEPS from his pocket, giving him a start. He takes it out and reads a text; "COME TO THE WINDOW". Norman cautiously walks over and peers around the edge of the window frame. A figure stands motionless in the yard below, sheets of laundry billowing off the clothes line beside it. It stares up at Norman through the blank eye holes of a hockey mask. Norman GASPS and jumps back. With a frown, he re-emerges and opens the window. The figure lifts the mask, and Neil beams out from underneath, waving excitedly. NEIL You wanna play some hockey? Norman SIGHS. NORMAN I've kinda got other things on my mind right now. Neil looks a little uncomfortable. NEIL Is it all that walking dead stuff again? NORMAN Mr Prenderghast appeared to me in the bathroom! NEIL Ew. ParaNorman 31. 42 CONTINUED: 42 NORMAN No, his spirit! He says the witch's curse is real and I have to go up to the old graveyard to stop it! Before the sun sets tonight! Neil shifts uneasily as he processes. NEIL So you wanna come play a bit later? NORMAN Didn't you hear what I just said?! NEIL Yeah, but I thought my idea was less likely to get us eaten. Norman knows he's on his own in this. NORMAN Just go home, Neil. I'm better off on my own anyway. NEIL But... NORMAN Go home! Norman reaches up and closes the window. Neil's shoulders sag and he turns away. Across the room, his Grandma materializes, and squints her eyes through the window as Neil awkwardly pulls himself over the garden fence. GRANDMA BABCOCK Jeez, who rattled your chains? NORMAN No one. Norman isn't in the mood for any more discussion. NORMAN (CONT'D) Dad says I'm not supposed to talk to you any more, Grandma. GRANDMA BABCOCK Jackass. If I were a poltergeist I'd throw something at his head. Y'know, by rights I'm supposed to be frolicking in paradise with your grandfather, but I'm not. ParaNorman 32. 42 CONTINUED: (2) 42 Norman looks up as she drifts closer to the bed. NORMAN So why did you stay? GRANDMA BABCOCK I was never one for frolicking. I'll bet there's no cable or canasta up there either. Besides, I promised I'd always look out for you. She smiles, floating in a sitting position at the end of Norman's bed. She bobs gently, like a balloon. For a second, this seems to comfort Norman, but then another thought crosses his mind. NORMAN So it's your... duty? GRANDMA BABCOCK In a manner of speaking... NORMAN And you'd do it no matter what? GRANDMA BABCOCK Of course. NORMAN Even if it was something really scary... Grandma eyes him curiously. GRANDMA BABCOCK There's nothing wrong with being scared Norman, so long as you don't let it change who you are. Norman thinks this over, then smiles up at her again. She goes to rub his head affectionately, but her ghost hand just passes right through his spiky hair. She gives him a wink, and drifts away through the wall. He is still scared, but now determined too. He steels himself and grabs his jacket from his bed. 43 43 INT. BABCOCK'S HOUSE, COURTNEY'S BEDROOM - CONTINUOUS The tiny room is crammed full of posters, pom-poms, plush toys and plastic trophies. Pretty much everything is pink. Courtney sits talking on her phone, cotton buds between her toes as her painted nails dry. ParaNorman 33. 43 CONTINUED: 43 COURTNEY So I said to her, "Girl, come back and talk to me when your basket toss gets twelve thousand hits on YouTube!" Yeah, no, I said that. (listens and nods) Yeah, I'm stuck on lame patrol. Tonight's gonna be a total yawn. From downstairs, a door SLAMS. Courtney frowns, puts her hand over the phone and shouts out. COURTNEY (CONT'D) Norman?! 44 44 EXT. BABCOCK'S HOUSE, FRONT YARD - MOMENTS LATER Beneath a florid evening sky, the Babcock's drive is in darkness. Pedalling furiously, Norman rides his bike out of the shadows into the light of the street. COURTNEY (O.S.) You better not be sneaking out you little weirdo! 45 45 EXT. SUBURBAN STREET - CONTINUOUS On a street corner two teenage girls approach Alvin and Pug, who have laid out a breakdancing mat and a beatbox and are doing their best to impress. Alvin imagines he is wowing the girls with his krumping, his ham-like limbs flying around and Pug hollering support, but in truth they watch in morbid fascination. A faint CLATTERING sound down the road grows louder. Norman suddenly THUNDERS past them on his bike, spinning Alvin on the spot and knocking him onto his butt. Show over, Alvin blunders to his feet, his eyes following Norman's trajectory up the dark road, and GROWLS. 46 EXT. WOODED LANE, MR PRENDERGHAST'S HOUSE - EARLY EVENING 46 Tall conifers rise up high on either side of the road, now little more than a dirt track. Norman pedals up the hill and swerves, skidding to a stop in the gravel. He climbs off the bike, eyes fixed on a ramshackle house partially hidden in the foliage, its porch door swinging and CREAKING eerily in the breeze. He cautiously advances past a crooked mailbox on which is written "PRENDERGHAST", and steps onto the wooden porch. ParaNorman 34. 47 INT. MR PRENDERGHAST'S HOUSE, HALLWAY - CONTINUOUS 47 The fading light of day spills across the floorboards and faded wallpaper of a long passage. NORMAN Hello? Mr Prenderghast? Motes of dust float around Norman as he moves slowly toward a door, slightly ajar, muttering to himself. He quietly makes his way past all manner of objects that epitomize the state of Mr Prenderghast's mind; a mannequin in a shopping cart, a pile of broken typewriters, a suspended bag of spoons, a closet full of identically soiled hobo suits, a Nordic track... 48 48 INT. PRENDERGHAST'S HOUSE, STUDY - CONTINUOUS The study is filled with teetering piles of junk and old furniture draped over in dust sheets. A crucifix hangs over a metal cot with rumpled bedding. This is evidently where the old man lived his whole life. Starlight from a window picks out a macabre halo on a shape on the floor: Mr Prenderghast, dead where he fell, tightly clutching a leather-bound book. CLOSE ON Norman's face as he swallows nervously and steps closer to the body. He gingerly takes hold of the book and gives a gentle tug. It holds fast in the rigor mortis grasp. He tugs harder, shaking the book repeatedly, the corpse shaking with it. NORMAN Let go! Norman spends several strenuous moments dragging the body across the floorboards, Mr Prenderghast's head glancing off table legs and smacking repeatedly against the floorboards, as Norman tries to wrestle the book free. With a final yank the book pulls loose and, GASPING, Norman grips the book to his chest and runs to the door. 49 49 EXT. WOODED LANE, MR PRENDERGHAST'S HOUSE - SAME Norman careens through the door, leaps off the porch and sprints along the wooded lane up the hill, watched by Alvin, concealed behind some bushes. 50 50 EXT. WOODED HILLTOP, OLD CHAPEL GRAVEYARD - LATER Norman emerges from the woods, his long shadow preceding him as the sun begins its descent behind the tall trees. ParaNorman 35. 50 CONTINUED: 50 He pauses and stares out across weathered tombstones poking out amidst tangles of thorns. Clutching the book tight, Norman wrenches open the heavy gate, its rusted padlock crumbling apart. Eventually the track runs up to a stone slab surrounded on either side by thick bramble. Norman brushes aside vines and reads an epitaph engraved into the stone; "HERE LIES BURIED THE SEVEN VICTIMS OF THE BLITHE HOLLOW CURSE. MAY YOUR SOULS FIND EVENTUAL AND EVERLASTING SALVATION. 1712." Norman pushes through the thick bushes into a secluded plot of land behind the slab with seven gravestones sticking out from the undergrowth. NORMAN This is it! The sun continues its descent, casting an ever lengthening shadow of treetops across the graveyard. NORMAN (CONT'D) Read from the book, stop the curse, go home and pretend this never happened. Norman steels himself, opens the book and starts to read. NORMAN (CONT'D) "Once upon a time, in a far-off land there lived a king and queen in a magnificent castle..." He pauses, confused by what he's reading. NORMAN (CONT'D) What? A fairy... tale...? A hand reaches over his shoulder from nowhere, whipping the book out of his grasp. He spins around to find Alvin standing behind him. ALVIN What ya got there, Geekula? Norman launches himself at the book, but Alvin holds him back at arm's length. NORMAN Give it back! ALVIN Can't wait to see everybody's faces when they hear about this one! ParaNorman 36. 50 CONTINUED: (2) 50 NORMAN No, don't! Alvin! ALVIN Hey! Nobody makes me miss out on a possible date with a girl that almost had some interest in talking to me. Yeah? Thought so! You got nothin' to say! NORMAN Uh-oh. ALVIN Dang straight "uh-oh". That's what happens when Alvin gets around here. Uh-oh is that Alvin? Uh-oh Alvin's gonna make me run home to mommy. As Norman twists and wrestles against the bully the turbulent clouds in the sky above them twist and coalesce into the vague semblance of a huge grinning face. The face of a witch. There is an enormous RUMBLE and a flash of lightning silhouettes the boys. ALVIN (CONT'D) Uh-oh. What is that? The wind has picked up, HOWLING through the gravestones. Norman looks at the face leering out of the clouds. NORMAN It's her! Another violent CRACK of thunder and flash of light, and the wind instantly cuts out. The boys stand stock still. Reaching down like a colossal arm, a great plume of cloud spirals over the cemetery, enveloping the tumbledown chapel and seeping around the gravestones. Fingers of murky fog slither across the ground, occasionally pausing and hanging in the air as though sniffing it. There is something eerily playful in the movement of the tendrils. The boys are jolted as an awful high pitched SCREAM blows through the graveyard like a shockwave, pulsing through the fog like a heartbeat. Norman and Alvin cover their ears and cower as the fog suddenly rears up like a claw and fiercely gouges into the earth in front of the boys. ParaNorman 37. 50 CONTINUED: (3) 50 Silence, then the ground begins to RUMBLE beneath their feet and ripples beneath the tombstones. Stone slabs GRIND and shift. One CRACKS right through the center. ALVIN What's that sound? Norman watches, horrified, as the wet earth atop one of the graves splits and a skeletal hand bursts through! Norman watches as more graves bulge and break open and mud-encrusted shapes begin to emerge through the earth. The air is filled with anguished MOANING, the glowing fog dancing and whirling about the hatching figures. The two boys are rooted to the spot, mouths hanging open. CLOSE ON one of the figures crawling out of the ground into a patch of moonlight. Ragged and rotten it wears the mud-encrusted clothes of a colonial Puritan. It stares down at its hands, almost in disbelief, then lifts its face up to the sky and lets out a HOWL. Thunder that sounds like deep and abysmal LAUGHTER echoes through the turbulent clouds. The boys find themselves backed up against another headstone, this one engraved with the name "JUDGE HOPKINS". They leap aside as the ground swells beneath their feet, and the DEAD JUDGE punches through the dirt, bolt upright. His face wears a rictus grin and he looms over the boys like the Grim Reaper in a powdered wig. He tilts his head curiously when he sees the book in Alvin's hand, and HISSES through yellowed teeth. Norman makes a last ditch attempt at reading the book as the Dead Judge approaches, the other zombies gathering behind him. NORMAN Once upon a time in a far-off... Once upon a... In a... ALVIN Make it stop right now, please! NORMAN It's not working! The Dead Judge gives a hideous GROWL, but Norman frowns, confused, because he can hear words. DEAD JUDGE STOP!... YOU... MUST... STOP! ParaNorman 38. 50 CONTINUED: (4) 50 ALVIN Norman? What are you doing? I think I peed my pants! Survival instincts finally kick in and Alvin makes a run for it, scrambling through the graves toward the gate. NORMAN Wait! Norman follows, leapfrogging over headstones. 52 52 INT. NEIL'S HOUSE, LIVING ROOM - CONTINUOUS Neil sits on the floor in front of a huge TV, remote control in hand, as the doorbell RINGS loudly from the hall. MITCH (O.S.) Neil! Will you get the door? NEIL I'm busy! MITCH (O.S.) Are you freeze-framing Mom's aerobics DVD again? ANGLE ON TV, with a still image of a Lycra-clad instructor bending over. Neil quickly turns it off. NEIL No! The doorbell RINGS again. MITCH (O.S.) Neil! Would it kill you to get off your butt and answer the door? 53 53 I/E. NEIL'S DRIVEWAY, FRONT PORCH - CONTINUOUS COURTNEY I'm gonna kill them. She impatiently leans down to push open the mail slot. COURTNEY (CONT'D) I know you're in there! Slumber party's over, dorks! The door opens and she finds herself face to navel with Mitch, out of the shower with a towel around his waist. ParaNorman 39. 53 CONTINUED: 53 MITCH Um, can I help you? COURTNEY (under her breath) Hell yeah. Courtney catches herself and quickly affects a LAUGH. COURTNEY (CONT'D) Sorry to bug you so late, but does, erm... (checks page in hand) ...Neil live here? MITCH Yeah, he's my brother. COURTNEY Oh wow! That's great! Your brother and my brother are like best friends! I'm Courtney. She tries to regain her composure as Mitch turns away. MITCH Hey Neil! You come here a minute? There's a girl asking for you. Neil's face emerges dubiously from a room down the hall. Courtney flashes her widest fake grin and puts on a high pitched sing-song voice. COURTNEY Hey there! How ya doin'... little guy... NEIL Neil? COURTNEY Yeah, Neil. Do you know where Norman is? He kinda disappeared. NEIL Oh no... (CATCHES HIMSELF) ...idea! I have no idea where he is. Sorry. Bye! Neil goes to turn around but his brother stops him short. MITCH Whoa, Neil! Better start talking, buddy. ParaNorman 40. 53 CONTINUED: (2) 53 NEIL I didn't really think he was serious about going up to the old graveyard on his own! COURTNEY So Norman! MITCH Oh, man. That place is bad news! Total slasher movie vibe! Why'd he go up there? NEIL I don't know. Maybe we should go look for him. MITCH I told you he was trouble. (TO COURTNEY) Sorry. But I did. COURTNEY No, it's fine. He sucks. But I really gotta make sure he doesn't die or anything tonight. Will you help me? Please? Mitch gets an eyeful of her best damsel in distress act, then SIGHS. MITCH Okay... I guess I should go get some clothes on. Courtney gives a disappointed WHINE as he heads off down the hall, shoving Neil's head as he goes. NEIL Uh, is Norman in trouble? 54 54 INT. MR PRENDERGHAST'S HOUSE, HALLWAY - LATER The front door is kicked open and Norman and a near hysterical Alvin rush inside, slamming and locking the door behind them. ALVIN Are they gonna try to eat our brains?! NORMAN I think you'll be safe. ALVIN Oh, thank God! ParaNorman 41. 54 CONTINUED: 54 He manages to think this through, and frowns. Alvin watches curiously as Norman turns his attention to the book, frowning as he runs his hand over the embossed leather cover. NORMAN I don't get it! Why didn't it work? He opens the book and leafs through page after page of ornate calligraphy and woodcut illustrations. NORMAN (CONT'D) "The Story of Sleeping Beauty". This doesn't make any sense! His mind racing, Norman heads off along the hallway. ALVIN Wait! Where are you going? 56 56 INT. MR PRENDERGHAST'S HOUSE, STUDY - CONTINUOUS The room remains as before, with Mr Prenderghast's corpse lying on the floor. Norman enters with purpose and approaches it, leaving Alvin horrified in the doorway. Norman crouches low over the body, holding the book out in front of Mr Prenderghast's blank eyes. NORMAN Mr Prenderghast, I don't understand! Tell me what to do! ALVIN Dude, what are you doing? NORMAN (points to corpse) He told me to read from the book to stop the curse! I thought it was a spell or something, but... Norman narrows his eyes as he sees Mr Prenderghast's desk, still strewn with pictures and newspaper clippings. He hurries over and begins rummaging through the mess, scattering papers across the floor. NORMAN (CONT'D) Come on! There has to be something... ALVIN I really need to get home! I've got like a seriously early curfew. (MORE) ParaNorman 42. 56 CONTINUED: 56 ALVIN (CONT'D) My mom gets really upset when I'm not... Something CLUNKS loudly from down the hall, sending Alvin into a desperate babbling panic. ALVIN (CONT'D) We gotta defend ourselves! We gotta shoot them in the head with like silver stakes or something! I'm way too awesome to get eaten! Norman, are you listening to me? You really have to do something! Norman uncovers a couple of faded photographs of the old graveyard. One is of the seven tombstones, the other is of the stone marker, which reads "HERE LIES BURIED THE SEVEN VICTIMS OF THE WITCH'S CURSE..." Beside the photos is a torn page from an old book. An engraving illustrates the seven members of the witch's trial, solemnly seated at a bench within the courthouse. NORMAN Seven victims... Frowning, Norman glances up and sees a page from an old book tacked to the wall. It is an illustration of a hideous old crone, cackling evilly. Another THUMP from down the hall. Norman looks again from the photographs in his hand to the image of the old witch. There's something he's not seeing... He looks at the pictures in front of him. Graves. Jurors. Witch. NORMAN (CONT'D) Seven graves. (EYES WIDEN) The witch's grave! It wasn't there! He turns to Alvin. NORMAN (CONT'D) I was reading the book in the wrong place! Down the hallway, another loud THUMP. NORMAN (CONT'D) Hide! ParaNorman 43. 57 INT. MR PRENDERGHAST'S HOUSE, HALLWAY - CONTINUOUS 57 CLOSE ON the door knob RATTLING furiously, then a CRACK as a mottled hand punches it right through the wood. A figure limps slowly into the hallway, dragging one crippled foot behind the other. It stops halfway along and tilts its head, as if listening, and emits a dire MOAN. More shapes appear behind it in the doorway and fan out along the hallway. 58 58 INT. MR PRENDERGHAST'S HOUSE, STUDY - CONTINUOUS The boys tremble in their hiding places trying not to make a sound; Alvin crouched behind a stack of books and Norman lying underneath the bed. The footsteps grow louder as the zombies shuffle into the room. NORMAN'S POV - rotten legs step up to Mr Prenderghast's body, lying where he fell on the floorboards. Two withered feet suddenly step right up to the bed. Something drops onto the floor inches in front of Norman's face with an unpleasant SLAP. Norman's eyes bug out as he realizes it is a zombie's dislodged ear. A weltered arm reaches down to grope around for the body part, until Norman pushes the ear, as carefully as he can manage, back into the zombie's fingers. The hand retreats back out from under the bed. There is a loud SCREAM as Alvin, unable to contain himself any longer, jumps out from his hiding place and makes for the door. The corpses look up as he disappears down the hall, then stagger after him. Norman takes this chance to follow, but the Dead Judge blocks his exit. They both stand quite still, staring into each others' eyes. The corpse tilts its head, almost quizzically, and its eyes widen as it notices the book under his arm. Norman steps sideways to run past it, but the corpse does too. Both it and Norman step one way, then the other, and back again. Norman feigns one direction and quickly bolts in the other, past the corpse and out the door. 59 59 INT. MR PRENDERGHAST'S HOUSE, HALLWAY - CONTINUOUS Alvin reaches the front door and throws it open. Directly in front of him is another zombie on the doorstep, opening a mouth full of jagged teeth. Alvin SCREAMS like a little girl, smacks it ineffectually with his spatula, and the door is abruptly SLAMMED in the zombie's face, a surprised and muffled GROAN coming from the other side. ParaNorman 44. 59 CONTINUED: 59 Alvin, still screaming, looks down to see Norman beside him, leaning against the door. The Dead Judge leads the advance of zombies down the hall toward them. Norman hears his MOAN. Norman swings the door back open, the zombie on the other side moving with it, teeth firmly embedded in the wood. As it attempts to pry itself free, Norman grabs Alvin by the arm and they both dart onto the porch behind its back, headed for the road. NORMAN Come on! 60 60 INT. MITCH'S VAN - SAME Mitch drives along dark roads. Neil sits behind him looking bemused while Courtney, in the front passenger seat, extols her life history. COURTNEY And she said I could totally consider a career in formation swimming. But I was like, "I wanna do something that helps people less fortunate than me", thank you very much, y'know, like the poor or people who are like dying or ugly or something, `cuz I really think that ecology and world peace are like totally important today. Do you use free weights? Your deltoids are huge. MITCH I've never used deltoids in my life, I swear. You can test me. Neil lies back in his seat, eyes rolling. NEIL Kill me now. COURTNEY Thank you for doing this Mitch. He means an awful lot to me. I love him like he was a brother. NEIL He is your brother. Courtney counters the backseat barbs by smiling demurely, but Mitch's attention has been drawn by something else. MITCH Whoa! Look at that sky! ParaNorman 45. 60 CONTINUED: 60 The wooded hill rises steeply a few miles in front of them, and at its top is the old chapel. Pressing down upon it, huge seething thunderclouds shift into otherworldly shapes. Mitch and Courtney are mesmerized. Neil suddenly points past Mitch's face. NEIL Look out! Mitch slams on the breaks, twisting the wheel. MITCH Oh no! 61 61 I/E. MITCH'S VAN ON WOODED ROAD - CONTINUOUS Running down the middle of the road, blinded by the glare of the van's headlights, are Alvin and Norman. The van swerves around them and grazes the trees, the side mirror flying off as it hits a branch. Mitch fights to control the van as Courtney SCREAMS. NEIL That was Norman! Shaken, Mitch realizes another figure is looming out of the darkness in front of them. He slams on the brakes again, but too late. The tall dirty-looking figure stands stock still as the van plows straight into him. Dust flies up from the wheels of the van as it skids to an eventual stop in the center of the road. 62 62 INT. MITCH'S VAN - CONTINUOUS Mitch turns to everyone as he pulls off his seat belt. MITCH Is everyone okay? Courtney and Neil answer in unison, both of them upside down in their seats with their legs sticking up in the air. COURTNEY NEIL No! No! Mitch, trying to stay calm, looks in his rear-view mirror and sees a prone shape on the ground some yards back. ParaNorman 46. 63 EXT. WOODED ROAD - CONTINUOUS 63 Mitch climbs out of the van and sees the figure lying still on the moonlit road. He nervously jogs over to it. As he gets closer, Mitch can see the man more clearly. He is wrapped in filthy tattered clothing of a bygone era and is covered in dirt. Flies BUZZ around him. MITCH Er... hello, sir? He hunkers down and is immediately hit by the stench. A mud-encrusted face stares up at him. ANGLE ON the van, as Courtney leans her head out. COURTNEY Is he dead or what? MITCH I... I don't know! He's not moving! The figure's head lets out a faint GASP. MITCH (CONT'D) He's still breathing! Mitch reaches out to gently lift the figure's head but as he does, there is a CRUNCH and it comes off in his hands. COURTNEY So he's okay? MITCH Uh... not exactly. COURTNEY What? What did you just say? Mitch looks from the head back to the van, then at the head again. He licks his lips nervously as he thinks. MITCH Does anyone know CPR? Further down the road, Norman runs back toward the van, Alvin still in tow. He sees Mitch ahead of him, getting dizzily to his feet, still holding the head. NORMAN Run! The head in Mitch's hands suddenly GASPS again, opening its mouth. Mitch SHRIEKS as the headless figure on the road sits up and reaches out its arms. Mitch drop kicks it like a football. It flies, WAILING, into the bushes. ParaNorman 47. 63 CONTINUED: 63 As if struck by the same blow, the rest of the corpse staggers backwards. Alvin and Norman run past him toward the van, bustling past Courtney and clambering inside. More corpses are emerging from the trees on either side of the road. She SCREAMS and leaps back into the van, as Mitch leaps into the driver's seat beside her. 64 64 INT. MITCH'S VAN - CONTINUOUS MITCH Did you see that? COURTNEY That was insane! MITCH I know, right? I kicked that like a hundred yards! COURTNEY Norman, what just happened?! ALVIN Zombies! I swear, okay? We saw them burst out of their graves! For real! He realizes Mitch and Courtney are staring at him, and tries to disguise his raw panic with nonchalance. ALVIN (O.S.) (CONT'D) (TO COURTNEY) Just so you know, I totally saved his life, and I could totally save yours. COURTNEY (O.S.) Sorry, who are you? ALVIN (O.S.) I'm Alvin. I'm in his class. Norman, not so easily distracted from the problem at hand as the others, glances uneasily through the window. NORMAN'S POV - The zombies lurch arthritically toward the van, GROANING and GURGLING. NORMAN Uh, guys... maybe we should actually drive away now. MITCH Oh, right. ParaNorman 48. 64 CONTINUED: 64 Mitch starts the engine with a YELL, just as the nearest zombie leers in through the window. 65 EXT. WOODED ROAD - CONTINUOUS 65 CLOSE ON the front wheel, spinning and SQUEALING. The van spits out a cloud of exhaust fumes as it accelerates away. A beat as the smoke clears. The soot-covered zombies SPLUTTER as they cough up what's left of their lungs. They turn from one to the other, awaiting direction from their leader. But the Dead Judge is nowhere to be seen. A zombie points down the winding road where the woods eventually thin out into leafy suburban drives. The ragged shape of the Judge is clinging to the back of the van, thrashing around and WAILING as it picks up speed. The zombies quietly watch until the van moves out of sight behind the trees, then turn their attention to the lights of the town center below them. They weigh up their options and, MOANING, shuffle toward civilization. 69 69 EXT. SUBURBAN STREETS - NIGHT Further down the hill, Sheriff Hooper is taking a break from ticketing borderline traffic violations by drinking a giant malt shake in a plastic cup. She leans against her parked motorcycle, squinting up at the unnatural clouds. SHERIFF HOOPER Pesky kids with their cell phones burning up the oh-zone, that's what this is! She finishes her shake and throws the non-recyclable cup into the bushes. Mitch's van shoots past at high speed in a cloud of dust. SHERIFF HOOPER (CONT'D) What the..? Hooper watches the van tear away, the dark shape of the Dead Judge visibly clinging to the back doors, his voluminous cape flapping out behind him like a windsock. 70 70 EXT. WOODED ROAD, MITCH'S VAN - CONTINUOUS Unseen by the kids, the Dead Judge claws his way up the rear doors of the van by his ragged fingernails. ParaNorman 49. 71 INT. MITCH'S VAN - CONTINUOUS 71 Courtney lets out an infuriated GROWL. COURTNEY I just knew something like this was going to happen tonight! MITCH You did? Wow, `cos that zombie bit really threw me. Courtney turns in her seat and glares at her brother. COURTNEY Why d'you have to go and get everyone involved in all your weird stuff?! NORMAN Well, you weren't supposed to follow me, were you? NEIL Sorry. My fault. When I'm nervous I get mouth diarrhoea. ALVIN Ha ha! Diarrhoea! COURTNEY Oh my gosh, I think I'm having an aneurism! This is so typical of you! NORMAN You don't understand! I'm the only one who can stop this, Courtney! COURTNEY Oh, I understand! I understand that this is all getting completely out of... The van's sunroof is suddenly ripped open, and the Dead Judge's arm reaches down into the vehicle, clawing inches above Courtney's head. COURTNEY (CONT'D) ...HAND! The Dead Judge leans further into the van, MOANING horribly. He seems to have his sights set on Norman, and reaches one arm down toward Norman and the book peeking out of his shoulder bag. Norman shrinks back as the zombie GROANS horribly. ParaNorman 50. 71 CONTINUED: 71 Alvin disappears behind the back seat with a WHIMPER, but Neil valiantly leaps into the fray, wrestling the clawing fingers away from his friend. NEIL Whaddawedo? Whaddawedo? Mitch?! MITCH I don't know! I don't know! NEIL You're the oldest! MITCH Not mentally! Mitch hears a SIREN wail out behind him, and looks in his mirror to see the flashing light of Hooper's bike. MITCH (CONT'D) Oh great. The cops. Hooper pulls level with the passenger seat window, waving angrily. SHERIFF HOOPER Pull over the vehicle! The Dead Judge leans further into the van, Neil hanging off him like a pendulum. COURTNEY Norman! How do we stop them?! Norman looks again at the book in his hands. NORMAN I'm supposed to read from the book at the witch's grave! NEIL We've got to go back to the graveyard? NORMAN She wasn't buried with the others. I don't know where else to look... COURTNEY Well you better think of something quick! Norman wracks his brain. NEIL I have an idea! ParaNorman 51. 75 INT. SALMA'S BEDROOM - NIGHT 75 Salma sits at her computer in an immaculately tidy bedroom. Even her collection of dolls are flawlessly groomed and sit on a shelf looking like they're waiting to be called in for an interview. Salma talks into her cell phone with an expression of withering disdain. SALMA So Norman, let me get this straight; you guys all go on this big supernatural adventure and you're calling me in the middle of the night because you need someone to help you do your homework? INTERCUT KIDS IN THE VAN/SALMA Norman talks into his cell phone, occasionally ducking as Neil's flailing limbs are shaken from side to side by the GROWLING upside down zombie hanging above their heads. NORMAN Uh... yeah. 76 76 EXT. WOODED ROAD - CONTINUOUS Hooper steers her bike closer and swings her backside into the side of the van in an attempt to ram it off the road. The van lurches, flipping the Judge up and over the front of the vehicle, planting his face with a SQUELCH against the windscreen. 77 77 INT. MITCH'S VAN - CONTINUOUS Neil drops back down onto his seat. The Dead Judge's arm, torn off at the shoulder, is still clutched in his hands. He stares down at it, wide-eyed, as it wriggles like an animal in his grasp. The Dead Judge slides slowly down the windscreen of the van with a dull SQUEAK. COURTNEY Mitch, do something! Mitch flicks on the windscreen wipers, which wipe the zombie's rotten flesh from side to side across the glass. Mitch and Courtney's eyes follow the Judge's movements from side to side. ParaNorman 52. 77 CONTINUED: 77 Behind them, Neil SQUEALS as the dismembered arm crawls all over him, fingers scuttling like a spider's legs. The arm frees itself from Neil and turns on Norman, leaping at him like a viper. Norman holds the book up as a shield, and manages to swat the zombie arm away, flipping it across the front seat, where it lands on the back of Mitch's neck. Mitch SCREAMS as the rotten hand clamps down onto the top of his head, and madly tries to shake it off. It hangs onto him grimly, bony fingers hooked around his nostrils. With Mitch no longer steering, the van swerves crazily across the road, shaking the Dead Judge off the windscreen. He disappears under the front of the vehicle, his one remaining arm clinging onto the underside. INTERCUT KIDS IN THE VAN/SALMA Norman shouts pleadingly into the phone as he and Neil are flung violently from side to side across the back seat. NORMAN Salma! We need to find out where the witch is buried! I went to the old graveyard but her grave wasn't there! SALMA Well, duh. People found guilty of witchcraft weren't considered people anymore. Norman, your witch was buried someplace else... in an unmarked grave! (REPROACHFULLY) If you cared to pay attention some of the time, you would know that we covered this in fifth grade history class. NORMAN Salma! Please! Hurry! Y'know, I would Google this myself if there wasn't a 300 year old dead guy trying to rip my face off! With a SIGH, Salma types at her computer. SALMA Okay. It says here she was tried in the old Town Hall on Main Street. There may be a record of her execution and burial in their archives. ParaNorman 53. 77 CONTINUED: (2) 77 Norman listens intently then shouts over to Mitch, still struggling with the zombie hand gripping his face. NORMAN Quick! She said go to the Town Hall! 79 79 EXT. WOODED ROAD - CONTINUOUS Mitch hangs a sharp right and accelerates off the road and into thick undergrowth, sending up showers of twigs and thorns. Close on his heels, Hooper swerves her bike around in pursuit. 80 80 EXT. SUBURBAN STREETS - NIGHT The six zombies inexorably continue their march, breaking cover from outlying woodland into the suburban streets of the town proper. At the bottom of a long driveway, spotlit by a street lamp, Mrs Henscher is taking out the trash in her bathrobe. She looks up from her garbage as the zombies approach. Her face is caked in a terrifying green avocado face mask. Barely a few feet in front of her, a similarly green face stares back, only this one has been dead for three hundred years. Henscher SCREAMS, bolting down the street like a runaway locomotive. 81 81 EXT. WOODS, MITCH'S VAN - CONTINUOUS The van ploughs through bracken and bushes at breakneck speed. A little way behind, Hooper careens precariously in the van's wake. 82 82 INT. MITCH'S VAN - CONTINUOUS Mitch finally manages to pry the Dead Judge's arm off his head. He throws it, thrashing around violently, over his shoulder. Alvin lifts his face tentatively over the edge of the back seat to see what's going on. The zombie arm plants him in the eye, sending both sprawling against the floor. Alvin SQUEALS as the arm snakes around his neck into a bizarre approximation of a wrestling hold. ParaNorman 54. 83 EXT. WOODS - CONTINUOUS 83 Mitch swerves his van down the hill toward the more affluent suburbs of the town. Hooper's police bike bounces along behind them, red light flashing and SIREN wailing. 84 84 INT. STATION WAGON, NEARBY ROAD - CONTINUOUS Perry and Sandra Babcock are driving home from their evening out. Neither look especially happy. SANDRA BABCOCK I really think it might help if you tried to see things from his point of view. PERRY BABCOCK I don't want to. 85 85 INT. STATION WAGON - CONTINUOUS The Babcocks' discussion continues as they drive. SANDRA BABCOCK Perry, not believing in the Afterlife is like not believing in Astrology. PERRY BABCOCK I have no idea what you're talking about. Seriously, where did you learn that? SANDRA BABCOCK Calm down. Perry rolls his eyes and GROANS. 86 86 EXT. SUBURBAN STREET - CONTINUOUS Mitch's van explodes out of the thinning woods and back on to the winding hill road. Hooper careens through the trees behind it, but fails to make the turn and smashes through a fence across the other side of the road into a suburban back yard, splinters of fence showering down in her wake. Scattering lawn ornaments, plastic garden toys and deck furniture, Hooper rides directly up a kids' slide, shooting high up into the air like a rocket. ParaNorman 55. 87 EXT. SUBURBAN INTERSECTION - CONTINUOUS 87 Preceded by an ear-splittingly guttural WAIL, Mrs Henscher runs through the streets, waving her arms about hysterically. Moments later, the Babcocks' station wagon pulls around the corner. 88 88 EXT. SUBURBAN INTERSECTION - CONTINUOUS Mitch's van SCREECHES through the intersection, swerving in front of the Babcock's station wagon, which veers wildly as Perry brakes hard. He leaps out of the car as the van drives away. PERRY BABCOCK Delinquent drivers! Where are the police when you need them? Hooper's bike hurtles through the air and bounces off the hood of the station wagon with a CRUNCH. Before Perry can react he is buried under the mass of Sheriff Hooper, dropping like a meteorite onto his head. 89 89 INT. MITCH'S VAN - CONTINUOUS The kids, hanging on for dear life, hear a loud CRUNCH from the back of the van. They all turn to see the van's rear doors ripped open. Silhouetted in the space is the one-armed Dead Judge, cape muddied and torn from his crawling back out from the vehicle's undercarriage. The zombie lunges toward the startled kids, and MOANS. Mitch turns his attention back to the road ahead, but too late, and he YELLS as green-faced Mrs Henscher runs SQUEALING into the van's headlights. Mitch throws all his weight onto the wheel, tires SCREAMING as the van misses Henscher by inches. The violence of the turn flings the Dead Judge backwards like a slingshot, disappearing out of the doors and shattering into a dozen pieces as he SMASHES into the hard road. 90 90 EXT. SUBURBAN BACK YARDS - CONTINUOUS Having completely lost control, Mitch's van ploughs through cookie-cutter back yards. ParaNorman 56. 90 CONTINUED: 90 It bounces down the hill, flipping over and over, the kids inside tossed around like rag dolls. Somewhat the worse for wear, it eventually comes to a stop in a parking lot, neatly crashing into an empty space. 91 91 EXT. PARKING LOT - CONTINUOUS The kids clamber out of the far side of the van. MITCH Oh my gosh! I'm gonna be sick! COURTNEY Oh, I broke a nail! As Alvin climbs out, he gingerly holds up the Judge's arm, as if it were a dead animal, and dangles it limply in front of his face. ALVIN Yeah! Alvin the zombie slayer! I got you... The hand suddenly bends back on itself, slaps him on the face, and as he SQUEALS it drops to the ground and skitters away into the shadows. Mitch sizes up what's left of his van, and bids a tearful farewell. MITCH (WHISPERS) Baby, I'm so sorry. You'll be alright. We're gonna get through this together. Courtney pouts moodily when she realizes the tender words aren't for her. Norman looks up at the sky. A thick bank of cloud looms over the town, and in its center is the unmistakable otherworldly face, ebbing in and out of visibility, and grinning horribly. NORMAN Uh oh. C'mon! NEIL Oh yeah! Neil HUMS his very own action movie score as he runs to follow Norman out of the parking lot. ParaNorman 57. 91 CONTINUED: 91 COURTNEY Perfect. Now the geeks are in charge. The kids make toward the parking lot exit. 93 93 EXT. MAIN STREET ALLEYWAY - SOME TIME LATER The town center retains even less charm when the sun goes down, and its remaining denizens are now drunk, high or looking for trouble. Provided one requires alcohol, junk food or pharmaceuticals, it's the place to be. A ruddy-faced drunk, SLOB GUY, inserts a few coins in a vending machine at the end of an alley, and waits as the metal coil inside curls a candy bar toward the front of the machine. The man notices the approaching figures further down the back street and frowns. He turns back to the machine, waiting. The zombies draw closer, GROANING, and the man fidgets uncomfortably. The man begins WHIMPERING. The candy bar slowly shifts forward. The zombies are close enough to touch. The man YELLS and runs away, leaving the candy bar to drop to the machine's trough with a CLANG. A beat then, still SCREAMING, the man runs back to the machine, grabs his candy, then runs away again. The Undead emerge onto Main Street, and slow down as they take in their surroundings. VARIOUS ANGLES ON the garish town center nightlife intercut with CLOSE-UPS of the wide-eyed zombies. -Two teenage girls in mini-skirts walk along the curb. A pickup truck crawls by, driven by red necks who wolf- whistle and gesture rudely. The girls GIGGLE. -In the nearby "GOBBLER'S" parking lot, a huge woman sits in her vehicle cramming a burger into her mouth. As she bites down ketchup spatters across the inside of the windscreen like arterial spray. -A corpse stands agog before a billboard. The poster is for a line of "Lady Luck" lingerie and features a buxom woman in her underwear draped over a roulette wheel. The tagline is "FANCY YOUR CHANCES?" The corpse's one eye pops out of its socket and dangles by its optic nerve. -Outside the Bar Gento, LOUD MUSIC and raucous revelry blare out into the street. ParaNorman 58. 93 CONTINUED: 93 -A group of loitering teens cluster in a group, some sitting upon a stolen shopping cart, others kicking a tin can from one to the other. One daubs misspelled naughty words on the wall beside them. Another is attempting to use his bare hands to rip open a parking meter. -Another corpse stands in the light of a store window, a bank of TVs showing all kinds of programs. Racing car explosions; scantily-clad singers gyrating in music videos; talking animals and Viagra commercials. QUICK CUTS OF ZOMBIE CLOSE-UPS as they all raise rotten fingers to their mouths and SCREAM. Slob Guy suddenly bursts out of the door of the Bar Gento, dragging a group of dubious drinkers. SLOB GUY See! I told you! Zombies! It's the witch's curse! Everyone in the street freezes in place, wide-eyed. Someone GASPS. SWEET GIRL Mama? RAPPER GUY What? A couple of the zombies exchange glances, waiting for the other shoe to drop. GUCCI LADY What should we do? Barely skipping a beat, the townsfolk shift seamlessly from shock and awe to bullish aggression. Crystal pulls a pump-action shotgun from somewhere about her person and scowls menacingly. CRYSTAL Kill them in the head! Within seconds, the seedy-looking townsfolk have armed themselves with pool cues, mops, toilet plungers and any other household implements that can be waved threateningly, and the mob advances on the group of quivering zombies. 94 94 EXT. URBAN STREETS - CONTINUOUS The disembodied Judge's arm skitters along a secluded street, eventually coming upon the rest of the Dead Judge, sitting in the gutter trying to arrange and re- attach his body parts in the right places. ParaNorman 59. 94 CONTINUED: 94 Having SNAPPED his head back onto his neck, the Judge scoops up his remaining arm and gets unsteadily to his feet. 103 103 EXT. MAIN STREET - MOMENTS LATER NORMAN Hurry! This way! Norman leads the way, but stops dead as they run headlong into a scene of zombie invasion mayhem. Townsfolk fill the streets, SHOUTING and acting generally mob-like. One or two of them have even got hold of burning torches from somewhere. It's apocalyptic chaos. The fat woman from the Drive-Thru runs past SCREAMING, her face and T-shirt covered in blood-red ketchup. COURTNEY Oh, this is awful! The zombies are, like, eating everyone! Norman points beyond the bedlam to the dark shape of the Old Town Hall in the plaza. NORMAN C'mon! They skirt around the edge of Main Street, avoiding flying bottles and limbs as best they can. Following the noise, the Judge staggers along some way behind. He surveys the scene as he emerges, his featureless face doing a nevertheless effective job of expressing horrified shock. After a moment, he comes to his senses, and spies the kids in the distance. A look of resolve crosses his face, turning quickly to surprise as a SHOT rings out nearby. The Judge looks down to a large hole blown through his midriff. Framed within it is Crystal, several feet away, rifle smoking. He looks up again, weighs up his chances, then lets out a ROAR of retreat to his beleaguered companions before running off into the shadows. Those zombies who haven't already tried to run for cover manage to extricate themselves from the frenzy and follow the Judge's CRY, some of them breaking into a sprint. 106 106 EXT. TOWN HALL PLAZA - NIGHT Formerly the district courthouse, the Town Hall has now been relegated to storing the local archives. ParaNorman 60. 106 CONTINUED: 106 It is an old timber building, surrounded by graceless modern office blocks around the cobbled square. The kids race across the plaza, pausing to catch their breath at the ugly witch statue in front of the Town Hall. They GASP as they slow their pace. NORMAN Is everyone alright? Nobody got bitten? Neil flops down heavily against the statue, panting and holding his mouth. NEIL (MUFFLED) I bid dy tongue! Dud dat count? Norman moves toward the steps leading up to the Town Hall's doors, the rest of the gang falling into line behind him. Another flash of lightning paints the kids' shadows across the width of the square. Norman nervously watches the clouds above them. NORMAN Does anyone know how to pick a lock? Everyone immediately looks at Alvin. ALVIN Sure. Picking locks is my thing. Alvin walks over to a notice board beside the door, upon which is a poster for a "CRIME PREVENTION SEMINAR". He yanks it out of the ground, hefts it through the window, then reaches through to unfasten the door latch. ALVIN (CONT'D) Boom. 107 107 INT. TOWN HALL LOBBY - CONTINUOUS The kids hurry through the door. The lobby is dark, but moonlight glistens off polished wood through a lofty circular window. Norman shouts out from the other side of the lobby, where he stands beside a door labelled "HALL OF RECORDS".. NORMAN This is it! ParaNorman 61. 107 CONTINUED: 107 NEIL This is? NORMAN Now we can find out where the witch was buried! Norman pushes his shoulder against the door and steps inside. 108 108 INT. TOWN HALL ARCHIVES - CONTINUOUS The door swings open and reveals a labyrinth of shelves and glass cabinets stretching out into the shadows in front of him. Row after row of dusty cardboard file boxes and ledgers stacked one on top of another. Norman stops in his tracks, color draining from his face. NORMAN Uh-oh. Courtney follows, faking enthusiasm. COURTNEY Great! I'm super psyched! This is turning into the most fun night ever! The overhead light clicks on as Alvin steps into the room behind her and GROANS. ALVIN Man. Zombies take over the world and we lock ourselves in a library. Are you kidding me? There's an adult video store just across the street! Neil is more optimistic, and brightly makes his way over to a shelf, and pulls down a slim ledger. NEIL This'll be a piece of cake, you'll see. He pauses, and frowns, squinting up his eyes as he reads aloud, very slowly. NEIL (CONT'D) Page... One... Okay, page one. Mitch hefts a particularly heavy box file off a shelf. He seems to read the filing notes written across its front, then ignores them and begins curling it like a dumbbell. ParaNorman 62. 108 CONTINUED: 108 MITCH I really hate these places. Norman sizes up the masses of documents all around them, face panicked. It would take days to go through them all. NORMAN Come on! No, that's not it. Time is running out! 110 EXT. MAIN STREET - CONTINUOUS 110 Sheriff Hooper looks around and sees an awful lot of armed people beginning to bay for blood, and she sees trouble on her hands. SLOB GUY Ain't room for no more zombies in this town! Standing behind him, Teddy agrees with a slack-jawed MOAN. TEDDY Yeah. 104 104 INT. STATION WAGON - NIGHT Perry drives into town in silence, his nose bloodied and stuffed with tissues. Sandra sits beside him and Sheriff Hooper is in the back seat, scouring the streets. SHERIFF HOOPER Would've been a quiet night too, if it hadn't been for those meddling kids. Huh! As Perry and Sandra exchange uneasy glances, Hooper suddenly points through the windshield to the riot in progress on Main Street. SHERIFF HOOPER (CONT'D) Sweet baby jinkies! 105 105 EXT. MAIN STREET - CONTINUOUS Perry brakes hard just a few feet in front of the advancing mob, moving menacingly en masse in pursuit of the fleeing Undead. Hooper bustles out of the car, making a beeline for Deputy Dwayne. Crystal turns and fires into the street, taking out a lightbulb over a store sign. A dog somewhere in the shadows YELPS and runs away. ParaNorman 63. 105 CONTINUED: 105 Sheriff Hooper is outraged, and snatches the gun out of Crystal's hand. SHERIFF HOOPER What do you think you're doing, firing at civilians? That is for the police to do! DEPUTY DWAYNE It's okay Sheriff, we've only been shooting at the dead ones! It's the living dead, come to take us all to Hell! We gotta stop them before they get away! 109 109 EXT. TOWN HALL - MOMENTS LATER In the alley down the side of the old Town Hall, the zombies tiptoe through the shadows. They look slightly the worse for wear; some have lost limbs, others have large holes in them. One has a toilet plunger stuck on her head. The Dead Judge looks up at the sky. The turgid supernatural storm RUMBLES closer, pressing down upon the nearby rooftops. The Judge motions to the other zombies to hurry, and grabs hold of the Town Hall's side door. He rips it open, and furtively motions the zombies to file inside. 110 110 EXT. MAIN STREET - CONTINUOUS SHERIFF HOOPER Move along now people, there isn't anything to see here! The townsfolk around her refuse to be allayed by this. Perry and Sandra have emerged dubiously out of their car and watch from the periphery, utterly bewildered. Mrs Henscher, newly arrived and wearing her avocado face mask like war paint, shakes her shotgun and points down the street. MRS HENSCHER I saw them! I saw them! The zombies are in the Town Hall! The information sweeps across the crowd like wildfire. Several faces turn to Henscher, who is pleased to have an engaged audience and hams it up shamelessly, coming on like Braveheart in curlers. ParaNorman 64. 110 CONTINUED: 110 MRS HENSCHER (CONT'D) Cry "Havoc!" and let slip the dogs of war! The faces around her don't react; waiting patiently for a clearer translation. MRS HENSCHER (CONT'D) Let's rip `em apart! Mrs Henscher points the crowd toward the Town Hall. Despite Hooper's protests, the townsfolk are on lynch mob auto pilot and surge like a force of nature along the Main Street toward the Town Hall plaza. 111 111 INT. TOWN HALL, ARCHIVES - LATER Dozens of books and cardboard boxes lie scattered across the floor. The glass cabinets around the room have been ransacked as the kids drag documents off shelves and rummage through binders. Norman sits on the floor flipping through sheet after sheet of records. Courtney wades through documents toward him, holding up a fist full of old rolled-up papers. COURTNEY We're not going to find it in here, Norman! This is useless! ALVIN Yeah, I know, and it's also really boring. MITCH I thought I was driving the van. No one told me I was gonna have to do this other dumb stuff. NORMAN If I'd known there was so much reading involved, I would have brought a completely different group of people who hate me. Neil suddenly YELLS out victoriously. Everyone turns to him, hardly believing he might have found the answer. He waves a book triumphantly above his head and grins at everyone. NEIL Yes! Book number one! Finished! That is right, twenty six pages, oh yeah! Everyone GROANS and turns back to their bickering. ParaNorman 65. 111 CONTINUED: 111 COURTNEY I can't believe this is your plan! I'm gonna get bitten and start eating peoples' brains! I'm supposed to be Vegan! Mitch suddenly SHOUTS out from the doorway. MITCH Guys! There's something moving out there! I think it's the zombies! ALVIN (HYSTERICAL) Hide! MITCH Oh, no it's not. It's just grown- ups. ALVIN (MORE HYSTERICAL) Hide! 112 112 EXT. TOWN HALL - SAME The square outside is awash with threatening townsfolk, led by Mrs Henscher and Deputy Dwayne. Some charge up the Town Hall steps, JEERING and WHISTLING. 113 113 INT. TOWN HALL LOBBY - CONTINUOUS Blurry silhouettes move across the outside of the window, occasionally SMACKING against them with their fists. A brick SMASHES through a window and CLATTERS across the floor between Courtney's feet. 114 114 INT. TOWN HALL ARCHIVES - CONTINUOUS The kids start to hurry toward the lobby, leaving Norman sitting amongst the spilled documents. MITCH That sound. Y'know what that is? That's not awesome... things... NORMAN Guys, come on! ALVIN Just give it up, weiner! NORMAN We have to keep trying! ParaNorman 66. 114 CONTINUED: 114 COURTNEY We tried and look what happened! (SIGHS) I'm scared, Norman, and I can't listen to this any more. Norman looks at the faces in front of him. The kids are scared and confused and angry. Even Neil has nothing encouraging to offer. Norman's brow furrows. NORMAN You never listen! No one ever listens! I'm scared too, but I've still gotta do this. COURTNEY I do too listen! And whatever it was you just said, it's not working! You think you're going to go out there and do your talking to the dead thing and this is all going to be okay? What are you going to do, ask the zombies not to eat you? NORMAN I should've known you wouldn't understand! No one ever does! COURTNEY Norman, you need to stop all this weird stuff and start living in the real world! NORMAN Everyone in the real world thinks I'm a freak! And you know what, maybe they're right, maybe I am a freak! But I never asked for your help... just go! Get out! Courtney, Mitch and Alvin back off a half step as Norman advances on them. MITCH Jeez, that was dramatic. Courtney shoots him a look as if she's about to fight back, then shakes her head and shoves her way through the door. She turns to go, snapping at the other kids behind her. COURTNEY C'mon! ParaNorman 67. 114 CONTINUED: (2) 114 One by one, the kids turn and file out, but Neil still insists on remaining, folding his arms defiantly. NEIL I'm not going anywhere. You can't make me. Mitch shrugs and picks his brother up, scooping him under one arm and carrying him out the door. MITCH Dude, you're really heavy. NEIL I'm not speaking to you. You can't make me. Norman watches the doors shut behind them, and his anger begins to ebb. Alone in the archive room, he slumps to his knees feeling useless and frustrated. 115 115 INT. TOWN HALL LOBBY - CONTINUOUS In the lobby, no one can hear him over the sounds of the mob. The kids have nervously approached the barricade at the front door, hoping to appeal to the figures outside. COURTNEY Um, excuse me? Hello? Unmistakably living hands and arms suddenly SMASH through the barricade, clawing into the Town Hall. The kids recoil from the windows, SCREAMING as they bat ineffectually at the grasping hands. 116 116 EXT. TOWN HALL - CONTINUOUS Slob Guy reaches in through a gap in the broken woodwork, managing to grab a hold of something. SLOB GUY They're in there alright! I can feel its clammy flesh! 117 117 INT. TOWN HALL LOBBY - CONTINUOUS Neil SCREAMS as Slob Guy gropes at his chubby arm. 117A INT. TOWN HALL ARCHIVES - CONTINUOUS 117A Norman notices his backpack on the floor in front of him, the book of fairy tales poking out. He picks it up and runs his hand absently over the embossed leather cover. ParaNorman 68. 117A CONTINUED: 117A Something CLATTERS behind him, and Norman hears someone approaching. NORMAN Hello? He turns around to face his friend and finds himself staring up at a zombie, moving toward him along the dark aisle, pale moonlight shining off its exposed bones. Norman GASPS. He realizes zombies are converging on him from all directions, barring his way out through the door. The Dead Judge GROANS as he approaches. Norman backs away, clutching the book to his chest. Out of the corner of his eye Norman spots another doorway in the shadows of the wall behind him and moves toward it, calling out desperately. NORMAN (CONT'D) Help! Somebody help me! 118 118 INT. TOWN HALL STAIRWELL - CONTINUOUS Norman runs up a tight stairwell leading to the roof of the building, the zombies just a few steps beneath him. 119 EXT. TOWN HALL - CONTINUOUS 119 MRS HENSCHER Let's burn `em out! Obligingly, a couple of townsfolk hurl Molotov cocktails at the windows. 120 120 INT. TOWN HALL LOBBY - MOMENTS LATER The kids manage to pull back just as a burning bottle flies over their heads, SHATTERING glass. It lands in the middle of the room and a puddle of burning alcohol spreads across the floorboards. Tendrils of black smoke are also beginning to creep under the edge of the front door. The kids stand in a group, terror-stricken as the smoke thickens and flames begin to lick along the floor. Courtney is quick to lose what remains of her composure. ParaNorman 69. 120 CONTINUED: 120 COURTNEY We're all gonna DIE! 121 EXT. TOWN HALL, ROOFTOP - CONTINUOUS 121 Norman heaves himself through a tiny hatchway onto a flat roof at the highest point of the building. He shuts the hatch, inching away as the zombies beneath beat on it with their hands. Norman finds himself backed up against a flimsy wooden rail, which CREAKS warningly. He leans over and sees the square beneath, filled with angry people. He has nowhere left to run. Above him the red sky RUMBLES, clouds churning into a ghastly grinning mouth. 122 122 EXT. TOWN HALL - CONTINUOUS Far below, the gathered townsfolk grow increasingly erratic. A pair of visiting tourists happily take in their surroundings with their cell phones and cameras. Sandra tugs at her husband's arm as they are buffeted by the increasingly erratic townsfolk. SANDRA BABCOCK Oh my gosh, do you think this has got anything to do with Norman? Perry waves her hand away irritably. PERRY BABCOCK Of course not! He is interrupted by a SHOUT as someone sees Norman's tiny figure silhouetted against the raging sky on the roof of the building. LIBRARIAN Everyone look! Perry and Sandra see their son begin gesticulating wildly at the clouds. SANDRA BABCOCK Perry, do something! He cups his hands around his mouth and YELLS at Norman. PERRY BABCOCK Norman! Get down from there this instant! You're supposed to be grounded! ParaNorman 70. 123 EXT. TOWN HALL, ROOFTOP - CONTINUOUS 123 Distraught, Norman bellows into the sky, waving the book angrily above his head. NORMAN You horrible old witch! Is this what you want? The roiling face above him seems to CACKLE mercilessly. 124 124 EXT. TOWN HALL - CONTINUOUS The mob begins to lurch to all new stupid conclusions as Norman waves his arms at the clouds. MRS HENSCHER Necromancer! FEMALE TOURIST This is all his doing! SANDRA BABCOCK Norman! Perry feels the shift in the crowd. They're not just baying for blood. They're about to start baying for his son's blood. 125 125 EXT. TOWN HALL, ROOFTOP - CONTINUOUS Norman continues YELLING at the sky, waving the book. He madly flicks through the pages, attempting to read aloud over the ROARING wind. NORMAN Once upon a time in a far-off land there lived a king and queen... in a magnificent castle... The horrible cloud face above him CACKLES monstrously, drowning out the story. NORMAN (CONT'D) Why won't you listen to me? Why are you doing this?! The face in the clouds turns inside out as a tongue of lightning spits out. It SMACKS into the book held in front of Norman's chest, lifts him up off his feet and throws him back onto the old timbers of the roof. The air is knocked out of Norman as, trailing smoke, he SMASHES through the wood into the fiery chasm of the building beneath. ParaNorman 71. 125 CONTINUED: 125 CAMERA follows him as he plummets, SCREAMING, and is enveloped in thick black smoke. There is a loud THUD, and silence. 126 126 INT. TOWN HALL, OLD COURTHOUSE - CONTINUOUS Norman lies on the floor, shifting painfully. With some effort he sits up, rubbing his head. The book in his hand is now a blackened cinder with a large smoldering hole gouged through the middle. Norman realizes he is no longer inside the burning building. Around him indistinct shapes begin to pool into clarity. He is in the courthouse, but three hundred years ago, and a trial is about to begin. A crowd of onlookers gather around a platform at the head of the room where officious-looking gentlemen in austere Puritan clothing stand around a table. Two dour men in black skull caps are seated, an empty chair between them. Norman moves unnoticed through the crowd toward the platform. The hubbub of the townsfolk dies down. The imposing figure of Judge Hopkins, tall and august, marches out of a side chamber, steps up onto the wooden dais and seats himself silently between his solemn peers. He glares down at Norman with cold, humorless eyes. JUDGE HOPKINS Agatha Prenderghast of his Majesty's Province of Massachusetts... As the Judge's voice continues, Norman sees played out against it a MONTAGE of the preceding court case. The notary stands up, waving a wad of testimonies. JUDGE HOPKINS (V.O.) (CONT'D) ...on this day you have been arraigned for the horrible crime of witchcraft... A pale woman fiddles nervously with the ribbon on her bonnet as she is questioned by the Judge. JUDGE HOPKINS (V.O.) (CONT'D) ...witnessed by those whose testimonies have been heard. A wiry woman with a pinched face gestures fearfully with her arms as she recounts her evidence. ParaNorman 72. 126 CONTINUED: 126 JUDGE HOPKINS (V.O.) (CONT'D) You have, by this court, been found guilty... NORMAN No! A young farmhand bows his head shamefully, as he adds further ammunition to the prosecution. JUDGE HOPKINS (V.O.) ...and it is passed on you, according to your grievous crimes... Another village woman SOBS into a handkerchief as she tells her story. QUICK CUTS of the accusers, one after the other, as the Judge finishes his verdict. The notary, the preacher, the townsfolk. All point at Norman. JUDGE HOPKINS (CONT'D) ...execution. Camera swings slowly around Norman to reveal AGGIE PRENDERGHAST, standing in chains right behind him. AGGIE No! Norman reacts with horror. The "witch" cowering next to him is no more than eleven years-old. Her long hair is unkempt and dirt on her face is streaked with tears from her eyes. Her manacles have been specially made to fit her tiny wrists, and weigh her to the floor. She SNIFFS, scared and confused. JUDGE HOPKINS Do you have anything to say for yourself? AGGIE I was only playing! JUDGE HOPKINS Aye, with fire! You were speaking with the dead! The crowd GASPS and MURMURS fearfully. JUDGE HOPKINS (CONT'D) I'll not risk damnation on these good people. The town Sheriff grabs Aggie by the shoulder. ParaNorman 73. 126 CONTINUED: (2) 126 JUDGE HOPKINS (CONT'D) You are to be taken to the place of execution where you will be hanged by the neck until you be dead... Norman shouts out but no one can hear or see him. NORMAN Wait! No! You can't do this! The grim-faced Sheriff moves toward Norman and Aggie. She backs away, tears flowing down her face. AGGIE I didn't do anything wrong! A terrible panic comes over her face. AGGIE (CONT'D) Stop! Leave me alone or I'll make you sorry! I'll make all of you sorry! Norman feels unsteady on his feet, the room seeming to spin around him. The faces of the townsfolk, pale and skull-like, swirl around and around, blurring together. In the center of it all, glowing like a bonfire, Aggie SCREAMS. The world turns black and Norman collapses in a faint. 127 127 INT. TOWN HALL ARCHIVES - CONTINUOUS NORMAN'S P.O.V. - the high timbers of the hall roof swim into focus, and then faces peering down at him. Skeletal, rotting faces. The dead Puritans are standing around him in a half-circle. He sits up terrified, and looks around, shuffling back across the floorboards on his bottom. The dead villagers stand where they are, staring intently. Norman sits a moment, heart pounding, WHISPERING SHAKILY. NORMAN How could you?! She was just a little kid! She was no different than me! The Dead Judge takes a step forward. NORMAN (CONT'D) Keep away from me! The Dead Judge stops, then opens his horrible mouth and speaks in a guttural voice. ParaNorman 74. 127 CONTINUED: 127 DEAD JUDGE You... must... stop... the... curse. A beat. Norman is stunned. NORMAN What? You don't want to kill me? The Judge shakes his head and points down at the book beside Norman's feet. DEAD JUDGE You can speak to the dead. To us. To her. We need you to read from the book to send us all back to the grave. NORMAN But it didn't work! It's a fairy tale! Just a bedtime... story... He narrows his eyes at the Judge. NORMAN (CONT'D) That's it, isn't it? A bedtime story to keep a little girl asleep for another year. And now you need my help because I'm the only one who can read it to her! He bends down to pick it up. His eyes flash angrily at the zombies and he hurls the burnt book at the Judge. It hits him in the chest and falls to his feet with a THUD. NORMAN (CONT'D) Here's your book! Try reading it yourself! The zombies stare down at the blackened lump of charred paper, and several of them GASP. The Dead Judge's eyes are filled with fear and desperation. NORMAN (CONT'D) Why did you do it? DEAD JUDGE We were scared. NORMAN Of what? DEAD JUDGE Of her. (GESTURES BEHIND) I believed we were doing what was right. I was wrong. Now this is our punishment. (MORE) ParaNorman 75. 127 CONTINUED: (2) 127 DEAD JUDGE (CONT'D) We thought we knew our way in life but in death we are lost. Norman knows they're telling the truth. DEAD JUDGE (CONT'D) Please help us. Norman looks at the book of fairy tales, lying at his feet. Its pages are curled and blackened, embers still glowing around the hole blown right through it. NORMAN Every year someone reads the story at her grave. Before me it was Mr Prenderghast, and before him there were others, but the curse doesn't ever go away. Nothing gets better. It's not enough. Norman looks at it a moment, thinking. He knows what he has to do. DEAD JUDGE What will you do? NORMAN Something nobody ever did before. I've gotta go talk to her. 128 128 INT. TOWN HALL - CONTINUOUS Smeared with soot and COUGHING, the kids are trapped in the lobby. They cower together as burning wood CREAKS and CRACKS all around them. The air is grey and caustic and filled with flakes of charcoal and burning ash. A burning timber GROANS as it splits from the ceiling and tumbles toward the children. They SCREAM and scatter as it hits the floorboards in a shower of glowing sparks. Mitch shouts out from beside a heavy wooden counter top. MITCH Guys! Guys! Under here! Under here! The kids scramble beneath the shelter of the counter as more glowing embers rain down around them. Courtney grabs Mitch by the bicep and whispers weakly. COURTNEY Mitch, if we die tonight, this might be the last chance I get to tell you how I feel. ParaNorman 76. 128 CONTINUED: 128 MITCH Uh, well, no. Unless we get brought back as zombies, and then technically you'll have longer. Courtney opens her mouth to continue, but her love train is thoroughly derailed by the nearby CRASH of breaking wood, and the archive door beside them CLATTERS to the ground. The cowering kids all watch in silent horror as several dark figures limp and shamble out of the smoke and make their way past them across the room. It's the zombies, and they're being led by Norman. COURTNEY Norman? NORMAN Come on! This way! COURTNEY You've gotta be kidding me... Norman, his mouth shielded by his sleeve, heads purposefully toward the front doors. 131 131 EXT. TOWN HALL - MOMENTS LATER A loud THUD from within the Town Hall causes the gathered crowd outside to GASP, and those closest to the doors to take a few steps back. The crowd GASPS again as the charred front door of the Town Hall is wrenched off its hinges by a huge piece of timber and CRASHES down the steps in a shower of flaming splinters. A ripple of shock runs through the crowd as a number of skeletal figures emerge, SPLUTTERING and WHEEZING through the smoke, shielding their faces from the heat. The gathered crowd are even more aghast when they realize a child is being guided out of the flames by the zombies. Unseen by the crowd, Courtney and the other kids crawl to the splintered opening of the front door, blinking and COUGHING for air. Hooper pulls out her gun and marches toward the zombies. SHERIFF HOOPER You stay right where you are! You may be dead already, but I will still shoot you! ParaNorman 77. 131 CONTINUED: 131 The zombies stop on the steps, burning building behind them and the hostile townsfolk in front of them. Norman pushes through and stands firmly in the way of Hooper's gun, arms spread defensively. NORMAN Wait! Courtney and the other kids GASP as they watch from within the doorway. SANDRA BABCOCK Oh my gosh! Far above, the clouds THUNDER like demonic laughter. Perry steps forward, face red. PERRY BABCOCK Son! Step away from the zombies! NORMAN No! I won't! Sandra comes up behind her husband and holds his arm. SANDRA BABCOCK Perry, calm down! You're going to have a heart attack and then what are you going to do? PERRY BABCOCK I'll come back and haunt Norman! Maybe then he'll start listening to me! NORMAN No! You don't understand what's happening here! I spoke to them and it's not what you think! Courtney edges forward out of the doorway, shocked but transfixed. NORMAN (CONT'D) The curse isn't about the zombies hurting you! It's about you hurting them! I figured it out, and I know a way to stop this! MRS HENSCHER He's in league with them! A few members of the crowd try to push past Perry toward the steps. DEPUTY DWAYNE Let's hang him! ParaNorman 78. 131 CONTINUED: (2) 131 GUCCI LADY No! We can't hang him, stupid! It's the 21st Century! DEPUTY DWAYNE Then let's burn him! Sandra turns despairingly to the crowd behind her. SANDRA BABCOCK Can you stop being a mob for just one minute?! NORMAN Listen to me! CRYSTAL Get them before they eat us! Punctuating every shout, the roiling clouds continue to RUMBLE their horrible laughter. COURTNEY Leave him alone! Courtney suddenly emerges, standing right in front of Norman. Following her lead in true "I'm Spartacus!" fashion, Neil, Mitch and Alvin step forward too, creating a barrier all around him, all joining hands in solidarity. CLOSE ON Courtney's face as she hisses sidelong to Alvin. COURTNEY (CONT'D) Hand, Alvin! My hand! A ripple of confusion seems to run through the crowd. COURTNEY (CONT'D) Everybody, listen up! You all need to stop trying to kill my brother! You're adults! Stop it! I know that this seems crazy, believe me I'm with you on that, but I think he does actually know what he's talking about! NEIL All night he's been trying to save you from the witch's curse! MITCH Yeah, and all you want to do is burn and murder stuff, burn and murder stuff! Just burning and murdering! ParaNorman 79. 131 CONTINUED: (3) 131 ALVIN Shame on every single one of you! How dare you all! Amongst the crowd, doubt is beginning to show. Even the rumbling clouds have gone quiet. CRYSTAL So they're not going to hurt us? NORMAN No, does it look like any of them are trying to hurt you? They're just people. At least they used to be. Just stupid people who should have known better. Norman looks at the line of Puritans. They look quite sad and pathetic really. Hardly monstrous at all. NORMAN (CONT'D) They did something unforgivable because they were scared, and they were cursed for it. Now it's happening all over again. Don't you get it? They were just like you. But now it has to stop. For good. Across the crowd, weapons are being lowered and faces are starting to look a little guilty. There is silence as the modern townsfolk stare at the line of three hundred year-old townsfolk. Throughout the crowd various weapons CLATTER as they hit the ground. A small girl tiptoes up the steps and silently offers one of the zombies his arm back. The quiet is shattered by a deafening SCREAM. It blows out of the storm clouds and whips through the plaza on a hellish wind. The street lamps around the square shatter in bursts of sparks, raining down on the amassed people. The sky above is blood red, clouds twisting and contorting into a vast unnatural vortex. The Town Hall erupts in a fireball, tongues of white fire ROARING out of the embers as the ground shakes and the crowd scatters in terror. Neil turns to Norman as they duck for cover behind a parked car, and SHOUTS over the noise of the wind. NEIL Jeez, what is her problem? Norman takes in the chaos around them... ParaNorman 80. 131 CONTINUED: (4) 131 -An arc of white lightning hits the base of the witch's statue with a CRACK. With a terrible GROAN, the statue is lifted up into the air by the supernatural wind. It CRASHES down at the foot of the Town Hall steps, shattering into a hundred pieces of rubble. -Windows blow out of tacky tourist stores, their cheap front displays ripped apart by the wind. -A bolt of lightning tears through the huge billboard in the plaza, ripping apart the idealized image of the town's history in a spiral of splintered wood. Norman struggles over to where a group of townsfolk and zombies cower from the destruction. Sandra runs over to her son and hugs him. SANDRA BABCOCK Oh, Norman! NEIL So what do we do now? NORMAN I... I really don't know... COURTNEY Yes you do, Norman! You've got to get to that witch's grave! NORMAN But... COURTNEY But nothing! You listen to me, buster, we didn't turn away when Daleridge High was slaughtering our volleyball team, did we? NORMAN I thought we did. COURTNEY No we didn't. I've cheered the uncheerable, Norman, and I'm not letting you give up now! Norman turns to Perry, his eyes all business. NORMAN Dad, could I borrow the car? PERRY BABCOCK Excuse me? ParaNorman 81. 131 CONTINUED: (5) 131 Norman looks squarely at his dad, and the Dead Judge beside him. They exchange uneasy glances. CUT TO: 132 132 INT. STATION WAGON - CONTINUOUS The Dead Judge sits rigidly between Norman and Courtney in the back of Perry's station wagon, Perry and Sandra in the front. Perry drives in silent discomfort following the Judge's instructions through town, glancing in his rear-view mirror at the passengers in the back seat. Sandra takes a small perfume spritzer from her purse as surreptitiously as she can and sprays the air around her. 135 135 EXT. SUBURBAN STREETS - CONTINUOUS The car turns a corner into the path of an overturned truck, caught by the spectral wind. It cartwheels down the middle of the street, tearing up the asphalt. I/E. STATION WAGON - CONTINUOUS Perry swerves out of its path of destruction. Inside, Sandra cranes her neck around to watch the truck CRASH down the road behind them. She faces front again. SANDRA BABCOCK Boy, the traffic tonight! COURTNEY Norman! He's on my side of the seat! NORMAN She wants you to move over. The Judge MUMBLES. COURTNEY I heard that! Mom! Tell the zombie to stop saying stuff about me! NORMAN Can you quit using the "z" word? PERRY BABCOCK So help me I will stop this car right now if all three of you don't quit it this instant! ParaNorman 82. CONTINUED: After a moment, the Judge lets out a sepulchral MOAN. NORMAN He says "take a left here". Perry gives a distasteful look, but turns the steering wheel. He peers out through the raging storm, windscreen wiper batting ineffectively at the onslaught of debris. PERRY BABCOCK We've already been this way. We're going around in circles! SANDRA BABCOCK Maybe we should pull over and ask someone? PERRY BABCOCK Oh, right, you think maybe we should stop at a graveyard and dig up some other eighteenth-century corpses? SANDRA BABCOCK It's not a bad idea. PERRY BABCOCK I wish I understood you. 136 136 I/E. STATION WAGON - CONTINUOUS From the back seat, the Judge turns to Norman and GROANS. PERRY BABCOCK Please don't tell me he needs to use the bathroom. Norman listens as the Judge continues GRUMBLING, then leans forward over his father's seat, pointing. NORMAN Turn down there! 137 137 EXT. OLD FOREST TRAIL - CONTINUOUS The car turns tightly off a secluded road onto a dirt path running into the thick of the surrounding woodland. SANDRA BABCOCK Oh my, do you think that's it? ParaNorman 83. 139 EXT. OLD FOREST TRAIL - MOMENTS LATER 139 The headlights of the car illuminate a huge fallen trunk ahead along the path, and Perry pulls the car to a stop, wheels CRUNCHING on dirt and roots. Everyone gets out of the car. The trees around them are thick and dense. Aggie's furious storm WHISTLES through the branches far above them. Norman turns to the Dead Judge. The Judge nods solemnly, pointing ahead. Norman steels himself and begins to march forward through the thick brambles, the others following behind. PERRY BABCOCK So, why are we here? NORMAN Someone's gotta talk to her, Dad. PERRY BABCOCK Yeah, um, why's that person you, exactly? As they continue, the surrounding trees press in on them, just like in Norman's vision. Branches and thorns lash at their faces while thick roots entangle their feet. Norman's family are falling behind and realize too late that the encroaching trees are about to crush Norman. SANDRA BABCOCK Oh my goodness, look out! NORMAN Mom! SANDRA BABCOCK Perry! Do something! Perry is finding it difficult to move; a tree bears down on him, its roots snagging his thrashing limbs. PERRY BABCOCK I'm trying! SANDRA BABCOCK Kick it in the knothole! Norman hops nimbly between two huge trunks as they SMASH together, blocking off the way ahead with gnarled wood. Sandra struggles free and shouts over the branches. SANDRA BABCOCK (CONT'D) Norman?! ParaNorman 84. 139 CONTINUED: 139 NORMAN (O.S.) I'm okay Mom! Wait for me here! Don't worry! SANDRA BABCOCK Be careful! Now separated from the others, Norman turns to go ahead on his own. Ahead of him a phosphorescent glow shines off the trees, and he knows he is very close. 140 140 EXT. OLD FOREST CLEARING - CONTINUOUS Exhausted but determined, Norman finds the source of the supernatural storm; a clearing sculpted out of the forest by Aggie's fury. In the center of it all is the tree, bleached white as bone and grotesquely twisted. The trees around it CREAK and GROAN as though they'd like to uproot and plant themselves someplace else. Beneath this tree lie Aggie's remains, buried three hundred years ago. Now a mess of roots and rocks open out like an ugly wound, and within them a tiny childlike figure is barely visible through a spitting furnace of spectral energy. Ectoplasm rages up around the tree's finger-like branches like a mushroom cloud of negative energy. It's a child's tantrum turned atomic. NORMAN Hello? Words echo around him in response. AGGIE You're not welcome here. Go away. Norman shivers as the voice RUMBLES coldly. The raging wind intensifies as Norman turns back around. NORMAN Uh... I really need to speak with you. AGGIE Who are you? NORMAN I'm Norman. Norman Babcock. You don't actually know me, but I know you. We're actually kind of the same, you and I. Norman takes another step closer, ducking as petrified branches and rocks fly over his head on the wind. ParaNorman 85. 140 CONTINUED: 140 AGGIE You're not dead. NORMAN Well, no, apart from that. AGGIE And you're a boy. NORMAN Well, yes, that too. AGGIE You're not like me at all. Norman hesitates, knowing he's on dangerous ground. NORMAN Well, I know how you feel? AGGIE No you don't. You don't know anything about me. NORMAN I know your name is Agatha Prenderghast. The ghostly voice wavers for the first time. AGGIE What? NORMAN And I know you're probably tired. Right? Because, I mean, it's really late and it's been a long night and we're, like, only eleven years-old, and... The voice snaps back like a clap of thunder. AGGIE I don't want to go to sleep, and you can't make me! I burnt the book into dust, and now I don't have to listen to that stupid story any more! Leave me alone! Norman is terrified, but advances on the tree, the rocks under his feet churning. NORMAN No. I'm not leaving. Just listen to me. (takes a breath) Uh... once upon a time... long ago... there was a little girl... ParaNorman 86. 140 CONTINUED: (2) 140 AGGIE What? NORMAN A little girl who was different from the other people in her village. The voice chants petulantly over him as if putting its demonic fingers in its ears. AGGIE I'm not listening! LA-LA-LA-LA-LA- LAAA! NORMAN She could see and do things that no one could understand, and that made them scared of her. AGGIE I don't like this story! NORMAN She turned away from everyone, and became sad and lonely, and had no one to turn to. AGGIE Stop it! If Aggie weren't floating three feet above the ground, she'd be stamping her feet. Her voice blows bits of bark off the surrounding trees. NORMAN But the more she turned away from people, the more scared they were of her, and they did something terrible! Arcs of white energy CRACKLE through the air. Where they hit the ground, they send up white flames. NORMAN (CONT'D) They became so scared that they took her away and killed her! AGGIE No! NORMAN But even though she was dead something in her came back. AGGIE Stop! ParaNorman 87. 140 CONTINUED: (3) 140 NORMAN And this part of her wouldn't go away, not for three hundred years... AGGIE Shut up! NORMAN And the longer it stayed, the less there was of the little girl! AGGIE I'll make you suffer! NORMAN Why? Aggie goes to shout, but stops, unsure of her answer. AGGIE Because... because... NORMAN Because you want everyone to hurt just as much as you are! So whenever you wake up you play this mean game, but you don't play fair! AGGIE They hurt me! NORMAN So you hurt them back? AGGIE I wanted everyone to see how rotten they were! NORMAN You're just like them, Agatha. AGGIE No I'm not! NORMAN You're a bully. AGGIE No I'm not! Norman has almost reached the eye of the storm. The world behind him is a whirling torrent of burning white chaos. NORMAN They did something awful, but that doesn't mean you should too! (MORE) ParaNorman 88. 140 CONTINUED: (4) 140 NORMAN (CONT'D) All that's left of you now is mean and horrible! He sees her clearly now. True, she is floating above the ground, and her hair is writhing madly about her, and plumes of spectral fire are pouring off her body, but she's still just a little girl underneath. AGGIE That's not true! Norman climbs up a tree root, Aggie's flames searing his skin and clothes as he gets close enough to touch her. NORMAN Then stop. This is wrong and you know it! You've spent so long remembering the bad people that you've forgotten the good ones. There must have been someone who loved you and cared for you. You don't remember them? AGGIE Leave me alone! NORMAN But you're not alone! You have to remember! AGGIE Keep away from me! Norman reaches the end of the root and jumps. His outstretched fingers shake madly as they approach Aggie's tiny hand, as though the air is fighting against him. NORMAN Remember! There is a flash of white, and silence. FADE TO: 141 141 EXT. NEW FOREST CLEARING - BRIGHT SUNNY DAY Dappled sunlight falls through shimmering leaves and blossoms. Norman and Aggie are standing in thick grass, replete with wild flowers, the dead white tree now quite alive and blossoming behind them. Aggie is no longer an indistinct specter, but flesh and blood and as real as Norman. She stares down at her hand as Norman holds it gently by the end of her finger. AGGIE Aggie. My name was Aggie. ParaNorman 89. 141 CONTINUED: 141 A brightly-colored butterfly flutters between them. Aggie starts to remember as she follows its flight. AGGIE (CONT'D) I... I remember my mommy brought me here once. We sat under the tree and she told me stories. They all had happy endings. (BROW FURROWS) And then those horrible men came and took me away and I never saw her again! She scowls angrily at the butterfly flitting past her face. It instantly crumples up into ashes. Surprised, she GASPS and watches the blackened dust fall to the ground. There's anger in Aggie, but there is confusion, sadness and regret there too. She isn't quite so scary anymore. NORMAN Sometimes when people get scared they say and do terrible things. I think you got so scared, that you forgot who you are. But I don't think you're a witch. Not really. Aggie looks into his eyes. AGGIE You don't? NORMAN I think you're just a little kid with a really special gift who only ever wanted people to understand her. He smiles softly. NORMAN (CONT'D) So we're not all that different at all. AGGIE But what about the people who hurt you? Don't you ever want to make them suffer? Norman thinks this over, and shrugs. NORMAN Well, yeah, but what good would that do? You think just because there's bad people out there that there's no good ones either? I thought the same thing. (MORE) ParaNorman 90. 141 CONTINUED: (2) 141 NORMAN (CONT'D) For a while. But there's always someone out there for you. Somewhere. Aggie frowns, looking lost. AGGIE I just want my mommy... NORMAN I'm sorry, Aggie. She's gone. AGGIE That story you were telling. How does it end? NORMAN I think that's up to you. Aggie blinks through tears at the grass beneath her feet. AGGIE Is this where they buried me? NORMAN It's a pretty good place to sleep. Then you can be with your mom again. Aggie holds Norman's gaze, then looks down to the ground, her tiny frame heaving with a last SOB. She sits down on the grass and curls up, resting her head on her hands. Norman kneels down next to her as she closes her eyes. Her breathing grows deeper and more peaceful; her tiny frame shifting softly under her long hair. The air around them grows blurry and indistinct. Aggie softens as though out of focus, and the whole world becomes a swirling dance of glowing orbs. Norman closes his eyes as a blizzard of light engulfs him, spiraling up into the clouds high above his head. Lightning flashes white far above and thunder RUMBLES softly through the sky, as if moving away. 143 143 EXT. TOWN HALL - CONTINUOUS The zombies form a group in the center of the square, all of them looking up into the clouds. The people around them stop and stare, awestruck as a breeze buffets their clothes and the air around them begins to shimmer. As the modern townsfolk watch on, some of the zombies take each others' arms for support. Those with eyelids close them. One by one their bodies dissolve away, leaving ethereal figures in their place. ParaNorman 91. 143 CONTINUED: 143 For a moment they float where they stood, ghostly apparitions of the people they once were before the curse. They stare sadly out at their flesh and blood descendents, and in an instant become just specks of light that are caught by the breeze and carried out of sight. 142 142 EXT. OLD FOREST CLEARING - NIGHT Norman blinks open his eyes, taking a moment to survey the scene around him. He sits upon the upturned root of the tree, the earth around broken and twisted, a testament to what has happened. He looks up into the sky and gives a sad smile. NORMAN Sleep tight. He clambers down through the roots back toward the path. 144 144 EXT. OLD FOREST TRAIL - CONTINUOUS Norman wearily walks through the splintered roots to find his family. Sandra shouts out when she sees him. SANDRA BABCOCK Norman? Norman! Sandra runs over to him and scoops him up in her arms, hugging him tightly. SANDRA BABCOCK (CONT'D) My brave little man! I thought I was going to lose you! NORMAN Mom, you're embarrassing me. SANDRA BABCOCK That's my job. COURTNEY Good job, Norman. Perry takes a deep breath and looks at his son. There is relief and a hint of admiration in his eyes. PERRY BABCOCK Well done, Son. You did it. The Judge, stood some way behind them, lets out a GROAN, and the Babcocks turn to look at him. ParaNorman 92. 144 CONTINUED: 144 They watch in awe as the Judge begins to turn to dust, his ragged clothes and decayed body dissolving in the rain. For barely a moment a shimmering ghostly figure is left behind, an image of the man that once was. The spirit blinks sorrowful eyes, then becomes nothing more than a million glowing fragments dissipating on the breeze. 146B 146B EXT. NEW TOWN HALL - LATER The sky has lost its lurid pall, and the clouds are now lighter and less menacing. In the Town Square, clusters of townsfolk are trying to come to terms with the night's events. Norman weaves through the crowd away from the Babcock's station wagon, searching for Neil. He hears small snippets of conversation as he goes. Dwayne waves his notebook under Hooper's nose. DEPUTY DWAYNE So, uh, are we gonna need statements? She slaps it out of his hand. DEPUTY DWAYNE (CONT'D) Ow! That was my finger nail. Slob Guy, Crystal and Mrs Henscher are convincing each other of their excuses. MRS HENSCHER You know what it's like. You join a mob and you say things. I was merely inhabiting the role. SLOB GUY Yeah, it was the others. They pushed me into it. Norman smiles as he passes Alvin, regaling a bunch of teenagers. ALVIN Yeah, me and Norman are in a lot of the same classes. Pretty much inseparable. Best buds. And we do a lot of psychic investigations together. We have a blog actually, you should check it out. Nearby, Courtney wastes no time cozying up to Mitch. ParaNorman 93. 146B CONTINUED: 146B COURTNEY So I was thinking, maybe we could catch a movie sometime? Nothing scary. MITCH That sounds great, Kathy! Y'know, you're gonna love my boyfriend! He's like a total chick-flick nut! Courtney stares at him, at a loss for words, then successfully reads between the lines and turns away MUTTERING. Norman eventually finds Neil sat upon the witch statue's broken plinth, attempting to piece it back together pebble by pebble. NORMAN Hey Neil. He climbs up beside his friend, who beams at him gleefully. NEIL You did it! You stopped the witch's curse and made the zombies go away and saved pretty much everything! NORMAN I guess. I just wanted to say thanks. You stood by me. All the time. NEIL Yeah, of course. Don't get weird or anything. So you think now everything's gonna turn back to normal? Norman looks across the square. The smoldering buildings, the fallen signposts, the warped trees, the rubble... NORMAN As normal as it could be. 148 148 INT. BABCOCK'S HOUSE, LIVING ROOM - EVENING Norman sits on the floor in front of the TV. A news report shows the wrecked Main Street with the headline "TOURIST TOWN HIT BY MYSTERY TORNADO". Perry enters the room, and Norman quickly changes the channel on the TV to a noisy monster movie. ParaNorman 94. 148 CONTINUED: 148 PERRY BABCOCK Son. NORMAN Hi Dad. PERRY BABCOCK What're you watching? NORMAN A scary movie. PERRY BABCOCK Your, uh, your grandma here is she? Norman looks around and sees his father and grandmother sitting side by side on the sofa. He nods. PERRY BABCOCK (CONT'D) Right. Of course she is. Perry tries his best to maintain his composure, and wriggles a little in his seat. PERRY BABCOCK (CONT'D) Is she... Is she sitting next to me? Norman nods. Perry "hem-hems" and turns awkwardly to face her, nose to ear. She doesn't seem to notice. PERRY BABCOCK (CONT'D) Hi Mom. Perry tries to downplay his discomfort and turns back to concentrate on the movie his son is watching. Sandra and Courtney enter from the kitchen carrying snacks. Sandra takes a seat on an armchair and Courtney lies down on the floor beside her brother, munching popcorn. They all settle in to watch the movie. A beat, then Perry and Grandma speak at the same time. PERRY BABCOCK (CONT'D) GRANDMA BABCOCK So what's happening now? So what's happening now? Norman sits as he is, facing the TV, and grins. THE END. \ No newline at end of file diff --git a/unformated_scripts/Script_Pariah.txt b/unformated_scripts/Script_Pariah.txt new file mode 100644 index 0000000000000000000000000000000000000000..235f48796da235244fa3dcaa83448b74e9c41ef6 --- /dev/null +++ b/unformated_scripts/Script_Pariah.txt @@ -0,0 +1 @@ + PARIAH Written by Dee Rees SUPER: "WHEREVER THE BIRD WITH NO FEET FLEW, SHE FOUND TREES WITH NO LIMBS." --- AUDRE LORDE FADE IN:1 EXT/INT. NIGHTCLUB- EVENING 1 A disembodied gaggle of jersey clad shoulders, jeans, and hats crosses a narrow street. Lights flare, hands are stamped, torsos are patted down. Money exchanges hands. We descend into a black, throbbing tunnel. Explicit music booms from bassy club speakers. Hips, legs feet dancing. A GO-GO DANCER struts and wiggles around a brass pole. Hoots and cheers. The dancer marches in place, rolling her thonged bottom. More cheers, greedy hands stuff dollars into her waistband. FEMALE DJ (O.S.) Let's go! Where all my sexy Sagittarian ladies at? Arms go up. A collection of whoops ripple the crowd. The dancer wraps her legs around the pole and oozes upward headfirst. The CAMERA ROTATES as she stretches her booted heels into the crowd. We realize that she has been dancing on the ceiling. FEMALE DJ (O.S.) Oh my God! ALIKE (pronounced AH-LEE-KAY), 17, covers her mouth, laughing and wide-eyed. She tries to back away from the stage, but is pushed forward by a torrent of eager arms waving dollar bills. Among them is LAURA, 18, worldly and smooth. LAURA Where your singles at?!! Where your singles at?!! Yeah, baby! Laura strains over Alike's shoulder to tuck a bill into the dancer's boot. Alike drops her beer in all the jostling. FEMALE DJ Goddamn I love my job! Laura stuffs a bill into Alike's now empty hand and forcibly waves Alike's wrist in the air. 2. Alike pulls free just as the dancer takes notice and begins to direct her attention at her. ALIKE Stop! Chill!! LAURA Whatchu' come here for?! Alike shoves the dollar bill into Laura's chest and shoulders her way past the wall of onlookers surrounding the stage. Laura shrugs, puts the bill in her teeth and lays her head at the edge of the stage. Alike looks away and breaks through a snarl of clubgoers just as the dancer begins to descend. ALIKE Excuse me. Sorry. Excuse me. Oof, sorry ladies. Finally free of the throng, Alike takes a breath and looks at the clock on her cell phone. ALIKE (CONT'D) Shit! She rolls her eyes back to the stage where Laura is no longer visible. Not daring to risk another plunge into the throbbing crowd, she retreats for the bar. FEMALE DJ Let's go!2 INT. NIGHTCLUB BAR- NIGHT 2 Alike beaches at an empty spot at the bar. Her gaze settles on a CUTE GIRL a little ways down, staring out at the dance floor. Alike jerks her eyes away and smooths the front of her shirt and adjusts her hat as she edges toward the girl. ALIKE Hi. The girl ignores her. Alike clears her throat and speaks a little too loudly. ALIKE (CONT'D) Umm... Hey! How are you?! The girl jerks around and frowns at Alike, looking her up and down. CUTE GIRL What?! 3. ALIKE Umm...sorry. I was just sayin' Umm...hi. CUTE GIRL Oh. The girl dismisses Alike and turns back toward the floor. ALIKE Oh. You wanna drink or something? Hey! Hey! Over here! Alike strains, snapping at the bartender. A CONFIDENT WOMAN swaggers up close to the girl and extends her hand. The cute girl takes it and allows herself to be lead to the dance floor. Alike looks around just in time to see her leaving. The bartender finally materializes, and Alike slinks away.3 INT. NIGHTCLUB BATHROOM - NIGHT 3 Alike slumps into a long line of women waiting to squeeze the cramped, 2 stall bathroom. A COUPLE in front of her makes out vigorously, and she folds her arms and looks away. A buff 30-SOMETHING WOMAN with locs smiles and winks at Alike. Alike smiles and fidgets with her eyebrows and looks away. The line inches forward. Alike glances around searching for the woman. The 30-something has already lost interest, her attention now fully directed at a much more FEMININE WOMAN strutting out of the restroom. Embarrassed, Alike faces front again. Two androgynous gangsters (AGs) who have witnessed the whole thing nudge each other and sneer. Alike squares her shoulders and widens her stance. One of the AG's breaks out in laughter and they turn around as the line inches forward again. Alike pretends not to notice and slumps out of line and retreats for a lonely oasis of couch along the wall.4 INT. NIGHTCLUB COUCH - LATER 4 Alike dozes on the couch. FEMALE DJ Give it up for Sin-A-Min ladies!! Alike wakes with a start. She checks the time on her cell phone. Cursing, she scrambles up from the couch. 4.5 INT. NIGHTCLUB BAR - EVENING 5 Laura dances with a cute SHORT HAIRED GIRL. Alike spots the pair from afar and heads in their direction. ALIKE C'mon, we're late. LAURA Huh? ALIKE I gotta go! LAURA Hold on a minute. ALIKE C'mon, why you trippin'? LAURA What? ALIKE Why are you trippin', you know I gotta go! LAURA What? ALIKE You know I gotta go. I'ma get in trouble. LAURA Lemme dance with shortie first, then I'll be ready. ALIKE What? Laura spins the short haired on the dance floor and the pair continue their wobbling, uneven groove. Alike endures several moments of invisibility as a sea of women, both "feminine" and "butch" push past her without a second glance. Alike tugs at Laura's jersey. Laura, happily tangled in her dance partner's embrace rolls her eyes. LAURA Stop pulling on my clothes! 5.6 EXT. BUS STOP- NIGHT 6 Laura sulks, frowning out at the night. Alike extends the olive branch. ALIKE How many numbers you get? One? LAURA I could've gotten more, but your moms was holding me up. ALIKE Oooh. That's jacked up. LAURA How many you get? ALIKE Tonya, Denise, Shelley. No wait that's old, I can delete that one. Tonya... Laura snatches the phone from Alike. Alike swipes at it but misses. Laura fends her off with one hand and scrolls through the numbers with the other. LAURA Ain't Shelley that chick from your math class?! Denise... What? These are your damn study group numbers! Why you frontin'?! Alike snatches the phone and wipes the screen with her sleeve. ALIKE I don't see you with no list of numbers. LAURA I'm not the one looking for a girlfriend, man. You the one still a virgin! ALIKE Shut up! LAURA Trying to help your ass. I'm sayin', whatchu waitin' for?! Alike shrugs it off, her smile fading a little. Laura elbows her and sneers. 6. LAURA Kickin' that same `ol quiet shit since 6th grade. I don't need to press, I gets plenty. Shit. ALIKE Wah-wah. LAURA I get more pussy than your daddy, nigga, what?! ALIKE Oh shit!! Yeah, you got me with that one.7 INT. BUS - NIGHT 7 Alike becomes more quiet and less playful as the ride wears on. A middle-class Bronx landscape, well-lit with a newly constructed Starbucks and renovated condos flits by the window. Alike reaches over and presses the tape. Laura elbows Alike. LAURA Quit playing. ALIKE Your stop. LAURA Huh? ALIKE Your stop-- you're getting off here, right? LAURA Nah, I'll roll with you a few more stops. ALIKE Why you gon' walk all the way back down for? That's stupid. LAURA Make sure you get home okay. The bus pulls to the curb. The light flicks on over the back door. 7. ALIKE You ain't big, nigga. Trying to protect somebody. Hurry up, man, get off! LAURA (to bus driver) That's alright man--next stop. Next stop! Alike elbows Laura sharply. The bus driver frowns in the rear view. LAURA You ain't gotta push me, why're you beastin'? ALIKE I'm not beastin'. Laura climbs over Alike and swings toward the door. LAURA You got a problem. Call me. ALIKE I'ma call you. Alike turns and watches Laura stroll away. Laura drums a little beat on Alike's window as the bus pulls off. Alike waves and faces forward again. An OLD LADY sitting nearby shoots her a disapproving look. Alike rolls her eyes and moves to a seat farther away.8 INT. BUS - CONTINUOUS 8 Alike studies her reflection in the window, and takes a breath. She unbuttons her bulky men's shirt to reveal a fitting baby doll shirt that reads "Princess." She stuffs her baseball cap and durag into her backpack and jabs a pair of small gold hoop earrings into her ears. She slumps back against the seat and stares into the night. The bus stops at a lonely island of curb. Alike is a dark silhouette sprinting around the corner and into the night.9 INT. ALIKE'S APARTMENT - NIGHT 9 Alike cracks open the front door just wide enough to slip through. The house is dark except for the flashing microwave clock. 8.Alike takes off her sneakers and pads down the hallway. Heryounger sister, SHARONDA's door cracks open as she passes. SHARONDA You late. ALIKE (whispering) Be quiet. SHARONDA Where you been this late? ALIKE (whispering) Movies. SHARONDA Movie ended at midnight. ALIKE (whispering) Shhh. Shut up.Alike shoves her sister and tries to close the door. Sharondayanks the door open wider. SHARONDA (whispering) Don't push me. ALIKE (whispering) Go to bed. SHARONDA I know what stays open past midnight.Sharonda puts a hand to her head and does a little dance. ALIKE Shut up!Alike eases Sharonda's door shut. Sharonda swings the dooropen wide. SHARONDA Good night Lee!Sharonda slams her door. The light clicks on underneathAlike's parent's door. 9. AUDREY (O.S.) Lee? Lee?! Alike rolls her eyes at her sister's closed door and shrugs into her room.10 INT. ALIKE'S BEDROOM - NIGHT 10 Alike rushes to shove her stuffed backpack under the bed. She tosses her shoes in the closet just as her mother, AUDREY appears in the doorway. AUDREY Nice to know you still live here. Alike peels off her socks and slumps on the bed. AUDREY (CONT'D) What're you doing home so late, anyway? ALIKE Lost track of time. AUDREY You know what time your curfew is. Where were you? ALIKE Movies. AUDREY The show ended at midnight. And your curfew is twelve thirty. ALIKE I lost track of time. Audrey gets cozy in the doorjamb. Alike turns her back on her and slumps into pajamas. AUDREY At least you were cute. Where'd you get that shirt? `Princess'. I like that. Alike winds the princess shirt around her fist and launches to the top of the closet. ALIKE It's old. 10. AUDREY Compliments your figure. I saw something just like it on sale, maybe we could go shopping-- ALIKE Goodnight. Audrey stiffens and pulls her robe tighter. Vinegar replaces honey in her demeanor as the warmth drains out of her voice. AUDREY I really don't care for that young lady you run around with anyway. ALIKE Yeah, okay! AUDREY And tie your head up. Alike snags a satin headscarf from the nightstand and slaps it around her head. AUDREY(CONT'D) It's your head. And you really should wash your face, too. ALIKE I don't have on make-up. AUDREY Wash your face anyway. ALIKE Mom. I'm seventeen years old, please don't talk to me like-- AUDREY Watch your tone. (Beat) Well, it's your skin. Audrey leaves. Alike is still. She listens for the door to her parent's room to shut before snatching off the scarf and storming to the bathroom.11 INT. BATHROOM - NIGHT 11 Alike turns on the faucet, wets the soap and puts it back in the dish, wets her wash cloth and puts it back on the rack. She plops down on the toilet and looks up. A crucifix frowns down at her from the wall. 11. She averts her eyes and stands to leave. AUDREY (O.S.) Did you brush your teeth? Alike wets her toothbrush and throws it back into the holder. AUDREY (O.S.) Lee? Alike squeezes out a dollop of toothpaste and smears a little around the sink. She stares at her reflection. AUDREY (O.S.) Lee? Alike flicks water droplets at the mirror for good measure. ALIKE Yes, mom.12 EXT. SCHOOL - MORNING 12 Alike, bundled in an oversized hoodie edges up to the perimeter of campus and waits against a bus shelter. STUDENTS horseplay and mill about the entrance in groups, chugging their morning Fantas and munching on snack cakes. The school bell rings and the lawn slowly empties into the building. Alike shifts her weight and checks her watch as the last STRAGGLERS finally trickle in. She yanks her hoodie tighter and launches across the lawn and into the building.13 INT. SCHOOL HALLWAY - MORNING 13 A second school bell sounds and the din of slamming lockers and jubilant chatter dies to a hush as students shuffle into classrooms. Alike cracks the back stairwell door and peeks out into the mostly empty hallway before tearing for the bathroom. One last straggler BINA, a 17 year-old girl with mature, but down-to-earth good looks rushes past Alike. The two exchange a brief, confused look then mutually dismiss each other as they hurry in opposite directions.14 INT. SCHOOL BATHROOM - MORNING 14 Alike hurtles into the handicapped stall and snaps it shut behind her. She rips off her hoodie and the "girly" shirt beneath and flings them to the floor. She pulls out a pair of wife-beaters from her bag and pulls them over her head. She unwads a polo shirt and yanks it over her head. 12. She stares at her reflection in the window and tries unsuccessfully to smooth her shirt. Her eyes scour her reflection again and again for any imperfections. She spots the earrings and yanks them out of her ears. The late bell beckons and Alike stuffs her "feminine" clothes into her backpack and bolts.15 INT. MATH CLASSROOM - DAY 15 The MATH TEACHER glides up and down the aisles passing out graded tests. A chorus of groans follows in her wake. MATH TEACHER As promised, I will be grading these on a curve. Alike is folded into the backmost corner of the classroom. The desks in front her and beside her are empty. She is ignored as the rest of the class chatters and passes notes. MATH TEACHER (CONT'D) But the highest grade on the test was a 98. The math teacher puts Alike's test on her desk and gives her a little smile. Alike doesn't smile back. The lunch bell rings and the class is a tornado, clearing the room in a rush of limbs, shouts, and backpacks. Alike jabs her headphones into her ears and packs her bag very deliberately, letting the eye of the storm pass over her before heading toward the door.16 INT. SCHOOL CAFETERIA - DAY 16 The cafeteria is a whirl of activity and social jockeying. Clusters of girls and boys loud-talk, flirt, fight and horseplay at tables and in tight little groups against the walls. Alike walks alone, staying at the fringes of the crowd and shrugs through the cafeteria line.17 INT. SCHOOL HALLWAY - DAY 17 Alike flees the cafeteria, tray laden with rubbery cuisine of dubious nutritional value. She raps on the door of a classroom and slips in. MRS. ALVARADO (O.S.) Hey there! 13.18 INT. AP ENGLISH CLASSROOM - DAY 18 ALIKE Hey! MRS. ALVARADO, a middle aged Californian ex-hippie type reclines with her feet on her desk, munching on celery sticks and sunflower seed paste. Her small desk radio plays alternative rock. Sun beams into the empty classroom and Alike squints as she yanks the headphones out of her ears and pulls up a chair next to her desk. MRS. ALVARADO Whaddja bring me? ALIKE Nothin' you can eat. MRS. ALVARADO You shouldn't be eatin' that crap, either. ALIKE (over a mouthful of pizza) I know. MRS. ALVARADO Sooo, where's the new stuff? Alike hands over her purple and white composition book. Mrs. Alvarado thumbs the pages, reading silently. MRS. ALVARADO Hmmm. ALIKE Did you see the one in the back? Mrs. Alvarado flips to the back of the book and her mouth moves silently as she reads. ALIKE (CONT'D) I'll probably do it in class. Mrs. Alvarado hands the book back to Alike and digs in to another celery stick. ALIKE So? MRS. ALVARADO So what? 14. ALIKE What do you think? MRS. ALVARADO They're okay. ALIKE Okay? MRS. ALVARADO They're lovely. Of course your descriptiveness and use of alliteration is beautiful and all, you know that. But...I don't know. Is it your best? No. Alike frowns through the pages of the composition book. ALIKE I thought it was good. MRS. ALVARADO It's good. Not great. Alike slumps back into her seat and considers the book's cover. MRS. ALVARADO I believe you can go deeper.19 INT. HOSPITAL CORRIDOR - AFTERNOON 19 Audrey is a heat-seeking missile, whipping through the sparse hallways of the trauma wing, her clipboard and pen in constant motion. NURSES and AIDES scatter in her wake, suddenly busying themselves with little bits of chore work to avoid her caustic gaze. She barks at a cluster of CLERKS chit- chatting in the elevator bank and all but one manage to escape. Audrey drills her. AUDREY Oh, so your log is all up to date? CLERK No I-- AUDREY And you've checked the round for any calls? CLERK Well I -- 15. AUDREY Do you even know which doctors are on the floor? CLERK No ma'am I-- AUDREY Then I suggest you get busy. The clerk skitters off red-faced, and Audrey looks daggers into her back before storming the break room.20 INT. HOSPITAL BREAK ROOM - CONTINUOUS 20 Audrey whisks her lunch bag out of the fridge and heads toward a table. A few lounging AIDES wad up their garbage and flee the break room. Audrey settles down at the table and pulls a fashion magazine from her work tote, pretending not to be hurt. She peels open a cup of vanilla yogurt and begins reading. A big red department store bag sits next to her work tote. The television suspended over the table mumbles corporate healthcare infomercials. MRS. SINGLETARY, one of Audrey's co-workers swoops in and plops a plastic grocery bag on the table across from her. MRS. SINGLETARY Hey girl! Mind if I sit here? AUDREY No, not at all. Help yourself. MRS. SINGLETARY Whatchu got there? You been shopping? AUDREY Oh, no. Just some yogurt. Some vanilla yogurt. MRS. SINGLETARY No I meant in the bag. What do you have in the shopping bag--the big red thing? AUDREY Oh I'm...I don't know where my mind is...Yeah, this is just uh--well let me get your opinion. Audrey's steely exterior melts away and suddenly she is all butterflies and giggles. She rifles through the bag and hoists out a pink ribbed v-neck sweater. 16. MRS. SINGLETARY Oh that's nice. AUDREY Yeah see isn't this cute? MRS. SINGLETARY Umm-hmm. That's for your daughter? AUDREY Yeah, this is for Alike. MRS. SINGLETARY The youngest one. AUDREY No she's the oldest one. MRS. SINGLETARY Oh, the other one. Okay. AUDREY What, you think it's too young? MRS. SINGLETARY No, no. For whatever reason the youngest one popped in my mind first. But I think it should be fine. It's really cute. AUDREY Thank you. MRS. SINGLETARY It'll compliment her figure. AUDREY Now see that's what I thought... But Lee doesn't like anything I pick out for her anymore.Mrs. Singletary takes a bite of her lunch and takes thesweater from Audrey. MRS. SINGLETARY Girl, please. My oldest, 17 going on 27 mind you, banned me from buying her any more clothes. We have two completely different tastes. I just give her gift cards now and trust me, we're both happier for it. Is it her birthday? 17.Mrs. Singletary hands the sweater back to Audrey who smoothsit carefully back into the tissue paper. AUDREY No, no. I just wanted to get her something nice. You know.Three ROWDY CO-WORKERS burst into the room chattering andfinger popping. ROWDY CO-WORKER #1 Hey, Brenda! ROWDY CO-WORKER #2 ROWDY CO-WORKER #3Oooooh Audrey, you got me a What'chall in here talkingpresent? about? AUDREY Well, no we-- MRS. SINGLETARY None of yo' damn business!!The co-workers hoot in unison and descend upon the variousparts of the breakroom. Audrey shoves the sweater back in thebag and nestles it between her feet. Somebody cranks on asmall radio and a frisky R&B beat invades the air. Mrs.Singletary pats Audrey on the arm. MRS. SINGLETARY Let me know how it goes. AUDREY Oh I will. I'll call you when-- ROWDY CO-WORKER #3 Hey Bren' this is what I was telling you about!!Co-worker #3 shoves a tabloid in Mrs. Singletary's face,tapping an angry orange fingernail in the middle of the page. MRS. SINGLETARY Is that her?! ROWDY CO-WORKER #3 ROWDY CO-WORKER #2Told you! Look how big she done got!The center of the room shifts and Audrey is once again aloneat the fringes. She collects her shopping bag and looksaround to say goodbye, but no one notices her leave. 18.21 INT. ALIKE'S KITCHEN - EVENING 21 Audrey, Sharonda, Alike, and their father, ARTHUR, 40- something with a used-to-be athletic build, are all gathered around the dinner table for a rare family dinner. Everyone takes half-hearted nibbles at their food avoiding eye contact with each other. Sharonda picks at her food. SHARONDA I don't see why we can't just watch TV like usual. Alike elbows Sharonda. SHARONDA Quit it! ALIKE Shut up. SHARONDA You don't tell me what to do! AUDREY Girls. The phone rings and Arthur beats a path to bedroom to get it. Audrey wilts. ARTHUR I'm expecting a call. Audrey stares after him then glares back at Alike and Sharonda. AUDREY This is your father's night off. Alike casts a glance in the direction of the bedroom, where Arthur can be heard talking in hushed tones. She rolls her eyes and slinks down into her seat. AUDREY (CONT'D) So straighten up. Arthur settles back into his chair, his mood a little brighter. Seeing an opportunity for brownie points, Sharonda pitches in. SHARONDA Homecoming got moved this year. It's gonna be in September instead of October. 19. AUDREY Oh really? SHARONDA Yeah. Which means I'll be able to go to Autumn Ball and the Homecoming Dance. AUDREY Who are you going with? SHARONDA I don't know. Maybe Derek. If he asks me. Maybe Parrish. I haven't decided yet. But for homecoming, I definitely want to go with Craig. AUDREY Oooh, I see. Lee, who are you going with? ALIKE Umm. I'm not going.Arthur gives Alike an approving Daddy's girl wink. Alikebeams back. AUDREY Not going? This is your junior year. How can you not go? ARTHUR Leave her alone Audrey, if doesn't want to go, she doesn't have to go. AUDREY But it's her junior year, she's not gonna have any memories. ARTHUR I don't like all those boys buzzing around my daughters anyway. SHARONDA Nobody buzzes around Alike. ARTHUR That's right and it better stay that way. Matter of fact, I don't know if I'ma let you go. SHARONDA Daaa-aad?! 20. Alike smirks and takes her plate to the sink. Arthur jabs her on the arm as she walks by. Audrey tears into a dinner roll shooting daggers at anyone who dares to make eye contact.22 INT. LAURA'S KITCHEN - NIGHT 22 Laura brings a steaming cup of Ramen noodles to a worn kitchen table splayed with bills. Her older sister CANDACE, a stout 30 something with pleasant but hard-working looks scribbles notes on the back of an envelope while soaking her feet. Laura takes a sip of her soup and starts sifting through a pile of envelopes. LAURA How much we paid him last time? CANDACE Six twenty-five. LAURA So that makes--we owe another two seventy-five for the rest of the month. Candace pecks on a calculator and scribbles on the envelope. Laura flips through more bills. LAURA (CONT'D) Electric? CANDACE Half. LAURA Phone? CANDACE Let it ride. LAURA Gas? CANDACE How much? LAURA Eighty-five. CANDACE Half. No let it ride. Laura locks her hands on top of her head and leans back in her chair, surveying the financial carnage. 21.Candace reaches inside a CERAMIC HEN on the table and pullsout a wad of money. She counts out several hundred dollarsinto an envelope. LAURA I can get some more hours-- CANDACE No. You know what you need to do. LAURA Nah Candy, I can't just dip out on you like that-- CANDACE I was doing just fine before you moved in, remember? I can handle it.Laura sucks her teeth. CANDACE (CONT'D) You working was only supposed to be temporary. Mom would've wanted-- LAURA Who?! Man, don't even-- CANDACE She would've-- LAURA Stop.Laura pushes up from the table and glares at Candace, ashowdown. Candace stares back, unfazed. Laura caves first. LAURA (CONT'D) I'll get the money orders in the morning.Laura tugs at the envelope but Candace doesn't let go rightaway. LAURA (CONT'D) I'll look into it alright?Candace relinquishes the envelope and Laura stalks off downthe hallway to her room. CANDACE The next test is coming up soon! 22. LAURA (O.S.) I said I'll look into it! Candace smiles wanly and sips her soup. She takes a foot out of the water and kneads it.23 INT. SCHOOL BATHROOM - MORNING 23 Alike slams into her usual stall and launches into her `Superman' changing routine. She unrolls pulls a jersey from her backpack and yanks it over her head.24 EXT. SCHOOL LAWN - AFTERNOON 24 Alike sits off to one side of the stairs, headphoned into oblivion and scribbling into her composition book. A group of FAST GIRLS strut by and encamp on the opposite wall, giggling and yakking on cell phones. One of the girls, MIKA cuts a flirty smile at Alike. Alike turns away and buries herself in her book, but cranks down the volume on her iPod. MIKA'S FRIEND It was like seven of us--Me, Khalil, Misha, Tamara.... FAST GIRL #2 Tamara Marks? MIKA'S FRIEND Heeeell no--Fat Tamara. MIKA Oh I was about to say, Tamara Marks is a ughh--I can't stand her. MIKA'S FRIEND Anyway, it was all of us and oh Laura, you know that girl from the restaurant? She was there with one of her friends. Alike's ears prick up. MIKA That gay chick? Ya'll be hanging like that? MIKA'S FRIEND Yeah, well it's a couple of them. She's mad cool though, so sometime she come out with us every now and then, anyway-- 23. MIKA Man, y'all be doin' it on it weekends, let me find out! FAST GIRL #2 I told your butt to come. MIKA'S FRIEND But anyway-- MIKA Some of them AG's are kinda cute-- I'm not saying I would, but I would holla. FAST GIRL #2 I don't know about all that. MIKA Isn't that one of them over there? What's her name? Amika?--Alisha?The pack directs their attention at Alike. Alike profiles andattempts to look casual. MIKA'S FRIEND Alike. MIKA Yeah, Alike--she's cute too. FAST GIRL #2 Uugh. I don't be looking at them all like that.Mika smiles as her eyes travel down Alike's physique. Alike,aware of the admiring gaze tugs and smooths at her shirtunnecessarily. She licks her lips and readjusts the book inher lap, fighting hard to keep the grin off her face. MIKA Look, I'm not gay--but if I was gay I might talk to her. MIKA'S FRIEND She's in the middle anyway. MIKA Yeah, but if she was just a little more harder--Alike looks over and starts to nod when a CUTE BOY with locsswaggers up to the girls, drawing their rapt attention. 24. CUTE BOY `Sup ladies? MIKA FAST GIRL #2 Heeeey. What's up? The girls erupt into titters, and they melt into conversation. Alike deflates, watching them over the top of her book. She observes every little moment between the girls and the boy, every wink. Another BOY joins the group and they stroll off down the sidewalk. Alike plucks the headphones out of her ears, watching them leave. Mika casts a parting glance over her shoulder at Alike. Remnant's of Alike's grin return reflexively. Mika's friend jerks her elbow around. MIKA'S FRIEND Oooh--let me find out, Mika. You act like you bi- or something. MIKA I like girls but I love boys. FAST GIRL #2 FAST GIRL #1 Umm hmm ! I can't tell! Alike waits for them to disappear from view before snatching up her bag and bolting in the opposite direction.25 EXT./INT. - RESTAURANT STOCKROOM - DAY 25 Laura hoists a box of french fries onto her shoulder and moves inside the restaurant. LAURA Watch out, it's slippery. ALIKE So what do you think? LAURA I already told you what I think. ALIKE But you know her, right? LAURA I said I know of her, I don't know her know her. Alike hefts up a box and follows Laura back into the restaurant. 25. ALIKE I'm saying, you know her friend, right? You gonna introduce us? LAURA Just put those on that stack right there. Yeah, thank you. ALIKE You listening? LAURA I'm listening--all I'm saying is-- pass me that milkshake mix right there.Alike tosses Laura a bladder of milkshake mix. Laura catchesit. LAURA All I'm saying is that I don't think you should put yourself out there like that. Especially if you don't even know if she likes you like that. ALIKE She does. LAURA How do you know she does? ALIKE I just know she does. LAURA Hmmph. We'll see.Laura holds out her hand as if checking for rain and scansthe ceiling. ALIKE What're you doing? LAURA I thought I felt a drop of pig shit. ALIKE Shut up. 26. LAURA All I know is I been trying to get you to holla at girls in the club for the longest. ALIKE I don't want to holla at girls in the club. LAURA Obviously. Why you pressed about this chick?Alike shrugs. ALIKE I wanted to ask you about something else too. LAURA Oh God, what now? ALIKE I need you to get something for me. LAURA What?!Alike cocks her head at Laura. Laura frowns back. LAURA What?! ALIKE Just for my image.Alike raises her eyebrow. Laura shakes her head. The lightbulb goes off. She roars in disbelief. LAURA WHAAAAAT???!! You trying to strap!!?? Whaaatt?!! Oh my God, what are you going through... ALIKE Please. LAURA What difference you think having a bulge in your pants gon' make? ALIKE Pleeeeease. By next Friday. 27. LAURA Next Friday?! Okay-- Whatever. Oh my God I can't believe you ! Alright. Yeah. She better be cute for all of this...26 INT. ALIKE'S BEDROOM - AFTERNOON 26 Alike stares at herself in a floor length bedroom mirror in her underwear. LAURA I think it looks natural. A peach-colored dildo dangles stiffly from Alike's waist. The harness bunches her boxers in clumsy tufts. Alike appraises the racially inappropriate apparatus and shoots Laura a look. LAURA I'm serious, I mean it doesn't look that bad. ALIKE I can't believe you. Alike frowns at the dildo in profile. LAURA What?! ALIKE Laura, this doesn't look right. I'ma look stupid. LAURA Well, first of all-- I don't think its supposed to be on top of your underwear like that. ALIKE I'm not putting this thing next to my skin, it pinches already. Alike yanks at the harness and her boxers trying to pull it out of her bottom. LAURA It's supposed to fit like that. ALIKE They didn't have any brown? 28. LAURA I didn't have time for all of that. The brown ones were too big, anyway.Alike struggling with the apparatus. Laura smiles. ALIKE Ugh! You gotta take it back. LAURA I can't take it back. ALIKE Here's the receipt! LAURA Unh-unh. I'm not going back in there. One time was embarrassing enough. ALIKE You grown! LAURA Still what if somebody would see me in there? I'm not going back, that's it. ALIKE Then where's my change?Sharonda bursts into the room. SHARONDA Lee, where'd you put my make-up case...AHHH I'M GON' TELL. OOH LEE, I'MA TELL DADDY!Laura leaps from the bed and blocks Sharonda's path to thedoorway. Alike tackles Sharonda and wrestles her down to thefloor. Laura slams the door, shuts and locks it. SHARONDA Eeew get that thing, off a me! Get it off me it's nasty! I'm tellin'! LAURA Shhh!! ALIKE Shut up!!! Thought you locked the door?! 29. SHARONDA Eeew. Get it offa me! LAURA I did! ALIKE OK, look I'm offa you. Just be quiet and calm down. SHARONDA I'm tellin' that you got that thing. LAURA You can't tell. SHARONDA I'm telling. ALIKE Shut up. SHARONDA It looks nasty. ALIKE (to Laura) See, I told you so. SHARONDA Where's my make up case? I know you got it. ALIKE I just borrowed it.Alike pulls off the dildo and harness. SHARONDA Give it back.Alike fishes the make-up case out of her backpack. She holdsit out to Sharonda. Sharonda reaches for it. Alike jerks itback. ALIKE Promise you won't tell. SHARONDA Give it back.Alike flips open the make up case and jabs the dildo at it,stopping short of the surface of the make up. 30. SHARONDA LEE, STOP IT EEEW!!! I just got that one. LAURA Shhh!! SHARONDA Don't touch it with that... eeww that's so nasty. C'mon Lee give it back. LAURA Then promise you won't tell. ALIKE Promise... SHARONDA Ughh, I hate you.Alike jabs the dildo closer to the make-up. SHARONDA OK, OK I won't tell. Daag!Alike tosses the case at Sharonda who scrambles to catch it.Alike wraps the dildo back up in the bag and hides it behindher headboard. Sharonda saunters out into the hallway. SHARONDA I'm still tellin' AUDREY Tellin' what?Audrey peers into the bedroom from the hallway, still dressedfor work, shoulder stooped from the weight of her tote bag. ALIKE SHARONDANoth-- She took my makeup again. AUDREY Lee... (notices Laura) Oh. Hello Laura, I didn't see you standing there. LAURA Hi Mrs. Freeman. AUDREY How's your mother? 31. LAURA I haven't spoken to her in awhile. She's fine. AUDREY Well I hope so. And I'm so glad to hear your sisters finally getting back on her feet. Wasn't she-- LAURA She's good. ALIKE Mom?! Audrey fixes Laura with another hard glance and shoos Sharonda down the hallway. Laura starts to shut the door, but Audrey stops it with her arm. AUDREY I think we'll just leave this open. Let some air circulate in here. LAURA I was just about to leave, anyway. So... Audrey lingers, looking back and forth between Laura and Alike. Alike frowns at her mother. Satisfied that the conversation is over, Audrey moves off toward her room. Laura checks to make sure she's gone and whispers to Alike. LAURA Just try it.27 INT. NIGHTCLUB COUCH - EVENING 27 Alike squirms in her seat. LAURA Will you chill? You just gotta get used to it. Alike tugs at her crotch and attempts to cross her legs. ALIKE Owwww! Alike uncrosses her legs and yanks at her jeans. Laura bats her hand away. 32. LAURA Sit still, people gon' think you got something. ALIKE This joint hurts, man. I'ma go take it off. LAURA You not gon' take it off. ALIKE I'm gonna take it off. LAURA Where you gonna take it off at? ALIKE In the bathroom. LAURA Then where you gon' put it? You gonna walk around the club with a dick in your hand? Chill. I knew we shouldn't have done this. You blowin' me right now. ALIKE Then I'm out. LAURA Nah, you're `bout to stay and go through this. You're the one who wanted to meet her, not me. ALIKE Then you come on, too. Hurry up-- A group of girls approaches, one of them we recognize as Mika, the girl that likes Alike, from the bathroom. Laura stands to greet them. Nervous introductions all around. Laura shoots Alike a warning glance.28 INT. NIGHTCLUB COUCH - LATER 28 Laura is hugged up with two girls at the end of the couch. Alike fidgets in her seat and keeps pulling at the knees of her jeans. Mika hand in chin, stares into space. Alike does another pull-fidget combo. Mika rolls her eyes at her. MIKA You alright? 33. ALIKE Yeah, no, yeah it's just--there's a spring in the cushion or something. MIKA You wanna switch seats? ALIKE No, I'm good. MIKA And you don't wanna dance? LAURA Hey ya'll we're about to go dance! ALIKE No, no not really. I'm not really feeling the music. Mika sighs and looks around at the other dancing couples. Alike gives her jeans another tortured tug. Agonized minutes of awkward booming silence. MIKA Well you don't mind right? I mean you don't mind if I go dance with somebody else? ALIKE No, do your thing. MIKA If you change your mind-- ALIKE No, no it's cool. Mika escapes the couch and disappears into the crowd.29 INT. ALIKE'S APARTMENT - NIGHT 29 Alike slips off her shoes and eases through the kitchen. Audrey flicks on the light, blocking the hallway entrance. AUDREY I hope it was worth it. ALIKE Mom I lost-- AUDREY Save it. 34. ALIKE It won't happen-- AUDREY Oh I know it won't.30 INT. ALIKE'S BEDROOM - NIGHT 30 Alike peels off her jeans and lobs them into the top of her closet. She unharnesses the dildo and wads the tangled mess up in an old t-shirt. She stuffs the wad in back of the closet and slams the closet door shut, staring at her reflection in the mirror. Alike reconsiders and yanks the wad back from the closet.31 EXT. ALIKE'S APARTMENT - NIGHT 31 Alike stuffs the wad into a trash bag and plunges it deep into a neighbor's garbage can. She scurries back into her building and doesn't look back.32 INT. ALIKE'S LIVING ROOM - MORNING 32 Alike skulks on the couch in wrinkled khaki pants and a cotton button down shirt. An obnoxious R&B video plays on the TV. Sounds of bustling and the drone of a hair dryer fill the room. AUDREY (O.S.) Turn that mess off!! Alike turns the television volume to low and continues watching. AUDREY (O.S.) Sharonda?! Sharonda are you ready?! Stop lollygagging! SHARONDA (O.S.) I'm coming! AUDREY Lee are you ready?! Lee?! Audrey hobbles out with one high heel on. She snatches the remote from Alike and snaps the TV off. AUDREY (CONT'D) I said off. Thought you were ready? 35. ALIKE I am ready. AUDREY You're not going to church looking like that. Where's the blouse I bought you? ALIKE What's wrong with this? The front door bursts open, and Arthur tromps in, his police uniform hanging open over a white undershirt. He slings a heavy F.O.P tote bag on the floor and strips off his shirt as he crosses to the kitchen. Audrey rushes over and buzzes around him.33 INT. ALIKE'S KITCHEN - CONTINUOUS 33 AUDREY Hey there, you're home early--well actually late. I thought you would have called-- ALIKE Dad-- ARTHUR Do what your mom says. Audrey scuttles over to where Arthur is now digging through the open fridge. He pulls out a foil covered plate, tears open one corner, sniffs it. AUDREY Are you hungry? Let me heat it up for you. Arthur heads toward the microwave with the plate. Audrey intercepts the plate from him and dumps the contents into a skillet. AUDREY (CONT'D) I'll heat it up on the stove for you. Tastes better. ALIKE Dad-- AUDREY Lee! 36. ARTHUR Leave me out of it. AUDREY Go get changed. ALIKE Dad, what's wrong with this outfit? ARTHUR Nothing. ALIKE See? AUDREY I'm not gonna argue with you. ARTHUR Do what she says. ALIKE Dad-- ARTHUR (speaking bad Tarzan Swahili) Umgowa! AUDREY And put on a skirt!Alike stalks off to her bedroom. Sharonda bounces into thekitchen. SHARONDA Hey Dad! AUDREY Too much lipstick. SHARONDA It's lipgloss.Audrey wheels on Sharonda with a death glare. SHARONDA (CONT'D) Okay, okay. ARTHUR Gimmie kiss.Sharonda pecks dad on the cheek. Dad wipes his cheek and rubshis fingers together. 37.Sharonda giggles and bounds back into her bedroom. Audreyslides a steaming plate in front of Arthur. AUDREY Did you talk to her? ARTHUR Get me a beer, please. Sharonda's fine. AUDREY I'm talking about Lee. ARTHUR Alike. And I don't see that there's a problem. AUDREY I'm tired of this tomboy thing she's got going on. And Laura. You said you were going to handle it. ARTHUR Umm-hmm. AUDREY She needs a male point of view. ARTHUR I said okay, dammit! Now can I please have a beer please? AUDREY It's Sunday morning. ARTHUR It goes with the spaghetti.Audrey lifts a beer out of the fridge and slides it in frontof Arthur. She pulls up a chair as he plows through the meal,her expression softening as she caresses his forearm. AUDREY Do you have to work tonight? ARTHUR To put food on the table and clothes on our backs, no. To go out to restaurants and keep designer sneakers in the closet, yes. AUDREY Are you forever gonna be mad? 38. ARTHUR Are you forever going to be happy? (beat) You made that decision a long time ago. AUDREY We both made sacrifices.Alike stomps back into the kitchen wearing the pink v-neckthat Audrey bought her and an unflattering pleat-front skirt.Arthur stifles a giggle behind his beer can. ARTHUR You look beautiful, baby. AUDREY Tuck your blouse in. ALIKE This isn't me. AUDREY Tuck your blouse in. ARTHUR Leave it out.Audrey frowns at Arthur. Arthur stands his ground. ARTHUR (CONT'D) I think it's fine out. What's the deal with you and Laura? ALIKE What deal? AUDREY Comin' in late... ALIKE Dad, I hardly ever-- ARTHUR Why don't you give that a break for a little while? ALIKE Dad, come on... AUDREY (to Alike) You heard him! (MORE) 39. (to Sharonda) Sharonda! You done?! Alike spins into the living room defeated. SHARONDA (O.S.) Coming! AUDREY You coming with us? ARTHUR Nope. Sleep. AUDREY We could go to a later service. The one o'clock-- ARTHUR I said NO!! Arthur slams his fork on the plate. Audrey flinches. Alike looks up. Sharonda appears in the doorway, looking from Audrey to Arthur. SHARONDA I'm ready. Arthur pushes up from the table. ARTHUR Alike, you look beautiful. Everybody looks beautiful, okay? Arthur disappears into the bedroom. Alike snatches up her bible and launches out the door, Sharonda follows. Audrey pulls on her sunglasses and hat and slams the door behind her.34 EXT. CHURCH - DAY 34 Alike sits in the passenger seat of the car as Audrey chit chats with other churchgoers. Sharonda sits in the back seat, flipping through a CD case and occasionally passing CD's to Alike to play. Alike faces stonily forward except to cast impatient glances in Audrey's direction. Audrey raps on the window. AUDREY Lee! Lee! Here's someone I want you to meet. Alike cracks the window an inch. 40. ALIKE Huh?Audrey motions to Bina standing by with her mother, Ms.Singletary. Alike cracks the window a little wider andacknowledges them with a half-hearted wave. ALIKE (CONT'D) Oh. Hey. AUDREY Get down out the car and come speak.Laboriously, Alike rolls the window back up, turns off thecar radio, and climbs down out of the car. AUDREY (CONT'D) What's wrong with you? ALIKE Alright, Mom. AUDREY You'll have to excuse her, she's been feeling rude lately. MRS. SINGLETARY Oh don't worry, Audrey, I understand how it is. Hormones. It's just a phase. AUDREY Alike, this is Mrs. Singletary, one of my co-workers and her daughter, Bina. Sylvia, Bina, this is my daughter Alike, we call her "Lee" for short.Alike shakes both of their hands in turn. ALIKE Hi. MRS. SINGLETARY Hello. ALIKE Nice to meet you. BINA Hi. 41. AUDREY And this is my youngest daughter, Sharonda. SHARONDA Hi. BINA Hi. MRS. SINGLETARY Hi there, nice to meet you. AUDREY Lee, Bina goes to the same school as you. ALIKE Cool. BINA Yeah, I think I've seen you around. Mrs. Alvarado's class right? AP English? ALIKE Yup.Audrey looks pleased with herself. Alike squirms. AUDREY So. Now that we're all acquainted, don't be a stranger. MRS. SINGLETARY Oh no, we won't. AUDREY Bina I think you and Lee may even go to school the same way. Don't you live off of St. James Place? MRS. SINGLETARY There is something to be said for safety in numbers.Bina nods. Alike squirms. MRS. SINGLETARY (CONT'D) Well, we need to be pushing off -- I'll call you about those VBS workbooks. 42. Alike retreats into the car, Sharonda hops in behind her. Alike reaches over and turns the key in the ignition. AUDREY Alrighty, I'll be around. Take care. Alike toots the horn. Audrey circles and gets in the driver's side.35 INT. FAMILY CAR - CONTINUOUS 35 ALIKE You're funny. AUDREY I don't know what your problem is. SHARONDA Can somebody put in this CD please? Audrey cranks the ignition and starts to back out. ALIKE I don't know what you think is going to change. AUDREY I know God doesn't make mistakes. I know that much. An invisible scab is ripped open in Alike and the fire dies in her eyes. Satisfied, Audrey slips the car into gear. AUDREY (CONT'D) You may not like Bina, but you're certainly gonna be spending much less time with that Laura person, I guarantee you that much. SHARONDA Moooom, can you-- AUDREY Be quiet. Nobody's putting in anything. I'm gonna listen to what I want to listen to for a change. Alike wilts against the window and tacky zydeco music leaks from the car as it jerks away from the curb and into traffic. 43.36 EXT. STREET - DAY 36 Alike strides down the sidewalk. Bina speedwalks to keep up. BINA Look, I don't like lying to my mother, that's all. ALIKE Then don't, she doesn't have to know. BINA She does. She asks me everyday. ALIKE So tell her yeah. BINA No, I'm sick of lying to cover for you. ALIKE So don't. Bina stops short. Alike keeps walking. BINA Look Alike, Lee. Whatever it is you wanna be called. I'm not trying to hang out with you, either, but I'm not about to take an L for it. So stop dodging me, let's just go to school together and be done with it. We don't have to see each other any other time than that. Alike doesn't miss a step. Bina yells after her. BINA (CONT'D) Whatever, my mother asks me again, I'm telling her. Then she can tell your mother, then it's whatever for you. Alike stops short. Bina crosses the street and continues in the direction away from school. Alike spins around scanning the street, then catches sight of her on the opposite sidewalk. ALIKE Hey! Bina keeps on pushing, the school now in sight. 44. ALIKE (CONT'D) Hey!Alike checks for traffic then dashes across the street tocatch up with her. ALIKE (CONT'D) Hey look, I'm sorry. BINA Yeah, you sorry your mom is gonna bug out. ALIKE No for real, I'm sorry. I didn't mean to be that way. It's just... OK, I am concerned that my, my mom will find out, but... BINA But? ALIKE It's not like that. It's just-- she's just. If you knew her, you'd understand. She's like, I don't know.The girls walk in silence for a moment. ALIKE (CONT'D) So what's your favorite class? BINA You don't have to make small talk. Let's just walk. ALIKE I said I'm sorry. It's not you, it's just that my mom is like, she's like... BINA Overprotective?Alike relaxes her shoulders, both relieved and surprised. ALIKE Yeah. BINA I can tell. I've seen--I mean, a lot of people's parents are like that. 45. ALIKE Yeah? BINA Yeah. ALIKE Yeah. But probably not like mine. But anyway... BINA Anyway, like I said, we don't have to talk. Just walk. Alike's cell phone chirps--it's Laura. Alike sighs and stuffs the phone back into her pocket.37 INT. LAURA'S BEDROOM - DAY 37 ALIKE (V.O.) Hi! This is Lee, I'm not able to answer my phone right now-- Laura snaps her cell phone shut. A GED study book still glossy and uncreased is propped open on the bed in front of her. She opens her cell phone again and pulls up Alike's number. Her thumb hovers over the `talk' button. She snaps the phone shut and tosses it aside before turning the radio down and dragging the book closer. The cell phone rings and she snatches it up. A picture of a girl making a kissy face with the name "Tasha" underneath blinks onto the screen and Laura snaps the phone shut and tosses it aside. She hoists the GED book into her lap and lets her head hit the wall. There is a knock at her bedroom door and Candace peeks in. CANDACE How's it comin'? LAURA It's good. Candace smiles at Laura and hesitates before closing the door. Candace turns the radio off before ducking back out. Laura sighs and flips back to the beginning of the book.38 INT. SPORTS CLUB BASKETBALL COURT - DAY 38 Alike and Arthur cavort in a sloppy half-court game in the fluorescent glare of the gym. Well-heeled clientele cross to and fro munching power bars and sipping Gatorade. Arthur has an awful shot, but Alike's is worse. Alike heaves a huge airball past the basket. 46. ARTHUR Oh my God!! Alike cracks up as Arthur chases down the ball. ARTHUR (CONT'D) That's just embarrassing! ALIKE You ain't got no range, either. ARTHUR Yeah but at least I hit the backboard. Damn. Alike rushes to guard Arthur who dribbles clumsily around the key. He tries a crossover move and lobs an ugly shot toward the basket. ALIKE Brick!! Laughing, they tussle over the rebound. Arthur recovers. ARTHUR What's the score? ALIKE One up. ARTHUR One? ALIKE Yup! ARTHUR One? Nah, I definitely have like three. At least three. Giggling, the pair rollick in another squeaky-shoed play.39 INT. LIQUOR STORE - NIGHT 39 MACK, the store proprietor leans against the counter flipping through a newspaper. Arthur, in uniform mulls through the sports section. A ratty looking man, SOCK sips from a red plastic cup. Mack cranks the volume on the tiny television above the counter. 47. MACK It's on again... Check it out Free. Channel 5 and Channel 2.Arthur appears on the TV screen, dressed in suit, tie,sunglasses and looking impressive. He is talking to a newsreporter and a bad news graphic reading "East Side Drug Bust--Detective Arthur Freeman" blots out the bottom of the screen. SOCK Look who's big time. MACK Brother was looking clean though. Looked just like, look like...uh-- Danny Glover!Arthur and Mack laugh and slap hands. Sock sneers at theirrevelry.The bell over the door tinkles and a heavyset BUTCH WOMANstrolls in. Her head is shaved and a thick wallet chainclinks against her ample carpenter pants. All three men turnto stare. MACK (CONT'D) Been more of that since they opened up that new club `cross the way.Arthur grunts and returns to his paper. SOCK (to Butch Woman) Excuse me Miss??!! Miiiiissss??!! MACK Certain Friday nights they got, you know special parties going on. SOCK Or should I say Sir??!! Siiiir??!! Hello?!! ARTHUR Chill out, Sock. SOCK Hey, my man! You hear me talkin' to you?!Mack snatches Sock's cup. Sock pivots around to protest. SOCK Hey!! 48. MACK Mind your business.Sock yanks his cup back and turns to resume his taunts. He'scaught off guard and stumbles backward as the woman pushes upto the counter with a case of liquor. Arthur steps out of theway and observes. BUTCH WOMAN And a pack of Kools.Mack nods and fishes under the counter. SOCK Say, I been trying to get your attention. Do you go by Sir or Miss? MACK That'll be all ma'am? BUTCH WOMAN Yeah. SOCK Look I just had a simple question I wanted to ask. See, I just want to know how does pussy taste?The woman directs her full attention at Sock for the firsttime. Mack watches as he quickly punches in the sale. Arthurstiffens. SOCK (CONT'D) You know, I just wanna know if you go with women for the taste, or is it just you're too big, black, and ugly so don't no man want you?Sock laughs at his own nasty joke and takes a sip from hiscup. MACK $65.07 ma'am.The woman counts out the money and smiles at Sock. BUTCH WOMAN I can't lie, pussy do taste good. SOCK Oh yeah?The woman takes her time putting away her change. 49. BUTCH WOMAN (CONT'D) Maybe you should try it yourself sometime. Or better yet--The woman picks up her case. BUTCH WOMAN (CONT'D) --ask yo' wife how she likes me!The woman winks at Sock. Arthur chokes back a guffaw. As soonas the woman clears the door, Arthur and Mack explode inlaughter. Sock is livid and screams after her. SOCK Fuckin' Bulldagger! He-She! Dyke! MACK Ask your wife! ARTHUR She told you. SOCK She ain't tell me shit! I don't know what the fuck y'all niggas are laughing for! MACK Awww shut up. Your big mouth got you in trouble as usual. SOCK Thought you was my friend, Mack. But I guess I ain't expect you to defend me Free, the way your daughter is--Arthur slams Sock against the counter before he can finishhis sentence. ARTHUR Say what?! MACK He don't mean nothin'! He don't know what he's talking about!Arthur grinds Sock's collar tighter around his tremblingfist. Sock glares back, clearly punked. MACK (CONT'D) He ain't moved outside a two-mile radius of where he crawled out his mammy's pussy. He don't know shit. 50. SOCK (to MACK) I been to Poughkeepsie! Arthur snorts and flings Sock loose. MACK Carry your Poughkeepsie ass on out of my store! Mack sweeps Sock's plastic cup off the counter and into a garbage can. Sock tromps to the door. SOCK Fuck y'all! ARTHUR I should arrest your ass. SOCK Man, fuck y'all!! MACK Free, don't pay him no mind. Just talkin' trash. Mack playfully jabs him in the shoulder and bustles underneath the counter. Arthur's eyes linger on the door and his jaw tightens.40 INT. LAURA'S KITCHEN - DAY 40 Laura swings through the front door of her apartment, Alike close behind. She slides two twenty dollar bills underneath the ceramic hen on the table and breezes into her bedroom.41 INT. LAURA'S BEDROOM - LATER 41 Alike is a paper doll in Laura's floor length mirror, dressed only in boxers and a wife beater. Laura holds a bright orange polo shirt up in front of Alike's torso. Alike cocks her head to the side and considers. LAURA Damn, this is your color. So what's the deal incog-negro? ALIKE Mom has me hemmed up. 51. LAURA Your phone ain't broke. You coulda called a nigga. Put this on.Laura pulls away the orange polo shirt and hands Alike aturquoise one instead. Alike hoists the oversized shirt overher head. ALIKE My bad. She's making me hang out with this chick from church. It's crazy. LAURA Makin' you?! You a grown-ass woman, bruh!Laura shakes her head as she plucks a brand new baseball capfrom the wall rack and drops it onto Alike's head. Alikeconsiders and takes it off. Laura puts another cap in itsplace. Before Alike can object, Laura tosses her a pair ofdenim shorts. LAURA (CONT'D) Try these with it. So I guess the piers is out for Saturday, huh? ALIKE I don't even know if that's me anymore.Alike struggles into the jean shorts, widening her stance sothey don't fall down. Laura tosses her a belt and admiresAlike's reflection. LAURA Yeah, that's hot, yo. You should rock that. ALIKE (CONT'D) I was gonna see if you wanna do something different?Alike strips off the baseball cap and hangs it back on therack. LAURA Different like what?Alike peels out of the polo shirt. ALIKE I don't know--maybe like a open mic or something. 52. LAURA Open mic? Nah, man. It's plenty chicks at the piers, you just gotta be more confident. Laura crosses to her closet and scans its inventory. The jeans are arranged crisply on hangers from light to dark and some still have store tags. Most of the shirts are still enclosed in protective plastic covers from the dry cleaners. Laura passes Alike a perfectly folded button down shirt. LAURA (CONT'D) You can rock this. I haven't even worn it yet. But I understand if you got better things to do. Alike holds the shirt against her torso and stares at her reflection. She catches Laura's eager look in the mirror and wilts. ALIKE Nah, I'm down. LAURA You sure? I don't want you getting hemmed up. ALIKE Nah seriously, I'm down for whatever. LAURA Real? ALIKE Promise. LAURA That's what's up! I'ma take the whole day off. It's gonna be tight watch... we gon' do it up! Laura holds a new pair of jeans against her body and does a little dance. Alike laughs wanly.42 INT. ALIKE'S PARENT'S BEDROOM - EVENING 42 Audrey sits between Alike's knees as Alike oils her scalp. Alike takes her time, massaging each braid between her hands before moving to the next. Audrey reads an Essence magazine, the cover of which reads "101 Ways to Please Your Man." 53. ALIKE You should wear your hair down sometimes. AUDREY Your father likes it up. ALIKE It looks nice down. Alike catches her mother's eye in the mirror's reflection, they share a sad moment. Audrey closes the magazine and tosses it back onto the bed. AUDREY Maybe. Anyway give this back to Bina's mom when you go over tomorrow night. ALIKE Saturday night?! AUDREY We talked about this. ALIKE No we didn't. AUDREY Lee-- ALIKE I had plans for this weekend. AUDREY Well, you don't have to go to Bina's on Saturday night, you can always stay home with me. ALIKE Oh my God!43 INT. BINA'S BEDROOM - EVENING 43 Bina sits on the floor, flipping through CD's. Alike sits in a chair, head in hand, completely disinterested. BINA You like Destiny's Child? ALIKE Uhh-uhh. 54. BINA Jay-Z? ALIKE Nope. BINA Fifty? ALIKE No, I don't really like any of that commercial bullshit.Bina looks up, off balanced. BINA Oh. Who do you like?Alike checks the time on her phone. ALIKE Shit!Alike starts packing her backpack. ALIKE (CONT'D) Just more underground stuff. None of that crap they play on the radio. BINA Like who? ALIKE People you probably haven't heard of. Conscious stuff. BINA Like who? ALIKE Roots. Black Star. Asheru and Blue Black. Pharcyde. BINA Pharcyde? I heard of Pharcyde. ALIKE Ah--for real? BINA Yep. Tribe? J-Rawls? Bahamadia? 55.Alike perks up, looking genuinely interested for the firsttime. ALIKE Uh-oh, whatchu know about Bahamadia? Let me find out.... BINA I'm not as generic as you think.The phone rings. Mrs. Singletary answers from another room.Alike and Bina freeze, listening. MRS. SINGLETARY (O.S.) Hello? Hi Audrey. Yes. Yeah she's here. I understand--Alike sulks. Bina flips to the back of the CD book. BINA Alright, how about Rock? ALIKE It's cool. BINA Whatchu know about Santogold? Since you all underground and stuff. ALIKE She's tight. BINA Tamar-kali? ALIKE I haven't heard of her, I heard of Res.Alike hoists the backpack onto her shoulder and stands toleave. BINA Oh no this is way better, you gotta check her out.Bina jams her iPod onto the stereo adapter. The thick, fierceguitar rhythms of Tamar-kali's "Boot" consume the room. Binachants the lyrics along with the music. BINA (CONT'D) "Her hair is short. Her legs are brown. Her lips are full. Her head hangs down." 56. Alike plops back down in her chair. ALIKE Wow.44 INT. ALIKE'S KITCHEN - SAME TIME INTERCUT 44 Audrey smooths a pink sticky note onto a foil covered plate and shoves it into the fridge. The doorbell rings and she rushes across the room and opens the door in her most sing- song voice. AUDREY He-llooo. LAURA Hello Mrs. Freeman. Is Lee home please? AUDREY She's out with her friend right now, Laura. You take care. Audrey starts to close the door. Laura stops it with her hand. LAURA Oh. Umm do you know when she'll be back? AUDREY No, I believe she's out for the evening. LAURA Oh, because we had umm... alright then... Thank you. AUDREY Goodnight. Audrey shuts the door harder than necessary. Laura checks her phone and shakes her head.45 INT. BINA'S BEDROOM - SAME TIME INTERCUT 45 BINA "Twist a virgin `round your dirty little finger! (MORE) 57. Blood is gone but the memory lingers...twist a virgin `round your bloody little finger, love is gone, but the memory lingers!" Alike is bobbing her head, backpack forgotten on her shoulder. Bina cranks the volume down. ALIKE Yo, this shit is hot! BINA Told you. Don't you have to go? I'll cover. It's cool. ALIKE Nah, I wanna stay. Alike slings her backpack to the floor and pulls the CD book into her lap. Her cell phone rings and she ignores it.46 EXT. THE PIERS - LATER 46 The pier is a parade of mohawks, curly weaves, tight jeans, and rainbow belts as groups of baby dykes, young queens, and gender queer youth of all shades of brown stroll cavort, and strut seeing and wanting to be seen. Equally bedecked observers hoot and yell from bench and rail perches on both sides. Laura jabs numbers into her cell phone. Competing threads of house music throb across the boardwalk in muffled bursts as groups of ballers vogue and prance behind her. ALIKE (V.O.) Leave a message and I'll call you back. BEEP. Laura yanks her phone away from her ear and looks at the screen. She starts to hang up but pulls it back to her ear. LAURA Where you at? Hit me up when you get here.47 INT. BINA'S BEDROOM - LATER 47 Alike and Bina are sprawled in the floor. Bina DJ's from her laptop. ALIKE Mrs. Alvarado was trying to get me to check out this one place. 58. Alike hands her the flyer. Bina laughs and tosses it back. BINA Oh hell, no. That's for old people-- I'll write down some places you should check out. Maybe you could read some of my stuff, too. ALIKE Definitely.48 EXT. THE PIERS - SAME TIME INTERCUT 48 Laura scowls at her cell phone screen. She shoves the phone in her pocket and pulls her hoodie up against the chill of the evening. Brake lights bathe Laura and her circle of AG's in red as late-night predators cruise the strip for fresh meat. Laura catches sight of shady sexual encounters in an alley across the street and looks away. One of the entourage passes Laura a joint and she inhales deeply. A few of the girls have backpacks and the group is pensive as they break off and scatter into the night one by one. PIER GIRL #1 `Member when we used to stay out here all night? PIER GIRL #2 Shit, used to? PIER GIRL #1 You stay with your sister now, huh? Laura nods and spits. PIER GIRL #2 Lucky as hell.49 INT. AP ENGLISH CLASSROOM - AFTERNOON 49 AP English class is a safe haven. The desks are pulled together in a rough circle and are filled with heavily pierced, dyed hair, and vintage clothes types. Mrs. Alvarado sits cross-legged atop her desk taking notes. Alike stands at the center of the circle reciting an original poem. ALIKE A butterfly, briefly Suffocated On the mucous of its own change Imprisoned (MORE) 59. By the membranous chaff of its own underdeveloped Wings And Cramped In the darkness of the too-tight cocoon of its own creation Pauses Thinking death inevitable Prepares to die in the absolute solitude Of Swollen Husk. A c r a c k appears A thin jagged light connecting The inner to the outer world A butterfly, briefly Paralyzed by the imminence of death Discovers life is possible. The class claps. MRS. ALVARADO Comments? Critiques? Julie, tell me what you think. A forest of hands go up as Alike winds her way back to her seat. A few classmates whisper brief encouragements. Bina nods and smiles at Alike. Unguarded, Alike smiles back.50 EXT. STREET - DAY 50 Bina and Alike troop home at a more leisurely pace. Alike breaks the silence for once. ALIKE I liked your story, though. It was tight. BINA Yeah? Which one? The one about the-- ALIKE The one about karma, how things come back to you. That one, I thought it was tight. BINA For real? Thanks. I wasn't gonna say anything, but I liked yours too. ALIKE Why? 60. BINAWhy did I like it or why wasn't Igonna say anything? ALIKEWhy did you like it? BINAI don't know. I guess because itfelt honest. ALIKEOh. BINADidn't you have on a differentshirt earlier? ALIKEWhat? BINANothin'. ALIKENo, what'd you say? BINANothin'. ALIKEYeah, I had on a different shirt. BINAOh... Well, that's cool. ALIKESo why weren't you gonna sayanything about it? BINAAbout your shirt? ALIKEAbout the poem. BINACause you're moody. ALIKEMoody? BINAAnd quiet. 61. ALIKE Man, I'm not moody. BINA Yeah, right. Bina stops. ALIKE What? BINA This is me. Alike looks up at the stoop, surprised. BINA (CONT'D) It's not so bad when there's some conversation, huh? Alike looks away. BINA (CONT'D) You wanna come up?51 INT. BINA'S BEDROOM - AFTERNOON 51 Alike sits on Bina's twin bed, looking around and really taking in the room for the first time. She reaches over and picks up a little molded soldier figure off of the shelf. Bina fishes around in a rack of CDs. ALIKE Who gave you this? BINA What the bear? My dad. ALIKE No, this. Alike holds the figurine out, Bina looks at it over her shoulder. BINA Oh that. Girl, my stupid ex- boyfriend gave me that. ALIKE Oh. Cute. Bina opens a CD case and pulls the booklet out. 62. BINA Not really. I mean I guess it was at the time.Bina lobs the little army man into a trash can across theroom and hands Alike the booklet. BINA (CONT'D) Anyway, this is the other artist I was telling you about. Her stuff is like, bouncier.A buoyant Afropunk beat wafts through the bedroom. Bina plopsdown on the bed next to Alike. ALIKE This is straight. You'll burn me a copy? BINA Yeah, I have a bunch of other stuff, too. (beat) So who do you hang out with? I don't really see you with anybody.Alike shrugs and rifles through her backpack. She pulls outher composition book. Awkward silence. BINA (CONT'D) I didn't mean it like that. I was just asking because I was curious. I don't really like anybody that goes there either. ALIKE My friend Laura used to go there. Not now, but she's going back. BINA Oh because, I was just gonna say-- I'm going to this house party and you can come if you want to.Bina waves her hand at the radio. BINA (CONT'D) They play this kind of music. ALIKE Sure. How'm I supposed to dress? 63. BINA You don't dress. You just come however. Come as you are.Alike nods. BINA (CONT'D) Can I see?Bina snatches the book from Alike's hands and starts flippingthrough pages before Alike can answer. ALIKE Yeah...But that's mainly old stuff, though. BINA This is the one you did today? ALIKE Yeah. BINA Nice.Bina offers the journal back to Alike. Alike reaches for it.Bina pulls it away at the last second--an impromptu game ofkeep away. BINA (CONT'D) Take it.Alike misses again. The girls crack up. BINA (CONT'D) Sorry, here.Bina yanks it away again. Alike gives up, still smiling. ALIKE You play too much. BINA Seriously, it's right here. Just take it.Alike summons the courage for one last swipe. She manages tograb it but Bina doesn't let go right away. The girls lockeyes during the extemporaneous tug-of-war. ALIKE Thank you... 64. BINA You're welcome... Beaming with her victory, Alike busies herself with the journal. Bina recruits a small stuffed moose for her next foray. She dances the moose up Alike's arm and plants an exaggerated peck on her cheek with it. BINA (CONT'D) Mmmwaahhh! The girls erupt into renewed giggles. Bina tosses the stuffed animal aside and scoots closer to read over Alike's shoulder. BINA (CONT'D) What's so private? ALIKE Nothin', just my writings... Bina studies Alike's profile. She leans in and pecks Alike on the cheek. Alike lets the kiss soak in, glancing at Bina sidelong. Bina leans in again, this time planting a long kiss on Alike's lips. Alike pulls away. Bina tenses for the verdict. ALIKE (CONT'D) Why'd you do that for? BINA Sorry--- ALIKE No, I'm sorry. I just umm...I gotta go. BINA I thought-- ALIKE Sorry. Alike blindly grabs up her things and rushes the door, Bina flounders in her wake.52 INT. LAURA'S LIVING ROOM - EVENING 52 Laura and a group of friends play a rowdy game of spades. A cute Puerto Rican girl is draped around Laura's neck like a PERSONAL CHEERLEADER. Music blasts from the TV but doesn't drown out the hoots and banter of the rollicking entourage. There is a knock at the door. 65. LAURA You'll get that for me?One of the friends breaks away from the pack, opens the doorwithout greeting and walks away. Alike is left alone toescort herself in. Laura hardly looks up as Alike stops atthe fringes of the pack. ALIKE Wassup man.A collective grumble of greeting goes up around the tablealthough no one addresses Alike directly. Laura slams thetable and raises her hands in triumph. LAURA Board, goddammit!! I told you! PIER GIRL #1 Awww, we shoulda been done set you!Laura slaps hands with her partner. The unlucky pair ofpartners argue. The personal cheerleader kisses Laura on theneck. Alike looks away. PERSONAL CHEERLEADER Good game, baby! LAURA What's good, Lee? ALIKE Just came to say wassup. LAURA Whatchu got, Ty? PIER GIRL #2 Three, maybe four. LAURA We goin' eight!!Roars of disbelief from around the table. Alike is quicklyforgotten in the ruckus. Alike circles to Laura's side. Thepersonal cheerleader looks her up and down. ALIKE Can I talk to you for a second? LAURA Now I got to cut you!! Grab `em partner. We gonna run a Boston on that ass! (MORE) 66. (to Alike) Yo, I'm busy right now. More raucous laughter from the table. Alike endures another few moments of card slapping, table pounding dejection before leaning into Laura's ear. ALIKE I really need to talk to you-- LAURA I said later! Wide-eyed silence and scattered snickers around the table. Laura resumes her hand and the game banter cranks back up. Alike picks up her face and slips away. PIER GIRL #3 Thought that was your girl? LAURA Mind your business. Bam! That's what I thought! Laura slaps another card on the table and takes a deep swig of water.53 INT. ALIKE'S PARENT'S BEDROOM - NIGHT 53 Audrey lies awake in bed. The clock on the nightstand indicates a little past two in the morning. She looks at the sliver of light underneath the bedroom door, the sound of Arthur's key in the door breaks the silence. Arthur's voice in hushed tones. Audrey rolls over and faces the wall.54 INT. ALIKE'S BEDROOM - NIGHT 54 Alike watches her father's footsteps break up the light beneath her door. She tosses off her blankets and springs into the hallway. ALIKE (loud whisper) Hey Dad! She is talking to empty air. She eases down the hallway toward the kitchen and the sound of his muffled voice. ALIKE (CONT'D) Dad? 67. ARTHUR (O.S.) Come on now, you know that's not what I want. That's not what I'm saying. That's not--listen to me. Are you gonna listen to me? ALIKE Mom? Alike stops short outside the kitchen door, confused. ARTHUR (O.S.) Lee? Hold on.55 INT. ALIKE'S KITCHEN - CONTINUOUS 55 Alike swings around the corner. ALIKE Huh? ARTHUR No, not you. (into phone) Hey, I'll talk to you later, alright? My daughter's up. Arthur flips his cell phone shut and tucks it into his pocket. He fishes a beer out of the fridge. ALIKE Who was that? Arthur sips his beer and walks over to the kitchen table. A foil covered plate with a little pink sticky note waits. ARTHUR What you doing up? ALIKE Just wanted to talk. Arthur crumples the sticky note and tosses it into the trash without reading it. He peels up one side of the foil, peeks at the food underneath, and launches it into the trash, too. ALIKE (CONT'D) Dad, the plate--don't trash the plate. Arthur strips off his dress shirt and tie and flings them into the living room. 68.Alike rescues the plate from the garbage and carefully laysit in the sink so it doesn't clatter. ALIKE (CONT'D) Aren't you hungry? ARTHUR Ate already. ALIKE You ate at work? ARTHUR No, just grabbed some take out. ALIKE Oh. Where?Arthur explodes. ARTHUR Why you asking me all these goddamn questions, girl? What's wrong with you? You don't question me. ALIKE Sorry.Alike starts to head back to her room. ARTHUR Hold up. I'm sorry, Alike come on back. Look-- I got patties...Arthur tosses a greasy bag onto the table and pulls out achair for her. ALIKE Beef? ARTHUR And chicken. C'mon.Alike sits happily and the two munch in silence for awhile. ARTHUR Listen uh...Your momma's worried that uh...How's school? Straight A's? ALIKE Probably. 69. ARTHUR That's right. Want a sip?Arthur offers her the beer. Alike takes it to the head. ARTHUR I said a sip. A sip!Arthur snatches the beer from her. They laugh. Alike picks ather patty, eating little pieces of crust. ARTHUR (CONT'D) What's on you your mind? ALIKE Nothin'.Arthur snorts. ALIKE (CONT'D) What if--what if...say somebody liked you right? ARTHUR They like you? Or they like you, like you? ALIKE Say they like you, like you. ARTHUR Uh-huh. ALIKE I mean, they haven't said anything yet. But what if... so what if the person is kinda like a friend, but you know they like you more than that? ARTHUR Well, I think that's the best way to start--as friends. ALIKE But then what if...What if the person is --Arthur scents the heavy news packed in Alike's expressivepause and scrambles to intercept her at the pass. ARTHUR (CONT'D) What's his name? What grade is he in? (MORE) 70. I'ma look his ass up in the system. Ha-ha! Wait `till your mama finds out. She'll be so goddamn happy.Alike plays along, swallowing her disappointment. ALIKE Yeah.Arthur pushes back from the table and pulls a fresh policeuniform out the hall closet. He lays it across the back ofthe couch and unzips his pants. Alike turns her back to givehim privacy. ARTHUR Say uh--there's this new--uh women's club up there by the liquor store--have you--do you--you haven't heard anything about it, right?Alike shakes her head no. Arthur tucks his undershirt intohis pants. ARTHUR (CONT'D) Called the Kitty Litter, the Catbox, something like that? ALIKE Nah, I never even heard of it. ARTHUR Good. `Cause you know that's a uh...it's a rough neighborhood. You know that right? I had a case over there. You wanna be careful--stay away from that element. Just in case it ever comes up? ALIKE I'll be careful. ARTHUR Good. I know you will.Alike glances back at Arthur and sees that he's decent. Shescoots back around to face him. Arthur smooths his uniformshirt into his pants. ALIKE Dad, when you were on the phone earlier? It sounded like...I mean...I guess you're headed back to work, huh? 71. ARTHUR Yep. Your mama still up? ALIKE Probably. ARTHUR Tell her I had to work. Arthur picks up his work tote and kisses Alike on the forehead. ARTHUR (CONT'D) Love you.56 INT. LAURA'S KITCHEN - MORNING 56 Laura jams a pillow into a t-shirt as a makeshift pillowcase as she escorts one of the pier girls to the couch. The pier girl looks slightly unkempt and is relieved to plop her knapsack on the floor. Laura tosses the pillow onto the couch. LAURA My sister gets home at six so, you gotta be gone by then. PIER GIRL #2 Good looking. LAURA There's some lunchmeat in there too, help yourself. PIER GIRL #2 `Preciate ya. Laura pulls up close to the kitchen table. The GED test prep book, now dog-eared and worn is on the table in front of her. She finds her place and copies notes and multiple choice answers into a spiral notebook. A stack of old Math and English textbooks are in a chair next to her and the room is peaceful and still save for the scratching of her pencil.57 INT. SCHOOL HALLWAY - AFTERNOON 57 Alike spies on Bina stuffing books into her locker. She draws her breath and approaches. ALIKE Hey. 72. BINA Hey.A long awkward silence. Alike leans against the bank oflockers, not daring to make eye contact. ALIKE I'm sorry about the other day. BINA It's cool.Bina pretends to rearrange books in her locker. ALIKE (CONT'D) Things have been crazy. But look, I'm sorry I bugged out. It's just...I didn't know that you...I wasn't expecting that. BINA You still coming to the party? ALIKE I don't know--I need to try and catch up with Laura. BINA Oh. ALIKE But I do wanna hang out...I mean...maybe we could do both.Bina smiles and shuts the locker door. BINA Cool. (beat) You could spend the night if want to. Avoid the whole curfew thing. ALIKE Yeah... BINA You sure? ALIKE Yeah. 73.58 INT. FAMILY CAR - DAY 58 Arthur coaches Alike as she navigates the car to a jerky stop in front of Mack's liquor store. ARTHUR Easy, easy now. Watch your right hand side. ALIKE I am. ARTHUR Don't ride the brakes though. Good. ALIKE See? I'm getting better!! Can I drive back? Arthur rubs his chest in mock heart-attack. ARTHUR I don't about that. You're shaky girl, you're shaky. Get us some chips and I'll think about it. Arthur hands Alike a five dollar bill and she bounces down out of the car.59 EXT. LIQUOR STORE - CONTINUOUS 59 Arthur shouts a greeting to Mack who lounges on a plastic chair outside his door. Sock and TWO OTHER MEN chit chat nearby. Their chatter lowers as Arthur approaches. Alike bops into the store. MACK Hey, baby! ALIKE Hey Mr. Ferguson! MACK I see Alike's been running circles around you again! ARTHUR Little bit, little bit. I still got it though. Arthur claps Mack on the shoulder and glimpses Sock whispering to one of the men. 74. Arthur follows the men's gazes over to Alike at the potato chip rack. She twirls the string of her basketball shorts round and round her finger and idly hikes the collar of her t- shirt up over her nose. The smile evaporates from Arthur's face. Sock peers back at him, smirking. Arthur starts toward him, when Alike saunters out between them. ARTHUR We better get going. MACK (CONT'D) Gone already? ARTHUR I'll holler at you later. Arthur crosses the lot in a bound, snatches the car keys from Alike's hand, and hustles her into the car. ARTHUR (CONT'D) Get in the car. ALIKE But you said I could drive-- ARTHUR I said get in the car! Alike frowns, then catches sight of the men in front of the store. She slumps into the car and slams the door. Arthur piles into the driver's seat. They sit in silence for a moment, Alike traces the lines in her hands.60 INT. ARTHUR'S CAR - CONTINUOUS 60 ARTHUR Look...umm...you know you're daddy's girl, right? Alike avoids eye contact, staring out her window. Arthur searches her face a moment longer, then starts the car and pulls away in silence.61 INT. ALIKE'S APARTMENT LIVING ROOM - NIGHT 61 Audrey reclines on the couch reading a book. The doorknob jiggles and Audrey folds the book against her chest, pretending to be asleep. 75.Arthur slips in and lays his holster on an armchair, not evenbothering to approach Audrey's sleeping form.Arthur peeks inside the fridge and inspects one of Audrey'sfoil covered plates. He tosses it aside and gathers sandwichingredients instead. Audrey yawns and props herself up on oneelbow. AUDREY Oh you're home? ARTHUR Hey. AUDREY I must've dozed off. How long have you been in? ARTHUR Hour.Dad takes a bite of his sandwich and shoves the ingredientsback into the fridge. AUDREY Did you see the plate in there? ARTHUR This is fine.Arthur plops down on an armchair and flips the TV channel tosports highlights. Mom scoots over on the couch. AUDREY There's room over here. You can see the TV better. ARTHUR This is fine.Arthur props his feet up on the coffee table and catchesAudrey's hurt expression. He winks at her. ARTHUR (CONT'D) Thank you. AUDREY Just alike. ARTHUR Say what? 76. AUDREY You and your daughter. Have you talked to Lee yet? I told you she-- ARTHUR I talked to Alike. AUDREY You did? ARTHUR Everything's fine. Like I told you. Matter fact, she's got a boyfriend. AUDREY Boyfriend? ARTHUR Just give her some space. AUDREY Space? She's hardly ever home in the first place and you're just like her, creeping in all hours of the night. Both of you. Running around like you got something to hide, like I'm the big, bad witch and what about me? I'm home by myself all the time and Sharonda's getting older and starting to go out and pretty soon-- ARTHUR I don't have anything to hide. Look I told you I talked to Alike and everything is fine. AUDREY Did you ask her?Dad slams down his half-eaten sandwich and stands up. ARTHUR No, because I didn't have to. Besides,I would know okay? If anybody would know, it would be me. I know my daughter-- AUDREY Your daughter?!! ARTHUR --better than anyone else and-- 77. AUDREY So now all of a sudden she's just your daughter?! ARTHUR AUDREY --I'm telling you she's just Well I guess I better not fine!! have nothing else to say then, huh?! ARTHUR That's your damn problem, you're too much of a damn worry wart. AUDREY Let's hope you're right, Detective. ARTHUR Will you shut the fuck up?! Audrey jerks to her feet and flings the book aside. AUDREY An hour? Really? I'm not your dumb damn floozy in the street. And you will not talk to me that way. Audrey slaps the sandwich off Arthur's plate and storms to the bedroom. Arthur sees Sharonda peeking from her bedroom door but can't summon any words. Sharonda skitters into Alike's bedroom.62 INT. ALIKE'S BEDROOM - NIGHT 62 Alike is awake, hands folded behind her head. Sharonda curls up on top of the covers next to her. ALIKE I know you're not scared. SHARONDA I'm not. The girls lay silently as they listen to Arthur bang around in the kitchen. SHARONDA (CONT'D) Lee? ALIKE Hmm? 78. SHARONDA I hope you know it doesn't matter to me. Alike rubs Sharonda's head and gives her a little squeeze. ALIKE I know.63 INT. HOUSE PARTY/POETRY SLAM - NIGHT 63 A MOHAWKED WOMAN yowls into a microphone atop a coffee table turned stage. Kids roam from room to room nursing plastic cups. Some in elaborate ensembles, some in thrift store duds, others in plain old jeans, but no two people the same. Alike clad in simple shirt and jeans looks especially comfortable as she and Bina ease their way through the crowd. In between performers, guitar riffs rock the large loft apartment and render their voices practically inaudible. MONTAGE: --Bina introduces Alike to different people, Alike is welcomed --Alike & Bina point out different performers, they laugh and talk in each other's ears --Alike and Bina dance wildly in the middle of the crowd, surrounded by dozens of other clamorous bodies --One performer beckons Alike up onto the table, Alike demurs at first, then leaps on top of the table. Bina cheers. --Alike drags a giggling Bina out of the party and they crash into the open night64 EXT. THE PIERS - NIGHT 64 Lights glisten across the Hudson River--distant orbs reflected in a thousand shimmering faux stars in weak defiance against the night sky. A sodium vapor glow veils everything in generous haloes, making the night more beautiful than it really is. Dancing silhouettes, laughing, playing, yelling, flying, always dancing silhouettes punctuate the summer breeze with clapping set to the rhythm of soulful house. Like Puck on a midsummer's night, like Peter Pan and his lost boys. Among the silhouettes is Laura, enthroned atop a railing. Laura, smoking a joint grandly, surrounded by an adoring circle, a sycophantic harem of four. 79. Laura, completely miserable as she watches two other silhouettes drawing closer, spinning, collapsing, now righting, always connected. Alike and Bina. Bina smiles and snakes her arms around Alike's neck. Alike too shy to react, giggles and folds. Laura watches the pair spin and passes to the left before stalking off toward the connected shadows.65 EXT. THE PIERS- CONTINUOUS 65 Laura cuffs Alike on the neck, pulling Alike's hoodie up over her face. Alike's laugh is tentative at first, not sure whether this is play or for real. Laura chuckles, breaking the ice. The pair slapbox and rough house, both missing with wild arcing blows. Laura aims a mini charge at Alike that lifts her off the ground and deposits her a short distance away. Alike swipes Laura's hat. Laura claps Alike on the shoulder and Alike waves to Bina. Bina waves and smiles. ALIKE So whatchu you think? She's cool right? Laura looks around and shrugs. Laura plucks a fresh joint out of her coat and lights it. ALIKE (CONT'D) She's hot right? I told you. It was so tight. I'm tellin' you, you shoulda been there tonight! Laura takes a puff and offers it to Alike. LAURA This one's just for me and you. Alike waves it off, oblivious and intoxicated with the night. ALIKE And she's smart, too. She does poetry, you should hear it. It's like, it's good, you know? Laura stops walking and Alike skips ahead, still chattering. ALIKE (CONT'D) I was thinking next weekend the three of us could-- LAURA Look, I'm right here. Alike snaps out of it. 80. ALIKE (CONT'D) Oh my bad, I thought you were beside me. Anyway, I was thinking-- LAURA Look, I'm sorry for all the drama. ALIKE No, it's cool. I shoulda-- LAURA What I'm saying is, I probably overreacted. (beat) And then...I don't know. Seeing you two together or whatever. I'm glad to see you're finally happy. ALIKE C'mon man, you know you're my best friend. Nobody's gonna -- LAURA You don't need to say anything. I just wanted to get it off my chest. I'm happy for you, that's all.Alike shakes her head. Her mouth moves but nothing comes out. LAURA (CONT'D) Because I love you, alright? And I'm sayin'...I'm right here.Alike is stopped cold, as the light bulb finally goes off.Laura takes a long drag on the joint. Bina and Mika stumbleover giggling. Bina hooks Alike's arm. Mika kisses Laura onthe neck. Laura snaps out of her gaze, her familiar smirkcreeping back. MIKA We goin' to get something to eat? LAURA That's what's up. ALIKE Listen, umm--Laura pinches out the joint and hands it to Mika who tucks itaway. LAURA That's for later. Bina, nice to meet you. 81. BINA You too. We had fun. Laura gives Bina a polite hug, pounds Alike on the shoulder and starts to lead Mika away. MIKA ALIKE Byyeee!! Hey hold up! Laura pumps a lazy fist in the air in acknowledgement. Bina takes Alike's hand and slowly drags her away. Alike keeps looking back, then finally gives up. Laura looks back just as Alike turns around and disappears around the corner. BINA (CONT'D) I like your friends. They're cool.66 INT. BINA'S BEDROOM - LATER 66 Music videos play on the TV. Alike and Bina lay stretched out on pillows, a plate of brownie crumbs between them. Alike dozes. Bina smacks her with a pillow. ALIKE I'm not sleep. BINA Yes you are. Alike rubs sleep out of her eyes and props herself up on one elbow. ALIKE Any brownies left? BINA Nope. Bina flicks off the TV and stares at Alike. ALIKE What? BINA Nothing. Alike looks away. BINA (CONT'D) What? ALIKE Nothing. 82. Alike folds her arms behind her head. Bina strokes Alike's stomach. Her finger's dance at the top of Alike's pajama bottoms. Their eyes meet. Alike sits bolt upright. BINA What're you doing? What's wrong? ALIKE This is uh... I never... I'm sorry, I'm trippin' out. BINA It's okay. We don't have to. Alike leans in and kisses Bina on the lips. Bina considers and takes Alike's chin in her hand and kisses her back. Bina places Alike's hand on her chest. Alike lets her hand linger, then traces Bina's shoulders.67 INT. LAURA'S KITCHEN - MORNING 67 Laura stands over the kitchen table shuffling through the mail. She pauses at a stiff envelope with her name on it. The return address reads "NYS Educational & Testing Services". She flips the envelope over and looks around, she rips the top off and eases the top of a slip out of the envelope. The top of the slip reads "'Campbell, Laura' GED TESTING RESULTS."68 EXT. BRONX HOME - MORNING 68 Laura shifts her weight on a painted concrete porch outside a small wooden frame home. The paint is peeling and the flowers in the window-box are dead. A rusted metal mailbox next to the door overflows with circulars. Laura lifts the circulars out of the box and trashes them. She picks up a discarded fast food bag and tosses it too. A dog barks from a neighboring yard. Laura pulls open the screen door and tries to peer in through the diamond shaped window in the main door, but it's covered over in aluminum foil. More barking. Laura surveys the street and bangs hard on the door. She snaps the screen door back and takes a big step backward. Laura shifts her weight and smooths her shirt. LAURA'S MOTHER, 54, and no-nonsense opens the door and frowns down at Laura through the screen. LAURA Oh. Laura's mother crosses her arms and looks at Laura up and down. 83. LAURA (CONT'D) Thought you might've stepped out or something? How've you been?Laura's mother frowns up and down the block before refocusingon Laura. Laura takes a step closer to the door. LAURA (CONT'D) Me and Candy, you know we're doing real good.Laura's mother puts her hand on the doorknob. LAURA (CONT'D) We might even be moving to a bigger place soon. You know she's workin' at the hospital now, yeah you'd be real proud of her. She might even go back and get her RN--Laura takes another step forward. LAURA (CONT'D) How--? How's Pops? You look good. You look healthy, yeah you look real good. You know uh, we miss you and everything--Laura's mother starts to close the door. Laura backs away. LAURA (CONT'D) I don't wanna take too much of your time. I just stopped by--you know I uh--I'm getting my stuff together too--I uh--Laura fishes the stiff envelope out of her pocket andadvances on the screen door again, holding it out. LAURA (CONT'D) So, I did it. I took the test and--Laura's mother slams the door. Laura stands on her tiptoesand yells at the diamond shaped window. LAURA (CONT'D) I got my GED!The lock on the door snaps into place. Renewed barking fromacross the street. Silence from the door. Laura brushes afist across her eyes and stuffs the envelope into themailbox. 84. LAURA (CONT'D) But listen I--I gotta go. I gotta get to work but I'ma leave it for you to see. It was nice talking to you. Laura backs off the porch and starts down the walkway. She stops halfway and bounds back onto the porch. She yanks the envelope out of the mailbox and jams it into her pocket. Laura storms off the porch and out of yard, never looking back.69 INT. BINA'S BEDROOM - MORNING 69 Alike is asleep on the bed. Bina cleans up feverishly, "accidentally" bumping Alike awake. Alike yawns and rolls over, a huge grin spreading across her face as she remembers her surroundings. ALIKE Hey. BINA Hey. Bina bolts to the dresser and crams clothes in. ALIKE You up already? BINA It's after one o'clock, actually. Bina deposits an armful of clothes into the dirty clothes hamper, and then begins making the bed with Alike still in it. Alike pulls Bina down beside her. ALIKE What's wrong? BINA Nothin's wrong, I'm just cleaning up. Don't worry about it. ALIKE Okay then, I'll help you. BINA No, I got it. Bina snatches a pillow from behind Alike and fluffs it. Alike, still oblivious, grins and traces Bina's shoulder. 85. ALIKE Look um--I just wanted to say that last night...last night was amazing...thank you for-- BINA Last night we were just playin' around, that's all.Bina flinches away from Alike's touch. Alike shoots a glanceat the door and drops her voice to a choked whisper. ALIKE Look... We can slow things down... Nobody has to know that we're together. BINA "Together"? Whoa, no... ALIKE Huh?! I thought... Look if you don't want to call it that, that's fine, but don't act like nothing happened.Bina moves away and levels her gaze at Alike for the firsttime. Alike touches Bina's elbow, Bina flinches away. BINA Look, I'm not gay okay? This isn't me--I wasn't--I'm not ready for all this...Alike recruits the discarded stuffed moose and dances itaround on the bed. Bina recoils and snatches it away.Recognition seeps across Alike's pained face. Bina moves awayfrom the bed and turns her back on Alike.Alike finds her pajama pants on the floor and yanks them on.She pulls on jeans over her pajama bottoms and hauls asweatshirt down over her nightie. She flings her backpackopen on the bed and hunts around the room wildly gatheringher things. Alike goes in the bathroom and reappears with anarmful of toiletries, dumping them in the bag. Bina watchesher, arms folded. Alike takes one last look around the roomand heads for the door, running a sleeve across her face. BINA (CONT'D) Lee?Alike ignores her and launches into the hallway. Bina runsto her bedroom doorway. 86. BINA (CONT'D) Wait--Lee?! Alike beelines for the front door. Bina chases Alike across the room. BINA (CONT'D) Lee, stop please? Alike wipes a sleeve across her swelling eyes and running nose and turns to face her. Bina takes several steps toward her. Alike lets go of the doorhandle, her voice cracks. ALIKE What? BINA You promise you won't tell anybody?70 EXT. BINA'S HOUSE/STREET - DAY 70 Alike rages outside, weaving blind fury down the sidewalk. She kicks over a cluster of garbage cans and cyclones out into the street, narrowly missing getting hit by a car. She continues her zag to the other sidewalk, her pace quickening. She rips open her backpack and launches a baseball cap into the air. She tears a handful of wifebeaters from the bag and flings them into the street. Spinning and thrashing she wrenches out a football jersey and jams it into another garbage can. She circles back and kicks the can over. She hurtles her backpack into the trees like a discus and sheds her hoodie like a skin before disappearing into the scream of a subway station.71 INT. ALIKE'S LIVING ROOM - EVENING 71 Lee bursts into the living room and charges to her bedroom. Audrey, who has been waiting in the living room storms in after her. AUDREY Where in the hell have you been?! Alike kicks off her shoes and paces the room. AUDREY (CONT'D) You hear me talking to you ?! Where you been? You left Bina's hours ago!!!! Lee-- ALIKE I'M NOT YOUR HUSBAND!!!! 87. Audrey gasps in stunned silence. ALIKE (CONT'D) I'm not your husband so stop comin' at me like I am. I'm not your companion, I'm not your friend -- you made that abundantly clear--I'm your daughter and I have my own shit to deal with!! AUDREY LEE--don't you dare--Alike--I am your Mother-- Audrey melts back against the doorjamb. Alike slings off her shirt and slams the door in Audrey's face. A livid Audrey bangs on the door and jiggles the handle. AUDREY (CONT'D) You must have lost your damn mind! Wait until your father gets home!72 INT. ALIKE'S BEDROOM - CONTINUOUS 72 Alike attacks her closet, ripping all the "girly" shirts from the hangers and hurling them toward a small vanity trashcan. She plunges back in and slams an armful of blouses to the floor. She launches a pair of pumps into the wall, followed by a chunky pair of Timberlands. Silent sobs rack her body as she tears off her own shirt and slings it at the mirror. She strips off her jeans and kicks them brutally into a corner. Alike considers her unclothed form in the mirror before collapsing onto the bed. She writhes against the pillows and covers her eyes with her elbow as darts of grief twist through her body. Blackout.73 INT. ALIKE'S BEDROOM - LATER 73 Alike jerks awake in her bed, a pillow pulled down around her ears. The sound of a muffled argument leaks from her parents's bedroom. The shouting gets louder, and Alike sits upright in her bed as her father's footsteps boom past her doorway and into the living room. Audrey's voice trails him down the hallway, and Alike scrambles into a t-shirt and shorts.74 INT. ALIKE'S LIVING ROOM - EVENING 74 Arthur's hand is on the doorknob, a small tote flung over his shoulder. Audrey blocks the door, her hands on her hips. They both look up as Alike edges into the living room. 88. AUDREY You see, that's exactly what I'm talking about?! Get over here! ARTHUR Go back to bed! AUDREY No, you come tell your father what you told me! ARTHUR Don't drag her into this, Audrey! (to Alike) Go to your room, Alike. Your mom and I are having a discussion. AUDREY We are not discussing!! I wanna know right now-- ARTHUR Go to your room! AUDREY Your father's leaving us!! ARTHUR I am not leaving you!! AUDREY Sharonda, wake up!! Come see your father leaving us!! ARTHUR I'm not fucking leaving!! Will you stop saying that?! AUDREY Come say goodbyeeee!!Audrey shoves Arthur toward the door. Reflexively, Arthurraises his hand at Audrey. Audrey puffs up. AUDREY (CONT'D) Oh, what?! I wish you would!! Go ahead!! Look girls, your daddy's going to beat me!!Sharonda bursts into tears behind Alike. Alike hurriesSharonda back down the hallway. 89. ALIKE Shhh. It's okay. Go in my room and lock the door. Don't come out, `kay? Sharonda bawls harder. Alike gently closes the door on her. ALIKE (CONT'D) It's gonna be okay.75 INT. ALIKE'S LIVING ROOM - CONTINUOUS 75 Arthur and Audrey argue viciously. ARTHUR (O.S.) No! Dammit, that's not true! Look, will you stop sayin' that?! AUDREY (O.S.) It's the truth!! Alike edges back into the living room, Audrey wheels on her. Arthur is beaten and cornered. AUDREY (CONT'D) Your daddy's got a new girlfriend! Or did you already know that?! You know, I bet you did!! ARTHUR Audrey, stop it!! Alike go back to bed! AUDREY Meanwhile, your daughter's turning into a damn man right before your very eyes, and you can't even see it!! Arthur drops his tote and advances toward Audrey, leveling a stiff finger at her face. ARTHUR No you take that back.! You shut the fuck up about that, Audrey! Arthur gets in Audrey's face. Audrey leers back at him. Alike jumps between them. ALIKE Dad?! Stop! 90. ARTHUR Go back to bed, Alike!! AUDREY Tell him, Lee! ARTHUR Don't call her Lee! ALIKE Mom, stoppit please!? AUDREY Tell your Dad where you hang out! Tell him about your butch-ass girlfriend-- ALIKE Laura's NOT my girlfriend!! ARTHUR What the hell are you talking about?! You don't know what the hell are you talking about. Alike, please just go to your room, baby!Alike drops her gaze and backs away. AUDREY Tell him!Arthur's expression cracks and he tears his focus from Audreyto Alike. ARTHUR Tell me what?! ALIKE I'm not tellin' you nothin'. AUDREY Tell him you're a dyke! You tell him you're a nasty ass dyke!! ARTHUR No she's not gay. Alike we didn't raise you that way, baby.Eyes still downcast, Alike just shakes her head and backsaway. AUDREY There!! You see!! 91. ARTHUR You shut the hell up Audrey!!Arthur extends his arms toward Alike, his voice trembling. ARTHUR (CONT'D) I know that's not true. You tell your mother right now, Alike. You tell her it isn't true!!Alike meets her father's eyes. ALIKE Dad-- ARTHUR Don't you lie now, you tell the truth!! ALIKE You already know. ARTHUR No, I don't know. You tell your mother it's just a phase. ALIKE It's not a phase!Arthur is stopped cold, his shoulders slump. AUDREY See, if you would've DONE SOMETHING!! ARTHUR (to Alike) What's wrong with you? ALIKE There's nothing wrong with me! AUDREY This is your fault!! If you had--Arthur tears into Audrey, spittle flying. ARTHUR AUDREY WILL YOU SHUT THE FUCK UP!!! 92. AUDREY ARTHURDON'T YOU SCREAM AT ME!! You This is NOT my fault!! Justshould've been at home more shut up and lemme talk! I'moften!! Why don't you DO trying to fuckin' talk--SOMETHING!!! ALIKE YEAH I'M GAY!!Arthur spasms as though he's been stabbed. Out of nowhere,Audrey's backhand pistons Alike to the ground. She raises herhand high and slaps it down hard on Alike's shoulders andarms. Alike yells. Arthur turns to stone. AUDREY Say it again! Say it again!Alike fends off Audrey's blows with her hands. She kicksangrily as Audrey towers over her. ALIKE I'm a lesbian! Yeah, I'm a dyke. AUDREY No you're not!!!!!Audrey's blows become more manic and vicious. Arthur wakesfrom his trance and tries to wrestle Audrey off of Alike. ARTHUR That's enough! Stop it! AUDREY Don't you say that! Let go! Don't you say that! ALIKE Get offa me!! AUDREY What? You a man now? YOU GON' FIGHT ME LIKE A MAN??!!Audrey swings and hits Alike with a nasty hook to the jaw,Alike's head snaps back and hits the floor. ARTHUR AUDREY STOP!!!!Arthur yanks Audrey off of Alike. Audrey directs her rage athim, pummeling his face and chest. 93. AUDREY AND YOU TOO! YOU TOO! YOU TOO! OH GOD!! Tears stream down Arthur's face as Audrey shakes free and aims one last blow at his face. AUDREY (CONT'D) YOU SAY IT'S NOT TRUE!!!76 INT. LAURA'S APARTMENT - NIGHT 76 Click-clack. Click-clack. The rattle of circuit breakers echo through the bare darkness of Laura's small apartment. LAURA Anything? ALIKE No. Click-clack. Click-clack. LAURA How about now? ALIKE No. Nothing. LAURA Shit. Fucking building. Laura bangs into something in the darkness. LAURA (CONT'D) Owww. Shit! A small light flicks to life and grows larger. In its dim glow, Laura spots Alike leaning against a worn couch. The lights become two as Laura hands Alike a candle. LAURA Here. Good thing I keep some these around. Alike snorts thickly. Her words are slurred and nasal. ALIKE Yeah, for your many women. LAURA Hey, you thanking `em now. 94. Laura holds her candle up to Alike's grim face. LAURA You okay? Alike wipes at already dried tear streaks on her puffy face and looks down. Laura slides an arm around her waist and guides her into the small bedroom. LAURA You bring clothes? ALIKE Huh-uh. I stopped by the house--I stopped by--- LAURA That's alright, man. You can wear some of mine. It's okay, c'mon. Lets get some sleep. My sister'll be home in a little bit, too.77 INT. LAURA'S BEDROOM - LATER 77 Overturned Ramen noodle cups litter the floor. Laura sips a beer and strokes Alike's head who sleeps fitfully in her lap.78 INT. ALIKE'S LIVING ROOM - MORNING 78 Arthur is frozen in the middle of the living room with a contractor trash bag. He stoops and piles the shards of a broken lamp into the bag one by one. Sharonda peeks out at him from her bedroom door. Arthur looks up at her and Sharonda pushes the door shut.79 INT. ALIKE'S PARENT'S BEDROOM - DAY 79 Audrey sits at the edge of her bed in a housecoat. Her hair is ruffled and flyaway. Her ankles are crossed and her hands are dead birds in her lap. Her work clothes are laid out in a neat line beside her: shirt, pants, socks, and shoes on the floor right underneath. The telephone begins to ring, but Audrey does not hear it.80 INT. BINA'S BEDROOM - AFTERNOON 80 Bina and a HIGH SCHOOL BOY sit on the floor, their backs propped against the bed, books spread on the floor. The boy puts his arm around Bina, launching numerous passionate advances, but Bina pushes him away. 95. The clueless boy continues his clumsy attempts. Bina stares out the window, completely detached.81 INT. ALIKE'S KITCHEN - AFTERNOON 81 Audrey, still in her housecoat, stares into the refrigerator, transfixed by the mountain of foil-covered plates. Her eyes are cried-out buttons. Suddenly she remembers to breathe, and her breaths come raggedly tearing out fresh tears. She yanks a foil-covered plate, dumps its contents into the trash can and tosses the plate into the sink. She dumps another and another, her composure returning with each plate tossed. By the time she gets to the last one, her breathing slows and returns to normal. She disappears into the bedroom and reappears with the red shopping bag. She calmly lifts out the pink blouse and stuffs it into the garbage. She wads up the shopping bag and stuffs it in too. She takes a deep breath and wipes her sleeve across her nose. AUDREY Okay.82 INT. ALIKE'S KITCHEN - LATE AFTERNOON 82 Arthur, Audrey and Sharonda are pegged around the dinner table. Audrey's make-up fails to cover the dark circles beneath her eyes and Arthur has a week's worth of stubble. There is a jagged hole where Alike usually sits. Noticing the asymmetry, Audrey bundles up Alike's place setting and sweeps it onto the floor. Sharonda looks from Audrey to Arthur then into her plate. AUDREY You want to say grace? Arthur clears his throat. ARTHUR Heavenly Father... Audrey thrusts her hands out to Arthur and Sharonda. They each take her hand and Arthur begins again. ARTHUR (CONT'D) Dear Heavenly Father we pray... we pray thank you for this food and we pray... we pray for your continued blessing... Arthur stops talking but his head remains bowed. An awkward silence ensues. Audrey and Sharonda look up at him still holding hands. 96. AUDREY Amen! ARTHUR Amen. Audrey switches to an overly cheery auto-pilot mode, babbling to no one in particular. AUDREY I got this recipe from a magazine. Supposed to be very good. And you see I made those green beans you like. Sharonda pass the rice please. Sharonda, staring at her father doesn't reach for the bowl. SHARONDA Dad. You know where she is.83 EXT. LAURA'S ROOFTOP - WEEKS LATER 83 Alike and Laura sit at the edge of the roof sharing a quart of mint chocolate chip ice cream. Sunset paints the cityscape pink and orange. The faint cadence of children playing drifts in and out on a fickle breeze. Alike's wounds are healing and she seems happy. The friends exchange wordless smiles and soak in the peacefulness around them. Laura hears a noise at the door and gets up to investigate. Arthur is standing in the doorway. Laura calls out to Alike. Alike looks up and the smile fades from her face. Arthur tries to move around Laura, but Laura stares him down. Laura looks back at Alike. Alike considers, then carefully nods. Laura steps out of the way and watches Arthur pass. Alike rises to face her father. She stands tall, her weight is centered. Arthur struggles to find her eyes, and she turns away from him. Distant playground voices fill the pause. EXT. LAURA'S ROOFTOP - WEEKS LATER Alike sits at the edge of the roof writing in her notebook. Laura swings open the door and Alike looks back in greeting, her smile fading as Arthur appears behind her. Laura motions to Alike. Alike considers, then carefully nods. Laura steps aside and watches Arthur pass. Alike wanders to the edge of the roof, Arthur follows. Distant playground voices fill the pause. 97. ALIKE Where's Mom? ARTHUR She...your mother couldn't make it.Alike shakes her head and peers into the rusty skyline.Arthur slumps his hands in his pockets and edges closer. ARTHUR (CONT'D) Remember our old place? Waaay out in Queens? It was our first apartment, we were so proud. Had all those trees around it? In October, the whooole block would be covered with leaves. You remember.Alike makes no sign. ARTHUR (CONT'D) You couldnt've been more than 2 years old. And when the wind would blow, all those leaves would come rushing down the street at us and you thought they were alive. You'd get so scared. You'd cry and you'd scream and beg for us to pick you up. I would try and tell you "they're only leaves, baby" and make you stay on the ground. But you were so afraid and you cried so hard, your mother would always pick you up. She always picked you up.Arthur is silent beneath the weight of his memory. He dares aglance over at Alike. ARTHUR (CONT'D) `Member how we used to-- ALIKE I've been accepted into a early college program. Starts in the Spring. Berkeley. ARTHUR California's a long way away-- ALIKE Ten weeks writing boot camp, workshops. Then I can start summer semester. 98. ARTHUR We can talk about that. Okay? ALIKE I need you to meet with my guidance counselor. Sign the paperwork so I can graduate early. ARTHUR I'm sorry, alright? I'm sorry I let her hurt you-- ALIKE I need to know now if you'll sign the papers. Yes or no? ARTHUR Can you forgive me? ALIKE Yes or no? ARTHUR You can always come back home. Things are gonna be different, I promise you--Alike holds Arthur's hand, stopping him. ALIKE Dad, I'm not running. I'm choosing.Arthur's heart breaks, he gasps back a sob. ALIKE (CONT'D) I'm not going back home. ARTHUR I know. (beat) Okay.Alike nods, squeezes Arthur's hand. Arthur breathes deeply,composing himself. He starts to pull away. ARTHUR (CONT'D) I better-- ALIKE Tell Mom that she was right. ARTHUR Right about what? 99. ALIKE God doesn't make mistakes. ARTHUR You should tell her yourself. Arthur squeezes Alike's hand and drifts away. Alike inhales the sunset.84 INT. HOSPITAL BREAK ROOM - AFTERNOON 84 Audrey is cleaned up, well-dressed and freshly put together. She sits alone at the lunch table, crunching an apple. A bible and a daily devotional guide are spread open in front of her. Alike knocks on the glass, and Audrey looks up stunned. Alike comes in and sits across from her. Audrey glances around, concerned about passing coworkers. ALIKE Mom. AUDREY Lee--Alike. How've you been? ALIKE Fine. Did Dad tell you? AUDREY He told me, yes. ALIKE How are you? Audrey gathers her lunch garbage and pushes back from the table. AUDREY I just hope you're keeping yourself safe. ALIKE I love you, Mom. Audrey stacks her devotional guide on top of her bible and stands. She starts to speak, then crosses to the door instead. ALIKE (CONT'D) I said I love you. AUDREY I'll be praying for you. 100. Audrey disappears into the hallway.84A EXT. ROOFTOP - DAY 84A Alike writes in her notebook, mouthing the words to a poem. She looks up and studies the horizon from time to time.84B INT. CLASSROOM - DAY 84B Alike relaxes at a desk, reading from her notebook. Mrs. Alvarado sits cross-legged on her desk listening. ALIKE (V.O.) Heartbreak opens onto the sunrise For even breaking is opening And I am broken I am open Broken to the new light without pushing in Open to the possibilities within pushing out See the love shine in through my cracks See the light shine out through me? I am broken I am open I am Broken Open See the love-light shining through me Shining through my cracks Through the gaps My Spirit takes journey My Spirit takes flight Could not have risen otherwise And I am not Running I am Choosing Running is not a Choice From the Breaking Breaking is freeing Broken is freedom I am not broken I am free. Alike closes her book. The pair reflect in easy silence. Mrs. Alvarado nods. MRS. ALVARADO Yeah. (beat) Yeah. 101.85 INT. ARTHUR'S CAR - DAY 85 The downtown Brooklyn landscape hums against the windshield as Arthur and Alike ride in complete silence. Sharonda chews a thumbnail, peering over the backseat. Laura slumps against the window, a smirk hiding at the corner of her lips.86 EXT. REGIONAL BUS STOP - DAY 86 Laura and Sharonda fumble a suitcase out of the trunk of the car. Alike shrugs into her backpack. Arthur nudges them aside and hefts out the rest of the luggage. ARTHUR I got it. Arthur slams the trunk shut. ALIKE Thank you. ARTHUR You want me to come in with you? Alike shakes her head. Arthur starts to back away. ARTHUR Well-- Alike pounces on Arthur in a surprise hug. Arthur squeezes her back. ARTHUR You can always come back home. ALIKE I love you. ARTHUR I love you too.87 EXT. REGIONAL BUS STOP - CONTINUOUS 87 General chaos as passengers, and well-wishes scramble for position. LAURA Let me get a hug or somethin', damn. Laura squeezes Alike first with one arm then pulls her hand out of her pocket to wrap both arms around her friend. 102. SHARONDA Call us when you get there. ALIKE You know I will. Laura backs away and wipes a sleeve at her eye. LAURA You just better fuckin' call. Alike disappears through the bus doors. Laura slouches on a hydrant and Sharonda paces, scanning the windows for Alike.88 INT. BUS - DAY 88 Sharonda waves maniacally. Alike musters a smile and puts a hand on the window. Laura raises a fist. The bus sails away from the curb. Alike leans forward to keep Laura and Sharonda in sight as long as possible. As she faces front again, she glimpses Arthur, standing in the doorway of the terminal. A passing van blots him from view and she leans back in her seat. An OLD KOREAN WOMAN next to her offers her a piece of ginger candy. Alike pops the candy into her mouth and takes a deep breath. Reflections of the retreating city landscape replay across Alike's face and she is able to hold back neither the smile nor the tears that come. FADE TO BLACK. \ No newline at end of file diff --git a/unformated_scripts/Script_Passion of Joan of Arc, The.txt b/unformated_scripts/Script_Passion of Joan of Arc, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..8d6a2aca4f16b32bb72a6c3a8b7561de22ca2c70 --- /dev/null +++ b/unformated_scripts/Script_Passion of Joan of Arc, The.txt @@ -0,0 +1 @@ + THE PASSION OF JOAN OF ARC Written by Carl Theodor Dreyer & Joseph Delteil Translated by Oliver Stallybrass At the BibliothËque Nationale in Paris it is possible to see one of the most famous documents in the history of the world - the official record of the trial of Joan of Arc. The BibliothËque Nationale's original record of the trial of Joan of Arc is shown on the screen. An invisible hand turns over the manuscript pages. ... If you turn over the pages, yellow with age, which contain the account of her martyrdom ... Page after page is shown of this unique document with its lines as straight as arrows, its marginal annotations, and the naÔve miniature drawings for which the notaries have found time and space. ... you will find Joan herself ... not the military genius who inflicted on the enemy defeat after defeat, but a simple and natural young girl ... who died for her country. The last pages are turned. Then the picture disappears and gives way to the first scene of the film, which shows1 The prison, where Joan is sitting, praying. The flagstones, the floor in Joan's cell. We see two straws and a hand, Joan's hand, which lays the straws on the floor in the form of a cross.2 Scenes from the church are shown: the chalice is brought out.3 In the prison we see Joan kneeling before her straw cross - this most fragile and exalted of crosses. She prays in ecstatic joy, at one moment bending right forward so that her forehead touches the flagstones, the next moment kneeling with her hands folded and her eyes raised to heaven as if she saw beings visible only to her. From time to time she mutters a short prayer.4 THE CHURCH A young monk makes his way through rows of kneeling priests. He is the Usher Massieu, who is on his way to summon Joan and conduct her to her first examination.5 THE PRISON Joan in front of her little cross. Suddenly the two straws spin round in a mysterious gust of wind. What is it? 2. Joan sits for a moment, overcome with astonishment, then puts the straws back in the form of a cross. Again a hostile power attacks this cross and scatters it over the flagstones. Joan doesn't know what to believe. Can it be one of her voices? A divine intervention? Once again she replaces the cross. Then there is a roar of laughter from the door behind her. Joan turns and sees three soldiers, who have been standing in the half-open door, blowing at her straw cross through a long tube. Enter the soldiers. They are tormentors and bullies of the worst kind. They continue to jeer at her.6 Now the jailer appears, an elderly man, followed by a blacksmith. Joan turns in terror and looks up at them. When she sees the chains in the blacksmith's hands, her eyes fill with tears, and she shrinks back a step. The jailer seizes her by the foot, and the blacksmith puts the ankle-chains on her.7 While he is thus occupied, Massieu enters. He is an engaging young man of twenty-five, healthy, vivacious and open; he radiates youth, health and life. He remains standing by the door until the others have left the cell. The jailer, who goes out last, certifies that the prisoner is the Maid. The door closes behind the jailer. And now that Massieu is alone with this woman, whom he has heard described as a dangerous witch and an object of fear - he is afraid. He prays inaudibly and crosses himself. He has brought with him a small stoup and aspergillum, and as he stands by the door he sprinkles Joan eagerly with holy water. Joan, who has dragged herself over to the boards which serve as her bed, looks at him in gay surprise, and with a slight smile says: Come a little nearer, I shan't fly away! Massieu, astonished, approaches her, asks if she is Joan, the Maid, and when she confirms this begins to read the summons: ... that you summon the aforesaid Joan, commonly called the Maid, to appear before us ... Joan declares herself ready to follow him. Massieu calls for the jailer. They lead Joan out.*8 THE CHAPEL Bishop Cauchon takes the chair for the trial. To either side of him sit the Inquisitor, LemaÓtre, and Jean d'Estivet, who is to present the case against Joan. 3. These three men are surrounded by the other forty-one clerics, all men of learning, thoroughly versed in the art of dragging confessions out of accused persons. A special table is reserved for the notaries. Cauchon gives orders for the accused to be brought in.9 Every face turns towards the entrance. They all see Joan for the first time. It is so quiet in the chapel that you can hear the grating noise of the chains round Joan's ankles.10 Joan comes forward. Through the pointed, colored windows the sunlight falls obliquely into the room in long shafts. Suddenly Joan finds herself in the middle of one of these shafts and stops for a moment. She becomes aware that every eye is turned towards her; she sees that they are hard, cold and uncomprehending. For a few seconds it seems as if she is going to collapse, overcome by the cold, remorseless atmosphere. On one side a completely human, simple, young country girl; on the other the flower of this century's talents, learned doctors, the fine fruits of the university, every prodigy in Christendom ... the instruments of reason - and of death. The personification on one side of innocence, on the other of magnificence. The terrible, relentless way in which they look at this girl in man's clothes, all these bishops, all these ascetics and members of orders with their newly cropped tonsures! These learned gentlemen regard her man's shoes and short hair as something loathsome and indecent. They believe as one man that it will be all easy matter to get the upper hand over this child.11 With a harsh movement Cauchon orders Joan over to the seat for the accused.12 She remains standing for a moment, drooping under the heavy burden of her chains. Then she sits down. Her face is pale and marked with grief and suffering. She lets her eyes wander over these rows of men in clerical garb - alone and unaided she must battle with them to save her name and her life. She leans towards Massieu and says a few quiet words to him as if to remind him of some promise. Massieu says to Cauchon: The accused begs humbly for leave to go to confession ... The bishop, who is engaged in thumbing through some documents which one of the prelates, Loiseleur, has just brought him, discusses the request briefly with the Inquisitor, and replies that he is obliged to deny her this favor because of her indecent dress. 4.13 Then he opens the session and orders Joan to take the oath. With a gesture he indicates that the Bible is to be fetched and placed in front of Joan. She kneels, folds her hands over the book and recites the oath: I swear by the Holy Gospels to speak the truth, the whole truth and nothing but the truth, concerning the mission which has been entrusted to me by the King of Heaven.14 There is a hush in the room. At this moment, when everything is quiet, a small door opens, giving direct access to the castle from the chapel. It is Warwick, the English governor and general, who enters. The respect shown to the new arrival by some of the soldiers in his vicinity suggests that he is a person of some importance. As the Commander-in-Chief of the English army of occupation he is the real, though unrecognized, driving force behind the trial. He has come for the purpose of speeding things up, but he keeps in the background - like an accomplished butler who supervises from a distance and sees that everything is proceeding smoothly. For the moment he remains standing just inside the door; presently he comes further forward and is hidden by columns. At one point we see him in conversation with Loiseleur.15 Joan has sat down again, and the hearing begins. Cauchon asks Joan her name. She answers: At home I am called Jeannette ... Here they call me Joan!16 Cauchon asks her age. Joan thinks and counts on her fingers: Nineteen ... I think.17 Cauchon, after smiling to his neighbor, asks: Can you say Our Father? Joan nods. Scenes from her childhood come rushing into her memory. Her eyes are moist with tears, and when Cauchon asks: Who taught it to you? Joan can hardly produce a word, for her sobs are lying like a knot in her throat. She answers so softly that hardly anybody can hear: My Mother ...18 The Promoter, Jean d'Estivet, whispers to Cauchon: 5. Tell her to say the Our Father! If she refuses, it will be evidence of her being possessed by the Devil. Cauchon nods and tells Joan to say the Our Father. She refuses. Jean d'Estivet and Cauchon exchange glances. Cauchon tells her urgently to do his bidding, but Joan refuses again, for she is afraid that memories of her mother and her home in DomrÈmy are going to overwhelm her. Cauchon puts further pressure on her: she is to repeat the Our Father immediately and unconditionally. She declines to do so.19 Cauchon rebukes her for this stubbornness and lets the examining judge take over the interrogation. The latter makes an inclination of the head and asks: You say that you are sent by God? Joan confirms this with a nod and adds: To save France! The judges burst out laughing. Joan's eyes are raised to heaven, as if it was heaven that gave her courage and found the right words for her. Her expression, which is filled with the glory of a heavenly vision, is almost unearthly as she answers: That is why I was born! More contemptuous laughter from the judges. The examining judge confers with the other judges. Their expressions show that they are setting a new trap for Joan.20 Finally he says: So you believe that God hates the English? Joan does not immediately understand the question, and the examining judge has to repeat it. Then Joan gives one of her brilliant, inspired answers: I know not whether God loves or hates the English ...21 Disappointment on the judges' faces. Joan continues, with a strength which suddenly reveals a new side of her character, and turning towards the English soldiers: 6. But I know for certain that the English will all be driven out of France ... Commotion and protests among the soldiers: why should Joan be allowed to insult England? But Joan continues inflexibly: ... except for those who are going to die here! The soldiers are furious. They can no longer contain themselves. One of them makes a movement towards the accused. Massieu leaps to her defense. But Cauchon intervenes and orders silence; he has to use all his authority to restore order among the judges. The hearing continues.22 Cauchon asks: You have told how Saint Michael appeared to you ... how did you greet him? Joan explains that she has always greeted Saint Michael in the way one should greet a saint. One of the judges tells her to show how she greeted Saint Michael.23 With touching simplicity Joan kneels, goes through the motion of taking off her cap, and bows reverently before the imagined saint. She gets up again, while the judges talk together.24 Cauchon continues: In what form did he reveal himself? Joan does not immediately grasp the question. Half the judges shout to one another. Hundreds of questions fly across the room: Did he have wings? Was his head like an ordinary man's? Was he wearing a crown? Under this deluge of questions Joan makes a movement as if to say that she cannot answer them all at once.25 Finally, when quiet is more or less restored, Cauchon formulates his question more carefully: What was Saint Michael wearing? But Joan does not answer.26 An elderly canon is seen to rise, go over to the bishop and whisper something in his ear. There is a suggestion of pruriency about this man. The bishop nods and turns to Joan: 7. How can you know whether the person you saw was a man or a woman? Joan is silent. She realizes that another trap is being laid for her.27 Cauchon is reluctant to give up the ground he has won. He asks a new question: Was he naked? Every ear strains to hear the reply, for now Joan has to answer. And again she produces one of her brilliant, careful answers: Do you not believe that God would have clothes for him?28 Cauchon realizes that his stratagem has failed, but nevertheless he pursues the matter further: Did he have any hair on his head? But Joan, who now feels that she is on firm ground, smiles and answers with artless inspiration: Why should he have had it cut off?29 Cauchon sees that he will get nowhere with Joan by this method. He confers with those sitting nearest him and then gives way to the examining judge, who begins to question Joan about her dress: Why are you wearing men's clothes? Joan refuses several times to answer and remains sitting motionless, stiff as a ramrod. The judge says: Are you willing to wear a woman's dress?30 Massieu leans towards her and advises her to accept this suggestion, which he thinks must be very easy for her to do. But Joan looks at him with the air of one treasuring a great secret, and says no to the judge. When the judge presses her to tell him why she refuses, she answers: When I have completed the task which God has entrusted to me, then I will wear women's clothes again. Whispering among the judges - 8.31 An indication that another trap is being prepared. Then one of the judges says: So it is God who has commanded you to go about in men's clothes? Joan answers unhesitatingly: Yes! A smile of triumph spreads from face to face among Joan's judges.32 The Promoter, Jean d'Estivet, complacently makes some notes. Then he leans forward over his desk, smiles and asks in an insincere tone of voice: And what reward do you hope to obtain from the Lord?33 Joan, whose expression is that of a saint, folds her hands on her breast and raises her eyes to heaven: The salvation of my soul! She remains sitting in the same position; her look conveys the impression that she can see into the furthest corner of heaven.34 But Jean d'Estivet is incapable of controlling himself. He gets up, goes right up to her, spits in her face and hisses: Do you not understand that what you are saying is blasphemy? Then he goes back to his place. But on Joan's face there lingers the expression of one who is far removed from this world. From time to time throughout this episode two of the judges, Nicolas de Houppeville and Martin Ladvenu, have been seen to show signs of sympathy for the accused.35 After this last outrage on the part of the Promoter, de Houppeville can control himself no longer. Provoked to the limit, he rises and shouts: This is unworthy ... The whole room turns to him in amazement. He continues fearlessly: ... it is persecution! 9.36 He leaves his place; Ladvenu tries to restrain him, but he approaches the bishop and says to him: We are treating this woman like an enemy - not like a human being on trial!37 Then he casts a look full of tenderness at Joan, who at this moment is drying her cheeks, still wet from Jean d'Estivet's spittle. Houppeville continues: For me she is a saint! He goes over to her, genuflects before her, and turns to go out through the door.38 Warwick has followed these proceedings with an attentive eye. He whispers a few words to an officer, who follows Houppeville the length of the chapel.39 When he reaches the porch the officer takes two soldiers with him and follows on Houppeville's heels. Each of the judges in the room understands the fate in store for Houppeville, and is seized with fear. An icy, unquiet silence prevails.40 Paul Jorge [the name of one of the actors] prepares to rise and ask the meaning of this incident.41 Cauchon stops him with a movement, and gives the order for the session to continue. He asks Joan: Has God promised you anything? Joan gives an absent-minded nod. Cauchon presses her to tell him what it is that God has promised. Can you not tell us what it is that God has promised you? Cauchon asks with his most ingratiating smile, but Joan shakes her head. Cauchon tries to persuade her: You must tell us. But Joan declines to answer: That has nothing to do with your trial!**42 Cauchon maintains the contrary, and Joan tells him to ask the assembly. Cauchon turns to the judges and asks: 10. Has this question any bearing on the trial? He orders those who consider that it has to raise their hands. Nearly every hand goes up. Then it is the turn of those who take the opposite view. Ladvenu is the only one to raise his hand, but when he sees that he is entirely alone he takes it down again.43 And Cauchon is able to say to Joan that, since the relevance of the question to the trial has been unanimously agreed, she is obliged to answer. He repeats his question: What has God promised you? Joan does not answer.44 Cauchon continues: Has God promised you that you will be released from your prison? Joan confirms this with a nod. Dalleu speaks in a low voice to Cauchon, who asks: When? After sitting for a while, lost in thought, Joan answers: I do not know the day or the hour! A further exchange of words between Cauchon and d'Estivet then Cauchon makes a sign for Massieu to take the accused back to prison. Joan rises to go.45 She takes a few steps, turns and asks: May I not be relieved from carrying these chains? Cauchon can see no reason for complying with her request. But he sees the opportunity of imposing a condition which he knows will be unacceptable to Joan: Will you take an oath never to bear arms against England again?46 Joan answers unhesitatingly: No! Then she is led away. Her chains clank as they drag over the flagstones. The judges leave their places. 11.47 They break up into groups, according to their friendships or the order to which they belong. We see one group consisting of Dominicans, another of canons, a third of mendicant friars. The entire assembly talks and whispers. Monks' cloaks, homespun tunics and cowls, caps and hats. Here a fat old abbot, here a short, slim monk. Respectful inclinations of the head, sanctimonious smiles, violent outbursts of laughter. The witty ones recognizable by their thin lips and legs. In the background beardless students, solemn as popes, in earnest discussion. But round the judges' table a discussion is going on between Cauchon, LemaÓtre, Jean d'Estivet, the learned Thomas de Courcelles, Loiseleur, BeaupËre, Pierre Maurice and Warwick. Warwick stays in the background, as if wishing to underline that he has no part in the conspiracy against Joan; but it is clearly understood that he has the last word in the matter. They are considering what procedure to adopt. The point is to lose as little time as possible in getting Joan to compromise herself. Loiseleur propounds a scheme which receives general approval. Warwick is asked a question, which he answers in the affirmative. An order is given to a secretary, who at once leaves the chapel.48 THE PRISON Massieu has brought Joan back. The door closes behind her. Overcome by fatigue, she sits on her bed. In front of the judges she has restrained her weeping. Now that she is alone, the pent-up tears pour from her eyes.49 THE CHAPEL The conference is still going on. Loiseleur is dictating to the notaries. At intervals one of the other judges interposes a word or a suggestion.50 THE PRISON Joan is still shaking with sobs. Suddenly she sees a cross slowly forming on the floor close to her feet. It is the shadow of the window grating. She knows this cross and loves it. It always comes when she is feeling lonely and unhappy. She has no doubt that it is God who sends her solace and encouragement in this way. She dries her eyes and produces from a hiding-place a piece of handiwork, with which she occupies her hands and her thoughts when she is not before the judges. It is a crown of plaited straw - very simple, pretty and childlike. Soon she is completely absorbed in this work, to which she devotes all her love. We see the Joan from DomrÈmy who 'is second to no woman in Rouen, when it comes to spinning or sewing.' From time to time she looks at the cross on the ground. 12.51 The conference in the chapel. Loiseleur finishes his dictating. The notary reads back to him.52 THE PRISON We see only Joan's hands which are occupied in plaiting her crown. The shot is taken in such a way that the crown and the cross on the ground can be seen together.53 The conference in the chapel. The notary finishes his reading aloud and what he has read is approved. Meanwhile the secretary has returned. He hands a document to Warwick, who passes it round. It goes from hand to hand, and finally to the notary.54 In the little ante-room leading to Joan's prison. The soldiers are playing with a small English dog. An old serving woman comes with food for Joan in an earthenware bowl. One of the soldiers seizes the bowl; he selects the best piece of meat and gives it to the dog. The latter swallows the meat and licks the soldier's fingers. With the same fingers he picks out another piece of meat and gives this also to the dog.55 A short scene from the conference, featuring two documents. A hand - that of the notary - is engaged in copying the signature from one document to the other.56 THE PRISON The soldier comes in with Joan's food, followed by the dog. Two other soldiers appear in the door, for these rascals never lose an opportunity of tormenting their victim. As the soldier hands Joan the food, his eye falls on her ring. He demands it from her, but she implores him to let her keep it: it is her mother's ring. But the soldier is determined to have it, even if he has to use force. He calls to the other two soldiers to come and help him, and puts the bowl of food on the ground in such a position that the dog naturally takes advantage of it.57 Just as the first soldier has finally succeeded in forcing the ring from Joan's finger Loiseleur appears in the open door. He appears to be filled with genuine indignation at the sight of the ill treatment to which the three rascals are subjecting Joan. The soldiers have turned round. They are afraid. Loiseleur threatens them and quickly goes up to the soldier who has wrested Joan's ring from her. The soldier is compelled to hand over the ring to Loiseleur, who thereupon orders the three ruffians out of the cell. 13.58 Loiseleur shuts the door. He is alone with Joan. He looks all round him and goes over to Joan who regards him with deep amazement which embraces gratitude as well; for after all it is he who has just saved her from the soldiers' cruelties. He remains standing a few paces from her, looks at her in a serious and friendly way and says: I have great sympathy for you! A feeble smile appears at the corners of Joan's mouth, but her expression of astonishment remains.59 Loiseleur has stopped by the cross; when he takes a pace forward the cross disappears; but Joan fails to notice this, absorbed as she is in wondering why this prelate has come to visit her. Loiseleur, who has now come right up to Joan, hands her the ring, which she receives gratefully. Then she again fixes her look of enquiry on the prelate, whom she has previously seen among her judges.60 Finally he says to her in a low whisper: Would you recognize your King's signature? Joan nods, though without understanding the purpose of his visit. From his cowl he produces a letter which he hands to Joan. She takes it. She shows with a smile that she recognizes Charles VII's signature. Then she returns the letter and says: I can't read!61 Loiseleur reads the letter aloud for her, as follows: To our dearly beloved Joan. Charles, the King, hereby informs you that he is preparing to advance on Rouen with a mighty army. He is sending you a faithful priest, who will stand by you. Have confidence in him. The reflection of an inner joy shines in her eyes. Her face lights up during the reading and she smiles. Loiseleur does not move from the spot. He stands watching her, motionless and pale. He gazes at her with the eyes of a snake, while Joan sits with an absent smile, completely absorbed in her own joyful thoughts. 14.62 Loiseleur suddenly raises his head and pricks up his ears. Immediately behind the cell wall there is a secret room, where a man can remain hidden, spying on the prisoner through a judas, or chink in the wall. Alternating with the scenes between Joan and Loiseleur are close-ups of Cauchon spying and eavesdropping behind the chink.63 Loiseleur moves away from Joan and goes towards the hiding- place; he is perfectly aware of its existence. When he reaches the chink, he and Cauchon look at each other. First Cauchon's serious eye is shown through the chink, then - likewise through the chink - Loiseleur's small, cunning, contracted eye. Loiseleur catches sight of the crown and says: Your martyr's crown. Then he turns to Joan, who is still sitting with the King's letter in her hands. He offers to hear her confession.64 She turns to him with a look of joy, hardly daring to believe in this happiness. She drops a pretty curtsy, then kneels with folded hands in a charming attitude suggestive of a penitent child. He advises her strongly to speak to him with an open heart. Here she is not before her judge, but before her king. God can hear her!65 Joan confesses her sins like a schoolchild reciting a lesson. Cauchon and his attendants follow the scene attentively from the secret room. With a ledger on his lap the notary takes down everything that Joan says, but it is clear that she is saying nothing of any significance, for all the skill with which Loiseleur presents his questions. So it is not long before Loiseleur gives her a sugary smile and rattles off the absolution. He makes the sign of the cross over her and stands up.66 Cauchon and his confidants have left their hiding-place and now come into the cell. The soldiers bring in chairs and a table for the scribe. The judges group themselves in a circle round Joan, some sitting, others standing. Loiseleur places himself behind Cauchon. In addition to the judges, Massieu also is present.67 Cauchon gestures to LemaÓtre who says to Joan: You profess to be a daughter of God? ... Joan agrees with a nod, and LemaÓtre continues: Then why will you not say Our Father? 15. Joan sits motionless for a moment. The judges look at her with watchful eyes. A perceptible change comes over Joan. Her expression is transfigured. A heavenly light spreads over her face, she folds her hands and begins to pray. The sight of this small and helpless woman, turning to God in captivating innocence, makes an involuntary impression on some of the judges. The gentle Massieu in particular can hardly restrain his tears. Joan has said the Our Father. Jean d'Estivet is thus obliged to eliminate this important point from his charge-sheet.68 LemaÓtre continues with the hearing: Has God told you that you will be released from your prison? Joan smiles and gives Loiseleur a secret, confidential glance. His eyes gleam back at her in complicity. She answers: Yes ... and by means of a great victory!69 The judges are astonished and cross-examine her. They ask her to explain precisely what she knows, and how she has come to know it. But Joan answers: I know that God will soon come to my help in a miraculous way!70 Jean d'Estivet hastens to write down this important answer. With great secrecy he grips Loiseleur's hand in gratitude. Cauchon, LemaÓtre and some of the other judges plot together.71 LemaÓtre leans forward and begins to question her: Has God promised you that you will go to Paradise? Joan knows instinctively that they have laid a trap for her. In her uncertainty she looks for help from Loiseleur, who indicates to her with a slight smile that she is to say yes. LemaÓtre is satisfied with her answer but takes good care to conceal his satisfaction. In a tone almost of boredom he says: So you are certain of being saved? 16.72 Again Joan resorts to Loiseleur. He gives the same sign as before, and Joan says yes. Massieu's eyes are as if riveted to Joan's lips, and now when she answers yes he forgets where he is, forgets that Cauchon is just beside him, and almost without thinking says to Joan: Do you realize that this is an extremely important answer? Cauchon pounces on Massieu and bursts out: You had better hold your tongue! Massieu wants to explain, but Cauchon cuts him short and orders the hearing to continue.73 LemaÓtre presents his next question, which is only one link in a chain of questions carefully prepared and ingeniously related: Since you are so certain of your salvation ... why do you need to go to confession? Joan is already floundering in the net. She has the feeling that her answer may decide her destiny. She is like a hunted animal that looks for the smallest gap in the chain of beaters in the hope of escaping its pursuers. The judges never take their eyes from her. Ladvenu and Massieu are the only ones whose faces show signs of sympathy and compassion. Loiseleur, seeing that his plan is working out to perfection, gives Cauchon a slight nudge with his knee. There is a pause.74 LemaÓtre realizes that the moment is ripe for presenting the final question which will settle the issue: Are you in a state of grace? For a few seconds it is so still that you could hear a pin drop. Joan tries to catch Loiseleur's eye, but he adroitly avoids meeting her look of entreaty. Joan is obviously at a loss how to answer.75 But then the honest and fair-minded Massieu moves convulsively forward and shouts: Don't answer, Joan - this question is too dangerous... Cauchon, enraged, rises in all his majesty and bellows with the full power of his lungs: 17. Be quiet, will you, in the Devil's name! Massieu defends himself. He explains that nobody has the right to ask such a question of an accused person, least of all when the accused is a young girl standing on her own with nobody to advise her. But Cauchon will tolerate no insubordination. Massieu is forced to kneel there and then and ask for pardon, and must consider himself fortunate not to share de Houppeville's fate.76 When peace is restored Cauchon gives orders for the hearing to continue. LemaÓtre, still seething, asks: Answer now! Are you in a state of grace? Joan opens her mouth to answer, but appears to have second thoughts and remains silent. She looks in the direction of Loiseleur, who is apparently absorbed in his own reflection. He is abandoning her to her fate. In his view she is a certain prey; whether she answers yes or no, she is doomed to perdition. But now that Joan has collected her thoughts again, she gives this admirable answer: If I am not, may God put me there! And if I am, may God so keep me!77 Joan has broken the chain of beaters. She realizes this and smiles. But her judges, who have sat there greedily waiting for the prey to fall into the net so that they can hurl themselves on it - these judges now sit not knowing what to say or where to look. They gaze at each other in speechless amazement. Some of them unconsciously make the sign of the cross. Loiseleur is beyond doubt the most disconcerted. All of them feel that they have suffered a defeat. This battle is lost; now they must try to win the next one. A short conference takes place. The judges rise to go.78 Joan throws herself at Cauchon's feet, embraces his knees and begs him: I implore you to let me come to Mass! Cauchon thrusts her away so brutally that she hits the bed. She remains lying on the floor.79 Loiseleur has hastily stolen over to Cauchon and is whispering something in his ear. Cauchon's face lights up. He whispers to the others, letting them in on Loiseleur's plan. Then he approaches Joan and says to her in his mildest voice: 18. Joan, if you were allowed to go to Mass now ... Joan looks up at Cauchon. Her eyes are already gleaming with hope and expectation. Cauchon continues: ... would you consent to give up your men's clothes? When Joan hears this condition, her hope is extinguished as rapidly as it was kindled. Her expression reflects the deepest disappointment. Her judges repeat Cauchon's question, but she declines their offer. One of them helps her up. She sits on the bed, and all those taking part in the session crowd round her, saying that she must adopt the dress which is appropriate to her sex, if she wants to obtain so great a blessing, and if she wants to live up to her pious feelings.80 Finally Cauchon says: Then you would rather keep your men's clothes than come to Mass? Joan explains through her tears that she is not allowed to do otherwise: I cannot do anything else ... it is not in my power! But Cauchon, unable to control his anger, persists: ... this shameless costume ... Joan tries in vain to make them understand that this form of dress does not pollute her soul with sin, and that wearing it is not in conflict with the Church's laws. Ignoring Joan's remarks, Cauchon rages: ... abominable in the eyes of God ... Joan writhes under these denunciations, she implores him to show mercy, but he scourges her pitilessly: ... You are no daughter of God ... Joan weeps and sobs.81 Cauchon shows no sympathy. He lowers his voice, bends right over her and hisses: ... but a child of the Devil! Joan cries out and collapses. 19. The judges watch her for a moment. Ladvenu full of sympathy. Then Cauchon turns to Massieu and says: Go and prepare the instruments of torture! Massieu can hardly believe his ears. Are they really going to torture Joan? But a look from Cauchon prevents him from saying anything. He goes out through the door, giving Joan a look of compassion as he does so.82 The soldiers, who have witnessed the examination, escort him out, and in the ante-room they reproach and abuse him: Why did you make signs to her and give her good advice? They threaten to throw him into the Seine if this happens again.83 THE PRISON The judges leave Joan, Loiseleur being the last to go. Before he leaves the cell he approaches Joan and pats her hair sympathetically: Do not grieve ... place your trust in God, he will not forget you! Joan turns her tear-stained face to him; full of gratitude for his kind words, she kisses his hand. Then Loiseleur goes out. Joan is left in solitude for a mere moment, before the soldiers enter in order to bait her in their usual manner. Joan takes no notice of them. One of them tickles her in the ear with a straw. Joan gets up laboriously and sits down on the bed. One of the soldiers suddenly catches sight of the straw crown. He laughs, picks it up, turns it round in his hands, and finally places it on Joan's head. Outraged by this form of sacrilege, she removes it and puts it on the bed; but the soldier replaces the crown on her head, at the same time giving her several slaps in the face. He steps back and peeps through the hollow of his hand, as if to see her better.84 The other soldiers roar with laughter and say in mocking tones: She looks just like a daughter of God, eh? He takes an arrow from his quiver, and places it in Joan's hands. She lets him do this without resistance. 20. Another soldier takes a pitcher of water, and sprinkles Joan with his fingers. All three bow low before her as if she was a saint, and finally kneel and say: Saint Joan, pray for us! Then, still bowing, they step back and go out. Joan sits for a moment by herself. Without changing her position she prays silently to God. She is praying to the Almighty for strength and courage to endure her trial by torture.85 Enter Massieu. He is to fetch Joan and bring her to the torture-chamber. He is amazed at finding her decked out in this way, but he gives her such comfort as he can, and leads her out.86 THE TORTURE-CHAMBER The judges have already arrived and are taking their places. They consist of Pierre Cauchon, LemaÓtre, and nine doctors and prelates. The two executioners, Maugier Leparmentier and his assistant, are putting the instruments in order and making other necessary preparations.87 Enter Massieu with Joan. She is told to come nearer. Cauchon tells one of the younger judges to bring a stool for Joan.88 The judge who helps Joan to her seat says: Look! at all these kind, sympathetic men ... He points at Cauchon, who sits surrounded by his collaborators. Not one face expresses any feeling of friendliness towards the accused. The judge continues: Do you not consider that these learned doctors are likely to be endowed with more wisdom than you ...89 Joan nods half absent-mindedly. The judge is pleased with his happy idea and is about to continue his course of instruction when Joan interrupts him: ... but the wisdom of God is even greater! The judge, who has spoken to Joan as one speaks to a child which stubbornly refuses to listen to reason, shrugs his shoulders and gives up. There is nothing to be done about this woman's arrogance. 21.90 Cauchon has raised his hands to his face, outraged by such obstinacy. Now he leans forward in his chair and says with great emphasis: Suppose we were to tell you now that your visions did not - as you believe - come from God ... Joan looks up quickly, as if unable to believe her ears. She searches the faces of her judges, one after the other. Cauchon continues: ... but are sent to you by the Devil, who wants to bring your soul to perdition! Joan sits for a moment, deep in thought. Then a smile spreads across her face. Almost unconsciously she shakes her head - and smiles again. Assuredly the Devil has no power over her and is not going to obtain it either.91 One of the judges asks: If the Devil appeared in the form of an angel, how could you be certain whether it was a good or a bad angel? For a moment the smile fades from Joan's lips. She does not answer. Cauchon looks at her for a long time and then says: It is Satan to whom you have knelt, not Saint Michael! Joan finds this idea so comical that she has to laugh. She cannot help herself; it is not a provocative laugh, only the spontaneous laughter of a healthy person. But Cauchon strikes the table in anger. Joan stops laughing. Cauchon gazes fixedly at her for some time without saying a word. There is complete silence in the room.92 Cauchon gets up, approaches Joan in a dignified manner, leans towards her and says: How can you believe that it is God who guides your steps when you see the abyss opening before your feet? Joan is serious again. Cauchon continues, pronouncing the words with steadily increasing emphasis: Do you not understand that it is the Devil who has turned your head ... 22. He pauses briefly, then continues: ... who has deceived you ... Then after another short pause: ... and betrayed you? While Cauchon has been speaking a change has come over Joan. It is clear that she is tormented by doubts. God has promised her that she will be set free. Why has God not kept his promise to her? Why does he let her stand alone against all these churchmen, these learned doctors? She even asks herself whether she has the right to talk as she does in front of all these gifted and erudite men. Is it true that she is full of pride? Is it the Devil who has possessed her and insinuated in her mind everything that she believed to have come from God?93 Cauchon, judge of character that he is, has no difficulty in seeing what is going on in this young woman's heart. While Joan is wrestling with her doubts he orders a small table to be set in front of her. He puts a document on the table and then places a pen in her hand. Half absentmindedly she lets him do all this, but when Cauchon tries to persuade her to sign she tells him that she is unable to read. Cauchon tells the notary to read the declaration aloud: ... I declare that I am guilty of the crimes with which I am charged, and which the Devil has misled me into committing. I confess that my visions are the work of the Devil, and I am ready to return to the path of truth and, before all the world, to recant ...94 When the notary has finished reading aloud, Cauchon tells Joan warningly that she must sign the declaration, and adds: The Church is opening her arms to you ... Joan's expression makes it clear that she has almost overcome her doubts. Her faith in God and belief in her mission are on the point of gaining the upper hand. Cauchon threatens her: ... but if you do not sign, the Church will turn her back on you and you will stand alone ... 23. Joan's crisis is over. Once again she sees clearly the path she must follow. Quietly she puts away the pen. Cauchon sees this and thunders: ... alone ... But a heavenly light shines from Joan's face. She smiles. With her eyes raised to heaven she says: ... alone - with God!95 Cauchon, realizing that his prey is about to escape him, increases his exertions and displays all his powers of persuasion. Does she know that the Church has the means to compel her? Is she familiar with the secrets of the torture? Cauchon's threats make no impression on Joan. She feels safe with her God. Her face is transfigured by a beautiful light as she says: I would rather die than deny God's acts. Enraged by Joan's pig-headedness, Cauchon loses patience. He orders Joan to be put to torture. While the executioners are taking care of her the judges gather together in a group. One instrument of torture after another is displayed for Joan's benefit. With an executioner at her side she is conducted past the various appliances. She looks at each one for a long time, trembling with fear. Occasionally the executioner demonstrates with a gesture how one of the instruments is operated. They are trying to frighten Joan out of her senses. When the executioners have completed their preparations and the torture can begin, Cauchon goes up to Joan and invites her once again to sign the declaration. She refuses and says: Even though you torture my soul out of my body I shall confess nothing ... Cauchon gives orders for the torture to begin. Joan lets out a scream of pain. She is seen to raise one hand. They all think she is indicating her readiness to sign. A judge holds the document out to her, but Joan thrusts it away so violently that it falls on the ground. Somebody picks it up. And Joan says vehemently: ... and if I should confess anything, I will afterwards declare that it was only by using force that you made me confess. 24.96 Joan collapses. The executioner bends over her. She has fainted.97 The executioner and Massieu carry her out while the judges confer on what procedure to adopt next.98 THE PRISON Massieu has gone on ahead to notify Joan's keeper, who sends a man out with a message for Warwick. Massieu prepares Joan's bed and takes the little crown in his hands; he looks at it for a moment, then flings it into a corner. Enter the executioner and his assistant, carrying Joan between them. They lay her on the bed and go out. Before Massieu leaves the cell, he gives one of the soldiers instructions to keep an eye on Joan.99 THE TORTURE-CHAMBER The judges confer. Cauchon thinks the torture should continue, and asks the judges to vote on this proposal, but only one of them is in favor of continuing. This is Loiseleur, who says: It is medicine for her soul! Ladvenu gives Loiseleur a look of hostility.100 THE PRISON Joan is lying on her wretched bed. The chains, the brutal soldiers, terror, fatigue, and finally the torture have exhausted her strength. She is unrecognizable. Her face is as white as a sheet. Deep shadows under her eyes. When the scene opens, she is lying in a feverish doze. She breathes rapidly and with difficulty. A soldier with a hard, repellent face is watching at her side. Joan opens her eyes and says: I am thirsty! The soldier looks at her with an unfeeling, hostile expression. Then he takes the bowl of water and pours the water over the floor.101 THE TORTURE-CHAMBER The judges have not yet concluded their conference. They still seem unable to agree on whether the torture shall continue or not. However, Master Erard wins a majority of the votes when he declares: This heart is much too hardened ... 25. there is no hope of our getting a recantation this time - we will have to wait! Cauchon disagrees. A confession would be valuable, even if it was subsequently withdrawn. But Erard continues: ... and she might die at our hands! Cauchon yields to this argument. Even Loiseleur defers to Erard and admits that it would be very damaging to all their interests if Joan died at the hands of the executioner. She would then be certain to enjoy a martyr's glory. Having decided to give up the torture they leave the torture- chamber.102 THE PRISON Enter Warwick. He goes over to the bed and bends over Joan - not with any feeling of sympathy. Joan opens her eyes for a moment and meets his cold, hostile gaze. Then she relapses into her state of lethargy. Warwick goes from the bed towards the door, which he has left standing open behind him. Two doctors whom he has sent for come into the cell. He follows them over to the bed, where he speaks the famous words which for sheer brutality are without parallel in history: I would not have her die a natural death on any account ... she has cost me too much for that... The doctors begin to examine Joan. They feel her thighs and right side. Meanwhile Warwick has gone from the sick-bed over to the door.103 Enter Loiseleur with the news that Cauchon is waiting in the adjoining room. Warwick is about to go when one of the doctors approaches him and says: She has a fever, we shall have to bleed her ... Warwick shows signs of unease, and asks whether this is really necessary. The doctor insists that it is. Warwick consents, adding: But take good care that she does not do away with herself ... she is very crafty. 26.104 The doctor turns back to the bed to prepare for the blood- letting. Warwick accompanies Loiseleur into the adjoining room, where Cauchon and some of the other judges are waiting. Cauchon enquires after Joan. Warwick answers in a manner which cannot be misunderstood: She is very weak... The two men exchange glances. Cauchon and the judges have come to extort a confession from Joan. 'whether because they were afraid of her escaping in this way and dying without having made a recantation, or because her weakened physical condition raised hopes of her soul being easier to purchase.' Cauchon explains to Warwick how he wants to proceed. Loiseleur joins in the discussion and proposes a drastic remedy. Cauchon approves Loiseleur's idea and tells Massieu and another young monk to fetch the holy vessel.105 While this is going on, scenes are shown from the sick-bed and Joan's blood-letting. One of the doctors goes out in order to report that the blood-letting is finished. The patient is better and can undergo examination without danger. Cauchon, Loiseleur and some of the other clerics come into the cell. Warwick remains with the doctors in the adjoining room.106 Joan is lying with closed eyes. Cauchon goes over to the bed and bends over Joan with a benevolent, paternal expression. He touches her on the temples. Joan opens her feverish eyes. He asks her in a friendly manner how she is. She makes a movement with her head and at the same time gives a feeble smile. Her eyes shift from Cauchon to the others; what is going to happen now? She is evidently taken by surprise.107 Cauchon guesses her thoughts, calms her and says: We have come to give you comfort and strength ... A tiny glimmer of gratitude passes over Joan's face. Cauchon and the others install themselves, sitting and standing round her bed. Cauchon, with the same benevolent air and kindly smile, asks whether Joan has anything to say to him, whether perhaps she has any wishes. Joan holds him for a long time in her gaze, which the fever has made still more penetrating. Then she makes a feeble movement with her head. Cauchon arranges the pillow under her and comes close to her in order to hear better. Joan, whose labored breathing makes it difficult for her to speak, says in a weak voice: 27. I am afraid that I am going to die ...108 Cauchon speaks some words of consolation to her in his capacity of priest. Joan continues: ... If I should die, I implore you to have me buried in consecrated ground! Joan tries to read the answer from Cauchon's face; she sees only utter benevolence and charitableness. In addition, all the judges now seem full of affection and sympathy. They tiptoe round her bed, first one and then another coming close up to her. They tuck the blanket round her and touch the place where she has been bled. Some of them kneel and pray for Joan. She regrets not having been more amiable towards these men who are revealing their true feelings, now that they see her in such misery. She feels every confidence in them and in Cauchon. He has caused her great suffering; now, however, he appears no longer as a judge, but as one who has come to show her goodness and compassion. And when Cauchon strokes her hair and says: The Church is merciful ... Joan smiles trustfully.109 Cauchon continues: She does not close her heart against those who return to her ... Joan, in her weakened state, does not know how to express her gratitude. She squeezes Cauchon's large hand in her tiny one, which is absolutely white. But Cauchon says in a gentle voice: What would you say if we gave you the Sacrament? Joan cannot believe her ears. She asks one question after another, which Cauchon answers only with nods and his paternal, benevolent smile. Joan has to find an outlet for her joy, and with her two small hands she takes Cauchon's great fist and places it against her cheek.110 Cauchon signals to Loiseleur, who opens the door. Enter Massieu with the Eucharist. Cauchon helps Joan sit up in bed. Beside herself with joy and anticipation, she follows the preparations and keeps looking at Cauchon with gratitude. Then she says joyfully: I am a good Christian ... 28.111 The judges in the cell send up a prayer of thanks to God for restoring this lost sheep to the fold. Joan smiles happily. Then the notary places a document in front of Joan and offers her a pen. Joan looks in amazement at the document, which she recognizes: it is the same declaration which was placed in front of her for her to sign during the torture scene. Her look of astonishment shifts from the notary to the document and from the latter to Cauchon.112 She explains once more that all the accusations in the document are what God has commanded her to do. She cannot recant like this without denying her God. Cauchon bends over her and says: The Sacrament ... is it not a great blessing? Joan nods, and her expression seems to want to say: of course, everybody knows that the Church has no greater treasure. Cauchon continues: ... But you will never share in the Church's blessings, if you do not expiate your sins.113 He indicates to Joan that she must sign. One of the judges approaches with a wafer. An expression of misery and pain lies on Joan's face as she sits there, sick, feverish and racked with doubts. On one side she sees the wafer, which is more precious to her than life itself, on the other side the document, which will make her confess that she is an agent of the Devil.114 As if talking to herself and her conscience, she says: I am a good Christian ... As she sits there, alone with all these men, she is the picture of utter despair and loneliness. They all gaze at her with fixed stares. Nobody speaks to her. Finally Cauchon breaks the silence. In a quiet voice he advises Joan to sign and save her soul; but Joan has now mastered her temptation. She hands back the paper. Her body is broken. But the strength of her spirit is unaltered. For a moment they are all struck dumb.115 Cauchon gestures, ordering the Sacrament to be carried out. The tears run down Joan's cheeks, when she sees the priests going out with the sacred vessel. 29. I love God ... I love Him with all my heart! she says.116 Loiseleur, who has accompanied the procession into the adjoining room, tells Warwick the outcome.117 In the cell the atmosphere has changed abruptly. Cordiality is replaced by coldness, gentleness by severity. The judges are overcome by a feeling which can almost be called irritation - irritation with Joan and what they call her pig- headedness.118 Jean d'Estivet reproaches her harshly for allowing her vanity to take precedence over the salvation of her soul. He concludes with these words: If you die in this hour, you die as an infidel... Joan, goaded by the mental torture to which she has been subjected, answers in words conjured up by her sancta simplicitas; but Jean d'Estivet, revelling in the pain his speech has given Joan, obliterates her with the wounding words, which sting like the lash of a whip: Your soul is doomed to perdition ... To which one of the others adds: ... to everlasting torture in the flames of Hell!119 Groaning under the burden of the injustice and malice they are heaping on her, Joan turns for comfort to Cauchon, whose hand she has just pressed to her cheek; but Cauchon has no comfort to give. He draws back and says coldly: Joan, you are a child of the Devil!120 She looks at him in unaffected terror. Then it is as if a veil gradually falls from her eyes; as if the whole truth is revealed to her in a flash of lightning. They have lied to her in order to trap her. In her overwrought and exhausted condition she loses all self-control. Fever and ecstasy take charge of her features. As a stream of reproaches pours from her lips they all gaze at her in terror: is this the last flare-up before death, is it madness? All of them feel themselves face to face with something unfamiliar and extraordinary. Slowly they draw away. Cauchon rises and backs round his chair. 30.121 Foaming at the mouth, Joan continues to pour out a torrent of words: You say that I am a child of the Devil... and she continues: ... but I say it is you who have been sent by the Devil to torment me! She stands up in bed, pointing at each judge in turn. A violent storm of anger breaks out: Blasphemy! She is possessed! This is monstrous! The judges huddle together in their agitation and terror, and gradually withdraw.122 And now Joan falls back on her bed, exhausted. She groans and gasps for breath. She wipes the sweat from her forehead with her sleeve. For a moment there is silence. Only her groans can be heard. The judges look at each other, not knowing what to do. Then they turn to Cauchon who is pondering. It is he who breaks the silence with the following words addressed to Massieu: There is nothing for it ... give the executioner his orders! While the doctors who have entered during the preceding scene are attending to Joan, the judges leave the room.123 By the time the judges come out into the castle yard, there are already rumors of what has happened in the cell. The inhabitants of the castle crowd round to hear the news and learn of the preparations now in hand for the penultimate act of the drama. From the castle yard a small door leads out to the churchyard, which lies outside the castle walls. The judges make for the churchyard.124 THE PRISON Some soldiers have come with a stretcher. They lift Joan onto it and carry her out.125 THE CHURCHYARD One group of judges after another is seen moving forward to the spot from which they are to witness the impending ceremony. 31.126 Joan, lying on the stretcher, is carried into the churchyard.127 The churchyard, which is surrounded by walls, is very big, but only a few graves can be seen in it. They are all covered with flat stones after the custom of the Middle Ages. In those days churchyards served as a meeting-place at certain festivals, and the judicial authorities of the Church often used them as a stage for important announcements and abjurations, which they wanted known to as many people as possible; they formed a theatrical setting, with graves and gravestones as sets. A stench of putrefaction arose from this earth filled with dead bodies. The poisonous smell of nothingness. The smell of stones, corpses and worms. Against the buttress of the church two platforms have been erected and covered with red velvet. On one of them the entire assembly of judges is sitting in state: Pierre Cauchon, the Inquisitor, and a host of jurists in scarlet caps and purple skull-caps. The other platform is for Joan.128 Escorted by English soldiers, Joan's little procession comes slowly to this place.129 Everywhere in the churchyard, and even on the walls, there are thousands of people, heads jostling. The great majority of them are favorably disposed towards Joan. When she is carried in, every neck is craned to catch a glimpse of her. For her part Joan tries to read her destiny in their faces. From the way they look at her she gets the impression that their feelings towards her are friendly. Joan, who for months has lived remote from this earth, is visibly moved. She smiles at the tiny flowers which greet her from the grass. She almost touches them with her hand and imagines that she is caressing them. But when she looks in the other direction, her eye falls on two gravediggers who are engaged in opening up an old grave. She sees the worms swarming in the skulls which are thrown up, and she is filled with the fear of death. Once more she ponders over the words which the members of the judicial body have addressed to her, and she thinks sadly of her fellow countrymen, who seem to have forsaken her completely.130 The tiny procession approaches the platform reserved for Joan. Loiseleur comes forward to meet the procession and assist her. She smiles happily at this man, whom she believes to be on her side. She is helped to a seat on a little stool.131 Her face is as white as a sheet. She closes her eyes, which have been hurting intensely, bows her head and places her hands on her breast to all appearances indifferent to everything happening around her. Erard, Massieu and two notaries take their places at Joan's side. 32.132 Loiseleur goes back to the larger platform where he takes his place near Cauchon, who now gets up and declares the session opened. Joan, for the last time I order you to abjure. Are you willing to sign? Joan sits motionless and expressionless. She hears nothing, and smiles distantly.133 One of the prelates takes his place at Joan's side. He begins an admonitory sermon, taking as text the words from Saint John's Gospel: 'The branch cannot bear fruit of itself except it abide in the vine.' Inspiring terror at one moment, speaking sanctimoniously the next, he warns, he threatens, he implores, he mocks, he calls her a cunning traitor, cruel, greedy, a liar, a heretic, a witch. His anger rises in measure with his words and finally reaches a point where it overflows in a torrent. He is unquestionably a powerful speaker.134 But the stream of words appears to flow over Joan's head without touching her. The past and the present mingle in her thoughts; yet nothing of what goes on around her escapes her notice. She looks towards the open grave. She cannot see the actual gravedigger, only the earth which he is shoveling up from deep down. Then she hears a shout of command.135 In the densest part of the crowd the soldiers are clearing a passage to allow a carriage into the churchyard. The new arrivals are the executioner and his two assistants.136 Erard is enraged at Joan's apparent lack of interest in what he is saying. He raises his voice and shouts furiously: ... This woman's arrogance fills one with disgust ... Joan's attitude remains unchanged. She does not move. Erard's voice trembles as he continues: There has never been a monster in France like the one which has appeared in the form of Joan. He pauses, leans towards her, and with a threatening gesture shouts at Joan: It is to you, Joan, I am talking... it is to you I say that your king is a heretic! 33.137 Now Joan turns towards him. She can withstand all his invective, when it is her own person and her own honor that are at stake; but this accusation directed at her king deeply outrages Joan's love of France and of Charles, the king. Her expression is one of anger and indignation as she says: Indeed, my lord, I am ready to maintain, even at the risk of my life, that my king is the noblest man in all Christendom...138 A ripple of applause can be heard among the spectators. The soldiers, who are standing side by side in closed ranks, turn threateningly.139 Thrown out of his stride by Joan's answer, the preacher embarks on a tirade, which Joan answers confidently; finally, not knowing how to respond, he shouts to Massieu: Make her be quiet! The spectators derive much derisive enjoyment from this little scene. Order has been restored on the platform. Massieu has persuaded Joan to keep quiet. The preacher is approaching his peroration. He points to the judges and declares they have proved incontestably that Joan has violated the Church's doctrines in deed as well as in word; and asks her if she has anything to say in answer to this. She reflects for a moment and, while the spectators stand on tiptoe to see what is happening, she rises to her feet and says: I alone am responsible for everything that I have said and done ... Joan draws a deep breath before continuing. All those standing round her gaze at her expectantly. Then she says: ... If have done any wrong, I am to blame, and nobody else!140 She sits down calmly. Erard, however, is almost inclined to interpret her words as a declaration that she is now ready to recognize the error of her ways. He leans forward towards the notary, who hands her a paper. Several of the judges have come forward, also one of Warwick's secretaries. There is so much tumult and confusion round Joan that she has difficulty hearing. Sommaire explains: It is the abjuration ... 34. Joan does not understand what this means. What is the meaning of 'abjure'? She turns to Erard to ask his advice. Explain it to her! Erard orders Massieu. The latter asks to be excused, but after glancing at Erard he does not dare to insist, and is obliged to advise Joan of the danger she will incur by refusing. He says to her: If you do not sign you will be burnt!141 Among the crowd thronging the place the word 'burnt' can be heard flying from mouth to mouth. Around Joan on the platform the air is filled with shouted words. Joan asks Massieu for advice; he tells her that when the Church advises her to sign she must do so. Once again she turns to Erard and asks him to tell her whether she must abjure. He answers: Either you sign - or you will go to the stake! and he points at the executioner, who at this moment approaches at a sign from Warwick. Now Joan understands the cruel death in store for her, and she is afraid. Jesus Christ also was afraid when He learned that His hour was come. Fear has overcome her spirit and is affecting her feelings as well as her judgement; with the threat of the stake hanging over her she now begins to consider the proposition which has been put to her. Almost unconsciously she turns her face towards the grave. She sees shovelful after shovelful of earth piling up ... a human skull appears among the lumps of soil. Worms are writhing in the eye-sockets. The spectators shout: Sign, Joan, sign!142 But she does not hear them. She is breathing heavily and feeling giddy. She looks vacantly at her surroundings like somebody coming out of a faint, not knowing where he is. In a whisper which is barely audible to anybody but herself she says: I have done no wrong ... I believe in the twelve articles of the Creed and in God's Ten Commandments!143 Even Erard's heart bleeds at the sight of such deep unhappiness. His tone changes, and his voice becomes almost syrupy as he says: Joan, we have great sympathy for you! 35. Warwick gives a sign to the executioner, who is approaching with a rope.144 Now Loiseleur mounts the platform and takes up a position on the other side of Joan. He says to her in a low voice: You have no right to die ... you must continue to fight for France ... for the King of France. Joan feels a pang in the pit of her stomach when he pronounces the name of her country and her king, which mean everything to her and are never out of her thoughts.145 The spectators follow with anxiety and deep involvement everything taking place on the platform. Those standing round her, who have witnessed her fear, make all kinds of golden promises if only she will consent to sign. Cries of 'Sign, sign!' resound from mouth to mouth, and Loiseleur urges her earnestly to follow this advice. Joan is dazed, and no longer understands a thing. Anxiously she explores the eyes of those standing round her. Her terrible uncertainty is reflected in her expression. The moment has arrived when she begins to yield to the unremitting pressure. And when, at this very moment, the executioner rises up before her, she surrenders.146 She casts a frightened glance at her surroundings; then she slowly kneels and bows her head. Sommaire seizes the document which has been placed in front of Joan for her signature and reads it aloud, sentence by sentence. Sentence by sentence Joan repeats his words, smiling feebly and speaking in a peculiar mechanical way which betrays the fact that she is far away, absorbed in her own thoughts. During the reading Erard gestures with the pen to the larger platform to inform the judges that Joan is going to sign. The tension among the spectators is at breaking point. The reading is concluded. Joan gets to her feet. Erard puts a pen in her hand; round Joan the excitement is palpable. People seem to be afraid of her dying.147 But Joan is like somebody who has escaped from a great danger, whose relief now finds expression in a tremendous joy, almost resembling gaiety. 36.148 She draws a circle, explaining as she does so that she is unable to write. But this is not good enough for Erard. So Loiseleur steps forward and guides Joan's hand, enabling her to write the word JEHANNE, followed by a cross. When Joan has signed, Erard, with the document raised over his head, gives a wink of triumph to let the judges know that he has succeeded in his task. The document passes from hand to hand until it reaches Loiseleur, who says cheerfully to Joan: You have done a good day's work today ... you have saved your soul!149 And he hurries away to give Cauchon the document. Among the spectators the tension is released in shouts of joy. But one or two English soldiers, who have seen Joan's smile, go up to her and shout at the priests around her: She has only made fools of you! The priests push them away. Cauchon, who has received the document, now gives a signal for Joan to come forward and hear her sentence of judgement.150 Joan descends from the platform, leaning on Massieu. In his enthusiasm one of the spectators forgets himself and bursts out: Long live the Maid! ... Long live France! Two soldiers turn abruptly, force their way through the crowd, seize the unfortunate man who has given vent to his patriotic feelings, and lead him away.151 Joan has come before her judges' great platform. Cauchon takes the document from his secretary and begins to read it aloud: In as much as you have at last renounced the error of your ways, we release you from excommunication from the Church ... Cauchon pauses for a moment. Joan stands before her judges with folded hands. A smile of gratitude is sketched on her face. She lowers her head to conceal her joy. Then Cauchon continues: But in as much as you have rashly sinned we condemn you . .. Joan looks up with an expression of fear and surprise. Cauchon continues his reading: 37. ... to perpetual imprisonment, there to eat the bread of sorrow and drink the water of affliction ... Joan stands for a moment, dumbfounded. It is as if she cannot grasp the meaning of what she has just heard. She feels as if her heart is in her mouth. Her eyes have the expression of a hunted animal. Then she hides her face in her hands and weeps. Cauchon gives a sign for Joan to be led out. She staggers away, leaning on Massieu's arm.152-3 THE GATEWAY LEADING INTO THE CASTLE YARD Joan meets the two soldiers who earlier maintained that she had made fools of her judges. They heap abuse upon her, and Massieu has to protect her.154 THE PRISON Joan is escorted in by the jailer. He makes her sit down on a stool and starts cutting off her hair. Joan is seized by a new and dispiriting fear. Although she is in pain, she manages to weep inaudibly, sobbing without a sound. When her weeping eases off for a moment she whispers: Oh, I am so tired, so tired ... But the jailer is concentrating entirely on his work. The locks of hair fall on the ground. Joan weeps ceaselessly. The events in the churchyard pass in succession before her eyes, but now she sees them in relation to one another, from a new angle and with a sharper perception. She realizes that it is the fear of death which has caused her to panic. She regards what she has done as the greatest sin she has ever committed. She is unable to forgive herself for having told lies through fear of death. Bitter are the tears which well from her eyes, from sources almost dried up, as Joan asks herself how she may still atone for her sin and repair the damage she has done. She turns to the jailer and says with an air of entreaty: Oh, I am so tired ... The jailer mumbles something incomprehensible. Sympathy is not to be expected from this quarter. Joan feels like an outcast; it is hard to imagine a greater humiliation for a woman than to be shorn of her hair. And Joan is a woman. At last the cutting operation is concluded. 38.155 Joan gets up and sits on her bed. She is like somebody who is on the verge of collapse from lack of sleep, and who does mechanically whatever he is told. Unconsciously she raises her hands to her face, shudders and looks at her hands with dread, as if they were unclean. She feels ashamed. What has she done? She has denied her God. She thinks of Peter's denial, of his threefold denial before cock-crow.156 The jailer, who has left Joan by herself for a moment, now returns with a broom. Almost without thinking, and with a melancholy smile, Joan follows the broom as it sweeps up her hair - hair from OrlÈans and from Rheims. The jailer sweeps it up onto a shovel. He glances round the cell to see if there is anything else he can sweep up while he is about it. His eye falls on the plaited straw crown, the martyr's crown, which has landed in a corner. Joan sees the broom gathering in the crown. That too! It is as if in this little incident Joan sees a sign from God. She bitterly laments the glory she has lost by her abjuration. The jailer leaves the cell. Joan sits by herself. She thinks of what she has done. This document signed by her hand is a denial, a denial of God. How she wishes she could tear it to shreds! She is in consternation over the enormity of her sin. Her soul is drowning in remorse. She flushes, she shakes her head violently: No! No! No! She strikes her breast. She feels that she is damned eternally, eternally abandoned by God. She raises her head in bewilderment. She thinks of Hell. She stands up as if to cry out in remorse. Then suddenly she recalls the executioner and the stake at which her flesh will burn. She collapses again on her bed. She sits there in agony, her head hidden in her hands. The door opens. The jailer comes in. Now Joan rises, having made her decision. She hurries over to the jailer and shouts : Go and fetch the judges ... I take back ... I regret ... I have lied ... She looks at him with tear-stained eyes and gives him a push to make him go and tell the prelates. She is seized by a deadly fear, she is terrified that a new fit of weakness will master her before she can put into effect the decision she has just made. She knows that this decision will probably lead to her death, but this she feels strong enough to meet. And now that the first step has been taken she trembles with impatience. She is weary of the struggle and longs to be free. 39.157 The spectators of the scene in the churchyard have still not returned to the town, but have encamped in a large open space where booths selling cider and other drinks have been set up. They are grouped in families on the grass, some of them are crowding round the booths, and the younger ones are dancing and singing to the sound of music. The preceding prison scenes alternate with short shots of this folklife: dancing bears - acrobats - jugglers - a musician - a hobby-horse - a dance-leader - a man with a stick over his shoulder and a cask hanging from the stick - penny in the bucket - another musician who has fastened together a drum and a flute, which he holds in the left hand, with the drum-stick in his right. A wild dance - a man selling birds - dwarfs - contortionists. The following prison scene is interrupted by glimpses of the preparations round the bonfire which is to be lit in the castle yard: a man carrying firewood to the stake, a broken carriage-wheel in the fuel, etc.158 The jailer now finds Cauchon in conversation with Warwick at the entrance to the chapel. The jailer explains briefly what has happened in the prison. Warwick and Cauchon exchange eloquent glances. At the same moment Loiseleur comes out from the chapel. In a few words Cauchon puts him in the picture and tells him to assemble some of the judges and notaries.159 Meanwhile Joan sits waiting impatiently in her prison. It is evident that she does not make a sacrifice such as hers without doing her nature an injury. She is racked by deep despair and her nerves show it. She shivers; her teeth chatter. She wrings her hands so that her knuckles are completely white.160 Finally Cauchon enters, followed by various judges and notaries. They find the young girl dissolved in tears, her face contorted. It is a poor, helpless girl of twenty whom they have defeated. During the following scene Cauchon exudes an air of benevolence and satisfaction. In contrast with his earlier demeanor he is now calm and equable. His feelings are pleasurable, but it is not a malicious pleasure; he is sure of his prey! They sit down, and Cauchon asks Joan why she has sent for them. With a sob, but also with an expression of determination, she answers: I have committed a great sin ... She has to break off, choked by tears. 40.161 The judges comfort her and try to alleviate her grief, so that she can continue: ... I have denied God in order to save my life. The judges look at one another. Not one of them is so hard- hearted as to be untouched by the young woman's genuine distress.162 Even Cauchon is moved. It is a moment before he speaks. Then he says: So you still believe that you are sent by God? Joan nods in confirmation.163 Again the judges exchange looks. The notary raises his head from his book. He examines the judges' faces searchingly, looks at Joan and writes in his notes: 'Fatal answer.' Cauchon has stood up. However dulled his human feelings may be, it still goes against the grain with him to send Joan to the stake, even though she herself is asking to die. He says in a friendly tone: But, Joan, you have admitted in front of everybody that you were misled by the Devil. Joan, who has gradually regained her self-control, does not answer immediately. It is only when the judges press her that she replies: Everything I said was for fear of the stake! Cauchon holds a whispered consultation with the others, but it is clear that they all regard it as wasted effort to continue. Cauchon says: Have you anything else to tell us? Joan shakes her head. The judges rise to go. When Cauchon goes into the adjoining room his eye falls on Warwick, who has just come up the stairs and now gives Cauchon a look of enquiry. Cauchon merely says: It is all over! Warwick receives the news with no indication of surprise. 41. Meanwhile the judges have started to go down the stairs, when Cauchon holds the last two back. They are Ladvenu and Massieu. Cauchon drops his voice and gives them an order.164 The two monks go into the cell, where they find Joan sitting with her hands in her lap. She is now calm and decided. What is she thinking about? About her home in DomrÈmy - or about death? Massieu and Ladvenu remain standing by the door. Joan does not see them, so preoccupied is she with her own thoughts. They approach with cautious steps, as people do involuntarily in the house of death. Ladvenu calls to her. She looks up, surprised to see him. Then Ladvenu says: Joan, I have come to prepare you for death! For a moment silence reigns, so deep that Joan's breathing can be heard. Then she says in a barely audible voice: Now ... already? Ladvenu, struggling with the tears which are muffling his voice, answers yes. Another long, long silence. Then Joan asks, almost as if fearing the answer: What kind of death? Ladvenu, choked by his feelings, is unable to speak. He makes a sign for Massieu to answer on his behalf. Massieu says: At the stake! A slight shudder passes over Joan's face, but in her soul there is no longer any struggle or doubt.165 Ladvenu, who has now regained his self-control, gives Massieu a quiet order. Massieu goes out hurriedly. When he has gone Ladvenu says: How can you still believe that you are sent by God? Joan smiles, as if she knows more than other men, and answers: His ways are not our ways! After a pause she adds: Yes, I am His child! Ladvenu, moved by this persistent faith, says presently: And the great victory? 42. Joan looks at him as if amazed at his asking such a stupid question. She answers: My martyrdom ... Ladvenu nods. He looks at her as at a saint descended from heaven. Yet he cannot refrain from asking one more question: And your release? Joan answers with a look of ecstasy in her eyes: ... Death ... ! Her purity and the sincerity of her faith in God are almost dazzling to Ladvenu. He gets up. He pities the unhappy Joan, and is troubled over this soul which is endangered beyond hope of salvation. He turns to Joan and asks her if she wants to confess. She accepts his offer gratefully and kneels.166 Massieu has gone to fetch the Eucharist. A procession of priests, wearing surplices and stoles, and carrying lights in their hands, comes out of the chapel and goes in the direction of the castle yard, singing litanies.167 Everyone in the castle yard kneels; the women are in tears. To every entreaty the priests answer: Pray for her!168 Presently the procession arrives at Joan's cell, and she prepares to receive the Eucharist. Ladvenu takes the consecrated Host in his hands, shows it to Joan and says: Do you believe that this is the Body of Christ? Joan receives the Body of Christ with touching meekness. She weeps copiously as once again she finds Him from whom she has so long been kept apart. In the fullness of her heart she raises her voice and offers to Jesus prayers of a childlike gentleness and moving quality. The cell door stands open.169 In the ante-room Loiseleur has come into view. He hears Joan talking with her Savior and is deeply moved. Even this man's eyes well over with tears. He is afraid he will be unable to stifle his emotion and withdraws.170 The solemn ceremony is over. The monks leave.171 The jailer comes in with a coat which Joan is to wear. 43.172 Meanwhile rumors are circulating among the crowd in the area behind the churchyard that Joan has withdrawn her abjuration. Now they set out in swarms for the castle, pressing over the lowered drawbridge leading into the castle yard, where the English soldiers control the flow in such a way that they keep the invaders concentrated in one corner of the yard. Through the gate hundreds of curious sightseers can be seen climbing up into trees and standing on the parapets of the bridge in the hope of seeing a tiny fragment of the unaccustomed spectacle.173 In between, scenes from the prison are shown. Joan is wearing a coat that comes down to her feet, which are bare. Her earlier calm seems to have disappeared. She prays and weeps incessantly. Ladvenu and Massieu, who have returned to fetch her, lead her away.174 Joan has arrived at the castle yard. In her coat she appears to many of those present as a vision from God. An old woman approaches, hands Joan a cup of milk, weeps and kneels. The poor child, who is herself in need of comfort, offers the woman such comfort as she can, but the English soldiers put an end to this scene.175 The stake is erected in the middle of the castle yard.*** The fuel is piled up on a foundation of stone. The post to which the victim is to be tied projects over the fuel. The intention is for thousands of people to witness with their own eyes that the Maid has really been burnt. A notice-board is fastened to the stake, with the following inscription: 'Heretic, Relapsed, Apostate, Idolatress.' Further away there is a platform for the judges and the English nobility; another is reserved for the preacher and for spectators.176 When Joan has taken her place at the stake one of the judges, Nicolas Midi, stands and begins his sermon: In the name of the Lord, amen!177 For Joan it is as if his voice has reached her from far away. She weeps incessantly, as she watches the executioner's final preparations; she sees him bending over178 His coal-bucket; later she sees him, with a knife in his mouth, uncoiling the rope which is to fasten her to the stake.179 Nicolas Midi continues his sermon: ... Like a rotten member we cut you off from the body of the Church. 44. The preacher turns to face Joan directly; she listens attentively and gives an unconscious nod. At the same moment she sees a flock of doves taking off and flying into the heavens. Then Nicolas Midi ends his short address: Joan, go forth in peace ... the Church is unable to protect you! Joan, who retains to the end her respect for the Church's servants, inclines politely and gratefully in his direction.180 In a loud voice she prays: Dear God, I accept my death willingly and gladly ... Her face becomes more serious and more anguished; she continues: ... but I entreat Thee, if Thou lovest me, that my suffering may be short ...181 Her lament, mild but strongly spoken, rings through the hushed square. Everyone holds his breath to hear the condemned Joan's last words; every eye turns towards her and watches for her smallest movement. They are deeply affected by the simplicity she shows, face to face with death. Many are in tears, even some of the English soldiers.182 At the end of her prayer she says to Ladvenu, with tears in her eyes: Where will I be tonight? Ladvenu exhorts her to have faith in God: with the help of the Almighty she will attain her place in Paradise. The English soldiers grow impatient, and one of their officers approaches the platform and says: Look here, priest, are you going to be all day?183 Ladvenu insists on his right to prepare the young woman for death. And he says to Massieu, who is bringing him a small missal: Joan wishes to have a cross with her when she dies! 45.184 Ladvenu instructs Massieu to fetch one from the chapel, and with the little missal in his hand he reads the prayers for those under sentence of death. One of the English soldiers has heard Ladvenu's words to Massieu. He extracts two bits of wood from a faggot lying ready for the bonfire, and joins them so that they form a modest little cross.185 Joan, who has followed his movements, is touched. She takes the cross lovingly and reverently, and covers it with kisses.186 The English captain is now losing patience, and orders the executioner to do his duty.187 Massieu returns with the processional cross. He shows it to Joan; she is inexpressibly happy as she takes it with both hands, kisses it with tears in her eyes, and addresses ardent prayers to it.188 Now her eye falls on the executioner, who has climbed up on the other side of her in order to tie her to the stake. He drops the rope; she picks it up. She is bound brutally to the stake. Ladvenu remains standing. During Joan's prayer he remains holding the crucifix in front of her, so that throughout she can see her Savior. When the executioner has secured Joan he descends. Ladvenu continues to speak words of comfort to Joan. All around her are now in tears. Loiseleur weeps. Even Cauchon weeps. The executioner has made his final preparations.189 In his hand he holds the flaming torch which is to set the bonfire alight.190 Joan suddenly catches sight of the fire, but her first thought is not for herself: she thinks only of Ladvenu, who seems to have forgotten the danger he is exposed to. She shouts to him: The fire! Get down!191 But she implores him urgently to continue right up to the end holding the cross raised before her eyes.192 The flames crackle and climb higher. 46.193 Suddenly a deathly hush descends on the square. A dull silence. Only the crackle of the flames and the mumbled prayers of the priests can be heard. Oppressed by this stillness, some of the spectators fall on their knees, and others follow their example. Many of them light wax candles.194 The flames leap from one faggot to another ... they advance in little jumps over cavities and gaps in the fuel. Sparks fly, smoke whirls up; through the smoke, which occasionally conceals Joan, can be seen part of her195 Face, which is raised to heaven, and her mouth, which is whispering prayers. Then her eyes seek Christ, whom Ladvenu continues to hold up towards her; Christ who, like herself, is enveloped in smoke.196 Through the smoke she sees the executioner stirring the fire,197 And a soldier on his knees trying to get near enough to the bonfire to throw the martyr's crown on it.198 She also sees Massieu, who is sprinkling holy water on the bonfire from his stoup.199 Meanwhile the judges have risen. The clerics are not allowed to witness the actual execution, but their departure is in the nature of a flight. The eyes of most of them are filled with tears. They all cross themselves as they withdraw.200 The English soldiers force a way for them through the crowd, but as the priests approach the spectators the latter draw back of their own accord to avoid contact with them. On every face you can read contempt, in every quarter you can hear the traitors being taunted as such.201 Suddenly the first tongues of flame lick round Joan's feet. She squirms. The things of this earth are vanishing, and Joan's thoughts are now only of the King of Heaven. In spite of the pain and terror she does not forget her Christ - indeed it is as if, with every second that passes, she is coming steadily closer to Him. Jesus! she begins to scream in her long death-struggle.202 The weeping crowds repeat the name of Jesus.203 Innumerable tongues of flame, growing constantly in size, number and fierceness, are now fanning round her.204 The rope binding her to the stake begins to burn. 47.205 Joan is frantic with terror: Jesus! she screams in her agony.206 The echo repeats her cry in the sad and silent square. The bystanders pray in chorus, while the women weep and wail: Intercede for us ... Others continue: ... now and in our last hour.207 Joan's coat is already in flames, consumed by the fire as far as the knees. Her feet are burning.208 But the executioner continues piling fuel on the bonfire. An ominous, infernal silence prevails.209 Joan screams: Jesus! Jesus!210 But the bystanders, who during these final scenes stand as if paralyzed by the fire and by Joan's cries, are seized by a mood compounded of fear and ecstasy. Outbursts of anger and indignation against the oppressors can already be heard. The English soldiers take up a threatening posture.211 The flames climb steadily higher.212 The notice-board fastened over Joan's head goes up in flames and falls into the bonfire.213 A last vision is caught of Joan's face, contorted in terror. She pronounces once more the name of Jesus, lets her head slump and gives up the ghost. The tumult grows among the bystanders, clenched fists are raised in the air.214 Threatening words can be heard. Then somebody in the crowd gives free expression to what everybody is thinking and shouts: You have burnt a saint! The cry is taken up, until it is heard from every throat.215 The rope fastening Joan to the stake has burnt through and falls in ashes. Joan's body totters and sinks into the bonfire. 48.216 At a sign from Warwick the soldiers pursue the mob out of the castle yard with thrusts of their lances, through the gate and over the drawbridge, which is then raised. Many fall victim to the soldiers' brutality or are trampled to death.217 The smoke rises in a column, concealing Joan.218 On Warwick's orders the executioner rakes through the fire. Normally no trace of Joan should remain - but what is this? Joan's heart is undamaged. He shows it to Warwick and pours oil on the flames, but still the heart will not catch fire. He tries in vain, with the help of sulphur and coal, to make it burn: the flame leaps up, guided by his expert hand, but when the fire subsides again the executioner finds the heart still intact. Convinced that he is witnessing a manifest miracle, he looks questioningly at Warwick, who answers curtly: Throw this lot in the Seine!219 In his anguish the executioner falls on his knees before Ladvenu, terrified that he will be condemned for having burnt a saint. As the sun went down Joan's heart was sunk in the river, the heart which from that time became the heart of France, just as she herself was the incarnation of the eternal France. \ No newline at end of file diff --git a/unformated_scripts/Script_Patriot, The.txt b/unformated_scripts/Script_Patriot, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..621022a969b79e9ecf7e5d1b850c23e723c4d810 --- /dev/null +++ b/unformated_scripts/Script_Patriot, The.txt @@ -0,0 +1 @@ +THE PATRIOT by Robert Rodat October 9, 1998FADE IN:CREDITS OVER:EXT. SOUTH CAROLINA COUNTRYSIDE - DAYWoodlands. Beautiful. Untamed. Soaring old-growth elmsarch over riverside maples along the shores of the gentlycurving, deep-water Santee River.SUPERIMPOSITION: SOUTH CAROLINA April, 1776Upstream, the swamps. Beautiful. Hundreds of BIRDS SING.Shafts of sunlight pierce the canopy, cutting through thehanging moss and kudzu, falling onto soft, swaying fernscovering the high ground.The water is clear, with fields of floating lily pads,each with a stark white flower rising from it.SUPERIMPOSITION: THE FOLLOWING IS BASED ON A TRUE STORYEXT. POND BLUFF - DAYA farm built between the banks of the river and the deepgreen of the swamps. Good, fertile land, hacked out ofthe wilderness.The perfectly tended fields are ripe with barley, hops,alfalfa and tobacco. Two sturdy brothers, NATHAN, 13 andSAMUEL, 12, work one of the fields, rhythmically swingingscythes through the barley.The house, built of native brick, is well-constructed andwell-maintained. There's a barn, a workshop and a forge.It is a home of substance rather than wealth. On thefront porch, MARGARET, 11, pumps a butter churn while herbrother, WILLIAM, 6, watches.GABRIEL, 18, strong and handsome, walks out of the woodswith a musket in his hand and a dozen game-birds over hisshoulder. At his side walks THOMAS, 14, also carrying amusket.INT. WORKSHOP - DAYA perfect colonial workshop, fastidiously arranged withevery conceivable tool of the period. A foot-poweredlathe. A drop-forge. A lifting saw. Racks of tools,planes, hammers, augers, drills, blocks, all hanging intheir places. All very well-worn.FRANCIS MARION methodically works his lathe, turning apiece of hardwood, shaving off tiny curls of wood with arazor-sharp chisel. He's in his late-forties, strong andweathered. His hands, though big and callused, handle thechisel with a surgeon's precision. Self-educated andself-sufficient, he has built himself, as he built hisfarm, brick by brick, from the coarse clay of the earth.A finely-made rocking chair, missing only the dowel onwhich Marion is working, sits on the work table. Thechair is a work of art, thin and light, a spider-web ofperfectly turned wood, no nails, no glue.Sitting on the woodpile, SUSAN, 4, a silent, stone-facewisp of a child, watches her father.Marion takes the piece of wood out of the lathe, carefullyfits it into the chair, inserts a peg and taps it intoplace. Then he steps back and appraises his handiwork.He picks up the chair and hooks the top rail to a scale,countering with a three-pound weight. The chair floats.Marion blows softly on the weight which sinks. Susannods, so far, so good. Marion puts the chair on the floorand walks slowly around it, checking every angle.Then, the acid test. He takes a deep breath and lowershimself onto the seat, gingerly adding an ounce at a time.Not a creak. He smiles and sits back with a sigh.CRACK! THE CHAIR SPLINTERS under Marion's weight, DUMPINGHIM on his ass on a pile of broken wood. MARION Damnation!He picks up some of the wood, about to fling it across theroom but stops as Susan shoots him a disapproving look.He calms himself. MARION Sorry.Susan gets down from the woodpile and puts the remains ofthe chair in the fireplace. As she climbs back up to herperch, Marion steps over to his wood rack, extracts afresh dowel, fits it into the lathe and starts all overagain.END CREDITS.EXT. WORKSHOP - DUSKMarion leaves the workshop with Susan at his side. Nathanand Samuel walk past, exhausted from their day in thefield. NATHAN Father, I saw a post rider at the house. MARION Thank you. Did you finish the upper field? SAMUEL We got it all cut and we bundled half of it. MARION Those swimming breaks cut into the day, don't they?Marion walks on without waiting for a reply from hiscontrite sons who jostle one another, trying to pass offthe blame. Gabriel and Thomas walk out of the barn. GABRIEL Father, a post rider came from Charleston. You have a letter inside. MARION Thank you. How's the spotted one's milk? THOMAS Better. She's near ready to calve.Marion nods and motions for Susan to go with Gabriel andThomas to the house. She does so and Marion walks onalone toward:EXT. HILLTOP - POND BLUFF - SUNSETThe loveliest spot on the farm. A beautiful view of thehouse, barns, river, fields and hills beyond. Agravestone stands in the shade of a single apple tree. Itreads: ELIZABETH PUTNAM MARION 1738-1773Above her name is a carving of the night sky, at thecenter of which is the NORTH STAR, steady and guiding.Marion approaches. He gives himself a moment to look atthe grave, then he starts picking apples, speaking to thegravestone in a quiet voice that is more matter-of-factthan sorrowful. MARION ... and they bundled half... almost no trace of the boys you knew...A soft wind blows some dry leaves along the ground.Marion pauses as if listening to a spoken reply. MARION ... no, she still hasn't spoken... Margaret was her age when you... I remember the time at the river when we couldn't find Catherine... you couldn't stop crying... and she was asleep in the wagon the entire time...Marion pauses, remembering. The CRASH OF A PLATEBREAKING, followed by the SOUND OF AN ARGUMENT rises fromthe house below. Marion shakes his head with anexasperated sigh. MARION Your children.He heads down the hill toward the house, now glowing fromthe lights of candles and oil lamps.INT. MARION'S HOUSE - EVENINGPre-dinner chaos. Everyone talking at once. Marion'sseven children and his two family servants, ABIGAIL andAARON, a middle-aged black couple, prepare dinner. Susansilently watches from the stairs. Marion walks in. MARION I smell turnips... WILLIAM Father, Samuel broke the blue plate... SAMUEL I did not... MARGARET Dinner...Marion hands the apples to Abigail and steps over to openhis mail and dispatches. GABRIEL News of Boston, father? NATHAN I hate turnips... SAMUEL William knocked it right out of my hands... GABRIEL Father...? MARION Samuel, William, both of you clean it up...Marion hands a packet of pamphlets to Gabriel and opens aletter. MARION The Assembly has been reconvened, I've been called to...Marion's children go wild. MARGARET Charleston! NATHAN We're going to Charleston! SAMUEL When, father, when? MARION We'll leave tomorrow...The children ERUPT INTO CHEERS and THUNDER into the diningroom. THE CHILDREN Charleston! We're going to Charleston!Marion and Gabriel exchange a stone-faced look. ThenMarion puts on a smile and inhales deeply. MARION I love turnips...Marion follows his children into the dining room.EXT. MARION'S HOUSE - NIGHTQuiet. The only sounds are the soft calls of a fewNIGHTBIRDS and the DRONE OF CICADAS. A faint light movesthrough the downstairs, passing windows in the otherwisedark house.INT. MARION'S HOUSE - NIGHTMarion, holding a candle, does a father's bedtime check.The CAMERA FOLLOWS him as he makes his rounds into:THE KITCHEN. Everything is clean and put away in itsproper place.THE MAIN HALLWAY. Marion checks that the doors are closedand bolted. He heads up the stairs.INT. BOYS' BEDROOM - NIGHTMarion enters, finding William asleep on the floor andNathan and Samuel in bed. He lifts William into bed,takes a slingshot from Nathan's hand, tucks in Samuel andwalks out.INT. GIRLS' BEDROOM - NIGHTMarion steps to the doorway, finding Margaret and Susan atthe window, looking up at the night sky. MARGARET ... now count five finger lengths up from the front two stars of the Big Dipper, and that's the North Star, that's her.Susan gazes up at the North Star. The girls notice Marionand climb into bed. He puts a chair against Susan's bedand kisses her. He pulls a blanket up around Margaret,who whispers: MARGARET It helps her to know Mother's there.Marion nods with a thin smile, kisses Margaret and walksout.INT. MARION'S STUDY - NIGHTSquadrons of lead soldiers stand ready for battle asThomas, lying on the floor, deploys his men. Gabrielreads the new pamphlets and broadsides. Marion walks inand pours a drink. Gabriel hands several of the pamphletsto his father. GABRIEL The New York and Rhode Island assemblies have been dissolved... MARION The middle colonies? GABRIEL Rioting both sides of the bay, in Chestertown they burned the Customs House and tar-and-feathered the Customs Agent. He died of burns. In Wilmington they killed a Royal Magistrate and two Redcoats. MARION Anything about the convention in Philadelphia? GABRIEL Poor Richard says they'll make a Declaration of Independence by July.Marion shakes his head and sits down, carefully extractinga delicate pair of reading glasses from a wooden box. Hebegins reading. GABRIEL Scott Higgins joined the militia.Marion hears but doesn't respond. Thomas looks up fromhis lead soldiers. GABRIEL He's seventeen. A year younger than I.Gabriel and Thomas wait for a reaction. There is none.Gabriel goes back to reading and Thomas resumes playingwith his toy soldiers. Marion's eyes drift from the pageto Gabriel.EXT. SWAMP ROAD - DAYThe Marion family, in two tightly-packed carriages, driveson a beautiful road, cut through the swamps. The canopyof swamp maples and weeping willows forms a tunnel ofgreen, mottled by sunlight.EXT. BENNINGTON OVERLOOK - DAYThe two carriages pass a view of their entire valley.Scattered farms with a patchwork of cultivated fieldssurrounding the town of Bennington.EXT. SANTEE ROAD - DAYPassing through rolling farmland, the Marions head towardthe coast. They pass a large contingent of South CarolinaMilitia, drilling in a field. The children, particularlyGabriel, watch avidly.EXT. CHARLESTON - DAYA big, bustling city. Marion and Gabriel negotiate thecarriages through the busy streets. The children watch,wide-eyed, seeing taverns, a public gallows, drunkards,street entertainers, well-dressed ladies attended by theirmaids, food venders, a man with a trained bear.EXT. CHARLOTTE'S HOUSE - CHARLESTON - DAYGrand. Four stories. Marion and his children pull up.CHARLOTTE MOTTE hurries out. She's in her mid-thirties,beautiful, with a deep sadness that she keeps hidden asbest she can.The children leap from the carriages and swarm around her,embracing her, smothering her with kisses. THE CHILDREN Aunt Charlotte! Aunt Charlotte! CHARLOTTE Welcome! Welcome! Margaret, William, look at you...! (to Marion) They're huge. What have you been feeding them? MARION They're from good stock on their mother's side. CHARLOTTE Thank you.Charlotte hustles the children toward the door. CHARLOTTE Come, come, inside, wait until you see what I have... THE CHILDREN (simultaneous) Presents! For me? What do you have? CHARLOTTE Inside, inside...Charlotte sweeps past Marion who smiles and follows herinto the house.INT. PARLOR - CHARLOTTE'S HOUSE - DAYMarion watches as Charlotte finishes handing out presents.Susan plays with a new doll. William has half-a-dozen newspinning tops, skimming around the floor. Margaret holdsa new dress up to herself. Samuel, Nathan and Thomas tearinto packages holding platoons of lead soldiers. Gabriellooks through a new book.Charlotte sees Marion watching her, rises and joins him atthe doorway. MARION You look well, Charlotte. CHARLOTTE As do you.Suddenly Thomas and Samuel race through the doorway,forcing Marion and Charlotte together, their bodies close.They step back and exchange warm but uneasy smiles.The moment is broken by the SOUND OF CHILDREN. Marion andCharlotte gratefully turn their attention back to them.EXT. CHARLESTON SQUARE - NIGHTDown the block from the Motte house. A yelling crowd ofSons of Liberty is massed around a Liberty Tree from whichhang dozens of glowing lanterns. Most of the men in thecrowd are drunk. Vendors sell rum, ale, food and bannersemblazoned with a coiled snake and the legend, "Don'tTread On Me." Scores of on-lookers, including respectablepeople, as well as street urchins, whores and drunkards,watch the proceedings.Several Sons of Liberty string up effigies of King GeorgeIII and Governor Wilmington. They light the effigies onfire. As they begin to blaze, the crowd cheers.EXT. CHARLOTTE'S BALCONY - NIGHTMarion's children, except Gabriel, stand on the balconywatching the mob. Marion steps out onto the balcony. MARION Inside, all of you...The children turn to Marion with stricken expressions.Marion relents. MARION Very well.The children turn back to the mob. Marion joins them. THOMAS Look! There's Gabriel!They see Gabriel making his way through the crowd. Hesees them and waves, then enters the house.A moment later Charlotte steps out onto the balcony andsees:IN THE SQUARE, a pair of drunk Sons of Liberty, pull downone of the smoldering effigies, cut off its head, thenstart hacking at it's groin with a sword.Appalled, Charlotte shoots a glare at Marion and snaps atthe children. CHARLOTTE Children, inside! All of you! Right now.The children start to protest, but a glance at Charlotte'sresolute expression makes them think better of it. Theyfile into the house. Charlotte shoots a glare at Marionand shoos the children inside. Gabriel steps out andjoins them. MARION What news? GABRIEL The British army is barricaded in Boston. Harry Lee, is here from Virginia, recruiting for a Continental Army. MARION Is that why the Assembly was convened? GABRIEL Yes. He seeks a levy of troops and money. MARION And the Governor? GABRIEL He vowed that if the Assembly votes a single shilling to Lee, he'll dissolve the body. MARION Which would force our delegates in Philadelphia to vote for independence. CHARLOTTE And send us to war alongside Massachusetts. MARION Our governor is a bigger fool than I thought. GABRIEL Lee is counting on your vote and expects you to be the first to enlist.Marion nods thoughtfully without revealing what he thinksof Lee's expectations. Marion turns back to watch themob.EXT. ASSEMBLY HALL - CHARLESTON - DAYThe capital building of South Carolina. A large crowd oflower-class men and women is massed in front of theAssembly Hall. As well-dressed Assemblymen walk into thebuilding, the CROWD YELLS words of encouragement to someand berates others.In the square in front of the Assembly Hall a squadron ofblue-uniformed AMERICAN CONTINENTAL SOLDIERS drills. Arecruiting table is being set up by a Continental Captainand several military clerks.Marion and Gabriel walk across the square toward theAssembly Hall. As they push their way through the crowd,Gabriel eyes the Continentals.INT. ASSEMBLY HALL - DAYTwo dozen ANGRY, YELLING, MEN OF PROPERTY. Among them areROBINSON, HAMILL and JOHNSON, who are Patriots. Opposedto them are SIMMS, WITHINGTON and BALDRIDGE who areLoyalists (loyal the the King). As Marion makes his wayto his seat, the SPEAKER OF THE ASSEMBLY POUNDS HIS GAVEL. SPEAKER ORDER! ORDER!Slowly, the room quiets down. SPEAKER Our first order of business... SIMMS And out last if we vote a levy...The ROOM ERUPTS. SPEAKER ORDER! ORDER! Mr. Simms, you do not have the floor.The ROOM SETTLES DOWN. SPEAKER Our first order of business is an address by Colonel Harry Lee of the Continental Army.An imposing figure rises and makes his way to the front ofthe assembly. He's COLONEL HARRY LEE, about Marion's ageand cut from the same cloth -- strong, weathered, with apowerful bearing. The room quiets down.Lee sees Marion and offers a familiar nod, which Marionreturns, stone-faced. Then Lee speaks, simply andclearly. LEE You all know why I am here. I am not an orator and I will not try to convince you of the worthiness of our cause. I am a soldier and we are at war and with the declaration of independence we all expect from Philadelphia, it will soon be a formal state of war. In preparation for that, eight of the thirteen colonies have levied money in support of a Continental Army. I ask South Carolina to be the ninth. SIMMS Colonel Lee, Massachusetts may be at war, along with New Hampshire and Rhode Island and Virginia, but South Carolina is not at war. LEE Massachusetts and New Hampshire are not as far from South Carolina as you might think and the war they're fighting is not for independence of one or two colonies. It's for the independence of a nation. WITHINGTON And what nation is that?Robinson, one of the Patriots, stands up. ROBINSON An American nation. Colonel Lee, with your permission? LEE Please. ROBINSON Those of us who call ourselves Patriots are not seeking to give birth to an American nation, but to protect one that already exists. It was born a hundred-and-seventy years ago at Jamestown, Virginia and has grown stronger and more mature with every generation reared and with every crop sown and harvested. We are a nation and our rights as citizens of that nation are threatened by a tyrant three thousand miles away. LEE Thank you. Were I an orator, those are the exact words I would have spoken.Laughter. Marion rises. MARION Mister Robinson, tell me, why should I trade one tyrant, three thousand miles away, for three thousand tyrants, one mile away?Laughter from the Loyalists. Surprise from Lee and thePatriots. In the gallery, Gabriel winces. ROBINSON Sir? MARION An elected legislature can trample a man's rights just as easily as a King can. LEE Captain Marion, I understood you to be a Patriot. MARION It's Mister Marion. LEE I understood him to be a Patriot as well.More laughter. MARION If you mean by a Patriot, am I angry at the Townsend Acts and the Stamp Act? Then I'm a Patriot. And what of the Navigation Act? Should I be permitted to sell my tobacco to the French traders on Martinique? Yes, and it's an intrusion into my affairs that I can't... legally.Laughter. MARION And what of the greedy, self-serving bastards who sit as Magistrates on the Admiralty Court and have fined nearly every man in this room. Should they be boxed about the ears and thrown onto the first ship back to England? I'll do it myself. (beat) And do I believe that the American colonies should stand as a separate, independent nation, free from the reins of King and Parliament? I do, and if that makes a Patriot, then I'm a Patriot.Marion grows more serious. MARION But if you're asking whether I'm willing to go to war with England, the answer is, no. I've been to war and I have no desire to do so again.The room is quiet, the Assemblymen having been thrown off-balance. Gabriel is stunned and disappointed by hisfather's speech. ROBINSON This from the same Captain Francis Marion whose anger was so famous during the Wilderness Campaign.Marion glares at Robinson, then smiles. MARION I was intemperate in my youth. My departed wife, God bless her soul, dampened that intemperance with the mantle of responsibility.Robinson looks derisively at Marion. ROBINSON Temperance can be a convenient disguise for fear.Marion bristles but before he can answer, Lee steps in. LEE Mister Robinson, I fought with Captain Marion in the French and Indian War, including the Wilderness Campaign. We served as scouts under Washington and I have no doubts about Captain Marion's courage or competence on a battlefield. There's not a man in this room, or anywhere, for that matter, to whom I would more willingly trust my life. ROBINSON I stand corrected. LEE Nonetheless, I would like to know, Mister Marion, how... how... how...Lee's oratorical skills peter out. LEE Damn it, Francis! How in God's name do you expect to gain independence without going to war? MARION Harry, Harry, Harry...Marion and Lee drop all formality and become nothing morethan two old friends, pissed off. LEE My hairy arse! You live in a cave if you think we'll get independence without war...The Speaker POUNDS HIS GAVEL. SPEAKER Gentlemen! Please! This is not a tavern! MARION Wasn't it a Union Jack we fought under? LEE A long time ago... MARION Thirteen years... LEE That's a damn long time...The Speaker POUNDS HIS GAVEL again. SPEAKER Gentlemen! Please!Marion and Lee ignore the speaker. MARION You were an Englishman then... LEE I was an American, I just didn't know it yet...The astonished Assemblymen and now even the Speaker watchthe argument avidly, turning their heads in simultaneousanticipation of each rejoinder. MARION We don't have to go to war to gain independence... LEE Balderdash! MARION There are a thousand avenues, other than war, at our disposal... LEE Name five hundred. MARION Royal petition, delegates to court, judicial redress, economic boycott, bribery... LEE That's five, keep going... MARION ... time, royal succession, regicide, bribery... LEE You said bribery twice...Marion speaks slowly and firmly. MARION We do not have to go to war to gain independence.Lee says nothing for a moment, then he speaks moreseriously, quietly, grimly. LEE Francis, I was at Bunker Hill. It was as bad as anything you and I saw on the frontier. Worse than the slaughter at the Ashuelot River. The British advanced three times and we killed over seven hundred of them at point blank range. And still, they advanced and they took the ground. That is the measure of their resolve. If your principles dictate independence, then war is the only way. It has come to that.Marion is silent for a long moment. He softens, findshimself unsteady and speaks far more honestly than he everwanted to. MARION I have seven children. My wife is dead. Who's to care for them if I go to war?Lee is stunned by Marion's honesty and his show ofweakness. At first Lee has no answer, then: LEE Wars are not fought only by childless men. A man must weigh his personal responsibilities against his principles. MARION That's what I'm doing. I will not fight and because I won't, I will not cast a vote that will send others to fight in my stead. LEE And your principles? MARION I'm a parent, I don't have the luxury of principles.The other Assemblymen, both Patriots and Loyalists, stareat him, appalled. Marion, feeling weak, sits down. Leelooks at his friend with more sympathy thandisappointment. Then Lee turns to Robinson who addressesthe chair. ROBINSON Mister Speaker, I call for a vote on a levy to the Continental Army. HAMILL Second. SPEAKER So moved.The vote is taken on a roll call. Gabriel watches fromthe gallery. SPEAKER Mr. Robinson. ROBINSON Yea. SPEAKER Mr. Hamill. HAMILL Yea. SPEAKER Mr. Johnson. JOHNSON Yea. SPEAKER Mr. Simms. SIMMS Nay. SPEAKER Mr. Marion.No response. SPEAKER Mr. Marion. MARION Nay.In the gallery Gabriel turns and walks out. The roll callcontinues. Marion sits, eyes straight ahead.EXT. ASSEMBLY HALL - DAYThe crowd waits. The doors open and a PAGE BOY dashes outand runs to the Continental Captain at the recruitingtable. PAGE BOY Twenty-eight to twelve, the levy passed!The Continental Captain motions to an assembled squadron.They raise their muskets and FIRE A VOLLEY into the air.Other soldiers, STRIKE UP A MARTIAL AIR ON FIFES ANDDRUMS. Volunteers crowd around the recruiting table,YELLING and jostling for position.The delegates walk out. Both Patriots and Loyalists giveMarion a wide berth.Marion sees Gabriel, standing near the crowd at therecruiting table. Marion walks up to him. GABRIEL Father, I've lost respect for you. I thought you were a man of principle. MARION When you have children, I hope you'll understand. GABRIEL When I have children, I hope I don't hide behind them.Marion looks closely at Gabriel. MARION Do you intend to enlist without my permission? GABRIEL Yes.They lock eyes for a moment, then Gabriel turns from hisfather and walks away, joining the crush around therecruiting table.Marion stands alone in the middle of the chaos. The FIFESAND DRUMS continue to play. Marion doesn't hear them.Harry Lee walks out of the Assembly hall with a triumphantgroup of Patriots who look at Marion coldly.Lee excuses himself, and steps over next to Marion. Leesees that Marion is watching Gabriel at the enlistmenttable. LEE One of yours? MARION Gabriel. LEE I recognize him now. Is he as imprudent as his father was at his age? MARION No, thank the Lord. He's more like his mother. LEE I'll see to it that he serves under me. MARION Thank you.They shake hands. Then Lee walks over to the soldiers.Marion takes a last look at Gabriel, then heads offthrough the crowded square, moving against the tide of menheaded toward the recruiting table.EXT. POND BLUFF - DAYSpringtime. The apple tree at the top of the hill iscovered with blossoms.SUPERIMPOSITION: "TWO YEARS LATER"EXT. FIELD - POND BLUFF - DAYMarion plows a field. Nathan leads the plowhorse. Samuelfollows, breaking up the clods of dirt. Hard work. Theystop to catch their breath. A SOFT WIND blows.Marion turns his head as if listening for a faint voice.He hears nothing. He snaps the reins and continuesplowing.INT. MARION'S ATTIC - LATE AFTERNOONDark. Thomas steps up into the attic. He finds a trunkand opens it. Lifting out some blankets, he uncovers atrove of Marion's old military gear -- a worn battle coat,a box of medals, a military sword, rusted into itsscabbard.Thomas puts on the coat, which hangs off his narrowshoulders. He stands in front of a dusty mirror,appraising himself, then stops as he hears FOOTSTEPScoming up the stairs.It's Marion, tired and dirty from his plowing. Thomasgrimaces, expecting him to be angry, but sees him shakehis head gently. MARION Not yet, Thomas. THOMAS When?Marion looks closely at his son, giving him the courtesyof really thinking about the answer. MARION Seventeen. THOMAS But it's already been two years and that's two more years. The war could be over by then. MARION God willing.Thomas considers it, then nods. THOMAS Alright. Seventeen.Marion offers his hand. They shake firmly, like adults.Marion takes the coat off Thomas and puts it back in thetrunk. They walk down the stairs together.INT. POND BLUFF - DAWNAll is quiet. A dawn mist hovers close over the ground.Some sparrows feed at the base of the apple tree near thegravesite. DISTANT THUNDER. Low and rolling. The birdsstop feeding, uneasy, then fly away.INT. MARION'S BEDROOM - DAWNAt another roll of the DISTANT THUNDER Marion awakes. Hegets out of bed and pulls on his clothes.EXT. FRONT PORCH - MARION'S HOUSE - DAWNMarion steps out to his front porch and listens. He knowsthe sound, the DISTANT STACCATO BOOMS OF CANNON and thePATTERING WAVE OF THOUSANDS OF MUSKETS FIRING.One by one the children join him. Thomas, Nathan andSamuel listen analytically. Margaret and Susan pressclose against their father. William looks curiously atthe cloudless sky. WILLIAM Is it going to rain? THOMAS That's not thunder.The SOUND BECOMES DEEPER, MORE OMINOUS. They all noticethe change. NATHAN Father? MARION Six-pounders. Lots of them. MARGARET How far away? MARION Four, five miles. SAMUEL Waxhaus? MARION Just east of it. MARGARET Are we safe here?Marion puts on a smile. MARION Don't worry. MARGARET We could go stay at Aunt Charlotte's farm. She's to the west. MARION No, there'll be skirmishers on the roads. We're safer here.Thomas appears at the doorway with a pair of muskets. Hegives one to Nathan and offers the other to his father. MARION Put those away. THOMAS But father, they might come this way. MARION Put them away.Reluctantly, Thomas takes the muskets back into the house. MARION Enough. I'll be in the workshop. Samuel, the cows. Thomas, attend to your studies here on the porch. Nathan, on the back porch. If you see anyone, come get me. Margaret, please keep William close to you. No one is to go past the yard wall.They all nod. Marion walks off toward the workshop,followed by Susan. The others hesitate. MARION Children.They head off to do as they were told.INT. WORKSHOP - DAYMarion works the lathe. Susan watches from her perch onthe woodpile.EXT. BARN - DAYThe SOUND OF A CRASH from inside the barn. An angry cowruns out of the barn, dragging a tenacious Samuel who isholding onto the cow's neck.Samuel's grip fails and he lands in the dirt. The cowruns about thirty yards down the hill, stopping on thebank of the river. Samuel grabs a rope and heads down thehill to get the cow.ON THE RIVERBANKAs Samuel approaches the cow, he see it skittishlyapproaching then retreating from the water. Then he seesthe cause -- the water in the river has a pale, pink hue.Samuel stares at it, trying to figure out what it is.Behind him, Margaret sees her brother beyond the yardwall. MARGARET Samuel...He doesn't respond. Margaret, trailed by William, walksdown toward Samuel. MARGARET Samuel, get up to the house. You heard father...Then she sees it, too. The pale pink is turning redderand redder. And then the BODIES. First one, then more,many more. Torn apart. Missing limbs. Those with wide-open wounds, are already drained of blood. Others arestill seeping, leaving trails of deep red in the paler redof the surrounding water.Samuel, Margaret and William stand frozen, appalled andfascinated.MARION steps out of the workshop and sees the children atthe river. He can't see what they're looking at.Irritated, he walks toward them. Then, as he nears theriver, he sees the color of the water and the bodies thathave hypnotized his children. He quickens his stride,speaking calmly but firmly, careful not to frighten them. MARION Up to the house, now. All of you, come on. Now.EXT. MARION'S HOUSE - NIGHTQuiet. Dark. Marion stands on the front porch, lookingout into the night, listening, hearing nothing. Heglances up at the star-filled sky, tracking his eyes fromthe Big Dipper to the NORTH STAR.BEHIND THE HOUSE, A FIGURE IN THE DARKNESS, carrying amusket, moves from shadow to shadow.INT. KITCHEN - NIGHTMargaret and Samuel and William talk, their voices low. SAMUEL They're going to come. MARGARET Quiet. SAMUEL We're going to have to fight them off. WILLIAM Father will do that. SAMUEL They'll probably kill us men and do Lord knows what to you women. MARGARET Samuel!A SOUND. They all stop. Something moved behind thekitchen. Margaret silently eases the others out of theroom, through the darkened hall toward their father.SUDDENLY IN FRONT OF THEM, A BLOODY FIGUREBig. Hulking. In uniform. Margaret SCREAMS. Williamand Samuel CRY OUT. The figure moves toward them...Marion, on the porch, hears the scream, races into thehouse. He sees the figure, moves toward it...THE FIGURE MOVES INTO THE LIGHT... Marion sees thebloodied face... MARION Gabriel!Gabriel is wounded, battered and dirty. He carries amusket and a dispatch case. He sways. Marion catches himand eases him to a seat. MARGARET You're hurt. THOMAS The battle, were you there? MARION Margaret, get bandages and water. Thomas, the porch, eyes open.Marion checks Gabriel's wounds which are nasty but notlife-threatening. GABRIEL Have you seen any Redcoats? MARION Not yet. What happened?Margaret brings water and linen to Marion who expertlycleans Gabriel's wounds and applies field-dressings. GABRIEL It wasn't like Saratoga. There, we stayed in the trees, but this time Gates marched us straight at the Redcoats. They fired two volleys into us and we broke like straw. I was given these dispatches... I saw Virginia Regulars surrender... as they laid down their weapons the British Green Dragoons rode into them and hacked them to bits... killed them all, over two hundred men.Marion's appalled. MARION They had surrendered?Gabriel nods. Marion's stunned. Gabriel tries to rise. GABRIEL I have to get these dispatches to Hillsboro. MARION You're in no condition to ride. GABRIEL I have no choice, I...Gabriel passes out. Marion catches him and carries him toa day-bed in the parlor. As Marion lays him down, theyhear HEAVY MUSKET FIRE, VERY CLOSE.Marion hurries to the door and looks out into the night,the children cluster around him, seeing a strange sight.A SKIRMISH IN THE FIELD BELOW THE HOUSEPitch black. Then a MUSKET FIRES, creating a FLASH OFLIGHT that illuminates a tableau of soldiers, about threedozen Redcoats and as many Patriots.The strobe of the musket shot provides targets for anensuing VOLLEY OF SHOTS in every direction. Thendarkness, punctuated by SCREAMS OF PAIN, CONFUSEDHOLLERING and the RUSTLING OF ARMED MEN IN MOVEMENT.Then the pattern repeats itself: A MUSKET FIRES,illuminating a tableau of targets for another MURDEROUSVOLLEY OF SHOTS. MARION Margaret, take William and Susan down to the root cellar. Thomas, go to the back porch. Nathan and Samuel, the side windows. Keep out of sight.They hurry off. Marion steps into the house and opens hisgun cabinet. He extracts two pistols and a pair ofmuskets. Then he steps back to the front door. He waitsand watches.EXT. LOWER FIELD - POND BLUFF - DAWNFirst light. The morning mist lies low over the field.Marion warily approaches the scene of the battle. Hecarries a Pennsylvania rifle, has another slung over hisshoulder, and has a pair of pistols in his belt.As Marion nears the field he sees, appearing out of thelow mist, a nightmarish vision. Young Redcoats andContinentals are scattered on the ground, dead andwounded. Many have been hideously torn apart by themassive musket balls. Blood is everywhere. Marionhurries back toward the house.EXT. LOWER FIELD - POND BLUFF - MORNINGMarion loads the wounded men onto a wagon, helped byThomas, Nathan and Samuel.EXT. MARION'S HOUSE - POND BLUFF - DAYThe porch and yard have been turned into a field hospital.There are about two dozen wounded, a few more Patriotsthan Redcoats. Thomas, Nathan, Samuel and Margaret helpMarion tend the soldiers. William and Susan watch frominside.Marion treats an arm wound, retying a tourniquet,stanching an ugly flow of blood.Marion moves to the next of the wounded. Thomas starts tohelp but Marion shakes his head. MARION He's dead...Marion moves on to another. MARION Thomas, help me turn him over...They turn over a young Continental and see a horriblewound on his back. Thomas, swoons. MARION Thomas!A hard glare from Marion strengthens his son. Togetherthey bandage the wounded man.EXT. MARION'S HOUSE - AFTERNOONTriage completed. Margaret and Samuel give water andfood. Marion kneels next to a CONTINENTAL SERGEANT and aCOUPLE OF PRIVATES who are less severely wounded than theothers. CONTINENTAL SERGEANT Thank you.Marion nods, uncomfortable with the thanks. MARION Sergeant, there are seventeen wounded men here. Seven Redcoats and ten Patriots, counting my son inside. That puts me in a difficult position.The Continental Sergeant knows what's coming. ThePrivates and Marion's children don't. MARION You three are the least severely wounded. I have to ask you to leave and find care elsewhere.The Privates are stunned at the request. The Sergeantlooks at Marion's children and nods. SERGEANT I understand.He struggles to his feet and jerks his head for the twoPrivates to do the same. SERGEANT Come on, boys.Nathan, Samuel and Margaret are confused. THOMAS Father? NATHAN But they're wounded. MARION There are rules, even in war.Marion motions to a large, old scar on his arm. MARION After the Battle of Ashuelot River, against the French, I got this and the one on my leg. I couldn't walk. Washington had to march north. He left me with other wounded men and a like number of French prisoners. Nine for nine. When the French found us, their surgeon gave me the best of care. We'll be safe this way.Marion's children are not convinced. The Sergeant and thetwo Privates gather themselves to leave. MARION Your best chance is in Bennington, seven miles east, along the river road.The wounded men nod grimly and start off down the road. MARION Thank you.Marion and his children watch them go.EXT. POND BLUFF ROAD - DAYA dirt road runs along the edge of the Santee Swamps,stretching toward green, rolling hills beyond. Beautifulcountry. Peaceful. Then, the GROUND BEGINS TO SHAKE. ATHUNDEROUS SOUND rises, louder and louder. HORSES HOOVES.From around a bend, a detachment of cavalry gallops:British GREEN DRAGOONS. The finest light calvary in theworld. Hard, strong men. Excellent horsemen. Theirmounts are powerful, muscled and perfectly cared for. TheDragoons themselves are all hardened veterans, marked withthe blood and dirt of a recent battle. Tired andvigorous.They're armed to the teeth. Each carries a flintlockcarbine, a brace of pistols and a sword. Some carrylances as well. Regimental flags flutter. They are fortyof the most imposing, frightening horsemen imaginable.And at their head, the most imposing man of all, LT.COLONEL BANASTRE TARLETON. "The Butcher." Aristocratic.Strong. Dark. A powerful horseman on the best mount ofthe entire troop. Decorated. Imperious. No temper, justhard, cold authority. His men struggle to keep up withhim.Behind them, two dozen LOYALIST MILITIA CALVARY (Americancivilians loyal to the crown). Nasty, local men.Civilian clothes. Riding at their head is AMOS GASKINS,grizzled, lower-class, wearing ill-fitting patrician'sclothing.AROUND A BENDThe three wounded Patriots who just left Marion's farmhear the horses coming, stand on the side of the road,raise their arms and a white cloth of surrender.The Green Dragoons rein in. Tarleton stops in front ofthe three men. He motions for one of his men to lower hisweapon. Then he speaks calmly, quietly, to the woundedmen. TARLETON You're surrendering. CONTINENTAL SERGEANT Yes, sir. TARLETON What unit? CONTINENTAL SERGEANT First Virginia Regulars under Colonel Hamilton. TARLETON Who cared for your wounds?They hesitate. CONTINENTAL SERGEANT We did. TARLETON With a lace table cloth?Tarleton turns to his second-in-command, MAJOR WILKINS. TARLETON Kill them.Tarleton rides off. Wilkins and several other Dragoonscalmly FIRE THEIR PISTOLS, killing the three Patriots.The troops ride off, thundering past the bodies of thethree men.EXT. POND BLUFF - DAYMarion and his children tend the wounded. Gabriel, weakbut walking, helps. REDCOAT INFANTRY appears out of thewoods, heading toward the house. Three dozen men. Scoutsand flank units covering the main body. Marion gathershis family around him, stands and waits.The Redcoats get to the house, warily eye the wounded andMarion's family. A young REDCOAT LIEUTENANT motions hismen to check out the house and barn, then looks at thewounded, doing a silent count. He turns to Marion. REDCOAT LIEUTENANT These men are of my regiment. Thank you.Marion nods. ONE OF THE REDCOATS emerges from the housecarrying Gabriel's dispatch case. REDCOAT Rebel dispatches, sir.Gabriel steps up. GABRIEL I carried those. I was wounded, these people gave me care, they have nothing to do with the dispatches. REDCOAT LIEUTENANT I understand.The SOUND OF HORSES HOOVES. All turn and see:TARLETON AND THE GREEN DRAGOONSThundering down the road toward the house. It's animpressive, frightening sight.They rein in their horses, stopping in the yard, envelopedby their trailing cloud of dust.Tarleton surveys the scene, then speaks to the youngRedcoat Lieutenant. TARLETON Lieutenant, have a detachment take our wounded to our surgeons at Camden crossing. Use whatever horses and wagons you can find here. REDCOAT LIEUTENANT Yes, sir.He hands the dispatch case to Tarleton. REDCOAT LIEUTENANT We found this, sir.Tarleton opens it and quickly scans the contents. TARLETON Who carried this? GABRIEL I did. TARLETON (to Lt. re: Gabriel) Take this one to Camden, he's a spy. He will be hung.Marion quickly steps between Tarleton and Gabriel. MARION Colonel, he's a dispatch rider and that's a marked dispatch case.Tarleton ignores Marion and continues speaking to theLieutenant. TARLETON Fire the house and barns. REDCOAT LIEUTENANT Yes, sir. MARION Colonel... REDCOAT LIEUTENANT And the Rebel wounded? TARLETON Kill them.The Redcoat Lieutenant and several of his men are shockedby the order. Marion is, also, but he's more concernedwith Gabriel. He pushes past some Redcoats and stands atTarleton's mount, looking up. MARION A dispatch rider with a marked case cannot be held for spying.Tarleton finally pays attention to Marion. He looks downat his anguished face and offers the barest of smiles. TARLETON We're not going to hold him, we're going to hang him. MARION But...Tarleton draws his pistol and points it at Marion.Gabriel tries to intercede but is held back by a burlyRedcoat Corporal. GABRIEL Father... TARLETON Oh, he's your son. You should have taught him about loyalty. MARION Colonel, I beg you, please reconsider. By the rules of war, a dispatch rider with a marked case...Tarleton controls his shifting mount, keeping his pistoltrained on Marion's face. TARLETON Would you like a lesson in the rules of war?Marion doesn't answer. He looks up at Tarleton coldly,taking his measure, waiting to see if he's going to pullthe trigger.Tarleton walks his horse a couple of steps and shifts hisaim, pointing the pistol among Marion's children. TARLETON Perhaps your children would.The children are terrified. Thomas is more angry thanfrightened. Marion quickly steps between the pistol andhis children and speaks quietly to Tarleton. MARION No lesson is necessary.Tarleton sees the terrified expressions on the faces ofMarion's children. He smiles at the effect. Then heholsters his pistol.Marion and his children watch as one of the Redcoats tiesGabriel's hands. Thomas is beside himself. THOMAS Father, do something.Thomas grows increasingly agitated. He sees that hisfather is going to do nothing. He gauges the distancebetween Gabriel and the cover of the nearby woods.Then suddenly, Thomas SPRINGS. He RUNS, THROWING HIMSELF,into the two Redcoats holding Gabriel, KNOCKING THEM DOWN. THOMAS Gabriel! Run!Gabriel is too shocked to take flight. A few of theRedcoats, including one of the ones knocked down, shaketheir heads with sad laughter at Thomas' ineffectualgesture. One of them grabs Thomas by the scruff of theneck and yanks him to his feet.TARLETON sees the commotion. Without pausing he DRAWS HISPISTOL AND FIRES, HITTING THOMAS IN THE BACK.THOMAS is thrown to his knees by the shot. Stunned,confused, he looks down and sees the massive exit wound inhis chest.MARION, horrified, catches Thomas as he falls, easing himto the ground.MARGARET CRIES OUT. THE OTHER CHILDREN are stunned tosilence.The REDCOATS are frozen in place. Tarleton's GREENDRAGOONS are impassive, having seen worse.MARION holds his son, looking at the huge,incomprehensible wound. He knows that Thomas is alreadydead, though his body still moves.MARION'S stunned agony turns to fury. He rises, his eyestrained on Tarleton, then stops as...TARLETON raises a second loaded pistol and a DOZEN GREENDRAGOONS raise pistols and carbines, aiming them at Marionand his children.MARION FREEZES, torn between his fury and fear for hisother children. He locks his eyes on Tarleton.TARLETON calmly baths in Marion's anger. Then, with ahard yank of the reins, he jerks his horse's head aroundand utters a sharp command to Wilkins. TARLETON Major.Tarleton spurs his horse and rides off without lookingback. His GREEN DRAGOONS THUNDER after him.MARION'S CHILDREN begin to cry. Margaret tries to reviveThomas' lifeless body, gently caressing his cheek. MARGARET Thomas, please, Thomas...The Redcoats watch in silence. MARION LOOKS AT GABRIELand turns to the Redcoat Lieutenant. MARION Lieutenant, please...The Lieutenant wavers, but he looks after the departingTarleton and his resolve stiffens. He turns coldly toMarion. REDCOAT LIEUTENANT I have my orders. Sergeant!The Redcoat infantrymen scatter, some to get horses andwagons from the barn, others to torch the buildings.MARION stands among the children, all of whom look toMarion with pleading eyes, waiting for him to dosomething. MARGARET Papa, look what they did to Thomas... NATHAN Father, they're going to take Gabriel...With stone-faced fury, Marion watches the Redcoats dotheir work.From the barns, they hear the sounds of MUSKETS FIRING andthe SQUEALS OF THE LIVESTOCK being killed.Other REDCOATS TORCH THE HOUSE, BARN AND OUTBUILDINGS.THE FLAMES RISE.The Redcoats bring out Marion's wagons and carriages andbegin loading the Redcoat wounded.The Redcoat Lieutenant and several of his men walk amongthe Patriot wounded who start to struggle to their feet,begging for mercy. The Redcoats quickly OPEN FIRE, as ifto get it over with.The WOUNDED PATRIOTS CRY OUT. More SHOTS. Then SILENCE.GABRIEL, his hands bound behind him, looks to his fatherwith a combination of resoluteness and fear. Marion lockseyes with him. NATHAN Father, you can't let them take him... MARION Quiet.MARION AND THE CHILDRENWatch as the Redcoats form up and move out, leadingGabriel on a tether. Gabriel looks back helplessly but ahard jerk on the rope by one of the Redcoats turns himaround. They disappear around a bend in the road.THE INSTANT THE REDCOATS ARE OUT OF SIGHT, MARION speaksfirmly to his weeping children. MARION Don't move.MARION STRIDES to his front door and ENTERS THE BURNINGHOUSE.INSIDE, FIRE EVERYWHERE. Picking a route between theflames, Marion walks to his gun cabinet. He opens it andpulls out weapons -- two Pennsylvania rifles, two muskets,two pistols, a long-bladed knife and a worn tomahawk. Hecarries them, with powder horns and ammunition pouchesback toward the door.Marion walks OUT OF THE BURNING HOUSE. MARION Nathan, Samuel...Without breaking stride, Marion throws muskets to Nathanand Samuel who catch them. MARION Margaret, take William and Susan to the river shed. Hide there. If we're not back by dawn, go up the river to the Richardson's house. They'll take you to your Aunt Charlotte's farm. Nathan, Samuel, and I are going to get Gabriel. MARGARET But what about Thomas? MARION Leave him. Take care of William and Susan.Marion runs off toward the woods, Nathan and Samuelfollow. Margaret hesitates, then herds William and Susantoward the river. The house is enveloped in flames.EXT. WOODED PATH - AFTERNOONMarion runs, breathing hard, keeping a punishing, steadypace. Nathan and Samuel run behind, less winded thantheir father. Marion makes up with cold fury what helacks in youth.EXT. WOODED HILLSIDE - AFTERNOONMarion runs up to the crest of a wooded hill. Slows.Crawls the last few feet. Nathan and Samuel just behindhim. Looks over the hillside.A path runs through a glen, about fifty feet below.Marion's eyes dart, absorbing the terrain, looking foradvantage. He points. MARION Nathan, there. Samuel, there.The boys go where they're told. MARION I'll fire first. Then, Nathan, kill whoever is standing closest to Gabriel. Samuel, kill the last man in the line.They stagger under the weight of the orders. Marionnotices but continues. MARION After that, Samuel, load for Nathan. If something happens to me, put down your weapons and run as fast as you can, that way, downhill. Hide in the brush by the river, then make your way home, get the others and go to Aunt Charlotte's farm.The boys hesitate. Marion looks at them firmly. MARION Boys... steady. NATHAN & SAMUEL Yes, father.Marion disappears into the underbrush.DOWN THE PATHThe dozen Redcoats approach. Leading Gabriel on the rope.AHEAD OF THEMMarion waits in the thick undergrowth.On the hillside, Nathan and Samuel grip their muskets andexchange a frightened, troubled look.The REDCOATS enter the glen.MARION waits, then picks his moment and FIRES, killing theRedcoat Lieutenant with a shot to the chest.NATHAN AND SAMUEL INSTANTLY FIRE, dropping the lastRedcoat in the line and the one holding Gabriel's rope.THE REDCOATS STOP in confusion...GABRIEL kneels, out of the line of fire.The REDCOAT SERGEANT takes command... REDCOAT SERGEANT FORM BY TWOS! BACK-TO-BACK LINES...MARION KILLS the Sergeant with a shot to the throat...Samuel finishes reloading, swaps muskets with Nathan whoFIRES, DROPPING ANOTHER REDCOAT. REDCOAT CORPORAL READY...Marion FIRES, killing the Corporal, the last man ofrank...Marion ducks to the side as a VOLLEY OF REDCOAT MUSKETFIRE tears into the spot marked by Marion's rifle smoke...FROM THIS MOMENT ON, MARION NEVER STOPS MOVING. Hestrides rather than runs, staying just inside the brush,offering only glimpses of himself. He changes his paceand direction repeatedly, ducking and weaving, firing andloading while moving. He never gives the Redcoats astationary target, especially one marked by billowingsmoke from his flintlock. It's an Indian tactic and itworks.The Redcoats TRACK HIM WITH THEIR BARRELS, about tofire... Marion suddenly STOPS DEAD, REVERSES DIRECTION,several REDCOATS FIRE AND MISS.Six Redcoats left. Some primed, some reloading. AREDCOAT draws a bead on Marion who drops to the ground andFIRES, killing him.Samuel, WEEPING as he loads, hands a primed musket toNathan who FIRES...The Redcoats turn their attention to THE SPOT MARKED BYNATHAN'S SMOKE...Marion SEES THE REDCOATS AIMING TOWARD THE BOYS. Heinstantly STRIDES OUT INTO THE OPEN, drawing the Redcoats'attention from his sons...Marion FIRES BOTH HIS PISTOLS, killing two Redcoats...One Redcoat finishes reloading... Marion rushes him,shoves aside the barrel and SLAMS him in the face with thebutt of the musket...This is a DIFFERENT MARION, a vicious, savage Marion,killing with stunning brutality...Marion drops his own expended rifle and CATCHES THEREDCOAT'S LOADED MUSKET before it hits the ground shovesthat musket into another Redcoat's belly and FIRES...Two Redcoats left, neither finished loading...MARION CHARGES, drawing his TOMAHAWK, ignores a GLANCINGBAYONET WOUND to the neck, HACKS a Redcoat open...Splattering himself with BLOOD...The final Redcoat, a cherubic-face young man, ducks intothe woods... Marion tears after him...A FOOTRACE... the young Redcoat BLASTING THROUGH THEBRUSH... the older Marion, panting, losing ground...A CLEARING... the Redcoat is almost to the cover of thetrees on the far side...MARION THROWS HIS TOMAHAWK which FLIES through the air andSINKS IN THE REDCOAT'S BACK...Marion runs to the wounded Redcoat, grabs his hair, yanksback his head and SLITS HIS THROAT...Then, without pausing, Marion wrenches the tomahawk fromthe Redcoat's body, and races back toward his sons...AT THE GLENNathan and a weeping Samuel, stunned at the carnage,stumble down the hillside toward Gabriel. Marion runs upand motions for them to stop.Marion, checks the Redcoats, making sure they're all dead. MARION Samuel, reload. Nathan, untie Gabriel.They quickly do so as Marion picks up a loaded musket andscans the road and the underbrush. In a moment they'reready. Marion finds his own Pennsylvania rifle, then heand his sons disappear into the underbrush.EXT. POND BLUFF - DAYThe house and barns smolder. Thomas' body lies in theyard. Nearby, the bodies of the Patriot wounded, nowdead.EXT. RIVER SHED - POND BLUFF - DAYMargaret waits in the shed with William and Susan. Theyhear a SOUND. APPROACHING FOOTSTEPS. Margaret pulls hersister and brother to her and waits.The door opens. It's Marion and Gabriel, Nathan andSamuel. Margaret and the little ones throw themselvesinto Marion's arms.Margaret notices the blood on Marion. She hesitates buther relief tightens her embrace.EXT. POND BLUFF - DAYMarion, trailed by his children, walks past the soldiers'bodies and the remains of their house.He kneels down next to Thomas' body. On the ground Marionsees several of THOMAS' LEAD SOLDIERS. He stares at themfor a moment, picks them up and puts them in his pocket.Marion picks up Thomas and carries him up the hill towardthe apple tree and Elizabeth's grave. The childrenfollow.EXT. HILLTOP - POND BLUFF - DAYMarion digs a grave. The children watch. The only soundsare Marion's labored BREATHING, the RASP OF THE SHOVEL andthe RUSTLE OF DEAD LEAVES blown along the ground by a softwind.Some dry leaves catch on Thomas' still wet blood, as iftrying to bandage his wound.EXT. HILLTOP - POND BLUFF - DAY (LATER)Marion puts the last shovelfuls of dirt on the grave.Near tears and unsure of what to do next, he turns toElizabeth's gravestone. The soft wind blows. Marionlistens.He turns and sees his children looking up at him. Holdingin his own tears, he gathers the children around him andlet's them cry. MARION There, there... he's alright... he's with your mother now...He stiffens, speaking formally: MARION Lord, we pray that You accept this child, Thomas Marion and give him a place at Your side with his mother. We ask that You embrace him and help us to understand the manner in which Your mercy works. This we ask, in Your name. Amen. MARION'S CHILDREN Amen.Marion looks at Elizabeth's grave, then he gently easeshis children away.EXT. BENNINGTON OVERLOOK - DAYMarion and his children stop at the overlook, seeing theSantee River valley spread out before them. The SMOKEfrom two dozen farms rises. GABRIEL The Morgans, the Halseys, Williams, Stantons...The smoke from the separate fires joins together high inthe sky, forming what looks like stormclouds. They walkon.EXT. CHARLOTTE'S FARM - NIGHTMarion and his children wait in the cover of the woods.They see a pair of shadowed figures coming toward themfrom the house, Gabriel and Charlotte. GABRIEL Father, it's safe.Marion hustles the children out of the woods.INT. BEDROOM - NIGHTCharlotte sits, holding a sleeping Susan. The otherchildren lie awake on pallets. Marion, still streakedwith dried blood and sweat, tucks William and Margaretinto bed. MARION Sleep, now.Marion moves on to Nathan. NATHAN Father... I killed those men... MARION Don't blame yourself, you did what I told you to do. NATHAN I'm glad I killed them... I'm glad...Marion isn't. He turns to Samuel who's cried-out. Marionreaches out to touch him but Samuel recoils from Marion'sblood-streaked hand. Marion sighs and tucks him in. MARION Try to get some sleep.Marion moves to take Susan from Charlotte who shakes herhead. CHARLOTTE I'll stay with them.Marion nods and leaves Charlotte with the children.INT. CHARLOTTE'S LIVING ROOM - NIGHTMarion enters. He starts to pace but grows unsteady. Herears back as if screaming but no sound comes from hismouth, as he looks upstairs, knowing his children aresearching for the solace of sleep.He opens a cabinet, pulls out a bottle of liquor, poursand drinks. Then another.THE SOUND OF HORSEMEN. Gabriel walks in. Tired. Grim. GABRIEL How are they?Marion just shakes his head. GABRIEL Gates is at Hillsboro with the Continental Army. I'll leave in the morning to join him.Marion nods. Marion and Gabriel stand in silence for along moment, neither one finding words. Then Gabrielspeaks softly. GABRIEL I'll tend my horse.He leaves Marion alone.INT. CHARLOTTE'S FARMHOUSE - NIGHT (LATER)Marion stares at the fireplace. Charlotte walks incarrying a pitcher and fresh clothing. CHARLOTTE They're asleep.Marion is silent. Charlotte pours water into a washbowland motions to Marion. He takes off his shirt. Shebegins cleaning away the blood and tending the wound onhis neck. MARION How did this... how did I let this happen? CHARLOTTE You couldn't have known. MARION I should have known... once I would have... I used to be wary... and today I watched my son killed before my eyes... your sister civilized me and I damn myself for having let her... CHARLOTTE Thomas is dead but you've done nothing for which you should be ashamed. MARION I've done nothing and for that I am ashamed.She looks at him closely. CHARLOTTE If you go, I'll care for them as if they were my own. MARION I'll leave in the morning with Gabriel.He stares past her, looking at the flames in thefireplace. She tends his wounds.EXT. PORCH - CHARLOTTE'S FARMHOUSE - MORNINGMarion and Gabriel finish saddling their horses. Marionembraces Nathan and Samuel. Then he turns to Margaret,William and Susan. WILLIAM When will you be back? MARION I don't know, William. WILLIAM Tomorrow?Marion winces. Margaret puts her arm around William. MARGARET No, not tomorrow.Marion kisses them both, then moves on to Susan, trying tocoax a word out of the silent four-year-old: MARION Goodbye?She just looks at him. MARION Just one word? Goodbye? That's all I want.Susan shakes her head. He sighs, rises and turns toCharlotte. They hesitate, then embrace, hugging deeplybut a bit awkwardly, holding each other just a momentlonger than one would expect. She looks up at him... hekisses her on the cheek.Marion mounts up. And he and Gabriel head off, Susan,unnoticed and unheard, whispers: SUSAN Goodbye.Marion and Gabriel ride away.EXT. CAMDEN ROAD - DAYMarion and Gabriel ride past the signs of a smallskirmish. Bodies. Abandoned wagons. Dead horses. Aburning farm.EXT. CAMDEN HILLSIDE - DAYMarion and Gabriel ride to the crest of a hill. A vistaspreads out before them. They see an awesome sight -- AMASSIVE SLASH OF RED approaches a MASSIVE SLASH OF BLUE.A battle is taking place about five miles away.Gabriel starts to spur his horse but Marion restrains him. MARION No, it's too late.Gabriel stops. Marion points out brightly coloredclusters of men behind each army. MARION Command posts... Patriot... British...The distant slash of red stops. Marion and Gabriel hearonly a GENTLE WIND and some nearby SONGBIRDS.Then, from a black mass of the side of the red slash, asudden, silent eruption of white smoke.An instant later, the blue slash quivers. A moment laterthe SOUND OF THE CANNONS, RUMBLES UP THE HILL and rollsover Marion and Gabriel.The RED SLASH STOPS moving. It darkens as thousands ofRedcoats raise their muskets and the front ranks kneelinto firing position.Marion's eyes dart. He knows what's coming. MARION Break for the trees... break for the trees...A MASSIVE ERUPTION OF WHITE SMOKE billows from the redslash. An instant later, the blue line starts to break upas hundreds of distant Patriots fall.The SOUND OF THE BRITISH MUSKETS reaches Marion andGabriel like the pattering of rain.Then the SMOKE OF INEFFECTIVE, SCATTERED VOLLEYS eruptsfrom the Patriot lines. The red line holds firm. MARION Send them to cover! Goddamn you!But the blue line of the Patriots stays in the open field.From behind the Redcoats, FAST-MOVING GREEN AND RED MASSESmove quickly onto the battlefield. CAVALRY. GABRIEL Father, we have to do something...The British cavalry slams into the blue line, shatteringit. Tiny bits of blue move in every direction. GABRIEL Father... MARION It's already over.Marion watches, appalled. At this distance the movingslashes of color and billowing smoke are strangelybeautiful. Marion turns his horse and heads down thehill, toward the rear of the Patriot lines.EXT. AMERICAN ENCAMPMENT - NIGHTA nightmare. SCREAMS OF AGONY. A few hundred battered,Patriot survivors treat their wounded and prepare to moveout. The battle, so bloodless and beautiful at adistance, has, in its aftermath, become horrificallypainful and ugly.Marion and Gabriel ride into camp, passing nervoussentries and a field surgery which is surrounded by poolsof blood and amputated legs and arms. Marion sees HARRYLEE at a make-shift command post, barking orders, tryingto pull things together. LEE Damn you, Sergeant, don't move the wounded twice, put them straight on the wagons from the surgeons. PATRIOT SERGEANT Yes, sir. LEE Lieutenant, detail men for outriders. We move out as soon as the wounded are ready. LIEUTENANT Yes, sir.The Lieutenant rushes off. Lee notices Marion andGabriel, surprised to see them. He jerks his head forthem to follow him into:LEE'S COMMAND TENTOnce out of sight of the men, Lee loses his commandbearing. Exhausted, he leans on his campaign table andlooks closely at Marion, asking with his eyes why Marionis here. MARION Green Dragoons came to my home, killed my son, Thomas. It was Tarleton himself. LEE I'm sorry. MARION I'm sorry I wasn't here for this. LEE There's nothing you could have done, Gates is a damned fool. MARION We saw. LEE I begged him to stay in the cover of the trees but he insisted the only way to break Cornwallis was muzzle- to-muzzle. He spent too many years in the British army. MARION Where is he now? LEE Last anyone saw, riding hard, northeast, his staff a hundred yards behind, trying to catch up. MARION Who's in command? LEE I am, I think. MARION What are my orders?Lee gives Marion a tired smile. LEE If you want orders, I've got some for you.Lee ROLLS OUT A MAP for Marion and Gabriel. LEE We're a breath away from losing this war. In the North, Washington is reeling from Valley Forge, running and hiding from Clinton and twelve thousand Redcoats. (pointing) Here in the South, Cornwallis has broken our back. He captured over five thousand of our troops when he took Charleston and today he destroyed the only army that stood between him and New York. MARION So now Cornwallis will head north, link up with Clinton and finish off Washington. LEE And Patriots will start dying on the gallows instead of the battlefield. (beat) Unless we can keep Cornwallis in the South until the French arrive. A treaty was signed at Versailles after our victory at Saratoga. The French are sending a fleet and ten thousand troops. MARION When? LEE Fall, six months at the earliest. MARION Long time. LEE The bigger problem is where, not when. The French fleet won't sail north of the Chesapeake for fear of early storms. MARION So you're going to try to keep Cornwallis in the South until then. LEE Not me, you. I'm going north with every Continental regular I can find to reinforce Washington or he won't last six weeks. MARION You expect Cornwallis to be held here by militia? LEE Not held, just slowed down. MARION They're nothing but farmers and you're asking them to try to keep a tiger in their backyard. They'd be better off letting it move on. LEE They'd be better off, but the cause wouldn't be. MARION How many men does Cornwallis have under his command? LEE Four thousand infantry and around six hundred cavalry... (beat) ... including the Green Dragoons under Tarleton.At the mention of Tarleton, Marion nods. MARION I'll do what I can.Lee quickly writes something. LEE I'm giving you a field commission as a colonel.He hands it to Marion. Gabriel steps forward. GABRIEL Colonel Lee, I request a transfer to Colonel Marion's command. LEE Granted.Lee scribbles another order and hands it to Gabriel. Thenhe turns to Marion. LEE Good luck.Marion nods. They duck out of the tent.EXT. AMERICAN ENCAMPMENT - NIGHT (LATER)Marion and Gabriel stand watching Lee and his Continentalregulars move out. Gabriel turns to Marion. GABRIEL What now, sir? MARION We put out the word. We'll start along the south side of the Santee... GABRIEL We'd cover more ground if we split up. MARION It's safer if we stay together.Gabriel steps in front of Marion. GABRIEL Colonel, I didn't request this transfer because you're my father. I requested it because I believe in this cause and this is where I can do the most good. MARION Oh? GABRIEL I've been doing this for two years. I'm the best scout in the Continental Army, the best horseman, the best shot, the best scavenger and I know every deer path and swamp trail between here and Charleston. MARION Is that so? GABRIEL Yes, sir. (beat) My father taught me.Marion looks at Gabriel closely. MARION Did your father teach you humility? GABRIEL He tried. It didn't take.Marion looks Gabriel up and down. MARION Alright, Corporal, you take Bennington, Harrisville, Acworth and the farms along Black Swamp. I'll take the north side of the river. We'll meet at Snow's Island. GABRIEL Yes, sir.They mount up. MARION And, Corporal... (beat) ... be careful. GABRIEL Yes... (beat) ... father.They ride off in different directions.EXT. BRADFORD VILLAGE - NIGHTMarion rides into a small village, passing several bodiesin blue Continental uniforms, hanging from lampposts.Marion stops in front of a tavern, dismounts and enters.INT. TAVERN - BRADFORD - NIGHTAs Marion walks in he's greeted by cold stares from half-a-dozen men, huddles over their drinks. MARION I'm looking for John Billings. BARTENDER He's dead.Marion looks closely at the grim, suspicious men. MARION If he comes back from the dead, tell him Francis Marion is looking for him. BARTENDER I'll be sure to do that.As Marion turns to leave he notices an open bottle ofMadeira on one of the tables. He stops. MARION I'll wait. Miracles happen.A stand-off. Then, a hulking FIGURE appears in theshadows at the back doorway. He's JOHN BILLINGS, big,coarse, about Marion's age. Billings jerks his head forMarion to join him in the back room.INT. BACK ROOM - TAVERN - NIGHTDark. Marion and billings talk over a bottle. BILLINGS You expect to hold Cornwallis with militia? MARION I expect to try. BILLINGS Trust you and Harry Lee. Remember that damned overland you two thought up in '62 to hit Fort Louis? MARION It worked. How many men can you raise? BILLINGS Not many. Dalton, Scott, they've got their reasons; Rev. Oliver, he believes in the cause; some of the young bucks; a few like me with nothing to lose... (beat) What about you? You've got a lot to lose.Marion drains his glass and stands up. MARION You coming, or not?Billings drains his glass. They walk out together.EXT. TAVERN - BRADFORD - NIGHTMarion and Billings ride away from the tavern, passing thehanging Patriot bodies.EXT. SNOW'S ISLAND - SANTEE SWAMPS - NIGHTA CACOPHONY OF BIRDS AND INSECTS. Swamp maples andwillows form a canopy over moss-covered mounds and poolsof plant-choked water.Gabriel leads several men, riding along a dry path thatsnakes through the swamp. They cross a narrow land bridgeonto a wooded island, joining a dozen-and-a-half men,including Marion who kneels at a campfire.CLOSE SHOT: Several of Thomas' brightly painted LEADSOLDIERS MELT in a cast-iron pan. The little men fall totheir knees then lose form, turning into bubbling, moltenmetal.The new arrivals dismount and greet the others.Gabriel steps up behind Marion and watches as he pours thelead into a bullet mold, closes the lid and dips the moldinto a bucket of water which HISSES and STEAMS. GABRIEL Father, this war is about more than Thomas.Marion doesn't look up. MARION Is it? GABRIEL If you're here only for revenge, you're doing a disservice to him as well as yourself. MARION How old are you? GABRIEL You know how old I am. MARION God help us all when you're forty.Marion puts some more lead soldiers into the pan. Gabrielshakes his head, turns away and goes to tend his horse.EXT. SNOW'S ISLAND ENCAMPMENT - MORNINGDay breaks. A low, thick swamp mist covers theencampment. Marion, sits alone by the embers of lastnight's campfire. The men are awake. Some eat, otherstalk.Marion pulls himself out of his dark reverie. He takesthe bullets from the mold and puts them in a pouchattached to his weapons' belt. Then he rises and headsover to the men.He surveys his brigade. Twenty-six men: framers,artisans, mountain men, none in uniform. Marion walksamong them, nodding familiarly to several. He notices animposing looking Cherokee Indian, BROTHER JOSEPH, standinga bit apart from the others. They exchange nods.He notices a stern-looking man in partial clerical garb,REV. CHARLES OLIVER. MARION Reverend. REV. OLIVER I heard about your son. I'm sorry.Marion accepts his condolences. He notes GEORGE DALTON, atough-looking, rustic man with an ice-cold, distant stare. MARION Dalton.Dalton doesn't respond. Marion recognizes another face,ABNER BROWN, African-American, around thirty, rugged.Marion addresses the men who do not gather around so muchas just give him their attention. MARION You all have your own reasons for being here. I lost a son and I intend to kill the man who killed him...Marion pauses and looks over at Gabriel. MARION ... But I don't consider that man's life adequate payment for the life of my son, and killing him won't keep the sons of other men from dying...Gabriel nods, approvingly. MARION Cornwallis has to move north. We have to keep him right here. If he's south of the Chesapeake when the French arrive, if the French arrive, we have a chance of winning this war.Marion looks from face to face. MARION Eat, get some rest, we move out in two hours.Marion heads back to his campsite, passing Gabriel withoutlooking at him, but very aware of his son's eyes on him.EXT. BRITISH FIELD HEADQUARTERS - CAMDEN - DAYA massive British army field encampment. Thousands ofwell-armed, veteran troops. Large detachments of Redcoatsmarch through endless rows of tents. Some are battle-worn, others are fresh troops moving out.TARLETON and his GREEN DRAGOONS, covered with dirt andsweat, ride into the encampment. Tarleton and Wilkinspeel off, riding to the front of a farmhouse that has beencommandeered for British headquarters. They dismount andstride in.INT. CORNWALLIS' HEADQUARTERS - CAMDEN FARMHOUSE - DAYBritish officers, clerks and aides work. They're in goodspirits. LORD CORNWALLIS, a proud man, comfortable withcommand, coldly notes one of his officers slapping anotheron the back. MAJOR HUNTINGTON rolls out a map forCornwallis. CORNWALLIS Gentlemen.The officers gather around the map. CORNWALLIS Major, this is not an adequate map. MAJOR HUNTINGTON We have better coming on the trailing supply convoy from Charleston. CORNWALLIS A useful place for our maps. MAJOR HUNTINGTON I'm sorry, sir, it won't happen again.Tarleton enters, followed by Wilkins. CORNWALLIS My harrier. Join us, Colonel. TARLETON Sir.Tarleton and Wilkins join them around the map. CORNWALLIS Gentlemen, celebration is premature. We have a difficult campaign ahead of us. We are in predominately hostile country and we cannot rely on forage. As we move north, the bulk of our supplies will reach us by sea, through Charleston, which will give us a long and vulnerable supply line, one that can only be secured if the locals are loyal to the crown. CORNWALLIS' OFFICERS (multiple) Yes, sir.Cornwallis turns to his field officers, paying particularattention to Tarleton. CORNWALLIS Nonetheless, we must remember that this is a civil war...Tarleton proudly holds Cornwallis' look. CORNWALLIS These colonials are our brethren and when this conflict is over, we will be reestablishing commerce with them. Surrendering troops will be given quarter and unwarranted assaults on civilians will cease.Wilkins shifts uneasily. Tarleton isn't cowed. CORNWALLIS I expect this war to be fought in a vigorous but civilized manner.Cornwallis looks at his other officers. CORNWALLIS Have I made myself clear, gentlemen? OFFICERS (multiple) Yes, sir.Cornwallis shifts his eyes back to Tarleton who was notamong those who spoke. Tarleton pointedly pauses amoment, then says: TARLETON Yes, sir.Cornwallis turns his attention back to the map. His mengather around.EXT. CORNWALLIS' FIELD HEADQUARTERS - CAMDEN - DAYTarleton and Wilkins walk out and mount up. WILKINS I believe he was speaking to us, Colonel. TARLETON Did you know that Lord Cornwallis' father was a tenant on the estate of my grandfather?Tarleton jerks his reins and rides off. Wilkins laughsand follows.EXT. WOODED ROAD - DAYA British supply train of several dozen wagons, a herd ofhorses and accompanying Redcoats makes its way.ON A WOODED HILLSIDE, Gabriel lies on the ground,observing the convoy. He eases back, mounts up, and ridesoff.EXT. BRIDGE - SANTEE RIVER - DAYMarion and his men wait, well-hidden in the brush on arise, just above the bridge. Gabriel rides up. GABRIEL Less than a mile. Forty-one wagons, a company of Redcoat infantry, horses at the rear. MARION Flanking riders? GABRIEL I didn't see any.Marion nods and motions to his men who check their weaponsand pass the word. Gabriel ties up his horse and takes aposition near his father.EXT. SANTEE ROAD - NIGHTThe British convoy rounds the curve. When two-thirds ofthe wagons have crossed the bridge, Marion FIRES, killingthe Redcoat of highest rank, a CAPTAIN.BILLINGS AND DALTON heave CORKED BOTTLES which break,spreading their OILY CONTENTS on the wooden bridge.BROTHER JOSEPH fires a FLAMING ARROW, igniting the oil.The BRIDGE BURSTS INTO FLAMES, cutting off the tail of theconvoy, stranding a dozen wagons and the herd of horses onMarion's side of the river.A REDCOAT LIEUTENANT takes command. REDCOAT LIEUTENANT Across the river! Covering fire! Double rank!Marion calls to his men. MARION Epaulets first... Kill the officers.Marion and his men FIRE A WITHERING VOLLEY, KILLING ALLREDCOATS OF RANK -- two lieutenants, a sergeant andseveral corporals.The LEADERLESS REDCOAT PRIVATES take cover as Marion's menOPEN UP on the Redcoats on their side of the river. MARION THE WAGONS!With half of his men FIRING COVER, Marion and the otherhalf run to the wagons, passing Redcoat dead andwounded...DALTON, notices a WOUNDED REDCOAT and pauses...The Redcoat looks up imploringly at Dalton who finishesreloading, then coldly FIRES, KILLING THE helplessRedcoat...Marion, Gabriel and Rev. Oliver see Dalton kill thewounded Redcoat as they race toward the wagons, Britishmusketballs SPLINTERING TREES all around them...The horses nearest the burning bridge are terrified,BUCKING AND REARING, STRUGGLING in their traces...MARION LEAPS INTO THE SEAT of one wagon. Gabriel andBillings grab the reins of two more wagons.The Redcoats keep up a STEADY FIRE. TWO OF MARION'S MENFALL, one dead another wounded.Marion, Gabriel and Billings STRUGGLE TO CONTROL THEFRIGHTENED HORSES, backing them up around the curve to thecover of the woods.MARION'S REARGUARD, Brother Joseph, Abner, Dan Scott andothers, withdraws in leapfrog, FIRING BACK ACROSS THERIVER.BRITISH MUSKET BALLS SLAM into the trees and SPLINTER THEWAGONS...Another of Marion's men is WOUNDED. Two of his comradesHEAVE HIM onto one of the wagons...As Marion's men get the wagons turned and unblocked fromeach other, they DRIVE THEM OFF, one after another...Brother Joseph, Abner and the rest of the rearguard makeit to Marion and LEAP INTO HIS WAGON...MARION snaps the reins and they THUNDER OFF, away from theBURNING BRIDGE and the FIRING Redcoats.EXT. SNOW'S ISLAND - DAYMarion's men tend their wounded and look through theBritish wagons, taking inventory. REV. OLIVER ... two-hundred-sixty-six Brown Bess muskets, forty-one casks of powder, balls, tamping... BILLINGS We have enough arms for an army. Now all we need is an army.Marion checks out a wagon full of tools with DAN SCOTT andROB FIELDING, a couple of sharp-eyed craftsmen. Theyoverlap dialogue, rapidly speaking the private language ofcolonial artisans. SCOTT Reamer, boring tool... MARION Swage, broach, etching tool... FIELDING A rolling gunsmith's shop... SCOTT We can rifle those musket barrels... FIELDING Get another hundred yards out of 'em... MARION We'll need a forge... SCOTT Easy enough... MARION We've got clay to make a chamber... FIELDING Oak to make charcoal... SCOTT Oil cloth and barrel staves to make a bellows... MARION And we can yank a wagon wheel, weight it, rig a piston and drive shaft and we'll have a flywheel to power the bellows...Scott and Fielding exchange an impressed look. SCOTT (to Fielding) That's why he's a colonel.Scott and Fielding roll up their sleeves and get to work.Marion hears a COMMOTION OF BARKING DOGS AND YELLING MENand strides over to find Billings cowering before TWO HUGEGREAT DANES who stand guard at one of the wagons. BILLINGS Shoot them! Shoot the damn things!Dalton prepares to do so. MARION Put that pistol down! SCOTT They followed us from the bridge. They won't let anyone near the wagon.Marion steps forward, speaking softly but firmly to thedogs. MARION Stay... stay... stay...The dogs waver between obeying Marion and ripping out histhroat. MARION Don't you growl at me!The dogs decide to obey. Marion lets them sniff his hand,then firmly pats them. MARION Now let's see what's in this wagon.Rev. Oliver and Abner join him. Billings eases past thedogs. Abner opens a large case and finds it filled withbottles. ABNER Rum, French Champagne, Madeira, Port... BILLINGS No wonder they were guarding it.Gabriel opens a trunk and finds it filled with powderedwigs, all perfectly coifed and stored on head-shaped wig-stands. Rev. Oliver opens one of several identical casesand finds it filled with papers. REV. OLIVER My heavens, personal correspondence of... Lord Cornwallis.Marion grabs some papers, scans them, then finds matchingcases on nearby wagons. MARION These four wagons must be his. GABRIEL And the dogs, too, I'll wager. BILLINGS I say we drink the wine, shoot the dogs, and use the papers for musket wadding. MARION His journals, letters, maps, books...Abner calls from another wagon. ABNER Colonel, we got a wagon full of officer's uniforms and more powder and muskets here.Ignoring Abner, Marion, sits down on a stump with a pileof Cornwallis' papers and starts to read.EXT. SNOW'S ISLAND - NIGHTMarion sits at Cornwallis' ornate, folding campaign desk,reading Cornwallis' journal, surrounded by Cornwallis'field gear which includes furniture, music boxes, oilpaintings and an elaborate folding commode. The TWO GREATDANES sit nearby, eyeing Marion warily.The men have divided themselves into two groups, onecoarse, the other civilized, each clustered around aseparate fire.The coarse men, including Dalton, Brother Joseph andRANDOLPH, a grizzled, black-toothed mountain man, drinkand laugh loudly, wearing Cornwallis' wigs askew.The civilized men, including Rev. Oliver, Gabriel, Scott,Fielding and Abner, talk quietly.Marion puts down the journal and walks over to thecampfire where the rougher men are gathered. He standsjust inside the firelight and speaks loudly, so that allcan hear: MARION Today was hard earned but a good start.Marion looks at Dalton, then turns to the other men aswell. MARION In the future wounded British soldiers will be given quarters. DALTON Like they gave quarter to my family? My wife and three children were hiding in our root cellar when they came. The Redcoats locked the door and torched the house. MARION You have my sympathy... but the order stands. DALTON And who are you to give an order like that? We all know what you did after Fort Wilderness.That hits home but Marion remains calm. MARION I'm your commanding officer. This is militia, not regular army. I can't hold you here, but as long as you stay, you'll follow my orders.Marion looks from face to face. Most begrudgingly nod.That's enough for Marion.As he heads back to his own campfire he's intercepted byRev. Oliver who speaks to him out of earshot of the othermen, except for Gabriel and Billings who overhear. REV. OLIVER Thank you. MARION For what? REV. OLIVER For trying to impose some decency on that sort. MARION Don't depend on my decency. I'm one of that sort.Marion walks on. Rev. Oliver exchanges a look withGabriel, then heads off. As Marion joins Gabriel andBillings at his campfire, Billings grips his bottle. BILLINGS Am I one of that sort? MARION You're the worst of that sort. You're the sort that gives that sort a bad name.Billings considers that, then shrugs and takes a longdrink. He hands the bottle to Marion who takes an equallylong drink. Marion picks up his Pennsylvania rifle. MARION I'm going to check the watch.He disappears into the darkness leaving Gabriel andBillings at the campfire. GABRIEL He shouldn't make light. That Redcoat should not have been killed. BILLINGS He's not making light.Gabriel shoots Billings a dubious look. BILLINGS You don't know him very well, do you? GABRIEL He's my father.Billings looks closely at Gabriel. GABRIEL I know him well enough? BILLINGS Don't fault him for having grown up on the frontier. It was a harder time and a harder place than you know.Gabriel looks at Billings, then turns back to the fire.EXT. SNOW'S ISLAND - DAWNThe men are beginning to stir, gathering around thecampfires, cooking, using pots, pans and other gear fromthe stolen British wagons.Marion reads Cornwallis' journal. He looks up, stretchesand walks over to a campfire where Gabriel, Billings andRev. Oliver cook. The dogs follow at a distance. BILLINGS Well? MARION I've just been inside the mind of a genius. Lord Cornwallis knows more about war than I could in a dozen lifetimes. BILLINGS Cheerful news to greet the morn. MARION His victories at Charleston and Camden were perfect, strategically, tactically, logistically. But he has a weakness.They all turn to Marion. MARION Lord Cornwallis is brilliant. His weakness is that he knows it. GABRIEL Father? MARION Pride is his weakness.The men consider that. BILLINGS Personally, I'd prefer stupidity. MARION Pride will do.BEGIN MONTAGE: Series of shots as follows:-- A VOLLEY OF MUSKET FIRE erupts from some thick underbrush, cutting down half of a squadron of Redcoats on the march. The surviving Redcoats FIRE BACK into the trees at unseen targets to little effect.-- Marion rides with about fifty men.-- A British supply convoy makes its way through the woods. Suddenly, Marion's men appear, rising up from the ground as if by magic, having been camouflaged by leaves and brush. They OPEN FIRE on the convoy escort, which holds for a moment, then flees.-- Marion rides with about seventy-five men.-- Cornwallis finishes reading a dispatch and furiously flings it across the room.-- Marion rides with about one hundred men.-- Snow's Island. Marion and his men do an inventory of a large haul of stolen British supply wagons. The booty includes dozens of BRASS MUSICAL INSTRUMENTS, some of which Marion's men BLARE in celebration.-- Marion rides with about one-hundred-fifty men.-- Marion, Gabriel, and some of the other men watch as the flaming supports of a BURNING WOODEN BRIDGE collapse into a river.-- A seething Cornwallis stands at the same spot, looking at the charred, now cooled, remains of the bridge. Cornwallis angrily mounts up and rides off. His contrite staff officers mount up and follow.-- Snow's Island. Marion sits with his muddy feet on Cornwallis' campaign desk, reading Cornwallis' journal, with Cornwallis' Great Danes at his side.EXT. CAMDEN - NIGHTGlittering lights shine from the Camden Inn, a grandstructure in the center of town.A line of OPULENT CARRIAGES discharges well-dressedpassengers, arriving for a ball. Ladies in their finery.Patrician husbands. Redcoat and Green Dragoon officers inmagnificent dress uniforms.INT. CORNWALLIS' PERSONAL QUARTERS - EVENINGCornwallis, standing in front of a full-length mirror, isdressed by his VALET while Major Halbert, ColonelHuntington and Tarleton look on. CORNWALLIS Why am I here, Colonel Halbert? MAJOR HALBERT For the ball, sir?Cornwallis holds his temper. CORNWALLIS Why, after six weeks, are we still here to attend a ball. By now, we should be attending balls in North Carolina, not South Carolina. MAJOR HALBERT Our supply line, sir? CORNWALLIS Excellent guess, Major.The valet puts a dress coat on Cornwallis who looks at thegarment with deepest disdain. CORNWALLIS And what, praytell, is this? VALET Uh... I borrowed it from Colonel North. I took it in at the back, added wider epaulets, a court sash and looped gold braiding on the cuffs... CORNWALLIS It's a horse blanket. (to Major Halbert) First my personal baggage, then half the bridges and ferries between here and Charleston burned, a dozen convoys attacked. Colonel, if you can't secure our supply line against militia, how do you expect to do so against Colonial regulars or the French when they come? COLONEL HALBERT Sir, they're not like regulars, we can't find them and we don't know when or where they're going to strike. CORNWALLIS How impolite. And who leads these clever, secretive fellows? COLONEL HALBERT We don't know, sir. He's called, the Commander by some, the Swamp Fox by others. CORNWALLIS Colonel, I'm a civilized man but I'm finding to difficult to remain civil. Secure my supply line. COLONEL HALBERT Yes, sir.Cornwallis looks at his reflection with dismay, sighs andstrides out. Tarleton, amused, follows.EXT. CAMDEN STREET - NIGHTAt the far end of town Marion, Gabriel, Billings, Dalton,Scott and several other men slip through the shadows intoan alley. The lights from the ball shine from down thestreet and the MUSICAL STRAINS of a MINUET drift to themthrough the night.EXT. ARMORY - NIGHTA block-like building on the far edge of town. A pair ofREDCOATS stand guard. A PAIR OF DRUNKEN REDCOATS staggerout of a side-street, SINGING A MUMBLING SONG. TheRedcoat guards look at the drunk Redcoats enviously. REDCOAT GUARD Hey, what you got there?The drunken Redcoats look up, bringing their faces intothe light -- THE DRUNKEN REDCOATS ARE BILLINGS AND DALTON. BILLINGS We got our own little party... DALTON To hell with the officers and their fancy dress ball... GUARD Give us a nip, here.Billings and Dalton walk over to the Redcoats guards. Asthe guards reach for the bottles, Billings SLAMS one ofthe guards back against the building...Dalton DRAWS A KNIFE and PLUNGES IT into the secondguard's belly and HACKS HIM OPEN...Dalton shoves Billings out of the way, SLITS THE OTHERGUARD'S THROAT. Billings is taken aback by the speed andferocity of Dalton's attack...Marion and Scott duck into the shadows of the doorway,pull out hammer-less carving chisels and quickly andsilently start gouging out the wood around the hinges ofthe heavy door.Billings and Dalton take the posts of the guards while theother men drag the bodies of the real guards out of sight.Everything appears as it should.INT. BALLROOM - NIGHTGrand. Opulent. Cornwallis speaks with a small gatheringof loyalist civilians, among whom is the spectacular MRS.TALBOT, who wears a daring dress that reveals an enormousexpanse of bosom. At her side stands her toady of ahusband, MR. TALBOT. MRS. TALBOT No! The beasts took your dogs, as well? CORNWALLIS Fine animals, a gift from His Majesty. Dead now, for all I know. MRS. TALBOT Is there no decency? MR. TALBOT Among the rebels? We know the answer to that. CORNWALLIS Yes, we have learned.INT./ EXT. CAMDEN ARMORY - NIGHTMarion and Scott shove their chisels through the doorwhich falls away from the hinges. They all duck insidefinding barrels and casks of gunpowder, boxes of weaponsand hundreds of muskets.Gabriel and the others load themselves up with the best ofthe weapons as Marion opens a cask and pours a trail ofgunpowder across the floor.EXT. BALCONY - CAMDEN INN - NIGHTCornwallis, taking the night air with Mrs. Talbot, gazesat the moon, achieving the calculated effect. MRS. TALBOT You seem far away. CORNWALLIS It's the weight of command and the lot of a widower -- memories, loneliness... (with a self- deprecating laugh) ... and long gazes at the moon.Mrs. Talbot sympathetically sighs and touches herfingertips to her heart which is conveniently locatedinches above her stunning cleavage. MRS. TALBOT Oh, you poor man...A MASSIVE EXPLOSION LIGHTS UP THE NIGHT as a FIREBALLerupts from the armory. British officers, including MajorHalbert and Tarleton, RUSH OUT along with Mr. Talbot andother Loyalist civilians. MAJOR HALBERT Good God!Mr. Talbot tears his eyes from the flames and looks athis wife, clinging to Cornwallis' arm. MR. TALBOT These rebels seem to lack fear as well as decency, eh, General?Cornwallis registers the insult, glances at the haplessMajor Halbert, then turns to Tarleton. CORNWALLIS Colonel Tarleton, you deal with these damned rebels. TARLETON Yes, sir.Tarleton smiles grimly and strides off the balcony.EXT. VIEW OF PEMBROKE VILLAGE - DAYThe village of Pembroke lies nestled in a valley,surrounded by tilled fields and small farms.EXT. PEMBROKE VILLAGE - DAYForty of Marion's men water their horses. Marion, withthe two Great Danes at his side, speaks with PETER GREEN,a middle-aged storekeeper with a marked limp. GREEN ... four baskets of apples, salt pork, sweet potatoes, jerky, hard tack, salt and powder. It's not much, but I'll get you more. MARION We can't pay for this... GREEN I'll give you what I can, when I can. You pay me what you can.Green's daughter, ANNE, very attractive, around sixteen,joins them. Gabriel sees her and sidles over. GREEN Francis, you remember my daughter, Anne. MARION Nice to see you again, Anne.Gabriel clears his throat. Anne looks at him coolly. ANNE I know who you are, Gabriel Marion. The last time I saw you, I was nine and you put ink in my tea. GABRIEL I... uh... that wasn't me, it was Samuel... I mean Nathan... ANNE It was you and it turned my teeth black for a month. GABRIEL Uh... uh... I... GREEN He's sorry. Come.Green heads across the square where some townspeople aregiving Marion's men provisions. Anne and Gabriel follow.Marion turns to some waiting men, new recruits.Billings, nearby, reads A POSTED BROADSHEET thatannounces: "Reward Offered: For the capture or death ofthe rebel known as 'The Swamp Fox'".He tears it down and walks over to Marion. MARION ... and your terms of enlistment will be month-to-month. Every thirty days you can re-enlist or return to your families.REED, the sturdiest of the lot offers his hand to Marion. REED I'm in.The others nod in agreement. MARION Talk to Abner and Scott about provisions, powder and mounts.The recruits head off. Billings hands Marion the wantedposter which Marion glances at and crumbles up. BILLINGS Twenty men here, seventeen in New Brighton, a dozen along the Black River. We'll pass three hundred by week's end if this keeps up.ON THE OTHER SIDE OF THE SQUAREGabriel and several of Marion's men take supplies fromGreen, Anne, and some other townspeople. Gabriel looks atAnne. GABRIEL If I'd known you were going to look like this, I never would have put ink in your tea. ANNE You call that a compliment? GABRIEL It's a start.She gives him a bit of a smile. He checks out her teeth. GABRIEL They look nice. As white as can be.She tries to glare but she can't help but laugh.MARION AND BILLINGS watch as Anne gives Gabriel someapples which he tosses into the air, one-by-one, catchingthem behind his back, a cocky move, executed with adisarming smile that makes Anne laugh again. Marionsmiles at his son's flirtation. Billings smiles as well. BILLINGS He reminds me of you before you got old and ugly. MARION (softly) No, he takes after his mother...Billings is taken aback by the gentleness of Marion'swords. MARION ... the younger ones barely remember her but Gabriel spent more time with Elizabeth... she taught him well, guided him, she was his North Star and mine... her father was a minister, in Boston, did you know that?Billings nods. MARION ... Gabriel's already a better man than I could ever hope to be...Marion hears himself and pulls his eyes from Gabriel,adopting a coarse, joking tone. MARION What do you mean, old and ugly? BILLINGS You got me beat on both accounts. MARION The hell I do.They mount up, grateful to leave the sincerity behind.Gabriel sees Marion and his men starting to ride off. Hesays goodbye to Anne, then RUNS TO HIS HORSE, MOUNTINGWITH A DRAMATIC LEAP. He GALLOPS up, taking his place athis father's side. Marion doesn't turn to look at him,but he knows he's there.EXT. CAROLINA ROAD - DAYA patchwork of fields with a village visible in thedistance. The ROLLINS BOYS, 10 and 12, work a field,harvesting grain. Hearing the SOUND OF HORSES' HOOVES,they stop and listen.Then they see a CLOUD OF DUST rising over the ridge line.Growing excited, they throw down their scythes and racedown the hillside, madly stumbling and falling, trying tointersect the approaching sound.At the bottom of the hill they pass their father, BENROLLINS, who watches his sons plant themselves on the sideof the road, gazing in awe at:MARION AND HIS MEN, THUNDERING BY. They're an impressivesight, a hundred-and-fifty heavily armed men, on powerfulmounts, raising a cloud of dust as they gallop down theroad.EXT. CHARLESTON ROAD - DAYMarion and forty of his men, including Gabriel, sit ontheir motionless horses in the middle of the road. Thereare a number of new faces among Marion's men, among themBen Rollins. Gabriel is lost in thought. MARION Gabriel? Are you asleep? GABRIEL We're low on salt. I should go to Pembroke and get some. BILLINGS You got salt last week. GABRIEL Oh, right. (beat) Baking powder, we need baking powder. BILLINGS We've got plenty of baking powder. You went to Pembroke and got five pounds two weeks ago.Gabriel sighs. They hear a SOUND APPROACHING, then seetwo British wagons round a curve with a guard of only SIXREDCOATS, commanded by a REDCOAT SERGEANT. The RedcoatSergeant signals stop. REDCOAT SERGEANT Halt. Look alive, boys.The young Redcoat privates nervously UNSHOULDER THEIRMUSKETS. MARION Sergeant, this road is closed. Those wagons now belong to the Continental Army. REDCOAT SERGEANT Ready arms! By twos!Marion's surprised by the Sergeant's order. MARION Sergeant, there's no reason for you and your men to die. Just leave the wagons and go. REDCOAT SERGEANT Steady, boys...Marion sighs and lets loose with a PIERCING WHISTLE. Theunderbrush parts and more of Marion's men show themselves,MUSKETS LEVELED at the outnumbered Redcoats. REDCOAT SERGEANT This is the King's highway and I advise you and your men to make way. (to his men) Prepare to fire.Marion exchanges a look with Rev. Oliver who, like Marion,doesn't want to kill these men. Seeing no other option,Marion turns to give the order, then stops, hearing aFAINT BARELY DETECTABLE, RUMBLING SOUND...A moment later Brother Joseph hears it as well... HORSESHOOVES, LOTS OF THEM, growing louder by the second,THUNDERING toward them from the road behind the Britishwagons...Then, the SOUND OF MORE HORSES, coming in fast on bothflanks. MARION It's a trap...The canvas sides of the British wagons are THROWN UP andDOZENS OF REDCOATS, armed with muskets, spill out...Marion's unmounted men run to their horses, LEAPING intotheir saddles...Then GREEN DRAGOONS appear, galloping down the woodedslopes on both flanks, astonishing horsemen, weavingthrough the trees without slacking their pace, SWORDSDRAWN, PISTOLS PRIMED... REDCOAT SERGEANT FIRE!A THUNDEROUS VOLLEY ERUPTS from the Redcoat infantry,KILLING several of Marion's men...Marion's men FIRE BACK from their BUCKING MOUNTS, most oftheir shots going awry...Behind the British wagons, a huge detachment of GREENDRAGOONS appears, TARLETON among them...MARION SEES THE DRAGOONS BUT NOT TARLETON HIMSELF...MARION AND HIS MEN spur their mounts, taking off down theroad in the opposite direction...The FLANKING BODIES OF DRAGOONS gallop out of the woods,JOINING THE MAIN BODY, riding in hard pursuit...EXT. WOODED ROAD - DAYMarion and his men GALLOP down the road. The much largerbody of Green Dragoons THUNDER after them.EXT. BLACK SWAMP ROAD - DAYMarion and his men ride along a raised road that drops offinto Black Swamp on either side...They ROUND A CURVE AND STOP, reining back their horses inconfusion as they see:FIFTY GREEN DRAGOONS heading straight toward them...THE DRAGOONS OPEN FIRE from both directions, KILLINGseveral more of Marion's men, WOUNDING others...Marion's men FIRE BACK as best they can, caught in theCHAOS OF BUCKING AND FALLING HORSES and WOUNDED ANDDISMOUNTED MEN...They remount, doubling-up with the wounded...MARION sees an unaided wounded man. LEAPS FROM HISHORSE, heaves him onto his horse, slaps it...Marion's men head off both sides of the road into theswamp, struggling with their mounts as they hit the knee-deep water...Marion on foot with four men, only three horses... ADRAGOON, aiming his pistol, THUNDERS down on Marion...MARION FIRES, killing the Dragoon...Marion's men mount, one motions to Marion... MARION GO!Marion's men ride off, leaving him ALONE... a Dragoon isalmost on him, SWORD RAISED. Marion, his weapon spent,sees a thick branch on the ground, two feet long... grabsit...The sword flashes and SINKS DEEPLY INTO THE WOOD... MarionYANKS, brings the rider off his horse, grabs the reins andSWINGS HIMSELF UP INTO THE EMPTY SADDLE. Marion ridesdown the embankment...The Dragoons rein back, slowed by the dead horses and men.They spur their reluctant mounts over the bodies andfollow Marion and his men into the swamp...EXT. BLACK SWAMP - DAYMARION RIDES HARD, galloping along a circuitous, barelyvisible dry trail... A MOMENT LATER, Tarleton and GreenDragoons follow...EXT. DEEP IN THE SWAMPS - EVENINGMARION CATCHES UP to a dozen of his men, including Gabrieland Billings. Several of the men are badly wounded,barely clinging to their saddles...They ride through the shallow water, get to a fork, SPLITUP. As they disappear into the swamp, the sounds of theirhorses are swallowed up in the LOUD BUZZING OF SWAMPINSECTS and the CRIES OF THE SWAMP BIRDS...A moment later, Tarleton and the vanguard of Dragoons rideup. Tarleton signals stop at the fork...Looks... nothing. Listens... nothing. Chooses a path,the one Marion took. Rides off, the Dragoons following...EXT. DEEPER IN THE SWAMPS - NIGHTDarker still. Tarleton and his men come to a dead end,blocked by a heavy tangle of huge swamp ferns and thornbushes.They rein back their horses, stopping in a confused mess.Tarleton calls to Gaskins and the Loyalist scouts. TARLETON Which way? GASKINS This way... no this... I think...Tarleton makes his own choice... rides off... the GreenDragoons follow, the Loyalists bring up the rear.EXT. SWAMP MORASS - NIGHTTarleton and his mounted Dragoons struggle through anearly impassable morass of swamp-grass, reeds andswarming mosquitoes...The exhausted Dragoons are wet, covered with mud, andbleeding from swamp briars. The horses are spent andfoaming...Tarleton struggles harder than any, but finally even hehas had enough. He reins back his horse. TARLETON HALT!Tarleton glares into the impenetrable darkness of plant-choked water and swamp... TARLETON Enough of this. There are other ways to run down a fox.Tarleton yanks on his reins, turns his horse and startsback the way they came. His grateful men turn theirhorses and follow.IN THE UNDERGROWTH, Marion, Gabriel, Billings and threebadly wounded men, with only four horses between them,calm their mounts...They can hear, but not see the Dragoons. Then, throughthe thick undergrowth, MARION CATCHES A GLIMPSE OFTARLETON...Gabriel, tending the wounded men, sees his father lock hiseyes on Tarleton...Marion quickly opens his weapons pouch and pulls out oneof the bullets he made from Thomas' lead soldiers.Walking to his horse, Marion loads...Marion mounts, scanning the terrain, planning a route... GABRIEL Father, no...As Marion spurs his horse to ride after Tarleton, Gabrielgrabs the bridle. He YANKS HARD, stopping Marion's horsedead. THE HORSE BUCKS, nearly throwing Marion... MARION That's him. Tarleton.MARION SPURS THE HORSE which tries to respond but isJERKED BACK AGAIN by Gabriel. Marion angrily turns on hisson... MARION Damn you! Let go!Gabriel looks up at his father, never loosening his irongrip on the bridles but speaking softly, almostpleadingly: GABRIEL Father, please...Marion looks down at Gabriel. Then Marion looks over atBillings and the three wounded men...One bleeds from an ugly neck wound... their shared mountsare nearly spent...Marion takes a last look in the direction of the departingTarleton. Then he dismounts and hurries over to help thewounded. Gabriel watches his father for a moment, thenjoins him with the wounded.EXT. WOODED GLEN - NIGHTDark. Marion and his battered men gather, taking stock.Men drift in, mounted and on foot in ones and twos, pastwary sentries. GABRIEL RIDES UP, dismounts and reports toMarion, out of earshot of the other men. GABRIEL Fourteen dead, eleven wounded, eighteen captured. MARION I should have killed him when I had the chance? GABRIEL When was that? In the swamp at the expense of your men? Or when he killed Thomas at the expense of your family? MARION No... GABRIEL Or perhaps tomorrow at the expense of our cause.Marion is silent. GABRIEL There will be a time and a place for revenge but killing Tarleton at the expense of your duty serves no one but yourself. (beat) Stay the course.The parental-sounding formality of Gabriel's words bringsa thin smile to Marion's face. MARION Stay the course... your mother used to say that to me when I'd get drunk or lose my temper. GABRIEL She'd say it to me when I picked on Thomas or Nathan. MARION You learned her lessons better than I. GABRIEL She got me at a more impressionable age.Marion smiles, nods a silent thanks to his son and headsover to help with the wounded.EXT. MARION'S ENCAMPMENT - NIGHTA cold, winter rain falls. Most of Marion's grim men arehuddled in lean-to's and around campfires. Green andseveral other Pembroke townspeople unload a wagon ofsupplies while Marion, Scott and Fielding stow theprovisions.Gabriel and Anne sit at a fire, under the cover of a lean-to, taking quietly. He's troubled. She tries to behopeful. ANNE Next time we'll bring more blankets. GABRIEL That would be nice. ANNE Maybe we'll be lucky this winter and have just rain, no snow. GABRIEL That would be nice, too.She takes a pot off the campfire and pours him a cup oftea. ANNE Just because the French didn't come this fall, doesn't mean they're never going to come.He nods and takes a drink of the tea. She smiles.Gabriel smiles back to her, revealing a mouthful of ink-stained, black teeth. Before she has time to laugh...ROLLINS RIDES HARD INTO CAMP. Marion hurries over,accompanied by the Great Danes. The other men gatheraround. ROLLINS They're to be hung! GABRIEL But they're prisoners-of-war!Marion isn't as surprised as Gabriel. He is, however,taken aback by Gabriel's black teeth. Gabriel noticeseveryone looking at his mouth.Anne is embarrassed and regretful, seeing her joke fly inthe face of the troubling news.EXT. FORT CAROLINA - DAYA REDCOAT SENTRY sees a lone figure on horseback ride outof distant woods. It's Rev. Oliver, carrying a white flagwith one hand, holding a dispatch case in the other. Thesentry calls to the Commander of the Watch. REDCOAT SENTRY Sir.INT. CORNWALLIS' HEADQUARTERS - FORT CAROLINA - DAYA temporary HQ has been set up in a commandeeredfarmhouse. Cornwallis stands uncomfortably while a tailormeasures him and marks alterations on a partiallycompleted uniform. Tarleton enters. TARLETON General, a message from the commander of the rebel militia.Cornwallis reads the message. CORNWALLIS It seems our Swamp Fox wants to have a formal parley. TARLETON Are you going to meet with him? CORNWALLIS Most certainly. Arrange it.EXT. CAROLINA ROAD - DAYMarion rides, trailed by Cornwallis' Great Danes. Behindhim, two dozen heavily armed Patriots, including Rev.Oliver who carries a white flag.A detachment of Redcoat Cavalry, lead by Major Halbert,waits. The Redcoats fall in on either side. They rideon.EXT. FORT CAROLINA - DAYRedcoat sentries see the approaching Patriots and Redcoatsand open the gates. Billings and the other Patriots stop,a hundred yards outside the barricades.MARION alone rides through the gates, flanked by theBritish cavalry, the Great Danes following closely behind.INT. CORNWALLIS' HEADQUARTERS - DAYMajor Halbert ushers Marion in. The Great Danes followsniffing curiously, sensing something or someone. MAJOR HALBERT Lord Cornwallis will be with you presently. MARION Thank you. MAJOR HALBERT You may, of course, keep your weapons, but I must warn you that... MARION (interrupting) I'm familiar with appropriate behavior at a military parley. MAJOR HALBERT Yes, quite, but you should know that... MARION That will be all, Major. I'll wait for Lord Cornwallis. MAJOR HALBERT (coldly) Yes... you will wait.Major Halbert turns and starts to stride out. MARION One other thing.Major Halbert stops. MARION The proper form of address to a superior officer, even one of an opposing army, is "Yes, sir."Major Halbert sneers and strides from the room. MARIONALONE, EXCEPT FOR THE DOGS, allows himself a fleetingsmile. Then he looks around the room. He notes a rockingchair. Curious, he hefts it. Too heavy. He puts itdown, sits and rocks. The dogs walk over and lay at hisfeet.INT. CORNWALLIS' HEADQUARTERS - DAY (LATER)Marion patiently sits rocking. One of the dogs has itshead in his lap and Marion scratches it behind the ears. DISSOLVE TO:INT. CORNWALLIS' HEADQUARTERS - DAYA stone-faced Marion stands in the center of the room,playing with the dogs. One of the dogs jumps up, puttingits front legs on Marion's shoulders, and licks his face.Just then, Cornwallis walks in, overjoyed to see his dogs. CORNWALLIS Jupiter! Mars!The dogs just look at Cornwallis. He holds out his arms,waiting for them to rush to him. They look up at Marionwho nods to them. MARION Go.The dogs run to Cornwallis and nuzzle him in a friendlybut not enthusiastic manner. Cornwallis pats themvigorously, too vigorously for the moderate level of joythe dogs are showing at their reunion. CORNWALLIS My boys... my boys... you seem to have been well fed. Thank you for that, Colonel. MARION My pleasure, sir. CORNWALLIS Please forgive me for keeping you waiting. MARION Apology accepted. CORNWALLIS Thank you, Colonel... I'm afraid I don't know your name. MARION Colonel will do. CORNWALLIS As you wish.TARLETON ENTERS with four Dragoons, all armed...Marion freezes...Marion and Tarleton lock eyes. Marion searches for somesign that Tarleton recognizes him. There's none. CORNWALLIS Colonel... Colonel Banastre Tarleton.Tarleton nods. TARLETON Colonel.Marion, like ice, looks Tarleton up and down. Then heslowly turns and looks at the four Dragoons, two on eitherside of Tarleton. Marion measures the odds and finds themwanting.With a supreme effort of will, Marion forces himself toturn from Tarleton to Cornwallis and the matter at hand. MARION Shall we proceed? CORNWALLIS Let us. Unless you object, I would like to deem this meeting a formal negotiation and, as such, there are certain customary practices. Perhaps I could explain them to you... MARION I'm familiar with how a formal negotiation is handled. CORNWALLIS Oh? MARION I served in His Majesty's army in the French and Indian War. CORNWALLIS Oh. Very well, then. Would you, as the initiating party, like to begin? MARION Unless you would like to claim aggrieved status.Cornwallis is surprised. He exchanges a look withTarleton. CORNWALLIS You are familiar with how these things are done. In fact, I would like to claim aggrieved status. MARION Very well, proceed, sir. CORNWALLIS First, you have in your possession certain belongings of mine, including clothing, private papers, furniture and personal effects of a non-military nature which I would like to have returned to me. MARION I will do so as soon as possible.Cornwallis is surprised. CORNWALLIS Thank you. MARION Please accept my apology for not having done so sooner. CORNWALLIS Apology accepted. Now, on the matter of the specific targeting of officers during engagements, this is absolutely unacceptable. MARION That one is a bit more difficult. CORNWALLIS Certainly you must know that in civilized warfare, officers in the field must not be accorded inappropriate levels of hostile attention. MARION And what are inappropriate levels of hostile attention? CORNWALLIS Colonel, imagine the utter chaos that would result from un-led armies having at each other. There must be gentlemen in command to lead and, when appropriate, restrain their men. MARION Restrain them from the targeting of civilians, including women and children? CORNWALLIS That is a separate issue. MARION I consider them linked. CORNWALLIS I beg to differ. One is a command decision on your part. The other represents nothing more than the occasional over-exuberance of field officers attempting to carry out their duty in difficult circumstances. MARION As long as your soldiers attack civilians, I will order the shooting of your officers at the outset of every engagement. (beat) And my men are excellent marksmen.Cornwallis sighs. CORNWALLIS Very well, let us move on to... MARION Prisoner exchange. CORNWALLIS Sir? MARION You have eighteen of my men. I want them back. CORNWALLIS I do have eighteen criminals under sentence of death, but I hold no prisoners-of-war. MARION If that's your position, then eighteen of your officers will die. Nineteen, if you hang me with my men. CORNWALLIS What officers?Marion steps to the window, checks the view. A woodedhillside is visible in the distance. Marion reaches intohis jacket...The Dragoons move on him...Marion extracts not a weapon, but a spyglass, which hehands to Cornwallis. MARION In the clearing, just down from the crest, to the left of the dark pines...Cornwallis looks through the spyglass.VIEW THROUGH THE SPYGLASSThough difficult to see clearly through the shimmeringhaze, Cornwallis can just make out a row of bound Redcoatofficers, with Patriot soldiers holding muskets at theirheads.CORNWALLIS turns coldly to Marion. CORNWALLIS Their names, ranks and posts? MARION They refused to give me their names. Their ranks are nine lieutenants, five captains, three majors and one fat colonel who called me a cheeky fellow. Their posts? We picked them up here-and-there last night.Cornwallis glares at Marion. CORNWALLIS You are not a gentleman.Marion can't help but laugh at the insult. MARION If your conduct is the measure of a gentleman, I take that as a compliment. (coldly) Get my men.Cornwallis turns to Colonel Huntington. CORNWALLIS Arrange the exchange.Colonel Huntington leaves to do so. MARION Thank you, General. I'm sure your officers will thank you, as well.Marion salutes Cornwallis who doesn't return the salute.THEN MARION TURNS TO TARLETON. He walks up to him andlooks him in the eye. MARION You don't remember me, do you?Tarleton examines Marion's face, finding him familiar, butunable to place him... then Tarleton remembers... TARLETON Ah, yes, that boy.Tarleton calmly holds Marion's glare. TARLETON Ugly business, doing one's duty. MARION Yes, ugly business.Marion takes a step closer to Tarleton, then speaks verysoftly, very slowly, very clearly. MARION If you are alive when this war is over, I'm going to kill you.Marion locks his eyes on Tarleton to make it perfectlyclear that he means what he says. Tarleton tries to coverhis reaction but it's apparent that he's taken aback byMarion's icy words.Marion turns and walks out. The two Great Danes start tofollow, but Cornwallis SNAPS A COMMAND: CORNWALLIS Jupiter! Mars!THE DOGS FREEZE, looking after Marion, who doesn't turnback. The dogs reluctantly sidle over to Cornwallis'side.EXT. ASSEMBLY YARD - FORT CAROLINA - DAYRedcoats glare at Marion who sits, mounted, waiting. Hiseighteen men are led out of the prison blockhouse anddirected to waiting horses. Surprised to be freed, theymount up.CORNWALLIS AND TARLETON step out onto the front porch ofCornwallis' headquarters and watch as Marion and his menride toward the gate.THE TWO GREAT DANES, watch Marion from Cornwallis' side.Cornwallis motions to the Redcoat Sentries to OPEN THEGATES. They do so and Marion and his men, withouthurrying, ride out.Then, just as the gates are closing behind him, Marion,without turning around, lets loose with a PIERCINGWHISTLE...THE TWO GREAT DANES INSTANTLY RACE AFTER MARION, making itthrough the gates just as they're closing.CORNWALLIS, seeing his dogs run after Marion, SPUTTERS,then turns and storms back into his quarters.TARLETON, still off-balance from Marion's partingstatement, watches Marion ride away. Then he turns toMajor Wilkins who stands nearby. TARLETON Take a detachment and go get our officers.Wilkins hurries off.EXT. HILLSIDE CLEARING - ABOVE FORT CAROLINA - DAYMajor Wilkins and a detachment of Green Dragoons ride upthe wooded slope toward the bound Redcoat officers thatCornwallis saw through the spyglass. As the Dragoons rideout of the trees into the clearing they stop dead, seeingthat:THE "REDCOAT OFFICERS" are not real -- they're nothingmore than SCARECROWS IN REDCOAT UNIFORMS. There's no signof Marion or his men.INT. CORNWALLIS' HEADQUARTERS - FORT CAROLINA - DAYCLOSE SHOT: One of the "Redcoat Officers," stuffed withstraw is thrown onto Cornwallis' desk by Tarleton.Cornwallis looks at the scarecrow, then turns to Tarleton. CORNWALLIS This fox believes himself clever. We shall see.EXT. POND BLUFF - DAYTarleton and Wilkins wait while Green Dragoons andLoyalists search the remains of Marion's house and barn.Gaskins, filthy from the ashes, walks up to Tarleton. GASKINS Nothing. WILKINS No one's been here for months. TARLETON But now we have a name for our Colonel... Francis Marion. And with a name will come a family.EXT. CHARLOTTE'S HOUSE - NIGHTA thick ground fog surrounds Charlotte's house. The softlights of candles glow in the windows. All appearspeaceful.Then, the SHADOWED FIGURES of THREE DOZEN GREEN DRAGOONSappear out of the mist, silently approaching the house onfoot.INT. CHARLOTTE'S HOUSE - NIGHTA fire crackles in the fireplace. A curtain blows in theopen window. THE DOOR BURSTS OPEN. WINDOWS BREAK. GreenDragoons pour into the house, muskets brandished. No signof occupants. CAPTAIN MORROW barks a command: CAPTAIN MORROW UPSTAIRS!The Dragoons THUNDER UP THE STAIRS... Tarleton and Wilkinsstride in, watching the search... the parlor... nothing...The kitchen... food is cooking...The dining room... the table is set, half-eaten food is onthe plates, abandoned in mid-meal. TARLETON WALKS INTOTHE DINING ROOM, touches some of the food, gauging itswarmth. TARLETON They can't be far. Check the outbuildings and the woods.The Dragoons race outside.EXT. CHARLOTTE'S HOUSE - NIGHTA TORCH BURNS. A dozen Dragoons light torches off of itand fan out to search. The thick fog turns the torchesinto diffused, floating balls of light, turning theDragoons into ghost-like apparitions.CAMERA FOLLOWS ONE OF THE TORCHES, carried by aparticularly rough-looking Dragoon who skirts the edge ofthe underbrush closest to the house. As the torch moves,its flame sends long shadows and shafts of light into theunderbrush...The CAMERA STOPS to reveal, in the brush, TWO FACES,GABRIEL AND CHARLOTTE, dark, motionless, watching thesearch. Behind them, MARION'S OTHER CHILDREN, Nathan,Samuel, Margaret, William and Susan...Around them, SEVERAL MORE OF MARION'S MEN, including ABNERBROWN, weapons ready. The moving lights play on theirfaces.AT THE FRONT OF THE HOUSE, the torches converge,illuminating Tarleton who gives the unheard order. Thetorches fan out and begin SETTING FIRE TO THE HOUSE, BARNSAND OUTBUILDINGS.MARGARET grips Charlotte's arm. Gabriel motions and theyall ease back, disappearing into the brush.EXT. SHANTY TOWN - NIGHTA compound of rude shacks, built of scraps of lumber andrough-hewn logs, stands on the side of the Magpie River.Marion's men wait with the children while Abner, Charlotteand Gabriel, flanked by Aaron and Abigail, Marion'smiddle-aged, black servants, seen in the opening sequence,talk with several stern-looking, middle-aged, blackFREEDMEN.The conversation, which is out of the children's earshot,is testy, with one of the middle-aged freedmenparticularly troubled.Marion's stone-faced children look around, appraisingtheir surroundings, registering the poverty of the shantytown.THE DISCUSSION BETWEEN THE GROWN-UPS ends with a guardedexchange of handshakes. Gabriel, Charlotte, Abner, Aaronand Abigail rejoin the children and Marion's men. GABRIEL It's all set.They follow Aaron, down an alley to A SHACK. Small.Barely standing. The children stop in their tracks,knowing this is to be their new home.Charlotte sees their hesitation. She walks up to thelittle structure, examining it with a critical eye. Shelooks on the doorway, seeing a single room, a dirt floor,wax-paper instead of glass in the windows, a rude,chimney-less fire-pit against the back wall. She smiles. CHARLOTTE This will do fine.She turns to Aaron and Abigail. CHARLOTTE Thank you.Charlotte walks inside without looking back. The childrenhesitate, then follow her inside.INT. SHACK - SHANTY TOWN - NIGHTThe children help Aaron and Abigail make beds out ofarmloads of hay. OUTSIDE, Charlotte and Gabriel talkquietly. CHARLOTTE So he's the one they talk about, the Swamp Fox. GABRIEL Yes. CHARLOTTE I thought it might be him, the bits and pieces we heard, a veteran, fought in the French and Indian War, knows the swamps. GABRIEL They won't stop looking for you and the children. CHARLOTTE We'll be alright, here, for now. (beat) How is he?Gabriel searches for an honest answer. GABRIEL I don't know... I'm his son.Gabriel steps over to his saddlebags, opens his pack andpulls out a stack of letters which he hands to Charlotte. GABRIEL These are for you and the children.They sense someone behind them. SUSAN Why didn't father come?Gabriel is astonished to hear words coming from hisheretofore silent sister. Charlotte nods, smiling. CHARLOTTE Speaking for months now. SUSAN Why didn't he come? GABRIEL He wanted to, Susan, but he couldn't leave his men. SUSAN He left us. GABRIEL I know he did and he's sorry. He'll come back as soon as he can.Susan says nothing. Gabriel continues, hopefully. GABRIEL There are some letters here from him. Some are just to you. SUSAN I don't care. I hate him. GABRIEL You don't hate him. SUSAN Yes, I do. I hate him and I hope he never comes back.Gabriel kneels down and embraces her. She stands coldlywith her arms at her sides.EXT. MARION'S ENCAMPMENT - DAYAn astonished Marion talks to Gabriel. MARION She spoke? Susan spoke? GABRIEL Full sentences. As if she had been speaking all along. MARION I don't believe it... and I wasn't there for it...The cloud passes quickly. MARION Tell me everything she said, word for word.Gabriel hesitates. GABRIEL She said... she loves you and misses you but she understands why you can't be there with her. MARION She said that? Oh, my Lord, she said that?Gabriel nods. MARION Isn't that something.Marion shakes his head at the thought, smiling to himself.Gabriel, uncomfortable with the lie, changes the subject. GABRIEL Father, there's something else I need to talk to you about. MARION What? GABRIEL Come with me. I'll tell you when we get there.Marion nods and curiously follows Gabriel.EXT. PEMBROKE VILLAGE - NIGHTDark. The village square is deserted. Marion followsGabriel into the shadow of the village church. Theydismount, tie up their horses and enter the back door ofthe church.INT. CHURCH - PEMBROKE VILLAGE - NIGHTMarion walks in and stops dead. At the altar of the smallsanctuary, HALF-A-DOZEN PEOPLE stand with Rev. Oliver. Atthe center of the tiny gathering is Anne Green, flanked byher parents. GABRIEL Father, I'm looking for a best man.Marion is stunned but recovers quickly. MARION I'd be honored.They share a moment, then head down the aisle. Mariongreets Anne's parents, shaking hands with her father andbowing to her mother. Abner, at the door, nods that thecoast is clear. REV. OLIVER Dearly beloved, we are gathered here in the sight of God to join this man and this woman in holy matrimony...MARION feels every word, looking straight ahead butknowing that he's standing next to his son.EXT. CHURCH - NIGHTIn the shadows behind the church, the bride and groom saygoodbye to the wedding party. Anne talks quietly with herparents. Marion and Gabriel talk nearby. GABRIEL Sir, I'd like to request a furlough. Two days? MARION Granted. Where are you going? GABRIEL Cheraw Falls. MARION It's beautiful there. Your mother and I were there once, before you were born. GABRIEL I know.They're silent for a moment. MARION She would have been pleased.Gabriel nods, then turns to his horse, unnecessarilychecking his pack ropes. Anne joins them. Marionembraces her and gives her a fatherly kiss. ANNE I'm sorry we didn't give you more warning. MARION It's alright. I'm very happy for you.He helps her mount up. Abner, on guard near the road,motions them on. They all watch as Gabriel and Anne rideoff.EXT. WOODED ROAD - NIGHTMarion, Rev. Oliver and Abner ride slowly down the road.It's a beautiful, moonlit night. Marion breaks thesilence, speaking as much for himself as the others. MARION It's a good measure of a woman that she'll have her honeymoon under the stars. REV. OLIVER For richer, for poorer, in sickness and in health, 'til death do they part.Marion nods. They ride on.EXT. SOUTH CAROLINA SHORE - DAYA British packet, a small, fast warship, lies anchoredjust offshore. A rowboat, manned by half-a-dozen sailors,carrying a Redcoat Lieutenant, beaches. Several Redcoatswait.The Lieutenant, carrying a dispatch case, jumps out offthe boat, mounts a waiting horse and rides off.EXT. SMALL BRITISH FORT - DAYCornwallis, with his command staff clustered around him,sits on horseback reading the dispatch as the dispatchrider waits. They're on a hillside, looking over theburned-out remains of a small British fort as someRedcoats pull the Union Jack out of a trench latrine.Cornwallis motions Tarleton and they ride a few yards fromthe other officers and speak, out of earshot. CORNWALLIS From General Clinton in New York... (reading) "... your request to move north is denied until you have properly dealt with your militia problem." (aside) He underlined, 'militia'. (reading) "You have spent over six months dealing with a six-week problem. It is essential that you quell the militia..." (aside) Underlined again. (reading) "... insurgency, particularly because of the likely move south of Washington and the inevitable arrival of the French. Militia, as you have so often pointed out, is not worth the attention of a significant army, hence it is mystifying why militia has bedeviled you for so long..."Tarleton smiles slightly, enjoying the show. CORNWALLIS (reading) "... it is my fervent hope that the vigor of your campaign comes to match the vigor of your correspondence with your Parliamentary and Court patrons. Only then might you share in the victory, on the verge of which I now stand." (beat) "Your guardedly respectful Commander, General Sir George Clinton."Cornwallis grows eerily calm and turns to Tarleton. CORNWALLIS If I fail, you fail. TARLETON Perhaps. CORNWALLIS And if I triumph, you triumph. TARLETON Probably. CORNWALLIS How can we end this madness? TARLETON Difficult, sir. This is, as you pointed out, a civil war.Cornwallis takes a moment, then speaks simply. CORNWALLIS Civility is a secondary virtue. It is superseded by duty. TARLETON I understand, sir.Tarleton salutes, yanks his reins, turning his horse, andrides off.EXT. SMALL FARMHOUSE - SUNSETTarleton lounges in the grass on a slope in front of afarmhouse, looking out at a lovely sunset, absentmindedlypicking at the petals of some wildflowers. A HIDEOUSSCREAM pierces the calm.Tarleton analytically evaluates the tenor of the scream,then rises, passing several Green Dragoons who wait withtheir horses in front of the farmhouse. TARLETON I believe they are almost ready.IN THE FARMHOUSEBlood is smeared on one wall, where half-a-dozen corpseslie in a jumbles mass on the floor.In the parlor, Tarleton walks past more bodies, includinga dead woman who lies protectively but ineffectually overthe bloody bodies of her two young children, both undereight-years-old.In the kitchen, Tarleton finds Wilkins, some GreenDragoons, and Gaskins, the Loyalist Militia commander andsome of his low-life men.Rob Fielding, one of the craftsmen in Marion's force, istied, spread-eagle to the table, showing the terribleeffects of PROTRACTED TORTURE. Wilkins and Gaskins arenervous and apologetic as Tarleton walks into the room. GASKINS I'm sorry, sir. He died.Tarleton sighs, irritated. TARLETON Very well, get one of the others.Gaskins and a couple of his men step into an attachedwoodshed where Billings sits, bound. They roughly grabhim and drag him into the kitchen. BILLINGS Damn your eyes. Do your worst. TARLETON I intend to.They tie Billings to the table.INT. SMALL FARMHOUSE - DAYSilence. A tiny rivulet of blood runs along a plank inthe floor, disappearing into a gap between twofloorboards.Marion, Dalton, Rev. Oliver, and several other men walkslowly through the farmhouse, in stunned silence.Marion sees the body of the mother, draped over her twoyoung children. Marion turns to Rev. Oliver who can onlystare, offering no solace.They pass Fielding's body, then enter the kitchen and seeBILLINGS, DEAD, still tied to the table. Marion reels.EXT. SMALL FARMHOUSE - DAYMarion's men dig graves. Marion watches. Dalton steps upnext to him. DALTON You still want me to give wounded Redcoats quarter?Marion doesn't answer. Gabriel GALLOPS up. He reins backhis lathered horse and speaks to them without dismounting. GABRIEL Tarleton has a list of our men, most are on it. A regiment of dragoons is going to the homes on the list, burning them, killing whomever resists, women and children, as well. MARION Where? GABRIEL Seven homes along the Black River so far...Rollins doesn't pause. He rushes to his horse, mounts upand rides off. Marion and the other men mount up and rideoff fast after him.EXT. BLACK RIVER ROAD - DAYMarion his brigade catch up to Rollins and ride on withhim.EXT. ROLLINS' FARM - DAYThe small farm seen earlier, surrounded by hills, wherethe two boys, Rollins' sons ran down the hillside to catcha glimpse of the passing Marion and his brigade.The house smolders. No sign of life. Gabriel, Abner anda few other men warily ride the perimeter of the clearedarea around the house.Marion, at the head of the rest of the brigade, waits nextto an increasingly frantic, Rollins. They see Gabrielwave, signaling all clear.MARION, ROLLINS AND THE OTHER MEN RIDE to the house.Rollins is the first to see THE BODIES. Horrified, hereins back and dismounts, almost falling.His TWO SONS, WIFE, an OLDER MAN and WOMAN, lie dead inthe dirt. Marion's men silently watch Rollins' agony.Weeping and confused, he moves in a mad, staccato manner,as if he were a marionette, whose strings were beingjerked by a drunken puppeteer.Marion and Rev. Oliver dismount and move toward him.Rollins sees them coming. He hardens and strides to hishorse, pulling his FLINTLOCK PISTOL from his saddleholster.Rev. Oliver reaches out to embrace Rollins. REV. OLIVER It's not time for vengeance, it's time to mourn and...ROLLINS PUTS THE PISTOL TO HIS HEAD AND PULLS THE TRIGGER,BLOWING HIS BRAINS OUT.Every man freezes in place. For a long moment no onemoves, no one speaks. Then Marion pulls himself togetherand addresses the men: MARION Five day furlough for all men. Abner, Dan, Reverend, spread the word. We'll reform at Acworth. Any man who doesn't come back won't be thought a coward or uncommitted to the cause. Attend to your families.The men mount up. Marion and Gabriel ride off together.EXT. PEMBROKE - NIGHTMarion scans the night as Gabriel and Anne mount up. Thethree of them ride off, pulling a line of horses, someheavily loaded packhorses and some saddled but emptymounts.EXT. SHACK - SHANTY TOWN - NIGHTDark. Quiet. Gabriel and Anne wait in the shadows whileMarion cocks his musket, checks his pistols and walksslowly toward the shack.He warily checks every shadow. No one anywhere. Then aSOUND -- A SQUEAL OF LAUGHTER, immediately followed by: MARGARET (O.S.) It's him! I told you it was him!MARION'S CHILDREN RACE OUT OF THE SHADOWS to Marion. He'spractically bowled over as Margaret, Nathan, Samuel andWilliam fling themselves into his arms. NATHAN Father! WILLIAM Papa...CHARLOTTE STEPS OUT OF THE SHADOWS, watching the reunionas Marion covers the children with kisses, trying to hugall of them at once as they cling to him as if they'llnever let go. MARION AND CHARLOTTE LOCK EYES over theheads of the children. MARION Thank you.Charlotte smiles. Then Marion notices SUSAN peeking outfrom behind Charlotte's patched and mended skirt. Hekneels down and opens his arms to her but she doesn'tmove.He smiles to her and speaks softly: MARION Susan...She looks coldly at Marion, tightens her grip onCharlotte's skirt and retreats further behind her. Marionlooks to Charlotte who nods with guarded reassurance.Then his attention is drawn away by the demanding embracesof his other children.EXT. CHERAW FALLS PATH - NIGHTMarion rides, leading his children, Charlotte and Anne upa steep, narrow path that cuts through a heavily woodedhillside.EXT. CHERAW FALLS - NIGHTThe remains of a tiny abandoned backcountry farm. Thehouse is gone, leaving only an overgrown cellar hole.Nearby is a barely-standing tobacco shed, one end of whichhas fallen to the ground. A SOFT WIND WHISTLES ANDWHISPERS through the gaps in the rough-hewn boards of thestructure.Marion rides up to the edge of the clearing. AMOCKINGBIRD SCREECHES nearby, startling him. He looksback at the children, worried, anticipating a negativereaction. Margaret smiles and turns to the otherchildren, speaking for Marion's benefit. MARGARET I told you, things would get better.The children smile and dismount.INT. TOBACCO SHED - NIGHTPOURING RAIN. The ceiling drips. Marion lies, awake,with his children huddled against him, sleeping in one ofthe few dry spots. They're covered with tattered quilts.On the other side of the children, Charlotte is alsoawake. She and Marion exchange a long, silent look in thedarkness, over the heads of the sleeping children.EXT. WATERFALL OVERLOOK - DAYMarion walks the perimeter of their encampment with Nathanand Samuel. They listen carefully. MARION The overlook, up there should be where you post the watch. Work out a schedule. Short watches, especially at night. (pointing) If you can catch some of those mockingbirds you can make cages and put them along there for alarms. (motioning for them to follow) Now let's find someplace to cache extra weapons...They follow Marion like soldiers.EXT. CHERAW FALLS - DAYMarion sits on a rock while Margaret cuts his hair. Shetakes her time, touching him on the head and shoulders,extending the process. Marion, sits back, enjoying it.He notices Susan, nearby, watching silently. He smiles.She turns away.EXT. TOBACCO SHED - CHERAW FALLS - DAYDark. Shafts of light shine in through the holes in theroof. Marion, standing in the shadows, senses someonecoming. He freezes.A figure rounds the corner. It's... William. MARIONYELLS William SQUEALS IN DELIGHT, then chases his fatheraround the corner, tagging him. They laugh. Marioncovers his eyes and William dashes off to hide.EXT. CHERAW FALLS - RIVERSIDE - DAYMarion sits on the side of the river with Susan who avoidslooking at him. Using the knife we've seen him use inbattle he cuts slices off an apple and eats them. MARION Good apple.No response. MARION Very good. Sweet.He cuts a slice and offers it to her. She doesn't takeit. He puts the slice between them. After a long momentshe picks it up but as she's about to eat it, she stops,seeing something on it. She puts it back.Marion looks at the apple slice and sees a dark redsplotch on it. He looks at his knife and realizes thatit's dried blood.Off-balance, he turns to Susan who stares straight ahead,a thousand miles from Marion.EXT. CHERAW FALLS RIVER - DAYMarion washes the knife carefully, almost obsessively.Anne steps up behind him. ANNE May I ask you a question?Marion finishes with the knife and puts it away withoutexplanation. MARION Yes, of course.She speaks with a sly, withheld smile. ANNE Do you think Frances with an "e" is too manly a name for a girl? MARION No. ANNE Do you think Francis with an "i" is too womanly a name for a boy? MARION No. ANNE Good.Anne smiles and walks away. Marion figures out what shejust told him. MARION When? ANNE Late summer. MARION Congratulations. ANNE Thank you.Marion laughs at the thought.EXT. CHERAW FALLS - DAYMarion's children swim and play with the two Great Danesin the pond at the base of the falls, along with Gabrieland Anne. Marion and Charlotte sit on the bank, watchingthem.Charlotte turns and looks at Marion for a long moment.He's unaware. As Charlotte looks at him, her smiledisappears, replaced by anger. She snaps at Marion. CHARLOTTE I'm not my sister.Startled, Marion turns to Charlotte. MARION Excuse me? CHARLOTTE I said, I'm not my sister. MARION I know that. CHARLOTTE Do you? MARION Of course, I do. CHARLOTTE (irritated) Very well, then.She turns from him. Marion, tries to figure out what justhappened. After a long moment he gets it. Stunned atfirst, his gears turn. After a very thoughtful moment heturns to Charlotte and offers a tentative smile. Sherolls her eyes.EXT. CHERAW FALLS - NIGHTDark. A full moon shines.INT. TOBACCO SHED - NIGHTMarion wakes. He looks across his sleeping children andsees that Charlotte isn't in her place on the other sideof them. He rises and walks out into the night.EXT. GLEN - CHERAW FALLS - NIGHTMarion walks into the glen. He tenses, sensing someone infront of him. Then he sees CHARLOTTE AT THE EDGE OF THEWOODS. Neither one speaks...They walk silently to each other. They stop, looking ateach other closely, as if seeing one another for the firsttime...Only then do they kiss. The kiss grows more passionate...then much more passionate...EXT. CHERAW FALLS - DAYMarion finishes tying his gear onto his horse. Thechildren are silent. He stands beside his horse. Oneafter another, the children walk to him and embrace him --Nathan, Samuel, Margaret, William.He sees Susan, standing next to Charlotte. He motions toher but she doesn't move. Then he kneels down and gentlyhugs her. MARION Just a little goodbye? One word? That's all I want to hear.Susan remains silent, standing with her arms at her sides,not responding to the embrace.Finally, Marion lets go of her. She just stares at him.Marion stands and turns to Charlotte. MARION Goodbye, Charlotte. CHARLOTTE Goodbye.They embrace. Though the hug is chaste, their eyes tell adifferent story. Only Anne and Margaret notice, but tothem it's as clear as a bell. They exchange a knowinglook.Marion and Charlotte break apart, self-consciously.Marion and Gabriel mount up and start to ride away. Asthey're about to round a curve and disappear, SUSAN CRIESOUT: SUSAN Papa!With halting steps, then faster and faster, she runs downthe path toward Marion. SUSAN Papa, don't go, I'll say anything.Marion stops, turning in his saddle to see Susan runningafter him, her eyes filled with tears. SUSAN Please, Papa, I'll say anything you want!Marion yanks his reins, turning his horse. SUSAN Just tell me what to say! Tell me what to say!Marion spurs his horse straight toward her, GALLOPINGtoward the running, crying child. SUSAN Please, Papa, please don't go.MARION RIDES TOWARD HER...Charlotte, Anne and Marion's children watch as:MARION LEANS OVER IN THE SADDLE without slowing down...SWOOPING HER INTO HIS LAP...She sits astride the saddle, facing him, her arms wrappedaround him, pleading, the words tumbling from her, as fastas she can get them out... SUSAN ... I'll talk to you, I'll say anything you want, just tell me what you want me to say, I'll say anything, I promise, please, Papa, just stay...Marion envelopes the sobbing wisp of a girl, holding her,letting her cry, fighting his own tears...He reins back the horse, stopping in front of theothers...He pleadingly looks to Charlotte who steps up to thehorse... to take Susan...Marion gives Susan a final embrace, and covers her facewith kisses... MARION I'll come back... I promise...Marion hands the still crying Susan down to Charlotte...Marion, in agony, averts his eyes, yanks his reins, andspurs his horse...As he rides away the children take off after him, running.Susan seeing the others running after Marion, strugglesout of Charlotte's arms, and runs after them as well...Marion rides, now joined by Gabriel, faster and faster,leaving a trail of dust...The children slow, then stop, one after another, watchingas they ride away.EXT. PATRIOT ENCAMPMENT - ACWORTH - EVENINGGrim. The most rudimentary of the encampments we've seen.Rain pours. Some of Marion's men huddle under lean-to'sand quickly rigged tents that offer only partialprotection from the cold rain.Abner and Scott do their best to keep a wet-wood firegoing. Rev. Oliver tries to cook.Marion and Gabriel ride up and dismount. Marion joinsRev. Oliver. MARION How many came back? REV. OLIVER About a hundred and twenty. Less than a third.Marion nods. He and Gabriel join some of the men underone of the lean-to's.EXT. RIVERSIDE - DAYThe rain has stopped. The ground is still wet. It'sspring. The first buds are on the maple trees. A foxtentatively comes out of its winter den, followed by apair of pups.Marion stands on the side of a river, looking up at achevron of Canadian geese flying north.EXT. PEMBROKE - DAYThe Canadian Geese fly over Anne who is behind herfather's store, tying food and provisions to a couple ofpackhorses. A mare and a foal cavort in a nearby paddock.Suddenly Anne senses someone behind her and turns to seeHALF-A DOZEN REDCOATS. She's initially frightened but theREDCOAT SERGEANT, speaks politely. REDCOAT SERGEANT Excuse me, Ma'am, everyone has been requested to gather at the church. ANNE Everyone? REDCOAT SERGEANT Colonel Tarleton wants to address, the whole village.The Redcoat Sergeant deferentially motions for Anne tofollow him and his men. She sees several othertownspeople, with Redcoat escorts, already heading downthe street. She follows along.EXT. PEMBROKE VILLAGE SQUARE - DAYTarleton and Wilkins, on horseback, watch as a large,mixed detachment of Green Dragoons and Redcoat Infantrydirects the villagers into the church.One of the Redcoats walks out of the general store with abowl of gumdrops. As he starts giving them to a few ofthe children their parents waver, unsure of the gesture,but they reluctantly allow the children to take the candy.The townspeople are uneasy but they follow the orders ofthe Redcoats who, though carry muskets, are polite andunthreatening. REDCOAT Into the church, please. ANOTHER REDCOAT Colonel Tarleton wishes to address all of you.Tarleton sees the last of the townspeople enter thechurch. He nods to the Redcoats near the door.The Redcoats CLOSE THE DOORS, chaining them shut. TheDOOR IS POUNDED ON from the inside. VOICE Open this door! ANOTHER VOICE By what right are we made prisoners?TARLETON NODS TO GASKINS who, along with several rough-looking LOYALIST MILITIAMEN, disappear into the blacksmithshop. They reappear a moment later with FLAMING TORCHESand approach the church.Several Redcoats see what's about to happen and areappalled. Even some of the Green Dragoons, includingWilkins, are troubled. Wilkins rides over to Tarleton. WILKINS Sir? TARLETON Yes, Major.Gaskins and the Loyalist Militia stop around the church,torches ready, waiting for the final go-ahead fromTarleton. The POUNDING AND CALLING from inside the churchgrows louder. WILKINS Sir, there is no honor in this. TARLETON The honor is found in the end, not the means. This will be forgotten. (to Gaskins) Proceed.The Redcoats turn to the Redcoat Officers. The Redcoatofficers turn to Wilkins, who struggles with himself.Tarleton calmly watches Wilkins' distress.Finally, Wilkins accepts it. Weakly steadying his horse,he takes his place next to Tarleton.The Redcoats and Dragoons follow his lead and watch asGaskins and the Loyalist Militiamen light the church onfire, heaving their torches onto the roof, through thewindows and under the raised foundation.SCREAMS are heard from inside. The DOOR THUDS with theshoulders of men trying to escape. The CHAINS HOLD.As the FLAMES RISE, another group of Loyalist Militiamenand some Redcoats drag half-a-dozen young women out of aside-street...Among the women, desperately pleading, kicking andscreaming, is ANNE...The men drag her and the other women into the liverystable...Tarleton watches them carried off, stone-faced...Then he turns and watches the church go up in FLAMES...A WINDOW SHATTERS, with a chair heaved from inside...SOME MEN TRY TO CLIMB OUT, but waiting Redcoats FIRE THEIRMUSKETS POINT BLANK...KILLING THREE MEN, driving the others back...The SCREAMS FROM INSIDE THE CHURCH grow louder...The FLAMES AND SMOKE RISE...EXT. WOODS - PEMBROKE OUTSKIRTS - DAYSILENCE. A dark forest of old growth trees. Nounderbrush. Marion and a couple dozen of his men,including Gabriel, Rev. Oliver, and Dalton ride warily ona carpet of pine needles toward a thin column of smoke,visible over the treetops in the distance.With hand signals, Marion directs his men to fan out.They do so, weaving through the dark forest, weaponsready.EXT. PEMBROKE - DAYMarion and his men slowly ride into Pembroke. The remainsof the church smolder only slightly. The town isdeserted, no one, dead or alive, is visible.Unsure what they have found, Marion and his men spread outand dismount, warily checking out the buildings, lookingfor some sign of life.Rev. Oliver and a few other men head for the charredremains of the church.Side-stepping some still-hot, charred beams, Rev. Oliverlooks through the rubble...Then he sees the bodies...THE CAMERA CATCHES ONLY A FLEETING GLIMPSE of...Dozens of charred, blackened bodies, intertwined with theremains of the church...Rev. Oliver staggers from the rubble...The other men see what he has seen...One-by-one Marion and his men walk over and look into theremains of the church...Marion see several charred hands extended through ashattered window, as if grasping for escape... one of thehands is tiny, A CHILD'S HAND...Marion is stunned...No one says a word...Dalton and a few of the other men continue the search,weapons ready...They step into the livery stable, then walk out a momentlater, ashen faced...Dalton speaks quietly to Marion, motioning toward anincreasingly frantic Gabriel who has just found Anne'spackhorses...Gabriel notices the gesture, he watches Marion walk intothe livery stable... Growing more nervous by the second,Gabriel hurries after his father... GABRIEL Anne...?As Gabriel gets to the entrance of the livery stable,Marion walks out and intercepts him. MARION Don't go in there. GABRIEL Is it her? Is Anne in there? MARION She is. Don't go in there.Gabriel understands... he reels... growing faint... Mariongrabs him... keeping him from falling...Marion holds Gabriel who begins to weep...EXT. PEMBROKE - DAYMarion's men, led by Rev. Oliver, tend to the dead. Somedig in the small graveyard adjacent to the remains of thechurch. Others carry out the grim task of pulling thecharred bodies out of the rubble.ON THE EDGE OF TOWNMarion sits alone. Gabriel walks up behind him. GABRIEL Father, tell me what happened at Fort Wilderness? MARION You know what happened. GABRIEL No, I don't. MARION Everyone knows. It's what made me a hero. Me, Harry Lee, all of us. I got a medal. Men bought me drinks. They still do sometimes. Everyone knows what happened. GABRIEL Tell me what everyone doesn't know. MARION And what do they know? GABRIEL That the French and Cherokees captured the fort and when you retook it, you took revenge on them for what they did during the occupation. MARION That's right. GABRIEL That's not enough. Tell me. MARION Your mother asked me the same question around the time you were born. I was drunk and I was foolish enough to answer her.Marion shakes his head to himself. MARION That's why it was four years between you and Thomas. It took me that long to regain her respect. GABRIEL I'm not my mother. I can't have the respect without the knowing.Marion's quiet for a moment. Then he speaks: MARION It was in '63. It was a bad time. The French and the Cherokee had raided along the Blue Ridge. All the English settlers took refuge at Fort Wilderness but the French captured it. We were sent in relief. Harry Lee, Billings, sixty of us. We already had something of a reputation for being... harsh. When we got there the fort was abandoned. Not a French soldier or Cherokee anywhere. They had left a week earlier. What we found was... bad.Marion grows quieter with the memory of how bad. MARION They had left the settlers there. The men had been burned alive, the women were in pieces and the children were on stakes.Marion's silent for a moment. MARION We buried them, then we went to track. It was a cold trail and they were moving fast. We went faster. We caught up to them at Kentucky Ford. GABRIEL Go on. MARION We took our time with them and gave every one of them worse than they had given at the fort. It was two weeks before they were all dead, all except two. We put the heads on a pallet and had the two we let live take it to the French at Fort Ambercon. (beat) The eyes, fingers and tongues we put in a basket and sent that down the Asheulot to the Cherokee. (beat) The French stayed east of the Blue Ridge after that and the Cherokee broke their treaty with the French and stayed out of the fight. (beat) That seemed to make a difference. The war went another year, things went better... and men bought us drinks.Gabriel is silent. Marion looks at him closely. MARION It was a different time, son. And you're a better man than that. GABRIEL I see, do as I say, not as I do. MARION Yes.They hear HORSES HOOVES. Abner rides in from the oppositeside of the village from the church, not having seen theresults of the massacre. Excited, he dismounts. ABNER THEY'RE HERE! CONTINENTALS, THEY'RE HERE!Marion and Gabriel just look at him. Abner is confused bytheir reaction. Then he sees the remains of the churchand the laid out, charred bodies.EXT. PATRIOT ENCAMPMENT - NIGHTMixed gatherings of Marion's militia and Continentals areclustered around the campfires, with more Continentalsarriving all the time.Some of the militiamen and regulars regale each other withtales of their exploits but most are grim and tired,talking quietly.A couple of Patriots play a MELANCHOLY TUNE ON FIFE ANDVIOLIN.Marion's tent is set up but he's nowhere to be seen.Gabriel walks to Marion's gear. Finding Marion's weapon'sbelt he opens one of the bullet pouches and finds thepaint-flecked MUSKET BALLS MADE FROM THOMAS' LEADSOLDIERS. As Gabriel takes one, Marion steps up behindhim. MARION If this war is about more than Thomas, it's about more than Anne, as well. Stay the course. GABRIEL As you did at Fort Wilderness?Before Marion can answer they see HARRY LEE RIDE UP TOTHEM. He dismounts, excited, voluble. He strides over,pleased to see Marion, oblivious to his and Gabriel'smood. LEE Look at you! I knew you could do it!Lee laughs, picks up a bottle and takes a big pull. LEE We have a chance! Better than a chance! Cornwallis is running to the Chesapeake, probably to meet his fleet at Yorktown. I wish I could see his face when he sees a dozen French ships floating there. And Washington should be a day or two behind him. (beat) And on top of everything, I have a son! Born last month in Alexandria.Gabriel rises and walks away. Lee finally tunes into thepall hanging over Marion and the just departed Gabriel.He turns to Marion. MARION His wife was killed yesterday. She was with child. LEE I'm sorry, I didn't know.Marion nods. They stand in silence. Lee hands Marion thebottle. He takes a drink.EXT. ENCAMPMENT - NIGHTDark. Quiet. Sentries are on duty. Marion's tent glowsfrom a single candle. He blows the candle out, then stepsout of the tent into the night.He begins his nightly walk of the perimeter.Almost immediately, Marion notices something amiss.Dalton has discovered it at the same time and hurries overto Marion.AT ONE OF THE CAMPSITESMarion and Dalton and several of the other men look downat some empty bedrolls. DALTON Gabriel and at least a dozen others. They must have left right after the watch change. MARION That means they have two hours on us.Marion strides to his horse. The other men follow him.EXT. WOODED ROAD - NIGHTMarion, Dalton and Rev. Oliver and two dozen other menride.EXT. WOODED ROAD - NIGHTDark. Very quiet. A moonless night. Marion and his men,on foot, make their way along the side of the river.Brother Joseph hurries out of the darkness and speaks toMarion. BROTHER JOSEPH Fifty Green Dragoons, camped about a quarter mile from here. Sentries at four points.Suddenly they hear the SOUNDS OF MUSKETS FIRE ahead ofthem in the darkness. Marion takes off at a full run withhis men right behind.EXT. OUTSKIRTS OF GREEN DRAGOON ENCAMPMENT - NIGHTMarion and his men BLAST THROUGH THE BRUSH. Runningtoward the SOUNDS OF THE BATTLE, which grows louder withevery step...Marion cocks his pistol and extracts his tomahawk on therun...The LIGHTS OF THE BATTLE: The STROBES OF THE MUSKET SHOTSilluminate the woods ahead of them...Moving fast, they PASS TWO DEAD BRITISH SENTRIES, withoutslowing down...THEY BLAST OUT OF THE WOODS into...THE CLEARING, seeing a tableau of TOTAL CHAOS:Half-dressed GREEN DRAGOONS in formation FIRE INVOLLEYS...Running men. Scattered MUSKET FIRE.The strobes of the muskets illuminate RUNNING MEN andother men in HAND-TO-HAND COMBAT.WILKINS IS IN COMMAND. Tarleton is nowhere to be seen.Gabriel and Abner, both slightly wounded, fight adesperate holding action...On the other side of the clearing, a square of Dragoonsforms near Wilkins. WILKINS FIRE!The DRAGOONS FIRE A MASSED VOLLEY, hitting Gabriel, Abnerand several other Patriots.GABRIEL, BADLY WOUNDED, falls to his knees...The Dragoons pull their pistols about to fire again.Marion and his men OPEN FIRE...Staggering them...Marion sees Wilkins about to fire at Gabriel...Marion runs...Sees another Redcoat about to fire at Gabriel...MARION KILLS HIM with a pistol shot.Wilkins cocks his flintlock pistol, aims at Gabriel...MARION'S ABOUT TO THROW HIS TOMAHAWK... TOO LATE...WILKINS FIRES... HITTING GABRIEL WHO FLIES BACKWARD...Marion THROWS THE TOMAHAWK, sinking it into Wilkins'chest...The rest of Marion's men thunder into the Dragoons...Overpowering them...Marion races to Gabriel...Throws himself onto the ground next to him...Cradling him...Gabriel is stunned, confused by the wounds. GABRIEL I'm alright, I...He tries to stand... MARION Let me help you...Gabriel weakens in Marion's arms... falters... Marionwatches the life drain from Gabriel... He tries to holdthe blood in, to no avail...Dalton plants himself next to Marion, defending him andGabriel...Marion caresses Gabriel and watches as...GABRIEL DIES.The life drains from Marion. No anger. Only pain. Helooks at Gabriel, lost in a dream, an incomprehensiblenightmare of loss and overwhelming emptiness.EXT. CLEARING - DAWNMarion's men finish laying out the bodies of their dead.The Dragoons are still where they fell. The Patriots arelaid out in a row, their faces covered by their coats.Marion sits on the battlefield, next to Gabriel's body.Dalton gingerly approaches him. DALTON Colonel...Marion slowly stands and picks up Gabriel's body, cradlinghim like a child. They head off into the brush.EXT. PATRIOT ENCAMPMENT - NIGHTMore Continentals have arrived, now outnumbering Marion'smen three-to-one. The encampment is active. A few of themen drink and TALK LOUDLY. The two men playing the fifeand violin PLAY A MORE VIBRANT TUNE.INT. MARION'S TENT - NIGHTDark. Shadowed. The sounds of celebration can be heardoutside the tent.Marion sits on his camp chair. Gabriel lies on the groundcarefully covered up to his chin with a blanket. A singlecandle burns.Rev. Oliver enters the tent. REV. OLIVER May I help you try to find solace with the word of God?No response. REV. OLIVER Colonel, let us help his soul find it's place with the Almighty and... MARION He looks as if he's sleeping, doesn't he? REV. OLIVER Yes, he does.Rev. Oliver pulls up a camp stool. He and Marion sit insilence.EXT. MARION'S ENCAMPMENT - MORNINGThe Patriots, Continentals and Militia, are moving out.Most of the tents have been taken down. Wagons arerolling out. Companies of Continentals march off in goodorder.MARION'S TENT still stands. His men finish packing up,storing their heavy gear in wagons, tying their field gearonto their horses.IN THE TENTMarion still sits. A FLY BUZZES. Gabriel's face hastaken on a deathly, ashen look.Lee enters the tent. He's silent for a moment, thenspeaks softly to Marion. LEE You have to bury him.No response. LEE I'll help you bury him.Lee moves toward Gabriel's body. MARION Don't touch him. LEE How many men have we seen die? MARION Two. Gabriel and Thomas. LEE They're gone. And there is nothing you or I can do to bring them back. But there is something you can do to help end all this. MARION It is ended. LEE No. It's not over yet. Two days ride, Yorktown, Virginia. Washington, the French, Cornwallis and Tarleton. It will end, one way or another. (beat) Francis, nothing will replace your sons but helping us will justify their sacrifice.Marion doesn't respond. Lee waits for a long moment, thenhe hears the SOUND OF THE DEPARTING TROOPS OUTSIDE THETENT.He looks at Marion, touches him on the shoulder and walksout.EXT. PATRIOT ENCAMPMENT - DAYThe last of the soldiers move out, leaving theirsmoldering campfires and refuse. The only tent thatremains is Marion's.EXT. MARION'S TENT - DAYMarion sits in his tent, gazing obliquely at Gabriel'sbody which has grown even more ashen. A SOLITARY BIRDCRIES in the distance.EXT. WOODED ENCAMPMENT - NIGHTA dark, moonless night. The sky is filled with stars. ASOFT WIND BLOWS dead leaves along the ground. A few ofthe leaves are blown through the opening of Marion's tent.INSIDE THE TENTMarion looks down, noticing the leaves, HEARING THE WIND.He listens for a moment. Then he stands and walks out ofthe tent.OUTSIDE THE TENTMarion watches the leaves skittering along the ground. Helistens to the wind.The HE LOOKS UP AT THE NIGHT SKY. The stars are bright.His eyes are drawn to the Big Dipper and from there to theLittle Dipper and the...NORTH STAR.Holding his eyes on the faint, but steady star, hegradually reorients himself. He looks around at theabandoned encampment. Then he looks into the tent andsees Gabriel's body. The SOFT WIND BLOWS AROUND HIM.Marion nods in response.EXT. BURIAL GROUND - WOODED ENCAMPMENT - MORNINGMarion finishes burying Gabriel, putting the lastshovelfuls of dirt on the freshly turned earth. He standsnext to the grave, looking down, and says a silent prayer.EXT. YORKTOWN ROAD - DAYThe AMERICAN FORCES are on the move, all heading in thesame direction. Continentals and militiamen fill theroad. Some on horseback, others in wagons, most on foot.Among them, a mixed unit of Continentals and Marion'sbrigade, at the head of which ride Lee, Dalton, Abner andRev. Oliver.Behind them, a single horseman rides up. It's MARION.Without speaking, Marion rides up alongside Lee. Theyexchange nods.Marion rides between Dalton on one side and Rev. Oliver onthe other. They pass a sign that reads, "Yorktown. 20miles."EXT. YORKTOWN OVERLOOK - DAYThe road to Yorktown skirts an OVERLOOK with a view of thetown and the harbor. A few dozen arriving Patriots havestopped to look out at the view. Marion, Lee, Rev. Oliverand Dalton join them.The French Fleet is visible in the harbor. The Britishencampments are on a pair of peninsulas, one jutting outfrom land, the other jutting toward the land from a largeisland. In a semi-circle around the landward peninsula,the beginnings of the Patriot encirclement are visible.It's a grand and impressive sight.Marion and the others turn their horses and head down theroad toward the American lines.EXT. YORKTOWN ENCAMPMENT - DAYAN INTERMITTENT EXCHANGE OF CANNON FIRE. Not a battle,but pre-battle pot shots. Behind the Americanembattlements, hundreds of American and French soldiersdrill, make camp and build secondary fortifications.MARION, stands behind a barricade, trying to get a view ofthe British defenses. A RUNNER, a boy about fifteen,dashes up to Marion. RUNNER You called for me, sir?Marion reaches into his pocket and pulls out a singleWALNUT which he hands to the boy. MARION Take this to General Washington.The boy looks at the walnut and then looks at Marion as ifhe's joking or crazy. He's neither. The boy shrugs andruns off with the walnut.EXT. WASHINGTON'S HEADQUARTERS - YORKTOWNStaff officers. Flags. Tents. French and Americanofficers look over maps and sort out dispatches.Messengers, runners and dispatch riders come and gohurriedly.The flap of the central HQ tent opens and GEORGEWASHINGTON steps out, followed by a pair of AIDES.Washington is tall and powerfully-built, an imposing man,worthy of respect.He looks around and sees the awe-struck, slightly confusedmessenger boy, waiting nearby.Washington, holding the walnut in his hand, motions himover. WASHINGTON Did you bring me this? RUNNER Yes, sir.Washington scribbles something on a piece of paper andhands it to the boy. WASHINGTON Take this to Colonel Marion. RUNNER Yes, sir.The boy runs off. Washington smiles.EXT. PATRIOT ENCAMPMENT - DAYCAMERA FOLLOWS Marion walking through the chaos of theencampment. He walks to the cluster of tents aroundWashington's HQ. He nods to the officer in charge. MARION Colonel Francis Marion.Washington, leaning over the maps on his campaign table,hears the voice and turns around. The officers nearbystop and watch, curious.MARION AND WASHINGTONStep up to one another, looking each other in the eye.To the astonishment of Washington's officers, Marionreaches up and lifts off Washington's wig, looking at hishair underneath. Marion shakes his head. MARION Gray. WASHINGTON Earned.Washington holds out a small bag to Marion who reaches inand pulls out a walnut. WASHINGTON Come. I have something I want to show you.Washington turns to his staff officers. WASHINGTON Gentlemen.Washington and Marion walk off with Washington's officersand aides.As Washington and Marion walk, they both CRUSHTHE WALNUTS SHELLS BETWEEN THEIR THUMBS AND FOREFINGERS, aprodigious display of strength that both men take forgranted. They eat walnuts as they walk.EXT. YORKTOWN HILLTOP - DAYWashington's officers who include HARRY LEE, COLONELALEXANDER HAMILTON, LAFAYETTE, GENERAL PINKNEY, andvarious other aides and junior officers reach the crest ofthe hill and wait for Washington and Marion who trail abit behind them, talking privately, eating walnuts as theygo.While they wait, the officers look out at the view, seeingthe PUFFS OF SMOKE OF INTERMITTENT CANNON FIRE.WASHINGTON AND MARIONFinish the walnuts. They stop for a moment to catch theirbreath. WASHINGTON I was sorry to hear about your son. MARION I lost another a year ago, Thomas. He was only fifteen. WASHINGTON I've had no sons to lose, nor daughters. (beat) I lose the sons of other men.They look out at the vista, knowing that they're lookingat the sons of thousands and thousands of other men. WASHINGTON Life was easier when we only had ourselves to get killed.They walk on, joining the others on the crest of the hill.The officers are looking out, some with spyglasses, atthe British emplacements. WASHINGTON Gentlemen, what do we see? HAMILTON Mortars, center, with two lines of enfilading trenches. PINKNEY More along the right flank and behind the forward redoubts. LAFAYETTE A formidable defensive position. Very formidable. HAMILTON They could hold out for weeks.Washington nods and turns to Marion. WASHINGTON Francis, tell me about General Cornwallis. MARION Remember Braddock? WASHINGTON That bad? MARION Worse. WASHINGTON Proud, priggish and competent. A very bad combination in an adversary.Washington sighs. WASHINGTON For those of you who don't know, we intercepted a British dispatch this morning. General Clinton has sailed from New York to relieve Cornwallis.That hits Washington's officers hard. HAMILTON How long before they arrive? WASHINGTON Less than a week. Sixteen ships and over nine thousand Redcoats. LAFAYETTE Sooner or later that message will get through to Cornwallis. PINKNEY And when it does, he'll just wait us out. WASHINGTON And when the British ships arrive, the French ships will flee. And when the French ships flee, General Rochambeau and the French troops will flee as well.Marion speaks up. MARION Then you must let the message go through.They all turn to Marion, most of them looking at him as ifhe's insane. WASHINGTON If Cornwallis receives news that Clinton is coming, he'll simply hold tight and wait. He'll fight a purely defensive battle and he'll win that. MARION No, he won't. There are two things you need to know about Cornwallis. First, he is a very proud man, He would rather risk defeat than share a victory. (beat) If you give him what he thinks is an out, he'll take it. WASHINGTON And what is the second thing?Marion pulls Cornwallis' journal out of his haversack andleafs through it. MARION I'll let him tell you himself... (reading) "... but it is this colonial militia that is the most irksome. Not worthy of my attention, but demanding it; not worthy of British blood, but taking it; and not worthy of a soldier's honor, but sullying it. Those nights of mine that are not sleepless, are filled with dreams of a cavalry charge on the heels of fleeing farmers..."Marion closes the journal. MARION He has no respect for citizen soldiers. That's your bait... militia.Washington nods, considering it.EXT. CORNWALLIS' HEADQUARTERS - YORKTOWN - EVENINGUnder fire. Cornwallis and his staff. Major Halbertstrides in and gives Cornwallis a dispatch. MAJOR HALBERT Sir, a dispatch from General Clinton made it through the rebel lines.Cornwallis takes the dispatch and reads it. It staggershim. He sits down. WILKINS Sir?Cornwallis fumes. His jaw sets with anger. He slowlycrumples the dispatch and speaks with quiet fury. CORNWALLIS Call a general staff meeting. AIDE Yes, sir.EXT. YORKTOWN - PRE-DAWNMarion stands at the American battlements, looking out atthe British defensive works. Above him, stars arevisible, but they're fading in the light of the pre-dawnglow from the horizon.Marion scans the disappearing stars, searching out theNORTH STAR, but in the increasingly harsh light of thisday, he can't find it. He turns his eyes back to thebattlefield.EXT. YORKTOWN BATTLEFIELD - DAYThe sun has risen but a heavy ground fog limits visibilityto a few dozen yards. Men move like ghosts.THE CAMERA finds waiting squadrons of men but in the mist.There is no overview, just separate detachments:An orderly regiment of CONTINENTAL CAVALRY, mounted,waiting, steadying their horses.Two long lines of CONTINENTAL INFANTRY RESERVES...An American Command, including Washington, LaFayette andtwo dozen staff officers, attended by riders andrunners...And, finally, MARION AND HIS MEN, who stand in the middleof a long line of Patriot militia in the center of a long,valley-line depression.They stand silently, unable to see anything other thaneach other and the gently slope of the dew-covered grassin front of them.They're all grim. They know what's coming.Then, the SOUND OF A SINGLE DRUM, heard but unseen, comingfrom over the slope...Then, MORE DRUMS, more and more, A COMPETITION OF DRUMBEATS...Marion's men listen, turning their heads, trying toimagine what is happening on the other side of the rise infront of them.MARION MOTIONS FOR HIS OFFICERS, Dalton, Scott, Rev.Oliver and several other Patriot militia officers fromother units. They quickly gather around. MARION The British army believes in officers. I believe in soldiers. After we engage, there will be no more orders. Every man here must know what I'm about to tell you.They listen closely. MARION We are the bait in a trap. We're militia. Cornwallis thinks we're rabble, nothing more than a bunch of undisciplined farmers. And if he thinks that's what we are, that's what we're going to give him. Listen up.They gather around closer.EXT. BRITISH LINES - DAYCornwallis, surrounded by his staff officers, includingTarleton, stands on a low hill, trying, with the aid of aspyglass to catch the first view of the battlefield as themorning mist begins to burn off.Through the fog, he just makes out the American lines. Heturns to Tarleton who also peers through a spyglass. CORNWALLIS Do you see that, Colonel? TARLETON Unless I'm dreaming, I think I see irregulars at their center.Cornwallis and Tarleton exchange a pleased look.EXT. LOW MEADOW - YORKTOWN - MORNINGMarion and his men wait.A STRANGE SOUND. Soft, muted. The men turn their heads,listening, their eyes shifting.They hear the SOUND OF THOUSANDS OF BOOTS ON WET GRASS,advancing...THE CAMERA WATCHES THE FACES OF MARION AND HIS MEN as theylisten to an unseen army approaching.ON MARION'S FACE we see him hearing every sound and we seeFLASH CUTS of what he knows he's hearing:The BOOTS OF THE UNSEEN SOLDIERS...Shouldered muskets CLICKING against pack buckles...SILENCE at a stop...MORE DRUMS...The men around Marion wait.THEN, THEY SEE IT...A MASSIVE WALL OF RED appears over the rise in front ofthem...Thousands of Redcoats, in perfect formation, marching inlockstep, straight for them.Marion sees the fear on his men's faces, but none of themmove...The BRITISH DRUMS GROW LOUDER AND LOUDER... it's almostenough to drive a man to flight... almost.The CAMERA explores the faces of Marion's men, faces thatwe know, Rev. Oliver, Scott, Abner, Marion. All arefrightened but all are motionless.Closer and closer, the British line approaches...The American's don't move...Then, the BRITISH LINE STOPS...At a flurry of commands, the Redcoats ready their muskets,then aim...Still, Marion and the Americans don't move...DEAD SILENCE...Then, a single, thin voice calls out from the Britishlines...IN A THUNDEROUS, MASSIVE VOLLEY, three thousand Britishmuskets fire simultaneously... just as the entire line ofAMERICAN MILITIAMEN DIVE TO THE GROUND...Many Americans are saved by the move but many, many othersare torn apart by the British musketballs...THE AMOUNT OF SMOKE IS INCREDIBLE... it obscureseverything. Each musket spits out a billow of think whitesmoke a dozen feet in front of it and three thousand ofthem just fired. The massive, opaque white cloud quicklyspreads over the entire battlefield.The astonished Redcoats instantly reload...And watch as the Americans rise in DISORDERLY PANIC andFLEE...Some Redcoats laugh...ON A RISE BEHIND THE BATTLEFIELD, CORNWALLIS, watchesthrough his spyglass, trying to get a sense of what'shappening before the spreading cloud of musket smokeobscures everything.He barks to his SIGNALMAN... CORNWALLIS Fix bayonets... dispatch the Green Dragoons.The Signalman raises his semaphore flags and snaps themessage.MARION AND HIS MEN are caught in the middle of the chaoticretreat...THE BRITISH LINE advances at a quickstep, bayonetsfixed...From behind them, THE GREEN DRAGOONS appear, at a fullgallop, Tarleton at their head...THE BATTLEFIELDIt's an astonishing sight... total madness... hell... apainting by Hieronymous Bosch... The mass of the British infantry charges after the fleeingPatriot militiamen...The Redcoat infantry grows disorderly as it runs...TARLETON AND THE BRITISH CAVALRY THUNDERS to the head ofthe Redcoats, closing in on the fleeing Patriots. Thecavalry swords are drawn and raised for a slaughter...THEN SUDDENLYStepping into view from behind a low, grass covered rise,a SOLID LINE OF BLUE APPEARS, rock solid...It open up, allowing the fleeing Patriots to pass throughit like water...then it closes again, becoming a solid blue wall...MARION, HIS MEN AND THE ENTIRE MASS OF FLEEING MILITIASTOPS DEAD, turns and joins the blue American line...A flurry of orders, then the BLUE WALL ERUPTS WITH AVOLLEY of musket fire that stops the disorderly Britishadvance in its tracks...Hundreds of Redcoats fall instantly...Hundreds of Green Dragoons and their horses fall withthem...The effect of the volley is devastating...'The American timing is perfect...Again, the amount of SMOKE is astonishing... visibilitydrops to less than twenty feet in most places...Drifting smoke opens up glimpses of the battle here andthere but it is primarily a battle of sound...Men simply follow the men in front of them...The Blue Continentals advance in an orderly manner fromboth flanks onto the Redcoats, trapping them...The Redcoats try to flee...Fighting small, gathered holding actions...MARION FIRES one of his pistols...Draws his sword...Slashes downward... killing one Redcoat after another...No remorse, no hesitation, no pity...A relentless, simple battle...Slashing through the Redcoat infantry...His sword sinks into the stock of an upraised Britishmusket and is pulled from his hands...Marion quickly kills the Redcoat with his pistol...THEN, THROUGH THE SMOKE, MARION CATCHES A GLIMPSE OFTARLETON...Marion freezes... his eyes locked on Tarleton who isfighting a pitched battle, making his way toward theperimeter of the field, trying to escape back to theBritish lines...Seeing nothing but Tarleton, Marion hurriedly tears openhis weapons pouch and pulls out one of the bullets madefrom Thomas' lead soldiers...As he loads the pistol, his eyes still trained onTarleton, Dalton runs up in the chaos... DALTON COLONEL! OUR LINE!Marion finishes reloading... distracted he turns to Daltonfor an instant... DALTON OUR LINE IS FALTERING...Marion takes a quick glance at the Continental line,seeing...Scott, Rev. Oliver, Abner and a dozen more of his men, inthe middle of a confused battle, with a larger mass ofRedcoats who are advancing through the broken Continentalline...MARION IS TORN...He looks to Tarleton, seeing him distracted, vulnerablebut too distant a target for the pistol...Then Marion looks to Rev. Oliver and the others... Daltoncan't wait... he runs off...Marion wavers...Then he takes a last look at Tarleton and heads off tohelp the faltering Patriots...TARLETON sees the movement of Marion and his men and seesMarion himself, his back exposed...AT THE PATRIOT LINE...Marion, Dalton and two dozen other militia cavalrymenarrive at the same time, beating back the Redcoats...As blue-uniformed Continentals reform the line, FIRING ATTHE FALTERING REDCOATS...TARLETON sees Marion and fights his way toward him...Marion is oblivious, concentrating on holding the Americanline...Tarleton mounts a terrified, riderless horses, draws hissword and gallops back toward the British lines, on a paththat takes him directly past Marion...Tarleton gets closer... raises his sword... slashes...Marion catches the flash of the blade out of the corner ofhis eye...Diverts the blow, knocking Tarleton from the mount...Tarleton hits the ground... Marion draws his pistol, aboutto fire at Tarleton...Tarleton KICKS OUT, knocking the pistol from Marion'shand...Tarleton GRABS HIS SWORD, SLASHES AT MARION who dodges theblow...Tarleton advances... Marion scrambles back, then rises...Marion grabs a BROKEN CAVALRY LANCE and FENDS OFF REPEATEDBLOWS from Tarleton's SWORD...Then Marion sees his pistol, loaded with a bullet fromThomas' lead soldiers, lying on the ground...Marion makes his way toward the weapon... still BLOCKINGBLOWS from Tarleton's sword...Marion focuses on the pistol... leaving himself exposed...Tarleton sees the OPENING... MOVES ON MARION... TARLETONRAISES HIS SWORD, about to deliver the killing blow...Marion dives... GRABS HIS PISTOL... FIRES... KILLINGTARLETON WITH A SHOT TO THE CHEST...Marion, stunned, exhausted and surprised to be alive,watches Tarleton fall...Marion stands over Tarleton's body and gives himself amoment of bitter triumph, then he turns back to the battleat hand...Marion picks up Tarleton's sword and runs to the AMERICANLINE which stiffens as Dalton and Rev. Oliver are joinedby Marion and a dozen other Patriots...The blue-uniformed Continentals reform their line...Marion looks back toward Tarleton but finds that his body,along with the place and the moment of his death, hasdisappeared into the smoke of the battle...Marion and his men fight on... then, Redcoats startfleeing the field...First one Redcoat at a time... then more and more...EXT. YORKTOWN - DAWNThe next day. Silence. The battlefield, as far as theeye can see, is covered with the debris of war, dead menand scattered weapons.The British have retreated back behind their defenses buthave left many of their men on the field.The Patriots, regulars and militia, wait behind theirbarricades.Then, a single figure appears on one of the Britishparapets. A DRUMMER BOY, no more than ten-years-old.Behind him, a single British officer.They boy begins to beat the drum. The officer raises awhite flag.In the American lines, the men see the flag. Some callout, some cheer, some laugh, most, among them MARION,simply take a deep breath. It's finally over.EXT. YORKTOWN FIELD - DAYA massive ceremony, carefully orchestrated, laid out onthe cleaned up battlefield.Thousands of men, everyone in his place, as if well-directed actors in a grand theatrical performance.The French and American armies, fifteen thousand menbetween them, stand in perfect formation on either side ofthe field, forming an avenue for the British army whichmarches out of it's fortification.At the head of the avenue, WASHINGTON AND HIS STAFF standwaiting.A musical band of Continentals, thirty men strong, loudlyplays a tune, "The World Turned Upside Down," a jauntyBritish air with a melancholy undercurrent.CORNWALLIS marches with his officers, eyes straight ahead,covering his agony as best he can.As he walks along the avenue he passes the remnants of theSouth Carolina militia.MARION, standing with Dalton, Rev. Oliver, Abner, Scottand the rest of his surviving men sees Cornwallis pass...CORNWALLIS glances over, noting what unit they are by atattered battle standard that flies over them. It's onlya glance and he DOESN'T PICK OUT MARION, who is just oneman among the many...AT THE HEAD OF THE AVENUECornwallis reaches Washington. They exchange unheardformal greetings.Cornwallis, DRAWS HIS SWORD AND HANDS IT TO WASHINGTON...FIFTEEN THOUSAND MEN, American and French, RAISE THEIRVOICES in a CHEER OF ASTONISHING VOLUME...With every other pair of eyes directed toward the ceremonybetween Washington and Cornwallis, MARION quietly andunnoticed, slips out the back of the formation and walksaway.EXT. YORKTOWN - DAYThe surrender ceremony continues. Marion, on the fringeof the field, finishes saddling his horses and prepares toleave. LEE walks out of the crowd and joins him. Theylock eyes for a moment, then Marion mounts up. LEE Goodbye, Francis. MARION Goodbye, Harry.Marion reaches down. They shake hands. MARION And congratulations on the birth of your son. LEE Thank you. Maybe all of this will buy him some peace. MARION I hope so.As Marion starts to ride off, he reins back and stops,speaking back to Lee over his shoulder. MARION Your son, what did you name him? LEE Robert. Robert E. Lee.Marion smiles. MARION A good name for a farmer.Lee nods. Marion rides off.EXT. CHERAW FALLS - DAYMarion's children and Charlotte sit by the river. Samuelsits on the lookout ledge with his musket. Suddenly hestands, looking out, seeing something.Charlotte and the others notice. They're worried. Thenthey see Samuel throw down his musket and tear down thepath, running as fast as he can, tumbling, then regaininghis feet...Charlotte and the others know who's coming...The children take off running after Samuel...Racing toward the road...Charlotte hurries after them...AND THEN THEY SEE HIM...MARION, riding at a full gallop...The children cry out with tears of joy...MARION see Susan...He gallops toward her...LEANS OVER...Without slowing, he SWOOPS HER UP into the saddle...She wraps herself around him...He reins back, stops and dismounts, just as the otherchildren reach him...They throw themselves into his arms... embracing him...Charlotte hurries up behind them...She and Marion lock eyes and he is enveloped by the hugsof his children.EXT. POND BLUFF - EVENINGSummer. The apple tree at the top of the hill is coveredwith apples.Marion's house is partially rebuilt and habitable. Theworkshop is already completed.MARION'S CHILDREN, Nathan, Samuel, Margaret and William,play in the tall grass in front of the house with the twoGREAT DANES.CHARLOTTE sits on the front porch, NURSING AN INFANT.MARION walks out of his workshop, trailed by Susan. Hecarries a just-completed rocking chair.The chair is a work of art, thin and light, a spider-webof perfectly turned wood, no nails, no glue.He steps onto the porch next to Charlotte and places therocking chair next to her. MARION Two pounds, fourteen ounces. CHARLOTTE Lovely.He smiles and make a minute adjustment in the chair'sposition. Then he sits down, settles back and beginsrocking. Not a creak.Marion and Charlotte watch Susan run out of the yard,calling as she joins the other children. SUSAN Wait for me...As the CAMERA CRANES UP, Marion and Charlotte disappearbeneath the overhang of the porch roof. Suddenly, theSOUND OF A CRASH. MARION (O.S.) Damnation!The CAMERA CONTINUES TO CRANE UP as Marion walks off theporch, crosses the yard and enters his workshop. A momentlater, the SOUND OF MARION'S LATHE RISES. FADE OUT. THE END \ No newline at end of file